All language subtitles for Falling.In.Love.Like.In.Movies.2023.1080p.NF.WEB-DL.DDP5.1.H.264-FLUX

Are you sure about waiting here?
What about the cafe across the street?

I see. Okay then.

I'll come in first.

It's like dropping kids off at school.

I'm a bit nervous.

Wish me luck.

Hello, sir.

Gus.

I have prepared three episodes
with the files already.

You just need to study it.

Let's just make an adaptation
of the soap opera IP.

It'll be a box office hit.

And you have quite a reputation
in writing film adaptations.

They have made a reborn version,
haven't they?

That's the good thing about reborn,
we can just make another one.

By the way, sir.

Please listen to my ideas.

What if we make a movie
in black and white?

My goodness, Bagus. In black and white?

- You know how our industry works.
- That's it. The title--

Who wants to watch
black and white movies nowadays?

Right. The title... The title--

Our audience doesn't like complex stories.
They want to be entertained.

Let's just entertain them, Gus.

Keep it for the festivals.

No, sir. Don't worry about it.

It's not a complex story.

- No?
- No.

Don't worry. You'll like it once I--

Gus.

Sir.

How about this? If you don't like it,

you can just make me
write film adaptations

for the rest of my life.

Give me all the soap opera IP's
you have, and I'll write them for you.

- Keep your word, okay?
- Okay.

Okay, tell me.

- I'll tell you the story.
- Okay.

You need to imagine it in black and white.

- Right.
- Okay? In black and white.

That's it. Mr. Yoram,

this film is about a film writer

who wants to get the girl of his dreams

by secretly writing their love story
into his script.

So, it's like writing a love letter
through a film.

What do you think?

Is it cool?

Okay, I'll explain it again.

To explain it more clearly,
let's start with Sequence One.

THE INITIAL SITUATION
AND THE EVENT THAT CHANGES IT

In Sequence One,

we can see that the girl
who the writer has a crush on,

let's call her Hana,

is actually the writer's
high school friend who's recently widowed.

Interesting. The husband died
because of Covid?

Yeah... It could be that.

I haven't thought about
the cause of his death.

- We can think about it.
- Right.

- Can I continue?
- Sure.

So, here's the thing.

But why black and white?

It will be hard for me to market it.

I have done it in the past.

I had to keep reminding the audience
that it's in black and white.

Some of them walked out of the theater,
asking the staff

if there was something wrong
with the projector.

They thought it was a defect in the film.

Right. That's why, in the ending,

we will explain why it was
in black and white.

So it has a happy ending?

Sir, I haven't told you the story.

- Yes. A happy ending, a very happy ending!
- Good.

- In the ending,
- Yeah?

when Bagus' film is finally released...

The writer's name is Bagus.

So, it's about you. It's about you, right?

As a writer,
we ought to write something personal.

They all say the same thing.

Right.

When the movie is released and premiered,

Hana will watch the film,

and she will find out that Bagus
actually has feelings for her.

I know. That would be a great gimmick!

Once, at a premiere, I had
pocong sit among the audience.

It was hysterical!

So, in the ending,
we can do a proposal scene.

At our premiere,
you can propose to your girlfriend.

- It would blow up everywhere. Viral!
- Right.

Right. We can think about this later.
Can I continue my story?

Right.

- I'll continue. Please don't interrupt me.
- Okay, I won't.

The opening scene is in a supermarket.

But Gus,
that opening will cost a lot of money.

You interrupted me.

Right. Sorry. Please continue.

- Let me finish.
- Yes, please.

People are shopping in the supermarket.

Hana is also there.

We can see her shopping for groceries.

She is buying fruit,

meat, vegetables,
and some other essentials.

But we can do the same scene
at a traditional market.

I mean, we don't have to do that--

Can I finish my story first?

- Right, sorry.
- Okay?

Sorry. I thought it was the same thing.

Go ahead.

At a glance, we don't see anything special
about the groceries,

but if we look deeper into her eyes,

we'll see that deep inside,
she is carrying profound grief.

It's not an art film, right?

No, it's a commercial film.

You should have told me so I don't worry.

I was trying to tell you.

Okay, this is it. After this moment,

Bagus will meet Hana, at this moment.

Every romance film
needs a meet-cute, right?

- We'll get it here, at this moment?
- Here?

Sir, you need to weigh the fruit first.

There, at the back.

- I see.
- It's okay, I'll wait.

- Okay.
- Sorry for the inconvenience.

- I'm sorry too.
- Yes.

Sorry. Excuse me.

Excuse me.

Excuse me a minute.

Sorry.

Gus.

Do you have anyone in mind to play Bagus?

I know. I can see it in my head.

Dion Wiyoko.

Excuse me.

Hey, Na!

- Gus?
- You're here?

Yeah.

Excuse me. Can I do it later?

Sure, Bagus.

I didn't expect to see you here.

Sir.

I'm sorry.

- Bagus is the writer in the story.
- Okay.

Dion Wiyoko is too handsome to play him.

- He has an athletic body, so...
- Is that so?

It's unrealistic for a writer
to be built like him.

You mean the lack of balance
in characters?

- Is that so?
- Lack of balance.

We can balance it out.

What if we cast Julie Estelle
to play Hana?

That's balanced, right?

It fits!

Couple of the year!

Think about it.

Wait, sir.

Can I continue my story first?
We're still at the beginning,

- why are we discussing the cast?
- Oh, right.

- We can discuss that later.
- Right.

- Can I?
- Sure. Go ahead. I got carried away.

It's okay.

Excuse me.

Hana? You're here?

Did you move to Jakarta?

I... Just finish your payment first.

Excuse me.
I'll do it later. You can move the line.

I can't do that. I rung up your items.

You can cancel it.

I can't.

Huh?

Can't you press escape or delete?

No, I can't. I'll get in trouble for that.

He's getting on my nerves.

Pay first. We'll catch up later.

You can join me.

You don't need to queue. Just join me!

- What about the others?
- It's fine.

- Gus...
- Sorry.

Excuse me.

Excuse me. Sorry.

Sorry.

It's weighed already.

- Please separate them.
- Please.

- And this one...
- Yeah.

Okay.

How are you doing?

I'm fine.

What?

"I'm fine".

Well...

If you really want to know,

I'm currently dealing
with pressure from work.

Now you're being real.

I'm thinking about resigning or...

What am I saying?

We can do small talk first.
I don't have to blabber about my problems.

Well, you said it yourself.

- Right?
- You started it.

What's the pressure?

So, here's the thing...

Since working as a script writer,

I've only worked on adaptation projects.

I have now been given the chance
to write an original story.

- Wow.
- My own story.

I actually watched some of your work.
What was it again?

Terlahir Kembali Remake.

You mean "reborn"?

Terlahir Kembali Reborn?

- Correct, "reborn".
- Really?

Is that weird?

- What's the difference?
- Nothing. It's the same thing.

But according to my producer,
it's a strategy.

It's a strategy to reduce the budget

since people are familiar with the story.

