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00:00And I'll see you in the next video.
01:30Hello, my dear son. How long I haven't seen you. I miss you.
01:38God bless you.
01:40You know, the last time we met was about 10 years ago.
01:45Oh my God.
01:46Yes, maybe more. But you know, life is full of good and bad.
01:50Oh my God.
01:51This is your son, Al-Qaeda.
01:54Yes, this is Ibn Wael.
01:56Oh my God. Where are his brothers and sisters?
02:00God has given me a group of brothers and sisters.
02:03This man has compensated me with everything.
02:05God bless him.
02:07Amen.
02:08Dad, I'm going to bed.
02:09No, son. Sit down.
02:11Tomorrow is Friday.
02:12Even I want to get up early.
02:14But I want you to learn the knowledge of men and women.
02:17You know, I haven't seen my cousin for a long time.
02:19I want you to learn from him.
02:21The people of the village are the ones who teach.
02:23I want you to sit with me.
02:26I want to sit with you.
02:28I want you to sit with me.
02:29I want you to learn.
02:32I'm happy to see you.
02:37Do you remember the day we went to school together?
02:41I remember.
02:42It was a good day.
02:44It was a good day.
02:46They used to make fun of me.
02:48They used to make fun of me.
02:50They used to make fun of me.
02:52And they used to paint my face with paint.
02:54And they used to paint my face with paint.
02:56Did they paint your face?
02:57Yes.
02:59I don't want you to study at the station.
03:01Do whatever you want.
03:02Go with your father.
03:03I don't have a problem with that.
03:05No, dad. I want to learn from men.
03:07Let him sit.
03:08Let him learn.
03:09I used to sit with you.
03:11Yes.
03:12You made us uncomfortable.
03:14What do you mean?
03:15I mean I miss you.
03:17God bless you.
03:18Do you remember the day they beat you?
03:22Was it the first class?
03:23Or the second class?
03:24Or the first class?
03:25Or where?
03:26Do you want to have dinner?
03:27Or do you want to eat something?
03:29I'm done with dinner.
03:31I'm done.
03:33Do you remember?
03:35I was sitting at my father's house.
03:37She took a picture of me.
03:39I took a picture of your father.
03:40He was looking for a 25-year-old girl.
03:45I don't know her name.
03:48He was looking for a sheep at home.
03:50He was afraid of sheep.
03:51That sheep fell when your father was beating him.
03:53Do you remember?
03:57Do you have the picture?
03:58Yes.
03:59I'll bring it.
04:00I'll paint it.
04:01I'll color it.
04:02I'll put it as a memento.
04:03I didn't paint your face when you were a child.
04:07I have a job.
04:10I feel like I'm going to explode.
04:13My son is in front of me.
04:15Daddy, I love my son.
04:17Stand up.
04:18I'll show you my son.
04:20Let me give you a memento.
04:21No, it's okay.
04:22Let's go.
04:23Let me open your chest.
04:24No, don't open my chest.
04:27You're welcome.
04:28Bring the picture.
04:29Get out.
04:30Your son is sitting next to them.
04:43Did you call me, Sheikh?
04:44Yes, I called you.
04:46Sit down.
04:47Sit down.
04:48I told you to sit down.
04:49Don't you understand?
04:50I'm Sheikh Dawi.
04:52You told me, Sheikh.
04:53Yes.
04:54Excuse me for asking.
04:55Yes.
04:56Are you Dawi or Dari?
04:58I'm Dawi for good.
05:00I'm Dari for evil.
05:03You know me.
05:04All Arabs know me.
05:06You told me.
05:08What's your relationship with Salma?
05:12Sheikh.
05:13Have you ever heard of Antar and his love for his wife?
05:15Yes.
05:16I swear to God.
05:17All Arabs talk about the story of Salma and her love.
05:21But Antar is a Persian.
05:23And you're a prophet.
05:25Why do you care about Antar?
05:30Listen.
05:31Tell me the poem I told you about Salma.
05:34And the Arabs will translate it.
05:38Do you promise me, Sheikh?
05:40Yes, I promise you.
05:41Tell me the poem.
05:45He says he fell in love with Salma.
05:47Yes.
05:48Her eyes.
