Tyrant Page #4

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


INT. PLAIN APARTMENT - BEDROOM - DAY

...LOUD CRY.

A GIRL WEARING A FULL BURQA stands in the middle of a large

bedroom. She looks up to the ceiling.

Four armed scary looking GOONS stand against the walls

watching her. They’re huge, pumped on steroids.

At first it looks like some kind of weird religious ritual,

but suddenly... She is lifted from the ground and we see that

someone is under the burqa with her.

Then someone throws her on the bed and pulls up her burqa

revealing long bronzed, fit legs. He lifts them and shoves

his head further in, eating her out. More CRIES.

JAMAL AL-FAHED, 42, comes up for air, his face wet. He climbs

up her, pulling her burqa further up revealing her breasts --

squeezes them hard, she YELLS, her face still veiled. Her

body is small and looks troublingly young.

He pulls his shirt off and pants down; he has a tight body

and a strong, handsome face -- an Arab stallion. In an

instant he’s inside her. He pumps hard. Too hard. The bed

CREAKS and the GIRL CRIES.

An ANALOG CLOCK crashes from the end table to the floor. He

glances over her shoulder down at it and -

JAMAL:

F***! I’m late. F***!

He pumps a few more times, quickly, and comes -- we stay on

his face as he does so -- it’s a mean look; more like relief

than pleasure. He pulls out, pulls his pants up, looking down

at her laying there, crying; he smiles a little --

INT. PLAIN APARTMENT - LIVING ROOM - MOMENTS LATER

Jamal walks into the shabby room. Throws a few bills toward

the THREE YOUNG CHILDREN huddled on dirty mattresses on the

floor. They look at him, terrified, as he leaves.

11-27-12 19.

The eldest SON picks up a bill, which bears an engraved

portrait of HASSAN striking an heroic pose. He looks from the

bill toward the bedroom, where he hears his mother crying.

EXT. SLUMS - DAY

A CURIOUS CROWD OF TRADITIONALLY DRESSED MEN AND WOMEN watch

as Jamal exits the building, looks at the crowd and waves.

They don’t wave back. They stare with fearful, hateful eyes

as he gets into his FERRARI SUV, so obviously out of place in

this rotten neighborhood.

IN THE BACK OF THE CROWD

HAMID, 28, the woman’s husband, eyes Jamal, his anger visible

through his tears. Beside him stands Fauzi holding a SMALL

BOX with one hand, his other hand on Hamid’s elbow, at once

offering comfort and urging restraint as they wait for Jamal

and his goons to drive off before rushing into the building.

INT. BEDROOM - DAY

The woman is deep in prayer, kneeling back and forth, in a

trance. Hamid enters the room, she is with her back to him.

HAMID:

Fatma...

Fatma turns. She’s very young. And very beautiful. Her face

is stained with thick, runny mascara.

FATMA:

Hamid...

(getting no look)

Hamid, look at me, please...?

Hamid looks away, unable to look at his wife right now.

HAMID:

(re:
Fauzi)

This is the man I told you about.

Fatma stares at Fauzi, standing behind her husband.

FATMA:

Are you here to kill me?

FAUZI:

(compassionate)

No. I’m not here to kill you.

11-27-12 20.

Fauzi kneels down before Fatma and hands her a SMALL PEN BOX

he takes from his pocket. ON FATMA’S FACE -- What is in that

box? OFF FAUZI:
INTENT.

INT. PLANE - DAY

PUSHING DOWN THE AISLE, we see everyone in first class is

asleep; the remnants of huge meals and personal DVD players

strewn here and there -- but then we come to economy -

Barry is wide awake. Nervous. He gets out of his seat and

walks to the back and looks out the window. SEES: the low-

slung buildings crowded together in an orange dusty haze.

They’ll be landing soon. PUSH IN ON BARRY’S FACE AS HE

REMEMBERS -

INT. PRESIDENTIAL PALACE, ROOM - DAY [FLASHBACK 1979]

Bassam’s hand is being bandaged by a NURSE. His mother, HIAM,

35, looks at him, worried. She paces back and forth.

All around - Mayhem. Officers, soldiers, political figures,

guards everywhere. Running up and down the corridor.

Hassan barks orders at the officers as they rush this way and

that. Livid. Everyone is in panic, afraid of Hassan’s rage.

He pulls one officer to his side -- this is RAMZI -

HASSAN:

(quietly)

Put together a squad. We’re going

to Ma’an. They’ll pay for this.

Ramzi nods and heads away. Hassan turns to Hiam.

HASSAN (CONT’D)

(to Hiam)

Get Jamal ready.

BASSAM:

I want to come too.

JAMAL:

(teasing incredulousness)

...you? Give me a break.

Hiam gives Hassan a look, imploring him to take Bassam.

HASSAN:

(to Bassam)

Fine. Just stay out of the way.

11-27-12 21.

Hassan exits. As Bassam watches him go --

GIRL (O.S.)

Did you get new glasses?

Bassam turns and sees LEILA, a beautiful 10 year old girl

with EMERALD EYES has just come in through the back door.

HIAM:

Leila. So beautiful.

LEILA:

(to Bassam)

Show me.

Bassam puts on the glasses. One of the handles is broken. It

sits crooked on his face. She laughs. Bassam smiles. She

looks down at his hand and takes it in hers gently.

LEILA (CONT’D)

Does it hurt?

INT. PLANE - DAY

Barry’s still at the window, touching the hand Leila touched.

HIRA:

You should take your seat, sir.

BARRY:

Excuse me...?

HIRA:

We’re starting our descent.

He takes a deep breath. This isn’t going to be easy.

EXT. ASIMA INTERNATIONAL AIRPORT, TARMAC - DAY

A procession of state and military vehicles. Dignitaries wait

in line on a red carpet. Flags all around. The airplane door

opens. Sammy is the first one out, a backwards Bruins

baseball cap on his head. Emma deplanes after him, holding

her bag and a copy of The New Yorker magazine. Molly is next

to join her kids at the bottom of the stairs. Finally, Barry

appears at the top of the stairs and looks out at his native

country, squinting in the sun. He walks down the stairs and

joins his family. RAMZI, now 65, Hassan’s advisor and closest

confidant, walks over and embraces him.

RAMZI:

Salam Aleikum.

11-27-12 22.

BARRY:

(a tad uncomfortably)

Aleikum Ha Salam.

RAMZI:

It’s good to see you, Bassam. How

was your flight?

BARRY:

It was fine. I specifically asked -

RAMZI:

(apologetically)

I know, but your father disagreed.

You are an Al-Fahed, after all -there

are security considerations.

Right then a SCREECHING SOUND. They all look up and see

Jamal’s Ferrari speeding towards them. It’s followed by the

Goons’ car. Both cars screech to a halt.

Jamal jumps out, followed by his wife, LEILA AL FAHED, 38,

STUNNING. Leila’s thick black hair framing a strong featured

face with deep EMERALD EYES: the girl from the flashback.

JAMAL:

Little brother!

He rushes over and hugs Barry with almost aggressive force.

BARRY:

Jamal...

Jamal pulls away and looks at Barry and smiles.

JAMAL:

You look good. A bit pale, though,

huh? No sun in America?

Jamal laughs, turn to -

JAMAL (CONT’D)

Molly... Beautiful as ever.

He grabs her and lifts her off the ground. She laughs. Sammy

clocks Jamal’s joie de vivre with admiration. Leila and Barry

exchange a freighted look. There’s history there.

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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