P U R P L E R A I N
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)
-------------------------------------------------------------------
(1) Black Screen
SOUND under: MUSIC building in INTENSITY
as--
PRINCE
(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--
PRINCE
(con't)
That's right...a world of
never-ending happiness,
You can always see the sun --
Day or night.
BURN IN MAIN TITLE: PURPLE RAIN
PRINCE
(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...
PRINCE
(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--
(2) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT
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
LASER LIGHTS.
The MUSIC continues as we ...
CUT TO:
(3) EXT. STREETS #1 -- NIGHT
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 ...
CUT TO:
(4) INT. SHOWER, MORRIS' APT. -- NIGHT
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...
CUT TO:
(5) INT. BASEMENT, PRINCE'S HOME -- NIGHT
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 ...
CUT TO:
(6) EXT. CORNER, STREETS #1 -- NIGHT
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...
CUT TO:
(7) INT. MORRIS' BEDROOM -- NIGHT
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--
MORRIS
(awed)
Oh, Lord ...
"Let's Get Crazy" continues as we ...
CUT TO:
(8) EXT. CLUB (1ST AVE. ST. BAR) -- NIGHT
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 ...
CUT TO:
(9) EXT. STREETS #2 -- NIGHT
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 ...
CUT TO:
(10) EXT. MORRIS' APARTMENT -- NIGHT
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...
CUT TO:
(11) INT. DRESSING ROOM, CLUB -- NIGHT
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...
CUT TO:
(12) INT. MOTEL ROOM -- NIGHT
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...
(13) EXT. CLUB -- NIGHT (VANITY'S POV)
... 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 ...
(14) INT. VANITY'S HALLWAY -- NIGHT
She runs from the room, cuts down the
hallway, slanming the door behind her
...
"Let's Get Crazy" continues as we...
CUT TO:
(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...
CUT TO:
(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--
MORRIS
We're going to slay him...
(screams)
Whawhak!
"Let's Get Crazy" continues as we...
CUT TO:
(17) EXT. CLUB -- NIGHT
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--
CHICK
What?
VANITY
I have an appointment with the
manager.
CHICK
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
GIRLS...
CHICK turns instantly -- the door is
closed -- VANITY, gone. His eyes dart
up the stairway -- nothing. He shrugs,
drags the Two Guys off.
(18) INT. CLUB -- UPPER BAR AREA -- NIGHT
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--
JILL
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--
VANITY
Sorry ... where's the office?
Jill squats, picks up the broken glasses-
-
JILL
Do you think you can just come
in here and take over?
VANITY
I said I'm sorry -- what do
you want me to do? Where's
the office?
Jill points -- Vanity hurries away --
JILL
(triumphantly)
No one's in!
Vanity stops dead in her tracks, does a
slow burn. She walks back to Jill--
VANITY
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.
JILL
Do you have any experience?
Vanity simmers, enunciates every word--
VANITY
Yeah...definitely.
JILL
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--
JILL
Here, fill this out -- I'll
have him call you.
VANITY
I don't have a phone. When
will he be back?
JILL
Well...you can try tomorrow.
VANITY
You can count on it.
Vanity hands the card back to her --
Jill reads the name, address -- looks up
puzzled--
JILL
Vanity??
BACKSTAGE
as Morris and The Time pass Prince on
their way to the stage--
MORRIS
Why don't you stay awhile, see
how it's done.
The Band Members bust up -- but Prince
ignores them, then--
MC
Ladies and gentlemen -- please
welcome The Time.
CLUB
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--
JILL
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.
(18A) INT. CLUB -- NEAR STAGE -- NIGHT
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--
VANITY
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--
JILL
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.
(18B) INT. FOYER AND STAIRWAY -- NIGHT
as she runs down the stairs, cuts behind
Chick, BURSTS out the door.
(19) EXT. CLUB -- NIGHT
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--
VANITY
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.
(20) EXT. PRINCE'S HOUSE -- NIGHT
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--
FATHER (O.S.)
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--
FATHER
You do what I say, do you hear
me?! You've got to keep this
place clean! You here, no
place else!
MOTHER
You're crazy!
WHACK!
MOTHER
Asshole!
WHACK!
MOTHER
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--
PRINCE
(pleading)
Please, Dad...she's heard you.
