MENARI SELALU, MENARI BUANG WAKTU by Renito Unto

MENARI SELALU, MENARI BUANG WAKTU

Written by Mareno Unto

Open on a black screen, we can hear the raindrops falling.

Over black screen, while we can still hear the raindrops falling in the background a man’s voice breaks the sound of rain:

VOICE (O.S.)

Yeah. You like that don’t you. Yeah. Baby girl. It’s all yours! Take it!

The moans of a man in pleasure. We can hear the mattress moving. It’s rubbing on the ground. Now we hear a woman’s voice:

VOICE (O.S.)

Yes! Yes! Yes. Give it to me.

The moans of a woman in sexual glee. We can hear her excreting lust. Deep fucking moaning noise. The voice is indicating that she is on the verge of ecstasy.

FADE IN:

INT. BEDROOM - LATE MORNING

Extreme close up on a dripping sweat on a naked skin. The skin it belongs to is out of focus.

The man’s voice breaks the grating ambiance that lightens the screen.

VOICE (O.S.)

How was it? Was it good?

The lone drip of sweat begins its slow descent. The camera follows the drip’s journey down through the skin. The sweat then journey its way down to a woman’s under boob.

The sweat finally drops to a bedsheet.

And then we slowly pull back from the shot to show whose skin it belongs to: SUSILA, 22, beautifully deadly, eyes are killers. She has cheeks full with colour. She does a swift turn and face the other side of the bed.

Cut to a close up of her seeing the face of a man: RAMA, 26. Boyishly handsome. RAMA smiles to Susila as they locked eyes, he has a murderous smile to match. Meant for slaying.

They stare each other just like how two people in love would stare at each other. With content. With satisfaction.

CUT TO:

INT. BEDROOM - LATE MORNING

They are staring at each other just like how two people who are out of love for each other would stare each other. With contempt. With disdain.

They look angry and displeased with each other. There is an intense ambiance of scorn towards one another glazing through the screen.

Then cuts to a wide shot where we see them on the bed lying side by side, still staring in contempt with another. Their hands move indicating they are about to hit each then, but then the screen immediately cuts to black.

CUT TO:

Over black, we hear them laughing.

FADE IN:

INT. BEDROOM - LATE MORNING

The couple are staring at each other again, this times it's how two people who are smiling over a joke would be like. With joy.

They are finding the tiny bits of humour in each other. There is this very merry lightheaded cheery ambiance towards one another and it shows through the screen.

They stare at one another. The kind of stare you would want to be looked at, no resentment. They are just purely interested and joyful of each other’s company. It’s sort of unreal but real at the same time. As they look upon each other, we get a glimpse of the room.

The sun’s morning glory beam through the window and curtains of the room. The ray hit the ground.

A small mattress on the floor of the room, in which they are lying there naked. Their clothes surround the mattress. A pack of cigarette and lighter can also be seen next to Rama. Also there is a small transportable fan, the normal kind of fans we can get in any Asian store rotating in front of them. The room’s walls have posters of movies, bands, and sport companies like Nike and Adidas. The only furniture in the room is a small dresser and a small black square coffee table

The camera tours through the room; we see the details of each furniture. First the dresser. The scratches. The drawings on it. We can also see clothes making its way out. But most of all, we see a picture of the couple together on the dresser, cheaply but most cutely framed.

Then the coffee table. We can see cigarette buds and empty can of beers on it. We can also see a half full cup of black coffee, ironic.

Back on the couple, Rama is sitting up on the bed trying to light a cigarette. A question dawns upon him.

After numerous fails in lighting the cigarette he throws it next to the bed on his jeans, he starts to open his mouth.

RAMA

Hey, how was it?

Susila, with the bedsheet covering her chest and most of her privates, she looks at Rama like a saint. There is something here. It's not necessarily morally good and right, but it’s also not entirely bad and wrong. Susila thinks of something witty to say.

SUSILA

The sex?

RAMA

No, the dance. Of course the sex. What else.

They laugh.

SUSILA

But sex, it can be a dance. When we do it. I think it is like that…  Like a dance.

CUT TO:

INT. A DANCE HALL - DAY

Waltz music roars the shot of this beautiful dance hall that is very well decorated.

Then the couple enters the shot, they are wearing formal dance attire.

Rama grabs her by the waist, and his other hand grabs her hand gently.

He guides her. She looks at him, as they waltz through the dance hall alone she can’t believe how lucky she is.

He twirls her. She laughs. We capture the shot from above as she looks up the ceiling, which is also straight to the camera.

Then she blinks at the camera.

CUT TO:

INT. RAMA’ S BEDROOM - LATE MORNING

We have a close up of Susila’s face. Raw. Unrefined. Young. The last bit off her innocence is dangling on the edge of a crumbling cliff. Just a little push. And it’s gone. The camera is inches from her face.

We see her smirk. That’s when you know. When you know innocence was something that already lost in her. Nothing. No more of it.

The camera is now above her, looking down.

RAMA (O.S.)

Dance is good if it’s fast. If it's rough. And when we all are at it. It has to be fast. It has to be rough. That’s how it is supposed to be. (joking.)

Still a close up of her face, she turns to see Rama unamused but not angry.

SUSILA

No, you are supposed to be a romantic. Don’t ruin it.

CUT TO:

INT. A DANCE HALL - DAY

The waltz music continues to play. The couple are swerving smoothly on the dance floor. They are into it.

Susila’s eyes are closed as they dance because she has full trust towards Rama’s guidance. Rama knows he has full control. Not just over the dance and her steps, but also her essence.

SUSILA (V.O.)

When you trace your fingers on my skin. It’s like you dip me in the middle of the dance floor.

The music pauses for a while, abruptly. We capture a moment of delicacy, then Rama embraces her as they dance. It’s closer now.

We hear two beating hearts, they are calming as they are in sync.

SUSILA (V.O.)

When you grab my chest with your full hands. It’s like… it’s like you are taking my hands and you are guiding me through the dance.

INT. RAMA’ S BEDROOM - LATE MORNING

We see Rama finally lighted his cigarette. He blows a puff of smoke.

RAMA

And when I put it inside you? It's all hard and I’m going at it. And I’m destroying you. (Laughs). What is that like?

Susila scoffs. Disappointed by those questions Rama conjured up. Not romantic at all.

She pokes his cheeks, and blows away the smoke covering him.

SUSILA

When you put it inside me?

RAMA

Yeah. When it’s in. How does it feel like?

SUSILA

It’s like a chainsaw gently cutting a piece of paper in half.

RAMA

Susila?

SUSILA

Yes? Rama?

RAMA

Nothing.

Rama falls to the bed with the cigarette still between his fingers.

There is this silence. They are thinking about the things they just said to each other

RAPID FADE OUT TO BLACK:

TITLE CARD: MENARI SELALU, MENARI BUANG WAKTU

THE CREDITS ROLL IN

As soon as the scene ends, music accompanies the credits. The music should be melodic and soft to maintain this chill ass vibe of the scene we just pass through.

CREDITS STOP

FADE IN:

MONTAGE - POV SHOTS OF KUALA LUMPUR SET TO MUSIC

We hear voice over - the crowd in the streets of Kuala Lumpur. The people are doing their thing. Daily hustle. *Locations will be determined later when we do location scouting* Music.

INT. VIEW OF THE CITY THROUGH THE WINDOWS OF KL TOWER - EVENING

SUSILA (O.S.)

Look at that view.

We see a shot of Susila staring down the window, in awe of the city’s heights and under heights. We should capture the view of the city behind Susila, but Susila is in high focus. She is the beauty in this piece.

Rama is staring at Susila, cliche, cheesy, but then it's with intent.

RAMA

Yeah it is. It is so amazing.

SUSILA

You’re not even looking. Look.

(Having seen a panoramic view of the building they are in, which is the iconic KL Tower we embark yet again on a montage of this jungle city.)

CUT TO:

EXT. STREETS OF KUALA LUMPUR UNDER THE SHADE - EVENING

We see them walking down together down the street. Side by side. They look like this couple who are so carefree. Young. Fearless to be whatever they want. Their clothes should match this persona and also aligned with the city. Nothing rough. Soft. Free moving.

SUSILA (V.O.)

I was thinking about this painting I saw the other day in the exhibit. I don’t know exactly who the painter was but it was mesmerizing. You know. It’s this woman standing on the dirt ground naked, and if you look at her, she looks back at you in disdain.

CUT TO:

BRIEF IMAGE OF SAID PAINTING - IT’S A PAINTING OF A NAKED WOMAN LOOKING DIRECTLY OUT OF THE PAINTING. REFER VANITY.- (REFER TO CREATIVITY) - PUT THIS IN

CUT BACK:

EXT. STREETS OF KUALA LUMPUR UNDER THE SHADE - EVENING

SUSILA (V.O.)

The artist, I think wants to challenge how we view women in general. Or maybe love in general.

RAMA (V.O.)

What about painting a naked lady that challenges how we view women? Don’t we always see women like that? And don’t painters always paint women naked, because and please correct me if I’m wrong, the body of a female is itself art.

SUSILA

No. No. Uhhh… yes. It’s like. You see the woman in the painting, she looks angry at the audience for looking at her naked. Because it’s her personal space. We are peeking her. We are intruding her space. The painter I believe; is like saying every day we intrude the space of women and yet, women pull this face saying it’s okay. It’s normal and accepted to have your space taken as a woman. But the woman in the painting, she has the courage to say that she doesn’t like it.

RAMA

It’s interesting.

We see a shot of a woman carrying plastic bags of groceries on both her hands.

SUSILA (V.O.)

Yeah it is.

RAMA

What’s the time now?

SUSILA

Five.

RAMA

You think we should meet him now?

SUSILA

Yeah I think it’s time. We don’t want to keep him waiting.

CUT TO:

INT/EXT. HOTEL LOBBY - EVENING

Rama and Susila enter the lobby of a hotel, very clean and upper. In the lobby they are awaited by a man, MALIK, a slight older man roughly nearing his 40s. He is wearing office clothes. But he looks like he has money. Not ugly, not creepy, while slightly older than the couple in comparison, Malik in all the right sense is handsome.

MALIK

There’s the couple.

RAMA

(Shakes Malik’s hand and smile)

And here stands the man.

Malik shake Rama’s hands. It’s firm, and they smile at one another.

MALIK

And here stands the woman.

Malik gives Susila a soft hug.

We then have a close up of Susila’s lips giving Malik a soft peck on his cheeks. She slowly pulls back her lips, wanting Malik to feel her lips as long as the time allows.

SUSILA

It’s a beautiful city you know, KL. If you don’t mind the heat and sun beating on your skin constantly.

We cut to a close up to see her skin almost tanned like. Focus on her shoulders, the dispersion of skin colour tone is clear. A clear line of light and dark.

MALIK

Yeah, but the traffic is a killer. It’s annoying to say the least. How can anybody drive here without having some sort of tension is beyond me.

SUSILA

That’s why we don’t have a car on our own.

RAMA

Yes. City, sun, traffic, but let’s continue this topic as we eat.

MALIK

Well would you look at that. Somebody’s a poet.

SUSILA

Yeah. He is, isn’t he? He is trying to write a book on a collection of his poems. It’s going to be amazing once it’s published.

They start walking off. We see a shot of Rama’s facial features; he seemed annoyed that Susila talked about his work.

Susila wrap his arms around Malik as the three walk together.

CUT TO:

INT. HOTEL’S DINING PLACE - NIGHT

We can see through the windows, it’s already night. The couple and Malik are sitting together in this fancy dining table, not unusual in a hotel like this.

And here is how the sitting is arranged with the three of them: Malik is sitting in front of them, directly towards Susila, while Rama is sitting next to Susila but there is an empty space directly in front of him.

They just finished eating their dinner.

MALIK

So, Rama please tell us more about this book you are working on?

RAMA

It’s uhmm… uhmm… still a work in progress. I really couldn’t say much on it because there is nothing to talk on about it yet.

