Dollar (2019) s01e09 Episode Script

Episode 9

1 A NETFLIX ORIGINAL SERIES [theme music playing.]
[Wajih.]
The opening of the bank is in two weeks, and our name has to be number one in the market.
[alarm ringing.]
[faucet running.]
I want to establish a friendly relationship with the client through an advertisement idea that can be summed up in two words, that's all.
Mr.
Wajih? I have an idea that might save you another meeting with us.
What's this? This is a one-dollar bill, so it could be in the hands of any person in the country.
We'll release it, and it will pass from one hand to another, and go from one pocket to the next.
And the owner of the bill with the right number will win a valuable prize from the bank.
[Wajih.]
One million dollars.
[song playing on stereo.]
[song continues playing.]
Are the costumes for the series ready? [man.]
Okay, I'll deliver them right away.
How many outfits do you have? One, two, three, four.
How many extras do we have? Eight.
[Nada.]
Eight.
I told you to organize them yesterday.
Now you'll have to sort them out all over again.
[Hassan.]
When the dry cleaner comes, I'll sort them all out.
[Nada.]
Okay, but hurry up.
Wael, give me all the dollar bills you have.
Go away.
I don't have cash.
Come back after tomorrow.
It's not for me, it's for the scene.
Damn.
You have all this, and you say you don't have any? - How much do you need? - One dollar.
Are you kidding me, Suleiman? No, I'm not.
It's the director who's kidding.
He said that if we don't come up with a dollar, he's not going to shoot.
Why didn't you tell me that yesterday? The director just came up with the idea.
What was I supposed to do? [Nada.]
About time.
They've just finished.
[Nada.]
How many outfits do we have here? Four, and the remaining six will be done tomorrow.
Okay, go talk to the production manager.
He'll pay you.
Will you pay me, sir? [Zeina.]
It looks like a costume party.
There you go.
There.
He has a dollar.
Give him the dollar, and keep the rest of the change.
Bye.
- Thank you for your kindness.
- [Tarek.]
A gray vest and dark blue jeans.
Have you seen them anywhere? Ask over there.
To the right.
[Wael.]
Finally, you're here.
Excuse me? We're You're what? You were supposed to be here two hours ago.
Please, bear with us, but can we There's no time.
Go put on your costumes.
- Excuse me? What costumes? - Is this them? That's them.
Just hurry.
Take them inside and give them their costumes.
- What costumes? - Come on.
[Safaa.]
How's it going, Suleiman? Be patient, ma'am.
I swear we're not playing around.
Do I have to wear this, ma'am? Mr.
Samer, about the hat.
Should he wear it, or should he just put it on the desk? [Samer.]
He can put it wherever he wants.
Just hurry, please.
[Safaa.]
Yes, please.
Are we ready? Ready.
Okay.
We're ready.
Roll.
Roll now.
Scene 160, shot one, take three.
[Safaa.]
Four three, two Write this down, sonny.
[Nada.]
Put these on.
What the hell is this thing? What's this? A microphone.
What do I do with it? You put it on.
I don't know how to put it on.
Will you help me? Sure.
Come here.
Please, don't move.
Lean towards me a bit.
Is my beard too long? Does it need a bit of a trim? No, it doesn't need anything.
It's fine.
Excuse me.
What's your name? Salwa.
Salwa.
Thank you, Salwa.
We'll finish our conversation later.
You're already making friends and talking to people? They did my makeup.
I can see that.
Since you're becoming a star, watch out for gossip and the tabloids.
No, don't worry.
Can I take a selfie with you? I don't want to be photographed looking like this.
- What's going on people? - They're ready as far as I'm concerned.
When is their scene? It's the next one.
- I want to tell you something.
- Go ahead.
- It's just an idea.
- Mmm-hmm.
A man and a woman, two people, - they find a dollar on the floor.
- Hmm.
They pick it up, and they start fighting over it.
Then they decide to keep it.
One day, they discover this dollar is bringing them good luck.
I mean, luck just follows them everywhere.