She's had enough!
His Mother drags herself up along the
wall--
MOTHER
(hysterical)
He's trying to kill me! He's
crazy! Look what he's doing
to me!
PRINCE
(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--
FATHER
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.
(22) BASEMENT -- HALLWAYS AND BEDROOM -- NIGHT
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...
FADE OUT:
FADE IN:
(23) INT. CLUB EARLY MORNING
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--
PRINCE
(surprised)
What are you doing here?
She's a bundle of loose, embarrassing
ends -- the cigarette, hat, juice--
JILL
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--
PRINCE
Huh ... it's kind of dead in
here. Where is everybody?
JILL
In bed I guess...
(to herself)
Oh, God ...
(changes subject)
Guess what, I bought a dog.
PRINCE
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?
JILL
Well, I'll be here -- I always
like what you do.
He smiles, moves to the door -- Jill
connects with a thought--
JILL
Wait! I've got something for
you.
PRINCE
What? A subpoena?
JILL
(embarrassed)
No...
She rumages through her bag, pulls out a
cassette--
JILL
It's a song Lisa and Wendy
wrote.
He stiffens, doesn't reach for it--
PRINCE
(suspicious)
Why didn't they give it to me
themselves?
JILL
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--
PRINCE
You really liked it, huh?
(24) INT. REHEARSAL HALL -- DAY
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--
MORRIS
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--
MORRIS
You ladies don't seem to
realize how valuable my time
is. You're going to make my
boys look bad.
BRENDA
Why don't you let us come up
with our own steps?
Morris glares at her--
MORRIS
We tried that...
(sweetly)
... remember?
The Girls fidget--
MORRIS
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---
MORRIS
I think I'm going to need a
drink, a strong drink.
(a beat)
Let's get the hell out of
here.
(25) EXT. STREETS AND ALLEY -- DOWNTOWN -- DAY
Morris and Jerome move briskIy down the
sidewalk--
MORRIS
This just ain't happening. The
bitches are okay, but we need
something more exciting-
JEROME
You're right. We could be
doing much better. Any ideas?
MORRIS
That powder fine babe we saw
last night.
JEROME
Oooh, yeee! -- Why don't we
find out who she is?
Morris snaps an address in front of his
face--
MORRIS
I already know that. Jill
gave me everything last night.
Whawhak!
JEROME
Then what are we waiting for?
Let's go!
MORRIS
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--
BABE
(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?!
MORRIS
Jerome!
Jerome puts the girl in a headlock,
DRAGS her into the alley--
BABE
(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--
MORRIS
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--
MORRIS
Jerome, this car --
it's...it's lacking something.
What do you think?
JEROME
Hmm... I don't know...
MORRIS
I got it! The hubcaps. We
need something sweeter.
JEROME
I think I know what it needs.
Morris is pondering his Stacy Adams--
MORRIS
Yeah ... I know what these
need.
(26) INT. SHOESHINE STAND -- DOWNTOWN -- DAY
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--
MORRIS
(musing)
The girl has expensive tastes.
I wonder if she can sing.
JEROME
As fine as she is...she
doesn't have to know how to
sing.
MORRIS
(grace)
I know that's right.
(to Shoeshine)
Hey -- watch it now.
The Shoeshine Boy looks up balefully --
Morris smiles, then grits his teeth--
MORRIS
I want you to stay out of the
set tonight. I want you to
work the floor.
JEROME
What for?
MORRIS
I want to know when that sweet
thing shows up. You stay by
the door, you see her, you
come get me, cool?
JEROME
Cool. I come get you -- let
you know the girl's there.
MORRIS
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.
JEROME
A password.
MORRIS
Okay. What's the password?
JEROME
You got it.
MORRIS
Got what?
JEROME
The password.
MORRIS
The password is what?
JEROME
Exactly.
MORRIS
The password is exactly?
JEROME
No, it's--
MORRIS
-- Hold it now. Slow down.
The babe walks in and you see
her.
JEROME
I see her.
MORRIS
You come get me.
JEROME
I come get you.
MORRIS
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?
JEROME
Okay.
MORRIS
The password is okay?
JEROME
Far as I'm concerned.
MORRIS
Dammit! Say the password.
JEROME
What.
MORRIS
Say the password, sperm
breath!
