# Chi Fechil — Episode 1: Where Did They Go?

*Source note: Clean English translation of the extracted draft from `/home/mnm/.copilot/session-state/9fa367fb-8447-49a6-9766-6975816f2f00/files/chi-fechil-extracts/chi-fechil-episode-1-waynon.txt`. Existing English has been retained where present and lightly smoothed for readability. Scene numbering follows the source, including irregular numbering where it appears in the extract.*

**Genre:** Sarcastic thriller, modern  
**Writer:** Boudy Sfeir  
**Year:** 2026

---

## 1. INT. STUDIO - NIGHT

A minimal studio. Dark background.

The HOST (Egyptian, calm, analytical) looks into the camera from different angles: one top angle and one wide angle. Similar to the Egyptian show *El-Daheeh*.

**HOST**  
Dear viewers, and as you have come to expect from us, today's episode will be full of mystery, action, laughter, games, seriousness, and love...

The HOST starts singing the line and smiling, then realizes the subject is serious. He disappears from the close angle, appears at the far end of the studio, and approaches the camera.

**HOST**  
Our story today comes from beloved Lebanon. Three young men disappeared while trying to make a show that could succeed on social media. The last thing they left behind was a set of videos recorded on their phones and cameras. Where did they go? We are going to dive into their experience so it can be a lesson for everyone who thinks fame is easy... ha ha ha.

**CUT TO:**

## 2. INT/EXT. FREEZE FRAMES

- **MO** (early 30s), intense, dressed like a director, trying to give direction.
- **TEMSAH "CROCODILE"** (late 20s), moving in to clean the lens.
- **JAD** (late 20s), full of actor energy, trying to meditate by making strange sounds.

Glitches. Corrupted frames.

A blurred mountain road. Just a flash.

**CUT TO BLACK.**

## 3. TITLE CARD

**CHI FECHIL**  
**EPISODE 1: WHERE DID THEY GO?**

## 4. INT. STAIRWELL - DAY (INTERVIEW)

**NEIGHBOR (50s)**

**NEIGHBOR**  
They were always filming by that colorful staircase. I don't understand what is so important about the stairs.

**CUT TO:**

## 5. INT. LIVING ROOM - DAY (INTERVIEW)

**MO'S FATHER (60s)**

**FATHER**  
He studied cinema and directing. I begged him and told him to forget it. Instead, he goes and brings me junk from the thrift market and dumps it in this room.

He picks up a large shoe from the floor.

**FATHER (CONT'D)**  
Here, Che Guevara's shoe. The smell of Che Guevara was killing me. I told him Toters delivery pays two thousand dollars a month. He turns his back, starts reading Nietzsche, and falls asleep after two minutes.

## 6. EXT. WEDDING HALL - NIGHT (INTERVIEW)

**TEMSAH'S FRIEND (30s), holding a camera rig**

**TEMSAH'S FRIEND**  
Crocodile was a beast on the Ronin. He'd chase the groom's legs, then come up from under the bride's dress. That's Crocodile Cinema for you... poor guy.

## 7. INT. SMALL ROOM - NIGHT (FOUND FOOTAGE)

A room similar to a small editing studio. Temsah approaches with his camera toward Mo and Jad, who are sitting in front of the workstation.

**CUT TO:**

The same action, but now we see it from the computer's camera. Temsah puts his camera down and approaches Mo and Jad from behind.

**MO**  
What's the project's name?

**JAD**  
*The Truth.* That's a big word.

**TEMSAH**  
Every big word gets you zero views.

They laugh. Nervous energy.

## 8. OPENING - FAKE DEEP CINEMA

**BLACK SCREEN**

White text fades in:

*"In a world full of lies..."*

A deep, dramatic piano note.

**CUT.**

## 9. SLOW MOTION - JAD

Walking alone at night.

Rain sound effect, even though it is dry.

**JAD (V.O.)**  
In a world full of lies... three young men search for the truth.

## 10. SMASH CUT TO:

### ARCHIVE FOOTAGE - ZIAD RAHBANI (4:3 TV QUALITY)

Low resolution. VHS noise.

**ZIAD (ARCHIVE)**  
Lebanese cinema? Why, where? What cinema? Villas, girls fighting by the swimming pool, and a director who doesn't even know what a camera axis is. And the sound effects are another story altogether...

The audio ends abruptly, cut off mid-thought.

**CUT TO:**

An edit of cheesy scenes from various old Lebanese commercial films.

