98acf546189102f4d4fae1ff2bbef93018d6c4b1
movie
http://www.imsdb.com/scripts/Purple-Rain.html
P U R
... forever ...
 "The Kid" is the talented but troubled frontman of his Minneapolis-based band The Revolution. To escape his difficult home life – his father is verbally and physically abusive, and his mother is emotionally abusive – he spends his days rehearsing and his nights performing at the First Avenue nightclub. First Avenue's three house band slots are held by The Revolution, the flashy Morris Day and his group The Time, and Dez Dickerson and his group The Modernaires. Morris, aware that The Revolution's guitarist Wendy and keyboardist Lisa are frustrated by the Kid's unwillingness to play their compositions, lobbies Billy Sparks, the nightclub's owner, to replace the Revolution with a girl group which Morris is already forming. He targets the Kid's girlfriend Apollonia – an aspiring singer and new arrival in Minneapolis – to lead his group, and tries to persuade her that the Kid won't help her because he's too focused on himself. She eventually joins Morris's group, which Morris names Apollonia 6. When she reveals her partnership to the Kid, he becomes furious and slaps her, as his father had struck him earlier.
At the club, the Kid responds to the internal band strife, the pressure to draw more crowds, and his strained private life with the uncomfortably personal "Darling Nikki". His performance publicly humiliates Apollonia, who runs off in tears, and angers both Morris and Billy, worsening his situation. Billy confronts the Kid, castigating him for bringing his personal life onto the stage and warning him that he's wasting his musical talent like his father did. The debut of Apollonia 6 is a success, and Billy warns the Kid that his First Avenue slot is at risk. The Kid seizes Apollonia from a drunken Morris and the two argue; Apollonia then abandons him. Returning home, he finds the house in tatters, with his mother nowhere to be found. When he turns on the basement light, his father – who had been lurking in the basement with a loaded handgun – shoots himself in the head. In a frenzy after a night of torment, the Kid tears apart the basement to release his anger, only to find a large box of his father's musical compositions. The next morning, the Kid picks up a cassette tape of one of Wendy and Lisa's compositions, a rhythm track named "Slow Groove", and begins to compose.
That night at First Avenue, all is quiet in the Revolution's dressing room until Morris stops by to taunt the Kid about his family life. Once on stage, the Kid announces that he will be playing "a song the girls in the band wrote", dedicated to his father – revealed to be "Purple Rain". As the emotional song ends, the Kid rushes from the stage and out the back door of the club, intending to ride away on his motorcycle. However, before he can mount his motorcycle, he realizes that the crowd is thrilled by his new song. The Kid returns to the club, to be greeted by the approval of his fellow musicians and the embrace of a teary-eyed Apollonia. The Kid returns to the stage for two encores with the Revolution, to the wild approval of the crowd (even Morris); overlaid scenes show the Kid visiting his father and mother in the hospital and sorting his father's compositions in the basement, accompanied by Apollonia. A montage of all the songs plays as the credits roll.
The Kid is the talented but troubled frontman of his Minneapolis-based band The Revolution . To escape his difficult home life – his father is verbally and physically abusive , and his mother is emotionally abusive – he spends his days rehearsing and his nights performing at the First Avenue nightclub . First Avenue s three house band slots are held by The Revolution , the flashy Morris Day and his group The Time , and Dez Dickerson and his group The Modernaires . Morris , aware that The Revolution s guitarist Wendy and keyboardist Lisa are frustrated by the Kid s unwillingness to play their compositions , lobbies Billy Sparks , the nightclub s owner , to replace the Revolution with a girl group which Morris is already forming . He targets the Kid s girlfriend Apollonia – an aspiring singer and new arrival in Minneapolis – to lead his group , and tries to persuade her that the Kid wo n't help her because he s too focused on himself . She eventually joins Morris s group , which Morris names Apollonia 6 . When she reveals her partnership to the Kid , he becomes furious and slaps her , as his father had struck him earlier . At the club , the Kid responds to the internal band strife , the pressure to draw more crowds , and his strained private life with the uncomfortably personal Darling Nikki . His performance publicly humiliates Apollonia , who runs off in tears , and angers both Morris and Billy , worsening his situation . Billy confronts the Kid , castigating him for bringing his personal life onto the stage and warning him that he s wasting his musical talent like his father did . The debut of Apollonia 6 is a success , and Billy warns the Kid that his First Avenue slot is at risk . The Kid seizes Apollonia from a drunken Morris and the two argue ; Apollonia then abandons him . Returning home , he finds the house in tatters , with his mother nowhere to be found . When he turns on the basement light , his father – who had been lurking in the basement with a loaded handgun – shoots himself in the head . In a frenzy after a night of torment , the Kid tears apart the basement to release his anger , only to find a large box of his father s musical compositions . The next morning , the Kid picks up a cassette tape of one of Wendy and Lisa s compositions , a rhythm track named Slow Groove , and begins to compose . That night at First Avenue , all is quiet in the Revolution s dressing room until Morris stops by to taunt the Kid about his family life . Once on stage , the Kid announces that he will be playing a song the girls in the band wrote , dedicated to his father – revealed to be Purple Rain . As the emotional song ends , the Kid rushes from the stage and out the back door of the club , intending to ride away on his motorcycle . However , before he can mount his motorcycle , he realizes that the crowd is thrilled by his new song . The Kid returns to the club , to be greeted by the approval of his fellow musicians and the embrace of a teary-eyed Apollonia . The Kid returns to the stage for two encores with the Revolution , to the wild approval of the crowd ( even Morris ) ; overlaid scenes show the Kid visiting his father and mother in the hospital and sorting his father s compositions in the basement , accompanied by Apollonia . A montage of all the songs plays as the credits roll .
http://en.wikipedia.org/wiki/Purple_Rain_(film)
Purple Rain (film)
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<pre>		

<b>                    P U R P L E  R A I N
</b>
                         Screenplay
                             by
                       Albert Magnoli


              Formerly Dreams by William Blinn

                Scanned & Edited by lovesexy
                    (lovesexy@umich.edu)

                 Cyberpublished by P.L.T.T.
                      (pltt@umich.edu)

<b>-------------------------------------------------------------------
</b>
                      (1) Black Screen

          SOUND under: MUSIC building in INTENSITY
          as--

<b>                           PRINCE
</b>                           (over)
               Dearly belov`ed,
               We are gathered here today
               To get through this thing
               called life.
               Electric word life,
               It means forever and that's a
               mighty long time.
               But I'm here to tell you that
               there's something else -- The
               afterworld.

          Then huge CU of EYES opening, gazing
          into mirror, HAND applying makeup,
          sudden BLACKNESS, then--

<b>                           PRINCE
</b>                           (con't)
               That's right...a world of
               never-ending happiness,
               You can always see the sun --
               Day or night.

<b>          BURN IN MAIN TITLE:    PURPLE RAIN
</b>
<b>                           PRINCE
</b>                           (con't)
               So when you call up that
               shrink in Beverly Hills,
               You know the one -- Doctor
               Everything'll Be Alright--
               Instead of asking him how much
               of your mind is left,
               Ask him how much of your time,
               `Cause in this life,
               Things are much harder than in
               the afterworld,
               In this life, You're on your
               own.

          Now,  pulsating COLOR -- FLASHES of hot,
          white LIGHT...

<b>                           PRINCE
</b>                           (con't)
               And if de-elevator tries to
               bring you down,
               Go crazy, punch a higher
               floor.

          and the BEAT provocative now,
          relentless, BUILDING with fierce intent
          to--

<b>        (2)  INT. CLUB (1ST AVE.  ST.  BAR) -- NIGHT
</b>
          The MECCA!  The last stop for a band
          before national fame.

          The HUGE cavernous HALL is PACKED!
          PEOPLE are DANCING like MAD! VIDEO
          SCREENS with WILD GRAPHICS hang
          suspended from the ceilings. Beautiful
          WAITRESSES criss-cross the floor in a
          frenzy.

          PRINCE is CENTER-STAGE -- LIPS caressing
          the mike, black, lustrous hair shining,
          eyes dancing -- SINGING "Let's Get
          Crazy" as the CROWD pulsates beneath the
<b>          LASER  LIGHTS.
</b>
          The MUSIC  continues as we ...

<b>          CUT TO:
</b>
<b>                (3) EXT.  STREETS #1 -- NIGHT
</b>
          A TAXI pulls UP with a SCREECH.  VANITY
          slouches in the backseat.  Black  boots,
          black skin-tight pants, and a mane of
          thick, black hair presents a beautiful
          and imposing  figure. Her eyes are
          large and dark -- her look open and
          ripe.  She knows what she's got, and
          doesn't make any excuses for it -- but
          the fact is she's scared as hell,
          possessing a  vulnerability that
          surprises her by its suddenness.  An
          expensive gold chain is fastened on one
          boot.

          She scrounges through her bag -- pulls
          out her remaining cash. It's drastically
          short of what she owes and she knows it.
          She tosses it onto the front seat,
          JUMPS from the cab, streaks across the
          street.  The CABBIE lets out a YELL and
          JUMPS out after her.

          "Let's Get  Crazy" continues as we ...

<b>          CUT TO:
</b>
<b>           (4) INT.  SHOWER, MORRIS' APT. -- NIGHT
</b>
          MORRIS DAY stands in the shower, steam
          whirling about his face.  He's 22 years
          old, matinee-idol sexy with large, dark,
          bedroom eyes.  He headlines a slick
          techno-funk group called THE TIME which
          sports gangster suits and wide-brimmed
          hats. He's gifted with a wealth of self-
          laudatory humor which he uses like a
          knife, moving through life with a calm,
          but ruthless grace.

          Make no mistake, Morris is nobody's
          fool.   His seeming out-raceousness, his
          charm -- every move he makes is for a
          calculated effect.  He knows exactly
          what the ladies need, and doesn't mind
          reminding them should they forget ...


          He breaks into a wide grin.  Hair
          standing up like Don King, he wipes off
          a hand mirror, regards himself
          unabashedly as he brushes his teeth.

          "Let's Get Crazy" continues as we...

<b>          CUT TO:
</b>
<b>                (5) INT.  BASEMENT,  PRINCE'S HOME -- NIGHT
</b>
          Prince sits in front of the mirror,
          finishes applying his makeup.  Black
          hair flowing, eyes wide and fantastic,
          he regards himself a moment before
          jumging up.  He puts on a high-collared
          overcoat, grabs his guitar  moves
          quickly to the basement window.  He
          hoists himself through it, disappears
          into the night.

          "Let's Get Crazy" continues as we ...

<b>          CUT TO:
</b>
<b>           (6) EXT.  CORNER,  STREETS  #1 -- NIGHT
</b>
          A POLICE CAR, lights FLASHING, sits at
          the curb.  A small CROWD has rathered
          about.  The Cabbie stands on the
          sidewalk gesticulating angrily to a COP.
          Vanity stands by the police car,
          obviously board, another COP by her
          side.  Her eyes are fastened on a good-
          looking BUSINESSMAN standing nearby...

          A silent negotiation seems to be going
          on.  Understanding wafts between them
          like a passing breeze.

          Without taking his eyes off her, the
          Businessman approaches the Cabbie,
          starts talking ...

          "Let's Get Crazy" continues as we...

<b>          CUT TO:
</b>
<b>              (7) INT. MORRIS' BEDROOM -- NIGHT
</b>
          Morris moves lasciviously into the
          BEDROOM wearing a red muscle T-shirt,
          orange baggy shorts, and green knee-hi
          socks fastened to garters.  A yellow
          bandanna holds up his hair.

          The bedroom is a MESS.  A VACUUM CLEANER
          stands like a sentry in the middle of
          the floor.  He turns it on, blazes a
          path to his closet.  He yanks out a well-
          pressed suit, holds it against him,
          strikes a sexy, half-lidded pose only a
          mother could love--

<b>                           MORRIS
</b>                           (awed)
               Oh, Lord ...

          "Let's Get Crazy" continues as we ...

<b>          CUT TO:
</b>
<b>        (8) EXT.  CLUB (1ST AVE.  ST.  BAR) -- NIGHT
</b>
          The STREETS are swollen with TRAFFIC.
          KIDS are packed onto the sidewalk,
          waiting to get into the club. Prince,
          riding his MOTORCYCLE, weaves between
          jammed cars, then blasts down a narrow
          alley leading to the rear entrance.  His
          guitar is slung across his back.  He
          chains up his bike, moves past a CROWD
          of KIDS, cuts inside.

          'Let's Get Crazy" continues as we ...

<b>          CUT TO:
</b>
<b>                (9) EXT.  STREETS #2 -- NIGHT
</b>
          A SEVILLE sweeps to a stop.  The
          Businessman is at the wheel. Vanity
          steps from the car languidly and offers
          a curt wave goodbye.  The car pulls
          away.

          She stands serenely a moment as the CAR
          twists around the corner.   She grabs
          her bag, rushes into a dark alley.  She
          pulls a handful of CASH from her pocket,
          counts through it quickly.

          'Let's Get Crazy" -continues as we ...

<b>          CUT TO:
</b>
<b>            (10) EXT.  MORRIS' APARTMENT -- NIGHT
</b>
          The DOOR opens -- Morris steps
          confidently into the night. The change
          in his appearance is breathtaking. A
          cashmere coat is draped over his
          shoulders, a white scarf hangs loosely
          about his neck.  Wearing a sharp,
          gangster-style suit, his hair is a
          pompadour, and Stacy Adams on his feet -
          - Morris is the very picture of
          elegance.   He doesn't just walk to the
          curb, he slides -- his promenade
          punctuated with a dip at the knees you
          could snap your fingers to.

          JEROME is at the curb, buffing down the
          bumper of a yellow, 1970 Fleetwood
          Cadillac.  Jerome is solidly built,
          smooth-faced handsome with a boyish
          charm all his own.  He's a member of The
          Time, and acts as Morris' chauffeur,
          valet, and all-purpose shadow.

          He moves quickly to the door, holds it
          open as Morris settles himself into the
          backseat. He closes it with a flair,
          hops behind the wheel, pulls out.

          'Let's Get Crazy" continues as we...

<b>          CUT TO:
</b>
<b>           (11) INT.  DRESSING ROOM, CLUB -- NIGHT
</b>
          Prince is BACKSTAGE, practicing spins in
          front of the mirror. The other MEMBERS
          of his CROUP are scattered throughout
          the room.  BOBBY sits off to the side,
          his drumsticks tapping against his knee.
          MATT puts on his doctor's smock.  LISA
          and WENDY finish applying their makeup.
          MARK runs his fingers up and down the
          neck of his bass guitar.

          Suddenly a STAGEHAND pokes his head into
          the room, holds the door open as Prince
          and his band cut quickly to the stage.

          'Let's Get Crazy' continues as we...

<b>          CUT TO:
</b>
<b>               (12) INT.  MOTEL ROOM -- NIGHT
</b>
          The DOOR opens -- A LIGHT goes on.
          Vanity stands in the hallway,  peers
          cautiously into a squalid, rundown room.
          She hesitates briefly, seems to sigh,
          then indicates she will take it.  The
          MANAGER closes the door as he leaves.

          She stands a moment, surveys the room.
          A bed and bureau, sink, a chair,
          hotplate -- simply the essentials. She
          pulls a dress from her bag, a pair of hi-
          heels, some gloves, underwear.  She
          hangs the dress on a rod, places the
          shoes beneath it, arranges the rest in a
          bureau drawer.  She looks around once
          more -- flowered wallpaper peels from
          the walls.

          She rushes to the window, tears open the
          shutters -- iron bars obstruct her
          view...

<b>           (13) EXT.  CLUB -- NIGHT (VANITY'S POV)
</b>
          ... KIDS are crowded in front of the
          CLUB.  A YELLOW CADDY SCREECHES up in
          front.   TRAFFIC is jammed all around.
          The night is electric -- the scene
          beckons ...

<b>            (14) INT.  VANITY'S HALLWAY -- NIGHT
</b>
          She runs from the room, cuts down the
          hallway, slanming the door behind her
<b>          ...
</b>
          "Let's Get Crazy" continues as we...

<b>          CUT TO:
</b>
        (15) EXT.  CLUB (1st AVE.  ST.  BAR) -- NIGHT

          Jerome opens the door of the CADDY,
          helps Morris out.  The CROWD recognizes
          them immediately, rushes in for a closer
          look.   Morris loves the attention,
          plays to their enthusiasm with a relish.
          Jerome snaps a comb into his hand, holds
          up a pocket mirror ...

          Morris combs his hair dramatically, the
          Crowd encouraging him on.  Jerome gives
          him the OK sign, ushers him into the
          club.

          "Let's Get Crazy" continues as we...

<b>          CUT TO:
</b>
       (16) INT.  CLUB (1st  AVE.  ST.  BAR) -- NIGHT

          Prince onstage performing "Let's Get
          Crazy."   He's locked into a guitar
          solo, moving provocatively with Wendy.
          The CROWD is packed onto the DANCE
          FLOOR, thick against the stage.

          Jerome makes his way through the crowd,
          blazing a path for Morris who is
          surrounded by a dozen BABES.
          Occasionally Morris glances at Prince --
          discloses by his look that he doesn't
          care much for his act -- or his music...

          He breaks off from the Girls, follows
          Jerome to the backstage entrance where
          they're joined by other MEMBERS of The
          Time -- JESSE and JELLYBEAN among them.
          Morris casts another glance toward
          Prince, breaks into a self-satisfied
          grin--


<b>                           MORRIS
</b>               We're going to slay him...
               (screams)
               Whawhak!

          "Let's Get Crazy" continues as we...

<b>          CUT TO:
</b>
<b>                  (17) EXT.  CLUB -- NIGHT
</b>
          COMMOTION! The CROWD has become
          unwieldly -- TRAFFIC is snarled all
          around.  HORNS are BLARING.   COPS try
          desperately to ward off the inevitable
          grid lock.

          Vanity runs against the light, moves to
          the head of the queue to the
          accompaniment of JEERS and CATCALLS.
          She doesn't budge an inch, KNOCKS
          rapidly on the glass door, catching the
          attention of CHICK, a burly, 6'5", 285
          pound bouncer with a white beard and
          long flowing hair.  An ex-Marine,
          Chick's function is obvious.  He cracks
          the door--


<b>                            CHICK
</b>               What?

<b>                           VANITY
</b>               I have an appointment with the
               manager.

<b>                            CHICK
</b>               No you don't -- he doesn't see
               anybody.

          Suddenly a FIGHT breaks out at the
          INSIDE MONEY WINDOW.  Chick spins
          instantly, SLAMS the door -- but Vanity
          jams her boot into the narrow space.
          The door crashes against her instep, she
          winces in pain --but Chick doesn't
          notice.  He's already upon the
          OFFENDERS,  heaving them against the
          wall.

          Vanity streaks inside, blazes up the
          stairway, ducks behind a GROUP of
<b>          GIRLS...
</b>
          CHICK turns instantly -- the door is
          closed -- VANITY, gone.  His eyes dart
          up the stairway -- nothing.  He shrugs,
          drags the Two Guys off.

<b>         (18) INT.  CLUB -- UPPER BAR AREA -- NIGHT
</b>
          VANITY watches as he moves away.   She
          jumps up, lunges onto the dance floor,
          CRASHES into a waitress, JILL, whose
          tray SMASHES to the floor--

<b>                            JILL
</b>               What are you retarded or
               something?! Why don't you look
               where you're going?

          She's 18 years old, blonde and pretty in
          a cute, innocent way.   A Daisy Mae-type
          whose emotions form so quickly, she has
          trouble sorting them out.  Right now
          she's mad as hell -- she thinks--

<b>                           VANITY
</b>               Sorry ... where's the office?

          Jill squats, picks up the broken glasses-
<b>          -
</b>
<b>                            JILL
</b>               Do you think you can just come
               in here and take over?

<b>                           VANITY
</b>               I said I'm sorry -- what do
               you want me to do?  Where's
               the office?

          Jill points -- Vanity hurries away  --

<b>                            JILL
</b>               (triumphantly)
               No one's in!

          Vanity stops dead in her tracks, does a
          slow burn.  She walks back to Jill--

<b>                           VANITY
</b>               Okay, so you got  me back,
               fine. Listen, I'm from out of
               town. I have to see the
               manager, it's important.  I'm
               a real good singer and dancer.
               I know he could use me.

<b>                            JILL
</b>               Do you have any experience?

          Vanity simmers, enunciates every word--

<b>                           VANITY
</b>               Yeah...definitely.

<b>                            JILL
</b>               Follow me.

          And she turns on her heels, makes her
          way through the club, moving into the
          vicinity of the stage.  Vanity follows
          her reluctantly, casts a look to the
          band.   She spots Prince for the first
          time -- stops instantly...

          His effect on her is instantaneous.
          Passion surges through her like a tidal
          wave.  His hair, face, eyes -- it all
          conspires to make her weak.  It's like
          meeting someone for the first time, but
          seeing so much of yourself in them, that
          their lips, eyes, mouth -- you're
          certain you have touched, and the desire
          to be with them becomes so strong that
          the very act of touching will release
          you in a way you never thought
          possible...

          Prince brines "Let's Get Crazy" to a
          rousing, blistering end.  Suddenly the
          stage is plunged into darkness. The
          CROWD goes WILD!

          ...Vanity snaps out of it.  Jill is
          tugging at her arm, a puzzled look on
          her face--

<b>                            JILL
</b>               Here, fill this out -- I'll
               have him call you.

