Get on Up Page #19

James catches eyes with Teddy. He nods proudly. Teddy smiles.

JAMES BROWN - GHETTO REALITY BEGINS TO PLAY AND CONTINUES

OVER THE NEXT FEW SCENES

131A

EXT. AUNT HONEY’S 1968 HOUSE IN THE LATTER YEARS - DAY 131A

James and Teddy pull up in front of a small shotgun house inthe Terry. They exit and walk up to the house.

131B

INT. 1968 AUNT HONEY’S 1968 HOUSE IN THE LATTER YEARS-131B

DAY:

Aunt Honey, now 70, sits in a chair in front of a small TV.

We soon gather that she has “retired” and is at the end ofher colorful life.

James has brought Teddy to meet Aunt Honey for the firsttime.

110

Teddy extends his hand toward Aunt Honey. Aunt Honey shakeshis hand and then brings him in close for an embrace.

132-134 OMITTED 132-134

135 INT. JAMES BROWN PRODUCTIONS. JAMES BROWN’S OFFICE. NIGHT135

James is standing in his office bathroom smoking a joint. Helights it and has four or five epic pulls as he scans thewalls admiring his framed accolades and gold records.

END GHETTO REALITY:

135AA INT. JAMES BROWN PRODUCTIONS. NEXT MORNING. 135AA

James Brown enters his recording booth to find Teddy at thecontrols. Gertie sits in a chair behind Teddy.

JAMES:

You the man, Teddy Brown?

TEDDY:

I’m the man, Mr. Brown.

James notices the band sitting idle on the other side of theglass.

JAMES:

Gertie. The band ready?

GERTRUDE:

They’re ready Mr. Brown.

JAMES BROWN:

Don’t look like it.

James grabs Teddy.

JAMES BROWN (CONT’D)

Come watch how Poppa don’t take no

mess.

He and Teddy walk straight into the-

135A INT. JAMES BROWN PRODUCTIONS. STUDIO. DAY. 135A

The band is there.

JAMES BROWN:

Y’all act like y’all don’t know

what time it is. What you doin’?

Nothing happens. James looks Maceo in the eye. Maceoapproaches.

MACEO:

I’ve been elected spokesman to

speak on behalf of the band.

JAMES:

Spokesman? Elected?

MACEO:

We asked to get paid on time. We

haven’t been paid in weeks. We

asked for scheduled days off. Every

day off we get you make us

rehearse.. We asked to get paid for

recording but you included it in

our salary.

James turns to Teddy. The two stare at each other.

JAMES BROWN:

Teddy, go on and wait outside.

TEDDY:

Yes, Sir.

Teddy exits.

JAMES:

Fellas. I hear ya. I really do. AndI appreciate the honesty. Thatcan’t be easy. No Sir. You gotgrievances. You got your own selvesto think about. Hell, you’re men. Idig it.

PEE WEE:

I don’t think you understand.

James looks to Bobby.

MACEO:

We know you owe the government back

taxes.

Your restaurant, radio stations,

recording studios, labels, all

different businesses, Unaccounted

cash passing between them.

(MORE)

112

MACEO (CONT'D)

It’s a mess, Mr. Brown and if youwant us to be a part of it, wegonna need our cash too. Right now.

James looks at them all for a very long time hiding hisshame.

MACEO (CONT’D)

And most of all none of us ever

want to be fined for anything everagain.

James nods. Studying them.

JAMES BROWN:

I’ll tell ya what I’m gonna do. I’m

gonna think about it. That’s all.

They look at each other and file out. Waymon, Pee Wee, Maceo,

Kush and Jimmy Nolen file out. Leaving Bobby and James alone.

SILENCE.

He looks at the empty room. Smiling. Unable to show any pain.

JAMES:

(He shakes his head.)

It’s like I always say Bobby. You

gotta know who you are. You got to

know where you are in this world.

