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‫)ﻤﺴﺭﺤﻴﺔ(‬ ‫ﺛـﺮﻭﺕ ﺃﺑﺎﻇـﺔ‬
‫ﻃﺒﻘﺎ ﻟﻘﻮﺍﻧﲔ ﺍﳌﻠﻜﻴﺔ ﺍﻟﻔﻜﺮﻳﺔ‬ ‫א‬ ‫א‬ ‫א‬ ‫.‬ ‫אא‬ ‫א‬ ‫)ﻋـﱪ ﺍﻻﻧﱰﻧـﺖ ﺃﻭ‬ ‫א‬ ‫אא‬ ‫ﻟﻠﻤﻜﺘﺒــﺎﺕ ﺍﻻﻟﻜﱰﻭﻧﻴــﺔ ﺃﻭ ﺍﻷﻗــﺮﺍﺹ ﺍﳌﺪﳎــﺔ ﺃﻭ ﺍﻯ‬ ‫א‬ ‫ﻭﺳﻴﻠﺔ ﺃﺧﺮﻯ (‬ ‫א‬ ‫א‬ ‫.‬ ‫.‬ ‫א א‬
‫ﺇﻫﺩﺍﺀ‬ ‫ﺇﻟﻰ ﺃﺒﻲ ﺩﺴﻭﻗﻲ ﺃﺒﺎﻅﺔ ﺒﺎﺸﺎ‬ ‫ﺘﺭﺩﺩﺕ ﻓﻲ ﺃﻥ ﺃﺭﻓﻊ ﻫﺫﺍ ﺍﻟﻜﺘﺎﺏ ﺇﻟﻴﻙ ﻓﺈﻨﻲ ﺃﺨﺸﻰ ﺃﻻ‬ ‫ﺃﻜﻭﻥ ﻗﺩ ﺒﻠﻐﺕ ﺒﻪ ﺍﻟﻤﺴﺘﻭﻯ ﺍﻟﺫﻱ ﺘﺭﻀﺎﻩ، ﻭﻟﻜﻥ ﻤﺎ ﺃﺴﺭﻉ‬ ‫ﻤﺎ ﺯﺍﻴﻠﻨﻲ ﻫﺫﺍ ﺍﻟﺘﺭﺩﺩ ﻓﻤﻥ ﻴﻘﺒل ﻤﻨﻲ ﺇﺫﺍ ﻟﻡ ﺘﻘﺒل ﺃﻨﺕ؟!‬ ‫ﻓﺈﻟﻴﻙ ﻓﻲ ﺃﻗﺩﺱ ﺠﻭﺍﺭ.‬ ‫ﺍﺒﻨﻙ ﺜﺭﻭﺕ‬ ‫٣‬
‫ﺍﻟﻔﻬﺭﺱ‬ ‫ﻣﻘﺪﻣﺔ ........................................................................................................................... ٥‬ ‫اﻟﻔﺼﻞ اﻷول .................................................................................................................... ٧‬ ‫اﻟﻔﺼﻞ اﻟﺜﺎﻧﻲ ................................................................................................................ ٤٢‬ ‫اﻟﻔﺼﻞ اﻟﺜﺎﻟﺚ ................................................................................................................ ٧٣‬ ‫اﻟﻔﺼﻞ اﻟﺮاﺑﻊ ................................................................................................................ ٥٤‬ ‫٤‬
‫ﻤﻘﺩﻤﺔ‬ ‫ﺒﺴﻡ ﺍﷲ ﺍﻟﺭﺤﻤﻥ ﺍﻟﺭﺤﻴﻡ‬ ‫ﺃﻗﺩﻡ ﻫﺫﺍ ﺍﻟﻜﺘﺎﺏ ﺇﻟﻰ ﺍﻟﻘﺭﺍﺀ، ﻓﻜﺭﺓ ﻻ ﻤﺴﺭﺤﻴﺔ، ﻭﻤﺸﻜﻠﺔ ﻗﺩﻴﻤﺔ ﻻ ﺭﻭﺍﻴﺔ ﺫﺍﺕ ﺘﻤﻬﻴﺩ ﻭﻗﻤـﺔ‬ ‫ﻭﺤل. ﺍﻟﻤﻭﺍﻗﻑ ﻓﻴﻬﺎ ﻗﺎﺌﻤﺔ ﻟﻠﺩﻓﺎﻉ ﻋﻥ ﻓﻜﺭﺓ ﺒﻌﻴﻨﻬﺎ، ﻓﻼ ﻴﺄﺨﺫﻥ ﻋﻠﻲ ﺍﻟﻤﺸﺘﻐﻠﻭﻥ ﺒﺎﻟﻤﺴﺭﺡ ﺃﻨﻨﻲ ﻟـﻡ‬ ‫‪‬‬ ‫ﺃﺭﺍﻉ ﺍﻟﻔﻥ ﺍﻟﻤﺴﺭﺤﻲ ﻜﺎﻤﻼ ﻓﻲ ﻤﻭﺍﻗﻔﻲ، ﻭﻟﻡ ﺃﻋﻤﺩ ﺇﻟﻰ ﺃﻥ ﺘﺜﻴﺭ ﻨﻬﺎﻴـﺔ ﻫـﺫﻩ ﺍﻟﻤﻭﺍﻗـﻑ ﺍﻟـﺸﻜﻭﻙ‬ ‫ﻭﺍﻟﺘﺨﻤﻴﻨﺎﺕ ﻓﻴﻤﺎ ﻗﺩ ﻴﺤﺩﺙ ﻓﻲ ﺍﻟﻤﻭﻗﻑ ﺍﻟﺫﻱ ﻴﻠﻴﻪ، ﺒل ﻀﺤﻴﺕ ﺒﻜل ﻫﺫﺍ ﻷﺠﻠﻭ ﺍﻟﻔﻜﺭﺓ ﺍﻟﺘﻲ ﻜﺘﺒـﺕ‬ ‫ﻤﻥ ﺃﺠﻠﻬﺎ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻜﻠﻬﺎ. ﻭﻜﺜﻴ ‪‬ﺍ ﻤﺎ ﻜﻨﺕ ﺃﺘﻭﻗﻑ ﻓﻲ ﻤﻔﺭﻕ ﺍﻟﻁﺭﻴﻘﻴﻥ ﺒﻴﻥ ﺇﻅﻬﺎﺭ ﺍﻟﻔﻜﺭﺓ ﻭﻤﺭﺍﻋﺎﺓ‬ ‫ﺭ‬ ‫ﺍﻟﻤﺴﺭﺡ ﻓﻼ ﻴﻁﻭل ﺒﻲ ﺍﻟﺘﻭﻗﻑ، ﺒل ﻜﻨﺕ ﺃﺴﻴﺭ ﻗﺩﻤﺎ ﻓﻲ ﺍﻟﻁﺭﻴﻕ ﺍﻟـﺫﻱ ﻴﻭﻀـﺢ ﺍﻟﻔﻜـﺭﺓ ﺍﻟﺘـﻲ‬ ‫ﺃﻜﺘﺏ ﻟﻬﺎ.‬ ‫ﻜﺎﻥ ﻫﺫﺍ ﻓﻴﻤﺎ ﻴﺘﺼل ﺒﺎﻟﻤﺴﺭﺤﻴﺔ ﺫﺍﺘﻬﺎ، ﺃﻤﺎ ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﺄﺸﺨﺎﺼﻬﺎ ﻓﻘﺩ ﻗﺼﺩﺕ ﺇﻟﻰ ﺍﻟﺩﻗﺔ ﻓـﻲ‬ ‫ﺘﺼﻭﻴﺭﻫﻡ ﺒﺤﻴﺙ ﻻ ﺘﻠﺘﻭﻱ ﻤﻨﻲ ﺍﻟﺸﺨﺼﻴﺔ ﻭﻻ ﺘﻨﻤﺎﻉ ﺤﺘﻰ ﺇﺫﺍ ﺘﺤﻭﻟﺕ ﺍﻟﺸﺨﺼﻴﺔ ﻤﻥ ﻁﺭﻴﻕ ﺇﻟـﻰ‬ ‫ﻁﺭﻴﻕ، ﺒﻴﻨﺕ –ﻗﺩﺭ ﺍﻟﺠﻬﺩ- ﺃﺴﺒﺎﺏ ﻫﺫﺍ ﺍﻟﺘﺤﻭل ﻭﺩﻭﺍﻓﻌﻪ، ﻭﻻ ﺸﻙ ﺃﻥ ﺘﺤﻠﻴل ﺍﻟﺸﺨـﺼﻴﺎﺕ ﺍﻟﺘـﻲ‬ ‫ﺃﺭﺩﺕ ﺒﻬﺎ ﺍﻟﻘﺼﺔ، ﻜﺎﻥ ﻀﻤﻥ ﺍﻷﻫﺩﺍﻑ ﺍﻟﺘﻲ ﻗﺼﺩﺕ ﺇﻟﻴﻬﺎ ﻤﻥ ﺍﻟﻜﺘﺎﺒﺔ.‬ ‫ﻭﺍﻟﻘﺼﺔ ﻓﻲ ﻤﺠﻤﻭﻋﻬﺎ ﺨﻴﺎﻟﻴﺔ ﻜﻤﺎ ﺴﻴﺘﻀﺢ ﻟﻠﻘﺎﺭﺉ. ﻭﻫـﺫﺍ ﻴﻭﺴـﻊ ﻟـﻲ ﺃﻥ ﺃﺭﺴـﻡ ﻤـﻥ‬ ‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﻤﺎ ﻴﺤﻠﻭ ﻟﻲ، ﻤﻠﺘﺯ ‪‬ﺎ –ﺒﻁﺒﻴﻌﺔ ﺍﻟﺤﺎل- ﺍﻟﻘﻴﻭﺩ ﺍﻟﻁﺒﻴﻌﻴﺔ، ﻓﻘﺩ ﻴﺭﻯ ﻗـﺎﺭﺉ –ﻤـﺜﻼ- ﺃﻥ‬ ‫ﻤ‬ ‫ﺸﺨﺼﻴﺔ ﻤﺠﺩﻱ ﺸﺨﺼﻴﺔ ﻤﺜﺎﻟﻴﺔ ﻻ ﺘﻭﺠﺩ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ، ﺒﻴﻨﻤﺎ ﺃﺭﻯ ﺃﻨﺎ ﺃﻨﻬﺎ ﺘﻤﺜـل ﺍﻟﻤﺜﺎﻟﻴـﺔ‬ ‫ﺍﻟﻌﻠﻤﻴﺔ ﺍﻟﺘﻲ ﺘﺴﻭﺩ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻷﺨﻼﻗﻴﺔ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ. ﻭﻋﻠﻰ ﻜل ﺤﺎل ﻫل ﻫﻨﺎﻙ ﻤﺎ ﻴﻤﻨﻌﻨﺎ ﻤـﻥ‬ ‫ﺍﻷﻤل ﻓﻲ ﻭﺠﻭﺩ ﻤﺜﻠﻬﺎ؟! ﻭﺇﻨﻲ ﻓﻲ ﻫﺫﺍ ﺃﺴﻴﺭ ﻤﻊ ﺍﻟﻘﺎﺌﻠﻴﻥ:‬ ‫ﺇﻥ ﻭﻅﻴﻔﺔ ﺍﻟﻜﺎﺘﺏ ﻫﻲ ﺃﻥ ﻴﺭﺴﻡ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺘﻨﺒﺽ ﺒﺎﻟﻨﺒﻀﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺍﻟﺘﻲ ﻨﻌﺭﻓﻬﺎ، ﻭﻟﻴﺱ‬ ‫ﺤﺘﻤﺎ ﻋﻠﻰ ﺍﻟﻜﺎﺘﺏ ﺃﻥ ﻴﺨﺘﺎﺭ ﺸﺨﺼﻴﺎﺘﻪ ﻤﻥ ﻭﺍﻗﻊ ﺍﻟﺤﻴﺎﺓ ﻨﻔﺴﻬﺎ، ﺒل ﻟﻪ ﺃﻥ ﻴﻀﻔﻲ ﻋﻠﻴﻬﺎ ﻤﻥ ﺁﻤﺎﻟـﻪ‬ ‫ﻭﻨﻅﺭﻴﺎﺘﻪ ﻤﺎ ﻴﺭﻴﺩ.‬ ‫ﻭﻗﺩ ﺍﺨﺘﺭﺕ ﻷﺴﻠﻭﺏ ﺍﻟﻜﺘﺎﺒﺔ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ ﺍﻟﺒﺴﻴﻁﺔ، ﻟﻌل ﺍﻟﻤﺘﺤﺎﻤﻠﻴﻥ ﻋﻠـﻰ ﺍﻟﻠﻐـﺔ ﺍﻟﻌﺭﺒﻴـﺔ‬ ‫ﻴﺨﻔﻔﻭﻥ ﺍﻟﻭﻁﺄﺓ ﺒﻌﺽ ﺍﻟﺸﻲﺀ، ﻓﻬﻲ ﻟﻐﺔ ﺘﺴﺘﻁﻴﻊ ﺃﻥ ﺘﺼل ﺇﻟﻰ ﺍﻟﺠﻤﻴﻊ. ﺇﺫﺍ ﺤﺎﻭل ﺍﻟﻜﺘﺎﺏ ﺃﻥ ﻴﺼﻠﻭﺍ‬ ‫ﺒﻬﺎ ﺇﻟﻰ ﺍﻟﻌﺎﻤﺔ ﻭﺼﻠﻭﺍ، ﻭﺇﺫﺍ ﻜﺎﻥ ﻫﺫﺍ ﻴﻜﻠﻔﻬﻡ ﺒﻌﺽ ﺍﻟﺠﻬﺩ، ﻓﻼﺒﺩ ﻟﻠﻜﺘﺎﺏ ﺃﻥ ﻴﺠﻬﺩﻭﺍ ﻤﺎ ﺩﺍﻤﻭﺍ ﻗـﺩ‬ ‫ﺍﺨﺘﺎﺭﻭﺍ ﻷﻨﻔﺴﻬﻡ ﻤﻬﻨﺔ ﻻ ﺭﺍﺤﺔ ﻓﻴﻬﺎ.‬ ‫٥‬
‫ﻋﻠﻰ ﺃﻥ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ –ﻭﺍﻟﺤﻤﺩ ﷲ- ﺴﻭﻑ ﺘﺒﻘﻰ ﻋﻠﻰ ﺍﻟﺯﻤﺎﻥ ﻤﻬﻤﺎ ﻴﺤﺎﻭل ﺍﻟﺯﻤﺎﻥ ﺃﻥ ﻴﻐﺽ‬ ‫ﻤﻨﻬﺎ، ﻓﺎﻟﻜﺎﺘﺏ ﺒﺎﻟﻠﻐﺔ ﺍﻟﻌﺎﻤﻴﺔ ﻓﻲ ﻤﺼﺭ ﻴﻜﺘﺏ ﻟﻤﺼﺭ ﻓﻘﻁ، ﺒل ﻟﻌﻠﻪ ﻴﻜﺘﺏ ﻟﻠﻘـﺎﻫﺭﺓ ﻭﺤـﺩﻫﺎ. ﺃﻤـﺎ‬ ‫ﺍﻟﻜﺎﺘﺏ ﺒﺎﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ، ﻓﺎﻟﻌﺎﻟﻡ ﺍﻟﻌﺭﺒﻲ ﻜﻠﻪ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻘﺭﺃ ﻟﻪ ﻭﻴﻔﻬﻡ ﻋﻨـﻪ، ﻭﺇﻥ ﺍﻟﺠﻤـﺎل ﺍﻟـﺫﻱ‬ ‫ﺘﻀﻔﻴﻪ ﻟﻐﺔ ﺍﻟﻘﺭﺁﻥ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺒﺔ ﻟﺘﺘﻘﺎﺼﺭ ﺩﻭﻨﻪ ﻜل ﻟﻐﺎﺕ ﺍﻟﻌﺎﻟﻡ، ﻭﻤﻬﻤﺎ ﻴﻘل ﺍﻟﻘﺎﺌﻠﻭﻥ ﻓـﺈﻥ ﺍﻟﻨﺎﺤﻴـﺔ‬ ‫ﺍﻟﺠﻤﺎﻟﻴﺔ ﻓﻲ ﺍﻟﻔﻥ ﻜﺎﻨﺕ ﻭﻤﺎ ﺯﺍﻟﺕ ﻭﺴﻭﻑ ﺘﻅل ﻤﻥ ﺃﻫﻡ ﻤﻘﻭﻤﺎﺕ ﺍﻟﻔﻨﻭﻥ.‬ ‫ﺜﺭﻭﺕ‬ ‫٦‬
‫ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‬ ‫* ﺍﻟﻤﻨﻅﺭ ﺍﻷﻭل:‬ ‫"ﻤﻨﺯل ﺤﻤﺩﻱ ﺒﻙ ﺍﻟﻌﺒﺎﺴﻲ. ﻏﺭﻓﺔ ﺍﻟﺼﺎﻟﻭﻥ ﺘﺠﻠﺱ ﺒﻬﺎ ﺘﺤﻴﺔ ﻭﻤﻌﻬﺎ ﺍﺒﻨـﺔ ﺨﺎﻟﺘﻬـﺎ ﺴـﻨﺎﺀ..‬ ‫ﺍﻷﺜﺎﺙ ﻤﻨﺴﻕ ﻓﻲ ﺫﻭﻕ ﺠﻤﻴل ﻭﻫﻭ ﺃﻨﻴﻕ ﻭﻟﻜﻥ ﻟﻴﺱ ﺒﺎﻟﻎ ﺍﻷﻨﺎﻗﺔ.. ﺍﻟﻭﻗﺕ ﺼﺒﺎ ‪‬ﺎ.. ﺘﺤﻴﺔ ﻤﻀﻁﺭﺒﺔ‬ ‫ﺤ‬ ‫ﺒﻌﺽ ﺍﻟﺸﻲﺀ ﻭﻗﺭﻴﺒﺘﻬﺎ ﺘﺤﺩﺜﻬﺎ".‬ ‫: ﻭﺘﻤﺕ ﺍﻟﺨﻁﺒﺔ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺼﺤﻴﺢ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻭﺤﻴﺎﺘﻙ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺤﺏ ﻜﺒﻴﺭ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺠﺩﺍ.. ﺘﺼﻭﺭﻱ ﺨﻁﺒﻬﺎ ﻴﻭﻡ ﺍﻟﺨﻤﻴﺱ ﺍﻟﻔﺎﺌﺕ، ﻭﻴﺭﻴﺩ ﺃﻥ ﻴﺘﺯﻭﺝ ﺒﻌﺩ ﺸﻬﺭ!‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻴﺎ ﺴﻼﻡ! ﻭﻓﻴﻡ ﻜل ﻫﺫﻩ ﺍﻟﺴﺭﻋﺔ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺍﻟﺤﺏ ﻴﺎ ﺤﺒﻴﺒﺘﻲ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻫﻴﻪ ﻴﺎ ﺴﻨﺎﺀ.. ﺃﺤﻴﺎ ﹰﺎ ﺍﻟﺤﺏ ﻴﻤﻨﻊ ﻤﻥ ﺍﻟﺯﻭﺍﺝ!‬ ‫ﻨ‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻜﻼﻡ ﻓﺎﺭﻍ.. ﺍﻟﺤﺏ ﻴﻌﻤل ﺍﻟﻤﺴﺘﺤﻴل..‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺼﺤﻴﺢ ﻴﻌﻤل ﺍﻟﻤﺴﺘﺤﻴل، ﻭﻟﻜﻨﻨﻲ ﻻ ﺃﺭﺍﻩ ﻴﻌﻤل ﺍﻟﻐﻨﻰ ﺃﺒ ‪‬ﺍ.. ﻴﻅﻬﺭ ﻴﺎ ﺴﻨﺎﺀ ﺃﻥ‬ ‫ﺩ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﻟﻐﻨﻰ ﺃﻜﺜﺭ ﻤﻥ ﺍﻟﻤﺴﺘﺤﻴل!‬ ‫: ﻤﻥ ﻗﺎل؟ ﺍﻟﻐﻨﻰ ﻨﺘﻴﺠﺔ ﻁﺒﻴﻌﻴﺔ ﻟﻼﺠﺘﻬﺎﺩ.. ﻭﺍﻻﺠﺘﻬﺎﺩ ﻨﺘﻴﺠﺔ ﻁﺒﻴﻌﻴﺔ ﻟﻠﺤﺏ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺃﻨﺕ ﻏﻠﻁﺎﻨﺔ ﻴﺎ ﺴﻨﺎﺀ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﻨﺕ ﺍﻟﻐﻠﻁﺎﻨﺔ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺘﻘﺼﺩﻴﻥ ﺨﻁﺒﺘﻲ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻁﺒﻌﺎ ﺃﻗﺼﺩ ﺨﻁﺒﺘﻙ.. ﺃﻨﺕ ﻤﺨﻁﻭﺒﺔ ﻤﻥ ﺴﻨﺘﻴﻥ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺃﺒﻲ ﻴﻤﻨﻊ ﺇﺒﺭﺍﻫﻴﻡ ﻤﻥ ﺍﻟﺘﻭﻅﻑ ﺒﺎﻟﺤﻜﻭﻤﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻭﻤﺎ ﻟﻪ؟!‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻭﺍﷲ ﻴﺎ ﺴﻨﺎﺀ ﺃﻨﺎ ﻋﺎﺭﻓﺔ ﻜل ﺍﻟﻅﺭﻭﻑ ﺍﻟﻤﺤﻴﻁﺔ ﺒﻲ ﻭﺒﺈﺒﺭﺍﻫﻴﻡ ﻭﺃﻋﺭﻑ ﺃﻨﻪ ﻟﻭ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﺠﺘﻬﺩ ﻻﺒﺩ ﺃﻥ ﻴﺼل.‬ ‫: ﻭﺴﺎﻜﺘﺔ؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻭﺴﺎﻜﺘﺔ ﻴﺎ ﺴﻨﺎﺀ، ﺇﺒﺭﺍﻫﻴﻡ ﻴﻌﺘﻘﺩ ﺃﻨﻪ ﻟﻥ ﻴﻨﺠﺢ ﺇﻻ ﺇﺫﺍ ﺘﻭﻅﻑ.‬ ‫ﺘﺤﻴﺔ‬ ‫)ﺘﺩﺨل ﺃﻡ ﺘﺤﻴﺔ ﺇﺠﻼل ﻫﺎﻨﻡ ﻭﻫﻲ ﺴﻴﺩﺓ ﻭﻗﻭﺭ ﺫﻜﻴﺔ(‬ ‫: ﻤﺎﺫﺍ ﺠﺭﻯ ﻴﺎ ﺒﻨﺎﺕ؟ ﺍﻟﻜﻼﻡ ﻁﺎل ﺒﻴﻨﻜﻡ.‬ ‫ﺇﺠﻼل‬ ‫: ﻭﺍﷲ ﻴﺎ ﺃﻤﻲ ﺍﻟﻜﻼﻡ ﺠﺭ ﺒﻌﻀﻪ.‬ ‫ﺘﺤﻴﺔ‬ ‫٧‬
‫: ﻭﺴﻨﺎﺀ ﻤﺎ ﺫﻨﺒﻬﺎ ﺘﻘﻌﺩ ﺒﻴﻥ ﺃﺭﺒﻌﺔ ﺠﺩﺭﺍﻥ..؟ ﺍﻨﺯﻟﻲ ﻴﺎ ﺒﻨﺘﻲ ﻟﻠﺠﻨﻴﻨﺔ.‬ ‫ﺇﺠﻼل‬ ‫: ﺃﺒﺩﺍ، ﻭﺍﷲ ﻫﻨﺎ ﻫﻭﺍﺀ ﻭﺍﻟﺠﻭ ﻟﻁﻴﻑ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻋﻠﻰ ﻜﻴﻔﻙ.. ﻴﺎ ﺘﺭﻯ ﺍﻟﻌﺠﺎﺌﺯ ﻟﻬﺎ ﻤﻜﺎﻥ ﻫﻨﺎ؟‬ ‫ﺇﺠﻼل‬ ‫: ﺃﻫﻼ ﻭﺴﻬﻼ.. ﺃﻨﺕ ﺍﻟﺨﻴﺭ ﻭﺍﻟﺒﺭﻜﺔ.‬ ‫ﺴﻨﺎﺀ‬ ‫: )ﻭﻫﻲ ﺘﻘﻌﺩ( ﺇﺒﺭﺍﻫﻴﻡ ﻴﺠﻲﺀ ﺍﻟﻴﻭﻡ ﻴﺎ ﺘﺭﻯ؟‬ ‫ﺇﺠﻼل‬ ‫: ﺃﻅﻥ ﻴﺎ ﺃﻤﻲ..‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺸﺎﺏ ﻁﻴﺏ ﻭﺍﺒﻥ ﺤﻼل.‬ ‫ﺇﺠﻼل‬ ‫: ﺼﺤﻴﺢ ﻴﺎ ﺨﺎﻟﺘﻲ.. ﻟﻜﻥ ﺍﺒﻥ ﺤﻼل ﻟﻴﺴﺕ ﻜﺎﻓﻴﺔ.‬ ‫ﺴﻨﺎﺀ‬ ‫: )ﻤﺘﻌﺠﺒﺔ( ﻟﻴﺴﺕ ﻜﺎﻓﻴﺔ؟!‬ ‫ﺇﺠﻼل‬ ‫: ﻁﺒﻌﺎ، ﻭﻤﺎ ﻟﻨﺎ ﻨﺤﻥ ﺇﺫﺍ ﻜﺎﻥ ﺍﺒﻥ ﺤﻼل ﺃﻭ ﻻ، ﻤﺎ ﺩﺍﻡ ﻻ ﻴﺘﻜﻠﻡ ﻓﻲ ﺍﻟﺨﻁﺒﺔ ﺍﻟﺘﻲ‬ ‫ﺴﻨﺎﺀ‬ ‫ﻋﻔﻨﺕ.‬ ‫: ﺴﺒﺤﺎﻥ ﺍﷲ ﻴﺎ ﺒﻨﺘﻲ.. ﻜل ﺇﻨﺴﺎﻥ ﻟﻪ ﻅﺭﻭﻓﻪ.‬ ‫ﺇﺠﻼل‬ ‫: ﻭﻅﺭﻭﻓﻨﺎ ﻨﺤﻥ ﻴﺎ ﺨﺎﻟﺘﻲ..؟! ﺃﻟﻴﺴﺕ ﻟﻨﺎ ﻅﺭﻭﻑ ﻨﺤﻥ ﺃﻴ ‪‬ﺎ؟‬ ‫ﻀ‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻻ ﺃﻓﻬﻡ ﻤﺎ ﺘﻘﺼﺩﻴﻥ.‬ ‫ﺇﺠﻼل‬ ‫: ﺃﻗﺼﺩ ﺸﺎﺒﺎ ﻴﺨﻁﺏ ﺃﺨﺘﻲ ﻭﻴﺴﻜﺕ ﺒﻌﺩ ﺍﻟﺨﻁﺒﺔ ﺴﻨﺘﻴﻥ.. ﻭﻤﻥ ﺍﻟﺨﻁﻴﺒﺔ..؟ ﺘﺤﻴﺔ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫ﻓﺘﺎﺓ ﻜل ﺸﺎﺏ ﻴﺘﻤﻨﺎﻫﺎ.. ﻁﻴﺏ ﻴﺘﺭﻜﻬﺎ ﻫﻭ ﻭﺍﻟﻴﻭﻡ.. ﻭﻻ ﺃﻗﻭل ﻏﺩﺍ.. ﺒل ﺍﻟﻴﻭﻡ ﻴﺴﻌﻰ‬ ‫ﻟﻬﺎ ﺃﻟﻑ ﺨﻁﻴﺏ.‬ ‫: )ﻓﻲ ﻏﻀﺏ( ﻻ.. ﻻ ﻴﺎ ﺴﻨﺎﺀ.. ﺇﻻ ﺃﻥ ﻴﺘﺭﻜﻨﻲ.. ﻫﻲ ﺍﻟﻤﺴﺄﻟﺔ ﺯﻭﺍﺝ.. ﻻ ﻴﺎ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺤﺒﻴﺒﺘﻲ.. ﻟﻴﺱ ﻫﻜﺫﺍ ﺍﻟﻜﻼﻡ.. ﺇﻻ ﺃﻥ ﻴﺘﺭﻜﻨﻲ ﺃﻨﺎ ﻟﻭ ﻜﻨﺕ ﺃﺭﻴﺩ ﻫﺫﺍ ﻤﺎ ﺘﺄﺨﺭ.‬ ‫: ﻓﺎﻫﻤﺔ.. ﻓﺎﻫﻤﺔ.. ﺤﺏ..‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻁﺒﻌﺎ.. ﻭﻤﺎ ﺍﻟﻌﻴﺏ..؟ ﻟﻭ ﻟﻡ ﻴﻜﻥ ﺍﻟﺤﺏ ﻟﻤﺎ ﻗﺒﻠﺕ ﺍﻟﺨﻁﺒﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺍﷲ.. ﺒﻨﺕ.. ﻫﻜﺫﺍ ﺃﻤﺎﻤﻲ؟!‬ ‫ﺇﺠﻼل‬ ‫: ﺃﻨﺕ ﻋﺎﺭﻓﺔ ﻗﺒل ﺍﻟﻜل ﺃﻥ ﺤﺒﻲ ﻹﺒﺭﺍﻫﻴﻡ ﻫﻭ ﻭﺤﺩﻩ ﺍﻟﺫﻱ ﻨﻌﺘﻤﺩ ﻋﻠﻴﻪ ﻓﻲ ﺤﻴﺎﺘﻨﺎ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻴﺎ ﺤﺒﻴﺒﺘﻲ.. ﺃﻴﻥ ﻫﻲ ﺤﻴﺎﺘﻙ ﻫﺫﻩ؟ ﻜل ﻜﻼﻤﻲ ﻤﻥ ﺃﺠل ﺤﻴﺎﺘﻙ ﻫﺫﻩ.. ﺃﺭﻴﺩﻫﺎ.. ﺃﺭﻴﺩ‬ ‫ﺴﻨﺎﺀ‬ ‫ﺃﻥ ﺃﺭﻯ ﺒﻴﺘﻙ.. ﺤﻴﺎﺘﻙ.. ﺃﻭﻻﺩﻙ.‬ ‫: ﻻ.. ﻻ ﻴﺎ ﺴﻨﺎﺀ.. ﺍﻟﻤﺴﺄﻟﺔ ﺯﺍﺩﺕ.. ﻫﺫﺍ ﺸﻲﺀ ﻭﻫﺫﺍ ﺸﻲﺀ.. ﺃﻨﻪ ﺘﺄﺨﺭ.. ﺃﻭ ﻤﻌﺫﻭﺭ،‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﺴﺄﻟﺔ ﺃﺨﺭﻯ ﻏﻴﺭ ﺃﻨﻲ ﺃﺘﺭﻙ ﺨﻁﻴﺒﻲ.‬ ‫: ﻜﻴﻔﻙ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻁﺒ ‪‬ﺎ ﻜﻴﻔﻲ..‬ ‫ﻌ‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻭﺍﷲ ﻟﻭﻻ ﺃﻨﻲ ﻤﻨﺘﻅﺭﺓ ﺃﺨﻲ ﻤﺠﺩﻱ ﻟﺯﻋﻠﺕ ﻭﺘﺭﻜﺘﻙ..‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻴﺎ ﺴﻼﻡ.. ﻜل ﻫﺫﺍ ﻷﻨﻲ ﺃﺤﺏ ﺨﻁﻴﺒﻲ؟‬ ‫ﺘﺤﻴﺔ‬ ‫٨‬
‫: ﻋﻠﻰ ﻜﻴﻔﻙ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻴﺎ ﺴﻼﻡ.. ﻜل ﻫﺫﺍ ﻷﻨﻲ ﺃﺤﺏ ﺨﻁﻴﺒﻲ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻋﻠﻰ ﻜﻴﻔﻙ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻋﺎﺭﻓﺔ.. ﻗﻠﺘﻬﺎ ﺍﻵﻥ.‬ ‫ﺘﺤﻴﺔ‬ ‫)ﻴﺩﺨل ﻤﺠﺩﻱ ﻭﻫﻭ ﺸﺎﺏ ﺃﻨﻴﻕ ﻭﺴﻴﻡ ﻓﻴﺴﻤﻊ ﺁﺨﺭ ﺍﻟﻨﻘﺎﺵ(‬ ‫: ﺃﻋﻭﺫ ﺒﺎﷲ! ﻜﻠﻤﺎ ﺭﺃﻴﺘﻜﻤﺎ ﺴﻤﻌﺕ ﺍﻟﺨﻨﺎﻕ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺃﻫﻼ.. ﺃﻫﻼ ﺒﺎﻟﻜﺎﺘﺏ ﺍﻟﻜﺒﻴﺭ ﻭﺍﻟﻤﺤﺎﻤﻲ ﺍﻟﺸﻬﻴﺭ ﻭﺍﻷﺩﻴﺏ..‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻓﻲ ﺘﺼﻨﻊ ﺍﻟﻌﻅﻤﺔ( ﺃﻋﺭﻑ ﻜل ﺃﻟﻘﺎﺒﻲ ﻴﺎ ﺴﻴﺩﺘﻲ، ﻓﻼ ﺘﺘﻌﺒﻲ ﻨﻔﺴﻙ ﻓﻲ ﺫﻜﺭﻫﺎ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺒﺴﻡ ﺍﷲ ﺍﻟﺭﺤﻤﻥ ﺍﻟﺭﺤﻴﻡ.. ﻤﺎ ﻟﻪ ﻴﺘﻜﻠﻡ ﻭﻜﺄﻨﻪ ﻟﻭﻴﺱ ﺍﻟﺤﺎﺩﻱ ﻋﺸﺭ؟!‬ ‫ﺇﺠﻼل‬ ‫: ﻭﻤﺎ ﻟﻪ ﻟﻭﻴﺱ ﺍﻟﺤﺎﺩﻱ ﻋﺸﺭ ﺃﻭ ﺤﺘﻰ ﺍﻟﺴﺎﺩﺱ ﻋﺸﺭ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻻ.. ﺭﺒﻨﺎ ﻴﺤﻔﻅﻙ ﻤﻥ ﺍﻟﺴﺎﺩﺱ ﻋﺸﺭ ﻴﺎ ﺒﻥ ﺨﺎﻟﺘﻲ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻴﺎ ﺴﺘﻲ.. ﺭﺒﻨﺎ ﻴﺤﻔﻅﻨﺎ ﻤﻨﻙ ﺃﻭﻻ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺍﷲ.. ﺒﺫﻤﺘﻙ ﺃﻨﺎ ﻋﻤﻠﺕ ﻟﻙ ﺤﺎﺠﺔ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻻ.. ﻭﻟﻜﻥ ﺍﻻﺴﺘﻘﺒﺎل ﻟﻡ ﻴﻜﻥ ﻴﺒﻌﺙ ﻋﻠﻰ ﺍﻻﻁﻤﺌﻨﺎﻥ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻋﺠﻴﺒﺔ.. ﻟﻡ ﻴﻜﻥ ﻴﻨﻘﺼﻬﺎ ﺇﻻ ﺃﻥ ﺘﻨﺤﻨﻲ ﻭﺘﺘﻘﺩﻡ ﺨﻁﻭﺓ ﺇﻟﻰ ﺍﻷﻤﺎﻡ ﻭﺃﺨﺭﻯ ﺇﻟﻰ‬ ‫ﺇﺠﻼل‬ ‫ﺍﻟﻭﺭﺍﺀ ﻭﺘﻘﺒل ﺍﻷﺭﺽ!‬ ‫: ﻴﺎ ﺨﺎﻟﺘﻲ.. ﺘﺤﻴﺔ ﻻ ﺘﺘﻘﺩﻡ ﻟﻲ ﺒﺄﻟﻘﺎﺒﻲ ﻫﺫﻩ ﺇﻻ ﻟﺘﺘﺒﻌﻬﺎ ﺒﺈﻏﺎﻅﺘﻲ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻻ ﻭﺍﷲ.. ﻗﺭﺃﺕ ﻟﻙ ﻜﺘﺎﺒﻙ ﺍﻷﺨﻴﺭ ﻭﺃﻋﺠﺒﺕ ﺒﻪ ﺤ ﹰﺎ.. ﺃﻋﺠﺒﺕ ﺒﻪ ﻓﻌﻼ.. ﺜﻡ ﻗﺭﺃﺕ‬ ‫ﻘ‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﻘﺎﻟﻙ ﻓﻲ ﺍﻟﺠﺭﻴﺩﺓ.. ﺜﻡ ﻗﺭﺃﺕ ﻨﻘ ‪‬ﺍ ﻟﻜﺘﺎﺒﻙ ﻜﻠﻪ ﻤﺩﻴﺢ ﻟﻙ ﻭﻟﻠﻜﺘﺎﺏ.. ﻓﺎﻟﺤﻘﻴﻘﺔ ﺃﻨﻨﻲ‬ ‫ﺩ‬ ‫ﺍﻨﺘﻅﺭﺕ ﺤﺘﻰ ﺃﺭﺍﻙ، ﻷﻗﺩﻡ ﺇﻋﺠﺎﺒﻲ.‬ ‫: ﺼﺤﻴﺢ ﺃﻋﺠﺒﻙ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺼﺤﻴﺢ ﻭﺍﷲ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻓﻲ ﺘﻌﺎﻅﻡ ﻤﺭﺓ ﺃﺨﺭﻯ( ﺃﻋﺭﻑ.. ﺃﻋﺭﻑ.. ﺍﻟﻜل ﻤﻌﺠﺏ ﺒﻪ ﻓﻠﻤﺎﺫﺍ ﻻ ﺘﻌﺠﺒﻴﻥ..؟‬ ‫ﻤﺠﺩﻱ‬ ‫ﻭﻤﻥ ﺃﻨﺕ ﺤﺘﻰ ﻻ ﺘﻌﺠﺒﻲ ﺒﻪ!..‬ ‫: ﺃﻨﺎ ﻏﻠﻁﺎﻨﺔ.. ﻜﺎﻥ ﻴﺠﺏ ﺃﻥ ﺃﻗﻭل ﺍﻟﺤﻕ ﺇﺫﻥ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻤﻘﺎﻁ ‪‬ﺎ( ﻓﻲ ﻋﺭﻀﻙ.. ﺇﻥ ﺍﷲ ﻟﻐﻨﻲ ﻋﻥ ﺤﻘﻙ ﻫﺫﺍ.. ﺍﻟﻜﺫﺏ ﺃﺤﺴﻥ.. ﻭﺍﻅﺒﻲ ﻋﻠﻰ‬ ‫ﻌ‬ ‫ﻤﺠﺩﻱ‬ ‫ﺍﻟﻜﺫﺏ.‬ ‫: ﻴﺎ ﺃﺨﻲ ﺸﻐﻠﺘﻨﻲ ﻋﻥ ﻀﻴﻭﻑ ﻋﻤﻙ.‬ ‫ﺇﺠﻼل‬ ‫: ﻀﻴﻭﻑ ﻋﻤﻲ؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻋﻨﺩﻨﺎ ﺍﻟﻴﻭﻡ ﺃﺼﺩﻗﺎﺀ ﻋﻤﻙ ﺴﻴﺘﻨﺎﻭﻟﻭﻥ ﺍﻟﻐﺩﺍﺀ ﻤﻌﻪ.‬ ‫ﺇﺠﻼل‬ ‫: ﻁﻴﺏ.. ﻭﻤﺎﺫﺍ ﺴﺘﻔﻌﻠﻴﻥ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫٩‬
