from the original script before Vanity(RIP) left

http://prince.org/msg/7/424678 the Purple Rain era 1983 - 1985

http://prince.org/msg/7/425840 Prince & the Revolution Purple Rain the movie 1984(script)

http://prince.org/msg/7/424681 the Purple Rain tour & performances 1983-1985

(1) Black Screen

SOUND under: MUSIC building in INTENSITY
as--

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

A world of never ending happiness
U can always see the sun, day or night
So when U call up that shrink in Beverly Hills
U know the one - Dr. Everything'll Be Alright
Instead of asking him how much of your time is left
Ask him how much of your mind, baby
Cuz in this life things are much harder than in the afterworld
In this life U're on your own
And if de-elevator tries 2 bring U down, go crazy
Punch a higher floor!

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

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

BURN IN MAIN TITLE: PURPLE RAIN

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

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



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

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

If U don't like the world U're living in
Take a look around U, at least U got friends
U see, I called my old lady 4 a friendly word
She just picked up the phone, dropped it on the floor
"Ahh! Ahh!" was all I heard

CHORUS:
Are we gonna let de-elevator bring us down?
Oh no, let's go!
Let's go crazy, let's get nuts
Let's look 4 the purple banana till they put us in the truck
Let's go!

(2) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT

The MECCA! The last stop for a band
before national fame.

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

PRINCE is CENTER-STAGE -- LIPS caressing
the mike, black, lustrous hair shining,
eyes dancing -- SINGING "Let's Get
Crazy" as the CROWD pulsates beneath the
LASER LIGHTS.





The MUSIC continues as we ...

CUT TO:

(3) EXT. STREETS #1 -- NIGHT

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

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

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

CUT TO:

Thanks for posting this! Hopefully someday there will be a video release so we can finally see the movie!

(4) INT. SHOWER, MORRIS' APT. -- NIGHT

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

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


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


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

CUT TO:

5) INT. BASEMENT, PRINCE'S HOME -- NIGHT



Prince sits in front of the mirror,
finishes applying his makeup. Black
hair flowing, eyes wide and fantastic,
he regards himself a moment before
jumging up. He puts on a high-collared
overcoat, grabs his guitar moves
quickly to the basement window. He
hoists himself through it, disappears
into the night.

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

CUT TO:

(6) EXT. CORNER, STREETS #1 -- NIGHT

A POLICE CAR, lights FLASHING, sits at
the curb. A small CROWD has rathered
about. The Cabbie stands on the
sidewalk gesticulating angrily to a COP.
Vanity stands by the police car,
obviously board, another COP by her
side. Her eyes are fastened on a good-
looking BUSINESSMAN standing nearby...

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

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

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

We're all excited, but we don't know why
Maybe it's cuz we're all gonna die
And when we do, what's it all 4?
U better live now before the grim reaper
Come knockin' on your door
Tell me...

CHORUS

Come on, baby
Let's get nuts!
Yeah (Crazy)
Let's go crazy

Are we gonna let de-elevator bring us down?
Oh no, let's go crazy! (Go crazy!)
I said let's go crazy! (Go crazy!)
Let's go! (Let's go!)
Go! (Let's go!)

CUT TO:

(7) INT. MORRIS' BEDROOM -- NIGHT

Morris moves lasciviously into the
BEDROOM wearing a red muscle T-shirt,
orange baggy shorts, and green knee-hi
socks fastened to garters. A yellow
bandanna holds up his hair.

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


MORRIS
(awed)
Oh, Lord ...

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

CUT TO:

(8) EXT. CLUB (1ST AVE. ST. BAR) -- NIGHT

The STREETS are swollen with TRAFFIC.
KIDS are packed onto the sidewalk,
waiting to get into the club. Prince,
riding his MOTORCYCLE, weaves between
jammed cars, then blasts down a narrow
alley leading to the rear entrance. His
guitar is slung across his back. He
chains up his bike, moves past a CROWD
of KIDS, cuts inside.

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

CUT TO:

(9) EXT. STREETS #2 -- NIGHT

A SEVILLE sweeps to a stop. The
Businessman is at the wheel. Vanity
steps from the car languidly and offers
a curt wave goodbye. The car pulls
away.

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

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

CUT TO:

(10) EXT. MORRIS' APARTMENT -- NIGHT

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

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

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

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



CUT TO:

WOW. This is very dedicated of you.

Cool! Please keep it going.

(11) INT. DRESSING ROOM, CLUB -- NIGHT

Prince is BACKSTAGE, practicing spins in
front of the mirror. The other MEMBERS
of his CROUP are scattered throughout
the room. BOBBY sits off to the side,
his drumsticks tapping against his knee.
MATT puts on his doctor's smock. LISA
and WENDY finish applying their makeup.
MARK runs his fingers up and down the
neck of his bass guitar.

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

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

CUT TO:

(12) INT. MOTEL ROOM -- NIGHT

The DOOR opens -- A LIGHT goes on.
Vanity stands in the hallway, peers
cautiously into a squalid, rundown room.
She hesitates briefly, seems to sigh,
then indicates she will take it. The
MANAGER closes the door as he leaves.

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

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

(13) EXT. CLUB -- NIGHT (VANITY'S POV)

... KIDS are crowded in front of the
CLUB. A YELLOW CADDY SCREECHES up in
front. TRAFFIC is jammed all around.
The night is electric -- the scene
beckons ...

(14) INT. VANITY'S HALLWAY -- NIGHT

She runs from the room, cuts down the
hallway, slanming the door behind her
...

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

CUT TO:

(15) EXT. CLUB (1st AVE. ST. BAR) -- NIGHT

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

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

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

CUT TO:

(16) INT. CLUB (1st AVE. ST. BAR) -- NIGHT

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

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

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

MORRIS
We're going to slay him...
(screams)
Whawhak!

