(35) INT/BACKSTAGE ENTRANCE/CLUB -- NIGHT

Morris stands by the door surrounded by
several delicious BABES. One of them,
wearing a tight, red dress, looks
especially enticing. Morris leans in
closer -- her tasty breasts strain
against the spandex material--

MORRIS
Honey -- don't you ever try
and breastfeed no baby now.

GIRL
Why not?

MORRIS
Never mind ...

Jerome appears--

JEROME
What.

MORRIS
What?

JEROME
Right. What.

MORRIS
What??

JEROME
You got it.

Be snaps his head to the side -- Morris
looks, sees Vanity sitting at a table.
His eyes dance mischievously--

MORRIS
Ye-es
(to Girl)
What time is it?

GIRL
(coyly)
Tea time.

MORRIS
So, right.

(36) INT. DRESSING ROOM -- NIGHT

as Prince sits by himself in front of
the mirror, staring at a cassette on the
counter. We recognize it immediately as
the tape Jill gave him earlier,
containing Lisa's and Wendy's music. He
picks it up, snaps it into a ghetto
blaster. MUSIC, without lyrics, fills
the room. He adjusts the dials, sits
back and listens a moment. Suddenly the
door opens--

STAGEHAND
Prince, five minutes.

Be snaps off the music, drops the
cassette into his pocket, cuts out the
room.

(37) INT. BACKSTAGE -- NIGHT

He comes to the stage-area. His
Band.Members are standing about
anxiously, watching the final moments of
The Modern Aires' performance. He cuts
behind the curtain, peers at the
crowd...

...his eyes fall on Vanity -- his face
brightens instantly. Just then Jerome
and Morris approach her. Prince shakes
his head knowingly, offers a wry smile,
then joins his band.

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

She sits demurely. Morris' eyes are
wide and shining -- her beauty up close
astonishes him--

JEROME
Vanity, I'd like you to meet
Morris E. Day.

MORRIS
Hold it now -- just leave the
'E' alone.

JEROME
(clears throat)
Vanity...this is Morris Day


MORRIS
The pleasure's all mine.

she offers her hand -- he takes it
decorously--

JEROME
If you'd excuse me.

Morris signals him -- whispers into his
ear--

MORRIS
Too sexy ...
(a beat)
Have a waitress bring.a
bottle of their best
champacne.

He seats himself, fastens her with a
sexy, half-lidded look--

MORRIS
Your lips would make a
lollipop too happy.

VANITY
You think so, huh?

MORRIS
Ye-es.

Kim appears with a bottle of champacne
in ice--

KIM
Who's paying for this Morris?

MORRIS
I think you know that.
(a beat)
Jerome!

Jerome appears, opens the bottle with a
flair, performs a classy taste test.
Morris pulls out some cash, pays him,
who snatches the money, leaves--

MORRIS
Huh, keep the change--

He whispers to Jerome--

MORRIS
Get my change, will ya?

Jerome leaves, Morris purses his lips--



MORRIS
Oh, Lord...either somebody put
something in my drink, or you
are the finest (motherfucker)
I've seen in ages.

VANITY
Excuse me, what did you say?

MORRIS
Huh...you look nice tonight.

He leans in, speaks with a sexy voice--

MORRIS
It's rare that I out my cards
on the table when it comes to
meeting younq ladies, but ...
I'm going to make you love me.

VANITY
Is that a fact?

He folds his legs dramatically, his
Stacy Adams reflecting the light--

MORRIS
Just as sure as my Stacy Adams
are shiny.

Just then--

M.C. (O.S.) G-SPOT & ELECTRIC INTERCOURSE
Ladies and Gentlemen -- please
welcome Prince!

The CLUB erupts in CRIES! Prince hits
the stage, launches into "G-spot," a
fast, high-spirited funk tune that gets
the crowd hopping. Vanity watches as
Prince whips the crowd into a frenzy.
Morris listens with a complacent grin on
his face, his eyes searching out various
members of The Time who are scattered
through-out the club. When he connects
with one of them he makes a series of
absurd faces which sends them into
hysterics. For Prince is playing music
that The Time is noted for, and, as far
as Morris is concerned, performs better.
Not everyone in the club is dancing, or
paying attention, and this does not
escape his notice.

