(64) INT. STAIRWELL, VANITY'S MOTEL -- MORNING

She enters the LOBBY, closes the door
behind her. She turns -- another
CARNATION is on the stairwell. She's
intrigued, glances up the stairs --
there's another one, and yet another
further up. She's confused, but grabs
them, disappears up the stairs.


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


(65) INT. VANIITY'S ROOM -- MORNING

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

MAN(O.S.)
Miss V.?

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

VANITY
Yes...?

MAN
Delivery.

VANITY
(surprised)
Come in ...

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

VANITY
Hey -- wait a minute. What's
going on?

The Men leave the room--

MAN
Downstairs.

She hurries to the window, looks out--



(66) EXT. STREET -- DAY -- VANITY'S POV--

Morris and Jerome standing by the curb,
their eyes fastened excitedly on her
window, leaning against a flower truck.
We catch a glimpse of a Man bringing her
a dozen chrysanthemums--

MORRIS
Good morning, dahling.


(67) EXT. VANITY'S WINDOW AND STREET -- DAY

(INTERCUT)

VANITY
You're crazy! -- What are you
doing?

MORRIS
(excited)
Come down -- come down.

VANITY
I can't -- I've got things to
do.

MORRIS
C'mon, ten minutes. I want to
show you something-

She shakes her head--

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

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

JEROME
Well...what do you think?

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

MORRIS
Chili sauce.

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

MORRIS
Oh, Lord...

(68) INT. CLUB (1ST AVE. ST. BAR.) -- DAY

CU--Clock. We SEE 11:25

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



WENDY
What's wrong?

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

WENDY
Is that better? Do you like
that?

He ignores her--

PRINCE
Where is everybody?

LISA
You're late -- they left.

PRINCE
So what are you doing here?

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

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

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

PRINCE
Can't you guys get off it?
Can't you just leave it alone?

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

WENDY
Yeah -- we'll get off it.

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

69) INT. REHEARSAL HALL --DAY

The Time is JAMMING like MAD, deep in
the heart of "Sex Shooter." Brenda and
Susan move furiously to the beat, trying
their best to get it right. They are
watched by ...

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

MORRIS
As you can see, we need
someone with your special
qualities.

(70) INT. PRINCE'S ANTECHAMBER AND BEDROOM -- NIGHT

CU--Clock. We See: 8:15.

Prince sits, on his bed, staring at the
clock, seemingly lost in thought. 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.

(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:

Directed By

• Albert Magnoli

They're exaggerations or minimizations developed to fit a story that never happened, yet, in a strange way, a story that is their reality.

To me, Prince & the Times entire thing is visual. The microcosm they've developed 4 themselves was a movie begging to be made."

There's music... that means there's night, there's bars, there are alley's. All of a sudden, a story begins to emerge.

Albert Magnoli

Actors

• Prince (The Kid)
• Apollonia Kotero (Apollonia)
• Morris Day (Morris)
• Olga Karlatos (Mother)
• Clarence Williams III (Father)
• Jerome Benton (Jerome)
• Billy Sparks (Billy)
• Jill Jones (Jill)
• Charles Huntsberry (Chick)
• Dez Dickerson (Dez)
• Brenda Bennett (Brenda A6)
• Susan Moonsie (Susan (as Susan A6))
• Sandra Claire Gershman (Beautiful Babe)
• Kim Upsher (Kim/Waitress)
• Alan Leeds (Stage Hand)
• Israel Gordon (Taste M.C.)
• Gil Jacobson (Cop in Basement)
• Joseph A. Ferraro (First Avenue M.C.)
• James French (Cabbie)

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.

I just want to say *THANK YOU* for doing this. I am SO enjoying following along and reading the alternate dialog that got cut from the movie.

(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.

(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.

Prince on set

Dig if U will the picture
Of U and I engaged in a kiss
The sweat of your body covers me
Can U my darling
Can U picture this?

