Deception (1993)

PG-13 | 89 mins | Drama, Adventure, Mystery, Romance | 29 October 1993

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HISTORY

       Throughout opening credits, footage of “Johnny Faro” and “Bessie Faro” dancing together is superimposed over photographs depicting the couple’s marriage.
       End credits include the following statements: “With special thanks to the California Film Commission, Televisa S.A., Jeff King—the Hollywood Film Music Library, the Topps Company, Major League Baseball Alumni Association, Joan Tewkesbury;” “The Major League Baseball trademarks depicted in this motion picture were licensed by Major League Baseball Properties, Inc.;” “This film was recorded in a THX Stereo Sound System Theatre;” and, “Filmed on location in Los Angeles, Veracruz, Berlin, Athens, Cairo.”
       According to an unpublished article by Pat Broeske in AMPAS library files, director Graeme Clifford and screenwriter Robert Dillon traveled to Egypt in 1989 to research locations for the project that would eventually become Ruby Cairo, with the script’s subject matter and locations approved by the country’s Ministry of Antiquities and Ministry of Culture. On 11 Jul 1991, DV announced that Ruby Cairo was chosen as the first feature film to be produced by Kadokawa Productions U.S. Inc., the Los Angeles, CA, subsidiary of one of Japan’s largest publishing companies, Kadokawa Publishing Co. Ltd. A 16 Jul 1991 DV brief stated that Clifford and producer Lloyd Philips had begun scouting locations in Egypt.
       Following the path traveled by “Bessie Faro” in the film, production moved from Los Angeles; Veracruz, Mexico; Berlin, Germany; and Athens, Greece, before reaching Cairo, Egypt. According to 3 Sep 1991 HR production charts, filming began 5 Aug 1991. A few weeks later, the 21 Aug 1991 DV announced that actress Olympia Dukakis was hired for scenes in Veracruz, but she ... More Less

       Throughout opening credits, footage of “Johnny Faro” and “Bessie Faro” dancing together is superimposed over photographs depicting the couple’s marriage.
       End credits include the following statements: “With special thanks to the California Film Commission, Televisa S.A., Jeff King—the Hollywood Film Music Library, the Topps Company, Major League Baseball Alumni Association, Joan Tewkesbury;” “The Major League Baseball trademarks depicted in this motion picture were licensed by Major League Baseball Properties, Inc.;” “This film was recorded in a THX Stereo Sound System Theatre;” and, “Filmed on location in Los Angeles, Veracruz, Berlin, Athens, Cairo.”
       According to an unpublished article by Pat Broeske in AMPAS library files, director Graeme Clifford and screenwriter Robert Dillon traveled to Egypt in 1989 to research locations for the project that would eventually become Ruby Cairo, with the script’s subject matter and locations approved by the country’s Ministry of Antiquities and Ministry of Culture. On 11 Jul 1991, DV announced that Ruby Cairo was chosen as the first feature film to be produced by Kadokawa Productions U.S. Inc., the Los Angeles, CA, subsidiary of one of Japan’s largest publishing companies, Kadokawa Publishing Co. Ltd. A 16 Jul 1991 DV brief stated that Clifford and producer Lloyd Philips had begun scouting locations in Egypt.
       Following the path traveled by “Bessie Faro” in the film, production moved from Los Angeles; Veracruz, Mexico; Berlin, Germany; and Athens, Greece, before reaching Cairo, Egypt. According to 3 Sep 1991 HR production charts, filming began 5 Aug 1991. A few weeks later, the 21 Aug 1991 DV announced that actress Olympia Dukakis was hired for scenes in Veracruz, but she does not appear in the final film.
       The 1 Oct 1991 HR indicated that Andie MacDowell and Liam Neeson had arrived to begin work in Cairo. The film was said to be budgeted at $40 million, $2 million of which was to be spent in Egypt. Meanwhile, executive producer and Kadokawa Productions chairman Haruki Kadokawa was expected to arrive later that month to host a reception for the Egyptian film industry. An Egyptian press release in AMPAS library files indicated that the Egyptian shoot was scheduled to last four weeks, with twelve-hour days beginning at 6:00 am. Cairo locations included Khan El Khalily, the Gamaliya area, IBN Tonlon mosque, the Gaya Anderson house, the El Mogamma building, and the Cornesh and port in Alexandria. Assistant directors for the Cairo unit, Zaki Fatin Abd El Wahab, Asma El Bakery, Sherif Hamouda, and Mohamed El Gouhary, were final-year students at the High Cinema Institute, selected for admission to the cinema union to work on the film. A document dated 12 Oct 1991 stated that filming was currently underway at Cairo’s Studio Galal.
