"LAWRENCE OF ARABIA" (1962)

accelerates: calm as the CYCLIST of still into a sort but it sets determined smiling nor particularly It is neither and we can see his mouth. little has slipped a The scarf MOTOR-CYCLIST. .the CLOSE SHOT of 5

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

second corner.a- towards immediately and are accelerating again too fast, and pass the roadworks,

down Again we throttle looming larger. the word "WARNING" before, than notice which we see nearer and a similar roadworks a similar

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

a NIGHT to be there; the morning for the workers in It is too early

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

in the slipstream. .ruffled and his bright hair is

no helmet he wears but begoggled and mufflered as to be anonymous

He is so heavily engine roaring. TRACK On SOUND shoulders. 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 farmyard leaves The motor-cycle SHOT. PANNING 2

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

choke and adjusting 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-cycling the buttocks down.

him from see We can only us. the machine with his back towards

MAN comes and stands between us and A through nearby leaves. and its background are dappled with sunlight. falling motor bicycle

and the The shed is open-fronted a jam jar on the work-bench.· roughly in are stuffed rather and such, dandelions A 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 of beautiful condition. powerful and in It is large, CLOSE SHOT of the MOTOR BICYCLE.

As a background to the SCREEN CREDITS the following: 1

-·-------·-------------~~_,;,,;

/

REPORTER approaches. A saluting._)_ ( as though hats, their him raise but one or two who pass modest, '\,-.·,·

is and his bearing He is in civvies and quite still. alone, standing 0

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

him. knew I BRIGHTON ,. 0 I ( Did;you know him well? . (interested) CLERIC () · remarkable. counts, By any chap. remarkable a He 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; At faintly from the walls. glimmer which to other honoured heroes, memor'ials past along the aisle,

BRIGHTON and his FRIEND pace slowly SHOT. CLOSE TRACKING 8

awaits him. a CLERIC, friend, where an elderly congregation L

shuffling murmuring, of the discreetly the rest after way 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 . reverently not He does this which has fallen askew. certtra1·wreath ·tlie adjusts holding his bowler hat, clothes, civilian correct MAN in very A TRACK, the organ. On SOUND Cathedral. Paul's chapel of St.

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

CUT TO

up to CAMERA.

along it The goggles slither road. the piece of A CLOSE 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

Continued 5

I

j

: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. :Barnum since exhibitionist He was also the most shameless BENTLEY (Cont)

REPORTER tips his hat to the LADY and moves away.

: ( mighty warrior''. a and poet,

a scholar, a was he him known to the world:

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

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

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

know him well you know. t I didn

(politely regretful) No. ALLENBY

himself. but about Colonel Lawrence sir, Yes REPORTER.

The REPORTER is disappointed.

campaign". in the Middle Eastern part decisive 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 me Lord Allenby. REPORTER·

Continued 9

-e

J __

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

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

At each end passage. more than a glorified hardly room, narrow in a long We now see that LAWRENCE is seated SHOT. MED. 12 <) by. the lower half of a camel walks Outside,

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

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

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

LAWRENCE is neatly tinting a map with water CLOSE SHOT:

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

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

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

Damascus! in I had the honour once to shake his hand · (truculent) knew him. I can't claim I No sir, GENTLEMAN MILITARY

Did you know him? (mildly) 0 BENTLEY

man! very great a He was (challenging) · exception! possible and I take the strongest last 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

Continued 9

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

l~~

1,

tosh. y'are Here CORPORAL I

with my newspaper. Potter is William Here lO LAWRENCE

at all. no notice SERGEANT takes The phlegmatic LAWRENCE. towards CORPORAL walks over The SHOT. MED. 14

· · the basement.

from upwards leading of stairs and a flight exchange telephone of a a glimpse Beyond him we catch newspaper. with a folded

CORPORAL enters chirpy a The door opens and CLOSE SHOT, 13

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

is There parody. of a ritualised by means been bridged rank.has and gulf of class the Forces; in the not uncommon relationship

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

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

right. 'T's SERGEANT

an ignoble fellow. Then you are LAWRENCE

I am. · (thinking of the trenches) SERGEANT

not happy in it. are We LAWRENCE

right. 'T's SERGEANT

room. little dark this is a nasty, Hartley, George Michael (gloomily) LAWRENCE

'., ( l a SERGEANT. room, the OCCUPANT of the only other sits these 1.I one of At is a stool. board each before and shades, with metal hang lamps boards the Above need. cartographers else whatever and maps of rolled piles pencils, pens and ink, compasses, protractors,

T squares, brushes, of paint, with pots boards six drawing are

There windows high up in the wall of the basement. semi-circular of series a through light which comes inadequate the already dimming

Continued 12 ;C) . r

I ·.----·

i I J

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

I cigarette~ Allow me to ignite your

LAWRENCE

j upon him and laughs. ,: 0

bovine gaze sympathetic, finds their LAWRENCE SHOT. 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's hold". 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 for him with the respect CORPORAL regard···8

It' at the front page. LAWRENCE holds up the paper CLOSE 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 his with paying for it takes the paper,LAWRENCE

Continued 14

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

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

Certainly it hurts. LAWRENCE 0

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

of a routine order be it to assuming SERGEANT takes no notice, The changes. LAWRENCE unfolds the flimsy and his expression and exits. .flimsy· to LAWRENCE, the hands picture, enters M. P. as the down on his own stool, The CORPORAL sits CLOSE SHOT. 18

LAWRENCE. towards He 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. only It's You'll do that once too often. (dispassionately) SERGEANT JC Continued 16 '-·.--c" ' () j

7 l

Jc

r-----..

-~ --- I,

[

/IC-

Its onto a courtyard. and gives One side is of glass and orderly.

clean but immaculately now stripped, once ornate, and airy, high,

I

long, room, Club is a spacious Officers' The Junior LONG 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 and CLOSE SHOT. 19

to go. He turns

for a chat with the General. D tell him I've gone me; 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. CAMERA THE

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

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

Continued 18

() Where are you going? you? supposed to be on duty, aren't You're

but not smiling) (still mild, SECRETARY

deliberately. He relaxes talld.ng. the other OFFICERS who stop in His eyes slide to take he 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 the whereas aggressive, nervously OFFICERS will be LAWRENCE's tone with the smile. little by a serious accompanied and his words embarrassment, to avoid needless low-pitched,

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

wear your cap in the Club? do you usually be ••• supposed to You're SECRETARY . ◄

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

Lawrence. SECRETARY

calls:

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

ARY sees when the SECRET from the reds frame the triangular . The other OFFICER is also a CAPTAIN and is raising master.0

ring- circus a like moustache a fierce He is a CAPTAIN and wears table. ARY (GIBBON)is chalking his cue at the billiard The SECRET

s~reen. alongside the glass in the background walking through the Club appears LAWRENCE<D and well-modulated. Their voices are pleasant is empty.

the place Otherwise for snooker. TWO are preparing sit at tables.

One or two OTHERS OFFICERS.· At the bar are two or three turn. (

Fans of picture. table in the foreground billiard a is a bar and There ·' '

o· unbleached linen.

of with cloths fours round small tables in symmetrical arranged

of uniform pattern many basket chairs with a great furnished

It is and living Royalty. dead Generals of old victories, engravings

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

Continued 20

()

------~) ---- ----------------------·--··

backing: and says, turns LAW~ENCE this At

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

'

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

Sorry! LAWRENCE

leaves his face. and the glitter confusion,

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

Lawrence! I must say, CAPTAIN

exasperation: looks up and says with frank indifference, his cue with considerate The CAPTAIN who all this time has been chalking SHOT. MED. 22

directions. ·(' sending the balls in all The black hits the triangle CLOSE UP. 21

the table. it across and flicks LAWRENCE, smiling knowingly, takes the black By 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 the Freddy. talk shop, Mustn't (reproving) i j LAWRENCE I , ---- le Continued 20 () i

it. of explanation a smiling and offers LAWRENCE's incompetence, to at the reference a little from the window, smiling turns DRYDEN

post~ junior in a very incompetent markedly has proved so far as I can gather, who, an officer officer, junior insubordinate an junior officer, very A staff~ my

: of officer the Arab Bureau and a junior

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

MURRAY 'i (··,Ii_,t

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

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

DRYDEN, a GENERAL MURRAY is addressing sizes. varying

of cases of empty shell is 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 "Illustrated at his desk. seated He is exasperated. his expression and shrewd, His face is hard be, than anyone can regulation more is to appear whose pride officers

regulation GENERAL MURRAY is one of those CLOSE SHOT.

CAIRO GENERAL MURRAY'S OFFICE INT. 26

oaf. Pretentious SECRETARY

clearly: saying the table to back The SECRET ARY turns

the triangle. to rearrange the CAPTAIN starting with a handkerchief,

wiping his breeches steadily the LIEUTENANT of Yeomanry silence,

him in They all look after He 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 restraint with cruel The LIEUTENANT, CLOSE SHOT. 24

breeches. onto the perfect spills over on the table and falls bottle of lager A half-empty CLOSE UP. 23

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

all be lion-tamers. we can't Oh well, LAWRENCE

Continued 22

I

He grumbles: that. authentic for is not less which though a shade spinsterish this, the moral tone of by He is a little put out MURRAY. CLOSE UP. 28G I sir. stuff, He knows his and he might be in Arabia. He's no use here in Cairo is 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,

in the chair.

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

it! and get away with Commanding, Officer General his Lieutenant thumb his nose at crass finicking, let an over-weening, to and I don't propose Dryden, 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 ever a for He's made application that. of aware .I'm MURRAY

of the Arabic newspaper. copy a carrying

is DRYDEN that see We now the two of them. of into a medium shot

TRACKING BACKWARDSwith him the CAMERA MURRAY's desk,

of chair in front a away from the window towards He strolls

i sir. to go to Arabia, He wants DRYDEN ,IC Continued 26 )_,.,.}___. \·1·/~

C

·r-···-··-··----

They did attack Medina. 0 DRYDEN

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

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

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

been brewing for some time. has This is a conflict which uneasy. ready for conflict - he speaks for the Bureau - and MURRAY is But his eyes are small request. childishly who makes an almost()

one as as he says this, his hands deprecatingly spreads DRYDEN

situation. of the To make our own appraisal DRYDEN

To what? (suspicious) MURRAY

\~ to ... on the spot sir, man own just that the Arab Bureau wants its It's DRYDEN

not! - My God I should hope MURRAY 0

- sir agvice, giving military Lawrence would be no question of Lieutenant There DRYDEN

Continued 28

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're the does Turks, i the against they rise If thing in Arabia? big a And does the Arab Bureau want MURRAY

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

sir. Big things have small beginnings, DRYDEN

again. He is smiling DRYDEN. UP. CLOSE 33

side-show! of a side-show a - would be itself calls it And your "Bedouin Army" or whatever attacks through mud) mass organising there to be moment how he longs a for (his eyes glow and we see trenches~ . . . in the Front the Western but on Not here, not the Turks. Germaiis being fought against the war's The real is a side-show. of operations theatre you want my own opinion, this whole If (he broods) - a side-show Dryden, in a tea-cup, storm A it. We know they didn't take MURRAY

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

them. of made mincemeat And the Turks MURRAY (Off) ~c Continued 31 ,,-•' ' (~

I

'

i

I

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,

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

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

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

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

DRYDEN and near LAWRENCE comes to a halt CLOSE SHOT. 37

Salute! MURRAY ·() MURRAY CLOSE SHOT. 36

sir. Good morning, (cheerfully) LAWRENCE

walks into the room. and MAJOR the past LAWRENCE brushes

Send him in. (Off) MURRAY

sir. Lawrence, MAJOR. i

soon as he is announced. as forward He moves office. LAWRENCE standing in the outer him 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 simmer frowns and gestures

enquiringly at DRYDEN, but DRYDEN his 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, know I MURRAY iO i Greek philosopher. A sir. Themistocles,

:, helpful) (delicately '

LAWRENCE

-1 ,i

barks) (suspicious,

I

properly. duties your present to perform able You don't seem imagine. I can't Why, 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. just or bad-mannered make out whether you' re bloody I can't MURRAY

Continued 38

(1

artillery! must be There MURRAY

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

··(~:: to be seem doesn't there ... Yes sir MAJOR

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

Hawthorn? What is it, MURRAY

of bills. sheaf a with excitedly MAJOR enters The door opens and the STAFF LONG SHOT. 43 CJ

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

heavily. eyeing LAWRENCE around MURRAY has turned CLOSE SHOT. 42 0 ' himself. he composes immediately up, but almost lights face LAWRENCE's

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

sincerity: slowly and with great

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

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

L__·-~-·

lo

and goes. salute army of the regulation)___( l

parody a slow-motion He performs LAWRENCE. 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:ERA THE,0 mockery. protective by his habitual then is replaced resentful; then viciously is hurt, His expression LAWRENCE. SHOT.- CLOSE 44

Shut up and get out. MURRAY

LAWRENCE ·

awkward. and correspondingly sincere

He is MURRAY'S bent head. a,ddresses He LAWRENCE remains.

but beckoning to LAWRENCE to follow, DRYDEN leaves,

sir. Thank you, DRYDEN

is back on the papers. his attention And immediately

Dryden. work, Now let me do some three! 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, something It's 0 (firmly) DRYDEN

DRYDEN and LAWRENCE have been forgotten.

Continued 43

,,i" I,. 10

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

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

the job. I'm the man for Because C LAWRENCE

withdrawal. and bitter stiff

of its expression to assume begins his face flippant still are words

and although his him, into step beside LAWRENCE falls At this

to. ask me why I bothered You 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 continues DRYDEN 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

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

of Lading. the Bills through rapidly MURRAY is searching has closed the door Even before MURRAY and the MAJOR. CLOSE SHOT. 47

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

in a day. of desert 60 miles cross 11 they can Bedouins, Hashemite They're ~o of Medina. Anywhere within 300 miles DRYDEN

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

nice ... Oh that's LAWRENCE

of stone. with his hand on a fragment and comes to rest little

a away walks He of this. the significance LAWRENCE appreciates

altogether. in Arabia intentions I mean his not yours. business, Brighton's Colonel - that's intentions immediate I don't mean his are. - what his intentions somewhat) (his gaze wanders Find out - of man he is. ldnd Find out what DRYDEN :I iO i when I've found him? And Good. LAWRENCE of carving. and fragments monuments ancient desert

of are pictures There xenophile. a cultivated of the room carpeted,:CD and It is elegantly furnished GENERAL MURRAY'S. from different

to but utterly once similar at This is a room SHOT. MED. 49

Feisal. Find Prince a door) (pausing beside DRYDEN :o -~ ' ' Continued 48 ·()

20 r

" ' ;,, \ r

···-··-···---~·--·--····--·-·--__J.! -·----·--·-··-· ······--- ---------------------------------·--

'-----

CUT TO

and we shots are finished of under-cranked the series ;1

until camels We do not see the actual of two camels. footprints

i/ shot should be the every of almost in the composition Prominent(_) i shorter. and and the shadows grow shorter higher and higher rises of movement as the sun sense constant should be a shadow there/0 the first oi and the casting of the sun over the horizon appearance/ but from the first process, should be unaware of the trick audience I The sunlight is speeded. dawn to brilliant grey change fromi so that the camera an under-cranked with taken of shots A seriesi

SUNRISE IN THE DESERT : 52le)

j DISSOLVE TO I :\ manner, He bows it out in the normal lips.I the flame to his raises and He smiles LAWRENCE. CLOSE UP. 51 'IC,..:

of fun. sense funny you have a that recognized is It sourly) (rather DRYDEN

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

words.

his to contradiction is in utter of his expression The set intensity

going to be fun. it's No, Dryden, (very quietly) LAWRENCE

him,

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

for himself. cigarette a black Russian tapping DRYDEN is irritably

furnace. fiery a burning men it's me for ordinary from Take it And you' re neither. - gods. of stone) fragments t· and the figures scorched sun- of silent photographs round the gaze wanders(J1is - and Bedouins ... in the desert, 'fun' get only two kinds of creature Lawrence, DRYDEN

Continued 49

21 I

/c

r---·

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

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

obscured are They and TAFAS looks at him. this doing TAFAS is

out dust while LAWRENCE spits round his mouth. headcloth

his AS ties AF T clarity. into cloud one small from powdered well LAWRENCE and TAFAS emerge TRACKING SHOT. MED. 59

of the to and explanation a mere introduction were, it as is,

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

to the and not comparable rocks by should be broken flat mud

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

DISSOLVE TO

Bedu. am I and shrugs) (grunts TAFAS

to the bottle. ·water the begins to return LA~RENCE

I will drink when you do. LAWRENCE

No. 1 TAFAS }

drink? not You do LAWRENCE

and then stops. He is about to drink bottle. his water it from mug and fills army a tin LAWRENCE unstraps C one cup. Here you may drink, TAFAS

of air. LAWRENCE takes in a deep breath Almostinv.oluntarily TAFAS. AND LAWRENCE .. CLOSE SHOT 57 ('~.•.·.C(:;,_I rock and blue sky. of sand, landscape vast romantic A LONG SHOT. 56

The two MEN scan the horizon. Salem.

of the Beni of a Hazimi the robes who wears TAF AS, his Arab guide, and uniform, British in regulation LAWRENCE, who is dressed

ridden by They are come to a halt. The camels CLOSE SHOT. 55

ridge. appear over a distant of two MEN on camels tiny figures The rock. of sand and vista lit desert brilliantly A LONG SHOT. 54

white. THE SUN, now a searing CLOSE SHOT. 53

sun low on the horizon. A red CLOSE 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 brings water his

has untied AS TAF is even more painful. standing only to find that

out of the saddle stiffly he climbs anxious to hide his discomfiture,

then, his aching back, easing saddle the in LAWRENCE remains a moment For made to kneel and TAFAS dismounts. are The camels

here. We will sleep TAFAS

TAFAS AND LAWRENCE CLOSE SHOT, 64 0

to a halt. are brought camels

The sands. hollow of soft multi-coloured a secluded which frame rocks and high sheltering bushes of juniper a circle of long shadows the approaching are It is evening and the two camels SHOT. MED. 63

pans with them. Camera his mouth. tied over LAWRENCE with the rag They emerge, TRACKING SHOT. MED. 61

again. obscured They are LAWRENCE hesitates. over his mouth.

in mime that he should tie it intimating LAWRENCE 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 towards forward,

his beast and as he urges fades, his pleasure But 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-handedness says, grin and upon him he gives a quick explanatory regard LAWRENCE's

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

the mountains. towards the plateau moving across four camels of caravan A 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, T CLOSE SHOT. 69

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

below. the landscape

down at a halt and both MEN stare AF AS signals T CLOSE SHOT. 67

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

'

... at the mutton deprecatingly laughs

He of the mug. the incident as he remembers vanishes but his smile

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

He looks it into his belt. he thrusts Wordlessly he a connoisseur. and ceramic as though it were it reverently and takes on his clothes

wipes his fingers shining, who, eyes TAFAS, to He 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) commercial a of nature the one who explains As at LAWRENCE. I f and looks (stops eating TAFAS

Take it. LAWRENCE

jaws to the mutton and his eyes to the revolver. ·ms addresses TAFAS of himself. LAWRENCE disapproves on the ground.

it at it for a moment and replaces AS looks AF T it. gently rejects

LAWRENCE with mutton fat. It is rimmed which is half full.

his own AS quickly offers AF T It is empty. up his mug. he takes0 Absently if he could do it. He is wondering is in no way disgusted. His expression hand to mouth. AS' TAF of fat from progression brisk the watches LAWRENCE from time to time, (CLOSE SHOT on this)

equipment. on the pile of LAWRENCE's revolver LAWRENCE's time to time to AS' eyes flick intently from AF T prevails. Silence as TAFAS might use. such a person nasty receptacle whatever!o

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

i vicarage. a as if he were in as neatly and eats packet their from which he extracts biscuits LAWRENCE is eating thin arrowroot mutton fat. ran~id TAFAS is eating a fist full of CLOSE SHOT. 73 ·, lj

this again to: CUT BACK from side of the fire. AS on the other AF T:1

LAWRENCE and and saddle bags piled before Saddles camels.

kneeling then their eating; absorbed, postures, in identical fire the by fashion, Durham-miner TAFAS and LAWRENCE, both squatted, reveals CAMERA, drawing back, fire. night's of last embers the of wind are blowing sand across gusts Little CLOSE SHOT. 72

_j

f one day more. camp,

Feisal's Well to Lord Masturah And from

r i TAFAS

Yes? LAWRENCE

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

iO.

his eyebrows, and raises well, LAWRENCE knows he has done

AS. AF T LAWRENCE back alongside which brings circle an erratic describes The camel into a gallop. the camel with him as he urges and tracks pansCA1\1ERA and the grows, confidence LAWRENCE's

as they move along. tips is giving him riding AS mount and TAFIt) awkward on his LAWRENCE is still CLOSE TRACKING SHOT. 75

along at a good clip. cantering AS AF LAWRENCE and T identify

and we in, boring The CAMERA keeps two RIDERS. two camels,

I we see two shadows, size, in and as they increase them, towards 1 • to descend The CAMERA begins the CAMERA. moving towards ; I

below - far two tiny moving objects then we perceive empty desert,

t we see nothing but the sweep of the At first and level plain. firm

is now a desert The (HELICOPTER) LONG SHOT. EXTREME 74

DISSOLVE TO

some more. takes LAWRENCE gravely

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

Good. LAWRENCE

indeed mortified.

is we see that the flesh of his face concentration the steely from

(

and is no comedy, There by TAFAS. watched anxiously mouth,

and puts ·it in his ap_iece out his hand and takes LAWRENCE thrusts

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

Continued 73

-- e_.

- but does the same LAWRENCE, noticing this, - round the horizon. all carefully AS begins to haul up the bucket he glances AF As T flat.

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

well. C

a at the bottom of water in the still the reflection breaks splash,

CAMERA, and with a loud down towards A bucket hurtles circle. on the edge of the appear AS AF of LAWRENCE and T The faces in black. of blue sky framed circle A brilliant CLOSE SHOT. 82

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

and points. He grunts eyes. them with narrowed before the horizon TAFAS is again scanning CLOSE TRACKING SHOT. 81

black cliffs of rock. enc,losed by tall mud flat narrow and

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

(,

in silence.

They ride dust. with fine of his skin are powdered and the creases

and the folds of his headcloth European, red of the sunburnt fiery

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

ed

of the pattern against outlined which are AS 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 sun surface The parched CLOSE SHOT78

The white hot sun of noon. CLOSE SHOT. 77

lost to view. CAMERA, are now moving away from FIGURES, - until the tiny and higher a gallop - higher becomes the canter The CAMERA pulls back and up, as {HELICOPTER) SHOT. MED. 76

TAFAS following. canter, a into puts his beast LAWRENCE obediently

( Now! and) and grip of his reins, LAWRENCE, his posture 0 looks at he exercise, an his pupil to repeat who desires teacher a (as ~- TAFAS (Cont) J i IC Continued 75 ./ •. __ , i ()

27 I

I

,) '(' ' I ·- -,---

out over the flat. staring They stand together

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

)__ (

floating above the mirage . about half a mile,

of a distance at dust cloud is approaching A little LONG SHOT. 87',

to see what he is looking at. LAWRENCE turns CLOSE UP. 86

flat. mud looking out over the AS is standing stock still TAF CLOSE UP. 85,( ,..-

LAWRENCE looks up. splash. followed by a heavy silence is a moment's There then it stops.

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

echoes up from below. A splash bucket into it. to the well and drops the AS as he returns watching TAF lazily sits over to a little patch of sand and LAWRENCE strolls drink, camels ) ◄

the As of the water for the camels. out the remainder and pours

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

greedily) ~inks (he The Harith are a dirty people. regret) (with hypocritical This is a Harith Well. the weakness of the primitive) gentlemen for civilized between two proper indulgence patronizing 0 on, and with the catches 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 into pours the bucket, AS regains AF T they see nothing.

Continued 83

(

holster. the saddle from his rifle he draws the ground reaches

As he position. into a kneeling camel his STRANGER is tapping '() the 125 yards of some At a distance SHOT. QUICK MED. 98

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

his pistol. cocks AS AF T

Who is he? LAWRENCE

with his headcloth. his face masks AS TAF by the well. and apprehensive puzzled LAWRENCE waits, while u of picture, in the foreground is standing AS TAF CLOSE SHOT. 96

face.

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

••• waiting still, stands into animal, close and keeping of the camel, side the gun from his TAFAS unhitches CLOSE UP. 94

on a camel. as an ARAB mounted

see1, mud flat is now clearly FIGURE out on the the approaching camel to his over LAWRENCE and goes As TAFAS leaves SHOT. MED. 93

off. he hurries at LAWRENCE, looking Without

Bedu. 0 TAFAS

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

by the mirage. as if on stilts but elongated,

camel, a or as a horse recognisable now is The blob LONG SHOT. 91

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

TAFAS. AND LAWRENCE CLOSE SHOT. 90

anything. almost camel,

MAN on a a horse, on a MAN MAN running, a It could be cloud. :o

of the dust out of the centre wavers blob A black LONG SHOT. 89Jo

(

·i l r

His? ALI

lying on the wall of the trough. up the tin mug which is He picks his camel. by the well followed

approaches and into his own waistband it complacently So ALI stuffsC

his. No, LAWRENCE

English? yours, pistol Is this

· ALI

it. examines He up the pistol. He picks costume.

and in both bearing figure an impressive age; about LAWRENCE's

young man of He is a handsome to the ground. gracefully leaps

and unwinds his headcloth, holster, into the saddle his rifle thrusts he is dead AS that T AF a glance to make sure After the dead man. of side on the other halt a to comes him and finally slowly towards

the STRANGER rides In the background of picture. the foreground

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

: ◄ on ALI. his eyes keeping I I

by TAFAS, LAWRENCE goes down on his haunches UP. 105 CLOSE

camel. his and mounts

his rifle, reloads to his feet, The STRANGER rises 104 LONG SHOT.

: eyes to the mud flat. his and then raises , looking down at the dead man, LAWRENCE stands 103 CLOSE SHOT.

i · to the body. over runs LAWR~NCE it. heap beside a into and crumples at the knees sags 0 slowly he and very to the ground with a clatter, AS' gun falls AF T Then, still. completely MEN remain The three 102 LONG SHOT.

of violence. eruption numbed by the unexpected in place, frozen LAWRENCE, 101 CLOSE UP. •<o f of picture. foreground ~

in the as a statue as still TAFAS remains shot. is another There

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

(o and fires. his pistol raises camel, of his side

the out from AFAS steps T movement sudden a With CLOSE SHOT. 99

let me - Tafas, I LAWRENCE ,' :o Continued 98 ()

•

j ( ,,

__J __ ·-- ~-- .

of you. I have heard thoughtful) more 0 mood LAWRENCE's and 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 frightened Neither They look at one another.

welcome. You are (politely) ALI

from it. drunk I have LAWRENCE

is my well. This ALI

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

He is dead. ALI

<D onto his back. AS T AF turns LAWRENCE and does so, from the trough water little a He 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 be tribe, against tribe ',,.-~, Arabs fight theas So long Ali~ Sherif him) {calling after LAWRENCE )__ (

mud flat. C

on to the his camel back and turns his head in salute ALI 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. a He was back) (mounts and calls ALI

Feisal~ He was taking me to help Prince LAWRENCE

which makes him the more angry. position, defending his humanitarian LAWRENCE finds himself ... ◄· from comment. refrains but politely his 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. TWO a LAWRENCE into up alongside He rides ON. BRIGHT

His name is on it. something has 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 trots as with the COLONEL · The CAMERA pans SHOT_. 112 MED.10

DISSOLVE TO

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

the shadow From and looks around. camel his He halts name. his

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

viewpoint. COLONEL's the from camels

two LAWRENCE and his of figures The distant 110 LONG SHOT.

behind. a few yards grazes cam.el His watching. boulder,

on a He is sitting Colonel. of a British uniform in the dressed MAN on a;CLOSE SHOT of a to rest and comes the echo, following

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

and beauty. grandeur of incredible atmosphere

an white sand and give the .landscape above sparkling tower cliffs High red scenery. and magnificent of spectacular an area entered now have LAWRENCE and his two camels LONG SHOT. 108 EXTREME

<O DISSOLVE TO

behind him. AS' empty camel AF T leading riding, which LAWRENCE is· across landscape, desert - a barren location

a different revealing downwards The CAMERA pans Music begins.

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

are! - as you and cruel barbarous, Greedy, A silly people! LAWRENCE C( word. every empha,sizing LAWRENCE, 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 professional sense his curious; (irritably

Lawrence. one moment, Just flatly) he checks him forward, about to move eagerly LAWRENCE is as Then, into which we cannot see. it> the head an evident declivity with a jerk of (indicating over there. they're Yes, 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. give I'll know. doesn't that Feisal Feisal 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're I understand Yes sir, (cheerfully) LAWRENCE () what I'm saying? D'you understand keep your mouth - shut.

'11 you camp,, When we get into that an order.

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

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

innocent. studiously but LAWRENCE's face is looks 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, rather It's I ) I rudeness) implicit to BRIGHTON'S polite in.ratio and earnest (explicitly I~ LAWRENCE

amusement) of patronizing attitude (' ' 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 is his relief \ demonstrates (the exclamation j BRIGHTON (Cont) i io 112 ContinuedJ ,. r (~ I

35 I

(

____.l __

while chickens, goats children, for their and WOMEN search animals.•·o

loose to recapture MEN struggle mid the casualties,.A chaos . and pandemonium - now a scene of absolute is disclosed black tents hundred one Bedouin camp of some a large As it clears, dust. and smoke by a cloud of drifting is obscured The screen 119 LONG SHOT.

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

ahead . straight than LAWRENCE - and glaring

rather - to himself BRIGHTON is talking vehemently the camp.

LAWRENCE and BRIGHTON riding for 118 CLOSE TRACKING SHOT.

the cliff.

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

its turn and goes into a plane completes The first 117 LONG SHOT.

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

BRIGHTON gets his buck and rear. The camels 116 CLOSE SHOT.

over the cliff-top. Another plane roars 115 LONG SHOT.

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

and banks into a sharp turn. overhead The CAMERA pans with it as it roars steeply. climbing cliff, shoots upwards from behind a bi-plane A Turkish 113 LONG SHOT.

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

Oh my God, not again ... BRIGHTON

prayer. soldier's

the trench- haunted as he utters and his eyes are approaches aircraft

c: The organ note of low flying from his face. drains and the vitality

off and breaks he freezes on his heels, springily crouched And then,

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

112 Continued

()

,-.

() direction. every BEDOUINS, who run in gun .firing among the panicked its machine

camp, away over the dust-laden sweeps The plane 130 LONG SHOT.

()

to shoot again. can turn

he him before and leaves over sweeps plan.~ the black shadow of the and lash the sand behind him, bullets of line a engine deaf ens him,

vainly at the sky as the noise of the FEISAL shoots 129 CLOSE SHOT.

opens fire. machine-gun as its of the plane A flash SHOT. 128 MED.

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

over the dune. diving in comes low, now very plane, The first· SHOT. 126 MED.

them~ back at Fire FEISAL

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

fight~ and Stand FEISAL

as he rides. shouts He effort to calm the panic. an in wheeling his horse animals, and MEN

of the stream against CAMERA towards He ·rides is FEISAL. This the darkness, out from riding comes white horse a FIGURE mounted on

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

of a curtain against BEDOUINS stagger Frightened SHOT. 125 MED.

over the top. vanishes it and up to meet it on the crest races ;()

Its shadow dune. a over away The plane .sweeps SHOT. 124 MED.

an explosion. of inrthe flash A tent disappears SHOT. 123 MED.

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

the bombing run. c:

of the way of - out to left and right BEDOUINS scatter SHOT. 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 the of is the sound There among the tents. donkeys stampede and

_, lo 119 Continued ,(),

-r--

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

- have to move south We'll sir. bloody mess a is This the Arab Bureau. 0 to seconded sir, 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 devouring but more, certainly compassion with frame,

a blank blue LAWRENCE looks down at him from 137 CLOSE SHOT.. 1; I gaze is arrested. ' but at once his a public face, back his head and assumes He throws

burden. once again an intolerable to shoulder as one who prepares himself he braces a few moments After 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 background in the saddle. droops

so FEISAL dies away, planes of the the drone As CLOSE SHOT. 136 I

fly away into the distance. The two planes 135 LONG SHOT.io

r the plane. after staring mare j, foam-flecked on his trembling bolt upright as he sits figure tragicI

noble and a FEISAL is dust, by swirling Surrounded 134 CLOSE SHOT.

horse.

up his away he pulls draws As the plane rapidly race. hopeless

shadow in a mad and the dark he chases behind him, streaming his white robes out, flat into a gallop and, his mare -beats FEISAL the sand. across 133 MED.SHOT .. The shadow of the plane sweeps

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

rears. His horse gun opens fire. machine

The him turn. makes of the second plane drone The approaching

of defiance. gesture plane in an impotent at the retreating his rifleC

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

I

him. it after and leads which he has forgotten,

his horse An ARAB takes walking. tents, the scattered towards and goes on his heels turns emotion, choked with He is suddenly

... the guns • . • now this First about) (he gazes

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

THE THREE SHOT. 144 MED. ,

•.. Lawrence ~-j LAWRENCE I

LAWRENCE as before. 143 CLOSE SHOT.

? - . . . Lieutenant Yenbo. They must try to reach No. 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. right you were south - miles Colonel - fifty yes, Yes, l FEISAL ij

140 Continued C) I

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

Cigarette? (miming) DAUD

looks up at LAWRENCE. of the two, tougher DAUD, the with a winning smile, then, backs, tender their rubbing silenceC

in they march a few paces For LAWREN<;E. haven beside peaceful a reach down the line until they finally with them CAMERA tracks The the RIDERS. of blows from series to be met by another only among the camels escape -BOYS The them both with his stick. to lay about out and proceeds ground just as the GOATHERD springs

RIDER on to the the throws eventually The ram keep him on.

to is trying with laughter, roaring while the other, ram, protesting

a bucking and to· ride One of the BOYS is trying ground of picture. at two BOYS in the fore- GOATHERD is shouting legs an infuriated

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

looks up.

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

the of the compass the markings As seen through SHOT. 150 MED.

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

of Exodus. scene a Biblical - WARRIORS, and baggage camels CHILDREN, in howdahs, and WOMEN on.foot camels, sheep, of goats, EUROPEANS is a moving mass the three Surrounding of the caravan. is noting the course on his knee, with a map case

who, of LAWRENCE, in front yards several riding are orderly, his

BRIGHTON AND CORPORAL JENKINS, TRACKING SHOT. 148 MED.

terrain. bleak and featureless

a over out is now sprawled The caravan DAY. 147 LONG SHOT.

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

c· the open desert.

into and rocks the high cliffs winds out from and herds, flocks their with Bedouin caravan, A great NIGHT. 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 advantage SHOT. 158 MED.

his laughter. checks

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

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

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

() Jenkins~ Hold it, BRIGHTON

the CORPORAL. BRIGHTON, shouting after 154 CLOSE SHOT.

off. and takes roars The camel home. his stick rams tail and DAUD the camel's lifts FARRAJ daintily long practice,

of With the deftness camel. behind the CORPORAL's immediately

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

The packet. down a cigarette and throws The CORPORAL relents

one for two. Just your excellency. Please, FARRAJ

of prayer. his hands in a gesture and raises

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

off~ 'Umph JENKINS

your excellency? Cigarette, DAUD

side of JENKINS' camel. on either appear

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

picture.

out of the forward run They and points to the two RIDERS ahead. nudges him FARRAJ, imp, but the other interested, 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 shrieks self-control0

BRIGHTON with a gentlemanly listening, to whom they are RECITER, BRIGHTON, LAWRENCE and the FEISAL, are Present is essential. though a carpet "furnished", sparsely very black tent like the others,-'___ \, ) ( it is a plain Though large, tent. FEISAL's INT. SHOT. 161 MED. ✓-----·,

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

· sequences. of the previous the noise and bustle after tranquility scene of great

It is a the soft glow of the sunset. against silhouetted SENTRIES are of the tiny figures above the camp, On the heights Bedouin tents.(J th~ of and most central in the largest lights appear and-one by one, 1 into the air straight rises The smoke of the fires plateau. a remote

and high banks of sand at the edge of ring of smooth rocks protecting been set up beneath a has The new camp SUNSET. 159 LONG SHOT.

