Allenby--Brightin Fireside scene. As you know, Sam, Bill Wilder queried this. He didn't condemn it and said he couldn't on one running. It was just a query. I am in a real quandary about it. The footage involved tempts me very much--but only under the circumstances--for I like the scene and think it has great contrast value from a pictorial point of view, it shows Allenby's very tolerant and understanding attitude towards Lawrence (and we don't get too much of this aspect of their relationship). It shows the beginning of the change in Brighton's attitude to Lawrence, and almost best of all it contains, "Not lies, poems."--which is valuable from an audience guidance point of view.

But if we have got to cut it it could go with the audience none the wiser. The only way to do it would be to dissolve from "What do you recommend?" to the snow blowing across the hole in the ruins.

If pure length is our sole criterion then it must come out. If it be speed or fear of boredom in the audience I think it should stay in.

Bey Scene. I don't agree with the suggested cut. (This, Robert, is because it unfortunately seems that here in America at least--and I can't speak for England as I have had no opportunity to question people on this point--don't understand that anything happens to Lawrence after the beating. The buggering. The reason would take another 6 foot of silence on Ali's close up before the music start I now realise) The suggested cut is that we somehow cut directly from the beating to Lawrence being thrown out into the puddle--as if there had been no time lapse. I don't agree with this and have another idea which may even be better and more to the point than the version running at the moment.

I think the suggestion of a time lapse in which something other than the beating is taking place is very important, and believe it doesn't come over because we haven't made enough contrast but have been to smooth. Now. I would dissolve form the final shot of Ali and the moon. I would have no music--and this is an important part of it--but would have the track of dogs barking and only start the music when the lights came up in the windows. This would mean cutting out the shot of Ali--the long tracking shot--which starts on him listening at the sounds of beating down the street as the sound of feet and door bangs die away to nothing--which at present starts the music.

I think this is a first rate cut irrespective of length problems. We would go from the Bey in the doorway to Ali mooching about outside darkened windows--with no sound but barking dogs. Then the lights would go on--and I think most audiences would cotton on here if they hadn't done so before. But we must have a silence. The audience have to to wonder what's going on and music will somehow smooth it all away.