Tentang Kita : A Malaysian Story

TENTANG KITA: A MALAYSIAN STORY

Written by Mareno Unto

Please be translated to Malay and few of the dialogues to Chinese, wherever is appropriate.

REFERENCE OF CINEMATOGRAPHY: IN THE MOOD FOR LOVE (2000) by WONG KAR WAI , CHUNGKING EXPRESS (1995) by WONG KAR WAI , IRREVERSIBLE (2002) by GASPAR NOE, and KIDS (1995) by HARMONY KORINE.  

MAIN COLOUR THEMES TO BE USED: Something that is aligned to the city of KUALA LUMPUR. Green, Blue, White, Red, Yellow. There are five acts, each colour theme corresponds to the theme. Examples are as follows:

Green:

Blue:

White:

Red:

Yellow:

EXPECTED RUNNING TIME TO BE MADE: 1 hour 30 minutes.

CASTING: Friends that are in considerations, if it ushers we can change the name and ethnicity of the characters to suit the cast.

SETTING: We can shoot during night time in Kuala Lumpur. The school we could go for Seri Indah with the Principal’s permission.

ACT 1 – NAMIRA and CIKGU ROESMAN

INT. DOCTOR’S OFFICE, DINGY CLINIC – AFTERNOON

Open on a young a girl, NAMIRA (17) being questioned by a male doctor. She seats on a chair facing the doctor. She has dark bags under her eyes, looks slim, and physically attractive. Her hair is untied and loose. There is a kind of innocence vanished in her bearing.

DOCTOR

You came here for the vacuum aspiration abortion today. Before we start, I’m going to ask you a few questions.

NAMIRA

Okay.

NAMIRA place a roll of cash on the doctor’s desk, and the doctor looks at it and takes it slyly and casually. He counts the money first, and then puts it in his pocket.

DOCTOR

Alright, at what age did you first had intercourse?

NAMIRA

(Hesitant at first) Uh… sixteen.

The doctor gives NAMIRA a disparaging stare of slight repugnance and disappointment.

DOCTOR

Okay. That’s not unusual. Girls these days do all sorts of things. Okay. and how many sexual partners would you say you had from when you first began?

NAMIRA takes a deep breath, closes her eyes; exhale the air through her nose.

Camera focuses on her nostrils flaring up.

Cut to her face soon after to see her speak.

NAMIRA

(Answers timidly, hard to hear) One.

DOCTOR

What? Can you speak louder please?

NAMIRA

One. Just one.

DOCTOR

So, it’s safe to say you know which partner you were with at the time you got pregnant?

NAMIRA nods, we can see her eyes are teary and her facial expression shows that she is embarrassed.

Camera pays attention to her eyes, a blink goes, and the camera goes back to the whole shot.

DOCTOR

Okay, um… and is that partner supporting you? By that I mean is he the one paying for this?

NAMIRA

Uhh… yes.

DOCTOR

Is he your husband? Or is he your boyfriend?

NAMIRA shrugs her head indicating the person who got her pregnant isn’t her husband or boyfriend.

INT. SURGICAL ROOM, DINGY CLINIC – AFTERNOON

NAMIRA is now changed, wearing a white patient hospital gown and is laying down on the surgical bed. She breathes heavily as the doctor begins his procedure.

DOCTOR

Alright, I’m going to start by putting my hand on your belly.

DOCTOR places his hand on NAMIRA’s belly. The camera pans on her expression.

Doctor

And now I want you to anticipate the penetration of my finger.

She closes her eyes, and exhales through her mouth loudly after the doctor puts his finger in.

The camera cuts to her face. It then focuses on her forehead and gradually move to her eyes, to her nose, to her lips that's trembling, until finally her chin.

DOCTOR

Okay. Good. That’s it. Keep breathing. I can feel it in the uterus, and it’s in a safe position for us to go on with the procedure.

The camera zooms out now and we see NAMIRA gripping the side of the surgical bed, her face reddish and her eyes watery.

DOCTOR

Okay, I’m going to insert a speculum. You’re going to feel some pressure. Again I want you to anticipate the insertion.

As the doctor proceeds, we see that NAMIRA is uncomfortable and is struggling to handle the pain.

DOCTOR

Just keep breathing. And try to relax as much as you can. I’m going to apply in some instruments to ensure the procedure goes smoothly. And I want you to keep doing what you’re doing. Keep breathing. And keep still. You’re going to feel much more pressure in a while.

The doctor continues with his procedure, but we can see that NAMIRA is regretting this decision. She is starting to cry now; the watery eyes now produce real tears. She wipes her face with her hands.

NAMIRA

I can’t do this. I…

DOCTOR

NAMIRA, you can do this. Just a few more minutes left and we’re done.

The doctor doesn’t stop and goes on to do the procedure, while we see NAMIRA is crying silently in the background.

She stays still as they go through the procedure, but we can’t hear her crying. We can however see how this is breaking her apart.

The camera fades out.

INT. ONE OF THE CLINIC ROOMS, DINGY CLINIC – LATE AFTERNOON

NAMIRA is putting on her clothes piece by piece slowly, weakened from the procedure.

The last piece of clothing she puts on is her shoes. The shoes are laces and in white color, just like those Converse Chuck Taylors.

She puts on the left shoe easily, but then when it comes to putting the right shoe she struggles to put it on.

She starts getting frustrated until finally she breaks down and throws her shoe to the end of the room, and then she crumbles to the floor and cries kicking the air.

Again we are unable to hear her cries, instead we wear a soft melody plays over. Nothing too pretentious.

OPENING CREDITS: TENTANG KITA

EXT. A SUBURBAN STREET – HEAVY RAIN, LATE EVENING

NAMIRA stumbles on a suburban street alone under the rain. We can see lines of terraced houses are at her sides, it looks like a typical Malaysian working class residential area.

She eventually stops in front of a house dripping wet, and she stares at the house intently.

The house is lighted from the inside.

INT. LIVING ROOM, ROESMAN’S HOME – LATE EVENING

KHADIJAH, around 40 years old, looks outside her window to see a desperate looking girl drenched under the evening rain. KHADIJAH mutters to herself.

This shot is best capture through a voyeur sense, where we see NAMIRA through the window glasses. Blurry.

KHADIJAH

It better be not that girl again. I told her not to show her face here ever again.

KHADIJAH continues to take a peek through the window, looking very annoyed to see that the girl (NAMIRA) is still standing outside hell bent on staying there till she gets to meet the man who made her pregnant.

We can see from her background that ROESMAN, around 40 years old and hefty, is walking closer to KHADIJAH.

ROESMAN

What’s the matter? Why are you looking outside?

KHADIJAH

ROESMAN, you have to go outside. Now.

ROESMAN

What? Why? You hear that? It’s raining.

ROESMAN attempts to hug his wife and kiss her shoulders, but KHADIJAH pulls him to the window and make him look who is standing outside.

KHADIJAH

Just go outside. Go outside and throw your whore away from our house. I don’t want her to be anywhere close to our family. Go outside and get rid of her.

He snivels annoyed by the sight of NAMIRA standing outside his house. He notices his wife is annoyed.

AIMAN, a small boy, 12 years old, their son comes out from his room looking at his mother badgering his father in the living room.

KHADIJAH stops her bitching, looks at her son while ROESMAN continues to look through the window.

KHADIJAH

AIMAN, it’s nothing. Go back to your room and finish your homework.

AIMAN

What’s happening?

KHADIJAH

AIMAN please go back to your room.

ROESMAN

AIMAN, listen to your mother. Go back to your room and don’t come out until I say so.

AIMAN

But what is going on? Why is mommy shouting at daddy? Are you guys fighting again?

KHADIJAH

Just please can you go back to your room. We’ll be okay. Don’t you worry about anything.

AIMAN

What is going on? Tell me!

ROESMAN looks away from the window, stomps his way to AIMAN, drag his son back to his room, pushes him inside, and slams his son’s door behind me. We can hear AIMAN crying.

ROESMAN

Just for once AIMAN! Just for once. For the love of God, just listen to what we have to say and don’t piss me off.

ROESMAN goes back to the living room to see her wife not pleased at how he handled the situation.

KHADIJAH’S arms were crossed.

KHADIJAH

You didn’t have to do that! You didn’t have to be rough on him. He is your son.

ROESMAN

He has to learn, KHADIJAH. Okay, he has to listen. We can’t let him do whatever he wants.

ROESMAN is obviously irritated because NAMIRA is standing outside his house. ANd the fact KHADIJAH being a mega bitch adds in the rage.

He goes to the window, to see that NAMIRA is still there waiting for him to come out.

KHADIJAH

Yeah, but if it’s you. You can do just whatever you want don’t you?

ROESMAN

What did you say?

KHADIJAH

Nothing.

ROESMAN scoffs, pissed obviously. A trait most Malaysians have when proven wrong.

KHADIJAH

She is still there isn’t she?

ROESMAN

Yeah, she is, KHADIJAH. She is still there. What do you want me to do?!

KHADIJAH

Like I told just now, go outside and get rid of her. I don’t want AIMAN to know about your whore. This is your mistake. Not ours. Now go outside and make it better for your family. Me and AIMAN, that’s your family. You remember that.

ROESMAN

Alright! Alright! Just shut up already, KHADIJAH!

From inside we then can hear NAMIRA’S voice shouting out ROESMAN’S name.

Camera peeks into the window, as if it’s spying NAMIRA.

NAMIRA

ROES-MAN! ROESMAN!

KHADIJAH

Look at that, the whore is calling your name. Great! Great! Just great! Get rid of her, ROESMAN! I don’t want to see her here. Just fix your mistake. Don’t talk to me until she is gone.

KHADIJAH walks out the living room and goes into her son’s room.

Now we see ROESMAN all alone in the living room. He is contemplating on what to do next. He is worried.

EXT. STREET OUTSIDE ROESMAN’S HOME – HEABY RAIN, LATE AFTERNOON

The door opens and we see ROESMAN coming out looking irritated.

He walks towards the front gate of his house as the rain hits his face. He looks over the street, and sees her weakened.

We can see her pants are spotted in blood, indicating the effects of her procedure earlier that day. NAMIRA is standing there, and by his sight, she starts to cry.

ROESMAN

What the hell are you doing here? Are you stupid?! Who do you think you are?! I told you never to come to my house. I have my family here! This is my life you are messing with.

ROESMAN stands behind the gates, a few steps away from NAMIRA. His hands on the gate.

NAMIRA

It’s done. It’s dead.

ROESMAN

Fine! Good! Then go back home, and don’t ever come here again. Don’t ever walk to this street, and don’t ever think about seeing me here.

NAMIRA

(Crying) Your baby is dead. It’s dead. Our baby is dead. Okay? It’s gone. I killed it. Please.

ROESMAN

What the hell, shut up! Shut up! Can you don’t yell about it? The neighbors might hear you and what then? Huh?

ROESMAN push the gate forcefully and walks towards NAMIRA.

He then pulls her in behind the gates. Now we can hear them more clearly as the rain slows down and they are sheltered by the roof.

ROESMAN

What the hell is wrong with you? Huh? Do you have a problem? Okay. It’s done. It’s dead. So what do you want now? What do you want from me? You want more money? Is that it? Huh?

NAMIRA

I just want to talk to you, please. ROESMAN. Please. Can I talk to you now? I need you. I can’t go on living like this.

ROESMAN

You want to talk? What do you want to talk about? There is nothing to talk about? Just go back home and don’t bother me, and my family.

NAMIRA

Please.

ROESMAN

You see those people inside. Those are my family. Those are the people I really love.

She places her hands on his chest, trying to make him talk to her, but it’s no use. ROESMAN is dead set on getting rid of her.

The camera focuses on their hands. He pushes aside her hands quickly and roughly.

ROESMAN

What the hell is wrong with you? Can you stop being stupid for a while and think? Just think. Can’t you get it inside your head that I don’t want you here, near my family. I don’t want you!

ROESMAN can’t hold it back. As she is crying, and keeps pulling him close to her, he hits her hard till she fell to the ground head first. The falls knocks her out. The rain drips on her face. A thunder struck and the camera then cuts off.