‫: ﻤﺎﺫﺍ ﺴﺄﻓﻌل..؟! ﺃﻗﻑ ﻓﻲ ﺍﻟﻤﻁﺒﺦ ﻭﺸﺭﻑ )ﺘﻘﻭﻡ( ﻋﻠﻰ ﻓﻜﺭﺓ ﻴﺎ ﻤﺠﺩﻱ ﺃﻨﺕ‬ ‫ﺇﺠﻼل‬ ‫ﻭﺴﻨﺎﺀ.. ﺍﻟﻐﺩﺍﺀ ﻋﻨﺩﻨﺎ ﺍﻟﻴﻭﻡ.‬ ‫: ﻤﻥ ﻏﻴﺭ ﺩﻋﻭﺓ ﻴﺎ ﺨﺎﻟﺘﻲ.. ﻤﻥ ﻏﻴﺭ ﺩﻋﻭﺓ.. ﻭﻫل ﻴﻌﻘل ﺃﻥ ﻨﺘﺭﻙ ﻭﻟﻴﻤﺔ ﺒﺤﺎﻟﻬﺎ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻋﻅﻴﻡ.. ﺃﻨﺎ ﺴﺄﻋﻤل ﺒﺄﻜﻠﻲ ﻭﺃﺸﺭﻑ ﻤﻌﻙ ﻴﺎ ﺨﺎﻟﺘﻲ.‬ ‫ﺴﻨﺎﺀ‬ ‫)ﺘﺨﺭﺝ ﺇﺠﻼل ﻭﻴﺒﻘﻰ ﺒﺎﻟﻤﺴﺭﺡ ﻤﺠﺩﻱ ﻭﺘﺤﻴﺔ(‬ ‫: ﻗﻭﻟﻲ ﻟﻲ.. ﻟﻤﺎﺫﺍ ﺯﻋﻠﺕ ﺴﻨﺎﺀ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻋﺒﻴﻁﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺴﻨﺎﺀ..؟ ﻻ.. ﺠﺎﻴﺯ ﻓﻴﻬﺎ ﺍﻟﻌﻴﻭﺏ ﻜﻠﻬﺎ.. ﺇﻻ ﺇﻨﻬﺎ ﻋﺒﻴﻁﺔ.. ﻭﺍﻟﻅﺎﻫﺭ –ﻭﺍﷲ ﺃﻋﻠﻡ-‬ ‫ﻤﺠﺩﻱ‬ ‫ﺃﻥ ﻏﻴﺭﻫﺎ ﻫﻭ ﺍﻟﻌﺒﻴﻁ.‬ ‫: ﺇﻟﻰ ﻤﻥ ﺘﻘﺼﺩ ﻴﺎ ﺴﻲ ﻤﺠﺩﻱ؟ ﻤﺎﺫﺍ ﺠﺭﻯ؟ ﺃﻨﺕ ﻭﺃﺨﺘﻙ ﺍﻟﻴﻭﻡ..‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻤﻘﺎﻁ ‪‬ﺎ( ﻴﺎ ﺴﺘﻲ ﺃﻨﺕ ﺤﺭﺓ.. ﻻ ﺃﻨﺎ ﻭﻻ ﺃﺨﺘﻲ.. ﺃﻴﻥ ﺍﻟﺩﻜﺘﻭﺭ؟‬ ‫ﻌ‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺇﺒﺭﺍﻫﻴﻡ؟.. ﺃﻅﻨﻪ ﺴﻴﻜﻭﻥ ﻓﻲ ﺍﻟﻌﻴﺎﺩﺓ ﺒﻌﺩ ﻗﻠﻴل.. ﻟﻤﺎﺫﺍ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺘﺫﻜﺭﺘﻪ ﻓﻘﻁ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻻ.. ﻻﺒﺩ ﻤﻥ ﺴﺒﺏ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻨﻌﻡ.. ﺃﻟﻑ ﺴﺒﺏ.. ﺃﻥ ﻟﻡ ﺘﻜﻠﻤﻴﻪ ﺃﻨﺕ، ﺘﻜﻠﻤﺕ ﺃﻨﺎ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺘﻜﻠﻤﺕ..؟ ﺘﻜﻠﻤﺕ ﻓﻴﻡ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻓﻲ ﺨﻁﺒﺘﻙ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻓﻲ ﺨﻁﺒﺘﻲ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻨﻌﻡ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻤﺎﺫﺍ ﺘﻘﺼﺩ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﻋﻨﻲ ﺇﺫﺍ ﻟﻡ ﻴﻜﻤل ﺍﻟﺯﻭﺍﺝ.. ﻭﺴﺭﻴﻌﺎ.. ﻓﺴﺄﺨﻁﺒﻙ ﺃﻨﺎ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻤﺠﺩﻱ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻤﺎﺯ ‪‬ﺎ( ﻭﻤﺎﻟﻪ ﻴﺎ ﺴﺘﻲ.. ﻭﺇﻻ ﺒﺎﷲ ﻜﻴﻑ ﻴﻤﻜﻥ ﺃﻥ ﺃﺠﻌﻠﻪ ﻴﺤﺱ ﺒﻁﻭل ﺍﻟﻤﺩﺓ، ﺇﻻ‬ ‫ﺤ‬ ‫ﻤﺠﺩﻱ‬ ‫ﺇﺫﺍ ﻫﺩﺩﺘﻪ ﻫﺫﺍ ﺍﻟﺘﻬﺩﻴﺩ..؟‬ ‫: ﻟﻌﻠﻪ ﻴﻌﻠﻡ ﺒﻁﻭل ﻫﺫﻩ ﺍﻟﻤﺩﺓ ﺃﻜﺜﺭ ﻤﻨﻙ ﻭﻤﻨﻲ!!‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻭﺍﷲ ﺇﻥ ﻜﺎﻨﺕ ﺍﻷﻤﻭﺭ ﺘﺅﺨﺫ ﺒﺎﻟﻅﻭﺍﻫﺭ.. ﻭﻫﺫﺍ ﻫﻭ ﺍﻟﻐﺎﻟﺏ ﻷﻥ ﺍﻟﺨﺎﻓﻲ ﻻ ﻴﻌﻠﻤﻪ ﺇﻻ‬ ‫ﻤﺠﺩﻱ‬ ‫ﺍﷲ.. ﻓﺎﻟﻅﻭﺍﻫﺭ ﻜﻠﻬﺎ ﻟﻴﺴﺕ ﻓﻲ ﻤﺼﻠﺤﺔ ﺍﻟﺩﻜﺘﻭﺭ.‬ ‫: ﻭﺍﷲ ﻴﺎ ﻤﺠﺩﻱ ﻫﻭ ﺸﺎﺏ ﻁﻴﺏ ﻭﻤﺨﻠﺹ، ﻟﻜﻥ ﻅﺭﻭﻓﻪ ﻜﻠﻬﺎ ﺘﻌﺴﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﻨﺎ ﻻ ﺃﻋﺭﻑ ﺸﻴﺌﺎ ﺍﺴﻤﻪ ﻅﺭﻭﻑ.. ﻜﻠﻨﺎ ﻨﻘﺎﺒل ﻓﻲ ﺤﻴﺎﺘﻨﺎ ﺍﻟﻅﺭﻭﻑ ﺍﻟﺴﻴﺌﺔ.. ﻭﻟﻜﻥ‬ ‫ﻤﺠﺩﻱ‬ ‫ﻤﺎ ﺍﻟﺤﻴﺎﺓ ﺇﻥ ﻟﻡ ﻨﻠﻕ ﻫﺫﻩ ﺍﻟﻅﺭﻭﻑ ﻭﻨﺘﻐﻠﺏ ﻋﻠﻴﻬﺎ..؟ ﻫﺫﻩ ﺍﻟﺤﻴﺎﺓ ﻟﻨﺎ.. ﻨﺤﻥ‬ ‫ﺴﺎﺩﺘﻬﺎ.. ﻨﺤﻥ ﻤﻥ ﻨﺘﺤﻜﻡ ﻓﻴﻬﺎ ﻭﻻ ﻴﻤﻜﻥ ﻤﻁﻠﻘﺎ ﺃﻥ ﻨﺘﺭﻜﻬﺎ ﺘﺘﺤﻜﻡ ﻓﻴﻨﺎ.‬ ‫٠١‬
‫: ﺃﻨﺕ ﺘﺴﺭﻕ ﻤﻥ ﻨﻔﺴﻙ ﻴﺎ ﺃﺴﺘﺎﺫ ﻤﺠﺩﻱ.. ﻫﺫﺍ ﺍﻟﻜﻼﻡ ﻓﻲ ﻜﺘﺎﺒﻙ ﺍﻷﺨﻴﺭ.. ﺃﻟﻡ ﺃﻗل ﻟﻙ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺇﻨﻨﻲ ﻗﺭﺃﺘﻪ؟‬ ‫: ﻻ ﻭﺍﷲ ﻴﺎ ﺘﺤﻴﺔ، ﻫﺫﻩ ﻫﻲ ﺍﻟﺤﻘﻴﻘﺔ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻨﺤﻥ ﻨﺘﺤﻜﻡ ﻓﻲ ﺍﻟﺤﻴﺎﺓ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻨﻌﻡ.. ﻨﺤﻥ.. ﺍﻹﻨﺴﺎﻥ.. ﻟﻘﺩ ﺨﻠﻘﺕ ﺍﻟﺤﻴﺎﺓ ﻟﻪ، ﻓﻬﻭ ﻤﻥ ﻴﺘﺤﻜﻡ ﻓﻴﻬﺎ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻓﻠﻤﺎﺫﺍ ﻻ ﻨﺘﺤﻜﻡ ﻓﻲ ﺠﻨﺴﻨﺎ..؟ ﻟﻤﺎﺫﺍ ﺨﻠﻘﺕ ﺍﻤﺭﺃﺓ ﻭﻟﻡ ﺃﻜﻥ ﺭﺠﻼ..؟! ﻭﻟﻤﺎﺫﺍ ﺃﺴﻤﻰ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺘﺤﻴﺔ..؟! ﻜﻴﻑ ﻋﺭﻓﺕ ﺍﻟﺤﻴﺎﺓ ﺃﻨﻲ ﺃﺤﺏ ﻫﺫﺍ ﺍﻻﺴﻡ؟ ﻭﻟﻤﺎﺫﺍ ﺴﺄﻤﻭﺕ ﻴﻭﻡ ﺘﺸﺎﺀ‬ ‫ﺍﻟﺤﻴﺎﺓ..؟ ﻭﻟﻌﻠﻬﺎ ﺘﺨﺘﺎﺭ ﺘﻤﺎﻤﺎ ﺍﻟﻭﻗﺕ ﺍﻟﺫﻱ ﺃﺭﻴﺩ ﺃﻥ ﺃﺤﻴﺎ ﻓﻴﻪ.‬ ‫: ﻴﺎ ﺤﺒﻴﺒﺘﻲ.. ﻫﺫﻩ ﻟﻴﺴﺕ ﺍﻟﺤﻴﺎﺓ.. ﺇﻨﻬﺎ ﺘﻤﻬﻴﺩﺍﺕ ﺍﻟﺤﻴﺎﺓ.. ﺍﻟﻭﻻﺩﺓ ﺘﻤﻬﻴﺩ ﻟﻠﺤﻴﺎﺓ،‬ ‫ﻤﺠﺩﻱ‬ ‫ﻭﺍﻟﻤﻭﺕ ﻨﻬﺎﻴﺔ ﻟﻪ.. ﻨﺤﻥ ﻏﻴﺭ ﻤﺨﻴﺭﻴﻥ ﻓﻲ ﺍﻟﻤﻘﺩﻤﺎﺕ ﺃﻭ ﺍﻟﻨﻬﺎﻴﺎﺕ.. ﻭﺇﻻ ﻓﺘﺼﻭﺭﻱ‬ ‫ﺒﺭﺒﻙ ﻟﻭ ﺃﻥ ﺍﻷﻤﺭ ﻋﺭﺽ ﻋﻠﻴﻙ ﻗﺒل ﻭﻻﺩﺘﻙ ﻓﺭﺃﻴﺕ ﺃﻥ ﺘﻜﻭﻨﻲ ﺭﺠﻼ، ﺜﻡ ﺃﺨﺘﺎﺭ‬ ‫ﻫﺫﺍ ﺍﻟﻁﺭﻴﻕ ﻤﻥ ﺒﻌﺩﻙ ﻜل ﺍﻹﻨﺎﺙ؟! ﺃﻱ ﺤﻴﺎﺓ ﺴﻨﻠﻘﺎﻫﺎ ﺇﺫﻥ..؟ ﺇﻥ ﺍﻟﺤﻴﺎﺓ ﻟﻥ ﺘﻤﻜﺙ‬ ‫ﺇﻻ ﺒﻤﻘﺩﺍﺭ ﺤﻴﺎﺓ ﻫﺅﻻﺀ ﺍﻟﺭﺠﺎل.. ﻋﻠﻰ ﺃﻨﻪ ﻟﻭ ﻜﺎﻥ ﺍﻷﻤﺭ ﻜﺫﻟﻙ ﻭﺍﺨﺘﺎﺭﺕ ﺃﻤﻙ ﺃﻥ‬ ‫ﺘﻜﻭﻥ ﺭﺠﻼ، ﻟﻤﺎ ﻭﻟﺩﺕ ﺃﻨﺕ، ﻭﻟﺘﻌﻁﻠﺕ ﺤﺭﻜﺔ ﺍﻟﺤﻴﺎﺓ ﻨﻬﺎﺌﻴﺎ. ﻓﺠﻨﺱ ﻭﺍﺤﺩ ﻻ‬ ‫ﻴﻜﻔﻲ..ﺃﻤﺎ ﺍﺴﻤﻙ ﻓﺎﺴﺄﻟﻲ ﻋﻨﻪ ﺃﻤﻙ ﻭﺃﺒﺎﻙ، ﻓﻬﻤﺎ ﻤﻥ ﺍﺨﺘﺎﺭﺍ ﻭﻫﻤﺎ ﺇﻨﺴﺎﻥ.. ﻭﺃﻨﺎ‬ ‫ﺃﺘﻜﻠﻡ ﻋﻥ ﺍﻹﻨﺴﺎﻥ ﻜﻜل، ﻻ ﺃﻗﺼﺩﻙ ﺃﻨﺕ ﻭﺃﻨﺎ ﻓﻘﻁ.. ﺃﻤﺎ ﻤﻭﺘﻙ ﻓﺈﻨﻪ ﻻ ﺒﺩ ﺃﻥ ﻴﻜﻭﻥ‬ ‫ﺭﻏﻡ ﺃﻨﻔﻙ.. ﻭﺇﻻ ﻟﻭ ﻜﺎﻥ ﺍﻷﻤﺭ ﺍﺨﺘﻴﺎ ‪‬ﺍ ﻟﻤﺎ ﺘﺭﻜﺕ ﺍﻟﺤﻴﺎﺓ ﺃﺒ ‪‬ﺍ، ﻭﻤﻥ ﺫﻟﻙ ﺍﻟﺫﻱ‬ ‫ﺩ‬ ‫ﺭ‬ ‫ﻴﺘﺭﻙ ﺤﻴﺎﺓ ﻫﻭ ﻭﺍﺜﻕ ﻤﻨﻬﺎ ﺇﻟﻰ ﺤﻴﺎﺓ ﺃﺨﺭﻯ ﻻ ﻴﻌﺭﻑ ﻋﻨﻬﺎ ﺸﻴﺌﺎ.. ﺘﺼﻭﺭﻱ ﻟﻭ ﺃﻥ‬ ‫ﺍﻟﻨﺎﺱ ﻟﻡ ﻴﻤﻭﺘﻭﺍ ﻤﻥ ﻋﻬﺩ ﺠﺩﻨﺎ ﺁﺩﻡ ﻭﺴﺘﻨﺎ ﺤﻭﺍﺀ.. ﻜﺎﻨﺕ ﺍﻟﺤﻴﺎﺓ ﺘﺼﺒﺢ ﻤﺼﻴﺒﺔ‬ ‫ﻜﺒﺭﻯ، ﻭﺃﻴﻥ ﻫﺫﻩ ﺍﻷﺭﺽ ﺍﻟﺘﻲ ﺘﺤﺘﻤل ﻜل ﻫﺅﻻﺀ..؟ ﻭﻤﻥ ﺃﻴﻥ ﻴﺄﻜﻠﻭﻥ..؟‬ ‫: ﺇﺫﻥ ﻓﻨﺤﻥ ﻟﺴﻨﺎ ﺴﺎﺩﺓ ﺍﻟﺤﻴﺎﺓ ﻜﻤﺎ ﺘﻘﻭل!‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺒل ﻨﺤﻥ ﺴﺎﺩﺘﻬﺎ.. ﺇﻨﻤﺎ ﺍﻟﺤﻴﺎﺓ ﻫﻲ ﻫﺫﻩ ﺍﻟﻔﺘﺭﺓ ﺍﻟﻭﺍﻗﻌﺔ ﺒﻴﻥ ﺍﻟﻭﻻﺩﺓ ﻭﺍﻟﻤﻭﺕ.. ﺒل‬ ‫ﻤﺠﺩﻱ‬ ‫ﺍﻟﺤﻴﺎﺓ ﺍﻟﺤﻘﻴﻘﻴﺔ ﻫﻲ ﺍﻟﺘﻲ ﺘﺒﺩﺃ ﻤﻊ ﺍﻹﺩﺭﺍﻙ ﻭﺘﻨﺘﻬﻲ ﻤﻌﻪ.. ﻓﺘﺭﺓ ﺍﻹﺩﺭﺍﻙ ﻫﻲ‬ ‫ﺍﻟﺤﻴﺎﺓ.. ﻭﻫﺫﻩ ﺍﻟﺤﻴﺎﺓ ﻫﻲ ﺍﻟﺘﻲ ﻨﺘﺤﻜﻡ ﻓﻴﻬﺎ.. ﺃﻤﺎ ﻤﻨﺫ ﺍﻟﻭﻻﺩﺓ ﺤﺘﻰ ﺍﻹﺩﺭﺍﻙ، ﻓﺈﻥ‬ ‫ﺃﺒﻭﻴﻨﺎ ﻭﺃﻫﻠﻴﻨﺎ ﻫﻡ ﻤﻥ ﻴﺘﺤﻜﻤﻭﻥ ﻓﻴﻨﺎ.. ﻭﺃﻅﻨﻙ ﺘﻭﺍﻓﻘﻴﻥ ﻋﻠﻰ ﺃﻨﻬﻡ ﺁﺩﻤﻴﻭﻥ.‬ ‫: ﺃﺴﺘﻐﻔﺭ ﺍﷲ ﺍﻟﻌﻅﻴﻡ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﺴﺘﻐﻔﺭﻩ ﻤﻥ ﻜل ﺫﻨﺏ.. ﻭﻟﻜﻥ ﻤﺎﺫﺍ ﻗﻠﺕ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺘﺯﻋﻡ ﺃﻨﻨﺎ ﻨﺘﺤﻜﻡ ﻓﻲ ﺍﻟﺩﻨﻴﺎ ﻭﻻ ﺘﺴﺘﻐﻔﺭ ﺭﺒﻙ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺇﻥ ﻤﺎ ﺃﻗﻭﻟﻪ ﻫﻭ ﻏﺎﻴﺔ ﺍﻹﻴﻤﺎﻥ.. ﻭﻫل ﻴﻌﻘل ﺃﻥ ﻴﻜﻭﻥ ﺍﻷﻤﺭ ﻏﻴﺭ ﺫﻟﻙ..؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻜﻴﻑ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺘﺼﻭﺭﻱ ﻟﻭ ﺃﻨﻙ ﻗﻠﺕ ﻟﺨﺎﺩﻤﻙ: ﺍﻜﺴﺭ ﻫﺫﺍ ﺍﻟﻜﻭﺏ، ﺜﻡ ﻜﺴﺭﻩ، ﺃﺘﺭﺍﻙ ﺘﻌﺎﻗﺒﻴﻨﻪ ﺒﻌﺩ‬ ‫ﻤﺠﺩﻱ‬ ‫١١‬
‫ﺫﻟﻙ..؟‬ ‫: ﻻ ﻁﺒﻌﺎ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻓﺈﺫﺍ ﻜﻨﺕ ﺃﻴﻬﺎ ﺍﻹﻨﺴﺎﻥ ﺍﻟﺤﻘﻴﺭ ﻓﻲ ﻋﺩﻟﻙ ﺘﺩﺭﻜﻴﻥ ﺫﻟﻙ.. ﻓﻜﻴﻑ ﺒﺎﷲ ﻤﺼﺩﺭ‬ ‫ﻤﺠﺩﻱ‬ ‫ﺍﻟﻌﺩﺍﻟﺔ..؟ ﻜﻴﻑ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﺘﺏ ﻋﻠﻲ ﺃﻥ ﺃﺸﺭﺏ ﺍﻟﺨﻤﺭ ﺜﻡ ﻴﻌﺎﻗﺒﻨﻲ ﻋﻠﻰ ﺸﺭﺏ‬ ‫ﺍﻟﺨﻤﺭ؟ ﻻﺒﺩ ﺃﻨﻲ ﻤﺨﻴﺭ ﻓﻲ ﺃﻓﻌﺎﻟﻲ ﻭﺇﻻ ﻟﻤﺎ ﺃﻭﻗﻊ ﺍﷲ ﻋﻠﻲ ﺍﻟﺠﺯﺍﺀ.‬ ‫: ﺍﷲ.. ﻤﺠﺩﻱ ﺃﺘﻜﻠﻤﻨﻲ ﻋﻥ ﺍﻻﺨﺘﻴﺎﺭ.. ﻤﺎﺫﺍ..؟ ﺃﺘﺭﺍﻙ ﺃﺼﺒﺤﺕ ﻓﻴﻠﺴﻭﻓﺎ ﺃﻴ ‪‬ﺎ..؟ ﻫﺫﺍ‬ ‫ﻀ‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﺎ ﻜﺎﻥ ﻴﻨﻘﺼﻙ.‬ ‫: ﺠﺯﺍﻙ ﺍﷲ.. ﺍﻟﻘﻀﻴﺔ ﺘﻨﺘﻅﺭﻨﻲ ﻭﺃﻨﺕ ﻻ ﺘﺴﺘﻜﻴﻥ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺃﻨﺎ ﺍﻟﺘﻲ ﻻ ﺃﺴﻜﺕ..؟ ﻁﻴﺏ ﺍﺫﻫﺏ.. ﻭﻟﻜﻥ ﺍﻨﺘﻅﺭ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻤﺎﺫﺍ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺴﺄﺫﻫﺏ ﻤﻌﻙ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺇﻟﻰ ﺍﻟﻤﺤﻜﻤﺔ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺇﻟﻰ ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻤﺼﺩﻭﻤﺎ( ﻻ.. ﺍﺫﻫﺒﻲ ﺃﻨﺕ ﻓﻲ ﺴﻴﺎﺭﺓ ﺃﺠﺭﺓ.. ﺃﻨﺎ ﻻ ﺃﻁﻴﻕ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻻ ﺃﻁﻴﻕ..؟ ﻻ ﺘﻁﻴﻕ ﻤﺎﺫﺍ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻻ ﺃﻁﻴﻕ ﺍﻨﺘﻅﺎﺭﻙ ﺤﺘﻰ ﺘﻠﺒﺴﻲ.. ﺍﻟﻘﻀﻴﺔ ﻴﺎ ﻫﺎﻨﻡ.. ﺍﻟﻘﻀﻴﺔ.. ﺍﻟﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫ﻤﺠﺩﻱ‬ ‫)ﻴﺨﺭﺝ ﻭﺘﺠﻠﺱ ﺘﺤﻴﺔ ﺴﺎﺭﺤﺔ ﺒﻌﺽ ﺍﻟﻭﻗﺕ ﺤﺘﻰ ﺘﺩﺨل ﺴﻨﺎﺀ(‬ ‫: ﺍﷲ.. ﻤﺎﺫﺍ ﺠﺭﻯ..؟ ﺃﻴﻥ ﻤﺠﺩﻱ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺫﻫﺏ ﺇﻟﻰ ﺍﻟﻤﺤﻜﻤﺔ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺼﺤﻴﺢ.. ﻫﻭ ﻗﺎل: ﺃﻨﻪ ﺴﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻬﺭﺏ ﺴﺎﻋﺔ ﻤﻥ ﺍﻟﻤﺤﻜﻤﺔ ﺜﻡ ﻴﻌﻭﺩ.‬ ‫ﺴﻨﺎﺀ‬ ‫: )ﺴﺎﺭﺤﺔ( ﺼﺤﻴﺢ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻓﻲ ﻨﻔﺱ ﺍﻟﻨﻐﻤﺔ( ﺼﺤﻴﺢ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺴﻨﺎﺀ.. ﺃﺨﻭﻙ ﻋﺒﻘﺭﻱ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﻋﺭﻑ.. ﻭﻜﺎﻥ ﻴﺠﺏ ﺃﻥ ﺘﻌﺭﻓﻲ ﻫﺫﺍ ﻤﻥ ﺯﻤﻥ ﺒﻌﻴﺩ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻟﻭ ﻋﺭﻑ ﻜﻡ ﻫﺩﺍﻨﻲ ﺇﻟﻰ ﺃﺸﻴﺎﺀ ﻓﻲ ﻫﺫﻩ ﺍﻟﺩﻗﺎﺌﻕ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻫﺩﺍﻙ ﺍﷲ ﺇﻟﻰ ﺍﻟﺼﺭﺍﻁ ﺍﻟﻤﺴﺘﻘﻴﻡ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻨﻌﻡ.. ﺇﻟﻰ ﺍﻟﺼﺭﺍﻁ ﺍﻟﻤﺴﺘﻘﻴﻡ ﻓﻲ ﺤﻴﺎﺘﻲ.. ﺴﻨﺎﺀ.. ﺃﻨﺎ ﺨﺎﺭﺠﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺇﻟﻰ ﺃﻴﻥ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺇﻟﻰ ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻓﻲ ﻴﺄﺱ( ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫ﺴﻨﺎﺀ‬ ‫ﺴﺘﺎﺭ‬ ‫٢١‬
‫* ﺍﻟﻤﻨﻅﺭ ﺍﻟﺜﺎﻨﻲ:‬ ‫"ﺍﻟﻤﻨﻅﺭ ﻏﺭﻓﺔ ﻁﺒﻴﺏ ﻏﺎﻴﺔ ﻓﻲ ﺍﻟﺤﻘﺎﺭﺓ، ﺒﻬﺎ ﺴﺭﻴﺭ ﻜﺸﻑ ﺨﻠﻑ، "ﺒﺭﺍﻓﺎﻥ" ﻗﺩﻴﻡ ﺒﻪ ﻗﻤـﺎﺵ‬ ‫ﺭﺨﻴﺹ ﻭﻤﻜﺘﺏ ﻗﺩﻴﻡ ﻤﺘﻬﺎﻟﻙ، ﺍﻟﻐﺭﻓﺔ ﺫﺍﺕ ﺒﺎﺏ ﻭﺍﺤﺩ، ﺍﻟﺘﻤﻭﺭﺠﻲ ﻴﻨﻅﻑ ﺍﻟﺤﺠﺭﺓ ﻓﻲ ﺘﺭﺍﺥ ﺸـﺩﻴﺩ‬ ‫ﻭﻜﺴل".‬ ‫: ﻭﺍﷲ ﺍﻟﺸﻌﺭﺍﺀ ﺃﺤﻴﺎﻨﺎ ﻟﻬﻡ ﻜﻼﻡ ﺤﻜﻡ.. ﺍﻟﻌﻁﺎﺭ.. ﺍﻟﻌﻁﺎﺭ.. ﺁﻩ ﺍﻟﻌﻁﺎﺭ ﻻ ﻴﻔﺴﺩ ﻤﺎ ﺃﺼﻠﺤﻪ ﺍﻟﺩﻫﺭ..‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫ﺍﻟﺭﻴﺸﺔ ﺃﻭ ﺍﻟﻤﻤﺴﺤﺔ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﻜﺴﺭﺍﺕ؟!‬ ‫)ﻴﺩﻕ ﺠﺭﺱ ﺍﻟﺒﺎﺏ(‬ ‫: ﺃﻫﻼ.. ﻭﺍﷲ ﺯﻤﺎﻥ.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫)ﻴﺨﺭﺝ ﻭﻴﻐﻴﺏ ﻟﺤﻅﺔ ﻭﻴﻌﻭﺩ ﻤﺭﺓ ﺃﺨﺭﻯ(‬ ‫: ﻓﺭﺠﺕ.. ﺠﺎﺀ ﺃﻭل ﺯﺒﻭﻥ.. ﺃﻭل ﺯﺒﻭﻥ.. ﻻ ﻫﻭ ﻤﻀﻁﺭ.. ﻭﻻ ﻫﻭ ﻤﺼﺎﺏ ﻓﻲ ﺤﺎﺩﺜﺔ ﺘﺤﺕ ﺍﻟﻌﻴﺎﺩﺓ..‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫ﻓﻘﻴﺭ.. ﺯﺒﻭﻥ.. ﺯﺒﻭﻥ ﺨﺎﻟﺹ، ﺯﺒﻭﻥ ﻓﻘﻁ ﺒﺩﻭﻥ ﺘﻌﻠﻴﻕ. )ﻴﺩﻕ ﺠﺭﺱ ﺍﻟﺒﺎﺏ ﻤﺭﺓ ﺃﺨﺭﻯ ﻭﻴﻐﻴﺏ ﻟﺤﻅ‬ ‫ﺁﺨﺭ.. ﺯﺒﻭﻥ.. )ﻻ ﻴﻜﻤل ﺍﻟﻜﻠﻤﺔ ﻷﻥ ﺠﺭﺱ ﺍﻟﺒﺎﺏ ﻴﺩﻕ( ﻻ.. ﺍﻟﺠﺭﺱ ﺘﻌﺏ.. ﺍﻟﺸﻐل ﻜﺜﺭ ﻤﺭﺓ ﻭﺍﺤﺩﺓ،‬ ‫ﻻ ﻴﺸﺘﻐل.. ﻻ ﻴﻤﻜﻥ ﻁﺒ ‪‬ﺎ ﺃﻥ ﻴﻜﻭﻥ ﺯﺒﻭﻨﺎ ﺜﺎﻟﺜﺎ.. ﺃﻤﺎ ﻟﻭ ﻜﺎﻥ، ﻓﺈﻨﻲ ﺴﺄﺘﺭﻙ ﺍﻟﺒﺎﺏ ﻤﻔﺘﻭ ‪‬ﺎ.. )ﻴﺨﺭ‬ ‫ﺤ‬ ‫ﻌ‬ ‫ﺠﺭﻯ؟.. ﺃﻴﻜﻭﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺍﺸﺘﻬﺭ..؟ ﻭﻟﻜﻥ ﻓﻲ ﻴﻭﻡ ﻭﺍﺤﺩ ﻴﺸﺘﻬﺭ..؟ ﺃﻴﻜﻭﻥ ﺍﺭﺘﻜﺏ ﺤﺎﺩﺜﺔ، ﻭﺍﻟﺠﺭﺍﻴﺩ‬ ‫ﻤﺘﻰ ﺍﺭﺘﻜﺏ ﺍﻟﺤﺎﺩﺜﺔ..؟ ﻟﻘﺩ ﻜﺎﻥ ﻫﻨﺎ ﺤﺘﻰ ﺍﻟﺴﺎﻋﺔ ﻟﻭﺍﺤﺩﺓ ﻅﻬ ‪‬ﺍ ﻴﺎ ﻋﺎﻟﻡ.. ﻤﺎﺫﺍ ﺠﺭﻯ..؟ )ﻴﻨﻅﺭ ﻤ‬ ‫ﺭ‬ ‫ﺭﺍﺒﻊ.. ﺨﺎﻤﺱ.. ﺴﺎﺩﺱ.. ﺴﺎ.. ﺍﻟﺩﻜﺘﻭﺭ.. ﺍﻟﺩﻜﺘﻭﺭ.. ﺍﻟﺩﻜـ‬ ‫"ﻴﺩﺨل ﺍﻟﺩﻜﺘﻭﺭ.. ﺸﺎﺏ ﻓﻲ ﻤﻘﺘﺒل ﺍﻟﻌﻤﺭ ﻴﻠﺒﺱ ﺤﻠﺔ ﻗﺩﻴﻤﺔ ﻴﺤﺎﻭل ﺠﻬﺩﻩ ﺃﻥ ﺘﻅﻬﺭ ﻤﺎ ﺩﺍﻡ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺘﻅﻬﺭ ﺃﻨﻴﻘﺔ.‬ ‫: )ﻻ ﻴﻠﺘﻔﺕ ﺇﻟﻰ ﺭﻗﺹ ﺍﻟﺘﻤﻭﺭﺠﻲ( ﻤﻥ ﻫﺅﻻﺀ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺯﺒﺎﺌﻥ.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫: )ﻤﻨﺩﻫﺸﺎ( ﻤﻥ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺯﺒﺎﺌﻥ.. ﺯﺒﺎﺌﻥ.. ﻭﺍﷲ ﺯﺒﺎﺌﻥ.. ﻻ ﻫﻡ ﺃﺼﺩﻗﺎﺀ ﻭﻻ ﻫﻡ ﻤﺼﺎﺒﻭﻥ ﺘﺤﺕ ﺍﻟﻌﻴﺎﺩﺓ.. ﻭﻻ ﻫﻡ ﺠﻴﺭﺍﻥ.. ﺯﺒﺎﺌ‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫: ﻭﻤﺎﺫﺍ ﺠﺎﺀ ﺒﻬﻡ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺭﺒﻨﺎ.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫: ﻜل ﻫﺅﻻﺀ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻜﻠﻬﻡ.. ﻫﻴﻪ ﻨﺒﺘﺩﺉ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫: ﻨﺒﺘﺩﺉ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: )ﻴﻔﺘﺢ ﺍﻟﺒﺎﺏ ﻓﻲ ﺯﻫﻭ( ﺍﻷﻭل.. ﺃﻨﺕ.. ﺘﻔﻀل.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫)ﻴﺩﺨل ﺍﻟﺯﺒﻭﻥ ﻭﻴﻜﻭﻥ ﺍﻟﺩﻜﺘﻭﺭ ﻗﺩ ﺠﻠﺱ ﺇﻟﻰ ﻤﻜﺘﺒﻪ ﺒﻌﺩ ﺃﻥ ﻴﻜﻭﻥ ﻗﺩ ﺃﻋﺩ ﺍﻟﻜﺭﺴﻲ ﺃﻤﺎﻡ ﺍﻟﻤﻜﺘﺏ ﻓﻲ ﺍﺤﺘﻔﺎﺀ ﻜﺒﻴﺭ(.‬ ‫: ﺃﻫﻼ.. ﺘﻔﻀل )ﻴﺸﻴﺭ ﺇﻟﻰ ﺍﻟﻜﺭﺴﻲ(.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺯﺍﺩ ﻓﻀﻠﻙ ﻴﺎ ﺩﻜﺘﻭﺭ..‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫٣١‬
‫: ﻨﻌﻡ..؟ ﺨﻴﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻭﺍﷲ ﻴﺎ ﺩﻜﺘﻭﺭ ﻟﻭ ﻜﺎﻥ ﺨﻴﺭ ﻤﺎ ﺠﺌﺕ ﻟﻙ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: )ﻴﻐﺘﺼﺏ ﻀﺤﻜﺔ( ﺃﻥ ﺸﺎﺀ ﺍﷲ ﺨﻴﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻴﺎ ﺩﻜﺘﻭﺭ ﺃﻨﺎ ﻋﻴﺎﻥ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻁﻴﺏ.. ﺃﻨﺎ ﻻ ﺃﻨﺘﻅﺭ ﺃﻥ ﺘﻜﻭﻥ ﺼﺎﺤﺏ ﻗﻀﻴﺔ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺍﻟﻤﺭﺽ ﻻﺯﻤﻨﻲ ﺴﻨﺘﻴﻥ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻋﻅﻴﻡ.. ﻭﻤﺎ ﺍﻟﻤﺭﺽ......؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺍﻟﻤﺭﺽ..؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻨﻌﻡ.. ﺍﻟﻤﺭﺽ!!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻻﺒﺩ ﺃﻥ ﺘﻌﺭﻑ ﺍﻟﻤﺭﺽ..؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻁﺒﻌﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻨﺎ ﻤﺘﺯﻭﺝ ﻤﻥ ﻋﺸﺭ ﺴﻨﻭﺍﺕ، ﻭﻤﻨﺫ ﺴﻨﻴﻥ )ﻴﺴﻜﺕ(.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺃﻗﻭل ﺍﻟﻤﺭﺽ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺍﻟﻤﺭﺽ.. ﺍﻟﻤﺭﺽ.. ﻟﻘﺩ ﻗﻠﺕ ﻟﻙ ﺍﻟﻤﺭﺽ.. ﻤﺘﺯﻭﺝ.. ﻭ.. ﻤﺭﻴﺽ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺁﻩ.. ﻓﻬﻤﺕ.. ﻁﻴﺏ.. ﺘﻔﻀل..‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻴﻥ ﺃﺘﻔﻀل؟.. ﻫل ﺸﻔﻴﺕ..؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺸﻔﻴﺕ.. ﻜﻴﻑ ﺘﺸﻔﻰ..؟ ﺇﻨﻨﺎ ﻟﻡ ﻨﻌﻤل ﺸﻴﺌﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺇﺫﻥ ﻓﺄﺘﻔﻀل ﺇﻟﻰ ﺃﻴﻥ..؟ ﻫﻨﺎ ﻋﻅﻴﻡ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻻ.. ﺘﻔﻀل ﻋﻠﻰ ﺴﺭﻴﺭ ﺍﻟﻜﺸﻑ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻤﺎﺫﺍ..؟ ﺴﺭﻴﺭ ﻤﺎﺫﺍ..؟ ﻫل ﺃﻨﺕ ﺃﻴ ‪‬ﺎ ﻟﻙ ﺴﺭﻴﺭ ﻜﺸﻑ؟‬ ‫ﻀ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫ﻤﺼﻴﺒﺔ!!‬ ‫: ﻁﺒﻌﺎ.. ﻟﻲ ﺴﺭﻴﺭ ﻜﺸﻑ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺁﻩ.. ﺠﺎﺌﺯ.. ﺇﻨﻬﺎ ﺃﻭل ﻤﺭﺓ ﺃﺠﻲﺀ ﺇﻟﻰ ﺩﻜﺘﻭﺭ ﻤﺜﻠﻙ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻻ.. ﺃﻨﺕ ﺃﻋﺼﺎﺒﻙ ﻤﻨﻬﺎﺭﺓ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻴﺎ ﺴﻼﻡ..! ﺃﻨﺎ ﻋﺎﺭﻑ ﻫﺫﺍ ﻤﻥ ﺃﻭل ﺩﻜﺘﻭﺭ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻁﻴﺏ.. ﻨﻡ..‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: )ﻤﻨﺩﻫ ﹰﺎ( ﻭﺃﻨﺎﻡ ﺃﻴ ‪‬ﺎ..؟‬ ‫ﻀ‬ ‫ﺸ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻁﺒﻌﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻨﻤﻨﺎ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺍﺨﻠﻊ ﺍﻟﺒﻨﻁﻠﻭﻥ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺍﻟﺒﻨﻁﻠﻭﻥ..؟ ﻻ.. ﺃﻨﺕ ﻟﺴﺕ ﺍﻟﺩﻜﺘﻭﺭ.. ﻻﺒﺩ ﺃﻨﻙ ﺩﻜﺘﻭﺭ ﻨﺼﺎﺏ ﻤﺜل ﻜل ﺍﻟﺩﻜﺎﺘﺭﺓ ﺍﻟﺫﻴﻥ ﺸﻔﺘﻬﻡ!! ﻻ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫٤١‬