DISSOLVE TO

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

and sympathetically The BOYS grimace is 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 everything No? 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 a In answer

Yes my lord. dry) (very LAWRENCE 0 (, think. I Ali, Sherif you have met Lawrence, Lieutenant , FEISAL /?

i I not taking his eyes sits, ALI hands. FEISAL claps·his LAWRENCE.

to return eyes His hostile to BRIGHTON. silently salaams ALI

Sherif. greeting) curt (a BRIGHTON

My lord. to FEJSAL) (salaaming ALI

ALI. we recognize With him, changes.

expression LAWRENCE's surprised, LAWRENCE and BRIGHTON turn

Ali. Greetings,

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

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

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

merciful. God is forgiving, Verily C of God. And seek ye forgiveness easy. as may be much as therefore Recite cause. His in do battle and others the earth through travel while others among you sick be some God knoweth that there be easy to you. ' as may then as much of the Koran · Recite RECITER I ' 161 Continued•.•· :0 ) ( . ,,-"

~ Akaba You could supply us through

Colonel. _) ' 'C Yenbo, back on fall You want me to FEISAL i sir. decision, a I want BRIGHTON r•)

Colonel. Yes, FEISAL

He sighs. couchant. BRIGHTON, European Bedouin, rampant

in ALI, FEISAL takes at one another. LAWRENCE, they smiling() FEISAL to from suspiciously eyes flick ALI'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 better the future And surely FEISAL

for him: and finishes wrist lays a hand on the RECITER's gently, smiles seeing this, FEISAL, recommences. when the RECITER impatience BRIGHTON exhibits

displeased. hath He been neither thee not forsaken Lord hath thy darkeneth, night when it by the and By the noon day brightness RECITER

161 Continued

BRIGHTON is disgusted. ALI laughs sharply.

Possibly. FEISAL

the same. and one are and Arab interests The British C I must ask you not to talk like that. sir. BRIGHTON

consequence to us. is of little It interest. British Canal is an essential I see that the FEISAL t)

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

the Suez Canal. Protecting Ah 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. course of Oh well if you can get hold of Akaba sir0 (angry) Akaba! (astonished) BRIGHTON

163 Continued

I

i ··~·--

l

- never fear sir, We'll have you in Damascus 0

I think it is far from Damascus. LAWRENCE

of Yenbo? What do you think Lieutenant? FEISAL

1t..1 FEISAL: ', [

but Jt, suppresses movement, LAWRENCE makes an involuntary

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

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

sir. guns more than far Your men need training BRIGHTON - and keep the training. guns; give us Yes; sneering) (lounging, ALI

Medina~ guns at Turkish Guns like the Artillery! : ! Guns No! (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 please go the English C Because of this Because it has a Navy. FEISAL

discipline! has Because it BRIGHTON

guns~ has it Because ALI

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

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

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

but compellingly:

quietly says, BRIGHTON this STRANGER must be watched. a pole;0 up, against ALI sits likes this rapport. ALI nor BRIGHTON Neither

Very. LAWRENCE

not? it is 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 atrocious comprehend BRIGHTON can barely

suspicious, trebly with every word of this and is rendered ALI agrees

fight now. "\ ( I you should way And this is the way. the world for fighting in this throughout You are famed has always fought ...

where and strike go where they please And on this ocean the Bedu is 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 crossing of polite attention, an attitude' LAWRENCr: towards maintaining unmoved, absolutely FEISAL remains ► I ) r4 I

man! I

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

(Brighton) turn from him Why fool! 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 Military Lawrence Lieutenant /° can speak) FEISAL before (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. signal him a discreet makes

FEISAL as LAWRENCE is following, Just LAWRENCE. precedes

but himself himself, .ALI out before ushers 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 answer truth. the speak . . . But you heavily You tread 10 (stung) FEISAL

tonight. men fifty another

I . lose you'll sir, the better The sooner

we move? when shall sir, well, Very (curtly) BRIGHTON

right. I know you are decide. must people but wiser say; say their They must passionate. young men are I and Colonel, young man, a is he no - No FEISAL

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

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

Army. British one poor unit in the becomes Rising and the Arab back on Yenbo sir Fall to FEISAL) (he turns wrong~ - but you 're sir I'm sorry (distressed) LAWRENCE

I

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

I

163 Continued

I ,-·

as he draws up to LAWRENCE and says thoughtfully; serious

is and his expression is practical, for him the question intellectual-

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 Lieutenant places, hunger for desolate The English have a great · my soul I do. I to do it upon But I fear guns. European 'iO have for the Turks it, I must do And 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 their They 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 ... we it seems again, To be great 0

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

the fighting. must come before the gardens However, (sighs) of Cordova ... vanished Gardens () is old and I - I long for the But 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 streets lighting of public city of Cordova were two miles in the Arab But you know, Lieutenant, surprised) looks (LAWRENCE and cruel? barbarous greedy, 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 the and 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 brilliant concentration,

in deep of LAWRENCE, standing The dark figure 173 LONG SHOT.

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

(_) He comes to a stop with his hands in his pockets. below. of LAWRENCE walking in the desert figure The small 171 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 scamper Two small 169 LONG SHOT.

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

The in clean sand. A set of moonlit footprints 168 CLOSE SHOT.

about the young man outside. ' 4

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

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

among its neighbours. lit army tent glowing out brightlyBRIG:E{TON's SHOT. 165 MED.

and he looks up. stops, the music his mind, crosses An irritation0

TRACK. theme begins on the SOUND a slow dynamo-like deep thought,

looking down at the ground in As he stands from the tent. yards LAWRENCE comes to a slow halt a few Outside, 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: CLOSE 180

frightened. rather are They don't know why, but they back. The IMPS stare 179 CLOSE UP:

seeing them. and he is not really focused on the distance

I' up at the two BOYS, but his eyes are He looks directly effort.·o

I

\ with the unconscious tightly that his fist vibrates so hold the stoneI I LAWRENCE begins to builds up and up. which has never stopped, I. - The music, LAWRENCE. to creep in towards CAMERA starts

i

The between the backs of the two BOYS. LAWRENCE is framed so that down near to DAUD, FARRAJ comes and sits the stone.C: with - watching him as he continues playing cross"'.legged DAUD - 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 of The SAME. 178 MEDIUM.SHOT:

side. below, and to either above,

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

him, the OTHER is busy behind sits before One of the BOYS tree. stunted desert a LAWRENCE is sitting under 177 LONG SHOT: DAY.

concentra.: his without interrupting but 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. DAUD liimself, restrain but unable to shakes his head, FARRAJ LAWRENCE. towards throw it down he in pantomime that colour and suggests some bright Then DAUDpicks up a jagged stone of master. dogs watching their watching LAWRENCE like two sit patiently IMPS The UP: CLOSE 175

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

LAWRENCE is standing quite still, sky. dawn SHOT: A 174 MEDIUM

DISSOLVE TO

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

173 Continued

-- r-----

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

for myself. Only for the place. answer Oh 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. cross I'll LAWRENCE .. It The Nefud cannot be crossed. ALIA

right. That's LAWRENCE

the Nefud. to cross have we should To come to Akaba by land mad. You are ALI

and MUSIC stops when: root and goes sprawling,

over a trips DAUD but and the BOYS put on a spurt among the tents,0

LAWRENCE disappears a race. run becomes the and background

in the The camp appears The music builds. destination. a specific who has - as a man runs until he is running and faster walks faster

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

The music begins. whirling Exciting, He gets to his feet. excited. and actively but outwards inwards -longer see his gaze is no we hand

and above his LAWRENCE licks his palm mechanically, bleeding.

It is LAWRENCE'S hand. and points to then looks up in surprise it, DAUD catches BOYS... 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.:SOYS The two 181 CLOSE UP:n

►

of going. matter only a It's Ali. Akaba's over there LAWRENCE ()

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

points to the horizon. and He turns

u of it. do not dream the Turks Certainly LAWRENCE

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

are no guns at Akaba. side there From the landward be turned round. And they cannot Ali. face the sea They 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 where PARTY, and through the RAIDING (he walks LAWRENCE into Blasphemy. FEISAL

To work your miracle. (smiling) LAWRENCE

with fifty of my men? - Lieutenant you going, And where are :__ 4 ' and -searchingly) faintly but rather (smiles, FEISAL

of the rock. out of the shelter and FEISAL steps in the scene ) ◄',

to take pauses WR.ENCELA all is done very quietly. the contrary

is no shouting - on there exceptthat pit, racing Grand Prix a in as and technical is as tense the atmosphere to go; rearing already some are being loaded, are Some of the camels preparations. minute making its last The RAIDING PARTY 190 LONG SHOT.

he sees: of the outcrop curve the skirting

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

DAUD and FARRAJ are following. 188 LONG SHOT.

and: he has been been seen, sure

to make when LAWRENCE looks over his shoulder that is, Except,

sign of life. but no other fires, one or two early from ascending is the camp with smoke at a distance, In the background, round the edge of it. is striding and saddlebags bandolier pistol,

with LAWRENCE burdened Grey 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 rises stare. defensive-aggressive exchange their

and again he and LAWRENCE to rise, ended ALI is the first

is When the prayer quietly with his bags. himself then he busies

we see what he sees; He looks about; Mecca. kneeling towards all but LAWRENCE are rustling, camp and with a single wave-like Muezzin is heard from the The distant falls 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 spare I 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 seriously but a dashing rider manner, eyes and an elegant

made-up clothes, and MAJID a willowy young Ageyli with splendid face, with a calm strong warrior and well-equipped a middle-aged

the ELDER HARITH, Bedouin, and impoverished undersized cheerful,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 seriously fiercely followed by exotic faces, Then banners, costumes. red-tipped in their two NEGRO SLAVES, magnificent ALI's come First · than the CAMERA. faster a little the 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 stiffened his head. and erects saddle

the in 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 crash What he sees: SHOT. 195 MED.

round in the saddle. right twists

and the temptation he is unable to overcome Finally yet more force. _gathers The MUSIC round. turning behind him without overtly

to see what is trying his head from left to right, turns he slightly

As he rides himself. controls excited young man who nevertheless

is that of an His expression day. broad of LAWRENCE, riding; quite loud, to the head and shouldersl\iIUSIC 194 CUT SHARPLY, with

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

: we can claim Since you do know; I

(smiling) LAWRENCE

I I

risen. sim~larly and OTHERS ALI and behind we see which has risen, camel,

j LAWRENCE looks down into the CAMERA.from his 192 CLOSE SHOT.

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

i •

On of ALI's regard. ~ware LAWRENCE is him. from distance

watched by ALI who lounges at a little crouching, singlet, army LAWRENCE is wringing out a spare In the oasis 205 CLOSE SHOT.

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

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

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

is water. all there

But above is kindled food is in the offing. fire A own reflections. their at smile or merely hands, dabble their splash, heads, their

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

at its a human fringe men .merely the 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 voices Raiders

The oasis. of a palm-fringed water glittering The 203 MEDIUM SHOT.

I

at: off fascinated, he gazes from his lips, falling heedless crumbs

and half-heartedly, chewing mechanically stuff; dry mouthful of the

another DAUD essays of a camel. and the roar voices cheerful

j •

distant TRACK we hear On SOUND yearningly. looking off screen, They are an old tin - empty. from one, but improvised not a proper ~- can water we see their sides By their food. and crumbly unappetizing

they munch some bellies, On their Late afternoon. ground. hidden behind a fold in the DAUD and FARRAJ, 202 CLOSE SHOT.

dust sent up by the RAIDING PARTY. of

column viewpoint we see the receding From their 200 LONG SHOT.

ahead. the desert to

watch The two IMPS furtively waist. DAUD's around clasped hands'I

i

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

i

DAUD FARRAJ and DAUD. is brought to a halt we recognise animal As the with two RIDERS. mangy camel appears and rather single a of a hillock we have just passed, Round the corner SHOT. 199 MED.cf

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

as the and fainter The MUSIC grows fainter CAMERA. from away stick pointing out a change of direction his camel ALI raisesI

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

(

her. followed We our camel strayed. No Sherif,

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

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

, . ~is. in something no concern of concern no have looks away as one bored or one who will and them, of part

He will have no him.. for holds trouble that the situation senses to the boys but LAWRENCE is attracted LAWRENCE-sardonically. ALI looks at at LAWRENCE. nods cheerfully handful 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) ingratiating an {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 characters laugh and applaud. • I

The Raiders ended and has set his face dis obligingly. his dignity offi is in pain and ARR,AJ F But affected fear. and plays up with clowning and DAUD then, and a rough shake now of attention and gives DAUD the centre be is delighted to GASIM hair and FARRAJ by the ear.

i by a handful of his thick He has DAUD FARRAJ. and with DAUD;0 is coming through the palm trees GASIM 206 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 stands drifted have The other Raiders kneeling. The boys are still 209 CLOSE SHOT.

Aurens. DAUD u

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

these are worshippers. not servants, These are ALI

say: turning only to disgustedly,

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

with the baggage. ride can You. . . . They sound very suitable LAWRENCE

not suitable. They are Be warned.

ALI

apologising for such creatures) ·pity but on the contrary not expressing ~hrugs, (he ... parentless outcasts, ... 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. hard the whip down He 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 rides he crosses down the slope;. I

LAWRENCE among the RAIDERS we follow From SHOT. 220 MED.0

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

(equally polite) LAWRENCE You see? of him) ahead LAWRENCE who stares over 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 camels water at all. no For the camels, but what we carry. no water From here until the other side, TRACK) SOUND (on ALI

shining white. of vista a limitless 218 LONG SHOT. Beyond the railway

that - is the desert. and is the railway There ALI

and ALI LAWRENCE 217 CLOSE SHOT.

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

DISSOLVE TO 21S

above the railway. of the telegraph 210-The singing wires

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 possible him and calls after looks he moves away. GASIM awkward 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. pokes and satisfaction,

grin'\ with ALI comes up alongside,, smiles head nods forward. hi~ agit'in but upright, himself He.:jerks He is about to fall off. sleepily. head jerks His LAWRENCE. CLOSE UP TRACKING. · 234

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

own shadow. his looks away from the dust devil to

and together himself He pulls LAWRENCE. 232 CLOSE UP TRACKING:

giddy spiral. The foot of the dust devil sucking the -ground in a 231 CLOSE SHOT.

eyes follow the dust devil downwards. His half-closed down.

up and LAWRENCE bobbing monotonously 230 CLOSE UP TRACKING:"./

' Ill

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

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

at: looks over He ALI alert. The SERVANTS tired,

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

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

Another angle. SHOT. 225 MED.

and down like sacks.

jerk up RlpERS The are· exhausted. MEN and beasts SHOT. 224 MED.

high sun.

a plodding on under order, out in no particular spread RAIDERS are The A FEATURELESS DESERT WASTELAND. 223 LONG SHOT.

DISSOLVE TO

on into the plain. and continues moving forward at the rear, Shot starts move over the plain. column, disjointed a in quite well gathered, stilli

but formation, THE RAIDERS, not in precise 222 FIRST AERIAL SHOT.

DISSOLVE TO legs. ... le

moving seen between their distant more others close, some cross,.1 ' I

(J ; of the RAIDERS The camels Along the line. 221 LOW GROUND SHOT.

63 (

ALI looks at ALI. LAWRENCE and SHOT TRACKING MED. 243 C a·way. n.m a short is just

illusion the corrupting time this ·A THIRD MIRAGE; LONG ShOT. 242

ahead. looks his head and He turns LAWRENCE. SliO'I'. TRACKING CLOSE 241 {__)

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

to the left. away his head slowly He turns LAWRENCE. CLOSE TRACKING SHOT. 239

nearer. comes

and It .wavers SPARKLING WATER. CF Mm.AGE A LONG SHOT. 238

ence.

of indiffer- mask artificial an in set face his sun-scorched his right, towards He is looking away LAWRENCE. CLOSE TRACKING SHOT 237 -

his camel. and hating himself for sorry actively GASIM ennobled,

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

le suffering.

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

the RAIDERS who towards over the flat ground speeding we are t but not aerial: shot, HELICOPTER Another ) sequences. Trek ~ be common to all these must of colour absence of feature, absence ea

(But LANDSCAPE. OF "FEATURELESS" TYPE A DIFFERENT 235

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 rustling his voice is steely, (his face Yes. 1 le

I drifting. You were I (mockery) I I ALI jO Continued 234 / ....'·- (~

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 shrouded a motionless cowers camel

each by tiny shadow afforded In the THE SAME. SHOT MED. 246

CUT TO

then

approac: We begin to _individually. and and fours in threes scattered, are which the kneeling camels cannot see the MEN, merely We PARTY.

from us the RAIDING At a distance NOON. SHOT. LONG MED. 245 ,() DISSOLVE TO

I'll wake you. Fine .. (goes on shaving) LAWRENCE I ) 4 r hours. three now; rest still We (sweetly) No, no. ALI

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

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

,in a tin lid. a spoonful of water except for LAWRENCE, who is shaving out all the OTHERS the same, In background bed". "in ALI SUNSET. A BIVOUAC. MED. SHOT.244

DISSOLVE TO

ALI' s face darkens. child. curious impertinently

an by as one who is bothered weary frown, head with a rather away his LAWRENCE turns amused. LAWRENCE, sarcasticallyC

Continued 243

('

j___

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

on the tongue of BEDOUINS rubbing water We see three kneeling.

of instead sides now on their the camels of One or two anyhow. dismounted The RAIDERS are and rocks. by black boulders fringed shore its on the edge of a mud flat, Late afternoon LONG SHOT 257

C, I i DISSOLVE TO

THE CORPSES OF THE CAMEL AND THE MAN. LONG SHOT 256

back.look .. DAUD and FAR.RAJ, in the rear, MED. SHOT 255C

glance.

serk a and he and MAJID exchange round at this, ALI looks her lead. jerking distressfully and slobbers, he does so she groans, As suit.

MAJID follows on. his beast and leads ALI turns SHOT MED. 254,C>

his hands a little. raising looks off at ALI, up, straightens over to this, MAJID hobbles rag which is a MIDDLE-AGED ARAB. and the bundle of from that inert, but apart mechanically, kicking one leg of which is beast, stand and look at the fallen immobility LAWRENCE, ELDER HARITH, GASIM, stunned into MED. SHOT 253

CUT TO

as he is flung from his saddle. glimpsed

goes over a camel clarity brilliant In EXTREME CLOSE SHOT. 252

a way across The RAIDERS pick their AERIAL SHOT. MED. 251)

l DISSOLVE TO !

feet. s camel stumbling at their

anxiousl:.' of the RAIDER S , looking down Other's LONG SHOT MED. 250l.§

again. stumbles stumbles, His camel looking down. .. He rides to ALI CAMERA lifts stones. of brokeni\ on a surface slipping feet, A camel's CLOSE TRACKING SHOT. 249

DISSOLVE TO

the OTHER:; begin to stir. the background In ALI who is looking back at him. for looks round ·' LAWRENCE, who who rouses HARITB., ELDER He rouses rises. He j _IQ He looks up at the sun. his head ALI uncovers CLOSE SHOT. 248

to pan with them. The CAMERA begins line. orderly or less and the RAIDERS in a more moonlight, Faint NIGHT LONG SHOT261

DISSOLVE TO

to date. eye-ful and bleakest biggest should be the This rocks. the encircling it from out across strike of the flat as the RAIDERS scale tremendo.is We see the AERIAL SHOT.260

anvil . is the sun's This b.. wryly) (he smiles up. sun gets tomorrow's before be crossed must 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 setting LONG SHOT258

the mud flat) (nodding over of that. side the other On 0 ~ Aurens. of water, short now, is no rest There MAJID

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

here? Do we rest LAWRENCE

of water. a few spoonsfulm1.1g bottom of a

in the who swills by LAWRENCE, are joined this, watching and ALI, ) ELDER HARITH knees. to her flounders camel Their in. coming are }

C DISSOLVE TO

on. :Plod The RAIDERS LONG SHOT TRACKING.276

-..

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

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

and hard He stares to a halt. come He too has ALI. CLOSE UP274

- I on through the picture.· pass Other camels it to its knees. and brings to his camel forward as FARRAJ runs

They wait halt. LAWRENCE and DAUD have come to a MED. SHOT273

and gets up. head, ' '

his shakes up, He sits RIDER is FARRAJ. The Fallen CLOSE UP.272

shadows .. among the and a BODY falls cry,

is a -then there seconds The shot is held for several the camels'legs.

The shadows bobbing up and down between CLOSE SHOT TRACKING 271

long shadows. casting

- The moon now PAitTY. THE RAIDING LONG SHOT TRACKING. 270

DISSOLVE TO

·o back again. and turns GROUP, looking around the He turns ALI' s back. SHOT TRACKING · CLOSE 269

· him. overtakes

A yawn it. This done he replaces watch. ·his to read his arm raises

With half an eye on ALI he LAWRENCE.. CLOSE UP TRACKING. 268

and erect. Upright back. ALI'S . CLOSE SHOT TRACKING 267

to: far.ward He looks a new position.

taking up in the saddle He shifts CLOSE UP TRACKING LAWRENCE.266

asleep. among the baggage and are RIDERS have wedged themselves

his saddle. across rests and his rifle awake and alert

He is at the head of the column. ALI SHQT. CLOSE TRACKING264

68 '

()

and apprehensive. He is worried up 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 think Aurens. thank Him, Yes, ELDER HARITH

Thank God for that anyway --- LAWRENCE

off the anvil. but we are No,

a little) (~miles ELDER HARITH

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

but look :relieved . slumped, All are

HAR.ITH ELDER ALI, LAWRENCE, CLOSE TRACKING SHOT. 280

gravel. ;o

for hard·mud feet leave camels' Their CLOSE .TRACKING SHOT. 279

all looking down.

HARITB and ELDER ALI, LAWRENCE .and CLOSE TRACKING SHOT. 278

mud flat. of the side on the far the sandy shore approaching,·- IC RIDERS are The distant DAYBREAK. LONG SHOT: EXTREME 277 (;

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) the to (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 SHOT 283

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

God knows. ALI

happened to him? What's LAWRENCE

by DAUD. watched anxiously ALI and LAWRENCE stationary CLOSE SHOT. 2820

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

stick. with his camel He points

Aurens. DAUD ,0 Continued 280 ()

C

I .. ('---

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

word he can think of. about for the worst he casts him trembling; and looks after ALI 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 expression he turns his most amused, home, point To drive the It is victory. --- him the most exquisite satisfaction of control yelled into LAWRENCE's face affords loss This absolute

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

with venom. but incoherent hi'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)

(

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

() on the mud flat. beginning to appear HIS SHADOWis at the sun. and looks over his shoulder turns

- camera away from He hurries BACK. 8GASIM' 294B CLOSE SHOT.

camera. away from the sun and towards his direction

alters then subconsciously in his walk, GASIM hesitates g.) p. in r._,..

- up over the horizon way (Half GASIM and the SUN. 294A TWO SHOT.

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

it and He sees his face. flicks a few seconds the sunlight After sun.

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

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

CUT TO: seconds. Hold for several walk.

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

f>

sky. HIS EYEL.INE of the brightening 291

look - cut to: on the second

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

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

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

Silence. and fainter. grow fainter raiders the retreating

of The sounds not risen. The sun has still on a shot of the sky.

and the CAMERA remains bounds forward The animal his whip.

lash with it a vicious and gives of picture in foreground the camel up to ALI trots onwards. RAIDERS follow the roundand animals their and DAUD tum FAR.RAJ In the background camel. riderless GASW's of is composed picture tp.e of The foreground LONG SHOT. 287

Get on! Get on! -ALI

forward. the beast urges and DAUD as he angrily FAR.RAJ

towards and shouts around anii;nal his ALI turns in the background. LAWRENCi· with of picture in foreground ALI and his camel SHOT MED.286 \lo

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

the flat. back across ()

going LAWRENCE and his camel of viewpoint ALrs MEDIUM SHOT.284 _./...•... ·

1..I .(~ •

(

well. the ARABS around other and one or two .FARRAJ,. ALI, CLOSE SHOT 306

,(; in. coming still are camels

· bagga: the In the background bottles. their filling grouped, are RAIDERS of the which some around a well is beside The trough MED. SHOT. 305

drinking. with camels ·water of clear A trough CLOSE SHOT. 304

to the ground. of GASIM sinks figure The small CLOSE SHOT. 303

in. He gives supplication. hands~

his half. raises blindhe and nearly Weeping GASIM. CLOSE UP... 302

() : white. now almost sun, The LONG SHOT. 301

The drums. down to wait. He settles DAUD. CLOSE UP 300

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

and then forward. Party, the Raiding

back towards He looks is frightened. too He DAUD. CLOSE SHOT. 298

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

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

the rear.

towards directed are his looks but mostly party,· to the raiding forward He glances He is frightened. FARRAJ CLOSE TRACKING SHOT. 296

by FARRAJ. mounted

camel a single comes Behirid them up. doubled Some are asleep. up tucked.. still Some of the men are by CAMERA. close pass camels The baggage mud flat. the away from country bleak a out over spread CAMERA, away from is moving party Raiding The distant SHOT, LONG 295

and continues. turns He at it. looking stands

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

sun humbly. look at the

to and turns He stops GASIM. overtakes Sadness CLOSE SHOT. 294E 0

down. LONG SHOT he slows EXTREME reaches '

he As definite. of him now quite LONG SHADOWS ahead run. I

into a half breaks camera, away from GASIM, moving SHOT IilGH 294DJ

j iC SUN BREAKING CLEAR of the horizon. '..THE CLOSE SHOT 294CJ .....·· . (}

()

_,. j

()

object. and moving as an elongated distinguishable becoming with the flat and is now merging pintpoint The distant faster.

by is slipping The ground His viewpoint. LONG SHOT TRACKING 315

trot. (_i I

to a the camel Slowly he brings DAUD. CLOSE TRACKING SHOT. 314

above the horizon. black of pinpoint by uncte·rneath with the distant

slipping The flat s viewpoint. DAUD' TRACKING. LONG SHOT. 313

u ahead. peering bolt upright TRACKS with him as he sits CAMERa The walk

into a camel the1 he urges daring, Hardly DAUD. CLOSE SHOT.312

falters. The drum above the horizon. () into the blue of black elevated pinhead elongated An LONG SHOT.311

ahead. staring halt a to He comes CLOSE UP.310

few paces. a forward animal the he budges Subconsciously saddle. :his in stiffenSJ then DAUD seconds, of several is a pause There 1C

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

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

of DAUD mounted on his camel, figure The small LONG SHOT. 307

io again. The drums the desert. out over l to a halt looking comes jie PANS with him on to a shot of his back. away and the CAMERA and then turns drink a short FARRAJ takes

(he drinks) God be thanked. ANOTHER ARAB

(he drinks) God be thanked. ARAB

) {he drinks. God be thanked. ALI

Continued 306

.. (- :· ,

r--------

up. ALI looks

! Daud ! ! ! Aurens (off) FARRAJ

FARRAJ. cry from is a sudden There stick.

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

waiting~ sky, the reddening against

outlined of FARRAJ on the crest, figure The small LONG SHOT. 326

C upwards. he looks a moment After stick. camel

with his ground tM moodilydrawspatter~sin He the tents. of one of front in ground on the cross-legged ALI is seated CLOSE SHOT. 325

burning. are Fires the well, around

few tents a up set have PARTY RAIDING him the Behind and below

back his tears. He blinks desert. the skin looking over water a with

on a crest is sitting FAR.RAJ LATE AFTERNOON CLOSE SHOT 324

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

shriek. another DAUD CLOSE UP TRACKING. 321

camel. galloping s of DAUD' outline 0 The approaching LAWRENCE' s viewpoint. LONG SHOT TRACKING 320

eyes . bloodshot through

ahead and he peers blackened is dreadfully face LAWRENCE's can. he hanging on as best GASIM:, Behind him sits at a slow trot.i along is jolting camel His LAWRENCE CLOSE TRACKING SHOT319·ei

... as he recognizes of delight shriek

into a mounts His excitement DAUD. CLOSE TRACKING SHOT.318

' see. cannot () by one or two men we but ridden --- now a mounted camel figure

The distant by. now racing flat The mud LONG SHOT TRACKING317

on the SOUND TRACK.

to well up begins Music into a gallop. the camel He beats face.

his over spreads grin A painful DAUD CLOSE TRACKING SHOT. 316

n

,1 ,I lo·

and DAUD embracing. FARRAJ CLOSE SHOT. 341

happy defeat.

admits that with a half smile He walks forward ALI. CLOSE SHOT. 340

C ALI. He looks towards

in the saddle. slumped LAWRENCE remains the camel. GASIM from

MEN pull the exhausted LAWRENCE and GASIM. CLOSE SHOT. 339

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

standstill.

to a cpmes he a few steps After ALI. CLOSE TRACKING SHOT.337

·u down wearily. DAUD smiles

Daud. Daud. FARRAJ

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

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

out ahead. LAWRENCE looking CLOSE UP.334

the sand. reaches

men he hurrying by Surrounded ALI. CLOSE TRACKING SHOT. 333

forward. his camel and stirs too,

yelling he starts companion his Recognising DAUD. CLOSE UP.332

· desert.

the across yelling FARRAJ running, CLOSE TRACKING SHOT. 331

in off the desert. coming him,

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

apprehensive. and a little hopeful, ulous,

is incred- face ALI's the desert. walking towards and start feet to their the RAIDERS rise In the background ALI. CLOSE SHOT.329

flying. bottle his water himself, over below as FARRAJ falls DAUD's camels and LAWRENCE We see with· him into a LONG SHOT. The CAMERA PANS as he· goes. of a dune yelling down the side plunginr, is FARRAJ SHOT. MED.328

and a shadow is boots, his FARRAJ begins to unlace Instantly, (It must not be a faint though) into sleep. collapses almost

and control the mind's the body from light going out he releases and like a saddlecloth patterned 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 takes It 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 three invited Now he is eagerly on the ground. cloths

saddle- their of the RAIDERS have spread Several MED. SHOT. 343/6

He looks about.

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

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

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

0I Nothing is written. (he croaks) LAWRENCE

heal. his his lips and raises from

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

LAWRENCE and hands beside into picture ALI walks CLOSE 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 Thomas My father effort) an and says with asleep, his eyes as though and closes on his back Turns the food. ; ~ ! away Pushes this. (considers LAWRENCE

Lawrence? Mr. Just too: 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 write unless is 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 raises LAWRENCE. by lays he which dish of food, FARRAJ comes with a prepared

Farraj~ softly) (calls ALI

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

(l

r------

······--···------....-'

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

own name then. your choose to me that you are free to It 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 marry He my father. really isn't My father Ali. LAWRENCE

- Chapman· name is - Your father's this 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 elder Ah. t 0I (sympathetic) ALI

No. LAWRENCE

Continued 347

-- I r,

Sherif. Salaams (delighted) DAUD AND FARRAJ

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

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

the Beni Wejh. I of of a Sherif the robes They are ,, ALI

him. regard and others MAJID, HARITH, ELDER ALI, SHOT. MED. 349

robes.

in Arab hand on dagger LAWRENCE, 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 clothes ALI throws FARRAJ wakes. up. ALI takes them top.·

·C with the webbing belt on socks, shorts, shirt, LAWRENCE's piled By FARRAJ are neatly now asleep. there, DAUD and FARRAJ are him and goes over to the fire. ALI covers sleep. He feigns

for "El Aurens." settle I'll rigbt, All in him) which rises to love - similar dangerously - of gratitude the surge trols in which he con- a pause (after ,.a LAWRENCE

Continued347

(-)

I - r-

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

I

I lo

to music. like a man listening smiling, are but his eyes

stern is his face erect; He stands He dismounts. CLOSE SHOT.354

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

cut off and the RAIDERS are with this PANS LONG SHOT above)

as in REVERSE CAMERA (situated angle. off at a right camel

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

hands. their The RAIDERS raise SHOT.. MED.352 C

to look at the RAIDERS. in and turns CAMERA, LAWRENCE reins When he approaches wafching. are distant, The RAIDERS,

CAMERA. towards LAWRENCE galloping REVERSE LONG SHOT. 351

CUT TO

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

honour~ Great Strongly.) back to them. turns saddle, his camel μp and picks (he turns Yes. (eagerly) LAWRENCE

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

a lead. is waiting for who it is he

once For . bashfully. pace or two and smiles a hestitant He strides

Salaams. LAWRENCE

Salaam. clan. a himself may write is written nothing He for whoni 0 ELDER HARITH

Surely. ALI

Continued 349 j____,\ n

before shot in the air, a single and fires out his pistol AUDA takes

Yours?- interest) with immediate (stiffens LAWRENCE

at my well? drinking dogs who are of Are you with that party Almost. 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 amused raised ar~ 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 corner HORSE thus enters

I A MAN on a STATIONARY screen.· the across diagonally progressing but he is CAMERA PANNING slightly, . direction particular

in no off with a swinging stride He sets Angling down. LONG SHOT.356

CAMERA FOLLOWS closely. of the arms,► io

movement1 with slow graceful stopping and turning, striding, As he goes,

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

attentive: is manly and his expression histrionic are Though the actions rising. And so on, the music to fly. causing the robes suddenly, He turns off briskly. into its sheath and sets the dagger He slams himself. for the moment happy enough to tolerate i.s case he any In smile. though he does not.exactly in 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 extreme expression an 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 garments flicks and his horse (leans down from AUDA

glances. LAWRENCE exchange

He and them. down the side of the dune and joins pony tears Arab

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 must Truly Would he not? AUDA

Nefudh desert. coming out of the Great to men water He would not refuse He is. LAWRENCE

hero. great a be He must Ah. AUDA

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

What other? , (roaring) Other? AUDA

name. man of that of another I have heard Ah. cidence) coin- a mild (as one who notes LAWRENCE _

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

Continued 358

' .. r-

iO I I r it left. and throws bottle AUDA empties CLOSE SHOT ... 362D -~... ', :j \ ·, RAIDING PARTY. REACTION SHOT ... 362C·•.) : .... , ·1 i ·c - holding the bottle up. AUDA still 362BI I I OR

from GASIM .. bottle moving forward AUDA with water MED. SHOT ... 362A

GASIM:

bottle from water snatch .•. AUDA and SON arrive LONG SHOT •.. 362"

it. the sand towards through LAWRENCE races SHOT. MED. 361

hesitant. it stands where to its feet, uneasily camel LAWRENCE's brings passage their As they go, view. from so disappearing the well, towards of sand, in a spurt the end of the Wadi and wheel, away to they tear LAWRENCE's point of view, From SHOT.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. pistol out an enormous The BOY drags

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

go. to and wheels his horse AUDA nods sardonically

English. father. No BOY

And is he Harith? AUDA

father. A Beni Wejh Sherif,

Continued358 0

LAWRENCE AND AUDA SHOT. MED.373

you down? shot if we How two. you are fifty; We are LAWRENCE

AUDA's viewpoint. LAWRENCE from CLOSE SHOT.372

(AUDA turns) Auda! (sharply} LAWRENCE

steal? still Does your father · delicacy) . with exaggerated clears; {his face Ali ... Harith thoughtfully) name, an obscure to recollect politely memory, of effort an one who makes (as AUDA ; ◄

script as continue and in TWO SHOT AUDA and ALI meet 371

forward. and moves up ALI (to be shot) ·sizes AUDA 370

•.. • • • moves forward who answers' is Ali of the Harith 'It ALI 369A

' .'. . speaks whp is Auda of the Howeitat in AUDA~ (not yet shot} 369

'do not' g. inf. ALI steps

~,,....• \ 'You empty that' dialogue - AUDA as well 368

smile and loses gun - cocks, SON • • • smiles 'SUDA A367I I

he smiles. ~ raised hand CE LAWREN366

reacting.FARRA.er DAUD and 365

gun. AUDA's SON pulls 364A lo AUDA's SON. up to beside LAWRENCE gallops 364I

AUDA's SON watching. 363A

may be with intercut

well and circles at GASIM's feet bottle throws AUDA MEDIUM.SHOT.363

r-·

So. (_) cautiously) some interest, at him and ALI with (looks AUDA

Feisal's. Prince of A friend C (quickly} LAWRENCE

Who is he? not present}

LAWRENCE were as though and shortly Atl to (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. begun I have only just mock-apologetic) he continues, up to him as LAWRENCE rides and the gun, (the BOY holsters the unworthy. boy -- this honours No, no, to a backward pupil) a lesson who repeats one as and (testily, AUDA

BOY, ALI. the AVDA, LAWRENCE, SHOT WIDER ANGLE MED. 374

your men. off Call () the BOY) indicating (he smiles, that. desire himself in Cairo nor the Sultan Not the Generals llead) and bows his (smiles LAWRENCE

it? Do you desire Howeitat Why then you have a blood feud with the AUDA

Continued. 373 C

scene. The CAMERA PANS over this activity. of sort mildest or the very is of leisure, effect and the general tethered are horses D

of the but most horse$, on trotting mounted of men are two groups One o:· children. her by followed on an ass, her way between the tents

a woman makes and there though here at wl1ich the women work, fires

of cooking scores from Smoke ascends of horses. a herd sheep, black (_) of flocks shade, giving trees with small of water pools are There it. aroun, space having a clear magnificence one of particular black tents,0 of hundreds some s camp comprisesAUDA above us. tower its walls

yet us, of the Wadi is beneath The floor in form. Biblical in scale, epir: is scene This WADRI RHUMM. down. Angling SHOT. LONG375

CUT TO ()..

