PurpleLove7 said:

... this thread is INSANE.

Love it

LOL that's why PURPLE RAIN even in the edited form was a blow up, we haven't even gotten 2 the barn scene yet

(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...

OldFriends4Sale said:

(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.

OMG!!! Where are y'all getting these stills from? Was there an unedited cut of PR in circulation somewhere? Ok, you probably can't tell me that if there was...things being as they are. I'd probably have better luck finding Bigfoot walking down the street, then getting a copy of this version. Ugh Anywho, thanks for sharing

OldFriends4Sale said:

(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.

WOW!!!!!

(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.

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?

I agree but overdubbing that scene with an American actress could have been quite a task. Olga Karlatos does not have an American accent as evidenced in the PR workprint so I guess Al Magnoli just decided to cut that portion of the scene since "the drama had been established".

[Edited 1/28/11 9:13am]

OldFriends4Sale said:

mimi02 said:

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

LOL!!!!!!!!!!!!!!!!

I have a feeling that Michel Colombier's Love Theme would have been used for the barn love scene.

blacknote said:

OldFriends4Sale said:

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

LOL!!!!!!!!!!!!!!!!

I have a feeling that Michel Colombier's Love Theme would have been used for the barn love scene.

Slip It In from Deep Throat would work too lol

this scene is almost incestuous

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. The minute he saw me
singing, I knew just what he
wanted.

She fixes him with a conspiratorial
look, whispers--

MOTHER
He wanted to get into my
panties.

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

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

MOTHER
You look so pretty. Just like
me, honey. You coulda been a
girl.

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

MOTHER
So pretty...

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



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

She gets up, leaves the room--

MOTHER
Bye, skipper...bye.

What is with Morris and chili sauce? That's my biggest question.

Keeping the 1st draft would've made the movie a lot more emotional to me. The emotions and tensions running between the characters would have been the focus, and the music secondary.

The scene with Prince with his mother would've made the mother's character more dimensional. In the movie she doesn't serve too much of a purpose.

I wish they hadn't cut the barn scene. And the scene where Vanity leaves after she hears P's parents fighting is more interesting than the way it is in the movie.

The rape scene, although I'm not sure whether I should call it that, is confusing at best. Initially, it seems like Vanity is being overpowered, but they it talks about how P is moving to her rhythm so is it still rape?

Vanity's character confuses me. She likes Prince, but also likes Morris, she wants to sleep with Prince, but also Morris, she wants Prince to help her but then lets Morris help her, she hates Prince, she loves Prince, she's afraid of Prince, she threatens Prince, and then she cries and loves him again.

And they shouldn't have cut Jill's part so much. Her crush on P made more sense in the bit where she's talking to the other waitresses about it and defending herself. The dog with Prince hair bit is kinda weird though.

OldFriends4Sale said:

(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.

As I read this I think I understand why directors and film companies make "special editions" and have deleted scenes. lol Imagine if they would've shot this the way it was orginally written, I don't think we'd be lookin back at "Purple Rain" today. Even with it's bad acting, gaps in the storyline and questionable plausibility, it's perfect just the way it is.

just1lousydime said:

What is with Morris and chili sauce? That's my biggest question.

Keeping the 1st draft would've made the movie a lot more emotional to me. The emotions and tensions running between the characters would have been the focus, and the music secondary.

The scene with Prince with his mother would've made the mother's character more dimensional. In the movie she doesn't serve too much of a purpose.

I wish they hadn't cut the barn scene. And the scene where Vanity leaves after she hears P's parents fighting is more interesting than the way it is in the movie.

The rape scene, although I'm not sure whether I should call it that, is confusing at best. Initially, it seems like Vanity is being overpowered, but they it talks about how P is moving to her rhythm so is it still rape?

Vanity's character confuses me. She likes Prince, but also likes Morris, she wants to sleep with Prince, but also Morris, she wants Prince to help her but then lets Morris help her, she hates Prince, she loves Prince, she's afraid of Prince, she threatens Prince, and then she cries and loves him again.

And they shouldn't have cut Jill's part so much. Her crush on P made more sense in the bit where she's talking to the other waitresses about it and defending herself. The dog with Prince hair bit is kinda weird though.