       According to Broeske, complications arose when film equipment was detained in Alexandria, Egypt, which resulted in unexpected paperwork and fees to secure their return. Despite the approval of the Egyptian ministries, the unnamed on-set censor vehemently opposed numerous costumes, locations, and background actors within scenes that could potentially misrepresent the city and its people, and reportedly covered the camera lens with her hand. A 6 Jan 1992 Var story stated that censorship board officials, displeased by the selection of “shabby” locations, closed the set and confiscated twenty-two cans of exposed film negative, which were finally returned after a month of negotiations with the Egyptian Department of Antiquities. At that time, filmmakers were also attempting to regain withheld bond money. A 28 Oct 1991 press release stated that the censorship issue was resolved and filming resumed 27 Oct 1991, with the remainder of permissions being granted on a day-by-day, scene-by-scene basis.
       An article in the 8 Dec 1991 NYT described an extended version of the pyramid scene, in which “Fergus Lamb” hits a golf ball from the top of the Great Pyramid of Cheops into the swimming pool of the Mena House Hotel, 800 yards away. The 17 Nov 1991 LAT stated that production designer Richard Sylbert was forced to duplicate the pyramid in Los Angeles, due to the rapidly-changing desert sunlight and access restrictions to the actual monument. For the backdrop, photographers from Pacific Studios in Hollywood, CA, created a twenty-seven-foot tall, 100-foot wide Chromatrans image of the Cairo skyline. To capture the correct lighting, members of the film crew, led by Pacific Studios’ Richard Lund, who is not named in onscreen credits, gained permission to climb the pyramid with five cameras. Sleeping next to the equipment, they awoke to take five photographs at 7:30 the next morning, just one hour after sunrise. Once the images were edited together, the perspective was enhanced by resizing the swimming pool. Despite the extensive efforts for the shot, however, it is not included in the final film.
       The 17 Dec 1991 HR announced the completion of principal photography after the production returned to Los Angeles. Although the 1 Oct 1991 HR suggested that the film cost $40 million, other contemporary sources listed the final budget between $24--25 million.
       A 17 Nov 1991 LAT news story stated that Twentieth Century Fox had acquired the film for domestic release in the fall of 1992. The following year, however, the 2 Nov 1992 HR indicated that the deal with Fox fell through, forcing filmmakers to search for a new distributor and resulting in its eventual release through Miramax. A 10 May 1993 Var review indicated that while Ruby Cairo was currently being released in the U.K. with a 110-minute runtime, Clifford was re-editing the film for U.S. and international release later that fall. The picture opened 29 Oct 1993 in Los Angeles, and 3 Dec 1993 in New York City, under the title Deception, and received generally poor reviews. The print viewed for this record had a duration of eighty-nine minutes. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
11 Jul 1991.
---
Daily Variety
16 Jul 1991.
---
Daily Variety
21 Aug 1991.
---
Hollywood Reporter
3 Sep 1991.
---
Hollywood Reporter
1 Oct 1991.
---
Hollywood Reporter
17 Dec 1991.
---
Los Angeles Times
17 Nov 1991
Calendar.
Los Angeles Times
1 Nov 1993
p. 9.
New York Times
8 Dec 1991
p. 20, 22.
New York Times
3 Dec 1993
p. 10.
