[]
[CAMERA SHUTTER CLICKS]
[CAMERA SHUTTER CLICKS]
[CAMERA SHUTTER CLICKS]
[CAMERA SHUTTER CLICKS]
[CAMERA SHUTTER CLICKS]
Bless me, Father, for I have sinned.
This is my first confession.
[]
MAN: We are gathered here this morning
to welcome this year's pledges
to the Pershing Rifles.
Congratulations, young men.
You are making the sacred commitment
to protect...
[]
These are trying times...
HARRY: They called your name at the ceremony.
We were all there waitin', where were you, son?
I'm sorry, I-- You know, I just got
so much work on at the moment,
I thought it, I thought it better
if I focused on that really.
Engineering is, it's just, it's...
It's, uh, it's so demanding.
We know. We understand, sweetie.
So I'm-I'm really sorry to disappoint you.
No, it's okay.
Uh, um, I'd-I'd better go though,
you know, and make things straight.
It was so nice to see you, Mom.
Okay, bye.
[]
MALE NARRATOR: Thirteen years since this war began,
and there's no end in sight.
We embarked on this Vietnam journey
with good intentions, I think.
But once upon the path, I think we found ourselves
having been misguided.
-Many of us... -Thank you.
It's not enough.
I thought since there's two hours left, you might...
Come back when you have more.
That is our big lesson from Vietnam,
a necessity for candor.
We, the American people,
the world's admired democracy,
-cannot ever again allow ourselves... -Fuck you.
to be misinformed, manipulated...
[]
I need your help.
Sure.
I'm Patti. Just pretend you're my boyfriend, alright.
-Hey! -Thanks! You know, thank you so much
for lunch and everything, but I found who I've been looking for.
-I just want to talk. -Bye!
This poem is great.
I mean, it's great.
Yeah?
What else do you do?
I draw, paint.
Are you queer?
No. Do I seem like I am?
No, not really, you just--
-You look like Rimbaud the poet, you know? -No.
-Where do you live? -Ah, I'm sorta
in between places right now.
Yeah, me too.
Yeah? I have a place to crash though.
It's just a shitty room.
It's somewhere, you know...
[]
ROBERT: So, I actually did that in pen.
It's better in pen.
Wow.
Yeah, this is some crazy shit.
Really? Wow, thanks.
PATTI: Yeah.
[LAUGHS]
You get this good goin' to Pratt, huh?
No, heh, Pratt was just a way out of Floral Park
because it was my dad's alma mater.
I've been drawing my whole life.
He an artist too?
My dad? No, he's an engineer.
I mean, he takes pictures, but he's no artist.
-But his pictures stink? -Yeah.
No, they just don't say anything.
Well, I guess I better get going.
What? Where?
I... You know...
No, stop. Don't go.
You've got a bed. Look, I'll take the couch.
I won't murder you. I'm not a killer.
-[CHUCKLES] -Don't go.
Okay.
Thanks. It's been rough.
But I'll make it, I've been through worse.
I just swear I was imaginin'...
Had a feelin' the moment I saw you.
Like Mutt and Jeff, you know?
Lucky and Missy?
I'm fascinatin', I know.
-You are. -[LAUGHS]
What are you going to do with this, huh?
"What will become of the world when no trace of you remains?"
I think there'll be some traces.
ROBERT: Mapplethorpe.
M-A-P-P-L-E-T-H-O-R-P-E.
I did that job last week.
The piano move.
Well, I was just wondering if you have any...
Okay, well, I'm available anytime over the summer.
Okay, thank you.
[COIN DROPS AND CLANGS]
-We need to go and see this movie. -Oh, yeah?
"So, Joe leaves his job as a dishwasher
and take a bus to New York City."
That's you.
"Where he meets the sickly, streetwise Ratso."
That's me.
"They eventually become friends, companions and soul mates,
and help each other survive in the big city."
Hey, it sounds like us.
What do you say, Joe? Let's go.
Patti, don't eat like an animal. That's disgusting.
Robert, you kiddin',
you're sitting there straight out of Holy Land.
-Shepard boy. -I know.
[CLICKS TONGUE]
Why don't we take the change from dinner and go see it?
I'll go tomorrow if when get paid
if you like it.
I need a favor.
-Okay. -Give me your hand.
Aw, come on. Seriously?
Yeah. Come on.
Aw, you got to be kidding.
No, look...
You'll see when you meet my mom and my dad.
And it's just, if they don't think we're married...
officially...
it'll just be, you know...
-Here, I got you. -They're Catholic.
Like, really Catholic.
I'm your family now.
-Yeah. -Yeah.
Oh, that's disgusting.
So, I'm channeling Duchamp tonight.
That's so different.
That's terrific.
Yeah?
-[TEA KETTLE WHISTLING] -Thank you.
-[KETTLE CLUNKS] -[WHISTLING STOPS]
-Thank you. -You're welcome.
[TIM HARDIN'S "REASON TO BELIEVE"]
Yeah...
If I listen Long enough to you
[BOTH JOIN IN SINGING] I'd find a way to believe
That it's all true
Knowing that you lied
Straight-faced While I cried
But still I look To find a reason to believe
Someone like you
Makes it hard to live Without somebody else
Someone like you
Makes it easy to give
Never think about myself
If I gave you time To change my mind
I'd find a way To leave the past behind
Knowing that you lied
Straight-faced While I cried
But still I look to find
A reason to believe
I don't think they see the world like we do.
Our world knows me. I don't give a shit.
Our world.
Yeah, nobody lives there but us, right?
Right.
You like it, yeah?
I told my parents we got married
in a strawberry field in California.
-What? -"What?"
Why'd you do that?
It's a beautiful picture.
Don't ever leave me, Patti.
Bless us, O Lord, for these gifts we are about to receive
from thy bounty, through Christ, our Lord, amen.
[QUIETLY] Amen.
It's so nice to finally meet you, Patricia.
Can I get you anything else?
No, thank you, Mrs. Mapplethorpe.
And please, call me Patti.
All right, so, tell us the story of your union.
I mean...
when and where did you two get married?
ROBERT: Thank you.
Oh, we met in California, Mom.
Right after college.
After you dropped out of Pratt, right?
[LAUGHS]
Yeah, right after that.
Big waste of time and money.
I can't even look at you.
[SCOFFS] Where'd you get that get up?
St. Marks.
JOAN: Edward, eat your beans.
So, what do you do, Patricia... Patti?
I'm an artist. Like Robert.
[LOUD WHISPER] Have you thought about children?
Children, Joan?
These two can barely take care of themselves.
Actually, we take pretty good care of each other...
Dad.
[]
Bye, Mom.
-PATTI: Thank you very much. -JOAN: Thank you.
-Really lovely to meet you. -Bye, Dad.
Why do we even bother?
He's going to end up a deadbeat, looking like a girl.
JOAN: Harry, please.
HARRY: And your name is Bob!
Bob Mapplethorpe!
JOAN: Harry, shh!
PATTI: You should tell them to fuck themselves.
Yeah.
They're my family.
Hey, you, you can't open that.
Oh, sorry.
-Okay. -Yeah,this'll do it.
And this one.
Okay.
[]
Hey! Hey, you! Stop! Stop!
Stop this man! Hey, motherfucker!
[SPRAY PAINT CAN RATTLING AND HISSING]
[CAN RATTLING AND HISSING]
Baby, come on to bed.
Okay, yeah, soon.
