e18
Basquiat
BASQUIAT
screenplay by Julian Schnabel
copyright 1993
revised 8/12/94
BLACK
We HEAR "Waltzing Matilde," by Tom Waits.
INT--MUSEUM OF MODERN ART--DAY
(DREAM SEQUENCE IN GRAINY BLACK AND WHITE)
Fade out music.
Silence.
A well-dressed black BOY and his MOTHER walk through several galleries.
They stand before Picasso's "Guernica," holding hands.
The mother is disturbed. Crying.
The boy looks up, confused and frightened, concerned to see his mother crying in
public. She looks at him tenderly.
Her brow furrows. She stops crying. She stares just above his eyes.
Something's happening: she looks with wonder at the top of his head.. his eyes roll
upward, trying to see----it's a crown!
He raises his hands. He touches it.
A beam of light illuminates the crown, casting its glow on his mother's face.
The beam gets whiter, the rest of the screen gets black.
INT---CARDBOARD BOX
Silence. In darkness, we hear a VOICE---imbued with a sense of its own history:
VOICE (O.S.)
Everybody wants to get on the Van
Gogh boat. There's no trip so
horrible that someone won't take it. The idea of the unrecognized genius slaving
away in a garret is a deliciously foolish one. We must credit the life of Vincent
Van Gogh for really sending this myth into
(CONTINUED)
VOICE (O.S. CONT'D)
orbit. How many pictures did he sell? One? He couldn't give them away. We are so
ashamed of his life
that the rest of art history will be retribution for Van Gogh's neglect. No one
wants to be part of a generation that ignores another Van Gogh.
The beam of light shines through a small hole. It falls upon a sleeping, dreaming,
delighted face. It belongs to JEAN MICHEL BASQUIAT.
OUTDOOR, DAYTIME SOUNDS filter in.
Hearing the voice, Jean frowns at being woken up.
EXT--TOMPKINS SQUARE PARK---DAY
A long, rectangular cardboard box.
SUPER: NEW YORK CITY
ANGLE ON:
RENE RICARD (early 30's), seated at a park bench, hunched over a notebook. He's a
raggedy dandy: a poet in a hooded sweatshirt and white hightops.
As he writes, he reads aloud, as if addressing Posterity.
RENE (CONT'D)
(sighing theatrically)
In this town one is at the mercy of the recognition factor. One's public
appearance is absolute.
Beyond him, a HAND gropes its way out of the box. It tosses a can of YOOHOO
chocolate drink.
RENE (CONT'D)
I consider myself a metaphor of the public. I am a public eye. I am a witness.
A HEAD appears from the box. It's Jean's.
Jean sees the start of a crisp, colorful autumn day. The urban park around him is
alive with a typically full range of the good and bad in life. He eases himself out
of the oversize box in which he has spent the night. There's something about the
way that he stands while waking up that suggests he's almost surprised at his own
body, the adultness of his limbs---just a subtle hint of him coming out of a dream.
He squints in the sunlight. He has a soft, gentle, Haitian face. His hair is pulled
tight to his head. He wears two pairs of blue jeans (one cut like chaps over the
other) a paint-covered Wesleyan University T-shirt, and the inside lining of an
overcoat. His appearance is unruly, but it's deliberate. He's stylish.
He shakes himself off and collects his stuff, which includes: a small book of
Pontormo drawings, a can of black spray paint and a cigar box made into a
loudspeaker with pencil holes and masking tape.
Jean walks out
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of the park and looks up past the buildings at the sky:
SUPERIMPOSED IN THE SKY---
STOCK FOOTAGE OF A HAWAIIAN SURFER.
Jean sees the surfer, `riding the nose' in glistening, shimmering sunlight [NO
SOUND].
DISSOLVE TO:
EXT----TOMPKINS SQUARE PARK---DAY
Rene grabs the box for use as a desk and continues to speak out loud as he writes.
RENE (CONT'D---O.S.)
Part of the artis
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t's job is to get the work where I will see it.
EXT---LOWER EAST SIDE ST.---DAY
As he speaks, we see Jean pass the wall of a funeral parlor. He spraypaints:
SAMO AS AN ALTERNATIVE TO GOD
RENE (O.S., CONT'D)
When you first see a new picture, you don't want to miss the boat. You have to be
very careful because you may be staring at Van Gogh's ear.
Jean signs his words with his `logo,' a triple pointed crown.
As he presses the spray can, we HEAR the roar of a breaker.
CUT TO:
INSERT: CLOSE-UP OF SIDEWALK:
Pressed into the concrete is a pair of EYEGLASSES. A light-colored piece of rock
completes the picture to make a face.
EXT---LESHKO'S RESTAURANT----DAY
JEAN'S POV: his shoes pause next to the face in the concrete.
CUT TO:
In front of the restaurant is a METAL BILLBOARD with red plastic magnetized LETTERS
that reads:
TODAY'S SPECIAL: CLAM CHOWDER $1.50
TRY IT!!
CUT TO:
INT.----LESHKO'S----DAY
Jean enters.
CUT TO:
EXT---LESHKO'S RESTAURANT---DAY
The sign. It now reads:
SAMO'S DAY OLD TEETH $5.00
CUT TO:
INT----LESHKO'S RESTAURANT---DAY
Bending over a countertop, we see GINA CARDINALE, 22. He fixates on her.
She looks up and notices his stare. She continues to work.
Still staring at her, he sits down at a table. He pours maple syrup onto the table.
He draws in the syrup with his fingers.
CLOSE ON: syrup on table.
ANOTHER WAITRESS arrives at his table. She's put off by the syrup.
WAITRESS
What'll it be?
Jean thinks about it, eyes still following Gina.
BASQUIAT
Ummm. It'll be great. We'll live together in peace. What's her name?
(indicates Gina)
He looks up at the waitress.
WAITRESS
Gina. What'll it be?
BASQUIAT
Pancakes.
She leaves and whispers something to Gina. Gina turns and glances over at Jean.
Jean pours more syrup and starts writing his name.
At the grill, LESHKO, the burly owner/cook, has his watchful eye on Jean. He
doesn't like what he sees.
Jean smears the syrup thinly, so it doesn't erase itself. He draws a picture of
Gina, using his fingers and the silverware, rendering her last expression
strikingly with a few quick lines.
A GAUNT YOUNG MAN saunters up to Jean's table. He's sort of a tall Puerto Rican
Alain Delon with sleepy eyes. He is BENNY.
BENNY
Hey----Willie Mays.
BASQUIAT
Willie Mays.
Suddenly, Rene Ricard enters---a one-man parade. He beckons to Gina, snapping his
fingers.
RENE
Nurse!! Oh!! Nurse!! Carrot juice. Tofu burger. Rapido!
GINA
We don't serve that--amigo.
RENE
Fine.. A greasy cheeseburger. Fries---and a vodka.
BASQUIAT
(under his breath)
Who's that?
BENNY
The Devil, man. Rene Ricard. Art critic ---writes for Artforum. People read him.
Tell him who you are..
BASQUIAT
Who am I?
BENNY
SAMO.
BASQUIAT
Oh yeah..
Rene lands at the counter.
Jean's gaze is still on Gina.
She waits on a MAN at a nearby table.
CUSTOMER
How's the special today?
GINA
It's your stomach.
She hurries past Jean.
BASQUIAT
Hey.
She slows down, not wanting to.
BASQUIAT (CONT'D)
What do you think?
She looks at her portrait in the syrup.. She can't resist smiling.
GINA
It's me. I've never been done in maple syrup. Here's a rag.
Gina smiles. She offers him one. As she holds it out, their eyes lock. She tries to
resist his smile.
BASQUIAT
(gently)
Gina?
She puts her finger in the syrup and licks it off.
Benny takes it all in.
Leshko is upon them.
LESHKO
Alright. Look at you, staring at this girl, making a mess.
He waves Jean toward the door.
Jean takes Gina's rag and begins cleaning his mess, seemingly compliant.
BASQUIAT
How about those pancakes?
He brings out a roll of dimes to the tabletop and splits it open. Dimes roll all
over the table and stick in the syrupy parts. The manager explodes.
LESHKO
Ok! Goodbye!
GINA
Pipe down, Lech. Let him order.
LESHKO
You nuts? Let him order? You on his side? You're not such a good waitress. You get
out, too.
GINA
I j
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ust don't think you're being fair.
LESHKO
I need this?
GINA
I need this?
Gina quietly removes her apron in disbelief.
Benny gets up to leave very casually.
BENNY
(waving g'bye to Jean)
Willie Mays.
LESHKO
(to Gina:)
That's right. You go with them. Make babies the government has to pay for.
CUT TO:
Gina and Jean leave the restaurant.
Behind them, we see Rene, absorbed i
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n his writing.
EXT---AVE. A---DAY
They stand outside, not knowing quite what comes next.
Jean gives Benny a look (i.e. `scram').
BENNY
Catch you later.
Benny leaves.
A CHILLY WIND picks up.
Jean's mood is suddenly downcast.
They button up their overcoats, about to leave.
GINA
What's a job, anyway?
(pause)
What's wrong with you?
The truth is, he feels awful for causing Gina's trouble, but shows it by moping
like a child.
GINA (CONT'D)
No, don't tell me--you just got fired by your crazy boss.
BASQUIAT
I guess you did.
GINA
Guess I just got sick of him.
BASQUIAT
Can I walk you home?
GINA
I think I could do that alone.
Gina walks away.
He runs after her.
BASQUIAT
Wait, I'm in a band....We're at the Mudd Club on Halloween. I'll put you on the
list.
Gina turns and looks back at Jean.
GINA
I hate the Mudd Club.
He catches up to her.
Gina notices a dead leaf in his hair and picks it out.
GINA (CONT'D)
Have you been camping? You could use a scrub.
BASQUIAT
I'm clean. Smell me. I always smell good. I don't know why, I just do!
He leans forward, offering his neck.
GINA
(smelling)
You do! You definitely do.
BASQUIAT
Just come to the Mudd Club on Friday.
GINA
I don't go there. Too many party girls.
BASQUIAT
Party girls? Can I call you?
GINA
(teasing him)
Yeah, if you have any dimes left. 477-0496.
He writes her number on his pant cuff with a big fat magic marker.
BASQUIAT
Here, this is for you. I made this.
He hands her the small speaker.
She takes it.
GINA
Thanks.
She admires the speaker watches him walk off.
EXT---MENTAL HOSPITAL (OUTSIDE THE CITY)---EXT
We see Jean crossing a lawn outside a mental hospital.
INT--MENTAL HOSPITAL---RECREATION/VISITING ROOM---DAY
PSYCH. PATIENTS fill a cavernous day-room engaged in arts and crafts. Some of the
sadder patients stare off into space as Jean crosses the room. He carries a plate
of cookies and a full glass of milk.
He approaches a sad, nice-looking, middle-aged black woman--the same one from the
dream, earlier. She sits alone fondling a pillow in her lap. It's his mother,
MATILDE. She doesn't see him coming.
As he sets the plate in front of her, she notices him. She recognizes him and seems
pleased, even in her isolation. He kisses her on the cheek.
BASQUIAT
Hey, mom.
She smiles slightly.
Jean takes a cookie. She does likewise.
They eat in silence, looking at each other, communicating what they can.
Time passes. In between cookies her fingers find and break the stems of the pillow
feathers.
BASQUIAT (CONT'D)
I met the girl I'm gonna marry.
His mother brightens. She drinks the milk. They finish the cookies.
MATILDE
Do you like it here?
BASQUIAT
I'd like it better in Hawaii.
INT---CARDBOARD BOX--NIGHT
Jean tries to sleep in the box. RAIN falls heavily onto it.
Drops of water hit his face.
He wills it to stop. It doesn't.
Finally, he can't stand it. Rain forces his blinking eyes open.
INT---BENNY'S APARTMENT--- NIGHT
A door opens to reveal Jean's wet face.
Benny lets him in.
Jean enters a rundown railroad flat crammed with musical instruments, beer cans,
and homemade art. There's a couch with a sheet over it.
Junk is piled in a corner---mostly art books and drawings.
Benny sits down at an electric piano, which he's evidently playing. He sings along,
softly, working out the words, concentrating, absorbed.
Jean sets his belongings on the couch, walks to a mic stand and starts making up
his own words.
BASQUIAT
"She loves me.
Oh yeah she loves me!
She loooooooves me,
Oh yeah she loves me!"
Bring me some chicken, baby!
BENNY
Would you shut the fuck up? You hear what I'm doing?
BASQUIAT
Yeah man. I'm jealous. You're always great, Benny.
(goes back into `act')
"Her name is G-I-N-A Gina
And she lo-oooves me."
I did say chicken!
Benny turns off the piano and lights a roach, angry at Jean's self-centeredness.
Jean digs
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through a pile of garbage. Finally, he finds what he's looking for---a
pile of "SAMO baseball cards"---color Xeroxes of his favorite images and words. He
pockets them.
BASQUIAT (CONT'D)
I knew I left these somewhere. One of these'll send your kids to college someday.
(hands it to Benny solemnly)
Here--I made this for you.
BENNY
Thanks.
(beat)
Your dad called again--something about a job.
H
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e hands Jean a slip of paper. He notices the number on Jean's pants.
BENNY (CONT'D)
You got a date already?
BASQUIAT
(exhaling)
We're getting married. She said she could tell I was a great artist---she could see
it in my eyes. She said she wanted to be by my side and have inter-racial babies
with me.
Benny grins. He grabs a basketball and spins it expertly on his index finger.
BENNY
G'night.. See you in court tomorrow.
Jean turns on the TV. He notices the roach. He picks up the paper Benny gave him
with the message from his father and sets it on fire.
He lights the roach with it.
He looks up; on television, we see a BUM being interviewed. Jean turns up the
volume.
The bum's on the ground, looking beat up. Jean picks up a pocket recorder and turns
it on:
BUM
The guy just hit me and I was on the ground!!! Boom, for real.
Jean mutes the sound on the TV. He rewinds and proudly plays back the words "Boom,
for real."
He picks up the phone and dials. He turns on the speakerphone.