So they decide to keep it a secret.
One day, the dollar disappears.
They lose the dollar, and they start chasing it here and there, all over.
And? You won't believe it.
Every time they almost reach it, it slips away again, just like that! Where do I even start? It passes from the cab driver to the guy who sells coffee, and from him to the pharmacist, from the pharmacist to Mrs.
Lilianne, - and from Mrs.
Lilianne - To the magician and from the magician to the currency exchange, and from there to a gang of criminals, from the gang to the mosque, from the mosque to the butcher, from the butcher to Professor - [Zeina.]
Rafeek.
- [Tarek.]
Rafeek! And from Professor Rafeek [both.]
To your set over here.
To your To our set? Yes, to your set.
- What does this mean? - What do you mean? He means that this is a TV series.
It's a story idea for a TV series.
I mean it would make a good TV series.
Ah! Oh, yes, yes.
But it's unlikely.
Why? Well, it's a lot of moving from place to place, and so many locations.
But it's nice.
It would be nice.
Yes, it's nice.
Is this your idea? The idea is that this dollar is somewhere here, on this show you're shooting, with one of your guys.
Exactly.
So maybe you could call this guy and tell him to bring us the dollar, and I'll explain more to you about the TV series.
What do you say we finish this TV series, then we can discuss whatever series you like? Come on, get ready.
[man.]
Rabi'a, everything you're saying is just aggravating.
I'd like to remind you, Rabi'a, that you are here in the sheriff's office, not some cowshed.
Anything you say might help with our investigation.
I had nothing to do with it.
I was standing by the mill [Samer.]
Cut! What's going on? [Safaa.]
What are you doing? Where is Firas? Damn it! What are you doing here? You think I have nothing better to do? Get out! Do it again.
[Tarek.]
We're sorry, but they told us that our scene is starting now.
[Suleiman.]
Talk to Mr.
Aktham.
[Safaa.]
Roll! [Aktham softly.]
Shh! Not a word.
Not a sound.
This is scene 747.
Come on, repeat "Hello, sir.
" "Hello, sir.
" - What's the matter? Is it difficult? - [softly.]
No, it's not.
But you said, "Not a word.
Not a sound.
" Well, I meant, say it.
Say it, but quietly.
Like the way I'm talking right now.
- Like - Yes, yes.
- Hello, sir.
- Okay.
Come on, this is your cue.
Say, "Hello, sir.
" No.
That's your line.
Now you say your line.
"We beg you, for the love of God, please help us.
We had nothing to do with it.
" It's easy.
We beg you, for the love of God, please help us.
We had nothing to do with it.
Why are you doing this? You did that! I did it, but forget about that.
Come on.
She's begging him.
She's begging the sheriff.
If you speak like that, he will suspect you.
- Who's going to suspect us? - The sheriff.
He's a very, very paranoid man.
Very.
He went through a lot to get to this position.
Why would he suspect us? He will suspect you if you speak like that.
I mean, the sheriff is a self-made man.
I mean, during his teenage years [shouting.]
What do I care about his teenage years? - Why tell me about his childhood? - [shushing.]
- [softly.]
Shut up.
- [softly.]
Give me a break.
- I just want to know my role! - Mr.
Aktham, we're filming.
Quiet.
- Okay, okay, okay.
- Quiet, guys.
Lower your voice.
[exhales heavily.]
Listen.
Let's forget about the cameras completely.
We have to believe what's happening so that the audience believes us.
- Okay? - [Tarek.]
Hmm.
Come on, you will say, "Hello, sir.
" Then the sheriff will say, "Hello, Waddah.
" [Tarek.]
Hmm.
Who's Waddah? - You're Waddah.
- I'm Waddah? Are you kidding? You're Waddah, the shepherd.
He knows you, the sheriff.
So The sheriff knows me? How does he know me? He knows you He doesn't know you as in "you," he knows the character.
He knows Waddah, the shepherd.
- Oh.
- Got it? - Yeah, yeah.