[CAN RATTLES]
[CAN HISSES]
[CAN RATTLES]
[CAR BRAKES SQUEAK IN DISTANCE]
[CAR HORN BLARES IN DISTANCE]
Shit.
Hey.
Uh... Oh, I'm not...
I don't even know...
what I'm doing, I'm just...
fuckin' around, you know.
They're fascinating.
You think?
Thanks.
Are we still going to The Chelsea today?
Is that still on?
Yeah, let's get our stuff together.
We ain't gonna make it in Brooklyn.
I hate packing.
I know. Me too.
Bring the essentials.
Grab your art. I'll get mine.
[]
PATTI: I hear the owner trades
rooms for art.
ROBERT: Yeah.
PATTI: Wow, living at the Chelsea.
I hear Janis was there.
ROBERT: Yeah. Ginsburg too.
Look, I hope he likes the work enough.
-PATTI: Yeah. -ROBERT: We should definitely
get in there if we can.
-Mr. Stanley Bard? -Yes.
My name is Patti Smith,
and I'm here with Robert Mapplethorpe.
-Uh-huh. -You may not know us yet,
but we're going to be big stars one day.
Only, today, we don't have any money.
[DRY CHUCKLE] But...
take a look for yourself.
Take it all. For collateral.
I got a job. I can pay you tout de suite.
Okay. Okay.
Rent's generally due first of the month.
And I'm going to hold on to these until you can make it.
Mr. Bard, you will not regret this.
-ROBERT: You got a room? -We got it.
[]
PATTI: Thank you.
Thank you, Mr. Bard.
I appreciate it.
-Which one? -This one.
Aw...
PATTI: Sleepyhead!
-Hey, Patti. -PATTI: Hmm?
I think I'm going to try and sell these
so we can get our work back faster.
I want to try to do something around, like a cloth.
Yeah. Okay. Got to go to work.
All right. Have a good day.
PATTI: See you later!
[]
Mr. Bard, uh...
So, I have the money.
Can I get my work back, please?
-MAN: Hey, Robert! -What? Hey!
MAN: You coming by?
Yeah. Five.
There you go.
Thank you. Thank you, Mr. Bard.
I appreciate it.
-MAN 1: Hey. -MAN 2: Hey, Robert.
-ROBERT: Hey. -Digging the necklace.
Cool, man.
-Peace, man. -Cool.
[CLASSICAL PIANO MUSIC PLAYING IN DISTANCE]
[CLASSICAL PIANO MUSIC PLAYING OVER SPEAKERS]
Oh, hello.
Hey.
What do you think?
Whose is it?
It's actually one of mine.
I think it's cool.
I'm Sandy Daley.
-I'm Robert Mapplethorpe. -Oh.
You're our newest patient, huh?
It's the only asylum in New York
where you can come and go as you please.
This is actually a photograph of me and a former lover.
-Oh. -Inspired by Bellocq.
-You know Bellocq? -No.
He was one of the first great masters.
Wow, that's great.
I love that.
So is that.
He scratched out the face. I've done that.
You do that?
Yeah.
I'd like to see it.
Yeah, I got, um...
some right here. This one.
I mean, you know, it's not...
Oh, yes. I see.
-That's better. -Well...
This is potent imagery.
Thanks.
But you really should take your own pictures.
Yeah.
But, you know, I can't be just be
Mapplethorpe the photographer, you know?
I want magic. Majesty.
I want to be a modern Michelangelo.
And you think if Michelangelo had a camera,
he wouldn't have used it?
I have something for you, Robert.
-ROBERT: Already? -[LAUGHS]
I think you're gonna love this.
Wow.
Pull that out,
and it's ready to go.
-That's the focus? -Mm-hmm.
And remember, it's always about the light.
Whether you paint it or shoot it,
you have to find it or make it.
And that takes talent.
Can I take a picture of your flowers?
Yes, you can.
-Please. -All right.
Let's get Andy in.
[SANDY CHUCKLES]
I'm comin' for you, Andy.
-Take the bloody picture. -Okay.
[]
You should hold onto it.
Keep it for a while.
You sure?
Voil.
Cross your legs.
That's good.
Look at me. Okay, now you lean on him.
Yeah, nice.
[CAMERA SHUTTER CLICKS]
Think your worst thought.
[ROBERT SPEAKS INDISTINCTLY]
ROBERT: Stand there. Hold back.
[PATTI SQUEALS]
PATTI: Wow.
PATTI: Will you show me?
[PATTI SQUEALS]
Okay, come on.
Good.
[CAMERA SHUTTER CLICKS]
I see it.
-Yeah. -Fantastic.
I can't even make a move
without seeing it frozen five minutes later.
-ROBERT: Oh, come on. -[PATTI BURPS]
ROBERT: Got you, Patti Smith.
Two dirty queens.
[PATTI CACKLES]
[]
-Thank you, Patti. -PATTI: Mm-hmm.
So, look, I made 27 bucks. I sold three necklaces.
-All right. Hell yeah. -But I kind of want
to keep this one, because it's cool.
Yeah.
Robert Mapplethorpe, for all your voodoo needs.
Yeah, well, do me a favor and cast a spell
on Tinkerbell over there who can't stop staring at me.
She loves you.
I love you.
Good, because you're stuck with me.
Robert. Patti.
-This is David Croland. -ROBERT: Hey.
-Bobby, you never come see me. -Hey.
You and Patti-Cake are so...
Siamese.
I adore it.
It's violent.
It's handmade.
-Thank you. -Truly.
Can you make one for me?
Robert takes the most exquisite photographs.
-Oh... -Oh all kinds.
And Patti is the newest voice of our generation.
Whose generation?
SANDY: Don't be a bad boy,
or Robert here won't immortalize you.
I do so crave immortality.
Well, I've got to jet.
Early morning meeting.
-Yeah. Coming with you, right? -ROBERT: Nice to see you.
-PATTI: You comin'? -No, I'm gonna stay actually.
I'm not tired. I'll see you at home.
-Alright. -I'll see you at home.
See you at home, baby.
[]
[FUNK MUSIC PLAYING IN DISTANCE]
[PEOPLE CHATTERING INDISTINCTLY]
PATTI: Shit. I'm late.
[PATTI SIGHS, SCOFFS]
[SIGHS]
Can I wear these or are they fucking art?
-Bye. -[DOOR OPENS]
-Have fun with your family. -[DOOR CLOSES]
[JAZZ MUSIC PLAYING OVER SPEAKERS]
[CAMERA SHUTTER CLICKS]
-[KNOCKING ON DOOR] -Yeah?
It's David. Anybody home?
Yeah, uh, just give a second.
What's that?
Open your mouth.
Stick out your tongue.
It's acid.
Mm. Giddyup.
[CHUCKLES]
[WAR'S "SLIPPIN' IN THE DARKNESS"]
ROBERT: Hey.
Shirt off. Try that on.
[METALLIC CLANG]
ROBERT: Bow tie.
Pretty boy.
Like this?
Like that.
Like a good boy.
Nice.
[ROBERT SPEAKS INDISTINCTLY]
Put your hands near your cock.
A little closer, boy.
Almost touching.
Okay, good boy. Hold that.
-Okay... -Smile.
...enough with the nicknames, Robert.
I'm a real model.
Come on, listen to me...
Shh.
We're making history here.
Let's go down to Stonewall.
That's real history.
Be nice and quiet for me.
For the photo.
Good boy.
Okay.
Take your cock out.
Hold that.
-[CAMERA SHUTTER CLICKS] -Got it.