Variety
6 Jan 1992.
---
Variety
10 May 1993
pp. 236-237.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
Haruki Kadokawa presents
A Lloyd Phillips production
a film by Graeme Clifford
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
1st asst dir
2d asst dir
1st asst dir, 2d unit
1st asst dir, 2d unit
2d asst dir, 2d unit
Addl 2d asst dir, Los Angeles unit
Prod mgr, Veracruz unit
1st asst dir, Veracruz unit
2d asst dir, Veracruz unit
2d asst dir, Veracruz unit
Prod mgr, Berlin unit
Asst dir, Berlin unit
Prod mgr, Athens unit
Asst dir, Athens unit
2d asst dir, Athens unit
2d unit asst dir, Athens unit
Prod mgr, Cairo unit
2d asst dir, Cairo unit
3d asst dir, Cairo unit
3d asst dir, Cairo unit
Asst dir, Cairo unit
3d asst dir, Cairo unit
1st asst dir, Los Angeles 2d unit
PRODUCERS
Exec prod
PHOTOGRAPHY
Dir of photog
Cam op
Focus puller
Clapper/Loader
Cam grip
Stedicam op
Stedicam asst
Video asst
Still photog
Gaffer
Best boy
Standby rigger
Dir of photog, 2d unit
Focus puller, 2d unit
Clapper, 2d unit
Grip, 2d unit
Asst cam, Los Angeles unit
Rigging gaffer, Los Angeles unit
Elec, Los Angeles unit
Elec, Los Angeles unit
Elec, Los Angeles unit
Elec, Los Angeles unit
Best boy grip, Los Angeles unit
Dolly grip, Los Angeles unit
Dolly grip, Los Angeles unit
Cam op, Los Angeles unit
2d asst cam, Los Angeles unit
Gaffer, Los Angeles unit
Best boy, Los Angeles unit
Key grip, Los Angeles unit
Rigging grip, Los Angeles unit
Grip, Los Angeles unit
Grip, Los Angeles unit
Focus puller, Veracruz unit
Elec, Veracruz unit
Elec, Veracruz unit
Grip, Veracruz unit
Grip, Veracruz unit
Cam asst, Veracruz unit
Elec, Berlin unit
Elec, Berlin unit
Elec, Berlin unit
Elec, Berlin unit
Elec, Athens unit
Elec, Athens unit
Elec, Athens unit
Elec, Athens unit
Elec, Athens unit
Elec, Athens unit
Cam asst, Cairo unit
Chief elec, Cairo unit
Elec, Cairo unit
Elec, Cairo unit
Elec, Cairo unit
Elec, Cairo unit
Elec, Cairo unit
Elec, Cairo unit
Dir of photog, Los Angeles 2d unit
Addl photog, Los Angeles 2d unit
2d asst cam, Los Angeles 2d unit
Key grip, Los Angeles 2d unit
Asst cam, Los Angeles 2d unit
Asst cam, Los Angeles 2d unit
Gaffer, Los Angeles 2d unit
Translights by
Cranes & dollies by
Cairo lighting equip supplied by
ART DIRECTORS
Prod des
Supv art dir
Art dir
Asst art dir
Asst to the prod des
Art dir, Berlin unit
Asst art dir, Athens unit
Asst art dir, Cairo unit
FILM EDITORS
Film ed
Addl ed
Asst ed
Asst ed
Asst ed
Asst ed
Asst ed
Apprentice ed
Apprentice ed
Apprentice ed
Apprentice ed
Negative cutter
SET DECORATORS
Standby stagehand
Standby carpenter
Set Dec - Europe/LA
Set dec - LA/Mexico
Prop master
Standby props - Athens, Cairo
Standby painter
Const coord
Const foreman - L.A./Veracruz
Metal foreman
Prop maker
Prop maker
Paint foreman
Props, 2d unit
Set des, Los Angeles unit
Asst set dec, Los Angeles unit
Swing gang, Los Angeles unit
Set dec, Los Angeles unit
Swing gang, Los Angeles unit
1st team greens, Los Angeles unit
1st team greens, Los Angeles unit
Plaster foreman, Los Angeles unit
Painter, Los Angeles unit
Painters, Los Angeles unit
Art dept buyer, Los Angeles unit
Leadman, Los Angeles unit
Props buyer, Los Angeles unit
Const foreman, Los Angeles unit
Plasterer, Los Angeles unit
Plasterer, Los Angeles unit
Plasterer, Los Angeles unit
Propmaker, Los Angeles unit
Propmaker, Los Angeles unit
Propmaker, Los Angeles unit
Propmaker, Los Angeles unit
Propmaker, Los Angeles unit
Propmaker, Los Angeles unit
Propmaker, Los Angeles unit
Propmaker, Los Angeles unit
Propmaker, Los Angeles unit
Propmaker, Los Angeles unit
Set dec, Veracruz unit
Props, Veracruz unit
Asst set dresser, Veracruz unit
Asst set dresser, Veracruz unit
Standby painter, Veracruz unit
Props, Berlin unit
Standby props, Berlin unit
Set dressing, Athens unit
Set dressing, Athens unit
Props, Athens unit
Props, Athens unit
Dressing props, Cairo unit
Dressing props, Cairo unit
Props, Los Angeles 2d unit
COSTUMES
Cost des
Chief costumer
Set costumer
Ward asst, Los Angeles unit
Ward asst, Los Angeles unit
Ward asst, Los Angeles unit
Ward, Veracruz unit
Cost asst, Berlin unit
Ward asst, Berlin unit
Addl cost courtesy of, Berlin unit
Ward asst, Athens unit
Ward asst, Athens unit
Addl cost courtesy of, Athens unit
Asst ward, Cairo unit
Asst ward, Cairo unit
MUSIC
Mus ed
Assoc mus ed
Assoc mus ed
Mus rec at
Culver City, CA
Rec eng
Flamenco guitar
Ethnic mus by
Rec by
Studio Ultimo
Mixed by
Skywalker Sound
Tech coord & guitar
Mariachi wrangler
Percussion
Zurina, Winds
Jarana, Vocals, Arpa jarocho
Oud, etc.