‫ﺨﻠﻊ ﺍﻟﺒﻨﻁﻠﻭﻨﺎﺕ ﻏﻠﻁ ﺃﻜﻴﺩ!‬ ‫: ﻏﻠﻁ؟! ﻜﻴﻑ ﺃﻜﺸﻑ ﻋﻠﻴﻙ ﻭﺃﻨﺕ ﺘﻠﺒﺱ ﺍﻟﺒﻨﻁﻠﻭﻥ؟!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻭﻟﻤﺎﺫﺍ؟!‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺍﻟﻌﻼﺝ..؟ ﺃﻨﺕ ﻤﻥ ﺇﻴﺎﻫﻡ ﺇﺫﻥ.. ﻴﻘﻭﻟﻭﻥ ﺩﻜﺘﻭﺭ ﻤﻨﻭﻡ ﻤﻐﻨﺎﻁﻴﺴﻲ ﻭﺘﻘﻭل ﻋﻼﺝ.. ﺃﻨﺕ ﻤﻨﻭﻡ ﺃﻭ ﺩﻜﺘﻭﺭ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻤﻨﻭﻡ؟ ﺃﻨﺎ ﻤﻨﻭﻡ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻁﺒﻌﺎ.. ﻭﻫل ﻜﻨﺕ ﺃﺠﻲﺀ ﻟﻙ ﺇﻻ ﻭﺃﻨﺕ ﻤﻨﻭﻡ..؟ ﺃﻨﺎ ﺘﺭﻜﺕ ﺍﻟﺩﻜﺎﺘﺭﺓ ﻤﻥ ﺯﻤﺎﻥ ﺒﻌﻴﺩ.. ﺃﻨﺎ ﺃﻨﻬﻴﺘﻬﻡ..‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫ﺃﻨﻬﻴﺘﻬﻡ ﻋﻠﻰ ﺁﺨﺭﻫﻡ.‬ ‫: ﺃﻱ ﺩﻜﺘﻭﺭ ﻜﻨﺕ ﺘﺭﻴﺩﻩ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: )ﻴﺨﺭﺝ ﺠﺭﻴﺩﺓ ﻤﻥ ﺠﻴﺒﻪ( ﻫﺫﺍ.. ﻫﺫﺍ ﺍﻟﺩﻜﺘﻭﺭ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: )ﻴﻘﺭﺃ( ﻴﻌﻠﻥ ﺍﻟﺩﻜﺘﻭﺭ ﻁﻬﺴﺘﺎﻥ ﺍﻟﻤﻨﻭﻡ ﺍﻟﻤﻐﻨﺎﻁﻴﺴﻲ ﺍﻟﻤﺸﻬﻭﺭ ﺃﻨﻪ ﻨﻘل ﻋﻴﺎﺩﺘﻪ ﺇﻟﻰ ﺸﺎﺭﻉ ﻤﻌﺭﻭﻑ ﺭﻗ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﺭﻴﺩ ﺯﻴﺎﺭﺘﻪ ﻓﻠﻴﺸﺭﻑ ﻓﻲ ﻫﺫﺍ ﺍﻟﻌﻨﻭﺍﻥ.. ﺍﻷﺸﺨﺎﺹ ﻭﺍﻷﺸﻴﺎﺀ ﺍﻟﻀﺎﺌﻌﺔ ﻭ..‬ ‫: ﺃﻟﻴﺱ ﻫﺫﺍ ﺸﺎﺭﻉ ﻤﻌﺭﻭﻑ..؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻻ.. ﻫﺫﺍ ﺸﺎﺭﻉ ﺍﻟﺸﻴﺦ ﻤﻌﺭﻭﻑ.. ﻭﻟﻜﻥ ﺃﻴﻥ ﻁﻬﺴﺘﺎﻥ ﻤﻥ ﺇﺒﺭﺍﻫﻴﻡ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻭﻜﻴﻑ ﺃﻋﺭﻑ..؟ ﺃﻨﺕ ﻻ ﺘﻌﻠﻕ ﺍﺴﻤﻙ ﻋﻠﻰ ﺒﺎﺒﻙ؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻭﻟﻜﻨﻲ ﺃﻋﻠﻘﻪ ﻋﻠﻰ ﺒﺎﺏ ﺍﻟﻌﻤﺎﺭﺓ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻨﺎ ﺴﺄﻟﺕ: ﺍﻟﺩﻜﺘﻭﺭ ﻤﻭﺠﻭﺩ؟ ﻗﺎﻟﻭﺍ ﺴﻴﺄﺘﻲ، ﻓﺩﺨﻠﺕ.. ﺃﻤﺎ ﻻﻓﺘﺘﻙ ﻋﻠﻰ ﺍﻟﺒﺎﺏ ﻓﻠﻡ ﺃﻗﺭﺃﻫﺎ، ﻷﻨﻲ ﻟﻡ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﻗﺩ ﻋﻠﻕ ﻻﻓﺘﺔ ﻭﻫﻭ ﻟﻡ ﻴﻨﻘل ﺇﻻ ﺍﻟﻴﻭﻡ.‬ ‫: ﻭﻫل ﺘﻨﻭﻱ ﺤﻘﺎ ﺍﻟﺫﻫﺎﺏ ﺇﻟﻰ ﺍﻟﺩﻜﺘﻭﺭ ﻁﻬﺴﺘﺎﻥ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻨﻭﻱ..؟ ﻟﻘﺩ ﻨﻭﻴﺕ ﻓﻌﻼ ﻭﺠﺌﺕ ﻭﺴﺄﺫﻫﺏ ﺇﻟﻴﻪ ﻓﻲ ﻤﻌﺭﻭﻑ ﻭﺍﻟﺤﺎﺝ ﻤﻌﺭﻭﻑ ﺃﻭ ﻏﻴﺭ ﻤﻌﺭﻭﻑ.. ﺃﻨ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫ﺃﻱ ﺤﺎل.‬ ‫: ﺃﻤﺭﻨﺎ ﷲ، ﻤﻊ ﺍﻟﺴﻼﻤﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺴﻼﻤﺔ..؟ ﺴﻼﻤﺔ ﻤﻥ..؟ ﻫﺎﺕ ﺍﻟﺨﻤﺴﻴﻥ ﻗﺭ ﹰﺎ.‬ ‫ﺸ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺁﻩ ﺼﺤﻴﺢ.. ﻴﺎ ﺤﺴﻥ.. ﻴﺎ ﺤﺴﻥ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻨﻌﻡ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫ﺤﺴﻥ‬ ‫: ﻫل ﺃﺨﺫﺕ ﺨﻤﺴﻴﻥ ﻗﺭ ﹰﺎ ﻤﻥ ﺍﻷﻓﻨﺩﻱ..؟‬ ‫ﺸ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻁﺒﻌﺎ.. ﻟﻤﺎﺫﺍ ﻻ ﺁﺨﺫ..؟ ﺃﻟﻴﺴﺕ ﻋﻴﺎﺩﺓ ﻟﻬﺎ ﻤﺼﺎﺭﻴﻑ؟‬ ‫ﺤﺴﻥ‬ ‫: ﻻ ﺘﻁﻭل.. ﻫﺎﺕ ﺍﻟﺨﻤﺴﻴﻥ ﻗﺭﺸﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻤﺭﻙ.. ﺘﻔﻀل.‬ ‫ﺤﺴﻥ‬ ‫: ﺘﻔﻀل ﻴﺎ ﺃﺴﺘﺎﺫ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻤﻊ ﺍﻟﺸﻜﺭ ﻴﺎ ﺃﺥ.. ﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: )ﻴﺠﻠﺱ ﻤﺘﻬﺎﻟ ﹰﺎ ﻋﻠﻰ ﺍﻟﻜﺭﺴﻲ( ﻭﻋﻠﻴﻙ ﺍﻟﺴﻼﻡ )ﻴﻨﻅﺭ ﺇﻟﻰ ﺤﺴﻥ( ﺭﺩ ﺇﻟﻰ ﺍﻟﺯﺒﺎﺌﻥ ﻤﺎ ﺩﻓﻌﻭﻩ.‬ ‫ﻜ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫٥١‬
‫: ﻟﻤﺎﺫﺍ ﻴﺎ ﺩﻜﺘﻭﺭ..؟ ﺘﺭﻓﺽ ﺍﻟﺭﺯﻕ ﻴﺎ ﺩﻜﺘﻭﺭ..؟‬ ‫ﺤﺴﻥ‬ ‫: ﺍﺴﻤﻊ ﺍﻟﻜﻼﻡ ﻴﺎ ﺤﺴﻥ..‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻤﺭﻙ ﻴﺎ ﺩﻜﺘﻭﺭ )ﻴﺨﺭﺝ ﺤﺴﻥ(.‬ ‫ﺤﺴﻥ‬ ‫: ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ.. ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺩﺨل ﺤﺴﻥ ﻓﺭﺤﺎ(‬ ‫: ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺍﻟﺯﺒﺎﺌﻥ ﻴﺭﻓﻀﻭﻥ.. ﻴﺘﻭﺴﻠﻭﻥ ﺇﻟﻴﻙ ﻴﺎ ﺩﻜﺘﻭﺭ ﺃﻥ ﺘﻘﺎﺒﻠﻬﻡ.‬ ‫ﺤﺴﻥ‬ ‫: ﺃﺨﺭﺝ ﺇﻟﻴﻬﻡ ﻴﺎ ﺤﺴﻥ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﺤﻀﺭﻫﻡ..؟‬ ‫ﺤﺴﻥ‬ ‫ﻻ ﻴﺎ ﻤﻌﻠﻡ.. ﻋﻤﻲ ﺴﻴﺄﺘﻲ ﻤﻥ ﺍﻟﺒﻠﺩ ﺍﻟﻴﻭﻡ.. ﻭﺃﻅﻥ ﺃﻨﻪ ﺴﻴﺤﻀﺭ ﻟﻲ ﺍﻟﻘﺭﺸﻴﻥ ﺒﻌﺩ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﺎ ﺒﺎﻉ ﺍﻟﻘﻁﻥ.‬ ‫ﻭﻤﺎ ﺸﺄﻨﻲ ﻴﺎ ﺩﻜﺘﻭﺭ ﺒﺎﻟﻘﻁﻥ ﻭﻋﻤﻙ..؟ ﺍﻟﻤﻬﻡ ﺃﻨﻙ ﺘﻜﺸﻑ ﻋﻠﻰ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﺃﻨﺕ ﺘﺭﻴﺩﻨﻲ ﺃﻥ ﺃﻜﺸﻑ ﻋﻠﻴﻙ ﺤﺘﻰ ﻻ ﺘﻜﻭﻥ ﺍﻟﻌﻴﺎﺩﺓ ﺨﺎﻟﻴﺔ.. ﺃﻟﻴﺱ ﻜﺫﻟﻙ ﻴﺎ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﻌﻠﻡ..؟‬ ‫ﻻ ﺤﻭل ﺍﷲ ﻴﺎ ﺒﻨﻲ.. ﺃﻨﺕ ﺩﻜﺘﻭﺭ ﻭﺃﻨﺎ ﻋﻴﺎﻥ.. ﻭﻅﻴﻔﺘﻙ ﺃﻥ ﺘﻜﺸﻑ ﻋﻠﻲ.. ﺍﻜﺸﻑ‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫ﺃﻤﺭﻙ ﻴﺎ ﻤﻌﻠﻡ.. ﻤﻡ ﺘﺸﻜﻭ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﺸﻜﻭ.. ﺃﺸﻜﻭ.. ﺃﺸﻜﻭ ﻤﻥ ﺼﺩﺍﻉ.. ﻨﻌﻡ ﺼﺩﺍﻉ ﺸﺩﻴﺩ ﻭﻤﻐﺹ ﻨﻌﻡ ﻤﻐﺹ ﺸﺩﻴﺩ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻁﻴﺏ ﻴﺎ ﻤﻌﻠﻡ.. ﻗﻡ ﺇﻟﻰ ﺍﻟﺴﺭﻴﺭ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻤﺭﻙ ﻴﺎ ﺒﻨﻲ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫)ﻴﺩﺨﻼﻥ ﺨﻠﻑ ﺍﻟﺒﺭﺍﻓﺎﻥ(‬ ‫ﻨﻔﺱ ﻴﺎ ﻤﻌﻠﻡ.. ﺍﺜﻥ ﺭﺠﻠﻴﻙ، ﻅﻬﺭﻙ.. ﻴﺎ ﻤﻌﻠﻡ.. ﻋﻅﻴﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺨﺭﺝ ﺍﻟﺩﻜﺘﻭﺭ(‬ ‫ﻟﻴﺱ ﺒﻙ ﺸﻲﺀ ﻴﺎ ﻤﻌﻠﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻭﻫﻭ ﻤﺎ ﺯﺍل ﺨﻠﻑ ﺍﻟﺒﺭﺍﻓﺎﻥ( ﻤﺎ ﻫﺫﺍ ﺍﻟﻜﻼﻡ ﻴﺎ ﺩﻜﺘﻭﺭ..؟ ﺃﻗﻭل ﻟﻙ: ﺼﺩﺍﻉ‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻭﻤﻐﺹ، ﻭﺘﻘﻭل ﻟﻲ ﻟﻴﺱ ﺒﻙ ﺸﻲﺀ..؟ ﻴﺎ ﺒﻨﻲ ﺍﻜﺘﺏ ﻟﻲ ﺩﻭﺍ.. ﺍﷲ ﻴﻔﺘﺢ ﻋﻠﻴﻙ.‬ ‫ﺃﻤﺭﻙ ﻴﺎ ﻤﻌﻠﻡ )ﻴﻜﺘﺏ(.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺨﺭﺝ ﺤﺎﻓﻅﺔ ﻨﻘﻭﺩﻩ( ﺃﻨﺎ ﻟﻲ ﻴﺎ ﺩﻜﺘﻭﺭ ﺴﺘﺔ ﻭﺜﻼﺜﻭﻥ ﻗﺭ ﹰﺎ ﻭﺃﻨﺕ ﻟﻙ ﺨﻤﺴﻭﻥ‬ ‫ﺸ‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻗﺭ ﹰﺎ، ﻴﻜﻭﻥ ﺍﻟﺒﺎﻗﻲ ﻟﻙ ﺃﺭﺒﻌﺔ ﻋﺸﺭ ﻗﺭ ﹰﺎ ﻫﺎ ﻫﻲ.‬ ‫ﺸ‬ ‫ﺸ‬ ‫ﻴﺎ ﻤﻌﻠﻡ.. ﻫﺫﺍ ﻻ ﻴﺼﺢ.. ﻭﻫل ﻴﻌﻘل ﺃﻥ ﺁﺨﺫ ﻤﻨﻙ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﺍﷲ ﻭﺍﷲ.. ﺇﻥ ﺃﻡ ﺃﻭﻻﺩﻱ ﺤﺭﺍﻡ ﻋﻠﻲ ﺇﻥ ﻟﻡ ﺘﺄﺨﺫ ﻤﻨﻙ..؟‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻴﺎ ﻤﻌﻠﻡ ﺍﻟﻨﺎﺱ ﻟﺒﻌﻀﻬﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫٦١‬
‫ﻨﻌﻡ ﻟﺒﻌﻀﻬﻡ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻁﻴﺏ ﺨﺫ ﻨﻘﻭﺩﻙ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﻴﺎ ﺩﻜﺘﻭﺭ ﺍﻟﺤﻕ ﺤﻕ، ﻭﺃﻅﻥ ﺃﻴ ‪‬ﺎ ﺃﻨﻙ ﻻ ﺘﺭﻀﻰ ﺃﻥ ﺃﻁﻠﻕ ﺃﻡ ﺤﺴﻴﻥ ﻭﻟﻭ ﺃﻨﻬﺎ‬ ‫ﻀ‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﺃﺼﺒﺤﺕ ﻋﺠﻭﺯﺍ )ﻭﻴﻀﺤﻙ(.‬ ‫‪‬‬ ‫)ﻭﻓﻲ ﻋﻴﻨﻴﻪ ﺒﻌﺽ ﺍﻟﺩﻤﻭﻉ( ﺃﻨﺕ ﻴﺎ ﻤﻌﻠﻡ ﺤﺴﻨﻴﻥ ﻴﺎ ﺠﺯﺍﺭ، ﺃﺭﻕ ﺇﻨﺴﺎﻥ ﺭﺃﻴﺘﻪ ﻓﻲ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺤﻴﺎﺘﻲ.‬ ‫ﺍﷲ ﻴﺒﻘﻴﻙ، ﻫﺫﺍ ﻤﻥ ﻅﺭﻓﻙ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻭﻋﻠﻴﻜﻡ ﺍﻟﺴﻼﻡ ﻴﺎ ﻤﻌﻠﻡ.. ﻤﻊ ﺍﻟﺴﻼﻤﺔ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺨﺭﺝ ﺍﻟﻤﻌﻠﻡ(‬ ‫)ﻟﻨﻔﺴﻪ( ﺃﻴﺭﻀﻴﻙ ﻫﺫﺍ ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ..؟ ﺃﻴﺭﻀﻴﻙ ﺃﻥ ﻴﺘﺼﺩﻕ ﻋﻠﻲ ﺍﻟﺠﺯﺍﺭ؟! ﺍﻟﺭﺠل‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﻴﺸﻜﻭ ﺸﻴﺌﺎ، ﻭﻴﺠﻌﻠﻨﻲ ﺃﻜﺸﻑ ﻋﻠﻴﻪ ﻟﻴﻌﻁﻴﻨﻲ ﺃﺠﺭﺓ ﺍﻟﻜﺸﻑ.. ﺭﺍﺽ ﺃﻨﺕ ﺃﻴﻬﺎ‬ ‫ﺍﻟﻘﺩﺭ؟! ﺤﺴﺒﻲ ﺍﷲ ﻭﻨﻌﻡ ﺍﻟﻭﻜﻴل. ﺤﺴﺒﻲ ﺍﷲ ﻭﻨﻌﻡ ﺍﻟﻭﻜﻴل.‬ ‫)ﻴﺩﺨل ﺤﺴﻥ(‬ ‫ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺒﺎﻟﺨﺎﺭﺝ ﺭﺠل ﻋﻅﻴﻡ ﻴﺴﺄل ﻋﻨﻙ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﻋﻅﻴﻡ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻅﻴﻡ ﺠ ‪‬ﺍ.‬ ‫ﺩ‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﺩﻋﻪ ﻴﺩﺨل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺩﺨل ﺭﺠل ﻴﻠﺒﺱ ﺍﻟﺭﺩﻨﺠﻭﺕ ﺫﻭ ﻟﺤﻴﺔ ﻜﺜﺔ ﻭﻴﻀﻊ ﻋﻠﻰ ﺭﺃﺴﻪ ﻋﻤﺎﻤﺔ ﻜﺒﻴﺭﺓ(‬ ‫ﺍﻟﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫:‬ ‫ﺍﻟﺩﺍﺨل‬ ‫ﻭﻋﻠﻴﻜﻡ ﺍﻟﺴﻼﻡ.. ﻨﻌﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺎ ﺍﻟﺩﻜﺘﻭﺭ ﻁﻬﺴﺘﺎﻥ.‬ ‫:‬ ‫ﺍﻟﺩﺍﺨل‬ ‫ﺃﻫﻼ ﻭﺴﻬﻼ.. ﻓﺭﺼﺔ ﻋﻅﻴﻤﺔ ﻴﺎ ﺴﻴﺩ ﻁﻪ.‬ ‫ﹰ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻗﻭل ﻟﻙ ﺃﻨﺎ ﺍﻟﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺃﻫﻼ ﻴﺎ ﺴﻴﺩ ﻁﻪ.‬ ‫ﹰ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﻌﻨﻲ ﻤﺼﻤﻡ.. ﻋﻠﻰ ﻜل ﺤﺎل ﺠﺌﺕ ﻷﺸﻜﺭﻙ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻋﻼﻡ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻠﻰ ﺃﻨﻙ ﺃﺭﺴﻠﺕ ﺇﻟﻰ ﺍﻟﺯﺒﺎﺌﻥ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻫﺫﺍ ﻭﺍﺠﺏ ﻴﺎ ﺴﻴﺩ ﻁﻪ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﻥ ﺃﺠل ﻫﺫﺍ ﺠﺌﺕ ﺃﻗﺩﻡ ﻟﻙ ﺨﺩﻤﺔ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺨﺩﻤﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻨﻌﻡ ﺨﺩﻤﺔ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫٧١‬
‫ﻭﻤﺎ ﻫﻲ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺕ ﺘﺭﺴل ﺇﻟﻲ ﺍﻟﻤﺭﻀﻰ ﺍﻟﺫﻴﻥ ﺘﺠﺩﻫﻡ ﻀﻌﺎﻑ ﺍﻟﺸﺨﺼﻴﺔ ﻴﻤﻜﻥ ﻟﻠﺘﻨﻭﻴﻡ ﺃﻥ ﻴﺅﺜﺭ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻓﻴﻬﻡ. ﻭﺃﻨﺎ ﺃﺭﺴل ﻟﻙ ﺍﻟﻤﺭﻀﻰ ﺍﻟﺫﻴﻥ ﺃﺠﺩ ﺒﻬﻡ ﻤﺭ ‪‬ﺎ ﺤﻘﻴﻘ ‪‬ﺎ. ﻤﺎ ﺭﺃﻴﻙ..؟‬ ‫ﻴ‬ ‫ﻀ‬ ‫ﻋﻅﻴﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﺘﻔﻘﻨﺎ..؟‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺍﺘﻔﻘﻨﺎ.. ﻭﻟﻜﻥ ﻫﻨﺎﻙ ﻤﺎﻨ ‪‬ﺎ ﺒﺴﻴ ﹰﺎ، ﺍﺴﻤﻪ ﺍﻟﺸﺭﻑ.‬ ‫ﻁ‬ ‫ﻌ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺩﻉ ﺍﻟﺸﺭﻑ ﺇﺫﻥ ﻴﻨﻔﻌﻙ.. ﻟﻘﺩ ﺭﺃﻴﺕ ﺍﻟﻴﻭﻡ ﺒﻨﻔﺴﻙ ﻜﻴﻑ ﺍﻤﺘﻸﺕ ﻋﻴﺎﺩﺘﻙ ﺒﺯﺒﺎﺌﻨﻲ،‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺤﻴﻥ ﻗﻠﺕ ﻟﻬﻡ: ﺇﻨﻙ ﻟﺴﺕ ﺍﻟﺩﻜﺘﻭﺭ ﻁﻬﺴﺘﺎﻥ ﺍﻨﺼﺭﻓﻭﺍ ﺠﻤﻴ ‪‬ﺎ.‬ ‫ﻌ‬ ‫ﻭﻫل ﻤﻌﻨﻰ ﺘﺄﺜﻴﺭﻙ ﻓﻲ ﺍﻟﻤﻐﻔﻠﻴﻥ ﺃﻥ ﺃﺘﻔﻕ ﻤﻌﻙ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺕ ﺘﺘﻔﻕ ﻤﻊ ﺴﻤﺴﺎﺭ، ﺘﻘﺎﺒل ﻤﻨﺎﻓﻊ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺃﻱ ﻋﻴﺏ ﻓﻲ ﻫﺫﺍ..؟ ﺃﻨﺕ ﺘﺨﺩﻤﻨﻲ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺃﻨﺎ ﺃﺨﺩﻤﻙ، ﻭﺍﻟﻨﺎﺱ ﻟﺒﻌﻀﻬﻡ.‬ ‫ﺘﻘﻭل ﻟﺒﻌﻀﻬﻡ..؟ ﺼﺤﻴﺢ.. ﻭﻟﻜﻨﻙ ﻟﻸﺴﻑ ﺃﻨﺕ ﺩﺠﺎل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ.. ﺩﺠﺎل ﻫﺫﻩ ﻟﻡ ﺃﻋﺭﻓﻬﺎ، ﻭﻟﻜﻨﻨﻲ ﺃﻋﺭﻑ ﺃﻨﻨﻲ ﺃﻤﻠﻙ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺘﻲ ﺃﺴﻜﻥ ﺒﻬﺎ،‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺃﻨﺕ ﻻ ﺘﺴﺘﻁﻴﻊ ﺃﻥ ﺘﺩﻓﻊ ﺃﺠﺭﺓ ﺍﻟﺸﻘﺔ ﺍﻟﺘﻲ ﺘﺴﻜﻨﻬﺎ.‬ ‫ﻭﻫل ﻴﻐﻴﺭ ﻫﺫﺍ ﻤﻥ ﺍﻟﺤﻘﻴﻘﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ ﻫﻲ ﻤﺎ ﺘﻤﻠﻙ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ ﻫﻲ ﺍﻟﻭﺍﻗﻊ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﺍﻟﻭﺍﻗﻊ ﺃﻨﻨﻲ ﻏﻨﻲ ﻭﺃﻨﺕ ﻓﻘﻴﺭ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺍﻟﻭﺍﻗﻊ ﺃﻨﻨﻲ ﺩﻜﺘﻭﺭ ﻭﺃﻨﺕ ﺩﺠﺎل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺘﻌﺎل ﻨﺨﺭﺝ ﻤﻌﺎ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺇﻟﻰ ﺃﻴﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻟﻰ ﺃﻱ ﻤﻜﺎﻥ ﻴﻌﺠﺒﻙ.. ﺇﻟﻰ ﺍﻟﺸﺎﺭﻉ.. ﺇﻟﻰ ﺍﻟﻘﻬﻭﺓ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﻤﺎ ﺍﻟﺴﺒﺏ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻟﺘﺭﻯ ﺍﻟﺤﻘﻴﻘﺔ.. ﻟﺘﻌﺭﻑ ﺍﻟﻭﺍﻗﻊ.. ﺇﻥ ﺍﻟﻨﺒﻲ ﻴﻘﻭل: ﺃﻟﺴﻨﺔ ﺍﻟﺨﻠﻕ ﺃﻗﻼﻡ ﺍﻟﺤﻕ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺇﻥ ﺍﻟﻨﺒﻲ ﻴﺘﻜﻠﻡ ﻋﻥ ﺃﻟﺴﻨﺔ ﺍﻟﺨﻠﻕ ﺍﻟﺒﺭﻴﺌﺔ ﻤﻥ ﺍﻟﻨﻔﺎﻕ، ﺍﻟﺒﻌﻴﺩﺓ ﻋﻥ ﺍﻟﺘﺯﻟﻑ.. ﻤﻬﻤﺎ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﻤﺩﺤﻙ ﺍﻟﻨﺎﺱ ﺃﻤﺎﻤﻙ، ﻓﺈﻨﻬﻡ ﺤﻴﻥ ﺘﻨﺼﺭﻑ ﻋﻨﻬﻡ ﺴﻴﻘﻭﻟﻭﻥ: ﺩﺠﺎل، ﺃﻤﺎ ﺃﻨﺎ ﻓﻤﻬﻤﺎ‬ ‫ﻗﺎﻟﻭﺍ ﻋﻥ ﻓﻘﺭﻱ ﻓﻠﻥ ﻴﺴﺘﻁﻴﻌﻭﺍ ﺇﻻ ﺃﻥ ﻴﻘﻭﻟﻭﺍ ﻤﻥ ﻭﺭﺍﺌﻲ ﻭﺃﻤﺎﻤﻲ، ﺇﻨﻨﻲ ﺩﻜﺘﻭﺭ‬ ‫ﺘﻌﻠﻤﺕ، ﻭﺍﺠﺘﻬﺩﺕ ﻭﻭﺼﻠﺕ.‬ ‫)ﻴﻀﺤﻙ ﻀﺤﻜﺔ ﺴﺎﺨﺭﺓ ﻋﺎﻟﻴﺔ( ﻭﺼﻠﺕ ﺇﻟﻰ ﺃﻴﻥ ﻴﺎ ﺩﻜﺘﻭﺭ..؟ ﺇﻟﻰ ﺃﻴﻥ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺼﻠﺕ..؟ ﺇﻟﻰ ﻋﻴﺎﺩﺓ ﻓﻲ ﻤﻜﺎﻥ ﻜﻬﺫﺍ..؟ ﺨﺎﻟﻴﺔ ﺇﻻ ﻤﻨﻙ..؟ ﻭﺼﻠﺕ ﻴﺎ ﺩﻜﺘﻭﺭ..؟‬ ‫)ﻴﻀﺤﻙ(.. ﺍﻟﻠﻬﻡ ﻻ ﺘﺠﻌل ﺃﺤ ‪‬ﺍ ﻴﺼل ﺇﻟﻰ ﻤﺎ ﻭﺼﻠﺕ ﺇﻟﻴﻪ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺃﻨﺕ‬ ‫ﺩ‬ ‫٨١‬
‫ﻭﺼﻠﺕ؟ ﻓﻤﻥ ﺇﺫﻥ ﺍﻟﺫﻱ ﻟﻡ ﻴﺼل..؟ ﺍﺴﻤﻊ ﻜﻼﻤﻲ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺍﻟﻐﻨﻰ.. ﺍﻟﺸﻬﺭﺓ.‬ ‫)ﻓﻲ ﺸﺒﻪ ﺘﺨﺎﺫل( ﺍﻟﻐﻨﻰ. ﺍﻟﺸﻬﺭﺓ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻨﻬﺎ ﺨﺩﻤﺔ ﺃﺭﻴﺩ ﺃﻥ ﺃﺅﺩﻴﻬﺎ ﻟﻙ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﻤﺎﺫﺍ ﺘﺭﻴﺩ ﻤﻨﻲ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻟﻘﺩ ﻗﻠﺕ ﻟﻙ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻤﺎﺫﺍ ﺘﻔﻌل ﺇﺫﺍ ﺃﺭﺴﻠﺕ ﺃﻨﺕ ﺍﻟﺯﺒﺎﺌﻥ ﻭﻟﻡ ﺃﺭﺴﻠﻬﻡ ﺃﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﻜﻭﻥ ﺍﻟﺩﺠﺎل ﻭ ﹼﻰ ﺒﻭﻋﺩﻩ، ﻭﻴﻜﻭﻥ ﺍﻟﺸﺭﻴﻑ ﺃﺨﻠﻑ.‬ ‫ﻓ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﻤﺎ ﺩﺨل ﺍﻟﺸﺭﻑ، ﻭﻜﻼﻨﺎ ﻴﺴﺭﻕ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻨﺴﺭﻕ..؟ ﻨﺤﻥ ﻨﺴﺭﻕ..؟‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻁﺒﻌﺎ.. ﺇﻨﻨﺎ ﺃﻜﺜﺭ ﻤﻥ ﻟﺼﻭﺹ.. ﺍﻟﻠﺹ ﻴﺴﺭﻕ ﺃﻤﺎ ﻨﺤﻥ ﻓﻨﺴﺭﻕ ﺍﻟﺜﻘﺔ.. ﻨﺴﺭﻕ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻋﺘﻘﺎﺩ ﺍﻟﻨﺎﺱ ﻓﻴﻨﺎ.‬ ‫ﻭﻟﻤﺎﺫﺍ..؟ ﺃﻨﺕ ﺩﻜﺘﻭﺭ، ﻭﺃﻨﺎ ﺃﺭﺴل ﻟﻙ ﻤﺭﻀﻰ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻫﺫﺍ ﺼﺤﻴﺢ.. ﻭﻟﻜﻥ ﻫل ﺃﻨﺎ ﺩﻜﺘﻭﺭ ﻤﺎﻫﺭ ﺃﻭ ﻻ.. ﻫل ﺘﻌﺭﻑ ﻫﺫﺍ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻠﻰ ﻜل ﺤﺎل ﺃﻨﺕ ﺩﻜﺘﻭﺭ.. ﻓﺜﻘﺔ ﺍﻟﻨﺎﺱ ﻓﻲ ﻤﺤﻠﻬﺎ.. ﺃﻨﺎ ﻻ ﺃﺭﺴﻠﻬﻡ ﺇﻟﻰ ﻤﺤﺎﻡ ﺃﻭ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻤﻬﻨﺩﺱ.. ﺇﻟﻰ ﺩﻜﺘﻭﺭ..‬ ‫ﻋﻅﻴﻡ.. ﻭﺃﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺃﻋﺭﻑ، ﻭﻟﻜﻥ ﻤﺎ ﻤﻭﻗﻔﻲ ﺃﻨﺎ ﺤﻴﻥ ﺃﺭﺴل ﺍﻟﻨﺎﺱ ﺇﻟﻴﻙ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﺘﻅﻬﺭ ﻋﻠﻴﻪ ﺍﻟﺤﻴﺭﺓ( ﺃﻨﺕ.. ﺃﻨﺕ ﺘﺭﺴﻠﻬﻡ ﺇﻟﻰ ﻤﻨﻭﻡ ﻤﺸﻬﻭﺭ ﻴﺎ ﺃﺨﻲ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺍﻟﻐﻨﻰ.. ﺍﻟﺸﻬﺭﺓ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺃﻨﺕ ﻻ ﺘﻌﺭﻑ ﻜﻡ ﺃﻨﺎ ﻤﺤﺘﺎﺝ ﻟﻬﺫﺍ ﺍﻟﻐﻨﻲ، ﻭﻟﻜﻨﻲ ﻻ ﺃﺴﺘﻁﻴﻊ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺕ ﺤﺭ.. ﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﻋﻠﻴﻜﻡ ﺍﻟﺴﻼﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺨﺭﺝ ﻭﻴﺩﺨل ﺤﺴﻥ(‬ ‫ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﺨﻴ ‪‬ﺍ ﻴﺎ ﺤﺴﻥ.‬ ‫ﺭ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﻥ ﺃﻴﻥ ﺍﻟﺨﻴﺭ..؟ ﻭﺍﷲ ﻟﻭ ﻜﺎﻥ ﻋﻨﺩﻱ ﻤﺎ ﺘﺄﺨﺭﺕ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﻤﺎ ﻫﻭ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻟﺯﺒﻭﻥ.. ﺃﻗﺼﺩ ﺍﻟﺨﻴﺭ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﻤﺎﺫﺍ ﺘﺭﻴﺩ ﺇﺫﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺨﻁﻴﺒﺘﻙ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫٩١‬
