Then I took part in the... the film was edited in Athens, in a fairly conventional manner with Cacoyannis, which he always did, he edited the film. He had an assistant but, even if there was a credit as editor on the film, it isn't really more than an assistant editor because Cacoyannis always edited his own films. And in any case, they were cut in the camera. Sometimes, in England certainly, they produce a thing called a Release Script which is useful for post-synching and for legal purposes and all sorts of things. And, the Release Script is taken from the movie. Somebody sits and watches the movie and writes down all the dialogue and that forms the Release Script. If such a script had been produced for A Girl in Black, which it wasn't, it would've been identical with the shooting script except for three shots. There were, there was a sequence of three shots that had been cut out and there was a little bit of improvisation in the funeral scene, where some additional stuff was shot that wasn't in the script. But apart from that the script... the film is exactly like the script, shot by shot, which is very unusual. Then it was post-synched and I helped in the post-synching. Again, it has a nice sound track. That film has a nice sound track for the simple reason that it's a very simple sound track, where every noise that you hear, every sound that you hear, is there because you put it there. It isn't there because it happened to be there while you were shooting that scene. So if you hear a woman... there's a scene where a woman in high-heels walks through the town of Hydra in the siesta hour, in the lunch hour, having just been to an assignation with her lover in the bushes at the back, and people are watching from behind the shutters. You see sort of half open shutters where you sense there's an eye behind the shutter watching, and that was post-synched. Cacoyannis took a match box and a match and, as she walked, he tapped on the match box with the match, with the mike close by, so. And in addition you hear... there's a distance sound of the sea, which we put on afterwards, but apart from that it's that simple. So all the dialogue... and when Ellie has a scene where... in the, in the main scene where, at some point, somebody sits on the bed, that was me. We had a bed there and at the appropriate moment, I sat on the bed and the springs creaked, and that's... at the same time as the dialogue was recorded. So there isn't such a thing as a dialogue track and an effects track. The effects are on the dialogue track.