Dream if U can a courtyard
An ocean of violets in bloom
Animals strike curious poses
They feel the heat
The heat between me and U

How can U just leave me standing
Alone in a world that's so cold? (So cold)

Maybe I'm just 2 demanding
Maybe I'm just like my father - 2 bold
Maybe U're just like my mother
She's never satisfied (She's never satisfied)
Why do we scream at each other?
This is what it sounds like when doves cry

Touch if U will my stomach
Feel how it trembles inside
U've got the butterflies all tied up
Don't make me chase U
Even doves have pride

How could U just leave me standing
Alone in a world so cold? (World so cold)

Maybe I'm just 2 demanding
Maybe I'm just like my father - 2 bold
Maybe U're just like my mother
She's never satisfied (She's never satisfied)
Why do we scream at each other?
This is what it sounds like when doves cry

How can U just leave me standing
Alone in a world that's so cold? (A world that's so cold)
Maybe I'm just 2 demanding (Maybe, maybe I'm like my father)
Maybe I'm just like my father - 2 bold (U know, U know he's 2 bold)
Maybe U're just like my mother (Maybe U're just like my mother)
She's never satisfied (She's never, never satisfied)
Why do we scream at each other? (Why do we scream? Why?)
This is what it sounds like when doves cry

When doves cry

When doves cry

When doves cry

Don't cry

Don't cry

When doves cry
When doves cry

Doves cry,

doves cry,

doves cry
When… when…
Don't cry
Darling, don't cry
Don't cry, don't cry, don't, don't cry

(78) EXT. STREETS AND ALLEY -- DOWNTOWN -- TWILIGHT: Traffic Jam

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.

79) EXT. PRINCES HOME -- NIGHT

Prince BLASTS down the STREET, sweeps
into his drive, and jumps off his bike,
practically smashing it into the gate.
His eyes are burning with anger. He
flies up the steps three at a time, cuts
across the porch, bursts throuch the
front door and--


(80) INT. PRINCE'S POME -- NIGHT

-- stalks through the living room, eyes
blazing--

PRINCE
Where the fuck are you?

He spins like a top, streaks down the
hallway, throws open several doors
violently--

PRINCE
Where are you?

He cuts into the kitchen raging--

PRINCE
Answer me you fucker!!

He twists around frustrated; exhaustion,
anger, and pain competing for the same
space. Suddenly he stops, listens
intently a moment. We HEAR it now -- a
PIANO. Someone's PLAYING A PIANO.
Prince throws a look at the basement
door -- it's ajar.

FATHER'S SONG

(81) INT. BASEMENT, PRINCE'S HOUSE -- NIGHT

A naked LIGHT BULB snaps ON. Prince
hesitates a moment, descends the steps,
pauses at the door. The MUSIC wafts
delicately in the night breeze. He
moves down the halllway uncertainly, but
steadily, the MUSIC growing, drawing him
in.

He stops, peers into the antechamber.
His Father is at the piano, his back to
him. He's perched on the broken stool,
playing with all he's got.

Prince moves slowly into the room, his
knees weakening, his anger flowing from
him with every step he takes. Seeing
his Father this way, he doesn't know if
he should laugh or cry. He sits down
silently behind him, listens as his
Father plays.

The SONG ends. His Father sits a
moment, stretching his hands idly along
the keys. Feeling a presence in the
room, he spins around and jumps slightly
at seeing his son. He fixes him with a
threatening look, then shrugs, hunches
over the keys--

PRINCE
Is that yours?

FATHER
'Course it's mine. Who else's
is it goin' to be? Got all
kinds of them. They're
different too.

PRINCE
I'd like to see them. You got
them written down somewhere?

FATHER
No, man -- I don't write them
down -- don't need to. That's
the big difference between you
and me.

PRINCE
Thought you weren't going to
play no more.

His Father looks at him sullenly, then
looks down, stares at the keys.
Prince's eyes well with tears--

PRINCE
I saw Mom up the street. She
looked pretty bad. Any idea
how she got that way?

His Father bites his his lip, rubs a
hand over his face, stares at the keys.
His voice comes with difficulty--

PRINCE
Yeah...
(a beat)
I got a girlfriend.