SUSILA

(interrupts him) He is just being modest. It’s because he just started. He plans to make each chapter of the book in poems, and the whole book in itself is a big story told in poems. Amazing isn’t it?

MALIK

That is amazing. And very creative. How did this thought come to your mind?

RAMA

Uhhh… its…

SUSILA

(interrupts him)

He got it from this book he read when he was young. Where the book, while it was a children’s book, each sentence rhymed with each other but there was no straight story in it. Right? And I think Rama wants to create something similar, but with a grand big story. Am I right?

RAMA

Yeah, something like that.

MALIK

Well, Susila does a grand job in promoting your unpublished book isn’t she? I can’t wait till I have the chance to read it.

They laugh, excluding Rama. He seems embarrassed by this.

MALIK

And how about you, Susila? How is everything with you working in the magazine company? I hope everyone is treating you right?

SUSILA

It’s amazing. It’s more than I could ever dream for. This internship. It taught me so much, about fashion, lifestyle, different ideas, and just applying it. I just can’t wait til they make me write a piece. Then, I would die happy. It’s Bazaar magazine, how can I not love it.

MALIK

I’m sure if you put the effort in, they will start to recognize you and make you write something for them in the near future. I’m very sure of it.

SUSILA

I can’t thank you enough for this, Malik. I couldn’t get this internship if you didn’t help me.

MALIK

I’m happy to help you in any way I can. You make me happy, it’s only right if I do the same thing for you.

Malik touches Susila’s hand gently. He outlines her skin with his dark ink fingertips.

We can see Rama is observing this, but he is not surprised neither shocked. He is calm, and oozes a trying smile.

MALIK

I think it’s time. Don’t you think?

SUSILA

Yeah.

Susila is beguiled by Malik’s charming smile, and his fingers on her hands does magic to her lust.

CUT TO:

INT. OUTSIDE OF A HOTEL SUITE - NIGHT

We see Rama leaning against the wall next to the suite’s door and Malik standing next to him.

Malik faces Rama. The hallways are lighted dimly. Very little colour.

We then go for a close up of their faces in one shot.

MALIK

Please, if you ever need help in publishing your book. I can help you getting the right contacts.

Malik hands Rama a card.

MALIK

That’s my secretary’s number. Just call her and we can set up a meeting. Whenever you want.

RAMA

Alright.

Rama takes the card and puts it in his pockets.

MALIK

She loves you, and I know you make her happy. And I like to see her happy.

We get a close up of Rama’s face. He seems unbothered or unimpressed by this. It’s just money talk. It’s just rich talk to him. It means nothing.

RAMA

You make her happy too. You know. You don’t have to be nice to me.

When he says this, there was an anguish released.

The suite’s door opens. We see Susila naked, but the door is covering her body. She smiles at the men.

SUSILA

Are you going to come in? I’m waiting.

Malik bites his lower lip, he is raptured by lust in her sight.

After seeing her, Malik shakes Rama’s hands. It’s firm and strong. This time only Malik is smiling.

RAMA

Do you want me to pick you up tomorrow?

MALIK

It’s alright. I’ll send her back home.

Rama starts to make his way.

SUSILA

I love you.

She blows him a kiss.

RAMA

I love you too.

CUT TO:

INT. BATHROOM - DAY

The next day. The beautiful young couple are back in their home together. They are doing their morning ablutions.

SUSILA

Did you have fun last night? I told you he was charming wasn’t he?

RAMA

Yeah he was.

SUSILA

I hope you like him, he is very nice and he knows a lot of people. He is very well connected with people in the publishing industry. He might help you publish your book, you know.

RAMA

Yeah, he uhmm… gave me this last night. It’s his secretary's number.

Rama shows the card.

SUSILA

Yeah? And else what did he say?

RAMA

He told me to call him up sometime and work on a meeting.

SUSILA

There you go. He is trying to help you.

RAMA

Well, I don’t need it.

Rama crumples up the card and throws in the small bin. Like a basketball throw.

SUSILA

What? Why did you do that for?

Susila washes her face off and starts brushing her teeth.

RAMA

Well I don’t need it. I don’t want to. There is no point of me going to him.

SUSILA

What? Rama, is this some type of stupid ego?

RAMA

No. Look. It’s just. I want to do this on my own. Can’t you understand that?

SUSILA

Yeah, but there is nothing wrong with somebody helping you in getting your work out there. Maybe you should show him your work; he might be able to add in something. He did published a book before.

RAMA

Writing about how to get rich through the internet is different than writing what I’m writing, which is a story.

SUSILA

Yeah, but it's something.

RAMA

Look, it’s alright.

Rama hugs her from behind as she brushes her teeth. He kisses her cheeks.

RAMA

Let’s just leave it at that. I love you. And he is your friend. That’s all.

CUT TO:

INT. RAMA’ S BEDROOM - LATE MORNING

They are getting ready. The couple puts their usual working clothes on. Susila wears clothes fitting of an office environment. Rama puts on some dirty jeans and his company’s t-shirt - A moving company.

RAMA

What time are you coming back tonight?

SUSILA

I think I will be a little late. The company is doing a photo shoot tonight, and by that I mean all night. You don’t have to wait up or anything. Have dinner without me if you need to.

RAMA

Alright.

CUT TO:

EXT. BENEATH THEIR APARTMENT UNIT - DAY

The apartment they live in isn’t the most luxurious place in the world like the hotel they went to last night. This part of KL feels real and raw.

Susila gets into a taxi.

SUSILA

I love you.

RAMA

I love you too, have fun at work.

A truck honks not too far away, and Rama runs to it. We can see a man is in the driving seat of said truck. Man is SURYA, 27, slightly muscular and has a beard. He has a very friendly face.

Rama gets into the truck, he fist bumps Surya.

CUT TO:

INT. HOME 1 - DAY

Rama carries two large boxes.

SURYA

I think you can carry another one.

Rama balances the box as best as he humanly can.

RAMA

Surya, I’m not as strong as you.

INT. LIFT - DAY

They made their way to the apartment’s lift. Surya waits in the lift and holds the door open for Rama.

CUT TO:

INT. LIFT - DAY

Rama places the boxes on the lift’s floor.

SURYA

How long have you been with the girl?

RAMA

Susila? I don’t know. I think it has been two years now.

SURYA

Will you ever marry her? Two years together, you know people get married after that. You shouldn’t wait. You don’t want her to find somebody else do you?

Rama laughs at these statements.

CUT TO:

MOVING MONTAGE: HOME 1 - DAY

As Rama and Surya carry the furnitures and boxes, we hear their conversation from the back of the truck during their break. The truck is parked in a parking lot, and they are just chilling in the back.

SURYA (V.O.)

Are you crazy?

Cut to a close up of Rama’s face.

RAMA

What’s so crazy about it?

Cut to them carrying stuff as Surya speaks.

SURYA (V.O.)
That you think it’s okay if your girl finds somebody else.

Cut to a close up of Rama’s face.

RAMA

Yeah, if she finds somebody else and still wants me in her life. It’s okay. What is so crazy about that?

SURYA

It’s not love then. It’s just stupid. It doesn’t make sense.

Rama laughs at Surya’s confusion.

Rama takes a pull from his cigarette. His body, sore from the manual labour. His mind, ripe. And it’s only half the day.

Rama is lying down now, resting his head.

The cigarette is in focus as he speaks. A close up of said cigarette.

RAMA (V.O.)

You see I think about it. I love her. I love her very much. Now before you argue if I do love her. Yes. I do. It’s love. It’s real. But then I can’t be her everything you know. I can’t be her best friend, and her intellectual equal at the same time, and look she is way smarter than me. And I don’t know half of the things she says sometimes. And it’s not like I don’t care, but some things just don’t click with me when she talks about those smart stuff. And if she finds somebody else to talk about all the smart things she has to say, then it’s fine.

The cigarette slowly burns in ashes.

SURYA

Would it be fine if she have sex with that person then?

RAMA (O.S.)

I mean you get attracted to who you get attracted to, and if they act on it. I don’t know, it’s her choice. I’m her best friend. I want her to have it all. I’m supporting her.

SURYA

But it’s wrong. It’s wrong. This is not right. That’s not love then.

RAMA

Forcing somebody to be everything they can never be is not love. Turning into something I can never be is not love. It’s tiring. It’s draining. It’s not at all loving.

SURYA

Whatever.

RAMA

How about you, sometimes you cheat on your wife. How about that, Surya?

SURYA

Because I get tired of her sometimes. It’s different than your thinking, okay. It’s not the same. I don’t share her around like a bag.

CUT TO:

INT/EXT. HOME 2 - EVENING CLOSE TO 5PM

Rama already a little tired. Surya is sweating. They just want to get this over with and get back home.

A young woman is looking at the men carrying furnitures in to her house.

They carry the last piece of furniture, a dining table. They place it nicely in the kitchen.

Surya walks out the house, in no mood to waste time.

SURYA

Rama, get the money will you. I’m tired and I just need to take a sit.

Surya leaves the house. Rama tries his best to quickly aligned the table so that it fits the room. And also place the dining chairs in position with the table.

CUT TO:

INT/EXT. HOME 2 - EVENING CLOSE TO 5PM

RAMA

That’s RM200 for the whole thing.

Young woman, in her 20s looks at Rama intently before handing him the money out from her wallet.

SURYA (O.S.)

Yo, Rama. Come on let’s go. I need to go back home. Wife waiting and stuff.

RAMA (to the young woman)

Thank you.

Rama walks out the house.

RAMA

Okay. Okay.

CUT TO:

INT. TRUCK - EVENING

Rama and Surya are in the truck, Surya driving the moving truck. And Rama sitting in the passenger’s seat casually. This is captured in a dutch view.

SURYA

Hey.

Rama didn’t catch that. He is thinking about the young woman in the house. All alone in a big house. And her face reminds him of somebody he is close with. In love with to be exact.

SURYA

Oi. Rama.

RAMA

Yeah? What?

SURYA

Did you see that girl just now? You know who she reminds of?

RAMA

Yeah, who?

SURYA

Come on, you obviously have to know. She looks exactly just like her. It’s like that’s her twin or something. Come on, think about it.

RAMA

Man, quit playing. Just say who she reminds you of.

SURYA

Your girl, Susila. Think about it.

RAMA

Maybe.

SURYA

The eyes, brother. The eyes were the same. It looks like I was looking at your girl.

RAMA

Yeah. Maybe.

Both of them take a pause and think of the matter in their own mind. A dutch view is captured, moving back and forth from Rama to Surya.

SURYA

Would your girl mind if you do it with somebody that look just like her? That’s not cheating isn’t it, if they look exactly the same but they are two different people.

RAMA

Man, just shut up.

CUT TO:

MUSIC PLAYS OVER - SOMETHING LIGHT. I WOULD BE HAPPY IF IT’S SOMETHING LIKE THIS, 是這樣的 梅艷芳.

INT. MAGAZINE OFFICE - NIGHT

In the office we see Susila being teased by a random man, a co-worker. They touch here and there faintly.

Susila doesn’t seem bothered by this, quite the opposite she is responding it even.

We can see that they are talking, and then Susila laughs off. As she laughs she touches the man’s shoulders like how girls do when they are cool with the guy.

CUT TO:

INT/EXT. MAMAK RESTAURANT - NIGHT

Surya pulls the truck near a mamak restaurant. Rama gets out of said truck.

Rama waves his friend and co-worker goodbye. Another day ends. Rama walks inside the restaurant alone.

We see a shot of the workers in restaurant doing their thing. Cooking. Serving. Waiting. Such and such.

CUT TO:

INT. MAMAK RESTAURANT - NIGHT

Rama eats alone in the restaurant.

FADE OUT:

EXT. WONDROUS SPOT - NIGHT

Rama walks back to his apartment. Eventually he is at a wondrous spot. Very calming. Perhaps by the park, a bridge? Or somewhere else but he’s just walking, and the walking turns into wandering.