JEROME
The password is what.
MORRIS
(frustrated)
That's what I'm asking you!
JEROME
(more frustrated)
It's the password!
MORRIS
The password is it?
JEROME
(exasperated)
Ahhhhh! The password is what!
MORRIS
It! You just said so!
JEROME
The password isn't it! The
password is--
MORRIS
-- What?
JEROME
Got it!
MORRIS
1 got it?
JEROME
Right.
MORRIS
It or right?
JEROME
(perplexed)
What??
The Shoeshine Boy looks up slowly --
regards them with a soulfull look--
SHOESHINE BOY
Either of you do heavy drugs?
(27) EXT. STORE WINDOW AND MALL SHOPS -- DOWNTOWN --
AFTERNOON
The SIDEWALKS are alive with bustling
SHOPPERS. Vanity walks aimlessly past
store windows, staring longingly at the
expensive items.
BRIDAL SHOP
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--
PRINCE (0. S .)
Give me that.
She looks up startled--
PRINCE
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--
VANITY
Hey, wait!
She runs after him--
VANITY
Give it back to mel
He continues to walk briskly -- she
starts pulling on his coat--
PRINCE
You can have it back later.
VANITY
I want it back now, okay?
PRINCE
Who gave it to you?
VANITY
A person
PRINCE
Female or male?
VANITY
Huh ...
PRINCE
You're lying. I can tell just
by your reaction that you're
lying.
He moves away briskly -- Vanity stands
her ground, amused--
PRINCE
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--
VANITY
You see something you like?
He puts on his sunglasses. A GUITAR
stands prominently in the window.
PRINCE
Let's go for a ride.
He flips her the gold chain' -- turns
hastily. She weighs it in her hand,
studies the guitar--
VANITY
It's pretty.
(28) EXT. HIGHWAY -- DUSK
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.
LAKESIDE
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--
VANITY
My psychic told rne I was
going to be famous.
PRINCE
How much did that cost you?
VANITY
Fifty bucks. It was a good
investment.
He doesn't respond -- she suddenly feels
shy--
VANITY
No seriously -- My psychic did
tell me. I was in a play
once.
PRINCE
Oh, yeah -- what did you play?
VANITY
Isadora Duncan...
She stretches her arms like a butterfly,
does a little step--
VANITY
That means I can sing and
dance.
(a beat)
Want to help me?
PRINCE
(swiftly)
Nope.
VANITY
(surprised)
Pardon me?
PRINCE
Nope.
She's Perplexed--
PRINCE
Want to know why?
VANITY
(defensively)
Nope.
PRINCE
(a beat)
Because you wouldn't pass the
initiation.
VANITY
What initiation?
PRINCE
Well, for starters ycu have to
purify yourself in the waters
of Lake Minnetonka.
VANITY
What?
PRINCE
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--
PRINCE
Hey, wait a minute! Thats--
But she silences him savagely--
VANITY
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--
PRINCE
Hold it.
VANITY
What?
PRINCE
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--
VANITY
(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-
-
VANITY
Damn you -- I'll kill you.
She starts throwing stones. He laughs,
blasts up the path--
VANITY
(screaming)
You prick! Are you sick?! Is
this some kind of ritual --
getting your kicks! How many
girls have you done this to?
ACCESS ROAD
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--
VANITY
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--
PRINCE
Hey ...
But the truck streaks past -- Vanity's
look is cold, triumphant.
(30) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT
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--
KIM
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--
JILL
I'm doing what I'm doing.
It's my business.
KATY
He doesn't even look at you.
That's the last thing you want
from a man.
JILL
You just don't know him like I
do.
KIM
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--
BOBBY
Hey, Jill -- where's our
drinks?
JILL
They're coming -- just wait.
Matt stares hungrily at her breasts--
JILL
What you want isn't on the
menu.
BOBBY
Jill, in ten years they'll be
on the table.
She swats him with her order pad --
Bobby ducks, taunts her--
BOBBY
C'mon, c'mon ...
She goes to swing, Matt moves in,
squeezes her breasts--
MATT
(horn sound)
BooPoo!!
KIM
Get out of here, you jerks!
MATT
Sweetheart ... do you have a
real hot place where I could
stick my nose?
KIM
Sure -- try a microwave.
