‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 1 of 78‬‬

‫ﺍﻝﻤﺨﺭﺝ ﻫﻨﺭﻱ ﺒﺭﻜﺎﺕ‬ ‫ﻓﻴﻠﻡ ﺍﻝﺤﺭﺍﻡ‬

‫ﻭﺼﻑ ﺍﻝﺼﻭﺕ‬ ‫ﻭﺼﻑ ﺍﻝﺼﻭﺭﺓ‬ ‫ﻡ‬

‫ﺍﻝﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﻤﺅﺜﺭﺍﺕ‬ ‫ﺍﻝﺤﻭﺍﺭ‬
‫ﻓﻭﺘﻭ ﻤﻭﻨﺘﺎﺝ ﻷﻤﺎﻜﻥ ﻤﺘﻔﺭﻗﺔ ﻝﺒﻠﺩﺓ ﺭﻴﻔﻴﺔ‬
‫‪ -1‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪Extreme long S‬‬
‫‪.‬ﻷﺭﺽ ﺯﺭﺍﻋﻴﺔ ‪ ,‬ﻭﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﺼﻭﺕ ﺍﻝﺭﺍﻭﻱ ‪ ":‬ﻗﺭﻴﺔ ﻤﻥ ﻗﺭﻯ‬
‫ﻤﺭﺘﻔﻌﺔﺝﺩﺍ ‪ high angle‬ﻭﺘﺘﺤﺭﻙ‬
‫ﻤﺼﺭ‪..‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺤﺭﻜﺔ ‪zoom in‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ -2‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪Extreme long S‬‬
‫ﺍﻝﺭﺍﻭﻱ ‪ " :‬ﻗﺭﻴﺔ ﻜﺂﻻﻑ ﺍﻝﻘﺭﻯ‬ ‫‪.‬ﻝﻤﺼﺭ ﻭﻴﻅﻬﺭ ﺍﻝﻨﻴل ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫ﺍﻝﻤﻨﺘﺸﺭﺓ ﺤﻭل ﺍﻝﻨﻴل ﻤﻥ ﺍﻝﺠﻨﻭﺏ ﺇﻝﻰ‬ ‫ﺝﺩﺍ ‪high angle‬‬
‫ﺍﻝﺸﻤﺎل ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ -3‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L .S‬ﻝﻸﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ ﻤﻥ ﺍﻝﺭﺍﻭﻱ ‪ ":‬ﻨﻘﻁﺔ ﺴﻭﺩﺍﺀ ﻀﺎﺭﻋﺔ ﺒﻴﻥ‬
‫ﻤﺴﺎﺤﺎﺕ ﻋﺭﻴﻀﺔ ﻤﻥ ﺃﺭﺽ ﺨﻀﺭﺍﺀ ‪.‬‬ ‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High angle‬‬
‫‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ -4‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻘﺵ ﻓﻭﻕ ﻤﻨﺯل ﺭﻴﻔﻲ‬
‫ﺼﻐﻴﺭ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ﻋﻠﻰ‬
‫ﻤﺤﻭﺭﻫﺎ ﺍﻷﻓﻘﻲ‪ Tilt up‬ﻝﻴﻅﻬﺭ ﻤﺠﻤﻭﻋﺔ ﺍﻝﺭﺍﻭﻱ ‪ ":‬ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺒﻴﻭﺕ‬
‫ﻤﻥ ﺍﻝﺒﻴﻭﺕ ﺍﻝﺭﻴﻔﻴﺔ ﻭﺍﻝﺘﻲ ﺘﻅﻬﺭ ﻓﻰ ﻋﻤﻕ ﺤﻴﻁﺎﻨﻬﺎ ﻤﻥ ﺍﻝﻁﻴﻥ ﻭﺃﺴﻘﻔﻬﺎ ﻤﻥ‬
‫ﺍﻝﻘﺵ ‪..‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺤﻭل ﺍﻝﻤﺸﻬﺩ ﺍﻝﻰ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‬
‫) ‪Long Shot ( LS‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ -5‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ ( Shot (MLS‬ﻋﻠﻰ ﻓﺭﻥ ﻤﻥ ﺍﻝﻁﻴﻥ ‪,‬‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ‪ Pan‬ﺍﻝﺭﺍﻭﻱ ‪ " :‬ﻓﺒﻴﻥ ﺍﻝﺤﻴﻁﺎﻥ ﻭﺘﺤﺕ‬
‫‪ left‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻷﻁﻔﺎل ﺠﺎﻝﺴﻴﻥ ﺍﻷﺴﻘﻑ ﻨﺎﺱ ‪ ,‬ﺒﺸﺭ ‪ ,‬ﻴﻌﻤﻠﻭﻥ ﻜﺜﻴﺭﹰﺍ‬
‫ﻼ ‪..‬‬
‫ﻴﺄﻜﻠﻭﻥ ﻭﺘﻅﻬﺭ ﺍﻤﺭﺃﺓ ﺠﺎﻝﺴﺔ ﺒﺭﻭﻓﻴل ‪ side‬ﻭﻴﺄﻜﻠﻭﻥ ﻗﻠﻴ ﹰ‬

‫‪ angle‬ﻓﻰ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ -6‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺸﺎﺭﻉ ﺼﻐﻴﺭ ﻭﻴﻅﻬﺭ‬
‫ﺍﻝﺭﺍﻭﻱ ‪ " :‬ﻭﺒﻴﻥ ﺍﻝﻌﺭﻕ ﻭﺍﻝﺠﻭﻉ ﻫﻨﺎﻙ‬
‫ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭﺸﻤﺎل ﻜﻠﺏ ﺠﺎﻝﺱ ﻴﺄﻜل‬
‫ﺩﺍﺌﻤﹰﺎ ﺍﻝﻤﺭﺽ ﻭﺍﻝﺼﺒﺭ ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ -7‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻘﺭﻴﺔ ﻤﻊ ﺤﺭﻜﺔ‬
‫ﺍﻝﺭﺍﻭﻱ ‪ ":‬ﻗﺭﻴﺘﻨﺎ ﻓﻰ ﻭﺴﻁ ﺍﻝﺩﻝﺘﺎ ‪,‬‬
‫ﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ‪ Pan Left‬ﻝﺘﻅﻬﺭ‬
‫ﺭﺒﻤﺎ ﻜﺎﻥ ﺃﺴﻤﻬﺎ ﻜﻔﺭ ﻋﺒﺩ ﺍﻝﻭﺍﺤﺩ ﺃﻭ‬
‫ﺘﺭﻋﺔ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻋﺯﺒﺔ ﺍﻝﻭﺴﻴﺔ ﺃﻭ ﺒﻴﺕ ﻓﺎﻀل ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪-8‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻋﻠﻰ ﺤﺎﺭﺓ ﻀﻴﻕﺓ ﺒﻴﻥ ﺍﻝﺭﺍﻭﻱ ‪ ":‬ﻗﺭﻴﺔ ﻓﻰ ﻭﺴﻁ ﺍﻝﺩﻝﺘﺎ‬
‫ﻤﻨﺎﺯل ﺭﻴﻔﻴﺔ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High,‬ﺤﻴﺙ ‪..‬‬
‫‪ angle‬ﻭﻴﺠﻠﺱ ﺃﻤﺎﻡ ﺍﻝﻤﻨﺎﺯل ﺒﻌﺽ ﺍﻝﻨﺎﺱ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 2 of 78‬‬

‫ﻋﻠﻰ ﻋﺘﺒﺎﺕ ﺍﻝﺒﻴﻭﺕ ﻋﻠﻰ ﺍﻝﺠﺎﻨﺒﻴﻥ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ -9‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﺭﺠل ﻭﺍﻤﺭﺃﺓ‬
‫ﺠﺎﻝﺴﻴﻥ ﺃﻤﺎﻡ ﻤﻨﺯل ﻤﻥ ﻤﻨﺎﺯل ﺍﻝﻘﺭﻴﺔ ﻓﻰ ﺍﻝﺭﺍﻭﻱ ‪ ":‬ﺘﻀﻴﻑ ﺍﻝﺤﻴﺎﺓ ﺍﻝﻀﻴﻘﺔ‬
‫ﻭﺍﻷﻓﻭﺍﻩ ﺍﻝﻜﺜﻴﺭﺓ ‪..‬‬ ‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 10‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻨﻔﺱ ﺍﻝﻤﻨﺯل ﻤﻥ‬
‫ﺍﻝﺭﺍﻭﻱ ‪ ":‬ﻫﻨﺎﻙ ﻓﻰ ﺫﺍﺕ ﻴﻭﻡ ﻤﻥ ﻋﺎﻡ‬
‫ﺯﺍﻭﻴﺔ ﺠﺎﻨﺒﻴﺔ ﻭﺍﻝﺭﺠل ﻭﺍﻝﺴﻴﺩﺓ ﺠﺎﻝﺴﻴﻥ‬ ‫‪-‬‬
‫‪.. 1950‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 11‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻋﻠﻰ ﺤﺎﺭﺓ ﻀﻴﻕﺓ ﺒﻴﻥ‬
‫‪ -‬ﻤﻨﺎﺯل ﺭﻴﻔﻴﺔ ﻭﻴﺠﻠﺱ ﺃﻤﺎﻡ ﺍﻝﻤﻨﺎﺯل ﺒﻌﺽ‬
‫ﺍﻝﻨﺎﺱ ﻋﻠﻰ ﻋﺘﺒﺎﺕ ﺍﻝﺒﻴﻭﺕ ﻋﻠﻰ ﺍﻝﺠﺎﻨﺒﻴﻥ ﺍﻝﺭﺍﻭﻱ ‪ ":‬ﺒﺩﺃﺕ ﺃﺤﺩﺍﺙ ﻗﺼﺘﻨﺎ‬
‫ﻭﻜﻼﺏ ﺘﺴﻴﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 2‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺸﺎﺭﻉ ﻤﻥ ﺸﻭﺍﺭﻉ‬
‫ﺍﻝﻘﺭﻴﺔ‬
‫‪ 12‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺭﺠﺎل‬
‫ﺠﺎﻝﺴﻴﻥ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﺒﺠﻭﺍﺭﻫﻡ ﺘﻘﻑ‬ ‫‪-‬‬
‫ﺠﺎﻤﻭﺴﺔ ﻭﻁﻔل ﺼﻐﻴﺭ ﻴﻠﻌﺏ ﺃﻤﺎﻤﻬﻡ ﻭ‬
‫ﺍﻝﺭﺠل ‪ :‬ﻴﺎ ﻨﺎﺱ‪ .‬ﻴﺎ ﻨﺎﺱ ﺍﻝﺩﻭﺩﺓ ﻜﻠﺕ‬
‫ﺼﻭﺕ ﺼﺭﺍﺥ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪ Low angel‬ﺍﻝﻘﻁﻥ ﺒﺤﺭﻱ ﻭ ﺍﻝﻨﺎﻅﺭ ﺠﻪ ‪ .‬ﺍﻝﻨﺎﻅﺭ‬
‫ﺃﻁﻔﺎل‬ ‫ﻴﺄﺘﻲ ﺭﺠل ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻝﻴﻘﻑ ﺒﻴﻨﻬﻡ ﺠﻪ‪.‬‬
‫ﺜﻡ ﻴﺭﻜﻀﻭﻥ ﻜﻠﻬﻡ ﻨﺎﺤﻲﺘﻪ ﺜﻡ ﻴﺨﺭﺠﻭﻥ ﺍﻝﺠﻤﻴﻊ ‪ :‬ﺍﻝﻨﺎﻅﺭ ﺠﻪ ‪.‬‬
‫ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺴﺭﻴﻌﺎ ﻤﺒﺘﻬﺠﻴﻥ‬
‫ﻭﻴﺘﺭﻜﻭﻥ ﺍﻝﻁﻔل ﻓﻴﻠﺘﻔﺕ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻴﺼﺭﺥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 13‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪-‬‬
‫ﺼﻭﺕ ﺼﺨﺏ‬ ‫‪ ( Shot (MLS‬ﻋﻠﻰ ﻝﻠﻨﺎﻅﺭ ﻭﺒﺠﻭﺍﺭﻩ ﺍﻝﻐﻔﻴﺭ ‪ :‬ﻭﺍﷲ ﺩﻩ ﺇﺤﻨﺎ ﺯﺍﺭﻨﺎ ﺍﻝﻨﺒﻰ ﻴﺎ‬
‫ﺍﻝﻔﻼﺤﻴﻥ‬ ‫ﻓﻼﺡ ﻭ ﻴﺘﺤﺭﻜﺎ ﻝﻺﻤﺎﻡ ﻭﺨﻠﻔﻬﻡ ﻋﺩﺩ ﻤﻥ ﺤﻀﺭﺓ ﺍﻝﺒﻴﻪ ﺍﻝﻨﺎﻅﺭ ﺃﻫﻼ ﺃﻫﻼ‬
‫ﺼﻭﺕ ﺃﻗﺩﺍﻡ‬ ‫ﻓﻼﺡ ‪ :‬ﺃﻫﻼ ﺃﻫﻼ‬ ‫ﺍﻝﻔﻼﺤﻴﻥ ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 14‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪-‬‬
‫‪ ( Shot (MLS‬ﻝﻠﻌﻤﺩﺓ ﻭﻫﻭ ﻴﻨﺯل ﻤﻥ‬
‫ﻋﻠﻰ ﺍﻝﺴلﺍلﻡ ﻭﻴﺘﺠﺔ ﺍﻝﻰ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻪ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬
‫ﺍﻝﻌﻤﺩﺓ ‪ :‬ﻴﺎ ﻤﺭﺤﺏ ﻋﺎﺵ ﻤﻥ ﺸﺎﻓﻙ ﻴﺎ‬
‫ﺼﻭﺕ ﻫﻤﻬﻤﺎﺕ‬ ‫‪Pan Right‬‬
‫ﺭﺍﺠل ‪.‬‬
‫ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻼ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺃﻫ ﹰ‬ ‫ﻭﻴﺼﺒﺢ ﺍﻝﻜﺎﺩﺭ ﻝﻘﻁـﺓ ﻜﺒﻴﺭﺓ‬
‫) ‪ Long Shot ( LS‬ﻴﻘﻑ ﻓﻰ ﻤﻘﺩﻤﺘﻪ‬
‫ﺍﻝﻨﺎﻅﺭ ﻭ ﺍﻝﻌﻤﺩﺓ ﻴﺘﺼﺎﻓﺤﺎﻥ ﻭﺨﻠﻔﻬﻡ‬
‫ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪15‬‬
‫‪-‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻨﺎﻅﺭ ﻭﺍﻝﻌﻤﺩﺓ ﻭﻫﻤﺎ‬
‫ﻴﺴﻴﺭﺍ ﺒﺎﺘﺠﺎﺓ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﺼﻌﺩﺍ ﺍﻝﺴﻠﻡ ﺍﻝﻌﻤﺩﺓ ‪ :‬ﻫﺎﺕ ﺍﻝﻐﺩﺍ ﻴﺎﻭﻻ ‪ .‬ﻴﺎﺃﻫ ﹰ‬
‫ﻼ ‪...‬‬
‫ﻼ ‪ .‬ﺩﻯ‬‫ﻼ ﻭﺴﻬ ﹰ‬ ‫ﻓﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ﻴﺎﺃﻫ ﹰ‬
‫ﻼ ‪ ...‬ﺃﺘﻔﻀل ‪ .‬ﺃﻫ ﹰ‬
‫‪ .M .L. S‬ﻭﻴﺴﺘﻤﺭﺍ ﻓﻰ ﺍﻝﺴﻴﺭﻭﻴﺨﺭﺠﻭﺍ ﺍﻝﺒﻠﺩ ﻜﻠﻴﺘﻬﺎ ﻨﻭ‪‬ﺭﺕ ‪ .‬ﺍﻴﻭﺓ ﻭ ﺍﷲ ﺍﻫﻼ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 3 of 78‬‬

‫ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﺨﻠﻔﻬﻡ ﺍﻝﻐﻔﻴﺭ ﺜﻡ ﺘﺘﺤﺭﻙ ﻭﺴﻬﻼ‬

‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ‪Pan Left‬‬

‫ﻭﺘﺘﺎﺒﻌﻬﻡ ﻭﻫﻡ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻻ ﻭﺍﷲ ﻻ ﺘﺘﻔﻀل ‪ .‬ﻴﺎ ‪ 300‬ﻤﺭﺤﺒﺎ‬
‫ﻭﻴﺩﺨﻼ ﻤﻥ ﺒﺎﺏ ﺍﻝﻤﻨﺯل ﺍﻝﺫﻯ ﺨﺭﺝ ﻤﻨﻪ ﺍﻫﻼ ﻭﺴﻬﻼ ﺍﻫﻼ ﻭﺴﻬﻼ‬
‫ﺍﻝﻌﻤﺩﺓ ﻭﻴﺩﺨل ﺍﻝﻐﻔﻴﺭ ﺨﻠﻔﻬﻡ ﻭﻴﻐﻠﻕ‬
‫ﺍﻝﺒﺎﺏ ﻤﻥ ﺨﻠﻔﻬﻤﺎ ﻭﺘﻨﺯل ﻤﻘﺩﻤﺔ ﺍﻝﺘﺘﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻭﺴﻴﻘﻰ ﺍﻝﺘﻴﺘﺭﺍﺕ‬ ‫ﺘﺘﺭ ﺍﻝﺒﺩﺍﻴﺔ ﻴﻅﻬﺭ ﻋﻠﻰ ﺍﻝﺒﺎﺏ‬
‫ﺍﻝﺸﺭﻜﺔ ﺍﻝﻌﺎﻤﺔ ﻝﻺﻨﺘﺎﺝ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‬
‫) ﺘﻘﺩﻡ (‬
‫ﻤﺯﺝ ‪Dissolve‬‬

‫ﺍﻝﺤــــﺭﺍﻡ‬
‫ﻤﺸﻬﺩ ) ‪( 3‬‬
‫ﻨﻬﺎﺭ‪ /‬ﺨﺎﺭﺠﻲ ﺸﺭﻓﺔ ﻤﻨﺯل ﺍﻝﻌﻤﺩﺓ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻲ‬ ‫ﺼﻭﺕ ﺠﻤﻬﻭﺭ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﺒﺎﺏ ﻴ‪‬ﻔﺘﺢ‬ ‫‪16‬‬
‫ﻝﻤﻭﺴﻴﻘﻰ ﺍﻝﺘﺘﺭ‬ ‫‪ -‬ﻭﻴﺨﺭﺝ ﻤﻨﻪ ﺍﻝﻌﻤﺩﺓ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻴﻤﻴﻥ ‪ Pan right‬ﺤﺘﻰ ﻴﻘﻑ ﺃﻤﺎﻡ‬
‫ﺍﻝﺸﺭﻓﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﺍﻝﻌﻤﺩﺓ ‪ :‬ﺍﺴﻤﻊ ﻴﺎ ﺠﺩﻉ ﺃﻨﺕ ﻭﻫﻭ ‪.‬‬
‫) ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ( ﻭﻴﺨﺭﺝ‬
‫ﺍﻝﻨﻔﺭ ﺒﺴﺘﺔ ﺼﺎﻍ ﻭﺍﻝﻘﺒﺽ ﻋﻠﻰ ‪15‬‬
‫ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻴﺼﺒﺢ ﻫﻭ ﻭ ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻴﻭﻡ ‪ .‬ﺒﻜﺭﺓ ﺍﻝﺼﺒﺤﻴﺔ ﻭﺍﻝﺤﺎﻀﺭ ﻴﻌﻠﻡ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﺜﻡ ﻴﻠﺘﻔﺕ‬
‫ﺍﻝﻐﺎﻴﺏ ‪ ..‬ﺴﻼﻡ ﻋﻠﻴﻜﻡ ‪.‬‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻴﺨﺭﺝ ﻤﻥ ﻤﻘﺩﻤﺔ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭﺜﻡ‬
‫ﻴﺘﺤﺭﻙ ﺍﻝﻨﺎﺱ ﻭﻴﺘﻔﺭﻗﻭﺍ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭ‬
‫ﺸﻤﺎﻝﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 4‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﺤﺩ ﺸﻭﺍﺭﻉ ﺍﻝﻘﺭﻴﺔ‬
‫ﻤﻭﺴﻴﻘﻰ ﺍﻝﺘﺘﺭﺍﺕ ﻤﻊ‬ ‫ﺍﺴﺘﻤﺭﺍﺭ ﺼﻭﺕ‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ‬ ‫‪17‬‬
‫ﻅﻬﻭﺭ ﻝﻭﺤﺔ ﺍﻻﺴﻡ‬ ‫ﺠﻤﻬﻭﺭ‬ ‫‪ -‬ﺍﻝﻔﻼﺤﻴﻥ ﻋﻠﻰ ﺠﺎﻨﺒﻲ ﺍﻝﻁﺭﻴﻕ ﻭﻴﺘﺤﺭﻙ ﻤﻥ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺭﺠل ﻤﺴﻥ ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭﻭﻴﺼﺒﺢ ﺒﺭﻭﻓﻴل ‪side angle‬‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﻭﻴﺼﺒﺢ ﺍﻝﻌﺠﻭﺯ ‪ :‬ﺍﻝﻨﻔﺭ ﺒﺴﺘﺔ ﺴﺎﻍ ﻭﺍﻝﻘﺒﺽ‬
‫ﻋﻠﻰ ‪ 15‬ﻴﻭﻡ ﻭﺍﻝﺤﺎﻀﺭ ﻴﻌﻠﻡ ﺍﻝﻐﺎﻴﺏ ‪.‬‬
‫ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ ﻴﺘﺤﺭﻙ‬
‫ﻨﺤﻭ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻥ ﻤﻊ ﻅﻪﻭﺭ ﻝﻭﺤﺔ‬
‫) ﻓـﺎﺘﻥ ﺤـﻤﺎﻤﺔ (‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 5‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﻤﺎﻡ ﻤﻨﺯل ﺍﻝﻌﻤﺩﺓ‬
‫ﺃﺼﻭﺍﺕ ﺍﻝﻔﻼﺤﻴﻥ‬ ‫‪18‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻴﺎﻝﻼ ﻴﺎ ﻋﺭﻓﺔ ‪ .‬ﺍﺘﻜﻠﻭﺍ ﻋﻠﻰ ﻭﺴﻴﺎﺭﺍﺕ ﺍﻝﻨﻘل‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻨﺎﻅﺭ ﻴﺴﻴﺭ ﺒﻴﻥ‬ ‫‪-‬‬
‫ﺼﻭﺕ ﻓﺘﺢ ﻭﻏﻠﻕ‬ ‫ﺍﻝﺴﻴﺎﺭﺍﺕ ﺍﻝﻤﺤﻤﻠﺔ ﺒﺎﻻﻨﻔﺎﺭ ﻭﺍﻝﻔﻼﺤﻴﻥ‬
‫ﺍﷲ ‪.‬‬ ‫ﻭﺒﺠﻭﺍﺭﻩ ﺍﻝﻔﻼﺡ ﻋﺭﻓﺔ ﺭﻴﺱ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﺒﺎﺏ ﺍﻝﺴﻴﺎﺭﺓ‬ ‫ﻋﺭﻓﺔ ‪ :‬ﻤﻊ ﺍﻝﺴﻼﻤﺔ ‪.‬‬ ‫ﻭﻴﺘﺤﺭﻜﺎ ﺍﻝﻰ ﻤﻘﺩﻤﺔ ﺍلﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﻭﻴﺼﻌﺩ ﻋﺭﻓﺔ‬

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‫ﺍﺤﺩﻯ ﺍﻝﺴﻴﺎﺭﺍﺕ ﺍﻝﻨﻘل ﺍﻝﻤﺤﻤﻠﺔ ﺒﺎﻝﺘﺭﺤﻴﻠﺔ‬

‫ﻤﻥ ﺭﺠﺎل ﻭﻨﺴﺎﺀ ﻭﺃﻁﻔﺎل ﻭﻴﻐﻠﻕ ﺍﻝﺒﺎﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺘﺼﻔﻴﻕ‬ ‫‪ 19‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺴﻴﺎﺭﺍﺕ ﺍﻝﻨﻘل ﻭﻫﻰ‬
‫ﻭﺯﻏﺎﺭﻴﺩ‬ ‫‪ -‬ﺘﻘل ﺍﻝﻔﻼﺤﻴﻥ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫ﺼﻭﺕ ﺴﻴﺎﺭﺍﺕ‬ ‫‪ Angle‬ﻭﻴﺨﺭﺝ ﺍﻝﻌﻤﺩﺓ ﻭﻨﺎﻅﺭ ﺍﻝﺯﺭﺍﻋﺔ‬
‫ﺍﻝﻨﻘل‬ ‫ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﺘﺨﺭﺝ ﺍﻝﺴﻴﺎﺭﺍﺕ ﻤﻥ‬
‫ﻤﻘﺩﻤﺔ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺒﺎﻝﺘﺘﺎﺒﻊ ﻭﺃﺜﻨﺎﺀ ﺫﻝﻙ‬
‫ﺘﻅﻬﺭ ﻝﻭﺤﺔ‬
‫) ﻋﺒﺩ ﺍﷲ ﻏـﻴﺙ (‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻲ ‪Fade out‬‬
‫ﺜﻡ ﺘﻅﻬﺭ ﻝﻭﺤﺔ‬
‫) ﺯﻜﻰ ﺭﺴﺘﻡ (‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻲ ‪Fade-out‬‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻲ ‪Fade-in‬‬
‫ﻝﻸﺴﻤﺎﺀ ﺍﻵﺘﻴﺔ‬
‫ﺒﺎﻻﺸﺘﺭﺍﻙ ﻤﻊ ‪:‬‬
‫ﺤﺴﻥ ﺍﻝﺒﺎﺭﻭﺩﻱ‬
‫ﻋﺒﺩ ﺍﻝﻌﻠﻴﻡ ﺨﻁﺎﺏ‬
‫ﻜﻭﺜﺭ ﺍﻝﻌﺴﺎل‬
‫ﺤﺴﻥ ﻤﺼﻁﻔﻰ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻲ ‪Fade-out‬‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻲ ‪Fade-in‬‬
‫ﻋﺒﺩ ﺍﻝﺴﻼﻡ ﻤﺤﻤﺩ‪-----‬ﻤﺤﻤﺩ ﺸﻭﻗﻲ‬
‫ﻜﻭﺜﺭ ﺸﻔﻴﻕ‪-------‬ﻝﻁﻔىﻌﺒﺩ ﺍﻝﺤﻤﻴﺩ‬
‫ﻤﺤﻤﺩ ﺇﺩﺭﻴﺱ ‪------‬ﻨـﺎﺩﻴﺔ ﻋﻜﺎﺸﺔ‬
‫ﺴﺎﻤﻲ ﺴﺭﺤﺎﻥ ‪---------‬ﻤﺤﻤﺩ ﻨﺒﻴﻪ‬
‫ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ ﺴﻌﻭﺩﻱ‪---‬ﻤﺨﺘﺎﺭ ﺍﻝﺴﻴﺩ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻲ ‪Fade-out‬‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻲ ‪Fade-in‬‬
‫ﻋﻤﺭ ﻋﻔﻴﻔﻲ‪--------- --‬ﻓﻴﻔﻲ‬
‫ﺴﻌﻴﺩ‬
‫ﺃﻨﻭﺭ ﻤﺩ ﻜﻭ‪----‬ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ ﺒﺴﻴﻭﻨﻰ‬
‫ﺤﺴﻴﻥ ﺇﺴﻤﺎﻋﻲ‪---‬ﺨﻴﺭﻱ ﺍﻝﻘﻠﻴﻭﺒﻲ‬
‫ﻤﺤﺴﻥ ﻋﻁﻴﺔ ‪--------‬ﺃﺤﻤﺩ ﺭﺸﻭﺍﻥ‬
‫ﻜﻤﺎل ﺍﻹﻤﺎﻡ‪-----‬ﺃﺤﻤﺩ ﺃﺒﻭ ﻋﻴﺒﻪ‬
‫ﺍﺴﺘﺭ ﺸﻁﺎﺡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﺴﺘﻤﺭﺍﺭ‬ ‫ﺍﺴﺘﻤﺭﺍﺭ‬ ‫‪ 20‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﺭﺠﻠﻴﻥ ﺠﺎﻝﺴﺎﻥ‬
‫ﺍﻝﺘﺼﻔﻴﻕ ﻭﺍﻝﻐﻨﺎﺀ ﻤﻭﺴﻴﻘﻰ ﺍﻝﺘﺘﺭﺍﺕ‬ ‫ﻭﻅﻬﺭﻫﻤﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬ ‫‪-‬‬
‫ﺘﻅﻬﺭ ﻝﻭﺤﺔ‬
‫ﻭﺍﻷﻁﻔﺎل ‪:‬‬
‫ﺇﻴﻨﺎﺱ ﻤﺤﻤﺩ‬
‫ﻤﺼﻁﻔﻰ ﺭﺸﻭﺍﻥ‬
‫ﺨﻴﺭﻱ ﻓﺭﺝ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻲ ‪Fade -out‬‬
‫ﺜﻡ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ﻤﻊ ﺤﺭﻜﺔ‬
‫ﺍﻝﺴﻴﺎﺭﺍﺕ ﺍﻝﻨﻘل ﻭﺘﻅﻬﺭ ﻝﻭﺤﺔ‬
‫ﻤﺩﻴﺭ ﺇﻨﺘﺎﺝ‬
‫ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺍﻝﻔﺎﺘﺢ‬
‫ﺇﻜﺴﺴﻭﺍﺭ ‪-----‬ﻤﺴﺎﻋﺩ ﻤﺨﺭﺝ ﺜﺎﻥ‬

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‫ﻋﺼﻤﺕ ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ‪---‬ﻤﺩﺤﺕ ﺒﻜﻴﺭ‬

‫ﻤﻨﻔﺫ ﺇﻨﺘﺎﺝ‪----------‬ﻤﺴﺎﻋﺩ ﺼﻭﺕ‬
‫ﻭﻝﻴﻡ ﺭﺯﻕ ‪-----‬ﺤﺴﻴﻥ ﻋﺒﺩ ﺍﻝﻭﻫﺎﺏ‬
‫ﻤﺴﺎﻋﺩ ﻤﺼﻭﺭ‪-----‬ﻤﺴﺎﻋﺩ ﻤﺎﻜﻴﺎﺝ‬
‫ﺭﻓﻌﺕ ﺭﺍﻏﺏ‪-----‬ﻋﺒﺩ ﺍﻝﻭﻫﺎﺏ ﻗﻁﺏ‬
‫ﻤﺴﺎﻋﺩ ﺇﻜﺴﺴﻭﺍﺭ‪--------‬ﺭﻴﺠﻴﺴﻴﺭ‬
‫ﻋﺒﺩ ﺍﻝﺤﻤﻴﺩ ﺃﺤﻤﺩ‪----‬ﺘﺭﻜﻲ ﺍﻝﻬﻭﺍﺭﻯ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪21‬‬
‫‪-‬‬
‫ـﺽ‬
‫ﻝﻘﻁﺔ ﻋﺎﻤﺔ ‪ .L .S‬ﻋﻠﻰ ﺘﺭﻋـﺔ ﻭﺒﻌـ‬
‫ﺍﻝﺒﻴﻭﺕ ﻭﺒﺠﻭﺍﺭﻫﺎ ﻨﺨﻴل ﻭﻅﻬﻭﺭ ﻝﻭﺤﺔ‬
‫ﻤﺎﻜﻴﺎﺝ ‪:‬‬
‫ﻤﺼﻁﻔﻰ ﺍﻝﻘﻁﻭﺭﻯ‬

‫ﻤﺴﺎﻋﺩ ﻤﺨﺭﺝ ﺃﻭل ‪:‬‬

‫ﺃﺤﻤﺩ ﻋﻴﺴﻰ‬

‫ـﺠل‬
‫ـﻭﺭ ‪----------:‬ﻤﺴــ‬ ‫ﺍﻝﻤﺼــ‬
‫ﺍﻝﺼﻭﺕ‬
‫ﻤﺤﻤﺩ ﻁﺎﻫﺭ ‪--------‬ﻜﻤﺎل ﻋﺒﺩ ﺍﷲ‬

‫ﻤﺼﻭﺭﻓﻭﺘﻭﻏﺭﺍﻓﻲ‪-----:‬ﻓﺘﺤﻲ ﻋﺯﺕ‬

‫ﻤﻭﺍﺩ ﺍﻝﺩﻋﺎﻴﺔ ﺘﺼﻤﻴﻡ‪ :‬ﺤﻠﻤﻲ ﺍﻝﺘﻭﻨﻰ‬

‫ﻤﺼﻭﺭ ‪ :‬ﺸﺭﻴﻑ ﺫﻭ ﺍﻝﻔﻘﺎﺭ‬

‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ‪ Pan Right‬ﻋﻠﻰ‬
‫ﺍﻝﺘﺭﻋﺔ ﻭﺍﻝﺒﻴﻭﺕ ﺒﺒﻁﺀ‬
‫ﻭﺘﻅﻬﺭ ﻝﻭﺤﺔ‬
‫ﻗﺼﺔ‬
‫ﻴﻭﺴﻑ ﺇﺩﺭﻴﺱ‬

‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻠﻭﺤﺎﺕ‬

‫ﺴﻴﻨﺎﺭﻴﻭ ﻭﺤﻭﺍﺭ‬
‫ﺴﻌﺩ ﺍﻝﺩﻴﻥ ﻭﻫﺒﺔ‬

‫ﺍﻝﻤﻭﺴﻴﻘﻰ ﺍﻝﺘﺼﻭﻴﺭﻴﺔ‬
‫ﺴﻠﻴﻤﺎﻥ ﺠﻤﻴل‬

‫ﺍﻝﻌﺎﺯﻓﻭﻥ ‪ :‬ﺍﻝﻔﺭﻗﺔ ﺍﻝﻤﻭﺴﻴﻘﻴﺔ ﺍﻝﺸﻌﺒﻴﺔ‬

‫ﻤﻬﻨﺩﺱ ﺍﻝﺼﻭﺕ‬
‫ﻨﺼﺭﻱ ﻋﺒﺩ ﺍﻝﻨﻭﺭ‬
‫ﻭﺘﻅﻬﺭ ﺴﻴﺎﺭﺍﺕ ﺍﻝﻨﻘل ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻋﻠﻰ ﺍﻝﻨﺎﺤﻴﺔ ﺍﻷﺨﺭﻯ ﻤﻥ ﺍﻝﺘﺭﻋﺔ‬

‫ﻤﻭﻨﺘﺎﺝ ﻨﻴﺠﺎﺘﻴﻑ‬
‫ﻨﺎﻫﺩ ﺍﻝﻤﻜﺎﻭﻱ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 6 of 78‬‬

‫ﻤﺴﺎﻋﺩ ﻤﻭﻨﺘﺎﺝ‬
‫ﻤﺤﻤﺩ ﺍﻝﺯﺭﻗﺎ‬
‫ﻤﺤﻲ ﺍﻝﺩﻴﻥ ﺃﺤﻤﺩ‬

‫ﻫﺎ ﻨﻼﻗﻰ ﺍﻝﻤﺵ ﻨﺎﻜﻠﻪ ‪.‬‬ ‫ﻭﺘﺴﺘﻤﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺤﺭﻜﺘﻬﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬
‫‪ Pan Right‬ﻭﺘﺜﺒﺕ ﻋﻠﻰ ﺍﻤﺭﺃﺘﻴﻥ‬
‫ﺠﺎﻝﺴﺘﻴﻥ ﻋﻠﻰ ﺍﻝﺘﺭﻋﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻤﻭﻨﺘﺎﺝ‬
‫ﺭﺸـﻴﺩﺓ ﻋﺒﺩ ﺍﻝﺴـﻼﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 22‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﺠﺎﻨﺏ ﻤﻥ ﺍﻝﻘﺭﻴﺔ‬
‫‪ -‬ﺍﻝﻤﻁل ﻋﻠﻰ ﺍﻝﺘﺭﻋﺔ ﺒﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪Pan Right‬‬
‫ﺘﻡ ﺘﺼﻭﻴﺭ ﺠﻤﻴﻊ ﻤﻨﺎﻅﺭ ﺍﻝﻔﻴﻠﻡ ﻓﻰ ﺃﻤﺎﻜﻨﻬﺎ‬
‫ﺍﻝﻁﺒﻴﻌﻴﺔ‬

‫ﺘﻡ ﺇﻋﺩﺍﺩ ﺍﻝﻔﻴﻠﻡ‬

‫ﺒﺎﻝﺸﺭﻜﺔ ﺍﻝﻌﺎﻤﺔ ﻻﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﺍﻝﺴﻴﻨﻤﺎ‬

‫ﻤﺩﻴﺭ ﺍﻝﻤﻌﻤل ‪ :‬ﺤﻤﺩﻱ ﺤﻠﻤﻲ‬

‫ﺍﻝﺘﻭﺯﻴﻊ ﻝﺠﻤﻴﻊ ﺃﻨﺤﺎﺀ ﺍﻝﻌﺎﻝﻡ‬

‫ﺍﻝﺸﺭﻜﺔ ﺍﻝﻌﺎﻤﺔ ﻝﺘﻭﺯﻴﻊ ﻭﻋﺭﺽ ﺍﻷﻓﻼﻡ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‬
‫‪ 9‬ﻭ ‪ 11‬ﺸﺎﺭﻉ ﻋﺭﺍﺒﻲ‪ -‬ﺍﻝﻘﺎﻫﺭﺓ‬
‫ﻭﺘﺴﺘﻤﺭ ﺤﺭﻜﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫‪Pan Right‬‬

‫ﺍﻝﻤﻨﺘﺞ‬
‫ﺤﻠﻤـﻲ ﺭﻓـﻠﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 6‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﺭﺽ ﻨﺨﻴل‬
‫) ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ (‬
‫‪ 23‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻋﻠﻰ ﻤﺠﻤﻭﻋﺔ ﻨﺨﻴل‬
‫ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ﺤﻭل ﻤﺤﻭﺭﻫﺎ‬ ‫‪-‬‬
‫ﺍﻷﻓﻘﻲ ‪ Tilt down‬ﻋﻠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬

‫ﻤﺩﻴﺭ ﺍﻝﺘﺼﻭﻴﺭ‬
‫ﻀﻴﺎﺀ ﺍﻝﻤﻬﺩﻱ‬

‫ﺇﺨـﺭﺍﺝ‬
‫ﺒــﺭﻜـﺎﺕ‬

‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻲ ‪Fade -out‬‬

‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪24‬‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻲ ‪Fade -in‬‬
‫ﻨﺎﻱ ) ‪( 3‬‬ ‫‪-‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺭﺠﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ ﻓﻰ‬
‫ﻁﺭﻴﻘﻬﻡ ﻝﻠﻌﻤل ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺼﻭﺕ ﺍﻝﺭﺍﻭﻱ ‪ " :‬ﺍﻝﺤﺭﺍﻡ ﻗﺼﺔ ﺨﺎﻁﺌﺔ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 7 of 78‬‬

‫ﻤﺼﺭﻴﺔ ‪" .‬‬ ‫ﺍﻝﻴﻤﻴﻥ ‪ Pan Right‬ﻭﺘﺜﺒﺕ ﻋﻠﻰ ﺴﺎﻗﻴﺔ‬

‫ﺘﻤﻸ ﺍﻝﻜﺎﺩﺭ‬
‫ﺼﻭﺕ ﺍﻝﻤﺎﺀ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺠﻭ‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺭﺠل ﻴﺴﺒﺢ ﻓﻰ‬ ‫‪25‬‬
‫ﺍﻝﻤﻜﺎﻥ‬ ‫ﺍﻝﺘﺭﻋﺔ ‪ .‬ﺜﻡ ﻴﺨﺭﺝ ﻤﻨﻬﺎ ‪.‬‬ ‫‪-‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 7‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﺭﺽ ﺯﺭﺍﻋﻴﺔ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ )‪( 3‬‬ ‫‪ 26‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻐﻔﻴﺭ ﻴﺄﺨﺫ ﺒﻨﺩﻗﻴﺔ‬
‫ﻤﻥ ﺍﻷﺭﺽ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﻴﻤﻴﻥ‬ ‫‪-‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Right‬‬
‫ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪.L .S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬ ‫‪ 27‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫ﺍﻝﻐﻔﻴﺭ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﻋﻁﻴﺔ ‪.‬‬ ‫‪-‬‬
‫‪ ( Shot (MLS‬ﻝﻠﻐﻔﻴﺭ ﺍﻝﺫﻱ ﻴﺩﺨل ﻤﻥ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ‪Pan‬‬
‫)‪(3‬‬ ‫‪ . Right‬ﺜﻡ ﻴﻘﻑ ﻭﻴﺴﻴﺭ ﻋﻜﺱ ﺍﻻﺘﺠﺎﻩ ﺍﻝﻐﻔﻴﺭ ‪ :‬ﺒﺴﻡ ﺍﷲ ﺍﻝﺭﺤﻤﻥ ﺍﻝﺭﺤﻴﻡ ‪.‬‬
‫ﻋﻁﻴﺔ ‪ :‬ﺁﻴﻪ ﺩﻩ ﻴﺎ ﻋﺒﺩﻩ!‬ ‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻭﻴﻘﻑ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻭﻴﻨﻅﺭ ﺃﺴﻔل ﻋﺒﺩﻩ ﺍﻝﻐﻔﻴﺭ‪ :‬ﺁﻨﻲ ﻋﺎﺭﻑ ‪ .‬ﺃﻫﻲ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﺄﺘﻲ ﻋﻁﻴﺔ ﻭﻴﻘﻑ ﺒﺠﻭﺍﺭﻩ ﻤﻥ ﺒﻼﻭﻯ ﺒﺘﺘﺤﺩﻑ ﻋﻠﻴﻨﺎ ‪ ..‬ﻗﻭل ﻴﺎ ﻝﻁﻴﻑ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫ﻋﻁﻴﺔ ‪ :‬ﻴﺎ ﻝﻁﻴﻑ ‪.‬‬ ‫ﻷﺜﻨﻴﻥ ‪.M.S.2‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 28‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺭﺠل ﻤﺴﻥ ﻴﺭﺘﺩﻯ ﺍﻷﺴﻁﻰ ﻤﺤﻤﺩ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﻋﺒﺩ ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬
‫‪ -‬ﻋﺒﺎﺀﺓ ﻭﺠﻠﺒﺎﺏ ﻭﻴﺩﺨل ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﺍﻝﻤﻁﻠﺏ ‪ .‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﻋﻁﻴﺔ ‪.‬‬
‫ﻴﻘﻑ ‪ .‬ﺜﻡ ﻴﺩﻭﺭ ﻤﻥ ﺨﻠﻑ ﺍﻝﺸﺠﺭﺓ ﻭﻴﻅﻬﺭ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺘﻌﺎﻝﻰ ﻴﺎ ﺃﺴﻁﻰ ﻤﺤﻤﺩ‬
‫ﻜﺩﻩ ﺸﻭﻑ ‪.‬‬ ‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ﻭﻋﻁﻴﺔ ﻭﻴﺼﺒﺤﻭﺍ ﻓﻰ ﺤﺠﻡ‬
‫ﻤﺤﻤﺩ ‪ :‬ﺃﺸﻭﻑ ﺁﻴﻪ ﻴﺎ ﻭﻝﻪ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺜﻼﺜﺔ ‪M.S.3‬‬
‫ﺹ ﻜﺩﻩ ‪.‬‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺒ ‪‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻭﺴﻴﻘﻰ )‪(4‬‬ ‫‪ 29‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻁﻔل ﺤﺩﻴﺙ‬
‫ﺍﻝﻭﻻﺩﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬ ‫‪-‬‬
‫‪Angle‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫)‪( 4‬‬
‫‪ 30‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻤﺤﻤﺩ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫‪ -‬ﻭﻋﻁﻴﺔ ﻭﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ﺍﻝﻐﻔﻴﺭ ﺸﻤﺎل ﻜﺎﺩﺭ ﻤﺤﻤﺩ ‪ :‬ﺩﻩ ﻤﺨﻨﻭﻕ ﻴﺎﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪.‬‬
‫ﻤﺵ ﻤﻴﺕ‬ ‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ﻭﻴﻨﻅﺭﻭﻥ ﺃﺴﻔل‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﻤﺨﻨﻭﻕ !‬ ‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﺤﻤﺩ ‪ :‬ﺃﻴﻭﻩ ﻤﺨﻨﻭﻕ ‪ .‬ﺸﻭﻑ ﺍﻝﻠﻬﻡ‬
‫ﺃﺤﻔﻅﻨﺎ ﺠﺘﺘﻪ ﺯﺭﻗﺎ ﺇﺯﺍﻯ ‪ .‬ﺩﻯ ﺠﻨﺎﻴﺔ‬
‫ﻴﺎﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺠﻨﺎﻴﺔ ! ﺒﻘﻰ ﺤﺘﺔ‬
‫ﺍﻝﺒﺘﺎﻉ ﺩﻩ ﺍﻝﻠﻬﻡ ﺃﺤﻔﻅﻨﺎ ‪ .‬ﺠﻨﺎﻴﺔ!‬
‫ﻤﺤﻤﺩ ‪ :‬ﺃﻴﻭﻩ ﻁﺎﻝﻤﺎ ﺒﻨﻰ ﺁﺩﻡ ﻤﺨﻨﻭﻕ‬
‫ﺘﺒﻘﻰ ﺠﻨﺎﻴﺔ ‪ .‬ﺇﻨﺸﺎﷲ ﻋﻤﺭﻩ ﺩﻗﻴﻘﺔ‬
‫ﻭﺍﺤﺩﺓ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬

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‫ﺠﻭ ﺍﻝﻤﻜﺎﻥ‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ‬ ‫‪31‬‬

‫ﻓﻼﺡ ‪ :‬ﻴﺎ ﺤﻔﻴﻅ ‪ ....‬ﺍﻝﻠﻬﻡ ﺍﺤﻔﻅﻨﺎ ‪.‬‬ ‫ﺍﻝﻔﻼﺤﻴﻥ ﻴﺴﻴﺭﻭﻥ ﻭﻴﺠﺭﻭﻥ ﺠﺎﻤﻭﺴﺔ‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 32‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻤﺤﻤﺩ ﻭﻋﻁﻴﺔ ﻭﻋﺒﺩ‬
‫ﺍﻝﻤﻁﻠﺏ ﻓﻰ ﻤﺅﺨﺭﺓ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭﻭﻴﻅﻬﺭ‬ ‫‪-‬‬
‫ﻋﻠﻰ ﺍﻝﺠﻬﺔ ﺍﻷﺨﺭﻯ ﻤﻥ ﺍﻝﺘﺭﻋﺔ ﻭﻓﻰ ﻓﻼﺡ ‪ :‬ﺃﻋﻭﺫ ﺒﺎﷲ ﻤﻥ ﺍﻝﺸﻴﻁﺎﻥ ﺍﻝﺭﺠﻴﻡ‬
‫ﻴﺎ ﻭﻻﺩ‪.‬‬ ‫ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻓﻼﺡ ﻭﻴﺩﺨل ﻤﻥ ﻤﻘﺩﻤﺔ‬
‫ﻓﻼﺡ ﺁﺨﺭ ‪ :‬ﻤﻴﻥ ﺍﻝﻠﻲ ﻋﻤل ﺍﻝﻌﻤﻠﺔ‬ ‫ﻭﻫﻡ‬ ‫ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻥ ﻓﻼﺡ ﺁﺨﺭ ﻭﻴﺘﺤﺩﺜﻭﻥ‬
‫ﺍﻝﻤﻬﺒﺒﺔ ﺩﻯ ﻴﺎﻭﻻﺩ ‪.‬‬ ‫ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪(8‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺸﻭﺍﺭﻉ ﺍﻝﻘﺭﻴﺔ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺼﻭﺕ ﺠﻭ ﺍﻝﻤﻜﺎﻥ‬ ‫‪ 33‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺸﻭﺍﺭﻉ ﺍﻝﻘﺭﻴﺔ ﻤﻥ‬
‫)‪(5‬‬ ‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ high Angle‬ﻭﻴﻅﻬﺭ‬ ‫‪-‬‬
‫ﺃﺼﻭﺍﺕ ﺍﻝﻔﻼﺤﻴﻥ‬ ‫ﻼ ﻴﺠﺭﻯ ﻓﻰ ﻤﻨﺘﺼﻑ ﺍﻝﻜﺎﺩﺭﻤﻥ ﺍﻝﻌﻤﻕ‬ ‫ﺭﺠ ﹰ‬
‫ﻤﺘﺩﺍﺨﻠﺔ‬ ‫ﺍﻝﻰ ﺍﻝﻤﻘﺩﻤﺔ ﻭﻴﻘﻑ ﻭﻴﺘﺤﺩﺙ ﻤﻊ ﺒﻌﺽ‬
‫ﺍﻝﻔﻼﺤﻴﻥ ﺜﻡ ﻴﺠﺭﻯ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ‬
‫ﻴﺘﺤﺭﻙ ﻴﻤﻴﻨ ﹰﺎ ‪ Pan Right‬ﻓﻰ ﺸﻭﺍﺭﻉ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ )‪( 5‬‬ ‫ﺍﻝﻘﺭﻴﺔ ﺍﻝﻀﻴﻘﺔ ﺜﻡ ﻴﺘﺤﺭﻙ ﺍﻝﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﺘﺤﺭﻙ ﻤﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪Tilt up‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 9‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺃﺼﻭﺍﺕ ﺍﻝﻔﻼﺤﻴﻥ‬ ‫‪ 34‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫)‪(6‬‬ ‫‪-‬‬
‫‪ Shot (MLS‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﺩﺨل ﻤﻥ‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﻴﻘﻑ ﺒﻴﻥ ﺍﻝﻔﻼﺤﻴﻥ ﻭﻴﻨﻅﺭ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻻﺴﻔل ﺜﻡ ﻴﺘﻘﺩﻡ ﺍﻝﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻝﻴﺼﺒﺢ‬
‫) ‪(6‬‬ ‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺘﻌﺎﻝﻰ ﻴﺎ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪...‬‬ ‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻴﺄﺘﻲ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ﺍﻝﻐﻔﻴﺭ‬
‫ﻏﻁﻴﻪ ﺒﺤﺎﺠﺔ ‪ .‬ﻭﺨﻠﻴﻙ ﺠﻨﺒﻪ‬ ‫ﻝﻴﻘﻑ ﺒﺠﻭﺍﺭ ﺍﻝﻨﺎﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺍﻻﺜﻨﻴﻥ‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺤﺎﻀﺭ ‪.‬‬
‫ﺒﺭﻭﻓﻴل ‪ side angle‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﺜﻡ ﻴﺘﺤﺭﻙ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺃﻭﻋﻰ ﺘﺘﻨﻘل ﻤﻥ ﻤﻁﺭﺤﻙ ‪.‬‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺤﺎﻀﺭ‬ ‫ﻨﺎﺤﻴﺔ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﺍﻝﻌﻤﻕ ﻭﻴﺨﺭﺝ‬
‫ﻤﻨﺩﻴل ﻤﻥ ﺠﻴﺒﺔ ﻭﻴﺨﺭﺝ ﻤﻥ ﺒﻴﻥ ﺍﻝﻔﻼﺤﻴﻥ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﺃﻨﺕ ﺇﺩﻯ ﺨﺒﺭ ﺃﻭﺍﻤﻙ‬
‫ﻝﻠﻌﻤﺩﺓ ‪.‬‬ ‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ‪ Pan Left‬ﻭﻴﺨﺭﺝ‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﻭﺴ‪‬ﻊ ﺴﻜﺔ ﻝﺤﻀﺭﺓ‬ ‫ﺨﻠﻔﺔ ﻤﺠﻤﻭﻋﻪ ﻤﻥ ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﺍﻝﻨﺎﻅﺭ ﻴﺎ ﻭﻝﻪ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 9‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺒﺠﻭﺍﺭ ﺍﻝﺘﺭﻋﺔ‬
‫ﺼﻭﺕ ﺍﻝﻔﻼﺤﻴﻥ ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ ﻨﺎﻯ )‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻨﺎﻅﺭ ‪ .L .S‬ﻴﺴﻴﺭﺍﻝﻨﺎﻅﺭ‬ ‫‪35‬‬
‫‪(7‬‬ ‫ﻭﺨﻠﻔﻪ ﺭﺠﺎل ﺍﻝﻘﺭﻴﺔ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬ ‫‪-‬‬
‫ﺍﻝﻴﻤﻴﻥ ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Right‬‬
‫ﻭﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﺴﻴﺩﺍﺕ ﻴﺴﻴﺭﻥ ﻤﻥ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﺨﺭﺠﻭﻥ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 36‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬

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‫‪ Shot (MLS‬ﻝﻠﻨﺎﻅﺭ ﻴﺴﻴﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬ ‫‪-‬‬

‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ , Pan Right‬ﺜﻡ ﻴﻘﻑ‬
‫ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﺨﻠﻔﻪ‬
‫ﺍﻷﺴﻁﻰ ﻤﺤﻤﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻨﺎﻅﺭ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪37‬‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﺨﻠﻔﻪ ﺒﻘﻴﺔ‬ ‫‪-‬‬
‫ﺍﻝﻔﻼﺤﻴﻥ ﻭﻫﻭ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻭﻴﺴﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﻘﺭﻴﺔ ﻤﻊ ﺤﺭﻜﺔ‬ ‫‪38‬‬
‫ﺱ ﺍﻝﻠﻲ ﻋﻤﻠﺘﻬﺎ‬‫ﺼﻭﺕ ﻤﺤﻤﺩ ‪ :‬ﻭﻤﻴﻥ ﺒ ‪‬‬ ‫‪-‬‬
‫ﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ‪ Pan Right‬ﻤﻥ ﻭﺠﻬﺔ‬
‫ﻤﺎ ﺇﺤﻨﺎ ﻋﺎﺭﻓﻴﻥ ﺍﻝﺒﻠﺩ ﻜﻼﺘﻬﺎ ﺒﻨﺎﺘﻬﺎ‬
‫ﻨﻅﺭ ﺍﻝﻨﺎﻅﺭ‬
‫ﻭﻨﺴﻭﺍﻨﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻨﺎﻅﺭ ﻭﻤﺤﻤﺩ ﻤﻥ‬ ‫‪39‬‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪ , High Angle‬ﺜﻡ ﻤﺤﻤﺩ ‪ :‬ﻤﺸﻔﻨﺎﺵ ﻻ ﺴﻤﺢ ﺍﷲ ﻭﺍﺤﺩﺓ‬ ‫‪-‬‬
‫ﺤﺎﻤل ﻭ ﹶﻻ ﺒﻁﻨﻬﺎ ﻤﻨﻔﻭﺨﺔ ‪.‬‬ ‫ﻴﻠﺘﻔﺕ ﺍﻝﻨﺎﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﻨﻅﺭ‬ ‫‪40‬‬
‫ﻓﻰ ﺼﻤﺕ ﻝﻠﻔﻼﺤﻴﻥ‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻨﺎﻅﺭﻭﻫﻭ ﻴﻠﺘﻔﺕ‬ ‫‪41‬‬
‫) ‪(7‬‬ ‫ﻤﺭﺓ ﺍﺨﺭﻯ ﻭﻴﻨﻅﺭ ﻭﻫﻭﻤﻭﺍﺠﻬﺔ ‪Full‬‬ ‫‪-‬‬

‫‪ Front Face‬ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﺨﻠﻔﺔ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻻﺯﻡ ﺘﻜﻭﻥ ﻭﺍﺤﺩﺓ ﻤﻥ ﺩﻭل‬
‫ﻭﻤﺤﻤﺩ ﻭﻓﻼﺡ ﻭﺒﺎﻗﻲ ﺍﻝﻔﻼﺤﻴﻥ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 42‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻘﺭﻴﺔ) ﻜﻤﺎ ﻓﻰ ﻤﺸﻬﺩ ﻤﺤﻤﺩ ‪ :‬ﻫﻤﻪ ﻤﺎﻓﻴﺵ ﻏﻴﺭﻫﻡ ﺒﺘﻭﻉ‬
‫ﺍﻝﺘﺭﺤﻴﻠﺔ ‪ .‬ﺩﻭل ﺘﺭﺤﻴﻠﺔ ﻴﺴﺘﺎﻫﻠﻭﺍ‬ ‫‪(38‬‬ ‫‪-‬‬
‫ﺍﻝﺤﺭﻕ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 43‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ Medium Long‬ﻓﻼﺡ ‪ :‬ﺩﻭل ﻏﺠﺭ ﻤﺎ ﻴﻌﺭﻓﻭﺵ ﺭﺒﻨﺎ ‪.‬‬
‫‪ .Shot (MLS -‬ﻝﻠﻨﺎﻅﺭ ﻭﻤﺤﻤﺩ ﻭﺍﻝﻔﻼﺡ ﻭﺴﻴﺩﻨﺎ ﺍﻝﻨﺒﻲ ﺩﻭل ﻻ ﻋﻨﺩﻫﻡ ﺃﺨﻼﻕ ﻭ‬
‫ﻻ ﺇﺴﻼﻡ ‪.‬‬ ‫ﺜﻡ ﻴﺨﺭﺠﻭﺍ ﻤﻥ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻫﻤﻪ ﻤﺎﻓﻴﺵ ﻏﻴﺭﻫﻡ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫ﺃﺼﻭﺍﺕ ﺍﻝﻔﻼﺤﻴﻥ‬ ‫‪ 44‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻭﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﺴﻴﺭ‬
‫) ‪ ( 8‬ﻨﺎﻱ ﺤﺯﻴﻥ‬ ‫ﺨﻁﻭﺍﺕ‬ ‫ﺼﻭﺕ‬ ‫ﻭﺨﻠﻔﺔ ﺍﻝﻔﻼﺤﻴﻥ ﻤﻥ ﻋﻤﻕ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬ ‫‪-‬‬
‫ﺍﻝﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻴﻤﻴﻥ ﻭﻴﺨﺭﺠﻭﻥ ﻤﻥ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ﻤﻘﺩﻤﺔ ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 45‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻨﺎﻅﺭ‪ .L .S‬ﻭﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻴﺩﺨﻠﻭﻥ ﻤﻥ ﻤﻘﺩﻤﺔ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ‪,‬‬ ‫‪-‬‬
‫ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ‪Pan‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ ﺍﻝﻨﺎﻱ )‬ ‫‪ , Right‬ﻭﺘﻅﻬﺭ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ ﻓﻰ ﻋﻤﻕ‬
‫‪(8‬‬ ‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺤﺭﻜﻭﻥ ﺒﺎﺘﺠﺎﻩ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺃﻁﻔﺎل‬ ‫ﺍﻝﻌﺠﻭﺯ ‪ :‬ﺇﺒﻌﺩ ﻴﺎ ﻭﺍﺩ ﺃﻨﺕ ﻭﻫﻭ ‪.‬‬ ‫ﻋﺠﻭﺯ‬ ‫ﺴﻴﺩﺓ‬ ‫ﻋﻠﻰ‬ ‫‪ 46‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪.L .S‬‬
‫ﻴﻠﻌﺒﻭﻥ‬ ‫ﺠﺎﻝﺴﺔ ﻤﻊ ﻓﻼﺤﻴﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ ﻓﻰ ﺍﻝﺨﻴﺎﻡ ﻤﺤﻤﺩ ‪ :‬ﺃﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ ﺃﻫﻰ ﺍﺴﺄﻝﻬﺎ ﺩﻯ‬ ‫‪-‬‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﻴﺄﺘﻲ ﺍﻝﻠﻰ ﻋﺎﺭﻓﺔ ﻜل ﺤﺎﺠﺔ ﻋﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ ﺼﻭﺕ ﺠﻭ ﺍﻝﻤﻜﺎﻥ‬
‫ﺍﻝﻨﺎﻅﺭ ﻭﻤﺤﻤﺩ ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﻔﺎ‬