They are hoping people will watch it
because they are familiar with the story.

- I see. I didn't think about that.
- Yeah.

It was a trilogy, right?

- Right.
- I watched all three.

- You did?
- I did.

The link was circulated
on our high school group chat.

-"The link"?
- Right.

A pirated version?

- It was original.
- Well...

It was a pirated version
in original quality.

That sent shivers down my spine.

No, you got it wrong.

The video was in high definition.

Pirated versions
aren't always bad quality.

Gosh! My work was pirated
and you watched it?

"Lebah Ganteng" did the subtitles, right?

- You're right.
- So, it was really a pirated version?

- That's crazy! My career is ruined.
- Sorry, I didn't mean it.

- I didn't know, Gus.
- I'm speechless.

- Blame my friends on the group chat.
- I didn't expect it.

That's so disappointing.
They should've known better.

That was crazy!

I'm really sorry. I didn't know.

You haven't changed.

Neither have you.

You mean like an "aunty"?

I didn't say that.

But people call me "aunty" now.

Your hair is still the same.

Back in high school,
you used to wear a bun, right?

- My hair was the same length, right?
- Right.

Wait... You're right.

With a ponytail, right?

- Right.
- Right?

Right.

Is it the same look as then?

- You still have--
- Forget it! Two-second rule!

A two-second delay
means it's just a formality.

- But I--
- Enough now.

I didn't mean it in a bad way,
my delayed response...

Stop it now.

I still admire you.
You haven't changed. It's true.

- Really?
- No change.

And I like that you don't follow the trend
like many women out there.

- What trend?
- A lot of women

do that eyebrow embroidery stuff.

I mean, what for?

It must be really painful
to have eyebrow strands

planted on your skin.

I don't understand why.

Right?

What is it?

Huh?

Gus.

I also did that.

- That's from the embroidery?
- Right.

But it looks nice. I mean...

We need to appreciate women's efforts

to achieve their aesthetic goals
with natural means.

It's their right anyway.

- Now you're talking nonsense.
- Damn!

I just insulted the stuff
that you're wearing proudly.

- It looks so natural.
- Touch it.

Just touch it.

You're right.

No eyebrow strands.

- You misunderstood.
- What do you mean?

Eyebrow embroidery doesn't mean
they plant the strands onto your skin.

They actually draw the strands one by one,
hence the name.

I thought they did it
like the thread embroidery.

- Of course not.
- Is that so?

That's why you need to appreciate women.

I've told you that I appreciate them.

- To achieve their aesthetic goals...
- Right.

- To achieve their aesthetic goals...
- Yeah.

- Right? I said that.
- Yeah.

- Gus.
- What?

What if you write about your exes?

You have a lot.

- That's a bit...
- No...

Just do it.

You can write a love story

from when you were young.

People will love a teenage love story.
It will be huge.

I don't think I can do that.

I don't know why...

I think romance at our age
still has a spark.

- No way.
- It has a spark!

No way. Love doesn't have
the same spark at our age.

- It does.
- No, it doesn't.

Trust me.

No, can you imagine a romantic film

with the cast as old as we are?

Who would want to watch that?

No, just imagine.

- We walk into the cinema,
- Right.

we see the big screen,

and we see people who look like us?

Where's the fun in that?

Wait.

La La Land was played by people our age.
That's a great movie.

Not really.

What do you mean "not really"?
It got a lot of awards.

They separate in the end, right?

- They do.
- That's why.

They should resolve their conflict.

What they want to do
about their relationship...

I mean...

They sing and dance too much.

- It's a musical! They have to sing.
- No, they don't.

Couples need to communicate by talking.

They don't need to sing and dance
that much.

One of them wants to own a jazz bar,

the other wants to be an actress in Paris.

They just need to talk about
where their relationship is heading.

They could visit each other
if it's a long-distance relationship.

Just make time. It's that simple.

You seem upset by that movie.

I watched it with Deny.

We were upset at the end.

- But it's a good movie, right?
- No way.

- No?
- It doesn't have a happy ending.

It doesn't have to be a happy ending...

Gosh! You're a typical netizen.

- Everything has to fit your expectations.
- What is wrong with that?

That's why I said

the lovey-dovey kind of romance
only belongs to the youngsters.

I can't do that.

I want to write a love story
about people our age,

and it will be more passionate
than young love.

I want to write about that.

- Gus, that's impossible.
- It's not.

Falling in love at our age

comes with many things to consider.

So many considerations.

Can you imagine a movie

where a couple our age
is in love like high school kids?

No way. It would be really cringey!

Here is the thing.

A lovey-dovey romance
only belongs to the youngsters.

Okay? For people our age,

it doesn't make sense to experience
falling in love like in the movies.

Right?

You put the title here?

It's about 20 minutes already.

If you put the title here,

it will ruin the watching experience.
Hana's delivering her best line,

and you want to cut it
by putting the title there?

It would ruin the experience.

We won't cut anything.
The scene stops right there.

I'm sure the title placement
will ruin the watching experience.

No, it won't.

Gus, trust me.

If you put it right here,

it will be an unpleasant surprise
for the audience.

Our audiences will understand.
Don't worry.

Okay, just imagine
when the film is finished

and you place the title there,

at the exact duration,

they won't like it.

Okay, sir.

You can decide that during editing.

- Good idea.
- Let me finish my story.

Okay. Where were we?

It was when Hana delivered the title
through her lines.

Cool, right?

- Is that so?
- Yeah.

Bagus wants to prove to Hana
that he can write a film

about 40-year-olds, like them,

but with a romance that is more passionate
than a teenage love story.

It's really your personal story, right?

Can I continue?

- I'll go ahead, okay?
- Yes.

- Do you need help?
- No, let me.

Gus.

Here is the thing.

When we were young,

we only knew the lovey-dovey parts.

Now, at our age,

we have witnessed
so many different things.

What things?

I mean, we have seen
how complicated relationships are.

The adjustment,

the compromises.

The acceptance.

We know that conflict is inevitable.

Then we make up, like a cycle.
It's different from the past. Right?

That's why

I don't enjoy romance films
with people our age.

Imagining to be in love again is draining.

We have to get to know
each other and argue.

- Okay, but I think...
- Okay.

Let's say, if we fall in love,

we won't feel drained

because when we're in love,
things just flow naturally, right?

No, I would feel that way.

Okay then.

Let's say,

you still have a long time to live.

You're in your thirties.

- Pushing 40.
- Okay, pushing 40.

Let's say you still have 40 years to live...

- Amen.
- Amen.

So, it's possible another man
will come into your life.

I don't think so. I think...

I'm fine on my own.

I know, but what if you fall in love?

There's no way.

-"What if"?
- There's no way.

I said "what if".

Gus, when Deny passed away...

all my feelings, my life,

it was over.
Everything was buried with him.

Gus, you can write this story.

So, she just lost her husband?

Yes, it's been four months.

The audience won't feel any sympathy
for his character.