05:49Yes.
05:50Like the eyes of a deer.
05:52Yes, a deer.
05:53And her nose.
05:54Yes.
05:55And her nose.
05:56Yes.
05:58And her nose.
05:59Shut up.
06:00Shut up or I'll cut your nose.
06:02Shut up and her nose.
06:04And her nose like the blade of a sword.
06:07Yes.
06:09And her lips.
06:10Yes.
06:11And her lips.
06:13I said shut up or I'll cut your nose.
06:16Shut up.
06:18And her lips like the blade of a sword.
06:21Yes.
06:22And her lips.
06:23Yes.
06:24And her lips.
06:25Yes.
06:26I don't know how.
06:28Boy.
06:30I know this description.
06:33This is the description of my daughter, Tal'a.
06:36No, no.
06:37This is not the description of Tal'a.
06:39This is the description of Salma.
06:40I'm telling you, this is the description of Tal'a.
06:43Her nose like the blade of a sword.
06:46This is the length of her nose.
06:48The nose of my daughter, Tal'a.
06:50And her lips, I don't know how.
06:53Have you seen my daughter, Tal'a?
06:54No, Sheikh, I haven't seen her.
06:56Have you seen Salma?
06:57No, I haven't seen her.
06:59Where did this description come from, boy?
07:01Boy, this is the description of my daughter, Tal'a.
07:03What do you want from me, Sheikh?
07:05Boy.
07:06The day you fell in love with my daughter, Tal'a.
07:09I didn't come after you and you confessed to me.
07:12Love is not a fear.
07:15What do you know, Sheikh?
07:16Every time someone comes to you, you scold him with Tal'a.
07:18So you don't want Tal'a?
07:20No, I only want Salma.
07:22Listen.
07:23I want you to write a poem for me.
07:26Like the one you wrote for Salma, sister Mublah.
07:30I want the writers to stop at my tent quickly.
07:34What if you do it, Sheikh? What do I get from you?
07:36Listen.
07:37I want to give you a gift that has no reward for it.
07:42What is it, Sheikh?
07:43I want to give you my daughter, Tal'a.
07:45Your beloved.
07:46Your beloved.
07:48A gift that has no reward for it.
07:50You write about Salma and you don't write about Tal'a.
07:54I'll hit you.
07:55You write about Salma and you don't write about Tal'a.
08:05As I told you, doctor.
08:07I tried to find a solution, but I couldn't.
08:10Everything is a no, no, no.
08:12Your problem is a marital problem.
08:15You should go see a psychiatrist.
08:18I'm Dr. Abu Nawab.
08:19No.
08:21As you heard, doctor.
08:22In the case of psychiatrists,
08:25society is sensitive to this issue.
08:28So I thought I'd come to you.
08:29Maybe you'll find a solution.
08:32Okay.
08:34When did this problem start?
08:37Honestly, two days ago.
08:39It was with his mother and sister.
08:41After that, everything became a no.
08:44So you're saying that his mother and sister changed him.
08:47No.
08:48I'm not saying that.
08:49But logically, doctor.
08:50Before, everything was a yes, yes, yes.
08:53Now it's a no.
08:57Okay.
08:58What does he do?
09:00He's a teacher.
09:01No.
09:02I'm a teacher.
09:06Are you a man?
09:07Don't try to scare me.
09:10Are you a Muslim?
09:11There is no God but Allah.
09:14Muhammad is the Messenger of Allah.
09:16That's it.
09:17It's clear.
09:18Look, sister.
09:20Your husband has no problem saying no.
09:23Your husband is suffering from a condition called
09:25ear-piercing.
09:27What do you mean, doctor?
09:28It's the first time I've heard of this condition.
09:30When Juha was asked,
09:32where is your ear?
09:33What did he say?
09:34He said, this is it.
09:35Okay.
09:36Usually, people with ear-piercing conditions
09:39are the result of a person feeling
09:41that he's not qualified in the society.
09:43He doesn't have an opinion.
09:44He tries to give a different opinion
09:45than the opinions that exist.
09:47And this results in pressure.
09:48So I think that you almost always
09:50try to impose your opinion on him.
09:52No.
09:53Even you?
