During the meeting, the director introduced me as a war casualty who was also an intellectual and therefore someone able to speak articulately on the subject of war. He said he’d already prepared the text of what I’d need to say in front of the camera. He gave me the paper and I started to read it out loud.
“My name is Mohammad as-Sayyed. I’m a combatant with the Joint Forces of the Palestinian Revolution and the Lebanese National Movement. We are fighting to preserve the independence and unity of an Arab Lebanon, for the liberation of Palestine, and against the forces of imperialism, Zionism, Fascism, and reaction! Pause. Behold the crimes of the Fascists! Pause. As for the war, let me tell you that we are peace-loving people, and we make war for the sake of peace. Pause. The forces of Fascism are committing untold atrocities and we are defending the lives of innocent women and children. Pause. Many of my friends have died. I held them in my arms as they breathed their last with the chant of freedom still on their lips. Pause. I was wounded, I lost my eye. Do you know my eye? Pause.”
I asked the director about the word “pause.” He told me that every time it occurred, the camera would cut to documentary footage of Tall al-Zaatar, the shelling of West Beirut and other battle scenes. I told him I thought it would be a terrific film. Everyone in the room, all those people smoking, agreed.
Then the director stood up.
“Listen, Brother Fahd,” he said, “you have to put a bit more feeling into it, as if what you were saying was coming straight from the heart. Relax in front of the camera — don’t be so stiff, you can move around a little, you know, act, if you see what I mean. Put some emotion into your voice, let your body go. You get me?”
I told him I understood. I picked up the paper again and tried moving as I read the first sentence. Then he started again.
“No, no, no! Look at me!” And he snatched the text from me and began to read, skipping the word “Pause.”
“My name is Mohammad as-Sayyed, I’m a combatant with the Joint Forces of the Palestinian Revolution and the Lebanese National Movement. We are fighting to preserve the independence and unity of an Arab Lebanon, for the liberation of Palestine, and against the forces of imperialism, Zionism, Fascism, and reaction. Behold the crimes of the Fascists! As for the war, let me tell you that we are peace-loving people, and we make war for the sake of peace. The forces of Fascism are committing untold atrocities and we are defending the lives of women and children. Many of my friends have died. I held them in my arms as they breathed their last with the chant of freedom still on their lips. I was wounded, I lost my eye. Do you know my eye?”
His entire body swayed and his voice shook with emotion. “Now do you understand? You have to do a little acting.”
I felt completely overwhelmed and incapable. I told him I couldn’t do it.
“I can’t act,” I said.
“Sure you can. What do you do for a living?”
“I’m a freedom fighter.”
“I know, I know. I meant before that. What did you do?”
“Nothing,” I said.
“OK, but try and do a little acting.” And he handed me the text again.
“I don’t know how to, I already told you. It’s difficult.”
“Try,” he repeated.
I took the sheet of paper and I tried again, as he sat across from me, his mouth agape and his eyes following my every move.
“That’s great,” he said afterwards. “It’s already much better. Now, Fahd, listen, whenever you reach the word “pause,” that’s the end of that particular thought: so there should be some change, maybe alter your tone, or even wear different clothes. But on the very last sentence, ‘I was wounded, I lost my eye, do you hear me, my eye,’ you should remain absolutely still before the camera. You must not move as we film you.”
“What will you be filming?”
“We’ll be filming you taking off your dark glasses. .”
“What did you say?”
“We’ll be filming your eye, and there’ll be a voice-over with a commentary by a Red Crescent doctor on your injury.”
For a moment, I was speechless in front of that roomful of people. Then I told him I wouldn’t do it. I said I wouldn’t let them film my glass eye. No way.
“But don’t you see, Fahd, it’s really important. There’s no harm in it for you and it’ll further the cause.”
I could see everyone nodding in agreement, but I reiterated my position.
“I’m not an actor,” I said, “I’m a fighter. Maybe you should get yourself an actor, someone like Mahmud Yasin or Omar Sharif. They’re sure to do better than I could. I won’t be ridiculed.”
That’s when Samar stood up. “No, Fahd, you don’t understand,” she said.
“You explain to him,” the director told her. “It was your idea. Go on then, convince him.”
A cacophony broke out in the meeting hall with everyone talking and arguing at the same time while I stood there like an idiot. Samar came up to me.
“Fahd, we don’t want you to act. All we want is the truth.”
“What truth is that, sister? The director has just asked me to act so they could film my glass eye. I wear these shades so that no one can see it. It’s not an exhibit item for display. And you expect me to let you show it on film!”
I repeated that I wouldn’t act, not the way the director wanted at any rate. In actual fact, I wouldn’t have minded being an actor, but not like that. Goddamn, this wasn’t play-acting anymore! They wanted me to behave like some laboratory rat!
And so I walked out. I hurried down the stairs, without turning back or saying good-bye. Hearing her footsteps behind me, I slowed down, and we walked down the street together.
“How about a cup of coffee?” she asked.
“Alright, why not,” I answered.
We drove to Hamra Street in her little white Renault and went into the Modca Café.
“What got into you?” she said.
I told her I was all for acting, that I thought the screenplay was really good, but that filming my eye was out of the question.
“But that was precisely why we selected you!”
“Well, then you’ll have to find someone else. There are lots of people out there with eye injuries.”
“We chose you because you are also an educated person, an intellectual.”
“Listen to me, Samar. It is something I feel embarrassed about. It is painful, the glass is painful, and I feel ashamed.”
“Wow, that’s terrific! It’s really good, why don’t you say that in front of the camera?”
“You’re so tactless,” I told her. “You expect me to talk about my eye in front of the camera as if I’m some kind of freak!”
But then she gave me a lecture about “the cause” and the role of information.
“I know you! You fighters are all the same! You despise knowledge and intellectuals. But information is incredibly important and film is the best medium of information, maybe the most important. Imagine, thousands of spectators in Europe and America seeing an educated freedom fighter with a glass eye talking articulately about the justice of our cause, about the plight of women and children, about all the martyrs, against a backdrop of shots of Tall al-Zaatar! It would have an incredible impact! It would shift all of public opinion in the West! You underestimate the importance of information as a weapon at our disposal!”
Watching her speaking animatedly, I found her pretty. If only she’d agree to sleep with me or love me, I thought. I was ready to love her, to be smitten with her, and her small eyes, but not to appear on the screen the way she wanted.