Rhumm! Wadi in that you dine with me -- pleasure It is my Harith. with the Howeitat, Dine English. Auda, Dine with Yes. straightforward) becomes his pride phrase magic 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 even wis~ing one {as a poor place. camp, summer my I am at it -- If you will take (deprecating) is given. it Then. 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 fresh their

clean are weapons their splendid; cases in some good, are clothes Their

alongside. riding escort, and threatening

into a huge themselves and the HOWEITAT have formed is 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; wheeling him, before breaks

wall of horsemen The whirling his viewpoint. From SHOT. MED.388

ahead. little a AUDA spurs SHOT. MED.387

sideways. ahead but look convertly face

RAIDERS and other MAJID, ELDER HARITH, MED. TRACKING SHOT.386

· HOWEITAT. group of encircling a

with CAMERA PANS swiftly viewpoint; their From SHOT. MED.385·, 1(

and ALI. AUDA, LAWRENCE, MED. TRACKING SHOT.384

into the air. and firing AUDA.'s name shouting about them, circle by the HORSEMEN who surrounded THE RAIDERS, LONG SHOT.383' ◄

arrive. of the horsemen

as the first together closely They pack more rearranged. garments torn sometimes crumpled, dusty, Their straightened. are Backs

They look defiant, CAMERA PANS along the RAIDERS. SHOT. MED.382 e8

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

between from the tents, approaching We are LONG SHOT. What he sees.381

AUDA smiles. in the background. prominent .

banner ~he MAJID with THE RAIDERS, MED. TRACKING SHOT.3800

welcor:· of noise the ground.· On SOUND TRACK a gathering it from plucks horseman A flying By the big tent AUDA's standard. SHOT. MED.379:

of the tents. into the shelter horses

the away from children women snatching in one direction; making .0 all men mounted and more more flying; shot still AUDA's second The ·echo of of the Wadi. the floor from THE CAMP, LONG .SHOT.378

and down. forward way the .and leads shot, another

He fires it is done correctly. to see that alert and also of what he sees

He is deeply proud to show off even slightly. concerned he is no longer AUDA looks down as before, LAWRENCE. AUDA, ALI, MED. SHOT. 377

horses. and run to their similarly Men appear them. looking up and about all of the tents, almost from appear and children and then women of inactivity, is one second There between the cliffs.C The echo of a shot bounds back and forth THE CAMP. LONG SHOT.376

88 •

(;

I -·-···~·-·-------··------- -----

- - - ---- ------- .. ···----·-··-·-···"' ··-·-·-----· ... ·-,··-- l

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

(reflectively) : \ AUDA \ ('

mind. much on his He has alive. _:c

wickedly are eyes but his little He is satiated politely. and belches backwards AUDA reclines with coffee. attend Slaves them. is before meal of a splendid The remains with fires. is ringed night without black The within. lit It is brilliantly NIGHT. AUDA'S TENT.11'.TSIDE 400

so among the horsemen, knees of the RAIDERS sink down to their

the camels HARITH, the ELDER from At a signal SHOT. 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 others us, towards THREE ride These TRACKING SHOT. MED.397

space. clear ld

a into the others, by on, watched .LAWRENCE who ride and ALI AUDA, for except to a stop, comes The whole cavalcade leaders. the ending on RAIDERS, the HOWEITAT along the camel-borne of the heads we PAN over behind, From TRACKING SHOT. MED.396

the tents. 0

among poker-faced us, moving sea of HOWEITAT look towards the viewpoint, the RAIDERS' From TRACKING SHOT. MED.395

back. he crowds looking,

Without crowded. being HARITH, ELDER CLOSE TRACKING SHOT. 394

and down.

up him HOWEITAT eyes splendid A CLOSE TRACKING SHOT. 393

his best. d~es ?Ut he is nervous the RAIDERS; crowding

now The HOWEITAT are GASIM.. CLOSE TRACKING SHOT.392

the look. He returns HOWEITAT STANDARD BE.ARER. CLOSE TRACKING SHOT..391

at: balefully 0-. his head and looks He turns MAJID. CLOSE TRACKING SHOT.390).... i ,,----,

.. - . -··-·----- ~

And AUDA goes gray at the insult.

of slaves. tribe, a They are LAWRENCE

but: AUDA looks pleased, LAWRENCE laughs,

is that? what tribe - but the "Arabs": of the Harith even heard I know - I have these Beni Sahkr, Rualla, Ageyli, The Howeitat, ... The Arabs? AUDA

For the Arabs. (quick) LAWRENCE

then? the English For No? to ALI) (insolently, AUDA

... We do not work this thing for Feisal LAWRENCE

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

It is my pleasure. Yes. (short) AUDA

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

I cannot ·serve. But I -- than Feisal. masters he could find worse Sherif Ali, if it is in a man to be a servant, Well, (unruffled) AUDA /

mention) 0 (unlike some he could for profit. work do not The Harith Mecca. of We work it for Feisal ALI

Continued 400

( r

_j ___ ...- -·-·· --------·--·--· ---------------------------------------------·--···

j ; IIC, No. i LAWRENCE

Is that service? people! my to river I am a Because ... Yet I am poor! treasure. C pay me a golden The Turks flocks and herds. I take away their tents! burn my enemies' I scatter, I. in battle! with my own hands, men I have killed Seventy-five in battle! wounds all got great twenty-three ca;rry I

litany: and goes into a furious his persecutors He 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 ! am I AUDA

one. man might from a physical another

as threat to his feet and backs away from this moral AUDA leaps

money. takes wh.o It is the servant LAWRENCE

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

the Turks . is to serve Auda's pleasure And

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

Continued 400 C) --~

(

-,

In Akaba. ALI

C they have ... box great a from Which they take A trifle. (AUDA stares) trifle. a It 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 others ALI,

,,

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. ks the 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.see111s Yet now it 0 (sadly) MAJID

sits. He He approaches. is genuine. his admiration AUDA sees

Continued 400

,92

I ()

) AUDA mounts. SHOT. MED. 402

at the rear. and bodyguards ards

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

The column AUDA'S CAMP. EARLY MORNING. LONG SHOT. 401,....._,·.-- C· DISSOLVE

with a scorpion. mated mother Thy then:) grimly, him, (contemplates AUDA

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

No. AUDA

--- Feisal for --- 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 0 I

In Akaba? (glowers) AUDA

Continued 400 C)

(

'you think we shall? D (soberly) LAWRENCE

we will go and get it. Tomorrow C ALI

down to join LAWRENCE. ALI slithers CLOSE SHOT.409

ascends. voices of their mur 1(j The low mur- in groups. lie or sit, and the men mostly in clumps

gathered but the beasts or shelters, no fires are There column. the In the wadi below, V. LAWRENCE. P.O. LONG SHOT. MED.408

at: He looks down contentedly the slope a little. -~-• ◄ I

down over happily and slithers LAWRENCE rolls CLOSE SHOT.407

I

Akaba ..• Yes. ALI

and says: at his expression smiles looks to LAWRENCE,

ALI this. LAWRENCE and ALI look towards In foreground sea. and the of a town twinkle, the lights to where mountains, of lunar fold fold after We look across RIGHT. EXTREME LONG SHOT.406

DISSOLVE ~et3

landscape. a limitless of Rhumm across the cliffs away from crawl

ant-like,. The HOWEITAT, EXTREME LONG AERIAL SHOT.405

of horsemanship. in the matter place takes

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

as in a followers they peel up their As they move, LONG SHOT.404

you! with be 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

Continued 402

► (

--·-(

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 scrum and thrusts a rifle, .. from one of whom he seizes followed by his two, joins the group),

(as LAWRENCE away, breaks and AUDA MAJID can only fall silent,

while ALI and approval, two HOWEITAT murinur the At 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 behind foot of the Wadi wall. the'btJ

at HOWEITAT in altercation two senior and ALI, AUDA, MAJID

in a patch of moonlight, swings sideways to reveal struggling,

gyrates, as of giant bees, which emits a roaring This dark mass,

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

has formed scrum rugby of huge In the Wadi a sort MED. SHOT. 412

following more slowly. of it, head

at the LAWRENCE appears is leaving the foot of the frame, as he Just a rush. in ALI descending SHOT. MED. TRACKING411

and shouting. men, of knot \I[) I

is a swirling converging on a point where there are on their feet,

In the Wadi, the BEDOUIN MED. LONG SHOT P. 0. V. LAWRENCE.410 I'

thing has happened. serious some specific,I

that which indicates ALI is gone from the frame with a celerity' ►

Ci

split'beat· a single He looks to ALI, but after shot cannons out.

LAWRENCE opens his mouth to reply but from the Wadi a singleI I

if you are right about the guns. Yes, ALI

Continued 409

-u

- - - Aurens is the law, It (warningly) AUDA

•,.,J

HOWEITAT. the surrounding AUDA, LAWRENCE, CLOSE SHOT. 418

AUDA. his way after He thrusts

bath! i) blood- to watch a tribal come here I didn't LAWRENCE

... AUDA and the culprit

round gathered The Howeitat LAWRENCE. P. 0. V. SHOT. MED. 416

to: way, LAWRENCE looks the other QUICK CLOSE SHOT. 415

facing: grimly

faces, about their winding headclothes rifles, coming up with their gathering, are The Harith LAWRENCE. P. 0. V. SHOT. MED. 414

him,. to where: after LAWRENCE staring away,

He walks his head dumbly. shakes his back to LAWRENCE, ALI,

Ali! LAWRENCE

about. CE spins LAWREN

why. no matter It makes blood feud ... ... Theft (shrugs) MAJID

'!!!}7? Oh ... 0 groans) ·He He is furious. of this. (knows the full significance LAWRENCE

·... \.,,,,/,•··r' Continued 413 ,--·n I/

(

eyes widen in horror. his LAWRENCE, CLOSE SHOT. EXTREME 423

violence)

not mob law, is tribal - this (no blood stains not been manhandled. He has of GASIM. face stained The tear CLOSE SHOT. EXTREME 422

FUGITIVE looks up.

and stop. frame: enter feet LAWRENCE's hard. breathing are captors and his and weeping, He is struggling HOWEITAT. or four by three down, kneeling face held, THE FUGITIVE, CLOSE SHOT. 421

to: scene

ritualistic and almost grave this from we CUT violently iately

of HOWEITAT and immed- the open ring towards LAWRENCE moves

•ii,.' is offended! and No-one -- ·,

Yes! men} his from dubious murmur off a cutting eagerly, (calls, ALI

Harith? content the will that any of yours, harms

men Auda's none of Lord If Ali! Sherif (calling) LAWRENCE

tween the two groups.

be- Looking down on the scene ... LAWRENCE stands MED. SHOT. 419

him. from thrusts LAWRENCE

Yes. ·(cautiously) 0 AUDA

content the Howeitat? he dies will that If die. that the man must The Law says LAWRENCE C (~) Continued 418

(

r -

and: which he does, --- AUDA does not stand aside

if his path from to hurl AUDA prepared clearly an inch, swerving not him, past LAWRENCE walks straight SHOT. CLOSE TRACKING 429

Aurens. Well, AUDA

quiet congratulation.

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

As LAWRENCE draws AUDA~ is It him and waits. One faces him).

of men walking the backs LAWRENCE, P. 0. V. TRACKING SHOT. 428

news. horrible heard of a man who has just

but experience, with the shock of a horrible not merely shocked, degree His face is in the last him. TRACKING BACKWARDSfrom CAMERA away and walks, He turns LAWRENCE. CLOSE SHOT. 427

LAWRENCE's face is desperate. about on the ground. and flinging himself alive that GASIM is still

it is clear again, and again. fires aim and He takes fresh fires. he half averted, His face wooden, LAWRENCE. CLOSE SHOT. 425

without dignity. is ugly, scrambling, It HOWEITAT scatter. we see the feet of the and at the top of the screen of fire, who skip nimbly out of line captors, his from away and sideways0

himself flings GASIM hispi'stol, LAWRENCE raises .. enquiring

his expression Then again he nods, him he thinks. or against

for him LAWRENCE is Either becomes puzzled. smile GASIM's

Did you do it? mechanical) something like (his voice grating LAWRENCE

· of apology on his features. smile a ridiculous snuffling,

gulping and he nods vigorously, over GASIM's face; spreads Widening to include LAWRENCE,. A wild hope CLOSE SHOT. 424

Gasim! LAWRENCE

Continued 423

C

r·-~--····

a thunder becomes rises, a rumble clamour, their beneath TRACK, ) l. ' SOUND On schoolboys. as innocent and quarrelsome, excited it, for'- - - ' rush and HARITH, RUALLA, HOWEITAT, of group A MED.SHOT. 435 C

in the moonlight. arc glittering a cuts The pistol FLASH SHOT.434

him. away from it spinning Sends

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

C

yours. is still The writing (placating) You gave life and you took it. uncomfortably) (smiles ALI 1•)

not to have heard. who appears ALI and LAWRENCE, CLOSE SHOT.433

it was necessary. Besides, . . . that in No shame Aurens. execution, It was 0 (gently) (on SOUND TRACK) ALI

on SOUND TRACK. ALI speaks The pistol. CLOSE SHOT. 432

hand~ in LAWRENCE' s still on the pistol eye lights his a little; for in silence, into step, and falls him in frame ALI joins LAWRENCE. 431

LAWRENCE. after the frame ALI leaves

him. 0 to have left Better then. It was written shrugs) (he .. Ah- (comprehending) AUDA

out of the Nefud. the man be brought was he killed That that ALI ) r I o the Englishman? What ails f AUDA

his friend. after

off looking AUDA in frame, ALI joins distress. of LAWRENCE'S of the source no comprehension simply He has curious. and withal puzzled but absolutely not offended, He looks CLOSE SHOT AUDA. 430

off again and and flies turn, like a circus tent, foreground guys of the the deftly severs a horseman of the charge In the rear in a twinkling. overrun shot down, sabred, cri.es they are and with hoarse fortissimo,\'-_,) thunder screen, on bursts the charge but burst loose off a brief hesitant··•·--._ One team does want them to succeed. we almost is growing; thunderCJ The to load them.. side of the position, to lug them to the reverse from the heavy guns, to rip the covers valiantly, without panic, grimly, TURKS struggle In the Pits in foreground. therefore side of the Wadi, at this The same many neat tents. side of the Wadi are the far

We shoot along the line and at four sandbagged Machine Gun pits.

the Wadi are In a line across continuing but dimminuendo. Thunder 443

fortissimo. Thunder

go down. arms, throw up their before us, scatter Turks Arabs. 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: overwhelming becomes cringing as the thunder CAMERA instinctively into but he turns works a field telephone, The OFFICER frantically 440

· 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. steadily increasing thunder

of dust, P. 0. V. under its curtain their The charge, LONG SHOT. 438

and: from his plate, food slides One man's off incredulously. stare

in the queue MEN Then, curiously. heads their raise at the tables-0 PAN back at once and see MEN we of the charge growing The noise by an OFFICER. (the New Guard for the day no doubt) is inspected a platoon of riflemen in background Then, under awning. tables

on benches at seated served ground is occupied by those already

PANNING, middle- in foreground. by cooks with ladles is served queue of men with enamel plates A the faint sound of the charge. On SOUND TRACK Kitchen area. The Turkish PANNING SHOT. 437

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

in the wake of camel-riders) LAWRENCE following(with the other

we can make out In this curtain of dust.. us under a curtain CAMERA PANNING swiftly to follow them as they leave past us, of noise they sweep AUDA in the van when with a crescendo glimpse We have just time to they are invincible. the hooves are flying, The thunder is deafening, from side to side of Wadi Akaba. stretchingC us in line abreast, thunder towards Ra.i.ders The MEDIUM SHOT. 436()

(

.. Oh.

conqueror. the for Garlands 0 to the flowers) (Pointing is accomplished. The miracle ALI

behind) (who is just ALI CLOSE SHOT.490

sees:

and saddle in his LAWRENCE - he turns RESUME CLOSE SHOT.489

.. --water on the FLOWERS floating the INSERT of INTER CUT.488

I(;> downwards. he looks his face, or two the FLOWERS fall past

a moment After out to sea: looking his head again raised, He sits, clothing. his hand on his away and wipes his rifle puts his head, lowers the town, towards He glances to develop.) orchestra and trumpets for (Enough footage of a conquerer. in the manner head raised. him, He looks around LAWRENCE. CLOSE SHOT. 487

and coming to a halt. surf through

walking PANNING with LAWRENCE and camel MEDIUM SHOT. 486

surf. along the turns

As it going down to the sea. SHOT LAWRENCE and camel LONG wall and disclosing Across ROSTRUM SHOT-PANNING. 485

with in the in foreground, BIG GUNS loom on frame the helpless ending when We PAN to follow the charge, victory. total to indicate numbers in sufficient dead among the wreckage, do we see the strewn distance discreet and only now at this chaos, in• the camp behind it defences, Turkish up the last rolls line, in perfect still charge, as the thunder the distant cries, the distant the popping rifles,

the end of the Wadi we hea.r at an eminence From SHOT. LONG 444

and: receding which we hear charge left by the main

have been destroyers These trick. of a conjuring neatness artificial

going down with the side on the far the tents to see have time we just

Continued 443

c,

_jj___

I

Have you looked thoroughly?

(mildly) LAWRENCE I

r ... "-··•~C1 at the scene. laughter with inner shaking privately

he is raised; are His eyebrows LAWRENCE. CLOSE SHOT. 500

() Auda. ALI

the town. towards looking ALI - he turns CLOSE SHOT.!~~/

(J ? What ... LAWRENCE

the town. towards LAWREN CE looks off. explosion is a soft There

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 foreground MEDIUM SHOT. 496

Ali. things. none of those I'm (shrugging) LAWRENCE

to respond.

He wants viewpoint). ALI's (as from LAWRENCE CLOSE SHOT. 495

... for the man Flowers the Prince for Tribute ALI

he as CLOSE SHOT and CAMERA PANS with him into 'Camel his0 from jumps LAWRENCE LAWRENCE and ALI. MEDIUM SHOT. 493

in the water. forwards

and backwards drifting They are The FLOWERS. CLOSE SHOT. 492

again. down at the water and looks He turns

Continued 491 ·

C

With these? D ALI

Yes. LAWRENCE

"Sinai!" ~~-· ' ,; ALI

ALI says: SOUND TRACK, On ful.

and wildly hope- alert FARRAJ and DAUD are At this CLOSE SHOT.504

C Sinai. 'cross Yes, (going) LAWRENCE

Case. with the Dispatch to be occupied continues

he insouciant; LAWRENCE is deliberately opposition, Anticipating

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

And you? ALI

Quickly. to Akaba. the Arab Army here bring - - and boats - - any to find boats Tell Feisal to Yenbo. down the coast get a message Ali, LAWRENCE confidence.

and energy electric He radiates He thinks. Case. Dispatch up a Picks away and stops. LAWRENCE walks MEDIUM SHOT. 503

:o a pity. That's i LAWRENCE

scrutiny: moment:s a and LAWRENCE after

anxiously, at LAWRENCE, ALI looks Angling up. CLOSE SHOT. 502

glance: single

a set and after LAWRENCE and ALI go swiftly to the wireless 501

it. through pour again, as AUDA and his HOWEITAT, noisy aside

and LAWRENCE stands the door, towards invitingly He gestures

I have found it! Auda Ibu Tayi ! HOWEITAT

and says to AUDA excitedly: haste nervous to LAWRENCE with· salaams tableau, at the threatening nervously

round He glances in. crashes Howeitat Behind him a breathless0

,() Continued 500

(

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 saddle He relaxes tunnel is filled with AUDA's men.~1 l-"'' that the AUDA but sees past LAWRENCE glances CLOSE SHOT. 507

- box!" "great No No gold! is no gold in Akaba. There AUDA :() DAUD and FARRAJ behind.

ALI by him, his mount, LAWRENCE, preparing He stops as he sees the courtyard. into the tunnel through which LAWRENCE must leave him which brings room, the strong He leaves MEDIUM SHOT. 506

Paper! AUDA

and roars: like snow, the floor litters

and which hangs in the air currency, a final handful of grubby paper it from fli'ngs He chest to AUDA. a metal two HOWEITAT proffer window, barred room with a small strong In an ancient CLOSE SHOT. 505

man. an ignorant You 're LAWRENCE face: ALI's

softly into then says He pauses, of stone. its end he has a face by and LAWRENGE's features fades from the smile During this,

you. · And then they will believe and barbarity. of our quaintness stories and tell trousers you will wear clothes; In Cairo you will put off these funny I see.0 love) of frustrated but with the bitterness (quietly, ALI would laugh! the Generals taken Akaba, told them that we've and Cairo in Bedouin arrived If any of your smiling) gently, him (he shakes Ali. Look LAWRENCE adds:

and straps cross one of his by ALI takes out, reaches ·he face ALI's 0 seeing ·But comical. anxiety and ALI's Sinai were the local park as though voice, hi.s laugh in reproving this with a little He says

with me. be alright They'll LAWRENCE

Continued 504

(

)

LAWRENCE. AUDA following FARRAJ and DAUD pass CLOSE SHOT. 513

AUDA and into the tunnel. past his beast And he urges ) __ (

did, Moses Why not? LAWRENCE

Sinai ? You will cross Ten days? AUDA

J unimpressed. AUDA as before, CLOSE SHOT. 512 () l ,.!

With everything! with guns! With gold, LAWRENCE now assembled: all those

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

saying hands it to him, and frame the down into LAWRENCE leans

for the paper. suspiciously up his hand rather holds· and camel

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: saying Case, Despatch

the also from with a pencil, writes the back of one of which he on of papers, it a sheaf from Case and takes He op.ens the Despatch

Auda. See, <O LAWRENCE

· LAWRENCE and laughs. past AUDA peers alert.

stop lounging and are AUDA and his men suddenly SHOT. MED. 509

nois~ unmistakeable with that particular of his rifle, breach0

a round into the FARRAJ and DAUD each slams SHOT. MED. 508

lied. Aurena (deliberately) gold ..• promised and Aurens is honourable AUDA (Cont) (_; Continued 507 ,,·--~

105 •

I :c I I

of fire. pillar A (off) LAWRENCE ;'_.✓ \ sunrise.

the by huge DUST DEVIL lit A viewpoint. Their LONG SHOT. 516

Look! (softly) LAWRENCE

· look back enquiringly. They follow suit. in and the others LAWRENCE reins light. by red behind lit from they are westwards riding Since they are abreast.

FARRAJ and DAUD riding SHOT of LAWRENCE, it into a MED.

beauty of the desolate The CAMERA PANS across dawn. in a red disappearing are The stars THE SINAI .DESERT. LONG SHOT. 515

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

He is not perfect. He lied. was gold here. He said there AUDA

evidence:

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

of God! And beloved (calling) AUDA D

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

was a prophet.! Moses him) after (glaring AUDA

did! Moses LAWRENCE

to AUDA.

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

children? -- the And you will take AUDA

after: AUDA, calling CLOSE SHOT. 514

- - -----~.- -·-·----- --- .---~

alarmed. him, at look faces fatigued Their

My compass. holding it) if he were as· (cupping his empty hand

fails compass, for his his robes LAWRENCE feels CLOSE SHOT.523

If) The THREE RIDERS come to a stop.

and confused. strange now more The terrain SINAI. LONG SHOT. 522

is It move on as the CAMERA MOVES IN on the object. feet The camels · on the sand. silently object falls A bright CLOSE SHOT. 521

clothes. his LAWRENCE shakes no spittle.

to spit but have FARRAJ and DAUD try CLOSE TRACKING SHOT. 520

again. only moving forward to comment,

too tired They are gone. is suddenly It it. suffering down, heads dust, in the whirling The THREE RIDERS enveloped SHOT. MED. 519

but fact, not geographical (we want here, over the plain. stantly incon- and waver veer distances, at varying five dust devils four, Three, absolute. but the droughtiness on the mud flats than ing overwhelm- of heat less The impression .sand. pale sky, pale ligJ:it, day- Broad plain. desert featureless A EXTREME LONG SHOT. 518

sand. No Lord, DAUD

at LAWRENCE uncomprehendingly.C

DAUD looks back LAWRENCE and the TWO BOYS. CLOSE SHOT. 517(=>

j

·,. .. ~.

hundred some above them on the crest appear camel DAUD and his of figures the small dune, of a large down the side camels grumbling drag their now on foot, As LAWRENCE and FARRAJ, dunes.) \, sand of enormous foggy landscape A windswept DAY. LONG SHOT. 526 \ ....· (

Lord. be so, s~all Then it ,L../ croaking) (with an effort, DAUD

it! I promise LAWRENCE

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

in Cairo. hotel in the finest room, finest in the sheets, the finest night, 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 that No rest. I told you. (sharply) <O LAWRENCE

Can we not rest? (LAWRENCE looks at him) Lord

dark. It is nearly The sun has gone. into the sunset. CAMERA straight from The THREE RIDERS receding SHOT. MED. 524

of greeting. in an exchange to wave an arm

manages He just patch. difficult a particularly on through staggers as he plight friend's He is unawar.e of his FARRAJ. CLOSE SHOT. 535

Farraj! DAUD

above the wind: =..J

He yells up. himself to press sink in the sand as he tries hands

to move but his effort a great He makes DAUD. CLOSE SHOT. 534

out of reach.

just reins dangling its still, standing camel, His CLOSE SHOT. 533

'

in his eyes. with fear desperately around

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

the extent to which his legs to move does he realise until he tries

but not at the camel, He shouts him. away from backs animal

fly out of DAUD's hand as the frightened The reins SHOT. MED. 530

· back its head. jerks

and grunt out a frightened It lets DAUD's camel. CLOSE UP. 529

-0 knee deep in it. They are the dune. of soft sand at the bottom of They run into a basin CLOSE SHOT. 528

· downwards. and plunge momentum as they gather

The CAMERA PANS with them down the slope. the crest, over it

and pulls camel of his the reins He takes DAUD. CLOSE SHOT.. 527 'G

to FARRAJ and they move on. as LAWRENCE beckons in reply

his hand half raises UDDA DAUD to go down. he signals impatiently and wearily LAWRENCE turns; th.en hard, breathing a moment, for still They stand dust. by grey ar.e masked faces and that their 0 badly cracked are lips We now see that their CLOSE SHOT. in stop

of the dune and the bottom LAWRENCE and FARRAJ reach down.

straight or go to join them effort the to make whether wondering

looking down at LAWRENCE and FARRAJ He stands away. yards

C Continued 526 ) ___ : ('-

•

Au:rens. Aurens ! DAUD ) ____\,.~ \ I as he repeats:: with fright mouth quivers

His him in background. towards LAWRENCE and FARRAJ strugglingC with in foreground, head and shoulders DAUD's SHOT. MED.' 548

it. over disappear Two of them

of the rise. up to the crest tear camels The three MED. SHOT.547

u Aurens! DAUD

He screams. ..DAUD QUICK CLOSE SHOT. 546

•· •..I They spin out of screen . FARRAJ and LAWRENCE. of The camels QUICK LOW ANGLE SHOT. 545

running. of LAWRENCE, The face FLASH SHOT. 544

running. of FARRAJ, face The FLASH SHOT. 543

of our low angle. because monstrous them, towards

-~ and -CAMERA behind from dashes DAUD' s camel As they come, us. towards They run floundering They turn. the slope. up away

LAWRENCE and FARRAJ plodding LOW ANGLE. LONG SHOT. 542

does so.

as she loudly bellowing and away, sideways leap a tearing makes The CAMEL DAUD's viewpoint.. Angling up from CLOSE SHOT. 541

sink in the sand. forefeet and her reins the DAUD grabs moment0

In one forward. She edges DAUD and the CAMEL. CLOSE SHOT. 540

? ... . . . Aruka Aruka DAUD

chest. He is up to his DAUD. CLOSE SHOT. 539 '

too· far. still They are

reins. the for DAUD reaches DAUD and the camel. CLOSE SHOT. 538

puzzled. her. head, She lowers The camel. CLOSE SHOT. 537

? ... . . . Aruka Aruka DAUD

winningly. to speak himself and forces camel round to face his twists He his panic. he controls time the last For DAUD. CLOSE SHOT. 536

C

.. -··· ;--

to kneel. camel the

and taps a decision He takes down. FARRAJ looking CLOSE SHOT. 560

casts. like plaster faces with their it, 0

from They emerge and LAWRENCE walki.ng. mounted FARRAJ with moving forward, out the camel we can dimly make the gusts Between .. white powder is full of whirling The screen TRACKING SHOT. MED. 559

camel. the single the rise,

the head of at In the background figures. The two LONG SHOT. 558

back. FARRAJ's sand from LAWRENCE brushes atonement,

"'·--"

of gesture In a futile into picture. comes sand and more More ·;, '

to move back and upwards. The CAMERA begins gone old and bitter. whose face has LAWRENCE, away from turned his face relaxes,

suddenly FARRAJ him down. and holds him to the ground throws him, trips LAWRENCE forward. dashes FARRAJ CLOSE SHOT. 557

to choke. and he begins his mouth

towards The sand mounts again. on the cloth and slip slip His hands to whimper. He begins will be insufficient. strength his· once that we see at The same vi.bration is repeated, DAUD. CLOSE UP. 556

j

'· t-' exercising. he is showing how much strength vibration

The cloth. on the taut Taking the strain LAWRENCE. CLOSE UP. 555

with both hands. to get hold of it manages He just into picture. cloth falls head to sink as the end of the His chin is beginning DAUD. CLOSE UP. 5540

DAUD. end towards the free and flings it,

unwinds off his headcloth, He rips LAWRENCE. CLOSE SHOT. 553

his neck. The sand around DAUD. CLOSE UP. 552

safety. back to to pull him manages and barely belly on his forward himself LAWRENCE flings in above the knees. he too sinks of his friend yards or four but within three forward, rush frantic a last makes FARRAJ and LAWRENCE. FARRAJ SHOT. MED. 551 I

()

shoulders. his begins to lap round blowing sand

and the to sink but he continues out his arms, by stretching level his to sustain effort a desperate He makes DAUD. CLOSE UP. 550

breath. for mg the sand gasp through forward

lurching LAWRENCE and FARRAJ CLOSE TRACKING SHOT. 549

C

j

Aurens? FARRAJ \_) \ ( ····, .. and halts. in among the buildings it rides(;

trot, at a broken as, CAMERA PANS with the CAMEL, MED. SHOT. 565:

does not change. his face

but and conscientiously, the camel properly controlling it, accepts At once LAWRENCE to kick the camel into a trot. himself upoμ it takesu FARRAJ a glance at LAWRENCE, After CLOSE TRACKING SHOT. 564

(This is what we heard)

flagpole. its blistered against rhythmically drums halyard frayed A another. one of dust chase Swirls and a flagpole. hutments army

,L

of collection A viewpoint. their From LONG SHOT TRACKING. 563

Look! •• • I Aurens FARRAJ

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

LAWRENCE It discloses us. bank of dust sweeping away from A 'lrRACK. on the SOUND drumming is a strange There LONG SHOT. 562

is room for both. there --- no purpose It serves Why, Lord? feet) LAWRENCE's indicating Eagerly, face. vs LAWRENCE into of awareness return 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 FARRAJ The camel kneeling. MED. SHOT. 561()

' (

--- ,---

swinging the up to and through him to lead into his face, uncertainly who smiles FARRAJ, He allows LONG TRACKING SHOT. MED. 575

) a lifetime. last is one which will it was, it if or we know that this was no trance,0 has not changed and expression and his camel 1he from And he alights

all right. It's Farraj. All right LAWRENCE

he merely but instead trance his of out jet){ LAWRENCE expect. to see We face. into LAWRENCE's of the water FARRAJ clashes some

Aurens! FARRAJ

I ,

he repeats: of fear, return

and with a Urgent to kneel. LAWRENCE'S camel FARRAJ causes

Aurens ! Aurens ! ~RACK) (on SOUND FARRAJ

as before. LAWRENCE, CLOSE SHOT. 574

The swinging door.· his angle) (froin CLOSE SHOT. 573

dreamy, not concentration, inward with but

tranced expression his as before, LAWRENCE, CLOSE SHOT. 572

The swinging door. angle) his (from CLOSE SHOT. 571

of the wind. moan and the of the halyard the slapping also as banging, which we hear door, on the swinging the notice rega-rding LAWRENCE CLOSE SHor. 570

THE NOTICE. CLOSE SHOT. 569

illegible) perfectly becomes (Here the wording " ... an offence is It Army Property. are buildings "These (now gray) in black Under this, (now pink) 'WARNING". in red one word, except for readable and so faded as to be barely split now notice, wooden a It bears behind him. The door swings in, He goes CLOSE SHOT. 568

' building. principal ,.

to the CAMERA PANS with FARRAJ as he runs SHOT. MED.567

to kneel. for the camel ground without waiting

to the and slips But with quick tact he compromises CLOSE SHOT. 566

(

···-··

;() you? are Who (shouting) MOTORCYCLIST

human. C becoming partially his mouth, from the muffler pulls the engine,

off then switches Canal, the across He peers him. saw as we first of LAWRENCE figure anonymous the posstble, him as like as make which variations with individual N. C. 0. British of a the uniform and wears no helmet He 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 see canal the across P. 0. V. FARRAJ's From 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- 1n now along the roadway approaching of dust fast a trail and we see is the sound of a motorcycle There and its humanity. extent in its marvellous away into the distance, Canal stretching the SHOT disclosing PANS OFF the TWO FIGURES into a LONG

the CAMERA pause a moment's After side. FARRAJ on the far of LAWRENCE and figures Bank) on to the small (from the African the Suez Canal across shooting is The CAMERA LONG SHOT. 578

to another. cement and the comm en to a problem, solution that what he see is a ascertain can just his face we perhaps of

expression the very faint From LAWRENCE stares. the blue sky.

they come to a halt in CLOSE SHOT against until BACK and UPWARDS bank the CAMERA CRANES the cli.mb As they picture. the ground of

in the fore- a sandbank the hand towards by him dragging FARRAJ '(0

FARRAJ and LAWRENCE leave the hutment. LONG SHOT.577

door. open the far ahead and flings FARRAJ runs shadow again.

i shadow to light and into from so that he passes sky, .the revealing

inwards, iron have fallen corrugated of sheets the curled some places

C

In noti.ces. up dehydrated and curled of office furniture remnants

we glimpse In the offices corridor. lead off a dusty central

Doors the sunlight. after INSIDE THE HUT, dark MED. SHOT.576

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

Continued 575

I

-,--

~' ,_-··--1

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

Daud! FARRAJ

warning. of desperate cry with a sleep out of struggles FARRAJ with a crash. down the tailboard the DRIVER throws SHOT begins As the big building. to a very belonging of a portico a glimpse we catch the awning in background, and through has halted The truck of picture. in foreground LAWRENCE and FARRAJ CLOSE SHOT. 591

foreground. in flag with a British Cait·o of The skyline LONG SHOT. 590

upright. boy the sagging and LAWRENCE holds to the side, swerves The truck and FARRAJ. LAWRENCE CLOSE SHOT. 589

with MOTOR BIKE following. street, CAffiO a the truck,

awning at gap in the flapping the narrow Through CLOSE SHOT. 588

truck.

of the the rear towards eyes his LAWRENCE idly raises faces. sun- baked their from been removed and the dust has of a wash sort

have had some Bbth truck. the sway of the against him steadies mouth open and LAWRENCE his with The boy is asleep FARRAJ.

and LAWREN CE are In the back of the truck CLOSE SHOT. 587

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

it discloses the picture across As it passes CAIRO. in street noisy a crowded way through its A TRAMCAR rattles SHOT. MED. 586

bankments.

em- the between echoes· the MOTORCYCLIST of The voice side. on the far insignificant LAWRENCE and FARRAJ LONG SHOT. 585

you? Who are you·? Who are MOTORCYCLIST

again. He calls THE MOTORCYLIST. CLOSE SHOT. 584

in silence. arms his waves

then FARRAJ at LAWRENCE who does not reply. looks FARRAJ

the water. across of LAWRENCE and FARRAJ figures small

th.e we see P. 0. V. the MOTORCYCLIST'S From LONG SHOT. 583()

j.

hand, the him by holding LAWRENCE, hut backwards FARRAJ glances

Here! CORPORAL

;.r----,

other. the before recovers one but surp:dsed~ They are CORPORALS. the two past LAWRENCE and FARRAJ wander SHOT. MED. 598

The CORPORALS salute. way out. the CORPORALS on their TWO MAJORS pass CORPORALS on duty.

two M. P. are him Near at a desk. seated is PROVOST SERGEANT a center an opening in the by off and is roped PART of the patio

opening out into a patio. doorway a large through and pass building,

of the the length running a long open corridor cross few steps,

AND TRACKS with LAWRENCE and FARRAJ as they climb the last The CAMERA PANS up. start truck the We hear SHOT. MED. 597

hims elf into the cab. and swings

nods this not being his problem, The DRIVER, SHOT. CLQSE 596

Yes. "-) .• LAWRENCE

not stop. does but pace 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 FARRAJ cab, hls towards well out if it, " saunters

but "keeping amused, touched, puzzled, DRIVER, CLOSE SHOT. 594

of. sure one duty he were the FARRAJ as though this were one hand on CE keeps LAWREN to the steps. themselves address and LAWRENCE and FARRAJ have dismounted, CLOSE SHOT. 593

now.

doing are charges strange to see what his face) English ordinary an all, after up to reveal, his head (goggles now pushed He twists behind. from stationary, THE MOTORCYCLIST,. CLOSE SHOT. 592()

sir. here, We're to LAWRENCE) (puzzled, DRIVER

•' 0 Continued 591 ()

_; ___

"-..J [',

anything. heard

to have round again but LAWRENCE does not appear FARRAJ turns

si.r. in there, h.lm take can't You C PROVOST SERGEANT

him: after and calls PROVOST SERGEANT is shocked

The him. FARRAJ before propelling and goes, LAWRENCE turns

Yes. LAWRENCE

si.r? bar, Are you going to the Officers' FARRAJ) - and clothes in his (fa.king PROVOST SERGEANT

Yes. LAWRENCE : ..' it? ·is Lawrence, Mister PROVOST SERGEANT

gently. He speaks changes.

