Tyrant Page #3

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


BARRY:

Fauzi’s really going after my

family for this wedding.

MOLLY:

Did he call you back?

11-27-12 12.

BARRY:

Not yet. I left a message. Maybe he

doesn’t want to hear from me.

MOLLY:

He’s your friend. Try again.

Barry purses his lower lip a bit: OK. He’ll do it.

INT. AL-FAHED HOUSE, BEDROOM - LATER THAT NIGHT

Molly stands in front of a mirror, trying out a BLACK EVENING

DRESS as Barry half-enters from the master bath in BOXERS.

MOLLY:

What do you think? This is the only

thing I have in my closet that

looks even remotely good on me.

Barry stands in the bathroom doorway and looks at her.

BARRY:

It’s sleeveless.

MOLLY:

I know, it’s scandalous -- but what

if I accessorize it thusly?

She grabs a scarf and ties it around her head, over her face.

MOLLY (CONT’D)

...this help?

BARRY:

Yeah. Now it’s perfect.

She tosses the scarf aside.

MOLLY:

I want to look good for your family.

BARRY:

YOU’RE my family. You and the kids.

(after a beat)

Maybe Emma’s right. Maybe we

shouldn’t go.

She pulls off the dress; now she’s in a bra and panties.

MOLLY:

Barry...

11-27-12 13.

BARRY:

We’ve been trying to expand the

store for years, and the credit

committee may want to talk to us.

How would it look if they know

we’re spending money we don’t have?

MOLLY:

If you wanted to save money, you

could have saved us what we blew on

those plane tickets.

BARRY:

I don’t want his private jet -

MOLLY:

Sammy would have enjoyed it.

BARRY:

All the more reason.

MOLLY:

Honey. In all the years we’ve been

together, your father has never

asked you to visit. Not once.

BARRY:

Because he knows what the answer

will be. And it’s the right answer.

MOLLY:

Neither of you are getting any

younger. This could be the last

time you see him. Have you thought

about that?

She sits on the bed and pats the spot next to her. He smiles

a little, required to join her; so he sits beside her. BEAT.

MOLLY (CONT’D)

It’s not just your Dad who’s

asking; it’s your whole family. I

know you LOVE to live like you

hatched from some sort of space

egg, totally on your own, but these

people are your family. That

matters. We’re going.

Barry gives Molly a look. He’s about to say they’re not. But

her look back tells him, with love: that’s not an option.

BARRY:

(after a beat, quieter)

Just promise me we’ll come home.

11-27-12 14.

MOLLY:

Why wouldn’t we come home? Crazy.

BARRY:

Just promise.

MOLLY:

I promise.

She kisses him. It starts as a sweet consolation, but turns

into something sexual as his hand goes to her breast -- and

then between her legs. And then she pulls away -

MOLLY (CONT’D)

Get us some wine and let me get

ready for bed and then -- we’ll

finish that.

She kisses him quickly, rises, and heads for the bathroom.

OFF BARRY:
smiling a bit at this pre-sex tradition of theirs.

INT. AL-FAHED RESIDENCE, KITCHEN

Barry pours WINE into a pair of GLASSES, picks up his CELL.

INT. MA'AN, FAUZI’S APARTMENT - DAY

CLOSE ON FAUZI NADAL, 40, wearing a galabiya (Muslim garb),

staring out a window with AMJAD NADAL, 17, his handsome son.

FAUZI:

They’re bringing elephants.

AMJAD:

Hmm...?

FAUZI:

From India. For Ahmed’s wedding.

F***ing elephants...

Fauzi’s POV:
A war torn city. TEENAGERS in ski masks drag two

tires to the middle of the main road and set them on fire.

FAUZI (O.C.) (CONT’D)

...while the people go hungry.

BACK ON THIS ACTIVIST FATHER AND SON

AMJAD:

You should write about that, father.

11-27-12 15.

FAUZI:

I’m going to.

