The Sheik and I Page #6

LIKE IT'S HIS COUNTRY.

AND HE'S LIKE--I DIDN' REALIZE THIS AT THE TIME,

BUT HE'S LIKE

THE SUPREME RULER.

I MEAN, IT'S BASICALLY

A DICTATORSHIP.

YOU HAVE INVOLVED

THE SHEIKH OF SHARJAH.

OKAY, SO THIS COUNTRY

HAS ITS RULES.

UH-HUH.

AND WE RESPECT HIM,

AND HE'S BEEN HERE

FOR SO MANY YEARS, OKAY?

SO THE OTHER THING IS WE NEED

SOMEBODY MAYBE FROM POLICE

OR SOMEBODY WHO CAN EXPLAIN

HIM AND TELL HIM, OKAY,

THERE'S NO PROBLEM

IN DOING THIS.

OKAY?

YOU UNDERSTAND?

IT'S A LITTLE BIT--BECAUSE,

SEE, IF IT'S A NORMAL MAN,

IT'S OKAY, BUT IT'S

THE SHEIKH OF SHARJAH,

YOU KNOW?

AND WE HAVE VERY HIGH RESPEC FOR ALL THE PEOPLE.

SO, UNLESS, AND UNTIL SOMEBODY,

A LOCAL GUY OR SOMEONE,

WHO'S A RESPONSIBLE PERSON,

COMES AND EXPLAINS HIM

THAT IT WON'T BE A PROBLEM,

I DON'T THINK SO

HE'LL BE DOING IT.

OH.

HI, YAZAN.

HI, YAZAN.

HEY. THIS IS...

OKAY.

SO WE WANT HIM TO PLAY

THE SHEIKH OF SHARJAH

IN A SCENE.

OKAY,

THAT'S TOO MUCH.

I DON'T THINK THIS IS LIKE--

DID YOU HAVE--CAN WE SPEAK?

SURE. OKAY.

I DON'T KNOW

ABOUT THAT.

YEAH.

OKAY.

MAYBE YOU NEED:

TO CUT THIS, BECAUSE...

AND, YOU KNOW, I THINK

MICHAEL WASN'T SURE

IF THIS MEAN:

TURN OFF THE CAMERA OR PRETEND

TO TURN OFF THE CAMERA.

BUT HE WAS SHOOTING.

AND HE SORT OF TILTED UP.

BECAUSE SOMETIMES PEOPLE

TELL YOU LIKE, OH,

YOU GOT TO STOP FILMING.

THAT HAPPENED TO US

A FEW TIMES.

I'M ALWAYS LIKE, WELL,

JUST KEEP FILMING.

AND IF THEY REALLY STAR GETTING MENACING, OKAY,

WE'LL TURN IT OFF, BUT IT'S

GOOD TO GET THAT ON CAMERA.

I REALLY DON'T WAN TO BE FILMED RIGHT NOW.

RIGHT.

NOT ME. NOT YOU CAN DO ANYTHING

ABOUT IT. YES.

I SEE.

YES.

YOU WERE?

YEAH.

I WANT POCKET MONEY, MUFFY.

WHAT?

POCKET MONEY.

POCKET MONEY?

POCKET MONEY MUFFY.

YOU WANT US TO GIVE

YOU POCKET MONEY?

YES.

NO. WE HAVE A VERY

LIMITED BUDGET WHICH IS EVERYONE

IS DOING EVERYTHING FOR FREE.

YES, HE WANTS MONEY.

FOR, FOR ANYTHING, FOR,

WHAT'S HE DO?

WELL, THAT WASN'T THE DEAL.

OKAY.

BUT WHAT--

HUH?

WE'LL STOP FOR TONIGHT.

BUT I'LL SAY WE QUIT.

WHAT?

WE WON'T,

HE DON'T WANT TO CONTINUE.

HE DOESN'T WANT TO

BE IN THE MOVIE ANYMORE?

NO.

IS THAT WHAT HE SAID?

NO, YEAH.

OKAY. FINE.

OKAY.

SURE.

OKAY.

WE'RE HAVING A BAD NIGHT.

OKAY.

WHAT CAN WE DO?

WE CAN BLUR EVERYONE'S FACES,

BLEEP EVERYONE'S NAMES,

YOU KNOW, LIKE

REALLY?