The Guys bust up, head for their tables-
-
KATY
Those guys are deep.
KIM
Yeah -- deeply retarded.
(31) INT./EXT. CLUB -- MONEY WINDOW -- NIGHT
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--
VANITY
(sweetly)
I'm paying ... see?
(to cashier, gruff)
Keep the change.
Chick advances on her -- her eyes widen
with fear--
CHICK
The manager wants to see you.
VANITY
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.
(32) INT. CLUB UPPER LEVEL -- NIGHT
as Vanity and Chick come to a halt in
the middle of the f Ioor--
CHICK
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--
BILLY SPARKS
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--
VANITY
Hi -- I really like your club.
BILLY
Really...
VANITY
What time is it?
BILLY
Nine, sweets.
VANITY
Oh, that's a really nice
watch. Very pretty.
Billy lights a cigarette, offers her
one, she accepts--
VANITY
You look like a guy I used to
go out with -- he was a lot
older, but I like older men.
BILLY
Really, what a coincidence.
VANITY
I just came off a Broadway
play. My grandmother got
sick.
BILLY
Does she live here?
VANITY
No, in New York ...
(catches herself)
But, huh, I have a sister
here, lives in Saint ... huh
...
BILLY
...Paul.
VANITY
Amazing.
BILLY
Ye-es.
(smiles)
What do you want to do? You
don't want to be a waitress do
you?
VANITY
No ... no...Actually I was
thinking more in the way of
the stage.
BILLY
Of course... how about dinner?
VANITY
Theatre?
BILLY
Dinner, then the theatre, my
sweets.
VANITY
Oh, huh...
Jerome appears--
JEROME
Hi ya, Billy.
BILLY
Good evening, Jerome.
Vanity sees her escape--
VANITY
Jerome -- I was looking all
over for you!
They BOTH look at her surprised--
BILLY
You know each other?
VANITY
Of course.
Jerome goes along with it--
JEROME
Yes, we've met. I have
something to show you.
VANITY
Great. See you later, Billy.
She walks away with Jerome, arm in arm--
VANITY
You rescued me.
JEROME
(smiles)
Ye-es.
(33) INT. DRESSING ROOM -- NIGHT
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--
WENDY
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--
LISA
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--
WENDY
Wow! Okay...you think about
this. I'm going to be real
honest with you. You're
really being full of shit.
LISA
Forget about it, Wendy. Let's
get out of here--
But Wendy, agitated, silences her with a
fierce gesture--
WENDY
(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.
LISA
Wendy...
WENDY
(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?
PRINCE
(maliciously)
The nominees for the best
actress are--
LISA
-- Fuck it, Wendy -- let's
break!
Wendy is shaking, tears spring to her
eyes--
WENDY
Do you know you can really,
really hurt people? Doesn't
that mean anything to you?
Doesn't that make you feel
like shit?
LISA
C'mon ...
WENDY
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--
PRINCE
You tired, too?
MATT
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--
BOBBY
What difference does it make,
Prince. We're still a group,
right?
They cut out the door.
(34) INT. HALLWAY -- NIGHT
Bobby, Matt and Mark move briskly to the
stage--
MARK
Headcase. Telling
you...'effed up headcase.
BOBBY
People with talent usually
are.
Matt dons his surgeon's mask -- Mark
rolls his eyes--
MARK
Of course, there are a number
of headcases without great
talent too.
(35) INT/BACKSTAGE ENTRANCE/CLUB -- NIGHT
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--
MORRIS
Honey -- don't you ever try
and breastfeed no baby now.
GIRL
Why not?
MORRIS
Never mind ...
Jerome appears--
JEROME
What.
MORRIS
What?
JEROME
Right. What.
MORRIS
What??
JEROME
You got it.
Be snaps his head to the side -- Morris
looks, sees Vanity sitting at a table.
His eyes dance mischievously--
MORRIS
Ye-es
(to Girl)
What time is it?
GIRL
(coyly)
Tea time.
MORRIS
So, right.
(36) INT. DRESSING ROOM -- NIGHT
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--
STAGEHAND
Prince, five minutes.
Be snaps off the music, drops the
cassette into his pocket, cuts out the
room.
(37) INT. BACKSTAGE -- NIGHT
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.