His expression hard. staring The PROVOST SERGEANT approaches,

thirsty. we're ... Er LAWRENCE

He is not "mi.ckey taking. " patio. off the leading corridors

one of the vaguely towards LAWRENCE gestures SHOT. MED. 599

Mustapha? going you're think dryou hell the Where quite kindly) (rising, PROVOST SERGEANT

intrusion. harmless and evidently bizarre at this by amusement is softened His indignation shout. SERGEANT's '· ,.. at the PROVOST turn LAWRENCE and FARRAJ obediently

You! Here! PROVOST SERGEANT

desk.

his up from the PROVOST SERGEANT who looks him on past leads

/ ':o C) Continued 598

C:

not particular. we~re ri.ght; all That's burden} unavoidable an whom wit is for.- (as one LAWRENCE i. ,,. Officers. British for is a bar This lost) (utterly BARTENDER

of lemonade. glasses We want two large LAWRENCE (j silence. this and Oxford in clear very

He speaks is venomous.anger. The response situation. to his of response sort show some to hegjns face LAWRENCE's position.

him back into his first turns an.d him LAWRENCE grips suddenly

but to round the bar, in order picture a move across makes !()

The BARTENDER in the background. with the OFFICERS shoulder CLOSE SHOT. LAWRENCE and FARRAJ over the BARTENDER's 602

Get out! get out! You must Get out! BARTENDER t)

officiously. his voice

and raises OFFICERS at the thunderstruck nervously He 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 regards behalf, on LAWRENCE's own, and partly on his partly and embarrassment alarm is flung into instantaneous 'BARTENDER The 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 completely falls, silence incredulous and absolute see them One by one the OFFICERS

the bar. and make towards . I

ARRAJ enter f LAWRENCE and In background sequence. billiards the the CLUB SECRETARY from we see Among others quietly.0 conversing are The OFFICERS vacant. itself the bar tables, at or standing seated A DOZEN OFFICERS THE CLUB. LONG SHOT. 601

who can anticipate: the PROVOST SERGEANT, to dawn within begins

pleasure but a certain shocked, and astonished All are them. after 0

The PROVOST SERGEANT and CORPORALS st.are MED. SHOT. 600(J

(.

j

out! Clear OFFICERS

the OFFICERS. from J

vocal reaction vi.olent a more act triggers The physical it away.

FARRAJ and flings from hand SECRETARY'A the LAWRENCE tears

anyway. out, ~ne have this We'll SECRETARY

tight-lipped:·

says, arm, upper on FARRAJ's grasp a 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 clear just Lawrence, look here ?fow CAPTAIN

overlapping. join in, out and others One of them calls drawn.

must be with- Tolerance escapade. gone too far with this latest has really utterances and cryptic oddity with his self regard little The disapproving. and spontaneously but displeased not enraged They are feet. their ri.sento OFFICERS have One or two more

not. I'm. oddly enough No,. LAWRENCE

in. The CAMERA begins to track eyes. shine in his to begjns 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

chair. his from as the SECRETARY gets up from the background is a clatter There0

Continued 602

' (

deliberately. a breath to BRIGHTON, taking hrrns then FARRAJJ one to LAWRENCE passes

LAWRENCE. before of lemonade two glasses The BARTENDER passes

yourself! Explai.n Well! C'· BRIGHTON

barks: and BRIGHTON goes up to LAWRENCE into action. The BARTENDER jerks

ice. with Lemonade, (softly) LAWRENCE

the BARTENDER. addresses away and

deliberately at LAWRENCE, who turns and stares BRIGHTON stares

sir. Lawrence, It's indignation) blend of discreet with a nice (murmuring SECRETARY '.\

him. BRIGHTON as he passes for way making back, steps The SECRETARY to the bar. walks foward as BRIGHTON silence is an awkward and there ceases babble overlapping The ground.

in the back- BRIGHTON and the OFFICERS at the bar. foreground4

FARRAJ and SECRETARY in the LAWRENCE, 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 pair Imshi, 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 (~) Continued 602

) C

r--.-···

--,-y .. ·------•~

j

next time. it better - manage - too many really them of some - we killed true not that's --No, (off) LAWREN CE )____C " .. - - garrison The entire unwi.nd) must nerves overworked (but his we took them prisoners. -- sir Prisoners, tone) ordinary a more for (he tries (J no boots. they've but there still No, they're LAWRENCE

have gone? You mean the Turks BRIGHTON '(; and fantasy. fact to differentiate trying gently, 7

and intelli- hard BRIGHTON looks at LAWRENCE, CLOSE SHOT. 605/

have-. We wogs have. The in the war has. Our side We have ... LAWRENCE

Who has? Akaba;? Taken BRIGHTON

serious. and something something to see that he means sensitive

he is sufficiently for be meaning out what LAWRENCE can really

to find He is trying his brow. BRIGHTON wrinkles be taken in. to too.unexpected is still words The content of LAWRENCE's

your lemonade. He likes 0 BARTENDER) (to LAWRENCE

drinking. FARRAJ of noise the considerable save for all round silence complete a is There0

distance. at a discreet round OFFICERS have gathered Several

Hm? ( BRIGHTON

in. take to for him is too outlandish of the words meaning

The precise grunt. interrogative an irritable BRIGHTON gives

taken Akaba. We've LAWRENCE

Continued 603/

(.

.. r--

j.

:

of course Yes, BRIGHTON I•. --.._ ) ( of admiration. nings C

the begin- and perhaps sympathy, him with some BRIGHTON regards

sheets. With With a bed. I want a room. But first LAWRENCE

violently. is shaking His hand on the bar. his glass He places

direction. the right in a step that's Well, flippant) not interested, (unwillingly It; LAWRENCE i

gone. Murray's in command now. He's Yes.

talk to Allenby. You'd better BRIGHTON

at him. BRIGHTON finds all the OFFICERS looking is a pause. There

it. I did it is·. Yes

BRIGHTON and the OFFICERS. LAWRENCE, CLOSE SHOT. 609

true. all perfectly it's di_e, and hope to my heart Cross LAWRENCE e appraising. is still BRIGHTON's stare

and another. way Been a lot of killing one LAWRENCE

LAWRENCE and BRIGHTON CLOSE UP. 608_j.. l ' 1.J"I •

t (

OFFICERS. on the a moment Hold for )____ \.

staring. quite still, standing GROUP OF OFFICERS, A SHOT. MED. 611·-, ' (

C enquiringly. He cocks his head and frowns fades. His smile unfathomably. but LAWRENCE looks at him it, of enjoy the preposterousness

him to expecting at LAWRENCE'S rig, smiling BRIGHTON nods,

C get into some trousers. And you'd better (smiles) Yes. BRIGHTON

shave? I better u faintly) smiles his jaw, (rubs Do that then. LAWRENCE

I think so. • • (looking at him with interest) BRIGHTON

- me? Will he see though. 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 through way BRIGHTON and FARRAJ as they ;make their

The CAMERA TRACKS with LAWRENCE, CLOSE· TRACKING SHOT.610

<O the bar. the way from he leads initiativ~,. the Taking

All right. BRIGHTON

at FARRAJ. glances BRIGHTON hesitates, 0

him. for It's a challenge) but hard, (quiet, LAWRENCE

Continued 609

not hectoringly, Then he speaks, it on the desk. and puts the dossier

ALLENBY closes ALLENBY and LAWRENCE. CLOSE SHOT. 615

respond. the look but does not DRYDEN feels at DRYDEN. quick glance

a BRIGHTON gives DRYDEN and BRIGHTON. CLOSE SHOT. 614

doubt about it. no there's man, an interesting You're '_) ALLENBY

he is satirical. whether or his voice his expression from tell

to up and it is impossi.ble He looks ALLENBY. CLOSE SHOT.613

of ... Knowledge of . . . knowledge

house. of a country pony in front child on a New Forest

and a bonny link of pearls, and a single face dependent a discreet with gentlewoman an English a rubgy team, are These graphs. photo- three desk we see vacant On the otherwise cautiously.

the desk at ALLENBY across He looks clothes. in Arab still CLOSE SHOT OF LAWREN CE, on a comes. to rest The CAMERA

(he browses) ... . . . literature music of . . . knowledge languages several . . .

CAMERA) and BRIGHTON. DRYDEN (nearest

seated we can see In the background of his desk. side the opposite

off ALLENBY towards slowly very :PAN~ TRACKS and CAMERA The

untidy. unpunctual, undisciplined, ... ALLENBY

he is checking. be a shopping list it might if as of comment, with no trace flat, <O

· His tone is dossier. a personal concentration with quiet reading He is humble. and daring, commanding, shrewd, lated power, assimi- thoroughly who has Officer a General sel.f-respecting; and erect a gentleman, and fit; burly ALLENBY is a footballer, order. in apple-pie with everything atmosphere office now has an airy The was. never and probably which is no longer, England bucolic 0

month by month a depicting a calendar behind him hangs wall

the On ornamentation. and other with pictures changed together has been furniture the Most of by MURRAY. occupied previously office the at his desk in He is seated ALLENBY. SHOT. CLOSE 612

GENERAL ALLENBY 'S OFFICE INTERIOR.j__ ..·· (1

(

So? J__ ( ALLENBY

to Gaza. forward gone fve But we I know. LAWRENCE

Beersheba. coming through They're Not any more. ALLENBY 0

route to the Canal. s the TurkishIt

'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 forensic sort

a commences and to LAWRENCE sideways ALLENBY now turns

SU'. ."'!'':"'- LAWRENCE

down. let himself his behaviour by LAWRENCE should lest 10 concern a fatherly as it were but not for his own privileges concern shows a 'It to be observed. are that the courtesies indicating but gently on his own rights not insisting indignation, personal

without a shade of quietly, and rather a pause this after He says

Sir. --- ALLENBY

Nobody. \ ,,--. LAWRENCE

Who told you to take Akaba? ALLENBY

facts. eliciting

Continued 615

(

the.re. them I think we should leave No. LAWRENCE

now? out of Medina You think we should shift them C (off) ALLENBY

linked with Medina. Akaba's Yes. LAWRENCE

() LAWRENCE CLOSE UP. 618

Anything else? ALLENBY

arid Suez. El Arish It threatened

behind my right . Akaba Very well. ALLENBY C at him full of keen interest.I

looks forward and leaning CE, LAWREN faces the smile, missing and then: dis- and quickly, gently ALLENBY smiles consideration a moment's After 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 might it seems

and or two quite immobile, this for a second ALLENBY 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

Continued 615

•

(

as he g:ropes for words. chair his in about slowly

and he twists works His face contradi.cti.ons. hts of in the grip utterly 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 and ask you. I didn't C· ALLENBY

good idea. very a 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 initiative their "use Officers Shouldn't LAWRENCE

LAWRENCE smiles. ALLENBY.A:t-U) LAWRENCE CLOSE SHOT. 620

you know. orders without You acted ALLENBY

equal. mere the tone of a and adopts chair, his swivels then relaxes, two, 0 )-~,,, . t"''·

or a second at LAWRENCE for He looks ALLENBY. UP. CLOSE 619 0r

on his features. and disbelief ignorance mask of conventional

a slaps effort an almost physical with at LAWRENCE, and Glances He comprehends. face is aged and gloomy. ALLENBY's CLOSE UP. 624

I enjoyed it. ,{). a pause) (after LAWRENCE

What then? (off) ALLENBY

Something else. No. LAWRENCE

beginning to shake. His hands are hungrily. He is looking at ALLENBY almost LAWRENCE. · CLOSE UP. 623

warning. a be it let all right; Well that's uncomfortable) he is (He looks away- I see. ALLENBY

r Well naturally. (watching him carefully) ALLENBY 10

about it I didn't like. was something

I had -- anyway Akaba before -- 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 convulsive it And now0

two people. -- killed I -- now ... see let's ..• -erm It' ... erm Well I ... LAWRENCE () Continued 621 "i~- .•..• ·,., ()

(

it? 'for Tit think: I'm I don't I ... trying to say is ... What I'm (taking it slowly) LAWRENCE

it. you keep Here, quietly)··. handing it back (looking at LAWRENCE and ALLENBY

sir. Damn ridiculous, (stiffly) BRIGHTON .

Harry? look in this, ~ think 'you How d they wear. gear Fascinating

interest. them with apparent examining the kafia and argyl, He takes

it is. that - hat - or whatever Let me see (holds out his hand) I.• ALLENBY

Entirely. sir. Oh yes LAWRENCE

temptuously.

con- His eyes flash nature. of his glacial back into the fastness right has retreated vulgarity, calculated of onslaught this under

very upright chair, his i.n back himself LAWRENCE has thrown

dramatics? Amateur like that? 0 dressed by coming in here What d'you mean ALLENBY

up. now stands He LAWRENCE.

fo face chair round in his ALLENBY has wheeled LONG SHOT. 627

~u ,,ff'\ tired. You're and nerves. Rubbish Rubbish. (off) ALLENBY

and astonishment. in horror is frozen face0

BRIGHTON's LAWRENCE with a deep look of pity and admiration.

DRYDEN is watching DRYDEN AND BRIGHTON. CLOSE UP. 626

of: of the presence aware

becomes He suddenly violently. now shaking which are his hands to control and tries eyes his He 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. from roar answering immediate an is There LONG SHOT. 630

Maj or ! Sergeant (bawling) ALLENBY if>

the door. towards eyes his then raises or two, moment a for

LAWRENCE covertly He watches ALLENBY. BIG CLOSE UP. 629

of love. a declaration of is almost upon LAWRENCE of BRIGHTON'S words The effect commences.

softly theme, MUSIC, English LAWRENCE. BIG CLOSE UP. 628

bit of soldiering. a brilliant 'Twas

were. what his motives it matters think I don't sir. a decoration, I think you should recommend

officially) that he speaks emphasise to to attention (standing BRIGHTON

Oh, I know what he thinks. (wryly) LAWRENCE

Brighton? ALLENBY

LA\YRENCE. to value of no great is evidently DRYDEN'S praise

( be done. couldn't I'd have said it sir, he did it, Before 0 DRYDEN

Dryden? What do you think, Really? (briskly) ALLENBY

Continued 627

, 130

__J_ ---------

his chair. from rises -- slowly tnen

his protest, register must he is lost, though he knows LAWRENCE, 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:>ergeant Thank you ALLENBY

and swallows. helplessly, smiles LAWRENCE , ( ,., ► Well done sir. LAWRENCE) (to sir. Bloody marvellous, R. S.M.

it't about What do you think ALLENBY

Sir! Yes, R. SiM.

LAWRENCE) (indicating Major? l:>ergeant this, about heard You ALLENBY

Sir! R. S. M.

strength. is gatheringMUJ::>IC TEE to attention. stands ( SERGEANT MAJOR REGIMENTAL A-.veteran open. flies The door

sir. good, Very BRIGHTON

on. but they catch --- is not usual

tough act rugger this --- surprised are DRYDEN and ,.BRIGhTON

,,, 0 (J Continued 630

(

j

D'you know a better? smiles) eyebrows, lits (raises ALLENBY

Clausewitz. LAWRENCE

dissipate. not... must concentrate I to Jerusalem, J0 through If I'm to break now. Look here

ALLENBY and his PARTY TRACKING SHOT.CLQ<3E REVERSE 634 : 1 .

looking as they stand figures receding of their shot PANNING into a

CENTRES ON THEM as they pass, CAM:ERA The the G. O. C. who salute OF OFFICERS PAIR a They pass and ALLENBY who listens. ---

gesticulation with some -- it is LAWRENCE who talks can see that

what is being said but we hear We cannot in step) not march stroll,

individually that they shall he is careful (e.g. informal deliberately ·is ALLEN BY backs. following on their with them and TRACKS behind,

The CAMERA PANS the gardens. overlooking floor on the first

corridor the GROUP out on to a gallery on ALLEN BY as he leads- '

\;.,J

them. after his hand and grins He lowers by. pass ALLENBY

r

and as LAWRENCE at the salute R. S. M. , his hand quivering

up of the beaming on a close to rest The CAMERA comes DRYDEN.

BRIGHTON and in behind a desk and falls from over hurries A. D. C.0 An the OUTER OFFICE. LAWRENCE as they cross ALLE.NBY:and with PAN~ CAMERA THE OFFICE. 'OUTER... MED.SHOT:INT 632

' : it open. the way to the door and flings he leads as AL~ENBY, THE CAMERA PANS with AGAIN. RISU{G MUSIC

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 clever You're face) into ALLENBY's bitterly (rather LAWRENCE

Continued 6~1

as they approach. the wall -in awe an.d amazement against flatten A PAIR OF JUNIOR OFFICERS LAWRENCE walk on down the stairs. as ALLENBY and to full pitch RISES The MUSIC SHO'l'. MED. 638

role. adoption of his avuncular whole-hearted as by the Old Man's the pleasantry by much so not amused brows,

his eye- DRYDEN raises in behind. DRYDEN and BRIGHTON step and of picture They laugh again as they move on out of bottom

we? shouldn't well, We should do very LAWRENCE

fight like Saxe - - - and you Clausewitz fighLlike if I Well, L) ALLENBY .

ALLENBY and TOP FLIGHT OF STAIRS CLOSE SHOT 637

him. after the men staring to the stairs, way between the soldiersf,' the and leads ALLENBY salutes picture. and LAWRENCE enter

as the CAMERA STOPS TRACKING and ALLEN BY to attention

them noisily calls o. The N. C to the gallery. tm leading stairs qf flight the top of a reached of an N. C. O. who have just charge in a group of half a dozen soldiers The CAMERA is approaching AIRS. OF STTO:J? GALLERY LANDING ON SHOT.TR.A,-CKING CLOSE 636

t They both laugh.

Do you know a better? 0.. LAWRENCE

Saxe. Marshall (smiling) ALLENBY

not concentrate. dissipate I must through, breaking If I'm to occupy them while you're LAWRENCE

by the GENERAL' s side.

apparition of the outlandish the meaning in dumb show enquiring

to the A. D. C. we see him speak the following dialogue During him by. OF ALLENBY and LAWRENCE as they pass SHOT it PANS with him into -t.CLOSE TRACKING CAMERA as towards C

hastily He salutes an office as the CAMERA APPROACHES him. out of ELDERLY COLONEL comes An CLOSE TRACKING SHOT. 635

_J

pleasantly: to CAPTAIN, ALLENBY

do)

of them s,ome (Or sit. hesitatingly they his Sam Browne as off Re takes

Please! gentlemen.! Easy ALLENBY

feet. C

leap to their ALLENBY' s presence, by aback taken OFFICERS, The .. Bar the Officer's enter GROUP and his ALLENBY LONG SROT. 646

it is rather not over-excited, but excited, is of course expression LAWRENCE's and LAWRENCE. ALLENBY CLOSE TRACKING SHOT. 645

study. a faces their of them, in front GROUP passes (}

as the and the CORPORALS SERGEANT The PROVOST SHOT. CLOSE 644

the CORPORALS to attention. and bellows

his desk behind up from leaps PROVOST SERGEANT The hall. the into way the The CAMERA PANS with the GROUP as ALLEN BY leads 643

as the to attention slam steps up the MEN coming and walking

MEN GROUPS, in MEN hall. ,entrance for the make and gallery floor swing on to the ground ALLENBY and LAWRENCE MED. SHOT. 642

CORRIDOR GROUND FLOOR HALLWAY AND STAmS/GALLERY INT

on out of the picture. passes

as the GROUP stand like statues 'stairs on the OFFICERS way and the hall:;. SMALL GROUPS of MEN in the STAIRS. OF LAST FLIGHT the ·

ALLEN.BY and LAWRENCE descending above we see From LONG SHOT 641 ( behind. from join them others as wards 0

looking down- GROUP OF MEN at the top of the stairs CLOSE SHOT 640

looks upwards. LAWRENCE wall as the against

flattens OFFICER At~0TBER so. dojng him to register slide over

and ALLEN .BY's eyes in such company, the effect of his passing

to register them towards slide over eyes s LAWRENCE' OFFICERS. TWO the as they pass ALLEN BY and LAWRENCE CLOSE SB.OT 639

-~--··-···--------- ..

ALLEN BY LAWRENCE is absorbed. what follows Throughout

the fish pond. by BY and HIS GROUP seated ALLEN SB.OT. CLOSE 649~) (,_

····-.....\ to his astonishment: CLOSE UP and sees,0

jnto he edge.s until the commotion to understand aloss at an.dis

proceedings the foregoing missed who has CLUB SECRETARY,

the by joined They are faces. OFFICERS' the window on to the through the patio from shooting is·_ The CAMERA CLOSE SHOT. 648

C him. made for

is and a passage behind them with a tray appears The A. D. C.

the windows to look out. lining them after crowd The OFFICERS

and pool with goldfish. fountain a small

of the side by of chairs group an. informal. windows towards French the out through his party The CAMERA PANS as ALLENBY leads

Shall we go outside? ALLENBY

patio.

the sunlit the windows enclosing the view through noticed just having apparently to LAWRENCE, ALLEN BY turns Satisfied, CLOSE SHOT647

silence. the thunderstruck is to deepen of the speech-Bv

and the effect °Major" on emphasis calculated is a beautifully There--~ acceptable. everything make will of course character known and popular

of such a well the invitation as though to say that a little He nods

Lawrence. of Major :invitation on the here I'm 0 ALLENBY

silence. of the thunderstruck unaware seemingly round convivially, smiles

ALLENBY in a murmur. drinks and orders to the bar moves TRACY

Tracy. ) C. ·. A. D (to ALLENBY

sir! Of course, CAPTAIN

drink? to us something give you, Will, ALLENBY

.... '\__/·-' Continued 646 ) ,~/ r··--\ ,...

(

...1

charm. self-mocking and runs over ALLENBY with equivocal he laughs, ,~----'

Then . blank pause. LAWRENCE is given a moment's . SHOT: MED 652

going back then? You are ALLENBY

small point of infoi;-mation.0

up a as one clearing mildness, with deliberate. BY replies ALLEN

in chaos! weeks I can have Arabia In thirteen (off) LAWRENCE

ALLENBY CLOSE SHOT. 651

t .

else. smash them somewhere r11 mending·them he!s and while railways I' 11 smash his round. turning Turk' s still while Johnny Arabia We can cross rifles. thousand crack a and high explosive .of packs that means a thousand a thousand camels; It means day or night. anywhere, delivered knives; thousand a mean.s A thousand Arabs LAWRENCE

' threatening. BY he were as if it were ALLEN almost leaning forward fanatically, and ends with enthusiasm He commences LAWRENCE. UP. CLOSE650

With a thousand .Arabs? mockery} a shade of(i:iow:infuses . ALLENBY

Yes. LAWRENCE

Army. Desert hold down the Turkish So 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 carefully is out of his depth, the A. D. C.

a little, DRYDEN smiles looks uneasy, BRIGHTON .be, to appears C

Continued 649

o Dryden?A.r.a.b.'ia ambitions in Have we thank God. not a politician, I'm ~.guard)off little a ( caught ALLENBY

we? Have penetrat.i.on) with great . ALLENBY up,at he looks (suddenly · Arabia.ilJ- ambitions we have no that false, I've told them that that's ourselves.

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. for swimu

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's they think, what That's what I told them anyway. That's LAWRENCE

to the other. one looks from

LAWRENCE and DRYDEN drink. ALLENBY is no response. There

now. Arabs the for Arabia's will. No-one LAWRENCE

I wonder who will ... BRIGHTON

again~ get back never he gets out now he knows he' 11 If Empire.. part of his Arabia's withdraw. He daren't LAWRENCE

he'll· .withdraw. handful of bandits, a off fend to Divisions using four he finds he's If so can the Turks. If we can see it, Hm. 0 ALLENBY

I'm going back. Of course Yes. LAWRENCE

Continued 652

(

j ;/

like paper. don't They have to be sovereigns. It'll Money. LAWRENCE

Right. :tC; ALLENBY

five. 1 need not enough. arms small Two thousand LAWRENCE C:

fingers. his studies

DRYD~N fascinated. watch BRIGHTON and A. D. C. bargain. as they forward and LAWRENCE lean ALLENBY CLOSE SHOT 657

PATIO.! BAR. OFFICERS' INT. i I to understand. trying

He is by him. all right it's ALLEN BY, by right all If it's effort.

r

1 mental of simple but of disapproval, is his frown the product Nor

:, ◄

amazement. comic -:rather is not now one of His expression back.

l

drawn~ but is the window; He leaves of it. the indecorum realises and left, right to his glancing The SECRETARY, CLOSE SHOT. 656 I

staring. . the club, of

t windows alo~gthe gathered The OFFICERS SHOT. PANNIN'G .MED 655 i

Certainly. ALLENBY

down his glass. He plonks duty. his he does

before only fractionally ALLENBY hesitates Cornered, CLOSE UP. 654 \

in Arabia. we have no ambitions name, in your them can tell I if want to know sir, I to ALLENBY) steadily, (very LAWRENCE •.O

it. have But LAWRENCE won't of the diplomats. hands in the soldier simple with the him to sympathise inviting hands, 0 his at LAWRENCE and spreads charmingly very smiles ALLENBY

sir. question, Difficult '► J a little) (flickers DRYDEN

I,.,___,, c, :► Continued 652. r(~

J j I I \ (0

says: windows, the open French through his voice to be heard raising and deliberately the bar LAWRENCE towards away from moves Browne, his Sam ALLEN.BY, bucltlingslowlyon slowly. but more LAWRENCE too,i,·

il)

with him. rise D. C. A. BRIGHTON and the DRYDEN, in intention. - i

1t so that the word is ambiguous as he says to his feet ALLENBY springs

Right! (pauses) ALLENBY

Artillery. .Fielli and LAWRENCE

Right. 1(: hesl.tation) a (after

I cars? couple of armoured.A

Dryden? ALLENBY

· later. more A lot now. thousand Twenty:.five (thinks) LAWRENCE 0

How much more? ALLENBY

money. More LAWRENCE

Right. ALLENBY

guns. for the Lewis Instructors LAWRENCE

Right. cautiously) more (a little ALLENBY

Continued 657

('>

J

their raise and tentatively sbeepii:.hly rather One or two the MUSIC. underneath forward to come b~gin They a smile. essay the OFFICERS

One or two of RAIDING PARTY). smil:in.g by the surrounded robes

the in which ALI presented shot the as possible as closely recall to and arranged (to be grouped in the background. OFFICERS 0 with the in the foreground head LAWRENCE's SHOT. REVERSE 664

argy I. his adjust his hand to

He raises standstill. a to LAWRENCE as he comes CLOSE UP. 663

c· the bar. and enters

the windows through and LAWRENCE as he comes between' themselves distance a back leaving stand they for attitude, gauge their yet we cannot him coming; to watch change position as they of the OFFICERS backs and heads the and TRACKS across PANS The· CAMERA windows. French the towards and walks --- scene he did in the robing as --- hand right his around abaya the end of his twirls he with a quick flip, then, garments, Arab his He fingers of the film. beginning at the which we saw expression and stoical hopeless mocking, with the same his onlookers regarding He stands the glass. in LONG SHOT through LAWRENCE we see of heads a foreground Through SHOT. REVERSE 662.

glass. the at LAWRENCE through peering A GROUP OF FACES UP. CLOSE 661

stillness. fades to an apprehensive His smile ~AWRENCE. UP: CLOSE 660

well up again.

-to begins The MUSIC him. at looking the bar of round the windows crowding now openly are The YOUNG OFFICERS CLOSE SHOT MED..659 I

► by: caught is ~ye "His smilingt.. · them, i

after looking the fountain by stands LAWRENCE CLOSE SHOT. MED.658

C.; DRYDEN and the A. D. by BRIGHTON, followed He goes,

l~

gentlemen! hospitality your _Thankyoufor ALLENBY f

as he does so:

to the OFFICERS calling windows French the through briskly He walks ro

and thank you! Congratulations it. use i I know you'll because Lawrence, can Major thing I you every blessed give I'm going to ALLENBY

Continued 657

(

j

e

not:. hope we' re Let's (dryly) . DRYDEN

the whirlwind. riding ·s He' C: backwards) head hi.s (jerkfog devil 1 . . Not like that poor . God thank to obey, I've got orders not. .it's No ALLENBY ·.o sir. say, .you to For · (deprecatingly) DRYDEN

can I? give them artillery Then I can't ALLENBY

I

independent. made them and you've Give them artillery t (softly) DRYDEN ,0

it back again. get to difficult deuced Might be sir. that. I was wondering r BRIGHTON -ed sir? to give them artillery going you really Are DRYDEN

look at one another.

and they do not ecbo steps Their and in step. briskly walk they

This time corridors. the silent of back along one walking They are

DRYDEN and BRIGHTON. ALLENBY, CLOSE TRACKING SHOT: 665

CORRIDOR: GALLERY

to surge They continue at all. smHe not a real ish as to be a repellent, spinster- so almost withdrawn, so which is so superficial, with a smile0 off fending them he can, as best them away from He shrinks refused. and --- offered a drink his hand shaken, congratulated, the back, on the CAMERA LIFTS AWAY, we see LAWRENCE begin patted As

and congratulatory. smiling quickly, suddenly they come forward Thep,

BACK. UP AND THE CAMERA STARTS TO CRANE to him. glasses

Continued 664

i(J

I

j ,,

·I

·O

i

off into EXTREME LONG SHOT down the corridor.0 :

walk and picture as they enter backs Shooting on their MED. SHOT 666j___ ..Ir!

Feisal. To Prince SELIM

Then: SELIM looks at him gravely.

belong to? bags Who do these friend. me, 'Scuse BENTLEY

his hat. raising SELIM, He accosts

curious. but sharply by the insult to himself, BENTLEY is unruffledt in the boat. etc. bags, in the stowing of the camel quarrelsomely to help dumped and his MEN rush bags are Bentley's ceremony, Without (the RECITER). SELilv1 the file comes of At the end pause. 0 BEARERS BENTLEY'S carpets. and rolled inlaid boxes, bags, woven camel handsomely STEVEDORES, bearing is a file of ragged direction But coming down the beach in the contrary CHILDREN.

among them a few indolent MEN and donkeys and unoccupied

and as before buildings dilapidated The same palm trees. scruffy

of Akaba among its of the village-town fringe We see the seaward

FOREGROUND

in BEARERS, MEDIUM LONG SHOT from behind BENTLEY and3

the beach.

them up off after by TWO ARABS and he sets shouldered are cases The two man who wants his bags. graceless of a rather but simply

nor the humanitarian, sahib the that of neither is to the Arab attitude

His baggage. the landing of his scanty BENTLEY superintends

it and haul it up the beach a little. The Arab ROWERS skip from0

THE BOAT GROUNDS MEDIUM SHOT 2

whereupon: it in, to take no longer than is needed shot lasts This is alive with curiosity. face

humorous and cynically alert tough 9 His steadily. shore approaching the Clutching the gunwhale with one hand he examines will again. and before situations He has been in unlikelier so. to be less attempt

in a light suit and trilby dressed cases, with camera festooned oars)

the we hear (it is a rowing boat; awkwardly to the motion of the beat Jerking bags. travelling of leather pair a At his feet are about it. lighters with one or two dilapidated steamer coastal and rusty small a leaving in the distance boat, of a long in the stern He is sitting

America. throughout but my work is syndicated paper, particular is my own Courier" The "Chicago BENTLEY

it away. putting before card

wagging the BENTLEY says, FEISAL hands back the card. in it. with a seat to hand by a window embrasure conveniently coffee set a metal A SERVANT places camel bags. more out some carry

BODYGUARDS In background, card. BENTLEY's examining

FEISAL is In the fore ground, of furnishings. stripped Almost

FEISAL'S QUARTERS IN AKABA INT.4

BENTLEY away up the beach, and starts silently he beckons card, the having read Then, him a look of mild surprise. SELIM flickers

Can you read? BENTLEY

tact: and with dreadful it he pauses In the act of offering pocket. 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? Feisal not Prince You're BENTLEY

A knowing smile. him. A thought strikes BENTLEY grunts.

Continued 3

there. are - the Turks Avoid Malaal Buldulla.

you I should try If I were a mule. Take FEISAL

tried. never I've BENTLEY

a camel? Can you ride you have a long journey. I fear Oh yes. (smiling) FEISAL

Ghira~ horror) (incredulous BENTLEY

El Ghira. near week they were Last

BENTLEY stares.