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‫ﺃﻤﺎﻡ ﺍﻝﺨﻴﻤﺔ ‪.‬‬

‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺇﻨﺘﻰ ﻴﺎ ﻭﻝﻴﺔ ‪.‬‬ ‫ﺍﻝﻨﺎﻅﺭ ﻴﺤﺎﻭل ﺘﻨﺒﻴﻬﻬﺎ ﺒﺎﻝﻌﺼﺎ‬
‫ﺍﻝﻌﺠﻭﺯ ‪ :‬ﺒﻘﻭﻝﻙ ﺍﻴﺔ ﺒﻘﻰ ﺃﻨﺕ‬
‫ﻭﻫﻭ ‪,‬ﺍﷲ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺤﻤﺩ ‪ :‬ﻜﻠﻤﻰ ﺤﻀﺭﺓ ﺍﻝﻨﺎﻅﺭ ﻴﺎ ﺨﺎﻝﺔ ‪.‬‬
‫ﺩﻩ ﻭﺍﻗﻑ ﻗﺩﺍﻤﻙ ﺃﻫﻪ ‪.‬‬
‫‪ 47‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﺴﻴﺩﺓ ﺍﻝﻌﺠﻭﺯ ﻤﻥ ﺍﻝﻌﺠﻭﺯ ‪ :‬ﺭﺒﻨﺎ ﻴﺨﻠﻴﻙ ﻝﺸﺒﺎﺒﻙ ﻴﺎ‬
‫ﺨﻭﻴﺎ ‪ .‬ﺩﻭل ﻤﻁﻠﻌﻴﻥ ﻋﻴﻨﻲ ﺯﻯ ﻤﺎ‬ ‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﻫﻰ‬ ‫‪-‬‬
‫ﺃﻨﺕ ﺸﺎﻴﻑ ‪ .‬ﻭﻗﺎل ﺁﻴﻪ ﻤﺴﺘﻜﺘﺭﻴﻥ‬ ‫ﺘﻨﻅﺭ ﺃﻋﻠﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻋﻠﻴﻪ ﻨﺹ ﻴﻭﻤﻴﺔ ‪ ,‬ﻭﺩﻩ ﺃﺼﻭل ﻴﺎ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺃﺨﻭﻴﺎ ‪.‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪48‬‬
‫‪ Medium .Close .Shot -‬ﻝﻭﺠﻪ ﺍﻝﻨﺎﻅﺭ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻓﻴﻪ ﻭﻝﻴﻪ ﻤﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻝﺩﺕ‬
‫؟‬ ‫ﻴﻨﻅﺭ ﺃﺴﻔل ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 49‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﺴﻴﺩﺓ ﺍﻝﻌﺠﻭﺯ‬
‫ﺍﻝﻌﺠﻭﺯ ‪ :‬ﻜﻠﻬﻡ ﻭﺍﻝﺩﻴﻥ ﻴﺎ ﺃﺨﻭﻴﺎ ‪.‬‬ ‫ﻭﻫﻰ ﺘﻨﻅﺭ ﺃﻋﻠﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪50‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺃﻴﻭﻩ ﻋﺎﺭﻑ ‪ .‬ﻓﻴﻪ ﻭﺍﺤﺩﺓ‬ ‫‪-‬‬
‫‪ Medium .Close .Shot‬ﻝﻠﻨﺎﻅﺭ ﻴﻨﻅﺭ ﻭﻝﺩﺕ ﺠﺩﻴﺩ ‪ .‬ﺇﻤﺒﺎﺭﺡ ‪ ,‬ﺃﻭل ﺇﻤﺒﺎﺭﺡ‬
‫ﻼ‪.‬‬‫ﻤﺜ ﹰ‬ ‫ﺃﺴﻔل ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 51‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ M. Close up‬ﺍﻝﻌﺠﻭﺯ ‪ :‬ﻁﺏ ﺒﺯﻤﺘﻙ ﺃﻨﺕ ‪ .‬ﺒﻘﻰ ﻨﺹ‬
‫ﻴﻭﻤﻴﺔ ﻜﺘﻴﺭ ﻋﻠﻴﻪ ‪.‬‬ ‫ﻝﻠﺴﻴﺩﺓ ﺍﻝﻌﺠﻭﺯ‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 52‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﻨﻅﺭ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻴﻭﻭﻩ ‪ ...‬ﺩﻱ ﻤﺎﻓﻴﺵ ﻓﺎﻴﺩﺓ‬
‫ﻓﻴﻬﺎ ﻭﺍﺼل ‪.‬‬ ‫‪ -‬ﺃﺴﻔل ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﺤﺘﻰ ﻴﺼﺒﺢ‬
‫ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻓﻰ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long Shot‬‬
‫)‪MLS‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 53‬لﻗﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻨﺎﻅﺭ ﻭﻤﺤﻤﺩ ﺍﻝﻔﻼﺡ ‪ :‬ﺘﻜﻭﻨﺵ ﺍﻝﺒﺕ ﻨﺒﻭﻴﺔ ﻫﻰ ﺍﻝﻠﻲ‬
‫ﻋﻤﻠﺘﻬﺎ !‬ ‫‪-‬‬
‫ﻭﺍﻝﻔﻼﺡ ﻭﻫﻡ ﻴﺘﻘﺩﻤﻭﻥ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭﺜﻡ‬
‫ﻴﻘﻔﻭﺍ ﻭﻴﺼﺒﺢ ﺍﻝﻨﺎﻅﺭ ﻓﻰ ﻤﻨﺘﺼﻑ ﺍﻝﻜﺎﺩﺭ ﻤﺤﻤﺩ ‪ :‬ﻭﺍﷲ ﺒﺭﺍﻭﻩ ﻋﻠﻴﻙ ﻴﺎ ﺼﺎﻝﺢ ‪.‬‬
‫ﺤﻜﻡ ﺍﻝﺒﺕ ﺩﻱ ﻤﺎﺸﻴﺔ ﻋﻠﻰ ﻜﻴﻔﻬﺎ ‪.‬‬ ‫ﺒﻴﻥ ﻤﺤﻤﺩ ﻭ ﺍﻝﻔﻼﺡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 54‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ . L .S‬ﻝﻔﻼﺤﺔ ﺘﻤﺸﻰ ﺒﻴﻥ‬
‫ﺍﻝﻨﺨﻴل ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 55‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻨﺎﻅﺭ ﻭﻤﺤﻤﺩ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻨﺒﻭﻴﺔ ﺃﻫﻲ ‪ .‬ﺠﺎﺘﻙ ﺍﻝﻐﻡ ﻤﻨﻙ‬
‫ﻝﻪ ‪ .‬ﺍﻝﺭﻜﻭﺒﺔ ﻴﺎ ﻭﻝﻪ ‪.‬‬ ‫ﻭﺍﻝﻔﻼﺡ ‪ .‬ﺜﻡ ﻴﺨﺭﺝ ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﺸﻤﺎل‬ ‫‪-‬‬
‫ﻤﺤﻤﺩ ﻭﺍﻝﻔﻼﺡ ‪ :‬ﺍﻝﺭﻜﻭﺒﺔ ﻴﺎ ﻭﻝﻪ ‪.‬‬ ‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 9‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﺭﺽ ﺯﺭﺍﻋﻴﺔ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 56‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬

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‫)‪(9‬‬ ‫‪ Shot (MLS‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﺭﻜﺏ ﻋﻠﻰ‬ ‫‪-‬‬

‫ﺍﻝﺤﻤﺎﺭ ﻭﻭﺭﺍﺀﻩ ﻴﺠﺭﻯ ﻤﺤﻤﺩ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Tracking‬ﻝﻠﻴﻤﻴﻥ ‪ .‬ﺜﻡ ﻴﺨﺭﺝ‬
‫ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﻘﻑ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ‬
‫ﻤﺤﻤﺩ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻭ ﻴﺘﻭﻗﻑ ﻭﻻ ﻴﺴﺘﻁﻴﻊ‬
‫ﺍﺴﺘﻜﻤﺎل ﺍﻝﺠﺭﻱ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ‬
‫ﻴﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ Pan Left‬ﺤﺘﻰ‬
‫ﻴﺠﻠﺱ ﺒﺠﻭﺍﺭ ﺍﻝﺘﺭﻋﺔ ﻭﺘﺼﺒﺢ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺤﻤﺎﺭ‬ ‫‪ 57‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﻨﺎﻅﺭ‪ .M.S‬ﻭﻫﻭ ﻓﻭﻕ‬
‫‪ -‬ﺍﻝﺤﻤﺎﺭ ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Track in‬ﺤﺘﻰ‬
‫ﻴﺼﺒﺢ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻭﻴﺭﻓﻊ‬
‫ﺭﺃﺴﻪ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ‬
‫ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 58‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻋﻠﻰ ﺃﺭﺽ ﺯﺭﺍﻋﻴﺔ ﻤﻥ‬
‫ﻭﺠﻬﺔ ﻨﻅﺭ ﺍﻝﻨﺎﻅﺭ) ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﺘﻅﻬﺭ ﺍﻝﺸﻤﺴﻴﺔ( ﻭﻴﻅﻬﺭ ﻋﻤﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﻭﻫﻡ ﻴﻌﻤﻠﻭﻥ ﻓﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 59‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ Medium Long‬ﻋﺭﻓﺔ ‪ :‬ﺤﻀﺭﺓ ﺍﻝﻨﺎﻅﺭ ﻴﺎ ﻭﻻ ﺤﻀﺭﺓ‬
‫‪-‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ ...‬ﻗﻭﻡ ‪.‬‬ ‫‪ .Shot (MLS‬ﻝﺜﻼﺙ ﻓﻼﺤﻴﻥ ﻤﻥ ﺒﻴﻨﻬﻡ‬
‫ﻋﺭﻓﺔ ﺠﺎﻝﺴﻴﻥ ﻋﻠﻰ ﺍﻷﺭﺽ ﻓﻰ ﺍﺴﺘﺭﺨﺎﺀ‬
‫ﺜﻡ ﻴﻘﻔﻭﺍ ﻭﻴﺨﺭﺠﻭﺍ ﻤﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 60‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪-‬‬
‫‪ Shot (MLS‬ﻝﻔﻼﺡ ﻭﻓﻼﺤﺔ ﻭﻴﻁﻔﺌﺎ ﻨﺎﺭ‬
‫ﺍﻝﺸﺎﻱ ﻭﻴﺠﺭﻴﺎ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻲ‬ ‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﻻ ﻴﺎ ﻋﺭﻓﺔ ‪ ...‬ﺍﻝﻨﻀﺎﻓﺔ‬ ‫‪ 61‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻨﺎﻅﺭ ‪ .L .S‬ﻭﻫﻭ ﻋﻠﻰ‬
‫ﻝﻠﻤﻭﺴﻴﻘﻰ ) ‪( 9‬‬ ‫ﺇﺯﻴﻬﺎ !‬ ‫ﺍﻝﺤﻤﺎﺭ ﻭﻴﺴﻴﺭ ﺒﺠﺎﻨﺒﻪ ﻓﻼﺡ ﻴﻤﺴﻙ‬ ‫‪-‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺍﻝﻥﻅﺍﻓﺔ ﻋﻠﻰ ﺴﻨﺠﺔ ﻋﺸﺭﺓ ﻴﺎ‬ ‫ﺍﻝﺸﻤﺴﻴﺔ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪.‬‬ ‫‪ Right‬ﻭﻫﻤﺎ ﻴﺘﺤﺭﻜﺎ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ‬
‫ﺍﻝﻨﺎﻅﺭﻓﻰ ﻤﻘﺩﻤﺔ ﺍلﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﻋﺭﻓﺔ ﻓﻰ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻁﺏ ﻭﺇﻥ ﻝﻘﻴﺕ ﻝﻁﻌﻪ !‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭﻴﻤﻴﻥ ﻴﺠﺭﻯ ﺒﺠﻭﺍﺭ ﺍﻝﻨﺎﻅﺭ‬
‫ﻋﺭﻓﺔ ‪ :‬ﺭﻗﺒﺘﻲ ﻴﺎ ﺒﻴﻪ ‪.‬‬ ‫ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺍﻝﻨﺎﻅﺭ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻗﻁﻊ ﺭﻗﺒﺘﻙ ‪ .‬ﺍﻷﻨﻔﺎﺭ ﻜﻠﻬﻡ‬ ‫ﻭﻋﺭﻓﺔ‬ ‫ﺜﻡ ﻴﺨﺭﺝ ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﻭﺠﻭﺩﻴﻥ ‪.‬‬ ‫ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻌﻤﻕ ‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺒﺎﻝﻨﻔﺭ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﺍﺤﺩ ﻭﺍﺤﺩ ‪ ...‬ﻭﺍﺤﺩﺓ ﻭﺍﺤﺩﺓ‬
‫؟‬
‫ﻋﺭﻓﺔ ‪ :‬ﻤﻭﺠﻭﺩﻴﻥ ﻜﻠﻬﻡ ﻴﺎ ﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻁﺏ ﻋﺩﻫﻡ ﻗﺩﺍﻤﻰ ‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺤﺎﻀﺭ ‪.‬‬

‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬ ‫‪ 62‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﻨﺎﻅﺭ‪ .M.S‬ﻭﻫﻭ ﻴﺴﻴﺭ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 12 of 78‬‬

‫‪ -‬ﺒﺎﻝﺤﻤﺎﺭ ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪Pan‬‬

‫‪ Left‬ﻝﺘﺘﺎﺒﻌﻪ ﺤﺘﻰ ﻴﻘﻑ ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 63‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﻤﺠﻤﻭﻋﺔ ﻓﻼﺤﻴﻥ ﻋﺭﻓﺔ ‪ :‬ﺘﻤﺎﻨﻴﺔ ‪ ,‬ﺘﺴﻌﺔ ‪ ,‬ﺇﺸﺘﻐﻠﻰ ﻴﺎ ﺼﻭﺕ ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﺒﺕ ‪ ..‬ﻋﺸﺭﺓ ‪ ,‬ﺤﺩﺍﺸﺭ ‪.‬‬ ‫‪ -‬ﻭﺍﻗﻔﻴﻥ ﻓﻰ ﺼﻑ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﻭﻡ‬
‫ﻋﺭﻓﺔ ﺒﻌﺩﻫﻡ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻴﻤﻴﻥ ‪ Pan Right‬ﻤﻊ ﺤﺭﻜﺔ ﻋﺭﻓﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺍﻝﻠﻁﻡ‬ ‫‪ 64‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﻨﺎﻅﺭ ‪ .M.S‬ﻭﻫﻭ ﻋﻠﻰ‬
‫ﺍﻝﺤﻤﺎﺭ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺒﺠﻭﺍﺭﻩ ﻓﻼﺡ‬ ‫‪-‬‬
‫ﻴﻤﺴﻙ ﺍﻝﺸﻤﺴﻴﺔ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﻠﺘﻔﺕ ﻝﻪ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺎ ﺘﺼﻠﺢ ﺍﻝﺸﻤﺴﻴﺔ ﻴﺎ ﻭﻝﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ﻭﻴﻀﺭﺒﻪ ﻋﻠﻰ ﻭﺠﻬﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 65‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L .S‬ﻝﻔﻼﺤﺎﺕ‬
‫ﻤﻨﺤﻨﻴﺎﺕ ﻋﻠﻰ ﺍﻝﺯﺭﻉ ﻓﻰ ﺼﻑ ﻭﻋﺭﻓﺔ‬ ‫‪-‬‬
‫ﻋﺭﻓﺔ ‪59 ..... 58 :‬‬ ‫ﻴﻘﻭﻡ ﺒﻌﺩﻫﻥ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﺎ ً ‪Pan‬‬
‫‪Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 66‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺭﺠﻠﻴﻥ ‪ M.2‬ﻝﻠﻨﺎﻅﺭ‬
‫‪-‬‬
‫ﻭﻫﻭ ﺠﺎﻝﺱ ﻋﻠﻰ ﺍﻝﺤﻤﺎﺭ ﻴﻨﻅﺭ ﺃﻤﺎﻤﻪ‬
‫ﻭﺒﺠﻭﺍﺭﻩ ﺍﻝﻔﻼﺡ ﻴﻤﺴﻙ ﺒﺎﻝﺸﻤﺴﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻔﻼﺤﻴﻥ‪ . L. S‬ﻭﻋﺭﻓﺔ‬ ‫‪67‬‬
‫‪ -‬ﻴﺘﺤﺭﻙ ﺘﺠﺎﻩ ﺍﻝﻨﺎﻅﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻪ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ‪ Pan Left‬ﻭﻴﻅﻬﺭ ﺍﻝﻨﺎﻅﺭ‬
‫ﻋﺭﻓﺔ ‪ :‬ﺘﻤﺎﻡ ﻴﺎﺒﻴﻪ ﻋﺩﻴﺘﻬﻡ ﻝﺴﻌﺎﺩﺘﻙ‬
‫ﺒﺎﻝﻨﻔﺭ ﻴﺎﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺇﺴﻤﻊ ﻴﺎ ﻭﻝﻪ ‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﻨﻌﻡ ﻴﺎ ﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻁﻠﻊ ﺍﻷﻨﻔﺎﺭ ﻜﻠﻬﻡ ﻤﻥ ﺍﻝﺨﻁ‬
‫ﻭﺘﻔﻭﺘﻬﻡ ﻗﺩﺍﻤﻰ ﻭﺍﺤﺩ ﻭﺍﺤﺩ‬
‫ﻋﺭﻓﺔ ‪ :‬ﺤﺎﻀﺭ ﻴﺎ ﺒﻴﻪ ‪ ...‬ﻴﺎﻻ ﻴﺎ ﻭﺍﺩ‬
‫ﺍﻨﺕ ﻭﻫﻭ ‪.‬‬ ‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻪ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ‪.‬‬
‫‪ Pan Right‬ﻭﺘﺘﺎﺒﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﺭﻓﺔ‬
‫ﻭﻫﻭﻴﺠﺭﻯ ﺒﺎﺘﺠﺎﺓ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺨﺘﻔﻲ‬
‫ﺍﻝﻨﺎﻅﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 68‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﻤﺠﻤﻭﻋﺔ ﻤﻥ‬
‫ﺍﻝﻨﺴﺎﺀ ﻜﻠﻬﻥ ﻤﻨﺤﻨﻴﺎﺕ ‪ .‬ﺜﻡ ﻴﻌﺘﺩﻝﻥ ﻓﻰ‬ ‫‪-‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﻴﺎﻻ ﻴﺎ ﺒﺕ ﺍﻨﺘﻰ ﻭﻫﻰ ‪.‬‬
‫ﺼﻑ ﻭﺍﺤﺩ ﻭﻴﺩﺨل ﻋﺭﻓﺔ ﺍﻝﻜﺎﺩﺭ ﻤﻥ‬
‫ﺃﺼﻠﺒﻰ ﻁﻭﻝﻙ ‪.‬‬
‫ﺍﻝﻴﺴﺎﺭ ﻨﺎﻅﺭﺍ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪69‬‬
‫‪ -‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﺘﻘﺩﻡ‬
‫ﺍﻝﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺤﺕﻯ ﻴﺼﺒﺢ ﻝﻘﻁﺔ‬
‫ﺼﻭﺕ ﺍﻝﺠﻤﻬﻭﺭ‬
‫ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬
‫‪Medium .Close .Sho‬ﻭﻴﻨﻅﺭ ﻓﻲ‬
‫ﺍﺘﺠﺎﻩ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 13 of 78‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ) ‪Long Shot ( LS‬‬ ‫‪70‬‬
‫ﻤﻭﺴﻴﻘﻰ ﻨﺎﻱ‬ ‫‪-‬‬
‫) ﺤﺯﻴﻨﺔ (‬ ‫ﻝﻠﻔﻼﺤﺎﺕ ﻴﺘﺤﺭﻜﻥ ﻤﻥ ﻤﻘﺩﻤﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺸﻤﺎل ﻓﻰ ﺼﻑ ﻭﻫﻥ‬
‫ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 71‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻨﺎﻅﺭ ﻓﻲ ﻤﻭﺍﺠﻬﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺍﻝﻔﻼﺤﺎﺕ ﺘﺴﺭﻥ ﻤﻥ ﺃﻤﺎﻤﻪ‬ ‫‪-‬‬
‫ﻭﻅﻬﺭﻫﻥ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪72‬‬
‫‪-‬‬
‫‪ Medium .Close .Shot‬ﻋﻠﻰ ﻭﺠﻪ‬
‫ﻋﺭﻓﺔ ﻭﻫﻭ ﻴﻌﺩ ﺒﺩﻭﻥ ﺼﻭﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 73‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M. L .S‬ﻝﻠﻨﺎﻅﺭ‬
‫ﻭﻫﻭ ﻭﺍﻗﻑ ‪ .‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ﺜﻡ‬ ‫‪-‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺭﺠﻌﻬﻡ ‪ ...‬ﺠﺎﺘﻙ ﺍﻝﻐﻡ‬ ‫ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺘﺎﺒﻌﻪ‬
‫ﺼﻭﺕ ﺤﻤﺎﺭ‬ ‫ﻋﺭﻓﺔ ‪ :‬ﺤﺎﻀﺭ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪.‬ﻴﺎﻝﻼ ﻴﺎﺩ‬ ‫‪. Pan Left‬ﺜﻡ ﻴﺩﺨل ﻋﺭﻓﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﺃﻨﺕ ﻭﻫﻭ ‪.‬‬ ‫ﺜﻡ ﻴﺨﺭﺝ ﻋﺭﻓﺔ ﻤﻥ ﻴﻤﻴﻥ ﻭﺍﻝﻨﺎﻅﺭ ﻅﻬﺭﻩ‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 74‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻤﺤﻤﺩ ﻭﻫﻭ ﺠﺎﻝﺱ‬
‫‪ -‬ﻭﺒﺠﻭﺍﺭ ﺍﻝﺘﺭﻋﺔ ﺜﻡ ﻴﻘﻭﻡ ﻭﻴﺴﻴﺭ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻨﺎﻅﺭ ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل‬
‫‪ Pan Left‬ﺤﺘﻰ ﻴﻘﻑ ﺃﻤﺎﻡ ﺍﻝﻨﺎﻅﺭ ﺍﻵﺘﻲ‬
‫ﻤﺤﻤﺩ ‪ :‬ﻝﻘﻴﺘﻭﻫﺎ ﻴﺎ ﺤﻀﺭﺓ ﺍﻝﻨﺎﻅﺭ!‬ ‫ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﺼﻭﺕ ﺠﻭ ﺍﻝﻤﻜﺎﻥ‬ ‫ﻭﻴﺸﻴﺢ ﺍﻝﻨﺎﻅﺭ ﺒﻭﺠﺔ ﻭﻴﺴﺘﻤﺭ ﻓﻰ ﺍﻝﺴﻴﺭ‬
‫ﻭﻴﺘﺒﻌﺔ ﻤﺤﻤﺩ ﻭﺤﺎﻤل ﺍﻝﺸﻤﺴﻴﺔ ﻋﻠﻰ‬
‫ﺍﻗﺩﺍﻤﻬﻡ ﺨﻠﻔﻪ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ‬
‫‪ Pan Right‬ﻭﻴﺼﺒﺤﻭﺍ ﺨﻠﻔﻴﺔ ‪Full‬‬
‫‪ rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 10‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﻤﺎﻡ ﻤﻜﺘﺏ ﺍﻝﻨﺎﻅﺭ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻲ‬ ‫‪ 75‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻨﺎﻅﺭ ﻭ ﻫﻭ ﻴﺘﺠﻪ‬
‫ﻝﻤﻭﺴﻴﻘﻰ ﺍﻝﻨﺎﻱ‬ ‫ﺒﺎﻝﺭﻜﻭﺒﺔ ﻭﻴﻤﺸﻰ ﺒﺠﺎﻨﺒﻪ ﺍﻝﻔﻼﺡ ﻴﺤﻤل‬ ‫‪-‬‬
‫ﺍﻝﺸﻤﺴﻴﺔ ﻭﻤﺤﻤﺩ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻬﻡ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ‪ Pan Left‬ﺜﻡ ﻴﻘﻔﻭﺍ ﺃﻤﺎﻡ‬
‫ﺍﻝﻤﻨﺯل ﻭﻫﻭ ﻴﻨﺯل ﻤﻥ ﻓﻭﻕ ﺍﻝﺤﻤﺎﺭ ﻭﻴﺘﺠﻪ‬
‫ﻨﺎﺤﻴﺔ ﻤﺩﺨل ﺍﻝﻤﻨﺯل ﻭﻴﺼﻌﺩ ﺍﻝﺴﻼﻝﻡ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬ ‫ﻭﻴﺘﻭﻗﻑ ﺜﻡ ﻴﻠﺘﻔﺕ ﻝﻠﻔﻼﺡ ﺍﻝﻤﺭﺍﻓﻕ ﻝﻪ‬
‫ﻭﻤﺤﻤﺩ ﻭﻴﺘﺤﺩﺙ ﻝﻠﻔﻼﺡ‬
‫ﻓﻴﺼﻌﺩ ﺍﻝﻔﻼﺡ ﺍﻝﺴﻼﻝﻡ ﺴﺭﻴﻌﺎ‬
‫ﺜﻡ ﻴﺨﺭﺝ ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺸﻤﺎل‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺇﻨﺩﻫﻠﻰ ﺍﻝﺒﺎﺵ ﻜﺎﺘﺏ‬
‫ﻭﻤﺤﻤﺩ ﻴﺴﺤﺏ ﺍﻝﺤﻤﺎﺭ ﻭﻴﺨﺭﺝ ﻤﻥ ﻤﻘﺩﻤﺔ‬
‫ﻭﺍﻝﻜﺎﺘﺏ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻥ ‪.‬‬
‫ﺍﻝﻔﻼﺡ ‪ :‬ﺤﺎﻀﺭ ‪.‬‬
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‫ﻤﺸﻬﺩ ) ‪( 11‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻲ ﻤﻜﺘﺏ ﺍﻝﻨﺎﻅﺭ‬
‫‪ 76‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M .L .S‬ﻝﻠﻨﺎﻅﺭ‬
‫ﻤﺴﻴﺢ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﺤﻀﺭﺓ‬ ‫ﻭﻫﻭ ﻴﺩﺨل ﻤﻥ ﺍﻝﺒﺎﺏ ﻤﻘﺩﻤﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬ ‫‪-‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪.‬‬ ‫ﻭﻴﺨﺘﻔﻰ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻤﻊ ﺩﺥﻭل ﺍﻝﺒﺸﻜﺎﺘﺏ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﻤﺴﻴﺢ‬ ‫ﻤﺴﻴﺢ ﺃﻓﻨﺩﻱ ﻭﺃﺤﻤﺩ ﺍﻝﻜﺎﺘﺏ ﻤﻥ ﺒﺎﺏ ﻓﻰ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﻘﺩﻤﺎ ﺍﻝﻰ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺃﻓﻨﺩﻱ ‪ .‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﺃﺤﻤﺩ ﺃﻓﻨﺩﻱ ‪.‬‬
‫ﺃﺘﻔﻀﻠﻭﺍ ‪ .‬ﻋﺭﻓﺘﻭﺍ ﺍﻝﺤﻜﺎﻴﺔ ‪.‬‬ ‫ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ‪Pan‬‬
‫‪ Left‬ﻭﻴﺠﻠﺴﺎ ﺍﻤﺎﻡ ﺍﻝﻨﺎﻅﺭ ﺍﻝﺠﺎﻝﺱ ﺨﻠﻑ ﻤﺴﻴﺢ ‪ :‬ﺩﻱ ﺤﻜﺎﻴﺔ ﻤﻁﻴﻨﺔ ﺒﻌﻴﺩ ﻋﻨﻙ‬
‫ﺒﻁﻴﻥ ‪.‬‬ ‫ﺍﻝﻤﻜﺘﺏ ﺒﺠﻭﺍﺭ ﺍﻝﻤﻜﺘﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 77‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫‪-‬‬
‫‪ (Shot( O S‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﺠﺎﻝﺱ ﻓﻰ‬
‫ﻤﻭﺍﺠﻬﺔ ‪ Full Front Face‬ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺨﻠﻑ ﺍﻝﻤﻜﺘﺏ ﻭﺍﻝﺒﺸﻜﺎﺘﺏ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﺍﻝﻜﺎﺘﺏ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺃﻤﺎﻡ ﺍﻝﻤﻜﺘﺏ ﺒﺭﻭﻓﻴل ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺎ ﺒﺩﻫﺎﺵ ﻜﻼﻡ ‪ .‬ﻭﺁﻴﻪ ﺭﺃﻴﻙ‬
‫؟‬
‫‪ side angle‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬

‫‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬ ‫‪78‬‬
‫‪-‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻭﻝﻴﻪ ﻤﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻝﺩﺘﻪ‬ ‫‪ (Shot( O S‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﺠﺎﻝﺱ ﻓﻰ‬
‫ﻭﻗﻌﺩﺕ ﻋﻠﻴﻪ ﺒﻁﻁﺘﻪ ‪.‬‬ ‫ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﺃﺤﻤﺩ ﺍﻝﻜﺎﺘﺏ ‪ :‬ﻤﺎ ﻫﻭ ﻤﺎﻓﻴﺵ ﻏﻴﺭ‬ ‫ﺨﻠﻑ ﺍﻝﻤﻜﺘﺏ ﻭﺍﻝﺒﺸﻜﺎﺘﺏ ﻭﺍﻝﻜﺎﺘﺏ ﺃﻤﺎﻡ‬
‫ﻜﺩﻩ ‪ .‬ﺃﻫل ﺍﻝﺒﻠﺩ ﻭﻋﺎﺭﻓﻴﻨﻬﻡ ‪ .‬ﻴﺒﻘﻰ‬
‫ﻤﺎﻓﻴﺵ ﻏﻴﺭ ﺍﻝﺘﺭﺤﻴﻠﺔ ‪.‬‬ ‫ﺍﻝﻤﻜﺘﺏ ﻤﻭﺍﺠﻬﺔ ‪Full Front Face‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬ ‫‪79‬‬
‫‪-‬‬
‫‪ (Shot( O S‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﺠﺎﻝﺱ ﻓﻰ‬
‫ﻤﻭﺍﺠﻬﺔ ‪ Full Front Face‬ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺎ ﺃﻨﺎ ﺩﻭﺭﺕ ﻫﻨﺎﻙ ﻭﻁﻠﻌﺘﻬﻡ‬
‫ﻤﻥ ﺍﻝﻐﻴﻁ ﻜﻤﺎﻥ ‪ .‬ﺃﻨﺎ ﺒﺄﻗﻭل ﻨﺒﻠﻎ‬ ‫ﺨﻠﻑ ﺍﻝﻤﻜﺘﺏ ﻭﺍﻝﺒﺸﻜﺎﺘﺏ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺍﻝﻨﻴﺎﺒﺔ ‪.‬‬ ‫ﻭﺍﻝﻜﺎﺘﺏ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺃﻤﺎﻡ ﺍﻝﻤﻜﺘﺏ ﺒﺭﻭﻓﻴل‬
‫‪ side angle‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬ ‫‪80‬‬
‫‪-‬‬
‫‪ (Shot( O S‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﺠﺎﻝﺱ ﻓﻰ‬
‫ﻤﺴﻴﺢ ‪ :‬ﻤﺎﻓﻴﺵ ﺘﺼﺭﻴﻑ ﺘﺎﻨﻰ ‪.‬‬ ‫ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﺍﻝﻨﻴﺎﺒﺔ ﺘﻔﻘﺱ ﺍﻝﻤﻠﻌﻭﺏ ﻭﺘﻘﺒﺽ ﻋﻠﻰ‬ ‫ﺨﻠﻑ ﺍﻝﻤﻜﺘﺏ ﻭﺍﻝﺒﺸﻜﺎﺘﺏ ﻭﺍﻝﻜﺎﺘﺏ ﺃﻤﺎﻡ‬
‫ﺍﻝﻤﺘﻬﻤﺔ ﻋﻠﻰ ﻁﻭل ‪.‬‬
‫ﺍﻝﻤﻜﺘﺏ ﻤﻭﺍﺠﻬﺔ ‪Full Front Face‬‬

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‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﺜﻼﺜﺔ ‪ .M.S‬ﻭﻴﻅﻬﺭ‬ ‫‪81‬‬

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‫ﺍﻝﺘﻠﻴﻔﻭﻥ ﻓﻲ ﺍﻝﻜﺎﺩﺭ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬ ‫‪-‬‬

‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺃﻴﻭﻩ ‪ ....‬ﺁﻝﻭ ﺍﺴﻤﻊ‬ ‫ﺤﻭل ﻤﺤﻭﺭﻫﺎ ﺍﻷﻓﻘﻲ ‪Pan Right‬‬
‫ﻝﻴﺼﺒﺢ ﺍﻝﻨﺎﻅﺭ ﻓﻲ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺭﺠﻠﻴﻥ ﻴﺎﻭﻝﻪ ‪.‬ﺃﻴﻭﻩ ﺇﺩﻴﻨﻰ ﺍﻝﻨﻴﺎﺒﺔ ‪ .‬ﻭ ﹶﻻ ﺃﻗﻭﻝﻙ‬
‫ﺇﺩﻴﻨﻰ ﺍﻝﻤﺭﻜﺯ ﺍﻷﻭل ‪.‬‬ ‫‪ M.2‬ﻤﻊ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 12‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﻤﺎﻡ ﻤﻨﺯل ﺍﻝﻌﻤﺩﺓ‬
‫‪ 82‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻔﻼﺤﻴﻥ ‪ . L .S‬ﻤﺠﺘﻤﻌﻴﻥ‬
‫ﺃﻤﺎﻡ ﻤﻨﺯل ﺍﻝﻌﻤﺩﺓ ﺜﻡ ﻴﻔﺭﻗﻬﻡ ﻓﻼﺤﻴﻥ‬ ‫‪-‬‬
‫ﺒﻌﺼﻴﺎﻥ ﻭﺘﺩﺨل ﺴﻴﺎﺭﺓ ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan left‬ﺤﺘﻰ ﺘﻘﻑ‬
‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ‬ ‫ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫ﺼﻭﺕ ﻤﺤﺭﻙ‬ ‫ﻜﺒﻴﺭﺓ ‪Medium Long Shot (MLS‬‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻭﻴﺘﻘﺩﻡ ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﺘﺭﺏ‬
‫ﻤﻥ ﺒﺎﺏ ﺍﻝﻌﺭﺒﺔ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 83‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪-‬‬
‫‪ Shot (MLS‬ﻝﻭﻜﻴل ﺍﻝﻨﻴﺎﺒﺔ ﻭﻫﻭ ﻴﻨﺯل‬
‫ﻤﻥ ﺍﻝﺴﻴﺎﺭﺓ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ‬
‫ﻼ ﺴﻌﺎﺩﺓ‬‫ﻼ ‪ .‬ﺃﻫ ﹰ‬
‫ﻼ ﻭ ﺴﻬ ﹰ‬‫‪ Pan Left‬ﺤﺘﻰ ﻴﻘﻑ ﻭﻴﺩﺨل ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺁﻫ ﹰ‬
‫ﻼ ﺃﺘﻔﻀل ‪.‬‬‫ﻼ ‪ .‬ﺃﻫ ﹰ‬
‫ﺍﻝﺒﻴﻪ ‪ .‬ﺃﻫ ﹰ‬ ‫ﺍﻝﻴﺴﺎﺭ ﻭﻴﺼﺎﻓﺢ ﻭﻜﻴل ﺍﻝﻨﻴﺎﺒﺔ ﻭﻴﺘﺤﺭﻜﺎ‬
‫ﺴﻭﻴ ﹰﺎ ﺤﺘﻰ ﻴﺼﻼ ﺇﻝﻰ ﻤﺩﺨل ﺍﻝﺒﺎﺏ ﻭﻴﻜﻭﻨﺎ‬
‫ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻴﻅﻬﺭ ﺠﻨﺩﻱ‬ ‫‪84‬‬
‫ﻭﻴﺩﺨل ﻭﻜﻴل ﺍﻝﻨﻴﺎﺒﺔ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪.‬‬ ‫‪-‬‬
‫ﻭﻴﺼﺒﺤﺎ ﻓﻲ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫ﻭﻜﻴل ﺍﻝﻨﻴﺎﺒﺔ ‪ :‬ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ‬ ‫ﻷﺜﻨﻴﻥ ‪ M.S.2‬ﻭﺍﻻﺜﻨﻴﻥ ﺒﺭ ﻭﻓﻴل ﻭﻴﺸﻴﺭ‬
‫ﺍﻝﻐﻔﻴﺭ) ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ (‪ :‬ﺍﻓﻨﺩﻡ‬ ‫ﻭﻜﻴل ﺍﻝﻨﻴﺎﺒﺔ ﻝﻠﻐﻔﻴﺭ ﺒﺎﺸﺎﺭﺍﺕ ﺒﻴﺩﻴﺔ ﺜﻡ‬
‫ﻴﺘﺤﺭﻙ ﺍﻝﺠﻨﺩﻱ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﺍﻝﻐﻔﻴﺭ) ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ (‪ :‬ﺤﺎﻀﺭ ﻴﺎ ﺍﻓﻨﺩﻡ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻭﻫﻭ ﻴﻌﺒﺭ ﺸﺎﺒﹰﺎ‬
‫ﻴﺩﺍﻋﺒﻪ ﻭﻴﺸﺩﻩ ﻤﻥ ﻴﺩﻩ ﻑﻴﻘﻭﻡ ﺍﻝﻐﻔﻴﺭ‬
‫ﺍﻝﺸﺎﺏ ‪ :‬ﻤﻨﺼﻭﺭﺓ ﺒﺈﺫﻥ ﺍﷲ‬
‫ﺒﻀﺭﺒﻪ ﻋﻠﻰ ﻜﺘﻔﻪ ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﻋﻤﻕ‬
‫ﻤﻨﺼﻭﺭﺓ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ﺸﻤﺎل‬
‫ﺍﻝﻐﻔﻴﺭ) ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ (‪ :‬ﺃﻭﻋﻰ ﻴﺎ ﺸﻴﺦ‬
‫ﻜﺩﻩ ‪.‬‬ ‫ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Zoom in‬ﻤﻥ‬
‫ﺍﻝﺸﺎﺏ ﻭﻫﻭ ﻴﺒﻜﻰ ﻝﻴﺼﺒﺢ ﻓﻲ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ‪.M.S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 13‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﻤﺎﻡ ﻤﻘﻬﻰ ﺍﻝﻘﺭﻴﺔ‬
‫‪85‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M. L .S‬ﻝﻠﻐﻔﻴﺭ‬ ‫‪-‬‬
‫ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﻰ ﻴﻤﻴﻨﻪ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 16 of 78‬‬

‫‪ Pan Right‬ﻭﻴﻘﻑ ﺍﻝﻨﺎﺱ ﻭﻴﺤﻴﻭﻨﻪ‬

‫ﺍﺜﻨﺎﺀ ﻤﺭﻭﺭﻩ ﺤﺘﻰ ﻴﺘﻭﻗﻑ ﻭﻴﺼﺎﻓﺢ ﺒﻌﺽ‬
‫ﺍﻝﻨﺎﺱ ﺍﻝﻤﺠﺘﻤﻌﻪ ﻭﻤﻨﻬﻡ ﻤﺤﻤﺩ ﻭﻴﺠﻠﺱ‬
‫ﻤﻌﻬﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪86‬‬
‫‪-‬‬
‫‪ Medium .Close .Shot‬ﻝﻌﺭﻓﺔ ﻭﻫﻭ‬
‫ﻤﻭﺍﺠﻬﺔ ‪ Full Front Face‬ﺜﻡ ﻴﻠﺘﻔﺕ‬
‫ﻭﻴﺼﺒﺢ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻭﻴﺘﺤﺭﻙ ﻨﺤﻭ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﺒﺠﺎﻨﺒﺔ‬
‫ﻴﺴﻴﺭ ﺼﻑ ﻤﻥ ﺍﻝﺭﺠﺎل ﻭﺍﻝﻨﺴﺎﺀ ﻭﺍﻷﻁﻔﺎل‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ﻋﻠﻰ ﺸﺎﺭﻴﻭﺓ ﺤﺘﻰ‬
‫ﻴﺨﺭﺝ ﻤﻥ ﺒﻭﺍﺒﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 14‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﻤﻨﺯل ﺍﻝﻌﻤﺩﺓ‬
‫‪ 87‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﺃﻨﻔﺎﺭ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫‪ -‬ﻭﻫﻭ ﻭﺍﻗﻔﻴﻥ ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪Tilt‬‬
‫‪ Down‬ﻤﻥ ﻭﺭﺍﺀ ﺴﻭﺭ ﺤﺩﻴﺩﻱ ‪ .‬ﺜﻡ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻴﺼﺒﺢ ﺍﻝﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪ M.S.2‬ﻋﻠﻰ ﺭﺠﻼﻥ‬
‫ﺠﺎﻝﺴﻴﻥ ﺨﻠﻑ ﺍﻝﺴﻭﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻓﻼﺡ ‪ : 1‬ﻫﻤﻪ ﻤﻭﻗﻔﻴﻥ ﺃﻨﻔﺎﺭ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﻝﻴﻪ ؟‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ‪Pan‬‬
‫ﻓﻼﺡ‪ : 2‬ﻤﺎ ﺇﻝﻠﻰ ﻋﻤﻠﺕ ﺍﻝﻌﻤﻠﺔ ﺘﻌﺘﺭﻑ‬
‫ﻭﺘﺭﻴﺤﻨﺎ ‪.‬‬ ‫‪ Left‬ﻓﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﺍﻷﻡ ‪ :‬ﺃﻨﻰ ﻤﺵ ﻗﺎﻴﻼﻝﻙ ﻴﺎ ﻭﻝﻪ‬ ‫‪Medium Long Shot (MLS‬‬
‫ﻤﺎﺘﻠﻌﺒﺵ ﻤﻊ ﻋﻴﺎل ﺍﻝﻤﻨﺎﺠﻴﺱ ﺩﻭل‬
‫ﻼ ﻴﺠﺭﻯ ﻭﻴﻠﻌﺏ ﻤﻊ ﺃﻁﻔﺎل‬ ‫ﻝﺘﺘﺎﺒﻊ ﻁﻔ ﹰ‬
‫ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﺘﺩﺨل ﺍﻤﺭﺃﺓ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ‬
‫ﻭﺘﺠﺫﺏ ﺍﻝﻁﻔل ‪ .‬ﺜﻡ ﻴﺩﺨل ﺍﻝﻨﺎﻅﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﺘﺎﺒﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﻨﺎﻅﺭ ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻴﺴﺎﺭ ‪. Pan Left‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 15‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﻤﻨﺯل ﺍﻝﻨﺎﻅﺭ‬
‫ﺩﺨﻭل‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﺍﻝﻨﺎﻅﺭ ﻭﻫﻭ‬ ‫‪88‬‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫‪Pan‬‬ ‫‪ -‬ﻴﺴﻴﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ‬
‫ﺼﻭﺕ ﺍﻝﺩﻕ ﻋﻠﻰ‬
‫) ‪(10‬‬ ‫‪ Left‬ﺜﻡ ﻴﺼﻌﺩ ﺍﻝﺴﻠﻡ ‪ .‬ﺜﻡ ﻴﻘﻑ ﺃﻤﺎﻡ ﺒﺎﺏ‬
‫ﺍﻝﺒﺎﺏ‬ ‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺍﻷﻜل ﺠﺎﻫﺯ ﻴﺎ ﺠﻤﺎﻋﺔ ؟‬
‫ﻭﻴﻁﺭﻗﻪ‬
‫ﺼﻭﺕ ﺍﻤﺭﺃﺓ ‪ :‬ﺠﺎﻫﺯﻴﻥ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 16‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﻤﺎﻡ ﻤﻨﺯل ﺍﻝﻌﻤﺩﺓ‬
‫‪89‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﺍﻝﻔﻼﺤﻴﻥ‬ ‫‪-‬‬
‫ﺍﻝﻭﺍﻗﻔﻴﻥ ﺼﻔﹰﺎ ﺜﻡ ﻴﺩﺨل ﺍﻝﻨﺎﻅﺭ ﻭﺨﻠﻔﺔ‬
‫ﺜﻼﺙ ﻓﻼﺤﻴﻥ ﺤﺎﻤﻠﻴﻥ ﺼﻭﺍﻨﻲ ﺍﻝﻁﻌﺎﻡ ﻋﻠﻰ‬
‫ﺭﺅﻭﺴﻬﻡ ﻴﺘﺤﺭﻜﻭﻥ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﺍﻝﻰ‬
‫ﺍﻝﺸﻤﺎل ﺍﻤﺎﻡ ﺍﻝﻔﻼﺤﻴﻥ ﻤﻊ ﺨﺭﻭﺠﻬﻡ ﻤﻥ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 17 of 78‬‬

‫ﺍﻝﻜﺎﺩﺭ ﺘﺘﺤﺭﻙ ﻤﺠﺎﻤﻴﻊ ﻨﺴﺎﺀ ﻭﺍﻁﻔﺎل ﻤﻥ‬

‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺍﻝﻰ ﻴﻤﻴﻨﻪ ‪ .‬ﺜﻡ ﻴﺨﺭﺠﻭﺍ ﻤﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ﻝﺘﺜﺒﺕ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﺠﻨﺩﻱ ﻴﺠﺭ‬
‫ﺍﻤﺭﺃﺓ ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ‪ .‬ﻴﺴﺘﻤﺭﺍ ﻓﻲ‬
‫ﺍﻝﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﺃﻤﺎﻡ‬
‫ﺍﻝﺭﺠل ‪ :1‬ﺩﻭل ﺠﺎﺒﻭﻫﺎ ﺍﻝﺩﺍﻴﺔ ﻜﻤﺎﻥ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻲ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺭﺠﻼﻥ‬
‫ﺍﻝﺭﺠل ‪ : 2‬ﺃﻴﻭﻩ ﻤﺵ ﻋﺸﺎﻥ ﻴﺎﺨﺩﻭﺍ‬ ‫ﻭﻅﻬﺭﻫﻤﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﺴﺅﻝﻬﺎ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 17‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻲ ﺃﻤﺎﻡ ﺍﻝﻤﻘﻬﻰ‬
‫ﻤﺤﻤﺩ ‪ :‬ﻫﻭ ﺒﻘﻰ ﻤﺎﻓﻴﺵ ﻏﻴﺭ‬ ‫‪ -90‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫ﺍﻝﺘﺭﺤﻴﻠﺔ ‪.‬‬
‫ﻓﻼﺡ ‪ :‬ﺇﻤﺎ ﺍﻝﻨﺎﻅﺭ ﺸﺎﻓﻬﻡ ?‬ ‫‪ Shot (MLS‬ﻤﺤﻤﺩ ﻭﺒﺠﻭﺍﺭﻩ ﺍﻝﻐﻔﻴﺭ‬
‫ﻤﺤﻤﺩ ‪ :‬ﻫﻭ ﻴﻌﻨﻰ ﻻ ﻤﺅﺍﺨﺫﺓ ﻓﻰ ﺩﻯ‬ ‫ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ ﻭﻓﻼﺤﻴﻥ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺍﻝﻜﻠﻤﺔ ﻫﻭ ﺍﻝﻨﺎﻅﺭ ﻜﺸﻑ ﻋﻠﻴﻬﻡ ﻜﺸﻑ‬ ‫ﻝﻠﻴﻤﻴﻥ ‪ Pan Right‬ﻋﻠﻰ ﻓﻼﺤﺎﻥ ﻴﻤﺭﺍﻥ‬
‫ﺤﻜﻴﻡ ‪.‬‬ ‫ﻤﻥ ﺃﻤﺎﻤﻬﻡ ‪,‬ﺜﻡ ﻴﻘﻔﺎﻥ ﻋﻨﺩ ﻋﺎﻤل ﺍﻝﻘﻬﻭﺓ‬
‫ﻓﻼﺡ ‪ :‬ﻤﺎﻫﻰ ﺍﻝﻭﺍﻝﺩﺓ ﺒﺭﻀﻭﻩ ﺏﻴﺒﺎﻥ‬ ‫ﺜﻡ ﻴﻌﻁﻴﺎﻩ ﻨﻘﻭﺩﹰﺍ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻋﻠﻴﻬﺎ ‪.‬‬ ‫ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ‪ Pan Left‬ﻤﻊ ﺍﻝﺭﺠﻠﻴﻥ‬
‫ﻤﺤﻤﺩ ‪ :‬ﺩﻭل ﺍﷲ ﻤﺎ ﺃﺤﻔﻅﻨﺎ ‪ .‬ﺯﻯ‬ ‫ﻭﺘﻘﻑ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻨﺩ ﻤﺤﻤﺩ ﻭﺍﻝﺭﺠﻼﻥ‬
‫ﺍﻝﻌﻔﺎﺭﻴﺕ ﺍﻝﻭﺍﺤﺩﺓ ﺘﺤﻤل ﻝﺠﻭﻩ ﻭﺘﻭﻝﺩ‬ ‫ﺍﻷﺨﺭﺍﻥ‬
‫ﺒﺭﻀﻭﻩ ﻝﺠﻭﻩ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪(18‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﻨﺯل ﺍﻝﻌﻤﺩﺓ‬
‫‪ 91‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪-‬‬
‫‪ Shot (MLS‬ﺃﻤﺎﻡ ﻤﻨﺯل ﺍﻝﻨﺎﻅﺭ ﻭﻴﻔﺘﺢ‬
‫ﺍﻝﺒﺎﺏ ﻝﻴﺨﺭﺝ ﺭﺠﺎل ﺤﺎﻤﻠﻭﻥ ﺼﻭﺍﻨﻰ‬
‫ﺼﻭﺕ ﺍﻝﻤﻜﺎﻥ‬ ‫ﺍﻝﻁﻌﺎﻡ ﺍﻝﻔﺎﺭﻏﺔ ﻓﻭﻕ ﺭﺅﻭﺴﻬﻡ ‪ ,‬ﻭﻓﻰ‬
‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ‬ ‫ﺍﻝﻤﺅﺨﺭﺓ ﻴﻅﻬﺭ ﺍﻝﻨﺎﻅﺭ ‪ .‬ﺜﻡ ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ﻭﻴﻘﻑ ﺒﺭﻭﻓﻴل ﻭﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻴﺎﻝﻼ ﻴﺎ ﻭﻻ ‪ ...‬ﺍﺴﺘﻌﺠل‬
‫ﺍﻝﻘﻬﻭﺓ ﻤﻥ ﺍﻝﺒﻴﺕ ﺒﻼﺵ ﻓﻀﺎﻴﺢ ‪.‬‬ ‫ﺃﺤﺩ ﺍﻝﻔﻼﺤﻴﻥ ﻭﻴﺘﺤﺩﺙ ﻤﻌﻪ ﺍﻝﻨﺎﻅﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 92‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫‪-‬‬
‫ﻝﻁﻔل ﻤﺤﻤﻭل ﻭﻴﻤﺸﻰ ﺒﺠﻭﺍﺭ ﺼﻭﺍﻨﻰ‬
‫ﺍﻝﻁﻌﺎﻡ ﺍﻝﻔﺎﺭﻏﺔ ﻭﻴﻘﻭﻡ ﺍﻝﻁﻔل ﺒﺠﻤﻊ ﺒﻘﺎﻴﺎ‬
‫ﺍﻝﻁﻌﺎﻡ ﻤﻥ ﺍﻝﺼﻴﻨﻴﺔ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ‬
‫ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ‪Tracking‬‬
‫ﻝﻠﻴﻤﻴﻥ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 93‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﺼﻭﺕ ﺍﻝﻤﻜﺎﻥ‬ ‫‪-‬‬
‫ﻝﺒﺎﺏ ﺍﻝﻌﻤﺩﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ﻴ‪‬ﻔﺘﺢ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬ ‫ﻭﻴﺨﺭﺝ ﻤﻨﻪ ﻭﻜﻴل ﺍﻝﻨﻴﺎﺒﺔ ﻭﺭﺠﺎل ﺍﻝﺸﺭﻁﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪94‬‬
‫‪ -‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻠﻔﻼﺤﻴﻥ ﻭﻫﻡ ﺠﺎﻝﺴﻴﻥ‬
‫ﺼﻭﺕ ﺍﻝﻤﺤﺭﻙ‬ ‫ﻋﻠﻰ ﺍﻷﺭﺽ ‪ .‬ﺜﻡ ﻴﻔﺭﻗﻬﻡ ﺍﻝﻐﻔﺭ ﻭ ﻴﻘﻭﻤﻭﺍ‬
‫ﻤﻬﺭﻭﻝﻴﻥ ﻭﻴﺨﺭﺠﻭﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻤﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻤﻊ ﺩﺨﻭل ﺴﻴﺎﺭﺓ‬
‫ﻤﻥ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﻘﻑ ﺃﻤﺎﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 18 of 78‬‬

‫ﻭﻴﺨﺭﺝ ﺍﻝﻨﺎﻅﺭ ﻭﻤﻌﻪ ﻭﻜﻴل ﺍﻝﻨﻴﺎﺒﺔ ﻓﻰ‬

‫ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 95‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪-‬‬
‫‪Shot (MLS‬ﻋﻠﻰ ﺍﻝﻐﻔﻴﺭ ﻭﺍﻝﺨﺎﺩﻡ ﻴﺩﺨﻼ‬
‫ﺼﻭﺕ ﻤﺤﺭﻙ‬ ‫ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﺤﻤﻠﻴﻥ ﻗﻔﺼﻴﻥ ﻤﻤﻠﻭﺌﻴﻥ‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬ ‫ﺒﺎﻝﻁﻴﻭﺭ ﻴﻀﻌﺎﻫﺎ ﻋﻠﻰ ﺍﻝﺴﻴﺎﺭﺓ ‪.‬ﺜﻡ ﺘﺨﺭﺝ‬
‫ﺍﻝﺴﻴﺎﺭﺓ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 96‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪-‬‬
‫‪ Shot (MLS‬ﻝﻠﻐﻔﻴﺭ ﻭﻫﻭ ﻴﺒﻌﺩ‬
‫ﺍﻝﻔﻼﺤﻴﻥ ﻋﻥ ﺍﻝﻁﺭﻴﻕ ﺤﺘﻰ ﺘﻌﺒﺭ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺍﻝﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻤﻊ‬
‫ﺨﺭﻭﺠﻬﺎ ﻱﺩﺨل ﻓﻼﺡ ﺒﺼﻴﻨﻴﺔ ﺍﻝﻘﻬﻭﺓ ﻤﻥ ﻓﻼﺡ ‪ :‬ﺍﻝﻘﻬﻭﺓ ‪..‬ﻴﺎ ﺤﻀﺭﺓ ﺍﻝﻨﺎﻅﺭ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺎ ﺨﻼﺹ ﻓﻀﺤﻁﻭﻨﺎ ‪..‬‬ ‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﻑ ﺃﻤﺎﻡ ﺍﻝﻨﺎﻅﺭ ﻴﺴﺎﺭ‬
‫ﺇﺘﺯﻑ ﺍﻝﺨﻠﻴﻔﺔ ﻭﺇﻨﻔﺽ ﺍﻝﻤﻭﻝﺩ ‪...‬‬ ‫ﺍﻝﻜﺎﺩﺭ ‪.‬ﻭﻤﻌﻪ ﻤﺴﻴﺢ ﺍﻓﻨﺩﻯ ‪.‬ﺜﻡ ﻴﺨﺭﺝ‬
‫ﺠﺘﻜﻡ ﺍﻝﻐﻡ ‪.‬‬ ‫ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺼﺒﺢ‬
‫ﺍﻝﻠﻘﻁﺔ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺭﺠﻠﻴﻥ ‪M.2‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 97‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫‪-‬‬
‫ﺍﻝﻔﻼﺡ ‪ :‬ﻋﻤﻠﻭﺍ ﺁﻴﻪ ﻓﻰ ﺍﻝﺘﺤﻘﻴﻕ ﻴﺎ‬ ‫ﻝﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻭﻫﻭ ﻱﺴﻴﺭ ﻤﻥ ﺸﻤﺎل‬
‫ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ؟‬ ‫ﺍﻝﻜﺎﺩﺭ ﺍﻝﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻓﻴﻭﻗﻔﻪ ﺭﺠل ﻴﺩﺨل‬
‫ﻤﺴﻴﺢ ‪ :‬ﻗﻴﺩﻭﻫﺎ ﻀﺩ ﻤﺠﻬﻭل ‪.‬‬ ‫ﻤﻥ ﻤﻘﺩﻤﺔ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﺴﻴﺭ ﻤﻌﻪ ‪.‬‬
‫ﺜﻡ ﻴﺨﺭﺝ ﻤﺴﻴﺢ ﺍﻓﻨﺩﻯ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪,‬‬
‫ﺍﻝﻔﻼﺡ ‪ :‬ﻤﺠﻬﻭل ‪ ..‬ﻭﺍﻝﻤﺠﻬﻭل ﺩﻩ‬ ‫ﻭﻴﻅل ﺍﻝﺭﺠل ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻤﻊ ﻓﻼﺡ ﺃﺨﺭ‬
‫ﻫﺎﻴﺠﻴﺒﻬﺎ ﻤﻨﻴﻥ ﻭﻻ ﻤﻨﻴﻥ ‪ ..‬ﺩﻩ ﻜل‬ ‫ﻴﺘﺤﺩﺜﺎﻥ‪.‬‬
‫ﺒﺩﺍﻴﺔ ﺍﻝﻤﻭﺴﻴﻘﻰ‬ ‫ﺠﻨﺎﻴﺔ ﻫﻭ ﺍﻝﻠﻰ ﻴﻁﻠﻊ ﻋﺎﻤﻠﻬﺎ‬
‫) ‪( 11‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 19‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ ﻤﻥ ﺸﻭﺍﺭﻉ‬
‫ﺍﻝﻘﺭﻴﺔ‬
‫‪ 98‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ) ‪ Long Shot ( LS‬ﻝﻠﻨﺴﺎﺀ‬
‫‪-‬‬
‫ﻴﻐﺴﻠﻥ ﺍﻷﻭﺍﻨﻰ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 20‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﻨﺯل ﻤﺴﻴﺢ‬
‫ﺃﻓﻨﺩﻯ‬
‫‪ 99‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ) ‪ Long Shot ( LS‬ﻴﺘﻘﺩﻡ‬
‫‪-‬‬
‫ﻓﻴﻬﺎ ﻤﺴﻴﺢ ﺍﻓﻨﺩﻯ ﻤﻥ ﻋﻤﻕ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﺘﺠﺎﻩ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﺒﺎﺏ ﺍﻝﻤﻨﺯل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 21‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺎﻝﺔ ﺍﻝﻤﻨﺯل‬
‫ﻤﺴﻴﺢ ‪ :‬ﻓﻴﻥ ﺒﺘﻙ‬ ‫‪100‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 19 of 78‬‬

‫ﺍﻝﺯﻭﺠﺔ ‪ :‬ﻓﻭﻕ ‪ .‬ﺘﻌﺒﺎﻨﺔ ﺸﻭﻴﺔ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬ ‫‪-‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻋﻨﺩﻫﺎ ﺁﻴﻪ ؟‬ ‫ﻝﻤﺴﻴﺢ ﻤﻥ ﺩﺍﺨل ﺍﻝﻤﻨﺯل ﻴﻔﺘﺢ ﺍﻝﺒﺎﺏ‬
‫ﺍﻝﺯﻭﺠﻪ ‪ :‬ﺒﺘﻘﻭل ﻋﻨﺩﻫﺎ ﻤﻐﺹ ‪.‬‬
‫ﻭﻴﺩﺨل ﻭﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻪ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ‪Pan Right‬‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﺃﺒﻭﻴﺎ ‪ .‬ﻴﺒﻘﻰ ﻻﺯﻡ ﻫﻰ‬ ‫ﺤﺘﻰ ﻴﻘﻑ ﺃﻤﺎﻡ ﺯﻭﺠﺘﻪ ﺍﻝﺠﺎﻝﺴﺔ ﻋﻠﻰ‬
‫ﻤﺴﻴﺢ ‪ :‬ﺇﺨﺭﺱ ‪.‬‬ ‫ﺍﻷﺭﺽ ﻭﺍﺒﻨﻪ )ﻭﻫﻭ ﺍﻝﺸﺎﺏ ﺍﻝﺯﻯ ﻀﺭﺒﻪ‬
‫ﺍﻝﻐﻔﻴﺭ(‬
‫ﻭﻴﺘﻘﺩﻡ ﺍﻻﺒﻥ ﺒﺎﺘﺠﺎﺓ ﺍﻻﺏ‬
‫ﺼﻭﺕ ﺒﻜﺎﺀ‬
‫ﻓﻴﻀﺭﺒﺔ ﺍﻻﺏ‬
‫ﺩﻤﻴﺎﻥ‬ ‫‪.‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻤﺴﻴﺢ ﺍﻓﻨﺩﻯ ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻪ ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ‪Pan Left‬‬
‫ﻤﻊ ﺸﺎﺭﻴﻭﺓ ﻝﺘﺘﺎﺒﻌﻪ ﻭ ﻴﺼﻌﺩ ﺍﻝﺴﻠﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 22‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ ﺍﻷﺒﻨﺔ‬
‫‪ 101‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪-‬‬
‫‪ Shot (MLS‬ﻝﻤﺴﻴﺢ ﻭﻫﻭ ﻴﺩﺨل ﻤﻥ‬
‫ﻤﺴﻴﺢ ‪ :‬ﻝﻴﻨﺩﺍ‬ ‫ﺍﻝﺒﺎﺏ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﻑ ﺍﻤﺎﻡ ﺸﺒﺎﻙ‬
‫ﻝﻴﻨﺩﺍ ‪ :‬ﺇﻨﺕ ﺠﻴﺕ ﻴﺎﺒﺎﺒﺎ‬ ‫ﺍﻝﺴﺭﻴﺭ ﻭﺘﻨﻌﻜﺱ ﺼﻭﺭﺓ ﺍﺒﻨﺘﻪ ﻓﻰ ﻤﺭﺍﻴﺔ‬
‫ﻤﺴﻴﺢ ‪ :‬ﻻ ﺨﻠﻴﻜﻰ ﻤﺭﺘﺎﺤﺔ ﻤﺎﻝﻙ‬ ‫ﺍﻝﺩﻭﻻﺏ ﺜﻡ ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ﻝﺘﻅﻬﺭ‬
‫ﻴﺎﺒﻨﺘﻰ؟‬ ‫ﺍﻷﺒﻨﺔ ﻋﻠﻰ ﺍﻝﺴﺭﻴﺭ ﻴﺴﺎﺭ ‪ .‬ﻭﻴﻘﻑ ﺃﻤﺎﻡ‬
‫ﻝﻴﻨﺩﺍ ‪ :‬ﺒﻁﻨﻰ ﺒﺘﻭﺠﻌﻨﻰ ‪.‬‬ ‫ﺍﻝﺴﺭﻴﺭ ‪ .‬ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻷﺒﻨﺔ ﻭﻴﻤﺩ ﻴﺩﻩ‬
‫ﻤﺴﻴﺢ ‪ :‬ﺒﻁﻨﻙ ! ﻤﻨﻴﻥ ‪ ...‬ﻤﻥ ﻫﻨﺎ‬ ‫ﻋﻠﻰ ﺒﻁﻨﻬﺎ‬
‫ﻝﻴﻨﺩﺍ ‪ :‬ﻷ ﻓﻭﻕ ﺸﻭﻴﺔ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻻ ‪ .‬ﺇﻁﻤﻨﻰ ‪...‬ﺇﻨﺸﺎﺀ ﺍﷲ‬
‫ﺨﻴﺭ‬
‫ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻥ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 23‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﻨﺯل ﻤﺴﻴﺢ‬
‫‪ 102‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻤﺴﻴﺢ ﻭﻫﻭ‬
‫ﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻤﻨﺯل ﻭﻴﺘﺤﺭﻙ ﺍﻝﻰ ﻤﻘﺩﻤﺔ‬ ‫‪-‬‬
‫ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﻴﻘﻑ‪,‬ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ‬
‫ﻤﺴﻴﺢ ‪ :‬ﺩﻤﻴﺎﻥ ‪ .‬ﺘﻌﺎﻝﻰ ﻴﺎﻭﻝﻪ‬
‫ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬
‫‪Medium .Close .Shot‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 103‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﺩﻤﻴﺎﻥ ﺠﺎﻝﺱ‬
‫ﻋﻠﻰ ﺍﻝﺘﺭﻋﺔ ﻴﺒﻜﻰ ‪ .‬ﺜﻡ ﻴﻘﻭﻡ ﻭﻴﺘﺤﺭﻙ‬
‫ﻨﺎﺤﻴﺔ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺸﻤﺎل ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻪ ﻋﻠﻰ ﺸﺎﺭﻴﻭﺓ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 104‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻤﺴﻴﺢ ﻭﺍﻗﻑ‬
‫ﻭﻴﺩﺨل ﺩﻤﻴﺎﻥ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﻑ‬ ‫‪-‬‬
‫ﺒﺠﻭﺍﺭ ﺍﺒﻴﻪ‬
‫ﺜﻡ ﻴﺨﺭﺝ ﺩﻤﻴﺎﻥ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ ﻤﺴﻴﺢ‬

