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       According to an unpublished article by Pat Broeske in AMPAS library files, director Graeme Clifford and screenwriter Robert Dillon traveled to Egypt in 1989 to research locations for the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 1991LAT 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.