FATHER
You gonna get married?

PRINCE
(long pause)
I don't know.

His Father shares a hurtful look with
him, then stares darkly at the floor
below--

FATHER
Never get married.

(82) INT. CLUB -- NIGHT

Wendy?

Yes Lisa

Is the water warm enough?

Yes Lisa

Shall we begin?

Yes Lisa

Ow!

Where is my love life?
Where can it be?
There must be something wrong with the machinery
Where is my love life?
Tell me, where has it gone?
Somebody please, please tell me what the hell is wrong

Till I find the righteous one
Computer blue
Till I find the righteous one
Computer blue

The CLUB is THROBBING. Prince is
onstage, stripped to the waist, SWEAT
seeping from his pores in torrents.
He's deep into the pit of "Computer
Blue, " locked into a provocative,
obscene graphic with Wendy. She's on her
knees in front of him, his crotch moving
directly in front of her lips. She's
made up fiercely, looks like Prince
himself. The total effect is unnerving
-- Prince is going down on himself.

Billy Sparks stands by the bar pretty
upset. Jill stands slack-jawed. The
KIDS have stopped dancing, drinking --
they staring at the display,.shaking
their heads confused...

Where is my baby?
Where can she be?
Somebody please, please tell me what is wrong with me

Where is my baby?
Where has she gone?
Somebody please, please tell me what the hell is wrong

Yeah

The computer's on the verge of breakdown!

Come on
Oh baby, don't make me

Poor lonely computer
It's time someone programmed U
It's time U learned love and lust
They both have 4 letters
But they're entirely different words
Poor lonely computer
Poor, poor lonely computer
Do U really know what love is?

The BEAT is SAVAGE. Prince is in his
own world, living his own private hell.
Suddenly the MUSIC crescendos, then
winds down like a roller coaster
sweeping everyone along. The BEAT
changes radically. He turns his back to
the audience and plays ...

...and we suddenly recognize the MUSIC
as his Father's -- the song he played on
the piano the night before. But it's
Prince's now, stamped with his own
signature. He's bent at the waist, his
back to the audience, alone with his
father's, and his, pain.

The CROWD fidgets...Billy Sparks fastens
his eyes on Prince angrily.

He didn't like living alone
The house where he lived had many hallways
It was a long walk 2 his bedroom
Because 2 him each hallway represented an emotion
Every one vastly different from the next
One day while she was with him
He decided 2 name each one
She walked by his side, one hand on his thigh
No - she was sort of half a step behind him
Yeah, the grip on his thigh intensified
As they walked slowly through the corridor
He named the hallway "Lust"
And as they passed through the next one
He named it "Fear"
The grip she now loosened
So he walked faster
Her hands now trembling
She let dropped 2 her side as he wrote the word "Insecurity"
He looked into her eyes and smiled a demon smile
And quickly walked onto the next
Corridor after corridor
He named almost all when suddenly… he stopped
He picked up the word "Hate"
She was gone
So he picked up another – "Pain"

On the verge of a breakdown
What is life without love?
It's hell, Computer Blue!

Father, Father, the sun is gone
(Father, Father) The Dawn, the Dawn
Father, Father, where is the Dawn?
(Where is the Dawn, Father?)
(Na, na, na, na, na)
Na, na, na, na, na

Shall I go 2 church on Sundays?
Shall I stay home and pray?
Shall I try 2 make her happy?
Shall I try 2 make her stay?

Where is my love life?
Tell me, where can it be?

(84) INT. CLUB -- NIGHT

Prince is on-stage, deep into the
closing moments of "Computer Blue." He
paces back and forth frantically, still
locked in his own private hell. The
Crowd's attention has wandered, however,
and very few remain on the dance floor,
finding it too much trouble to keep up
with the changing shifts in the music.
Even his band members are edgy, casting
quick looks to each other, wishing to
get on with more compelling audience-
pleasing sounds.