<b>                           VANITY
</b>               I don't have a phone.  When
               will he be back?

<b>                            JILL
</b>               Well...you can try tomorrow.

<b>                           VANITY
</b>               You can count on  it.

          Vanity hands the card back  to her --
          Jill reads the name, address -- looks up
          puzzled--

<b>                            JILL
</b>               Vanity??

<b>          BACKSTAGE
</b>          as Morris and The Time pass Prince on
          their way to the stage--

<b>                           MORRIS
</b>               Why don't you stay awhile, see
               how it's done.

          The Band Members bust up -- but Prince
          ignores them, then--

<b>                             MC
</b>               Ladies and gentlemen -- please
               welcome The Time.

<b>          CLUB
</b>          Sudden APPLAUSE and CRIES.  Vanity and
          Jill turn directly into the path of
          Prince, descending the Steps of the
          stage.  Vanity gasps, LOCKS eyes with
          him.  Jill seems to jump out of her skin
          -- it's obvious she has a crush on him
          something  awful--

<b>                            JILL
</b>               Hi ya,  Prince -- God I liked
               that song, it's real fun.

          She fidgets uncontrollably, Vanity's
          card buring a hole into her hand.
          Prince glances at the card, then stares
          at Vanity,  the ripeness of her look
          paralyzing.   He tears his eyes away,
          puts on his sunglesses, looks toward the
          stage.

<b>           (18A) INT.  CLUB -- NEAR STAGE -- NIGHT
</b>
          MORRIS and The Time rip into a funk tune
          called "Jungle Love." Their stranglehold
          on the audience is instantaneous.
          Morris struts across the stage like a
          panther, playing to the audience with a
          relish.  His eyes fastened on Prince --
          his pride umistakable.

          PRINCE watches Morris a moment, then
          eyes Vanity again.  The heat between
          them is apparent.  Vanity's heart is
          pounding, she's not sure what to do.
          She keeps her eyes on Morris, hoping
          that a Solution will present itself.

          PRINCE watches as Jill tacks the card to
          a board behind the bar.  Sizing up the
          situation quickly, he again glances at
          Vanity -- but her eyes are fastened on
          Morris.  Feeling terribly shy and
          thinking there's nothing he can do to
          divert her attention away from him, he
          reluctantly heads for the front door.
          Vanity finally hits upon something to
          say, turns--

<b>                           VANITY
</b>               I really liked your song
               too...

          But he's gone.  Her eyes scan the room
          frantically -- catches a glimpse of him
          leaving.  She takes a sudden step, then
          stops, paralyzed with indecision.  Jill
          regards ger coldly.

          MORRIS meanwhile is beside himself.
          Some gorgeous, dark-haired babe, eyes
          wide as saucers was starlng at him from
          the bar.  Prince has left, and this girl
          is his.  He motions to Jerome,  and they
          direct their act in her direction.

          JILL gazes at Vanity, fidgets intensely,
          suspicious and resentful of her.   She
          glances up and notices Morris, look.
          She seizes upon an idea,  forces a
          friendly smile, taps Vanity on the
          shoulder--

<b>                            JILL
</b>               Hey ...

          She points to the stage.  Vanity looks
          at Morris, and he goes crazy,
          entertaining her with his own special
          blend of showmanship.  The CROWD loves
          it!  Vanity is held a moment, but her
          thouchts are elsewhere. She finally
          comes to a decision, pulls away, cuts
          through the club.

<b>           (18B) INT.  FOYER AND STAIRWAY -- NIGHT
</b>
          as she runs down the stairs, cuts behind
          Chick, BURSTS out the door.

<b>                  (19) EXT.  CLUB -- NIGHT
</b>
          FRANTIC!  The STREETS are thick with
          TRAFFIC.  She scans them wildly --
          nothing.  Suddenly Prince, astride his
          motorcycle, BLAZES past her from the
          opposite direction.  She starts running,
          shouts--

<b>                           VANITY
</b>               Hey  wait!

          But Prince is too far away, the traffic
          too coneested for him to hear.  He whips
          down the street, disappears around the
          corner.

          Vanity continues running, then slows,
          dejection overcoming her in waves.  She
          looks around -- KIDS are staring at her,
          passing  jokes.  Embarrassed, She moves
          to the front door but Chick is there,
          his eyes upon her cold, impassionate.

          Exhausted and slighlty tearlul, she cuts
          across the street, heads back to her
          apartment.

<b>              (20) EXT. PRINCE'S HOUSE -- NIGHT
</b>
          Prince WHIPS down the street, cuts his
          motor, coasts up the drive. He comes to
          a stop against a wooden gate.  His house
          is a nondescript, one-family structure
          with a wide front porch.  He lives in a
          neat and tidy, homogeneous, lower middle-
          class neighborhood whose occupants are
          hard-working type fiercely protective of
          their privacy.

          He climbs the steps to the porch, opens
          the front door...

          ...his mothers SCREAM is like ice in his
          veins.  Fear trickles into the hollows
          of his body like cold water,  His pain
          commands him to move, but the impulse
          short circuits somewhere at the waist,
          leaving his legs twitching
          uncontrollably.  Then another SCREAM
          from his mother, and his father's voice
          now, LOUD and FURIOUS--

<b>                        FATHER (O.S.)
</b>               Listen to me!  You come home
               when I say come home!  You've
               got no business in the
               streets!

          WHACK!  His mother SCREAMS -- Prince
          BURSTS into the room.

          (21) INT. Prince's LIVING ROOM --  NIGHT

          Prince's MOTHER is at the far side of
          the living room CRYING uncontrollable.
          She's in her early 40's, a dark-haired,
          faded beauty, with large, wild, anxious
          eyes.  There's a detectable scent of
          liquor in the air, and her slurred
          speech pins her as the source.

          His FATHER is in his late 40's, a squat,
          but solidly built black man, with a
          cherubic face, and graceful expressive
          hands.

          He's upon her now, WHACKING! at her
          horribly, trying to get to her face--

<b>                           FATHER
</b>               You do what I say, do you hear
               me?!  You've got to keep this
               place clean!  You here, no
               place else!

<b>                           MOTHER
</b>               You're crazy!

<b>          WHACK!
</b>
<b>                           MOTHER
</b>               Asshole!

<b>          WHACK!
</b>
<b>                           MOTHER
</b>               Motherfucker!!!

          The Father lunges, WHACKS! her across
          the face.  She topples to the floor, a
          lamp CRASHES to the ground.  Prince cuts
          through the room, lunges desperately in
          front of him--

<b>                           PRINCE
</b>               (pleading)
               Please, Dad...she's heard you.
               She's had enough!

          His Mother drags herself up along the
          wall--

<b>                           MOTHER
</b>               (hysterical)
               He's  trying to kill me!  He's
               crazy!  Look what he's doing
               to me!

<b>                           PRINCE
</b>               (tearfully)
               Dad,  please ... she's--

          WHACK!   Prince's head snaps back, his
          feet lift from the floor, his body
          CRASHES in a heap by the door...

          Stunned SILENCE.  Prince, flat on his
          back, fights vertigo with everything
          he's got.  His Mother lets out a YELP,
          rushes into the bedroom, SLAMS the door.
          His Father stands motionless, sullen--

<b>                           FATHER
</b>               Get up...you ain't hurt.

          Prince opens his Mouth, BLOOD gushes
          from a gash in his tongue.  He hoists
          himself up slowly, using the wall for
          support.  He moves into the kitchen,
          disappears down the basement steps.

<b>       (22) BASEMENT -- HALLWAYS AND BEDROOM -- NIGHT
</b>
          A naked LIGHT BULB snaps ON.  It dangles
          like a pendulum, casting strange
          shadows.  The basement is partitioned
          off into a series of rooms,
          interconnected by a labyrinthine
          coimbination of passages.  An old washer
          and dryer stand in the corner.

          Prince descends the steps slowly.  He
          comes through a door, closes it behind
          him.  He moves down a narrow passageway,
          enters a small cramped BEDROOM.

          He closes the door and locks it behind
          him.  MOONLIGHT filters in throuch the
          cacement windows.  The total effect is
          like entering a womb, a deep dark
          chamber of security and safety.

          Lying heavily onto his bed, he sighs
          long and deep, his eyes piercing the
          darkness...

<b>          FADE OUT:
</b>
<b>          FADE IN:
</b>
<b>               (23) INT.  CLUB  EARLY MORNING
</b>
          MUSIC wafts through the sun-drenched
          CLUB.   Jill is seated at the PIANO, 'a
          la Marlene Dietrich, SINGING to her
          heart's content.  A cigarette dangles
          from her lip, a police cap is perched
          jauntily on her head.  It's a simple bar
          tune, delivered slightly off-key, but
          with an openness that is endearing.
          Chick is working in the corner,
          chuckling to himself, stacking chairs,
          sweeping up.

          Suddenly she stops -- listens intently.
          She jumps up, deliberately spills her
          orange juice on the piano. Prince comes
          around the corner, stops short--

<b>                           PRINCE
</b>               (surprised)
               What are you doing here?

          She's a bundle of loose, embarrassing
          ends -- the cigarette, hat,  juice--

<b>                            JILL
</b>               What...what are you doing
               here?

          He feels caught out -- SCANS the BOARD
          earnestly for Vanity's info   -- tries
          to think of something to say--

<b>                           PRINCE
</b>               Huh ... it's kind of dead in
               here.  Where is  everybody?

<b>                            JILL
</b>               In bed I guess...
               (to herself)
               Oh, God ...
               (changes subject)
               Guess what, I bought a dog.

<b>                           PRINCE
</b>               That's nice...
               (he spots vanity's card)
               Ah, I guess I'll come back at
               a better time.  You think
               tonight the the place'll be
               jumping?

<b>                            JILL
</b>               Well, I'll be here -- I always
               like what you do.

          He smiles, moves to the door -- Jill
          connects with a thought--

<b>                            JILL
</b>               Wait! I've got something for
               you.

<b>                           PRINCE
</b>               What? A subpoena?

<b>                            JILL
</b>               (embarrassed)
               No...

          She rumages through her bag, pulls out a
          cassette--

<b>                            JILL
</b>               It's a song Lisa and Wendy
               wrote.

          He stiffens, doesn't reach for it--

<b>                           PRINCE
</b>               (suspicious)
               Why didn't they give it to me
               themselves?

<b>                            JILL
</b>               Well, I liked it and wanted to
               listen to it. They told me to
               give it to you when I was
               done.

          He puts his sunglasses on, hesitates,
          then takes it from her gingerly.  He
          regards it for a long time--

<b>                           PRINCE
</b>               You really liked it, huh?


<b>              (24) INT.  REHEARSAL HALL -- DAY
</b>
          MUSIC throbs throuch the crammed,
          rundown REHEARSAL HALL.  Hardwood
          floors, a wall of mirrors, and a bank of
          windows provides the setting.  SUNLIGHT
          streams through tattered yellow shades.

          The Time is set up on one side providing
          the music for "Sex Shooter" a saucy
          number with an irresistible beat.

          Morris, with Jerome by his side, stands
          in the middle of the floor, SHOUTS
          instructions to...

          ...BRENDA and SUSAN, gamely trying some
          intricate dance steps.  Brenda is 21
          years old, blond, sexy, with an alluring
          new-wave look.  Susan is 16 years old,
          with dark, lustrous hair and a sexy baby-
          doll quality. Right now they're tired as
          hell, and a little angry--

<b>                           MORRIS
</b>               One, two, three, kick!  One,
               two, three, kick! Four,
               five...Oh, Lord.  Cut! Cut!

          The MUSIC stops, the girls come to a
          halt -- Morris regards them evenly--

<b>                           MORRIS
</b>               You ladies don't seem to
               realize how valuable my time
               is.  You're going to make my
               boys look bad.

<b>                           BRENDA
</b>               Why don't you let us come up
               with our own steps?

          Morris glares at her--

<b>                           MORRIS
</b>               We tried that...
               (sweetly)
               ... remember?

          The Girls  fidget--

<b>                           MORRIS
</b>               Now you're in the best
               possible position you can be
               in, so what' s the matter --
               your shoes on too tight or
               something?
               (claps his hands)
               Let's have some action, let's
               have some asses wiggling, I
               want some perfection. Whawhak!

          The MUSIC starts up -- the Girls start
          dancing.  Morris looks woefully to
          Jerome---

<b>                           MORRIS
</b>               I think I'm going to need a
               drink, a strong drink.
               (a beat)
               Let's get the hell out of
               here.


<b>       (25) EXT.  STREETS AND ALLEY -- DOWNTOWN -- DAY
</b>
          Morris and Jerome move briskIy down the
          sidewalk--

<b>                           MORRIS
</b>               This just ain't happening. The
               bitches are okay, but we need
               something more exciting-

<b>                           JEROME
</b>               You're right.  We could be
               doing much better.  Any ideas?

<b>                           MORRIS
</b>               That powder fine babe we saw
               last night.

<b>                           JEROME
</b>               Oooh, yeee! -- Why don't we
               find out who she is?

          Morris snaps an address in front of his
          face--

<b>                           MORRIS
</b>               I already know that.  Jill
               gave me everything last night.
               Whawhak!

<b>                           JEROME
</b>               Then what are we waiting for?
               Let's go!

<b>                           MORRIS
</b>               No, no -- that ain't classy
               enough.  I want the bitch to
               come to me -- I'm the only
               star in this town.

          Suddenly  a BEAUTIFUL BABE lunges into
          the sidewalk from the alley--

<b>                            BABE
</b>               (yelling)
               Morris Day, who do you think
               you are?!  I waited up all
               night for you.  I'm so tired
               of you doing that  to me. You
               think you're so hot?  You're
               nothing special.  This is the
               third time you pulled that
               shit.  Who the fuck do you
               think I am?!

<b>                           MORRIS
</b>               Jerome!

          Jerome puts the girl in a headlock,
          DRAGS her into the alley--

<b>                            BABE
</b>               (screaming)
               Leave me alone you ape! --
               What are you doing to me?!
               Morris!!

          He flings her into the dumpster, SLAMS
          the lid with a CRASH.  Morris pats his
          brow--

<b>                           MORRIS
</b>               Lo-rd..!  Such nastiness.
               (a beat)
               Hee, hee -- Let's break.

          They streak across the street, double-
          time it to the CADDY.  A COP sweeps by,
          gives them a curious look.  Morris puts
          on a dignified air, then stops,
          stupified--

<b>                           MORRIS
</b>               Jerome, this car --
               it's...it's lacking something.
               What do you think?

<b>                           JEROME
</b>               Hmm... I don't know...

<b>                           MORRIS
</b>               I got it!  The hubcaps.  We
               need something sweeter.

<b>                           JEROME
</b>               I think I know what it needs.

          Morris is pondering his Stacy Adams--

<b>                           MORRIS
</b>               Yeah ... I know what these
               need.

<b>        (26) INT.  SHOESHINE STAND -- DOWNTOWN -- DAY
</b>
          Morris sits in the chair, his Stacy
          Adams worked on by an old, grizzled
          SHOESHINE BOY in his mid-sixties, with
          large jowls and silver close-cropped
          hair.  Jerome stands nearby, watches
          intently--

<b>                           MORRIS
</b>               (musing)
               The girl has expensive tastes.
               I wonder if she can sing.

<b>                           JEROME
</b>               As fine as she is...she
               doesn't have to know how to
               sing.

<b>                           MORRIS
</b>               (grace)
               I know that's right.
               (to Shoeshine)
               Hey -- watch it now.

          The Shoeshine Boy looks up balefully --
          Morris smiles, then grits his teeth--

<b>                           MORRIS
</b>               I want you to stay out of the
               set tonight.  I want you to
               work the floor.

<b>                           JEROME
</b>               What for?

<b>                           MORRIS
</b>               I want to know when that sweet
               thing shows up.  You stay by
               the door, you see her, you
               come get me, cool?

<b>                           JEROME
</b>               Cool.  I come get you -- let
               you know the girl's there.

<b>                           MORRIS
</b>               Well, not if I'm with my other
               babes.  That wouldn't be cool.
               I don't want to break their
               hearts, and you know how I
               feel abouy that.  So we ought
               to have like, a signal.

<b>                           JEROME
</b>               A password.

<b>                           MORRIS
</b>               Okay.  What's the password?

<b>                           JEROME
</b>               You got it.

<b>                           MORRIS
</b>               Got what?

<b>                           JEROME
</b>               The password.

<b>                           MORRIS
</b>               The password is what?

<b>                           JEROME
</b>               Exactly.

<b>                           MORRIS
</b>               The password is exactly?

<b>                           JEROME
</b>               No, it's--

<b>                           MORRIS
</b>               -- Hold it now.  Slow down.
               The babe walks in and you see
               her.

<b>                           JEROME
</b>               I see her.

<b>                           MORRIS
</b>               You come get me.

<b>                           JEROME
</b>               I come get you.

<b>                           MORRIS
</b>               And I'll probably have a
               couple little sexies on the
               stand-by, and we don't want to
               upset them, do we?  So you
               just glide by me and
               say...what?

<b>                           JEROME
</b>               Okay.

<b>                           MORRIS
</b>               The password is okay?

<b>                           JEROME
</b>               Far as I'm concerned.

<b>                           MORRIS
</b>               Dammit!  Say the password.

<b>                           JEROME
</b>               What.

<b>                           MORRIS
</b>               Say the password, sperm
               breath!

<b>                           JEROME
</b>               The password is what.

<b>                           MORRIS
</b>               (frustrated)
               That's what I'm asking you!

<b>                           JEROME
</b>               (more frustrated)
               It's the password!

<b>                           MORRIS
</b>               The password is it?

<b>                           JEROME
</b>               (exasperated)
               Ahhhhh! The password is what!

<b>                           MORRIS
</b>               It!  You just said so!

<b>                           JEROME
</b>               The password isn't it!  The
               password is--

<b>                           MORRIS
</b>               -- What?

<b>                           JEROME
</b>               Got it!

<b>                           MORRIS
</b>               1 got it?

<b>                           JEROME
</b>               Right.

<b>                           MORRIS
</b>               It or right?

<b>                           JEROME
</b>               (perplexed)
               What??

          The Shoeshine Boy looks  up slowly --
          regards them with a soulfull look--

<b>                        SHOESHINE BOY
</b>               Either of you do heavy drugs?

<b>    (27) EXT. STORE WINDOW AND MALL SHOPS -- DOWNTOWN --
</b><b>                          AFTERNOON
</b>
          The SIDEWALKS are alive with bustling
          SHOPPERS.  Vanity walks aimlessly past
          store windows, staring longingly at the
          expensive items.

<b>                                   BRIDAL SHOP
</b>
          as she stops suddenly and stares
          transfixed.  A YOUNG WOMAN, startingly
          similiar to her in looks and coloring,
          tries on a beautiful bridal gown as a
          SEAMSTRESS adjusts the hem.  The entire
          scene is warm and endearing.  Vanity is
          struck by lt's beauty and seems to sigh.
          The Young Woman looks up suddenly,
          catches Vanity's gaze, and gives her an
          affectionate smile.  Vanity smiles back
          avidly, then--

<b>                      PRINCE (0.  S .)
</b>               Give me that.

          She looks up startled--

<b>                           PRINCE
</b>               There ... on your boot.

          She looks  down -- it's the expensive
          gold chain.  She hesitates, then hands
          it to him.  He drops it into his pocket,
          walks away--

<b>                           VANITY
</b>               Hey, wait!

          She runs after him--

<b>                           VANITY
</b>               Give it back to mel

          He continues to walk briskly -- she
          starts pulling on his coat--

<b>                           PRINCE
</b>               You can have it back later.

<b>                           VANITY
</b>               I want it back now, okay?

<b>                           PRINCE
</b>               Who gave it to you?



<b>                           VANITY
</b>               A person

<b>                           PRINCE
</b>               Female or male?

<b>                           VANITY
</b>               Huh ...

<b>                           PRINCE
</b>               You're lying.  I can tell just
               by your reaction that you're
               lying.

          He moves away briskly -- Vanity stands
          her ground, amused--

<b>                           PRINCE
</b>               So you gave it to me -- it's
               not yours anymore.

          He stops short -- something has caught
          his eye.  She's curious, comes up behind
          him, then--

<b>                           VANITY
</b>               You see something you like?

          He puts on his sunglasses.  A GUITAR
          stands prominently in the window.

<b>                           PRINCE
</b>               Let's go for a ride.

          He flips her the gold chain' -- turns
          hastily.  She weighs it in her hand,
          studies the guitar--

<b>                           VANITY
</b>               It's pretty.

<b>                 (28) EXT.  HIGHWAY -- DUSK
</b>
          Prince and Vanity on his MOTORCYCLE
          blazing down the HIGHWAY, twisting
          through TRAFFIC.  The CITY is behind
          them, receding into the distance.

                (29) Ext. COUNTRYSIDE -- DUSK

          They pull off an access road, drop down
          a small embankment, ride down a narrow,
          dirt road.

<b>          LAKESIDE
</b>
          The pull to a stop.  A LAKE stretches
          before them.  Vanity gets off the bike,
          walks around exploring, casting curious
          glances at Prince.  He stands by the
          water, idly tossing stones--


<b>                           VANITY
</b>               My psychic told rne I was
               going to be famous.

<b>                           PRINCE
</b>               How much did that cost you?

