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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
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.
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!!!
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.
(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.
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
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.
(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.