BAR AREA
as Billy Sparks shakes hands with Morris
and Jerome and is introduced to Vanity
Six for the first time. We can tell by
his reaction that he likes what he sees.
He kisses Brenda and Susan, saves a
special squeeze for Vanity herself. He
escorts the whole group to a table
across the floor. Vanity brings up the
rear, casts a quick look to Prince
onstage.

PRINCE
fastens on her and brings "Computer
Blue" to a rousing end. The Crowd
applauds, but it's more out of respect
than eagerness. He doesn't seem to
notice though, or care. He confers
quickly with his group., then moves
center-stage. The Band Members trade
frustrated looks with each other -- it's
obvious that they have some trouble with
the next song...

Prince presses his lips to the mike, and
the MUSIC starts. He begins SINGING
"Darling Nicky"--

I knew a girl named Nicky,
I guess you can say she was a
sex fiend.
I met her in a hotel lobby
masturbating in magazines.
She said, How'd you like to
waste some time,
And I could not resist
When I saw little Nicky grind.

BILLY SPARKS shoots a fierce look to Prince, helps
Morris, Jerome and the Girls to their
table. Vanity is watching Prince, a
puzzled look on her face--

MORRIS
Hee, hee...little empty
tonight, huh, Billy. But I
guess money isn't everything.

Jerome busts up--

JEROME
Oh no... that's cold...

But Billy agrees--


BILLY
The Duke of Dick is in rare
form tonight.

They all look toward the stage--

PRINCE
is fastened on Vanity and it's apparent
to all. He launches into the next verse-
-

PRINCE
She took me to her castle
And I could not believe my
eyes.
She had so many devices
Everything that money could
buy.
She said,
Sign your name on the dotted
line,
The lights went out,
And Nicky started to grind.

VANITY
flushes with embarrassment. Billy and
Morris notice this and glare at Prince.

PRINCE
looks dead-center at them, and then to
Vanily--

PRINCE
I woke up the next morning.
Nicky wasn't there.
I looked all ov'r all I found
Was a phone number on the
stairs.
It said thank you for a funky
time,
Call me up when ev'r you want
to grind.

VANITY
stands suddenly, fighting back tears.
She backs from the table quickly, knocks
the chair over. Morris tries to help
her, but she sweeps past him, hurrying
for the exit.

(85) INT. STAIRWAY/EXT. STREET -- NIGHT

as she comes down the stairs stumbling
slightly, tears streaming down her face.
Chick sees her, reached out to help--

CHICK
Hey ...

But she pulls away, runs out the door,
cuts across the street.

(86) INT. CLUB -- NIGHT

PRINCE
brings the SONG to a blistering end.
The stage is plunged into darkness. He
strips off his guitar, cuts from the
stage, ignoring the grave looks from his
Band Members.

(87) INT. HALLWAY -- NIGHT

as Prince twists aggressively past a
handful of FANS, rudely disregarding
their attention. He Cuts into the
dressing room.

(88) INT. DRESSING ROON -- NIGHT

He's agitated, paces back and forth in a
frenzy. Suddenly the DOOR flies open.
Billy Sparks enters angrily--

BILLY
What the fuck's wrong with
you, Prince?!

PRINCE
I don't have time for your
bullshit, Billy. What do you
want?

BILLY
My stage is no place for your
personal shit!

PRINCE
That's life, man.

BILLY
Life my ass, motherfucker!
This is a business, and you're
not too far gone to see that.
(a beat)
I've told you this before.
You're not pulling them in
like you used to. The only
person who gives a fuck about
your music is yourself.


PRINCE
Fuck off!

But Billy can't help laughing--

BILLY
Just like your old man...

Prince shoots him a threatening look--

BILLY
Yeah -- you got it. Tell me
I'm wrong.
(a beat)
You're not blind. Look around
you. No one's digging you.

Prince turns away--

BILLY
Look at your band. Are they
in here right now? They're
out there 'cause they can't
stand being in the same room
with you.
(a beat)
What a fucking waste...like
father, like son--

PRINCE
Lay off that!

Billy turns to go--

BILLY
Take your head out of your
ass, Prince, check it out --
unless you like the view up
there. Your music doesn't
make sense to anyone but
yourself.

