The Sheik and I Page #2

IT'S TRICKY, I THINK.

I THINK YOU'RE TAKING

A LOT OF RISKS.

YEAH.

BUT THAT'S WHA YOU LIKE TO DO?

YEAH.

UH-HUH.

CAN I GET THE CHECK?

THANK YOU.

OKAY, IT'S GOOD.

WAS IT GOOD?

I DON'T KNOW.

SH*T.

SO WE FLEW TO SHARJAH.

SO THE SHARJAH AR FOUNDATION SENT A DRIVER

NAMED MANSOUR,

TO PICK US UP.

SO THEN WE'RE IN THE CAR, GOING

TO THE HOTEL FROM THE AIRPORT.

AND MANDY SAYS...

[WHISPERING]

AND I WAS LIKE, WELL,

WHAT DO YOU MEAN?

AND SHE WAS LIKE...

AND, I THINK SHE WAS SCARED.

AND I THINK MAYBE HER BEING

SCARED MAYBE MADE ME SCARED,

LIKE, WELL, SHOULD I BE WORRIED?

SHOULD I BE SCARED?

MANSOUR, ARE WE

DID WE GO IN A CIRCLE?

DID WE JUST GO IN A CIRCLE?

MANSOUR?

MANSOUR?

MANSOUR?

AND I THOUGHT WHAT IF HE'S

NOT ANSWERING ME NO

BECAUSE HE DOESN'T HEAR ME,

BUT BECAUSE HE'S KIDNAPPING US.

AND SOMEHOW,

EITHER HE ISN'T REALLY MANSOUR.

HE JUST LIKE KILLED MANSOUR.

HE HAD PRETENDED TO BE MANSOUR.

HE'S REALLY A KIDNAPPER.

BUT THAT'S THE KIND OF THING

YOU THINK FROM LIKE HOLLYWOOD

MOVIES, WHAT YOU SEE.

THE AMERICANS MUST DIE.

SO I JUST HAD THIS LITTLE MOMEN

OF LIKE, WHAT IF HE'S KIDNAPPING

US? IT WAS JUST LIKE A THOUGHT.

IT WAS LIKE A SPLIT SECOND.

AND THEN AS SOON AS IT HAPPENED,

I WAS LIKE, NO, NO, NO,

THAT'S RIDICULOUS.

HE'S LIKE

HE IS NOT GOING TO KIDNAP US.

THAT'S JUST LIKE A--

BUT I THOUGHT,

BUT THAT WAS AN INTERESTING

LITTLE PARANOID FANTASY

I HAD, LIKE, THAT MIGH BE A GOOD SCENE IN A MOVIE.

LIKE, I SOR OF HAD AN IMAGE OF HIM,

LIKE, PULLING UP IN FRON OF LIKE A DARK WAREHOUSE

OR SOMETHING, YOU KNOW,

AND SAYING "WAIT HERE",

OR SOMEBODY ELSE COMES OUT.

I DON'T KNOW, BUT I JUS HAD THIS LITTLE IMAGE.

AND I FELT, WELL,

I COULD JUST FILM A SCENE

WHERE WE CAN RE-ENAC THAT IMAGE.

YOU KNOW,

I'M MAKING A FILM, RIGHT?

FOR THE SHARJAH FOUNDATION.

WOULD YOU BE WILLING

TO ACT IN IT?

AS AN ACTOR?

YEAH. COULD I DO A SCENE

WITH YOU ACTING IN IT?

YEAH?

OKAY.

DO YOU KNOW WHERE THE

SHARJAH ART MUSEUM IS?

THE ART WHAT? ART MUSEUM?

GO THERE STRAIGHT.

YOU SEE THE DOOR?

THEN GO TO THE RIGHT.

GREAT. THANK YOU.

[MAN]

NICE TO MEET YOU FINALLY.

THAT'S ME.

THIS IS MICHAEL.

HELLO MICHAEL,

NICE TO MEET YOU.

I'M CAMILLE.

THIS IS COLIN.

COLIN, HELLO.

NICE TO MEET YOU.

UH, THE QUESTION?

YEAH.

HAVE YOU SEEN OTHER HOTELS?

NO.

BECAUSE...