[Edited 1/28/11 14:36pm]

blacknote said:

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?

I agree but overdubbing that scene with an American actress could have been quite a task. Olga Karlatos does not have an American accent as evidenced in the PR workprint so I guess Al Magnoli just decided to cut that portion of the scene since "the drama had been established".

[Edited 1/28/11 9:13am]

You just hit the nail on the head so to speak lol The editing is what made PR into a real movie rather than a "glorified long form video" like some people said it was when it came out. In a real drama you care about the characters, their motivations, what made them do what they did, and ultimatley decide if you're with them or against them. Y'know I never realized how strong this flick was untill I watched it after my mother's funeral. I'd already cried the other 5 or 6000 times I'd watched it already, but that day man, during all the emotional scenes, from the ones with his mom and dad arguing to PR and I Would Die 4 U at the end I couldn't hold 'em back.

[Edited 1/28/11 14:59pm]

mimi02 said:

just1lousydime said:

What is with Morris and chili sauce? That's my biggest question.

Keeping the 1st draft would've made the movie a lot more emotional to me. The emotions and tensions running between the characters would have been the focus, and the music secondary.

The scene with Prince with his mother would've made the mother's character more dimensional. In the movie she doesn't serve too much of a purpose.

I wish they hadn't cut the barn scene. And the scene where Vanity leaves after she hears P's parents fighting is more interesting than the way it is in the movie.

The rape scene, although I'm not sure whether I should call it that, is confusing at best. Initially, it seems like Vanity is being overpowered, but they it talks about how P is moving to her rhythm so is it still rape?

Vanity's character confuses me. She likes Prince, but also likes Morris, she wants to sleep with Prince, but also Morris, she wants Prince to help her but then lets Morris help her, she hates Prince, she loves Prince, she's afraid of Prince, she threatens Prince, and then she cries and loves him again.

And they shouldn't have cut Jill's part so much. Her crush on P made more sense in the bit where she's talking to the other waitresses about it and defending herself. The dog with Prince hair bit is kinda weird though.

[Edited 1/28/11 14:36pm]

I had done all of that highlighting for a purpose, but once I saw the result, it gave me a headache.

I think that going with the first draft would have made for an even better movie, but could Prince pull off such a dramatic role w/o over-acting. If he could, then that would have given us more of an insight to who he is and we would be able to understand him, as an artist, better.

I understand that Olga may have had an accent, but they could have worked that into the storyline. Remember if this is loosely based on Prince's life, then why not play on the whole "Prince's mother is half-Italian" thing. But as it was finalized, the movie left his mother sole purpose in the movie was to be a drunken battered wife. I guess, in the end, that was enough for the viewers.

The barn scene could have been recut in a more sensual, less sexual manner. I believe that they cut it to earn a "R" rating.

Idk, that scene shouldn't be referred to as a "rape" scene. I consider it to be a more intense version of the classic 'fight that leads to..." scenerio. I have yet to read a rape scene that goes down like this.

Apollonia's character retained much of the emotional flip-flopping that was written for Vanity. She got upset with the Kid for the Lake Minnetoka episode, but kissed him when she got back on his bike. He slaps her when she informs him that she is going to work with Morris, humiliates her with his depiction of her in his 'Darling Nikki' performance, but is happy he came to see her perform. She gets on his bike, after trying to get away, knowing how he can be when he is upset. Again, she kisses him. Any of the above is more than enough to leave his tragic ass alone, but she doesn't.

It was very obvious that Jill had a crush on him from the way that she reacted to the Kid's reaction to Apollonia. Even the way that she was looking at Apollonia, after getting her info card back, led me to believe that she considered her a threat. As if she knew that whatever work she had put into getting Kid to notice her had just went out the window. I'm glad the puppy scene was cut, because he probably would have given it to Apollonia.

mimi02 said:

OldFriends4Sale said:

(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.

OMG!!! Where are y'all getting these stills from? Was there an unedited cut of PR in circulation somewhere? Ok, you probably can't tell me that if there was...things being as they are. I'd probably have better luck finding Bigfoot walking down the street, then getting a copy of this version. Ugh Anywho, thanks for sharing

i wanna see it!! snooki whine waHHHHHH

mimi02 said:

mimi02 said:

[Edited 1/28/11 14:36pm]

I had done all of that highlighting for a purpose, but once I saw the result, it gave me a headache.

