http://prince.org/msg/7/381728

(94) INT. DRESSING ROOM, AND HALLWAY -- THE TASTE -- NIGHT

VANITY
and the Girls rush into the dressing
room and jump up and down with
excitement. They are beside themselves
with happiness, kissing and hugging one
another avidly. Suddenly Vanity pulls
away, indicates she will be back and
cuts out the room.

HALLWAY
as she runs down the hallway to the
backstage area, peers from behind the
curtain, scanning the club earnestly.

(95) IN'T. -- THE TASTE -- NEAR CURTAIN -- NIGHT

as Prince waits impatiently in the long
line. Billy Sparks comes by, spots him
and stops--

BILLY
Morris is squeezing you,
kiddo. You better kick ass
tomorrow night or else.

He cuts outside, disappears into the
Crowd. Prince stands there steaming,
the wind knocked out of him, his joy a
memory. He turns back to the line, but
it has grown, the Crowd now jammed up
against the door. Frustrated, he cuts
outside.


BACKSTAGE
as Vanity watches Prince leave. A
profound sadness sweeps her face.
Suddenly Susan is by her Side, hugging
and kissing her happily. Brenda runs
up, pouring champagne. Morris, Jerome
and The Time are at the end of the
hallway and beckon her excitedly into
the room. Vanity forces a smile, goes
down the hallway, casting another look
at the exit door.

(96) EXT. BACK ALLEY, THE TASTE -- NIGHT

Morris and Vanity stagger down the ALLEY
obviously very drunk. Morris pulls from
a FLASK. Vanity is still in her
lingerie, wears an open coat over it.
Her speech is slurred--

VANITY
Did you hear these people
applauding? They loved us --
they wanted to rip us apart,
and this is just our first
night. I can see it now,
we're all going to be big
stars. I can feel it.

MORRIS
(singing)
Ain't nobody bad like me.

She kisses him spontaneously on the
cheek--

VANITY
Morris, you're a genius.

MORRIS
Ye-es...


He fixes her with a sexy look, takes a
healthy look from his flask, then gives
it too her. Vanity throws her head
back, drinks fully, the liquor coursing
over her cheeks. He devours her with
his eyes, opens the door to the Caddy--

MORRIS
Let's go, Bebe.

She stops as if remembering something--

VANITY
Huh, where's Jerome?

MORRIS
In his skin...hee, hee...

He's trying to nudge her into the Caddy-
-

VANITY
Is he coming?

MORRIS
I gave him the night off.

VANITY
Why?

He staggers back from the car, undulates
his hips wantonly--

MORRIS
Whawhak!

She busts up. Just then a MOTORCYCLE
can be heard off screen. They look
around drunkenly, trying to discern its
direction. Suddenly Prince BLASTS
around the corner FULL OUT! He streaks
by Morris and KICKS him flat on his ass
into the garbage--

MORRIS
(wails)
Oh, no -- Oh, God...No!

Prince skids to a slick stop. Vanity is
transfixed. The entire episode took
less than five seconds. He twists the
throttle, BLASTS down upon her...

She breaks in a panic! She runs
clumsily down another alley, her coat
flying. He WHIPS after her like a
madman. She flies around the corner --
a dead end! He fishtails to a slick
stop--

PRINCE
Get on!

There's no way out! Suddenly she lets
out an excited YELP, jumps on. He guns
the bike, BURSTS up the alley. Morris
jumps into his path drunkenly, his arms
extended--

MORRIS
Stop! Stop!

But Prince BLAZES down upon him, sending
him slipping and sliding to safety. He
BLASTS around the bend--

MORRIS
Motherfucker! You long-haired
faggot!

(97) EXT. HIGHWAY TO EMBANKMENT -- NIGHT

Prince and Vanity WHIPPING down the
highway.


(98) EXT. EMBANKMENT -- NIGHT

They streak down the road, slow, then
move down a small embankment. He stops
the bike and gets off. She's in a foul
mood, staggers around dully, her head
pounding, her speech slurred--

VANITY
So here we are again. So this
is it, huh? What do you want
this time?

