purplemookiebut said:

http://corky.net/scripts/...eRain.html hope i don't get in trouble for posting this.. in full

omfg!! THE RAPE SCENE MADE ME HORNY AS HELL WISH THAT PART WAS IN THE MOVIE

          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--


                           VANITY

               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--

                           VANITY
               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-
          -

          THE DRIVER
          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!

          VANITY
          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--

                           VANITY
               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.

     (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.

IS THERE A WAY TO MAKE THIS BIGGER???

[Edited 12/22/10 16:22pm]

(28) EXT. HIGHWAY -- DUSK * TAKE ME WITH YOU *

I can't disguise the pounding of my heart
It beats so strong
It's in your eyes, what can I say
They turn me on

Prince and Vanity on his MOTORCYCLE
blazing down the HIGHWAY, twisting
through TRAFFIC. The CITY is behind
them, receding into the distance.

I don't care where we go
I don't care what we do
I don't care pretty baby
Just take me with U

Come on and touch the place in me
That's calling out your name
We want each other oh so much
Why must we play this game?

Don't care where we go
I don't care what we do
I don't care pretty baby
Just take me with U

I don't care if we spend the night at your mansion
I don't care if we spend the night on the town
All I want is 2 spend the night 2gether
All I want is 2 spend the night in your arms

(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.

2 be around U is so-oh right
U're sheer perfection (Thank U)
Drive me crazy, drive me all night
Just don't break up the connection

CHORUS {x2}

Just take me with U
Won't U take me with U?
Honey, take me with U

[Edited 2/1/11 7:56am]

(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.

[Edited 1/27/11 7:27am]

(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.

[Edited 2/1/11 8:08am]

(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.

[Edited 1/21/11 9:17am]

(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--

[Edited 2/2/11 6:28am]

M.C. (O.S.) G-SPOT & ELECTRIC INTERCOURSE

Ladies and Gentlemen -- please
welcome Prince!

F" is 4 frustration
I'm looking 4 what isn't really there
"I" is instigation
I'm listening 2 the voice beneath my hair
"N" is 4 the naked body
And 4 what my naked eye can see

CHORUS:
G-spot, G-spot
Where, oh where can U be?

"A" is 4 America
And 4 the things U read in magazines
"L" is 4 location
I am a clock, the time is 9:15
"L" is 4 the lust we share
We want 2 know the infamous pleasure

"Y" is 4 my yearnin'
Burnin' into mystery

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.

I feel some kind of love 4 U
I don't know your name
This is the kind of love that takes 2
I want U and I'm not ashamed

Cuz baby, U shock my wild
With a sexual electricity extraordinaire
Come and take advantage and undress me
I don't even know U, I don't even care

I feel some kind of sexual courage
Tell me do U feel it 2?
Our bodies wanna be 2gether
Girl, I wanna be with U

Electric is my body, baby
I'll shock U with my lips
Darling, don't U know
Your Technicolor climax is at my fingertips?
Hear me, baby

Electric intercourse, electric intercourse

Don't U wanna?
Electric intercourse, electric intercourse
Don't U wanna make love, sweet love, my love?

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.

Mash it

Electric is my body, baby
I'll shock U with my lips (Yes I will)
Darling, don't U know
Your technicolor climax is at my fingertips
Baby, no no, listen 2 me

Electric intercourse, electric intercourse
Don't U wanna?
(I say this)
Electric intercourse, electric intercourse
(I say the first intercourse, I say the first one)
Don't U wanna make love, sweet love, my love?

Yeah

Electric intercourse, electric intercourse
Don't U wanna?
Electric intercourse, electric intercourse
Don't U wanna make love, my love, sweet love, yeah?

Don't U wanna?
Electric intercourse
Don't U wanna make love, yeah?

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--

[Edited 2/1/11 8:12am]

the BEAUTIFUL ONES replace GSPOT & ELECTRIC INTERCOURSE

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.

OldFriends4Sale said:

I was doing a thread on the early draft with picture/outtakes, never finished it

(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!

[Edited 1/21/11 6:48am]

Damn, you make me wanna watch the final print and this version. lol This is a great read!!!!

Thanks for all this!! Amazing presentation... wanting more now

(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:

why do all of a sudden i feel like i need a cold shower?

OldFriends4Sale said:

(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--

I'm glad they re worked or let Morris ad-lib....I wish you could see my home it's so exciting. In my bedroom I have a BRASS WATERBED. I have an itallian cook Nino Scratchigatti or something like that..... lol

OldFriends4Sale said:

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:

That's cold. U can't leave us hangin like that lol C'mon back as soon as u can with the rest

diamondpearl1 said:

OldFriends4Sale said:

(38) INT. VAN1TY'S TABLE AND CLUB -- NIGHT

I'm glad they re worked or let Morris ad-lib....I wish you could see my home it's so exciting. In my bedroom I have a BRASS WATERBED. I have an itallian cook Nino Scratchigatti or something like that..... lol

CHILI SAUCE

LOL Yeah I love how they incorporated CHILI SauCe into it, another example of the magic of this Purple project

Actually even though I loved the background club sound of Possessed, it would have been cool if they gave this scene just a few minutes to actually use the music from Chili Sauce and a few more of the lines

Good God!

They say that saliva is an aphrodisiac

Excuse me

U look so lovely 2night

Why thank U

Probably even better under exotic red lights
I wish U could see my home, it's, it's so exciting
In my bedroom, I have a brass waterbed

Really?