Suddenly "G-Spot" comes to a rousing
end. The CROWD cheers wildly. Prince
moves quickly to the piano and launches
into "Electric Intercourse," a love
ballad which, as it progresses, becomes
a personal statement for Vanity and
Prince himself.



She listens intently, her eyes fastened
on him. The words have a profound
effect on her -- and the audience.
Without being consciously aware of it,
they're moving closer to the stage,
searching for their personal fix. Prince
surrenders himself to the music totally,
releasing from himself all that is
hurtful -- releasing the sincerity and
truthfulness that escapes him in his
daily life. We are entering realm
where life and music are inextricably
bound, and the impact on the performer
and listener is profound.

He's directing his music toward her, and
she receives it gratefully, almost
anxiously. It fills a void in her, hewn
by a life of meaningless promises. He
searches her face with his magnificent
eyes, and ends the song with a
heartrending cry which connects with the
souls of all present. Everyone is
paying attention now.

The stage is plunged into darkness. The
CROWD goes CRAZY! Vanity applauds
vigorously, wipes the tears from her
eyes. Morris, who was more affected by
the performance than he'd care to admit,
doesn't like what he sees and searches
for a winning line--

the BEAUTIFUL ONES replace GSPOT & ELECTRIC INTERCOURSE

"That stuff about my dad was part of [director-cowriter] Al Magnoli's story," Prince explains. "We used parts of my past and present to make the story pop more, but it was a story. My dad wouldn't have nothing to do with guns. He never swore, still doesn't, and never drinks."

MORRIS
He doesn't like girls.

She's equal to the challenge--

VANITY
I know -- he likes women.

But Morris can barely suppress a smile,
and settles himself comfortably into his
chair -- for he knows what Vanity has
lost...at least this round--

MORRIS
Well ... he don't do too good
with them either.

She flashes him a quizzical look -- he
simply smiles.

(39) INT. BACKSTAGE HALLIIAY -- NIGHT

Jubilation time! Prince and his Band
move through the hallway briskly, past
the outstretched arms of admiring fans.
There's a lot of back-slapping going on
as the Musicians bask in the glow of
well-wishers. Prince moves past Billy
Sparks, who has an angry look on his
face--

BILLY
What's this intercourse, shit?


PRINCE
Hey; man -- don't worry about
it.

BILLY
I'm warning you...

But Prince ignores him, cuts into the
dressing room--

(40) INT. DRESSING ROOM -- NIGHT

--then stops suddenly, surprised. He's
muzzle to muzzle with a cuddly DOG, held
up lovingly by Jill--

JILL
Surprise!

OOHS! and AAHS! by the entire group.
Jill hesitates, then kisses Prince's
cheek compulsively. He's surprised,
touched--

PRINCE
Hey -- wait till we're
married, now.

She fidgets, her face blushes red.
Wendy is studying the dog--

WENDY
Oh, my God -- look at this!

Everyone looks -- Jill grins like the
Cheshire Cat--

JILL
Notice anything?

PRINCE
What?

WENDY
It looks like you!

She thrusts the dog into his arms -- the
Band laughs uproariously. Jill is
beaming--

JILL
His hair ...

Prince gazes into the mirror -- and sure
enough the dog's hair has been groomed
to match his. He can't help smiling--

PRINCE
Shit ...

JILL
(softly)
I wanted to cheer you up.


PRINCE
Thanks.

MATT
I'm hungry -- where's the
food?!

He grabs the dog, 'a la The Werewolf,
starts chomping on it's neck. The Group
busts up, starts fooling around.

Prince glances into the mirror -- Vanity
is there. He whirls around to the door
-- nothing. A huge smile sweeps his
face instead. The Band continues
fooling around, and Prince joins in with
a relish.

41) EXT. ALLEYWAY #2, REAR CLUB -- NIGHT

Vanity leans against a brick wall,
hiding in the shadows. Suddenly
FOOTSTEPS approach. Prince appears,
gets on his Motorcycle--

VANITY
Hey...

He doesn't look up--

PRINCE
We have to go to your place.

VANITY
What for?

PRINCE
I want to show you something.

