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‫ﺍﻝﻤﺨﺭﺝ ﺩﺍﻭﺩ ﻋﺒﺩ ﺍﻝﺴﻴﺩ‬ ‫ﻓﻴﻠﻡ ﺃﺭﺽ ﺍﻝﺨﻭﻑ‬

‫ﻭﺼﻑ ﺍﻝﺼﻭﺕ‬ ‫ﻭﺼﻑ ﺍﻝﺼﻭﺭﺓ‬ ‫ﻡ‬

‫ﺍﻝﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﻤﺅﺜﺭﺍﺕ‬ ‫ﺍﻝﺤﻭﺍﺭ‬
‫‪-1‬‬

‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫)‪(1‬‬ ‫ﺍﻝﻌﻨﺎﻭﻴﻥ ﻋﻠﻰ ﺨﻠﻔﻴﺔ ﺴﻭﺩﺍﺀ‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺇﻫﺩﺍﺀ ﺍﻝﻰ ﺭﺍﺠﺢ ﺩﺍﻭﺩ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪-2‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺍﻝﺸﺭﻜﺔ ﺍﻝﻌﺭﺒﻴﺔ ﻝﻺﻨﺘﺎﺝ‬
‫ﺍﻝﺴﻴﻨﻤﺎﺌﻰ‬
‫ﺘـــﻘﺩﻡ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪-3‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺃﺤــﻤﺩ ﺯﻜـــﻰ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

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‫‪-4‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻓﻰ‬
‫ﺃﺭﺽ ﺍﻝﺨﻭﻑ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪-5‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻓﻴﻠﻡ ل ﺩﺍﻭﺩ ﻋﺒﺩ ﺍﻝﺴﻴﺩ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪-6‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻷﻭل ﻤﺭﺓ‬
‫ﻓـــــﺭﺡ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪-7‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺴﺎﻤﻰ ﺍﻝﻌﺩل‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪-8‬‬

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‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻋــﺯﺕ ﺃﺒــﻭ ﻋــﻭﻑ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪-9‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺍﻝﻔﻨﺎﻥ ﺍﻝﻘﺩﻴﺭ‬
‫ﺤﻤﺩﻯ ﻏﻴﺙ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪10‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺍﻝﻔﻨﺎﻥ ﺍﻝﻘﺩﻴﺭ‬
‫ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺃﺒﻭ ﺯﻫﺭﺓ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪11‬‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪-‬‬
‫)‪(1‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺒﻁﻭﻝﺔ‬
‫ﺼـــﻔﻭﺓ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪12‬‬
‫‪-‬‬

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‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻤﺨﻠﺹ ﺍﻝﺒﺤﻴﺭﻯ‬
‫ﻴﺴﺭﻯ ﺍﻝﻌﺸﻤﺎﻭﻯ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪13‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل‬
‫ﻭﺴﺎﻡ ﺭﻀﺎ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪14‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻤﺤﻤﺩ ﺠﺒﺭﻴل‬
‫ﺃﻤﻴﻥ ﺸﻠﺒﻰ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪15‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻓﺘﺤﻰ ﻋﺒﺩ ﺍﻝﻭﻫﺎﺏ‬
‫ﺃﺤﻤﺩ ﻋﺒﺩ ﺍﻝﺤﻰ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

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‫‪16‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻤﻨﻰ ﺤﺴﻴﻥ‬
‫ﻤﺤﻤﻭﺩ ﺍﻝﻌﺭﺍﻗﻰ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪17‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺍﻝﻤﺨﺭﺝ ﺍﻝﻤﻨﻔﺫ‬
‫ﻤﺤﻤﺩ ﻤﺼﻁﻔﻰ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪18‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻤﻬﻨﺩﺱ ﺍﻝﺼﻭﺕ‬
‫)‪(1‬‬ ‫ﺃﺤﻤﺩ ﺠﺎﺒﺭ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪19‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺍﻝﻤﻨﺘﺞ ﺍﻝﻔﻨﻰ‬

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‫ﺃﻴﻤﻥ ﺍﻝﻌﺭﺏ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪20‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺍﻝﻤﺸﺭﻑ ﺍﻝﻔﻨﻰ‬
‫ﺃﻨﺴﻰ ﺃﺒﻭ ﺴﻴﻑ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪21‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻤﻭﺴﻴﻘﻰ‬
‫ﺭﺍﺠﺢ ﺩﺍﻭﺩ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪22‬‬
‫‪-‬‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻤﻭﻨﺘﺎﺝ‬
‫ﻋﺎﺩل ﻤﻨﻴﺭ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫‪23‬‬
‫‪-‬‬

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‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﻤﺩﻴﺭ ﺍﻝﺘﺼﻭﻴﺭ‬
‫ﺴﻤﻴﺭ ﺒﻬﺯﺍﻥ‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬

‫ﻤﺸﻬﺩ )‪( 1‬‬

‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺎﻝﺔ ﺒﻠﻴﺎﺭﺩﻭ‬

‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺘﺤﺭﻙ ﺒﺎﻥ ﺸﻤﺎل ﻋﻠﻰ‬
‫‪ 24‬ﻋﺼﻴﺎﻥ ﺍﻝﺒﻠﻴﺎﺭﺩﻭ ‪ .‬ﻭﺼﻭﺭﺓ‬
‫ﺭﺠل ﻴﻠﻌﺏ ﺒﻠﻴﺎﺭﺩﻭﺜﻡ ﺘﺘﺤﺭﻙ‬ ‫‪-‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺤﺭﻜﺔ ﺭﺃﺴﻴﺔ ﻋﻠﻰ‬
‫ﻤﺤﻭﺭﻫﺎ ﻷﺴﻔل ‪Tilt down‬‬
‫ﻋﻠﻰ ﻜﺭﺍﺕ ﺍﻝﺒﻠﻴﺎﺭﺩﻭ‪ .‬ﻭﺘﻅﻬﺭ‬
‫ﻝﻭﺤﺔ ﻋﻠﻰ ﺨﻠﻔﻴﺔ ﺍﻝﺼﻭﺭﺓ ‪.‬‬

‫ﺃﺸﺭﻑ ﻋﻠﻰ ﺍﻹﻨﺘﺎﺝ‬

‫ﺤﺴﻴﻥ ﺍﻝﻘﻼ‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﻤﺤﻭﺭﻫﺎ‬
‫ﺍﻷﻓﻘﻰ ﺸﻤﺎ ﹰﻻ ‪ Pan left‬ﻋﻠﻰ‬
‫ﺼﻭﺭﺓ ﻝﺭﺠﺎل ﻴﻠﻌﺒﻭﻥ ﺒﻠﻴﺎﺭﺩﻭ ‪.‬‬
‫ﻭﺘﻅﻬﺭ ﻝﻭﺤﺔ ﺍﻝﻤﺨﺭﺝ‬

‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪":‬‬ ‫ﻝﻭﺤﺔ‬ ‫‪25‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻼ ﺭﺒﻤﺎ‬
‫ﻜﻨﺕ ﻗﺩ ﻭﺠﺩﺕ ﺒﺼﻌﻭﺒﺔ ﻋﻤ ﹰ‬ ‫ﺘـﺄﻝﻴﻑ ﻭﺇﺨﺭﺍﺝ‬ ‫‪-‬‬
‫)‪(1‬‬ ‫ﻼ ‪ .‬ﻜﻨﺕ‬‫ﻴﻜﻭﻥ ﻤﺭﻴﺤﹰﺎ ‪ ,‬ﻭﻝﻜﻨﻪ ﻤﻤ ﹰ‬ ‫ﺩﺍﻭﺩ ﻋـﺒﺩ ﺍﻝﺴـﻴﺩ‬
‫ﺃﻋﻤل ﻓﻰ ﺼﺎﻝﺔ ﺒﻠﻴﺎﺭﺩﻭ‪".‬‬ ‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬
‫ﻋﻨﻭﺍﻥ ﻋﻠﻰ ﺨﻠﻔﻴﺔ ﺴﻭﺩﺍﺀ‬ ‫‪26‬‬
‫)ﺍﻝﻘﺎﻫﺭﺓ ﻋﺎﻡ ‪( 1968‬‬ ‫‪-‬‬
‫ﺇﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ‬
‫ﻤﺸﻬﺩ ) ‪( 2‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺎﻝﺔ ﺍﻝﺒﻠﻴﺎﺭﺩﻭ‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ‪Fade -in‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M.S.2‬ﻝﻴﺤﻴﻰ‬

‫ﻭﺍﻝﺴﺎﻋﻰ ﻓﻰ ﻤﻜﺎﻥ ﺠﺎﻨﺒﻰ ﻤﻥ‬
‫ﺍﻝﺼﺎﻝﺔ ‪ .‬ﻭﻴﺘﺤﺭﻙ ﻴﺤﻴﻲ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﺴﺎﻋﻰ ‪ :‬ﺇﺘﺄﺨﺭﺕ ﻝﻴﻪ ﻴﺎ ﺃﺴﺘﺎﺫ ﻴﺤﻴﻲ‬ ‫‪27‬‬

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‫ﻤﺩﺨل ﺍﻝﺒﺎﺏ ﻝﻴﻨﻅﺭ ﻓﻰ ﻴﻤﻴﻥ ؟‬ ‫‪-‬‬

‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻝﺴﻪ ﺍﻝﺴﻜﺔ ﻭﺍﻗﻔﺔ‬ ‫ﻴﺤﻴﻰ ‪:‬‬
‫ﻋﺎﻤﻠﺔ ﻤﻅﺎﻫﺭﺍﺕ ‪ .‬ﻓﻴﻪ‬ ‫ﻭﺍﻝﻁﻠﺒﺔ‬
‫ﺤﺎﺠﺔ ؟‬
‫ﺍﻝﺴﺎﻋﻰ ‪ :‬ﻅﺎﺒﻁ ﺍﻝﻤﺒﺎﺤﺙ ﺍﻝﺠﺩﻴﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻭﺠﻭﺩ ﻫﻨﺎ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻋﺎﻭﺯ ﺤﺎﺠﺔ‬
‫ﺍﻝﺴﺎﻋﻰ ‪ :‬ﺃﺒﺩﹰﺍ ‪ .‬ﻫﻭ ﺒﻴﻠﻌﺏ ﻋﻠﻰ‬
‫ﺨﻤﺴﺔ ﻓﺭﻨﺴﺎﻭﻯ ‪.‬‬

‫‪ 28‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬

‫‪-‬‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﻌﻤﺭ‬
‫ﻭﻫﻭ ﻴﻠﻌﺏ ﺍﻝﺒﻠﻴﺎﺭﺩﻭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 29‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ﻝﻴﺩ ﻋﻤﺭ ﻭﻫﻰ ﺘﻀﺭﺏ‬ ‫‪-‬‬
‫ﺼﻭﺕ ﻀﺭﺏ ﺍﻝﻜﺭﺓ‬
‫ﻜﺭﺓ ﺍﻝﺒﻠﻴﺎﺭﺩﻭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻴﺤﻴﻲ ﻴﻨﻅﺭ‬ ‫‪30‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺴﺎﺀ ﺍﻝﺨﻴﺭ ﻴﺎﻋﻤﺭ ‪.‬‬ ‫ﺃﺴﻔل ﺍﻝﻜﺎﺩﺭ ‪ .‬ﻤﺒﺘﺴﻤﹰﺎ‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 31‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻌﻤﺭ ﻭﻫﻭ‬
‫‪ -‬ﻤﻨﺤﻨﻰ ﻓﻭﻕ ﻤﺎﺌﺩﺓ ﺍﻝﺒﻠﻴﺎﺭﺩﻭ ‪ .‬ﺜﻡ‬
‫ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻌﻪ ﻭﻫﻭ ﻋﻤﺭ ‪ :‬ﻤﺴﺎﺀ ﺍﻝﻨﻭﺭ ‪.‬‬
‫ﻴﻌﺘﺩل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻲ ﻭﻋﻤﺭ ﻴﺩﺨﻼ ﺍﻝﻜﺎﺩﺭ‬ ‫‪32‬‬
‫‪ -‬ﻝﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ‪ . M.S.2‬ﺜﻡ‬
‫ﻴﻨﺯل ﻋﻤﺭ ﻷﺴﻔل ﻤﻥ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ﻤﺘﻭﺴﻁﺔ‬ ‫‪33‬‬
‫‪.A .M.S‬‬ ‫‪-‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺒﺭﻭﻙ ﻗﺭﻴﺕ ﺇﺴﻤﻙ ﺇﻤﺒﺎﺭﺡ‬ ‫ﻝﻴﺤﻴﻰ ﻴﺩﺨل ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻴﺠﻠﺱ ﻋﻠﻰ ﺍﻝﻤﻘﻌﺩ ﻓﻰ ﻤﻨﺘﺼﻑ ﻓﻰ ﺍﻝﺤﺭﻜﺔ ﺍﻝﺠﺩﻴﺩﺓ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 34‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻁﻭﻴﻠﺔ ‪M .L .S‬‬
‫‪.‬‬ ‫‪-‬‬
‫ﻋﻤﺭ ‪ :‬ﺇﻨﺕ ﺠﺎﻯ ﺘﻠﻌﺏ ﻫﻨﺎ ﻭ ﹶﻻ ﺁﻴﻪ ؟‬
‫ﻝﻌﻤﺭ ‪.‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﻴﺤﻴﻲ ‪ :‬ﻷ ‪ .‬ﺃﻨﺎ ﺒﺄﺸﺘﻐل ﻫﻨﺎ ‪ .‬ﺇﻨﺕ‬
‫ﻤﺤﻭﺭﻫﺎ ﺍﻷﻓﻘﻰ ﻴﻤﻴﻨﺎ ﻝﺘﺘﺎﺒﻊ ﻋﻤﺭ ﻤﺎﺘﻌﺭﻓﺵ ﻭ ﹰﻻ ﺁﻴﻪ ‪ ...‬ﺩﻯ ﺘﺒﻘﻰ ﻜﺒﻴﺭﺓ‬
‫ﻓﻰ ﺤﻘﻙ ﻭ ﺇﻨﺕ ﻤﺒﺎﺤﺙ ﺒﻘﻰ ‪.‬‬ ‫ﺍ‬
‫ﻭﻴﻤﺭ ﻋﻤﺭ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻋﺎﺒﺭﹰﺍ ﻴﺤﻴﻲ ﺍﻝﺠﺎﻝﺱ ﻓﻰ ﺨﻠﻔﻴﺔ‬

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‫ﺍﻝﻜﺎﺩﺭ ﺒﻤﻔﺭﺩﻩ ﻭﻴﺼﺒﺢ ﻋﻤﺭ‬

‫ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻌﻤﺭ ﺍﻝﺫﻯ‬ ‫‪35‬‬
‫ﻴﺩﺨل ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻝﻴﺼﺒﺢ ﻓﻰ ﻋﻤﺭ ‪ :‬ﻁﺏ ﻭﻝﻴﻪ ﻤﺎﺍﺸﺘﻐﻠﺘﺵ ﻤﺤﺎﻤﻰ‬ ‫‪-‬‬
‫ﺒﺎﻝﻠﻴﺴﺎﻨﺱ ؟‬ ‫ﺍﻝﻤﻘﺩﻤﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪.M. C .S‬‬ ‫‪36‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻭﺘﻀﻤﻥ ﺇﻨﻬﻡ ﻴﻘﺒﻠﻭﻨﻰ ﻓﻰ‬ ‫‪-‬‬
‫ﺍﻝﻨﻘﺎﺒﺔ ‪!.‬‬ ‫ﻝﻴﺤﻴﻲ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪37‬‬
‫ﻋﻤﺭ ‪ :‬ﻫﻰ ﻜﺎﻨﺕ ﺭﺸﻭﺓ ﻴﻌﻨﻰ ﻤﺨﻠﺔ‬ ‫‪M .C .up‬‬ ‫‪-‬‬
‫ﻝﻌﻤﺭ ﻭﻫﻭ ﻴﻀﺭﺏ ﺍﻝﻜﺭﺓ ‪ .‬ﺒﺎﻝﺸﺭﻑ ‪ .‬ﻝﻴﻙ ﺤﻕ ﻤﺵ ﻫﺎ ﻴﻘﺒﻠﻭﻙ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. C.‬‬ ‫‪38‬‬
‫‪up‬‬ ‫‪-‬‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ﻝﻜﺭﺍﺕ‬
‫ﺼﻭﺕ ﻀﺭﺏ‬
‫ﺍﻝﺒﻠﻴﺎﺭﺩﻭ‬
‫ﺍﻝﻜﺭﺓ‬ ‫‪ High Angle‬ﻭﻫﻰ ﺘﻀﺭﺏ‬
‫ﺒﺎﻗﻰ ﺍﻝﻜﺭﺍﺕ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M.‬‬ ‫‪39‬‬
‫‪C .up‬‬ ‫‪-‬‬
‫ﻝﻴﺤﻴﻲ ﻭﻫﻭ ﻴﺨﺭﺝ ﻤﻥ ﻴﺴﺎﺭ‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻴﺤﻴﻲ ‪ L .S‬ﻓﻰ ﻋﻤﺭ ‪ :‬ﺒﺎﻝﻤﻨﺎﺴﺒﺔ ﻝﻭ ﺇﺘﻘﺎﺒﻠﻨﺎ ﺘﺎﻨﻰ ‪.‬‬ ‫‪40‬‬
‫ﺍﻝﺨﻠﻔﻴﺔ ﻭﻋﻤﺭ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺍﻨﺎ ﺇﺴﻤﻰ ﻋﻤﺭ ﺒﻴﻪ ﻫﻪ‬ ‫‪-‬‬
‫ﺇﺤﻨﺎ ﻤﺎﺒﻘﻴﻨﺎﺵ ﺯﻤﻼ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪41‬‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S.‬ﻝﻤﺎﺌﺩﺓ‬ ‫‪-‬‬
‫)‪( 2‬‬ ‫ﺍﻝﺒﻠﻴﺎﺭﺩﻭ ﻭﻋﻠﻴﻬﺎ ﻤﺜﻠﺙ ﺍﻝﻜﺭﺍﺕ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﺃﺘﺤﻤل ﺘﻠﻙ ﺍﻝﺤﻴﺎﺓ‬
‫ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫ﺍﻝﻤﻤﻠﺔ ﺍﻝﻤﺘﻘﺸﻔﺔ ﻜﻤﺎ ﺘﺤﻤﻠﺕ ﻓﺘﺭﺓ‬
‫‪ High Angle‬ﺘﺘﺎﺒﻊ ﻋﻤﺭ‬
‫ﺴﺠﻨﻰ ﻓﻰ ﺇﻨﺘﻅﺎﺭ ﺸﻴﺌﺎ ﻤﺎ ‪...‬‬
‫ﻭﻫﻭ ﻴﻤﺸﻰ ﻓﻰ ﺍﻝﺼﺎﻝﺔ ﻴﺭﺍﻗﺏ‬
‫ﻻﺃﻋﺭﻓﻪ ﻭﻝﻜﻨﻨﻰ ﺃﺘﻭﻗﻌﻪ ‪".‬‬
‫ﺍﻝﻼﻋﺒﻭﻥ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪42‬‬
‫‪-‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M .L.S‬‬

‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ﺍﻝﺴﺎﻋﻰ ‪ :‬ﺍﻝﺭﻫﺎﻥ ﻜﻠﻪ ﻤﻌﺎﻴﺎ ‪ .‬ﻜل‬
‫‪ Pan Left‬ﻝﺘﺘﺎﺒﻊ ﺍﻝﺴﺎﻋﻰ ﻭﺍﺤﺩ ﺨﻤﺴﺔ ﺠﻨﻴﻪ ‪.‬‬
‫ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ﻭﻴﻌﻁﻰ ﻝﻪ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ ":‬ﻜﻨﺕ ﺃﺭﺍﻗﺏ ﺍﻝﻌﺎﻝﻡ‬
‫ﺍﻝﺫﻯ ﺘﺭﻜﺘﻪ ‪ ,‬ﻭﻜﺄﻨﻨﻰ ﺁﺕ ﻤﻥ ﻋﺎﻝﻡ‬
‫ﺍﻝﻨﻘﻭﺩ ﻭﻴﻨﺼﺭﻑ ‪.‬‬
‫ﺁﺨﺭ ‪ .‬ﺍﻝﻌﻴﺵ ﺒﺩﻭﻥ ﻗﺩﺭﺓ ﻋﻠﻰ ﺍﻝﺘﻌﺒﻴﺭ‬
‫ﻋﻥ ﻤﺸﺎﻋﺭﻯ ﻭﺃﺤﺎﺴﻴﺴﻰ ﺒﻼ ﺃﺤﺩ ﺃﻭ‬
‫ﺼﺩﻴﻕ ‪ ,‬ﻤﺭﻫﻕ ﺒﻼ ﺇﺤﺴﺎﺱ‬

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‫ﻭﻜﻠﻰ ﺒﺭﻭﺩ ‪ .‬ﻝﺫﻝﻙ ﻓﻘﺩ ﻗﻨﻌﺕ ﺒﻌﻼﻗﺎﺕ‬

‫ﺴﺭﻴﻌﺔ ﻻ ﺘﺴﻤﺢ ﻝﻨﻔﺴﻲ ﺒﺎﻹﻋﺘﺭﺍﻑ ﺃﻭ‬
‫ﺇﻓﺸﺎﺀ ﺍﻷﺴﺭﺍﺭ ‪".‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ ) ‪(2‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 3‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻜﺘﺏ ﻴﺤﻴﻲ‬
‫‪43‬‬
‫‪-‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻠﺴﺎﻋﻰ‬
‫ﻭﻫﻭ ﻴﺩﺨل ﻋﻠﻰ ﻴﺤﻴﻲ ﻓﻰ ﻤﻜﺘﺒﻪ‬
‫ﺍﻝﺴﺎﻋﻰ ‪ :‬ﺁﺩﻯ ﻴﺎﺴﻴﺩﻯ ﺍﻷﺨﺒﺎﺭ ‪.‬‬
‫ﺜﻡ ﻴﺨﺭﺝ ‪ .‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﻋﻤﻠﻰ ﺸﺎﻯ ﺒﻘﻰ ‪.‬‬
‫ﺸﺎﺭﻴﻭﻩ ﻝﻠﺩﺍﺨل ‪ Track in‬ﺤﺘﻰ‬
‫ﺍﻝﺴﺎﻋﻰ ‪ :‬ﻋﻴﻨﻴﻪ ﻴﺎﺴﻰ ﻴﺤﻴﻲ ‪.‬‬
‫ﻴﺼﺒﺢ ﻴﺤﻴﻲ ﻓﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺁﻴﻪ ! ﺘﻭﻓﻰ ﺃﻤﺱ ﻝﺭﺤﻤﺔ ﺍﷲ‬
‫ﻗﺭﻴﺒﺔ ‪M. C .up‬‬
‫ﺘﻌﺎﻝﻰ ﺴﻴﺎﺩﺓ ﺍﻝﻠﻭﺍﺀ ﻤﺤﻤﺩ ﻤﺄﻤﻭﻥ ﺃﺒﻭ‬
‫ﺍﻝﻭﻓﺎ ﻤﺴﺎﻋﺩ ﻭﺯﻴﺭ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺒﻨﻭﺒﺔ‬
‫ﻗﻠﻴﺒﺔ ﻭﺫﻝﻙ ﺃﺜﻨﺎﺀ ﻭﺠﻭﺩﻩ ‪ ...‬ﻭﺴﻭﻑ‬
‫ﺘﺸﻴﻊ ﺍﻝﺠﻨﺎﺯﺓ ﺍﻝﻴﻭﻡ ﺍﻝﺴﺎﻋﺔ ﺍﻝﻭﺍﺤﺩﺓ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬

‫ﻤﺸﻬﺩ ) ‪(4‬‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ ﺠﻨﺎﺌﺯﻴﺔ‬ ‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ‬
‫)‪(3‬‬
‫‪44‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L.S‬ﻝﺠﻨﺎﺯﺓ‬ ‫‪-‬‬
‫ﻋﺴﻜﺭﻴﺔ ‪ .‬ﺍﻝﺠﻨﻭﺩ ﻴﺴﻴﺭﻭﻥ ﻨﺤﻭ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺼﻔﻴﻥ ﻴﻤﻴﻥ ﻭﻴﺴﺎﺭ‬
‫ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪45‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺭﺠﻠﻴﻥ ‪M.2‬‬ ‫‪-‬‬
‫ﻴﻘﻔﺎﻥ ﻴﻨﻅﺭﺍ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭ‬
‫ﻭﻴﺄﺘﻰ ﻴﺤﻴﻲ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻝﻴﻘﻑ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﻭﻴﺼﺒﺤﻭﺍ ﻓﻰ‬
‫ﺤﺠﻡ ‪M.3‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪46‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﺠﻨﻭﺩ‬ ‫‪-‬‬
‫‪ .M.L.S‬ﺤﻭل ﺍﻝﻨﻌﺵ ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ ‪Pan left‬‬

‫ﻨﺎﺤﻴﺔ ﺍﻝﻨﻌﺵ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬

‫‪47‬‬

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‫‪-‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻤﻊ ﺤﺭﻜﺔ‬
‫ﺘﺘﺒﻊ ‪ Traveling‬ﺤﺘﻰ ﻴﺼﺒﺢ‬
‫ﻴﺤﻴﻲ ﻓﻰ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪C.up‬‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ ":‬ﻋﺎﺩ ﺍﻝﺴﺅﺍل ﺍﻝﺫﻯ‬
‫ﻭﻴﻜﻭﻥ ﻓﻰ ﻭﻀﻊ ﺒﺭﻭﻓﻴل‬
‫ﻜﺎﻥ ﻴﺩﻭﺭ ﻓﻰ ﺭﺃﺴﻰ ﻤﻨﺫ‬
‫‪ ,Profile‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺃﻥ ﺇﺨﺘﺭﺕ ﻗﺒﺭﻯ ﺍﻝﺠﺩﻴﺩ ‪ ,‬ﻫل ﺃﺨﻁﺄﺕ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ‪ Pan left‬ﻝﻴﺼﺒﺢ‬
‫ﺍﻡ ﺃﺼﺒﺕ ﺍﻹﺨﺘﻴﺎﺭ ؟ "‬
‫ﻭﺠﻬﻪ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ . Face‬ﺃﺜﻨﺎﺀ ﺍﻝﻤﺯﺝ ‪.‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫)‪(3‬‬
‫ﻤﺸﻬﺩ ) ‪( 5‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﺩﺨل ﻓﻴﻠﻼ‬
‫‪ 48‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L.S‬ﻝﺴﻴﺎﺭﺓ ﻗﺩﻴﻤﺔ‬
‫ﺍﻝﺴﺎﺌﻕ ‪ :‬ﺇﺘﻔﻀل ﺴﻌﺎﺩﺘﻙ ‪.‬‬ ‫‪-‬‬
‫ﺘﺩﺨل ﺍﻝﻜﺎﺩﺭ ﻭﺘﻘﻑ ﺃﻤﺎﻡ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﻤﻜﻥ ﺃﻋﺭﻑ ﺇﻨﺕ ﺠﺒﺘﻨﻰ ﻫﻨﺎ‬
‫ﺼﻭﺕ ﻓﺘﺢ ﺒﺎﺏ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ .‬ﻭﻴﻨﺯل ﺍﻝﺴﺎﺌﻕ ﻭﻴﻔﺘﺢ‬
‫ﻝﻴﻪ ﺒﻘﻰ ؟‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬ ‫ﺍﻝﺒﺎﺏ ﻝﻴﺤﻴﻲ ‪ .‬ﺍﻝﺴﻴﺎﺭﺓ ﺘﺨﺭﺝ‬
‫ﺍﻝﺴﺎﺌﻕ ‪ :‬ﺍﻭﺍﻤﺭ ﻴﺎﺃﻓﻨﺩﻡ ‪.‬‬
‫ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ‪Track out‬‬
‫ﺇﺘﻔﻀل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 49‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻴﺤﻴﻲ ‪.M.S‬‬
‫ﺼﻭﺕ ﻨﻘﺭ ﻋﻠﻰ‬ ‫ﺃﻤﺎﻡ ﺒﺎﺏ ﺍﻝﻔﻴﻠﻼ ‪ .‬ﻴﺘﻘﺩﻡ ﻴﺤﻴﻲ‬ ‫‪-‬‬
‫ﺍﻝﺒﺎﺏ‪.‬‬ ‫ﻝﻴﺩﻕ ﻋﻠﻰ ﺍﻝﺒﺎﺏ ‪ .‬ﺜﻡ ﻴﺩﺨل‬
‫ﻓﺘﺢ ﺍﻝﺒﺎﺏ‬ ‫ﻭﻴﺨﺘﻔﻰ ﻓﻰ ﺍﻝﻅﻼﻡ ‪ .‬ﻭﻴﻐﻠﻕ‬
‫ﻏﻠﻕ ﺍﻝﺒﺎﺏ‬ ‫ﺍﻝﺒﺎﺏ ﻓﻰ ﻭﺠﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 6‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺨﻠﻰ ﻏﺭﻓﺔ ﻤﻜﺘﺏ‬
‫ﺭﺠل ﺍﻷﻤﻥ‬
‫‪ 50‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ C .up‬ﻋﻠﻰ ﻴﺩ‬
‫‪ -‬ﺘﺘﺤﺭﻙ ﻭﺘﻀﻊ ﺒﻌﺽ ﻤﻥ ﺍﻝﻔﺎﻜﻬﺔ‬
‫ﻓﻰ ﻁﺒﻕ ‪ ,‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﺭﺠل ﺍﻷﻤﻥ ‪ :‬ﺸﻭﻑ ﻴﺎ ﻴﺤﻴﻲ‬
‫ﻤﺤﻭﺭﻫﺎ ﺍﻷﻓﻘﻰ ﺸﻤﺎ ﹰﻻ ‪ Pan‬ﻭﺍﻀﺢ ﺇﻥ ﺍﻹﺠﺘﻤﺎﻉ ﺩﻩ ﻋﻠﻰ ﺃﻋﻠﻰ‬
‫‪ , left‬ﺜﻡ ﺘﺘﺤﺭﻙ ﻋﻠﻰ ﻤﺤﻭﺭﻫﺎ ﺩﺭﺠﺔ ﻤﻥ ﺍﻝﺴﺭﻴﺔ ‪ .‬ﺴﻴﺎﺩﺓ ﺍﻝﻭﺯﻴﺭ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ‬ ‫ﺍﻝﺭﺃﺴﻰ ﻷﺴﻔل ‪ , tilt down‬ﺜﻡ ﺸﺨﺼﻴ ﹰﺎ ﻓﻀل ﺇﻥ ﻴﻜﻭﻥ ﺨﺎﺭﺝ‬
‫ﺍﻝﻰ ﺃﻋﻠﻰ ‪ Tilt up‬ﻋﻠﻰ ﻭﺠﻪ ﺍﻝﻭﺯﺍﺭﺓ ﻭﺩﻩ ﺘﺄﻤﻴﻥ ‪....‬‬
‫ﺍﻝﺭﺠل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 51‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺭﺠل ﻴﺩﺨل‬
‫‪ ....‬ﻋﻠﺸﺎﻥ ﻋﺩﻡ ﺘﺴﺭﺏ ﺃﻯ ﺨﺒﺭ‬
‫‪ -‬ﻓﻰ ﻤﻨﺘﺼﻑ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺠﻠﺱ ﺨﻠﻑ‬
‫ﻋﻨﻪ ‪ .‬ﻓﻰ ﺍﻝﻔﺘﺭﺓ ﺍﻝﻠﻰ ﻓﺎﺘﺕ ﺘﻤﺕ‬
‫ﻤﻜﺘﺏ ‪ .‬ﻭﻴﺤﻴﻲ ﺃﻤﺎﻡ ﺍﻝﻤﻜﺘﺏ ‪.‬‬
‫ﺘﺤﺭﻴﺎﺕ ﺩﻗﻴﻘﺔ ﻋﻨﻙ ‪.......‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 52‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .C.‬‬
‫‪ up‬ﻝﻴﺤﻴﻲ ﻴﺴﺘﻤﻊ ﺒﺘﺭﻜﻴﺯ ‪..... .‬ﻤﻥ ﺘﻘﺎﺭﻴﺭﻙ ﻭﺇﻨﺕ ﻁﺎﻝﺏ ﻓﻰ‬ ‫‪-‬‬
‫ﺍﻝﻜﻠﻴﺔ ‪ ,‬ﺤﺘﻰ ﺃﺴﺭﺘﻙ ﻭﻅﺭﻭﻓﻙ‬
‫ﺍﻹﺠﺘﻤﺎﻋﻴﺔ ‪....‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪53‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬

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‫‪ M .C .up‬ﻝﻠﺭﺠل ﻭﻫﻭ ﻴﺘﻜﻠﻡ‬ ‫‪-‬‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻝﻴﺩ ﺍﻝﺭﺠل ‪C .up‬‬ ‫‪54‬‬
‫ﻭﻫﻰ ﺘﻘﻁﻊ ﺒﺭﺘﻘﺎﻝﺔ ‪.‬‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺭﺠل ‪ :‬ﻭﺃُﺨﻀﻌﺕ ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .C.‬‬ ‫‪55‬‬
‫ﺍﻹﺨﺘﺒﺎﺭﺍﺕ ﻝﻤﻌﺭﻓﺔ ﺸﺨﺼﻴﺘﻙ ﻭﻗﺩﺭﺘﻙ‬ ‫‪ up‬ﻋﻠﻰ ﻭﺠﻪ ﻴﺤﻴﻲ ‪.‬‬ ‫‪-‬‬
‫ﻋﻠﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻤﻭﺍﻗﻑ ﺍﻝﺼﻌﺒﺔ ‪....‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻝﻴﺩ ﺍﻝﺭﺠل ‪C .up‬‬ ‫‪56‬‬
‫‪ .....‬ﻭﻤﺩﻯ ﺼﻼﺒﺘﻙ ﻭﺇﺨﺘﺒﺎﺭﺍﺘﻙ‬ ‫‪-‬‬
‫ﺘﻘﻁﻊ ﺍﻝﺒﺭﺘﻘﺎﻝﺔ ‪.‬‬
‫ﺍﻝﻤﺒﺩﺌﻴﺔ ‪...‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪57‬‬
‫‪ M .C .up‬ﻋﻠﻰ ﻭﺠﻪ ﻴﺤﻴﻲ ‪.‬‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪58‬‬
‫‪-‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .C.‬‬
‫ﻼ ﺴﺭﻗﺔ ﺴﻼﺤﻙ ﻭﻗﺩﺭﺘﻙ ﻋﻠﻰ‬ ‫‪ up‬ﻝﻠﺭﺠل ﻭﻫﻭ ﻴﺘﻜﻠﻡ ‪ .‬ﺜﻡ ﺘﻨﺯل ‪...‬ﻤﺜ ﹰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Tilt down‬ﻋﻠﻰ ﻴﺩ ﺍﻝﻭﺼﻭل ﻝﻴﻪ‪ .‬ﻋﺭﺽ ﺍﻝﺭﺸﻭﺓ ﻋﻠﻴﻙ‬
‫ﺍﻝﺭﺠل ﻭﻫﻭ ﻴﺩﻓﻊ ﺒﺎﻝﻁﺒﻕ ﻋﻠﻰ ﻭﺭﻓﻀﻬﺎ ‪ .‬ﻋﻠﻰ ﻓﻜﺭﺓ ﻤﺵ ﺍﻝﻤﻬﻡ ﺇﻨﻙ‬
‫ﺍﻝﻤﻜﺘﺏ ﻨﺎﺤﻴﺔ ﻴﺩ ﻴﺤﻴﻲ ﻭﻓﻰ ﺭﻓﻀﺕ ﺍﻝﺭﺸﻭﺓ ﻭﺒﻠﻐﺕ ﻋﻨﻬﺎ ‪ ,‬ﺍﻝﻤﻬﻡ‬
‫ﺍﻝﻁﺒﻕ ﻨﺼﻑ ﺒﺭﺘﻘﺎﻝﺔ ‪ .‬ﻭﺘﺩﺨل ﻴﺩ ﺘﻭﻗﻴﺕ ﺍﻹﺒﻼﻍ ﺒﻌﺩ ﺍﻝﻌﺭﺽ ﺒﻜﺎﻡ‬
‫ﺴﺎﻋﺔ ﻭﻏﻴﺭﻫﺎ ‪ ....‬ﻭﻏﻴﺭﻫﺎ ﻤﻥ‬ ‫ﻴﺤﻴﻲ ﻝﺘﺄﺨﺫ ﺍﻝﺒﺭﺘﻘﺎﻝﺔ ‪.‬‬
‫ﺍﻹﺨﺘﺒﺎﺭﺍﺕ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﺼﻭﺕ ﺩﻓﻊ ﺍﻝﻁﺒﻕ‬

‫‪ 59‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻝﻴﺤﻴﻲ ‪ C.up‬ﻭﻫﻭ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺍﻝﺸﻜﻭﻯ ﺍﻝﻠﻰ ﺇﺘﻘﺩﻤﺕ‬ ‫‪-‬‬
‫ﻴﻀﻊ ﺍﻝﺒﺭﺘﻘﺎﻝﺔ ﻓﻰ ﻓﻤﻪ ‪.‬‬
‫ﻝﺴﻴﺎﺩﺘﻙ ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 60‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ C.up‬ﻝﻠﺭﺠل ﻭﻫﻭ‬
‫ﻴﺄﻜل ﻓﺹ ﺍﻝﺒﺭﺘﻘﺎﻝﺔ ‪.‬‬ ‫‪-‬‬
‫ﺍﻝﺭﺠل ‪ :‬ﺘﻘﺩﺭ ﺘﻘﻭل ﺇﻥ ﺩﻯ ﻜﺎﻨﺕ‬
‫ﻨﻘﻁﺔ ﺘﺭﺠﻴﺢ ﻓﻰ ﺇﺨﺘﻴﺎﺭﻙ ‪ ,‬ﻷﻥ ﻏﻴﺭﻙ‬
‫ﺭﻓﺽ ﺇﻨﻪ ﻴﻌﻤل ﻤﺤﻀﺭ ﻀﺩ ﻭﻜﻴل‬
‫ﻭﺯﺍﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ‪ ,‬ﺍﻝﻤﻬﻡ ‪ ,‬ﺍﻝﻬﺩﻑ‬
‫ﻫﻭ ‪....‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 61‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ C.up‬ﻋﻠﻰ ﺘﻔﺎﺡ‬
‫ﻤﻭﻀﻭﻉ ﻋﻠﻰ ﺘﻤﺜﺎل ﻝﺜﻼﺜﺔ ‪ ...‬ﺇﺨﺘﻴﺎﺭ ﻅﺎﺒﻁ ﺸﺭﻁﺔ ﻋﻠﻰ ﺃﻋﻠﻰ‬ ‫‪-‬‬
‫ﺃﺸﺨﺎﺹ ﻴﺤﻤﻠﻭﻥ ﻁﺒﻘﺎﹰﻋﻠﻰ ﻤﺴﺘﻭﻯ ‪ .‬ﺍﻝﻤﻬﻤﺔ ﻏﻴﺭ ﺘﻘﻠﻴﺩﻴﺔ ﻭﻏﺎﻴﺔ‬
‫ﻓﻰ ﺍﻷﻫﻤﻴﺔ ‪ .‬ﺍﻝﻤﻬﻤﺔ ﺒﺒﺴﺎﻁﺔ ‪....‬‬ ‫ﻅﻬﺭﻫﻡ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 62‬ﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Tilt down‬‬
‫‪ ....‬ﻫﻰ ﺯﺭﻉ ﻋﻤﻴل ﻤﻥ ﺃﺴﻔل‬
‫‪ -‬ﻋﻠﻰ ﻭﺠﻪ ﻴﺤﻴﻲ ﻓﻰ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﺴﻠﻡ ﻷﻜﺒﺭ ﺘﺠﺎﺭﺓ ﻏﻴﺭ ﻤﺸﺭﻭﻋﺔ ﻓﻰ‬
‫‪ C .up‬ﺒﺯﺍﻭﻴﺔ ‪. 4/3‬‬
‫ﻤﺼﺭ ﺍﻝﻠﻰ ﻫﻰ ﺘﺠﺎﺭﺓ ﺍﻝﻤﺨﺩﺭﺍﺕ ‪.....‬‬
‫)‪(4‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 63‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻋﻠﻰ‬
‫‪-‬‬

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‫ﻤﻨﻀﺩﺓ ﻋﻠﻴﻬﺎ ﺒﺭﺍﺩ ﺸﺎﻯ ‪ ,‬ﻭﻴﺩ‬

‫ﺍﻝﺭﺠل ﺘﻤﺘﺩ ﻝﺘﺼﺏ ﺍﻝﺸﺎﻯ ‪ .‬ﺜﻡ‬
‫ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺤﺘﻰ ﻴﺼﺒﺢ ﻭﺠﻪ‬
‫ﺍﻝﺭﺠل ﻓﻰ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪. C.up‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﺇﺴﺘﻤﺭﺍﺭ ﺍﻝﺭﻴﺎﺡ‬ ‫ﺍﻝﻬﺩﻑ ﻤﺵ ﻝﻌﻤﻠﻴﺔ ﻤﺤﺩﺩﺓ ‪ .‬ﺍﻝﻬﺩﻑ‬

‫ﻫﻭ ﺯﺭﻉ ﻋﻤﻴل ﺤﺘﻰ ﺍﻝﻨﻬﺎﻴﺔ ‪ ,‬ﺍﻝﻠﻰ‬
‫ﻤﺵ ﻫﺎﻴﻔﻴﺩ ﺒﺱ ﻓﻰ ﺘﺠﺎﺭﺓ‬
‫ﺍﻝﻤﺨﺩﺭﺍﺕ ‪ ,‬ﻝﻜﻥ ﻓﻰ ﻤﻌﺭﻓﺔ ﺃﺒﻌﺎﺩ‬
‫ﺘﺠﺎﺭﺓ ﺍﻝﺴﻼﺡ ﻭﺍﻷﺜﺎﺭ ‪ .‬ﻭﻫﺎﻴﻜﻭﻥ‬
‫ﻋﻴﻥ ﻋﻠﻰ ﺭﺠﺎل ﺍﻝﺸﺭﻁﺔ ﺍﻝﻔﺎﺴﺩﻴﻥ ‪.‬‬
‫ﺍﻝﻤﻬﻤﺔ ﺩﻯ ﻏﻴﺭ ﻤﺤﺩﺩﺓ ﺍﻝﻤﺩﺓ ‪ .‬ﻤﺩﺘﻬﺎ‬
‫ﻫﻰ ﻁﻭل ﻋﻤﺭ ﺍﻝﻌﻤﻴل ‪ .‬ﺨﻠﻠﻰ ﺒﺎﻝﻙ‬
‫ﻤﺵ ﻫﺎﻴﺒﻘﻰ ﻤﺤﻤﻰ ﻤﻥ ﺍﻝﺸﺭﻁﺔ ﻭﺒﺄﻯ‬
‫ﺸﻜل ﻤﻥ ﺍﻷﺸﻜﺎل ﻭﻫﺎ ﻴﻌﺎﻤل ﻜﺘﺎﺠﺭ‬
‫ﻤﺨﺩﺭﺍﺕ ﺨﺎﺭﺝ ﻋﻥ ﺍﻝﻘﺎﻨﻭﻥ ‪ .‬ﻜل ﺩﻩ‬
‫ﻋﻠﺸﺎﻥ ﻴﺒﻘﻰ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻝﺼﻌﻭﺩ ﻓﻰ‬
‫ﻤﺠﺎﻝﻪ ﺍﻝﺠﺩﻴﺩ ﻭﺍﻝﻭﺼﻭل ﺍﻝﻰ ﺃﻋﻤﻕ‬
‫ﺃﺴﺭﺍﺭ ﺍﻝﻌﺎﻝﻡ ﺩﻩ‬

‫‪ 64‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M.S‬ﻝﻴﺤﻴﻲ‬

‫‪ -‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﺎﺭﻴﻭﻩ ﻝﻠﺩﺍﺨل ‪ ....‬ﺍﻝﺴﺭ ﺩﻩ ﻤﺵ ﻫﺎﻴﻌﺭﻓﻪ ﻏﻴﺭ‬
‫‪ Track in‬ﻨﺤﻭ ﺠﻬﻪ ﻭﻴﺼﺒﺢ ﺴﻴﺎﺩﺓ ﻭﺯﻴﺭ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺸﺨﺼﻴﹰﺎ ﻭﻭﺯﻴﺭ‬
‫ﻓﻰ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ C .up‬ﻭﺘﺄﺜﻴﺭ ﺍﻝﻌﺩل ‪ ,‬ﻭﻴﻘﻊ ﺘﻭﺭﻴﺙ ﺍﻝﺴﺭ ﺩﻩ ﻤﻥ ﻜل‬
‫ﺍﻝﺒﺭﻕ ﻴﻅﻬﺭ ﻋﻠﻰ ﻭﺠﻬﻪ ‪ .‬ﻤﻨﻬﻡ ﺍﻝﻰ ﻤﻥ ﻴﻠﻴﻪ ﻓﻰ ﺍﻝﻤﻨﺼﺏ ﺩﻭﻥ‬
‫ﺇﺸﺎﺭﺓ ﻝﻪ ﻓﻰ ﺍﻝﺴﺠﻼﺕ ﺍﻝﺭﺴﻤﻴﺔ ‪.‬‬
‫ﻭﺒﺎﻝﻨﺴﺒﺔ ﻝﻙ ﻫﺎﺘﻭﻗﻊ ﻭﺜﻴﻘﺔ ﻤﻭﻗﻌﺔ ﻤﻥ‬
‫ﺍﻝﺜﻼﺜﺔ ﻓﻰ ﺨﺯﺍﻨﺔ ﺒﻨﻙ ‪...‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺇﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪65‬‬
‫‪-‬‬
‫)‪(4‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬
‫‪ M .C .up‬ﻝﻴﺤﻴﻲ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺒﺭﻭﻓﻴل ﻭﺍﻝﺭﺠل ﺸﻤﺎل ﻜﺎﺩﺭ ﺍﻝﺭﺠل ‪ :‬ﻤﺨﺘﻭﻤﺔ ﺒﺎﻷﺨﺘﺎﻡ ﺍﻝﺭﺴﻤﻴﺔ ‪.‬‬
‫ﺒﺭﻭﻓﻴل ﻭﻁﺒﻕ ﺍﻝﺘﻔﺎﺡ ﻓﻰ‬
‫ﺘﻔﻴﺩ ﺇﻨﻙ ﻓﻰ ﻤﻬﻤﺔ ﺭﺴﻤﻴﺔ ﺒﺈﺴﻡ‬
‫ﺃﺭﺽ ﺍﻝﺨﻭﻑ ‪ .‬ﺘﻤﺘﺩ ﺍﻝﻰ ﻨﻬﺎﻴﺔ‬ ‫ﺍﻝﻤﻨﺘﺼﻑ ‪.‬‬
‫ﺤﻴﺎﺘﻙ ‪ ,‬ﻭﺇﻥ ﻜل ﻤﺎﺇﺭﺘﻜﺒﺘﻪ ﻤﻥ ﺠﺭﺍﺌﻡ‬
‫ﺜﻡ ﺘﺩﺨل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﻁﺒﻕ ﻜﺎﻥ ﻝﺨﺩﻤﺔ ﺍﻝﻭﻁﻥ ‪ ,‬ﻭﺩﻩ ﻀﻤﺎﻥ ﻝﻴﻙ‬
‫ﺍﻝﺘﻔﺎﺡ ‪ .‬ﻭﻴﺼﺒﺢ ﻓﻰ ﻝﻘﻁﺔ ﻋﻠﺸﺎﻥ ﻝﻭ ﺼﺩﺭ ﻀﺩﻙ ﺃﻯ ﺤﻜﻡ ﻤﻥ‬
‫ﺼﻭﺕ ﺍﻝﺭﻴﺎﺡ‬ ‫ﻼ ‪.‬ﻓﻰ ﺤﺎﻝﺔ‬‫ﺍﻷﺤﻜﺎﻡ ﺯﻯ ﺍﻹﻋﺩﺍﻡ ﻤﺜ ﹰ‬ ‫ﻗﺭﻴﺒﺔ ‪C. up‬‬
‫ﻤﺴﺘﻤﺭ‬ ‫ﻤﻭﺍﻓﻘﺘﻙ ﻫﺎﺘﺩﺭﺏ ﻝﻘﺘﺭﺓ ﻓﻰ‬

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‫ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬

‫‪66‬‬
‫‪-‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .C.‬‬

‫‪ up‬ﻤﻥ ﺯﺍﻭﻴﺔ ‪ 3/4‬ﻝﻴﺤﻴﻲ ‪ ,‬ﺜﻡ ‪....‬ﻭﺘﺒﺘﺩﻯ ﺘﺘﺤﻭل ﻝﻅﺎﺒﻁ ﻓﺎﺴﺩ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺒﺘﻌﺩﺓ ﻋﻨﻪ ﻭﺇﻨﺕ ﻓﻰ ﺇﺩﺍﺭﺓ ﺍﻝﻤﺨﺩﺭﺍﺕ ‪ .‬ﺸﻭﻴﺔ‬
‫‪ Track out‬ﻤﻊ ﺒﺎﻥ ﺸﻤﺎل ‪ .‬ﺸﻭﻴﺔ ﻫﺎﺘﺩﺨل ﻓﻰ ﻤﺸﺎﻜل ﻤﻊ‬
‫ﺍﻝﺸﺭﻁﺔ ‪ .‬ﻝﻭ ﺇﺘﻌﺭﻀﺕ ﻋﻠﻴﻙ ﺭﺸﻭﺓ‬
‫ﺇﻗﺒﻠﻬﺎ ‪ .‬ﻭﻴﻤﻜﻥ ﺘﺎﺨﺩ ﻓﻴﻬﺎ ﺤﻜﻡ ‪ ,‬ﻜل‬
‫ﺩﻩ ﻋﻠﺸﺎﻥ ﺘﻘﻑ ﻋﻠﻰ ﺃﻭل ﻋﺘﺒﺎﺕ‬
‫ﺍﻝﻌﺎﻝﻡ ﺍﻝﺠﺩﻴﺩ ﺒﺸﺨﺼﻴﺔ ﺠﺩﻴﺩﺓ ﺒﻭﺼﻤﺔ‬
‫ﺍﻹﺠﺭﺍﻡ ‪...‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 67‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﺭﺠل ‪M.S‬‬

‫‪. -‬ﻴﺘﻜﻠﻡ ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ‪ ...‬ﺍﻝﻤﺸﻜﻠﺔ ﺍﻝﺤﻘﻴﻘﻴﺔ ﻴﺎﻴﺤﻴﻲ ﺇﻨﻙ‬
‫ﺍﻝﺭﺠل ﻭﺘﻅﻬﺭ ﺇﻀﺎﺀﺓ ﺤﻤﺭﺍﺀ ﻤﺵ ﻫﺎﺘﻤﺜل ﺍﻝﻔﺴﺎﺩ ‪ .‬ﺩﻩ ﻤﺵ ﺤﻭﺍﺭ‬
‫ﺼﻭﺕ ﺍﻝﺭﻋﺩ‬ ‫ﻋﻠﻰ ﻨﺼﻑ ﻭﺠﻬﻪ ﺍﻷﻴﺴﺭ ‪ .‬ﻋﻠﻰ ﺍﻝﻤﺴﺭﺡ ‪ ,‬ﺩﻯ ﺤﻴﺎﺓ ‪ .‬ﺇﻨﺕ‬
‫ﻴﻌﻠﻭ‬ ‫ﻼ ‪ .‬ﻫﺎﺘﺒﻘﻰ ﺘﺎﺠﺭ‬ ‫ﻫﺎﺘﺒﻘﻰ ﻓﺎﺴﺩ ﻓﻌ ﹰ‬
‫ﻼ‪ ,‬ﺒﺱ ﻓﻰ ﺃﻋﻤﻕ ﻤﻜﺎﻥ‬ ‫ﻤﺨﺩﺭﺍﺕ ﻓﻌ ﹰ‬
‫ﻓﻰ ﻋﻘﻠﻙ ﻻﺯﻡ ﻓﻰ ﺍﻝﻨﻬﺎﻴﺔ ‪..‬‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 68‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ C.up‬ﻋﻠﻰ ﻁﺒﻕ‬
‫ﺍﻝﺘﻔﺎﺡ ‪ ,‬ﻭﻴﺩ ﻴﺤﻴﻲ ﺘﻤﺘﺩ ﻝﺘﺄﺨﺫ ‪ ...‬ﺘﻌﺭﻑ ﺇﻨﻙ ﻅﺎﺒﻁ ﺸﺭﻁﺔ ‪.‬‬ ‫‪-‬‬
‫ﺍﻝﺘﻔﺎﺤﺔ ‪ ,‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺤﻭ ﻫﺎﺘﺨﻭﻥ ‪ ,‬ﻭﺘﺴﺭﻕ ﻭﺘﻘﺘل ﻭﺘﻬﺩﺩ‬
‫ﺼﻭﺕ ﻗﻁﻡ‬ ‫ﻴﺤﻴﻲ ﻝﺘﻘﺘﺭﺏ ﻤﻥ ﻓﻤﻪ ﻭﻫﻭ ﻴﻘﻁﻡ ﺍﻝﻤﺠﺘﻤﻊ ﻭﻫﺎﻴﻁﺎﺭﺩﻙ ﺍﻝﺒﻭﻝﻴﺱ‬
‫ﺍﻝﺘﻔﺎﺤﺔ‬ ‫ﻭﺘﻀﺭﺏ ﺍﻝﻨﺎﺭ ﻋﻠﻰ ﺯﻤﻼﺌﻙ ‪...‬‬
‫ﺍﻝﺘﻔﺎﺤﺔ‬
‫ﺍﻝﺤﻘﻴﻘﺔ ﻴﺎﺍﺒﻨﻰ ﺍﻝﻤﻬﻤﺔ ﻤﺵ‬
‫ﺴﻬﻠﺔ ‪.....‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 7‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ ﻴﺤﻴﻲ‬
‫‪ 69‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻹﻁﺎﺭ‬
‫‪ -‬ﺨﺸﺒﻰ ﻤﻔﺭﻍ ‪ ,‬ﺜﻡ ﻋﻠﻰ ﺼﻭﺭﺓ‬
‫ﺩﺨﻭل ﺼﻭﺕ ﺃﻏﻨﻴﺔ ﻗﺩﻴﻤﺔ‬ ‫ﻋﺒﺩ ﺍﻝﺤﻠﻴﻡ ﺤﺎﻓﻅ ‪ ,‬ﺜﻡ ﺘﻨﺯل‬
‫ﻤﻥ ﺭﺍﺩﻴﻭ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ . Tilt down‬ﻭﺘﺭﺘﻔﻊ‬
‫ﺜﺎﻨﻴﺔ ﻋﻠﻰ ﺼﻭﺭﺓ ﻤﺎﺭﻝﻴﻥ ﻤﻭﻨﺭﻭ‬
‫‪ tilt up‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ‬

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‫ﺍﻝﻴﻤﻴﻥ ﻨﺎﺤﻴﺔ ﺴﺎﻋﺔ ﻭﻤﺴﺩﺱ‬

‫ﻭﺼﻭﺭﺓ ﻴﺤﻴﻲ ﻓﻰ ﺯﻴﻪ ﺍﻝﺭﺴﻤﻰ‬
‫ﻭﺃﺒﺎﺠﻭﺭﺓ ﻭﺭﺍﺩﻴﻭ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ‬
‫ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ﻭﻫﻭ ﻋﻠﻰ ﺍﻝﺴﺭﻴﺭ‬
‫ﺼﻭﺕ ﺍﻝﺭﺠل ‪ :‬ﻤﺵ ﻫﺎﺘﺎﺨﺩ ﺃﻤﺎﻡ ﻜل‬ ‫ﻴﺩﺨﻥ ﺴﻴﺠﺎﺭﺓ ‪.‬‬
‫ﺩﻩ ﺇﻻ ﻝﺤﻅﺎﺕ ﻗﻠﻴﻠﺔ ﻤﻥ ﺍﻝﺴﻌﺎﺩﺓ ‪,‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﺼﻭﺕ‬
‫ﻫﺎﺘﺨﻠﻘﻬﺎ ﻝﻨﻔﺴﻙ ﻓﻰ ﺤﻴﺎﺘﻙ ﺍﻝﺠﺩﻴﺩﺓ ‪,‬‬
‫ﺍﻝﺭﻴﺎﺡ‬
‫ﻭﻝﺫﺓ ﺍﻝﻤﻐﺎﻤﺭﺓ ﻭﺨﺩﻤﺔ ﻫﺩﻑ‬
‫ﺴﺎﻤﻰ ‪....‬‬

‫‪ 70‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M .L. S‬‬

‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬ ‫‪-‬‬
‫‪ angle‬ﻝﻴﺤﻴﻲ ﻭﻫﻭ ﻴﺘﻘﻠﺏ ﻓﻰ‬
‫ﺼﻭﺕ ﺤﺭﻜﺔ‬ ‫ﺍﻝﺴﺭﻴﺭ ‪.‬‬
‫ﺍﻝﻐﻁﺎﺀ‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 71‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M .L .S‬‬

‫‪ -‬ﻝﻴﺤﻴﻲ ﻴﺘﺤﺭﻙ ﺍﺭﺒﻊ ﻤﺭﺍﺕ ﻋﻠﻰ‬
‫ﺍﻝﺴﺭﻴﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻨﻔﺱ ﺍﻝﺤﺠﻡ ﺍﻝﺴﺎﺒﻕ ﻭﻫﻭ ﻋﻠﻰ‬ ‫‪72‬‬

‫ﺍﻝﺴﺭﻴﺭ ‪.‬‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 73‬ﻋﻠﻰ ﻨﻔﺱ ﺍﻝﻤﺤﻭﺭ ﻝﻴﺤﻴﻲ ﻭﻫﻭ‬

‫ﻓﻰ ﺍﻝﺴﺭﻴﺭ‬ ‫‪-‬‬

‫ﺼﻭﺕ ﺭﺠل ﺍﻷﻤﻥ ‪ :‬ﺒﺈﺨﺘﺼﺎﺭ ﻫﺎﻴﻌﺎﺩ‬

‫ﺘﺸﻜﻴﻠﻙ ﻤﻥ ﺠﺩﻴﺩ ‪ .‬ﻓﻰ ﺤﻴﺎﺓ ﺠﺩﻴﺩﺓ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﺸﺨﺼﻴﺔ ﻓﺎﺴﺩﺓ ﻤﺨﺘﻠﻔﺔ ﻋﻥ‬
‫ﺸﺨﺼﻴﺘﻙ ﺍﻝﺤﺎﻝﻴﺔ ‪...‬‬

‫ﻤﺸﻬﺩ ) ‪( 8‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺃﺤﺩ ﺍﻝﺴﺠﻭﻥ‬
‫‪ 74‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M.C.S‬‬
‫ﻝﺤﻼﻕ ﺍﻝﺴﺠﻥ ﻴﺤﻠﻕ ﺭﺃﺱ‬ ‫‪-‬‬
‫ﻨﻬﺎﻴﺔ ﺍﻷﻏﻨﻴﺔ ﺍﻝﻘﺩﻴﻤﺔ‬ ‫ﺼﻭﺕ ﻭﻀﻊ‬ ‫ﻴﺤﻴﻲ ‪ .‬ﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻨﻬﻤﺎ ‪ .... .‬ﻭﻫﺎﻨﺩﻓﻊ ﺒﻴﻙ ﺍﻝﻰ ﺃﺭﺽ ﺍﻝﺨﻭﻑ‬
‫ﺍﻝﻤﻭﺴﻰ ﻋﻠﻰ‬ ‫ﺒﺈﺴﻡ ﺤﺭﻜﻰ ﻫﺎﺘﺭﺍﺴﻠﻨﺎ ﺒﻴﻪ ‪ .‬ﺁﺩﻡ ‪.‬‬ ‫‪Track out‬‬
‫ﻭﺇﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﻤﻨﻀﺩﺓ‬ ‫ﺍﻝﺤﻼﻕ ‪ :‬ﻨﻌﻴﻤﹰﺎ ﻴﺎﺃﺒﻭ ﺩﺒﻭﺭﺓ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫)‪(4‬‬

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‫‪ 75‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M. L .S‬‬

‫‪ . -‬ﻝﻴﺤﻴﻲ ﻭﻫﻭ ﻴﺠﺫ ﺍﻝﺤﻼﻕ ﻭﻴﻀﻊ‬
‫ﺭﻗﺒﺘﻪ ﻋﻠﻰ ﺭﻜﺒﺘﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻝﺭﻗﺒﺔ ﺍﻝﺤﻼﻕ‬ ‫‪76‬‬

‫‪ C .up -‬ﻭﻫﻰ ﻋﻠﻰ ﺭﻜﺒﺔ ﻴﺤﻴﻲ‬
‫ﻭﻋﻠﻴﻬﺎ ﺸﻔﺭﺓ ﺍﻝﺤﻼﻗﺔ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻋﺎﺭﻑ ﻝﻭ ﺠﺒﺕ ﺴﻴﺭﺓ ﺍﻹﺴﻡ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﻩ ﺘﺎﻨﻰ ﻋﻠﻰ ﻝﺴﺎﻨﻙ ‪....‬‬

‫‪ 77‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ C. up‬ﻋﻠﻰ ﻭﺠﻪ‬

‫ﻴﺤﻴﻲ ‪ :‬ﻫﺎﺃﻗﺘﻠﻙ ‪.‬‬ ‫ﻴﺤﻴﻲ ‪.‬‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ C .up‬ﻝﺭﻗﺒﺔ‬ ‫‪78‬‬
‫ﺍﻝﺤﻼﻕ ﻭﺒﻬﺎ ﺠﺭﺡ ‪.‬‬ ‫‪-‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﻥ ﻓﻭﻕ ﻜﺘﻑ ﻴﺤﻴﻲ‬ ‫‪79‬‬
‫‪ Amource -‬ﻭﻫﻭ ﻴﺩﻓﻊ ﺒﺎﻝﺤﻼﻕ ﻴﺤﻴﻲ ‪ :‬ﻗﻭﻡ ‪.‬‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻜﺎﻥ ﺍﻝﻤﻁﻠﻭﺏ ﺃﻥ‬ ‫ﻝﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻭﻴﺨﺭﺝ ﻴﺤﻴﻲ ﻝﻴﺩﺨل ﺴﺠﻴﻥ ﺃﻨﺘﺯﻉ ﻨﻔﺴﻰ ﻤﻥ ﺤﻴﺎﺘﻰ ﻭﺃﻫﺎﺠﺭ ﺍﻝﻰ‬
‫ﺃﺭﺽ ﻝﻴﺴﺕ ﺃﻓﻀل ﻭﻻ ﺃﺠﻤل ﻭ‬ ‫ﺃﺨﺭ ‪.‬‬
‫ﺃﻫﺩﻯ ‪ .‬ﻷﻨﻬﺎ ﻻﺘﻨﺒﺕ ﺇﻻ ﺍﻝﺨﻴﺎﻨﺔ‬
‫ﻭﺍﻝﺭﻋﺏ ﻭﺍﻝﺨﻭﻑ ﻭﻫﺫﻩ ﻫﻰ ﺃﺭﺽ‬
‫ﺍﻝﺨﻭﻑ ‪".‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 9‬‬
‫ﻨﻬﺎﺭ‪ /‬ﺨﺎﺭﺠﻰ ﺼﺎﻝﺔ‬
‫ﺍﻝﺒﻠﻴﺎﺭﺩﻭ‬
‫‪80‬‬
‫ﻋﻁﻭﺓ ‪ :‬ﺴﻴﺏ ﺇﻴﺩﻯ ﻭﺃﺨﺭﺝ ﺃﻨﺕ ﻤﻥ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻴﺤﻴﻰ‬
‫ﺍﻝﺤﻜﺎﻴﺔ ‪.‬‬
‫ﻴﻤﺴﻙ ﺒﻴﺩ ﺸﺎﺏ ﻴﺤﻤل ﻤﻁﻭﺍﺓ ‪.‬‬
‫ﻴﺤﻴﻰ ‪ :‬ﻤﺎﻴﺼﺤﺵ ﻴﺎﻋﻁﻭﺓ ! ﺩﻩ ﺸﻐل‬
‫ﺍﻝﺸﺎﺏ ﻴﺩﻓﻊ ﻴﺤﻴﻰ ﻝﻠﺨﻠﻑ‬
‫ﻋﺭﺒﺠﻴﺔ ‪ .‬ﻭﺒﻌﺩﻴﻥ !‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل‬
‫ﻴﺤﻴﻰ ‪ :‬ﺨﻼﺹ ﻴﺎ ﺠﻤﺎﻋﺔ ﻜﻤﻠﻭﺍ ﻝﻌﺏ‬
‫‪ Pan Left‬ﻝﺭﺠل ﻴﻠﻌﺏ ﺒﻠﻴﺎﺭﺩﻭ‬
‫ﻤﺎﻓﻴﺵ ﺤﺎﺠﺔ ‪ ...‬ﻤﺤﻤﻭﺩ ‪ .‬ﻗﺯﺍﺯﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺤﺎﺠﺔ ﺴﺎﻗﻌﺔ‬

‫‪81‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻰ‬
‫ﻴﻌﺘﺩل ﻭﻴﺼﺒﺢ ﻫﻭ ﻭﻋﻁﻭﺓ ﻓﻰ ﻋﻁﻭﺓ ‪ :‬ﺇﺒﻌﺩ ﻋﻨﻰ ﻴﺎﻴﺤﻴﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪M.‬‬
‫ﻴﺤﻴﻰ‪ :‬ﻭﺒﻌﺩﻴﻥ ! ﺒﻼﺵ ﺍﻝﻤﻁﻭﺓ ‪.‬‬ ‫‪S. 2‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫)‪( 4‬‬
‫ﺼﻭﺕ ﻀﺭﺒﺔ‬ ‫‪82‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺩ‬
‫ﺍﻝﻤﻁﻭﺍﺓ‬ ‫ﻋﻁﻭﺓ ﻭﻫﻰ ﺘﻨﺯل ﺒﺎﻝﻤﻁﻭﺍﺓ ﻋﻠﻰ‬
‫ﺼﻭﺕ ﺍﻝﺼﻔﻌﺔ‬ ‫ﻴﺩ ﻴﺤﻴﻰ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 83‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻰ‬
‫ﺼﻭﺕ ﻋﻁﻭﺓ ﻴﻘﻊ‬
‫ﻭﻋﻁﻭﺓ ﻭﻫﻤﺎ ﻴﺘﺸﺎﺠﺭﺍﻥ ‪.‬‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺭﺠل ‪ :‬ﻜﻔﺎﻴﺔ ‪ ..‬ﺍﻝﺤﺭﻓﻨﺔ ﻓﻰ ﺍﻝﻔﺘﻭﻨﺔ‬ ‫‪M.S 84‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .‬ﻝﻴﺤﻴﻰ‬
‫ﺱ ‪ ,‬ﻭﺇﻨﻙ ﺘﺘﺤﻜﻡ‬‫ﻤﺵ ﺇﻨﻙ ﺘﻀﺭﺏ ﻭﺒ ‪‬‬ ‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺍﻝﺭﺠل ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﺼﻭﺕ ﻀﺭﺒﺔ ﻜﻑ‬
‫ﻓﻰ ﻗﻭﺓ ﻀﺭﺒﺘﻙ ‪ .‬ﻭﺇﻻ ﻜﺎﻥ ﻜل ﻓﺘﻭﺓ‬ ‫ﻴﻤﺴﻜﻪ ﻭﻴﻌﻁﻰ ﻝﻪ ﻭﺭﻗﺔ ﻓﻰ ﻴﺩﻩ‬
‫ﺍﻝﺭﺠل ﻋﻠﻰ ﻴﺩ‬
‫ﺒﻘﻰ ﻗﺘﺎل ﻗﺘﻠﺔ ‪ .‬ﺃﻨﺕ ﻝﻴﻙ ﻋﻨﺩﻯ ﺸﻐل‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻰ‬
‫ﻜﻭﻴﺱ ﻗﻭﻯ ‪ .‬ﺨﺴﺎﺭﺓ ﺘﻘﻌﺩ ﻫﻨﺎ ‪ .‬ﺩﻩ‬
‫ﻋﻨﻭﺍﻨﻰ ﻭﺭﻗﻡ ﺘﻠﻴﻔﻭﻨﻰ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 10‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﻠﻬﻰ‬
‫ﻝﻴﻠﻰ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 85‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M. L. S‬‬
‫)‪(5‬‬ ‫ﻝﻌﺭﺒﺔ ﻴﻨﺯل ﻤﻨﻬﺎ ﻴﺤﻴﻰ ‪ .‬ﺜﻡ‬
‫ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺸﻤﺎل ‪Pan‬‬
‫‪ Left‬ﻭﻫﻭ ﻴﺩﺨل ﻤﻥ ﺒﺎﺏ ‪ .‬ﺜﻡ‬
‫ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪tilt Up‬‬
‫ﻝﺘﻅﻬﺭ ﻴﺎﻓﻁﺔ ﻤﻠﻬﻰ " ﺤﻴﺎﺓ ﺍﻝﻠﻴل‬
‫" ﻝﺘﻤﻸ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 11‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺍﻝﺼﺎﻝﺔ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬ ‫‪86‬‬
‫‪ Close up‬ﻝﻴﺤﻴﻰ ﺩﺍﺨل ﺍﻝﺼﺎﻝﺔ‬
‫ﻴﺘﺤﺩﺙ ﻤﻊ ﺃﺤﺩ ﺍﻝﻌﺎﻤﻠﻴﻥ ‪.‬‬
‫ﻭﻴﻘﻭﺩﻩ ﺍﻝﻰ ﺩﺍﺨل ﺍﻝﺼﺎﻝﺔ ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺼﻭﺕ ﺠﻭ ﻋﺎﻡ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪Pan Right‬‬
‫) ‪(5‬‬ ‫ﺍﻝﺼﺎﻝﺔ‬
‫ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﺍﻝﺭﺠل ﺍﻝﺫﻯ‬
‫ﺃﻋﻁﺎﻩ ﺍﻝﻜﺎﺭﺕ ‪ .‬ﻭﻴﺼﺒﺢ ﻓﻰ‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪.L . S‬‬
‫ﻤﻭﺴﻴﻘﻰ ﺍﻝﻤﻠﻬﻰ ﺍﻝﻠﻴﻠﻰ ﻤﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺍﺨل ﺍﻝﻤﻜﺎﻥ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻷﺤﺩ‬ ‫‪87‬‬
‫)‪(6‬‬ ‫ﺍﻝﺴﻜﺎﺭﻯ ﻴﺼﻌﺩ ﻝﻠﺭﺍﻗﺼﺔ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪Pan‬‬
‫‪ . Left‬ﻭﻴﺘﺩﺨل ﻴﺤﻴﻲ ﻭﺃﺤﺩ‬
‫ﻤﺴﺎﻋﺩﻴﻪ ﻓﻰ ﺤﻤل ﺍﻝﺭﺠل ‪ .‬ﺜﻡ‬
‫ﺘﺘﺠﻭل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺍﻝﻤﻜﺎﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﺭﺠﻼﻥ‬ ‫‪88‬‬
‫ﻋﻠﻰ ﻤﻨﻀﺩﺓ ﻴﺘﺸﺎﺠﺭﺍﻥ ﻭﻴﻘﻭﻡ‬
‫ﺭﺠﻼ ﺁﺨﺭ ﻭﻴﻬﺩﺩ ﺍﻷﺨﺭﻴﻥ‬
‫ﺼﻭﺕ ﻜﺴﺭ‬
‫ﺒﺯﺠﺎﺠﺔ ‪ .‬ﺜﻡ ﻴﺄﺘﻰ ﻴﺤﻴﻰ ﻤﻥ‬
‫ﺍﻝﺯﺠﺎﺝ‬
‫ﺨﻠﻔﻪ ﻭﻴﺄﺨﺫﻫﺎ ﻤﻨﻪ ﺜﻡ ﻴﻀﺭﺒﻪ‬
‫ﺒﺎﻝﺭﺃﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻰ‬ ‫‪89‬‬
‫ﻴﻨﺎﺩﻯ ﺃﺤﺩ ﻤﺴﺎﻋﺩﻴﻪ ﻝﻴﺤﻤل‬
‫ﺍﻝﺭﺠل‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 90‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M. L. S‬‬
‫ﻝﺭﺠﻼﻥ ﻴﺤﻤﻼﻥ ﺸﺨﺼﹰﺎ ﻭﻴﻠﻘﻴﺎ‬
‫ﺒﻪ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 91‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺭﺠل‬
‫ﺼﻭﺕ ﻭﻗﻭﻉ‬
‫ﻴﻘﻊ ﻋﻠﻰ ﺍﻷﺭﺽ ﻓﺎﻗﺩ ﺍﻝﻭﻋﻰ‬
‫ﺍﻝﺭﺠل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 92‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M.C.up‬‬
‫ﺼﻭﺕ ﻭﻗﻭﻉ‬ ‫ﻝﺭﺠل ﺃﺨﺭ‬
‫ﺍﻝﺭﺠل‬ ‫ﻴﻘﻊ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 12‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﻤﻠﻬﻰ ﻤﻥ‬
‫ﺍﻝﺨﺎﺭﺝ ﺍﻝﺒﺎﺏ ﺍﻝﺨﻠﻔﻰ‬
‫‪ 93‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﺼﻌﻴﺩﻯ‬
‫ﻴﻘﻊ ﻋﻠﻰ ﺃﺭﺽ ﻤﺒﺘﻠﺔ‬
‫ﺼﻭﺕ ﻨﺒﺎﺡ ﻜﻠﺏ‬ ‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade-out‬‬
‫ﻭﺼﻭﺕ ﻭﻗﻭﻋﻪ ﻤﻭﺴﻴﻘﻰ ﺍﻝﻤﻠﻬﻰ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ‬
‫ﺨﺎﻓﺘﺔ‬
‫)‪(6‬‬
‫ﻤﺸﻬﺩ ) ‪( 13‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﺍﻝﺭﺍﻗﺼﺔ‬
‫ﻤﻭﺴﻴﻘﻰ ﺍﻝﻤﻠﻬﻰ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ‬ ‫‪94‬‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade-out‬‬
‫)‪(6‬‬ ‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close Up‬ﻝﻴﺩ‬
‫ﺘﻠﺒﺱ ﺫﻫﺏ ﻓﻰ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻓﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻴﻭﺠﺩ ﻤﺼﺒﺎﺡ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 95‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻷﺫﻥ‬