BE APPROPRIATE.

THEY WON'T SHOW I AT THE BIENNIAL,

YOU KNOW.

IT'S THEIR FAULT.

IT'S THEIR OWN FAULT.

YES, I JUST DON' WANT PEOPLE TO GET IN TROUBLE

AND SO I'VE NEVER BEEN

IN THIS POSITION BEFORE.

THE WORST THAT CAN EVER

HAPPEN BEFORE WAS LIKE MY

FILM DOESN'T GET SHOWN.

NOW, I DON'T--

RIGHT.

RIGHT.

RIGHT.

RIGHT.

RIGHT.

RIGHT.

RIGHT.

RIGHT.

RIGHT.

SO I WAS LIKE OKAY, WELL MAYBE

SHE'S RIGHT AND MAYBE

THESE PEOPLE ARE JUST PARANOID.

THEY ALL SEEMED--THEY ACTUALLY

SEEMED PARANOID TO ME.

LIKE EVERYBODY:

SEEMED PARANOID.

BUT WHEN EVERYONE IS PARANOID,

YOU START TO GE:

PARANOID THAT YOU'RE--YOU

SHOULD BE PARANOID, YOU KNOW?

RIGHT.

SO THE NEXT DAY,

WE ASKED HEMADI:

IF HIS FRIEND WHO HAD BEEN

HANGING OUT WHEN WE SHO

THE SCENE WITH CAMILLE

GETTING HIT BY A CAR

MIGHT BE WILLING

TO PLAY THE SHEIK.

SO WHAT'S YOUR FRIEND'S

NAME AGAIN? ABDUL?

YES, ABDUL RACHMAN.

ABDULLAH?

ABDUL RACHMAN.

ABDULLAH...

ABDUL RAHMAN.

ABDUL RACHMAN.

ABDUL RAHMAN.

RAH ABDUL RAHMAN.

YES. ABDUL RAHMAN.

NO, NOT MUCH, YOU KNOW.

CAN WE ASK YOUR FRIEND,

ABDUL RAHMAN, IF HE WILL

ACT IN OUR MOVIE?

COULD WE DO THE SCENE

WHERE HE GETS TIED UP?

OR HE'S BEING KIDNAPPED?

WHERE? HERE?

NO. NEXT DOOR.

NEXT DOOR.

IS THAT OKAY?

WELL, I WELL JUST IN CASE--

WHY DO WE HAVE A CABLE?

OH, YES.

HE HAS NO PROBLEM WITH IT.

OH...

OH, THE SCENE IS,

WE SAID LAST NIGHT,

YOU PLAYING THE KIDNAPPER.

YES.

THE SHEIKS ARE ALL HERE.

AND THEN BECKETT COMES

AND HE STOPS THE PLOT.

IT'S FOR THAT SCENE.

OH, YES.

SO IT'S A SCENE WHERE WE SHOW

THAT HE'S BEEN KIDNAPPED.

KIDNAPPED. THAT IS THE--

YEAH, YEAH.

THAT SHOT YOU ARE

GOING TO TWO-SHOT.

OH.

WE GO TO YOUR ROOM,

SO YOU COME IN, GUN AND

A KNIFE AND YOU SAY,

GIVE ME YOUR MONEY.

NO, YOU DON'T DIE.

YOU JUST SIT.

AND THEN, THERE'S GOING

TO BE A CALL TO PRAYER.

OKAY? LIKE THE CALL

TO PRAYER. ALLAH AKBAR!

NO, NO, NO, NO.

NO, NO, YOU DON' HAVE TO DO THAT.

IT'S NOT GOOD?

IS THIS...

CAVEH.

YOU HAVE TO BE ABLE TO SEE IT,

SO IT'S GOT TO BE A LITTLE LOWER

OKAY?

OKAY.

OKAY.

OKAY. SO YOU WALK INTO

FRAME, FROM OUT HERE.

SO WE SEE YOUR SHADOWS COMING.

IN YOUR HAND, YOU HOLD

THE DAGGER, OKAY?

YES.

YOU COME LIKE THIS.

OKAY? AND HEMADI

NEXT TO HIM WITH THE GUN. OKAY?

OKAY.

READY? GET SET. ACTION!

DON'T MOVE.