- Say it, go ahead.
- [stammers.]
- Say it.
"Hello" "Hello, sir"? Hello, sir.
Hello, Waddah.
[softly.]
We're begging you, for the love of God, please What do I do about this? I got used to it.
Hold it.
- Yes.
Good.
Now say it.
- Hold it.
It's not flattering.
We're begging you, for the love of God, please help us.
You want me to beg, right? We're begging you, for the love of God, please help us.
You look as if you want to borrow money.
You're scared.
Scared.
Scared.
Come on, say it again.
[slowly.]
We're begging you, for the love of God, please help us.
I swear, we had nothing to do with it.
It's good.
Don't say it that slow.
Come on, try it again.
[rapidly.]
We're begging you, for the love of God, please help us.
I swear we had nothing to do with it.
Uh, uh, uh.
Mmm - Come on, that's fine.
- [clicks tongue.]
[Zeina sighs.]
Okay, next.
I took the tea to the director.
[man.]
Take these to Mr.
Aktham and his guests.
His guests? They're just extras, man.
[man.]
That's not our business.
Take it to them before he gets cranky.
Okay.
Of course, after she gave birth to the baby boy - Help yourselves.
- Thanks.
After she gave birth to the baby boy, she divorced her cousin and married you.
And you promised to take care of her and the baby.
We're talking about a rural village where they know nothing about urban life.
Therefore, different personal worlds, a different higher purpose, within a new dramatic setting.
Of course, I'll follow up with you and the tactile development of each character individually.
Please, I have a question.
I mean, within the new dramatic setting, what does the sheriff have to do with it? Ah.
In that village, there was a crime.
The killer went into a cowshed where he killed seven cows and ran away.
So I'm the killer? You're the witness.
- I'm the witness.
- Yes.
Mmm.
So I shouldn't really seem scared.
Well, no, I mean, there's definitely the fear of going into a police station.
This is not a place you usually go to.
Plus, you're scared of the killer that you're testifying against.
- Oh.
Very nice.
- Yeah.
This is a starring role.
Tell me, how many scenes do we have in the series? One scene.
[both.]
What? One scene.
This scene.
What do you mean, one scene? You were just talking about personal worlds and a dramatic setting and the tactile development of the character.
- Is all this for one scene? - Yes, I wanted you to get into the spirit.
What spirit? It's just two words.
"Hello, sir.
" Why all that explaining? I'm telling you about the character's backstory so you understand what you're supposed to do.
You know? The character's backstory? Mr.
Aktham, the director wants to speak to you.
Excuse me.
And a big welcome to our stars.
I'm worried.
I don't feel comfortable at all.
These people are playing us.
No, it doesn't seem like it.
Looks like this is for real.
What are you going to do? What can I do? The dollar has become part of the set.
There are so many people around it.
You want my opinion? Just go in, snatch the dollar, and let's get the hell out of here.
No, let's just play it cool and stay close to the dollar.
I'm sure we can find a way to get it without anyone noticing.
Or maybe we'll get caught any minute and they'll kick us out of here.
Have you noticed that you've been nagging a lot lately? Also, why does your face look as dry as a broom? Who told you about this? [man.]
The whole village knows, sir.
Looks like you've done it, bloody Hamdan.
But where will you escape to? Wait till I see you.
[sighs.]
[Samer.]
Do it again.
Go tell the sheriff to stop looking at the camera before I go destroy the set.
How is the episode going? When is the deadline? Well, the team's working on it.
The problem is this.
I don't know how I'll ever wrap it.
Why? What's the problem? I swear, Ziad, we're working with what we can get.
Yesterday, I told them I needed four Arabian horses, and they got me four hybrids.
I told them I needed 50 extras, and they got me 20.
Today, we asked for a cabinet for the office.
Know what they brought? A safe.
How is a safe similar to a cabinet? And to top it all off, turns out it has no key.
So if it's closed, it can't be opened.
So if I need to redo a scene, I can't.
That's it.
It's a done deal.
Come on, let it go.