He closes the door behind him. Prince
stands dully a moment, then sits heavily
in a chair. Exhaustion suddenly
overwhelms him. He rests his head in
his hands, moments tick by...

He shakes himself awake -- Morris and
Jerome stand by the door--

JEROME
That was fucked up what you
did man. Morris doesn't like
it. And being a part of this -
- I don't like it either.

PRINCE
I don't care.

MORRIS
Hee, hee...huh, it's obvious
you don't have what it takes
to be on top.

He pulls an envelope from his pocket--

MORRIS
But to show you that I'm
sympathetic to your problems -
- here's a pass to our show
tomorrow night. Enjoy it.

They leave. Then Morris sticks his head
into the doorway--

MORRIS
Don't forget to bring a
girlfriend. Whawhak!

(89) EXT. THE TASTE -- NIGHT

COMMOTION. CARS are THICK in front of
THE TASTE, a small NIGHTCLUB located in
the poorer part of the city. Because of
its location, The Taste books different
dance bands four nights a week and then
hosts a Variety Night the remaining two.
Aspiring comedians, dancers and jugglers
flock to Variety Night, desirous of
trying their material in front of a live
audience -- and hoping to catch the
discering eye of a talent scout on the
prowl.

Billy Sparks pulls up to the curb, gets
out with a beautiful WOMAN and cuts
inside.

(90) INT. BACKSTAGE, THE TASTE -- NIGHT
Jerome stands BACKSTAGE fidgeting
nervously, staring appreciatively at the
closed dressing room door. Various
PEOPLE in COSTUMES pass by sporadically.
Suddenly a burst of APPLAUSE and
LAUGHTER wafts into the hallway. Jerome
walks to the curtain and peers out--


(91) INT. THE TASTE -- NIGHT

JEROME'S POV--
Billy Sparks and his Girlfriend being
seated at a front table. A COMEDIAN is
on stage juggling KNIVES and HATCHETS.
The CROWD is ROARING their approval.

The Union Bar in Minneapolis (which later became a Christian music club called the New Union). The Taste Show Lounge in Minneapolis, a favorite of the Prince crowd,

92) INT. BACKSTAGE -- THE TASTE -- NIGHT

Just then a CLOWN passes Jerome, stops,
and hands him a flower. Jerome tries to
smile, but his nervousness is simply too
strong. The Clown hands him another
flower, trying to elicit a favorable
response. Jerome is patient, but
attempts to ignore the Clown in a polite
way, indicating he'd rather be alone.
The Clown persists, however, going
through a little routine, handing him
flower after flower...

Suddenly Jerome throws them into the
air, grabs the Clown by the throat and
flings him headlong down the hallway.
The Clown gives Jerome the finger and
walks off in a huff.

MORRIS
cuts from the dressing room, closes the
door behind him. He joins Jerome at the
curtain, and they move down the back
stairway to the CLUB--

MORRIS
(nervously)
I guess this is it.

JEROME
I guess so, M.D.

MORRIS
I think I'm going to be sick.
Why does this have to be
happening to me? Has it
crossed your mind that we're
about to make the biggest
mistake we've ever made?

JEROME
I don't think it's all that
bad.

MORRIS
That's why I do all the
thinking.

93) INT. THE TASTE -- NIGHT

as Billy Sparks spots Morris, waves. Morris manages a weak
smile, offers a half-hearted wave back. Just then we HEAR a
firce DRUM BEAT, and--


TASTE M.C.
Ladies and Gentlemen, please
welcome Vanity 6.

Respectful APPLAUSE--

MORRIS
Oh, God--

He sits quickly, followed by Jerome --
they both put on sunglasses.

A HUSH descends over the CROWD. The
CURTAIN rises slowly...and Brenda, Susan
and Vanity are frozen in a provocative,
vampy stance. Their effect on the
audience is galvanizing -- the Crowd
bursts into APPLAUSE and WHISTLES--

MORRIS
(surprised)
What??