‫ﻭﻴﺩ ﺘﻀﻊ ﻗﺭﻁﹰﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﺭﻗﺒﺔ‬ ‫‪96‬‬

‫ﺇﻤﺭﺃﺓ ﺘﻭﻀﻊ ﻋﻠﻴﻬﺎ ﺴﻠﺴﻠﺔ‬
‫ﺫﻫﺒﻴﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 97‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻌﺩﺩ ﻤﻥ‬

‫ﺼﻭﺕ ﺍﻷﺴﺎﻭﺭ‬ ‫ﺍﻷﺴﺎﻭﺭ ﺍﻝﺫﻫﺒﻴﺔ ﺘﻬﺯﻫﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻝﻠﻘﺩﻡ‬ ‫‪98‬‬

‫ﺘﺭﺘﺩﻯ ﺤﺫﺍﺀﹰﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪99‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻠﺭﺍﻗﺼﺔ‬
‫ﻭﻭﺼﻴﻔﺘﻬﺎ ﺘﻅﻬﺭ ﻓﻰ ﺍﻝﻤﺭﺁﺓ ‪ .‬ﺜﻡ ﺍﻝﻭﺼﻴﻔﺔ ‪ :‬ﺇﺴﻡ ﺍﷲ ﻋﻠﻴﻜﻰ ‪ .‬ﺭﻗﻴﺘﻙ‬
‫ﺘﻨﺼﺭﻑ ﻭﺘﻘﻑ ﺍﻝﺭﺍﻗﺼﺔ ﻭﺘﻤﺸﻰ ﻭﺇﺴﺘﺭﻗﻴﺘﻙ ﻤﻥ ﻜل ﺍﻝﻠﻰ ﺸﺎﻓﻭﻜﻰ ‪.‬‬

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‫ﻓﻰ ﺍﻝﻐﺭﻓﺔ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﺭﺍﻗﺼﺔ ‪ :‬ﻫﺎﺘﻴﻠﻰ ﺸﺎﻯ ﻭﺨﻠﻠﻰ ﻴﺤﻴﻰ‬

‫ﻴﻤﻴﻨﹰﺎ ‪ Pan Right‬ﻭﺘﺠﻠﺱ ﻴﺩﺨل ‪.‬‬
‫ﺍﻝﻭﺼﻴﻔﺔ ‪ :‬ﺤﺎﻀﺭ‬ ‫ﻋﻠﻰ ﺃﺭﻴﻜﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 100‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﻭﺼﻴﻔﺔ ﺘﻔﺘﺢ‬

‫ﺍﻝﺒﺎﺏ ﻭﺘﻨﺎﺩﻯ ﻴﺤﻴﻰ ﻭﺘﻐﻠﻕ‬
‫ﺼﻭﺕ ﻏﻠﻕ ﺍﻝﺒﺎﺏ‬ ‫ﺍﻝﻭﺼﻴﻔﺔ ‪ :‬ﺇﺘﻔﻀل ﻴﺎﺴﻰ ﻴﺤﻴﻰ‬
‫ﻭﺭﺍﺀﻩ ﺍﻝﺒﺎﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬ ‫‪ 101‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻴﺤﻴﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻴﺤﻴﻰ‬ ‫ﺍﻝﺭﺍﻗﺼﺔ ‪ :‬ﻫﺎﻩ ‪ ..‬ﺁﻴﻪ ﺍﻷﺨﺒﺎﺭ ؟‬ ‫ﻭﺍﻝﺭﺍﻗﺼﺔ ﺘﺠﻠﺱ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻴﺤﻴﻰ ‪ :‬ﺍﻝﺼﺎﻝﺔ ﻜﻭﻤﺒﻴﻠﻴﻪ ﻭﺍﻝﺠﻴﻭﺏ‬ ‫ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ ﻭﻫﻭ ﺃﻤﺎﻤﻬﺎ ‪ .‬ﺜﻡ‬
‫ﻤﻠﻴﺎﻨﺔ ﻋﺎﻵﺨﺭ ‪.‬‬ ‫ﻴﺨﺭﺝ ﻋﻠﺒﺔ ﺴﺠﺎﺌﺭ ﻤﻥ ﺠﻴﺒﻪ‬
‫ﺍﻝﺭﺍﻗﺼﺔ ‪ :‬ﻝﻔﻠﻰ ﺴﻴﺠﺎﺭﺓ ‪ ..‬ﻗﻭل ﻝﻬﻡ‬ ‫ﻭﻴﻌﻁﻴﻬﺎ ﺴﻴﺠﺎﺭﺓ ﺜﻡ ﻴﺨﺭﺝ‬
‫ﺼﻭﺕ ﺍﻝﻭﻻﻋﺔ‬ ‫ﻴﺸﻬﻠﻭﺍ ﻝﺴﻪ ﻗﺩﺍﻤﻨﺎ ﺨﻤﺱ ﻨﻤﺭ‬ ‫ﻭﻻﻋﺔ ﻭﻴﺸﻌل ﺍﻝﺴﻴﺠﺎﺭﺓ‬
‫ﻴﺤﻴﻰ ‪ :‬ﻋﻴﻨﻴﺎ ‪ ..‬ﻤﻠﻔﻭﻓﺔ ﺁﻫﻪ ﻭﺠﺎﻫﺯﺓ‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 102‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻴﺤﻴﻰ ﻴﻐﺎﺩﺭ‬

‫ﺍﻝﻐﺭﻓﺔ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺭﻙ‬
‫ﺍﻝﺭﺍﻗﺼﺔ ‪ ,‬ﺍﻝﺘﻰ ﺘﻘﻭﻡ ﺒﻀﺒﻁ‬
‫ﻤﻼﺒﺴﻬﺎ ﻭﺸﻌﺭﻫﺎ ﻭﻓﻰ ﻓﻤﻬﺎ‬
‫ﺍﻝﺴﻴﺠﺎﺭﺓ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻰ ‪ :‬ﺒﺎﻹﺫﻥ ‪...‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫)‪(6‬‬
‫ﻤﺸﻬﺩ ) ‪( 14‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻤﺭ ﻏﺭﻓﺔ‬
‫ﺍﻝﺭﺍﻗﺼﺔ‬
‫ﺍﻝﺭﺠل ‪ :‬ﺍﻝﺒﺎﺸﺎ ﻋﺎﻴﺯ ﻴﺴﻠﻡ ﻋﺎﻝﺴﺕ‬ ‫‪ 103‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻴﺤﻴﻰ‬
‫ﺭﺒﺎﺏ‪.‬‬ ‫ﻴﻘﻑ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﺘﺩﺨل ﻋﻠﻴﻪ‬
‫ﺱ ﺃﻨﺕ ﻋﺎﺭﻑ ﺇﻥ ﺍﻝﺴﺕ‬ ‫ﻴﺤﻴﻰ ‪ :‬ﺒ ‪‬‬ ‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻨﺎﺱ ﻴﺘﻘﺩﻤﻬﻡ‬
‫ﺭﺒﺎﺏ ﻤﺎﺒﺘﺴﺘﻘﺒﻠﺵ ﺯﻭﺍﺭ ﻓﻰ ﺃﻭﻀﺘﻬﺎ‬ ‫ﺭﺠل ﻀﺨﻡ‬
‫ﺍﻝﺭﺠل ‪ :‬ﺩﻩ ﺍﻝﺒﺎﺸﺎ ﺩﺍﻓﻊ ‪ 200‬ﺃﻝﻑ ﻓﻰ‬ ‫ﻭﻴﻅﻬﺭ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﺍﻝﺭﺠل ﺍﻝﻜﺒﻴﺭ‬
‫ﺍﻝﻤﺤل ﺩﻩ ‪ .‬ﺒﺱ ﺃﻨﺕ ﻋﺎﺭﻑ ﺃﻨﻪ‬ ‫ﻭﻤﻌﻪ ﺃﺤﺩ ﻤﺴﺎﻋﺩﻴﻪ ﻴﺸﻌل ﻝﻪ‬
‫ﺒﻴﺩﻓﻊ ﻓﻰ ﻜل ﺍﻝﻤﺤﻼﺕ ﺍﻝﻠﻰ ﻫﻰ‬ ‫ﺴﻴﺠﺎﺭﺓ‬
‫ﺒﺘﺭﻗﺹ ﻓﻴﻬﺎ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺱ ﺩﻯ ﺃﻭﺍﻤﺭ ﺍﻝﺴﺕ‬ ‫ﻴﺤﻴﻰ ‪ :‬ﺁﻩ ﺒ ‪‬‬
‫ﺭﺒﺎﺏ ‪.‬‬
‫ﺍﻝﺭﺠل ‪ :‬ﻁﺏ ﻗﻭﻝﻬﺎ ‪.‬‬
‫ﻴﺤﻴﻰ ‪ :‬ﺩﻯ ﺃﻭﺍﻤﺭﻫﺎ ‪.‬‬
‫ﺍﻝﺭﺠل ﺍﻝﻜﺒﻴﺭ ‪ :‬ﻓﻴﻪ ﺁﻴﻪ ﻴﺎﺠﻼل ؟‬
‫ﺠﻼل ‪ :‬ﻷ ﻤﺎﻓﻴﺵ ﺤﺎﺠﺔ‬

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‫ﻴﺎﺒﺎﺸﺎ ‪....‬ﺇﺘﻔﻀل ﻤﻌﺎﻴﺎ ﻝﺤﺩ ﻤﺎﺘﻐﻴﺭ‬

‫ﻫﺩﻭﻤﻬﺎ‪.‬‬

‫‪ 104‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M.‬‬

‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻜﺎﻥ ﺒﺴﻴﻭﻨﻰ ﺃﺒﻭ‬
‫‪ Close up‬ﻝﻭﺠﻪ ﺍﻝﺭﺠل ﺍﻝﻜﺒﻴﺭ‬
‫ﺼﺒﺎﻉ ﻤﻥ ﺃﻜﺒﺭ ﺘﺠﺎﺭ ﺍﻝﺼﻨﻑ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 105‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻜﻤﺎ ﻓﻰ‬
‫)‪(7‬‬ ‫ﺘﻜﻭﻴﻥ ﻝﻘﻁﺔ ﺭﻗﻡ ‪ 102‬ﻴﻨﺼﺭﻑ‬
‫ﺍﻝﺭﺠﺎل ﺨﺎﺭﺝ ﺍﻝﻐﺭﻓﺔ ‪ .‬ﻭﻴﺴﺘﺩﻴﺭ‬
‫ﻴﺤﻴﻰ ﺤﺘﻰ ﻴﺼﺒﺢ ﻅﻬﺭﻩ ﺼﻭﺕ ﻴﺤﻴﻰ ‪ " :‬ﻝﻡ ﺃﺤﺒﻪ ﻷﻨﻪ ﻜﺎﻨﺕ‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ .‬ﺜﻡ ﻴﺭﺠﻊ ﺒﺭﻭﻓﻴل ﺸﻬﺭﺘﻪ ‪ ,‬ﺃﻨﻪ ﻜﺎﻥ ﻋﻨﻴﻑ ﻭﻗﺎﺘل ﻭﻗﺎﺭﺩ‬
‫ﻋﻠﻰ ﺇﺯﺍﺤﺔ ﺃﻯ ﻋﻘﺒﺔ ﻓﻰ ﻁﺭﻴﻘﻪ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﻤﺠﺭﺩ ﺘﺤﺭﻴﻙ ﺇﺼﺒﻌﻪ ﺫﻭ ﺍﻝﺨﺎﺘﻡ‬
‫ﺍﻝﻤﺎﺴﻰ ‪".‬‬

‫ﻤﺸﻬﺩ ) ‪( 15‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻥ ﺩﺍﺨل‬
‫ﺴﻴﺎﺭﺓ ﺭﺒﺎﺏ‬

‫‪ 106‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﺭﺒﺎﺏ‬

‫ﻓﻰ ﺍﻝﻤﻘﻌﺩ ﺍﻝﺨﻠﻔﻰ ﻓﻰ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻭﻫﻰ ﺘﻨﻅﺭ ﺨﻠﻔﻬﺎ‬
‫ﺼﻭﺕ ﺍﻝﺸﺎﺭﻉ‬ ‫ﺭﺒﺎﺏ ‪ :‬ﻓﻴﻪ ﻋﺭﺒﻴﺔ ﻭﺭﺍﻨﺎ‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 107‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬

‫‪ Close Up‬ﻝﻴﺤﻴﻰ ﻤﻥ ﺯﺍﻭﻴﺔ ‪4‬‬
‫‪3/‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﺘﻨﻴﻥ ﺒﻴﺴﺤﺒﻭﺍ ﻋﻠﺸﺎﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﺼﻠﻭﻨﺎ ‪.‬‬

‫‪ 108‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪Extreme‬‬

‫‪ Long Shot‬ﻝﺜﻼﺙ ﺴﻴﺎﺭﺍﺕ‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ﻓﻰ ﺍﻝﺸﺎﺭﻉ‬
‫ﻭﻴﺴﻴﺭﻭﻥ ﺒﺴﺭﻋﺔ‬
‫ﺼﻭﺕ ﺍﻝﺴﻴﺎﺭﺍﺕ‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 109‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻲ‬

‫ﻭﺍﻝﺴﺎﺌﻕ ﻭﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﺭﺒﺎﺏ‬
‫ﻭﻭﺼﻴﻔﺘﻬﺎ ﻭﺍﻝﺤﺎﺭﺱ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﻗﻔﻠﻭﺍ ﺍﻹﺒﻭﺍﺏ ‪ ..‬ﻭﺇﺫﺍ ﻗﺩﺭﺕ‬

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‫ﻴﺎﻋﻡ ﺴﻌﻴﺩ ﺘﻬﺭﺏ ﺇﻫﺭﺏ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 110‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻠﺴﻴﺎﺭﺍﺕ‬

‫ﺍﻝﺜﻼﺙ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫‪ Angle‬ﻴﺤﻴﻁﻭﻥ ﺒﺴﻴﺎﺭﺓ ﺭﺒﺎﺏ‬
‫ﻭﻴﻘﻔﻭﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 111‬ﻨﻔﺱ ﺯﺍﻭﻴﺔ ﻝﻘﻁﺔ ﺭﻗﻡ ‪ 107‬ﻴﻨﺯل‬

‫ﻴﺤﻴﻲ ﻤﻥ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺎﻝﻜﻭﺵ ﺩﻋﻭﺓ ﺒﻴﻪ ‪ ...‬ﻫﺎﻩ‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 112‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬

‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﻴﺤﻴﻰ‬
‫ﺨﺎﺭﺝ ﺍﻝﺴﻴﺎﺭﺓ ﻭﻜﺫﻝﻙ ﺍﻝﺭﺠﺎل ﻤﻥ‬
‫ﺍﻝﺴﻴﺎﺭﺍﺕ ﺍﻝﺜﻼﺙ ‪.‬‬
‫ﺼﻭﺕ ﻓﺘﺢ ﻭﻏﻠﻕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺃﺒﻭﺍﺏ ﺍﻝﺴﻴﺎﺭﺍﺕ‬

‫‪ 113‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻋﻠﻰ ﻤﻘﺒﺽ‬

‫ﺒﺎﺏ ﺍﻝﺴﻴﺎﺭﺓ ﺍﻝﻤﻭﺠﻭﺩ ﺒﻬﺎ‬
‫ﺒﺴﻴﻭﻨﻰ ﻭﺘﻔﺘﺢ ﻭﻴﺨﺭﺝ ﻤﻨﻬﺎ‬
‫ﺒﺴﻴﻭﻨﻰ ﻭﻴﺼﺒﺢ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻭﻴﺤﻴﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬

‫ﻴﺤﻴﻰ ‪ :‬ﻤﺴﺎﺀ ﺍﻝﺨﻴﺭ ﻴﺎﺒﺴﻴﻭﻨﻰ ﺒﻴﻪ !‬

‫ﻴﻬﻡ ﺒﺴﻴﻭﻨﻰ ﻝﻠﺫﻫﺎﺏ ﺍﻝﻰ ﺴﻴﺎﺭﺓ ﺒﺴﻴﻭﻨﻰ ‪ :‬ﺃﻨﺕ ﻤﺎﺘﻌﺭﻓﺵ ﺃﻨﺎ ﻤﻴﻥ ﻭ ﹶﻻ‬
‫ﺭﺒﺎﺏ ﻭﻴﻌﺘﺭﻀﻪ ﻴﺤﻴﻰ‪ .‬ﻭﻴﺨﺭﺝ ﺁﻴﻪ ؟‬
‫ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ ﻴﺤﻴﻲ ﺒﻤﻔﺭﺩﻩ ﺭﺠل ‪ :‬ﺍﻝﻠﻰ ﻤﺎﻴﻌﺭﻓﺵ ﻴﺎﺒﺎﺸﺎ ﻴﺴﺄل‬
‫ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺠﻪ ﻨﺎﺤﻴﺔ ﺭﺠﺎل ﻭﺍﻝﻠﻰ ﻴﺴﺄل ﻤﺎﻴﺘﻭﻫﺵ ‪..‬‬
‫ﻴﺤﻴﻰ ‪ :‬ﻓﻴﻪ ﺁﻴﻪ ﺒﺱ ﻴﺎﺒﺴﻴﻭﻨﻰ ﺒﻴﻪ؟‬ ‫ﺒﺴﻴﻭﻨﻰ‬
‫ﺒﺴﻴﻭﻨﻰ ‪ :‬ﺇﺒﻌﺩ ﻴﺎﻻ ‪ .‬ﺃﻨﺎ ﻋﺎﺯﻡ ﺍﻝﺴﺕ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﻨﺩﻯ ؟‬
‫ﻴﺤﻴﻰ ‪ :‬ﺍﻝﺴﺕ ﻤﺵ ﻫﺎﺘﻨﺯل‬
‫ﺒﺴﻴﻭﻨﻰ ‪ :‬ﺒﺄﻤﺎﺭﺓ ﺁﻴﻪ ؟‬
‫ﻴﺤﻴﻰ ‪ :‬ﺒﺄﻤﺎﺭﺓ ﺇﻨﻰ ﺤﺎﺭﺴﻬﺎ ‪.‬‬
‫ﺒﺴﻴﻭﻨﻰ ‪ :‬ﺁﻩ ‪...‬ﻁﺏ ﺒﺎﻝﺴﻼﻤﺔ‬

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‫‪ 114‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻴﺤﻴﻰ‬

‫ﻴﻀﺭﺏ ﺃﺤﺩ ﺭﺠﺎل ﺒﺴﻴﻭﻨﻰ ﻓﻰ‬
‫ﺭﻜﺒﺘﻪ‬
‫ﺼﻭﺕ ﺍﻝﺭﻜﻼﺕ‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 115‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻴﺤﻴﻰ‬

‫ﻴﻀﺭﺏ ﻨﻔﺱ ﺍﻝﺭﺠل ﻓﻰ ﻭﺠﻬﻪ ‪.‬‬
‫ﺜﻡ ﻴﺩﺨل ﻋﻠﻰ ﺍﻝﺜﺎﻨﻰ ﻭﻴﻀﺭﺒﻪ ﻓﻰ‬
‫ﺴﺎﻗﻪ ﺜﻡ ﻴﺘﺤﺎﺸﻰ ﻀﺭﺒﺔ ﻤﻥ‬
‫ﺍﻝﺭﺠل ﺍﻝﺜﺎﻝﺙ ﻭﻴﺭﺩﻩ ﺒﺄﺨﺭﻯ ‪ ,‬ﺜﻡ‬
‫ﻴﻘﻑ ﺍﻝﺭﺠل ﺍﻷﻭل‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 116‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻠﺭﺠل‬

‫ﺍﻷﻭل ﻴﻀﺭﺏ ﻴﺤﻴﻲ ‪ ,‬ﻭﻝﻜﻥ‬
‫ﻴﺤﻴﻰ ﻴﻤﺴﻜﻪ ﻤﻥ ﻴﺩﻩ ﻭﻴﻜﺴﺭﻫﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 117‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L. S‬‬

‫‪ .‬ﻝﻴﺤﻴﻰ ﻴﻀﺭﺏ ﺍﻝﺭﺠل ﻋﻠﻰ‬
‫ﺼﺩﺭﻩ ﻭﻴﻘﻊ ‪ .‬ﺜﻡ ﻴﺘﺠﻪ ﻨﺤﻭ‬
‫ﺒﺴﻴﻭﻨﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 118‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﺒﺴﻴﻭﻨﻰ‬

‫ﻴ‪‬ﺨﺭﺝ ﻤﺴﺩﺴﻪ ﻤﻥ ﺠﻴﺒﻪ‬
‫ﻭﻴﺼﻭﺒﻪ ﻨﺤﻭ ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 119‬ﻨﻔﺱ ﺤﺠﻡ ﻝﻘﻁﺔ ‪ 115‬ﻴﺤﻴﻰ‬

‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺒﺴﻴﻭﻨﻰ ﺸﻤﺎل‬
‫ﻜﺎﺩﺭ ‪ .‬ﻭﻓﻰ ﻻﺨﻠﻔﻴﺔ ﺍﻝﺭﺠﺎل‬
‫ﻴﻘﻔﻭﻥ ﻤﻥ ﻋﻠﻰ ﺍﻷﺭﺽ ‪.‬‬
‫ﻭﺒﺴﻴﻭﻨﻰ ﻴﺼﻭﺏ ﺍﻝﻤﺴﺩﺱ ﻨﺤﻭ‬

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‫ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﺒﺴﻴﻭﻨﻰ ‪ :‬ﺇﺘﺤﺭﻙ ﻤﻥ ﻗﺩﺍﻤﻰ ﻴﺎﻝﻪ‬

‫‪ 120‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻴﺤﻴﻰ‬

‫ﻴﻨﻅﺭ ﻝﺒﺴﻴﻭﻨﻰ ﻭﺍﻝﻤﺴﺩﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 121‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻴﺩ‬

‫ﺒﺴﻴﻭﻨﻰ ﻤﻤﺴﻜﺔ ﺒﺎﻝﻤﺴﺩﺱ ﻭﻫﻭ‬
‫ﻴﺨﻔﻀﻬﺎ ﻷﺴﻔل‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 122‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻨﻔﺱ‬

‫ﺤﺠﻡ ﻝﻘﻁﺔ ‪118‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 123‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻨﺼﻑ‬

‫ﻭﺠﻪ ﻴﺤﻴﻲ ﺍﻷﻴﻤﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 124‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ‬

‫ﻭﺠﻪ ﺒﺴﻴﻭﻨﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 125‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬‬

‫ﻝﻠﻤﺴﺩﺱ ﺘﻨﻁﻠﻕ ﻤﻨﻪ ﺭﺼﺎﺼﺔ‬
‫ﺼﻭﺕ ﻁﻠﻘﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺭﺼﺎﺼﺔ‬

‫‪ 126‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻝﺭﻜﺒﺔ‬

‫ﻴﺤﻴﻰ ﻭﺍﻝﻁﻠﻘﺔ ﺘﺼﻴﺒﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 127‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻝﻭﺠﻪ‬

‫ﻴﺤﻴﻲ ﻭﻫﻭ ﻤﺘﺄﺜﺭ ﻤﻥ ﺍﻝﻀﺭﺒﺔ ‪.‬‬

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‫ﻭﻴﺨﺭﺝ ﻤﻥ ﺃﺴﻔل ﺍﻝﻜﺎﺩﺭ‬

‫ﻗﻁﻊ ‪Cut‬‬

‫ﺼﻭﺕ ﺍﻝﻤﺤﺎﻤﻰ‪ :‬ﺒﺴﻴﻭﻨﻰ ﺒﻴﻪ ﻋﺭﻑ‬

‫ﺃﻗﻭﺍﻝﻜﻡ ﻓﻰ ‪...‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫)‪(7‬‬
‫ﻤﺸﻬﺩ ) ‪( 16‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ‬
‫ﻤﺴﺘﺸﻔﻰ‬
‫‪ 128‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻋﻠﻰ‬
‫ﺤﻘﻴﺒﺔ ﻤﻠﻴﺌﺔ ﺒﻨﻘﻭﺩ ﻗﺩﻴﻤﺔ ‪ .‬ﺜﻡ‬
‫ﺍﻝﻤﺤﺎﻤﻰ ‪ :‬ﺍﻝﻨﻴﺎﺒﺔ ‪.‬ﺇﻨﻜﻡ ﻤﺎﺘﻌﺭﻓﻭﺵ‬
‫ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪Tilt up‬‬
‫ﻤﻴﻥ ﻀﺭﺏ ﺍﻝﻨﺎﺭ ‪ ,‬ﻭﻫﻭ ﺒﻴﺸﻜﺭﻜﻡ‬
‫ﻋﻠﻰ ﻭﺠﻪ ﺍﻝﻤﺤﺎﻤﻰ ‪ .‬ﺜﻡ ﻴﻘﻭﻡ‬
‫ﻭﺒﻴﻘﻭل ﻤﺴﻴﺭ ﺍﻝﻌﺩﺍﻭﺓ ﺘﺒﻘﻰ ﻤﺤﺒﺔ ‪..‬‬
‫ﻭﻴﺘﺠﻪ ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ﺍﻝﺠﺎﻝﺱ ﻋﻠﻰ‬
‫ﻭﺩﻯ ﻫﺩﻴﺔ ﻝﻸﺥ ﻴﺤﻴﻰ ‪.‬‬
‫ﺍﻝﺴﺭﻴﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 129‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻰ‬
‫ﻭﺭﺒﺎﺏ ﻋﻠﻰ ﺍﻝﺴﺭﻴﺭ ﻓﻰ ﺸﻤﺎل‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﺘﻔﻀل ﺇﺭﺘﺎﺡ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﺍﻝﻤﺤﺎﻤﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 130‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻰ ﻴﺤﻴﻰ ‪ :‬ﻗﻭل ﻝﻠﻤﻌﻠﻡ ﺒﺴﻴﻭﻨﻰ ﻤﺤﺼﻠﺵ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺭﺒﺎﺏ ﺸﻤﺎل ﻜﺎﺩﺭ ﺤﺎﺠﺔ ‪ ,‬ﻭﺇﺫﺍ ﻜﺎﻥ ﻋﻠﻰ ﺭﺠﻠﻰ ﻓﺩﺍﻩ ‪.‬‬
‫ﻭﺇﺫﺍ ﻜﺎﻥ ﻋﺎﻴﺯ ﻴﻀﺭﺏ ﺭﺠﻠﻰ ﺍﻝﺘﺎﻨﻴﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺃﻨﺎ ﺘﺤﺕ ﺍﻤﺭﻩ ‪.‬‬
‫‪ 131‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻠﺭﺠل‬
‫ﺍﻝﻤﺤﺎﻤﻰ ‪ :‬ﻗﺼﺩﻙ ﺁﻴﻪ ؟‬ ‫ﻴﻌﺩل ﺭﺍﺒﻁﺔ ﻋﻨﻘﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 132‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻰ ﻴﺤﻴﻲ ‪ :‬ﻤﺎﻗﺼﺩﺘﺵ ﺤﺎﺠﺔ ﻴﺎﻤﺘﺭ ‪ ,‬ﺩﻯ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺭﺒﺎﺏ ﺸﻤﺎل ﻜﺎﺩﺭ ﺤﺎﺠﺔ ﺘﺎﻓﻬﺔ ‪ ,‬ﻭﻋﺩﺕ ﻋﻠﻰ ﺨﻴﺭ‬
‫ﻭﻤﺎﻴﺼﺤﺵ ﻨﻘﻠﻕ ﺒﺴﻴﻭﻨﻰ ﺒﻴﻪ‪ ...‬ﻭ ﹶﻻ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺁﻴﻪ ؟‬
‫‪ 133‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻠﺭﺠل‬
‫ﺍﻝﻤﺤﺎﻤﻰ ‪ :‬ﻁﺏ ﺃﺴﺘﺄﺫﻥ ﺃﻨﺎ ‪..‬‬ ‫ﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 134‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﺭﺒﺎﺏ‬

‫ﺭﺒﺎﺏ ‪ :‬ﻴﺨﺭﺏ ﺒﻴﺕ ﺃﻫﻠﻙ ﺩﻭل ﻋﺸﺭ‬
‫ﺘﻐﻠﻕ ﺍﻝﺒﺎﺏ ﻭﺭﺍﺀ ﺍﻝﻤﺤﺎﻤﻰ ‪ .‬ﺜﻡ‬
‫ﺘﻼﻑ ﺠﻨﻴﻪ ‪ ..‬ﻗﻭل ﻝﻰ ﻴﺎﻴﺤﻴﻰ ﺃﻨﺕ‬
‫ﺘﺘﺠﻪ ﺍﻝﻰ ﻴﺤﻴﻲ ‪ .‬ﻭﻫﻭ ﺒﺭﻓﻴل ﻓﻰ‬
‫ﻝﻴﻪ ﻤﺎﺒﻠﻐﺘﺵ ﺍﻝﻨﻴﺎﺒﺔ ﻋﻥ ﺒﺴﻴﻭﻨﻰ ؟‬
‫ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﺭﺒﺎﺏ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻫﺎﻴﻔﻴﺩ ﺒﺈﻴﻪ ﺒﺱ ﻴﺎﺴﺕ‬
‫ﺭﺒﺎﺏ ‪ ,‬ﺩﻩ ﻤﻤﻜﻥ ﻴﻀﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 17‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ ﻤﻥ‬
‫ﺩﺍﺨل ﺴﻴﺎﺭﺓ‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺴﻴﺎﺭﺓ‬ ‫‪135‬‬
‫ﺤﻤﺭﺍﺀ ﻗﺩﻴﻤﺔ ﺘﺩﺨل ﺤﺘﻰ ﻴﺼﺒﺢ‬
‫ﺭﺒﺎﺏ ‪ :‬ﻭﺼل ﻴﺤﻴﻲ ﻝﺒﻴﺘﻪ ‪..‬‬ ‫ﻴﺤﻴﻲ ﻭﺭﺒﺎﺏ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﺭﺒﺎﺏ‬ ‫‪136‬‬
‫ﻤﻥ ﺍﻝﺠﺎﻨﺏ ﺍﻵﺨﺭ ﻝﻠﺴﻴﺎﺭﺓ ﻭﻫﻰ‬
‫ﺘﺼﻌﺩ ﺍﻝﻰ ﺩﺍﺨل ﺍﻝﺴﻴﺎﺭﺓ ﺍﻝﺜﺎﻨﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺩ‬ ‫‪137‬‬
‫ﺭﺒﺎﺏ ‪ :‬ﺃﻨﺕ ﺃﺘﺠﻭﺯﺕ ﻗﺒل ﻜﺩﺓ ؟‬ ‫ﺭﺒﺎﺏ ﻋﻠﻰ ﺴﺎﻕ ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺎﺤﺼﻠﺵ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺭﺒﺎﺏ‬ ‫‪138‬‬
‫ﺭﺒﺎﺏ ‪ :‬ﺃﻨﺎ ﺒﻘﻰ ﺍﺘﺠﻭﺯﺕ ‪ ..‬ﻜﺎﻥ‬ ‫ﻭﻴﺤﻴﻰ ﻜﻤﺎ ﻓﻰ ﻝﻘﻁﺔ ‪136‬‬
‫ﻋﻨﺩﻯ ‪ 15‬ﺴﻨﺔ ‪ ,‬ﻫﺭﺒﺕ ﺒﻌﺩ ﺴﻨﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﺍﺤﺩﺓ ﻭﻗﻠﺕ ﻷﻤﻰ ﻤﺵ ﻫﺎﺘﺸﻭﻓﻰ‬
‫ﻭﺸﻰ ﺇﻻﻝﻤﺎ ﺘﺠﻴﺒﻰ ﻝﻰ ‪....‬‬
‫‪ 139‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ ﺼﻭﺕ ﺭﺒﺎﺏ ‪ :‬ﻭﺭﻗﺘﻰ ‪ ..‬ﻭﻤﺎﺘﺕ ﻗﺒل‬
‫ﻤﺎ ﻴﻁﻠﻘﻨﻰ ‪.‬‬ ‫ﻴﺴﺘﻤﻊ ﻝﺭﺒﺎﺏ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻭﺒﻌﺩﻴﻥ !‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 140‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪ M .Close‬ﺭﺒﺎﺏ ‪ :‬ﺇﺸﺘﻐﻠﺕ ﻓﻰ ﺍﻝﻜﺎﺭ ﻭﺍﻝﻔﻠﻭﺱ‬
‫‪ up‬ﻝﺭﺒﺎﺏ ﺘﻜﻤل ﺤﺩﻴﺜﻬﺎ ﻝﻌﺒﺕ ﻓﻰ ﺇﻴﺩﻯ ‪...‬ﺩﻓﻌﺕ ﻝﻪ ‪500‬‬
‫ﺠﻨﻴﻪ ﻭﻁﻠﻘﻨﻰ ‪ ..‬ﻭﻤﻥ ﻴﻭﻤﻬﺎ ﻭﺃﻨﺎ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﺄﺨﺎﻑ ﻤﻥ ﺍﻝﺠﻭﺍﺯ ‪.‬‬
‫‪ 141‬ﻝﻘﻁﻰ ﻗﺭﻴﺒﺔ ﻝﻴﺩ‪Close up‬‬
‫ﻴﺤﻴﻰ ﻓﻭﻕ ﻴﺩ ﺭﺒﺎﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 142‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . .M . S‬ﺭﺒﺎﺏ ‪ :‬ﺍﻨﺕ ﻋﺎﺭﻑ ﻴﺎﻴﺤﻴﻲ ﺃﻨﺎ‬
‫ﺍﺸﺘﺭﻴﺕ ﻤﻭﻻﻥ ﺭﻭﺝ ﻤﻥ ﺘﻼﺕ‬ ‫ﻝﺭﺒﺎﺏ‬
‫ﺸﻬﻭﺭ ‪ ,‬ﻭﺍﻝﺘﺠﻬﻴﺯﺍﺕ ﻗﺭﺒﺕ ﺘﺨﻠﺹ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﻫﺎﺃﻓﺘﺢ ﻋﻠﻰ ﺃﻭل ﺍﻝﺼﻴﻑ ‪ ..‬ﻋﺎﻴﺯﺍﻙ‬
‫ﺘﺒﻘﻰ ﻤﺩﻴﺭﻩ ‪.‬‬
‫‪ 143‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .‬‬
‫ﺱ ‪...‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺒ ‪‬‬ ‫‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 144‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ M .‬ﺭﺒﺎﺏ ‪ :‬ﺇﺴﻤﻊ ﻝﻭ ﻋﺎﻴﺯ ﺘﺘﺠﻭﺯﻨﻰ‬
‫ﺍﻝﻌﺼﻤﺔ ﻫﺎﺘﺒﻘﻰ ﻓﻰ ﺇﻴﺩﻱ ‪ ..‬ﻭﺃﻨﺕ‬ ‫‪ Close up‬ﻝﺭﺒﺎﺏ‬
‫ﺃﻜﺘﺭ ﻭﺍﺤﺩ ﻋﺎﺭﻑ ﺴﻴﺭﻯ ﻭﺴﻠﻭﻜﻰ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 145‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫ﻴﺤﻴﻰ ‪ :‬ﻋﺎﻴﺯﺓ ﺘﺘﺠﻭﺯﻴﻨﻰ ﻋﻠﺸﺎﻥ ﺃﺒﻘﻰ‬ ‫‪ Close up‬ﻝﻴﺤﻴﻲ‬

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‫ﺍﻝﻤﺩﻴﺭ !‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫ﺭﺒﺎﺏ ‪ :‬ﻴﺤﻴﻲ ﻋﺎﻴﺯﺓ ﺃﺘﺠﻭﺯﻙ ﻋﻠﺸﺎﻥ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M.‬‬ ‫‪146‬‬
‫ﻴﺒﻘﻰ ﻝﻴﺎ ﺭﺍﺠل ﺃﺘﺴﻨﺩ ﻋﻠﻴﻪ ﻭﺃﻨﺕ‬ ‫‪ Close up‬ﻝﺭﺒﺎﺏ‬
‫ﺭﺍﺠل ﺠﺩﻉ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .‬‬ ‫‪147‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺎﺃﻫﻭ ﺃﻨﺎ ﻤﻌﺎﻜﻰ ﻜﺩﻩ ﻜﺩﻩ ‪..‬‬
‫‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﺍﻨﺎ ﻤﻌﺎﻜﻰ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .‬‬ ‫‪148‬‬
‫ﺭﺒﺎﺏ ‪ :‬ﻴﺎﺃﺨﻰ ﺃﻨﺎ ﺒﺤﺒﻙ ﻝﺴﻪ‬
‫‪ Close up‬ﻝﺭﺒﺎﺏ ﺘﻔﺘﺢ ﺍﻝﺒﺎﺏ‬
‫ﻤﺎﻓﻬﻤﺘﺵ ﻴﺎﺃﺒﻥ ﺍﻝﻐﺒﻴﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .‬‬ ‫‪149‬‬
‫)‪(8‬‬ ‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻝﻡ ﺃﺤﺏ ﺭﺒﺎﺏ‬ ‫‪ Close up‬ﻝﻭﺠﻪ ﻴﺤﻴﻲ‬
‫ﻭﻝﻜﻨﻨﻰ ﺃﺭﺩﺕ ﺒﺸﺩﺓ ﺍﻥ ﺃﺘﺯﻭﺠﻬﺎ ‪,‬‬ ‫ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ‬
‫ﺼﻭﺕ ﻓﺘﺢ ﻭﻏﻠﻕ‬
‫ﻭﻤﻨﺫ ﺘﻠﻙ ﺍﻝﺤﻅﺔ ﺃﺩﺭﻜﺕ ﺃﻥ ﻴﺤﻴﻲ‬ ‫ﻭﺠﻬﻪ ‪Tracking‬‬
‫ﺒﺎﺏ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﺍﻝﻤﻨﻭﺍﺩﻯ ﻝﻡ ﻴﺤﺒﻬﺎ ‪ ,‬ﻭﻝﻜﻥ ﻴﺤﻴﻲ ﺃﺒﻭ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺒﻭﺭﺓ ﻫﻭ ﺍﻝﺫﻯ ﺃﺭﺍﺩ ﺃﻥ ﻴﺘﺯﻭﺠﻬﺎ ‪" .‬‬

‫ﻤﺸﻬﺩ ) ‪( 18‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ‬
‫ﺭﺒﺎﺏ‬

‫‪ 150‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‪.M . L. S‬‬

‫ﻝﻠﺨﺎﺩﻤﺔ ﺘﺩﺨل ﻤﻥ ﺍﻝﺒﺎﺏ ﻭﺘﺩﻓﻊ‬
‫ﺃﻤﺎﻤﻬﺎ ﻋﺭﺒﺔ ﺍﻹﻓﻁﺎﺭ ﺤﺘﻰ ﺘﺼل‬
‫ﺍﻝﺨﺎﺩﻤﺔ ‪ :‬ﺴﺕ ﺭﺒﺎﺏ ‪ ...‬ﻴﺎﺴﺕ‬
‫ﺍﻝﻰ ﺭﺒﺎﺏ ﻭﻴﺤﻴﻲ ﺍﻝﻨﺎﺌﻤﻴﻥ ﻓﻰ‬
‫ﺭﺒﺎﺏ ‪ ..‬ﺍﻝﺴﺎﻋﺔ ‪ 3‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ ‪..‬‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﻔﻁﺎﺭ ﺠﺎﻫﺯ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪(8‬‬
‫‪ 151‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻠﻐﺭﻓﺔ‬
‫ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻋﺭﺒﺔ ﺍﻷﻓﻁﺎﺭ‬
‫ﺭﺒﺎﺏ ‪ :‬ﻤﺎﺘﻘﻭﻡ ﺒﻘﻰ ﻴﺎﺭﺍﺠل ﺇﻨﺕ ‪..‬‬
‫ﺼﻭﺕ ﻓﺘﺢ ﺯﺠﺎﺠﺔ‬ ‫ﻭﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﺘﻘﻭﻡ ﺭﺒﺎﺏ ﺒﺈﻴﻘﺎﻅ‬
‫ﻝﺴﻪ ﻨﺎﻴﻡ ! ﻴﺎﻝﻪ ﺇﺼﺤﻰ ‪ ..‬ﻭﺒﻌﺩﻴﻥ‬
‫ﺍﻝﻌﺼﻴﺭ‬ ‫ﻴﺤﻴﻲ ‪ .‬ﻭﺘﻔﺘﺢ ﺍﻝﺴﺘﺎﺌﺭ ‪ .‬ﻭﻴﻘﻭﻡ‬
‫ﻤﻌﺎﻙ ﺒﻘﻰ !‬
‫ﺼﻭﺕ ﺼﺏ‬ ‫ﻴﺤﻴﻲ ﺒﺼﺏ ﺍﻝﻌﺼﻴﺭ ﻭﻴﻘﺭﺃ‬
‫ﻴﺤﻴﻰ ‪ :‬ﺁﻴﻪ ‪ ..‬ﺁﻴﻪ ‪ ..‬ﻫﻰ ﺍﻝﺩﻨﻴﺎ‬
‫ﺍﻝﻌﺼﻴﺭ‬ ‫ﺍﻝﺠﺭﻴﺩﺓ ‪ .‬ﻭﻴﻤﻼﺀ ﺍﻝﻜﻭﺏ ﺍﻝﻰ‬
‫ﺇﺘﺘﻘﻠﺒﺕ ‪.‬‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻵﺨﺭ‬
‫)‪(9‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 152‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close‬ﻋﻠﻰ‬
‫ﻤﺎﻨﺸﻴﺕ ﻓﻰ ﺠﺭﻴﺩﺓ ‪ .‬ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ‪ Pan Left‬ﻋﻠﻰ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻋﻨﺩﻤﺎ ﺘﻭﻓﻰ ﻤﺄﻤﻭﻥ‬ ‫ﺍﻝﻤﺎﻨﺸﻴﺕ‬
‫ﺃﺒﻭ ﺍﻝﻭﻓﺎ ﻤﻨﺫ ﻓﺘﺭﺓ ﻭﻝﻡ ﺃﻋﺭﻑ ﻝﻤﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﺭﺙ ﺴﺭﻯ ﺒﻌﺩﻩ ‪ ,‬ﻭﻝﻜﻥ ﻋﻨﺩﻤﺎ ﺠﺎﺀ‬
‫ﺼﺭﺍﻉ ‪ 15‬ﻤﺎﻴﻭ ﺍﻝﺸﻬﻴﺭ ﻭﺇﺴﺘﺒﺩﺍل‬
‫ﻭﺯﻴﺭ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺭﺌﻴﺱ ﺍﻝﻤﺨﺎﺒﺭﺍﺕ‬
‫ﺍﻝﻌﺎﻤﺔ ‪ ,‬ﻜﻨﺕ ﺃﻋﺭﻑ ﺃﺴﻤﺎﺀ ﻭﺭﺜﺔ‬
‫ﺍﻝﺴﺭ ﺒﻌﺩﻫﻡ‬

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‫‪ 153‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬ﻋﻠﻰ ﺨﺒﺭ‬

‫ﻓﻰ ﺍﻝﺠﺭﻴﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ .. " :‬ﻝﻜﻥ ﺍﻝﺸﻙ ﻜﺎﻥ‬
‫ﻴﻨﺘﺎﺒﻨﻰ ﻋﻥ ﻤﺩﻯ ﺃﻫﻤﻴﺔ ‪..‬‬

‫‪ 154‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﺨﺒﺭ ﻓﻰ‬

‫ﺠﺭﻴﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﺼﻭﺕ ﻴﺤﻴﻲ‪ .. " :‬ﻫﺫﻩ ﺍﻝﻌﻤﻠﻴﺔ‬

‫ﻋﻨﺩﻫﻡ ‪ ,‬ﻓﻰ ﻏﻤﺭﺓ ﺫﻝﻙ ﺍﻝﺼﺭﺍﻉ‬
‫ﺍﻝﺴﻴﺎﺴﻰ ﺍﻝﻌﻨﻴﺩ "‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫)‪(9‬‬
‫‪ 155‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﺨﺒﺭ ﻓﻰ‬
‫ﺠﺭﻴﺩﺓ ﻭﺘﺨﺭﺝ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺒﺘﻌﺩﺓ‬
‫ﻋﻥ ﺍﻝﺨﺒﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 19‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺒﺎﺏ ﺍﻝﻤﻠﻬﻰ‬
‫‪ 156‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻼﻓﺘﺔ‬
‫ﺍﻝﻤﻠﻬﻰ ﺍﻝﻠﻴﻠﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 20‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺎﻝﺔ ﺍﻝﻤﻠﻬﻰ‬
‫ﺍﻝﻠﻴﻠﻰ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 157‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L. S‬‬
‫) ‪( 10‬‬ ‫‪ .‬ﻝﺜﻼﺜﺔ ﺃﺸﺨﺎﺹ ﻤﻊ ﻴﺤﻴﻲ ‪ ,‬ﺜﻡ‬
‫ﻤﻥ ﺩﺍﺨل ﺍﻝﻤﻠﻬﻰ‬ ‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭ ‪ pan Left‬ﺍ‬
‫ﻝﻠﺸﻤﺎل ﻭﻴﺤﻴﻲ ﻴﻘﻭﺩﻫﻡ ﺍﻝﻰ‬
‫ﺍﻝﻤﻨﻀﺩﺓ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 158‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L . S‬ﻝﺭﺒﺎﺏ‬
‫ﺘﺭﻗﺹ ﻭﺨﻠﻔﻬﺎ ﻓﺭﻗﺔ ﺍﻝﻤﻭﺴﻴﻘﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 159‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L. S‬‬
‫ﻝﻴﺤﻴﻲ ‪ .‬ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪ Left‬ﻭﻫﻭ ﻴﺼﺎﻓﺢ ﻋﻠﻰ‬
‫ﺒﺴﻴﻭﻨﻰ ﻓﻰ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻴﻘﻭﺩﻩ‬
‫ﺍﻝﻰ ﺩﺍﺨل ﺍﻝﺼﺎﻝﺔ ﻭﻴﺸﻌل ﻝﻪ‬
‫ﺴﻴﺠﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 160‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﺭﺒﺎﺏ ﻜﻤﺎ ﻓﻰ ﻝﻘﻁﺔ‬
‫‪ 158‬ﺜﻡ ﺘﺩﺨل ﺇﻤﺭﺃﺓ ﻭﺘﻁﻭ‪‬ﻗﻬﺎ‬
‫ﺒﺎﻝﻨﻘﻭﺩ ﻭﺘﺭﻗﺹ ﻤﻌﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 161‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻴﺤﻴﻲ ﻭﻫﻭ‬
‫ﻴﺼﺎﻓﺢ ﺃﺤﺩ ﺭﻭﺍﺩ ﺍﻝﺼﺎﻝﺔ ﻭﻴﻜﻭﻥ‬
‫ﻜل ﻤﻨﻬﻤﺎ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 21‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﺠﺎﻨﺒﻴﺔ‬
‫ﻝﻠﻤﻠﻬﻰ‬
‫‪ 162‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻷﺤﺩ‬
‫ﺍﻝﻌﺎﻤﻠﻴﻥ ﺒﺎﻝﻤﻠﻬﻰ ﻴﻘﻭﻡ ﺒﻠﻑ‬
‫ﺴﺠﺎﺌﺭ ﻓﻰ ﻏﺭﻓﺔ ﻤﻨﻨﻔﺼﻠﺔ‬
‫ﻭﻴﻀﻊ ﺒﻌﺽ ﺍﻝﺴﺠﺎﺌﺭ ﻓﻰ ﻁﺒﻕ‬
‫ﻭﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 22‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺎﻝﺔ ﺍﻝﻤﻠﻬﻰ‬
‫ﺍﻝﻠﻴﻠﻰ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ ﺍﻝﻤﻠﻬﻰ‬
‫‪ 163‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻠﻁﺒﻕ‬
‫ﻭﻋﻠﻴﻪ ﺍﻝﺴﺠﺎﺌﺭ ﻓﻰ ﻴﺩ ﺍﻝﻌﺎﻤل‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Tracking‬‬
‫ﺤﺘﻰ ﺘﺼل ﺍﻝﻰ ﻴﺤﻴﻲ ﺍﻝﺫﻯ ﻴﺼﺒﺢ‬
‫ﻓﻰ ﺤﺠﻡ ﻤﺘﻭﺴﻁ ‪ .M. S‬ﻭﻴﺄﺨﺫ‬
‫ﺍﻝﻁﺒﻕ ﻭﻴﻌﻁﻰ ﺍﻝﺴﺠﺎﺌﺭ ﻷﺤﺩ‬
‫ﺍﻝﺯﺒﺎﺌﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 164‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L. S‬‬

‫ﻝﺭﺒﺎﺏ ﻭﻫﻰ ﺘﺭﻗﺹ ‪ ,‬ﺜﻡ ﻴﺄﺘﻰ‬
‫ﺃﺤﺩ ﺍﻝﺯﺒﺎﺌﻥ ﺍﻝﻌﺭﺏ ﻭﻴﻁﻭ‪‬ﻗﻬﺎ‬
‫ﺒﺎﻝﻨﻘﻭﺩ ﺜﻡ ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﺸﻤﺎل ‪ , Pan Left‬ﺘﺫﻫﺏ‬
‫ﺭﺒﺎﺏ ﻝﺘﺭﻗﺹ ﺃﻤﺎﻡ ﺒﺴﻴﻭﻨﻰ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬

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‫‪ , Tracking‬ﺜﻡ ﻴﺨﺭﺝ‬
‫ﺒﺴﻴﻭﻨﻰ ﺍﻝﻤﺴﺩﺱ ‪ .‬ﻓﻴﺘﻘﺩﻡ ﻴﺤﻲ‬
‫ﻤﻨﻪ ﻭﻴﻬﺩﺌﻪ ﻭﻴﺄﺨﺫ ﺍﻝﻰ ﺍﻝﺨﺎﺭﺝ‬
‫ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪Pan‬‬
‫‪Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ ﺍﻝﻤﻠﻬﻰ‬

‫ﻤﺸﻬﺩ ) ‪( 23‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﻁﻰﺀ‬
‫ﺍﻝﺒﺤﺭ‬
‫‪ 166‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺸﺎﻁﻰﺀ‬
‫ﺼﻭﺕ ﺍﻝﺒﺤﺭ‬ ‫ﺼﻭﺕ ﻀﺤﻙ ﺭﺒﺎﺏ‬ ‫ﺍﻝﺒﺤﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 167‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺼﺒﻰ ﺼﺒﻰ ﺭﺒﺎﺏ ‪ :‬ﺃﻫﻭ ﺍﻝﺭﺍﺠل ﺍﻝﻠﻰ ﺍﻨﺘﻰ‬
‫ﺒﺘﻌﻴﺒﻰ ﻋﻠﻴﻪ ‪ ,‬ﺩﻩ ﻜﺎﻥ ﺃﻴﺎﻡ ﺃﺒﻠﺘﻰ‬ ‫ﺭﺒﺎﺏ‬
‫ﺴﻬﻴﺭ ﻜﺎﻥ ﺭﺍﺠل ﻤﻠﻭ ﻫﺩﻭﻤﻪ ‪...‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺼﺒﻰ ‪ .. :‬ﻜﺎﻥ ﺒﻴﻨﻘﻁ ﻜل ﻴﻭﻡ ﺏ‬ ‫‪M‬‬ ‫‪.‬‬ ‫‪L.‬‬ ‫‪S‬‬ ‫‪ 168‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﻝﻠﺼﺒﻰ ﻓﻰ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﺭﺒﺎﺏ ‪100‬ﺠﻨﻴﻪ ‪ .‬ﻴﻌﻨﻰ ﻤﺎﻓﻴﺵ ﺯﻴﻪ ‪.‬‬
‫ﻓﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺤﻴﻲ ﻓﻰ‬
‫ﺍﻝﻤﻨﺘﺼﻑ ﺒﻴﻨﻬﻤﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 169‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M . L. S‬ﺭﺒﺎﺏ ‪ :‬ﺃﻨﺎ ﻴﺎﻭﺍﺩ ﻋﻴﺒﺕ ﻋﻠﻰ ﺤﺩ ‪ ..‬ﺃﻨﺎ‬
‫ﺒﺄﻗﻭل ﻋﺠﻭﺯ ‪ ..‬ﻋﺠﻭﺯ ﻭ ﹶﻻ ﻷ ؟‬ ‫‪ .‬ﻝﻠﺼﺒﻰ‬
‫ﺍﻝﺼﺒﻰ ‪ :‬ﻷ‪ ..‬ﻋﻴﺒﺘﻰ ‪ ,‬ﻭﻜل ﺤﺎﺠﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﺘﻨﺯل ﻋﻠﻰ ﺼﺎﺤﺒﻬﺎ ﺯﻯ ﻤﺎﻜﺎﻨﺕ ﺃﺒﻠﺔ‬
‫ﺸﻭﺸﻭ ﺒﺘﻘﻭل ‪ ..‬ﺯﻯ ﻤﺎﺒﺘﻌﻴﺒﻰ ﻋﻠﻰ‬
‫ﺍﻝﻨﺎﺱ ‪ ,‬ﺍﻝﻨﺎﺱ ﻫﺘﻌﻴ‪‬ﺏ ﻋﻠﻴﻜﻰ‬
‫‪ 170‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫‪ Close up‬ﻝﺭﺒﺎﺏ ﺘﻘﻭﻡ ﺒﻘﺫﻑ ﺭﺒﺎﺏ ‪ :‬ﻋﻴﺒﺔ ﻝﻤﺎ ﺘﻌﻴﺏ ﺃﻫﻠﻙ ﻴﺎﺃﺒﻥ‬
‫ﻰ؟‬‫ﺍﻝﻜﻠﺏ ‪ .‬ﺃﻨﺎ ﻴﺎﻭﺍﺩ ﺤﺩ ﻴﻌﻴﺏ ﻋﻠ ‪‬‬ ‫ﺍﻝﺼﺒﻰ ﺒﻔﺭﺩﺓ ﺍﻝﺤﺫﺍﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 171‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻠﺼﺒﻰ‬
‫ﺍﻝﺼﺒﻰ ‪ :‬ﻤﻘﺒﻭﻝﺔ ﻤﻨﻙ ﻴﺎﺃﺒﻠﺘﻰ ﻋﻠﻰ‬
‫ﻴﻘﻭﻡ ﺒﺘﻔﺎﺩﻯ ﺍﻝﺤﺫﺍﺀ‬
‫ﺍﻝﻌﻤﻭﻡ ﻤﺎﺠﺘﺵ ﻓﻴﺎ ‪ ...‬ﺁﻩ ﺒﻴﻌﻴﺒﻭﺍ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‬ ‫‪172‬‬
‫‪ M .Close up‬ﻝﺭﺒﺎﺏ ﺘﺭﺩ‬
‫ﺭﺒﺎﺏ ‪ :‬ﺒﻴﻌﻴﺒﻭﺍ ﺒﻴﻘﻭﻝﻭﺍ ﺁﻴﻪ ﻴﺎﻭﻝﻪ ؟‬
‫ﻋﻠﻴﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 173‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻠﺼﺒﻰ‬
‫ﺍﻝﺼﺒﻰ ‪ :‬ﻷ ﻫﺎﺘﺯﻋﻠﻰ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 174‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ M . S‬ﻝﺭﺒﺎﺏ‬

‫ﻭﻫﻰ ﺘﻘﻑ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺭﺒﺎﺏ ‪ :‬ﻗﻭل ﻴﺎﻭﻝﻪ‬
‫ﺸﻤﺎل ‪ Pan Left‬ﻭﻫﻰ ﺘﻀﺭﺏ‬
‫ﺍﻝﺼﺒﻰ ‪ :‬ﻫﺎﺃﻗﻭل ‪..‬‬ ‫ﺍﻝﺼﺒﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 175‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻤﻥ ﻓﻭﻕ‬
‫ﻜﺘﻑ ﺭﺒﺎﺏ ﻭﻴﻅﻬﺭ ﺍﻝﺼﺒﻰ ﻓﻰ ﺍﻝﺼﺒﻰ ‪ :‬ﺒﻴﻘﻭﻝﻭﺍ ﺍﻝﻭﺍﺩ ﺃﺒﻭ ﺩﺒﻭﺭﺓ‬
‫ﻋﺎﻴﺵ ﻓﻰ ﻨﻌﻴﻡ ﺍﻝﺴﺕ ﺭﺒﺎﺏ ‪.‬‬ ‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 176‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M . S‬ﻝﺭﺒﺎﺏ‬
‫ﺭﺒﺎﺏ ‪ :‬ﺇﺨﺭﺱ ﻴﺎﻭﻝﻪ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 177‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻴﺤﻴﻰ ﻴﺤﻴﻲ ‪ :‬ﺴﻴﺒﻴﻪ ‪ ..‬ﻜﻤل ﻴﺎﻝﻭل ‪..‬‬
‫ﻭﺒﻴﻘﻭﻝﻭﺍ ﺁﻴﻪ ﻜﻤﺎﻥ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 178‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻠﻭل‬
‫ﺼﺎﻤﺘﹰﺎ ﻴﻨﻅﺭ ﻝﻴﺤﻴﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 179‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ . M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻴﻌﻨﻰ ﻤﺵ ﻋﺎﺭﻓﻴﻥ ﺇﻥ ﺃﻨﺎ‬
‫ﻴﺸﻌل ﺴﻴﺠﺎﺭﺓ‬
‫ﻤﺩﻴﺭ ﺍﻝﻜﺒﺎﺭﻴﻪ ؟ﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 180‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M . L .‬ﺍﻝﻠﻭل ‪ :‬ﻷ ‪ .‬ﻋﺎﺭﻓﻴﻥ ﻁﺒﻌ ﹰﺎ ﺒﺱ ﺇﻨﺘﻭﺍ‬
‫‪ . S‬ﻝﻠﻭل ﻴﺠﻠﺱ ﺒﺠﺎﻨﺏ ﻴﺤﻴﻲ ﺍﻝﻠﻰ ﺴﺄﻝﺘﻭﻨﻰ ﺒﻴﻘﻭﻝﻭﺍ ﺁﻴﻪ ؟‬
‫ﻭﻴﻅﻬﺭ ﺒﺭﻭﻓﻴل ‪ ,‬ﺒﻴﻨﻤﺎ ﻴﺤﻴﻲ ﻓﻰ ﻴﺤﻴﻲ ‪ :‬ﺒﻴﻘﻭﻝﻭﺍ ﺁﻴﻪ ؟‬
‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻝﻭل ‪ :‬ﺒﻴﻘﻭﻝﻭﺍ ﻋﻠﻴﻙ ﻭﺍﺩ ﺼﺎﻴﻊ ﺩﺨﻠﺕ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻜﺎﺭ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻜﺎﺭ ﺁﻴﻪ ؟‬
‫ﺍﻝﻠﻭل ‪ :‬ﻜﺎﺭ ﺍﻝﻘﺭﻭﻥ ‪.‬‬
‫ﺱ ﻴﺎﻭﻝﻪ ‪..‬‬‫‪ 181‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‪ M . L . S‬ﺭﺒﺎﺏ ‪ :‬ﺒ ‪‬‬
‫ﻝﺭﺒﺎﺏ ﺘﺩﺨل ﻤﻥ ﺸﻤﺎل ﻜﺎﺩﺭ ﻝﻭل ‪ :‬ﺨﻼﺹ ﺨﻼﺹ ‪ ..‬ﺒﻴﻭﺠﻊ‬
‫ﺒﻴﻭﺠﻊ‬ ‫ﻭﺘﻀﺭﺏ ﺍﻝﻠﻭل ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻴﻌﻨﻰ ﺃﻨﺕ ﻋﺎﻴﺯ ﺘﻘﻭل ﺃﻨﺎ ‪....‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻭل ‪ :‬ﻷ ﻁﺒﻌﹰﺎ ﻴﺎﺴﻰ ﺍﻷﺴﺘﺎﺫ ﻴﺤﻴﻲ ‪.‬‬
‫ﺍﻝﻨﺎﺱ ﻤﺎﻝﻬﻤﺵ ﺩﻋﻭﺓ ﺒﺎﻝﺤﻘﻴﻘﺔ ‪.‬‬
‫ﻼ‬
‫ﺍﻝﻨﺎﺱ ﻝﻴﻬﺎ ﺍﻝﺴﻤﻌﺔ ‪ ...‬ﻴﻌﻨﻰ ﺃﻨﺎ ﻤﺜ ﹰ‬
‫ﺒﻴﻘﻭﻝﻭﺍ ﻋﻠﻴﺎ ﺍﻝﻠﻭل ‪.‬‬
‫‪ 182‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫‪ S‬ﻝﻠﻭل ﻭﻫﻭ ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﻝﻭل ‪ :‬ﻝﻭل ﺩﻯ ﻻﻤﺅﺍﺨﺫﺓ ﻴﻌﻨﻰ ﺭﺍﺠل‬
‫ﺸﺎﺫ ‪ .‬ﺼﺢ !‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 183‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫‪ Close up‬ﻝﻠﻭل ﻭﺘﺘﺤﺭﻙ ﻝﻭل ‪ :‬ﻨﻐﻴﺭ ﻨﻅﺭﺓ ﺍﻝﻨﺎﺱ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺒﺘﻌﺩﺓ ﻋﻨﻪ ‪ Track‬ﻴﺤﻴﻲ ‪ :‬ﺇﺯﺍﻯ ﺒﻘﻰ ؟‬
‫ﻝﻭل ‪ :‬ﺃﻨﺕ ﺘﺸﻭﻓﻠﻙ ﺸﻐﻼﻨﺔ ﺘﺎﻨﻴﺔ ‪.‬‬ ‫‪out‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻴﻌﻨﻰ ﺃﺴﻴﺏ ﺍﻝﻜﺒﺎﺭﻴﻪ !‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻭل ‪ :‬ﻷ ﺘﺴﻴﺏ ﺍﻝﻔﺘﻭﻨﺔ ‪.‬؟ ﺃﺼﻠﻬﻡ‬
‫ﺒﻴﻘﻭﻻ ﺃﻨﻙ ﻋﻤﺭﻙ ﻤﺎﻀﺭﺒﺕ ﻭﺃﻨﻙ‬
‫ﺱ ‪ .‬ﺯﻯ ﻤﺎﺍﻝﻤﻌﻠﻡ‬ ‫ﺩﺍﻴﻤ ﹰﺎ ﺒﺘﻀﺭﺏ ﻭﺒ ‪‬‬
‫ﺒﺴﻴﻭﻨﻰ ﻜﺩﻩ ﻤﺎ ‪ ..‬ﻭﺇﻥ ﻏﻴﺭﻙ ﻴﻀﺭﺒﻙ‬
‫ﺕ ﻻﺯﻡ‬ ‫ﺩﻯ ﻤﺵ ﻋﺎﻴﺯﺓ ﻓﺘﻭﻨﺔ ‪ ..‬ﻭﺃﻨ ٍ‬

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‫ﺘﺘﺤﺠﺒﻰ ﺯﻯ ﺍﻝﻤﻭﻀﺔ ﺍﻝﻠﻰ ﻁﺎﻝﻌﺔ ‪.‬‬

‫‪ 184‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﺭﺒﺎﺏ‬
‫ﺭﺒﺎﺏ ‪ :‬ﻭﺃﻨﺕ ﻴﺎﺃﺒﻥ ﺍﻝﻜﻠﺏ ﻫﺎﺘﻌﻤل‬
‫ﻭﻫﻰ ﻓﻰ ﻭﻀﻊ ﺒﺭﻭﻓﻴل‬
‫ﺁﻴﻪ !‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 185‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫ﻝﻭل ‪ :‬ﺃﺍﻨﺎ ﻤﺵ ﻋﺎﺭﻑ ﻤﺎﻫﻭ ﺃﺼل‬
‫‪ S‬ﻤﻥ ﺍﻝﺨﻠﻑ ﻝﻠﺠﻤﻴﻊ ﺒﻅﻬﺭﻫﻡ‬
‫ﺕ ﻝﻭ ﺒﻁﻠﺘﻰ ﺭﻗﺹ ﻭﻴﺤﻴﻲ ﺒﻁل‬ ‫ﺃﻨ ٍ‬
‫ﻭﻴﺘﺤﺭﻙ ﻝﻭل ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻓﺘﻭﻨﺔ ‪ .‬ﺃﻨﺎ ﻤﺎﻴﻨﻔﻌﺵ ﺃﺒﻁل ﻝﻭﻝﻨﺔ ‪.‬‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺘﺎﺒﻌﻪ‬
‫ﺱ ﺃﻫﻪ‬
‫ﺒﺭﻀﻪ ﺍﻝﻨﺎﺱ ﻫﺎﺘﺘﻜﻠﻡ ﻋﻨﻪ ‪ .‬ﺒ ‪‬‬
‫ﻴﻤﻴﻨﹰﺎ ‪Pan Right‬‬
‫ﺍﻝﻭﺍﺤﺩ ﻏﻴ ‪‬ﺭ ﺍﻝﻔﺭﻗﺔ ﻭﺍﻝﻁﻘﻡ ‪ .‬ﻭﻭﺍﺤﺩﺓ‬
‫ﺭﺒﺎﺏ ﺘﻀﺭﺏ ﻝﻭل ﺒﻔﺭﺩﺓ ﺍﻝﺤﺫﺍﺀ‬
‫ﺘﺎﻨﻴﺔ ﺒﺭﻀﻪ ﻏﻴﺭ ﺍﻝﺴﺕ ﺭﺒﺎﺏ‬
‫ﺘﻀﺭﺒﻨﻰ ﺒﺎﻝﺸﺒﺸﺏ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 186‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺭﺒﺎﺏ ‪. M . S‬‬
‫ﺭﺒﺎﺏ ‪ :‬ﻴﺎﺃﺒﻥ ﺍﻝﻜﻠﺏ ‪.‬‬
‫ﺘﻀﺭﺏ ﻝﻭل ﺒﻔﺭﺩﺓ ﺍﻝﺤﺫﺍﺀ‬
‫ﻝﻭل ‪ :‬ﻷ‪ ..‬ﻷ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 187‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M . S‬ﻝﻴﺤﻴﻲ‬
‫) ‪( 11‬‬ ‫ﻼ ﻝﻴﻤﺴﺢ ﺍﻝﻨﻅﺎﺭﺓ‬‫ﻴﺄﺨﺫ ﻤﻨﺩﻴ ﹰ‬
‫ﺍﻝﺸﻤﺴﻴﺔ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺤﻭﻩ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻜﺎﻥ ﻝﻭل ﻋﻠﻰ ﺤﻕ‬ ‫ﻝﻠﺩﺍﺨل‬
‫ﻓﺎﻝﺩﺨﻭل ﺍﻝﻰ ﺍﻝﻌﻠﻡ ﺍﻝﺴﻔﻠﻰ ﻻﺒﺩ ﺃﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺒﻨﻰ ﻋﻠﻰ ﺴﻤﻌﺔ ‪ ..‬ﻭﻝﻡ ﺘﻜﻥ ﺴﻤﻌﺘﻰ‬
‫ﺍﻝﻰ ﻫﺫﻩ ﺍﻝﻠﺤﻅﺔ ﺘﺅﻫﻠﻨﻰ ﺃﻥ ﺃﺩﺨل ﻤﻥ‬
‫ﺍﻝﺒﺎﺏ ﺍﻝﺫﻯ ﺃﺭﻴﺩ ﺃﻥ ﺃﺩﺨل ﻤﻨﻪ ‪" .‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫)‪( 11‬‬
‫ﻤﺸﻬﺩ ) ‪( 24‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺠﺯﺀ ﻤﻥ‬
‫ﺍﻝﻜﺒﺎﺭﻴﻪ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 188‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫) ‪( 12‬‬ ‫‪ S‬ﻝﻴﺤﻴﻲ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪,‬‬
‫ﻤﻥ ﺩﺍﺨل ﺍﻝﻜﺒﺎﺭﻴﻪ‬ ‫ﻭﺘﺩﺨل ﺭﺒﺎﺏ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﺩﺍﻋﺏ ﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻓﻴﻪ ﺁﻴﻪ ﻴﺎﺤﺒﻴﺒﺘﻰ ؟‬
‫ﺭﺒﺎﺏ ‪ :‬ﻓﻴﻪ ﺤﺎﺠﺔ ﻤﻼﺤﻅﺎﻫﺎ ﻤﻥ‬
‫ﻓﺘﺭﺓ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺨﻴﺭ ﻴﺎﺤﻴﺎﺘﻰ !‬
‫ﺭﺒﺎﺏ ‪ :‬ﺭﻴﺤﺔ ﺩﺨﺎﻥ ﺍﻝﺼﺎﻝﺔ ﻤﺵ‬
‫ﻋﺎﺠﺒﺎﻨﻰ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺘﻼﻗﻰ ﺯﺒﻭﻥ ﻤﻭﻝﻊ ﺴﻴﺠﺎﺭﺓ‬
‫ﻭ ﹶﻻ ﺤﺎﺠﺔ ‪.‬‬
‫ﺱ ﺍﻝﺤﻜﺎﻴﺔ‬
‫ﺭﺒﺎﺏ ‪ :‬ﻴﻭﻝﻌﻬﺎ ﺒﺭﻩ ‪ .‬ﺒ ‪‬‬
‫ﻤﺵ ﻜﺩﻩ ‪ .‬ﺃﻨﺎ ﻤﺵ ﻨﺎﻴﻤﺔ ﻋﻠﻰ ﻭﺩﺍﻨﻰ‬
‫ﻭﻻ ﻋﻤﻴﺕ ﻭ ﹶﻻ ﺒﻁﻠﺕ ﺃﺸﻡ ‪ .‬ﺃﻨﺎ ﻋﺎﺭﻓﺔ‬
‫ﻭﻴﻅﻬﺭ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﺃﻤﺎﻡ ﻴﺤﻴﻲ ﺇﻨﻙ ﺒﺘﻘﺩﻡ ﺍﻝﺼﻨﻑ ﻭﺩﻩ ﻻﺯﻡ ﻴﻨﺘﻬﻰ ‪.‬‬
‫ﺸﺨﺹ ﻤﺎ ﺯﺯ ﺜﻡ ﺘﺨﺭﺝ ﺭﺒﺎﺏ ﻴﺤﻴﻲ ‪ :‬ﺘﻌﺎﻝﻰ ‪ ..‬ﺘﻌﺎﻝﻰ‬
‫ﺭﺒﺎﺏ ‪ :‬ﻴﺤﻴﻲ ﺃﻨﺎ ﻤﺎﺸﻴﺔ ﻭﻤﺵ ﻫﺎﺘﻜﻠﻡ‬ ‫ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻓﻰ ﺍﻝﻤﻭﻀﻭﻉ ﺩﻩ ﺘﺎﻨﻰ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻁﻴﺏ ‪ .‬ﻁﻴﺏ ‪.‬‬
‫ﻼ ‪ .‬ﺃﻗﻌﺩ ‪ ..‬ﺘﺸﺭﺏ ﺁﻴﻪ ؟‬‫ﻼ ﺃﻫ ﹰ‬
‫‪ ..‬ﺃﻫ ﹰ‬

