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How to Deal With Your 2046 (Working Title) By Luke Brookman JANUARY 2012

Luke Brookman

INT. LIVING ROOM - NIGHT A large, gloomy room. Large steel pipes swirl through furniture, shooting up and kissing the ceiling. Boxes upon boxes of tinned food, magazines, toilet paper, bottled water and cigarettes clutter the room. in the middle of this chaos, on a long green sofa sits Xian - a white male in his late 20’s. With greasy hair, a shaggy beard and a stained dressing gown hiding his dignity, Xian is a tough site to bare. He grabs a large remote control, which is dressed in a countless amount of buttons. He clicks one of them. WIDE SHOT: Xian is dwarfed by a large wall doubling as a TV. BREATHLESS, Goddard’s masterpiece, is playing. Jean Seberg comes onto the screen. XIAN’s face lights up. CLOSE UP: XIAN’s wide eyes flooded with the flashing black and white images coming from the screen. MONTAGE: Images of Jean Seberg’s PATRICIA scroll across XIAN’s face. Miles Davies plays us through the montage. XIAN is mesmerized - He’s in love. The music continues. XIAN is in a trance until ... The film vanishes - "Incoming call" written in traditional Chinese followed by "MOTHER" reads over a black screen. XIAN sighs... XIAN Answer. A different much tidier room fills the screen. On a large red sofa, sits an elderly woman - XIAN’s mother - a sweet but nosy lady in her 80’s. MOTHER XIANNY sweetheart! How are you, my little grape? XIAN Fine mother. You don’t need to keep calling. MOTHER Oh, I just worry about you. You’re all alone in this little bachelor pad of yours. XIAN Mother, the air outside is too toxic to breathe. No one can leave (MORE) (CONTINUED)



XIAN (cont’d) their homes without risking death. The majority of us are alone, but it doesn’t mean we’re lonely. MOTHER No, the majority of us are not alone - the majority of us have partners XIAN - Oh not this again, mother! It’s not exactly appropriate conditions out their for me to persuade a female to come back to my palace of large cardboard boxes. MOTHER Oh don’t give me that! Dating is internet accessible now, darling. No one should be alone - especially not now. XIAN Mother, I don’t want to court a complete stranger over the internet. I want romance and a story. MOTHER Oh I wish you would stop talking like that. Just because you learnt all your language from a TV does not mean you have to talk like a fictional character. XIAN Goodbye mother. I love you. MOTHER I love you too my squishy little boy! He hangs up. BREATHLESS returns to the screen, frozen on Jean Seberg’s face. XIAN There’s only one girl for me. FADE TO:


INT. LIVING ROOM - DAY XIAN is curled up on the large green sofa. Sunlight begins to colour his face. His eyes open prompted by the light. REVERSE ANGLE: The sunlight is in fact coming from the large screen. The screen projects the view from a Parisian window looking out at the sun rising. The light from the sun brightens the parisian cityscape. Light bursts through the criss-cross of the IFLE TOWER’s metal frame. XIAN stretches, takes the view in then exits through a tunnel in the cardboard box wall. INT. KITCHEN - DAY XIAN emerges from the tunnel into a claustrophobic kitchen. Like the living room, this room is also covered in boxes. He opens a cupboard. CLOSE-UP: Boxes of cereal cover every space in the cupboard. He takes out a box. CLOSE-UP: Another cupboard. A large tub of powdered milk. XIAN takes it out. He adds a spoonful of it to water. CUT TO... XIAN routinely shoves spoonfuls of cereal into his mouth. CUT TO: INT. BATHROOM - DAY Spoon is replaced by toothbrush as XIAN freshens up. A voice comes from off-screen. VOICE (O.S) Are you afraid of getting old? I am. XIAN turns to the voice. Jean Seberg dressed as Patricia looks back at him. He turns back to the mirror in front of him. XIAN You shouldn’t be. You’ll never get old.