Mm hmm
It's just surrounded by plants and lights and shit
And all kinds of little erotic artifacts
We could have breakfast in bed

Oh!

I... I have an Italian cook
Jerome Sa... Sagagagracci or something like that
It's funny, your eyes when U stare at me like that
It causes my... my stomach 2 quiver
Oh Lord!

Do U like diamonds?

Mm hmm!

Yeah?

Yeah!

I know it's rather masculine, but try this one on

Wow!

My God darling, it fits
U must have strong hands
But they're so soft
Like the oils in my morning bath
(Somebody help me)

Darling?

Yes

I'm not usually so forward, but...
Would U like 2 make love 2 me?
I... I could make it so nice

Do U know what is meant by the words, uhh..
I hate 2 use them, they're... they're so harsh, American
U know what I mean?
And yet on the other hand, they're exciting words
The words, "Chili Sauce"
Oh Lord!

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 supporting
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
(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 piña 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
(coughing)
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.

[Edited 2/1/11 8:36am]

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.

rbrpm said:

Dam if only I had gotten the dirty version when was available! DAM!

That was something that I had always wondered about. Back when the movie had first came out, I had this boyfriend who said that he had seen another version of the movie. And the version that he had seen contained the full barn scene. I thought that he was lying.

Fast-forward to now and you're saying that there was another version. Hmm, so where is this elusive unedited version today?

Someone could make a lot of $$$$, but isn't that the case with most things illegal?

purplemookiebut said:

first time. wow.

ok starts of with a few slight different things. moved a few conversations to different spots... i find myself acting out the lines since i've seen it so many times... very easy to picture the differences

as i get further and further...

alot more violence. omfg at his parents!?

too much morris and vanity. come on how could ya compare that goof to prince?

ELECTRIC INTERCOURSE!!!

they cut the hell outta jill and her crush on him ... and a dog?

oh they said oriental. thats a curse word now!

coal chute? wtf?

ok the mom's drunk incest hinting at is creepy but i thought the scene of her calling him pretty and giving him her earring while outlining the signature mole was really cute. they cut alot of the mom too!

barn scene..faints. ride em cowboy!!!

rape scene. wow. that quite vivid there. overpower me prince,please!! rofl

i have adhd and no attention span at all. the fact i just read that thru astonishes me. that as epic.

Jill's crush is still very evident.

The "drunken mom/earring" scene could have been retained in the final cut. It would make the scene where he gives Apollonia the earring more "profound". Would have given it a "generational curse" feel. Especially, since Prince would later do to her what he witnessed his parents doing?

mimi02 said:

purplemookiebut said:

first time. wow.

ok starts of with a few slight different things. moved a few conversations to different spots... i find myself acting out the lines since i've seen it so many times... very easy to picture the differences

as i get further and further...

alot more violence. omfg at his parents!?

too much morris and vanity. come on how could ya compare that goof to prince?

ELECTRIC INTERCOURSE!!!

they cut the hell outta jill and her crush on him ... and a dog?

oh they said oriental. thats a curse word now!

coal chute? wtf?

ok the mom's drunk incest hinting at is creepy but i thought the scene of her calling him pretty and giving him her earring while outlining the signature mole was really cute. they cut alot of the mom too!

barn scene..faints. ride em cowboy!!!

rape scene. wow. that quite vivid there. overpower me prince,please!! rofl

i have adhd and no attention span at all. the fact i just read that thru astonishes me. that as epic.

Jill's crush is still very evident.

The "drunken mom/earring" scene could have been retained in the final cut. It would make the scene where he gives Apollonia the earring more "profound". Would have given it a "generational curse" feel. Especially, since Prince would later do to her what he witnessed his parents doing?

WOW you all are hitting deep. I LIKE

Yeah the crush is evident with Jill the part where she was singing/playing Wednesday would have been really good before Prince comes in. This movie would have been great to jump her 1st album off, she should have had a PR era album...

Yes I actually thought the Prince/Mother scene would have added a whole dimension to his character and the movie. Something very mysterious about that house and even more that basement-room. the Generation curse affect would have been seriously good.

OldFriends4Sale said:

diamondpearl1 said:

My God darling, it fits
U must have strong hands
But they're so soft
Like the oils in my morning bath
(Somebody help me)

Darling?

Yes

I'm not usually so forward, but...
Would U like 2 make love 2 me?
I... I could make it so nice

Do U know what is meant by the words, uhh..
I hate 2 use them, they're... they're so harsh, American
U know what I mean?
And yet on the other hand, they're exciting words
The words, "Chili Sauce"
Oh Lord!

My Drawers, Ice Cream Castles, Chili Sauce, and lastly, If The Kid Can't Make You Come were my favs. Glad, that they used Chili Sauce instead of If The Kid.., especially being that in the movie Prince was the Kid. Would have been a bit strange, Morris bragging about Prince's sexual abilities.

mimi02 said:

OldFriends4Sale said:

My Drawers, Ice Cream Castles, Chili Sauce, and lastly, If The Kid Can't Make You Come were my favs. Glad, that they used Chili Sauce instead of If The Kid.., especially being that in the movie Prince was the Kid. Would have been a bit strange, Morris bragging about Prince's sexual abilities.

I have a sneaky suspicion, If the Kid Can't Make U Come would have been used for the Barn xxx scene and prob done with Prince & the Revolution

... this thread is INSANE.

Love it