He is also seen smoking. Finally he looks at his phone.

No messages or missed calls. We have a quick close up of the phone’s screen.

And precisely at that moment as he puts his phone back inside his pocket, a girl happens to enter the shot walking near him. He is unaware.

The young woman now is in the same pace as Rama. The  young woman is the same young woman we saw Surya and Rama moving furnitures in the house to. Her name is WULAN, 24. She looks similar to Susila, very pretty but there is a big difference in vibe. This girl is more soft.

WULAN

You know, I thought you’d be taller in person.

RAMA

Huh?

WULAN

I thought you would be very tall. In those pictures, you looked tall.

RAMA

I think you got the wrong person.

WULAN

I don’t know. I don’t think so.

RAMA

Do you know me?

WULAN

Not yet. But if you allow it I will.

RAMA

Look, I’m tired. I don’t know you. I don’t want to cause any trouble here, alright? So I’m going.

WULAN

Wait. Wait. I’m her daughter. I’m Susila’s daughter.

There is a pause. Rama is befuddled of course from this statement.

Rama turned only to see the girl is gone. He thought to himself. Was that all real.

Music turns louder.

FADE OUT:

Black.

FADE IN:

INT. RAMA’S LIVING ROOM - LATE NIGHT

Rama plays some music in his stereo. He is dancing to it slowly. With the cigarette between his lips. He is shirtless, only wearing the jeans he wore for work. Music is John Lewis and Sacha Distel’s All the Things You are.

After a while, the main door is open by Susila and she finds Rama dancing ever so coolly. He dances towards her playfully without saying a word to her.

RAMA

What are you so grumpy about? Did you ate something?

SUSILA

Yeah, I ate.

RAMA

Then why are you so grumpy for?

SUSILA

I don’t know. I don’t know. I’m just tired.

RAMA

Hey. I’m tired too alright. But there is nothing to be grumpy for. It just meant we had a full day.

Rama grabs a hold of her hands. Inviting her to dance.

RAMA

Come on. Don’t do that face. Let’s dance.

SUSILA

Rama, why can’t we move out?

RAMA

I love this place. What, we talked about this.

He is trying his best to ignore that.

However, Susila doesn’t feel like dancing.

SUSILA

I want to sleep in a bed.

RAMA

You can. We got a bed.

SUSILA

A real bed.

RAMA

Yeah, we got one of those, baby girl.

SUSILA

A real bed. A mattress on a bed where I can just sleep properly and like take a good rest. Everytime I come home and go to that bed, it hurts my back okay.

RAMA

Come on.

Susila starts taking her clothes off, not before dropping her bag on the living room floor. She walks towards the bathroom, her clothes just laid there on the floor.

SUSILA

I’m tired. I don’t feel like playing.

Rama picks her clothes up and places them on the couch.

He finishes his cigarette and dabs it in an ashtray. Soon after, he follows her to the bathroom, the music is still loudly playing.

INT. BATHROOM - NIGHT

Steam accumulates on the mirror of their bathroom. Susila, already naked tests the temperature of the water and steps in the shower.

Entering the bathroom is Rama, he looks at her washing her hair, her face, and her body. He gets an idea and decides to act on it.

RAMA

Baby. Baby. Baby girl… You’re the only one I need.

He sings.

Rama takes his jeans off, and goes in the shower with Susila together. She lathers her hair with her eyes closed.

SUSILA

Rama!

She hits his chest lightly of course.

RAMA

What are you doing in here!

SUSILA

What do you think I’m doing! I’m taking a shower before going to bed. What are you doing here!

Rama grabs her waist, his hands goes down, and smacks her ass.

SUSILA

Ouch!

RAMA

I want to give you some loving.

SUSILA

Rama…

The small shower presses them close. Rama pokes her body, and plays with her hair. His playfulness and smile infects her just like that.

We capture an intimacy of a couple through this shot. A couple truly in and to its deep core totally and utterly in love with one another. Very serendipity. A rapid cut to a close up of Rama pressing his body closer to her til she can’t move anywhere else and cornered.

Susila plays along. She pulls back and pivots him around until the stream of water catches his body. He leans his head back, now the water is dropping on the both of them.

Rapid cut to a close up of their face pouring.

Rapid cut to a close up of Rama placing his hands on her hips and pulls her even closer to the point there is no space in between them. He builds a gentle tracing on her body.

SUSILA

Oh… Rama…

Rapid cut to a close up of Rama kissing on her shoulders, then to her neck.

Rapid cut to a close up of his hands sculpting her body and they move to her breasts. He is molding her. He knows just the right touch to turn her on.

Rapid cut to a close up of Susila closing her eyes and lost in  entrance by this. His hands continued their work, moving to her belly.

SUSILA

Ugh…

Rama kneels down. Susila reaches down and grabs his hair, urging him not to stop. He begins to kiss her belly, and then her thighs, and slowly go for the magical rainbow spot. She spread her legs as he does this.

Rapid cut to Susila as she releases her breath. It’s too much.

Soon immediately, Rama stands up. He turns off the water. He then carries Susila and they run off to their bedroom.

CUT TO:

INT. LIVING ROOM - NIGHT

We briefly capture a scene where Rama carrying Susila off her feet to their room.

CUT TO:

INT. RAMA’S ROOM - NIGHT

Rapid cut to Rama throwing her to the bed and it hurts her.

SUSILA

What the hell Rama? That hurts.

Rama jumps on the bed with her.

RAMA

I’m sorry. I’m sorry, baby girl. Let me make it all up for you.

Rama tries to make things better again by kissing her forehead and her face. But it seems the damage is done. She is in pain and doesn’t feel like having sex.

SUSILA

Rama. Just stop. I’m tired. Let’s just go to sleep. Please?

She places her hand on his face.

RAMA

What?

SUSILLA

Rama… Please. I wasn’t feeling it anyway.

RAMA

Really?

SUSILLA

Really. Please.

She covers herself with a blanket.

We have a closeup of Rama’s face. It’s not as tired. It’s disappointed, but not angry. He tries to understand this whole thing in her shoes.

RAMA

Okay… Okay…

CUT TO BLACK ABRUPTLY.

FADE IN:

INT. LIVING ROOM - DAY

We see Rama talking in the phone. And as he does so, we capture the scenes in the living room.

It’s a small place, not very big. A small round dining table that only has three chairs, a rough edged couch, wifi thingy, and a small TV. Obviously there are more stuffs and things in a living room, the naturality of it is that it’s a small living room. The important bits.

We see Susila sitting on the couch, with her underwear and a big shirt most probably belonging to Rama. She is looking through her phone.

Rama is talking to his old/best friend, ELENA, 26 in the phone.

RAMA

Hey, it’s been quite some time isn’t it? How are you?

ELENA (O.S.) THROUGH THE PHONE

Yeah it has. I’m good. I’m calling because I’m in KL for the weekend and I was thinking maybe we can meet up?

SUSILA

Who is that?

RAMA

It’s Elena.

SUSILA

Oh, say hi to her for me please.

Susila continues reading something in her phone.

ELENA (O.S.) THROUGH THE PHONE

Is that Susila?

RAMA

Yeah it’s her.

ELENA (O.S.) THROUGH THE PHONE

Say hi to her for me.

RAMA

Elena says hi back at you.

Susila smiles at Rama.

ELENA (O.S.) THROUGH THE PHONE

So how about it? Do you think we can have a time to meet?

Rama looks at Susila for a brief moment. The camera then slowly goes around the living room to have another brief look at the place the couple is living.

And then it goes back to Rama as he answers Elena.

RAMA

Yeah sure. Why not. Just tell me the time and place.

ELENA (O.S.) THROUGH THE PHONE

Alright. I’ll text you the place later. This Saturday, let’s say around eight at night. Is that okay for you?

RAMA

Okay. Yeah. Yeah. Sure. See you then.

Rama hangs up. We then see Rama looking at his phone as he gets a text message immediately from Elena. The location she sends him is a cheap hotel.

SUSILA
What did Elena wanted?

RAMA

She wanted to meet up.

SUSILA

Oh. She does?

RAMA (O.S.)

Yeah.

A shot of the TV. I don’t have any clear reason for this. I just don’t want to see their faces.

SUSILA (O.S.)

Okay.

CUT TO:

BLACK SCREEN

The very loud sound of people having sex. The sounds of deep moaning and sexual huffs and puffs. After a few seconds the sounds get louder and louder. Like woo. It would be better if we make it seem that the people are fucking into a microphone, the audio I mean. It should sound passionate and raw.

ELENA (O.S.)

Yes! Yes! Shit!

CUT TO:

EXT. HOTEL - NIGHT

We have a brief shot of the hotel in which Elena have sent to Rama as the location of their meeting. It looks cheap.

CUT TO:

INT. HOTEL ROOM - NIGHT

Elena’s face is in focus. It’s pretty with long hair. Her face is inches from the camera, the camera is above her, looking down, almost like the POV of the person she’s having sex with. She is breathing extremely heavy. Her face which is light-skinned, is easily turning red and sweaty. She is about to explode.

ELENA

God yes. Yes!

The camera backs up to reveal Rama is fucking her.

RAPID FADE TO:

INT. HOTEL ROOM - NIGHT

Fast forward to time. We see Rama and Elena in the same bed. Sitting up in the big bed that is raised high of the ground. Both of them are just chilling, comfortable in each other’s presence. Elena is partially covered. The two of them are very sweaty and their hair messed up. There is a great feeling of heat and wetness.

The windows are open. We can hear the sound of the outside traffic circulating and also the hustle, cooking in restaurants, and the loud conversations going on in the city. The city is talking and they are inside chilling.

Rama and Elena are looking at each other. Elena starts talking. She has this slow and soft voice, a very trusting aura can be felt from her. Like she isn’t a snitch. Nothing like that.

ELENA

Henri (boyfriend) wants me to marry him. He said it was time. Nope. His own words were “This is the perfect time for us to be financially together. It just makes sense in an economical standpoint.”

Rama listen to her intently, giving her the opportunity to speak her mind.

ELENA

It was only time because he got me pregnant two weeks ago.

RAMA

Shit.

ELENA

No, you don’t have to worry. I got an abortion two days before coming here. I’m a shitty person, I know. I know. And the worse thing is, Henri doesn’t know I’ve got an abortion. So what will he think afterwards. Would he still want to marry me?

RAMA

Maybe. I don’t know. Henri is a boring person, but the man loves you. So, he probably still wants to marry you. Just be honest with him, you know?

ELENA

Yeah, honesty.

RAMA

Does he know you’re here with me?

ELENA

Yeah he does. That’s why I came here to meet you in the first place. Henri and I agreed, once we get married it’s just me and him. Nobody else.

RAMA

Oh. I see. So this is the end?

ELENA

With this thing we have?

RAMA

Yeah, it's ending?

ELENA

I guess so.

RAMA

I see.

ELENA

Enough about me. How about you and Susilla. How is everything?

RAMA

Everything is good. But I got something to say, and you might think I’m crazy.

ELENA

Go ahead. How long have we been friends? Since we were in high school. I’m not going to judge. So if you’re going to say you killed somebody I’m going to hide the body with you. Let’s go. Come on. What is it?

RAMA

What if I told you I saw Susila’s daughter?

ELENA

What? She has a daughter?

RAMA

No, she doesn’t. Yet, maybe. I’m not sure. But I saw her daughter. And she is all grown up, like you know around our age.

ELENA

Huh?

RAMA

It’s the eyes. The eyes don’t lie.

BRIEF IMAGE OF WULAN’S EYES. AND THEN CUT TO SUSILA’S EYES. AND THEN IMMEDIATELY TO RAMA’S EYES.

ELENA (O.S.)

So she was your daughter?

RAMA

I don’t know.

ELENA

Hmmm… Look I don’t believe you, but I also don’t think you’re crazy. Is that good enough. I mean where did you see her.

RAMA

First time would be when I was moving some stuff in this house, and she was there. Looks like she was living there. And then the second time I saw her was when I was walking back home the same day and she talked to me. Which was weird.