He looks at her painfully, upset about
her drunken state--

VANITY
What's your problem now?
What's your main problem?

PRINCE
No problem. I just wanted to
talk, alright? I just want us
to be okay, to really get
along. No big deal.

She cackles, falls flat on her ass,
hoists herself up--

VANITY
No big deal, huh...

She pulls Morris' FLASK from her jacket
-- his eyes blacken--

PRINCE
Give me that.

VANITY
No, definitely not. Who are
you? You can't tell me what
to do.

She puts it to her lips--

PRINCE
Please don't drink that. Give
it to me.

She holds the flask to her lips
defiantly, then goes to drink.

He lashes out suddenly, SMASHES it from
her grip. She SCREAMS wildly, SLAPS him
hard across the face. He stands shocked
a moment, his rage surging within him,
smashing through every safety valve he's
acquired in his life. He BACKHANDS her
savagely across the jaw.

She hits the ground like a rag doll. He
looks at her curiously, bends over her -
- she sucker-punches him with everything
she's got! He SCREAMS in rage and grabs
her hands as they flail about his face.
He squeezes her fingers back while the
tears stream down her cheeks and her
mouth forms a silent "ow"! She bares
her teeth angrily and he sucks at her
mouth, biting and kissing her in a fever
pitch.

She kicks at him violently, hot tears
streaming down her cheeks. He jams his
leg between hers, rubs it firmly against
her bottom. She struggles helplessly
against him as he covers her breasts,
her stomach, her thighs with his lips.
Quick breaths escape from her -- her
breathing begins to race...

He snaps her panties in two, pulls them
from between her legs. She spreads
herself as he releases his pants. She
squeezes his buttocks, pulls him toward
her -- but Prince resists her coldly,
regards her with contempt. Suddenly he
flips her onto her stomach, forces her
to stand painfully on her knees. He
rubs his hand between her buttocks, then
thrusts into her painfully, driving
himself to the very depths of her...

...but she stifles a cry, arches her
back, and meets his thrusts fiercely,
moving quicker and quicker, banging her
buttocks against his thighs again and
again. She's drawing from him now,
turning the humiliation around,
obtaining all that she needs and
desires. He's powerless -- her thrusts
set the pace. She rises, Prince still
inside her and tugs on him rapidly,
causing him to ejaculate suddenly,
drawing from him a sharp and sudden
cry...

She moves away, draws her coat tightly
about her, fixes him with a contemptuous
look--

VANITY

You're nothing, Prince,
absolutely nothing. You think
you're so special -- but deep
down you're just like all the
rest.
(a beat)
Your whole life you've been
hiding, hiding behind your
music. But now you don't even
have that, because last
night...last night you used it
to hurt someone, someone who
really cares.



She runs up the embankment, wipes away
her tears, faces him--

VANITY
If you put your hands on me
like that ever again, I'll be
the last person you touch.

She pulls off his Mother's earring,
throws it at him. Tears flowing, she
streaks into the HIGHWAY blindly,
directly into the path of a SPEEDING CAR-
-

THE DRIVER
spots her in his HEADLIGHTS, SLAMS on
his brakes! He SKIDS wildly across the
road, comes to a SCREECHING, BURNING
stop inches from her thigh!

VANITY
shoots a look at Prince, her lips
trembling, her love for him, written
plainly on her face. But his eyes flash
defiantly. She bites her lip sadly,
then snaps a hot look at the Driver--

VANITY
I need a ride.

She cuts around the car, hops in. The
Driver skids off into the night. Prince
stands there trembling, watches as it
disappears into the distance.

DISSOLVE TO:

(99) EXT. PRINCE'S HOUSE -- NIGHT

Prince pulls up to the wooden gate, cuts
the motor, gets off. He walk wearily
across the porch, moves to the front
door -- it's wide open. He thinks
nothing of it, cuts into the house,
closes it behind him.