[MOANING]
[HEAVILY MOANING]
I finally see you, you know what I mean?
Well, you're the Prince...
Now you're talkin'.
...of Darkness.
Oh, now, wait.
Oh, wait, wait, wait.
Get out! Stop it! Robert!
-ROBERT: No! No! -You're sick!
ROBERT: No! No! No! No!
No! No!
-DAVID: Shh! Shh! -ROBERT: No, no, no.
ROBERT: Oh, no, I don't want to.
I don't want to. I don't want to.
-Get away from me. Get away from me. -Shut up.
-No, goddamn it. -Robert...
-Get away from me. -Robert. Robert.
Get away from me! You're the fucking devil.
-I don't want this. I don't want this. -Shh. Shh.
-Shh, shh. It's me. -No!
It's me.
Fuck...
Hey. Shh.
[SHUSHING]
I don't know, it's just...
beauty and the devil.
Beauty and the devil are sort of the same thing to me.
And he's always been with me.
Like, always.
I guess, in church, I found God.
And then when Sandy gave me the Polaroid,
it led me straight to the devil.
And now, suddenly, I'm fucking him.
I'm fucking the devil. Heh.
I guess you could say I have a certain Catholic aesthetic.
Yeah.
Let's explore that ass-thetic.
Oh, no, fuck. Patti...
Patti's... Patti's on her way back.
Patti's coming here.
Patti's not blind, babe.
Surely she knows that she's got a slippery Jim.
No, she knows nothing, okay?
And that's how it's going to stay.
Okay.
-Sure. -What?
David, what... You're not leaving.
David. You're gonna leave?
You want a boyfriend...
You're gonna leave me when I'm high?
...and a girlfriend.
-I want you. -[DOOR OPENS]
-You decide. -[DOOR CLOSES]
[]
[CAMERA SHUTTER CLICKS]
[CAMERA SHUTTER CLICKS]
[MEN MOANING]
[CAMERA SHUTTER CLICKS]
MAN 1: Uh-huh. Uh-huh.
MAN 2: Uh-huh. Uh-huh. Uh-huh.
Thank you.
[MOANING CONTINUES]
[]
[POLICE SIRENS BLARING IN DISTANCE]
-ROBERT: I thought it was part of a... -HARRY: Ah. Ah.
Ah. Robert.
Hell awaits those who desecrate the home.
I don't want you to end up there.
[DOOR CLOSES]
Look, I find myself wanting to touch them
and take pictures of them.
But you can't take enough pictures of me.
Of course, you're the best. But that's not...
Just...
I can't seem to stop myself.
Guess I always knew. I just...
didn't want to.
Yeah, but it's not going to change anything.
I'm not going to leave us. Ever.
What are you doing?
You're not leaving.
You're not leaving. Don't be ridiculous.
You're not leaving, Patti.
This is our world. This is us.
What are you-- I mean, what about...
Mutt & Jeff, Ricky & Lucy, Ratso & Joe--
-I'm not leaving that-- -What are you doing?
Patti, please!
Stop. Stop. Stop.
No. You can't leave...
I'm not leaving the fuckin' solar system, Robert!
-You are the fucking solar system! -Rent's paid!
This is the solar system! You can't leave!
Yes, I can. Get a grip.
Please! No, but you don't...
Patti...
Patti, please, please, stop, stop!
If you leave me, then... Look, stop.
I will...
[STAMMERS]
I'll become gay.
[SCOFFS]
-I will. -Well, so be it.
But I've got to take care of myself, okay?
Don't go.
Don't go.
Don't leave me here. Don't.
Don't go. Don't go.
-My heart hurts too. -No...
Patti...
Patti. Patti!
[]
[SCOFFS] I don't think so...
No.
Yeah, well, thank you for your time.
Hey.
Robert Mapplethorpe.
-No. -Okay.
Thank you for your time.
Mr. Liu, this is Robert Mapplethorpe.
-Mr. Mapplethorpe. -Hey.
What are you trying to say?
It's visual art. It speaks for itself. Look at them.
I can't sell these, I'm afraid.
-Why? -I can't even show them.
-Time to go. -What do you mean time to go?
These people are the gatekeepers?
He's keeping us out... Look what's on your walls!
-Okay, let's go. -Is that moving?
Does that provoke you? Does that make you think?
-Mr. Mapplethorpe-- -Okay.
They're keeping us out.
There's no keeping you out, Robert.
-You're on the threshold. -But they can't see...
[]
See you on Tuesday.
Okay, guys. Kiss.
Switch sides. Stop.
Move around to this side.
Hold that.
[SIGHS]
I want to thank you.
ROBERT: So good.
Bye.
PATTI: Morning.
Hear about Jimi?
No. Jimi who?
Hendrix.
Overdosed.
What? He died?
No.
Janis and Jimmy...
Just so fucking sad, you know.
What a loss.
Makes you think you gotta live for now.
Yeah.
Can't believe that.
Did you write a song I can dance to yet?
No. That's not my thing.
You know that's what it takes.
You sound like your father.
Speaking of... Who's grandpa out there?
ROBERT: Oh, paying rent.
I wasn't going to take the money. It was nice.
You know, cash is cash.
True.
I missed you.
No.
Thank you for your time. Thank you for your attention.
-I really appreciate it. -I'm sorry, it just doesn't fit in this collection.
You've got the shit on the wall and you don't even give a fuck!
-Robert-- -Why do you bring me to these things?
-Robert-- -It's not even-- I can't even...
David Crowley. On your knees.
Right where I left you.
[SCOFFS] Sam. Love.
What are you getting up to?
Ah. I'm good.
Just collecting, you know, 19th Century...
Little Sufi-ism.
Who was the sumptuous storm cloud
that just ran out of here?
That's Robert,
the shy pornographer.
[SCOFFS] A handful.
He raging because galleries won't take on his cock photos.
-Huh. -Go figure.
Heh. Really?
Really!
Oh, how I didn't make the connection before...
The edgiest curator cum collector meets
the most dangerous photographer in history...
Uh-oh...
Where is he?
I'll get you a phone number.
Okay.
Hi, is this the shy pornographer?
ROBERT [OVER PHONE]: Ah, that depends. Who's asking?
I'm a collector.
My friend David told me about you.
Oh, really?
So, is the sailor accepting visitors?
Yeah. He is. Come aboard.
Good. Good. Where should we meet?
Uh, ahem. How about my studio?
33 West 11th.
Yeah, which is at 33 West 11th.
Great. When's good for you?
Friday afternoon, say, like three?
Okay. I will see you then.
[GIGGLES] You feel it?
-'Cause it's happening. -No.
-This is how it happens. -Really?
This is how it happens, I'm going to call Maxine.
-Wow, you're making me nervous. -It's happening.
SANDY: It's happening.
Well, finally.
[FUNK MUSIC PLAYING OVER SPEAKERS]
Hello?
[MAN HEAVILY MOANING IN DISTANCE]
-SAM: Hey. -Hey.
I'm, uh, I'm Sam. Sam Wagstaff.
-I'm Robert. -Nice to meet you.
Thank you. Nice to meet you, too.
Uh, ahem. It kind of flows this way...
Oh.
-This is all your stuff? -Yeah.
[SAM CHUCKLES]
[MOANING CONTINUES IN DISTANCE]
SAM: I like the music.
So, I started with the drawings,
but actually now I'm more interested in the Polaroids.
This is you.
Yeah.
Good subject.
You know all these people?
