June 4, 1984 the Glamorous Life w/Sheila E. drops
June 7, 1984 1st Avenue Birthday show with Prince & the Revolution

June 25, 1984 Purple Rain w/Prince & the Revolution drops

Purple Rain movie premiere 7.29.1984

July 9th, 1984 Ice Cream Castles w/Morris Day & the Time drops

Jul 27 2009 10:07 AM EDT

Prince Takes Over MTV For 1984 'Purple Rain' Premiere
We take a look back at the premiere (and afterparty) of Prince's groundbreaking film.
By Eric Ditzian

You need to see this. On Friday, July 27, 1984, MTV headed to Hollywood for the A-list red-carpet premiere and booze-fueled afterparty for Prince's seminal rock film "Purple Rain." Eddie Murphy showed up sporting a leopard-print blazer, a bare chest and a leather bandana tied around his neck. Pee-wee Herman drove up in a hot-rod-flamed clown car and busted into a nasally version of "When Doves Cry." And Prince himself — his "royal badness," as the VJ Mark Goodman declared — arrived in a purple stretch limo and, flanked by beefy bodyguards, sashayed down the carpet carrying a single rose.

Today, on the 25th anniversary of the "Purple Rain" premiere, we have unearthed MTV's two-hour-long special since it is an unparalleled window into our pop-culture past, because Prince is a timeless rock god and because the footage is, pure and simple, freaking amazing. (Read what Kurt Loder had to say about Prince's landmark album and movie.)



Why had everyone gathered a quarter-century ago beneath the sweltering California sun to celebrate this man and his operatic movie loosely based on his own life?

" 'Cause Prince is bad!" Murphy said.

We couldn't have put it better ourselves. By '84, the singer had already established himself as one of the most talented, charismatic and unpredictable pop stars on the planet. But with "Purple Rain" — and the album that accompanied it — Prince was set to reach an entirely new level. The disc hit the top Billboard spot, spawned two #1 singles and went platinum a staggering 13 times. And the movie, which saw Prince portray a Prince-like character trying to succeed as a musician and a lover while avoiding the alcoholic failings of his father, won an Oscar and grossed nearly $70 million at the box office.

The 1984 premiere featured appearances by some of the music world's biggest stars at the time: Lindsey Buckingham of Fleetwood Mac, Lionel Richie, Little Richard, John Mellencamp, Sheila E., "Weird Al" Yankovic and Morris Day.

On the carpet, Day commandeered Goodman's mic and announced to the crowd, "I wanna see the movie and then I wanna see some lovely young ladies, so y'all hang around, OK?"

The entire special had an endearing, basic-cable rawness to it, a compelling contrast to the slickly produced, highly professional nature of so many contemporary TV events. The sole set-decoration at the afterparty was a purple sign with shimmery silver ribbons hanging underneath. Interviews took place around unadorned cocktail-party tables and were interrupted with calls for more champagne. Goodman read from note cards clutched in his hand as he attempted to guide the live event.

And yet both the premiere and the film were part of a new beginning, a fresh way of approaching pop culture that brought together artists, celebrities, technology and, increasingly, the inclusion of fans in the entire process.

"It now becomes an extension," Richie said. "What we've been doing for a long time is taking each song and making a video out of it. What [Prince] has made now is a motion picture out of his album. It's a very important step."

Tell us about your experience the day that Purple Rain premiered at Hollywood's Mann's Chinese Theater in California. What was going through your head seeing yourself on the big screen?

Dr Fink: The whole thing was so surreal that day that the memory of it still seems like a dream. Seeing oneself on the big screen for the first time is also a dream come true. Of course, you hope that your complexion is looking OK on a close up.

Taj Sevelle & Dr Fink

One story that comes to mind took place in a limo en route to the Hollywood premiere of PURPLE RAIN. Big Chick was riding up front with the driver and I was in the back with Prince who was holding a single flower he had impulsively plucked from a garden in front of our hotel. The ride was tensely quiet. Remember this was a movie nobody thought would ever get made. "Who is this singer Prince who thinks he's all that to make a movie", said most in the industry and much of the media. We all knew this was either going to turn Prince into a major star or be one of the most embarrassing flops of all time.

We had carefully plotted a caravan of limos so as to orchestrate the arrivals of the various figures in the movie. One by one, limos deposited Billy Sparks, Morris Day and Jerome, The Time, Apollonia 6, Wendy & Lisa, Bobby Z, Dr. Fink and Brownmark. And they each worked their way up the red carpet, stopping for waves to fans, quick TV interviews and hundreds of photographers. The idea was, of course, that Prince would be the last to arrive and be met at curbside by a group of our security guys with whom we were in touch via walkie talkies (remember, this was before everyone had cell phones).