INT. BUS STOP, A HIGH SCHOOL – MORNING, A YEAR AGO (FLASHBACK)

A TITLE CARD BELOW THE SHOT: A YEAR AGO

NAMIRA walks out of the school all alone in an ocean of students, we see that she is shy.

We can also see that she looks much healthier. No bags under her eyes. She is wearing her school uniform and that white laced shoes. As the students go out of the school, we see NAMIRA taking a seat in the bus stop all alone.

NAMIRA waits for a while, until there are a few students left in the area.

A man wearing a shirt and slacks then comes over to her slowly. We see that it’s ROESMAN. This time his hair is push and slicked back. Very clean.

Camera looks at their mouth. Both of them licking their lips. Roesman struck open a conversation with the young girl.

ROESMAN

This is NAMIRA right? Class 4 SAINS. MISTER TEEBAN is teaching your class Additional Math’s this year, if I’m not mistaken. It’s me, MISTER ROESMAN. I taught you science last year when you were in form 3.

NAMIRA looks at ROESMAN shyly, she is a bit uncomfortable, but there was something about his smile. Camera sees the agitating flickering fingers of ROESMAN. Camera pans out and the two are in the same shot. Aside from that, he is a teacher, so she thinks she has to reply to him.

NAMIRA

Oh yes. Yeah. I can’t forget.

ROESMAN

Yeah, I thought it was you. You changed a bit. You look more grown up now. You look very mature for your age.

NAMIRA feels uncomfortable, but she can’t go away now. It might look rude. So she just continued sitting there.

NAMIRA

Uhh…

ROESMAN

So what did you get for your PMR results?

NAMIRA

Just 2 As and all Bs. I didn’t do that well.

ROESMAN

Nonsense. 2 As is good enough. It’s form 5 where things get serious. Where it all matters.

NAMIRA

Um… Okay.

ROESMAN

You don’t think you’re good enough?

The question creeps NAMIRA out, from here she wants to run away now. But she wants to do it politely.

NAMIRA

MISTER ROESMAN, I think I have to go now.

ROESMAN

Who is picking you up?

NAMIRA

My mom. She is running late. She is normally late and I usually have to wait for her. She must be working and her shift is not over yet.

ROESMAN

Then let me send you back home.

NAMIRA
No, I think it’s fine. I can wait here a little longer. I don’t want to trouble MISTER.

ROESMAN

You’re not troubling me at all. Come. Let me send you back home. Trust me.

NAMIRA

I know I said my mom is usually late but she might come any minute now, and I don’t want to make her think that something bad might happen to me.  

ROESMAN

Nothing bad is going to happen to you. I’m just going to send you back home. When you get back you can call your mom, and tell her you’re already there and she doesn’t have to pick you up. Nobody is troubling anybody.

NAMIRA thinks it over for a time, but eventually she agrees to ROESMAN’S offer.

NAMIRA

(Nods) Okay.

ROESMAN

What?

NAMIRA

Okay. MISTER ROESMAN can send me home, as long as I’m not troubling you.

ROESMAN

Alright. Okay. Let’s go to my car then.

EXT. SCHOOL PARKING LOT, HIGH SCHOOL – LATE MORNING

They walk to the car. ROESMAN in front. NAMIRA a few steps behind, she steals one last glance back at the bus stop hoping to see her mom.

ROESMAN smiles at her as he opens the door for her once they reach his car; she is flustered by the gesture.

They hop into the car.

INT. ROESMAN’S CAR – LATE MORNING

ROESMAN

Can I ask?

NAMIRA nods.

ROESMAN

I realize that you don’t talk to a lot of people in school. You don’t have that many friends do you?

NAMIRA

I… I don’t know.

NAMIRA looks outside the window of his car.

ROESMAN

Are the kids treating you badly or something in school?

NAMIRA

No. No.

ROESMAN

Then what’s the matter?

NAMIRA

There is a rumor in school about me.

ROESMAN

About what?

NAMIRA

About last year. MISTER ROESMAN must have known about it, everybody in school knows about it. I got suspended a week because of that.

ROESMAN

Oh, that. The kids in school think you’re not a good person because of that?

NAMIRA

Yeah. I think it’s my fault anyway. I shouldn’t have done it. Every guy in school thinks I’m dirty and so does the girls. Nobody wants to talk me.

ROESMAN

It’s nobody’s fault. Okay? Don’t beat yourself up about it. Now say it. It’s not your fault.

NAMIRA

It’s not my fault.

EXT. OUTSIDE OF NAMIRA’S APARTMENT – LATE MORNING

The car pulls over to a gentrificated apartment area, and we now see that NAMIRA is more comfortable being with ROESMAN.

ROESMAN gets out of the car, and opens her door before she could open it herself. She is fascinated by this gesture.

We then see them in their last minutes together, saying their goodbyes and thank you.

ROESMAN

Hey, NAMIRA. If you ever feel like talking to somebody you can always come to me any time during school hours… Or after school if you want to.

NAMIRA smiles to this proposal.

NAMIRA

Alright. I will. Thank you again MISTER ROESMAN for the ride.

She walks to her apartment.

They do a little wave to each other.

We then see ROESMAN getting in his car back. He is smiling happily as if he struck gold. And as he drives off, we go back to NAMIRA.

She stops around a corner and takes a peak as ROESMAN drives off with his car. She seems very joyful by this experience. We then get to hear a voice over.

VOICE OVER: NAMIRA

It started from there. Every day in school during recess I would go to his office to talk to him.

INT. ROESMAN’S OFFICE, HIGH SCHOOL – MORNING

ROESMAN and NAMIRA are sitting together all alone in his office. They are talking and casually touching each other in a playful manner.

VOICE OVER: NAMIRA

I always make sure he is alone; I don’t know why I had to be alone with him. Maybe I was embarrassed to let everybody know I was hanging around with a teacher, and I didn’t want people to think badly about him. He is a good man, really. He is the only one school who actually wants to talk to me and listens to what I have to say. He makes me feel like I exist and that I’m not alone.

INT. ROESMAN’S CAR – MORNING

ROESMAN and NAMIRA are in his car, they are laughing and talking. They are comfortable with each other.

VOICE OVER: NAMIRA

After classes are finish, he would send me back home and throughout the drive we would talk nonstop about everything. He is always interested to listen to what I have to say, unlike many of the boys in school. He makes me feel I am listened and that I matter.

INT. A HOTEL ROOM – AFTERNOON

ROESMAN and NAMIRA are on a bed together. She is looking very shy. ROESMAN, half naked already then touches her skin and slowly takes off her shirt. Her bra is showing. He whispers something to her ear, we can’t hear because it’s inaudible.

He then kisses her cheeks gently, his hands on her body, and she lets him.

VOICE OVER: NAMIRA

He told me he loved me. He told me he wanted to show me his love, and I let him because if it was love then it must have been worth it. Because I started to fall in love with him too, and even though it hurts every time he showed me how much he loves me, I just let him because it’s for him, it makes him happy. It’s all for him.

NAMIRA lies down on the bed and ROESMAN is on top of her. He is grunting as he has his way with the young girl.

He does it aggressively to the point where NAMIRA tries to push him, but she is no match. He is a big man. He pushes aside her hands and keeps pounding her till she cries as they are having intercourse.

The camera focuses on their facial expression in shifts, first NAMIRA then ROESMAN, then back to NAMIRA. It goes on for five cycles. NAMIRA’s facial expression are such that she is in pain. ROESMAN’s facial expression are such that he is aggressively satisfied.

VOICE OVER: NAMIRA

I keep telling myself maybe I am too young to understand how he showed me his love. Maybe one day, I’ll understand and appreciate it even more.

INT. A HOTEL ROOM – AFTERNOON

ROESMAN is putting his pants on, and looks away from NAMIRA. He goes to the toilet and cleans himself up.

NAMIRA on the other hand is naked and sitting on the bed wrapped in bed sheets looking bruised from the intercourse they just had.

NAMIRA

You love me right?

ROESMAN

Uh? Yeah.

NAMIRA timidly lets out a little smile.

NAMIRA

You’re always going to be here for me right?

ROESMAN

Yeah.

ROESMAN walks out from the toilet and into the room. He puts on his shirt while chewing a gum.

NAMIRA

Promise me. Promise me that you’ll always love me. Promise me that you’ll always be here for me.

ROESMAN

What? Why?

NAMIRA

Please just do it.

ROESMAN

Can you stop playing around and get dressed. I have to go back home to my family. It’s my son’s birthday today. So come on put on something so I can go there and not miss it.

NAMIRA

Please. Promise me first.

ROESMAN

What the hell?! I said put your clothes back on and stop acting stupid! I told you I have to go now!

That sudden outburst of rage shock and frighten NAMIRA.

She scowls and scours into the bed sheets in fear. ROESMAN sniffles.

After he realizes the damage he has done, ROESMAN lets out a deep breath. And then he collects himself. After he does so, he approaches NAMIRA gently.

Camera focuses on NAMIRA’s shoulders, and then his hand enters the shot. ROESMAN touches her shoulders.

ROESMAN

I promise you. I’ll love you and be here for you baby. I promise you that. I will always want you baby.

ROESMAN pulls the bed sheet away from her, and then he kisses her forehead.

ROESMAN

Now go clean yourself up and go get dress. We need to go now.

The camera then focuses on NAMIRA facial expression. She is frightened and afraid.

VOICE OVER: NAMIRA

I can bear any pain as long as it has meaning. I know deep down he loves me, and I love him.

ACT 2 – LOH KAH WAI and LAI LEON

EXT. A BROTHEL – RAINING, NIGHT

We see a bunch of loose women attracting men to fall for their services outside a shady neon-lighted building.

We cut to a shot to capture the building. It’s behind two other buildings. In front of it we see a huge Medan. The camera captures the men coming in and out of the building.

Camera moves to the men sitting in the Medan sitting with women by their side.

And immediately cut to a pimp flickering his flashlight. The pimp is making sure his girls are working hard tonight.

A young boy, LOH KAH WAI (17) arrives in front of the building with his motorcycle. He is lean, and has a spiky dyed hairstyle. He wears a baggy t shirt, loose shorts, and slippers.

We then have a fleeting focus on LOH KAH WAI’S bearing. We see that he is calm and cool.

We see him walking inside to the brothel after he parked his motorcycle not before looking at his side mirror to check his hair out.

INT. A BROTHEL – NIGHT

LOH KAH WAI steps in cautiously, the pimp looks at him knowingly. KAH WAI then proceeds in surveying the inside of the building.

We see a lot of indecent acts being performed openly.

A goddamn mess. There is very little light. There is a lot of trash, empty bottles and glasses on the floor, against the wall.

The pimp sounds at KAH WAI as he passes by.

PIMP

She is in tonight.

KAH WAI shrugs the holler and keeps going on forward, trying his best to ignore what the pimp said. But the pimp seems eager to play with him for a while more.

PIMP

Your sweet angel is in tonight, she is just about to finish off with somebody much older than you (Laughs). Ha! Why don’t you try another one of my girl huh? They all have the same holes. I know because I tried them all. Woi! Are you listening boy?

KAH WAI can hear but he is more concerned with finding this ‘sweet angel’ of his as he looks through the open doors slyly.

The camera goes into a POV mode, and we see what KAH WAI is seeing.

PIMP

Stupid boy! You heard that boy? You’re stupid. She doesn’t actually love you

KAH WAI then disappears from the pimp’s sight, and we see the pimp flickering back his flashlight, making sure his girls attract the men passing by.

INT. LAI LEON’S ROOM, A BROTHEL - NIGHT

Eventually, KAH WAI arrives to a room with no doors but curtains.

He split the curtains, and see a half-naked man pulling up his pants and putting his shirt on as he is getting ready to leave and there is a half-naked woman, LAI LEON, roughly 30 years old, an Indonesian hooker with dyed hair sitting on the bed counting the cash in her hands.

A groan of displeasure is lash out as the man leaves the room and bumps shoulders with KAH WAI.

KAH WAI enters the room by sliding through the curtains.

The room is lighted in red, very little color dispersion. The only colors we can see vividly are bright red; even their skin is lighted in that way. The lighting of the room is the same as a dark room when processing a photo.

There is only a cupboard, a dresser with a mirror on it, and a bed on in the room. There is a small window.