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‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 20 of 78‬‬

‫ﺒﻤﻔﺭﺩﻩ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬

‫ﻤﺴﻴﺢ ‪ :‬ﺘﻌﺎﻝﻰ ﻴﺎ ﻭﻝﻪ ‪ .‬ﻤﺎﺘﺯﻋﻠﺵ ﻴﺎ‬

‫ﻰ ‪ ..‬ﺍﺴﻤﻊ ﻴﺎ‬ ‫ﻭﻝﻪ ‪ .‬ﺤﻘﻙ ﻋﻠ ‪‬‬
‫ﺩﻤﻴﺎﻥ ‪ ..‬ﻤﺎ ﺴﻤﻌﺘﺵ ﺤﺎﺠﺔ ﻜﺩﻩ ﻭ ﹶﻻ‬
‫ﻜﺩﻩ ‪.‬‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﺁﻩ ﺴﻤﻌﺕ ﺼﻔﻭﺕ ﺇﺒﻥ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ ...‬ﺒﻴﺼﻁﺎﺩ ﻴﻤﺎﻡ ‪ .‬ﺒﻴﻀﺭﺏ‬
‫ﺍﻝﻴﻤﺎﻤﺔ ﻁﺦ ﺘﺭﻭﺡ ﻭﺍﻗﻌﺔ ﺴﺎﻜﺘﺔ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺍﻴﻭﻩ ‪ .‬ﺃﻴﻭﻩ ‪ .‬ﻴﻌﻨﻰ ﺼﻔﻭﺕ‬
‫ﺩﻩ ﻤﺎﺒﻴﺠﻴﺵ ﻴﻤﺔ ﺒﻴﺘﻨﺎ‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﺒﻴﻴﺠﻰ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺒﻴﻴﺠﻰ ﻝﻴﻪ ؟‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﻋﻠﺸﺎﻥ ﻴﺼﻁﺎﺩ ﻴﻤﺎﻡ ‪ .‬ﺍﻨﻤﺎ‬
‫ﺇﻥ ﺠﻴﺕ ﻝﻠﺠﺩ ﺍﻝﻔﺭﺨﺔ ﺩﻯ ﻤﺩﻭﺨﺎﻨﻰ‬
‫ﺨﺎﻝﺹ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻓﺭﺨﺔ ﺁﻴﻪ ﻴﺎ ﻭﻝﻪ ‪.‬‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﺸﻭﻑ ﻴﺎ ﺴﻴﺩﻯ ‪ ,‬ﻜل ﻴﻭﻡ‬
‫ﺃﻗﻴﺴﻬﺎ ﺍﻻﻗﻰ ﻋﻠﻴﻬﺎ ﺍﻝﺒﻴﻀﺔ ‪ .‬ﻭﺒﻌﺩﻴﻥ‬
‫ﻤﺎ ﺒﺘﺒﻴﻀﺵ ﺃﺒﺩﺍ ﺒﻴﻘﻭﻝﻭ ﺩﻯ ﺒﻴﻀﺔ‬
‫ﺩﻫﺏ ﻭﺍﻨﺎ ﺨﻔﺕ ﺍﺩﺒﺤﻬﺎ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻴﺎﻭﺍﺩ ﺨﻠﻴﻙ ﻤﻌﺎﻴﺎ ‪ .‬ﺒﻼ ﻓﺭﺨﺔ‬
‫ﺒﻼ ﻫﺒﺎﺏ ‪ ..‬ﻤﺎ ﺴﻤﻌﺘﺵ ﺤﺎﺠﺔ ﻋﻥ‬
‫ﻝﻴﻨﺩﺍ ﺩﻤﻴﺎﻥ ‪ :‬ﻝﻴﻨﺩﺍ ﺨﻠﻔﺕ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺁﻴﻪ ؟‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﺨﻠﻔﺕ ﻭﻝﺩ ﺴﻤﺘﻪ ﻋﺒﺩ‬ ‫ﻴﻀﺭﺒﻪ ﺒﻴﺩﻩ ﻭﻴﺨﺭﺠﻪ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﺸﻤﺎل‬
‫ﺍﻝﺼﻤﺩ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻏﻭﺭ ﺠﺎﺘﻙ ﺍﻝﺒﻼ ‪.‬‬ ‫ﺜﻡ ﻴﺴﺭﺡ ﺒﺒﺼﺭﻩ ﻭﻴﺘﻭﻗﻑ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 105‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺼﻔﻭﺕ ﻤﻥ ﻭﺠﻬﺔ‬
‫‪ -‬ﻨﻅﺭ ﻤﺴﻴﺢ ﻭﻴﻅﻬﺭ ﺼﻔﻭﺕ ﻋﻠﻰ ﺍﻝﺠﺎﻨﺏ‬
‫ﺍﻷﺨﺭ ﻤﻥ ﺍﻝﺘﺭﻋﺔ ﻴﺘﺤﺩﺙ ﻤﻊ ﻓﻼﺤﺔ ﺘﺤﻤل‬
‫ﺼﻴﻨﻴﺔ ﻋﻠﻰ ﺭﺃﺴﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 106‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫‪-‬‬
‫‪ (Shot( O S‬ﺘﻘﻑ ﺍﻝﻔﻼﺤﺔ ﻤﻭﺍﺠﻬﺔ‬
‫ﺼﻔﻭﺕ ‪ :‬ﺁﻴﻪ ﻴﺎﺒﺕ ﺍﻝﺤﻼﻭﺓ ﺩﻯ ‪..‬‬ ‫‪ Full Front Face‬ﻭﻴﻘﻑ ﺼﻔﻭﺕ‬
‫ﺭﺍﻴﺤﺔ ﻓﻴﻥ ؟‬
‫ﻴﻨﻅﺭ ﺜﻼﺙ ﺃﺭﺒﺎﻉ ﺨﻠﻔﻴﺔ ‪rear 4/3‬‬
‫ﺍﻝﻔﻼﺤﺔ ‪ :‬ﻤﺭﻭﺤﺔ ﻴﺎﺴﻰ ﺼﻔﻭﺕ ‪.‬‬
‫ﺼﻔﻭﺕ ‪ :‬ﺍﺴﺘﻨﻰ ﺒﺱ ‪ .‬ﻋﺎﻴﺯ ﺍﻗﻭﻝﻙ‬ ‫ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﻀﺤﻜﺎﺕ‬ ‫ﺤﺎﺠﺔ ‪.‬‬
‫ﺍﻝﻔﻼﺤﺔ ‪ :‬ﻤﺎ ﺘﻜﺴﻔﻨﻴﺵ ﻴﺎ ﺴﻰ‬
‫ﺼﻔﻭﺕ ‪ .‬ﻻﺤﺴﻥ ﺤﺩ ﻴﺸﻭﻓﻨﺎ ‪.‬‬
‫ﺼﻔﻭﺕ ‪ :‬ﻴﺸﻭﻓﻨﺎ ﺩﻩ ﺁﻴﻪ ‪ .‬ﻤﺎ ﺘﺒﻘﻴﺵ‬
‫ﻋﺒﻴﻁﺔ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﻀﺤﻜﺎﺕ‬ ‫ﺍﻝﻔﻼﺤﺔ ‪ :‬ﻴﻭﻩ ﻴﺎ ﺴﻰ ﺼﻔﻭﺕ ‪.‬‬ ‫‪ 107‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ) ‪Medium Shot (MS‬‬

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‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﻝﻪ ﻴﺎﺼﻔﻭﺕ ‪.‬‬ ‫ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﺭﺍﻜﺏ ﻓﻭﻕ ﺍﻝﺤﻤﺎﺭ ﻭﻴﺩﺨل ﻤﻥ‬ ‫‪-‬‬
‫ﺼﻔﻭﺕ ‪ :‬ﺃﻴﻭﺓ ﻴﺎ ﺒﺎﺒﺎ ‪.‬‬ ‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻤﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬

‫ﺍﻝﻔﻼﺤﺔ ‪ :‬ﻴﺎ ﺴﻨﺔ ﺴﻭﺩﺍ ‪.‬‬ ‫ﺍﻝﺸﻤﺎل ‪ Pan Left‬ﻓﻴﻅﻬﺭ ﺼﻔﻭﺕ‬

‫ﻭﺍﻝﻔﻼﺤﺔ ﻭﺘﺠﺭﻯ ﺘﺨﺭﺝ ﻤﻥ ﻤﻘﺩﻤﺔ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺠﺔ ﺼﻔﻭﺕ ﺘﺠﺎﺓ ﺍﻝﻨﺎﻅﺭ ﻓﻰ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 108‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺭﺠﻠﻴﻥ ‪Medium.2‬‬
‫‪-‬‬
‫ﻝﻠﻨﺎﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺩﺨل ﺼﻔﻭﺕ ﻤﻥ‬
‫ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﺼﻔﻭﺕ ‪ :‬ﺴﻌﻴﺩﺓ ﻴﺎ ﺒﺎﺒﺎ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺴﻌﻴﺩﺓ ﻴﺎ ﺴﻰ ﺒﺘﺎﻉ ‪ .‬ﺴﻤﻌﺕ‬
‫ﺤﻜﺎﻴﺔ ﺍﻝﻠﻘﻴﻁ !‬
‫ﺼﻔﻭﺕ ‪ :‬ﺴﻤﻌﺘﻬﺎ ﻴﺎﺒﺎ ﺯﻯ ﺍﻝﺒﻠﺩ ﻜﻠﻬﺎ‬
‫ﻤﺎﺴﻤﻌﺘﻬﺎ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺎﺘﻌﺭﻓﺵ ﺃﻤﻪ ؟ ‪ ...‬ﻤﺎ‬
‫ﺴﻤﻌﺘﺵ ﺤﺎﺠﺔ ﻴﻌﻨﻰ ‪.‬‬
‫ﺼﻔﻭﺕ ‪ :‬ﺒﻴﻘﻭﻝﻭﺍ ﺍﻨﻬﺎ ﻤﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺎﺘﻌﺭﻓﺵ ﺃﺒﻭﻩ ؟‬
‫ﺼﻔﻭﺕ ‪ :‬ﻭﺃﺒﻭﻩ ﻫﺎ ﺃﻋﺭﻓﻪ ﻤﻨﻴﻥ ﻴﺎﺒﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺎ ﻫﻭ ﺒﺎﻝﻤﻔﺘﺸﺭ ﻜﺩﻩ ‪ .‬ﻴﻌﻨﻰ‬
‫ﺃﻭﻋﻰ ﻴﻜﻭﻨﻠﻙ ﺼﻠﺔ ﺒﺎﻝﻤﻭﻀﻭﻉ ﺩﺓ ‪.‬‬
‫ﺼﻔﻭﺕ ‪ :‬ﻋﻴﺏ ﻴﺎﺒﻪ ﻫﻭ ﺃﻨﺎ ﻴﻌﻨﻰ‬
‫ﺨﻼﺹ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺒﻘﻭل ﻴﻌﻨﻰ ﺒﺩل ﺍﻝﻔﻀﺎﻴﺢ‬
‫ﻗﻭﻝﻰ ‪.‬‬
‫ﺼﻔﻭﺕ ‪ :‬ﺃﻗﻭﻝﻙ ﺁﻴﻪ ﺒﺱ ﻴﺎﺒﺎ ﻫﻭ ﺃﻨﺎ‬
‫ﻤﻌﻨﺩﻴﺵ ﻀﻤﻴﺭ ﺨﺎﻝﺹ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺃﻴﻭﻩ ﺃﻴﻭﻩ ‪ .‬ﻁﺏ ﻴﺎﻝﻼ ﺭﻭﺡ‬
‫ﻨﺎﻡ ‪.‬‬
‫ﺼﻔﻭﺕ ‪ :‬ﺤﺎﻀﺭ ﻴﺎﺍﺒﻪ ‪.‬‬
‫ﻭﻴﺴﻴﺭ ﺼﻔﻭﺕ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ﻭﻴﺨﺭﺝ ﻤﻥ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 24‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺍﻝﻤﻘﻬﻰ‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﻨﺎﺭ‬ ‫‪109‬‬
‫ﻤﺸﺘﻌﻠﺔ ﺜﻡ ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ‪Tilt‬‬ ‫‪-‬‬
‫‪ up‬ﻝﻴﻅﻬﺭ ﺍﺜﻨﻴﻥ ﻤﻥ ﺍﻝﻔﻼﺤﻴﻥ ﻴﺸﺭﺒﻭﻥ‬
‫ﺍﻝﺸﺎﻯ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﺎ ﻋﻠﻰ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬
‫ﻤﺤﻭﺭﻫﺎ ﺍﻝﺭﺃﺴﻰ ‪ Pan right‬ﻝﻴﻅﻬﺭ‬
‫ﺜﻼﺙ ﺭﺠﺎل ﺠﺎﻝﺴﻴﻥ ﻭﻴﻅﻬﺭﻭﺍ ﺴﻠﻭﻴﺕ ﻓﻰ‬
‫ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
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‫‪ 110‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ M.S.3‬ﻝﺜﻼﺙ ﺭﺠﺎل‬
‫ﻼ ﻤﻥ‬‫‪ -‬ﺠﺎﻝﺴﻴﻥ ﻴﻠﻌﺒﻭﻥ ﺍﻝﻭﺭﻕ ﻭﻴﺩﺨل ﺭﺠ ﹰ‬
‫ﻤﻘﺩﻤﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺠﻠﺱ ﻓﻰ ﻤﻘﺩﻤﺔ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺤﺩﺙ ﻤﻌﻬﻡ) ﺒﺩﻭﻥ ﺼﻭﺕ‬
‫ﻤﺴﻤﻭﻉ ﻋﻠﻰ ﺍﻝﺸﺎﺸﺔ (‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺤﻤﺩ ‪ :‬ﺘﻜﻨﺵ ﺍﻝﺒﺕ ﻋﻴﺸﺔ ؟‬ ‫‪ 111‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫ﻓﻼﺡ ‪ :1‬ﻴﺎ ﺸﻴﺦ ﺤﺭﺍﻡ ﻋﻠﻴﻙ ‪ .‬ﺩﻯ‬ ‫‪ High Angle‬ﻝﻤﺤﻤﺩ ﻭﺒﺠﻭﺍﺭﻩ‬ ‫‪-‬‬
‫ﻭﻝﻴﺔ ﻤﻜﺴﻭﺭﺓ ﺍﻝﺠﻨﺎﺡ ‪.‬‬ ‫ﻤﺠﻤﻭﻋﺔ ﺭﺠﺎل‬
‫ﻓﻼﺡ ‪ : 2‬ﻭﺍﷲ ﻴﺎ ﺠﻤﺎﻋﺔ ﺃﻨﺎ ﻋﻘﻠﻰ‬
‫ﺒﻴﻘﻭﻝﻠﻰ ﺇﻥ ﺍﻝﺒﺕ ﺍﻝﻠﻰ ﻋﻤﻠﺕ ﺍﻝﻌﻤﻠﺔ‬
‫ﺩﻯ ﺍﻝﺒﻨﺕ ﻓﺭﺤﺎﻨﻪ‪.‬‬
‫ﻓﻼﺡ ‪ : 3‬ﻓﺭﺤﺎﻨﻪ ﺒﻨﺕ ﻋﻭﻀﻴﻥ ! ﻫﻰ‬
‫ﺼﺤﻴﺢ ﺒﺕ ﺒﻨﻭﺕ ﺇﻨﻤﺎ ﻴﻌﻨﻰ ﻫﻰ ﺸﺎﻴﻔﺔ‬
‫ﻜﻴﻔﻬﺎ ﺸﻭﻴﺔ ‪ .‬ﻭﺃﻫﻰ ﻏﺎﻴﺒﺔ ﻋﻥ ﺍﻝﺒﻠﺩ‬
‫ﺒﻘﺎﻝﻬﺎ ﻜﺘﻴﺭ ﻭﻤﺭﺠﻌﺘﺵ ﺍﻝﺒﻠﺩ ﺇﻻ ﻤﻥ‬
‫ﺠﻤﻌﺔ ‪.‬‬
‫ﻓﻼﺡ ‪ : 4‬ﺁﻨﻰ ﺸﺎﻴﻔﻬﺎ ﻤﻥ ﻴﻭﻤﻴﻥ‬
‫ﻭﻜﺎﻨﺕ ﻤﺎﺸﻴﺔ ﺯﻯ ﺍﻝﺒﻤﺏ ‪.‬‬
‫ﻓﻼﺡ ‪ : 1‬ﺇﺴﻤﻌﻭﺍ ‪ .‬ﺇﺴﻤﻌﻭﺍ ﻤﺘﻜﻨﺵ‬
‫ﻭﺍﺤﺩﺓ ﻤﻥ ﺍﻝﺘﻔﺘﻴﺵ ﻝﻴﺔ ﻭﺍﺤﺩﻩ ﻤﻥ‬
‫ﺒﻨﺎﺕ ﺍﻝﻤﻭﻅﻔﻴﻥ ﻭ ﹶﻻ ﻨﺴﻭﺍﻨﻬﻡ ‪.‬‬
‫ﻓﻼﺡ ‪ : 3‬ﺃﻴﻭﻩ ﺼﺤﻴﺢ ﻤﺎﺘﻜﻨﺵ ﻝﻴﻨﺩﺍ‬
‫ﻝﻴﻪ ؟‬ ‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ‪Pan‬‬
‫‪ Left‬ﻝﺘﺘﺎﺒﻊ ﺭﺠﻼ ﻴﻨﺯل ﻤﻥ ﻋﻠﻰ ﺴﻠﻡ‬
‫ﺒﺠﻭﺍﺭ ﺍﻝﻘﻬﻭﺓ ‪.‬‬

‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 24‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﻨﺯل ﻤﺴﻴﺢ‬
‫ﺃﻓﻨﺩﻯ‬
‫‪ 112‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‬
‫ﺼﻭﺕ ﻓﻼﺡ ‪ : 1‬ﺃﻴﻭﻩ ﻝﻴﻨﺩﺍ ﺒﻨﺕ‬ ‫‪ Low angle -‬ﻝﻨﺎﻓﺫﺓ ﻭﺘﻅﻬﺭ ﻝﻴﻨﺩﺍ ﻭﻫﻰ‬
‫ﺍﻝﺒﺎﺸﻜﺎﺘﺏ‬ ‫ﺘﻌﻠﻕ ﺍﻝﻤﻼﺒﺱ ﻭﺕﻥﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 113‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫‪-‬‬
‫ﺼﻭﺕ ﻓﻼﺡ ‪ : 3‬ﻋﻠﻰ ﺭﺃﻴﻙ ‪ .‬ﻤﺎﻫﻭ‬ ‫‪ (Shot( O S‬ﻝﺼﻔﻭﺕ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺨﻠﻑ‬
‫ﺼﻔﻭﺕ ﺇﺒﻥ ﺍﻝﺒﺎﺸﻜﺎﺘﺏ ﻗﺎﻋﺩ ﺘﺤﺕ‬ ‫ﻝﻴﻨﺩﺍ ﻭﻴﻅﻬﺭ ﻭﻫﻭ ﻤﻤﺴﻜ ﹰﺎ ﺒﺒﻨﺩﻗﻴﺔ ﻭﻴﻨﻅﺭ‬
‫ﺍﻝﺸﺒﺎﻙ ‪.‬‬ ‫ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻭﺴﻴﻘﻰ) ‪(13‬‬ ‫‪ 114‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M.S‬ﻝﺼﻔﻭﺕ ﻭﻴﻅﻬﺭ‬
‫ﺼﻭﺕ ﻓﻼﺡ ‪ :3‬ﻭﺍﻝﻴﻤﺎﻡ ﻴﺎ ﻭﻝﺩﺍﻩ‬ ‫‪ -‬ﺒﺭﻭﻓﻴل ﺭﺍﻓﻌ ﹰﺎ ﺍﻝﺒﻨﺩﻗﻴﺔ ﻭﻴﻨﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪.‬‬
‫ﺒﻴﻁﺏ ﻤﻥ ﺍﻝﻌﺎﻝﻰ ‪.‬‬ ‫ﺜﻡ ﻴﻨﺯل ﺍﻝﺒﻨﺩﻗﻴﺔ ﻭﻴﺸﻴﺭ ﺒﻴﺩﻩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 115‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻴﻨﺩﺍ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﺼﻭﺕ ﻓﻼﺡ ‪ : 1‬ﻤﺎﺍﻝﻠﻰ ﻁﺏ ﻁﺏ‬ ‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻭﻫﻰ ﺘﻨﻅﺭ‬ ‫‪-‬‬
‫ﻭﺴﺎﺡ ﺩﻤﻪ ﺨﻼﺹ‬ ‫ﺃﺴﻔل ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺒﺘﺴﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 25‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻤﺤﻤﻭﺩ‬
‫ﺍﻝﺒﻭﺴﻁﺠﻰ‬
‫‪ 116‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻷﻤﺭﺍﺓ ﺘﻤﻸ ﺍﻝﻤﺎﺀ ﻭ‬
‫‪ -‬ﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﻓﻼﺡ ‪ :‬ﺘﻜﻨﺵ ﻝﻴﻪ ﺍﻝﻭﻝﻴﻪ ﺯﻜﻴﺔ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 23 of 78‬‬

‫ﻤﻌﻬﺎ ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ‪ Pan Left‬ﻝﺘﺠﻠﺱ ﻤﺭﺍﺕ ﺍﻝﻭﺍﺩ ﻤﺤﻤﻭﺩ ‪ ..‬ﺩﻯ ﻜﺎﻥ ﻋﻨﺩﻫﺎ‬
‫ﺒﺠﻭﺍﺭ ﺭﺠﻼ ﺠﺎﻝﺴﹰﺎ ﻴﺄﻜل ﻭﻫﻭ ﻓﻰ ﻴﺴﺎﺭ ﻭﺍﺩ ﻓﻰ ﻤﺩﺭﺴﺔ ﺍﻝﺼﻨﺎﻴﻊ ﻗﺎﻋﺩ ﻋﻨﺩﻫﺎ‬
‫ﻴﻴﺠﻰ ﺠﻤﻌﺔ ﻭﻜل ﻤﺎﺤﺩ ﻴﺴﺄﻝﻬﺎ ﺘﻘﻭل‬ ‫ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﺩﻩ ﻗﺭﻴﺒﻰ ﻤﻥ ﻁﻨﻁﺎ ‪.‬‬
‫ﺼﻭﺕ ﻓﻼﺡ ‪ :‬ﻭﻫﻭ ﻜﻭﻨﻪ ﻤﻥ ﻁﻨﻁﺎ ﺩﻩ‬
‫ﻴﻤﻨﻊ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 26‬‬
‫ﻨﻬﺎﺭ ﺨﺎﺭﺠﻰ ﺸﻭﺍﺭﻉ ﺍﻝﻘﺭﻴﺔ‬
‫‪ 117‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ Medium Long‬ﺼﻭﺕ ﻓﻼﺡ ‪ :‬ﻁﺏ ﻭﻤﺤﻤﻭﺩ ﻓﻴﻥ ﻤﻥ‬
‫‪-‬‬
‫‪ Shot (MLS‬ﻝﻤﺤﻤﻭﺩ ﺍﻝﺒﻭﺴﻁﺠﻰ ﻭﻫﻭ ﺍﻝﺤﻜﺎﻴﺔ ﺩﻯ ‪ .‬ﻁﻭل ﺍﻝﻨﻬﺎﺭ ﻗﺎﻋﺩ ﻴﺎ‬
‫ﻯ ﻓﻰ ﺍﻝﺒﻭﺴﺘﺔ ﻭﻴﺠﻴﺒﻬﺎ‬‫ﻭﻝﺩﺍﻩ ﻴﻭﺩ ‪‬‬ ‫ﻴﻌﻁﻰ ﺍﻝﻔﻼﺤﻴﻥ ﺍﻝﺨﻁﺎﺒﺎﺕ ‪.‬‬
‫ﻝﻠﻨﺎﺱ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 27‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﺍﻝﻨﺎﻅﺭ‬
‫‪ 118‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﺩﻤﻴﺎﻥ ﺍﺒﻥ‬
‫ﺍﻝﺒﺎﺸﻜﺎﺘﺏ ﻴﺠﻠﺱ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺒﺠﻭﺍﺭﻩ ﺼﻭﺕ ﻓﻼﺡ ‪ :‬ﻤﺎ ﻴﻜﻨﺵ ﺍﻝﻭﺍﺩ ﺍﻝﺴﺎﻫﻰ‬ ‫‪-‬‬
‫ﺯﻭﺠﺔ ﺍﻝﻨﺎﻅﺭ ‪ .‬ﺘﺤﺎﻭل ﺍﻥ ﺘﻘﺒﻠﻪ ﻭﻴﻬﺭﺏ ﺍﻝﻌﺒﻴﻁ ﺇﺒﻥ ﺍﻝﺒﺎﺸﻜﺎﺘﺏ ﺼﻭﺕ ﻓﻼﺡ ‪:‬‬
‫ﻤﻨﻬﺎ ﻭﻴﺨﺭﺝ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻴﻥ ! ﺩﻤﻴﺎﻥ ! ﻴﺎ ﺭﺍﺠل ﻗﻭل ﻜﻼﻡ‬
‫ﻏﻴﺭ ‪ .‬ﺩﻩ ﺤﺘﻰ ﺩﻤﻴﺎﻥ ﺒﻴﻘﻭﻝﻭﺍ ﻋﻠﻴﻪ‬
‫ﻭﺍﷲ ﺍﻋﻠﻡ‬ ‫ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ‪Pan Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 28‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﻨﺯل ﺍﻝﻨﺎﻅﺭ‬
‫ﻋﻠﻰ ﺍﻝﺠﺴﺭ‬
‫‪ 119‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺩﻤﻴﺎﻥ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫‪ -‬ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﻫﻭ ﻴﺠﺭﻯ ﻤﻥ ﻴﻌﻨﻰ ﻤﺎﻴﻘﺩﺭﺵ ﻤﺎ ﻴﻘﺩﺭﺵ ﻴﺘﺠﻭﺯ ‪.‬‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﺘﺭﺏ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻴﻘﻊ ﻓﻼﺡ ‪ :‬ﺃﻨﺎ ﺸﻔﺘﻪ ﺩﻴﻙ ﺍﻝﻨﻬﺎﺭ ﺨﺎﺭﺝ ﻤﻥ‬
‫ﺒﻴﺕ ﺍﻝﻨﺎﻅﺭ ﻭﻤﺸﻰ ﺯﻯ ﺍﻝﺭﻴﺢ ‪.‬‬ ‫ﻋﻠﻰ ﺍﻷﺭﺽ ﻓﻭﻕ ﺍﻝﺠﺴﺭ ﻭﻴﺒﻜﻰ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 29‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﺃﺤﻤﺩ ﻜﺎﺘﺏ ﺍﻝﺩﺍﺌﺭﺓ‬
‫‪ 120‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M ,.L‬ﻷﻤﺭﺃﺓ‬
‫ﺘﺩﺨل ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻨﹰﺎ ﻭﺘﺘﺤﺭﻙ ﺼﻭﺕ ﻓﻼﺡ ‪ :‬ﻭﺍﷲ ﻴﺎ ﺠﻤﺎﻋﺔ ﺍﻤﺎ ﻓﻰ‬ ‫‪-‬‬
‫ﻏﻴﺭ ﺃﺤﻤﺩ ﺃﻓﻨﺩﻯ ﺴﻠﻁﺎﻥ ‪.‬‬ ‫ﻴﺴﺎﺭﹰﺍ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Left‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻭﺘﺭﺘﺩﻯ ﻤﻼﺒﺱ ﺴﻭﺩﺍﺀ ﻭﺘﻐﻁﻰ ﻭﺠﻬﻬﺎ ﻓﻼﺡ ‪ :‬ﻜﺎﺘﺏ ﺍﻝﺩﺍﻴﺭﺓ ! ﺍﻫﻭ ﻋﺎﺯﺏ‬
‫) ‪( 13‬‬ ‫ﻭﺘﺩﺨل ﺍﻝﻤﻨﺯل ﻭﺘﺴﺘﻤﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﻭﻋﺎﻤل ﻓﻴﻬﺎ ﺍﷲ ﻤﺎ ﺃﺤﻔﻅﻨﺎ ﺯﻯ ﺍﻝﺩﻭﺍﺭ‬
‫ﺍﻝﻠﻰ ﺨﺎﺭﺠﺔ ﻭﺍﻝﻠﻰ ﺩﺍﺨﻠﺔ ‪ .‬ﻭﺍﻝﻠﻰ‬ ‫ﺍﻝﺤﺭﻜﺔ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺼل ﺍﻝﻰ‬
‫ﺩﺍﺨل ﺃﻜﺘﺭ ﻤﻥ ﺍﻝﻠﻰ ﺨﺎﺭﺝ ‪.‬‬ ‫ﻼ‪.‬‬
‫ﺍﻝﻨﺎﻓﺫﺓ ﻭﺘﺜﺒﺕ ﻗﻠﻴ ﹰ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 30‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺍﻝﻤﻘﻬﻰ‬
‫‪ 121‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻤﻘﻬﻰ ‪ .L .S‬ﻭﺘﺘﺤﺭﻙ‬
‫ﻓﻼﺡ ‪ :‬ﻭﺍﷲ ﻴﺎ ﺠﻤﺎﻋﺔ ﺍﻝﻭﺍﺤﺩ ﻤﺎ ﻫﻭ‬ ‫‪-‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪ Pan Left‬ﻨﺎﺤﻴﺔ ﻤﺤﻤﺩ‬
‫ﻋﺎﺭﻑ ﻴﻘﻭل ﻤﻴﻥ ﻭﺁﻴﻪ ‪ .‬ﻋﻠﻰ ﺍﻝﻌﻤﻭﻡ‬
‫ﻭﺍﻝﺭﺠﺎل ﺍﻝﻤﻠﺘﻔﻭﻥ ﺤﻭﻝﻪ ﻜﻤﺎ ﻓﻰ ﺍﻝﻤﺸﻬﺩ‬
‫ﺒﻜﺭﺓ ﺍﻝﺴﺘﻭﺭ ﻴﺒﺎﻥ ﻭﻨﻌﺭﻑ ﻤﻴﻥ ﺍﻝﻠﻰ‬
‫ﻋﻤﻠﺕ ﺍﻝﻌﻤﻠﺔ ﺩﻯ ‪.‬‬ ‫‪111‬‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade-out‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 24 of 78‬‬

‫ﻤﺸﻬﺩ ) ‪( 31‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺭﻓﺔ ﻤﻨﺯل ﺍﻝﻨﺎﻅﺭ‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade-in‬‬ ‫‪122‬‬
‫‪ -‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪M.S.2‬ﺍﻝﻨﺎﻅﺭ ﻴﻘﻑ‬
‫ﻓﻰ ﺸﺭﻓﺔ ﺍﻝﻤﻨﺯل ﻭﻴﺩﺨل ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ‬
‫ﻤﺴﻴﺢ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ‪.‬‬ ‫ﺍﻝﻘﺭﻴﺔ‬ ‫ﻝﻴﻘﻑ ﻤﻊ ﺍﻝﻨﺎﻅﺭ ‪ .‬ﻭﺘﻅﻬﺭ ﻤﻨﺎﺯل‬
‫ﻭﺍﻝﺤﻘﻭل ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻜﺎ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ‬
‫ﺤﺘﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬
‫ﻤﺴﻴﺢ ‪ :‬ﻓﻴﻪ ﺤﺎﺠﺔ ﻜﻔﺎﷲ ﺍﻝﺸﺭ ‪ .‬ﻓﻴﻪ‬ ‫‪M .Close up‬‬
‫ﺤﺎﺠﺔ ﻭﻻﻤﺅﺍﺨﺫﺓ ﻤﺯﻋﻼﻙ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﺍﷲ ﺍﻝﺤﻜﺎﻴﺔ ﺩﻯ ﻗﺎﻝﺒﺔ‬
‫ﻤﺨﻰ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺃﻴﻭﻩ ﻫﻤﻪ ﻤﺎﻓﻴﺵ ﻏﻴﺭﻫﻡ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻫﻤﻪ ﻤﻴﻥ ؟‬
‫ﻤﺴﻴﺢ ‪ :‬ﺍﻝﺘﺭﺤﻴﻠﺔ ‪.‬‬ ‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪Pan Left‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻫﻤﻪ ﻋﻠﻰ ﺭﺃﻴﻙ ﺍﻝﺴﺒﺏ ‪.‬‬ ‫‪.‬‬ ‫ﻝﺘﺘﺎﺒﻊ ﺍﻝﻨﺎﻅﺭ ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ‬
‫ﻫﻤﻪ ﺍﻝﻠﻰ ﺴﺎﺒﻭﻫﺎ ﺘﻔﻘﺱ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺘﻔﻘﺱ ﺁﻴﻪ ‪ .‬ﻗﺼﺩﻙ ﺘﻭﻝﺩ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺘﻭﻝﺩ ‪ ...‬ﻫﻰ ﻤﻴﻥ ؟‬
‫ﻤﺴﻴﺢ ‪ :‬ﻫﻰ ﺍﻝﻭﻝﻴﻪ ﺍﻝﻠﻰ ﺨﻠﻔﺕ‬
‫ﺍﻝﻠﻘﻴﻁ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻝﻘﻴﻁ ﺁﻴﻪ ‪ .‬ﺃﻨﺎ ﺒﺄﺘﻜﻠﻡ ﻋﻠﻰ‬
‫ﺍﻝﺩﻭﺩﺓ ‪ .‬ﺍﻝﻔﻘﺱ ﻅﻬﺭ ﻓﻰ ﺍﻝﺤﻭﺽ‬
‫ﺍﻝﺒﺤﺭﻯ ﻭﺒﺎﻴﻥ ﻫﺎ ﻨﺭﻭﺡ ﻓﻰ ﺩﺍﻫﻴﺔ‬

‫‪ 123‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬

‫ﻤﺴﻴﺢ ‪ :‬ﺩﻭل ﻨﺎﺱ ﻤﻌﻨﺩﻫﻤﺵ ﺯﻤﺔ‬ ‫ﻝﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻭﻫﻭ ﻴﺘﺤﺩﺙ‬ ‫‪-‬‬
‫ﻭﻻ ﺩﻴﻥ ‪ .‬ﻴﺴﻴﺒﻭﺍ ﺍﻝﺩﻭﺩﺓ ﺘﻔﻘﺱ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﺍﻝﻭﻝﻴﺔ ﺘﺨﻠﻑ ﺍﻝﻠﻘﻴﻁ ﻨﻭﺒﺔ ﻭﺍﺤﺩﺓ ‪.‬‬

‫‪ 124‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .Close up‬ﻗﺭﻴﺒﺔ‬

‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﻫﺎ ﻨﻌﻤل ﺁﻴﻪ ﻓﻰ ﺍﻝﻤﺼﻴﺒﺔ‬ ‫‪-‬‬
‫ﻝﻠﻨﺎﻅﺭ‬
‫ﺩﻯ !‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 125‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻤﺴﻴﺢ ﻭﻫﻭ‬
‫‪ -‬ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺴﻴﺢ ‪ :‬ﺍﻝﻨﻴﺎﺒﺔ ﺘﺠﻴﺒﻬﻡ ﻭﺍﺤﺩﺓ ﻭﺍﺤﺩﺓ‬
‫ﻭﺘﺨﺸﺸﻬﻡ ﺍﻝﺴﺠﻥ ‪.‬‬ ‫‪ Pan Left‬ﺤﺘﻰ ﻴﺼل ﻝﻠﻨﺎﻅﺭ ﻭﻴﺼﺒﺤﺎ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪ . M.S. 2‬ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺎ ﻜﻔﺎﻴﺔ ﺒﻘﻰ ﻴﺎ ﻤﺴﻴﺢ‬
‫ﺃﻓﻨﺩﻯ ‪ .‬ﻭﺨﻠﻴﻨﺎ ﻓﻰ ﺍﻝﺩﻭﺩﺓ ﺍﻝﻠﻰ ﻫﺎ‬
‫ﺘﺎﻜل ﺍﻝﻘﻁﻥ ‪ .‬ﺁﻨﻰ ﻫﺎ ﺃﺴﺭﺡ ﻋﺎﺍﻝﻐﻴﻁ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻭﺤﻴﺎﺘﻙ ﺍﻝﻭﻝﻴﺔ ﻤﻨﻬﻡ ‪.‬‬ ‫ﺜﻡ ﻴﺨﺭﺝ ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅل‬
‫ﻭﺩﻝﻭﻗﺕ ﺘﺸﻭﻑ ‪.‬‬ ‫ﺍﻝﻜﺎﺩﺭ‬ ‫ﻤﺴﻴﺢ ﺒﻤﻔﺭﺩﻩ ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 32‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﺤﻘل‬
‫‪126‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﺭﺍﻜﺒﹰﺎ ﺍﻝﺤﻤﺎﺭ ﻭ‬ ‫‪-‬‬
‫ﻴﺠﺭﻯ ﺒﺠﺎﻨﺒﺔ ﺍﻝﻔﻼﺡ ﺒﺎﻝﺸﻤﺴﻴﺔ ﻭﻴﺴﻴﺭ‬
‫ﺼﻭﺕ ﺍﻝﻤﻜﺎﻥ‬ ‫ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ﻓﻰ ‪Pan‬‬

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‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 25 of 78‬‬

‫ﺼﻭﺕ ﺼﻴﺎﺡ‬ ‫‪ Left‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Tilt down‬‬

‫ﺩﻴﻜﺔ‬
‫ﻋﻠﻰ ﺍﻝﺤﻤﺎﺭ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 127‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﻴﺩ ﺘﻠﻌﺏ‬
‫‪ -‬ﺍﻝﺴﻴﺠﺎ ‪ .‬ﺜﻡ ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪Tilt‬‬
‫‪ up‬ﻋﻠﻰ ﺭﺠل ﺠﺎﻝﺱ ﻋﻠﻰ ﺍﻷﺭﺽ ﻤﻊ‬
‫ﻋﺭﻓﺔ ‪ :‬ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ﺍﻝﻨﺎﻅﺭ ‪.‬‬ ‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺭﺠﺎل ‪ .‬ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻼ ‪ Tilt up‬ﻝﻴﻅﻬﺭ ﺍﻝﻨﺎﻅﺭ‬ ‫ﻷﻋﻠﻰ ﻗﻠﻴ ﹰ‬
‫ﻭﺍﻗﻔ ﹰﺎ ﺒﺠﻭﺍﺭﻩ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻴﺎ ﺭﺍﺠل ﻴﺎ ﻀﻼﻝﻰ ﻴﺎ ﻜﺩﺍﺏ‬
‫ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M .L .S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 128‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫‪ High Angle‬ﻭﻫﻭ ﺠﺎﻝﺱ ﻋﻠﻰ‬ ‫‪-‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﻓﻴﻪ ﺤﺎﺠﺔ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪.‬‬
‫ﺍﻷﺭﺽ ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﺃﻋﻠﻰ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 129‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ) ‪Over Shoulder‬‬
‫‪-‬‬
‫‪ Shot( O S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫‪ Angle‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﻤﻴﻥ ﻜﺎﺩﺭﻤﻭﺍﺠﻬﺔ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺍﻝﻔﻘﺱ ﻤﺎﻝﻰ ﺍﻝﻐﻴﻁ ﻭﺃﻨﺕ‬
‫ﻗﺎﻋﺩ ﺘﻠﻌﺒﻠﻰ ﺍﻝﺴﻴﺠﺎ ‪,.‬‬
‫‪ Full Front Face‬ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻋﺭﻓﺔ ﻴﺴﺎﺭ ﻜﺎﺩﺭﻓﻰ ﺍﻝﻤﻘﺩﻤﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 130‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻌﺭﻓﺔ‪ .M.S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻋﺭﻓﺔ ‪ :‬ﻭﺤﻴﺎﺓ ﺭﺍﺱ ﺴﻌﺎﺩﺘﻙ ﻤﺎ ﺒﺎﻭ‪‬ﻥ‬
‫‪ -‬ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﻫﻭ ﻴﻨﻅﺭ ﻴﻤﻴﻥ‬
‫ﻴﺎ ﺒﻴﻪ ‪ .‬ﺇﻨﻤﺎ ﺒﻘﻰ ﺩﻩ ﺍﻤﺭ ﺍﷲ ﻫﺎ ﻨﻌﻤل‬
‫ﻜﺎﺩﺭ ‪.‬‬
‫ﺁﻴﻪ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 131‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ) ‪Over Shoulder‬‬
‫‪-‬‬
‫‪ Shot( O S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫‪ Angle‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﻤﻴﻥ ﻜﺎﺩﺭﻤﻭﺍﺠﻬﺔ‬
‫‪ Full Front Face‬ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻋﺭﻓﺔ ﻴﺴﺎﺭ ﻜﺎﺩﺭﻓﻰ ﺍﻝﻤﻘﺩﻤﺔ ﻭﻴﺘﺤﺭﻙ‬
‫ﻝﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ‬
‫ﺍﻝﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ) ‪Medium Shot‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻝﻭ ﻭﺼل ﺍﻝﺨﺒﺭ ﻝﻠﺒﺎﺸﺎ ﺃﻨﺎ ﻫﺎ‬
‫)‪ MS‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻊ ﺨﺭﻭﺠﺔ ﻤﻊ‬
‫ﺃﺨﺭﺏ ﺒﻴﺘﻙ ‪ .‬ﺴﺎﻤﻊ ﻴﺎﻝﻼ ﻗﻭﻡ ﺸﻭﻑ‬
‫ﺸﻐﻠﻙ‬ ‫ﺍﻝﻨﺎﻅﺭ ﻤﻊ ﺨﺭﻭﺝ ﻋﺭﻓﺔ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬
‫ﻋﺭﻓﺔ ‪ :‬ﺤﺎﻀﺭ ﺤﺎﻀﺭ ‪.‬‬ ‫‪ Pan Right‬ﺍﻝﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﻋﺭﻓﺔ‪ :‬ﻴﺎﻝﻼ ﻴﺎﺩ ﺃﻨﺕ ﻴﺎﻝﻼ ﻴﺎ ﺒﺕ‬
‫) ‪Medium Long Shot (MLS‬ﻓﻰ‬
‫ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻴﻘﻑ ﺍﻝﻨﺎﻅﺭ ﺨﻠﻔﻴﺔ ‪Full‬‬
‫‪ rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻋﻤﺎل‬
‫ﺍﻝﺘﺭﺍﺤﻴﻠﺔ ﻭﻋﺭﻓﺔ‬

‫ﻗﻁﻊ ‪Cut‬‬

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‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 26 of 78‬‬

‫‪ 132‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻔﻼﺤﻴﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ‬

‫‪ -‬ﻭﺭﺌﻴﺱ ﺍﻝﻌﻤﺎل ﻴﻀﺭﺒﻬﻡ ﺒﺎﻝﻌﺼﺎ ﻝﻴﻌﻤﻠﻭﺍ‬
‫ﺭﺌﻴﺱ ﺍﻝﻌﻤﺎل ‪ :‬ﻴﺎﻝﻼ ﻴﺎﺩ ﺃﻨﺕ ﻭﻫﻭ ‪.‬‬
‫ﺒﺎﺘﻘﺎﻥ ﻓﻰ ﺍﻻﺭﺽ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ‬
‫ﻭﺴ‪‬ﻊ ﻴﺎﻝﻼ ‪ .‬ﻭﺴﻊ ‪.‬‬
‫ﺍﻝﻴﺴﺎﺭ ‪. Pan Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 133‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ) ‪Medium‬‬
‫‪-‬‬
‫‪ Long Shot (MLS‬ﻭﻫﻭ ﻴﺴﻴﺭ ﻓﻰ‬
‫ﺍﺘﺠﺎﺓ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺤﺘﻰ ﻴﺼﺒﺢ ﻓﻰ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪. Medium .Close‬‬
‫ﺜﻡ ﻴﻘﻑ ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 134‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻨﺨﻠﺔ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﻨﺎﻅﺭ‬ ‫‪-‬‬
‫) ‪( 14‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 14‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ) ‪Medium‬‬ ‫‪135‬‬

‫‪-‬‬
‫‪ Long Shot (MLS‬ﻭﻫﻭ ﻴﺴﻴﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ) ‪Medium‬‬ ‫‪136‬‬
‫) ‪( 15‬‬ ‫‪-‬‬
‫‪ Long Shot (MLS‬ﻋﻠﻰ ﺍﻝﻨﺨﻠﺔ‬
‫ﻭﺘﻅﻬﺭ ﺇﻤﺭﺃﺓ ﻨﺎﺌﻤﺔ ﺃﺴﻔل ﺍﻝﻨﺨﻠﺔ ‪.‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 15‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M .Close up‬‬

‫‪ 137‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﻨﻅﺭ ﺃﺴﻔل ‪ .‬ﺜﻡ ﻴﺘﺤﺭﻙ‬
‫ﻝﻠﻨﺎﺤﻴﺔ ﺍﻷﺨﺭﻯ ﻤﻥ ﺍﻝﻨﺨﻠﺔ ‪.‬‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 138‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻤﺭﺃﺓ ﻨﺎﺌﻤﺔ ﺃﺴﻔل‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﻨﺨﻠﺔ ‪.‬‬ ‫‪-‬‬
‫) ‪( 16‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 16‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 139‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻠﻨﺎﻅﺭ ﻭﻴﺩﺨل‬

‫‪ -‬ﻋﺭﻓﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﻑ ﺒﺠﻭﺍﺭ ﺍﻝﻨﺎﻅﺭ ﻓﻰ ﺤﺠﻡ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪. M.S. 2‬‬
‫ﺜﻡ ﻴﺴﻴﺭ ﺍﻝﻨﺎﻅﺭ ﺍﺘﺠﺎﺓ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬

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‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﻝﻪ ﻴﺎ ﻋﺭﻓﺔ ‪ ....‬ﺁﻴﻪ ﺩﻯ ‪,‬‬

‫ﻤﻠﻘﺤﺔ ﻫﻨﺎ ﻝﻴﺔ ﻤﺵ ﻤﺎﺴﻜﺔ ﺨﻁ ﻝﻴﺔ؟‬
‫ﻋﺭﻓﺔ ‪ :‬ﺃﻴﻭﺓ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪ .‬ﺩﻯ‬
‫ﻋﺯﻴﺯﺓ ﻴﺎﺴﻌﺎﺩﺕ ﺍﻝﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﺍﺫﺍ ﻜﺎﻥ ﻋﺯﻴﺯﺓ ﻤﺤﺴﻭﺒﺔ‬
‫ﺩﻯ ﻤﻥ ﻀﻤﻥ ﺍﻹﻨﻔﺎﺭ ‪ .‬ﻭﻻ ﻤﺵ‬
‫ﻤﺤﺴﻭﺒﺔ ‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﻤﺤﺴﻭﺒﺔ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪.‬‬
‫ﻭﺃﻨﺎ ﻜﻤﺎﻥ ﻤﺤﺴﻭﺏ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺤﺴﻭﺒﺔ ﺇﺯﺍﻯ ﻨﻔﺭ ‪ .‬ﻭﻫﻰ‬
‫ﻨﺎﻴﻤﺔ ‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﻏﻠﺒﺎﻨﺔ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪ .‬ﻋﻴﺎﻨﺔ‬
‫ﻤﺵ ﻗﺎﺩﺭﺓ ﺘﻤﺴﻙ ﺍﻝﺨﻁ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻴﺒﻘﻰ ﻴﻭﻤﻴﺘﻬﺎ ﻤﺎ ﺘﺘﺤﺴﺒﺵ ‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺨﻼﺹ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪.‬‬
‫ﺨﻼﺹ ﻴﻭﻤﻴﺘﻬﺎ ﻤﺎ ﺘﺘﺤﺴﺒﺵ ‪.‬‬

‫ﺜﻡ ﻴﺘﻭﻗﻑ ﻤﻊ ﺴﻤﺎﻋﻪ ﺼﻭﺕ ﺍﻻﻨﻴﻥ ﻭﻴﻌﻭﺩ‬

‫ﻝﻴﻨﻅﺭ ﺜﺎﻨﻴﺔ ‪.‬‬
‫ﺼﻭﺕ ﺍﻨﻴﻥ‬
‫ﻋﺯﻴﺯﺓ‬ ‫ﻗﻁﻉ ‪Cut‬‬
‫‪ 140‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﻨﺎﺌﻤﺔ ﺘﺤﺕ‬
‫ﺍﻝﻨﺨﻠﺔ ‪.‬‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 141‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M.S. 2‬ﻝﻠﻨﺎﻅﺭ ﻭﻋﺭﻓﺔ‬
‫ﻭﻫﻤﺎ ﻭﺍﻗﻔﺎﻥ‬ ‫‪-‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﺩﻯ ﻋﻴﺎﻨﺔ ﺒﺂﻴﻪ ﻴﺎ ﻭﻝﻪ ؟‬
‫ﻋﺭﻓﺔ ‪ :‬ﺃﺼﻠﻬﺎ ﻨﺯﻝﺕ ﻋﻠﻴﻬﺎ ﺴﺨﻭﻨﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺃﻴﻭﺓ ‪ ,‬ﺃﻴﻭﺓ ‪ ,‬ﺴﺨﻭﻨﻴﺔ‬
‫ﺍﻝﻜﺴل ﻭﺍﻝﻤﺭﻗﻌﺔ ‪ .‬ﺃﻭﻋﻰ ﻜﺩﻩ ‪.‬‬

‫‪ 142‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻭﻫﻭﻴﺘﻘﺩﻡ ﺍﻝﻰ ﻴﻤﻴﻥ‬

‫‪ -‬ﺍﻝﻜﺎﺩﺭ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻪ ﺍﺘﺠﺎﺓ ﺍﻝﻴﻤﻴﻥ ‪ Pan‬ﻋﺯﻴﺯﺓ ‪ :‬ﺴﺎﻤﺤﻨﻰ ﺴﺎﻤﺤﻨﻰ ﻴﺎ ﻀﻨﺎﻴﺎ‬
‫ﺁﺓ ‪...‬ﺁﻩ ﺠﺩﺭ ﺍﻝﺒﻁﺎﻁﺎ ﻜﺎﻥ ﺍﻝﺴﺒﺏ‬ ‫‪ Right‬لﻱﻗﺘﺭﺏ ﻤﻥ ﻋﺯﻴﺯﺓ ﻭﻴﻨﺤﻨﻰ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺇﺘﻌﺩﻝﻰ ﻴﺎ ﺒﺕ ‪ .‬ﺇﺘﻌﺩﻝﻰ ‪.‬‬ ‫ﻨﺎﺤﻴﺘﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 143‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﺭﺍﻗﺩﺓ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ ﻭﻫﻭ ﻴﺤﺎﻭل ﻫﺯﻫﺎ ﺒﺎﻝﻌﺼﺎ‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 145‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻌﺯﻴﺯﺓ ﻤﻥ‬

‫) ‪( 17‬‬ ‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻋﻠﻰ‬ ‫‪-‬‬
‫ﻭﺠﻬﻬﺎ ‪ .‬ﺜﻡ ﺘﻠﺘﻔﺕ ﻓﻴﺼﺒﺢ ﻭﺠﻬﻬﺎ ﻤﻭﺍﺠﻪ‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 146‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﻨﺎﻅﺭ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫‪-‬‬
‫ﻗﺭﻴﺒﺔ ‪ Medium .Close‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﻨﺨﻔﻀﺔ‪ Low Angle‬ﻭﻫﻭ ﻴﻨﻅﺭ‬
‫ﻷﺴﻔل ﺒﺤﻨﺎﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 147‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ M. Close up‬ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﻌﺯﻴﺯﺓ‬ ‫‪-‬‬
‫ﻭﻭﺠﻬﻬﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻜﻤﺎ ﺍﻝﻠﻘﻁﺔ ﺍﻝﺴﺎﺒﻘﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل‬ ‫‪ 148‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M.S. 2‬ﻷﺜﻨﻴﻥ ﺍﻝﻨﺎﻅﺭ‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫‪ -‬ﻭﻫﻭ ﻴﻨﺤﻨﻰ ﻭﻴﻀﻊ ﻴﺩﻩ ﻋﻠﻰ ﻭﺠﻬﻬﺎ ‪ .‬ﺜﻡ‬
‫) ‪( 18‬‬ ‫ﻴﻘﻑ ﺜﺎﻨﻴﺔ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻴﺎﻩ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ‬
‫ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 18‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M .S‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ‬ ‫‪149‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺩﻩ ﺼﺤﻴﺢ ﻴﺎ ﻭﻝﻪ ‪ .‬ﻤﻥ ﺇﻤﺘﻰ‬ ‫‪-‬‬
‫ﻴﻌﺘﺩل ‪.‬‬
‫ﺍﻝﻜﻼﻡ ﺩﻩ ؟‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪150‬‬
‫‪-‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﻤﻥ ﺃﺭﺒﻊ ﺨﻤﺱ ﺘﻴﺎﻡ ﻴﺎ ﺒﻴﻪ ‪.‬‬ ‫‪ Medium .Close‬ﻝﻌﺭﻓﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪151‬‬
‫‪-‬‬
‫‪ Medium .Close‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﺘﻘﺩﻡ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﺍﻝﺴﺨﻭﻨﺔ ﺩﻯ ﺠﺘﻠﻬﺎ ﻤﻥ ﺁﻴﻪ‬
‫؟ ﻫﻪ ! ﻤﺎ ﺘﺘﻜﻠﻡ ‪.‬‬ ‫ﺒﺎﺘﺠﺎﺓ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ﻝﻌﺭﻓﺔ‬ ‫‪152‬‬
‫ﻋﺭﻓﺔ‪ :‬ﺒﻌﺩ ﻤﺎ ﺠﺭﺍﻝﻬﺎ ﺍﻝﻠﻰ ﺠﺭﻯ‬ ‫‪-‬‬
‫ﺠﺭﺍﻝﻬﺎ ‪.‬‬ ‫‪Medium .Close‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 153‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫‪-‬‬
‫‪ ( Shot ( O S‬ﻋﻠﻰ ﺍﻝﻨﺎﻅﺭ ﻭﻫﻭ‬
‫ﻤﻭﺍﺠﻬﺔ ‪ Full Front Face‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻫﻰ ﻜﺎﻥ ﺠﺭﺍﻝﻬﺎ ﺁﻴﻪ ﻫﻪ ﻤﺎ‬
‫ﻭﻋﺭﻓﺔ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻓﻰ‬
‫ﺘﻨﻁﻕ !‬
‫ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 154‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M.S. 2‬ﻝﻌﺭﻓﺔ ﻭﺍﻝﻨﺎﻅﺭ‬
‫‪-‬‬

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‫ﻋﺭﻓﺔ ‪ :‬ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ﺍﻝﻨﺎﻅﺭ ‪ ,‬ﺭﺒﻨﺎ‬

‫ﺃﻤﺭ ﺒﺎﻝﺴﺘﺭ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺁﻴﻪ ! ﺘﻜﻨﺵ ﻫﻰ ﺍﻝﻠﻰ ‪....‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺃﻴﻭﺓ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻨﻬﺎﺭﻙ ﺃﺴﻭﺩ ‪ .‬ﻭﻤﺎﺒﻠﻐﺘﻨﻴﺵ‬
‫ﻓﻰ ﺴﺎﻋﺘﻬﺎ ﻝﻴﻪ ؟‬
‫ﻰ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪.‬‬ ‫ﻋﺭﻓﺔ ‪ :‬ﺼﻌﺒﺕ ﻋﻠ ‪‬‬
‫ﺃﺼﻠﻬﺎ ﺩﻯ ﻋﻴﺎﻨﺔ ﻗﻭﻯ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ‬
‫ﺭﺒﻨﺎ ﻤﺎ ﻴﻭﺭﻴﻙ ‪ .‬ﺁل ﻋﻠﻰ ﺭﺃﻯ ﺍﻝﻤﺜل‬
‫ﺇﻋﻤل ﺍﻝﻁﻴﺏ ﻭﺇﺭﻤﻴﻪ ﺍﻝﺒﺤﺭ ‪ .‬ﻭﺍﻫﻭ‬
‫ﻜﻠﻪ ﻴﻘﻌﺩ ﻝﻭﻻﺩﻙ ﺒﺭﻀﻪ ‪ .‬ﺩﻯ ﻤﺴﻜﻴﻨﺔ‬
‫ﻗﻭﻯ ‪ ..‬ﺒﺘﺠﺭﻯ ﻋﻠﻰ ﻭﻻﺩﻫﺎ‬
‫ﻭﺠﻭﺯﻫﺎ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻫﻰ ﻤﺘﺠﻭﺯﺓ ؟‬
‫ﻋﺭﻓﺔ ‪ :‬ﺃﻴﻭﺓ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻁﺏ ﻝﻤﺎ ﻫﻰ ﻤﺘﺠﻭﺯﺓ ﺒﺘﻘﺘل‬
‫ﺇﺒﻨﻬﺎ ﻝﻴﻪ ؟‬
‫ﻋﺭﻓﺔ ‪ :‬ﻤﺎﺤﺩﺵ ﻋﺎﺭﻑ ﻴﺎﺒﻴﻪ ‪ .‬ﺍﻝﺩﻨﻴﺎ‬
‫ﻤﻠﻴﺎﻨﺔ ﺒﻼﻭﻯ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻫﻰ ﻗﺘﻠﺕ ﻭﻻﺩﻫﺎ ﻗﺒل ﻜﺩﻩ ؟‬
‫ﻋﺭﻓﺔ ‪ :‬ﻷ ﻷ ‪ ....‬ﻴﺎ ﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺇﺸﻤﻌﻨﻰ ﺍﻝﻤﺭﺓ ﺩﻯ ؟‬
‫ﻋﺭﻓﺔ ‪ :‬ﺍﷲ ﺃﻋﻠﻡ ﻴﺎ ﺒﻴﻪ !‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺴﺄﻝﺘﻭﻫﺎ ﻋﻤﻠﺕ ﻜﺩﻩ ﻝﻴﻪ ؟‬
‫ﻋﺭﻓﺔ ‪ :‬ﻭﺍﷲ ﻤﻌﺭﻓﻨﺎﺵ ﻻ ﻨﺎﺨﺩ ﻤﻨﻬﺎ‬
‫ﺤﻕ ﻭﻻ ﺒﺎﻁل ‪ .‬ﺃﻫﻰ ﻗﺩﺍﻡ ﺴﻌﺎﺩﺘﻙ‬
‫ﺭﻭﺡ ﺇﺴﺄﻝﻬﺎ ﺒﻨﻔﺴﻙ ‪.‬‬
‫ﺼﻭﺕ ﻋﺯﻴﺯﺓ ‪ :‬ﺠﺩﺭ ﺍﻝﺒﻁﺎﻁﺎ ﻫﻭ‬ ‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ﻝﺘﺘﺎﺒﻊ‬
‫ﺍﻝﺴﺒﺏ ‪.‬‬ ‫ﺍﻝﻨﺎﻅﺭ ‪ Pan right‬ﻭﻫﻰ ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﻋﺯﻴﺯﺓ ‪ .‬ﺜﻡ ﻴﺠﻠﺱ ﺒﺠﻭﺍﺭﻫﺎ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬

‫ﺩﺨﻭل‬ ‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺒﺕ ﻴﺎ ﻋﺯﻴﺯﺓ ‪ ...‬ﻋﺯﻴﺯﺓ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﻨﺎﻅﺭ ‪ .M.S‬ﻭﻫﻭ‬ ‫‪155‬‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫ﺠﺎﻝﺱ ﺒﺠﺎﻨﺏ ﻋﺯﻴﺯﺓ ‪ .‬ﻭﻴﻬﺯﻫﺎ ‪.‬‬ ‫‪-‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺠﺩﺭ ﺍﻝﺒﻁﺎﻁﺎ ﻜﺎﻥ ﺍﻝﺴﺒﺏ ﻴﺎ‬
‫) ‪( 19‬‬ ‫ﻀﻨﺎﻴﺎ ‪ .‬ﺠﺩﺭ ﺍﻝﺒﻁﺎﻁﺎ ﻜﺎﻥ ﺍﻝﺴﺒﺏ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪156‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺃﺼﻠﻬﺎ ﺒﻌﻴﺩ ﻋﻨﻙ ﺒﺘﺨﻁﺭﻑ ﻴﺎ‬ ‫‪-‬‬
‫‪ Medium .Close‬ﻝﻌﺭﻓﺔ‬
‫ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪ .‬ﺍﻝﺤﻤﻰ ﻤﻠﻬﻠﺒﺔ‬
‫ﻨﺎﻓﻭﺨﻬﺎ ‪ .‬ﻁﻭل ﺍﻝﻨﻬﺎﺭ ﻭﺍﻝﻠﻴل ﺒﺘﻘﻭل‬
‫ﻜﻼﻡ ﻴﻘﻁﻊ ﺍﻝﻘﻠﺏ ‪ .‬ﺒﺎﻴﻥ ﻋﻠﻴﻬﺎ ﻗﺎﺴﺕ‬
‫ﻜﺘﻴﺭ ﻓﻰ ﺤﻴﺎﺘﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 157‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺭﺠﻠﻴﻥ ‪ M.2‬ﺍﻝﻨﺎﻅﺭ ﻓﻰ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻝﻜﻥ ﺩﻯ ﺘﻤﻭﺕ ﻜﺩﻩ !‬ ‫‪-‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﻫﺎ ﻨﻌﻤل ﺁﻴﻪ ﻴﺎ ﺴﻌﺎﺩﺓ‬ ‫ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﺠﻬﻪ ﺒﺭﻭﻓﻴل ﻭﻋﺭﻓﺔ ﻓﻰ‬

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‫ﻼ ‪ . Face‬ﺍﻝﻨﺎﻅﺭ ! ﺍﻝﻌﻴﻥ ﺒﺼﻴﺭﺓ ﻭﺍﻹﻴﺩ ﻗﺼﻴﺭﺓ ‪.‬‬

‫ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﻴﻅﻬﺭ ﺒﻭﺠﻬﻪ ﻜﺎﻤ ﹰ‬
‫ﻫﻰ ﻻﻗﻴﺔ ﺘﻤﻥ ﺍﻝﻠﻘﻤﺔ ﻝﻤﺎ ﻫﺎﺘﻼﻗﻰ ﺘﻤﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺩﻭﺍ ‪.‬‬
‫‪ 158‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫‪-‬‬
‫ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ ﻴﺴﻴﺭ ﺸﻤﺎل ﻜﺎﺩﺭ ﺒﺎﺘﺠﺎﺓ‬
‫ﻋﺭﻓﺔ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻭﻫﻭ‬
‫ﻴﻤﺭ ﻤﻥ ﺃﻤﺎﻡ ﻋﺭﻓﺔ ﻭﻴﻌﺒﺭﻩ ‪ .‬ﻭﻴﺼﺒﺢ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺇﺴﻤﻊ ﻴﺎ ﻭﻝﻪ ‪ ....‬ﻴﻭﻤﻴﺘﻬﺎ‬
‫ﺍﺨﺘﻔﺎﺀ‬ ‫ﺍﻝﻨﺎﻅﺭ ﺒﻤﻔﺭﺩﻩ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻤﺎﺸﻴﺔ ‪.‬‬
‫ﺘﺩﺭﻴﺠﻰ‬ ‫ﻭﻴﺼﺒﺤﺎ‬ ‫ﺜﻡ ﻴﺩﺨل ﻋﺭﻓﺔ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ‬
‫ﻋﺭﻓﺔ ‪ :‬ﺭﺒﻨﺎ ﻴﺴﺘﺭﻫﺎ ﻤﻌﺎﻙ ﻴﺎ ﺴﻌﺎﺩﺓ ﺼﻭﺕ ﺃﻗﺩﺍﻡ‬
‫ﻝﻤﻭﺴﻴﻘﻰ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪ .M.S. 2‬ﺍﻝﺒﻴﻪ ‪ .‬ﺭﺒﻨﺎ ﻴﺴﺘﺭﻫﺎ ﻤﻌﺎﻙ ﻴﺎ ﺴﻌﺎﺩﺓ‬
‫) ‪( 19‬‬ ‫ﻭﻴﺨﺭﺠﺎ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺄﺘﻰ ﺇﻤﺭﺃﺓ ﻤﻥ‬
‫ﺍﻝﺒﻴﻪ ﺍﻝﻨﺎﻅﺭ ‪.‬‬
‫ﺍﻝﻌﺎﻤﻠﻴﻥ ﻓﻰ ﺍﻻﺭﺽ ﻤﻥ ﺍﻝﻐﻴﻁ ﺘﺠﺭﻯ‬
‫ﺒﺎﺘﺠﺎﺓ ﻋﺯﻴﺯﺓ ﻝﺘﺠﻠﺱ ﺒﺠﻭﺍﺭﻫﺎ ﻓﻰ ﺤﺠﻡ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M.S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 33‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﺍﻝﺘﺭﻋﺔ‬
‫ﺩﺨﻭل‬ ‫‪ 159‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﺘﺭﻋﺔ ‪ . .L .S‬ﺜﻡ ﺘﺘﺤﺭﻙ‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ‪ Pan Right‬ﻋﻠﻰ ﻓﻼﺡ ‪ :‬ﻴﺎ ﻋﻭﻀﻴﻥ ‪ ,‬ﻤﺵ ﺍﻝﻨﺎﻅﺭ ﻅﺒﻁ‬
‫) ‪( 20‬‬ ‫ﺃﻡ ﺍﻝﻐﺭﻴﺏ ﻭ ﻝﻘﺎﻫﺎ ﻤﻥ ﺍﻝﻐﺭﺍﺒﻭﺓ ‪.‬‬ ‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻔﻼﺤﻴﻥ ﺠﺎﻝﺴﻴﻥ ﻋﻠﻰ‬
‫ﻓﻼﺡ ﺃﺨﺭ ‪ :‬ﻤﺎ ﺃﻨﺎ ﺒﺭﻀﻪ ﻗﻠﺕ ﻜﺩﻩ ‪.‬‬ ‫ﺍﻷﺭﺽ ﻴﻌﻤﻠﻭﻥ ﻓﻰ ﺍﻝﻐﺯل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 160‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﻋﺠﻠﺔ‬
‫ﻓﻼﺡ ‪ :‬ﺇﺯﺍﻯ ﺍﻝﻜﻼﻡ ﺩﻩ ؟‬ ‫‪-‬‬
‫ﻨﻬﺎﻴﺔ‬ ‫ﻏﺯل ‪ .‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺴﺭﻴﻌ ﹰﺎ ﻴﺴﺎﺭﹰﺍ‬
‫ﻓﻼﺡ ﺃﺨﺭ ‪ :‬ﺯﻯ ﻤﺎﺒﻘﻭﻝﻙ ﻜﺩﻩ ‪ .‬ﻜﺎﻨﻭﺍ‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫‪ Pan Right‬ﻋﻠﻰ ﺍﻝﺭﺠﺎل ﻭﻫﻡ ﻴﻌﻤﻠﻭﻥ‬
‫ﻤﺘﺴﺘﺭﻴﻥ ﻋﻠﻴﻬﺎ ﺘﺤﺕ ﺍﻝﻀﻠﻴﻠﺔ ‪.‬‬
‫) ‪(20‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 34‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﺤﻘل‬
‫‪ 161‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﻨﺎﺌﻤﺔ‬
‫ﻭﺒﺠﻭﺍﺭﻫﺎ ﺃﻤﺭﺃﺓ ﺘﻤﺴﺢ ﺭﺃﺴﻬﺎ ‪ .‬ﺜﻡ‬ ‫‪-‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺃﻨﺕ ﻴﺎ ﻭﺍﺩ ﺃﻨﺕ ﻭﻫﻭ ﺸﻴﻠﻭﻫﺎ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪ Pan Left‬ﻋﻠﻰ‬
‫ﻤﻥ ﻫﻨﺎ ﻭﺩﻭﻫﺎ ﺍﻝﺠﺭﻥ ﺘﻘﻌﺩ ﻫﻨﺎﻙ‬
‫ﻋﺭﻓﺔ ﻭﻫﻭ ﻴﺴﻴﺭ ﺒﺠﻭﺍﺭﻫﺎ ﻭﻤﻌﻪ ﺭﺠﻼﻥ ‪.‬‬
‫ﻋﻠﻰ ﻁﻭل ‪ ,‬ﻤﺎﺩﺍﻡ ﺍﻝﻨﺎﻅﺭ ﻋﺭﻑ ‪.‬‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪Pan Right‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻜﻠﻪ ﻤﻥ ﺠﺩﺭ ﺍﻝﺒﻁﺎﻁﺎ ﻴﺎ‬
‫ﻨﺎﺤﻴﺔ ﻋﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫ﻭﻝﺩﻯ ‪.‬‬
‫‪. Angle‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 35‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺤﻘﻭل ﺍﻝﻘﺭﻴﺔ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 162‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻔﻼﺤﺎﻥ ﻴﺤﻤﻼ ﻋﺯﻴﺯﺓ‬
‫) ‪( 20‬‬ ‫ﻭﺒﺠﻭﺍﺭﻫﻤﺎ ﻓﻼﺤﺔ ‪ .‬ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ‬ ‫‪-‬‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ‪. Pan Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 163‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻭﺠﻪ ﻋﺯﻴﺯﺓ‬
‫‪ -‬ﻭﻫﻰ ﻋﻠﻰ ﺍﻝﻨﻘﺎﻝﺔ ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪high Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪164‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬ ‫‪-‬‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ﻝﻠﻔﻼﺡ ‪Low‬‬

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‫‪ Angle‬ﺍﻝﺫﻯ ﻴﺤﻤﻠﻬﺎ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ‬

‫ﻋﺯﻴﺯﺓ‬
‫ﻗﻁﻊ ﻋﻠﻰ ﺍﻝﻤﺤﻭﺭ‬
‫‪ 165‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ﻝﻠﻔﻼﺡ ﻤﻨﺨﻔﻀﺔ‬ ‫‪-‬‬
‫‪Low Angle‬‬
‫) ﻭﺠﻬﺔ ﻨﻅﺭ ﻋﺯﻴﺯﺓ (‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 166‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ﻝﻠﻔﻼﺡ ) ﻴﺘﻀﺢ ﻓﻴﻤﺎ‬
‫ﺒﻌﺩ ﺍﻨﻪ ﺯﻭﺠﻬﺎ ( ﻤﻨﺨﻔﻀﺔ ‪Low Angle‬‬

‫) ﻭﺠﻬﺔ ﻨﻅﺭ ﻋﺯﻴﺯﺓ (‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻊ ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 167‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﻭﺠﻪ ﻋﺯﻴﺯﺓ‬
‫) ‪( 20‬‬ ‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬ ‫‪-‬‬
‫ﺘﺩﺨل ﻤﻭﺴﻴﻘﻰ ﺍﻝﻔﺭﺡ‬ ‫ﻭ ﻴﺤﺩﺙ ﻤﺯﺝ ‪ Dissolve‬ﻤﻊ ﺍﺴﺘﻤﺭﺍﺭ‬
‫ﺼﻭﺕ ﺯﻏﺎﺭﻴﺩ‬
‫ﻝﻘﻁﺔ ﻭﺠﻪ ﻋﺯﻴﺯﺓ ﻋﻠﻰ ﺍﻝﺸﺎﺸﺔ ﻭﻴﻅﻬﺭ‬
‫ﻭﺘﺼﻔﻴﻕ‬
‫ﻤﻊ ﺍﻝﻤﺯﺝ ﻝﻘﻁﺔ ﻝﻔﺭﺡ ﻭﻋﺩﺩ ﻤﻥ ﺍﻝﻨﺎﺱ‬
‫ﻴﺭﻗﺼﻭﺍ ﻓﻰ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪.L. S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 168‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫‪ -‬ﺠﺎﻨﺒﻴﺔ ﻴﻤﻴﻥ ‪ Side Angle‬ﻤﻊ ﺍﺴﺘﻤﺭﺍﺭ‬
‫ﺍﻝﻤﺯﺝ ﺒﻴﻥ ﻭﺠﻬﻬﺎ ﻭﻝﻘﻁﺔ ﺍﻝﻔﺭﺡ ﺘﺴﺘﻤﺭ‬
‫ﻋﻠﻰ ﺍﻝﺸﺎﺸﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 169‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M. Close up‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ ﺍﻝﻔﺭﺡ‬ ‫ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﺃﻤﺎﻤﻴﺔ ﻭﺘﻅﻬﺭ ﻝﻘﻁﺔ‬ ‫‪-‬‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﻤﺯﺝ ﻝﺸﻤﻭﻉ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫) ‪( 20‬‬

‫‪ 170‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﻤﺤﻤﻭﻝﺔ‬

‫ﻭﻴﻅﻬﺭ ﺤﻭﻝﻬﺎ ﻓﻼﺤﻴﻥ ﺍﻝﻘﺭﻴﺔ ﻭﺘﺘﺎﺒﻌﻬﺎ‬ ‫‪-‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪Pan Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ‬ ‫‪ 171‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻔﻼﺡ ﻏﺎﻀﺏ‬

‫‪ -‬ﻭﺒﺠﻭﺍﺭﻩ ﻓﻼﺡ ﻴﺤﻤل ﻨﻘﺎﻝﺔ ﻋﺯﻴﺯﺓ ﻭﺘﻅﻬﺭ‬
‫ﻓﻼﺡ ‪ :‬ﻨﺠﺴﺘﻭﺍ ﺒﻠﺩﻨﺎ ﻭﻴﺎﻭﻻﺩ ﺍﻝﻜﻠﺏ ‪.‬‬ ‫ﺍﻝﻤﺭﺃﺓ ﺍﻝﺘﻰ ﺘﻌﺘﻨﻰ ﺒﻌﺯﻴﺯﺓ ‪.‬‬
‫ﻴﺎ ﻤﺠﺭﻤﻴﻥ ﻴﺎ ﻜﻔﺭﺓ ‪ .‬ﺘﻔﻭﻭﻩ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 20‬‬
‫‪ 172‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺯﻴﺯﺓ ﻤﺤﻤﻭﻝﺔ ﻋﻠﻰ‬
‫ﺍﻝﻨﻘﺎﻝﺔ ﻭﺒﺠﻭﺍﺭﻫﺎ ﺃﻡ ﺤﺴﻥ ﻭﻴﺩﺨﻠﻭﺍ ﻤﻥ‬ ‫‪-‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
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‫ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﺃﻫل‬

‫ﻓﻼﺡ ‪ :‬ﺇﻁﻠﻌﻭﺍ ﻤﻥ ﺒﻠﺩﻨﺎ ﻴﺎ ﻗﺘﺎﻝﻴﻥ‬
‫ﺍﻝﻘﺭﻴﺔ ﻤﺼﻁﻔﻴﻥ ﻭﺠﻤﻴﻊ ﻤﻥ ﻓﻰ ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﻘﺘﻠﺔ ‪ ...‬ﺘﻔﺘﻜﺭﻭﺍ ﺇﻥ ﺒﻼﺩﻨﺎ ﻴﺤﺼل‬
‫ﺴﻠﻭﻴﺕ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻜﻭﺍ ﺒﺎﻝﻨﻘﺎﻝﺔ ﻝﻴﺨﺭﺠﻭﺍ‬
‫ﻓﻴﻬﺎ ﻜﺩﻩ ‪.‬‬
‫ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪ .‬ﻭﻴﻅﻬﺭ ﻋﻠﺒﺩﺍﻝﻤﻁﻠﺏ‬
‫ﺍﻝﻤﺠﻤﻭﻋﺔ ‪ :‬ﻷ ‪.‬‬
‫ﻭﻤﻌﻪ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺭﺠﺎل ﻭﺘﺼﺒﺢ‬
‫ﻓﻼﺡ ‪ :‬ﺩﻭل ﻤﺎ ﻋﺩﻝﻴﻬﻤﺵ ﻋﻴﺵ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫ﻋﻨﺩﻨﺎ ‪ .‬ﻻﺯﻡ ﻴﺨﺭﺠﻭﺍ ﻤﻥ ﺒﻠﺩﻨﺎ‬
‫‪ , Angle‬ﻭﻴﺘﺤﺭﻜﻭﺍ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺩﻝﻭﻗﺕ ‪ ...‬ﻴﺎﻝﻼ ﻴﺎ ﺠﺩﻋﺎﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 173‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M .S‬ﻝﻠﻐﻔﻴﺭ ﻋﺒﺩ‬
‫ﺍﻝﻤﻁﻠﺏ ﻭﻫﻭ ﻴﺠﺭﻯ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬ ‫‪-‬‬
‫ﻭﻴﻘﻑ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺃﻫﺎﻝﻰ ﺍﻝﻘﺭﻴﺔ ‪ .‬ﻭﻴﻘﻑ‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﻋﺎﻴﺯ ﺁﻴﻪ ﻴﺎ ﺠﺩﻉ ﺃﻨﺕ‬
‫ﺃﻤﺎﻡ ﺍﻝﻔﻼﺡ ﺍﻝﺜﺎﺌﺭ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻭﻫﻭ ؟‬
‫ﻤﺘﻭﺴﻁﺔ ‪ (Medium Shot (MS‬ﺍﻝﻔﻼﺡ ‪ :‬ﻴﺭﻀﻴﻙ ﻜﺩﻩ ﻴﺎ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ‬
‫ﺒﻠﺩﻨﺎ ﻭﺵ ﻜﺩﻩ ؟‬ ‫ﻭﺨﻠﻔﻬﻤﺎ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻔﻼﺤﻴﻥ ‪.‬‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﻜل ﻭﺍﺤﺩ ﻴﺭﻭﺡ ﻝﺤﺎﻝﻪ‬
‫ﻭﻴﺴﻴﺏ ﺍﻝﺤﻜﻭﻤﺔ ﺘﺘﺼﺭﻑ ‪.‬‬
‫ﺍﻝﻔﻼﺡ ‪ :‬ﺤﻜﻭﻤﺔ ﻤﻴﻥ! ﺩﻯ ﺒﻠﺩﻨﺎ‬
‫ﻭﻻﺯﻡ ﻨﻨﻀﻔﻬﺎ ﻤﻥ ﺍﻝﻨﺠﺎﺴﺔ ‪.‬‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺩﻴﻬﺩﻴﻪ ‪ ...‬ﺒﻘﻭﻝﻙ‬
‫ﻓﻀﻬﺎ ﺴﻴﺭﺓ ﻭﻜل ﻭﺍﺤﺩ ﻴﺭﻭﺡ ﻝﺤﺎﻝﻪ‬
‫ﻭﻴﺴﻴﺏ ﺍﻝﻨﻴﺎﺒﺔ ﻭﺍﻝﺒﻭﻝﻴﺱ ﻴﺘﺼﺭﻑ ‪.‬‬
‫ﻴﺎﻝﻼ ﻴﺎ ﺠﺩﻉ ﺃﻨﺕ ﻭﻫﻭ ‪.‬‬
‫ﺜﻡ ﻴﺘﺭﺍﺠﻌﻭﻥ ﻓﻰ ﺴﺨﻁ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 174‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﻤﺠﻤﻭﻋﺔ ﻓﻼﺤﻴﻥ‬
‫‪ -‬ﻤﻠﺘﻔﻴﻥ ﺤﻭل ﺍﻝﻨﺎﻅﺭ ﻭﻴﺨﺭﺝ ﻤﻥ ﻭﺴﻁﻬﻡ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺠﺎﻙ ﺩﺍﻫﻴﺔ ﻤﻨﻙ ﻝﻪ ‪ ...‬ﺁﻴﻪ‬ ‫ﻭﻴﻔﺭﻗﻬﻡ ‪ .‬ﺜﻡ ﻴﻘﻑ ﻤﻊ ﺍﻝﻔﻼﺡ ﺍﻝﺜﺎﺌﺭ‬
‫ﺍﻝﻠﻤﺔ ﺩﻯ !‬
‫ﺍﻝﻔﻼﺡ ‪ :‬ﺇﺤﻨﺎ ﻋﻤﻠﻨﺎ ﺤﺎﺠﺔ ﻴﺎﺤﻀﺭﺓ‬
‫ﺍﻝﻨﺎﻅﺭ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻜل ﻭﺍﺤﺩ ﻴﺨﻠﻴﻪ ﻓﻰ ﺤﺎﻝﻪ‬ ‫‪ .‬ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺩﺨل ﻤﺤﻤﻭﺩ‬
‫ﻭﺒﺱ ‪ .‬ﻗﻭﻡ ﺇﻨﺠﺭ ‪.‬‬ ‫ﺤﺠﻡ‬ ‫ﺍﻝﺒﻭﺴﻁﺠﻰ ﻭﻴﺼﺒﺢ ﻫﻭ ﻭﺍﻝﻨﺎﻅﺭ ﻓﻰ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪ M.S. 2‬ﻭﻴﻀﺭﺒﻪ ﻤﺤﻤﻭﺩ ﺍﻝﺒﻭﺴﻁﺠﻰ ‪ :‬ﻜل ﺍﻝﻨﺴﻭﺍﻥ‬
‫ﻭﺩﻴﻨﻰ ﻋﺎﻴﺯﺓ ﺍﻝﺤﺭﻕ ‪.‬‬ ‫ﺍﻝﻨﺎﻅﺭ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺒﻼﺵ ﻏﻠﺒﺔ ﻴﺎﺩ ﺃﻨﺕ ﻜﻤﺎﻥ ‪.‬‬
‫ﻏﻭﺭ ﺠﺎﺘﻙ ﺩﺍﻫﻴﺔ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻠﻨﺎﻅﺭ‬ ‫‪175‬‬
‫ﻭﺍﻝﺒﻭﺴﻁﺠﻰ ﻭﻴﻀﺭﺒﻪ ﺍﻝﻨﺎﻅﺭ ﺒﺎﻝﻌﺼﺎ‬
‫ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ ﺍﻝﻨﺎﻅﺭ‬
‫ﺒﻤﻔﺭﺩﻩ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﺨﻠﻔﻴﺔ ‪Full‬‬
‫‪ rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﺘﺭﻋﺔ ‪.‬ﺜﻡ ﻴﺩﺨل‬
‫ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﺴﻴﺭﺍ‬
‫ﺒﺠﺎﻨﺏ ﺍﻝﻨﺎﻅﺭ ﻭﻴﺼﺒﺢ ﺍﻻﺜﻨﻴﻥ ﺒﺭﻭﻓﻴل‬
‫ﻤﺴﻴﺢ ‪ :‬ﻨﻬﺎﺭﻙ ﺴﻌﻴﺩ ﻴﺎ ﺤﻀﺭﺓ‬ ‫‪ side angle‬ﻭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻬﻡ ‪Pan‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪.‬‬ ‫‪Right‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺴﻌﻴﺩﺓ ﻤﺒﺎﺭﻜﺔ ﻴﺎ ﻤﺴﻴﺢ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
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‫ﺃﻓﻨﺩﻯ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺩﻯ ﺤﺎﺠﺔ ﻭﺤﺸﺔ ﺃﻡ ﺘﻘﺘل‬
‫ﻭﻝﺩﻫﺎ ‪ .‬ﺩﺍ ﻭﻻ ﺍﻝﺤﻴﻭﺍﻥ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺁﻩ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻋﻠﻰ ﺍﻝﻌﻤﻭﻡ ﺍﻝﻘﻀﻴﺔ‬
‫ﺩﻝﻭﻗﺘﻰ ‪..‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻗﻀﻴﺔ ! ﻗﻀﻴﺔ ﺁﻴﻪ ؟‬
‫ﻤﺴﻴﺢ ‪ :‬ﻗﻀﻴﺔ ﺍﻝﻘﺘل ‪ ...‬ﻤﺎﺃﺼل‬
‫ﺍﻝﻨﻴﺎﺒﺔ ﻜﺎﻨﺕ ﻗﻴﺩﺕ ﺍﻝﻘﻀﻴﺔ ﻀﺩ‬
‫ﻤﺠﻬﻭل ‪ .‬ﻭﺍﻝﻤﺠﻬﻭل ﺇﺘﻌﺭﻑ‬
‫ﺨﻼﺹ ‪ ...‬ﻓﺎﻻﺯﻡ ﺍﻝﻨﻴﺎﺒﺔ ﺘﻘﺒﺽ ﻋﻠﻰ‬
‫ﺍﻝﻭﻝﻴﺔ ﺩﻯ ﻭﺘﺨﻠﺼﻨﺎ ﻤﻨﻬﺎ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻨﻴﺎﺒﺔ ﺁﻴﻪ ﻴﺎ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ؟‬
‫ﻤﺴﻴﺢ ‪ :‬ﺁﻴﻪ ﻩ ! ﺃﻨﺕ ﻝﺴﻪ ﻤﺎﺒﻠﻐﺘﺵ‬
‫ﺩﻩ ﺃﻨﺕ ﻻﺯﻡ ﺘﺒﻠﻎ ﺤﺎ ﹰﻻ ‪ ..‬ﻭ ﹶﻻ ﺁﻴﻪ ﺭﺃﻴﻙ‬
‫؟‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺃﻤﺎ ﺃﺸﻭﻑ ‪.‬‬

‫ﻭﻴﺨﺭﺝ ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ ﻤﺴﻴﺢ‬

‫ﻓﻰ ﺍﻝﻜﺎﺩﺭ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 176‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﻤﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻫﻡ‬
‫ﻴﺤﻤﻠﻭﻥ ﻋﺯﻴﺯﺓ ﻭﻴﻀﻌﻭﻨﻬﺎ ﻋﻠﻰ ﻜﻭﻤﺔ‬
‫ﻓﻼﺡ ‪ :‬ﺍﻝﺴﺕ ﺃﻡ ﺤﺴﻥ ﻓﻴﻥ ؟‬ ‫ﻗﺵ ﺃﺴﻔل ﺨﻴﻤﺔ ‪ .‬ﺜﻡ ﻴﺩﺨل ﻓﻼﺡ ﻤﻥ‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﺁﻨﻰ ‪.‬‬ ‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺤﺩﺙ ﻤﻊ ﺍﻝﻔﻼﺤﺔ ﺍﻝﺘﻰ‬
‫ﺍﻝﻔﻼﺡ ‪ :‬ﻜﻠﻤﻰ ﺤﻀﺭﺓ ﺍﻝﻨﺎﻅﺭ ‪.‬‬ ‫ﺍﻝﻨﺎﻅﺭ‬ ‫ﺏﺠﻭﺍﺭ ﻋﺯﻴﺯﺓ ﻭﻴﺴﻴﺭ ﺒﻬﺎ ﻨﺎﺤﻴﺔ‬
‫ﻭﺘﺩﺨل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﻋﺯﻴﺯﺓ ﻭﻫﻰ ﻨﺎﺌﻤﺔ ﺃﻡ ﺤﺴﻥ‪ :‬ﻭﻋﺎﻴﺯﻨﻰ ﻝﻴﻪ ؟ ﺃﻨﺎ ﺫﻨﺒﻰ ﺁﻴﻪ‬
‫؟‬ ‫‪Zoom in‬‬
‫ﺍﻝﻔﻼﺡ ‪ :‬ﻗﻭﻤﻰ ‪ .‬ﺒﺱ ﻗﻭﻤﻰ‬
‫‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 177‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﺘﺭﺘﺠﻑ ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﻭﺠﻬﻬﺎﻓﻰ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻫﻭ ﺍﻝﻠﻰ ﻗﺎل ﻋﺎﻴﺯ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺤﺭﻜﺔ لﻝﻜﺎﻤﻴﺭﺍ‪Zoom in‬‬
‫ﺍﻝﺒﻁﺎﻁﺔ ‪ ...‬ﺠﺩﺭ ﺍﻝﺒﻁﺎﻁﺔ ﻜﺎﻥ‬
‫) ‪( 21‬‬
‫ﺍﻝﺴﺒﺏ ‪.‬‬
‫ﻭﻴﺤﺩﺙ ﻤﺯﺝ ‪ Dissolve‬ﻋﻠﻰ ﻤﺠﻤﻭﻋﺔ‬
‫ﻤﻥ ﺍﻝﻠﻘﻁﺎﺕ ﺍﻝﺘﺎﻝﻴﺔ‬
‫‪ 178‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻤﺼﺒﺎﺡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 179‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﺭﺠﺎل ﻴﺭﻗﺼﻭﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 180‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻋﻠﻰ ﺼﻴﻨﻴﺔ‬
‫ﻋﻠﻴﻬﺎ ﺸﻤﻭﻉ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﻨﻬﺎﻴﺔ ﺍﻝﻤﺯﺝ ‪ Dissolve‬ﻝﻠﻘﻁﺔ ﻭﺠﻪ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 34 of 78‬‬

‫ﻋﺯﻴﺯﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﻭﺩﺓ ﻝﻠﻭﺭﺍﺀ ‪Flash Back‬‬
‫ﻤﺸﻬﺩ ) ‪( 36‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﻨﺯل ﻋﺯﻴﺯﺓ‬
‫ﺼﻭﺕ ﺯﻏﺎﺭﻴﺩ‬ ‫‪ 181‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ‬
‫ﻭﺘﺼﻔﻴﻕ‬ ‫ﺍﻝﻠﻤﺒﺎﺕ ﺍﻝﻤﻌﻠﻘﺔ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬
‫‪ Track in‬ﻷﺴﺘﻌﺭﺍﺽ ﺍﻝﻠﻤﺒﺎﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 182‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ) ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﺭﺠﺎل ﻴﺘﻘﺩﻤﻭﻥ ﻤﻥ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﻴﺨﺭﺠﻭﻥ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻫﻡ ﻴﺭﻗﺼﻭﻥ ﻭ ﻴﻌﺯﻓﻭﻥ ﻭﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ‬
‫ﻤﺭﺘﺩﻴﺔ ﻓﺴﺘﺎﻥ ﺍﻝﺯﻓﺎﻑ ﻭﻴﺤﻴﻁ ﺒﻬﺎ ﺭﺠﻼﻥ‬
‫ﻴﻤﺴﻜﺎﻥ ﻴﺩﻴﻬﺎ ﻝﻴﺯﻓﻭﻫﺎ ﻭﻫﻰ ﺘﺘﻘﺩﻡ‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺘﺤﺭﻙ ﻤﻌﻪﺍ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪Dolly back‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 183‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻌﺒﺩﺍﷲ ﺍﻝﻌﺭﻴﺱ‬
‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻋﺯﻴﺯﺓ ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ Zoom in‬ﻤﻥ ﻭﺠﻬﻪ ﺤﺘﻰ ﻴﺼﺒﺢ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 184‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﺯﻴﺯﺓ ﺘﺴﻴﺭ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ ﺍﻝﻔﺭﺡ‬ ‫ﻭﻴﺩﺨل ﻋﺒﺩﺍﷲ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﻴﺤﻤل‬
‫) ﻁﺒل ( ﻋﺎﻝﻰ‬ ‫ﻋﺯﻴﺯﺓ ﻭﻴﺩﺨل ﺍﻝﻤﻨﺯل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 37‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻋﺯﻴﺯﺓ‬
‫‪ 185‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ M . S‬ﻝﻌﺒﺩﺍﷲ ﻴﺤﻤل‬
‫ﻋﺯﻴﺯﺓ ﻭﻴﺩﺨل ﺒﻬﺎ ﺍﻝﻤﻨﺯل ﺜﻡ ﻴﺘﺠﺔ ﺍﻝﻰ‬
‫ﻏﺭﻓﺔ ﺍﻝﻨﻭﻡ ﻭﻴﻘﻑ ﻋﻠﻰ ﺒﺎﺏ ﺍﻝﻐﺭﻓﺔ‬
‫ﺭﺠﻠﻴﻥ ﻴﻐﻨﻭﻥ ﻤﻊ ﺍﻝﺴﻴﺩﺍﺕ ﺍﻏﺎﻨﻰ ﺍﻻﻓﺭﺍﺡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 186‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ‬
‫ﺍﻝﻔﺘﻴﺎﺕ ﻴﺼﻔﻘﻥ ﻭﻴﻐﻨﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 187‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﺭﺠﻠﻴﻥ ﻭﺍﻗﻔﻴﻥ‬
‫ﺃﻤﺎﻡ ﺒﺎﺏ ﻏﺭﻓﺔ ﺍﻝﻨﻭﻡ ﻴﺼﻔﻘﺎ ‪ .‬ﺜﻡ ﻴﺨﺭﺝ‬
‫ﺍﻝﻌﺭﻴﺱ ﻭﻴﻘﻭﻤﺎ ﺇﺤﺩﻯ ﺍﻝﺭﺠﻠﻴﻥ ﺒﺤﻤﻠﺔ‬
‫ﻭﻴﺨﺭﺝ ﺒﻪ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﺨﻠﻔﻪ ﺍﻝﺭﺠل‬
‫ﺍﻷﺨﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 38‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﺍﻝﻤﻨﺯل‬
‫ﺼﻭﺕ ﻁﻠﻘﺔ‬ ‫‪ 188‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫ﺍﻝﺭﺼﺎﺹ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 35 of 78‬‬

‫‪ Shot (MLS‬ﻝﻨﻭﺍﻓﺫ ﺍﻝﻤﻨﺯل ﻤﻥ ﺯﺍﻭﻴﺔ‬

‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻭﺘﻅﻬﺭ‬
‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻨﺴﺎﺀ ﺘﺼﻔﻘﻥ ‪ .‬ﺜﻡ ﻴﺩﺨل‬
‫ﺭﺠل ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ ﻓﻰ ﻤﻘﺩﻤﺔ‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻥ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻭﻴﻁﻠﻕ ﺍﻝﻨﺎﺭ ﻓﻰ ﺍﻝﻬﻭﺍﺀ ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 189‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻌﺼﺎﻴﺘﻴﻥ ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻷﺴﻔل ‪ Tilt Down‬ﻝﻴﻅﻬﺭ ﺭﺠﻼﻥ ﻴﻘﻭﻤﺎ‬
‫) ‪( 21‬‬ ‫ﺒﺎﻝﺘﺤﻁﻴﺏ ﻭﻴﻅﻬﺭ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﺠﻤﻊ‬
‫ﻭﻤﻭﺴﻴﻘﻰ ﺍﻝﻔﺭﺡ‬ ‫ﻤﻥ ﺍﻝﻨﺎﺱ ﻴﺭﻗﺼﻭﻥ ‪.‬‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -out‬‬
‫ﻤﺸﻬﺩ ) ‪( 39‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺭﺽ ﺯﺭﺍﻋﻴﺔ‬
‫ﺠﻭ ﻋﺎﻡ‬ ‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade-in‬‬ ‫‪190‬‬
‫ﺼﻭﺕ ﺍﻝﻤﻴﺎﻩ‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺒﺩﺍﷲ ﺠﺎﻝﺱ ﺒﺠﻭﺍﺭ‬
‫ﺍﻝﺘﺭﻋﺔ ﻭﻴﻘﻭﻡ ﺒﺘﺩﻭﻴﺭ ﺍﻝﻁﻨﺒﻭﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 191‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻌﺒﺭ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻗﻭﻡ ﻜﻠﻙ ﻝﻘﻤﺔ ‪.‬‬
‫ﺍﻝﺘﺭﻋﺔ ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺁﻴﻪ ﺩﻩ ﻴﺎ ﻋﺯﻴﺯﺓ ﺘﻁﻠﻌﻰ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻠﻜﺎﻤﻴﺭﺍ ‪ . Pan Right‬ﺜﻡ‬
‫ﺍﻝﻐﻴﻁ ﻴﻭﻡ ﺼﺒﺎﺤﻴﺘﻙ ؟‬
‫ﻴﻅﻬﺭ ﻋﺒﺩﺍﷲ ﺒﺠﻭﺍﺭ ﺍﻝﺘﺭﻋﺔ ﻭﻴﺄﺨﺫ ﻤﻨﻬﺎ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﻭﻭﻩ ﺍﻴﻪ ﻴﺎ ﻋﺒﺩ ﺍﷲ‪ ..‬ﻜل‬
‫ﺍﻝﻁﻌﺎﻡ ﻭﻴﺴﻴﺭ ﻤﻌﻬﺎ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﺼﺒﺤﻴﺔ ﻤﻌﺎﻙ ﺼﺒﺎﺤﻴﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪192‬‬
‫ﺱ ﻤﺎﻜﻨﺘﻴﺵ ﺘﻘﻌﺩﻯ ﻓﻰ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M.2‬ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ ﻋﺒﺩﺍﷲ ‪ :‬ﺒ ‪‬‬
‫ﺍﻝﺩﺍﺭ ﻗﺩ ﻴﻭﻤﻴﻥ ﺘﻼﺘﺔ ‪.‬‬ ‫ﻭﻫﻡ ﻴﺠﻠﺴﺎ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻴﻔﺘﺢ ﻋﺒﺩﺍﷲ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺯﻯ ﺍﻝﺴﺕ ﺍﻝﻤﺴﺘﺘﺔ‬ ‫ﻝﻔﺔ ﺍﻝﻁﻌﺎﻡ ﻭﻴﺄﻜل ﻭﻴﻌﻁﻰ ﻋﺯﻴﺯﺓ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺯﻯ ﺍﻝﺴﻔﻴﺭﺓ ﻋﺯﻴﺯﺓ ﻴﺎ ﺒﺕ ‪.‬‬
‫ﻭﺤﻴﺎﺓ ﺍﻝﻨﺒﻰ ﺃﻨﺘﻰ ﺃﺤﻠﻰ ﻤﻨﻬﺎ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺎ ﺘﻘﻠﺵ ﻜﺩﻩ ﺒﺎﺘﻜﺴﻑ ‪.‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻭﺃﻨﺘﻰ ﺸﻔﺘﻰ ﺤﺎﺠﺔ ﺘﻜﺴﻑ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻭﺍﻝﻨﺒﻰ ﺃﻨﺕ ﻓﺎﻴﻕ ﻭﺭﺍﻴﻕ ‪,.‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻴﻌﻨﻰ ﺃﻨﺘﻰ ﺍﻝﻠﻰ ﻤﺵ ﻓﺎﻴﻘﺔ‬
‫ﻭﺭﺍﻴﻘﺔ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎﺨﻭﻯ ﺒﺱ ﺒﻘﻰ ﻤﺎ ﺘﻘﻌﺩﺵ‬ ‫ﺜﻡ ﺘﻘﻭﻡ ﻋﺯﻴﺯﺓ ﻭﺘﺠﺭﻯ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺘﻀﺎﻴﻘﻨﻰ‬ ‫ﻭﺭﺍﺀﻫﺎ‬ ‫ﻭﺘﺘﺴﻠﻕ ﻜﻭﻤﺔ ﺍﻝﻘﺵ ﻭﻴﺠﺭﻯ‬
‫ﻋﺒﺩﺍﷲ ﻭﻴﺨﺘﻔﻴﺎ ﺨﻠﻑ ﻜﻭﻤﺔ ﺍﻝﻘﺵ ‪ .‬ﻴﻤل ﻋﺒﺩﺍﷲ ‪ .. :‬ﺘﻌﺎﻝﻰ ﻫﻨﺎ ﻴﺎ ﺒﺕ ‪..‬‬
‫ﺍﷲ ‪ ..‬ﺃﻨﺘﻰ ﺭﺍﻴﺤﺔ ﻋﻠﻰ ﻓﻴﻥ ؟‬ ‫ﺍﻝﻜﺎﺩﺭ ﻜﻭﻤﺔ ﺍﻝﻘﺵ ﻭﺸﺠﺭﺓ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 40‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ ﻋﺯﻴﺯﺓ‬
‫‪ 193‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M .S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﻨﺎﺌﻤﺔ ﻭﺘﺴﺘﻴﻘﻅ ﺜﻡ ﺘﺘﺤﺭﻙ ﻭﻤﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺱ ﻴﺎ ﻋﺒﺩﺍﷲ ‪ ...‬ﻋﺒﺩﺍﷲ ‪..‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺒ ‪‬‬ ‫‪ Zoom out‬ﻓﺘﻅﻬﺭ ﺍﻝﻤﻌﺯﺓ ﺩﺍﺨل‬
‫ﺼﻭﺕ ﺤﻴﻭﺍﻨﺎﺕ‬ ‫ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﺘﻨﺯل ﻤﻥ ﻋﻠﻰ ﺍﻝﺴﺭﻴﺭ ﻭﺘﻌﻘﺩ‬
‫ﻤﻨﺩﻴل ﺍﻝﺭﺃﺱ ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﺃﻭﻋﻰ ﺃﻭﻋﻰ ﻤﻥ ﺨﻠﻘﺘﻰ ) ﻝﻠﻤﻌﺯﺓ (‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭ ‪ Pan Left‬ﺤﺘﻰ‬
‫ﺘﺨﺭﺝ ﻤﻥ ﺍﻝﺒﺎﺏ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‪.‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 36 of 78‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ )‪( 41‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﺍﻝﻤﻨﺯل‬
‫‪ 194‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﺘﻘﺩﻡ ﻤﻥ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﺴﻨﺔ ﺴﻭﺩﺓ ﻴﺎ ﻋﺒﺩﺍﷲ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﺎﺭﻴﻭﺓ ﺨﻔﻴﻑ ﻝﺘﺼل ﻝﻌﺒﺩﺍﷲ‬
‫ﻝﺴﺎﻙ ﻗﺎﻋﺩ ﻤﺎ ﺭﺤﺘﺵ ﺍﻝﺸﻐل ‪.‬‬ ‫ﺍﻝﺠﺎﻝﺱ ﺒﺭﻭﻓﻴل ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻤﺎﻓﻴﺵ ﺸﻐل ﺍﻝﻨﻬﺎﺭﺩﺓ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻭﺍﻝﻌﻤل ؟‬ ‫ﻡﺘﻭﺴﻁﺔ ﻻﺜﻨﻴﻥ ‪Medium Shot 2.‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺍﻝﻌﻤل ﻋﻤل ﺭﺒﻨﺎ ‪ .‬ﻴﻌﻨﻰ‬ ‫)‪ ( M.2‬ﺘﻜﻭﻥ ﻫﻰ ﻓﻴﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻫﻭ‬
‫ﻤﺎﺃﻨﺘﻴﺵ ﻋﺎﺭﻓﺔ ‪ .‬ﺃﻫﻪ ﻴﻭﻡ ﻓﻴﻪ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫ﻼ‬
‫ﻭﻋﺸﺭﺓ ﻤﺎﻓﻴﺵ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺩﻴﻬﺩﻴﻪ ‪ .‬ﻭﺒﻌﺩﻴﻥ !‬ ‫ﻝﻠﻴﻤﻴﻥ ‪ Track Right‬ﻨﺼﻑ ﺩﺍﺌﺭﺓ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻭﻻ ﻗﺒﻠﻴﻥ ‪ ,‬ﺩﻝﻭﻗﺘﻰ ﺃﺭﻭﺡ‬ ‫ﻤﺤﻭﺭﻫﺎ ﻋﺒﺩﺍﷲ ﻭﺘﻌﺒﺭ ﻋﺯﻴﺯﺓ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺱ‬‫ﺃﺩﻭ‪‬ﺭ ﻓﻰ ﺍﻝﻐﻴﻁ ﻋﻠﻰ ﺸﻐﻼﻨﺔ ‪ .‬ﺒ ‪‬‬ ‫ﻴﺴﺎﺭﹰﺍ ﻝﺘﺼﺒﺢ ﻫﻰ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻋﺒﺩﺍﷲ‬
‫ﻫﺎﺃﺭﻭﺡ ﺃﺩﻭ‪‬ﺭ ﻓﻴﻥ ﻴﺎ ﺃﺨﻭﺍﺘﻰ ‪ .‬ﻭ ﹶﻻ‬ ‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﺃﻗﻭﻝﻙ ﺃﺭﻭﺡ ﺃﺩﻭ‪‬ﺭ ﻭﺍﻝﺴﻼﻡ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺵ ﻫﺎ ﺘﺎﻜﹶﻠﻙ ﻝﻘﻤﺔ ؟‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻝﻤﺎ ﺁﺠﻰ ‪.‬‬
‫ﺜﻡ ﻴﻘﻑ ﻋﺒﺩﺍﷲ ﻭﻴﺨﺭﺝ ﻤﻥ ﻤﻘﺩﻤﺔ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﺘﺼﺒﺢ ﻋﺯﻴﺯﺓ ﺒﻤﻔﺭﺩﻫﺎ ﻓﻰ‬
‫ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 42‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺴﻁﺢ ﺍﻝﻤﻨﺯل‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﻋﺯﻴﺯﺓ ‪.‬‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪195‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﺃﻡ ﺤﺴﻥ ‪..‬‬
‫ﺇﺯﻴﻙ ﻴﺎ ﺃﺨﺘﻰ ﻭﺍﺯﻯ ﺍﻝﻌﻴﺎل‬ ‫‪ Medium .Close .Shot‬ﻋﻠﻰ ﻁﺒﻕ‬
‫ﻯ‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﺍﻨﺸﺎﺀ ﺍﷲ ﺘﺴﻠﻤﻰ ﺇﺯ ‪‬‬ ‫ﻼ‬
‫ﺒﻪ ﻜﻴﺯﺍﻥ ﺫﺭﺓ ‪ .‬ﺜﻡ ﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫ﺠﻭﺯﻙ ؟‬ ‫‪ Track out‬ﺤﺘﻰ ﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺃﻫﻪ ‪ .‬ﻝﺴﺔ ﺒﻴﺩﻭﺭ ﻋﻠﻰ ﺸﻐل ﺼﻭﺕ ﺍﻝﺒﻭﺹ‬ ‫ﻭﺘﻅﻬﺭ ﻋﻠﻰ ﺍﻝﺠﺎﻨﺏ ﺍﻵﺨﺭ ﻤﻥ ﺍﻝﺴﻁﺢ‬
‫ﺩﺍﻴﺦ ﻴﺎ ﻨﻀﺭﻯ ﻤﻥ ﺍﻝﺼﺒﺢ ﻝﻠﻴل‬ ‫ﺘﻨﺸﺭ ﺃﻡ ﺤﺴﻥ ﺍﻝﻐﺴﻴل ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﺭﺒﻨﺎ ﻴﺴﺎﻋﺩﻨﺎ ﻴﺎ ﺃﺨﺘﻰ‬ ‫ﺘﻨﻘل ﻋﺯﻴﺯﺓ ﺍﻝﺒﻭﺹ ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭﺍﻝﻰ‬
‫ﺍﻫﻰ ﺍﻝﺤﺎﻝﺔ ﻭﺍﻗﻔﺔ ﻭﺍﻝﻐﻠﺏ ﺭﺍﻜﺏ ﻓﻰ‬ ‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﺨﻨﺎﻕ ﺍﻝﻨﺎﺱ ‪.‬‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺒﻜﺭﺓ ﺭﺒﻨﺎ ﻴﻔﺭﺠﻬﺎ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 43‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻋﺯﻴﺯﺓ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪196‬‬
‫‪ Medium .Close .Shot‬ﻝﻌﺯﻴﺯﺓ‬
‫ﺘﺤﻤل ﺠﺭﺓ ﻤﺎﺀ ﻭﺘﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻝﺘﻔﺭﻍ‬
‫ﺍﻝﻤﺎﺀ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻬﺎ ﻨﺎﺤﻴﺔ ﺼﻭﺕ ﺍﻝﻤﻨﺎﺩﻯ ‪ :‬ﻴﺎ ﺃﻫل ﺍﻝﺒﻠﺩ ‪ ..‬ﺍﻝﻨﻔﺭ‬
‫ﺒﺴﺘﺔ ﻭ ﺍﻝﻘﺒﺽ ﻋﻠﻰ ‪ 15‬ﻴﻭﻡ ‪.‬‬
‫ﺍﻝﺸﻤﺎل ‪ . Pan Left‬ﺜﻡ ﺘﺠﺭﻯ ﺴﺭﻴﻌﹰﺎ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪Right‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ )‪( 44‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
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‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ ﻤﻥ ﺸﻭﺍﺭﻉ‬

‫ﺍﻝﻘﺭﻴﺔ‬
‫‪ 197‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺯﻴﺯﺓ ﺘﺄﺘﻰ ﻤﺴﺭﻋﺔ‬
‫ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‪Pan‬‬
‫ﺼﻭﺕ ﺍﻝﻤﻜﺎﻥ‬ ‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﻋﺒﺩﺍﷲ ‪..‬‬
‫‪ Right‬ﻭﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫‪. M .S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 198‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻌﺒﺩﺍﷲ ﺠﺎﻝﺱ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ﺒﺭﻭﻓﻴل ﻭﻋﺯﻴﺯﺓ ﺘﺄﺘﻰ ﻤﻥ ﺍﻝﻴﺴﺎﺭ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﻋﺒﺩﺍﷲ ‪ ..‬ﺍﻝﻨﻔﺭ ﺒﺴﺘﺔ ‪.‬‬
‫ﻋﺒﺩﺍﺍﷲ ‪ :‬ﻤﻴﻥ ﺍﻝﻠﻰ ﻗﺎل ؟‬ ‫ﻭﻴﺼﺒﺢ ﺍﻝﻤﺸﻬﺩ ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ﻻﺜﻨﻴﻥ ‪2.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺍﻝﻤﻨﺎﺩﻯ ﺍﻝﻠﻰ ﻗﺎل ‪.‬‬ ‫‪ ( Medium Shot (M.2‬ﺜﻡ ﻴﻘﻭﻡ‬
‫ﻋﺒﺩﺍﷲ ﻭﻴﺘﺤﺭﻜﺎ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﻋﺒﺩﺍﷲ ‪ :‬ﺍﻝﺤﻤﺩ ﷲ ‪ ..‬ﻴﺎ ﺴﻼﻡ ‪ .‬ﻴﺎﻤﺎ‬
‫ﺃﻨﺕ ﻜﺭﻴﻡ ﻴﺎﺭﺏ ‪ .‬ﻤﺵ ﻗﻠﺘﻠﻙ ﻭﺸﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Left‬‬
‫ﺤﻠﻭ ﻋﻠﻰ ﻴﺎ ﻋﺯﻴﺯﺓ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 45‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ ﻤﻥ ﺸﻭﺍﺭﻉ‬
‫ﺍﻝﻘﺭﻴﺔ‬
‫‪ 199‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﻤﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﺠﺎﻝﺴﻴﻥ ﻭﺤﻭﻝﻬﻡ ﺴﻴﺎﺭﺍﺕ ﻨﻘل ﻭﻴﻘﻑ‬
‫ﻋﺭﻓﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ .‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻜل ﻤﻥ‬
‫ﻋﺭﻓﺔ ‪ :‬ﻋﺒﺩﺍﷲ ﺇﺒﺭﺍﻫﻴﻡ ‪ ,‬ﻋﺯﻴﺯﺓ‬
‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ‬ ‫ﻋﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ‬
‫ﻤﺤﻤﺩ ‪ ,‬ﻤﻁﺎﻭﻉ ﻋﻭﻴﺱ ‪ ,‬ﻋﻠﻰ ﻜﺎﻤل‬
‫ﺴﻴﺎﺭﺓ ﻤﻥ ﺴﻴﺎﺭﺍﺕ ﺍﻝﻨﻘل ﻭﺘﺘﺎﺒﻌﻬﻤﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪. Pan Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 200‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ﻻﺜﻨﻴﻥ ‪Medium) 2.‬‬
‫‪ Shot (M.2‬ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ ﻴﺴﺎﻋﺩﻫﺎ‬
‫ﻭﻫﻰ ﺘﺼﻌﺩ ﺍﻝﻰ ﺍﻝﻴﺴﺎﺭﺓ ‪ .‬ﻭﻴﻘﻔﺎ ﻭﻴﻨﻅﺭﺍ‬
‫ﺃﺴﻔل ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 201‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻌﺭﻓﺔ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ ) High Angle‬ﻭﺠﻬﺔ ﻨﻅﺭ‬
‫ﻋﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ( ﻭﺒﺠﻭﺍﺭﻩ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻋﺭﻓﺔ ‪ :‬ﺁﻴﻪ ﻴﺎ ﺭﺍﺠل ﺃﻨﺕ ﺭﺍﻴﺢ ﻓﻴﻥ ‪.‬‬
‫ﻤﺎﺘﻨﻔﻌﺵ‬ ‫ﺭﺠل ﻋﺠﻭﺯ ﻴﺤﺎﻭل ﺍﻝﺼﻌﻭﺩ ﺍﻝﻰ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻭﻴﻤﻨﻌﻪ ﻋﺭﻓﺔ ﻤﻥ ﺍﻝﺼﻌﻭﺩ‪ .‬ﻴﻨﺯل ﺍﻝﺭﺠل ﺍﻝﻌﺠﻭﺯ ‪ :‬ﺃﺒﻭﺱ ﺭﺠﻠﻙ ﺃﻨﺎ ﺒﺄﺠﺭﻯ‬
‫ﻋﻠﻰ ﻴﺘﺎﻤﻰ ﺇﻋﻤل ﻤﻌﺭﻭﻑ ‪.‬‬ ‫ﺍﻝﻰ ﺍﻷﺭﺽ ﻭﻴﻘﺒل ﺭﺠل ﻋﺭﻓﺔ ﻭﻴﻨﻅﺭ‬
‫ﻷﻋﻠﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 202‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ﻻﺜﻨﻴﻥ ‪Medium) 2.‬‬
‫ﺼﻭﺕ ﻋﺭﻓﺔ ‪ :‬ﺁﻴﻪ ﻴﺎ ﺭﺍﺠل ﺃﻨﺕ‬ ‫‪ Shot (M.2‬ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ ﻴﻨﻅﺭﺍ‬
‫ﺒﻘﻭﻝﻙ ﻤﺎﺘﻨﻔﻌﺵ ‪..‬ﻴﺎﻝﻼ ‪.‬‬ ‫ﺃﺴﻔل ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 203‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺴﻴﺎﺭﺍﺕ ﺘﺘﺤﺭﻙ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺼﻭﺕ ﻤﺤﺭﻙ‬ ‫ﻭﻋﻠﻴﻬﺎ ﻋﻤﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻫﻡ ﻴﻭﺩﻋﻭﻥ‬
‫) ‪( 22‬‬ ‫ﺍﻝﺴﻴﺎﺭﺍﺕ‬ ‫ﺍﻫﻠﻬﻡ ﻤﻥ ﻓﻭﻕ ﺍﻝﻌﺭﺒﺎﺕ ﻭﺍﻻﻫل ﻴﺠﺭﻭﻥ‬
‫ﺒﺠﺎﻨﺏ ﺍﻝﻌﺭﺍﺒﺎﺕ ﺍﻝﺘﻰ ﺘﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ‬

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‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 46‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺭﺽ ﺯﺭﺍﻋﻴﺔ‬
‫‪ 204‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻷﺭﺽ ﺯﺭﺍﻋﻴﺔ‬
‫ﺍﺴﺘﻤﺭﺍﺭ‬ ‫ﺘﺴﺘﻌﺭﺽ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻷﺭﺽ ﻴﻤﻴﻨﺎ ً‪Pan‬‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫ﻀﻭﻀﺎﺀ‬ ‫‪ Right‬ﻭﺘﻘﻑ ﻋﻨﺩ ﻋﺒﺩﺍﷲ ﺍﻝﺫﻯ ﻴﺤﺭﺙ‬
‫) ‪(22‬‬ ‫ﺍﻷﺭﺽ ﻓﻰ ﻤﻘﺩﻤﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 205‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﻤﻨﺤﻨﻴﺔ ﻋﻠﻰ ﺍﻷﺭﺽ ‪.‬ﺜﻡ‬
‫ﺘﻌﺘﺩل ﻭﺘﻤﺴﻙ ﺒﻜﺘﻠﺔ ﻤﻥ ﺍﻝﻁﻴﻥ ﻭﺘﻘﺫﻓﻬﺎ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 206‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺒﺩﺍﷲ ﻤﻥ ﻅﻬﺭﻩ‬
‫ﻭﻴﻠﺘﻔﺕ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻨﻅﺭ ﻴﺴﺎﺭ‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 207‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﺘﻤﺴﺢ ﺍﻝﻌﺭﻕ ﻭﺘﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﺘﻐﻤﺯ ﺒﻌﻴﻨﻴﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 208‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺒﺩﺍﷲ ﻭﻴﻀﻊ‬
‫ﺍﻝﻔﺄﺱ ﻋﻠﻰ ﻜﺘﻔﻪ ﻭﻴﺒﺘﺴﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 209‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﻭﻴﺩﺨل‬
‫ﺍﻝﺭﻴﺱ ‪ :‬ﺍﺸﺘﻐﻠﻰ ﻴﺎ ﺒﺕ ‪.‬‬ ‫ﻓﻼﺡ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺩﻓﻌﻬﺎ ﺒﺎﻝﻌﺼﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 210‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺒﺩﺍﷲ ﻏﺎﻀﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 211‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﺘﻌﻭﺩ‬
‫ﻝﺘﻌﻤل ﻓﻰ ﺍﻷﺭﺽ ﻭﺘﻐﻤﺯ ﻝﻌﺒﺩﺍﷲ ﺒﺎﻥ‬
‫ﻴﻬﺩﺍﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 212‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺒﺩﺍﷲ ﻴﺒﺘﺴﻡ‬
‫ﻭﻴﻠﺘﻔﺕ ﻝﻴﺘﺎﺒﻊ ﻤﺭﺓ ﺜﺎﻨﻴﺔ ﺍﻝﺤﺭﺙ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 47‬‬
‫ﻨﻬﺎﺭ ﺨﺎﺭﺠﻰ ﻗﺭﻴﺔ ﻋﺯﻴﺯﺓ‬
‫‪ 213‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺴﻴﺎﺭﺍﺕ ﺍﻝﻨﻘل‬
‫ﻴﺴﻴﺭﻭﻥ ﻭﻴﻘﻑ ﻋﻠﻰ ﺍﻝﺠﺎﻨﺒﻴﻥ ﺭﺠﺎل‬
‫ﻭﻨﺴﺎﺀ ﺍﻝﻘﺭﻴﺔ ﻴﺼﻔﻘﻭﻥ ﻭﺘﺘﺎﺒﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﺘﺼﻔﻴﻕ‬ ‫ﺍﻝﺴﻴﺎﺭﺍﺕ ﻭﻫﻰ ﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬
‫‪Pan Right‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪214‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﺴﻴﺎﺭﺓ ﻋﺯﻴﺯﺓ‬
‫ﻭﻫﻰ ﺘﻘﻑ ﻭﻴﺩﺨل ﺭﺠل ﻴﻔﺘﺢ ﺍﻝﻌﺭﺒﺔ ﻤﻥ‬
‫ﺍﻝﺨﻠﻑ ﻝﻴﻨﺯل ﺍﻝﻌﻤﺎل ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬

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‫ﻷﻋﻠﻰ ‪ Tilt up‬ﻝﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ ﻭﻤﻌﻬﺎ‬

‫ﻋﺒﺩﺍﷲ ﻭﻫﻤﺎ ﻴﻨﺯﻻ ﻤﻥ ﺍﻝﺴﻴﺎﺭﺓ ﻭﻴﺼﺎﻓﺤﺎ‬
‫ﺃﻫل ﺍﻝﻘﺭﻴﺔ ﺜﻡ ﻴﺘﺤﺭﻜﻭﻥ ﺍﻝﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻨﻬﺎﻴﺔ‬ ‫ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﺍﻝﻤﻭﺴﻴﻘﻰ‬
‫) ‪(22‬‬ ‫‪Medium Long Shot (MLS‬‬

