Christine, Edward, and the Cube
Hippopotamus Migration in Africa
Josh Johnson (exjosh@aol.com)
Dylan Sharp (nogorilla@hotmail.com)
"The Conquest of Mexico"
Treatment:
A famous Avant Guard art troupe (NAME) consisting of three multi-talented young men is holding a collaborative art show dealing with the evolution of western culture. As an introduction to their art opening they are giving a TV interview for a major news station. The interviewer is very enthusiastic about their art and has been a long time fan. The troupe comes in discussing their theories about art’s evolution and sit down on the set made to look very hip, all modern furniture with a nice comfortable couch. The interviewer begins with basic questions like "How do you work together on a single piece? Where did you meet?" And they answer in a basic manner that is somewhat self-serving. As they progress the troupe tends to take over the interview using it as their soapbox, something obviously not uncommon for them. The interview ends with them spouting off uninformed, self-righteous conclusions about revolution and the state of art, music and film. Although the interviewer has been somewhat left behind he is still very enthusiastic about the group as they get up to go to the opening of the show.
They arrive at the show already crowded with people. Unfazed by the party, they enter and immediately the painter heads to the food table eating and drinking all he can, the playwright quickly finds a few ladies, along with the TV interviewer and they try to sus out who among the crowd has any pot to calm the playwright’s nerves, then the musician, obviously not heard enough in the interview, decides to jump on the soapbox again and to our surprise people actually listen.
There is not much mention of the actual art although we over hear many people talking about a piece they just bought or something they wish they had bought. The crowd is a typical art crowd, old money, young students dressed their best, and plenty of hip artists trying hard to look serious. The highly anticipated climax is when Cortez arrives and without saying a word walks up to a painting of the Mexican flag, pouring a corona into a champagne flute, he says "This would look lovely in my house. I will buy it." The painting is noticeably already sold so he demands to know who has bought it and since he is Cortez he explains that the painting already belongs to him and purchases it out from under the original buyer.
Character List:
The Avant Garde Troupe "Caustic Reality":
The painter- A Pollockesque painter obsessed with abstracts and sexual tension. He wears mostly denim with paint on it, smokes and is generally anti-social.
The playwright- Named Kenneth, he does most of the talking. He is the one who claims their group as an Avant Guard movement. Likes to talk about the "disenfranchised," the "working man" and the "terrible gentrification" that’s going on in his Harlem neighborhood. Likes to use famous quotes and says "And I quote a lot"
The musician- Looks like the "Greenster" type. Hip jazzy clothes and talking a lot of jive, he wears a tattered beard and talks loudly of revolution, Mao, Albert Ayer, the Zapatista rebels and how he wished he was Che’. Surly.
The interviewer- A total loss in a nice suit. Kisses ass in a disgustingly genuine way probably because he doesn’t know any different but who really cares.
Cortez- A brilliant artist from Mexico who knew Frida Kahlo w when he was a teenager. He is an exotic man of mystery.
Montezuma- An older well dressed woman who buys the painting of Mexico’s flag before Cortez. She does not speak, but looks at the art with an apparently very astute and critical eye. Unnamed within the play.
Noble- Attendant at the gallery.
Screenplay
INT TV STUDIO
The camera man and crew get ready for an interview while on the side of the set the interview host gets ready putting on make up. It is a typical talk show set with the décor of a small living room and a fake window looking out on a city scene. While the technicians get ready the Avant Garde Troupe is huddled off to the side, talking loudly.
KENNETH
Why did the sculpture of the early 20th century return to the simplistic forms of early Mesopotamia that once were considered primitive?
THE PAINTER
You’re asking me? Couldn’t it be a kind of primitivism of the heart during that time, Kenneth?
KENNETH
(condescendingly) I don’t think it was primitivism, my friend. I think it was just a need to be free, to return to the natural state. That’s really-
THE MUSICIAN
(Breaking in) Make sure to bring that up during the interview, man.
The Host of the show has now taken off his make-up tissue and is walking toward the troupe with his hand out, smiling wide.
THE INTERVIEWER
Are you cats ready to go? Let’s do this thing.