LAI LEON stands up and hands KAH WAI a bottle of beer, he opens it, takes a sip, and then places in on the dresser.

KAH WAI then leans on the dresser. He stares at LAI LEON intently with a crooked smile.

There seem to know each other very well. This seems casual for them.

LAI LEON puts the cash she just counted inside the dresser where KAH WAI is leaning on. She keeps eye contact with the young man as she does this and then keeps doing so till she takes a seat on her bed. The camera does not move, we see a full shot of them in the scene together.

We can see there is a connection between them through the shot.

LAI LEON

Well? What?

She blows a smile.

KAH WAI

Do that dance for me.

LAI LEON

What? Who do you think you are bossing me around huh? You think you’re a big man?

KAH WAI takes his top off and puts them on the dresser.

KAH WAI

I said do that little dance I like for me. Do it now, LAI.

LAI LEON bites her under lip and then she starts dancing on the bed for him.

A song plays over as she dances.

LAI LEON

Well? What are you waiting for, my big, big man? I can’t have the fun all for myself. Come on, KAH WAI. Come to your sweet baby angel.

She teases him friskily.

KAH WAI then takes his slippers off, and then his shorts, and jumps to the bed tackling her playfully. Both of them are lying on the bed, skin to skin. We get a close up of their face, inches away.

Sweat is focused in the camera.

KAH WAI clamps her face with his hands, it looks rough, but she likes it, she in turn grasps his privates and he smiles as we hear a clamping sound.

They start to have an intense intercourse, and the camera then fades out.

INT. LAI LEON’S ROOM, A BROTHEL – LATE NIGHT

KAH WAI and LAI LEON are sweating after they just finished having an intense session.

He sits on the ground, his back against the bed, half naked. He is only wearing his boxers. While she is lying on the bed, her head is next to his.

She plays with his hair, while KAH WAI moves his hand in the air in a patterned motion and looks at it intently, trying to learn something from it. And he is thinking very deeply about something.

KAH WAI

How long have we known each other?

She doesn’t listen instead she is too distracted with his hair.

KAH WAI

Hey?

KAH WAI grabs her hands softly, caressing it gently as he can.

He is trying to get her attention. She slips away from his grab, but then he pulls it back and bites tenderly with his lips.

She slips away from the grip of his lips and then touches his mouth, his nose, his cheeks, and his ear.

KAH WAI

Did you listen?

LAI LEON

No.

A long silence, roughly 20 seconds comes influence the vibe.

The camera is still, this 20 seconds we just see the two of them.

KAH WAI

My friend is having his birthday party tomorrow.

LAI LEON

Really? Give him a birthday kiss from me then.

KAH WAI

I was hoping maybe you could come with me.

LAI LEON looks away from KAH WAI. She stares at the red light, it’s bright, but she doesn’t flinch away from it.

LAI LEON

Huh? Why?

KAH WAI

I want you to meet my friends. They are going to like you, and you’re going to like them if you give them the chance.

LAI LEON

Why would you want something like that?

KAH WAI

Because you matter to me.

LAI LEON

Are you sick? What kind of sick joke are you playing?

KAH WAI stands up and picks up his shorts. He puts them on, and looks at LAI LEON who is rolling on the bed who is also looking at him as if he is having a mental breakdown.

KAH WAI

What do you mean I’m sick? Is it wrong that I want somebody I care about to meet my friends?!

LAI LEON

Look, kid. You’re messed up. What do you think you and I have huh? You think this is a relationship? Huh? What do you think this is?

KAH WAI

Don’t tell me, you don’t care about us.

LAI LEON

Look, you pay me so you can fuck me. Okay? That’s it, boy.

KAH WAI

All I’m asking is do you want to come with me to my friend’s birthday party?

LAI LEON

Shit, I can’t handle this right now.

LAI LEON gets up from the bed, rushes to her dresser, and pulls open the bottom one.

She hastily gets the syringe, and as KAH WAI looks at her in a disparaging way, she injects the syringe and pushes in the heroin into her veins. Once it’s all in and she receives the high she puts the syringe on the dresser and falls flat on the bed.

LAI LEON

Holy shit. Yes. (Laughs)

KAH WAI

You should stop doing that.

LAI LEON

Maybe.

KAH WAI

Maybe? Maybe what? Maybe you’ll stop shooting heroin? You know I care about you, I don’t know if you do.

LAI LEON

I said maybe. Maybe to going to this friend’s birthday party of yours. Huh? You’re happy now?

KAH WAI

Don’t say maybe if you want to say no. Okay? I can take it.

LAI LEON

What the hell is your problem kid? I just told you, maybe I’ll go. Maybe. Okay? Just maybe.

KAH WAI

You know what? Forget about it. Don’t go.

LAI LEON

Fine. I didn’t want to go anyway. What kind of messed up kid are you huh? Bringing the hooker you always fuck to your friend’s birthday party. What kind of mental illness you have in your head? I’ve done messed up shit before, but you? That is just wrong. You know? Don’t you have a girlfriend like all the boys your age?

KAH WAI crosses his arms, leans on a wall and looks at her. He doesn’t really listens, but instead he is just looking at her.

LAI LEON

Who the hell you think I am to you? Huh? Crazy. Something is not right with you. You should see a doctor.

KAH WAI

Listen.

LAI LEON lights a cigarette.

LAI LEON

You should see those head doctors. You know? Those doctors who deals with mental people like you.

KAH WAI

Can you hear me out for a moment?

LAI LEON drags a puff of the cigarette she just lighted, and then she exhales the air out through her nose. She stares into the empty space, lying on the bed still not listening to KAH WAI.

KAH WAI

I love you. Do you know that? Hey?

LAI LEON

Huh? What?

KAH WAI

Did you listen to what I just said?

LAI LEON

No. What did you say just now huh?

KAH WAI

I said I love you.

LAI LEON

Crazy! Stop it. I don’t want to listen to this. Stop! Okay? Stop being disgusting for a while. Just stop it kid.

LAI LEON in her fed up mood then starts to dress up. She starts by placing the cigarette she is smoking on the edge of her dresser.

While she puts some clothes on, KAH WAI goes to the dresser, takes the cigarette and smokes it.

After she is done putting on some clothes, she goes to KAH WAI and takes the cigarette from his mouth. She smokes it, coolly.

LAI LEON

Hey. You want to go eat something huh?

KAH WAI then takes back the cigarette from her mouth. He gives her a light kiss on the lips, she lets him. She smiles as they kiss, she looks happy. Out of love or out of the drugs in her system, we don’t know.

EXT. A BROTHEL – LATER

LAI LEON, now dressed up, guides KAH WAI out of the door.

The pimp looks at them and as they finally got outside the pimp stops them. From here we can see that it stops raining already.

PIMP

Oi! Huh! Where you going?

LAI LEON

We’re going to eat. And then the kid is going to send me back home. I’m too tired for tonight. Huh? Is that okay?

PIMP

Going back early huh?

LAI LEON

Yeah. Is that okay or not?

PIMP

Yeah. Yeah. It’s okay. But tomorrow night, you have to work for the whole night. No skipping, huh? You got that?

LAI LEON

Yeah. Yeah. Whatever.

PIMP

Don’t whatever me. I told you. Who the hell feeds you huh? Me.

LAI LEON

Okay

They walk off, but the pimp still wants to have a little fun with KAH WAI. And as KAH WAI and LAI LEON gets close to his motorcycle, the pimp shouts to KAH WAI in a sarcastic tone.

PIMP

Oi! Boy! Just remember that your sweet angel belongs to me! I taste that honey before you did! (Laughs) Stupid!

KAH WAI heard what the pimp said, but his eyes never leave LAI LEON.

EXT. ON THE ROAD

We see shots of them on the road as KAH WAI rides his bike and LAI LEON as the passenger.

They are not wearing any helmets, but they don’t look like they care.

The air pushes their hair.

LAI LEON feels free, she feels like there is nothing in this world can hurt her.

KAH WAI steals a glance at her being free, he doesn’t smile, but he looks content.

The wind is still there, pushing their hair. A soft melody is playing over, the road noises are inaudible. We catch a moment of brief happiness in the both of them.

INT/EXT. A TYPICAL CHINESE RESTAURANT

KAH WAI and LAI LEON enters into the restaurant. There are a lot of other people present. Both of them order their food and then take a seat together.

When the food arrives on the table, LAI LEON takes out her money from her bra and pays the man who serves their food. A few men in the restaurant eye her weirdly and then look at KAH WAI. KAH WAI notices this, but he shrugs it off pretending nobody is looking at them funny.

They are eating now, but suddenly we hear voices.

OFF SCREEN: LONG SHERN

Is that LOH KAH WAI?

As KAH WAI is eating his food, he turns and sees LONG SHERN, his school mate and two other boys the same age as KAH WAI. They look at KAH WAI and his company, LAI LEON as if he is a miserable joke.

LONG SHERN, 17 years old, tall.

The boys don’t actually like KAH WAI. They don’t care much about him. But it seems KAH WAI has a slight respect for them, and the boys know this.

The brief encounter reeks of embarrassing politeness in KAH WAI’S part.

KAH WAI

LONG SHERN?

LONG SHERN

Ha. What are you doing here?

KAH WAI

I’m just eating with my friend. Do you guys want to seat with us?

KAH WAI pulls out the chair next to him, inviting LONG SHERN to sit with him and LAI LEON.

LAI LEON on the other hand keeps looking at KAH WAI and feels a massive second hand embarrassment. She doesn’t know what to say, but she is embarrassed for KAH WAI’S sake.

The two other boys behind LONG SHERN laugh at KAH WAI’S offer.

LONG SHERN rejects the invitation by using his leg to push aside the chair.

LONG SHERN

Yeah, we’re not going to sit with you.

The other boys looks at LAI LEON in disgust, she looks humiliated and looks away.

KAH WAI looks disappointed.

LONG SHERN

We’re not going to sit with you… and your whore. (Laughs)

LONG SHERN and the boys walk off and take a seat in another table. As they walk off, we can hear them back talk about KAH WAI.

OFF SCREEN: FIRST BOY

Can you imagine the nerve of that loser?

OFF SCREEN: SECOND BOY

Asking us to sit with him and his whore? What the hell is wrong with him?

LONG SHERN

Mental. Guy is crazy.

The camera now focuses on LONG SHERN and the other boys on their table.

FIRST BOY

Eh, LONG SHERN. You better make sure he doesn’t go to your birthday party. He might bring that whore.

LON SHERN

Yeah, don’t worry about it. I told him not to come. But if he does show his stupid face, I’ll beat him and his whore. Loser doesn’t understand that we don’t like him. Stupid.

Awkward.

The camera now focuses on KAH WAI and LAI LEON. We can hear the boys laughing off screen, and LAI LEON seems to be bothered by it, but KAH WAI is not. He continues to eat his food as if nothing humiliating had just happened.

LAI LEON

There’s no birthday party, right?

KAH WAI

What?

LAI LEON

I mean there is a birthday party. But you weren’t invited right?

KAH WAI

I… uh.

LAI LEON

Nobody likes you don’t they?

KAH WAI looks away from her. He tries his best to focus on eating his food instead.

LAI LEON

Come on, kid. What’s the matter with you huh? You got no friends? That’s it? You’re lonely or something?

KAH WAI would rather not be questioned so much about his humiliating school and personal life and for a brief moment, we can nearly see him losing his composure.

But then again, the one asking these questions is somebody who he really like. He snaps about it.

KAH WAI

I don’t want to talk about it.

LAI LEON

How is school? I know never asked. But how are you in school huh?

KAH WAI

I don’t know.

LAI LEON

How about home? Don’t you have any parents huh? Do they know you spend your time with a hooker?

KAH WAI

I don’t want to talk about it. Can we drop this?

KAH WAI is trying to fake a good composure. But he clearly feels like he is being attacked right now.

LAI LEON

I mean you’re not ugly. So why do you do this huh? Do you know those kids look at you and they see something disgusting? Do you know that?

KAH WAI looks away embarrassed.

LAI LEON

Oi. Kid. Huh? Do you know how these people see you?

KAH WAI struggles to swallow his food.