Fauzi, in no hurry, grabs a camera and takes some snapshots.

FAUZI (CONT’D)

I’m going to write about all of it.

A cellphone VIBRATES on a table in a plain apartment. The TV

sits on old phone books. Amjad goes to it.

AMJAD:

It’s him again. Bassam.

Father and son exchange a look. It looks as if Amjad wishes

his father would accept this overture -- but Fauzi won’t.

FAUZI:

No.

Fauzi turns and looks out the window at the streets of Ma'an.

OFF FAUZI:
as the phone keeps ringing and he looks mournfully

out at his struggling country. It finally stops and BEEPS.

INT. AL-FAHED RESIDENCE, KITCHEN - NIGHT

Barry, having gotten no answer, leaves a message -

BARRY:

Fauzi, it’s me again. I hope you

got my messages. I just wanted you

to know... we’re coming tomorrow.

So call me when you get this.

-- and hangs up and stares at THE INVITATION ON THE FRIDGE.

OFF BARRY:
LOOKING AT IT. HE TAKES A DRINK. SIGHS. F***.

EXT. ORLANDO INTERNATIONAL AIRPORT - DAY

Barry, Molly, Sammy and Emma rush with their LUGGAGE.

SAMMY:

I told you not to take the 436,

Dad! You’re SO special needs!

MOLLY:

Don’t talk to your father that way,

Sammy. The construction on the 528

would have been just as bad -

11-27-12 16.

SAMMY:

Can we just run?

Sammy leads the family’s mad dash into the terminal.

INT. ORLANDO AIRPORT, SECURITY - DAY

ON THE FAR SIDE OF THE SECURITY LINES

Molly’s next to Sammy and Emma, waiting impatiently for --

BARRY:

With his hands in the air, getting frisked vigorously by a

big CUSTOMS OFFICER who eyes him suspiciously.

Finally, Barry’s let through! He grabs his suitcase, joins

his family with a SMILE that says “We all know I have to go

through this when we fly” -- and they all HAUL ASS --

INT. ORLANDO AIRPORT, GATE - DAY

The Al-Faheds reach the gate, breathless. The gate is EMPTY.

SAMMY:

We missed it! F***!

(to Barry)

I told you to drive faster.

MOLLY:

Sammy, that’s enough!

(to Barry)

I’m sure there’s another flight.

EMMA:

Or maybe it’s a sign that we should

just stay home.

MOLLY:

We’re all going -

STEWARDESS (O.S.)

Mr. Al-Fahed?

-- they turn to see a BEAUTIFUL ARAB STEWARDESS standing next

to them, wearing a green suit and a head scarf.

BARRY:

Uhh, yeah?

11-27-12 17.

STEWARDESS:

My name is Hira. It’s an honor to

meet you. Are you ready to board?

MOLLY:

The plane’s still here?

SAMMY:

Yes, thank God, the plane’s here!

BARRY:

I don’t understand, where are all

the other passengers?

HIRA:

You’re the only passengers. Your

family bought the other tickets.

BARRY:

All of them...?

OFF BARRY:
already caught too tightly in his father’s web.

INT. PLANE - DAY

Sammy is the first to enter the empty plane -- LOVING IT!

SAMMY:

THIS is what I’m talking about!

He drops his stuff on a wide, leather first class seat. Molly

and Emma enter and are equally impressed. But Barry walks

past the first class cabin, reading his plane ticket...

EMMA:

Dad...?

MOLLY:

Barry, where are you going?

BARRY:

18-C...

He finds his middle seat in the economy class and sits. The

family all walks back to find him sitting there.

SAMMY:

Dad, stop being retarded.

MOLLY:

Come sit with us.

11-27-12 18.

BARRY:

This is the ticket I bought. This

is where I am going to sit.

Molly gives Barry a look and she and the kids go back up to

first class. OFF BARRY: standing his ground in economy.

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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Submitted by acronimous on March 13, 2016

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