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‫ﺍﻝﺭﺠل ‪ :‬ﻭ ﻻ ﺤﺎﺠﺔ ‪...‬‬

‫ﻴﺤﻴﻲ ‪ :‬ﻤﺎﻝﻙ ؟‬
‫ﺱ‬
‫ﺍﻝﺭﺠل ‪ :‬ﺃﻨﺎ ﻋﺎﻴﺯﻙ ﻓﻰ ﻜﻠﻤﺘﻴﻥ ﺒ ‪‬‬
‫ﻴﺎﺭﻴﺕ ﻴﻜﻭﻥ ﺒﺭﻩ ﻓﻰ ﺍﻝﻬﻭﺍ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻴﺎﻝﻼ ‪.‬‬
‫ﻭﻴﺩﺨل ﺍﻝﺭﺠل ﻤﻥ ﻨﻔﺱ ﺍﻝﻤﻜﺎﻥ‬
‫ﻭﻴﺼﺎﻓﺢ ﻴﺤﻴﻲ ‪ .‬ﺜﻡ ﻴﺨﺭﺠﺎ ﻤﻥ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫) ‪( 12‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 25‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺤﺩ ﺍﻝﺸﻭﺍﺭﻉ‬
‫ﻤﻥ ﺩﺍﺨل ﺴﻴﺎﺭﺓ‬
‫‪ 189‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫ﺍﻝﺭﺠل ‪ :‬ﺃﻨﺕ ﻋﺎﺭﻑ ﺃﺒﻨﻰ ﻤﺤﻤﺩ‬
‫‪ Close up‬ﻝﻴﺤﻴﻲ ﻓﻰ ﻤﻘﺩﻤﺔ‬
‫ﻁﺒﻌﹰﺎ ‪ .‬ﺩﻩ ﺍﻜﺒﺭ ﻭﻻﺩﻯ ‪ .‬ﺩﻩ ﺩﺭﺍﻋﻰ‬
‫ﺼﻭﺕ ﺍﻝﺸﺎﺭﻉ‬ ‫ﺍﻝﻜﺎﺩﺭ ﻭﺍﻝﺭﺠل ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﻴﻤﻴﻥ ‪ ,‬ﺍﻝﻭﺤﻴﺩ ﺍﻝﻠﻰ ﻤﻤﻜﻥ ﻴﺴﻨﺩﻨﻰ‬
‫ﻤﻥ ﺩﺍﺨل ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﺱ ﻤﻨﻬﻡ ﷲ ‪.‬‬ ‫ﻭﻴﺸﺘﻐل ﻤﻌﺎﻴﺎ ‪ ...‬ﺒ ‪‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 190‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫‪ Close up‬ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ ﻴﺤﻴﻲ ‪ :‬ﺒﺭﺍﺀﺓ ﺇﻥ ﺸﺎﺀ ﺍﷲ ﻴﺎﺴﻌﺩﺓ‬
‫ﺒﻴﻪ ‪.‬‬ ‫ﺍﻝﻤﻌﺎﻜﺴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 191‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .‬‬
‫‪ Close up‬ﻨﻔﺱ ﺯﺍﻭﻴﺔ ﻝﻘﻁﺔ‬
‫ﺴﻌﺩﺓ ‪ :‬ﺍﻝﻤﺤﺎﻤﻴﻥ ﻤﺵ ﻤﻁﻤﻨﻴﻥ‬
‫‪ 189‬ﻭﺴﻌﺩﺓ ﻴﻘﻭﻡ ﺒﻌﺩل ﺭﺍﺒﻁﺔ‬
‫ﻭﺍﻝﻘﺎﻀﻰ ﻤﺎﻝﻭﺵ ﺴﻜﺔ ‪.‬‬
‫ﻋﻨﻘﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 192‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﺁﻴﻪ ! ﻋﺎﻴﺯ ﺘﻐﻴﺭ ﻁﻘﻡ‬
‫ﺍﻝﻤﺤﺎﻤﻴﻥ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 193‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫ﺴﻌﺩﺓ ‪ :‬ﻷ ‪ ..‬ﺩﻭل ﺃﻜﺒﺭ ﻤﺤﺎﻤﻴﻥ ﻓﻰ‬
‫‪ Close up‬ﻝﺴﻌﺩﺓ‬
‫ﺍﻝﺒﻠﺩ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 194‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M Close‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻻ ﺤﻭل ﻭﻻ ﻗﻭﺓ ﺒﺎﷲ ‪ ..‬ﺃﻨﺎ‬
‫‪ up‬ﻝﻴﺤﻴﻲ‬
‫ﻝﻭ ﺒﺈﻴﺩﻯ ﺤﺎﺠﺔ ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 195‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M . S‬ﻝﺴﻌﺩﺓ‬
‫ﺴﻌﺩﺓ ‪ :‬ﻷ ‪ .‬ﺒﺈﻴﺩﻙ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 26‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﻫﻀﺒﺔ ﺍﻝﻤﻘﻁﻡ‬
‫‪ 196‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻝﻴﺤﻴﻲ ﺴﻌﺩﺓ ‪ :‬ﺁﺨﺭ ﺠﻠﺴﺔ ﺒﻌﺩ ﺸﻬﺭ ‪ ,‬ﻭﺩﻯ‬
‫ﻭﺴﻌﺩﺓ ﻭﻅﻬﺭﻫﻤﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻤﻥ ﻓﺭﺼﺘﻪ ﺍﻝﻭﺤﻴﺩﺓ ‪ ..‬ﺃﻨﺎ ﻋﺎﻴﺯﻩ‬
‫ﻴﻬﺭﺏ ‪..‬‬ ‫ﻓﻭﻕ ﻫﻀﺒﺔ ﺍﻝﻤﻘﻁﻡ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻁﺏ ﺒﺘﻘﻭﻝﻰ ﺃﻨﺎ ﻝﻴﻪ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺴﻌﺩﺓ ‪ :‬ﻷﻨﻙ ﻴﺤﻴﻲ ﺃﺒﻭ ﺩﺒﻭﺭﺓ ‪.‬‬
‫‪ 197‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ M .‬ﺴﻌﺩﺓ ‪ :‬ﻴﻌﻨﻰ ﺃﻨﺕ ﻤﻨﻬﻡ ﻭﺘﻌﺭﻓﻬﻡ ‪..‬‬
‫‪ Close up‬ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ ﺃﻨﺎ ﺃﺠﺭﺏ ﻭﺃﻏﻠﻁ ﻫﺎﻴﻘﻭﻝﻭﺍ ﺸﺩﺩﻭﺍ‬
‫ﺍﻝﺤﺭﺍﺴﺔ ﻋﻠﻴﻪ ‪ .‬ﻭﺩﻩ ﻴﺒﻘﻰ ﻏﻠﻁ ‪..‬‬ ‫ﺍﻝﻌﻜﺴﻴﺔ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ‬ ‫ﻫﻭ ﻋﻴﺎﺭ ﻭﺍﺤﺩ ﻴﺎﻗﺎﺘل ﻴﺎﻤﻘﺘﻭل‬ ‫ﻗﻁﻊ ‪Cut‬‬

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‫ﺼﻭﺕ ﺴﻌﺩﺓ ‪ :‬ﻴﺄﺨﻰ ﺃﻨﺕ ﻤﺵ ﺘﻌﺭﻓﻬﻡ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬ ‫‪198‬‬
‫ﻜﻭﻴﺱ ! ﻭﺘﻌﺭﻑ ﺘﺩﺨﻠﻠﻬﻡ ﺇﺯﺍﻯ ؟‬ ‫‪ Close up‬ﻝﻴﺤﻴﻰ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺁﻩ ‪ .‬ﺒﺱ ﺃﻨﺎ ﺴﺒﺕ ﺍﻝﺒﻭﻝﻴﺱ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻥ ﺒﺩﺭﻯ ‪.‬‬
‫ﺴﻌﺩﺓ ‪ :‬ﺘﻘﺩﺭ ﺘﺴﺄل ‪ ..‬ﻤﺎ ﺃﻨﺕ ﻝﻴﻙ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬ ‫‪199‬‬
‫ﺒﺭﻀﻪ ﺯﻤﻼ ‪ .‬ﺍﻝﻤﻬﻡ ﺘﺒﻘﻰ ﺍﻝﻌﻤﻠﻴﺔ‬ ‫‪ Close up‬ﻝﻸﺜﻨﻴﻥ‬
‫ﻤﻀﻤﻭﻨﺔ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻁﺏ ﻫﺎﺘﺩﻓﻊ ﻜﺎﻡ ؟‬
‫ﺴﻌﺩﺓ ‪ :‬ﻤﻴﻪ ﻤﺘﻴﻥ ﻤﺵ ﻤﻬﻡ ﺍﻝﻤﻬﻡ‬
‫ﺍﻝﻭﻝﺩ ﻴﻬﺭﺏ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺴﻌﺩﺓ ﺒﻴﻪ ! ﺃﺒﻨﻙ ﺴﺎﻋﺔ ﻝﻤﺎ‬
‫ﺇﺘﻤﺴﻙ ﻜﺎﻨﺕ ﻤﻌﺎﻩ ﺸﻨﻁﺔ ﻓﻴﻬﺎ ﻓﻠﻭﺱ‬
‫ﻭﺒﻀﺎﻋﺔ ﻜﺎﻡ ؟‬
‫ﺴﻌﺩﺓ ‪ :‬ﻤﻠﻴﻭﻥ ﺠﻨﻴﻪ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺵ ﻫﻭ ﺨﺩ ﺍﻝﺸﻨﻁﺔ ﻭﺍﻝﻠﻰ‬
‫ﻓﻴﻬﺎ ﻭﻋﺭﻀﻬﻡ ﻋﻠﻰ ﺍﻝﻅﺎﺒﻁ ﻋﻠﺸﺎﻥ‬
‫ﻴﺴﻴﺒﻪ ؟‬
‫ﺴﻌﺩﺓ ‪ :‬ﻤﻅﺒﻭﻁ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻭﺤﺼل ﺁﻴﻪ ؟‬
‫ﺴﻌﺩﺓ ‪ :‬ﻭﺍﺩ ﺨﺎﻴﺏ ‪ ..‬ﺘﺼﻭﺭ ﺍﻝﻅﺎﺒﻁ‬
‫ﻤﺎﺭﻀﻴﺵ ‪ .‬ﺃﻨﺎ ﻤﺵ ﻋﺎﺭﻑ ﺍﻝﻅﺒﺎﻁ‬
‫ﺒﺘﺎﻋﺕ ﺍﻷﻴﺎﻡ ﺩﻯ ‪ ,‬ﺩﻤﺎﻏﻬﻡ ﺒﻘﺕ‬
‫ﻋﺎﻤﻠﺔ ﻜﺩﻩ ﻝﻴﻪ ؟‬
‫ﻴﺤﻴﻲ ‪ :‬ﻴﻌﻨﻰ ﺍﻝﻅﺎﺒﻁ ﺭﻓﺽ ﻤﻠﻴﻭﻥ‬
‫ﺠﻨﻴﻪ ﻋﻠﺸﺎﻥ ﻴﺴﻴﺏ ﺃﺒﻨﻙ ‪ .‬ﻭﺒﺘﻌﺭﺽ‬
‫ﻋﻠﻰ ‪ 100‬ﺃﻝﻑ ﺠﻨﻴﻪ ﻋﻠﺸﺎﻥ ﺃﻫﺭﺒﻪ ‪.‬‬
‫ﺒﺎﻝﺯﻤﺔ ﺩﻩ ﻜﻼﻡ !‬
‫ﺴﻌﺩﺓ ‪ :‬ﻋﻨﺩﻙ ﺴﻜﺔ ؟‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬ ‫‪200‬‬
‫‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻭﺍﷲ ﻴﻌﻨﻰ ‪ ...‬ﻴﻤﻜﻥ ‪...‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 201‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫ﺴﻌﺩﺓ ‪ :‬ﻋﺎﻭﺯ ﻜﺎﻡ ؟‬ ‫‪ Close up‬ﻝﺴﻌﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 202‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫‪ Close up‬ﻝﻴﺤﻴﻲ ﻴﺸﻌل‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﺘﻨﻴﻥ ‪.‬‬
‫ﺴﻴﺠﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 203‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻝﻸﺜﻨﻴﻥ ﻓﻰ‬
‫ﻤﻭﺍﺠﻬﺔ ﺒﻌﻀﻬﻤﺎ ﺍﻝﺒﻌﺽ ﺜﻡ ﺴﻌﺩﺓ ‪ :‬ﺃﻨﺕ ﺇﺘﺨﺒﻁﺕ ﻓﻰ ﻋﻘﻠﻙ !‬
‫ﻴﺘﺠﻬﺎﻥ ﻝﻠﺴﻴﺎﺭﺓ ﻭﻴﺭﻜﺒﺎﻫﺎ ‪ ,‬ﺜﻡ ﻴﺤﻴﻲ ‪ :‬ﻴﺎﺩﻭﺏ ﻴﺎﺴﻌﺩﺓ ﺒﻴﻪ ‪ ..‬ﻭﻋﻠﻰ‬
‫ﺍﻝﻌﻤﻭﻡ ﻓﻜﺭ ! ﻤﻴﻥ ﻫﺎﻴﻘﺒل ﺒﺄﻗل ﻤﻥ‬
‫ﻴﺨﺭﺠﺎﻥ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻜﺩﻩ ‪..‬‬
‫ﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪Pan‬‬
‫ﺴﻌﺩﺓ ‪ :‬ﺃﻴﻭﺓ ﺒﺱ ﺃﻨﺎ ﻤﺎﻤﻌﺎﻴﻴﺵ‬
‫‪Right‬‬
‫ﺍﻝﻤﺒﻠﻎ ﺩﻩ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﺼﻭﺕ ﻤﺤﺭﻙ‬ ‫ﻴﺤﻴﻲ ‪ :‬ﺇﺩﻴﻨﻰ ﺒﻴﻪ ﺒﻀﺎﻋﺔ ‪...‬‬
‫ﺴﻌﺩﺓ ‪ :‬ﺒﻀﺎﻋﺔ ‪ ..‬ﻭﻫﺎﺘﺼﺭﻓﻬﺎ ﺇﺯﺍﻯ‬
‫؟ ﺍﻝﺒﻀﺎﻋﺔ ﺩﻯ ‪..‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺎﺃﻨﺎ ﻤﺵ ﻝﻭﺤﺩﻯ ‪.‬‬
‫ﺴﻌﺩﺓ ‪ :‬ﺃﻨﺕ ﻋﺎﻴﺯ ﺘﺒﻘﻰ ﺍﻝﻤﻌﻠﻡ ﺃﺒﻭ‬

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‫ﺍﻝﺴﻴﺎﺭﺓ‬ ‫ﺩﺒﻭﺭﺓ !‬
‫ﻤﺸﻬﺩ ) ‪( 27‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺸﻘﺔ ﻴﺤﻴﻲ‬
‫‪ 204‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﺍﻝﻴﻭﻡ ﺃﻤﺴﻜﺕ ﺃﻭل‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ S‬ﻝﻴﺤﻴﻲ ﺠﺎﻝﺴﹰﺎ ﺨﻠﻑ ﺍﻝﻤﻜﺘﺏ‬
‫ﻨﻬﺎﻴﺔ ﺼﻭﺕ‬ ‫ﺍﻝﺨﻴﻁ ﺍﻝﺫﻯ ﻴﻘﻭﺩﻨﻰ ﺇﻝﻰ ﻋﺎﻝﻡ ﺍﻝﺘﺠﺎﺭ‬
‫) ‪( 13‬‬ ‫ﻴﻜﺘﺏ ﺨﻁﺎﺒﹰﺎ‬
‫ﺍﻝﺭﻴﺎﺡ‬ ‫ﺍﻝﻜﺒﺎﺭ ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 205‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M . S‬ﻝﻴﺤﻴﻲ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ ... " :‬ﺍﻝﻬﺩﻑ ﻫﻭ‬
‫ﻋﻠﻰ ﺍﻝﻤﻜﺘﺏ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﻬﺭﻴﺏ ﻤﺤﻤﺩ ﺴﻌﺩﺓ ﺍﻝﻤﻨﺯﻻﻭﻯ ؟ﺃﺜﻨﺎﺀ‬
‫ﻤﺤﺎﻜﻤﺘﻪ ‪ .‬ﺍﻝﻤﻁﻠﻭﺏ ﺘﺴﻬﻴل ﻭﺠﻭﺩ‬ ‫ﻴﻤﻴﻨ ﹰﺎ ‪Tracking‬‬
‫ﻀﺎﺒﻁ ﻴﻤﻜﻥ ﺭﺸﻭﺘﻪ ‪ ,‬ﻴﻘﻭﻡ ﺒﺤﺭﺍﺴﺔ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﺍﻝﺴﺠﻴﻥ ﺃﺜﻨﺎﺀ ﻨﻘﻠﻪ ﻝﻠﻤﺤﺎﻜﻤﺔ ‪ ..‬ﺃﻗﺘﺭﺡ‬
‫ﺘﺩﺒﻴﺭ ﻋﻤﻠﻴﺔ ﻏﻴﺭ ﺨﻁﺭﺓ ﻓﻰ ﺤﻀﻭﺭ‬
‫ﺍﻝﻀﺎﺒﻁ ﺍﻝﻤﻘﺘﺭﺡ ‪ ,‬ﺒﺤﻴﺙ ﻴﻤﻨﻌﻪ ﻤﻥ‬
‫ﺍﻝﻬﺭﻭﺏ ‪ ,‬ﻭﻨﺸﺭ ﺍﻝﺨﺒﺭ ﻓﻰ ﺠﺭﻴﺩﺓ ‪.‬‬
‫‪".‬‬
‫ﻤﺸﻬﺩ ) ‪( 28‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ‬
‫‪ 206‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫‪ S‬ﻝﻴﺤﻴﻲ ﻴﻤﺸﻰ ﻓﻰ ﺃﺤﺩ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ .. " :‬ﺍﻷﻫﺭﺍﻡ ﻤﻊ ﻤﻜﺎﻓﺄﺓ‬
‫ﺍﻝﺸﻭﺍﺭﻉ ‪ ,‬ﻭﻴﻠﻘﻰ ﺒﺎﻝﺨﻁﺎﺏ ﻓﻰ ﺍﻝﻀﺎﺒﻁ ﺒﺤﻴﺙ ﻴﻌﺭﻑ ﺇﺴﻤﻪ ﻤﻊ ﺘﻭﺍﻝﻰ‬
‫ﺍﻹﺘﺼﺎل ﻭﺍﻹﺘﻔﺎﻕ ‪ ..‬ﺍﻝﻤﺨﻠﺹ ﺁﺩﻡ ‪".‬‬ ‫ﺼﻨﺩﻭﻕ ﺍﻝﺒﺭﻴﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 29‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺸﻘﺔ ﻴﺤﻴﻲ‬
‫‪ 207‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﺨﺒﺭ‬
‫ﻓﻰ ﺠﺭﻴﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﺍﻝﻨﻘﻴﺏ ﺇﺒﺭﺍﻫﻴﻡ ﻋﺒﺩ‬ ‫‪M‬‬ ‫‪.‬‬ ‫‪L‬‬ ‫‪.‬‬ ‫‪ 208‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫) ‪( 13‬‬ ‫ﺍﻝﺘﻭﺍﺏ !‬ ‫‪ S‬ﻝﻴﺤﻴﻲ ﻴﻘﺭﺃ ﺍﻝﺠﺭﻴﺩﺓ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻭﺍﷲ ﺯﻤﺎﻥ ﻴﺎﺇﺒﺭﺍﻫﻴﻡ !‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 29‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺸﻘﺔ ﺭﺒﺎﺏ‬
‫ﺼﻭﺕ ﻓﺘﺢ ﺍﻝﺒﺎﺏ‬ ‫‪ 209‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻴﺤﻴﻲ‬
‫ﻭﻏﻠﻕ ﺍﻝﺒﺎﺏ‬ ‫ﺱ ﺍﻝﺭﺍﺠل ﻜﺎﻥ ﺩﻤﻪ ﺨﻔﻴﻑ‬ ‫ﻭﺭﺒﺎﺏ ﻴﺩﺨﻼﻥ ﻤﻥ ﺍﻝﺒﺎﺏ ﺭﺒﺎﺏ ‪ :‬ﺒ ‪‬‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬ ‫ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ﺤﺘﻰ ﻗﻭﻯ ‪.‬‬
‫ﺍﻷﺜﻨﻴﻥ‬ ‫ﻴﺼﻼ ﺍﻝﻰ ﺼﻨﺩﻭﻕ ﻴﻔﺘﺤﻪ ﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﻗﻭﻯ ﻗﻭﻯ ‪.‬‬
‫ﻝﻴﺠﺩﺍ ﺒﻪ ﻤﺨﺩﺭﺍﺕ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﺭﺒﺎﺏ ‪ :‬ﺁﻴﻪ ﺩﻩ ﻴﺎﻴﺤﻴﻲ ؟‬
‫ﺼﻭﺕ ﺠﺭﺱ‬ ‫ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﺘﻠﻴﻔﻭﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 210‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻴﺤﻴﻲ ﻤﻥ‬
‫ﺍﻝﺯﺍﻭﻴﺔ ﺍﻝﻌﻜﺴﻴﺔ ‪ ,‬ﻭﻴﺴﻴﺭ ﻓﻰ ﻴﺤﻴﻲ ‪ :‬ﺁﻝﻭ !‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻴﺭﻓﻊ ﺴﻤﺎﻋﺔ ﺴﻌﺩﺓ ‪ :‬ﻤﺴﺎﺀ ﺍﻝﺨﻴﺭ ﻴﺎﻴﺤﻴﻲ ‪.‬‬
‫ﻼ ﻴﺎﻤﻌﻠﻡ ‪ ,‬ﻫﻭ ﺁﻴﻪ ﺍﻝﺤﻜﺎﻴﺔ‬‫ﻴﺤﻴﻲ ‪ :‬ﺃﻫ ﹰ‬ ‫ﺍﻝﺘﻠﻴﻔﻭﻥ‬
‫؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺴﻌﺩﺓ ‪ ":‬ﺍﻝﺭﺴﺎﻝﺔ ﻭﺼﻠﺕ !‬
‫ﻴﺤﻴﻲ ‪ :‬ﻗﺼﺩﻙ ﺍﻝﺒﻀﺎﻋﺔ !‬
‫ﺴﻌﺩﺓ ‪ :‬ﻗﺼﺩﻯ ﺍﻝﺭﺴﺎﻝﺔ ﻴﺎﻴﺤﻴﻲ ‪.‬‬
‫ﺱ ﺍﻝﺭﺴﺎﻝﺔ ﺒﻘﻰ‬‫ﺇﺘﻨﻴﻥ ﺯﻯ ﻤﺎﻁﻠﺒﺕ ‪ .‬ﺒ ‪‬‬

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‫ﺇﻨﻙ ﻝﻭ ﻝﻌﺒﺕ ‪ ..‬ﺃﻗﺩﺭ ﺍﻭﺼﻠﹶﻙ ‪.‬‬

‫ﻴﺤﻴﻲ ‪ :‬ﺍﻴﻭﺓ ﺒﺱ ﺩﻩ ﺒﻴﺕ ﻭ ‪...‬‬
‫ﺼﻭﺕ ﻏﻠﻕ‬ ‫ﺴﻌﺩﺓ ‪ :‬ﻤﺎﺘﻘﻠﻘﺵ ‪ ,‬ﺒﻜﺭﺓ ﻜﻠﻤﻨﻰ‬
‫ﺍﻝﺴﻤﺎﻋﺔ‬ ‫ﻭﻗﻭﻝﻰ ﺍﻝﻤﻜﺎﻥ ‪.‬‬
‫‪ 211‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻴﺤﻴﻲ ﺸﻤﺎل ﺭﺒﺎﺏ ‪ :‬ﺃﻨﺎ ﻗﻭﻝﺘﻠﻙ ﻗﺒل ﻜﺩﻩ ﺃﻨﺎ ﻤﺎﻝﻴﺵ‬
‫ﻓﻰ ﺍﻝﺸﻐل ﺩﻩ ‪ ..‬ﺒﻜﺭﺓ ﻴﺎﻴﺤﻴﻲ‬ ‫ﻜﺎﺩﺭ ﻭﺭﺒﺎﺏ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺍﻝﻤﺨﺩﺭﺍﺕ ﺩﻯ ﺘﺘﻨﻘل ﻤﻥ ﻫﻨﺎ ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﺘﺴﻴﺏ ﺍﻝﺒﻴﺕ ﻭﺍﻝﺸﻐل ‪ ,‬ﻝﻭ ﻋﻘﻠﺕ‬
‫ﻫﺎﺘﺭﺠﻊ ﺍﻝﺒﻴﺕ ﻭﻝﻭ ﻤﺸﻴﺕ ﻓﻰ ﻁﺭﻴﻘﻙ‬
‫ﻫﺎﺃﻁﻠﻘﻙ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 30‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺭﺩﻫﺔ‬
‫ﺍﻝﻤﺤﻜﻤﺔ‬
‫ﺼﻭﺕ ﺍﻝﺨﻁﻭﺍﺕ‬ ‫‪ 212‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L.S‬ﻤﻥ ﺒﺎﺏ‬
‫ﺍﻝﻤﺤﻜﻤﺔ ﺍﻝﺩﺍﺨﻠﻰ ﻴﺘﺤﺭﻙ‬
‫ﺍﻝﻤﺤﺎﻤﻴﻥ ﻭﺍﻝﻤﺘﻬﻡ ﻭﺍﻝﺤﺭﺱ‬
‫ﻭﺨﻠﻔﻬﻡ‬
‫ﺴﻌﺩﻩ ‪ .‬ﺘﺘﺤﺭﻙ‬
‫‪ Pan left‬ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻌﻬﻡ ﻓﻰ‬
‫ﻨﺎﺤﻴﺔ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 31‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺒﺎﺏ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 14‬‬
‫ﺍﻝﻤﺤﻜﻤﺔ‬
‫‪ 213‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L.s‬ﻋﻠﻰ ﺒﺎﺏ‬
‫ﺍﻝﻤﺤﻜﻤﺔ ﻤﻥ ﺍﻝﺨﺎﺭﺝ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 214‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺴﻌﺩﻩ ﻴﺨﺭﺝ‬
‫ﻋﻠﺒﺔ ﺍﻝﺴﺠﺎﺌﺭ ﻤﻥ ﺠﻴﺒﻪ ﺍﻝﺩﺍﺨﻠﻰ‬
‫ﻭﻴﺸﻌل ﺴﻴﺠﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 32‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻁﺭﻴﻕ‬
‫ﺼﺤﺭﺍﻭﻯ‬
‫ﺼﻭﺕ ﻤﺤﺭﻙ‬ ‫‪ 215‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻝﺴﻴﺎﺭﺓ‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬ ‫ﺍﻝﺴﺠﻥ ﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺸﻤﺎل‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 216‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪. . M . S‬‬

‫ﻝﻠﺴﻴﺎﺭﺓ ﻤﻥ ﺍﻷﻤﺎﻡ ‪ ,‬ﻭﻴﻅﻬﺭ ﺇﺒﺭﺍﻫﻴﻡ ‪ :‬ﺨﺵ ﻴﻤﻴﻥ ‪.‬‬
‫ﺍﻝﻨﻘﻴﺏ ﺇﺒﺭﺍﻫﻴﻡ ﻭ ﺠﻨﺩﻯ ﻴﻘﻭﺩ ﺍﻝﺠﻨﺩﻯ ‪ :‬ﺃﻴﻭﺓ ؟‬
‫ﺇﺒﺭﺍﻫﻴﻡ ‪ :‬ﺃﻴﻭﺓ ﻤﺎﺴﻤﻌﺘﺵ ! ﺨﺵ‬ ‫ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻴﻤﻴﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 217‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﺍﻝﺴﻴﺎﺭﺓ‬

‫ﺘﻨﻌﻁﻑ ﻴﻤﻴﻨﺎً ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﺎﻥ‬
‫ﺸﻤﺎل ‪.Pan Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 218‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻓﻰ ﻤﻘﺩﻤﺔ‬
‫ﺍﻝﻜﺎﺩﺭ ﺴﻴﺎﺭﺘﺎﻥ ﻭﻓﻰ ﺍﻝﻌﻤﻕ ﻤﻥ‬
‫ﺍﻝﺴﻴﺎﺭﺘﺎﻥ ﻭﺘﻘﻑ ﻓﻰ ﺍﻝﺨﻠﻑ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 14‬‬
‫‪ 219‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M.L.S‬‬
‫ﻝﻴﺤﻴﻲ ﻴﻨﺯل ﻤﻠﺜﻡ ﻤﻥ ﺍﻝﺴﻴﺎﺭﺓ ﻴﺤﻴﻲ ‪ :‬ﺇﺯﻴﻙ ﻴﺎﺒﻭ ﺨﻠﻴل ‪ ...‬ﺩﻯ‬
‫ﻭﻴﺘﺠﻪ ﻨﺎﺤﻴﺔ ﺇﺒﺭﺍﻫﻴﻡ ﺍﻝﺫﻯ ﻤﻔﺎﺘﻴﺢ ﺍﻝﻌﺭﺒﻴﺔ ‪ ,‬ﻭﺩﻯ ﻴﺎﺴﻴﺩﻯ ﺘﺫﻜﺭﺓ‬
‫ﺼﻭﺕ ﻏﻠﻕ ﺒﺎﺏ‬
‫ﻴﺼﺎﻓﺤﻪ ‪ .‬ﺜﻡ ﻴﺘﺠﻬﺎ ﻤﻌﹰﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻁﻴﺎﺭﺓ ﻭﺍﻝﺒﺴﺒﻭﺭ ‪ .‬ﻜﻠﻪ ﺴﻠﻴﻡ ‪.‬‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻁﻴﺎﺭﺘﻙ ﺒﻌﺩ ﺴﺎﻋﺘﻴﻥ ‪ .‬ﺇﻁﻤﻥ ﺒﻘﻰ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ‬
‫ﺜﻡ ﻴﻘﻔﺎ ﺃﻤﺎﻡ ﺴﻴﺎﺭﺓ ﺍﻝﺴﺠﻥ ‪ ,‬ﻋﻠﻰ ﻓﻠﻭﺴﻙ ‪.‬‬
‫ﻤﺴﺘﻤﺭ‬
‫ﺇﺒﺭﺍﻫﻴﻡ ‪ :‬ﻤﻌﻘﻭﻝﺔ !‬ ‫ﻴﻌﻁﻰ ﻴﺤﻴﻲ ﺤﻘﻴﺒﺔ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻫﺎﻩ ﺴﻠﻤﻨﻰ ﺍﻷﻤﺎﻨﺔ ﺒﻘﻰ‬ ‫ﻷﺒﺭﺍﻫﻴﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 220‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫ﺼﻭﺕ ﺍﻝﺒﺎﺏ‬ ‫‪ S‬ﻝﺴﻴﺎﺭﺓ ﺍﻝﺴﺠﻥ ﻤﻥ ﺍﻝﺨﻠﻑ ‪,‬‬
‫ﺇﺒﺭﺍﻫﻴﻡ ‪ :‬ﺇﻓﺘﺢ ﺘﻌﺎﻝﻰ ‪ ..‬ﺴﻴﺩ ﺨﺵ‬
‫ﺍﻝﺤﺩﻴﺩﻯ‬ ‫ﻭﺇﺒﺭﺍﻫﻴﻡ ﻴﺨﺭﺝ ﺍﻝﺴﺠﻴﻥ ﻭﻴﺩﺨل‬
‫ﺠﻭﻩ ﺨﺵ‪.‬‬
‫ﺍﻝﺠﻨﻭﺩ ﻤﻜﺎﻨﻪ ‪ .‬ﺜﻡ ﻴﻐﻠﻕ ﺍﻝﺒﺎﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 221‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫ﺼﻭﺕ ﺍﻝﻁﻠﻘﺎﺕ‬
‫‪ S‬ﻹﺒﺭﺍﻫﻴﻡ ﻴﻁﻠﻕ ﺍﻝﻨﺎﺭ ﻋﻠﻰ‬
‫ﺇﻁﺎﺭﺍﺕ ﺍﻝﻌﺭﺒﺔ ﺍﻷﻤﺎﻤﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 222‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻷﻁﺎﺭ‬
‫ﺍﻝﺴﻴﺎﺭﺓ ﻭﻁﻠﻘﺔ ﺍﻝﻨﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 223‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫‪ . S‬ﻹﺒﺭﺍﻫﻴﻡ ﻴﻐﺎﺩﺭ ﺍﻝﻤﻜﺎﻥ‬
‫ﻭﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬‬ ‫‪224‬‬
‫ﻝﻺﻁﺎﺭ ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻨﺎﺤﻴﺔ ﺍﻝﺸﻤﺎل ﺤﻴﺙ ﺍﻝﺴﻴﺎﺭﺘﺎﻥ‬
‫) ‪( 15‬‬ ‫ﻭﻫﻤﺎ ﺘﻐﺎﺩﺭﺍﻥ ﺍﻝﻤﻜﺎﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 225‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻋﻠﻰ‬

‫ﻨﺎﻓﺫﺓ ﺴﻴﺎﺭﺓ ﺍﻝﺴﺠﻥ ﻭﻴﻨﻅﺭ ﻤﻨﻬﺎ‬
‫ﺍﻝﺠﻨﻭﺩ ﻭﺍﻝﻤﺴﺎﺠﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 15‬‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ ﺍﻝﻤﻠﻬﻰ ﺍﻝﻠﻴﻠﻰ‬
‫) ‪( 16‬‬

‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ ﺍﻝﺭﻗﺼﺔ‬
‫) ‪( 16‬‬
‫ﻤﺸﻬﺩ ) ‪( 33‬‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﺼﻴﺤﺎﺕ‬
‫ﺍﻝﺠﻤﻬﻭﺭ‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺨﺸﺒﺔ ﻤﺴﺭﺡ‬
‫ﻓﻰ ﻤﻠﻬﻰ ﻝﻴﻠﻰ‬

‫‪226‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﺭﺍﻗﺼﺔ‬
‫ﺇﺴﺘﻌﺭﺽ ﻅﻬﺭﻫﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ‬
‫ﺨﺸﺒﺔ ﺍﻝﻤﺴﺭﺡ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪227‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪. .M . S‬‬
‫ﻝﻠﺭﺍﻗﺼﺔ ﻭﻅﻬﺭﻫﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ﺘﻠﺘﻔﺕ‬
‫ﺒﺭﺃﺴﻬﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪228‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬

‫ﻝﻠﺠﻤﺎﻫﻴﺭ ﻭﺍﻗﻔﻴﻥ ﺃﺴﻔل ﺨﺸﺒﺔ‬
‫ﺍﻝﻤﺴﺭﺡ ﻴﺼﻴﺤﻭﻥ ‪ .‬ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪Pan Left‬‬
‫ﻹﺴﺘﻌﺭﺍﺽ ﺍﻝﺠﻤﺎﻫﻴﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪229‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪.M . S‬‬
‫ﻝﻠﺭﺍﻗﺼﺔ ﺘﻠﺘﻔﺕ ‪ ,‬ﺜﻡ ﺘﺴﺘﺩﻴﺭﻤﺭﺓ‬
‫ﺃﺨﺭﻯ ﻝﺘﻌﻁﻰ ﻅﻬﺭﻫﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪230‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻓﻰ ﺍﻝﻤﻘﺩﻤﺔ‬
‫ﺍﻝﺠﻤﺎﻫﻴﺭ ﻭﻓﻰ ﺍﻝﻌﻤﻕ ﺍﻝﺭﺍﻗﺼﺔ‬
‫ﻭﺍﻗﻔﺔ ﻓﻭﻕ ﺍﻝﻤﺴﺭﺡ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪231‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬
‫ﻝﻠﺠﻤﺎﻫﻴﺭ ﺘﺤﺘﻬﺎ ﻭﻤﻌﻬﻡ ﺍﻝﻤﻌﻠﻡ‬
‫ﺒﺴﻴﻭﻨﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪232‬‬
‫ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ‪Slow Motion‬‬
‫ﻝﻴﺤﻴﻲ ﻴﻘﻭﻡ ﻤﻥ ﻋﻠﻰ ﻤﻘﻌﺩﻩ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪.L . S‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪233‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﺭﺍﻗﺼﺔ‬
‫ﺘﺒﺩﺍ ﻓﻰ ﺨﻠﻊ ﻤﻼﺒﺴﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪234‬‬

‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻠﺼﺎﻝﺔ ﻤﻥ‬

‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻝﻠﺭﺍﻗﺼﺔ ﺘﻠﻘﻰ ﺒﻤﻼﺒﺴﻬﺎ ﻋﻠﻰ‬
‫ﺍﻝﺠﻤﻬﻭﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪235‬‬

‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻠﺭﺍﻗﺼﺔ ﻤﻥ‬

‫ﺍﻷﻤﺎﻡ ﻭﺘﺭﺘﻔﻊ ﻜﺅﻭﺱ ﺍﻝﺸﺭﺍﺏ‬
‫ﻓﻰ ﻴﺩﻯ ﺍﻝﺠﻤﻬﻭﺭ‬

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‫ﻗﻁﻊ ‪Cut‬‬

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‫ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ ‪Slow Motion‬‬

‫ﻝﻴﺤﻴﻲ ﻓﻰ ﺤﺠﻡ ﻤﺘﻭﺴﻁ ‪M . S‬‬
‫ﻭﻫﻭ ﻴﺴﻴﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﺭﺍﻗﺼﺔ‬
‫ﻭﻴﻠﻘﻰ ﺒﺎﻝﻨﻘﻭﺩ ﻋﻠﻴﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪237‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻠﻨﻘﻭﺩ‬
‫ﺘﺘﻁﺎﻴﺭ ﻓﻰ ﺍﻝﻬﻭﺍﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪238‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻠﻨﻘﻭﺩ‬
‫ﻓﻰ ﺍﻝﻬﻭﺍﺀ ﻤﻊ ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ‬
‫‪ Slow Motion‬ﻤﻊ ﺍﻝﻜﺅﻭﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪239‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻤﻥ ﺃﻋﻠﻰ‬
‫ﻝﻠﺭﺍﻗﺼﺔ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪240‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻠﺭﺍﻗﺼﺔ ﻓﻰ‬
‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﻤﻔﺭﺩﻫﺎ ﺘﺭﻗﺹ‬
‫ﻭﻫﻰ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪241‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬

‫‪ Close up‬ﻝﺒﺴﻴﻭﻨﻰ ﻤﻊ ﻓﺘﻴﺎﺘﻪ‬
‫ﻭﻫﻭ ﻓﻰ ﺤﺎﻝﺔ ﺴﻜﺭ ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ‪ Tilt up‬ﻨﺤﻭ‬
‫ﺭﺠل ﻴﺸﺭﺏ ﻤﻥ ﺯﺠﺎﺠﺔ ﺨﻤﺭ ‪.‬‬
‫ﻓﻰ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪Close up‬‬
‫ﻭﺍﻝﺭﺍﻗﺼﺔ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪242‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻠﺭﺍﻗﺼﺔ‬
‫ﺘﻔﻙ ﺤﻤﺎﻝﺔ ﺍﻝﺼﺩﺭ ﻭﻅﻬﺭﻫﺎ‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪243‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ . M . S‬ﻤﻥ‬

‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪High Angle‬‬
‫ﻝﻠﺠﻤﺎﻫﻴﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 16‬‬
‫ﻤﺸﻬﺩ ) ‪( 34‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻨﻁﻘﺔ‬
‫ﺯﺭﺍﻋﻴﺔ‬
‫‪ 244‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻌﺠﻠﺔ‬
‫ﺴﻴﺎﺭﺓ ﺘﺩﺨل ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﻨﺯل ﻤﻥ ﺒﺎﺏ ﺍﻝﺴﻴﺎﺭﺓ ﻗﺩﻤﻰ‬
‫ﺇﻤﺭﺃﺓ ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ‬
‫‪ Pan Right‬ﻝﻠﺘﺎﺒﻊ ﻗﺩﻤﻴﻬﺎ‬
‫ﻭﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻥ ﺍﻝﻤﺭﺃﺓ‬
‫‪Tracking‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 245‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ Low Angle‬ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻝﺒﺴﻴﻭﻨﻰ ﻭﺭﺠﺎﻝﻪ ﻭﻫﻡ ﺴﻜﺎﺭﻯ‬
‫ﻴﻨﺯﻝﻭﻥ ﻤﻥ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 246‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﺍﻝﻤﺭﺃﺓ ‪ :‬ﻭﺩﻭﺍ ﻭﺸﻜﻭﺍ ﺍﻝﻨﺎﺤﻴﺔ‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻝﻠﻤﺭﺃﺓ‬
‫ﺍﻝﺘﺎﻨﻴﺔ ‪ ,‬ﻤﺎﺤﺩﺵ ﻴﺒﺹ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 247‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﺒﺴﻴﻭﻨﻰ‬
‫ﻭﻫﻭ ﻤﺴﺘﻨﺩ ﻋﻠﻰ ﺍﻝﺴﻴﺎﺭﺓ ﺒﺴﻴﻭﻨﻰ ‪ :‬ﺤﺘﻰ ﺃﻨﺎ ؟‬
‫ﻭﺒﺠﻭﺍﺭﻩ ﺭﺠﺎﻝﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 248‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻝﻠﻤﺭﺃﺓ ﻤﻥ‬
‫ﺍﻝﻤﺭﺃﺓ ‪ :‬ﺍﻨﺕ ﺒﺎﻝﺫﺍﺕ ‪ ..‬ﻋﻠﺸﺎﻥ ﺃﻨﺕ‬
‫ﻭﺠﻬﺔ ﻨﻅﺭ ﺒﺴﻴﻭﻨﻰ ﻭﻫﻰ ﻓﻰ‬
‫ﺃﺸﻘﺎﻫﻡ ﻴﻠﻼ ﺒﻘﻰ ﺒﺼﻭﺍ ﺍﻝﻨﺎﺤﻴﺔ‬
‫ﻤﻨﺘﺼﻑ ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﺘﺎﻨﻴﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 249‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ‪ High Angle‬ﻝﺒﺴﻴﻭﻨﻰ‬
‫ﺼﻭﺕ ﺍﻝﻤﺭﺃﺓ ‪ :‬ﺇﺩﻭﺭﻭﺍ !‬
‫ﻭﺭﺠﺎﻝﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 250‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪. M .L‬‬

‫ﻝﻠﻤﺭﺍﺓ ﺘﻤﺸﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 251‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪. L . S‬‬
‫ﻝﻠﻤﺭﺃﺓ ﺘﻤﺸﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 252‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻷﺭﺠل‬
‫ﺍﻝﻤﺭﺃﺓ ﻭﻫﻰ ﺘﻤﺸﻰ ﻝﻠﻴﻤﻴﻥ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 253‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ M . S‬ﻝﻠﻤﺭﺃﺓ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Track‬‬
‫ﻝﻠﺩﺍﺨل ﻭﻫﻰ ﺘﺴﻴﺭ ﺒﻴﻥ ﺍﻷﺸﺠﺎﺭ‬
‫ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 254‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻠﻤﺭﺃﺓ‬
‫) ‪( 17‬‬ ‫ﻭﻭﺠﻬﻬﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﻴﺤﻴﻲ ﻭﺭﺠﺎﻝﻪ ‪ ,‬ﺜﻡ ﺘﺫﻫﺏ ﻤﻊ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻭﺼﻠﻭﻫﺎ ‪ ....‬ﻤﻌﺎﻫﻡ‬
‫ﺭﺠﻠﻴﻥ ﻨﺎﺤﻴﺔ ﺍﻝﻌﻤﻕ ﻭﻴﺘﺤﺭﻙ‬
‫ﻴﺤﻴﻲ ﻭﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 255‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M. Close‬‬
‫‪ up‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫‪ Angle‬ﻝﻴﺤﻴﻲ ﻴﺩﺨل ﻤﻥ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬‬ ‫‪256‬‬
‫ﻝﻠﻤﺴﺩﺱ ﻓﻰ ﻴﺩﻩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 257‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﺒﺴﻴﻭﻨﻰ‬
‫ﻭﺭﺠﺎﻝﻪ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 258‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ‬
‫ﻭﺠﻪ ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 259‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬ﻋﻠﻰ‬
‫ﻭﺠﻪ ﺒﺴﻴﻭﻨﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 260‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﺒﺴﻴﻭﻨﻰ‬
‫ﻭﺭﺠﺎﻝﻪ ‪ ,‬ﻴﺤﺎﻭل ﺒﺴﻴﻭﻨﻰ ﺇﺨﺭﺍﺝ‬
‫ﻤﺴﺩﺴﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 261‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﺼﻭﺕ ﺍﻝﻁﻠﻘﺔ‬ ‫ﻴﺼﻭﺏ ﻁﻠﻘﺔ ﻨﺤﻭ ﺒﺴﻴﻭﻨﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪262‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪. M . S‬‬
‫ﻝﺒﺴﻴﻭﻨﻰ ﻭﺍﻝﻁﻠﻘﺔ ﺘﺴﻜﻥ‬
‫ﺼﺩﺭﻩ ‪ ,‬ﻭﻴﺴﻘﻁ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﺨﺎﺭﺠﹰﺎ ﻤﻥ ﺃﺴﻔل ﺍﻝﻜﺎﺩﺭ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 262‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ M . S‬ﻝﻴﺤﻴﻲ‬
‫ﺼﻭﺕ ﺍﻝﻁﻠﻘﺔ‬ ‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫‪ Angle‬ﻴﺼﻭﺏ ﻁﻠﻘﺔ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 263‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ M . S‬ﻝﺭﺠل ﻤﻥ‬
‫ﻼ‬
‫ﺭﺠﺎل ﺒﺴﻴﻭﻨﻰ ﻴﺴﻘﻁ ﻗﺘﻴ ﹰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 264‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﺭﺠل‬
‫ﺁﺨﺭ ﻴﺤﺎﻭل ﺍﻝﻔﺭﺍﺭ ﺨﻠﻑ ﺍﻝﺴﻴﺎﺭﺓ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 265‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺼﻭﺏ ﻁﻠﻘﺔ ‪ .‬ﺜﻡ ﻴﻘﺘﺭﺏ ﻤﻥ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 266‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻠﺭﺠل‬
‫ﻴﻘﻊ ﺨﻠﻑ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 267‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ . M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺼﻭ‪‬ﺏ ﺍﻝﻤﺴﺩﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 268‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .‬‬
‫‪ Close up‬ﻝﺯﺠﺎﺝ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﺼﻭﺕ ﺍﻝﻁﻠﻘﺔ‬
‫ﻭﺍﻝﻁﻠﻘﺔ ﺘﺼﻴﺒﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 269‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻠﻤﺴﺩﺱ‬
‫ﺘﻨﻁﻠﻕ ﻤﻨﻪ ﺭﺼﺎﺼﺔ ‪ .‬ﻭﻴﺩ ﻴﺤﻴﻲ‬
‫ﻁﻠﻘﺔ ﻤﺴﺩﺱ‬
‫ﺘﻠﻘﻰ ﺒﺨﺯﻴﻨﺔ ﻁﻠﻘﺎﺕ ﺍﻝﻤﺴﺩﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻼ ﺃﺤﺩ‬
‫‪ 270‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻴﺤﻴﻲ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻝﻜﻰ ﺃﺼﺒﺢ ﻓﻌ ﹰ‬
‫ﻴﺘﻤﺸﻰ ﺒﻴﻥ ﺍﻝﻘﺘﻠﻰ ‪ ,‬ﺜﻡ ﺘﺭﺘﻔﻊ ﺍﻝﻤﻌﻠﻤﻴﻥ ﺍﻝﻜﺒﺎﺭ ‪ ,‬ﻜﺎﻥ ﻴﺠﺏ ﺃﻥ ﺃﺼﺒﺢ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪ Crane‬ﻭﻫﻭ ﻤﻬﺎﺒﹰﺎ ‪ ,‬ﻭﺒﻘﺩﺭ ﺍﻝﺴﻤﻌﺔ ﺍﻝﻤﻁﻠﻭﺏ‬
‫ﺘﺤﻘﻴﻘﻬﺎ ‪ ,‬ﻜﺎﻥ ﻴﺠﺏ ﺃﻥ ﻴﻜﻭﻥ ﻫﻨﺎﻙ‬ ‫ﻴﻐﺎﺩﺭ ﺍﻝﻤﻜﺎﻥ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪ Fade -out‬ﻋﻤل ﻋﻨﻴﻑ ﻗﺎﺴﻰ ‪ ,‬ﻝﻪ ﺩﻭﻯ ‪ .‬ﻗﺼﺩﺕ‬
‫ﺃﻥ ﺃﺼﻨﻌﻪ ﻭﺤﺘﻰ ﺩﻭﻥ ﺸﺭﻴﻙ ‪ .‬ﻭﻝﻜﻨﻰ‬
‫ﺃﻴﻀ ﹰﺎ ﺃﻋﺘﺭﻑ ﺒﺄﻨﻨﻰ ﺍﻵﻥ ﺃﺩﺭﻙ ﺃﻥ ﻗﺘل‬
‫ﺍﻝﻤﻌﻠﻡ ﺒﺴﻴﻭﻨﻰ ﻜﺎﻥ ﻓﻌﻼﺹ ﻤﺤﺒﺒﺎﺹ‬
‫ﺇﻝﻰ ﻨﻔﺴﻰ ‪ ,‬ﻭﻝﻁﺎﻝﻤﺎ ﺘﻘﺕ ﺇﻝﻴﻪ ‪,‬‬
‫ﻭﻫﻜﺫﺍ ﺘﺤﻭل ﺍﻝﻭﺍﺩ ﻴﺤﻴﻲ ﺃﺒﻭﺩﺒﻭﺭﺓ‬
‫ﺍﻝﻰ ﺍﻝﻤﻌﻠﻡ ﺃﺒﻭ ﺩﺒﻭﺭﺓ ‪".‬‬
‫ﻤﺸﻬﺩ ) ‪( 35‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﻭﺍﺭﻉ‬
‫ﺍﻝﻘﺎﻫﺭﺓ‬
‫‪ 270‬ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade-out‬‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻤﻥ‬
‫) ‪( 17‬‬ ‫ﺩﺍﺨل ﺍﻝﺴﻴﺎﺭﺓ ﻭﺘﻅﻬﺭ ﻝﻭﺤﺔ‬
‫ﻋﻠﻴﻬﺎ ) ﺍﻝﻘﺎﻫﺭﺓ ﻋﺎﻡ ‪( 1981‬‬

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‫ﻭﻴﻅﻬﺭ ﻗﺼﺭ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪,‬‬

‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ‪Pan‬‬
‫‪ Right‬ﻝﺘﺩﺨل ﺍﻝﺴﻴﺎﺭﺓ ﺸﺎﺭﻉ‬
‫ﺁﺨﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 271‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻤﻥ ﺃﻤﺎﻡ‬
‫ﺍﻝﺴﻴﺎﺭﺓ ﻭﻴﻅﻬﺭ ﻴﺤﻴﻲ ﺨﻠﻑ‬
‫ﻋﺠﻠﺔ ﺍﻝﻘﻴﺎﺩﺓ ﻭﻫﻭ ﻤﺒﺘﺴﻤﹰﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 272‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﻁﺭﻴﻕ ﻤﻥ‬
‫ﺯﺠﺎﺝ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 273‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﺴﻴﺎﺭﺓ‬
‫ﻴﺤﻴﻲ ﻭﻫﻰ ﺘﻘﻑ ﻓﻰ ﺒﺠﺎﻨﺏ‬
‫ﺍﻝﺴﻴﺎﺭﺍﺕ ‪ ,‬ﻭﻴﻨﺯل ﻴﺤﻴﻲ ‪ ,‬ﺜﻡ‬
‫ﻴﺘﺠﻤﻊ ﺤﻭﻝﻪ ﺒﻌﺽ ﺍﻝﺭﺠﺎل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪274‬‬

‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻴﺤﻴﻲ ﻭﻫﻭ‬

‫ﻴﺼﺎﻓﺢ ﺍﻝﺭﺠﺎل ﻭﻓﻰ ﺨﻠﻔﻴﺔ‬
‫ﺼﻭﺕ ﻓﺘﺢ ﻭﻏﻠﻕ‬ ‫ﻴﺤﻴﻲ ‪ :‬ﻴﺎﻝﻼ ﻴﺎﺭﺠﺎﻝﺔ ﺇﺭﻜﺒﻭﺍ‬
‫ﺍﻝﻜﺎﺩﺭ ﺘﺘﺤﺭﻙ ﺴﻴﺎﺭﺓ ﻤﺒﺘﻌﺩﺓ ﻓﻰ‬
‫ﺃﺒﻭﺍﺏ ﺍﻝﺴﻴﺎﺭﺍﺕ‬ ‫ﺍﻝﻌﺭﺒﻴﺎﺕ ‪.‬‬
‫ﺍﻝﺨﻠﻔﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 17‬‬
‫ﻤﺸﻬﺩ ) ‪( 36‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻥ ﺩﺍﺨل‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬
‫‪ 275‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺨﻤﺴﺔ‬
‫ﺴﻌﺩﺓ ‪ :‬ﻤﻴﻥ ﻫﺎﻴﺭﻤﻰ ﺒﻴﺎﻀﻪ‬
‫ﺃﺸﺨﺎﺹ ﺩﺍﺨل ﺍﻝﺴﻴﺎﺭﺓ ‪ .‬ﻭﻴﻘﻭﺩ‬
‫ﻴﺎﻤﻌﻠﻤﻴﻥ ! ﻗﻭل ﺃﻨﺕ ﻴﺎﻤﻌﻠﻡ ﺇﺒﺭﺍﻫﻴﻡ ‪.‬‬
‫ﺍﻝﻤﻌﻠﻡ ﺴﻌﺩﺓ ﺍﻝﺴﻴﺎﺭﺓ ‪ ,‬ﻭﻴﻨﻅﺭ‬
‫ﺇﺒﺭﺍﻫﻴﻡ ‪ :‬ﺇﻨﺯل ﺒﻴﻨﺎ ﻋﻠﻰ ﻭﺴﻁ ﺍﻝﺒﻠﺩ ‪.‬‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻤﻌﻠﻡ ﺇﺒﺭﺍﻫﻴﻡ ﺍﻝﺠﺎﻝﺱ‬
‫ﺴﻌﺩﺓ ‪ :‬ﻤﺎﺸﻰ ﻭﺴﻁ ﺍﻝﺒﻠﺩ ‪..‬‬
‫ﺒﺠﻭﺍﺭﻩ‬
‫ﻤﻨﻭﺭﻴﻥ ‪ .‬ﺸﺭﻓﺕ ﻴﺎﺭﺠﺏ ﺒﻴﻪ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 276‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺭﺠﺏ‬
‫ﻼ ﺒﻴﻜﻭﺍ ﻴﺎﻤﻌﻠﻤﻴﻥ ‪.‬‬ ‫ﺭﺠﺏ ‪ :‬ﺃﻫ ﹰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺇﺒﺭﺍﻫﻴﻡ ‪ :‬ﻴﻤﻜﻥ ﺘﺴﻤﻊ ﻋﻥ ﺍﻝﻤﻌﻠﻤﻴﻥ ‪,‬‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬ ‫‪276‬‬
‫ﻝﻜﻥ ﻤﺎﺘﻌﺭﻓﻬﻤﺸﻜﻭﻴﺱ ‪ .‬ﺍﻝﻤﻌﻠﻡ ﺴﻌﺩﺓ‬ ‫ﻹﺒﺭﺍﻫﻴﻡ‬
‫ﺍﻝﻤﻨﺯﻻﻭﻯ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 278‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﺴﻌﺩﺓ‬
‫ﻭﻫﻭ ﻴﻘﻭﺩ ﺍﻝﺴﻴﺎﺭﺓ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺇﺒﺭﺍﻫﻴﻡ ‪ .. :‬ﺠﺩﻋﻨﺔ ﺍﻝﺴﻭﺍﺤﻠﻴﺔ ﻜﻠﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪ Pan Left‬ﻭﺍﻝﺒﺤﻴﺭﺓ ﻤﻥ ﺨﻁﺔ ﻋﺎﺭﻑ ﺴﻤﻜﻬﺎ ‪,‬‬
‫ﻝﻨﺭﻯ ﻫﺩﻫﺩ ﻭﺭﺠﺏ ﻓﻰ ﻴﻤﻴﻥ ﻭﻋﺎﺭﻓﻬﻡ ﺒﺎﻝﻭﺍﺤﺩﺓ ﻭﺍﻷﺴﻡ ﻭﺍﻝﺴﻥ‬
‫ﻭﺍﻝﻌﻨﻭﺍﻥ ‪.‬‬ ‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻼ ﻴﺎﻤﻌﻠﻡ ‪.‬‬
‫ﺭﺠﺏ ‪ :‬ﺃﻫ ﹰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺇﺒﺭﺍﻫﻴﻡ ‪ :‬ﺍﻝﻤﻌﻠﻡ ﻫﺩﻫﺩ ﻋﺒﺩ‬
‫ﺍﻝﺭﺤﻴﻡ ‪.‬ﺇﻤﺒﺭﺍﻁﻭﺭ ﺍﻝﺒﺎﻁﻨﻴﺔ ‪ .‬ﺇﺒﻥ ﺒﻠﺩ‬

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‫ﻋﻠﻰ ﺤﻕ ‪...‬‬
‫ﺇﺒﺭﺍﻫﻴﻡ ‪.... :‬ﻝﻭ ﺼﺎﺤﺒﻪ ﻁﻠﺏ ﻤﻨﻪ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬ ‫‪279‬‬
‫ﺨﺩﻤﺔ ﺒﻴﺴﺩ ﻭﻝﻭ ﺒﺭﻗﺒﻴﺘﻪ ‪ .‬ﺍﻝﻤﻌﻠﻡ‬ ‫ﻷﺒﺭﺍﻫﻴﻡ‬
‫ﻴﺤﻴﻲ ﺃﺒﻭ ﺩﺒﻭﺭﺓ ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ ﺇﺒﺭﺍﻫﻴﻡ ‪ ... :‬ﺍﻝﺫﻜﺎﻭﺓ ﻭﺍﻝﻤﻔﻬﻭﻤﻴﺔ‬ ‫‪280‬‬
‫ﻴﻠﺘﻔﺕ ﺒﺭﺍﺴﻪ ﻨﺎﺤﻴﺔ ﺭﺠﺏ ﻭﺍﻝﺸﻐل ﻜﻠﻪ ﻭﻓﻭﻕ ﺍﻝﺒﻴﻌﺔ ﺩﺍﺭﺱ‬
‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﻓﺎﻫﻡ ﺩﺭﻭﺒﻬﺎ ‪ ,‬ﻨﺯﻴﻪ ﻭﻴﺤﺏ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻨﺯﺍﻫﺔ ‪.‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺭﺠﺏ ﺇﺒﺭﺍﻫﻴﻡ ‪ ... :‬ﻭﻤﺤﺴﺒﻜﻭﺍ ﺒﻘﻰ ﺍﻝﻤﻌﻠﻡ‬ ‫‪281‬‬
‫ﺇﺒﺭﺍﻫﻴﻡ ﺍﻝﺤﻭﺕ ‪ ..‬ﺇﻴﺩ ﺍﻝﻤﻌﻠﻤﻴﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﺨﺩﺍﻤﻬﻡ ‪ ..‬ﻫﺎﻨﺭﻭﺡ ﻋﻠﻰ ﻓﻴﻥ ﺒﻘﻰ‬
‫ﻴﺎﺭﺠﺏ ﺒﻴﻪ ؟‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺭﺠﺏ‬ ‫‪282‬‬
‫ﺭﺠﺏ ‪ :‬ﺍﻝﻨﻴل ﻫﻴﻠﺘﻭﻥ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 37‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﺍﻝﻬﻴﻠﺘﻭﻥ‬
‫‪ 283‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﺴﻴﺎﺭﺓ‬
‫ﻭﻫﻰ ﺘﺄﺘﻰ ﻤﻥ ﺍﻝﺨﻠﻑ ﻝﺘﻘﻑ ﺼﻭﺕ ﺭﺠﺏ ‪ :‬ﻝﻭ ﺍﻝﻤﻌﻠﻡ ﺴﻌﺩﺓ‬
‫ﺼﻭﺕ ﻓﺘﺢ ﺃﺒﻭﺍﺏ‬
‫ﻭﺘﻤﻼﺀ ﺍﻝﻜﺎﺩﺭ ‪ .‬ﺜﻡ ﻴﺄﺘﻰ ﺤﺎﺭﺱ ﺍﻝﻤﻨﺯﻻﻭﻯ ﺤﺏ ﻴﻨﻘل ﺒﻤﻠﻴﻭﻥ ﺠﻨﻴﻪ‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﺤﺸﻴﺵ ﻤﻥ ﺍﻝﻤﻨﺯﻝﺔ ﻝﻠﺼﻌﻴﺩ ‪..‬‬ ‫ﺍﻝﻤﺩﺨل ﻭﻴﻔﺘﺢ ﺍﻝﺒﻭﺍﺏ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 38‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻓﻰ‬
‫ﻓﻨﺩﻕ ﻫﻴﻠﺘﻭﻥ‬
‫‪ 284‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﺭﺠﺏ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻌﻪ ﺸﻤﺎ ﹰﻻ‬
‫‪ . Pan Left‬ﺜﻡ ﻴﺘﻭﻗﻑ ﺨﻠﻑ‬
‫ﻴﺤﻴﻰ ﻭﻫﺩﻫﺩ ﺍﻝﺠﺎﻝﺴﺎﻥ ﺤﻭل‬
‫ﺍﻝﻤﺎﺌﺩﺓ‬
‫ﺜﻡ ﻴﻠﺘﻔﺕ ﻭﻴﻌﻁﻰ ﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ﺭﺠﺏ ‪ .. :‬ﻻﺯﻡ ﻴﻨﻘﻠﻬﻡ ﻓﻰ ﻋﺭﺒﻴﺔ ﻨﻘل‬
‫ﻭﺇﺤﺘﻤﺎﻻﺕ ﺇﻥ ﺍﻝﺒﻭﻝﻴﺱ ﻴﺸﻡ ﺍﻝﻨﻘﻠﺔ‬
‫ﻤﻬﻴﺎﺵ ﻗﻠﻴﻠﺔ ‪ .‬ﻤﻅﺒﻭﻁ ! ﻜل ﻁﻥ‬
‫ﺤﺸﻴﺵ ﺒﻴﺩﺨل ﺍﻝﺒﻠﺩ ﺒﻴﺒﻘﻰ ﻗﺩﺍﻤﻪ ﻁﺎﻡ‬
‫ﻁﻥ ‪ ,‬ﺍﻝﺒﻭﻝﻴﺱ ﻤﺎﺴﻜﻬﻡ ‪ .‬ﻴﻌﻨﻰ‬
‫ﺜﻡ ﻴﺘﺤﺭﻙ ﻝﻴﺼﺒﺢ ﺒﺭﻭﻓﻴل ﻤﺸﺎﻜل ﻭﻗﻀﺎﻴﺎ ‪ ..‬ﺸﻐﻼﻨﺔ ﻴﻌﻨﻰ ‪.‬‬
‫ﺸﻤﺎل ‪ ,‬ﺜﻡ ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan‬ﺍﻝﻤﺴﺘﻬﺩﻑ ﺼﺎﺤﺏ ﺍﻝﻤﺯﺍﺝ ‪ .‬ﻝﻭ ﻁﻠﻊ‬
‫‪ Left‬ﻭﻫﻭ ﻴﻠﻑ ﺤﻭل ﺍﻝﻤﻨﻀﺩﺓ ﺸﺎﺭﺏ ﺤﺸﻴﺵ ﺒﻴﻌﺩل ﺍﻝﺩﻤﺎﻍ ‪ .‬ﻝﻭ ﻓﻴﻪ‬
‫ﻤﺭﺓ ﺃﺨﺭﻯ ‪ .‬ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻌﻪ ﻤﺸﺎﻜل ﻓﻰ ﻋﻤﻠﻴﺔ ﺍﻝﺸﺭﺍ ﺒﻴﺘﻭﻗﻑ ﻋﻥ‬
‫ﺍﻝﺸﺭﺍ ‪ .‬ﻭﺒﻌﺩ ﻜل ﺩﻩ ﺍﻝﻤﻜﺴﺏ ﻜﺎﻡ !‬
‫ﻤﻴﻪ ﺍﻝﻤﻴﻪ ‪ .‬ﺍﻝﺠﻨﻴﻪ ﺒﻴﻌﻤل ﺇﺘﻨﻴﻥ ‪ .‬ﺩﻩ‬
‫ﻏﻴﺭ ﺼﻌﻭﺒﺎﺕ ﺍﻝﺘﺸﻭﻴﻥ ﻭﺍﻝﻨﻘل‬
‫ﻭﺍﻝﺘﻭﺯﻴﻊ ﻭﻏﻴﺭﻩ ﻭﻏﻴﺭﻩ ‪.‬‬
‫ﻫﺩﻫﺩ ‪ :‬ﻋﺎﻭﺯ ﺘﻭﺼل ﻵﻴﻪ ﻴﺎﻤﻌﻠﻡ ‪.‬‬
‫ﺃﻗﺼﺩ ﻴﺎﺭﺠﺏ ﺒﻴﻪ !‬

‫ﻭﻴﻘﻑ ﺭﺠﺏ ﺒﺭﻭﻓﻴل ﻭﺃﻤﺎﻤﻪ‬

‫ﻴﺠﻠﺱ ﻫﺩﻫﺩ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪285‬‬

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‫ﺼﻭﺕ ﻀﺤﻜﺔ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺭﺠﺏ ﺭﺠﺏ ‪ :‬ﻋﺎﻭﺯ ﺍﻭﺼل ﺇﻥ ﺍﻝﺤﺸﻴﺵ‬

‫ﺴﻌﺩﺓ‬ ‫ﻤﺎﺒﻘﺎﺵ ﺠﺎﻴﺏ ﻫﻤﻪ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 286‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . .M. S‬ﻝﺴﻌﺩﺓ‬
‫ﺴﻌﺩﺓ ‪ :‬ﺃﻤﺎل ﻋﺎﻴﺯﻨﺎ ﻻﻤﺅﺍﺨﺫﺓ ﻨﺸﺘﻐل‬
‫ﻓﻰ ﺁﻴﻪ ! ﻓﻰ ﺍﻝﻤﺎﻨﻴﻔﺎﺘﻭﺭﺓ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 287‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﺭﺠﺏ‬
‫) ‪( 18‬‬ ‫ﻭﺍﻗﻑ ‪ ,‬ﺜﻡ ﻴﺠﻠﺱ ﺤﺘﻰ ﻴﺼﺒﺢ ﺭﺠﺏ ‪ :‬ﻋﺎﻴﺯﻴﻥ ﻨﺸﺘﻐل ﻓﻰ ﺤﺎﺠﺔ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻁﻘﺔ ﻗﺭﻴﺒﺔ ‪ Close‬ﻤﻜﺴﺒﻬﺎ ‪ 500‬ﺍﻝﻤﻴﻪ ‪ ,‬ﻭﺘﺩﺨل ﺍﻝﺤﺩﻭﺩ‬
‫‪ . up‬ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﺠﻴﺒﻪ ﻜﻴﺱ ﺒﺒﺴﺎﻁﺔ ‪ .‬ﺘﺘﻨﻘل ﺒﺴﻬﻭﻝﺔ ﻭﺘﺘﺸﻭﻥ ﻓﻰ‬
‫ﺒﻭﺩﺭﺓ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺩﻭﻻﺏ ‪ ,‬ﺍﻝﻠﻰ ﻴﺠﺭﺒﻬﺎ ﻤﺎﻴﻘﺩﺭﺵ‬
‫ﻝﻠﺩﺍﺨل ﻨﺎﺤﻴﺔ ﻜﻴﺱ ﺍﻝﺒﻭﺩﺭﺓ ﻴﻨﺴﺎﻫﺎ ‪ ,‬ﻭﺍﻝﻠﻰ ﻴﺴﺘﻬﻠﻜﻬﺎ ﺒﻴﺯﻴﺩ‬
‫ﺇﺴﺘﻬﻼﻜﻪ ﻜل ﻴﻭﻡ ﻋﻥ ﺍﻝﺘﺎﻨﻰ ‪.‬‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 288‬ﻴﻅل ﺍﻝﻤﺯﺝ ﻋﻠﻰ ﻜﻴﺱ ﺍﻝﺒﻭﺩﺭﺓ‬
‫ﻭﻭﺠﻪ ﺭﺠﺏ ﺍﻝﺫﻯ ﻴﻅﻬﺭ ﻓﻰ ﺭﺠﺏ ‪ :‬ﺍﻝﺒﻭﺩﺭﺓ ‪ ,‬ﻗﺼﺩﻯ ﺍﻝﺒﻭﺩﺭﺓ ﻫﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﺍﻝﺒﻀﺎﻋﺔ ﺍﻝﺠﺩﻴﺩﺓ ‪ ,‬ﻭﻫﻰ ﺍﻝﻤﺴﺘﻘﺒل ‪,‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 289‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﺠﺩﹰﺍ ‪ Big Close‬ﺭﺠﺏ ‪ :‬ﺍﻝﻜﻴﺱ ﺍﻝﻠﻰ ﻗﺩﺍﻤﻜﻭﺍ ﺩﻩ ﻝﻤﺎ‬
‫ﻴﺘﻔﺭﺩ ﻭﻴﺘﻭﺯﻉ ‪ ,‬ﻫﺎﻴﺒﻘﻰ ﺘﻤﻨﻪ ‪10000‬‬ ‫‪up up‬ﻋﻠﻰ ﻓﻡ ﺭﺠﺏ‬
‫ﺠﻨﻴﻪ ‪ ,‬ﻴﻌﻨﻰ ﺸﻨﻁﺔ ﺼﻐﻴﺭﺓ ﺘﺴﺎﻭﻯ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻨﻘﻠﺔ ﻋﺭﺒﻴﺔ ﻨﺹ ﻨﻘل ‪.‬‬
‫‪ 291‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻋﻠﻰ ﺇﺒﺭﺍﻫﻴﻡ ‪ :‬ﺩﻩ ﺍﻝﻤﻠﻴﻭﻥ ﻓﻴﻪ ﻴﻌﻤل ﻜﺎﻡ ؟‬
‫ﺭﺠﺏ ﺒﺭﻭﻓﻴل ﻓﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺭﺠﺏ ‪ :‬ﺨﻤﺴﺔ ‪.‬‬
‫ﻭﺇﺒﺭﺍﻫﻴﻡ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 291‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻲ ﺭﺠﺏ ‪ :‬ﺨﻤﺴﺔ ﻤﻠﻴﻭﻥ ‪ ..‬ﺍﻷﺭﻨﺏ‬