They won't like it
if the protagonist has a crush

on his friend who lost her husband.

I've told you,

this is about a writer who has a crush
on his recently widowed friend.

And he'll secretly write their love story.

But not so soon.

We'll get the answer in Sequence Two.

- Sequence Two?
- Yes, Sequence Two.

SETTING THE GOAL

Back in high school,

- Bagus actually had feelings for her.
- Okay.

He never got to tell her.

They got separated for a long time,

then they met again.

Now they're both single.

They caught up and clicked.

They felt comfortable.

So you...

want this movie to have a lot of dialogue?

This is a romance,
and romance is full of conversation.

Do you agree with Hana?

- What do you mean?
- Hana said that...

In your story, she said that a romance
about people your age

is basically about having conversations,

about having discussions.

But it's not just any conversation.
It's romantic.

Their opening conversation
is romantic, right?

- You think that is romantic?
- Of course.

Well... But...

I think you can elevate the scene.

Intensify it.

More fantastic.

More romantic.

Gus, remember...

Well, sir. Here is the thing.

When we go on a date,

if we go somewhere, we talk.

You must've experienced that.

I had an arranged marriage.

Most people, including me,
when we go on a date,

we mostly just talk.

- Is that so?
- That's how it is.

So why, in a movie,

we have to make it more tense?

Why does it have to be "bigger than life"?

Is it wrong for it to be a piece of life?

- Why do we need to make it bigger?
- Gus.

Our audience demands a tense event
every three minutes.

I know.

But 25% of this scene
is only conversation.

It would reduce the budget.

That's brilliant!

If I like it and it's a good story,

money is not a problem.

Okay then. But I've only written
the second sequence.

Why are you doing it half-heartedly?

You asked me to discuss this.

- I did?
- You said so on the phone.

I left my laundry at home.
It's probably wet now because of the rain.

If this becomes a box office hit,
you can get a new washing machine.

So, when are you going to finish this?

I need to approach Riri.

- You mean Riri Riza?
- Right.

Whoa.

Gosh, if that's the case...

If he's going to do it...

But are you sure he would agree to this?

From what I heard,
he only directs his own scripts.

He definitely would.
I've known him since college.

He totally would. I'll ask Mira.

Trust me.

Well...

How do I say it?

It will be an honor for me
if he directs my script.

The Great Riri Reza.

- It's Riri Riza, sir.
- That's what I mean.

So, when?

As soon as possible, sir.

I'm going now.

I'll revise the script
and rewrite some parts,

so when Riri Riza checks it,
I won't be embarrassed.

I will also be embarrassed
if the script is bad.

This is our movie.

- Okay then.
- Right.

- I'll go now.
- Okay.

Thank you, sir.

- Gus.
- Yeah?

Sure.

Why would you agree to be a gimmick?
I really don't understand.

It's romantic, Cheline.
You and your husband are not romantic,

that's why you don't understand.

You know what? You remind me of something.

It's the same as the horror movie

that had pocong among the audience
during the premiere.

It's like admitting that your movie
isn't powerful on its own,

so it needs a gimmick!

You can pretend to be possessed
during the proposal to add more stunts.

That would be a gimmick,
but this film is not!

This is sincere from my heart.

What do you mean "sincere"?
Have you asked for permission?

If I ask for permission,
that will ruin the surprise.

- What are you talking about?
- See?

You...

Hey!

Dion Wiyoko!

- Gus.
- Huh?

Don't you have a shoot to do?

He does, doesn't he?

Just ask him.

New directors are a pain in the ass.

With the cast in double roles.

Triple actually, as an investor.

What?

Poy!

What do we do now?

He's heading home?

What now, Poy?

Guys, we're taking a break until...

Let's just take a break.

Jeez.

So that's what happened.

He just left.

People looked for him all night,

and we heard nothing from him.

Gone!

He went home during a take?

He did.

That's crazy!

That would be a good movie.

A story about a director
abandoning his movie during a shoot,

then a close-up on the crew's faces,

bam!

That's pretty fun.

Is he on drugs?

Maybe.

It is what it is.

I don't know how long I'll be off.

The crew must be bummed.

Gus, don't change the topic!

- What do you mean?
- You need to ask Hana's permission.

Huh?

Tell her you want to write about her.

She's grieving. I can't tell her now.

It would ruin the surprise.

Still, you need permission.
It's her story.

I'd be upset if it was me.

- Wouldn't you be touched?
- See?

No.

It's someone's privacy.

You can't use it without permission.

If I tell her now,

what would that make me?

I still have a year to write the script,

and she still has a year to move on.

And I can get closer to her.

When she finally watches the movie,
she'll be thrilled.

That's what I want.

What if she hasn't moved on after a year?

Then it would be a sad ending.

Are you talking
about a script or real life?

Listen.

Are you serious about her?

- Of course I'm serious.
- Okay then.

You said you're serious about her,

and I asked you what if she gets angry,

and you gave a lot of excuses.

Okay, fine, I'll ask you again.

What if she hasn't moved on
after a year and she gets really angry

and you casually said,
"It would be a sad ending."

Are you for real?

This is your life.

- This is not a script.
- So, it's real?

Listen.

Like I said before,

she's grieving now.

If I confess to her,
that will make me a really cruel person.

That's why I am writing the script,
since we still have a year.

Both of us will have enough time.

This is my first original script.

I want to make it my personal story.

I dedicate this to her.

That's why I don't use aliases.

Are you sure this is for her
and not just you?

It's for her. I’m writing her story.

Of course, it's about...
It's for her. That's it!

Whatever.

I hope nobody asks me to edit the film.

- I don't want to be involved.
- You're assigned to edit.

Mr. Yoram wants you to edit this.

- No way!
- What?

I proposed other people,
but he wants you to do it.

- I don't want to!
- Hey.

- Is this about a film or a real event?
- I don't want to do it.

- I don't want to be involved.
- Can you reject his request?

- Bagus. Is this real?
- What?

- For real?
- Ask your wife. I don't want to know.

It's giving me a headache. Hey!

- I was playing a game.
- I need the monitor for editing.

You can do that on the computer.
I want to play.

I want to use the big monitor.

I can't play on your computer screen.

What am I doing here if I can't play?

So, why are you here?

- I want to play.
- Huh?

I think the laundry is still damp.

- It smells.
- What am I going to do?

Should I eat these?

I don't know.

Now what? Where are you going?

- Dion?
- I need to dry the laundry.

Come on. I only need to play.

BAGUS' RENTED HOUSE - LIVING ROOM - NIGHT

BAGUS HAS DECIDED TO WRITE
ABOUT HIS LOVE STORY

BAGUS HAS DECIDED TO WRITE

ABOUT HIS LOVE STORY
WITH HANA IN THE SCRIPT

THE OBSTACLE

Ma'am, this is Bagus.

- Hello, ma'am.
- He's a writer.

He is writing about florists.

- He's researching.
- Yes.

It's for the cinema.

I see.

You watched his movie.