(100) INT. PRINCE'S HOUSE -- GROUND FLOOR -- NIGHT

He stands by the door motionless, a
curious look on his face. The STEREO is
on, the NEEDLE skipping monotonously
along the record. His mouth opens into
a spasm--

PRINCE
Dad...?

Silence. A sudden dread courses through
him, leaving a hollow in his stomach.
His feet are like lead. He moves
heavily into the room--

PRINCE
Mom...?

Nothing. Panic sets in. He STREAKS
down the hallway, twists open the
bedroom door -- it's empty. Blue NIGHT
LIGHT glows through the windows.
CURTAINS play delicately in the breeze.
He's thoughtful, walks back into the
living room...


...the COFFEE TABLE is SMASHED. He
looks at it curiously, wondering
stupidly if it had always been like
that. Then sudden bolt of fear makes
his head swim. A lamp, a porcelain
dish, some knickknacks on the mantle --
all smashed. He rushes into the
kitchen, looks around crazily--

PRINCE
Daddd...!

Nothing but the decay of his scream.
The BASEMENT door is ajar. He cuts to
it quickly, pulls it open, peers
frantically into the darkness below. He
snaps ON the light...

(101) OMIT

(102) EXT. PRINCE'S HOUSE -- NIGHT

SIRENS! The SCENE is a riot of COLOR
and FRENZY. A POLICE CAR, LIGHTS
FLASHING, skids into the drive.
NEIGHBORS jam the STREETS. POLICE CARS
are parked all around.

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

CHAOS! The BASEMENT is PACKED with
COPS. Prince's father is strapped into
a gurney, staring dully at the ceiling.
PHOTOGRAPHERS snap pictures as
PARAMEDICS work feverishly over him.
I.V. UNITS are pushed into his veins.
An OXYGEN MASK is placed over his nose
and mouth. Huge white bandages are
bunched up along the back of his head.
His Mother is kneeling by the gurney,
crying hysterically, grasping his hands
in a white panic. TWO COPS support her.
Someone is SHOUTING instructions.
RADIOS crackle incessantly. A MEDIC
cries--

MEDIC
Lift!

And the gurney is hoisted up the stairs
quickly, the bulk of the crowd
following, his Mother supported as she
ascends the stairs.

Prince sits on a tattered sofa in the
corner, his head bowed. Cops standing
and kneeling beside him. Somebody
finished taking notes, closes his pad.
One Cop rests a hand on his shoulder,
talks to him in soft tones. Prince
shakes his head slightly. The Cop gives
the group a signal and everyone
disperses, moves up the stairs. The Cop
looks at him sympathetically, then
closes the door behind him.

(104) INT. BASEMENT -- NIGHT

PRINCE
sits motionless a long time. Moonlight
floods the basement with a foreboding
light. A dog BARKS somewhere in the
distance. He looks up suddenly, his
face agitated, his eyes red from tears.

PRINCE'S POV--
CHALK MARKS on the floor outlining the
body of his Father. There's a GUN in
his Father's hand clearly marked.

A train WHISTLE in the distance. He's
staring at the gun. He shakes his head,
rubs a hand over his face vigorously and
looks up again...

...the GUN in his Father's hand. He
can't get it out of his mind! The
WHISTLE is CLOSER.

He lurches to his feet, paces back and
forth crazily. His Father's head, the
gun...the gun...the...

The WHISTLE is LOUDER.

He throws himself into the chair, buries
his face deeply into his hands and
cries. Huge racking sobs spasm through
his body. His Father, his Mother, his
entire life, his music, his guitar...



He looks up suddenly -- the gun in his
Father's hand.

..and he stares at it.

The WHISTLE is LOUDER!

His heart is pounding in his ears. He
squeezes them shut, looks up...

The gun.

He bolts to his feet, paces back and
forth in a panic! The train is HOWLING!
A rope in the corner of the room, his
face, the gun...