‫ﺨﻁﻴﺒﺘﻲ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺨﻁﻴﺒﺘﻙ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﺩﻋﻬﺎ ﺘﺩﺨل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺘﻔﻀﻠﻲ ﻴﺎ ﺴﺕ ﻫﺎﻨﻡ‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫)ﺘﺩﺨل ﺘﺤﻴﺔ ﻭﻗﺩ ﺒﺩﺍ ﻋﻠﻴﻬﺎ ﺍﻟﺘﺠﻬﻡ(‬ ‫ﺃﻫﻼ ﺘﺤﻴﺔ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻫﻼ ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﺎ ﻟﻙ ﻴﺎ ﺘﺤﻴﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﺸﻲﺀ.. ﻭﻟﻜﻨﻨﻲ ﻜﻨﺕ ﺃﺴﺘﻤﻊ ﺇﻟﻰ ﺤﺩﻴﺙ ﻁﻭﻴل.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻋﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻨﻙ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻋﻨﻲ ﺃﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻟﻴﺱ ﻋﻨﻙ ﺃﻨﺕ ﺒﺎﻟﺫﺍﺕ.. ﻋﻥ ﺍﻹﻨﺴﺎﻥ ﻋﻤﻭ ‪‬ﺎ.‬ ‫ﻤ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻫﺫﺍ ﻜل ﻤﺎ ﻜﺎﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻜﻼﻡ ﺒﻨﺎﺕ.. ﻤﺎﺫﺍ ﺘﻨﺘﻅﺭ ﻤﻥ ﺒﻨﺘﻴﻥ ﺘﺘﻜﻠﻤﺎﻥ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻜﺎﺩ ﺃﻓﻬﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﺎﺫﺍ؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﻭﻀﻭﻉ ﺍﻟﻜﻼﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﺎ ﺃﺨﻲ ﺃﺘﺭﻙ ﻫﺫﺍ.. ﻤﺎﺫﺍ ﻋﻤﻠﺕ ﺃﻨﺕ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻓﻴﻡ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﺎﺫﺍ ﻋﻤﻠﺕ ﺒﻌﺩ ﺨﺭﻭﺠﻙ ﺃﻤﺱ..؟ ﻻﺤﻅﺕ ﺃﻨﻙ ﻜﻨﺕ ﺯﻋﻼﻥ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺯﻋﻼﻥ؟.. ﻻ.. ﺃﺒ ‪‬ﺍ.‬ ‫ﺩ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ.. ﻗل ﺍﻟﺤﻕ..‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻭﺍﷲ ﻴﺎ ﺘﺤﻴﺔ ﺃﻨﺎ ﻓﻌﻼ ﻜﻨﺕ ﺯﻋﻼﻥ، ﻭﻤﺎ ﺯﻟﺕ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺨﻴ ‪‬ﺍ.. ﺠﺭﻯ ﺸﻲﺀ..؟‬ ‫ﺭ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻭﻤﺎﺫﺍ ﻴﻤﻜﻥ ﺃﻥ ﻴﺠﺭﻱ ﺃﻜﺜﺭ ﻤﻥ ﻫﺫﺍ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﺎ ﻫﻭ ﻫﺫﺍ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺴﻨﺘﺎﻥ ﺍﻵﻥ، ﻭﺃﻨﺎ ﺃﺨﺎﻁﺒﻙ، ﻭﺃﻨﺕ ﺘﻨﺘﻅﺭﻴﻥ ﺤﺘﻰ ﺃﺠﻤﻊ ﺍﻟﻤﻬﺭ.. ﻤﺎﺫﺍ ﺴﻨﻔﻌل..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺎ ﺸﺨﺼ ‪‬ﺎ ﻻ ﻤﺎﻨﻊ ﻋﻨﺩﻱ ﺃﻥ ﺃﻨﺘﻅﺭ.. ﻭﻟﻜﻥ ﺃﻨﺕ ﻴﺠﺏ ﺃﻥ ﺘﻌﻤل.‬ ‫ﻴ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﻟﻤﺴﺄﻟﺔ ﻟﻴﺴﺕ ﻤﺴﺄﻟﺔ ﻤﻬﺭ ﻓﻘﻁ، ﻭﺇﻨﻤﺎ ﻤﺴﺄﻟﺔ ﺤﻴﺎﺘﻨﺎ ﺒﻌﺩ ﺍﻟﺯﻭﺍﺝ؟ ﻜﻴﻑ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺴﻨﻌﻴﺵ..؟‬ ‫٠٢‬
‫ﺍﻟﺤﻤﺩ ﷲ.. ﺃﺒﻲ ﻏﻨﻲ ﻭﺃﻋﺘﻘﺩ ﺃﻨﻪ ﻴﺴﺘﻁﻴﻊ..‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻥ ﻴﺴﺎﻋﺩﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﺎ ﺍﻟﺒﺄﺱ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﷲ.. ﺍﷲ.. ﺃﻨﺎ ﺃﻋﻴﺵ ﻋﺎﻟﺔ ﻋﻠﻰ ﻭﺍﻟﺩﻙ..؟ ﺃﺘﺭﻀﻴﻥ ﻫﺫﺍ ﻴﺎ ﺘﺤﻴﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﺎﺫﺍ ﺒﻴﺩﻨﺎ ﻴﺎ ﺇﺒﺭﺍﻫﻴﻡ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺒﻴﺩﻨﺎ ﺃﻥ ﻨﻘﻨﻊ ﺃﺒﺎﻙ ﺒﻤﺴﺄﻟﺔ..‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻟﻭﻅﻴﻔﺔ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻨﻌﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﺘﺘﻌﺏ ﻨﻔﺴﻙ.. ﻫﺫﻩ ﻤﺴﺄﻟﺔ ﺃﺴﺎﺴﻴﺔ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻴﺎ ﻋﺎﻟﻡ.. ﻴﺎ ﻨﺎﺱ.. ﻁﺒﻴﺏ ﻴﺭﻴﺩ ﺃﻥ ﻴﻌﻤل ﻓﻲ ﻗﺼﺭ ﺍﻟﻌﻴﻨﻲ ﻁﺒﻴ ‪‬ﺎ.. ﻫل ﻫﺫﺍ‬ ‫ﺒ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻴﺏ..؟ ﻫل ﻫﺫﺍ ﻴﻀﺭ ﺒﺎﻟﺸﺭﻑ..؟ ﻫل ﻫﺫﺍ ﻴﺴﻲﺀ ﺇﻟﻰ ﺍﻟﺴﻤﻌﺔ؟.. ﻫﻨﺎﻙ ﺒﺤﺙ‬ ‫ﻋﻅﻴﻡ ﺃﻗﻭﻡ ﺒﻪ ﺒﻡ ﺃﻜﻭﻥ ﻜﺴﺒﺕ ﺍﻟﺸﻬﺭﺓ.‬ ‫ﺃﻨﺕ ﺘﻌﺭﻑ ﺃﻨﻪ ﻴﻜﺭﻩ ﺍﻟﻭﻅﻴﻔﺔ ﻭﻴﻜﺭﻩ ﺴﻴﺭﺘﻬﺎ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻭﻟﻜﻨﻲ ﺃﻜﺭﻩ ﺍﻟﻔﻘﺭ ﺃﻴ ‪‬ﺎ، ﻭﺃﻜﺭﻩ ﺴﻴﺭﺘﻪ.. ﻤﺎﺫﺍ ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﻓﻌل..؟ ﺤﺎﻟﺔ ﺍﻟﻌﻴﺎﺩﺓ‬ ‫ﻀ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺘﺯﻴﺩﻨﻲ ﺍﺭﺘﺒﺎ ﹰﺎ.. ﺃﻨﺎ ﺃﺨﺴﺭ ﻓﻴﻬﺎ ﻭﻻ ﺃﻜﺴﺏ، ﺤﺭﺍﻡ ﺃﻥ ﺃﺘﺭﻜﻙ ﺃﻜﺜﺭ ﻤﻥ ﻫﺫﺍ.. ﺃﻨﺎ‬ ‫ﻜ‬ ‫ﻤﻭﻗﻔﻲ ﺤﺭﺝ ﺠ ‪‬ﺍ.‬ ‫ﺩ‬ ‫ﻻﺒﺩ ﻟﻨﺎ ﺃﻥ ﻨﺘﻐﻠﺏ ﻋﻠﻰ ﻜل ﺸﻲﺀ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻻﺒﺩ ﺃﻥ ﺘﺘﺤﺭﻙ ﺍﻷﺭﺽ ﺤﺘﻰ ﻴﺄﺘﻲ ﺍﻟﺼﺒﺢ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻨﺼل ﺇﻟﻰ ﻤﺎ ﻨﺄﻤل ﻭﻨﺤﻥ ﻫﺎﺩﺌﻭﻥ ﻤﺴﺘﺭﻴﺤﻭﻥ ﺒﻐﻴﺭ ﺴﻌﻲ.. ﺃﻋﻤل.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻴﻥ..؟ ﻜﻴﻑ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺕ ﺴﻠﺒﻲ ﺨﺎﻟﺹ ﻴﺎ ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﻥ ﺃﻴﻥ ﻴﺄﺘﻴﻨﻲ ﺍﻟﻌﻤل..؟ ﺃﺴﻤﻌﻲ ﻴﺎ ﺘﺤﻴﺔ.. ﺃﻨﺎ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺃﺭﻀﻲ ﻟﻨﻔﺴﻲ ﻫﺫﺍ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﺎﺫﺍ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻥ ﺃﺤﻁﻡ ﺤﻴﺎﺓ ﺍﻹﻨﺴﺎﻥ ﺍﻟﻭﺤﻴﺩ ﺍﻟﺫﻱ ﺃﺤﺒﻪ.. ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺃﺤﻁﻡ ﺤﻴﺎﺘﻙ.. ﻻ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﻏﺸﻙ.. ﻻ ﺃﻤل ﻤﻁﻠ ﹰﺎ.. ﻻ ﺃﻤل.. ﻭﻻ ﻤﻌﻨﻰ ﺃﺒ ‪‬ﺍ ﺃﻥ ﺘﻨﺘﻅﺭﻱ ﺇﻨﺴﺎ ﹰﺎ‬ ‫ﻨ‬ ‫ﺩ‬ ‫ﻘ‬ ‫ﻓﺎﺸﻼ ﻻ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﺘﺤﺭﺭ ﻤﻥ ﻓﺸﻠﻪ.. ﻻ ﻴﻤﻜﻥ.‬ ‫ﺃﺤﺱ ﻓﻲ ﻜﻼﻤﻙ ﺸﻴﺌﺎ ﻏﺭﻴ ‪‬ﺎ.‬ ‫ﺒ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﺴﻤﻌﻲ ﻴﺎ ﺘﺤﻴﺔ.. ﻴﺠﺏ ﺃﻥ ﺘﻌﺭﻓﻲ ﺃﻨﻪ ﻻ ﺃﻤل ﻤﻥ ﺯﻭﺍﺠﻨﺎ ﻭﺃﻨﺎ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺤﺎل..‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻨﻙ ﺒﻜﻼﻤﻙ ﻫﺫﺍ ﺘﻔﺴﺦ ﺍﻟﺨﻁﻭﺒﺔ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺇﻨﻨﻲ ﺒﻜﻼﻤﻲ ﻫﺫﺍ ﺃﻨﻘﺫ ﻤﺴﺘﻘﺒﻠﻙ، ﺃﺨﺎﻑ ﺃﻥ ﻴﻁﻭل ﺒﻨﺎ ﺍﻟﻁﺭﻴﻕ ﺇﻟﻰ ﺍﻟﺯﻭﺍﺝ ﻭﺃﻨﺕ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻟﻡ ﺘﺭﺘﻜﺒﻲ ﺠﺭ ‪‬ﺎ ﺤﺘﻰ ﺃﺠﻨﻲ ﻋﻠﻴﻙ ﺃﻨﺕ ﺃﻴ ‪‬ﺎ، ﺃﻥ ﺍﻟﻘﺩﺭ ﻭﺃﺒﺎﻙ ﻴﺘﻌﺎﻭﻨﺎﻥ ﻋﻠﻰ‬ ‫ﻀ‬ ‫ﻤ‬ ‫١٢‬
‫ﻓﺸﻠﻲ.‬ ‫ﻻ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﻫﺫﺍ ﺍﻟﻜﻼﻡ ﻟﻪ ﻤﻌﻨﻰ ﺁﺨﺭ، ﻭﻗﺩ ﻓﻬﻤﺘﻪ، ﺇﻨﻙ ﺘﻔﺴﺦ ﺍﻟﺨﻁﺒﺔ ﻭﺇﻨﻨﻲ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻗﺒل.‬ ‫ﻻ.. ﺃﻨﺎ ﻟﻡ ﺃﻓﺴﺨﻬﺎ ﺒﻌﺩ.. ﻭﻟﻜﻨﻨﻲ ﺴﺄﺤﺎﻭل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﺫﻥ ﻓﺄﻨﺎ ﺃﻓﺴﺨﻬﺎ ﻴﺎ ﺩﻜﺘﻭﺭ.. )ﺘﺨﺭﺝ(.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫)ﻤﻁﺭ ﹰﺎ( ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ، ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ ﺍﻟﻌﻨﻴﺩ، ﺃﻴﻥ ﺃﻨﺕ..؟‬ ‫ﻗ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺩﺨل ﺸﺨﺹ ﻤﻥ ﺠﺩﺍﺭ ﺍﻟﻐﺭﻓﺔ ﻭﻴﻘﻑ ﺼﺎﻤ ﹰﺎ(‬ ‫ﺘ‬ ‫ﺃﻴﻥ ﺃﻨﺕ ﻷﻨﺘﻘﻡ ﻤﻨﻙ، ﺃﻭ ﻷﺴﺄل ﻋﻠﻰ ﺍﻷﻗل ﻟﻤﺎﺫﺍ ﺘﻌﺎﻤﻠﻨﻲ ﺃﻨﺎ ﺩﻭﻥ ﺴﺎﺌﺭ ﺍﻟﻨﺎﺱ‬ ‫ﻫﺫﻩ ﺍﻟﻤﻌﺎﻤﻠﺔ ﺍﻟﺸﺎﺌﻨﺔ ﺍﻟﻌﻨﻴﻔﺔ..؟ ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ )ﻴﺭﻓﻊ ﺭﺃﺴﻪ( ﻤﻥ..؟ ﻤﻥ ﺃﻨﺕ..؟‬ ‫ﺃﻨﺎ ﺍﻟﻘﺩﺭ.‬ ‫:‬ ‫ﺍﻟﺸﺨﺹ‬ ‫ﺃﺘﻬﺯﺃ ﺒﻲ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺒل ﻫﺫﻩ ﺍﻟﺤﻘﻴﻘﺔ.‬ ‫:‬ ‫ﺍﻟﺸﺨﺹ‬ ‫ﻓﻬل ﺍﻟﻘﺩﺭ ﺇﻨﺴﺎﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻜﺎﻥ ﻻ ﺒﺩ ﻟﻲ ﺃﻥ ﺃﺘﺨﺫ ﻫﺫﺍ ﺍﻟﻤﻅﻬﺭ ﺤﺘﻰ ﺘﺭﺍﻨﻲ ﻭﻻ ﺘﺨﺎﻑ.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻓﻤﺎﺫﺍ ﺘﺭﻴﺩ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺎ.. ﻻ ﺃﺭﻴﺩ ﺸﻴ ًﺎ.. ﺇﻨﻪ ﺃﻨﺕ ﺍﻟﺫﻱ ﺘﺭﻴﺩ.‬ ‫ﺌ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺃﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻨﻌﻡ.. ﺃﻟﻡ ﺘﻘل ﺃﻴﻥ ﺃﻨﺕ ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ..؟ ﻟﻘﺩ ﻜﻨﺕ ﺸﻔﻭﻗﺎ ﺒﻙ ﻟﺩﺭﺠﺔ ﺃﻨﻨﻲ ﻅﻬﺭﺕ ﻟﻙ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺒﻤﺠﺭﺩ ﻁﻠﺒﻙ ﻟﻲ.‬ ‫ﻓﺄﻨﺕ ﺘﻌﻠﻡ ﺇﺫﻥ ﻤﺎ ﺃﺭﺩﺘﻙ ﺒﺸﺄﻨﻪ..‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻨﻙ ﺘﺭﻴﺩ ﺃﻥ ﺘﻨﺘﻘﻡ ﻤﻨﻲ، ﻭﻫﺫﺍ ﻤﺎ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺘﻔﻌﻠﻪ.. ﺜﻡ ﺃﻨﺕ ﺘﻨﺎﺯﻟﺕ ﻗﻠﻴﻼ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻓﺄﺭﺩﺕ ﺃﻥ ﺘﺭﺍﻨﻲ ﺤﺘﻰ ﺘﻌﺭﻑ ﻟﻤﺎﺫﺍ..؟‬ ‫ﻨﻌﻡ.. ﻟﻤﺎﺫﺍ..؟ ﻟﻤﺎﺫﺍ ﺘﻔﻌل ﺒﻲ ﻜل ﻫﺫﺍ..؟ ﻭﻟﻤﺎﺫﺍ ﺍﺨﺘﺭﺘﻨﻲ ﺩﻭﻥ ﺴﺎﺌﺭ ﺍﻷﻁﺒﺎﺀ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺩﻭﻥ ﺴﺎﺌﺭ ﺍﻵﺩﻤﻴﻴﻥ ﺤﺘﻰ ﺘﺠﻌﻠﻨﻲ ﻓﻲ ﻤﺜل ﻫﺫﻩ ﺍﻟﺤﺎل..؟‬ ‫ﻭﻤﺎﺫﺍ ﻜﺎﻥ ﻤﺭﻀﻙ..؟‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫)ﻓﻲ ﺘﺭﺩﺩ( ﻀﻌﻑ ﺃﻋﺼﺎﺏ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﺴﺎﺨ ‪‬ﺍ( ﺒﻤﻌﻨﻰ ﺁﺨﺭ ﺘﺨﺎﺫل.. ﺨﻭﻑ.. ﻀﻌﻑ ﺸﺨﺼﻴﺔ.‬ ‫ﺭ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺃﻟﻡ ﺘﻜﻥ ﺃﻨﺕ ﻭﺤﺩﻙ ﻤﻥ ﺠﻌل ﺃﺒﻲ ﻓﻘﻴ ‪‬ﺍ.. ﻟﻡ ﻴﺴﺘﻁﻊ ﺃﻥ ﻴﻤﺩﻨﻲ ﺒﺎﻟﻤﺎل..؟‬ ‫ﺭ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻥ ﻓﻘﺭ ﺃﺒﻴﻙ ﺸﻲﺀ ﺘﺴﺄل ﻋﻨﻪ ﺃﺠﺩﺍﺩﻙ ﺤﻴﻥ ﺘﻨﺸﻁﻭﺍ ﻓﻲ ﺇﻨﺠﺎﺏ ﺍﻟﺫﺭﻴﺔ ﻭﺍﺴﺘﻨﺎﻤﻭﺍ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻓﻲ ﻨﻭﺍل ﺍﻟﺭﺯﻕ.‬ ‫ﻭﻤﻥ ﺴﻭﺍﻙ ﺍﻟﺫﻱ ﺠﻌل ﺃﺒﺎ ﺨﻁﻴﺒﺘﻲ ﻴﺨﺭﺝ ﻤﻥ ﺍﻟﺤﻜﻭﻤﺔ ﺴﺎﺨ ﹰﺎ ﻋﻠﻴﻬﺎ. ﻓﻬﻭ ﻴﺄﺒﻰ‬ ‫ﻁ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫٢٢‬
‫ﺃﻥ ﺃﺩﺨﻠﻬﺎ.. ﻭﺠﻌل ﺘﻭﻅﻔﻲ ﻓﻲ ﺍﻟﺤﻜﻭﻤﺔ ﻤﻌﻨﺎﻩ ﻓﺴﺨﺎ ﻟﺨﻁﺒﺘﻲ..؟‬ ‫)ﺴﺎﺨ ‪‬ﺍ( ﻜﻼﻜﻤﺎ ﺃﺤﻤﻕ.. ﻫﻭ ﺃﺤﻤﻕ ﻓﻲ ﺘﺼﺭﻓﻪ، ﻭﺃﻨﺕ ﺃﺤﻤﻕ ﻷﻨﻙ ﻗﺒﻠﺕ ﻫﺫﺍ‬ ‫ﺭ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺍﻟﺘﺼﺭﻑ.‬ ‫)ﻓﻲ ﺍﺴﺘﺨﺫﺍﺀ( ﻭﻤﺎﺫﺍ ﺘﺭﻯ ﺍﻵﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻨﻙ ﻭﺤﺩﻙ ﺍﻟﺫﻱ ﺘﺴﺘﻁﻴﻊ ﺃﻥ ﺘﻨﻘﺫ ﻨﻔﺴﻙ.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻜﻴﻑ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻨﻅﺭ ﻓﻲ ﺃﻤﺭ ﻨﻔﺴﻙ.. ﺤﺩﺩ ﺍﻟﻌﺭﺍﻗﻴل ﺍﻟﺘﻲ ﺘﻘﻑ ﻓﻲ ﺴﺒﻴﻠﻙ.. ﻭﺍﻋﻤل.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻤﺎﺫﺍ ﺃﻋﻤل..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻋﻤل ﻟﻨﺠﺎﺡ ﻨﻔﺴﻙ.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺨﻁﻴﺒﺘﻲ.. ﺃﺒﻭﻫﺎ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺒﺘﺴﻡ(.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺍﻋﻤل ﻓﻲ ﺍﻟﺤﻜﻭﻤﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺒﺘﺴﻡ ﻓﻲ ﺭﻀﺎ(.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺍﻟﺒﺤﺙ ﺍﻟﺫﻱ ﺒﺩﺃﺘﻪ.. ﺇﻨﻘﺎﺫ ﺍﻵﻻﻑ ﻤﻥ ﺍﻷﻤﺭﺍﺽ.. ﺍﻟﺸﻬﺭﺓ ﺍﻟﻌﻠﻤﻴﺔ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﺘﻜﺜﺭ ﻤﻥ ﺍﻟﻜﻼﻡ ﻭﻟﻜﻥ ﺍﻋﻤل.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺁﻤﺎل ﺍﻟﺸﺎﺏ.. ﺃﺤﻼﻡ ﺍﻟﻤﺴﺘﻘﺒل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﺭﺍﻀﻴﺎ ﻭﻫﻭ ﻴﺨﺘﻔﻲ ﻓﻲ ﺍﻟﺠﺩﺍﺭ( ﺤﻘﻘﻬﺎ.. ﻭﺍﻋﻤل.‬ ‫‪‬‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺴﺘﺎﺭ‬ ‫٣٢‬
‫ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻧﻲ‬ ‫"ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ ﻓﻲ ﺒﻴﺕ ﺘﺤﻴﺔ.. ﻭﺤﻤﺩﻱ ﺒﻙ ﺃﺒﻭ ﺘﺤﻴﺔ ﺠﺎﻟﺱ ﺇﻟﻰ ﻨﺠﻴﺏ ﺼﺩﻴﻘﻪ ﺍﻟﻤﻭﻅﻑ"‬ ‫: ﻭﺍﷲ ﻴﺎ ﺤﻤﺩﻱ ﺒﻙ ﺍﺸﺘﻘﺕ ﻟﻙ ﺠ ‪‬ﺍ ﻓﻘﻠﺕ ﺃﺯﻭﺭﻙ.‬ ‫ﺩ‬ ‫ﻨﺠﻴﺏ‬ ‫: ﻤﺘﺸﻜﺭ ﺠﺩﺍ ﻴﺎ ﻨﺠﻴﺏ ﺒﻙ.. ﻫﻴﻪ، ﻭﻤﺎ ﺃﺨﺒﺎﺭ ﺍﻟﻤﺼﻠﺤﺔ.؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻴﺎ ﺴﻴﺩﻱ ﻤﻥ ﻴﻭﻡ ﻤﺎ ﺘﺭﻜﺘﻬﺎ ﺃﺼﺒﺤﺕ ﻤﻔﺴﺩﺓ.. ﺃﺼﺒﺤﺕ ﻤﺼﻠﺤﺔ ﺸﺨﺼﻴﺔ..‬ ‫ﻨﺠﻴﺏ‬ ‫ﺃﺼﺒﺤﺕ ﻋﺯﺒﺔ.‬ ‫: ﺃﻋﺭﻑ.. ﺃﻋﺭﻑ ﻴﺎ ﻨﺠﻴﺏ ﺒﻙ.. ﻭﻫل ﻴﻤﻜﻥ ﺃﻥ ﺘﻘﻭل ﻏﻴﺭ ﻫﺫﺍ؟!.. ﺇﻨﻤﺎ ﺃﺴﺄﻟﻙ‬ ‫ﺤﻤﺩﻱ‬ ‫ﻋﻥ ﺃﺨﺒﺎﺭﻫﺎ ﻓﻌﻼ.‬ ‫: ﻭﺍﷲ ﻜﻤﺎ ﺘﻌﺭﻑ.. ﺍﻟﻤﺩﻴﺭ ﺍﻟﺠﺩﻴﺩ ﻏﺎﻀﺏ ﺩﺍﺌﻤﺎ ﻭﻻ ﺃﺤﺩ ﻴﻜﻠﻤﻪ ﻭﻻ ﻴﻜﻠﻡ ﻫﻭ‬ ‫ﻨﺠﻴﺏ‬ ‫ﺃﺤﺩﺍ.. ﻭﺍﻟﻤﺼﻠﺤﺔ ﻤﺎﺸﻴﺔ ﺃﻭ ﻭﺍﻗﻔﺔ.. ﻭﻟﻜﻥ ﻓﻲ ﺼﻤﺕ ﻋﻠﻰ ﺍﻟﺤﺎﻟﻴﻥ.‬ ‫: ﻭﻤﺎ ﻟﺯﻭﻡ ﺍﻟﻜﻼﻡ ﻴﺎ ﺃﺨﻲ؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻨﺘﻔﺎﻫﻡ.. ﻨﻌﺭﻑ ﻤﺎ ﻴﻌﺠﺒﻪ ﻭﻤﺎ ﻻ ﻴﻌﺠﺒﻪ.. ﺘﻔﺎﻫﻡ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻟﺒﻙ.. ﺘﻔﺎﻫﻡ.‬ ‫ﻨﺠﻴﺏ‬ ‫: ﺍﻟﺤﻤﺩ ﷲ ﻴﺎ ﺴﻲ ﻨﺠﻴﺏ، ﺘﺭﻜﻨﺎ ﺍﻟﺤﻜﻭﻤﺔ ﺒﻜل ﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ﺩﺱ ﻭﻤﻥ ﻭﻗﻴﻌﺔ،‬ ‫ﺤﻤﺩﻱ‬ ‫ﻭﺒﻜل ﻤﺎ ﻓﻴﻬﺎ ﺃﻴ ‪‬ﺎ ﻤﻥ ﺤﻘﺎﺭﺓ.‬ ‫ﻀ‬ ‫: ﺤﻘﺎﺭﺓ ﻴﺎ ﺤﻤﺩﻱ ﺒﻙ!‬ ‫ﻨﺠﻴﺏ‬ ‫: ﻤﺎﺫﺍ ﻫل ﺍﻟﻜﻠﻤﺔ ﻏﺭﻴﺒﺔ ﻋﻠﻴﻙ..؟ ﻨﻌﻡ ﺤﻘﺎﺭﺓ، ﻭﻫل ﻨﻔﺎﻕ ﺍﻟﻤﻭﻅﻔﻴﻥ ﺇﻻ ﺤﻘﺎﺭﺓ..؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻭﻟﻜﻨﻨﻲ ﻻ ﺃﻨﺎﻓﻕ ﻴﺎ ﺤﻤﺩﻱ ﺒﻙ.‬ ‫ﻨﺠﻴﺏ‬ ‫: ﺴﺒﺤﺎﻥ ﺍﷲ ﻭﻫل ﻗﻠﺕ ﻟﻙ ﺇﻨﻙ ﺘﻨﺎﻓﻕ، ﻜﻠﻬﻡ ﻴﻨﺎﻓﻘﻭﻥ ﺍﻟﻭﺯﻴﺭ ﺇﻥ ﺠﺎﺀ.. ﻓﺈﻥ ﻟﻡ‬ ‫ﺤﻤﺩﻱ‬ ‫ﻴﻜﻥ ﺍﻟﻭﺯﻴﺭ ﻓﻬﻡ ﻴﻨﺎﻓﻘﻭﻥ ﻭﻜﻴل ﺍﻟﻭﺯﺍﺭﺓ.. ﻓﺈﻥ ﻟﻡ، ﻓﻬﻡ ﻴﺘﻌﻠﻘﻭﻥ ﺒﺄﺴﺒﺎﺏ‬ ‫ﺍﻟﺴﻜﺭﺘﻴﺭ ﺃﻭ ﺍﻟﺤﺎﺠﺏ.. ﻨﻔﺎﻕ.. ﻟﻡ ﺃﻋﺭﻑ ﻜﻴﻑ ﺃﻨﺎﻓﻕ ﻓﺨﺭﺠﺕ..‬ ‫: ﺍﻟﻭﺍﻗﻊ ﻴﺎ ﺤﻤﺩﻱ ﺒﻙ ﺃﻥ ﺨﺭﻭﺠﻙ ﻜﺎﻥ ﺼﻼﺒﺔ ﺭﺃﻱ ﻤﻨﻙ ﻓﻘﻁ.‬ ‫ﻨﺠﻴﺏ‬ ‫: ﻴﺎ ﺃﺨﻲ ﻫل ﻋﻴﺏ ﺃﻥ ﺃﺤﺎﻓﻅ ﻋﻠﻰ ﺭﺃﻴﻲ..؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻟﻡ ﺘﻜﻥ ﺍﻟﻤﺴﺄﻟﺔ ﻤﺤﺎﻓﻅﺔ ﻋﻠﻰ ﺭﺃﻱ ﻭﺇﻨﻤﺎ ﻜﺎﻥ ﻋﻨﺎ ‪‬ﺍ.‬ ‫ﺩ‬ ‫ﻨﺠﻴﺏ‬ ‫: ﺃﻱ ﻋﻨﺎﺩ..؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﺼﻤﻤﺕ ﺃﻥ ﺘﻜﻭﻥ ﺃﻤﻭﺭ ﺍﻟﻤﺼﻠﺤﺔ ﻓﻲ ﻴﺩﻙ ﻭﻟﻡ ﺘﺭﺽ ﺃﻥ ﻴﺭﻯ ﻭﻜﻴل ﺍﻟﻭﺯﺍﺭﺓ‬ ‫ﻨﺠﻴﺏ‬ ‫ﻤﻨﻬﺎ ﺸﻴﺌﺎ، ﻭﺃﻋﺘﻘﺩ ﺃﻥ ﻟﻪ ﻋﻠﻴﻙ ﺤﻕ ﺍﻹﺸﺭﺍﻑ.‬ ‫: ﺍﻹﺸﺭﺍﻑ ﻏﻴﺭ ﺍﻟﺘﺩﺨل ﻓﻲ ﺍﻟﺸﺌﻭﻥ.. ﻓﻲ ﺸﺌﻭﻥ ﺍﻟﻤﺼﻠﺤﺔ ﻨﻔﺴﻬﺎ.‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻨﻬﺎﻴﺘﻪ، ﻟﻘﺩ ﺘﺭﻜﺕ ﺍﻟﺤﻜﻭﻤﺔ ﻭﺍﺴﺘﺭﺤﺕ ﻤﻥ ﺍﻟﻭﺯﻴﺭ ﻭﺍﻟﻭﻜﻴل ﻭﺍﻟﺠﻤﻴﻊ.‬ ‫ﻨﺠﻴﺏ‬ ‫: ﺇﻥ ﺸﺎﺀ ﺍﷲ ﻟﻥ ﺃﻜﻭﻥ ﻓﻲ ﺍﻟﺤﻜﻭﻤﺔ ﻤﺭﺓ ﺃﺨﺭﻯ، ﺃﻭ ﻓﻲ ﺃﻱ ﻋﻤل ﻴﺘﺼل ﺒﻬﺎ.‬ ‫ﺤﻤﺩﻱ‬ ‫٤٢‬
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  • 1.