<b>                           VANITY
</b>               Fifty bucks.  It was a good
               investment.

          He doesn't respond -- she suddenly feels
          shy--

<b>                           VANITY
</b>               No seriously -- My psychic did
               tell me.  I was in a play
               once.

<b>                           PRINCE
</b>               Oh, yeah -- what did you play?

<b>                           VANITY
</b>               Isadora Duncan...

          She stretches her arms like a butterfly,
          does a little step--

<b>                           VANITY
</b>               That means I can sing and
               dance.
               (a beat)
               Want to help me?

<b>                           PRINCE
</b>               (swiftly)
               Nope.

<b>                           VANITY
</b>               (surprised)
               Pardon me?

<b>                           PRINCE
</b>               Nope.

          She's Perplexed--

<b>                           PRINCE
</b>               Want to know why?

<b>                           VANITY
</b>               (defensively)
               Nope.

<b>                           PRINCE
</b>               (a beat)
               Because you wouldn't pass the
               initiation.

<b>                           VANITY
</b>               What initiation?

<b>                           PRINCE
</b>               Well, for starters ycu have to
               purify yourself in the waters
               of Lake Minnetonka.

<b>                           VANITY
</b>               What?

<b>                           PRINCE
</b>               You have to purify yourself in
               Lake Minnetonka.

          Her brow furrows, she looks out across
          the lake.  He's calmly throwing stones.
          Recognizing a challenge when she sees
          one, she formulates a plan, faces him
          seductively, shoots him an open look.
          He stops suddenly, locks eyes with her,
          feels his knees go weak.  Her hold on
          him is unmistakable.  She pulls off her
          blouse in one fluid motion, tugs off her
          boots, drops her pants to the ground.
          She's exquisite, takes a step toward
          him.  Passion rings in his veins ...

          Suddenly she turns on her   heels, moves
          purposefully toward the water.  He's
          shocked,  realizes that she's about to
          go in--

<b>                           PRINCE
</b>               Hey, wait a minute! Thats--

          But she silences him savagely--

<b>                           VANITY
</b>               We made a deal!

          And before he can react she scampers
          along a log, DIVES beneath the surface.
          He can't believe it -- her spirit really
          impresses him.  She breaks the surface
          coughing and sputtering, hops and jumps
          to the shore--

<b>                           PRINCE
</b>               Hold it.

<b>                           VANITY
</b>               What?

<b>                           PRINCE
</b>               That ain't Lake Minnetonka.

          He tries to keep a straight face, jumps
          on his motorcvcle, STARTS it up.  His
          words take a moment to sink in, then--

<b>                           VANITY
</b>               (enraged)
               You bastard.  I don't believe
               it.  How could you do that to
               me?!

          She gathers up her clothes, tries
          desperately to put them on.  She slips
          and falls -- Prince can't help laughing-
<b>          -
</b>
<b>                           VANITY
</b>               Damn you -- I'll kill you.

          She starts throwing stones.  He laughs,
          blasts up the path--

<b>                           VANITY
</b>               (screaming)
               You prick! Are you sick?! Is
               this some kind of ritual   --
               getting your kicks! How many
               girls have you done this to?

<b>          ACCESS ROAD
</b>
          He blazes up the embankment, SAILS
          through the air, drops expertly onto the
          road.  He fishtails to a slick stop.
          Vanity is by the lake, flailing about,
          throwing things, trying to get into her
          boots--

<b>                           VANITY
</b>               Bastard!

          He laughs heartily, wants to kid her,
          rides down the road as if he's leaving.
          Having his fun, he slows, turns to go
          back ...

          ...his smile dissolves instantly.
          Vanity is in the middleof the road,
          flagging down a small PICKUP TRUCK.  She
          hops in, slams the door.  The truck
          peels out, bears down upon him.   He
          gesticulates his arms wildly --  wants
          to explain--

<b>                           PRINCE
</b>               Hey ...

          But the truck streaks past -- Vanity's
          look is cold, triumphant.

<b>        (30) INT. CLUB (1ST AVE.  ST.  BAR) -- NIGHT
</b>
          MUSIC.  The CLUB is PACKED!  THE MODERN
          AIRES is onstage, a hi-techno funk
          group, performing their trademark, a
          frenzied song entitled "Modern Aire"
          The floor is dense with KIDS, all
          performing the same syncopated dance.

          PRINCE moves through the club slowly,
          seems to be searching someone out.  His
          face is drawn and haggard, his spirits
          strained.  He cuts past the BAR, barely
          acknowledges Jill, or the other
          WAITRESSES by her side, KIM and KATY.
          Jill looks concerned--

<b>                             KIM
</b>               Honey, you still chasing after
               that fool?

          Kim is 21 years and gorgeous, with dark
          eyes, a smooth sculpted face, and taut
          shapely legs.  She is street-educated
          and doesn't need encouraging to speak
          her mind.  Katy is also in her-early
          20's, a tall, alluring Oriental, with an
          attractive, intelligent face--

<b>                            JILL
</b>               I'm doing what I'm doing.
               It's my business.

<b>                            KATY
</b>               He doesn't even look at you.
               That's the last thing you want
               from a man.

<b>                            JILL
</b>               You just don't know him like I
               do.

<b>                             KIM
</b>               Honey... Look, Listen, and
               then Feel.  If you do them in
               any other order, you're headed
               for trouble.

          Matt and Bobby (members of Prince's
          group) stroll up--

<b>                            BOBBY
</b>               Hey, Jill -- where's our
               drinks?

<b>                            JILL
</b>               They're coming -- just wait.

          Matt stares hungrily at her breasts--

<b>                            JILL
</b>               What you want isn't on the
               menu.

<b>                            BOBBY
</b>               Jill, in ten years they'll be
               on the table.

          She swats him with her order pad --
          Bobby ducks, taunts her--

<b>                            BOBBY
</b>               C'mon, c'mon ...

          She goes to swing, Matt moves in,
          squeezes her breasts--

<b>                            MATT
</b>               (horn sound)
               BooPoo!!

<b>                             KIM
</b>               Get out of here, you jerks!

<b>                            MATT
</b>               Sweetheart ... do you have a
               real hot place where I could
               stick my nose?

<b>                             KIM
</b>               Sure -- try a microwave.

          The Guys bust up, head for their tables-
<b>          -
</b>
<b>                            KATY
</b>               Those guys are deep.

<b>                             KIM
</b>               Yeah -- deeply retarded.

<b>        (31) INT./EXT. CLUB -- MONEY WINDOW -- NIGHT
</b>
          Vanity stands in line waiting to get in.
          She wears a short, black dress and red
          heels, carries a black and red
          clutchbag.  Her hair is swept back and
          wind-blown, her eyes dark and dancing.
          She looks wickedly wonderful and knows
          it.

          CHICK stands by the window, arms folded,
          as massive as a Sequoia.  He regards her
          suspiciously--

<b>                           VANITY
</b>               (sweetly)
               I'm paying ... see?
               (to cashier, gruff)
                Keep the change.

          Chick advances on her -- her eyes widen
          with fear--

<b>                            CHICK
</b>               The manager wants to see you.

<b>                           VANITY
</b>               Really..?  Oh, great...like to
               see him too.

          She breaths a sigh of relief.

          JEROME watches as Chick escorts Vanity
          to the upper level.  He stays short
          distance behind.


<b>             (32) INT. CLUB UPPER LEVEL -- NIGHT
</b>
          as Vanity and Chick come to a  halt in
          the middle of the f Ioor--

<b>                            CHICK
</b>               He'll be right with you.

          Chick walks away.  Jerome makes a move
          toward her, but pulls himself up short -
          - BILLY SPARKS has approached her--

<b>                        BILLY SPARKS
</b>               Hi, I'm Billy Sparks, I manage
               this place.

          Vanity turns around -- her eyes widen
          with surprise--

          He's 38 years old, 5'3" tall and weighs
          about 180 pounds.  He's dressed in a
          baby-blue running suit.and white tennis
          shoes that come to a point.  A dark-
          skinned, smooth-faced black man, he's
          wearing small, white sunglasses and a
          base-ball cap perched on his head.  Fred
          Flintstone in Harlem.  A hip, fast-
          talking jive motherfucker who uses
          profanity like a light saber.  Chubby,
          cuddly, cherubic Billy Sparks.  He'd
          sell his mother if he thought he could
          make a buck.

          They size one another up in. about three
          seconds--

<b>                           VANITY
</b>               Hi -- I really like your club.

<b>                            BILLY
</b>               Really...

<b>                           VANITY
</b>               What time is it?

<b>                            BILLY
</b>               Nine, sweets.

<b>                           VANITY
</b>               Oh, that's a really nice
               watch. Very pretty.

          Billy lights a cigarette, offers her
          one, she accepts--

<b>                           VANITY
</b>               You  look like a guy I used to
               go out with -- he was a lot
               older, but I like older men.

<b>                            BILLY
</b>               Really, what a coincidence.

<b>                           VANITY
</b>               I just came off a Broadway
               play.  My grandmother got
               sick.

<b>                            BILLY
</b>               Does she live here?

<b>                           VANITY
</b>               No, in New York ...
                (catches herself)
               But, huh,  I have a sister
               here, lives in Saint ... huh
<b>               ...
</b>
<b>                            BILLY
</b>               ...Paul.

<b>                           VANITY
</b>               Amazing.

<b>                            BILLY
</b>               Ye-es.
                (smiles)
               What do you want to do?  You
               don't want to be a waitress do
               you?

<b>                           VANITY
</b>               No ... no...Actually I was
               thinking more in the way of
               the stage.

<b>                            BILLY
</b>               Of course... how about dinner?

<b>                           VANITY
</b>               Theatre?

<b>                            BILLY
</b>               Dinner, then the theatre, my
               sweets.

<b>                           VANITY
</b>               Oh, huh...

          Jerome appears--

<b>                           JEROME
</b>               Hi ya, Billy.

<b>                            BILLY
</b>               Good evening, Jerome.

          Vanity sees her escape--

<b>                           VANITY
</b>               Jerome -- I was looking all
               over for you!

          They BOTH look at her surprised--

<b>                            BILLY
</b>               You know each other?

<b>                           VANITY
</b>               Of course.

          Jerome goes along with it--

<b>                           JEROME
</b>               Yes, we've met.  I have
               something to show you.

<b>                           VANITY
</b>               Great.  See you later, Billy.

          She walks away with Jerome, arm in arm--

<b>                           VANITY
</b>               You rescued me.

<b>                           JEROME
</b>               (smiles)
               Ye-es.

<b>              (33) INT.  DRESSING ROOM -- NIGHT
</b>
          Prince and his band (Mark, Bobby, Matt,
          Lisa) sit backstage, waiting to go on.
          An air of tension permeates the room.
          Lisa sits in the corner and fidgets,
          casts sidelong looks to Prince.  He sits
          apart from the group, deathly silent,
          locked in thouqht.

          Wendy walks in and shares a look with
          Lisa.  She goes up to Prince, her voice
          filled with nervousness--

<b>                            WENDY
</b>               Hi  ya, Prince.  I heard
               through the grapevine you had
               a new tune written by two
               great girls.  By chance did
               you hear it?

          He stares at her -- if looks could kill
          Wendy would be dead--

<b>                            LISA
</b>               I knew it -- he didn't listen
               to it.  He probably dropped it
               under his bike and rolled over
               it.

          Prince grunts, turns away -- Wendy is
          amazed--

<b>                            WENDY
</b>               Wow! Okay...you think about
               this.  I'm going to be real
               honest with you.  You're
               really being full of shit.

<b>                            LISA
</b>               Forget about it, Wendy.  Let's
               get out of here--

          But Wendy, agitated, silences her with a
          fierce gesture--

<b>                            WENDY
</b>               (to Prince)
               Every time we give you a song,
               you say you're going to use
               it, but you never do.  You
               always think that we're doing
               something behind your back.
               You're just being paranoid as
               usual.

<b>                            LISA
</b>               Wendy...

<b>                            WENDY
</b>               (upset)
               Shut up, Lisa, please!
               (to Prince)
               You should know by now that we
               wouldn't hurt vou.  We're not
               out to put a dark cloud over
               your head.  It's just to make
               you feel good, Prince --
               that's what it's all about.
               You've been this way with us
               before, remember?

<b>                           PRINCE
</b>               (maliciously)
               The nominees for the best
               actress are--

<b>                            LISA
</b>               -- Fuck it, Wendy -- let's
               break!

          Wendy is shaking, tears spring to her
          eyes--

<b>                            WENDY
</b>               Do you know you can really,
               really hurt people?  Doesn't
               that mean anything to you?
               Doesn't that make you feel
               like shit?

<b>                            LISA
</b>               C'mon ...

<b>                            WENDY
</b>               I'm tired of this ... I'm
               really tired...

          They leave the room, Wendy SLAMS the
          door behind her.  Prince casts a look to
          Bobby, Mark, Matt--

<b>                           PRINCE
</b>               You tired, too?

<b>                            MATT
</b>               God got Wendy's periods
               reversed.  About every 28
               days, she starts acting nice.
               Lasts about a weekend.

          Thud.  The joke hangs suspended like a
          ball and chain.  Bobby gets up, the
          others follow him to the door--

<b>                            BOBBY
</b>               What difference does it make,
               Prince.  We're still a group,
               right?

          They cut out the door.

<b>                 (34) INT.  HALLWAY -- NIGHT
</b>
          Bobby, Matt and Mark move briskly to the
          stage--

<b>                            MARK
</b>               Headcase.  Telling
               you...'effed up headcase.

<b>                            BOBBY
</b>               People with talent usually
               are.

          Matt dons his surgeon's mask -- Mark
          rolls his eyes--

<b>                            MARK
</b>               Of course, there are a number
               of headcases without great
               talent too.

<b>          (35) INT/BACKSTAGE ENTRANCE/CLUB -- NIGHT
</b>
          Morris stands by the door surrounded by
          several delicious BABES.  One of them,
          wearing a tight, red dress, looks
          especially enticing.  Morris leans in
          closer -- her tasty breasts strain
          against the spandex material--

<b>                           MORRIS
</b>               Honey -- don't you ever try
               and breastfeed no baby now.

<b>                            GIRL
</b>               Why not?

<b>                           MORRIS
</b>               Never mind ...

          Jerome appears--

<b>                           JEROME
</b>               What.

<b>                           MORRIS
</b>               What?

<b>                           JEROME
</b>               Right.  What.

<b>                           MORRIS
</b>               What??

<b>                           JEROME
</b>               You got it.

          Be snaps his head to the side -- Morris
          looks, sees Vanity sitting at a table.
          His eyes dance mischievously--

<b>                           MORRIS
</b>               Ye-es
               (to Girl)
               What time is it?

<b>                            GIRL
</b>               (coyly)
               Tea time.

<b>                           MORRIS
</b>               So, right.

<b>              (36) INT. DRESSING ROOM -- NIGHT
</b>
          as Prince sits by himself in front of
          the mirror, staring at a cassette on the
          counter.  We recognize it immediately as
          the tape Jill gave him earlier,
          containing Lisa's and Wendy's music.  He
          picks it up, snaps it into a ghetto
          blaster.  MUSIC, without lyrics, fills
          the room.  He adjusts the dials, sits
          back and listens a moment.  Suddenly the
          door opens--

<b>                          STAGEHAND
</b>               Prince, five minutes.

          Be snaps off the music, drops the
          cassette into his pocket, cuts out the
          room.

<b>                (37) INT.  BACKSTAGE -- NIGHT
</b>
          He comes to the stage-area.  His
          Band.Members are standing about
          anxiously, watching the final moments of
          The Modern Aires' performance.  He cuts
          behind the curtain, peers at the
          crowd...

          ...his eyes fall on Vanity -- his face
          brightens instantly.  Just then Jerome
          and Morris approach her.  Prince shakes
          his head knowingly, offers a wry smile,
          then joins his band.

<b>         (38) INT.  VAN1TY'S TABLE AND CLUB -- NIGHT
</b>
          She sits demurely.  Morris' eyes are
          wide and shining -- her beauty up close
          astonishes him--

<b>                           JEROME
</b>               Vanity, I'd like you to meet
               Morris E. Day.

<b>                           MORRIS
</b>               Hold it now -- just leave the
               'E' alone.

<b>                           JEROME
</b>               (clears throat)
               Vanity...this is Morris Day

<b>                           MORRIS
</b>               The pleasure's all mine.

          she offers her hand -- he takes it
          decorously--

<b>                           JEROME
</b>               If you'd excuse me.

          Morris signals him -- whispers into his
          ear--

<b>                           MORRIS
</b>               Too sexy ...
               (a beat)
               Have  a waitress bring.a
               bottle of their best
               champacne.

          He seats himself, fastens her with a
          sexy, half-lidded look--

<b>                           MORRIS
</b>               Your lips would make a
               lollipop too happy.

<b>                           VANITY
</b>               You think so, huh?

<b>                           MORRIS
</b>               Ye-es.

          Kim appears with a bottle of champacne
          in ice--

<b>                             KIM
</b>               Who's paying for this Morris?

<b>                           MORRIS
</b>               I think you know that.
                (a beat)
               Jerome!

          Jerome appears, opens the bottle with a
          flair, performs a classy taste test.
          Morris pulls out some cash, pays him,
          who snatches the money, leaves--

<b>                           MORRIS
</b>               Huh, keep the change--

          He whispers to Jerome--

<b>                           MORRIS
</b>               Get my change, will ya?

          Jerome leaves, Morris purses his lips--

<b>                           MORRIS
</b>               Oh, Lord...either somebody put
               something in my drink, or you
               are the finest (motherfucker)
               I've seen in ages.

<b>                           VANITY
</b>               Excuse me, what did you say?

<b>                           MORRIS
</b>               Huh...you look nice tonight.

          He leans in, speaks with a sexy voice--

<b>                           MORRIS
</b>               It's rare that I out my cards
               on the table when it comes to
               meeting younq ladies, but ...
               I'm going to make you love me.

<b>                           VANITY
</b>               Is that a  fact?

          He folds his legs dramatically, his
          Stacy Adams reflecting the light--

<b>                           MORRIS
</b>               Just as sure as my Stacy Adams
               are shiny.

          Just then--

<b>                         M.C. (O.S.)
</b>               Ladies and Gentlemen -- please
               welcome Prince!

          The CLUB erupts in CRIES!  Prince hits
          the stage, launches into "G-spot," a
          fast, high-spirited funk tune that gets
          the crowd hopping.  Vanity watches as
          Prince whips the crowd into a frenzy.
          Morris listens with a complacent grin on
          his face, his eyes searching out various
          members of The Time who are scattered
          through-out the club.  When he connects
          with one of them he makes a series of
          absurd faces which sends them into
          hysterics.  For Prince is playing music
          that The Time is noted for, and, as far
          as Morris is concerned, performs better.
          Not everyone in the club is dancing, or
          paying attention, and this does not
          escape his notice.

          Suddenly "G-Spot" comes to a rousing
          end.  The CROWD cheers wildly.  Prince
          moves quickly to the piano and launches
          into "Electric Intercourse," a love
          ballad which, as it progresses, becomes
          a personal statement for Vanity and
          Prince himself.

          She listens intently, her eyes fastened
          on him.  The words have a profound
          effect on her -- and the audience.
          Without being consciously aware of it,
          they're moving closer to the stage,
          searching for their personal fix. Prince
          surrenders himself to the music totally,
          releasing from himself all that is
          hurtful -- releasing the sincerity and
          truthfulness that escapes him in his
          daily life.  We are entering  realm
          where life and music are inextricably
          bound, and the impact on the performer
          and listener is profound.

          He's directing his music toward her, and
          she receives it gratefully, almost
          anxiously.  It fills a void in her, hewn
          by a life of meaningless promises.  He
          searches her face with his magnificent
          eyes, and ends the song with a
          heartrending cry which connects with the
          souls of all present.  Everyone is
          paying attention now.

          The stage is plunged into darkness.  The
          CROWD goes CRAZY!  Vanity applauds
          vigorously, wipes the tears from her
          eyes.  Morris, who was more affected by
          the performance than he'd care to admit,
          doesn't like what he sees and searches
          for a winning line--

<b>                           MORRIS
</b>               He doesn't like girls.

          She's equal to the challenge--

<b>                           VANITY
</b>               I know -- he likes women.

          But Morris can barely suppress a smile,
          and settles himself comfortably into his
          chair -- for he knows what Vanity has
          lost...at least this round--

<b>                           MORRIS
</b>               Well ... he don't do too good
               with them either.

          She flashes him a quizzical look -- he
          simply smiles.

<b>           (39) INT.  BACKSTAGE HALLIIAY -- NIGHT
</b>
          Jubilation time!  Prince and his Band
          move through the hallway briskly, past
          the outstretched arms of admiring fans.
          There's a lot of back-slapping going on
          as the Musicians bask in the glow of
          well-wishers.  Prince moves past Billy
          Sparks, who has an angry look on his
          face--

<b>                            BILLY
</b>               What's this intercourse, shit?

<b>                           PRINCE
</b>               Hey; man -- don't worry about
               it.

<b>                            BILLY
</b>               I'm warning you...

          But Prince ignores him, cuts into the
          dressing room--

<b>              (40) INT.  DRESSING ROOM -- NIGHT
</b>
          --then stops suddenly, surprised.  He's
          muzzle to muzzle with a cuddly DOG, held
          up lovingly by Jill--

<b>                            JILL
</b>               Surprise!