He sits dully, gazes at the rope as if
in a trance. The TRAIN is ROARING past
the house, it's HORN BLASTING. The
rope, the gun, and his body dangling
from the rafters in the night breeze--

PRINCE
(screaming)
Noooooo!!

He lurches to his feet, cuts through the
basement like a madman. He grabs a
stick and starts SLASHING things
crazily, moving through the room
swinging his stick wildly again and
again.

He's lost to himself now, deep in the
pit of an unknown terror, expurgating a
horror that has been festering in him
for years. He flings his stick at the
wall, unends shelves and bureaus,
trampling old memories that have lain
dormant for years.

Drawer after drawer is flung against the
wall, their contents smashing and
scattering about. He opens a large,
oaken chest and flips over. Thick three
inch piles of yellowed paper fall out.
He snaps through the rubber bands
holding them together and flings the
paper at the wall again and again...

...he stops suddenly, shocked. He SEES
musical notes written down on the paper.
his heart pounding in his chest, he
searches frantically through the rubble
scattered about him. More and more
musical notes, sketched ideas, simple
melodies, entire songs and scores -- all
meticulously recorded on lined yellowed
paper, dated for the last 20 years, and
signed...by his Father. He's shocked to
a standstill. Then the full
significance of what's before him hits
him like a sledgehammer. He collapses
in agony against the chest, tears
flowing down his cheeks.

(105) INT. BASEMENT -- A SERIES OF SHOTS (NIGHT INTO DAY)

Prince lying outstretched on the
basement floor, sleeping fitfully,
feverishly. His body is lathered in
sweat, the droplets glisten in the pale
light.

ANOTHER ANGLE
Cool, gray dawn. He's in a dead sleep
on the floor, his arms outstretched, his
legs twisted beneath him. His Father's
outline seemingly rests by his side...

Just then the basement window begins to
glow with SUNLIGHT. It inches slowly
across the floor, then sweeps him
majestically, bathing him in its warmth.
He wakes slowly, stretches his limbs
like an opening flower. After a moment
he sits up, shades his eyes...

The basement is littered with debris.
The destruction is complete, but in the
midst of it lies his Father's music.
The yellow parchment is scattered about
glowing in the sunlight...

Something seems to flash across his
mind. he stands, moves quickly down the
hallway to the antechamber...

Suddenly we HEAR a TAPE REWINDING.
After a moment...MUSIC and we
immediately recognize it as Lisa's and
Wendy's SONG. It plays a moment, then
snaps off abruptly. He stands locked in
thought, then sits behind the piano,
hunts for the first few notes of Lisa's
and Wendy's song...

(Forgive me folks I know I will get some hate for this question)

Did BrownMark have any lines in the original script?

MC
(over)
(excited)
Let's bring them back! Ladies
and gentlemen, The Time!


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

The CROWD goes WILD! Morris, Jerome and
the Time return to the stage to a
frenzied throng. The PLACE is PACKED,
the CROWD applauding like MAD! LASER
LIGHTS strobe the house in a frenzy.
It's a glorious night, and Morris struts
back and forth imperialistically criss-
crossing the stage like a lion, urging
the audience on. He grabs a mike--

MORRIS
You love us right?! You want
us right?! I can't hear you!

Hold on, hold on, why y'all beatin' on shit, what's that mean?
Hold up, do y'all wanna learn a new dance?
Are U qualified 2 learn one?
Uh huh, that's what I thought, who can dance out there?
OK, we gonna try a new dance
And if I don't see everybody doin' it, I don't wanna see U no more
Jellybean, are we ready? (Yep, 1 2 3 4)
Y'all better do this one

What time is it?
Alright, y'all got 10 seconds 2 get 2 the dance floor
And...

Wawk!

The CROWD is SCREAMING -- Morris flashes
a wide, exaggerated grin--

MORRIS
What time is it?!
(a beat)
Whawhak!!


And MUSIC. The Time launches into "The
Bird" and Morris, laughing heartily,
does 'The Bird" (dance) with Jerome as
the audience ROARS their approval.