  • 3. ‫ﻃﺒﻘﺎ ﻟﻘﻮﺍﻧﲔ ﺍﳌﻠﻜﻴﺔ ﺍﻟﻔﻜﺮﻳﺔ‬ ‫א‬ ‫א‬ ‫א‬ ‫.‬ ‫אא‬ ‫א‬ ‫)ﻋـﱪ ﺍﻻﻧﱰﻧـﺖ ﺃﻭ‬ ‫א‬ ‫אא‬ ‫ﻟﻠﻤﻜﺘﺒــﺎﺕ ﺍﻻﻟﻜﱰﻭﻧﻴــﺔ ﺃﻭ ﺍﻷﻗــﺮﺍﺹ ﺍﳌﺪﳎــﺔ ﺃﻭ ﺍﻯ‬ ‫א‬ ‫ﻭﺳﻴﻠﺔ ﺃﺧﺮﻯ (‬ ‫א‬ ‫א‬ ‫.‬ ‫.‬ ‫א א‬
  • 4. ‫ﺇﻫﺩﺍﺀ‬ ‫ﺇﻟﻰ ﺃﺒﻲ ﺩﺴﻭﻗﻲ ﺃﺒﺎﻅﺔ ﺒﺎﺸﺎ‬ ‫ﺘﺭﺩﺩﺕ ﻓﻲ ﺃﻥ ﺃﺭﻓﻊ ﻫﺫﺍ ﺍﻟﻜﺘﺎﺏ ﺇﻟﻴﻙ ﻓﺈﻨﻲ ﺃﺨﺸﻰ ﺃﻻ‬ ‫ﺃﻜﻭﻥ ﻗﺩ ﺒﻠﻐﺕ ﺒﻪ ﺍﻟﻤﺴﺘﻭﻯ ﺍﻟﺫﻱ ﺘﺭﻀﺎﻩ، ﻭﻟﻜﻥ ﻤﺎ ﺃﺴﺭﻉ‬ ‫ﻤﺎ ﺯﺍﻴﻠﻨﻲ ﻫﺫﺍ ﺍﻟﺘﺭﺩﺩ ﻓﻤﻥ ﻴﻘﺒل ﻤﻨﻲ ﺇﺫﺍ ﻟﻡ ﺘﻘﺒل ﺃﻨﺕ؟!‬ ‫ﻓﺈﻟﻴﻙ ﻓﻲ ﺃﻗﺩﺱ ﺠﻭﺍﺭ.‬ ‫ﺍﺒﻨﻙ ﺜﺭﻭﺕ‬ ‫٣‬
  • 5. ‫ﺍﻟﻔﻬﺭﺱ‬ ‫ﻣﻘﺪﻣﺔ ........................................................................................................................... ٥‬ ‫اﻟﻔﺼﻞ اﻷول .................................................................................................................... ٧‬ ‫اﻟﻔﺼﻞ اﻟﺜﺎﻧﻲ ................................................................................................................ ٤٢‬ ‫اﻟﻔﺼﻞ اﻟﺜﺎﻟﺚ ................................................................................................................ ٧٣‬ ‫اﻟﻔﺼﻞ اﻟﺮاﺑﻊ ................................................................................................................ ٥٤‬ ‫٤‬
  • 6. ‫ﻤﻘﺩﻤﺔ‬ ‫ﺒﺴﻡ ﺍﷲ ﺍﻟﺭﺤﻤﻥ ﺍﻟﺭﺤﻴﻡ‬ ‫ﺃﻗﺩﻡ ﻫﺫﺍ ﺍﻟﻜﺘﺎﺏ ﺇﻟﻰ ﺍﻟﻘﺭﺍﺀ، ﻓﻜﺭﺓ ﻻ ﻤﺴﺭﺤﻴﺔ، ﻭﻤﺸﻜﻠﺔ ﻗﺩﻴﻤﺔ ﻻ ﺭﻭﺍﻴﺔ ﺫﺍﺕ ﺘﻤﻬﻴﺩ ﻭﻗﻤـﺔ‬ ‫ﻭﺤل. ﺍﻟﻤﻭﺍﻗﻑ ﻓﻴﻬﺎ ﻗﺎﺌﻤﺔ ﻟﻠﺩﻓﺎﻉ ﻋﻥ ﻓﻜﺭﺓ ﺒﻌﻴﻨﻬﺎ، ﻓﻼ ﻴﺄﺨﺫﻥ ﻋﻠﻲ ﺍﻟﻤﺸﺘﻐﻠﻭﻥ ﺒﺎﻟﻤﺴﺭﺡ ﺃﻨﻨﻲ ﻟـﻡ‬ ‫‪‬‬ ‫ﺃﺭﺍﻉ ﺍﻟﻔﻥ ﺍﻟﻤﺴﺭﺤﻲ ﻜﺎﻤﻼ ﻓﻲ ﻤﻭﺍﻗﻔﻲ، ﻭﻟﻡ ﺃﻋﻤﺩ ﺇﻟﻰ ﺃﻥ ﺘﺜﻴﺭ ﻨﻬﺎﻴـﺔ ﻫـﺫﻩ ﺍﻟﻤﻭﺍﻗـﻑ ﺍﻟـﺸﻜﻭﻙ‬ ‫ﻭﺍﻟﺘﺨﻤﻴﻨﺎﺕ ﻓﻴﻤﺎ ﻗﺩ ﻴﺤﺩﺙ ﻓﻲ ﺍﻟﻤﻭﻗﻑ ﺍﻟﺫﻱ ﻴﻠﻴﻪ، ﺒل ﻀﺤﻴﺕ ﺒﻜل ﻫﺫﺍ ﻷﺠﻠﻭ ﺍﻟﻔﻜﺭﺓ ﺍﻟﺘﻲ ﻜﺘﺒـﺕ‬ ‫ﻤﻥ ﺃﺠﻠﻬﺎ ﺍﻟﻤﺴﺭﺤﻴﺔ ﻜﻠﻬﺎ. ﻭﻜﺜﻴ ‪‬ﺍ ﻤﺎ ﻜﻨﺕ ﺃﺘﻭﻗﻑ ﻓﻲ ﻤﻔﺭﻕ ﺍﻟﻁﺭﻴﻘﻴﻥ ﺒﻴﻥ ﺇﻅﻬﺎﺭ ﺍﻟﻔﻜﺭﺓ ﻭﻤﺭﺍﻋﺎﺓ‬ ‫ﺭ‬ ‫ﺍﻟﻤﺴﺭﺡ ﻓﻼ ﻴﻁﻭل ﺒﻲ ﺍﻟﺘﻭﻗﻑ، ﺒل ﻜﻨﺕ ﺃﺴﻴﺭ ﻗﺩﻤﺎ ﻓﻲ ﺍﻟﻁﺭﻴﻕ ﺍﻟـﺫﻱ ﻴﻭﻀـﺢ ﺍﻟﻔﻜـﺭﺓ ﺍﻟﺘـﻲ‬ ‫ﺃﻜﺘﺏ ﻟﻬﺎ.‬ ‫ﻜﺎﻥ ﻫﺫﺍ ﻓﻴﻤﺎ ﻴﺘﺼل ﺒﺎﻟﻤﺴﺭﺤﻴﺔ ﺫﺍﺘﻬﺎ، ﺃﻤﺎ ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﺄﺸﺨﺎﺼﻬﺎ ﻓﻘﺩ ﻗﺼﺩﺕ ﺇﻟﻰ ﺍﻟﺩﻗﺔ ﻓـﻲ‬ ‫ﺘﺼﻭﻴﺭﻫﻡ ﺒﺤﻴﺙ ﻻ ﺘﻠﺘﻭﻱ ﻤﻨﻲ ﺍﻟﺸﺨﺼﻴﺔ ﻭﻻ ﺘﻨﻤﺎﻉ ﺤﺘﻰ ﺇﺫﺍ ﺘﺤﻭﻟﺕ ﺍﻟﺸﺨﺼﻴﺔ ﻤﻥ ﻁﺭﻴﻕ ﺇﻟـﻰ‬ ‫ﻁﺭﻴﻕ، ﺒﻴﻨﺕ –ﻗﺩﺭ ﺍﻟﺠﻬﺩ- ﺃﺴﺒﺎﺏ ﻫﺫﺍ ﺍﻟﺘﺤﻭل ﻭﺩﻭﺍﻓﻌﻪ، ﻭﻻ ﺸﻙ ﺃﻥ ﺘﺤﻠﻴل ﺍﻟﺸﺨـﺼﻴﺎﺕ ﺍﻟﺘـﻲ‬ ‫ﺃﺭﺩﺕ ﺒﻬﺎ ﺍﻟﻘﺼﺔ، ﻜﺎﻥ ﻀﻤﻥ ﺍﻷﻫﺩﺍﻑ ﺍﻟﺘﻲ ﻗﺼﺩﺕ ﺇﻟﻴﻬﺎ ﻤﻥ ﺍﻟﻜﺘﺎﺒﺔ.‬ ‫ﻭﺍﻟﻘﺼﺔ ﻓﻲ ﻤﺠﻤﻭﻋﻬﺎ ﺨﻴﺎﻟﻴﺔ ﻜﻤﺎ ﺴﻴﺘﻀﺢ ﻟﻠﻘﺎﺭﺉ. ﻭﻫـﺫﺍ ﻴﻭﺴـﻊ ﻟـﻲ ﺃﻥ ﺃﺭﺴـﻡ ﻤـﻥ‬ ‫ﺍﻟﺸﺨﺼﻴﺎﺕ ﻤﺎ ﻴﺤﻠﻭ ﻟﻲ، ﻤﻠﺘﺯ ‪‬ﺎ –ﺒﻁﺒﻴﻌﺔ ﺍﻟﺤﺎل- ﺍﻟﻘﻴﻭﺩ ﺍﻟﻁﺒﻴﻌﻴﺔ، ﻓﻘﺩ ﻴﺭﻯ ﻗـﺎﺭﺉ –ﻤـﺜﻼ- ﺃﻥ‬ ‫ﻤ‬ ‫ﺸﺨﺼﻴﺔ ﻤﺠﺩﻱ ﺸﺨﺼﻴﺔ ﻤﺜﺎﻟﻴﺔ ﻻ ﺘﻭﺠﺩ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ، ﺒﻴﻨﻤﺎ ﺃﺭﻯ ﺃﻨﺎ ﺃﻨﻬﺎ ﺘﻤﺜـل ﺍﻟﻤﺜﺎﻟﻴـﺔ‬ ‫ﺍﻟﻌﻠﻤﻴﺔ ﺍﻟﺘﻲ ﺘﺴﻭﺩ ﺍﻟﻔﻠﺴﻔﺔ ﺍﻷﺨﻼﻗﻴﺔ ﻓﻲ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺸﺭﻴﻥ. ﻭﻋﻠﻰ ﻜل ﺤﺎل ﻫل ﻫﻨﺎﻙ ﻤﺎ ﻴﻤﻨﻌﻨﺎ ﻤـﻥ‬ ‫ﺍﻷﻤل ﻓﻲ ﻭﺠﻭﺩ ﻤﺜﻠﻬﺎ؟! ﻭﺇﻨﻲ ﻓﻲ ﻫﺫﺍ ﺃﺴﻴﺭ ﻤﻊ ﺍﻟﻘﺎﺌﻠﻴﻥ:‬ ‫ﺇﻥ ﻭﻅﻴﻔﺔ ﺍﻟﻜﺎﺘﺏ ﻫﻲ ﺃﻥ ﻴﺭﺴﻡ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺘﻨﺒﺽ ﺒﺎﻟﻨﺒﻀﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺍﻟﺘﻲ ﻨﻌﺭﻓﻬﺎ، ﻭﻟﻴﺱ‬ ‫ﺤﺘﻤﺎ ﻋﻠﻰ ﺍﻟﻜﺎﺘﺏ ﺃﻥ ﻴﺨﺘﺎﺭ ﺸﺨﺼﻴﺎﺘﻪ ﻤﻥ ﻭﺍﻗﻊ ﺍﻟﺤﻴﺎﺓ ﻨﻔﺴﻬﺎ، ﺒل ﻟﻪ ﺃﻥ ﻴﻀﻔﻲ ﻋﻠﻴﻬﺎ ﻤﻥ ﺁﻤﺎﻟـﻪ‬ ‫ﻭﻨﻅﺭﻴﺎﺘﻪ ﻤﺎ ﻴﺭﻴﺩ.‬ ‫ﻭﻗﺩ ﺍﺨﺘﺭﺕ ﻷﺴﻠﻭﺏ ﺍﻟﻜﺘﺎﺒﺔ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ ﺍﻟﺒﺴﻴﻁﺔ، ﻟﻌل ﺍﻟﻤﺘﺤﺎﻤﻠﻴﻥ ﻋﻠـﻰ ﺍﻟﻠﻐـﺔ ﺍﻟﻌﺭﺒﻴـﺔ‬ ‫ﻴﺨﻔﻔﻭﻥ ﺍﻟﻭﻁﺄﺓ ﺒﻌﺽ ﺍﻟﺸﻲﺀ، ﻓﻬﻲ ﻟﻐﺔ ﺘﺴﺘﻁﻴﻊ ﺃﻥ ﺘﺼل ﺇﻟﻰ ﺍﻟﺠﻤﻴﻊ. ﺇﺫﺍ ﺤﺎﻭل ﺍﻟﻜﺘﺎﺏ ﺃﻥ ﻴﺼﻠﻭﺍ‬ ‫ﺒﻬﺎ ﺇﻟﻰ ﺍﻟﻌﺎﻤﺔ ﻭﺼﻠﻭﺍ، ﻭﺇﺫﺍ ﻜﺎﻥ ﻫﺫﺍ ﻴﻜﻠﻔﻬﻡ ﺒﻌﺽ ﺍﻟﺠﻬﺩ، ﻓﻼﺒﺩ ﻟﻠﻜﺘﺎﺏ ﺃﻥ ﻴﺠﻬﺩﻭﺍ ﻤﺎ ﺩﺍﻤﻭﺍ ﻗـﺩ‬ ‫ﺍﺨﺘﺎﺭﻭﺍ ﻷﻨﻔﺴﻬﻡ ﻤﻬﻨﺔ ﻻ ﺭﺍﺤﺔ ﻓﻴﻬﺎ.‬ ‫٥‬
  • 7. ‫ﻋﻠﻰ ﺃﻥ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ –ﻭﺍﻟﺤﻤﺩ ﷲ- ﺴﻭﻑ ﺘﺒﻘﻰ ﻋﻠﻰ ﺍﻟﺯﻤﺎﻥ ﻤﻬﻤﺎ ﻴﺤﺎﻭل ﺍﻟﺯﻤﺎﻥ ﺃﻥ ﻴﻐﺽ‬ ‫ﻤﻨﻬﺎ، ﻓﺎﻟﻜﺎﺘﺏ ﺒﺎﻟﻠﻐﺔ ﺍﻟﻌﺎﻤﻴﺔ ﻓﻲ ﻤﺼﺭ ﻴﻜﺘﺏ ﻟﻤﺼﺭ ﻓﻘﻁ، ﺒل ﻟﻌﻠﻪ ﻴﻜﺘﺏ ﻟﻠﻘـﺎﻫﺭﺓ ﻭﺤـﺩﻫﺎ. ﺃﻤـﺎ‬ ‫ﺍﻟﻜﺎﺘﺏ ﺒﺎﻟﻠﻐﺔ ﺍﻟﻌﺭﺒﻴﺔ، ﻓﺎﻟﻌﺎﻟﻡ ﺍﻟﻌﺭﺒﻲ ﻜﻠﻪ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻘﺭﺃ ﻟﻪ ﻭﻴﻔﻬﻡ ﻋﻨـﻪ، ﻭﺇﻥ ﺍﻟﺠﻤـﺎل ﺍﻟـﺫﻱ‬ ‫ﺘﻀﻔﻴﻪ ﻟﻐﺔ ﺍﻟﻘﺭﺁﻥ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺒﺔ ﻟﺘﺘﻘﺎﺼﺭ ﺩﻭﻨﻪ ﻜل ﻟﻐﺎﺕ ﺍﻟﻌﺎﻟﻡ، ﻭﻤﻬﻤﺎ ﻴﻘل ﺍﻟﻘﺎﺌﻠﻭﻥ ﻓـﺈﻥ ﺍﻟﻨﺎﺤﻴـﺔ‬ ‫ﺍﻟﺠﻤﺎﻟﻴﺔ ﻓﻲ ﺍﻟﻔﻥ ﻜﺎﻨﺕ ﻭﻤﺎ ﺯﺍﻟﺕ ﻭﺴﻭﻑ ﺘﻅل ﻤﻥ ﺃﻫﻡ ﻤﻘﻭﻤﺎﺕ ﺍﻟﻔﻨﻭﻥ.‬ ‫ﺜﺭﻭﺕ‬ ‫٦‬
  • 8. ‫ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ‬ ‫* ﺍﻟﻤﻨﻅﺭ ﺍﻷﻭل:‬ ‫"ﻤﻨﺯل ﺤﻤﺩﻱ ﺒﻙ ﺍﻟﻌﺒﺎﺴﻲ. ﻏﺭﻓﺔ ﺍﻟﺼﺎﻟﻭﻥ ﺘﺠﻠﺱ ﺒﻬﺎ ﺘﺤﻴﺔ ﻭﻤﻌﻬﺎ ﺍﺒﻨـﺔ ﺨﺎﻟﺘﻬـﺎ ﺴـﻨﺎﺀ..‬ ‫ﺍﻷﺜﺎﺙ ﻤﻨﺴﻕ ﻓﻲ ﺫﻭﻕ ﺠﻤﻴل ﻭﻫﻭ ﺃﻨﻴﻕ ﻭﻟﻜﻥ ﻟﻴﺱ ﺒﺎﻟﻎ ﺍﻷﻨﺎﻗﺔ.. ﺍﻟﻭﻗﺕ ﺼﺒﺎ ‪‬ﺎ.. ﺘﺤﻴﺔ ﻤﻀﻁﺭﺒﺔ‬ ‫ﺤ‬ ‫ﺒﻌﺽ ﺍﻟﺸﻲﺀ ﻭﻗﺭﻴﺒﺘﻬﺎ ﺘﺤﺩﺜﻬﺎ".‬ ‫: ﻭﺘﻤﺕ ﺍﻟﺨﻁﺒﺔ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺼﺤﻴﺢ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻭﺤﻴﺎﺘﻙ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺤﺏ ﻜﺒﻴﺭ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺠﺩﺍ.. ﺘﺼﻭﺭﻱ ﺨﻁﺒﻬﺎ ﻴﻭﻡ ﺍﻟﺨﻤﻴﺱ ﺍﻟﻔﺎﺌﺕ، ﻭﻴﺭﻴﺩ ﺃﻥ ﻴﺘﺯﻭﺝ ﺒﻌﺩ ﺸﻬﺭ!‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻴﺎ ﺴﻼﻡ! ﻭﻓﻴﻡ ﻜل ﻫﺫﻩ ﺍﻟﺴﺭﻋﺔ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺍﻟﺤﺏ ﻴﺎ ﺤﺒﻴﺒﺘﻲ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻫﻴﻪ ﻴﺎ ﺴﻨﺎﺀ.. ﺃﺤﻴﺎ ﹰﺎ ﺍﻟﺤﺏ ﻴﻤﻨﻊ ﻤﻥ ﺍﻟﺯﻭﺍﺝ!‬ ‫ﻨ‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻜﻼﻡ ﻓﺎﺭﻍ.. ﺍﻟﺤﺏ ﻴﻌﻤل ﺍﻟﻤﺴﺘﺤﻴل..‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺼﺤﻴﺢ ﻴﻌﻤل ﺍﻟﻤﺴﺘﺤﻴل، ﻭﻟﻜﻨﻨﻲ ﻻ ﺃﺭﺍﻩ ﻴﻌﻤل ﺍﻟﻐﻨﻰ ﺃﺒ ‪‬ﺍ.. ﻴﻅﻬﺭ ﻴﺎ ﺴﻨﺎﺀ ﺃﻥ‬ ‫ﺩ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﻟﻐﻨﻰ ﺃﻜﺜﺭ ﻤﻥ ﺍﻟﻤﺴﺘﺤﻴل!‬ ‫: ﻤﻥ ﻗﺎل؟ ﺍﻟﻐﻨﻰ ﻨﺘﻴﺠﺔ ﻁﺒﻴﻌﻴﺔ ﻟﻼﺠﺘﻬﺎﺩ.. ﻭﺍﻻﺠﺘﻬﺎﺩ ﻨﺘﻴﺠﺔ ﻁﺒﻴﻌﻴﺔ ﻟﻠﺤﺏ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺃﻨﺕ ﻏﻠﻁﺎﻨﺔ ﻴﺎ ﺴﻨﺎﺀ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﻨﺕ ﺍﻟﻐﻠﻁﺎﻨﺔ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺘﻘﺼﺩﻴﻥ ﺨﻁﺒﺘﻲ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻁﺒﻌﺎ ﺃﻗﺼﺩ ﺨﻁﺒﺘﻙ.. ﺃﻨﺕ ﻤﺨﻁﻭﺒﺔ ﻤﻥ ﺴﻨﺘﻴﻥ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺃﺒﻲ ﻴﻤﻨﻊ ﺇﺒﺭﺍﻫﻴﻡ ﻤﻥ ﺍﻟﺘﻭﻅﻑ ﺒﺎﻟﺤﻜﻭﻤﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻭﻤﺎ ﻟﻪ؟!‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻭﺍﷲ ﻴﺎ ﺴﻨﺎﺀ ﺃﻨﺎ ﻋﺎﺭﻓﺔ ﻜل ﺍﻟﻅﺭﻭﻑ ﺍﻟﻤﺤﻴﻁﺔ ﺒﻲ ﻭﺒﺈﺒﺭﺍﻫﻴﻡ ﻭﺃﻋﺭﻑ ﺃﻨﻪ ﻟﻭ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﺠﺘﻬﺩ ﻻﺒﺩ ﺃﻥ ﻴﺼل.‬ ‫: ﻭﺴﺎﻜﺘﺔ؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻭﺴﺎﻜﺘﺔ ﻴﺎ ﺴﻨﺎﺀ، ﺇﺒﺭﺍﻫﻴﻡ ﻴﻌﺘﻘﺩ ﺃﻨﻪ ﻟﻥ ﻴﻨﺠﺢ ﺇﻻ ﺇﺫﺍ ﺘﻭﻅﻑ.‬ ‫ﺘﺤﻴﺔ‬ ‫)ﺘﺩﺨل ﺃﻡ ﺘﺤﻴﺔ ﺇﺠﻼل ﻫﺎﻨﻡ ﻭﻫﻲ ﺴﻴﺩﺓ ﻭﻗﻭﺭ ﺫﻜﻴﺔ(‬ ‫: ﻤﺎﺫﺍ ﺠﺭﻯ ﻴﺎ ﺒﻨﺎﺕ؟ ﺍﻟﻜﻼﻡ ﻁﺎل ﺒﻴﻨﻜﻡ.‬ ‫ﺇﺠﻼل‬ ‫: ﻭﺍﷲ ﻴﺎ ﺃﻤﻲ ﺍﻟﻜﻼﻡ ﺠﺭ ﺒﻌﻀﻪ.‬ ‫ﺘﺤﻴﺔ‬ ‫٧‬
  • 9. ‫: ﻭﺴﻨﺎﺀ ﻤﺎ ﺫﻨﺒﻬﺎ ﺘﻘﻌﺩ ﺒﻴﻥ ﺃﺭﺒﻌﺔ ﺠﺩﺭﺍﻥ..؟ ﺍﻨﺯﻟﻲ ﻴﺎ ﺒﻨﺘﻲ ﻟﻠﺠﻨﻴﻨﺔ.‬ ‫ﺇﺠﻼل‬ ‫: ﺃﺒﺩﺍ، ﻭﺍﷲ ﻫﻨﺎ ﻫﻭﺍﺀ ﻭﺍﻟﺠﻭ ﻟﻁﻴﻑ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻋﻠﻰ ﻜﻴﻔﻙ.. ﻴﺎ ﺘﺭﻯ ﺍﻟﻌﺠﺎﺌﺯ ﻟﻬﺎ ﻤﻜﺎﻥ ﻫﻨﺎ؟‬ ‫ﺇﺠﻼل‬ ‫: ﺃﻫﻼ ﻭﺴﻬﻼ.. ﺃﻨﺕ ﺍﻟﺨﻴﺭ ﻭﺍﻟﺒﺭﻜﺔ.‬ ‫ﺴﻨﺎﺀ‬ ‫: )ﻭﻫﻲ ﺘﻘﻌﺩ( ﺇﺒﺭﺍﻫﻴﻡ ﻴﺠﻲﺀ ﺍﻟﻴﻭﻡ ﻴﺎ ﺘﺭﻯ؟‬ ‫ﺇﺠﻼل‬ ‫: ﺃﻅﻥ ﻴﺎ ﺃﻤﻲ..‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺸﺎﺏ ﻁﻴﺏ ﻭﺍﺒﻥ ﺤﻼل.‬ ‫ﺇﺠﻼل‬ ‫: ﺼﺤﻴﺢ ﻴﺎ ﺨﺎﻟﺘﻲ.. ﻟﻜﻥ ﺍﺒﻥ ﺤﻼل ﻟﻴﺴﺕ ﻜﺎﻓﻴﺔ.‬ ‫ﺴﻨﺎﺀ‬ ‫: )ﻤﺘﻌﺠﺒﺔ( ﻟﻴﺴﺕ ﻜﺎﻓﻴﺔ؟!‬ ‫ﺇﺠﻼل‬ ‫: ﻁﺒﻌﺎ، ﻭﻤﺎ ﻟﻨﺎ ﻨﺤﻥ ﺇﺫﺍ ﻜﺎﻥ ﺍﺒﻥ ﺤﻼل ﺃﻭ ﻻ، ﻤﺎ ﺩﺍﻡ ﻻ ﻴﺘﻜﻠﻡ ﻓﻲ ﺍﻟﺨﻁﺒﺔ ﺍﻟﺘﻲ‬ ‫ﺴﻨﺎﺀ‬ ‫ﻋﻔﻨﺕ.‬ ‫: ﺴﺒﺤﺎﻥ ﺍﷲ ﻴﺎ ﺒﻨﺘﻲ.. ﻜل ﺇﻨﺴﺎﻥ ﻟﻪ ﻅﺭﻭﻓﻪ.‬ ‫ﺇﺠﻼل‬ ‫: ﻭﻅﺭﻭﻓﻨﺎ ﻨﺤﻥ ﻴﺎ ﺨﺎﻟﺘﻲ..؟! ﺃﻟﻴﺴﺕ ﻟﻨﺎ ﻅﺭﻭﻑ ﻨﺤﻥ ﺃﻴ ‪‬ﺎ؟‬ ‫ﻀ‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻻ ﺃﻓﻬﻡ ﻤﺎ ﺘﻘﺼﺩﻴﻥ.‬ ‫ﺇﺠﻼل‬ ‫: ﺃﻗﺼﺩ ﺸﺎﺒﺎ ﻴﺨﻁﺏ ﺃﺨﺘﻲ ﻭﻴﺴﻜﺕ ﺒﻌﺩ ﺍﻟﺨﻁﺒﺔ ﺴﻨﺘﻴﻥ.. ﻭﻤﻥ ﺍﻟﺨﻁﻴﺒﺔ..؟ ﺘﺤﻴﺔ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫ﻓﺘﺎﺓ ﻜل ﺸﺎﺏ ﻴﺘﻤﻨﺎﻫﺎ.. ﻁﻴﺏ ﻴﺘﺭﻜﻬﺎ ﻫﻭ ﻭﺍﻟﻴﻭﻡ.. ﻭﻻ ﺃﻗﻭل ﻏﺩﺍ.. ﺒل ﺍﻟﻴﻭﻡ ﻴﺴﻌﻰ‬ ‫ﻟﻬﺎ ﺃﻟﻑ ﺨﻁﻴﺏ.‬ ‫: )ﻓﻲ ﻏﻀﺏ( ﻻ.. ﻻ ﻴﺎ ﺴﻨﺎﺀ.. ﺇﻻ ﺃﻥ ﻴﺘﺭﻜﻨﻲ.. ﻫﻲ ﺍﻟﻤﺴﺄﻟﺔ ﺯﻭﺍﺝ.. ﻻ ﻴﺎ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺤﺒﻴﺒﺘﻲ.. ﻟﻴﺱ ﻫﻜﺫﺍ ﺍﻟﻜﻼﻡ.. ﺇﻻ ﺃﻥ ﻴﺘﺭﻜﻨﻲ ﺃﻨﺎ ﻟﻭ ﻜﻨﺕ ﺃﺭﻴﺩ ﻫﺫﺍ ﻤﺎ ﺘﺄﺨﺭ.‬ ‫: ﻓﺎﻫﻤﺔ.. ﻓﺎﻫﻤﺔ.. ﺤﺏ..‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻁﺒﻌﺎ.. ﻭﻤﺎ ﺍﻟﻌﻴﺏ..؟ ﻟﻭ ﻟﻡ ﻴﻜﻥ ﺍﻟﺤﺏ ﻟﻤﺎ ﻗﺒﻠﺕ ﺍﻟﺨﻁﺒﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺍﷲ.. ﺒﻨﺕ.. ﻫﻜﺫﺍ ﺃﻤﺎﻤﻲ؟!‬ ‫ﺇﺠﻼل‬ ‫: ﺃﻨﺕ ﻋﺎﺭﻓﺔ ﻗﺒل ﺍﻟﻜل ﺃﻥ ﺤﺒﻲ ﻹﺒﺭﺍﻫﻴﻡ ﻫﻭ ﻭﺤﺩﻩ ﺍﻟﺫﻱ ﻨﻌﺘﻤﺩ ﻋﻠﻴﻪ ﻓﻲ ﺤﻴﺎﺘﻨﺎ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻴﺎ ﺤﺒﻴﺒﺘﻲ.. ﺃﻴﻥ ﻫﻲ ﺤﻴﺎﺘﻙ ﻫﺫﻩ؟ ﻜل ﻜﻼﻤﻲ ﻤﻥ ﺃﺠل ﺤﻴﺎﺘﻙ ﻫﺫﻩ.. ﺃﺭﻴﺩﻫﺎ.. ﺃﺭﻴﺩ‬ ‫ﺴﻨﺎﺀ‬ ‫ﺃﻥ ﺃﺭﻯ ﺒﻴﺘﻙ.. ﺤﻴﺎﺘﻙ.. ﺃﻭﻻﺩﻙ.‬ ‫: ﻻ.. ﻻ ﻴﺎ ﺴﻨﺎﺀ.. ﺍﻟﻤﺴﺄﻟﺔ ﺯﺍﺩﺕ.. ﻫﺫﺍ ﺸﻲﺀ ﻭﻫﺫﺍ ﺸﻲﺀ.. ﺃﻨﻪ ﺘﺄﺨﺭ.. ﺃﻭ ﻤﻌﺫﻭﺭ،‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﺴﺄﻟﺔ ﺃﺨﺭﻯ ﻏﻴﺭ ﺃﻨﻲ ﺃﺘﺭﻙ ﺨﻁﻴﺒﻲ.‬ ‫: ﻜﻴﻔﻙ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻁﺒ ‪‬ﺎ ﻜﻴﻔﻲ..‬ ‫ﻌ‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻭﺍﷲ ﻟﻭﻻ ﺃﻨﻲ ﻤﻨﺘﻅﺭﺓ ﺃﺨﻲ ﻤﺠﺩﻱ ﻟﺯﻋﻠﺕ ﻭﺘﺭﻜﺘﻙ..‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻴﺎ ﺴﻼﻡ.. ﻜل ﻫﺫﺍ ﻷﻨﻲ ﺃﺤﺏ ﺨﻁﻴﺒﻲ؟‬ ‫ﺘﺤﻴﺔ‬ ‫٨‬
  • 10. ‫: ﻋﻠﻰ ﻜﻴﻔﻙ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻴﺎ ﺴﻼﻡ.. ﻜل ﻫﺫﺍ ﻷﻨﻲ ﺃﺤﺏ ﺨﻁﻴﺒﻲ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻋﻠﻰ ﻜﻴﻔﻙ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻋﺎﺭﻓﺔ.. ﻗﻠﺘﻬﺎ ﺍﻵﻥ.‬ ‫ﺘﺤﻴﺔ‬ ‫)ﻴﺩﺨل ﻤﺠﺩﻱ ﻭﻫﻭ ﺸﺎﺏ ﺃﻨﻴﻕ ﻭﺴﻴﻡ ﻓﻴﺴﻤﻊ ﺁﺨﺭ ﺍﻟﻨﻘﺎﺵ(‬ ‫: ﺃﻋﻭﺫ ﺒﺎﷲ! ﻜﻠﻤﺎ ﺭﺃﻴﺘﻜﻤﺎ ﺴﻤﻌﺕ ﺍﻟﺨﻨﺎﻕ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺃﻫﻼ.. ﺃﻫﻼ ﺒﺎﻟﻜﺎﺘﺏ ﺍﻟﻜﺒﻴﺭ ﻭﺍﻟﻤﺤﺎﻤﻲ ﺍﻟﺸﻬﻴﺭ ﻭﺍﻷﺩﻴﺏ..‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻓﻲ ﺘﺼﻨﻊ ﺍﻟﻌﻅﻤﺔ( ﺃﻋﺭﻑ ﻜل ﺃﻟﻘﺎﺒﻲ ﻴﺎ ﺴﻴﺩﺘﻲ، ﻓﻼ ﺘﺘﻌﺒﻲ ﻨﻔﺴﻙ ﻓﻲ ﺫﻜﺭﻫﺎ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺒﺴﻡ ﺍﷲ ﺍﻟﺭﺤﻤﻥ ﺍﻟﺭﺤﻴﻡ.. ﻤﺎ ﻟﻪ ﻴﺘﻜﻠﻡ ﻭﻜﺄﻨﻪ ﻟﻭﻴﺱ ﺍﻟﺤﺎﺩﻱ ﻋﺸﺭ؟!‬ ‫ﺇﺠﻼل‬ ‫: ﻭﻤﺎ ﻟﻪ ﻟﻭﻴﺱ ﺍﻟﺤﺎﺩﻱ ﻋﺸﺭ ﺃﻭ ﺤﺘﻰ ﺍﻟﺴﺎﺩﺱ ﻋﺸﺭ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻻ.. ﺭﺒﻨﺎ ﻴﺤﻔﻅﻙ ﻤﻥ ﺍﻟﺴﺎﺩﺱ ﻋﺸﺭ ﻴﺎ ﺒﻥ ﺨﺎﻟﺘﻲ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻴﺎ ﺴﺘﻲ.. ﺭﺒﻨﺎ ﻴﺤﻔﻅﻨﺎ ﻤﻨﻙ ﺃﻭﻻ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺍﷲ.. ﺒﺫﻤﺘﻙ ﺃﻨﺎ ﻋﻤﻠﺕ ﻟﻙ ﺤﺎﺠﺔ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻻ.. ﻭﻟﻜﻥ ﺍﻻﺴﺘﻘﺒﺎل ﻟﻡ ﻴﻜﻥ ﻴﺒﻌﺙ ﻋﻠﻰ ﺍﻻﻁﻤﺌﻨﺎﻥ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻋﺠﻴﺒﺔ.. ﻟﻡ ﻴﻜﻥ ﻴﻨﻘﺼﻬﺎ ﺇﻻ ﺃﻥ ﺘﻨﺤﻨﻲ ﻭﺘﺘﻘﺩﻡ ﺨﻁﻭﺓ ﺇﻟﻰ ﺍﻷﻤﺎﻡ ﻭﺃﺨﺭﻯ ﺇﻟﻰ‬ ‫ﺇﺠﻼل‬ ‫ﺍﻟﻭﺭﺍﺀ ﻭﺘﻘﺒل ﺍﻷﺭﺽ!‬ ‫: ﻴﺎ ﺨﺎﻟﺘﻲ.. ﺘﺤﻴﺔ ﻻ ﺘﺘﻘﺩﻡ ﻟﻲ ﺒﺄﻟﻘﺎﺒﻲ ﻫﺫﻩ ﺇﻻ ﻟﺘﺘﺒﻌﻬﺎ ﺒﺈﻏﺎﻅﺘﻲ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻻ ﻭﺍﷲ.. ﻗﺭﺃﺕ ﻟﻙ ﻜﺘﺎﺒﻙ ﺍﻷﺨﻴﺭ ﻭﺃﻋﺠﺒﺕ ﺒﻪ ﺤ ﹰﺎ.. ﺃﻋﺠﺒﺕ ﺒﻪ ﻓﻌﻼ.. ﺜﻡ ﻗﺭﺃﺕ‬ ‫ﻘ‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﻘﺎﻟﻙ ﻓﻲ ﺍﻟﺠﺭﻴﺩﺓ.. ﺜﻡ ﻗﺭﺃﺕ ﻨﻘ ‪‬ﺍ ﻟﻜﺘﺎﺒﻙ ﻜﻠﻪ ﻤﺩﻴﺢ ﻟﻙ ﻭﻟﻠﻜﺘﺎﺏ.. ﻓﺎﻟﺤﻘﻴﻘﺔ ﺃﻨﻨﻲ‬ ‫ﺩ‬ ‫ﺍﻨﺘﻅﺭﺕ ﺤﺘﻰ ﺃﺭﺍﻙ، ﻷﻗﺩﻡ ﺇﻋﺠﺎﺒﻲ.‬ ‫: ﺼﺤﻴﺢ ﺃﻋﺠﺒﻙ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺼﺤﻴﺢ ﻭﺍﷲ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻓﻲ ﺘﻌﺎﻅﻡ ﻤﺭﺓ ﺃﺨﺭﻯ( ﺃﻋﺭﻑ.. ﺃﻋﺭﻑ.. ﺍﻟﻜل ﻤﻌﺠﺏ ﺒﻪ ﻓﻠﻤﺎﺫﺍ ﻻ ﺘﻌﺠﺒﻴﻥ..؟‬ ‫ﻤﺠﺩﻱ‬ ‫ﻭﻤﻥ ﺃﻨﺕ ﺤﺘﻰ ﻻ ﺘﻌﺠﺒﻲ ﺒﻪ!..‬ ‫: ﺃﻨﺎ ﻏﻠﻁﺎﻨﺔ.. ﻜﺎﻥ ﻴﺠﺏ ﺃﻥ ﺃﻗﻭل ﺍﻟﺤﻕ ﺇﺫﻥ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻤﻘﺎﻁ ‪‬ﺎ( ﻓﻲ ﻋﺭﻀﻙ.. ﺇﻥ ﺍﷲ ﻟﻐﻨﻲ ﻋﻥ ﺤﻘﻙ ﻫﺫﺍ.. ﺍﻟﻜﺫﺏ ﺃﺤﺴﻥ.. ﻭﺍﻅﺒﻲ ﻋﻠﻰ‬ ‫ﻌ‬ ‫ﻤﺠﺩﻱ‬ ‫ﺍﻟﻜﺫﺏ.‬ ‫: ﻴﺎ ﺃﺨﻲ ﺸﻐﻠﺘﻨﻲ ﻋﻥ ﻀﻴﻭﻑ ﻋﻤﻙ.‬ ‫ﺇﺠﻼل‬ ‫: ﻀﻴﻭﻑ ﻋﻤﻲ؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻋﻨﺩﻨﺎ ﺍﻟﻴﻭﻡ ﺃﺼﺩﻗﺎﺀ ﻋﻤﻙ ﺴﻴﺘﻨﺎﻭﻟﻭﻥ ﺍﻟﻐﺩﺍﺀ ﻤﻌﻪ.‬ ‫ﺇﺠﻼل‬ ‫: ﻁﻴﺏ.. ﻭﻤﺎﺫﺍ ﺴﺘﻔﻌﻠﻴﻥ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫٩‬