(38) INT. VAN1TY'S TABLE AND CLUB -- NIGHT
She sits demurely. Morris' eyes are
wide and shining -- her beauty up close
astonishes him--
JEROME
Vanity, I'd like you to meet
Morris E. Day.
MORRIS
Hold it now -- just leave the
'E' alone.
JEROME
(clears throat)
Vanity...this is Morris Day
MORRIS
The pleasure's all mine.
she offers her hand -- he takes it
decorously--
JEROME
If you'd excuse me.
Morris signals him -- whispers into his
ear--
MORRIS
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--
MORRIS
Your lips would make a
lollipop too happy.
VANITY
You think so, huh?
MORRIS
Ye-es.
Kim appears with a bottle of champacne
in ice--
KIM
Who's paying for this Morris?
MORRIS
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--
MORRIS
Huh, keep the change--
He whispers to Jerome--
MORRIS
Get my change, will ya?
Jerome leaves, Morris purses his lips--
MORRIS
Oh, Lord...either somebody put
something in my drink, or you
are the finest (motherfucker)
I've seen in ages.
VANITY
Excuse me, what did you say?
MORRIS
Huh...you look nice tonight.
He leans in, speaks with a sexy voice--
MORRIS
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.
VANITY
Is that a fact?
He folds his legs dramatically, his
Stacy Adams reflecting the light--
MORRIS
Just as sure as my Stacy Adams
are shiny.
Just then--
M.C. (O.S.)
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--
MORRIS
He doesn't like girls.
She's equal to the challenge--
VANITY
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--
MORRIS
Well ... he don't do too good
with them either.
She flashes him a quizzical look -- he
simply smiles.
(39) INT. BACKSTAGE HALLIIAY -- NIGHT
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--
BILLY
What's this intercourse, shit?
PRINCE
Hey; man -- don't worry about
it.
BILLY
I'm warning you...
But Prince ignores him, cuts into the
dressing room--
(40) INT. DRESSING ROOM -- NIGHT
--then stops suddenly, surprised. He's
muzzle to muzzle with a cuddly DOG, held
up lovingly by Jill--
JILL
Surprise!
OOHS! and AAHS! by the entire group.
Jill hesitates, then kisses Prince's
cheek compulsively. He's surprised,
touched--
PRINCE
Hey -- wait till we're
married, now.
She fidgets, her face blushes red.
Wendy is studying the dog--
WENDY
Oh, my God -- look at this!
Everyone looks -- Jill grins like the
Cheshire Cat--
JILL
Notice anything?
PRINCE
What?
WENDY
It looks like you!
She thrusts the dog into his arms -- the
Band laughs uproariously. Jill is
beaming--
JILL
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--
PRINCE
Shit ...
JILL
(softly)
I wanted to cheer you up.
PRINCE
Thanks.
MATT
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.
(41) EXT. ALLEYWAY #2, REAR CLUB -- NIGHT
Vanity leans against a brick wall,
hiding in the shadows. Suddenly
FOOTSTEPS approach. Prince appears,
gets on his Motorcycle--
VANITY
Hey...
He doesn't look up--
PRINCE
We have to go to your place.
VANITY
What for?
PRINCE
I want to show you something.
She's embarrassed by her apartment--
VANITY
No...no, we can't.
PRINCE
Why -- is there someone there?
VANITY
Why do you always think
there's somebody else?
He averts his eyes -- kick STARTS his
bike--
PRINCE
Let's go.
VANITY
(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.
(42) PRINCE'S HOUSE AND STREET -- NIGHT
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.
BACKYARD
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--
VANITY
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--
(43) PRINCE'S POV -- INT. LIVING ROOM -- NIGHT
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.
(44) EXT. BACKYARD -- NIGHT
Prince hops from the pipe, leans coolly
against the house. Intrigued. Vanity
looks in--
(45) VANITY'S POV -- INT. LIVING ROOM -- NIGHT
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--.
(46) EXT. BACKYARD -- NIGHT
Vanity's scared -- tries to be cool--
VANITY
So -- friends of yours?
PRINCE
Yeah -- the freak show.
He walks off. She jumps off the pipe,
follows.
SIDE OF HOUSE
as they emerge around the corner.
Prince squats by a basement window,
adjusts an old coal chute, then slides
down it--
VANITY
Hey...