I need U 2 get me off
I'm your bomb, baby, ready 2 explode
I need U 2 get me off
Be your slave, do anything I'm told

I'm a sex shooter
Shootin' love in your direction
I'm a sex shooter
Come and play with my affections

I need U 2 pull my trigger, baby
I can't do it alone
I need U 2 be my main thing, play thing
Pillar of stone

Wearing sexy lingerie and moving
seductively to the beat, the Girls
launch into "Sex Shooter" with complete
abandon. The MUSIC is slick and fierce,
the Girls sexy and sure. Wearing black
bikini panties, black tails and boots,
Vanity dances center-stage and begins
SINGING. She's mesmerizing, her look so
alluring, so profound that the audience
sits slack-jawed in amazement. The
SPOTLIGHT is hers and she soaks it in,
radiating a sexiness that has the
audience at her feet. The entire
concept -- dress, dance, music and
staging -- is overwhelming, with just
the right degree of playfulness to allow
the Crowd easy passage into the fantasy
world the Girls create. Brenda and
Susan play off her wonderfully, sharing
secret looks with the Crowd, balancing
the wickedness of the act with an
innocence that is enticing. They're
working strongly as a unit now, the
AUDIENCE roaring their approval...

Come on, kiss the gun

Come on, kiss the gun
Guaranteed 4 fun

Sex shooter
Shootin' love in your direction
Oh, I'm a sex shooter
Come and play with my affections

Listen boys
No girl's body can compete with mine
No girl's rap can top my lines
No girl's kiss can ring your chimes
Come on boy, let's make some time

I'm a sex shooter
Shootin' love in your direction (Yeah)
I'm a sex shooter
Come and play with my affections

MORRIS and Jerome are beside themselves with
happiness. They pull off their shades
immediately, sit back and glow in the
audience's response.

PRINCE
stands in the back, his eyes glued to
Vanity. Her strength and sureness in
front of the Crowd is breathtaking. The
audience loves her and he suddenly feels
very alone -- as if another wall has
gone up between them. He looks away a
moment and spots...

...Morris looking at him with a self-
satisfied, triumphant grin on his face.
Prince looks away, moves out of his
eyesight.

Everybody sing it
Sex shooter
Shootin' love in your direction
I can't hear U
Sex shooter
Come and play with my affections
All the nasty people sing it
Sex shooter
Shootin' love in your direction
Everybody
Sex shooter
Come and play with my affections

"Sex Shooter" comes to an end. The
stage is plunged into darkness. The
CROWD goes WILD, leaps to their feet,
begging for more. The Girls, slighly
over-whelmed by the response and
flushing deep red, hold one
another.tightly and take repeated bows.

PRINCE
watches the Girls bowing to thunderous
APPLAUSE. Suddenly Vanity looks at him
and touches the earring she's wearing --
it's his Mother's. His knees weaken
instantly, and he locks eyes with her.
The heat between them is unmistakable.
She smiles vividly, gives him an
endearing wave and steps back as the
curtain closes.

He's MOVING through the Crowd before he
knows it, trying to get to the backstage
door. The Crowd is thick, his path
momentarily blocked. He spots Billy
Sparks cutting across the floor and
congratulating Morris and Jerome.
Prince turns from them, tries once again
to make his way through the Crowd.

My my! These deleted scenes! Gives insight to the songs; wish I could see them.

Thanks OF4S for lovingly putting together this thread!

artist76 said:

My my! These deleted scenes! Gives insight to the songs; wish I could see them.

Thanks OF4S for lovingly putting together this thread!

The CLUB is THROBBING. Prince is
onstage, stripped to the waist, SWEAT
seeping from his pores in torrents.
He's deep into the pit of "Computer
Blue, " locked into a provocative,
obscene graphic with Wendy. She's on her
knees in front of him, his crotch moving
directly in front of her lips. She's
made up fiercely, looks like Prince
himself. The total effect is unnerving
-- Prince is going down on himself.

This scene from the Computer Blue performance was an eye opener and adds to the emotional turmoil of the song