‫‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 48‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ ﻋﺯﻴﺯﺓ‬
‫‪ 215‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ (Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻭﺘﻐﻁﻰ ﺭﺃﺴﻬﺎ‬
‫ﺒﻤﻨﺩﻴل ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺴﺘﻌﺩ ﻝﻠﺨﺭﻭﺝ ﻭﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ﻋﺒﺩﺍﷲ ﺠﺎﻝﺱ ﻋﻠﻰ ﺃﺭﻴﻜﺔ ‪ .‬ﺘﺘﺤﺭﻙ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺨﻠﻠﻰ ﺒﺎﻝﻙ ﻤﻥ ﺍﻝﻔﻠﻭﺱ ﻴﺎ‬
‫ﻋﺯﻴﺯﺓ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻨﺎﺤﻴﺘﻪ ﻭﺘﻘﻑ ﺃﻤﺎﻤﻪ‬
‫ﻋﺯﻴﺯﺓ ﺍﻭﻋﻰ ﻝﻬﺎ ﻜﻭﻴﺱ ﻗﻭﻯ ‪.‬‬
‫ﻭﺨﻠﻠﻰ ﺒﺎﻝﻙ ﻤﻥ ﺍﻝﺤﻤﺎﺭ ﻭﺨﻠﻰ ﺒﺎﻝﻠﻙ‬
‫ﻋﻠﻰ ﻨﻔﺴﻙ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﺃﺨﻭﻴﺎ ‪ .‬ﺭﺒﻨﺎ ﻴﺴﺘﺭ‬ ‫ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻨﻬﻤﺎ ‪Zoom in‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺍﻝﺤﻤﺎﺭﺓ ﺘﺴﺒﻴﻬﺎ ﻋﻠﻰ‬ ‫ﻭﻴﻌﻁﻴﻬﺎ ﻨﻘﻭﺩﹰﺍ ﻭﻴﺘﺤﻭل ﺍﻝﻤﺸﻬﺩ ﺇﻝﻰﻝﻘﻁﺔ‬
‫ﻫﻭﺍﻫﺎ ‪ .‬ﻋﻠﺸﺎﻥ ﻋﻭﻀﻴﻥ ﻴﺭﻀﻰ‬
‫ﻡﺘﻭﺴﻁﺔ ﻻﺜﻨﻴﻥ ‪Medium Shot) 2.‬‬
‫ﻴﺴﻠﻔﻬﺎﻝﻨﺎ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺤﺎﻀﺭ ﻴﺎ ﺃﺨﻭﻴﺎ ‪.‬‬ ‫)‪M.2‬‬
‫ﻰ ﺘﺠﺒﻴﻬﺎ‬‫ﻋﺒﺩﺍﷲ ‪ :‬ﺍﻝﺠﻼﺒﻴﺔ ﺃﻭﻋ ‪‬‬
‫ﻤﻨﻘﻁﺔ ﻫﺎﺘﻴﻬﺎ ﻤﺨﻁﻁﺔ ﺃﺤﻠﻰ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻭﺍﷲ ﺍﻝﻭﺩ ﻭﺩﻯ ﺃﺠﺒﻴﻬﺎﻝﻙ‬
‫ﻗﻁﻨﻴﺔ ‪.‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻋﺸﺘﻰ ﻝﻴﻪ ﻴﺎﻋﺯﻴﺯﺓ ‪ ...‬ﺭﺒﻨﺎ‬
‫ﻴﺨﻠﻴﻜﻰ ﻝﻴﻪ ﻴﺎﺭﺏ ‪.‬‬
‫‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻊ ﻋﺯﻴﺯﺓ ﻭﻫﻰ ﻋﺯﻴﺯﺓ ‪ :‬ﻭﻴﺨﻠﻴﻙ ﻝﻴﻪ ﻴﺎﻋﺒﺩﺍﷲ ‪ .‬ﻋﺎﻴﺯ‬
‫ﺤﺎﺠﺔ ﺘﺎﻨﻴﺔ ؟‬ ‫ﺘﺘﺤﺭﻙ ﻴﺴﺎﺭﹰﺍ ‪ Pan Left‬ﻨﺎﺤﻴﺔ ﺍﻝﺒﺎﺏ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺴﻼﻤﺘﻙ ﻴﺎﺭﺏ ‪.‬‬ ‫ﻭﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ‬
‫ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ) ‪ Medium Shot (MS‬ﻋﺯﻴﺯﺓ ‪ :‬ﺃﺠﺒﻴﻠﻙ ﺤﻼﻭﺓ ﺴﺩ ﺍﻝﺤﻨﻙ ؟‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 216‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺒﺩﺍﷲ ﺠﺎﻝﺱ ﻓﻰ‬
‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻭﺍﺠﻬﺔ ‪Full Front‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻫﻭ ﺇﺤﻨﺎ ﻝﺴﻪ ﺼﻐﻴﺭﻴﻥ ؟‬ ‫‪Face‬‬

‫‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 217‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻌﺩل‬
‫ﻭﻀﻊ ﺍﻝﻁﺭﺤﺔ ﻋﻠﻰ ﺭﺃﺴﻬﺎ ﻭﺘﻨﻅﺭ ﻴﻤﻴﻥ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻭﺍﻝﻨﺒﻰ ﻻ ﺃﻨﺎ ﺠﺎﻴﺒﺎﻝﻙ ‪.‬‬ ‫ﻜﺎﺩﺭ ﻭﺕﻅﻬﺭ ﻤﻭﺍﺠﻬﺔ ‪Full Front‬‬
‫‪Face‬‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 218‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M .S‬ﻝﻌﺒﺩﺍﷲ ﻴﻨﻅﺭ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻭﺘﺠﻴﺒﻰ ﻝﻨﻔﺴﻙ ﺍﻝﺠﻼﺒﻴﺔ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﺒﻴﻜﺎ ‪ .‬ﺃﻭﻋﻰ ﺘﻨﺴﻰ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 219‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M. S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭﺨﻠﻔﻴﺔ ‪Full‬‬
‫‪ rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ‪.‬ﺜﻡ ﺘﻠﺘﻔﺕ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻤﺭﻩ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺎ ﺼﻭﻑ ﺍﻝﻌﺴﻜﺭﻯ ﻜﻔﺎﻴﺔ ‪.‬‬
‫ﺍﺨﺭﻯ ﻭﺘﺼﺒﺢ ﻤﻭﺍﺠﻬﺔ ‪Full Front‬‬
‫‪. Face‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 220‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻌﺒﺩﺍﷲ ﻴﻨﻅﺭ ﻓﻰ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻁﺏ ﻭﺤﻴﺎﺓ ﺍﻝﻨﺒﻰ ﺃﻨﺘﻰ‬
‫ﺍﺘﺠﺎﻩ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﺘﺴﺘﺎﻫﻠﻰ ﺩﺭﺍﺒﻴﺔ ﻜﻤﺎﻥ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 221‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ‪ .‬ﺜﻡ ﺘﻠﺘﻔﺕ‬
‫ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﺘﻌﻁﻰ ﻅﻬﺭﻫﺎ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺍﻨﺸﺎﷲ ﺘﺴﻠﻡ ‪ ..‬ﻓﺘﻙ ﺒﻌﺎﻓﻴﺔ‪.‬‬
‫ﺼﻭﺕ ﻋﺒﺩﺍﷲ ‪ :‬ﺍﷲ ﻴﻌﺎﻓﻴﻜﻰ ‪.‬‬ ‫ﻝﻠﻜﺎﻤﻴﺭﺍ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻌﻤﻕ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 49‬‬
‫ﻨﻬﺎﺭ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺤﻥ ﺩﺍﺭ ﻋﺯﻴﺯﺓ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪222‬‬
‫‪ Medium .Close‬ﻝﺼﻴﻨﻴﺔ ﻋﻠﻴﻬﺎ ﻜﻌﻙ‬
‫ﺼﻭﺕ‬ ‫ﺍﻝﻌﻴﺩ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻤﺯﺍﻤﻴﺭ‬ ‫ﻼ ‪ Zoom out‬ﻝﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ ﻭﻫﻰ‬ ‫ﻗﻠﻴ ﹰ‬
‫ﻭﺃﺼﻭﺍﺕ‬ ‫ﺘﺤﻤﻠﻬﺎ ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺤﻴﺙ‬
‫ﺃﻁﻔﺎل‬ ‫ﻴﺠﻠﺱ ﻋﺒﺩﺍﷲ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻋﻠﻰ ﻤﺼﻁﺒﺔ‬
‫ﻼ ﻴﺠﻠﺱ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪.‬‬ ‫ﻭﻤﻌﻪ ﺭﺠ ﹰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 223‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ﻋﺯﻴﺯﺓ ‪ :‬ﻜل ﺴﻨﺔ ﻭﺃﻨﺕ ﻁﻴﺏ ﻴﺎ ﺃﺒﻭ‬
‫‪ Low Angle‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﺠﻠﺱ ﻭﻴﻘﻭﻡ ﻤﺤﻤﻭﺩ ‪ ,‬ﻭﻴﻌﻭﺩ ﻋﻠﻴﻙ ﺒﻌﺎﻓﻴﺔ ﻜﺩﻩ ‪,‬‬
‫ﻭﺒﺨﻴﺭ ‪ .‬ﻭﺍﻝﺴﻨﺔ ﺍﻝﺠﺎﻴﺔ ﺘﺒﻘﻰ ﻋﻠﻰ‬ ‫ﻋﺒﺩﺍﷲ ﺒﺼﺏ ﺍﻝﺸﺎﻯ ﻝﻠﻀﻴﻑ‬
‫ﻋﺭﻓﺎﺕ ﻴﺎ ﻗﺎﺩﺭ ﻴﺎ ﻜﺭﻴﻡ ‪.‬‬
‫ﺃﺒﻭ ﻤﺤﻤﻭﺩ ‪ :‬ﺍﷲ ﻴﺨﻠﻴﻜﻰ ‪.‬‬
‫ﻯ ﺍﻝﺴﺕ ﻭﺍﻝﻭﻻﺩ ؟‬ ‫ﻋﺯﻴﺯﺓ ‪ :‬ﺇﺯ ‪‬‬
‫ﺃﺒﻭ ﻤﺤﻤﻭﺩ ‪ :‬ﺍﻝﺤﻤﺩ ﷲ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺍﻝﺸﺎﻯ ﻴﺎ ﺍﺒﻭ ﻤﺤﻤﻭﺩ‬ ‫ﻋﺒﺩ ﺍﷲ ﻴﻤﺩ ﻴﺩﻩ ﺒﺎﻝﺸﺎﻯ‬
‫ﺃﺒﻭ ﻤﺤﻤﻭﺩ ‪ :‬ﺸﻜﺭﹰﺍ ﻴﺎ ﻋﺒﺩﺍﷲ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 50‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ ﻤﻥ ﺸﻭﺍﺭﻉ‬
‫ﺍﻝﻘﺭﻴﺔ‬
‫‪ 224‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﺒﻭﻕ ﻴﺤﻤﻠﻪ‬
‫ﻼ ﻭﻴﺴﻴﺭ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺼﺒﺢ‬
‫ﺭﺠ ﹰ‬
‫ﺼﻭﺕ‬ ‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻭﻴﺤﻤل‬
‫ﻀﻭﻀﺎﺀ‬ ‫ﻋﻠﻰ ﻅﻬﺭﻩ ﺼﻨﺩﻭﻕ ﺍﻝﺩﻨﻴﺎ ‪ .‬ﻭﺨﻠﻔﻪ‬
‫ﻭﺍﻝﺒﻭﻕ‬ ‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻨﺎﺱ ﻴﺘﺒﻌﻭﻨﻪ ﻭﻴﺼﺒﺤﻭﺍ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪. .L .S‬‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻤﺸﻬﺩ ) ‪( 51‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺤﻥ ﺩﺍﺭ ﻋﺯﻴﺯﺓ‬
‫‪ 225‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M.S‬ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ‬
‫ﻭﺃﺒﻭ ﻤﺤﻤﻭﺩ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻤﻊ ﺍﻝﺴﻼﻤﺔ ‪ .‬ﺴﻠﻡ ﻋﻠﻰ‬ ‫‪ .Angle‬ﻴﻘﻭﻡ ﺍﻝﻀﻴﻑ ﻭﻴﺼﺎﻓﺢ ﻋﺒﺩﺍﷲ‬
‫ﺍﻝﺠﻤﺎﻋﺔ ﻴﺎﺃﺒﻭ ﻤﺤﻤﻭﺩ ‪.. ...‬‬ ‫ﻭﻴﺨﺭﺝ ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻋﺒﺩﺍﷲ ‪...‬‬ ‫ﻭﺒﺨﺭﻭﺠﺔ ﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻨﻌﻡ ‪.‬‬ ‫ﻡﺘﻭﺴﻁﺔ ﻻﺜﻨﻴﻥ ‪Medium Shot) 2.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻨﻔﺴﻰ ﺍﺘﻔﺭﺝ ﻋﻠﻰ ﺼﻨﺩﻭﻕ‬
‫ﺍﻝﺩﻨﻴﺎ ‪.‬‬ ‫)‪M.2‬‬
‫ﺼﻭﺕ‬ ‫ﻴﺠﻠﺱ ﻋﺒﺩﺍﷲ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺠﻠﺱ ﻋﺯﻴﺯﺓ ﻋﺒﺩﺍﷲ ‪ :‬ﺼﻨﺩﻭﻕ ﺍﻝﺩﻨﻴﺎ ‪ ..‬ﺃﻭﻋﻰ ﻴﺎ‬
‫ﻤﺯﻤﺎﺭ‬ ‫ﺒﺕ ﺘﻜﻭﻨﻰ ﺍﺘﻬﺒﻠﺘﻰ ﻓﻰ ﻤﺨﻙ‬ ‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻫﻭ ﺍﻴﻪ ﺍﻝﻠﻰ ﺍﺘﻬﺒﻠﺕ ﻭﺍﻝﻨﺒﻰ ﺼﻨﺩﻭﻕ‬
‫ﺍﻝﺩﻨﻴﺎ‬ ‫ﻴﺎ ﻋﺒﺩ ﺍﷲ ﻨﻔﺴﻰ ﺍﺘﻔﺭﺝ ﻋﻠﻴﻪ ﺯﻯ ﻤﺎ‬
‫ﻜﻨﺕ ﻝﺴﻪ ﺒﺕ ﺼﻐﻴﺭﺓ ‪.‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻫﻭ ﺃﻨﺘﻰ ﻝﺴﻪ ﺼﻐﻴﺭﺓ ﻴﺎﺒﺕ ‪.‬‬
‫ﺩﺍ ﺃﻨﺘﻰ ﻜﺒﺭﺘﻰ ﻭﺨﻼﺹ ﻫﺎﺘﺒﻘﻰ ﺃﻡ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﻌﻨﻰ ﻤﺵ ﻋﺎﻴﺯﻨﻰ ﺃﻋﻴﺩ ‪.‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻤﺎﺃﻨﺘﻰ ﻋﻴﺩﺘﻰ ﻴﺎ ﺒﺕ ‪ ,‬ﻫﻭ‬
‫ﺃﻨﺘﻰ ﻤﺵ ﺭﺤﺘﻰ ﺍﻝﺠﺒﺎﻨﺔ ﺍﻝﺼﺒﺢ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 52‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﺼﻨﺩﻭﻕ ﺍﻝﺩﻨﻴﺎ‬
‫‪ 226‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M.S‬ﻋﻠﻰ ﻋﺭﻭﺴﺔ‬
‫ﺨﺸﺒﻴﺔ ﻤﻌﻠﻘﺔ ﻋﻠﻰ ﺼﻨﺩﻭﻕ ﺍﻝﺩﻨﻴﺎ ﻭﺍﻝﺭﺠل‬
‫ﺼﺎﺤﺏ ﺍﻝﺼﻨﺩﻭﻕ ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ﺼﺎﺤﺏ ﺼﻨﺩﻭﻕ ﺍﻝﺩﻨﻴﺎ ‪ :‬ﺇﺘﻔﺭﺝ ﻴﺎ‬
‫ﺴﻼﻡ ‪ .‬ﺸﻭﻑ ﺍﻝﻌﺠﺏ ﺃﻜﻭﺍﻥ ‪ .‬ﺃﺒﻭ ﺯﻴﺩ‬
‫ﺍﻝﻬﻼﻝﻰ ﺴﻼﻤﺔ ‪.‬‬ ‫‪ Tilt down‬ﻋﻠﻰ ﺍﻝﺴﺘﺎﺭﺓ ﺍﻝﺘﻰ ﺘﺨﺒﺊ‬
‫ﻓﺘﺤﺔ ﺼﻨﺩﻭﻕ ﺍﻝﺩﻨﻴﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 227‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺸﺎﻴﻑ ﻴﺎ ﻋﺒﺩﺍﷲ ‪..‬‬
‫ﻋﺒﺩﺍﷲ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻋﺯﻴﺯﺓ‬
‫ﺸﺎﻴﻑ ‪ ..‬ﻴﺎ ﻨﻬﺎﺭ ﻤﻨﻴ‪‬ل ﺃﺒﻭ ﺯﻴﺩ ﻤﻭ‪‬ﺘﻬﻡ‬
‫ﺒﺠﻭﺍﺭﻫﺎ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﺍﻹﺜﻨﻴﻥ ﻴﺴﺎﺭ‬
‫ﻜﻼﺘﻬﻡ ‪.‬‬
‫ﻜﺎﺩﺭ ﻭﻴﻨﻅﺭﺍ ﻤﻥ ﻓﺘﺤﺔ ﺍﻝﺼﻨﺩﻭﻕ ﻭﺘﻠﺘﻔﺕ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺃﻤﺎل ﺁﻴﻪ ﻴﺎ ﺒﺕ ﻫﻭ ﺃﺒﻭ ﺯﻴﺩ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﻨﻅﺭ ﻨﺎﺤﻴﺔ ﻋﺒﺩﺍﷲ‬
‫ﺸﻭﻴﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻭﺍﻝﻨﺒﻰ ﺇﻨﺕ ﺘﻐﻠﺒﻪ ‪.‬‬

‫ﻤﺸﻬﺩ )‪( 53‬‬

‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﺤﻘل‬
‫‪ 228‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫ﺩﺨﻭل‬ ‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﺼﻭﺕ ﺒﻜﺎﺀ‬ ‫ﻴﻤﻴﻥ ﻭﻋﺒﺩﺍﷲ ﻓﻰ ﻤﻘﺩﻤﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻤﻭﺴﻴﻘﻰ‬
‫ﺍﻝﻁﻔل‬ ‫ﻭﺘﺘﺤﺭﻙ ﻋﺯﻴﺯﺓ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫) ‪( 23‬‬
‫ﻭﻴﻠﺘﻔﺕ ﻋﺒﺩﺍﷲ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 229‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﺘﺩﺨل ﻤﻥ ﻴﻤﻴﻥ‬

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‫ﺍﻝﻜﺎﺩﺭ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻬﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬

‫ﺱ ﻴﺎ ﻋﺒﺩﺍﷲ ﺒﺱ‬
‫ﺱ ‪ ...‬ﺒ ‪‬‬
‫‪ Pan Right‬ﻝﺘﺼل ﻝﻠﻁﻔل ﻭﺘﺤﻤل ﺍﻝﻁﻔل ﻋﺯﻴﺯﺓ ‪ :‬ﺒ ‪‬‬
‫ﺇﻴﻪ ﻴﺎﻤﻪ ﺇﻴﻪ‬ ‫ﻭﺘﺠﻠﺱ ﻝﺘﺭﻀﻌﻪ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 230‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻌﺒﺩﺍﷲ ﻓﻰ ﻋﻤﻕ‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﺤﺭﺙ ﺍﻷﺭﺽ ﻭﻋﺯﻴﺯﺓ ﺠﺎﻝﺴﺔ ﻓﻰ‬
‫ﻨﻬﺎﻴﺔ‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫) ‪( 24‬‬
‫‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ )‪( 54‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻋﺯﻴﺯﺓ‬
‫‪ 231‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺯﻴﺯﺓ ﺘﺤﻤل‬
‫ﻁﻔﻠﺔ ﺭﻀﻴﻌﺔ ﻋﻠﻰ ﻴﺩﻴﻬﺎﻭﻋﺒﺩ ﺍﷲ ﺒﺠﺎﻨﺒﻬﺎ ﻋﺯﻴﺯﺓ ‪ :‬ﻜﹰل ﻴﺎ ﻋﺒﺩﺍﷲ ‪ ...‬ﻜﹰل ﻋﻠﺸﺎﻥ‬
‫ﺘﻜﺒﺭ ﺴﺩ ﻴﺎ ﻨﺎﻫﺩ ﺴﺩ‪.‬‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Zoom out‬ﻓﻴﻅﻬﺭ‬
‫ﻋﺒﺩﺍﷲ ) ﺍﻝﺯﻭﺝ ( ‪ :‬ﺁﻩ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺎﻝﻙ ﻜﻔﺎﺍﷲ ﺍﻝﺸﺭ ‪.‬‬ ‫ﻋﺒﺩﺍﷲ ﺃﺒﻨﻬﻤﺎ ﻭﻫﻡ ﺠﺎﻝﺴﻴﻥ ﻴﺘﻨﺎﻭﻝﻭﺍ‬
‫ﻰ‪.‬‬ ‫ﻋﺒﺩﺍﷲ ‪ :‬ﺠﻨﺒﻰ ﺒﻴﻨﻘﺢ ﻋﻠ ‪‬‬ ‫ﺍﻝﻁﻌﺎﻡ ‪ .‬ﻴﺘﺄﻝﻡ ﻋﺒﺩﺍﷲ ﻭﻴﻤﺴﻙ ﺠﻨﺒﻪ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺃﺠﻴﺒﻠﻙ ﺸﻭﻴﺔ ﻜﻤﻭﻥ !‬ ‫‪ .‬ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻷ ‪ .‬ﺍﻨﺎ ﻫﺎﺃﺒﻘﻰ ﻜﻭﻴﺱ‬ ‫‪.‬‬ ‫ﻭﻴﻨﺎﻡ‬ ‫‪ Pan Right‬ﻭﻫﻭ ﻴﺩﺨل ﺍﻝﻐﺭﻓﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺇﺴﻡ ﺍﷲ ﻋﻠﻴﻜﻰ ﻴﺎﺨﺘﻰ‬ ‫‪ 232‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﺘﻀﻊ‬
‫ﺍﻝﻁﻔﻠﺔ ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ ‪ .‬ﺜﻡ ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﺒﻜﺎﺀ ﺍﻝﻁﻔل‬ ‫ﻋﻠﻰ ﻤﺤﻭﺭﻫﺎ ﺍﻷﻓﻘﻰ ‪ Tilt Up‬ﻝﺘﺘﺎﺒﻊ‬
‫ﻋﺒﺩﺍﷲ‬ ‫ﻋﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻘﻭﻡ ﺒﻌﻤل ﺍﻝﻜﻤﻭﻥ ﻭﺘﺘﺤﺭﻙ‬
‫ﻨﺎﺤﻴﺔ ﻋﺒﺩﺍﷲ ﺍﻝﻨﺎﺌﻡ ﻓﻰ ﺍﻝﻐﺭﻓﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 233‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻷﺜﻨﻴﻥ ﻝﻌﺒﺩﺍﷲ ﻨﺎﺌﻡ ﻋﺯﻴﺯﺓ ‪ :‬ﺒﻌﺩ ﺍﻝﺸﺭ ﻋﻠﻴﻙ ﻴﺎ ﻋﺒﺩﺍﷲ ‪.‬‬
‫ﺒﻐﻠﻴﻠﻙ ﺍﻝﻜﻤﻭﻥ ﻴﺎﺨﻭﻴﺎ ‪.‬‬ ‫ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ ﻭﻋﺯﻴﺯﺓ ﺃﻤﺎﻤﻪ ‪.‬ﺜﻡ ﺘﻨﻅﺭ‬
‫ﺼﻭﺕ ﺒﻜﺎﺀ ﺍﻝﻁﻔل‬ ‫ﻋﺒﺩﺍﷲ ‪ :‬ﺁﻩ ‪ .‬ﺁﻩ‬ ‫ﻨﺎﺤﻴﺔ ﺍﻝﺼﺎﻝﺔ‬
‫ﻋﺒﺩﺍﷲ ) ﺍﻻﺒﻥ( ‪ :‬ﺍﻤﻪ ﺍﻤﻪ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺱ ﻴﺎ ﻋﺒﺩﺍﷲ ‪...‬‬ ‫ﻋﺯﻴﺯﺓ ‪ :‬ﺒ ‪‬‬
‫‪ 234‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﺘﺨﺭﺝ ﻤﻥ ﺒﺎﺏ‬
‫ﺍﻝﻐﺭﻓﺔ ﻭﺘﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺱ ﻴﺎ ﻋﺒﺩﺍﷲ ‪ ...‬ﺩﻩ ﺃﻨﺕ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺒ ‪‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﺤﺘﻰ ﺘﺼل ﺍﻝﻰ‬
‫ﺒﻘﻴﺕ ﺭﺍﺠل ﻜﺒﻴﺭ ﺩﻝﻭﻗﺘﻰ ‪.‬‬ ‫ﺇﺒﻨﻬﺎ ‪ ,‬ﺜﻡ ﺘﺼﺏ ﺍﻝﻜﻤﻭﻥ ﻓﻰ ﻜﻭﺏ‬
‫ﺍﻝﺸﺎﻯ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﺤﺘﻰ ﺘﺩﺨل ﺍﻝﻐﺭﻓﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 235‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺇﺸﺭﺏ ﻴﺎ ﺨﻭﻴﺎ ‪.‬‬ ‫ﻭﻫﻭ ﻴﺘﺄﻝﻡ ﻭﺘﻌﻁﻴﻪ ﻋﺯﻴﺯﺓ ﺍﻝﻜﻭﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 236‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫ﺱ ﺒﻘﻰ ‪ .‬ﻴﺎ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺍﷲ ! ﺒ ‪‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﺴﻴﺭ ﻨﺎﺤﻴﺔ ﻨﺩﺍﻤﺔ ‪ ...‬ﺒ ‪‬‬
‫ﺱ ﻴﺎ ﺨﻭﻴﺎ ﻨﺎﻡ ﺇﺴﻡ ﺍﷲ‬
‫ﻋﻠﻴﻙ ﻨﺎﻡ ﻨﺎﻡ ﺠﻨﺏ ﺍﺨﺘﻙ‪.‬‬ ‫ﺍﻝﺼﺎﻝﺔ ﻭﺘﺫﻫﺏ ﻨﺎﺤﻴﺔ ﻁﻔﻠﻴﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 237‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻠﻐﺭﻓﺔ ﻭﺒﻬﺎ ﻋﺒﺩﺍﷲ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 43 of 78‬‬

‫) ‪( 24‬‬ ‫ﻨﺎﺌﻡ ﻓﻰ ﺍﻝﻐﺭﻓﺔ ﻭﻓﻰ ﺍﻝﺼﺎﻝﺔ ﺘﺘﺤﺭﻙ‬

‫ﻋﺯﻴﺯﺓ ﻤﻥ ﺠﺎﻨﺏ ﺍﻷﻁﻔﺎل ﻨﺎﺤﻴﺔ ﺍﻝﻐﺭﻓﺔ‬
‫ﺍﻝﺘﻰ ﻴﻨﺎﻡ ﺒﻬﺎ ﻋﺒﺩ ﺍﷲ ﻭﺘﻘﻑ ﻋﻠﻰ ﺍﻝﺒﺎﺏ‬
‫ﺒﻴﻨﻪ ﻭﺒﻴﻥ ﺍﻁﻔﺎﻝﻬﺎ ﻭﺘﻨﻅﺭ ﻋﻜﺱ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -out‬‬
‫) ‪( 25‬‬
‫ﻤﺸﻬﺩ ) ‪( 55‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺭﺽ ﺯﺭﺍﻋﻴﺔ‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade -in‬‬ ‫‪238‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻸﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﻌﺒﺩﺍﷲ ﺍﻝﺭﻴﺱ ‪ :‬ﺸﺩ ﺤﻴﻠﻙ ﺃﻨﺕ ﻭﻫﻭ ‪ .‬ﺍﻝﺒﻬﺎﻴﻡ‬
‫ﺼﻭﺕ ﻋﺼﺎﻓﻴﺭ‬
‫ﻫﺎﺘﻤﻭﺕ ﻤﻥ ﺍﻝﺠﻭﻉ‬ ‫ﻴﺤﺭﺙ ﻓﻰ ﺍﻷﺭﺽ ﻭﻴﻌﺒﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺭﺌﻴﺱ‬
‫ﺍﻝﻌﻤﺎل ﻭﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 239‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺒﺩﺍﷲ ﺠﺎﻝﺱ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻴﻪ ﻴﺎﻋﺒﺩﺍﷲ ؟ ﻤﺎﻗﻠﺘﻠﻙ‬
‫ﻋﻠﻰ ﺭﻜﺒﺘﻴﻪ ﻴﻌﻤل ‪ .‬ﻭﻴﻤﺴﻙ ﺠﻨﺒﻪ ﻭﺘﻅﻬﺭ‬
‫ﻗﺎﻝﻭﻝﻰ ﻤﺎ ﻓﻴﺵ ﻏﻴﺭ ﺍﻝﻜﻰ ﺒﺎﻝﻨﺎﺭ‬
‫ﻋﺯﻴﺯﺓ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺘﻪ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺃﻤﺭﻙ ﻴﺎﻋﺯﻴﺯﺓ‬
‫ﻓﻰ ﺍﻝﻤﻘﺩﻤﺔ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺩﻩ ﺃﻤﺭ ﺍﷲ ﻴﺎﻋﺒﺩﺍﷲ ‪....‬‬
‫ﻭﻴﺴﺘﻠﻘﻰ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﺘﺴﺘﻜﻤل ﻋﺯﻴﺯﺓ‬
‫ﺍﻤﺭ ﺍﷲ ‪ ...‬ﺍﺴﺘﺭﻴﺢ ﺍﻨﺕ ﻴﺎﺨﻭﻴﺎ‬
‫ﺍﻝﻌﻤل‬
‫ﺍﺴﺘﺭﻴﺢ ‪.‬‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -Out‬‬
‫ﻤﺸﻬﺩ )‪( 56‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﺍﻝﻜﻰ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 240‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﺃﺩﺍﺓ ﺍﻝﻜﻰ‬
‫) ‪( 25‬‬ ‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ﻝﻭﺠﻪ ﻋﺒﺩﺍﷲ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪M. Close up‬‬
‫ﻗﺭﻴﺒﺔ ﻭﻴﻅﻬﺭ ﻭﻫﻭ ﻴﺘﺄﻝﻡ ‪ .‬ﺜﻡ ﺘﺘﺤﻭل‬
‫ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺁﻩ ‪ ..‬ﺁﻩ ‪.‬‬ ‫ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ ﻭﺇﺒﻨﻴﻬﺎ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻋﺒﺩﺍﷲ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ‬

‫‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L .S‬ﻝﻌﺯﻴﺯﺓ ﻭﺇﺒﻨﻴﻬﺎ‬ ‫‪241‬‬
‫ﺠﺎﻝﺴﻴﻥ ﻭﺤﻭﻝﻬﻡ ﻋﺩﺩ ﻤﻥ ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 57‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﺒﻨﻰ ﺍﻝﻤﺴﺘﺸﻔﻰ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 242‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫) ‪( 25‬‬
‫ﻤﻊ ﺒﺩﺍﻴﺔ ﻜﻼﻡ ﻋﺯﻴﺯﺓ‬ ‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﺘﺠﻠﺱ ﻋﻠﻰ‬
‫ﺍﻻﺭﺽ ﻭﺒﺠﺎﻨﺒﻬﺎ ﺒﻨﺘﻬﺎ ﻭﺍﺒﻨﻬﺎ ﻭﻗﺩ ﻜﺒﺭﺕ ﻋﺯﻴﺯﺓ ‪ :‬ﺨﻴﺭ ﻴﺎﻋﺒﺩﺍﷲ ! ﻗﺎلﻭﺍ ﻋﻨﺩﻙ‬
‫ﺁﻴﻪ ﻜﻔﺎﷲ ﺍﻝﺸﺭ ‪.‬‬ ‫ﺍﻝﺒﻨﺕ ﻗﻠﻴﻼ ﺜﻡ ﺘﻨﻅﺭ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﺜﻘﻑ‬
‫ﻭﺘﺘﺤﺭﻙ ﺘﺠﺎﺓ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﺒﺩﺍﷲ ‪ :‬ﺒﻠﻬﺎﺭﺴﻴﺎ ﺒﻌﻴﺩ ﻋﻨﻙ ‪,‬‬
‫ﻭﺍﻹﺒﺭﺓ ﻴﻭﻡ ﻭﻴﻭﻡ ‪.‬‬ ‫‪ Pan Left‬ﺤﺘﻰ ﺘﻘﺎﺒل ﻋﺒﺩ ﺍﷲ ﻭﺘﻘﻑ‬
‫ﻤﻌﻪ ﻓﻴﺘﺤﻭل ﺍﻝﻤﺸﻬﺩ ﺍﻝﻰ ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ﻋﺯﻴﺯﺓ ‪ :‬ﺭﺒﻨﺎ ﻴﺸﻔﻴﻙ ﻴﺎ ﺍﺨﻭﻴﺎ ﺭﺒﻨﺎ‬
‫ﻴﺸﻔﻴﻙ‪.‬‬
‫‪ (Medium Shot (MS‬ﺜﻡ ﺘﺴﺎﻋﺩ ﻋﺒﺩﺍﷲ ‪ :‬ﻫﺎﺠﻰ ﻴﻭﻡ ﻭﻴﻭﻡ ﺍﺯﺍﻯ ﺒﺱ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 44 of 78‬‬

‫ﻫﻤﺎ ﺼﺤﺎﺏ ﺍﻝﺤﻤﺎﺭﺓ ﻫﺎﻴﺭﻀﻭ‬ ‫ﻋﺒﺩﺍﷲ ﻓﻰ ﺍﻝﻤﺸﻰ ﻭﻭﻴﺘﺤﺭﻜﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬

‫ﻴﺩﻭﻫﺎﻝﻨﺎ‬
‫ﻨﻌﻤل ﺍﻴﺔ ﺒﺱ ﻴﺎ ﺍﺨﻭﺍﺘﻰ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﺍﺨﻭﻴﺎ ﻤﺎ ﺘﺸﻠﺵ ﻫﻡ ﺒﻜﺭﺓ‬
‫ﺭﺒﻨﺎ ﻴﻔﺭﺠﻬﺎ ﻴﺎ ﺒﺕ ﻴﺎﻝﻪ‬
‫ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﻭﻴﺼﻼ‬
‫ﺍﻝﻰ ﺍﻝﺤﻤﺎﺭ ﻭﺘﺴﺎﻋﺩﻩ ﻋﻠﻰ ﺍﻝﺭﻜﻭﺏ ﻋﻠﻴﻬﺎ‬
‫ﻭﺘﻨﺩﻩ ﻋﻠﻰ ﺍﻁﻔﺎﻝﻬﺎ ﺜﻡ ﻴﺘﺤﺭﻜﻭﻥ ﺍﻝﻰ ﻋﻤﻕ‬
‫ﺍﻝﻜﺎﺩﺭ‬

‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 58‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺤﻭﺵ ﺍﻝﻤﻨﺯل‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪243‬‬
‫‪ Medium .Close .Shot‬ﻝﻌﺯﻴﺯﺓ‬

‫ﻭﻫﻰ ﺘﻌﺩ ﺍﻝﻨﻘﻭﺩ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ Zoom‬ﺼﻭﺕ ﺭﺠل ‪ :‬ﺴﻤﻌﺕ ﺍﻝﺨﺒﺭ ! ﻴﺎﻝﻼ ﻴﺎ‬
‫ﻤﻁﺎﻭﻉ‬ ‫‪ out‬ﻝﻠﺨﺎﺭﺝ ﻝﺘﺼﺒﺢ ﺍﻝﻠﻘﻁﺔ ﻝﻘﻁﺔ‬
‫ﺼﻭﺕ ﺁﺨﺭ ‪ :‬ﻭﻫﻭ ﻤﻴﻥ ﻤﺎﺴﻤﻌﺵ ‪,‬‬
‫ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long Shot‬‬
‫ﺩﻩ ﺼﻭﺕ ﺍﻝﻤﻨﺎﺩﻯ ﻴﺨﺭﻡ ﺍﻝﻭﺩﺍﻥ ‪.‬‬
‫)‪ MLS‬ﻭﺘﺴﻴﺭ ﻨﺎﺤﻴﺔ ﻋﺒﺩﺍﷲ ﺍﻝﺫﻯ ﺍﻝﻴﻭﻤﻴﺔ ﺒﺴﺘﺔ ﻭﺍﻝﻘﺒﺽ ﻋﻠﻰ ‪ 15‬ﻴﻭﻡ ‪.‬‬
‫ﻴﻅﻬﺭ ﻫﻭ ﻭ ﺍﻻﻁﻔﺎل ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻋﺒﺩﺍﷲ ‪ :‬ﺴﺎﻤﻌﺔ ﻴﺎﻋﺯﻴﺯﺓ ‪ .‬ﻴﺎ ﻤﺎ ﺃﻨﺕ‬
‫ﻜﺭﻴﻡ ﻴﺎﺭﺏ‪.‬‬ ‫ﺸﻤﺎل‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺃﻭﻋﻰ ﺘﻜﻭﻥ ﻓﺎﻜﺭ ﻨﻔﺴﻙ‬
‫ﻫﺎﺘﺭﻭﺡ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 244‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬

‫ﺱ ‪ .‬ﺩﻩ ﺍﺤﻨﺎ‬‫‪ (Shot( O S‬ﺒﻴﻥ ﻋﺒﺩ ﺍﻝﻠﺔ ﻓﻰ ﻤﻘﺩﻤﺔ ﻋﺒﺩﺍﷲ ‪ :‬ﻭﻤﺎﺭﺤﺵ ﻝﻴﻪ ﺒ ‪‬‬
‫ﻋﻠﻰ ﺭﺃﻯ ﺍﻝﻤﺜل ﻤﺵ ﻻﻗﻴﻴﻥ ﺍﻝﺘﺭﺍﺏ‬
‫ﻨﺎﻜﻠﻪ ‪.‬‬ ‫ﺍﻝﻜﺎﺩﺭ ﺒﺭﻭﻓﻴل ‪ side angle‬ﻭﻋﺯﻴﺯﺓ‬
‫ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭﻤﻭﺍﺠﻬﺔ ‪ Full Front‬ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺎﺤﺩﺵ ﺒﻴﻤﻭﺕ ﻤﻥ ﺍﻝﺠﻭﻉ ‪.‬‬
‫ﺱ!‬‫ﻋﺒﺩﺍﷲ ‪ :‬ﻭﻤﺎﺭﺤﺵ ﻝﻴﻪ ﺒ ‪‬‬
‫‪ Face‬ﺜﻡ ﺘﺘﻘﺩﻡ ﻋﺯﻴﺯﺓ ﻝﺘﺠﻠﺱ ﻝﺘﺎﻜل ﻋﺯﻴﺯﺓ ‪ :‬ﻋﻠﺸﺎﻥ ﺃﻨﺕ ﻝﺴﻪ ﺒﻌﺎﻓﻴﺔ ‪.‬‬
‫ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻋﺒﺩﺍﷲ ‪ :‬ﻁﺏ ﺒﻜﺭﺓ ﺘﺸﻭﻓﻰ ﺇﻥ‬
‫‪ .‬ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ ﻭﺍﻝﻁﻔل ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺎﻝﻘﺘﻴﻨﻰ ﺯﻯ ﺍﻝﺤﺼﺎﻥ ﻴﺒﻘﺎﻝﻙ ﺍﻝﻜﻼﻡ ‪.‬‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻭﻫﻡ ﺠﺎﻝﺴﻴﻥ ﻋﺯﻴﺯﺓ ‪ :‬ﺇﻨﺸﺎﷲ ﻴﺎ ﺍﺨﻭﻴﺎ ﺍﻨﺸﺎ ﺍﷲ‬
‫ﻴﺎﺭﺏ‬ ‫ﻴﺄﻜﻠﻭﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 59‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ ﻤﻥ ﺸﻭﺍﺭﻉ‬
‫ﺍﻝﻘﺭﻴﺔ‬
‫ﺼﻭﺕ ﺍﻝﻔﻼﺤﻴﻥ‬ ‫‪ 245‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ . M. S‬ﻝﻠﻤﻨﺎﺩﻯ ﻴﻨﺎﺩﻯ‬
‫ﻋﻠﻰ ﻋﻤﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻋﺭﻓﺔ ﻓﻰ ﺨﻠﻔﻴﺔ‬
‫ﺍﻝﻨﺎﺩﻯ ‪ :‬ﺯﻜﻰ ﻋﺠﻭﺓ ‪ ,‬ﺴﻌﺩ ﺤﺴﺎﻨﻴﻥ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﺒﺠﻭﺍﺭﻩ ﻋﺒﺩﺍﷲ ﻭﻋﺯﻴﺯﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 246‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺩﺴﺘﺘﻴﻥ ﺸﻤﻊ ﻭﺍﻝﻨﺒﻰ ﻴﺎ‬
‫ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ‬
‫ﺴﻴﺩﻯ ﺃﺒﻭ ﺤﺩﻴﺩ ‪ ...‬ﺩﺴﺘﺘﻴﻥ ﺸﻤﻊ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 247‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻭﺠﻪ ﺍﻝﻤﻨﺎﺩﻯ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 45 of 78‬‬

‫ﺒﺯﺍﻭﻴﺔ ﻴﻅﻬﺭ ﺒﺭﻭﻓﻴل‬

‫ﺍﻝﻤﻨﺎﺩﻯ ‪ :‬ﻋﺒﺩﺍﷲ ﺍﺒﻭ ﺍﺒﺭﺍﻫﻴﻡ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 248‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ) ‪Medium Shot (MS‬‬
‫‪ .‬ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ ﻭﺍﻝﻁﻔﻼﻥ ﻴﻘﻔﺎ‬
‫ﻭﻴﺘﻘﺩﻤﺎﻥ ﻭﻤﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﺸﺎﺭﻴﻭﺓ ﺍﻝﻤﻨﺎﺩﻯ ‪ :‬ﻋﺯﻴﺯﺓ ﻤﺤﻤﺩ ‪,‬ﻋﺒﺩ ﺍﷲ‬
‫ﻋﺒﺩ ﺍﷲ ‪ ،‬ﺴﻨﻴﺔ ﻋﺒﺩ ﺍﷲ ‪ ,‬ﻋﺒﺩﺓ‬ ‫ﻭﻴﻘﻔﻭﺍ ﺍﻤﺎﻡ ﻋﺭﻓﺔ ﺜﻡ ﻴﺘﺤﺭﻜﻭﺍ ﻴﻤﻴﻥ‬
‫ﺍﻝﻤﻼﺤﻰ ‪ ,‬ﻤﺤﻤﻭﺩ ﻋﺒﺩ ﺍﷲ ﺍﻝﺨﻴﺎﻁ‬ ‫ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﺎ ‪Pan‬‬
‫‪ Right‬ﻭﻴﺼﻌﺩ ﺍﻝﻁﻔﻼﻥ ﺍﻝﺴﻴﺎﺭﺓ ﺍﻝﻨﻘل‬
‫ﻤﻥ ﺍﻝﺨﻠﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 249‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L. S‬ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﻫﻰ ﺘﺼﻌﺩ‬
‫ﺍﻝﺴﻴﺎﺭﺓ ﻭﺘﻤﺴﻙ ﻴﺩ ﻋﺒﺩﺍﷲ ﻝﻴﺼﻌﺩ ‪.‬ﻭﻝﻜﻥ‬
‫ﻻ ﻴﺴﺘﻁﻴﻊ ﻴﻘﻊ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 250‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M.S. 2‬ﻝﻌﺯﻴﺯﺓ ﻭﺍﻡ‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫ﺤﺴﻥ ﻤﻔﺯﻭﻋﺘﺎﻥ ﻭﻴﻀﺭﺒﻥ ﻋﻠﻰ ﺼﺩﺭﻫﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 251‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .Close up‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﻭﺩﻩ ﻫﺎﻴﻌﻤل ﺍﻴﻪ ﺩﻩ؟‬ ‫ﻝﻌﺭﻓﺔ ﻭﻴﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﻘﻑ ﻋﻨﺩ‬
‫ﻓﻼﺡ ‪ :‬ﻋﻴﺎﻥ ﺸﻭﻴﺔ ‪.‬‬ ‫ﺸﺨﺹ ﺃﺨﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 252‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺍﺴﻡ ﺍﷲ ﻋﻠﻴﻙ ﻴﺎﺨﻭﻴﺎ ﺃﻨﺕ‬ ‫ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﻭﻫﻰ ﺘﻨﺯل ﻤﻥ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﺎ ً‪ Pan Right‬ﻭﻗﻌﺕ ﺍﺼل ﺍﻝﻬﺒﺎﺒﺔ ﺩﻯ ﻋﺎﻝﻴﺔ‪ ..‬ﺭﺠﻠﻙ‬
‫ﺤﺘﻰ ﺘﺼل ﺍﻝﻰ ﻋﺒﺩﺍﷲ ﺍﻝﻭﺍﻗﻊ ﻋﻠﻰ ﺇﺘﺯﺤﻠﻘﺕ ؟ﻗﻭﻡ ﻴﺎﺨﻭﻴﺎ ﺍﺒﻘﻰ ﺨﻠﻰ ﺒﺎﻝﻙ‬
‫ﻭﺍﻨﺕ ﺒﺘﺭﻜﺏ ﻗﻭﻡ ﻴﺎ ﺍﺨﻭﻴﺎ ﻗﻭﻡ ﺍﺴﻡ‬ ‫ﺍﻷﺭﺽ‬
‫ﺍﷲ ﻋﻠﻴﻙ ﺠﺕ ﺴﻠﻴﻤﺔ ﻴﺎ ﺍﺨﻭﻴﺎ‬ ‫ﻭﻴﺘﺤﺭﻜﺎ‬ ‫ﻴﻘﻔﺎ‬ ‫ﻭﻫﻤﺎ‬ ‫ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺴﺎﻋﺩﻴﻪ ﻴﺎ ﺍﺨﺘﻰ‬ ‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪High‬‬
‫‪ Angle‬ﻭﻫﻤﺎ ﻴﻘﻔﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺇﻨﺯل ﻴﺎﻋﺒﺩﺍﷲ ﺍﻨﺕ ﻤﺵ ﻗﺎﺩﺭ‬ ‫‪253‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺃﻨﺎ ﻜﻭﻴﺱ ﺃﻫﻪ ﻴﺎﺭﻴﺱ ﻋﺭﻓﺔ‬
‫‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﻴﺎ ﻋﺒﺩ ﺍﷲ ﺒﻼﺵ ﻤﻘﺎﻭﺤﺔ ﺍﻨﺕ‬
‫ﻗﺎﺩﺭ ﺘﺼﻠﺏ ﻁﻭﻝﻙ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻌﺭﻓﺔ ﺜﻡ ﻴﺘﺤﺭﻙ ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺵ ﻗﺎﺩﺭ ﻝﻴﺔ ﻴﺎ ﺭﻴﺱ ﻋﺭﻓﺔ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﻤﺎﻫﻭ ﻗﺩﺍﻤﻙ ﺍﻫﻭ ﺯﻯ ﺍﻝﺤﺼﺎﻥ ﻭﻻ‬
‫ﻨﺎﺤﻴﺔ ﻋﺒﺩﺍﷲ ﻭﻋﺯﻴﺯﺓ ﻭﺘﺼﻌﺩ ﻋﺯﻴﺯﺓ ﻴﻌﻨﻰ ﻋﻠﺸﺎﻥ ﻤﺎ ﻭﻗﻊ ﻴﺎ ﺍﺨﻭﻴﺎ ﻤﺎ ﻴﻘﻊ‬
‫ﺍﻝﻼ ﺍﻝﺸﺎﻁﺭ‬ ‫ﺍﻝﻌﺭﺒﺔ ﻭﻫﻭ ﻴﺤﺎﻭل ﺍﻨﺯﺍل ﻋﺒﺩ ﺍﷲ ﻭﻴﻨﺯﻝﻪ‬
‫ﻑﻴﻘﻊ ﻋﺒﺩﺍﷲ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﺘﻨﺯل ﻤﻌﻪ ﻋﺭﻓﺔ ‪ :‬ﻴﺎ ﻋﺯﻴﺯﺓ ﺍﺤﻨﺎ ﻤﺵ ﻋﺎﻴﺯﻴﻥ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪ Tilt down‬ﻭﻫﻭ ﻴﻘﺒل ﻜﺘﺭ ﻜﻼﻡ ﺠﻭﺯﻙ ﻋﻴﺎﻥ ﻭﻤﺵ ﻗﺎﺩﺭ‬
‫ﻴﺼﻠﺏ ﻁﻭﻝﺔ‬ ‫ﻴﺩ ﻋﺭﻓﺔ ‪.‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻋﻴﺎﻥ ﺍﻴﺔ ﻴﺎﺨﻭﻴﺎ ﻤﺎ ﺘﻔﻭﻝﺵ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﻠﻴﺔ ﺒﻌﺩ ﺍﻝﺸﺭ ‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺍﻨﺯل ﻤﺎﺘﻌﻁﻠﻨﺎﺵ ﻴﺎ ﺍﺨﻰ ﺍﻨﺯل‬
‫ﺍﻨﺯل‬
‫ﻋﺒﺩ ﺍﷲ ‪ :‬ﺍﻋﻤل ﻤﻌﺭﻭﻑ ﻴﺎ ﺭﻴﺱ‬
‫ﻋﺭﻓﺔ ﺍﺒﻭﺱ ﺍﻴﺩﻙ‬
‫‪254‬‬

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‫ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬

‫‪ (Shot( O S‬ﻝﻌﺯﻴﺯﺓ ﻤﻭﺍﺠﻬﺔ ‪Full‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺍﻝﻌﻴﺎل ﻫﺎﻴﻤﻭﺘﻭﺍ ﻤﻥ ﺍﻝﺠﻭﻉ‬
‫ﺍﷲ ﻻ ﻴﺴﻭﺀﻙ !‬ ‫‪ Front Face‬ﻭﺍﻝﺭﻴﺱ ﻋﺭﻓﺔﺒﺭﻭﻓﻴل‬
‫‪side angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 255‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫‪ (Shot( O S‬ﻤﻥ ﻭﺭﺍﺀ ﻜﺘﻑ ﻋﺯﻴﺯﺓ‬
‫ﻋﺭﻓﺔ ‪ :‬ﻴﺎﻋﺯﻴﺯﺓ ﺨﻠﻠﻰ ﻋﻨﺩﻙ ﻨﻅﺭ ‪..‬‬
‫ﻭﻫﻰ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻴﻅﻬﺭ ﺠﻭﺯﻙ ﻋﻴﺎﻥ ﺇﻨﺘﻰ ﻋﺎﻴﺯﺍﻩ ﻴﺭﻭﺡ ﻴﻤﻭﺕ‬
‫ﻫﻨﺎﻙ !‬ ‫ﻋﺭﻓﺔ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Full Front‬‬
‫‪Face‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺭﺒﻨﺎ ﻤﺎﻴﺠﺒﺵ ﺤﺎﺠﺔ‬ ‫‪ 256‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫ﻭﺤﺸﺔ ‪ ..‬ﻁﺏ ﻨﺭﻭﺡ ﻜﻼﺘﻨﺎ ﻭﺃﺸﺘﻐل‬
‫ﺁﻨﻰ ‪.‬‬ ‫‪ (Shot( O S‬ﻝﻌﺯﻴﺯﺓ ﻤﻭﺍﺠﻬﺔ ‪Full‬‬
‫‪ Front Face‬ﻭﺍﻝﺭﻴﺱ ﻋﺭﻓﺔﺒﺭﻭﻓﻴل‬
‫‪side angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 257‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬

‫ﻋﺭﻓﺔ ‪ :‬ﺃﻨﺎ ﻤﻌﻨﺩﻴﺵ ﺃﻤﺭ ‪.‬‬ ‫‪ (Shot( O S‬ﻤﻥ ﻭﺭﺍﺀ ﻜﺘﻑ ﻋﺯﻴﺯﺓ‬
‫ﻭﻫﻰ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻴﻅﻬﺭ‬
‫ﻋﺭﻓﺔ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Full Front‬‬
‫‪Face‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 258‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﺘﻅﻬﺭ ﻓﻴﺔ ﻋﺯﻴﺯﺓ ﻤﻊ ﺨﺭﻭﺝ ﻋﺭﻓﺔ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 259‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻭﻫﻰ ﺘﻨﺯل ﻤﻥ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﺴﻴﺎﺭﺓ ‪ ,‬ﻭﻋﺒﺩﺍﷲ ﺠﺎﻝﺱ ﻋﻠﻰ ﺍﻷﺭﺽ ‪.‬‬
‫) ‪( 27‬‬ ‫ﺘﺠﻠﺱ ﺒﺠﻭﺍﺭﻩ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺤﺭﻙ ﻋﺒﺩﺍﷲ ‪ :‬ﻋﺯﻴﺯﺓ ‪ ...‬ﺭﻭﺤﻰ ﺇﻨﺘﻰ ﻴﺎ‬
‫ﻋﺯﻴﺯﺓ ﻭﺴﻴﺒﻴﻠﻰ ﺍﻝﻌﻴﺎل ‪.‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Tilt down‬ﻤﻊ ﺠﻠﻭﺴﻬﺎ ﺒﺠﺎﻨﺒﺔ ﻋﺯﻴﺯﺓ ‪ :‬ﺃﻓﻭﺘﻜﻡ ﻝﻤﻴﻥ ﻴﺎ ﻋﺒﺩﺍﷲ‬
‫ﺃﻓﻭﺘﻜﻡ ﻝﻤﻴﻥ !‬ ‫ﻋﻠﻰ ﺍﻻﺭﺽ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 260‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻌﺭﻓﺔ ﻓﻰ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﺒﺠﻭﺍﺭ ﺍﻝﺴﺎﺌﻕ ﻭﺘﺘﺤﺭﻙ ﺍﻝﺴﻴﺎﺭﺓ ﻭﺨﻠﻔﻬﺎ‬
‫ﺒﺎﻗﻰ ﺍﻝﺴﻴﺎﺭﺍﺕ ﻭﺍﻝﻨﺎﺱ ﺘﺠﺭﻯ ﺒﺠﺎﻨﺏ‬
‫ﺍﻝﺴﻴﺎﺭﺍﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 261‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L. S‬ﻝﻠﺴﻴﺎﺭﺍﺕ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ ,High Angle‬ﻭﺘﻅﻬﺭ ﺒﻌﺩ‬
‫ﺨﺭﻭﺝ ﺍﻝﻌﺭﺒﺎﺕ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﺘﺠﻠﺱ‬

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‫ﻋﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ ﻭﺍﻝﻁﻔﻼﻥ ﻋﻠﻰ ﺍﻷﺭﺽ ‪.‬‬

‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 60‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ ﻤﻥ ﺸﻭﺍﺭﻉ‬
‫ﺍﻝﻘﺭﻴﺔ‬
‫ﺍﺴﺘﻤﺭﺍﺭ‬ ‫‪ 262‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫ﻗﺎﺩﻤﺔ ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺘﺤﻤل ﺴﻴﻘﺎﻥ ﺍﻝﺫﺭﺓ‬
‫) ‪( 27‬‬ ‫ﺍﻝﺠﺎﻓﺔ ﻭﺘﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ . Pan Right‬ﺜﻡ ﺘﺨﺭﺝ ﻤﻥ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺩﺨل ﺠﻤل ﺤﺎﻤﻼ ﺴﻴﻘﺎﻥ‬
‫ﺫﺭﺓ ﻭﻴﺠﺭﻩ ﻓﻼﺡ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 61‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻤﻥ ﻤﻨﺎﺯل ﺍﻝﻘﺭﻴﺔ‬
‫‪ 263‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻌﺯﻴﺯﺓ ﺍﻤﺎﻡ ﺍﻝﻔﺭﻥ‬
‫ﺘﺨﺒﺯ‪ ,‬ﻭﺘﺠﻠﺱ ﺒﺭﻭﻓﻴل ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪,‬‬
‫ﺇﻤﺭﺃﺓ ‪ :‬ﻤﺎ ﺘﺨﻠﺼﻰ ﺒﻘﻰ ﻴﺎ ﻋﺯﻴﺯﺓ ؟‬
‫ﻭﺘﻅﻬﺭ ﺇﻤﺭﺃﺓ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻨﺎﺯﻝﺔ ﻤﻥ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺨﻼﺹ ﺁﻫﻪ ‪.‬‬
‫ﻋﻠﻰ ﺴﻠﻡ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 264‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﺘﻘﺩﻡ ﻤﻥ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭﺜﻡ ﺘﺨﺭﺝ ﺸﻤﺎل ﻜﺎﺩﺭ‬

‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 62‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺴﻁﺢ ﺃﺤﺩ ﺍﻝﻤﻨﺎﺯل‬
‫‪ 265‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻤﺸﻨﺔ ﻓﻴﻬﺎ ﺭﻭﺙ‬
‫ﺍﻝﺒﻬﺎﺌﻡ ﻭﺘﺨﺭﺠﻬﺎ ﻋﺯﻴﺯﺓ ﻤﻥ ﺍﻝﻤﺸﻨﺔ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ . Pan Right‬ﺜﻡ ﺘﺩﺨل‬
‫ﻓﻼﺤﺔ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‪Tilt up‬‬
‫ﻝﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ‬
‫‪ ,M. S. 2‬ﻭﺘﻌﻁﻰ ﺍﻝﻔﻼﺤﺔ ﺍﻝﻨﻘﻭﺩ‬
‫ﻝﻌﺯﻴﺯﺓ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 63‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻋﺯﻴﺯﺓ‬
‫‪266‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬
‫‪ Medium .Close .Shot‬ﻷﻴﺩﻯ ﺘﻤﺘﺩ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺁﻩ ‪ ..‬ﺁﻩ ‪ ...‬ﺃﻨﺘﻰ ﺘﻌﺒﺘﻰ‬
‫ﻝﺘﺘﻨﺎﻭل ﺃﺭﻏﻔﺔ ﺍﻝﺨﺒﺯ ‪ ,‬ﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻭﻯ ﻴﺎ ﻋﺯﻴﺯﺓ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﺨﻭﻴﺎ ﺃﻨﻰ ﻻ ﺘﻌﺒﺕ ﻭﻻ‬ ‫ﻝﻠﺨﺎﺭﺝ ‪ Zoom out‬ﻝﻴﻅﻬﺭ ﻁﻔﻠﻰ‬
‫ﺤﺎﺠﺔ ‪ ,‬ﺒﻜﺭﺓ ﺭﺒﻨﺎ ﻴﺎﺨﺩ ﺒﻴﺩﻙ‬ ‫ﻋﺯﻴﺯﺓ ﻭﺒﺠﻭﺍﺭﻫﻤﺎ ﺘﺠﻠﺱ ﻋﺯﻴﺯﺓ ﻴﺴﺎﺭ‬
‫ﻭﺃﺴﺘﺭﻴﺢ ﺃﻨﻰ ‪.‬‬ ‫ﺘﻘﻑ‬ ‫ﻜﺎﺩﺭﻝﺘﺄﺨﺫ ﺭﻏﻴﻑ ﻭﻭﻗﻁﻌﻪ ﺠﺒﻥ ﺜﻡ‬
‫ﻭﺘﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﺒﺩﺍﷲ ‪ :‬ﺇﻤﺘﻰ ﺒﺱ ‪ ....‬ﻭﺍﷲ ﻤﺎﻫﻭ‬
‫ﺒﺎﻴﻥ ‪.‬‬
‫ﻤﻌﻬﺎ ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ‪ Pan Left‬ﻝﺘﺼل‬
‫ﻝﻌﺒﺩﺍﷲ ﺍﻝﺠﺎﻝﺱ ﻓﻰ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﺘﻌﻁﻴﺔ‬
‫ﺍﻝﻁﻌﺎﻡ ﺜﻡ ﺘﻘﻑ ﻭﺘﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬

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‫ﻭﻴﻅل ﻋﺒﺩﺍﷲ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﺒﻤﻔﺭﺩﻩ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 267‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺒﻼﺵ ﻜﹸﻔﺭ ﺃﻤﺎل‬ ‫ﻭﻫﻰ ﺘﺫﻫﺏ ﻭﺘﻀﻊ ﻋﻠﻰ ﺍﻝﻨﺎﺭ ﺨﻭﺹ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 268‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M. S‬ﻝﻌﺒﺩﺍﷲ ﻭﻫﻭ ﻴﺄﻜل‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻭﺍﻝﻨﺒﻰ ﺍﺴﻘﻴﻨﻰ ﻴﺎ ﻋﺯﻴﺯﺓ‬ ‫ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 269‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺍﻝﺤﻜﻴﻡ ﻤﺤﺭﺝ ﻋﻠﻰ ﺍﻝﻤﻴﻪ ‪.‬‬ ‫ﺘﻠﺘﻔﺕ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺩﻩ ﺒﻕ ﻭﺍﺤﺩ ﻤﺵ ﺤﺎﺠﺔ ‪,‬‬ ‫‪ 270‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺒﺩﺍﷲ ﻴﻨﻅﺭ‬
‫ﺇﻝﻬﻰ ﻴﺎﺭﺏ ﻴﺴﻘﻴﻜﻰ ﻤﻥ ﻤﻴﺔ ﺯﻤﺯﻡ‬ ‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻗﻁﻊ ‪Cut‬‬
‫ﻴﻭﻡ ﺍﻝﻘﻴﺎﻤﺔ ‪.‬‬
‫‪ 271‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺯﻴﺯﺓ ﺘﺒﺘﺴﻡ‬
‫ﻭﺘﻘﻑ ﻭﺘﺴﻴﺭ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺤﺘﻰ‬
‫ﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫‪Medium Long Shot (MLS‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 272‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺒﺩﺍﷲ ﻴﺄﻜل‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺒﻘﻰ ﻴﺎﺭﺏ ﺃﺭﻗﺩ ﺁﻨﻰ ﻓﻰ ﺍﻝﺩﺍﺭ‬
‫ﻭﻴﺠﻠﺱ ﺒﺭﻭﻓﻴل ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻷﻋﻠﻰ ﻴﺴﺎﺭ‬
‫ﻰ ﺁﻨﻰ‬ ‫ﺯﻯ ﺍﻝﻭﻻﻴﺎ ﻭﻋﺯﻴﺯﺓ ﺘﺠﺭﻯ ﻋﻠ ‪‬‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺍﻝﻌﻴﺎل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺨﺩ ﻴﺎﺨﻭﻴﺎ ﺒﺎﻝﻬﻨﺎ‬ ‫‪ 273‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻤﻸ‬
‫ﺍﻝﻜﻭﺏ ﻭﺘﺴﻴﺭ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ ﻋﺒﺩﺍﷲ ‪ :‬ﺘﻌﺭﻓﻰ ﻴﺎ ﻋﺯﻴﺯﺓ ﺁﻨﻰ ﻨﻔﺴﻰ‬
‫ﻓﻰ ﺍﻝﺒﻁﺎﻁﺎ ﻗﻭﻯ ‪.‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﺤﺘﻰ ﺘﺼل ﺍﻝﻰ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺒﻁﺎﻁﺎ ! ﻭﺍﻝﻨﺒﻰ ﻷﺠﻴﺒﻠﻙ ‪.‬‬ ‫ﻋﺒﺩﺍﷲ ﻭﺘﺠﻠﺱ ﺒﺠﻭﺍﺭﻩ ﻴﺴﺎﺭ ﻜﺎﺩﺭﻭ‬
‫ﺱ ! ﺃﻨﺘﻰ ﺤﻴﻠﺘﻙ‬ ‫ﺘﺼﺒﺢ ﺍﻝﻠﻘﻁﺔ ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ﻻﺜﻨﻴﻥ ‪ ) 2.‬ﻋﺒﺩﺍﷲ ‪ :‬ﻤﻨﻴﻥ ﺒ ‪‬‬
‫ﺤﺎﺠﺔ ‪.‬‬
‫‪ Medium Shot (M.2‬ﻭﻭﺠﻬﻬﺎ ﻓﻰ ﻋﺯﻴﺯﺓ ‪ :‬ﻫﺎ ﺃﺭﻭﺡ ﻏﻴﻁ ﻗﻤﺭﻴﻥ ﺍﻓﺤﺕ‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻋﺒﺩﺍﷲ ﺒﺭﻭﻓﻴل ﻭﺘﺼﺒﺢ ﻋﻠﻰ ﻜﺎﻡ ﺠﺩﺭ ‪ ..‬ﺃﻫل ﺍﻝﺒﻠﺩ ﻜﻠﺘﻬﻡ‬
‫ﺒﻴﻌﻤﻠﻭﺍ ﻜﺩﻩ ‪.‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫ﻨﻬﺎﻴﺔ‬ ‫ﺱ ﺍﻝﻭﺍﺩ ﺇﺒﻥ ﻗﻤﺭﻴﻥ ﺩﻩ‬ ‫ﻋﺒﺩﺍﷲ ‪ :‬ﺒ ‪‬‬ ‫‪Angle‬‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫ﻜﺸﺭ ﻗﻭﻯ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫) ‪( 27‬‬ ‫ﻋﺯﻴﺯﺓ ‪ :‬ﻭﻻ ﻴﻜﻭﻥ ﻋﻨﺩﻙ ﻓﻜﺭﺓ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 64‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺤﻘل ﺍﻝﺒﻁﺎﻁﺎ‬
‫‪ 274‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﺍﻝﻔﺄﺱ‬
‫ﻴﻀﺭﺏ ﻓﻰ ﺍﻷﺭﺽ ‪ ,‬ﺜﻡ ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ‬
‫ﻷﻋﻠﻰ ‪ Tilt up‬ﺤﺘﻰ ﻴﻅﻬﺭ ﻭﺠﻪ ﻋﺯﻴﺯﺓ‬
‫ﻀﺭﺏ‬
‫ﻭﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M. S‬‬
‫ﺍﻝﻔﺄﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 275‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻀﺭﺏ‬
‫ﺍﻝﻔﺄﺱ ﻓﻰ ﺍﻷﺭﺽ ﻭ ﺘﻅﻬﺭ ﺒﺭﻭﻓﻴل ‪.‬ﺜﻡ ﺼﻭﺕ ﺭﺠل ‪ :‬ﺒﺘﻌﻤﻠﻰ ﺃﻴﻪ ﻴﺎ ﺒﺕ ﻋﻨﺩﻙ‬
‫ﺘﻠﺘﻔﺕ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 49 of 78‬‬