I think that going with the first draft would have made for an even better movie, but could Prince pull off such a dramatic role w/o over-acting. If he could, then that would have given us more of an insight to who he is and we would be able to understand him, as an artist, better.

I understand that Olga may have had an accent, but they could have worked that into the storyline. Remember if this is loosely based on Prince's life, then why not play on the whole "Prince's mother is half-Italian" thing. But as it was finalized, the movie left his mother sole purpose in the movie was to be a drunken battered wife. I guess, in the end, that was enough for the viewers.

The barn scene could have been recut in a more sensual, less sexual manner. I believe that they cut it to earn a "R" rating.

Idk, that scene shouldn't be referred to as a "rape" scene. I consider it to be a more intense version of the classic 'fight that leads to..." scenerio. I have yet to read a rape scene that goes down like this.

Apollonia's character retained much of the emotional flip-flopping that was written for Vanity. She got upset with the Kid for the Lake Minnetoka episode, but kissed him when she got back on his bike. He slaps her when she informs him that she is going to work with Morris, humiliates her with his depiction of her in his 'Darling Nikki' performance, but is happy he came to see her perform. She gets on his bike, after trying to get away, knowing how he can be when he is upset. Again, she kisses him. Any of the above is more than enough to leave his tragic ass alone, but she doesn't.

It was very obvious that Jill had a crush on him from the way that she reacted to the Kid's reaction to Apollonia. Even the way that she was looking at Apollonia, after getting her info card back, led me to believe that she considered her a threat. As if she knew that whatever work she had put into getting Kid to notice her had just went out the window. I'm glad the puppy scene was cut, because he probably would have given it to Apollonia.

Haha when I first saw it, I though "who colored my words...." but now I understand.

See and I never understood that Olga was supposed to be drunk, I thought she was just helpless and battered. And including her drunken state on the street with her friends or whatever and her leaving the house after giving P the earring makes his dad seem more justified (as justified asa wife-beater can be).

I agree wholeheartedly. It's just a distortion of a typical rape scene gone wrong.

The flipflopping Apples did wasn't as apparent to me. It didn't convince me like the 1st draft did. Now I doubt Vanity could've done better since neither of them were trained actresses, but in the movie it just seemed like Apples was wishy-washy as opposed to constantly pulling herself in 2 different directions.

Now that's true, Jill's crush was apparent. I wish they had delved into that a bit more though, because other than the scene where P leaves after LGC and the bit where he asks if the club will be jumpin that night, you really don't get a sense of the deep emotional attachment Jill has toward him.

Overall, the movie put a lot of things on the backburner that could've been brought to the forefront. PR as is stands as more like a musical with everything centered around the album as opposed to a serious movie with the music supporting it. But I guess I shouldn't expect that, PR does serve its purpose.

Please, post the rest of it if you have it. Still waiting

(71) EXT. PRINCE'S HOUSE -- NIGHT (LATER)

Vanity climbs over a fence, moves
through some bushes, emerges along side
Prince's house. She has an excited,
ravenous look on her face. She hurries
to the casement window, climbs into the
basement.


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

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

VANITY
I missed you! Missed you!
Missed you!

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

PRINCE
Come here. Where were you?

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

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

VANITY
I have a big surprise for you.

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

VANITY
(sings)
Da...da..!

PRINCE
What is it?

VANITY
Open it.

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

PRINCE
Oh, no...
(happy)
Oh, no!



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




PRINCE
How'd you do it?

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

PRINCE
Here...

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

VANITY
I love it!

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


VANITY
I'm going to join Morris'
group.

His face drops, shocked--

PRINCE
What?

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

VANITY
I'm going to join Morris'
group.



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

He's horrified--

PRINCE
I'm sorry! Oh, baby, I'm
sorry! Are you alright?

He helps her up, she turns away from him-
-

VANITY
Just...leave me alone.

His heart staggers in his chest--

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

VANITY
Jealous..?!