  • 11. ‫: ﻤﺎﺫﺍ ﺴﺄﻓﻌل..؟! ﺃﻗﻑ ﻓﻲ ﺍﻟﻤﻁﺒﺦ ﻭﺸﺭﻑ )ﺘﻘﻭﻡ( ﻋﻠﻰ ﻓﻜﺭﺓ ﻴﺎ ﻤﺠﺩﻱ ﺃﻨﺕ‬ ‫ﺇﺠﻼل‬ ‫ﻭﺴﻨﺎﺀ.. ﺍﻟﻐﺩﺍﺀ ﻋﻨﺩﻨﺎ ﺍﻟﻴﻭﻡ.‬ ‫: ﻤﻥ ﻏﻴﺭ ﺩﻋﻭﺓ ﻴﺎ ﺨﺎﻟﺘﻲ.. ﻤﻥ ﻏﻴﺭ ﺩﻋﻭﺓ.. ﻭﻫل ﻴﻌﻘل ﺃﻥ ﻨﺘﺭﻙ ﻭﻟﻴﻤﺔ ﺒﺤﺎﻟﻬﺎ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻋﻅﻴﻡ.. ﺃﻨﺎ ﺴﺄﻋﻤل ﺒﺄﻜﻠﻲ ﻭﺃﺸﺭﻑ ﻤﻌﻙ ﻴﺎ ﺨﺎﻟﺘﻲ.‬ ‫ﺴﻨﺎﺀ‬ ‫)ﺘﺨﺭﺝ ﺇﺠﻼل ﻭﻴﺒﻘﻰ ﺒﺎﻟﻤﺴﺭﺡ ﻤﺠﺩﻱ ﻭﺘﺤﻴﺔ(‬ ‫: ﻗﻭﻟﻲ ﻟﻲ.. ﻟﻤﺎﺫﺍ ﺯﻋﻠﺕ ﺴﻨﺎﺀ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻋﺒﻴﻁﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺴﻨﺎﺀ..؟ ﻻ.. ﺠﺎﻴﺯ ﻓﻴﻬﺎ ﺍﻟﻌﻴﻭﺏ ﻜﻠﻬﺎ.. ﺇﻻ ﺇﻨﻬﺎ ﻋﺒﻴﻁﺔ.. ﻭﺍﻟﻅﺎﻫﺭ –ﻭﺍﷲ ﺃﻋﻠﻡ-‬ ‫ﻤﺠﺩﻱ‬ ‫ﺃﻥ ﻏﻴﺭﻫﺎ ﻫﻭ ﺍﻟﻌﺒﻴﻁ.‬ ‫: ﺇﻟﻰ ﻤﻥ ﺘﻘﺼﺩ ﻴﺎ ﺴﻲ ﻤﺠﺩﻱ؟ ﻤﺎﺫﺍ ﺠﺭﻯ؟ ﺃﻨﺕ ﻭﺃﺨﺘﻙ ﺍﻟﻴﻭﻡ..‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻤﻘﺎﻁ ‪‬ﺎ( ﻴﺎ ﺴﺘﻲ ﺃﻨﺕ ﺤﺭﺓ.. ﻻ ﺃﻨﺎ ﻭﻻ ﺃﺨﺘﻲ.. ﺃﻴﻥ ﺍﻟﺩﻜﺘﻭﺭ؟‬ ‫ﻌ‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺇﺒﺭﺍﻫﻴﻡ؟.. ﺃﻅﻨﻪ ﺴﻴﻜﻭﻥ ﻓﻲ ﺍﻟﻌﻴﺎﺩﺓ ﺒﻌﺩ ﻗﻠﻴل.. ﻟﻤﺎﺫﺍ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺘﺫﻜﺭﺘﻪ ﻓﻘﻁ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻻ.. ﻻﺒﺩ ﻤﻥ ﺴﺒﺏ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻨﻌﻡ.. ﺃﻟﻑ ﺴﺒﺏ.. ﺃﻥ ﻟﻡ ﺘﻜﻠﻤﻴﻪ ﺃﻨﺕ، ﺘﻜﻠﻤﺕ ﺃﻨﺎ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺘﻜﻠﻤﺕ..؟ ﺘﻜﻠﻤﺕ ﻓﻴﻡ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻓﻲ ﺨﻁﺒﺘﻙ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻓﻲ ﺨﻁﺒﺘﻲ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻨﻌﻡ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻤﺎﺫﺍ ﺘﻘﺼﺩ؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﻋﻨﻲ ﺇﺫﺍ ﻟﻡ ﻴﻜﻤل ﺍﻟﺯﻭﺍﺝ.. ﻭﺴﺭﻴﻌﺎ.. ﻓﺴﺄﺨﻁﺒﻙ ﺃﻨﺎ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻤﺠﺩﻱ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻤﺎﺯ ‪‬ﺎ( ﻭﻤﺎﻟﻪ ﻴﺎ ﺴﺘﻲ.. ﻭﺇﻻ ﺒﺎﷲ ﻜﻴﻑ ﻴﻤﻜﻥ ﺃﻥ ﺃﺠﻌﻠﻪ ﻴﺤﺱ ﺒﻁﻭل ﺍﻟﻤﺩﺓ، ﺇﻻ‬ ‫ﺤ‬ ‫ﻤﺠﺩﻱ‬ ‫ﺇﺫﺍ ﻫﺩﺩﺘﻪ ﻫﺫﺍ ﺍﻟﺘﻬﺩﻴﺩ..؟‬ ‫: ﻟﻌﻠﻪ ﻴﻌﻠﻡ ﺒﻁﻭل ﻫﺫﻩ ﺍﻟﻤﺩﺓ ﺃﻜﺜﺭ ﻤﻨﻙ ﻭﻤﻨﻲ!!‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻭﺍﷲ ﺇﻥ ﻜﺎﻨﺕ ﺍﻷﻤﻭﺭ ﺘﺅﺨﺫ ﺒﺎﻟﻅﻭﺍﻫﺭ.. ﻭﻫﺫﺍ ﻫﻭ ﺍﻟﻐﺎﻟﺏ ﻷﻥ ﺍﻟﺨﺎﻓﻲ ﻻ ﻴﻌﻠﻤﻪ ﺇﻻ‬ ‫ﻤﺠﺩﻱ‬ ‫ﺍﷲ.. ﻓﺎﻟﻅﻭﺍﻫﺭ ﻜﻠﻬﺎ ﻟﻴﺴﺕ ﻓﻲ ﻤﺼﻠﺤﺔ ﺍﻟﺩﻜﺘﻭﺭ.‬ ‫: ﻭﺍﷲ ﻴﺎ ﻤﺠﺩﻱ ﻫﻭ ﺸﺎﺏ ﻁﻴﺏ ﻭﻤﺨﻠﺹ، ﻟﻜﻥ ﻅﺭﻭﻓﻪ ﻜﻠﻬﺎ ﺘﻌﺴﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﻨﺎ ﻻ ﺃﻋﺭﻑ ﺸﻴﺌﺎ ﺍﺴﻤﻪ ﻅﺭﻭﻑ.. ﻜﻠﻨﺎ ﻨﻘﺎﺒل ﻓﻲ ﺤﻴﺎﺘﻨﺎ ﺍﻟﻅﺭﻭﻑ ﺍﻟﺴﻴﺌﺔ.. ﻭﻟﻜﻥ‬ ‫ﻤﺠﺩﻱ‬ ‫ﻤﺎ ﺍﻟﺤﻴﺎﺓ ﺇﻥ ﻟﻡ ﻨﻠﻕ ﻫﺫﻩ ﺍﻟﻅﺭﻭﻑ ﻭﻨﺘﻐﻠﺏ ﻋﻠﻴﻬﺎ..؟ ﻫﺫﻩ ﺍﻟﺤﻴﺎﺓ ﻟﻨﺎ.. ﻨﺤﻥ‬ ‫ﺴﺎﺩﺘﻬﺎ.. ﻨﺤﻥ ﻤﻥ ﻨﺘﺤﻜﻡ ﻓﻴﻬﺎ ﻭﻻ ﻴﻤﻜﻥ ﻤﻁﻠﻘﺎ ﺃﻥ ﻨﺘﺭﻜﻬﺎ ﺘﺘﺤﻜﻡ ﻓﻴﻨﺎ.‬ ‫٠١‬
  • 12. ‫: ﺃﻨﺕ ﺘﺴﺭﻕ ﻤﻥ ﻨﻔﺴﻙ ﻴﺎ ﺃﺴﺘﺎﺫ ﻤﺠﺩﻱ.. ﻫﺫﺍ ﺍﻟﻜﻼﻡ ﻓﻲ ﻜﺘﺎﺒﻙ ﺍﻷﺨﻴﺭ.. ﺃﻟﻡ ﺃﻗل ﻟﻙ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺇﻨﻨﻲ ﻗﺭﺃﺘﻪ؟‬ ‫: ﻻ ﻭﺍﷲ ﻴﺎ ﺘﺤﻴﺔ، ﻫﺫﻩ ﻫﻲ ﺍﻟﺤﻘﻴﻘﺔ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻨﺤﻥ ﻨﺘﺤﻜﻡ ﻓﻲ ﺍﻟﺤﻴﺎﺓ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻨﻌﻡ.. ﻨﺤﻥ.. ﺍﻹﻨﺴﺎﻥ.. ﻟﻘﺩ ﺨﻠﻘﺕ ﺍﻟﺤﻴﺎﺓ ﻟﻪ، ﻓﻬﻭ ﻤﻥ ﻴﺘﺤﻜﻡ ﻓﻴﻬﺎ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻓﻠﻤﺎﺫﺍ ﻻ ﻨﺘﺤﻜﻡ ﻓﻲ ﺠﻨﺴﻨﺎ..؟ ﻟﻤﺎﺫﺍ ﺨﻠﻘﺕ ﺍﻤﺭﺃﺓ ﻭﻟﻡ ﺃﻜﻥ ﺭﺠﻼ..؟! ﻭﻟﻤﺎﺫﺍ ﺃﺴﻤﻰ‬ ‫ﺘﺤﻴﺔ‬ ‫ﺘﺤﻴﺔ..؟! ﻜﻴﻑ ﻋﺭﻓﺕ ﺍﻟﺤﻴﺎﺓ ﺃﻨﻲ ﺃﺤﺏ ﻫﺫﺍ ﺍﻻﺴﻡ؟ ﻭﻟﻤﺎﺫﺍ ﺴﺄﻤﻭﺕ ﻴﻭﻡ ﺘﺸﺎﺀ‬ ‫ﺍﻟﺤﻴﺎﺓ..؟ ﻭﻟﻌﻠﻬﺎ ﺘﺨﺘﺎﺭ ﺘﻤﺎﻤﺎ ﺍﻟﻭﻗﺕ ﺍﻟﺫﻱ ﺃﺭﻴﺩ ﺃﻥ ﺃﺤﻴﺎ ﻓﻴﻪ.‬ ‫: ﻴﺎ ﺤﺒﻴﺒﺘﻲ.. ﻫﺫﻩ ﻟﻴﺴﺕ ﺍﻟﺤﻴﺎﺓ.. ﺇﻨﻬﺎ ﺘﻤﻬﻴﺩﺍﺕ ﺍﻟﺤﻴﺎﺓ.. ﺍﻟﻭﻻﺩﺓ ﺘﻤﻬﻴﺩ ﻟﻠﺤﻴﺎﺓ،‬ ‫ﻤﺠﺩﻱ‬ ‫ﻭﺍﻟﻤﻭﺕ ﻨﻬﺎﻴﺔ ﻟﻪ.. ﻨﺤﻥ ﻏﻴﺭ ﻤﺨﻴﺭﻴﻥ ﻓﻲ ﺍﻟﻤﻘﺩﻤﺎﺕ ﺃﻭ ﺍﻟﻨﻬﺎﻴﺎﺕ.. ﻭﺇﻻ ﻓﺘﺼﻭﺭﻱ‬ ‫ﺒﺭﺒﻙ ﻟﻭ ﺃﻥ ﺍﻷﻤﺭ ﻋﺭﺽ ﻋﻠﻴﻙ ﻗﺒل ﻭﻻﺩﺘﻙ ﻓﺭﺃﻴﺕ ﺃﻥ ﺘﻜﻭﻨﻲ ﺭﺠﻼ، ﺜﻡ ﺃﺨﺘﺎﺭ‬ ‫ﻫﺫﺍ ﺍﻟﻁﺭﻴﻕ ﻤﻥ ﺒﻌﺩﻙ ﻜل ﺍﻹﻨﺎﺙ؟! ﺃﻱ ﺤﻴﺎﺓ ﺴﻨﻠﻘﺎﻫﺎ ﺇﺫﻥ..؟ ﺇﻥ ﺍﻟﺤﻴﺎﺓ ﻟﻥ ﺘﻤﻜﺙ‬ ‫ﺇﻻ ﺒﻤﻘﺩﺍﺭ ﺤﻴﺎﺓ ﻫﺅﻻﺀ ﺍﻟﺭﺠﺎل.. ﻋﻠﻰ ﺃﻨﻪ ﻟﻭ ﻜﺎﻥ ﺍﻷﻤﺭ ﻜﺫﻟﻙ ﻭﺍﺨﺘﺎﺭﺕ ﺃﻤﻙ ﺃﻥ‬ ‫ﺘﻜﻭﻥ ﺭﺠﻼ، ﻟﻤﺎ ﻭﻟﺩﺕ ﺃﻨﺕ، ﻭﻟﺘﻌﻁﻠﺕ ﺤﺭﻜﺔ ﺍﻟﺤﻴﺎﺓ ﻨﻬﺎﺌﻴﺎ. ﻓﺠﻨﺱ ﻭﺍﺤﺩ ﻻ‬ ‫ﻴﻜﻔﻲ..ﺃﻤﺎ ﺍﺴﻤﻙ ﻓﺎﺴﺄﻟﻲ ﻋﻨﻪ ﺃﻤﻙ ﻭﺃﺒﺎﻙ، ﻓﻬﻤﺎ ﻤﻥ ﺍﺨﺘﺎﺭﺍ ﻭﻫﻤﺎ ﺇﻨﺴﺎﻥ.. ﻭﺃﻨﺎ‬ ‫ﺃﺘﻜﻠﻡ ﻋﻥ ﺍﻹﻨﺴﺎﻥ ﻜﻜل، ﻻ ﺃﻗﺼﺩﻙ ﺃﻨﺕ ﻭﺃﻨﺎ ﻓﻘﻁ.. ﺃﻤﺎ ﻤﻭﺘﻙ ﻓﺈﻨﻪ ﻻ ﺒﺩ ﺃﻥ ﻴﻜﻭﻥ‬ ‫ﺭﻏﻡ ﺃﻨﻔﻙ.. ﻭﺇﻻ ﻟﻭ ﻜﺎﻥ ﺍﻷﻤﺭ ﺍﺨﺘﻴﺎ ‪‬ﺍ ﻟﻤﺎ ﺘﺭﻜﺕ ﺍﻟﺤﻴﺎﺓ ﺃﺒ ‪‬ﺍ، ﻭﻤﻥ ﺫﻟﻙ ﺍﻟﺫﻱ‬ ‫ﺩ‬ ‫ﺭ‬ ‫ﻴﺘﺭﻙ ﺤﻴﺎﺓ ﻫﻭ ﻭﺍﺜﻕ ﻤﻨﻬﺎ ﺇﻟﻰ ﺤﻴﺎﺓ ﺃﺨﺭﻯ ﻻ ﻴﻌﺭﻑ ﻋﻨﻬﺎ ﺸﻴﺌﺎ.. ﺘﺼﻭﺭﻱ ﻟﻭ ﺃﻥ‬ ‫ﺍﻟﻨﺎﺱ ﻟﻡ ﻴﻤﻭﺘﻭﺍ ﻤﻥ ﻋﻬﺩ ﺠﺩﻨﺎ ﺁﺩﻡ ﻭﺴﺘﻨﺎ ﺤﻭﺍﺀ.. ﻜﺎﻨﺕ ﺍﻟﺤﻴﺎﺓ ﺘﺼﺒﺢ ﻤﺼﻴﺒﺔ‬ ‫ﻜﺒﺭﻯ، ﻭﺃﻴﻥ ﻫﺫﻩ ﺍﻷﺭﺽ ﺍﻟﺘﻲ ﺘﺤﺘﻤل ﻜل ﻫﺅﻻﺀ..؟ ﻭﻤﻥ ﺃﻴﻥ ﻴﺄﻜﻠﻭﻥ..؟‬ ‫: ﺇﺫﻥ ﻓﻨﺤﻥ ﻟﺴﻨﺎ ﺴﺎﺩﺓ ﺍﻟﺤﻴﺎﺓ ﻜﻤﺎ ﺘﻘﻭل!‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺒل ﻨﺤﻥ ﺴﺎﺩﺘﻬﺎ.. ﺇﻨﻤﺎ ﺍﻟﺤﻴﺎﺓ ﻫﻲ ﻫﺫﻩ ﺍﻟﻔﺘﺭﺓ ﺍﻟﻭﺍﻗﻌﺔ ﺒﻴﻥ ﺍﻟﻭﻻﺩﺓ ﻭﺍﻟﻤﻭﺕ.. ﺒل‬ ‫ﻤﺠﺩﻱ‬ ‫ﺍﻟﺤﻴﺎﺓ ﺍﻟﺤﻘﻴﻘﻴﺔ ﻫﻲ ﺍﻟﺘﻲ ﺘﺒﺩﺃ ﻤﻊ ﺍﻹﺩﺭﺍﻙ ﻭﺘﻨﺘﻬﻲ ﻤﻌﻪ.. ﻓﺘﺭﺓ ﺍﻹﺩﺭﺍﻙ ﻫﻲ‬ ‫ﺍﻟﺤﻴﺎﺓ.. ﻭﻫﺫﻩ ﺍﻟﺤﻴﺎﺓ ﻫﻲ ﺍﻟﺘﻲ ﻨﺘﺤﻜﻡ ﻓﻴﻬﺎ.. ﺃﻤﺎ ﻤﻨﺫ ﺍﻟﻭﻻﺩﺓ ﺤﺘﻰ ﺍﻹﺩﺭﺍﻙ، ﻓﺈﻥ‬ ‫ﺃﺒﻭﻴﻨﺎ ﻭﺃﻫﻠﻴﻨﺎ ﻫﻡ ﻤﻥ ﻴﺘﺤﻜﻤﻭﻥ ﻓﻴﻨﺎ.. ﻭﺃﻅﻨﻙ ﺘﻭﺍﻓﻘﻴﻥ ﻋﻠﻰ ﺃﻨﻬﻡ ﺁﺩﻤﻴﻭﻥ.‬ ‫: ﺃﺴﺘﻐﻔﺭ ﺍﷲ ﺍﻟﻌﻅﻴﻡ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﺴﺘﻐﻔﺭﻩ ﻤﻥ ﻜل ﺫﻨﺏ.. ﻭﻟﻜﻥ ﻤﺎﺫﺍ ﻗﻠﺕ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺘﺯﻋﻡ ﺃﻨﻨﺎ ﻨﺘﺤﻜﻡ ﻓﻲ ﺍﻟﺩﻨﻴﺎ ﻭﻻ ﺘﺴﺘﻐﻔﺭ ﺭﺒﻙ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺇﻥ ﻤﺎ ﺃﻗﻭﻟﻪ ﻫﻭ ﻏﺎﻴﺔ ﺍﻹﻴﻤﺎﻥ.. ﻭﻫل ﻴﻌﻘل ﺃﻥ ﻴﻜﻭﻥ ﺍﻷﻤﺭ ﻏﻴﺭ ﺫﻟﻙ..؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻜﻴﻑ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺘﺼﻭﺭﻱ ﻟﻭ ﺃﻨﻙ ﻗﻠﺕ ﻟﺨﺎﺩﻤﻙ: ﺍﻜﺴﺭ ﻫﺫﺍ ﺍﻟﻜﻭﺏ، ﺜﻡ ﻜﺴﺭﻩ، ﺃﺘﺭﺍﻙ ﺘﻌﺎﻗﺒﻴﻨﻪ ﺒﻌﺩ‬ ‫ﻤﺠﺩﻱ‬ ‫١١‬
  • 13. ‫ﺫﻟﻙ..؟‬ ‫: ﻻ ﻁﺒﻌﺎ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻓﺈﺫﺍ ﻜﻨﺕ ﺃﻴﻬﺎ ﺍﻹﻨﺴﺎﻥ ﺍﻟﺤﻘﻴﺭ ﻓﻲ ﻋﺩﻟﻙ ﺘﺩﺭﻜﻴﻥ ﺫﻟﻙ.. ﻓﻜﻴﻑ ﺒﺎﷲ ﻤﺼﺩﺭ‬ ‫ﻤﺠﺩﻱ‬ ‫ﺍﻟﻌﺩﺍﻟﺔ..؟ ﻜﻴﻑ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﺘﺏ ﻋﻠﻲ ﺃﻥ ﺃﺸﺭﺏ ﺍﻟﺨﻤﺭ ﺜﻡ ﻴﻌﺎﻗﺒﻨﻲ ﻋﻠﻰ ﺸﺭﺏ‬ ‫ﺍﻟﺨﻤﺭ؟ ﻻﺒﺩ ﺃﻨﻲ ﻤﺨﻴﺭ ﻓﻲ ﺃﻓﻌﺎﻟﻲ ﻭﺇﻻ ﻟﻤﺎ ﺃﻭﻗﻊ ﺍﷲ ﻋﻠﻲ ﺍﻟﺠﺯﺍﺀ.‬ ‫: ﺍﷲ.. ﻤﺠﺩﻱ ﺃﺘﻜﻠﻤﻨﻲ ﻋﻥ ﺍﻻﺨﺘﻴﺎﺭ.. ﻤﺎﺫﺍ..؟ ﺃﺘﺭﺍﻙ ﺃﺼﺒﺤﺕ ﻓﻴﻠﺴﻭﻓﺎ ﺃﻴ ‪‬ﺎ..؟ ﻫﺫﺍ‬ ‫ﻀ‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﺎ ﻜﺎﻥ ﻴﻨﻘﺼﻙ.‬ ‫: ﺠﺯﺍﻙ ﺍﷲ.. ﺍﻟﻘﻀﻴﺔ ﺘﻨﺘﻅﺭﻨﻲ ﻭﺃﻨﺕ ﻻ ﺘﺴﺘﻜﻴﻥ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺃﻨﺎ ﺍﻟﺘﻲ ﻻ ﺃﺴﻜﺕ..؟ ﻁﻴﺏ ﺍﺫﻫﺏ.. ﻭﻟﻜﻥ ﺍﻨﺘﻅﺭ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻤﺎﺫﺍ؟‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺴﺄﺫﻫﺏ ﻤﻌﻙ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺇﻟﻰ ﺍﻟﻤﺤﻜﻤﺔ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﺇﻟﻰ ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻤﺼﺩﻭﻤﺎ( ﻻ.. ﺍﺫﻫﺒﻲ ﺃﻨﺕ ﻓﻲ ﺴﻴﺎﺭﺓ ﺃﺠﺭﺓ.. ﺃﻨﺎ ﻻ ﺃﻁﻴﻕ.‬ ‫ﻤﺠﺩﻱ‬ ‫: ﻻ ﺃﻁﻴﻕ..؟ ﻻ ﺘﻁﻴﻕ ﻤﺎﺫﺍ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻻ ﺃﻁﻴﻕ ﺍﻨﺘﻅﺎﺭﻙ ﺤﺘﻰ ﺘﻠﺒﺴﻲ.. ﺍﻟﻘﻀﻴﺔ ﻴﺎ ﻫﺎﻨﻡ.. ﺍﻟﻘﻀﻴﺔ.. ﺍﻟﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫ﻤﺠﺩﻱ‬ ‫)ﻴﺨﺭﺝ ﻭﺘﺠﻠﺱ ﺘﺤﻴﺔ ﺴﺎﺭﺤﺔ ﺒﻌﺽ ﺍﻟﻭﻗﺕ ﺤﺘﻰ ﺘﺩﺨل ﺴﻨﺎﺀ(‬ ‫: ﺍﷲ.. ﻤﺎﺫﺍ ﺠﺭﻯ..؟ ﺃﻴﻥ ﻤﺠﺩﻱ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺫﻫﺏ ﺇﻟﻰ ﺍﻟﻤﺤﻜﻤﺔ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺼﺤﻴﺢ.. ﻫﻭ ﻗﺎل: ﺃﻨﻪ ﺴﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﻬﺭﺏ ﺴﺎﻋﺔ ﻤﻥ ﺍﻟﻤﺤﻜﻤﺔ ﺜﻡ ﻴﻌﻭﺩ.‬ ‫ﺴﻨﺎﺀ‬ ‫: )ﺴﺎﺭﺤﺔ( ﺼﺤﻴﺢ..؟‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻓﻲ ﻨﻔﺱ ﺍﻟﻨﻐﻤﺔ( ﺼﺤﻴﺢ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺴﻨﺎﺀ.. ﺃﺨﻭﻙ ﻋﺒﻘﺭﻱ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺃﻋﺭﻑ.. ﻭﻜﺎﻥ ﻴﺠﺏ ﺃﻥ ﺘﻌﺭﻓﻲ ﻫﺫﺍ ﻤﻥ ﺯﻤﻥ ﺒﻌﻴﺩ.‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻟﻭ ﻋﺭﻑ ﻜﻡ ﻫﺩﺍﻨﻲ ﺇﻟﻰ ﺃﺸﻴﺎﺀ ﻓﻲ ﻫﺫﻩ ﺍﻟﺩﻗﺎﺌﻕ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﻫﺩﺍﻙ ﺍﷲ ﺇﻟﻰ ﺍﻟﺼﺭﺍﻁ ﺍﻟﻤﺴﺘﻘﻴﻡ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﻨﻌﻡ.. ﺇﻟﻰ ﺍﻟﺼﺭﺍﻁ ﺍﻟﻤﺴﺘﻘﻴﻡ ﻓﻲ ﺤﻴﺎﺘﻲ.. ﺴﻨﺎﺀ.. ﺃﻨﺎ ﺨﺎﺭﺠﺔ.‬ ‫ﺘﺤﻴﺔ‬ ‫: ﺇﻟﻰ ﺃﻴﻥ..؟‬ ‫ﺴﻨﺎﺀ‬ ‫: ﺇﻟﻰ ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫ﺘﺤﻴﺔ‬ ‫: )ﻓﻲ ﻴﺄﺱ( ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫ﺴﻨﺎﺀ‬ ‫ﺴﺘﺎﺭ‬ ‫٢١‬
  • 14. ‫* ﺍﻟﻤﻨﻅﺭ ﺍﻟﺜﺎﻨﻲ:‬ ‫"ﺍﻟﻤﻨﻅﺭ ﻏﺭﻓﺔ ﻁﺒﻴﺏ ﻏﺎﻴﺔ ﻓﻲ ﺍﻟﺤﻘﺎﺭﺓ، ﺒﻬﺎ ﺴﺭﻴﺭ ﻜﺸﻑ ﺨﻠﻑ، "ﺒﺭﺍﻓﺎﻥ" ﻗﺩﻴﻡ ﺒﻪ ﻗﻤـﺎﺵ‬ ‫ﺭﺨﻴﺹ ﻭﻤﻜﺘﺏ ﻗﺩﻴﻡ ﻤﺘﻬﺎﻟﻙ، ﺍﻟﻐﺭﻓﺔ ﺫﺍﺕ ﺒﺎﺏ ﻭﺍﺤﺩ، ﺍﻟﺘﻤﻭﺭﺠﻲ ﻴﻨﻅﻑ ﺍﻟﺤﺠﺭﺓ ﻓﻲ ﺘﺭﺍﺥ ﺸـﺩﻴﺩ‬ ‫ﻭﻜﺴل".‬ ‫: ﻭﺍﷲ ﺍﻟﺸﻌﺭﺍﺀ ﺃﺤﻴﺎﻨﺎ ﻟﻬﻡ ﻜﻼﻡ ﺤﻜﻡ.. ﺍﻟﻌﻁﺎﺭ.. ﺍﻟﻌﻁﺎﺭ.. ﺁﻩ ﺍﻟﻌﻁﺎﺭ ﻻ ﻴﻔﺴﺩ ﻤﺎ ﺃﺼﻠﺤﻪ ﺍﻟﺩﻫﺭ..‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫ﺍﻟﺭﻴﺸﺔ ﺃﻭ ﺍﻟﻤﻤﺴﺤﺔ ﻓﻲ ﻫﺫﻩ ﺍﻟﻤﻜﺴﺭﺍﺕ؟!‬ ‫)ﻴﺩﻕ ﺠﺭﺱ ﺍﻟﺒﺎﺏ(‬ ‫: ﺃﻫﻼ.. ﻭﺍﷲ ﺯﻤﺎﻥ.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫)ﻴﺨﺭﺝ ﻭﻴﻐﻴﺏ ﻟﺤﻅﺔ ﻭﻴﻌﻭﺩ ﻤﺭﺓ ﺃﺨﺭﻯ(‬ ‫: ﻓﺭﺠﺕ.. ﺠﺎﺀ ﺃﻭل ﺯﺒﻭﻥ.. ﺃﻭل ﺯﺒﻭﻥ.. ﻻ ﻫﻭ ﻤﻀﻁﺭ.. ﻭﻻ ﻫﻭ ﻤﺼﺎﺏ ﻓﻲ ﺤﺎﺩﺜﺔ ﺘﺤﺕ ﺍﻟﻌﻴﺎﺩﺓ..‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫ﻓﻘﻴﺭ.. ﺯﺒﻭﻥ.. ﺯﺒﻭﻥ ﺨﺎﻟﺹ، ﺯﺒﻭﻥ ﻓﻘﻁ ﺒﺩﻭﻥ ﺘﻌﻠﻴﻕ. )ﻴﺩﻕ ﺠﺭﺱ ﺍﻟﺒﺎﺏ ﻤﺭﺓ ﺃﺨﺭﻯ ﻭﻴﻐﻴﺏ ﻟﺤﻅ‬ ‫ﺁﺨﺭ.. ﺯﺒﻭﻥ.. )ﻻ ﻴﻜﻤل ﺍﻟﻜﻠﻤﺔ ﻷﻥ ﺠﺭﺱ ﺍﻟﺒﺎﺏ ﻴﺩﻕ( ﻻ.. ﺍﻟﺠﺭﺱ ﺘﻌﺏ.. ﺍﻟﺸﻐل ﻜﺜﺭ ﻤﺭﺓ ﻭﺍﺤﺩﺓ،‬ ‫ﻻ ﻴﺸﺘﻐل.. ﻻ ﻴﻤﻜﻥ ﻁﺒ ‪‬ﺎ ﺃﻥ ﻴﻜﻭﻥ ﺯﺒﻭﻨﺎ ﺜﺎﻟﺜﺎ.. ﺃﻤﺎ ﻟﻭ ﻜﺎﻥ، ﻓﺈﻨﻲ ﺴﺄﺘﺭﻙ ﺍﻟﺒﺎﺏ ﻤﻔﺘﻭ ‪‬ﺎ.. )ﻴﺨﺭ‬ ‫ﺤ‬ ‫ﻌ‬ ‫ﺠﺭﻯ؟.. ﺃﻴﻜﻭﻥ ﺍﻟﺩﻜﺘﻭﺭ ﺍﺸﺘﻬﺭ..؟ ﻭﻟﻜﻥ ﻓﻲ ﻴﻭﻡ ﻭﺍﺤﺩ ﻴﺸﺘﻬﺭ..؟ ﺃﻴﻜﻭﻥ ﺍﺭﺘﻜﺏ ﺤﺎﺩﺜﺔ، ﻭﺍﻟﺠﺭﺍﻴﺩ‬ ‫ﻤﺘﻰ ﺍﺭﺘﻜﺏ ﺍﻟﺤﺎﺩﺜﺔ..؟ ﻟﻘﺩ ﻜﺎﻥ ﻫﻨﺎ ﺤﺘﻰ ﺍﻟﺴﺎﻋﺔ ﻟﻭﺍﺤﺩﺓ ﻅﻬ ‪‬ﺍ ﻴﺎ ﻋﺎﻟﻡ.. ﻤﺎﺫﺍ ﺠﺭﻯ..؟ )ﻴﻨﻅﺭ ﻤ‬ ‫ﺭ‬ ‫ﺭﺍﺒﻊ.. ﺨﺎﻤﺱ.. ﺴﺎﺩﺱ.. ﺴﺎ.. ﺍﻟﺩﻜﺘﻭﺭ.. ﺍﻟﺩﻜﺘﻭﺭ.. ﺍﻟﺩﻜـ‬ ‫"ﻴﺩﺨل ﺍﻟﺩﻜﺘﻭﺭ.. ﺸﺎﺏ ﻓﻲ ﻤﻘﺘﺒل ﺍﻟﻌﻤﺭ ﻴﻠﺒﺱ ﺤﻠﺔ ﻗﺩﻴﻤﺔ ﻴﺤﺎﻭل ﺠﻬﺩﻩ ﺃﻥ ﺘﻅﻬﺭ ﻤﺎ ﺩﺍﻡ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺘﻅﻬﺭ ﺃﻨﻴﻘﺔ.‬ ‫: )ﻻ ﻴﻠﺘﻔﺕ ﺇﻟﻰ ﺭﻗﺹ ﺍﻟﺘﻤﻭﺭﺠﻲ( ﻤﻥ ﻫﺅﻻﺀ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺯﺒﺎﺌﻥ.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫: )ﻤﻨﺩﻫﺸﺎ( ﻤﻥ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺯﺒﺎﺌﻥ.. ﺯﺒﺎﺌﻥ.. ﻭﺍﷲ ﺯﺒﺎﺌﻥ.. ﻻ ﻫﻡ ﺃﺼﺩﻗﺎﺀ ﻭﻻ ﻫﻡ ﻤﺼﺎﺒﻭﻥ ﺘﺤﺕ ﺍﻟﻌﻴﺎﺩﺓ.. ﻭﻻ ﻫﻡ ﺠﻴﺭﺍﻥ.. ﺯﺒﺎﺌ‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫: ﻭﻤﺎﺫﺍ ﺠﺎﺀ ﺒﻬﻡ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺭﺒﻨﺎ.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫: ﻜل ﻫﺅﻻﺀ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻜﻠﻬﻡ.. ﻫﻴﻪ ﻨﺒﺘﺩﺉ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫: ﻨﺒﺘﺩﺉ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: )ﻴﻔﺘﺢ ﺍﻟﺒﺎﺏ ﻓﻲ ﺯﻫﻭ( ﺍﻷﻭل.. ﺃﻨﺕ.. ﺘﻔﻀل.‬ ‫ﺍﻟﺘﻤﻭﺭﺠﻲ‬ ‫)ﻴﺩﺨل ﺍﻟﺯﺒﻭﻥ ﻭﻴﻜﻭﻥ ﺍﻟﺩﻜﺘﻭﺭ ﻗﺩ ﺠﻠﺱ ﺇﻟﻰ ﻤﻜﺘﺒﻪ ﺒﻌﺩ ﺃﻥ ﻴﻜﻭﻥ ﻗﺩ ﺃﻋﺩ ﺍﻟﻜﺭﺴﻲ ﺃﻤﺎﻡ ﺍﻟﻤﻜﺘﺏ ﻓﻲ ﺍﺤﺘﻔﺎﺀ ﻜﺒﻴﺭ(.‬ ‫: ﺃﻫﻼ.. ﺘﻔﻀل )ﻴﺸﻴﺭ ﺇﻟﻰ ﺍﻟﻜﺭﺴﻲ(.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺯﺍﺩ ﻓﻀﻠﻙ ﻴﺎ ﺩﻜﺘﻭﺭ..‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫٣١‬
  • 15. ‫: ﻨﻌﻡ..؟ ﺨﻴﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻭﺍﷲ ﻴﺎ ﺩﻜﺘﻭﺭ ﻟﻭ ﻜﺎﻥ ﺨﻴﺭ ﻤﺎ ﺠﺌﺕ ﻟﻙ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: )ﻴﻐﺘﺼﺏ ﻀﺤﻜﺔ( ﺃﻥ ﺸﺎﺀ ﺍﷲ ﺨﻴﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻴﺎ ﺩﻜﺘﻭﺭ ﺃﻨﺎ ﻋﻴﺎﻥ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻁﻴﺏ.. ﺃﻨﺎ ﻻ ﺃﻨﺘﻅﺭ ﺃﻥ ﺘﻜﻭﻥ ﺼﺎﺤﺏ ﻗﻀﻴﺔ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺍﻟﻤﺭﺽ ﻻﺯﻤﻨﻲ ﺴﻨﺘﻴﻥ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻋﻅﻴﻡ.. ﻭﻤﺎ ﺍﻟﻤﺭﺽ......؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺍﻟﻤﺭﺽ..؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻨﻌﻡ.. ﺍﻟﻤﺭﺽ!!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻻﺒﺩ ﺃﻥ ﺘﻌﺭﻑ ﺍﻟﻤﺭﺽ..؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻁﺒﻌﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻨﺎ ﻤﺘﺯﻭﺝ ﻤﻥ ﻋﺸﺭ ﺴﻨﻭﺍﺕ، ﻭﻤﻨﺫ ﺴﻨﻴﻥ )ﻴﺴﻜﺕ(.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺃﻗﻭل ﺍﻟﻤﺭﺽ!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺍﻟﻤﺭﺽ.. ﺍﻟﻤﺭﺽ.. ﻟﻘﺩ ﻗﻠﺕ ﻟﻙ ﺍﻟﻤﺭﺽ.. ﻤﺘﺯﻭﺝ.. ﻭ.. ﻤﺭﻴﺽ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺁﻩ.. ﻓﻬﻤﺕ.. ﻁﻴﺏ.. ﺘﻔﻀل..‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻴﻥ ﺃﺘﻔﻀل؟.. ﻫل ﺸﻔﻴﺕ..؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺸﻔﻴﺕ.. ﻜﻴﻑ ﺘﺸﻔﻰ..؟ ﺇﻨﻨﺎ ﻟﻡ ﻨﻌﻤل ﺸﻴﺌﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺇﺫﻥ ﻓﺄﺘﻔﻀل ﺇﻟﻰ ﺃﻴﻥ..؟ ﻫﻨﺎ ﻋﻅﻴﻡ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻻ.. ﺘﻔﻀل ﻋﻠﻰ ﺴﺭﻴﺭ ﺍﻟﻜﺸﻑ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻤﺎﺫﺍ..؟ ﺴﺭﻴﺭ ﻤﺎﺫﺍ..؟ ﻫل ﺃﻨﺕ ﺃﻴ ‪‬ﺎ ﻟﻙ ﺴﺭﻴﺭ ﻜﺸﻑ؟‬ ‫ﻀ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫ﻤﺼﻴﺒﺔ!!‬ ‫: ﻁﺒﻌﺎ.. ﻟﻲ ﺴﺭﻴﺭ ﻜﺸﻑ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺁﻩ.. ﺠﺎﺌﺯ.. ﺇﻨﻬﺎ ﺃﻭل ﻤﺭﺓ ﺃﺠﻲﺀ ﺇﻟﻰ ﺩﻜﺘﻭﺭ ﻤﺜﻠﻙ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻻ.. ﺃﻨﺕ ﺃﻋﺼﺎﺒﻙ ﻤﻨﻬﺎﺭﺓ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻴﺎ ﺴﻼﻡ..! ﺃﻨﺎ ﻋﺎﺭﻑ ﻫﺫﺍ ﻤﻥ ﺃﻭل ﺩﻜﺘﻭﺭ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻁﻴﺏ.. ﻨﻡ..‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: )ﻤﻨﺩﻫ ﹰﺎ( ﻭﺃﻨﺎﻡ ﺃﻴ ‪‬ﺎ..؟‬ ‫ﻀ‬ ‫ﺸ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻁﺒﻌﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻨﻤﻨﺎ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺍﺨﻠﻊ ﺍﻟﺒﻨﻁﻠﻭﻥ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺍﻟﺒﻨﻁﻠﻭﻥ..؟ ﻻ.. ﺃﻨﺕ ﻟﺴﺕ ﺍﻟﺩﻜﺘﻭﺭ.. ﻻﺒﺩ ﺃﻨﻙ ﺩﻜﺘﻭﺭ ﻨﺼﺎﺏ ﻤﺜل ﻜل ﺍﻟﺩﻜﺎﺘﺭﺓ ﺍﻟﺫﻴﻥ ﺸﻔﺘﻬﻡ!! ﻻ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫٤١‬