## 11. COLORFUL STAIR (JOKER-STYLE LOCATION)

Now suddenly in color, while everything else is black and white.

Mo stands still.

Temsah circles him with the camera.

Jad walks slowly up the stairs as if he is in a festival film, then walks toward the camera with Mo.

Super-serious on-screen text:

*"Art needs vision, and vision needs a director."*

**CUT TO:**

## 12. COLORFUL STAIR

Camera pushes into Jad's back. He turns and looks straight into the camera.

**JAD**  
The truth is that we're not one of them. We're different from them. Follow us if you want to know the truth.

He blinks.

**CUT TO BLACK.**

Upload complete.

## 13. INT. ROOM - LATER (FOUND FOOTAGE)

View count: 19.

Refresh. 21.

Refresh. Stuck.

Silence.

**JAD**  
Twenty-one.

**TEMSAH**  
More people live in this building than twenty-one.

**MO**  
Come on, relax. There has to be some mistake.

Nothing changes.

**JAD (IRRITATED)**  
Brother, pull it down. Enough humiliation.

Mo looks at him.

**MO**  
Let's wait. People need to know the truth...

**TEMSAH**  
What truth, man? "Temsah, bring a camera"... we brought it. I missed out on two weddings for the sake of "the truth." The truth is obvious.

**JAD**  
Explain it to me if you understood anything.

**MO**  
What exactly did you understand, Temsah, since you know so much?

**TEMSAH**  
Brother, you want to show us you're a director, an artist, inspired by Ziad, and that *they* are fighting you. Who are *they*?

**MO**  
First of all, it's not that I'm pretending Ziad influenced me. He influenced me for real.

**JAD**  
So it's not just because he came before you, right? Then how?

**TEMSAH**  
And who are *they*, man? Spit it out already. The Illuminati? Who? Twenty-one, for God's sake. Who are they?

**MO**  
They keep taking every project from me. I can't talk. But one day I will. And don't blame me, brother, I didn't write the idea alone.

**CUT TO.**

## 14. SCREEN RECORDING - LAPTOP

They type:

*"Why is our video not getting reach? You helped us develop the show."*

ChatGPT's reply appears:

> Your content lacks a hook and a clear niche.
>
> Consider studying successful formats or consulting experts in drama and social media growth.

**JAD**  
Even artificial intelligence is sick of us.

**MO**  
It dumped all its filth on me and disappeared right away, the bastard.

**TEMSAH**  
When you told me about the colorful stairs, I felt it was talking nonsense. Was that your idea or his?

Mo tries to change the subject immediately.

**MO**  
Let's do what it's saying. Let's consult experts.

**JAD**  
Maybe artificial intelligence is one of them.

They look at him.

**TEMSAH (smiling)**

Mo does not smile.

## 15. INT. OFFICE - DAY (FOUND FOOTAGE)

**PRODUCER (50s), confident**

**PRODUCER**  
Arab drama has become a factory. A ready-made Turkish series, its audience already waiting. The same faces. The same stories. The same hospital, the same villa... the same formula they call "shared drama."

### CUTAWAY MOCKUMENTARY

- Overdramatic hospital-scene parody.
- The same actor in three different wigs.
- Endless crying montage.
- Too many supporting players.

Back to the Producer.

**JAD**  
I had a tiny role in a series like that. It was called *Toiletto*... about a crime that happens in a toilet.

**PRODUCER**  
They don't need talent. They don't need ideas. Ideas are lying on street corners.

**MO**  
So there's no hope?

**PRODUCER**  
On television? Forget it, unless you want to get humiliated.

**MO**  
There are people controlling the game, right?

**PRODUCER**  
There are people with influence. The same actors just rotate from one series to another. If there isn't a famous name, nobody will buy the series.

**JAD**  
Even if the work is good?

**PRODUCER**  
Without a star? The project stays in the drawer.

Mo looks down. That one hits personally.

**PRODUCER (CONT'D)**  
But if you have something for YouTube... fifteen episodes for ten thousand, I'm ready.

**MO**  
Per episode?

**PRODUCER**  
The whole series, my dear.

Mo and Jad are stunned. The Producer looks at them.

**PRODUCER (CONT'D)**  
Do you guys drink beer?

**CUT TO.**

## 16. INT. SMALL ROOM - NIGHT (FOUND FOOTAGE)

The vibe is heavier after the meeting with the Producer.

Mo throws his bag on the floor.

Temsah opens his laptop.

Jad paces.