She's embarrassed by her apartment--

VANITY
No...no, we can't.

PRINCE
Why -- is there someone there?

VANITY
Why do you always think
there's somebody else?

He averts his eyes -- kick STARTS his
bike--

PRINCE
Let's go.


VANITY
(Getting on)
Yeah -- but we're not going to
my place.

He remains silent, snaps the bike into
gear, blasts down the ally into the
street.


(42) PRINCE'S HOUSE AND STREET -- NIGHT

Prince and Vanity whip down a
residential street. As he approaches
his house he slows, moves past it
quietly.

He makes a deft U-turn, crosses his
house again -- seems to be listening
intently...

After a moment, he cuts down a narrow
path, turns up a back alley. He rides
to a wooden gate, detaches a hidden
lever. The wood slats rotate like a
garage door -- Prince coaxes his bike
through.

BACKYARD

Vanity's mesmerized. They ride down a
narrow sidewalk, cut through a garden,
and emerge from the back of a garage.
He leans his bike against it--

VANITY
That was a grand entrance.
Where am I?

He silences her with a look, moves
quickly across the grass, comes to a
window. He stands on a pipe, looks in--


(43) PRINCE'S POV -- INT. LIVING ROOM -- NIGHT

His Mother and Father in the living
room. His Mother is sprawled out on the
sofa, obviously drunk, her dress hiked
along her thighs. Her head rests in his
Father's lap.


(44) EXT. BACKYARD -- NIGHT

Prince hops from the pipe, leans coolly
against the house. Intrigued. Vanity
looks in--


(45) VANITY'S POV -- INT. LIVING ROOM -- NIGHT

The mother and father kissing
tentatively, then violently, finally
pulling away. The Mother seems to be
taunting the Father, coaxing him into a
trap. He kisses her mouth lustily --
she pulls back snarling--.


(46) EXT. BACKYARD -- NIGHT

Vanity's scared -- tries to be cool--

VANITY
So -- friends of yours?

PRINCE
Yeah -- the freak show.

He walks off. She jumps off the pipe,
follows.


SIDE OF HOUSE

as they emerge around the corner.
Prince squats by a basement window,
adjusts an old coal chute, then slides
down it--

VANITY
Hey...

PRINCE (O.S.)
C'mon.

She hesitates a moment, then slides down
too.


(47) INT. BASEMENT, PRINCE'S HOME -- NIGHT

He turns on a LIGHT, disappears into an
ADJOINING ROOM. Vanity looks around
amazed. She stands in a small ANTE-
CHAMBER whose walls are covered with
thicks pads and foam.

Colorful MOBILES hang suspended from the
ceilings -- various INSTRUMENTS lie
about: a drumset, an electric guitar,
and a small upright piano. A stereo and
cassette player. are perched on a shelf,
and two speakers are recessed into the
walls. The entire room looks hand-
built, the wood carefully painted, or
stained.

She peers through the doorway into the
adjoining room. BLUE MOONLIGHT filters
in through the casement windows.
Various MURALS are painted on the walls,
MOBILES are suspended from the ceiling.
A bed sits in the middle of the floor, a
vanity table and mirror nearby.

She stands idly a mement, then moves
around the antechamber. Various
KNICKNACKS catch her attention. Small
wind-up TOYS lie about: a soldier, a
bear banging on a drum, a tractor and
car. A small MUSIC BOX sits on a shelf.
She turns the handle, a little TUNE
fills the room...

A cassette sits in the player. She
snaps it shut, hits the play button. A
DRUM BEAT fills the room, followed by a
WOMAN'S VOICE, seemingly speaking in a
foreign tongue. The combination is
hypnotic and sensual -- she finds
herself drawn in ...

Suddenly Prince grabs her by the waist,
lets out a SHRIEK. She draws a out
breath, jumps--

VANITY
If you think you scared me,
you didn't.

PRINCE
Oh, yeah ...



He puts his index finger directly in
front of her nose, moves it back and
forth hypnotically. She follows it
earnestly with her eyes. Suddenly, he
pulls his hand away, stretches it to the
ceiling like an escaping bird. They
both smile, lock eyes. Passion rings in
their veins...