I do.
They must trust you.
They do.
It's fantastic!
It's goddamn fantastic!
Thank you.
You're welcome.
It's good to meet you.
-Thank you for stopping by. -Yeah.
Let me show you out.
[CHUCKLES] Okay.
[ELEVATOR WHIRRING]
You know, you don't really have to escort me
back down to the street.
It's okay. I have somewhere to be.
Really?
[BRAKES SQUEAK]
No.
[LIGHT CLASSICAL MUSIC PLAYING OVER SPEAKERS]
Thank you.
You're welcome.
So, it's time you know the truth.
I have a lot of lovers.
That's okay...
I'd like you to meet some of them.
[LAUGHS]
Your lovers?
I mean these.
Beautiful, huh?
Ah!
The Flandrin.
-There you are. -Wow, I like that.
Yeah? I was looking for him.
-The Met wants a loan. -I like the shape.
This photograph here, by Von Gloeden,
it's a replica of the painting from 1840.
Wow.
It's one of the few photographs I own.
How old are you?
I'm 50.
Is that too old for you?
No. It's good.
-Yeah? -Yeah.
I'll never know what it's like to be 50.
How are you so sure about that?
I just know.
Yeah?
Are you scared of dying?
Only before I'm famous.
Well then, you better get to work.
So much to do, so little time.
-Come on. -No, let's stay in bed.
-Get up. -Please. Please.
Come on. I'll take you to the Met.
No.
-Let's go. Let's go. -No.
SAM: Don't be shy.
You didn't seem shy this morning.
ROBERT: Yeah, well, I'm not now either.
SAM: Morning!
SAM: This place was built on my family's land.
-No... -So I can do whatever the fuck I want.
-Really? Wow. -[SAM LAUGHS]
This is for you. Thank you.
So, are you ready?
Yeah, I think so.
SAM: I believe these are some of
the oldest photographs in existence.
-ROBERT: Nadar. Right? -Yeah.
ROBERT: Yeah, my friend Sandy told me about him.
Beautiful portraits.
My God, is that-- Look at that.
Is that Sarah Bernhardt?
Yes, it is.
She looks fantastic.
I can't believe it's not a painting.
You know?
There she is, forever...
Do you collect any?
No. They're not valuable.
Well, you should. I think they will be.
No, I think these will be up on the main floor
with Rodin, Michelangelo.
Mapplethorpe. Hey...
SAM: I hope so.
SAM: Holy shit. These are gorgeous.
-SAM: Look at that. -ROBERT: I know. I love that one.
No one's blacks are blacker than yours.
I swear to God.
[LIGHT CLASSICAL MUSIC PLAYING OVER SPEAKERS]
Wow. So many new men.
You've become a bit of collector yourself.
Should I be concerned?
No. They're my work.
You're my love.
Well, since you put it that way...
[GROANS]
-For you, my birthday boy. -Ah...
Apollo 8 used it to capture the moon.
I thought it's good enough for my monkey
-to tell his story here on the ground. -[GASPS]
No... No...
Sammie...
Oh, wow...
[CHUCKLES]
God...
Oh, one more thing...
Keys to your new live-in studio.
What?
Like, you're the nicest person I ever met.
I don't know about that.
Fuck, I'm late.
I told Patti she could run through her set with me.
Go, go.
I'll meet you at yours in like two hours?
-Mmm. -Thank you.
-Happy birthday. -Thank you.
-Happy birthday to you. -[CHUCKLES]
MALE ANNOUNCER [OVER RADIO]: You just heard hotter than hot punk loaded,
from Patti Smith, singing "Because The Night."
She's on the cover of Rolling Stone now,
well, she's on your turntable,
Bruce Springsteen wrote that song,
but thought it was a perfect fit for her
and even let her tweak the lyrics.
Wow! A classic.
And here's another classic for you.
[]
[]
Little brother.
Hey.
[SIGHS]
So...
[CLEARS THROAT] So I, um...
I snuck into the city 'cause I have to...
write a paper on my hero, and...
I want to write it about you.
And I want to study photography,
but, of course, Dad's talking me out of it.
Trying to.
Anyway, that's, that's why I'm here.
That's why I came to see you.
You can write about these.
Yeah, that. Open it.
Are your hands clean?
They're-- They're clean.
[]
It's...cool.
Yeah. It's my friend's fist up my friend's ass.
Keep going.
Wow...
ROBERT: Yeah. Yeah.
Do me a favor.
Don't tell Mom and Dad about anything
-that you've seen here today. -Of course.
And can you give them this, please?
Of course.
And let yourself out, okay.
Okay?
Bye.
Okay. Bye.
Okay. Bye.
[CHUCKLES] Well...
Sam certainly likes to keep me on my toes.
Yeah.
These are, uh-- These are quite something...
[LAUGHS]
Forget it, forget it.
Excuse me?
If you knew what you were looking at
then you wouldn't act like such a fucking art-snob fag!
Mr. Mapplethorpe, I know exactly what I am looking at.
And I am a fucking art-snob fag.
Yeah. I know.
And I do want them.
Yeah? How much?
-A lot. -No.
How much are you going to charge people to buy them?
A lot...
[]
FEMALE REPORTER [ON TV]: New York singer Patti Smith
was opening for Bob Seger in Tampa, Florida last night
when she tripped and fell more than 15 feet off the stage.
She has suffered severe injuries
but is in stable condition.
Back to you, Bob.
And the show's going great.
-Yeah. We sold five. -SAM: Little patience, monkey.
One more meeting, it'll be show time, I swear.
Talk to you later, bye.
All right, Holly. Talk to us.
[SAM AND HOLLY CHUCKLE]
These photographs are exquisite.
-Yes. -Precise.
Uniquely scintillating...
But I can't put little Jesse McBride, Philip Glass
and Arnold Schwarzenegger next to cocks and chains.
-[SIGHS] -I'd have to pass out Valium at the door.
Show all of my work. Or none of it.
I want to. You're brilliant.
You're the Jekyll & Hyde of photography.
But the public won't be able to handle it all at once, dear.
My clients are only just beginning to grasp that photography is art.
Yeah, um, see, Holly...
Robert doesn't have a lot of patience--
--for anything! Not a fucking thing!
Not a fucking thing, Sam!
I have an idea of how Jekyll & Hyde
can both have their debuts, simultaneously.
I'm going to call you, alright.
We're going to have lunch. I'll buy us a bottle of wine.
-You're going to love it. -Can't wait.
[]
[CAMERA SHUTTER CLICKING]
It's brilliant.
Solomon...
Kitchen...
Very clever...
I'll get it out to the right people.
I'll look after Patti. Now, get back to work.
Thanks, Sammi.
[]
-ROBERT: Wow. Sammie. -SAM: Here we are.
-This is your doing. -Yeah. Little bit.
You're a very smart man.
Go meet the people.
I love the people...
[PEOPLE CHATTERING]
ROBERT: Yeah, I just always found them
so beautiful to photograph, actually.
And I want to show you who you remind me of.
I'm sorry to interrupt. Excuse me.
How are you, by the way?
Uh, this is Nick. Obviously.
I just love the tattoos on his face.
I'm sorry. Excuse me.
Larry and Bobby kissing.
And I thought he was a bit like you.
[LAUGHS]
Uh, he's a dealer.
Of art. Not drugs.
Oh. Come and see Arnold.
SANDY: Hello. You decided to go with flowers.
Well, you know, easing the public into it
is an art in itself apparently.