‫‪ 276‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﻭﺠﻪ ﺇﺒﻥ‬

‫ﻗﻤﺭﻴﻥ ﻭﻫﻭ ﻴﻨﻅﺭ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 277‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪ High Angle‬ﻋﺯﻴﺯﺓ ‪ :‬ﻋﻤﻙ ﻋﺒﺩﺍﷲ ﻋﻴﺎﻥ ﻭﻨﻔﺴﻪ‬
‫ﻓﻰ ﺠﺩﺭ ﺍﻝﺒﻁﺎﻁﺎ ‪ ,‬ﺇﻝﻬﻰ ﻻ ﻴﺴﻴﺌﻙ ‪.‬‬ ‫ﻭﻫﻰ ﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 278‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻷﺒﻥ ﻗﻤﺭﻴﻥ ﻴﻨﻅﺭ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 279‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M. S‬ﻷﺒﻥ ﻗﻤﺭﻴﻥ ﻴﺘﺠﻪ‬
‫ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺎﺨﺫ ﺍﻝﻔﺄﺱ ﻤﻥ‬
‫ﻋﺯﻴﺯﺓ ﻭﻴﺘﺤﻭل ﺍﻝﻤﺸﻬﺩ ﺍﻝﻰ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ)‬
‫ﺇﺒﻥ ﻗﻤﺭﻴﻥ ‪ :‬ﻁﺏ ﻫﺎﺘﻰ ﻋﻨﻙ ﺇﻨﺘﻰ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺇﻨﺸﺎﷲ ﺘﻌﻴﺵ ﻴﺎﺨﻭﻴﺎ ‪.‬‬ ‫‪ Long Shot ( LS‬ﻴﺴﻴﺭ ﻓﻴﺔ ﻨﺎﺤﻴﺔ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺨﻠﻊ ﺍﻝﺠﻠﺒﺎﺏ ﻭﻴﺒﺩﺃ ﻓﻰ‬
‫ﻀﺭﺏ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 280‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﺴﻴﺭ ﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﻘﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 281‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ . Shot (MLS‬ﻷﺒﻥ ﻗﻤﺭﻴﻥ ﻴﻔﺤﺕ ﻓﻰ‬
‫ﺍﻻﺭﺽ ﻭﻴﺠﺩ ﺠﺫﺭ ﺍﻝﺒﻁﺎﻁﺎ ﻭﻴﻘﺫﻓﻬﺎ ﻓﻰ‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 282‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M. L. S‬ﻝﻌﺯﻴﺯﺓ‬
‫ﻭﻫﻰ ﺘﺘﻠﻘﻑ ﺍﻝﺒﻁﺎﻁﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 283‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ . Shot (MLS‬ﻭﻫﻭ ﻴﺠﺩ ﺠﺫﺭ ﺒﻁﺎﻁﺎ‬
‫ﺍﺨﺭ ﻭﻴﻘﺫﻓﻪ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 284‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M. L. S‬ﻝﻌﺯﻴﺯﺓ‬
‫ﻭﻫﻰ ﺘﺘﻠﻘﻑ ﺍﻝﺒﻁﺎﻁﺎ ﻭﻫﻰ ﺠﺎﻝﺴﺔ ﻋﻠﻰ‬
‫ﺍﻻﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪285‬‬
‫‪ Medium .Close .Shot‬ﻝﻭﺠﻪ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻜﺘﺭ ﺨﻴﺭﻙ ‪ ,‬ﺭﺒﻨﺎ ﻴﻜﺎﻓﺄﻙ‬ ‫ﻼ‬
‫ﻋﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻌﺘﺩل ﺜﻡ ﺘﺭﺠﻊ ﻝﻠﺨﻠﻑ ﻗﻠﻴ ﹰ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 286‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M. S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻘﻊ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﻝﻬﻭﻯ‬ ‫ﺒﻅﻬﺭﻫﺎ ﻋﻠﻰ ﺍﻷﺭﺽ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 287‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬

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‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 50 of 78‬‬

‫‪ Shot (MLS‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‬

‫‪ Low Angle‬ﻷﺒﻥ ﻗﻤﺭﻴﻥ ﻭﻫﻭ ﻴﺘﺭﻙ‬
‫ﺼﻭﺕ ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻩ‬
‫ﺍﻝﻔﺄﺱ ﻭ ﻴﺠﺭﻯ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 288‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪(Shot( O S‬‬
‫‪ High Angle‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ ﻭﻴﺩﺨل ﺇﺒﻥ ﻗﻤﺭﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻤﻥ‬
‫ﺍﻝﻴﻤﻴﻥ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ﺨﻠﻔﻴﺔ ‪Full‬‬
‫‪ rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ‪.‬ﺘﺤﺎﻭل ﻋﺯﻴﺯﺓ ﺍﻝﻭﻗﻭﻑ‬
‫ﻭﻴﻤﺴﻜﻬﺎ ﻤﻥ ﻴﺩﻫﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻭﺴﻴﻘﻰ )‬ ‫‪ 289‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫‪( 28‬‬
‫‪ (Shot( O S‬ﻷﺒﻥ ﻗﻤﺭﻴﻥ ﻭﻫﻭ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎﺓ ﻴﺎﺓ ﺍﺨﺘﺸﻰ‬ ‫ﻤﻭﺍﺠﻬﺔ ‪ Full Front Face‬ﻋﺯﻴﺯﺓ‬
‫ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻴﺤﺎﻭل‬
‫ﺘﻘﺒﻴﻠﻠﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 290‬لﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫‪ (Shot( O S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﻤﻭﺍﺠﻬﺔ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻩ ﻴﺎﻩ‬ ‫‪ Full Front Face‬ﻭﺍﺒﻥ ﻗﻤﺭﻴﻥ ﺨﻠﻔﻴﺔ‬
‫‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻫﻰ ﺘﺤﺎﻭل ﺇﺒﻌﺎﺩﻩ‬
‫ﻋﻨﻬﺎ ﻭﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 291‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S .‬ﻷﺒﻥ ﻗﻤﺭﻴﻥ‬
‫ﻭﻋﺯﻴﺯﺓ ﻓﻰ ﺍﻝﺤﻔﺭﺓ ﻴﺤﺎﻭل ﺘﻘﺒﻴﻠﻬﺎ ﻭﻫﻰ‬
‫ﺘﺤﺎﻭل ﺇﺒﻌﺎﺩﻩ ﺜﻡ ﻴﺨﺘﻔﻭﺍ ﻓﻰ ﺍﻝﺤﻔﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 292‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪. M. S.‬ﻝﻬﻤﺎ ﻭﻫﻤﺎ ﻨﺎﺌﻤﺎﻥ‬
‫ﻭﻋﺯﻴﺯﺓ ﺘﻀﺭﺒﻪ ﺒﻘﺒﻀﺔ ﻴﺩﻫﺎ ﻭﻴﻘﺒﻠﻬﺎ‬
‫ﻓﻰ ﺭﻗﺒﺘﻬﺎ ﺜﻡ ﺘﺨﻭﺭ ﻗﻭﺍﻫﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 293‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﺤﻘل ﻭﻤﺨﺘﻔﻰ‬
‫ﺠﺴﺩﻯ ﻋﺯﻴﺯﺓ ﻭﺇﺒﻥ ﻗﻤﺭﻴﻥ ﻓﻰ ﺍﻝﺤﻔﺭﺓ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -out‬‬
‫ﻤﺸﻬﺩ ) ‪( 65‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻋﺯﻴﺯﺓ‬
‫ﻤﻭﺴﻴﻘﻰ‬ ‫‪294‬‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‪Fade-in‬‬
‫) ‪( 29‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻤﺎ ﺘﻴﺠﻰ ﺘﺎﺨﺩﻴﻠﻙ ﺤﺘﻪ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺎﻝﻴﺵ ﻨﻔﺱ ‪.‬‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻤﺎ ﺘﻴﺠﻰ ﻴﺎ ﺸﻴﺨﺔ ‪ .‬ﺩﻯ‬ ‫‪ Shot (MLS‬ﻝﻌﺒﺩﺍﷲ ﻭﺇﺒﻨﺘﻪ ﻭﺍﻗﻔﺔ‬
‫ﺃﻤﺎﻤﻪ ﻭﻴﻘﺸﺭ ﻝﻬﺎ ﺍﻝﺒﻁﺎﻁﺎ ﻭﻋﺯﻴﺯﺓ ﺠﺎﻝﺴﺔ ﺤﻠﻭﺓ ﻗﻭﻯ ﻤﺵ ﻜﺩﻩ ﻴﺎ ﻋﺒﺩﺍﷲ ‪.‬‬
‫ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﺒﺭﻭﻓﻴل ﻭﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ Zoom out‬ﺤﺘﻰ ﻴﻅﻬﺭ ﺍﻹﺒﻥ ﺠﺎﻝﺴﺎ ﻓﻰ‬

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‫ﻴﻤﻴﻥ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺄﻜل ﺍﻝﺒﻁﺎﻁﺎ‬

‫ﻭﻴﺼﺒﺤﻭﺍ ﺠﻤﻴﻌﹰﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‬
‫‪.L .S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 295‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻝﺒﻌﺩﺍﷲ ﺍﻹﺒﻥ ‪ ,‬ﺜﻡ ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ‬
‫‪ Tilt up‬ﻝﺘﺘﺎﺒﻊ ﺍﻹﺒﻥ ﻭﺘﺼﺒﺢ ﺍﻝﻠﻘﻁﺔ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫ﻋﺒﺩﺍﷲ ﺍﻹﺒﻥ ‪ :‬ﺁﻴﻭﻩ ﻴﺎ ﺒﻪ ‪.‬‬ ‫‪ Shot (MLS‬ﻭﻫﻭ ﻴﻘﻑ ﻭﻴﺴﻴﺭ ﻴﺴﺎﺭ‬
‫ﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻪ ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل‬
‫‪ Pan Left‬ﻝﻴﺼل ﻷﻤﻪ ﻭﻴﻘﻑ ﺍﻤﺎﻤﻬﺎ‬
‫ﻭﻴﻌﻁﻴﻬﺎ ﻗﻁﻌﺔ ﺒﻁﺎﻁﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 296‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫‪ (Shot( O S‬ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﻓﻭﻕ ﻅﻬﺭ‬
‫ﻋﺒﺩﺍﷲ ) ﺍﻹﺒﻥ (‪ :‬ﻜﻠﻰ ﻴﺎﻤﻪ ‪..‬‬ ‫ﺍﻹﺒﻥ ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭﻭﺘﺼﺒﺢ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻷ ﻜل ﺍﻨﺕ ﻴﺎ ﻀﻨﺎﻴﺎ‬ ‫ﺍﻝﻠﻘﻁﺔ‬
‫ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﺍﻹﺒﻥ ‪ :‬ﻻﺯﻡ ﺘﺎﻜﻠﻰ ‪.‬‬
‫ﻭﺘﺄﻜل ﻋﺯﻴﺯﺓ ﻗﻁﻌﺔ ﻤﻥ ﺍﻝﺒﻁﺎﻁﺎ ﻭﺘﻠﻘﻴﻬﺎ‬
‫ﻤﻥ ﻓﻤﻬﺎ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 66‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﺤﻘل‬
‫‪ 297‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L. S‬ﻝﻸﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ‬
‫ﻭﻴﺩﺨل ﺇﺒﻥ ﻗﻤﺭﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ‬
‫ﺇﺒﻥ ﻗﻤﺭﻴﻥ ‪ :‬ﺇﺯﻴﻙ ﻴﺎ ﻋﺯﻴﺯﺓ ؟ ﻋﻡ‬ ‫ﻭﻴﺴﻴﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪Pan‬‬
‫ﻋﺒﺩﺍﷲ ﻤﺵ ﻋﺎﻴﺯ ﺒﻁﺎﻁﺎ ‪..‬‬ ‫‪ Left‬ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﻋﺯﻴﺯﺓ ﺍﻝﺘﻰ ﺘﺤﺭﺙ‬
‫ﻓﻰ ﺍﻷﺭﺽ ﺘﻌﺘﺩل ﻭﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 298‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M. S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﻀﻊ ﺍﻝﻔﺄﺱ ﻋﻠﻰ ﻜﺘﻔﻬﺎ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 299‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L .S‬ﻷﺒﻥ ﻗﻤﺭﻴﻥ ﻭﻫﻭ‬
‫ﻭﺍﻗﻑ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻋﺯﻴﺯﺓ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪,‬‬
‫ﺇﺒﻥ ﻗﻤﺭﻴﻥ ‪) :‬ﻴﻀﺤﻙ (‬ ‫ﻭﻴﺨﺭﺝ ﺇﺒﻥ ﻗﻤﺭﻴﻥ ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﻀﺭﺏ ﺒﺎﻝﻔﺎﺱ ﺍﻻﺭﺽ ﺒﻌﺩ ﺨﺭﻭﺠﺔ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -out‬‬
‫ﻤﺸﻬﺩ ) ‪( 67‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻋﺯﻴﺯﺓ‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade-in‬‬ ‫‪300‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻓﻴﻪ ﺁﻴﻪ ﻴﺎ ﻋﺯﻴﺯﺓ ؟‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺭﺍﺴﻰ ﺒﺘﻭﺠﻌﻨﻰ ‪.‬‬ ‫‪ . Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ‬
‫ﻝﻤﻭﺴﻴﻘﻰ‬
‫ﻭﺍﻷﻁﻔﺎل ﻴﺘﻨﺎﻭﻝﻭﻥ ﻁﻌﺎﻡ ﺍﻝﻌﺸﺎﺀ ﺘﺘﻭﻗﻑ ﻋﺒﺩﺍﷲ ‪ :‬ﻻﺯﻡ ﺨﺩﺘﻰ ﻀﺭﺒﺔ ﺸﻤﺱ‬
‫) ‪( 29‬‬
‫ﺒﻘﻰ ﻭﻻﺤﺎﺠﺔ‬ ‫ﻋﺯﻴﺯﺓ ﻋﻥ ﺘﻨﺎﻭل ﺍﻝﻁﻌﺎﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 301‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻌﺯﻴﺯﺓ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺍﻝﻭﻗﺕ ﺃﺒﻘﻰ ﻜﻭﻴﺴﺔ‬

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‫ﻋﺒﺩﺍﷲ ‪ :‬ﻴﺒﻘﻰ ﻻﺯﻡ ﺒﻜﺭﺓ ﺘﺴﺘﺭﻴﺤﻰ‬ ‫ﻭﻋﺒﺩﺍﷲ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬

‫ﻭﻻ ﺘﻁﻠﻌﻴﺵ ﺍﻝﻐﻴﻁ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺎﺃﻨﺕ ﻋﺎﺭﻑ ﺍﻝﺤﺎل ﺁﻨﻰ‬
‫ﻜﻭﻴﺴﺔ ﻏﻴﺭﺵ ﻋﻨﺩﻯ ﺸﻭﻴﺔ ﻭﺠﻊ ‪.‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺤﻁﻰ ﻓﻰ ﻭﺩﺍﻨﻙ ﺸﻭﻴﺔ ﻤﻴﻪ‬
‫ﺒﻤﻠﺢ ﻭﺇﻨﺘﻰ ﺭﺍﺴﻙ ﺘﻔﻙ ﻋﻠﻰ ﻁﻭل ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻗﻠﺘﻠﻙ ﺩﻝﻭﻗﺘﻰ ﺃﺒﻘﻰ‬
‫ﻰ‬
‫ﻜﻭﻴﺴﺔ ‪.‬ﻨﻔﺴﻰ ﻁﺎﺒﻕ ﻋﻠ ‪‬‬
‫‪ 302‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L .S‬ﻝﻌﺯﻴﺯﺓ ﻭﻋﺒﺩﺍﷲ‬
‫ﻭﺍﻷﻁﻔﺎل ‪ ,‬ﺘﺘﺤﺭﻙ ﻋﺯﻴﺯﺓ ﻭﺘﺴﻴﺭ ﻨﺎﺤﻴﺔ ﻋﺯﻴﺯﺓ ‪ :‬ﻫﺎﺃﻁﻠﻊ ﺍﻝﺴﻁﻭﺡ ﺃﺸﻡ ﺸﻭﻴﺔ‬
‫ﻫﻭﺍ ‪.‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺃﻴﻀ ﹰﺎ ﻝﻠﺨﺎﺭﺝ‬
‫ﺍﻝﻁﻔﻠﺔ ‪ :‬ﺨﺩﻴﻨﻰ ﻤﻌﺎﻜﻰ ﺍﻝﺴﻁﻭﺡ‬ ‫ﻋﻠﻰ ﺸﺎﺭﻴﻭﺓ ﻭ ﺘﺠﺭﻯ ﺇﺒﻨﺘﻬﺎ ﻭﺭﺍﺀﻫﺎ‬
‫ﻴﺎﺃﻤﻪ ‪.‬‬ ‫ﺍ‬
‫ﹰ‬ ‫ﻴﺴﺎﺭ‬ ‫ﻭﺘﺏﻋﺩﻫﺎ ﻋﺯﻴﺯﺓ ﻋﻨﻬﺎ ‪ ,‬ﺜﻡ ﺘﺴﻴﺭ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ , pan left‬ﺜﻡ ﺘﺼﻌﺩ ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﺒﺕ ﺴﺒﻴﻨﻰ ﻓﻰ ﺤﺎﻝﻰ ‪ ,‬ﻴﺎ‬
‫ﻋﺒﺩﺍﷲ ﺨﺩ ﺃﺨﺘﻙ ﻤﻌﺎﻙ ‪.‬‬ ‫ﺍﻝﺴﻠﻡ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﻜﺭﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 68‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺴﻁﺢ ﻤﻨﺯل ﻋﺯﻴﺯﺓ‬
‫ﻤﻭﺴﻴﻘﻰ ) ‪( 30‬‬ ‫‪ 303‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M .L. S‬ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﺇﻀﺎﺀﺓ‬
‫ﺍﻝﻤﺸﻬﺩ ﺨﺎﻓﺘﺔ ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﺼﻌﺩ ﺴﻼﻝﻡ‬
‫ﺍﻝﻤﻨﺯل ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﺤﺘﻰ ﺘﻘﻑ ‪ ,‬ﺜﻡ‬
‫ﺘﺠﻠﺱ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﺘﻔﺭﻍ ﻤﺎﻓﻰ ﺠﻭﻓﻬﺎ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ ) :‬ﺘﺒﻜﻰ ( ﻴﺎ ﺭﺏ ‪ ..‬ﻴﺎ ﺭﺏ‬ ‫ﺜﻡ ﺘﺠﻠﺱ ﻭﺘﺘﺤﺩﺙ ﺜﻡ ﺘﻘﻭﻡ ﻭﺘﺭﻓﻊ ﺍﻨﻴﺔ‬
‫ﻭﺍﻝﻨﺒﻰ ﻤﺎﺘﻔﻀﺤﻨﻰ ‪ ...‬ﺩﺍ ﺁﻨﻰ ﻭﻝﻴﺔ‬ ‫ﻓﺨﺎﺭﻴﺔ ﻭﺘﻨﻘﻠﻬﺎ ﻭﺘﻘﻑ ﻭﺘﺼﻌﺩ ﻋﻠﻴﻬﺎ‬
‫ﻏﻠﺒﺎﻨﺔ ﻭﺍﻝﺭﺍﺠل ﺭﺍﻗﺩ ﻓﻰ ﺍﻝﺩﺍﺭ ‪ .‬ﺩﻩ‬ ‫ﻭﺘﺭﺘﻔﻊ ﻤﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻌﻬﺎ ‪Tilt up‬‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬ ‫ﻴﻤﻭﺕ ﻭﻴﺭﻭﺡ ﻓﻴﻬﺎ ‪ ,‬ﻭﺍﻝﻌﻴﺎل ﻴﺘﻴﺘﻤﻭﺍ‬ ‫ﻷﻋﻠﻰ‬
‫ﻝﻤﻭﺴﻴﻘﻰ )‪( 30‬‬ ‫ﻤﻥ ﺒﻌﺩﻩ ‪.‬ﻭﺁﻨﻰ ﻏﻠﻁﺎﻨﺔ ‪ ,.‬ﺁﻨﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻏﻠﻁﺎﻨﺔ ‪ .‬ﺴﺎﻤﺤﻨﻰ ﻴﺎ ﺭﺏ ‪...‬‬
‫ﺴﺎﻤﺤﻨﻰ ﻴﺎ ﺭﺏ‬
‫‪ 304‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ ) .L .S‬ﺍﻝﻜﺎﺩﺭ ﻤﺎﺌل (‬
‫ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫‪ Angle‬ﻭﻫﻰ ﺘﻘﻔﺯ ﻤﻥ ﻓﻭﻕ ﺍﻵﻨﻴﺔ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ ‪ ,‬ﺜﻡ ﺘﺼﻌﺩ ﻤﺭﺓ ﺜﺎﻨﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ )‪( 31‬‬ ‫‪ 305‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻁﺒل ﻋﺎﻝﻰ‬ ‫ﻝﻭﺠﻪ ﻋﺯﻴﺯﺓ ﻭﻫﻰ ﻤﺘﻌﺒﺔ ‪ ,‬ﺜﻡ ﺘﻘﻔﺯ ﺜﺎﻨﻴﺔ‬
‫ﻭﺘﻨﺯل ﻤﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪Tilt Down‬‬
‫‪ .‬ﺜﻡ ﺘﺨﺭﺝ ﻤﻥ ﺩﺍﺨل ﺍﻝﺠﻠﺒﺎﺏ ﺍﻝﺫﻯ ﺘﺭﺘﺩﻴﻪ‬
‫ﻋﻭﺩ ﻤﻠﻭﺨﻴﺔ ‪ ,‬ﺘﻘﻑ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ , Tilt up‬ﺜﻡ ﺘﺘﺤﺭﻙ ﻴﺴﺎﺭ ﺜﻡ ﻴﻤﻴﻥ‬
‫ﻭﺘﺨﺘﻔﻰ ﺨﻠﻑ ﻋﻴﺩﺍﻥ ﺍﻝﺫﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 31‬‬
‫‪ 306‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻭﺠﻪ ﻋﺯﻴﺯﺓ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺇﻨﺕ ﻋﺎﻝﻡ ﺒﺎﻝﺤﺎل ‪ ,‬ﺃﻨﺎ ﻋﺎﺭﻓﺔ‬ ‫ﻭﻫﻰ ﺘﺭﻗﺩ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﺇﻥ ﺍﻝﻠﻰ ﺒﺄﻋﻤﻠﻪ ﺩﻩ ﺤﺭﺍﻡ ‪ .‬ﻝﻜﻥ ﺠﻭﺯﻯ‬
‫ﻋﻴﺎﻥ ﻭﺍﻝﺨﻠﻕ ﻜﻠﻬﺎ ﻋﺎﺭﻓﺔ ‪ .‬ﺃﻤﻭﺕ‬
‫ﺱ ﺩﻩ ﺤﺭﺍﻡ ‪.‬‬‫ﻨﻔﺴﻰ ﻭﺃﺴﺘﺭﻴﺢ ‪ ,‬ﺒ ‪‬‬

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‫ﻭﻫﻭ ﻴﻌﻨﻰ ﺍﻝﻠﻰ ﺒﺄﻋﻤﻠﻪ ﺩﻩ ﻤﺵ‬ ‫ﺜﻡ ﺘﺭﻗﺩ ﻋﻠﻰ ﺍﻷﺭﺽ‬

‫ﺱ؟‬‫ﺤﺭﺍﻡ ‪ .‬ﻭﺃﻨﺎ ﻋﻤﻠﺕ ﺁﻴﻪ ﺒ ‪‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺸﻴﻁﺎﻥ ﻜﺘﻔﻨﻰ ‪ ,‬ﺍﻝﺸﻴﻁﺎﻥ ﻜﺘﻔﻨﻰ ‪.‬‬
‫‪ 307‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻝﻠﺭﺤﺎﻴﺔ ‪ ,Close up‬ﺜﻡ‬
‫ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ‬

‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ)‪( 32‬‬ ‫ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ )‪Medium Shot (MS‬‬

‫‪ Tilt up‬ﻭﻴﻅﻬﺭ ﻭﺠﻪ ﻋﺯﻴﺯﺓ ﻓﻰ ﻋﻤﻕ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻫﻰ ﻨﺎﺌﻤﺔ ‪ ,‬ﺜﻡ ﺘﺠﺫﺏ ﺍﻝﺭﺤﺎﻴﺔ‬
‫ﻭﺘﻀﻌﻬﺎ ﻋﻠﻰ ﺒﻁﻨﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪308‬‬
‫‪ Medium .Close .Shot‬ﻝﻠﺭﺤﺎﻴﺔ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ )‪(32‬‬ ‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻋﻠﻰ‬
‫ﺒﻁﻥ ﻋﺯﻴﺯﺓ ‪ ,‬ﺜﻡ ﻴﺘﺴﻊ ﺍﻝﻜﺎﺩﺭ ﺤﺘﻰ ﺘﺼﺒﺢ‬
‫ﻋﺯﻴﺯﺓ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M .S‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 69‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﺒﺌﺭ ﺍﻝﻤﺎﺀ‬
‫‪ 309‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﺃﻤﺎﻡ ﺍﻝﺒﺌﺭ ﺘﻨﺯل ﺍﻝﺩﻝﻭ ﻭﺘﻤﻠﺌﻪ ﺜﻡ ﺘﺠﺫﺒﻪ‬
‫ﺼﻭﺕ ﺩﺠﺎﺝ‬
‫ﻷﻋﻠﻰ ﺨﺎﺭﺝ ﺍﻝﺒﺌﺭ ‪ ,‬ﺜﻡ ﺘﻤﺴﻙ ﺒﻁﻨﻬﺎ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 70‬‬
‫ﻏﺭﻭﺏ ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺎﻝﺔ ﺍﻝﻤﻨﺯل‬
‫‪ 310‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﻗﺎﺩﻤﺔ‬
‫ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻋﺒﺩﺍﷲ ﻭﺍﻷﻁﻔﺎل ﻓﻰ‬
‫ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺘﻀﻊ ﻋﺯﻴﺯﺓ ﺍﻝﻁﻌﺎﻡ ﺍﻤﺎﻡ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺴﺎﺀ ﺍﻝﺨﻴﺭ‬ ‫ﺍﻷﻁﻔﺎل ‪ ,‬ﺜﻡ ﺘﺴﻴﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻴﺴﻌﺩ ﻤﺴﺎﻜﻰ ﻴﺎ ﻋﺯﻴﺯﺓ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,Pan Left‬ﺜﻡ ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻝﺘﺘﺎﺒﻌﻬﺎ ‪ Tilt up‬ﻭﻫﻰ ﺘﺼﻌﺩ ﺍﻝﺴﻠﻡ ﺍﻝﻰ‬
‫ﺍﻝﺴﻁﺢ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 71‬‬
‫ﻏﺭﻭﺏ ‪ /‬ﺨﺎﺭﺠﻰ ﺴﻁﺢ ﺍﻝﻤﻨﺯل‬
‫‪ 311‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﺘﺴﻴﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪Pan‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ ﻨﺎﻯ‬ ‫‪ Right‬ﻭﺘﺠﻠﺱ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﺘﺼﺒﺢ‬
‫) ‪( 33‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫‪Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 312‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﻴﺩﻴﻬﺎ ﻭﻫﻰ‬
‫ﺘﺭﻓﻊ ﺍﻝﺠﻠﺒﺎﺏ ﻭﺘﺴﺤﺏ ﺍﻝﺭﺒﺎﻁ ﺍﻝﺫﻯ ﻴﻐﻁﻰ‬
‫ﺒﻁﻨﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 313‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M . Close up‬‬
‫ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻔﻙ ﺍﻝﺭﺒﺎﻁ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 314‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﺒﻁﻥ ﻋﺯﻴﺯﺓ‬

‫ﻭﺘﻤﺘﺩ ﻴﺩﻫﺎ ﻝﺘﺴﺤﺏ ﺍﻝﺭﺒﺎﻁ ‪ ,‬ﺜﻡ ﺘﺭﺘﻔﻊ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪ Tilt up‬ﻋﻠﻰ ﻭﺠﻪ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﺼﻭﺕ ﺍﻝﻤﻨﺎﺩﻯ ‪ :‬ﺍﻝﻨﻔﺭ ﺒﺴﺘﺔ ‪..‬‬ ‫ﻋﺯﻴﺯﺓ ﺍﻝﻤﺘﻌﺏ ﺜﻡ ﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻤﻊ‬
‫)‪( 33‬‬
‫ﺼﻭﺕ ﺍﻝﻤﻨﺎﺩﻯ ﻭﺘﺭﻓﻊ ﺭﺍﺴﺔ ﻝﺘﻌﺘﺩل‬
‫ﻭﺘﺠﻠﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 72‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺎﻝﺔ ﻤﻨﺯل ﻋﺯﻴﺯﺓ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪315‬‬
‫‪ Medium .Close .Shot‬ﻝﻴﺩ ﻋﺯﻴﺯﺓ‬
‫ﻭﻫﻰ ﺘﻀﻊ ﻁﻌﺎﻤ ﹰﺎ ﻓﻰ ﻗﻁﻌﺔ ﻗﻤﺎﺵ ﻭﺘﺭﺘﻔﻊ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠىﻌﻠﻰ ﻭﺠﻪ ﻋﺯﻴﺯﺓ ﻭﺘﺘﺤﻭل‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺨﻠﻰ ﺒﺎﻝﻙ ﻤﻥ ﻨﻔﺴﻙ ﻴﺎ‬ ‫ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﻋﺯﻴﺯﺓ ‪ ..‬ﻤٍﺭﻭﺍﺤﻙ ﻝﻭﺤﺩﻙ ﻋﻠﻰ‬
‫‪Medium Long Shot (MLS‬‬
‫ﻋﻴﻨﻰ ‪.‬‬
‫ﻭﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻋﺒﺩﺍﷲ‬
‫ﻰ ﻫﻭ ﺃﻨﺎ ﻴﻌﻨﻰ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻤﺎﺘﺨﻔﺵ ﻋﻠ ‪‬‬
‫ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﻘﻑ ﻭﺘﻠﺘﻔﺕ‬
‫ﻝﺴﻪ ﺼﻐﻴﺭﺓ ‪ ...‬ﺒﻜﺭﺓ ﺃﺭﺠﻌﻠﻙ ﺃﻨﺕ‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ ﻓﻴﺩﺨل ﺍﺒﻨﻬﺎ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺍﻝﻌﻴﺎل ﻭﺍﻻﻗﻴﻙ ﺒﺼﺤﺘﻙ ‪ ,‬ﻭﺃﺠﻴﺏ‬
‫ﻭﻴﻭﻗﻔﻬﺎ ﻝﻴﻌﻁﻴﻬﺎ ﺠﺭﺓ ﻓﺨﺎﺭﻴﺔ ﺼﻐﻴﺭﺓ‬
‫ﺍﻝﻔﻠﻭﺱ ﻭﻨﺘﻬﻨﻰ ﺘﺎﻨﻰ ‪.‬‬
‫ﺍﻝﻁﻔل ‪ :‬ﺍﻝﻤٍﺵ ﻴﺎ ﻤﻪ ‪.‬‬ ‫ﺜﻡ ﺘﻠﺘﻔﺕ ﻭﺘﺼﺒﺢ ﺨﻠﻔﻴﺔ ‪Full rear‬‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺠﻪ ﺍﻝﻰ ﻤﻜﺎﻥ ﺠﻠﻭﺱ ﺯﻭﺠﻬﺎ‬
‫ﻋﺒﺩﺍﷲ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﻭﺍﷲ ﺃﻨﺎ ﺨﺎﻴﻑ ﻴﺎ ﻋﺯﻴﺯﺓ‬ ‫‪ 316‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻌﺯﻴﺯﺓ ﻭﺍﻷﻁﻔﺎل‬
‫ﻝﺘﺭﺠﻌﻰ ﻤﺎ ﺘﻼﻗﻨﻴﺵ ‪ ,‬ﺃﻨﺘﻰ ﺘﺴﺎﻓﺭﻯ‬ ‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﻫﻡ‬
‫ﻤﻥ ﻫﻨﺎ ﻭﺃﻨﺎ ﺃﺴﺎﻓﺭ ﻭﺭﺍﻜﻰ ﻤﻥ ﻫﻨﺎ ‪.‬‬ ‫ﺠﺎﻝﺴﻴﻥ ﺒﺠﻭﺍﺭ ﻋﺒﺩﺍﷲ ‪ .‬ﺜﻡ ﺘﻘﻭﻡ ﻋﺯﻴﺯﺓ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺒﻌﺩ ﺍﻝﺸﺭ ﻋﻠﻴﻙ ‪ ,‬ﻤﺎ ﺘﻘﻭﻝﺵ‬ ‫ﻭﺘﻘﻑ ﻝﺘﺨﺭﺝ ﻓﻴﺠﺭﻯ ﻋﻠﻴﻬﺎ ﺍﻻﻁﻔﺎل‬
‫ﻜﺩﻩ ﺃﻤﺎل ‪ ,‬ﺩﻩ ﺃﻨﺕ ﺨﻼﺹ ﺭﺒﻨﺎ ﻫﺎ‬ ‫ﻭﻴﺘﻌﻠﻘﻭﺍ ﺒﻬﺎ‬
‫ﻴﺅﻤﺭ ﺒﺎﻝﺸﻔﺎ‪ .‬ﺨﻠﻰ ﺒﺎﻝﻙ ﺃﻨﺕ ﻤﻥ‬
‫ﻨﻔﺴﻙ ﻭﻤﻥ ﺍﻝﻌﻴﺎل ‪.‬‬
‫ﺍﻷﻁﻔﺎل ‪ :‬ﺨﺩﻴﻨﺎ ﻤﻌﺎﻜﻰ ﻴﺎﻤﻪ ‪.‬‬
‫ﺱ ﺨﻠﻴﻜﻰ ﺯﻯ‬ ‫ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻴﻪ ﺩﻩ ! ﺒ ‪‬‬
‫ﺍﻝﺸﺎﻁﺭﺓ ﻭﺃﻗﻌﺩﻯ ﻤﻊ ﺃﺒﻭﻜﻰ ‪ .‬ﺁﻴﻪ ﻴﺎ‬
‫ﻋﺒﺩﺍﷲ ﺩﻩ ﺃﻨﺕ ﺒﻘﻴﺕ ﺭﺍﺠل ﻭﻫﺎ ﺘﺭﻭﺡ‬
‫ﺍﻝﻐﻴﻁ ﻭﺘﺸﺘﻐل ﺯﻯ ﺍﻝﺭﺠﺎﻝﺔ ‪.‬‬
‫ﻋﺒﺩﺍﷲ ‪ :‬ﺭﻭﺤﻰ ﺍﻨﺘﻰ ﻴﺎ ﻋﺯﻴﺯﺓ ﺃﺤﺴﻥ‬
‫‪ ,‬ﺜﻡ ﺘﺘﺭﻜﻬﻡ ﻋﺯﻴﺯﺓ ﻭﺘﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﺱ ﻴﺎ ﻭﺍﺩ‬‫ﺭﻭﺤﻰ لﻝﻌﺭﺒﻴﺎﺕ ﺘﻔﻭﺘﻙ ‪ ,‬ﺒ ‪‬‬
‫ﺼﻭﺕ ﺒﻜﺎﺀ‬ ‫ﻭﻴﻅل ﻋﺒﺩﺍللﻩ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻤﻊ ﺍﻷﻁﻔﺎل‬
‫ﻴﺎﻋﺒﺩ ﺍﷲ ‪ ,‬ﺘﻌﺎﻝﻰ ﻫﻨﺎ ﻴﺎ ﺒﺕ ﻴﺎ‬
‫ﺍﻻﻁﻔﺎل‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﺎﺩﻴﺔ‪..‬‬
‫ﻤﺸﻬﺩ ) ‪( 73‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ ﺍﻝﻘﺭﻴﺔ‬
‫‪ 317‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻠﺴﻴﺎﺭﺍﺕ ﻭﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﺠﺎﻝﺴﻴﻥ ﻋﻠﻰ ﺍﻷﺭﺽ ‪ ,‬ﻭﻋﺭﻓﺔ ﻭﺍﻗﻑ ﻓﻰ‬
‫ﻤﻨﺘﺼﻑ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Zoom‬‬
‫‪ out‬ﻭﻴﺘﺤﺭﻙ ﺒﻌﺽ ﺍﻝﻔﻼﺤﻴﻥ ﻝﻴﺼﻌﺩﻭﺍ ﺼﻭﺕ ﻓﻼﺡ ‪ :‬ﺃﺤﻤﺩ ﺃﺒﻭ ﺴﺭﻴﻊ ‪ ,‬ﻋﻠﻰ‬
‫ﺍﻝﺒﺎﺸﺎ ‪ ,‬ﺇﺒﺭﺍﻫﻴﻡ ﻋﻁﻴﺔ ‪ ,‬ﺍﻷﺴﻁﻰ ﻋﺒﺩ‬

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‫ﺍﻝﻌﺎﻁﻰ ‪.‬‬ ‫ﺍﻝﻰ ﺍﻝﺴﻴﺎﺭﺓ ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ‪Pan‬‬

‫‪ Right‬ﻝﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ ﺠﺎﻝﺴﺔ ﺩﺍﺨل‬
‫ﺍﻝﺴﻴﺎﺭﺓ ﻭﺭﺃﺴﻬﺎ ﻤﺴﺘﻨﺩﺓ ﻋﻠﻰ ﻴﺩﻴﻬﺎ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 74‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﻁﺭﻴﻕ‬
‫‪ 318‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻠﺴﻴﺎﺭﺍﺕ ﺍﻝﻨﻘل ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪high Angle‬‬
‫ﺼﻭﺕ ﺍﻝﻐﻨﺎﺀ‬
‫ﻋﻠﻰ ﺇﺤﺩﻯ ﺴﻴﺎﺭﺍﺕ ﺍﻝﻨﻘل ﻭﺘﻅﻬﺭ ﺴﻴﺎﺭﺓ‬
‫ﻭﺍﻝﺘﺼﻔﻴﻕ‬
‫ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻋﻠﻴﻬﺎ ﺍﻝﻔﻼﺤﻴﻥ ﻴﻐﻨﻭﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 319‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﺼﻭﺕ ﻤﺤﺭﻙ‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬ ‫ﻝﻌﺯﻴﺯﺓ ﻭﺃﻡ ﺤﺴﻥ ﻭﺒﺠﻭﺍﻫﻤﺎ ﻓﻼﺤﺔ ﺘﻐﻨﻰ ‪,‬‬
‫ﻭﺍﻝﺘﺼﻔﻴﻕ‬ ‫ﺘﺠﻠﺱ ﻋﺯﻴﺯﺓ ﻭﺘﻨﻅﺭ ﻝﻬﻥ ﺜﻡ ﺘﺒﺩﺃ ﻓﻰ‬
‫ﻭﺍﻝﻐﻨﺎﺀ‬ ‫ﺍﻝﻐﻨﺎﺀ ﻤﻌﻬﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 320‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻝﻠﺴﻴﺎﺭﺍﺕ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 321‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﻝﻌﺯﻴﺯﺓ ﺘﻐﻨﻰ ﻤﻊ ﺒﺎﻗﻰ ﺍﻝﻔﻼﺤﺎﺕ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ )‪( 75‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫‪ 322‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻸﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ ‪Pan right‬‬
‫ﺼﻭﺕ ﺍﻝﻤﻜﺎﻥ‬
‫ﻝﺘﺘﺎﺒﻊ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻷﻁﻔﺎل ﻭﺘﻅﻬﺭ‬
‫ﻭﻝﻌﺏ ﺍﻷﻁﻐﺎل‬
‫ﻋﺯﻴﺯﺓ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻭﻫﻰ ﺘﻨﺼﺏ ﺍﻝﺨﻴﻤﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 323‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M . Close up‬‬
‫ﻭﻫﻰ ﺘﻌﻘﺩ ﻁﺭﻑ ﺍﻝﺨﻴﻤﺔ ‪ ,‬ﺜﻡ ﺘﻤﺴﻙ‬
‫ﺒﻁﻨﻬﺎ ‪ ,‬ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ﻭﻤﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ , pan Left‬ﺜﻡ ﺘﺠﻠﺱ ﺘﺤﺕ‬
‫ﺸﺠﺭﺓ ﻭﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫ﻜﺒﻴﺭﺓ ‪Medium Long Shot (MLS‬‬
‫ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫‪ , Angle‬ﻭﺘﺭﻓﻊ ﺍﻝﺠﻠﺒﺎﺏ ﻭﺘﻔﻙ ﺍﻝﺭﺒﺎﻁ‬
‫ﺍﻝﺫﻯ ﻴﻐﻁﻰ ﺒﻁﻨﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 324‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻤﺠﻤﻭﻋﺔ ﻓﻼﺤﻴﻥ‬
‫ﻋﺭﻓﺔ ‪ :‬ﺇﺴﻤﻊ ﻴﺎ ﻭﺍﺩ ﺃﻨﺕ ﻭﻫﻭ ‪.‬‬
‫ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻫﻡ ﻴﻀﻌﻭﻥ ﺃﺸﻴﺎﺌﻬﻡ ﻓﻰ ﺍﻝﺨﻴﺎﻡ‬
‫ﺍﻝﺼﺤﻴﺎﻥ ﻗﺒل ﺍﻝﻔﺠﺭ ﻭﺍﻝﺸﻐل ﻓﻰ‬
‫ﻭﻴﻅﻬﺭ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﻋﺭﻓﺔ ﻤﻥ ﻤﻜﺎﻥ‬
‫ﺍﻝﺤﻭﺽ ﺍﻝﻘﺒﻠﻰ ‪ ,‬ﻤﺎ ﺘﻜﺴﻔﻭﻨﺎﺵ ﻤﻊ‬
‫ﻤﺭﺘﻔﻊ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ .‬ﻜل ﺤﻰ ﻴﻔﺘﺢ ﻋﻴﻨﻴﻪ ﻜﻭﻴﺱ ‪.‬‬
‫ﻤﺯﺝ ‪dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 76‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻷﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ‬
‫‪325‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻔﻼﺤﺎﺕ ﺍﻝﺘﺭﺤﻴﻠﺔ‬

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‫ﻭﻫﻥ ﻴﻌﻤﻠﻥ ﻓﻰ ﺍﻷﺭﺽ ﻓﻰ ﺼﻑ‬

‫ﻭﻭﺭﺍﺀﻫﻡ ﻋﺭﻓﺔ ﻴﺘﺎﺒﻌﻬﻥ ‪ ,‬ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ‬
‫ﺘﻘﻑ ﻋﺯﻴﺯﺓ ﻤﺘﺨﻠﻔﺔ ﻋﻥ ﺼﻑ ﺍﻝﻨﺴﺎﺀ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻭﺴﻴﻘﻰ ) ‪( 34‬‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪326‬‬
‫ﻁﺒل ﻤﺘﻼﺤﻕ‬
‫‪ Medium .Close .Shot‬ﻝﻌﺯﻴﺯﺓ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺘﻨﻅﺭ ﻓﻰ ﺃﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﻤﺴﻙ ﺒﻁﻨﻬﺎ‬
‫) ‪( 34‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 327‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﻭﺍﻗﻔﺔ ‪,‬‬
‫ﻭﻴﺄﺘﻰ ﻋﺭﻓﺔ ﻭﻴﻨﻬﺭﻫﺎ ﺒﺎﻝﻌﺼﺎ ﻓﺘﺘﺤﺭﻙ‬
‫ﺴﺭﻴﻌﺎ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻝﺘﻠﺤﻕ ﺒﺎﻝﺼﻑ ﻭﻋﺭﻓﺔ‬
‫ﻴﻅل ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 328‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫ﻝﻠﻔﻼﺤﻴﻥ ﺠﺎﻝﺴﻴﻥ ﻴﺘﻨﺎﻭﻝﻭﺍ ﺍﻝﻁﻌﺎﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 329‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫‪ High Angle‬ﻝﺜﻼﺜﺔ ﻓﻼﺤﻴﻥ ﻜﺒﺎﺭ ﺍﻝﺴﻥ‬
‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ‬
‫ﻴﺘﻨﺎﻭﻝﻭﺍ ﺍﻝﻁﻌﺎﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 330‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻌﺯﻴﺯﺓ ﺠﺎﻝﺴﺔ ﺘﺘﻨﺎﻭل‬
‫ﺍﻝﻁﻌﺎﻡ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺒﺎﻗﻰ ﺍﻝﻔﻼﺤﺎﺕ‬
‫ﺠﺎﻝﺴﺎﺕ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﻴﺄﻜﻠﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 331‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻌﺯﻴﺯﺓ ﺠﺎﻝﺴﺔ‬
‫ﻤﻭﺴﻴﻘﻰ ) ‪( 35‬‬
‫ﺘﻤﺴﻙ ﺒﻁﻨﻬﺎ‬
‫ﺍﻝﻁﺒل ﺍﻝﻤﺘﻼﺤﻕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 332‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L .S‬ﻝﻌﺯﻴﺯﺓ ﺠﺎﻝﺴﺔ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ ﻭﺍﻝﻔﻼﺤﻴﻥ ﻴﺠﺭﻭﻥ ﺒﺴﺭﻋﺔ ﻓﻰ‬
‫ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻭﻋﺯﻴﺯﺓ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﺨﻠﻔﻬﺎ ﻜﻭﻤﺔ ﻤﻥ ﻋﻴﺩﺍﻥ ﺍﻝﺒﻭﺹ ‪ .‬ﺼﻭﺕ ﻋﺭﻓﺔ ‪ :‬ﻴﺎ ﻝﻼ ﻴﺎ ﻭﺍﺩ ﺍﻨﺕ ﻭﻫﻭ‬
‫ﻭﻫﻰ ‪ ..‬ﻴﺎ ﻝﻼ ‪.‬‬ ‫ﺜﻡ ﺘﻘﻑ ﻭﺘﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan right‬ﻭﺘﺼﺒﺢ ﻋﻜﺱ‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﻤﺸﻰ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ )‪( 77‬‬
‫ﻏﺭﻭﺏ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻷﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ‬
‫ﻤﻭﺴﻴﻘﻰ ) ‪( 36‬‬ ‫‪ 333‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻠﻔﻼﺤﺎﺕ ﻴﺴﺭﻥ ﻋﻠﻰ‬
‫ﻁﺒل ﻤﺘﻼﺤﻕ‬ ‫ﺍﻝﺠﺎﻨﺏ ﺍﻷﺨﺭ ﻤﻥ ﺍﻝﺘﺭﻋﺔ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺘﺘﺎﺒﻌﻬﻥ ﻴﻤﻴﻨ ﹰﺎ ‪ Pan right‬ﻭﻫﻰ ﻋﻠﻰ‬
‫ﺍﻝﺠﺎﻨﺏ ﺍﻝﺜﺎﻨﻰ ﻤﻥ ﺍﻝﺘﺭﻋﺔ ‪ ,‬ﻭﻤﻊ ﺤﺭﻜﺔ‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﻤﺎﻝﻙ ﻴﺎ ﻋﺯﻴﺯﺓ ؟ ﻓﻴﻪ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺩﺨل ﻋﺯﻴﺯﺓ ﺍﻝﻜﺎﺩﺭ ﻭﺘﻘﺘﺭﺏ ﻤﻥ‬
‫ﺤﺎﺠﺔ ﻴﺎ ﺨﺘﻰ ؟‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺃﺒﺩﹰﺍ ﺒﺄﺭﺒﻁ ﺍﻝﺴ‪‬ﺭﺓ ‪.‬‬ ‫ﻜﺒﻴﺭﺓ ‪Medium Long Shot (MLS‬‬
‫ﻼ ﺒﺠﻭﺍﺭﻫﺎ‬
‫ﻭﺘﻌﺒﺭﻫﺎ ﺍﻡ ﺤﺴﻥ ﺜﻡ ﺘﻘﻑ ﻗﻠﻴ ﹰ‬
‫ﻭﺘﺨﺭﺝ ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﺘﻤﺸﻰ ﻋﺯﻴﺯﺓ‬
‫ﻴﺴﺎﺭﹰﺍ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.Pan Left‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬

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‫ﻤﺸﻬﺩ ) ‪( 78‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪334‬‬
‫) ‪( 36‬‬
‫‪ Medium .Close .Shot‬ﻋﻠﻰ ﻨﺎﺭ‬
‫ﺼﻭﺕ ﺘﺼﻔﻴﻕ‬ ‫ﻤﺸﺘﻌﻠﺔ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪Pan‬‬
‫ﻭﻏﻨﺎﺀ ﺍﻝﻔﻼﺤﺎﺕ‬ ‫‪ right‬ﻝﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ ﻨﺎﺌﻤﺔ ﻭﺘﺼﺒﺢ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻭﺘﻤﺴﻙ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﺒﺼﻠﺔ ﻭﻋﻭﺩ ﺤﻁﺏ‬
‫)‪( 36‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 335‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻌﺯﻴﺯﺓ ﺘﻘﻑ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪ Tilt up‬ﺜﻡ ﺘﺘﺤﺭﻙ ﻴﻤﻴﻨﹰﺎ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ pan Right‬ﺒﻴﻥ‬
‫ﺍﻝﺨﻴﺎﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 336‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﻤﻭﺴﻴﻘﻰ‬
‫ﺘﺴﺘﻨﺩ ﻋﻠﻰ ﺸﺠﺭﺓ ﻭﺘﻜﺘﻡ ﻓﻤﻬﺎ ﺒﻴﺩﻫﺎ‬
‫) ‪( 37‬ﺍﻴﻘﺎﻉ ﻁﺒل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 337‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﻔﻼﺤﺎﺕ ﻴﺼﻔﻘﻥ‬
‫ﻭﻴﺭﻗﺼﻥ ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‪Zoom out‬‬
‫ﻓﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ ﻓﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻰ ﺍﻝﻴﺴﺎﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ‬
‫‪ Pan Left‬ﺜﻡ ﺘﺘﺤﺭﻙ ﻨﺤﻭ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﺒﻴﻥ ﺍﻻﺸﺠﺎﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 79‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺭﺽ ﺯﺭﺍﻋﻴﺔ ﺒﺠﻭﺍﺭ‬
‫ﺍﻝﺸﺠﺭﺓ‬
‫‪ 338‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻌﺯﻴﺯﺓ ‪ . L .S‬ﻭﻫﻰ ﺘﺴﻴﺭ‬
‫ﻓﻰ ﺍﻷﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﺤﺘﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﺍﻝﻌﻤﻕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 339‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻌﺯﻴﺯﺓ ﺘﺴﺘﻨﺩ ﻋﻠﻰ‬
‫ﻤﻭﺴﻴﻘﻰ‬
‫ﺍﻝﺸﺠﺭﺓ ﻭﺘﻀﻊ ﻋﻭﺩ ﺍﻝﺤﻁﺏ ﻓﻰ ﻓﻤﻬﺎ‬
‫)‪( 38‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 340‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﺘﺤﺭﻙ‬
‫ﻓﻰ ﺘﻌﺏ ﻭﺘﺠﻠﺱ ﺒﺠﻭﺍﺭ ﺍﻝﺸﺠﺭﺓ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪341‬‬
‫‪ Medium .Close .Shot‬ﻋﻠﻰ ﻴﺩﻫﺎ‬
‫ﻭﻫﻰ ﺘﻤﺴﻙ ﺒﺎﻝﻘﺵ ﻭﺘﺴﺤﺒﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 342‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺘﺭﻓﻊ ﻏﻁﺎﺀ ﺍﻝﺭﺃﺱ ﻭﺘﻨﺎﻡ ﻋﻠﻰ ﺍﻝﻘﺵ‬
‫) ‪( 38‬‬ ‫ﻭﺘﺨﺭﺝ ﻤﻥ ﺍﺴﻔل ﺍﻝﻜﺎﺩﺭ ﺸﻤﺎل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪343‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬

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‫‪ Shot (MLS‬ﻝﻔﺘﺎﺓ ﺼﻐﻴﺭﺓ ﺘﺭﻗﺹ‬

‫ﻭﺤﻭﻝﻬﺎ ﻋﻤﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ ﻴﻐﻨﻭﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 344‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻌﺯﻴﺯﺓ ﻤﺘﺄﻝﻤﺔ ﻭﺘﻀﻊ ﻓﻰ ﻓﻤﻬﺎ ﻋﻭﺩ‬
‫) ‪( 39‬‬ ‫ﺍﻝﺤﻁﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 345‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻠﻔﺘﺎﺓ ﺘﺭﻗﺹ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M. Close up‬‬ ‫‪346‬‬
‫ﻨﻬﺎﻴﺔ ﺍﻝﻐﻨﺎﺀ‬
‫ﻝﻌﺯﻴﺯﺓ ﻭﻭﺠﻬﻬﺎ ﻤﻠﻰﺀ ﺒﺎﻝﻌﺭﻕ‬
‫ﻭﺍﻝﺘﺼﻔﻴﻕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺩ ﻋﺯﻴﺯﺓ ﻭﻫﻰ‬ ‫‪347‬‬
‫ﺘﻤﺴﻙ ﺒﺎﻝﻘﺵ ﺒﻌﻨﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬ ‫‪348‬‬
‫ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫‪ Angle‬ﻭﺘﻅﻬﺭ ﺒﺭﻭﻓﻴل ‪ ,‬ﻭﺘﻀﻊ ﻴﺩﻫﺎ‬
‫ﻋﻠﻰ ﻓﻤﻬﺎ ﻤﻥ ﺨﻼل ﺍﻏﺼﺎﻥ ﺍﻻﺸﺠﺎﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬ ‫‪349‬‬
‫ﻋﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻤﺴﻙ ﺍﻝﺒﻴﻀﺔ ﻭﺘﻜﺴﺭﻫﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 350‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻠﻔﺘﺎﺓ ﺘﺭﻗﺹ ﻭﺘﻨﺯل‬
‫ﺼﻭﺕ ﺍﻝﻐﻨﺎﺀ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪ Tilt Down‬ﻋﻠﻰ‬
‫ﻭﺍﻝﺘﺼﻔﻴﻕ‬ ‫ﻭﺴﻁﻬﺎ ‪ ,‬ﺜﻡ ﺘﻅﻬﺭ ﻓﺘﺎﺓ ﺃﺨﺭﻯ ﺃﺼﻐﺭ‬
‫ﺘﺭﻗﺹ ﺒﺠﻭﺍﺭﻫﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 351‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻌﺯﻴﺯﺓ ﺒﻌﺩ ﺍﻝﻭﻻﺩﺓ ﻭﻫﻰ ﺘﻀﻊ ﺭﺃﺴﻬﺎ‬
‫ﺼﻭﺕ ﻁﻔل ﻴﺒﻜﻰ‬
‫) ‪( 39‬‬ ‫ﻋﻠﻰ ﺠﺫﻉ ﺍﻝﺸﺠﺭﺓ ﻭﺘﻨﺎﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﺒﻜﺎﺀ‬ ‫‪ 352‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫ﺍﻝﻁﻔل‬ ‫‪ Shot (MLS‬ﻝﻠﻭﻝﻴﺩ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫ﻭﺼﻭﺕ ﺍﻝﻐﻨﺎﺀ‬ ‫‪ High Angle‬ﻭﻫﻭ ﻴﺒﻜﻰ ‪.‬‬
‫ﻭﺍﻝﺘﺼﻔﻴﻕ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 353‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻝﻌﺯﻴﺯﺓ ﺘﻔﺘﺢ ﻋﻴﻨﻴﻬﺎ ﻭﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 354‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻠﻁﻔل ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﺘﺩﺨل ﻴﺩ‬
‫ﻋﺯﻴﺯﺓ ﻝﺘﻀﻌﻬﺎ ﻋﻠﻰ ﺍﻝﻁﻔل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪355‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻝﻌﺯﻴﺯﺓ ﺘﺭﻓﻊ ﺭﺃﺴﻬﺎ ﻭﺘﻤﺴﻙ ﺒﻘﻁﻌﺔ‬

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‫ﻗﻤﺎﺵ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 356‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻠﻁﻔل ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﻴﺩ ﻋﺯﻴﺯﺓ‬
‫ﺘﻐﻁﻴﺔ ﺒﻘﻁﻌﻪ ﺍﻝﻘﻤﺎﺵ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﺼﻭﺕ ﺒﻜﺎﺀ‬ ‫‪ 357‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻌﺯﻴﺯﺓ ﺘﻨﻅﺭ ﻴﻤﻴﻥ‬
‫ﺍﻝﻁﻔل‬ ‫ﻜﺎﺩﺭ ﻭﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻓﻰ ﺨﻭﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 358‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬

‫ﻝﻠﻁﻔل ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ﻭﻴﺩ ﻋﺯﻴﺯﺓ‬
‫ﻤﺎﺯﺍﻝﺕ ﻋﻠﻰ ﻓﻤﻪ‬
‫ﻗﻁﻊ‬
‫‪ 359‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﺘﻀﻊ ﺭﺃﺴﻬﺎ ﻋﻠﻰ ﺠﺫﻉ‬
‫ﺍﻝﺸﺠﺭﺓ ﻭﺘﻨﺎﻡ‬
‫ﻗﻁﻊ‬
‫‪ 360‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻠﻁﻔل ﻭﻴﺩ ﻉﺯﻴﺯﺓ‬
‫ﻤﺎﺯﻝﺕ ﻋﻠﻰ ﻓﻤﻪ ﺜﻡ ﺘﺘﻭﻗﻑ ﺤﺭﻜﺘﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 361‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﻝﻌﺯﻴﺯﺓ ﺘﺭﻓﻊ ﺭﺃﺴﻬﺎ ﻭﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 362‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺩ ﻋﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﺘﻬﺯ ﺍﻝﻁﻔل ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪high‬‬
‫‪Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 363‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .Close up‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﻝﻬﻭﻯ ‪ ...‬ﻴﺎ ﻝﻬﻭﻯ‬ ‫ﻝﻌﺯﻴﺯﺓ ﺘﺼﺭﺥ ﻓﻰ ﻓﺯﻉ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 364‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻌﺯﻴﺯﺓ ﺘﻤﺴﻙ‬
‫ﺒﻐﻁﺎﺀ ﺍﻝﺭﺃﺱ ﻭ ﺘﺤﺎﻭل ﺍﻝﻭﻗﻭﻑ ﻭﺘﺴﺘﻨﺩ‬
‫ﻋﻠﻰ ﺍﻝﺸﺠﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 365‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ )‪Long Shot ( LS‬‬
‫ﻝﻌﺯﻴﺯﺓ ﺘﻤﺴﻙ ﺍﻝﺸﺠﺭﺓ ﻭﺘﻘﻑ ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ‬
‫ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﺍﻝﺸﺠﺭﺓ ﺘﺠﺭﻯ ﻓﻰ ﺍﺘﺠﺎﺓ ﺸﻤﺎل‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﺯﺝ‬
‫‪ 366‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻌﺯﻴﺯﺓ ﺘﺴﻴﺭ ﻤﻥ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﺍﻝﻰ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﺘﺘﺤﻭل‬
‫ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫‪ Medium Long Shot (MLS‬ﺜﻡ‬
‫ﺘﺠﻠﺱ ﺃﺴﻔل ﺍﻝﺨﻴﻤﺔ ﻭﺘﻨﺎﻡ ﻋﻠﻰ ﺍﻝﻘﺵ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -out‬‬