LAI LEON

Huh? You know they look at you, and think you’re crazy? I’ve done some bad things in my life and met some messed up people. But kid, you’re just something different. You’re not right.

KAH WAI

Okay. I know. I know.

KAH WAI says it timidly but it was clear he is fed up with her constant nagging.

LAI LEON

You need somebody.

KAH WAI

Don’t you think I know? Huh? You think it’s easy? I know okay. I know. So drop it.

LAI LEON

Whatever, psycho.

Both of them go quiet suddenly. They eat their food till its finish. And then a melody plays over and we hear a voice over of KAH WAI’S voice while LAI LEON is being her playfully eccentric self.

We can see that the restaurant is now occupied with only a few people, LONG SHERN and the boys are no longer there. KAH WAI and LAI LEON have their moment together.

VOICE OVER: KAH WAI

Maybe one day, this will be all over. And I’ll find somebody else. And I’ll probably going to dance with another girl who will taste like fresh picked peach and smell like Chinese roses on an early morning.

We see her laughing playfully in front of KAH WAI. He looks at her as if another world is being form in an off shoot galaxy.

VOICE OVER: KAH WAI

And I’ll probably going to chug down a massive amount of alcohol through my throat and get the thought of LAI out of my head and as I try to focus myself on the girl I’m dancing with who wants to be my apple pie, I can’t seem to see the diamonds in her eyes because I’m staring at the ones that plays with ice.

We see LAI LEON now going through her purse, searching for something. She looks at KAH WAI angry, and she keeps on shouting but it’s inaudible. She doesn’t look so happy now, but KAH WAI knows this is her normal behavior. He takes this casually and just looks at her.

VOICE OVER: KAH WAI

No one is ever going to make me feel this way like she does.

LAI LEON finally finds what she is looking for. It’s her smokes. When she pulls them out, she looks ecstatic and happy than two prisoners who escaped prison.

VOICE OVER: KAH WAI

I wish I could resist her, but. But, oh God. Her eyes… her eyes are the constellations and I swear.

The camera then focuses on LEON’s eyes. We see the details of it more clearly, her eye color is brown, and the eyeliner around her eyes is black. And then she blinks for the camera.

VOICE OVER: KAH WAI

I swear for all that is true, her lips. Her lips were carved fined to curve. The taste of it will kill you and bring you back to life at the same time.

The camera then focuses on her lips. We see the details of it more clearly, her red lipstick, and the curve of it. And then she pouts and kisses for the camera.

VOICE OVER: KAH WAI

And when she laughs the entire universe pauses to listen and witness her magnificence.

The camera focuses on her giggle. We see her brimming in joy as she holds a lighted cigarette in her hands. We can see her teeth, her tongue. Her laugh lines around her cheeks.

VOICE OVER: KAH WAI

My mind thinks nothing but her. My heart speaks nothing but her. I am nothing without her.

We now focus on KAH WAI; he is cracking a smile in front of the camera.

He has a cigarette in his hands. He looks relieved and genuinely happy under the midnight sky being in her company. And then the rain starts to fall on him.

While LAI LEON is stressing about the rain, we see that KAH WAI is calm. He is truly in bliss.

The camera then fades out to the third act.

ACT 3 – NAMIRA and LOH KAH WAI

EXT. APARTMENT AREA – NIGHT

We can see ROESMAN’S car pulls over in front of an apartment building, it’s NAMIRA’S place. NAMIRA goes out of the car, and once she steps out, the car door closes from the inside and ROESMAN drives off as fast as he can, leaving NAMIRA standing there in shudder.

NAMIRA is wearing the same clothes as she did from the first time we saw her. And the same white lace shoe, indicating ROESMAN drops her off from his house after he struck her. NAMIRA gazes at the car as it fades out of sight, and she does so until we see KAH WAI and LAI LEON arriving not too far with his motorcycle.

Before KAH WAI and LAI LEON got off the motorcycle, NAMIRA is already on her way up to the staircase.

INT. APARTMENT STAIRCASE – NIGHT

We see a shot of NAMIRA in the process of breaking down. She takes her steps slowly, still weakened from the abortion procedure earlier that day.

Her shoulders are on the wall, she attempts to drag herself up the stairs but it’s killing her. ROESMAN doesn’t want her anymore, and it’s eating her inside that he doesn’t care that she had an abortion for him.

Until finally, she collapse and sits on the stairs, her shoulders against the wall. She covers herself. She is weeping.

EXT. APARTMENT PARKING AREA – NIGHT

KAH WAI parks his motorcycle nearby. KAH WAI and LAI LEON then head their way to the same staircase in which NAMIRA had gone up to.

INT. APARTMENT STAIRCASE – LATER

A joyful LAI LEON leads a star struck KAH WAI to the staircase that leads to her apartment unit.

As they proceed they pass through a weeping NAMIRA. LAI LEON quickly turned irked by the sight, while KAH WAI looks at the girl and feels dismay by the sight. It somehow affects him in a way.

KAH WAI observe NAMIRA for a while, he is trying to make up for her appearance. She looked somewhat familiar, but he couldn’t tell. Until finally LAI LEON’S grabs a hold of him, and he quickly and decides to walks pass NAMIRA and forget about it.

KAH WAI catches up with LAI LEON who is already halfway to her apartment unit.

LAI LEON

Uh, disgusting. I hate homeless people. They are so lazy. You get a lot of homeless people sleeping here. I hate it.

KAH WAI

She seems familiar. I think I know her from somewhere.

KAH WAI takes a look back to see if NAMIRA was still there and indeed she is.

INT. OUTSIDE OF LAI LEON’S APARTMENT UNIT – NIGHT

They finally reach her house. LAI LEON pulls out her keys from her purse. She opens her doors and steps a foot in.

KAH WAI attempts to follow her inside.

LAI LEON quickly turns behind, her hand on KAH WAI’S chest insisting he doesn’t take another step forward.

LAI LEON

Look kid. I think it’s time.

KAH WAI

What?

LAI LEON

I don’t think you should see me ever again. I think you have to move on. Find people your own age.

KAH WAI

What? What are you talking about?

LAI LEON

Kid, it’s over. Get lost. Okay? It was fun while it lasted. I had a great night but I don’t want to see you again.

KAH WAI

You want more money? I can give you more if you want.

KAH WAI takes out some money from his pocket. He forces them into LAI LEON’S hands, but she pushes them away.

LAI LEON

No! Stop.

KAH WAI

Well what is it? What do you want? Please don’t do this to me.

LAI LEON

I don’t want anything okay. Kid, I’m doing this for your own good. You don’t want me around. I’m half your age, and I can’t be dealing with this shit.

KAH WAI

Don’t do this.

LAI LEON

Don’t come see me again in the brothel. Don’t find me. Don’t go here and expect I will open the door for you. Just forget about it kid.

KAH WAI

Don’t do this to me. Don’t do this us.

LAI LEON

There is no us, KAH WAI. Stop being crazy. Shit! I can’t do this. Bye. Don’t be here when I wake up tomorrow.

LAI LEON goes into her house, and slams the door in front of KAH WAI’S face.

We are now left seeing KAH WAI being abandoned. He didn’t expect the night would end like this. But it did, and he is now left there staring at LAI LEON’S door in this dingy rusty apartment feeling miserable.

He frowns, but the frown turns into anger.

He punches the wall in front of him, and we see his knuckles bleeding.

EXT. FRONT YARD, ROESMAN’S HOME – NIGHT

We see ROESMAN parks his car back into his front yard of his house. He looks frustrated. He slams the steering wheel of his car to release his frustration, and soon after that he exhales a deep breathe, and then steps out of the house.

He collects himself and then walks to his front door of his house.

INT. LIVING ROOM, ROESMAN’S HOME – NIGHT

ROESMAN steps into his house to see that it’s empty as he switches the lights on.

He walks to his bedroom.

INT. MASTER BEDROOM, ROESMAN’S HOME – NIGHT

We see that KHADIJAH is on the bed, lying there. But her eyes are open as soon as she hears ROESMAN walks in.

ROESMAN takes off his shirt and is just about ready to hop into his bed and sleep next to his wife… but then we hear KHADIJAH speaks.

KHADIJAH

What do you think you are doing?

ROESMAN

I’m getting ready to sleep. Is that okay? Huh? Can’t I sleep next to my wife?

KHADIJAH

Get out! Get out now. I can’t stand to see you, and now you want me to be next to you. Get out. Get out.

ROESMAN

Fine. Fine, I’ll go. Shit!

ROESMAN goes out and slams the door behind him.

INT. THE DOOR OUTSIDE OF THE MASTER ROOM, ROESMAN’S HOME – NIGHT

We see ROESMAN standing there blankly and annoyed. He is unsatisfied with his life at this point. He slams the door yet again.

INT. LAI LEON’S APARTMENT – NIGHT

We see LAI LEON getting ready to sleep. She takes off her clothes and then washes her face.

She puts on her sleeping clothes, and goes to bed. Before she closes her eyes, she takes a syringe out from her bedside drawer.

She shoots another blast of heroin into her veins. As the drug rushes through her, she drops the syringe on the floor. We then see her falling into her bed; eyes closed falling asleep like a brick.

INT. APARTMENT STAIRCASE – NIGHT

We see an overview shot of NAMIRA; she is still on that staircase.

She gets up slowly and starts to walk up back to her house.

We get a shot of her face, her bloodied pants, and her shoe. Basically we see the essence of her pain.

EXT. APARTMENT PARKING LOT – NIGHT

KAH WAI looking enrage in front of his motorcycle.

He kicks a random motorcycle down to release his anger, he watches as the motorcycle fall. And then he revs up his motorcycle and rides off, we see his facial expression. He is not pleases at how the night ended.

We see all four main characters ended their night. And then another melody plays over.

EXT. VARIOUS LOCATIONS – SUNRISE

We get to see shots of all the locations the main characters were present that night, but this time it’s the dawning of a new day. The places our characters went now feel very empty without them. We feel a bit attached to the characters through these absent shots of them.

The first shot is the dingy clinic where NAMIRA had her abortion. Then we move on to see a shot of the street outside of ROESMAN’S house. Then we go to the exterior of the brothel, where we see the pimp closing shop. And then we move into LAI LEON’S room in the brothel, it’s empty, and the light is not bright red anymore. The light is switched off. The last few shots we see are the staircase where KAH WAI saw NAMIRA weeping.

As these are being shown, a soft melody plays over. When the melody finishes, the camera fades off.

INT/EXT. HIGH SCHOOL – MORNING

KAH WAI and NAMIRA sit outside of the counselling office on a bench together, but the space between them is very far apart. They both sit at the edge of the wooden bench.

Their backs are against the wall. KAH WAI steals a look at her.

Both of them are wearing school uniforms. NAMIRA wears that white lace shoe we have grown used to seeing.

This is how KAH WAI stares at her: he starts with his eyes on her eyes, then very quickly drifts away when he realizes she was about to turn to look at him, then he realizes she wasn’t about to turn so he goes in for another look to catch her facial features. He does it over and over, three or four times. And then he sees a scar on her forehead.

The camera focuses on that for a second, giving an emphasis.

Then the door opens, popping out of the door is the counselling teacher, MISS JEEVA. She is roughly around 40 years old, with a kind hearted smile, but she looks tired.

JEEVA

You two can come in now.

Both of them got up and get into MISS JEEVA’S office.

INT. MISS JEEVA’S OFFICE, HIGH SCHOOL – MORNING

Office is small, compact and messy. How a typical school counselling office would look like.

JEEVA sits on her chair as soon as she enters, behind her desk.

On her desk there is her tag that says, ‘MISS JEEVA’. Two chairs are prepared for KAH WAI and NAMIRA and its place adjacent to MISS JEEVA’S desk.

JEEVA

Take a seat, each one of you, please.

Both of the youth enter and sit down.

JEEVA

Alright. That’s more like it. (Smiles)

JEEVA pulls out some files underneath her desk, and then she studies them after she puts on her reading glasses.

After she briefly reads the files, JEEVA places the files on her desk and look straight at the two youth in front of her.

JEEVA

Now. I normally don’t do this. I normally do this individually and not by groups. But I think this is a special case. And I think it might work.

Both KAH WAI and NAMIRA look away.

JEEVA

Do both of you know each other?