Arpa jarocho, Vocals
Requinto, Vocals
Vocal soloist
SOUND
Sd mixer
Boom op
Supv sd ed
Sd eff supv
Sd ed
Sd ed
Sd ed
Sd ed
ADR supv
Foley ed
Foley ed
Asst sd ed
Asst sd ed
Asst sd ed
Re-rec mixer
Re-rec mixer
Re-rec mixer
ADR/Foley mixer
ADR/Foley mixer
ADR/Foley mixer
ADR/Foley rec
ADR/Foley rec
Cableperson, Los Angeles unit
Cableperson, Veracruz unit
Cableperson, Cairo unit
Post prod sd
Post prod sd services provided by
A division of LucasArts Entertainment Company
VISUAL EFFECTS
Spec eff supv, Los Angeles unit
Spec eff coord, Los Angeles unit
Spec eff tech, Los Angeles unit
Spec eff tech, Los Angeles unit
Spec eff tech, Los Angeles unit
Spec eff asst, Veracruz unit
Spec eff asst, Veracruz unit
Spec eff asst, Veracruz unit
Spec eff asst, Veracruz unit
Spec eff coord, Veracruz unit
Spec eff, Berlin unit
Main title
MAKEUP
Chief hairdresser
Chief makeup artist
Makeup/Hair
Hair/Makeup, 2d unit
Makeup, Veracruz unit
Hair, Veracruz unit
Makeup/Hair asst, Berlin unit
PRODUCTION MISC
Line prod
Casting
Prod supv
Scr supv
ADR voice casting
Machine op
Machine op
Stage eng
Prod supv - Cairo
Loc mgr - L.A./Cairo
Prod coord
Prod coord
Asst prod coord
Prod accountant
Asst accountant
Asst accountant
Prod exec
Asst to Mr. Phillips
Asst to Mr. Phillips
Asst to Mr. Clifford
Asst to Mr. Clifford
Set prod asst
Office asst
Casting asst
Casting asst
Los mgr, Los Angeles unit
Transportation coord, Los Angeles unit
Transportation capt, Los Angeles unit
Transportation capt, Los Angeles unit
Transportation capt, Los Angeles unit
Extras casting, Los Angeles unit
Extras casting, Los Angeles unit
Catering, Los Angeles unit
Loc mgr, Veracruz unit
Prod coord, Veracruz unit
Prod secy, Veracruz unit
Prod secy, Veracruz unit
Generator op, Veracruz unit
Generator op, Veracruz unit
Transportation coord, Veracruz unit
Unit pub, Veracruz unit
Unit mgr, Veracruz unit
Asst loc mgr, Veracruz unit
Accountant, Veracruz unit
Transportation capt, Veracruz unit
Casting, Veracruz unit
Extras coord, Veracruz unit
Set mgr, Berlin unit
Accountant, Berlin unit
2d unit loc mgr, Berlin unit
2d unit loc asst, Berlin unit
Prod asst, Berlin unit
Prod asst, Berlin unit
Catering, Berlin unit
Unit loc mgr, Berlin unit
Prod secy, Berlin unit
Casting/Extras casting, Berlin unit
Transportation coord, Berlin unit
Loc mgr, Athens unit
2d unit loc mgr, Athens unit
Accountant, Athens unit
Casting, Athens unit
Transportation mgr, Athens unit
Transportation asst, Athens unit
Asst prod secy, Athens unit
Prod runner, Athens unit
Prod runner, Athens unit
Catering - Athens/Cairo, Athens unit
Unit mgr, Athens unit
Prod secy, Athens unit
Prod coord, Cairo unit
Prod asst, Cairo unit
Accountant, Cairo unit
Crowd coord, Cairo unit
Generator op, Cairo unit
Generator op, Cairo unit, Cairo unit
Transportation mgr, Cairo unit
Transportation capt, Cairo unit
Prod liaison, Cairo unit
Prod secy, Cairo unit
Unit pub, Cairo unit
Casting/Extras casting, Cairo unit
Scr supv, Los Angeles 2d unit
Prod asst, Los Angeles 2d unit
Financial services
International pub coord
Pub
Dennis Davidson & Associates
U.K. prod liaison
Marketing consultant
Prod insurance
Los Angeles and Veracruz loc equipped by
Berlin and Athens loc equipped by
STAND INS
Andie MacDowell's stand-in
COLOR PERSONNEL
Col timing
Col timing
Col by
SOURCES
MUSIC
"Ruby Cairo Theme--Flamenco," music by John Barry, performed by Ottmar Liebert and Luna Negra, Ottmar Liebert performs courtesy of Epic Records, produced and arranged by Ottmar Liebert.
SONGS
"The Secrets Of My Heart," music by John Barry, lyrics by Cynthia Haagens, Graeme Clifford, performed by Kristina Nichols, produced by Kim Bullard, Gerry Tolman
"You Belong To Me," music and lyrics by Pee Wee King, Redd Stewart, Chilton Price, performed by Patsy Cline, courtesy of MCA Records, produced by Owen Bradley.