          OOHS! and AAHS!  by  the entire group.
          Jill hesitates, then kisses Prince's
          cheek compulsively.  He's surprised,
          touched--

<b>                           PRINCE
</b>               Hey -- wait till we're
               married, now.

          She fidgets, her face blushes red.
          Wendy is studying the dog--

<b>                             WENDY
</b>               Oh, my God -- look at this!

          Everyone looks -- Jill grins like the
          Cheshire Cat--

<b>                            JILL
</b>               Notice anything?

<b>                           PRINCE
</b>               What?

<b>                            WENDY
</b>               It looks like you!

          She thrusts the dog into his arms -- the
          Band laughs uproariously.  Jill is
          beaming--

<b>                            JILL
</b>               His hair ...

          Prince gazes into the mirror -- and sure
          enough the dog's hair has been groomed
          to match his.  He can't help smiling--

<b>                           PRINCE
</b>               Shit ...

<b>                            JILL
</b>               (softly)
               I wanted to cheer you up.

<b>                           PRINCE
</b>               Thanks.

<b>                            MATT
</b>               I'm hungry -- where's the
               food?!

          He grabs the dog, 'a la The Werewolf,
          starts chomping on it's neck.  The Group
          busts up, starts fooling around.

          Prince glances into the mirror -- Vanity
          is there.  He whirls around to the door
          -- nothing.  A huge smile sweeps his
          face instead.  The Band continues
          fooling around, and Prince joins in with
          a relish.

<b>         (41) EXT.  ALLEYWAY #2, REAR CLUB -- NIGHT
</b>
          Vanity leans against a brick wall,
          hiding in the shadows.  Suddenly
          FOOTSTEPS approach.  Prince appears,
          gets on his Motorcycle--

<b>                           VANITY
</b>               Hey...

          He doesn't look up--

<b>                           PRINCE
</b>               We have to go to your place.

<b>                           VANITY
</b>               What for?

<b>                            PRINCE
</b>               I want to show you something.

          She's embarrassed by her apartment--

<b>                           VANITY
</b>               No...no, we can't.

<b>                           PRINCE
</b>               Why -- is there someone there?

<b>                           VANITY
</b>               Why do you always think
               there's somebody else?

          He averts his eyes -- kick STARTS his
          bike--

<b>                           PRINCE
</b>               Let's go.

<b>                           VANITY
</b>               (Getting on)
               Yeah -- but we're not going to
               my place.

          He remains silent, snaps the bike into
          gear, blasts down the ally into the
          street.

<b>           (42) PRINCE'S HOUSE AND STREET -- NIGHT
</b>
          Prince and Vanity whip down a
          residential street.  As he approaches
          his house he slows, moves past it
          quietly.

          He makes a deft U-turn, crosses his
          house again -- seems to be listening
          intently...

          After a moment, he cuts down a narrow
          path, turns up a back alley.  He rides
          to a wooden gate, detaches a hidden
          lever.  The wood slats rotate like a
          garage door -- Prince coaxes his bike
          through.

<b>          BACKYARD
</b>
          Vanity's mesmerized.  They ride down a
          narrow sidewalk, cut through a garden,
          and emerge from the back of a garage.
          He leans his bike against it--

<b>                           VANITY
</b>               That was a grand entrance.
               Where am I?

          He silences her with a look, moves
          quickly across the grass, comes to a
          window.  He stands on a pipe, looks in--

<b>       (43) PRINCE'S POV -- INT.  LIVING ROOM -- NIGHT
</b>
          His Mother and Father in the living
          room.  His Mother is sprawled out on the
          sofa, obviously drunk, her dress hiked
          along her thighs.  Her head rests in his
          Father's lap.

<b>                (44) EXT.  BACKYARD -- NIGHT
</b>
          Prince hops from the pipe, leans coolly
          against the house. Intrigued. Vanity
          looks in--

<b>       (45) VANITY'S POV -- INT.  LIVING ROOM -- NIGHT
</b>
          The mother and father kissing
          tentatively, then violently, finally
          pulling away.  The Mother seems to be
          taunting the Father, coaxing him into a
          trap.  He kisses her mouth lustily --
          she pulls back snarling--.

<b>                (46) EXT.  BACKYARD -- NIGHT
</b>
          Vanity's scared -- tries to be cool--

<b>                           VANITY
</b>               So -- friends of yours?

<b>                           PRINCE
</b>               Yeah -- the freak show.

          He walks off.  She jumps off the pipe,
          follows.

<b>          SIDE OF HOUSE
</b>
          as they emerge around the corner.
          Prince squats by a basement window,
          adjusts an old coal chute, then slides
          down it--

<b>                           VANITY
</b>               Hey...

<b>                        PRINCE (O.S.)
</b>               C'mon.

          She hesitates a moment, then slides down
          too.

<b>         (47) INT.  BASEMENT, PRINCE'S HOME -- NIGHT
</b>
          He turns on a LIGHT, disappears into an
          ADJOINING ROOM.  Vanity looks around
          amazed.  She stands in a small ANTE-
          CHAMBER whose walls are covered with
          thicks pads and foam.

          Colorful MOBILES hang suspended from the
          ceilings -- various INSTRUMENTS lie
          about: a drumset, an electric guitar,
          and a small upright piano.  A stereo and
          cassette player. are perched on a shelf,
          and  two speakers are recessed into the
          walls.  The entire room looks hand-
          built, the wood carefully painted, or
          stained.

          She peers through the doorway into the
          adjoining room.  BLUE MOONLIGHT filters
          in through the casement windows.
          Various MURALS are painted on the walls,
          MOBILES are suspended from the ceiling.
          A bed sits in the middle of the floor, a
          vanity table and mirror nearby.

          She stands idly a mement, then moves
          around the antechamber.  Various
          KNICKNACKS catch her attention. Small
          wind-up TOYS lie about:  a soldier, a
          bear banging on a drum, a tractor and
          car.  A small MUSIC BOX sits on a shelf.
          She turns the handle, a little TUNE
          fills the room...

          A cassette sits in the player.  She
          snaps it shut, hits the play button.  A
          DRUM BEAT fills the room, followed by a
          WOMAN'S VOICE, seemingly speaking in a
          foreign tongue.  The combination is
          hypnotic and sensual -- she finds
          herself drawn in ...

          Suddenly Prince grabs her by the waist,
          lets out a SHRIEK.  She draws a out
          breath, jumps--

<b>                           VANITY
</b>               If you think you scared me,
               you didn't.

<b>                           PRINCE
</b>               Oh, yeah ...

          He puts his index finger directly in
          front of her nose, moves it back and
          forth hypnotically.  She follows it
          earnestly with her eyes.  Suddenly, he
          pulls his hand away, stretches it to the
          ceiling like an escaping bird.  They
          both smile, lock eyes.  Passion rings in
          their veins...

          The Woman's VOICE begins to moan deeply,
          pleasurably--

<b>                           VANITY
</b>               Who's the lucky girl?  Sounds
               like she was having a good
               time.

<b>                           PRINCE
</b>               She's crying -- it's
               backwards.  It makes me sad
               when I hear it.  It sorta
               sounds like she's laughing,
               doesn't it?

<b>                           VANITY
</b>               So what did you do to her? Do
               you always treat your women
               like that?

<b>                           PRINCE
</b>               I don't have anybody right
               now.

          Heat floods into her womb like soft fire-
<b>          -
</b>
<b>                           VANITY
</b>               You look pretty...

          She touches his chest delicately, fluffs
          up his hair--

<b>                           VANITY
</b>               King Kong?

<b>                           PRINCE
</b>               Stop.

          She hesitates -- but he reaches out
          tentatively, touches her breast--

<b>                           VANITY
</b>               No.

          But their mutual desire is too strong.
          Their lips seek one another out timidly,
          almost deferentially...then fervently.

<b>          DISSOLVE TO:
</b>
<b>            (48) INT.  BEDROOM -- LATER -- NIGHT
</b>
          Vanity sits at the foot of the bed,
          Prince stands before her.  Her dress is
          hiked along her thighs, her stockings
          attached to garters.  Their hands search
          delicately across the contours of their
          bodies, drawing quick breaths from their
          lips.  They kiss one another ardently,
          then quickly, like sparrows pecking
          seed.  She goes to remove her dress, but
          Prince stays her with a gesture, moving
          his hands along her thighs, touching
          delicately that spot between her legs.
          A low, whispery moan escapes from her
          lips.

          Vanity lies back, drawing Prince toward
          her.  His lips move across her mouth,
          her neck, her breasts.  She moans
          softly, pulls her dress above her
          thighs, goes to remove it.  Once again
          he stops her, slowly turns her onto her
          stomach.

          She stands.on her knees, her head
          resting on a pillow.  His hands move up
          along the back of her thighs, past the
          garters to her panties.  He tugs at them
          gently, then rubs his hand firmly
          between her legs.  She moans suddenly,
          the shudder moving through her like a
          whirlwind ...

<b>          DISSOLVE TO:
</b>
<b>            (49) INT.  BEDROOM -- LATER -- NIGHT
</b>
          MOONLIGHT glows throuch the casement
          windows.  MOBILES stir gently in the
          night breeze.

          Prince and Vanity are asleep.  He rests
          on his side, his hands gently surporting
          his face.  She lies behind him, one leg
          dangling off the bed, one shoe discarded
          on the floor

          Suddenly a distant MOAN...QUICK
          FOOTSTEPS -- A DOOR SLAMS.  Vanity SNAPS
          awake! Fear sweeps her like a shadow
          from a passing cloud.  She listens
          intently, then--

          -- Another DOOR SLAM, QUICK FOOTSTEPS,
          and Prince's Mother
           CRYING in the dark--

<b>                           MOTHER
</b>                           (o.s.)
               (upstairs)
               Please!

          A bottle CRASHES to the floor.  Then
          silence...

          ...deep silence like snow in the room...

          Vanity's racked with fear.  She sits up
          slowly, her eyes searching out Prince --
          he's sleeping...

           Suddenly more FOOTSTEPS, a DOOR SLAMS and the
Father's CRY--

<b>                           FATHER
</b>                           (o.s.)
               No!!

          WHACK!  Something heavy CRASHES to the
          floor...

          Vanity rises from the bed in a panic!
          She smoothes down her dress, searches
          for her other shoe.  She shoots another
          look to Prince, but he sleeps
          peacefully.  Casting a glance upstairs,
          she climbs throuch the casement window,
          disappears into the night.

          PRINCE is resting on his side, his eyes
          opened.

<b>        (50)  EXT. PRINCE'S HOUSE AND STREET -- NIGHT
</b>
          Vanity moves quickly along the side of
          the house, trying desperately to find
          her wav.  Suddenly a HAND reaches out of
          the darkness, GRABS her by the throat.
          She SCREAMS, swings her bag desperately
          -- something CRASHES, into the bushes--

<b>                            VOICE
</b>               Damn, baby, hold it!  Hold
               it!!
               (wails)
               Oh, God -- God!  You broke my
               nose!

          She sees it's Morris -- she's beside
          herself  with fear and rage--

<b>                           VANITY
</b>               You shit! What the hell are
               you doing here?

          He struggles in the bushes -- DOGS start
<b>          BARKING--
</b>
<b>                           MORRIS
</b>               Shh! Shh! Shh! oh, Lord help
               me outta here.
               (a beat)
               Hee, hee -- I know you
               wouldn't want to spend the
               whole night with ol' pencil
               dick.

<b>                           VANITY
</b>               Your nose alright?

<b>                           MORRIS
</b>               My nose is fine, I'm just
               wondering if I fucked my shoes
               up...
               (a beat)
               C'mon ...

          They cut across the yard, head to the
          street.  The CADDY is parked at the
          curb.  Jerome leans against it, reading
          a newspaper--

<b>                           VANITY
</b>               Hi, Jerome.  Wow!  Nice
               hubcaps.

          He grins proudly from ear to ear -- the
          Caddy sports new chrome wire wheels--

<b>                           JEROME
</b>               You like them, huh?

<b>                           VANITY
</b>               Beautiful.

          Morris MOANS dismally--

<b>                           MORRIS
</b>               Jerome...you think these can
               be fixed?

          His shoes are badly scuffed, the leather
          torn across the top--

<b>                           JEROME
</b>               I think they're dead, man.

<b>                           VANITY
</b>               God, I'm sorry.

<b>                           MORRIS
</b>               Shit -- it's so rough out
               here.

          Just then a PATROL CAR cruises by.  The
          COP regards them suspiciously.  Morris
          and Jerome snap to attention--

<b>                           MORRIS
</b>               You lock the door, baby?
               Let's go!

          They pile into the Caddy, pull out.

<b>                 (51)  EXT. HIGHWAY -- NIGHT
</b>
          The CADDY blazes by in the night.  The
          CITY LIGHTS glimmer spectacularly in the
          distance.

<b>               (52)  INT./EXT. CADDY -- NIGHT
</b>
          Jerome drives.  Morris and Vanity sit in
          the backseat. He gazes at her ardently--

<b>                           MORRIS
</b>               Jerome!

          Jerome snaps a look in the rear-view --
          Morris gives him a deft nod. Jerome
          opens the glove compartment, searches
          through the cassette tapes. He finds the
          one he wants, snaps it into the player.
          RESTAURANT AMBIANCE fills the car...

          Note:  The restaurant ambiance will grow
          in volume, and will be followed by
          exaggerated dinner music, punctuated
          with strings and delicate cymbals.  The
          MUSIC plays throughout this scene -- and
          Morris times his words to the ebb and
          flow of the piece to insure the proper
          dramatic effect.

          ...dinner MUSIC begins--

<b>                           JEROME
</b>               Cocktails before dinner?

<b>                           MORRIS
</b>               Yes -- two piña coladas.

<b>                           VANITY
</b>               Uh...make mine a virgin.

<b>                           JEROME
</b>               Okay...

          Jerome braces his knees against the
          wheel, pours two premixed coladas into
          plastic glasses--

<b>                           JEROME
</b>               (to Morris)
               Will you be having a virgin as
               well?

<b>                           MORRIS
</b>               Ye-es!  For dessert!!
               Whawhak!

          Jerome stifles a laugh, pours a rum
          miniature into Morris' glass.  He hands
          them back--

<b>                           MORRIS
</b>               Thank you.  Here you are,
               dear.

          They savor their drinks -- Morris'
          fervor grows by leaps and bounds--

<b>                           MORRIS
</b>               Jerome, uh, get your pad and
               pencil, I think it's gonna be
               kinda right.  If my judge of
               character is correct, it's
               going to be about loving
               tonight.
               (a beat)
               Stop me when I get to
               seventeen.

          Jerome places a pad by his side, pencil
          at the ready. He settles the Caddy to a
          cruising 55 -- Morris looks deeply into
          Vanity's eyes--

<b>                           MORRIS
</b>               Excuse me, baby...I bet you
               didn't know I had a piece of
               this restaurant, did you?
               (a beat)
               May I taste that?

          He takes Vanity's drink, slurps a
          little, burps--

<b>                           MORRIS
</b>               Huh, excuse me, that's kind of
               weak...here, try mine.

          She does, and begins coughing violently-
<b>          -
</b>
<b>                           VANITY
</b>               Good God!

<b>                           MORRIS
</b>               Y'know...they say that saliva
               is an aphrodisiac.
               (a beat)
               You look so lovely tonight.

<b>                           VANITY
</b>               (couching)
               Why...thank you.

<b>                           MORRIS
</b>               Probably you'd look better
               under exotic...red...liqhts.
               (another though)
               I wish you could see my home.
               It's...it's so exciting.

          He leans close to her, speaks in a soft,
          sexy voice--

<b>                           MORRIS
</b>               In my bedroom, I have a brass
               waterbed ...

<b>                           VANITY
</b>               Oooh!

<b>                           MORRIS
</b>               I have an Italian cook, Gino
               Izogochograchi, or something
               like that.

          She giggles, looks at him deeply--

<b>                           MORRIS
</b>               It's funny...your eyes -- when
               you stare at me like that, it
               causes my stomach to qui-
               quiver.  Oh, Lord...

          An idea flashes across his mind--

<b>                           MORRIS
</b>               Do you like diamonds?

<b>                           VANITY
</b>               Uh, huh.

<b>                           MORRIS
</b>               Yeah ...?

<b>                           VANITY
</b>               Yeah.

<b>                           MORRIS
</b>               I know it's rather masculine,
               but -- try this one on.

          He slides a large glass diamond on her
          finger--

<b>                           VANITY
</b>               Ohhh!

<b>                           MORRIS
</b>               My God, darling it fits.

          He studies her hands closely--

<b>                           MORRIS
</b>               You must have strong hands,
               but -- they're so soft...like
               oils in my bubble bath.
               (a beat)
               Damn ...

          He leans close to her--

<b>                           MORRIS
</b>               Darling...?

<b>                           VANITY
</b>               Yeah...?

<b>                           MORRIS
</b>               I'm not usually so forward,
               but -- would you like to make
               love to me?  I can make it so
               nice ...

          She giggles freely, looks at him with
          big eyes--

<b>                           MORRIS
</b>               Do you know what is meant by
               the words, huh, I hate to use
               them, they're so harsh, so
               American...I mean, and yet on
               the other hand, they're
               exciting words.  The words...
               (pause)
               ...chili sauce.  Oh, Lord.
               (a beat)

<b>                           MORRIS
</b>               You know, I haven't made love
               in so long, but with you I
               know it would be just like
               riding a bike.  I'd remember
               everything I've ever learned.
               (a beat)
               Baby, if the kid can't make
               you come, nobody can.

          Jerome checks off his pad--

<b>                           JEROME
</b>               (whispers)
               Morris..!

<b>                           MORRIS
</b>               Yeah...?

<b>                           JEROME
</b>               Seventeen.

          Morris fixes Vanity with his half-
          lidded, pouty-lip look--

<b>                           MORRIS
</b>               Huh, what's it gonna to be
               baby?

          She's on the spot, thinks fast--

<b>                           VANITY
</b><b>               PULL OVER THERE!
</b>
<b>                           MORRIS
</b>               What?!

<b>                           JEROME
</b>               What?!

<b>                           VANITY
</b>               Over there -- that's where I
               live.

          Jerome SKIDS the car to a stop.  They're
          directly in front of a slick, hi-rise
          apartment building--

<b>                           MORRIS
</b>               Here...?

<b>                           VANITY
</b>               Yes.

<b>                           MORRIS
</b>               Uh, what one is it?

<b>                           VANITY
</b>               That one, right there, see?
               On the 14th floor.

<b>                           MORRIS
</b>               It's nice, huh?

<b>                           VANITY
</b>               Oh, it's great.  Real pretty.
               Big open rooms, balconies,
               fireplace -- the works.

          He smiles lovingly--

<b>                           MORRIS
</b>               Jerome!

               Jerome puts the Caddy into
               gear, pulls off into the night-
<b>               -
</b>
<b>                           VANITY
</b>               Hey, wait!  C'mon!
               (a beat)
               Okay -- where are you taking
               me?

<b>                           MORRIS
</b>               Home.
               (smiling)
               You and me are a lot alike.- I
               like that.  So, I'd like to
               help you out.  I think I have
               something you may be
               interested,  in.

<b>                           VANITY
</b>               Oh yeah -- what?

          Jerome hands Morris a cassette -- Morris
          waves it in front of her nose--

<b>                           MORRIS
</b>               A little song and dance.  That
               is, if you can sing and dance.

<b>                           VANITY
</b>               (defensively)
               Prince is goinq to help me.

          Jerome and Moris suppress their laughter-
<b>          -
</b>
<b>                           JEROME
</b>               Motherfucker needs a haircut.

<b>                           MORRIS
</b>               Hee, hee, uh, excuse me.  No
               he won't.  He's never done
               anything in his whole life for
               anybody but himself.

<b>                           VANITY
</b>               Guys better than you have
               promised me things before.

<b>                           MORRIS
</b>               I know that's right, but--

          Jerome hands him a card with an address
          on it.  Morris hands the card to her--

<b>                           MORRIS
</b>                           (con't)
                -- not Morris Day.
                (he smiles)

           Jerome pulls up in front of her motel.
          Vanity reads the card--

<b>                           MORRIS
</b>               Come by any time.

<b>           (53)  EXT. MOTEL/INT. CADDY -- TWILIGHT
</b>
          She gets out of the car, stands on the
          sidewalk.  Morris pushes the window
          button -- nothing happens--

<b>                           MORRIS
</b>               Jerome!

          Jerome leans over, taps the glass -- the
          window glides down--

<b>                           MORRIS
</b>               (to Vanity)
               One more thing ...

          Jerome snaps the glove compartment,
          hands Morris a neatly folded camisole.
          Morris presents it to her--

<b>                           MORRIS
</b>               Here's a little something for
               you.  If you get cold when you
               wear it, call me.

          He snaps his fingers -- Jerome pulls the
          Caddy away with a screech.

<b>            (54) EXT. VANITY'S MOTEL -- TWILIGHT
</b>
          Vanity stands on the sidewalk a moment,
          slightly bewildered and very amused.
          She watches the Cadillac screech around
          the bend.  She turns, goes into the
          motel.

          PRINCE stands in the alleyway across the
          street, his motorcycle parked nearby.
          He watches as Vanity cuts inside.

<b>          (55)  INT. HALLWAY/VANITY'S MOTEL -- DAWN
</b>
          She comes down the HALLWAY, opens her
          door with a key.