ELENA

So, did she told you she was Susila’s daughter then? That’s why you think she was Susila’s daughter?

RAMA

That’s the thing, she did. She really did said that. And you know what. I believe her. I think she is. But I just don’t know. I can’t put my finger why I do. It’s crazy and for the whole week I’m thinking about it.

ELENA

Maybe aliens? Or time travelling?

Rama laughs at this assumptions.

RAMA

You know, Susila. She is smarter than me in this sort of things. Maybe she can explain. But I didn’t tell her. But there was this one time, yes. We were talking and she was describing me how the universe is somebody’s head. Like I don’t know, God. Because the dots of the stars and galaxies are somehow similar to the brain cells in our head, you know. And that everybody alive right now is a figment of somebody’s imagination. Maybe this daughter, I think to myself is those actors in your dreams where they just pop up out suddenly and you can’t help but to think they are real and not real at the same time. I don’t know.

Elena listens to him patiently, trying to understand the words coming out of his mouth.

RAMA

Do you understand? Maybe you don’t. Susila can describe it better.

FADE TO:

INT. HOTEL ROOM - NIGHT

Rama and Elena getting dressed.

ELENA

How about that book you were working on?

RAMA

To be honest with you. Ever since I talked about doing it, I’ve never actually done anything with it. I’m too tired from work most of the times. And when you’re tired you either just don’t feel creative.

ELENA

Excuses. You should really focus on it. You’re a good poet. No, a great one.

Elena puts on her top.

Rama puts on his pants.

RAMA

Yeah, you’re probably right. The other night, Susila made me meet her friend.

ELENA
Her friend friend? That sort of friend?

RAMA

Yeah, Malik was his name.

ELENA

Shit, that must have been awkward for you.

RAMA

Very awkward in my part.

ELENA

I can tell.

RAMA

I didn’t want to meet him. But she insisted. And the man kinda tried to help me with this whole publishing thing, but it seemed so. It seemed so contrive and fake. And I just can’t handle it. Maybe it was jealousy. But I didn’t want to actually know him. And besides I haven’t done anything with the book. No work yet. Just an idea.

ELENA

Oh. But Henri likes you, he keeps talking about how much of a real person you are you know. Like real. (Laughs).

RAMA

He just thinks I’m real because I’m poor.

ELENA

Yeah, that’s why you need to write that book. Get money and get paid. And stop being so real, I hate that Henri likes you so much.

RAMA

Okay. I will. I’ll try.

ELENA

Do, there is no try. Remember that? We used to watch the whole thing in my house when we were teenagers.

They both laugh. They got to have this best friend type of thing going on, but then again there seems to be more.

We take a sudden shot of the windows, and what’s behind it. The view of the night city. Kuala Lumpur is the place to be, we need to make it feel like the city is the greatest city in the world.

ELENA (O.S.)

And, I get it. Maybe it is jealousy. Maybe it isn’t. It’s just feelings. Just don’t over think about him. And if you don’t feel like meeting him, why don’t you insist that you don’t want to. Honesty, right?

RAMA (O.S.)

Right.

CUT TO:

INT/EXT. ELENA’S CAR - NIGHT

We now see Elena and Rama by a car, Elena is in the car while Rama is standing outside by the driver’s door. The door is open.

ELENA

Are you sure you don’t want me to send you back home?

RAMA

No, it’s alright. I just feel like walking you know.

ELENA

Alright then.

Rama closes the door.

RAMA

All the best in your marriage.

ELENA

Hey! You’re going to be there for the wedding, right? Please say you will. I can’t get married if my bestfriend isn’t there to attend my wedding.

RAMA

Yeah, yeah. I will, obviously. Just send me the invite.

ELENA

Alright. Goodnight.

RAMA

Have a safe trip back to Seremban.

DISSOLVE TO:

EXT. WONDROUS SPOT - NIGHT

Rama arrives to the spot where Wulan approached him suddenly the other night. He walks there while smoking his cigarette.

He looks at his phone again. There is no new messages or missed calls. Just empty.

BRIEF CUTS OF THE SCENE WHERE RAMA AND SUSILA DANCING IN THE DANCE HALL ALONE.

There is a chime. Rama acknowledges the noise.

Suddenly the shot widens and see Wulan riding a motorcycle pacing her way towards Rama. She stops not far from where Rama is. We hear her voice, soft, but it’s still quite audible:

WULAN

Hop on.

Surprisingly Rama hops on and sits behind her on the motorcycle. No questions ask. Rama just hop on like he knew Wulan was going to be there and knew she was going to say that.

CUT TO:

EXT. MOTORCYCLE/STREETS OF KL - NIGHT

Rama and Wulan on the motorcycle. Cars passing through them. The headlights behind them are like the stars in this scene. It’s blurry, but it’s bright still. This is captured in a dutch view, very polar angular.

WULAN

Everything is going to look just the way it is now in the future. Nothing change much, maybe hairstyles. But other than that, there is not much difference.

RAMA

Well, that’s good. I like the way things are now. I’m still trying to make sense of the things we have now in this world.

WULAN

Hey can I ask you something? Do you love her?

RAMA

Susila? Your mother?

WULAN

Yeah, her. Do you love my mom.

RAMA

I do. I love her very much.

WULAN

Then tell me why didn’t it work for the both of you in the future?

Rama can tell from her voice, she is sad when asking this. He thinks of his answer properly, he seems to think this is his kid as well so the words coming out of his mouth should not hurt her, he thought.

RAMA

I don’t know. We can never know. Even if we see the future, or come from the future, relationships are never for certain.

CUT TO:

EXT. WULAN’S HOUSE - NIGHT

Shot of them arriving at Wulan’s house.

They take off their shoes. And place them ever so cutely aligned on the front door.

INT. WULAN’S HOUSE - NIGHT

Both of them enter. This shot is supposed to be magical please and thank you very much. Would you ever so kindly. :) It is important that it also feels magical, because Wulan and this whole thing does seem very real and vivid but at the same time it’s not. It feels cloudy.

RAMA

You know my name, I don’t know yours.

WULAN

Wulan.

RAMA

Wulan?

She leads him to the living room.

WULAN

Like the moon.

RAMA

Or like the heroine. China’s very own.

WULAN

Yes, just like her. But maybe backwards. (giggles slightly) My mother named me. She must have her reasons.

RAMA

Hey, can I use your toilet for a while?

Wulan points to a dark room.

WULAN

Go on right ahead. It’s behind the kitchen.

Rama shuffles off to the toilet.

Wulan moves to her stereo coolly, thumbs to scroll down her iPod/iPad and then selects a music to play. It is Sacha Distel’s Avec ces yeux-la (With These Eyes).

Rapid cut to a close up of the speakers as it plays the music smoothly. The music is not booming, it just seemed like only we, the audience and also Wulan are the only people who can hear it. Make it intimate. Like a secret.

Close up of Susila’s face. She smiles.

Rapid cut to a shot of her from the waist up, we see her do a cutesy jazzy dance to the music.

She dances her way around the room and finds herself in the front door where she picks up Rama’s dirty shoes.

Rapid cut to a close up of her hands inside the shoes.

She is playing with them, making them her dance partners. She is having way too much fun way too quick, so sudden so real. Wulan is one happy camper.

WULAN

These eyes!

She shouts!

CUT TO:

INT. TOILET - WULAN’S HOUSE - NIGHT

Rama stands at the sink, washing his hands, then splashes the water on his face. Soon after he stands there talking to himself.

RAMA

Is this real? Should I leave, say my goodbye? And go. This can’t be real. Can it? Maybe I’m the sudden pop.

Rama looks straight into the mirror, into the camera.

RAMA

If this was a dream, how would it end?

CUT TO:

INT. LIVING ROOM - WULAN’S HOUSE - NIGHT

Wulan sips a cup of tea as she sits leisurely on the big couch, very nice and warm. We can see the heat travelling outwards from the cup. As she sips, her eyes scan the ever so handsome Rama.

Cut to Rama as he walks back to the living room. He observes her sipping her tea, there sitting on the coffee table also awaits a cup of tea for him.

The music playing now is changed; it is now Jimmy Raney’s Everything Happens to Me.

WULAN

I made tea for you.

RAMA

Ah, I see. Thank you.

Rama picks up the cup.

WULAN (O.S.)

Be careful. It’s a bit hot.

Rama blows the cup of tea slightly.

WULAN

Don’t you just love it when somebody makes something for you when you’re away, and when you come back it’s there. Just ready for you. Just for you and nobody else.

RAMA

Well, yeah. It’s a sweet gesture. But you didn’t have to.

WULAN

Oh! But I wanted to! I really do.

They both take a sip of the tea at the same time. We capture a frame by frame shot of them drinking the tea, first Wulan’s lips then immediately Rama’s.

RAMA

I’m writing a book. A book with a story.

WULAN

Oh, what’s the story about?

RAMA

I don’t quite know yet. But each chapter of the book is written in poems and the whole collection of the chapters in poems of course, becomes one big story.

WULAN

A story you don’t quite know yet.

RAMA

Yeah.

WULAN

What do you have so far? I would like to listen some of the writings you have.

RAMA

Hmm… okay. It goes something like…

The music plays on as he release lines of his poems.

RAMA

Saya fikir dan harap ini bukan mungkir tetapi mungkin /

Mungkin saya jatuh untuk anda dan bila dengar janganlah dingin /

Ya ada kemungkinan bahawa saya jatuh untuk anda /

Dan saya pasti ini bukan perasaan yang datang untuk singgah /

Ya perasaan ini takkan ambil cuti bukan laluan angin /

Saya lihat laluan mata anda bersiar merata dan saya mahu datang juga.

WULAN

I love it. I feel like, like the book is here with me now. The story is here. It feels real. I can imagine it now, a woman falling in love with a man and another woman at the same time.

RAMA

You love it?

WULAN

Yes. Of course, love and falling in love has always had this great impact on me.

RAMA

Ah, I see.

WULAN

There is something my mom said to me that has always stuck in me. Would you want to listen? Word by word, I can rephrase her.

RAMA

Yes, I would love to.

WULAN

We abide by this misbelief that the entire concept of romantic love, or any form of love for that matter is held in order by the classifications of our human emotions. We’re so caught up with our strict concepts of what love is, and who can we love, we believe that love will vanish to the abyss if it is not explicitly expressed consistently. Permanently.

Rama is of course in awe of this.

RAMA

Amazing, for a moment there… I thought you were Susila. You looked and sounded just like her.

They both smile, but neither laugh.

FADE TO BLACK:

Over black we hear a television set being switched on.

FADE UP:

ON THE TV SHOW - FASHION SHOW, RUNWAYS AND SUCH

The commentator in the show is giving a detailed description of all the features on the outfits the models are wearing, which they normally do in these types of shows.

Off screen we hear a woman’s voice, it’s Susila.

SUSILA (O.S.)

Wulan.

DISSOLVE TO:

SUSILA’s POV

We’re in the living room of a very fancy ass KL apartment/condo in the future. Very posh and it’s clear and white. The camera is in the perspective of an aged and somewhat wise woman - Susila.

SUSILA (O.S.)

That there? Him?

Susila, still we are in here view, we see Wulan holding a picture of Susila and Rama together and she is showing it to Susila. This is the same picture we first saw in Rama’s bedroom.

SUSILA (O.S.)

That there. That man right there is the single most important man in my life. I’m sorry; he was the single most important man in my life. But you, my baby girl (the way she says baby girl is just like how Rama would say to Susila), are the most important person in my life for now and always.

RAPID FADE TO:

EXT. MALIK’S HOUSE - NIGHT

Susila walks up to the driveway leading to Malik’s house front door. When she gets to the door, she hears music on the other side. Also it is important to add that Susila is wearing something sexy, like a dark black dress. Her thighs can be seen. Ooh la la.

She pauses and looks at her phone; there is a message from Malik.