Jean holds the recorder to the speaker as someone answers the phone. [Jean walks in
and out of frame throughout the following]
VOICE
Hello?
BASQUIAT
(deadpan)
I-Is this the s-s-suicide h-h-hotline?
VOICE
Yes. My name is Chris. What's yours?
BASQUIAT
Jean Michel.
CHRIS
That's a beautiful name. French?
BASQUIAT
Haitian. I'm going to kill myself. I'm taking pills. Reds, blues, greens.
Jean opens his notepad and looks down a long list of seemingly random words. He
comes to the words (in order) "liquid, hijack," and "Marlboros."
CHRIS
What? Wait a minute.. Talk to me.
BASQUIAT
(about to sob)
Life doesn't.. make...sense. This city's k-killing me. I want my liquid hijack
Marlboros!
CHRIS
What? Life's beautiful. Depression isn't permanent. Don't you believe that?
(pause)
What is it--did your girlfriend leave you?
BASQUIAT
No! I have a boyfriend. He loves me.
Jean spies an electric pencil sharpener and plugs it in.
CHRIS
You see? You have someone to live for.
BASQUIAT
No, I don't. I'm alone. We all are. Especially here. The world's unjust. The
respect fools get. The disrespect I get.
CHRIS
What is it you want? Respect? I have respect for you, just for making this call.
One philosopher said "Sadness is a sin against the richness of the world." Think
about it. Feel it.
BASQUIAT
You don't even know me. I want real respect.
He jams a pencil into the electric sharpener and holds the receiver right next to
it, giving the guy an earful: RRRRKKKKKKK!!
ANGLE ON: A speaker. CLOSE UP. It fills the screen.
We continue to hear:
CHRIS (O.S.)
(beat)
What? What do you want?
BASQUIAT
(breaking loose)
Fame. My liquid hijack Marlboros and the moon and the cow that jumped over it.
CAMERA PULLS BACK FROM SPEAKER TO REVEAL:
INT---MUDD CLUB---HALLOWEEN NIGHT
Jean and Benny are on stage with two other GUYS, members of the band Gray. Everyone
but Jean is dressed in some sort of Halloween costume.
We HEAR the words "Boom, for real" blasting from the P.A. system. What follows is
a continuation, a collage of words from Jean's "suicide hotline" call---
P.A.
One philosopher said "Give me my liquid hijack Marlboros. Life's beautiful. You
have someone to live for. What do you want? RKKKK! That's a beautiful name...French?
Jean sits in a chair onstage with his band members. Benny plays the organ. The
other band members play percussion and guitar.
It works. The crowd loves it.
The song ends abruptly.
We begin to hear James Brown's "Sex Machine."
Jean looks out into the crowd and notices Gina. She's looking right back at him
from the bar. Pleased to see her face, he says to himself--
BASQUIAT
Boom, for real.
We see him walk offstage into the crowd. They meet.
BASQUIAT (CONT'D)
I thought you hated this place?
GINA
I do.
(beat)
I just said that. I was never here before. I actually like it.
[MUSIC segues into PIL's "Public Image"]
BASQUIAT
Let's get out of here.
He leads her towards
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the exit. They step out of the club.
EXT---MUDD CLUB---NIGHT
[HIGH, WIDE ANGLE]
It's raining heavily. Jean motions for Gina to wait under the entrance. He tries to
hail a cab.. And another. And another.
A parade of them passes, but each time they slow down, they get a glimpse of Jean
and drive off.
Finally, Gina steps out of the entrance. She raises her hand, and a car pulls over
instantly.
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INT---CAB--NIGHT
They scurry into the backseat.
The cab pulls off.
EXT---CHINESE RESTAURANT---NIGHT
Through a steamy, rain-wet window, we see Jean and Gina seated at a table, dining.
They seem to be having a nice time.
INT---GINA'S APT.----NEXT MORNING
Gina lays in bed. Daylight streams into the apartment. Jackhammers RATTLE outside.
(Music: REGGAE SONG--Errol Scorcher's "Cockroach in de Corner.")
ECU: A cockroach crawls from Gina's bedroom across the floor and into the kitchen
where Jean sits naked on the floor, working on a drawing. It crawls over his
drawing towards a cardboard box.
Jean rummages through a cabinet. He finds a can of bugspray. Jean tears off a side
of the box. With cardboard in one hand and bugspray in the other, he forgets the
cockroach.
He's mesmerized by the list of ingredients on the aerosol can.
Someone POUNDS furiously at the door.
Ignoring the pounding, he starts listing the ingredients on the piece of cardboard,
finishing his new drawing by including a symbol of a cockroach to the left of the
list.
LANDLADY
Miss Cardinale.. Open up for me, please!
He gets up and peeks through the security hole. He sees a middle-aged Hispanic
woman reaching to unlock the door. He opens it.
LANDLADY (CONT'D)
Ohhh, Dios mio!
She stares at him levelly.
LANDLADY (CONT'D)
I just want the rent.
BASQUIAT
Why didn't you say so? Damn! She's asleep!
Jean draws on a piece of paper on the counter next to him. He hands it to the
landlady. It's a a little shack with a big head next to it that says "`Here' For
Rent."
The landlady looks at him like he's crazy. She balls up the drawing and puts it in
her pocket.
Gina arrives in the doorway, wearing a robe. The landlady's trapped between them.
GINA
(to Jean)
What're you doing?
The landlady wags her finger at Gina.
LANDLADY
Next Monday.
Gina and Jean look amused as they watch her leave.
BASQUIAT
Wanna go get some breakfast?
GINA
A friend of mine offered me a job doing a little work installing a show in a
gallery. He's an electrician. I was supposed to be there an hour ago.
She looks at the bugspray drawing on the floor.
GINA (CONT'D)
Ohh, that's nice.
Jean kisses her neck as she looks at the drawing.
We HOLD on the drawing.
INT---MARY BOONE GALLERY---DAY
White dust sprinkles down onto Jean's face from the ceiling. Unable to use his
hands, he tries to blow the dust out of his eyes..
His boss, GREG, a mild-mannered hippie electrician, works above him on the ladder.
Jean steadies the ladder. Greg's head is out of frame.
The gallery is an impressive space under preparations for an opening.
GREG
Jean, could you get me a Phillips screwdriver?
BASQUIAT
A what?
GREG
A Phillips head. From the toolbox.
BASQUIAT
Yeah.
Jean searches through the toolbox. He picks up a screwdriver and reads the handle:
CRAFTSMAN.
BASQUIAT (CONT'D)
`Phillips head,' right?
GREG
Yeah.
Jean shakes his head and puts it back. He tries a couple more--they each say
"CRAFTSMAN." He puts them back.
Finally, he finds one with a different handle. It says "G.S.C. 2000."
BASQUIAT
You don't have any!!
GREG
That's impossible. I've got, like, five of 'em!
He comes down off the ladder.
GREG (CONT'D)
You're holding one in your hand!!
(beat)
You've never done this kind of work
(CONTINUED)
GREG (CONT'D)
before, have you?
(demonstrating)
See, this is a regular screwdriver, and this is a Phillips head. The cross thing..
I'll tell you later what all the tools are so you'll know.
A GROUP of people arrives.
Albert Milo comes into view, tailed closely by Rene Ricard and MARY BOONE--well
dressed, petite, intense, 30. Milo, (also about 30), wears casual clothes
splattered with paint. Mary Boone is engaged in conversation with Milo. Rene
chatters away.
Greg climbs back up the ladder. He holds a piece of wire down to Jean. Jean stares
at the group while trying to be invisible.
RENE
I need to
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make a call, Mary. You don't mind, do you?
MARY BOONE
Certainly not. You can use my line.
Rene picks up the phone.
RENE
To Paris. Bernard Picasso--
(to Mary)
You know Bernard--
MARY BOONE
(wincing)
Be my guest.
Jean watches the group talking.
GREG
Jean? Hold this, please.
(beat--he sees why Jean's so distracted)
You'll get there. But it's good to have something to
fa0
fall back on. That's why I
became an electrician. It pays the rent. Y'know, I'm an artist, too.
BASQUIAT
I didn't know.
GREG
I sculpt. I'm really just starting to find myself. How old are you? Twenty? You're
just like I used to be. I'm forty-one. And I'm glad I haven't gotten any
recognition. It gave me time to develop.
Jean watches Mary and Milo talking.
MARY BOONE
(to Milo)
I can't tell you how happy I am with this show.
Mary yells across the room to Jean.
MARY BOONE (CONT'D)
(her tone impersonal)
Excuse me--you--what's your name? Would you move those tools there and put them
somewhere else?
He looks at her.
Milo watches to see what he's going to do.
BASQUIAT
(to Milo)
My name is Jean Michel Basquiat. Have you heard of me?
ALBERT MILO
(amused)
No. Should I have?
BASQUIAT
I'm a painter, too.
ALBERT MILO
Really. Huh. Too bad.
MARY BOONE
Excuse me, would you please move those tools?
Jean looks at Milo. Milo looks back at him.
Jean walks past the tools and continues toward the door. He walks out without
turning around.
Milo smiles to himself.
EXT--BOONE GALLERY--ALBERT MILO OPENING---DUSK
The ART WORLD CROWD fills the gallery. Jean lurks across the street, watching
through the window.
Cabs and limousines line the block. A crowd outside blocks the street.
Jean's obviously impressed, jealous and estranged--- he feels entitled to all this.
He crosses the street to get a closer look.
THROUGH THE WINDOW: he sees Albert Milo talking with ANDY WARHOL and BRUNO
Bischofberger. Andy, of course, is thin, silverhaired, and nearly albino. Bruno is
a Swiss art dealer in his 40's. He exudes money---a pillar of security.
On the other side of the room, Rene Ricard is surrounded by a coterie of young,
mostly BLACK AND HISPANIC MALES. Rene looks drunk, enjoying the moment, holding
court.
Rene crosses to Albert and Andy.
People pass by.
Jean starts to walk.
About half a block away, he sprays on a wall:
THE WHOLE LIVERY LINE BOW LIKE THIS WITH THE
BIG MONEY ALL CRUSHED INTO THESE FEET
He looks pleased. He turns and looks up West Broadway beyond the buildings at the
sky:
SUPERIMPOSED IN THE SKY:
We see a surfer emerging from a HUGE WAVE. He looks powerful and exalted.
CUT TO:
EXT---BASKETBALL COURT---DAY
ANGLE ON:
A wall. We see the following graffito:
JIMMY BEST ON HIS BACK
TO THE SUCKERPUNCH OF HIS CHILDHOOD YEARS
A basketball bounces against a wall.
Jean and Benny amble onto a basketball court. Jean's changed his hairstyle. Now the
dreadlocks stand straight up from his head.
Benny dribbles with skill while Jean puffs furiously on a cigarette. He doesn't
look like he's slept, but he's happy.
Benny throws the ball to Jean. It bounces off a puddle and splashes Jean.
BENNY
Come on, Jean. Get rid of your cigarette. Concentrate.
BASQUIAT
I am.. On Gina.
(beat)
Fuck--I didn't think we were actually gonna do this.
BENNY
Concentrate on the ball. Shoot.
Jean shoots. It flies up, up, up--- and over the backboard.
He runs after the ball, gets it, and dribbles clumsily.
BENNY
You're shattering all my myths.
BASQUIAT
About what?
BENNY
Your people.
BASQUIAT
Oh---you mean black people!
He shoots and misses again. He throws it to Benny, who does a picture-perfect lay-
up.
BASQUIAT (CONT'D)
(changing the subject)
How long do you think it takes to get really famous?
During the following, Benny performs a series of amazing shots while Jean looks on
admiringly.
BENNY
For a musician or a painter?
Jean shrugs.
BASQUIAT
Whatever. Famous. To where you can do your stuff all day without thinking about
anything else.
BENNY
Ummm.. Four years. Six to get rich.
He shoots. Swish.
BENNY (CONT'D)
First, you have to dress right.
He shoots again. Swish.
BENNY (CONT'D)
Then, you have to hang out all the time---with famous people---the right people,
the right chicks, the right parties.
He shoots again. Swish.
BE
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NNY (CONT'D)
And you gotta do your work all the time when you're not doing that. The
(CONTINUED)
BENNY (CONT'D)
same kinda work, the same style--- over and over again, so people recognize it and
don't get confused. Then, once you're famous, you have to keep doing it the same
way, even after it's boring--unless you want people to really get mad at you--which
they will anyway.
Benny
fa0
tosses Jean the ball. Jean walks off the court.
BASQUIAT
Come on. I hate this. I'm no good at it.
Jean shoots the ball and keeps walking. The ball goes in. He doesn't notice. Benny
runs after it.
EXT--HOUSTON ST.--DUSK
Benny and Jean walk along. Benny dribbles.
BENNY
Famous people are usually pretty stupid. You're too smart. You'd get bored to death.
You don't wanna be like John Henry---fighting the machine. Just do what you do.
It's about integrity. Follow your heart.
BASQUIAT
Who's John Henry?
BENNY
Oh man! Folklore guy--worked on the railroad. Y'know, pounding in spikes and laying
down track. Then one day they invented a machine to do it. And he says "Fuck that,
I'm a MAN" and he challenges the machine to a race to lay down a mile of track. It
takes two days. Neck and neck the whole time. They get right to the end, and he
beats it by one spike.
(pause)
Got a cigarette?
BASQUIAT
So then what?
BENNY
He drops dead! See? Just do your shit like you do it! Your friends like you, you
get laid, everyone walks by, sees your stuff everywhere. It's good. What else do
you want?
They watch a long stretch limo cruises up across the street.
BASQUIAT
Like I said--my liquid hijack Marlboros.
(indicates limo)
Check it out.
The LIMO DRIVER opens the back door. Andy Warhol and Bruno Bischofberger step out.
BASQUIAT (CONT'D)
Andy Warhol. He's famous and he's not boring.
INSERT: AN IMAGE OF ANDY'S PAINTINGS AT THE WHITNEY MUSEUM (FOOTAGE FROM JONAS
MEKAS FILM)
Jean scrounges in his pockets, pulls out his Xerox cards, and readies himself as
Bruno and Andy enter BALLATO'S RESTAURANT.