THEY'RE ALL THAT WAY?

WELL...

[LAUGHS]

[WOMAN]

[ZAHEDI]

SO IN SHARJAH,

THERE ARE NO TRAFFIC LIGHTS.

AND SO PEOPLE JUST LIKE RUN

ACROSS THE STREET AND THEY

HOPE THEY DON'T GET HIT,

AND IT'S KIND OF SCARY.

AND MANDY WAS REALLY

WORRIED ABOUT BECKETT.

IT IS A BIT LONGER, BUT YEAH.

[WOMAN]

PEOPLE WON'T CROSS THE STREET.

IF YOU JUST DO THIS WITH YOUR

HANDS, PEOPLE WILL STOP.

YOU JUST HAVE TO ESTABLISH

CONTACT WITH THE DRIVER

AND JUST DO THIS.

ONCE HE STOPS, YOU CROSS.

THAT'S THE SAME

IN ITALY. YEAH.

I THINK WE WANT TO FILM

HIM GETTING HIT BY A CAR.

[THUD]

WHO, THIS GUY.

CAMILLE, YEAH.

HE'S GOING TO GO LIKE THAT.

WHAT'S THE MATTER?

NO.

OH, MY GOD. NO.

I WAS FEELING:

GOOD ABOUT THIS VACATION.

FOR ME IT WAS LIKE BEING

ALL TOGETHER... YEAH.

AND LIKE HAVING THAT, A

GROUP EXPERIENCE AND LIKE...

MAKING FRIENDS AND

JUST LIKE WHATEVER

THAT INTERSTITIAL MOMENTS

AND HAVING BECKETT RUN AROUND.

LIKE, I FEEL LIKE MORE

WEIGHT ON ME TO TAKE CARE

OF BECKETT ALSO, BECAUSE IT'S

A LITTLE DIRTY HERE.

AND LIKE, THERE WAS

LIKE THIS GROSS SMUDGE

NEXT TO THE BED:

THAT I HAD TO CLEAN

OFF THE WALL AND, LIKE,

I LOOK OUT THE WINDOW,

IT'S LIKE SUPER DIRTY,

AND DEPRESSING:

AND LIKE JUST KIND OF

MAKES ME FEEL BAD.

WHAT?

[LAUGHING]

I HAD AN IDEA:

FOR THE KIDNAPPING SCENE.

I THINK MANSOUR SHOULD JUS DROP US OFF AND LIKE,

WHERE WE'RE GOING

YOU GUYS HAVE TO

PICK SOMETHING UP.

AND THEN HE GOES

OUT INTO AN APARTMENT.

I THINK IT CAN EITHER

BE LIKE CAMILLE'S APARTMEN OR HIS APARTMENT, ACTUALLY.

[MAN]

WELL, EITHER WAY.

AND THEN I THOUGHT A WOMAN

IN A BURQA COULD COME

OUT OR A MAN IN A BURQA.

WE DON'T KNOW.

SOMEONE IN A BURQA COMES OUT.

AND THEY TALK.

AND THEN THE BURQA PERSON

COMES TO THE WINDOW

AND THEN PULLS OU THE TOY GUN

AND KNOCKS ON:

THE DOOR WITH THE GUN.

[MAN]

...A GUN I

WOULDN'T GIVE BECKETT UP,

SO HOW ARE THEY GOING

TO RIP HIM FROM ME?

THEY'RE NOT GOING TO...

[ZAHEDI]

OH, OKAY.

YES, AND I DON' THINK THEY WILL.

[MAN] THE KIDNAPPING

DOESN'T HAPPEN YET.

IT ENDS. YEAH, IT ENDS.

YOU DON'T SEE WHAT HAPPENS.

NO, NO. THAT'S

THE END OF THAT.

MANDY'S DYING

IN A POOL OF BLOOD.

A DEAD BODY.

CATCH UP.

WITH AN APPLE ON HER.

LIKE SNOW WHITE.

[ZAHEDI]

SO WE'RE SHOOTING

A MOVIE OVER THERE.

WE'RE MAKING A FILM

WITH THE CAMERA AND STUFF.

YEAH, BUT WE NEED SOME

ACTORS FOR OUR MOVIE.