DETAILS
Alternate Title:
Ruby Cairo
Release Date:
29 October 1993
Premiere Information:
Los Angeles opening: 29 October 1993
New York opening: 3 December 1993
Production Date:
began 5 August 1991 in Los Angeles, CA
Veracruz, Mexico
Berlin, Germany
Athens, Greece
and Cairo, Egypt
Copyright Claimant:
Kadokawa Shoten Publishing Company, Ltd.
Copyright Date:
22 July 1997
Copyright Number:
PA822199
Physical Properties:
Sound
Dolby Stereo ® in Selected Theatres
Color
Lenses
Filmed with cameras and lenses from Panavision®
Duration(in mins):
89
MPAA Rating:
PG-13
Countries:
Japan, United States
Language:
English
PCA No:
32273
Passed by NBR:
No
SYNOPSIS

In 1960, young Johnny Faro catches the Pittsburgh Pirates’ winning home run ball in the World Series against the New York Yankees. Many years later, at an aircraft salvage yard outside California’s Los Angeles International Airport, a repairman named Hermes signs for a package from Veracruz, Mexico, addressed to the wife of Johnny, his missing boss. He peeks inside and notices the box contains a set of dirty dentures. Meanwhile, Bessie Faro forges her husband’s signature on a check in order to buy groceries. When she arrives home, she receives the package and bursts into tears, realizing that Johnny must have died in a plane crash. After remembering a romantic afternoon she spent with Johnny, she visits Hermes at the salvage yard, where she learns her husband accrued overwhelming debt. After selling Johnny’s baseball memorabilia in a garage sale, Bessie takes a bus to Veracruz, where she is shown Johnny’s burned corpse. Afterward, a kindly doctor named Fergus Lamb accidentally breaks her sandal and helps to have it repaired. As he checks her into a reliable hotel, he tells her about his job running a hunger relief foundation called Feed the World. The next day, Bessie visits her husband’s crash site, attends his funeral, and inspects his second office, where she finds a Feed the World calendar on the wall and a stack of baseball cards hidden under his desk. Markings on the cards lead her to a bank, and she decodes the players’ names and numbers to access a secret bank account containing a large sum of money. Overjoyed, she returns to Los Angeles and uses the other cards to locate additional accounts in Panama, the Bahamas, and ... +


In 1960, young Johnny Faro catches the Pittsburgh Pirates’ winning home run ball in the World Series against the New York Yankees. Many years later, at an aircraft salvage yard outside California’s Los Angeles International Airport, a repairman named Hermes signs for a package from Veracruz, Mexico, addressed to the wife of Johnny, his missing boss. He peeks inside and notices the box contains a set of dirty dentures. Meanwhile, Bessie Faro forges her husband’s signature on a check in order to buy groceries. When she arrives home, she receives the package and bursts into tears, realizing that Johnny must have died in a plane crash. After remembering a romantic afternoon she spent with Johnny, she visits Hermes at the salvage yard, where she learns her husband accrued overwhelming debt. After selling Johnny’s baseball memorabilia in a garage sale, Bessie takes a bus to Veracruz, where she is shown Johnny’s burned corpse. Afterward, a kindly doctor named Fergus Lamb accidentally breaks her sandal and helps to have it repaired. As he checks her into a reliable hotel, he tells her about his job running a hunger relief foundation called Feed the World. The next day, Bessie visits her husband’s crash site, attends his funeral, and inspects his second office, where she finds a Feed the World calendar on the wall and a stack of baseball cards hidden