Hey! So I thought; sell the public my flowers
and then they can hang them on their walls
without realizing what it is they're embracing.
-Are you coming to the Kitchen? -WOMAN: Are you through?
-I am, yes. -Where is that?
I want to see your true masterpieces.
Well, you know, one day, they'll be here too.
-Thank you for this. -WOMAN: Show 'em this magnificence.
Thank you for coming. I'm coming! I know.
-Absolutely. Yes. -I'll find you, okay?
SAM: Holly. Darling.
Thank you.
So? Sales?
One.
But he had to leave it here.
Why's that?
Wife. Kids.
-Hamptons. -Naturally.
[HOLLY CHUCKLES]
I appreciate your time.
Goodbye.
-Hey, guys. -Hi.
So...? Did you meet the people?
Yeah. I think so...
Uh, Leo.
Lord Warwick. Peggy G.
-Any other musts? -Great.
Uh, I don't think so.
As a matter of fact, let's hightail it.
-Shall we? -Another group of admirers awaits you.
-Okay. Thank you. -Bye, darling.
-I appreciate everything. -Sure.
-SAM: Sell more pictures. -I will.
[T. REX'S "CHILDREN OF THE REVOLUTION"]
-Oh, my God! -Fuckin' leather.
-Touch of leather, Sammie. -Oh, my God.
A touch of leather, baby.
Well, I guess there's a first time for everything...
[LAUGHTER]
-We're here. We're here. We're here. -Okay, okay, okay.
ROBERT: God almighty, do you like it?
Do you have any money to buy anything?
You probably don't. Heh.
You asshole.
Oh, God, I'm sorry.
Oh, hi. Wow, look at you.
Hey! You. Thank you.
Look at this...
I really appreciate it so much.
Really. Thank you.
[]
[]
ROBERT: Patti!
Hey.
Come on, let's go.
What?
I'm a success.
Come to my show.
I can't go anywhere, look at me.
-It's a party. We'll... -Ow, stop.
-Come on. -Stop it!
It can't be all about you right now.
Look at me. I can't even walk.
I'm sorry.
I'm sorry, I am sorry.
I know you're hurt.
I'm standing in front of thousands of shouting people
out in Florence, so I don't know what to shout back.
Who am I to say?
-You're Patti Smith. -No.
-You're Patti fucking Smith. -No, I know that.
It's just, it's time to rethink my plan, you know?
-It just feels so dishonest now-- -Our plan.
You always wanted this more than I did.
Don't give up.
Give up what?
[LIVELY CHATTERING]
You know, the first man I ever fell in love with
served on my ship during the invasion
of Normandy.
I was an officer. He was a sailor.
Oh, my God, he was beautiful.
Like you.
So, what's on your mind, Monkey?
Patti's gone.
What do you mean?
She's leaving. To Detroit.
Of all places. Why?
To get married. Have children.
Ah. Yeah, don't worry about that.
She'll snap out of it. New York is her everything.
You do know I love you.
I do.
And I love my old thing.
-And I always will. -Monkey.
And I want some chocolate milk.
Aw, does baby want some chocolate milk?
-[LAUGHS] -Please?
Come on, I'll buy you some chocolate milk.
[WOMAN COUGHING]
So, this is Patti.
How is Patricia?
I saw in the paper she was in an accident.
Yeah, she's recovering at home.
She's sorry she can't be here.
This is Princess Margaret.
She's a friend from Mustique.
How did you afford that trip?
A magazine sent me.
WOMAN [IN DISTANCE]: And we are set.
This is David Hockney.
-Hockney? -Yeah. He's a cool guy.
A British artist.
And Princess Devovo. Heh.
A princess? From where?
Heh, I don't know.
I mean, she doesn't do much apart from be a princess.
[JOAN GIGGLES]
But she takes a good photograph, I thought.
JOAN: It's pretty.
Anyway, you guys must be starving.
Shall we get something to eat?
Sure.
I know a good place, actually.
It's not far.
You don't print the pictures yourself?
Uh, no. Never.
That once.
But that's photography.
How can you let someone else
carry out the most important part?
Well, that's one element of photography.
Photography is more than one element.
It's about light. It's about composition.
It's about the personality of the subject.
Plus you told me never again.
And I'm a good listener.
And I'm an artist.
I would've been a painter, but the camera was invented.
Thank God.
I just think life moves too fast now
to spend weeks painting.
Well, you're not a real photographer
until you know the technical end.
Period.
What?
Nancy had
her fourth child.
Oh, yeah?
I so like her.
She says hi.
And Richard divorced that Oriental girl.
Harry, how do you say her name?
What does it matter?
I had to quit the bowling league.
Well, that's a shame.
I just get too tired.
That's too bad. Your mother was good.
[CHUCKLES]
I remember.
I liked your show.
Thank you.
[]
I like my flowers.
They're beautiful.
Drop it in there.
Attaboy.
Let it flow with the picture, that's it.
There you go.
Now, I'm going to have to develop this one
to see into it, all right?
-Okay. -That's good.
Gotcha.
This is...
This is wrong. You do know why, yes?
You are not to touch this again!
It wasn't made for this!
[]
ROBERT: Yes. Okay. Fine.
[SNIFFS] Do you want that?
Go steady, now.
What are you staring at? You don't like it?
Uh, I don't know, Robert.
It doesn't really look like me.
It's not your look I'm taking.
It's you. You're dirty.
It's hot. Look at that.
Mm, whatever you say, man.
ROBERT: All these art snobs think they're so cutting edge.
I take out my portfolio
and I show them the bullwhip up my ass.
If they blink or they look away
then they just can't handle it because they're
not so fucking cutting edge after all.
-[LAUGHTER] -You know?
JACK: You got that right.
-[LAUGHTER] -I call it...
I call it "Playing chicken with the avant-garde."
It's my favorite pastime.
JACK: It's a game the whole family can play.
You're making me laugh so hard I gotta pee.
ROBERT: Well, right, yeah. Well, just, you know,
take a piss here and I'll take pictures of you.
Actually, put your cock in that champagne glass.
Wait...
[LAUGHS]
-Hold that. Yeah, perfect. -[LAUGHS]
[]
You know, McNenny, people think that you just deal me flowers.
Good boy...
Wait, wait, wait...
Hold on...
GONZALO: Damn. Making a mess.
Yeah, let's take some more pictures.
-GONZALO: All right. -ROBERT: Take off your clothes, guys.
[ELEVATOR RUMBLING]
SAM: Robert?
Hey, superstar. You up?
I just got a call from The New York Times.
They, uh...
want a quote about the dual show.
Sammi...
Sammi, Sammi.
Sammi's here. Sammi's come to play.
[CHUCKLES]
Hey, come on, come in.
It's just a little sex, a little magic.
I introduced you.
[SCOFFS] I invested in you.
-And this... -Sammi.
-Wow. -Come on, you know, this is--
This is-- This is...
how I live.
But it doesn't mean that I don't,
I don't love you.
-Sam, Sam! -Robert, hey!
I love you too.
Jesus, I wanted to taste this life...
And it was delicious.
But I'm full, Monkey.
And you should be too.
[QUIETLY] Sammi. Sammi.
[DOOR OPENS, CLOSES]
[KEYS RATTLE ON TABLE]
[GROANS]
[]
[PEOPLE CLAMORING]
[CROWD APPLAUSE]
[PAC-MAN VIDEO GAME SOUNDS]
MAN [OVER RADIO]: Challenger, now throttle up.