09:54No, no.
09:55I don't mean that.
09:56But, you know,
09:57he's his mother and his sister.
09:58The thing is,
09:59you're on one side,
10:00his mother and his sister on the other.
10:02You're in the same boat.
10:04Okay, doctor.
10:05What's the solution?
10:06I really want to go to the weekend chalet
10:08and he's saying no.
10:09Look, it's simple.
10:10Very simple.
10:11Where do you want to go?
10:12Chalet.
10:13Look, focus.
10:14Okay?
10:15Brother Abdullah,
10:16how about you and Madam Sharqiya go?
10:18Change the mood there.
10:19No.
10:20We're going to the chalet.
10:21Why Sharqiya and Khasair?
10:23See?
10:24It's simple.
10:26If you're a woman
10:27and there's a man
10:28who has a hearing impairment,
10:29what do you do with him?
10:30You throw him far away
10:31and he comes close to you.
10:32It's very simple.
10:33Now you can go home.
10:34No.
10:35I want to stay here.
10:45That's enough, sir.
10:46No, no, Mr. Mustafa.
10:47I told you to go to the weekend chalet.
10:49I didn't like it at all, Mr. Mustafa.
10:51There's something different about our society
10:53and our reality.
10:54I love you so much, Mr. Mustafa.
10:56It's something that touches us.
10:58It touches our lives.
10:59It touches our society.
11:00Please, Mr. Mustafa.
11:01Please.
11:02No one wants to see this text in front of you.
11:04Even here.
11:05No one wants to see it.
11:06Who wrote this?
11:07The writers left it
11:08and we didn't benefit from it.
11:09Take this other text
11:10and read it.
11:11Read it to me.
11:12But, sir,
11:13I mean,
11:14just so I understand.
11:15Do you want a local text?
11:17No, a Bukhari text.
11:18I'm telling you,
11:19I want a text that's close to our society.
11:21That speaks to our reality.
11:22I don't want anything
11:23that's complicated.
11:24Please, Mr. Mustafa.
11:25I brought you from Cairo
11:27to save me.
11:28Don't kill me.
11:29Please.
11:30No.
11:31Since this is your suggestion,
11:32then I have to read it
11:33and focus on it.
11:36I want you to teach me
11:37what this text is about.
11:39Oh, sir,
11:40this is the text
11:41that talks about
11:42the sons of a merchant.
11:43Their father is dying.
11:45And they go to fight.
11:46And they get beaten.
11:47And among them are judges,
11:48and judges,
11:49and chains,
11:50and pillows,
11:51and things like that.
11:52It's a big story.
11:53It's all for your legacy.
11:54Mashallah.
11:55This is what I want.
11:57How many children do you have?
11:58Seven.
11:59Seven.
12:00We can produce this in the company.
12:02And I'll add,
12:03you can leave them
12:04three children
12:05just to save us
12:06in the production.
12:07By the way,
12:08you have great ideas.
12:11Mashallah.
12:12You're welcome, sir.
12:13And I'll tell you,
12:14we can also do this.
12:16We can say,
12:17in the first scene,
12:18three children
12:19with their father in the car
12:21die in an accident.
12:22What do you think?
12:23No.
12:24No, no, no, Mustafa.
12:25You're starting to confuse me.
12:26Why?
12:27You're getting into
12:28expensive stuff.
12:29I'd rather,
12:30instead of the accident,
12:31the cars,
12:32and the action we do,
12:33let them die
12:34and get drunk
12:35and relax.
12:36You'll save
12:37a lot of money.
12:38Yes.
12:39You're right.
12:40Drinking is much cheaper.
12:41If there were a lot of young people,
12:43what would they do?
12:44Because they really
12:45attract the audience.
12:46Yes.
12:47If there were a lot of girls,
12:48this is better
12:49because they attract
12:50the audience.
12:51What is this nonsense?
12:52What is this role, sir?
12:54I want you to play
12:55the role of Kofira.
12:58And you'll do the hair
12:59so that the girls
13:01and the boys
13:02can do their hair
13:03in Kofira
13:04and discuss
13:05women's issues.
13:06Thank you, sir.
13:07You're so advanced.