BENNY
What're you doing? You're doing something.
BASQUIAT
He's the best painter in the world. I'm gonna give him one of these.
BENNY
Don't give him anything, man. Your art's worth a lot. Trade. That's what real
artists do with each other. Besides, he'll just use you. He's famous for that.
Benny watches Jean crosses the street. Jean passes the limousine. Inside, the
driver (a 24-year old Rasta) takes a hit from a joint and watches Jean.
CLOSE ON: the driver's eyes.
CUT TO:
DRIVER'S POV:
He watches Jean cross the street.
Jean enters the restaurant.
INT---BALLATO'S---DAY
Jean enters. Andy and Bruno spot him. The maitre'd becomes alarmed. but it's too
late---he's at their table.
He spreads his cards on the table. The topmost card reads "REDEEMABLE BECAUSE OF
HIS YOUTH."
Andy stares dead ahead, Sphinxlike.
Bruno watches the non-interaction between the two.
MAITRE'D
(to Jean, flustered)
Can I help you?.
He taps Jean's shoulder.
MAITRE'D (CONT'D)
(to Jean)
Sir...?
BRUNO
(sympathetically)
I think it's ok.
MAITRE'D
Of course, Mr. Bischofberger.
Bruno picks up one of the cards.
BASQUIAT
You wanna buy some ignorant art? Ten bucks.
ANDY WARHOL
Ignorant art?
BASQUIAT
Yeah.. Like---stupid, ridiculous, crummy art.
ANDY WARHOL
Ohhh. That's new. That sounds good.
BASQUIAT
Ten bucks apiece.
ANDY WARHOL
I can give you five. You didn't do very much to these.
BASQUIAT
You don't even work on your stuff!
BRUNO
It doesn't matter how much you worked on them. It matters how much you can get for
them.
BASQUIAT
I can get ten.
ANDY WARHOL
I'll take two. This one and ...that one.
(to Bruno)
Can I borrow some money, Bruno?
Bruno pulls out a hundred dollar bill.
BRUNO
Here. Do you have change?
As WAITER arrives with the tray, Jean pockets the bill.
BASQUIAT
You made a good deal. Here, you can have these, too.
He leaves all the cards and walks toward the door.
BRUNO'S POV:
Jean leaving past stupified maitre'd.
EXT---GINA'S APARTMENT---DAY
Jean and Benny are outside the entrance to Gina's building. Jean carries two huge
bags overflowing with groceries and flowers.
He buzzes. There's no answer.
BASQUIAT
I'll be right back.
He produces a key and lets himself in.
He enters the building.
INT---GINA'S APARTMENT---DAY
Jean sets the groceries on the counter and leaves.
We notice the Bu
190
gspray painting on the wall, along with more of Jean's work and
supplies.
EXT---GINA'S APARTMENT--DUSK
Jean rejoins Benny in front of Gina's building.
As they're leaving, Gina comes up the street.
BASQUIAT
(to Benny)
Check you later, man.
BENNY
Hi Gina.
GINA Hi.
INT----GINA'S APT---DAY
Flowers and groceries are strewn on the counter.
FADE TO BLACK:
FADE
fa0
IN:
Over the following MONTAGE we HEAR:
RENE (O.S.)
..'APT 20'... The church bells would ring at noon and six a.m..
24 strokes:
How many times we counted them.
We called our bed the cloud.
And there we'd float.
The bathtub was in the kitchen and took forever to fill up.
We'd bathe together afterwards.
Oh the countless cigarettes and take out Chinese food...
The bed was so narrow
Three years we made it fit.
The sheets were green the
sheets were pink the sheets
white linen from the past.
Little home, farewell,
The broken windows
and the bodega on the corner.
Now from my balcony
I look out over all New York...
INT---GINA'S APT---NIGHT
Jean and Gina are sleeping.
SERIES OF DISSOLVES: As they're turning together in their sleep.
FADE TO BLACK:
FADE UP:
INT---KITCHEN/LIVINGROOM (GINA'S APT)--DAY
Filled with Jean's paintings.
SERIES OF DISSOLVES: Paintings and objects fill the room.
FADE TO BLACK:
SUPER:
A YEAR AND A HALF LATER
EAST 9TH ST.
FADE UP:
INT---GINA'S APT---DAY
Jean watches "The Little Rascals" on TV in the livingroom. The sound is turned off
and a record player PLAYS Gypsy music loudly.
Rolled up in a large drop cloth, Gina is asleep on the floor. Next to her, Jean
works on all fours, drawing figures, crowns, and houses.
Working feverishly, he writes "HEY, HEY, HEY" in big clusters, then writes other
words: SHARK, IMMORTALITY, JOHN THE REVELATOR, FAME, INK, TEETH, HAWAII SUPERMARKET,
POLE STAR, BABOON and TAR.
He has an acoustics manual and Bible open on the floor. He copies the technical
blueprints from the manual. He reads the Bible, following the text with a dirty
finger. It seems that he watches TV, draws, listens to the music and reads at the
same time.
He mixes Liquitex paints and puts some colors on the drawings. He draws a long blue
line and carries it over onto the floor. Up the wall. Through the fridge. Across
the window.
He takes off his paint-covered clothes and changes into Gina's black slip. He
rummages around the room, gathering pieces of his and Gina's clothes.
He spreads the clothes on the floor, and selecting wide brushes with long bristles,
picks up the cans of Liquitex paint.
When paint spills on the clothes, he spreads it into shapes.
Gina wakes up. She reaches for one of the painted shirts.
GINA (in disbelief)
Basquiat, those are my best clothes!! What are you doing?
BASQUIAT
C'mon, baby, I painted them for you. They're beautiful now.
GINA I'm going to my parents this
weekend. What am I going to wear?
(she begins to cry)
How could you do that to me?
Jean wipes his hands off on his thighs and puts his arms around Gina, holding her.
BASQUIAT
...I'll buy you some new ones.
GINA You don't have any fucking money..
Jean lets her cry for a moment, then notices the music playing on the stereo---a
Gypsy song sung in Spanish.
BASQUIAT
Do you know what he's saying?
GINA What who's saying?
BASQUIAT
Manzanita....
(translating song)
,...if one day I die, and you read this piece of paper, I want you to know how much
I love you. Although I'll never see you again, Gypsy, Gypsy, your hair, your hair,
your face, your face'
Gina looks up at him.
BASQUIAT (CONT'D)
'Even though you were never mine
And you never will be
You have a piece of my heart
You have, you have, you have...'
(he reaches down, wiping off Gina's face)
'Gypsy, Gypsy, your hair, your hair, your face, your face.'
No longer crying, Gina leans her head against Jean.
We HEAR a CALL from the window:
BENNY (O.S.)
Willie Mays!! Willie Mays!!
BASQUIAT
(at the window)
Come on in!
CUT:
Benny and two GUYS come barreling into the apartment. Immediate chaos. Benny holds
up a packet of drugs and jiggles it temptingly. They make themselves at home. Jean
sits with them and starts to chop up the drugs.
Gina gives
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Jean a look. She stands, still wrapped in the drop cloth. She lets it
fall to the floor. She's wearing only her underwear. She walks to the bedroom.
Benny watches her.
BASQUIAT
Gina, don't you want any of this? You could use some.
Gina doesn't respond. She comes out of the bedroom with a small suitcase.
GINA See you later.
She leaves.
Silence.
GUY #1
Nice underwear..
They start to
fa0
laugh.
INT---GINA'S APARTMENT---LATER
Kneeling on the floor, Jean covers the surface of the refrigerator door with fast,
rushing strokes. He mixes paint in a large soupbowl and dips his hair in the bowl.
Pressing his head to the door, he paints with his hair. He stops to examine the
marks.
He HITS his head against the door harder and harder.
FADE TO WHITE:
INT---GINA'S APARTMENT---MORNING
CAMERA PULLS BACK:
Revealing Jean's eyes. They're open and motionless. His head is tilted toward his
chest.
O.S. WE HEAR the sounds of Gina coming home:
The LOCK turns. The door OPENS.
Gina comes in and drops a bag on the floor.
GINA Basquiat?
Silence. She picks up the mail from under the door and walks into the room. There's
a lump on the floor. It's Jean.
GINA (CONT'D)
Wake up! I'm back!
She shakes his arm. No result. She lifts his head, revealing his painted hair.
She shakes him harder. His body is totally limp.
The whites of his eyes are red; his pupils slowly float up, vanishing.
GINA (CONT'D) Jean, what did you do to yourself?
She listens to his breath, then to his heart.
GINA (CONT'D) (panicking)
Jesus Christ!
She finds heroin sprinkled into some pot on the floor near him.
GINA (CONT'D) (slapping his face)
Don't do this to me.
She shakes him until his eyes unglue. His pupils float into their proper place.
BASQUIAT
.....what's the matter?
GINA (furious)
Oh, God, Basquiat, you scared the shit out of me. How the fuck could you do that
to yourself?
BASQUIAT
You're back.
GINA It's Monday morning.
BASQUIAT
It's not Sunday? I missed you. You shouldn't leave me alone.
GINA You're blaming me? I had to go see
my family.
BASQUIAT
I'm your family.
GINA Basquiat, what did you take?
Jean tries to pick himself up from the floor. He gets up stiffly, like Pinnocchio.
The long sleep made his limbs wooden.
BASQUIAT
Nothing special---just some weed.
He finds an old joint and lights it up.
GINA ..Basquiat, don't lie.
(holds up powder)
This is smack.
BASQUIAT
You want some?
He offers her the joint.
EXT--ST. MARK'S PLACE---NIGHT
Jean and Benny walk along, sharing a beer in a brown paper bag.
They approach a DRUG DEALER and exchange money for dope.
Jean finds a discarded window frame in a pile of trash and carries it with him.
They sit down on a stoop. Jean rolls up a dollar bill, empties the dope onto the
window, and splits it into two lines. He hands the rolled up bill to Benny, who
snorts the line.
Benny shakes his head involuntarily, making a violent face, as though the dope
burned a hole in his sinus.
BENNY
We got beat.
BASQUIAT
For real?
Jean takes a taste with his finger.. He tastes his tongue and makes a face..
He snorts part of his line, anyway, to make sure.
He frowns.
They continue onwards. Jean still carries the window.
BENNY
You gonna carry that around all night?
BASQUIAT
Yeah.. I'll paint on it.
INT---PARTY----NIGHT
The party's winding down--hip-hop kids, Lower East Side types. Jean and Benny pass
through the room, ignoring the two or three clusters of people---maybe fifteen in
all..
Jean encounters a familiar face: an enormous red-haired dealer---ROCKETS (35). They
greet each other as friends.
Rockets leads Jean aside. They stand near a wall where a painting hangs ("Flats
Fixed"). It bears Jean's three-point crown.
ROCKETS
You did that, didn't you?
Jean shrugs.
BASQUIAT
I gave it to Maripol. She let me stay here for awhile.
Jean hands him twenty dollars. Rockets hands him two dime bags. As if thinking
better, he hands the bill back to Jean.
ROCKETS
Do one for me and it's free. How's that?
Jean re-pockets his money. He gestures to Rockets as if to say "fine--it's a deal."
He and Benny sit down across the room and split a bag onto the window, as before.
This time, it's good. They lean back into it, slumping down into the couch.
Nearby, Rene sits on a couch with THREE STREE
190
T KIDS--artists (who we've seen at
Milo's opening). They sit on their knees looking out a window passing binoculars
back and forth.
ARTIST #1 looks through the window with a pair of BINOCULARS. He points down
towards the street, trying to get Rene's attention.
ARTIST #1
Check this out, Rene.
Rene lunges towards the window. The stereo BLARES (Curtis Blow's "Survival")
RENE
(singing along)
"Th
fa0
e name of the game is survival, You learn it in jail upon your arrival!"
Another ARTIST (#2) a young black man, runs up and tries to turn down the volume.
Rene grabs his crotch.
ARTIST #2
Chill, man! Be cool! This isn't even my apartment!
RENE
Oh man, you a FINE nigga! You know that?
ARTIST #2
Cut it out, man! And don't be callin' me that shit!
ANGLE ON:
Benny is now alone on the couch. He nods out.
RENE
(noticing him)
Oh my, there goes the neighborhood. Who's house is this, anyway?
Artist #2 is still mad at Rene.
RENE (CONT'D)
(to Artist #2)
That's what I like about you straight boys. You're so sensitive!!
(resumes singing)
"The name of the game is survival, Survival! Survival! only the strong survive"
ARTIST #1
Rene! Come here, man!
RENE
I gotta go pee.
Rene weaves across the room. Suddenly, he stops cold. He's staring at Jean's
painting. He doesn't move.
RENE (CONT'D)
(to himself)
Who did this?
(beat---louder)
Who did this?
ARTIST #2
I don't know. I told you, this isn't my apartment.
ARTIST #3
I know who did that. That's Jean Michel's. He's right here, man..
He turns to look for Jean.
ARTIST #3
Fuck, man, where'd he go? Where's Jean?
Benny looks around ineffectually and shrugs.
RENE
(to himself)
It's fucking amazing. Motherfucker's got to put a crown on it.
ARTIST #1
(yelling from the window)
Rene, man, check this out. Whoa.. He's kinda cute.
Rene looks to him and back at the painting. He takes one last look.
He stumbles towards the window and grabs the binoculars from Artist #1..
We look through the binoculars' POV at a GUY coming down the street. He's wearing
all black, cowboy boots, and sunglasses.
RENE
Naaaa. Poor thing has a little dick.
ARTIST #2
How do you know?
RENE
Just look at him.
(Rene hands the binoculars to him)
Little silver thingies on his cowboy boots? Honey, I don't think so.
He looks around the room again as if looking for Jean.
ARTIST #3
Whoa--check it out. It's him!
Rene grabs binoculars.
BINOCULARS POV:
Jean pauses before one of his own graffiti pieces:
PLUSH SAFE, HE THINK
Rene watches in awe. Jean, moving a bit slowly, `signs' his tag with the copyright
sign. He walks off.