PRINCE (O.S.)
C'mon.
She hesitates a moment, then slides down
too.
(47) INT. BASEMENT, PRINCE'S HOME -- NIGHT
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--
VANITY
If you think you scared me,
you didn't.
PRINCE
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--
VANITY
Who's the lucky girl? Sounds
like she was having a good
time.
PRINCE
She's crying -- it's
backwards. It makes me sad
when I hear it. It sorta
sounds like she's laughing,
doesn't it?
VANITY
So what did you do to her? Do
you always treat your women
like that?
PRINCE
I don't have anybody right
now.
Heat floods into her womb like soft fire-
-
VANITY
You look pretty...
She touches his chest delicately, fluffs
up his hair--
VANITY
King Kong?
PRINCE
Stop.
She hesitates -- but he reaches out
tentatively, touches her breast--
VANITY
No.
But their mutual desire is too strong.
Their lips seek one another out timidly,
almost deferentially...then fervently.
DISSOLVE TO:
(48) INT. BEDROOM -- LATER -- NIGHT
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 ...
DISSOLVE TO:
(49) INT. BEDROOM -- LATER -- NIGHT
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--
MOTHER
(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--
FATHER
(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.
(50) EXT. PRINCE'S HOUSE AND STREET -- NIGHT
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--
VOICE
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--
VANITY
You shit! What the hell are
you doing here?
He struggles in the bushes -- DOGS start
BARKING--
MORRIS
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.
VANITY
Your nose alright?
MORRIS
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--
VANITY
Hi, Jerome. Wow! Nice
hubcaps.
He grins proudly from ear to ear -- the
Caddy sports new chrome wire wheels--
JEROME
You like them, huh?
VANITY
Beautiful.
Morris MOANS dismally--
MORRIS
Jerome...you think these can
be fixed?
His shoes are badly scuffed, the leather
torn across the top--
JEROME
I think they're dead, man.
VANITY
God, I'm sorry.
MORRIS
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--
MORRIS
You lock the door, baby?
Let's go!
They pile into the Caddy, pull out.
(51) EXT. HIGHWAY -- NIGHT
The CADDY blazes by in the night. The
CITY LIGHTS glimmer spectacularly in the
distance.
(52) INT./EXT. CADDY -- NIGHT
Jerome drives. Morris and Vanity sit in
the backseat. He gazes at her ardently--
MORRIS
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--
JEROME
Cocktails before dinner?
MORRIS
Yes -- two piņa coladas.
VANITY
Uh...make mine a virgin.
JEROME
Okay...
Jerome braces his knees against the
wheel, pours two premixed coladas into
plastic glasses--
JEROME
(to Morris)
Will you be having a virgin as
well?
MORRIS
Ye-es! For dessert!!
Whawhak!
Jerome stifles a laugh, pours a rum
miniature into Morris' glass. He hands
them back--
MORRIS
Thank you. Here you are,
dear.
They savor their drinks -- Morris'
fervor grows by leaps and bounds--
MORRIS
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--
MORRIS
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--
MORRIS
Huh, excuse me, that's kind of
weak...here, try mine.
She does, and begins coughing violently-
-
VANITY
Good God!
MORRIS
Y'know...they say that saliva
is an aphrodisiac.
(a beat)
You look so lovely tonight.
VANITY
(couching)
Why...thank you.
MORRIS
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--
MORRIS
In my bedroom, I have a brass
waterbed ...
VANITY
Oooh!
MORRIS
I have an Italian cook, Gino
Izogochograchi, or something
like that.
She giggles, looks at him deeply--
MORRIS
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--
MORRIS
Do you like diamonds?
VANITY
Uh, huh.
MORRIS
Yeah ...?
VANITY
Yeah.
MORRIS
I know it's rather masculine,
but -- try this one on.
He slides a large glass diamond on her
finger--
VANITY
Ohhh!
MORRIS
My God, darling it fits.
He studies her hands closely--
MORRIS
You must have strong hands,
but -- they're so soft...like
oils in my bubble bath.
(a beat)
Damn ...
He leans close to her--
MORRIS
Darling...?
VANITY
Yeah...?
MORRIS
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--
MORRIS
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)
MORRIS
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--
JEROME
(whispers)
Morris..!