‫ﻤﺸﻬﺩ ) ‪( 80‬‬

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‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻷﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade -in‬‬ ‫‪367‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ ,.L .S‬ﻝﺒﺭﺝ ﺤﻤﺎﻡ ﻭﺘﺘﺎﺒﻊ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺴﺭﺏ ﺍﻝﺤﻤﺎﻡ ﻭﻫﻭ ﻴﻁﻴﺭ ﻨﺎﺤﻴﺔ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‪ . Pan Right‬ﻭﺘﻘﻑ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺃﻤﺎﻡ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺃﻭﻻﺩ‬
‫ﺍﻝﺘﺭﺤﻴﻠﺔ ﻴﻠﻌﺒﻭﻥ ﻓﻰ ﺍﻝﺘﺭﻋﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 368‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﻝﺠﺯﺀ ﻤﻥ ﺍﻝﺘﺭﻋﺔ ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‪ Pan Right‬ﻭﺘﺘﻭﻗﻑ‬
‫ﻋﻨﺩ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﻨﺴﺎﺀ ﺍﻝﺘﺭﺤﻴﻠﺔ ﻓﻰ‬
‫ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﻴﻐﺘﺴﻠﻥ ﻤﻥ ﺍﻝﺘﺭﻋﺔ ﻭﻋﺯﻴﺯﺓ‬
‫ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺘﻐﺴل ﻭﺠﻬﻬﺎ ﻭﺘﺘﺤﻭل‬
‫ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L .S‬ﺜﻡ ﺘﻘﻑ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ‪, Tilt up‬‬
‫ﺘﻤﺴﻙ ﺒﻁﻨﻬﺎ ﻭﺘﺒﺘﺴﻡ ‪ ,‬ﺘﻀﻔﺭ ﺸﻌﺭﻫﺎ ‪ ,‬ﺜﻡ‬
‫ﺘﺴﻴﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﺘﻰ‬
‫ﺘﻜﻭﻥ ﻭﻀﻊ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫‪ Angle‬ﺜﻡ ﺘﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 81‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻷﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ‬
‫ﺍ‬ ‫) ﻨﻔﺱ ﻝﻘﻁﺔ ‪( 61‬‬ ‫‪369‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻨﺎﻅﺭ ‪ .L .S‬ﻭﻫﻭ ﻋﻠﻰ‬
‫ﺍﻝﺤﻤﺎﺭ ﻭﻴﺴﻴﺭ ﺒﺠﺎﻨﺒﻪ ﻓﻼﺡ ﻴﻤﺴﻙ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﻻ ﻴﺎ ﻋﺭﻓﺔ ‪ ...‬ﺍﻝﻨﻀﺎﻓﺔ‬
‫ﺍﻝﺸﻤﺴﻴﺔ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan‬ﺇﺯﻴﻬﺎ !‬
‫‪ Right‬ﻭﻫﻤﺎ ﻴﺘﺤﺭﻜﺎ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ ﻋﺭﻓﺔ ‪ :‬ﺍﻝﻥﻅﺍﻓﺔ ﻋﻠﻰ ﺴﻨﺠﺔ ﻋﺸﺭﺓ ﻴﺎ‬
‫ﺍﻝﻨﺎﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﻋﺭﻓﺔ ﻓﻰ ﻋﻤﻕ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﺠﺭﻯ ﺒﺠﻭﺍﺭ ﺍﻝﻨﺎﻅﺭ ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻁﺏ ﻭﺇﻥ ﻝﻘﻴﺕ ﻝﻁﻌﻪ !‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺜﻡ ﻴﺨﺭﺝ ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻋﺭﻓﺔ ﻋﺭﻓﺔ ‪ :‬ﺭﻗﺒﺘﻲ ﻴﺎ ﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻗﻁﻊ ﺭﻗﺒﺘﻙ ‪ .‬ﺍﻷﻨﻔﺎﺭ ﻜﻠﻬﻡ‬ ‫ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻌﻤﻕ ‪.‬‬
‫ﻤﻭﺠﻭﺩﻴﻥ ‪.‬‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺒﺎﻝﻨﻔﺭ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻝﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﺍﺤﺩ ﻭﺍﺤﺩ ‪ ...‬ﻭﺍﺤﺩﺓ ﻭﺍﺤﺩﺓ‬
‫؟‬
‫ﻋﺭﻓﺔ ‪ :‬ﻤﻭﺠﻭﺩﻴﻥ ﻜﻠﻬﻡ ﻴﺎ ﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻁﺏ ﻋﺩﻫﻡ ﻗﺩﺍﻤﻰ ‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺤﺎﻀﺭ ‪.‬‬

‫‪370‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L .S‬ﻝﻔﻼﺤﺎﺕ‬
‫ﻤﻨﺤﻨﻴﺎﺕ ﻋﻠﻰ ﺍﻝﺯﺭﻉ ﻓﻰ ﺼﻑ ﻭﻋﺭﻓﺔ‬
‫ﻋﺭﻓﺔ ‪, 61 , 60 , 59 , 58 :‬‬
‫ﻴﻘﻭﻡ ﺒﻌﺩﻫﻥ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﺎ ً ‪Pan‬‬
‫ﺇﺸﺘﻐﻠﻰ ﻴﺎ ﺒﺕ ‪.‬‬
‫‪Right‬‬
‫ﻭﺘﺘﻘﺩﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Track Out‬ﻝﻠﺨﺎﺭﺝ‬
‫ﻓﻴﺨﺘﻔﻰ ﻋﺭﻓﺔ ﻓﻰ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﺘﻅﻬﺭ‬

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‫ﻋﺯﻴﺯﺓ ﻭﺘﻅﻬﺭ ﺍﻗﺩﺍﻡ ﻋﺭﻓﺔ ﻭﻫﻭ ﻴﻘﻑ ﻋﻨﺩ‬

‫ﻋﺯﻴﺯﺓ ﺍﻝﻤﻨﺤﻨﻴﺔ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻴﻨﻬﺭﻫﺎ‬
‫ﺒﺎﻝﻌﺼﺎ ﺜﻡ ﺘﺭﻓﻊ ﺭﺃﺴﻬﺎ ﺍﺘﺠﺎﺓ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺒﻌﺩ ﺨﺭﻭﺠﻪ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 371‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L. S‬ﻝﻠﻔﻼﺤﺎﺕ ﻴﺘﺤﺭﻜﻥ ﻤﻥ‬
‫ﻋﻤﻕ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﺼﻑ ﻭﻋﺭﻓﺔ‬
‫ﻭﺍﻗﻑ ﻴﺭﺍﻗﺒﻬﻥ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺜﻡ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‪Pan Right‬‬
‫ﻝﺘﺘﺎﺒﻊ ﺍﻝﺼﻑ ‪ ,‬ﻭﺘﺴﻴﺭ ﻋﺯﻴﺯﺓ ﻭﺭﺍﺀﻫﻥ ‪ ,‬ﻋﺭﻓﺔ ‪ :‬ﻴﺎﻝﻼ ﻭﺭﺍ ﺒﻌﺽ ‪.‬‬
‫ﻭﻴﻅﻬﺭ ﺠﺯﺀ ﻤﻥ ﻭﺠﻪ ﺍﻝﻨﺎﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺜﻡ ﺘﺨﺭﺝ ﺍﻝﻔﻼﺤﺎﺕ ﻤﻥ ﻤﻘﺩﻤﺔ ﺸﻤﺎل‬
‫ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ ﻨﺎﻯ‬ ‫‪ 372‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺴﺎﻗﻴﺔ ﺜﻡ ﺘﺘﺤﺭﻙ‬
‫) ‪( 40‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ Pan Right‬ﻝﻴﻅﻬﺭ‬
‫ﺼﻑ ﺍﻝﻔﻼﺤﺎﺕ ﻭﻫﻡ ﻴﺘﺤﺭﻜﻥ ﻤﻥ ﺸﻤﺎل‬
‫ﺍﻝﻜﺎﺩﺭ ﺍﻝﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﺒﻴﻨﻬﻥ ﻋﺯﻴﺯﺓ‬
‫ﺍﻝﺘﻰ ﺘﺨﺭﺝ ﻤﻥ ﺍﻝﺼﻑ ﻭﺘﺘﺠﺔ ﺍﻝﻰ ﻤﻘﺩﻤﺔ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻫﻰ ﺘﻀﻊ ﻴﺩﻫﺎ ﻋﻠﻰ‬
‫ﺭﺃﺴﻬﺎ ‪ .‬ﻭﺘﻘﺘﺭﺏ ﻤﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺼﺒﺢ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ Pan Right‬ﻓﺘﻠﺘﻔﺕ‬
‫ﻭﺘﺼﺒﺢ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻭﺘﻅﻬﺭ ﺍﻝﺸﺠﺭﺓ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪,‬‬
‫ﻭﺘﻠﺘﻔﺕ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺒﻜﻰ ‪ ,‬ﺘﻜﻤل‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ ﺍﻝﻨﺎﻯ‬ ‫ﺴﻴﺭﻫﺎ ﻴﺴﺎﺭﺍﻝﻜﺎﺩﺭ ﻓﻰ ﺍﺘﺠﺎﺓ ﺨﺭﻭﺥ ﺒﺎﻗﻰ‬
‫ﺍﻝﻔﻼﺤﻴﻥ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 82‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫‪ 373‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺭﺠﺎل‬
‫ﺍﻝﺘﺭﺤﻴﻠﺔ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫ﺼﻭﺕ ﺘﺼﻔﻴﻕ‬
‫‪ Angle‬ﺠﺎﻝﺴﻴﻥ ﻋﻠﻰ ﺍﻷﺭﺽ ﻓﻰ ﺩﺍﺌﺭﺓ‬
‫ﻭﻏﻨﺎﺀ‬
‫ﻭﻴﻐﻨﻭﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 374‬ﻝﻘﻁﺔ ﻋﺎﻤﺔ) ‪Very Long Shot‬‬
‫)‪ VLS‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫‪ Angle‬ﻝﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 375‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .Close up‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺠﺩﺭ ﺍﻝﺒﻁﺎﻁﺎ ﺍﻝﻠﻰ ﻜﺎﻥ‬
‫ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﻨﺎﺌﻤﺔ ﻋﻠﻰ ﺠﺎﻨﺒﻬﺎ ﻭﻤﻐﻤﻀﺔ‬
‫ﺍﻝﺴﺒﺏ ‪ ,‬ﺍﻝﺸﻴﻁﺎﻥ ‪ ,‬ﺍﻝﺸﻴﻁﺎﻥ ﻜﺘﻔﻨﻰ‬
‫ﻋﻴﻨﻴﻬﺎ‬
‫ﺍﻨﺎ ﻤﺎ ﻗﺘﻠﺘﻭﺵ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪376‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻷﻡ ﺤﺴﻥ ﺘﻘﻑ ﻭﺘﺘﺤﺭﻙ‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﻋﺯﻴﺯﺓ ‪ ..‬ﻤﺎﻝﻙ ﻴﺎ ﻋﺯﻴﺯﺓ ‪,‬‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻬﺎ ﻨﺎﺤﻴﺔ ﻤﺎﻝﻙ ﻴﺎﺃﺨﺘﻰ ‪.‬‬

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‫ﺍﻝﻴﻤﻴﻥ ‪ Pan Right‬ﻭﺘﺠﻠﺱ ﺒﺠﻭﺍﺭ ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﺤﺒﻴﺒﻰ ﻴﺎ ﻀﻨﺎﻴﺎ ﺠﺩﺭ‬

‫ﻋﺯﻴﺯﺓ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻓﻰ ﺍﻝﻤﻘﺩﻤﺔ ﻭﺘﺼﺒﺢ ﻓﻰ ﺍﻝﺒﻁﺎﻁﺎ ‪ ,‬ﻗﺎﻝﹶﻰ ﻋﺎﻴﺯ ﺒﻁﺎﻁﺎ ‪ ,‬ﺭﺤﺕ‬
‫ﺒﺭﺠﻠﻴﺎ ‪ ,‬ﺁﻨﻰ ﻤﺎ ﻗﺘﻠﺘﻭﺵ ﻫﻭ ﺍﻝﻠﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S .2‬ﻤﻊ‬
‫ﻤﺎﺕ‬
‫ﻋﺯﻴﺯﺓ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪Pan‬‬
‫‪ Right‬ﻭﺘﺨﺭﺝ ﻋﺯﻴﺯﺓ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻝﺘﺜﺒﺕ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﺭﺠل ﻭﺇﻤﺭﺃﺓ ﻴﺘﻬﺎﻤﺴﺎﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 377‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﻼ ﺃﺨﺭ‬
‫ﻝﺭﺠل ﻴﺄﻜل ﻭﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﺭﺠ ﹰ‬
‫ﻭﻴﺤﺎﺩﺜﻪ ﻓﻰ ﺃﺫﻨﻪ‬
‫ﻗﻁﻊ‬
‫‪ 378‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻤﻊ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ‬
‫ﻝﻠﻴﻤﻴﻥ ‪ Pan Right‬ﺘﺴﺘﻌﺭﺽ ﺍﻝﺭﺠﺎل‬
‫ﻭﻫﻡ ﻴﺘﻬﺎﻤﺴﻭﻥ ﻜل ﻓﻰ ﺃﺫﻥ ﺍﻝﺜﺎﻨﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 379‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺭﺠل ﻴﻘﻑ‬
‫ﻭﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪ Right‬ﺤﺘﻰ ﻴﺠﻠﺱ ﺒﺠﻭﺍﺭ ﻤﺠﻤﻭﻋﺔ‬
‫ﺃﺨﺭﻯ ﻤﻥ ﺍﻝﺭﺠﺎل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 380‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ) ‪ Long Shot ( LS‬ﻝﺨﻴﺎﻡ‬
‫ﺍﻝﺘﺭﺤﻴﻠﺔ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫ﻨﻬﺎﻴﺔ ﺍﻝﺘﺼﻔﻴﻕ‬ ‫‪ Angle‬ﻭﻴﺩﺨل ﺭﺠل ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺍﻝﻐﻨﺎﺀ‬ ‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫‪ Pan Left‬ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﻋﺭﻓﺔ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 381‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M .S‬ﻝﻌﺭﻓﺔ ﻭﺒﺠﻭﺍﺭﻩ ﺍﻝﻔﻼﺡ ‪ :‬ﻋﺯﻴﺯﺓ ﻤﺭﺍﺕ ﻋﺒﺩﺍﷲ ﻫﻰ‬
‫ﻓﻼﺡ ﻭﻴﺩﺨل ﺍﻝﺭﺠل ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﺍﻝﻠﻰ ﻗﺘﻠﺕ ﺇﺒﻨﻬﺎ ‪.‬‬
‫ﻓﻼﺡ‪ : 2‬ﺍﷲ ﻴﺠﺎﺯﻴﻜﻰ ﻴﺎ ﻋﺯﻴﺯﺓ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻗﺼﺭﺘﻰ ﺭﻗﺒﺘﻨﺎ ‪.‬‬
‫ﻋﺭﻓﺔ ‪ :‬ﺒﻘﻰ ﺇﺴﻤﻌﻭﺍ ﻴﺎ ﺭﺠﺎﻝﺔ ﺍﻝﻠﻰ‬
‫ﻴﺴﺘﺭ ﻋﺭﺽ ﺍﻝﻭﻻﻴﺎ ﺭﺒﻨﺎ ﻴﺴﺘﺭ‬
‫ﻋﺭﻀﻪ ‪ ,‬ﻭﻋﺯﻴﺯﺓ ﻤﺵ ﻏﺭﻴﺒﺔ ﺩﻯ‬
‫ﺃﺨﺘﻨﺎ ﻜﻠﻨﺎ ﻭ ﹶﻻ ﺁﻴﻪ !‬
‫ﻓﻼﺡ ‪ :‬ﻭﺸﺭﻓﻬﺎ ﺸﺭﻓﻨﺎ ﻜﻠﻨﺎ‬
‫ﻋﺭﻓﺔ ‪ :‬ﻜل ﻭﺍﺤﺩ ﻓﻴﻜﻡ ﻴﺒﻠﹶﻎ ﺯﻤﻼﺘﻪ ‪.‬‬
‫ﻤﺵ ﻋﺎﻭﺯ ﻜﻠﻤﺔ ﻭﺍﺤﺩﺓ ﺘﻁﻠﻊ ﺒﺭﻩ ‪.‬‬
‫‪ 382‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺘﺭﺤﻴﻠﺔ ﻴﻌﻤﻠﻭﻥ ﻓﻰ‬
‫ﺼﻑ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻭﻋﺭﻓﺔ ﻭﺭﺍﺀﻫﻡ ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﺭﻓﺔ ‪ :‬ﻴﺎﻝﻼ ﻴﺎ ﺒﺕ ﺇﻨﺘﻰ ﻭﻫﻰ ﺇﺸﺘﻐﻠﻰ‬
‫ﻴﻤﻴﻨ ﹰﺎ ‪ Pan Right‬ﺤﺘﻰ ﺘﺼل ﺍﻝﻰ ﻴﺎ ﺒﺕ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ﻭﻫﻰ ﻤﻨﺤﻨﻴﺔ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 383‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻷﻋﻠﻰ ‪ Tilt Up‬ﻝﺘﺘﺎﺒﻊ ﻋﺯﻴﺯﺓ ﻭﻫﻰ‬
‫ﺘﻌﺘﺩل ﻤﻤﺴﻜﺔ ﺒﺭﺃﺴﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫ﺇﻴﻘﺎﻉ ﻁﺒل‬ ‫‪ 384‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﺸﻤﺱ‪ L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬

‫) ‪( 41‬‬ ‫ﻤﻨﺨﻔﻀﺔ ‪Low Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 385‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻌﺯﻴﺯﺓ ﻤﻤﺴﻜﺔ‬
‫ﺭﺃﺴﻬﺎ ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻬﺎ ﻷﺴﻔل ‪Tilt‬‬
‫‪ Down‬ﻝﺘﺘﺎﺒﻌﻬﺎ ﻭﻫﻰ ﺘﺠﻠﺱ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 386‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬

‫‪ Shot (MLS‬ﻷﻡ ﺤﺴﻥ ﺘﻨﻅﺭ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 387‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﺯﻴﺯﺓ ﻤﻥ‬

‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﺠﺎﻝﺴﺔ‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ ‪ ,‬ﺜﻡ ﺘﺴﻘﻁ ﺒﺭﺃﺴﻬﺎ ﻝﻠﺠﺎﻨﺏ‬
‫ﻨﻬﺎﻴﺔ ﺍﻝﻁﺒل‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫) ‪( 41‬‬
‫‪ 388‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻷﻡ ﺤﺴﻥ ﺘﺠﺭﻯ ﻴﻤﻴﻥ ﺃﻡ ﺤﺴﻥ ‪ :‬ﻴﺎ ﻝﻬﻭﻯ ‪ ....‬ﺇﺴﻤﺎﺍﷲ‬
‫ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﻋﻠﻴ ٍ‬
‫ﻙ ﻴﺎ ﻋﺯﻴﺯﺓ ‪.‬‬
‫ﺤﺘﻰ ﺘﺼل ﺍﻝﻰ ﻋﺯﻴﺯﺓ ﺍﻝﻤﻐﻤﻰ ﻋﻠﻴﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 389‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺭﻓﺔ ﻭﻤﻌﻪ ﻓﻼﺤﺔ‬
‫ﻰ‬
‫ﻭﻫﻤﺎ ﻴﺠﺭﻴﺎﻥ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﺤﺘﻰ ﻋﺭﻓﺔ ‪ :‬ﻴﺎﻝﻼ ﻴﺎ ﺒﺕ ﺃﻨﺘﻰ ﻭﻫﻰ ﻜل ﺤ ‪‬‬
‫ﻴﺼﻼ ﺍﻝﻰ ﻋﺯﻴﺯﺓ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻋﺭﻓﺔ ﻴﺭﻭﺡ ﻝﺸﻐﻠﻪ ‪ ,‬ﻭﺃﻨﺘﻰ ﻴﺎ ﺃﻡ ﺤﺴﻥ‬
‫ﻙ ﻤﻌﺎﻫﺎ ‪.‬ﻴﺎ ﻓﻬﻤﻰ ﻴﺎ ﺤﻠﻤﻰ‬‫ﺨﻠﻴ ٍ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Left‬‬
‫ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﻓﻼﺡ ﻭﻴﺨﺭﺝ ﺍﻝﻔﻼﺡ ﻤﻥ ﺍﻋﻤﻠﻭﻝﻬﺎ ﻀﻠﻴﻠﺔ ﻫﻨﺎ ﺠﻨﺏ ﺍﻝﻨﺨل ﻗﻭﺍﻡ‬
‫ﻴﺎﻻ‬ ‫ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﺨﻠﻔﺔ ﻓﻼﺡ ﺍﺨﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪390‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻔﻬﻤﻰ ﻭﺤﻠﻤﻰ ﻴﻘﻭﻤﺎ‬
‫ﺒﻭﻀﻊ ﻏﻁﺎﺀ ﻋﻠﻰ ﺒﻌﺽ ﺍﻝﻌﺼﻰ ‪ ,‬ﻭﺘﺩﺨل‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺃﻡ ﺤﺴﻥ ﺍﻝﻜﺎﺩﺭ ﺒﺤﺯﻤﺔ ﻤﻥ ﺍﻝﺒﻭﺹ ﻭﺘﻨﺯل‬
‫) ‪( 42‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪ Tilt Down‬ﻝﺘﺘﺎﺒﻌﻬﺎ‬
‫ﻤﻊ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ‪Pan‬‬
‫‪ Left‬ﻝﺘﻅﻬﺭ ﻋﺯﻴﺯﺓ ﻨﺎﺌﻤﺔ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ ‪ ,‬ﺜﻡ ﺘﻌﺘﺩل ﻭﺘﻘﻑ ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل ‪ Track in‬ﻤﻊ ﺩﺨﻭل‬
‫ﻋﺭﻓﺔ ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻤﺴﻜﻬﺎ ‪ ,‬ﺜﻡ‬
‫ﺘﺘﺤﺭﻙ ﻤﻥ ﺨﻠﻔﻪ ﻭﺘﺼﺒﺢ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻋﺭﻓﺔ ‪ :‬ﺭﺍﻴﺤﺔ ﻓﻴﻥ ﻴﺎ ﻋﺯﻴﺯﺓ ؟ ﺭﻭﺤﻰ‬
‫ﻭﻋﺭﻓﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﻌﻭﺩ ﻝﺘﻨﻅﺭ ﻝﻪ ‪ ,‬ﺇﺴﺘﺭﻴﺤﻰ ‪.‬‬
‫ﺜﻡ ﺘﺩﺨل ﺃﻡ ﺤﺴﻥ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻋﺯﻴﺯﺓ ‪ :‬ﺴﻴﺒﻨﻰ ﻫﺎ ﺃﺸﺘﻐل ‪.‬‬
‫ﺱ‪.‬‬‫ﻋﺭﻓﺔ ‪ :‬ﻴﺎ ﺒﺕ ﺭﺍﻴﺤﺔ ﻓﻴﻥ ﺒ ‪‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻬﻡ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺤﺎ ﺃﺸﺘﻐل ﺍﻝﻴﻭﻤﻴﺔ ‪.‬‬
‫) ‪( 42‬‬ ‫‪ Pan Right‬ﻭﻴﺨﺭﺝ ﻋﺭﻓﺔ ﻤﻥ ﻴﺴﺎﺭ ﻋﺭﻓﺔ ‪ :‬ﺘﺸﺘﻐﻠﻰ ﺁﻴﻪ ﺒ ‪‬‬
‫ﺱ ﺇﻨﺘﻰ ﺘﻌﺒﺎﻨﺔ‬
‫ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﻨﺎﻡ ﻋﺯﻴﺯﺓ ﺃﺴﻔل ﺍﻝﺨﻴﻤﺔ ﺭﻭﺤﻰ ﺃﺴﺘﺭﻴﺤﻰ ‪.‬‬
‫ﻭﻴﺩﺨل ﻓﻼﺡ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻐﻁﻰ ﻋﺯﻴﺯﺓ ‪ :‬ﺃﺭﺘﺎﺡ ﺁﻴﻪ ‪ .‬ﻫﺎ ﺘﻀﻴﻊ ﻝﻰ‬
‫ﺠﻭﺍﻨﺏ ﺍﻝﺨﻴﻤﺔ ﺒﺎﻝﺒﻭﺹ ﻭﺘﻅﻬﺭ ﺭﺃﺱ ﺍﻝﻴﻭﻤﻴﺔ‬

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‫ﻋﺭﻓﺔ ‪ :‬ﻴﻭﻤﻴﺘﻙ ﻤﺎﺸﻴﺔ ‪ ...‬ﺨﻼﺹ‬ ‫ﻋﺯﻴﺯﺓ ﻨﺎﺌﻤﺔ‬

‫ﺇﻁﻤﻨﻰ ‪ ..‬ﺇﻁﻤﻨﻰ ﺍﻝﻴﻭﻤﻴﺔ ﻤﺎﺸﻴﺔ ‪ ..‬ﻴﺎ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﺃﻡ ﺤﺴﻥ ﺘﻌﺎﻝﻰ ﺨﺩﻴﻬﺎ ﺨﻠﻴﻬﺎ ﺘﺴﺘﺭﻴﺢ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 83‬‬
‫ﻏﺭﻭﺏ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﻭﺍﺭﻉ ﺍﻝﻘﺭﻴﺔ‬
‫‪ 391‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺯﻴﺯﺓ ﻤﺤﻤﻭﻝﺔ ﻋﻠﻰ‬
‫ﺍﻝﻨﻘﺎﻝﺔ ﻭﺒﺠﻭﺍﺭﻫﺎ ﺃﻡ ﺤﺴﻥ ﻭﻴﺩﺨﻠﻭﺍ ﻤﻥ‬
‫ﻋﺒﺩﺍﻝﻤﻁﻠﺏ ‪ :‬ﺇﻁﻠﻌﻭﺍ ﻤﻥ ﺒﻠﺩﻨﺎ ﻴﺎ‬
‫ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﺃﻫل‬
‫ﻗﺘﺎﻝﻴﻥ ﺍﻝﻘﺘﻠﺔ ‪ ...‬ﺘﻔﺘﻜﺭﻭﺍ ﺇﻥ ﺒﻼﺩﻨﺎ‬
‫ﺍﻝﻘﺭﻴﺔ ﻤﺼﻁﻔﻴﻥ ﻭﺠﻤﻴﻊ ﻤﻥ ﻓﻰ ﺍﻝﻜﺎﺩﺭ‬
‫ﻴﺤﺼل ﻓﻴﻬﺎ ﻜﺩﻩ ‪.‬‬
‫ﺴﻠﻭﻴﺕ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻜﻭﺍ ﺒﺎﻝﻨﻘﺎﻝﺔ ﻝﻴﺨﺭﺠﻭﺍ‬
‫ﻀﻭﻀﺎﺀ‬ ‫ﺍﻝﻤﺠﻤﻭﻋﺔ ‪ :‬ﻷ ‪.‬‬
‫ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪ .‬ﻭﻴﻅﻬﺭ ﻋﻠﺒﺩﺍﻝﻤﻁﻠﺏ‬
‫ﻋﺒﺩﺍﻝﻤﻁﻠﺏ ‪ :‬ﺩﻭل ﻤﺎ ﻋﺩﻝﻴﻬﻤﺵ‬
‫ﻭﻤﻌﻪ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺭﺠﺎل ﻭﺘﺼﺒﺢ‬
‫ﻋﻴﺵ ﻋﻨﺩﻨﺎ ‪ .‬ﻻﺯﻡ ﻴﺨﺭﺠﻭﺍ ﻤﻥ ﺒﻠﺩﻨﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫ﺩﻝﻭﻗﺕ ‪ ...‬ﻴﺎﻝﻼ ﻴﺎ ﺠﺩﻋﺎﻥ‬
‫‪ , Angle‬ﻭﻴﺘﺤﺭﻜﻭﺍ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 392‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M . Close up‬‬
‫ﻝﻌﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪High Angle‬‬
‫ﻭﺘﺩﺨل ﻴﺩ ﻝﺘﺭﺵ ﺍﻝﻤﺎﺀ ﻋﻠﻰ ﻭﺠﻪ ﻋﺯﻴﺯﺓ‬
‫ﻭﺘﻨﺘﻔﺽ ﻋﺯﻴﺯﺓ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻩ ‪..‬‬
‫‪ Zoom out‬ﻝﺘﻅﻬﺭ ﺃﻡ ﺤﺴﻥ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﺃﻡ ﺤﺴﻥ ‪ :‬ﺇﺴﻡ ﺍﷲ ‪ ...‬ﺇﺴﻡ ﺍﷲ‬
‫ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ﻋﻠﻴﻜﻰ ‪ .‬ﺍﻨﺎ ﺍﻡ ﺤﺴﻥ ﻴﺎﺃﺨﺘﻰ ‪ .‬ﺃﻡ‬
‫ﺤﺴﻥ ‪.‬‬
‫ﻻﺜﻨﻴﻥ ‪Medium Shot (M.2) 2.‬‬
‫ﻭﺘﻨﻅﺭ ﻋﺯﻴﺯﺓ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ‬
‫ﺘﻌﻭﺩ ﻝﺘﻨﺎﻡ ﺜﺎﻨﻴﺔ ‪,‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 84‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﻤﻘﻬﻰ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 393‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﻤﺼﺒﺎﺡ‬
‫ﻨﺎﻯ ) ‪( 43‬‬ ‫ﻤﻀﻴﻰﺀ ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪tilt‬‬
‫‪ Down‬ﻤﻊ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬
‫‪ Pan Right‬ﻝﻴﺘﺤﻭل ﺍﻝﻤﺸﻬﺩ ﺍﻝﻰ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long Shot‬‬
‫ﺼﺎﺤﺏ ﺍﻝﻤﻘﻬﻰ ‪ :‬ﻤﺎﻓﻴﺵ ‪ ..‬ﻗﻠﺕ ﻤﺎ‬
‫)‪ MLS‬ﻝﻴﻅﻬﺭ ﺼﺎﺤﺏ ﺍﻝﻤﻘﻬﻰ ﻭﺃﻤﺎﻤﻪ ﻓﻴﺵ ﻫﻭ ﺤﺩ ﺸﺭﻴﻜﻰ ﺒﺭﻀﺔ ﻤﻔﻴﺵ‬
‫ﺃﺜﻨﻴﻥ ﻤﻥ ﻋﻤﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻜﺎ ﺍﻝﻔﻼﺡ ‪ :‬ﻜﺩﺓ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻌﺒﺭﺍﻫﺎ ﻭﻴﺨﺭﺠﺎ ﻤﻥ ﺼﺎﺤﺏ ﺍﻝﻤﻘﻬﻰ ‪ :‬ﺍﻴﻭﺓ ﻜﺩﺓ ﺍﻫﻪ‬
‫ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ) ‪ Long‬ﻤﻔﻴﺵ ﻻ ﺸﺎﻯ ﻭﻻ ﺴﻜﺭ ﻭﻻ ﻤﺸﺎﺭﻴﺏ‬
‫‪ Shot ( LS‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻊ ﻤﻔﻴﺵ ﺤﺎﺠﺔ ﺨﺎﻝﺹ ﺇﺘﻔﻀﻠﻭﺍ ﺒﻘﻰ ‪.‬‬
‫ﺼﺎﺤﺏ ﺍﻝﻤﻘﻬﻰ ‪ Pan Left‬ﻭﻫﻭ ﻴﺘﺤﺭﻙ‬
‫ﻴﺴﺎﺭﹰﺍ ﻭﻴﻅﻬﺭ ﺍﻝﻔﻼﺤﺎﻥ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻅﻬﺭﻫﻤﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻓﻰ ﺍﻝﻤﻘﺩﻤﺔ ﻤﺠﻤﻭﻋﺔ‬
‫ﻤﻥ ﺭﺠﺎل ﺍﻝﻘﺭﻴﺔ ﺠﺎﻝﺴﻴﻥ ﺃﻤﺎﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 85‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ ﻝﻴﻨﺩﺍ‬
‫‪394‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻴﻨﺩﺍ ﺠﺎﻝﺴﺔ‬
‫ﻋﻠﻰ ﺍﻝﺴﺭﻴﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺒﺭﻭﻓﻴل ﻭﺘﻨﻅﺭ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 65 of 78‬‬

‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬

‫ﻼ‬
‫‪ Pan Left‬ﻋﻠﻰ ﻤﺤﻭﺭﻫﺎ ﺍﻷﻓﻘﻰ ﻗﻠﻴ ﹰ‬
‫) ﻭﻴﺤﺩﺙ ﺍﻝﻘﻁﻊ ﺃﺜﻨﺎﺀ‬
‫ﺤﺭﻜﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ (‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 86‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ‬
‫‪ 395‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻤﻊ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ‬
‫ﻋﻠﻰ ﻤﺤﻭﺭﻫﺎ ﺍﻷﻓﻘﻰ ‪ Pan Left‬ﻝﻴﻅﻬﺭ‬
‫ﺇﺒﻥ ﺍﻝﻨﺎﻅﺭ ﺠﺎﻝﺴﹰﺎ ﻋﻠﻰ ﺍﻝﺴﺭﻴﺭ ﻴﺩﺨﻥ‬
‫ﺴﻴﺠﺎﺭﺓ ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 87‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ ﻤﺤﻤﻭﺩ‬
‫ﺍﻝﺒﻭﺴﻁﺠﻰ‬
‫‪ 396‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻤﺼﺒﺎﺡ ﻏﺎﺯﻯ‬
‫ﻤﻌﻠﻕ ﻓﻰ ﺍﻝﺴﻘﻑ ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل‬
‫‪ Tilt Down‬ﻝﺘﺜﺒﺕ ﻋﻠﻰ ﺍﻝﺒﻭﺴﻁﺠﻰ‬
‫ﻨﺎﺌﻡ ﻭﺒﺠﻭﺍﺭﻩ ﺯﻜﻴﺔ ﺯﻭﺠﺘﻪ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺘﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺯﻭﺠﻬﺎ ﻴﺼﺒﺤﺎ ﺍﻻﺜﻨﻴﻥ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M .L. S‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 397‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M .L. S‬ﻋﻠﻰ‬
‫ﻨﻔﺱ ﺍﻝﻤﺤﻭﺭ ﻓﻰ ﺍﻝﻠﻘﻁﺔ ﺍﻝﺴﺎﺒﻘﺔ ﻭﺘﻅﻬﺭ‬
‫ﺯﻜﻴﺔ ﺒﺠﻭﺍﺭ ﺭﺠل ﻨﺎﺌﻡ ) ﺘﻠﻤﻴﺫ ﺍﻝﺜﺎﻨﻭﻯ‬
‫ﺍﻝﺴﺎﺒﻕ ﺫﻜﺭﻩ ( ﻓﻰ ﻨﻔﺱ ﻭﻀﻊ ﺯﻭﺠﻬﺎ ﻓﻰ‬
‫ﺍﻝﻠﻘﻁﺔ ﺍﻝﺴﺎﺒﻘﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 88‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ ﺃﺤﻤﺩ ﺃﻓﻨﺩﻯ‬
‫ﻜﺎﺘﺏ ﺍﻝﺩﺍﺌﺭﺓ‬
‫‪ 398‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻹﻤﺭﺃﺓ ﺘﻌﺘﺩل‬
‫ﻓﺘﻅﻬﺭ ﺍﻜﺘﺎﻓﻬﺎ ﻋﺎﺭﻴﺔ ﻭﺘﻤﻼﺀ ﻴﺴﺎﺭ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻨﹰﺎ ﺃﺡﻤﺩ‬
‫ﺃﻓﻨﺩﻯ ﻴﻨﻅﺭ ﻝﻠﻤﺭﺃﺓ ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻴﺩﺨﻥ ﺴﻴﺠﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 89‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﺠﺴﺭ ﺍﻝﻤﻌﺩﻨﻰ ﺃﻤﺎﻡ‬
‫ﻤﻨﺯل ﺍﻝﻨﺎﻅﺭ‬
‫‪ 399‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M .L . S‬ﻝﺩﻤﻴﺎﻥ‬
‫ﺃﺒﻥ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﺠﺎﻝﺴ ﹰﺎ ﻋﻠﻰ ﺍﻝﺠﺴﺭ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﻨﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ‬
‫ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﻴﻌﻭﺩ ﻭﻴﻨﻅﺭ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 90‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺭﻓﺔ ﻤﻨﺯل ﺍﻝﻨﺎﻅﺭ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 66 of 78‬‬

‫‪ 400‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻠﻨﺎﻅﺭ ﻴﺠﻠﺱ‬

‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﻤﺴﻙ ﺴﺒﺤﺔ ﻓﻰ ﻴﺩﻩ ﺭﺍﻓﻌﹰﺎ‬
‫ﺭﺃﺴﻪ ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade - out‬‬
‫ﻤﺸﻬﺩ ) ‪( 91‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬ ‫‪401‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺭﺠل ﻴﺠﺭ ﺠﺎﻤﻭﺴﺔ‬
‫ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ‬
‫)‪( 42‬‬
‫ﺨﻴﻤﺔ ﻋﺯﻴﺯﺓ ﺍﻝﻨﺎﺌﻤﺔ ﺃﺴﻔل ﺍﻝﺨﻴﻤﺔ‬
‫ﻭﻴﺘﻭﻗﻑ ﻝﻴﻨﻅﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 402‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺃﻫل‬
‫ﺍﻝﻘﺭﻴﺔ ﻤﻠﺘﻔﻭﻥ ﺤﻭل ﺨﻴﻤﺔ ﻋﺯﻴﺯﺓ ﻭﻴﺘﺤﺭﻙ‬
‫ﺃﺤﺩ ﺍﻝﺭﺠﺎل ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪Pan‬‬
‫‪ Right‬ﺜﻡ ﻴﺘﻭﻗﻑ ﻭﻴﻨﻅﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 403‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻌﺯﻴﺯﺓ ﻨﺎﺌﻤﺔ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ ‪ ,‬ﺜﻡ ﺘﻌﺘﺩل ﻭﺘﻨﻅﺭ ﺤﻭﻝﻬﺎ ‪ ,‬ﺜﻡ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻩ ‪ ..‬ﺁﻩ‬
‫ﺘﺩﺨل ﺃﻡ ﺤﺴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 404‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻭﺠﻪ ﻓﻼﺡ ﻴﻨﻅﺭ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 405‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻭﺠﻪ ﺠﺎﻤﻭﺴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 406‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻨﺎﻅﺭ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ‪ High Angle‬ﻭﻫﻭ ﻴﺴﻴﺭ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ﻭﺨﻠﻔﻪ ﺍﻝﻐﻔﻴﺭ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻴﻤﻴﻥ ‪ , Pan Right‬ﺜﻡ ﻴﻘﻑ ﻭﻴﻨﻅﺭ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻓﻴﻪ ﺁﻴﻪ ﻴﺎ ﺠﺩﻉ ﺃﻨﺕ ﻭﻫﻭ ‪,‬‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬
‫ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻘﻑ ﻤﺠﻤﻭﻉﺓ ﻤﻥ ﺁﻴﻪ ﻗﻠﺔ ﺍﻝﺤﻴﺎ ﺩﻯ ‪.‬‬
‫ﻝﻤﻭﺴﻴﻘﻰ‬
‫ﺃﻫل ﺍﻝﻘﺭﻴﺔ ﻓﻴﺘﺤﺭﻙ ﺍﻝﻨﺎﺱ ﻝﺘﺨﺭﺝ ﻤﻥ ﻓﻼﺡ ‪ :‬ﺃﻨﺎ ﻗﻠﺕ ﺃﻋﺩﻯ ﻤﻥ ﻫﻨﺎ ﻴﻌﻨﻰ ‪.‬‬
‫) ‪( 42‬‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻠﺘﻔﺕ ﺍﻝﻨﺎﻅﺭ ﻭﻴﺼﺒﺢ ﺨﻠﻔﻴﺔ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻁﺏ ﺃﺘﻜل ﻋﻠﻰ ﺍﷲ ﺇﺘﻠﺤﻠﺢ‬

‫‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻴﺘﺠﻪ ﻨﺎﺤﻴﺔ ﺍﻝﺨﻴﻤﺔ‬

‫ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 407‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻨﺎﻅﺭ ﻭﺍﻝﻐﻔﻴﺭ ﻴﺩﺨﻼ‬
‫ﻤﻥ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﺴﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺤﺘﻰ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺨﻠﻴﻙ ﻫﻨﺎ ﺠﻤﺒﻬﺎ ‪ .‬ﺃﻭﻋﻰ‬
‫ﻴﺼﻼ ﺍﻝﻰ ﻋﺯﻴﺯﺓ ﺍﻝﻨﺎﺌﻤﺔ ‪ ,‬ﺜﻡ ﻴﺴﻴﺭ‬
‫ﺘﻔﻭﺘﻬﺎ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺠﻠﺱ‬
‫ﺍﻝﻐﻔﻴﺭ ‪ :‬ﺤﺎﻀﺭ ‪.‬‬
‫ﺍﻝﻐﻔﻴﺭ ﺒﺠﺎﻨﺏ ﻋﺯﻴﺯﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 408‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻭﻫﻭ ﻗﺎﺩﻡ‬
‫ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪ Left‬ﻭ ﻫﻭ ﻴﺘﺠﻪ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﺩﺨل‬
‫ﻤﺴﻴﺢ ‪ :‬ﺇﺘﻔﻀل ﺇﻤﻀﻰ ﻴﺎ ﺤﻀﺭﺓ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
‫‪Welcome To The Arab Film TV School‬‬ ‫‪Page 67 of 78‬‬

‫ﺍﻝﻨﺎﻅﺭ ﻋﻠﺸﺎﻥ ﻨﻘﺒﺽ ﺍﻷﻨﻔﺎﺭ ‪ .‬ﻴﻌﻨﻰ‬ ‫ﺍﻝﻨﺎﻅﺭ ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﻑ ﺒﺠﺎﻨﺏ‬
‫ﺍﻝﻨﻴﺎﺒﺔ ﻤﺎ ﺠﺘﺵ ﻴﺎ ﺤﻀﺭﺓ ﺍﻝﻨﺎﻅﺭ ‪.‬‬ ‫ﺍﻝﻨﺎﻅﺭ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺃﻨﺕ ﺸﺎﻏل ﻨﻔﺴﻙ ﻗﻭﻯ‬
‫ﺒﺎﻝﺤﻜﺎﻴﺔ ﺩﻯ ﻴﺎ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺸﺎﻏل ﻨﻔﺴﻰ ﺃﻤﺎل ‪ .‬ﺍﻝﻭﻝﻴﺔ‬
‫ﺩﻯ ﻻﺯﻡ ﺘﺎﺨﺩ ﺠﺯﺍﺘﻬﺎ ‪.‬‬
‫ﻭﻴﺼﺒﺤﺎﻥ ﻓﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪M .S. 2‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻗﺘﻠﺕ ﺁﻴﻪ ! ﺤﺭﺍﻡ ﻋﻠﻴﻙ ﺩﻯ‬
‫ﻭﻴﻌﻁﻴﻪ ﻭﺭﻗﺔ ﻴﻭ‪‬ﻗﻊ ﻋﻠﻴﻬﺎ ﺍﻝﻨﺎﻅﺭ ‪ ,‬ﺜﻡ‬
‫ﻭﻝﻴﻪ ﻭﺍﻗﻌﺔ ﻓﻰ ﻤﺼﻴﺒﺔ ‪ .‬ﻤﺵ ﻜﻔﺎﻴﺔ‬
‫ﻼ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ‬
‫ﻴﺘﺤﺭﻜﺎ ﻗﻠﻴ ﹰ‬
‫ﺇﺒﻨﻬﺎ ﻤﺎﺕ ﻓﻁﻴﺱ ‪.‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻭﺭﺍﺀ ‪ , Track out‬ﺜﻡ ﻴﻘﻔﺎ‬
‫ﻤﺴﻴﺢ ‪ :‬ﺃﻫﻪ ! ﺩﻯ ﺃﻝﻌﻥ ‪ .‬ﺇﺯﺍﻯ‬
‫ﻭﺍﺤﺩﺓ ﺘﻘﺘل ﺇﺒﻨﻬﺎ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺨﻠﻴﻙ ﻤﺤﻀﺭ ﺨﻴﺭ ﻴﺎ ﻤﺴﻴﺢ‬
‫ﺃﻓﻨﺩﻯ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻭﺍﷲ ﺃﻨﺎ ﺨﺎﻴﻑ ﻋﻠﻴﻙ ‪ .‬ﺩﻯ‬
‫ﻫﺎ ﺘﺒﻘﻰ ﻤﺴﺌﻭﻝﻴﺔ ﻜﺒﻴﺭﺓ ﻗﺩﺍﻡ ﺍﻝﻨﻴﺎﺒﺔ‬
‫ﻭﺍﻝﺒﺎﺸﺎ ﻓﻰ ﻤﺼﺭ ‪.‬‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻭﺍﻝﺒﺎﺸﺎ ﻓﻰ ﻤﺼﺭ ﺩﺨﻠﻪ ﺁﻴﻪ‬
‫ﺒﺎﻝﺤﻜﺎﻴﺔ ﺩﻯ ؟‬
‫ﻤﺴﻴﺢ ‪ :‬ﻤﺵ ﺍﻝﻴﻭﻤﻴﺔ ﺒﺘﺘﺼﺭﻑ ﻭﻫﻰ‬
‫ﻤﺎ ﺒﺘﺸﺘﻐﻠﺵ ‪ .‬ﻭﺍﷲ ﺇﻨﺕ ﺼﻌﺒﺎﻥ‬
‫ﻰ‪.‬‬‫ﻋﻠ ‪‬‬

‫ﻭﻴﺨﺭﺝ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬

‫ﻭﻴﻅل ﺍﻝﻨﺎﻅﺭ ﻓﻰ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 92‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻜﺘﺏ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ‬
‫‪ 409‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ‬
‫ﻭﻫﻭ ﻴﺩﺨل ﺍﻝﻤﻜﺘﺏ ﻭﻴﺠﻠﺱ ﺃﻤﺎﻡ ﺍﻝﻤﻜﺘﺏ‬
‫ﻤﺴﻴﺢ ‪ :‬ﺴﻌﺎﺩﺓ ﺍﻝﻨﺎﺌﺏ ﺍﻝﻌﻤﻭﻤﻰ ‪,‬‬
‫ﻭﻴﺭﺘﺩﻯ ﺍﻝﻨﻅﺎﺭﺓ ﻭﻴﻜﺘﺏ ﻭﻫﻭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻤﺼﺭ‬
‫ﺒﺭﻭﻓﻴل‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 93‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﻭﺍﺭﻉ ﺍﻝﻘﺭﻴﺔ‬
‫‪ 410‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻭﻫﻭ‬
‫ﻴﺴﻴﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ‬
‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ‬ ‫‪ Pan Right‬ﺤﺘﻰ ﻴﺼﺒﺢ ﺨﻠﻔﻴﺔ ‪ Full‬ﻤﺴﻴﺢ ‪ :‬ﻤﺤﻤﻭﺩ ‪ ..‬ﻤﺤﻤﻭﺩ ‪.‬‬
‫‪ rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 411‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ M .S‬ﻝﻜﺎﺩﺭ ﻓﺎﻀﻰ ﻴﺩﺨل‬
‫ﻓﻴﻪ ﻤﺤﻤﻭﺩ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭ ﻤﺴﻴﺢ ﻤﺤﻤﻭﺩ ‪ :‬ﻓﻴﻪ ﺁﻴﻪ ﻴﺎ ﺤﻀﺭﺓ ﺍﻝﺒﺎﺸﻜﺎﺘﺏ‬
‫ﺍﻓﻨﺩﻯ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ ﻝﻘﻁﺔ ؟‬
‫ﻤﺴﻴﺢ ‪ :‬ﺨﺩ ﺍﻝﺠﻭﺍﺏ ﺩﻩ ‪ .‬ﺃﻨﺎ ﻋﺎﻴﺯﻩ‬
‫ﻡﺘﻭﺴﻁﺔ ﻻﺜﻨﻴﻥ ‪ Medium Shot) 2.‬ﻴﺭﻭﺡ ﻤﺼﺭ ﻤﺴﻭﺠﺭ ﻭﺒﺎﻝﻤﺴﺘﻌﺠل‬
‫ﻜﻤﺎﻥ ‪.‬‬ ‫)‪ M.2‬ﻝﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻭﻤﺤﻤﻭﺩ‬
‫ﺍﻝﺒﻭﺴﻁﺠﻰ ﻭﻴﻌﻁﻴﻪ ﺍﻝﺨﻁﺎﺏ ‪ .‬ﺜﻡ ﻴﺨﺭﺝ ﻤﺤﻤﻭﺩ ‪ :‬ﺤﺎﻀﺭ‬
‫ﻤﺴﻴﺢ ﻤﻥ ﻤﻘﺩﻤﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﻤﺴﻴﺢ ‪ :‬ﻓﺎﻫﻡ‬
‫ﻤﺤﻤﻭﺩ ‪ :‬ﺤﺎﻀﺭ ‪.‬‬ ‫ﻤﺤﻤﻭﺩ ﺍﻝﻰ ﺍﻝﺨﻁﺎﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻤﺸﻬﺩ ) ‪( 94‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫‪ 412‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫‪ High Angle‬ﻝﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻴﺘﺤﺭﻙ‬
‫ﻋﻤﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻋﺎﺒﺭﻴﻥ‬
‫ﺨﻴﻤﺔ ﻋﺯﻴﺯﺓ ﺍﻝﻨﺎﺌﻤﺔ ﻭﺒﺠﻭﺍﺭﻫﺎ ﺃﻡ ﺤﺴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 413‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺯﻴﺯﺓ ﻨﺎﺌﻤﺔ ‪ ,‬ﺜﻡ‬
‫ﺍﻝﻐﻔﻴﺭ ‪ :‬ﻤﺎ ﺘﻴﺎﻝﻼ ﻴﺎﺩ ﺍﻨﺕ ﻭﻫﻭ ‪ .‬ﻜل‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ‪Pan Left‬‬
‫ﻭﺍﺤﺩ ﻴﺭﻭﺡ ﻴﺸﻭﻑ ﺤﺎﻝﻪ ‪ .‬ﻭﺍﻗﻔﻴﻥ‬
‫ﻤﻊ ﺍﻝﻐﻔﻴﺭ ﻭﻫﻭ ﻴﺴﻴﺭ ﻨﺎﺤﻴﺔ ﻤﺠﻤﻭﻋﺔ‬
‫ﻜﺩﻩ ﻝﻴﻪ ؟ ﻴﺎﻝﻼ ﻴﺎﻋﻠﻴﻭﺓ ﻴﺎﻻ ﻴﺎﻋﺒﺩ‬
‫ﻤﻥ ﺃﻫل ﺍﻝﻘﺭﻴﺔ ‪ ,‬ﻭﻴﺒﻌﺩﻫﻡ ﻭﻴﺨﺭﺝ ﻤﻥ‬
‫ﺍﻝﺼﺎﺩﻕ ﻴﺎﻻ ﻴﺎ ﻋﻠﻭﺍﻥ ﻭﺍﻗﻑ ﻜﺩﻩ ﻝﻴﻪ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻓﻲﻋﻭﺩﻭﺍ ﺜﺎﻨﻴﺔ ﻝﻠﻭﻗﻭﻑ ﺃﻤﺎﻡ‬
‫ﻭﻤﺘﻨﺢ‬
‫ﺨﻴﻤﺔ ﻋﺯﻴﺯﺓ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻩ ‪ ..‬ﺁﻩ ﻴﺎ ﻨﻰ ﺍﻩ ﻴﺎ ﺍﻤﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 414‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺯﻴﺯﺓ ﻨﺎﺌﻤﺔ ﻭﺃﻡ‬
‫ﺤﺴﻥ ﺒﺠﻭﺍﺭﻫﺎ ‪ ,‬ﺘﻘﻭﻡ ﺍﻡ ﺤﺴﻥ ﺒﺈﻋﻁﺎﺌﻬﺎ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻩ ‪ ...‬ﺁﻩ ﻴﺎ ﺃﻤﻪ ‪ ,‬ﺴﺒﻴﻨﻰ ﻓﻰ‬
‫ﻤﺎﺀ ﻝﺘﺸﺭﺏ ‪ ,‬ﺘﻘﻭﻡ ﻋﺯﻴﺯﺓ ﺒﺈﺒﻌﺎﺩ ﻴﺩﻴﻬﺎ‬
‫ﺤﺎﻝﻰ ‪ ...‬ﺁﻩ ‪ ..‬ﺁﻩ ﻴﺎﻤﻪ ‪.‬‬
‫ﺒﺎﻝﻤﺎﺀ ﻭﻫﻰ ﺘﺼﺭﺥ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 415‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻔﻼﺡ ﻤﻥ ﺃﻫل‬
‫ﺍﻝﻘﺭﻴﺔ ﻴﻨﻅﺭ ﺍﻝﻰ ﻋﺯﻴﺯﺓ ﻭﻫﻭ ﻓﻰ ﻭﻀﻊ‬
‫ﺍﻝﻔﻼﺡ ‪ :‬ﻴﺎ ﺤﻭل ﺍﷲ ﻴﺎﺭﺏ ‪.‬‬
‫ﺒﺭﻭﻓﻴل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 416‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺯﻴﺯﺓ ﻭﺍﻝﻔﻼﺤﺎﺕ‬
‫ﺤﻭﻝﻬﺎ ‪ ,‬ﺜﻡ ﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻨﻬﺎ ‪Zoom‬‬
‫‪ in‬ﺤﺘﻰ ﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻩ ‪ ...‬ﻴﺎ ﻝﻬﻭﻯ ‪ ..‬ﻴﺎ‬
‫ﻝﻬﻭﻯ ‪ ..‬ﻴﺎ ﻝﻬﻭﻯ ‪.‬‬ ‫ﻗﺭﻴﺒﺔ ‪Medium .Close‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 417‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‪ M .L. S‬ﻷﺭﺒﻌﺔ‬
‫ﻓﻼﺤﻴﻥ ﻭﺍﻗﻔﻴﻥ ﻴﻨﻅﺭﻭﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪418‬‬
‫‪ Medium .Close‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﻨﺎﺌﻤﺔ ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻩ ‪ ..‬ﺁﻩ ‪ ..‬ﻴﺎﺍﻤﻪ ‪ ,‬ﻴﺎ ﺃﻤﻪ ‪,‬‬
‫ﻴﺎﺍﻤﻪ ‪.‬‬ ‫ﻭﺘﺤﺭﻙ ﻭﺠﻬﻬﺎ ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 95‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻜﺘﺏ ﺍﻝﻨﺎﻅﺭ‬
‫‪ 419‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫‪ (Shot( O S‬لﻝﻨﺎﻅﺭ ﺠﺎﻝﺱ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺇﺯﻯ ﺍﻝﺤﺎل ؟‬
‫ﺨﻠﻑ ﺍﻝﻤﻜﺘﺏ ﻤﻭﺍﺠﻬﺔ ‪Full Front‬‬
‫ﺍﻝﻐﻔﻴﺭ ‪ :‬ﺍﻝﺤﺎﻝﺔ ﺒﺘﺘﺄﺨﺭ ﻴﻭﻡ ﻋﻥ ﻴﻭﻡ ‪,‬‬
‫‪ Face‬ﻭﺍﻝﻐﻔﻴﺭ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺩﻯ ﺤﺎﻝﺘﻬﺎ ﻴﺎ ﻭﻝﺩﺍﻩ ﺼﻌﺏ ﺨﺎﻝﺹ ‪,‬‬
‫ﻻﺯﻤﻬﺎ ﻭﺍﺤﺩ ﺩﻜﺘﻭﺭ‪.‬‬ ‫ﺒﺭﻭﻓﻴل ‪ . side angle‬ﺜﻡ ﻴﺘﺤﺭﻙ ﺍﻝﻐﻔﻴﺭ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺩﻜﺘﻭﺭ ﺁﻴﻪ ﺭﺍﺨﺭ ‪ ,‬ﻝﻭ ﺠﺒﻨﺎ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Right‬‬
‫ﺩﻜﺘﻭﺭ ﻫﺎ ﻴﺒﻘﻰ ﻓﻴﻬﺎ ﺴﻴﻥ ﻭﺠﻴﻡ ‪.‬‬
‫ﺭﻭﺡ ﺨﺩ ﻤﻌﺎﻙ ﺍﻷﺴﻁﻰ ﺯﻜﻰ ﺍﻝﺤﻼﻕ‬ ‫ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ‬

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‫‪ (Medium Shot (MS‬ﻭﻴﺨﺭﺝ ﻤﻥ ﺨﻠﻴﻪ ﻴﺸﻭﻓﻬﺎ ﻭﻗﻭﻝﻪ ﺍﻝﺤﺴﺎﺏ ﻋﻨﺩﻯ ‪.‬‬

‫ﺍﻝﻐﻔﻴﺭ ‪ :‬ﺤﺎﻀﺭ ‪.‬‬ ‫ﺍﻝﻜﺎﺩﺭ ﻝﻴﻅﻬﺭ ﻤﺴﻴﺢ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻭﺍﻗﻑ ﺨﻠﻑ ﺒﺎﺏ ﺠﺎﻨﺒﻰ ﻝﻠﻤﻜﺘﺏ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 96‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫‪ 420‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻠﺤﻼﻕ ﻭﺍﻝﻐﻔﻴﺭ‬
‫ﻭﺨﻠﻔﻬﻤﺎ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺃﻫﺎﻝﻰ ﺍﻝﻘﺭﻴﺔ‬
‫ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‪Pan Right‬‬
‫ﺜﻡ ﻴﺘﻭﻗﻑ ﺍﻝﻐﻔﻴﺭ ﻭﻴﺒﻌﺩ ﺍﻝﻨﺎﺱ ﻭﻴﺨﺭﺝ‬
‫ﺍﻝﺤﻼﻕ ‪ :‬ﺨﻠﻴﻜﻭﺍ ﻫﻨﺎ ‪ ,‬ﺃﺒﻌﺩﻯ ﻴﺎ ﺒﺕ‬
‫ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺴﺘﻤﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﻤﺘﺎﺒﻌﺔ‬
‫ﺃﻨﺘﻰ ﻭﻫﻰ ‪.‬‬
‫ﺍﻝﺤﻼﻕ ﻭﻫﻭ ﻴﺒﻌﺩ ﺍﻝﺴﻴﺩﺍﺕ ﻤﻥ ﺠﺎﻨﺒﻬﺎ‬
‫ﻭﻴﺩﺨل ﺍﻝﺤﻼﻕ ﺍﻝﺨﻴﻤﺔ ﻭﻴﺠﻠﺱ ﺒﺠﻭﺍﺭ‬
‫ﻋﺯﻴﺯﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 421‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻭﻫﻰ ﻨﺎﺌﻤﺔ ﺍﻝﺤﻼﻕ ‪ :‬ﻴﺎﻩ ‪ ..‬ﺩﻯ ﻀﻌﻔﺎﻨﺔ ﺨﺎﻝﺹ ‪.‬‬
‫ﻭﺍﻝﺤﻼﻕ ﻴﻀﻊ ﻴﺩﻩ ﻋﻠﻰ ﺠﺒﻬﺘﻬﺎ ﻭﻴﻨﻅﺭ ﻓﻰ ﻻﺯﻤﻬﺎ ﺘﻘﻭﻴﺔ ‪ ..‬ﺃﺩﻭﻫﺎ ﻜﻴﻨﺎ ﺍﻝﻜﻴﻨﺎ ﻫﻰ‬
‫ﺍﺘﺠﺎﻩ ﺃﻡ ﺤﺴﻥ ﺍﻝﺠﺎﻝﺴﺔ ﺒﺠﻭﺍﺭﻫﺎ‪ ,‬ﺜﻡ ﻴﻘﻑ ﺍﻝﻠﻰ ﻫﺎﺘﻘﻭﻴﻬﺎ ‪ ,‬ﻭﺭﺒﻨﺎ ﻴﺸﻔﻴﻬﺎ ‪.‬‬
‫ﺴﻼﻤﻭﺍ ﻋﻠﻴﻜﻭﺍ‬ ‫ﻭﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ‪.‬ﻭﺘﺘﺤﺭﻙ ﻋﺯﻴﺯﺓ‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﻭﻋﻠﻴﻜﻭﺍ ﺍﻝﺴﻼﻡ ‪.‬‬ ‫ﺤﺭﻜﺎﺕ ﻫﻴﺴﺘﺭﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪422‬‬
‫‪ . Medium .Close .Shot‬ﻝﻌﺯﻴﺯﺓ ﻤﻥ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﺁﻩ ‪ ...‬ﺁﻩ‬ ‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻭﻫﻰ‬
‫ﻨﺎﺌﻤﺔ ﻭﺘﺘﺸﻨﺞ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 423‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻌﺯﻴﺯﺓ ﻭﺒﺠﻭﺍﺭﻫﺎ‬
‫ﺍﻝﻔﻼﺤﺎﺕ ﺍﻝﻼﺘﻰ ﻴﺤﺎﻭﻝﻥ ﺇﻤﺴﺎﻜﻬﺎ ﻭﻝﻜﻨﻬﺎ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻴﺎ ﻝﻬﻭﻯ ‪ ..‬ﻴﺎﻝﻬﻭﻯ ‪.‬‬ ‫ﺘﻘﻑ ﻭﺘﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻤﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻭﻫﻰ ﺘﺠﺭﻯ ﺍﻝﻰ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 424‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M .L. S‬ﻝﻠﺴﻴﺩﺍﺕ‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻭﻫﻥ‬
‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ‬ ‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﻴﺎ ﻋﺯﻴﺯﺓ ‪.‬‬
‫ﻴﺠﺭﻴﻥ ﺨﻠﻔﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 425‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻷﻫﺎﻝﻰ ﺍﻝﻘﺭﻴﺔ ﻭﻋﻤﺎل‬
‫ﻤﻭﺴﻴﻘﻰ‬
‫ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻫﻡ ﻴﺠﺭﻭﻥ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‬
‫) ‪( 44‬‬
‫‪Low Angle‬‬
‫ﺇﻴﻘﺎﻉ ﻁﺒل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 426‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .Close up‬‬
‫ﻝﻭﺠﻪ ﻋﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫‪ Angle‬ﻭﻫﻰ ﺘﺠﺭﻯ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 427‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻌﺯﻴﺯﺓ ﺘﺩﺨل ﻤﻥ‬