<b>              (55A)  INT. VANITY'S ROOM -- DAWN
</b>
          She goes inside, drops the tape and card
          in her bureau. unfolding the camisole,
          she holds it against her, gazes into the
          mirror.  It looks beautiful.  Suddenly a
          KNOCK at the door--

<b>                           VANITY
</b>               Morris...?

          Another two KNOCKS, something like a
          confirmation.  She smiles, cuts to the
          door, flings it open -- but Prince is
          there. She's shocked, but recovers
          instantly--

<b>                           VANITY
</b>               I had a feeling it was you --
               I knew it!  It's amazing -- I
               could tell it was you.

          His face remains placid as he puts on
          his sunglasses--

<b>                           PRINCE
</b>               How'd you get home?

<b>                           VANITY
</b>               Took a cab.

<b>                           PRINCE
</b>               Oh yeah?  Where'd you get
               that?

          She stares at the camisole in her hands-
<b>          -
</b>
<b>                           VANITY
</b>               I adore camisoles.

          He nods dispassionately, walks into the
          room, gives the place the once over,
          then--

<b>                           PRINCE
</b>               Let's ride.

<b>                 (56)  EXT. HIGHWAY -- DAWN
</b>
<b>          AERIAL SHOT
</b>          Prince and Vanity on his motorcycle
          whipping down the highway.  The DAWN
          LIGHT breaks over the horizon.

<b>              (57) EXT. ANOTHER HIGHWAY -- DAWN
</b>
<b>          A SERIES OF SHOTS
</b>          Streaking down a two-lane blacktop
          obviously exhilarated by the velocity of
          their ride.  The landscape becomes lush,
          the trees a riot of autumn splendor.

<b>               (58) EXT. COUNTRY ROAD -- DAWN
</b>
<b>          ANOTHER ANGLE
</b>          as Prince and Vanity whip up to the top
          of a small hill, skid to a stop.  He
          scans the area quickly, gets his
          bearings.  He pops the clutch, skids off
          to the valley below.

<b>             (59) EXT. WOODS AND STREAM -- DAWN
</b>
          PRINCE AND VANITY ride cautiously
          through a series of hiking paths, then
          twist down a small embankment.  A STREAM
          flows before them.  They climb off the
          bike, look around quietly--

<b>                           VANITY
</b>               God, this is beautiful.  It
               reminds me of where I grew up.
               My father used to ...

          He waits for an answer, it's not
          forthcoming--

<b>                           PRINCE
</b>               Your father used to what...?

<b>                           VANITY
</b>               Nothing...it's just...
               (changes subject)
               You must like places like
               this.

          He goes to the stream, balances on
          several rocks, moves to the other side.
          The stream flows between them--

<b>                           VANITY
</b>               So, have you reconsidered my
               proposal?

<b>                           PRINCE
</b>               What...?

<b>                           VANITY
</b>               What we talked about last
               time.

<b>                           PRINCE
</b>               You can't be serious.

          She starts a little dance step, climaxes
          it with spins and twirls--

<b>                           VANITY
</b>               Oh, come on -- you know you
               really want to.  You've been
               waiting for this opportunity
               ...all...your...life...

          He can't help laughing -- she freezes,
          looks at him coldly--

<b>                           PRINCE
</b>               I'm sorry -- excuse me.

<b>                           VANITY
</b>               God -- so why do you come
               around?  You don't want to
               help me, not that you have to.
               You don't want to sleep with
               me, not that you have to do
               that either.  So why am I
               here?

          He smiles, walks off--

<b>                           VANITY
</b>               There's a lot of things you
               don't know about me.  You'd be
               surprised how many things I
               could do.

          He disappears around some trees--

<b>                           VANITY
</b>               Take me home immediately!  I
               want to go home.  I can't
               stand this!  I can't take this
               anymore!  Prince!

          PRINCE moves through the trees smiling,
          studying nature--

<b>                        VANITY(O.S.)
</b>               I don't need this!  I was
               doing alright before I met
               you.  Motherfucker, you need a
               haircut!

          He comes to a tree, leans against it
          contentedly, studies the foliage.

          VANITY paces back and forth frantically
          along the stream--

<b>                           VANITY
</b>               (to herself)
               I don't get this.
               (yells)
               Prince! Who do you think you
               are?!  You don't care.  You
               don't care about anything!  I
               never wanted you to help me
               anyway!

          PRINCE rests by the tree, observes TWO
          HIKERS walking down the path toward him-
<b>          -
</b>
<b>                        VANITY (0.S.)
</b>               You think you're a good
               musician?!  You're nothing!
               Morris is better.  I never
               wanted to make it with you
               anyway.

          The Hikers pass him startled--

<b>                           PRINCE
</b>               Good morning.

<b>                           VANITY
</b><b>               PRINCE, I HATE YOU!
</b>
<b>                           HIKERS
</b>               Good morning, sir.

And they walk down the path, disappear around the bend.
Just then--

          VANITY is standing by his side, a
          wildflower in her hands--

<b>                           VANITY
</b>               (softly)
               I'm sorry.  I shouldn't have
               said those things.  Will you
               forgive me?

<b>                           PRINCE
</b>               (softly)
               Yes.

          He takes the flower, slips it into his
          jacket, kisses her forehead.

<b>              (60) EXT. GLADE AND BARN -- DAWN
</b>
          as they ride down a leaf-strewn path and
          pull to a stop near an old, weathered,
          dilapidated BARN.  It stands laarge and
          silent like a painting.  A low THUNDER
          rolls across the land...

<b>                   (61) INT. BARN -- DAWN
</b>
          DAWN LIGHT burns through the wooden
          slats.. STEAM rises from the wet hay
          scattered throughout.  The air is thick
          and damp.  It begins to RAIN.

          Vanity stands in the middle of the barn,
          gazing at the storm.  Beads of
          perspiration glisten on her forehead.
          She turns slowly, watches as Prince
          retrieves old blankets from a nearby
          stall.  Their eyes search one another
          out, their breathing becomes short,
          expectant.  She hesitates a moment, then
          pulls off her blouse, discards it to the
          moist, dusty floor.

<b>                   (62)  INT. BARN -- DAY
</b>
<b>          ANOTHER ANGLE
</b>          RAIN patters srtongly against the barn.
          A deep THUNDER rolls.  She's on top of
          him, moving deliciously, her body
          glowing in the purple, dawn light.
          Moist, purple water shadows streak and
          course her skin as she moves slowly,
          then deliberately against him.  He
          watches her avidly,  his hands firmly on
          her thighs, and thrusts into her again
          and again...and again.

<b>                   (62A)  EXT. BARN -- DAY
</b>
          Leaves scatter as the bike whips thru
          the wet path.

<b>        (63) EXT. STREETS, VANITY'S MOTEL -- MORNING
</b>
          The STREETS glisten with the rain.
          Prince and Vanity pull up in front of
          her motel.  She hugs him fiercely, steps
          off the bike, her face alive and fresh
          as a flower.  His eyes sparkle--

<b>                           PRINCE
</b>               See you later?

<b>                           VANITY
</b>               When?

<b>                           PRINCE
</b>               Why?

<b>                           VANITY
</b>               'Cause I have to do something
               first.

<b>                           PRINCE
</b>               What?

<b>                           VANITY
</b>               (coyly)
               A secret...

<b>                           PRINCE
</b>               Tell me.

<b>                           VANITY
</b>               No.

<b>                           PRINCE
</b>               Okay, come by -- eight
               o'clock.

          He kicks the bike into gear -- she
          touches his jacket longingly--

<b>                           VANITY
</b>               Bye...

          He blasts off.  She watches him a
          moment, her eyes glowing.  She heads to
          her motel, then stops short -- a single
          CARNATION lies oon the sidewalk.  She
          looks around quickly, almost expecting
          someone to claim it.  But no one's
          around, so she picks it up, goes inside.

<b>       (64) INT. STAIRWELL, VANITY'S MOTEL -- MORNING
</b>
          She enters the LOBBY, closes the door
          behind her.  She turns -- another
          CARNATION is on the stairwell.  She's
          intrigued, glances up the stairs --
          there's another one, and yet another
          further up.  She's confused, but grabs
          them, disappears up the stairs.

<b>          HALLWAY
</b>          as she comes to a halt outside her room,
          picking up carnations along the way.
          She opens her door, cuts inside.

<b>             (65) INT. VANIITY'S ROOM -- MORNING
</b>
          She goes into the bathroom, fills the
          sink with water, arranges the flowers
          within.  She smiles radiantly -- they
          look beautiful.  Suddenly something
          seizes her thoughts.  She opens her
          bureau drawer quickly, pulls out the
          yellow pages, leafs through it
          hurriedly, We READ: Parking, Passport,
          Paving...then Pawnbrokers.  She stops,
          runs her finger down the page, then
          hunts quickly through her drawer.  Her
          eyes dance mischievously when she pulls
          out her gold chain.  She places it on
          her bureau, hurries to her clothes rack.
          Suddenly, a quick KNOCK at the door--

<b>                          MAN(O.S.)
</b>               Miss V.?

          She looks around the corner -- a flower
          delivery MAN stands in the hallway,
          holding a bouquet of roses--

<b>                           VANITY
</b>               Yes...?

<b>                             MAN
</b>               Delivery.

<b>                           VANITY
</b>               (surprised)
               Come in ...

          He cuts inside, and is followed by
          another MAN, holding a bouquet of
          daisies--

<b>                           VANITY
</b>               Hey -- wait a minute.  What's
               going on?

          The Men leave the room--

<b>                             MAN
</b>               Downstairs.

          She hurries to the window, looks out--


<b>          (66) EXT. STREET -- DAY -- VANITY'S POV--
</b>
          Morris and Jerome standing by the curb,
          their eyes fastened excitedly on her
          window, leaning against a flower truck.
          We catch a glimpse of a Man bringing her
          a dozen chrysanthemums--

<b>                           MORRIS
</b>               Good morning, dahling.

<b>         (67) EXT. VANITY'S WINDOW AND STREET -- DAY
</b>
<b>          (INTERCUT)
</b>
<b>                           VANITY
</b>               You're crazy! -- What are you
               doing?

<b>                           MORRIS
</b>               (excited)
               Come down -- come down.

<b>                           VANITY
</b>               I can't -- I've got things to
               do.

<b>                           MORRIS
</b>               C'mon, ten minutes.  I want to
               show you something-

          She shakes her head--

<b>                           VANITY
</b>               I'm sorry, but thanks for the
               flowers.  You're really crazy.

          She disappears from the window.  They
          stand expectantly a long time.  Finally
          Jerome looks at Morris--

<b>                           JEROME
</b>               Well...what do you think?

          Morris is staring intently at the window
          -- he purses his lips sensualy--

<b>                           MORRIS
</b>               Chili sauce.

          Just then Vanity steps outside, looks
          stunning in her tight, black pants and
          boots.  Her eyes dance vivaciously, a
          red sash is tied around her waste.
          Morris gives Jerome his sexy, half-
          lidded, pouty-lip look--

<b>                           MORRIS
</b>               Oh, Lord...

<b>          (68) INT. CLUB (1ST AVE. ST. BAR.) -- DAY
</b>
          CU--Clock.  We SEE 11:25

          Prince cuts through the back entrance,
          walks onto the floor.  Lisa and Wendy
          are onstage PLAYING a SONG we
          immediately recognize as the one they
          had given Prince to listen to.  The DRUM
          RIFF is provided by the Linn Machine (a
          synthesized drum unit).  Wendy plays
          guitar, her back to Prince.  Lisa, at
          the keyboards, spots him and stops--

<b>                            WENDY
</b>               What's wrong?

          Lisa points to Prince.  Wendy
          immediately rips into the guitar solo of
          "G-Spot."  She stops suddenly--

<b>                            WENDY
</b>               Is that better? Do you like
               that?

          He ignores her--

<b>                           PRINCE
</b>               Where is everybody?

<b>                            LISA
</b>               You're late -- they left.

<b>                           PRINCE
</b>               So what are you doing here?

          Lisa immediately launches into the
          opening bars of "Let's Get Crazy"--

<b>                            LISA
</b>               (imitating Prince)
               But I'm here to tell you that
               there's something else -- our
               music--.

          The Girls bust up -- he glares at them--

<b>                           PRINCE
</b>               Can't you guys get off it?
               Can't you just leave it alone?

          Wendy meets his glare with one of her
          own...

<b>                            WENDY
</b>               Yeah -- we'll get off it.

          She turns, snaps off the Linn Machine
          angrily, plunging the club into silence.

<b>               (69) INT. REHEARSAL HALL --DAY
</b>
          The Time is JAMMING like MAD, deep in
          the heart of "Sex Shooter."  Brenda and
          Susan move furiously to the beat, trying
          their best to get it right.  They are
          watched by ...

          ...Morris, Vanity  and Jerome standing
          off to the side.  Morris has a contented
          look on his face, even though his girls
          are screwing up.  Vanity's eyes are wide
          with excitement

<b>                           MORRIS
</b>               As you can see, we need
               someone with your special
               qualities.

<b>     (70) INT. PRINCE'S ANTECHAMBER AND BEDROOM -- NIGHT
</b>
          CU--Clock.  We See: 8:15.

          Prince sits, on his bed, staring at the
          clock, seemingly lost in thoucht.  He
          gets up, rummages through his coat
          pockets, pulls out Lisa's and Wendy's
          tape.  He snaps it into the player,
          settles back.

          MUSIC fills the room.  He listens
          intently a moment, his face placid.  He
          closes his eyes, tries to relax ...

          Suddenly a DOOR SLAMS in the far reaches
          of the house.  Harsh FOOTSTEPS echo
          through the upstairs hallway.  Prince
          remains still, his eyes closed...

          Then another deathly DOOR SLAM!  GLASS
          dissolves in its frame and trickles to
          the floor like icicles.  Resentment
          surges in him like a tornado.  He rises
          purposefully, turns the MUSIC up...

          ...And then his door SMASHES open and
          his Mother LUNGES into the room in a
          PANIC.  She flings herself onto his bed
          as his Father streaks in and WHACKS!
          WHACKS!  WHACKS!  at her with a strap,
          SCREAMING at her with an ominous growl
          of rage--

<b>                           FATHER
</b>               You ain't got no business
               leaving here!  All your
               sneaking around -- you're just
               a sinner!  You're nothing but
               a low life sinner!

          The Mother throws herself at him
          drunkenly, starts slapping, scratching
          at his face--

<b>                           MOTHER
</b>               Shut up!  You don't care about
               me!  Leave me alone!

          Prince claws desperately at his Father's
          back--

<b>                           FATHER
</b>               Don't I keep the heat on?
               Isn't there food in the
               refrigerator?

<b>                           MOTHER
</b>               (crying)
               I don't like it here.  You
               never talk to me! I'm always
               alone!

           Prince drags his Father away--

<b>                           PRINCE
</b>               Dad, please!

<b>                           FATHER
</b>               (shouting)
               What's the matter with this
               house?  Isn't it nice and warm
               here?!

          The Mother stands on the bed SHRIEKING--

<b>                           MOTHER
</b>               You're crazy!

<b>                           FATHER
</b>               Shut up!

<b>                           MOTHER.
</b>               Asshole!

<b>                           FATHER
</b>               Shut up!

<b>                           MOTHER
</b>               (triumphantly)
               Motherfucker!!

          The Father lunges, drags Prince along
          the floor, WHACKS! the Mother in the
          face.  She topples in a heap to the bed.
          He's over her now, breathing fire,
          flailing about savagely--

<b>                           FATHER
</b>               Shut up! Shut up! Shut up!

<b>                           PRINCE
</b>               (desperately)
               Dad!

          He lunges, drop KICKS his Father with
          everything he's got!  His Father SMASHES
          backwards against the wall, slides to
          his buttocks on the floor.  He sits
          there dully, exhausted...spent.

          Prince crawls up along the side of the
          bed.  His Mother buries her head in the
          pillow, choking back sobs--

<b>                           MOTHER
</b>               I'm just trapped here...

          His Father's eyes well with tears.  He
          leans close to her, speaks softly--

<b>                           FATHER
</b>               You always got a roof
               overhead...

<b>                           MOTHER
</b>               You don't let me have any
               fun...

          His Father sighs wearily, pulls himself
          to his feet.  He moves to the door--

<b>                           FATHER
</b>               I could make you happy.  Just
               believe in me...

<b>                           MOTHER
</b>               You never...

<b>                           FATHER
</b>               I would die for you.

          He leaves the room, closes the door
          behind him.

          PRINCE stares at  the door a moment,
          tears welling in his eyes.  His Mother
          is motionless, whimpering softly.  A
          scent of liquor permeates the air.

          He moves toward her, reaches out
          tentatively...

          Suddenly she jumps up, starts pacing
          franticaily--

<b>                           MOTHER
</b>               It's nice here.  It's a nice
               house.  Nothing wrong.
               (a beat)
               It's a good family.  Believe
               me, I know.  Nothing wrong
               here.
               (a beat)
               Your father is okay.  He's a
               good man.  You could learn
               somthing.

          She catches a glimpse of herself in the
          mirror, stops--

<b>                           MOTHER
</b>               My, my!  Don't you think I
               have a good figure?  Your
               Father did.

          She sits in front of the mirror, studies
          her face, her eyes...her breasts--

<b>                           MOTHER
</b>               I was beautiful when your Dad
               met me.  I was out-a-sight!

          She giggles, starts applying makeup--

<b>                           MOTHER
</b>               I looked just like a movie
               star.  The minute he saw me
               singing, I knew just what he
               wanted.

          She fixes him with a conspiratorial
          look, whispers--

<b>                           MOTHER
</b>               He wanted to get into my
               panties.

          She makes funny, "jazzy" eyes at him,
          then stops suddenly, staring.  His face,
          mouth, eyes...a sudden stirring in her
          loins.  Her lips part, she moistens them
          unconsciously...

          She turns from the mirror and stares at
          him -- his look connects with her groin.
          She rises suddenly, walks slowly toward
          the bed, sits facing him--

<b>                           MOTHER
</b>               You look so pretty.  Just like
               me, honey.  You coulda been a
               girl.

          She outlines the mole on his cheek with
          a makeup pencil, then draws one on
          herself.  She takes her earring off, and
          puts it on his ear.  They are face to
          face -- identical--

<b>                           MOTHER
</b>               So pretty...

          She looks at him drunkenly.  He tries to
          hold it in, but can't.  A tear, hot and
          hard as a bullet flows down his cheek.
          She puts her index finger in front of
          his face, moves it back and forth
          hypnotically.   Suddenly she pulls her
          hand away, stretches it to the ceiling
          like an escaping bird.  He swallows,
          tries to smile -- she leans close --

<b>                           MOTHER
</b>               (secretly)
               I have to go now, see some
               friends.  Don't tell your
               father, okay?

          She gets up, leaves the room--

<b>                           MOTHER
</b>               Bye, skipper...bye.

<b>          (71) EXT. PRINCE'S HOUSE -- NIGHT (LATER)
</b>
          Vanity climbs over a fence, moves
          through some bushes, emerges along side
          Prince's house.  She has an excited,
          ravenous look on her face.  She hurries
          to the casement window, climbs into the
          basement.

            (72) INT. PRINCE'S BEDROObt -- NIGHT

          She drops down into the basement, turns
          excitedly, leaps into Prince's arms--

<b>                           VANITY
</b>               I missed you!  Missed you!
               Missed you!

          She hugs him tight, showers him with
          kisses, topples them both to the bed.
          Laughing, hugging, kissing -- fast and
          furious.  Suddenly she jumps up like a
          panther, fluffs her hair wildly in the
          mirror, fixes him with a wanton look.
          His eyes devour her--

<b>                           PRINCE
</b>               Come here.  Where were you?

          She moistens her lips, walks
          lasciviously toward the bed, sits facing
          him.  She laughs suddenly, pushes him
          back...and they're at each other again -
          - faces two inches apart;  touching,
          whispering, kissing, hands searching --
          shutting out the rocm, shutting out the
          world...

          She jumps up suddenly.  She can't be
          contained!  She practically levitates--

<b>                           VANITY
</b>               I have a big surprise for you.

          She rushes to the coal chute, climbs
          halfway through.  Prince, puzzled,
          cracks up watching her ass and legs
          dangling.  She drops back into the room,
          holding a large PACKAGE.  His eyes
          widen.  She struts to the bed, lays it
          down majestically before him--

<b>                           VANITY
</b>               (sings)
               Da...da..!

<b>                            PRINCE
</b>               What is it?

<b>                           VANITY
</b>               Open it.

          He starts peeling the tape off, careful
          not to rip the paper.  Vanity's bursting
          with excitement though, and demolishes
          it in a flash!  He laughs, opens the lid
          -- stares in shock--

<b>                           PRINCE
</b>               Oh, no...
               (happy)
               Oh, no!

           He pulls out a gleaming new GUITAR, and
          we immediately recognize it as the one
          they saw in the window. He's deliriously
          happy, and speechless--

<b>                           PRINCE
</b>               How'd you do it?

          She shouts with delight, attacks him
          again, pushing the guitar aside.  Fast,
          furious kisses and he responds in kind.
          They're twisted in a heap on the bed.
          After a moment they come up for air,
          stare at each other playfully. Something
          flashes across his mind--

<b>                           PRINCE
</b>               Here...