We had pre-arranged a spot a block behind the theatre where we would temporarily park and wait for the cue to pull around and make the "grand entrance". At that point I would also jump out of the car and run ahead to make certain everything at curbside was just the way we wanted and then give the driver the final "go". When we reached the appointed spot and parked, Chick turned on the walkie-talkie as Prince anxiously asked him, "What's going on there? Can we go yet?"

Chick turned around toward us and reported, "the guys say there's a traffic jam 2 blocks long, more fans than the police can handle and more cameras than a photography store!"

At that point Prince suddenly lost it. Just for a flash, but like any mortal human being, he lost it. He suddenly gripped my hand in a desperate vice and his voice broke as he strained to whisper in a tone that sounded like a petrified ten year old, "Whhh..aa..tttt d-diid he saayy?"

I was stunned too, but instinct took over and I hung onto his hand firmly and said calmly, "He said we're gonna have a day to be proud of and it's gonna be fun. Now let me get to theatre and I'll meet you there."

It was touching and revealing - probably the only moment through the whole, tedious making of the movie that he showed any doubt or vulnerability. And just as quickly, he caught himself....probably frustrated that he had let his guard down....and said, "Yeah, hurry up over there. And don't let them mess this up!"

-Alan Leeds

Reporter: What are you looking forward to seeing in this film?

Sheila: Prince

Reporter: Anything more specific?

Sheila: Prince

Once again: wow!

I like your threads, OldF4Sale.

(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:

(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:


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

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

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

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

CUT TO:


(12) INT. MOTEL ROOM -- NIGHT

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

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

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


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

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


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

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

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

CUT TO:


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

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

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

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

CUT TO:


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

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



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

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


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

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

CUT TO:


(17) EXT. CLUB -- NIGHT

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

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


CHICK
What?

VANITY
I have an appointment with the
manager.

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

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

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

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



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

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

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

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


VANITY
Sorry ... where's the office?

Jill squats, picks up the broken glasses-
-

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

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

Jill points -- Vanity hurries away --

JILL
(triumphantly)
No one's in!

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

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

JILL
Do you have any experience?

Vanity simmers, enunciates every word--

VANITY
Yeah...definitely.

JILL
Follow me.

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

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!

Thanks. Those pics are just great.

Classic line from Purple Rain - at least I like it:

"JILL
Do you have any experience?

VANITY
Yeah...definitely."

I am thinking of S-e-x - the way these words are spoken,

am I the only one, thinking that way..

Am I misunderstanding as a non-english....

.

[Edited 6/1/12 8:21am]

thedance said:

Thanks. Those pics are just great.

Classic line from Purple Rain - at least I like it:

JILL :Do you have any experience?

VANITY:Yeah...definitely.

I am thinking of S-e-x - the way these words are spoken,

am I the only one, thinking that way..

Am I misunderstanding as a non-english....

lol yeah I think yoiu are reading or hoping for sex in those lines lol won't hurt it

The video where the interviwer interviwes Eddie Murphy is uncomfortable to watch.

You can tell Eddie really doesn't want to talk to the tool.

Jagar said:

The video where the interviwer interviwes Eddie Murphy is uncomfortable to watch.

You can tell Eddie really doesn't want to talk to the tool.

look at Eddie's brother face right behind him lol

Lionel Richie, Apollonia Kotero, and Eddie Murphy at premiere of motion picture "Purple Rain" in Los Angeles, California, 1984.

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.


(26) INT. SHOESHINE STAND -- DOWNTOWN -- DAY

Morris sits in the chair, his Stacy
Adams worked on by an old, grizzled
SHOESHINE BOY in his mid-sixties, with
large jowls and silver close-cropped
hair. Jerome stands nearby, watches
intently--

MORRIS
(musing)
The girl has expensive tastes.
I wonder if she can sing.

JEROME
As fine as she is...she
doesn't have to know how to
sing.

MORRIS
(grace)
I know that's right.
(to Shoeshine)
Hey -- watch it now.

The Shoeshine Boy looks up balefully --
Morris smiles, then grits his teeth--

MORRIS
I want you to stay out of the
set tonight. I want you to
work the floor.

JEROME
What for?

MORRIS
I want to know when that sweet
thing shows up. You stay by
the door, you see her, you
come get me, cool?

JEROME
Cool. I come get you -- let
you know the girl's there.

MORRIS
Well, not if I'm with my other
babes. That wouldn't be cool.
I don't want to break their
hearts, and you know how I
feel abouy that. So we ought
to have like, a signal.

