there's not nearly enough nipple on this thread

Love the pic of Apples in her white lingerie...Never saw that one before.

(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.

(56) EXT. HIGHWAY -- DAWN

AERIAL SHOT
Prince and Vanity on his motorcycle
whipping down the highway. The DAWN
LIGHT breaks over the horizon.

Built like she was
She had the nerve 2 ask me
If I planned 2 do her any harm

So, look here
I put her on the back of my bike
And-a we went riding
Down by old man johnsons farm

I said now, overcast days never turned me on
But something about the clouds and her mixed

She wasn't 2 bright
But I could tell when she kissed me
She knew how 2 get her kicks


(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.

(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...

The rain sounds so cool when it hits the barn roof
And the horses wonder who u are
Thunder drowns out what the lightning sees
U feel like a movie star

Listen
They say the first time aint the greatest
But I tell ya
If I had the chance 2 do it all again

I wouldn't change a stroke
Cause baby Im the most
With a girl as fine as she was then

(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.

blacknote said:

OldFriends4Sale said:

There was talk of making videos for all the tracks on the album, and Apollonia claimed at the time, "Warners requested - no demanded - that we make a video for every song on the album." Apart from a video for "Sex Shooter," which was released as a single (also available in an extended version on maxi-single), nothing happened to the grandiose plans.

Does anyone remember the Apollonia 6 workprint footage that leaked some years back? I haven't watched it in a long time but I remember the long form video featured quite a few songs from the album.

Was the name of the film "Happy Birthday Mr. Christian"?

FILL EAT BUY

A four-track video was filmed, based on the Apollonia 6 album, directed by Brian Thomson (Australian production designer of the original stage versions of The Rocky Horror Show and Jesus Christ Superstar), scripted by Keith Williams (concept writer for music videos by Phil Collins, Ray Parker, Jr., and Donna Summer), with a cast consisting of Ricky Nelson, Edy Williams and Buck Henry. Shot in a Los Angeles film studio in 1985, and produced by British video firm Limelight, the video never went beyond rough cut.

(71) EXT. PRINCE'S HOUSE -- NIGHT (LATER)

Vanity climbs over a fence, moves
through some bushes, emerges along side
Prince's house. She has an excited,
ravenous look on her face. She hurries
to the casement window, climbs into the
basement.


(72) INT. PRINCE'S BEDROObt -- NIGHT

She drops down into the basement, turns
excitedly, leaps into Prince's arms--

VANITY
I missed you! Missed you!
Missed you!

She hugs him tight, showers him with
kisses, topples them both to the bed.
Laughing, hugging, kissing -- fast and
furious. Suddenly she jumps up like a
panther, fluffs her hair wildly in the
mirror, fixes him with a wanton look.
His eyes devour her--

PRINCE
Come here. Where were you?

She moistens her lips, walks
lasciviously toward the bed, sits facing
him. She laughs suddenly, pushes him
back...and they're at each other again -
- faces two inches apart; touching,
whispering, kissing, hands searching --
shutting out the rocm, shutting out the
world...

She jumps up suddenly. She can't be
contained! She practically levitates--

VANITY
I have a big surprise for you.

She rushes to the coal chute, climbs
halfway through. Prince, puzzled,
cracks up watching her ass and legs
dangling. She drops back into the room,
holding a large PACKAGE. His eyes
widen. She struts to the bed, lays it
down majestically before him--

VANITY
(sings)
Da...da..!

PRINCE
What is it?

VANITY
Open it.

He starts peeling the tape off, careful
not to rip the paper. Vanity's bursting
with excitement though, and demolishes
it in a flash! He laughs, opens the lid
-- stares in shock--

PRINCE
Oh, no...
(happy)
Oh, no!



He pulls out a gleaming new GUITAR, and
we immediately recognize it as the one
they saw in the window. He's deliriously
happy, and speechless--




PRINCE
How'd you do it?

She shouts with delight, attacks him
again, pushing the guitar aside. Fast,
furious kisses and he responds in kind.
They're twisted in a heap on the bed.
After a moment they come up for air,
stare at each other playfully. Something
flashes across his mind--

PRINCE
Here...

Her eyes widen. He takes off his
Mother's earring, fastens it to her ear.
Eyes dancing, she jumps up, studies it
closely, in the mirror--

VANITY
I love it!

She twists around, kneels beside him,
showers him with bites and kisses.
Suddenly she stops--


VANITY
I'm going to join Morris'
group.

His face drops, shocked--

PRINCE
What?

She backs away from him, stands,
strikes a defensive stance--

VANITY
I'm going to join Morris'
group.

He LUNGES savagely before he knows it!
His hand lashes out, SMASHES her in the
face. She falls back, CRASHES into the
mirror. She slips dully to the floor,
tries desperately to brace herself on a
chair--

He's horrified--

PRINCE
I'm sorry! Oh, baby, I'm
sorry! Are you alright?