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‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺠﺭﻯ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬

‫ﻭﺘﻘﺫﻑ ﺒﻨﻔﺴﻬﺎ ﻓﻰ ﺍﻝﺘﺭﻋﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 428‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ‬
‫ﺍﻝﻔﻼﺤﻴﻥ ﻴﻨﺯﻝﻭﻥ ﺍﻝﺘﺭﻋﺔ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻴﺴﺎﺭ‬
‫ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 429‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻔﻼﺡ ﻴﻨﺯل ﺍﻝﺘﺭﻋﺔ ﻤﻥ‬
‫ﺸﻤﺎل ﺍلﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪ Left‬ﻭﻫﻭ ﻴﺘﺠﺔ ﺍﻝﻰ ﻤﻨﺘﺼﻑ ﺍﻝﺘﺭﻋﺔ‬
‫ﻝﻴﺴﺎﻋﺩ ﺍﻝﻔﻼﺡ ﺍﻝﺫﻯ ﻴﻤﺴﻙ ﺒﻌﺯﻴﺯﺓ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 430‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M. L .S‬ﻜﺒﻴﺭﺓ ﻝﺸﺨﺹ‬
‫ﻴﺨﻠﻊ ﺍﻝﺠﻠﺒﺎﺏ ﻭﻴﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻤﻌﻪ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Left‬ﻭﻴﻀﻌﻬﺎ ﻋﻠﻰ ﻜﺘﻑ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺃﺤﺩ ﺭﺠﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ ‪ :‬ﺍﷲ ﻴﺴﺘﺭ‬ ‫ﻋﺯﻴﺯﺓ ﻭﻴﺴﻴﺭ ﻤﻊ ﺍﻝﺠﻤﻭﻉ ﺍﻝﺘﻰ ﺘﺤﻴﻁ‬
‫) ‪( 44‬‬ ‫ﻋﺭﻀﻙ‬ ‫ﺒﻌﺯﻴﺯﺓ ﻭﺘﺘﺤﻭل ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‬
‫‪ L .S‬ﻭﻴﺘﺠﻬﻭﻥ ﺒﻌﺯﻴﺯﺓ ﺍﻝﻰ ﺍﻝﺨﻴﺎﻡ‬
‫ﻭﻴﺼﺒﺤﻭﺍ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 97‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫‪ 431‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻷﻡ ﺤﺴﻥ ﺠﺎﻝﺴﺔ ﻓﻰ ﻓﻼﺡ ‪ :‬ﺇﻨﻤﺎ ﺍﻝﻭﻝﻴﺔ ﺩﻯ ﺒﺎﻴ‪‬ﻨﻬﺎ ﺇﺘﻌﺫﺒﺕ‬
‫ﻋﺫﺍﺏ‬ ‫ﺍﻝﺨﻴﻤﺔ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪Pan‬‬
‫ﻓﻼﺡ ‪ :‬ﺩﻯ ﻤﺴﻜﻴﻨﺔ ﻗﻭﻯ‬ ‫‪ right‬ﻝﻴﻅﻬﺭ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺭﺠﺎل‬
‫ﻓﻼﺡ ‪ : 2‬ﻝﻤﺎ ﻫﻰ ﻤﺴﻜﻴﻨﺔ ﻗﺘﻠﺕ‬ ‫ﻴﺘﺤﺩﺜﻭﻥ‬
‫ﻀﻨﺎﻫﺎ ﻝﻴﻪ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻓﻼﺡ ‪ : 3‬ﻭﻫﻰ ﻗﺘﻠﺕ ﻀﻨﺎﻫﺎ ! ﺩﻯ‬
‫ﺠﺕ ﺘﺴﻜﺘﻪ ﺇﺘﺨﻨﻕ ﻤﺎﺕ ‪.‬‬
‫ﻓﻼﺡ ‪ : 2‬ﻭﻋﺎﻴﺯﺓ ﺘﺴﻜﺘﻪ ﻝﻴﻪ ؟‬
‫ﻓﻼﺡ ‪ : 3‬ﺨﺎﻓﺕ ﺘﻌﺭﻑ ﺍﻝﻨﺎﺱ ﺇﻨﻬﺎ‬
‫ﻭﻝﺩﺕ ﻤﺎ ﻴﻤﺴﻜﻭﻫﺎﺵ ﺨﻁ‬
‫ﻓﻼﺡ ‪ :‬ﺒﻘﻰ ﻜﺩﻩ ! ﺇﻨﻤﺎ ﻫﻰ ﻤﺘﺠﻭﺯﺓ ؟‬
‫ﻓﻼﺡ ‪ : 3‬ﻤﺘﺠﻭﺯﺓ ! ﺇﻻ ﻤﺘﺠﻭﺯﺓ ‪ .‬ﺩﻯ‬
‫ﻤﺘﺠﻭﺯﺓ ﻋﺒﺩﺍﷲ ﺇﺒﺭﺍﻫﻴﻡ ﺒﻠﺩﻴﺎﺘﻰ ‪.‬‬
‫‪ 432‬ﻝﻘﻁﺔ ﻡﺘﻭﺴﻁﺔ ‪(Medium Shot (MS‬‬
‫ﻓﻼﺡ ﻤﻥ ﺍﻝﻘﺭﻴﺔ ‪ :‬ﺒﻠﺩﻴﺎﺘﻜﻭ ! ﺇﻻ ﻫﻭ‬
‫ﺇﻨﺘﻭﺍ ﻝﻴﻜﻭ ﺒﻠﺩ ﺯﻴﻨﺎ ﻜﺩﻩ ؟‬ ‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻓﻼﺡ ﻤﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ ‪ :‬ﻝﻴﻨﺎ ﺒﻠﺩ ﻁﺒﻌﺎ ﺃﻤﺎل‬ ‫ﻝﻨﻔﺱ ﻤﺠﻤﻭﻋﺔ ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻤﺎﻝﻨﺎﺵ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻓﻼﺡ ‪ :‬ﻭﺒﻠﺩﻜﻭﺍ ﺇﻨﺸﺎﺀﺍﷲ ﻜﺩﻩ ﺘﺒﻘﻰ‬
‫ﻓﻴﻥ ‪.‬‬
‫ﻓﻼﺡ ﺍﻝﺘﺭﺤﻴﻠﺔ ‪ :‬ﺘﺤﺕ‬
‫ﻓﻼﺡ ‪ :‬ﺒﻌﻴﺩﺓ ﻴﻌﻨﻰ ؟‬
‫ﻓﻼﺡ ﺍﻝﺘﺭﺤﻴﻠﺔ ‪ :‬ﺒﻌﻴﺩﺓ ﻗﻭﻯ ﻗﻭﻯ ‪.‬‬
‫ﺯﻯ ﻤﻥ ﻫﻨﺎ ﻹﺴﻜﻨﺩﺭﻴﺔ ﻴﻴﺠﻰ ﻋﺸﺭ‬
‫ﻤﺭﺍﺕ‬
‫ﺍﻝﻔﻼﺡ ‪ :‬ﻭﺇﻨﺕ ﻋﺎﺭﻑ ﺇﺴﻜﻨﺩﺭﻴﺔ ﻓﻴﻥ ؟‬
‫ﻓﻼﺡ ﺍﻝﺘﺭﺤﻴﻠﺔ ‪ :‬ﻋﺎﻴﺯ ﺍﻝﺤﻕ‬

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‫ﻤﺎﺃﻋﺭﻓﺵ ‪.‬‬
‫ﻓﻼﺡ ‪ :‬ﻭﻓﻰ ﺒﻠﺩﻜﻭﺍ ﺒﻘﻰ ﺒﺘﺯﺭﻋﻭﺍ‬ ‫‪ 433‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫ﺃﺭﺽ‬
‫‪ (Shot( O S‬ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻔﻼﺤﻴﻥ ﻓﻼﺡ ﻤﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ ‪ :‬ﺇﺤﻨﺎ ﻓﻼﺤﻴﻥ ﺯﻴﻨﺎ‬
‫ﺱ ﻤﺎﻋﻨﺩﻨﺎﺵ ﺃﺭﺽ ﻨﺯﺭﻋﻬﺎ‬ ‫ﺯﻴﻜﻭﺍ ﺒ ‪‬‬ ‫ﻴﺸﺭﺒﻭﻥ ﺍﻝﺸﺎﻯ‬
‫ﻓﻼﺡ ‪ :‬ﻭﻫﻭ ﻤﻴﻥ ﻝﻪ ﺃﺭﺽ ‪ .‬ﻴﺎ ﻋﻡ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺤﺎل ﻤﻥ ﺒﻌﻀﻪ ‪.‬‬
‫ﻓﻼﺡ ‪ :‬ﻝﻤﺎ ﺇﻨﺘﻭﺍ ﻓﻼﺤﻴﻥ ﺁﻴﻪ ﺍﻝﻠﻰ‬ ‫‪ 434‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S.‬ﻝﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﻴﺨﻠﻴﻜﻭﺍ ﺘﺴﻴﺒﻭﺍ ﺒﻼﺩﻜﻡ ﻭﺘﺘﻐﺭﺒﻭﺍ‬ ‫ﻭﺍﻝﻔﻼﺤﻴﻥ ﺠﺎﻝﺴﻴﻥ ﻤﺠﻤﻭﻋﺎﺕ ﻭﺘﻅﻬﺭ‬
‫ﺒﺎﻝﺸﻜل ﺩﻩ ؟‬ ‫ﻤﺠﻤﻭﻋﺔ ﻓﻰ ﻤﻘﺩﻤﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻓﻼﺡ ﻤﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ ‪ :‬ﺁﻴﻪ ﺍﻝﻠﻰ ﺍﻝﻨﺎﺱ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﺘﺴﻴﺏ ﺒﻼﺩﻫﺎ ﻏﻴﺭ ﺃﻜل ﺍﻝﻌﻴﺵ ﻴﺎ ﺃﺒﻥ‬
‫ﻋﻤﻰ‬
‫ﻓﻼﺡ ‪ :‬ﺇﻻ ﺃﻜل ﺍﻝﻌﻴﺵ ‪ .‬ﺩﻩ ﻫﻭ ﺍﻝﻠﻰ‬
‫ﺠﺎﺏ ﺩﺍﻏﻜﻡ ‪ ,‬ﻭﻤﻴﻥ ﻋﺎﺭﻑ ﻤﺎ ﻴﻤﻜﻥ‬
‫ﻴﺠﻴﺏ ﺩﺍﻏﻨﺎ ﺇﺤﻨﺎ ﻜﻤﺎﻥ ‪ .‬ﻋﻠﻰ ﺍﻝﻌﻤﻭﻡ‬
‫ﺃﻭﻋﻰ ﺘﻜﻭﻥ ﻭﺍﺨﺩ ﻋﻠﻰ ﺨﺎﻁﺭﻙ ﻤﻨﻰ‬
‫ﻋﺸﺎﻥ ﺤﻜﺎﻴﺔ ﺍﻝﻘﺴﻡ ﺩﻯ ‪ .‬ﻭﺁﺩﻯ‬
‫ﺭﺍﺴﻙ ﺃﺒﻭﺴﻬﺎ‬
‫ﻤﺸﻬﺩ ) ‪( 98‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ ﺒﺠﻭﺍﺭ‬
‫ﺍﻝﺘﺭﻋﺔ‬
‫ﺼﺎﺤﺏ ﺍﻝﻤﻘﻬﻰ ‪ :‬ﻴﺎ ﺃﻡ ﺤﺴﻥ ‪.‬‬ ‫‪ 435‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ) ‪ Long Shot ( LS‬ﻷﻡ‬
‫ﺍﻡ ﺤﺴﻥ ‪ :‬ﺃﻴﻭﻩ ‪.‬‬ ‫ﺤﺴﻥ ﺒﺠﻭﺍﺭ ﺍﻝﺘﺭﻋﺔ ﺘﻐﺴل ﺍﻷﻭﺍﻨﻰ ﻭﻴﺄﺘﻰ‬
‫ﺼﺎﺤﺏ ﺍﻝﻤﻘﻬﻰ ‪ :‬ﺨﺩﻯ ﺇﺯﺍﺯﺓ ﺍﻝﻜﻴﻨﺔ‬ ‫ﺼﺎﺤﺏ ﺍﻝﻤﻘﻬﻰ ﻤﻥ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﺃﻫﻰ ‪ .‬ﺇﺩﻴﻬﺎ ﻨﺹ ﻜﺒﺎﻴﺔ ﺘﻼﺕ ﻤﺭﺍﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻓﻰ ﺍﻝﻴﻭﻡ ‪.‬‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﻭﺩﻯ ﺒﻜﺎﻡ ﻴﺎﺨﻭﻴﺎ ؟‬ ‫‪ 436‬ﻝﻘﻁﺔ ﻭﺠﻬﺔ ﻨﻅﺭ ‪Over Shoulder‬‬
‫ﺼﺎﺤﺏ ﺍﻝﻤﻘﻬﻰ ‪ :‬ﺍﻝﻨﺎﻅﺭ ﺩﻓﻊ ﻨﺹ‬
‫ﻰ‬
‫ﺘﻤﻨﻬﺎ ﻭﺨﻠﻠﻰ ﺍﻝﺒﺎﻗﻰ ﻋﻠ ‪‬‬ ‫‪ (Shot( O S‬ﻷﻡ ﺤﺴﻥ ﻭﺼﺎﺤﺏ‬
‫ﺍﻝﻤﻘﻬﻰ ‪ ,‬ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺤﻭل ﺃﻡ ﺤﺴﻥ ‪ :‬ﺇﻝﻬﻰ ﻤﺎ ﻴﻭﺭﻴﻨﻴﺵ ﻓﻴﻙ ﻴﻭﻡ‬
‫ﻭﺤﺵ ﻴﺎ ﻗﺎﺩﺭ ﻴﺎ ﻜﺭﻴﻡ ‪.‬‬ ‫ﺍﻝﻠﻘﻁﺔ ﺍﻝﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﻨﺒﻭﻴﺔ ‪ :‬ﺨﺩﻯ ﻴﺎ ﺃﻡ ﺤﺴﻥ ‪.‬‬
‫‪Medium Long Shot (MLS‬‬
‫ﺍﻡ ﺤﺴﻥ ‪ :‬ﺃﻴﻭﻩ ﻴﺎ ﺃﺨﺘﻰ ‪.‬‬
‫ﻨﺒﻭﻴﺔ ‪ :‬ﺃﺭﻨﺒﺔ ﺸﻤﻭﺭﺕ ﻁﺒﺨﺎﻫﺎ‬ ‫ﻭﺘﺘﺤﺭﻙ ﺃﻡ ﺤﺴﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺤﺘﻰ ﺘﻘﺎﺒل‬
‫ﺒﺈﻴﺩﻴﺎ ‪ .‬ﺘﺎﻜﻠﻬﺎ ﺒﺎﻝﻬﻨﺎ ﻭﺍﻝﺸﻔﺎ ‪.‬‬ ‫ﺸﻤﺎل‬ ‫ﻨﺒﻭﻴﺔ ﺍﻝﺘﻰ ﺘﻌﻁﻴﻬﺎ ﺁﻨﻴﺔ ﻭﺘﺨﺭﺝ ﻤﻥ‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﺘﺴﻠﻤﻰ ﻴﺎ ﻨﺒﻭﻴﺔ ‪.‬‬ ‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻨﺒﻭﻴﺔ ‪ :‬ﺨﺩﻯ ﻴﺎﺨﺘﻰ ‪ ,‬ﻭﺇﺫﺍ ﺇﺤﺘﺎﺠﺘﻰ‬
‫ﺤﺎﺠﺔ ﺃﻨﺎ ﻤﻭﺠﻭﺩﺓ ‪.‬‬

‫ﻭﺘﺘﺤﺭﻙ ﺃﻡ ﺤﺴﻥ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬

‫ﻴﻤﻴﻥ ﻭﻫﻰ ﺘﺘﺤﺭﻙ ﻴﻅﻬﺭ ﻤﺴﻴﺢ ﺍﻓﻨﺩﻯ‬
‫ﻭﻫﻭ ﺨﻠﻔﻴﺔ ‪ Full rear‬ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻴﺘﺎﺒﻊ‬
‫ﺍﻝﻤﻭﻗﻑ ﺜﻡ ﻴﻠﺘﻔﺕ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ ﻴﺘﻘﺩﻡ‬
‫ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺍﻝﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻥ‬
‫ﻤﻭﺍﺠﻬﺔ ‪Full Front Face‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﺭﺒﻨﺎ ﻴﺸﻔﻴﻬﺎ ‪.‬‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﺩﻤﻴﺎﻥ ﺇﺒﻥ‬ ‫‪437‬‬

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‫ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻭﺒﺠﻭﺍﺭﻩ ﺍﻝﻐﻔﻴﺭ ﻭﻓﻰ ﺨﻠﻔﻴﺔ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﻭﻴﺸﻔﻴﻙ ﺃﻨﺕ ﻜﻤﺎﻥ ‪.‬‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﻋﻡ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪.‬‬ ‫ﺍﻝﻜﺎﺩﺭ ﻴﺠﻠﺱ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﻨﻌﻡ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﺍﻝﻔﺭﺨﺔ ﻤﺵ ﺩﺒﺤﺘﻬﺎ ﻭﻤﻠﻘﺘﺵ‬
‫ﺍﻝﺒﻴﻀﺔ ‪.‬‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﻤﻌﻠﺵ ‪ ..‬ﻤﻌﻠﺵ ﻴﺎ‬
‫ﺩﻤﻴﺎﻥ ‪.‬‬
‫‪ 438‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪Medium Long‬‬
‫‪ Shot (MLS‬ﻝﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻭﻫﻭ ﻭﺍﻗﻑ ﻤﺴﻴﺢ ‪ :‬ﻭﻝﻪ ﻴﺎ ﺩﻤﻴﺎﻥ ‪ .‬ﺇﺴﻤﻊ ﻴﺎﻻ ‪..‬‬
‫ﺘﻌﺎﻝﻰ ﻫﻨﺎ ‪.‬‬
‫ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻭﺠﻬﻪ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﻨﻌﻡ‬
‫ﻭﻴﻠﺘﻔﺕ ﻋﻜﺱ ﺇﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ .‬ﻭﻴﻘﻑ‬
‫ﻤﺴﻴﺢ ‪ :‬ﻫﻪ ‪ ..‬ﺠﻨﺔ ﻭ ﹶﻻ ﻨﺎﺭ ‪.‬‬
‫ﺩﻤﻴﺎﻥ ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﻨﺎﺭ‬
‫ﻤﺴﻴﺢ ﺍﻝﻭﺍﻗﻑ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺼﺒﺤﺎ‬
‫ﻤﺴﻴﺢ ‪ :‬ﻴﻌﻨﻰ ﺃﻨﺎ ﻏﻠﻁﺎﻥ ‪.‬‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪,M .S. 2‬‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﻏﻠﻁﺎﻥ ﻗﻭﻯ ‪ .‬ﻏﻠﻁﺎﻥ‬
‫ﻭﻴﺘﺤﺭﻜﺎ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ‬
‫ﺨﺎﻝﺹ ‪.‬‬
‫‪Track out‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻜﺩﻩ ! ﻁﺏ ﺃﺴﻤﻊ ﻴﺎ ﻭﻻ‬
‫ﻤﺎﺸﻔﺘﺵ ﻤﺤﻤﻭﺩ ﺃﻓﻨﺩﻯ ‪.‬‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﻤﺤﻤﻭﺩ ﺒﺘﺎﻉ ﺍﻝﺒﻭﺴﺘﺔ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺃﻴﻭﻩ ﻤﺎ ﺘﻌﺭﻓﺵ ﺭﺍﺡ ﻓﻰ‬
‫ﺃﻨﻬﻰ ﺩﺍﻫﻴﺔ ‪.‬‬
‫ﺩﻤﻴﺎﻥ ‪ :‬ﺭﺍﺡ ﺍﻝﻤﺭﻜﺯ ‪ .‬ﺴﺎﻤﻌﻪ ﺒﻴﻘﻭل‬
‫ﻤﻌﺎﻩ ﺠﻭﺍﺏ ﺭﺍﺡ ﻴﺴﻠﻤﻪ ‪ ,‬ﻤﺴﻭﺠﺭ‬
‫ﻭﻤﺴﺘﻌﺠل ‪ .‬ﻗﺎل ﻴﺎ ﻤﺴﺘﻌﺠل ﻋﻁﻠﻙ‬
‫ﺍﷲ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻁﺏ ﻏﻭﺭ ﺠﺘﻙ ﺍﻝﺒﻼ ‪.‬‬ ‫ﻭﻴﺨﺭﺝ ﺩﻤﻴﺎﻥ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ )‪( 99‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫‪ 439‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻔﻼﺤﻴﻥ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ‬ ‫ﺠﺎﻝﺴﻴﻥ ‪ ,‬ﺜﻡ ﻴﻘﻔﻭﺍ ﻭﻴﺘﺤﺭﻜﻭﺍ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ‬
‫ﺍﻝﺭﻴﺱ ‪ :‬ﻴﺎﻝﻼ ‪ ..‬ﺃﻨﺕ ﻭﻫﻭ‬
‫ﻭﺼﻔﺎﺭﺓ‬ ‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 440‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﻌﺯﻴﺯﺓ‬
‫ﻨﺎﺌﻤﺔ ﻭﺒﺠﻭﺍﺭﻫﺎ ﺃﻡ ﺤﺴﻥ ﻭﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ ﻤﻊ‬ ‫ﺍﻝﻐﻔﻴﺭ ﺘﻘﻑ ﺃﻡ ﺤﺴﻥ ﻭﺘﺨﺭﺝ ﻤﻥ‬
‫ﻓﻼﺤﺔ ‪ :‬ﺭﺒﻨﺎ ﻴﺸﻔﻴﻬﺎ ﻴﺎﺨﺘﻰ ‪.‬‬
‫ﺤﺭﻜﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬ ‫ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل ‪Zoom‬‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﺃﻫﻪ ‪ ..‬ﺭﺒﻨﺎ ﻜﺒﻴﺭ ‪.‬‬
‫) ‪( 45‬‬ ‫‪ in‬ﻝﻌﺯﻴﺯﺓ ﺍﻝﺘﻰ ﺘﻔﺘﺢ ﻋﻴﻨﻴﻬﺎ ﻭﺘﻌﺘﺩل‬
‫ﻭﺘﺠﻠﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 441‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻷﻡ ﺤﺴﻥ ﻤﻥ‬
‫ﻅﻬﺭﻫﺎ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫‪ Angle‬ﻭﻫﻰ ﺘﻐﺴل ﺒﺠﻭﺍﺭ ﺍﻝﺘﺭﻋﺔ ‪,‬‬
‫ﻭﺘﻠﺘﻔﺕ ﻨﺎﺤﻴﺔ ﻋﺯﻴﺯﺓ ‪ ,‬ﺜﻡ ﺘﻘﻑ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﺃﻝﻑ ﺒﺭﻜﺔ ﻴﺎ ﺨﺘﻰ ﺇﻨﻙ‬ ‫‪ 442‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻌﺯﻴﺯﺓ ﺠﺎﻝﺴﺔ‬
‫ﻗﻤﺘﻰ ﺒﺎﻝﺴﻼﻤﺔ ‪ ..‬ﺸﻭﻓﻰ ﻭﺸﻙ ﻤﻨﻭﺭ‬ ‫‪,‬‬ ‫ﺒﺠﻭﺍﺭﻫﺎ‬ ‫ﺘﺩﺨل ﺍﻝﻜﺎﺩﺭ ﺍﻡ ﺤﺴﻥ ﻭﺘﺠﻠﺱ‬
‫ﺇﺯﺍﻯ ‪.‬‬ ‫ﺜﻡ ﺘﻘﻑ ﻭﺘﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻝﺘﺤﻀﺭ ﻜﻭﺏ‬
‫ﻋﺯﻴﺯﺓ ‪ :‬ﻋﺎﻴﺯﺓ ﺃﺸﺭﺏ ‪.‬‬ ‫ﻤﺎﺀ ﻭﺘﻌﻁﻴﻪ ﻝﻌﺯﻴﺯﺓ‬
‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﺁﻴﻪ ﻴﺎ ﺨﺘﻰ !‬ ‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻋﺯﻴﺯﺓ ‪ :‬ﺃﺸﺭﺏ ‪.‬‬

‫ﺃﻡ ﺤﺴﻥ ‪ :‬ﺨﺩﻯ ﻭﺍﷲ ﺒﺭﻜﺔ ﻴﺎ‬
‫ﻋﺯﻴﺯﺓ ‪.‬‬
‫‪ 443‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .Close up‬‬
‫ﻝﻌﺒﺩ ﺍﻝﻤﻁﻠﺏ ﺍﻝﻐﻔﻴﺭ ﻭﻫﻭ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﻴﺒﺘﺴﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 444‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻷﻡ ﺤﺴﻥ‬
‫ﻭﻋﺯﻴﺯﺓ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪High Angle‬‬
‫‪ ,‬ﺘﻨﺎﻡ ﻋﺯﻴﺯﺓ ﻋﻠﻰ ﻅﻬﺭﻫﺎ ﻭﺘﺘﺤﺭﻙ ﺃﻡ ﺤﺴﻥ ‪ :‬ﺒﺎﻝﻬﻨﺎ ﻭﺍﻝﺸﻔﺎ ﻴﺎ ﺤﺒﻴﺒﺘﻰ ‪.‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﺃﺴﺘﺭﻴﺤﻰ ﺒﻘﻰ ‪ .‬ﺘﻌﺎﻝﻰ ﺃﺴﺘﺭﻴﺤﻰ ﻴﺎ‬
‫ﺃﺨﺘﻰ ‪.‬‬ ‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ ﻴﻘﻑ‬
‫‪ Tilt up‬ﻭﻴﺴﻴﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 100‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻤﺎﻡ ﺍﻝﺠﺴﺭ‬
‫‪ 445‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻌﺒﺩ ﺍﻝﻤﻁﻠﺏ ﻴﺴﻴﺭ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ﻴﺎ ﺤﻀﺭﺓ‬
‫ﺍﻝﻨﺎﻅﺭ ‪.‬‬ ‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‪Pan Right‬‬
‫‪ ,‬ﻭﻴﻘﺎﺒل ﺍﻝﻨﺎﻅﺭ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ‪ .‬ﻭﻋﺯﻴﺯﺓ ﺇﺯﻴﻬﺎ‬
‫؟‬ ‫ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪M. S. 2.‬‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ‪ Pan Left‬ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺍﻝﺤﻤﺩ ﷲ ‪ .‬ﺭﺍﺤﺕ ﻋﻨﻬﺎ‬
‫ﺍﻝﺴﺨﻭﻨﻴﺔ ‪.‬‬ ‫ﻝﺘﺘﺎﺒﻊ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ﻭﻫﻭ ﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل‬
‫ﺍﻝﻜﺎﺩﺭ ﻭ ﺘﺘﺜﺒﺕ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻴﻌﻨﻰ ﺭﺒﻨﺎ ﺃﺭﺍﺩ ﺍﻝﺸﻔﺎ ‪.‬‬
‫ﺍﻝﺫﻯ ﻴﻅﻬﺭ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﻭﻴﻅﻬﺭ ﺨﺭﻭﺝ ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺭﺒﻨﺎ ﻜﺭﻴﻡ ﻴﺎ ﺤﻀﺭﺓ‬
‫ﺍﻝﻨﺎﻅﺭ ‪.‬‬ ‫ﺍﻝﻨﺎﻅﺭ ﺨﻠﻔﺔ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺍﻴﻀﺎ ﺜﻡ‬
‫ﺱ ﻗﻭﻝﹶﻬﻡ ﻤﺎ ﻴﺒﻁﻠﻭﺵ‬ ‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺒ ‪‬‬ ‫ﻴﻠﺘﻔﺕ ﻤﺴﻴﺢ ﺍﻓﻨﺩﻯ ﻓﻰ ﺍﻝﻌﻤﻕ ﻭﻴﺸﺎﻭﺭ‬
‫ﺍﻝﻜﻴﻨﻪ ‪.‬‬ ‫ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻋﺒﺩ ﺍﻝﻤﻁﻠﺏ ‪ :‬ﺤﺎﻀﺭ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺨﺩ ﻴﺎ ﻭﺍﺩ ﻴﺎ ﻤﺤﺭﻭﺱ‬
‫ﺘﻌﺎﻝﻰ ‪.‬‬

‫‪ 446‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺒﻭﺴﻁﺠﻰ ﻭﻫﻭ‬

‫ﻤﺴﻴﺢ ‪ :‬ﺘﻌﺎل ﻴﺎ ﻭﻻ ‪ ..‬ﺘﻌﺎل ‪.‬‬ ‫ﻭﺍﻗﻑ ﻤﻊ ﺭﺠل ﻴﻌﻁﻴﻪ ﺨﻁﺎﺏ ‪ .‬ﺜﻡ ﻴﺴﻴﺭ‬
‫ﻤﺤﻤﻭﺩ ‪ :‬ﺃﻴﻭﺓ ﻴﺎ ﻤﻌﻠﻡ ﻤﺴﻴﺢ ‪.‬‬ ‫ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻓﻴﻥ ﺍﻝﺠﻭﺍﺏ ﺍﻝﻠﻰ ﺇﺩﻴﺘﻬﻭﻝﻙ ؟‬ ‫‪ , Left‬ﻭﻴﻘﻑ ﻤﻊ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ ﻭﻴﺘﺤﺭﻜﺎ‬
‫ﻤﺤﻤﻭﺩ ‪ :‬ﺒﻌﺘﹶﻪ ‪.‬‬
‫ﻼ ﻝﻼﻤﺎﻡ ﻭﻴﺼﺒﺢ ﺍﻝﻤﺸﻬﺩ ﻝﻘﻁﺔ‬ ‫ﻗﻠﻴ ﹰ‬
‫ﻤﺴﻴﺢ ‪ :‬ﺒﻌﺘﹶﻪ ؟‬
‫ﻤﺤﻤﻭﺩ ‪ :‬ﺁﻩ ‪.‬‬ ‫ﻡﺘﻭﺴﻁﺔ ﻻﺜﻨﻴﻥ ‪Medium Shot) 2.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﺒﻌﺘﹶﻪ ﺇﺯﺍﻯ ! ﺍﷲ ﻴﺨﺭﺏ‬ ‫)‪M.2‬‬
‫ﺒﻴﺘﻙ ‪.‬‬
‫ﻤﺤﻤﻭﺩ ‪ :‬ﺃﻨﺕ ﻤﺵ ﻗﻠﺕ ﺇﺒﻌﺘﻪ ﻤﺴﻭﺠﺭ‬
‫ﻭﻤﺴﺘﻌﺠل ﻜﻤﺎﻥ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻴﻌﻨﻰ ﻓﺎﻝﺢ ﻗﻭﻯ ﻭﺒﺘﺴﻤﻊ‬
‫ﺍﻝﻜﻼﻡ ﻋﻠﻰ ﻁﻭل ‪.‬‬
‫ﻤﺤﻤﻭﺩ ‪ :‬ﻴﻌﻨﻰ ‪ ...‬ﻤﺎ ﻜﻨﺘﺵ ﻋﺎﻴﺯﻨﻰ‬
‫ﺃﺒﻌﺘﻪ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻷ ‪.‬‬
‫ﻤﺤﻤﻭﺩ ‪ :‬ﻫﻪ ‪ ..‬ﻁﺏ ﺨﺩ ﺃﻫﻭﻩ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻭﺇﺯﺍﻯ ﻴﺎ ﻭﻝﻪ ﻤﺎ ﺒﻌﺘﻭﺵ !‬

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‫ﻤﺤﻤﻭﺩ ‪ :‬ﺇﻫﻬﻴﻪ ‪ ..‬ﻫﻭ ﺁﻨﻰ ﻴﻌﻨﻰ ﻤﺎ‬

‫ﻜﻨﺘﺵ ﻋﺎﺭﻑ ﺍﻝﻠﻰ ﻓﻴﻪ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 101‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺨﻴﺎﻡ ﺍﻝﺘﺭﺤﻴﻠﺔ‬
‫ﺩﺨﻭل ﺒﻁﻰ‪ ‬ﻹﻴﻘﺎﻉ ﻁﺒﻭل‬ ‫‪447‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .Close up‬‬
‫ﻝﻌﺯﻴﺯﺓ ﻨﺎﺌﻤﺔ ﻭﺘﺤﺭﻙ ﺭﺃﺴﻬﺎ ﻭﻴﺩﻴﻬﺎ‬
‫) ‪( 46‬‬ ‫ﺤﺭﻜﺎﺕ ﻋﺼﺒﻴﺔ ﻋﻠﻰ ﺠﺴﺩﻫﺎ ﻓﻰ ﻤﻭﺍﺠﻬﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻁﻊ ‪Cut‬‬

‫‪448‬‬

‫ﻋﺯﻴﺯﺓ ‪ :‬ﺍﺸﺭﺏ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﻌﺯﻴﺯﺓ‬

‫ﻭﺒﺠﻭﺍﺭﻫﺎ ﺃﻡ ﺤﺴﻥ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ .‬ﺃﻡ ﺤﺴﻥ ‪ :‬ﻴﺎ ﻋﻠﻰ ‪ .‬ﺨﺩ ﺇﻤﻼ ﺩﻯ ﻤﻥ‬
‫ﺍﻝﺯﻝﻌﺔ ﺒﺴﺭﻋﺔ ‪.‬‬ ‫ﻭﻴﺩﺨل ﻋﻠﻰ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ‪.‬‬
‫ﻋﺯﻴﺯﺓ ‪ ) :‬ﺘﺼﺭﺥ (‬ ‫ﻭﺘﺸﺩ ﻋﺯﻴﺯﺓ ﺸﻌﺭﻫﺎ ﻭﺘﺤﺎﻭل ﺍﻡ ﺤﺴﻥ‬
‫ﺍﺤﺘﻀﺎﻨﻬﺎ ﻓﺘﺩﻓﻌﻬﺎ ﻋﺯﻴﺯﺓ ﺒﻌﻨﻑ ﺘﺨﺭﺝ ﺃﻡ‬
‫ﺤﺴﻥ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ‪.‬ﻭﺘﺠﺫﺏ ﻋﺯﻴﺯﺓ‬
‫ﺍﻝﺨﻴﻤﺔ ﻝﺘﻘﻊ ﻋﻠﻰ ﺭﺃﺴﻬﺎ ﻭ ﺜﻡ ﺘﻘﻑ‬
‫ﻋﺯﻴﺯﺓ ﻭﺘﺠﺭﻯ ﻓﻰ ﺍﺘﺠﺎﻩ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﺼﺒﺢ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﻭﻀﻊ ﺯﺍﻭﻴﺔ‬
‫ﻤﻨﺨﻔﻀﺔ ‪. Low Angle‬ﻭﻋﺯﻴﺯﺓ ﻓﻰ‬
‫ﺤﺞـﻡ ﻝﻘﻁـﺓ ﻜﺒﻴﺭﺓ ‪ . L .S‬ﻭﺘﺩﺨل ﺃﻡ‬
‫ﺤﺴﻥ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻭﻫﻰ ﺘﺠﺭﻯ‬
‫ﺨﻠﻔﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪449‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪. M .L. S‬‬
‫ﻝﻌﺯﻴﺯﺓ ﺘﺠﺭﻯ ﻭﺴﻁ ﺍﻝﻨﺨﻴل ﻭﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺘﺘﺎﺒﻌﻬﺎ ‪ Tracking‬ﺴﺭﻴﻊ ﻝﻠﻴﺴﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪450‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻋﺯﻴﺯﺓ‬
‫ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺤﻤﻭﻝﺔ ﻋﻠﻰ ﺍﻝﻴﺩ ‪Hand‬‬
‫‪ Camera‬ﻭﻴﻅﻬﺭ ﻓﻼﺡ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻓﺎﺘﺤﹰﺎ‬
‫ﺯﺭﺍﻋﻴﻪ ‪ ,‬ﻭﺘﻌﺒﺭﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﻴﻥ ﺍﻝﻨﺨﻴل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪451‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻷﺭﺽ ﺯﺭﺍﻋﻴﺔ ﺜﻡ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ Tilt up‬ﻭﺘﺩﺨل ﺴﺎﻗﻰ‬
‫ﻋﺯﻴﺯﺓ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻫﻰ ﺘﺠﺭﻯ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪Tracking‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪452‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﺸﺠﺭﺓ ‪ .L .S‬ﻭﻋﺯﻴﺯﺓ‬
‫ﺘﻅﻬﺭ ﻓﻰ ﻤﻨﺘﺼﻑ ﺍﻝﻜﺎﺩﺭ ﻭﻫﻰ ﺘﺠﺭﻯ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬
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‫ﺒﺎﺘﺠﺎﻩ ﺍﻝﺸﺠﺭﺓ ﻭﺘﻜﻭﻥ ﺨﻠﻔﻴﺔ ‪Full rear‬‬

‫ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺠﻪ ﻨﺎﺤﻴﺔ ﺍﻝﺸﺠﺭﺓ ﻓﻰ ﻋﻤﻕ‬
‫ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪453‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻠﺸﺠﺭﺓ ﻓﻰ ﻤﻘﺩﻤﺔ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻋﺯﻴﺯﺓ ﺘﻅﻬﺭ ﻤﻥ ﺨﻠﻑ ﺍﻝﺸﺠﺭﺓ‬
‫ﻭﻫﻰ ﺘﺠﺭﻯ ﺒﺎﺘﺠﺎﻩ ﺍﻝﺸﺠﺭﺓ ﻭﻴﻅﻬﺭ ﻓﻰ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻓﻼﺤﻴﻥ ﻴﺠﺭﻭﻥ ﺒﺎﺘﺠﺎﻫﻬﺎ‬
‫ﻭﺘﺩﻭﺭ ﺤﻭﻝﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪454‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻌﺯﻴﺯﺓ ﺘﺩﺨل ﻤﻥ‬
‫ﺍﻝﻴﺴﺎﺭ ﻭﺘﺤﻀﻥ ﺠﺯﻉ ﺍﻝﺸﺠﺭﺓ ﻭﺘﻠﻑ ﺤﻭل‬
‫ﻨﻔﺴﻬﺎ ﻭﺘﻨﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪455‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﺒﺎﻨﻭﺭﺍﻤﻴﺔ ﻤﻥ ﻭﺠﻬﺔ‬
‫ﻨﻅﺭ ﻋﺯﻴﺯﺓ ‪ .‬ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺩﻭﺭ ﺤﻭل ﻤﺤﻭﺭﻫﺎ‬
‫ﻓﻰ ﺯﺍﻭﻴﺔ ‪ 360‬ﺩﺭﺠﺔ ‪ .‬ﻭﻴﻅﻬﺭ ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻭﻫﻡ ﻴﺘﺤﺭﻜﻭﻥ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﻅﻬﺭ ﺃﻡ‬
‫ﺤﺴﻥ ﻤﻊ ﺍﻝﻔﻼﺤﻴﻥ ﺜﻡ ﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻵﺴﻔل ﻋﻠﻰ ﻜﻭﻤﺔ ﺍﻝﻘﺵ ‪.‬ﻗﻁﻊ ‪Cut‬‬

‫‪456‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻌﺯﻴﺯﺓ ﺘﺴﻘﻁ ﻤﻥ‬
‫ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﺒﺠﻭﺍﺭ ﻜﻭﻤﺔ ﺍﻝﻘﺵ ﻭﺘﺒﺤﺙ‬
‫ﺩﺍﺨل ﺍﻝﻜﻭﻤﺔ ﻭﻫﻰ ﺘﺒﺘﺴﻡ ﻭﺘﺭﻓﻊ ﻴﺩﻴﻬﺎ ﺜﻡ‬
‫ﺘﺨﻔﻀﻬﻤﺎ ﻭﺘﺨﻔﺽ ﺭﺃﺴﻬﺎ ﻋﻠﻰ ﻜﻭﻤﺔ‬
‫ﺍﻝﻘﺵ ﻭﺘﻤﻭﺕ ‪.‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫) ‪( 46‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ ﻨﺎﻯ‬ ‫‪ 457‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻝﻠﺸﺠﺭﺓ ﺘﻤﻼﺀ ﺨﻠﻔﻴﺔ‬
‫) ‪( 47‬‬ ‫ﺍﻝﻜﺎﺩﺭ ﻭﺡﻭل ﺍﻝﺸﺠﺭﺓ ﻴﻘﻑ ﺍﻝﻔﻼﺤﻴﻥ‬
‫ﻭﻴﺠﺭﻯ ﻁﻔل ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 458‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻌﺯﻴﺯﺓ ﺭﺍﻗﺩﺓ‬
‫ﺒﺠﻭﺍﺭ ﺍﻝﺸﺠﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 459‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﻁﻔل ﻴﺠﺭﻯ ﻨﺎﺤﻴﺔ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Right‬‬
‫ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﻋﻤﺎل ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻴﺩﺨل‬
‫ﺍﻝﻁﻔل ‪ :‬ﻋﺯﻴﺯﺓ ﻤﺎﺘﺕ ﻴﺎﺒﻪ ‪ .‬ﻋﺯﻴﺯﺓ‬ ‫ﺍﻝﻜﺎﺩﺭ ﻓﻼﺡ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻥ‬
‫ﻤﺎﺘﺕ ﻴﺎ ﺒﻪ‬ ‫ﻭﺍﻝﻁﻔل ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﻭﻗﻑ‬
‫ﺍﻝﻔﻼﺤﻴﻥ ﻋﻥ ﺍﻝﻌﻤل ﻭﻴﻨﻅﺭﻭﺍ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 460‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﻌﺭﻓﺔ‬

‫ﻴﻘﻑ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺩﺨل ﺍﻝﻁﻔل ﻤﻥ ﺍﻝﻴﺴﺎﺭ‬
‫ﺍﻝﻁﻔل ‪ :‬ﻋﺯﻴﺯﺓ ﻤﺎﺘﺕ ﻴﺎ ﺒﻪ ‪.‬‬ ‫ﻭﻴﻘﻑ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺃﺒﻴﻪ ﺜﻡ ﻴﺤﻀﻨﻪ‬
‫ﻭﻴﺒﻜﻰ ‪ .‬ﻴﻨﻅﺭ ﻋﺭﻓﺔ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻭﻴﺩﺨل ﺭﺌﻴﺱ ﺍﻝﻌﻤﺎل ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﺭﺌﻴﺱ ﺍﻝﻌﻤﺎل ‪ :‬ﺍﺘﻌﺩﻝﻰ ﻴﺎ ﺒﺕ ‪.‬‬ ‫ﻭﻫﻭ ﻤﻤﺴﻜﹰﺎ ﺒﺎﻝﻌﺼﺎ ﻭﻴﺤﺎﻭل ﺍﺭﺠﺎﻉ‬
‫ﺍﻝﻔﻼﺤﺎﺕ ﻝﻠﻌﻤل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 461‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺜﻼﺙ ﻓﻼﺤﺎﺕ‪M .S‬‬
‫ﻭﺍﻗﻔﺎﺕ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫‪ Pan Right‬ﻭﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﺭﺌﻴﺱ‬
‫ﺍﻝﺭﻴﺱ ‪ :‬ﻴﺎﻝﻼ ﻴﺎ ﺒﺕ ‪ .‬ﻴﺎﻝﻼ ﻴﺎ ﺒﺕ ‪.‬‬
‫ﺍﻝﻌﻤﺎل ﻭﻴﻀﻊ ﻴﺩﻩ ﻋﻠﻰ ﻜﺘﻑ ﺇﺤﺩﺍﻫﻥ ﺤﺘﻰ‬
‫ﺘﻨﺤﻨﻰ ﻋﻠﻰ ﺍﻷﺭﺽ ﻝﺘﻌﻤل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 462‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L .S‬ﻝﺭﺌﻴﺱ ﺍﻝﻌﻤﺎل ﻴﺘﺤﺭﻙ‬
‫ﺠﺭﻴﹰﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﻭﻀﻊ‬
‫ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‪ Low Angle‬ﻭﻴﻘﻑ‬
‫ﺍﻝﺭﻴﺱ ‪ :‬ﺒﻁﻠﺘﻭﺍ ﻝﻴﻪ ؟ ﻜل ﻭﺍﺤﺩ‬
‫ﻼ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫ﻴﺸﺘﻐل ‪.‬‬
‫ﻝﻠﻴﺴﺎﺭ ﻝﻴﻅﻬﺭ ﺼﻑ ﺍﻝﻔﻼﺤﻴﻥ ﻤﺘﻭﻗﻔﻴﻥ‬
‫ﻋﻥ ﺍﻝﻌﻤل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 463‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close up‬‬
‫ﺼﻭﺕ ﺍﻝﺭﻴﺱ ‪ :‬ﺇﻨﺘﻭﺍ ﻤﺵ‬
‫ﻝﻘﻼﺡ ﻋﺠﻭﺯ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﺴﺎﻤﻌﻴﻥ ‪....‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺍﻝﺭﻴﺱ ‪ :‬ﻜل ﻭﺍﺤﺩ ﻴﺸﻭﻑ‬ ‫‪ 464‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M Close up‬‬
‫ﺸﻐﻠﻪ ‪.‬‬ ‫ﻝﻔﻼﺡ ﺸﺎﺏ ﻴﻨﻅﺭ ﺃﻋﻠﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 465‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫) ‪( 47‬‬ ‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﻔﻼﺡ ﺸﺎﺏ‬
‫ﻴﻨﻅﺭ ﺃﻋﻠﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 466‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﻠﺭﻴﺱ‬
‫ﻴﻨﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ .‬ﺜﻡ ﻴﻠﺘﻔﺕ ﻋﻜﺱ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﺭﻴﺱ ‪ :‬ﻴﺎ ﺭﻴﺱ ﻋﺭﻓﺔ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺠﺭﻯ ﻨﺎﺤﻴﺔ ﺼﻑ ﺍﻝﻨﺴﺎﺀ‬
‫ﺍﻝﻼﺘﻰ ﻴﻘﻔﻥ ﺼﻔﹰﺎ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 467‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﺭﺌﻴﺱ ﺍﻝﻌﻤﺎل‬
‫ﻴﺩﺨل ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺼل ﺃﻤﺎﻡ ﻋﺭﻓﺔ‬
‫ﺍﻝﺭﻴﺱ ‪ :‬ﻴﺎ ﺭﻴﺱ ﻋﺭﻓﺔ ﺍﻷﻨﻔﺎﺭ ﻤﺵ‬
‫ﻭﺨﻠﻔﻪ ﺍﻝﻨﺴﺎﺀ ‪ .‬ﺜﻡ ﻴﺄﺨﺫ ﻋﺭﻓﺔ ﺍﻝﻌﺼﺎ ﻤﻨﻪ‬
‫ﻋﺎﻴﺯﻩ ﺘﺸﺘﻐل ‪ .‬ﻤﺎ ﺘﻴﺠﻰ ﺘﺸﻭﻑ ﻝﻙ‬
‫ﻭﻴﻜﺴﺭﻫﺎ ﻭﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺒﻌﻪ‬
‫ﺼﺭﻓﺔ ﻤﻌﺎﻫﻡ ‪.‬‬
‫ﺍﻝﻔﻼﺤﺎﺕ ﻭﺍﻝﻔﻼﺤﻴﻥ ﻭﻴﺠﺭﻯ ﺭﺌﻴﺱ‬
‫ﺍﻝﻌﻤﺎل ﻨﺤﻭ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 102‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻨﺯل ﺍﻝﻨﺎﻅﺭ‬
‫‪ 468‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻨﺎﻅﺭ ﻭﻫﻭ‬
‫ﻴﺘﺤﺭﻙ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺒﺎﺘﺠﺎﺓ ﺍﻝﻴﻤﻴﻥ ﻭ‬
‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺁﻴﻪ ﺭﺃﻴﻙ ﻴﺎ ﻋﺭﻓﺔ ﺩﻝﻭﻗﺘﻰ ‪.‬‬ ‫ﻤﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﻓﻴﻅﻬﺭ‬
‫ﻋﺭﻓﺔ ‪ :‬ﺘﺭﻭﺡ ﺒﻠﺩﻫﺎ ﺘﺘﺩﻓﻥ ﻫﻨﺎﻙ‬

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‫ﺱ ﻫﺎ ﺘﺭﻭﺡ ﺇﺯﺍﻯ ؟‬ ‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺒ ‪‬‬ ‫ﺍﻻﺴﻁﻰ ﻤﺤﻤﺩ ﻭﻋﺭﻓﺔ ﻜل ﻤﻥ ﻋﺭﻓﺔ‬

‫ﻭﺍﻝﻨﺎﻅﺭﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅل ﻤﺤﻤﺩ ﻓﻰ ﻋﺭﻓﺔ ‪ :‬ﺒﺎﻝﻠﻭﺭﻯ ﺒﺘﺎﻉ ﺍﻝﺘﻔﺘﻴﺵ ﺍﻝﻠﻰ‬
‫ﺒﻴﺠﻴﺏ ﺍﻝﺯﻭﺍﺩﺓ ﻤﻥ ﺒﻠﺩﻨﺎ‬ ‫ﺍﻝﺨﻠﻔﻴﺔ‬
‫‪ .‬ﺜﻡ ﻴﺘﺤﺭﻙ ﺍﻝﻨﺎﻅﺭ ﻭﻴﺘﺠﺔ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﻤﺤﻤﺩ ‪ :‬ﻓﻜﺭﺓ ﻭﺃﻨﺎ ﺃﺴﻭﻕ ﺍﻝﻠﻭﺭﻯ‬
‫ﻭﺃﺭﻭﺡ ﺃﻭﺩﻴﻬﺎ ‪.‬‬ ‫ﺍﻝﻜﺎﺩﺭ ﺒﺠﺎﻨﺏ ﺍﻻﺴﻁﻰ ﻤﺤﻤﺩ‬
‫ﺱ ﻝﻭ ﺇﺘﻘﻔﺸﺕ ﻓﻰ ﺍﻝﺴﻜﺔ‬ ‫‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺒ ‪‬‬
‫ﻫﺎ ﻴﺒﻘﻰ ﻓﻴﻬﺎ ﺴﻴﻥ ﻭﺠﻴﻡ ﻭﻜﺸﻑ ﻁﺒﻰ‬
‫‪ Pan Left‬ﻭﻴﺨﺭﺝ ﻤﺤﻤﺩ ﻭﻋﺭﻓﺔ ﻤﻥ‬
‫ﻭﻨﻴﺎﺒﺔ ﻭﺍﻝﺒﻼﻭﻯ ﺩﻯ ﻜﻠﻬﺎ ﻫﺎ ﺘﻁﺭﺒﻕ‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﺘﻭﻗﻑ ﺒﺠﻭﺍﺭ ﻤﺴﻴﺢ ﺃﻓﻨﺩﻯ‬
‫ﻓﻭﻕ ﺩﻤﻐﺎﺘﻨﺎ ‪.‬‬
‫ﻤﺴﻴﺢ ‪ :‬ﻁﺏ ﻤﺎ ﻴﺴﻔﺭﻫﺎ ﺍﻷﺴﻁﻰ‬
‫ﻤﺤﻤﺩ ﺒﺎﻝﻠﻴل ‪.‬‬
‫ﺜﻡ ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﻨﺎﻅﺭ ‪ :‬ﻤﺎﻓﻴﺵ ﺘﺼﺭﻴﻑ ﻏﻴﺭ ﻜﺩﻩ ‪.‬‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ‪ Pan Right‬ﻓﻴﺼل ﻋﻨﺩ ﺠﻬﺯ ﺍﻝﻠﻭﺭﻯ ﻭﺇﺴﺘﻌﺩ ﻝﻠﺴﻔﺭ ﺍﻝﻤﻐﺭﺏ ‪.‬‬
‫ﻤﺤﻤﺩ ‪ :‬ﺤﺎﻀﺭ‬ ‫ﻋﺭﻓﺔ ﻭﻤﺤﻤﺩ ﻭﻴﻜﻭﻥ ﻫﻭ ﻓﻰ ﻤﻘﺩﻤﺔ‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﻠﺘﻔﺕ ﻝﻤﺤﻤﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 103‬‬
‫ﻏﺭﻭﺏ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﺴﻜﺔ ﺍﻝﺯﺭﺍﻋﻴﺔ‬
‫‪ 469‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻭﺭﻯ ﻭﺤﻭﻝﻪ ﺍﻝﻨﺎﻅﺭ‬
‫ﻭﻤﺤﻤﺩ ﻭﻋﺭﻓﺔ ‪ .‬ﻴﻐﻠﻘﻭﺍ ﺒﺎﺏ ﺍﻝﻠﻭﺭﻯ‬
‫ﻭﺍﻝﺠﻤﻴﻊ ﻴﻅﻬﺭﻭﻥ ﺴﻠﻭﻴﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 470‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻠﻨﺎﻅﺭ ﺒﺭﻭﻓﻴل‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺒﺠﻭﺍﺭﻩ ﻋﺭﻓﺔ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﺼﻭﺕ ﻤﺤﺭﻙ‬ ‫ﺍﻝﻨﺎﻅﺭ ‪ :‬ﺍﺘﻭ‪‬ﻜل ﻋﻠﻰ ﺍﷲ ‪ .‬ﻭﺨﻠﻠﻰ‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﺜﻡ ﻴﺨﺭﺝ‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬ ‫ﺒﺎﻝﻙ ‪.‬‬
‫ﻋﺭﻓﺔ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 471‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻷﻫل ﺍﻝﻘﺭﻴﺔ ﻭﻋﻤﺎل‬
‫ﺼﻭﺕ ﺍﻝﺭﺍﻭﻯ ‪ ":‬ﻭﻋﺎﺩﺕ ﻋﺯﻴﺯﺓ‬ ‫ﺍﻝﺘﺭﺤﻴﻠﺔ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫ﻝﻘﺭﻴﺘﻬﺎ ‪..‬‬ ‫‪Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 472‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻔﻼﺤﻴﻥ ﺍﻝﻘﺭﻴﺔ ﻤﻥ‬
‫ﺍﻝﺭﺍﻭﻯ ‪ .. " :‬ﺠﺜﺔ ﻫﺎﻤﺩﺓ ‪ ,‬ﻭﻝﻜﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‪ Low Angle‬ﻭﻫﻡ‬
‫ﺍﻝﻨﺎﺱ ﻅﻠﻭﺍ ﻴﺘﺴﺄﻝﻭﻥ ‪..‬‬
‫ﻴﻨﻅﺭﻭﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 473‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‬
‫ﺍﻝﺭﺍﻭﻯ ‪ .. " :‬ﺃﻫﻰ ﺨﺎﻁﺌﺔ ﻏﺴﻠﺕ‬ ‫‪ Low Angle‬ﻝﻠﻔﻼﺤﻴﻥ ﻭﺍﻗﻔﻴﻥ ﻓﻭﻕ‬
‫ﺒﺎﻝﻤﻭﺕ ﺨﻁﻴﺌﺘﻬﺎ ﺃﻡ ﺸﻬﻴﺩﺓ ‪ ,‬ﺩﻓﻌﺘﻬﺎ‬ ‫ﺘﺒﺔ ﻴﻨﻅﺭﻭﻥ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻋﻠﻰ ﺸﻜل ﻨﺼﻑ‬
‫ﻝﻠﺨﻁﻴﺌﺔ ﺨﻁﻴﺌﺔ ﺃﻜﺒﺭ ﻤﻨﻬﺎ ‪..‬‬ ‫ﺩﺍﺌﺭﺓ ﻭﺍﻝﺠﻤﻴﻊ ﺴﻠﻭﻴﺕ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 104‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻷﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ‬
‫ﺇﻴﻘﺎﻉ ﻁﺒﻭل ﻤﻊ‬ ‫‪ 474‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻸﺭﺽ ﺍﻝﺯﺭﺍﻋﻴﺔ ﻤﻥ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻭﺼﻔﻭﻑ‬
‫) ‪( 47‬‬ ‫ﻋﻤﺎل ﻭﻋﺎﻤﻼﺕ ﺍﻝﺘﺭﺤﻴﻠﺔ ﻭﻫﻡ ﻴﻌﻤﻠﻭﻥ‬
‫ﻰ ﻴﺎ‬
‫ﻰ ﻴﺎ ﻭﻻ ‪ .‬ﻭﻁ ‪‬‬
‫ﺍﻝﺭﺍﻭﻯ ‪ " :‬ﻭﻁ ‪‬‬ ‫ﻓﻰ ﺍﻷﺭﺽ ﻤﻨﺤﻨﻴﻥ ﻭﻋﺭﻓﺔ ﻭﺭﺍﺀﻫﻡ‬
‫ﺒﺕ ‪.‬‬ ‫ﺒﺎﻝﻌﺼﺎ‬

‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 475‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻔﻼﺤﺎﺕ ﻭﻫﻥ ﻴﺴﺭﻥ‬

‫ﺍﻝﺭﺍﻭﻯ ‪ " :‬ﻭﻋﺎﺩ ﻜل ﺸﻰ‪ ‬ﺴﻴﺭﺘﻪ‬
‫ﻭﻴﻌﺒﺭﻥ ﺍﻝﺠﺴﺭ ﻋﻠﻰ ﺍﻝﺘﺭﻋﺔ ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻷﻭﻝﻰ ‪ ,‬ﻭﻋﺎﺩ ﺍﻝﺘﺭﺤﻴﻠﺔ ﻴﻜﺩﺤﻭﻥ ﺘﺤﺕ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ﻝﺘﺴﺘﻌﺭﻀﻬﻥ‬
‫ﻭﻗﻊ ﺍﻝﺴﻴﺎﻁ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 476‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻠﻔﻼﺤﻴﻥ ﻭﻫﻡ‬
‫ﻴﺴﻴﺭﻭﻥ ﻋﻠﻰ ﻫﻴﺌﺔ ﺼﻑ ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﺭﺍﻭﻯ ‪ " :‬ﻭﻋﻨﺩﻤﺎ ﺘﺤﺭﺭ ﺍﻝﺘﺭﺤﻴﻠﺔ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﺎ ‪ Pan Right‬ﻋﻠﻰ‬
‫ﻤﺤﻭﺭﻫﺎ ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ ً Tilt up‬ﻤﻥ ﺭﻕ ﺍﻝﺴﻴﺎﻁ ‪ ,‬ﻜﺎﻨﺕ ﺍﻝﺸﺠﺭﺓ ﺍﻝﺘﻰ‬
‫ﺸﻬﺩﺕ ﻤﺄﺴﺎﺓ ﻋﺯﻴﺯﺓ ‪ ,‬ﻗﺩ ﺃﺼﺒﺤﺕ‬
‫ﺤﺘﻰ ﺘﻅﻬﺭ ﺍﻝﺸﺠﺭﺓ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﺯﺍﺭﹰﺍ ﻴﺯﻭﺭﻩ ﺍﻝﻨﺴﺎﺀ ﺍﻝﺒﺎﺤﺜﺎﺕ ﻋﻥ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬ ‫ﻭﻴﺩﻭﺭ ﺤﻭﻝﻬﺎ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻨﺴﺎﺀ‬
‫ﺍﻝﻭﻝﺩ ﻓﻰ ﺍﻝﺤﻼل ﻻ ﻓﻰ ﺍﻝﺤﺭﺍﻡ ‪" .‬‬
‫ﻝﻠﻤﻭﺴﻴﻘﻰ‬ ‫ﻭﻴﺠﻠﺴﻥ ﻋﻠﻰ ﺠﺯﻉ ﺍﻝﺸﺠﺭﺓ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade - out‬‬
‫ﻜﻠﻤﺔ ﺍﻝﻨـﻬﺎﻴﺔ‬ ‫‪477‬‬
‫ﻋﻠﻰ ﺨﻠﻔﻴﺔ ﺴﻭﺩﺍﺀ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/75.htm‬‬ ‫‪9/22/2011‬‬