RENE
MOTHAFUCKAH!
ARTIST #2
That's the same guy who did this painting.
RENE
I know that..Don't let him get away.
He hands the binoculars to Artist #3 and runs towards the door.
EXT----STREET----NIGHT
BINOCULARS POV:
We watch as Rene looks frantically for Jean, but can't spot him. Finally he sees
Jean's hair-do bobbing up and down a block away. He runs towards it.
RENE
Hey, wait up!!
Huffing and puffing, he catches up.
RENE
You heard of Albert Milo. I made that niggah. I'm Rene Ricard. Didn't you read "Not
About Albert Milo?" I know who to hype. Baby, I'm gonna make you a star.
BASQUIAT
Can you put me in the ring with him?
RENE
I can put you in the ring with him. Even book the dates.
(beat)
But those big boys know how to fight. They could make you look real sissy.
(they laugh)
I was looking at that painting upstairs. It's the first time a picture made me
embarassed to own
anything.
(beat)
So what's your real name? `Samo?'
BASQUIAT
Jean Michel Basquiat.
They shake hands.
RENE
Sounds famous already.
INT---PS 1 SHOW---DAY
INSERT: A huge poster reads:
NEW YORK/NEW WAVE
100 ARTISTS
CLOSE ON: A HAMMER, POUNDING
JEAN:
pounds a nail into one of his pieces, nailing it directly onto the wall. Everyone
stares.
RENE
Oh child.. You got no respect. Didn't anyone teach you how to mount paintings?
Rene smiles. Jean finishes pounding the last piece into the wall.
CAMERA pulls back to reveal several of Jean's paintings---found objects with paint
on them.
RENE (CONT'D)
This is a very important season in New York. One's public appearance is absolute.
(beat---a man approaches)
Oh!! Louise!! I'd like you to meet Jean Michel Basquiat---
(beat)
SAMO. This is Henry Geldzahler.
A crowd
190
begins to gather around the work.
HENRY
Ohh.. SAMO. I've heard a lot about you. I love your graffiti.
BASQUIAT
I was a kid then.
HENRY
(to Rene)
How much are these?
RENE
You or the museum?
HENRY
It's for me.
RENE
Five.
HENRY
I'll take it.
Henry leaves.
RENE
That's five thousand dollars.
(hissing to Jean)
He's from the Metropolitan Museum of Art so suck my
fa0
pussy, you star.
LATER:
There seems to be a buzz about Jean already. People gather around his paintings.
Gina arrives. She looks great.
BASQUIAT
You look fucking beautiful, beautiful.
GINA
Well thanks!
ANNINA NOSEI, a sophisticated, well-groomed woman appears at Jean's side. She takes
in his paintings.
As Jean, Rene, and Annina talk, Gina is left out.
RENE
This is Jean Michel, whose work I told you about.
ANNINA NOSEI
(to Jean)
Rene hasn't stopped talking about your paintings. Haven't I seen you in my gallery?
BASQUIAT
No.
ANNINA NOSEI
(to Rene)
You haven't been by lately.
RENE
I didn't have the subway fare. My Medicare ran out.
ANNINA NOSEI
(to Jean)
How do you come up with all those words you put over everything?
BASQUIAT
I don't know.
Jean sees Bruno and turns his back to her.
Bruno looks at the paintings with a smile.. He gives a cheerful nod to Annina.
BRUNO
You're doing well.
He leaves. Annina's impressed that Jean knows Bruno.
ANNINA NOSEI
I'd love to see some more of your work.. Where's your studio?
BASQUIAT
You name it, I paint there.
ANNINA NOSEI
Well, I don't want to get mugged on a Bowery street corner. Maybe I could find a
place for you to work. Take my card.
BASQUIAT
You want a drink?
He produces a pint bottle in a paper sack.
ANNINA NOSEI
No thanks.
(to Rene)
But I'd like one of these paintings.
She walks off.
GINA
Who's that?
RENE
You kidding? That's Annina Nosei. Jean's been in her gallery a thousand times.
(to Jean)
You slut. How do you know Bruno Bischofberger?
(to Gina)
He's only the biggest art dealer in Europe.
BASQUIAT
I had lunch with him once.
INT---GINA'S APT (BEDROOM)---NIGHT
Jean and Gina lay in bed.
BASQUIAT
Which island of Hawaii do you want our house to be on? Maui? Kaui? Molokai?
GINA
(a little upset)
I hadn't thought about it.
BASQUIAT
(in perfect Hawaiian)
Oahu, Lanai, Niihau, Kahoolawee--
GINA
Staten Island would be ok.
Beat. Silence.
Jean can't sleep. He stares at the ceiling.
BASQUIAT
Do you wanna marry me?
Beat.
No reply.
Gina's asleep.
INT--GINA'S APT (KITCHEN)---LATER (NIGHT)
Quietly, Jean kneels on the floor of the kitchen. He paints on an old window.
He draws figures of three people sitting at a table---obviously a family. He
crosses out one person and paints a dog under the table.
He crosses everything out.
He mixes the paint in a large bowl and starts again.
Again, he crosses everything out.
INT----GINA'S APT---MORNING
Jean continues to work. He's wearing pajamas and a bathrobe.
Gina enters, waking up.
She looks at the painting.
GINA
Kind of a family portrait.
Jean moves to add something. She stops him.
GINA (CONT'D)
It looks done.
BASQUIAT
Think so?
He pauses.
BASQUIAT (CONT'D)
......babies.
GINA
You mean babies with you?
BASQUIAT
What's wrong with me?
GINA
You're your own baby.
Jean paints out the image.
There's a KNOCK at the door.
GINA Who is it?
ANNINA NOSEI (O.S)
Annina Nosei.
GINA Who?
Jean jumps up and locks himself in the bathroom. Gina goes to the door, unlocks the
chain, and looks out.
GINA (CONT'D)
(through the crack)
Hello? Oh. Come in.
She opens the door.
ANNINA NOSEI
Is Jean Michel here?
GINA No.
Closed in the bathroom, Jean smiles while eavesdropping.
ANNINA NOSEI
I'm here to see some work.
Annina starts noticing all the work around her. Gina hands her a stack of drawings.
ANNINA NOSEI (CONT'D)
These are great.
GINA Aren't they?
ANNINA NOSEI
How much for these five?
GINA You should talk to him about this.
Annina contains her excitement.
ANNINA NOSEI
(continuing to stare at the work)
Um.. Do Rene and Jean have a contract together?
We see Jean in the bathroom looking at himself in the mirror with a bird's nest on
his head.
ANNINA NOSEI (CONT'D)
I'm interested in showing Jean's work.
GINA I really think you should talk to
hi
190
m about this.
Jean pops out of the bathroom.
BASQUIAT
When?
ANNINA NOSEI
How about right now?
She opens the door.
Unnoticed, Gina starts for the bedroom.
GINA (calling back)
Be ready in a minute!
CUT TO:
The door slams as Jean exits with Annina.
INT---TAXI--DAY
Jean waits in a taxi in front of Benny's apartment.
BASQUIAT
Honk the horn again, will you please?
The
fa0
DRIVER obliges. The back of the cab is loaded with all his belongings. Boxes
piled with junk. Bags of new painting supplies.
Benny emerges from his building and jumps into the cab.
BASQUIAT (CONT'D)
(annoyed)
You're late.
(to cabby)
One-fourteen Prince.
The cab pulls out. Jean lights a joint and smokes it furiously. He doesn't pass it
to Benny.
BENNY
What's the rush, John Henry?
BASQUIAT
I ain't John Henry.
BENNY
Good.
BASQUIAT
What's your fuckin' problem, anyway?
Benny holds out his hand for the joint.
BENNY
(inhaling)
I don't really have any problems.
BASQUIAT
Good. What do you have?
BENNY
What's your fuckin' problem? You get a girlfriend and a little attention and then
start acting all uppity with me.
BASQUIAT
(mortified)
`Uppity?' Like as in `uppity nigger?'
He snaps his finger for the joint back.
BENNY
That's not how I meant it.
(beat)
For all you know, you might just be a flash in the pan! You can never tell.
BASQUIAT
Hey fuck you! I deserve this shit. You're just jealous 'cause it ain't happening to
you!
The cab stops for a red light. Benny gets out. He doesn't say a word. Jean doesn't
look at him. The cab sails off.
EXT---ANNINA NOSEI GALLERY--DAY
It stops in front of the gallery. From outside, we see Annina conversing on the
phone. She looks up and opens the door for him.
INT---STAIRWELL--
BLACK.
O.S. We HEAR Jean walking down the stairs.
ANNINA NOSEI
I've got to find the switch.
INT----BASEMENT, ANNINA'S---DAY
Annina flips on a light.
ANNINA NOSEI
Here it is.
Jean looks around him. He's in a large, empty cement-floored room lit by
fluorescent lights.
INT---BASEMENT, ANNINA'S---(LATER)---DAY
Jean bends over, beginning several canvases. He pours paint on them---kind of like
photographs we've seen of Jackson Pollock.
We HEAR Miles Davis' "Flamenco Sketches."
INT----BASEMENT, ANNINA'S---(LATER) DAY
GRANDMASTER FLASH'S "WHITE LINES" fills the room.
The walls are covered with half-finished, unstretched CANVASES. Two or three more
lie on the floor.
He works like a maniac, buzzing back and forth from one painting to another, adding
figures, crossing out words, all the while smoking and eating cookies. The crumbs
fall onto the paintings. He walks on them.
Every so often, he refers to a book of DaVinci drawings. Torn pages litter the
floor beneath the book.
We hear someone THUMPING down the stairs.
It's Rene. A PUPPY follows him.
He dumps a huge load of paint supplies, art books, and carryout ribs. The puppy
sniffs around happily, licking at Jean and walking over the paintings, wagging his
tail.
He stops the tape player and inserts some Persian music.
Jean empties some foil-wrapped bags of coke. He cuts a line of coke on a foil plate.
Rene starts reading from a poem he's evidently written:
RENE
3rd night I called him `boy'
He sed "don't call me `boy'" "Well
Then don't call me `Boss'" That
Was the end for us and I've
Been seeing him for 2 1/2 years.
In kangaroo court I want to be
Able to say I never kept a
Slave. But he tricked me in
To Tying him up and busting his
Face. He'll jump up at my Trial
Yelling `He wupped me gud.'
Jean warms the plate 'til the coke crackles, and then "chases the dragon," sucking
the smoke through a straw.
He offers it to Rene, who refuses. He lights and hands Rene the joint. Rene takes a
hit. Jean takes it back.
Jean starts to work again.
The PUPPY runs around, chasing after him, getting in his way, running across the
paintings. Jean laughs, playing tag. The puppy gets ahold of Jean's sleeve. It
unravels about ten feet.
While Jean's playing, Rene spots a painting with the words "Famous Negro Athletes."
RENE
Oh man! That's one looks famous already.
Without hearing him, Jean walks towards the painting and with a swipe, paints out
what Rene is pointing to.
RENE (CONT'D)
You are a willful boy. How'm I s'posed to write about you if you keep changing
everything?
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The phone RINGS.. Jean ignores it. Rene gets it--
RENE (CONT'D)
Uh huhh.. Band practice?
(to Jean)
It's Benny. He wants to know why you're not at band practice...?..
BASQUIAT
(quietly.)
Fuck.....
(to Rene)
I forgot about that.
He sets his brush down..
Rene hold the phone against his leg.
RENE
Fuck band practice.. If you're gonna be a painter you're gonna hav
fa0
e to break a few
hearts---you don't wanna be like Tony Bennett..
BASQUIAT
Tony Bennett.. What do you mean?
RENE
Singing on stage and painting in your spare time.
BASQUIAT
I didn't know Tony Bennett painted.
RENE
My point exactly.
Jean picks up the phone.. All he hears is a DIAL TONE.
RENE (CONT'D)
So keep painting..
BASQUIAT
Yes, Boss.
(beat)
If you're so smart, why are you here with me in this basement?
RENE
You're news. I want the scoop. I write it down. When I speak, no one believes me.
But when I write it down, people know it's true.
(beat)
There's never been a black painter in art history that's been considered really
important, you know?
BASQUIAT
So what?
RENE
So shut up and keep painting..
BASQUIAT
(touched)
What time is it?
RENE
5:11.
Jean regards a near-finished painting. He writes "5:11" on it. He crosses it out
and re-writes it, "Rene 5:11." Rene looks pleased.
BASQUIAT
That one's for you.
RENE
Thanks.. I'll take it tonight.
BASQUIAT
I can't. After the show.
Jean continues painting. Rene slumps down onto the floor, happy---a parasite
content to have a host, impressed with Jean's limitless energy. Rene closes his
eyes.
BLACK.
INT---ANNINA'S BASEMENT---LATER
Jean is bent over his work. He looks to see a pair of legs. They belong to Albert
Milo.
BASQUIAT
Hey---it's the big A.M..
ALBERT MILO
Rene's been telling me about your work.
Milo takes his time looking at the paintings.
Jean continues to work, never wanting to appear impressed by anyone. He walks on
top of the paintings.
ALBERT MILO (CONT'D)
Is this finished yet?...
BASQUIAT
I don't know.
ALBERT MILO When's your show?
BASQUIAT
Not sure. How was yours?
ALBERT MILO I haven't decided yet.
(beat)
Rene, you wanna come over to the studio tomorrow. I wanna make a painting of you.
RENE
How about now?
Rene shrugs to Jean. He prepares to leave.
ALBERT MILO
See you at your opening. Thanks.
Albert and Rene begin to ascend the stairs. Jean continues painting. The dog leaves
with Rene and Albert.
WOMAN'S VOICE (O.S.)
Ohhh, Albert Milo, what a pleasure to meet you.
Jean's brush stops.
ALBERT MILO (O.S.) This is Rene Ricard.
Jean paints over the words "Rene 5:11."
We hear FOOTSTEPS COMING DOWN THE STAIRS. The woman continues--
WOMAN'S VOICE (O.S.)
We're Tom and Cynthia Kruger----nice to have met you.
JEAN'S POV: we see Annina's legs coming down the stairs.