under his desk. Markings on the cards lead her to a bank, and she decodes the players’ names and numbers to access a secret bank account containing a large sum of money. Overjoyed, she returns to Los Angeles and uses the other cards to locate additional accounts in Panama, the Bahamas, and the Cayman Islands, which she is able to empty using a notary form. When she arrives in Berlin, Germany, she discovers that three checks were mysteriously cashed within the last few days, leaving less money in the account than she anticipated. Curious to know where the money went, she traces the checks to an ink manufacturing company, unaware that two of Johnny’s associates have followed her there from Mexico. She then travels to Athens, Greece, where bank manager Melina informs her that Johnny personally closed the account the week before. After viewing the lone baseball card in the safety deposit box, Bessie learns that the remainder of Johnny’s money was wired to Cairo, Egypt, in order to rent a boat for the transport of Feed the World supplies. Bitterly throwing her locket of Johnny overboard, she takes the boat to Alexandria, Egypt. At the docks, she notices a bag of grain leaking a chemical substance called thionyl chloride, popularly used in ballpoint pen ink, but also as an ingredient in the production of chemical weapons. After driving to Cairo, Bessie stops by the city’s registration office and tries to trace her husband under the name of baseball player, “Bill Mazeroski.” The clerk forces her to pay a bribe in order to have the case investigated before the upcoming Ramadan holiday. At her hotel, she sees Fergus giving a presentation for Feed the World, and confronts him about her husband’s connection to the foundation. Fergus claims to know nothing about Johnny Faro’s involvement, but when she mentions the thionyl chloride, he berates the foundation manager, Ed, who regretfully admits to having made arrangements with crooked transporters. Later, as they ride together on a riverboat, Bessie tells Fergus that she still loves Johnny, and fondly remembers that he used to call her by the nickname, “Ruby Cairo.” While preparing to leave Cairo, Ed apologizes for potentially threatening Feed the World by inadvertently becoming involved with Johnny’s smuggling scheme. Fergus takes Bessie to a mosque and tells her that before he became a philanthropist, he lived an unhappy life as wealthy oilman. At sunset, they climb a pyramid and, the next day, Fergus kisses Bessie goodbye before leaving the city, shouting, “Wait for me!” as he drives away. The records office clerk informs Bessie that she has located her husband in the outskirts of the city. Obscuring Bessie’s face with headscarf, the clerk eventually abandons her in a mosque in the midst of prayer. Lost and confused, Bessie runs outside, but stops when she notices Johnny leaning against a nearby column. He leads her back to his luxurious apartment and gives her an ornate ruby necklace. He praises her for tracing him around the world and collecting more than $800,000 from his bank accounts, but she says she regrets marrying a thief and ends their relationship. Unwilling to let Bessie get away, Johnny loads a revolver and follows her through the city’s chaotic Ramadan festival. Before he can shoot her, however, Bessie’s pursuers kill him, leaving her sobbing over his bloody body. After the funeral, Bessie sits in the mosque and remembers her conversation with Fergus about helping people in need. Returning to Los Angeles, she sells her house and plays baseball with her neighbors, only to realize that Fergus is standing across the street, holding her home run ball in his hands and smiling. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.