From the soap opera, Terlahir Kembali.

He's the one who wrote the feature film.

Did you watch it?

Yes, I watched the film.

- I see.
- She actually did.

Did you like it?

It's okay. Just be honest.

It was bad.

Ma'am.

It's okay. I prefer honesty.

At a premiere,
people only give diplomatic answers.

When they get asked about the movie,

even if it is bad,
they will compliment it, nevertheless.

I prefer honest comments.
That's good, ma'am.

Honesty is rare nowadays.
I really appreciate it.

- Thanks.
- Excuse me.

Okay.

It actually hurts.

- Ouch.
- Gosh.

No, the film is fine.

She was too honest about it.

I'm so hurt right now.

People have different tastes.

- It's okay.
- Don't worry.

Sir.

Please deliver this
to the same address as yesterday.

- The same address?
- Yes.

That's all.

It's the same every afternoon.

It's usually hectic in the morning,
especially with last-minute orders,

so many things to do.

It's really hectic in the morning.

So, you can relax now?

I'll go now.

- Take care.
- Okay.

Is that a standard procedure?

That's her husband.

I thought you had to do that
to make it look sacred.

It's not that.

- She's nice.
- I know.

She's really kind to me.

- Hana.
- Huh?

That's her son.

And who are you? Her daughter?

I guess everyone here is her family.

- And he's probably her nephew.
- Yes?

- You're talking about me?
- Yes.

- Right, I'm her nephew.
- I see.

Okay...

- Excuse me.
- Please.

You can go in.

Everyone is her family?

She brought her whole family here.

My eyes stay closed

I remember your sweet scent

I love the part about Hana and her past.

The coffin scene, it's so heart-wrenching.

Can you make the sad scene longer?

Or you can add a soundtrack.
It will fit the scene.

Well...

I'm still writing the draft.

But if I extend the sad scene,

wouldn't it be too melodramatic?

Our audience will love that.

They like to be emotionally drained.
Make them cry their eyes out.

If they cry during the premiere,

I'll use the clips for media promotion.

It will work.

We just need the song... What's the...

- What's the title?
- It's "Sudut Memori".

"Sudut Memori", right.
Raisa will agree to it.

I'll call her.

It's Yura.

Who's that?

Yura sings "Sudut Memori".

It's her? I know her personally.

We go way back.

It's okay.
I'll approach Yura Yunani in person.

It's Yunita, sir.

It has great potential.
We just need to find...

a director.

You said Riri Riza will direct this.

Correct, but Mira said he's fully booked,

so we need to wait four to five years.

That means he's not fully booked,
they rejected us.

What about you?

It's so cool!
You're going to be a director!

It's actually because Mr. Yoram has seen
his fellow producers do the same thing.

They gave a chance to new directors
and the movie became a box office hit.

He wanted to do the same,
so he gave me the chance.

- So, you're going to party?
- I am.

What do you want to do for the party?

- Really?
- You can ask for anything.

All-you-can-eat Padang cuisine.

You're really something.

It's full of coconut milk.
It's all cholesterol.

Is that all? Only Padang food?
We need more to celebrate.

Napoleon!

Napoleon?

Napoleon Bona-"parte".

Damn, now you're doing wordplay too?

Napoleon Bona-"parte". Gosh!

You do this every day?

- Yes.
- Always this early?

This is actually pretty late.

Is it because of me?

Isn't that obvious?

Sorry.

You come here early every morning,

so you never wake up late?

Never.

- Because I don't sleep.
- Huh?

You don't sleep?

Really?

Well, I sleep, but I'm restless.

- Don't tell anyone about this.
- I won't.

Since Deny passed away,

I can't sleep in my room.

I can't stand to see his side empty.

So I sleep on the couch.

At night, I don't sleep much,

but every afternoon...

I feel so sleepy.

Then I take a nap.

I just repeat the cycle.

Gus, which one do you like more?

The white ones

or the yellow ones.

I prefer the white ones.

Okay, I'll take this one.

- Okay, ma'am.
- Hana.

I chose the white ones.

I know.

Why didn't you take them?

I wanted to see what you like.

- Here's the money.
- Thanks.

Gus, I'm going over there.
Take care of this.

- Okay.
- Thanks.

- Please give it to him. Thanks.
- Sure.

The white flowers
are beautiful too, right?

The white ones? They're beautiful.

Hana! He said the white ones
are beautiful.

But this one is more beautiful.

Never mind.

So you prefer the yellow ones?

Me? I prefer the red ones.

Thanks.

It's sweet, right?

Right.

Why did you choose a florist
as a character?

I think it would be sweet
if the character is a florist.

The set will be full of colorful flowers.

On the contrary,
the movie is in black and white.

I think it's quite witty. Like this.

What about you?
Why did you choose to be a florist?

- I like flowers.
- I can see that.

I mean, I realized it not too long ago.

I've always liked flowers the most.

When Deny passed away,

I was surrounded by so many flowers,

but when somebody sent me flowers,

it made me happy to receive them.

You like it that much?

It's weird, isn't it?

I considered closing the business.

I wanted to stop doing this

when Deny passed away.

But after I received so many flowers,

I became so determined
to continue this business.

Wait.

- Sir.
- Can I help you?

- Do you have small asters?
- Yes, it's here.

- The usual price?
- Yes, you'll get ten.

Okay, I'll take this one

- and the smaller ones if you have it.
- Two more?

Here they are.

- I'll take two of them.
- Got it.

- Please tie them.
- Okay.

I feel like...

we can't fully understand
someone's feelings.

So, when we give them flowers,
it's like we're giving them a sign...

that we try to understand their situation

through the flowers we send.

Interesting.

For me,

what I like about movies,

they give us the chance
to be someone else.

So we can feel
what it's like to be someone else.

Also, we can get
life solutions from films.

- Here, sir.
- The usual, ma'am.

- Thank you, sir.
- Thank you.

- You're welcome.
- Yes.

Can we really do it?

Feel someone else's emotions
through films?

We can.

But it depends on the films.

What about...

Terlahir Kembali Reborn?

Enough for now.

- Gus, it was a genuine question.
- Stop it. Let's just go.

Please answer first.

Excuse me. This one is wet.

TIRED, HANA IS ASLEEP LIKE A CHILD
EXHAUSTED FROM PLAYING ALL DAY

PLAYING WITH GRIEF
HIDING UNDER THE MASK OF LOVE

- How is the script coming along?
- Huh?

I'm writing the ending for Sequence Four.

Have you written the ending already?

No.

Movies has eight sequences. I'm writing

the ending for the fourth sequence.

Can you explain?

Movies have eight parts.

We call them "sequences".

That's the term we use in writing.

And then?

It'll take time to explain it
step by step.

It's okay, right?

You want me to explain it?

We have time.

It's long.

I want to learn.

Okay, wait.

I'll take a sip first.

We'll start with Sequence One.

Sequence One introduces the characters.

Because it's a romance,

I have to put the meet-cute
at the beginning.