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

DISSOLVE TO:

73) INT. CLUB -- MORNING

Matt, Bobby and Mark are JAMMING
onstage. Prince emerges from behind the
curtains. He looks drawn.and haggard,
his face unshaven. The Guys spot him,
and the MUSIC trickles to a stop.
Tension fills the room in an instant.
Mark glances at his watch, fixes Prince
with a disgusted look.

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

PRINCE
Where's Lisa and Wendy?

BOBBY
They haven't shown up yet.

PRINCE
They call?

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

CHICK
Prince. Billy Sparks wants to
see you.

PRINCE
Tell him I'm rehearsing.

CHICK
Uh, uh -- now.

74) INT. STAIRWAY AND CLUB -- DAY

as Billy cuts down the stairs quickly.
Prince, walking to meet him, pulls
himself up short--

BILLY
What do you want?

PRINCE
You wanted to see me?

Billy still moves -- Prince keeps up--



BILLY
You having trouble?

PRINCE
(shrugs)
No.

BILLY
No?

PRINCE
No ...

BILLY
Where's Lisa and Wendy?

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

(75) EXT. STREETS, CLUB -- DAY

Rush hour TRAFFIC. Billy sets the pace
down the sidewalk -- Prince keeps up--

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

PRINCE
(a beat)
No.

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

PRINCE
What's that?

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

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

BILLY
Go around the block!

The Babe pulls into the flow of traffic-
-

BILLY
It won't be The Time --
they're playing backup to
Vanity. So it's either you or
the Modern Aires.
(a beat)
What would You do in my
position?

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

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

BILLY
'Nough said. Get smart.
Straighten up your shit.

(76) INT. REHEARSAL HALL -- DAY

The PLACE is JUMPING! Once again The
Time is deep in the guts of "Sex
Shooter," but now there's a difference.
The MUSIC is fiercer and crisper -- the
BEAT tailored, more defined.

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

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

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

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

PRINCE
I want to talk to you.

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

VANITY
Not now, I'm busy.

PRINCE
Now.

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

VANITY
I said I'm busy -- we'll talk
later.

PRINCE
Uh, uh...

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

VANITY
Leave me alone! I've got a
show to do!

She pulls away savagely--

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

Morris is enraged--

MORRIS
Man -- why don't you just do
the walk?

Prince glares at him, cups his genitals-
-

PRINCE
Why don't you kiss the one-
eyed snake?

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

MORRIS
Jellybean!

Jellybean, 6'4", 210 pounds, steps from
behind the drums, moves up behind Prince-
-

JELLYBEAN
Let's go, Jack.

PRINCE
Fuck you!

He lunges, grabs Vanity again -- she
SHRIEKS--

VANITY
Leave me alone, dammit! Get
out of here!

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

JELLYBEAN
(enraged)
Fucker!!

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

JELLYBEAN
Stay still, motherfucker!!

But Prince continues fighting him with
everything he's got! Jellybean is
astonished--

JELLYBEAN
Shit!!

He twists Prince's neck savagely,
SMASHES! his legs to the floor again and
again--

JELLYBEAN
Stop!!

Vanity is crying--

VANITY
Jellybean, please...

Prince drops to his hands and knees exhausted. Everybody is
frozen now -- scared. The Girls are crying, the incedent
has already gone too far...


Jellybean settles his weight on Prince,
twists his head down painfully, trying
to break the resistance he alone can
feel. Prince remains silent, the anger
coursing through his body in tremors--

The Guys surround them, grabbing
Prince's arms, legs, and feet. He's
like a trapped animal now--

JELLYBEAN
Lift him.

VANITY
(crying)
Don't hurt him ...

They pick him up, move him toward the
door. He resists them slightly, his
body lurching in fit and starts.
Suddenly he breaks free, faces them with
his back to he door. But the Band
Members surround him, their wills
united, the obviousness of the situation
apparent to all.

He searches for Vanity's eyes, but she
can't face him and walks away. Anger
again surges in his veins. He cuts out
the door, SLAMS it behind him.

[Edited 2/2/11 6:39am]

(77) EXT. ACCESS ROAD, TRAIN TRACKS -- DUSK

Prince WHIPS down a dirt access road
locked in thought, the pain and anger in
his eyes apparent. Suddenly a TRAIN
WHISTLE BLASTS just behind him, sending
a shot of fear through his guts.