In few days, we'll be done.
"Let it go," you say? Just now, I told them we needed a dollar.
One dollar for the scene.
It's been half an hour, and they still don't have it.
Sir, if you want, I have a $100 bill.
It's brand-new.
You can use it.
No, it's okay.
Don't worry about it.
Don't worry.
No problem, sir.
Use it if you want to.
Guys, what's happening? Go ahead, sir.
We're ready.
Come on, Safaa.
Start the countdown.
Hey, Wael, is there a problem? I swear, man, I told the director, "Count me out.
I don't want to be part of this one.
" [clicks tongue.]
As soon as I read the first episode, I had a bad feeling.
Take it easy, man.
It's not a period drama.
Can you believe they're saying I couldn't get them a few sheep? Call them.
Call who? The sheep? Call the drivers.
See where they are.
I called those morons two hours ago.
They said they were around the corner.
Where are you? [shouting.]
Which corner is that? So how much longer will you be? Okay, that's it.
Here are the rushes, Aktham.
Safaa! - Mr.
Aktham? - Mmm-hmm.
When is our scene going to start? When the flock gets here.
What flock? The sheep.
You're the shepherd, aren't you? - I'm the shepherd? - Yes.
You're part of the flock.
We can't shoot the scene unless all of you are here.
- [sighs.]
Let's get out of here, please.
- [shushes.]
Sorry, I have one more question if you don't mind.
Go ahead.
That dollar above the sheriff, what's that about? [sighs.]
It's evidence from the crime scene.
- Oh, the crime scene.
- Hmm.
Why don't you use another one? No.
Why would we use another one? It's in bad shape.
It's worn out and old.
If you need a newer one, I have one.
I'll give it to you.
- It's a continuity element.
- Continuity? What does that mean? It means we can't change a prop that we've already filmed.
- I just meant to say - You have furniture in your house? - Furniture? Yeah, sure.
- Good.
You come home, and you find that the table isn't where it should be and the closet's open, but it had been closed.
- What would you think? - That someone's been in the house.
That's continuity.
You can't change anything you have already filmed, because it would look like a mistake, you know what I mean? What do we do, then? About what? Well, he's trying to ask if this is going to take much longer.
I mean are we staying until tomorrow or something? No, no God forbid.
Today, we don't have any night scenes, and first thing tomorrow, we need to be at the village square.
There you go.
Why are you standing up, miss? Have a seat.
[sighs.]
Have you worked on any shows before? [in French.]
Yes, of course.
[in Arabic.]
I've worked so many shows that I can't even remember.
We've worked more in cinema than in television.
But we did work on a few TV dramas, like Love and Passion.
It was very good.
And there was The Raging Sea, sir.
We also did I'll Make You See Stars.
- I'll Make You See Stars? - [Tarek.]
Yes.
We did that one.
- It was called Yellow Stars, wasn't it? - Right.
[chuckles.]
Come on, let's get ready, guys.
Come on.
[man.]
Scene 173, shot one, take four.
[Safaa.]
Four, three, two Enjoy your coffee, and we'll have a chat.
What's there to talk about, sir? I told you everything I know.
Any piece of information would be helpful.
Try to remember if you have any enemies besides Hamdan.
I mean, does anyone else have something to gain from this? Someone other than Hamdan? Sir, the dollar was in the cowshed.
It fell out of Hamdan's pocket.
His fingerprints are on it.
What other proof do you need? Are you going to teach me how to do my job? Sit down.
Isn't it possible that there might be a third party involved? Someone who hates both you and him? He went in and killed your cows, then he left behind something that belongs to Hamdan to make him a suspect.
That way, he would be hurting both of you.
Sir, I'm a peaceful man.
No one hates me except for that bastard Hamdan.
And this this is not the first time he's tried to hurt me.
How come? [Samer.]
That's it.
Cut it.
The shot was good, wasn't it? Bravo.
Did they offer you anything to drink? Firas.
Bring her some tea.
Okay, let's discuss the next scene.