A meet-cute is when the characters

first meet with each other,
usually in a cute way.

You mean "meet cute"?

Meet as in a meeting
and cute as in a cute way?

Yes, that's it.

In this part,
I have to set a false belief.

- A false belief?
- Yeah.

A false belief is something
the character believes,

- but it's actually wrong. Okay?
- Okay.

That's Sequence One.

Sequence Two.

- Okay.
- Setting the goal.

Our main character is very determined

to get his dream girl.
He's so sure about it,

he wants to pursue that goal
no matter what it takes.

- Okay, now, it's...
- The third one.

- Three.
- Sequence Three.

This is about the first obstacle.

Here, we can clearly see
the goal of our main character.

For example, to get his dream girl,

to get her love.

But the first obstacle happens here.

For example,
she's someone else's girlfriend

or their parents
are against their relationship.

- That's three.
- Three.

- What about four?
- Four.

THE FIRST CLIMAX

So, for Sequence Four, imagine
when you watch a movie in the cinema

and you feel like
you have watched half of the movie,

we call it Sequence Four or mid-point.

Usually, in Sequence Four,

the false belief creates a problem
in the romance for the first time.

So, it's like the first climax.

The first climax in this movie.

Usually, the couple argues in this scene.

Okay, now...

It's easier to write the romantic part.

The hardest part is finding
the false belief

and the lesson for the character.

It's the same in our lives.

There's always something to learn,
and it could be a difficult process.

For example?

- An example? Well...
- Right.

What about me?

Take me as your example.

What is my false belief?

Well...

- I can't do that.
- It's okay.

I can't. I feel bad.

It's okay, I want to learn.

But it's only for a film, okay?

Okay.

For you...

You once said

that you'll never fall in love again.

- Right.
- Okay then.

In the end, you'll learn

that it's only because you're grieving

or probably because of trauma.

When you meet the right person,
you'll fall in love again,

and you'll feel like
life is so much better than before.

How would you know
if it's because of trauma?

- Well...
- I...

Is it wrong to never fall in love again?

No, it's not wrong. It's only an example.

Well...

If you write about a character like me,

would you choose that for my false belief?

Well...

I think I would.

I see.

But this is only a movie.

- It's only for the story.
- I know.

This is a unique clash between them.

I like this.

This is what we call the golden scene.

But I haven't finished it.

We had a board meeting yesterday

and agreed to launch this
by the end of this year.

So, you need to finish this next week.

Next week?

You mean like a week from now?

Sir, a week is too soon.

I'm afraid the script
won't be good if we rush it.

But you are a good writer.

Sir, this is not a joke, I'm serious.

There's no way I can finish it in a week.

I haven't even finished
the fourth sequence.

Listen, Gus.

I know you can do it.

I's not about that.

A week is impossible.

This is your first original script.

It's your story.

From deep within your heart.

I know you can do it.

Sir, it's not like I don't want to.
In fact, this is...

Gus, not everything instant
tastes bad, right?

You and your wordplay.

But sir, since this
is my first original script,

I need to do my best.

One week...

It's too soon.

At least you can present your first draft.

Okay? See you next week. Okay?

Can you at least give me two weeks?

Next week.

What do I do now?

I only have a week.

BAGUS RAHMAT - INCOMING WHATSAPP CALL

CHELINE, DION, JULIE MUST CONTRIBUTE...

HANA IGNORES HIM. BAGUS KNOWS
THAT THE PROBLEM IS BIGGER THAN IT SEEMS

THEY KISS -THE LONG YEARNING
FINALLY MEETS. THE END

Gus, I told you already.

Don't forget to rest.

Don't forget to take your vitamins,
and you need to clean up your place.

You eat too much instant food.
Look what it's done to you.

But sir...

That's why I asked you
to stop giving me impossible deadlines.

Enough now.

I'll get the production budget
to pay for your medical bills.

Thank you, sir.

You're registered
in the healthcare service, right?

I've talked to the board.

We can postpone it for a week.

Huh?

So, you can actually give me two weeks?

If I knew this, I could have...

Never mind.

This is different.
Your sickness is force majeure.

This is only the script.

You still have to direct it.

But I'm sure you can do that.

And by the way, I brought you clothes
from your place.

I picked comfortable ones for you.

I see.

Thank you, sir. Sorry for troubling you.

No worries.

And I also brought...

this.

Gosh.

Well...

In case you get bored
and want to do something productive here.

Who knows,
maybe you can finish the second draft.

Just take a rest.

I'll put this next to the IV drip,
so you can reach it easily.

This is all I could do.

Okay, enjoy your rest.

Tell Hana I said hi.

What are you doing?

I wanted to find out if it hurts,
since you just got discharged.

Well, it's not like I had surgery,
it's just typhoid.

I didn't know that.
That's why I want to know if it hurts.

- So, it doesn't hurt?
- Of course not.

That's why you should
stop eating instant food.

But typhoid is caused by bacteria.

It's from a virus.

It's bacteria, Dion.

It's from a virus.

- No, it's bacteria.
- Hey!

It's a virus.

It's bacteria, Dion.

- Just Google it.
- No need to.

No need to Google it! It's bacteria.

You two are so weird. A married couple
debating about viruses vs bacteria.

This one. See?

It's bacteria.

You're still doing it? Stop now.

You don't believe me.

I think you overworked yourself, Gus.

In the name of passion.

She's right. It's bacteria.

Just stop!

The passion of typhoid.

It's fine. It's worth
the directing role though, right?

What about your script?

Did you get permission?

I said that if I ask permission,
it would ruin the surprise.

You're so stubborn!

You need permission?
Isn't that an original script?

Why do you need the IP's permission?

Gus.

This is it.

This is why we need more female directors.
Both of you are so insensitive.

I think there are a lot
of insensitive female directors too.

Directing is not about gender.

There are a lot
of insensitive male directors too.

- Don't change the topic!
- Ouch!

- You need to tell him as a friend.
- Hey.

How could he use
someone's private life for a script?

Ouch.

Whatever.

Is Bagus here?

Yes.

He's sleeping now.

I see.

Are you Hana?

Right.

- I see.
- I see.

So it's real.

Please wait inside. He's sleeping now.

He'll wake up in about 30 minutes.

He just took his meds.

I see.

Sorry. Cheline.

- Dion.
- Hana.

You are going to stay here, right?

We're leaving.

Please come in.

- Please come in.
- Yeah.

- Thank you.
- No worries.

We're going.

- Excuse us.
- Of course.

I thought she was only
a part of the script.

FALLING IN LOVE LIKE IN THE MOVIES

SEQUENCE SEVEN - MOTORCYCLE FOR GALLONS
CHELINE'S PERSPECTIVE! AHA! STYLIST!

Hana?

I trusted you.

Hana, actually, I planned to...

I really thought about it.

The stuff that we talked about last time,
the stuff that you said to me.

So that was only for your work?

- It's not about work.
- I don't get it.

I'll explain it, so please calm down--

"Calm down," you said?