He helps her up, she turns away from him-
-

VANITY
Just...leave me alone.

His heart staggers in his chest--

PRINCE
Please...it's just...

(a beat)
I don't want you around this
at all. I just don't want you
in my life this way. You
don't have to prove anything
to me or anybody else.

(a beat)
Vanity...? Don't I make you
happy? Don.t you like the way
we are?

(another thought)
Do you know Morris? Do you
know what he's about? He
doesn't care about you.
She twists viciously--

VANITY
Jealous..?!

She rushes into the antechamber, climbs
through the coal chute, disappears into
the night.

DISSOLVE TO:

(83) EXT. CLUB/INT. MORRIS' CAR (1ST AVE. ST. BAR) -- NIGHT

KIDS are hanging out in front of the
club. The usual queue, however, is
noticeably absent.

The yellow Caddy sweeps up. Jerome is
at the wheel, Morris and Vanity sit in
the back. Morris is dressed elegantly,
resplendent in a 5O's-style suit. She's
beautiful in a sleek black dress, with
long black gloves, and heels--

VANITY
What are we doing here,
Morris?

MORRIS
What do you mean?

VANITY
I don't want to be here. I
don't want to hurt anybody.

MORRIS
It's not about hurting
anybody. This is business.
We can use the exposure.

Just then Brenda and Susan come up to
the car excitedly. Brenda is dressed in
a 40's-style dress, Susan wears a form-
fitting leopard one. They both look
gorgeous--

BRENDA
Hi -- you coming in?

Their excitement and nervousness is
endearing. Vanity's heart goes out to
them. She forces a smile, climbs out
unaided--

VANITY
Your horns are showing,
Morris.

MORRIS
Yeah...but they're holding up
my halo.

(89) EXT. THE TASTE -- NIGHT

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

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

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


(91) INT. THE TASTE -- NIGHT

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

93) INT. THE TASTE -- NIGHT

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


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

Respectful APPLAUSE--

MORRIS
Oh, God--

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

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

MORRIS
(surprised)
What??

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

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

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

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

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

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

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

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

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

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

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

(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.

(extended version)
get me off
i'm your bomb getting ready to explode
i need you to get me off
be your slave do anything i'm told

chorus:
i'm a sex shooter
shootin love in your direction
i'm a sex shooter
come on play with my affections
come on kiss the gun
guaranteed for fun

I need you to pull my trigger baby
i can't do it alone
i need you to be my main play thing pillar of stone

chorus:

no girls body can compete with mine
no girls rap can top my lines
no girls kiss can ring your chimes
come on boy lets make some time

chorus:

OldFriends4Sale said:

blacknote said:

Does anyone remember the Apollonia 6 workprint footage that leaked some years back? I haven't watched it in a long time but I remember the long form video featured quite a few songs from the album.

Was the name of the film "Happy Birthday Mr. Christian"?

FILL EAT BUY

A four-track video was filmed, based on the Apollonia 6 album, directed by Brian Thomson (Australian production designer of the original stage versions of The Rocky Horror Show and Jesus Christ Superstar), scripted by Keith Williams (concept writer for music videos by Phil Collins, Ray Parker, Jr., and Donna Summer), with a cast consisting of Ricky Nelson, Edy Williams and Buck Henry. Shot in a Los Angeles film studio in 1985, and produced by British video firm Limelight, the video never went beyond rough cut.

Yes, I saw the longform A6 video on You Tube. The songs featured were Happy Birthday Mr Christian, Blue Limousine, Sex Shooter & Ooh she waa waa. There were a couple of actors in the videos and spoken word scenes between the songs. Susan & Brenda both had speaking parts. It was just a bit of fun. I wish sum1 wud put it out on DVD. That wud b cool.

FILL EAT BUY

A mini film project as four-track video was filmed, loosely based on the Apollonia 6 album. It was directed by Brian Thomson, an Australian Production Designer of the original stage versions of Rocky Horror Show and Jesus Christ Superstar and scripted by Keith Williams, concept writer for music videos by Phil Collins, Ray Parker, Jr., and Donna Summer, with a cast comprising Ricky Nelson, Edy Williams and Buck Henry. Shot in a Los Angeles film studio in 1985, and produced by British video firm Limelight, the video never went beyond the rough-cut stage.

The plot introduced three lingerie clad widows gathered to listen the reading of Mr Christian will and testament which leaves them nothing and encourage them to work. The imagery and set is very 1960's revamped into 1980's colorful graphic trends. The scenes show prominent neons words such as 'FILL' at a gas station for Blue Limousine, where Brenda Bennett has the main vocal role, 'EAT' at a diner's for Ooo She She Wa Wa, where Susan Moonsie leads while the two other find themselves struggling in front of piles of dirty dishes to wash. The part featuring Apollonia as leading role feature the word 'BUY' in a supermarket set.