The youth shake their heads at the same time.

JEEVA

Right. You guys don’t know each other. It says here in your files, you guys don’t talk to a lot of people in school. Care to talk about it?

The youth are silent, and JEEVA does not receive any answer from any of them.

JEEVA exhales before going in for another question.

JEEVA

Alright. Um. It also says here that you, NAMIRA have been skipping school for a couple weeks now. The headmaster was planning to throw you out of school, did you know that?

There was a silence. The camera focuses on everybody’s lips. Most of them are fidgeting.

JEEVA

Okay, nothing? Huh?

EXT. NAMIRA’S HOUSE – MORNING (FLASHBACK)

We see NAMIRA, wearing her school uniform but she does not have the courage to get out of her house.

She runs back to her room and throws her bag to the ground. She shuts herself and shoves her face to her pillows. It’s a miserable sight.

INT. MISS JEEVA’S OFFICE, HIGH SCHOOL – MORNING

JEEVA then turns to KAH WAI. She doesn’t look so pleased with him either.

JEEVA

And it says here that KAH WAI, you have been caught vandalizing school property. Numerous times. The headmaster also threatened to kick you out, is that right?

INT/EXT. AROUND THE HIGH SCHOOL AREA – LATE MORNING (FLASHBACK)

We see KAH WAI, shirt loose, throwing rocks straight to the school windows.

He breaks a few of the windows, and when a teacher sees him doing this act, he runs away as fast as his legs can take him.

INT. MISS JEEVA’S OFFICE, HIGH SCHOOL – MORNING

KAH WAI doesn’t say anything, he just sits quietly and so is NAMIRA who is looking much more sheltered. We can see that NAMIRA is hiding her face from them as best as she can.

JEEVA takes off her glasses and places them on her desk. She then scratched her forehead and continues to talk to the despondent youths.

JEEVA

Nothing, huh? Okay, here is how it’s going to work. You guys have to stop doing whatever you guys are doing. And I know threatening you kids with expulsion is not the way it goes, it might actually make things much worse. I’m suggesting that you two start talking to each, here in my office, twice a week, during recess. Wednesdays and Fridays. Let’s try this for one month. We’ll see how it goes from there, okay?

Again, both of them are silent.

JEEVA

I said, you guys need to start talking to each other, or to me, did you guys get that? We have work to do.

This time, the two youths nod together.

JEEVA

Well, at least that’s something. We’re going to begin now. Is that okay with the both of you?

The youths look at her now, and they stay silent.

JEEVA

Okay. I want to begin by the both of you introducing yourself to each other. You first KAH WAI, since you’re the man in the room.

KAH WAI looks at JEEVA first. He doesn’t seem to be pleased with this, but then he turns to NAMIRA.

He sees that she is facing him, but her head is down, almost hiding half her facial expression. NAMIRA is somewhat putting a little effort in this.

KAH WAI raises his hand and offers it to NAMIRA, she slowly grabs it and they shook lightly and then immediately they let go.

KAH WAI

I’m LOH KAH WAI

NAMIRA

I’m NAMIRA

JEEVA

Okay, that was good. We’re getting somewhere.

KAH WAI turns to MISS JEEVA; he is expecting her to instruct him further, whilst we see NAMIRA looking away.

JEEVA

I know kids your age don’t like to be treated like small children, but I think it would be great if you two can get to know each other. You know, be friends.

The youths then look at each other. Both of them are about to smile at one another, but they suddenly pull back and we see them with blank empty faces.

Two lost souls.

EXT. BUS STOP, HIGH SCHOOL – AFTERNOON

We see NAMIRA sitting alone in the bus stop outside the school, she just sits there. It doesn’t seem like she is waiting for anything or anybody.

She just sits there trying to fill in the empty holes in her heart.

In an edge shot, we see KAH WAI just coming out of the school and he spots NAMIRA sitting there all alone. He stands there for a while, contemplating what he should do next, and then finally decides to approach her.

KAH WAI

So what happened to you?

KAH WAI takes a sit, not too close, but not too far away from her. Just the right distance.

When NAMIRA heard that, she thinks KAH WAI was talking to somebody else.

She looks at her surrounding to see that there is only her there.

She is quiet, and does not respond to KAH WAI. She looks at him for a while, studying his exterior and then looks away to stare the road in front of her.

KAH WAI

Yeah. I can understand.

There is a long silence that fills in the gap. It’s a hot day, both of them are sweating, a typical Malaysian weather.

KAH WAI still sits there, not expecting anything really.

We see a couple of silent shots, until finally NAMIRA opens her mouth and speaks.

NAMIRA

Do you think it ever stops?

KAH WAI

Huh?

NAMIRA

Do you think it will ever stop hurting?

KAH WAI turns to her and then turns to see what she is staring at, the road. He answers as they are both hypnotized by the road.

OFF SCREEN: KAH WAI

I don’t think so. I think you just get to the point where you’re used to the pain.

We are still seeing what they are seeing, the road, and the cars that passes by.

OFF SCREEN: NAMIRA

Huh.

EXT. A RANDOM SIDEWALK NEAR THE SCHOOL – AFTERNOON

KAH WAI and NAMIRA are walking together side by side at the side of the road. Both of them are silently observing their surroundings, until finally KAH WAI says something.

They are still wearing their school uniforms.

KAH WAI

What happened to your head?

NAMIRA jolts feeling embarrassed, she immediately touches her forehead and attempts to cover the scar using her long hair.

KAH WAI

Sorry. I shouldn’t have asked.

NAMIRA

I… Why do you break stuffs in school?

KAH WAI looks at her, and then almost immediately drifts away and looks away. None of them want to answer the questions they gave each to other.

KAH WAI

I don’t really want to do it.

Up ahead, both of them spot a park full with children, students hanging around after school, and adults. They head there.

EXT. PARK – LATE AFTERNOON

KAH WAI and NAMIRA pass by some girls from their school. The girls give NAMIRA a condemnatory imperceptible glare. KAH WAI notices this.

They stroll out onto the park under blazing sun above them.

KAH WAI

Why did they look at you like that?

NAMIRA

I don’t know.

NAMIRA turns behind to look at the girls, and see that the girls are indeed giving them a judgmental glare of despise.

KAH WAI

Yeah, I can understand.

We see the sun, it’s bright, and the sky is perky blue. We capture the amazing weather of Malaysia.

OFF SCREEN: NAMIRA

We’re sad aren’t we?

OFF SCREEN: KAH WAI

Yeah. We are.

There is a brief silence.

NAMIRA

Does it bother you?

KAH WAI

Huh.

NAMIRA

That there are parts in your life that you won’t remember.

We see the children playing in the park, they are playing football/basketball, and some can be seen chasing each other.

OFF SCREEN: NAMIRA

That there are some things in your life that you had done and said, but you can’t seem to remember them.

KAH WAI

I don’t know.

We then move to see shots of the trees in the park, the grass, the whole shebang of what makes a park - a park. The swings and etc.

OFF SCREEN: NAMIRA

That means you don’t even really know who you truly are because we don’t have the right perception about yourself.

KAH WAI

Huh. Yeah.

We then move to see shots of their shoes. KAH WAI is wearing slip ons; whilst NAMIRA wears that white lace shoe we have grown accustomed to.

And while the camera focuses on their feet as they walk, NAMIRA finishes her statement.

NAMIRA

But, that’s the thing right? We do remember some things. And maybe what we’ve forgotten could be a big memory in somebody else’s mind.

EXT. PARK – EVENING

KAH WAI and NAMIRA walk and talk side by side, finally rounding the park and ending up at the same spot where they first arrived.

KAH WAI

Well, I should, uh, it’s about time I go back. So. I don’t normally get to talk to anybody. It’s a good feeling being around you, NAMIRA. And talking to you.

NAMIRA

Are you going now?

KAH WAI

Yeah.

NAMIRA

Okay. We have Wednesdays and Fridays, don’t we?

During this, they approach each other very close, both of them are expecting something big to happen, but just like real life nothing happens.

Their expressions do not change clearly, but a small noticeable smile crosses their faces.

INT. MISS JEEVA’S OFFICE, HIGH SCHOOL – MORNING

We see shots of KAH WAI and NAMIRA talking in front of JEEVA. We see JEEVA smiling at the both of them. There are clearly improvements since the last time the youths were in JEEVA’S office.

The youths are even smiling in these shots.

EXT. PARK – MORNING

We see a shot of KAH WAI’s and NAMIRA’s backs as they are sitting together on a bench in the park. It seems they are talking comfortably to one another.

INT/EXT. HIGH SCHOOL – MORNING

We see KAH WAI and NAMIRA are sitting on the bench outside of MISS JEEVA’S office. This time they are sitting much closer than before and they are talking and having a good time.

The door opens, and MISS JEEVA signals them to go in.

INT. MISS JEEVA’S OFFICE, HIGH SCHOOL – MORNING

TITLE CARD: ONE MONTH LATER

They are sitting at their usual spot.

JEEVA

So it’s been a month huh?

The youths look at each and then give each other a beam of smile.

JEEVA pulls out their files. She inspects their attendance and behavior.

JEEVA

NAMIRA, it says here you haven’t skipped a class. That’s good.

JEEVA then turns to KAH WAI.

JEEVA

And KAH WAI, I haven’t heard any complaints from teachers about your behavior.

JEEVA looks proud of herself.

JEEVA

I think it’s safe to say you guys are getting better. So. Have you guys made new friends?

They shake their heads together.

JEEVA

Well. Um. I heard that you two are spending a lot of time together. At least you guys have that. I’m guessing you two talk very often to each other?

KAH WAI

Yes.

We see the two youths not paying attention to what JEEVA has to say, instead they are smiling at each other.

OFF SCREEN: JEEVA

Well I guess that’s that. You guys can go if you want. I don’t want to take a lot of your time. But if you guys ever feel like coming in here and talk, my door is always open. Alright, I think that’s about it. But just remember guys, you cannot find meaning by avoiding life.

INT/EXT. HIGH SCHOOL – MORNING

KAH WAI opens the door of JEEVA’S office for NAMIRA to get out. And once they are out, they look at each other. KAH WAI then proposes something to her.

KAH WAI

Do you think it’s alright if we could hang out tonight? It’s a Friday. I was hoping maybe we can go watch a movie together.

NAMIRA scoffs a smile, she thinks it over.

Then the camera shows KAH WAI’S eyes and shows how honest he is.

Camera then shift and focuses on NAMIRA’s eyes. NAMIRA thought it would be no harm.

NAMIRA

Okay…

KAH WAI

Okay?

NAMIRA

Yeah. Okay. I’ll go out with you.

EXT. CITY STREETS – EVENING

KAH WAI and NAMIRA wander side by side down the sidewalks and streets of this wonderful magnificent crazy city call Kuala Lumpur, they are lost together in conversation.

KAH WAI

Did you like the movie?

NAMIRA

Yeah… I… No. I really don’t. (Laughs) But I did have a great time.

KAH WAI

What? Why?

NAMIRA

I mean it’s a horror movie. But it’s not at all scary.

KAH WAI looks at her and gives her a funny look.

NAMIRA

Okay. Okay, hear me out first. It’s like, okay. Maybe you get the occasional jump scares that shock you, but that’s about it. You know?

KAH WAI

What? We paid the movie for full price. And you didn’t even like it?

NAMIRA

That’s the thing. If I pay to watch a horror movie, that movie better be so good that I get a heart attack or it messes my mind till I die. You know?

KAH WAI

What?! (Laughs) Whatever, at least I didn’t forget to bring my hand phone tonight.

NAMIRA

Hey!

EXT. BURGER SHOP – SUNSET

KAH WAI and NAMIRA are eating burgers. KAH WAI has a cheese burger with extra cheese. NAMIRA has a double meaty burger with onions.

KAH WAI

I never asked you this, but why did you skipped school a lot of times?

NAMIRA

I… Uh… I don’t know.

KAH WAI

I mean you don’t have to answer if you don’t want to.

NAMIRA

I don’t know. I really don’t know.

They take a bite of their burger. They chew and then swallow before talking again.

NAMIRA

Maybe I do know. But you know that there are probably two reasons why people don’t talk about certain things. It’s either that thing doesn’t mean anything to them at all, or it means everything.