FIRST OF ALL, A LITTLE FASTER.

A LITTLE FASTER.

ACTION! BOOM!

OKAY, READY?

YES.

ACTION!

OH, NO.

JUST DO...[LAUGHS]

ACTION!

HEMADI, WHY ARE YOU STANDING

ON TIPTOE LIKE THIS?

OH, I DON'T KNOW.

ACTION!

OKAY,

YOU KEEP DOING THIS THING.

I CAN'T!

IT'S THAT LEG.

ACTION!

OH, AGAIN.

WELL, WHAT DO YOU WANT?

WHERE DO YOU WANT IT?

THE IDEA IS,

YES,

YOU GUYS ARE TRYING

TO KIDNAP THE SHEIK, RIGHT?

AND SUDDENLY THE

THEN THE CALL TO PRAYER,

THE SIGN TO PRAY.

YES.

BECAUSE YOU'RE RELIGIOUS,

YOU STOP, TO PRAY.

I WANT TO SHOW THAT.

TRUST US, IT'S GOOD.

OKAY. BUT WHY WOULD HE REAC NEGATIVE TO THAT?

OKAY.

DOESN'T FUNCTION THAT WAY.

YES, IT DOESN' FUNCTION THAT WAY.

YEAH, YEAH, BECAUSE

PEOPLE DON'T STOP TO PRAY

AT A CERTAIN TIME.

THEY GO TO THE MOSQUE,

RIGHT? WHENEVER...

YEAH. NO, I KNOW.

IT'S IMAGINARY.

IT'S COMEDIC.

IT'S NOT REAL.

COMEDY.

IT DOESN'T SOUND GOOD.

HE SAY IT IS IMPOSSIBLE YOU DO

THAT BECAUSE IF THE PEOPLE

THEY GO TO PRAY,

THEY DO NOT CARRY GUNS

AND THEY NEED TO CLEAN UP.

THAT'S STUPID.

I KNOW:

IT'S STUPID. IT IS STUPID.

IT'S SUPPOSED TO BE.

IT'S SUPPOSED TO BE STUPID.

THIS IS...

WE CAN ALSO DO IT DIFFERENTLY.

I KNOW IT'S NOT REALISTIC.

I KNOW IT'S NOT REALISTIC.

IT HAS NO MEANING

THAT IS REALISTIC

FOR THE PEOPLE.

YES BUT IT'S JUST A FANTASY.

BECAUSE IT'S, YES...

IT'S JUST A FANTASY.

NO, NO,

BUT IT'S OUR FANTASY.

IT IS, YES, YOUR FANTASY.

OKAY.

SO, WE CAN DO IT DIFFERENTLY.

WE CAN DO IT DIFFERENTLY.

HE'S OBJECTING THE PRAY

WITH THE GUNS.

OKAY.

WHATEVER YOUR:

ATTEMPT OR MEANINGS,

WHAT YOU MEAN YOU,

IT DOES NOT MATTER,

BUT FOR THEM THEY SEE THE GUNS

AND THE PRAYER DOESN'T FUNCTION.

OKAY, OKAY.

SO, WE JUST COME

IN WITH BECKETT.

YEAH.

AND WE'LL SEE YOU AND WE'LL GO

LIKE THIS. OKAY?

NOW YOU PUT DOWN THE GUNS,

OKAY?

WELL, YES,

THAT CAN BE BETTER.

OKAY.

CAN YOU EXPLAIN THAT TO HIM?

WE WILL PUT THIS OUT.

HERE'S WHAT WE'RE GOING TO DO.

WAIT, WAIT, WAIT,

WE WILL PUT IT OUT.

OKAY. HERE'S WHA WE'RE GOING TO DO.

BECKETT IS GOING

TO WALK IN.

HE'S GOING TO TAKE

THE GUN AWAY FROM YOU.

AND THEN HE'S GOING TO GIVE

ME THE GUN AND THEN I'M GOING

TO HOLD IT ON YOU GUYS

AND THAT'S THE END OF THE SCENE.

DROP IT!

OKAY.

WE DID IT.

YAY!

SO, THE NEXT DAY ABDUL RAHMAN

SAYS THAT HE WANTS HIS RELEASE

FORM BACK AND HE DOESN'T WAN TO BE IN THE MOVIE ANYMORE.

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