TOM BROKAW [OVER RADIO]: There is no indication whatsoever
that they could have possibly survived
the enormous explosion that we all saw.
MALE ANNOUNCER 1: The oldest of them was only 46 years old.
Seven young talents who had careers ahead of them...
snuffed out in an instant.
MALE ANNOUNCER 2: Doctors at Mt. Sinai Hospital
say they may have uncovered a way...
Patti. It's Robert.
Pick up the phone, please.
[SNIFFS]
Pick up the phone, pick up the phone,
pick up the phone, pick up the phone.
I'm not going to wreck your perfect life.
Pick up the phone.
Okay. Call me back.
Call me back.
Call me right fucking back.
[SNIFFING]
Call me fucking back...
[]
Hey. Can I get a drink?
I'll have a martini.
SOCIALITE: Jim, a Scotch?
Robert? Ice water as usual?
Hmm.
Look at mutton chops over there.
Beautiful man.
Excuse me.
-Hey. -Hey.
Has anyone ever taken your photograph before?
No.
Really? Well, they should.
Thanks.
Let's see.
Take your shot.
[BALLS RATTLE]
[SIGHS]
I'm not that great at this.
Hey, do you want to come--
Want to come do some cocaine?
Yes.
Come on, let's go.
-Where? -My place.
-Let's go. -Let's go.
I'll be right back.
He won't be long.
Okay.
ROBERT: Bye. Bye.
Bye, Petey.
ROBERT: Hug your knees.
Closer to you. A bit tighter.
Hug them more. That's good.
Now hold that.
-[CAMERA SHUTTER CLICKS] -Perfect.
[]
TINA: Robert?
Ed's here.
TINA: Your brother.
TINA: The meeting your mother wanted me to set up.
He's here.
What? Oh.
Oh. Okay. All right.
ROBERT: Okay, I'm coming, I'm coming.
You want me to look at this?
ROBERT: Thank you.
Sit down.
Of course, I'm still learning, but, uh...
some of them are good, right?
They're all good.
Just look, I don't...
I don't particularly want my kid brother working for me.
But Dad kicked me out for wanting
to take pictures for a living.
Like you.
-So-- -"Dad." "Dad."
"Dad." Look, Edward...
only when you cut him off are you going to be able
to make the steps that you need to make
to do something great with your life.
Yeah, but...
I barely even know you, so...
Maybe... I just...
I don't want, I don't want any connection
to our family, you know, it's just...
You gotta leave all that stuff out of here, okay?
Of course.
-Do you understand that? -I understand.
Okay. Alright.
Yeah?
Ah, what-- What time is the next shoot?
TINA: Twelve o'clock, Robert.
What time is it now?
Just after eleven.
Wanna do some cocaine?
Heh. Sure.
Straight from God...
[SNIFFING]
Try it.
Heh. There you go!
-Geez. -[LAUGHING]
[COUGHS]
Okay!
[]
-My name's... -Why you walkin' up on me, man?
Oh, I'm sorry, my name's Robert Mapplethorpe, I'm a...
I don't want no problems, man.
Absolutely no problems.
I'm a photographer.
I couldn't help myself.
You're so striking and I thought to myself,
"God, I'd love to take his photograph."
I have a studio right around the corner.
Actually, I wondered if you'd ever thought about modeling?
Modeling?
-Man, you walkin' over here-- -Modeling.
You scared the shit out of me.
You look so fantastic.
I could help you make a portfolio.
And when you want to do that?
Now.
-Right now? -Right now.
All right.
-Wonderful, what's your name? -Uh, Milton.
-Milton. -Yeah.
You said Robert, right?
Robert. That's me, yeah.
[CAMERA CLICKING]
[]
ROBERT: That's perfect. Eyes down.
Okay...
How about you take off those pants?
I can't be doing that,
out of respect for my family.
Can I at least see it?
[]
That's the most beautiful thing I've ever seen.
What if I promise never to show your cock
and your face in the same frame?
Uh...
[BOTH SNIFF]
[COUGHS]
Yeah, that's okay.
Wait there, just, just...
Put your right leg out.
Turn, turn your body to your right.
Stop.
-ROBERT: I think I'm in love. -I gotta go.
No, I'm going to show you the world, Milton.
You're perfect.
I'm going to take care of you.
Okay. Let's see.
Ooh, yeah. I love it.
Yeah. This one. Burn it a little.
I don't know, man...
It's brilliant, don't you think?
-Aw, come on. -[CHUCKLES]
Yeah, the only thing you need to know is where the darkroom is.
You come in, get the film, go print, and you go home.
-Okay? -[SIGHS]
Crop it. Take off his head.
It's stronger without it.
[]
Drop the light from the background.
-[WHISPERS] Looks evil. -[LAUGHING]
I think that's the idea.
Just leave us alone a minute, please, Edward.
Thank you.
[CLEARS THROAT] Now, Roy...
I want you to just look directly at the camera.
Just give me that look that you had when you nailed Julius.
Rosenberg, that is.
Chin up.
Magic.
[WHISPERS] Yeah... Yeah...
Yeah... What's the matter, naughty nigger.
[EXCLAIMS]
[QUIETLY] Come on, baby. There. Yeah.
Yeah...
Can I stick my finger in your ass?
Who's a good boy?
[ROBERT GRUNTING ANIMALISTICALLY]
[BRIAN ZACK LEWIS' "BLUE MONDAY"]
Move.
Curator.
Can you define it?
Um...
A guy who chooses art pieces for other folks to check out.
I think we need to get your English teacher
to focus on the language of the arts.
ROBERT: Here we are. Look at you.
You look so innocent.
You're gonna do great.
Ah! Where's Edward?
Ed!
This isn't... I don't know what's going on here.
I can't-- You know, it's this bit here.
I'd never put it back in...
-[CAMERA SHUTTER CLICKS] -Bingo!
Hey...
What... What are you... What are you doing?
What...? Milton, what's wrong?
Whoa. Whoa. Take it easy.
What are you doing? That-- Whoa. Stop it.
Stop it. What are you doing?
I love you.
-Love me? -Yeah.
You don't love me.
You don't love anyone. You love yourself...
and how you make people do shit!
You make me do shit!
And read crap I don't get.
-Okay, take it easy. -Train me to dance
like a fucking monkey.
And you call me a "nigger" in bed.
Milton, come on, that's just a tease.
It's not meant as an insult.
I thought-- I thought you liked--
Po-nigger who poses
like a nude piece a Black meat
fo' his pansy boyfriend!
But you are a piece of black meat.
-Fuck you! -Whoa. Take it easy...
Okay. Milton, I was trying to enlighten you.
To celebrate you.
To celebrate your strength.
To celebrate your beautiful black flesh--
I'm not one of your white boy, stuck-up, sculptures.
-Milton, I have given you... -Sure enough I ain't nobody's nigga.
...all I have!
And you got something back.
Yeah, well I nurture you because I see your potential.
[STAMMERS] Milton, come on.
Milton, you have been the subject of some of my best work.
You are the star! Milton!
You took pictures of my dick, stickin' outta my pants!
Because it's gorgeous.
Milton...
You picked the wrong po' Black boy for your collection.
Don't go...
Where are you gonna go?
-Come on. I need you. -[SOBBING]
-You got everything you need. -No...
-I need money. -No, Milton. Please...
Well, you know where it is.
Don't...
Look, let's talk.
Milton...
-Milton! -[GLASS SHATTERS]
What...