KAH WAI

Huh.

NAMIRA

And I guess this means everything.

KAH WAI

Okay. Yeah. I can understand. Or try to.

NAMIRA

You always say that. That you can understand. Why?

KAH WAI

I… uh… I don’t really know why I say it.

They stare at the sky as the sun is about to set. We see shots of it, the Malaysian nights, and its entire splendor.

OFF SCREEN: KAH WAI

Can I ask you something?

NAMIRA

Yeah.

We see her looking at KAH WAI, but we don’t get to see the young boy. We just see her, and when KAH WAI speaks, we see the Malaysian night sky.

OFF SCREEN: KAH WAI

You think I’m a crazy person?

OFF SCREEN: NAMIRA

No. I don’t think so. I just think maybe people don’t understand you.

We now get to see KAH WAI’S face as he looks at NAMIRA, and in this shot we don’t get to see NAMIRA. We just see KAH WAI and how his face lit up when he talks to NAMIRA.

KAH WAI

Do you understand me?

OFF SCREEN: NAMIRA

No. Maybe I can understand just a little. But I think that’s a trick. I don’t think we can really understand anybody truly.

And now the shot zooms out of KAH WAI’S face and we get to see the both of them together in the frame.

We capture and experience them falling in love through this small talk.

KAH WAI

Maybe there is hope.

The camera goes to their shoes; she wears that white lace shoe while he wears black sneakers. We see them still having their burgers in their hands.

OFF SCREEN: NAMIRA

But not for us.

EXT. A BUS STOP SOMEWHERE IN THE CITY – NIGHT

KAH WAI starts to hum a song.

KAH WAI

Hey?

NAMIRA

Huh?

KAH WAI

Do you know how to dance?

NAMIRA

What?

KAH WAI

You know dance. Do you know how to dance?

NAMIRA

Um… I think I do.

KAH WAI

Can you dance for me?

NAMIRA

What? Here? You mean right now?

KAH WAI

Yeah.

NAMIRA

You want me to dance?

KAH WAI

Yeah I do.

NAMIRA

Like right here? Right now?

KAH WAI

Yeah. (Giggles)

NAMIRA

Umm. Well I can try. You know Tarian Asyik? I can do that dance. I mean, I’m not that good.

NAMIRA starts to look at the environment; she sees there are several people hanging about. She turns to look at KAH WAI, feeling shy.

NAMIRA

This is going to be so embarrassing.

NAMIRA braves on and starts to dance, and we get to hear a traditional Malay song in the background.

KAH WAI is into it. He begins clapping along, spurring on NAMIRA’S enthusiasm.

She finishes and they high five each other.

KAH WAI

That was amazing.

They are close to each other now.

KAH WAI in a spur of moment decides to go for an embrace. But as he was about to proceed and goes in for the hug, NAMIRA pushes him.

We then get to see that it’s dark now. The camera focuses on the city, and how busy it is in the middle of the night.

OFF SCREEN: NAMIRA

I’m sorry. I…

We now focus on their feet, it's close, inches away. They are still.

OFF SCREEN: NAMIRA

I think I should go.

The scene ends with the sight of NAMIRA’S feet walking away, and then the camera shot fades off.

INT. NAMIRA’S HOUSE – NIGHT

The front door squeaks open, NAMIRA slips in. NAMIRA’S mother, LISA, a 50 year old woman, hefty with long hair is taking a nap on the small couch.

We can see that her house is small, and it’s compact. There is a small television set in the living room, two small wooden chairs, and the small couch her mom is resting on.

NAMIRA tiptoes to her room, making sure her mom is not awakened. She doesn’t feel like talking to the woman.

INT. NAMIRA’S ROOM – NIGHT

NAMIRA opens the door to her bedroom, falls on her bed and checks her phone to see that they are several missed calls and voice mails.

NAMIRA presses play.

We can see an overview of her room, it’s small and tidy. But it doesn’t look luxurious, it’s cramp.

NAMIRA sits up and bites her nails, and listens to the voicemails, its ROESMAN, sounds a bit drunk.

ROESMAN (On the phone)

Hey. Hey. Talk to me. Pick up the phone! Pick it up!

There is a pause.

ROESMAN (On the phone)

I’m sorry baby. I’m sorry about everything, but I can’t do this anymore. I need you. I want you. Oh baby, you deserve the kind of love you give to someone else. And I’m sorry, but I know now deep down, I deserve you. Please, NAMIRA. Pick up. Call me.

NAMIRA’S phone rings immediately after the voicemail ends and she picks up almost instantly.

ROESMAN (On the phone)

Baby. Baby! You picked up. Look I’m sorry about what happened before. But I need you now. I’m coming over to your house this instance. I’m almost there. Just two more minutes. Baby. Can you hear me?

NAMIRA

I don’t think you should come over MISTER ROESMAN.

ROESMAN (On the phone)

Baby. I love you. I love you. Listen to me. Baby, listen to me. You know how much I love you right. Just let me see you, please. Everything is going to be just like they used to. Give me that. Just let me see you. I know you still love me.

NAMIRA

I don’t think… you should…

ROESMAN

Baby, listen to me. Everything is going to be just like there were supposed to when you see me. Give me that.

NAMIRA

Okay. But just for a while. Okay?

The conversation ends.

EXT. A BROTHEL – NIGHT

As we enter this scene a rock song plays over, to indicate that our characters are going through their impendent pain and suffering in later shots.

KAH WAI arrives to the brothel where LAI LEON is working. He makes his way to the building’s entrance.

When the pimp sees KAH WAI, the pimp stands up from his chair. The pimp points his flashlight at KAH WAI.

PIMP (inaudible)

Don’t get any closer!

KAH WAI pushes the pimp, and tries to get into the building to see LAI LEON. But when KAH WAI pushes the pimp, it only made the pimp mad.

In an instant, the pimp hits KAH WAI’s head with his flashlight. KAH WAI manages to get up from the strike and recoil, and then he immediately takes a punch at the pimp’s gut.

EXT. APARTMENT AREA – CONTINUOUS

NAMIRA is seen waiting for ROESMAN outside her apartment.

And then suddenly ROESMAN’S car pulls over.

ROESMAN goes out of the car in a drunken state. Upon seeing NAMIRA, ROESMAN immediately grabs her wrist.

EXT. A BROTHEL – NIGHT

Soon after the pimp’s men come running and they beat KAH WAI to the ground.

His face bruised and bloodied, KAH WAI cries out in pain…

PIMP (inaudible)

You piece of shit!

We get to see that many people are just watching a kid getting beat up and nobody is helping.

EXT. APARTMENT AREA – CONTINUOUS

ROESMAN pulls NAMIRA behind the staircase of her apartment. NAMIRA tries to fight back. She scratches ROESMAN’S face, but it only made him mad.

After NAMIRA scratches ROESMAN, ROESMAN immediately slaps her and she almost fell but ROESMAN pulls her up.

EXT. A BROTHEL – CONTINUOUS

The pimp and his men carry on kicking KAH WAI several times until finally LAI LEON comes out from the building and stop them.

KAH WAI, bloodied and bruised lying on the ground looks at LAI LEON desperately wanting somebody to love him.

KAH WAI

Dance for me.

We then see a shot of LAI LEON looking disgusted at KAH WAI.

The scene immediately cuts off.

EXT. APARTMENT STAIRCASE – NIGHT

We see ROESMAN rips NAMIRA’S clothes off, she tries to fight back, but ROESMAN is stronger than her.

He pins her down and then proceeds to rape her furiously like a wild animal being set loose.

During this point, the song softens, and we get to hear NAMIRA crying.

The scene immediately cuts off and the song ends.

EXT. VARIOUS LOCATION – NIGHT

A soft melody plays over.

We get to see various shots of the places where KAH WAI and NAMIRA had their date after watching the movie. And as these shots are being played, we get to hear a voice over of NAMIRA and KAH WAI together.

The first few shots are of the street where they walked, we now see it being occupied by different people, different couples.

VOICE OVER: NAMIRA and KAH WAI

It is possible?

And then we move on to the burger shop, where we get to see the owner cooking burgers. And then after that a quick shot at the bus stop where NAMIRA did the Tarian Asyik for KAH WAI.

VOICE OVER: NAMIRA and KAH WAI

That some people are born to this world only to give more than what they will ever get back in return?

The melody ends and then the camera fade out and we enter to act 4.

ACT 4 – THE FALL

INT/EXT. HIGH SCHOOL – MORNING

The scene opens with KAH WAI, now sitting on the wooden bench outside MISS JEEVA’S office alone. NAMIRA is absent. We can also see that KAH WAI still has his injuries from the beating he got.

He is bruised, and has a dark eye. Some of the students that pass by him, points at him.

KAH WAI looks down, not wanting to see the eyes that are looking at him funny.

And then suddenly MISS JEEVA opens her door, she pops out to see KAH WAI bruised. JEEVA was in an immediate shock looking at KAH WAI in the state he was in.

JEEVA

Oh my goodness! Oh my. Please. Come in. Come in. I’m sorry.

INT. MISS JEEVA’S OFFICE, HIGH SCHOOL – MORNING

JEEVA takes a sit next to KAH WAI as they enter the office.

JEEVA

Oh my God. Look at you. What happened? Who did this to you? Do your parents know about this? What kind of trouble have you gotten yourself into KAH WAI? Please.

KAH WAI

MISS JEEVA?

JEEVA

Yes? What is it?

There is a momentary silence. We get to see JEEVA’S expression; she is frantic and worried about her student’s life.

Then we slowly move to see KAH WAI, even though he is bruised. We see still see him as this cool and collected person.

He stares out the window of the office, trying to learn something for it.

KAH WAI

Where is NAMIRA?

JEEVA

Huh.

KAH WAI

I haven’t seen her for a while now. I hope she is alright.

JEEVA’S arm goes over KAH WAI’S shoulder. She is listening to him intently. She does care. She really does.

And as KAH WAI continues talking, we get a shot of the office instead. The sun ray glazing through the window, it hits JEEVA’S desk.

OFF SCREEN: KAH WAI

It figures, doesn’t it? I finally find someone I really like to talk with, and she is gone. I don’t see her in school anymore. She doesn’t pick her phone or replies to my text.

The camera focuses on KAH WAI’S and JEEVA’S hands. The touch they are sharing.

OFF SCREEN: KAH WAI

Tell me I’m not going to lose her.

OFF SCREEN: JEEVA

Oh dear. You didn’t hear what happened to her?

The scene cuts off.

EXT. BEHIND APARTMENT STAIRCASE – NIGHT

ROESMAN pulls his pants back up, while NAMIRA is lying on the dirty ground, clothes ripped. She is crying.

We don’t get to see ROESMAN’S face, we only see his body.

ROESMAN pauses after he zips his pants back up, he kisses NAMIRA’S forehead and then pats it. He thinks she is sleeping.

And soon he walks away. We can hear off screen that he starts the engine of his car and then drives off. While this is happening the frame focuses on NAMIRA crying. She is feeling and looking like death.

EXT/INT. APARTMENT STAIRCASE – NIGHT

LAI LEON arrives to her apartment, on the way to the stairs she stumbles upon NAMIRA.

During this time, NAMIRA is already getting herself up and she is trying to make her way back up to her house.

LAI LEON

Shit! Look at you. Who did this to you?

NAMIRA ignores LAI LEON and keeps walking up the stairs to her floor.

EXT. BEHIND APARTMENT STAIRCASE

We capture the area in which NAMIRA was raped, it feels dirty and murky. Even though there is nobody there we get a feeling of evil surrounding it.

INT. APARTMENT – AFTERNOON

LAI LEON is lounging outside her apartment unit on a chair, and she is smoking as well. The afternoon sun hits her face.

As LAI LEON is lounging, NAMIRA passes by carrying take away food back to her place, and the hooker was able to catch her. LAI LEON hollers at NAMIRA.

LAI LEON

Oi! Girl.

NAMIRA looks oblivious; she thinks LAI LEON is calling somebody else. But further observation sees that it’s only the both of them present at the time.

To make it more clear, LAI LEON points at NAMIRA, her fingernails are long and painted.

LAI LEON

Yes you. Come here.