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

CUT TO:


(17) EXT. CLUB -- NIGHT

(17) EXT. CLUB -- NIGHT

COMMOTION! The CROWD has become
unwieldly -- TRAFFIC is snarled all
around. HORNS are BLARING. COPS try
desperately to ward off the inevitable
grid lock.

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


CHICK
What?

VANITY
I have an appointment with the
manager.

CHICK
No you don't -- he doesn't see
anybody.

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

Vanity streaks inside, blazes up the
stairway, ducks behind a GROUP of
GIRLS...

CHICK turns instantly -- the door is
closed -- VANITY, gone. His eyes dart
up the stairway -- nothing. He shrugs,
drags the Two Guys off.

(18) INT. CLUB -- UPPER BAR AREA -- NIGHT

VANITY watches as he moves away. She
jumps up, lunges onto the dance floor,
CRASHES into a waitress, JILL, whose
tray SMASHES to the floor--

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

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


VANITY
Sorry ... where's the office?

Jill squats, picks up the broken glasses-
-

JILL
Do you think you can just come
in here and take over?

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

Jill points -- Vanity hurries away --

JILL
(triumphantly)
No one's in!

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

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

JILL
Do you have any experience?

Vanity simmers, enunciates every word--

VANITY
Yeah...definitely.

JILL
Follow me.

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

Dr. Everything'll Be Alright will make everything go wrong
Pills and thrills and daffodils will kill
Hang tough children

He's coming!
He's coming!
Coming!

Take me away!

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

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

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

JILL
Here, fill this out -- I'll
have him call you.

VANITY
I don't have a phone. When
will he be back?

JILL
Well...you can try tomorrow.

VANITY
You can count on it.

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

JILL
Vanity??

BACKSTAGE
as Morris and The Time pass Prince on
their way to the stage--

MORRIS
Why don't you stay awhile, see
how it's done.

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

MC
Ladies and gentlemen -- please
welcome The Time.

Joseph E. Ferraro ... First Avenue M.C.

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

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

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

18A) INT. CLUB -- NEAR STAGE -- NIGHT

MORRIS and The Time rip into a funk tune
called "Jungle Love." Their stranglehold
on the audience is instantaneous.
Morris struts across the stage like a
panther, playing to the audience with a
relish. His eyes fastened on Prince --
his pride umistakable

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

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

JILL
Hey ...

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

(18B) INT. FOYER AND STAIRWAY -- NIGHT

as she runs down the stairs, cuts behind
Chick, BURSTS out the door.


(19) EXT. CLUB -- NIGHT

FRANTIC! The STREETS are thick with
TRAFFIC. She scans them wildly --
nothing. Suddenly Prince, astride his
motorcycle, BLAZES past her from the
opposite direction. She starts running,
shouts--

VANITY
Hey wait!

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

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

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

20) EXT. PRINCE'S HOUSE -- NIGHT

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

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

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

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

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


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


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

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

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

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

MOTHER
You're crazy!

WHACK!

MOTHER
Asshole!

WHACK!

MOTHER
Motherfucker!!!

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

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

His Mother drags herself up along the
wall--

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

PRINCE
(tearfully)
Dad, please ... she's--

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

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

FATHER
Get up...you ain't hurt.

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

(22) BASEMENT -- HALLWAYS AND BEDROOM -- NIGHT

A naked LIGHT BULB snaps ON. It dangles
like a pendulum, casting strange
shadows. The basement is partitioned
off into a series of rooms,
interconnected by a labyrinthine
coimbination of passages. An old washer
and dryer stand in the corner.

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


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

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

FADE OUT:

FADE IN:

FADE IN: PR Outake:Wednesday ... I Don't Know What I'd Do...

(23) INT. CLUB EARLY MORNING

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

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

PRINCE
(surprised)
What are you doing here?

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

JILL
What...what are you doing
here?



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

PRINCE
Huh ... it's kind of dead in
here. Where is everybody?

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


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

JILL
Well, I'll be here -- I always
like what you do.

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

JILL
Wait! I've got something for
you.

PRINCE
What? A subpoena?

JILL
(embarrassed)
No...

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



JILL
It's a song Lisa and Wendy
wrote.

He stiffens, doesn't reach for it--

PRINCE
(suspicious)
Why didn't they give it to me
themselves?

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

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

PRINCE
You really liked it, huh?

24) INT. REHEARSAL HALL -- DAY

MUSIC throbs throuch the crammed,
rundown REHEARSAL HALL. Hardwood
floors, a wall of mirrors, and a bank of
windows provides the setting. SUNLIGHT
streams through tattered yellow shades.


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

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

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

MORRIS
One, two, three, kick! One,
two, three, kick! Four,
five...Oh, Lord. Cut! Cut!

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

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

BRENDA
Why don't you let us come up
with our own steps?

Morris glares at her--

MORRIS
We tried that...
(sweetly)
... remember?

The Girls fidget--

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

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

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

(25) EXT. STREETS AND ALLEY -- DOWNTOWN -- DAY

Morris and Jerome move briskIy down the
sidewalk--



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

JEROME
You're right. We could be
doing much better. Any ideas?

MORRIS
That powder fine babe we saw
last night.

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

Morris snaps an address in front of his
face--

MORRIS
I already know that. Jill
gave me everything last night.
Whawhak!

JEROME
Then what are we waiting for?
Let's go!

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


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

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

MORRIS
Jerome!

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

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

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

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

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

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

JEROME
Hmm... I don't know...

MORRIS
I got it! The hubcaps. We
need something sweeter.

JEROME
I think I know what it needs.

Morris is pondering his Stacy Adams--

MORRIS
Yeah ... I know what these
need.