13:08And you're a man
13:09who helps women
13:10at all times
13:11and at all times
13:12and at all times.
13:13God bless you, sir.
13:15Yes, but I want you
13:16to make an effort.
13:17I mean,
13:18I want the father
13:19to die in the first episode
13:20and come out
13:21in the second episode.
13:22God bless you, sir.
13:23God bless you, sir.
13:24What is this role?
13:25What are these beautiful things?
13:26You're telling me
13:27how to handle the scene.
13:28Do you want the father
13:29to come out
13:30in the second episode?
13:31Yes.
13:32We'll get into a murder case
13:33and make them
13:34kill each other
13:35for the third time.
13:36But who exactly
13:37is he going to kill?
13:38He's going to kill
13:39Skelter.
13:40Yes, but sir,
13:41we're going to burn the movies
13:42and we're going to burn things.
13:43And look at what you're saying.
13:44I mean,
13:45we're going to find
13:46the father
13:47going to be
13:49I'm the hero,
13:50I'm the producer,
13:51and I'm everything.
13:52If someone comes
13:53and puts me in this series,
13:54I'll understand.
13:55And don't spend
13:56any money on me.
13:57I'll spend
13:58all my money on myself.
13:59God bless you.
14:00That's why
14:01they call you
14:02Beiram Kaka
14:03the fan of the audience.
14:05My name is
14:06Zeel Oneh Al-Zahab.
14:14The hero?
14:16Good evening,
14:17Mr. Al-Assad.
14:19Sit down,
14:20sit down.
14:21Don't push me, Mustafa.
14:22Have mercy on your father.
14:23I'm busy
14:24with the script.
14:26One moment.
14:27And he comes
14:29behind him
14:30and gives him
14:31a kiss.
14:32Mustafa, my dear.
14:33Yes.
14:34Take with you
14:35Mustafa
14:36so you know
14:37who you're working with.
14:38This script
14:39I want you to print
14:40ten copies
14:41and read it
14:42and know that
14:43this is my target,
14:44Mustafa,
14:45the future.
14:46Yes, sir.
14:47But
14:48this has been discussed
14:49before.
14:50It could be a problem
14:51for us or something.
14:52Mustafa,
14:53listen to me.
14:54With me,
14:55everything is different.
14:56Yes, sir.
14:57But I think
14:58we can do
14:59like some people.
15:00We can take
15:01from Chinese movies
15:02a Kubi script
15:03or something
15:04unknown
15:05from here
15:06or from here
15:07and put it
15:08and no one
15:09knows anything.
15:10This idea
15:11is in my head
15:12all the time.
15:13Of course, sir.
15:14I'm just
15:15reviving my thoughts
15:16from your thoughts
15:17and the dust
15:18of your thoughts,
15:19sir.
15:20So what?
15:21But I...
15:22If
15:23you allow me
15:24to write
15:25a little bit
15:26of a brave scene
15:27here...
15:28You have to.
15:29You have to
15:30deal with
15:31social issues
15:32bravely.
15:33Mustafa,
15:34or you won't
15:35succeed in production.
15:36I'm tired,
15:37Mustafa.
15:38Yes, sir.
15:39I'm tired.
15:40But
15:41you have to
15:42write
15:43a brave scene
15:44other than
15:45what you mean.
15:46I mean,
15:47a different kind
15:48of brave scene.
15:49Do you think
15:50this is a good idea?
15:51Of course, sir.
15:52Stop it
15:53whenever you want.
15:54Stop me, sir.
15:55I want to stop
15:56all the viewers.
15:57This pause
15:58will cause you
15:59a propaganda
16:00for your work.
16:01A stir.
16:02It will succeed
16:03like the fire
16:04spreading
16:05around the world.
16:06No.
16:07No.
16:08No.
16:09It's too much
16:10for me,
16:11sir.
16:12I'm still
16:13thinking about
16:14tomorrow.
16:15No, sir.
16:16That's not...
16:17But, listen.
16:18There's a hero
16:19who's being tortured
16:20by the gang's
16:21leader
16:22and so on.
16:23You should
16:24leave it.
16:25No,
16:26Mustafa.
16:27I left the hero
16:28to torture
16:29the gang.