NAMIRA walks closer to the woman.

LAI LEON

Girl, you live in unit 33C don’t you?

LAI LEON turns her chair to see NAMIRA. Upon hearing that question, NAMIRA nods.

LAI LEON

Some guy came by asking if somebody was inside 33C. Old enough to be your dad. You know him? He was weird, didn’t even bother to knock on your door. I told him, I didn’t see anybody coming out or in from 33C then he just went off.

NAMIRA stays silent, but this news affects her. She seems dismal and scared.

There is a brief stillness, LAI LEON inspects NAMIRA thoroughly and then she boldly speaks.

LAI LEON

Hey. I know you. You’re that girl the other night, aren’t you? The one on the staircase.

LAI LEON reviews NAMIRA’S bearing.

LAI LEON

You look like shit.

NAMIRA tries to walks away from the hooker.

However, LEON pulls NAMIRA, they share a look with one another.

LAI LEON

It’s about a guy, isn’t it?

NAMIRA

Huh?
LAI LEON

Yeah, it’s about a guy. It’s always about a guy. And it’s love, isn’t it?

LAI LEON lets go off NAMIRA, and oddly NAMIRA doesn’t walk off away from this.

NAMIRA

Yes.

LAI LEON

Yeah, it’s all about love. It messes you up.

NAMIRA

It’s scary.

LAI LEON

Yeah it’s scary. It’s always scary.

The camera pans and we look at the view off the landscape from the where they are standing.

OFF SCREEN: LAI LEON

But ain’t it a bitch how we keep wanting it? Fuck it all. It doesn’t matter. It’s true you know.

We see a shot of NAMIRA innocently ask, curious.

NAMIRA

What?

LAI LEON

What they say about love. It’s like a drug. It really is like a drug. It’s not like those drugs that fucks you up though. If anything, love is that drug that makes you normal. Makes you do normal stuff like… Like losing yourself.

INT. NAMIRA’S HOUSE – AFTERNOON

NAMIRA enters her house hoping to see her mom, but when she enters. There’s a note on the television set.

NAMIRA

Hello? Mom, I’m back. Here’s the food.

NAMIRA picks up the note and then puts the food down on the small dining table.

On the note it’s written:

Went to the clinic for a while to buy some medicine. Will be back in 20 minutes. Eat first if you have to. Don’t wait for me.

Love, Mom.

NAMIRA then hears her phones rings inside her room, she goes to check it.

INT. NAMIRA’S ROOM – AFTERNOON

When she enters her room, she was too late, the phone stop ringing.

She goes to check the phone, and sees that has several missed calls and text messages from ROESMAN.

She opens one of the text messages and it’s written.

Baby, pick your phone up when I call. Stop being a stupid brat. Don’t make my life harder than it is.

As NAMIRA reads this, she is getting panicky and the fear of God is struck upon her and we can see it clearly through her expression.

She receives another message as she holds her phone, she immediately opens it, and it’s written:

Baby! I’m coming in 10 minutes. Come down when I call you.

This message increases her frantic mode. She can’t think properly. She goes out from her room and into the kitchen.

INT. KITCHEN, NAMIRA’S HOUSE – CONTINUOUS

In the kitchen, a distraught NAMIRA pours a glass of water for herself then drinks it. And then she splashes water on her face. Her phone can be seen on the table, NAMIRA eyes it and then suddenly it rings, and she jumps in a shock. She is panicked.

The phone keeps ringing. She braces herself and looks to see who is calling, and on the phone we can see clearly its ROESMAN. She throws the phone to the ground, smashing it.

She falls to the kitchen floor, until finally she erupts with tears.

INT. KITCHEN, NAMIRA’S HOUSE – CONTINUOUS

NAMIRA then decides enough is enough. She can’t handle this any longer.

NAMIRA picks up a small knife.

She slowly slits her wrists whilst crying.

We then see the knife falls and blood soon follows along with her hand that was slit. We hear a thump as her head falls to the ground.

Almost suddenly, the front door opens, and we see LISA. She is screaming.

LISA goes to her daughter, screaming for help in despairing manner.

The scene ends with LISA caressing her daughter half dead body on their kitchen floor.

EXT. HOSPITAL – AFTERNOON

A brief shot of the hospital’s exterior.

INT. HOSPITAL – AFTERNOON

We see KAH WAI still wearing his school uniform barging into the hospital rooms asking for NAMIRA to the nurses.

KAH WAI

Where is NAMIRA?!(Inaudible)

The nurses and a few doctors try to calm KAH WAI down, but he is hell bent on finding his friend.

He even pushes one of the doctors.

VOICE OVER: JEEVA

She’s in the hospital. She is still recovering from… from her injuries.

VOICE OVER: KAH WAI

Injuries?

VOICE OVER: JEEVA

Oh dear, you really don’t know do you? She tried to kill herself by slitting her wrist. I just received the call from her mother yesterday. She says NAMIRA is still alive, God bless, but she is still recovering in the hospital right now.

VOICE OVER: KAH WAI

Which hospital?

VOICE OVER: JEEVA

KAH WAI. Listen to me. You don’t need to worry. I’m sure…

VOICE OVER: KAH WAI

Which hospital, MISS JEEVA, which hospital is she in?!

INT. NAMIRA’S HOSPITAL BED, HOSPITAL - AFTERNOON

Eventually KAH WAI finally finds NAMIRA’S room. He sees her on the hospital bed awake, LISA is there too, sitting next to NAMIRA.

Upon his arrival, NAMIRA lights up. She sits up and smiles at him. LISA was about to kick him out, but NAMIRA pulls her mom back indicating that the boy standing on the doorway, sweating is her friend.

We then see KAH WAI exhales in relief. We are about to see him break down in happiness, but he manages to control himself.

Soon, the doctors, nurses, and security guards catch up on KAH WAI, and they politely pull him out the room to the corridor.

INT. CORRIDOR, OUTSIDE NAMIRA’S HOSPITAL BED, HOSPITAL – AFTERNOON

KAH WAI is being escorted out by a doctor. KAH WAI is complicit and calm knowing that his friend is still alive. He turns to the doctor next to him.

KAH WAI

Can you make her better?

DOCTOR

Kid, she needs some time.

KAH WAI

Will she be better? She has to be.

DOCTOR

She’ll get better.

KAH WAI

She has to; she is too nice for this kind of pain.

The screen blackens for a while.

INT. ROESMAN’S HOME – EVENING

An enchanting ukulele melody is playing in the background.

We see that ROESMAN is arguing with his family.

The arguing becomes physical, ROESMAN hits KHADIJAH, and their son, AIMAN is crying behind them.

Soon after ROESMAN leaves his house, and slams the door behind him.

EXT. FRONT YARD, ROESMAN’S HOME - EVENING

ROESMAN goes to his car, starts it, and then leaves.

From outside of the house, through the window we see the damage he has done towards his own family.

KHADIJAH is getting herself up, AIMAN is crying, the place is a mess.

INT. NAMIRA’S HOSPITAL BED, HOSPITAL – EVENING

ROESMAN goes to see NAMIRA.

We see ROESMAN standing on the doorway, upon sight, KAH WAI wearing regular clothes is there sitting next to NAMIRA. They are talking and smiling at one another. It’s just the two of them, no LISA.

When NAMIRA looks at ROESMAN standing at the doorway, she starts to scream but it’s inaudible because the enchanting ukulele is playing over the background.

KAH WAI looks at NAMIRA and then turns his focus to ROESMAN, KAH WAI knows the man. He is a teacher in the school they go to.

KAH WAI observes the situation.

Before anything could happen, the security guards come and pull ROESMAN out of the room.

We are left seeing KAH WAI looking at the teacher in a suspicious way as the security pulls ROESMAN out of the hospital.

INT. ROESMAN’S CAR – LATE EVENING

ROESMAN is in his car after being kicked out of the hospital.

He screams and hits his steering wheel.

Soon after he starts his car, and then drives off.

EXT. A BROTHEL – NIGHT

The enchanting ukulele melody ends.

ROESMAN parks his car near the brothel where LAI LEON works.

He gets out of his car, looking like a mess.

ROESMAN manages to walk to the entrance of the building where the pimp flickers his flashlight at his girls. When ROESMAN gets close to the building, the pimp talks to him.

PIMP

Hello, boss. You looking for a little fun tonight?

The pimp reviews ROESMAN. The monster of a man looks horrible.

PIMP

You look like you need some. Huh? Oi! LAI LEON! Come out here! Come out! Don’t make me, the big boss, wait!

Emerging from the entrance of the building is LAI LEON. She is wearing tight revealing clothes.

PIMP

Show this big boss a good time. Okay?

The pimp flickers his flashlight at LAI LEON.

LAI LEON then takes ROESMAN by the hand and escorts him inside the building.

INT. CORRIDOR, A BROTHEL – NIGHT

We are in ROESMAN’S view. We see his hands being guided by LAI LEON. The inside of the building has a kind of dark lighting.

LAI LEON brings ROESMAN into her room.

INT. LAI LEON’S ROOM, A BROTHEL –NIGHT

ROESMAN is sitting on the bed, while LAI LEON is taking his clothes off, she is between his legs.

She unzips his pants.

But ROESMAN looks empty. He doesn’t seem to be into it.

LAI LEON notices this and then she places her head on his lap, and suggests to him something.

LAI LEON

I think you’re going to need this.

LAI LEON gets up, goes to her drawer, and takes out her syringe.

LAI LEON

Give me your hand.

ROESMAN puts out his hand in front of the hooker.

LAI LEON

You’re going to love this. It’s going to bring to places you’ve never been. By the time the high hits you, you’re in paradise baby.

LAI LEON injects the syringe in ROESMAN’S veins, and push in the heroin into his system.

When ROESMAN receives it he falls to the bed.

LAI LEON follows; she injects herself the same syringe and then jumps on top of ROESMAN.

She takes his clothes off.

While they are having their session, we hear a voice over.

VOICE OVER: JEEVA

Everyone wants to drown in love.

We see the bed rocking, and the syringe falls.

VOICE OVER: JEEVA

But everyone often forget that drowning kills.

The scene ends and is immediately cut off after the voiceover.

We then enter the final act, act 5.

ACT 5 – THE TERMINATION

INT. MISS JEEVA’S OFFICE – MORNING

In the office of MISS JEEVA, we see KAH WAI and JEEVA having an intense stare at each other. It is obvious they are discussing about something very serious.

There is a deep silence among them in this small messy office.

After a while JEEVA scratches her forehead, regarding thoughtfully about what KAH WAI is assuming.

JEEVA takes off her reading glasses, places them on her desk. And finally speaks on the matter.

JEEVA

You can’t just say things like that KAH WAI.

KAH WAI is standing up in this scene. He walks around the small spaces of the office.

KAH WAI

Look, I know he has something to do with it.

JEEVA

He is a teacher in this school, KAH WAI. Why would he do something like that to a student? Besides it was a suicide attempt.

KAH WAI

Trust me on this, MISS JEEVA. Have you been out in the world huh? It’s full of sick people. Teachers can be sick too, adults are sick. Look, MISTER ROESMAN was there in the hospital. Why would he be there? Why would somebody like him be there huh? NAMIRA was crying when she saw the man.

INT. NAMIRA’S HOSPITAL BED, HOSPITAL – EVENING

We see NAMIRA crying, and KAH WAI is comforting her.

INT. MISS JEEVA’S OFFICE – MORNING

JEEVA is growing irritated by KAH WAI’S wild accusation.

JEEVA

Can you drop this? Did NAMIRA say anything?

KAH WAI

No, she didn’t. She couldn’t. I mean, don’t you care at all, MISS JEEVA?

JEEVA pulls back and she feels a bit attacked by that question, how dare he, she thought.

But JEEVA is the only adult character in this story that shows true empathy towards the youths. She doesn’t stop now; she answers KAH WAI in a polite manner, trying to make him understand.

JEEVA

I do care. Don’t you question that about me. I do care about NAMIRA and you, KAH WAI. I was crying when I heard she did that to herself.

KAH WAI

Somebody did that to her, and it’s him. I know it’s him.

JEEVA

Stop. Please. Just focus on NAMIRA. You care about her, so focus on her.