CLOSE UP OF MESSAGE:

“Hey Susila, the music might be loud when you arrive. We might not hear you if you knock. So we left the door open. Come inside when you get here.”

Susila puts her phone back in her purse. She takes this ‘okay let’s go’ breath and turns the doorknob.

CUT TO:

INT. MALIK’S HOUSE - NIGHT

As Susila walks inside this nice swanking house, the music that was behind the door swells drastically. Susila with her hands together and her mind cautious strolls inside the house. She checks the house out.

We take a short view of what Susila see. This very upper rich middle class house in suburban Kuala Lumpur. Refer to cousin Zahrin’s house.

SUSILA

Hello? Malik?

We hear steps coming in, it seems to be three people are walking into the same room in which Susila is in. The steps are seen through shots of feets walking out.

Susila standing where she is, the music beating, she looks at where the footsteps are coming from. We slowly zoom to this doorway Susila is paying attention to.

We slowly zoom from a shot where we can see Susila from the waist up slowly moving to her face, and we see her contemplating on who are the other two footsteps.

When we reach a close up, she walks out of frame.

CUT TO:

The camera follows behind the three people’s feet wearing socks, one feet belongs to a female (no socks/bare) as they walk out of a room together.

A close up of a man: CHAO, roughly in his 30s wearing swanky clothes, a close up of a woman: VICKY, roughly in her early 30s wearing something sexy in red comes out of the room with Malik at their side.

CHAO

Malik your guest is here, and what a sight she is to behold.

VICKY

Beautiful.

Chao and Vicky hold hands as they approach the spellbound Susila. They are also holding a glass of fine wine in their other hand. There is a mixture of elegance plus shadiness in these two people, something about them even though they are beautiful, they are like snakes.

In the background we can see that Malik is smiling by this circumstances.

VICKY

Susila?

SUSILA

Yes.

VICKY

I’m Vicky. (Brings up Chao) And this is Chao, my husband.

Chao collects Susila’s hand and slightly pecks on it. Actors should ad-lib the greetings to make it seem natural.

The music slows down; to the point it just becomes white noise.

VICKY

Now I know you are late into this discussion and I can understand the sudden confusion, but it seems an outside and fresh perspective on this matter would prove fruitful.

Vicky shows a picture of this painting we first saw when we saw Rama and Susila walking under the Malaysian heat on her phone. It’s the naked lady yet again.

BRIEF CLOSE UP OF VICKY’S PHONE - THE IMAGE OF SAID PAINTING.

Upon looking at the picture. Susila smiles in joy.

VICKY

Now I was just telling these two men here that this portrait defies this normality of being invade of your privacy. It is the challenge. It is by itself a challenge, yes. It tells us that it is not normal for women to be looked at like this. Do you agree on what I’ve just said?

Before Susila gets to say on this matter, she is cut by Chao.

CHAO

You see that’s the problem with women. You think that everything is a challenge against you. It’s all about you. And you. But this portrait, yes, yes, it’s a naked lady. But it’s about how the man appreciates the lady. The lady is the art, yes. The man paints this to capture it.

VICKY

No. I don’t think so. I disagree with you.

There is this sophistication in their speech.

CHAO

You always disagree with me.

VICKY

Because you are always wrong. (to Susila) But, again, what do you think of this painting? Your thoughts on our argument? Who do you agree on?

CHAO

Vicky, please. She is Malik’s guest. You don’t have to make her pick any sides.

VICKY

No, you’re just afraid to come to terms that I might be right. You hate it when I’m right, but you need to be proven wrong. I cannot and will not let your ego be fueled.

CHAO

(to Susila)

Now, Susila you don’t have to say anything on this.

VICKY

No, no. You can’t get away. I’m genuinely curious. I want to know what you think of this matter.

CHAO

We don’t have to put her into this uncomfortable position, it’s not her fight.

SUSILA

(very taken aback by this sophisticated conversation)... There is no contest. I think, I have to agree with you, Vicky. I’m very sorry Chao.

VICKY

And yet once again, in quantification. I am right. And you my dear, sweet lovely husband are wrong.

Malik comes into the discussion.

MALIK

Now, why would you agree with Vicky? In your own right, it’s a legitimate choice, but certainly you have your reasons. Please, educate us on your thoughts. (flirting with her)

SUSILA

This painting I think, you see, these kinds of painting you know the naked ladies and the flesh of naked women were originally made for the male gaze. And it’s just an excuse when men say; it’s just capturing raw beauty. But you see Van Gogh’s Starry Night, was that not beauty fully captured without any human bodies at all?

CHAO

Yes, and your point is?

SUSILA

What I mean is, yes this portrait, this woman looking right at us, the audience in disdain is a challenge because you normally paint a naked woman because you enjoy looking at her, it fuels your lust. It objectifies women, but in this portrait the woman looks back at you in disgust and you get morally uncomfortable because now she condemns you and she demands to be seen more than a painting, more than a flesh, but a woman, a human.

There is this pause from the three as they are in awe by Susila’s explanation. They are entranced by her answer and intelligence in general.

CHAO

You're right Malik. Of course now, I can see why you have fallen deeply in love with this woman.

VICKY

Truly a beautiful sight and a wondrous person to fall in love with.

FADE IN:

INT. A RICH HOUSE - VARIOUS LOCATIONS - NIGHT

It’s the same night only fast forward to a few hours. We juxtapose as a new music plays over. Music is something like Rhye’s Last Dance.

Close up of Malik dancing with Susila, the darkness in the windows can be seen, but the bright white light shining above them is fighting to give colour dispersion. They are smiling at each other.

They are a few people in the background, rich looking people with nice swanking clothes. These rich looking people are not dancing; they are just talking to each other, not even judging or bothering the couple having their fun. Chao and Vicky is nowhere to be seen. We want to see the couple being a real couple just as much as Susila and Rama is a real couple. This pure love for one another. They look like this couple who are so interested in each other so much it’s burning. Comfortable. Proud of what they do in each other’s presence.

Rapid cut and close up of Chao and Vicky dancing too. They are dancing in the same spot as Malik and Susila did before cutting to this shot, but Malik and Susila is nowhere to be seen. Chao and Vicky are smiling as well. And they are having a good time.

Rapid cut to a shot from the waist up of the two couples talking to the rich swanking people in this house. Talking about some fancy stuff, but it’s inaudible, the music is playing over.

Rapid cut to a shot of Malik and Vicky dancing in the same spot. They look like a couple.

Rapid cut to a shot of Chao and Susila dancing in the same spot, replacing Malik and Vicky. Much like Malik and Vicky, these two look like a couple.

Once that is captured, there is this confusion. We can’t be sure who is with who. There is no clear line. We then cut to the shot from the waist up of the two couples talking the rich swanking people in the house yet again. Like before it’s inaudible.

A close up of Chao suddenly touching Susila’s thighs, her dress is revealing so it’s not that difficult to capture.

Then a rapid cut to Susila’s face, a close up of her smiling to this touch. The kind of smile where you just feel like nothing is lost and yet a great thing has been given - not too giddy and happy like a bumble bee - more like a deep breath and a sudden victory kind of smile.

Vicky sees this and she holds her husband’s hand, not out of jealousy, but out of love and wanting. It should look natural, like the couple is used to this kind of activities.

A rapid cut to a close up of the couple, Chao and Vicky hands holding one another.

We go back to a shot from the waist up, they are talking yet again with the rich swanking people but we can see clearly all of their facial expression is a bit changed. More satisfied. Like each of them just won something.

Then Susila walks away from the discussion.

We then cut to a close up of Chao’s fingers slipping away from Susila’s thighs.

A cut to the same place where they were all dancing, this time there is no rich swanking people but people in their 20s. The youths wearing comfortable clothes dancing together and in the midst of the youths we can see Susila dancing with them. Amongst this youths, we can see Elena, Wulan and also Surya in there too but it doesn’t feel off or weird.

Rapid cut to the doorway leading to said place where the youths are dancing we see Rama, with his dirty jeans and company’s t shirt leaning on the doorway and looking at Susila having fun. He is smiling at this sight - this smile should look very obvious happy and if the situation is right it should also look giddy. Cute is not wrong in this instances.

The light above Susila is bright and she is under the spotlight.

We cut to see the lighting above her. It’s brimming.

A rapid cut to a close up of Susila noticing she is being watched, she abruptly looks at the doorway and smiles but she doesn’t stop dancing.

Rapid close up to Susila falling to the ground and then we capture her laughing but it’s inaudible. We capture her playfulness.

Rapid cut to Susila walking out of the place and she is heading to the house’s library. She is holding a glass of wine, a drink with alcohol substance of course.

Cut to Rama following behind her, but Susila does not notice this. Rama’s face should look like those hunters who are hunting their game, very enthusiastic yet hungry. But not too obvious.

Cut to Susila being in the house’s library. She looks around and finally approaches the shelves which is filled with these wonderful books. Books about everything and anything.

Close up to Susila, we see her being captured by a book.

Close up of said book. The book is The Dreamers by Gilbert Adair. It looks old and had gone through some rough times but survived nonetheless.

Immediately a close up of her taking that book off the shelf. She gently touches the cover, turns back to see the back cover and touches that part of the book gently as well.

Close up of her flipping the pages of said book.

Rapid cut to a close up of Rama opening the door to this house library where Susila is in. His eyes widen, his lips, curved.

Cut to Susila who is reading the book, but she turns to see Rama as he enters. There is a pause.

A sudden close up of Susila - we can see her face down to her chest- it’s very inviting and innocent, she wants us to be with her and touch her in all the places we want. This shot will last about five seconds. She blinks in the last few seconds, her mouth slightly open. Her shoulders slightly tilted forward for us. It is also important to note her expression is a bit stoic, very vague but inviting and - seductive.

Cut to Rama now, we see him wanting to touch her shoulders as he approaches her slowly. He is lifting his hands.

IMMEDIATE CUT TO:

INT. A DANCE HALL - NIGHT

Sudden rapid cut to the dance hall where we saw Rama and Susila danced together before, but this time it’s filled with the people we’ve met so far.

Close up of Rama and Susila dancing together, and not too far we can see Chao and Vicky dancing too. Immediately the shot travels to Elena and Surya dancing together as well, then in a continuous shot we see Malik with Wulan. All of them are wearing this swanky ass dance attire. Very classy. They dance, but this time it’s nighttime and the room is brimmed with the beautiful lights above them.

The same music is still being played.

Rapid cut to a wide shot of Rama kissing Susila as they dance together surrounded by these people we’ve met throughout this story. The people are the background of the couple.

IMMEDIATE CUT BACK TO:

INT. A RICH HOUSE - HOUSE LIBRARY - NIGHT

Sudden rapid cut to see Susila being kissed, her ass on the desk. The person who is kissing her is out of focus, but we see his lips making its way to her neck, her cheeks, her lips and Susila is in an upward lust over this sensation.

Rapid cut to a zoom out shot to see that the person kissing her isn’t Rama, but Chao.

Rapid cut to a zoom in shot of them going at it.

Cut to a close up of Rama looking at this sight, he is standing by the door of this house library. He looks disappointed. This feels like a dream motion.

Cut to a close up of Susila’s face. She gasps in lust as though she has been penetrated.

CUT TO:

Black.

CUT TO:

EXT. A RICH HOUSE - NIGHT

A zoom out shot of the two couples - Malik and Susila are standing side by side - Chao and Vicky are standing side by side - right outside of the house’s front door. The two couples are saying goodbye to the people inside. Waving hands and whatnot in front of the door.

The music slowly ends at this point.

CUT TO:

EXT. STREETS OF KUALA LUMPUR UNDER THE NIGHT SKY - NIGHT

This lake in Damansara. I forgot the name, it’s like a waterfront. Very calming. We see the two couples walking here next to the lake with the magical lights around them.

VICKY

I had a lover once; she was very passionate in everything. In everything she would do. And everything she would do for me. I was amazed by her.

SUSILA

What happened?