America, have U heard?
I got a brand new dance and it's called "The Bird"
U don't need no finesse or no personality
U just need 2 arms and an attitude and everybody sing with me
Come on now!

Wawk! Hallelujah! Whoa!

Brothers, don't be cool
Women like it sometimes when U act a fool
Sisters, don't be shy
Let your body get loose, U ain't 2 fat 2 fly
Come on now!

Wawk! Hallelujah! Whoa!
Y'all sing it with me, goes like this
Wawk! Hallelujah! Whoa!

Yes!
Hold on now, this dance ain't 4 everybody,

just the sexy people
White folks, U're much 2 tight
U gotta shake your head like the black folks
U might get some 2night
Look out!

America, have U heard?
I got a sexy new dance called "The Bird"
U don't need no finesse or no personality
U just need 2 arms and an attitude and everybody sing with me
Come on now!

Alright, when the horns blow,

I want everybody on the floor
U know this groove is sexy,

U ain't got no excuse no more
Jerome, I wanna show 'em where we live
Siamese twins joined at the suit, f

ellas, give me something 2 fly with

Wawk!

The Wright brothers can't fuck with that
Jerome, bring me my hat
Did I mess my hair up?
Fellas, y'all play something
I'ma go over here and talk 2 this girl

I pledge allegiance 2 The Time
Can y'all sing that? Sing it!
I said I pledge allegiance 2 The Time

Ha, ha, ha, ha! Hallelujah! Whoa!
Wawk! Hallelujah! Whoa!

Fellas? (Yeah!)
What's the word? (Wawk!)
When U wanna get some, what do U do? (Do "The Bird!")
Fellas? (Yeah!)
What's the word? (Wawk!)
When U wanna get some, what do U do? (Do "The Bird!")
America? (Yeah!)
What's the word? (Wawk!)
When U wanna get some, what do U do? (Do "The Bird")
Take it home!

Wawk! {x2}
Chili Sauce

It's the last call 4 alcohol
If U ain't got what U want, U got 2 get the hell out of here!

Thank U

(107) INT. DRESSING ROOM/BACKSTAGE -- NIGHT

as Prince and his Band sit in grave
silence, the exuberant SOUNDS of the
CLUB filtering through the open door.
Jill is also in the room, sitting on a
table, holding the dog silently in her
lap. She casts sidelong looks to
Prince, tears welling in her eyes.

The Band Members fidget nervously,
knowing full well that their jobs are on
the line, and feeling awful about the
personal tragedy that has befallen
Prince. The entire situation is very
tense, and it's made worse every time
the crowd lets out a delighted ROAR of
approval. But Prince sits placidly, his
face an enigma, his feelings a mystery.

108) INT. CLUB -- NIGHT

And it couldn't be more of a contrast!
The place is a riot of color and raucous
carryings on. "The Bird" is a smashing
success with everyone on the dance floor
trying gamely to get the steps right.
Morris and Jerome are flushed with
pride, surprising even themselves with
their impromptu adjustments to the act.
The MUSIC crescendos, then comes to a
rousing blistering end!

The stage is plunge into darkness. the
CROWD goes BERSERK. Billy Sparks shakes
his head happily--

BILLY
Jesus!

(109) INT. BACKSTAGE -- NIGHT

Morris, Jerome and The Time cut briskly
past admiring FANS, laughing and
shouting crazily--

BAND MEMBERS
(ad lib)
It's all over now. He better
watch out. He doesn't even
need to go on. He might as
well go home.



(110) INT. DRESSING ROOM -- NIGHT

As Prince, Jill and the Band sit in dead
silence listening to The Time's bluster
off screen. Suddenly The Time crosses
the doorway -- Morris does a double-
take, sticks his head into the room--

MORRIS
How's the family! Whawhak!

The Time busts up, drags Morris from the
room. Prince's group is shocked, casts
furtive glances to him -- but he remains
serene, then--

MC
(over)
Ladies and gentlemen,
please welcome Prince!