‫ﻴﺎﻤﻌﻠﻤﻴﻥ ﻤﻊ ﺍﻝﺒﻭﺩﺭﺓ ﻫﺎﻴﺒﻘﻰ ﺨﻤﺱ‬ ‫ﻴﺸﻌل ﺴﻴﺠﺎﺭﺓ‬
‫ﺃﺭﺍﻨﺏ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 292‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺴﻌﺩﺓ ﺴﻌﺩﺓ ‪ :‬ﻻ ﻻ ﺩﻩ ﻜﺩﻩ ﻴﻌﺘﺒﺭﻭﻨﺎ‬
‫ﻤﺠﺭﻤﻴﻥ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 293‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .‬‬
‫ﺇﺒﺭﺍﻫﻴﻡ ‪ " :‬ﻴﻀﺤﻙ " ﻤﺎﻫﻤﺎ ﺒﻴﻌﺘﺒﺭﻭﻙ‬ ‫‪ Close up‬ﻹﺒﺭﺍﻫﻴﻡ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺼﻭﺕ ﺍﻝﻀﺤﻜﺎﺕ‬
‫ﺁﻴﻪ ﺩﻝﻭﻗﺘﻰ ﻴﺎﻤﻌﻠﻡ‬
‫) ‪( 18‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬ ‫‪294‬‬
‫ﺴﻌﺩﺓ ‪ :‬ﻓﻴﻪ ﻓﺭﻕ ‪ ..‬ﻻ ‪ ..‬ﻻ ﻓﻴﻪ ﻓﺭﻕ‬
‫‪ Close up‬ﻝﺴﻌﺩﺓ‬
‫ﻜﺒﻴﺭ ﻗﻭﻯ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺭﺠﺏ ‪ :‬ﺁﻩ ﻓﻴﻪ ﻓﺭﻕ ‪ ..‬ﻭﻓﻰ ﻓﺭﻕ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M.‬‬ ‫‪295‬‬
‫ﻜﻤﺎﻥ ﻓﻰ ﺍﻝﻤﻜﺴﺏ ﺯﻯ ﻤﺎﻓﻴﻪ ﻓﺭﻕ‬ ‫‪ Close up‬ﻝﺭﺠﺏ‬
‫ﻴﺎﻤﻌﻠﻡ ﺒﻴﻥ ﺘﺠﺎﺭﺓ ﺍﻝﻤﺎﻨﻴﻔﺎﺘﻭﺭﺓ ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﺃﻨﺕ ﻤﺎﺒﺘﺸﺘﻐﻠﺵ ﻓﻰ ﺍﻝﻤﺎﻨﻴﻔﺎﺘﻭﺭﺓ ‪.‬‬
‫‪ 296‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻬﺩﻫﺩ‬
‫ﻫﺩﻫﺩ ‪ :‬ﺍ ﻤﺅﺍﺨﺫﺓ ﻴﺎﺭﺠﺏ ﺒﻴﻪ ‪ ,‬ﺒﻴﻪ‬
‫ﺤﺎﺠﺎﺕ ﺃﻨﺕ ﻤﺵ ﻭﺍﺨﺩ ﺒﺎﻝﻙ ﻤﻨﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 297‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺭﺠﺏ ﺼﻭﺕ ﻫﺩﻫﺩ ‪ :‬ﺃﻨﺎ ﺇﺒﺘﺩﻴﺕ ﻭﺃﻨﺎ ﺼﺒﻰ‬
‫ﻋﻴل ﻋﻨﺩﻯ ‪ 10‬ﺴﻨﻴﻥ ﻜﻨﺕ ﺒﺄﻝﻌﺏ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻜﻭﺭﺓ ﺸﺭﺍﺏ ‪ ,‬ﻻ ﻤﺅﺍﺨﺫﺓ ﻭﻋﻴﻨﻰ ﻋﻠﻰ‬
‫ﻤﺩﺨل ﺍﻝﺤﺎﺭﺓ ‪...‬‬
‫‪ 298‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬

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‫ﺼﻭﺕ ﻫﺩﻫﺩ ‪ .. :‬ﻭﺒﻌﺩﻴﻥ ﺒﻘﻴﺕ‬ ‫‪ Close up‬ﻝﻴﺤﻴﻲ‬

‫ﺃﻭﺼل ﺍﻝﺒﻀﺎﻋﺔ ﺠﻭﺓ ﺍﻝﺒﺎﻁﻨﻴﺔ ‪....‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 299‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻬﺩﻫﺩ ‪.M . S‬‬
‫‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﺭﺠﺎل ﻝﺘﺴﺘﻌﺭﻀﻬﻡ‬
‫‪ Panorama‬ﺩﺍﺌﺭﻴﺔ ‪ ..... .‬ﻭﺒﻌﺩﻴﻥ ﻁﻠﻌﺕ ﻤﻥ ﺍﻝﺒﺎﻁﻨﻴﺔ‬
‫ﻭﺒﻘﻴﺕ ﺃﻭﺼل ﺍﻝﺒﻀﺎﻋﺔ ﺍﻝﺠﻤﺎﻝﻴﺔ‬
‫ﻭﺍﻝﺤﺴﻴﻨﻴﺔ ﻭﺍﻝﺩﺭﺏ ﺍﻷﺤﻤﺭ ‪ ,‬ﻭﻜﻨﺕ‬
‫ﺒﺄﻭﺼل ﻁﺭﺒﺔ ﺍﻝﺤﺸﻴﺵ ﺒﺸﻠﻥ ﻭﻜﻨﺕ‬
‫ﺒﺄﺤﻁﻬﺎ ﻓﻰ ﺭﻏﻴﻑ ﻋﻴﺵ ﺒﺘﻌﺭﻴﻔﺔ ﻓﻰ‬
‫ﻭﺴﻁ ﺨﻤﺱ ﺘﺭﻏﻔﺔ ﻭﺃﺭﺠﻊ ﻷﻤﻰ‬
‫ﺃﺩﻴﻬﺎ ‪...‬‬
‫‪...‬ﺍﻷﺭﺒﻊ ﺘﺭﻏﻔﺔ ﻭﺁﻜل ﺃﻨﺎ ﺍﻝﺭﻏﻴﻑ‬
‫ﺍﻝﻠﻰ ﻜﺎﻥ ﻓﻴﻪ ﺍﻝﺤﺸﻴﺵ ﻤﻊ ﻗﺭﺹ‬
‫ﻁﻌﻤﻴﺔ ‪ .‬ﻤﺵ ﻋﺎﻭﺯ ﺃﻁﻭل ﻋﻠﻴﻙ ‪,‬‬
‫ﺃﺸﺘﻐﻠﺕ ﺒﻌﺩ ﻜﺩﻩ ﻋﻠﻰ ﺨﻔﻴﻑ ‪.‬‬
‫ﺜﻡ ﻴﺩﺨل ﺴﻌﺩﺓ ﻭﻴﺤﻴﻲ ﻓﻰ ﺍﻝﻜﺎﺩﺭ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 300‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪ M .‬ﺼﻭﺕ ﻫﺩﻫﺩ ‪ :‬ﻜﻨﺕ ﺒﺄﺸﺘﺭﻯ ﻜﺎﻡ‬
‫ﻭﻗﻴﺔ ‪ ,‬ﻭﺃﻗﻁﻌﻬﻡ ﻝﺤﺩ ﻤﺎ ﺒﻘﻴﺕ ﻤﻌﻠﻡ‬ ‫‪ Close Up‬ﻝﺭﺠﺏ‬
‫ﻜﺒﻴﺭ ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 301‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .‬‬
‫‪ Close up‬ﻝﻴﺤﻴﻲ ﻴﺴﺘﻤﻊ ‪ ....‬ﺼﺒﻴﺎﻨﻰ ﻭﺼﺒﻴﺎﻥ ﺼﺒﻴﺎﻨﻰ‬
‫ﻤﺎﻴﻘﻠﻭﺵ ﻋﻥ ﺃﻝﻑ ﻨﻔﺱ ‪.....‬‬ ‫ﻝﻬﺩﻫﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 302‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﻤﺠﻤﻭﻋﺔ ‪ ...‬ﺇﻨﻤﺎ ﺃﻨﺕ ﺒﻘﻰ ﻴﺎﺭﺠﺏ ﺒﻴﻪ ﻨﺯﻝﺕ‬
‫ﻋﻠﻴﻨﺎ ﺒﺎﻝﺒﺎﺭﺍﺸﻭﺕ ‪ ,‬ﻋﻤﺭﻙ ﻤﺎﻫﺘﻌﺭﻑ‬ ‫ﻜﻠﻬﺎ‬
‫ﻓﻴﻥ ﺯﺒﺎﻴﻨﻙ ﻷﻨﻙ ﻓﻭﻕ ‪ ,‬ﻻ ﻫﺎﺘﻘﺎﺒﻠﻬﻡ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﻻﻫﺎﺘﻌﺭﻓﻬﻡ ‪ .‬ﻋﺭﻓﺕ ﺍﻝﻔﺭﻕ ! ﺃﻨﺕ‬
‫ﺘﻌﺭﻑ ﺘﺴﻤﻡ ﻝﻜﻥ ﺃﻨﺎ ﻤﺎﺃﻗﺩﺭﺵ ‪..‬‬
‫‪ 303‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫ﺭﺠﺏ ‪ :‬ﻤﺎﺩﺍﻡ ﻤﺎﺘﻘﺩﺭﺵ ﻴﺎﻤﻌﻠﻡ ﺩﻩ‬
‫‪ Close up‬ﻝﺭﺠﺏ‬
‫ﺤﻘﻙ ‪ .‬ﻝﻜﻥ ﺇﺤﻨﺎ ﻤﺤﺘﺎﺠﻴﻥ ﺼﺒﻴﺎﻨﻙ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬ ‫‪304‬‬
‫ﻫﺩﻫﺩ ‪ :‬ﺍﻝﻠﻰ ﺯﻴﻲ ﻴﺎﺭﺠﺏ ﺒﻴﻪ‬
‫ﻝﻬﺩﻫﺩ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻤﺎﻴﺘﻘﻠﻭﺵ ﺍﻝﻠﻰ ﺃﻨﺕ ﻗﻠﺘﻪ ﻭﻝﻌﻠﻤﻙ ﻗﻭل‬
‫ﻷﻋﻠﻰ‪ Tilt up‬ﻤﻌﻪ ﺤﺘﻰ ﻴﻘﻑ ‪,‬‬
‫ﻝﻤﻌﻠﻤﻴﻨﻙ ﺍﻝﻠﻰ ﺃﻨﺕ ﺼﺒﻴﻬﻡ ‪ .‬ﺍﻝﻠﻰ‬
‫ﻭﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻫﺎﻴﺘﻌﺩﻯ ﻋﻠﻴﺎ ﻫﺎﺤﺭﻕ ﺭﻭﺤﻪ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 39‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺸﻘﺔ ﻴﺤﻴﻲ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 305‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪Extreme‬‬
‫) ‪( 19‬‬ ‫‪ Long Shot‬ﻝﻠﻨﻴل ﻭﺨﻠﻔﻪ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻜﺎﻨﺕ ﺜﺭﻭﺘﻰ ﺭﺒﻤﺎ‬
‫ﺯﺭﻉ ﻭﻤﺒﺎﻨﻰ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﻜﺎﻥ ﺍﻷﺼﺢ ﺃﻥ ﺃﻗﻭل ﺜﺭﻭﺓ ﻴﺤﻴﻲ ﺃﺒﻭ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﺎﻨﻭﺭﺍﻤﺎ ﻝﻠﻨﻴل ‪ Pan‬ﺩﺒﻭﺭﺓ ﻗﺩ ﺘﻀﺨﻤﺕ ﻭﺃﺼﺒﺢ ﻭﺍﺤﺩ ﻤﻥ‬
‫ﺍﻷﻏﻨﻴﺎﺀ ‪...‬‬ ‫‪Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 306‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M . L‬‬

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‫ﻝﻴﺤﻴﻲ ﻴﺠﻠﺱ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻋﻠﻰ‬

‫‪. ...‬ﺘﻔﺭﻋﺕ ﺍﻋﻤﺎﻝﻪ ﻭﻭﺍﺠﻬﺘﻪ ﻝﺘﺸﻤل‬
‫ﻤﻘﻌﺩ ﻭﺸﻤﺎل ﻜﺎﺩﺭ ﺍﻝﺨﺎﺩﻡ ﻴﻨﺯﻉ‬
‫ﺃﻨﺸﻁﺔ ﻤﺨﺘﻠﻔﺔ ﺼﻨﺎﻋﻴﺔ ﻭﺘﺠﺎﺭﻴﺔ‬
‫ﺍﻝﺤﺫﺍﺀ ‪ .‬ﺜﻡ ﻴﻘﻑ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﺒﺭﻏﻡ ﻜل ﻫﺫﻩ ﺍﻝﺜﺭﻭﺓ ‪ ,‬ﻓﻘﺩ ﻜﻨﺕ ﺨﺎﻝﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ .‬ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﺍﻝﺸﻤﺎل‬
‫ﺍﻝﻤﺸﺎﻋﺭ ‪ ...‬ﻜﻨﺕ ﻗﺩ ﺃﺼﺒﺤﺕ ﻓﻰ‬
‫ﻭﻴﺨﻠﻊ ﻴﺤﻴﻲ ﺍﻝﺠﺎﻜﻴﺕ ﻭﻴﻠﻘﻴﻪ‬
‫ﻤﻨﺘﺼﻑ ﻋﻤﺭﻯ ﻭﻝﻡ ﺃﺤﺏ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 307‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﺨﺎﺩﻡ ﻭﻫﻭ‬
‫‪ ...‬ﻤﺎﺭﺴﺕ ﻓﻌل ﺍﻝﺤﺏ ﻭﻝﻡ ﺃﺤﺏ ‪.‬‬ ‫ﻴﻠﻡ ﺍﻝﺠﺎﻜﻴﺕ ﻤﻥ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 308‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ‪American‬‬
‫‪ Shot‬ﻝﻴﺤﻴﻲ ﻴﺨﻠﻊ ﺭﺍﺒﻁﺔ‬
‫‪ ....‬ﺘﺯﻭﺠﺕ ﺒﺩﻭﻥ ﺃﻥ ﺃﺤﺏ ‪....‬‬
‫ﻋﻨﻘﻪ ﻭﺨﻠﻔﻪ ﺍﻝﺨﺎﺩﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 309‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻝﻠﺨﺎﺩﻡ ﻭﻫﻭ ﻴﻠﺘﻘﻁ ‪...‬ﻭﻁﻠﻘﺕ ﺭﺒﺎﺏ ﻏﻴﺭ ﺁﺴﻔﹰﺎ ‪ ,‬ﻭﻝﻡ‬
‫ﺃﻨﺠﺏ ﻤﻨﻬﺎ ﻗﺎﺼﺩﹰﺍ ‪..‬‬ ‫ﺭﺍﺒﻁﺔ ﺍﻝﻌﻨﻕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 310‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ shot‬ﻝﻴﺤﻴﻲ ﻤﻥ ﺍﻝﺨﻠﻑ ﻭﻫﻭ‬
‫ﻴﺨﻠﻊ ﺍﻝﻘﻤﻴﺹ ﻭﻴﻠﻘﻴﻪ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 311‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻠﺨﺎﺩﻡ‬
‫ﻴﺄﺨﺫ ﺍﻝﻘﻤﻴﺹ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 312‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻲ ‪American‬‬
‫‪ shot‬ﻝﻴﺤﻴﻲ ﻴﺨﻠﻊ ﺍﻝﺒﻨﻁﻠﻭﻥ ‪.....‬ﻜﺎﻨﺕ ﻋﻼﻗﺘﻰ ﺒﺎﻹﻨﺠﺎﺏ ﺘﺠﺴﺩ‬
‫ﺤﻴﺎﺘﻰ ﺍﻝﻤﺯﺩﻭﺠﺔ ‪.‬‬ ‫ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 40‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺴﻼﻝﻡ ﻭﻤﺼﻌﺩ‬
‫ﺴﻜﻥ ﻴﺤﻴﻲ‬
‫‪ 313‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﺇﺜﻨﺎﻥ ﻴﺩﺨﻠﻭﻥ ﻤﻌﻪ ﻤﻥ ﺸﻤﺎل ‪ ....‬ﻜﻨﺕ ﺃﺭﻴﺩ ﺃﻥ ﺃﻨﺠﺏ ﻤﻥ ﻀﺎﺒﻁ‬
‫ﺸﺭﻁﺔ ﻴﺤﻜﻡ ﺍﻝﻨﺎﺱ ﻭ‪...‬‬ ‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 314‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﺴﻼﻝﻡ ‪ .... ,‬ﻝﻴﺱ ﻤﻥ ﺘﺎﺠﺭ ﺍﻝﻤﺨﺩﺭﺍﺕ ﻴﺤﻴﻲ‬
‫ﺜﻡ ﺘﻅﻬﺭ ﻓﺘﺎﺓ ﺘﺼﻌﺩ ﺍﻝﺴﻠﻡ ﺠﺭﻴ ﹰﺎ ﺃﺒﻭ ﺩﺒﻭﺭﺓ ‪.‬‬
‫ﺍﻝﻔﺘﺎﺓ ‪ :‬ﺩﻗﻴﻘﺔ ﻭﺍﺤﺩﺓ ﻝﻭ ﺴﻤﺤﺕ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 315‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻠﻤﺼﻌﺩ‬
‫ﻤﻥ ﺍﻝﺩﺍﺨل ﻴﻔﺘﺢ ﻝﺘﻅﻬﺭ ﺍﻝﻔﺘﺎﺓ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻝﻜﻥ ﺤﻘﻴﻘﺔ ﺇﻨﺘﻤﺎﺌﻰ‬
‫ﻼ ﻤﻥ ﺍﻝﻤﺼﻌﺩ ﻝﺘﺩﺨل‬ ‫ﻭﻴﺨﺭﺝ ﺭﺠ ﹰ‬
‫ﻗﺩ ﺒﺩﺃﺕ ﺘﻘﻠﻘﻨﻰ ‪...‬‬
‫ﺍﻝﻔﺘﺎﺓ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﺎﺏ ﺍﻝﻤﺼﻌﺩ ﻓﻰ ﻝﻘﻁﺔ‬ ‫‪316‬‬
‫ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻴﻔﺘﺢ ﻝﻴﻅﻬﺭ‬
‫ﻴﺤﻴﻲ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ..... ,‬ﻫل ﺃﻨﺎ ﺤﻘ ﹰﺎ ﻀﺎﺒﻁ ﺸﺭﻁﺔ ‪"...‬‬
‫ﻼ ﻓﻰ‬‫ﺍﻝﻔﺘﺎﺓ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺭﺠ ﹰ‬
‫ﺍﻝﺸﻤﺎل ﺘﻨﻅﺭ ﻝﻪ ﺍﻝﻔﺘﺎﺓ‬

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‫ﻭﺘﺨﺭﺝ ‪ ,‬ﺜﻡ ﻴﻐﻠﻕ ﺍﻝﻤﺼﻌﺩ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 317‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺒﺎﺏ‬
‫ﺍﻝﻤﺼﻌﺩ ﻴﻔﺘﺢ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎل‬
‫ﺍﻝﻤﺼﻌﺩ ﻭﻴﺨﺭﺝ ﻴﺤﻴﻲ ﻭﻤﻌﻪ ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺕ ﺸﻔﺕ ﺍﻝﺒﻨﺕ ﺍﻝﻠﻰ ﻨﺯﻝﺕ‬
‫ﻤﺴﺎﻋﺩﻩ ﻭﻴﻌﺒﺭﺍ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﺍﻝﺩﻭﺭ ﺍﻝﺭﺍﺒﻊ ؟‬
‫ﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﻅﻬﺭﻫﻤﺎ ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﺃﻴﻭﺓ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻋﺎﻴﺯﻙ ﺘﻌﺭﻓﻠﻰ ﻋﻨﻬﺎ ﻜل‬ ‫‪. Track in‬‬
‫ﻭﻴﺼﻼ ﺍﻝﻰ ﺒﺎﺏ ﺍﻝﻤﻜﺘﺏ ﻭﻴﻔﺘﺢ ﺤﺎﺠﺔ ‪.‬‬
‫ﻴﺤﻴﻲ ﺍﻝﺒﺎﺏ ﻭﻴﺩﺨﻼ ‪ .‬ﻭﻴﻐﻠﻘﺎﻩ ﻓﻰ ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﺤﺎﻀﺭ ‪.‬‬
‫ﻭﺠﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 318‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ﺠﺩﹰﺍ ‪ Big‬ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻜﺎﻨﺕ ﻓﺭﻴﺩﺓ ﻤﻬﻨﺩﺴﺔ‬
‫‪ Close up‬ﻝﺼﻭﺭ ﻓﺭﻴﺩﺓ ﻓﺘﺎﺓ ﻤﻌﻤﺎﺭﻴﺔ ‪ .‬ﻤﺩﺭﺴﺔ ﻓﻰ ﻜﻠﻴﺔ ﺍﻝﻔﻨﻭﻥ‬
‫ﺍﻝﻤﺼﻌﺩ ﻓﻰ ﻴﺩ ﻴﺤﻴﻲ ﻭﺘﻅﻬﺭ ﻓﻰ ﺍﻝﺠﻤﻴﻠﺔ ‪ .‬ﺤﺎﺼﻠﺔ ﻋﻠﻰ ﺍﻝﺩﻜﺘﻭﺭﺍﻩ ﻤﻥ‬
‫ﺒﺎﺭﻴﺱ ‪ .‬ﻭﺍﻫﺎ ﻤﻜﺘﺏ ﻫﻨﺩﺴﻰ ﻓﻰ‬ ‫ﺃﻤﺎﻜﻥ ﻤﺘﻌﺩﺩﺓ‬
‫ﻨﻔﺱ ﺍﻝﻤﺒﻨﻰ ‪....‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 319‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫‪ Close up‬ﻝﻴﺤﻴﻲ ﻓﻰ ﺸﻤﺎل‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﺇﻥ ﺇﻨﺨﻔﺎﺽ ﺃﺴﻌﺎﺭ‬
‫ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﻅﻬﺭ ﺒﺭﻭﻓﻴل ﻭﻴﻠﻑ‬
‫ﺍﻝﻤﺨﺩﺭﺍﺕ ﺍﻝﻤﻁﺭﻭﺤﺔ ﻓﻰ ﺴﻭﻕ ﺘﺠﺎﺭﺓ‬
‫ﻤﻘﻌﺩ ﺍﻝﻤﻜﺘﺏ ﻭﻴﺼﺒﺢ ﻓﻰ‬
‫ﺍﻝﺘﺠﺯﺌﺔ ﻴﻌﻨﻰ ﺒﺒﺴﺎﻁﺔ ﻨﺠﺎﺤﹰﺎ ﺘﺘﻁﻠﺏ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺒﺩﺃ ﻓﻰ‬
‫ﺃﻗل ﻗﺩﺭ ﻤﻥ ﺍﻝﻤﺨﺎﻁﺭﺓ ‪.‬‬
‫) ‪( 19‬‬ ‫ﺍﻝﻜﺘﺎﺒﺔ‬
‫ﻤﺯﺝ ‪dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 41‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻜﺘﺏ ﻴﺤﻴﻲ‬
‫‪ 320‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻲ ﻓﻰ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ .." :‬ﻓﻰ ﻋﻤﻠﻴﺎﺕ‬
‫ﺍﻝﺘﻬﺭﻴﺏ ﻭﻷﻭل ﻤﺭﺓ ﻤﻥ ﻋﻤﻠﻰ ﻓﻰ‬ ‫ﺼﺎﻝﺔ ﻭﻤﻌﻪ ﺜﻼﺜﺔ ﺭﺠﺎل‬
‫ﺍﻝﺘﺠﺎﺭﺓ ‪ ,‬ﻻ ﻴﺘﺠﺎﻭﺯ ﺤﺠﻡ ﺍﻝﻤﻀﺒﻭﻁ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﻥ ﺤﺠﻡ ﺍﻝﻤﺴﺘﻭﺭﺩ ‪ .‬ﻭﺍﻝﻤﻼﺤﻅ ﺃﻥ‬
‫ﻫﻨﺎﻙ ﺘﺠﺎﺭﹰﺍ ﻗﺩ ﺘﻡ ﺭﺼﺩﻫﻡ ﻭﺍﻝﺘﺒﻠﻴﻎ‬
‫ﻋﻨﻬﻡ ‪ ,‬ﻭﻋﻥ ﺸﺨﺼﻴﺎﺘﻬﻡ ﻓﻰ ﺘﻘﺭﻴﺭ‬
‫ﺴﺎﺒﻕ ‪ .‬ﻻ ﻴﻨﻁﺒﻕ ﻋﻠﻴﻬﻡ ﺍﻝﺸﻜل‬
‫ﺍﻝﺘﻘﻠﻴﺩﻯ ﻝﺘﺎﺠﺭ ﻭﻤﻬﺭﺏ ﻤﺨﺩﺭﺍﺕ ‪ .‬ﺒل‬
‫ﺇﻥ ﺍﻝﻘﺎﺩﻤﻭﻥ ﺍﻝﺠﺩﺩ ﻤﻥ ﺃﻨﺸﻁﺔ ﺃﺨﺭﻯ‬
‫‪ 321‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻤﻥ‬
‫‪ ...‬ﻤﺸﺭﻋﺔ ﻭﻴﺩﺨﻠﻭﻥ ﺍﻝﻤﺠﺎل ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﺃﻋﻠﻰ ﺍﻝﺴﻠﻡ ﻭﻝﻴﺱ ﻤﻥ ﺃﺴﻔﻠﻪ ﻭﻫﻭ‬
‫ﻝﻴﺤﻴﻲ ﻴﺠﻠﺱ ﺃﻤﺎﻡ ﻤﺎﺌﺩﺓ‬
‫ﻤﺎﻴﺤﺩﺙ ﻷﻭل ﻤﺭﺓ ‪ .‬ﺃﻨﻨﻰ ﺃﻨﺒﻪ ‪,‬‬
‫ﺇﺠﺘﻤﺎﻋﺎﺕ‬
‫ﺍﻝﺘﻐﻴﻴﺭ ﺍﻷﺴﺎﺴﻰ ﻴﺤﺩﺙ ﻓﻰ ﺍﻝﺴﻠﻁﺔ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 322‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ ‪ ...‬ﺃﺨﻴﺭﹰﺍ ﻝﻘﺩ ﻤﺭﺕ ﺃﻋﻭﺍﻡ ﻁﻭﻴﻠﺔ ﻤﻨﺫ‬
‫ﻜﻠﻔﺕ ﺒﻤﻬﻤﺘﻰ ‪ .‬ﻭﺘﻐﻴﺭﺕ ﺍﻝﺸﺨﺼﻴﺎﺕ‬ ‫ﻴﺩﺨﻥ‬
‫ﻭﺍﻝﺭﺌﺎﺴﺎﺕ ﺍﻝﺘﻰ ﺘﻌﺎﻤﻠﺕ ﻤﻌﻬﺎ ﻋﻨﺩﻤﺎ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺘﻡ ﺘﻜﻠﻴﻔﻰ ﺒﺎﻝﻤﻬﻤﺔ ‪ .‬ﻭﻻ ﺃﻋﻠﻡ ﺍﻝﻴﻭﻡ‬
‫ﺍﻝﻤﺴﺌﻭﻝﻴﻥ ﻋﻥ ﺴﻴﺭ ﺍﻝﻤﻬﻤﺔ ‪ .‬ﻝﺫﻝﻙ‬
‫ﻓﺈﻨﻨﻰ ﺃﻁﻠﺏ ﻁﻠﺒﹰﺎ ﺇﺴﺘﺜﻨﺎﺌﻴﹰﺎ ‪ .‬ﻭﻫﻭ‬
‫ﻤﻘﺎﺒﻠﺔ ﺍﻝﻤﺴﺌﻭﻝﻴﻥ ﻋﻥ ﻤﻬﻤﺘﻰ ﻓﻰ‬
‫ﻝﻘﺎﺀ ﻤﺒﺎﺸﺭ ‪" .‬‬
‫ﻤﺸﻬﺩ ) ‪( 42‬‬

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‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻜﺘﺏ ﻴﺤﻴﻲ‬

‫‪ 323‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻤﻤﺭ ﻴﻨﺘﻬﻰ‬
‫‪ ..‬ﻭﻗﺩ ﺃﻝﺤﺤﺕ ﺃﻜﺜﺭ ﻤﻥ ﻤﺭﺓ ﻓﻰ‬
‫ﺒﺤﺠﺭﺓ ﻤﻜﺘﺏ ﻴﺨﺭﺝ ﻤﻨﻬﺎ ﻴﺤﻴﻲ‬
‫ﺘﻘﺭﻴﺭ ﺴﺎﺒﻕ ‪ ,‬ﻝﻡ ﺃﺘﻠﻘﻰ ﺃﻯ ﺭﺩ ‪ .‬ﻓﺄﻨﺎ‬
‫ﻭﻤﺴﺎﻋﺩﻴﻪ ﻭﺘﺘﺤﺭﻙ‬
‫ﺃﺨﺎﻁﺏ ﻭﺃﺭﺍﺴل ﺸﺨﺼﻴﺎﺕ ﻻ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍﺸﻤﺎﻻ ‪Pan Left‬‬
‫ﺃﻋﺭﻓﻬﺎ ‪ ,‬ﻤﺠﺭﺩﺓ ‪.....‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 43‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺴﻼﻝﻡ ﻤﻜﺘﺏ‬
‫ﻴﺤﻴﻲ‬
‫‪ 324‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M . L. S‬ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻭﻜﺄﻨﻨﻰ ﺃﻜﻠﻡ ﺤﺎﺌﻁ ﹰﺎ‬
‫ﺃﺼﻡ ﻝﺩﺭﺠﺔ ﺃﻨﻨﻰ ﺒﺩﺃﺕ ﺃﺘﺸﻜﻙ ﺃﻥ‬ ‫ﻝﻴﺤﻴﻲ ﻴﻨﺯل ﻋﻠﻰ ﺍﻝﺴﻠﻡ‬
‫ﺘﻘﺎﺭﻴﺭﻯ ﻻ ﻴﺘﻠﻘﺎﻫﺎ ﺃﻯ ﺇﻨﺴﺎﻥ ﺃﻗﺘﺭﺡ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﺘﺄﻤﻴﻥ ﺍﻹﺘﺼﺎل ﻨﺸﺭ ﺇﻋﻼﻥ ﻓﻰ ﺠﺭﻴﺩﺓ‬
‫ﺍﻷﻫﺭﺍﻡ ‪ ,‬ﻨﺼﻪ ﻜﺎﻝﺘﺎﻝﻰ ‪".‬‬
‫ﻤﺸﻬﺩ ) ‪( 44‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺸﻘﺔ ﻓﺭﻴﺩﺓ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 325‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L. S‬‬
‫ﻏﺭﺒﻴﺔ‬ ‫ﻝﻴﺤﻴﻲ ﻴﺩﺨل ﻤﻥ ﺒﺎﺏ ﺍﻝﺸﻘﺔ‬
‫) ‪( 20‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 326‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫‪ . S‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ‬
‫‪ Pan Right‬ﻝﺘﺴﺘﻌﺭﺽ‬
‫ﺍﻝﻤﻜﺎﻥ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ‬
‫ﻝﺘﺴﺘﻘﺭ ﻋﻠﻰ ﻓﺭﻴﺩﺓ ﻓﺘﺎﺓ ﺍﻝﻤﺼﻌﺩ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻭﻫﻰ‬
‫ﺘﺠﻠﺱ ﻋﻠﻰ ﻤﻨﻀﺩﺓ ﺭﺴﻡ ﻫﻨﺩﺴﻰ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 327‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺴﺎﺀ ﺍﻝﺨﻴﺭ ‪ ..‬ﻭﺍﷲ ﺃﻨﺎ‬
‫ﻴﺘﺤﺭﻙ ﻝﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻋﻨﺩﻯ ﺤﺘﺔ ﺃﺭﺽ ﻋﺎﻴﺯ ﺍﺒﻨﻴﻬﺎ ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 328‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ ﻓﺭﻴﺩﺓ ‪ :‬ﻭﺤﻀﺭﺘﻙ ﻤﺎﺇﻓﺘﻜﺭﺘﻬﺎﺵ ﺇﻻ‬
‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ ﻭﻫﻰ ﻨﺹ ﺍﻝﻠﻴل !‬
‫ﻴﺤﻴﻲ ‪ :‬ﻷ ﻤﺎﺃﻫﻭ ﺃﻨﺎ ﺃﺼﻠﻰ ﻝﻘﻴﺕ‬ ‫ﺘﺠﻠﺱ ﺨﻠﻑ ﺍﻝﻤﻨﻀﺩﺓ‬
‫ﺍﻝﺒﺎﺏ ﻤﻔﺘﻭﺡ ؟‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 329‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L. S‬‬
‫‪ .‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﺎ ‪Pan‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺤﻀﺭﺘﻙ ﻴﺤﻴﻲ ﺍﻝﻤﻨﻘﺒﺎﺩﻯ !‬
‫‪ ً Right‬ﻝﺘﺘﺎﺒﻊ ﻴﺤﻴﻲ ﺤﺘﻰ‬
‫ﺘﺸﺭﺏ ﻗﻬﻭﺓ !! ‪ ..‬ﺇﺘﻔﻀل ‪ ..‬ﺩﻗﻴﻘﺘﻴﻥ‬
‫ﻴﺠﻠﺱ ﻋﻠﻰ ﺃﺭﻴﻜﺔ ﺒﻤﻔﺭﺩﻩ ﻓﻰ‬
‫ﺱ ﻫﺎﺃﺨﻠﺹ ﺤﺎﺠﺔ ﻓﻰ ﺇﻴﺩﻯ ‪.‬‬ ‫ﺒ ‪‬‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 330‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﺸﻌل ﺴﻴﺠﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 331‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﺭﻙ ﻴﺩﻩ ﻭﻴﻀﻌﻬﺎ ﺃﺴﻔل ﺨﺩﻩ‬
‫ﻝﻴﺴﺘﻨﺩ ﻋﻠﻴﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪332‬‬

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‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L. S‬‬

‫‪ .‬ﻝﻔﺭﻴﺩﺓ ﺘﺭﺴﻡ ﺨﻠﻑ ﺍﻝﻤﻨﻀﺩﺓ‬
‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 333‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻨﻔﺱ ﺤﺠﻡ ﻝﻘﻁﺔ ‪331‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 334‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﻨﻅﺭ ﺍﻝﻰ ﺍﻝﻠﻭﺤﺔ ‪ ,‬ﺜﻡ ﺍﻝﻰ ﻴﺤﻴﻲ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 335‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻨﺎﺌﻡ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 336‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺨﺘﺎﺭ ﺍﺴﻁﻭﺍﻨﺔ ﻭﻴﻘﻭﻡ ﺒﺘﺸﻐﻴﻠﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 337‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 338‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M . L .‬‬
‫‪ .S‬ﻝﻔﺭﻴﺩﺓ ﻭﻴﺤﻴﻲ ‪ .‬ﺘﻐﻠﻕ ﻓﺭﻴﺩﺓ‬
‫ﺍﻝﻜﺎﺴﻴﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻋﻤﺎﺭﺓ ﻁﺒﻌﹰﺎ !‬
‫ﻴﺤﻴﻲ ‪ :‬ﺁﻯ ﺤﺎﺠﺔ ‪..‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻴﻌﻨﻰ ﺁﻴﻪ ﺃﻯ ﺤﺎﺠﺔ ؟ ﻴﺤﻴﻲ‬
‫ﺒﻴﻪ ﺃﻨﺕ ﻋﺎﻴﺯ ﺁﻴﻪ ؟‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻤﺵ ﻋﺎﻴﺯ ﺤﺎﺠﺔ ‪ .‬ﺍﻨﺘﻰ‬
‫ﻋﺎﻴﺯﺓ ﺘﺒﻨﻰ ىﻴﻪ !‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺃﻨﺕ ﺍﻝﻠﻰ ﺘﻘﺭﺭ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺍﺒﻨﻰ ﻓﻴﻠﻼ ﺼﻐﻴﺭﺓ ‪.‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺍﻷﺭﺽ ﻜﺒﻴﺭﺓ ﻋﻠﻰ ﻓﻴﻠﻼ‬
‫ﺼﻐﻴﺭﺓ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺘﻰ ﻨﻔﺴﻙ ﺘﺒﻨﻰ ﺁﻴﻪ ؟‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻨﻔﺴﻰ ﺃﺒﻨﻰ ﺒﻴﻭﺕ ﻓﻼﺤﻴﻥ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺨﻼﺹ ﺇﺒﻨﻴﻬﺎ ﺒﻴﻭﺕ ﻓﻼﺤﻴﻥ ‪.‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺒﻴﻭﺕ ﻓﻼﺤﻴﻥ ﻓﻰ ﻤﺼﺭ‬
‫ﺍﻝﺠﺩﻴﺩﺓ ؟‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﺒﻨﻰ ﺍﻝﻠﻰ ﺃﻨﺘﻰ ﻋﺎﻴﺯﺍﻩ ﺒﻴﺕ‬
‫ﻗﺼﺭ ﻤﺴﺠﺩ ﻜﻨﻴﺴﺔ ‪ .‬ﺍﻝﻠﻰ ﺍﻨﺘﻰ‬
‫ﻋﺎﻴﺯﺍﻩ ‪.‬‬

‫ﻓﺭﻴﺩﺓ ‪ :‬ﻴﺤﻴﻲ ﺒﻴﻪ ﺃﻨﺕ ﻓﺎﻜﺭ ﺇﻥ ﺩﻩ‬

‫ﺘﻤﻥ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻴﺎﺭﻴﺕ ﻜﺎﻥ ﻝﻴﻜﻰ ﺘﻤﻥ ﺃﻨﺘﻰ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻤﺎﻝﻜﻴﺵ ﺘﻤﻥ ‪...‬ﺒﺎﻯ‬
‫) ‪( 20‬‬

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‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ‬

‫‪ tracking out‬ﻭﻴﺨﺭﺝ ﻴﺤﻴﻲ‬
‫ﻤﻥ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 45‬‬
‫ﻓﻭﺘﻭ ﻤﻭﻨﺘﺎﺝ ﻝﻴﺤﻴﻲ ﻓﻰ‬
‫ﺃﻤﺎﻜﻥ ﻤﺨﺘﻠﻔﺔ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻓﻰ ﻫﺫﻩ ﺍﻷﻴﺎﻡ ﻋﺸﺕ‬ ‫ﻴﺤﻴﻲ ﻴﻠﻌﺏ ﺇﺴﻜﻭﺍﺵ‬ ‫‪339‬‬
‫)‪( 21‬‬ ‫ﺃﻜﺜﺭ ﺃﻴﺎﻡ ﺤﻴﺎﺘﻰ ﺤﻴﻭﻴﺔ ﻭﺃﺸﻌﺕ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﺤﺭﺍﺭﺘﻬﺎ ﻓﻰ ﻜل ﺤﻴﺎﺘﻰ ‪ .‬ﻜﻨﺕ ﺃﻋﻴﺵ‬
‫ﺤﺎﻝﺔ ﺨﺎﺼﺔ ‪ .‬ﻓﻘﺩ ﻜﺎﻥ‬

‫ﻋﻨﺩﻯ ﺘﺼﺭﻴﺢ ﺃﺨﻼﻗﻰ ﺒﺄﻯ ﻓﻌل‬ ‫‪ 340‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M . L‬‬
‫ﺃﺭﻴﺩﻩ ‪ .‬ﺃﻯ ﺸﻰﺀ ‪ ,‬ﺩﻭﻨﻤﺎ ﻗﺎﻨﻭﻥ‬ ‫ﻝﻴﺤﻴﻲ ﻓﻰ ﺼﺎﻝﺔ ﺍﻝﺤﺩﻴﺩ‬
‫ﻴﺤﺩﺩﻩ ‪.‬‬ ‫ﻤﺯﺝ ‪Dissolve‬‬

‫‪ 341‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻴﺤﻴﻲ ‪....‬ﻓﻘﺩ ﻗﺘﻠﺕ ﻭﻫﺭﺒﺕ ﻭﻏﻭﻴﺕ‬

‫ﻓﻰ ﻤﻜﺎﻥ ﺃﺨﺭ ﻤﻥ ﺍﻝﺼﺎﻝﺔ ﻭﻜﺴﺒﺕ ﻭﺨﺴﺭﺕ ‪.‬ﻜل ﻫﺫﺍ ﻤﻥ ﺃﺠل‬
‫ﻫﺩﻑ ﺃﺴﻤﻰ ﻴﺭﻓﻊ ﻋﻥ ﻜﺎﻫﻠﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺨﻁﺎﻴﺎ ‪...‬‬

‫‪ 342‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻴﺤﻴﻲ ‪ ..‬ﻭﻝﻜﻨﻪ ﻻ ﻴﺤﻤﻴﻨﻰ ﻤﻥ ﺍﻷﺨﻁﺎﺀ ‪.‬‬

‫ﻝﺫﻝﻙ ﻓﺈﻥ ﺇﺭﺘﻜﺎﺏ ﺍﻝﺨﻁﺎﻴﺎ ﺃﺴﻬل ﻜﺜﻴﺭﹰﺍ‬ ‫ﻓﻰ ﺍﻝﺼﺎﻝﺔ‬
‫ﻤﻥ ﺇﺭﺘﻜﺎﺏ ﺍﻷﺨﻁﺎﺀ ‪......‬‬ ‫ﻤﺯﺝ ‪Dissolve‬‬

‫‪ 343‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻴﺤﻴﻲ ‪ ...‬ﺍﻝﻰ ﺃﻥ ﺠﺎﺌﻨﻰ ﻓﻰ ﺃﺭﺽ ﺍﻝﺨﻭﻑ ‪.‬‬

‫ﻭﻁﻠﺒﺕ ﺍﻝﻌﻭﺩﺓ ﺒﻌﺩ ﺃﻥ ﻜﺩﺕ ﺃﻓﻘﺩ‬ ‫ﻴﻨﻅﺭ ﻓﻰ ﻴﺩﻩ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﺍﻷﻤل ‪".‬‬ ‫ﻗﻁﻊ‪Cut‬‬
‫)‪( 21‬‬
‫ﻤﺸﻬﺩ ) ‪( 46‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺸﻘﺔ ﻴﺤﻴﻲ‬
‫‪ 344‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻘﺭﺃ ﻓﻰ ﺠﺭﻴﺩﺓ ﻴﻐﻠﻘﻬﺎ ﻭﻴﻘﻑ ﻴﺤﻴﻲ ‪ :‬ﺇﻝﻰ ﻤﻥ ﻴﺭﻏﺏ ﻓﻰ ﺘﺤﺩﻴﺙ‬
‫ﻭﻴﺭﺘﺩﻯ ﺍﻝﺠﺎﻜﻴﺕ ‪ .‬ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﻤﻌﻠﻭﻤﺎﺘﻪ ﻋﻥ ﺍﻝﺴﺎﻋﺎﺕ ﺍﻝﻘﺩﻴﻤﺔ ﻴﺘﺼل‬
‫ﺒﺭﻗﻡ ‪. 853180‬‬ ‫ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 345‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻴﺤﻴﻲ ﻴﺭﻓﻊ ﻴﺤﻴﻲ ‪ :‬ﻤﻭﺴﻰ !‬
‫ﺴﻤﺎﻋﺔ ﺍﻝﺘﻠﻴﻔﻭﻥ ﻭﻴﻨﻅﺭ ﻓﻰ ﻤﻭﺴﻰ ‪ :‬ﺃﻴﻭﺓ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻗﺭﻴﺕ ﺍﻹﻋﻼﻥ‬ ‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻤﻭﺴﻰ ‪ :‬ﺃﻴﻭﺓ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻁﻴﺏ ﺃﻗﺎﺒﻠﻙ ‪.‬‬
‫ﻤﻭﺴﻰ ‪ :‬ﺃﺴﻤﻙ ﺁﻴﻪ ؟‬
‫ﻴﺤﻴﻲ ‪ :‬ﺁﺩﻡ ‪.‬‬
‫ﻤﻭﺴﻰ ‪ :‬ﺃﻴﻭﺓ ﻋﺎﺭﻓﻙ ‪ .‬ﺃﻨﺕ ﺁﺩﻡ ﺍﻝﻠﻰ‬
‫ﻨﻌﺭﻓﻪ ﻤﻥ ﺯﻤﺎﻥ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﻥ ﻋﺸﺭ ﺴﻨﻴﻥ‬
‫ﻤﻭﺴﻰ ‪ :‬ﻤﻤﻜﻥ ﺘﻌﺭﻓﻨﻰ ﺃﻜﺘﺭ‬
‫ﺒﻨﻔﺴﻙ ‪ .‬ﺃﺼل ﺃﻨﺎ ﻁﻭل ﺍﻝﻴﻭﻡ ﺒﺘﺠﻴﻨﻰ‬
‫ﻤﻜﺎﻝﻤﺎﺕ ﻤﻥ ﻨﺎﺱ ﻋﺎﻭﺯﻴﻥ ﻴﺸﺘﺭﻭﺍ ﺃﻭ‬

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‫ﻴﺒﻴﻌﻭﺍ ﺴﺎﻋﺎﺕ ﻗﺩﻴﻤﺔ ‪.‬‬

‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻁﻠﺒﺕ ﺍﻹﺘﺼﺎل ﺃﻜﺘﺭ ﻤﻥ‬
‫ﻤﺭﺓ ﻋﺸﺎﻥ ‪...‬‬
‫ﻤﻭﺴﻰ ‪ :‬ﺨﻼﺹ ﺨﻼﺹ ﻜﻔﺎﻴﺔ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﺯﺍﻯ ﺃﻗﺎﺒﻠﻙ ؟‬
‫ﻤﻭﺴﻰ ‪ :‬ﻫﻭ ﻓﻴﻪ ﺩﺍﻋﻰ ﻝﻠﻤﻘﺎﺒﻠﺔ ؟‬
‫ﻴﺤﻴﻲ ‪ :‬ﻋﺎﻭﺯ ﺃﺸﻭﻓﻙ ﻀﺭﻭﺭﻯ ‪.‬‬
‫ﻤﻭﺴﻰ ‪ :‬ﺘﺤﺏ ﻨﺘﻘﺎﺒل ﺒﻌﺩ ﺴﺎﻋﺘﻴﻥ ‪.‬‬
‫ﻴﻌﻨﻰ ﺍﻝﺴﺎﻋﺔ ﺨﻤﺴﺔ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻓﻴﻥ ؟‬
‫ﻤﻭﺴﻰ ‪ :‬ﺁﻴﻪ ﺭﺃﻴﻙ ﻓﻰ ﺠﺎﻤﻊ ﺍﻝﺴﻠﻁﺎﻥ‬
‫ﺤﺴﻥ ! ﻋﺎﺭﻓﻪ ؟‬
‫ﻴﺤﻴﻲ ‪ :‬ﻋﺎﺭﻓﻪ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 46‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﺴﺠﺩ‬
‫ﺍﻝﺴﻠﻁﺎﻥ ﺤﺴﻥ‬
‫‪ 346‬ﻝﻘﻁﺔ ﻋﺎﻤﺔ‪ . L .S‬ﻝﻠﻤﺴﺠﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 347‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻠﻤﺴﺠﺩ ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻓﻰ ﺩﺍﺨل ﺼﺤﻥ ﺍﻝﻤﺴﺠﺩ ﻭﺘﻨﺯل‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Tilt Down‬ﻝﻨﺠﺩ‬
‫ﺭﺠﻼ ﻜﺒﻴﺭ ﺍﻝﺴﻥ ﻤﻨﺘﻅﺭﹰﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 348‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺕ ﻋﻨﺩﻙ ﺃﻭﻻﺩ ؟‬ ‫ﻴﺴﻴﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 349‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ ..M . S‬ﻤﻭﺴﻰ ‪ :‬ﺃﻨﺎ ﺁﺴﻑ ﻤﺎﺘﻘﻭﻝﺵ ﺃﻯ‬
‫ﻝﻤﻭﺴﻰ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﻰ ﻤﻌﻠﻭﻤﺎﺕ ‪..‬ﺃﻨﺎ ﻤﺵ ﺍﻝﻤﻔﺭﻭﺽ ﺃﻋﺭﻑ‬
‫ﺍﻝﺩﺍﺨل‪ Track in‬ﻨﺎﺤﻴﺘﻪ ﺃﻯ ﺤﺎﺠﺔ‪ ..‬ﻝﻭ ﺴﻤﺤﺕ‬
‫ﻤﺎﺘﻘﻭﻝﺵ ‪...‬ﺁﻴﻪ ﺍﻝﺤﺎﺠﺔ ﺍﻝﻠﻰ ﺃﻗﺩﺭ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺃﻋﻤﻠﻬﺎ ﻝﻙ ؟‬
‫‪ 350‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻸﺜﻨﻴﻥ ‪ M .S. 2‬ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻋﺎﻴﺯ ﺒﺱ ﺃﻋﺭﻑ‪ .‬ﺍﻝﺘﻘﺎﺭﻴﺭ‬
‫‪ .‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻴﺤﻴﻲ ﻝﻴﻌﺒﺭ ﺍﻝﺭﺠل ﻤﻔﻴﺩﺓ ؟‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺸﻤﺎل ﺜﻡ ﻤﻭﺴﻰ ‪ :‬ﻤﺎ ﺃﻋﺭﻓﺵ ‪.‬‬
‫ﻴﺠﻠﺱ ‪ .‬ﻭﻴﺘﺤﺭﻙ ﻤﻭﺴﻰ ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ‪ :‬ﻤﺎﺘﻌﺭﻓﺵ ! ﺃﻤﺎل ﺘﻌﺭﻑ ﺁﻴﻪ ؟‬
‫ﻴﺤﻴﻲ ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﻤﻭﺴﻰ ‪ :‬ﺃﻨﺎ ﻤﺎﻋﺭﻓﺵ ﺤﺎﺠﺔ ﻭﻤﺵ‬
‫ﻋﺎﻴﺯ ﺃﻋﺭﻑ ﺤﺎﺠﺔ ‪.‬‬ ‫ﺍﻹﺜﻨﻴﻥ ‪Track in‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻝﻤﺎ ﺇﺒﺘﺩﻴﺕ ﺍﻝﻤﻬﻤﺔ ﻜﻨﺕ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻗﺎﺩﺭ ﺃﺸﻭﻑ ﻜل ﺤﺎﺠﺔ ﺒﻭﻀﻭﺡ ‪ .‬ﻜﻨﺕ‬
‫ﻤﺘﺄﻜﺩ ﻤﻥ ﺍﻝﻠﻰ ﺒﺄﻋﻤﻠﻪ ‪ .‬ﺒﻌﺩ ﻜﺩﻩ‬
‫ﺇﺒﺘﺩﻴﺕ ﺃﺤﺱ ﺇﻥ ﺃﻨﺎ ﺒﺄﺸﻭﻑ ﺍﻝﺼﻭﺭﺓ‬
‫ﻤﻥ ﻭﺭﺍ ﺍﻹﺯﺍﺯ ‪ .‬ﻭﺒﺎﻝﺘﺩﺭﻴﺞ ﺇﺒﺘﺩﻴﺕ‬
‫ﻜﺩﺓ ﺘﺘﻜﻭﻥ ﻁﺒﻘﺔ ﺯﻯ ﺍﻝﺘﺭﺍﺏ ‪ ,‬ﻝﻜﻥ‬
‫ﺍﻝﺘﺭﺍﺏ ﺇﺒﺘﺩﺍ ﻴﺯﻴﺩ ﻝﺩﺭﺠﺔ ﺇﻥ ﺃﻨﺎ‬
‫ﻤﺎﺒﻘﻴﺘﺵ ﺸﺎﻴﻑ ﺃﻯ ﺤﺎﺠﺔ ‪ ,‬ﺼﻭﺭﺓ‬
‫ﻀﺒﺎﺒﻴﺔ ‪ .‬ﺍﻝﺫﻜﺭﻴﺎﺕ ﺇﺨﺘﻠﻁﺕ ﻤﻊ‬
‫ﺍﻷﺤﻼﻡ ﻤﻊ ﺍﻷﻭﻫﺎﻡ ‪ ,‬ﻤﻊ ﺍﻝﺤﻘﺎﻴﻕ‬
‫ﻭﻓﻰ ﺍﻝﻔﺘﺭﺓ ﺍﻷﺨﻴﺭﺓ ﺒﺄﺤﻠﻡ ﺒﻜﻭﺍﺒﻴﺱ‬
‫ﻭﺃﺼﺤﻰ ﺨﺎﻴﻑ ﻤﺵ ﻋﺎﺭﻑ ﻝﻴﻪ !‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/60.htm‬‬ ‫‪9/22/2011‬‬
‫‪www.ArabFilmTVSchool.edu.eg‬‬ ‫‪Page 53 of 106‬‬

‫ﻰ‬
‫ﺒﻘﻴﺕ ﺤﺎﺴﺱ ﺇﻥ ﻤﺤﻜﻭﻡ ﻋﻠ ‪‬‬
‫ﺒﺎﻝﻭﺤﺩﺓ ‪ .‬ﻤﺵ ﻋﺎﺭﻑ ﺃﻤﺴﻙ ﺤﺎﺠﺔ‬
‫ﺒﺈﺩﻴﺎ ﻭﻻ ﻓﻴﻪ ﺃﺭﺽ ﺘﺤﺘﻴﺎ ‪.‬‬
‫‪ 351‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﺒﻘﻴﺕ ﺃﺴﺄل ﺴﺅﺍل ‪ .‬ﺃﻨﺎ ﻝﻴﻪ‬
‫ﺒﻘﻴﺕ ﻜﺩﻩ ! ﻤﺠﺭﻡ ﻭﻗﺎﺘل ﻭﺨﺎﺭﺝ ﻋﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻘﺎﻨﻭﻥ ‪ .‬ﻜل ﺍﻝﻠﻰ ﻜﻨﺕ ﺒﺄﺭﻓﻀﻪ‬
‫ﻭﺃﺤﺎﺭﺒﻪ ﻭﺍﻓﻘﺕ ﻋﻠﻴﻪ ﺒﻘﺭﺍﺭ ﻭﺍﺤﺩ ‪.‬‬
‫‪ 352‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻸﺜﻨﻴﻥ ‪ M . S.‬ﻤﻭﺴﻰ ‪ :‬ﻝﻭ ﻓﻴﻪ ﺃﻯ ﺤﺎﺠﺔ ﺃﻗﺩﺭ‬
‫ﺱ ﻋﺎﺭﻑ ﺁﻴﻪ‬ ‫ﺃﻋﻤﻠﻬﺎ ﺃﻨﺎ ﻤﺴﺘﻌﺩ ﺒ ‪‬‬ ‫‪2‬‬
‫ﺍﻝﻠﻰ ﻤﻤﻜﻥ ﺃﻋﻤﻠﻪ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻋﺎﻭﺯ ﺃﻋﺭﻑ ﺍﻝﻠﻰ ﺒﺄﻋﻤﻠﻪ‬
‫ﺼﺢ ﻭ ﹶﻻ ﻏﻠﻁ ؟ ﺃﻨﺘﻭﺍ ﺭﺍﻀﻴﻴﻥ ﻋﻨﻪ ‪,‬‬
‫ﻓﻴﻪ ﻓﺎﻴﺩﺓ ﻤﻥ ﻭﺭﺍﻩ ؟‬
‫ﻤﻭﺴﻰ ‪ :‬ﻤﺎﺘﺴﺄﻝﻨﻴﺵ ﺃﺴﺌﻠﺔ ﻤﺎﺃﻨﺎ‬
‫ﻤﺎﺃﻋﺭﻓﺵ ﺇﺠﺎﺒﺘﻬﺎ ‪.‬‬
‫‪ 353‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻸﺜﻨﻴﻥ ‪ M . S.‬ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻤﺎﺒﺄﺴﺄﻝﻜﺵ ﺇﻨﺕ ﺃﻨﺎ ﺒﺄﺴﺄل‬
‫‪ 2‬ﻤﻥ ﺍﻝﺨﻠﻑ ﻴﻘﻑ ﻴﺤﻴﻲ ﻭﻴﻨﻅﺭ ﺍﻝﺠﻬﺔ ﺍﻝﻠﻰ ﺒﺘﺸﺘﻐل ﻝﺤﺴﺎﺒﻬﺎ ‪ .‬ﻭﺇﺫﺍ‬
‫ﻓﻰ ﺍﺘﺠﺎﻩ ﻤﻭﺴﻰ‪ .‬ﺜﻡ ﻴﺘﺤﺭﻙ ﺍﻝﻰ ﻜﻨﺕ ﺃﻨﺕ ﻤﺵ ﻋﺎﺭﻑ ﺇﺴﺄﻝﻬﻡ ﻭﺭﺩ‬
‫ﻰ!‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﻴﻨﺼﺭﻑ ﻋﻠ ‪‬‬
‫ﻤﻭﺴﻰ ‪ :‬ﺍﺴﺄﻝﻬﻡ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 47‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﺃﺤﺩ‬
‫ﺍﻝﺒﻨﻭﻙ‬
‫‪ 354‬ﻝﻘﻁﺔ ﻋﺎﻤﺔ ‪ .L. S‬ﻝﻤﺒﻨﻰ ﺒﻨﻙ‬
‫ﻭﻴﺤﻴﻲ ﻴﺩﺨل ﻤﻥ ﺍﻝﺒﺎﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻤﻘﺎﺒﻠﺔ ﻤﻭﺴﻰ ﻝﻡ‬ ‫ﻤﺸﻬﺩ ) ‪( 48‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺨﺯﻴﻨﺔ ﺍﻝﺒﻨﻙ ﺘﺭﻀﻴﻨﻰ ‪...‬‬
‫‪ 355‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M. L. S‬‬
‫ﻝﺨﺯﻴﻨﺔ ﺍﻝﺒﻨﻙ ﻭﻴﺤﻴﻲ ﻓﻰ ﻋﻤﻕ ‪ ...‬ﺤﺘﻰ ﺃﻨﻨﻰ ﺒﺩﺍﺕ ﺃﺤﺱ ﺒﺄﻨﻰ ﺃﻋﻴﺵ‬
‫ﺼﻭﺕ ﻓﺘﺢ ﺒﺎﺏ‬
‫ﺍﻝﻜﺎﺩﺭ ﺨﻠﻑ ﺒﺎﺏ ﺍﻝﺨﺯﻴﻨﺔ ﻭﻤﻌﻪ ﻓﻰ ﺃﻭﻫﺎﻡ ﺨﻠﻘﺘﻬﺎ ‪ .‬ﻭﻤﻬﻤﺔ ﻏﻴﺭ‬
‫ﺍﻝﺨﺯﻴﻨﺔ‬
‫ﻤﻭﻅﻑ ﺍﻝﺒﻨﻙ ﻴﻔﺘﺢ ﺍﻝﺒﺎﺏ ﺤﻘﻴﻘﻴﺔ ﺇﺒﺘﻜﺭﻫﺎ ﺨﻴﺎﻝﻰ ‪".‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 356‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻲ ﻴﻘﺭﺃ‬
‫ﺍﻝﻭﺭﻗﺔ ﺜﻡ ﻴﻐﻠﻘﻬﺎ ﻭﻴﻌﻴﺩﻫﺎ ﺍﻝﻰ‬
‫ﺍﻝﺨﺯﻴﻨﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 49‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻜﺘﺏ ﻓﺭﻴﺩﺓ‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪357‬‬
‫)‪( 22‬‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ﻝﻴﺤﻴﻲ ﻭﻫﻭ‬
‫ﻴﺩﺨل ﻤﻥ ﺍﻝﺒﺎﺏ ﻭﻓﺭﻴﺩﺓ ﺘﺠﻠﺱ ﻴﺤﻴﻲ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ !‬
‫ﻓﻰ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻝﻴﺼﺒﺤﺎ ﻓﻰ ﻓﺭﻴﺩﺓ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﻨﻭﺭ ‪ ..‬ﺘﺸﺭﺏ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ﻗﻬﻭﺓ !‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﺸﺭﺏ ﻗﻬﻭﺓ ‪.‬‬ ‫‪.M .S‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬

‫‪ 358‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻤﻥ‬

‫ﻓﺭﻴﺩﺓ ‪ :‬ﺒﺭﻀﻪ ﻤﺎﻨﻤﺘﺵ !‬ ‫ﻓﻭﻕ ﻜﺘﻑ ﻴﺤﻴﻲ ﻝﻔﺭﻴﺩﺓ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻋﻨﺩﻙ ﻤﺎﻨﻊ ﺘﺘﺠﻭﺯﻴﻨﻰ !‬

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‫ﻓﺭﻴﺩﺓ ‪ :‬ﻫﻭ ﺃﻨﺎ ﺤﻁﻴﺕ ﻝﻙ ﻜﺎﻡ ﺤﺘﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫ﺼﻭﺕ ﺼﺏ ﺍﻝﺸﺎﻯ‬ ‫ﺴﻜﺭ ؟‬
‫‪359‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺘﺘﺠﻭﺯﻴﻨﻰ ؟‬
‫‪ Close up‬ﻝﻭﺠﻪ ﻴﺤﻴﻲ ﻤﻥ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺃﻴﻭﺓ ﻋﻨﺩﻯ ﻤﺎﻨﻊ ‪ ..‬ﺃﻨﺕ ﻏﻨﻰ‬
‫ﺨﻠﻑ ﻜﺘﻑ ﻓﺭﻴﺩﺓ‬
‫ﻗﻭﻯ ﻤﻨﻴﻥ ﻭﺇﺯﺍﻯ ‪ .‬ﺃﻨﺎ ﻤﺎﺃﻋﺭﻓﺵ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪360‬‬

‫ﻴﺤﻴﻲ ‪ :‬ﻫﻭ ﻋﻴﺏ ﺇﻨﻰ ﺃﺒﻘﻰ ﻏﻨﻰ !‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ . M . S‬ﺍﻝﻔﺭﻴﺩﺓ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺇﺩﻴﻨﻰ ﺘﻼﺕ ﺃﻴﺎﻡ ﻭﻫﺎﺘﺎﺨﺩ‬
‫ﺍﻝﺘﻰ ﺘﺘﺤﺭﻙ ﻝﺘﺠﻠﺱ ﻋﻠﻰ‬
‫ﺘﺼﻤﻴﻡ ﺤﻠﻭ‪...‬‬
‫ﺍﻷﺭﻴﻜﺔ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻫﺎﻓﻭﺕ ﻋﻠﻴﻜﻰ ﺒﻜﺭﺓ ‪.‬‬
‫ﻝﻴﺠﻠﺱ ﺒﺠﻭﺍﺭﻫﺎ ﻓﻰ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻓﻜﺭﻯ ﻓﻰ ﺍﻝﻠﻰ ﺃﻨﺎ ﻗﻠﺘﻬﻭﻝﻙ ‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺃﻨﺎ ﻤﺴﺎﻓﺭﺓ ﺒﻜﺭﺓ ‪.‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 22‬‬
‫ﻤﺸﻬﺩ ) ‪( 50‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺤﺎﺭﺓ‬
‫‪ 361‬ﻴﺤﻴﻲ ﻓﻰ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪.L . S‬‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻝﻘﺩ ﻝﻤﺴﺕ ﻓﺭﻴﺩﺓ ﺫﻝﻙ‬
‫ﻫﻭ ﻭﺤﺎﺭﺴﻴﻪ ﻓﻰ ﺇﺤﺩﻯ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬ ‫ﺍﻝﺘﻨﺎﻗﺽ ﻓﻰ ﺸﺨﺼﻴﺘﻰ ‪ .‬ﻜﻨﺕ ﺃﺤﻥ‬
‫ﺍﻝﺤﻭﺍﺭﻯ ﺍﻝﻀﻴﻘﺔ‬
‫ﻝﺤﻴﺎﺓ ﺒﺴﻴﻁﺔ ﺤﻘﻴﻘﻴﺔ ﺒﻼ ﺃﺴﺭﺍﺭ ‪".‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 362‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﺍﻝﺤﺎﺭﺴﻴﻥ ﻭﻤﻌﻬﻡ ﺼﺒﻰ ﺍﻝﻤﻌﻠﻡ‬
‫ﻫﺩﻫﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 363‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﺠﻤﻴﻊ‬
‫ﻴﺩﺨﻠﻭﻥ ﻤﻤﺭ ﻴﻘﻭﺩ ﻝﺤﺎﺭﺓ ﺃﺨﺭﻯ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 364‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L . S‬ﻴﺼﻠﻭﻥ ﺍﻝﻰ‬
‫ﻤﻨﺯل ﻫﺩﻫﺩ ﻭﻴﺨﻠﻭﻥ ﻭﻴﻐﻠﻕ‬
‫ﺼﺒﻰ ﺍﻝﺒﺎﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 51‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻫﺩﻫﺩ‬
‫‪ 365‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ . M. S‬ﻝﺴﻘﻑ ﻫﺩﻫﺩ ‪ :‬ﺨﻁﻭﺓ ﻋﺯﻴﺯﺓ ﻴﺎﻴﺤﻴﻲ ﺒﻴﻪ ‪.‬‬
‫ﺍﻝﻐﺭﻓﺔ ‪ .‬ﺜﻡ ﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ﺸﺭﻓﺕ ﻭﺭﻨﻭﺭﺕ ‪ .‬ﺃﻫﻭ ﺩﻩ ﺍﻝﻜﻼﻡ ‪.‬‬
‫‪ Tilt Down‬ﻋﻠﻰ ﻴﺤﻴﻲ ﺘﻭﺩﻨﻰ ﻭﺘﺸﺭﻓﻨﻰ ﺍﻝﻌﺸﺭﺓ ﻋﺸﺭﺓ ‪,‬‬
‫ﻭﺤﺎﺭﺴﻪ ‪ .‬ﺜﻡ ﻴﺩﺨل ﻫﺩﻫﺩ ﻤﻥ ﺃﺨﻭﺓ ﻭﻝﻭ ﻜﻨﺕ ﻋﺎﺭﻑ ﺃﻨﻙ ﻓﻰ ﻤﺵ‬
‫ﺱ ﺘﻭ ﻤﺎﻋﺭﻓﺕ ﺇﻨﻙ‬‫ﺸﻤﺎل ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﺘﺤﺭﻜﺎ ﻝﻴﺠﻠﺱ ﻨﺎﻭﻯ ﺘﺯﻭﺭﻨﻰ ‪ .‬ﺒ ‪‬‬
‫ﻫﺩﻫﺩ ﻭﻴﺤﻴﻲ ﻓﻰ ﺍﻝﺼﺎﻝﻭﻥ ﻓﻰ ﺤﺘﺘﻨﺎ ﺒﻌﺕ ﺍﻝﻌﻴﺎل ﻴﺠﻴﺒﻭﻙ ﺇﻨﺸﺎﻻ‬
‫ﺒﺎﻝﻘﻭﺓ ‪ ..‬ﺃﻤﺎل ﺍﻝﻌﺭﺒﻴﺔ ﻓﻴﻥ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 366‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬

‫ﻴﺤﻴﻲ ‪ :‬ﺍﻝﻌﺭﺒﻴﺔ ﺭﺍﻜﻨﻬﺎ ﺒﺭﻩ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 367‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﻜﻭﻴﺱ ‪ .‬ﺒﺱ ﻤﻌﻠﺵ ﻻ‬