The things that you wrote here...

You wrote about everything
we have talked about!

Here.

"Tired, Hana is asleep like a child,
exhausted from playing all day."

"Playing with..."

"Playing with the grief,
hiding under the mask of love."

Well...

So, you think

everything that I feel is not love?

No, it's not. Love is not supposed
to make you suffer like that.

Who are you really?

I don't know this person in front of me.

- I can explain--
- I don't know how you can be this cruel.

- I can ex--
- No!

I thought...

we have had enough at this age.

We can live by ourselves.

We don't have best friends
like when we were in school.

You came into my life.

We talked every day.

I told you everything
because I thought you were my friend.

My old friend.

I really trusted you.

I told you everything... Gosh!

And you wrote about everything
for your work!

Hana.

I can explain.

It is a year before the movie
will be released.

- So, if I have a year--
- What is wrong with you?

Are you running out of ideas?

So, you think you can use my story

for your work?

Huh?

Gosh!

Do you even understand

why you only had the chance
to write adaptations?

That's because you have nothing
in your life that is worth telling.

So you had to steal it from someone else!

- Do you even know what my life is like?
- Tell me!

- Tell me because I don't know.
- My life is about you.

My life is about you.
That's why I'm writing about you.

Because I have feelings for you.
What is wrong with that?

It's totally wrong.

- Can we blame love for this?
- Yes! We're adults. Think about it!

- So, adults can't fall in love?
- You should've controlled it.

Wait.

Do you even know what love means?

But we're friends!

That's good.
We don't have to get to know each other.

I'm still grieving!

So, I can't like you because you're
grieving or because you're my friend?

Because of both of them!
Because of everything!

And just so you know...

I still love Deny.

Deny is no longer here.

He's still here.

In my heart.

Forever.

And you will never understand that.

You have no right to talk about love
or write about love

because you know nothing about it!

How long are you planning
to sleep on the couch

because you're too afraid
of Deny's memories?

How long are you planning
to live in the past?

I'm okay with living like this.
Is that so wrong?

Then why did you move to Jakarta?

To start again?

You know very well
that you are trying to move on.

That's what you want deep down, right?

I won't move on!

Got it?

Let me tell you something.

Life is not like the films you write!

You only love yourself
and your imagination!

You only love your career
and your writing!

You only love your measly film world,

and you think
it can change the real world!

You think

you can feel what people feel
through making movies?

All this romance is just in your head.

You're right.

All this romance is just in my head.

But aren't we the same?

The romance is also only in your head.

So you think if you suffer,

if you drown yourself in sadness
and isolate yourself from the world,

is that what love is for you?

Is that what we're supposed to do?
I haven't finished. Listen.

So we have to put ourselves through pain
to know what love is?

That's a strange concept of love!

SEQUENCE FIVE - SUBPLOT
CHELINE, DION, AND JULIE

HAVE TO CONTRIBUTE

KALIURANG FLOWER HOUSE

Let's welcome the main cast
of Falling in Love like in the Movies.

Dion Wiyoko as Bagus.

And Hana is played by Julie Estelle.

Julie, can you tell us
more about the film?

So, Hana is a widow

who is trying to get her life
back on track

by moving on from her grief

and opening up to find a new love.

This movie is about telling people

to not lose themselves to grief.

That's the message, right, Bagus?

The storyline is so good.

Just like the meaning of his name.

Alright, thanks to all the media partners
who showed up at this event.

All the best for the movie
Falling in Love like in the Movies.

CINERE HOUSE - GOOD HOME OPTIONS

Okay, so this is our second
weekly meeting.

This is Julie's wardrobe.

She did the fitting, right?

- Did we finished it?
- Yes.

So, this is it.

Miss Hana told me
that she can't see you now.

I know, but can you persuade her?

I just need a little of her time.

I'm sorry, but she insisted.

I'll excuse myself.

- Okay, thank you.
- You're welcome.

But I admire you.

You don't follow
the eyebrows embroidery trend.

So, it's actually eyebrow strands
being planted on the skin?

That would be so painful.

Bagus, sorry for interrupting.

I have a question. So, this is
when Hana and Bagus first meet, right?

- Right.
- Well...

So, in the beginning,
does he only want to approach her,

or does he have genuine feelings for her?

Just take that spot,
it'll look just as good.

It would be difficult.
This one is the best.

I'll secure this spot, okay?

I'll take this one.

- I'll take care of everything from now on.
- We need to have options.

- Let's just use this spot.
- What about here?

- It's all good. I'll take care...
- Let's look for other options.

- Look for other options.
- No, we can't.

Just use that spot.

- It has a better view. It's for our movie.
- It's...

Let's use this place. It's good, right?

- Right?
- No, I prefer the other one.

- Let Bagus decide.
- Okay?

Well...

Okay, I choose this one.

No way, Gus.

When Deny passed away,

I felt like all my feelings, my life,

everything was over.

Everything was buried with him.

Bagus thinks he knows everything, right?

I mean Bagus in the script.

I know.

You really made him this annoying?

Is that so?

Well...

He's the worst!

Hana really puts up with him.

He's so insensitive.

She's grieving and he keeps chasing her.

I'm sure the audience will be upset.

Don't you think Hana
will learn something from Bagus?

I mean,

considering Hana's situation,
Bagus is actually giving her

some kind of a new perspective, no?

I think Hana
is supposed to be really angry here

because Bagus clearly diminishes
her feelings.

He's actually cruel.

I want to postpone the shoot.

What's the problem?

I feel like the script
is not finalized yet.

I need to revise a lot of parts.

The character is so unlikeable.

But I already got the launch date
from the cinemas.

- Just a month, sir.
- I couldn't even give you a week.

You need to remember
that it's a black and white movie.

I can't negotiate with the cinemas.

Not to mention
if the date clashes with MCU films,

I won't be taking vitamins but sedatives.

Just go with it.

- Sir.
- Huh?

If you can't postpone the shoot,

I'll step down from this project.

I think...

since we can't completely feel
what others feel,

sending them flowers is like a sign

that we're trying to understand

their situations

through the colors

and shapes of the flowers.

But it's just a representation, right?

But in the films, I like it

because we can really feel
what it's like to be someone else.

It's not only a representation.

- Really?
- Totally.

What's wrong?

Is something wrong?

Well...

It's not you.

Is it me?

It's not you either.

Do you think that we can feel
what others feel through films?

- Yeah.
- No.

One more time, okay? It was my fault.
From the start.

- One more time, okay?
- Come on.

Reset, guys!

From the start!

Come on!

- Again, Gus?
- Yes!

- Reset, guys!
- Got it!

It is my fault.

So stupid.

Okay!

Please open the road for now!

Sir, where are these going?

- Where are you taking the stuff?
- To Jogja.

What about the owners?

She's leaving tonight.

We're convoying.

Is she home?

She went out.

Okay...

Come on now. It's heavy.

Let's count.

I'll count.

One, two, three!

