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Niki Wurster Visit our Movie Scripts Page screenplay 451: http://www.geocities.com/~screenplay451/ Mao Guangqin 2 0 2000-01-22T12:04:00Z 2000-01-22T12:04:00Z 15 15409 87834 Pumpkin Software 731 175 107866 9.2504 1 21 0 0 Basquiat Sc
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.
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
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?
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.
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:
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.
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:
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.
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.
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.
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.