          Her eyes widen.  He takes off his
          Mother's earring, fastens it to her ear.
          Eyes dancing, she jumps up, studies it
          closely, in the mirror--

<b>                           VANITY
</b>               I love it!

          She twists around, kneels beside him,
          showers him with bites and kisses.
          Suddenly she stops--

<b>                           VANITY
</b>               I'm going to join Morris'
               group.

          His face  drops, shocked--

<b>                           PRINCE
</b>               What?

          She backs away from  him, stands,
          strikes a defensive stance--

<b>                           VANITY
</b>               I'm going to join Morris'
               group.

          He LUNGES savagely before he knows it!
          His hand lashes out, SMASHES her in the
          face.  She falls back, CRASHES into the
          mirror.  She slips dully to the floor,
          tries desperately to brace herself on a
          chair--

          He's horrified--

<b>                           PRINCE
</b>               I'm sorry!  Oh, baby, I'm
               sorry! Are you alright?

          He helps her up, she turns away from him-
<b>          -
</b>
<b>                           VANITY
</b>               Just...leave me alone.

          His heart staggers in his chest--

<b>                           PRINCE
</b>               Please...it's just...
               (a beat)
               I don't want you around this
               at all.  I just don't want you
               in my life this way.  You
               don't have to prove anything
               to me or anybody else.
               (a beat)
               Vanity...?  Don't I make you
               happy?  Don.t you like the way
               we are?
               (another thought)
               Do you know Morris?  Do you
               know what he's about? He
               doesn't care about you.

          She  twists viciously--

<b>                           VANITY
</b>               Jealous..?!

          She rushes into the antechamber, climbs
          through the coal chute, disappears into
          the night.

<b>          DISSOLVE TO:
</b>
<b>                  (73) INT. CLUB -- MORNING
</b>
          Matt, Bobby and Mark are JAMMING
          onstage.  Prince emerges from behind the
          curtains.  He looks drawn.and haggard,
          his face unshaven.  The Guys spot him,
          and the MUSIC trickles to a stop.
          Tension fills the room in an instant.
          Mark glances at his watch, fixes Prince
          with a disgusted look.

          Prince climbs the steps to the stage,
          cuts across it--

<b>                           PRINCE
</b>               Where's Lisa and Wendy?

<b>                            BOBBY
</b>               They haven't shown up yet.

<b>                           PRINCE
</b>               They call?

          The Guys shrug, look away.  Prince
          simmers a moment, straps on his guitar -
          - immediately gets ear-splitting
          FEEDBACK.  He stomps on the floor pedals
          angrily.  Just then Chick comes up to
          the stage--

<b>                            CHICK
</b>               Prince.  Billy Sparks wants to
               see you.

<b>                           PRINCE
</b>               Tell him I'm rehearsing.

<b>                            CHICK
</b>               Uh, uh -- now.

<b>             (74) INT. STAIRWAY AND CLUB -- DAY
</b>
          as Billy cuts down the stairs quickly.
          Prince, walking to meet him, pulls
          himself up short--

<b>                            BILLY
</b>               What do you want?

<b>                           PRINCE
</b>               You wanted to see me?

          Billy still moves -- Prince keeps up--

<b>                            BILLY
</b>               You having trouble?

<b>                           PRINCE
</b>               (shrugs)
               No.

<b>                            BILLY
</b>               No?

<b>                           PRINCE
</b>               No ...

<b>                            BILLY
</b>               Where's Lisa and Wendy?

          He stops abruptly at the front door,
          studies Prince for a long time.  Then he
          cuts outside.  Prince follows.

<b>               (75) EXT. STREETS, CLUB -- DAY
</b>
          Rush hour TRAFFIC.  Billy sets the pace
          down the sidewalk -- Prince keeps up--

<b>                            BILLY
</b>               Morris called me this morning.
               Seems he's got himself a new
               group called Vanity Six.  You
               know anything about them?

<b>                           PRINCE
</b>               (a beat)
               No.

<b>                            BILLY
</b>               He tells me they're great.
               Thinks I'll be interested.
               That's cool, but now I've got
               a problem.

<b>                            PRINCE
</b>               What's that?

<b>                            BILLY
</b>               I book three acts -- I can't
               afford four.  If they're as
               good as Morris says they are,
               one of you will have to go...

          Suddenly a HORN BLARES off screen.
          Billy looks up -- a BEAUTIFUL BABE in a
          black BMW waves--

<b>                            BILLY
</b>               Go around the block!

          The Babe pulls into the flow of traffic-
<b>          -
</b>
<b>                            BILLY
</b>               It won't be The Time --
               they're playing backup to
               Vanity.  So it's either you or
               the Modern Aires.
               (a beat)
               What would You do in my
               position?

           Prince has a sinking feeling in his gut-
<b>          -
</b>
<b>                            BILLY
</b>               (musing)
               I like the Modern Aires.  They
               have a good following -- they
               show up for practice -- and
               the kids like all their music.

          The BMW sweeps up to the curb.  Billy
          opens the door, slides in--

<b>                            BILLY
</b>               'Nough said.  Get smart.
               Straighten up your shit.

<b>               (76) INT. REHEARSAL HALL -- DAY
</b>
          The PLACE is JUMPING!  Once again The
          Time is deep in the guts of "Sex
          Shooter," but now there's a difference.
          The MUSIC is fiercer and crisper -- the
          BEAT tailored, more defined.

          Morris and Jerome stand off to the side
          sporting huge grins.  They're avidly
          watching...

          ...Vanity, Susan, and Brenda dancing up
          a fierce storm.  Vanity fronts the two
          Girls and moves panther-like in front of
          the mirrors...

          She's a dynamo, her face drawn tightly,
          her movements crisp and precise.  She
          urges the Girls on, suggests and
          cajoles, strengthening their resolve.
          Sweat lathers their bodies and forms
          rings on their Danskins.  The act is
          still very rough, but the potential for
          success can be felt.

          PRINCE suddenly enters the hall.  Morris
          spots him immediately and halts the
          MUSIC.  The Girls dance on a moment,
          then stop perplexed.  Vanity catches
          Prince's look, shakes her head in
          disbelief--

<b>                           PRINCE
</b>               I want to talk to you.

          She's out of breath, waves him off--

<b>                           VANITY
</b>               Not now,  I'm busy.

<b>                           PRINCE
</b>               Now.

          A TITTER goes through the Band Members -
          - Vanity wipes her face, fixes him with
          a glare--

<b>                           VANITY
</b>               I said I'm busy -- we'll talk
               later.

<b>                           PRINCE
</b>               Uh, uh...

          He grabs her suddenly, pulls her to the
          door--

<b>                           VANITY
</b>               Leave me alone!  I've got a
               show to do!

          She pulls away savagely--

<b>                           VANITY
</b>               YOU can't just come in here
               and take me away!  We'll talk
               later!

          Morris is enraged--

<b>                           MORRIS
</b>               Man -- why don't you just do
               the walk?

          Prince glares at him, cups his genitals-
<b>          -
</b>
<b>                           PRINCE
</b>               Why don't you kiss the one-
               eyed snake?

          The Band lets out a condescending GROAN
          -- the tension rises

<b>                           MORRIS
</b>               Jellybean!

          Jellybean, 6'4", 210 pounds, steps from
          behind the drums, moves up behind Prince-
<b>          -
</b>
<b>                          JELLYBEAN
</b>               Let's go, Jack.

<b>                           PRINCE
</b>               Fuck you!

          He lunges, grabs Vanity again -- she
<b>          SHRIEKS--
</b>
<b>                           VANITY
</b>               Leave me alone, dammit!  Get
               out of here!

          Jellybean lurches, grabs Prince in a
          HEAIDLOCK, lifts him off his his feet.
          Prince kicks at him wildly--

<b>                          JELLYBEAN
</b>               (enraged)
               Fucker!!

          He twists Prince's head backwards,
          SMASHES his body to the ground--

<b>                          JELLYBEAN
</b>               Stay still, motherfucker!!

          But Prince continues fighting him with
          everything he's got!  Jellybean is
          astonished--

<b>                          JELLYBEAN
</b>               Shit!!

          He twists Prince's neck savagely,
          SMASHES! his legs to the floor again and
          again--

<b>                          JELLYBEAN
</b>               Stop!!

          Vanity is crying--

<b>                           VANITY
</b>               Jellybean, please...

Prince drops to his hands and knees exhausted.  Everybody is
frozen now -- scared.  The Girls are crying, the incedent
has already gone too far...

          Jellybean settles his weight on Prince,
          twists his head down painfully, trying
          to break the resistance he alone can
          feel.  Prince remains silent, the anger
          coursing through his body in tremors--

          The Guys surround them, grabbing
          Prince's arms, legs, and feet.  He's
          like a trapped animal now--

<b>                          JELLYBEAN
</b>               Lift him.

<b>                           VANITY
</b>               (crying)
               Don't hurt him ...

          They pick him up, move him toward the
          door.  He resists them slightly, his
          body lurching in fit and starts.
          Suddenly he breaks free, faces them with
          his back to he door.  But the Band
          Members surround him, their wills
          united, the obviousness of the situation
          apparent to all.

          He searches for Vanity's eyes, but she
          can't face him and walks away.  Anger
          again surges in his veins.  He cuts out
          the door, SLAMS it behind him.

<b>         (77) EXT. ACCESS ROAD, TRAIN TRACKS -- DUSK
</b>
          Prince WHIPS down a dirt access road
          locked in thought, the pain and anger in
          his eyes apparent.  Suddenly a TRAIN
          WHISTLE BLASTS just behind him, sending
          a shot of fear through his guts.

          He twists backwards in amazement.  A
          FREIGHT TRAIN ROARS around the bend
          BLASTING its HORN violently.  Prince
          shudders with fright, loses control of
          his cycle for an instant.  He hits a
          series of ruts that almost topple him to
          the ground.

          He looks back at the train confused,
          when another BLAST seems to SOCK him in
          the teeth.  He twists wildly to the side
          of the road, kicking up dirt and debris,
          lurching him into the handlebars
          violently.

          The TRAIN ROARS abreast of him!  Prince
          snaps an angry look at the engineer.
          The Guy coolly gives him the finger and
          BLASTS the HORN violently.

          Prince becomes enraged!  He snaps a look
          to the speedometer: 65 mph.  He snaps a
          look to the Engineer -- the Guy sends
          him another obscene gesture and BLASTS
          his HORN.

          Prince grits his teeth, twists the
          throttle full.  He lurches forward in an
          instant, blazing in front of the train,
          The Engineer BLASTS the HORN
          mercilessly, and throws on the coals.
          They blast down the stretch neck to
          neck, twist round a wide bend.

          Prince edges in front!  The Engineer
          BLASTS the HORN and moves up.  Prince
          snaps a look to him -- the Guy mouths
          the words:  Fuck You!

          Prince wants to scream!  He twists the
          throttle, snaps a look to the
          speedometer:  75 mph.  He RIPS past ruts
          and gullies like a madman.  The TRAIN
          moves up.  They blast around another
          bend neck to neck

          Suddenly Prince's eyes widen with
          horror.  A CAR is parked across the
          access road, waiting to cross the track.
          He shoots a look to the Engineer -- the
          Guy is laughing hysterically now,
          BLASTING his HORN wildly, mouthing the
          words:  Bye Bye!

          Prince screams like  a MADMAN!  He
          twists his  throttle FULL!  He blazes
          ahead of the train, BLASTS! up the
          embankment, SAILS through the air...

          ...a BRICK WALL cuts the access road in
          two!

          He SCREAMS in bloody terror!  He hits
          the road and fishtails wildly, locking
          his brakes.  The WALL comes at him like
          a locomotive.  He's going to hit it,
          knows it and...

          He twists his throttle violently BLASTS!
          directly into the path of the train!

          The Engineer looks on in horror!  Prince
          throws his weight forward and...

          ...the train ROARS past him as he
          fishtails wildly to a stop.

          The Engineer sails off into the dusk,
          his mouth agape.  Prince sits there
          breathing fiercely, the adrenaline
          shrieking though his veins, watching
          the train disappear into the distance.

<b>     (78) EXT. STREETS AND ALLEY -- DOWNTOWN -- TWILIGHT
</b>
SHOPPERS flood the sidewalks, rushing for the buses that
take them home.  TRAFFIC clogs  at the 77 intersections
while PEDESTRIANS walk against the lights.  Prince rides
down the streets, hugging the right shoulder, impatient with
the delays.  He blasts down a side street, sees FLASHING
LIGHTS up ahead.  GAWKERS are already crowding around.

          He moves through the TRAFFIC slowly,
          glides past a POLICE CAR, and a small
          CROWD.  A CAR has run onto the sidewalk,
          knocking down the marquee to a rundown,
          neighborhood bar.

          Something catches his eye -- he stops
          suddenly.  His Mother stands against the
          wall, idly watching the goings on.  He
          jumps off his bike hurriedly, walks up
          behind her, taps her on the shoulder--

<b>                           PRINCE
</b>               Ma...?

          She turns, he gasps out loud.  Her left
          eye is swollen shut--

<b>                           MOTHER
</b>               (drunkenly)
               Hi, ya, baby...

          Her drunken breath washes over him --
          his head spins--

<b>                           PRINCE
</b>               Ma...what happened?

          She rubs up against him--

<b>                           MOTHER
</b>               Can you give me some money?
               C'mon, just some money...

          She gropes for him drunkenly -- he
          suddenly realizes she doesn't know who
          he is--

<b>                           MOTHER
</b>               Here...here...

          She tugs at her wedding ring--

<b>                           MOTHER
</b>               Give me something for
               this...just a little.  It'll
               be okay...

<b>                           PRINCE
</b>               C'mon...I'll take you home.

          Just then a COP moves through the Crowd-
<b>          -
</b>
<b>                             COP
</b>               Okay, c'mon now -- break it
               up.  Let's go..

          The Crowd moves out.  Police RADIOS
          cackle.  Three WOMEN stagger over, one
          of them grabbing his Mother--

<b>                            WOMAN
</b>               C'mon, honey -- we're goin'
               in...

          She fixes Prince with a glare--

<b>                            WOMAN
</b>               You're a little young aren't
               you?  Get out of here.  Leave
               her alone.

<b>               (79) EXT. PRINCES HOME -- NIGHT
</b>
          Prince BLASTS down the STREET, sweeps
          into his drive, and jumps off his bike,
          practically smashing it into the gate.
          His eyes are burning with anger.  He
          flies up the steps three at a time, cuts
          across the porch, bursts throuch the
          front door and--

<b>              (80) INT. PRINCE'S POME -- NIGHT
</b>
          -- stalks through the living room, eyes
          blazing--

<b>                           PRINCE
</b>               Where the fuck are you?

          He spins like a top, streaks down the
          hallway, throws open several doors
          violently--

<b>                           PRINCE
</b>               Where are you?

          He cuts into the kitchen raging--

<b>                           PRINCE
</b>               Answer me you fucker!!

          He twists around frustrated; exhaustion,
          anger, and pain competing for the same
          space.  Suddenly he stops, listens
          intently a moment.  We HEAR it now -- a
          PIANO.  Someone's PLAYING A PIANO.
          Prince throws a look at the basement
          door -- it's ajar.

<b>         (81) INT. BASEMENT, PRINCE'S HOUSE -- NIGHT
</b>
          A naked LIGHT BULB snaps ON.  Prince
          hesitates a moment, descends the steps,
          pauses at the door.  The MUSIC wafts
          delicately in the night breeze.  He
          moves down the halllway uncertainly, but
          steadily, the MUSIC growing, drawing him
          in.

          He stops, peers into the antechamber.
          His Father is at the piano, his back to
          him.  He's perched on the broken stool,
          playing with all he's got.

          Prince moves slowly into the room, his
          knees weakening, his anger flowing from
          him with every step he takes.  Seeing
          his Father this way, he doesn't know if
          he should laugh or cry.  He sits down
          silently behind him, listens as his
          Father plays.

          The SONG ends.  His Father sits a
          moment, stretching his hands idly along
          the keys.  Feeling a presence in the
          room, he spins around and jumps slightly
          at seeing his son.  He fixes him with a
          threatening look, then shrugs, hunches
          over the keys--

<b>                           PRINCE
</b>               Is that yours?

<b>                           FATHER
</b>               'Course it's mine.  Who else's
               is it goin' to be?  Got all
               kinds of them.  They're
               different too.

<b>                           PRINCE
</b>               I'd like to see them.  You got
               them written down somewhere?

<b>                           FATHER
</b>               No, man -- I don't write them
               down -- don't need to.  That's
               the big difference between you
               and me.

<b>                           PRINCE
</b>               Thought you weren't going to
               play no more.

          His Father looks at him sullenly, then
          looks down, stares at the keys.
          Prince's eyes well with tears--

<b>                           PRINCE
</b>               I saw Mom up the street.  She
               looked pretty bad.  Any idea
               how she got that way?

          His Father bites his his lip, rubs a
          hand over his face, stares at the keys.
          His voice comes with difficulty--

<b>                           PRINCE
</b>               Yeah...
               (a beat)
               I got a girlfriend.

<b>                            FATHER
</b>               You gonna get married?

<b>                           PRINCE
</b>               (long pause)
               I don't know.

          His Father shares a hurtful look with
          him, then stares darkly at the floor
          below--

<b>                           FATHER
</b>               Never get married.

<b>                   (82) INT. CLUB -- NIGHT
</b>
          The CLUB is THROBBING.  Prince is
          onstage, stripped to the waist, SWEAT
          seeping from his pores in torrents.
          He's deep into the pit of "Computer
          Blue, " locked into a provocative,
          obscene graphic with Wendy. She's on her
          knees in front of him, his crotch moving
          directly in front of her lips.  She's
          made up fiercely, looks like Prince
          himself.  The total effect is unnerving
          -- Prince is going down on himself.

          Billy Sparks stands by the bar pretty
          upset.  Jill stands slack-jawed.  The
          KIDS have stopped dancing, drinking --
          they staring at the display,.shaking
          their heads confused...

          The BEAT is SAVAGE.  Prince is in his
          own world, living his own private hell.
          Suddenly the MUSIC crescendos, then
          winds down like a roller coaster
          sweeping everyone along.  The BEAT
          changes radically.  He turns his back to
          the audience and plays ...

          ...and we suddenly recognize the MUSIC
          as his Father's -- the song he played on
          the piano the night before. But it's
          Prince's now, stamped with his own
          signature.  He's bent at the waist, his
          back to the audience, alone with his
          father's, and his, pain.

          The CROWD fidgets...Billy Sparks fastens
          his eyes on Prince angrily.

<b> (83) EXT. CLUB/INT. MORRIS' CAR (1ST AVE. ST. BAR) -- NIGHT
</b>
          KIDS are hanging out in front of the
          club.  The usual queue, however, is
          noticeably absent.

          The yellow Caddy sweeps up.  Jerome is
          at the wheel, Morris and Vanity sit in
          the back.  Morris is dressed elegantly,
          resplendent in a 5O's-style suit.  She's
          beautiful in a sleek black dress, with
          long black gloves, and heels--

<b>                           VANITY
</b>               What are we doing here,
               Morris?

<b>                           MORRIS
</b>               What do you mean?

<b>                           VANITY
</b>               I don't want to be here.  I
               don't want to hurt anybody.

<b>                           MORRIS
</b>               It's not about hurting
               anybody.  This is business.
               We can use the exposure.

          Just then Brenda and Susan come up to
          the car excitedly.  Brenda is dressed in
          a 40's-style dress, Susan wears a form-
          fitting leopard one.  They both look
          gorgeous--

<b>                           BRENDA
</b>               Hi -- you coming in?

          Their excitement and nervousness is
          endearing.  Vanity's heart goes out to
          them.  She forces a smile, climbs out
          unaided--

<b>                           VANITY
</b>               Your horns are showing,
               Morris.

<b>                           MORRIS
</b>               Yeah...but they're holding up
               my halo.

<b>                   (84) INT. CLUB -- NIGHT
</b>
          Prince is on-stage, deep into the
          closing moments of "Computer Blue."  He
          paces back and forth frantically, still
          locked in his own private hell.  The
          Crowd's attention has wandered, however,
          and very few remain on the dance floor,
          finding it too much trouble to keep up
          with the changing shifts in the music.
          Even his band members are edgy, casting
          quick looks to each other, wishing to
          get on with more compelling audience-
          pleasing sounds.

<b>          BAR AREA
</b>          as Billy Sparks shakes hands with Morris
          and Jerome and is introduced to Vanity
          Six for the first time.  We can tell by
          his reaction that he likes what he sees.
          He kisses Brenda and Susan, saves a
          special squeeze for Vanity herself.  He
          escorts the whole group to a table
          across the floor.  Vanity brings up the
          rear, casts a quick look to Prince
          onstage.

<b>          PRINCE
</b>          fastens on her and brings "Computer
          Blue" to a rousing end.  The Crowd
          applauds, but it's more out of respect
          than eagerness.  He doesn't seem to
          notice though, or care.  He confers
          quickly with his group., then moves
          center-stage.  The Band Members trade
          frustrated looks with each other -- it's
          obvious that they have some trouble with
          the next song...

          Prince presses his lips to the mike, and
          the MUSIC starts.  He begins SINGING
          "Darling Nicky"--

<b>                           PRINCE
</b>               I knew a girl named Nicky,
               I guess you can say she was a
               sex fiend.
               I met her in a hotel lobby
               masturbating in magazines.
               She said, How'd you like to
               waste some time,
               And I could not resist
               When I saw little Nicky grind.

