ɪɾ ɪz ɹᵻmˈɑːɹkəbəl ðæt ɔːlðˈoʊ wˈʌn nˈɛvɚ sˈiːz ˈɑːmæd bˈiːɾɪŋ fˈɛɹɪʃtˌeɪ, ɪn ɹɪˈælᵻɾi hiː ɪz ɐ vˈaɪələnt mˈæn, æz hiː kˈɑːnstəntli vˈɜːbəli ɐbjˈuːsᵻz fˈɛɹɪʃtˌeɪ ænd ˈɔfən bɹˈændɪʃᵻz ɐ kˈɪtʃən nˈaɪf wˌaɪl dˌuːɪŋ sˈoʊ; ðɪs ɪz mɪlˈɑːniz sˈʌɾəl wˈeɪ ʌv ʃˈoʊɪŋ hˌaʊ dəmˈɛstɪk vˈaɪələns ɪz ˈɔfən nˌɑːt ɹˈɛkəɡnˌaɪzd ˈiːvən baɪ ɪts vˈɛɹi vˈɪktɪmz.
It is remarkable that although one never sees Ahmad beating Fereshteh, in reality he is a violent man, as he constantly verbally abuses Fereshteh and often brandishes a kitchen knife while doing so; this is Milāni's subtle way of showing how domestic violence is often not recognized even by its very victims.