PATRICIA Not to you. XIAN Aren’t I all that matters? PATRICIA Of course, but it doesn’t make me immortal. CUT TO: INT. LIVING ROOM - NIGHT XIAN sits motionless staring at large advertisements flashing across the wall/screen. Camera pulls back - PATRICIA sits on a box seductively smoking a cigarette. PATRICIA XIAN’s a very intriguing name. XIAN If only there was an intriguing story behind it. PATRICIA moves from the box and lays on XIANS lap, wrapping his arms around her. PATRICIA Tell it to me anyway. XIAN Well, I live in a place where the Chinese are the majority. My mother just wanted me to fit in. PATRICIA Well I like it. (Pause) XIAN. I wish this was real. XIAN’s eyes become detached from emotion as her words resonate with him. PATRICIA continues to talk but we stick with XIAN. PATRICIA I don’t know if I’m unhappy because I’m not free, or if I’m not free because I’m unhappy. WIDE HIGH ANGLE SHOT: XIAN sits alone hugging air.


FADE TO: INT. LIVING ROOM - DAY PATRICIA walks around the room reading the labels on the many boxes. She stops surveys the room. Something pricks her interest. PATRICIA You have many boxes. But they’ll be empty boxes soon. A year or two if you’re sparing. At least you’re beauty will withstand. XIAN knows this. Its been on his mind for a long time. It’s why its is on her mind. He curls up on the green sofa gripping tight on a cushion. Red eyes show signs of little sleep. CUT TO: INT. LIVING ROOM - NIGHT XIAN is unmoved. An icon flashes on the large screen - 159 NOTIFICATIONS. PATRICIA You should eat. He sandwiches his head between two pillows and closes his eyes. PATRICIA You’re being cruel. You wanted me here, now you’re ignoring me. He continues to ignore her. PATRICIA Well if its what you want I’ll leave. XIAN stays still. The room is silent for sometime. His eyes open. He looks to see if she has really gone. She has. He panics. Jumping up he crawls through his tunnel. CUT TO:


INT. KITCHEN - NIGHT At the other end he does not find her. He turns back. CUT TO: INT. LIVING ROOM - NIGHT He jumps to his feet and frantically rips the boxes from there carefully made structure. The contents spill all over the room. He pulls every box from the wall. Eventually light begins to flood the room as windows, previously blocked, are revealed. He stops. The brightness of a real sun calms him into a frozen state. PATRICIA Its beautiful, isn’t it? She touches his hand. XIAN I thought you had actually left me. I can’t remember the last time this room felt so empty. It’s silly, but I love you. I wanted to see you, to see if I’d wanna see you. Images of PATRICIA and MICHEL are inter cut with images of the sun bathing XIAN and PATRICIA as they slowly move closer to each other. Eventually, they kiss. A truly cinematic kiss. They embrace for sometime before XIAN lets go. XIAN It’s time. He opens a door which reveals a corridor. PATRICIA What if you’re mother calls? XIAN Tell her I found love. At the end. He turns and walks down the corridor. Making it to a large metal door he proceeds to turn a large wheel unlocking the door. As he opens it. Voices from BREATHLESS are heard.




PATRICIA (V.O) What is you greatest ambition in life. PARVULESCO (V.O) To become immortal... and then die. MICHEL (V.O) How old are you? PATRICIA (V.O) A hundred. MICHEL (V.O) You don’t look it. The door opens as overwhelming light burst through with a strong gust of wind. XIAN stands, takes a deep breath and feels the sun touch his face. He looks back. She has gone. Already he misses her. He takes his first step outside for many years. After two steps he falls to his knees. He manages to stay upright for a few more seconds before his whole body collapses. Images of the final sequence of breathless inter cut. MICHEL (V.O) I’m tired. I’m going to sleep. FADE TO BLACK CREDITS ROLL.

How to Deal With Your 2046 (Working Title)  

An experimental screenplay placing a human story in a science-fiction setting.

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