OKAY. WE'RE SHOOTING A MOVIE.

WE'RE MAKING A MOVIE.

WE NEED ACTORS:

TO ACT IN OUR MOVIE.

INTERESTED?

I DON'T UNDERSTAND.

WOULD YOU BE WILLING

TO ACT IN OUR MOVIE?

NO? OKAY. IS THAT A NO?

[ZAHEDI]

[MEN CHANTING]

OKAY.

DADDY, UP!

I GOT YOU.

THEY'RE ALL PRAYING.

THEY'RE ALL PRAYING.

SHOULD WE GO?

YEAH.

YES, I WILL ACTUALLY WRITE

THEM DOWN OR YOU WANT TO...?

TELL ME.

I'LL TELL YOU?

YEAH.

OKAY, SO LET'S GO SIT THERE.

CAN YOU ALSO...

TEACH YOU HOW TO PRAY?

YEAH.

OKAY.

OKAY, ASK ME.

WE JUST NEEDED SOME PEOPLE

TO ACT IN OUR MOVIE.

SORRY?

WE JUST NEED SOME PEOPLE

TO ACT IN OUR MOVIE.

SAY AGAIN?

WE NEED...

...PEOPLE TO ACT IN THE MOVIE.

YES. YEAH.

WHAT KIND OF MOVIE

ARE YOU DOING?

WELL, IT'S A COMBINATION

DOCUMENTARY AND FICTION,

BUT THERE ARE SOME SCENES

WHERE WE NEED SOME KIDNAPPERS.

KIDNAP? HMM.

YEAH?

YEAH? OKAY.

YEAH.

DO YOU REALLY?

[ZAHEDI]

SO, BASICALLY,

HE'S GOING STOP

AT A PLACE THAT'S SCARY,

THEN GO TO A DOORWAY.

AND YOU'RE GOING

TO COME OUT IN A BURQA.

AND YOU GUYS ARE GOING TO TALK,

AND THEN HE'S GOING

TO GO LIKE THAT.

OKAY, HE'S GOOD.

AND THEN--

AND THEN WE'RE GOING TO HEAR

A DOOR OPENING, AND WE'RE

GOING TO TURN AND THEN YOU'RE

GOING TO BE THERE AT THE DOOR

WITH THE BURQA SUDDENLY,

AND YOU'RE GOING TO HAVE A GUN,

WHICH WE GOT FOR YOU.

YOU HAVE A GUN FOR ME.

YEAH. IT'S IN THE CAR.

OH, IT'S NOT REAL?

IT'S A TOY GUN.

[RATTLING]

THE RED IS:

PRETTY PROMINENT.

[WOMAN] YEAH.

AND THEN IT ENDS.

AND THEN WE'RE BACK

IN THE TRIP FROM THE AIRPORT.

IT'S VERY PLOTTY, RIGHT.

BUT THE OTHER STUFF

ISN'T PLOTTY AT ALL.

SO IT'S LIKE A MIX

OF THE TWO THINGS.

OKAY?

YEAH. LET'S DO IT.

BECAUSE LIKE--

OOH.

OOH. ARE YOU OKAY, SWEETIE?

ARE YOU OKAY, SWEETIE?

WELL, DID THAT HURT? OH.

OH, MY SWEETIE PIE.

OH, GOOD JOB. GOOD JOB.

COME HERE LITTLE BOY.

COME ON.

WHY THE BURQA?

JUST BECAUSE IT'S LIKE

IGNORANT...

OH, OKAY.

...STEREOTYPE.

YEAH, YEAH, IT IS.

YES.

AND THEN WRAP:

THIS AROUND THIS SIDE.

ARE YOU SURE IT GOES

ON THE FOREHEAD?

NO, BUT I THINK SO.

THIS HAS TO THIS COMES

DOWN BEFORE...

NO, PEOPLE WEAR IT WITH

GLASSES UNDERNEATH THEM.

OKAY.

THERE IT IS. THERE IT IS.

YES, YOU'VE GOT TO TAKE

THOSE OFF FIRST.

[MUSIC]

[ZAHEDI]

SO WE'RE JUST KIND OF DRIVING

RANDOMLY AROUND SHARJAH LATE

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