‫ﻤﺅﺍﺨﺫﺓ ﻴﺎﺭﻴﺕ ﺘﺭ‪‬ﻭﺡ ﺍﻝﻌﺭﺒﻴﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﺍﻝﺭﺠﺎﻝﺔ ﻜﻤﺎﻥ ‪ .‬ﻭﺃﻨﺎ ﺃﺒﻘﻰ ﺃﻭﺼﻠﻙ ﻝﻭ‬
‫ﻤﺎﻋﻨﺩﻜﺵ ﻤﺎﻨﻊ‬
‫‪ 368‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L . S‬ﻝﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﻴﻌﻨﻰ ﺁﻴﻪ ﻴﺎﻤﻌﻠﻡ ؟‬
‫ﻫﺩﻫﺩ ‪ :‬ﻴﺎﺃﺨﻰ ﻓﻴﻪ ﻋﻨﺩﻨﺎ ﻜﺒﺴﺔ ‪.‬‬ ‫ﻭﻫﺩﻫﺩ ﻓﻰ ﺍﻝﺼﺎﻝﻭﻥ‬
‫ﻜﺒﺴﺔ ﺍﻝﺒﻭﻝﻴﺱ ﻫﺎﻴﻌﻤل ﻜﺒﺴﺔ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺭﻭ‪‬ﺤﻭﺍ ﺃﻨﺘﻭﺍ ‪ ,‬ﻭﺃﻨﺎ ﻫﺎﺍﻗﻌﺩ‬
‫ﺸﻭﻴﺔ ‪.‬‬
‫ﻫﺩﻫﺩ ‪ :‬ﻷ ﻷ ﻤﺵ ﻋﻠﻰ ﻁﻭل ﻜﺩﻩ ‪...‬‬
‫ﺇﺘﻔﻀﻠﻭﺍ ‪ ,‬ﺇﺘﻔﻀل ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 52‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺨﺎﺭﺠﻰ ﺒﻴﺕ‬
‫ﻫﺩﻫﺩ ﻭﺍﻝﺤﺎﺭﺓ‬
‫‪ 369‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L . S‬ﻝﻬﺩﻫﺩ‬
‫ﻭﻴﺤﻴﻲ ﻴﺠﻠﺴﺎﻥ ﺃﻤﺎﻡ ﻨﺎﻓﺫﺓ‬
‫ﻤﺸﺭﺒﻴﺔ ‪ ..‬ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﻨﺯل‬
‫‪ Tilt down‬ﻋﻠﻰ ﺍﻷﺜﻨﻴﻥ ‪,‬‬
‫ﻴﻨﻅﺭﺍﻥ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻤﺸﺭﺒﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 370‬ﻝﻘﻁﺔ ‪ .L . S‬ﻤﻥ ﺩﺍﺨل‬
‫ﺍﻝﻤﺸﺭﺒﻴﺔ ﻝﻠﺤﺎﺭﺓ ﻭﻴﻅﻬﺭ ﻋﺩﺩ‬
‫ﺼﻭﺕ ﺼﺭﺍﺥ‬
‫ﻤﻥ ﺍﻝﻨﺎﺱ ﻴﺠﺭﻭﻥ ﻓﻰ ﺍﻝﺤﺎﺭﺓ‬
‫ﻨﺴﺎﺀ ﻭﺭﺠﺎل‬
‫ﻭﺇﻤﺭﺃﺓ ﺘﻘﻊ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 371‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ . L . S‬ﻝﻬﺩﻫﺩ ﻴﺤﻴﻲ ‪ :‬ﺭﺠﺎﻝﺘﻙ ﺩﻭل ؟‬
‫ﻭﻴﺤﻴﻲ ﺃﻤﺎﻡ ﺍﻝﻤﺸﺭﺒﻴﺔ ‪ ,‬ﻭﻴﻌﺘﺩل ﻫﺩﻫﺩ ‪ :‬ﻜﻠﻬﻡ ﺭﺠﺎﻝﺘﻰ ﻴﺎﻤﻌﻠﻡ ‪ ,‬ﺍﻝﻠﻰ‬
‫ﻴﺤﻴﻲ ﻓﻰ ﺠﻠﺴﺘﻪ ﻭﻴﻨﻅﺭ ﻓﻰ ﺇﺘﻘﺘﻠﻭﺍ ﻭﺍﻝﻠﻰ ﻤﺎﺘﻘﺘﻠﻭﺵ ‪ .‬ﺭﺒﻨﺎ ﺒﻴﺭﺯﻕ‬
‫ﺍﺘﺠﺎﻩ ﻫﺩﻫﺩ ﺍﻝﺫﻯ ﻴﺠﻠﺱ ﻴﻤﻴﻥ ﺍﻝﻜل ﻭﺒﻴﺭﺯﻕ ﺍﻝﻁﻴﺭ ﻓﻰ ﺍﻝﺴﻤﺎ ﻭﺍﻝﻨﻤل‬
‫ﻓﻰ ﺍﻝﺸﻕ ﻭﺒﻴﺭﺯﻗﻨﺎ ﺇﺤﻨﺎ ﻜﻤﺎﻥ ‪.‬‬ ‫ﻜﺎﺩﺭ‬
‫ﺍﻝﺼﻴﺎﺩ ﻻﺯﻡ ﻴﺭﺠﻊ ﻴﺭﺠﻊ ﻤﺠﺒﻭﺭ ‪,‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﺍﻝﺒﻭﻝﻴﺱ ﻻﺯﻡ ﻴﺭﺠﻊ ﻭﻤﻌﺎﻩ ﺼﻴﺩﻩ‬
‫ﺤﺘﻰ ﺍﻝﻠﻰ ﺇﻝﻠﻰ ﺇﺘﻘﺘﻠﻭﺍ ﺭﺒﻨﺎ ﻫﺎﻴﺭﺯﻗﻬﻡ‬
‫ﻫﻤﺎ ﻜﻤﺎﻥ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 53‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺤﺎﺭﺓ ﻀﻴﻘﺔ‬
‫‪ 372‬ﻴﺤﻴﻲ ﻭﺭﺠﺎﻝﻪ ﻴﺘﺤﺭﻜﻭﻥ ﻤﻥ‬
‫ﻼ ﻴﺎﻤﻌﻠﻡ ﻨﻭﺭﺕ ﺍﻝﺤﺎﺭﺓ‬‫ﻼ ﺃﻫ ﹰ‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺍﻝﻰ ﺍﻝﻴﻤﻴﻥ ﻤﻊ ﺭﺠل ‪ :‬ﺍﻫ ﹰ‬
‫ﻫﺩﻫﺩ ﻭﻴﻘﻔﻭﺍ ﺃﻤﺎﻡ ﺃﺤﺩ ﺍﻷﺒﻭﺍﺏ ‪ .‬ﻜﻠﻬﺎ ‪.‬‬
‫ﻭﺘﻅﻬﺭ ﺇﻤﺭﺃﺓ ﻤﻥ ﺨﻠﻑ ﺍﻝﺒﺎﺏ ﻫﺩﻫﺩ ‪ :‬ﺩﻩ ﺒﻘﻰ ﺒﻴﺕ ﺍﻝﻤﻌﻠﻡ ﺸﺭﺒﺘﻠﻰ ‪.‬‬
‫ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻫﺩﻫﺩ ﻭﺘﻘﻑ ﺍﻝﻤﻌﻠﻡ ﺍﻝﻜﺤﻴﺎﻥ ﺍﻝﻠﻰ ﻗﻔﺸﻭﻩ ‪.‬‬
‫ﺍﻝﺴﻴﺩﺓ ‪ :‬ﺍﻝﻤﻌﻠﻡ ﻫﺩﻫﺩ ! ﺨﺎﻴﻔﺔ‬ ‫ﻤﻌﻪ ‪.‬‬
‫ﺃﺯﻏﺭﺩ ﻭﺠﻭﺯﻯ ﻝﺴﻪ ﻓﻰ ﺍﻝﺤﺒﺱ ‪.‬‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻫﺩﻫﺩ ‪ :‬ﻴﺎﻭﻝﻴﺔ ﺯﻏﺭﻁﻰ ‪ .‬ﺠﻭﺯﻙ ﺩﻩ‬
‫ﻜﺎﻥ ﻋﺩﻤﺎﻥ ﺍﻨﺎ ﻫﺎﺃﺠﻴﺒﻠﻙ ﻭﺍﺤﺩ ﻝﺴﻪ‬
‫ﺸﺒﺎﺏ ‪ .‬ﺴﻤﻌﺕ ﺇﻥ ﻓﺭﺡ ﺒﻨﺘﻙ ﺒﻌﺩ‬
‫ﺃﺴﺒﻭﻉ ‪.‬‬
‫ﺍﻝﺴﻴﺩﺓ ‪ :‬ﻜﺎﻥ ﻫﺎﻴﺒﻘﻰ ﺒﻌﺩ ﺃﺴﺒﻭﻉ ‪.‬‬
‫ﻫﺩﻫﺩ ‪ :‬ﺍﻝﻔﺭﺡ ﻓﺭﺡ ‪ .‬ﻤﺎﺘﺤﻤﻠﺵ ﻫﻡ ‪,‬‬

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‫ﻰ ﺃﻨﺎ ‪ .‬ﻫﺎﺃﺠﻬﺯﺒﻨﺘﻙ ﺘﻤﺎﻡ‬

‫ﻭﺠﻬﺎﺯﻫﺎ ﻋﻠ ‪‬‬
‫ﻭﺍﻝﻌﻴﺎل ﻭﻻﺩﻩ ﻝﺤﺩ ﻤﺎﺭﺒﻨﺎ ﻴﻔﻙ ﺤﺒﺴﻪ ‪.‬‬
‫ﻫﺩﻫﺩ ‪ :‬ﺨﺩﻯ ﺩﻭل ﺩﻝﻭﻗﺘﻰ ‪...‬‬
‫ﺍﻝﺴﻴﺩﺓ ‪ :‬ﺭﺒﻨﺎ ﻴﺨﻠﻴﻙ ﻴﺎﻤﻌﻠﻡ‬
‫ﻤﺸﻬﺩ ) ‪( 54‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻫﺩﻫﺩ‬
‫‪ 373‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﻤﺎﻝﻠﻙ ﻴﺎﻤﻌﻠﻡ ‪ ...‬ﻗﻭﻝﻠﻰ ﺃﻨﺎ‬
‫ﺹ ﻴﺎﻤﻌﻠﻡ ﺃﻨﺕ ﻤﻌﻠﻡ‬‫ﻭﻴﺤﻴﻲ ﺠﺎﻝﺴﺎﻥ ﻴﺘﻨﺎﻭﻻﻥ ﺍﻝﻌﺸﺎﺀ ﺯﻯ ﻭﺍﻝﺩﻙ ‪ ,‬ﺒ ‪‬‬
‫ﻜﺒﻴﺭ ‪ ,‬ﻭﺘﺎﺠﺭ ﻜﺒﻴﺭ ‪ .‬ﻝﻜﻨﻙ ﻤﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺇﺤﺘﺠﺎﺝ ﻋﺎﻴﺯﻙ ﺘﻤﺸﻰ ﻤﻊ ﺍﻝﺘﻴﺎﺭ ‪.‬‬
‫ﻋﻴﺵ ﺤﻴﺎﺘﻙ ‪...‬‬

‫‪ 374‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻬﺩﻫﺩ‬

‫ﻫﺩﻫﺩ ‪ :‬ﻗﻭﻝﻰ ﺃﻨﺕ ﻤﺘﺠﻭﺯ ؟‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 375‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻷ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 376‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪ M . S. 2‬ﻫﺩﻫﺩ ‪ :‬ﺘﺤﺏ ﺘﺘﺠﻭﺯ ﺩﻝﻭﻗﺕ ؟‬
‫‪ ,‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪ Pan‬ﻴﺤﻴﻲ ‪ :‬ﺇﺯﺍﻯ ؟‬
‫‪ Left‬ﻨﺎﺤﻴﺔ ﻫﺩﻫﺩ ﺍﻝﺫﻯ ﻴﺼﺒﺢ‬
‫ﺒﻤﻔﺭﺩﻩ ﻓﻰ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 377‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻷﺜﻨﻴﻥ ‪ .‬ﻫﺩﻫﺩ ‪ :‬ﺭﻭﺡ ﻝﻠﻤﻌﻠﻡ ﺃﻨﻭﺍﺘﻰ ‪ ,‬ﻗﻭﻝﻪ‬
‫) ‪( 23‬‬ ‫ﻼ ﻤﻥ ﺍﻝﻤﻌﻠﻡ ﻫﺩﻫﺩ ﺒﻴﺨﻁﺏ ﺒﻨﺘﻙ ﻝﻭﺍﺤﺩ‬ ‫ﻭﻴﺼﻔﻕ ﻫﺩﻫﺩ ﻭﻴﺩﺨل ﺭﺠ ﹰ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻴﺨﺭﺝ ﺜﺎﻨﻴﺔ ﻤﻥ ﺼﺎﺤﺒﻪ ‪ .‬ﻭﺍﻝﺩﺨﻠﺔ ﺍﻝﻠﻴﻠﺔ ﺨﻠﻴﻬﻡ‬
‫ﻴﺯﻭﻗﻭﺍ ﺍﻝﻌﺭﻭﺴﺔ ‪ .‬ﻭﺭﻭﺡ ﻝﻠﺤﺎﺝ‬ ‫ﻨﻔﺱ ﺍﻝﺯﺍﻭﻴﺔ‬
‫ﻋﺎﺸﻭﺭ ﺍﻝﻤﺄﺫﻭﻥ ‪ ..‬ﻤﺎﺘﺨﺎﻓﺵ ﻋﻠﻰ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﺴﻨﺔ ﺍﷲ ﻭﺭﺴﻭﻝﻪ ‪ .‬ﻤﻬﺭﻫﺎ ﻋﺸﺭ‬
‫ﺘﻼﻑ ﻭﻤﺅﺨﺭ ﺍﻝﺼﺩﺍﻕ ‪ 20‬ﺃﻝﻑ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 55‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ‬
‫ﺍﻝﻌﺭﻭﺱ‬
‫‪ 378‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L . S‬ﻝﻠﺴﺭﻴﺭ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬
‫‪Track in‬‬
‫ﻤﺯﺝ ‪dissolve‬‬
‫‪ 379‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . s‬ﻝﻠﺴﺭﻴﺭ‬
‫ﻭﻋﻠﻴﻪ ﺍﻝﻌﺭﻭﺱ ﺨﻠﻑ ﺴﺘﺎﺭﺓ‬
‫ﺍﻝﺴﺭﻴﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬
‫‪Track in‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 380‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺩ‬
‫ﻴﺤﻴﻲ ﺘﻤﺘﺩ ﻋﻠﻰ ﻜﺘﻑ ﺍﻝﻌﺭﻭﺱ‬
‫ﻭﺘﻔﻙ ﺸﺭﻴﻁ ﻗﻤﻴﺹ ﺍﻝﻨﻭﻡ ﻭﺘﻌﺒﺙ‬
‫ﺒﺸﻌﺭﻫﺎ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 381‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﺼﻭﺕ ﺩﻕ ﻋﻠﻰ‬ ‫ﻤﺭﺘﻔﻌﺔ‪ High Angle‬ﻝﻴﺤﻴﻲ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﺒﺎﺏ‬ ‫ﻭﻋﺭﻭﺴﻪ ﻨﺎﺌﻤﻴﻥ ‪ .‬ﻴﺘﺤﺭﻙ ﻴﺤﻴﻲ‬
‫ﻝﻴﻨﺯل ﻤﻥ ﻋﻠﻰ ﺍﻝﺴﺭﻴﺭ ﻭﻴﺨﺭﺝ‬

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‫) ‪( 23‬‬ ‫ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 382‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ‬
‫ﺴﺎﻕ ﻴﺤﻴﻲ ﺍﻝﺫﻯ ﻴﺘﺤﺭﻙ ﻝﻠﻴﻤﻴﻥ‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Right‬‬
‫‪ ,‬ﻭﻴﻔﺘﺢ ﺍﻝﺒﺎﺏ ﻭﻴﺨﺭﺝ ﻤﻨﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 56‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻤﻤﺭ ﺨﺎﺭﺝ‬
‫ﻏﺭﻓﺔ ﺍﻝﻨﻭﻡ‬
‫‪ 383‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻬﺩﻫﺩ ﻭﻫﻭ‬
‫ﻴﺼﺎﻓﺢ ﻴﺤﻴﻰ ﺒﻌﺩ ﺨﺭﻭﺠﻪ ﻤﻥ ﻫﺩﻫﺩ ‪ :‬ﺼﺒﺎﺤﻴﺔ ﻤﺒﺎﺭﻜﺔ ﻴﺎﻋﺭﻴﺱ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺸﻜﺭﹰﺍ ﻴﺎﻤﻌﻠﻡ ‪.‬‬ ‫ﺒﺎﺏ ﺍﻝﻤﻨﺯل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 384‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻬﺩﻫﺩ‬
‫ﻫﺩﻫﺩ ‪ :‬ﻋﻴﺵ ﺤﻴﺎﺘﻙ ‪ ..‬ﺒﻘﻭﻝﻙ ﺁﻴﻪ ﺍﻨﺎ‬
‫ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻤﺎﺸﻰ ﺘﺤﺏ ﺘﻴﺠﻲ ﻤﻌﺎﻴﺎ !‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 57‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺼﺤﺭﺍﺀ‬
‫‪ 385‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪Extreme‬‬
‫‪ long shot‬ﻝﺴﻴﺎﺭﺍﺕ ﺘﺘﺤﺭﻙ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ‬
‫ﻓﻰ ﺍﻝﺼﺤﺭﺍﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 386‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. s‬ﻤﻥ‬
‫ﺩﺍﺨل ﺍﻝﺴﻴﺎﺭﺓ ﻝﻴﺤﻴﻲ ﻭﻫﺩﻫﺩ ﻓﻰ‬
‫ﺍﻝﻤﻘﻌﺩ ﺍﻝﺨﻠﻔﻰ ﻝﻠﺴﻴﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 387‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﺴﻴﺎﺭﺍﺕ‬
‫ﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﻘﻑ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 388‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﺴﻴﺎﺭﺕ‬
‫ﺘﻘﻑ ﻭﻴﺨﺭﺝ ﻤﻨﻬﺎ ﻴﺤﻴﻲ ﻭﻫﺩﻫﺩ‬
‫ﻭﺒﺎﻗﻰ ﺭﺠﺎل ﻫﺩﻫﺩ ﻓﻰ ﻤﻨﻁﻘﺔ‬
‫ﺠﺒﻠﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 389‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﺜﻼﺜﺔ ‪ M . S .‬ﻫﺩﻫﺩ ‪ :‬ﻗﻭﻝﻠﻰ ﻴﺎﻋﻭﺽ ‪ .‬ﺍﻝﻤﻌﻠﻡ ﻴﺤﻴﻲ‬
‫‪ 3‬ﻴﺤﻴﻲ ﻭﻫﺩﻫﺩ ﻭﺼﺒﻰ ﻫﺩﻫﺩ ﺇﻤﺒﺎﺭﺡ ﻝﻤﺎ ﺠﻪ ﻜل ﺍﻝﺤﺘﺔ ﻋﺭﻓﺕ ‪.‬‬
‫) ﻋﻭﺽ (‪ .‬ﻴﺨﺭﺝ ﻴﺤﻴﻲ ﻤﻥ ﺼﺢ !‬
‫ﻋﻭﺽ ‪ :‬ﺼﺢ ‪.‬‬ ‫ﺍﻝﻜﺎﺩﺭ ‪,‬‬
‫ﻫﺩﻫﺩ ‪ :‬ﺇﻻ ﺃﻨﺕ ﻭﺘﻼﺕ ﺭﺠﺎﻝﺔ ‪.‬‬
‫ﻭﻴﺼﺒﺢ ﻫﺩﻫﺩ ﻭﻋﻭﺽ ﺒﻤﻔﺭﺩﻫﻤﺎ ﻋﻭﺽ ‪ :‬ﺼﺢ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S.‬ﻫﺩﻫﺩ ‪ :‬ﻴﺒﻘﻰ ﺇﺯﺍﻯ ﺍﻝﺨﺒﺭ ﺇﺘﻨﻘل ﻝﻸﻤﻥ‬
‫؟‬ ‫‪2‬‬
‫ﻋﻭﺽ ‪ :‬ﻭﺤﻴﺎﺓ ﻜﺘﺎﺏ ﺍﷲ ﻭﺍﻝﺨﺘﻤﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺸﺭﻴﻔﺔ ﻴﺎﻤﻌﻠﻡ ‪...‬ﻭﺩﻴﻨﻰ ﻭﻤﺎ ‪..‬‬
‫‪ 390‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﻤﺎﺘﺤﻠﻔﺵ ‪ .‬ﺒﺹ ﻴﺎﺃﺒﻨﻰ‬
‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻋﻭﺽ ﻭﻫﻭ ﺍﻝﺭﺠﺎﻝﺔ ‪..‬ﺍﻝﻠﻰ ﻋﺭﻓﻭﺍ ﺇﻥ ﺍﻝﻤﻌﻠﻡ ﻴﺤﻴﻲ‬
‫ﺒﺎﻴﺕ ﻓﻰ ﺒﻴﺘﻰ ﺤﺒﺴﺘﻬﻡ ﻓﻰ ﺃﻭﻀﺔ‬ ‫ﻴﻠﺘﻔﺕ ﻝﻪ‬

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‫ﻤﺎﻓﻴﻬﺎﺵ ﻏﻴﺭ ﺃﻜﻠﻬﻡ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 391‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﺭﺩ‬
‫ﻫﺩﻫﺩ ‪ .. :‬ﻭﺃﻫﻡ ﻗﺩﺍﻤﻙ ‪ ,‬ﻤﺎﻁﻠﻌﻭﺵ‬
‫ﻓﻌل ﻋﻭﺽ ﻭﻫﻭ ﺼﺎﻤﺘ ﹰﺎ ﻤﻥ‬
‫ﺇﻻ ﺩﻝﻭﻗﺕ ‪ .‬ﻭﺃﻨﺕ ﺒﺎﻝﻠﻴل ﺭﻭ‪‬ﺤﺕ‬
‫ﻭﺠﻬﺔ ﻨﻅﺭ ﻫﺩﻫﺩ‬
‫ﺒﻴﺘﻜﻡ ‪ .‬ﻴﻌﻨﻰ ﺒﺎﻝﻌﺭﺒﻰ ‪ ,‬ﻤﺎﻓﻴﺵ ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 392‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻬﺩﻫﺩ‬
‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻋﻭﺽ ﻭﻫﻭ‬
‫ﻫﺩﻫﺩ ‪ :‬ﺤﺩ ﻴﻘﺩﺭ ﻴﺒﻠﻎ ﺍﻷﻤﻥ ﻏﻴﺭﻙ ‪.‬‬
‫ﻴﻜﻤل ﺤﺩﻴﺜﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 393‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻌﻭﺽ‬
‫ﻋﻭﺽ ‪ :‬ﻭﺤﻴﺎﺓ ﻜﺘﺎﺏ ﺍﷲ ﻭﺍﻝﻤﺼﺤﻑ‬
‫ﺍﻝﺸﺭﻴﻑ ﻴﺎﻤﻌﻠﻡ ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺹ ﻴﺎﺒﻨﻰ ﺃﻨﺕ‬
‫‪ 394‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﻤﺎﺘﺤﻠﻔﺵ ‪ .‬ﺒ ‪‬‬
‫ﻝﺴﻪ ﺼﻐﻴﺭ ‪ ,‬ﻭﺍﻨﺎ ﺒﺄﺭﺒﻴﻙ ‪ .‬ﻝﻭ ﻜﻨﺕ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻏﻠﻁﺕ ﺍﻝﻤﺭﺓ ﺩﻯ ﺘﺒﻘﻰ ﺁﺨﺭ ﻤﺭﺓ ‪.‬‬
‫ﻝﻜﻥ ﻝﻭ ﺇﺘﻜﺭﺭﺕ ﺘﺎﻨﻰ ‪ ,‬ﻤﺵ ﻫﺎﺘﻁﻠﻊ‬
‫ﻝﻙ ﺸﻤﺱ ‪ .‬ﺼﺢ!‬
‫‪ 395‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻌﻭﺽ‬
‫ﻋﻭﺽ ‪ :‬ﺼﺢ ﻴﺎﻤﻌﻠﻡ ‪.‬‬ ‫ﻭﻫﻭ ﻴﺨﻔﺽ ﻋﻴﻨﻴﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 396‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﺃﻨﺕ ﺍﻝﻠﻰ ﻗﻠﺘﻠﻬﻡ ؟ ﺘﻌﺭﻑ ﻤﻴﻥ‬
‫ﻴﺎﺩ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 397‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻌﻭﺽ‬
‫ﻭﻫﻭ ﻴﻨﺤﻨﻰ ﻝﻴﻘﺒل ﻴﺩ ﻫﺩﻫﺩ‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪Tilt‬‬
‫‪up‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 398‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﺼﻭﺕ ﻫﺩﻫﺩ ‪ :‬ﺍﻝﺭﺍﺌﺩ ﻋﻼﺀ ﻭ ﹶﻻ‬
‫ﻴﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﻫﺩﻫﺩ ‪.‬‬
‫ﺍﻝﻤﻘﺩﻡ ﻴﺴﺭﻯ !‪ ....‬ﻴﺎﻭﺍﺩ ﺨﻠﻴﻙ‬
‫ﺜﻡ ﻴﺨﻔﺽ ﺭﺃﺴﻪ ‪.‬‬
‫ﺭﺍﺠل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 399‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . s‬ﻝﻬﺩﻫﺩ‬
‫ﻓﻰ ﻤﻨﺘﺼﻑ ﺍﻝﻜﺎﺩﺭ ﻭﻋﻭﺽ‬
‫ﻴﻌﺘﺩل ﻓﻰ ﻭﻗﻔﺘﻪ ‪ .‬ﻭﺭﺠﺎل ﻫﺩﻫﺩ‬
‫ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺼﻔﻊ‬
‫ﻫﺩﻫﺩ ﻋﻭﺽ ﻋﻠﻰ ﻭﺠﻬﻪ ‪,‬‬
‫ﻭﻴﺘﺤﺭﻜﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪,‬‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan left‬‬
‫ﻝﻴﺩﺨل ﻴﺤﻴﻲ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬

‫ﻫﺩﻫﺩ ‪ :‬ﺃﻨﺕ ﺨﺎﻴﻑ ﻤﻨﻰ ! ﻗﻭل ﺠﺎﺘﻙ‬

‫ﺍﻝﻘﺭﻑ ‪ ..‬ﺍﻝﻭﺍﺩ ﺩﻩ ﻫﺎﻴﺸﺘﻐل‬
‫ﻨﺎﻀﻭﺭﺠﻰ ‪ .‬ﻴﺎﺨﺩ ﻴﻭﻤﻴﺔ ‪ .‬ﻤﻴﻥ ﻴﺎﺩ !‬
‫ﺍﻝﻤﻘﺩﻡ ﻴﺴﺭﻯ ؟ ﻋﻤﻠﺕ ﻜﺩﻩ ﻝﻴﻪ ؟ ﺃﻨﺕ‬
‫ﻨﺎﻗﺹ ﻓﻠﻭﺱ ﻴﺎﺩ ؟‬
‫ﻋﻭﺽ ‪ :‬ﻓﻠﻭﺱ ﺁﻴﻪ ﻴﺎﻤﻌﻠﻡ ! ﺩﻩ ﺃﻨﺕ‬
‫ﺨﻴﺭﻙ ﻤﻐﺭﻗﻨﺎ ‪ .‬ﻗﺎﻝﻭﺍ ﻝﻰ ﺇﻨﻬﻡ‬
‫ﻫﺎﻴﻨﻔﺫﻭﺍ ﺍﻝﺤﻜﻡ ﻋﻠﻰ ﺃﺨﻭﻴﺎ ‪ .‬ﻭﻋﻬﺩ‬
‫ﺍﷲ ﺃﻤﻰ ﻤﻘﻁﻌﺔ ﻨﻔﺴﻬﺎ ﻤﻥ ﺍﻝﻌﻴﺎﻁ ﻜل‬

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‫ﻴﻭﻡ ‪ .‬ﺨﻔﺕ ﻻ ﺍﻝﻭﺍﺩ ﻴﺎﺨﺩ ﺇﻋﺩﺍﻡ ‪.‬‬

‫ﻫﺩﻫﺩ ‪ :‬ﺠﺎﺘﻙ ﻨﻴﻠﺔ ﻓﻴﻙ ﻭﻓﻰ ﺃﻤﻙ ﻤﻊ‬
‫ﺒﻌﺽ ‪ ,‬ﺇﻋﺩﺍﻡ ﺁﻴﻪ ﻴﺎﺃﺒﻥ ﺍﻝﻜﻠﺏ ! ﻫﻭ‬
‫ﺃﺨﻭﻙ ﻴﺴﺘﺎﻫل ﺇﻥ ﻋﺸﻤﺎﻭﻯ ﻴﺒﺹ‬
‫ﻝﻪ ‪ .‬ﺇﺨﺹ ﻋﻠﻴﻙ ‪ .‬ﺃﻤﺸﻰ ﺭﻭﺡ‬
‫ﻴﺘﺤﺭﻙ ﻋﻭﺽ ﻝﻴﻌﺒﺭ ﻫﺩﻫﺩ ﺍﻝﻌﺭﺒﻴﺔ ‪ .‬ﻤﺵ ﻋﺎﻭﺯ ﺃﺸﻭﻑ ﻭﺸﻙ‬
‫ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﺎﻨﻰ ﺃﻤﺸﻰ ‪ ...‬ﺸﻔﺕ ﺍﻝﺨﻴﺒﺔ !‬
‫ﻴﺘﺤﺭﻙ ﻴﺤﻴﻲ ﻤﻥ ﺍﻝﺨﻠﻔﻴﺔ ﻭﻴﻘﻑ‬
‫ﻤﻜﺎﻥ ﻋﻭﺽ ﻓﻰ ﺸﻤﺎل ﻜﺎﺩﺭ ‪ .‬ﺜﻡ‬
‫ﻴﺨﺭﺝ ﻫﺩﻫﺩ ﺍﻝﻤﺴﺩﺱ ﻤﻥ‬
‫ﻋﺒﺎﺀﺘﻪ ﻭﻴﻭﺠﻬﻪ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ‪ ,‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬
‫‪ Track in‬ﻭﻴﺼﺒﺢ ﻫﺩﻫﺩ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬
‫ﻭﻴﻁﻠﻕ ﺍﻝﻤﺴﺩﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﻁﻠﻕ ﺍﻝﻨﺎﺭ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 400‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫)‪( 24‬‬ ‫‪ Shot‬ﻝﻌﻭﺽ ﻤﻥ ﻅﻬﺭﻩ ﻭﻫﻭ‬
‫ﻴﻘﻊ ﻋﻠﻰ ﺴﻴﺎﺭﺓ ﺒﻌﺩ ﺍﻝﻁﻠﻕ‬
‫ﺍﻝﻨﺎﺭﻯ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 401‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. s‬ﻝﻬﺩﻫﺩ‬
‫ﻭﻴﺤﻴﻲ ﺍﻝﺫﻯ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻴﺸﻴﺭ ﻫﺩﻫﺩ ﻷﺤﺩ ﺭﺠﺎﻝﻪ ﺨﺎﺭﺝ‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 402‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻷﺤﺩ ﺭﺠﺎل‬
‫ﻫﺩﻫﺩ ﻴﺘﻘﺩﻡ ﻨﺤﻭ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻭﻴﺼﻭﺏ ﻤﺴﺩﺴﻪ ﻷﺴﻔل ﺍﻝﻜﺎﺩﺭ‬
‫ﻴﻤﻴﻨ ﹰﺎ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻗﺭﻴﺒﺔ ‪.Close up‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 403‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻬﺩﻫﺩ‬
‫ﻭﻴﺤﻴﻲ ‪.‬ﺍﻝﺫﻯ ﻴﻌﺩل ﻭﻀﻊ‬
‫ﺍﻝﻨﻅﺎﺭﺓ ﻭﻫﻭ ﻨﺎﻅﺭﹰﺍ ﻷﺴﻔل ‪ .‬ﺜﻡ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل ‪Track‬‬
‫‪ in‬ﻨﺤﻭ ﻫﺩﻫﺩ ﺍﻝﺫﻯ ﻴﺼﺒﺢ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 404‬ﻝﻁﻘﺔ ﻗﺭﻴﺒﺔ ‪ close up‬ﻝﻴﺩ‬
‫ﻫﺩﻫﺩ ﻋﻠﻰ ﺒﺨﻭﺭ ﻤﺸﺘﻌﻠﺔ ‪ .‬ﺜﻡ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪Tilt up‬‬
‫ﻨﺤﻭ ﻫﺩﻫﺩ ﺍﻝﺫﻯ ﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﺸﻬﺩ ) ‪( 58‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺒﻴﺕ ﻫﺩﻫﺩ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 404‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺩ‬
‫) ‪( 24‬‬ ‫ﻫﺩﻫﺩ ﻋﻠﻰ ﺒﺨﻭﺭ ﻤﺸﺘﻌﻠﺔ ‪ .‬ﺜﻡ ﻫﺩﻫﺩ ‪ :‬ﻗﺘل ﺍﻝﻨﻔﺱ ﺃﺼﻌﺏ ﺸﻰﺀ ‪.‬‬

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‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪ Tilt up‬ﻝﻜﻥ ﺃﻭﻗﺎﺕ ﻵﺯﻡ ﻨﻘﺘل ‪ .‬ﺭﺒﻨﺎ ﺨﻠﻕ‬
‫ﻨﺤﻭ ﻫﺩﻫﺩ ﺍﻝﺫﻯ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻋﺒﻴﺩﻩ ﻜل ﻭﺍﺤﺩ ﻝﻬﺩﻑ ﺨﻠﻘﻨﺎ ﺘﺠﺎﺭ‬
‫ﻤﺨﺩﻻﺍﺕ ﻋﻠﺸﺎﻥ ﻨﺒﺴﻁ ﺍﻝﻨﺎﺱ ﻭﺠﻌﻠﻨﺎ‬ ‫ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ ﺃﻏﻨﻴﺎ ‪ .‬ﻝﻜﻥ ﺍﻝﻤﺎل ﺩﻩ ﻤﺎل ﺭﺒﻨﺎ ﻤﺵ‬
‫‪ Tracking‬ﺒﺸﺎﺭﻴﻭﻩ ﺩﺍﺌﺭﻯ ﻤﺎﻝﻨﺎ ‪.‬ﺠﻌﻠﻨﺎ ﻤﺴﺌﻭﻝﻴﻥ ﻋﻨﻪ ‪ ,‬ﻝﻜﻥ‬
‫ﻝﻴﺼﺒﺢ ﻴﺤﻴﻲ ﻓﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻤﺎﻓﻴﺵ ﻭﺭﺩ ﻤﻥ ﻏﻴﺭ ﺸﻭﻙ ‪ ,‬ﺭﺒﻨﺎ‬
‫ﻋﻤل ﻭﺍﺠﺒﺎﺕ ﻭﺤﻤﻭل ﻭﻻﺯﻡ ﻨﺸﻴﻠﻬﺎ‬ ‫ﻭﻫﺩﻫﺩ ﻓﻰ ﺍﻝﺸﻤﺎل‬
‫ﻤﻨﻬﺎ ‪ .‬ﺇﺤﻨﺎ ﺃﺤﻴﺎﻨﹰﺎ ﻻﺯﻡ ﻨﻘﺘل ‪ .‬ﺃﻨﺎ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺅﻤﻥ ﺃﻥ ﻤﻥ ﻗﺘل ﻴﻘﺘل ‪ .‬ﻭﻋﺎﺭﻑ ﺃﻨﻰ‬
‫ﻫﺎﻤﻭﺕ ﻤﻘﺘﻭل ‪ ,‬ﺒﺱ ﺩﻩ ﺍﻝﺘﻤﻥ ﺍﻝﻠﻰ‬
‫ﻻﺯﻡ ﺃﺩﻓﻌﻪ‬

‫ﻤﺸﻬﺩ ) ‪( 59‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ ﻴﺤﻴﻲ‬
‫ﻭﻋﺭﻭﺴﻪ‬
‫‪ 405‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪High Angle‬‬
‫ﻝﻴﺤﻴﻰ ﻴﺤﻀﻥ ﺯﻭﺠﺘﻪ ﻭﻫﻰ‬
‫ﻨﺎﺌﻤﺔ ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 61‬‬
‫ﻨﺎﻓﺫﺓ ﺒﻴﺕ ﻫﻨﺎﺀ ﻭﻴﺤﻴﻲ‬
‫‪ 406‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻬﻨﺎﺀ‬
‫ﺯﻭﺠﺔ ﻴﺤﻴﻲ ﺘﺠﻠﺱ ﺃﻤﺎﻡ ﻨﺎﻓﺫﺓ‬
‫ﻜﺒﻴﺭﺓ ﻭﺍﻀﻌﺔ ﻴﺩﻫﺎ ﻋﻠﻰ ﺭﺃﺴﻬﺎ ‪.‬‬
‫ﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺄﺘﻰ ﻴﺤﻴﻲ‬
‫ﻤﺭﺘﺩﻴﹰﺎ ﺠﻠﺒﺎﺏ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻴﺤﻴﻲ ‪ :‬ﺒﺘﻌﻴﻁﻰ ﻝﻴﻪ ؟‬
‫ﻭﻴﺠﻠﺱ ﺒﺠﻭﺍﺭﻫﺎ ﻭﻫﻰ ﺘﺒﻜﻰ ﻫﻨﺎﺀ ‪ :‬ﻋﺸﺎﻥ ﺤﺒﻴﺘﻙ ﻗﻭﻯ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻁﺏ ﺍﻝﻠﻰ ﻴﺤﺏ ﺤﺩ ﻴﻌﻴﻁ !‬
‫ﻫﻨﺎﺀ ‪ :‬ﻋﺸﺎﻥ ﻫﺎﺘﺴﻴﺒﻨﻰ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺘﻴﺠﻰ ﻤﻌﺎﻴﺎ ؟‬
‫ﺜﻡ ﻴﺤﻀﻨﻬﺎ ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻫﻨﺎﺀ ‪ :‬ﻴﺎﺭﻴﺕ ‪.‬‬
‫ﻝﻠﺩﺍﺨل ‪ Tracking in‬ﻝﻴﺼﺒﺤﺎ ﻴﺤﻴﻲ ‪ :‬ﺍﻨﺘﻰ ﺃﺴﻤﻙ ﺁﻴﻪ ؟‬
‫ﻫﻨﺎﺀ ‪ :‬ﻫﻨﺎﺀ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪M . S‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻁﻴﺏ ﺘﻌﺎﻝﻰ‬
‫‪.‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬

‫ﻤﺸﻬﺩ ) ‪( 61‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ ﻴﺤﻴﻲ‬
‫ﻭﻫﻨﺎﺀ‬
‫‪ 407‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻫﻨﺎﺀ ﻓﻰ ﺍﻝﺴﺭﻴﺭ ‪ .‬ﻴﺘﺤﺭﻙ‬
‫ﻴﺤﻴﻲ ﻝﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﻅل ﻫﻨﺎﺀ ﻓﻰ ﺍﻝﺴﺭﺴﺭ ﺘﺘﻘﻠﺏ ‪.‬‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Track‬ﻓﻰ‬
‫ﺸﺎﺭﻴﻭﻩ ﺩﺍﺌﺭﻯ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺤﺘﻰ‬

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‫ﺘﺼل ﺍﻝﻰ ﻴﺤﻲ ﻭﻫﻭ ﻴﺄﺨﺫ‬

‫ﻤﻼﺒﺴﻪ ﻭﻴﻌﺒﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺨﺭﺝ‬
‫ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 62‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺤﺩﻴﻘﺔ ﻋﺎﻤﺔ‬
‫‪ 408‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﺴﻴﺎﺭﺓ‬
‫ﻴﺤﻴﻲ ﺘﻘﻑ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪.‬‬
‫ﻴﻨﺯل ﻴﺤﻴﻰ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻴﻘﻁﻑ ﺒﻌﺽ ﺍﻝﻭﺭﻭﺩ ‪.‬‬
‫ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 24‬‬
‫ﻤﺸﻬﺩ ) ‪( 63‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺃﺘﻴﻠﻴﻪ ﻓﺭﻴﺩﺓ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ ﺃﻭﺒﺭﺍ ﻤﻥ‬ ‫‪ 409‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻲ‬
‫ﺍﺴﻁﻭﺍﻨﺔ‬ ‫ﻼ ﺍﻝﻭﺭﻭﺩ‬ ‫ﻴﺩﺨل ﺁﺘﻴﻠﻴﻪ ﻓﺭﻴﺩﺓ ﺤﺎﻤ ﹰ‬
‫) ‪( 25‬‬ ‫ﻤﻥ ﺸﻤﺎل ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ‬
‫ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 410‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺠﺎﻝﺴﺔ ﺘﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 411‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻠﻭﺭﻭﺩ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪Tilt‬‬
‫‪ Up‬ﺤﺘﻰ ﺘﺼل ﺍﻝﻰ ﻴﺤﻴﻲ ﺍﻝﺫﻯ‬
‫ﻴﺼﺒﺢ ﻓﻰ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close‬‬
‫‪up‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 412‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﻠﺘﻔﺕ ﻝﺘﺼﺒﺢ ﺒﺭﻭﻓﻴل ﻨﺎﻅﺭﺓ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻜﻨﺕ ﻋﺎﺭﻓﺔ ﺃﻨﻙ ﻫﺎﺘﻴﺠﻰ ‪.‬‬
‫ﻷﺴﻔل ‪ ,‬ﺜﻡ ﺘﻌﻭﺩ ﻝﺘﻨﻅﺭ ﺸﻤﺎل‬
‫ﻴﺤﻴﻲ ‪ :‬ﺤﻠﻭ ﺍﻝﻭﺭﺩ ؟‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 413‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻝﻴﺤﻴﻲ ﻓﻰ ﻭﻀﻊ ﺒﺭﻭﻓﻴل‬
‫ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻝﺘﺘﺎﺒﻌﻪ‬

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‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ . Pan Right‬ﻝﻴﺼﺒﺢ‬

‫ﻫﻭ ﻭﻓﺭﻴﺩﺓ ﻓﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫‪ , .M . S‬ﻫﻰ ﻓﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﻫﻭ ﻓﻰ ﺸﻤﺎل ﻜﺎﺩﺭ ﺃﻤﺎﻡ ﻓﺭﻴﺩﺓ ‪ :‬ﺼﺒﺎﻋﻙ ﺇﺘﻌﻭﺭ ؟‬
‫ﺍﻝﻤﻜﺘﺏ ‪ .‬ﺜﻡ ﺘﻤﺩ ﻝﺘﻨﺯﻉ ﺍﻝﻨﻅﺎﺭﺓ‬
‫ﻋﻥ ﻭﺠﻬﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 414‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻋﻠﻰ ﻴﺩ‬
‫ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 415‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻓﺭﻴﺩﺓ ﻭﻫﻭ‬
‫ﻴﺒﺘﺴﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 416‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺃﻨﺕ ﻜﻨﺕ ﻨﺎﻴﻡ ﻤﻊ ﻭﺍﺤﺩﺓ ؟‬ ‫ﺘﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 417‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫‪ Close up‬ﻝﻴﺤﻴﻲ ﻴﺨﻔﺽ‬
‫ﺭﺃﺴﻪ ﻝﻴﻤﺴﺢ ﺍﻝﻌﺭﻕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 418‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫‪ Close up‬ﻝﻔﺭﻴﺩﺓ ﺘﺭﻓﻊ ﺭﺃﺴﻬﺎ‬
‫ﻻﻋﻠﻰ ‪ ,‬ﺜﻡ ﺘﺘﺭﻙ ﺍﻝﻤﻜﺘﺏ ﻝﺘﺠﻠﺱ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺒﻘﻰ ﻝﻰ ﺘﻼﺕ ﺃﻴﺎﻡ ﻤﺎﻨﻤﺘﺵ‬
‫ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ ﻓﻰ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﺹ ﻋﻠﻰ ﺍﻝﻠﻭﺤﺔ ‪.‬‬‫ﻓﺭﻴﺩﺓ ‪ :‬ﻗﻭﻡ ﺒ ‪‬‬
‫‪ ,. .L . S‬ﺜﻡ ﻴﺘﺒﻌﻬﺎ ﻴﺤﻴﻲ‬
‫ﻭﻴﺠﻠﺱ ﺒﺠﻭﺍﺭﻫﺎ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 419‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻝﻴﺤﻴﻰ ﻴﺘﺤﺭﻙ ﺍﻝﻠﻭﺤﺔ ‪,‬‬
‫ﺜﻡ ﻴﺩﻭﺭ ﺃﻤﺎﻤﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 420‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﺘﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ ‪,‬‬
‫ﺜﻡ ﻴﺄﺘﻰ ﻴﺤﻴﻲ ﻤﻥ ﺨﻠﻔﻬﺎ ﻓﻰ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ Pan Left‬ﻝﻴﻅﻬﺭ ﻤﻥ ﺃﻤﺎﻡ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﻤﺭﺁﺓ ﻭﻴﺘﺤﺭﻙ ﻓﻰ ﺍﺘﺠﺎﻩ ﺒﻌﻀﻬﻤﺎ‬
‫) ‪( 25‬‬
‫ﺍﻝﺒﻌﺽ ﻭﻴﺤﻀﻨﻬﺎ ﻭﻴﻘﺒﻼ ﺒﻌﺽ‬
‫ﻓﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 421‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻨﺎﻓﺫﺓ‬
‫ﻋﻠﻴﻬﺎ ﺴﺘﺎﺭﺓ ﺘﺘﺤﺭﻙ ﻭﺘﻨﺯل‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Tilt down‬ﻋﻠﻰ‬
‫ﺒﺎﻗﻰ ﺍﻝﺴﺘﺎﺭﺓ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -out‬‬
‫ﻤﺸﻬﺩ ) ‪( 64‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﻁﻰﺀ‬
‫ﺍﻝﺒﺤﺭ‬

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‫ﺼﻭﺕ ﺍﻝﺒﺤﺭ‬ ‫ﺘﻅﻬﺭ ﻝﻭﺤﺔ‬ ‫‪422‬‬

‫ﺠﺯﺭ ﺍﻝﻴﻭﻨﺎﻥ ‪1982‬‬
‫ﻋﻠﻰ ﺨﻠﻔﻴﺔ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﺸﺎﻁﻰﺀ‬
‫ﺍﻝﺒﺤﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 423‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺸﺎﻁﻰﺀ‬
‫ﺍﻝﺒﺤﺭ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫‪Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 424‬ﻝﻘﻁﺔ ﻋﺎﻤﺔ ‪ .L. S‬ﻝﻤﺠﻤﻭﻋﺔ‬
‫ﻤﻥ ﺍﻝﻤﺼﻁﺎﻓﻴﻥ ﻴﺠﻠﺴﻭﻥ ‪,‬‬
‫ﻭﻴﺘﺤﺭﻙ ﻨﺎﺩل ﻨﺎﺤﻴﺔ ﺸﻤﺎل‬
‫ﻜﺎﺩﺭ ‪ ,‬ﻝﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺤﺭﻜﺔ‬
‫ﺩﺍﺌﺭﻴﺔ ‪Panorama‬‬
‫ﻝﺘﺴﺘﻌﺭﺽ ﺍﻝﻤﺼﻁﺎﻓﻴﻥ ﻤﻥ‬
‫ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 425‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫‪ Close up‬ﻝﻴﺤﻴﻲ ﺠﺎﻝﺱ ﻴﻨﻅﺭ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 426‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﺴﻌﺩﺓ ‪ :‬ﺤﻠﻭﺓ ﺒﺼﺤﻴﺢ ‪ ,‬ﺩﻩ ﺃﻨﺕ‬
‫ﻭﻴﺩﺨل ﺴﻌﺩﺓ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﺸﻤﺎل‬
‫ﺱ ﺃﺒﻭ‬
‫ﺃﺘﺎﺭﻴﻙ ﺩﺒﻭﺭ ﺒﺼﺤﻴﺢ ‪ .‬ﻤﺵ ﺒ ‪‬‬
‫ﻝﻴﻤﻴل ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ﻭﻫﻭ ﺠﺎﻝﺱ‬
‫ﺩﺒﻭﺭﺓ ﻫﺎﻫﺎ ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 427‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L . S‬ﻝﻴﺤﻴﻲ ﻗﺒﺎﺭﻯ ‪ :‬ﻤﺎﺘﺨﻠﻴﻜﻭﺍ ﻤﻌﺎﻨﺎ ﻴﺎﻤﻌﻠﻤﻴﻥ ‪.‬‬
‫ﻭﻫﺩﻫﺩ ﻭﺘﺠﺎﺭ ﺍﻝﻤﺨﺩﺭﺍﺕ ﺴﻌﺩﺓ ‪ :‬ﺇﺘﻔﻀل ﻴﺎﻤﻌﻠﻡ ﻗﺒﺎﺭﻯ ‪,‬‬
‫ﻤﻌﺎﻙ ‪.‬‬ ‫ﻴﺠﻠﺴﻭﻥ ﻋﻠﻰ ﺍﻝﺸﺎﻁﻰﺀ‬
‫ﻗﺒﺎﺭﻯ ‪ :‬ﺒﻴﻭﻤﻰ ﻫﺎﻨﻌﻤل ﻝﻪ ﺁﻴﻪ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 428‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻘﺒﺎﺭﻯ ﻫﺩﻫﺩ ‪ :‬ﻫﺎﻨﻌﻤل ﻝﻪ ﺁﻴﻪ ! ﻤﺎﻨﺘﺵ ﺤﺎﻜﻡ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻫﺩﻫﺩ ﻓﻰ ﺍﻝﻤﻨﺘﺼﻑ ﺼﺒﻴﺎﻨﻙ ‪ ,‬ﻫﺎﺃﺤﻜﻤﻬﻤﻠﻙ ﺃﻨﺎ ! ﻤﻌﻠﻤﻴﻥ‬
‫ﺁﻴﻪ ﺩﻭل ﻴﺎﺃﺨﻭﻴﺎ ‪!.‬‬ ‫ﻭﺴﻌﺩﺓ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﺒﺎﺭﻯ ‪ :‬ﻭﺃﻨﺎ ﻫﺎﺃﻋﻤل ﻝﻬﻡ ﺁﻴﻪ !‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﺎﺭﻑ ﺼﺒﻴﺎﻨﻰ ﺩﻭل ﻤﻌﺭﻭﺽ ﻋﻠﻴﻬﻡ‬
‫ﺨﻤﺱ ﺃﻀﻌﺎﻑ ﺍﻝﻠﻰ ﺒﻴﻜﺴﺒﻭﻩ ﻤﻨﻰ ‪.‬‬
‫ﺍﻝﺤﻜﺎﻴﺔ ﻤﺵ ﻜﺩﻩ ‪ ,‬ﺍﻝﺤﻜﺎﻴﺔ ﺇﻨﻬﻡ‬
‫ﺒﻴﻁﻠﻌﻭﺍ ﻋﻠﻰ ﺍﻝﺼﺒﻴﺎﻥ ﺒﻴﺼﻁﺎﺩﻭﻫﻡ‬
‫ﺒﺎﻝﻤﻁﺎﻭﻯ ‪ .‬ﻫﺎﻨﻌﻤل ﺁﻴﻪ ! ﻨﺠﻴﺏ ﻝﻜل‬
‫ﺼﺒﻰ ﺇﺘﻨﻴﻥ ﺤﺭﺍﺱ ﻴﺤﺭﺴﻭﻫﻡ ‪.‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬ ‫‪429‬‬
‫ﺍﻝﺭﺠل ‪ :‬ﻴﺎﻤﻌﻠﻤﻴﻥ ﺍﻝﺒﻭﺩﺭﺓ ﻨﺯﻝﺕ‬
‫ﻝﻴﺤﻴﻲ ‪ ,‬ﻭﻴﺘﺤﺭﻙ ﺍﻝﺭﺠل‬
‫ﺍﻝﺴﻭﻕ ﻭﺯﺒﺎﻴﻨﺎ ﻜﺩﻩ ‪ ,‬ﺍﻝﺼﺒﻴﺎﻥ ﺍﻝﻠﻰ‬
‫ﺍﻝﺠﺎﻝﺱ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﺒﻴﻭﺯﻋﻭﻫﺎ ﺃﺸﻜﺎل ﺇﺸﻰ ﻤﻭﻅﻔﻴﻥ ﻋﻠﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﻫﺩﻫﺩ ﺍﻝﺫﻯ ﻴﺨﺭﺝ‬
‫ﻁﻠﺒﺔ ﻋﻠﻰ ﻜﻭﺍﻓﻴﺭﺍﺕ ‪ .‬ﺒﻘﺕ ﺤﺎﺠﺔ‬
‫ﻤﻥ ﻴﻤﻴﻥ ‪ ,‬ﺜﻡ ﻴﺨﺭﺝ ﻫﺩﻫﺩ ﻤﻥ‬
‫ﺘﺠﻨﻥ ‪.‬‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻫﺩﻫﺩ ‪ :‬ﺒﻘﻰ ﺃﻨﺘﻭﺍ ﻤﻌﻠﻤﻴﻥ ﺇﻨﺘﻭﺍ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 430‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ‪ American‬ﺍﻝﻤﺭﺃﺓ ‪ :‬ﻴﺎﺒﺨﺘﻙ ﺒﺘﻘﺩﺭﻯ ﺘﻨﺯﻝﻰ‬
‫‪ Shot‬ﻝﻔﺭﻴﺩﺓ ﺘﺭﺘﺩﻯ ﺯﻯ ﺍﻝﺒﺤﺭ ﺍﻝﺒﺤﺭ ‪ .‬ﻓﺭﻴﺩﺓ ‪ :‬ﻁﺏ ﻭﺃﻨﺘﻰ ﺁﻴﻪ ﺍﻝﻠﻰ‬
‫ﻭﺘﻘﻑ ﻓﻰ ﺍﺘﺠﺎﻩ ﺸﻤﺎل ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻤﺎﻨﻌﻙ ؟‬
‫ﺘﺠﻠﺱ ﺒﺠﻭﺍﺭ ﺃﻤﺭﺃﺓ ﻭﺘﺩﻝﻙ ﺍﻝﻤﺭﺃﺓ ‪ :‬ﻤﺎﺃﻗﺩﺭﺵ ﻜﺎﻥ ﻴﺩﺒﺤﻨﻰ ‪ ,‬ﻤﻊ‬

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‫ﺃﻥ ﺃﻭل ﻤﺭﺓ ﺸﺎﻓﻨﻰ ﺸﺎﻓﻨﻰ ﺒﻤﺎﻴﻭﻩ‬ ‫ﺠﺴﺩﻫﺎ ‪ .‬ﺜﻡ ﺘﺸﻌل ﺴﻴﺠﺎﺭﺓ‬
‫ﺒﻜﻴﻨﻰ ﻜﻨﺕ ﺃﻴﺎﻤﻬﺎ ﺒﺄﺸﺘﻐل ﻋﻠﻰ ﺨﻁ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻜﺎﻴﺭﻭ ﺒﺎﺭﻴﺱ ‪ .‬ﺸﺎﻓﻨﻰ ﻓﻰ ﺃﻭﺘﻴل ﻓﻰ‬
‫ﺒﺎﺭﻴﺱ ‪.‬ﺃﻭل ﻤﺎ ﺸﺎﻓﻨﻰ ﺇﻓﺘﻜﺭﻨﻰ‬
‫ﺨﻭﺍﺠﺎﻴﺔ ﻤﺵ ﻓﺎﻫﻤﺔ ﻋﺭﺒﻰ ‪ .‬ﻗﺎل‬
‫ﻴﺎﻝﻬﻭﻯ ﻋﺎﺍﻝﻨﺴﻭﺍﻥ ! ﻀﺤﻜﺕ ﻭﻜﻠﻤﺘﻪ‬
‫ﺒﺎﻝﻌﺭﺒﻰ ‪ .‬ﺘﺼﻭﺭﻯ ﺇﺘﻜﺴﻑ !‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻴﻌﻨﻰ ﺃﻨﺘﻰ ﻤﺎﺒﺘﻨﺯﻝﻴﺵ ﺍﻝﻤﻴﻪ‬
‫ﺨﺎﻝﺹ ؟‬
‫ﺍﻝﻤﺭﺃﺓ ‪ :‬ﻷ ﺒﺄﻨﺯل ﻝﻜﻥ ﻤﺵ ﻗﺩﺍﻡ‬
‫ﺍﻝﺭﺠﺎﻝﺔ ‪.‬‬
‫‪ 431‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﺨﻤﺱ‬
‫ﺼﻭﺕ ﺍﻝﻤﺭﺃﺓ ‪ :‬ﺃﺼل ﺍﻝﺤﺎﺠﺔ ﻤﺭﺍﺘﻪ‬ ‫ﻨﺴﺎﺀ ﺘﺠﻠﺴﻥ ﺒﺠﻭﺍﺭ ﺒﻌﻀﻬﻥ‬
‫ﺍﻷﻭﻻﻨﻴﺔ ﻗﺎﻋﺩﺓ ﻓﻰ ﻗﻠﺒﻪ ‪ ,‬ﻭﻴﺎﺴﺎﺘﺭ‬ ‫ﻭﺘﺘﺤﺩﺜﻥ ‪ ,‬ﻭﻴﻅﻬﺭ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ‬
‫ﻴﺎﻓﺭﻴﺩﺓ ﻋﻠﻰ ﻜﻴﺩ ﺍﻝﻨﺴﻭﺍﻥ ‪.‬‬ ‫ﺭﺠﻼﻥ ﻓﻰ ﺍﻝﻴﻤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻤﺭﺃﺓ ‪ :‬ﻗﻭﻝﻴﻠﻰ ﻫﻭ ﻴﺤﻴﻲ ﺒﻴﻪ‬ ‫‪ 432‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻤﻥ‬
‫ﻤﺘﺠﻭﺯﻙ ﻋﻠﻰ ﺤﺩ ؟‬ ‫ﺍﻝﺯﺍﻭﻴﺔ ﺍﻝﻌﻜﺴﻴﺔ ﻝﻔﺭﻴﺩﺓ ﻭﺯﻭﺠﺔ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺃﻫﻭ ﺩﻩ ﺍﻝﻠﻰ ﻜﺎﻥ ﻨﺎﻗﺹ !‬ ‫ﻫﺩﻫﺩ ﺘﻌﺘﺩل ﻓﻰ ﺠﻠﺴﺘﻬﺎ ﻝﺘﺼﺒﺢ‬
‫ﻴﻤﻜﻥ ‪ ,‬ﻝﻴﻪ ﻷ !‬ ‫ﺘﺭﻭﻜﺎﺭ ‪3/4‬‬
‫ﺍﻝﻤﺭﺃﺓ ‪ :‬ﻓﺎل ﺍﷲ ﻭﻻ ﻓﺎﻝﻙ ‪ .‬ﻜﺩﻩ‬
‫ﺱ ﺨﻠﻠﻰ ﺒﺎﻝﻙ ﻤﻨﻪ ‪ .‬ﺍﻝﺩﻴﻭﻙ‬ ‫ﺃﺤﺴﻥ ﺒ ‪‬‬
‫ﻨﻁﺎﻁﺔ ﻭﺍﻝﺭﺠﺎﻝﺔ ﻋﻁﺎﻁﺔ ‪.‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻋﻥ ﺇﺫﻨﻙ ‪.‬‬
‫ﺍﻝﻤﺭﺃﺓ ‪ :‬ﺇﺘﻔﻀﻠﻰ‬
‫ﺇﻤﺭﺃﺓ ‪ :‬ﻴﺎﺨﺘﻰ ﻤﺵ ﻤﻜﺴﻭﻓﺔ ‪ .‬ﻤﺎﺸﻴﺔ‬
‫ﺘﻌﻤل ﻜﺩﻩ ﻗﺩﺍﻡ ﺍﻝﺭﺠﺎﻝﺔ ! ﻤﺎﺸﻴﺔ‬
‫ﺴﻠﺒﻭﺘﺔ ﻜﺩﻩ !‬
‫ﺜﻡ ﺘﻘﻑ ﻓﺭﻴﺩﺓ ﻝﺘﻌﺒﺭ ﺍﻝﻤﺭﺃﺓ‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ‪ Pan‬ﺇﻤﺭﺃﺓ ‪ : 2‬ﻴﺎﻝﻬﻭﻯ ﺸﻭﻓﻭﺍ ﺍﻝﻔﹸﺠﺭ‬
‫‪ Right‬ﻭﻫﻰ ﺘﻌﺒﺭ ﺍﻝﻨﺴﺎﺀ ﺍﻻﺘﻰ ﻤﺎﺸﻴﺔ ﻜﺩﻩ ﻗﺩﺍﻤﻬﻡ ‪.‬‬
‫ﺇﻤﺭﺃﺓ ‪ : 3‬ﺍﻝﺤﻕ ﻤﺵ ﻋﻠﻴﻬﺎ ﺍﻝﺤﻕ‬ ‫ﻴﻨﻅﺭﻥ ﻝﻬﺎ ﻭﻫﻰ ﺘﻤﺸﻰ‬
‫ﻋﻠﻰ ﺍﻝﺭﺍﺠل ﺍﻝﻠﻰ ﺁﻨﻴﻬﺎ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 433‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ‪American‬‬
‫‪ Shot‬ﻝﻴﺤﻴﻲ ﻭﻫﺩﻫﺩ ﻴﻘﻔﺎ ﻓﻰ‬
‫ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﻫﺩﻫﺩ ‪ :‬ﺘﻌﺭﻑ ﺍﻝﻌﻤﻴﺩ ﻋﻤﺭ ﺍﻷﺴﻴﻭﻁﻰ‬
‫ﺒﻌﻀﻬﻤﺎ ﺍﻝﺒﻌﺽ ﻭﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ؟‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻴﻭﺓ ‪.‬‬ ‫ﺠﻤﻭﻉ ﺍﻝﻤﺼﻁﺎﻓﻴﻥ‬
‫ﻫﺩﻫﺩ ‪ :‬ﺘﻌﺭﻓﻪ ﻜﻭﻴﺱ ؟‬
‫ﻴﺤﻴﻲ ‪ :‬ﻴﻌﻨﻰ ﻜﺎﻥ ﺩﻓﻌﺘﻰ ‪ .‬ﻤﺎﻝﻪ ؟‬
‫ﻫﺩﻫﺩ ‪ :‬ﻫﺎﻴﻤﺴﻙ ﺇﺩﺍﺭﺓ ﻤﻜﺎﻓﺤﺔ‬
‫ﺍﻝﻤﺨﺩﺭﺍﺕ ﻴﺎﺘﺭﻯ ﻤﻴﺘﻪ ﺁﻴﻪ ؟‬
‫ﻴﻨﻅﺭ ﻫﺩﻫﺩ ﻨﺎﺤﻴﺔ ﻓﺭﻴﺩﺓ ﻓﻰ ﻴﺤﻴﻲ ‪ :‬ﻫﻭ ﻅﺎﺒﻁ ﻜﻭﻴﺱ ‪ ..‬ﻫﺎﻴﺘﻌﺒﻨﺎ ‪.‬‬
‫ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻫﻰ ﺘﺘﺤﺭﻙ ﻫﺩﻫﺩ ‪ :‬ﻤﺭﺍﺘﻙ ﺠﺎﻴﺔ ‪.‬‬
‫ﻨﺎﺤﻴﺘﻬﻤﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 434‬ﻝﻘﻁﺔ ﺍﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ ﺍﻝﻌﻜﺴﻴﺔ ﻫﺩﻫﺩ ‪ :‬ﻋﻠﻰ ﻓﻜﺭﺓ ﻤﺭﺍﺘﻙ ﺤﺒﻠﻰ ‪.‬‬
‫ﻝﻬﺩﻫﺩ ﻴﺘﺄﺒﻁ ﺯﺭﺍﻉ ﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﺤﺒﻠﻰ ﺇﺯﺍﻯ ﻴﻌﻨﻰ ؟‬
‫ﻫﺩﻫﺩ ‪ :‬ﺤﺒﻠﻰ ﻴﻌﻨﻰ ﺁﻴﻪ ! ﻓﻰ ﺒﻁﻨﻬﺎ‬

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‫ﻋﻴل ‪.‬‬ ‫ﻭﻴﺘﺤﺭﻜﺎﻥ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬

‫ﻴﺤﻴﻲ ‪ :‬ﺘﻌﺭﻑ ﺇﺯﺍﻯ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻫﺩﻫﺩ ‪ :‬ﺃﺒﻭﻫﺎ ﻗﺎل ﻝﻰ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻗﺼﺩﻙ ﻫﻨﺎﺀ !‬
‫ﻫﺩﻫﺩ ‪ :‬ﺁﻩ ﻁﺒﻌ ﹰﺎ ﺃﻤﺎل ﻗﺼﺩﻯ ﻤﻴﻥ‬
‫ﻴﻌﻨﻰ ! ﻫﻨﺎﺀ ﻤﺭﺍﺘﻙ ﺍﻝﻘﺩﻴﻤﺔ ‪.‬‬
‫‪ 435‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻫﺩﻫﺩ ﻴﺩﺨﻼ ﻤﻥ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﺭﺠﺎل ﺜﻡ ﻴﺠﻠﺴﺎ ﺒﻴﻨﻬﻡ‬
‫ﻭﺘﺄﺘﻰ ﻓﺭﻴﺩﺓ ﺒﺎﻝﻤﻘﻌﺩ ﻭﺘﺠﻠﺱ ﻓﻰ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻴﺘﻭﻗﻑ ﺍﻝﺭﺠﺎل ﻋﻥ‬
‫ﺍﻝﺤﺩﻴﺙ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 436‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺴﻜﺘﻭﺍ ﻝﻴﻪ ؟ ﻤﺎﺘﻜﻤﻠﻭﺍ‬
‫ﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻜﻼﻤﻜﻭﺍ‪ .....‬ﺃﻨﺘﻭﺍ ﺒﺘﺸﺘﻐﻠﻭﺍ ﺁﻴﻪ ؟‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 437‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ . L . S‬ﻝﻴﺤﻴﻲ ﻓﻰ‬
‫ﺍﻝﻤﻘﺩﻤﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻓﺭﻴﺩﺓ ﻓﻰ‬
‫ﺃﻗﺼﻰ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ‪,‬‬
‫ﻀﺤﻜﺎﺕ ﺍﻝﺭﺠﺎل‬ ‫ﻭﻴﻠﺘﻔﺕ ﻴﺤﻴﻲ ﺒﺭﺃﺴﻪ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺒﺘﻌﺩﹰﺍ ﺒﻨﻅﺭﻩ ﻋﻥ‬
‫ﺍﻝﺭﺠﺎل ﺍﻝﺫﻴﻥ ﻴﻨﻅﺭﻭﻥ ﻨﺎﺤﻴﻪ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬ ‫‪438‬‬
‫ﻝﺯﻭﺠﺎﺕ ﺍﻝﺭﺠﺎل ﻴﻌﺘﺩﻝﻥ ﻓﻰ‬
‫ﺠﻠﺴﺘﻬﻥ ﻝﻴﻨﻅﺭﻥ ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 439‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺇﻨﺘﻭﺍ ﺒﺘﻀﺤﻜﻭﺍ ﻝﻴﻪ ؟‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 440‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .‬‬
‫‪ Close up‬ﻝﻬﺩﻫﺩ ﻴﻨﻅﺭ ﻓﻰ‬
‫ﻫﺩﻫﺩ ‪ :‬ﻁﺏ ﺃﻨﺘﻰ ﺸﻴﻔﺎﻨﺎ ﺒﻨﺸﺘﻐل‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ‬
‫ﺁﻴﻪ !‬
‫ﻓﺭﻴﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 441‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻫﺩﻫﺩ ﻭﻫىﺘﻨﻅﺭ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻤﺵ ﻋﺎﺭﻓﺔ !‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 442‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ M .‬ﻫﺩﻫﺩ ‪ :‬ﺸﻭﻓﻰ ﺃﻨﺎ ﺸﺨﺼﻴ ﹰﺎ ﻋﻨﺩﻯ‬
‫ﻤﺼﻨﻊ ﻨﺴﻴﺞ ﻓﻰ ﺸﺒﺭﺍ ﺍﻝﺨﻴﻤﺔ‬ ‫‪ Close up‬ﻝﻬﺩﻫﺩ‬
‫ﻭﻤﺼﻨﻊ ﺠﺯﻡ ‪ ,‬ﻭﻤﺸﻐﻭﻻﺕ ﺠﻠﺩﻴﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﻋﻤﺎﻴﺭ ﻜﻭﻡ ﻭﻤﺼﻨﻊ ﻁﻭﺏ ﺭﻤﻠﻰ‬
‫‪ 443‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻠﺭﺠﺎل‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻫﺩﻫﺩ ‪ 300 .. :‬ﻋﺭﺒﻴﺔ ﻨﻘل ﻭ‪25‬‬
‫‪ Pan Right‬ﻭﺘﺴﺘﻌﺭﺽ‬
‫ﻋﻤﺎﺭﺓ ﻭﻤﻴﺕ ﻓﺩﺍﻥ ﻭﺩﻩ ﻏﻴﺭ ﺍﻝﻤﻠﻙ‬
‫ﺍﻝﺭﺠﺎل ﻭﻫﻡ ﻴﺴﺘﻤﻌﻭﻥ ﺤﺘﻰ‬
‫ﻭﺍﻷﺭﺍﻀﻰ ‪ .‬ﺩﻩ ﺒﻘﻰ ﺍﻝﻠﻰ ﺃﻨﺎ ﻓﺎﻜﺭﻩ ‪.‬‬
‫ﺘﺼل ﺍﻝﻰ ﻫﺩﻫﺩ ﻝﺘﺜﺒﺕ ﻭﻫﻭ‬
‫ﻋﺭﻓﺘﻰ ﺒﻘﻰ ﺒﻨﺸﺘﻐل ﺁﻴﻪ !‬
‫ﻴﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 444‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬

‫ﻓﺭﻴﺩﺓ ‪ :‬ﺨﻼﺹ ﻋﺭﻓﺕ ‪ ..‬ﻭﺍﻀﺤﺔ‬
‫ﺘﻨﻅﺭ ﻝﻬﺩﻫﺩ‬
‫ﻗﻭﻯ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 445‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻬﺩﻫﺩ‬
‫ﻫﺩﻫﺩ ‪ :‬ﺒﻨﺸﺘﻐل ﺁﻴﻪ !‬ ‫ﻴﻨﻅﺭ ﻝﻔﺭﻴﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 446‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻝﻔﺭﻴﺩﺓ ‪.‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺘﺠﺎﺭ ﻤﺨﺩﺭﺍﺕ ‪.‬‬ ‫ﺜﻡ ﺘﻘﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 447‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M. L. S‬‬
‫ﻤﻥ ﺨﻠﻑ ﻤﻘﻌﺩ ﻓﺭﻴﺩﺓ ﻝﻠﺭﺠﺎل‬
‫"ﻀﺤﻜﺎﺕ ﺍﻝﺭﺠﺎل "‬
‫ﻭﻫﻡ ﻴﻨﻅﺭﻭﻥ ﻝﺒﻌﻀﻬﻡ ﺍﻝﺒﻌﺽ ‪.‬‬
‫ﺴﻌﺩﺓ ‪ :‬ﻫﻰ ﺒﺘﺘﻜﻠﻡ ﺠﺩ !‬
‫ﺜﻡ ﻴﻀﺤﻜﻭﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪.M . S‬‬ ‫‪448‬‬
‫ﻝﻠﺯﻭﺠﺎﺕ ﺘﻨﻅﺭﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪,‬‬
‫ﺼﻭﺕ ﻀﺤﻙ‬ ‫ﺜﻡ ﺘﻌﺩﻥ ﻝﻺﺴﺘﺭﺨﺎﺀ ﻋﻠﻰ ﻤﻘﺎﻋﺩ‬
‫ﺍﻝﺒﺤﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 449‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻝﻔﺭﻴﺩﺓ ﺘﻨﺯﻉ ﻏﻁﺎﺀ‬
‫ﺍﻝﺒﺤﺭ ﻭﺘﻀﻌﻪ ﻋﻠﻰ ﺍﻝﻤﻘﻌﺩ ‪ ,‬ﺜﻡ‬
‫ﺘﺘﻤﺩﺩ ﻋﻠﻴﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 450‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﺨﻴﻤﺔ‬
‫ﻭﻴﺘﺤﺭﻙ ﻫﺩﻫﺩ ﻝﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 451‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺜﻼﺜﺔ‬
‫ﻏﻁﺎﺴﻴﻥ ﻴﺨﺭﺠﻭﻥ ﻤﻥ ﺨﻠﻑ‬
‫ﺼﺨﺭﺓ ﻓﻰ ﺍﻝﺒﺤﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪,‬‬
‫ﻭﻴﺤﻤﻠﻭﻥ ﺴﻤﻜﺔ ﻜﺒﻴﺭﺓ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 452‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 453‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﺴﻴﻘﺎﻥ‬
‫ﺍﻝﻐﻁﺎﺴﻴﻥ ﻭﺒﻴﻨﻬﻤﺎ ﺴﻤﻜﺔ‬
‫ﻴﺤﻤﻠﻭﻨﻬﺎ‬
‫ﺼﻭﺕ ﺴﻘﻭﻁ‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ ‪Slow‬‬
‫ﺍﻝﺴﻤﻜﺔ ﻓﻰ ﺍﻝﻤﺎﺀ‬
‫‪ ( Motion‬ﻭﺘﺴﻘﻁ ﺍﻝﺴﻤﻜﺔ ﻓﻰ‬
‫ﺍﻝﻤﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 454‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻨﺯﻉ ﺍﻝﻨﻅﺎﺭﺓ ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪455‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬

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‫)‪( 26‬‬ ‫‪ close up‬ﻷﺤﺩ ﺍﻝﻐﻁﺎﺴﻴﻥ ﻴﻨﺯﻉ‬