16:30The whole gang?
16:31Yes.
16:32Yes, sir.
16:33But the hero
16:34is the kidnapped one.
16:35May God
16:36guide you, Mustafa.
16:37That's why
16:38I left the hero
16:39to kidnap
16:40He's the one who kidnaps people. I don't kidnap people, Mustafa.
16:53What's the schedule for tomorrow, Mustafa?
16:56Tomorrow, sir, you have three scenes in the neighborhood.
17:03You know I hate the heat, Mustafa. Let it be at night.
17:07I can't, sir. These are scenes in the neighborhood.
17:10There are rioters, cars, and things like that.
17:14Mustafa, I said I don't like the heat. Let it be at night.
17:18See what you can do.
17:20I can't, sir. The scenes are daytime, so they have to be during the day.
17:25Play with anything. Play with the lights.
17:27Get me a director to play with the subject.
17:29I can't handle the heat. I can't shoot in the heat, Mustafa.
17:32Sir, I mean...
17:34Whatever you want, sir.
17:36No problem.
17:38But there's something I wanted to talk to you about, sir.
17:42Say it.
17:44I just don't want to change your mood, sir.
17:48Man, I've always changed my mood.
17:50That's enough for me, Mustafa.
17:52You want me to change my mood? Go ahead, Mustafa.
17:56Right.
17:57Is this guy called Mohamed Mohamed or Mohamed Mohamed?
18:00No, sir.
18:01He's right behind us. What's wrong with him?
18:04He's saying that you're responsible for the destruction of local drama.
18:12I'm responsible for the destruction of local drama?
18:14Did you see what happened?
18:16Did you see the war I suffered, Mustafa?
18:18This is the civil war.
18:20If I had any respect, Mustafa,
18:23I would have called the international artist responsible for the destruction of global drama.
18:28Because I'm a man outside their world.
18:31What's wrong with you, Mustafa?
18:32This is a war.
18:33You should know that these people are originalists.
18:36They want me to support them so they can be silent.
18:38He's also saying, sir, that...
18:40I'm sorry, I'm sorry.
18:42He's saying that you're fighting the stars, sir.
18:44I have to fight the stars, Mustafa.
18:46If I hadn't fallen for the stars, how would I have reached the summit?
18:50How would I have reached the top of the pyramid, Mustafa?
18:52I have to defeat them like I defeated an ant on the ground.
18:55What's wrong with you, Mustafa?
18:57Trust me, Mustafa.
18:58I'm the only star in the world.
19:00God bless you, sir.
19:01God bless you.
19:02You're the head of the department, to be honest.
19:05But...
19:07Tell me about me, too.
19:09I'm not very good at talking.
19:10These words are like a curse, to be honest.
19:12What about you, Mustafa?
19:13What's strange about me?
19:14What else do they say?
19:15They say that I'm like a stranger,
19:17a reason for the destruction and destruction of local drama, sir.
19:20That's true, Mustafa.
19:22I can't.
19:23I may look like a stranger, but I'm honest.
19:25You're the destruction of local drama, sir.
19:28Or the 500 episodes series.
19:29What's wrong with you, Mustafa?
19:31You don't know anything about football or details.
19:34You don't know anything about our traditions, Mustafa.
19:37We should make a decision about this, to be honest.
19:41What are you going to do, sir?
19:43I'm going to stop all the prayers, Mustafa.
19:45I want the director and the lighting to stop.
19:49How?
19:50Tomorrow, I want them all to wear black,
19:54and you'll be the first one, Mustafa.
19:56Okay, sir. Okay.
20:20Okay.
20:50Okay.
21:20Okay.
21:21Okay.
21:22Okay.
21:23Okay.
21:24Okay.
21:25Okay.
21:26Okay.
21:27Okay.
21:28Okay.
21:29Okay.
21:30Okay.
21:31Okay.
21:32Okay.
21:33Okay.
21:34Okay.
21:35Okay.
21:36Okay.
21:37Okay.
21:38Okay.
21:39Okay.
21:40Okay.
21:41Okay.
21:42Okay.
21:43Okay.
21:44Okay.
21:45Okay.
21:46Okay.
21:47Okay.
21:48Okay.