The Woman's VOICE begins to moan deeply,
pleasurably--

VANITY
Who's the lucky girl? Sounds
like she was having a good
time.

PRINCE
She's crying -- it's
backwards. It makes me sad
when I hear it. It sorta
sounds like she's laughing,
doesn't it?

VANITY
So what did you do to her? Do
you always treat your women
like that?

PRINCE
I don't have anybody right
now.

Heat floods into her womb like soft fire-
-

VANITY
You look pretty...

She touches his chest delicately, fluffs
up his hair--


VANITY
King Kong?

PRINCE
Stop.

She hesitates -- but he reaches out
tentatively, touches her breast--

VANITY
No.

But their mutual desire is too strong.
Their lips seek one another out timidly,
almost deferentially...then fervently.



DISSOLVE TO:


(48) INT. BEDROOM -- LATER -- NIGHT

Vanity sits at the foot of the bed,
Prince stands before her. Her dress is
hiked along her thighs, her stockings
attached to garters. Their hands search
delicately across the contours of their
bodies, drawing quick breaths from their
lips. They kiss one another ardently,
then quickly, like sparrows pecking
seed. She goes to remove her dress, but
Prince stays her with a gesture, moving
his hands along her thighs, touching
delicately that spot between her legs.
A low, whispery moan escapes from her
lips.

Vanity lies back, drawing Prince toward
her. His lips move across her mouth,
her neck, her breasts. She moans
softly, pulls her dress above her
thighs, goes to remove it. Once again
he stops her, slowly turns her onto her
stomach.

She stands.on her knees, her head
resting on a pillow. His hands move up
along the back of her thighs, past the
garters to her panties. He tugs at them
gently, then rubs his hand firmly
between her legs. She moans suddenly,
the shudder moving through her like a
whirlwind ...

DISSOLVE TO:

(49) INT. BEDROOM -- LATER -- NIGHT

MOONLIGHT glows throuch the casement
windows. MOBILES stir gently in the
night breeze.

Prince and Vanity are asleep. He rests
on his side, his hands gently surporting
his face. She lies behind him, one leg
dangling off the bed, one shoe discarded
on the floor

Suddenly a distant MOAN...QUICK
FOOTSTEPS -- A DOOR SLAMS. Vanity SNAPS
awake! Fear sweeps her like a shadow
from a passing cloud. She listens
intently, then--

-- Another DOOR SLAM, QUICK FOOTSTEPS,
and Prince's Mother
CRYING in the dark--

MOTHER
(o.s.)
(upstairs)
Please!

A bottle CRASHES to the floor. Then
silence...

...deep silence like snow in the room...

Vanity's racked with fear. She sits up
slowly, her eyes searching out Prince --
he's sleeping...

Suddenly more FOOTSTEPS, a DOOR SLAMS and the
Father's CRY--

FATHER
(o.s.)
No!!

WHACK! Something heavy CRASHES to the
floor...

Vanity rises from the bed in a panic!
She smoothes down her dress, searches
for her other shoe. She shoots another
look to Prince, but he sleeps
peacefully. Casting a glance upstairs,
she climbs throuch the casement window,
disappears into the night.

PRINCE is resting on his side, his eyes
opened.


(50) EXT. PRINCE'S HOUSE AND STREET -- NIGHT

Vanity moves quickly along the side of
the house, trying desperately to find
her wav. Suddenly a HAND reaches out of
the darkness, GRABS her by the throat.
She SCREAMS, swings her bag desperately
-- something CRASHES, into the bushes--


VOICE
Damn, baby, hold it! Hold
it!!
(wails)
Oh, God -- God! You broke my
nose!


She sees it's Morris -- she's beside
herself with fear and rage--

VANITY
You shit! What the hell are
you doing here?

He struggles in the bushes -- DOGS start
BARKING--

MORRIS
Shh! Shh! Shh! oh, Lord help
me outta here.
(a beat)
Hee, hee -- I know you
wouldn't want to spend the
whole night with ol' pencil
dick.

VANITY
Your nose alright?

MORRIS
My nose is fine, I'm just
wondering if I fucked my shoes
up...
(a beat)
C'mon ...