<b>          BILLY SPARKS
</b>          shoots a fierce look to Prince, helps
          Morris, Jerome and the Girls to their
          table.  Vanity is watching Prince, a
          puzzled look on her face--

<b>                           MORRIS
</b>               Hee, hee...little empty
               tonight, huh, Billy.  But I
               guess money isn't everything.

          Jerome busts up--

<b>                           JEROME
</b>               Oh no... that's cold...

          But Billy agrees--

<b>                            BILLY
</b>               The Duke of Dick is in rare
               form tonight.

          They all look toward the stage--

<b>          PRINCE
</b>          is fastened on Vanity and it's apparent
          to all.  He launches into the next verse-
<b>          -
</b>
<b>                           PRINCE
</b>               She took me to her castle
               And I could not believe my
               eyes.
               She had so many devices
               Everything that money could
               buy.
               She said,
               Sign your name on the dotted
               line,
               The lights went out,
               And Nicky started to grind.

<b>          VANITY
</b>          flushes with embarrassment.  Billy and
          Morris notice this and glare at Prince.

<b>          PRINCE
</b>          looks dead-center at them, and then to
          Vanily--

<b>                           PRINCE
</b>               I woke up the next morning.
               Nicky wasn't there.
               I looked all ov'r all I found
               Was a phone number on the
               stairs.
               It said thank you for a funky
               time,
               Call me up when ev'r you want
               to grind.

<b>          VANITY
</b>          stands suddenly, fighting back tears.
          She backs from the table quickly, knocks
          the chair over.  Morris tries to help
          her, but she sweeps past him, hurrying
          for the exit.

<b>           (85) INT. STAIRWAY/EXT. STREET -- NIGHT
</b>
          as she comes down the stairs stumbling
          slightly, tears streaming down her face.
          Chick sees her, reached out to help--

<b>                            CHICK
</b>               Hey ...

          But she pulls away, runs out the door,
          cuts across the street.

<b>                   (86) INT. CLUB -- NIGHT
</b>
<b>          PRINCE
</b>          brings the SONG to a blistering end.
          The stage is plunged into darkness.  He
          strips off his guitar, cuts from the
          stage, ignoring the grave looks from his
          Band Members.

<b>                 (87) INT. HALLWAY -- NIGHT
</b>
          as Prince twists aggressively past a
          handful of FANS, rudely disregarding
          their attention.  He Cuts into the
          dressing room.

<b>              (88) INT. DRESSING ROON -- NIGHT
</b>
          He's agitated, paces back and forth in a
          frenzy.  Suddenly the DOOR flies open.
          Billy Sparks enters angrily--

<b>                            BILLY
</b>               What the fuck's wrong with
               you, Prince?!

<b>                           PRINCE
</b>               I don't have time for your
               bullshit, Billy.  What do you
               want?

<b>                            BILLY
</b>               My stage is no place for your
               personal shit!

<b>                           PRINCE
</b>               That's life, man.

<b>                            BILLY
</b>               Life my ass, motherfucker!
               This is a business, and you're
               not too far gone to see that.
               (a beat)
               I've told you this before.
               You're not pulling them in
               like you used to.  The only
               person who gives a fuck about
               your music is yourself.

<b>                           PRINCE
</b>               Fuck off!

          But Billy can't help laughing--

<b>                            BILLY
</b>               Just like your old man...

          Prince shoots him a threatening look--

<b>                            BILLY
</b>               Yeah -- you got it.  Tell me
               I'm wrong.
               (a beat)
               You're not blind.  Look around
               you.  No one's digging you.

          Prince turns away--

<b>                            BILLY
</b>               Look at your band.  Are they
               in here right now?  They're
               out there 'cause they can't
               stand being in the same room
               with you.
               (a beat)
               What a fucking waste...like
               father, like son--

<b>                           PRINCE
</b>               Lay off that!

          Billy turns to go--

<b>                            BILLY
</b>               Take your head out of your
               ass, Prince, check it out --
               unless you like the view up
               there.  Your music doesn't
               make sense to anyone but
               yourself.

          He closes the door behind him.  Prince
          stands dully a moment, then sits heavily
          in a chair.  Exhaustion suddenly
          overwhelms him.  He rests his head in
          his hands, moments tick by...

          He shakes himself awake -- Morris and
          Jerome stand by the door--

<b>                           JEROME
</b>               That was fucked up what you
               did man.  Morris doesn't like
               it. And being a part of this -
               - I don't like it either.

<b>                           PRINCE
</b>               I don't care.

<b>                           MORRIS
</b>               Hee, hee...huh, it's obvious
               you don't have what it takes
               to be on top.

          He pulls an envelope from his pocket--

<b>                           MORRIS
</b>               But to show you that I'm
               sympathetic to your problems -
               - here's a pass to our show
               tomorrow night.  Enjoy it.

          They leave.  Then Morris sticks his head
          into the doorway--

<b>                           MORRIS
</b>               Don't forget to bring a
               girlfriend.  Whawhak!

<b>                (89) EXT. THE TASTE -- NIGHT
</b>
          COMMOTION.  CARS are THICK in front of
          THE TASTE, a small NIGHTCLUB located in
          the poorer part of the city.  Because of
          its location, The Taste books different
          dance bands four nights a week and then
          hosts a Variety Night the remaining two.
          Aspiring comedians, dancers and jugglers
          flock to Variety Night, desirous of
          trying their material in front of a live
          audience -- and hoping to catch the
          discering eye of a talent scout on the
          prowl.

          Billy Sparks pulls up to the curb, gets
          out with a beautiful WOMAN and cuts
          inside.

<b>           (90) INT. BACKSTAGE, THE TASTE -- NIGHT
</b>          Jerome stands BACKSTAGE fidgeting
          nervously, staring appreciatively at the
          closed dressing room door.  Various
          PEOPLE in COSTUMES pass by sporadically.
          Suddenly a burst of APPLAUSE and
          LAUGHTER wafts into the hallway.  Jerome
          walks to the curtain and peers out--

<b>                (91) INT. THE TASTE -- NIGHT
</b>
<b>          JEROME'S POV--
</b>          Billy Sparks and his Girlfriend being
          seated at a front table.  A COMEDIAN is
          on stage juggling KNIVES and HATCHETS.
          The CROWD is ROARING their approval.

<b>          (92) INT. BACKSTAGE -- THE TASTE -- NIGHT
</b>
          Just then a CLOWN passes Jerome, stops,
          and hands him a flower.  Jerome tries to
          smile, but his nervousness is simply too
          strong.  The Clown hands him another
          flower, trying to elicit a favorable
          response.  Jerome is patient, but
          attempts to ignore the Clown in a polite
          way, indicating he'd rather be alone.
          The Clown persists, however, going
          through a little routine, handing him
          flower after flower...

          Suddenly Jerome throws them into the
          air, grabs the Clown by the throat and
          flings him headlong down the hallway.
          The Clown gives Jerome the finger and
          walks off in a huff.

<b>          MORRIS
</b>          cuts from the dressing room, closes the
          door behind him.  He joins Jerome at the
          curtain, and they move down the back
          stairway to the CLUB--

<b>                           MORRIS
</b>               (nervously)
               I guess this is it.

<b>                           JEROME
</b>               I guess so, M.D.

<b>                           MORRIS
</b>               I think I'm going to be sick.
               Why does this have to be
               happening to me?  Has it
               crossed your mind that we're
               about to make the biggest
               mistake we've ever made?

<b>                           JEROME
</b>               I don't think it's all that
               bad.

<b>                           MORRIS
</b>               That's why I do all the
               thinking.

<b>                (93) INT. THE TASTE -- NIGHT
</b>
as Billy Sparks spots Morris, waves.  Morris manages a weak
smile, offers a half-hearted wave back.  Just then we HEAR a
firce DRUM BEAT, and--

<b>                         TASTE M.C.
</b>               Ladies and Gentlemen, please
               welcome Vanity Six.

          Respectful APPLAUSE--

<b>                           MORRIS
</b>               Oh, God--

          He sits quickly, followed by Jerome --
          they both put on sunglasses.

          A HUSH descends over the CROWD.  The
          CURTAIN rises slowly...and Brenda, Susan
          and Vanity are frozen in a provocative,
          vampy stance.  Their effect on the
          audience is galvanizing --   the Crowd
          bursts into APPLAUSE and WHISTLES--

<b>                           MORRIS
</b>               (surprised)
               What??

          Wearing sexy lingerie and moving
          seductively to the beat, the Girls
          launch into "Sex Shooter" with complete
          abandon.  The MUSIC is slick and fierce,
          the Girls sexy and sure.  Wearing black
          bikini panties, black tails and boots,
          Vanity dances center-stage and begins
          SINGING.  She's mesmerizing, her look so
          alluring, so profound that the audience
          sits slack-jawed in amazement.  The
          SPOTLIGHT is hers and she soaks it in,
          radiating a sexiness that has the
          audience at her feet.  The entire
          concept -- dress, dance, music and
          staging -- is overwhelming, with just
          the right degree of playfulness to allow
          the Crowd easy passage into the fantasy
          world the Girls create.  Brenda and
          Susan play off her wonderfully, sharing
          secret looks with the Crowd, balancing
          the wickedness of the act with an
          innocence that is enticing.  They're
          working strongly as a unit now, the
          AUDIENCE roaring their approval...

<b>          MORRIS
</b>          and Jerome are beside themselves with
          happiness.  The pull off their shades
          immediately, sit back and glow in the
          audience's response.

<b>          PRINCE
</b>          stands in the back, his eyes glued to
          Vanity.  Her strength and sureness in
          front of the Crowd is breathtaking.  The
          audience loves her and he suddenly feels
          very alone -- as if another wall has
          gone up between them.  He looks away a
          moment and spots...

          ...Morris looking at him with a self-
          satisfied, triumphant grin on his face.
          Prince looks away, moves out of his
          eyesight.

          "Sex Shooter" comes to an end.  The
          stage is plunged into darkness.  The
          CROWD goes WILD, leaps to their feet,
          begging for more.  The Girls, slighly
          over-whelmed by the response and
          flushing deep red, hold one
          another.tightly and take repeated bows.

<b>          PRINCE
</b>          watches the Girls bowing to thunderous
          APPLAUSE.  Suddenly Vanity looks at him
          and touches the earring she's wearing --
          it's his Mother's.  His knees weaken
          instantly, and he locks eyes with her.
          The heat between them is unmistakable.
          She smiles vividly, gives him an
          endearing wave and steps back as the
          curtain closes.

          He's MOVING through the Crowd before he
          knows it, trying to get to the backstage
          door.  The Crowd is thick, his path
          momentarily blocked.  He spots Billy
          Sparks cutting across the floor and
          congratulating Morris and Jerome.
          Prince turns from them, tries once again
          to make his way through the Crowd.

<b> (94) INT. DRESSING ROOM, AND HALLWAY -- THE TASTE -- NIGHT
</b>
<b>          VANITY
</b>          and the Girls rush into the dressing
          room and jump up and down with
          excitement.  They are beside themselves
          with happiness, kissing and hugging one
          another avidly.  Suddenly Vanity pulls
          away, indicates she will be back and
          cuts out the room.

<b>          HALLWAY
</b>          as she runs down the hallway to the
          backstage area, peers from behind the
          curtain, scanning the club earnestly.

<b>      (95) IN'T. -- THE TASTE -- NEAR CURTAIN -- NIGHT
</b>
          as Prince waits impatiently in the long
          line.  Billy Sparks comes by, spots him
          and stops--

<b>                            BILLY
</b>               Morris is squeezing you,
               kiddo.  You better kick ass
               tomorrow night or else.

          He cuts outside, disappears into the
          Crowd.  Prince stands there steaming,
          the wind knocked out of him, his joy a
          memory.  He turns back to the line, but
          it has grown, the Crowd now jammed up
          against the door.  Frustrated, he cuts
          outside.

<b>          BACKSTAGE
</b>          as Vanity watches Prince leave.  A
          profound sadness sweeps her face.
          Suddenly Susan is by her Side, hugging
          and kissing her happily.  Brenda runs
          up, pouring champagne.  Morris, Jerome
          and The Time are at the end of the
          hallway and beckon her excitedly into
          the room.  Vanity forces a smile, goes
          down the hallway, casting another look
          at the exit door.

<b>          (96) EXT. BACK ALLEY, THE TASTE -- NIGHT
</b>
          Morris and Vanity stagger down the ALLEY
          obviously very drunk.  Morris pulls from
          a FLASK.  Vanity is still in her
          lingerie, wears an open coat over it.
          Her speech is slurred--

<b>                           VANITY
</b>               Did you hear these people
               applauding?  They loved us --
               they wanted to rip us apart,
               and this is just our first
               night.  I can see it now,
               we're all going to be big
               stars.  I can feel it.

<b>                           MORRIS
</b>               (singing)
               Ain't nobody bad like me.

          She kisses him spontaneously on the
          cheek--

<b>                           VANITY
</b>               Morris, you're a genius.

<b>                           MORRIS
</b>               Ye-es...

          He fixes her with a sexy look, takes a
          healthy look from his flask, then gives
          it too her.  Vanity throws her head
          back, drinks fully, the liquor coursing
          over her cheeks.  He devours her with
          his eyes, opens the door to the Caddy--

<b>                           MORRIS
</b>               Let's go, Bebe.

          She stops as if remembering something--

<b>                           VANITY
</b>               Huh, where's Jerome?

<b>                           MORRIS
</b>               In his skin...hee, hee...

          He's trying to nudge her into the Caddy-
<b>          -
</b>
<b>                           VANITY
</b>               Is he coming?

<b>                           MORRIS
</b>               I gave him the night off.

<b>                           VANITY
</b>               Why?

          He staggers back from the car, undulates
          his hips wantonly--

<b>                           MORRIS
</b>               Whawhak!

          She busts up.  Just then a MOTORCYCLE
          can be heard off screen.  They look
          around drunkenly, trying to discern its
          direction.  Suddenly Prince BLASTS
          around the corner FULL OUT!  He streaks
          by Morris and KICKS him flat on his ass
          into the garbage--

<b>                           MORRIS
</b>               (wails)
               Oh, no -- Oh, God...No!

          Prince skids to a slick stop.  Vanity is
          transfixed.  The entire episode  took
          less than five seconds.  He twists the
          throttle, BLASTS down upon her...

          She breaks in a panic!  She runs
          clumsily down another alley, her coat
          flying.  He WHIPS after her like a
          madman.  She flies around the corner --
          a dead end!  He fishtails to a slick
          stop--

<b>                           PRINCE
</b>               Get on!

          There's no way out!  Suddenly she lets
          out an excited YELP, jumps on.  He guns
          the bike, BURSTS up the alley.  Morris
          jumps into his path drunkenly, his arms
          extended--

<b>                           MORRIS
</b>               Stop! Stop!

          But Prince BLAZES down upon him, sending
          him slipping and sliding to safety.  He
          BLASTS around the bend--

<b>                           MORRIS
</b>               Motherfucker!  You long-haired
               faggot!

<b>          (97) EXT. HIGHWAY  TO EMBANKMENT -- NIGHT
</b>
          Prince and Vanity WHIPPING down the
          highway.

<b>                (98) EXT. EMBANKMENT -- NIGHT
</b>
          They streak down the road, slow, then
          move down a small embankment.  He stops
          the bike and gets off.  She's in a foul
          mood, staggers around dully, her head
          pounding, her speech slurred--

<b>                           VANITY
</b>               So here we are again.  So this
               is it, huh?  What do you want
               this time?

          He looks at her painfully, upset about
          her drunken state--

<b>                           VANITY
</b>               What's your problem now?
               What's your main problem?

<b>                           PRINCE
</b>               No problem.  I just wanted to
               talk, alright? I just want us
               to be okay, to really get
               along.  No big deal.

          She cackles, falls flat on her ass,
          hoists herself up--

<b>                           VANITY
</b>               No big deal, huh...

          She pulls Morris' FLASK from her jacket
          -- his eyes blacken--

<b>                           PRINCE
</b>               Give me that.

<b>                           VANITY
</b>               No, definitely not.  Who are
               you?  You can't tell me what
               to do.

          She puts it to her lips--

<b>                           PRINCE
</b>               Please don't drink that.  Give
               it to me.

          She holds the flask to her lips
          defiantly, then goes to drink.

          He lashes out suddenly, SMASHES it from
          her grip.  She SCREAMS wildly, SLAPS him
          hard across the face.  He stands shocked
          a moment, his rage surging within him,
          smashing through every safety valve he's
          acquired in his life.  He BACKHANDS her
          savagely across the jaw.

          She hits the ground like a rag doll.  He
          looks at her curiously, bends over her -
          - she sucker-punches him with everything
          she's got!  He SCREAMS in rage and grabs
          her hands as they flail about his face.
          He squeezes her fingers back while the
          tears stream down her cheeks and her
          mouth forms a silent "ow"!  She bares
          her teeth angrily and he sucks at her
          mouth, biting and kissing her in a fever
          pitch.

          She kicks at him violently, hot tears
          streaming down her cheeks.  He jams his
          leg between hers, rubs it firmly against
          her bottom.  She struggles helplessly
          against him as he covers her breasts,
          her stomach, her thighs with his lips.
          Quick breaths escape from her -- her
          breathing begins to race...

          He snaps her panties in two, pulls them
          from between her legs.  She spreads
          herself as he releases his pants.  She
          squeezes his buttocks, pulls him toward
          her -- but Prince resists her coldly,
          regards her with contempt.  Suddenly he
          flips her onto her stomach, forces her
          to stand painfully on her knees.  He
          rubs his hand between her buttocks, then
          thrusts into her painfully, driving
          himself to the very depths of her...

          ...but she stifles a cry, arches her
          back, and meets his thrusts fiercely,
          moving quicker and quicker, banging her
          buttocks against his thighs again and
          again.  She's drawing from him now,
          turning the humiliation around,
          obtaining all that she needs and
          desires.  He's powerless -- her thrusts
          set the pace.  She rises, Prince still
          inside her and tugs on him rapidly,
          causing him to ejaculate suddenly,
          drawing from him a sharp and sudden
          cry...

          She moves away, draws her coat tightly
          about her, fixes him with a contemptuous
          look--

<b>                           VANITY
</b>
               You're nothing, Prince,
               absolutely nothing.  You think
               you're so special --  but deep
               down you're just like all the
               rest.
               (a beat)
               Your whole life you've been
               hiding, hiding behind your
               music.  But now you don't even
               have that, because last
               night...last night you used it
               to hurt someone, someone who
               really cares.

          She runs up the embankment, wipes away
          her tears, faces him--

<b>                           VANITY
</b>               If you put your hands on me
               like that ever again, I'll be
               the last person you touch.

          She pulls off his Mother's earring,
          throws it at him.  Tears flowing, she
          streaks into the HIGHWAY blindly,
          directly into the path of a SPEEDING CAR-
<b>          -
</b>
<b>          THE DRIVER
</b>          spots her in his HEADLIGHTS, SLAMS on
          his brakes!  He SKIDS wildly across the
          road, comes to a SCREECHING, BURNING
          stop inches from her thigh!

<b>          VANITY
</b>          shoots a look at Prince, her lips
          trembling, her love for him, written
          plainly on her face.  But his eyes flash
          defiantly.  She bites her lip sadly,
          then snaps a hot look at the Driver--

<b>                           VANITY
</b>               I  need a  ride.

          She cuts around the car, hops in.  The
          Driver skids off into the night.  Prince
          stands there trembling, watches as it
          disappears into the distance.

<b>          DISSOLVE   TO:
</b>
<b>              (99) EXT. PRINCE'S HOUSE -- NIGHT
</b>
          Prince pulls up to the wooden gate, cuts
          the motor, gets off.  He walk wearily
          across the porch, moves to the front
          door -- it's wide open.  He thinks
          nothing of it, cuts into the house,
          closes it behind him.

<b>     (100) INT. PRINCE'S HOUSE -- GROUND  FLOOR -- NIGHT
</b>
          He stands by the door motionless, a
          curious look on his face.  The STEREO is
          on, the NEEDLE skipping monotonously
          along the record.  His mouth opens into
          a spasm--

<b>                           PRINCE
</b>               Dad...?

          Silence.  A sudden dread courses through
          him, leaving a hollow in his stomach.
          His feet are like lead.  He moves
          heavily into the room--

<b>                           PRINCE
</b>               Mom...?

          Nothing.  Panic sets in.  He STREAKS
          down the hallway, twists open the
          bedroom door -- it's empty.  Blue NIGHT
          LIGHT glows through the windows.
          CURTAINS play delicately in the breeze.
          He's thoughtful, walks back into the
          living room...

          ...the COFFEE TABLE is SMASHED.  He
          looks at it curiously, wondering
          stupidly if it had always been like
          that.  Then sudden bolt of fear makes
          his head swim.  A lamp, a porcelain
          dish, some knickknacks on the mantle --
          all smashed.  He rushes into the
          kitchen, looks around crazily--

<b>                           PRINCE
</b>               Daddd...!

          Nothing but the decay of his scream.
          The BASEMENT door is ajar.  He cuts to
          it quickly, pulls it open, peers
          frantically into the darkness below.  He
          snaps ON the light...