**JAD**  
So that's it... television is closed.

**MO**  
Television, the platforms, all of it. I thought maybe I'd pitch him some project from the drawer, but he slammed the whole thing in our face with that ten-thousand-dollar offer.

**TEMSAH**  
So let's go back to YouTube, the place nobody controls. But enough with "the truth" and "him" and "them" and "they wouldn't let me." I wish you'd just tell us who *they* are and put us out of our misery.

**MO**  
All in good time.

Jad stops pacing.

**JAD**  
Wait... There are people who sell YouTube channels. Ready-made channels. A million subscribers. We upload our videos there.

*Beat.*

**MO**  
Steal the audience?

**JAD**  
Not steal... buy.

**TEMSAH**  
Cheaper than a famous star.

They all consider it.

This is tempting.

Temsah Googles quickly.

**TEMSAH (READING)**  
"For sale: YouTube channel, 800 thousand subscribers... reason for sale: emigration."

Jad lights up.

**JAD**  
See? Even channels are emigrating.

Mo is conflicted.

**MO**  
But these aren't our audience. We want people who actually care about the content, not just any number.

**JAD**  
The Producer said it clearly. Without a big name, nobody sees you.

**TEMSAH**  
And numbers can fool people.

*Beat.*

Mo sighs.

**MO**  
Ask the AI.

Temsah types.

### ASKING CHATGPT (AGAIN)

**SCREEN RECORDING - LAPTOP**

They type:

*"Is buying a YouTube channel with subscribers a good strategy for success?"*

ChatGPT's reply appears:

> Buying channels with subscribers is risky and ineffective.
>
> Engagement is usually fake or mismatched.
>
> You should consult experts in distribution and social media growth.

They stare at the screen.

**JAD**  
Even AI is roasting us.

**MO**  
It's not roasting us. It's reminding us.

**TEMSAH**  
It already told us before: ask experts.

Jad leans back.

**JAD**  
So we don't buy a channel, we don't buy a star, and we don't buy a shortcut?

Mo looks at both of them.

**MO**  
We buy effort.

Silence.

Then Temsah grabs his keys.

**TEMSAH**  
Fine. Let's go meet a social media expert.

They stand.

**CUT TO:**

## 17. INT. CO-WORKING SPACE - DAY (FOUND FOOTAGE)

A trendy co-working space. People on laptops. Neon sign: **HUSTLE HARDER.**

The SOCIAL MEDIA GURU (late 20s / early 30s), calm and confident, scrolls on his phone without looking at them.

**GURU**  
Which one of you is the director?

**MO**  
Me.

**GURU (without looking up)**  
Good. You're the one who's going to get the most upset by what I'm about to say.

Mo smiles, nervous.

**GURU (CONT'D)**  
Show me the video.

They show him their failed film on the phone.

He watches five seconds.

Pauses.

Hands the phone back.

**GURU**  
If any of you were watching this on TikTok... would you keep going for more than five seconds?

Silence.

**JAD**  
I would...

**GURU**  
Because you're in it.

*Beat.*

**GURU (CONT'D)**  
The first three seconds matter more than the first three scenes. You made a film, not content.

Mo swallows that.

**MO**  
But we want to make something that isn't cheap.

**GURU**  
Cheap isn't the problem. Boring is the problem.

He scrolls on his phone.

We see quick flashes of trending clips.

### ON SCREEN - SIMPLE ICONS / QUICK FLASHES (VERY LIGHT GRAPHICS)

- Dumb guy + sexy girls
- Religious taboo
- Egyptian accent, huge reactions
- Khaliji accent, luxury / money vibes
- Singing over a known song
- Weird or supernatural stories

**GURU**  
These are the kinds of stories that are working right now.

**TEMSAH**  
So we have to do all of those things at once?

**GURU**  
If you do all of them, that means you didn't understand the assignment. You have to choose a lane... a niche.

**JAD**  
A niche means we lock ourselves in?

**GURU**  
A niche means when someone sees your video, they know immediately who made it. You say one line and everyone starts repeating it. It becomes a trend. They start using it in every Reel. What could be more orgasmic than that?

*Beat.*

**MO**  
But how do we grab their attention?

The Guru finally looks up at Mo.

**GURU**  
You grab their attention on the phone, then trap them inside the phone. They're not sitting there watching. They're running from something. You have to be the escape. The thing that saves them.

That lands hard.

**TEMSAH**  
Okay... so should we start with comedy?

**GURU**  
Comedy? Fine. But clear comedy, not comedy that's just "look at us laughing at ourselves."

Jad shifts, defensive.