REVEAL:
A man wearing a pin-striped suit and gold-rimmed glasses. The woman is wrapped in a
cashmere shawl.
ANNINA NOSEI (O.S)
Tom and Cynthia Kruger.
BASQUIAT (O.S)
I know.
We SEE that Jean continues to paint, looking down.
ANNINA NOSEI
This is Jean Michel Basquiat.
(beat)
You've seen the SAMO graffiti everywhere. That's his. This is the true voice of the
gutter.
As she speaks, Jean squirms. He grabs a banana from a fruit bowl. Without peeling
it, he takes a big bite. And another. And another. Everyone looks uncomfortable.
Annina starts showing them the paintings.
CYNTHIA KRUGER
We've seen the graffiti. I work on Wall Street. And I've heard wonderful things
about the paintings. Everybody's talking about you.
BASQUIAT
Yeah.
He looks up at them, eating the banana.
ANNINA NOSEI
Here's a very good example of his recent work that's not spoken for yet.
(beat)
He's got to work in a basement. He's got so much energy that if he worked in a
place with a window, he'd jump right through it. Most of these are reserved already.
After this week, this work will not be available.
TOM KRUGER
(to his wife)
...I don't know... This one's nice, but I don't know if I could live with it. That
green is so.... institutional.
He (Kruger) looks up to see two KIDS enter---young black artists, one of whom we
saw with Rene at the loft party.
They walk right into the middle of the room, completely oblivious to the presence
of Annina and the Krugers..
190
KID #1
(enthusiastically)
Yo, man, you're a damn lucky nigger selling this shit!
BASQUIAT
You like it?
KID #1
Not bad. Yeah, I do.
The Krugers hem and haw in front of the painting next to Jean.
CYNTHIA KRUGER
I'm fascinated by his choice of crossing out words that way.
ANNINA NOSEI
Yes, well, they are more meaningful in their absence, no?
KID #1
(to Jean, joking)
fa0
What does it mean?
Jean paints the words "Rene 5:11" back into a painting. They ignore the kid..
CYNTHIA KRUGER
I like this one, but that green......
Suddenly, we see LEGS coming down the stairs. It's Gina. Everyone looks at her.
BASQUIAT
Y'want me to make it a nice shit brown?
TOM KRUGER
Beg pardon?
Gina hadn't expected to find herself in the middle of this scene.
BASQUIAT
..Hi. This is Gina.
Annina nods to her.
Gina nods to the group.
CYNTHIA KRUGER
They're something like Dubuffet's.. That.... childlike quality.
Gina tries to connect with Jean. He's cold.
CYNTHIA KRUGER (CONT'D)
(to her husband and Annina)
I can't make up my mind.
TOM KRUGER
I like this one. If it were just another color..
BASQUIAT
Get a fucking decorator. If you buy one, you'll have to change your whole lives---
maybe even sell your kids!
(to Annina)
These paintings aren't even done yet!!
He sets his brush down. As he leaves--
TOM KRUGER (O.S.)
I think we'll take the green one.
HOLD ON:
Gina, left standing in the middle of this.
INT---MCDONALDS---DAY
CLOSE ON: McDonald's COUNTERMAN. He smiles.
BASQUIAT
I'll take three big Macs, two chocolate shakes, two orders of fries, and an apple
pie.
COUNTERMAN
You want three Big Macs, two chocolate shakes, two orders of fries, and an apple
pie.
A line begins forming behind Jean.
BASQUIAT
Forget it .I'll take six, no, seven chocolate shakes, an order of fries, a Big Mac,
and two apple pies.
COUNTERMAN
You only want one Big Mac?
The people in line are beginning to get impatient.
BASQUIAT
Yeah.. And make it three apple pies.
EXT---SOHO STREET---DAY
Jean leans on a fire hydrant, eating a Big Mac.
A pink scarf blows on the wind right in front of his face. He catches it.
A BOMBSHELL BLONDE arrives with her hand outstretched to retrieve it.
BIG PINK
How can I ever thank you?
BASQUIAT
(with a smile)
I'd like to squeeze your titties.
He offers her a Big Mac.
BIG PINK
Come on.
BASQUIAT
Wanna Mac?
BIG PINK
No, I'd like the scarf.
BASQUIAT
Have a Mac.
BIG PINK
I don't eat junk food.
BASQUIAT
Oh. I didn't know. I'll take you to the best restaurant in town.
(beat)
You'll miss a great meal and I'll keep the scarf, anyway. What's your name?
BIG PINK
You're a fast mover.
BASQUIAT
No name? That's ok. I'll just call you Big Pink.
A man sleeping on the ground with a beehive of paper bags on his head and three
overcoats sticks out into the sidewalk.
Jean leaves the McDonald's bag near his head as he walks down the street with the
girl.
INT---GINA'S APARTMENT---NIGHT
Jean enters the apartment.
GINA Hi.
BASQUIAT
Hi.
GINA What's that?
BASQUIAT
A present I picked up for you.
Gina holds the scarf up and looks at it.
GINA It's beautiful. Thanks.
As she holds it up he puts it around her neck and kisses her.
BASQUIAT
(tenderly)
You look like an angel.
INT----ANNINA NOSEI GALLERY---NIGHT
Silence.
CLOSE UP (PAINTING): We read the words:
BOOM #2
A CAT POURING TACKS ON ITS TONGUE.
Someone (the big red-haired dealer we met earlier) walks in front of us.
CAMERA PULLS BACK to reveal a crowd in a gallery. It is literally filled with
people. Again--all this takes place in silence.
We begin to HEAR Peggy Lee's "Is That All There Is?" It colors the motion of the
crowd.
CUT TO:
EXT---PRINCE ST (BET. MERCER AND WOOSTER)---DUSK
Jean walks down the street. He's got on a new set of clothes and he listens to a
Walkman. We HEAR Miles Davis' "Flamenco Sketches."
JEAN'S POV: We MOVE down Prince St. and take a left on West Broadway. We approach a
huge crowd. We get closer and closer until we are immersed in it.
The crowd realizes Jean's amongst them. People start approaching him. Someone
removes the headphones.
The DIN of the crowd replaces the music. Amongst the normal crowd chatter, we hear
friends' calling out:
VOICES IN CROWD
Jean!! Jean
190
Michel!!
INT----ANNINA NOSEI GALLERY
Annina beckons to him. Beyond her, he sees Albert, Andy, and Bruno. He's being
escorted or maybe just pushed---it's hard to tell. Each step of the way, he's
pounced upon by INDIVIDUALS we've never met. The room is wall-to-wall with people.
People are swept along in currents.
MAN
(wildly enthusiastic)
Jean, man!! Let's make a record!
WOMAN
(slyly, intimat
fa0
ely)
You finally did it.
MAN #2
(pointing to Jean, sneering)
He's so fulla shit.
MAN #3 (O.S.)
How much is he getting for these?
Jean walks up to Andy Warhol.
BASQUIAT
Andy, man, thanks for coming. I'd like to paint your jacket.
ANDY WARHOL
My jacket? Gee, great...
(he Polaroids Jean)
Your show looks great. Quite a turnout. You look great. You kids. You drink red
wine with fish. You can do anything! Make paintings in the basement of your gallery?
First time I've heard of that!
They are approached by Mary Boone, a short woman in high heels and an Armani suit).
ANDY WARHOL (CONT'D)
Jean Michel, this is Mary Boone. She's got the great new gallery.
BASQUIAT
Yeah, I met her already.
MARY BOONE
(shaking Jean's hand)
You should be pleased. It's a great show...I'm having a dinner later at Mr. Chow's
for Albert. You should come.
In the background, we see Annina watching.
ANDY WARHOL
You'll like it. Everyone'll be there.
Annina walks over to Jean with a COUPLE.
ANNINA NOSEI
Jean, your parents are here.
BASQUIAT
Hi Dad. Hi Nora.
NORA
Congratulations.
BASQUIAT
Thanks for coming.
Rene appears out of the crowd.
ANNINA NOSEI
(continuing to Jean's father)
You must be very proud.
FATHER
I am!
RENE
How does it feel to have a genius in the family?
FATHER
It feels.....good!
Jean notices Benny across the room. He slows down and waves.
Jean sees Gina across the room wearing the scarf.
Just beyond her, he sees Big Pink approaching.
There must be ten people between them.
BASQUIAT
(to Rene)
I'll be right back.
He moves towards her. Suddenly, directly in front of him are the Krugers.
TOM KRUGER
We love our painting.
BASQUIAT
Which painting?
TOM KRUGER
The green one.
BASQUIAT
Oh yeah.
CYNTHIA KRUGER
We got a couch to match.
TOM KRUGER
She's only kidding!
Looking past the Krugers, Jean looks for Gina. He sees her. His path is blocked.
He presses forward, looking for Gina, getting caught in the crowd.
Jean strains to keep an eye on Gina and Big Pink..
Benny arrives at Jean's side holding a bottle of Jack Daniels and a shot glass.
BENNY
Willie Mays. A Toast.
Jean brushes past him.
BASQUIAT
Not now, ok?
Benny is left standing next to Andy holding the bottle.
Jean manages to advance a few more feet through the crowd, then runs smack into
Rockets, his drug dealer.
ROCKETS
Jean Michel, my man. Nice party. Should we step into my office?
Nearby, Benny sees this meeting and walks off, disgusted, thinking this is why Jean
gave him the brush off.
BASQUIAT
That's alright. I'm cool now.
Jean looks off and sees Big Pink fingering the scarf, saying something to Gina.
Gina slaps her in the face.
Jean tries to get around the dealer.
Gina turns to leave. She catches Jean's eye.
She walks out.
ROCKETS
A gift! I was just trying to give you a gift!
The dealer palms something to Jean.
BASQUIAT
I gotta go.
Jean steps away from Rockets, but is trapped in the crowd. Rockets looks after him
with disappointment.
Rene arrives with, Andy, Bruno, and a PHOTOGRAPHER.
RENE
(edging his way in)
This guy wants a picture.
They shrug and crowd in---Jean, Andy, and Rene. The photographer gets them to
squeeze closer and closer.
PHOTOGRAPHER
Of the painters, please.
There's not enough room. Rene accidentally gets pushed out of frame.
Rene fumes. Albert Milo arrives with his parents (JACK AND ESTHER MILO). They are a
nice Jewish couple in their 70's.
BASQUIAT
He said `of the painters!' Hey--Albert! Get in the picture!
Albert crowds in. The photographer SNAPS a picture and the FLASH blinds everyone
momentarily.
ALBERT MILO
Hey, Jean, I'd like you to meet my wife....and my parents. Mom, Dad, this is Jean
Michel Basquiat.
Jean pulls out a joint and lights it as if it were a cigarette. He offers it to
Albert, who takes a hit.
ESTHER MILO
(frowning at her son)
Don't do that.
(beat)
Hello, Je
190
an.
JACK MILO
Hi, John.. Are your parents here?
BASQUIAT
Well.
(inhaling)
My dad's here with his wife. My mom couldn't make it.
He offers the joint to Albert's mother.
ESTHER MILO
(waving it away)
No thanks.
Everyone laughs.
BRUNO
(to Jean)
I'd like to do a show with you.
(pointing to "Rene 5:11" painting)
I'm especially interested in that one. I'd like to buy it for myself
fa0
.
Jean spots the very word on the painting ("Rene 5:11") and freezes for a second.
BASQUIAT
I wasn't gonna sell this one.
He looks around the room for Rene, but doesn't see him. Bruno remains smiling,
waiting for an answer.
BRUNO
You shouldn't have put it in the show. This is the one I absolutely have to have. I
really love it.
BASQUIAT
Sure, ok..
Jean wants out. He feels compromised.
BASQUIAT (CONT'D)
Do you think I could borrow your limousine? I'll get it back to you in an hour.
BRUNO
It's ok. Just have him bring you to dinner at Mr. Chow's later. We'll be there.
ANDY WARHOL
Bye, Jean.
Jean makes his way through the crowd, as we see images of the crowd and fragments
of paintings. As he nears the door, he feels his arm pulled.
RENE
(hissing)
You fucking little whore! You sold my painting! I'm gonna tell you something,
brother---when you're climbing up the ladder of success, don't kick out the rungs!
Believe that shit.
BASQUIAT
I'll make you another one.
RENE
Forget it.
He pulls out a scrap of paper and starts writing.
BASQUIAT
Rene-----
Rene shushes him.. He hisses loudly, like a cat.
RENE
SHHHHHH. Later.
(speaking to himself)
"What is it about art, anyway......"
Jean pauses. He turns around and surveys the room once more.
A blink.
Silence.
We see the crowd in SLOW MOTION.
Everyone's eyes are shut.
RENE (O.S. CONT'D)
.....that we give it so much importance? Artists are
respected by the poor because what they do is an honest way to get out
of the slum using one's sheer self as the medium. The money earned is proof pure
and simple of the value of that individual....The Artist.
INT/EXT---GALLERY---NIGHT
The CAMERA rises higher and higher over the crowd and follows Jean as he makes his
way toward the street.
We begin to DISSOLVE into a MONTAGE of stills of ARTISTS:
RENE (O.S.CONT'D)
The picture a mother's son does in jail hangs on her wall as proof that beauty is
possible even in the most wretched. And this is a much different idea than the
fancier notion that art is a scam and a ripoff. But you could never explain to
someone who uses God's gift to enslave that you have used God's gift to be free."
EXT---STREET---NIGHT
Jean enters a waiting limo. It pulls away from the curb.
Rene finishes as the limo threads its way through the night-lit, twinkling city.
INT---LIMO--NIGHT
The DRIVER is the young Rasta we saw earlier outside Ballato's driving Bruno and
Andy.
Jean slumps in the back seat.
The driver can't help staring in the rearview mirror.
DRIVER
I really.. admire you.
BASQUIAT
Me? Why?
DRIVER
You did it! You made it. I'm a painter, too.
BASQUIAT
That's great.
DRIVER
Would you check out my studio some time?
BASQUIAT
Sure. I'd be glad to.
The limo pulls over.
DRIVER
Here?