VICKY

I started hating her. At some point, we start hating everybody that loves us, yes?

Chao decides to squeezes in to the two women’s discussion and he does so playfully flirtatious.

CHAO

Yes, and this is why I don’t love you, my dear.

VICKY

No you don’t. And you never will. And that is why I will never hate you either.

SUSILA

But I’m curious, why did you start hating her. (to Vicky)

A quick cut to Malik as he asks his question.

MALIK

Yes, why did you start hating her?

VICKY

I don’t quite know. Maybe… maybe, because the people you hate are just reflections of your own flaws. I hated her probably because I could never love her like how she loved me.

The camera slowly moves to the side and captures the lake, leaving the two couples out of frame as it proceeds it’s journey.

CUT TO:

EXT. MONTAGE/KUALA LUMPUR - NIGHT

Malik and Chao is showing the girls around.

Then we cut to Kuala Lumpur in quick shots. What people do at night. Kids going out and having fun. Some young motorcyclists are hanging out. But we hear voices over the shots.

CHAO (V.O.)

I can never get a hold of this city. Sometimes I hate it so much, but then sometimes with nights like this, I love it so much.

VICKY (V.O.)

Yes. There is just something about this city.

We cut to Pudu where girls are standing there selling some coochie.

CHAO (V.O.)

Susila?

SUSILA (V.O.)

Yes?

We cut to a shot of the couples leaning against metal railings; they are looking at the lake, while we capture their backs.

CHAO (V.O.)

Do you love Malik?

SUSILA (V.O.)

Yes I do.

CHAO (V.O.)

And yet Malik has told us you have another love, is that true?

SUSILA (V.O.)

Yes.

CHAO (V.O.)

Do you love him?

We immediately cut to a close up of Susila.

SUSILA

With all my heart. I love him.

CHAO (O.S.)

How is this possible? How can that love be divided?

VICKY

Yes, this is very interesting. How can you love two people at the same time?

SUSILA

Love to me, love is not for one person at a time. Love is consistent. It is given and it receives at all times.

CHAO

(to Malik) And you, Malik, my friend are you fine with this?

We cut to Malik and we see him smiling by this question, he does not answer. We can also see he is a bit confused, but his confidence clouds it very masterfully.

SUSILA

I realize that there is harmony, this serenity in knowing that love is just love and there are no bounds to it. There is no need for binding it. But we do put bounds to it, don’t we? And we pressure it to be this thing that it shouldn’t. We believe people don’t love us just because they don’t love us just like how we want them to. This pressure deforms love into this ugly thing.

VICKY

Again, I am still confused. This doesn’t explain why and how it is possible for you to divide your love like this? So honest and true nonetheless.

SUSILA

I think like this. I know why I think like this. But I don’t think I can ever make anybody understand why and how I think this way.

CHAO

Malik, you have an interesting young woman here. More interesting than you would like to think.

FADE OUT:

Black.

FADE IN:

EXT. STREETS OF KUALA LUMPUR - NIGHT

We see Malik and Susila saying their goodbyes to Chao and Vicky.

The couples then walk in the opposite direction. The lake can be seen in the background, it’s wide and dark, but the glistening is quite obvious to note it’s a body of water.

CUT TO:

INT. BOHEMIAN CAFE/OSWEGO BAR.WINE - NIGHT

Malik and Susila are by the bar in this bohemian cafe. It’s not filled with people; it’s near to closing time. They are sitting there with their elbows on said bar, just chilling and chatting. Like a couple who had gone through the night together. They are in the same shot together.

MALIK

Did you enjoy the company of my friends?

SUSILA

Yes, I did very much. They are so lovely. And they always argue yet they never fall short of supporting each other.

MALIK

Did you mean what you said?

Susila confused, perplexed by this sudden question. And it is important to note that Malik immediately turns serious.

SUSILA

What is that?

MALIK
That you love me?

SUSILA

Yes. I do love you. That is true. You make me happy.

MALIK

And you also, love… Love him… Rama?

SUSILA

He is my best friend. My lover. He supports me always. I can’t see a world where I do not love him.

We see Malik, his face getting more serious by the passing precious seconds and he wants to release something he has been thinking the whole night.

SUSILA

What is the matter? Are okay Malik?

She touches his chin ever so gently you think Malik has been touched by God’s back hand.

MALIK

I want you just for myself, Susila. I… cannot stand to think another man have you too. I can’t. It’s killing me. I just want you. I want you only for myself. And I just want you to only want me. I want to be your everything, because Susila, Susila, oh Susila, you are my everything. Please, if you love me like you said you do. You must leave him and be with me. Just me. Nobody else.

Susila immediately pulls away her touch. She is shocked and saddened to hear this at the same time. She does not know what to say. And yet she does.

SUSILA

Oh, Malik. My dear. I… I cannot do this… I cannot do this to Rama.

MALIK

Then do it for me? Please.

SUSILA

(rising off from the bar stool) I should go. Rama is probably missing me. I need to… I just don’t understand how can you ask me this…

MALIK

I’m sorry. (rising off the bar stool as well) Let me take you home.

Susila stops him from rising up by slightly pushing his chest down.

SUSILA

No, no… I need to go and think. I’ll take the taxi.

MALIK

No, I wouldn’t want you to go back home alone like this. Please, let me take you back.

SUSILA

I’d prefer if you don’t Malik. Please understand. I need to be by myself and think. But thank you for tonight.

And she goes. He follows her to the door, but alas she walks out of the frame and is now gone.

And then we capture Malik looking at her as she goes, he is stressed and mystified. He thinks and ponders his words and his request.

The camera is now slightly dreamy like.

Presently, Surya is there with Elena and also Wulan. They are all in nice clothes, the girls in dresses and Surya in a suit. The group are sitting in a table together. Surya gestures towards Malik to sit with them.

Surprisingly, without thinking it’s weird or out of the extraordinary Malik walks to them and sits with them as though all these people who have never met each other, knew each other very well.

The shot enlarges as Malik takes his sit with these good and yet mysterious folks.

There is no confusion in any of them.

To add, we can see that Wulan perch in the far corner of their sitting arrangements. She is absent minded.

SURYA

I agree with what you did.

MALIK

Huh?

ELENA

Maybe in a one sided perspective, yes it would make sense to agree. But we should step back and examine this situation in whole.

SURYA

(to Malik) See, I think you are very sensible in this matter. It was only right for you to ask her to only be with you. Not selfish at all. If she truly loves you, she will do what you ask for. In fact, if there is love between the both of you, she will do anything you ask.

MALIK

Yes. Yes. But to her, love is equal. And I truly believe that she loves me. But maybe it was too much to ask for.

ELENA

Love is love, you receive it? Good. Why do you need to ruin it?

MALIK

I don’t know. I don’t quite understand myself.

SURYA

(to Malik) Then answer me this, do you want her to be in your life?

MALIK

Yes. Obviously.

Elena is seen paying very much attention to this, while Wulan is drinking her drink and not paying much attention to this conversation.

SURYA

Do you want to grow with her?

MALIK

Yes.

SURYA

Do you want to support her as best as you, as long as you can?

MALIK

Yes. Of course.

SURYA

Do you think you want to marry her one day, and raise a family together?

MALIK

Yes, I’m quite sure I want to. I cannot see anybody else to do with in my life.

SURYA

Then what you asked for was not too much, honestly, it’s the least you can ask for.

ELENA

But have you not considered her view in this whole thing? She loves you, yes that is true. But she also loves Rama. It would be selfish to take her away from him. What about him? His feelings?

SURYA

True. Hmmm… Rama is a good man. Too good for his own good. And he does matter in this whole thing too…

Quick close up of Wulan. She is about to speak.

WULAN

Maybe I could go to the past.

FADE TO:

EXT. FLEA MARKET PETALING STREET - EVENING

Rama has just finished his work, he is still wearing his company’s t shirt and his dirty jeans. He is seen browsing the stores in the infamous Petaling Street during its evening times.

He goes to a shop where they sell posters of movies, albums, and such and such.

We see him buying a poster of the movie, Back to the Future.

He smiles and says thank you to the shopkeeper.

CUT TO:

EXT. WULAN’S HOUSE - EVENING

Fast forward into the near future. We see a shot of Rama arriving in Wulan’s front gate. He slides through the gate by opening it, and then approaches the front door of the house and knocks on it.

He is then greeted by Wulan of course. He enters after taking his shoes off. The poster is in his hands.

CUT TO:

INT. WULAN’S HOUSE - EVENING

Close up of the very same picture Rama has of him and Susila together in his bedroom.

We slowly zoom out to see Rama is staring at the picture very intently, the picture is framed differently that his own and it is on Wulan’s TV stand. But without a doubt that’s the very same picture he has of him and Susila.

Cut to a high angle shot of Rama looking down at the portrait.

Cut to a shot of Rama snickering at this picture.

WULAN (O.S.)

You look very tall in this picture, and many pictures of you with my mom. You always look tall. But… you’re not that tall.

RAMA

I guess so. I’m sorry to disappoint.

WULAN

No, you have not at all. But I would like to apologize.

RAMA

What for?

WULAN

The other night I asked why it didn’t work for you and my mother in the future… I should have not said that neither should have I put you in that position. It wasn’t fair.

RAMA

It’s okay. You have your reasons. You wanted to know. It’s okay to want to know these things.

There is a pause.

We pan out to see them standing in front of each other in the same shot.

RAMA

Oh right. I came here to give you this.

Rama hands her the poster he just bought from Petaling Street.

She smiles at this gesture as she opens up the poster, and after admiring it she places the poster on the couch.

WULAN

This is very cute, and at the same time it’s funny considering my circumstances.

RAMA

My friend, her name is Elena. We always watched movies like this when we were in school.

WULAN

Elena?

RAMA

Yes. She is getting married soon.

WULAN

Oh. You don’t seem that happy for her.

RAMA

Maybe, it’s just her getting married makes me think of my relationship with her and also with Susila.

WULAN

What about it?

RAMA

You get a strange feeling when somebody you love and they love you the same amount leaves. Elena getting married makes me feel like…  I’m a place she no longer wants to visit because now… she is different. And that’s not a bad thing, but also it’s not the best thing… maybe for me. And knowing that she won’t ever be the same makes me feel like I’m not there anymore and she is not here anymore… for me.

WULAN

I think, I know this feeling.

RAMA

Hmmm… I was thinking. And I think you would know why I’m thinking about this, but I just have to ask. Wulan, Who is your father?

WULAN

I don’t know. I would never know. And to be honest with you, I don’t think I will ever know.

RAMA

Oh…

WULAN

My mother, she said, whoever my father might be is not important. What’s important is that I’m her baby girl.

RAMA

(smiles) She said that? Baby girl, I mean.

WULAN

Her own words.

RAMA

Then, I would like to know also, why did you come to meet me? You did come here to meet me didn’t you?

WULAN

Yes. Because I told you already. Love has had always a great impact on me. You are the man my mother loved, and I believe she still does. It would only make sense in my point to see why is that so.

RAMA

And?

WULAN

And I can understand why she does.

Again there is a pause between them, and we zoom out to see them together in a shot.

We cut to a close up of Wulan’s facial features. She is seen very well pleased.

Rama’s mobile phone rings up while we still have a close up of Wulan’s face. When the phone rings, her eyes widen. How people would react when you having a conversation with someone and the phone rings.

Rama searches in his pockets for his phone and answers it immediately.

RAMA

Hello? Yes… Where am I? I’m out. Wait, where you are you? Okay. Okay, wait. I’ll be on my way. Don’t worry.

Rama puts his phone back to his pockets.

RAMA

I have to go. My friend’s wife just left him. He needs uhm… some company. I think. I mean, I know.

Rama walks away from the frame, but we see Wulan. She looks satisfied yet again as he walks out of her house.

CUT TO:

INT. RAMA’S HOUSE - LIVING ROOM - MIDDAY

Rama and Surya is in the house already. We can see that Surya is sitting on the dining chair, he looks like he had been crying the past few hours with his eyes red and snotty nose. Rama and Surya are wearing their usual work clothes.