What's the matter, Miss Zeina? Why are you looking at him like that? And, "Bring her some tea," and, "The scene was good"? What's your problem? It's luck.
Weren't you bragging about your luck earlier? To be lucky, we need to stay close to the dollar, not the director.
Honey, the dollar will make me rich.
But the director will make me both famous and rich.
Oh.
Is that so? Also, honey, if he hadn't seen how beautiful and photogenic I am, he wouldn't have asked me about my previous work.
That's good.
Why not? In that case, Ms.
Photogenic, just stick with the director and let me have the dollar.
- [goats bleating.]
- [Aktham.]
The flock is here! [bleating continues.]
Come on, guys.
This is your scene.
Come on.
[Hassan.]
Sir, could you please stop unbuttoning it? I didn't touch it.
It unbuttons on its own.
[Samer.]
You go in before her, say your greetings at the door, then the camera will be on you, so follow him, then go past him until you reach the desk.
Then you follow her in.
Okay, Safaa, let's do the trial run.
Salwa, come and fix her makeup.
[Safaa.]
Trial run for the last scene! Hold this, and don't lose it.
Mrs.
Safaa, excuse me.
Can you talk to the director? Because I was thinking that I could stand next to the sheriff, and talk to him this way.
It's more intimate.
Will you mind your own business? Man, what's your problem? Just do as they say, get a paycheck and go.
But I think it would be more credible if I stood next to the sheriff.
Leave credibility to us.
Come on.
So there's no way? No way.
Come on.
Trial run! Start the trial run.
[goats bleating.]
[softly.]
Hello, sir.
Hello, Waddah.
[softly.]
We're begging you, for the love of God, please help us.
I swear I swear, we had nothing to do with it.
[Samer.]
Guys, what's going on? Uh Maybe we need to speak even softer, sir? [Samer.]
Who told them to do that? Sir, Mr.
Aktham told us to keep our voices down.
Aktham! - What is it? - [Tarek.]
You want Seems we're having fun today.
Right, you're trying to give me a stroke by using the cheapest resources.
[man 1.]
I'll heat the water.
[man 2.]
No, there's no need.
It's the last scene.
They're wrapping soon.
Let's move it, guys.
We've been here all day, and we're exhausted.
Sorry, sir, just one more trial run.
Maybe you should film this time.
[Safaa.]
We won't be able to redo it because of the safe.
If it's closed, it can't be reopened.
What's the problem with these props? Just film it and get it over with.
How are you, sir? Hi.
Okay, trial run! Four, three, two [goats bleating.]
Hello, sir.
Hello.
[Samer.]
Why did you stop? He didn't say, "Hello, Waddah.
" What's going on, sir? Sir, they're fooling around here! Seriously, we've been here all day, as if this was some military barrack! [Samer.]
Keep going, please.
Keep going, please.
Aktham, are you there? I'm here, sir.
I'm here.
Just keep going.
If something goes wrong, we say, "Cut.
" Excuse me, Mr.
Aktham, but in the previous run, I said, "Hello, sir," he said, "Hello, Waddah.
" This time, he didn't say, "Hello, Waddah.
" He didn't say "Waddah.
" It's okay.
Don't interrupt.
Just say your lines.
Even if he answers you in Sanskrit, just say your lines, continue, don't stop.
So I keep going even if he doesn't say "Waddah"? [softly.]
That's fine.
Just keep going.
[man 1.]
I'm sorry, sir.
[Samer.]
Let's pick it up from here.
Action.
[Safaa.]
Four, three, two Hello, sir.
Hello, Waddah! [clears throat.]
We're begging you, for the love of God, please help us.
I swear I swear, we had nothing to do with it.
But nobody is accusing you of anything.
I'm begging you, sir.
I'm begging you.
We're poor.
We have nothing.
We fear God.
We have kids.
We didn't do anything.
Right? Sir, how long have you been in this village? Has anyone ever complained about us? Speak from your conscience.