They cut across the yard, head to the
street. The CADDY is parked at the
curb. Jerome leans against it, reading
a newspaper--

VANITY
Hi, Jerome. Wow! Nice
hubcaps.

He grins proudly from ear to ear -- the
Caddy sports new chrome wire wheels--

JEROME
You like them, huh?

VANITY
Beautiful.

Morris MOANS dismally--

MORRIS
Jerome...you think these can
be fixed?

His shoes are badly scuffed, the leather
torn across the top--

JEROME
I think they're dead, man.




VANITY
God, I'm sorry.

MORRIS
Shit -- it's so rough out
here.

Just then a PATROL CAR cruises by. The
COP regards them suspiciously. Morris
and Jerome snap to attention--

MORRIS
You lock the door, baby?
Let's go!

They pile into the Caddy, pull out.


(51) EXT. HIGHWAY -- NIGHT

The CADDY blazes by in the night. The
CITY LIGHTS glimmer spectacularly in the
distance.


(52) INT./EXT. CADDY -- NIGHT

Jerome drives. Morris and Vanity sit in
the backseat. He gazes at her ardently--

MORRIS
Jerome!

Jerome snaps a look in the rear-view --
Morris gives him a deft nod. Jerome
opens the glove compartment, searches
through the cassette tapes. He finds the
one he wants, snaps it into the player.
RESTAURANT AMBIANCE fills the car...

Note: The restaurant ambiance will grow
in volume, and will be followed by
exaggerated dinner music, punctuated
with strings and delicate cymbals. The
MUSIC plays throughout this scene -- and
Morris times his words to the ebb and
flow of the piece to insure the proper
dramatic effect.

...dinner MUSIC begins--

JEROME
Cocktails before dinner?

MORRIS
Yes -- two 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
(couching)
Why...thank you.

MORRIS
Probably you'd look better
under exotic...red...liqhts.
(another though)
I wish you could see my home.
It's...it's so exciting.

He leans close to her, speaks in a soft,
sexy voice--

MORRIS
In my bedroom, I have a brass
waterbed ...

VANITY
Oooh!

MORRIS
I have an Italian cook, Gino
Izogochograchi, or something
like that.

She giggles, looks at him deeply--

MORRIS
It's funny...your eyes -- when
you stare at me like that, it
causes my stomach to qui-
quiver. Oh, Lord...

An idea flashes across his mind--

MORRIS
Do you like diamonds?

VANITY
Uh, huh.

MORRIS
Yeah ...?


VANITY
Yeah.

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

He slides a large glass diamond on her
finger--

VANITY
Ohhh!

MORRIS
My God, darling it fits.

He studies her hands closely--

MORRIS
You must have strong hands,
but -- they're so soft...like
oils in my bubble bath.
(a beat)
Damn ...

He leans close to her--

MORRIS
Darling...?

VANITY
Yeah...?

MORRIS
I'm not usually so forward,
but -- would you like to make
love to me? I can make it so
nice ...

She giggles freely, looks at him with
big eyes--

MORRIS
Do you know what is meant by
the words, huh, I hate to use
them, they're so harsh, so
American...I mean, and yet on
the other hand, they're
exciting words. The words...
(pause)
...chili sauce. Oh, Lord.
(a beat)



MORRIS
You know, I haven't made love
in so long, but with you I
know it would be just like
riding a bike. I'd remember
everything I've ever learned.
(a beat)
Baby, if the kid can't make
you come, nobody can.

Jerome checks off his pad--

JEROME
(whispers)
Morris..!

MORRIS
Yeah...?

JEROME
Seventeen.

Morris fixes Vanity with his half-
lidded, pouty-lip look--

MORRIS
Huh, what's it gonna to be
baby?

She's on the spot, thinks fast--

VANITY
PULL OVER THERE!

MORRIS
What?!

JEROME
What?!

VANITY
Over there -- that's where I
live.

Jerome SKIDS the car to a stop. They're
directly in front of a slick, hi-rise
apartment building--

MORRIS
Here...?

VANITY
Yes.

MORRIS
Uh, what one is it?



VANITY
That one, right there, see?
On the 14th floor.

MORRIS
It's nice, huh?

VANITY
Oh, it's great. Real pretty.
Big open rooms, balconies,
fireplace -- the works.