Applause offscreen. Prince stands
abruptly, straps on his guitar. His
Band Members look at him closely, trying
to discern his feelings. He gives them
a cursory glance, cuts out the door.

MUSIC. The opening bars of "Purple
Rain." He turns to to the audience and
SINGS....

I never meant 2 cause U any sorrow
I never meant 2 cause U any pain
I only wanted one time 2 see U laughing
I only wanted 2 see U laughing in the purple rain

Purple rain, purple rain
Purple rain, purple rain
Purple rain, purple rain
I only wanted 2 see U bathing in the purple rain

I never wanted 2 be your weekend lover
I only wanted 2 be some kind of friend, hey
Baby, I could never steal U from another
It's such a shame our friendship had 2 end

It's a ballad, a poem really, a plea for
understanding, love, and survival. It's
a testament, a pact if you will, between
himself and others...

The AUDIENCE is mesmerized, all EYES are
upon him -- but Prince doesn't notice.
Lips pressed against the mike, dark eyes
streaming, he's lost to himself now,
loosening all that's within him,
cleansing himself of his rage, hatred
and pain...

Purple rain, purple rain
Purple rain, purple rain
Purple rain, purple rain
I only wanted 2 see U underneath the purple rain

Honey, I know, I know, I know times are changin’
It's time we all reach out 4 something new, that means U 2
U say U want a leader, but U can't seem 2 make up your mind
I think U better close it and let me guide U 2 the purple rain

VANITY
is crying. Every moment she has shared
with him is expressed in this song, and
the effect on her is unnerving. Her
heart leaps to him in a way she never
thought possible. But she lets it go
willingly, as the words draw her in,
seducing her somehow, making her
free...as if the music, his words, all
that he has experienced and understood,
is purging what is confused and ugly
within herself, leaving her with an
understanding and joy that burns in her
womb like soft fire. A smile springs to
her lips as tears continue to flow, and
she finds herself moving closer...

...as the Audience moves closer, drawn
somehow to the stage, to the person who
SINGS so truly, to the person who gives
of himself unselfishly to all that he
feels...

Purple rain, purple rain
Purple rain, purple rain
If U know what I'm singin’ about up here, come on raise your hand
Purple rain, purple rain
I only want 2 see U, only want 2 see U in the purple rain

Prince begins a long sustained CRY that
cuts though the hearts of all present.
The MUSIC builds awsomely, and he
continues to sing out, emptying himself
of all the remaining pain lying within.
The MUSIC crescendos and comes to a
quiet end...

Stunned SILENCE. A silence so profound
you could hear a pin drop. Prince
sighs, assumes the worse, then cuts
across the stage purposefully. Now some
CLAPPING. And a WHISTLE from the back
and the SHOUTING. And more WHISTLES and
some even SCREAMING. And the WHISTLES
and the SHOUTS and the CLAPPING growing
and growing as....

(112) INT. HALLWAY -- NIGHT

Prince cuts from the stage in a frenzy,
rushes toward the rear exit. The
APPLAUSE is building and building until
it's a THUNDER, an onrushing ROAR, an
avalanche of HYSTERIA that rocks the
club mightily...

PRINCE
is still running though, his face
streaming with tears, past the surprised
look of Jill, past the FANS, past
everyone -- stripping of his clothes
fiercely, flinging off his jacket, his
shirt, his scarf--

(113) EXT. BACK ENTRANCE, INT. HALLWAY -- CLUB -- NIGHT

He SMASHES open the door, BURSTS
outside. He sucks in the night air as
if he was drowning. He wipes away his
tears, rushes to his bike, starts to
undo the chain...

...they're SHOUTING his NAME...

Not randomly, not haphazardly, but...in
unison. And relentless, very demanding,
downright urgent, and...it's beautiful.

A wry smile crosses his lips. He heads
back to the door. Jill is there,
scared, her face a map of tears. He
flashes her a smile--

PRINCE
Hi.

She's thunderstruck, can barely squeak
it out--

JILL
Hi.