THE LOWEST POINT

Talents in! Stand in!

Out!

Good.

Slide 2.300, scene 51,
shoot two, take one.

Okay.

It's actually easy
to write the romance parts.

The hard part is actually deciding
the false belief

and the lessons for the character.

For example?

Take me as an example.

What about it?

I can't do that.

It's okay.

- I can't do that.
- It's okay, tell me.

Okay then.

Let's say you're a movie character

and you said once
that you'll never fall in love again,

in the end, you'll learn

that it's because of your trauma.

You just lost someone and you're grieving.

You'll fall in love again one day.

But how do you know

that it is rooted from my trauma?

Is it wrong
if we don't fall in love again?

That's only an example.

I really want to know
your personal opinion.

Do you think that it's wrong?

Let's say you're writing about me
as a character,

is that how you would write
my false belief?

I think I would.

I see.

Jeez.

This is why I don't like
working with new directors.

Is your director stupid or what?

- Let's take a cigarette break.
- Okay.

- Bagus.
- Hi, Julie.

- I have a question.
- Okay.

Pardon me, but I just realized it now.

What is it?

This Bagus character,

is he going to be so selfish
until the end?

I mean,

I just want to propose an idea.

Don't you think in this scene,

we need to make Bagus

more understanding towards Hana,

even just a little?

Because in the end,

Hana really moves on.

But Bagus seems like...

he doesn't have any character arc.

She's right.

What if we make him more understanding?

We only need to improve the dialogue.

Let's try that later.

- Please wait.
- It's okay.

It's really okay?

It's fine.

What's happening?

Let's do the shoot!

Chel.

Chel.

Chel!

Let me see that.

- We need to wait for the other shots.
- I just need to see it.

I think...

Do you need to add a close-up?

Do you think we need to add
a close-up here?

I don't think I can answer that.

I'm just the editor.
Ask the director about adding extra shots.

Bagus, do we need to add a close-up?

Ask the director...

Then why did you move to Jakarta?

To start again.

Bagus, about the shot before,
should we keep that one or...

You know well
that you are trying to move on.

That's what you really want, right?

I will never move on.

One more time.

Don't forget the close-up.
I don't want to get scolded by Mr. Yoram.

- We need more shots...
- Just shoot the goddamn close-up yourself!

Gus.

And why do we need the editor on location?

This is a drama, not an action movie.

Editor on location
is only for action movies.

Sorry, it's not your fault.

I'm a new director,
but I know these things.

And what are you doing here?

Well, I am a creative producer.

There's no such thing
as a creative producer!

A producer is a producer!

Just do it yourself!

So, when are we doing the shoot?

Guys, let's take a break.

Let's wait until...

Let's just take a break.

Don't worry.

We have time. Let's change the dialogue
and do some retakes.

I can't do retakes on my life!

Hana read the script.

Huh?

You're right.
She was really angry when she found out.

So the plot is exactly the same
as your story with Hana?

- You didn't know?
- You never told me.

Don't you see that the characters
have the same names?

You said it was hyperrealism.

Aren't you two supposed to talk about it
as husband and wife?

Enough. So, what do you want to do?

Nothing. It's over for me now.

I have no chance to make up with her.
She's moving to Yogyakarta.

Gosh...

Gus, Dion, let's do the retake.
Julie is waiting for you guys.

I watched the scene. So good!

Trust me. He'll give you a sequel.

I hope he won't.

There's no need for a sequel
for this film.

- I think that's okay. Come on!
- Okay, wait.

I really don't understand the need

to make a sequel
for every successful film.

Gosh!

Right.

If we can't do a retake,
we can continue the film with a sequel.

- Dion!
- What?

- You're right!
- About what?

We can make a sequel.

What are you talking about?

We can make a sequel!

I can't do a retake on my life,
but I can continue living it.

Has anyone seen Bagus anywhere?

He's not here yet?

I complimented him, but he ran away.

Remember what I said?

This is why I don't like
working with new directors.

They're experts at going MIA.

Let's do the retake.

Cheline, close...

- Where's Cheline?
- Let's do the take.

I remember the order.
We finish after this, right?

Je, monitor, please. Is the talent ready?

Julie's set,

but we can't find Dion anywhere.

He's gone.

Gosh!

I need coffee.

We'll finish in the morning
if this is the case.

Jupri, monitor, please.

Copy.

I need one coffee.

Hot or cold?

Cold.

But we don't have water.

Then why did you ask?

This is so fun, like in the movies!

The scene where they chase the lovers
is usually in the last sequence.

We need an upbeat score!

We need a lot of shots too.
It'll be easier to edit a tense scene!

One camera here.

One camera here for the protagonist
from the front.

Nice. We can make it look higher.

Great! Stay in position, Gus!

We can use drones!

It will chase us.
Nice! A cinematic experience!

Use a racing drone! From this point!

It'll chase us from here
and then it makes a turn.

Turn again.

The building!

From the back of the building
and then the shot will be from above.

We'll confuse the audience
about where we're going.

Let it move down,
and it will get to that point!

It'll chase us again,
and the audience will know.

Then it will take a turn in front of us.

Go forward.

One more time!

From here, we move to Hana's scene.

She's in a hurry

to pack up all her things
before she leaves,

so we can see that she's in a rush.

Or we can make Hana sit
in the middle of moving extras.

They go in and out
to move the stuff to the car.

I know!

What will happen if we reduce

the shutter speed,
like in Slumdog Millionaire,

so it looks like it's lagging?

Or we can use the split screen.

Bagus on the left side,
Hana on the right side.

So we can see that one of them is chasing

and one of them is preparing
to leave at the same time.

It would be amazing.

Dion, stop!

- Where?
- This is the house.

- Whoa!
- Stop!

- Stop!
- Okay.

- Calm down.
- Ouch.

Hana!

Let's talk.

Hana!

Just a moment.

Let's talk. I need to talk to you.

Hana.

I promised... Please give me a chance to...

just to talk to you.

Only for a moment.

- Please put that in the truck.
- Yeah.

Hana, just a moment.

Hana!

After we talk, I'll understand if you
don't want to talk to me or see me again.

I just need a little of your time.

Hana, please. Just a moment.

Let's talk.

Hana...

Hana!

Hana, please, just a moment.

Please.

You never answered my calls.

Before you leave,
let's talk for the last time.

I don't want us to stop talking,
I just need to...

We can talk for just a moment.

Okay, then let me tell you something.

I want to explain.

We can't do this. Please listen to me.

Please. I made that movie...

Hana, listen. I made that movie...

Hana!

Hana! I got caught!

My shirt got caught!

Hana! My shirt got caught!

Hana!

Hana!

Hana! My shirt got caught!

Bagus! No!

Ouch!

Bagus!

Gus!

Gus, slowly!

Slowly.

Stop.

- Slowly.
- Hana...

It's broken. It's broken.

- Don't joke.
- I swear.

It's really broken.

Please call an ambulance.

- It's broken for real?
- Please.

It's really broken.