  • 16. ‫ﺨﻠﻊ ﺍﻟﺒﻨﻁﻠﻭﻨﺎﺕ ﻏﻠﻁ ﺃﻜﻴﺩ!‬ ‫: ﻏﻠﻁ؟! ﻜﻴﻑ ﺃﻜﺸﻑ ﻋﻠﻴﻙ ﻭﺃﻨﺕ ﺘﻠﺒﺱ ﺍﻟﺒﻨﻁﻠﻭﻥ؟!‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻭﻟﻤﺎﺫﺍ؟!‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺍﻟﻌﻼﺝ..؟ ﺃﻨﺕ ﻤﻥ ﺇﻴﺎﻫﻡ ﺇﺫﻥ.. ﻴﻘﻭﻟﻭﻥ ﺩﻜﺘﻭﺭ ﻤﻨﻭﻡ ﻤﻐﻨﺎﻁﻴﺴﻲ ﻭﺘﻘﻭل ﻋﻼﺝ.. ﺃﻨﺕ ﻤﻨﻭﻡ ﺃﻭ ﺩﻜﺘﻭﺭ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻤﻨﻭﻡ؟ ﺃﻨﺎ ﻤﻨﻭﻡ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻁﺒﻌﺎ.. ﻭﻫل ﻜﻨﺕ ﺃﺠﻲﺀ ﻟﻙ ﺇﻻ ﻭﺃﻨﺕ ﻤﻨﻭﻡ..؟ ﺃﻨﺎ ﺘﺭﻜﺕ ﺍﻟﺩﻜﺎﺘﺭﺓ ﻤﻥ ﺯﻤﺎﻥ ﺒﻌﻴﺩ.. ﺃﻨﺎ ﺃﻨﻬﻴﺘﻬﻡ..‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫ﺃﻨﻬﻴﺘﻬﻡ ﻋﻠﻰ ﺁﺨﺭﻫﻡ.‬ ‫: ﺃﻱ ﺩﻜﺘﻭﺭ ﻜﻨﺕ ﺘﺭﻴﺩﻩ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: )ﻴﺨﺭﺝ ﺠﺭﻴﺩﺓ ﻤﻥ ﺠﻴﺒﻪ( ﻫﺫﺍ.. ﻫﺫﺍ ﺍﻟﺩﻜﺘﻭﺭ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: )ﻴﻘﺭﺃ( ﻴﻌﻠﻥ ﺍﻟﺩﻜﺘﻭﺭ ﻁﻬﺴﺘﺎﻥ ﺍﻟﻤﻨﻭﻡ ﺍﻟﻤﻐﻨﺎﻁﻴﺴﻲ ﺍﻟﻤﺸﻬﻭﺭ ﺃﻨﻪ ﻨﻘل ﻋﻴﺎﺩﺘﻪ ﺇﻟﻰ ﺸﺎﺭﻉ ﻤﻌﺭﻭﻑ ﺭﻗ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﺭﻴﺩ ﺯﻴﺎﺭﺘﻪ ﻓﻠﻴﺸﺭﻑ ﻓﻲ ﻫﺫﺍ ﺍﻟﻌﻨﻭﺍﻥ.. ﺍﻷﺸﺨﺎﺹ ﻭﺍﻷﺸﻴﺎﺀ ﺍﻟﻀﺎﺌﻌﺔ ﻭ..‬ ‫: ﺃﻟﻴﺱ ﻫﺫﺍ ﺸﺎﺭﻉ ﻤﻌﺭﻭﻑ..؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻻ.. ﻫﺫﺍ ﺸﺎﺭﻉ ﺍﻟﺸﻴﺦ ﻤﻌﺭﻭﻑ.. ﻭﻟﻜﻥ ﺃﻴﻥ ﻁﻬﺴﺘﺎﻥ ﻤﻥ ﺇﺒﺭﺍﻫﻴﻡ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻭﻜﻴﻑ ﺃﻋﺭﻑ..؟ ﺃﻨﺕ ﻻ ﺘﻌﻠﻕ ﺍﺴﻤﻙ ﻋﻠﻰ ﺒﺎﺒﻙ؟‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﻭﻟﻜﻨﻲ ﺃﻋﻠﻘﻪ ﻋﻠﻰ ﺒﺎﺏ ﺍﻟﻌﻤﺎﺭﺓ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻨﺎ ﺴﺄﻟﺕ: ﺍﻟﺩﻜﺘﻭﺭ ﻤﻭﺠﻭﺩ؟ ﻗﺎﻟﻭﺍ ﺴﻴﺄﺘﻲ، ﻓﺩﺨﻠﺕ.. ﺃﻤﺎ ﻻﻓﺘﺘﻙ ﻋﻠﻰ ﺍﻟﺒﺎﺏ ﻓﻠﻡ ﺃﻗﺭﺃﻫﺎ، ﻷﻨﻲ ﻟﻡ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ ﻗﺩ ﻋﻠﻕ ﻻﻓﺘﺔ ﻭﻫﻭ ﻟﻡ ﻴﻨﻘل ﺇﻻ ﺍﻟﻴﻭﻡ.‬ ‫: ﻭﻫل ﺘﻨﻭﻱ ﺤﻘﺎ ﺍﻟﺫﻫﺎﺏ ﺇﻟﻰ ﺍﻟﺩﻜﺘﻭﺭ ﻁﻬﺴﺘﺎﻥ..؟‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻨﻭﻱ..؟ ﻟﻘﺩ ﻨﻭﻴﺕ ﻓﻌﻼ ﻭﺠﺌﺕ ﻭﺴﺄﺫﻫﺏ ﺇﻟﻴﻪ ﻓﻲ ﻤﻌﺭﻭﻑ ﻭﺍﻟﺤﺎﺝ ﻤﻌﺭﻭﻑ ﺃﻭ ﻏﻴﺭ ﻤﻌﺭﻭﻑ.. ﺃﻨ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫ﺃﻱ ﺤﺎل.‬ ‫: ﺃﻤﺭﻨﺎ ﷲ، ﻤﻊ ﺍﻟﺴﻼﻤﺔ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺴﻼﻤﺔ..؟ ﺴﻼﻤﺔ ﻤﻥ..؟ ﻫﺎﺕ ﺍﻟﺨﻤﺴﻴﻥ ﻗﺭ ﹰﺎ.‬ ‫ﺸ‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: ﺁﻩ ﺼﺤﻴﺢ.. ﻴﺎ ﺤﺴﻥ.. ﻴﺎ ﺤﺴﻥ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻨﻌﻡ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫ﺤﺴﻥ‬ ‫: ﻫل ﺃﺨﺫﺕ ﺨﻤﺴﻴﻥ ﻗﺭ ﹰﺎ ﻤﻥ ﺍﻷﻓﻨﺩﻱ..؟‬ ‫ﺸ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻁﺒﻌﺎ.. ﻟﻤﺎﺫﺍ ﻻ ﺁﺨﺫ..؟ ﺃﻟﻴﺴﺕ ﻋﻴﺎﺩﺓ ﻟﻬﺎ ﻤﺼﺎﺭﻴﻑ؟‬ ‫ﺤﺴﻥ‬ ‫: ﻻ ﺘﻁﻭل.. ﻫﺎﺕ ﺍﻟﺨﻤﺴﻴﻥ ﻗﺭﺸﺎ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻤﺭﻙ.. ﺘﻔﻀل.‬ ‫ﺤﺴﻥ‬ ‫: ﺘﻔﻀل ﻴﺎ ﺃﺴﺘﺎﺫ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﻤﻊ ﺍﻟﺸﻜﺭ ﻴﺎ ﺃﺥ.. ﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫ﺍﻟﺯﺒﻭﻥ‬ ‫: )ﻴﺠﻠﺱ ﻤﺘﻬﺎﻟ ﹰﺎ ﻋﻠﻰ ﺍﻟﻜﺭﺴﻲ( ﻭﻋﻠﻴﻙ ﺍﻟﺴﻼﻡ )ﻴﻨﻅﺭ ﺇﻟﻰ ﺤﺴﻥ( ﺭﺩ ﺇﻟﻰ ﺍﻟﺯﺒﺎﺌﻥ ﻤﺎ ﺩﻓﻌﻭﻩ.‬ ‫ﻜ‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫٥١‬
  • 17. ‫: ﻟﻤﺎﺫﺍ ﻴﺎ ﺩﻜﺘﻭﺭ..؟ ﺘﺭﻓﺽ ﺍﻟﺭﺯﻕ ﻴﺎ ﺩﻜﺘﻭﺭ..؟‬ ‫ﺤﺴﻥ‬ ‫: ﺍﺴﻤﻊ ﺍﻟﻜﻼﻡ ﻴﺎ ﺤﺴﻥ..‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﻤﺭﻙ ﻴﺎ ﺩﻜﺘﻭﺭ )ﻴﺨﺭﺝ ﺤﺴﻥ(.‬ ‫ﺤﺴﻥ‬ ‫: ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ.. ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺩﺨل ﺤﺴﻥ ﻓﺭﺤﺎ(‬ ‫: ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺍﻟﺯﺒﺎﺌﻥ ﻴﺭﻓﻀﻭﻥ.. ﻴﺘﻭﺴﻠﻭﻥ ﺇﻟﻴﻙ ﻴﺎ ﺩﻜﺘﻭﺭ ﺃﻥ ﺘﻘﺎﺒﻠﻬﻡ.‬ ‫ﺤﺴﻥ‬ ‫: ﺃﺨﺭﺝ ﺇﻟﻴﻬﻡ ﻴﺎ ﺤﺴﻥ.‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫: ﺃﺤﻀﺭﻫﻡ..؟‬ ‫ﺤﺴﻥ‬ ‫ﻻ ﻴﺎ ﻤﻌﻠﻡ.. ﻋﻤﻲ ﺴﻴﺄﺘﻲ ﻤﻥ ﺍﻟﺒﻠﺩ ﺍﻟﻴﻭﻡ.. ﻭﺃﻅﻥ ﺃﻨﻪ ﺴﻴﺤﻀﺭ ﻟﻲ ﺍﻟﻘﺭﺸﻴﻥ ﺒﻌﺩ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﺎ ﺒﺎﻉ ﺍﻟﻘﻁﻥ.‬ ‫ﻭﻤﺎ ﺸﺄﻨﻲ ﻴﺎ ﺩﻜﺘﻭﺭ ﺒﺎﻟﻘﻁﻥ ﻭﻋﻤﻙ..؟ ﺍﻟﻤﻬﻡ ﺃﻨﻙ ﺘﻜﺸﻑ ﻋﻠﻰ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﺃﻨﺕ ﺘﺭﻴﺩﻨﻲ ﺃﻥ ﺃﻜﺸﻑ ﻋﻠﻴﻙ ﺤﺘﻰ ﻻ ﺘﻜﻭﻥ ﺍﻟﻌﻴﺎﺩﺓ ﺨﺎﻟﻴﺔ.. ﺃﻟﻴﺱ ﻜﺫﻟﻙ ﻴﺎ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﻌﻠﻡ..؟‬ ‫ﻻ ﺤﻭل ﺍﷲ ﻴﺎ ﺒﻨﻲ.. ﺃﻨﺕ ﺩﻜﺘﻭﺭ ﻭﺃﻨﺎ ﻋﻴﺎﻥ.. ﻭﻅﻴﻔﺘﻙ ﺃﻥ ﺘﻜﺸﻑ ﻋﻠﻲ.. ﺍﻜﺸﻑ‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫ﺃﻤﺭﻙ ﻴﺎ ﻤﻌﻠﻡ.. ﻤﻡ ﺘﺸﻜﻭ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﺸﻜﻭ.. ﺃﺸﻜﻭ.. ﺃﺸﻜﻭ ﻤﻥ ﺼﺩﺍﻉ.. ﻨﻌﻡ ﺼﺩﺍﻉ ﺸﺩﻴﺩ ﻭﻤﻐﺹ ﻨﻌﻡ ﻤﻐﺹ ﺸﺩﻴﺩ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻁﻴﺏ ﻴﺎ ﻤﻌﻠﻡ.. ﻗﻡ ﺇﻟﻰ ﺍﻟﺴﺭﻴﺭ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻤﺭﻙ ﻴﺎ ﺒﻨﻲ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫)ﻴﺩﺨﻼﻥ ﺨﻠﻑ ﺍﻟﺒﺭﺍﻓﺎﻥ(‬ ‫ﻨﻔﺱ ﻴﺎ ﻤﻌﻠﻡ.. ﺍﺜﻥ ﺭﺠﻠﻴﻙ، ﻅﻬﺭﻙ.. ﻴﺎ ﻤﻌﻠﻡ.. ﻋﻅﻴﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺨﺭﺝ ﺍﻟﺩﻜﺘﻭﺭ(‬ ‫ﻟﻴﺱ ﺒﻙ ﺸﻲﺀ ﻴﺎ ﻤﻌﻠﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻭﻫﻭ ﻤﺎ ﺯﺍل ﺨﻠﻑ ﺍﻟﺒﺭﺍﻓﺎﻥ( ﻤﺎ ﻫﺫﺍ ﺍﻟﻜﻼﻡ ﻴﺎ ﺩﻜﺘﻭﺭ..؟ ﺃﻗﻭل ﻟﻙ: ﺼﺩﺍﻉ‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻭﻤﻐﺹ، ﻭﺘﻘﻭل ﻟﻲ ﻟﻴﺱ ﺒﻙ ﺸﻲﺀ..؟ ﻴﺎ ﺒﻨﻲ ﺍﻜﺘﺏ ﻟﻲ ﺩﻭﺍ.. ﺍﷲ ﻴﻔﺘﺢ ﻋﻠﻴﻙ.‬ ‫ﺃﻤﺭﻙ ﻴﺎ ﻤﻌﻠﻡ )ﻴﻜﺘﺏ(.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺨﺭﺝ ﺤﺎﻓﻅﺔ ﻨﻘﻭﺩﻩ( ﺃﻨﺎ ﻟﻲ ﻴﺎ ﺩﻜﺘﻭﺭ ﺴﺘﺔ ﻭﺜﻼﺜﻭﻥ ﻗﺭ ﹰﺎ ﻭﺃﻨﺕ ﻟﻙ ﺨﻤﺴﻭﻥ‬ ‫ﺸ‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻗﺭ ﹰﺎ، ﻴﻜﻭﻥ ﺍﻟﺒﺎﻗﻲ ﻟﻙ ﺃﺭﺒﻌﺔ ﻋﺸﺭ ﻗﺭ ﹰﺎ ﻫﺎ ﻫﻲ.‬ ‫ﺸ‬ ‫ﺸ‬ ‫ﻴﺎ ﻤﻌﻠﻡ.. ﻫﺫﺍ ﻻ ﻴﺼﺢ.. ﻭﻫل ﻴﻌﻘل ﺃﻥ ﺁﺨﺫ ﻤﻨﻙ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﺍﷲ ﻭﺍﷲ.. ﺇﻥ ﺃﻡ ﺃﻭﻻﺩﻱ ﺤﺭﺍﻡ ﻋﻠﻲ ﺇﻥ ﻟﻡ ﺘﺄﺨﺫ ﻤﻨﻙ..؟‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻴﺎ ﻤﻌﻠﻡ ﺍﻟﻨﺎﺱ ﻟﺒﻌﻀﻬﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫٦١‬
  • 18. ‫ﻨﻌﻡ ﻟﺒﻌﻀﻬﻡ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻁﻴﺏ ﺨﺫ ﻨﻘﻭﺩﻙ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﻴﺎ ﺩﻜﺘﻭﺭ ﺍﻟﺤﻕ ﺤﻕ، ﻭﺃﻅﻥ ﺃﻴ ‪‬ﺎ ﺃﻨﻙ ﻻ ﺘﺭﻀﻰ ﺃﻥ ﺃﻁﻠﻕ ﺃﻡ ﺤﺴﻴﻥ ﻭﻟﻭ ﺃﻨﻬﺎ‬ ‫ﻀ‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﺃﺼﺒﺤﺕ ﻋﺠﻭﺯﺍ )ﻭﻴﻀﺤﻙ(.‬ ‫‪‬‬ ‫)ﻭﻓﻲ ﻋﻴﻨﻴﻪ ﺒﻌﺽ ﺍﻟﺩﻤﻭﻉ( ﺃﻨﺕ ﻴﺎ ﻤﻌﻠﻡ ﺤﺴﻨﻴﻥ ﻴﺎ ﺠﺯﺍﺭ، ﺃﺭﻕ ﺇﻨﺴﺎﻥ ﺭﺃﻴﺘﻪ ﻓﻲ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺤﻴﺎﺘﻲ.‬ ‫ﺍﷲ ﻴﺒﻘﻴﻙ، ﻫﺫﺍ ﻤﻥ ﻅﺭﻓﻙ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫:‬ ‫ﺍﻟﻤﻌﻠﻡ‬ ‫ﻭﻋﻠﻴﻜﻡ ﺍﻟﺴﻼﻡ ﻴﺎ ﻤﻌﻠﻡ.. ﻤﻊ ﺍﻟﺴﻼﻤﺔ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺨﺭﺝ ﺍﻟﻤﻌﻠﻡ(‬ ‫)ﻟﻨﻔﺴﻪ( ﺃﻴﺭﻀﻴﻙ ﻫﺫﺍ ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ..؟ ﺃﻴﺭﻀﻴﻙ ﺃﻥ ﻴﺘﺼﺩﻕ ﻋﻠﻲ ﺍﻟﺠﺯﺍﺭ؟! ﺍﻟﺭﺠل‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﻴﺸﻜﻭ ﺸﻴﺌﺎ، ﻭﻴﺠﻌﻠﻨﻲ ﺃﻜﺸﻑ ﻋﻠﻴﻪ ﻟﻴﻌﻁﻴﻨﻲ ﺃﺠﺭﺓ ﺍﻟﻜﺸﻑ.. ﺭﺍﺽ ﺃﻨﺕ ﺃﻴﻬﺎ‬ ‫ﺍﻟﻘﺩﺭ؟! ﺤﺴﺒﻲ ﺍﷲ ﻭﻨﻌﻡ ﺍﻟﻭﻜﻴل. ﺤﺴﺒﻲ ﺍﷲ ﻭﻨﻌﻡ ﺍﻟﻭﻜﻴل.‬ ‫)ﻴﺩﺨل ﺤﺴﻥ(‬ ‫ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺒﺎﻟﺨﺎﺭﺝ ﺭﺠل ﻋﻅﻴﻡ ﻴﺴﺄل ﻋﻨﻙ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﻋﻅﻴﻡ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻅﻴﻡ ﺠ ‪‬ﺍ.‬ ‫ﺩ‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﺩﻋﻪ ﻴﺩﺨل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺩﺨل ﺭﺠل ﻴﻠﺒﺱ ﺍﻟﺭﺩﻨﺠﻭﺕ ﺫﻭ ﻟﺤﻴﺔ ﻜﺜﺔ ﻭﻴﻀﻊ ﻋﻠﻰ ﺭﺃﺴﻪ ﻋﻤﺎﻤﺔ ﻜﺒﻴﺭﺓ(‬ ‫ﺍﻟﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫:‬ ‫ﺍﻟﺩﺍﺨل‬ ‫ﻭﻋﻠﻴﻜﻡ ﺍﻟﺴﻼﻡ.. ﻨﻌﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺎ ﺍﻟﺩﻜﺘﻭﺭ ﻁﻬﺴﺘﺎﻥ.‬ ‫:‬ ‫ﺍﻟﺩﺍﺨل‬ ‫ﺃﻫﻼ ﻭﺴﻬﻼ.. ﻓﺭﺼﺔ ﻋﻅﻴﻤﺔ ﻴﺎ ﺴﻴﺩ ﻁﻪ.‬ ‫ﹰ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻗﻭل ﻟﻙ ﺃﻨﺎ ﺍﻟﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺃﻫﻼ ﻴﺎ ﺴﻴﺩ ﻁﻪ.‬ ‫ﹰ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﻌﻨﻲ ﻤﺼﻤﻡ.. ﻋﻠﻰ ﻜل ﺤﺎل ﺠﺌﺕ ﻷﺸﻜﺭﻙ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻋﻼﻡ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻠﻰ ﺃﻨﻙ ﺃﺭﺴﻠﺕ ﺇﻟﻰ ﺍﻟﺯﺒﺎﺌﻥ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻫﺫﺍ ﻭﺍﺠﺏ ﻴﺎ ﺴﻴﺩ ﻁﻪ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﻥ ﺃﺠل ﻫﺫﺍ ﺠﺌﺕ ﺃﻗﺩﻡ ﻟﻙ ﺨﺩﻤﺔ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺨﺩﻤﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻨﻌﻡ ﺨﺩﻤﺔ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫٧١‬
  • 19. ‫ﻭﻤﺎ ﻫﻲ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺕ ﺘﺭﺴل ﺇﻟﻲ ﺍﻟﻤﺭﻀﻰ ﺍﻟﺫﻴﻥ ﺘﺠﺩﻫﻡ ﻀﻌﺎﻑ ﺍﻟﺸﺨﺼﻴﺔ ﻴﻤﻜﻥ ﻟﻠﺘﻨﻭﻴﻡ ﺃﻥ ﻴﺅﺜﺭ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻓﻴﻬﻡ. ﻭﺃﻨﺎ ﺃﺭﺴل ﻟﻙ ﺍﻟﻤﺭﻀﻰ ﺍﻟﺫﻴﻥ ﺃﺠﺩ ﺒﻬﻡ ﻤﺭ ‪‬ﺎ ﺤﻘﻴﻘ ‪‬ﺎ. ﻤﺎ ﺭﺃﻴﻙ..؟‬ ‫ﻴ‬ ‫ﻀ‬ ‫ﻋﻅﻴﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﺘﻔﻘﻨﺎ..؟‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺍﺘﻔﻘﻨﺎ.. ﻭﻟﻜﻥ ﻫﻨﺎﻙ ﻤﺎﻨ ‪‬ﺎ ﺒﺴﻴ ﹰﺎ، ﺍﺴﻤﻪ ﺍﻟﺸﺭﻑ.‬ ‫ﻁ‬ ‫ﻌ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺩﻉ ﺍﻟﺸﺭﻑ ﺇﺫﻥ ﻴﻨﻔﻌﻙ.. ﻟﻘﺩ ﺭﺃﻴﺕ ﺍﻟﻴﻭﻡ ﺒﻨﻔﺴﻙ ﻜﻴﻑ ﺍﻤﺘﻸﺕ ﻋﻴﺎﺩﺘﻙ ﺒﺯﺒﺎﺌﻨﻲ،‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺤﻴﻥ ﻗﻠﺕ ﻟﻬﻡ: ﺇﻨﻙ ﻟﺴﺕ ﺍﻟﺩﻜﺘﻭﺭ ﻁﻬﺴﺘﺎﻥ ﺍﻨﺼﺭﻓﻭﺍ ﺠﻤﻴ ‪‬ﺎ.‬ ‫ﻌ‬ ‫ﻭﻫل ﻤﻌﻨﻰ ﺘﺄﺜﻴﺭﻙ ﻓﻲ ﺍﻟﻤﻐﻔﻠﻴﻥ ﺃﻥ ﺃﺘﻔﻕ ﻤﻌﻙ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺕ ﺘﺘﻔﻕ ﻤﻊ ﺴﻤﺴﺎﺭ، ﺘﻘﺎﺒل ﻤﻨﺎﻓﻊ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺃﻱ ﻋﻴﺏ ﻓﻲ ﻫﺫﺍ..؟ ﺃﻨﺕ ﺘﺨﺩﻤﻨﻲ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺃﻨﺎ ﺃﺨﺩﻤﻙ، ﻭﺍﻟﻨﺎﺱ ﻟﺒﻌﻀﻬﻡ.‬ ‫ﺘﻘﻭل ﻟﺒﻌﻀﻬﻡ..؟ ﺼﺤﻴﺢ.. ﻭﻟﻜﻨﻙ ﻟﻸﺴﻑ ﺃﻨﺕ ﺩﺠﺎل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ.. ﺩﺠﺎل ﻫﺫﻩ ﻟﻡ ﺃﻋﺭﻓﻬﺎ، ﻭﻟﻜﻨﻨﻲ ﺃﻋﺭﻑ ﺃﻨﻨﻲ ﺃﻤﻠﻙ ﺍﻟﻌﻤﺎﺭﺓ ﺍﻟﺘﻲ ﺃﺴﻜﻥ ﺒﻬﺎ،‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺃﻨﺕ ﻻ ﺘﺴﺘﻁﻴﻊ ﺃﻥ ﺘﺩﻓﻊ ﺃﺠﺭﺓ ﺍﻟﺸﻘﺔ ﺍﻟﺘﻲ ﺘﺴﻜﻨﻬﺎ.‬ ‫ﻭﻫل ﻴﻐﻴﺭ ﻫﺫﺍ ﻤﻥ ﺍﻟﺤﻘﻴﻘﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ ﻫﻲ ﻤﺎ ﺘﻤﻠﻙ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺍﻟﺤﻘﻴﻘﺔ ﻫﻲ ﺍﻟﻭﺍﻗﻊ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﺍﻟﻭﺍﻗﻊ ﺃﻨﻨﻲ ﻏﻨﻲ ﻭﺃﻨﺕ ﻓﻘﻴﺭ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺍﻟﻭﺍﻗﻊ ﺃﻨﻨﻲ ﺩﻜﺘﻭﺭ ﻭﺃﻨﺕ ﺩﺠﺎل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺘﻌﺎل ﻨﺨﺭﺝ ﻤﻌﺎ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺇﻟﻰ ﺃﻴﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻟﻰ ﺃﻱ ﻤﻜﺎﻥ ﻴﻌﺠﺒﻙ.. ﺇﻟﻰ ﺍﻟﺸﺎﺭﻉ.. ﺇﻟﻰ ﺍﻟﻘﻬﻭﺓ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﻤﺎ ﺍﻟﺴﺒﺏ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻟﺘﺭﻯ ﺍﻟﺤﻘﻴﻘﺔ.. ﻟﺘﻌﺭﻑ ﺍﻟﻭﺍﻗﻊ.. ﺇﻥ ﺍﻟﻨﺒﻲ ﻴﻘﻭل: ﺃﻟﺴﻨﺔ ﺍﻟﺨﻠﻕ ﺃﻗﻼﻡ ﺍﻟﺤﻕ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺇﻥ ﺍﻟﻨﺒﻲ ﻴﺘﻜﻠﻡ ﻋﻥ ﺃﻟﺴﻨﺔ ﺍﻟﺨﻠﻕ ﺍﻟﺒﺭﻴﺌﺔ ﻤﻥ ﺍﻟﻨﻔﺎﻕ، ﺍﻟﺒﻌﻴﺩﺓ ﻋﻥ ﺍﻟﺘﺯﻟﻑ.. ﻤﻬﻤﺎ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﻤﺩﺤﻙ ﺍﻟﻨﺎﺱ ﺃﻤﺎﻤﻙ، ﻓﺈﻨﻬﻡ ﺤﻴﻥ ﺘﻨﺼﺭﻑ ﻋﻨﻬﻡ ﺴﻴﻘﻭﻟﻭﻥ: ﺩﺠﺎل، ﺃﻤﺎ ﺃﻨﺎ ﻓﻤﻬﻤﺎ‬ ‫ﻗﺎﻟﻭﺍ ﻋﻥ ﻓﻘﺭﻱ ﻓﻠﻥ ﻴﺴﺘﻁﻴﻌﻭﺍ ﺇﻻ ﺃﻥ ﻴﻘﻭﻟﻭﺍ ﻤﻥ ﻭﺭﺍﺌﻲ ﻭﺃﻤﺎﻤﻲ، ﺇﻨﻨﻲ ﺩﻜﺘﻭﺭ‬ ‫ﺘﻌﻠﻤﺕ، ﻭﺍﺠﺘﻬﺩﺕ ﻭﻭﺼﻠﺕ.‬ ‫)ﻴﻀﺤﻙ ﻀﺤﻜﺔ ﺴﺎﺨﺭﺓ ﻋﺎﻟﻴﺔ( ﻭﺼﻠﺕ ﺇﻟﻰ ﺃﻴﻥ ﻴﺎ ﺩﻜﺘﻭﺭ..؟ ﺇﻟﻰ ﺃﻴﻥ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﺼﻠﺕ..؟ ﺇﻟﻰ ﻋﻴﺎﺩﺓ ﻓﻲ ﻤﻜﺎﻥ ﻜﻬﺫﺍ..؟ ﺨﺎﻟﻴﺔ ﺇﻻ ﻤﻨﻙ..؟ ﻭﺼﻠﺕ ﻴﺎ ﺩﻜﺘﻭﺭ..؟‬ ‫)ﻴﻀﺤﻙ(.. ﺍﻟﻠﻬﻡ ﻻ ﺘﺠﻌل ﺃﺤ ‪‬ﺍ ﻴﺼل ﺇﻟﻰ ﻤﺎ ﻭﺼﻠﺕ ﺇﻟﻴﻪ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺃﻨﺕ‬ ‫ﺩ‬ ‫٨١‬
  • 20. ‫ﻭﺼﻠﺕ؟ ﻓﻤﻥ ﺇﺫﻥ ﺍﻟﺫﻱ ﻟﻡ ﻴﺼل..؟ ﺍﺴﻤﻊ ﻜﻼﻤﻲ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﺍﻟﻐﻨﻰ.. ﺍﻟﺸﻬﺭﺓ.‬ ‫)ﻓﻲ ﺸﺒﻪ ﺘﺨﺎﺫل( ﺍﻟﻐﻨﻰ. ﺍﻟﺸﻬﺭﺓ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻨﻬﺎ ﺨﺩﻤﺔ ﺃﺭﻴﺩ ﺃﻥ ﺃﺅﺩﻴﻬﺎ ﻟﻙ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﻤﺎﺫﺍ ﺘﺭﻴﺩ ﻤﻨﻲ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻟﻘﺩ ﻗﻠﺕ ﻟﻙ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻤﺎﺫﺍ ﺘﻔﻌل ﺇﺫﺍ ﺃﺭﺴﻠﺕ ﺃﻨﺕ ﺍﻟﺯﺒﺎﺌﻥ ﻭﻟﻡ ﺃﺭﺴﻠﻬﻡ ﺃﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﻜﻭﻥ ﺍﻟﺩﺠﺎل ﻭ ﹼﻰ ﺒﻭﻋﺩﻩ، ﻭﻴﻜﻭﻥ ﺍﻟﺸﺭﻴﻑ ﺃﺨﻠﻑ.‬ ‫ﻓ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﻤﺎ ﺩﺨل ﺍﻟﺸﺭﻑ، ﻭﻜﻼﻨﺎ ﻴﺴﺭﻕ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻨﺴﺭﻕ..؟ ﻨﺤﻥ ﻨﺴﺭﻕ..؟‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻁﺒﻌﺎ.. ﺇﻨﻨﺎ ﺃﻜﺜﺭ ﻤﻥ ﻟﺼﻭﺹ.. ﺍﻟﻠﺹ ﻴﺴﺭﻕ ﺃﻤﺎ ﻨﺤﻥ ﻓﻨﺴﺭﻕ ﺍﻟﺜﻘﺔ.. ﻨﺴﺭﻕ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻋﺘﻘﺎﺩ ﺍﻟﻨﺎﺱ ﻓﻴﻨﺎ.‬ ‫ﻭﻟﻤﺎﺫﺍ..؟ ﺃﻨﺕ ﺩﻜﺘﻭﺭ، ﻭﺃﻨﺎ ﺃﺭﺴل ﻟﻙ ﻤﺭﻀﻰ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻫﺫﺍ ﺼﺤﻴﺢ.. ﻭﻟﻜﻥ ﻫل ﺃﻨﺎ ﺩﻜﺘﻭﺭ ﻤﺎﻫﺭ ﺃﻭ ﻻ.. ﻫل ﺘﻌﺭﻑ ﻫﺫﺍ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻠﻰ ﻜل ﺤﺎل ﺃﻨﺕ ﺩﻜﺘﻭﺭ.. ﻓﺜﻘﺔ ﺍﻟﻨﺎﺱ ﻓﻲ ﻤﺤﻠﻬﺎ.. ﺃﻨﺎ ﻻ ﺃﺭﺴﻠﻬﻡ ﺇﻟﻰ ﻤﺤﺎﻡ ﺃﻭ‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻤﻬﻨﺩﺱ.. ﺇﻟﻰ ﺩﻜﺘﻭﺭ..‬ ‫ﻋﻅﻴﻡ.. ﻭﺃﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺃﻋﺭﻑ، ﻭﻟﻜﻥ ﻤﺎ ﻤﻭﻗﻔﻲ ﺃﻨﺎ ﺤﻴﻥ ﺃﺭﺴل ﺍﻟﻨﺎﺱ ﺇﻟﻴﻙ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﺘﻅﻬﺭ ﻋﻠﻴﻪ ﺍﻟﺤﻴﺭﺓ( ﺃﻨﺕ.. ﺃﻨﺕ ﺘﺭﺴﻠﻬﻡ ﺇﻟﻰ ﻤﻨﻭﻡ ﻤﺸﻬﻭﺭ ﻴﺎ ﺃﺨﻲ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺍﻟﻐﻨﻰ.. ﺍﻟﺸﻬﺭﺓ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﺃﻨﺕ ﻻ ﺘﻌﺭﻑ ﻜﻡ ﺃﻨﺎ ﻤﺤﺘﺎﺝ ﻟﻬﺫﺍ ﺍﻟﻐﻨﻲ، ﻭﻟﻜﻨﻲ ﻻ ﺃﺴﺘﻁﻴﻊ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺕ ﺤﺭ.. ﺴﻼﻡ ﻋﻠﻴﻜﻡ.‬ ‫:‬ ‫ﻁﻬﺴﺘﺎﻥ‬ ‫ﻭﻋﻠﻴﻜﻡ ﺍﻟﺴﻼﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺨﺭﺝ ﻭﻴﺩﺨل ﺤﺴﻥ(‬ ‫ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﺨﻴ ‪‬ﺍ ﻴﺎ ﺤﺴﻥ.‬ ‫ﺭ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﻥ ﺃﻴﻥ ﺍﻟﺨﻴﺭ..؟ ﻭﺍﷲ ﻟﻭ ﻜﺎﻥ ﻋﻨﺩﻱ ﻤﺎ ﺘﺄﺨﺭﺕ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﻤﺎ ﻫﻭ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻟﺯﺒﻭﻥ.. ﺃﻗﺼﺩ ﺍﻟﺨﻴﺭ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﻤﺎﺫﺍ ﺘﺭﻴﺩ ﺇﺫﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺨﻁﻴﺒﺘﻙ ﻴﺎ ﺩﻜﺘﻭﺭ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫٩١‬
