Arabesque Page #3

Synopsis: Professor David Pollock is an expert in ancient Arabic hieroglyphics. A Middle Eastern Prime Minister convinces Pollock to infiltrate the organization of a man named Beshraavi, who is involved in a plot against the Prime Minister. The nature of the plot is believed to be found in a hieroglyphic code. Beshraavi's mistress, Yasmin Azir is a mystery intertwined in the plot. Pollock needs her help, but when she repeatedly seems to double cross him in one escapade after another, he can't decide on whose side she is working. Ultimately working together, Pollock and Yasmin decipher the plot and set out to stop an assassination of the Prime Minister.
Director(s): Stanley Donen
Production: MCA Universal Home Video
  Won 1 BAFTA Film Award. Another 1 win & 4 nominations.
 
IMDB:
6.6
Rotten Tomatoes:
64%
UNRATED
Year:
1966
105 min
356 Views


- Who?

- Pollock.

Darling,

if you start getting jealous over everyone who looks at me,

it will do terrible things

to your blood pressure.

I don't think you have to worry about college professors.

Why not?

They're only interested

in their work.

They're the most dangerous kind, my love.

They're such expert peekers.

Don't worry.

If I were standing stark naked in front of Mr. Pollock,

he'd probably yawn.

I think it's time

I dried you.

Excuse me, Yasmin.

The phone.

- Yes?

- Mr. Beshraavi.

Yes, what is it,

Sloane?

I don't know where

Mr. Pollack is, sir.

Isn't he in the library?

I don't think so, sir.

He was your responsibility.

What about cipher?

I don't know, sir.

Well, go and check.

Yes, sir.

Mr. Pollock.

Yes?

Do you have the inscription?

It's in my pocket.

I hope it's written

with waterproof ink.

- It isn't there.

- It isn't there?

Must you

mismanage everything?

I don't know where

Mr. Pollock is either.

What do you mean,

you can't find him either? You've got to find him!

Come up here at once,

and bring that butler of hers!

What are you doing?

This is no time for dessert.

Well, they're good.

Here, have one.

Come on. Come on.

He is not

on the ground floor, sir.

You searched every room?

Every room.

Sloane,

Pollock was in your charge.

I trusted you.

- Now, you. What's your name?

- Hemsley, sir.

Hemsley.

Yes, of course.

- Now, what have you

been up to, Hemsley? - N-Nothing, sir.

Have you been disobeying

my orders?

I-I work

for Miss Azir, sir.

Ah, so you do.

I appreciate loyalty, Hemsley.

Tell me,

how would you like to work for me?

I'm quite satisfied

with my present position. Thank you, Mr. Beshraavi.

Are you?

Please tell me

when you're dissatisfied with it, Hemsley.

Welcome aboard, Hemsley.

Thank you, sir.

Don't worry, Hemsley.

Here's a bonus.

Oh.

Well, thank you, sir.

Don't mention it, Hemsley.

Would you like another bonus?

Oh, not just now, sir,

if you don't mind, sir.

- Where's Mr. Pollock?

- He came up here, sir.

Up here?

- Where up here?

- To this room, sir.

No hanky-panky,

Mr. Beshraavi.

From man or bird.

Believe him, Nejim.

He means it. He said he'd kill me.

Close the door, lady.

Lock it.

Get him, Mustafa.

But carefully.

Whatever he does to Miss Azir,

I will do to you,

personally.

Don't think that

I haven't enjoyed it. It's been a nice change.

Thanks a lot. Bye now.

No, they won't shoot if I'm with you.

You still need me.

Need you? Lady, I can't live without you.

Messy business.

My apologies, miss.

I'm sorry you

had to see it.

Was I glad to see you.

Are you with the police?

Inspector Webster, C.I.D.

How in the world

did you know?

We've been watching the house.

Nasty customers.

My house? Yes, miss.

Since Mr. Beshraavi's been staying with you.

Might I suggest we move along?

We'll have to get down to the station.

All right, all right.

Who's the ruddy nit who's

broke my tank downstairs?

I'm up to me neck in drowning fishes.

There's been some trouble.

Oh, and who are you?

The ruddy Sheriff of Sherwood Forest?

Webster, C.I.D.

Oh. Oh, I see.

Well, you better let me

see your card, mate. I've got to make a report.

Somebody's got to pay

for all them dead fish.

Yes, of course.

All right,

let's go.

I don't get it.

Whose side

are you on?

What difference does it make?

Let's get out of here.

You're not with the authorities,

and you're not with Beshraavi.

And you can't be

with Prime Minister Jena.

Who are you with?

Her.

Swell.

Ain't it a gas

about my promotion?

Number three

to General Ali himself.

He's coming 'round, waking up.

So you're with us again,

teach.

I don't know

whether I am or not. Whose side are you on?

Don't worry about sides,

daddy-o.

Yussef Kassim is the name.

Kyle Webster you've met.

And dear Miss Azir.

For a poor, subjugated

Arab lady, you lead one hell of an emancipated life.

Mr. Beshraavi

on the one hand,

and Mr. Yussef Kassim

on the other.