‫ﻨﻅﺎﺭﺓ ﺍﻝﻐﻁﺱ ﻋﻥ ﺭﺃﺴﻪ ‪,‬‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪Pan‬‬
‫‪ Right‬ﻭﻴﻔﻌل ﻤﺜﻠﻪ ﺍﻝﻐﻁﺎﺴﺎﻥ‬
‫ﺍﻵﺨﺭﺍﻥ ‪ ,‬ﺜﻡ ﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻷﺴﻔل ‪ Tilt Down‬ﻝﻴﺩ‬
‫ﻏﻁﺎﺱ ﺍﻝﻴﻤﻴﻥ ﻭﻫﻰ ﺘﻤﺘﺩ ﻝﺘﺄﺨﺫ‬
‫ﻤﺴﺩﺴ ﹰﺎ ﻤﻥ ﺩﺍﺨل ﺒﺩﻝﺔ ﺍﻝﻐﻁﺱ ‪,‬‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪Pan‬‬
‫‪ Left‬ﻓﻰ ﺤﺠﻡ ﻗﺭﻴﺏ ﻝﻠﻤﺴﺩﺱ‬
‫ﻭﺍﻝﻘﻨﺒﻠﺔ ﺍﻝﺘﻰ ﻴﺤﻤﻠﻬﺎ ﺍﻝﻐﻁﺎﺱ‬
‫ﺍﻵﺨﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 456‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻲ ﻴﻘﻑ‬
‫ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﺨﺎﺭﺝ ﺍﻝﺨﻴﻤﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬ ‫‪457‬‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ ( ﻝﻠﻐﻁﺎﺴﻴﻥ‬
‫ﻭﻴﻠﻘﻰ ﺃﺤﺩﻫﻡ ﻗﻨﺒﻠﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 458‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻫﻭ ﻴﺠﺭﻯ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪,‬‬
‫ﻨﺎﺤﻴﺔ ﻫﺩﻫﺩ ﺍﻝﺫﻯ ﻴﺴﻴﺭ ﻤﺒﺘﻌﺩﹰﺍ‬
‫ﻋﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ .‬ﻝﻴﻤﺴﻜﻪ ﻤﻥ ﺭﻗﺒﺘﻪ‬
‫ﻭﻴﻘﻊ ﻓﻭﻗﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬ ‫‪459‬‬
‫ﻝﻠﻐﻁﺎﺱ ﻭﻫﻭ ﻴﺭﻤﻰ ﺍﻝﻘﻨﺒﻠﺔ ﻓﻰ‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ‬
‫‪( Slow Motion‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 460‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻫﺩﻫﺩ ﻤﻥ ﻨﻔﺱ ﺯﺍﻭﻴﺔ ﻝﻘﻁﺔ‬
‫ﺼﻭﺕ ﺍﻨﻔﺠﺎﺭ‬ ‫ﺭﻗﻡ ‪ 459‬ﻭﻫﻤﺎ ﻴﻘﻌﺎﻥ ﻋﻠﻰ‬
‫ﺍﻝﻘﻨﺒﻠﺔ‬ ‫ﺍﻷﺭﺽ ‪ ,‬ﺜﻡ ﺘﺴﻘﻁ ﺍﻝﻘﻨﺒﻠﺔ‬
‫ﺨﻠﻔﻬﻤﺎ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 461‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﻘﻨﺒﻠﺔ‬
‫ﺼﻭﺕ ﺍﻨﻔﺠﺎﺭ‬ ‫ﺘﻨﻔﺠﺭ ﺃﻤﺎﻡ ﺍﻝﻤﺼﻁﺎﻓﻴﻥ ﺃﻓﺭﺍﺩ‬
‫ﺍﻝﻘﻨﺒﻠﺔ‬ ‫ﻋﺎﺌﻠﺔ ﺘﺠﺎﺭ ﺍﻝﻤﺨﺩﺭﺍﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 462‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺘﺎﺓ‬
‫ﺘﻘﻑ ﺜﻡ ﺘﻘﻊ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ ‪Slow‬‬
‫‪( Motion‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪463‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺴﻘﻭﻁ‬
‫ﺍﻝﻔﺘﺎﺓ ﻋﻠﻰ ﺍﻷﺭﺽ ﻤﻥ ﺯﺍﻭﻴﺔ‬

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‫ﺃﺨﺭﻯ‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ ‪Slow‬‬
‫‪( Motion‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 464‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﻨﺎﺱ‬
‫ﺼﻭﺕ ﻁﻠﻘﺎﺕ‬ ‫ﻴﺘﺤﺭﻜﻭﻥ ﻓﻰ ﻜل ﺍﺘﺠﺎﻩ ﻓﻰ ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﺴﺩﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M. S‬‬ ‫‪465‬‬
‫ﻷﺴﺘﻘﺭﺍﺭ ﺍﻝﻔﺘﺎﺓ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻭﺁﺨﺭﻭﻥ ﻴﻘﻌﻭﻥ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ‬
‫‪( Slow Motion‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 466‬ﻗﻁﻊ ﻋﻠﻰ ﺍﻝﻤﺤﻭﺭ ﻝﻨﻔﺱ ﺍﻝﻠﻘﻁﺔ‬
‫ﺍﻝﺴﺎﺒﻘﺔ ﻓﻰ ﺤﺠﻡ ﻜﺒﻴﺭ‬
‫ﻝﻠﻤﺼﻁﺎﻓﻴﻥ ﻴﺘﺤﺭﻜﻭﻥ ﻓﻰ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 467‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﻤﺴﻙ ﻁﻔﻠﺔ ﻭﺘﻐﻁﻴﻬﺎ ﺒﺠﺴﺩﻫﺎ‬
‫ﻝﺘﺤﻤﻴﻬﺎ ﻭﺍﻷﺜﻨﺘﺎﻥ ﻓﻰ ﺸﻤﺎل ﻜﺎﺩﺭ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 468‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻠﻐﻁﺎﺴﻴﻥ‬
‫ﺍﻝﺜﻼﺜﺔ ﻤﺴﺘﻤﺭﻴﻥ ﻓﻰ ﺇﻁﻼﻕ‬
‫ﺍﻝﻁﻠﻘﺎﺕ ﻭﻴﻨﻅﺭﻭﻥ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 469‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺨﻴﻤﺘﻴﻥ‬
‫ﺃﺴﻔل ﺇﺤﺩﺍﻫﻤﺎ ﺒﺎﺭ ‪ ,‬ﻴﻁﻠﻘﺎ ﺍﻝﻨﺎﺭ‬
‫ﺍﻨﻔﺠﺎﺭ ﻗﻨﺒﻠﺔ‬ ‫ﻓﻰ ﺍﺘﺠﺎﻩ ﺸﻤﺎل ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﺴﻘﻁ‬
‫ﺭﺠل ‪ .‬ﺜﻡ ﺘﻨﻔﺠﺭ ﺃﻤﺎﻡ ﺍﻝﺨﻴﻤﺘﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M .S‬‬ ‫‪470‬‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ ‪Slow‬‬
‫‪( Motion‬ﻝﺭﺠﻼﻥ ﻴﺨﺭﺠﺎ ﻤﻥ‬
‫ﺩﺍﺨل ﺇﺤﺩﻯ ﺍﻝﺨﻴﻤﺘﻴﻥ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﺨﺘﺒﺄ ﺨﻠﻑ ﺍﻝﺒﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬ ‫‪471‬‬
‫ﻝﻠﻐﻁﺎﺴﻴﻥ ‪ ,‬ﻴﺘﺤﺭﻙ ﺇﺜﻨﺎﻥ ﻤﻨﻬﻤﺎ‬
‫ﻝﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻝﻴﺼﺒﺢ ﺍﻝﺤﺠﻡ ﻓﻰ‬
‫ﺼﻭﺕ ﺍﻝﻁﻠﻘﺎﺕ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻭﻴﺴﺘﻤﺭﺍ‬
‫ﻓﻰ ﺇﻁﻼﻕ ﺍﻝﺭﺼﺎﺹ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪472‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﺭﺠﻼ ﺍﻝﺒﺎﺭ‬
‫ﻴﺤﺎﻭﻻ ﺇﻁﻼﻕ ﺍﻝﺭﺼﺎﺹ ﻨﺎﺤﻴﺔ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 473‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ ..M . S‬ﻝﻠﺭﺠﺎل‬
‫ﻓﻰ ﺍﻝﺨﻴﻤﺔ ﺍﻷﺨﺭﻯ ﻴﺤﺎﻭﻻ‬
‫ﺍﻷﺨﺘﺒﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 474‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻫﺩﻫﺩ ﻋﻠﻰ ﺍﻷﺭﺽ ﻻ‬
‫ﻴﺴﺘﻁﻴﻌﺎﻥ ﺭﻓﻊ ﺭﺃﺴﻤﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 475‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﺒﺎﺭ ﻭ‬
‫ﻴﻅﻬﺭ ﺭﺠل ﻤﻥ ﺨﻠﻑ ﺍﻝﺒﺎﺭ‬
‫ﻭﻴﻁﻠﻕ ﺭﺼﺎﺼﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 476‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S. 2‬ﻷﺜﻨﻴﻥ‬
‫ﻤﻥ ﺍﻝﻐﻁﺎﺴﻴﻥ ‪ ,‬ﺜﻡ ﻴﺴﻘﻁ‬
‫ﻏﻁﺎﺱ ﺍﻝﻴﻤﻴﻥ ﻤﺼﺎﺒﹰﺎ ﻓﻰ ﺭﺃﺴﻪ‬
‫ﻭﻴﺘﻘﺩﻡ ﺍﻝﻐﻁﺎﺱ ﺍﻝﺜﺎﻨﻰ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 477‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺘﺠﺎﺭ‬
‫ﺍﻝﻤﺨﺩﺭﺍﺕ ﻋﻠﻰ ﺍﻷﺭﺽ ‪ .‬ﻴﺩﺨل‬
‫ﺍﻝﻐﻁﺎﺱ ﺍﻝﺜﺎﻝﺙ ﺒﺴﺎﻗﻪ ﻓﻰ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﻨﺤﻨﻰ ﺍﻝﺴﻔل ﻤﻭﺠﻬ ﹰﺎ‬
‫ﺍﻝﻤﺴﺩﺱ ﻋﻠﻰ ﺍﻝﺭﺠﺎل ﻓﻰ‬
‫ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 478‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻝﺼﺩﺭ‬
‫ﺼﻭﺕ ﺍﻝﺭﺼﺎﺹ‬ ‫ﻗﺒﺎﺭﻯ ﻤﺼﺎﺒ ﹰﺎ ﺒﻁﻠﻕ ﻨﺎﺭﻯ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 479‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close Up‬ﻝﻁﻠﻘﺘﻰ‬
‫ﺼﻭﺕ ﻁﻠﻘﺘﻰ‬
‫ﻼ ﺁﺨﺭ‬‫ﺭﺼﺎﺹ ﺘﺼﻴﺒﺎ ﺭﺠ ﹸ‬
‫ﺭﺼﺎﺹ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 480‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺴﻌﺩﺓ‬
‫ﻴﺠﺭﻯ ﻨﺎﺤﻴﺔ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻴﻅﻬﺭ ﺍﻝﻐﻁﺎﺱ ﻓﻰ ﻤﻘﺩﻤﺔ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻅﻬﺭﻫﻤﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 481‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ‬
‫ﺍﻝﻌﻜﺴﻴﺔ ﻭﻫﻭ ﻴﻘﻔﺯ ﻓﻰ ﺍﻝﻬﻭﺍﺀ‬
‫ﻝﻴﺼﻴﺏ ﺴﻌﺩﺓ‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ ‪Slow‬‬
‫‪(Motion‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 482‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺴﺎﻕ‬
‫ﺴﻌﺩﺓ ﻭﺍﻝﺭﺼﺎﺼﺔ ﺘﺼﻴﺒﻬﺎ ‪.‬‬
‫ﻴﺴﻘﻁ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻴﺤﺎﻭل‬
‫ﺯﺍﺤﻔﹰﺎ ﺍﻝﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺨﻠﻔﻴﺔ‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬ ‫‪483‬‬

‫ﻝﻠﻐﻁﺎﺱ ﻴﻌﺘﺩل ﻝﻴﺼﻴﺏ ﺴﻌﺩﺓ ‪,‬‬
‫ﺜﻡ ﻴﻨﺯل ﻴﺩﻴﻪ ﻨﺎﻅﺭﹰﺍ ﺸﻤﺎل ﻜﺎﺩﺭ ‪,‬‬
‫ﻭﻴﺴﺤﺏ ﺴﻜﻴﻥ ﻤﻥ ﺠﺎﻨﺏ ﺴﺎﻗﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 484‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﺴﻌﺩﺓ‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻭﻴﺩﺨل ﺍﻝﻐﻁﺎﺱ ﻤﻤﺴﻜ ﹰﺎ ﺍﻝﺴﻜﻴﻥ‬
‫ﻭﻴﺼﻴﺒﻪ ﻓﻰ ﺭﻗﺒﺘﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 485‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻘﻨﺒﻠﺔ ﺘﻨﻔﺠﺭ‬
‫ﺃﻤﺎﻡ ﺨﻴﻤﺔ ﺍﻝﺒﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 486‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﻨﺨﻔﻀﺔ‪Low Angle‬‬
‫ﻝﻠﺨﻴﻤﺘﻴﻥ ‪ ,‬ﻭﻴﺩﺨل ﺍﻝﻐﻁﺎﺱ‬
‫ﺼﻭﺕ ﺍﻨﻔﺠﺎﺭ‬ ‫ﻭﻴﻠﻘﻰ ﺒﻘﻨﺒﻠﺔ ﺜﻡ ﻴﺴﻘﻁ ﺯﺍﺤﻔ ﹰﺎ ﻓﻰ‬
‫ﺍﻝﻘﻨﺒﻠﺔ‬ ‫ﺍﺘﺠﺎﻩ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﻴﺨﺭﺝ ﻤﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﻨﻔﺠﺭ ﺍﻝﻘﻨﺒﻠﺔ ﺨﻠﻑ‬
‫ﺍﻝﺒﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 487‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ ﺘﻐﻁﻰ ﺍﻝﻁﻔﻠﺘﻴﻥ‬
‫ﺒﺠﺴﺩﻫﺎ ﻭﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 488‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻫﺩﻫﺩ ﻋﻠﻰ ﺍﻷﺭﺽ ﻓﻰ ﻤﻭﺍﺠﻬﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ .‬ﻴﻘﻑ ﻴﺤﻴﻲ ﻝﻴﺨﺭﺝ ﻤﻥ‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 489‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺘﺤﺭﻙ ﻤﻥ ﻴﻤﻴﻲ ﻜﺎﺩﺭ ﺒﺴﺭﻋﺔ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﺒﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪490‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M . S‬‬
‫ﻝﻠﻐﻁﺎﺱ ﻴﻭﺠﻪ ﻴﺩﻩ ﻓﻰ ﺸﻤﺎل‬
‫ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺤﺭﻜﻬﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪491‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺨﺘﺒﻰﺀ ﺨﻠﻑ ﺍﻝﺒﺎﺭ ‪ ,‬ﺜﻡ ﻴﻘﻑ‬
‫ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ ﻝﻴﺴﻘﻁ‬
‫ﺼﻭﺕ ﺍﻝﺭﺼﺎﺹ‬
‫ﺒﺠﺴﺩﻩ ﻤﻁﻠﻘ ﹰﺎ ﺭﺼﺎﺼﺔ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫) ‪( 26‬‬
‫‪492‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬‬
‫ﻝﻠﻐﻁﺎﺱ ﻴﺼﺎﺏ ﺒﺎﻝﻁﻠﻘﺔ ﻓﻰ‬

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‫ﺭﻗﺒﺘﻪ ﻭﻴﺴﻘﻁ ﻝﻠﺨﻠﻑ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪493‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻬﺩﻫﺩ‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ ‪ ,‬ﻴﺭﻓﻊ ﺭﺃﺴﻪ‬
‫ﻷﻋﻠﻰ ﺜﻡ ﻴﻘﻑ ﻋﻠﻰ ﺭﻜﺒﺘﻴﻪ ﺒﺒﻁﺀ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪494‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻌﺘﺩل ﻭﻴﺭﻓﻊ ﺍﻝﻤﺴﺩﺱ ﺴﺭﻴﻌﹰﺎ ﻓﻰ‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 495‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻬﺩﻫﺩ‬
‫ﻭﻴﻅﻬﺭ ﺨﻠﻔﻪ ﺍﻝﻐﻁﺎﺱ ﺍﻝﺜﺎﻝﺙ‬
‫ﻭﻓﻰ ﻴﺩﻩ ﺴﻜﻴﻥ ‪ .‬ﺜﻡ ﻴﺴﻘﻁ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ ﺒﺠﻭﺍﺭ ﻫﺩﻫﺩ ‪ .‬ﻭﻴﻨﻅﺭ‬
‫ﻫﺩﻫﺩ ﻓﻰ ﺭﻋﺏ ﺘﺠﺎﻩ ﺍﻝﻐﻁﺎﺱ‬
‫ﺍﻝﻘﺘﻴل ﺒﺠﻭﺍﺭﻩ ‪ .‬ﺜﻡ ﻴﺭﻓﻊ ﺭﺃﺴﻪ‬
‫ﻨﺎﺤﻴﺔ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﺄﺘﻰ ﻴﺤﻴﻲ‬
‫ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻝﻴﻅﻬﺭ ﺍﻝﻤﺴﺩﺱ‬
‫ﺼﻭﺕ ﺍﻝﺭﺼﺎﺼﺔ‬ ‫ﻓﻰ ﻴﺩﻩ ﺍﻝﻴﻤﻨﻰ ﻭﻴﺼﺒﺢ ﻫﺩﻫﺩ‬
‫ﺨﺎﺭﺝ ﺒﺅﺭﺓ ﺍﻝﻌﺩﺴﺔ ‪out of‬‬
‫‪ focus‬ﺒﻴﻨﻤﺎ ﺍﻝﻤﺴﺩﺱ ﻴﻜﻭﻥ ﻓﻰ‬
‫ﺒﺅﺭﺓ ﺍﻝﻌﺩﺴﺔ ‪In Focus‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪496‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻭﺍﻷﻁﻔﺎل ﻴﺒﻜﻭﻥ ‪ ,‬ﻨﺎﻅﺭﻴﻥ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ‪ ,‬ﺘﺭﻓﻊ ﺍﻝﻁﻔﻠﺔ ﻴﺩﻫﺎ ﻷﻋﻠﻰ‬
‫ﻭﻴﺄﺘﻰ ﻴﺤﻴﻲ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻝﻴﻤﺴﻙ‬
‫ﻴﺩﻴﻬﺎ ﻭﻴﺤﻤﻠﻬﺎ ‪ .‬ﻭﺘﻌﻠﻭ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻼ‬
‫ﻤﻌﻪ‪ Tilt Up‬ﻭﻫﻭ ﻴﺄﺨﺫ ﻁﻔ ﹰ‬
‫ﺁﺨﺭ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺸﻤﺎل ﻜﺎﺩﺭ ‪,‬‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪Pan‬‬
‫‪ Left‬ﻭﻫﻭ ﻴﺴﺘﻌﺭﺽ ﺍﻝﻤﻜﺎﻥ‬
‫ﻭﺤﻭﻝﻪ ﺯﻭﺠﺎﺕ ﺍﻝﺘﺠﺎﺭ ﻭﺍﻷﻁﻔﺎل‬

‫ﻤﺯﺝ ‪Dissolve‬‬

‫‪ 497‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻴﺤﻴﻲ ﻴﺘﻠﻔﺕ ﺤﻭﻝﻪ‬

‫ﻭﺍﻷﻁﻔﺎل ﻭﺍﻝﻨﺴﺎﺀ ﻴﺒﻜﻭﻥ ﺨﻠﻔﻪ‬
‫ﻤﺯﺝ ‪dissolve‬‬
‫‪ 498‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ﻝﺸﺎﻁﻰﺀ ﺍﻝﺒﺤﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬

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‫ﻤﺸﻬﺩ ) ‪( 65‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺴﻴﺎﺭﺓ ﻴﺤﻴﻲ‬
‫‪499‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M .S‬‬

‫ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺨﺎﺭﺝ ﺍﻝﺴﻴﺎﺭﺓ ‪,‬‬
‫ﻓﺭﻴﺩﺓ ﺒﺠﻭﺍﺭ ﻴﺤﻴﻲ ﻓﻰ ﺍﻝﻤﻘﻌﺩ‬
‫ﺍﻝﺨﻠﻔﻰ ﻭﻴﻅﻬﺭ ﻓﻰ ﺍﻝﻤﻘﻌﺩ‬
‫ﺍﻷﻤﺎﻤﻰ ﺍﻝﺤﺎﺭﺱ ﺍﻝﺨﺎﺹ‬
‫ﻤﺯﺝ ‪Dissolve‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 26‬‬
‫ﻤﺸﻬﺩ ) ‪( 66‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻴﺤﻴﻲ‬
‫ﻭﻓﺭﻴﺩﺓ‬
‫‪ 500‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻴﺤﻴﻲ ﻴﺩﺨل‬
‫ﻤﻥ ﺍﻝﺒﺎﺏ ﺩﺍﺨل ﺍﻝﻤﻨﺯل ﻭﺨﻠﻔﻪ‬
‫ﺍﻝﺤﺎﺭﺴﻴﻥ ﻴﺤﻤﻼﻥ ﺍﻝﺤﻘﺎﺌﺏ‬
‫ﻭﻓﺭﻴﺩﺓ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ‪ ,‬ﻴﺘﺤﺭﻙ‬
‫ﻴﺤﻴﻲ ﻨﺎﺤﻴﺔ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻭﻴﻌﺒﺭﻫﺎ‬
‫ﻝﻴﺼل ﺍﻝﻰ ﺍﻝﺒﻬﻭ ﺍﻝﺩﺍﺨﻠﻰ ﻝﻐﺭﻓﺔ‬
‫ﺍﻹﺴﺘﻘﺒﺎل ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻝﻠﺩﺍﺨل ‪ Track in‬ﺤﺘﻰ ﻴﺠﻠﺱ‬
‫ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪501‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﺩﺨل ﻤﻥ ﺒﺎﺏ ﻏﺭﻓﺔ ﺍﻹﺴﺘﻘﺒﺎل ﻴﺤﻴﻲ ‪ :‬ﺩﻝﻭﻗﺕ ﻤﺵ ﻫﺎﺘﺘﺤﺭﻜﻰ‬
‫ﺤﻴﺙ ﻴﺠﻠﺱ ﻴﺤﻴﻲ ﻭﺘﺘﺎﺒﻌﻬﺎ ﻝﻭﺤﺩﻙ ‪ ,‬ﻫﺎﻴﻜﻭﻥ ﻤﻌﺎﻜﻰ ‪ 2‬ﺒﻭﺩﻯ‬
‫ﺠﺎﺭﺩ ‪.‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﻠﻘﻰ ﺒﺤﻘﻴﺒﺘﻬﺎ‬
‫ﻭﺍﻝﺠﺎﻜﻴﺕ ﻋﻠﻰ ﺍﻝﻤﻘﻌﺩ ﻴﻤﻴﻨﻬﺎ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 502‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل ﺤﺘﻰ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻭﻤﺎﻓﻴﺵ ﺩﺍﻋﻰ ﺘﺭﻭﺤﻰ ﺍﻝﺸﻐل‬ ‫ﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻭﻫﻭ ﻴﻨﻅﺭ ﺍﻝﻴﻭﻤﻴﻥ ﺩﻭل ‪ ,‬ﻭﻤﻥ ﺒﻜﺭﺓ ﻤﺎﻨﺘﻨﻘل‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﻴﺸﻴﺢ ﻭﺠﻬﻪ ﺸﻤﺎل ﻝﻔﻴﻠﻼﺘﻨﺎ ﺍﻝﻠﻰ ﻓﻰ ﺍﻝﻤﻨﺼﻭﺭﻴﺔ ‪.‬‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 503‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻔﺭﻴﺩﺓ ﻓﻰ‬
‫ﻤﻨﺘﺼﻑ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﻓﺭﻴﺩﺓ ‪ :‬ﻤﻤﻜﻥ ﺃﻋﺭﻑ ﺁﻴﻪ ﺍﻝﻠﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ ﺒﻴﺤﺼل !‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 504‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ M. S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺁﻴﻪ ﺍﻝﻠﻰ ﺒﻴﺤﺼل ! ‪...‬‬
‫ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻋﺎﺩﻯ ‪ ..‬ﺼﺭﺍﻋﺎﺕ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 505‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﻨﻅﺭ ﻭﻫﻰ ﺒﺭﻭﻓﻴل ﺸﻤﺎل ﻜﺎﺩﺭ ‪,‬‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﻝﺘﻌﺒﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺠﻠﺱ‬
‫ﺒﺠﻭﺍﺭ ﻴﺤﻴﻲ ‪ ,‬ﻴﺼﺒﺢ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﻓﺭﻴﺩﺓ ﺸﻤﺎل ﻜﺎﺩﺭ ﻗﺭﻴﺒﺔ ﻤﻥ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 506‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﺤﻴﻲ ﻓﺭﻴﺩﺓ ‪ :‬ﺃﻨﺘﻭﺍ ﺒﺘﺸﺘﻐﻠﻭﺍ ﺁﻴﻪ ! ‪ ...‬ﺃﻨﺕ‬
‫ﺒﺘﺸﺘﻐل ﺁﻴﻪ !‬ ‫ﺒﺠﻭﺍﺭﻫﺎ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 507‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﺭﻙ ﺭﺃﺴﻪ ﻨﺎﺤﻴﺔ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻝﻴﺼﺒﺢ ﺒﻜﺎﻤل ﻭﺠﻬﻪ ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ‪ :‬ﺘﺎﺠﺭ ﻤﺨﺩﺭﺍﺕ ‪.‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 508‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻔﺭﻴﺩﺓ‬
‫) ‪( 27‬‬ ‫ﻓﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺘﺨﻔﺽ ﺭﺃﺴﻬﺎ ‪.‬‬
‫ﺜﻡ ﺘﻘﻑ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 509‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻋﻨﺩﻤﺎ ﺘﻘﻭﻡ ﻓﺭﻴﺩﺓ ﻤﻥ ﺍﻝﻴﻤﻴﻥ‬
‫ﻭﻴﺘﺎﺒﻌﻬﺎ ﻴﺤﻴﻲ ﺒﻨﻅﺭﻩ ‪ .‬ﻭﻫﻭ ﻓﻰ‬
‫ﻭﻀﻊ ﺒﺭﻭﻓﻴل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 510‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻭﻅﻬﺭﻫﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﻋﻤﻕ ﺍﻝﺼﻭﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 511‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻜﺎﻨﺕ ﺍﻝﺤﺭﺏ ﻗﺩ‬
‫ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺠﺎﻝﺴﺎ‬
‫ﺒﺩﺃﺕ ‪ ,‬ﻭﻝﻜﻥ ﻤﺎﺠﺭﻯ ﻝﻡ ﻴﺭﻯ ﻤﺜﻴﻠﻪ‬
‫ًﺸﻤﺎل ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﺨﻔﺽ ﺒﺼﺭﻩ‬
‫ﺍﻝﻌﺎﻝﻡ ﺍﻝﺴﻔﻠﻰ ﻤﻥ ﻗﺒل ‪.....‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 67‬‬

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‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺍﻝﺒﻴﺕ ﻏﺭﻓﺔ‬

‫ﻤﻜﺘﺏ ﻴﺤﻴﻲ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 512‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻴﺤﻴﻲ ﻓﻰ‬
‫ﻏﺭﻓﺔ ﺍﻝﻤﻜﺘﺏ ﺃﻤﺎﻡ ﻨﺎﻓﺫﺓ ﻤﻐﻠﻘﺔ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ ":‬ﺒﺎﻹﻀﺎﻓﺔ ﺍﻝﻰ ﺍﻝﻤﺫﺒﺤﺔ‬
‫) ‪( 27‬‬
‫ﻓﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺘﻬﺎ ﺍﻝﺘﻰ ﺸﺎﻫﺩﺘﻬﺎ ‪ ,‬ﻓﻘﺩ ﻤﺎﺕ ﺍﻝﻤﻌﻠﻡ‬
‫ﻭﻴﺤﺭﻙ ﺍﻝﺴﺘﺎﺌﺭ ‪ ,‬ﺜﻡ ﻴﻌﻭﺩ ﻨﺎﺤﻴﺔ ﺸﻔﻴﻕ ﻭﻗﺩ ﻗﻴل ﺃﻨﻪ ﺃﻨﺘﺤﺭ ‪ .‬ﻭﺍﻝﺤﻘﻴﻘﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻘﻑ ﺃﻨﻨﻰ ﻝﻡ ﺃﻋﺜﺭ ﺤﺘﻰ ﺍﻝﻴﻭﻡ ﻋﻠﻰ ﺘﺎﺠﺭ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺃﻤﺎﻡ ﻤﻨﻀﺩﺓ ‪ ,‬ﺜﻡ ﻤﺨﺩﺭﺍﺕ ﻴﻌﺎﻨﻰ ﻤﻥ ﺍﻹﻜﺘﺌﺎﺏ ‪ .‬ﺃﻤﺎ‬
‫ﻼ ‪ Tilt‬ﺍﻝﻤﻌﻠﻡ ﺨﻤﻴﺱ ﻓﻘﺩ ﺇﺨﺘﻔﻰ ﻓﻰ ﺍﻝﻤﺴﺎﻓﺔ‬ ‫ﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ﻗﻠﻴ ﹸ‬
‫‪ down‬ﻨﺎﺤﻴﺔ ﺍﻝﻤﻨﻀﺩﺓ ﻭﺘﻤﺘﺩ ﺒﻴﻥ ﻤﺩﺨل ﻋﻤﺎﺭﺘﻪ ﻭﺸﻘﺔ ﺯﻭﺠﺘﻪ‬
‫ﻴﺩ ﻴﺤﻴﻲ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻝﻴﻜﺘﺏ ﻋﻠﻰ ﺍﻝﺜﺎﻝﺜﺔ ﻓﻰ ﺍﻝﺩﻭﺭ ﺍﻝﺨﺎﻤﺱ ﺒﻼ ﺃﺜﺭ ‪,‬‬
‫ﻭﻜﺄﻨﻪ ﺘﺒﺨﺭ ‪ .‬ﻭﻴﺒﺩﻭ ﺃﻥ ﺍﻝﻬﺩﻑ ﻫﻭ‬ ‫ﻤﻅﺭﻭﻑ‬
‫ﻤﺤﺎﻭﻝﺔ ﻁﻤﺱ ﺠﺭﺍﺌﻡ ﺍﻝﻘﺘل ﻝﺘﺒﺩﻭ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺇﻨﺘﺤﺎﺭﹰﺍ ﺃﻭ ﺇﺨﺘﻔﺎﺀﹰﺍ ‪ ,‬ﻭﻝﻜﻥ ﻁﺭﻕ ﺘﻨﻔﻴﺫ‬
‫ﻫﺫﻩ ﺍﻝﺠﺭﺍﺌﻡ ﺘﺅﻜﺩ ﺘﺩﺨل ﺨﺒﺭﺍﺕ ﺃﻜﺜﺭ‬
‫ﺘﻁﻭﺭﹰﺍ ﻓﻰ ﻤﺠﺎل ﺍﻝﺠﺭﻴﻤﺔ ‪.‬‬
‫ﺍﻝﺨﻼﺼﺔ ‪ :‬ﺃﻥ ﺍﻝﺼﺭﺍﻉ ﻗﺩ ﺇﺤﺘﺩﻡ ﻤﻥ‬
‫ﺃﺠل ﻓﺭﺽ ﺍﻝﻤﺨﺩﺭﺍﺕ ﻓﻰ ﺍﻝﺴﻭﻕ ‪,‬‬
‫ﻭﻝﻜﻨﻰ ﺃﺅﻜﺩ ﺃﻥ ﻫﺫﺍ ﺍﻝﺼﺭﺍﻉ ﻴﺘﻡ ﺘﺤﺕ‬
‫ﻤﻅﻠﺔ ﺤﻤﺎﻴﺔ ﻤﺎ ‪" ...‬‬

‫ﻤﺸﻬﺩ ) ‪( 68‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﺭﻉ ﺴﻴﺎﺭﺓ‬
‫ﻴﺤﻴﻲ‬
‫‪ 513‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻤﻥ ﻨﺎﻓﺫﺓ ﺍﻝﺴﻴﺎﺭﺓ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻭﻴﻀﻊ ﻨﻅﺎﺭﺓ ﺍﻝﺸﻤﺱ ﻋﻠﻰ‬
‫ﻋﻴﻨﻴﻪ ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 69‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﺒﻨﻰ‬
‫ﻤﻜﺘﺏ ﺭﺠﺏ‬
‫‪ 514‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺴﻴﺎﺭﺓ‬
‫ﻴﺤﻴﻲ ﺘﻘﻑ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻔﺘﺢ‬
‫ﺍﻝﺒﺎﺏ ﺍﻷﻤﺎﻤﻰ ﻭﻴﻨﺯل ﺍﻝﺤﺎﺭﺱ‬
‫ﺍﻝﺨﺎﺹ ﻭﻴﻔﺘﺢ ﺒﺎﺏ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻭﻴﺘﺤﺭﻙ ﻴﺤﻴﻲ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ‬
‫ﻤﺒﻨﻰ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪ left‬ﻭﻫﻭ ﻴﺩﺨل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 71‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻜﺘﺏ ﺭﺠﺏ‬
‫‪515‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻤﻊ ﺤﺭﻜﺔ‬
‫ﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل ‪ Track in‬ﻋﻠﻰ‬
‫ﺭﺠﺏ ﺍﻝﺠﺎﻝﺱ ﺨﻠﻑ ﻤﻜﺘﺒﻪ ﻭﻴﻘﻑ‬

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‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺒﺘﺴﻤ ﹰﺎ‬

‫) ‪( 27‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 516‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻝﻴﺤﻴﻲ ﻴﺩﺨل ﻤﻥ ﺍﻝﺒﺎﺏ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 517‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪M .L.‬‬
‫‪ shot‬ﻝﺭﺠﺏ ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻼ ﻴﺎ ﻴﺤﻴﻲ ﺒﻴﻪ ‪.‬‬
‫ﻼ ﺃﻫ ﹰ‬
‫ﺭﺠﺏ ‪ :‬ﺍﻫ ﹰ‬
‫ﻨﺎﺤﻴﺘﻪ ﻝﻠﺩﺍﺨل ‪Track in‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺭﺠﺏ ‪ :‬ﻨﻭ‪‬ﺭﺕ ‪ ..‬ﺃﻭل ﻤﺭﺓ ﺘﺸﺭﻓﻨﺎ‬ ‫‪American‬‬ ‫‪ 518‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ‬
‫‪ Shot‬ﻤﻊ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ﻴﻌﻨﻰ ! ﻜﻨﺕ ﺘﻘﻭل ﻴﺎﺭﺍﺠل ﻜﻨﺎ ﻨﻔﺭﺸﻠﻙ‬
‫ﻝﻴﺤﻴﻲ ﻭﻴﻌﺒﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺘﺠﻪ ﺍﻷﺭﺽ ﺴﺠﺎﺩ ﻋﺠﻤﻰ ﻭ ﹶﻻ ﺤﺎﺠﺔ ‪.‬‬
‫ﻼ ﻤﻘﺼﺭ ﺸﻭﻴﺔ ﻭﻜﺎﻥ ﺼﻭﺕ ﻏﻠﻕ ﺍﻝﺒﺎﺏ‬ ‫ﻨﺎﺤﻴﺔ ﺭﺠﺏ ﺍﻝﺫﻯ ﻴﻑ ﺨﻠﻑ ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻓﻌ ﹰ‬
‫ﺍﻝﻤﻜﺘﺏ ﻭﻴﺼﺎﻓﺤﻪ ‪ ,‬ﺜﻡ ﻴﺠﻠﺴﺎ ﻻﺯﻡ ﺃﺸﻭﻓﻙ ﻤﻥ ﺒﺩﺭﻯ ‪ .‬ﻓﻴﻪ ﺤﺎﺠﺔ‬
‫ﻭﻴﻤﺩ ﺭﺤﺏ ﻴﺩﻩ ﻝﻴﻀﻐﻁ ﺍﻝﺠﺭﺱ ﻤﻊ ﺍﻝﺭﺠﺎﻝﺔ ﺒﺭﻩ ‪..‬ﻤﻤﻜﻥ ﻴﺩﺨﻠﻭ‬
‫ﺭﺠﺏ ‪:‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 519‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻝﻠﺒﺎﺏ ﻴ‪‬ﻔﺘﺢ ﺍﻝﺒﺎﺏ ﻭﻴﺩﺨل‬
‫ﺜﻼﺙ ﺭﺠﺎل ‪ .‬ﻴﺘﺤﺭﻙ ﺇﺜﻨﺎﻥ ﻤﻨﻬﻡ‬
‫ﺼﻭﺕ ﻓﺘﺢ ﻭﻏﻠﻕ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻤﻜﺘﺏ ‪ .‬ﻴﻘﻑ ﺃﺤﺩﻫﻤﺎ‬
‫ﺍﻝﺒﺎﺏ‬
‫ﺒﻴﻥ ﻴﺤﻴﻲ ﻭﺭﺠﺏ ﻭﻴﻔﺘﺢ ﺍﻝﺤﻘﻴﺒﺔ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 520‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻠﺤﻘﻴﺒﺔ‬
‫ﻴﻌﺩﻝﻬﺎ ﺍﻝﺭﺠل ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻭﺘﻅﻬﺭ ﺍﻝﻨﻘﻭﺩ ﺩﺍﺨل ﺍﻝﺤﻘﻴﺒﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 521‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﺭﺠﺏ ﻴﺤﻴﻲ ‪ :‬ﺩﻭل ﺇﺘﻨﻴﻥ ﻤﻠﻴﻭﻥ ‪ .‬ﻋﺎﻴﺯﻴﻥ‬
‫ﻭﻴﺤﻴﻲ ﻭﺍﻝﺭﺠﻼﻥ ‪ ,‬ﻭﻴﺘﺤﺭﻙ ﺒﻀﺎﻋﺔ ‪.‬‬
‫ﻴﺤﻴﻲ ﻭﺭﺠﺏ ‪ ,‬ﻜل ﻨﺎﺤﻴﺔ ﺍﻵﺨﺭ ﺭﺠﺏ ‪ :‬ﺒﻀﺎﻋﺔ ! ﻤﻥ ﺃﻨﻬﻰ ﻨﻭﻉ ؟‬
‫ﻭﻴﺤﻀﻨﺎ ﺒﻌﻀﻬﻤﺎ ﺍﻝﺒﻌﺽ ﻴﺤﻴﻲ ‪ :‬ﺒﻭﺩﺭﺓ ﻁﺒﻌﹰﺎ ‪ .‬ﻫﻭ ﻋﻨﺩﻜﻭ‬
‫ﺤﺎﺠﺔ ﻏﻴﺭﻫﺎ ! ﻫﺎ ﻫﺎ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺭﺠﺏ ‪ :‬ﻁﻴﺏ ﺨﻠﻠﻰ ﺍﻝﻔﻠﻭﺱ ﻝﻐﺎﻴﺔ‬
‫ﻤﺎﺘﺴﺘﻠﻡ ﺍﻝﺒﻀﺎﻋﺔ‬
‫‪.‬ﻴﺤﻴﻲ ‪ :‬ﻷ ﺍﻝﻔﻠﻭﺱ ﻋﻨﺩﻜﻭﺍ ﺘﺯﻴﺩ‬
‫ﻤﺎﺘﻘﻠﺵ ‪.‬‬
‫ﺭﺠﺏ ‪ :‬ﺩﻯ ﺍﻝﺠﺩﻋﻨﺔ ﻭﺍﻝﺜﻘﺔ ‪ .‬ﺒﻜﺭﺓ‬
‫ﺘﻭﺼﻠﻙ ﺒﻀﺎﻋﺔ ﺒﻨﺹ ﺍﻝﻤﺒﻠﻎ ‪.‬‬
‫ﻭﺍﻝﺒﺎﻗﻰ ﻴﻭﺼﻠﻙ ﺒﻌﺩ ﺸﻬﺭ ‪.‬‬
‫ﺒﺩﺍﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 522‬ﻝﻘﻁﺔ ﻗﺭﻱ ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫) ‪( 28‬‬ ‫ﻴﺤﻀﻥ ﺭﺠﺏ ﻭﻴﻅﻬﺭ ﻭﺠﻪ ﻴﺤﻴﻲ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻋﺒﻭﺴ ﹰﺎ‬
‫)‪( 28‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 71‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﺒﺎﺏ‬
‫ﻓﻴﻠﻼ ﻴﺤﻴﻲ‬
‫‪ 523‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ L .S‬ﻝﻤﺩﺨل ﺒﺎﺏ‬

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‫ﺍﻝﻔﻴﻠﻼ ‪ ,‬ﺘﺨﺭﺝ ﻓﺭﻴﺩﺓ ﻤﻥ ﺍﻝﺒﺎﺏ‬

‫ﺍﻝﺤﺎﺭﺱ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ‬
‫ﻓﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺤﻴﺙ ﻴﻘﻑ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﻨﻭﺭ ‪.‬‬
‫ﺤﺎﺭﺴﺎﻥ ‪ .‬ﺘﻌﺒﺭﻫﻡ ﺜﻡ ﺘﻌﺒﺭ‬
‫ﺍﻝﺤﺎﺭﺱ ‪ :‬ﻴﺤﻴﻰ ﺒﻴﻪ ﻗﺎل ﺇﻥ ﺤﻀﺭﺘﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ‬
‫ﻤﺎﺘﺨﺭﺠﻴﺵ ‪.‬ﻝﻭﺤﺩﻙ ‪ ..‬ﻤﻤﻜﻥ‬
‫ﺤﺘﻰ ﺘﺼل ﺍﻝﻰ ﺴﻴﺎﺭﺓ ﻤﻜﺸﻭﻓﺔ ‪.‬‬
‫ﺤﻀﺭﺘﻙ ﺘﺘﻔﻀﻠﻰ ﻓﻰ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﺘﺎﻨﻴﺔ ‪ .‬ﺼﻭﺕ ﻤﺤﺭﻙ‬
‫ﻭﺘﺭﻜﺒﻬﺎ ﻭﺘﺠﻠﺱ ﺃﻤﺎﻡ ﻋﺠﻠﺔ‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬ ‫ﻓﺭﻴﺩﺓ ‪ :‬ﻫﺎﺃﺨﺭﺝ ﺒﺎﻝﻌﺭﺒﻴﺔ ﺩﻯ ‪.‬‬
‫ﺍﻝﻘﻴﺎﺩﺓ ‪ .‬ﻭﻴﺄﺘﻰ ﺍﻝﺤﺎﺭﺱ ﻤﻥ‬
‫ﺍﻝﺤﺎﺭﺱ ‪ :‬ﻁﺏ ﺍﻝﺭﺠﺎﻝﺔ‬
‫ﺍﻝﺠﻬﺔ ﺍﻷﺨﺭﻯ ﻭﻴﺼﺒﺢ ﻓﻰ‬
‫ﻴﻁﻠﻌﻭﺍﻤﻌﺎﻜﻰ ‪.‬‬
‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ .‬ﺜﻡ ﻴﺘﺤﺭﻙ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻷ ‪ .‬ﺃﻨﺎ ﻫﺎﺃﺨﺭﺝ ﻝﻭﺤﺩﻯ‬
‫ﻭﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﺤﺎﺭﺱ ‪ :‬ﻤﺎﻴﻨﻔﻌﺵ ﻴﺎﻤﺩﺍﻡ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 524‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻤﻥ‬
‫ﺩﺍﺨل ﺍﻝﺴﻴﺎﺭﺓ ‪ ,‬ﻭﻓﺭﻴﺩﺓ ﻓﻰ‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﺍﻝﺤﺎﺭﺱ ﺃﻤﺎﻡ‬
‫ﺼﻭﺕ ﺍﻝﻤﺤﺭﻙ‬
‫ﺍﻝﺴﻴﺎﺭﺓ ‪ .‬ﺘﻨﻁﻠﻕ ﺒﺎﻝﺴﻴﺎﺭﺓ‬
‫ﻴﻌﻠﻭ‬
‫ﻭﻴﺨﺭﺝ ﺤﺎﺭﺱ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 525‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﺤﺎﺭﺴﺎﻥ‬
‫ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻴﺠﺭﻴﺎﻥ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 526‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻤﻥ ﺩﺍﺨل ﺍﻝﺴﻴﺎﺭﺓ ﺘﻨﻁﻠﻕ‬
‫ﻤﺴﺭﻋﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 527‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺤﺎﺭﺴﺎﻥ‬
‫ﻤﺴﺘﻤﺭﺍﻥ ﻓﻰ ﺍﻝﺠﺭﻯ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 528‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻤﻥ ﺩﺍﺨل ﺍﻝﺴﻴﺎﺭﺓ ﻭﻫﻰ ﺘﺒﻁﻰﺀ‬
‫ﺃﻤﺎﻡ ﺒﺎﺏ ﺍﻝﻔﻴﻠﻼ ﺍﻝﺨﺎﺭﺠﻰ ‪ .‬ﺜﻡ‬
‫ﺘﻘﻑ ﺘﻨﻅﺭ ﻝﻠﺨﻠﻑ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 529‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺤﺎﺭﺴﺎﻥ‬
‫ﻴﺄﺘﻴﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﻴﺨﺭﺝ‬
‫ﺃﺤﺩﻫﻤﺎ ﻤﻥ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 530‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﺭﺠﻊ ﺒﺎﻝﺴﻴﺎﺭﺓ ﻝﻠﺨﻠﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 531‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ‬
‫ﺍﻝﻌﻜﺴﻴﺔ ﺨﻠﻑ ﺒﺎﺏ ﺍﻝﻔﻴﻠﻼ‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ ( ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﺴﻴﺎﺭﺓ ﻨﺎﺤﻴﺔ ﺍﻝﺒﺎﺏ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 532‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻭﻫﻰ ﺘﺼﻁﺩﻡ ﺒﺎﻝﺒﺎﺏ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 533‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻤﻥ ﺨﻠﻑ ﺒﺎﺏ ﺍﻝﻔﻴﻠﻼ ﺩﺍﺨل‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 534‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻴﻤﻴﻥ ﺍﻝﺴﻴﺎﺭﺓ ﻭﻓﺭﻴﺩﺓ ﺩﺍﺨل‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 535‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺃﻤﺎﻡ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 536‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪, .M .S‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺤﻤﻭﻝﺔ‪Hand‬‬
‫‪ Camera‬ﻝﻔﺭﻴﺩﺓ ﺘﻔﺘﺢ ﺍﻝﺒﺎﺏ ‪,‬‬
‫ﺜﻡ ﺘﺴﻘﻁ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﺘﻤﺘﺩ ﻴﺩ‬
‫ﺍﻝﺤﺎﺭﺱ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺤﻤل‬
‫ﻓﺭﻴﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 537‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺒﻴﻥ ﻴﺩﻯ ﺍﻝﺤﺎﺭﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 72‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺤﻤﺎﻡ‬
‫ﺍﻝﺴﺒﺎﺤﺔ ﻓﻰ ﺍﻝﻔﻴﻠﻼ‬
‫‪ 538‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﺤﻤﺎﻡ‬
‫ﺍﻝﺴﺒﺎﺤﺔ ﻭﻴﺩﺨل ﻴﺤﻴﻲ ﺍﻝﻜﺎﺩﺭ ﻤﻥ‬
‫ﺍﻝﻴﻤﻴﻥ ﻭﻴﺩﻭﺭ ﺤﻭل ﺍﻝﺤﻤﺎﻡ ‪.‬‬
‫ﻓﺭﻴﺩﺓ ﺘﻘﻑ ﻭﻅﻬﺭﻫﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 539‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ‬ ‫ﻴﻅﻬﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 540‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻭﻭﺠﻬﻬﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 541‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻓﻰ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻴﻠﺘﻔﺕ ﺒﻌﻴﺩﹰﺍ ﻋﻥ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺁﻩ ﻋﻠﻰ ﻓﻜﺭﺓ ﻤﻥ ﺒﻜﺭﺓ ﺘﻘﺩﺭﻯ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﻴﻌﻭﺩ ﺜﺎﻨﻴﺔ ﻝﻴﻭﺍﺠﻪ‬
‫ﺘﺨﺭﺠﻰ ﻭﺘﺭﺠﻌﻰ ﺸﻐﻠﻙ ‪.‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 542‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻤﺵ ﺨﺎﻴﻑ ﺃﻫﺭﺏ ؟‬ ‫ﺘﻠﺘﻔﺕ ﻝﻠﺨﻠﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪543‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﻝﻭ ﻫﺭﺒﺘﻰ ﻫﺎﺃﻋﺭﻑ ﺍﻻﻗﻴﻜﻰ‬
‫ﻓﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻌﻁﻰ ﻅﻬﺭﻩ ﻴﺎﻓﺭﻴﺩﺓ ‪.‬‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 544‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻝﻠﺤﻤﺎﻡ ‪ ,‬ﻴﺘﺤﺭﻙ ﻴﺤﻴﻲ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ‪ ,‬ﻭﺘﺄﺘﻰ ﻓﺭﻴﺩﺓ ﻤﻥ ﺨﻠﻔﻴﺔ‬
‫ﺍﻝﻜﺎﺩﺭ ﻝﺘﻌﺒﺭ ﻴﺤﻴﻲ ﻭﺘﻘﻔﺯ ﻓﻰ‬
‫ﺍﻝﻤﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 545‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻝﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﺒﻁﻠﻰ ﻝﻌﺏ ﻋﻴﺎل ‪ .‬ﺃﻨﺎ ﺒﺄﻋﻤل‬
‫ﻴﺩﺨل ﻤﻥ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﺍﻝﻰ ﻜﺩﻩ ﻋﺸﺎﻥ ﺃﺤﻤﻴﻜﻰ ‪.‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 546‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻔﺭﻴﺩﺓ ‪.M .S‬‬
‫) ﺤﺭﻜﺔ ﺒﻁﻴﺌﺔ ‪Slow‬‬
‫‪ ( Motion‬ﻭﻫﻰ ﺘﺼﻌﺩ ﻓﻭﻕ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ :‬ﻋﺸﺎﻥ ﺒﺄﺤﺒﻙ‬
‫ﺴﻁﺢ ﺍﻝﻤﺎﺀ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫) ‪( 29‬‬
‫ﻤﺸﻬﺩ ) ‪( 73‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﺩﺨل ﻤﺒﻨﻰ‬
‫ﺘﺤﺕ ﺍﻹﻨﺸﺎﺀ‬
‫‪547‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻔﺭﻴﺩﺓ ﺘﻘﻑ‬
‫ﻤﻊ ﺭﺠل ﺃﻤﺎﻡ ﻤﺩﺨل ﺍﻝﻤﺒﻨﻰ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﺨﻴﺭ‬
‫ﻭﻴﺩﺨل ﻴﺤﻴﻲ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪,‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺼﺒﺎﺡ ﺍﻝﻨﻭﺭ ‪.‬‬
‫ﻭﻴﺘﺤﺭﻙ ﺍﻝﺭﺠل ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﺯﻴﻙ !‬
‫ﺍﻝﺨﻠﻔﻴﺔ ‪ .‬ﻭﺘﻠﺘﻔﺕ ﻓﺭﻴﺩﺓ ﻨﺎﺤﻴﺔ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺇﺤﻨﺎ ﻓﻰ ﺍﻝﺸﻐل ﻴﺎﻴﺤﻴﻲ ‪ .‬ﺁﻴﻪ‬
‫ﻴﺤﻴﻲ ﺍﻝﺫﻯ ﻴﻘﺒﻠﻬﺎ ‪ .‬ﺜﻡ ﻴﺭﻓﻊ ﻴﺩﻩ‬
‫ﺩﻩ ؟‬
‫ﺍﻝﻤﻤﺴﻜﺔ ﺒﺴﻠﺴﻠﺔ ﻤﻔﺎﺘﻴﺢ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪547‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻓﺭﻴﺩﺓ ﺘﻨﻅﺭ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﺴﻴﺎﺭﺓ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺤﻴﻲ ‪ :‬ﺩﻯ ﻋﺭﺒﻴﺔ ﺠﺩﻴﺩﺓ ﺒﺩل ﺍﻝﻌﺭﺒﻴﺔ‬
‫ﺘﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﻨﻅﺭ ﻝﻴﺤﻴﻲ ﺍﻝﻠﻰ ﻜﺴﺭﺘﻴﻬﺎ ‪.‬‬
‫ﺍﻝﺫﻯ ﻴﻤﺩ ﻴﺩﻩ ‪ ,‬ﻭﺘﺠﺫﺒﻪ ﻓﺭﻴﺩﺓ ﻓﺭﻴﺩﺓ ‪ :‬ﺤﻠﻭﺓ ‪ ...‬ﻋﺭﺒﻴﺔ ﺤﻠﻭﺓ ‪.‬‬
‫ﻤﻥ ﻴﺩﻩ ﻭﻴﺨﺭﺠﺎ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻴﺤﻴﻲ ‪ :‬ﻤﺒﺭﻭﻙ ‪.‬‬

‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 548‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻴﺤﻴﻲ‬

‫ﻭﻓﺭﻴﺩﺓ ﻴﺩﺨﻼ ﻤﻥ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﺩﺍﺨل ﺍﻝﻤﺒﻨﻰ ‪ ,‬ﺜﻡ ﻴﺨﺭﺠﺎ ﻤﻥ‬
‫ﺍﻝﻴﻤﻴﻥ ﻭﻫﻰ ﺘﻤﺴﻙ ﻴﺩﻩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪549‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻐﺭﻓﺔ‬
‫ﻤﺎﺯﺍﻝﺕ ﺘﺤﺕ ﺍﻹﻨﺸﺎﺀ ‪ ,‬ﻴﺩﺨل ﻜل ﻓﺭﻴﺩﺓ ‪ :‬ﻴﺎﻝﻼ ﺒﺴﺭﻋﺔ ﻗﺒل ﻤﺎﺤﺩ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/60.htm‬‬ ‫‪9/22/2011‬‬
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‫ﻤﻥ ﻴﺤﻴﻲ ﻭﻓﺭﻴﺩﺓ ﻤﻥ ﺍﻝﺸﻤﺎل ‪ ,‬ﻴﻴﺠﻰ ‪ ,‬ﻤﺵ ﺍﻨﺕ ﺠﺎﻴﺏ ﺍﻝﻌﺭﺒﻴﺔ‬

‫ﻭﺘﻬﻡ ﻓﺭﻴﺩﺓ ﺒﺨﻠﻊ ﺍﻝﺒﻠﻭﺯﺓ ﻋﻠﺸﺎﻥ ﺘﻨﺎﻡ ﻤﻌﺎﻴﺎ ! ﻴﺎﻝﻼ ﺍﻨﺎ ﺃﻫﻭﻩ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 550‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M S .‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻨﻅﺭ ﺨﻠﻔﻪ ‪ ,‬ﺜﻡ ﻴﻌﻭﺩ ﻭﻴﻨﻅﺭ ﻓﻰ‬
‫ﺍﺘﺠﺎﻩ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 551‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻴﺤﻴﻲ ﻴﻌﺒﺭ‬

‫ﻓﺭﻴﺩﺓ ﺍﻝﻭﺍﻗﻔﺔ ﺃﻤﺎﻡ ﺍﻝﺤﺎﺌﻁ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻜﻨﺕ ﺃﻋﻠﻡ ﺃﻨﻬﺎ ﻋﻨﺩﻤﺎ‬
‫ﻭﻅﻬﺭﻫﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻴﺨﺭﺝ ﻤﻥ ﻋﺭﻓﺕ ﺍﻝﺤﻘﻴﻘﺔ ‪ ,‬ﻓﻘﺩ ﺘﺼﺩﻋﺕ‬
‫ﻋﻼﻗﺘﻨﺎ ‪...‬‬ ‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 552‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻔﺭﻴﺩﺓ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ ... " :‬ﻁﻠﺒﺕ ﺍﻝﻁﻼﻕ‬
‫ﺘﺩﻴﺭﺭﺃﺴﻬﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻭﺭﻓﻀﺕ ‪ ,‬ﻭﻝﻜﻨﻨﻰ ﻤﺘﺄﻜﺩ ﺃﻨﻪ ﺒﻌﺩ‬
‫ﺘﻌﻭﺩ ﻭﺘﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻝﺤﺎﺌﻁ ﻭﺘﺒﺘﻌﺩ ﺴﻨﻴﻥ ﻭﻻﺃﻋﺭﻑ ﻋﺩﺩﻫﺎ ﺴﺘﻌﻠﻡ ﺃﻨﻨﻰ ﻝﻡ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ ‪ Track out‬ﺃﺨﺩﻋﻬﺎ ﻋﻨﺩﻤﺎ ﺘﺯﻭﺠﺘﻬﺎ ‪ ,‬ﺴﺘﻌﺭﻑ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪ Fade -out‬ﺃﻨﻨﻰ ﻜﺫﺒﺕ ﻋﻠﻴﻬﺎ ﻋﻨﺩﻤﺎ ﻗﻠﺕ ﺃﻨﻨﻰ‬
‫ﺘﺎﺠﺭ ﻤﺨﺩﺭﺍﺕ ‪".‬‬

‫ﻤﺸﻬﺩ ) ‪( 74‬‬
‫ﻨﻬﺎﺭ ﺨﺎﺭﺠﻰ ﻤﻨﻁﻘﺔ ﺠﺒﻠﻴﺔ‬
‫‪552‬‬
‫ﻝﻘﻁﺔ ﺒﺎﻨﻭﺭﺍﻤﻴﺔ ‪Panorama‬‬
‫ﻝﺩﺭﺍﺠﺔ ﻨﺎﺭﻴﺔ ﺘﺄﺘﻰ ﻤﺴﺭﻋﺔ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﻤﺤﺭﻙ‬ ‫‪ Pan Left‬ﺤﺘﻰ ﺘﻘﻑ ﻓﻰ‬
‫ﺍﻝﺩﺭﺍﺠﺔ‬ ‫ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﺍﻝﺴﺎﺌﻕ ﺍﻝﻰ‬
‫ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﺘﻅﻬﺭ ﺴﻴﺎﺭﺓ‬
‫ﻭﺍﻗﻔﺔ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 553‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﺭﺍﻜﺏ‬

‫ﺍﻝﺩﺭﺍﺠﺔ ﺍﻝﺒﺨﺎﺭﻴﺔ ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﻴﺘﺤﺭﻙ ﺒﺎﻝﺩﺭﺍﺠﺔ‬
‫ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪554‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺩﺭﺍﺠﺔ‬
‫ﺘﺩﺨل ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﺘﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﺸﻤﺎل ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻝﺨﻠﻔﻴﺔ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‪Pan‬‬
‫‪ Right‬ﻭﻫﻭ ﻴﺼل ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪555‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﺠﺯﺀ ﻤﻥ‬
‫ﺍﻝﺴﻴﺎﺭﺓ ﻴﻅﻬﺭ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‪,‬‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‪Pan Left‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/60.htm‬‬ ‫‪9/22/2011‬‬
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‫ﻋﻨﺩﻤﺎ ﻴﻨﺯل ﻤﻥ ﻋﻠﻰ ﺍﻝﺩﺭﺍﺠﺔ‬

‫ﻭﻴﻘﺘﺭﺏ ﻤﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ‬
‫ﻴﺘﺤﺭﻙ ﻨﺤﻭ ﺍﻝﺴﻴﺎﺭﺓ ‪ .‬ﻝﻨﺭﻯ‬
‫ﻼ ﻓﻰ ﺍﻝﺴﻴﺎﺭﺓ ﻭﺁﺨﺭ ﻓﻰ‬ ‫ﺭﺠﺏ ﻗﺘﻴ ﹰ‬
‫ﺍﻝﻤﻘﻌﺩ ﺍﻷﻤﺎﻤﻰ ‪ ,‬ﺃﻤﺎﻡ ﻋﺠﻠﺔ‬
‫ﺍﻝﺴﻴﺎﺭﺓ ‪ ,‬ﻭﺁﺨﺭ ﻴﺭﻗﺩ ﻤﻴﺘ ﹰﺎ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 29‬‬
‫ﻤﺸﻬﺩ ) ‪( 75‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻨﻭﻡ‬
‫ﻴﺤﻴﻲ‬
‫‪ 556‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﺒﺭﻭﻓﻴل ‪ ,‬ﻴﺭﻓﻊ ﺴﻤﺎﻋﺔ ﺍﻝﺘﻠﻴﻔﻭﻥ‬
‫ﺇﺩﺭﻴﺱ ‪ :‬ﺃﻴﻭﺓ ﻴﺎﺒﺎﺸﺎ ‪.‬‬
‫ﻭﻴﻠﺘﻔﺕ ﻨﺎﺤﻴﺔ ﺸﻤﺎل ﻜﺎﺩﺭ ﻝﺘﺘﺎﺒﻌﻪ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻴﻭﺓ ﻴﺎﺇﺩﺭﻴﺱ ‪.‬‬
‫ﺼﻭﺕ ﺠﺭﺱ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻭﻫﻭ ﻴﻨﻅﺭ‬
‫ﺇﺩﺭﻴﺱ ‪ :‬ﺍﻝﺸﺭﻁﺔ ﻫﻨﺎ ‪ ..‬ﻭﻤﻌﺎﻫﻡ ﺃﻤﺭ‬
‫ﺍﻝﺘﻠﻴﻔﻭﻥ‬ ‫ﻤﻥ ﺨﻠﻑ ﺍﻝﻨﺎﻓﺫﺓ ‪ ,‬ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ‬
‫ﺘﻔﺘﻴﺵ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺘﺘﺤﺭﻙ ﺴﻴﺎﺭﺓ ﺍﻝﺸﺭﻁﺔ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺨﻠﻴﻬﻡ ﻴﺩﺨﻠﻭﺍ ‪.‬‬
‫ﻭﺘﺩﺨل ﻤﻥ ﺒﺎﺏ ﺍﻝﻔﻴﻠﻼ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 76‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺎﻝﺔ ﺍﻝﻔﻴﻠﻼ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 557‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺼﺎﻝﺔ‬
‫) ‪( 30‬‬ ‫ﻴﺤﻴﻲ ‪ :‬ﺃﻴﻭﺓ ‪.‬‬ ‫ﺍﻝﻔﻴﻠﻼ ‪ .‬ﻴﺠﻠﺱ ﻴﺤﻴﻲ ﻓﻰ‬
‫ﺤﻤﺩﻯ ‪ :‬ﺃﻨﺎ ﺤﻤﺩﻯ ﻴﺎﺒﺎﺸﺎ ‪ .‬ﻓﻴﻪ ﻗﻭﺓ‬ ‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ .‬ﻓﺭﻴﺩﺓ ﻓﻰ‬
‫ﺒﻭﻝﻴﺱ ﻓﻰ ﺍﻝﻤﻜﺘﺏ ﻭﻤﻌﺎﻫﻡ ﺃﻤﺭ‬ ‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﺠﺎﻝﺴﺔ ﻭﻅﻬﺭﻫﺎ‬
‫ﺘﻔﺘﻴﺵ ﻤﻥ ﺍﻝﻨﻴﺎﺒﺔ ‪.‬‬ ‫ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻜﻤﺎﻥ ! ﺨﻠﻴﻬﻡ ﻴﻔﺘﺸﻭﺍ ﻭﻝﻤﺎ‬ ‫‪ 558‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻴﺨﻠﺼﻭﺍ ﺇﺒﻘﻰ ﻜﻠﻤﻨﻰ ‪ .‬ﺤﻤﺩﻯ ﻜﻠﻡ‬ ‫ﺘﺭﻓﻊ ﺭﺍﺴﻬﺎ ﻋﻥ ﻜﺘﺎﺏ ﺘﻘﺭﺃﻩ‬
‫ﺍﻝﺩﻜﺘﻭﺭ ﺭﺠﺎﺌﻰ ﺍﻝﻤﺤﺎﻤﻰ ‪ ,‬ﻭﻗﻭﻝﻬﻡ‬ ‫ﻭﺘﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻴﻘﺩﻤﻭﺍ ﺸﻜﻭﻯ ﻝﻠﻨﺎﺌﺏ ﺍﻝﻌﺎﻡ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 77‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺤﺩ ﺍﻝﺸﻭﺍﺭﻉ‬
‫‪ 559‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺠﻠﺱ ﺩﺍﺨل ﺴﻴﺎﺭﺓ ﻭﻫﻰ‬
‫ﺘﺘﺤﺭﻙ ‪ .‬ﻴﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 560‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ‪ High Angle‬ﻝﻠﺴﻴﺎﺭﺓ‬
‫ﻭﻫﻰ ﺘﻘﻑ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺩﻭﺭﻴﺔ‬
‫ﺍﻝﺸﺭﻁﺔ ﺸﻤﺎل ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ‬
‫ﺼﻭﺕ ﻓﺘﺢ ﺒﺎﺏ‬
‫ﻀﺎﺒﻁ ﻨﺎﺤﻴﺔ ﺴﻴﺎﺭﺓ ﻴﺤﻴﻲ ‪ ,‬ﺜﻡ‬
‫ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻴﻌﻭﺩ ﺍﻝﻰ ﺍﻝﻀﺎﺒﻁ ﺍﻵﺨﺭ ‪.‬‬
‫ﻭﻴﺨﺭﺝ ﺴﺎﺌﻕ ﻴﺤﻴﻲ ﻤﻥ ﺍﻝﺴﻴﺎﺭﺓ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 561‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ M . S‬ﻝﻴﺤﻴﻲ ﻤﻥ‬
‫ﺨﺎﺭﺝ ﺍﻝﺴﻴﺎﺭﺓ ‪ ,‬ﻭﻴﺘﺤﺩﺙ ﻤﻌﻪ‬

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‫ﺍﻝﺴﺎﺌﻕ ﻭﻴﻨﺯل ﺍﻝﺤﺎﺭﺱ ﻝﻴﻔﺘﺢ‬

‫ﺍﻝﺒﺎﺏ ﻝﻴﺤﻴﻲ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ Tilt up‬ﻤﻌﻪ ﻭﻫﻭ ﻴﺨﺭﺝ ﻤﻥ‬
‫ﺍﻝﺴﺎﺌﻕ ‪ :‬ﻋﺎﻴﺯﻴﻥ ﻴﻔﺘﺸﻭﺍ ﺍﻝﻌﺭﺒﻴﺔ‬
‫ﺼﻭﺕ ﻏﻠﻕ ﺍﻝﺒﺎﺏ‬ ‫ﺍﻝﺴﻴﺎﺭﺓ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻤﻘﺩﻤﺔ‬
‫ﻴﺎﻓﻨﺩﻡ‬
‫ﻭﻴﻘﻑ ﺍﻝﺤﺎﺭﺱ ﺒﺠﻭﺍﺭﻩ ﻭﻴﺸﻌل‬
‫ﻝﻪ ﺴﻴﺠﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 78‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﺒﻨﻰ‬
‫ﻭﺯﺍﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬
‫‪ 562‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﺴﻴﺎﺭﺓ‬
‫ﻴﺤﻴﻲ ﺘﻘﻑ ﺃﻤﺎﻡ ﻤﺒﻨﻰ ﻭﺯﺍﺭﺓ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﺒﺩﺃﺕ ﻤﻀﺎﻴﻘﺎﺕ‬
‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﻴﻨﺯل ﻴﺤﻴﻲ ﻭﺭﺠﺎﻝﻪ‬
‫ﺍﻝﺒﻭﻝﻴﺱ ﺒﻌﺩ ﻤﻘﺘل ﺭﺠﺏ ﻭﺇﺒﺭﺍﻫﻴﻡ ‪.‬‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪Pan‬‬
‫ﻭﺃﺼﺒﺢ ﺍﻝﺘﺴﺎﺅل ﻋﻥ ‪...‬‬
‫‪ Left‬ﻭﻫﻭ ﻴﺩﺨل ﺍﻝﻤﺒﻨﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 79‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻜﺘﺏ ﻋﻤﺭ‬
‫ﺍﻷﺴﻴﻭﻁﻰ‬
‫‪ 563‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻤﻊ‬
‫ﺸﺎﺭﻴﻭﻩ ﻴﻤﻴﻥ ﻤﻜﺘﺏ ﻋﻤﺭ ﻭﺨﻠﻑ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ .... " :‬ﺍﻝﺴﺒﺏ ‪ ,‬ﻫل‬
‫ﺍﻝﻤﻜﺘﺏ ﻴﺠﻠﺱ ﻀﺎﺒﻁ ﻴﺴﺘﻤﻊ ﺍﻝﻰ‬
‫ﻫﻭ ﻤﻘﺘﻠﻬﻤﺎ‬
‫ﺍﻝﻤﻜﺎﻝﻤﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 80‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻤﺭ ﺍﻝﻭﺯﺍﺭﺓ‬
‫‪ 564‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻝﻴﺤﻴﻲ ﻴﺄﺘﻰ ﻤﻥ ﻋﻤﻕ‬
‫ﺍﻝﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻌﺒﺭﻫﺎ‬
‫ﻭﺨﻠﻔﻪ ﺭﺠﻼﻥ ﻴﺨﺭﺠﺎ ﻤﻥ ﻴﻤﻴﻥ‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 81‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻓﻰ‬
‫ﻤﺒﻨﻰ ﺍﻝﻭﺯﺍﺭﺓ‬
‫‪ 565‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻓﻰ ﻏﺭﻓﺔ ﻭﺤﻭﻝﻪ ﺭﺠﻼﻥ ﻭﻴﻘﻑ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ ... " :‬ﺃﻡ ﺘﻌﻴﻴﻥ ﻋﻤﺭ‬
‫ﺒﻨﻬﻤﺎ ﻋﺎﺭ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺍﻷﺴﻴﻭﻁﻰ ؟"‬
‫ﻭﻴﺩﺨل ﻋﻤﺭ ﺍﻷﺴﻴﻭﻁﻰ ﻤﻥ ﻋﻤﻕ ﻋﻤﺭ ‪ :‬ﻫﺎﻩ ﻝﻘﻴﺘﻭﺍ ﺤﺎﺠﺔ ؟‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﺤﻴﻰ ﺭﺠل ﺍﻝﺒﺎﺏ ‪ :‬ﻷ ‪ ..‬ﻤﺎﻝﻘﻴﻨﺎﺵ ﺤﺎﺠﺔ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﻴﻀﺭﺒﻪ ﺭﺠل ﻴﺎﻓﻨﺩﻡ ‪.‬‬
‫ﺍﻝﺸﻤﺎل ‪ ,‬ﺜﻡ ﻴﺨﺭﺝ ﻋﻤﺭ ﺜﺎﻨﻴﺔ ﻴﺤﻴﻲ ‪ :‬ﻜﻠﺏ !‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻤﺸﻬﺩ ) ‪( 82‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺃﺘﻴﻠﻴﻪ ﻓﺭﻴﺩﺓ‬
‫‪566‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻴﺤﻴﻲ ﻴﺩﺨل‬
‫ﺁﺘﻴﻠﻴﻪ ﻓﺭﻴﺩﺓ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻴﺘﺤﺭﻙ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺴﺎﺀ ﺍﻝﺨﻴﺭ ‪ ..‬ﻝﺴﻪ ﺒﺘﺴﻴﺒﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‪ Pan Left‬ﻭﻫﻭ ﻴﻘﺘﺭﺏ‬
‫ﺍﻝﺒﺎﺏ ﻤﻔﺘﻭﺡ ‪.‬‬
‫ﻤﻥ ﻓﺭﻴﺩﺓ ﺍﻝﺠﺎﻝﺴﺔ ﺨﻠﻑ ﺍﻝﻠﻭﺤﺔ‬
‫) ﺇﻀﺎﺀﺓ ﺨﺎﻓﺘﺔ ( ‪ .‬ﺘﻨﻅﺭ ﻝﻪ ﺜﻡ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺘﻌﻭﺩ ﻝﺘﻨﻅﺭ ﺍﻝﻰ ﺍﻝﻠﻭﺤﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫) ‪( 30‬‬
‫‪ 567‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﻤﺎﺃﻨﺕ ﻋﺎﺭﻑ‬ ‫ﺘﺩﺨﻥ ﺴﻴﺠﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 568‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻰ‬
‫ﺼﻭﺕ ﺍﻝﻭﻻﻋﺔ‬ ‫ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺠﻠﺱ ﻋﻠﻰ‬
‫ﺼﻭﺕ ﺭﻤﻰ‬ ‫ﺍﻷﺭﻴﻜﺔ ‪ .‬ﺜﻡ ﻴﺸﻌل ﺴﻴﺠﺎﺭﺓ‬
‫ﺍﻝﻭﻻﻋﺔ‬ ‫ﻭﻴﻠﻘﻰ ﺒﺎﻝﻭﻻﻋﺔ ﻋﻠﻰ ﺍﻝﻤﻨﻀﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪569‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫ﻗﺭﻴﺒﺔ ‪ M .Close up‬ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪ Tilt up‬ﻋﻠﻰ‬
‫ﺴﺎﻕ ﻓﺭﻴﺩﺓ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ‬
‫ﺤﺘﻰ ﺘﺼل ﺍﻝﻰ ﻓﺭﻴﺩﺓ ﻭﻫﻰ‬
‫ﺘﺭﺴﻡ‪ .‬ﺜﻡ ﺘﻨﻅﺭ ﺒﺠﺎﻨﺏ ﻋﻴﻨﻴﻬﺎ‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 570‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻴﺤﻴﻲ‬

‫ﻴﺤﻴﻲ ‪ :‬ﻓﺭﻴﺩﺓ ﺃﻨﺎ ﺘﻌﺒﺎﻥ ‪.‬‬ ‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻓﺭﻴﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪571‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬

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‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ ﻭﻫﻰ‬

‫ﺘﺨﻔﺽ ﺭﺃﺴﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 572‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﺒﺭﻭﻓﻴل‬
‫ﻝﻴﺤﻴﻲ ﻭﻫﻭ ﻴﻘﻑ ﻭﺘﺘﺎﺒﻌﻪ ﻴﺤﻴﻲ ‪ :‬ﻓﺭﻴﺩﺓ ‪ ..‬ﺃﻨﺎ ﻤﺤﺘﺎﺠﻠﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‪ Pan Left‬ﺤﺘﻰ ﻴﺼل ﻓﺭﻴﺩﺓ ‪ :‬ﺃﻨﺕ ﻤﺵ ﻤﺤﺘﺎﺝ ﻝﺤﺩ‬
‫ﻴﺎﻴﺤﻴﻲ ‪.‬‬ ‫ﺍﻝﻰ ﻓﺭﻴﺩﺓ ﻭﻴﻘﺒﻠﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪573‬‬

‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻴﺤﻴﻲ‬

‫ﻭﻓﺭﻴﺩﺓ ﻭﻅﻬﺭﻫﻤﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻴﺠﺫﺒﻬﺎ ﻤﻥ ﺨﻠﻑ ﻝﻭﺤﺔ ﺍﻝﺭﺴﻡ‬
‫ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﻤﻨﻁﻘﺔ ﺍﻝﻀﻭﺀ‬
‫ﺍﻝﺨﺎﻓﺕ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺤﺎﻭل ﻀﻤﻬﺎ ﻴﺤﻴﻲ ‪ :‬ﺘﻌﺎﻝﻰ ‪.‬‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺴﻴﺒﻨﻰ‬ ‫ﺍﻝﻰ ﺼﺩﺭﻩ ﻭﻫﻰ ﺘﺤﺎﻭل‬
‫ﺍﻹﻓﻼﺕ ‪ .‬ﻭﻴﺼﺒﺤﺎ ﺴﻠﻭﻴﺕ ‪ ,‬ﺜﻡ‬
‫ﻴﺠﺫﺒﻬﺎ ﺨﻠﻑ ﺍﻝﺤﺎﺌﻁ ﻓﻰ ﺸﻤﺎل‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 30‬‬
‫‪ 574‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻤﻤﺩﺓ ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ ﻭﻴﺤﻴﻲ‬
‫ﺒﺠﻭﺍﺭﻫﺎ ﺸﻤﺎل ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﻌﺘﺩل‬
‫ﻝﺘﺼﻠﺢ ﺜﻴﺎﺒﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 575‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﺨﻔﺽ ﺭﺃﺴﻬﺎ ﺜﻡ ﺘﻨﻅﺭ ﺸﻤﺎل‬
‫ﻓﺭﻴﺩﺓ ‪ :‬ﺃﻨﺕ ﻋﺎﺭﻑ ﻋﻤﻠﺕ ﺁﻴﻪ !‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 576‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺼﻭﺕ ﺠﺭﺱ‬ ‫ﻴﻨﻅﺭ ﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﺸﻌل‬
‫) ‪( 31‬‬ ‫ﺘﻠﻴﻔﻭﻥ‬ ‫ﺴﻴﺠﺎﺭﺓ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -out‬‬
‫ﻤﺸﻬﺩ ) ‪( 83‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺼﺎﻝﺔ ﺍﻝﻔﻴﻠﻼ‬
‫‪ 577‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺨﺭﺝ ﻤﻥ ﺨﻠﻑ ﺒﺎﺏ ﺍﻝﺼﺎﻝﺔ‬
‫ﻴﺤﻤل ﺤﻘﻴﺒﺔ ﻭﻴﺨﺭﺝ ﺜﺎﻨﻴﺔ ‪ ,‬ﺜﻡ‬
‫ﺼﻭﺕ ﺠﺭﺱ ﺇﻨﺫﺍﺭ‬ ‫ﻴﺨﺭﺝ ﺜﺎﻨﻴﺔ ﻭﻴﻌﻭﺩ ﻭﺍﻝﻤﺴﺩﺱ‬
‫ﻓﻰ ﻴﺩﻩ ‪ .‬ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‪Pan‬‬
‫ﻏﻠﻕ ﺍﻝﺒﺎﺏ‬ ‫‪ Right‬ﻭﻫﻭ ﻴﻨﺯل ﺩﺭﺠﺎﺕ‬
‫ﺍﻝﺴﻠﻡ ﻓﻰ ﻓﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪,‬‬
‫ﻭﻴﺨﺭﺝ ﻤﻥ ﺍﻝﺒﺎﺏ ﺃﺴﻔل ﺍﻝﺴﻠﻡ ‪.‬‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ‬

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‫‪Track out‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 84‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﺩﺨل ﺍﻝﻔﻴﻠﻼ‬
‫‪ 578‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻝﻴﺤﻴﻲ ﺃﻤﺎﻡ‬
‫ﻤﺩﺨل ﺍﻝﻔﻴﻠﻼ ﻴﺭﻜﺏ ﺴﻴﺎﺭﺘﻪ‬
‫ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪ .‬ﻭﺘﺄﺘﻰ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻜﻨﺕ ﺃﺘﻭﻗﻊ ﻤﺎﻫﻭ‬
‫ﺴﻴﺎﺭﺓ ﺍﻝﺸﺭﻁﺔ ﻭﺘﻘﻑ ﻓﻰ ﻨﻔﺱ‬
‫ﺃﺴﻭﺃ ﻭﻝﻜﻨﻪ ﺠﺎﺀ ﺒﺄﺴﺭﻉ ﻤﻤﺎ ﺘﻭﻗﻌﺕ ‪ .‬ﺼﻭﺕ ﺴﺎﺭﻴﻨﺔ‬
‫ﺍﻝﻤﻜﺎﻥ ‪ .‬ﻭﻴﻨﺯل ﺍﻝﺭﺠﺎل‬
‫ﺍﻝﺸﺭﻁﺔ‬ ‫ﻜﺎﻥ ﺃﻤﺭﹰﺍ ﺒﺎﻹﻋﺘﻘﺎل ﻭﻓﺭﺽ‬
‫ﻭﻴﺘﺤﺭﻜﻭﻥ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪.‬‬
‫ﺍﻝﺤﺭﺍﺴﺔ ‪".‬‬
‫ﻭﻴﻌﺒﺭﻭﻨﻬﺎ ﺜﻡ ﻴﺼﻌﺩﻭﻥ ﺴﻼﻝﻡ‬
‫ﺍﻝﻔﻴﻠﻼ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 85‬‬
‫ﻨﻬﺎﺭ ﺨﺎﺭﺠﻰ ﻁﺭﻴﻕ ﺴﺭﻴﻊ‬
‫‪ 579‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻝﺴﻴﺎﺭﺓ ﺠﻴﺏ‬
‫ﺘﺎﺘﻰ ﻤﺴﺭﻋﺔ ﻭﺘﻠﻑ ﻨﺎﺤﻴﺔ ﺸﻤﺎل‬
‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 580‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻝﻠﺴﻴﺎﺭﺓ ﺘﺎﺘﻰ‬
‫ﻤﻥ ﺍﻝﻌﻤﻕ ﻭﺘﻘﺘﺭﺏ ﻤﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺤﻴﺙ ﻴﻘﻑ ﺭﺠﻼﻥ ﻴﺤﻤﻼﻥ ﺴﻼﺤﹰﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 581‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﺤﺎﺭﺱ‬
‫ﻴﺤﻴﻲ ﻴﺠﻠﺱ ﺒﺠﻭﺍﺭ ﺍﻝﺴﻴﺎﺭﺓ‬
‫ﻭﻴﻨﺯل ﺭﺠﻼﻥ ﻤﻥ ﺍﻝﺴﻴﺎﺭﺓ ﻴﺤﻤﻼ ﺍﻝﺴﺎﺌﻕ ‪ :‬ﺴﻼﻤﻭﺍ ﻋﻠﻴﻜﻭﺍ ‪.‬‬
‫ﻭﻋﺎﺀﹰﺍ ﻭﻴﺩﺨﻼ ﻤﻥ ﺍﻝﺒﺎﺏ ﺨﻠﻑ ﺍﻝﺤﺎﺭﺱ ‪ :‬ﻋﻠﻴﻜﻭﺍ ﺍﻝﺴﻼﻡ ‪.‬‬
‫ﺍﻝﺤﺎﺭﺱ ﺍﻝﺠﺎﻝﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 86‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺭﺽ‬
‫ﺯﺭﺍﻋﻴﺔ‬
‫‪ 582‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻴﺤﻴﻲ ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﻋﻨﺩﻯ ﻝﻴﻙ ﺭﺴﺎﻝﺔ ﻤﻥ‬
‫ﻴﻤﺸﻰ ﻓﻰ ﺃﺭﺽ ﺯﺭﺍﻋﻴﺔ ﻤﻊ ﺍﻝﺩﻜﺘﻭﺭﺭﺠﺎﺌﻰ ﺍﻝﻤﺤﺎﻤﻰ ‪ .‬ﺒﻴﻘﻭل ﻋﻤﺭ‬
‫ﺍﻝﻤﺴﺎﻋﺩ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻷﺴﻴﻭﻁﻰ ﺇﺘﺼل ﻭﻋﺎﻴﺯﻙ ﺘﻤﺭ ﻋﻠﻴﻪ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻋﻤﺭ ﺍﻷﺴﻴﻭﻁﻰ ! ﻭﻋﺎﻴﺯ‬ ‫ﻝﻠﺸﻤﺎل ‪Pan Left‬‬
‫ﺁﻴﻪ !‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﺒﻴﻘﻭل ﺃﻨﻪ ﺒﻴﻭﻋﺩ ﺒﺸﺭﻓﻪ‬
‫ﺇﻨﻪ ﻤﺵ ﻫﺎﻴﻘﺒﺽ ﻋﻠﻴﻙ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺎﻗﻼﻜﺵ ﻫﻭ ﻋﺎﻴﺯ ﺁﻴﻪ‬
‫ﺒﺎﻝﻅﺒﻁ !‬
‫ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﺍﻝﺩﻜﺘﻭﺭ ﺭﺠﺎﺌﻰ ﺴﺄﻝﻪ ‪..‬‬
‫ﻗﺎل ﺇﻨﻬﺎ ﺤﺎﺠﺔ ﺒﻴﻨﻪ ﻭﺒﻴﻨﻙ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺍﻝﺩﻜﺘﻭﺭ ﺭﺠﺎﺌﻰ ﺭﺃﻴﻪ ﺁﻴﻪ !‬
‫ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﺍﻝﺩﻜﺘﻭﺭ ﺭﺠﺎﺌﻰ ﺒﻴﻘﻭل ﺃﻨﻪ‬
‫ﻤﺵ ﻓﺎﻫﻡ ﺍﻝﻤﻭﻀﻭﻉ ﻭﺇﻨﻪ ﺴﺎﻴﺒﻠﻙ‬
‫ﺍﻷﻤﺭ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺁﻩ ‪ ..‬ﻁﻴﺏ ﻗﻭل ﻝﻠﺩﻜﺘﻭﺭ‬
‫ﺭﺠﺎﺌﻰ ﻴﺤﺩﺩ ﻤﻴﻌﺎﺩ ﻤﻌﺎﻩ ﺒﻌﺩ ﺒﻜﺭﺓ ‪.‬‬

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‫ﻤﺸﻬﺩ ) ‪( 87‬‬
‫ﻏﺭﻭﺏ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺭﺽ‬
‫ﺯﺭﺍﻋﻴﺔ‬
‫‪ 583‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺴﻴﺎﺭﺓ ﻴﺤﻴﻲ ‪ :‬ﺇﺯﻴﻙ ﻴﺎﻋﻤﺭ ‪.‬‬
‫ﻼ ﻴﺎﻴﺤﻴﻲ ‪.‬‬‫ﻴﺤﻴﻲ ﺘﻌﺒﺭ ﺃﺭﺽ ﺯﺭﺍﻋﻴﺔ ﻋﻤﺭ ‪ :‬ﺃﻫ ﹰ‬
‫ﻭﺘﻘﻑ ‪ ,‬ﺜﻡ ﻴﺨﺭﺝ ﻴﺤﻴﻲ ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ‪ :‬ﺁﻴﻪ ﺍﻝﺘﺭﺘﻴﺒﺎﺕ !‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ‪ .‬ﺜﻡ ﻴﺩﺨل ﻋﻤﺭ ﻤﻥ ﻋﻤﺭ ‪ :‬ﻨﺭﻜﺏ ﺍﻝﻌﺭﺒﻴﺔ ‪ .‬ﻭﻨﻁﻠﻊ ﻋﻠﻰ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻫﻭ ﻴﻤﺩ ﻴﺩﻩ ﺃﻯ ﻤﻜﺎﻥ ﻋﺎﻡ ﺃﻨﺕ ﺘﺨﺘﺎﺭﻩ ‪ .‬ﺘﺤﺏ‬
‫ﻝﻴﺤﻴﻲ ‪ ,‬ﺜﻡ ﻴﻘﻑ ﻓﻰ ﻤﻭﺍﺠﻬﺘﻪ ﺘﺭﻜﺏ ﻤﻌﺎﻴﺎ ﺍﻝﻌﺭﺒﻴﺔ ؟‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﺴﻤﻊ ﻴﺎﻋﻤﺭ ﻝﻭ ﺩﻩ ﻓﺦ‬ ‫ﺒﺭﻭﻓﻴل‬
‫ﻰ ﺃﻨﺎ ﻫﺎﺃﻗﺘﻠﻙ ‪.‬‬
‫ﻋﻠﺸﺎﻥ ﺘﻘﺒﺽ ﻋﻠ ‪‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﻤﺭ ‪ :‬ﺃﻗﺒﺽ ﻋﻠﻴﻙ ‪ .‬ﻷ ‪ .‬ﺃﻨﺎ‬
‫ﻭﻋﺩﺘﻙ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 88‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻁﻌﻡ ﻋﻠﻰ ﺍﻝﻨﻴل‬
‫‪ 584‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻌﻤﺭ‬
‫ﻭﻴﺤﻴﻲ ﻓﻰ ﻤﻁﻌﻡ ‪ ,‬ﻭﺘﻅﻬﺭ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻁﺎﻝﺏ ﺘﻘﺎﺒﻠﻨﻰ ﻝﻴﻪ ؟‬
‫ﺍﻝﻘﺎﻫﺭﺓ ﻤﻥ ﺨﻠﻑ ﺍﻝﺯﺠﺎﺝ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 585‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻌﻤﺭ‬
‫ﻋﻤﺭ ‪ :‬ﺃﻨﺕ ﺸﺎﻴﻑ ﺍﻝﻘﺎﻫﺭﺓ ﺠﻤﻴﻠﺔ ﻤﻥ‬
‫ﻤﻥ ﺍﻝﺠﺎﻨﺏ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺱ ﺯﻯ‬ ‫ﻓﻭﻕ ﺇﺯﺍﻯ ﻴﺎﻴﺤﻴﻲ ! ‪ .‬ﺒ ‪‬‬
‫ﺸﻤﺎ ﹰﻻ ‪ . Pan Left‬ﻭﻴﻨﻅﺭ ﺘﺠﺎﻩ‬
‫ﻤﺎﺇﺤﻨﺎ ﺸﺎﻴﻔﻴﻥ ﺍﻝﻘﺎﻫﺭﺓ ﺠﻤﻴﻠﺔ ﺍﻝﻘﻬﺭﺓ‬
‫ﺍﻝﻨﺎﻓﺫﺓ ‪ ,‬ﺜﻡ ﻴﻠﺘﻔﺕ ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ‬
‫ﻜﻤﺎﻥ ﺸﺎﻴﻔﺎﻨﺎ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 586‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻌﻤﺭ‬
‫ﻴﻠﺘﻔﺕ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 587‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺕ ﻋﺎﻴﺯ ﺁﻴﻪ ﻴﺎﻋﻤﺭ ؟ ﻤﻥ‬
‫ﻓﻰ ﺸﻤﺎل ﻜﺎﺩﺭ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺴﺎﻋﺔ ﻤﺎﺃﻨﺕ ﺠﻴﺕ ﻭﺃﻨﺕ ﺘﺎﻋﺒﻨﻰ ‪,‬‬
‫ﺱ ﺩﻩ ﺘﻌﺏ ﻤﺅﻗﺕ ‪.‬‬ ‫ﺒ ‪‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 588‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻌﻤﺭ‬
‫ﻋﻤﺭ ‪ :‬ﺇﺯﺍﻯ !‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 589‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻤﺎﻓﻴﺵ ﺤﺎﺠﺔ ﺒﺘﻔﻀل ﻋﻠﻰ‬
‫ﻴﻨﻅﺭ ﻷﺴﻔل ﺜﻡ ﻴﺘﺠﻪ ﺒﻨﻅﺭﻩ‬
‫ﺤﺎﻝﻬﺎ ‪ ,‬ﻫﺎﻴﻴﺠﻰ ﻴﻭﻡ ﻭﻫﺎﺘﺴﻴﺏ‬
‫ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻤﻜﺎﻨﻙ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 590‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻌﻤﺭ‬
‫ﻭﻴﺤﻴﻲ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺒﻌﻀﻬﻤﺎ ﻋﻤﺭ ‪ :‬ﻋﻨﺩﻙ ﺤﻕ ‪ .‬ﻤﻅﺒﻭﻁ ‪ ,‬ﺃﻨﺎ‬
‫ﺍﻝﺒﻌﺽ ‪ .‬ﻋﻤﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﻋﺎﺭﻑ ﻋﺸﺎﻥ ﻜﺩﻩ ﺃﻨﺎ ﻻﺯﻡ ﻗﺒل‬
‫ﻤﺎﺃﺴﻴﺏ ﺍﻝﺨﺩﻤﺔ ﺃﻜﻭﻥ ﺨﻠﺼﺕ ﻋﻠﻴﻙ ‪.‬‬ ‫ﻴﺤﻴﻲ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 591‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻌﻤﺭ ﻋﻤﺭ ‪ :‬ﺃﻨﺎ ﻝﻐﻴﺕ ﺃﻤﺭ ﻝﻸﻋﺘﻘﺎل‬
‫ﻴﺨﺭﺝ ﻭﺭﻗﺔ ﻭﻴﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﺍﻝﺤﺭﺍﺴﺔ ‪ ,‬ﻭﺁﺩﻯ ﺼﻭﺭﺓ ﻤﻨﻬﻡ ‪.‬‬
‫ﻋﻠﺸﺎﻥ ﻝﻭ ﻗﺎﺒﻠﺕ ﻅﺎﺒﻁ ﻭﺃﻨﺕ ﻤﺭﻭ‪‬ﺡ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺘﻭ‪‬ﺭﻴﻬﺎﻝﻪ ‪.‬‬
‫‪ 592‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻨﻅﺭ ﻓﻰ ﺍﻝﻭﺭﻗﺔ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻴﺤﻴﻲ ‪ :‬ﻤﺄﻋﺘﻘﺩﺵ ﺃﻨﻙ ﻋﺎﻭﺯ ﻓﻠﻭﺱ !‬
‫ﻨﺎﺤﻴﺔ ﻋﻤﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 593‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻌﻤﺭ ﻋﻤﺭ ‪ :‬ﺃﻨﺕ ﻏﻴﺭ ﺃﻨﻙ ﺘﻌﺭﻓﻨﻰ ‪ .‬ﺃﻋﺘﻘﺩ‬
‫ﺃﻨﻙ ﺘﻌﺭﻑ ﺘﻔﺭﻕ ﻜﻭﻴﺱ ﻗﻭﻯ ﺒﻴﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻅﺎﺒﻁ ﺍﻝﻤﺭﺘﺸﻰ ﻭﺍﻝﻅﺎﺒﻁ ﺍﻝﺸﺭﻴﻑ ‪.‬‬
‫ﺘﻌﺭﻑ ﻋﻨﻰ ﺇﻨﻰ ﻅﺎﺒﻁ ﻤﺭﺘﺸﻰ ؟‬
‫‪ 594‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻷ ‪.‬‬ ‫ﻴﻨﻅﺭ ﻝﻌﻤﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 595‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﻤﺭ ﻋﻤﺭ ‪ :‬ﻴﺤﻴﻲ ﺃﻨﺕ ﺤﺭ ‪ .‬ﻤﺎﻋﻨﺩﺍﻜﺵ‬
‫ﺃﻯ ﻤﺸﺎﻜل ﻤﻊ ﺍﻝﺒﻭﻝﻴﺱ ‪ .‬ﻴﻌﻨﻰ ﺯﻴﻙ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺯﻯ ﺃﻯ ﻤﻭﺍﻁﻥ ﻋﺎﺩﻯ ‪.‬‬
‫‪ 596‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻝﻴﻪ ؟‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 597‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﻤﺭ ﻋﻤﺭ ‪ :‬ﺸﻭﻑ ﻴﺎﻴﺤﻴﻲ ‪ ,‬ﻭﺇﺤﻨﺎ ﻗﺎﻋﺩﻴﻥ‬
‫ﻴﺘﺤﺭﻙ ﺒﺎﻝﻤﻘﻌﺩ ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ﺒﻨﻜﻠﻡ ﺒﻌﺽ ﺩﻝﻭﻗﺘﻰ ‪ .‬ﻓﻴﻪ ﻜﺫﺍ ﺤﺎﺠﺔ‬
‫ﻫﺎ ﺘﺤﺼل ‪ .‬ﺃﻭ ﹰﻻ ﺍﻝﺭﺠﺎﻝﺔ ﺒﺘﻭﻋﻙ‬ ‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬
‫‪ Track in‬ﺤﺘﻰ ﻴﺼﺒﺤﺎ ﻓﻰ ﺸﺎﻓﻭﻨﻰ ﻭﺃﻨﺎ ﻗﺎﻋﺩ ﻤﻌﺎﻙ ﻝﻭﺤﺩﻨﺎ ﻤﻥ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ M .‬ﻏﻴﺭ ﺤﺭﺍﺴﺔ ‪ .‬ﻭﺩﻯ ﺤﺎﺠﺔ ﻏﺭﻴﺒﺔ‬
‫ﺃﺯﺍﻯ ﺃﺃﻤﻥ ﻋﻠﻰ ﺤﻴﺎﺘﻰ ﻤﻌﺎﻙ !‬ ‫‪Close up‬‬
‫ﺜﻡ ﻴﺨﺭﺝ ﻋﻤﺭ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﺘﺎﻨﻰ ﺤﺎﺠﺔ ﺃﻨﺕ ﻋﺎﺭﻑ ﺃﻨﻰ ﻝﻐﻴﺕ ﺃﻤﺭ‬
‫ﺍﻝﺤﺭﺍﺴﺔ ﺍﻹﻋﺘﻘﺎل ‪ .‬ﺍﻝﺨﺒﺭ ﺩﻩ ﻫﺎﻴﻨﺯل‬ ‫ﻴﺤﻴﻲ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺒﻜﺭﺓ ﺍﻝﺼﺒﺢ ‪ .‬ﺘﺎﻝﺕ ﺤﺎﺠﺔ ﻫﺎﺘﻘﻭﻡ ﻗﻭﺓ‬ ‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻤﻜﺎﻓﺤﺔ ﺍﻝﻤﺨﺩﺭﺍﺕ ﺒﻤﻬﺎﺠﻤﺔ ﻜل ﺃﻭﻜﺎﺭ‬
‫ﻜﺒﺎﺭ ﺘﺠﺎﺭ ﺍﻝﺼﻨﻑ ‪ .‬ﻓﻴﻪ ﻋﻤﻠﻴﺔ ﻜﻨﺎ‬
‫ﺒﻨﻭﻀﺏ ﻝﻬﺎ ﺒﻘﺎﻝﻨﺎ ﺘﻼﺕ ﺸﻬﻭﺭ ‪.‬‬
‫ﺃﺘﺒﻌﻨﺎ ﻓﻴﻬﺎ ﺒﺄﻜﺒﺭ ﻜﻤﻴﺔ ﻤﻥ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ‬
‫ﺍﻝﺼﺤﻴﺤﺔ ﺇﻻ ﺃﻨﺕ ‪ ..‬ﺃﻨﺕ ﺍﻝﻭﺤﻴﺩ ﺍﻝﻠﻰ‬
‫ﻤﺵ ﻫﺎﻴﺘﻬﺎﺠﻡ ‪ ,‬ﻤﺎﺤﺩﺵ ﻫﺎﻴﻠﻤﺴﻙ ‪.‬‬
‫ﺘﻘﺩﺭ ﺘﻘﻭﻝﻰ ﺍﻝﻨﺒﻰ ﺍﻝﻌﺎﺩﻯ ﻫﺎﻴﻔﻬﻡ ﻤﻥ‬
‫ﻜﺩﻩ ﺁﻴﻪ ! ﺁﻩ ﻨﺴﻴﺕ ﺃﻗﻭﻝﻙ ﻋﻠﻰ ﺤﺎﺠﺔ‬
‫ﺘﺎﻨﻴﺔ ﻜل ﺍﻝﻠﻰ ﺒﻴﺘﻌﺎﻭﻨﻭﺍ ﻤﻊ ﺍﻝﺒﻭﻝﻴﺱ‬
‫ﻫﺎﻴﻁﻠﻌﻭﺍ ﺒﻴﻠﻌﺒﻭﺍ ‪ .‬ﺇﺸﺎﻋﺔ ﺠﺎﻤﺩﺓ‬
‫ﻗﻭﻯ ‪ .‬ﺇﻥ ﺃﻨﺕ ﺍﻝﻠﻰ ﺃﺩﻴﺘﻨﻰ‬
‫ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﻠﻰ ﺃﺩﺕ ﻝﻠﻘﺒﺽ ﻋﻠﻰ‬
‫ﺯﻤﺎﻴﻠﻬﻡ ﻤﺵ ﻜﺩﻩ ﻭﺒﺱ ﻴﺎﻋﻡ ﺍﻹﺸﺎﻋﺔ‬
‫ﺒﺘﻘﻭل ﺇﻨﻙ ﻫﺎﺘﻔﻀل ﺘﺩﻴﻨﻰ ﻤﻌﻠﻭﻤﺎﺕ‬
‫ﺠﺩﻴﺩﺓ ﻜﻤﺎﻥ ﺒﻌﺩ ﻜﺩﻩ ‪ ...‬ﻭﻁﺒﻌﹰﺎ ﺘﻤﻥ‬
‫ﺍﻝﺘﻌﺎﻭﻥ ﺩﻩ ﻤﻌﺭﻭﻑ ‪ ,‬ﺍﻝﻌﻔﻭ ﻭﻏﺽ‬
‫ﺍﻝﺒﺼﺭ ﻋﻥ ﻨﺸﺎﻁﺎﺘﻙ ‪ .‬ﻓﺎﻫﻡ ! ﻫﺎﻩ ﺃﻨﺎ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺱ ﺘﺠﺎﺭ ﺍﻝﺼﻨﻑ‬ ‫ﻫﺎﺃﺴﻴﺒﻙ ﻴﺎﻴﺤﻴﻲ ﺒ ‪‬‬
‫) ‪( 32‬‬ ‫ﻤﺵ ﻫﺎﻴﺴﻴﺒﻭﻙ ‪ .‬ﻫﺎﻴﻘﺘﻠﻭﻙ ﻴﺎﻴﺤﻴﻲ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 89‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺩﺍﺨل ﺴﻴﺎﺭﺓ‬
‫ﺠﻴﺏ‬
‫‪ 598‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻤﻥ ﺩﺍﺨل‬
‫ﺴﻴﺎﺭﺓ ﺠﻴﺏ ﻭﺘﻅﻬﺭ ﺴﻴﺎﺭﺓ ﻴﺤﻴﻲ‬
‫ﺃﻤﺎﻤﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 599‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺴﻴﺎﺭﺓ‬

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‫ﺘﻘﻑ ﺃﻤﺎﻡ ﻤﻨﺯل ‪ ,‬ﻭﻴﻨﺯل ﻴﺤﻴﻲ‬

‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪Pan‬‬
‫‪ Left‬ﻭﻤﻌﻪ ﺍﻝﺤﺎﺭﺱ ﺍﻝﺫﻯ‬
‫ﻴﺼﻌﺩ ﺴﻼﻝﻡ ﺍﻝﻤﻨﺯل ‪ ,‬ﻭﻴﻌﻭﺩ‬
‫ﺍﻝﺤﺎﺭﺱ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ‬
‫‪ Pan Right‬ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﺍﻝﺤﺎﺭﺱ ‪ :‬ﻤﺭﺒﻭﻁ ﻭﺴﺎﻴﺢ ﺩﻤﻪ ﻴﺎﺒﻴﻪ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ .‬ﺜﻡ ﻴﺠﺭﻴﺎ ﺍﻝﻰ ﺩﺍﺨل‬
‫ﺍﻝﻤﻨﺯل ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ‬
‫‪Pan Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 90‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻴﺤﻴﻲ‬
‫ﺍﻝﺭﻴﻔﻰ‬
‫‪ 600‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻤﻥ ﻅﻬﺭﻩ ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﺩﺍﺨل‬
‫ﻤﻤﺭ ﻓﻰ ﺍﻝﻤﻨﺯل ‪ .‬ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ Pan Left‬ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ‬
‫ﻼ ﻋﻠﻰ ﺍﻝﻤﻘﻌﺩ ‪,‬‬‫ﺭﺠل ﻤﺭﺒﻭﻁ ﻗﺘﻴ ﹰ‬
‫ﺜﻡ ﻴﺨﺭﺝ ﻴﺤﻴﻲ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﻊ ﺍﻝﺤﺎﺭﺱ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻋﻠﻰ ﺍﻝﻌﺭﺒﻴﺎﺕ ﺒﺴﺭﻋﺔ ‪.‬‬

‫ﻤﺸﻬﺩ ) ‪( 91‬‬
‫ﻨﻬﺎﺭ ‪/‬ﺩﺍﺨﻠﻰ ﻤﺴﺠﺩ ﺍﻝﺴﻠﻁﺎﻥ‬
‫ﺤﺴﻥ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ‬ ‫‪601‬‬
‫‪ American Shot‬ﻝﻤﻭﺴﻰ‬
‫ﻴﺄﺘﻰ ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺨﺭﺝ‬
‫ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪Pan Left‬‬
‫ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ﺍﻝﻭﺍﻗﻑ ﻴﻨﻅﺭ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬
‫ﺒﺒﻁﺀ ‪Track in‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 602‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ shot‬ﻝﻤﻭﺴﻰ ﻭﻅﻬﺭﻩ‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ ﺴﺎﺠﺩﹰﺍ ﻴﺼﻠﻰ ﺩﺍﺨل‬
‫ﺍﻝﻤﺴﺠﺩ ‪ .‬ﻭﻴﺩﺨل ﻴﺤﻴﻲ ﻤﻥ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻭﺴﻰ ‪ :‬ﺍﻝﺴﻼﻡ ﻋﻠﻴﻜﻭﺍ ﻭﺭﺤﻤﺔ ﺍﷲ‬

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‫) ‪( 33‬‬ ‫‪ Pan Right‬ﻭﺘﻅﻬﺭ ﺴﺎﻕ ﻭﺒﺭﻜﺎﺘﻪ ‪.‬‬

‫ﻴﺤﻴﻲ ﻓﻘﻁ ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﻤﻭﺴﻰ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 603‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻤﻭﺴﻰ‬
‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﻭﺴﻰ ‪ :‬ﺍﻝﺴﻼﻡ ﻋﻠﻴﻜﻭﺍ ﻭﺭﺤﻤﺔ ﺍﷲ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻴﻨﻅﺭ‬
‫ﻭﺒﺭﻜﺎﺘﻪ ‪.‬‬
‫ﻓﻴﻬﺎ ﻤﻭﺴﻰ ﻷﻋﻠﻰ ﺍﻝﻰ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 604‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺁﻴﻪ ﺍﻝﻠﻰ ﺒﻴﺤﺼل !‬ ‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻤﻭﺴﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 605‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close Shot‬‬
‫ﻝﻤﻭﺴﻰ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ ﻤﻭﺴﻰ ‪ :‬ﻜل ﺨﻴﺭ ﺇﻥ ﺸﺎﺀ ﺍﷲ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 606‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻤﻊ ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺕ ﻤﻴﻥ !‬
‫ﺇﺭﺘﻔﺎﻉ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪ Tilt up‬ﻤﻭﺴﻰ ‪ :‬ﺃﻨﺎ ﻤﻭﺴﻰ ‪ .‬ﻤﻭﻅﻑ ‪.‬‬
‫ﻝﻤﻭﺴﻰ ﻭﻫﻭ ﻴﻘﻑ ﺒﺠﻭﺍﺭ ﻴﺤﻴﻲ ‪ :‬ﻓﻴﻥ ؟‬
‫ﻴﺤﻴﻲ ‪ ,‬ﻭﻴﺘﺤﺭﻜﺎ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ‪ Pan‬ﻤﻭﺴﻰ ‪ :‬ﻤﻭﻅﻑ ﻓﻰ ﻤﺼﻠﺤﺔ ﺍﻝﺒﺭﻴﺩ ‪,‬‬
‫‪ , Right‬ﺜﻡ ﻴﺠﻠﺱ ﻤﻭﺴﻰ ﻓﻰ ﺍﻝﺒﻭﺴﺘﺔ ‪.‬‬
‫ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻴﻘﻑ ﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﺍﻝﺒﻭﺴﻁﺔ ؟‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﻤﻭﺴﻰ ﻤﻭﺴﻰ ‪ :‬ﻓﻰ ﺍﻝﺒﻭﺴﻁﺔﺍﻝﻌﻤﻭﻤﻴﺔ ﻓﻰ‬
‫ﺍﻝﻌﺘﺒﺔ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺕ ﻝﻴﻙ ﻋﻼﻗﺔ ﺒﺎﻝﺩﺍﺨﻠﻴﺔ ؟‬
‫ﻤﻭﺴﻰ ‪ :‬ﻗﺼﺩﻙ ﻭﺯﺍﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ؟ ﻻ‬
‫ﻻﻻﻷ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻝﻴﻙ ﻋﻼﻗﺔ ﺒﺎﻝﻤﺨﺎﻴﺭﺍﺕ ؟‬
‫ﻤﻭﺴﻰ ‪ :‬ﻴﺎ ﺃﺴﺘﺎﺫ ﺁﺩﻡ ﺃﻨﺎ ﺒﺄﻗﻭﻝﻙ ﺃﻨﺎ‬
‫ﻤﺠﺭﺩ ﻤﻭﻅﻑ ﺒﺴﻴﻁ ﻓﻰ ﺍﻝﺒﺭﻴﺩ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻝﻙ ﻋﻼﻗﺔ ﺒﻭﺯﺍﺭﺓ ﺍﻝﻌﺩل ‪,‬‬
‫ﺍﻝﻨﻴﺎﺒﺔ ؟‬
‫ﺱ ﺇﺒﻨﻰ ﺨﺭﻴﺞ ﻜﻠﻴﺔ‬ ‫ﻤﻭﺴﻰ ‪ :‬ﻻ ﻻ ﺒ ‪‬‬
‫ﺍﻝﺤﻘﻭﻕ ﻭﻨﺎﻝﻭﻯ ﻴﻘﺩﻡ ﻓﻰ ﺍﻝﻨﻴﺎﺒﺔ ‪.‬‬
‫‪ 607‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪ Extreme‬ﻴﺤﻴﻲ ‪ :‬ﻋﻼﻗﺘﻙ ﺒﻴﺎ ﺁﻴﻪ ؟ ﻭﺁﻴﻪ ﺤﻜﺎﻴﺔ‬
‫‪ Long Shot‬ﻝﻴﺤﻴﻲ ﻭﻤﻭﺴﻰ ﺍﻹﻋﻼﻥ ﺩﻩ ؟‬
‫ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ ﺍﻝﻌﻜﺴﻴﺔ ‪ ,‬ﻭﻴﺠﻠﺱ ﻤﻭﺴﻰ ‪ :‬ﺍﻝﺤﻜﺎﻴﺔ ﺇﻨﻰ ﺯﻯ ﻤﺎﻗﻠﺘﻠﻙ ‪,‬‬
‫ﻴﺤﻴﻲ ﺒﺠﻭﺍﺭ ﻤﻭﺴﻰ ﺸﻤﺎل ﻜﺎﺩﺭ ﺃﻨﺎ ﺯﻯ ﻤﺎﻗﻠﺘﻠﻙ ﻤﻭﻅﻑ ﻓﻰ ﻤﺼﻠﺤﺔ‬
‫ﺍﻝﺒﺭﻴﺩ ﻴﻤﻜﻥ ﻤﻥ ﺤﻭﺍﻝﻰ ‪ 15‬ﺴﻨﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻜﻠﻔﺕ ﻜﻭﻜﻴل ﻗﺴﻡ ﺼﻨﺎﺩﻴﻕ ﺍﻝﺒﺭﻴﺩ ‪ .‬ﺇﻥ‬
‫ﺁﻯ ﻤﺭﺍﺴﻼﺕ ﺘﻭﺼل ﻝﺼﻨﺩﻭﻕ ﻤﻌﻴﻥ‬
‫ﺃﻁﻠﻌﻬﺎ ﻓﻰ ﻨﻔﺱ ﺍﻝﻴﻭﻡ ﻤﻊ ﻤﺨﺼﻭﺹ‬
‫ﻝﻌﻨﻭﺍﻥ ﻤﻌﻴﻥ ‪ .‬ﻁﺒﻌﹰﺎ ﺒﻌﺩ ﺇﺘﺨﺎﺫ‬
‫ﺍﻹﺠﺭﺍﺀﺍﺕ ﺍﻝﻁﺒﻴﻌﻴﺔ ‪ .‬ﻴﻌﻨﻰ ﻴﺩﺨﻠﻠﻰ‬
‫ﻭﺍﺭﺩ ﻭﺒﻌﺩﻴﻥ ﺃﻁﻠﻌﻪ ﺼﺎﺩﺭ ‪ ,‬ﻭﻴﻭﻗﻊ‬
‫ﺍﻝﺒﻭﺴﻁﺠﻰ ﻋﻠﻴﻪ ﺒﺎﻹﺴﺘﻼﻡ ‪ ,‬ﻭﺒﻌﺩﻴﻥ‬
‫ﻴﺠﻴﺏ ﻝﻰ ﺘﻭﻗﻴﻊ ﻤﺴﺘﻠﻡ ﺍﻝﺨﻁﺎﺏ‬
‫ﺒﺎﻹﺴﺘﻼﻡ ﻭﻋﻠﻴﻪ ﺃﺴﻤﻪ ﻭﺭﻗﻡ ﺒﻁﺎﻗﺘﻪ ‪.‬‬
‫‪ 608‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫ﻤﻭﺴﻰ ‪ :‬ﻗﻌﺩ ﺍﻝﻨﻅﺎﻡ ﺩﻩ ﺤﻭﺍﻝﻰ ﺃﺭﺒﻊ‬
‫‪ Shot‬ﻝﻤﻭﺴﻰ ﻭﻴﺤﻴﻲ ﺸﻤﺎل‬
‫ﺴﻨﻴﻥ ﻤﺎﻓﻴﺵ ﺃﻯ ﻤﺸﺎﻜل ‪ .‬ﻝﺤﺩ‬
‫ﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﺼﺤﻥ‬
‫ﻤﺎﺠﺎﻝﻨﺎ ﺇﺨﻁﺎﺭ ﺇﻥ ﻋﻨﻭﺍﻥ ﺍﻝﻤﺭﺴل ﺇﻝﻴﻪ‬

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‫ﺍﻝﻤﺴﺠﺩ ﻋﻠﻰ ﻨﻔﺱ ﺍﻝﻤﺤﻭﺭ ﻓﻰ ﺇﺘﻐﻴﺭ ‪ ,‬ﻭﺃﺒﻠﻐﺕ ﺭﺴﻤﻴﹰﺎ ﺒﻌﻨﻭﺍﻥ ﺘﺎﻨﻰ ‪.‬‬
‫ﺃﺴﺘﻤﺭﺕ ﺍﻝﺨﻁﺎﺒﺎﺕ ﺘﻭﺼل ﺒﻨﻔﺱ‬ ‫ﺍﻝﻠﻘﻁﺔ ﺍﻝﺴﺎﺒﻘﺔ‬
‫ﺍﻝﻁﺭﻴﻘﺔ ﻋﻠﻰ ﺍﻝﻌﻨﻭﺍﻥ ‪....‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 609‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ ﻤﻭﺴﻰ ‪ .. :‬ﻨﺴﻴﺘﻙ ﺒﻘﻰ ﻓﻰ ﺍﻝﻜﻼﻡ ‪.‬‬
‫ﻴﺴﺘﻤﻊ ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺇﻝﻠﻰ ﻻﺤﻁﺘﻪ ﺇﻥ ﻜل ﺍﻝﺨﻁﺎﺒﺎﺕ ﻤﻜﺘﻭﺒﺔ‬
‫ﺒﺨﻁ ﻭﺍﺤﺩ ‪ ,‬ﻭﻜﻠﻬﺎ ﺼﺎﺩﺭﺓ ﻤﻥ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻘﺎﻫﺭﺓ ﻭﻤﺵ ﻤﻜﺎﻥ ﻭﺍﺤﺩ ‪ .‬ﻭﺇﻨﻬﺎ‬
‫ﻗﻠﻴﻠﺔ ﻭﻨﺎﺩﺭﺓ ﻭﻏﻴﺭ ﻤﺘﺼﻠﺔ ‪.‬‬
‫‪ 610‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪ American‬ﻴﺤﻴﻲ ‪ :‬ﻭﺒﻌﺩﻴﻥ !‬
‫ﺱ ﻗﻌﺩ ﺍﻝﻨﻅﺎﻡ ﺩﻩ ﻜﺎﻡ‬‫‪ Shot‬ﻝﻴﺤﻴﻲ ﻭﻤﻭﺴﻰ ﺠﺎﻝﺴﺎﻥ ﻤﻭﺴﻰ ‪ :‬ﺒ ‪‬‬
‫ﺴﻨﺔ ‪ ,‬ﻜل ﻤﺎﻴﺭﻭﺡ ﻤﻊ ﻤﺨﺼﻭﺹ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﻼﻗﻰ ﺍﻝﻌﻴﻥ ﻤﻘﻔﻭﻝﺔ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻋﻴﻥ ﺁﻴﻪ !‬
‫ﻤﻭﺴﻰ ‪ :‬ﺍﻝﺸﻘﺔ ﺃﻭ ﺍﻝﻤﻜﺘﺏ ﺍﻝﻠﻰ‬
‫ﺒﺘﺭﻭﺡ ﻝﻪ ﺍﻝﺨﻁﺎﺒﺎﺕ ‪ ,‬ﻓﻴﺭﺩﻫﺎ ﺘﺎﻨﻰ ‪.‬‬
‫ﻨﺴﺘﻨﻰ ﻜﺩﻩ ﻴﻭﻤﻴﻥ ﻭﻨﺒﻌﺘﻬﺎ ‪ ,‬ﺒﺭﻀﻪ‬
‫ﺍﻝﻌﻴﻥ ﻤﻐﻠﻘﺔ ﻗﻠﻨﺎ ﺨﻼﺹ ﻴﻤﻜﻥ ﺍﻝﻨﺎﺱ‬
‫ﺒﻴ‪‬ﺼﻴﻔﻭﺍ ؟‪ ,‬ﻤﺎﺃﺤﻨﺎ ﻜﻨﺎ ﻓﻰ ﺍﻝﺼﻴﻑ ‪.‬‬
‫ﻗﻌﺩﻨﺎ ﻋﻠﻰ ﻜﺩﻩ ﻴﻴﺠﻰ ﺴﻨﺔ ‪ ,‬ﻭﺒﻌﺩﻴﻥ‬
‫ﺃﻨﺎ ﺭﺤﺕ ﻝﺭﺌﻴﺱ ﺍﻝﻘﺴﻡ ‪ ,‬ﻜﺎﻥ ﺍﷲ‬
‫ﻴﺭﺤﻤﻪ ﻤﺭﻴﺽ ﻓﻰ ﺒﻴﺘﻪ ‪ ,‬ﻭﻜﻨﺕ ﺃﻨﺎ‬
‫ﺭﺌﻴﺱ ﺍﻝﻘﺴﻡ ﺍﻝﻔﻌﻠﻰ ﻭﻗﻠﺕ ﻝﻪ ﻭﻗﺎﻝﻠﻰ‬
‫ﻴﺎﻤﻭﺴﻰ ﺃﻓﻨﺩﻯ ﺍﻝﺨﻁﺎﺒﺎﺕ ﺩﻯ ﻤﻬﻤﺔ‬
‫ﻼ ‪ .‬ﺩﻯ ﻤﻭﻗﻊ ﻋﻠﻴﻬﺎ ﻤﻥ ﻓﻭﻕ‬ ‫ﻓﻌ ﹰ‬
‫ﺃﺴﺘﻤﺭ ﻓﻰ ﺇﺭﺴﺎﻝﻬﺎ ﻤﻊ ﻤﺨﺼﻭﺹ‬
‫ﻝﻠﻌﻨﻭﺍﻥ ‪ .‬ﻗﻌﺩﻨﺎ ﻜﻤﺎﻥ ﻴﻴﺠﻰ ﺴﻨﺔ ‪,‬‬
‫ﻝﺤﺩ ﻤﺎﺠﺎﻝﻰ ﺍﻝﻤﺨﺼﻭﺹ ﻭﻗﺎﻝﻠﻰ ﺃﻨﻪ‬
‫ﻝﻘﻰ ﺍﻝﺒﺎﺏ ﻤﻔﺘﻭﺡ ‪ ,‬ﻝﻜﻥ ﺍﻝﺸﺨﺹ‬
‫ﺍﻝﻤﺭﺴل ﺇﻝﻴﻪ ﺍﻝﺨﻁﺎﺒﺎﺕ ﻤﺵ ﻤﻭﺠﻭﺩ ‪.‬‬
‫ﻗﺎﻝﻭﺍ ﺃﻨﻪ ﻋﺯ‪‬ل ‪ .‬ﻫﻰ ﻜﺎﻨﺕ ﺸﺭﻜﺔ‬
‫ﺇﺴﺘﻴﺭﺍﺩ ﻭﻗﻔﻠﺕ ﻭﻤﺎﻴﻌﺭﻓﻭﺵ ﺼﺎﺤﺒﻬﺎ‬
‫ﻓﻴﻥ ‪ .‬ﻓﻰ ﺍﻝﻭﻗﺕ ﺩﻩ ﻜﺎﻥ ﺭﺌﻴﺱ ﺍﻝﻘﺴﻡ‬
‫؟ﺇﺘﺤﺎل ﻝﻠﻤﻌﺎﺵ ‪ .‬ﻁﺏ ﻭﺒﻌﺩﻴﻥ ﺃﻨﺎ‬
‫ﻫﺎﺃﻋﻤل ﺁﻴﻪ ! ﺭﺤﺕ ﻝﺭﺌﻴﺱ‬
‫ﺍﻝﻤﺼﻠﺤﺔ ‪ .‬ﻗﺎﻝﻠﻰ ﻴﺎﻤﻭﺴﻰ ﺇﺘﺼﺭﻑ‬
‫ﺤﺴﺏ ﺍﻝﻠﻭﺍﻴﺢ ﺘﺭﺩ ﺍﻝﺨﻁﺎﺒﺎﺕ ﻝﺼﺎﺤﺒﻬﺎ‬
‫ﺃﻭ ﻝﻠﺭﺍﺴل ‪ .‬ﻗﻠﺕ ﻝﻪ ﻴﺎﺃﻓﻨﺩﻡ ﻤﺎﻓﻴﺵ‬
‫ﻋﻨﻭﺍﻥ ﻝﻠﺭﺍﺴل ‪ ,‬ﻭﻗﻠﺕ ﻝﻪ ﻴﺎﺃﻓﻨﺩﻡ‬
‫ﻤﺎﻓﻴﺵ ﻋﻨﻭﺍﻥ ﻝﻠﺭﺍﺴل ‪ .‬ﻗﺎﻝﻠﻰ ﺨﻼﺹ‬
‫ﺘﺤﺘﻔﻅ ﺒﻴﻬﺎ ﺍﻝﻤﺩﺓ ﺍﻝﻘﺎﻨﻭﻨﻴﺔ ﺜﻡ ﺘﻌﺩﻡ ‪.‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ’‬ ‫‪611‬‬
‫) ‪( 34‬‬ ‫‪ M .Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻤﻭﺴﻰ ‪ :‬ﻷ ﻁﺒﻌ ﹰﺎ ‪ ,‬ﻷﻥ ﻁﺭﻴﻘﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻹﺠﺭﺍﺀ ﻭﻁﺭﻴﻘﺔ ﺇﺭﺴﺎل ﺍﻝﺨﻁﺎﺒﺎﺕ‬
‫ﻜﺎﻨﺕ ﻁﺭﻴﻘﺔ ﻏﺭﻴﺒﺔ ‪ ,‬ﻗﻠﺕ ﺍﷲ ! ﻁﺏ‬
‫ﻤﺵ ﻴﻤﻜﻥ ﺼﺎﺤﺒﻬﺎ ﻴﺴﺄل ﻋﻨﻬﺎ‬
‫ﺴﺎﻋﺘﻬﺎ ﺭﺌﻴﺱ ﺍﻝﻤﺼﻠﺤﺔ ﻫﺎﻴﻨﻜﺭ ﺃﻭ‬
‫ﺤﺘﻰ ﻤﺵ ﻫﺎﻴﻔﺘﻜﺭ ﻫﻭ ﻗﺎﻝﻠﻰ ﺁﻴﻪ ! !‬
‫ﻓﻘﺭﺭﺕ ﺍﻹﺤﺘﻔﺎﻅ ﺒﻴﻬﺎ ‪ ,‬ﻭﻗﻠﺕ ﺇﻋﺩﺍﻤﻬﺎ‬
‫ﺴﻬل ﻤﺵ ﻤﺸﻜﻠﺔ ‪ ,‬ﻓﻰ ﺃﻯ ﻭﻗﺕ ﻭﻓﻰ‬
‫ﻨﻔﺱ ﺤﺎﻭﻝﺕ ﺃﻋﺭﻑ ﺃﻯ ﺘﻔﺎﺼﻴل ﻋﻥ‬

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‫ﺍﻝﻤﻭﻀﻭﻉ ﺩﻩ ﻤﻥ ﺍﻝﻤﺼﻠﺤﺔ‬
‫ﻤﺎﻭﺼﻠﺘﺵ ﻝﺤﺎﺠﺔ ‪ ,‬ﻝﺤﺩ ﺍﻝﺴﻨﺔ ﺍﻝﻠﻰ‬
‫ﻓﺎﺘﺕ ﺇﺘﻨﻘﻠﺕ ﻹﺩﺍﺭﺓ ﺍﻝﻁﺭﻭﺩ ‪.‬‬
‫ﻤﺎﺒﻘﻴﺘﺵ ﻋﺎﺭﻑ ﺃﻋﻤل ﺁﻴﻪ ﺒﺎﻝﺠﻭﺍﺒﺎﺕ‬
‫ﺍﻝﻤﺘﺤﻭﺸﺔ ﻭﺍﻝﺠﺩﻴﺩﺓ ‪ .‬ﻓﻘﻠﺕ ﻓﻰ ﻋﻘل‬
‫ﺒﺎﻝﻰ ﻁﺏ ﻴﺎﻭﺍﺩ ﻗﺒل ﻤﺎﺘﻌﺩﻤﻬﺎ ﻤﺎﺘﻔﺘﺢ‬
‫ﺍﻝﺠﻭﺍﺒﺎﺕ ﻭﺘﻌﺭﻑ ﺠﻭﺍﻫﺎ ﺁﻴﻪ ! ﻓﺘﺤﺕ‬
‫ﺃﻭل ﺠﻭﺍﺏ ﻝﻘﻴﺕ ﺤﺎﺠﺔ ﻏﺭﻴﺒﺔ ﻗﻭﻯ‬
‫ﺇﺴﻡ ﺍﻝﻤﺭﺴل ﺇﻝﻴﻪ ﻤﻭﺴﻰ ‪ ,‬ﻴﺎﺴﺒﺤﺎﻥ‬
‫ﺍﷲ ﺃﻨﺎ ﻜﻤﺎﻥ ﺇﺴﻤﻰ ﻤﻭﺴﻰ ‪ .‬ﺤﺴﻴﺕ‬
‫ﺇﻨﻬﺎ ﻤﺵ ﻤﺠﺭﺩ ﻤﺼﺎﺩﻓﺔ ‪ ,‬ﺩﻩ ﻗﺩﺭ‬
‫‪ 612‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻨﻅﺭ ﻴﻤﻴﻴﻥ ﻜﺎﺩﺭ ﺜﻡ ﻴﻘﻑ ﻴﺤﻴﻲ ‪ :‬ﻭﺒﻌﺩﻴﻥ ﻜﻤل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 613‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻤﻭﺴﻰ ﻤﻭﺴﻰ ‪ :‬ﻗﺭﻴﺕ ﺍﻝﺠﻭﺍﺏ ﻭﻤﺎﻓﻬﻤﺘﺵ‬

‫ﺤﺎﺠﺔ ﻗﺭﻴﺕ ﺍﻝﺘﺎﻨﻰ ﻭﺍﻝﺘﺎﻝﺕ ﻝﻐﺎﻴﺔ‬ ‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪High‬‬
‫ﻤﺎﻗﺭﻴﺕ ﺍﻝﺠﻭﺍﺒﺎﺕ ﻜﻠﻬﺎ ‪ .‬ﺒﺭﻀﻪ‬ ‫ﻜﺎﺩﺭ‬ ‫‪ Angle‬ﻴﻨﻅﺭ ﺸﻤﺎل‬
‫ﺱ ﺤﺴﻴﺕ ﺃﻨﻪ‬ ‫ﻤﺎﻓﻬﻤﺘﺵ ﺤﺎﺠﺔ ‪ .‬ﺒ ‪‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻜﻼﻡ ﻤﻬﻡ ‪ .‬ﻤﺵ ﺤﻀﺭﺘﻙ ﺍﻝﻠﻰ ﻜﺎﺘﺒﻪ‬
‫ﺒﺭﻀﻪ ؟‬
‫‪ 613‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﺤﻴﻲ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺍﻗﻔﹰﺎ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻜﻤل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 614‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻤﻭﺴﻰ‬
‫ﻴﻨﻅﺭ ﻷﻋﻠﻰ ﻓﻰ ﺍﺘﺠﺎﻩ ﺸﻤﺎل‬
‫ﻜﺎﺩﺭ ‪ .‬ﺜﻡ ﻴﻘﻑ ﻤﻭﺴﻰ ﻭﻴﺘﺤﺭﻜﺎ‬
‫ﻓﻰ ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ‪ .‬ﺜﻡ ﻴﺼﺒﺤﺎ ﻓﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪M . S 2‬‬
‫ﻤﻭﺴﻰ ‪ :‬ﻗﺼﺩﻯ ﺃﻨﺕ ﻋﺎﺭﻑ‬
‫ﻤﺤﺘﻭﺍﻫﺎ ‪..‬‬
‫ﺍﻝﺠﻭﺍﺒﺎﺕ ﺍﻷﺨﻴﺭﺓ ﻝﻘﻴﺕ ﺇﻝﺤﺎﺡ ﻓﻰ‬
‫ﻁﻠﺏ ﺍﻹﺘﺼﺎل ﺒﻤﻭﺴﻰ ‪ .‬ﻤﺎﺃﻁﻭﻝﺵ‬
‫ﻋﻠﻴﻙ ﻋﻤﻠﺕ ﺇﺴﺘﺨﺎﺭﺓ ‪ .‬ﺭﺒﻨﺎ ﺴﺒﺤﺎﻨﻪ‬
‫ﻭﺘﻌﺎﻝﻰ ﺇﺨﺘﺎﺭﻨﻰ ﺃﺘﺼل ﺒﻴﻙ ‪ .‬ﻗﻠﺕ‬
‫ﻓﻠﺘﻜﻥ ﺇﺭﺍﺩﺓ ﺍﷲ ‪ ,‬ﻤﺎﺘﻌﺭﻓﺵ ﺭﺒﻨﺎ‬
‫ﺒﺴﺤﺎﻨﻪ ﻭﺘﻌﺎﻝﻰ ﺇﺨﺘﺎﺭﻨﻰ ﻝﻠﻌﻤل ﺩﻩ‬
‫ﻭﺍﻝﺩﻭﺭ ﺩﻩ ﻝﻴﻪ ؟ ﻋﻤﻠﺕ ﺍﻹﻋﻼﻥ ﻝﺤﺩ‬
‫ﺃﻨﺕ ﻤﺎﺇﺘﺼﻠﺕ ﺒﻴﺎ‪ .‬ﻜﻨﺕ ﻋﺎﻭﺯ ﺃﻗﻭﻝﻙ‬
‫ﻝﻜﻥ ﻤﺎﻋﺭﻓﺘﺵ ‪ .‬ﻝﻜﻥ ﻝﻤﺎ ﺇﺘﺼﻠﺕ ﺒﻴﺎ‬
‫ﺘﺎﻨﻰ ﺠﻴﺕ ﻭﺃﻨﺎ ﻨﺎﻭﻯ ﺃﺤﻜﻰ ﻝﻙ ﻋﻠﻰ‬
‫ﻜل ﺸﻰﺀ ‪ ,‬ﻭﺃﺸﻭﻑ ﺁﻴﻪ ﺍﻝﻠﻰ ﺃﻗﺩﺭ‬
‫ﺃﻗﺩﻤﻪ ﻤﻥ ﻤﺴﺎﻋﺩﺓ ﻝﻴﻙ ‪.‬‬

‫ﻴﻠﺘﻔﺕ ﻴﺤﻴﻲ ﻓﻰ ﺃﺘﺠﺎﻩ ﻤﻭﺴﻰ‬

‫ﻭﻴﺼﻔﻌﻪ ﻋﻠﻰ ﻭﺠﻬﻪ ‪ ,‬ﺜﻡ ﻴﻘﻊ‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ‬

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‫ﻗﻁﻊ ‪Cut‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 34‬‬ ‫ﺼﻭﺕ ﺍﻝﺼﻔﻌﺔ‬
‫‪ 615‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻤﻭﺴﻰ‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ ‪ ,‬ﻴﺄﺘﻰ ﻴﺤﻴﻲ ﻤﻥ‬
‫ﺸﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﻤﺴﻜﻪ ﻤﻥ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻴﻌﻨﻰ ﻜل ﺍﻝﺠﻭﺍﺒﺎﺕ ﻭﺍﻝﺘﻘﺎﺭﻴﺭ‬
‫ﺍﻝﺠﺎﻜﻴﺕ ‪ ,‬ﺜﻡ ﻴﺴﺤﺏ ﻤﺴﺩﺴﻪ‬
‫ﺩﻯ ﻜﺎﻨﺕ ﻝﻴﻙ ﺃﻨﺕ ! ﺒﺄﻜﺘﺒﻬﺎ ﻝﻴﻙ ﺃﻨﺕ‬
‫ﻭﻴﺠﺫﺏ ﻤﻭﺴﻰ ﻝﻴﺨﺭﺠﺎ ﻤﻥ‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 616‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻤﻥ ﺨﻠﻑ‬
‫ﻨﺎﻓﺫﺓ ﺼﺤﻥ ﺍﻝﻤﺴﺠﺩ ﻭﻤﻭﺴﻰ‬
‫ﻤﻭﺴﻰ ‪ :‬ﺃﻨﺎ ﻜﺎﻥ ﻗﺼﺩﻯ ﻜل ﺨﻴﺭ ‪.‬‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻴﺤﻴﻲ ﻅﻬﺭﻩ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺨﻴﺭ!!‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 617‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻤﻭﺴﻰ‬
‫ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺩ ﻴﺤﻴﻲ‬
‫ﻤﻭﺴﻰ ‪ :‬ﺇﺤﻨﺎ ﻓﻰ ﺠﺎﻤﻊ ‪.‬‬
‫ﺍﻝﻤﻤﺴﻜﺔ ﺒﺎﻝﻤﺴﺩﺱ ﻋﻠﻰ ﺭﺃﺴﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 618‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .‬‬
‫‪ Close up‬ﻝﻴﺤﻴﻲ ﻴﻨﻅﺭ ﻷﺴﻔل‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 619‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻤﻭﺴﻰ‬
‫ﻴﻀﻊ ﻴﺩﻩ ﻋﻠﻰ ﺭﺃﺴﻪ ﻓﻰ ﻤﻭﺍﺠﻬﺔ‬
‫ﻤﻭﺴﻰ ‪ :‬ﺃﺸﻬﺩ ﺃﻥ ﻻ ﺇﻝﻪ ﺇﻻ ﺍﷲ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 620‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﺯﻨﺎﺩ‬
‫ﺍﻝﻤﺴﺩﺱ‬

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‫‪ 621‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺸﻴﺢ ﻭﺠﻬﻪ ﻋﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺩﻩ‬
‫ﻤﻤﺩﻭﺩﺓ ﻷﺴﻔل ﺒﺎﻝﻤﺴﺩﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 622‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﺠﺩﹰﺍ ‪Close up‬‬
‫ﻝﺯﻨﺎﺩ ﺍﻝﻤﺴﺩﺱ ﻭﻴﺩ ﻴﺤﻴﻲ ﺘﺘﺭﻙ‬
‫ﺯﻨﺎﺩ ﺍﻝﻤﺴﺩﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 623‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻌﻭﺩ ﻭﻴﻨﻅﺭ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 624‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻤﻭﺴﻰ‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬
‫‪ Angle‬ﻭﻫﻭ ﻋﻠﻰ ﺍﻷﺭﺽ ‪.‬‬
‫ﻴﺨﻔﺽ ﻴﺤﻴﻲ ﻴﺩﻩ ﻋﻥ ﺭﺃﺱ‬
‫ﻤﻭﺴﻰ ‪ ,‬ﺜﻡ ﻴﺠﺫﺒﻪ ﻷﻋﻠﻰ ﻤﻥ‬
‫ﺍﻝﺠﺎﻜﻴﺕ ﻭﻴﺭﻓﻌﻪ ﻝﻴﻘﻑ ﻭﻴﻭﺍﺠﻬﻪ‬

‫ﺱ ﻻﺯﻡ‬ ‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﻤﺵ ﻫﺎﺃﻗﺘﻠﻙ ‪ .‬ﺒ ‪‬‬

‫ﺘﻨﻔﺫ ﺍﻝﻠﻰ ﻫﺎﺃﻗﻭﻝﻙ ﻋﻠﻴﻪ ‪.‬‬
‫ﻤﻭﺴﻰ ‪ :‬ﺃﻨﺎ ﻜل ﺍﻝﻠﻰ ﻋﺎﻴﺯﻩ ﺇﻨﻰ‬
‫ﺃﺴﺎﻋﺩﻙ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺍﻝﺘﻘﺎﺭﻴﺭ ﺩﻯ ﻋﻨﺩﻙ ؟‬
‫ﻤﻭﺴﻰ ‪ :‬ﻜﻠﻬﺎ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺘﺎﺨﺩ ﺍﻝﺘﻘﺎﺭﻴﺭ ﺩﻯ ﻭﺘﺴﻠﻤﻬﺎ‬
‫ﻜﻠﻬﺎ ﻝﻭﺯﺍﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ ‪ .‬ﺍﻝﻌﻤﻴﺩ ﻋﻤﺭ‬
‫ﺍﻷﺴﻴﻭﻁﻰ ‪ ,‬ﺭﺌﻴﺱ ﻤﻜﺘﺏ ﻤﻜﺎﻓﺤﺔ‬
‫ﺍﻝﻤﺨﺩﺭﺍﺕ ‪ .‬ﺘﺴﻠﻤﻬﺎ ﻝﻪ ﺸﺨﺼﻴﹰﺎ ‪.‬‬
‫ﻭﻋﺎﻴﺯﻙ ﺘﺤﻜﻰ ﻝﻪ ﻜل ﺍﻝﻠﻰ ﻗﻭﻝﺘﻬﻭﻝﻰ‬
‫ﻜﻠﻤﺔ ﻜﻠﻤﺔ ‪ .‬ﻓﺎﻫﻡ ! ﻭﺭﻴﻨﻰ‬
‫ﺒﻁﺎﻗﺘﻙ ‪ ,....‬ﺍﻝﻌﻨﻭﺍﻨﻪ ﺩﻩ ﻏﻴﺭﺘﻪ ﻭﻻ‬
‫ﺯﻯ ﻤﺎﻫﻭ ؟‬
‫ﻤﻭﺴﻰ ‪ :‬ﻫﻭ ﻓﻴﻪ ﺤﺩ ﺒﻴﻌﺯل ﺍﻝﻴﻭﻤﻴﻥ‬
‫ﺩﻭل !‬
‫ﻴﺤﻴﻲ ‪ :‬ﻭﺍﻝﺘﻠﻴﻔﻭﻥ ﺍﻝﻠﻰ ﻜﻠﻤﺘﻙ ﻓﻴﻪ‬
‫ﺃﻭل ﻤﺭﺓ ﻫﻭ ﻫﻭ ؟‬
‫ﻤﻭﺴﻰ ‪ :‬ﺃﻴﻭﺓ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺇﺘﻔﻀل ‪ .‬ﻭﺭﺤﻤﺔ ﺃﻤﻰ ﻝﻭ‬
‫ﻤﺎﻨﻔﺫﺘﺵ ﺍﻝﻠﻰ ﻗﻠﺘﻠﻙ ﻋﻠﻴﻪ ﻫﺎﺃﻗﺘﻠﻙ ‪.‬‬
‫ﻫﺎﺃﻗﺘﻠﻙ ) ﻴﺼﻴﺢ ( ﻓﺎﻫﻡ ! ﻴﺎﻝﻼ ﻴﺎﻝﻼ ‪.‬‬

‫ﺜﻡ ﻴﺩﻓﻌﻪ ﺒﻌﻴﺩﹰﺍ ﻋﻨﻪ ﻝﻴﺨﺭﺝ ﻤﻥ‬

‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅل ﻴﺤﻴﻲ ﺒﻅﻬﺭﻩ‬
‫ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﺘﻅﻬﺭ ﻨﺎﻓﺫﺓ ﺍﻝﻤﺴﺠﺩ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ‬
‫) ‪( 35‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻤﺸﻬﺩ ) ‪( 92‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻭﺯﺍﺭﺓ ﺍﻝﺩﺍﺨﻠﻴﺔ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 625‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻤﻭﺴﻰ‬
‫) ‪( 35‬‬ ‫ﻭﺭﺠﻼﻥ ﻴﻤﺴﻜﺎ ﺒﺫﺭﺍﻋﻴﻪ‬
‫ﻭﻴﺴﻴﺭﻭﻥ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 93‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻜﺘﺏ ﻋﻤﺭ‬
‫ﺍﻷﺴﻴﻭﻁﻰ‬
‫‪ 626‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﻤﻭﺴﻰ‬
‫ﻴﺩﺨل ﻤﻥ ﺒﺎﺏ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﻤﻜﺘﺏ‬
‫ﻋﻤﺭ ﺍﻷﺴﻴﻭﻁﻰ ﻭﻴﺠﻠﺱ ﻴﻤﻴﻥ‬
‫ﻭﻋﻤﺭ ﻓﻰ ﺍﻝﺸﻤﺎل ﻤﻤﺴﻜﹰﺎ ﺒﻭﺭﻗﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 627‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻤﻭﺴﻰ ﻤﻭﺴﻰ ‪ :‬ﻤﻥ ﺃﻭل ﺍﻝﻨﻬﺎﺭ ﻭﻫﻤﺎ‬
‫ﺒﻴﺴﺘﺠﻭﺒﻭﻨﻰ ‪ ,‬ﺍﻝﻤﺸﻜﻠﺔ ﺇﻨﻰ‬ ‫ﺠﺎﻝﺴ ﹰﺎ ﻴﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻤﺎﺃﻋﺭﻓﺵ ﺤﺎﺠﺔ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 628‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻌﻤﺭ‬
‫ﻋﻤﺭ ‪ :‬ﻤﺎﺘﻌﺭﻓﺵ ﺇﺯﺍﻯ ﺒﻘﻰ ‪.‬‬ ‫ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 629‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻤﻭﺴﻰ ﻤﻭﺴﻰ ‪ :‬ﻤﺎﺃﻋﺭﻓﺵ ﻏﻴﺭ ﺍﻝﻠﻰ ﻗﻠﺘﻪ ‪.‬‬
‫ﺃﻨﺎ ﻓﻰ ﺍﻷﻭل ﻭﻓﻰ ﺍﻷﺨﺭ ﻤﺠﺭﺩ‬ ‫ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﻋﻤﺭ‬
‫ﺭﺴﻭل ‪ .‬ﻤﺴﺌﻭﻝﻴﺘﻰ ﺇﻨﻰ ﺃﻭﺼل‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺭﺴﺎﻴل ‪ .‬ﻭﺤﻜﻴﺕ ﺍﻝﺤﻜﺎﻴﺔ ‪ ,‬ﻭﻏﻠﻁﺘﻰ‬
‫ﻝﻭ ﻜﺎﻨﺕ ﻏﻠﻁﺔ ﺇﻨﻰ ﻗﺭﻴﺕ ﺍﻝﺭﺴﺎﻴل‬
‫‪ 630‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻌﻤﺭ‬
‫ﻋﻤﺭ ‪ :‬ﺃﻨﺎ ﻤﺼﺩﻗﻙ ﻴﺎﻤﻭﺴﻰ ﺃﻓﻨﺩﻯ ‪.‬‬ ‫ﻴﻨﻅﺭ ﻝﻤﻭﺴﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 631‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻤﻭﺴﻰ‬
‫ﻤﻭﺴﻰ ‪ :‬ﺍﻝﺤﻤﺩ ﷲ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺱ ﺇﺤﻨﺎ ﻋﺎﻴﺯﻴﻥ ﻨﻌﺭﻑ ﺒﻘﻰ‬ ‫‪ 632‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M. S‬ﻝﻌﻤﺭ ﻋﻤﺭ ‪ :‬ﺒ ‪‬‬
‫ﻤﻴﻥ ﺼﺎﺤﺏ ﺍﻝﺭﺴﺎﻴل ﺩﻯ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 633‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻤﻭﺴﻰ ﻤﻭﺴﻰ ‪ :‬ﻭﺍﷲ ﻤﺎﺃﻋﺭﻑ ‪ .‬ﺍﻝﺤﻘﻴﻘﺔ ﺃﻨﺎ‬
‫ﺤﺎﻭﻝﺕ ﺃﻨﻰ ﻤﺎﺃﻋﺭﻓﺵ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 634‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻌﻤﺭ ﻋﻤﺭ ‪ :‬ﻤﺵ ﻴﻤﻜﻥ ﺘﻜﻭﻥ ﺃﻨﺕ ﺍﻝﻠﻰ‬
‫ﻼ!‬ ‫ﻜﺎﺘﺒﻬﺎ ﻤﺜ ﹰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 635‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻤﻭﺴﻰ ﻤﻭﺴﻰ ‪ :‬ﻁﻴﺏ ﻭﺃﻨﺎ ﺁﻴﻪ ﻤﺼﻠﺤﺘﻰ ﻓﻰ‬
‫ﻜﺩﻩ ! ﻭﺇﺯﺍﻯ ﻫﺎﺃﻗﻭل ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺩﻯ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻜﻠﻬﺎ ﺃﻨﺎ ﻤﺠﺭﺩ ﺭﺴﻭل ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 94‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﺒﻨﻰ ﻤﺩﻴﺭﻴﺔ‬
‫ﺍﻷﻤﻥ‬
‫‪ 636‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻤﺒﻨﻰ ﻤﺩﻴﺭﻴﺔ‬
‫ﺍﻷﻤﻥ ﻭﻴﺨﺭﺝ ﻤﻭﺴﻰ ﻤﻥ ﺍﻝﺒﺎﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 95‬‬

