More info about this movie on IMDb.com
FOR EDUCATIONAL PURPOSES ONLY
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 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 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.
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 artist'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 (CONT'D, O.S.)
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: CLOSEUP 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 just 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 in 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)
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 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.
He 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
CLOSE UP – A speaker. 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 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.
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 APARTMENT – NEXT MORNING
Gina lays in bed. Daylight streams into the apartment. Jackhammers
RATTLE outside. (Music: REGGAE SONG – Errol Scorcher's "Cockroach
in de Corner.")
EXTREME CLOSEUP
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
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 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 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, silver-haired, 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 graffity:
"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.
BENNY (CONT'D)
And you gotta do your work all the time
when you're not doing that. The 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 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 Bugspray 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 APARTMENT – DAY
Flowers and groceries are strewn on the counter.
FADE TO BLACK
FADE 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 APARTMENT – 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 APARTMENT) – 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 APARTMENT – DAY
Jean watches "The Little Rascals" on TV in the living room. 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 TO:
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 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 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.
OFF SCREEN 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
Jean, what did you do to yourself?
She listens to his breath, then to his heart.
GINA
(panicking)
Jesus Christ!
She finds heroin sprinkled into some pot on the floor near him.
GINA
(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 STREET 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)
"The 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
embarrassed 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 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 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 APARTMENT (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 APARTMENT (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 APARTMENT – 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 him
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 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.
Off screen 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 – DAY (LATER)
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 a hold 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?
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 have 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..
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)
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 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, intimately)
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, Jean.
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.
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
rip-off. 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 table 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 chair 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 times?
– 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.
INTERVIEWER (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 possibilities?
(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 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 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.
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: Rene gave me a job as his secretary.
His poems are getting published.
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 EXECUTIVE
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 the 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?
ANDY 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)
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
called 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.
Ominous 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, primitive 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
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 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 CLOSEUP: 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'S APARTMENT – 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.
Inside, 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 TO:
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 TO:
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 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: AUGUST 12, 1988"
EXT. IRELAND – DAY
Rolling hills. Green. Lush. Peaceful..
FADE OUT
THE END