I don't know. I' FEISAL

find your army? will I Where sir. what I meant That'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 Major Where BENTLEY

i ? Now ••. FEISAL

FEISAL smiles: looks the courtyard. The window over- and they both sit in the embrasure. He gestures

Continued 4

II-3

__J

directly:

him very FEISAL addresses this. can be no mistaking There

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 no I understand

word. his last BENTLEY amplifies and keeps silent. turn, it is now BENTLEY's FEISAL feels

Yes. BENTLEY

kind. of a different work for me there is There 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 you They do. FEISAL

They move fast. In Malaal now? BENTLEY

Continued 4

story to tell. a want I badly You want your story told. sir. are the same as yours, my interests Also, appreciation)

and amusement laugh of sheer pulsive a genuine im- (laughs, BENTLEY

Very gratifying. () FEISAL

motive. serious a this as even pretend to consider FEISAL 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. \clever A BENTLEY (

Excuse me? (inclines politely) FEISAL

A slim customer. Watch out for Allenby. BENTLEY

Continued 4 •

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

of the repetition) mindless murmurs, and then (he is silent for a moment beyond every other man ... (sadly) 'C

... is prized in battle the man who gives victory

Bentley, Mr. country, In this rightly. · 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. .led are 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 of Major Lawrence sir. Yes, scribbling) (head bent, BENTLEY

..• railways Turkish the know of course that we are destroying

You small but many. done many things, You will find that we have paper for you. i.gures put on and f will have some facts

his lips) watch, pursing a fine gold consults off and (he breaks ... leave here And before I And a letter. guide. ( I will give you a Bentley, Mr. Well, FEISAL 0

cheerful. and walks about a little, swiftly from his chair FEISAL rises in others. liking shrewdness each in his own way being a shrewd man and getting on together, are to find how well they surprised and And now they are both amused,

Continued 4

I see. BENTLEY

you can imagine. 'hope than I More harshly FEISAL

How harshly? BENTLEY

harshly. ..• and are treated the Geneva Code, by protected not wounded or whole are And rebels, but rebels. not soldiers eyes we are In 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 badly That is because

FEISAL ,._/ ' k7·rl

many. as four times Yes; even awed) (wondering, BENTLEY

wounded. and our dead 0 between the disproportion You remark

double take. this down but does a horrified BENTLEY is scribbling

dead. and fifty-six wounded, one hundred have lost thirty-seven this campaign four months ago we starting Since my head. it never leaves because I can give you from my head; One figure( own thoughts) his back 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)

Continued 4

n-7

) C

by: he is arrested where D and goes to the doorway nods smiling bit rebuffed, a BENTLEY,

Bentley. Mr. ,.,1/' .... '..., that I have said, I will do everything ('-\ (quiet reproof) C FEISAL

and ... letter the be able to manage D'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 the motive You may judge which good manners. With me it is merely is a passion. mercy ◄) Lawrence, With Major so. That is exactly FEISAL

of bloodshed. horror a . • . has that the Major in Cairo, heard I ... just it's ... I Well personality) Royal of the full impact time for the first receiving at thus (a bit thrown BENTLEY

so? Why should you suppose FEISAL

and jealousy. anger snap with a direct eyes FEISAL's This 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. according us of them, can relieve of, until the British care taken are Bentley, Mr. prisoners, own Our FEISAL

Continued 4

Il-8

(

_J ___ i

/'__(,, war? your country towards ···----._ who will draw looking for a figure You 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 your aspects. more adventurous But to show it in its sir. Hardly that, BENTLEY

Enjoyable? u FEISAL

(he hesitates) will show our people that this war is ... which I have been sent to find material Now, and Turkey. ... Germany against struggle {,' the patriotic add her weight to the ... to believe the time has come for America men back home influential But certain (again the "sincerity") Oh no. BENTLEY

man? You do not seem a romantic Indeed? (is amused) FEISAL

hero. I'm looking for a sir. very simple, It's BENTLEY

<O caught out.

like a boy disarmingly, but BENTLEY grins is serious, FEISAL

Major Lawrence. ( and in in my people, your interest of me truly the nature You will tell 0

turns. BENTLEY

If ••• FEISAL

~ ......'• (7 Continued 4

to fall. starts and debris noise is a whistling There ) (

HORSES. ARMOURED CAR and a group of CAMELS and is the second

---...., In the background of picture. of an ARMOURED CAR in foreground ,L

on the turret They are BRIGHTON and ALI. 1ST CLOSE SHOT: 17

to fill the screen. starts as steam engine

up above the ONE OF THE CARRIAGES looms 2ND MEDIUM SHOT: 16

top of dune. (_)

over the LINE OF ARAB FACES appearing A 2ND MEDIUM SHOT: 15

derail. carriages three top of dune the front from LONG SHOT: 2ND 14

BENTLEY. disclosing is lowered

camera THE SHUTTER CLICKS, the CAMERA. A 1ST CLOSE UP. 13

dust. with it obscures

and camera towards THE ENGINE slithers CLOSE SHOT: 2ND 12

AUDA reacting. 1ST CLOSE SHOT: 11

the embankment. and plunging over the rails THE TRAIN leaving MEDIUM SHOT: 2ND 10

flying upwards.

the explosion THE SKY . . • .THE DEBRIS from CLOSE SHOT. 2ND 9

of train. EXPLOSION goes up in front 2ND 8

the plunger. LAWRENCE'S .HANDSpressing 1ST CLOSE SHOT: 7

THE TRAIN chugging along the line. LONG SHOT: 2ND (SHOT) 6

to explosion). reacting .

and plunger to pressing through (Carry over. whistle Train

LAWRENCE and FAR.RAJ waiting by the plunger. 1ST CLOSE SHOT: 5

yes. All right, some dignity) hence with (simply; BENTLEY

Continued 4

11-10

C

----,.-.J. ----

a VEREY PISTOL along the ridge. He fires of the dune. the rim

up over steps exposed, LAWRENCE frightfully 1ST LONG SHOT: 31

up out of picture. he rises1 continues The racket C

"STOP". din) (yelling above LAWRENCE

AS 13) (SAME LAWRENCE AND BENTLEY 1ST CLOSE SHOT: 30

slaughter. with tranced faces LAWRENCES P. O. V. ) their from

A LINE OF ARAB LEWIS GUNNERS (roughly 1ST CLOSE SHOT: 29

gunners. the Lewis towards LAWRENCE glances dead pan to the killing. reacts by BENTLEY, closely watched LAWRENCE LAWRENCE and BENTLEY. 1ST CLOSE SHOT: 28

carriage.

the back inside slumping hP-ad a bloody of glimpse a we now catch gone the reflection shatters The WINDOW sky. window reflecting ..· ◄ a carriage across picture through A BODY falls 2ND CLOSE SHOT: 27

fires. and over the gun himself takes the way,

out of gunner an Arab Lewis AUDA he pushes 1ST.CLOSE SHOT: 26

one of the windows. from a pistol fires OFFICER

TURKISH A on the side of a carriage. the planking chips from of yellow clouds A LINE OF BULLETS splash 2ND CLOSE SHOT. 25

panning. anq AN ARAB LEWIS GUNNER firing UP. CLOSE 2ND 24

picture. another he takes BENTLEY, UP: 1ST CLOSE 23

of impact the under ·shuddering TRAIN THE. SHOT·: MEDIUM 2ND 22

continuously. firing LEWIS GUNNERS ARAB: ANOTHER LINE of 2ND CLOSE SHOT. 21

( replying. train the

of NEST at the rear A TURKISH MACHINE GUN 2ND 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 background movements last

The TRAIN in its ARABS lining the dune in foreground. scene.

of the whole the geography Disclosing LONG SHOT: 1ST EXTREME 18

I\1

I as the CAMERA TRACKS into a position in the background be seenj I DEAD and DYING can the engine. around the wreckage through,J___\ \ ( ,,

walks of BENTLEYS presence, unaware LAWRENCE seemingly··-...,,

LAWRENCE and BENTLEY. MEDIUM TRACKING SHOT:43it)

it anyhow. over and swarm the train BEDOUIN reach

of avalanche An WITH ENGINE IN FOREGROUND. LONG SHOT:42

following· him with interesto picture :O

into as BENTLEY runs them He walks after side. him on either

I

past THE BEDOUIN rushing LAWRENCE. CLOSE PANNING SHOT:41

the train. LAWRENCE towards overtaking down the slope I (AUDA ALREADY UP) AND rush THE BEDOUIN rise LONG SHOT:40 f, the train. to move towards He starts

Come on then. gesture) (with a violent LAWRENCE \ i ◄I

away. dies The racket LAWRENCE. CLOSE SHOT: 39

feet. to their rising some fire, Raggedly they cease

AUDA. A GROUP OF LEWIS GUNNERS around 1ST CLOSE SHOT: 38

Stop it. Stop it ..• LAWRENCE

racket. continuing still

lost in the his words shouts HE 1ST CLOSE SHOT:. LAWRENCE. 37

faces.

into their FIRES ANOTHER VEREY LIGHT at a low angle almost HE fire. by the sight to cease arrested sufficiently of whom are just one or two men, o,m his and between the train gunners, Lewis'40 of the down the dune in front LAWRENCE dashes 1ST LONG SHOT:36

continues. BENTLEY watching him as the firing 1ST CLOSE SHOT:35

'·

again. his VEREY PISTOL and fires

into cartridge another He crams LAWRENCE. 1ST CLOSE SHOT:34

by bullets. being spattered which are sandbags

over the of the TURKISH GUNNERS sprawled The DEAD bodies

THE REAR MACHINE GUN NEST on the train. 2ND CLOSE SHOT: 33

before.

as THE BEDOUIN LEWIS GUNNERS exactly 1ST CLOSE SHOT: 32

He looks with shaking venom at:

dark. the screen on all fours the train by Officer The Turkish track)

on the sound continues distant more (the yelling MEDIUM SHOT:

ovation.

to the reacting the blue sky; LAWRENCE against CLOSE 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 smiling there, and now stands the wreckage

up on to the top of AUDA) He has scrambled LAWRENCE (P. 0. V.

towards:

he looks above, down from thrown of white tablecloths a shower in entangled becomes immediately and almost level with the Pullman

AUDA draws away. and run aimlessly out onto the track tumble

in city clothes dressed some incongruously Passengers, windows. from the suitcases, valises, trunks, in are throwing some already doors, smashed in the already some beating windows~ ments through the

shinning up into the compart- Some are about at top speed. rushing

are ARABS gone quite mad, along the train. of inspection tour· a CAMERA TRACKS with AUDA as he makes the engine). towards of train rear from tracking - TRACKING (Camera SHOT MEDIUM

tea urn. splendid a and ladles

hot plates, flambeaux, kettles, spirit tureens, copper pans, shining of trove a treasure collect 'BEDOUIN The ·over unconscious.

a CHEF doubled the dining car; of THE KITCHEN MEDIUM SHOT:

looting to be worked out on the set). (Simultaneous each of them. from removed COAT are SWORD and CAVALRY ·O

A as they died. TWO TURKISH OFFICERS lie huddled together removed. his boots are The STEWARD lies unconscious, HOLDERS. FLOWER plated CUTLERY and silver Another TABLE CLOTHS.

of FINE LINEN an armful One is collecting CAR. IN THE DINING GROUP OF BEDOUIN A INSIDE THE PULLMAN. MEDIUM SHOT. 0

to the destruction. LAWRENCE reacting CLOSE TRACKING SHOT:

and DEAD SOLDIERS). TURKISH OFFICER

the introduce (Possibly the train. of side the other disclosing

j .. Continued 43 , l (\_·

ll-13

C

r

I i again. fires OFFICER ___.. ( I The TURKISH unseen. the TURKISH OFFICER approaches,. I ·-~).. :

He in the background. round the locomotive AUDA comes

LAWRENCE will not move.

glass. A SOUND of splintering LAWRENCE. CLOSE UP.

again. shot and fires another for himself prepares

He at LAWRENCE. staring THE TURKISH OFFICER CLOSE UP:

him. past ricochets shot as it is the sound of a third There TURKISH OFFICER.

the regarding motionless He stands LAWRENCE. CLOSE SHOT:

in sobs.

coming his breath longing, one of desperate his expression again, his pistol raises shakily about 40 yards) (the distance OFFICER

The TURKISH DARK. p.a. v.) (LAWRENCES MEDIUM SHOT:

towards gravely staring He stops, next to him. carriage

of the the side A BULLET SPLINTERS LAWRENCE. CLOSE SHOT:

is the sound of a SHOT. There he fell.

which from of the carriage to the side up the embankment clambers he a rough joke in good part, as one who takes Half laughing,

upright. himself and wrenches breath He gulps for

Good. Good. Good.

at the foot of embankment. standstill a to He comes roof. carriage

the of his fall from stages LAWRENCE in the last SHOT: CLOSE

the engine. towards picture

out of fall and hurrying to Lawrences AUDA reacting SHOT: CLOSE

the Bedouin. away from carriage the off rolls

and his feet from LAWRENCE is pitched BRIGHT. CLOSE SHOT •

fires.

aim and takes THE OFFICER THE SCREEN DARK. SHOT: CLOSE

his pistol. OFFICER shakily raises The ruined youth and success. of the blue sky 1 the incarnation LAWRENCE is white and gold against

tQ in the background. LAWRENCE on top of the train picture.

of the in the foreground THE TURKISH OFFICER MEDIUM SHOT: 0:i I

11-14

'. (

·1 ·- -·--·

--·---·---··-·-·. ·-· r-·-

:.:o Auda ... (quietly) LAWRENCE

grasp. his it from and with one huge hand snatches -him to

up and AUDA steps startled, his camera BENTLEY looks up from

No!

roars: •U

(off) and furiously AUDA points LAWRENCE can answer But before

How is it with thee Aurens? AUDA

:ff', and: feet, LAWRENCE on his as he sees with pleasure AUDA grins .laughing.

and the BEDOUIN murmuring1 of his robe on the skirt his sword wiping them, between thrusting AUDA, who now appears the returning

moved past them both towards have meanwhile The BEDOUIN looters

Wish I had. (undisturbed) BENTLEY

a picture? Why don't you take (sourly) LAWRENCE

before! with a sword a man killed seen Never

interest) even pleased With tough, (he looks at LAWRENCE. Jimminy? BENTLEY

off. staring, LAWRENCE is, where of the carriage round the side BENTLEY peeps - CLOSE SHOT 45

CAMERA! down into the sword his AUDA swings OFFICER. QUICK EXTREME CLOSE SHOT - ANGLING UP POV TURKISH 44·.0

slowly. he turns him,

upon A shadow falls hand. with the other his wrist gripping pistol, holds up the now weeping, THE TURKISH OFFICER BIG CLOSE UP:

enemy in danger. to warn his poor made with himself

he has of the bargain It is not part LAWRENCE. BIG CLOSE UP:

-··-_j

picture? your if I take All right 0 (looking up) BENTLEY

J.-·,,. ''-•~ thief. of a sort you're He thinks \ looking down) LAWRENCE adds, as put out bita: who is not 9 BiNTLEY helped by again~ age (he is mounting the wreck- his virtue. will steal things these He thinks .... ',_ camera) other BENTLEY' s (he taps old-fashioned. a bit Auda? · He's LAWRENCE

company you keep. Charming of his instrument) the wreckage (regarding BENTLEY

··..'- again.

of looting rising The noise and laughter. approval amidst goes, And

quickly. very using up your nine lives You are AUDA

reproof: and

admiration with a blend of affection, shoulder~ a hand on his lowering to LAWRENCE, he says corrected, has he boy whose manners standing by- a small though he were as his mi.nd BENTLEY from dismissing

,O

and then buffer, the carriage against the camera AUDA shatters

Yes ... (innocently) BENTLEY

Did you take his picture? (translating) LAWRENCE ( ~o Eh? BENTLEY

Am I in this? (to BENTLEY) AUDA

Continued 45

, r~-

C

CUT TO "-----···'! \ ( ·-, ' we climax its reaches As the adulation ous the better. L·

incongru- The more etc. etc. pearl, of inlaid with mother screen fire a papiermache bottles, water with folded legs? table a card saddles,

a sewing machine, blankets, army of tinned food, boxes of'-kerosene,

drums a phonograph, tools, a box of carpenter's oil lamps, tackles, and blocks cocoons, tied in clattering kettles rackets, tennis piping, of metal lengths rolls, and haberdashers' bundles in billowing u of silk lengths of new white rope, coils cane chairs, small as: items They have such and they join in the adulation. as LAWRENCE passes triumphantly of loot, or items up and shake rifles BEDOUIN hold train,

All along the them. being tipped from are wooden crates pliμn

open and have been broken compartments Luggage of any value.

ii ; and baggage which is of clothing of any items relieved are and dead,

living without exception, All the PASSENGERS, dead or wounded. the though fleetingly, clearly we see compartment Class the Third

TRACKING PAST heads. over their the rack from coats cavalry

their up and removes reaches one arm a bundle of clothing under

A BEDOUIN with upright. riddled windows as they died, behind sit TWO TURKISH STAFF OFFICERS the loot. collect and eagerly by The BEDOUIN stand customs. other countries - other importance

and outraged surprise of comic be a minimum let there a cheroot; smoking calmly indeed the one in shirt-tails dignity, their preserve

\__) .·

three let these in his shirt-tails;· one already breeches, their-8-~ with must part of CAVALRY OFFICERS A trio and shoes. coats of themselves PARENTS quickly disrobing with their CHILDREN of a pair PASSENGE,RS, including well dressed glimpse: thus We along with him. rolls of acclamation a mounting roar carriages)

(lightly leaping the gaps between the coupled along the wreck swiftly him so that as he moves look up and herald off, break them they

approaches his 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 is feet, sandalled and the CAMERA TRACKS his swiftly pacing

along the length of the wreck to walk swiftly LAWRENCE commences

walk. Just 0. K. (technical) BENTLEY 0

All right. shrugs) down, looking (hesitates, LAWRENCE

Continued 45

Colonel. payment.~ It is their . ..,./ \~ \ ' (explanatory) Auda. to I would not say that (softly) ALI

thieves. makes theft And theft~ It's BRIGHTON U .

• . • • customary It is discomforted) (a little ALI

got to stop! looting has This ·. f BRIGHTON

is dark. face BRIGHTON's watching. car, armoured the other by of the dune BRIGHTON and ALI stand CLOSE SHOT - on the crest51

upon. fallen is and bags) falls Gladstone

cases, (trunks, luggage of passengers' showera: van - and

- it is the luggage within open from is burst a double door moment

And at that to the job in hand. attention their return go, hero their

the BEDOUIN seeing side of the train - On the other ·sHOT MEDIUM 50

to descend. and prepares acknowledgment of decent

gesture a little LAWRENCE makes on it. cross and red white circle box with the loot) an olive-green up their holdin:g {like the BEDOUIN holds up by the DRIVER an NCO who, In front FARRAJ. In the rear,

up by the train • draws cars armcured MEDIUM SHOT - One of the 49.o

operates. The shutter

my baby. that's ••• Yes sir TRACK) ► o on SOUND satisfaction with dry (murmuring BENTLEY

camera. in BENTLEY's "caught" pose natural

magnificent a his walk) he started seen of him since shot we have 0

down (this is the first and looks MEDIUM SHOT - LAWRENCE stops48

Lawrence~ Major BENTLEY C raised: his camera urgently, Calls ARABS. few are (~

there where of the train side on the far MEDIUM SHOT - BENTLEY47

II-18 •

--~' ..

,:o

hundred~ than two - less you have left d'you know how many men Lawrence~ Look, .)____ \. ) ( ...... -·- :- 1· BRIGHTON

discreetly: says, and close BRIGHTON draws

Aurens. year, Not this ALI

Will they? bac.k. come they'll He says BRIGHTON

BRIGHTON. 1ollows ALI

come back. They'll (mildly) LAWRENCE

of. last seen the you've lot another That's Well. BRIGHTON

shortly: BRIGHTON says

but the DESERTERS, his gaze from takes LAWRENCE quickly and up BRIGHTON flounders seriously. them, looking after

LAWRENCE is up. drives car armoured CLOSE SHOT - The other 53

the open desert. away towards is riding well laden with loot, of camels, caravan A MEDIUM LONG SHOT -52

of the LOOTERS. in the direction angrily, BRIGHTON looks off

to. not free They are ALI

paid! been go home when they've They don't BRIGHTON ( paid? soldiers not British Are Truly. · (innocent) 0 ALI

Payment. (contemptuous) BRIGHTON

Continued51

-( . -. -···--··- ..

j

line of the front Becomingaware very quiet in the fine white room. It is apprehensively. a little suitj The Admin COLONEL follows

at the GENERAL. sharply and glances his weight irritably shifts

COLONEL at once the frontline but them see wall map when we first at the looking All are one Admin. one is frontline two COLONELS, the Of white hair. and cropped fare benign and dignified who has a

COLONELS and a MAJOR-GENERAL, two Turkish stand distance a At 55

of: reactions

to see the curiosity with calm and looks turns He such already. many are there We see that railways. the on one of a cross makes he carefully on the photograph writing at the glance confirmatory last With a crayon. red a thick he takes of this the surface and from desk big ornate a him is before him, The wall map is behind or rage.

i

of excitement he is not in a state deliberately; moves He railways.

) II

"Arabian wall map of large a to the information pace to transfer a and moves writing tha MAJOR who looks up from Turkish a It is 54

of BRIGHTON faces troubled The unresponding away. roars car The

with a golden bullee

\

They can only kill me ·· you know? Didn't he adds) ously, not portenu- 1 miscm.ef of sheer (in the spirit at all. Not "hurt" LAWRENCE

badly? hurt You 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

Continued 53

and laughs. back his head in admiration BENTLEY throws

( I have a country. when. 9 that you I 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, against at ease

BENTLEY, or "Latin". one might say "Geometry", as this says He

Politics. I ALI ii 1 i this? from learning, you What are · : : : BENTLEY I I

again. to learn I have set myself children. It is for ALI

glance upon him. uncomfortable ;slightly but stern finds ALI's up, BENTLEY looks

And so on. And how has it come about?" mean? What does this has 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 SHOT 58 :o

a book curiously. BENTLEY regards a wheel, leaning against

Within, shelters. many other with Wadi, of a dry glimpses closes

in the wind dis- spasmodically heaving, flap, The cars. armoured

one of the against made lean-to, bivouac,a MEDIUM SHOT - Inside 57

r<:o shut. slams drawer The the railways. against

campaign of Lawrence's results the depicting photographs similar

half full of other is already The drawer EXTREME CLOSE SHOT. 56A.

without looking. still 0

in it, the photograph He tosses in the desk. flat drawer large a opens without looking at it, them, regarding still The MAJOR, 56

shrug. patrician faint, in a his shoulders and raises

look him an inexpressive the GENERAL returns glance, COLONEL's ,'-...)

'-···' 1.0 \ Continued 55 / ,___.....}

11-21

Fine. LAWRENCE

How's the hurt? BENTLEY

down. himself le>

and plumps BENTLEY who enters holding the flap for FARRAJ goes,

I / All right. LAWRENCE

The man. FARRAJ

hastily: flap and says

the through FARRAJ pops head and shoulders merely. and plaster lint for is now a matter wound His white. all very trousers, camel a vest and He wears is a map. his feet At on an idea. focussed his eyes His head is back, of a teacher. in the attitude cross-legged

LAWRENCE sits yellow wool, unbleached of tent In a smaller59

I have a good teacher. and respectfully) (gravely ALI

quickly. learn You agreeably) and says, (he hands back the book, politics. that's I

anything; without saying You 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 between of this egoism At the superhuman

going to give it to them. '\._ i I'm Bentley. Mr. it, going to get They're LAWRENCE

vehemently.

and looks at him at this "freezes" LAWRENCE BENTLEY, by Unseen

minute. every one born There'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 from people do these in your opinion, ·what, One: BENTLEY ea

clean. virginally

should be by contrast LAWRENCE is wearing Whatever and a shave. both a haircut he needs his skin chapped, and frayed, greasy become have clothes his not stood up at all well to the campaigning: has BENTLEY see that we should sequence, in this Also, scrupulosity. ,O destructive by LAWRENCE's as BENTLEY is fascinated principle from freedom and absolute BENTLEY' s intelligence for respect of We should see that LAWRENCE has a sort BENTLEY chuckles.

Bentley. Mr. straight, question you put a to hear I'd be interested at him) (grins LAWRENCE

straight? to you, questions

may I put two glad to do, be very shall which I to the fleshpots, I return Before pocket) breast his from many pencils and one of a side pocket (tugging his notebook from BENTLEY Continued 59

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 perhaps dulums.iO

clock with swinging pen- a station He carries boisterously. enters,

AUDA also. is now there BRIGHTON car shelter. In the armoured60

thoughtful:

and he says in a voice that is dispassionate Instead, 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 with figure LAWRENCE looks·the disreputable

to the desert? you personally that attracts Lawrence, Major What is it, manner firmly) his professional (he regains C. I was going to ask ... well ... Oh .•.

flummoxed. and shuts it again, LAWRENCE's poisonous regard (J Continued59

r---

,l .

\-_.) coming out of engine. STEAM starts NEST in background. I,.·-\ LONGER SHOT OF LOCKED WHEELS with FRONT MACHINE GUN 62

around. HORSES stumbling 61g

WHEELS LOCKING AND STARTING TO SKID. 61f

on brakes. ENGINE DRIVER jamming 61eC.s./

to explosion. gunners REACTION OF machine 61d

EXPLOSION goes off ahead. test)

than higher slightly (Camera low camera. RAILS coming towards 61c

it)

in background). is visible train

so that the shot on a curve this (Try to arrange of engine. in front car fiat FRONT MACHINE GUN NEST on MEDIUM CLOSE SHOT. 61b

Rig sun cover). (,

Gunners- Machine amongst of boredom sense (A slight foreground. GUNNERS in MACffiNE with of train top rear From LONG SHOT. 61a

angle. into reverse with STALLION and panning horses Disclosing OPENING SHOT. 61

lion. of a hungry nobility And his face has the mindless

honourable. something find I must out 'Righton. is running The year Yes.

Then he BRIGHTON carefully. his head and considers AUDA raises

Honourable! BRIGHTON

honourable. 1·must find something C

on his "bed". lies lie C

Trash. (cont) AUDA

him. the clock from tosses lie brooding. dark

by one of and is replaced his face goes from of pleasure pression The ex- stops. Then the movement happily, the fingers He spins

ll-25 Continued 60

i ---·-·----· r----------

··------·-··---'!;

..;....- ,1

to what they see. whinnying and reacting LINE OF HORSES in train, CLOSE SHOT. 64e

down dunes. HORSEMEN tearing MEDIUM SHOT. 64d

unimpressed. BRIGHTON watching CLOSE SHOT. 64c 0

looks up grinning.

LAWRENCE on all sides. them past etc - HORSES LEGS rushing plunger collecting LAWRENCE and FARRAJ on ground CLOSE SHOT. 64b

on sand. light verey of Shadow sides. all on dunes from appearing HORSES · of picture. TRAIN in centre LONG SHOT. EXTREME 64a

out of picture. and moves looking up at the sky - he yells background is in horsemen stationary AUDA with some BIG CLOSE SHOT. 64

in the sky. VEREY LIGHT exploding MEDIUM SHOT. 63g

opens Top of turret firing. CAR stops background.

TRAIN in in foreground; CAR FIRST ARMOURED LONG SHOT. 63e

HORSES PANICKING. CLOSE SHOT. 63d

FffiING. ARMOURED CAR MACHINE GUN CLOSE SHOT. 63b

in foreground. - or possibly in background off train leaping with MACHINE GUNNERS to gunfire HORSES reacting MEDIUM SHOT. 63a',ff)

opens fire. the ARMOURED CAR The TRAIN stops, of picture. in foreground to a halt with ARMOURED CAR THE TRAIN skidding LONG SHOT. 63

- but not backwards. beginning to look round left and right

and crater GUNNERS watching MAClllNE FRONT SHOT. CLOSE 62c

background. from PIT nearing

with EXPLOSION of picture FRONT MACHINE GUNNERS in foreground 62b

c--- 10 i~ : balance. their PANICKING HORSES regaining 62a

ll-26

] j°

up to the ARMOURED CARS with the TRAIN in the background.

his STALLION AUDA as he leads with CAMERA PANS MEDIUM SHOT. 67e 'I

,, , I J .. l,,, :1 ALI at the back. \ ,.-· :1 ARMOURED CAR. of first turret i.n still BRIGHTON CLOSE SHOT. 67d- I

car.

armoured of second on back LAWRENCE and FARRAJ CLOSE SHOT. 67 c

] to a standstill. ARMOURED CARS drawing CLOSE SHOT. 67bI iO him back. and turns the lead rope the STALLION by and takes them through with HORSES as he rides

filled completely the screen with AUDA CLOSE PANNING SHOT, 67a

them. encircling of AUDA's horses semi-circle and showing the train leaving of horses With rows LONG SHOT. 67

out of picture. and moving AUDA laughing BIG CLOSE SHOT. 66h

HORSES CLOSE SHOT. 66g

BIG CLOSE SHOT AUDA 66f

train. fron;i HORSES jumping CLOSE SHOT. 66e

than 66b) (Closer CLOSE SHOT AUDA watchi.ng. 66d

the train. from jumping Horses CLOSE SHOT. 66c

watching. AUDA ... CLOSE SHOT. 66b

t()

train. to jump from (MASTER) HORSES beginning LONG SHOT. 66a

legs. of horses' line and disclosing down into picture, wagon falling of the The side CLOSE SHOT. 66

TIE ROPES being undone. 65d with with Horses THE BACKGROUND filled 65c CLOSE SHOTS THREE '65b

to undo ropes. and start side either from

up - HORSEMEN gallop down on the train Looking MEDIUM SHOT. 65a

dune. behind ARMOURED CAR appears SECOND to move foreward. FIRST ARMOURED CAR begins the train. reaching of AUDA's men are The first background.

in train FIRST ARMOURED CAR in foreground, MEDIUM SHOT. 65

reacting. in background horses other with STALLION CLOSE SHOT. 64g

home! will go want Y£_u y:ou ve got whatWhen you

BRIGHTON) to (encouragingly - - will go home! he wants, he got what has When Aurens on the knee) affectionately ,(; LAWRENCE (he pats course. Of AUDA

not angry. .c but is as yet puzzled, is wrong, that something to see begins AUDA

it? is that going home; so you 're ve got what you wanted,But you

winter. this campaign will Lawr.ence Major BRIGHTON : '·

mate. form and AUDA an erring prefect

a school if he were for his own safety than fear doubt and no more with no more He will take AUDA to task to his feet. BRIGHTON rises

... do you see too, my toys, carry They will

with laughter) (he roars my toys! carry They will satisfaction} deep with breathing again back turns the scene, in and takes (he turns Oh, now I go home! AUDA

And what will t2,_udo? (hosti.le) BRIGHTON

on AUDA remains

his attention one another; to understand own modes too fixed in their'(() each AUDA and BRIGHTON are knowing that in the discussion part no He takes self pity upon AUDA. and without but keenly wistfully isfixed attention on, his this point From down at his feet. and looks

i

little a smiles LAWRENCE merely words: At AUDA's the train.,· away along drawing booty, chaotic Behind AUDA is his is addressing.

and LAWRENCE whom AUDA FARRAJ ALI, BRIGHTON, on which are

or in cars, by one of the armoured MEDIUM SHOT - He is standing 69

AUDA C

He is in ecstasy. into CAMERA. He turns CLOSE SHOT - .AUDA.68

___J_ I

)•___-.... \ :I

car. in the armoured the group by watched away, He rides ··\

•1'0 too! my toys carry will They 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 length been driven has whil e this0 which all booty his after He looks CLOSE SHOT - AUDA mounted.71

... wall to a brick Like talking BRIGHTON

BRIGHTON sits. quicldy. his horse, And he goes towards

blood. with a fool's myself I soil Before go Aurens. I must _AUDA , ';,· ,f.. rascal. impudent an You are BRIGHTON

tough. perhaps) sheepskin gear- desert and (in his forbidding, hard, cold, at AUDA, He look straight but he is affronted. outraged,

He is not comically and shoulders. head CLOSE SHOT - BRIGHTON, 70

face. he gave you a fool's he made you a fool, when that Brighton, to God, Give thanks

Then he his lips. and licks he blinks stiff, quite goes 's face AUDA

not a deserter. I'm Maybe. 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

Continued 69

•

) fitfully. pipe, a little

one blowing the wind, or crouc.h against dispiritedly, watch, Others

busy on the line. are FARRA.I LAWRENCE and SHOT. MEDIUM 74

and without purpose. _.../

slowly move or still, They stand animals. their OF BEDOUIN and a GROUP on and about the line, haphazardly Scattered of an Arab pipe. and fall rise ~melancholy and in the wind the moanjng, A wind horizon. the from approaching clouds dull grey landscape, a dull grey through gleaming stretches line A railway ✓N.DOV LONG SHOT - ANGLING 73

for BRIGHTON to hear: to him, says

and the engine, him towards propelling ·FARRA.I, a hand on He puts

in Jerusalem. he's before Deraa in ·be up or I' 11 Allenby to hurry Tell LAWRENCE

adds: slowly, more LAWRENCE following for him. and waits

it. take I' 11 where Then that!.s LAWRENCE

linger.

of his force the remnants where LAWRENCE looks along the train

behind Deraa Army" Allen by wanted the "Arab 0

{scoffing despair) BRIGHTON

wants? Allenby wha:t that Isn't ... go north I'll LAWRENCE

quietly. He speaks the car. from gear demolition to collect

He begins AUDA. the vanishing from his attention LAWRENCE tears (

- do? What can you So what will you do now? BRIGHTON

realised. are fears one whose worst

of satisfaction with the bitter and speaks BRIGHTON nods to himself0

AUDA. after steadily LAWRENCE looks THE GROUP. CLOSE SHOT.72

II-30

j ..'"'-. at: \, (

glances up the rear ALI bringing to the line. near behind a hump very

away and disappearing wandering THE RAIDERS are MEDIUM SHOT.82

.. my friend Hide yourself LAWRENCE

saying: them to MAJID, and hands box,

the red of tools, satchel waterproof a small of tape, roll coil of fuse, a together He collects them. LAWRENCE joins MEDIUM SHOT.81

· work.

goes on with his :·and I think) (EXTREME CLOSE SHOT of this, band into his waist- it he slips man, the explosives which marks dexterity and with that blend of carelessness then the plug to see that it fits, into it carefully slides detonators, half dozen gleaming the one of the box from FARRAJ takes go. and the MAN let's then they smile

both holding it, startled; face to face, a second they are so and for not the man but the box; he does FARRAJ is on his feet to secure

Swiftly, on the edge of a sleeper. Doing so his foot slips back. it it up and brings picks it, to over MAJID steps MEDIUM SHOT.80

of reach.

out on a sleeper wooden box lies red painted A small CLOSE SHOT.79

what he wants. sees

about and He looks plug. the inserts and with the other one hand, in bricks the secondary secure of the tape which will be used to both ends holds to the rail, brick taping the pilot He has finished

Aurens. Ya, (without excitement) FARRAJ

On visible. is barely of steam plume the EXTREME LONG SHOT - 77

( It is routine, even much excitement.

nor shows apprehension Neither him in frame. LAWRENCE joins softly. He grunts down the line. straight ALI looks CLOSE SHOT.76

him with grudgi.ng admiration. watches crouching, MAJID,

before. it done and has obviously confidently him but FARRAJ works

LAWRENCE watches tape). adhesive with gun cotton secured of charge

(a self-ope.rating the charge IT IS FARRAJ who fixes CLOSE SHOT.75

I.., ,..

ji ···\..,,.

_)

is nearer. train The blows.. The wind ALI watches. him and the hump where between is the stony landscape ,RENCE sees

All that LAW- not appear. does But FARRAJ the wind. of the noise

_/__-

under a thud, - a bang, not sure are - we - do we hear? We hear into the ditch. half falling, slght, from awkwardly FARRAJ plunges

another. Fetch of time. plenty There's (kindly impatience) LAWRENCE

I ... Aurens. Pardon, FARRAJ

turns. he the hump and the ditch; the line towards crosses FARRAJ

fetch another. All right, and reassuring) (calmly, LAWRENCE

-n The TRAIN NOISE. .. guilty again, irritated, his waistband to search to his feet and begins He rises for its loss. responsible the more

as effective, and less urgent FARRAJ the more for the detonator, the ballast searching LAWRENCE AND FARRAJ are CLOSE SHOT. 87

the train. ''puff, puff" of time the distant for the first and we hear silence,

to him sharply ALI hisses fitfully. continues, The PIPER watch.