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‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺸﻘﺔ ﻤﻭﺴﻰ‬

‫‪ 637‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ L. S‬ﻤﻥ ﺩﺍﺨل ﺸﻘﺔ‬
‫ﻴﺤﻴﻲ ﻴﺼﻌﺩ ﺴﻼﻝﻡ ﻭﻴﺩﺨل ﻤﻥ‬
‫ﺒﺎﺏ ﺍﻝﺸﻘﺔ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ Tracking in‬ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ‬
‫ﺼﻭﺕ ﺩﻕ ﻋﻠﻰ‬
‫ﻏﺭﻓﺔ ﻨﻭﻡ ﻤﻭﺴﻰ ﻓﻰ ﻋﻤﻕ‬
‫ﺍﻝﺒﺎﺏ‬
‫ﺍﻝﻜﺎﺩﺭ ﺤﻴﺙ ﺍﻝﻐﺭﻓﺔ ﻤﻀﺎﺀﺓ‬
‫ﻭﺍﻝﻤﻤﺭ ﻤﻅﻠﻡ ‪ ,‬ﺜﻡ ﻴﺼل ﺍﻝﻰ‬
‫ﺍﻝﺴﺭﻴﺭ ﻭﻴﻘﻑ ﺃﻤﺎﻤﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 638‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺤﻴﻲ‬
‫ﻤﻥ ﺩﺍﺨل ﺍﻝﻐﺭﻓﺔ ﻴﻨﻅﺭ ﺃﺴﻔل‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 639‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻤﻭﺴﻰ‬
‫ﻴﺭﻗﺩ ﻋﻠﻰ ﺍﻝﺴﺭﻴﺭ ﻤﻴﺘ ﹰﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 640‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ shot‬ﻝﻴﺤﻴﻲ ﻓﻰ ﻤﻨﺘﺼﻑ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻤﺎﺕ ﻤﻭﺴﻰ ‪ ,‬ﻭﻷﻭل‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﻨﻅﺭ ﺤﻭﻝﻪ ﻭﻴﻅﻬﺭ ﻓﻰ ﻤﺭﺓ ﺃﺩﺭﻜﺕ ﺃﻨﻨﻰ ﺃﺤﺒﺒﺕ ﺸﻴﺌﹰﺎ ﻤﺎ ﻓﻰ‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﺸﻤﺎﻝﻪ ﻤﺠﻤﻭﻋﺔ ﻫﺫﺍ ﺍﻝﺭﺠل ﺍﻝﻌﺎﺒﺭ ﻓﻰ ﺤﻴﺎﺘﻰ ‪ .‬ﻤﺎﺕ‬
‫ﻤﻥ ﺍﻝﻨﺴﺎﺀ ﻤﺭﺘﺩﻴﺎﺕ ﻤﻼﺒﺱ ﻭﻻ ﺃﻋﺭﻑ ﻤﺎﺫﺍ ﺤﺩﺙ ﺒﻴﻨﻪ ﻭﺒﻴﻥ‬
‫ﺴﻭﺩﺍﺀ ‪ ,‬ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻐﺭﻓﺔ ﻋﻤﺭ ‪ ,‬ﻭﻅﻠﻠﺕ ﺃﺴﺎﺒﻴﻊ ﻤ‪‬ﻁﺎﺭﺍﺩﹰﺍ ﻤﻥ ﻜل‬
‫ﻋﺎﺒﺭﺍ ﺍﻝﻤﻤﺭ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻗﺘﻠﺔ ﺍﻝﻌﺎﻝﻡ ﺍﻝﺴﻔﻠﻰ ‪".‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 96‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻤﻨﺯل‬
‫ﻫﻨﺎﺀ‬
‫‪ 641‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻷﺒﻥ‬
‫ﻴﺤﻴﻲ ﻭﻫﻨﺎﺀ ﻴﻠﻌﺏ ﺒﻁﺎﺌﺭﺓ ﻭﺭﻗﻴﺔ‬
‫ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺸﻤﺎل ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ‬ ‫ﻫﻨﺎﺀ ‪ :‬ﻤﺎﺒﺘﺎﻜﻠﺵ ﻝﻴﻪ ﻴﺎﻤﻌﻠﻡ !‬
‫ﻴﻅﻬﺭ ﻴﺤﻴﻲ ﻭﻫﻨﺎﺀ ﻭﺍﻝﺤﺎﺭﺱ‬
‫ﺠﺎﻝﺴﻴﻥ ﻋﻠﻰ ﺍﻷﺭﺽ ﻴﺄﻜﻠﻭﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 642‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻫﻨﺎﺀ ﻋﺎﻴﺯﻙ ﺘﺭﻭﺤﻰ ﻝﻤﻌﻠﻡ‬
‫ﻭﻫﻨﺎﺀ‬
‫ﻫﺩﻫﺩ ﻭﺘﻘﻭﻝﻰ ﻝﻪ ﺃﻨﻰ ﻫﺎﺁﺠﻰ ﺃﺯﻭﺭﻩ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 643‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻠﺤﺎﺭﺱ‬
‫ﺍﻝﺤﺎﺭﺱ ‪ :‬ﺍﻝﻤﻌﻠﻡ ﻫﺩﻫﺩ ﻤﺵ ﻫﺎﻴﻨﻘﺫﻨﺎ‬
‫ﻴﺎﻤﻌﻠﻡ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 644‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻗﻭﻝﻰ ﻝﻠﻤﻌﻠﻡ ﺃﻨﻰ ﻫﺎﺃﺠﻴﻠﻪ‬
‫ﻭﻫﻨﺎﺀ‬
‫ﺩﻝﻭﻗﺘﻰ ﺒﻌﺩ ﺴﺎﻋﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬‬ ‫‪645‬‬
‫ﺍﻝﺤﺎﺭﺱ ‪ :‬ﻓﻜﺭ ﺸﻭﻴﺔ ﻴﺎﻤﻌﻠﻡ ‪ ,‬ﺇﺤﻨﺎ‬
‫ﻝﻠﺤﺎﺭﺱ‬
‫ﺩﻝﻭﻗﺕ ﻤﺎﻝﻨﺎﺵ ﺩﻴﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺇﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 646‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻁﻔل‬
‫) ‪( 35‬‬ ‫ﻴﺠﺭﻯ ﻤﺒﺘﻌﺩﹰﺍ ﻋﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺭﺍﺀ‬
‫ﺍﻝﻁﺎﺌﺭﺓ ﺍﻝﻭﺭﻗﻴﺔ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 97‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻤﻤﺭ ﻓﻰ ﻤﻨﺯل‬
‫ﻫﺩﻫﺩ‬
‫‪ 647‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻤﺩﺨل ﻤﻨﺯل‬
‫ﻫﺩﻫﺩ ﻭﻴﺤﻴﻲ ﻴﺩﺨل ﻤﻥ ﺍﻝﺒﺎﺏ‬
‫ﻴﺠﺭﻩ ﺭﺠﻼﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﺼﻭﺕ ﻓﺘﺢ ﺍﻝﺒﺎﺏ‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 35‬‬
‫ﻤﺸﻬﺩ ) ‪( 98‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻏﺭﻓﺔ ﻓﻰ‬
‫ﻤﻨﺯل ﻫﺩﻫﺩ‬
‫‪ 648‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻭﺠﻪ‬
‫ﻴﺤﻴﻲ ﻭﺘﻤﺘﺩ ﻴﺩ ﺒﻘﻁﻥ ﻹﻓﺎﻗﺘﻪ ﻴﺤﻴﻲ ‪ :‬ﺁﻩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 649‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺴﻘﻑ‬
‫ﺍﻝﻐﺭﻓﺔ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ ﻤﻥ‬
‫ﺯﺍﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 650‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻴﺤﻴﻲ ﻋﻠﻰ‬
‫ﻤﻘﻌﺩ ﻭﺨﻠﻔﻪ ﺭﺠﻼﻥ ‪ ,‬ﻫﺩﻫﺩ‬
‫ﻴﺠﻠﺱ ﻤﻌﻁﻴ ﹰﺎ ﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺎ ﺠﻴﺕ ﻝﻙ ﺒﺭﺠﻠﻴ‪‬ﺎ ‪.‬‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺤﺎﻭل ﻴﺤﻴﻲ‬
‫ﺍﻝﻨﻬﻭﺽ ﻭﻴﻤﺴﻜﻪ ﺍﻝﺭﺠﻼﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 651‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﻭﺃﻨﺎ ﻤﺒﺴﻭﻁ ﻏﻨﻙ ﺠﻴﺕ ‪.‬‬
‫ﻜﻨﺕ ﺨﺎﻴﻑ ﻻ ﺘﻤﻭﺕ ﻗﺒل ﻤﺎﺃﻗﺎﺒﻠﻙ ‪,‬‬ ‫ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻷﻨﻰ ﻋﺎﻴﺯ ﺃﻋﺭﻑ ﻤﻨﻙ ﺤﺎﺠﺔ ‪ .‬ﺃﻨﺕ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻠﻰ ﻗﺘﻠﺕ ﺭﺠﺏ ﺃﺒﻭ ﺤﺴﻴﻥ ﻭﺇﺒﺭﺍﻫﻴﻡ‬
‫ﺍﻝﺤﻭﺕ ‪.‬؟‬
‫‪ 652‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻴﻭﺓ‬ ‫ﻴﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 653‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ‪American‬‬
‫‪ Shot‬ﻝﻬﺩﻫﺩ ﻴﻘﻑ ﻭﻴﻭﺍﺠﻪ‬
‫ﻴﺤﻴﻲ ﻭﻴﻅﻬﺭ ﻜﺘﻑ ﻴﺤﻴﻲ ﻓﻰ ﻫﺩﻫﺩ ‪ :‬ﻏﺒﻰ ﻏﺒﻰ‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 654‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻲ‬

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‫ﻴﻨﻅﺭ ﻷﻋﻠﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 655‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ‪American‬‬
‫ﻫﺩﻫﺩ ‪ :‬ﺃﻭل ﻤﺭﺓ ﻗﺎﺒﻠﻨﺎ ﺭﺠﺏ ﺃﺒﻭ‬
‫‪ Shot‬ﻝﻬﺩﻫﺩ ﻴﻌﻭﺩ ﻭﻴﺠﻠﺱ ﻋﻠﻰ‬
‫ﺤﺴﻴﻥ ﻝﻤﺎ ﺠﺎﺒﻪ ﺇﺒﺭﺍﻫﻴﻡ ﺍﻝﺤﻭﺕ ‪,‬‬
‫ﺍﻝﻤﻘﻌﺩ ﻭﻴﻅﻬﺭ ﻜﺘﻑ ﻴﺤﻴﻲ‬
‫ﺨﺎﻁﺭ ﺨﻼﻨﻰ ﺃﺒﺼﻠﻙ ﻴﻭﻤﻴﻬﺎ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 656‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ ﺼﻭﺕ ﻫﺩﻫﺩ ‪ :‬ﻝﻘﻴﺘﻙ ﺒﺘﻜﺭﻫﻪ ‪,‬‬
‫ﺱ‬
‫ﺒﺘﻜﺭﻫﻪ ﻜﺭﻩ ﺍﻝﺒﻨىﺂﺩﻡ ﻝﻠﻤﻭﺕ ‪ .‬ﺒ ‪‬‬ ‫ﻴﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﺍﻹﻨﺴﺎﻥ ﺒﻴﻜﺭﻩ ﺍﻝﻤﻭﺕ ﻭﻴﺨﺎﻑ ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 657‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ . .M . S‬ﻫﺩﻫﺩ ‪ ... :‬ﻤﻨﻪ ﻭﻴﺤﺘﺭﻤﻪ ‪ ,‬ﺇﻨﻤﺎ‬
‫ﺒﺘﻜﺭﻩ ﺭﺠﺏ ﺃﺒﻭ ﺤﺴﻴﻥ ﻭﺘﺤﺘﻘﺭﻩ ‪.‬‬ ‫ﻝﻬﺩﻫﺩ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﺇﻨﺩﻫﺸﺕ ﻭﻗﻠﺕ ﺍﻝﻭﺍﺩ ﺩﻩ ﻓﻴﻪ ﺸﻰﺀ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻏﺭﻴﺏ‬
‫‪ 658‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ ﺼﻭﺕ ﻫﺩﻫﺩ ‪ :‬ﺇﺒﺘﺩﻴﺕ ﺃﻫﺘﻡ ﺒﻴﻙ ‪,‬‬
‫ﻭﺃﺭﺍﻗﺏ ﻭﺸﻙ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 659‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﻗﻠﺕ ﺍﻝﻭﺍﺩ ﺃﺒﻭ ﺩﺒﻭﺭﺓ ﺩﻩ ﺒﻴﺭ‬
‫ﻏﻭﻴﻁ ﻤﺵ ﺴﻬل ﻓﺎﻫﻡ ﻜل ﺤﺎﺠﺔ‪,‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻔﺭﻕ ﺒﻴﻨﻰ ﻭﺒﻴﻨﻜﺈﻥ ﺃﻴﺎﻡ ﻭﺴﻨﻴﻥ‬
‫ﺤﻤﻭل ﺸﺎﻴﻠﻬﺎ ‪ ,‬ﻴﻌﻨﻰ ﻤﺎ ﺃﻗﺩﺭﺵ‬
‫ﺃﺭﻭﺡ ﻝﻬﻡ ﻭﺃﺸﺘﻐل ﻤﻌﺎﻫﻡ ‪.‬‬
‫‪ 660‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻲ ﺼﻭﺕ ﻫﺩﻫﺩ ‪ :‬ﺇﻨﻤﺎ ﺃﻨﺕ ﺸﺎﺏ‬
‫ﺨﻔﻴﻑ ‪ ,‬ﻤﺵ ﺸﺎﻴﻠﻪ ﻫﻡ ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 661‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﻭﺃﻨﺕ ﻋﻤﻠﺕ ﺍﻝﻠﻰ ﻤﻤﻜﻥ‬
‫ﺃﻋﻤﻠﻪ ﻝﻤﺎ ﻜﻨﺕ ﻓﻰ ﺴﻨﻙ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 662‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﺱ ﺃﻨﺕ ﻁﻠﻌﺕ ﻏﺒﻰ‬ ‫ﻫﺩﻫﺩ ‪ :‬ﺒ ‪‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 663‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻬﺩﻫﺩ‬
‫ﻫﺩﻫﺩ ‪ :‬ﻭﺃﻨﺎ ﻁﻠﻌﺕ ﻋﺩﻴﻡ ﺍﻝﻔﺭﺍﺴﺔ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 664‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﻁﺏ ﻭﺁﻴﻪ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺩﻩ‬
‫ﻭﺍﻝﻠﻰ ﺒﻴﺤﺼل ﺍﻝﻨﻬﺎﺭﺩﺓ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 665‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﺒﻅﻬﺭﻩ ﻭﻫﺩﻫﺩ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻫﺩﻫﺩ ‪ :‬ﻝﻴﻙ ﺤﻕ ﺘﺴﺄل ﻴﺎﺒﻭ ﺩﺒﻭﺭﺓ ‪,‬‬
‫ﻓﻰ ﻤﻨﻁﻘﺔ ﺍﻝﻀﻭﺀ ‪ ,‬ﻭﻴﺤﻴﻲ ﻗﺘل ﺭﺠﺏ ﺃﺒﻭ ﺤﺴﻴﻥ ﻭﺇﺒﺭﺍﻫﻴﻡ ﻫﻭ‬
‫ﺴﻠﻭﻴﺕ ‪ .‬ﺜﻡ ﻴﻘﻑ ﻫﺩﻫﺩ ﻭﻴﻤﺩ ﺍﻷﺼل ‪ ,‬ﻫﻭ ﺍﻝﻠﻰ ﺨﻼﻙ ﻤﺘﺴﻭﺍﺵ‬
‫ﻏﻴﺭ ﺭﺼﺎﺼﺔ ﻓﻰ ﺩﻤﺎﻏﻙ ‪.‬‬ ‫ﻜﻔﻪ ﻝﻴﺼﻔﻊ ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺍﻝﺼﻔﻌﺔ‬ ‫‪ 666‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻫﺩﻫﺩ ﻴﺼﻔﻊ ﻴﺤﻴﻲ ﻋﻠﻰ ﻭﺠﻬﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 667‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﺩﻭل ﻨﻅﺎﻡ ﻤﺵ ﻋﻠﻰ ﻗﺩ‬
‫ﻴﻌﻭﺩ ﻭﻴﺠﻠﺱ ﻋﻠﻰ ﺍﻝﻤﻘﻌﺩ ﻤﺼﺭ ‪ ,‬ﻋﻠﻰ ﻗﺩ ﺍﻝﻌﺎﻝﻡ ﻜﻠﻪ ‪ .‬ﻭﺍﻝﻜﺒﺎﺭ‬
‫ﻤﺵ ﺇﺤﻨﺎ ﺩﻭل ﺒﺭﺍﻨﺎ ﻫﻤﺎ ﺍﻝﻠﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﻴﺯﺭﻋﻭﺍ ﻭﺒﻴﺤﺼﺩﻭﺍ ﻭﻴﺼﻨﻌﻭﺍ‬
‫ﻭﻴﻬﺭﺒﻭﺍ ‪ ,‬ﻭﺇﺤﻨﺎ ﺍﻝﻠﻰ ﺒﻨﻬﻭﺯﻉ ‪.‬‬
‫ﻭﺭﺠﺏ ﻭﺇﺒﺭﺍﻫﻴﻡ ﻫﻤﺎ ﺍﻝﺘﻭﻜﻴل ‪ ,‬ﻝﻭ‬
‫ﻤﺎﺘﻭﺍ ﻴﻴﺠﻰ ﻏﻴﺭﻫﻡ ﻝﻜﻥ ﻝﻭ ﺇﺘﻘﺘﻠﻭﺍ‬
‫ﺍﻝﻠﻰ ﻗﺘﻠﻬﻡ ﻻﺯﻡ ﻴﺩﻓﻊ ﺘﻤﻥ ﻏﻠﻁﺘﻪ ‪.‬‬
‫ﻋﺸﺎﻥ ﻜﺩﻩ ﻝﻤﺎ ﻗﺎﻝﻭﻝﻰ ﺃﻨﻙ ﻗﺘﻠﺘﻬﻡ‬
‫ﻤﺎﺼﺩﻗﺘﺵ ‪ ,‬ﻷﻨﻰ ﻜﻨﺕ ﻓﺎﻜﺭﻙ ﻤﻌﻠﻡ‬

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‫ﻭﺩﻩ ﻤﺵ ﺸﻐل ﻤﻌﻠﻤﻴﻥ ﻴﺎﺍﺒﻭ ﺩﺒﻭﺭﺓ ‪.‬‬

‫ﺱ ﺃﻨﺎ ﻤﺎﻏﻠﻁﺘﺵ ﻓﻰ ﺤﺩ ‪.‬‬ ‫‪ 668‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﺒ ‪‬‬
‫ﻭﻤﺎﺒﺄﺸﺘﻐﻠﺵ ﻝﺤﺴﺎﺏ ﺍﻝﺒﻭﻝﻴﺱ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 669‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﺍﻝﺒﻭﻝﻴﺱ ﻋﺎﻭﺯ ﺭﻗﺒﺘﻨﺎ ‪ ,‬ﻭﺇﺤﻨﺎ‬
‫) ‪( 36‬‬ ‫ﺱ ﺩﻩ ﻤﺎﻴﻤﻨﻌﺵ ﺇﻥ ﺇﺤﻨﺎ‬ ‫ﺒﻨﻜﺭﻫﻡ ‪ ,‬ﺒ ‪‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻔﻬﻡ ﺒﻌﺽ ‪ ,‬ﻭﺤﻜﺎﻴﺔ ﺃﻨﻙ ﺒﺘﺸﺘﻐل‬
‫ﺱ ﺃﻯ ﻤﻌﻠﻡ‬ ‫ﻤﻌﺎﻫﻡ ﻝﻌﺏ ﻤﻜﺸﻭﻑ ‪ ,‬ﺒ ‪‬‬
‫ﻻﺯﻡ ﻴﻔﻬﻡ ﺍﻝﺭﺴﺎﻝﺔ ‪.‬‬
‫‪ 670‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‪.M . L. S‬‬
‫ﻭﺘﺩﺨل ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﺒﻁﺀ ‪Track‬‬
‫‪ in‬ﻋﻠﻰ ﻴﺤﻴﻲ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻴﺤﻴﻲ ‪ :‬ﺭﺴﺎﻝﺔ ﺁﻴﻪ ؟‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close up‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 671‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻬﺩﻫﺩ ‪.M . S‬‬
‫ﻭﺩﺨﻭل ﺒﻁﻲﺀ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ Track‬ﻫﺩﻫﺩ ‪ :‬ﺍﻝﺭﺴﺎﻝﺔ ﻤﻥ ﺒﻌﻴﺩ ‪ ,‬ﻤﻥ ﻓﻭﻕ‬
‫‪ in‬ﻝﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close‬ﺍﻝﺭﺴﺎﻝﺔ ﺇﻨﻬﻡ ﻤﺵ ﻫﺎﻴﺭﺘﺎﺤﻭﺍ ﺍﻹ ﺇﺫﺍ‬
‫ﺃﺒﻭ ﺩﺒﻭﺭﺓ ﺇﺘﻤﺴﺢ ‪ ,‬ﻤﺎﺕ‬ ‫‪up‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 672‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻲ ﻫﺩﻫﺩ ‪ :‬ﻴﻌﻨﻰ ﻻﺯﻡ ﺘﻤﻭﺕ ﻋﺸﺎﻥ ﺇﺤﻨﺎ‬
‫ﻨﻌﻴﺵ ﻭﺩﻩ ﻤﺎﻝﻭﺵ ﺩﻋﻭﺓ ﺒﺎﻝﻌﻭﺍﻁﻑ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺱ ﺃﻨﺎ ﻤﺵ ﻫﺎﺃﻗﺘﻠﻙ ‪ ,‬ﻤﺵ‬ ‫‪ 673‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻬﺩﻫﺩ ﻫﺩﻫﺩ ‪ :‬ﺒ ‪‬‬
‫ﻋﺎﺭﻑ ﻝﻴﻪ ﻴﻤﻜﻥ ﻷﻨﻰ ﻤﺵ ﻤﻌﺼﻭﻡ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﻥ ﺍﻝﻐﻠﻁ ‪ .‬ﺭﺒﻨﺎ ﺴﺒﺤﺎﻨﻪ ﻭﺘﻌﺎﻝﻰ ﻫﻭ‬
‫ﻭﺤﺩﻩ ﺍﻝﻤﻌﺼﻭﻡ ﻭﻏﻠﻁﺘﻰ ﺃﻨﻰ ﺤﺒﻴﺘﻙ ‪,‬‬
‫ﻨﺼﻴﺤﺔ ﻴﺄﺒﻭ ﺩﺒﻭﺭﺓ ﺴﻴﺏ ﻤﺼﺭ‬
‫ﻭﺇﻫﺭﺏ ‪ .‬ﻤﺎﺤﺩﺵ ﻫﺎﻴﺭﺤﻤﻙ ‪.‬‬
‫‪ 674‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻬﺩﻫﺩ ﻴﻘﻑ‬
‫ﻓﻰ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻫﺩﻫﺩ ‪ :‬ﻭﺃﻨﺎ ﻝﻭ ﺸﻔﺕ ﻭﺸﻙ ﻫﻨﺎ ﺘﺎﻨﻰ‬
‫ﻭﻴﺤﻴﻲ ﻋﻠﻰ ﺍﻝﻤﻘﻌﺩ ‪ ,‬ﺜﻡ ﻴﺨﺭﺝ‬
‫ﻫﺎﺃﻗﺘﻠﻙ ‪.‬‬
‫ﻫﺩﻫﺩ ﻭﻭﺭﺍﺀﻩ ﻴﺤﻴﻲ ﻭﺍﻝﺭﺠﻼﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 99‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺨﺯﻴﻨﺔ ﺍﻝﺒﻨﻙ‬
‫‪ 675‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻝﺨﺯﻴﻨﺔ ﺍﻝﺒﻨﻙ ﻭﻴﺩ‬
‫ﻴﺤﻴﻲ ﺘﻤﺘﺩ ﻝﺘﻔﺘﺤﻬﺎ ﻭﻴﺩ ﻤﻭﻅﻑ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ ":‬ﺃﺨﻴﺭﹰﺍ ﺃﺩﺭﻜﺕ ﺃﻥ‬
‫ﻤﻬﻤﺘﻰ ﻗﺩ ﺇﻨﺘﻬﺕ ﻭﺃﻨﻨﻰ ﻴﺠﺏ ﺃﻥ‬ ‫ﺍﻝﺒﻨﻙ ﺃﻴﻀ ﹰﺎ‬
‫ﺃﻭﺩﻉ ﺤﻴﺎﺘﻰ ﻓﻰ ﺃﺭﺽ ﺍﻝﺨﻭﻑ ‪,‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻷﻋﻭﺩ ﻝﺤﻴﺎﺘﻰ ﺍﻝﻌﺎﺩﻴﺔ ﺍﻝﻘﺩﻴﻤﺔ ﺍﻝﺘﻰ‬
‫ﻜﺩﺕ ﺃﻥ ﺃﻨﺴﻰ ﻤﺫﺍﻗﻬﺎ "‬

‫ﻤﺸﻬﺩ ) ‪( 100‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺼﺤﺭﺍﺀ‬
‫‪ 676‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L . S‬ﻝﻴﺤﻴﻲ ﻋﻤﺭ ‪ :‬ﻜﻤﺎ ﺘﻨﻁﺒﻕ ﻫﺫﻩ ﺍﻝﺤﺼﺎﻨﺔ ﻋﻠﻰ‬
‫ﻭﻋﻤﺭ ﻴﻤﺸﻴﺎﻥ ﻓﻰ ﺍﻝﺼﺤﺭﺍﺀ ﺍﻷﻤﻭﺍل ﺍﻝﺘﻰ ﻴﺠﻤﻌﻬﺎ ﺃﺜﻨﺎﺀ ﻋﻤﻠﻪ ﻓﻰ‬
‫ﻭﻴﻘﺭﺃ ﻋﻤﺭ ﻭﺭﻗﺔ ﻓﻰ ﻴﺩﻩ ﻫﺫﻩ ﺍﻝﻤﻬﻤﺔ ﻤﻬﻤﺎ ﻜﺎﻥ ﻤﺼﺩﺭﻫﺎ ﺃﻭ‬
‫ﻓﻰ ﺤﻭﺯﺓ ﺍﻝﻭﺭﺜﺔ ﺍﻝﺸﺭﻋﻴﻴﻥ ﺒﻌﺩ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﻓﺎﺘﻪ ‪ .‬ﻭﻫﺫﻩ ﺸﻬﺎﺩﺓ ﻤﻨﺎ ﺒﺫﻝﻙ‬
‫‪ 677‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L . S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﻌﻤﺭ‬
‫ﻋﻤﺭ ‪ :‬ﺃﻨﺎ ﻤﺵ ﻤﺼﺩﻕ ﺍﻝﻜﻼﻡ ﺩﻩ !‬

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‫ﻭﻴﺤﻴﻲ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻴﺘﺤﺭﻜﺎ ﻴﺤﻴﻲ ‪ :‬ﻴﻌﻨﻰ ﺃﻨﺎ ﺯﻴﻔﺕ ﺍﻝﻭﺭﻗﺔ ؟‬

‫ﻋﻤﺭ ‪ :‬ﺠﺎﻴﺯ !‬ ‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬ ‫‪678‬‬
‫ﻴﺩﺨل ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻝﻴﻭﺍﺠﻪ‬
‫ﻴﺤﻴﻲ ‪ :‬ﻁﺏ ﻭﻤﻭﺴﻰ !‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﻤﺭ ﻋﻤﺭ ‪ :‬ﺩﻩ ﺭﺍﺠل ﻤﺠﻨﻭﻥ ‪ .‬ﻝﻜﻥ ﺨﻠﻴﻨﺎ‬ ‫‪679‬‬
‫ﻨﻔﺭﺽ ﺇﻥ ﻜﻼﻤﻙ ﺤﻘﻴﻘﻰ ‪ .‬ﺩﻩ ﻫﺎﻴﻐﻴﺭ‬ ‫ﻴﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﺁﻴﻪ ﻤﻥ ﺍﻝﻤﻭﻀﻭﻉ ‪ .‬ﻫﺎﺘﻔﻀل ﻁﻭل‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻭﻗﺕ ﺤﻴﺎﺘﻙ ﻓﻰ ﺨﻁﺭ ﻭﻤﻬﺩﺩ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻲ ﻋﻤﺭ ‪ :‬ﺍﻝﺤل ﺃﻨﻙ ﺘﻐﻴﺭ ﺇﺴﻤﻙ ﻭﺘﺴﺎﻓﺭ‬ ‫‪680‬‬
‫ﺒﺭﻩ ﻤﺼﺭ ﻷﻯ ﺒﻠﺩ ﺘﺎﻨﻰ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﻤﺭ ﻋﻤﺭ ‪ :‬ﺃﻨﺕ ﺭﺍﺠل ﻤﻘﺘﺩﺭ ﻋﻨﺩﻙ‬ ‫‪681‬‬
‫ﻓﻠﻭﺱ ‪ .‬ﻭﺍﻝﻨﺘﻴﺠﺔ ﻫﺎﺘﻭﺼﻠﻬﺎ ﻜﺩﻩ ﻭ ﹶﻻ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻜﺩﻩ ‪ .‬ﻴﺒﻘﻰ ﻝﻴﻪ ﻤﺎﺘﻌﻤﻠﻬﺎﺵ ﺩﻝﻭﻗﺕ !‬
‫ﻴﺤﻴﻲ ‪ :‬ﺁﻫﻤﻡ ‪ .‬ﺃﻗﻌﺩ ﻗﺩﺍﻡ ﺍﻝﻨﺎﺱ ﺘﺎﺠﺭ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻴﺤﻴﻲ‬ ‫‪682‬‬
‫ﻤﺨﺩﺭﺍﺕ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻋﻤﺭ ‪ :‬ﻻ ﻻ ﺩﻯ ﻤﺸﻜﻠﺔ ﺘﺎﻓﻬﺔ ‪..‬‬ ‫‪683‬‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﻌﻤﺭ ﺴﺎﻓﺭ ﺴﺎﻓﺭ ﻴﺎﻴﺤﻴﻲ ‪.‬‬
‫ﻭﻴﺤﻴﻲ ﻓﻰ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﺘﺘﺤﺭﻙ ﻴﺤﻴﻲ ‪ :‬ﻭﺇﺫﺍ ﺭﻓﻀﺕ ﻴﺎﻋﻤﺭ !‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪ Pan Right‬ﻋﻤﺭ ‪ :‬ﻓﻰ ﺍﻝﺤﺎﻝﺔ ﺩﻯ ﻝﻭ ﺠﻴﺕ ﻝﻰ‬
‫ﺒﺼﻔﺔ ﺭﺴﻤﻴﺔ ﻫﺎﺃﻀﻁﺭ ﺃﻗﺒﺽ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻋﻠﻴﻙ ‪ .‬ﻷﻨﻙ ﺒﺘﻌﺘﺭﻑ ﻝﻰ ﺃﻨﻙ ﺘﺎﺠﺭ‬
‫ﻤﺨﺩﺭﺍﺕ ‪ ,‬ﺃﻤﺎ ﺤﻜﺎﻴﺔ ﺍﻝﻭﺜﻴﻘﺔ‬
‫ﻓﻬﺎﻋﺭﻀﻬﺎ ﻋﻠﻰ ﺍﻝﻤﺴﺌﻭﻝﻴﻥ ﻫﻤﺎ‬
‫ﻴﻘﺭﺭﻭﺍ ﺼﺤﺘﻬﺎ ﻭﺼﺤﺔ ﺍﻝﻜﻼﻡ ﺍﻝﻠﻰ‬
‫ﺃﻨﺕ ﺒﺘﻘﻭﻝﻪ ‪.‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﻭﻁﺒﻌ ﹰﺎ ﺃﻋﻴﺵ ﻤﺼﻴﺭﻯ ﻝﻐﺎﻴﺔ‬
‫ﻤﺎﺘﺘﺄﻜﺩﻭﺍ ﻭﻝﻐﺎﻴﺔ ﻤﺎﺘﺘﺄﻜﺩﻭﺍ ﺃﻜﻭﻥ ﺃﻨﺎ‬
‫ﺇﺘﻘﺘﻠﺕ‬

‫‪ 684‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﻤﺭ‬

‫ﻴﻘﻑ ﻭﻴﻠﺘﻔﺕ ﺸﻤﺎل ﻜﺎﺩﺭ ﻋﻤﺭ ‪ :‬ﺩﻩ ﺍﻝﺘﺼﺭﻑ ﺍﻝﺭﺴﻤﻰ ﻴﺎﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 685‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ ﻴﺤﻴﻲ ‪ :‬ﻭﻜل ﺩﻩ ﻝﻴﻪ ﻋﻠﺸﺎﻥ ﻏﻴﺭﺍﻥ‬
‫ﻤﻥ ﻴﺤﻴﻲ ﺍﻝﻤﻨﻘﺒﺎﺩﻯ ‪ ,‬ﻭ ﹶﻻ ﻷﻨﻙ ﻤﺵ‬ ‫ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻋﺎﻭﺯ ﺘﻌﺘﺭﻑ ﺒﻔﺸﻠﻙ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 686‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﻤﺭ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ :‬ﻭ ﹶﻻ ﻋﺸﺎﻥ ﺇﺒﺭﺍﻫﻴﻡ‬
‫ﻴﺨﻔﺽ ﺭﺃﺴﻪ‬
‫ﺍﻝﺤﻭﺕ ﻭﺭﺠﺏ ﺍﺒﻭ ﺤﺴﻴﻥ ﺇﺘﻘﺘﻠﻭﺍ !‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 687‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻝﻌﻤﺭ ﻴﺘﺤﺭﻙ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫‪high Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 688‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻌﻤﺭ ﻴﺤﻴﻲ ‪ :‬ﻋﺎﺭﻑ ﻴﺎﻋﻤﺭ ﺁﻴﻪ ﺍﻝﻠﻰ‬
‫ﺱ ﺇﻥ ﻤﺭﺕ‬‫ﻭﻴﺩﺨل ﻴﺤﻴﻲ ﻭﻴﺠﺫﺒﻪ ﻝﻴﺼﺒﺢ ﻤﺎﻨﻌﻨﻰ ﺁﻴﻪ ﺤﺎﺠﺔ ﻭﺍﺤﺩﺓ ﺒ ‪‬‬
‫ﻰ ﻝﺤﻅﺎﺕ ﻜﻨﺕ ﺒﺄﺸﻙ ﻓﻴﻬﺎ ﻓﻰ‬ ‫ﻋﻤﺭ ﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﻴﺤﻴﻲ ﻓﻰ ﻋﻠ ‪‬‬
‫ﻨﻔﺴﻰ ‪ ,‬ﺃﻨﺎ ﻅﺎﺒﻁ ﺒﻭﻝﻴﺱ ﻭ ﹶﻻ ﺒﻘﻴﺕ‬ ‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺘﺎﺠﺭ ﻤﺨﺩﺭﺍﺕ ‪ .‬ﺍﻝﺤﻘﻴﻘﺔ ﺇﻥ ﻝﺴﻪ ﺃﻭ‬ ‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻋﻠﻰ ﺍﻷﻗل ﻝﺴﻪ ﻓﻴﻪ ﺠﺯﺀ ﻤﻨﻰ ﻅﺎﺒﻁ‬

‫ﺒﻭﻝﻴﺱ ‪.‬‬
‫‪ 689‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻋﻤﺭ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺒﻌﻀﻬﻤﺎ‬
‫ﻋﻤﺭ ‪ :‬ﻴﺤﻲ ﺃﺒﻭ ﺩﺒﻭﺭﺓ ﺘﺎﺠﺭ‬
‫ﺍﻝﺒﻌﺽ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻝﻴﻌﻁﻰ‬
‫ﻤﺨﺩﺭﺍﺕ ‪ .‬ﻤﻬﻤﺎ ﻜﺎﻨﺕ ﺍﻝﻤﺒﺭﺭﺍﺕ ‪,‬‬
‫ﻅﻬﺭﻩ ﻝﻴﺤﻴﻲ ‪ ,‬ﻴﺠﺫﺒﻪ ﻴﺤﻴﻲ ﻤﻥ‬
‫ﻷﻨﻙ ﻗﺘﻠﺕ ﻭﺘﺎﺠﺭﺕ ﻓﻰ ﺍﻝﻤﺨﺩﺭﺍﺕ‬
‫ﺍﻝﺠﺎﻜﻴﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 690‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻀﺭﺏ ﻋﻤﺭ ﻓﻰ ﻭﺠﻬﻪ ﻭﻴﺴﻘﻁ‬
‫ﻴﺤﻴﻲ ‪ :‬ﺃﻨﺕ ﻋﺎﻤل ﺯﻯ ﺇﺒﻠﻴﺱ‬
‫ﻋﻤﺭ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 691‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﺃﺴﻔل ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Track in‬‬
‫ﻴﺤﻴﻲ ‪ :‬ﺭﺒﻨﺎ ﻁﻠﺏ ﻤﻨﻪ ﺃﻨﻪ ﻴﺴﺠﺩ‬
‫ﺤﺘﻰ ﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‬
‫ﺭﻓﺽ ﻭﺇﺘﻜﺒﺭ ﻓﺒﻘﻰ ﺸﻴﻁﺎﻥ ‪.‬‬
‫‪ . Close up‬ﺜﻡ ﻴﻠﺘﻔﺕ ﻋﻜﺱ‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 692‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻌﻤﺭ‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ ﻴﺴﺤﺏ ﻤﺴﺩﺴﻪ‬
‫ﻝﻴﻁﻠﻘﻪ ﻋﻠﻰ ﻴﺤﻴﻲ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 693‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L . S‬ﻝﻴﺤﻴﻲ ﻴﻠﺘﻔﺕ‬
‫ﻭﻴﻀﺭﺏ ﺍﻝﻤﺴﺩﺱ ﺒﺴﺎﻗﻪ ‪ ,‬ﺜﻡ ﻴﺤﻴﻲ ‪ :‬ﺩﻩ ﺍﻝﺭﻫﺎﻥ ﺍﻝﻠﻰ ﻜﻨﺕ ﻋﺎﻤﻠﻪ‬
‫ﻤﻊ ﻨﻔﺴﻰ ‪ .‬ﻫﺎﺘﺤﺎﻭل ﺘﻘﺘﻠﻨﻰ ﻭ ﹶﻻ ﻷ ‪.‬‬ ‫ﻴﺨﺭﺝ ﻤﻥ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 694‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪Extreme‬‬
‫‪ long shot‬ﻝﻴﺤﻴﻲ ﻴﻤﺸﻰ‬
‫ﻤﺒﺘﻌﺩﹰﺍ ﻋﻥ ﻋﻤﺭ ﺍﻝﻤﻠﻘﻰ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ ﻓﻰ ﺍﺘﺠﺎﻩ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻭﻴﻘﻑ ﻝﻴﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 101‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﻁﻰﺀ‬
‫ﺍﻝﺒﺤﺭ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 695‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪Long Shot‬‬
‫) ‪( 36‬‬ ‫ﻝﻴﺤﻴﻲ ﻭﺤﺎﺭﺱ ﻋﻠﻰ ﺸﺎﻁﻰﺀ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﺃﻨﻬﻴﺕ ﻤﻬﻤﺘﻰ ﻭﻗﺎل‬
‫ﺍﻝﺒﺤﺭ ﻴﺘﺤﺭﻜﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻰ ﺍﻝﻤﺴﺌﻭﻝﻴﻥ ﺃﻥ ﺤﻴﺎﺘﻰ ﻏﻴﺭ ﺁﻤﻨﺔ ‪,‬‬
‫ﻭﻋﻴﻨﻭﺍ ﻝﻰ ﺤﺎﺭﺴﹰﺎ ‪...‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 696‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﺍ ‪Extreme‬‬

‫‪ Long Shot‬ﻝﻴﺤﻴﻲ ﻤﻥ ﺯﺍﻭﻴﺔ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ ... ":‬ﻭﻜﻤﺎ ﻨﺼﺤﻨﻰ‬
‫ﻫﺩﻫﺩ ‪ ,‬ﻨﺼﺤﺘﻨﻰ ﺍﻝﺸﺭﻁﺔ ﺃﻥ ﺃﺘﺭﻙ‬ ‫ﻤﺭﺘﻔﻌﺔ ﻭﺨﻠﻔﻪ ﺍﻝﺤﺎﺭﺱ‬
‫ﻤﺼﺭ ﻭﺃﺴﺎﻓﺭ ‪ ,‬ﻭﻝﻜﻨﻨﻰ ﺭﻓﻀﺕ ‪"..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻤﺸﻬﺩ ) ‪( 102‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺤﺩ ﺍﻝﺸﻭﺍﺭﻉ‬
‫‪ 697‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻴﺤﻴﻲ‬
‫ﻤﻁﻠﻘﹰﺎ ﻝﺤﻴﺘﻪ ﻭﻴﻤﺸﻰ ﻓﻰ ﺃﺤﺩ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻭﻓﻰ ﺃﺤﺩ ﺍﻷﻴﺎﻡ‬
‫ﺍﻝﺸﻭﺍﺭﻉ ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺸﺎﻫﺩﺕ ﻓﺭﻴﺩﺓ ﺴﺎﺌﺭﺓ ‪ ,‬ﻭﻝﻡ ﺃﻋﺭﻑ‬
‫ﺃﻨﻬﺎ ﻋﺎﺩﺕ ﺍﻝﻰ ﺍﻝﻘﺎﻫﺭﺓ ‪...‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 698‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻔﺭﻴﺩﺓ‬

‫ﻤﻥ ﻭﺭﺍﺀ ﻅﻬﺭ ﻴﺤﻴﻲ ﻭﺘﺘﺤﺭﻙ‬
‫ﻨﺎﺤﻴﺘﻪ ﻭﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ ... " :‬ﺘﻘﺎﺒﻠﻨﺎ ‪..‬‬
‫ﺘﻘﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 699‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬

‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻤﻊ ﺒﻌﺽ ﺍﻝﻔﻀﻭل‬ ‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻴﺤﻴﻲ‬
‫ﻓﻴﻤﺎ ﺼﻨﻌﺘﻪ ﺒﻨﺎ ﺍﻷﻴﺎﻡ ﻭﺍﻷﺤﺩﺍﺙ ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 700‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻴﺤﻴﻲ‬

‫ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻓﺭﻴﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 701‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻔﺭﻴﺩﺓ‬

‫ﺘﺒﺘﺴﻡ‬
‫ﻤﺯﺝ ‪Dissolve‬‬

‫ﻤﺸﻬﺩ ) ‪( 103‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺁﺘﻴﻠﻴﻪ ﻓﺭﻴﺩﺓ‬
‫‪ 702‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬
‫‪ Shot‬ﻝﻴﺤﻴﻲ ﻤﻊ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ‬
‫ﻝﻠﺩﺍﺨل ﻭﻫﻭ ﻴﺩﺨل ﺍﻵﺘﻴﻠﻴﻪ ‪,‬‬
‫ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺼﺒﺢ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M .S‬‬

‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 703‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ ‪American‬‬

‫‪ Shot‬ﻝﻔﺭﻴﺩﺓ ﺠﺎﻝﺴﺔ ﺘﻨﻅﺭ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 704‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬

‫ﻴﺤﻴﻲ ‪ :‬ﻝﺴﻪ ﺒﺘﺴﻴﺒﻰ ﺍﻝﺒﺎﺏ ﻤﻔﺘﻭﺡ ‪.‬‬ ‫ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 705‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻔﺭﻴﺩﺓ‬

‫ﺘﺩﺨﻥ ﺴﻴﺠﺎﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻤﺸﻬﺩ ) ‪( 104‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺃﺤﺩ ﺍﻝﺸﻭﺭﺍﻉ‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻷﺤﺩ‬ ‫‪706‬‬
‫ﺍﻝﺸﻭﺍﺭﻉ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 707‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻴﺤﻴﻲ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻭﺘﻌﺩﺩﺕ ﺍﻝﻠﻘﺎﺀﺍﺕ‬

‫ﺨﻠﻑ ﻋﺠﻠﺔ ﺍﻝﻘﻴﺎﺩﺓ ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ ﻭﻜﺄﻨﻨﺎ ﻨﺘﻌﺭﻑ ﻋﻠﻰ ﺒﻌﺽ ﻤﻥ ﺠﺩﻴﺩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺸﻤﺎ ﹰﻻ ‪ Pan Left‬ﻓﻰ ﻤﻨﻁﻘﺔ ﺠﻠﻴﺩﻴﺔ ‪ .‬ﻜﺎﻨﺕ ﻋﻼﻗﺘﻰ‬
‫ﺼﻭﺕ ﺍﻝﺸﺎﺭﻉ‬ ‫ﻝﺘﻅﻬﺭ ﻓﺭﻴﺩﺓ ﺒﺠﻭﺍﺭﻩ ﺘﻨﻅﺭ ﺒﻔﺭﻴﺩﺓ ﺘﺴﻴﺭ ﻓﻰ ﻁﺭﻴﻕ ﺒﻼ ﻨﻬﺎﻴﺔ‬
‫ﻤﺤﺩﺩﺓ ﺃﻭ ﻭﺍﻀﺤﺔ ‪....‬‬ ‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 105‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺃﺤﺩ ﺍﻝﻤﻁﺎﻋﻡ‬
‫‪ 708‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﻭﻴﺤﻴﻲ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﺩﺍﺨل‬
‫ﺍﻝﻤﻁﻌﻡ ﻴﺘﻨﺎﻭﻻ ﺍﻝﻁﻌﺎﻡ ﺘﺘﺤﺭﻙ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻻ ﻨﻌﺭﻑ ﻷﻴﻥ‬
‫ﺼﻭﺕ ﺍﻝﻤﻁﻌﻡ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺩﺍﺌﺭﻴﹰﺎ ‪ Panorama‬ﺴﺘﻘﻭﺩﻨﺎ ﻭﻜﻴﻑ ﺴﺘﻨﺘﻬﻰ ؟ ‪"..‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪ 709‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻴﺤﻴﻲ‬

‫ﻭﻓﺭﻴﺩﺓ ﺠﺎﻝﺴﺎﻥ ﻴﺸﺭﺒﺎ ﺍﻝﻨﺒﻴﺫ ‪,‬‬
‫ﻭﻴﻨﻅﺭﺍ ﻝﺒﻌﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 106‬‬
‫ﺩﺍﺨﻠﻰ ﻤﻨﺯل ﻫﻨﺎﺀ ﻭﻴﺤﻴﻲ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 710‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫) ‪( 36‬‬ ‫ﻭﺇﺒﻨﻪ ﻴﻠﻌﺏ ﻤﻌﻪ ﻭﻫﻭ ﻴﺤﻤﻠﻪ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻭﻅﻠﻠﺕ ﻋﻠﻰ ﻋﻼﻗﺘﻰ‬
‫ﺒﻬﻨﺎﺀ ‪...‬‬ ‫ﻋﻠﻰ ﺴﺎﻗﻴﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 711‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻬﻨﺎﺀ‬
‫ﺘﺠﻠﺱ ﻋﻠﻰ ﺍﻷﺭﻴﻜﺔ ﻭﺘﻨﻅﺭ ﺸﻤﺎل ﺼﻭﺕ ﻴﺤﻴﻲ ‪ .. " :‬ﻏﻴﺭ ﺃﻥ ﻤﺸﺎﻋﺭ‬
‫ﺍﻝﺤﺏ ﺍﻝﺘﻰ ﺘﺘﻤﻠﻜﻨﻰ ﺘﺠﺎﻩ ﻴﻭﻨﺱ ‪..‬‬ ‫ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 712‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ . L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ high Angle‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻫﻨﺎﺀ ﻭﻴﻭﻨﺱ ‪ .‬ﻫﻨﺎﺀ ﺘﻨﻅﺭ ﺼﻭﺕ ﻴﺤﻴﻲ ‪ .. " :‬ﺒﺎﻝﺭﻏﻡ ﻤﻥ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﻴﺤﻴﻲ ﻭﻫﻭ ﺍﻝﻅﺭﻭﻑ ﺍﻝﺘﻰ ﺒﺎﻋﺩﺕ ﺒﻴﻨﻰ ﻭﺒﻴﻨﻪ ‪..‬‬
‫ﻴﻠﻌﺏ ﻤﻊ ﺇﺒﻨﻪ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 107‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺸﻘﺔ ﻴﺤﻴﻲ‬
‫‪ 713‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻭﻝﻜﻨﻨﻰ ﻜﻨﺕ ﺃﺤﻥ‬
‫ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻨﺎﻓﺫﺓ ﻤﻌﻁﻴﹰﺎ‬
‫ﻝﺤﻴﺎﺓ ﻴﺤﻴﻲ ﺃﺒﻭ ﺩﺒﻭﺭﺓ ‪ .‬ﻭﻝﻜﻨﻨﻰ ﻻ‬
‫ﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﺃﺴﺘﻁﻴﻊ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻴﻬﺎ ‪" ..‬‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫ﻤﺸﻬﺩ ) ‪( 108‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﻨﺎﻓﺫﺓ‬
‫‪ 714‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻘﻑ ﺨﻠﻑ ﺍﻝﻨﺎﻓﺫﺓ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺨﺎﺭﺠﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 109‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﺍﻝﺸﻘﺔ‬
‫‪ 715‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻴﺩ‬
‫ﻴﺤﻴﻲ ﺘﻤﺘﺩ ﻝﺘﺄﺨﺫ ﺍﻝﻤﺴﺩﺱ ﻤﻥ‬
‫ﻋﻠﻰ ﺍﻝﻤﻨﻀﺩﺓ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻷﻋﻠﻰ‪ Tilt Up‬ﻭﻫﻭ ﻴﺘﺤﺭﻙ‬
‫ﻤﺒﺘﻌﺩﹰﺍ ﻋﻨﻬﺎ ﺘﺠﺎﻩ ﺍﻝﺒﺎﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ‬ ‫‪716‬‬
‫‪ American Shot‬ﻝﻴﺤﻴﻲ‬
‫ﺸﻤﺎل ﻜﺎﺩﺭ ﻴﺘﺼﻨﺕ ﻋﻠﻰ ﺍﻝﺒﺎﺏ‬
‫ﺜﻡ ﻴﻔﺘﺤﻪ ﻭﺘﻅﻬﺭ ﻓﺭﻴﺩﺓ ﻭﺘﺩﺨل‬
‫ﻭﺘﻐﻠﻕ ﺍﻝﺒﺎﺏ ﻭﺭﺍﺀﻫﺎ ﻭﺘﻘﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 717‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺒﺘﺴﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 718‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻔﺭﻴﺩﺓ‬
‫ﺘﻨﻅﺭ ﺸﻤﺎل ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 719‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺩﺨل‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻋﺎﺩﺕ ﻝﻰ ﻓﺭﻴﺩﺓ ﻜﻤﺎ‬
‫ﻓﺭﻴﺩﺓ ﻝﺘﺤﻀﻨﻪ ﻭﻅﻬﺭﻫﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻝﻡ ‪..‬‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪ 720‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻴﺤﻴﻲ‬
‫ﻭﻓﺭﻴﺩﺓ ﻓﻰ ﺍﻝﺴﺭﻴﺭ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪.. " :‬ﺃﺭﻋﻔﻬﺎ ﻤﻥ ﻗﺒل ‪"..‬‬
‫ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 110‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺸﻘﺔ ﻴﺤﻴﻲ‬
‫‪ 721‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﺸﺭﻓﺔ‬
‫ﻤﻨﺯل ﻴﺤﻴﻲ ﻤﻥ ﺍﻝﺩﺍﺨل ‪ ,‬ﻴﺩﺨل‬
‫ﻴﺤﻴﻲ ﻤﻥ ﺸﻤﺎل ﻜﺎﺩﺭ ﻭﻴﺘﺤﺭﻙ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﺸﺭﻓﻰ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪,‬‬
‫ﺼﻭﺕ ﻴﺤﻴﻲ ‪ " :‬ﻭﻅل ﺤﻨﻴﻨﻰ ﺇﻝﻰ‬
‫ﺜﻡ ﻴﻘﻑ ﻭﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﺴﻤﺎﺀ‬
‫ﺃﺭﺽ ﺍﻝﺨﻭﻑ ‪".‬‬
‫ﺍﻝﻘﺎﻫﺭﺓ ﻭﺃﻨﻭﺍﺭ ﺍﻝﻤﺩﻴﻨﺔ ﺘﻅﻬﺭ ﻓﻰ‬
‫ﺍﻝﻌﻤﻕ ‪ ,‬ﺜﻡ ﺘﺭﺘﻔﻊ ﺃﻝﻌﺎﺏ ﻨﺎﺭﻴﺔ‬
‫ﺘﺭﺘﻔﻊ ﻓﻰ ﺍﻝﺴﻤﺎﺀ‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -out‬‬
‫‪ 722‬ﺘﻴﺘﺭﺍﺕ ﺍﻝﻨﻬﺎﻴﺔ ﻋﻠﻰ ﺨﻠﻔﻴﺔ‬
‫ﺴﻭﺩﺍﺀ‬

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‫ﺍﻝﺸﺨﺼﻴﺎﺕ ﺤﺴﺏ ﺍﻝﻅﻬﻭﺭ‬

‫ﻓﺭﺍﺵ ﺍﻝﺒﻠﻴﺎﺭﺩﻭ ﻤﺤﻤﺩ‬
‫ﺍﻝﻜﻴﻼﻨﻰ‬
‫ﺃﺤـﻤﺩ‬ ‫ﻴﺤﻴﻲ ﺍﻝﻤﻨﻘﺒﺎﺩﻯ‬
‫ﺯﻜـﻰ‬
‫ﻋﺯﺕ ﺃﺒﻭ‬ ‫ﻋﻤﺭ ﺍﻷﺴﻴﻭﻁﻰ‬
‫ﻋﻭﻑ‬
‫ﻤﺄﻤﻭﻥ ﺃﺒﻭ ﺍﻝﻭﻓﺎ ﺃﻤﻴﻥ ﺸﻠﺒﻰ‬
‫ﻤﺤﻤﺩ‬ ‫ﺭﺠل ﺍﻝﻜﺒﺎﺭﻴﻪ‬
‫ﻋﺘﺭﻴﺱ‬
‫ﺼﻔﻭﺓ‬ ‫ﺭﺒﺎﺏ‬
‫ﺴﻌﺎﺩ ﻋﻤﺭ‬ ‫ﺍﻝﻠﺒﻴﺴﺔ‬
‫ﺃﺤﻤﺩ ﻋﺒﺩ ﺍﻝﺤﻰ‬ ‫ﻝﻭﻝﺔ‬
‫ﺒﻴﻴﺭ‬ ‫ﻤﺩﻴﺭ ﺍﻝﻜﺒﺎﺭﻴﻪ‬
‫ﺍﻝﺴﻴﻭﻓﻰ‬
‫ﻤﺨﻠﺹ‬ ‫ﺍﻝﻤﻌﻠﻡ ﺒﺴﻴﻭﻨﻰ‬
‫ﺍﻝﺒﺤﻴﺭﻯ‬
‫ﻤﺤﻤﻭﺩ‬ ‫ﺤﺎﺭﺱ ﺒﺴﻴﻭﻨﻰ‬
‫ﺍﻷﺭﺠﻨﺘﻴﻨﻰ‬
‫ﻤﺤﻤﺩ ﻋﺒﺩﺍﷲ‬ ‫ﺍﻝﻤﺤﺎﻤﻰ‬
‫ﺴﻌﺩﺓ ﺍﻝﻤﻨﺯﻻﻭﻯ ﺴﺎﻤﻰ ﺍﻝﻌﺩل‬

‫ﺼﺎﺒﺭ‬ ‫ﺃﺤﻤﺩ ﺴﻌﺩﺓ ﺍﻝﻤﻨﺯﻻﻭﻯ‬

‫ﺤﺎﻓﻅ‬
‫ﺇﺒﺭﺍﻫﻴﻡ‬ ‫ﺇﺒﺭﺍﻫﻴﻡ ﻋﺒﺩ ﺍﻝﺘﻭﺍﺏ‬
‫ﺒﺴﻴﻭﻨﻰ‬
‫ﻝﻭﺭﺓ‬ ‫ﺭﺍﻗﺼﺔ ﺍﻹﺴﺘﺭﺍﺒﺘﻴﺯ‬

‫ﺭﺍﻨﺩﺓ ﺍﻝﺒﺴﺘﺎﻨﻰ‬ ‫ﻓﺘﺎﺓ ﺍﻝﻠﻴل‬

‫ﻴﺴﺭﻯ‬ ‫ﺇﺒﺭﺍﻫﻴﻡ ﺍﻝﺤﻭﺕ‬
‫ﺍﻝﻌﺸﻤﺎﻭﻯ‬
‫ﺭﺠﺏ ﺃﺒﻭ ﺤﺴﻴﻥ ﺃﺤﻤـﺩ ﻜﻤﺎل‬

‫ﺤﻤـﺩﻯ ﻏﻴﺙ‬ ‫ﺍﻝﻤﻌﻠﻡ ﻫﺩﻫﺩ‬

‫ﻤﺤﻤﺩ ﻋﺒﺩ‬ ‫ﺤﺎﺭﺱ ﻴﺤﻴﻲ ‪1‬‬
‫ﺍﻝﺴﻼﻡ‬
‫ﺨﺎﻝﺩ‬ ‫ﺤﺎﺭﺱ ﻴﺤﻴﻲ ‪2‬‬
‫ﺒﻭﻜﺱ‬
‫ﻓــﺭﺡ‬ ‫ﻓﺭﻴــﺩﺓ‬
‫ﺃﺸﺭﻑ ﻤﺤﻤﺩ‬ ‫ﻤﻬﻨﺩﺱ ‪1‬‬
‫ﻤﻤﺩﻭﺡ ﻨﻭﺍﺭﺓ‬ ‫ﻤﻬﻨﺩﺱ ‪2‬‬

‫ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ﺃﺒﻭ‬ ‫ﻤﻭﺴﻰ‬

‫ﺯﻫﺭﺓ‬
‫ﻓﺘﺤﻰ ﻋﺒﺩ‬ ‫ﺼﺒﻰ ﻫﺩﻫﺩ‬
‫ﺍﻝﻭﻫﺎﺏ‬
‫ﺜﺭﻴﺎ‬ ‫ﺯﻭﺠﺔ ﺸﻘﺭﺓ‬
‫ﺇﺒﺭﻫﻴﻡ‬
‫ﻭﺴﺎﻡ ﺭﻀﺎ‬ ‫ﻫﻨـﺎﺀ‬
‫ﻤﺤﻤﻭﺩ‬ ‫ﺤﺎﺭﺱ ﻫﺩﻫﺩ‬
‫ﺍﻝﺸﻨﻭﺍﻨﻰ‬

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‫ﻤﺤﻤﺩ‬ ‫ﺍﻝﻤﻌﻠﻡ ﻗﺒﺎﺭﻯ‬

‫ﺠﺒﺭﻴل‬
‫ﻤﺤﻤﻭﺩ‬ ‫ﺍﻝﻤﻌﻠﻡ ﺨﻴﺭﻯ‬
‫ﺍﻝﻌﺭﺍﻕ‬
‫ﻤﻨﻰ ﺤﺴﻴﻥ‬ ‫ﻋﺒﻠﺔ‬
‫ﻤﻬﺠﺔ ﻋﺒﺩ‬ ‫ﺯﻭﺠﺔ ﻤﻌﻠﻡ‬
‫ﺍﻝﺭﺤﻤﻥ‬
‫ﺴﺎﻤﻴﺔ ﻋﺒﺩﺍﷲ‬ ‫ﺯﻭﺠﺔ ﻤﻌﻠﻡ‬
‫ﺒﺸﻴﺭﺓ ﺃﺤﻤﺩ‬ ‫ﺯﻭﺠﺔ ﻤﻌﻠﻡ‬
‫ﻤﺸﻌل‬
‫ﺃﻤﻴﺭﺓ ﺍﻝﻌﺭﺍﺒﻰ‬ ‫ﺯﻭﺠﺔ ﻤﻌﻠﻡ‬
‫ﺴﺎﻤﺢ‬ ‫ﺍﻝﺼﻴﺎﺩ ﺍﻝﻘﺎﺘل‬
‫ﺍﻝﺴﻴﺩ‬
‫ﻤﺤﻔﻭﻅ‬ ‫ﻀﺎﺒﻁ ﺍﻝﻜﻤﻴﻥ‬
‫ﺇﺒﺭﺍﻫﻴﻡ‬
‫ﻝﻴﻠﻰ ﺤﻠﻤﻰ‬ ‫ﺼﺎﺤﺒﺔ ﺍﻝﺤﻔﻠﺔ‬
‫ﻋﺼﺎﻡ‬ ‫ﺍﻝﻁﻔل ﻴﻭﻨﺱ ﻴﺤﻴﻲ‬
‫ﻤﺤﻤﺩ‬
‫ﻭﺃﺨـﺭﻭﻥ‬

‫ﺍﻝﻤﺨﺭﺝ ﺍﻝﻤﻨﻔﺫ‬
‫ﻤﺤﻤﺩ ﻤﺼﻁﻔﻰ‬

‫ﺍﻝﺨﺭﺝ ﺍﻝﻤﺴﺎﻋﺩ‬
‫ﻫﺎﻨﻰ ﺨﻠﻴﻔﺔ‬

‫ﺴﻜﺭﻴﺒﺕ‬
‫ﻤـﺎﺭﻯ ﺃﺒﺎﺩﻴﺭ‬
‫ﻝﻤﻴﺎﺀ ﻋﺎﺩل ‪-‬ﻤﺤﻤﺩ ﻋﻠﻰ‬
‫ﻜﻼﻜﻴﺕ ‪ :‬ﻤﺤﻤﺩ ﻜﻴﻼﻨﻰ‬
‫ﻤﺴﺎﻋﺩﻭﻥ ﺘﺤﺕ ﺍﻝﺘﻤﺭﻴﻥ‬
‫ﺘﺎﻤﺭ ﺍﻝﺒﺴﺘﺎﻨﻰ‬
‫ﻫﺎﻨﻰ‬
‫ﻏﺎﺩﺓ‬

‫ﺍﻝﻤﻨﺘﺞ ﺍﻝﻔﻨﻰ‬
‫ﺃﻴﻤﻥ ﺍﻝﻌﺭﺏ‬

‫ﻤﺩﻴﺭ ﺍﻹﻨﺘﺎﺝ‬
‫ﻏﻁﺎﺱ ﻗﻠﺘﻪ‬

‫ﺘﻨﻔﻴﺫ ﺍﻹﻨﺘﺎﺝ‬
‫ﻭﻝﻴﺩ ﺍﻝﻨﺠﺎﺭ ‪-‬ﻋﺎﺩل ﺘﺭﻜﻰ‬
‫ﺨﺩﻤﺎﺕ ﺍﻝﻤﻭﻗﻊ ‪ :‬ﺠﻤﺎل ﺇﻤﺒﺎﺒﻰ‬
‫ﺭﻴﺠﻴﺴﻴﺭ ‪ :‬ﻤﺤﻤﺩ ﺸﻴﻤﻰ‬

‫ﻤﺩﻴﺭ ﺍﻝﺘﺼﻭﻴﺭ‬
‫ﺴﻤﻴﺭ ﺒﻬﺯﺍﻥ‬
‫ﻤﺴﺎﻋﺩﻯ ﺍﻝﺘﺼﻭﻴﺭ‬
‫ﺤﺎﺯﻡ ﺍﻝﻌﺘﺭ ‪-‬ﺃﺤﻤﺩ ﺍﻝﻤﺭﺴﻰ‬
‫ﻓﻭﺘﻭﻏﺭﺍﻓﻴﺎ‬

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‫ﻤﺎﺠﺩ ﻓﻭﺯﻯ‬
‫ﺃﺴﻁﻰ ﻜﻬﺭﺒﺎﺀ ‪ :‬ﺃﺤﻤﺩ ﻋﺒﺩ‬
‫ﺍﻝﺭﺅﻭﻑ‬

‫ﻤﺴﺎﻋﺩﻴﻥ ‪ :‬ﻋﺒﺩ ﺍﻝﻐﻔﺎﺭ ﻓﺘﺤﻰ‬

‫ﻓﺘﺤﻰ ﺠﻭﻫﺭ‬
‫ﺃﺤﻤﺩ ﺨﻴﺭ‬

‫ﺃﺴﻁﻰ ﻜﺎﻤﻴﺭﺍ ‪ :‬ﺤﺴﻥ ﺠﺎﺩ‬

‫ﻤﺴﺎﻋﺩﻴﻥ ‪ :‬ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ‬
‫ﺴﻌﻭﺩﻯ‬
‫ﺍﺤﻤﺩ ﻋﻠﻰ ﻤﺤﻤﺩ‬

‫ﻤﻭﻨـﺘﺎﺝ‬
‫ﻋـﺎﺩل ﻤﻨﻴﺭ‬
‫‪.L .W‬‬
‫ﻤﻭﻨﺘﺎﺝ ﺍﻝﻨﻴﺠﺎﺘﻴﻑ‬
‫ﻝﻴﻠﻰ ﻓﻬﻤﻰ‬

‫ﻤﻭﺴﻴﻘﻰ‬
‫ﺭﺍﺠﺢ ﺩﺍﻭﻭﺩ‬
‫ﺼﻭﻝﻴﺴﺕ ﺍﻝﺒﺎﻥ ﻓﻠﻭﺕ ﻭﺍﻝﻐﻨﺎﺀ‬
‫ﺨﺎﻝﺩ ﺼﺒﺭﻯ‬
‫ﺭﺍﺌﺩ ﻤﺠﻤﻭﻋﺔ ﺍﻝﺘﺸﻴﻠﻠﻭ ‪ :‬ﻋﻼﺀ‬
‫ﻋﺒﺩﺍﷲ‬
‫ﺭﺍﺌﺩ ﺍﻝﻜﻭﺭﺍل ‪ :‬ﺠﺎﻜﻠﻴﻥ ﻭﻓﻴﻕ‬

‫ﺘﺴﺠﻴل ﻭﻤﻜﺴﺎﺝ ﺍﻝﻤﻭﺴﻴﻘﻰ‬

‫ﺴﺘﻭﺩﻴﻭ ﺭﺒﺎﻋﻴﺎﺕ‬
‫ﻤﻬﻨﺩﺱ ‪ /‬ﻴﺎﺴﺭ ﺤﺴﻥ ﺃﻨﻭﺭ‬

‫ﺍﻝﻤﺸﺭﻑ ﺍﻝﻔﻨﻰ‬
‫ﺃﻨﺴـﻰ ﺃﺒﻭ ﺴﻴﻑ‬
‫ﻤﺎﻜﻴﻴﺭ ‪ :‬ﺠﻤﺎل ﺇﻤﺎﻡ‬
‫ﻤﺴﺎﻋﺩ ﻤﺎﻜﻴﺎﺝ ‪ :‬ﻤﺤﻤﺩ ﻴﻭﺴﻑ‬
‫ﻁﻪ‬
‫ﻜﻭﺍﻓﻴﺭ ‪ :‬ﻁﻪ ﻋﺒﺩ ﺍﻝﻭﻫﺎﺏ‬
‫ﻤﺴﺎﻋﺩ ﻜﻭﺍﻓﻴﺭ ‪ :‬ﺠﻤﻴل ﺭﻤﺯﻯ‬
‫ﺇﻜﺴﺴﻭﺍﺭ ﻤﻔﺭﻗﻌﺎﺕ‬
‫ﺍﻝﺩﺴﻭﻗﻰ ﻤﺤﻤﺩ‬
‫ﻤﺴﺎﻋﺩﻴﻥ ‪ :‬ﻤﺠﺩﻯ ﻋﺒﺩ ﺍﻝﻠﻁﻴﻑ‬
‫ﺼﺩﻴﻕ‬
‫ﻫﺎﺸﻡ‬
‫ﺘﻨﻔﻴﺫ ﻤﺸﺎﻫﺩ ﺍﻝﻤﻌﺎﺭﻙ‬
‫ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻝﺴﻼﻡ‬
‫ﻤﻼﺒﺱ‬
‫ﻋﻼﺀ ﺍﻝﺩﻴﻥ ﻋﺒﺎﺱ ‪-‬ﺴﻌﺎﺩ ﻋﻤﺭ‬

‫ﺼﻭﺕ‬
‫ﺃﺤﻤﺩ ﺠﺎﺒﺭ‬
‫ﻤﺴﺠل ﺼﻭﺕ ‪ :‬ﺤﺎﺯﻡ ﻤﺼﻁﻔﻰ‬

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‫ﻤﺴﺎﻋﺩﻴﻥ ‪ :‬ﺤﺴﻥ ﺃﺒﻭ ﺠﺒل‬

‫‪:‬ﻴﺎﺴﺭ ﻓﻭﺯﻯ‬
‫ﻤﺅﺜﺭﺍﺕ ﺤﻴﺔ ‪ :‬ﻤﺎﺠﺩ ﺤﺒﺸﻰ‬

‫ﺘﺼﻤﻴﻡ ﺍﻝﻌﻨﺎﻭﻴﻥ‬
‫ﻨـﻭﺍل‬

‫ﺘﻡ ﺍﻝﻤﻭﻨﺘﺎﺝ ﻭﺍﻝﻤﻜﺴﺎﺝ‬

‫ﺸﺭﻜﺔ ﺍﻹﻜﺴﻴﺭ ﻝﻠﺨﺩﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ‬
‫ﻤﺩﻴﺭ ﻓﻨﻰ ‪ :‬ﺤﺎﺘﻡ ﻁﻪ‬
‫ﻤﺩﻴﺭ ﻋﺎﻡ ‪ :‬ﻋﻠﻰ ﻤﺭﺍﺩ‬

‫ﺘﻡ ﺍﻝﻁﺒﻊ ﻭﺍﻝﺘﺤﻤﻴﺽ ﺒﻤﻌﺎﻤل‬

‫ﺸﺭﻜﺔ ﻤﺼﺭ ﻝﻸﺴﺘﻭﺩﻴﻭﻫﺎﺕ‬
‫ﻭﺍﻹﻨﺘﺎﺝ ﺍﻝﺴﻴﻨﻤﺎﺌﻰ‬

‫ﻤﺩﻴﺭ ﻋﺎﻡ ﺍﻝﻤﻌﺎﻤل‬

‫ﻤﻬﻨﺩﺱ ‪ /‬ﺇﺒﺭﺍﻫﻴﻡ ﺍﻝﺴﻴﺩ‬
‫ﺘﺼﺤﻴﺢ ﺍﻷﻝﻭﺍﻥ‬
‫ﻤﺤﻤﺩ ﻤﻤﻴﺵ‬

‫ﺍﻝﺘﻭﺯﻴﻊ ﻝﻤﺼﺭ ﻭﺠﻤﻴﻊ ﺃﻨﺤﺎﺀ‬

‫ﺍﻝﻌﺎﻝﻡ‬
‫ﺍﻝﺸﺭﻜﺔ ﺍﻝﻌﺭﺒﻴﺔ ﻝﻺﻨﺘﺎﺝ ﺍﻹﻋﻼﻤﻰ‬
‫ﻭﺍﻝﺜﻘﺎﻓﻰ‬
‫" ﺸﻌﺎﻉ "‬
‫ﺃﺸﺭﻑ ﻋﻠﻰ ﺍﻹﻨﺘﺎﺝ‬
‫ﺤﺴﻴﻥ ﺍﻝﻘﻼ‬

‫ﺘﺄﻝﻴﻑ ﻭﺇﺨﺭﺍﺝ‬
‫ﺩﺍﻭﻭﺩ ﻋﺒﺩ ﺍﻝﺴﻴـﺩ‬
‫‪1999‬‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade -out‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/60.htm‬‬ ‫‪9/22/2011‬‬