-PrinceVault

RicoN said:

there's not nearly enough nipple on this thread

I don't think there is much 2 C

U'll have 2 go back 2 Prince and Vanity 6 -1982-1983

OldFriends4Sale said:

RicoN said:

there's not nearly enough nipple on this thread

I don't think there is much 2 C

U'll have 2 go back 2 Prince and Vanity 6 -1982-1983

(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...

(123) INT. BASEMENT, PRINCE'S HOME -- DAWN

He pulls a HOSE from behind the washer,
draws it on to the floor. He hesitates
a moment, gazes one last time at his
Father's outline, tears welling in his
eyes. He turns the water on, watches as
the dusty yellow chalk gives way
reluctantly, mixing with the water,
swirling down the drain. Calmness
sweeps his face like a passing cloud.

Just then SUNLIGHT blazes in through the
casement windows. Water droplets
glisten brilliantly in the morning
light. He turns the water off, goes to
put the hose back -- stops suddenly,
surprised...

...his Mother's earring lies on the
floor.

He's entranced, picks it up, stares at
it a moment. Everything he's been
through comes rushing at him like a loco
motive. The confusion, the shouting and
violence, the darkness that eclipsed his
parents' life -- it's all there, lying
just below the surface, settled into his
heart. But now there's a difference --
he knows it's there and has discovered
what could happen when it takes control
of your life.

So as he stands in the basement, on the
clean cellar floor, he realizes
that...he'll just take one thing at a
time, and do it right. Better than
anybody else. He smiles, realizes that
in the last few weeks, he's never felt
better than he feels right now. He
turns quickly, flips the earring to the
stairwell...

...Vanity plucks it from the air. Their
eyes lock and they share smiles of pure
joy. He picks up his father's music,
and they both head up the stairs.

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

CUT TO:

thedance said:

Apollonia 6, wow.

Great and sexxy album - especially the 2 first tracks are amazing..

I wish the cd was more easy to buy, I only have a copy, I would love to own the original.

i have the cd and vinyl.

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

17 Days: Love, love, love the song. I have a recording of it when I did the song for the second Vanity 6 album. I wish that one had come to fruition.

Susan Moonsie is very dear to my heart and I feel very blessed to remain close friends with her. She is a beautiful woman, inside and out. Months will go by where we haven't spoken. Yet, when we do, it's still--after all this time--as if we spoke just yesterday. I miss her terribly and wish we saw each other more often.

When we shot the long-form video for the Apollonia 6 album...Presumably, you are talking about the "Mr. Christian" video project. The project was a concept of doing an extended EP per se, only in a video format as opposed to an audio EP: take one of the songs from the album ("Happy Birthday, Mr. Christian"); write a story line around the subject of that song and incorporate other songs from the album into the story to create a mini movie. It was a great idea and the project was a lot of work, but fun. I'm just sorry that it didn't get completed and released. Someone out there got their hands on it and released it on YouTube in its unfinished version. It created a lot of cult interest and keeps appearing from time to time.
http://beautifulnightschitown.blogspot.com/2014/04/the-voice-brenda-bennett-talks-2.html

I agree with Brenda.The song is "too pop" and I don't think it would've blended well with the other songs on the A6 album.

OldFriends4Sale said:

Manic Monday was never my cup of tea: too "popish" for me. (I'm) glad The Bangles had a hit with it. I don't think Apollonia 6 would have----Brenda Bennett

OldFriends4Sale said:

When we shot the long-form video for the Apollonia 6 album...Presumably, you are talking about the "Mr. Christian" video project. The project was a concept of doing an extended EP per se, only in a video format as opposed to an audio EP: take one of the songs from the album ("Happy Birthday, Mr. Christian"); write a story line around the subject of that song and incorporate other songs from the album into the story to create a mini movie. It was a great idea and the project was a lot of work, but fun. I'm just sorry that it didn't get completed and released. Someone out there got their hands on it and released it on YouTube in its unfinished version. It created a lot of cult interest and keeps appearing from time to time.
http://beautifulnightschitown.blogspot.com/2014/04/the-voice-brenda-bennett-talks-2.html

Does anyone know why it was never completed and released? I wonder if,mid-way through the project,either Prince or Warners lost interest in Apollonia 6 and pulled the plug on it Or it could have something to do with the song "Sex Shooter" not becoming the huge hit that Warners thought it would be.As I recall,the album wasn't a massive seller either.

Yes, not well with the Apollonia 6 album
It should have been a B side 4 Take Me With U

and it would have been a big hit Prince & Jill Jones duet

SoulAlive said:

I agree with Brenda.The song is "too pop" and I don't think it would've blended well with the other songs on the A6 album.

OldFriends4Sale said:

Manic Monday was never my cup of tea: too "popish" for me. (I'm) glad The Bangles had a hit with it. I don't think Apollonia 6 would have----Brenda Bennett