He twists backwards in amazement. A
FREIGHT TRAIN ROARS around the bend
BLASTING its HORN violently. Prince
shudders with fright, loses control of
his cycle for an instant. He hits a
series of ruts that almost topple him to
the ground.

He looks back at the train confused,
when another BLAST seems to SOCK him in
the teeth. He twists wildly to the side
of the road, kicking up dirt and debris,
lurching him into the handlebars
violently.

The TRAIN ROARS abreast of him! Prince
snaps an angry look at the engineer.
The Guy coolly gives him the finger and
BLASTS the HORN violently.

Prince becomes enraged! He snaps a look
to the speedometer: 65 mph. He snaps a
look to the Engineer -- the Guy sends
him another obscene gesture and BLASTS
his HORN.

Prince grits his teeth, twists the
throttle full. He lurches forward in an
instant, blazing in front of the train,
The Engineer BLASTS the HORN
mercilessly, and throws on the coals.
They blast down the stretch neck to
neck, twist round a wide bend.

Prince edges in front! The Engineer
BLASTS the HORN and moves up. Prince
snaps a look to him -- the Guy mouths
the words: Fuck You!

Prince wants to scream! He twists the
throttle, snaps a look to the
speedometer: 75 mph. He RIPS past ruts
and gullies like a madman. The TRAIN
moves up. They blast around another
bend neck to neck

Suddenly Prince's eyes widen with
horror. A CAR is parked across the
access road, waiting to cross the track.
He shoots a look to the Engineer -- the
Guy is laughing hysterically now,
BLASTING his HORN wildly, mouthing the
words: Bye Bye!

Prince screams like a MADMAN! He
twists his throttle FULL! He blazes
ahead of the train, BLASTS! up the
embankment, SAILS through the air...

...a BRICK WALL cuts the access road in
two!

He SCREAMS in bloody terror! He hits
the road and fishtails wildly, locking
his brakes. The WALL comes at him like
a locomotive. He's going to hit it,
knows it and...

He twists his throttle violently BLASTS!
directly into the path of the train!

The Engineer looks on in horror! Prince
throws his weight forward and...

...the train ROARS past him as he
fishtails wildly to a stop.

The Engineer sails off into the dusk,
his mouth agape. Prince sits there
breathing fiercely, the adrenaline
shrieking though his veins, watching
the train disappear into the distance.

(78) EXT. STREETS AND ALLEY -- DOWNTOWN -- TWILIGHT

SHOPPERS flood the sidewalks, rushing for the buses that
take them home. TRAFFIC clogs at the 77 intersections
while PEDESTRIANS walk against the lights. Prince rides
down the streets, hugging the right shoulder, impatient with
the delays. He blasts down a side street, sees FLASHING
LIGHTS up ahead. GAWKERS are already crowding around.



He moves through the TRAFFIC slowly,
glides past a POLICE CAR, and a small
CROWD. A CAR has run onto the sidewalk,
knocking down the marquee to a rundown,
neighborhood bar.

Something catches his eye -- he stops
suddenly. His Mother stands against the
wall, idly watching the goings on. He
jumps off his bike hurriedly, walks up
behind her, taps her on the shoulder--

PRINCE
Ma...?

She turns, he gasps out loud. Her left
eye is swollen shut--

MOTHER
(drunkenly)
Hi, ya, baby...

Her drunken breath washes over him --
his head spins--

PRINCE
Ma...what happened?

She rubs up against him--

MOTHER
Can you give me some money?
C'mon, just some money...

She gropes for him drunkenly -- he
suddenly realizes she doesn't know who
he is--

MOTHER
Here...here...

She tugs at her wedding ring--

MOTHER
Give me something for
this...just a little. It'll
be okay...

PRINCE
C'mon...I'll take you home.

Just then a COP moves through the Crowd-
-

COP
Okay, c'mon now -- break it
up. Let's go..

The Crowd moves out. Police RADIOS
cackle. Three WOMEN stagger over, one
of them grabbing his Mother--

WOMAN
C'mon, honey -- we're goin'
in...

She fixes Prince with a glare--

WOMAN
You're a little young aren't
you? Get out of here. Leave
her alone.

Very cool, thanks. Hope the rest comes soon...