<b>                         (101) OMIT
</b>
<b>             (102) EXT. PRINCE'S HOUSE -- NIGHT
</b>
          SIRENS!  The SCENE is a riot of COLOR
          and FRENZY.  A POLICE CAR, LIGHTS
          FLASHING, skids into the drive.
          NEIGHBORS jam the STREETS.  POLICE CARS
          are parked all around.

<b>        (103) INT. BASEMENT, PRINCE'S HOUSE -- NIGHT
</b>
          CHAOS!  The BASEMENT is PACKED with
          COPS.  Prince's father is strapped into
          a gurney, staring dully at the ceiling.
          PHOTOGRAPHERS snap pictures as
          PARAMEDICS work feverishly over him.
          I.V. UNITS are pushed into his veins.
          An OXYGEN MASK is placed over his nose
          and mouth.  Huge white bandages are
          bunched up along the back of his head.
          His Mother is kneeling by the gurney,
          crying hysterically, grasping his hands
          in a white panic.  TWO COPS support her.
          Someone is SHOUTING instructions.
          RADIOS crackle incessantly.  A MEDIC
          cries--

<b>                            MEDIC
</b>               Lift!

          And the gurney is hoisted up the stairs
          quickly, the bulk of the crowd
          following, his Mother supported as she
          ascends the stairs.

          Prince sits on a tattered sofa in the
          corner, his head bowed.  Cops standing
          and kneeling beside him.  Somebody
          finished taking notes, closes his pad.
          One Cop rests a hand on his shoulder,
          talks to him in soft tones.  Prince
          shakes his head slightly.  The Cop gives
          the group a signal and everyone
          disperses, moves up the stairs.  The Cop
          looks at him sympathetically, then
          closes the door behind him.

<b>                (104) INT. BASEMENT -- NIGHT
</b>
<b>          PRINCE
</b>          sits motionless a long time.  Moonlight
          floods the basement with a foreboding
          light.  A dog BARKS somewhere in the
          distance.  He looks up suddenly, his
          face agitated, his eyes red from tears.

<b>          PRINCE'S POV--
</b>          CHALK MARKS on the floor outlining the
          body of his Father.  There's a GUN in
          his Father's hand clearly marked.

          A train WHISTLE in the distance.  He's
          staring at the gun.  He shakes his head,
          rubs a hand over his face vigorously and
          looks up again...

          ...the GUN in his Father's hand.  He
          can't get it out of his mind!  The
          WHISTLE is CLOSER.

          He lurches to his feet, paces back and
          forth crazily.  His Father's head, the
          gun...the gun...the...

          The WHISTLE is LOUDER.

          He throws himself into the chair, buries
          his face deeply into his hands and
          cries.  Huge racking sobs spasm through
          his body.  His Father, his Mother, his
          entire life, his music, his guitar...

          He looks up suddenly -- the gun in his
          Father's hand.

          ..and he stares at it.

          The WHISTLE is LOUDER!

          His heart is pounding in his ears.  He
          squeezes them shut, looks up...

          The gun.

          He bolts to his feet, paces back and
          forth in a panic!  The train is HOWLING!
          A rope in the corner of the room, his
          face, the gun...

          He sits dully, gazes at the rope as if
          in a trance.  The TRAIN is ROARING past
          the house, it's HORN BLASTING.  The
          rope, the gun, and his body dangling
          from the rafters in the night breeze--

<b>                           PRINCE
</b>               (screaming)
               Noooooo!!

          He lurches to his feet, cuts through the
          basement like a madman.  He grabs a
          stick and starts SLASHING things
          crazily, moving through the room
          swinging his stick wildly again and
          again.

          He's lost to himself now, deep in the
          pit of an unknown terror, expurgating a
          horror that has been festering in him
          for years.  He flings his stick at the
          wall, unends shelves and bureaus,
          trampling old memories that have lain
          dormant for years.

          Drawer after drawer is flung against the
          wall, their contents smashing and
          scattering about.  He opens a large,
          oaken chest and flips over.  Thick three
          inch piles of yellowed paper fall out.
          He snaps through the rubber bands
          holding them together and flings the
          paper at the wall again and again...

          ...he stops suddenly, shocked.  He SEES
          musical notes written down on the paper.
          his heart pounding in his chest, he
          searches frantically through the rubble
          scattered about him.  More and more
          musical notes, sketched ideas, simple
          melodies, entire songs and scores -- all
          meticulously recorded on lined yellowed
          paper, dated for the last 20 years, and
          signed...by his Father.  He's shocked to
          a standstill.  Then the full
          significance of what's before him hits
          him like a sledgehammer.  He collapses
          in agony against the chest, tears
          flowing down his cheeks.

<b>  (105) INT. BASEMENT -- A SERIES OF SHOTS (NIGHT INTO DAY)
</b>
          Prince lying outstretched on the
          basement floor, sleeping fitfully,
          feverishly.  His body is lathered in
          sweat, the droplets glisten in the pale
          light.

<b>          ANOTHER ANGLE
</b>          Cool, gray dawn.  He's in a dead sleep
          on the floor, his arms outstretched, his
          legs twisted beneath him.  His Father's
          outline seemingly rests by his side...

          Just then the basement window begins to
          glow with SUNLIGHT.  It inches slowly
          across the floor, then sweeps him
          majestically, bathing him in its warmth.
          He wakes slowly, stretches his limbs
          like an opening flower.  After a moment
          he sits up, shades his eyes...

          The basement is littered with debris.
          The destruction is complete, but in the
          midst of it lies his Father's music.
          The yellow parchment is scattered about
          glowing in the sunlight...

          Something seems to flash across his
          mind.  he stands, moves quickly down the
          hallway to the antechamber...

          Suddenly we HEAR a TAPE REWINDING.
          After a moment...MUSIC and we
          immediately recognize it as Lisa's and
          Wendy's SONG.  It plays a moment, then
          snaps off abruptly.  He stands locked in
          thought, then sits behind the piano,
          hunts for the first few notes of Lisa's
          and Wendy's song...

<b>          DISSOLVE TO:
</b>
<b>             (105A) INT. HOSPITAL ROOM -- NIGHT
</b>
          Prince's Father is lying on the bed,
          sleeping peacefully.  A large bandage is
          wrapped along the back of his head.  His
          Mother sits by his side, her forehead
          resting on the covers, her hands holding
          his.  She's in deep sleep, and it's
          obvious at once that she's been by his
          side the entire time...

          Prince steps from the shadows of the
          room and gazes at them fighting back the
          emotion that wells within him.  He leans
          close and kisses them both gentlythen--

<b>                             MC
</b>                           (over)
               (excited)
               Let's bring them back!  Ladies
               and gentlemen, The Time!

<b>        (106)  INT. CLUB  (1ST AVE. ST. BAR) -- NIGHT
</b>
          The CROWD goes WILD!  Morris, Jerome and
          the Time return to the stage to a
          frenzied throng.  The PLACE is PACKED,
          the CROWD applauding like MAD!  LASER
          LIGHTS strobe the house in a frenzy.
          It's a glorious night, and Morris struts
          back and forth imperialistically criss-
          crossing the stage like a lion, urging
          the audience on.  He grabs a mike--

<b>                           MORRIS
</b>               You love us right?!  You want
               us right?!  I can't hear you!

          The CROWD is SCREAMING -- Morris flashes
          a wide, exaggerated grin--

<b>                           MORRIS
</b>               What time is it?!
               (a beat)
               Whawhak!!

          And MUSIC.  The Time launches into "The
          Bird" and Morris, laughing heartily,
          does 'The Bird" (dance) with Jerome as
          the audience ROARS their approval.

<b>        (107)  INT. DRESSING ROOM/BACKSTAGE -- NIGHT
</b>
          as Prince and his Band sit in grave
          silence, the exuberant SOUNDS of the
          CLUB filtering through the open door.
          Jill is also in the room, sitting on a
          table, holding the dog silently in her
          lap.  She casts sidelong looks to
          Prince, tears welling in her eyes.

          The Band Members fidget nervously,
          knowing full well that their jobs are on
          the line, and feeling awful about the
          personal tragedy that has befallen
          Prince.  The entire situation is very
          tense, and it's made worse every time
          the crowd lets out a delighted ROAR of
          approval.  But Prince sits placidly, his
          face an enigma, his feelings a mystery.

<b>                  (108) INT. CLUB -- NIGHT
</b>
          And it couldn't be more of a contrast!
          The place is a riot of color and raucous
          carryings on.  "The Bird" is a smashing
          success with everyone on the dance floor
          trying gamely to get the steps right.
          Morris and Jerome are flushed with
          pride, surprising even themselves with
          their impromptu adjustments to the act.
          The MUSIC crescendos, then comes to a
          rousing blistering end!

          The stage is plunge into darkness.  the
          CROWD goes BERSERK.  Billy Sparks shakes
          his head happily--

<b>                            BILLY
</b>               Jesus!

<b>               (109)  INT. BACKSTAGE -- NIGHT
</b>
          Morris, Jerome and The Time cut briskly
          past admiring FANS, laughing and
          shouting crazily--

<b>                        BAND MEMBERS
</b>               (ad lib)
               It's all over now.  He better
               watch out.  He doesn't even
               need to go on.  He might as
               well go home.

<b>              (110) INT. DRESSING ROOM -- NIGHT
</b>
          As Prince, Jill and the Band sit in dead
          silence listening to The Time's bluster
          off screen.  Suddenly The Time crosses
          the doorway -- Morris does a double-
          take, sticks his head into the room--

<b>                           MORRIS
</b>               How's the family!  Whawhak!

          The Time busts up, drags Morris from the
          room.  Prince's group is shocked, casts
          furtive glances to him -- but he remains
          serene, then--

<b>                             MC
</b>                           (over)
                   Ladies and gentlemen,
               please welcome Prince!

          Applause offscreen.  Prince stands
          abruptly, straps on his guitar.  His
          Band Members look at him closely, trying
          to discern his feelings.  He gives them
          a cursory glance, cuts out the door.

<b>                  (111) INT. CLUB -- NIGHT
</b>
          Prince hits the stage and the APPLAUSE
          grows, but it' s nothing like the
          exuberance that greeted Morris.  He
          moves center-stage and plants himself
          there, his eyes staring into the
          audience.

<b>          BILLY SPARKS
</b>          leans against the bar, a smug look on
          his face.

<b>          VANITY
</b>          walks slowly up the stairs, gazes at
          Prince.

<b>          PRINCE
</b>          does not move.  The APPLAUSE trickles
          away.  He continues to stare in the
          audience making no attempt to direct his
          Band, or start a tune.  A nervous
          TWITTER ripples though the crowd.  Those
          who know about the tragedy feel a
          profound embarrassment for him -- but no
          one turns away.  Then his voice comes
          clear and mellifluous--

<b>                           PRINCE
</b>               I would like to do a song that
               two of my friends wrote.

          A MURMUR, cuts through the Crowd like a
          riptide.  Prince snaps a look to Lisa
          and Wendy and confirms that it is indeed
          their song.  They can't believe it!
          Tears spring to Wendy's eyes before she
          knows it ...

          Prince smiles at her, then gazes at his
          entire Band.  Their eyes fasten on him
          in an instant.  He counts softly and...

          MUSIC.  The opening bars of "Purple
          Rain."  He turns to to the audience and
<b>          SINGS....
</b>
          It's a ballad, a poem really, a plea for
          understanding, love, and survival.  It's
          a testament, a pact if you will, between
          himself and others...

          The AUDIENCE is mesmerized, all EYES are
          upon him -- but Prince doesn't notice.
          Lips pressed against the mike, dark eyes
          streaming, he's lost to himself now,
          loosening all that's within him,
          cleansing himself of his rage, hatred
          and pain...

<b>          VANITY
</b>          is crying.  Every moment she has shared
          with him is expressed in this song, and
          the effect on her is unnerving.  Her
          heart leaps to him in a way she never
          thought possible.  But she lets it go
          willingly, as the words draw her in,
          seducing her somehow, making her
          free...as if the music, his words, all
          that he has experienced and  understood,
          is purging what is confused and ugly
          within herself, leaving her with an
          understanding and joy that burns in her
          womb like soft fire.  A smile springs to
          her lips as tears continue to flow, and
          she finds herself moving closer...

          ...as the Audience moves closer, drawn
          somehow to the stage, to the person who
          SINGS so truly, to the person who gives
          of himself unselfishly to all that he
          feels...

          Prince begins a long sustained CRY that
          cuts though the hearts of all present.
          The MUSIC builds awsomely, and he
          continues to sing out, emptying himself
          of all the remaining pain lying within.
          The MUSIC crescendos and comes to a
          quiet end...

          Stunned SILENCE.  A silence so profound
          you could hear a pin drop.  Prince
          sighs, assumes the worse, then cuts
          across the stage purposefully.  Now some
          CLAPPING.  And a WHISTLE from the back
          and the SHOUTING.  And more WHISTLES and
          some even SCREAMING.  And the WHISTLES
          and the SHOUTS and the CLAPPING growing
          and growing as....

<b>                (112)  INT. HALLWAY -- NIGHT
</b>
          Prince cuts from the stage in a frenzy,
          rushes toward the rear exit.  The
          APPLAUSE is building and building until
          it's a THUNDER, an onrushing ROAR, an
          avalanche of HYSTERIA that rocks the
          club mightily...

<b>          PRINCE
</b>          is still running though, his face
          streaming with tears, past the surprised
          look of Jill, past the FANS, past
          everyone -- stripping of his clothes
          fiercely, flinging off his jacket, his
          shirt, his scarf--

<b>   (113) EXT. BACK ENTRANCE, INT. HALLWAY -- CLUB -- NIGHT
</b>
          He SMASHES open the door, BURSTS
          outside.  He sucks in the night air as
          if he was drowning.  He wipes away his
          tears, rushes to his bike, starts to
          undo the chain...

          ...they're SHOUTING his NAME...

          Not randomly, not haphazardly, but...in
          unison.  And relentless, very demanding,
          downright urgent, and...it's beautiful.

          A wry smile crosses his lips.  He heads
          back to the door.  Jill is there,
          scared, her face a map of tears.  He
          flashes her a smile--

<b>                           PRINCE
</b>               Hi.

          She's thunderstruck, can barely squeak
          it out--

<b>                            JILL
</b>               Hi.

          And he whips into the hallway.  Her face
          dissolves into a smile of pure joy.

<b>                  (114) INT. CLUB -- NIGHT
</b>
          MOVING now, FAST and FURIOUS.  The
          HALLWAY is LINED with PEOPLE.  They
          reach for him as he passes, touching
          him, showering him with their love.
          Someone hands him his shirt, another his
          scarf -- it's so intense!

          He's moving quickly now, his jacket up
          ahead, closer...he stops suddenly,
          stunned...

          ...Vanity is holding his jacket.  He's
          struck speechless -- she hands it to him
          smiling, tears streaming down her face--

<b>                           VANITY
</b>               I love you.

          His knees go weak, she kisses him
          spontaneously, pushes him lovingly to
          the stage.

<b>          THE CROWD IS ROARING!
</b>
<b>         (115)  INT. HALLWAY AND STAGE REAR -- NIGHT
</b>
          He's half-running now like crazy -- his
          Band is on-stage, peering anxiously into
          the hallway.  They spot him and relief
          sweeps their faces like a tidal wave.
          He whips his jacket on, rushes up the
          stairs...

<b>                  (116)  INT. CLUB -- NIGHT
</b>
<b>          STAGE
</b>          THUNDER!  Prince walks center-
          stage...and bows.  The AUDIENCE goes
          BERSERK!  He acknowledges Wendy and
          Lisa, and then the entire Band.  The
          CROWD is jumping out of their skin!  He
          straps on his guitar, gives a deft
          signal and--

          MUSIC.  The Band launches into "I Would
          Die For You."  Vanity squeezes her way
          through the crowd and stands watching
          Prince from the wings.  He presses his
          lips to the mike and SINGS.

          The MUSIC continues as we...

<b>          CUT TO:
</b>
<b>       (117)  INT. LIVING ROOM, PRINCE'S HOME -- NIGHT
</b>
          Prince walks through the LIVING ROOM
          slowly, gazes at the smashed table, the
          broken lamp and dishes. Every item in
          the room suddenly takes on a profound
          significance.  His father's slippers
          under the sofa, his mother's knickknacks
          on the table, her pen and ink drawings
          on the wall.  After a moment, he picks
          up his father's slippers, studies them a
          long time.

<b>                (118)  INT. BEDROOM -- NIGHT
</b>
          The DOOR opens -- a LIGHT snaps ON.  He
          walks into the room, places his father's
          slippers in the CLOSET.  His Mother's
          dress is lying in a heap on the floor.
          He picks it up, and puts it away.

<b>                (119) INT. BASEMENT -- NIGHT
</b>
          as he descends the steps hesitantly.
          The FLOOR is covered with rubble.  He
          sits on the steps, stares at his
          father's MUSIC on the floor.

          "I Would Die For You" continues as we...

<b>          CUT TO:
</b>
<b>                  (120)  INT. CLUB -- NIGHT
</b>
          Prince on-stage SINGING "I Would Die For
          You."  The AUDIENCE is captivated,
          locked into his grip again.  His eyes
          seem to be focused on something far
          away.  He closes them tightly, presses
          his lips against the mike.

          The MUSIC continues as we...

<b>          CUT TO:
</b>
<b>       (121)  INT. BASEMENT, PRINCE'S HOME -- TWILIGHT
</b>
          He's in the final stages of cleaning the
          basement floor.  The debris has been
          swept up, shelves righted, smashed items
          thrown away...

          He stacks his Father's music neatly,
          tears welling in his eyes.  He places it
          in new boxes, stands wearily, a
          fulfilled look on his face.  Suddenly he
          stops -- stares at the awful chalk marks
          on the floor:  his Father lying down,
          the gun gripped in his hand...

          "I Would Die For You" continues as we...

<b>          CUT TO:
</b>
<b>                  (122)  INT. CLUB -- NIGHT
</b>
          Prince on-stage SINGING  "I Would Die
          For You."  He's lost to himself now,
          locked into a personal horror he alone
          can see.  The CROWD is pressed against
          the stage, mesmerized by his
          performance.  Billy Sparks is also drawn
          in, amazed at the power being generated
          from the stage.  Prince sweeps the
          audience with his eyes, then fastens on
          Vanity earnestly, SINGS directly to her.

          The MUSIC continues as we...

<b>          CUT TO:
</b>
<b>         (123)  INT. BASEMENT, PRINCE'S HOME -- DAWN
</b>
          He pulls a HOSE from behind the washer,
          draws it on to the floor.  He hesitates
          a moment, gazes one last time at his
          Father's outline, tears welling in his
          eyes.  He turns the water on, watches as
          the dusty yellow chalk gives way
          reluctantly, mixing with the water,
          swirling down the drain.  Calmness
          sweeps his face like a passing cloud.

          Just then SUNLIGHT blazes in through the
          casement windows.  Water droplets
          glisten brilliantly in the morning
          light.  He turns the water off, goes to
          put the hose back -- stops suddenly,
          surprised...

          ...his Mother's earring lies on the
          floor.

          He's entranced, picks it up, stares at
          it a moment.  Everything he's been
          through comes rushing at him like a loco
          motive.  The confusion, the shouting and
          violence, the darkness that eclipsed his
          parents' life -- it's all there, lying
          just below the surface, settled into his
          heart.  But now there's a difference --
          he knows it's there and has discovered
          what could happen when it takes control
          of your life.

          So as he stands in the basement, on the
          clean cellar floor, he realizes
          that...he'll just take one thing at a
          time, and do it right.  Better than
          anybody else.  He smiles, realizes that
          in the last few weeks, he's never felt
          better than he feels right now.  He
          turns quickly, flips the earring to the
          stairwell...

          ...Vanity plucks it from the air.  Their
          eyes lock and they share smiles of pure
          joy.  He picks up his father's music,
          and they both head up the stairs.

          "I Would Die For You" continues as we--

<b>          CUT TO:
</b>
<b>                  (124)  INT. CLUB -- NIGHT
</b>
          CELEBRATION!  Everyone is JUMPING up and
          down.  Prince is radiant, strutting
          across the stage, his hands upraised.
          The CROWD goes WILD!  He flashes a wide
          grin to Vanity, then twists, eyeballs
          the CROWD wickedly, wonderfully.  It's
          too much!

          Everyone is joining in now.  Even Morris
          and Jerome, standing in the wings, start
          DANCING like crazy.  Then suddenly they
          catch themselves, stop, act dignified.
          But Vanity sees them and busts up.  They
          catch her look, laugh heartily and join
          in again.

          The MUSIC segues into a fierce BEAT.
          The CROWD lets out a ROAR!  Prince
          strips off his guitar, streaks center-
          stage.  The Band launches into "Baby,
          I'm A Star."

          ...And the CROWD laughing, dancing,
          shouting and loving.  The CLUB is ALIVE!

          And the MUSIC continues...forever...

</pre><br>
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	<td><h1>Purple Rain</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Albert Magnoli" title="Scripts by Albert Magnoli">Albert Magnoli</a>&nbsp;&nbsp;<a href="/writer.php?w=William Blinn" title="Scripts by William Blinn">William Blinn</a><br>
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What does The Kid do to release his anger? 
What does The Kid do to release his anger ?
The Kid tears apart his parents' house basement.
The Kid tears apart his parents ' house basement .
Tears apart the basement.
Tears apart the basement .