MORRIS
Yeah...?
JEROME
Seventeen.
Morris fixes Vanity with his half-
lidded, pouty-lip look--
MORRIS
Huh, what's it gonna to be
baby?
She's on the spot, thinks fast--
VANITY
PULL OVER THERE!
MORRIS
What?!
JEROME
What?!
VANITY
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--
MORRIS
Here...?
VANITY
Yes.
MORRIS
Uh, what one is it?
VANITY
That one, right there, see?
On the 14th floor.
MORRIS
It's nice, huh?
VANITY
Oh, it's great. Real pretty.
Big open rooms, balconies,
fireplace -- the works.
He smiles lovingly--
MORRIS
Jerome!
Jerome puts the Caddy into
gear, pulls off into the night-
-
VANITY
Hey, wait! C'mon!
(a beat)
Okay -- where are you taking
me?
MORRIS
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.
VANITY
Oh yeah -- what?
Jerome hands Morris a cassette -- Morris
waves it in front of her nose--
MORRIS
A little song and dance. That
is, if you can sing and dance.
VANITY
(defensively)
Prince is goinq to help me.
Jerome and Moris suppress their laughter-
-
JEROME
Motherfucker needs a haircut.
MORRIS
Hee, hee, uh, excuse me. No
he won't. He's never done
anything in his whole life for
anybody but himself.
VANITY
Guys better than you have
promised me things before.
MORRIS
I know that's right, but--
Jerome hands him a card with an address
on it. Morris hands the card to her--
MORRIS
(con't)
-- not Morris Day.
(he smiles)
Jerome pulls up in front of her motel.
Vanity reads the card--
MORRIS
Come by any time.
(53) EXT. MOTEL/INT. CADDY -- TWILIGHT
She gets out of the car, stands on the
sidewalk. Morris pushes the window
button -- nothing happens--
MORRIS
Jerome!
Jerome leans over, taps the glass -- the
window glides down--
MORRIS
(to Vanity)
One more thing ...
Jerome snaps the glove compartment,
hands Morris a neatly folded camisole.
Morris presents it to her--
MORRIS
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.
(54) EXT. VANITY'S MOTEL -- TWILIGHT
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.
(55) INT. HALLWAY/VANITY'S MOTEL -- DAWN
She comes down the HALLWAY, opens her
door with a key.
(55A) INT. VANITY'S ROOM -- DAWN
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--
VANITY
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--
VANITY
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--
PRINCE
How'd you get home?
VANITY
Took a cab.
PRINCE
Oh yeah? Where'd you get
that?
She stares at the camisole in her hands-
-
VANITY
I adore camisoles.
He nods dispassionately, walks into the
room, gives the place the once over,
then--
PRINCE
Let's ride.
(56) EXT. HIGHWAY -- DAWN
AERIAL SHOT
Prince and Vanity on his motorcycle
whipping down the highway. The DAWN
LIGHT breaks over the horizon.
(57) EXT. ANOTHER HIGHWAY -- DAWN
A SERIES OF SHOTS
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.
(58) EXT. COUNTRY ROAD -- DAWN
ANOTHER ANGLE
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.
(59) EXT. WOODS AND STREAM -- DAWN
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--
VANITY
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--
PRINCE
Your father used to what...?
VANITY
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--
VANITY
So, have you reconsidered my
proposal?
PRINCE
What...?
VANITY
What we talked about last
time.
PRINCE
You can't be serious.
She starts a little dance step, climaxes
it with spins and twirls--
VANITY
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--
PRINCE
I'm sorry -- excuse me.
VANITY
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--
VANITY
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--
VANITY
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--
VANITY(O.S.)
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--
VANITY
(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-
-
VANITY (0.S.)
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--
PRINCE
Good morning.
VANITY
PRINCE, I HATE YOU!
HIKERS
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--
VANITY
(softly)
I'm sorry. I shouldn't have
said those things. Will you
forgive me?
PRINCE
(softly)
Yes.
He takes the flower, slips it into his
jacket, kisses her forehead.
(60) EXT. GLADE AND BARN -- DAWN
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...
(61) INT. BARN -- DAWN
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.
(62) INT. BARN -- DAY
ANOTHER ANGLE
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.