Milton left me.
I tried to improve him, I tried my best.
But he didn't want to be improved.
Oh, sorry about that.
He was a sweet project.
[STAMMERS] Sometimes projects
are abandoned when they don't work out.
I loved him.
I really loved him.
I can't believe you sold your photography collection, Sammi.
-I, honestly, I... -Sentimentality
is the kiss of death in art.
It's too much stuff. Let somebody else take care of it.
Besides, I'm really enjoying this.
I can shine these spots away.
Gives me a little hope.
[CHUCKLES]
Only five hundred bucks. For everything.
All these pieces. It's unbelievable.
I bet you this is the next big thing.
I've got it, by the way...
I... How do you know...?
I know.
I'm just waiting for the test results...
Well, that doesn't mean that you--
-Robert. Robert... -It doesn't-- No, no, no--
I wake up every night covered in sweat.
Well, so open your fucking window!
It has arrived...
Have you been tested?
No.
Monkey, please...
I won't.
[SIGHS]
Your photos are quickly becoming a gallery of the dead.
[]
Wrap it over your shoulders. Like that.
Yeah.
Uh... Just, I don't know,
I can't see the frame...
I can't see the fucking frame.
Sorry, Lisa. Just give me a...
I just-- I just need a moment.
[SNIFFS]
Chin up.
Tense.
[]
[GROANS]
[RETCHING]
No time for this.
So what do you guys think?
-That one. -It's so exciting, your first show!
Another $25,000! No. Another 30,000!
My God, that's amazing.
That's $55,000 in just under two hours! Okay.
[COUGHING]
[GROANS]
Yeah, dead man walking...
Ah, who knew
my stock would rise with every pound I lose.
What are... What are these doing here?
I, um, I thought you might take a look at them.
-Oh, yeah? -Yeah.
Why?
You don't need my opinion.
You've got my moves down...
Hey, that's not what I'm trying to do--
Yeah, plus, you're the technical expert.
Yeah, well, the technical elements aren't the arts.
-You're damn right they're not. -Yeah, but, I...
I-I...
I want your opinion about the arts.
Because...?
Because you're my brother,
and because...
you're better at this than I am.
Yeah, well, you know, I actually have no idea
how my pictures look so good.
It's not something I can just pass on to you.
Well, can you at least tell me which ones you like the best?
-Why? -I have to pick one for the group show.
Next month.
What?
The one you're in, too.
[LAUGHING]
So, if we're going to continue working together...
you gotta change your last name.
I have made Mapplethorpe a name
through my hard work over years.
I mean, it just...
Here, how... How about...
Mom's maiden name.
Maxey.
Yeah. Look at that.
It sounds sexy.
Use it.
Get Sam Hardison on the phone.
Uh, look, I'm sorry, Edward.
I feel like I've done a lot for you,
but I've gotta draw the line.
You can't just keep riding on my coattails.
Think this batch here needs your technical expertise, okay.
I'm going out.
You can't keep doing this, Robert.
Doing what?
Don't you care about spreading it?
Well, y'know, that's up to them.
Not me...
I can't cheat death, but I can cheat life.
-Which I won't. -Robert...
We're born alone and we die alone.
-Robert, you're not alone. -We spend our lives
pretending that we're not.
If I have to change the way I live,
then I'd rather not. At all. Okay?
Hey, I'm just paying my dues.
-Robert... -He's not letting any of us off easy.
Technical expertise, Edward.
Robert!
[]
Hey.
[]
Thank you.
Come here.
I've had three great loves in my life.
My mom...
art...
and you.
I hope not in that order.
[WEAKLY CHUCKLES]
[COUGHING]
[SEAGULLS SQUAWKING]
-ROBERT: Thank you. Stop. -[CAMERA SHUTTER CLICKS]
Ah. Got it.
Thank you.
Jesus Christ.
I mean, thank God that is over...
So, I'm going to go out,
but I can drop you at the hotel
and then I'll meet you at the airport
in the morning, all right?
I'm not coming, Robert.
What, you don't need a ride?
No. I mean I'm not coming to New York.
I've thought about it a lot and I need to...
I need to have my own career, Robert.
So, I'm heading down to Los Angeles.
[SIGHS]
Alright, what?
You're my assistant. That's your career.
You owe me. I gave you a life.
-No. I don't owe you. -I gave you--
I've given you everything I have!
-Oh, well thank you. -Robert, I have this much!
This much!
I need to start my own life.
As Edward Maxey...
-Yeah... -Hmm?
-Edward Maxey. -Well, good luck with that.
Whatever delusions of grandeur you have,
you're an assistant.
Get in the car.
[]
FEMALE HOST [ON TV]: And now for your update on Things About Town.
Mapplethorpe Mania has arrived in New York
in the form of a retrospective exhibition
that opens July 28th
at the Whitney Museum of American Art.
The show, titled "Robert Mapplethorpe"
praises the artistic development
of its 41-year-old subject from 1969 to today.
It's likely to be quite provocative
and draw some controversy due to the explicit nature
of some of the photographer's work.
The artist himself is slated
to attend the opening, if he makes it.
Mapplethorpe is reportedly in the advanced stages
of the Autoimmune Deficiency Syndrome, AIDS.
Oh, my...
Father Stack.
Robert.
You're a long way from Floral Park.
I'm-- I'm glad to see you.
Do they speak to you?
-[COUGHS] -Well, it's a battle
between good and evil.
Are you here for my confession, Father?
I... No.
Your mother asked me to come.
She's worried about you.
Oh. How is she?
Not very well.
Her emphysema has really worsened.
Sit down. Please.
[COUGHING]
Robert, do you believe in God?
No.
What gives you solace?
Beauty.
Perfection.
Knowing that I've captured those things in my work.
Knowing that my work will outlive me.
It'll still be there when I'm gone.
And you have.
Thank you.
That's what I see.
Even that which we deem obscene,
you make look more beautiful than I thought possible.
I wonder what it's like to be your subject.
My subject?
[]
ROBERT: I actually remember my first communion with you.
-Can you remember that? -Oh, I remember that. Yes.
[LAUGHS] Oh, perfect. Thank you, Father.
You're a rascal. I remember that.
Did I blink? Sorry.
Oh, you look absolutely heavenly, Father.
If you could just look off to my left, please.
Just a touch. The Devil is in all of us, Father.
I wonder where he is in you.
I think we got it.
ROBERT: Can you make your legs into a V?
[]
Yeah. Hold that.
Okay, could you just dip your neck...
Hold.
Maybe try putting your arms straight out in front of you.
Perfect. Hold that.
Ha. It's my baby brother!
We're just photographing this beautiful bronze sculpture.
Robert, I thought about what you said...
Oh. Edward, meet Javier. He's my new assistant.
He was just a Spanish street urchin,
but he's very ambitious, and he's learning fast.
Mucho gusto.
Oh yeah, he doesn't speak much English.
But he's got a dictionary
so it shouldn't take you long to train him.
You know what, Ken, let's-- Can I--
Can I photograph you by the dining room, please?
[SNIFFS]
Wow.
Bravo, Martin.
These are the deepest blacks I have ever seen.
Someone came by yesterday
and they thought these two were paintings.
I know. Well, that's the idea
And your canvas sealed the deal.
You're gonna be famous for this.
They're the holy grail of platinum printing.
[CLEARS THROAT] Now, can you do four feet by six feet?
I don't think there's a printer alive who can pull that off.
Try it. For me.