Susila is in her office clothes. She walks into the house and enters the shot not before taking her shoes off. She carries her purse and a bottle of vodka in her hands.

RAMA

Oh baby girl. Thank you for coming. And buying that. Surya needs a drink real bad.

SUSILA

I came as soon as I left work.

Susila walks towards them. She hands Rama the bottle of vodka and slowly caress Surya’s back in a friendly way.

SUSILA

I’m sorry for what happened to you. (to Surya)

RAMA

I just can’t believe it happened. You guys were married for such a long time. How could she leave just like that.

SURYA

Because my wife is a selfish person. That’s why. And how could you forget to buy alcohol when I told you to?

RAMA

I’m sorry I forgot. But look Susila got some for us.

Rama opens the bottle of vodka.

Close up for the bottle being opened. Rama’s hands twisting the bottle cap.

CUT TO:

INT. RAMA’S HOUSE - NIGHT

Fast forward to the near future, hours passed now. Surya already a bit drunk. They are all sitting together, surrounding each other.

On the table there is three glasses, half filled with vodka. The vodka bottle can also be seen on the table. Also on the table is an ash tray. They are lounging just straight chilling, this should feel loose, we peek at how they are sitting. Very consuming like ambiance. Surya and Rama are smoking cigarettes like tired men.

We go for a close up of Surya and Rama in a shot together. Rama is behind Surya. We see Surya not sad anymore, they talked it out and his head is clear from the pain but not from the alcohol. Surya with his cigarette between his fingers looking very bleak, he speaks.

SURYA

You can never know anybody can you? No matter how long you know them.

SUSILA

I guess so.

RAMA

Yeah.

SURYA

You guys ever saw that movie.

RAMA

What movie?

SURYA

I don’t know what movie. I forgot what I was talking about. This movie about the past.

Surya taps his cigarette ashes on the ash tray.

SUSILA

The past always seem better than it is now.

SURYA

You know, I met my wife in the past. We got married in the past. Then when got to the present, we just don’t know each other. It’s so strange. We went through it together only to find out we never knew each other that well in the first place. And by then, we can’t seem to understand how we are supposed to go to the future together.

This is a conversation of drunk people. But we want it to be sweet and kind, people are so caught up with this drunk talk being vigor dirty talks so this scene is set up to defy that.

Rama sitting up, he leans forward. He taps his cigarette ashes in the ash tray. Having heard what Surya said, he replies.

RAMA

You know I met somebody from the future recently.

SURYA

Yeah? How do they look like?

RAMA

Like my baby girl right here. (points at Susila)

They laugh including Susila, and then they take a sip of their drinks.

There is a pause. We go for a wide shot of them in one frame. They look tired.

SURYA

You guys feel hungry?

SUSILA

You know I feel like some noodles.

Susila rises up from her seat.

SUSILA

You guys want maggi?

RAMA

Yeah.

SURYA

Sure.

DISSOLVE TO:

INT. RAMA’S HOUSE - NIGHT

They are all seen eating a bowl of instant noodle soup in the same dining table they were chilling in the previous shots.

A close up of said noodles.

Surya finishes his meal first. He leans back, his back on the chair.

SURYA

I’m here thinking about you two now.

RAMA

(mouthful of food) About us?

SUSILA

What about us?

SURYA

Now, I am not one to judge. And I am not saying what you guys are doing is wrong. But how does this work?

SUSILA

What do you mean?

SURYA

How does your relationship work? Like to me, it doesn’t make sense. No. No. I think to everybody who is not the both of you, it doesn’t make sense.

Susila takes this in. Slightly punctured by Surya’s statement, but she is delighted to answer anyway.

SUSILA

Maybe because we have an understanding. I don’t know. Maybe. I don’t know, Surya. But I love him, and I’m sure he loves me too. And I think that’s enough. Is it enough Rama?

RAMA

You know it, baby girl.

Close up of Rama.

Rama has just finish eating his noodles, we then see him places his chin on the table.

RAPID FADE TO:

EXT. BENEATH THEIR APARTMENT - NIGHT

Fast forward to a few hours. It’s very late night. We can see them all under the apartment. They are all about to say their goodbyes.

RAMA

Are you sure you can drive back home?

SURYA

Yeah. I can, don’t worry about it.

RAMA

Are you sure?

SURYA

Yes I can. I can. Please don’t worry about it. You guys helped me way more than I asked for tonight.

Surya has sober up now. He is capable. He walks straight and his mind is right.

SUSILA

If you ever feel like coming over and just talk, you are more than welcome.

RAMA

Yeah, anytime.

SURYA

Thank you. And goodnight.

SUSILA

Goodnight.

Surya makes his way to his truck. The couple - Malik and Susila - standing where they are, looks at Surya as he goes off. We slowly zoom from a medium shot to a close up of the couple as they contemplate on Surya’s state at the moment. When we reach a close up, they walk out of frame. We are still in the same shot, but there is nobody there other than the empty space and the background of the apartment area.

RAMA (O.S.)

I feel like walking. Do you want to take a walk with me?

SUSILA (O.S.)

With you? Yeah. Sure.

CUT TO:

EXT. WONDROUS SPOT - EARLY MORNING CLOSING TO SUNRISE

Rama and Susila are walking in the wondrous spot where Rama is usually seen alone and approached by Wulan. But this time Rama is with Susila, and they are walking together, side by side. As usual, Rama smokes his cigarette here as they walk together. With Susila in this shot, it seems more romantic than anything now.

Susila kisses Rama’s cheeks.

RAMA

You alright? What was that for?

Looking bespectacled, she looks at him yet again as if she is the luckiest girl in the world.

Then a rapid cut to a close up of her face, she looks a bit sad.

SUSILA

I don’t know. I don’t know why. But I wanted to. I’m happy you’re here. With me, and we are together.

RAMA

But… you look…

SUSILA

(interrupts him) Everything is moving fast isn’t it?

Rapid cut to a high angle shot of them walking together. We can’t see anything much, just the two of them and the road they are walking on. It would be best for the light to hit the road as they walk.

Rama wraps his arms around her shoulders as they continue to walk.

RAMA

Yes. Everything is moving fast.

Cut to a shot from a far. The camera is a few feet from where they are and as they talk, they slowly approach the camera.

SUSILA

Do you ever talk about me with other people?

RAMA

All the time.

SUSILA

I like that. I like when you talk. You talk about me. Because when I talk, my mouth just keeps on talking about you too.

RAMA

We’re just two people who like to talk about each other don’t we? We gossip about each other.

Rama talks a drag of his cigarette.

SUSILA

Like the other day, I was shopping in… I don’t quite remember whether it was in Topshop or H&M, but this song was playing. Ah, I don’t remember the song, but it’s very smooth and it’s so calming. And I know you would have loved it, it was just so you. And I approached this woman in the store suddenly, I said to her “Rama would have love this song!”

RAMA

Who was the woman?

SUSILA

I don’t know. (giggles) But I just had to tell somebody about you. You know, like I just had this urge to go to somebody and talk about you whenever I see or hear things that reminds me of you.

RAMA

What happened then?

SUSILA

What do you mean what happened then? And then after I talked about you. I think of you. And after I think of you, I talked about you again.

They laugh obviously from this and by this point they are close to the camera. Not more than a feet away.

DISSOLVE TO:

EXT. WONDROUS SPOT - SUNRISE

They pull up at a bench. They take a seat at said bench.

We can see the sun pulling itself out. The sky slowly has colour, the night has ended and a new day has started.

RAMA

If you have a daughter…

SUSILA

A daughter?

RAMA

Yeah, a daughter. Like you know, your kid. What would you name her?

SUSILA

Hmm… Probably something strong and yet soft and beautiful at the same time.

RAMA

Wulan?

SUSILA

Hmm… No.

RAMA

Wulan is a good name isn’t it?

SUSILA

Yeah it is, but I wouldn’t name my daughter Wulan. It doesn’t make sense to me.

RAMA

Then what would make sense for you?

SUSILA

Maybe Adella? That’s a nice name for me.

RAMA

Really? I mean okay. But, really? Come on, Wulan to me. That’s a great name isn’t it?

SUSILA

Why do you care so much?

RAMA

I'm just curious why wouldn’t you name your daughter Wulan, because the name seems perfect.

SUSILA

Okay, look here is the thing if it makes you happy, if we have a daughter together, I will name her Wulan. Is that okay for you?

RAMA

Okay. Okay. I was just asking.

SUSILA

But why did you ask in the first place?

RAMA

I don’t know. I was just curious.

SUSILA

If you put much curiosity in your book, you might have finished it by now.

RAMA

Oh. It is finished.

SUSILA

Really?

RAMA

Yeah. It’s done.

The sun is in their view.

SUSILA

Look at that, that is so beautiful.

Rama looks at Susila. Again, kill me if it's too cliche and cheesy.

RAMA

Yes it is.

CUT TO:

INT. BATHROOM

Rama is seen picking up the card Malik gave him in the beginning of the story, the one he threw in the small bin.

We get a close up of Rama uncrumpling the card, and then he walks out of the bathroom with the card and his mobile phone in his hand.

CUT TO:

INT. LIVING ROOM

We then see Rama calling the number in the card.

Rama takes a sit on the dining chair as he awaits an answer.

RAMA

Hello is this Malik’s secretary?

SECRETARY (O.S.) THROUGH THE PHONE

Yes, who is this and what can I do you for?

RAMA

I’m a friend of his friend. My name is Rama, Malik told me I can call up and set up a meeting with him at anytime. Is he in?

SECRETARY (O.S.) THROUGH THE PHONE

Yes, he just so happens to be here.

RAMA

Can I speak to him?

There is this silence as Rama awaits an answer.

SECRETARY (O.S.) THROUGH THE PHONE

Yes, please hold on. Mr. Malik would be in the line in any moment now.

MALIK (O.S.) THROUGH THE PHONE

Yes, Rama?

RAMA

Malik?

MALIK (O.S.) THROUGH THE PHONE

Yes. So Rama, I hope you are calling to tell me you finish with that book Susila has been promoting.

Rama takes a cigarette and lights it before answering.

RAMA

Yes. It just so happens that I’m finished writing the book. Are you free anytime soon? I would like to take that offer.

Malik does not answer immediately. There is yet again this silence, very enthralling yet suspensing.

Close up of Rama taking a drag of cigarette. He is a bit tensed as he awaits an answer.

MALIK (O.S.) THROUGH THE PHONE

Are you free this Saturday?

RAMA

Yes.

MALIK (O.S.) THROUGH THE PHONE

Alright. Well… Shall we say this Saturday at five?

RAMA

Okay.

MALIK (O.S.) THROUGH THE PHONE

Do you like art galleries?

CUT TO:

EXT. KUALA LUMPUR/PAVILION

We take an exterior shot of the building - Pavilion. To just set up the next shot.

CUT TO:

INT. PAVILION’S ART GALLERY/ODE TO ART - EVENING

We are immediately cut to a shot of Rama and Malik in one frame looking at the camera’s direction, but they are actually looking at an empty space in the art gallery.The frame is medium, we can only see their heads down to their shoulders only.

Behind them, as background, we can see people looking at the nice and beautiful art displays in this gallery.

Rama slightly tilts his head.

RAMA

I don’t get it. What are we looking at? What is this suppose to mean?

MALIK

We’re seeing nothing.

RAMA

Is nothing supposed to mean something here?

MALIK

No, the painting that was supposed to be here, is not here anymore.

RAMA

Oh.

We cut to see what they are seeing, nothing. Just an empty wall well lighted.

Then we cut back to a shot of them together yet again, Malik turns to Rama.

MALIK

Do you love her?

RAMA

Yes. I do.

MALIK

I love her too, is this a problem?

We cut to see a sculpture in the gallery. It’s a red boy naked, crying.

RAMA (O.S.)

It’s your emotions and feelings. I can’t do anything about it.