EXT. SCHOOL AREA – MORNING

KAH WAI gets out of the office only to stumble with LONG SHERN and the two other boys.

KAH WAI ignores them and tries to walk away as fast as he can.

From afar we can see ROESMAN paused and looks at KAH WAI as he interacts with LONG SHERN and his friends.

LONG SHERN

Hey look, it’s the crazy loser. You look like shit.

KAH WAI takes a look at LONG SHERN, annoyed, but he knows it’s not worth it. So KAH WAI takes a step forward only to be provoked yet again.

LONG SHERN

Hey loser. I heard you got yourself another whore. What’s her name huh?

LONG SHERN turns to his friends.

LONG SHERN

It’s NAMIRA right? That whore who got caught making out in the boy’s toilet last year.

The other two boys laugh at this sad pathetic joke.

LONG SHERN

Why you do like hanging out with whores. Huh? You like being disgusting?

KAH WAI turns and walks back to LONG SHERN.

ROESMAN watches and listens to this situation, not even stopping an approaching fist fight in the middle of the school grounds.

KAH WAI

Take that back.

LONG SHERN

Take what back?

KAH WAI

NAMIRA is not… she is not disgusting.

LONG SHERN

She is. And so are you.

KAH WAI can’t hold it in any longer.

He pushes LONG SHERN’S shoulders, and LONG SHERN is taken aback.

LONG SHERN and two of his friends are about ready to have a go to a bruised looking KAH WAI, but come storming out of her office is JEEVA.

During this time, we see ROESMAN goes away, and JEEVA noticed this.

JEEVA pulls KAH WAI away from the boys who mock him.

The school bell rings.

With her hand gripped on KAH WAI, JEEVA points at LONG SHERN and his friends angrily.

JEEVA

Go back to class! All off you! Go back to class now!

LONG SHERN and his friends walk away, but not before turning to KAH WAI and show an unsatisfied face.

KAH WAI ignores them.

JEEVA then let go of her grip, and tidies up KAH WAI’S exterior. She looks worried.

JEEVA

Are you okay? KAH WAI, you need to stay away from trouble. Please. It’s for your own good.

JEEVA tries to drag KAH WAI back to her office, but KAH WAI is like a rock. He doesn’t move.

INT/EXT. VARIOUS LOCATIONS IN THE HIGH SCHOOL AREA – MORNING

We see a few shots of the students in the school to show that they are other kids who do normal stuff, not everyone lives like NAMIRA and KAH WAI.

We see a student talking to his teacher about his homework.

We then see a bunch of girls gossiping together, and when the shot is about to end on them, we see them laughing.

We see students playing a game of basketball.

We then move on to see teachers doing regular teacher stuffs. The teachers are marking their students’ homework. Some are teaching a lesson in the classroom. We also see a teacher disciplining a student.

INT. A CLASSROOM

We then move on to see ROESMAN living his normal life as a teacher.

He teaches science, and all the students look at him as if he has done nothing wrong.

We see shots of the students’ faces, paying attention to ROESMAN, not knowing the inhumane things he did in these past few days.

EXT. LAI LEON’S APARTMENT – MORNING

We see shots of LAI LEON, dancing to an upbeat song on the radio.

A cigarette in her hand, she moves to the beat while smoking.

The fan is moving above her. We see that even she is having a normal life.

INT. NAMIRA’S HOSPITAL BED, HOSPITAL – AFTERNOON

KAH WAI is wearing regular clothes now; he is sitting next to NAMIRA who is lying on the hospital bed.

KAH WAI looks at the wall with a stern expression, while NAMIRA is looking at her one true friend.

KAH WAI is thinking about ROESMAN, and what he had done to NAMIRA.

NAMIRA

Hey? Are you there?

NAMIRA places her hand on his shoulder.

KAH WAI catches what she said and almost immediately he turns to her and gives her a brief smile and then turns back to a stern expression.

KAH WAI

Yeah. I’m sorry. I was just thinking…

NAMIRA

About?

KAH WAI turns back to look at the wall and goes silent.

NAMIRA

Hey?

NAMIRA touches his hair gently.

NAMIRA

They’re letting me out tomorrow. And I think I want to do that again. You know? Dance for you. (Giggles)

There is still silent in KAH WAI’S part. It seems he is trying to say something to her, but requires time to muster up the courage.

Eventually he breaks the silence.

KAH WAI

Did MISTER ROESMAN do this to you?

NAMIRA’S hands slips away from him.

NAMIRA

Oh… KAH WAI…

KAH WAI

Did he?

NAMIRA looks away now, and we then see KAH WAI’S worried stern expression. The camera stays on him.

KAH WAI

What did he do?

OFF SCREEN: NAMIRA

He… he is not actually a bad person, KAH WAI. He just shows his love differently. KAH WAI, you can understand, can you? Like you said, you can understand.

KAH WAI

What did he do to you, NAMIRA?

NAMIRA

He made me fall in love.

EXT. A BROTHEL – AFTERNOON

We get a ride of a moving shot going through the brothel where LAI LEON works.

We see the pimp sitting in front of the entrance, he is doing his regular thing, and he is holding his flashlight.

We then see the pimp’s girls grinding hard to attract male clients.

And then we go into the brothel and into LAI LEON’S room.

INT. LAI LEON’S ROOM, A BROTHEL – AFTERNOON

ROESMAN is seen sitting on the bed with LAI LEON; they are drinking a can of beer while smoking a cigarette of their own.

ROESMAN looks at the ground, with a dead guilt expression, while LAI LEON is lying on the bed playfully.

LAI LEON

What’s the matter with you huh?

ROESMAN smokes his cigarette.

LAI LEON

What do you do, big boss?

He sips a can of his beer.

ROESMAN

I’m a highschool teacher. I teach science.

LAI LEON

You ever fallen in love, big boss?

ROESMAN

Once.

LAI LEON

Yeah, me too.

LAI LEON drags a puff of her cigarette and then exhales it out.

We see the both of them in the same frame; they look empty and dead inside. They have no innocence.

We then see a shot of their feet separately. ROESMAN is wearing his shoes, while LAI LEON is shoeless, her toenails are painted. It’s clean, oddly.

LAI LEON

When I was a girl living in Indonesia.

LAI LEON’S accent suddenly changes; she is talking like a proper Indonesian now.

LAI LEON

I met a man, he was Malaysian. He told me a lot of nice things, I was young, and I fell for him immediately. He brought me here, telling me he wants to marry and all that. But he didn’t. He sold me off to a pimp.

ROESMAN steals a look at the enthralling LAI LEON who is entwined in her own past.

ROESMAN takes a sip of his beer, and he continues to listen.

LAI LEON

Figures. That’s life for you.

LAI LEON finishes her cigarette. She looks deeply into the lights, unflinching.

LAI LEON

Nobody tells this when you’re young. I wish someone had told me that you can’t lose your innocence unless you let them take it from you.

LAI LEON sits up, goes to ROESMAN, and takes his beer from his hands. She takes a huge gulp.

ROESMAN seems a little distraught by what she had to say, thinking of NAMIRA no doubt.

ROESMAN

Do you hate him for what he did to you?

LAI LEON lets out a pathetic scoff/giggle.

LAI LEON

To be honest, I never stop loving him.

She then takes a couple of pills on the dresser, and swallows them not before taking another sip of the beer.

LAI LEON

He could rip out my beating heart using his bare hands and I would still thank him for touching me.

OFF SCREEN: ROESMAN

That’s pathetic.

LAI LEON

Life is pathetic.

INT. LAI LEON’S ROOM, A BROTHEL – AFTERNOON

ROESMAN and LAI LEON sit on the bed together with dead cigarette buds, empty beer cans, and drugs.

LAI LEON is now talking in a Malaysian accent, most noticeable a KL accent.

LAI LEON

You want to go to paradise baby?

This is her last line in the story.

ROESMAN nods, and then he presents his arm in front of LAI LEON.

LAI LEON then takes out her syringe. She slowly injects the needle his arm, till it’s all in his system.

She notices its finish, so she takes out another syringe and shoots herself another one to the vein. After the drug goes into her, we see her falling to the bed and she drops the syringe to the ground.

She falls dead.

ROESMAN doesn’t notice LAI LEON is overdosed and lifeless as he turns his sight to the walls with his cigarette.

ROESMAN

I’m thinking about what you said, about love. You know how you sound like talking about this man that wrecked you and you love him for it? You sound disgusting (scoffs). You’ve been poisoned by venomous people. But me? I am disgusting. I am the venom that poisons people.

There is a sudden loud noise, a sound of a door being busted down.

ROESMAN hears it.

OFF SCREEN: POLICE OFFICER

Freeze! This is the police. Everybody put your hands up!

EXT. A BROTHEL – AFTERNOON

We see a bunch of armed and ready police officers barging into the building and arresting a few of the patrons.

It’s wild, everybody goes crazy.

We see the pimp being arrested and pinned down by a police officer.

INT. LAI LEON’S ROOM, A BROTHEL – CONTINUOUS

A police officer comes in to LAI LEON’S room, ROESMAN is immediately alarmed.

He looks at the small glass window; he knows that is his only escape route.

LAI LEON on the other hand is lying dead on the bed, and ROESMAN doesn’t bother to check up on her.

POLICE OFFICER

Stop! Don’t move!

ROESMAN throws an unopened can of beer at the police officer and it hits the officer’s head, and then ROESMAN makes a run for it.

He jumps through the glass window.

EXT. A BROTHEL – CONTINUOUS

We see ROESMAN bleeding from the stunt, he steps a few glasses. He turns back to see that the police officer is getting up.

We then see ROESMAN, bruised and bleeding running back to his car, and drives off. He is successful in running away from the police.

We hear police sirens.

EXT. HOSPITAL – EVENING

KAH WAI is seen getting out from the hospital after his visit from NAMIRA, and ROESMAN is not too far off looking at KAH WAI. We hear heavy breathing.

EXT. HOSPITAL PARKING LOT – EVENING

KAH WAI is walking back to his motorcycle, until suddenly we hear steps rushing towards the young man.

In an instantaneous wave, ROESMAN pushes KAH WAI up against a car, and he hisses at the young boy.

ROESMAN

Look here you little shit.

ROESMAN grips KAH WAI’S cheeks. And pins him down.

ROESMAN is bruised badly, and there are specks of broken glasses on his clothes that can be seen clearly.

ROESMAN

Who do you think you are? Huh? She belongs to me. Me. You get that? Who do you think she loves? She’s there, thinking about me. We had a baby together, you know that? What do you have with her? Nothing. Now stay away from her.

ROESMAN pushes KAH WAI’S stunned face and then he immediately walks away, pauses at a corner and looks around, and quickly goes to his car.

EXT. HOSPITAL PARKING LOT – EVENING

Soft rock indie music is playing over the background, only the instruments are playing not the lyrics. It’s TENTANG KITA by COUPLE.

We see the back of KAH WAI’S head and further in the background we see ROESMAN getting in his car.

VOICE OVER: JEEVA

I want you to listen carefully.

KAH WAI calls out to ROESMAN.

ROESMAN turns to see that KAH WAI is coming at him.

ROESMAN tries to start his car, but it won’t start so he makes a run for it once he sees KAH WAI dashing towards him with a motorcycle helmet in his hand, ready to strike, with eyes that incline to kill.

EXT. ALLEY – EVENING

There is a chase scene. We see ROESMAN running away, in an unbalanced manner.

However, KAH WAI is fast. Eventually KAH WAI catches up to ROESMAN.

In an instant, KAH WAI smacks ROESMAN’S head.

We see ROESMAN straightaway falls to the ground, his head bleeding from the first strike.

ROESMAN struggles to dodge another strike before KAH WAI picks the man up and tackles him again to the floor.

However, ROESMAN manages to tackle KAH WAI down.

We hear the struggle of their fight and then the voice over continue.

VOICE OVER: JEEVA

You’re not a bad person just because bad things have happened to you. You’re not disgusting or crazy just because some people can’t understand you. The truth is, you can be loved, and you are truly loved by a few.

The voice over continues to play as KAH WAI cracks open ROESMAN’S head using his motorcycle helmet.

The screen blackens suddenly when the voice over ends because we are at the end of the story. This is it.

THE END