Let's wrap Thomas and Dovanna in white silk.
Regal, you know, so everybody knows to worship.
And let's wrap Donald in rich red silk.
And we gotta have a cock in the show.
I mean, people will be expecting some cock.
[COUGHING]
Thank you. Thank you, Martin.
Amazing work. I mean, look...
ROBERT: Okay, can you make sure you put this
with the whole Wasting Series.
[COUGHING]
[CAMERA SHUTTER CLICKS]
It'll be valuable when I'm gone.
[CAMERA WHIRRS]
[PEOPLE CLAMORING AND CHANTING]
WOMAN: Horrible!
[BOOING AND JEERING]
[LIVELY CHATTERING]
Hi, Rachel. Thank you for coming.
ROBERT: The first time I came to this museum,
he, he wouldn't let me in,
-because I didn't have a buck. -[WOMAN CHUCKLES]
-But I always remember these lights-- -JANET: Robert.
Hello.
We met at the Met's rooftop garden gala.
I'm curating the ICA exhibition.
And I wanted to follow up with you on my idea
-of doing a traveling exposition of your work. -[COUGHS]
-Oh. -So, the entire range of your work
would be represented, at once.
-Finally. -[LAUGHS]
From your most hardcore imagery,
to the most delicate flowers.
They are delicate, but they aren't sweet.
They're New York flowers.
Uh... Ahem.
They have a black edge to them.
They're my flowers. Nobody sees them the way I do.
-But that sounds wonderful. -So...
So, we'll open in Philadelphia,
-and then it will be Chicago, Washington DC... -Right.
and then finally, Cincinnati.
Cincinnati. Poor Cincinnati.
Impossible to spell, and starts with the word "Cin."
-[LAUGHTER] -My kind of town.
Well, that sounds, yeah, very interesting.
-Thank you. -Thank you.
-I'll be in touch with you. -Alright.
Have I met her?
Thought so...
ROBERT: Ah, what I would give for a hot dog.
Oh, Robert, I don't know if that's a good idea.
Come on, like the old days.
You haven't eaten solid food in months.
[SCOFFS]
Roland, would you mind stopping the car, please?
No. Yeah, I got it.
Can you help him, please?
I'm alright. I got it. Yeah.
-It's alright. -Thank you.
Alright?
I'm alright. I'm alright.
-I'm alright. -Got it?
-Got it? -I got it.
-Okay. -Do you got it?
[CHUCKLES]
I'm all right. I'm all right.
I'll be right back.
-Alright. -Alright.
Thanks.
EDWARD: All right...
-Mmm. Ah. -The best.
So good.
[COUGHING; RETCHING]
Robert, this has been the most spectacular opening.
It has been as we hoped it would.
The perfect moment here in Philly
and I can hear you groaning at that remark.
MAN: Robert, the response has been phenomenal.
I anticipate that great offense
will be taken in all the right ways.
-[JANET GIGGLING] -Your star is ascendant.
My star is ascendant.
-[CHUCKLING] -Finally.
I feel like I'm at my own funeral.
It's a great success, though.
The work's all I have left.
[]
ROBERT: Hey, Sammie.
Sammie, my Sammie.
[FOOTSTEPS APPROACHING]
[SIGHS]
[COUGHS]
Hey, Angel.
[WEAKLY] Hey.
[SOBBING]
C'mon, Soakie.
Come on, it's okay.
It's gonna be okay.
This new drug...
called CD-4...
[CLEARS THROAT] ...and it's experimental.
I'm going to Boston to get it.
What-- What is that?
It appeared when my son was born...
Oh.
You're getting old.
I told my parents, remember, we...
we, uh, we got married in a st...
in a strawberry field in California.
-And we were. -Yeah.
Anything you dreamed was real.
[CHUCKLES]
[LOW GRUNTING]
[DOOR OPENS, CLOSES]
[HEART MONITOR BEEPING]
I don't have good news.
You have bacterial pneumonia.
We can't start CD-4.
Your body can't take it.
I'm sorry.
We'll take good care of you.
Edward, I'm scared...
-I know. -[DOOR OPENS]
Oh...
Those are ugly.
You can toss them.
Don't you wanna know who they're from first?
Not really.
Okay, it says...
-I thought Mom was sick, no? -EDWARD: She is.
-You think Dad sent these? -He must have.
-NURSE: Wanna keep 'em? -Yeah.
It's like the nicest thing he's ever done for me.
[NURSE LAUGHS]
Thank you.
[DOOR CLOSES]
Who knew Dad had such terrible taste in flowers.
-[LAUGHS] -Right?
Where do you want 'em?
Sorry for the mix up.
The flowers are for the patient across the hall.
I'm sorry.
Right.
[BOTH LAUGHING]
[HEAVY COUGHING]
Hey...
Hey...
You okay?
Yeah, I'm okay.
Scared me.
How was your little show, baby brother?
It was good.
Did you sell anything?
A few.
See, told you
you don't need to be a Mapplethorpe.
You can make it on your own, right?
Sure.
Can I see your work?
Alright.
I think...
you'll really appreciate this.
-Robert? Robert! -[MONITOR FLATLINING]
ROBERT: Keep it coming.
Move the key,
so my pupils reflect the light.
That's it, perfect.
[SPEAKS INDISTINCTLY]
There you go.
Take the picture.
[CAMERA SHUTTER CLICKS]
[T. REX'S "COSMIC DANCER"]
I was dancing When I was 12
I was dancing When I was 12
I was dancing When I was out
I was dancing When I was out
I danced myself Right out the womb
I danced myself Right out the womb
Is it strange To dance so soon?
I danced myself Right out the womb
I was dancing When I was eight
I was dancing When I was eight
Is it strange To dance so late?
Is it strange To dance so late?
Oh
Oh, oh-oh
I danced myself Into the tomb
I danced myself Into the tomb
Is it strange To dance so soon?
I danced myself Into the tomb
Is it wrong To understand
The fear that dwells Inside a man?
Oh
What's it like To be alone?
I liken it to a balloon
Oh
Oh, oh-oh
I danced myself Out of the womb
I danced myself Out of the womb
Is it strange To dance so soon?
I danced myself Into the tomb
But then again
Once more
I danced myself Out of the womb
I danced myself Out of the womb
Is it strange To dance so soon?
I danced myself Out of the womb
Oh
Oh, oh-oh
[JOBRAITH'S "I'M A MAN"]
I'm a man
So I'm an elegant man
I'm a man
Clara Bows And open toes
Are what I am
Yes, I'm a man
Yeah
I'm a fragile man
I'm a man
Light of step
And soft of touch
A gentle man
You know I could love you
But if I should love you
Then I I would love
The way a man Loves a woman
And live my life Like I've been living it
My body claims My mind and soul
So let me be
What I am
An elegant man
Yes, I'm a man
So I'm an elegant man
I'm a man
Pierrots And spacious clothes
Are what I am
You know I could love you
But if I should love you
Then I I would love
The way a man Loves a woman
And live my life Like I've been living it
My body claims My mind and soul
So let me be
What I am
An elegant man
Yes, I'm a man
Then I would love
'Cause I'm a man
I can love
'Cause I'm a man
I'm a man
'Cause I'm
I love you I'm a man
La-la-la-la-la La-la-la-la-la-la
La-la-la-la-la-la You are a
La-la-la-la-la La-la-la-la-la-la
La-la-la-la-la-la You are a
La-la-la-la-la La-la-la-la-la-la
La-la-la-la-la-la You are a man
