I have a similar approach like @Dom but there is one thing I do feel very differently.
If it were a major scale in F - the pattern of the 5th, 6th, 7th, 8th that has way more the taste of a minor scale wouldn't be so molesting to my western ears. In german this is also called 'harmonic major' because it resembles both - the major scale and the harmonic minor scale.
For me a far better approach is to honor the presence of this flat 7th (Bb) as it is under the aspect of having a C7 scale (DOMINANT function).
The Db gives an additional eastern flavor to it but it is still DOMINANT. A perfect scale to play over a dominant-7th-chord with the additional tension b9 -> C7/b9. Some kind of gipsy-dominant-7th scale - or if you want GIPSY-MINOR :-) for the big picture.
And on top of everything the sound of this scale, because of being so DOMINANT, asks loudly for a resolution to a TONICA, that being C7/b9 -> F/Fm.
But I guess at the end of the day it is a matter of musical culture and what we are used to listen to. There are peoples that can harp over a dominant-7th chord all day long without having the urgent feeling of:
Where for Christ's sake is the TONICA (root) ???
This is almost like listening to Richard Wagner ;-)