Some Nights I Feel Like Walking

A quartet of street hustlers—Miguelito, Bayani, Rush, and Uno—survive by finding clients and sometimes pickpocketing to pay the rent across Metro Manila. They move through the urban landscape, taking gigs and watching each other’s backs. This setup establishes the precarious, survival-focused world of their friendship.

Miguelito breaks away from the others to entertain a client, stepping out of the routine the group shares. The rest head into an erotic cinema to continue their earnings. The separation foreshadows the tensions and fates that will divide them later.

Uno meets with a client who participates in a three-way with Zion, a hustler who ran away from home. Bayani robs Zion in the bathroom, but Uno intervenes, creating friction within the group. The incident deepens mistrust and foreshadows harsher choices ahead.

Uno and Zion go to a mall to buy bandages for Zion, taking a brief detour from the night’s hustle. During their errand, Uno receives a distress call about Miguelito and races to find him. The search quickly reveals that something has gone terribly wrong.

Zion discovers Miguelito dying in a parking lot and learns his last wish is to be returned to his hometown. Uno suspects the client drugged Miguelito, adding a sense of betrayal and danger to their mission. Miguelito dies before they can get him help.

Uno and Zion tell the others about Miguelito’s death, and the group agrees to take him home for a funeral. Bayani expresses distrust of Zion, complicating the coalition’s resolve. The plan to bury Miguelito in his hometown begins to form amid rising anger.

The group stops at a hotel to clean Miguelito's body and store it in a bag. The grim preparation underscores the lengths they will go to honor their fallen friend. The weight of the decision hangs over them as they prepare to transport him.

Uno reflects on his desire to stop sex work and the fact that he does not own his body as a hustler. He narrates to Zion in the shower room a memory of his first interaction with Bayani, revealing the bond and tension between them. The moment deepens their connection amid the harsh journey ahead.

They board a bus at midnight for a rural town named Painawa, carrying Miguelito’s body in a bag. The journey is tense and uncertain, with the group unsure of what awaits them. The destination marks a shift from Manila’s streets to a remote community and the next steps toward burial.

The bus is stopped for carrying an oversized bag, testing the group’s nerves. Zion claims he is the son of a military general to gain passage, leveraging his status to smooth the way. They are allowed to continue, but the risk remains high.

In Painawa, Rush, Bayani, and Uno leave Zion at the town plaza to proceed with plans, while Zion later finds Uno in a grass field. Uno admits he left the group to search for Zion and they kiss, acknowledging their complicated love. The pair then finds themselves drawn toward the town’s festival atmosphere.

The friends drift into a drag bar and are chauffeured to the plaza where a festival is underway. A fireplace sits at the festival venue for offerings, underscoring the community’s ritual response to the death. They begin to confront where Miguelito’s body should finally be laid to rest.

The group tracks down Miguelito’s brother, now a pastor, and informs him of Miguelito’s death. He rejects him, saying Miguelito left for Manila to live a sinful life. The revelation fuels the group’s anger and fuels a violent reaction from Bayani and Zion toward the brother.

Bayani and Zion beat the pastor and escape back toward the festival venue. They carry Miguelito’s body bag to the fireplace for offerings and set it alight, effectively disposing of him in a ritualistic, desperate act. The blaze marks the film’s bleak conclusion as the group faces an uncertain future.