He shakes all their hands and they go to sit down. Instantly we are looking at the set through the TV camera lens. The picture has a border with the name of the talk show listed on it and the camera for the duration of the interview operates solely in the dizzying fashion of an extreme television interview. Abrupt Zoom Ins on the artists faces as the INTERVIEWER introduces them.
THE INTERVIEWER
Alright! It’s a real pleasure to meet you guys finally. We’re with the Caustic Reality Art Collective of course- this is Kenneth, who kind of started the whole thing and works in experimental theater-
KENNETH
(interrupting) It’s not so much experimental as Avant Garde, actually (smiles).
THE INTERVIEWER
Right on. This is Spencer- whose exhibition ‘Riot of Shapes’ is going on right now at Dognozzi’s Downtown Space. (Spencer, in close up, takes a drag from his cigarrete). And this is Taylor- whose new release "Pacified Masses" incorporates a unique blend of Brasilian funk and rock is selling like wild right now- as I’m sure you’re all aware (they all laugh comfortably). So Taylor, I heard you just got back from Mexico where you visited the Zapatistas. That sounds pretty interesting.
TAYLOR
Yeah, it was more than interesting. It’s pretty amazing what’s going on down there. I mean these people are fighting for their very freedom. That’s something that I think most of us take for granted.
KENNETH
You’re speaking as if we were free.
TAYLOR
Totally, that’s what I’m saying. We sit here pacified while the revolution takes place elsewhere. You know, sometimes I wish I was Che’, just so I could experience revolution first hand- he was so cool. There’s just so much going on in the world in terms of revolutionary struggle.
INTERVIEWER
I completely agree. And I think that’s definitely expressed in your new CD, which is very good by the way.
TAYLOR
(looking very serious) Thanks. I’ve been listening lately to a lot of the greats: Albert Ayler, Duke Ellington, Ornette Coleman, James Brown- you know, the real revolutionaries.
INTERVIEWER
James Brown is rad. Which reminds me, Kenneth, your new play has a lot to do with Harlem, doesn’t it? Isn’t that where you live?
KENNETH
Yes it is. And living in such a vital neighborhood over the years, I’ve picked up a few things about the disenfranchised, which is the title of my new work. You see, the city has become so gentrified in the past few years that the poor and working class such as myself, are being forced to come to terms with being displaced by an overwhelming amount of disgusting advertising.
INTERVIEW
The country we live in now certainly not the one we lived in in the past, that’s for sure.
KENNETH
I know, and thanks to the terrible capitalist forces that run this country, the herd is allowed to move in while we, the working men and the thinking men are totally left without a home, without a country they can love. And I think that’s what we at Caustic Reality are attempting to demonstrate in all of our work.
SPENCER
I know I am. In a lot of ways our work is the next step in western art, mostly in that it embraces a kind of ‘culture of caring.’
INTERVIEW
Yeah, totally. I can really see that in your paintings, with all those shapes and naked people.
SPENCER
They are more to me than just that. The shapes for me represent the unseen social forces always at work, and the nudes are the hidden sexuality within us that is constantly being stifled by these forces. And that’s why I use real pigs blood in my paint, because its such a violent process.
INTERVIEWER
Well, we’re running out of time, but I just want to add that I think the reason why you are so able to communicate your revolutionary message to the people is that you definitely possess the ability to relate to them. I mean you are all just regular Americans, yet you have so much insight.
KENNETH
Absolutely. I mean, we all come from middle class homes, we’ve all had the same experiences anyone’s had. But I can’t stress the importance to look beyond our everyday lives as comfortable Americans into the real world, and to struggle to understand the less fortunate. I think if we all do that, the revolution’s not that far off. (coy smile from all three).
INTERVIEWER
Well that’s the Caustic Reality Art Collective: remember to come to the show tonight at Dogbozzi’s where they’ll be signing autographs and later on maybe participating in a community workshop on Sexual Identity. This is Rock the Screen.
At this point, the objective camera is again put into use. The four stand up, mumble a few congratulatory words at each other and cuss.
INTERVIEWER
Well I guess I’ll see you guys at the show. I hear the party’s already going on there.