Cut to a close of up Malik. He looks stern.

MALIK

I want her only for myself. Is that a problem?

RAMA

Are you asking me whether I think Susila should leave me for you?

They start walking around the art gallery.

MALIK

Yes.

RAMA

Yes, that’s a problem for me. But it’s not my choice. It’s hers. I can’t decided that.

MALIK

I brought you here today… because I have an offer for you.

They pause. We then in a continuous shot move the camera to the side until they are out of frame and off the screen.

The camera does a three sixty degree angle view of the art gallery, very beautiful. Beautiful people can be seen working here as well.

MALIK (O.S.)

I want you to leave her. In return, I will make sure your book is published. I haven’t read it, but believe me if you accept this offer I will make your book the best damn book in this country no matter if it’s full of shit or not.

The camera then cuts to a close up of Rama, he doesn’t look shocked. He is just stoic and tries to keep his cool under this circumstances.

RAMA

I’m sorry. I cannot do this.

MALIK

I love her. I know she loves me. But I also know she loves you. But damn it, I also know I am best for her. Rama… Just leave her.

RAMA

No. I can’t do that. I just can’t…

MALIK

This is wrong. Do you know that? It’s not healthy.

RAMA

You have no place to say that.

MALIK

You can’t share somebody like this. I cannot share her like this. Whether you like it or not, you have to leave her. I will give you money. I will get your book published. But you must leave her.

RAMA

I cannot leave her just like that.

MALIK

You have to.

RAMA
Then I don’t want your money. And it’s alright, I don’t need your help in getting my work published. I’m sorry. But I have to go.

MALIK

You have to leave her. She has to belong to somebody.

Rama tries to walk away from Malik, but the man pulls him back as he tries to leave.

A quick close up of Malik grabbing Rama’s arm.

CUT TO:

INT. PAVILION’S ART GALLERY/ODE TO ART - EVENING

Rama and Malik are staring at each other just like how two people who have been friends would stare at each. With light heartedness and content of each other’s presence. They are in the same frame.

They are two friends finding the tiny bits of trust in each other. There is this very merry impression they are creating and it is shown through the screen.

CUT TO:

INT. PAVILION’S ART GALLERY/ODE TO ART - EVENING

We are back to reality, and Rama’s arm is still being gripped by Malik.

RAMA

Please. I don’t think there is anything left to say here.

MALIK

I have to have her only for myself. What you guys are doing is not right. It’s wrong.

Rama does not answer, instead we cut to a shot where we can see a clear shot of the two in the same frame from their head to their hips. Rama slides away from the grip, and in an instant Rama slaps Malik. It’s a strong slap. So hard that Malik’s face turned to the side from the impact.

He recoils and touches his face.

There is this noise echoing the frame.

We rapidly cut to the people in the art gallery. Many of them are in shocked and made this ‘O’ face like something horrible just happened. But it’s just a grown man getting his face slap.

We then cut to Rama, it’s a close up. His face very regretful. He then takes a deep breathe.

RAMA

You don’t have the right to say something like this.

Cut to a shot, this time a close up of yet again the red naked boy, crying.

In a continuous shot, we go for the next sculpture. It’s the same boy, but he has different emotions, not crying. Laughing maybe.

FADE TO:

EXT. KUALA LUMPUR/PAVILION

We take different shots and different parts of Pavilion in this sequences. God I hate this place, but it has it’s elegance, I give it that much.

CUT TO:

EXT/INT. JUST OUTSIDE OF RAMA’S APARTMENT UNIT - EVENING

Rama arrives to his house only to see that Chao, a man he has never met before walking out of his house. Chao is seen putting his shoes on. Chao, much like Malik wears very nice swanking clothes.

Rama is very lumpy, very despondent to say the least.

RAMA

Who are you?

CHAO

Excuse me?

RAMA

You just walked out of my house. I ask again, who are you?

CHAO

Oh, oh… I see. You must be him.

Chao reaches out his hand.

CHAO

I am Chao. I am a friend of your… would you say lover? Girlfriend? I don’t know. I don’t quite understand this whole thing. But I can say I respect it. There is this complexity in it that I admire.

Rama ignores Chao’s offer of a handshake.

After realizing Rama won’t shake his hands, Chao without any realization of hostility, pulls back his hand casually. Yet, the man still has the bravery to smile at Rama like nothing weird had just happened. We cut to a close up of this smile.

To Chao, he thinks this couples is used to strangers coming in and out of this house.

RAMA

What are you doing here?

CHAO

What is that?

RAMA

I’m asking, what are you doing here in my house?

CHAO

Well, wasn’t it obvious? I came to see Susila.

RAMA

What do you want from her?

CHAO

Again, is it not obvious?

RAMA

What did you do with her inside my house?!

At this point, Rama is quite enraged. And he is starting to raise his voice.

A quick close up of Rama’s hands. It’s clutched.

Chao notices that Rama is getting angry. He is a bit frightened, but being this type of person which he is, this type of people who always think they can talk their way out of nasty situations and spots. Chao looking like a real suspect now.

CHAO

Look. I can see that you are angry. But I thought this sort of thing, you with Susila is normal?

RAMA

Chao?

CHAO

Yes.

RAMA

You’re Chao?

CHAO

Yes. Are you okay there?

Rama stares up at Chao, there is this intimidating look he is giving out and it can be heavily reflected in his eyes as the scene intensifies.

RAMA

I’m asking you. What the hell are you doing here?!

Rama steps in closer to Chao, his voice rising, the rage escalating.

CHAO

Look I don’t want any trouble.

In an instance Rama slaps Chao across the face, then lunges at him, slamming him against the wall, Rama’s hands clutching Chao’s neck.

Cut to a close up of Rama’s apartment door open. Coming out of said door is Susila.

Cut back to Rama and Chao. Chao is seen trying to push back, struggling to break loose, but Rama refuses to back down.

Then cut to a shot where Rama pummels Chao across the face, knocking him to the floor. For obvious reasons, Susila cries out in horror.

SUSILA

Are you crazy?! What the hell is wrong with you?!

Susila in an instance pull Rama away.

RAMA

I’m sorry… I didn’t mean to.

Susila helps Chao up, Rama just backs away and he looks at the damage he has done.

SUSILA

Why did you have to hit him?!

RAMA
Why did I hit him?! Are you seriously asking me why I hit him?! You have got to be playing! How about why was he here in the first place? Who is this?!

In a daze, Chao crashes back onto the floor. Susila tries her best to get Chao back to his feet.

SUSILA

What is going on with you? Just back off!

Back on his feet, Chao pushes Susila and goes away. He is out of the frame very quick.

Cut to Rama opening his apartment door and goes in, he slams the door behind him.

We cut to Susila following him inside. She opens the door back and steps in.

CUT TO:

INT. RAMA’S HOUSE - LIVING ROOM - EVENING

Susila hurries to see Rama in the living room of their house.

Rama is seen fidgeting; he is looking at the entire place very panicky.

He is wondering if they had sex on the couch, or maybe in their bedroom, or in the bathroom, or maybe on the dining table. He feels very betrayed right now. The pain can be felt through his expression. It feels like something has been cut, something is bleeding, something is pouring.

SUSILA

Rama…

Rama turns to her, she approaches very quick without a second thought and kisses his cheeks. The kiss is caught in a close up, and from here we can see that Rama is crying a bit, his tired eyes are beaten, a bit teary indeed.

After being kissed, he tilts his head a bit as if he is using his jaw to push her away.

RAMA

Who is that?

When Susila speaks, she whispers. We can hear her starting to crack up a bit.

Rama’s arms is crossed.

SUSILA

A friend.

Susila feels guilty. We can see that she is breaking a bit too. She knows she did something wrong, but she still acts like she didn’t.

As Rama speaks, it’s very cold.

RAMA

What did you do him with here?

SUSILA

Baby… isn’t it… I think you know.

RAMA

Then why don’t you just say it! What did you do with him here? Just say it!

SUSILA

You know what we did, why are you asking me this if you know.

RAMA

Just say it. Just say what did you do with him here.

SUSILA

Please don’t do this to me. Just… you know. You already know. You don’t have to make me say it.

RAMA

Come on. What did you do with that man in this house, in our house?

SUSILA

Rama…

Susila takes a breath, she is starting to cry now. Matter of fact both of them look like they are about to cry, but Susila looks more obvious.

RAMA

Why can’t you just say it?

SUSILA

We had sex.

RAMA

Where? Here?! In this room?! In our bedroom? Where we sleep? Where?!

SUSILA

In our bedroom.

RAMA

Since when did you see him?

SUSILA

Since last month.

RAMA

Do you love him?

SUSILA

No.

RAMA

Then why did you do it?

SUSILA

Because…

RAMA

Why?!

SUSILA

Because I wanted to.

Susila’s face is starting to tear up, her eyes watery. She is crying, we can see her jaws twitching trying their best to hold the tears down.

RAMA

What’s the matter with you? Why are you like this? It’s like I don’t even know you. I look at you right now, and all I see is this stranger. This selfish little stranger.

SUSILA

Don’t say that. Don’t you say that Rama. You know me, I’m your baby girl.

RAMA

You know, that night… I didn’t have to be there. I didn’t have to meet Malik. I didn’t want to! What the hell, Susila! Why the hell would I want to meet him? And now you’re pulling this kind of stuff. Don’t you see how messed up that is?!

SUSILA

So what are you saying?

RAMA

I’m saying it’s just… You’re selfish. I can’t believe you would do this.

SUSILA

I’m sorry.

Susila is really bawling out now, and at this point of the argument Rama is at her face just angry and pushing it.

RAMA

You’re sorry? What’s sorry going to do for us? Nothing. It does nothing. Nothing. Susila! Nothing!

SUSILA

Please don’t do this to me. I’m scared.

Rama grabs her shoulders just for an instance.

RAMA

You’re sorry. Good. You’re scared. So what. Do you love anybody? How about Malik? How about me? Is there anybody you actually love?

Rama then lets go of her shoulders real quick.

SUSILA

I love you. I love you okay. Please just listen to me.

RAMA

Okay, so. So what. You think I believe you?!

SUSILA

I know you love me too.

RAMA

Yeah. Okay. So what? You are just so. You only care about you. You don’t care about anybody else! You don’t love anybody else other than you! I don't want to see you right now. I can’t even look at you right now without feeling like, like I’m about to throw up.

Susila just stands there. She is seen clearly very hurt. At this point she breaks.

SUSILA

I knew it was stupid. But please know that I love you. I love you. I love you. I cannot see a world where I don’t. Don’t do this to us.

RAMA

I don’t see us right now. All I’m seeing is this stranger.

SUSILA

I’m sorry. I didn’t mean to hurt you.

Susila slowly approaches him. She goes in for a hug. Her arms around his neck first and then it wraps down towards his waist. Rama allows it only because he is mentally weak right now. There is no word, neither action that can fully balance out the emotions he is feeling. He is just lost.

SUSILA

He is nothing. Everybody else means nothing. It’s only you.

Rama untwines himself from Susila’s arms, he just wants to go. He just wants to pull himself away from her.

RAMA

You hurt us.

SUSILA

Baby, baby… Please…

He leaves the living room and goes into their bedroom.

CUT TO:

INT. RAMA’S ROOM

Rama walks into his room slowly, followed by Susila.

Rains dropping nearby, why? I don’t know. I like the cliché, suck dick.

SUSILA

Baby… just… Please… I’m sorry.

Susila walks following Rama’s pace, she wants him to give him that space, but she is also dangling onto this crumbling relationship.

RAMA

Shit… shit… just shit.

In the bedroom, Rama slowly crumbles into their bed on the floor.

A shot of the fan is then captured as it spins. In the distance, the rain should overpower the noise the fan is making.

SUSILA

We can go back. It’s not too late.

Susila follows Rama to the bed; they are lying on the bed together.

As they go to bed together, the dropping rains can be heard in the background.

FADE OUT:

Black.

THE END.