Tyrant Page #2

Synopsis: Barry Al-Fayeed has been living in the United States for twenty years, during which time he got married to Molly Olson, and had two children (Sammy and Emma), with both Molly and he working as physicians, Barry as a pediatrician, in Pasadena. This life belies the fact that at age sixteen, he, under his given name Bassam, escaped his family life in the middle eastern country of Abuddin, where the Al-Fayeeds have been the dictatorial rulers for generations, normally of violent and repressive regimes which he could not morally tolerate. He has not been back to Abuddin since. On the urging of his mother, Barry decides to go back to Abuddin with Molly and family in tow. He may find that leaving Abuddin this second time around is more difficult as he gets ensconced in the troubles the Al-Fayeeds are facing in general in continuing to rule the country as a repressive dictatorship. The longer Barry stays, the more it in turn affects the only life of democratic freedom Molly, Sammy and Emma hav
  Nominated for 2 Primetime Emmys. Another 1 win & 1 nomination.
 
IMDB:
7.8
TV-14
Year:
2014
60 min
521 Views


SHATTERED GLASS AND DEBRIS everywhere. Body parts. Mayhem.

All of it slightly slow, as if happening in a dream...

Bassam lies on the ground. HIS NEW GLASSES: a few feet away.

He drags himself towards them. The ringing in his ear muffles

the screams. AN OFFICIAL CAR in his POV FLAMES AND EXPLODES.

With pained effort, he reaches for the glasses; puts them on;

and the scene now resolves into full volume and speed.

Bassam’s POV:
the wounded lay on the ground, CRYING for help.

People shouting and running. Fire. He turns and looks at -

BASSAM’S POV

Hassan is wrapped around Jamal, shielding him from attack. He

then looks down at his hand, it’s covered in blood; there’s a

deep, painful cut -- MUSCLE visible through the torn skin.

OFF BASSAM:
LOOKING DOWN AT HIS INJURED HAND. SMASH TO -

11-27-12 6.

INT. ORLANDO OPTOMETRY- DAY

A SCARRED HAND reaches into a lollipop jar and grabs a

lollipop. REVEAL THAT IT’S BARRY’S HAND as he hands it to a

YOUNG KID in his clinic. The kid’s MOM stands behind him.

MOM:

Thank Dr. Barry for the candy.

KID:

Thank you, Dr. Barry.

BARRY:

My pleasure.

The MOM nervously clutches her handbag with both hands.

MOM:

Dr. Barry... I feel awful asking...

but if just this one time...

BARRY:

It’s fine.

MOLLY, AT THE DESK, clocks this with FOND IMPATIENCE.

MOM:

With the divorce and all --

BARRY:

It’s fine, I understand...

Barry leads her toward the front door as Molly rises.

BARRY (CONT’D)

...just take good care of Chris,

Mrs. Russell, and we’re even.

MOLLY:

Or pay half now and half later?

The Mom looks to Barry for help: gets just a polite smile. He

feels her pain but he’s not going to argue with Molly.

MOM:

(defeated a bit)

Yeah. That’s probably better.

She walks back to the counter and takes out her checkbook.

MOM (CONT’D)

(to Molly)

Sorry for asking.

11-27-12 7.

Barry looks over the Mom’s shoulder at Molly as the Mom

writes the check. Molly’s look: “This is right.” OFF BARRY.

EXT. ORLANDO OPTOMETRY - CONTINUOUS

Barry waves from the door, smiles to the Mom and Kid as they

leave. We see now that this office is in a strip mall between

a Kinko’s and a Subway.

INT. ORLANDO OPTOMETRY - CONTINUOUS

Barry walks back in and goes to the reception window, where

Molly is tidying things up as if she’s about to leave.

BARRY:

Why did you do that?

MOLLY:

Barry. You’re a good man --

BARRY:

-- she doesn’t have the money -

MOLLY:

-- neither do we.

She stands up, grabs ONE FILE, and heads toward the back.

MOLLY (CONT’D)

If you weren’t such a soft touch --

which is part of why I love you,

you know that -- we’d be paying for

this expansion in cash instead of

begging the bank for a construction

loan.

Barry watches with appreciation as Molly grabs her jacket -

MOLLY (O.C.) (CONT’D)

There’s room in the world for you,

too, Barry. Not just everyone else.

-- and steps out into the waiting room and passes him.

MOLLY (CONT’D)

Ready to go...?

OFF BARRY:
as he follows her out. He loves her.

11-27-12 8.

EXT. FIRST NATIONAL BANK - DAY

Establishing.