Quickly, Jean gets out of the limo. He leaves the door open.
The DRIVER watches as Jean talks to two DRUG DEALERS.
Jean jumps back into the limo.
The driver pulls away. In the rearview mirror, he sees Jean separate a bag from a
bundle of ten. He rips it open and snorts directly from it.
He lays his head back and takes a deep breath.
BASQUIAT
(calm, relieved)
What's your name, man?
DRIVER
They call me Steve, but I prefer Shenge.
BASQUIAT
Nice to meet you, Shenge. Want a job?
INT---MR. CHOW'S RESTAURANT---NIGHT
An elegant Chinese restaurant on the Upper East Side. The dining room is split
level with a mezzanine reserved for celebrities and special friends of the owner.
At the podium, the MAITRE'D approaches.
MAITRE'D
Good evening.
From behind the maitre'd on the mezzanine we see Bruno waving to Jean.
In the dining room on the lower level sit Annina and Rene. Nearby, at another,
smaller table, are seated DAVID MCDERMOTT and PETER MCGOUGH, two artists dressed in
Victorian attire.
Annina beckons him.
Rene looks away from him and talks to a WAITER. Jean waves to Annina and continues
towards Bruno's table.
Seated at a large ta
190
ble are Andy, Bruno, Albert Milo, his wife and parents, Henry
Geldzahler, MELINA PORTOS (a young heiress) and FRANCESCO and ALBA CLEMENTE and
Mary Boone. Dinner's already served.
At the large table, everyone watches as Milo makes a portrait of Francesco in a
beautiful leatherbound book. It belongs to Mr. Chow, who is nearby at the bar.
ANDY WARHOL
Hi, Jean.
He motions to Mr. Chow to set a chai
fa0
r for Jean between Mary Boone and himself.
BRUNO
Jean, everyone loved your show.
As Jean is seated, Andy and Jack Milo resume conversation--
JACK MILO
Nixon lives in Saddle River, New York.
ANDY WARHOL
Saddle River's in New Jersey.
JACK MILO
Saddle River, New York!
ANDY WARHOL
It's in New Jersey.
JACK MILO
New York.
ANDY WARHOL
I think it's in New Jersey.
JACK MILO
It's in New York.
ANDY WARHOL
Oh, I didn't know that.
CLOSE UP: Jean smiles at Andy's diplomacy.
Albert finishes drawing his portrait: it's Francesco with his arm around a headless
torso.
ALBERT MILO
(to Francesco)
You finish it.
He pushes the book across the table.
Francesco begins to draw.
MARY BOONE
(to Jean)
I hear your show was sold out already. There's a very important collector who's
interested in some of your works.
BASQUIAT
Bring him over sometime. I have some other stuff to show him.
Annina watches from the other table as Jean talks to Mary.
Francesco finishes his drawing.
Albert takes the book and passes it to Jean.
ALBERT MILO (CONT'D)
Go on, take it..
Jean takes it. Mr. Chow watches his book change hands.
Jean takes a bowl of moo-shoo pork in front of him and dumps it onto the book. Then
he uses a piece of pork to draw a head.
Suddenly, there's a shrill, familiar voice.
RENE
I'd like a glass of your best champagne, please?
(reading)
This is an enormously important season in New York, and to make a false step could
have severe repercussions for years. We are no longer collecting art, we're buying
individuals.
ANDY WARHOL
Oh shut up, Rene.
RENE
Everything's over your head, Andy. Even Mr. Chow's menu.
(beat---to Jean)
Thanks for not inviting me
He leans over everyone and helps himself to some spears of asparagus.
ANGLE ON: Esther Milo, watching.
RENE (CONT'D)
I'm starving. You can't buy advertising like this. This is the most glamorous
dinner you'll have here this fall. How about some of that imitation crab?
MR. CHOW
I'm not paying for the drawing with crab. It's a present to my friends. It's my
birthday.
Jean finishes his drawing--a big beautiful head that fills the screen.
Rene grabs it from him. He holds it up for everyone to see.
RENE
Isn't he great? Thanks, Jean.
He rips the page from the book.
RENE (CONT'D)
He owes me one.
Everyone's face drops. Mr. Chow grabs his book. He motions to a couple WAITERS--
MR. CHOW
You're too much, Rene. Get this guy out of here.
RENE
I haven't eaten yet!!
The waiters grab Rene's arms.
RENE (CONT'D)
Hands off me, you faggots! I'm going. I'm going...I've kept Diana Vreeland waiting
too long, anyway.
ANDY WARHOL
Wow.. That was a nice drawing, too, Jean. Maybe you should do another one.
MR. CHOW
(exhausted)
Some other time.
Spontaneously, David McDermott climbs onto the tabletop downstairs and sings "Paris
Je T'aime."
As he belts it out in a theatrical falsetto, he glides over glasses and plates,
executing a leap to another table in mid-song.
The restaurant staff and OTHER DINNER GUESTS watch, agape.
CLOSE UP: DAVID'S SHOES.
As David dances, Annina walks over to the table, greeting people and saying
goodnight.
ANNINA NOSEI
(to Jean)
It's great that people are interested, but if anyone's going to buy anything, I'll
handle it for you. Everything goes through the gallery, even if they come to your
studio.
BASQUIAT
Sure.
Annina leaves.
Jean leans back in his chair, taking in this splendid new world. He pulls out a
joint, lights up, inhales with pleasure, closes his eyes and smiles.
SUPER: OVER HIS FACE:
FOUR YEARS LATER
SCREEN GOES BLACK
INTERVIEWER (O.S.)
....had twenty-three one man shows, been in forty three group shows from Zurich to
Tokyo..
FADE UP:
INT-- GREAT JONES STREET LOFT---DAY
Note: The following scene is shot in documentary style.
INTERVIEWER (O.S, CONT'D)
...had over fifty articles written about you, switched galleries---how many tim
190
es?--
--DJ'd in the hottest clubs---
Jean looks out the window, yawns and rubs his eyes. He now sports dreadlocks
bundled into groups of spikes sticking out of his head. He wears a wrinkled
Wesleyan College T-shirt, paint-splattered jeans, and no shoes; just out of bed, it
would seem.
An INTERVIEWER--a balding Brit. with all the humor of a bank clerk---tries to buddy
up with Jean on camera.
IN
fa0
TERVIEWER (CONT'D)
.....one of the youngest artists ever to be included in the Whitney Biennial, also
produced a rap record. It's said you're quite the ladies man----even dated Madonna
for
a couple months!!
(takes a breath)
All at the ripe old age of 24. One
might ask: is there anything left for Jean Michel Basquiat to do?
Jean and the interviewer face each other in front of one of Jean's paintings. Jean
stares at the interviewer, incredulous.
INTERVIEWER (CONT'D)
What is it that gets you out of bed in the morning?
(nervous laugh)
BASQUIAT I hate this. Turn that off.
Jean walks off camera and disappears into his bedroom.
Shenge (the former limo driver, now working as Jean's assistant) assembles
stretchers.
SUPER:
GREAT JONES STREET, 1985
A CAMERA CREW waits in the room. Jean returns.
INTERVIEWER
We're running a little late.
He signals to the crew that he's beginning.
INTERVIEWER (CONT'D)
(to crew)
Ready?
He points to some scribbled words on the canvas.
INTERVIEWER (CONT'D)
...Can you...decipher this for us?
BASQUIAT
Decipher?
INTERVIEWER
Yes. what do they...stand for?
BASQUIAT
They're just words.
INTERVIEWER
Yes, I understand---but where do you take them from?
BASQUIAT
Where? Do you ask Miles where he got that note from? Where do you take your words
from?
(beat)
Everywhere.
INTERVIEWER
(pointing to a detail)
What are they?
BASQUIAT
(smiling mischievously)
Leeches. A long list of leeches.
(looking at some frames Shenge's working on)
It looks good like that.
INTERVIEWER
Hmmm. And `Parasites.'
(beat)
You seem to be a Primal Expressionist.
BASQUIAT
You mean like an ape?
He grabs a huge double mouthful of French Fries and washes them down with champagne.
.
BASQUIAT (CONT'D)
(chewing, spilling)
A primate?
INTERVIEWER
Well, you said that.
(beat--looks at notes)
You've got a lot of references from Leonardo da Vinci, don't you?
BASQUIAT
Oh, that's a "Leonardo's Greatest Hits" painting. You like it?
INTERVIEWER
Yes, but as a black painter--
BASQUIAT
I use a lot of colors--not only black
INTERVIEWER
What?
BASQUIAT
I'm not black.
INTERVIEWER
You're not?
BASQUIAT
Not what?
INTERVIEWER
Not black.
BASQUIAT
No, I'm Haitian-Puerto Rican.
The BUZZER sounds. He signals for Steve not to answer the door.
INTERVIEWER
Yes, yes.. Let's talk about that... your roots.. Your father is from Haiti, isn't
he?
BASQUIAT
(growing weary)
Yup.
INTERVIEWER
Hmmmm. Interesting. And when you grew up were there any primitives hanging in your
home?
BASQUIAT
We don't hang them at home, y'know---just in the streets..
INTERVIEWER
I see..
(beat)
And.. How do you respond to being called--hmmm-
(peruses some notes)
---yes, "the pickaninny of the art world."
BASQUIAT
(smiles--- hurt, stunned)
Who said that?
INTERVIEWER
Why, that's from Time Magazine.
BASQUIAT
No, he said I was the Eddie Murphy of the art world. He said the Eddie Murphy.
INTERVIEWER
Is it true that your mother resides in a mental institution?
Jean walks off camera like he just received a punch in the stomach.
The filming of the interview becomes increasingly erratic.
INTERVIEWER (CONT'D)
Let me....just... open something up here. You come from a nice, middle class,
respectable home. Your father is an accountant. Why did you at one time live in a
cardboard box in Tompkins Square?
Jean walks back into frame.
INTERVIEWER (CONT'D)
Or rather, do you think you're being exploited or are you yourself exploiting the
white image of the black artist from the ghetto?
BASQUIAT
Are those the only two possibil-ities?
(cramming a French Fry into his mouth)
You wanna French fry?
INTERVIEWER
Ok. One last thing. Is there any anger in you? Any anger in your work?
BASQUIAT
Should there be?
INTERVIEWER
Tell me about it. What are you angry about?
Jean drifts off.
BASQUIAT
Mmmm. I don't know. I don't remember.
INT---FANCY GOURMET DELI---DAY
Jean and Andy browse through the aisles. Jean piles
190
things into his cart.
Jean approaches the specialty counter. Andy continues with the cart.
BASQUIAT
(to COUNTERMAN)
Can I have some caviar, please?
The counterman selects a miniscule plastic spoon of caviar and begins to put it
into a tiny glass jar.
BASQUIAT (CONT'D)
I'd like to taste it, first.
Reluctantly the counterman gives him a taste with a look like "what's a person who
fa0
looks like you doing buying caviar?"
Jean tastes the caviar and hands him back the spoon..
BASQUIAT (CONT'D)
Is that the best quality you have?
COUNTERMAN
Yeah, it's the best one.
BASQUIAT
I'll take the whole tin.
COUNTERMAN
It's three thousand dollars!
BASQUIAT
I'll take it.
(wipes nose with sleeve.)
Andy, gimme three thousand dollars.
(beat)
Just the caviar---I'll get the rest.
He hands two one hundred dollar bills for the other items to the counterman, who
checks them carefully.
BASQUIAT (CONT'D)
You check everyone's bills or just mine?
CUT TO:
EXT---WINDOW---DAY
A cheap pharmacy gift shop window. Jean and Andy look in on two yellow furry
stuffed ducks which are part of a larger display.
ANDY WARHOL
When I was little, my brother and I used to have two ducks as pets. We called them
the Rodriguez Brothers.
They walk into a beauty salon.
INT---BEAUTY SALON---DAY
Jean and Andy recline on the beautician's armchairs. THREE BEAUTICIANS busy
themselves with the two of them, simultaneously giving them pedicures and manicures.
Jean sets down a magazine.
BASQUIAT
I wish they'd quit writing this shit about me.
ANDY WARHOL
That's good. At least they're interested.
BASQUIAT
Everybody's paying top dollar for scraps of paper, refrigerator doors---anything
with a SAMO tag on it.
(beat)
The other day, I just wanted a pack of cigarettes, so I did a drawing and sold it
for two bucks. A week later this gallery calls me up: "Somebody's offering us the
drawing. Should we buy it for five thousand?"
ANDY WARHOL
Wow.. Stop giving them away.
(beat)
I got an invitation to model for Comme de Garcons.. You wanna do it with me?
BASQUIAT
Yeah---I'd do that.. You could teach me.
ANDY WARHOL
Gee. I don't need to. You're a natural. You should sign up with my modeling agent.
Jean points to Andy's ankles---they have plastic flea collars on them.
BASQUIAT
Cool.
ANDY WARHOL
My dog, Archie.. I woke up with flea bites.. Creepy. I ran out and bought flea
collars. They work really well.
Beat.
BASQUIAT
Let's leave this town and go someplace. Some island.
ANDY WARHOL
Let's go to the Carnegie Museum. They have the world's most famous sculptures all
in these giant plaster replicas. It's really great. It's in Pittsburg.
EXT---STREET----DAY
They walk out of the beauty salon..
Jean sees the back of a girl. She looks a lot like Gina.
BASQUIAT
Ouch..
ANDY WARHOL
What's wrong?
BASQUIAT
That girl looks just like my old girlfriend Gina.
ANDY WARHOL
Do you still love her?
BASQUIAT
Yeah. I really blew it. I still think about her.
ANDY WARHOL
Well, have you asked her to come back?
Jean shakes his head `no,' sorry that he didn't.
INT--BARBETTA'S (RESTAURANT)---DAY
A medium-sized dining room with dark wood paneling and tastefully appointed
furnishings.
Jean and Gina enter. Gina looks considerably more conservative than previously---
more like a student. Jean's dressed well, but looks even more careworn than usual.
His hair is tied back with a necktie. He has a couple sores on his face. His skin
looks a little puffy.