- Please call the ambulance.
- Wait...

Gus...

- Huh?
- This is an important moment.

- Gus...
- But...

If he broke his leg, she'll forgive him.

Don't touch it!

- Stop.
- Wait.

I wrote this because since the beginning,
I wanted this to be about you.

I wrote this
because I wanted to understand you.

Because I wanted to understand your grief.

Your pain after losing someone you love.

What you think,

what you went through.

Your grief.

That's why it's in black and white.

That's so good!

So good!

Bagus!

Have you called the ambulance?

- Hana...
- We called them!

Hana.

Listen to me.

I dropped the film.

I don't want to continue.

I'm ashamed of myself.

I thought

if I surprised you with the film,

it would be a token of my love for you.

But I was wrong.

It's not like that at all.

I can't stand my own foolishness.

You're right.

The romance is only in my head.

I can see it now.

I want you more than the film.

This is it.

This kind of romantic scene in movies
do not make sense at all.

How can we talk when you broke your leg?

We are still waiting for the ambulance.

We have time to talk
until the ambulance comes.

But Gus...

the fracture would be too painful.

There's no way we could talk.

It'll make more sense
if you scream in pain.

And your friends, Cheline, Dion,

how could he just stand still
watching his friend break his leg?

This is a rom-com,
a romantic comedy movie.

There has to be some comedy in it.

It doesn't make sense.

But are you angry

to see how I wrote your character?

Well, I am.

THE RISE

I really wonder

how you could write such a story.

Drawing your own conclusions.

How did you do that?

From the beginning,

I intended to write about our meetings.

Hana.

You're here?

After we had an argument
in the Padang restaurant...

Would you choose that for my false belief?

I think I would.

- I see.
- We had an argument.

Then Mr. Yoram rushed the deadline.

So I had to finish it in a hurry.

I tried to call you,

but I knew you were angry with me.

There was nothing I could do.
I only had myself.

And the reason why I wanted
to make movies from the start.

I contemplated everything
and I reflected on myself.

Then I realized

that the one with the false belief
wasn't you,

but it was me.

The romance is only in my head.

After that,
I just made up stories about us.

The thing that I was afraid of the most,

was what would happen
if you read the script,

because deep down,
I knew you'd be really angry.

You really thought I would be that angry?

See? I read your script.

I didn't yell at you, right?

In movies,

usually, the character would be angry
and delivers really cool lines,

like that one,

"Gus, you only care
about your measly film world,

and you think
it can change the real world!"

In this script,

if Bagus liked Hana that much,

why didn't he confess?
They just needed to talk it out.

Hana.

I like you.

See? It's easy.

I've told you,

couples only need to communicate and talk.

But it's real.

I really like you.

But I was foolish

for not wanting
to understand your feelings.

Your feelings
about losing someone you love.

It was just me who got excited.

I admit

I was selfish.

That's why when I finished the script,
I wanted to show you.

And I wanted to tell you honestly like...

what I just did.

Now I feel like...

our relationship
has gotten more complicated.

I'm sorry.

I didn't mean to complicate the situation.

But do you like the script?

No, I don't.

It's not romantic.

But the fact

that you're here

and that you're honest with me,

I think that's romantic.

FALLING IN LOVE LIKE IN THE MOVIES

I think it's fine.

- I mean, I don't need to revise it.
- It's fine.

It's fine, just relax.

Cheline.

- Dion.
- Bagus.

Hey, are you going to edit the film?

- Huh?
- You have editing to do?

- You're presenting?
- Yes.

This is Hana, guys.

- Cheline.
- Hana.

Dion.

They're...

Yes, right!

So, you told her?

I did.

So, it's a real story?

Okay, I have editing to do.
Good luck for the presentation.

Hana, please excuse us.

- Take care.
- Bye.

- Bye.
- Bye.

Chel.

So, it's real?

Answer me.

Sir.

- Yes?
- Please come in. Mr. Yoram is waiting.

Okay, wait.

Okay then. You want to come in with me?

No need to.

- Are you sure?
- It's okay.

I'll go inside.

Are you sure about waiting here?
What about the cafe across the street?

It's fine. I can wait here.

Okay then.

It's like dropping kids off at school.

Gus.

I'm a bit nervous. Wish me luck.

Hello, sir.

Gus.

I have prepared three episodes
with the files already.

You just need to study it.

Let's just make an adaptation
of a soap opera IP.

We'll be a box office hit.

And you have quite the reputation
for writing film adaptations.

They have made a reborn version,
haven't they?

That's the good thing about a reborn
we can just make another one.

By the way, sir,

please listen to my ideas.

What if we make a movie
in black and white?

Interesting.

Interesting.

- This one? I'll take a look.
- That one. Please.

MR. YORAM'S ROOM - ANDAMAN FILMS - DAY

BAGUS SITS IN FRONT OF HIS PRODUCER, YORAM

WHAT IF WE MAKE A MOVIE
IN BLACK AND WHITE?

YOU KNOW WELL HOW OUR INDUSTRY WORKS

The character names are the same as us.

Right, sir.

- I don't have to play it, right?
- No, sir. It's better if you don't.

- You won't play it either, right?
- No, sir. No.

Okay.

So, black and white?

So, it's a horror film?

Romance, sir.

Gus.

I've told you,

you can give me an original script
as long as it's a horror movie.

But listen to me, sir.
This is an interesting story.

This is about a film writer

who secretly writes his love story
to get his dream girl,

his friend who's recently widowed.

That's interesting.

Then a vengeful spirit is against
their relationship and chases them down

- to kill them?
- No, sir.

The spirit uses a thing as a vessel
that is carried by them,

- then they get haunted?
- No, it's a romance, sir.

What's the title?

Please read the title. I want to hear it.

Falling in Love like in the Movies.

Horror.

Falling in Love like in Horror Movies.

- See?
- Sir.

That's a brilliant title.

But you promised me.

I know I did.

RESOLUTIONS

THE ENDING: BAGUS AND HANA
COINCIDENTALLY MEET AT A SUPERMARKET,

SMILING AT EACH OTHER.

THIS IS OUR CONVERSATION WITH...
JUST MAKE SOMETHING UP, GUS.

Mr. Yoram wants me
to extend the grieving scene.

He proposed this revision.

But I wonder why in movies...

- Personally...
- Yeah?

I don't think grieving feels like that.

Huh?

Look at Ms. Yati.

What's with her?

Her husband passed away last week.

What?

He has been sick for quite a long time.

Gosh.

I think the hardest part of grieving

is how life must go on

when we just want to stop.

Or...

from my experience,

when I feel happy,

just like now,

like when we talk,

I'm happy...

but I feel like...

I'm not allowed to be too happy.

Like there's somebody forbidding me.

There's a part that I need to revise.

Which one?

The part when you...

move on.

Because now, I think

that you don't need to move on.

Just move with it.

You can just carry it.

I can see that Deny has a really big space
in your heart.

I'm fine with keeping a small one...

if you still have any left.