INT. FIRST NATIONAL BANK CUBICLE - DAY

Barry and Molly sit expectantly opposite a BANKER, who has

the loan application documents laid out before him. A FAKE

PALM TREE looms over the little room from the back corner.

BANKER:

So your loan application looks like

it’s all in order, thanks for that.

BARRY:

(re:
Molly)

She’s a pro.

The BANKER closes the file and gets CIRCUMSPECT.

BANKER:

But in all likelihood, we’re

probably not going to be able to

help you. Just being honest, based

on what I’m seeing here.

BARRY:

It’s a realistic business plan.

BANKER:

I’m sure it is, but...

(after a beat)

There’s no way you could have

SOMEONE co-sign, someone with some

assets -- friends, or family -

BARRY:

No.

Molly gives Barry a quick look.

BANKER:

Because that would help...

BARRY:

There’s no one like that in our

lives. Sorry. There’s just not.

BANKER:

Then I’m afraid submitting this to

the credit committee is a waste of

time.

11-27-12 9.

BEAT. Barry accepts this, grimaces fatefully, rises -

BARRY:

Alright then. Thanks for your help.

-- but Molly stops him.

MOLLY:

Wait.

Molly turns back to the Banker.

MOLLY (CONT’D)

We’re booked up solid every day. We

can meet those numbers, we can.

BANKER:

I’m sure you can, Mrs. Al-Fahed.

But I’m not the one who decides.

And the economy, as you know, is

not what it was. I’m sorry.

MOLLY:

Just submit the application. If you

would. We’ll take our chances with

the committee.

The Banker adopts an official smile, a patient tone -

BANKER:

Okay. We’ll be in touch.

MOLLY:

Thank you.

Molly exits past Barry. The Banker gives Barry a smile that’s

PITYING and heads off the other way. OFF BARRY: UNMANNED.

EXT. AL-FAHED HOUSE - NIGHT

Establishing.

EMMA (O.S.)

Listen to this...

INT. AL-FAHED RESIDENCE, KITCHEN - NIGHT

Sammy is eating cold pizza from a take-out box as Emma reads

from an iPad, horrified.

11-27-12 10.

EMMA:

...they blew up grandpa’s limo last

year. Twice!

SAMMY:

Yeah, they blew up the limo but

they didn’t blow up Grandpa. The

backseat of that thing is, like,

armor-clad. We’ll be fine.

(after a bite)

We’re like royalty there, Emma.

You’re like a fat Kate Middleton.

EMMA:

Which makes you what... a gay

Prince Harry?

SAMMY:

How do you know he isn’t gay? He

seems totally closeted to me.

EMMA:

You do realize they hang gays,

right? And not hang out WITH. HANG.

They hear the front door open. Sammy lowers his voice.

SAMMY:

If you can keep your mouth shut for

once, I should be fine.

Sammy gets up, washes his hands, as Molly enters, frowning.

MOLLY:

I asked you to wait for your father

and me. We brought in Chinese.

SAMMY:

I have homework.

EMMA:

Do I really have to go?

SAMMY:

She’s been doing this all night.

Tell her for once in her life, she

won’t be the fattest girl at the

wedding.

MOLLY:

Sammy, don’t talk like that.

11-27-12 11.

SAMMY:

I’m just saying, this is your

moment, Em! Seize that sh*t!

Sammy exits, passing Barry as he enters, bearing Chinese.

BARRY:

I thought we were having a family

dinner. Where are you going?

SAMMY:

Homework.

EMMA:

(to Molly)

Don’t take my word for it, read

what Dad’s friend’s been writing.

She slides the iPad toward Molly as Barry sets the bags down.

EMMA (CONT’D)

I can’t believe we’re CHOOSING to

go to number THREE on Amnesty

International’s list of top human

rights offenders -

Emma heads for the hallway.

EMMA (CONT’D)

I’m not going.

MOLLY:

You’re going.

EMMA:

-- AND THIS HOUSE IS NUMBER FOUR!

Emma exits, stranding her parents.

MOLLY:

I guess it’s just us.

Ever the pragmatist, Molly sets the table for two. Barry

looks at the iPad -- a photo of violence in the street under

the headline:
“WEDDING IGNITES VIOLENT PROTESTS.”

Rate this script:5.0 / 1 vote

Gideon Raff

Gideon "Gidi" Raff (born 1973) is an Israeli film and television director, screenwriter and writer. He is best known for the award-winning 2010 Israeli television drama series Prisoners of War (which he created, wrote and directed) and its acclaimed US adaptation, Homeland (for which he won two Primetime Emmy Awards in 2012). more…

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