He smiles lovingly--

MORRIS
Jerome!

Jerome puts the Caddy into
gear, pulls off into the night-
-

VANITY
Hey, wait! C'mon!
(a beat)
Okay -- where are you taking
me?

MORRIS
Home.
(smiling)
You and me are a lot alike.- I
like that. So, I'd like to
help you out. I think I have
something you may be
interested, in.

VANITY
Oh yeah -- what?

Jerome hands Morris a cassette -- Morris
waves it in front of her nose--

MORRIS
A little song and dance. That
is, if you can sing and dance.

VANITY
(defensively)
Prince is goinq to help me.

Jerome and Moris suppress their laughter-
-

JEROME
Motherfucker needs a haircut.


MORRIS
Hee, hee, uh, excuse me. No
he won't. He's never done
anything in his whole life for
anybody but himself.

VANITY
Guys better than you have
promised me things before.

MORRIS
I know that's right, but--

Jerome hands him a card with an address
on it. Morris hands the card to her--

MORRIS
(con't)
-- not Morris Day.
(he smiles)

Jerome pulls up in front of her motel.
Vanity reads the card--

MORRIS
Come by any time.

(53) EXT. MOTEL/INT. CADDY -- TWILIGHT

She gets out of the car, stands on the
sidewalk. Morris pushes the window
button -- nothing happens--

MORRIS
Jerome!

Jerome leans over, taps the glass -- the
window glides down--

MORRIS
(to Vanity)
One more thing ...

Jerome snaps the glove compartment,
hands Morris a neatly folded camisole.
Morris presents it to her--

MORRIS
Here's a little something for
you. If you get cold when you
wear it, call me.

He snaps his fingers -- Jerome pulls the
Caddy away with a screech.


(54) EXT. VANITY'S MOTEL -- TWILIGHT

Vanity stands on the sidewalk a moment,
slightly bewildered and very amused.
She watches the Cadillac screech around
the bend. She turns, goes into the
motel.

PRINCE stands in the alleyway across the
street, his motorcycle parked nearby.
He watches as Vanity cuts inside.


[Edited 5/18/10 8:39am]

[Edited 5/1/10 16:18pm]

(55) INT. HALLWAY/VANITY'S MOTEL -- DAWN

She comes down the HALLWAY, opens her
door with a key.


(55A) INT. VANITY'S ROOM -- DAWN

She goes inside, drops the tape and card
in her bureau. unfolding the camisole,
she holds it against her, gazes into the
mirror. It looks beautiful. Suddenly a
KNOCK at the door--

VANITY
Morris...?

Another two KNOCKS, something like a
confirmation. She smiles, cuts to the
door, flings it open -- but Prince is
there. She's shocked, but recovers
instantly--

VANITY
I had a feeling it was you --
I knew it! It's amazing -- I
could tell it was you.

His face remains placid as he puts on
his sunglasses--

PRINCE
How'd you get home?

VANITY
Took a cab.

PRINCE
Oh yeah? Where'd you get
that?

She stares at the camisole in her hands-
-

VANITY
I adore camisoles.

He nods dispassionately, walks into the
room, gives the place the once over,
then--



PRINCE
Let's ride.
[Edited 10/15/10 10:37am]

"Dont I keep the heat on!?"

"He's crazy!"

OldFriends4Sale said:

seriously one of his best songs ever.can someone to post the background story of this song(susannah)?

(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.

im lovin the original transcripts! More please!!

Christopher said:

yes, it replaced Electric Intercourse, and Prince wrote it to woo Susannah Melvoin from her boyfriend

Nice.

(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.
[Edited 5/18/10 8:44am]

(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.

Where, oh where, is the deleted footage for this film?????

OldFriends4Sale said:

The Beautiful Ones is the song that solidified my place in Prince fandom.

When I watched PR for the first time (on DVD), I watched that performance over and over. It's such a brilliant song and my favorite performance in the movie.

OldFriends4Sale said:

I love this dialogue. Morris was great in PR.

CHRISLUV92 said:

Lovely

OldFriends4Sale said:

Aren't all these quotes from Wendy & Lisa's Myspace page the Girl Bros Network interview with Dr Fink???