Only ALI is. keeping of his mount. lee in the crouches n1an but each

necessarily, is tension, There for an attack. not poised RAIDERS are the This time, behind the hump. arrives MAJID MEDIUM SHOT. 86

further.

and searches embarrassedly who smiles and back at FARRAJ, the line, to look down still. crouching, turns, ,vRENCELA He looks worried. for the detonator. and feels into his waistband his fingers slips FARRAJ

Detonator. LAWRENCE

· no urgency. Still bricks. taping the secondary finished has FARRAJ, LAWRENCE, having taken over from CLOSE SHOT. 850

side. other the scaling before into which he disappears

ditch We see that to do so he must plunge into a steep the others.

FARRAJ and LAWRENCE to follow MAJID leaves CLOSE SHOT. 84

distance. great still noise at its no 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. conspicuous charge unprimed The QUICK .CLOSE SHOT.94-··-'\ • I •

/.. ouL dies and the singing of metal

with a scream braking WE HEAR THE TRAIN, now near, him. towards

ALI AND MAJID look blow in the face. a great by as though hurled

He rises him. LAWRENCE goes down beside time. see for the first which we garments the blood soaked stomach the BOY's from He lifts

Look.: Aurens, He cannot ride MAJID

the BOY. MAJID looks up from the ditch and run.

of up the side THE TWO BEDOUIN scramble QUICK MEDIUM SHOT. 93.

The singing nearer.

horrifed. heads, their LAWRENCE AND ALI turn CLOSE SHOT. Q.UICK 92

alarmed.

faces their They turn This penetrates. singing. OF TROOPS, the SOUND NOISES we hear TRAIN Mingling with the BOY. fallen the MAJID and the TWO BEDOUIN obscure MEDIUM CLOSE SHOT.91

to where: swiftly LAWRENCE turns is much nearer. noise train The

... A detonator Detonator. LAWRENCE

What happened? (horrified) 0 ALI

LAWRNECE ALI AND TWO SHOT.90

what they see. by arrested and are side the other into the ditch from themselves ALI and TWO BEDOUIN hurl MAJID, face as stricken his raises him; down beside LAWRENCE plunges QUICK CLOSE SHOT.89

his mouth opens wide. His eye glare; ditch.

of the on his back at the bottom is FARRAJ QUICK CLOSE SHOT.88

Farraj! (sharply) ? ... Farraj LAWRENCE

Continued 87

•

:o

The wind moans. load. soap among its c,f which has a net bag camel,

s FARRAJ LAWRENCE leads BEDOUIN who look morose. remaining')_____ \I

of the ahead LAWRENCE and ALI ride MEDIUM TRACKING SHOT. 101··-,.\ .,.

1'-·· :,,- DISSOLVE

· fragmented.

his face them, after and runs the ditch from LAWRENCE scrambles I

:U and run. the ditch of up the side they streak out, I

crashes the pistol turn, away, ALI AND MAJID wince MEDIUM SHOT. 100I

·I I eyes. his not close do-es but away his head He turns

God will give you peace. ,_: j' kindly) (prompting FARRAJ.

closer. draw SOUND TRACK the shouts On He cannot do it. \ ◄ him for me. Salute LAWRENCE

with you. Daud will be angry FARRAJ

go. and lets smiles

Then he instinctively. his wrist clutches FARRAJ head. FARRAJ's towards the pistol brings LAWRENCE stealthily the TURKS. from orders Shouted by FARRAJ. LAWRENCE kneels CLOSE SHOT. 99

MUSIC LOW. on the pistol. himself LAWRENCE hurls CLOSE SHOT. 98

scream. a end in which must rhythm rising

with a rapidly and more to come more begins breathing FARRAJ's

'<O FARRAJ. away from his head and rises shakes comprehendingly, smiles at the pistol, MAJID looks CLOSE SHOT.97

will do. you know what they If they take him alive, ALI

him at a loss. seen we have time It is the first about wildly. he looks·G

··_../ I

but ALI AND MAJID look to LAWRENCE In the ditch. MEDIUM SHOT.95(J

- r---

face. with a grave ALLENBY, ) \_ he hands them to When he concludes, reports. sheaf of official ·-.,

of a the last through is Jabouring elbow, his of whisky and soda at

C and also has a glass flung his Sam Browne on the back of his chair, BRIGHTON, who has triste. little thoughtful and a looks unusually

he in place fi'rmly ma.skis BRIGHTON and though the professional regarding He is silently tumbler. a whisky and soda in a large swills and he shawl thrown over his shoulders, ALLENBY has a light plaid scene. hwiting with an Olde English December calendarproclaims0 Life the Country ALLENBY, mantlepiGcfi)by On the the grate. in is a fire and there we have seen them spinning) before (whereas motionless fans are The lit. are and cosy lamps It is night time

one of which BRIGHTON is sitting. i.n chairs and a few upholstered which ALLENBY leans, against to the CAMERA a fireplace nearer

and desk and chair, a working end, at the far room with, A spacious in Cairo. apartments private ALLENBY's Interior MEDIUM SHOT. 103

to ALI and He turns cracks. mask LAWRENCE's CLOSE SHOT. 102 -ec

l.\ in going on. purpose is any there in his mind as to whether exercised see that ALI is genuinely We must

With twenty?

ALI

•,•-........-~..., .. ,_.. ,,..... , . ..

for a beat or two. ALI jogs on in silence

Go north. LAWRENCE

flatly. and answers his throat clears LAWRENCE

now? What will you do, ALI Q

as these: stances

such circum- even under which cannot brook postponement a question

as one who has with much sympathy, looks at him again and says,

He of it. better thinks is about t.o speak, CE, ALI looks al LAWREN

- .. 'C n Continued 101

11-35

(

Good God! BRIGHTON

i 1.,.,.,.-.·•' \ pounds for him . twenty-thousand \ ( "" .. offering They're it. believe the Turks I bel i.eved it and is: What matters curious. I'm just ... matter Doesn't -(reassuring) ALLENBY

CIDEF. by the mood of his He 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 ... army Feisal's Prince It'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". '~rab is an Then there ALLENBY

done . to have done anything he hasn't0 claim He doesn't ... sir yes and no, Well, BRIGHTON

sir. so many men, one-tenth He hasn't BRIGHTON

Continued 103

sir. know, I wouldn't (uneasy)

TRACK) (On SOUND BRIGHTON

/" __ \.,. ' ( in it. crack sounding a harsh has his voice And again

it? isn't poetry, That's with it". we will blow up trains and "Send us an Aurens behind Damascus; old beggar some from had a letter Dryden a kind of machine. he's think to They seem ;_)

back as he goes:

calling with him, the paper taking desk away to the working He walks

They do or he does? (harshly) ALLENBY

kind of prophet. some They think he's sir. be surprised, Shouldn't BRIGHTON

come back to him? they Will what about next year? Well,

indulgence. off an improper of one who breaks with the air brisldy He turns

... me much for that offer if they'd I wonder

(brooding) ... guts lack he doesn't men, fifty with North, going still . . . If he's surely Oh surely, impatiently) rather (interrupting ALLENBY

I he ... sir, else Whatever (impulsively) BRIGHTON (

you? 0 long to live would say he'd Shouldn't Yes. toe) with his at the fire idly CLOSE SHOT - prods away - and (turns ALLENBY

Continued 103

0 II-37

C

at which: a light flickers,

some aperture ln but hump of stone, than a grotesque It is nothing more of El-Jamal. of the ruins make out the silhouette we gradually snow,

Moving through the wind. is a shrieking and ON SOUND TRACK there

snow is full of driving The screen Night. EXTERIOR. LONG SHOT. 106

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 things aff of (with a sudden rush ALLENBY

chief. be in time with his ta the effort with

creased innocent face, BRIGHTON, his care-worn, CLOSE SHOT. 104

sir. Don't quite follow, BRlGHTON

poems. Not lies, down) them throwing before (he wags the papers are. what these And that's ALLENBY

Continued 103

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? may Now (quietly) ALI

· on a cloth. .hands wiping his task, from his LAWRENCE straightens and there. ·.here in snow spurt of

in spite of which flurries grass· earth; been stuffed with bits of rag,

in the walls have Cracks ALI looks about, patiently. waiting for him.

LAWRENCE knows ALI is which we have before seen only incipient. sober independence of LAWRENCE a standing - in other words it shows by caution and under- anger tempered his face shows a distinct him,

watches smoking a cheroot, also in undress, MEDIUM SHOT - ALI, 109

keeps them effective. control his movements; of

speed merel·. the· in• is revealed Nervousness nervousness. controlled He works with a to dry before a fire. sticks, of framework improvised

his newly washed white robes over a carefully is arranging warmth, torn grey blanket for a in CLOSE SHOT - LAWRENCE, wrapped 108

is lying on a clean slab of stone... le,'

of yellow soap bars One of the EXTREME CLOSE SHOT - Interior. 107) (

,---·~

ll-39

C

-.~...:...----..-..~----...lol.....ll....&....~ ·-·- - ---------- .

,.) ir

wall. the interior a broken opening in backing from ALI towards the cloth, He drops i(. that if you don't ... l{now . they all.

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.

in up personality ··whole s LAWRENCE' face inustnow and weakness and

him at the mingled root of his strength ALI has challenged Unwittingly, •· friend) on his turned pale face is still but his set, hands his on wip:ing of going a pretence makes he ... right ! .. That's (ight That's LAWRENCE

· speech. s A.LI' of to the last phrase He nods affirmatively from ALI' s. ignites . - distress, more personal because racking, own much more s LAWRENCE'

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 excited urgently 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 taps reasonably ALI nods, .

I do not include the others.( LAWRENCE <D

.. I do not include myself ALI

plane of emotion.

on the answered argument man who finds his logical_a of the irritation with responds ALI 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 English Because

if I have to. I'll go by myself LAWRENCE

_against two thousand? Wi.ll you take twenty is garrisoned. Deraa HARITH ELDER

it. of his intention and discussed heard evidently they have take them by surprise; not does This suggestion

Who will come with me to Deraa? LAWRENCE

tone. in a quiet and reasonable

his question · fashion and repeats leisurely the doorway in a deliberately against LAWRENCE leans throughout. his rifle except that MAJID cleans and immobile closely most All follow the ensuing debate veterans.. defeated grimj· They look both wild and and sheepskins. :saddles their

about the room among in undress seated themselves The BEDOUIN dry.

to of the BEDOUIN hanging on cords sodden robes the fire, charcoal·.

with a room of the Fort A small MEDIUM SHOT - what he sees. 111

reasonable. ~ at any rate

own way he must that to get his He realises cautious. alert; becomes He His ·expression. changes. than he supposed. critical is more that the situation the doorway and looking in he realises But reaching·:Q

with me? who will walk on water My.friends,

of fear: (

undemote warm and confident with an unconscious in a voice ostensibly

from him:towards the opening and calls he turns Before ALI can reply,

Do you? Ali? anybody, D'you think I'm just ... LAWRENCE (cont)

Continued 110

and goes) (he turns

· . . . argue.. . . . while the Arabs into Deraa

I will take the Arab Revolt afternoon, 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 wilLleave seems It shocked. LAWRENCE is profoundly ·

Generals? for the English here you are Or perhaps (softly) MAJID

so. It begins to seem (cheerfully) LAWRENCE

They avoid his eyes. round slowly. CLOSE SHOT - LAWRENCE looks 112( I you the Arab Revolt? And are 0 persists) he bμt LAWRENCE look at (he can't MAJID

Continued 111

talk. LAWRENCE slowly moving into it as they it, 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~s his (casting ALI :o

to announce myself. Some way LAWRENCE

for? looking yot;t What are Madness! ALI

i '

grins. LAWRENCE - CLOSE SHOT 115

ALI and LAWRENCE. They are to leap for safety. the roadhas on the crown of arrogantly other wal,l,the One walks by the it. into

FIGURES turn TWO DISREPUTABLE the end of the street, we reach before Just the viewpoint of the BEY. from street down this We travel away. and speeds into it in the foreground a corner turns The staff car 1 · in DERAA - LONG SHOT - ANGLING DOWN. street A desert 114

CUT TO

and conscious. cultivated, alciof,. face is ascetic,

His type. similar but of very man than LAWRENCE, older an He is salaaming. people respectfully side, flash by on either Buildings

of Deraa. swiftly through the streets in his open staff car driven

i

is being idol, an as motionless CLOSE SHOT - THE TURKISH BEY, 113

I i CUT

clothes! If one of you will lend me some dirty at them) and hisses doorway into the returns {he Yes. (calling back) 0 LAWRENCE

Arab town? Arab in an an for Can you pass Aurens! MAJID C /. . , I

I

ll-43

friendly) very nearly knowing, harmless, grins Their 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 stops 118

And you! !~:, '

PRIVATE. the other SHOT - behind him we see the SERGEANT coming up with MEDIUMl 117

You! n TURKISH SOLDIER

and he is spun about. shoulder his upon CLOSE SHOT - A hand is placed 116

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! come At least ·

LAWRENCE walks on.

Do you not see how they look at you? (urgent) ALI () j ____ ,i~ Continued 115

:Jo I

You have blue eyes. BEY

closer. behind him move a little

·TWO The The BEY walks up to LAWRENCE. the wall. against three AND FIVE TURKISH SOLDIERS, two behind LAWRENCE, they stand where one another LAWRENCE and the BEY confronting leaving the room, from hustled THREE are Like light the other !O

You. BEY

and turns. stops he

table his But half way back to awkwardly. away and the BEY turns man,

by the evil in the frightened flinches, LAWRENCE microscopically LAWRENCE and before He pauses on. quickly BEY passes the and

smile a nervous assays CLERK The LEBANESE CLERK carefully. the He considers pausing. hardly on, and he passes animals, diseased

for hopelessly rone feels disgust of horrified each evoke the sort The TWO FILTHY SYRIANS his response. register faintly features and his controlled each man, before fraction.ally He pauses him to.

inured which habit had not quite duty to perform, had some distasteful as though he wistful, almost and is indeed dignified nor even insulting, is not truculant, His attitude them. MEDIUM SHOT - The BEY inspects 124

quartette. the

.. to inspect round the table and walks He rises to them. matter laughing

we see that he is no to attention and stiffen faces their from the grins

· wipei the way in which the SOLDIERS and from burning, are the eyes

lo

which in face his melancholy SHOT - Suddenly the BEY raises MEDIUM123

I

~ fully.

and fear- uncomprehending this, CLOSE SHOT - LAWRENCE observes122

back of the BEY. •e over the motionless sly grins CLOSE SHOT - The TURKS exchange121

All wait.

SOLDIERS. TURKISH other .1 stand side and behind them At either ability. of respect- remnants LEBANESE CLERK with the last SPECTACLED

C

a and the depths from RAGGAMUFFINS, absolutely TWO SYRIAN LAWRENCE, are Facing the table commander. immaculate from their of creature species they might be some different at attention; the room about stand:: COMMON SOLDIERS of A number of desp·air. an attitude in

motionless hands, window, with his face in his long and sensitive at'the BEY is sitting The: sky beyond the window. sunset beautiful calmly.... fc

In

a lit, lamps INTERIOR the working room of the BEY' s apartment, 120

i

again. minutely and is still His face twitches

face from a sow' s belly. an interesting He wouldn't know by cattle. I am surrounded BEY

of his own. crisis a.bsorbed in some inner emotional alone~ he is talking for himself

but has a whine to it, ·a1most His 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. _not he is an object,

To the BEY bother. He need not smile. an ingratiating He 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\,.- Continued 124 ) ' (,,\ !

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, stripping unwraps his parcel, The BEY be needed.. as men who will presently from the wall a little,

The THREE OTHERS stand away the TWO TURKS who grasp his arms.

mto back instinctively LAWRENCE starts the waist. to, shoulder_the from LAWRENCE's garment rips as a man opening a parcel, much very and, out, he reaches over Before it is quite -fist. left gloved

politely behind his of coughing which he screens fit quiet a has He

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 :first the Eor been too quick. has He

No, Effendi. LAWRENCE

about, have you?

idea what I'm talking You haven't the least smile) (A faint dreamy isolated. side of the moon I could not be more ... BEY (Cont)

Continued 124 ·

Their the BEY' s desk. cane from plain up a the SERGEANT picks while room, of the to the centre wall the draw a wooden bench from)__\

The SOLDIERS doorway. this WIDE ANGLE MEDIUM SHOT from 132,-~----... , C we have failed.) swamped simply

is of the audience so that the understanding top" the over "goes If it to the sequence. entry a nerve-storming as against ritualistic a somewhat for advocating That is my reason its point. make will"not that it is, that else, nothing; that it will be seen as is a danger thereC is violence; of the incident The material (ABOUT WHAT FOLLOWS:

it ajar.

leaving carefully he has landed, where a door near He goes through

Beat him. BEY

clearly: very then says of going, verg,e on the

he hesitates, and d.ntroverted; controlled agam is his face but pain, in anq. hard. he is breathing CLOSE SHOT - THE BEY getting to his feet; 131if)

• into LAWRENCE' s face. his fist dashes SHOT - THE SERGEANT FLASH 130

onto his back. SHOT - THE BEY flies FL.ASH 129

the BEY in the groin. out and kicks FLASH SHOT - ·LAWRENCE lashes 128

THE TURKS.· QUICK CLOSE SHOT - 127

THE BEY. ~ QUICK CLOSE SHOT' 126 Q. - LAWRENCE . SHOI' QUICK CLOSE 125

fair~ skin is very Your BEY

it. to kneed begins thumb and finger ~between muscle LAWRENCE' s pectoral glove and taking his right He 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 deserter you are Yes, BEY

Continued 124

II-48

_l.....

'- with alarm. and almost at the SERGEANT with surprise,'-.J ii CLOSE SHOT - the MAN .looks blankly at LAWRENCE and up again 142'·) ( !/ C and the MAN. between himself and contempt of superiority centuries putting several deliberately

very donnish, again, his eyebrows CLOSE SHOT - LAWRENCE raises 141

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 on against braced fee.t his on the floor facing him, and sits SOLDIER has his two wrists', It One LAWRENCE is.on the bench. MEDIUM SHOT - in profile.139

us •. meet ..bench comes up to the__CLOSE SHOT,138

him face downwaras. ~jerk and ankles and his· wrists - seize violence '(_:: - but no superfluous skill and some violence come and with technical

Four of them MEDIUM SHOT - the SERGEANT nods to the SOLDIERS.137

but complete:.confidence. resentment healthy a expressmgf his face hands, the edges with his gripping it, astride sits so that.he his shoulder, ee him at the end of it and presses One-handed he gently propels by him. SHOT - he looks again at LAWRENCE, now quite intrigued MEDIUM 136

Then: unnoticed by himself. hithertot. might be some flaw in it, th9ugh there as He looks at the cane before. encountered not he has experience, wide0

~ a in which, CLOSE SHOT - the SERGEANT is puzzled by a response 135

though at some piece of very bad manners. indifferenc~,as and at the SERGEANT a look of cold contempt and directs his eyebrows

He raises. thing as this. evil has dwindled to such a little . unidentified that is relieved in pain, SHOT - LAWRENCE the specialist eLOSE 134

- of that?" like the prospect

how do you "And say:.: as much as to half-smile, querying significant,

CLOSE SHOT - the SERGEANT shows the cane to LAWRENCE with a 133

called. greeting a going past, and cart barking,

dog a distant float through the window; everyday noises friendly..,

this sequence, and throughout not sinister; practical~ is attitude

Continued 132

moves. Nothing else of 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 street 152) , , I ·, '' ( I :c outraged). alarmed, (But NOT shocked, His face is blank. I'

now swiftly. but SHOT - he is walking away again CLOSE TRACKING 151

shot of ALI until: No "reaction" silence.

.... A single voice says one phrase a door shutting .... ... conversation

noise stops • . . a pause . . . Now the noise of heavy boots . . . muttered

and the Two more strokes SHOT - the door and window. MEDIUM 150

it and : hear can walks back until he

hesitates, his ears, straining he halts so soon as it is, inaudible, But

the sound diminishing. before him, CAMERA TRACKING street, more he moves away down the After two or three determinedly.

his hands then clasps restlessly, he unfolds his arms strokes or three ;two After folded. the wall with his arms against stoically ALI leans

widens into a small yard with stables. Opposite the doorway the street

perhaps. rear the street, in the narrow others like it is a house sky, in the evening flag which flutters Apart from a Turkish clea~ly. comes s torture wall through which the sound of LAWRENCE' in the blue-white rectahgle or~ge s working room is an The open window of the BEY' outside. ALI in the street dusky 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 alarm of surprise runt

is a tμere and stronger are reflexes. This time the cane 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 at the bucket empty. anciffuds knows to be full as a man will look who draws a bucket from a well which he puzzled, He looks at LAWRENCE again, CLOSE SHOT - the SOLDIER again.145

exactly as before. remains his expression reflexesr mere but these are his head, slightly raises and he down. LAWRENCE's eyes darken a little cane whistles ~

The EXTREME CLOSE SHOT UP INTO LAWRENCE'S FACE.144

I 1I the cane. his legs and raises braces 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 his over REVERSE SHOT - shooting 160 -,, - .1 p Sleep! (brusquely) ALI

him. over ALI stands fire. into a little staring on a rough bed, side, on his LAWRENCE lies Night. the fort. CLOSE SHOT - inside 159

is ALI The other motion of the beast. to the passively jerking

bundle of clothing shapeleSSL a MEDIUM SHOT - one of them is 158

a snowy landscape.

way through Two CAMEL RIDERS make their LONG SHOT - DAWN157

•:· He turns friend. by his himself CLOSE SHOT - ALI throws 156

and: footsteps soft running We hear settle. Snow flakes rubbish. the through hand dragging EXTREME CLOSE SHOT - his senseless 155

what they have done to him. downward~,

slides body as his them we see, after the door shuts before Just 0 heap. on the rubbish MEDIUM CLOSE SHOT - LAWRENCE lies 154

return. and ya:rd heavy which they pitch into the stable something out with in which four MEN stagger of light wedgeth~owi:J!g:a opens

the BEY' s room of The door the street..-down LONG SHOT POV ALI 153

to: directions) changeful of their equivocation

~the emphasizing with us, travels lines interlacing the;. in reflection

the moon's him, (CAMERA tracking them back across ALI moves

in the moonlight maze. a 'dark, the against light. shine now lines crossI :0 now fully night and the criss- again to ALI we see that it is Descending

ceases. out and the soft hiss gives the steam as blue dark

to red from up into the sky which changes the steam CAMERA follows

'>-..J 0 Continued 152 ' ( (\

II-51 I

I ' ► '•. (1

r--

Ali. I'm going, him) robe towards his draws he painfully, (crouching all right. learnt Dh I've C QuI~tly) (looks at him. LAWRENCE

Can you not learn? rest. Rest, ALI

impatience: With admiring an arm. ALI extends back the covers. He throws

right. were You better. Much LAWRENCE

Better? (pleased) ALI

:f; mildly. lJllnk:ing: behind his back, on his arms supported up in the "bed" his weight LAWRENCE: is sitting Night. The same. 163

mollified: ALI, begins to eat. and the billy takes word~, s ALr

to he attends properlY.; LAWRENCE responds time, first the For

men. like other body, a You have hisses) (he ..Eat! ALI

up the billy. picks by him, ALI crouches and exasperated,

Anxious response; no other makes slightly, LAWRENCE frowns

ALI

.. He puts it down and meat. rice o~ billy tin

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) may as as nearly the BEY thumb (SHOT to echoa.rid

between finger muscle his own pectoral LAWRENCE suddenly takes

it! You proved -ALI

I thought it was true. I.'.msorry. LAWRENCE iO

You said. " he wants. be whatever can man "A• - (immediate) ALI

Arab~ I'm not even an feeling) surface (with the first - Ali. Revolt, Arab not the rm (mild protest) LAWRENCE

Arab Revolt. And the end of the (harsh) ALI '··"' I suppose. myself. endrnf I've come to the · answers) truthful to give trying he is because

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 struggle commences s, of ALI' a fear We see that this confirms

Continued 163

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 you I am. I I would have told them who them anything. would have told I as well know. m~y You LAWRENCE

and are watching and listening, and: taking in the BEDOUIN who have filled the wall opening himself, braces

Stops,· in dressing. rfarther He gets a stage at him. stares -ALI

decides what he wants. This is the stuff that flesh again) own his 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 can and there's me; • . . That's pure white flesh) 0 of the fold releases (he is it? What colour me! That's Look. Ali. Look LAWRENCE

Continued 163

• 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 new strong But he is LAWRENCE. This touhhes

,1() no care for them? you Having led them here have And these? ALI

CLOSE TWO SHOT, the BEDOUINbehind. in see 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 picks won't answer. or and can't going he is }tnows ALI

being ••• a way of see I think I Look, Ali, to him) goes he face, troubled darkly s ALU (seeing.

Easy stages. Oh yes. LAWRENCE

you? ALI , 1C C.ontinued 163 j\.,._ i : ( I i~

II-55 J

j (

).... \ ,\ 'I ',.. ,· wave of the hand. by a friendly gesture.,, C( '

LAWRENCE'·, 2 PLAYERS acknowledge his foot, whiletheother ball under the The GOALKEEPER traps MEDIUM SHOT - the FOOTBALLERS. 168

(,TORDAN) JERUSALEM EXT.

which it came. from in the direction back neatly

it and kicks stops, He coming to a stop by his side. LAWRENCE, after and rolls into picture bounces the football salute their to return ab0t. LAWRENCE is As to attention. two BRITISH SENTRIES who spring by The gateway is guarded Q. H. to ALLENBY' S the main gateway :-

CAMERA towards walking away from :ls LAWRENCE MEDIUM SHOT. 167

LOCATION) (SEVILLE JERUSALEM HEADQUARTERS. · EXT.

continues. The band music him. them but they do not notice passes

at the FOOTBALLERS as he He smiles seen them. than we have ever).

relaxed more are and his features held awkwardly, are his shoulders although the scene, easily through walks He · is LAWRENCE. uniform Officer's in British We now see that the figure the pillars. between

at the GOALKEEPER ground are potting SOLDIERS on the parade

The up by hanging a rope between two pillars. rigged has been

A goal post with a football.- playing are and khaki trousers braces

shirts, .TH.REE SOLDIERS in collarless SHOT - TWO or MEDIDM . 166

baton and the band ornamented his with smartly DRUM MAJOR signals

The the open space. its way across makes uniform Officer's in British

a SMALL FIGURE .b~ckground the tin while foreground in the near

marchee: MAJOR led by a .DRUM The band, of Jerusalem. and minarets domef the ground beyond which are parade improvised An LONG SHOT. 165

of a MILITARY BAND at practice.· section the brass form

They in step blowing lustily. marching all of whom are some DOZEN, is one of BANDSMAN and that this uniform, in undress BANDSMAN an ARMY by blown in full blast, TUBA, as a itself away revealing draws The brass onto the SOUND TRACK. crashes music and brass brass shining with is filled the screen By way of answer UP: CLOSE· 164

--•......

11-56

()

behind. from eagerly

up to them LAWRENCE who runs see .th~y as They turn courtyard.

to an inner leading a gateway entering are correct, faces their

papers, carrying CLOSE SHOT - the SECRETARY and CAPTAIN, 171

Hey! LAWRENCE

up. lights LAWRENCE' s face SOUND TRACK. () on the upper-middle-class of the English tones the incredible

We hear side of the courtyard. the other towards of briskly makes as he to respond is too preoccupied men, of busy clerical manner in the but the SERGEANT, not sychophantic) (quite dignified, smile

nod and a brief into LAWRENCE who essays bumps He nearly

Right! SERGEANT

Bill. fives, P stroke And get me those (off) VOICE

· within. voice from a

by walk in his is arrested ear behind his pencil a SERGEANT with A of typewriters. a clatter releasing A door opens O." D.S. Smith, H. T. "Brigadier (Mechanized);' "Transport " area. Forward "Signals. occupants: and ordered secure their proclaiming with notices

PANS with LAWRENCE and we see doors CAl\iIERA The pastoral.

and most nostalgic its at theme to the English mutated has music The band it with a half smile. seen the look and acknowledges has

LAWRENCE reputation. a he has Evidently excitement. some

to him with of the other the attention him and draws recognises up, · - looks picture of in the foreground the CHESS PLAYERS - who are One of glance. at a that he is set apart strangeness, his inborn for

disguise inadequate is a totally that his uniform unaware them, to be among but pleased or pleadingly, wistfully not at them, looks-

he groups these LAWRENCE passes As C. O. 's in shirtsleeves. N..1(1) r by two and washed Royce being polished is a big Rolls is walking

which .LAWRENCE through the courtyard of In the centre laughter. behind it the sound of leaving indoors Another group vanishes book.

in a And individuEμ is absorbed chess. plays One pair greenery.

sit on the low wall among the of OFFICERS Small groups trees..0 and orange jasmin with pillars, open courtyard An LONG SHOT. 170

he does so. as. the two GRINNING SENTRIES saluting the gate through

and goes on the waves He returns MEDIUM SHOT - LAWRENCE. 169

,C H. G. (SEVILLE. LOCATION) JERUSALEM. EXT.

Il-57

I (

···-·-,-

i C

eyebrows. his raising SECRETARY glance, 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 purses modesty. but it is taken for false reputaticm; from his himself to disassociate attempt It is a misconceived

Where? .~' a pause) (after LAWRENCE

out there? doing What's deferential) (pleasantly sir. were, you heard We (as before) SECRETARY

Jolly good to be back.

sidelong the CAPTAIN casting ahead and fidgeting with his uniform,

LAWRENCE looking moment they walk in silence, a For courtyard:

the inner TRACKS with the THREE as they walk across CAM:ERA The

sir. Honoured, courtesy) forward with straight- (smiBng Oh! 0 SECRETARY

Mind if I join you? LAWRENCE

Continued 171

-·- -

()

him level with a window-like bring steps. A few the archway. leaves REVERSE CLOSE SHOT - the CAMERA PANS with LAWRENCE as he 172

inside. wall while LAWRENCE turns The CAPTAINS move off along the outer.() LAWRENCE nods back . to leaving. The SECRETARY nods preparatory

court. squash good about the Jolly probably. Yes, LAWRENCE

paint,ully. He smiles for humble pie. is starving

But he face goes stony. LAWRENCE's half. a second For perhaps

Bloody wogs. I j'II of the colon) viciousness > ,I/,. automatic (with the SECRETARY

mine. pinched to have Someone seems borrowed. It's LAWRENCE

uniform.

of his the buttons and checks back at them defensively, He looks

looking at LAWRENCE. CAPTAINS the They come to a standstill,

Well I have to go up there. LAWRENCE

" Commanding. Officer "General reading, pointing upwards a notice

-0

with open archway an reach but can think of nothing to say until they desperately LAWRENCE thinks courtyard. side of the inner at the ·other SHOT MEDWM as they walk on into a The CAMERA PANS with them

Oh jolly good. LAWRENCE (0

court. squash built a We've sir. in, settling We're (comfortably) SECRETARY

· doing here? What's (eagerly) LAWRENCE

Continued 171

end. He opens a door at the far J' .......... I it is. really No, 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. Evidently smiling. rises and promptly who 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 three s defence works. of ALLEN BY'

ring It is the outer room. into a LONG SHOT of a stone-walled

with him PANS The CAMERA on the first.floor. open corridor doorway leading off an glass a MEDIUM: SHOT - LAWRENCE opens 174

two at a time. up the steps and hurries picture of the foreground0 from view as BENTLEY enters and disappears to an upper landing,

on the comer turns to the top, few steps the last LAWRENCE climbs

is shooting up a stone staircase. CAMERA the - SHOT MEDWM 173

BENTLEY. comes fast pace, a walking at it, Across below. courtyard 'O

a SHOT OF THE WINDOWwith the leaving walks on out of picture it from his face and he plucks tahgible something it were though as

but almost second, a for appears contempt look of defensive familiar The old them as they disappear. looking after LAWRENCE 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.

Continued 172

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. CLOSE 178

Sir. formally) (saluting: LAWRENCE

Lawrence? or is it Major FEISAL

and suspicion. sadness

by is replaced and his face from glow fades so the as he does but hand, the him by LAWRENCE in CLOSE SHOT and seizes He joins

Aurens! pleasure) (spontaneous FEISAL

courteously. LAWRENCE smiling towards he walks The CAMERA PANS with FEISAL as also present. and DRYDEN are

ALLENBY and that it is FEISAL, we see and turns figure this away. die of the cymbals As the: reverberations garden. a over-looking

out on to a sunny terrace letting an open archway against silhouetted0 or less is more Arab regalia full in SHOT -a figure MEDIUM 177 I

of cymbals. dissonance barbaric a on ends abruptly theme The English his face blank. short, He stops LAWRENCE enters. room) ALLENBY's inside (From CLOSE SHOT - the door. 176 'II:'.)

is the SOUND of a door opening. There eyes.

hi~ LAWRENCE with He follows anxiety. aroused already has behavior s LA.WRENCE' him we see that with which he regards the keenness and of tone warmth the sympathetic From CENTRES on BRIGHTON.

The CAMERA wave. with a friendly through swiftly LAWRENCE passes

in. to go right You're BRIGHTON

I as LAWRENCE enters. turns of picture, foreground10 ·•,.,_/ I

in BRIGHTON stands room. MEDIUM SHOT - the penultimate 175(,,-, '

the door to ALLENBY and DRYDEN.. He looks from is 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

.. He is exasperated ALLENBY. UP - CLOSE 1800

now. the French, forget mustn't we too of course, interest The 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 deliver but pauses <!'orridor, out on to the open door leading directly a glass He goes towards0

to make. has reports doubtless Lawrence Major General. Well I will leave you,

Continued 179

Il-62

t (.

·,

,--·

is a French Picot and Monsieur Serveant Civil Sykes is an English Mr. now, Well DRYDEN

delicately. fingers his DRYDEN steeples (;

Tell him. (to DRYDEN). Don't guess . (sharply) C ALLENBY

ALLENBY and DRYDEN CLOSE SHOT187

I can guess. (wearily) No. LAWRENCE

sir. from Arabia, for release request my It's correctness) of shell in a thin exhaustion 0 total of (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~- complete to demonstrate hands his LAWRENCE spreads

don't know? You really DRYDEN

and keenly at LAWRENCE. looks curiously

DRYDEN DRYDEN. and LAWRENCE ALLENBY, MEDIUM SHOT 185

.. 0 (:,

II-63

j_

opposition: anticipating almost, tone of threat but with an under- officially ALLENBY and says with a change of tone,

to LAWRENCE turns and cautiously. curiously DRYDEN looks at him,

and DRYDEN OVER LAWRENCE on to ALLENBY MEDIUM: SHOT. 191

{) Dryden. that, You might have told me man. an ordinary is I'm The truth it was. showed me where who day; But I met a man the other Right. 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-looking the archway walks away towards an~ He rises

suspicions. had certainlY: but you You may not have known, of indignation. have no displays let's And he is quite deadly) he is stung, now, (when, as DRYDEN

ALLENBY and DRYDEN CLOSE SHOT.189

/ none in politicians. there's 0 but may be honour among thieves There LAWRENCE

11-64

it. of part And you're push on Damascus. April I'm making my big .16th on the (off) ALLENBY

to contain himself. CAMERA, making and effort__,._r~, his back to silently, He stands side of the room from DRYDEN.

opposir, with him to the window on the PANNlliGCMv.IERA the his chair,

and he leaps from ALLENBY has his own strains CLOSE SHOT 193

too! my reason That's mad! ~ not No, and if you don't mind I'd rather LAWRENCE

high and strained. and his voice comes body is rigid,

in his muscle HE is sweating and every LAWRENCE. CLOSE UP 192:,'.

I • Are you mad? Personal? one!

a damned important it happens as And Field! in the Officer a Serving You're Personal? through) breaking indignation incredulous but quietly (starting ALLENBY ·

sir. Yes, LAWRENCE 0

Personal? not speaking clearly) .was though LAWRENCE as {softly and irritabli ALLENBY·

effort. physical little his voice by a desperate LAWRENCE raises and

<D! interrogatively, and grunts his face irritably ALLENBY wrinkles .

for resigning . reason my That's sir. job, And I want an ordinary LAWRENCE

Continued 191 ) ... ' I (~ I

Il-65

•

Lawrence. clear) offhand but very (carefully

(off) DRYDEN

hurμanity. of common want my ration I just I'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's across have appeared

of blood streaks Regular him at the window in the background. facing with ALLENBY standing of picture back in the foreground LAWRENCE's ot view we see DRYDEN's point From 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 turns garden,t He has been looking away out into the DRYDEN. CLOSE UP. 197

i I - big push!