(62A) EXT. BARN -- DAY
Leaves scatter as the bike whips thru
the wet path.
(63) EXT. STREETS, VANITY'S MOTEL -- MORNING
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--
PRINCE
See you later?
VANITY
When?
PRINCE
Why?
VANITY
'Cause I have to do something
first.
PRINCE
What?
VANITY
(coyly)
A secret...
PRINCE
Tell me.
VANITY
No.
PRINCE
Okay, come by -- eight
o'clock.
He kicks the bike into gear -- she
touches his jacket longingly--
VANITY
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.
(64) INT. STAIRWELL, VANITY'S MOTEL -- MORNING
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.
HALLWAY
as she comes to a halt outside her room,
picking up carnations along the way.
She opens her door, cuts inside.
(65) INT. VANIITY'S ROOM -- MORNING
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--
MAN(O.S.)
Miss V.?
She looks around the corner -- a flower
delivery MAN stands in the hallway,
holding a bouquet of roses--
VANITY
Yes...?
MAN
Delivery.
VANITY
(surprised)
Come in ...
He cuts inside, and is followed by
another MAN, holding a bouquet of
daisies--
VANITY
Hey -- wait a minute. What's
going on?
The Men leave the room--
MAN
Downstairs.
She hurries to the window, looks out--
(66) EXT. STREET -- DAY -- VANITY'S POV--
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--
MORRIS
Good morning, dahling.
(67) EXT. VANITY'S WINDOW AND STREET -- DAY
(INTERCUT)
VANITY
You're crazy! -- What are you
doing?
MORRIS
(excited)
Come down -- come down.
VANITY
I can't -- I've got things to
do.
MORRIS
C'mon, ten minutes. I want to
show you something-
She shakes her head--
VANITY
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--
JEROME
Well...what do you think?
Morris is staring intently at the window
-- he purses his lips sensualy--
MORRIS
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--
MORRIS
Oh, Lord...
(68) INT. CLUB (1ST AVE. ST. BAR.) -- DAY
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--
WENDY
What's wrong?
Lisa points to Prince. Wendy
immediately rips into the guitar solo of
"G-Spot." She stops suddenly--
WENDY
Is that better? Do you like
that?
He ignores her--
PRINCE
Where is everybody?
LISA
You're late -- they left.
PRINCE
So what are you doing here?
Lisa immediately launches into the
opening bars of "Let's Get Crazy"--
LISA
(imitating Prince)
But I'm here to tell you that
there's something else -- our
music--.
The Girls bust up -- he glares at them--
PRINCE
Can't you guys get off it?
Can't you just leave it alone?
Wendy meets his glare with one of her
own...
WENDY
Yeah -- we'll get off it.
She turns, snaps off the Linn Machine
angrily, plunging the club into silence.
(69) INT. REHEARSAL HALL --DAY
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
MORRIS
As you can see, we need
someone with your special
qualities.
(70) INT. PRINCE'S ANTECHAMBER AND BEDROOM -- NIGHT
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--
FATHER
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--
MOTHER
Shut up! You don't care about
me! Leave me alone!
Prince claws desperately at his Father's
back--
FATHER
Don't I keep the heat on?
Isn't there food in the
refrigerator?
MOTHER
(crying)
I don't like it here. You
never talk to me! I'm always
alone!
Prince drags his Father away--
PRINCE
Dad, please!
FATHER
(shouting)
What's the matter with this
house? Isn't it nice and warm
here?!
The Mother stands on the bed SHRIEKING--
MOTHER
You're crazy!
FATHER
Shut up!
MOTHER.
Asshole!
FATHER
Shut up!
MOTHER
(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--
FATHER
Shut up! Shut up! Shut up!
PRINCE
(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--
MOTHER
I'm just trapped here...
His Father's eyes well with tears. He
leans close to her, speaks softly--
FATHER
You always got a roof
overhead...
MOTHER
You don't let me have any
fun...
His Father sighs wearily, pulls himself
to his feet. He moves to the door--
FATHER
I could make you happy. Just
believe in me...
MOTHER
You never...
FATHER
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--
MOTHER
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--
MOTHER
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--
MOTHER
I was beautiful when your Dad
met me. I was out-a-sight!
She giggles, starts applying makeup--
MOTHER
I looked just like a movie
star. |