The MAITRE'D smiles at Jean and bows---
MAITRE'D
Mr. Basquiat--what a pleasure to see you again.
BASQUIAT
Hey George, what's up?
A huge table with NINE WHITE EXECUTIVES. WAITERS clear their lunch settings. As
they spot Jean and Gina entering, they gawk and snicker.
George leads them to their table. As they take their seats, Jean notices the
suppressed giggles coming from the executives' table. They try to ignore it. George
disappears.
Jean seems self-conscious about the sores on his face.
GINA
So are you really friends with Andy? He seems like such a weirdo.
BASQUIAT
He's not. He's out of town and he calls me every day. What's weird about him?
GINA
Don't you think he's using you?
BASQUIAT
Why does everybody say that? He's the only person I know who doesn't need to use me.
190
George reappears.
GEORGE
Would you like to see the wine list?
BASQUIAT
Chateau Latour '64, please.
George disappears again.
GINA
So. Are you ready? I start Columbia next fall. Of course, there's like, a year of
pre-med stuff, but--whatever. I'm really excited.
(beat)
And: (You're not going to believe this.) Rene gave me a job as his secretary. His
poems are getting publis
fa0
hed.
BASQUIAT
How is he?
GINA
Pretty much the same.
Jean's eyebrows go up.
BASQUIAT
Wow. Congratulations. I hate that asshole.
(beat)
Thanks for coming. I guess I just wanted to find out how you're---
GINA
(referring to an extra loud snicker from execs)
What's that about?
BASQUIAT
Forget it.
George arrives and pours a sip for Jean to taste. He nods. George moves off. Two or
three of the executives break out laughing.
Jean puts the glass down and looks at them. The other table is clearly making fun
of him.
GINA
That is amazing. What year is it?
BASQUIAT
George?
George hurries over.
GEORGE
I'm sorry, Mr. Basquiat.
BASQUIAT
See that table over there? I'd like to pay their bill.
Long silence.
GEORGE
I'm sorry?
Gina looks at Jean, confused.
BASQUIAT
Yeah, just put their bill on my tab.
GEORGE
Really?
BASQUIAT
Yeah.
GEORGE
Very well.
He moves off towards the executives. George whispers to the HEAD EXECUTIVE, and
nods towards Jean. The executives spread the words amongst themselves. They're
horrified.
BASQUIAT
(continuing)
Baby, I think about you a lot. I'm really sorry about everything. You have to
believe me. I'm serious. I wish, y'know, that we were--
GINA
I don't believe it, Jean---they're picking straws.
A YOUNG EXECUTIVE, obviously the loser, takes a deep breath and heads towards them.
YOUNG EXEC
Excuse me.. On behalf of my friends I'd like to apologize. We're really sorry.
BASQUIAT
I wish you niggahs could get it togeth-ahhhhhh.
The executive reaches to shake Jean's hand. Jean puts a hundred dollar bill in his
hand.
YOUNG EXECUTIVE
What's this for?
BASQUIAT
The tip.
Jean turns back to Gina. The executive leaves them. George smiles.
GINA
You don't have to be sorry. There's no one to blame. Jean, you're a real artist. I
thought I was one. You made me realize I wasn't.
BASQUIAT
What's his name?
Gina balks. Rather than face a disappointment--
BASQUIAT (CONT'D)
I have to go to the bathroom.
INT----BARBETTA'S (BATHROOM)----DAY
CLOSE ON JEAN, looking in the mirror.
He looks at himself.
He starts to pick at his face.
INT---PALLADIUM---HUGE ROOM---NIGHT
Jean and Albert Milo sit on a banquette
A huge white painting of Jean's with a dragon's head hangs on one wall to their
left. On the opposite wall in back of the bar hangs another huge painting with a
lot of heads, mostly black.
Lots of PEOPLE mill about a huge room.
A GIRL----another Gina look-alike walks through the crowd. Jean's eyes follow her
momentarily..
BASQUIAT
(re: the paintings)
What do you think?
ALBERT MILO I like the one with the dragon's
heads a lot. But the black one's filled up with too many heads...
(beat)
I'd take some of them out.
(beat)
I think you're painting too fast. I wouldn't put in so many heads. Let it breathe a
bit.
BASQUIAT
It's always how you would do it. This is my version.
ALBERT MILO
You're right. It's your version. You should come over to the studio sometime.
BASQUIAT
Why, so you could humiliate me?
ALBERT MILO
No, I wanted to make a painting of you.
EXT----UNION SQUARE PARK---DAY
Jean rides his bicycle through the park. He's looking up at the birds flying in the
trees.
ANGLE ON: The birds. We see the statue in the middle of the park, but we have no
idea where we are until we see the Mays Dept. Store sign. The birds circle in
flocks, never lighting on the trees.
EXT----THE FACTORY (ENTRANCE)---DAY
Jean presses a buzzer. He's admitted. He carries his bike on his shoulder.
INT---THE FACTORY---DAY
Jean enters a broad, high-ceilinged studio. It's neat. Paintings lie on the floor.
Andy's back is turned to him. As Jean gets closer, he sees that Andy's assistant
FRANK is peeing on canvas covered with copper pigment. We hear the SOUND of the
piss.
Frank holds a bottle of beer in his hand.
ANDY WARHOL
A little more to th
190
e right, Frank. Ok.. Good. Now up.. You got a little more?
Jean notices a bunch of Andy's wigs on a desk.
BASQUIAT
What's with the wigs?
ANDY WARHOL
I'm going to send them to my friends for Christmas presents.
BASQUIAT
You think those are good presents? Who wants an old wig?
Jean makes a grimace. He walks up to the painting Frank's peeing on.
BASQUIAT
Piss painting?
AN
fa0
DY WARHOL
I wanted to make a few more of these. Frank's been drinking this Mexican beer. It
makes a good green.
BASQUIAT
How come you're not peeing on them yourself?
ANDY WARHOL
I don't like beer.
Looking down at the painting---
BASQUIAT
If you ever want me to shit on 'em, just ask. You could finger paint.
INT----THE FACTORY----LATER:
Jean and Andy collaborate on a large canvas. Andy outlines a Mobil Oil winged horse.
Jean paints it out. To the side he paints a penguin with a hat.
ANDY WARHOL
That was my favorite part!
BASQUIAT
We can do better. It needed more white.
Andy watches as Jean lights a joint and continues working on his penguin.
ANDY WARHOL
Jean, you make me feel worthless. You're so famous.
Andy paints an Amoco logo next to the penguin.
BASQUIAT
I don't even have any friends anymore besides you. And everyone says "Warhol? That
death-warmed over person on drugs? He's just using you."
ANDY WARHOL
Gee. You shouldn't take it so seriously, Jean. That's why you can't stop taking
drugs. You always think people don't like you. Everyone likes you.
BASQUIAT
People are only interested in you because you're famous, not because they know a
fuckin' thing about your work.
Jean paints out part of Andy's logo.
ANDY WARHOL
Bruno called. In Europe, people are saying you're gonna die from drugs. They think
they can cash in on your death.
BASQUIAT
When I was poor, everybody doubted I could make it. When I got rich, everyone said,
`yeah, but he'll never keep it up.' Now everyone says `he's killing himself.' So I
clean up, and then they say `Look. His art's dead.' I don't take drugs, anyway. I'm
healthy now.
Jean obliterates Andy's logo.
ANDY WARHOL
If you say so. You sleep until 5:00 p.m. You call at four in the morning. You never
show up anywhere on time---if you show up..You're painting out everything I do!
Andy paints back in part of the horse.
BASQUIAT
That's better.
Jean adds some letters on top of Andy's logo.
ANDY WARHOL
I can't even see what's good anymore.
Jean Michel obliterates the rest of the logo with some white.
Andy steps back and squints as he examines Jean's work.
ANDY WARHOL (CONT'D)
Yeah, I see what you mean about the white. It's better.
Jean quits painting.
BASQUIAT
After the show we should take a nice long vacation. Maybe go to Hawaii. That's what
I'm gonna do. I'm going to give up painting and start playing music again. I wanna
sing.
ANDY WARHOL
That would be a pity because you're a real painter.
Frank arrives.
FRANK
Here's the poster for the show.
He presents them with a yellow poster of Jean and Andy facing each other with
boxing gloves.
INT-----FACTORY---NEXT DAY
Shenge hands Andy a box.
Andy opens the box. Inside is a football helmet with Jean's dreadlocks glued to the
outside.
CLOSE UP: Andy in mirror wearing helmet.
CUT TO:
INSERT: the screen is filled with the cover of the New York Times Magazine. Jean is
featured on the cover, without his dreadlocks.
INT---GREAT JONES ST. LOFT---NIGHT
As Shenge opens the door, a CROWD of people spill out. They pour into the loft. The
studio is crowded with PEOPLE. (Many of them we recognize from earlier scenes in
Mudd Club, Jean's opening, etc). On the wall there is a portrait of Jean by Andy.
The background is a piss painting.
Inside, Jean kneels on the floor in the corner of the loft with a bunch of people
around him----girls, mostly. Twenty-five copies of the Times Magazine lay stacked
on the floor.
Crouching on one knee, Jean signs a copy for a BRUNETTE.
Looking up---
BASQUIAT
Name?
BRUNETTE
Elke.
BASQUIAT
Number?
BRUNETTE
505-0236.
A BRUNETTE walks up---
BASQUIAT
Name?
BLONDE
Monica.
BASQUIAT
Number?
BLONDE
477-0258
Andy's assistant, Frank, arrives with CHRISTINE, 25, a model.
BASQUIAT
Yo, Frank.
FRANK
This is really great. What a nice place.
Jean is taken with Christine.
FRANK (CONT'D)
190
Have you met Christine?
BASQUIAT
I don't think so.
He's thrown off his rhythm.
CHRISTINE
Would you sign one of those for me?
TOXIC [seen with Rene at loft party earlier] spots Jean and steps in.
TOXIC
YO! Jean, this is Ramellzee.
RAMMELLZEE
Yo.. You know why Rammellzee's here, don't you?
TOXIC
Uh-oh!
RAMMELLZEE
I'm here for an interrogation. You've been cal
fa0
led a graffiti artist and I wanna
know why. All I see are scribble scrabble abstractions!
BASQUIAT
Boom.
RAMMELLZEE
Boom? As in ordnance? Are your letters armed? What is the prime directive of
graffiti culture? Do you know, black man?
Jean likes Rammellzee enough to be patient.. Toxic grins and rolls his eyes to Jean.
Jean watches Christine as they go on.
TOXIC
(to Ram, re: Jean)
Man, I was up on him years ago on the IRT.
RAMMELLZEE
You're selling and ending the culture. Not one bit of information. Only to get the
money and growl with the power, man.
TOXIC
That's ignorant.
BASQUIAT
That ain't ignorant---that's just stupid.
(beat---to Christine)
Can I get you a bowl of gumbo?
Rammellzee yells after him--
RAMMELLZEE
This interrogation is not over!
Jean escorts Christine to the kitchen.
Bruno and Andy stand in the crowd.
Nearby are two WOMEN.
WOMAN
Albert Milo? Ugh! He's just a pressmonger. That's all these people do.
WOMAN #2
You know, I love Jean's early work. It's really got something. But this
collaboration with Andy----maybe they thought it was a joke.. I mean--whose work is
it? Jean's or Andy's?
Walking by, Rene responds to this--
RENE
His early work? He's only twenty-six!
Rene walks over to Jean.
BASQUIAT
Hey, Rene.
RENE
Thanks again for not inviting me. I'm only here on business.
Rene heads back out into the party.
Jean eats gumbo while Christine thumbs through the Times Magazine.
ANGLE ON:
Rene responds to something Andy's been telling him in a low voice.
RENE (CONT'D)
(loudly)
You're asking me? Nigga, please. After the way you treated me? This is the first
time I've heard from either of you in months! I had to crash this party! You
treated me like a suede biscuit. Rene don't play that! I can't get him off drugs! I
don't even talk to him any more!!
ANDY WARHOL
(to Bruno)
What's a suede biscuit?
CUT TO:
Christine looks up from her magazine..
CHRISTINE
(amused)
Hey, what's this? It says right here you're Andy's... "lapdog"....
Jean walks away..
He passes through the crowd, making his way to the door.
He exits.
EXT---GREAT JONES ST LOFT---NIGHT
Drugged, upset, Jean leaves the party.
He opens a limo door and looks back at his house. The party continues.
The limo drives off.
We HOLD on Jean's building.
INT---LIMO---NIGHT
The limo floats through the streets.
Jean stares out the window.
BASQUIAT
Here.. Pull over.
The limo pulls over.
Jean exits.
EXT----STREET--NIGHT
Jean disappears around the corner.
ANGLE ON:
THREE KIDS in the process of prying a door panel with crowbars.
We see that they're removing one of Jean's SAMO pieces from a wall. We READ:
PAY FOR SOUP
BUILD A FORT
SET IT ON FIRE
Jean arrives behind them.
BASQUIAT
What's up?
KID #1
Mind your own fuckin' business.
BASQUIAT
(recognizing his work)
That's mine.
KID
That ain't yours, man. Some asshole named SAMO did this.
KID#3
He's dead. That's what I heard.
KID #2
He ain't dead yet. He's gonna kill himself. That's why all those art fags in Soho
are paying more every time we bring one of these in.
KID #1
Stupid SAMO.. Hardly any of this shit left.
The panel is almost pried free without a scratch.
KID #3
This one's damn nice. I say we hang onto it if he's almost dead.
Jean shoves his way in front with a magic marker and adds a couple words; now it
reads:
SAMO IS DEAD.
BASQUIAT
There you go. Now it's worth more.
The kids are outraged, thinking Jean's ruined their find.
They jump on him.
They beat the shit out of him.
They're done.
Jean lies curled up on the ground, trying to talk.
KID #2
What's he saying?
BASQUIAT
I'm Samo.. I'm Samo..
KID #3
(bending close)
He says he's SAMO.
Kid #1 whacks him in the back once more for good measure.
KID #1
He wish.
DISSOLVE TO:
THE SEA.
It is flat, dead, gray.
O
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minous and waiting.
