We eventually got back to Marrakesh and, we'd shot 90% of the film. There were really only some pick-ups to do in a couple of scenes, and the weather turned bad. And during this whole... during the whole filming I had an operator with me because I was still, at that point, I was still reluctant to operate myself, because I considered myself perfectly competent at lighting, but operating is a completely different job. Operating is a physical job which requires finesse in... in the physical sense, and I didn't trust myself to be good enough, so I took a friend, Gerry Turpin, who'd already helped us on the Saturday Night film, and other films, some other documentaries, he was there. And... so he was with us during that whole time. Now, the final month of the filming, which was January of '54. No it wasn't January, it was April... it must have been April, yes, April of '54, the weather turned bad. And I decided, well we have to wait. There are certain things which we do need sunshine for, and there were, like, two weeks of rain. Clouds, rain, no sunshine. And so I decided to send Gerry back, to send the... by that time we'd acquired a Mitchell. Yes, after the problem with the camera we, at great expense, we ordered a Mitchell to come from England, and we finished the film on a Mitchell. And... but by that time I felt quite competent for operating, and in any case, we hadn't got left... much left to do, so both the Mitchell and Gerry were sent back. And I finished the film myself, without an operator, operating myself on a... on a... another Cameflex, I think it must've been. And we... we waited for sun, and we got the... the rest of the film... scenes done that we needed. But by that... by that time I felt, sort of, quite competent to operate myself, provided it wasn't a huge camera.