Do you get Sundays off?

Skip the college talk,

teach.

To the point, daddy-o:

Where is the cipher?

"The cipher"?

Yeah, the cipher.

We know you've got it.

No point fooling.

You're in the middle of nowhere.

The Marines can't come

and save you for democracy here.

That cipher-

Where is it?

Ask me later, alligator.

Where is it?

I left it at Beshraavi's.

After all, it belongs to him.

Wrong again, teach.

He snatched it.

It belongs to this cat

right here.

Where is it?

Miss Azir, after all

we've been through together,

couldn't you find it

in your heart to put in...

a small word

on my behalf?

He told me he had it

in his pocket.

Tattletale.

Where is it?

Cool it, Webster! There's a better way.

Nice business associates

you have, Miss Azir.

Why don't you tell them

where the cipher is?

Because I don't know where it is.

You told me you had it.

You told me lots of things too.

Looks like we're just a pair

of pathological liars.

I was honest about one thing.

I told you to keep out

of this, didn't I?

- That you did.

- Why didn't you listen to me?

Because I'm such

a big know-it-all.

Okay, teach, here's your chance

to be a big "tell-it-all."

Somehow I get the idea

you've seen too much television.

Webster.

Hey, Miss Azir,

come on down here and I'll scrub your back.

Professor,

can you hear me?

An ernest professor

of math...

studied figures

while taking a bath.

Professor,

what did you do with the cipher?

Cipher, cipher,

who's got the cipher?

Number nine's

got the cipher.

"Nine"?

What's that mean?

That's for me to know

and you to guess.

Where is it?

That tickles.

Professor,

you can tell me.

Where is the cipher, hmm?

Candy

I keep my candy handy

This whole gig's

beginning to bug me. Let's get rid of him.

What are you going to do?

Dump him.

You heard him. He doesn't have it.

Then who does?

That's what you're going

to find out, sweet mama,

as soon as you scoot

on home and ask your rich sugar daddy.

Webster.

Ole! Ole!

Ole!

Ole! Ole! Ole!

Whee!

We were quite worried about you.

Were you, Hemsley? How sweet.

But I expected to see you wearing burnoose by now.

I'm sorry, miss.

Don't sulk, Hemsley.

I'm in no position to throw the first stone.

Allah be praised, miss.

Ah, Yasmin,

there you are.

I'm so delighted

that you've decided to come back.

Your concern

is so comforting, Nejim.

Your shower must have been quite stimulating.

It was.

But how do you suppose

he happened to be in there, my pet?

I neglected to ask him.

All I know is

he was there waiting for me with those scissors...

when I stepped in.

And what, I wonder,

made him come up here in the first place?

I don't suppose it could have

been your promise...

to keep him a prisoner here

until he'd finished his work.

Oh, dear, I hope not.

I thought I was being so hospitable.

Westerners so often

misunderstand us, don't you find?

Oh, I am exhausted.

Of course you are,

my poor darling.

Let me give you

a massage.

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Julian Mitchell

Charles Julian Humphrey Mitchell FRSL (born 1 May 1935) is an English playwright, screenwriter and occasional novelist. He is best known as the writer of the play and film Another Country, and as a screenwriter for TV, producing many original plays and series episodes, including at least ten for Inspector Morse. Mitchell was born in Epping, Essex, and educated at Winchester College, where he won the English Verse and Duncan Reading Prizes. He did his national service in submarines 1953-55 as a Sub Lt RNVR. He then went to Wadham College, Oxford and received a BA with first class honours in 1958. This was followed by a period as a Harkness Fellow in the USA (1959–61). He earned an M.A. in 1962 at St. Antony's College, Oxford. Since 1962 he has been a freelance writer. In the late 1960s, Mitchell co-wrote the teleplay Arthur (Or the Decline and Fall of the British Empire) with Ray Davies of The Kinks. It was never produced, though it gave rise to the band's concept album. He recently recalled the aborted project: "Arthur had a most unhappy history. It was originally meant to be a ... sort of rock opera, and we got as far as casting (excellent director and actors) and finding locations and were about to go when the producer went to a production meeting without a proper budget, tried to flannel his way through it, was immediately sussed and the production pulled. I have never been able to forgive the man." Mitchell has written nine produced plays, including Another Country, which won the SWET (now Olivier) Award for best play of the year (1981), and After Aida (1985), a play-with-music about composer Giuseppe Verdi. Mitchell has screenplay credits for five feature films. The earliest was Arabesque (1966), which was directed by Stanley Donen. Another Country (1984) is based on Mitchell's own play, and directed by Marek Kanievska. Vincent & Theo (1990) is a biographical film about the famed painted Vincent van Gogh and his brother Theo, and was directed by Robert Altman. August (1996) was directed and starred Anthony Hopkins, and was adapted from Anton Chekhov's classic play Uncle Vanya. Wilde (1997) is based on the life of Oscar Wilde, and was directed by Brian Gilbert. In 2007 he wrote the BBC4 drama Consenting Adults about Sir John Wolfenden and his celebrated 1957 report. more…

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Submitted on August 05, 2018

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