INT--GREAT JONES ST. LOFT---DAY
Washed in sunlight, a large painting leans against the wall, the words "HAITIAN
BASEBALL FACTORIES" scrawled through its center.
Jean lays down, watching TV.
He looks older now, more worn. His face is slightly swollen. His complexion is
discolored.
Shenge covers a triptych with wide brush strokes of yellow paint. He circles a
large, primi
fa0
tive figure of a black man drawn with magic marker in the center. He is
careful to leave the figure intact.
BASQUIAT
Paint it out.
SHENGE
Out?
BASQUIAT
Yeah.. Maybe just his arms.
(Shenge paints out the arms)
Put some Cerulean Blue there.
Jean points to the lower corner.
Shenge picks up the phone, which has been RINGING for some time.
SHENGE It's Andy again.
BASQUIAT
Still not here.
SHENGE
---In this corner?
BASQUIAT
(not looking)
Yeah..
Shenge changes the brush and dips it in the can.
SHENGE
You want me to put it here?
BASQUIAT
Use your fucking instinct.
Shenge shrugs and starts to spread the blue. Jean looks at his work.
BASQUIAT (CONT'D)
Don't try to make art. Just paint like a housepainter.
A woman's shout can be heard through the open window. Shenge looks out.
SHENGE
It's Maria Portos. What should we do?
BASQUIAT
Why don't you try letting her in, Steve---I mean Shenge.
SHENGE
Get up. She won't buy anything if she sees me working on it!
BASQUIAT
Wanna bet? If you show too much respect for people with money, they don't have
respect for you.
MARIA, a raven-haired, sharp-featured beauty in a Chanel suit jacket, blue jeans,
and pearls walks into the room. She's with ELLEN---younger---a millionaire fake
hippie from Texas.
Maria carries a bag with clogs in it---a present for Jean. She takes them out.
MARIA
(showing him the clogs)
These reminded me of you, the clogs. I found them in Amsterdam.
Jean doesn't get up from the floor.
MARIA (CONT'D)
How are you?
BASQUIAT
Fine.
MARIA
You remember Ellen?
(looking around)
What are you working on?
Basquiat points at the painting.
ELLEN
How much is something like that?
Jean raises his hand and pumps five fingers three times in the air.
MARIA
Fifteen. Reasonable.
Ellen makes a snotty face.
BASQUIAT
It's unfinished.
(to Shenge)
How 'bout some blue in the corner?
Shenge gives Jean a stupefied look.
SHENGE
Blue? Where?
BASQUIAT
What's wrong with you today?
Shenge is embarrassed by Jean's remark in the company of the two women.
BASQUIAT (CONT'D)
Don't look at me like that. It hurts my feelings.
He points. Unsure, Shenge picks up the brush and paints one of the corners.
Maria browses through a stack of paintings leaning against the wall.
MARIA
I love these.
ELLEN
God..I just can't even care anymore. Compare this to a mountain or a tree. Who're
y'all trying to kid? That's what I think. I was just in the Himalayas, and like--ok-
-is this important? No. I mean, compared to the rain forest or something? These are
just narcissistic jokes.
MARIA
(to Jean)
Who are you selling these through now?
Jean gets to his feet. He dips a long, thin brush into black paint and nonchalantly
crosses out the half figure that Shenge is carefully surrounding with blue.
BASQUIAT
Well, that's better.
(to Maria)
You can buy direct from me.
ELLEN
Look at these---silkscreens? What're you? Andy Warhol Junior? It's like---not even
handmade anymore.
She's not even worth a response. Jean looks around, numb.
INT---MARY BOONE GALLERY---DAY
Jean enters the gallery. Cleaned up. Healthier. Bruises healing.
He looks like he's been painting.
Mary looks up from her desk, surprised to see Jean.
MARY BOONE
Jean Michel.. Crawling from the wreckage?
BASQUIAT
I need a dealer.
MARY BOONE
You have a bunch of them, don't you?
Albert Milo walks in from another room.
ALBERT MILO Hey Jean!
(to Mary)
It'll never fit.
MARY BOONE
It'll be ok.
ALBERT MILO You better take a look. Why's your
door so small? The ceilings are sixteen feet and your door's the size of a mouse
hole!
MARY BOONE
Why are your paintings so big? Just go home. I'll get it in.
ALBERT MILO
(to Jean)
You doing anything right now?
BASQUIAT
Naa..
ALBERT MILO Let's get out of here.
BASQUIAT
See ya in an hour.
(to Mary)
So what do you think?
MARY BOONE
Bruno spoke to me already. We could talk
190
about it.
BASQUIAT
I'm here.
MARY BOONE
Ok. I'll be at your studio Thursday three o'clock.
INT---ALBERT MILO'S LOFT---DAY
Albert shows Jean through a series of large rooms filled with enormous paintings.
It looks like the Cairo Museum.
They pause before a painting.
ALBERT MILO This is painted on a backdrop from
the Kabuki theater in Japan. I painted it after Joseph Beuys died. A
fa0
rebirth
painting. I felt like he could've painted it, or maybe someone else was painting it
instead of me. The Chinese calligraphers used to change their name mid-career so
they could start over as someone else..
BASQUIAT
Do you ever get sick of it?
ALBERT MILO Of what?
BASQUIAT
The whole thing---painting.
ALBERT MILO No. It's one of the few times I feel
good. I used to have to go to work and cook every day. That I got sick of.
BASQUIAT
What about the shit they write?
ALBERT MILO
You're asking me this because of the `lapdog' remark. I read that. The person that
wrote that has the compassion of a housefly. That's your enemy, not your audience.
Your audience hasn't even been born yet. It's a lie that art is popular. The only
thing popular about it is that it's written about in newspapers. I'm surprised when
anybody comes to my openings. There're about ten people on the planet who know
anything about painting, and Andy's one of them.
BASQUIAT
I haven't felt like talking to him since that thing came out.
ALBERT MILO As long as I've known Andy, he's
never asked me for anything except to speak to you about getting off drugs. He's
painted my picture, we've eaten dinner in God knows how many places together. But
he doesn't care about me. He cares about you. You're the only person he cares about.
He's your friend. Fuck that article. You want a toasted bagel with cream cheese?
Milo's daughter STELLA (12) calls out from over the balcony.
STELLA (O.S.)
Papa, the TV's broken.. Will you fix it please?
ALBERT MILO Alright. I'll be right up.
Albert leaves.
Jean looks at some paintings.
Stella comes downstairs.
STELLA
(to Jean)
Hi.
BASQUIAT
Hi.
STELLA
I've seen you before. I like your paintings a lot. Your hair was different.
BASQUIAT
You like your dad's paintings?
STELLA
Some of them.
BASQUIAT
Stand still.
He draws her.
BASQUIAT (CONT'D)
See you later.
STELLA
Thanks
He walks to the door, leaving the drawing on the floor.
Albert returns.
ALBERT MILO
Where's Jean?
STELLA
He just left.
Albert opens the door to the stairwell looking for Jean.
He hears the sound of URINATING.
He leans over the stairwell.
He sees Jean Michel, taking a piss on the landing.
He shuts the door quietly.
EXT---GIFT SHOP WINDOW---DAY
Jean walks out of the gift shop (seen earlier, next to beautician's)
EXT---BROADWAY AND HOUSTON STREET---DAY
Jean walks through the middle of the intersection. He carries two yellow, furry toy
ducks under his arm.
SUPER:
FEBRUARY 22, 1987
Seeing Bruno at the wheel of a black Mercedes stopped at a light, Jean clowns
around like a street vendor who wants to wash his window.
Bruno doesn't notice him.
BASQUIAT
B.B. It's me--Jean! What's the matter? No snow in Switzerland this year?
BRUNO
I didn't see you.
BASQUIAT
What do you mean?
BRUNO
You haven't heard? Andy's dead.
The light changes.
Bruno pulls across the street because of the traffic.
Jean drops one of the ducks in the street and walks off.
ANGLE ON: the duck lying in the street.
EXT---GREAT JONES ST. LOFT---NIGHT
The "OUT FOR RIBS" sign hangs outside Jean's door.
EXT---GREAT JONES ST---DAY
Mary sits in her limo trying to call Jean.
INT---GREAT JONES ST. LOFT---DAY
Near darkness. The curtains are drawn. Music plays: `Birds' by Neil Young: "it's
over.....it's over".
Jean watches a video tape with the sound MUTED. The screen fills with Andy's face.
We SEE a series of quick scenes from his life.
Jean and the remaining duck are lit by the TV.
INT---GREAT JONES ST. LOFT--DAY
EXTREME CLOSE UP: A COLORED PENCIL TIP held in Jean's hand. It's stalled in mid-
stroke. He writes with a magic marker on the heel of two wooden clogs the word:
TITANIC.
There's a loud BANGING at the door.
When it stops, the pencil tip resumes its long voyage across the page.
MUSIC UP: Tom Waits' "Tom Traubert's Blues"
EXT---GINA
190
'S APT---DAY
Jean buzzes the doorbell. He's wearing the clogs. He's hurting. The intercom comes
on.
BASQUIAT
Hello? Gina?
MALE VOICE
Who is it?
Jean recognizes Benny's voice.
ANGLE UP: Gina and Benny look out the window into the street.
Jean's a block away.
EXT---MENTAL HOSPITAL---NIGHT
Jean gets out of a cab. He walks up to the entrance.
The doors are locked. He rattles them.
Ins
fa0
ide, an OLD JANITOR keeps mopping.
Jean pounds harder, RATTLES the doors more.
BASQUIAT
Hey, come here! Please. Just for a second. Open the door.
The janitor gets nervous. He leaves.
He returns a moment later with a large SECURITY GUARD.
BASQUIAT
Open up! Open up!
The guard unlocks the door, hoping to settle Jean down.
BASQUIAT (CONT'D)
My mother's inside.
GUARD
Come back tomorrow. Visiting hours are over.
(beat)
Don't cause any trouble.
BASQUIAT
I'm not here to visit.. I wanna take her home.
The guard gently ushers Jean out through the door.
GUARD
Don't cause any trouble.
He locks the door and walks off with the janitor.
EXT---STREET---DAYBREAK
Jean, walks around, drifting, stoned. He looks up at the skyline.
DISSOLVE:
Waves crash silently over a surfer.
FADE TO BLACK.
FADE IN: STREET SOUNDS.
BENNY (O.S.)
Willie Mays.
FADE IN:
EXT---STREET-- MORNING
Jean has been passed out on a sidewalk.
CLOSE ON:
Benny's face.
He leans over Jean and helps him up.
BASQUIAT
Willie Mays..Nice to see you.
Benny looks at Jean's eyes.
Jean stretches, kicking life back into his limbs.
BASQUIAT (CONT'D)
How's Gina? You guys getting along?
Benny looks at him guiltily.
BENNY
She's good.
BASQUIAT
I guess it was a long time ago.
BENNY
Come on, let's get out of here.
EXT---JEEP---STREETS---DAY
Jean and Benny zoom along in a battered old Army Jeep. Now revived, Jean stands up,
waving at people miming General Patton. We HEAR the music of "Summer of Siam."
BENNY
Sit down! You're gonna fall out!
BASQUIAT
Me fall? Let's get some drugs!
BENNY
Drugs??!
BASQUIAT
Medicine, man! Like..health food. I'm taking care of my health!
INT---HEALTH FOOD STORE---DAY
A mountain of homeopathic medicine and health food on the counter. Benny helps the
clerk load it into a box.
CLERK
You starting a hospital?
Jean approaches and dumps some more stuff onto the counter.
He's chewing something.
BASQUIAT
Just ring it up. I don't need a bag.
(to Benny)
Try this tabouli--it's great..
Tabouli spills onto Jean's shirt.
EXT----WEST BROADWAY---DAY
Jean and Benny walk along. Benny's arms are full with boxes.
Jean walks in front, eating yogurt. He's wearing his Titanic clogs.
Benny tries to keep up.
BASQUIAT (CONT'D)
My mom told me this.. Or was it a dream?
DISSOLVE:
(FADE IN: John Cale's version of Leonard Cohen's "Hallelujah")
INT--CELL--DAY
A crude stone jail--almost medieval---fairy-tale like. A thick wooden plank
suspended by chains for a bench. A candle on the wall.
A small, crowned prince (the boy seen in the dream in intro.) looks longingly out
the window at rolling green hills. Terraced hillsides, cedar trees, cottages, smoke
wafting up from chimneys. Dirt streets.
The prince smashes the window. He hits his head on the bars, gripping them tightly.
EXT---MEDIEVAL VILLAGE'--DAY
The villagers cease their activities as they listen to the SOUND. Looking up, they
smile, as if warmed to their souls by some unearthly and intangible substance. They
look heavenwards.
CAMERA follows their collective gaze skywards.
We shoot up, up, into the sky.
BASQUIAT (O.S.)
There was this little prince with a magic crown. An evil warlock kidnapped him,
locked him in a cell in a huge tower and took away his voice. There was a window
made of bars. The prince would smash his head against the bars hoping that someone
would hear the sound and find him. The crown made the most beautiful sound that
anyone ever heard. You could hear the ringing for miles. It was so beautiful, that
people wanted to grab the air. They never found the prince. He never got out of the
room. But the sound he made filled everything up with beauty.
BASQUIAT (O.S)
It's definitely time to get out of here.
EXT---WEST BROADWAY---DAY
We rush down, down through the sky.
Buildings come up at us.
We're over
190
Soho.
We're back on the ground.
Benny and Jean continue walking.
We see Jean from behind. He's looking up.
Benny stops to readjust his parcels.
Jean continues down the street, talking louder.
BASQUIAT (CONT'D)
Hawaii? Fuck Hawaii. Let's go to Ireland. We'll stop in every bar and have a drink .
FREEZE FRAME ON HIS FACE..
SUPER:
JEAN MICHEL BASQUIAT
BORN: DECEMBER 14, 1961
DIED: AUGU
10a
ST 12, 1988.
EXT--IRELAND---DAY
Rolling hills. Green. Lush. Peaceful..
THE END
Found on INFlow Screenplay Repository
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