-- of your want to be -- part -- don't I -- LAWRENCE

his sides. up and down at fists clenched his word he jerks each separated

out shaking and as he pumps He·is LAWRENCE. CLOSE UP. 196

of the big push! part important an You're that? Can you understand

(explosive) ALLENBY

j ' I LAWRENCE. to face He turns ALLENBY. CLOSE UP. 195 I II-66

I

···-~ '-•

No. LAWRENCE ) ... \ \, I 'you want a doctor? D (;

to LAWRENCE. complimentary calm which is a but with sympathetic

continues, ALLENBY up behind his back. hand flies LAWRENCE's

with blood. covered Your 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. the on to leading the archway

him towards and propels WRENCE by the arml,A ALLENBY takes

sir. Thank you, DRYDEN

s office. BRIGHTON' the door to as he goes swiftly towards picture DRYDEN crosses

Dryden. Mr Thank you, . . . er. Quite all right ALLENBY

shocked but thinking furiously. of tone,I

change utter an with him towards ALLENBY who moves forward

back to turns LAWRENCE, wary and puzzled, background. ALLENBY in foregrowid, LAWRENCE in MEDIUM SHOT. 200

sir. I interrupted, sorry No, nothing, 'e DRYDEN

that ALLENBY has seen. He sees CLOSE SHOT DRYDEN. 199

I what DRYDEN has seen. ALLENBY sees 0

Yes? (turning) LAWRENCE I J I Continued 198 '~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. CLOSE 202

basket. a waste paper BENTLEY than if he were0

of no more notice and gloomy and he takes shocked His face is

DRYDEN. by This is opened suddenly BRIGHTON'S OFFICE. at the door of to hear opinion, to their and indifferent openly,

quite the R. S. M. and ORDERLIES, is trying by contemptuously watched BENTLEY, The ORDERLY ROOM. SHOT.' MEDIUM 2010

and newspapers. magazines drinks, table, small a 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

Continued 200 , ....· C I (

(.)

he wants! over that boy can be anything war's When the claim) righteous a (as one who advances hero. a boy that I've made -- stuff my read You've shrug) (deprecating BENTLEY

What claim? and sha,rp) contemptuous (cold, DRYDEN

got a claim. I've in the man. got an interest ' I. I've in trouble. the man's if me tell Just BENTLEY

budging.

but not of it, the offensiveness coaxing tone of voice to mitigate a adopting his way, him round a desk and bars BENTLEYovertakes

vale of troubles. a Life' all in trouble. We're Oh I expect so. lightly) bland as he murmurs less shade a his face is feelings; the quick of his come near s question has(BENTLEY' DRYDEN

Is the man in trouble? BENTLEY

nothing at all. No really, meant to be believed) which isn't insouciance (with an exaggerated DRYDEN

Ah come on.

discretion) of the formalities dismissing (brisldy, BENTLEY

Continued 202

not going back. 11m And (hard) , glimpse. of sanity. No, a LAWRENCE , 're·, pit. of the Well you've had a glimpse Yes.. ... ALLENBY

railing. his bottom on the terrace pillar,'I.

a ALLENBY leaning against in 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's eraments clash of temp- a little It's I'll tell you. Well, hesitates) little, a frowns 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

deliberately speaks 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 be Yes; who foils him) BENTLEY, (trying to side-step DRYDEN

Continued 202

Il-70

-- -----~--------·----•·--·-

the table. from matches cigar ,cutter, collecting himself He busies

_,./.. \ quite naked . I feel that funny, Isn't l 1. ··-,." , ALLENBY

ruefully. chuckling a little his jacket, He regards brusque.

to be they can even afford that· of such long standing and friends and friends, equals between the tone used on he adopts this point from and chair, over the back of an empty ALLENBY puts his jacket

C made. ) he had just judgement technical small some were ( 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 poison just but we can (sceptical, LAWRENCE

or so. years hundred for one man every is, There (mildly) ALLENBY

nothing else. There's LAWRENCE

have. thing you can't the one Common humanity's the moon. for crying you're humanity" "common you ask for When thing. another And here's Oh yes. ALLENBY

(but he is pleased) Oh no. (grimly) LAWRENCE C mind. got an iron You've (quite indifferently) Lawrence. You won't go mad, ALLENBY

Continued 203

•

in the background. of cabbagy flowers out a patch pointing at it, He peers and offspring. photo of his house a the table he takes from on impulse Apparently

C my self. I grow dahlias comfortably) back (he settles it is. 'Course ALLENBY

of luck. not a matter It's LAWRENCE

ALLENBY assumes. of understanding the degree by amused and quite surprised little a LAWRENCE is' '

Hard luck. (nods sympathetically) ALLENBY

Bad. No. LAWRENCE

Any good? ALLENBY

Yes LAWRENCE

don't you? You write poems (quite idly)

embrace above all longing to accept the paternal comforted, flattered,

but looks at him suspicious, LAWRENCE does not answer his cigar. with the condition of totally preoccupied and seems ALLENBY sits

it. nothing you can do about There's because God made you one I suppose. (shrugs) leader, a You're 0 someone pins crowns on me. because a leader I'm the difference. And that's ALLENBY

Continued 203 ·

Il-72

' (

:o

man it isn't. Not to an extraordinary ALLENBY ,.'.........·,~ ') i\·· a man. thing to say to an extraordinary That's (_) LAWRENCE

Yes. ALLENBY

merciful. be ALLENBY to asking is He

and me? Nelson, and reproachful) tremulous his smile but (his tone sceptical LAWRENCE

... another I think you're Nelson was the last. ... Hannibal Xenophon was one. generals. have been poet But there are. generals Most of general. sort I'm a gardening (he grins) So be a good one.. But I don't have the luck to gardener. a conscientious And I'm good plants. buy I good compost, got good soil, I've ALLENBY

keys of his citadel. the

-- ALLENBY object he has handed to physical a like And 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 replaces He pauses conversation. the of in the subject innocently absorbed seems victim, looks once at his ALLENBY never they study the photo. Together

Continued 203 ,C -•~"·1,, -. (; :

-- 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 extraordinary You ·a.re BY (off) ALLEN

Museum to find who Allenby was. War the 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 things Look, Lawrence, tone of irritation) adopts a (in his cunning

You must know it? of-fact) matter- (remorselessly ALLENBY

No. No. from him) it away (thrusting LAWRENCE

C Continued 203 _/_ .n

smile) ·co,ld a little with smiling (almost LAWRENCE (_J his chair. ALLENBY walks back towards MEDIUM.SHOT. 208

if he has. to funk it, thing for a man, terrible A Lawrence. destiny. a Not many people have and kindly) (gravely ALLENBY 0

positions. their of not yet caught the reversal

but has WHENCE,at LA He is now looking ALLENBY. CLOSE UP. 207

What of it? LAWRENCE

lmowledge. superior a from tone quietly mocking, a very different again and looking at ALLENBY he says in he freezes it, accepted

having . . . But then abruptly lament A tone of desperate I" got cancer I've right "All saying, His tone in saying this is as though he were

extraordinary! I'm extraordinary! I'm All right LAWRENCE

out: and he cries -- to a thumbscrew much as a man might respond -- stresses by muscular in his chair He is thrown about apart. flies Suddenly LAWRENCE's immobility

not what I'm saying. That's (short) 0 (off) ALLENBY

... I'm not ordinary lmow I LAWRENCE

He prevaricates: and is lost. hesitates

He back longingly. LAWRENCE looks at ALLENBY's CLOSE UP. 206

( · bad. your poetry's No wonder a feeble thing to say. That's

moves away and and the CAMERA PANS with him as he rises shrugs, ALLENBY After a pause, ALLENBY over LAWRENCE. CLOSE SHOT. 205C

()

II-75

"/ . -··

Artillery? 0 not looking) (still LAWRENCE

of money. give you a lot I'll it. Can you do Yes. C ALLENBY

the 16th. April LAWRENCE

subordinate. a 0 as though he were but not looking at him, ALLENBY quite politely He addresses turns. He cautiously. him, watches ALLENBY

yes. I said, LAWRENCE

the General. his back to in an archway he stands where along the terrace paces and walking a few chair his from him rising LAWREN CE interrupts

--- it's all, After ,o ALLENBY

Yes. LAWRENCE

right. We both know I'm that? Why suppose his unease) over scrambles (briskly ALLENBY

wrong. you're Suppose LAWRENCE

in a deadly voice. LAWRENCE says to be uneasy. and begins ALLENBY is nonplussed

then. guessing You 're LAWRENCE

No. 0 he sits) -- (caught in mid-air ALLENBY

Continued 208 ,C --·' ••·, I

-~

r-······

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

lot of money. a I shall want quite of fact) ..! ... ',,._ I and matter quite 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 up his pearls throwing idly, almost speaksC·

ALLENBY and He looks away from LAWRENCE. CLOSE SHOT.212

enough! Fair boisterous) (spuriously ALLENBY

now. paper, of bit to burn their the politicians You can tell (off) LAWRENCE

(i ALLENBY CLOSE SHOT. 211

it. ke~ they'll got it, And when they've you do. before get there We'll Damascus. going to give them But I'm Right. Turkish the holding down. All you want is someone LAWRENCE

immediately. but recovers He blinks,

his chair. from LAWRENCE looking up at ALLENBY CLOSE SHOT.209

'() going to give them. I'm Which (very steadily) be coming for Damascus. They'll them. of the best They won't be coming for money, (now looking at him) LAWRENCE

I can't. ALLENBY

Continued 208

I .

UDA. A ALI and are The two horsemen camera. tripod

with a The man on the roof is BENTLEY, MEDIUM CLOSE SHOT. 216

...,.~··......--.... ') ( Shakespeare.) - vide the late William of high drama a scene of low comedy running through Nothing like a streak use him bodily.C

if we not destroy, which he will enrich, epic atmosphere ance in this

point of disturb- Bentley is the vitalizing do not take it at face value. that we the film-makers Heston Sampson and Delilah, like a Charlton

finale, controlled in lieu of a properly magnificence not offering are that we to the audience to signal scene It is vital in this Delivered"~ Breads Fresh Finest Alexandria, and Son, Gordon St., Mkapolous I. "T. I would even say it should have lettering: or stolen. borrowed

Bentley has begged, - something vehicle not an army a civilian,

it is (About this van: them. out and joins man on the roof drives

and a van with a horsemen, two isolated are by the lines formed I ◄ , end of the corridor At the far movement in one the whole line rises

so that all together mount, horsemen up, rear camels excitement

With murmurous Angling down the Army as before. · LONG SHOT. 215

is approaching. land something Over the level EXTREME LONG SHOT. 214

,(J cry. a shrill ,.

his voice in He raises in his stirrups. standing CAMERA) stiffens,

CAMERA look off (past The HORSEMAN nearest ready. riders

their kneeling, are The camels behind them. Bearers Standard their to mount, them ready or stand beside beasts sit their either Sheiks.ee

men the of their In 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 eyes slightly His lip quivers He is now in BIG CLOSE UP.

come for money. The best of them won't LAWRENCE

on the wall. of a fresco the background against up in the frame · the CAMERA, looming and walks towards the courtyard He leaves

Not that much.

C Continued 212 J ••• , I.,. ~- ) (~-

II-78

BENTLEY and ALI, as before. 220

i LAWRENCE ,i,.._) 'r we can now recognise but Exactly as for 214 and 217 LONG 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 Major erm, You, ~m~ C

lightly: says camera, with his himself

busies BENTLEY ostensibly ALI. and BENTLEY MEDIUM SHOT. 218

among them. a white figure rapidly, riding a bunch of camel men, As for 214 but the moving object is now seen to be LONG SHOT. 217

keenly off towards: And staring

... is only one Aurens There Well ...

~tall.min.cf He doesn't benefit) (he adds for ALI's taken. picture mind having his he doesn't Lawrence; ("• for Major not for you Sheik Auda, it's It;s BENTLEY 0

of us! You take no pictures No pictures! AUDA

Continued 216 c··•-.J ()

C by the chant "El Aurens·!" of sound underlain fury rising is a gradually

so that there shouting, simply some nam~, some shouting his adulation, into break (On SOUND TRACK the Tribesmen the ranks. between

BODYGUARD ride LAWHENCE and his MEDIUM CLOSE SHOT. 223

But many did. No. C ALI

it? D'you take tone) apprehensive and ALI' s .deep ignoring (chirpily ( 0 BENTLEY

me money. He offered . . . here Harith, the . . . He told me to gather He laughed ALI () What did he say? BENTLEY

I did. ALI > f

as before. and ALI, BENTLEY 222

to the corridor. at the entrance are nearly but now LAWRENCE and his group 217, 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 . . . Deraa aiter man same the was He anger) , with fear, ( (fighting down his own ALI

- in Deraa? do to him, General What did that Turkish BENTLEY

Continued 220

by ALI. joined are climax, at its the adulation

now, with way up the corridor half LAWRENCE and his BODYGUARD,

the corridor. down off and takes whips his horse C>

He way to indignation. give and alarm But bewilderment SHEIKS. three like the exactly He is reacting The van behind him. CLOSE SHOT ALI. 231

reaction.

the same with ANOTHER SHEIK TRACKING. As for 224 and 228, 230

LAWRENCE and BODYGUARD. 223 and 227. As for 229

reaction. same

Sheik with the Another 224 TRACKING ALONG the Arab Army. As for 228

"; ,◄ LAWRENCE and BODYGUARD. 223. As for 227

behind him. eyes and wildly flapping arms staring to the open mouths, contrast

in alarmed, bewildered, The SHEIK looks horrified, As for 224. 226n

I

SHEIK. LAWRENCE and BODYGUARDP. 0. V. the PANNING SHOT. 225

: LAWRENCE's party and as he sees his men, before horse his sitting a Sheik, but we now pass exci~ement, of wild in a state are'u

-e-~

All of the poorer. Arm Webbing in the case - British and bandoliers

But all have rifles camels. one or two doubled up on rangy farm rags,

black in literal dressed, some very poorly even donkeys, on mules, mounted kind, men of a different are behind and among the Tribesmen

We now see that Along the face of the ARAB ARMY. TRACK SHOT. 224

I to the tetth. armed dressed,

superbly They are all of a kind. are They with him only. themseives

to LAWRENCE, they concern sold themselves have who Outsiders

might. legitmate of all this merely contemptuous They are joke. nasty rather a secret of a sneer, suggestion faint for a save perhaps immobile, faces brutalized their keep·: but the BODYGUARD Army,

taking in the side to side, his eyes from LAWRENCE turns expert.

man an every beautifully, The BODYGUARDride not seen before. have - and this we of himself in control imperfectly of himself, aware

- he is not fully desperate But it is also unwittingly have seen before.

this we is exalted; His expression all white. is still though he himself caparisoned, outrageously white camel, He is mounted on a magnificent

not removed. one of them, but definitely LAWRENCE is at the head,

the screen. not filling bunched, tightly They ride as he progresses)

Continued 223 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 the these Aurens, ALI

He reasons: of all this. the meaning to accept unwilling ALiis

mine. men are These (flatly) LAWRENCE

men? Sheiks will hang these Do you know the murderers! are But these (excitedly) ALI

too. on my head, a price There's 0 (quite quietly) LAWRENCE

on his head. without a price is not a man there There ALI

back: then turning aristocrat, them with the cold eye of the and inspects saddle in his ALI turns

is my Bodyguard. This LAWRENCE

What is this? ALI I ,c Continued 231 ·-··•Cl I,

'---~-

silent. falls

The Army LAWRENCE. meet. to off He 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 after can. he

leaving ALI to pull his way out of it as best him, after GUARD surge f) He whips up his mount and the BODY- scenes. Azrak and Corruption

Second of awakening echoes down heavily on the phrase, And he comes

men. I don't want ordinary LAWRENCE

· heavily: interrupting him. but LAWRENCE chooses to misunderstand they are monsters He means

ordinary~- are not These hotly) , to BODYGUARD (gesturing That is different. are needed:) though he knows they them, to have done without prefer 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 heard reflected

of KHITAN smile to find the insolent is horrified back, ALI turning

for Aurens. Sherif, glancing at his protector) smile, little (an insolent KHITAN

Continued 231A C -,./..··-- I l ()

11-83

' (

---- ----~-·---

men is silently important one of these every At the moment Signals.

Medicals, Allied Liaison, Native Affairs, --- finally the Specialists crossed; booted legs dashing, conscientiously at. the next Cavalry, busy; very Artillery, next the and thoughtful; administrative Infantry, group is The largest with papers. littered four tables at OFFICERS C STAFF of high ranking Before him sit four groups REVERSE SHOT. 233

· service. active

on themselves permit which Officers irregularities personal little those exhibits His dress a cup of tea. stirring enforced patience, of in an attitude on a camp chair at a camp table ALLENBY sits

going up to the Front. a Brigade in low gear: vehicles and motor

of infantry, tramp and the regular "Goodbye Tipperary", band receding a Military Outside we hear by the road to DAMASCUS. earth on bare It is pitched Interior. Army tent, British A large 232_. MEDIUM SHOT.

DISSOLVE

his van behind.

BENTLEY and Leaving of seaweed. like streamers stragglers. trailing·

• LAWRENCE and the BODYGUARD, very rough broad arrow·behind

a away, The ARAB ARMY streams MUSIC UP. ~HOT. I AERIAL LONG 231

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 reins him. pour past

of the Army as they of the motley units taking pictures eagerly van, BENTLEY bumps along on the roof of his 231H MEDIUM TRACKING SHOT.

to the fore. the swifter him, after and spur roar then in one beat they unprepared, Tribesmen the assembled It catches

Damascus! LAWRENCE

crying: to a gallop, his pace and increases his stick raises simply now, LAWRENCE, at the end of the corridor 231G CLOSE MOVING SHOT.

but incomprehension. or foreboding, not with anger face dark,

his behind, falls He gradually LAWRENCE. cannot approach his horse

of the BODYGUARD, AUDA on the outside On CLOSE MOVING SHOT. 231F

with the common herd.

contact LAWRENCE from protecting in which they will ride, formation the open "U" THE BODYGUARDhave formed 231E CLOSE MOVING SHOT.

•

spirit. cautious A more on the INFANTRY GENERAL. turn All eyes

Splendid! C up) (his face lights ALLENBY

tomorrow. 0900 hours himself) commits C he before pause (a moment's by have him within range I can In which case Mallud place. this --- him) at map before (glances than --- be further he can't Then ARTILLERY GENERAL '; 1

--- Certainly --- ALLENBY

---? assume which we'd better --- L) in any kind of order retreating If the enemy's out) him to single moustache fierce a man with a --- (on his feet ARTILLERY GENERAL :08

tum. Your back) sits (he Now. ALLENBY C

poker-faced. Others consciousness. show a certain Officers Cavalry

good indeed. very Very good by the way, -- Table) Cavalry

off and bestows (he breaks --- and Deraa Mazril gone througn The Cavalry's Very well gentlemen --- ALLENBY ( '

once: At qutside. on guard Policeman a Military by him whipped open and shut after the flap which is through then goes, Arab SERVANT, who white-coated by a tray a large from served which is even now being table Artillery except for the ALLENBY)

at (i.e. at the CAMERA sternly a cup of tea and staring stirring

Continued 233

··---------·-------- - ·---- ·--·----------. .,----·

() flickering. the horizon of guns, ,rumble The NIGHT. EXTERIOR 234

... pound them Charley, Pound them ALLENBY

and murmur: GENERAL to take his arm the ARTILLERY by but he pauses elsewhere awaiting task specific

some his gait shows he has up the meeting; breaking ALLENBY 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 consist What's sir, on the Right 11 Arμiy "Arab This map) from rising superior, (rather

what matter. The guns are GENERAL) (to ARTILLERY do for now. That'll ALLENBY

sir. by Wednesday, there Fusiliers

going supports Infantry the last are Well these GENERAL INFA.i.~TRY

Continued 233 ;, .. ,' 0 I I ·~

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

I I p I rlght. all his teeth, got the bit between He's BRIGhTON

off. moves so the car he does As ALLENBY. by in it, himself

and seating door the car act of slamming is in the clad, similarlyC

BRIGHTON kaffir. a khaki is being led away by an N, C. O. wearing

By it a camel revving. engine we come upon ALLENBY' s Staff Car, By the side of the road riders. as among LAWRENCE' s promi.scuous

jerking flapping, down, nothing loose, and buckled shining everything --- Then guns BENTLEY~- one of them with War Correspondents, filled

C is uncomfortably One open car Light Infantry". "Duke of Cornwall's

Yeomanry" "Sussex Howards" "Green names: the pastoral we read flashes and shoulder vehicles On prowess. their below to emphasize slightly from vehicles the humanity, their above to emphasize slightly

we see the men from of shots a series In good order. the basic ) '

film upon is the merest and dust but this be sweat must inevitably There and laundered. bleached uniforms is golden, hair are fair, Faces of the Arab Army. horde the wildly individual maybe from as All is different us. past swing men and vehicles Army British theme) (MUSIC, English The High Road to DAMASCUS. DAYT™E. 236

at him. ALI looks chambers. and spinning the the hammer clicking his pistol, witlt unconsciously

playing time, for the first LAWRENCE is, laugh softly. BODYGUARD

re Turks !They 0

(flippantly) LAWRENCE

his voice. raises solitude his artificial LAWRENCE from ALI. at nodding agreement, grunts AUDA, his face gloomy and disapproving,

that. men who lie under the God help (softly) ALI

by the BODYGUARD, the LEADERS excluded.

protected space, clear a in LAWRENCE rides forwards. shuffles

of the Arab Army mass Behind them the dark light. lit by the same of LAWRENCE and the LEADERS, the faces to reveal CAMERA lifts faintly. The light flickers with the rumble. MUSIC mingles

drum Low in soft sand. pace The feet of camels REVERSE SHOT. 235,C ,

,.,, ' ()

Il-87

' (

away from·us. it moves as whole COLUMN

SHOT of the LONO a discloses and thus 1,1pwards CAMERA CRANES

round again. his head he turns and ·back him on the next to him slaps A MAN bovine face. We see he has a peasant, camera. left towards to back right and looks He turns .column. the SOLDIER at the end of0

the BACK OF A YOUNG On behind) (from CLOSE TRACK1NG SHOT .. 238

woman. and ending on dead Showing atrocities shot). LONG SHOT: (Already 237

up out of the debris. HUMANHAND sticking

to be a on what appears to rest and comes way behind the smoke

OF WOMAN'S CLOTHING as it blows up a path- COLOURED PIECE a BRIGHTLY following a littlePAJ.'{S The CAMERA foreground. and charred black from rising of smoke wisps can be seen through ) j'

of the village Part lens) long focus MEDIUM CLOSE SHOT (probably A237

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 of him. of in front column a Turkish WelL there's BRIGHTON

Unless---? ALLENBY

.... Unless sir. we do, before get to Damascus he'll I think All right. his teeth. bit between got the He's he ... sir, More than cocky, 0 BRIGHTON

Cocky? ALLENBY

Continued 236

ll-88

•

• ( '

I -, I

(

beyond. COLUMN on the plain

the TURKISH disclosing THE CAMERA CRANES upwards the village. over GROUP OF HORSEMEN led by AUDA as they mount the ridge of a on to the. backs THE CAMERA is shooting MEDIUM SHOT. 246

certainty. and up into CLOSE SHOT, his face black with anger ridesC AUDA Column). long shot with the Turkish (whom we saw in the first

of the PINIONED MAN behind a foreground From CLOSE SHOT. 245

as LAWRENCE goes out of picture) upwards

craning (Possibly ruins. the through the ARAB ARMY passing0 and we see onwards his camel He stirs in gasps. coming his breath the village looking around on his camel tense He is sitting himself. LAWRENCE disclosing out of picture it passes banner; Lawrence's

MAUVE, the mauve of The SCREEN is momentarily CLOSE SHOT 244

CUT TO

and louder. louder becomes clanging their UP, into BIG CLOSE The LADLES swing bells. of church like a parody clamour raucous

with a each other LADLES swing against ffiON TWO SHOT C~OSE 243A

) ◄ now shown to come from: :'is the sequence throughout The CLANGING NOISE which we have heard utensils. and kitchen

rugs bandoliers, of CAMP KITCHENS piled with rifles, section a GROUP OF TURKISH SOLDIERS surrounding A MEDIUM .SHOT: ·243

· beyond. desert the glaring against The back of the TURKISH COMMANDANT silhouetted

the BACKS OF THE LEADING COLUMN. On 242A CLOSE TRACKING SHOT

of him. front in 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 collection sits MAN MIDDLE-AGED

AN EXHAUSTED A GUN CARRIAGE. CLOSE TRACKING SHOT 241

faces). peasant sympathetic and select (Try

energy. flagging their ·which supports MEN hanging on·. the cart0 OTHER walk them Besides cart. jolting a . of huddled on the floor

A GROUP .OF SICK AND EXHAUSTED MEN lying SHOT, CLOSE 240 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. UP CLOSE 253C

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 LAWRENCE AUDA comes CLOSE UP 252

hooves. is a SOUND of horses' There not to have heard. LAWRENCE appears

... Aurens Damascus, and anxiously) (warningly ALI

at him closely. ALI looks more rapid.

becomes LAWRENCE'S breathing KHITAN. BOTH MEN have heard

him in the background BIG CLOSE UP_LAWRENCE with ALI beside 251

No prisoners. {very softly) KHITAN

ahead.

straight He looks of picture. into BIG CLOSE SHOT in foregroundI KHITAN moves moving up behind. The REAR COLUMN still the plain. overlooking along the ridge already THE ARAB ARMY are LONG SHOT 250

loud. The BUGLE continues animals.

on their and spur the SOLDIERS look back fearfully sudden activity,:El I of is a spurt There THE TURKISH COLUMN, MEDIUM SHOT.249

bugle. is the SOUND of a distant There situation. the immediate beyond conflicts with inner that he is wrestling It is quite apparent the plain. gazing out across stops He UP. in BIG CLOSE of picture0 foreground the LAWRENCE enters him. around force gatheringr_~pidly

which are by the emotions appalled apprehensive, on the ridge,

.. standstill a to He comes behind) ALI (with the village CLOSE SHOT 248

the ridge. over appearing The long line of the ARAB ARMY THE ARAB ARMY. LONG SHOT. 247

···--··--1 ..... .

the screen. filling mount are he and his CAMERA ZOOMS in until

THE the plain. across TALAAL charges in the saddle and swaying

/ ___.... \

Bending low charge. LONG FOCUS PANNING SHOT of TALAAL's263' (

\ _, C TALAAL. ALI watching CLOSE SHOT.262

TALAAL. AUDA watching CLOSE SHOT.261

the TURKISH COLUMN in the background. towards

them away from with TALAAL galloping of picture foreground in still,C> qu: ARMY, now ARAB Shooting on to the BACKS OF THE LONG SHOT:260

of breath. intake A shivering BIG CLOSE UP .LAWRENCE.259

out of picture. and gallops flanks mare's ) 4

into the stirrups his dashes sword, his draws hold of himself, takes suddenly He the Turks. after fixedly He looks ALAAL. T UP CLOSE258

is the 'TURKISH COLUMN. background In the his back to camera.

1 picture of in the foreground to a halt ALAAL comes T CLOSE 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 AUDA LAWRENCE, CLOSE SHOT.256

eyes are upon him.

All of the others. ahead the line, from out HORSEMAN is coming A SINGLE up on the ridge. THE ARAB ARMY lined LONG SHOT 255

righ., to his over LAWRENCE glances hooves. is the SOUND of horses Then in himself. with the diabolic conflict by a last shaken he is lips; his he licks inwards, stare His eyes He looks terrified. remark. KHITAN'B heard to have seems he again BIG CLOSE UP LAWRENCE, 254A0

No prisoners. (to the BODYGUARD) KHITAN

C exc~ted. CLOSE UP KHITAN, now very 254

C

ALI

to TRACK THE CAMERA begins forward. his horse He spurs

Oh God. 0 ALI

sword. He lugs out his him in a wave. and past forward the ARAB ARMY is moving In the background ALI. CLOSE SHOT. 272 \ 4. I of picture.

on out He too moves laughing. He is almost KfilTAN. CLOSE UP 271

on out of picture.

horse hls 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 CLOSE revealing

camera. towards over body rolls s TALAAL' CLOSE SHOT • EXTREME 268 0

t of the TURKISH RIFLEMEN.

to the feet and slither to the ground HORSE crash TALAAL and his

SMOKE we see of RIFLE a foreground Through MEDIUM SHOT. 267

and fire. kneel A GROUP OF TURKISH RIFLEMEN CLOSE SHOT. 266

Talaal ! ! 1 ! Talaal ! TALAAL

shout: tremendous a in and cries sword his 0

raisr, saddle, in the up He rises TALAAL. CLOSE TRACKING SHOT. 265

weapons. SOLDIERS run for their

OTHER. In the background by the charge. mesmerised gaping, stand SOLDIERS TURKISH ONE OR TWO of picture In foreground a halt. to The REAR OF THE TURKISH COLUMN has come MEDIUM SHOT. 264

heads. above their hands up with their rise to camera, backs their

the HEADS and SHOULDERS of the TURKISH RIFLEMEN, of picture In the foreground Col11P1n, of the the rear HORSEMEN as seen from j__\_ The CHARGING ARAB (57mm STATIC CAMERA) SHOT MEDIUM 283\ I ,,., _.- C rear. about to engulf the Turkish under. camera in from wave THE ARAB ARMY streams Like a great

line. up all along the is taken fire rifle Spasmodic the distance. into out THE TURKISH COLUMN is .. spread behind) (From LONG SHOT 282

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 retreating of the the rear from - now some yards RIFLEMEN

HALF DOZEN KNEELING TURKISH A GROUP of some CLOSE SHOT. 280

them. and over ARAB ARMY sweep around wave of the The first of the picture. the foreground HORSE form The DEAD BODIES of TALAAL and his (57 mm?) MEDIUM SHOT 279

running wheels, of turning picture a chaotic MEDIUM SHOT disclosing into a camera away from rapifily and move loudness unnatural with

THE LADLES of the CAMP KITCHEN clang together BIG CLOSE UP 278

him. :upon - is wanted - dreaded always

he's What his pistol. raises He subconsciously mirth. of dreadful sort with a distorted is His face LAWRENCE. CLOSE TRACKING SHOT 277

and the CAMERA PANS his perch from MIDDLE-AGED MAN is dragged The EXHAUSTED thrown 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 dragged panicking0 of a background Against behind) (From CLOSE TRACKING SHOT. 275

to rise. DUST begins

bandoliers. and rifles run for their backwards, looking fearfully MEN,/ vehicles .. of their and take up the strain MULES are whipped forward0

as HORSES and jolts of clattering A series TURKISH COLUMN. PANIC at the REAR of the behind) {From MEDIUM CLOSE SHOT. 274

in a cloud of dust. CAM:ERA as they pass

in crescendo rises hooves speed the thud of horses As they gather plain.

C

on to the the village from THE ARAB ARMY descending LONG SHOT. 273

II-93

,0

charge.GUARQ~

BODY- of the LAWRENCE and a group TRACKING SHOT. CLOSE 302

into the CAMERA. ALI sabering SHOT. FLASH CLOSE 301

MUSIC. hooves .. Horses CLOSE SHOT. 300

direction. the opposite

in the screen across run diagonally TURKISH feet SHOT. CLOSE 299

the screen. across run diagonally TURKISH feet CLOSE SHOT. 298 (j

MUSIC CUTS sword. with his downwards AUDA hacking CLOSE SHOT. 297

scream. some they turn: MUSIC continuing; CLOSE SHOT. 296

of them: top on Then we are in the distance. to charge

who wheel ~ODYGUARD of the a group facing and are turned, backs

\ ,◄ who have their and the COMMANDER, crews the gun towards hurtle

of view we s pointAUD.i\f From . MUSIC continuing. LONG SHOT.295

MUSIC. charge. off another and sets points keenly, stares section~· and his bearer, standard by his followed AUDA, still MEDIUM SHOT.294

~J

guns. two field is unlimbering of the COMMANDER, direction the frenzied under of Turks A group MUSIC CUT. MEDIUM SHOT.293

downwards. and hacks sword his raises

He column} of the (On the farside AUDA CLOSE TRACKING SHOT.292

of the feet. the place takes and ee

into _picture A BODY falls HORSES HOOVES ·in background. picture, of in foreground RUNNING FEET lens) (Long focus CLOSE SHOT.291

in background. past ARSIDE ARAB HORSEMEN racing the F vehicle,

a against TURKS sheltering A GROUP OF TERRIFIED CLOSE SHOT.290

the column. way along their ARABS as they blast CAMERA PANS with the The and death. violence of panic, corridor it into a dusty of the TURKISH COLU:MN, turning side on either past

galloping The ARAB HORSEMEN are (75 mm?) LONG SHOT. MEDIDM 289

in all). than five feet (Not more his horse. from He leaps '<f)

into the bedlam orders shouts MEN and ANIMALS, fleeing by -surrounded

HORSE rearing, his THE TURKISH COMMANDER, CLOSE SHOT. 288

TURKS. into the panicking firing side, up on either dashing

HORSEMEN formation, shaped fU' ma engulf the TURKISH COLUMN to The FRONT OF THE ARAB ARMY starts MEDIUM LONG SHOT. 2870

them. obliterate hooves horses Flying dead.

each other over sprawled lying THE TURKISH RIFLEMEN CLOSE SHOT. 286

wild and staring. eyes his LAWRENCE, TRACKING_. CLOSE UP 285

saddle. 0 --· ···~.

the from BODYGUARD fire AUDA and his CLOSE SHOT TRACKING: 284' I

:')

' ,, about. He looks a trance. blinking like a man coming from C it up and stares He picks it. for and dismounts his sword He drops ·

hard. breathing this, watc)ling ALI MUSIC CUT. CLOSE SHOT. 320

The BEDOUIN wheel. MEDIUM LONG SHOT. 319

cut down in a flash. The TURKS are CLOSE SHOT. 3180

them. BEDOUIN pursue thirty of twenty or group A MEDIUM SHOT. 317

the dust. air from clean comparatively run into Soldiers Turkish Four MUSIC. SHOT. MEDIUM 316

and declining. is red dust the through The sun seen LONG 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 every swirling blindly'tbx.o:qgh•the stumble Soldiers Turkish MEDIUM SHOTS. 311

MUSIC CUTS. bloody.

his face backwards, TURKISH SOLDIER goes over CLOSE SHOT. 310

his pistol. at the CAMERA raises full belt LAWRENCE riding CLOSE SHOT. 309

SOLDIER. Turkish a single Speeding towards CLOSE SHOT. 308

the screen. across flashes of BEDOUIN, led by LAWRENCE, mass A compact CLOSE SHOT.307'©

running. us, fan away from Turks thirty A group of some LONG SHOT.306

face. '

into a man's point-blank his pistol LAWRENCE fires CLOSE SHOT.305 0

at: he stares his horse, ALI wheels CLOSE SHOT.304

,:- and bloody. sprawled

them them leaving through and over rides' The BODYGUARD CAMERA. the before units flee kitchen The Turkish SHOT. TRACKrnG CLOSE303

I , (

( ---- , ,

,--

e Aurens! ALI

\_) calling: of the carnage, result the in glimpses shows\ i

which the dust, amongst ALI searches CLOSE TRACKING SHOT...

his men firing. and AUDA CLOSE SHOT.332

and run. The TURKS turn SHOT. MEDIUM331

men follow suit. his his rifle;C

he raises sword, his He sheathes He stops. them. slowly towards trots of him, side AUDA, with his men on either CLOSE SHOT.330

away from: and backing at, straight looking hands their and raising together herded SOLDIERS are > '◄ fifty TURKISH of some A group MUSIC CUTS. MEDIUM SHOT.329

with excitement. his face stupefied carnage,

to the returns unheeding, LAWRENCE, CLOSE FLASH SHOT.328

Aurens: ALI

him again. after ALI calls CLOSE SHOT. 327

men. his again with past and gallops LAWRENCE wheels MEDIUM SHOT.326

Aurens! ALI

.. him past as LAWRENCE flashes He calls ALI. CLOSE SHOT.325

The TURKS fall. out. the BODYGUARD striking firing,

CE LAWREN the TURKS, up to and pass tear They the dust pall. out of a thunderbolt like LAWRENCE and the BODYGUARD appear But knees. on their Then they fall struck. terror ALI and are they see near quite When the TURKS are MUSIC. MEDIUM SHOT.324

go. will let them

he It is obvious indifferently. them ALI watches CLOSE SHOT. 323

the CAMERA. pall towards

the dust of TURKS run from group little Another MEDIUM SHOT.322

and horses. ,

of men bodies of which lie along the fringe pall of dust drifting

C back into the disappearing The BEDOUIN are MEDIUM SHOT. 321

~------

and as he appears voice of God in an audible the name He gabbles

on a DONKEY. mounted blood, dry with caked face his unarmed, TURKISH SOLDIER, It is an elderly appears. figure apocalyptic

and a ludicrous dust In the billowing CLOSE TRACKING SHOT.343

bust. in the billowing corpse A Turkish CLOSE SHOT.342

is aghast. ALI whose face over closes

The dust them. off after the BODYGUARD takes with and shouts again. blazes His face them. sees LAWRENCE SHOT. ME~>IUM341

away in the distance. break stirrups, to their clinging others

on horses, some of TURKISH OFFICERS, A group MEDIUM SHOT.340

instinctively. his horse He backs widening.

eyes his He stares, it but ALI can. see We cannot CAMERA. ;o us to the slowly from his face LAWRENCE turns CLOSE SHOT.339

stop~ Make them Enough!