  • 21. ‫ﺨﻁﻴﺒﺘﻲ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺨﻁﻴﺒﺘﻙ.‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫ﺩﻋﻬﺎ ﺘﺩﺨل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺘﻔﻀﻠﻲ ﻴﺎ ﺴﺕ ﻫﺎﻨﻡ‬ ‫:‬ ‫ﺤﺴﻥ‬ ‫)ﺘﺩﺨل ﺘﺤﻴﺔ ﻭﻗﺩ ﺒﺩﺍ ﻋﻠﻴﻬﺎ ﺍﻟﺘﺠﻬﻡ(‬ ‫ﺃﻫﻼ ﺘﺤﻴﺔ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻫﻼ ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﺎ ﻟﻙ ﻴﺎ ﺘﺤﻴﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﺸﻲﺀ.. ﻭﻟﻜﻨﻨﻲ ﻜﻨﺕ ﺃﺴﺘﻤﻊ ﺇﻟﻰ ﺤﺩﻴﺙ ﻁﻭﻴل.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻋﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻨﻙ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻋﻨﻲ ﺃﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻟﻴﺱ ﻋﻨﻙ ﺃﻨﺕ ﺒﺎﻟﺫﺍﺕ.. ﻋﻥ ﺍﻹﻨﺴﺎﻥ ﻋﻤﻭ ‪‬ﺎ.‬ ‫ﻤ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻫﺫﺍ ﻜل ﻤﺎ ﻜﺎﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻜﻼﻡ ﺒﻨﺎﺕ.. ﻤﺎﺫﺍ ﺘﻨﺘﻅﺭ ﻤﻥ ﺒﻨﺘﻴﻥ ﺘﺘﻜﻠﻤﺎﻥ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻜﺎﺩ ﺃﻓﻬﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﺎﺫﺍ؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﻭﻀﻭﻉ ﺍﻟﻜﻼﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻴﺎ ﺃﺨﻲ ﺃﺘﺭﻙ ﻫﺫﺍ.. ﻤﺎﺫﺍ ﻋﻤﻠﺕ ﺃﻨﺕ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻓﻴﻡ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﺎﺫﺍ ﻋﻤﻠﺕ ﺒﻌﺩ ﺨﺭﻭﺠﻙ ﺃﻤﺱ..؟ ﻻﺤﻅﺕ ﺃﻨﻙ ﻜﻨﺕ ﺯﻋﻼﻥ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺯﻋﻼﻥ؟.. ﻻ.. ﺃﺒ ‪‬ﺍ.‬ ‫ﺩ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ.. ﻗل ﺍﻟﺤﻕ..‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻭﺍﷲ ﻴﺎ ﺘﺤﻴﺔ ﺃﻨﺎ ﻓﻌﻼ ﻜﻨﺕ ﺯﻋﻼﻥ، ﻭﻤﺎ ﺯﻟﺕ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺨﻴ ‪‬ﺍ.. ﺠﺭﻯ ﺸﻲﺀ..؟‬ ‫ﺭ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻭﻤﺎﺫﺍ ﻴﻤﻜﻥ ﺃﻥ ﻴﺠﺭﻱ ﺃﻜﺜﺭ ﻤﻥ ﻫﺫﺍ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﺎ ﻫﻭ ﻫﺫﺍ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺴﻨﺘﺎﻥ ﺍﻵﻥ، ﻭﺃﻨﺎ ﺃﺨﺎﻁﺒﻙ، ﻭﺃﻨﺕ ﺘﻨﺘﻅﺭﻴﻥ ﺤﺘﻰ ﺃﺠﻤﻊ ﺍﻟﻤﻬﺭ.. ﻤﺎﺫﺍ ﺴﻨﻔﻌل..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺎ ﺸﺨﺼ ‪‬ﺎ ﻻ ﻤﺎﻨﻊ ﻋﻨﺩﻱ ﺃﻥ ﺃﻨﺘﻅﺭ.. ﻭﻟﻜﻥ ﺃﻨﺕ ﻴﺠﺏ ﺃﻥ ﺘﻌﻤل.‬ ‫ﻴ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﻟﻤﺴﺄﻟﺔ ﻟﻴﺴﺕ ﻤﺴﺄﻟﺔ ﻤﻬﺭ ﻓﻘﻁ، ﻭﺇﻨﻤﺎ ﻤﺴﺄﻟﺔ ﺤﻴﺎﺘﻨﺎ ﺒﻌﺩ ﺍﻟﺯﻭﺍﺝ؟ ﻜﻴﻑ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺴﻨﻌﻴﺵ..؟‬ ‫٠٢‬
  • 22. ‫ﺍﻟﺤﻤﺩ ﷲ.. ﺃﺒﻲ ﻏﻨﻲ ﻭﺃﻋﺘﻘﺩ ﺃﻨﻪ ﻴﺴﺘﻁﻴﻊ..‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻥ ﻴﺴﺎﻋﺩﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﺎ ﺍﻟﺒﺄﺱ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﷲ.. ﺍﷲ.. ﺃﻨﺎ ﺃﻋﻴﺵ ﻋﺎﻟﺔ ﻋﻠﻰ ﻭﺍﻟﺩﻙ..؟ ﺃﺘﺭﻀﻴﻥ ﻫﺫﺍ ﻴﺎ ﺘﺤﻴﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻭﻤﺎﺫﺍ ﺒﻴﺩﻨﺎ ﻴﺎ ﺇﺒﺭﺍﻫﻴﻡ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺒﻴﺩﻨﺎ ﺃﻥ ﻨﻘﻨﻊ ﺃﺒﺎﻙ ﺒﻤﺴﺄﻟﺔ..‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻟﻭﻅﻴﻔﺔ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻨﻌﻡ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﺘﺘﻌﺏ ﻨﻔﺴﻙ.. ﻫﺫﻩ ﻤﺴﺄﻟﺔ ﺃﺴﺎﺴﻴﺔ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻴﺎ ﻋﺎﻟﻡ.. ﻴﺎ ﻨﺎﺱ.. ﻁﺒﻴﺏ ﻴﺭﻴﺩ ﺃﻥ ﻴﻌﻤل ﻓﻲ ﻗﺼﺭ ﺍﻟﻌﻴﻨﻲ ﻁﺒﻴ ‪‬ﺎ.. ﻫل ﻫﺫﺍ‬ ‫ﺒ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻋﻴﺏ..؟ ﻫل ﻫﺫﺍ ﻴﻀﺭ ﺒﺎﻟﺸﺭﻑ..؟ ﻫل ﻫﺫﺍ ﻴﺴﻲﺀ ﺇﻟﻰ ﺍﻟﺴﻤﻌﺔ؟.. ﻫﻨﺎﻙ ﺒﺤﺙ‬ ‫ﻋﻅﻴﻡ ﺃﻗﻭﻡ ﺒﻪ ﺒﻡ ﺃﻜﻭﻥ ﻜﺴﺒﺕ ﺍﻟﺸﻬﺭﺓ.‬ ‫ﺃﻨﺕ ﺘﻌﺭﻑ ﺃﻨﻪ ﻴﻜﺭﻩ ﺍﻟﻭﻅﻴﻔﺔ ﻭﻴﻜﺭﻩ ﺴﻴﺭﺘﻬﺎ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻭﻟﻜﻨﻲ ﺃﻜﺭﻩ ﺍﻟﻔﻘﺭ ﺃﻴ ‪‬ﺎ، ﻭﺃﻜﺭﻩ ﺴﻴﺭﺘﻪ.. ﻤﺎﺫﺍ ﻴﻤﻜﻨﻨﻲ ﺃﻥ ﺃﻓﻌل..؟ ﺤﺎﻟﺔ ﺍﻟﻌﻴﺎﺩﺓ‬ ‫ﻀ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺘﺯﻴﺩﻨﻲ ﺍﺭﺘﺒﺎ ﹰﺎ.. ﺃﻨﺎ ﺃﺨﺴﺭ ﻓﻴﻬﺎ ﻭﻻ ﺃﻜﺴﺏ، ﺤﺭﺍﻡ ﺃﻥ ﺃﺘﺭﻜﻙ ﺃﻜﺜﺭ ﻤﻥ ﻫﺫﺍ.. ﺃﻨﺎ‬ ‫ﻜ‬ ‫ﻤﻭﻗﻔﻲ ﺤﺭﺝ ﺠ ‪‬ﺍ.‬ ‫ﺩ‬ ‫ﻻﺒﺩ ﻟﻨﺎ ﺃﻥ ﻨﺘﻐﻠﺏ ﻋﻠﻰ ﻜل ﺸﻲﺀ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻻﺒﺩ ﺃﻥ ﺘﺘﺤﺭﻙ ﺍﻷﺭﺽ ﺤﺘﻰ ﻴﺄﺘﻲ ﺍﻟﺼﺒﺢ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻨﺼل ﺇﻟﻰ ﻤﺎ ﻨﺄﻤل ﻭﻨﺤﻥ ﻫﺎﺩﺌﻭﻥ ﻤﺴﺘﺭﻴﺤﻭﻥ ﺒﻐﻴﺭ ﺴﻌﻲ.. ﺃﻋﻤل.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻴﻥ..؟ ﻜﻴﻑ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺕ ﺴﻠﺒﻲ ﺨﺎﻟﺹ ﻴﺎ ﺇﺒﺭﺍﻫﻴﻡ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﻤﻥ ﺃﻴﻥ ﻴﺄﺘﻴﻨﻲ ﺍﻟﻌﻤل..؟ ﺃﺴﻤﻌﻲ ﻴﺎ ﺘﺤﻴﺔ.. ﺃﻨﺎ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺃﺭﻀﻲ ﻟﻨﻔﺴﻲ ﻫﺫﺍ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻤﺎﺫﺍ..؟‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻥ ﺃﺤﻁﻡ ﺤﻴﺎﺓ ﺍﻹﻨﺴﺎﻥ ﺍﻟﻭﺤﻴﺩ ﺍﻟﺫﻱ ﺃﺤﺒﻪ.. ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺃﺤﻁﻡ ﺤﻴﺎﺘﻙ.. ﻻ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﻏﺸﻙ.. ﻻ ﺃﻤل ﻤﻁﻠ ﹰﺎ.. ﻻ ﺃﻤل.. ﻭﻻ ﻤﻌﻨﻰ ﺃﺒ ‪‬ﺍ ﺃﻥ ﺘﻨﺘﻅﺭﻱ ﺇﻨﺴﺎ ﹰﺎ‬ ‫ﻨ‬ ‫ﺩ‬ ‫ﻘ‬ ‫ﻓﺎﺸﻼ ﻻ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﺘﺤﺭﺭ ﻤﻥ ﻓﺸﻠﻪ.. ﻻ ﻴﻤﻜﻥ.‬ ‫ﺃﺤﺱ ﻓﻲ ﻜﻼﻤﻙ ﺸﻴﺌﺎ ﻏﺭﻴ ‪‬ﺎ.‬ ‫ﺒ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺍﺴﻤﻌﻲ ﻴﺎ ﺘﺤﻴﺔ.. ﻴﺠﺏ ﺃﻥ ﺘﻌﺭﻓﻲ ﺃﻨﻪ ﻻ ﺃﻤل ﻤﻥ ﺯﻭﺍﺠﻨﺎ ﻭﺃﻨﺎ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﺤﺎل..‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻨﻙ ﺒﻜﻼﻤﻙ ﻫﺫﺍ ﺘﻔﺴﺦ ﺍﻟﺨﻁﻭﺒﺔ.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺇﻨﻨﻲ ﺒﻜﻼﻤﻲ ﻫﺫﺍ ﺃﻨﻘﺫ ﻤﺴﺘﻘﺒﻠﻙ، ﺃﺨﺎﻑ ﺃﻥ ﻴﻁﻭل ﺒﻨﺎ ﺍﻟﻁﺭﻴﻕ ﺇﻟﻰ ﺍﻟﺯﻭﺍﺝ ﻭﺃﻨﺕ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻟﻡ ﺘﺭﺘﻜﺒﻲ ﺠﺭ ‪‬ﺎ ﺤﺘﻰ ﺃﺠﻨﻲ ﻋﻠﻴﻙ ﺃﻨﺕ ﺃﻴ ‪‬ﺎ، ﺃﻥ ﺍﻟﻘﺩﺭ ﻭﺃﺒﺎﻙ ﻴﺘﻌﺎﻭﻨﺎﻥ ﻋﻠﻰ‬ ‫ﻀ‬ ‫ﻤ‬ ‫١٢‬
  • 23. ‫ﻓﺸﻠﻲ.‬ ‫ﻻ ﻴﺎ ﺩﻜﺘﻭﺭ.. ﻫﺫﺍ ﺍﻟﻜﻼﻡ ﻟﻪ ﻤﻌﻨﻰ ﺁﺨﺭ، ﻭﻗﺩ ﻓﻬﻤﺘﻪ، ﺇﻨﻙ ﺘﻔﺴﺦ ﺍﻟﺨﻁﺒﺔ ﻭﺇﻨﻨﻲ‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫ﺃﻗﺒل.‬ ‫ﻻ.. ﺃﻨﺎ ﻟﻡ ﺃﻓﺴﺨﻬﺎ ﺒﻌﺩ.. ﻭﻟﻜﻨﻨﻲ ﺴﺄﺤﺎﻭل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﺫﻥ ﻓﺄﻨﺎ ﺃﻓﺴﺨﻬﺎ ﻴﺎ ﺩﻜﺘﻭﺭ.. )ﺘﺨﺭﺝ(.‬ ‫:‬ ‫ﺘﺤﻴﺔ‬ ‫)ﻤﻁﺭ ﹰﺎ( ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ، ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ ﺍﻟﻌﻨﻴﺩ، ﺃﻴﻥ ﺃﻨﺕ..؟‬ ‫ﻗ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺩﺨل ﺸﺨﺹ ﻤﻥ ﺠﺩﺍﺭ ﺍﻟﻐﺭﻓﺔ ﻭﻴﻘﻑ ﺼﺎﻤ ﹰﺎ(‬ ‫ﺘ‬ ‫ﺃﻴﻥ ﺃﻨﺕ ﻷﻨﺘﻘﻡ ﻤﻨﻙ، ﺃﻭ ﻷﺴﺄل ﻋﻠﻰ ﺍﻷﻗل ﻟﻤﺎﺫﺍ ﺘﻌﺎﻤﻠﻨﻲ ﺃﻨﺎ ﺩﻭﻥ ﺴﺎﺌﺭ ﺍﻟﻨﺎﺱ‬ ‫ﻫﺫﻩ ﺍﻟﻤﻌﺎﻤﻠﺔ ﺍﻟﺸﺎﺌﻨﺔ ﺍﻟﻌﻨﻴﻔﺔ..؟ ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ )ﻴﺭﻓﻊ ﺭﺃﺴﻪ( ﻤﻥ..؟ ﻤﻥ ﺃﻨﺕ..؟‬ ‫ﺃﻨﺎ ﺍﻟﻘﺩﺭ.‬ ‫:‬ ‫ﺍﻟﺸﺨﺹ‬ ‫ﺃﺘﻬﺯﺃ ﺒﻲ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺒل ﻫﺫﻩ ﺍﻟﺤﻘﻴﻘﺔ.‬ ‫:‬ ‫ﺍﻟﺸﺨﺹ‬ ‫ﻓﻬل ﺍﻟﻘﺩﺭ ﺇﻨﺴﺎﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻜﺎﻥ ﻻ ﺒﺩ ﻟﻲ ﺃﻥ ﺃﺘﺨﺫ ﻫﺫﺍ ﺍﻟﻤﻅﻬﺭ ﺤﺘﻰ ﺘﺭﺍﻨﻲ ﻭﻻ ﺘﺨﺎﻑ.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻓﻤﺎﺫﺍ ﺘﺭﻴﺩ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺃﻨﺎ.. ﻻ ﺃﺭﻴﺩ ﺸﻴ ًﺎ.. ﺇﻨﻪ ﺃﻨﺕ ﺍﻟﺫﻱ ﺘﺭﻴﺩ.‬ ‫ﺌ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺃﻨﺎ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻨﻌﻡ.. ﺃﻟﻡ ﺘﻘل ﺃﻴﻥ ﺃﻨﺕ ﺃﻴﻬﺎ ﺍﻟﻘﺩﺭ..؟ ﻟﻘﺩ ﻜﻨﺕ ﺸﻔﻭﻗﺎ ﺒﻙ ﻟﺩﺭﺠﺔ ﺃﻨﻨﻲ ﻅﻬﺭﺕ ﻟﻙ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺒﻤﺠﺭﺩ ﻁﻠﺒﻙ ﻟﻲ.‬ ‫ﻓﺄﻨﺕ ﺘﻌﻠﻡ ﺇﺫﻥ ﻤﺎ ﺃﺭﺩﺘﻙ ﺒﺸﺄﻨﻪ..‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻨﻙ ﺘﺭﻴﺩ ﺃﻥ ﺘﻨﺘﻘﻡ ﻤﻨﻲ، ﻭﻫﺫﺍ ﻤﺎ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺘﻔﻌﻠﻪ.. ﺜﻡ ﺃﻨﺕ ﺘﻨﺎﺯﻟﺕ ﻗﻠﻴﻼ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻓﺄﺭﺩﺕ ﺃﻥ ﺘﺭﺍﻨﻲ ﺤﺘﻰ ﺘﻌﺭﻑ ﻟﻤﺎﺫﺍ..؟‬ ‫ﻨﻌﻡ.. ﻟﻤﺎﺫﺍ..؟ ﻟﻤﺎﺫﺍ ﺘﻔﻌل ﺒﻲ ﻜل ﻫﺫﺍ..؟ ﻭﻟﻤﺎﺫﺍ ﺍﺨﺘﺭﺘﻨﻲ ﺩﻭﻥ ﺴﺎﺌﺭ ﺍﻷﻁﺒﺎﺀ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺩﻭﻥ ﺴﺎﺌﺭ ﺍﻵﺩﻤﻴﻴﻥ ﺤﺘﻰ ﺘﺠﻌﻠﻨﻲ ﻓﻲ ﻤﺜل ﻫﺫﻩ ﺍﻟﺤﺎل..؟‬ ‫ﻭﻤﺎﺫﺍ ﻜﺎﻥ ﻤﺭﻀﻙ..؟‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫)ﻓﻲ ﺘﺭﺩﺩ( ﻀﻌﻑ ﺃﻋﺼﺎﺏ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﺴﺎﺨ ‪‬ﺍ( ﺒﻤﻌﻨﻰ ﺁﺨﺭ ﺘﺨﺎﺫل.. ﺨﻭﻑ.. ﻀﻌﻑ ﺸﺨﺼﻴﺔ.‬ ‫ﺭ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺃﻟﻡ ﺘﻜﻥ ﺃﻨﺕ ﻭﺤﺩﻙ ﻤﻥ ﺠﻌل ﺃﺒﻲ ﻓﻘﻴ ‪‬ﺍ.. ﻟﻡ ﻴﺴﺘﻁﻊ ﺃﻥ ﻴﻤﺩﻨﻲ ﺒﺎﻟﻤﺎل..؟‬ ‫ﺭ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻥ ﻓﻘﺭ ﺃﺒﻴﻙ ﺸﻲﺀ ﺘﺴﺄل ﻋﻨﻪ ﺃﺠﺩﺍﺩﻙ ﺤﻴﻥ ﺘﻨﺸﻁﻭﺍ ﻓﻲ ﺇﻨﺠﺎﺏ ﺍﻟﺫﺭﻴﺔ ﻭﺍﺴﺘﻨﺎﻤﻭﺍ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻓﻲ ﻨﻭﺍل ﺍﻟﺭﺯﻕ.‬ ‫ﻭﻤﻥ ﺴﻭﺍﻙ ﺍﻟﺫﻱ ﺠﻌل ﺃﺒﺎ ﺨﻁﻴﺒﺘﻲ ﻴﺨﺭﺝ ﻤﻥ ﺍﻟﺤﻜﻭﻤﺔ ﺴﺎﺨ ﹰﺎ ﻋﻠﻴﻬﺎ. ﻓﻬﻭ ﻴﺄﺒﻰ‬ ‫ﻁ‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫٢٢‬
  • 24. ‫ﺃﻥ ﺃﺩﺨﻠﻬﺎ.. ﻭﺠﻌل ﺘﻭﻅﻔﻲ ﻓﻲ ﺍﻟﺤﻜﻭﻤﺔ ﻤﻌﻨﺎﻩ ﻓﺴﺨﺎ ﻟﺨﻁﺒﺘﻲ..؟‬ ‫)ﺴﺎﺨ ‪‬ﺍ( ﻜﻼﻜﻤﺎ ﺃﺤﻤﻕ.. ﻫﻭ ﺃﺤﻤﻕ ﻓﻲ ﺘﺼﺭﻓﻪ، ﻭﺃﻨﺕ ﺃﺤﻤﻕ ﻷﻨﻙ ﻗﺒﻠﺕ ﻫﺫﺍ‬ ‫ﺭ‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺍﻟﺘﺼﺭﻑ.‬ ‫)ﻓﻲ ﺍﺴﺘﺨﺫﺍﺀ( ﻭﻤﺎﺫﺍ ﺘﺭﻯ ﺍﻵﻥ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺇﻨﻙ ﻭﺤﺩﻙ ﺍﻟﺫﻱ ﺘﺴﺘﻁﻴﻊ ﺃﻥ ﺘﻨﻘﺫ ﻨﻔﺴﻙ.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻜﻴﻑ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻨﻅﺭ ﻓﻲ ﺃﻤﺭ ﻨﻔﺴﻙ.. ﺤﺩﺩ ﺍﻟﻌﺭﺍﻗﻴل ﺍﻟﺘﻲ ﺘﻘﻑ ﻓﻲ ﺴﺒﻴﻠﻙ.. ﻭﺍﻋﻤل.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﻤﺎﺫﺍ ﺃﻋﻤل..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﺍﻋﻤل ﻟﻨﺠﺎﺡ ﻨﻔﺴﻙ.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺨﻁﻴﺒﺘﻲ.. ﺃﺒﻭﻫﺎ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺒﺘﺴﻡ(.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺍﻋﻤل ﻓﻲ ﺍﻟﺤﻜﻭﻤﺔ..؟‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﻴﺒﺘﺴﻡ ﻓﻲ ﺭﻀﺎ(.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺍﻟﺒﺤﺙ ﺍﻟﺫﻱ ﺒﺩﺃﺘﻪ.. ﺇﻨﻘﺎﺫ ﺍﻵﻻﻑ ﻤﻥ ﺍﻷﻤﺭﺍﺽ.. ﺍﻟﺸﻬﺭﺓ ﺍﻟﻌﻠﻤﻴﺔ.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫ﻻ ﺘﻜﺜﺭ ﻤﻥ ﺍﻟﻜﻼﻡ ﻭﻟﻜﻥ ﺍﻋﻤل.‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺁﻤﺎل ﺍﻟﺸﺎﺏ.. ﺃﺤﻼﻡ ﺍﻟﻤﺴﺘﻘﺒل.‬ ‫:‬ ‫ﺍﻟﺩﻜﺘﻭﺭ‬ ‫)ﺭﺍﻀﻴﺎ ﻭﻫﻭ ﻴﺨﺘﻔﻲ ﻓﻲ ﺍﻟﺠﺩﺍﺭ( ﺤﻘﻘﻬﺎ.. ﻭﺍﻋﻤل.‬ ‫‪‬‬ ‫:‬ ‫ﺍﻟﻘﺩﺭ‬ ‫ﺴﺘﺎﺭ‬ ‫٣٢‬
  • 25. ‫ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻧﻲ‬ ‫"ﻏﺭﻓﺔ ﺍﻟﺠﻠﻭﺱ ﻓﻲ ﺒﻴﺕ ﺘﺤﻴﺔ.. ﻭﺤﻤﺩﻱ ﺒﻙ ﺃﺒﻭ ﺘﺤﻴﺔ ﺠﺎﻟﺱ ﺇﻟﻰ ﻨﺠﻴﺏ ﺼﺩﻴﻘﻪ ﺍﻟﻤﻭﻅﻑ"‬ ‫: ﻭﺍﷲ ﻴﺎ ﺤﻤﺩﻱ ﺒﻙ ﺍﺸﺘﻘﺕ ﻟﻙ ﺠ ‪‬ﺍ ﻓﻘﻠﺕ ﺃﺯﻭﺭﻙ.‬ ‫ﺩ‬ ‫ﻨﺠﻴﺏ‬ ‫: ﻤﺘﺸﻜﺭ ﺠﺩﺍ ﻴﺎ ﻨﺠﻴﺏ ﺒﻙ.. ﻫﻴﻪ، ﻭﻤﺎ ﺃﺨﺒﺎﺭ ﺍﻟﻤﺼﻠﺤﺔ.؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻴﺎ ﺴﻴﺩﻱ ﻤﻥ ﻴﻭﻡ ﻤﺎ ﺘﺭﻜﺘﻬﺎ ﺃﺼﺒﺤﺕ ﻤﻔﺴﺩﺓ.. ﺃﺼﺒﺤﺕ ﻤﺼﻠﺤﺔ ﺸﺨﺼﻴﺔ..‬ ‫ﻨﺠﻴﺏ‬ ‫ﺃﺼﺒﺤﺕ ﻋﺯﺒﺔ.‬ ‫: ﺃﻋﺭﻑ.. ﺃﻋﺭﻑ ﻴﺎ ﻨﺠﻴﺏ ﺒﻙ.. ﻭﻫل ﻴﻤﻜﻥ ﺃﻥ ﺘﻘﻭل ﻏﻴﺭ ﻫﺫﺍ؟!.. ﺇﻨﻤﺎ ﺃﺴﺄﻟﻙ‬ ‫ﺤﻤﺩﻱ‬ ‫ﻋﻥ ﺃﺨﺒﺎﺭﻫﺎ ﻓﻌﻼ.‬ ‫: ﻭﺍﷲ ﻜﻤﺎ ﺘﻌﺭﻑ.. ﺍﻟﻤﺩﻴﺭ ﺍﻟﺠﺩﻴﺩ ﻏﺎﻀﺏ ﺩﺍﺌﻤﺎ ﻭﻻ ﺃﺤﺩ ﻴﻜﻠﻤﻪ ﻭﻻ ﻴﻜﻠﻡ ﻫﻭ‬ ‫ﻨﺠﻴﺏ‬ ‫ﺃﺤﺩﺍ.. ﻭﺍﻟﻤﺼﻠﺤﺔ ﻤﺎﺸﻴﺔ ﺃﻭ ﻭﺍﻗﻔﺔ.. ﻭﻟﻜﻥ ﻓﻲ ﺼﻤﺕ ﻋﻠﻰ ﺍﻟﺤﺎﻟﻴﻥ.‬ ‫: ﻭﻤﺎ ﻟﺯﻭﻡ ﺍﻟﻜﻼﻡ ﻴﺎ ﺃﺨﻲ؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻨﺘﻔﺎﻫﻡ.. ﻨﻌﺭﻑ ﻤﺎ ﻴﻌﺠﺒﻪ ﻭﻤﺎ ﻻ ﻴﻌﺠﺒﻪ.. ﺘﻔﺎﻫﻡ ﻴﺎ ﺴﻌﺎﺩﺓ ﺍﻟﺒﻙ.. ﺘﻔﺎﻫﻡ.‬ ‫ﻨﺠﻴﺏ‬ ‫: ﺍﻟﺤﻤﺩ ﷲ ﻴﺎ ﺴﻲ ﻨﺠﻴﺏ، ﺘﺭﻜﻨﺎ ﺍﻟﺤﻜﻭﻤﺔ ﺒﻜل ﻤﺎ ﻓﻴﻬﺎ ﻤﻥ ﺩﺱ ﻭﻤﻥ ﻭﻗﻴﻌﺔ،‬ ‫ﺤﻤﺩﻱ‬ ‫ﻭﺒﻜل ﻤﺎ ﻓﻴﻬﺎ ﺃﻴ ‪‬ﺎ ﻤﻥ ﺤﻘﺎﺭﺓ.‬ ‫ﻀ‬ ‫: ﺤﻘﺎﺭﺓ ﻴﺎ ﺤﻤﺩﻱ ﺒﻙ!‬ ‫ﻨﺠﻴﺏ‬ ‫: ﻤﺎﺫﺍ ﻫل ﺍﻟﻜﻠﻤﺔ ﻏﺭﻴﺒﺔ ﻋﻠﻴﻙ..؟ ﻨﻌﻡ ﺤﻘﺎﺭﺓ، ﻭﻫل ﻨﻔﺎﻕ ﺍﻟﻤﻭﻅﻔﻴﻥ ﺇﻻ ﺤﻘﺎﺭﺓ..؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻭﻟﻜﻨﻨﻲ ﻻ ﺃﻨﺎﻓﻕ ﻴﺎ ﺤﻤﺩﻱ ﺒﻙ.‬ ‫ﻨﺠﻴﺏ‬ ‫: ﺴﺒﺤﺎﻥ ﺍﷲ ﻭﻫل ﻗﻠﺕ ﻟﻙ ﺇﻨﻙ ﺘﻨﺎﻓﻕ، ﻜﻠﻬﻡ ﻴﻨﺎﻓﻘﻭﻥ ﺍﻟﻭﺯﻴﺭ ﺇﻥ ﺠﺎﺀ.. ﻓﺈﻥ ﻟﻡ‬ ‫ﺤﻤﺩﻱ‬ ‫ﻴﻜﻥ ﺍﻟﻭﺯﻴﺭ ﻓﻬﻡ ﻴﻨﺎﻓﻘﻭﻥ ﻭﻜﻴل ﺍﻟﻭﺯﺍﺭﺓ.. ﻓﺈﻥ ﻟﻡ، ﻓﻬﻡ ﻴﺘﻌﻠﻘﻭﻥ ﺒﺄﺴﺒﺎﺏ‬ ‫ﺍﻟﺴﻜﺭﺘﻴﺭ ﺃﻭ ﺍﻟﺤﺎﺠﺏ.. ﻨﻔﺎﻕ.. ﻟﻡ ﺃﻋﺭﻑ ﻜﻴﻑ ﺃﻨﺎﻓﻕ ﻓﺨﺭﺠﺕ..‬ ‫: ﺍﻟﻭﺍﻗﻊ ﻴﺎ ﺤﻤﺩﻱ ﺒﻙ ﺃﻥ ﺨﺭﻭﺠﻙ ﻜﺎﻥ ﺼﻼﺒﺔ ﺭﺃﻱ ﻤﻨﻙ ﻓﻘﻁ.‬ ‫ﻨﺠﻴﺏ‬ ‫: ﻴﺎ ﺃﺨﻲ ﻫل ﻋﻴﺏ ﺃﻥ ﺃﺤﺎﻓﻅ ﻋﻠﻰ ﺭﺃﻴﻲ..؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻟﻡ ﺘﻜﻥ ﺍﻟﻤﺴﺄﻟﺔ ﻤﺤﺎﻓﻅﺔ ﻋﻠﻰ ﺭﺃﻱ ﻭﺇﻨﻤﺎ ﻜﺎﻥ ﻋﻨﺎ ‪‬ﺍ.‬ ‫ﺩ‬ ‫ﻨﺠﻴﺏ‬ ‫: ﺃﻱ ﻋﻨﺎﺩ..؟‬ ‫ﺤﻤﺩﻱ‬ ‫: ﺼﻤﻤﺕ ﺃﻥ ﺘﻜﻭﻥ ﺃﻤﻭﺭ ﺍﻟﻤﺼﻠﺤﺔ ﻓﻲ ﻴﺩﻙ ﻭﻟﻡ ﺘﺭﺽ ﺃﻥ ﻴﺭﻯ ﻭﻜﻴل ﺍﻟﻭﺯﺍﺭﺓ‬ ‫ﻨﺠﻴﺏ‬ ‫ﻤﻨﻬﺎ ﺸﻴﺌﺎ، ﻭﺃﻋﺘﻘﺩ ﺃﻥ ﻟﻪ ﻋﻠﻴﻙ ﺤﻕ ﺍﻹﺸﺭﺍﻑ.‬ ‫: ﺍﻹﺸﺭﺍﻑ ﻏﻴﺭ ﺍﻟﺘﺩﺨل ﻓﻲ ﺍﻟﺸﺌﻭﻥ.. ﻓﻲ ﺸﺌﻭﻥ ﺍﻟﻤﺼﻠﺤﺔ ﻨﻔﺴﻬﺎ.‬ ‫ﺤﻤﺩﻱ‬ ‫: ﻨﻬﺎﻴﺘﻪ، ﻟﻘﺩ ﺘﺭﻜﺕ ﺍﻟﺤﻜﻭﻤﺔ ﻭﺍﺴﺘﺭﺤﺕ ﻤﻥ ﺍﻟﻭﺯﻴﺭ ﻭﺍﻟﻭﻜﻴل ﻭﺍﻟﺠﻤﻴﻊ.‬ ‫ﻨﺠﻴﺏ‬ ‫: ﺇﻥ ﺸﺎﺀ ﺍﷲ ﻟﻥ ﺃﻜﻭﻥ ﻓﻲ ﺍﻟﺤﻜﻭﻤﺔ ﻤﺭﺓ ﺃﺨﺭﻯ، ﺃﻭ ﻓﻲ ﺃﻱ ﻋﻤل ﻴﺘﺼل ﺒﻬﺎ.‬ ‫ﺤﻤﺩﻱ‬ ‫٤٢‬