HALAK DINA  Complete Document Written By Adama Umar


In Maiduguri, Nigeria, a captivating mansion is under construction in Borno town, Magumeri local government. The opulent residence provides a commanding view for its wealthy owner, who oversees access through a corner by the imposing gate. The house, with its grandeur, stands tall, allowing observers to glimpse the moon and a modest three-story wall from one side. The exterior is adorned with vibrant trees, and a cozy vacation hut sits amidst the colorful flora. Witnessing the blossoming flowers, one can’t help but feel the therapeutic effects on well-being.

Inside, a spacious living room takes center stage, boasting three sets of leather seats arranged in a row. A glance to the left reveals a sizable dining room, furnished with a dozen chairs. Curiously, despite the grandeur, the house appears uninhabited, maintaining an eerie silence. Ascending the stairs leads to a larger living room, partitioned into three rooms—one serving as an unused kitchen, another as a small living space, and the third hosting beds.

The primary bedroom, painted in pristine white, features matching curtains blocking the daylight. The room’s cleanliness is compromised by scattered undergarments—a couple of pants, bras, boxers, and a singlet lay in disarray. At the center of the bed lies a man covered with a white bedsheet. To his right, a woman, not overly plump but not exceptionally beautiful, lies seemingly motionless, appearing as if she might be fleeing. On his left, another woman, slender and not strikingly beautiful, embraces him like a child.

Despite their intimate position, the trio seems oblivious to their surroundings, engaged solely in passionate kissing. Their actions intensify, culminating in audible breaths and moans. Noticing the spectacle, I was taken aback. The scene escalated as the man redirected his attention to the woman’s chest, eliciting even more surprising reactions. The deafening sounds reached a crescendo, awakening me from my slumber with a puzzled expression.

Reacting to the situation, I decided to leave and stumbled upon a conversation about hunger between two individuals named Aliyu and the narrator. Aliyu, seemingly unfazed, suggested they eat something. As I attempted to open a door leading to a substantial room, one of them complained about fatigue since prayer, expressing surprise at Aliyu’s apparent lack of exhaustion.

The narrative took a sudden turn, revealing a struggle with drug addiction and the narrator’s need for substances to cope with a challenging person. The focus shifted to a kitchen encounter, where the narrator, still groggy, prepared food while being privy to the ongoing commotion upstairs.

As the cries persisted, the narrator, despite the internal struggle, forced themselves to eat, anticipating the impending climax of the disturbing events unfolding within the house.

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