(The artists exchange a mocking glance with each other)
KENNETH
I’m looking forward to it, if you know what I mean.
The group disperses in different directions and the scene dissolves to the party at the art gallery. Three or four paintings sparsely decorate the walls, young party folk lean comfortably against the walls, sipping drinks and speaking loudly about well known artists or themselves. Quiet world music plays, and the room is tastefully lit. A few wealthy older people examine various paintings while reminiscing about purchases they’ve made. Kenneth can be heard talking to two attractive females, telling them about himself while looking passionately into their eyes. Spencer is ‘chilling out’ by the refreshment table, feasting on triscuit hors d’oeuvres and pounding hard alcohol quickly. NOBLE, a gallery attendant looks disdainfully on.
INT DOGBOZZI'S ART GALLERY
SPENCER
(shouting to passerby) Hey man! What’s up? Check out this food! (gives thumbs up to another passerby, a woman. To the crowd in general he announces:) Has anyone seen Cortez? He was supposed to have been here by now.
NOBLE
He’s on his way, I assure you. He’s been anticipating seeing you for days.
Cut to Taylor and the Interviewer, approaching a serious looking man lazily examining a painting of a naked statue of liberty.
TAYLOR
Hey, Gaston. We’re looking for that hook-up. (Gaston glances to the left and makes a cool nod)
INTERVIEWER
Let’s go to my apartment. (They leave)
Suddenly, there is a loud commotion. Kenneth reluctantly turns from the women to see Cortez swaggering into the gallery, wearing a Senor Frog t-shirt and sipping a Corona with Lime. He has slicked back hair and approaches with great confidence, recalling the Cortez of old.
CORTEZ
Hey, my friends.
SPENCER
Cortez! You made it!
KENNETH
(approaching Cortez) Hello. It’s an honor to have you here at the show.
CORTEZ
You know you’re talented. I just came to say hello and see if there was something I wanted to take home with me.
At this point Cortez begins walking around the gallery, nodding to various attendants and glancing at a few pictures before settling in front of one depicting a Mexican flag waving in the wind and some crude representations of what Spencer thinks Aztec art might have looked like. The picture is called "Cinco De Mayo" and a "sold" tag hangs from the label. Cortez strokes his goatee and drinks a sip of Corona before loudly exclaiming:
CORTEZ
I want this one.
MONTEZUMA, an attractive young art enthusiast, approaches Cortez.
MONTEZUMA
But I’ve already paid for that one!
Kenneth, sensing trouble from across the room, rapidly approaches and enters into the dialogue.
KENNETH
Cortez! You found one you like? I’m sorry ma’am but I’m afraid you’ll have to give this one up.
MONTEZUMA
But why? I found this first.
KENNETH
Ma’am please! This is Cortez, the world famous ‘art liberator’! He takes great pieces of art and makes them better.
MONTEZUMA
(skeptical) How is that possible.
KENNETH
He takes socially expressive art and doubles its effectiveness by incorporating it into some kind of mixed media presentation- it’s the wave of the future.
(To this Cortez smiles wryly and sips from his Corona)
MONTEZUMA
Ah, yes. I remember hearing about him. Alright, you can have it if you promise to let me have first crack at your finished product.
CORTEZ
It’s a deal. I believe I was meant to own this. (Smiling, he takes the painting off of the wall and hands it to Noble, who carries it offscreen. The camera slowly tracks backward, revealing the partying atmosphere of the gallery once again.
KENNETH
Alright my friends, let’s turn up that music!
(He points to Spencer, who pauses to shove a tater tot into his mouth before turning up the very bad music, which floods the room. The lights go dimmer, and people begin to dance. Kenneth takes Montezuma’s arm and they begin to dance erotically. Everyone is lost in dancing or in thought, and Cortez finishes his Corona and slips out of the door, unnoticed. The scene fades to black.)
CONTINUITY SCRIPT
1: Fade from white to LS TV Studio. From a relatively high angle we see the edge of the interview area and the three artists conversing.
2: MS focusing on Kenneth and Spencer talking, with Taylor visible toward the edge of the frame.