And he whips into the hallway. Her face
dissolves into a smile of pure joy.

(114) INT. CLUB -- NIGHT

MOVING now, FAST and FURIOUS. The
HALLWAY is LINED with PEOPLE. They
reach for him as he passes, touching
him, showering him with their love.
Someone hands him his shirt, another his
scarf -- it's so intense!

He's moving quickly now, his jacket up
ahead, closer...he stops suddenly,
stunned...

...Vanity is holding his jacket. He's
struck speechless -- she hands it to him
smiling, tears streaming down her face--

VANITY
I love you.

His knees go weak, she kisses him
spontaneously, pushes him lovingly to
the stage.

THE CROWD IS ROARING!


(115) INT. HALLWAY AND STAGE REAR -- NIGHT

He's half-running now like crazy -- his
Band is on-stage, peering anxiously into
the hallway. They spot him and relief
sweeps their faces like a tidal wave.
He whips his jacket on, rushes up the
stairs...

(116) INT. CLUB -- NIGHT

STAGE
THUNDER! Prince walks center-
stage...and bows. The AUDIENCE goes
BERSERK! He acknowledges Wendy and
Lisa, and then the entire Band. The
CROWD is jumping out of their skin! He
straps on his guitar, gives a deft
signal and--

I'm not a woman
I'm not a man
I am something that U'll never understand
I'll never beat U
I'll never lie
And if U're evil I'll forgive U by and by

MUSIC. The Band launches into "I Would
Die For You." Vanity squeezes her way
through the crowd and stands watching
Prince from the wings. He presses his
lips to the mike and SINGS.

The MUSIC continues as we...

CUT TO:

(117) INT. LIVING ROOM, PRINCE'S HOME -- NIGHT

Prince walks through the LIVING ROOM
slowly, gazes at the smashed table, the
broken lamp and dishes. Every item in
the room suddenly takes on a profound
significance. His father's slippers
under the sofa, his mother's knickknacks
on the table, her pen and ink drawings
on the wall. After a moment, he picks
up his father's slippers, studies them a
long time.

(118) INT. BEDROOM -- NIGHT

The DOOR opens -- a LIGHT snaps ON. He
walks into the room, places his father's
slippers in the CLOSET. His Mother's
dress is lying in a heap on the floor.
He picks it up, and puts it away.

(119) INT. BASEMENT -- NIGHT

as he descends the steps hesitantly.
The FLOOR is covered with rubble. He
sits on the steps, stares at his
father's MUSIC on the floor.

"I Would Die For You" continues as we...

CUT TO:

(120) INT. CLUB -- NIGHT

Cuz U - I would die 4 U, yeah
Darlin', if U want me 2
U - I would die 4 U

I'm not your lover
I'm not your friend
I am something that U'll never comprehend
No need 2 worry
No need 2 cry
I'm your messiah and U're the reason why

Prince on-stage SINGING "I Would Die For
You." The AUDIENCE is captivated,
locked into his grip again. His eyes
seem to be focused on something far
away. He closes them tightly, presses
his lips against the mike.

The MUSIC continues as we...

CUT TO:

(121) INT. BASEMENT, PRINCE'S HOME -- TWILIGHT

He's in the final stages of cleaning the
basement floor. The debris has been
swept up, shelves righted, smashed items
thrown away...

He stacks his Father's music neatly,
tears welling in his eyes. He places it
in new boxes, stands wearily, a
fulfilled look on his face. Suddenly he
stops -- stares at the awful chalk marks
on the floor: his Father lying down,
the gun gripped in his hand...

"I Would Die For You" continues as we...

CUT TO:

"I Would Die For You" continues as we--

CUT TO:

I would die 4 U, yeah
Darlin', if U want me 2
U - I would die 4 U

Yeah, say it one more time

U - I would die 4 U (U)
Darlin', if U want me 2
U - I would die 4 U
2 3 4 U

I would die 4 U {x2}
U - I would die 4 U