BASQUIAT






Screenplay by Julian Schnabel

Produced by John Kilik
Randy Ostrow
Joni Sighvatsson

Directed by Julian Schnabel



Cast List:

Jeffrey Wright Jean-Michel Basquiat
David Bowie Andy Warhol
Dennis Hopper Bruno Bischofberger
Gary Oldman Albert Milo
Michael Wincott Rene Richard
Parker Posey Mary Boone
Elina Lowensohn Annina Nosei
Willem Dafoe The Electrician








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 th