While on SOUND TRACK ALI repeats.

the pistol, reloading LAWREN CE' s hands CLOSE SHOT. EXTREME338 I

Enough: him) (Joins Aurens! ALI

of his pistol. the chambers He is reloading frightening.

and very mindless It is quite cannot. but ALI approaching face his We see slightly. his head LAWRENCE turns CLOSE SHOT.337

I 'o Aurens!

distance. little a at

ALI appears The sun is low behind them. his back to us. the pall, of BODYGUARD on the fringe LAWRENCE and the CLOSE SHOT.336

screaming.

are and the horses is about five yards The range each round. before reloading methodically animals, baggage Turkish of harnessed group a BEDOUIN is shooting a mounted In the dust CLOSE SHOT.335

,o Aurens~ ALI

handed.

two swords, BODYGUARD holding dismounted by later moment a followed his front, across A TURK runs CLOSE SHOT.334

ll-97

I

him. from at a distance but removed stance in a parallel"'---·· ) I

ALI is which we have not yet seen. done~ what he has over' looking

'i / i

1 on his camel mounted eminence, an oa LAWRENCE SHOT. MEDIUM 358

/U

to: round the hills CAMERA pans the hills.

above and lovely clear The moon has risen LONG SHOT. EXTREME 357

satisfied. Mars of face It is the

excited but not and stern is merciless face His graphic· CLOSE SHOT.356 0

the donkey. shoots

and out his rifle takes his sword, AUDA sheathes donkey standing. the in; the dead TURK behind him; AUDA reins CLOSE SHOT.355

) '◄ the screen. a second fills up with him and for AUDA is right

CAMERA~ to the up When the TURK is right behind him. up comingI is AUDA us. The MAN ON THE DONKEY towards MEDIUM SHOT.354

donkey, his He spurs AUDA COMING. hears The man CLOSE SHOT.353

() him. after off takes AUDA sees, CLOSE SHOT.352

THE MAN ON THE DONKEY, out in the open. MEDIUM LONG SHOT.351

in his hands. pistol a to the coughing; -e-e

intently his head and listens A BODYGUARD cocks CLOSE SHOT.350

in the dust. coughing is heard ,trucks, little turned

of up-- in the harness tangled A heap of dead donkeys, CLOSE SHOT. 349

ready~

rifles their silently, trot BEDOUIN or four Three CLOSE SHOT. 348

The moon is rising. open country. for

makes and the dust The MAN ON THE DONKEY leaves CLOSE SHOT. 347

TUg_K. the and shoots up his rifle He takes corpses. a group of the boots from A BEDOUIN removing CLOSE SHOT. 346

upon: when he comes He stops direction. the dust in any wildly through A TURK stumbles CLOSE SHOT. 3450

ready. his rifle the dust, through stalks An Arab CLOSE SHOT. 344

in the dust. disappears

C> Continued 343 ./ ' ' (~

"·-, .

animal. an inferior like 0

crouching and himself the sky, against figure and romantic magnificent a his viewpoint, LAWRENCE from see v,e and his camera, He aims

\-.,.,_..) man. you rotten Oh, I·, (• BENTLEY C

hero: fallen

a for but of lamentation or disgust, in a tone not of hatred LAWRENCE of figure up at the mounted looking BENTLEY, 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 the Surely

him. CAMERA approaches

Bentley? Mr. you, it suprise Does ALI

bitterness.

with cracking voice his ALI calls,· distance this From stooping. them, amorit way their A few ARABS make It is a Golgotha. and rows. swathes in light, in the pale ivory of the TURKS lie like bodies half-stripped The of battle. the field of MUSIC we see With a chord .. LONG SHOT361

•.... wept Jesus BENTLEY

and simply: Deeply understood. little t 'o

too of his too wide experience, sadness pity and the a fund of natural discloser his face pause .a but after shock, of pμre is an expression This

wept! Jesus

changes: his expression what is to be seen But when he sees panting. incline

up the and runs not himself, his camera, down protecting He slithers

Lawrence! Major Major! Hey, BENTLEY 0,

story) his for (he is eager out: He shouts CLOSE SHOT. 360

figure. comical

a vulgarly hanging on, precariously saddle, with a dilapidated camel

'O

on a peasant's approaches BENTLEY Behind them MEDIUM SHOT.359 i

•• ' ( '

r

in his hand, upon the grapes LAW.RENCE's eyes fall his horse. turns MA: The HORSE away hoplessly. and looks breath a shuddering He· takes

... him remind C him ... Tell Ali. Take them to Sherif Shaw) of Aircraftsman the voice null, perfectly prosaic, perfectly (in a voice LAWRENCE 0

in the HORSEMAN's hands. them and regards LAWRENCE hands the bunch back to the HORSEMAN MEDIUM SHOT.367

palm. in LAWRENCE's off and lie break One or two of the grapes

"Damascus"

invitingJ:- while on SOUND TRACK tμe HORSEMAN repeats in his hands, quiver of fruit beads green The translucent CLOSE SHOT. EXTREME366

,f) , I

at them. and stares them He takes LAWRENCE. CLOSE SHOT. 365

Damascus~ in --- night Aurens cut last were These (triumphant) HORSEMAN

out the grapes. holds and

in reins The horseman alone. 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 magnesium like marble his face it, LAWRENCE suffers

bloody newspapers. rotten the For 0I his _camera again. so and aims He does

bloody picture. your rotten Let me take Here. (cont) BENTLEY .J I' 'c,O Continued 362

ll-100

; (

words: except the underlined hear

we cannot wJ}ich speech a "rhubarb" urgently, BRIGHTON is talking that echoing and we can only hear a constant makes excited) .not

purposefu; (though equipment, of their and the banging and slapping voices many Their directions. in contrary cable of telephone unwind spools swiftly while Signalmen N. C, 0. 's, of Clerical host a by and ordered are placed and files typewriters papers, another;. in one after carried are and chairs tables Trestle BRIGHTON has the other. attention; s ALLENBY half of He has an exact through which they pass. the halls0

being made in that are the preparations to left and right indicates ahead to open doors, He runs showing ALLENBY to his quarters.

and he is and self-important, fussy Major-Domo, of Military sort

The MAJOR is a BRIGHTON is also without Sam Browne or jacket.

and caps, their and without cleaner are some time, been there

and hat and stick his Panama DRYDEN carries likewise. The A.D.C. his cap. and carries looking, and tired ALLENBY is travel-stained arrived, minute Having this very and DRYDEN. are the A. D. C. Behind a MAJOR. At one elbow walks BRIGHTON, at the other him. before CAMERA retreating in Damascus. Headquarters his improvised through Caesar, a conquering ALLENBY is striding, CLOSE SHOT. 368

ripe! not They are (laughing) HORSEMAN I 'o of the fruit. bitterness

the against lips twitch in a reflex his does not change one iota but

of his haunted eyes The expression in his mouth. puts the grapes

he Slowly and mechanically of the man. off his awareness He cuts

Ali that. Tell Sherif LAWRENCE

Near. (looking at him curiously) HORSEMAN

Is Allenby in Damascus? LAWRENCE

Continued 367

sir! National Council, the Arab They call themselves BRIGHTON

outside. on the MAJOR and on the racket shuts the doors The A.D. C. a living room. the first Two rooms,

quarters. private Inside ALLENBY' s temporary MEDIUM SHOT.371

through. passes back and salutes. as the party steps door, open a double grandly throws The MAJOR rather REVERSE SHOT. C

sir! everything, Stations, Fire Hospitals, 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 passing it, and then replaces tone, for the "live''

to pick up a telephone and listen ALLENBY pauses divided attention.

and equanimity at ALLEN BY' s continuing querulous He is almost

· Town Hall! in the --- up his own Headquarters set He's it! done They've sir! the town, They've occupied night,! a day and a here been They've sir! A day and a night, BRIGHTON

When?. (to BRIGHTON) ALLENBY

the CAMERA. The MAJOR passes CLOSE 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 Arab is swarming that matters

Everything Lawrence~ do on the advice of they everything --- is behind it sir Lawrence 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' train By special ALLENBY

All looking at DRYDEN. MEDIUM SHOT. 373 () in Damascus? be Feisal Prince When will (to ALLENBY) DRYDEN

crowd noises. distant We hear Damascus. ';14

of and gardens palms green the DRYDEN looking over CLOSE SHOT.372

Well what then? (to DRYDEN) BRIGHTON C,; on your hands. rising full-scale a you want Not unless DRYDEN

Dryden? that, about How 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 room ALLENBY comes

in the Town Hall! They're (on SOUND TRACK} BRIGHTON

situation: of the of the urgency proof as though this were

and bewildered,indigna.11:t reiterating him, BRIGHTON's voice pursues

without enthusiasm. and camp bed which he tests with wash-stand

furnished sparsely very to the next room, {CAMERA FOLLOWING) through straight down his cap and walks But ALLENBY throws

Continued371 ,,)... cl '~

Il-106

:()

r--

lo

i CUT

too~ Medicals Harry, 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 Technical Does that (Pauses) sir. Yes ;U • I D.C.A ..

orders. until further quartered to remain All troops And Tracey:

door. towards A.D. C. moves

Tracey. to drink, Get us something (to A.D. C.) i best. usually It's Why not? ! ALLENBY i'o I to BRIGHTON, smiling: and says sits

ALLENB\ a chair. the window towards DRYDEN moves from attention. of strained his pose rela~es The A. D. C. the stillness. cry breaks This

1®

sir~ do nothing, just We can't and indignant) (puzzled BRIGHTON

SHOT. as before. MEDIUM374 C

ample I should think. Yes, sadly) (almost DRYDEN

Continued373 '..,,,___. ( C I. /,-J) '

----- ·- --------·----- --------·-··-·-·----

-- -- ------ -·- ·----------------- ···-··-··-··--- ··-···-···--·-----·-- .. .

Auda. this is true, And have ceased to work. telephones of the Howeitat and that the in the care are Sherif Ali said that the telephones C (patiently) LAWRENCE

from Howeitat supporters. An ominous murmur

~ He insulted me ) ( AUDA

· says! at ALI glaring

who, exception of AUDA all with the parcial calms This momentarily

Feisal! acting for Prince Council, of the Arab but Arabs nor any other trib.e Harith nor Howeitat, We here are neither, LAWRENCE

mostly seated. and· silent sufficiently are

they seats) into their souls pulling the others SHEIKS, until (the graver at the He goes on, looking fiercely in the surface. dents leaving pistol) with the butt of his table the suddenly and pounds rises himself,

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 foreboding ALI is seated, yelling into ALI's face.

is standing with rage, AUDA, beside himself defeat. of premonition

at the table with a staring LAWRENCE is seated from without. now and then under pressur·. BODYGUARDare by the door which trembles i Some of LAWRENCE's own shouting fiercely. other on the same side, ,0

each the table or towards leaning across in two factions, SHEIKS are the At the moment, with noise. or as now merely bullets blows, with masters to the teeth and ready to back their armed SHEIK ---

or four to each say three individual BODYGUARDS--- ranged their

them are Round and uncontrol. in a mood of total excitement most 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 chairs the walls. fez look down from clothes and the Turkish in European dignitaries,

I City are now pushed away and scattered. but these placed along it, and pens have been paper ink stands, Absurdly, polished surface.

down its beautifully arsenal make a small rifles table and their the down

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 principalits At long mahogany table.

(or standing) at a seated Some two dozen of the leading SHEIKS are

reigns. Pandemonium THE COUNCIL CHAMBER of the Town Hall.375

-----------. !

II /----·----.

the telephones? for no electricity there Why is 0 LAWRENCE

i \__) ELDER HARITH: \ ; He addresses of events. to break the train the opportunity seizes

quickly LAWRENCE in his chair. back gloomily himself He throws 0

... trick ~ is a this Well, ·AUDA

and depression. filled with unease

He is suddenly is not fear. that his motive sees AUDA looking at him,

.......

Yes . ALI

AUDA, ·replies: ·.'.C j

at glaring end, upon the table his fists clenches his 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. ALI1s He releases in. this LAWRENCE takes

Do you speak to me of bloodshed? (looks at LAWRENCE: sotto) ALI 0 ) be bloodshed. they'll If you answer at him) sotto but not looking (to ALI, LAWRENCE

his wrist. grips

and LAWRENCE ALI starts of abuse. word is said as a term This last

Harith! me --- You insulted ALI) (to

Harith! of the the care is· in electric~ty And the no electricity. given they are They will not work because (sullenly) AUDA

Continued375

end of the table: at the far to the others

out The SYRIAN screeches the door. who close the BODYGUARD by back to follow and is beaten attempts petitioners A mob of yellingC in. SHEIK and SYRIAN burst open and a dishevelled The door bursts

· --- Take Government~ English and you take engineers English Take No! LAWRENCE

engineers. Then we need the English ALI

absolute: The need is LAWRENCE

desperately:

, out crying in, breaks again, pounding the table LAWRENCE rises,

but deep and philosophic. time, this not excited of agreement, A chorus

telephones? What needs burn. Let them ANOTHER

It is so with all machines. (sententiously) I M3 SHEIK HAffiED WHITE

but helpless. size, of incredible They 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 table helpful calls A SYRIAN, patronisingly

... machines large three are There 0 House Aurens. to the Electrical I have been ELDER HARITH

sp_irits. and graver of the older particularly attention

he has the figure, A respected for a speech. ELDER HARITH rises

Continued375

II-107

·-·-- ·---------- -----·----·----·--·-------·----·---·-···---·--- ---------·---·-·~----·--------·~-----·--··· /·-····-·----

they good for? are What else mischief) of sheer (in the spirit AUDA

water. not carry do 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 as movements pushing desperate (He makes

is no ... There Aurens. We have tried, SHEIK DISHEVELLED

brigade! use the fire name, Then in God's property) for his alarm and of the savages stupidity ).. at the exasperation (between SECOND SYRIAN

will spread. It (looking at him with cool dislike) LAWRENCE

that matters. district a is not It reassuringly) (to LAWRENCE, SYRIAN FIB.ST :o

District! Jinsibi The DISHEVELLED SYRIAN

instant. in the same

silent and falling exploding what district?" "In "In what quarter?" "Where?" clamour: in an overlapping feet to their The SYRIANS start

waterfront! All along the

both hands) with gesture a graphic makes 0 again, breath for (He fights out~ broken has Fire breath) for (He fights Fire! DISHEVELLED SYRIAN

Continued375

Il-108

... the war up after going to take this I'm (murmuring) ALLENBY

absorbed. totally He seems there.

as decreed the· motions performs ALLENBY dutifully CLOSE SHOT.382

of a cast. motions

the going through in knickerbockers gentleman an Edwardian shows and a diagram book on fly fishing It is a text CLOSE SHOT. EXTREME381:.,-.J

i

· to it. attached of string length a with of cane aloft a piece he holds the other, with one leg before stance

in a highly artificial and, has one eye upon an open book upon a table

ALLENBY reading. ease, at his DRYDEN sits plates. and used :, 1

...

glasses, Bottles, is burning. light electric The MEDIUM SHOT.380

to look at: He turns also heard. are scream occasional

and now an shouts which distant glow in it from red sky with a faint out upon a dark his lip looking biting the windows, ol by one uneasy and stiff BRIGHTON stands CLOSE SHOT. ROOM. ALLENBY'S379

the through forwards LAWRENCE fighting we see Hall whereTown_ the of the steps towards quarter every run from And people side. on its lies the Town Hall a cart outside or square In the street LONG SHOT.378

... afternoon This afternoon! this petitions We will hear LAWRENCE

the uproar. into shouting LAWRENCE is of the Town Hall, On the steps SHOT. MEDIUM377

to depart.

one who prepares as hurriedly, garment, into the fold of his ink stands silver is stuffing ONE OF THE SHEIKS at the table CLOSE SHOT.376

the open double doorway. Hall towards the lobby of the Town extend throughout they We see that or tearful.0

indignant bullying, beseeching, waving papers, in, pour the petitioners rnusic the rising and under open, thrown are The doors follow him. SHEIK to DISHEVELLED gesturing LAWRENCE rises, mounting)

MUSIC (Arab theme quick to respond. and the others furious,

allies and their the Rualla laughing, some again, is an uproar There

Continued375

J'",-..> ( onto the balcony and look down. They go quickly window.

the under and thud of horsemen the jingle we hear this is saying ·Ashe

' •, t the power. it's sir, No, DRYDEN

off and on. lamp of a reading the switch DRYDEN clicks

It may be the bulb. ALLENBY

happened. what's BRIGHTON has fully registered his rod before

ALLENBY has laid down and than real, apparent ALLENBY was more

of DRYDEN and We see that the torpor beyond one of the windows.

and showing us the moon in moonlight putting them The light goes off,

... sir Sorry, . / 'f' (awkwardly) BRIGHTON

at him. resentment a look of venomous ALLENBY 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's It's ALLENBY

murmuring: it totally, but ALLENBY ignores his spectacles, up at him over DRYDEN 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 watches to it. attention

his returns and apparently the paper LAWRENCE gently extracts

you heart. kriow_! ... Back of the head) jerk a (with AUDA

Come where? LAWRENCE

AUDA blankly and mildly:

He looks at the paper. to retrieve no attempt LAWRENCE makes

me! Come with ! Aurens it, Leave

: I AUDA V - !

~ paper.

upon the Suddenly his hand descends him with displeasure. watches and AUDA LAWRENCE is writing LAWRENCE. opposite AUDA sits

they did before. WRENCE sit where ALI and LA SHEIK is asleep.

The OLD with papers. littered are and floor Both table cups. with coffee is littered the table saucers; in some lovely candelabra, in some is lit by many candles, The room TOWN HALL INTERIOR.384

sir. leaving They're whisper) (an excited DRYDEN

sides. at their C

animals they lead laden inscrutable, silent, veiled, riders, camel'-------'

, I :~

and horse of mixed A caravan MEDIUM SHOT ANGLING DOWN.383

11-111

(

u.p. but does not look writing? stops LAWRENCE hesitates,

politics. And learn here. stay I shall No» ALI ·c

background. in ALI LAWRENCE. CLOSE SHOT. 388

Ali? you» What about LAWRENCE

then: space, a for work his to back He goes table. ALI looking at him down the his head and sees LAWRENCE 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 TRACK LAWRENCE. EXTREME CLOSE SHOT. 387

... Well will you come 1'1)

AUDA

me God. Hear again. see the desert may never I pray I LAWRENCE

formality: deliberate

with one hand and says he raises Deadpan, emotion. shows no facial LAWRENCE AUDA in background. LAWRENCE, CLOSE SHOT.386

blood than you could think of. more up has dried you the desert I tell

comforting. confident, warm,

TRACK, AUDA co_ntinues on SOUND LAWRENCE. CLOSE SHOT. 385

Is it . . . the blood? AUDA·

AUDA pauses. At the door, n~rve. does not move a

but ALI who is all ears passing down the room to the door, walks and rises AUDA moved. very He is LAWRENCE goes on writing.

is nothing. you this I tell AUDA (cont)

paper. the room with its littered indicates He contemptuously

Continued384

II-112 '

I

C

(

--

in aiterhate is thus corridor The ., ppurs also which the moonlight through archway an open:w~th ends wall This one wall. punctuate

windows which a,rch the through poμrs which moonlight by only

It is lit which he has entered. corridor Down the MEDIUM SHOT.392

f'; the door. ALI goes through

strangers. ·already and themselves complete, already parting

know the and friends from the shore too far when the ship is already it is as hands their raise but as they back, LAWRENCE half-smiles 0

Much. smile) a for (He tries Yes. ALI

appeal. naked a It is

? . . . something be . • . it would . quickly) (ALI turns And then -./ ,1·~' I~--. LAWRENCE l

ALI by the door. SHOT FROM HIS VIEWPOINT. REVERSE391

for. what I came It's LAWRENCE

LAWRENCE says mildly: himseli, control to pause a After

Damascus!

to give us hard very You have tried accusing) almost (half resentful, ALI

in paper. absorbed seemingly LAWRENCE is POINT OF VIEW. ALI'S FROM LONG SHOT.390

at his friend. down the table glancing

He hesitates, a farewell. knows he is making on his feet, himself and finding but compelled, not purposely ALI rises CLOSE SHOT.389

you. met of it when I I had not thought ALI

low occupation. a very That's LAWRENCE

Continued388

11-113

... r-,---

....

Howeitat! . •.

gloom.

in the arc a bright which (CLOSE SHOT) carves his dagger drawing

simultaneously bound, with a cat-like free himself ALI wrenches

Take your hand away ... and ALI shouts furiously) through pouring comes (Suddenly all the emotion 0 himself? who hates himself, he fear must How him . . . who love him ... If I fear ALI

n. reply .

ALI can before or two of silence is a moment There beyond question. is far whose virility but as men speak of weeping naturally sympathy, not with womanish and certainly sneer, not as a is said certainly This

Then why do you weep? -.• I~ I~',, AUDA

a little. peers

AUDA on his eyes. lights bright save for shadow of his headcloth is in the face ALi's it; that we can see so is angled AUDA'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, sets ALI immediately At this,I

He is your friend? Accusing) silence: moment!s a (After

He instinctively him by the arm. and grasps silently steps MAN a shadows one of these From shadows. light and grey bands of silver

le•-, _J '\ //I Continued392 •"! I.

----'

into CAMERA. straight Glares of BRITISH COLONEL. face indignant The CLOSE SHOT. EXTREME396

the stars: AUDA is calHng under

AUDA. back towards turns shadows th~ ALI in REVERSE SHOT.395

~ . . . thee what though I tell

· · calls:

and shadows, the who is entering ALI, his head and watches He lowers

Allah be thanked. AUDA '1·;

in the open air. breathes and luxuriously He stretches

and I am an old dog. (Complacently) ... new tricks are Well these AUDA

up to the moon and stars. turned his face AUDA, CLOSE SHOT.394.

archway. is another shadows

among the whei:e corner a far towards it diagonally is crossing ALI'393

CUT to the courtyard. They have come to an open archway.

Not yet. ALI

determinedly: and says, but looks up at this his knife, sheathing ALI is

politician. not entirely You're 0-h-h-•. (grinning) AUDA

the wall. one hand against is leaning

He pleased. Ewen and unruffled ALI, and now regards instinctively, blow, to avoid the movement necessary 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's response

in to be speaking that he appears and the CUT so timed CAMERA, up into straight LAWRENCE looking CLOSE SHOT. EXTREME398

'' CUTTP ·, ::

what they say. to the Town Hall and see go over Now, (Then) yourself. Control -.•• ,n

Contemptuously) emotion\ by the excess irritated

by the insubordination, (not angered ALLENBY

not~ l will sir, No, COLONEL

obey your orders. . at all you must Under any circumstances automatically) (almost ALLENBY ·

immediately. over I think I must take Under the circumstances sir. sorry, I'm · COLONEL

Council. the Arab of within the jurisdiction It comes ALLENBY

morning. It is broad action. immediate We see that he expects gown. on his dressing bed and is wrapping

from risen He has just him. ALLENBY confronts MEDIUM SHOT.397

it~ anything like seen I've never Officer, as a Medical In all my years COLONEL

Continued396

• ►

II-116 r

(·

/ -----·-- ···--· ··--·- ·-·

the emotions). not assault fact~ a we want to establish all passing; it see we must on an.y one thing; lingE>r not CAMERA must (But the strewn. lie containers and enamel dressings dirty caked? blood are bandages their unwashed, are They dead. are Some patients. the Moving with LAWRENCE among CLOSE TRACKING SHOT: 401

C

side. at the far courtyard

the entered LAWRENCE has of flies. buzzing and the horrible it We hear awning. flapping this under From SHOT. REVERSE 400

sound. with a soft insidious and slowly heavily and flaps corner·o at one loose come has ranee~ ent the hospital over one of these, but rigged, been have awnings tarpaulin and there Here courtyard. into the overflowed are The beds Hospital. Military the Turkish of The courtyard MUSIC CONTINUING. MEDIUM LONG SHOT. 399

· he asks: to his question,

the answer as one who fears Then, and he rises. Sad MUSIC begins,

Yes. look at him) (cannot LAWRENCE

I understand!· that, ways than inmore responsibility your are and many of whom Council] Arab precious your of the responsibility of whom are All wounded in it. Turkish two thousand about are There beds. It has six hundred COLONEL

many? Are there (fearfully) Yes. LAWRENCE

Hospital~ I ,·· Military the Turkish But you "forgot" COLONEL 0

•.• hospitals civic We did what we could in the ~

exculpation) useless 1° (as one who offers LAWRENCE \o"·-- Continued 398

,••----••n- -•-••-•--•---._/~ • • • ---- ----•-----•• - •-•-•-•••.,-•- •-• ••- •• ---••• ••• -----••••••----•••---• - -• •• - " - -------------------------------------------------- ---r·····

wog. liUle Filthy :,~ out) as he strides (carelessly, r-'··--..., MEDICAL OFFICER

the wall. his feet against from him as flings his face across smack a full-armed him such deals then incredulously, stares OFFICER The MEDICAL to laugh. He begins once again. his features haunts

ghost of his old mockery The pale LAWRENCE. CLOSE SHOT. 408

Outrageous: up to LAWRENCE) (he comes Outrageous! Outrageous: it) (he is enjoying outrageous! • . • . . . is is This MEDICAL OFFICER

· and fleshy. enormous

He is is crimson. His face of the Golf Club. the Chairman School, of the Prep. He is the Captain at LAWRENCE. He stops long ward. up the by TWO ORDERLIES marches attended M-.0. military and very A moustached the bunks. sweepi.ng between is studiously foregrounc:I,

•

LAWRENCE in ANGLING DOWN A WARD, MEDIUM LONG SHOT. 407

i of heaven. It is like a vision competent. i

and starched clean, They are SISTERS and a SCORE OF ORDERLIES.~ a DOZEN DOCTORS, we can see SIX Already being unloaded.

i

are Stretchers the 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. shouting voices and crisp slamming drawing up 1 doors cars we hear so 9 and as he does it up, picks

He upon a broom. eye lights His wandering shelves. dispensary the back against He leans jug. the down CLOSE SHOT. He puts 405

away to silence. dies

MUSIC is in it. No water THE TAP. CLOSE SHOT. EXTREME 404

hopefully. The MUSIC rising a tap. turns

he Frantically, in. and darts dispensary to a He comes contents. of their wards inside glimpses catching with patients, littered also

{()

down a corridor, frantically He searches CLOSE TRACKING SHOT. 403

it tj•it into the hospital. jug and darts water I I

up an enamel snatches coming to, LAWRENCEP until it, understand tt

so that we do not word is used The Turkish monotonously. •.. cl

"Water" ... "Water" croak Voices hi.m. with we pause the entrance, o'·----' ~

: ', with LAWRENCE to the awning and tracked Having MEDIUM SHOT. 402~I ;~

.. , Colonel Lawrence not sir~ describing~ me you're That's

' ALLENBY i

the silence, in .ALLENBY coughs uncomfortably()

manage. he can possibly all that are good manners elementary and attention that It is simply not to be any kind of nuisance. cerned con- fie is indeed point. at this distasteful would be very attitudenising of Any suggestion he is committed. economy to which but a necessary posture, is not a And this to nothing. and reacts to ·everything, politely

and carefully He listens world. outer with the dealings only 10% for

\.

leaving his own nature; of burden the sustaining in merely taken is energy LAWRENCE's of 90% Now and henceforth met him. only just had he as though almost without even distaste, judgment, without back at him LAWRENCE looks silently MEDIUM CLOSE SHOT. 411,I

) I•·I L, gentleman. Engli.sh of the and . . . all the activities trout he catches in imagination Already with all that) familiar to be own pretentious ) ◄ ·his at a little (he smiles is it not? -- "Surrey" of -- cottages for the Gothic He pines land. his native

of He longs for the greenness proudly~ how

phrase, to use that the right men will claim how many -- Lawrence" "my friend -- that him if I may call Lawrence, My friend FEISAL·

yet see.

whom we cannot discourse FEISALrs of the object towards ALLENBY, 0

looking as is stands, BRIGHTON again~ behind hands; clasped

his regarding seated~ of him DRYDEN is Behind and to one side desk. and useless at an enormous ALLENBY is seated treatment. the full portraits, royal furniture, polished office; not his working room, is his prestige This in Damascus. room great ALLENBY's

he is in that CAMERA DRAWS AWAY to reveal he speaks,

As gently and humorously_.. persuasively, 1 melodiously1 speaking is King, FEISAL in all the panoply of an Arabian CLOSE SHOT. 4·10

of his state "explain" quite ruinously Which would also is self pity. at this point -- man - particularly strange this from accept possibly could no audience The only thing tears. of one it may remind

j

though but that .!!_is laughter, mistake~ be no (And let there laugh.,I i

_.)_ \ C i

to the wall continues against LAWRENCE crouched CLOSE SHOT. 409; i l

() ·'

And then old men hope for the future. and courage -- of young men virtues l__j the of war are virtues and -- wars ,,~-) I Young men make work. Old men's

sincerely: and adds more 1 comfort

to with the desire FEISAL is touched of any kind. without comment

without condemnation, 1 without anger LAWRENCE looks at hiin,

bargains. We drive 0 ,-deprecation) self (unreal here. a warrior for is nothing further There FEISAL

◄) FEISAL cuts in with quick persuasion.

"God speed". ... Well then ALLENBY

ruthlessly: chin out and says LAWRENCE~ to look at himself Then he forces some papers. ALLENBY aligns awkward pause. is another There

you. thank Then interest) of real (a flicker LAWRENCE

home. on the boat have a cabin to yourself a Colonel you'll 4s (roughly) ALLENBY 0

kind. Be a little Colonel. 9 Take the honour (quickly) FEISAL

not aggressively) interest polite with the question (He asks What for? Yes. LAWRENCE

Colonel. promoted You'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 resist it, your men attempt 0 And if not bring down my Flag. I shall FEISAL

Flag! you must bring down your then, In fairness C ALLENBY

assistance. I shall be glad of any technical FEISAL

sir. will be no water, the Pumping Plant there If you retain ALLENBY

peasants. of bargaining the desk like a pair across another They face one and indignant. horrified him.,, BRIGHTON looks at

Plant I must retain. The Pumping I concede. these Exchange, the Telephone The Power House, FEISAL

themselves. reseat as the others

of chairs and scraping of throats a clearing.. On SOUND TRACK we hear

has been made of the occasion. that no more concerned for the man,

Concerned concerned. him, BRIGHTON looks after CLOSE 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 the Tongue-tied. also. have risen the others Quietly,

out of the room. him that will get say or what to cap, his to do with

wondering what momentarily He pauses gets up. LAWRENCE simply

\ It must be so. (gently) and caution. mistrust of old men -- the vices are of peace and the vices make the peace, FEISAL (Cont)

Continued 411

man. was a hard thought_! I and dis gust) (between admiration ALLENBY

we not? are rid of him glad to be equally We are two edges. is a sword with But then Aurens Ah yes. smile) (a small FEISAL

Officer: serving by a British you, may I remind Led, ALLENBY

On SOUND TRACK: . the blood-bath. after

BENTLEY by taken the photograph of reproduction a is and there

Daily Courier" one is the "Chicago top The languages. several They are in THE NEWSPAPERS. CLOSE SHOT. EXTREME 413

on ALLEN:SY's desk. of newspapers pile a drop and lets He rises

form. when they take this

Particularly can be very powerful. Illusions FEISAL

illusory~ Jt?s sir. 9 no power have They (impatiently) ALLENBY

in my name. the Arab Council took power It is widely known light of an aggressor. in the Conference at the Peace appear does not wish to your Government sure I am ugly incident. very a that makes It is the kind of thing Enough for that. FEISAL

sir. men 9 Have you any ALLENBY

Continued 412

II-122

_j

What do you think? compromise. delicately) the word (he chooses

... of this chief architect are suspect, I You,

(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. With Water Works,

I a British have to we're Well it seems

I

DRYDEN ro

l I

brightness: with bitter says guiltii his and out of too fires

he but at this, as before, his fingers DRYDEN in fact was examining

Well? ALLENBY

aggressively: snarls, almost DRYDEN and barks towards

his head he half turns an attack, him to anticipate guilt causing his then, wryly-, him rather ALLENBY looks after LAWRENCE. 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 several with an archaic He speaks

King. a be I must a General. merely You are FEISAL

Continued 414

\. j

i ·1. lobby on to the steps. the He runs through LAWRENCE.1'\. }.. ;~ ( ✓..I ··---- /" as that taken by direction samP. the it in through swiftly walking

Lounge Officers' in the He appears door. it and in through another runs across courtyard, a little into through a door He appears office. through an and walks rapidly of double doors open a pair pushes He two at a time. quickly at the head of them and descends appears BRIGHTON stairs. UP a flight of narrow MEDIUM SHOT ANGLING 417

CUT.-:

that. I should have remembered No, sir, (smiling confidently) •.. sir Don't think so, (frowning) MEDICAL OFFICER

met before? we Haven't LAWRENCE

curiosity: with deep and serious

but not lightly, say, back to and then turns LAWRENCE is going,

sir. it, Just want to be able to say I've done

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 sees when. and flinches LAWRENCE turns

s~y~ I MEDICAL OFFICER ·

as LAWRENCE walks past him. his chair

from MEDICAL OFFICER springs The red-faced CLOSE SHOT. 416

it off again. takes and hastily LAWRENCE absently puts on his cap,

mostly reading papers. about, sit A few OFFICERS Headquarters. Lounge in the Damascus the Officer's LAWRENCE is crossing 415

II-124

I ·~-·--·--··--•···-·---., ----------------------

;'°"--~ \

END THE ? \'

· · machine throws upwards. his is enveloped in the dust which screen the RIDER and the We glimpse in the same direction. on a motor bicycle passes Rider Dispatch

an Army behind us and immediately swiftly singing disappears their The sound of ") I must leave you ..• Dolly, ("Goodbye the period. of ditty singing a music-hall full of Tommies and swings past us, approaches lorry Army A 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 is in this that

by him so obscured and, The DRIVER SHOT. CLOSE TRACKING 422

behind in our dust. them we leave and accelerating, We hear the car accelerating, of recognition. :sign show no They

faces. Their LAWRENCE. P.O. V. SHOT. TRACIONG MEDIUM 421

crawls past. car the as faces into their up hopefully and peers He stands LAWRENCE. CLOSE SHOT. -- 420

going in the same direction.

camels of BEDOUIN on a file car must slow down for then the staff directio.n; us in the opposite passes lorry Army An engine. ~he and\_.· winq. the sound but no is There LAWRENCE. and .DRIVER theare In the front staff car. of a travelling is in rear CAMERA -desert. a level is It of sunset. in the after-glow THE ROAD from Damascus 419

disappointed, he looks crestfallen, face; his from dies away eagerness,/'';, The down the drive. and up He looks eagerly CLOSE SHOT. 418

ll-125