**JAD**  
So you want us to be stupid?

**GURU**  
I want you to be understandable.

Silence.

**MO**  
Okay... who should we meet?

The Guru smirks.

**GURU**  
If you want comedy, go to the veterans. The people who were making people laugh before laughter became a trend.

**TEMSAH**  
Old-school comedians?

**GURU**  
Yes. Let them teach you how to make a sketch that gets millions.

Jad smiles for the first time.

**JAD**  
And I learn how to become a star?

**GURU**  
You learn how to make people love you before you become a star.

*Beat.*

**MO**  
One last piece of advice?

The Guru thinks for a second.

**GURU**  
If you feel like you're selling yourselves, that probably means you've finally started moving in the right direction. But be careful... don't sell your whole soul in the very first episode.

They exchange looks. That line scares them a little.

**TEMSAH**  
So we start tomorrow.

**GURU**  
Start yesterday. Less talk.

He goes back to his phone.

Awkward beat.

They stand up.

**MO**  
Thank you.

**GURU (without looking up)**  
Don't thank me. Bring me results. Bring me the millions.

## 18. INT. MO'S APARTMENT - NIGHT

A tiny, messy apartment.

Empty hummus containers, cables everywhere, a cheap ring light, and Temsah filming everything on his phone like a documentary crew.

Mo is on the laptop researching.

Jad is pacing.

Temsah narrates dramatically to the camera.

**TEMSAH (TO CAMERA)**  
Today, we stand at the gates of glory. But glory needs financing. Nobody is going to let us film them for free, not even for an interview. And if we want to do a casting session, we'll probably have to do it at Jad's mother's place or something. We need money.

Mo turns the laptop around.

**MO**  
Look, guys. Everyone who made it in the beginning went through difficult circumstances.

**JAD**  
Like who, exactly?

Mo points at the screen.

**MO**  
Sylvester Stallone. He was broke and had to sell his dog.

Jad reacts.

**JAD**  
He sold his dog?!

**MO**  
Yeah... so he could make *Rocky*.

Temsah zooms in on Jad's face.

**TEMSAH**  
We don't have a dog.

Mo scrolls.

**MO**  
Okay, look at this one.

A photo appears.

**MO**  
Sam Worthington.

**JAD**  
Who's that?

**MO**  
The actor from *Avatar*.

Before fame, he used to sleep in his car.

**JAD**  
I didn't even recognize him when he wasn't blue.

*Beat.*

All three look out the window at the street.

**TEMSAH**  
We don't have a car.

Silence.

Mo scrolls again.

**MO**  
Okay, listen to this.

He reads.

**MO**  
Robert Rodriguez... got money by taking part in a medical drug experiment.

Jad lights up.

**JAD**  
Nice. Where?

**MO**  
*Beat.* Texas.

**TEMSAH**  
So we have to die before we become famous? What am I supposed to be, a lab rat? Bastards.

Silence.

They all sit there, defeated.

Temsah slowly films their depressed faces.

**TEMSAH (DRAMATIC)**  
This is it... the wall.

Suddenly Jad looks up.

An idea.

Dangerous.

**JAD**  
Wait...

Mo and Temsah look at him.

**JAD**  
My mother has... a silver set.

Mo freezes.

**MO**  
What do you mean, a silver set?

**JAD**  
Thirty-two pieces. Sterling silver.

Temsah zooms in.

**TEMSAH**  
Thirty-two?!

**JAD**  
Spoons, forks, knives... everything.

Mo processes that.

**MO**  
How much are they worth?

**JAD**  
I don't know... but my grandmother brought them from France.

Mo slowly smiles.

**MO**  
So... vintage.

Temsah gasps.

**TEMSAH**  
Which means... money.

Mo stands like a general preparing a heist.

**MO**  
Where?

**JAD**  
At my mother's house.

**MO**  
No... where do we sell them?

*Beat.*

All three together:

**ALL**  
Souk al-Ahad.

Temsah dramatically turns the camera toward himself.

**TEMSAH**  
The silver operation has begun.

## 19. INT. JAD'S MOM'S HOUSE - DAY

Mission music, in Temsah's head.

Temsah films.

Jad slowly opens a cupboard.

Inside:

A beautiful silverware box.

He lifts it.

Angels sing, in Temsah's imagination.

**TEMSAH (WHISPERING)**  
Target identified. Thirty-two pieces exactly.

Mo carefully opens the case.

Shiny silver pieces.