Speak true! Has anyone ever objected or said anything? Speak the truth! For God's sake! Let me say my two lines! You had nothing to do with it.
You're just witnesses! [cell phone ringing.]
[speaking softly.]
Hold on a second.
I have to take it I'm sorry, sir, but this is an urgent call and I have to take it, okay? You go ahead without me.
I'll tell you later.
Hello.
Yes.
[Samer.]
Aktham! [Aktham.]
Where did she go? [man 2.]
Sir, are those sheep going to keep bleating? [Samer.]
Yes! [goat bleats.]
Don't forget to say "Waddah.
" "Hello, Waddah.
" Hello, Waddah.
God! I don't even care if we're here until tomorrow.
Forget them.
What are you going to do about the safe? Nothing.
He'll close it when we actually film.
What if we need to redo the scene? How will you reopen it? I made sure it would be the final take.
So if everything goes well and we get to the safe, then we'll be finished.
- [chuckles.]
- [sighs heavily.]
For God's sake, see what's wrong with her.
Zeina, what's wrong? Nothing.
What do you mean, "Nothing"? What's wrong? Let's go back to filming.
Wait, wait.
What's wrong? What happened? Mr.
Nizar Your fiancé? What about him? The apartment I live in is his.
And after what happened, I have to leave tomorrow, or he'll send the police, and they'll throw me out in the street with my things.
He should at least give you some time to figure something out.
I'm not mad at him.
I'm mad at myself.
How could I stay with him all this time without seeing his true colors? [Aktham.]
Tarek! Zeina! What's going on, guys? Let's go, please.
Let's go.
It's fine.
Let's go.
We're coming.
[sniffles.]
[Safaa.]
Get ready to film! I don't want to hear a sound! Firas, stay outside with us.
Everyone, switch off your phones.
I'm with you, ma'am.
Guys, if you have nothing to do here, get out of the way! [Samer.]
Don't start the countdown until everyone's ready.
Guys, this is for real.
We can't redo this scene.
If the safe closes, it can't be reopened.
- Okay? - Okay.
- Ready? - Ready.
Okay.
[Safaa.]
Roll! Slate! [man 1.]
Rolling.
Scene 183, shot one, take one.
[Safaa.]
Four, three, two Hello, sir.
Hello, Waddah.
We're begging you, for the love of God, please help us.
I swear, we had nothing to do with it.
[man 2.]
Hold your horses, folks.
No one is even accusing you of anything.
- I'm begging you, sir.
I'm begging you.
- Get up.
We fear God, and we have kids, and we've never hurt anyone.
Sir, how long have you lived in the village? Has anyone ever complained about us? You had nothing to do with it.
You're just witnesses.
Sir, we're seeking God's help through you.
You're our only hope.
Otherwise, we'll get caught in the line of fire.
Don't worry.
I'm here to help you and protect you.
But I need you to answer a few questions for me, so that we can determine who killed the man's cows.
You had us brought here just to ask us a few questions? You dragged us from our home, down to the police station, because of the man's cows? When they stole 15 sheep from us, no one would hear us out.
You're ignoring the chaos in the village.
People are killing each other.
People are dying.
Human beings.
Human beings, sir, not cows.
And now you're interrogating us? Us? The poor people? You want to know who the killer is? Hamdan is the killer, sir.
Yes, Hamdan is the killer.
He came to us, and he said it himself, his eyes glowing like fire.
So? Are you satisfied? Write down the following, sonny.
Waddah Sorour has testified, along with his wife, Ferial Madouda, that Hamdan Al Naasan is the culprit.
Therefore, we shall refer the case file, along with the forensic evidence and the witnesses to a court of law to take the necessary measures according to procedure.
[Samer.]
Cut! That's it.
Well done.
We're done.
Thank you all.
[indistinct chatter.]
Bravo.
Bravo.
Bravo.
Thank you.
Good job.
Thank you, guys.
- [man 3.]
Thank you, sir.
- [indistinct chatter resumes.]
[theme music playing.]
Subtitle translation by Imad Naqqar