JEROME
A password.


MORRIS
Okay. What's the password?

JEROME
You got it.

MORRIS
Got what?

JEROME
The password.

MORRIS
The password is what?

JEROME
Exactly.

MORRIS
The password is exactly?

JEROME
No, it's--

MORRIS
-- Hold it now. Slow down.
The babe walks in and you see
her.

JEROME
I see her.

MORRIS
You come get me.

JEROME
I come get you.

MORRIS
And I'll probably have a
couple little sexies on the
stand-by, and we don't want to
upset them, do we? So you
just glide by me and
say...what?

JEROME
Okay.

MORRIS
The password is okay?

JEROME
Far as I'm concerned.

MORRIS
Dammit! Say the password.

JEROME
What.

MORRIS
Say the password, sperm
breath!

JEROME
The password is what.

MORRIS
(frustrated)
That's what I'm asking you!

JEROME
(more frustrated)
It's the password!

MORRIS
The password is it?

JEROME
(exasperated)
Ahhhhh! The password is what!

MORRIS
It! You just said so!

JEROME
The password isn't it! The
password is--

MORRIS
-- What?

JEROME
Got it!

MORRIS
1 got it?

JEROME
Right.

MORRIS
It or right?

JEROME
(perplexed)
What??

The Shoeshine Boy looks up slowly --
regards them with a soulfull look--

SHOESHINE BOY
Either of you do heavy drugs?

27) EXT. STORE WINDOW AND MALL SHOPS -- DOWNTOWN --
AFTERNOON

The SIDEWALKS are alive with bustling
SHOPPERS. Vanity walks aimlessly past
store windows, staring longingly at the
expensive items.

BRIDAL SHOP see member Blacknote post #25

as she stops suddenly and stares
transfixed. A YOUNG WOMAN, startingly
similiar to her in looks and coloring,
tries on a beautiful bridal gown as a
SEAMSTRESS adjusts the hem. The entire
scene is warm and endearing. Vanity is
struck by lt's beauty and seems to sigh.
The Young Woman looks up suddenly,
catches Vanity's gaze, and gives her an
affectionate smile. Vanity smiles back
avidly, then--

PRINCE (0. S .)
Give me that.

She looks up startled--

PRINCE
There ... on your boot.

She looks down -- it's the expensive
gold chain. She hesitates, then hands
it to him. He drops it into his pocket,
walks away--

VANITY
Hey, wait!

She runs after him--

VANITY
Give it back to me

He continues to walk briskly -- she
starts pulling on his coat--

PRINCE
You can have it back later.

VANITY
I want it back now, okay?

PRINCE
Who gave it to you?



VANITY
A person

PRINCE
Female or male?

VANITY
Huh ...

PRINCE
You're lying. I can tell just
by your reaction that you're
lying.

He moves away briskly -- Vanity stands
her ground, amused--

PRINCE
So you gave it to me -- it's
not yours anymore.

He stops short -- something has caught
his eye. She's curious, comes up behind
him, then--

VANITY
You see something you like?

He puts on his sunglasses. A GUITAR
stands prominently in the window.

PRINCE
Let's go for a ride.

He flips her the gold chain' -- turns
hastily. She weighs it in her hand,
studies the guitar--

VANITY
It's pretty.

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

BRIDAL SHOP

as she stops suddenly and stares
transfixed. A YOUNG WOMAN, startingly
similiar to her in looks and coloring,
tries on a beautiful bridal gown as a
SEAMSTRESS adjusts the hem.

The entire
scene is warm and endearing. Vanity is
struck by lt's beauty and seems to sigh.

The Young Woman looks up suddenly,
catches Vanity's gaze, and gives her an
affectionate smile.

Vanity smiles back
avidly, then—

Hey, OldFriends. I thought I'd add some pics for this small deleted sequence. Both women looked so beautiful.

Nice, ^^^ is that a real woman? looks like a man

Love this movie! It's always a must that I watch it when it comes on VH1.

OldFriends4Sale said: Nice, ^^^ is that a real woman? looks like a man

LOL! I'm sure she's a real woman although the quality of the pics do diminish her beauty.

blacknote said:

OldFriends4Sale said: Nice, ^^^ is that a real woman? looks like a man

LOL! I'm sure she's a real woman although the quality of the pics do diminish her beauty.

you know Prince, he would try to pass a man off as a girl, what's Mazarati's song? Suzie? About the lady that looks like a man?

Thanks 4 sharing these, I actually like the scene, wonder what music would have been played in this part