**MO**  
Wow...

**JAD**  
Enough, enough. Close it.

**TEMSAH**  
No, no. Let the people see. The sacrifice.

Mo picks up a spoon.

**MO**  
If we don't make it...

**JAD**  
I won't be able to look her in the eye.

Temsah zooms in like a wildlife documentary.

**TEMSAH**  
We are now watching the male Jad as he steals from his mother. He is no ordinary crocodile. He is a blue-blood king crocodile...

Jad panics.

**JAD**  
What do you mean, stealing?! What are you saying, Temsah?

**TEMSAH**  
Come on, lower your voice. You're turning me into Mother Teresa here.

They quickly grab the silver pieces.

Suddenly—

A sound at the door.

Everyone freezes.

**MOM (O.S.)**  
Jad?

Panic.

Mo stuffs forks into his pockets.

Temsah hides the camera behind a vase but keeps filming.

Jad whispers:

**JAD**  
Run!

They sneak out like the worst criminals in history.

## 20. EXT. SOUK AL-AHAD - DAY

A crowded, chaotic Lebanese flea market.

Temsah films everything.

Mo holds the silver case.

Jad is nervous.

They approach a vendor.

**VENDOR**  
What do you have there?

Mo opens the case dramatically.

The silver shines.

The vendor is unimpressed.

**VENDOR**  
Where did you steal these from?

**JAD**  
What do you mean, steal? These are my mother's.

**VENDOR**  
And why does mommy want to sell them? Poor mommy, huh?

**JAD**  
I won't let you talk like that.

Mo speaks confidently.

**MO**  
Two thousand five hundred dollars.

The vendor laughs.

**VENDOR**  
Three hundred.

**JAD**  
Three hundred?!

**VENDOR**  
Three hundred and fifty... for mommy's beautiful eyes.

Temsah keeps filming.

**TEMSAH**  
Wait, wait...

He narrates.

**TEMSAH**  
The negotiations have begun.

Mo leans in.

**MO**  
This is French silver.

**VENDOR**  
Chinese.

**MO**  
French.

**VENDOR**  
Chinese.

**JAD (whispering)**  
It might be Chinese.

The vendor sighs.

**VENDOR**  
One thousand. Final offer.

Mo looks at Jad.

Jad looks at Temsah.

Temsah zooms in dramatically.

**TEMSAH**  
The historic decision.

*Beat.*

Mo closes the box.

**MO**  
No.

They walk away.

The vendor shouts after them.

**VENDOR**  
One thousand five hundred!

They stop.

Turn.

**JAD**  
Two thousand.

The vendor thinks.

**VENDOR**  
Two thousand.

Mo extends his hand.

**MO**  
Deal.

They shake.

Temsah films the handshake like a historic treaty.

**TEMSAH**  
The historic handshake.

Mo counts the money.

**MO**  
Guys...

**JAD**  
How much?

**MO**  
Two thousand dollars.

Temsah raises the camera in triumph.

**TEMSAH**  
Beautiful!

They walk through the chaotic market like heroes.

Temsah is still filming.

**TEMSAH (TO CAMERA)**  
And just like that... the journey began.

## 21. EXT. MOUNTAIN ROAD - NIGHT (FOUND FOOTAGE)

Fog.

Headlights cut through a narrow mountain road.

Inside the car: Mo, Jad, Temsah.

The camera is shaky.

Temsah films from the back seat.

**JAD (whispering)**  
I still don't understand. What are we supposed to find here?

**MO**  
The map says it's here.

Temsah zooms in on an old map on Mo's lap.

Strange symbols.

**TEMSAH**  
This is the place that guy told us about?

**MO**  
Yeah. It's about an hour's walk from here, and we'll reach the man who hangs out with jinn.

They stop the car.

Wind howls.

Suddenly the camera glitches.

**JAD (uneasy)**  
Are we seriously chasing after a man who talks to jinn? Or maybe a fraud? I don't feel good about this trip.

**CUT.**

## INT. STUDIO - NIGHT

The Host approaches the camera.

**HOST**  
Up to this point, all we've seen are young men trying to succeed... and failing.

*Beat.*

**HOST (CONT'D)**  
But Mo was always talking about "them." Who are they? People? A system? Or just an excuse?

**HOST (CONT'D)**  
In the next episode... they decide to do the easiest thing to get views: a comedy sketch.

**HOST (CONT'D)**  
But the question is... who will laugh? And who will be laughed at?

**CUT TO BLACK.**