Five minutes ago, those boys were

the best band on the planet. Now

they nothing. Now they a bunch of

sidemen with their hearts beatin’

fast. Maceo comin’ in here talking

about my taxes. All I’ve done for

this country and they comin’ after

James Brown? How you gone keep

everybody happy? Huh? And stay on

top? You along for the ride while

everything is groovy and now they

gone kick me when I’m down? People

either on the bus or they off it.

James crosses to the door and opens it for Bobby to exit

JAMES BROWN:

(He turns to Bobby.)

Well go on. Get out of here.

Y’might catch ‘em they gone need a

singer.

Bobby rises and walks past James into the foyer. He turns.

BOBBY:

Negro, what makes you think I’mleaving? I been here all the time,

Mr. Brown. I’m still here.

James looks at Bobby.

JAMES:

See that’s the thing about thefunk. The funk don’t quit.

BOBBY:

Last time I checked.

JAMES:

Cause if the funk gone up’n’quitthat’s it.

BOBBY:

That’s why the funk don’t quit.

JAMES:

Are we done here Mr. Byrd?

BOBBY:

I’m afraid we ain’t Mr. Brown.

JAMES:

Are we done?

BOBBY:

I think we got more funk in thetrunk.

James laughs.

JAMES:

That’s right. Two Musketeers.

Bobby looks at James. Remembers. Beams. James beams back.

Then, James is all business.

JAMES (CONT’D)

What’s those kids from Cincinnati.

The New Dapps...Blackenizers? Whothat kid play bass?

BOBBY:

(Smiles)

Bootsy.

114

135B INT. OLYMPIA THEATRE 135B

A pre-show theater in action with stagehands and riggers busysetting up. The new kids are now all in suits and bow ties.

CATFISH:

Fancy suit bro’.

BOOTSY:

Backatcha slick. How you doin,

Chicken?

CHICKEN:

Just sh*t my pants.

BOOTSY:

Easy now. Don’t forget. Don’t ever

call him James or nothin’. He ain’t

no-one but Mr. Brown.

CATFISH CHICKEN:

Check. Gotcha.

James Brown walks in from the wings. They all standstraighter. He looks at them.

BOOTSY (CONT’D)

Good evening Mr. Brown.

CHICKEN CATFISH:

Mr. Brown. Mr. Brown.

JAMES:

Do that button up son.

(Chicken does)

You know Kansas City?

(Blank faces)

You know Cold Sweat? Do you know

Please Please?

BOOTSY:

Can I stop you Mr. Brown. We been

learning off yo’ records since we

was nine years old. You already

taught us the songs. So with

respect. We ready. Mr. Brown.

JAMES:

They say they ready Mr. Byrd. What

you think?

115

CATFISH:

We been waiting for this moment our

entire lives, Mr. Brown.

JAMES:

How old are you son?

CATFISH:

Twenty.

(Then)

Mr. Brown.

JAMES:

Cats know Super Bad?

Bootsy lays down a mammoth bass line on his plugged in bass.

135C INT. PARIS HOTEL ROOM. LATE AFTERNOON. 135C

The backup singer, Yvonne, nude, carries two glasses ofchampagne from a wet bar to a very sweaty James who is lyingin bed.

YVONNE:

Why won’t you say it? I said it.

Why won’t you say it back?

JAMES:

Baby, I gotta get to my show. I

can’t be playin’ around right now

YVONNE:

I love you.

Yvonne rests the cold glass on James’ stomach. He squirms.

JAMES:

You know I don’t drink.

Yvonne pours a little champagne onto James’ stomach. She

then begins licking it with her tongue.

YVONNE:

Say it, Mr. Brown. Say you love me.

In a flash James rolls over and pins Yvonne down on her back.

She screams with delight.

He whispers in her ear.

JAMES:

Happy now?

116

She kisses him.

YVONNE:

I’m pregnant.

James stares back at her without expression.

135D

FLASH FORWARD - ADULT JAMES, IMMACULATE, LOOKING AT US. 135D

THE SKYLINE OF PARIS IS BEHIND HIM. 1971

James walks along the outside of Olympia Theatre in Paris in

full costume.

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