January 25, 2017 at 9:24 pm #1089
About William Blinn and the script that was “Dreams” before it became the famous “Purple Rain”.
WILLIAM BLINN KNEW NOTHING ABOUT PRINCE, REALLY, when he was approached roughly two years ago about writing the script for a very vaguely conceived movie in which the singer would star. But Blinn, a mild, middle-aged man who’d written such Emmy-winning tube fare as Brian’s Song and a Roots segment, had reason to be interested in the task, proffered by Prince’s management company, Cavallo, Ruffalo and Fargnoli. At the time, Blinn was executive producer of the Fame series, and there was some doubt as to whether it would be renewed for a third season. A screenplay would be a handy diversion. What did the managers have in mind, exactly?
That was unclear. Prince had been jotting down ideas in a purple notebook for some time, and one night out on the road, he told Steve Fargnoli: this is great and all, but there must be something else. He wanted to do a movie. Unfortunately, Fargnoli knew little about the moviemaking business. With his partners, Bob Cavallo and Joe Buffalo, he managed music acts, including such major attractions as Weather Report and Earth, Wind and Fire. But Prince was the one. they all knew it. Prince could do anything: why not a movie? Fargnoli shopped the pitch around to some major studios — got a black kid here who most ticket-buying citizens have never heard of who wants to make a movie about himself with some friends in Minneapolis — and got a lot of laughs. But he was unfazed. The managers would finance the film themselves. But they needed a script.
Blinn first met with Prince and Fargnoli at an Italian restaurant in Hollywood. He immediately knew there’d be strange days ahead. “I never met anyone in the world who ordered spaghetti with tomato sauce and orange juice to drink,” he recalls. “He’s definitely got his own drummer going.” As they talked about the movie, Blinn found that Prince was “not conversationally accessible. He’s not purposefully face-to-the-wall, but casual conversation is not what he’s good at. It was as if I asked someone what they wanted for dinner, and they said they weren’t sure, but they’d like it to have some tomatoes in it, and some beef, and some onions. And I’d say, ‘I think we’re talking about beef stew here.'”
During a meeting at Prince’s home — a purple but otherwise unremarkable two-story affair situated on a lake in a well-to-do suburb several miles southwest of Minneapolis — Blinn realized that an important part of the story Prince was trying to formulate concerned his father, John L. Nelson, a piano player who had led a Minneapolis jazz trio in the Fifties under the name Prince Rogers. Nelson had separated from his wife, a singer, when Prince was seven, leaving a piano behind for his son to learn to play. The father, who reportedly still lived in Minneapolis, obviously remained a troubling figure.
“He was semicommunicative about his dad,” says Blinn. “He played me some of his father’s music on the piano, and when he played, and when he talked about his father’s life, you could tell that his father is very key in what he’s about. It was as if he were sorting out his own mystery — an honest quest to figure himself out. He saved all the money on shrinks and put it in the movie.”
Blinn began pounding out a script called Dreams, a dark story in which the parents of the Kid — the character to be played by Prince — were both dead, the mother dispatched by the father, who in turn killed himself. Prince’s Minneapolis music scene was in there, too, and so was the beautiful Vanity, lead crumpet with Vanity 6. Born in Ontario of Scottish and Eurasian parents (her original name was Denise Matthews), Vanity had been a model and sometime nudie actress who, under the name D.D. Winters, appeared in such Canadian-made films of the early Eighties as Terror Train and Tanya’s Island. Vanity was also Prince’s girlfriend — or one of them — and in Dreams, she was to play the stabilizing influence in the Kid’s otherwise chaotic life.
Blinn’s story was beginning to sound very much like Prince’s life. Following his parents’ breakup, Prince had been bounced from mother to father to an aunt and finally, at age thirteen, of his own volition, into the home of Mrs. Bernadette Anderson, the mother of his best (and at the time, she says, only) friend. Prince and André Anderson had both attended a local Seventh-Day Adventist church as young children, and they shared a consuming interest in music. It was with André (and a young drummer named Morris Day) that Prince organized his first band. Grand Central. “Music is obviously a cloak and a shield and a whole bunch of things for him,” says Blinn. “It’s a womb.”
Halfway through the second draft of Dreams, Prince told Blinn he wanted the word purple in the title. “At first, I thought it was a kind of strange request,” Blinn says. “But he really identifies with purple. There’s a whole dark, passionate, foreboding quality to the color and to what he does. Yet there’s a certain royalty to it, too.”
After finishing a second draft of the script, Blinn got word that Fame had been renewed for a third season, and so he returned to television-land, leaving the Prince management team with a script of sorts, but no director. After seeing a film called Reckless, they approached its young director, James Foley, and asked if he’d be interested in Purple Rain. He wasn’t, but he recommended his friend, Al Magnoli, who had edited Reckless.
At first, the thirty-one-year-old Magnoli wasn’t interested. Nevertheless, he agreed to meet with Bob Cavallo for breakfast one morning. Cavallo asked him what he thought the Prince team should do. Magnoli tried to be helpful. “I said, “This is what I would do’ — and right there I told him the entire story. It just came out. I knew they had this character Prince, the script had introduced me to this other character, Morris, and I knew that there was a girl in the middle. So it was like: where do you go with this? And I said Prince should do this, and Morris should do this, and Vanity should be this kind of girl and not this other thing in the script. And then the mother and father — and all of a sudden the world was shaped. And within ten minutes, I had convinced myself that this would be an extremely exciting film to make.”
Cavallo liked what he heard, and Magnoli felt the stirrings of a buzz. He agreed to fly to Minneapolis. “The minute I met Prince, I realized that I hadn’t gone far enough. That because of the nature of this person, I could go much further into the private sort of area. We had dinner, and he let me speak for about twenty-five minutes, and I began working off what was emanating from him. And I got very involved with the parents at that point: the father became a musician, the mother became sort of a woman wandering the streets, things like that. I was just basically watching the person in front of me, just feeling what that was all about. And at the end, he said okay, let’s take a ride. So we took a ride, and he looked at me and he said, ‘I don’t get it. This is the first time I’ve met you, but you’ve told me more about what I’ve experienced than anybody in my life.'”
Magnoli told Prince that if he was willing to reveal the emotional truths of this material, of the character that they would create, then the movie could be made. Prince agreed, so Magnoli went to Minneapolis for a month and hung out with the people who would populate the film: Prince and his band (now to be called the Revolution), Morris Day and his group, the Time, the women in Vanity 6. Then he locked himself in a room for three weeks and completely rewrote Blinn’s script.
Source: Rolling StoneFebruary 15, 2017 at 10:50 pm #1122
NOTE: Let me state ahead of time, that I am not certain of this script to be entirely accurate. I’ve obtained this script from a website and I did not check the authenticity of it. I thought it was an interesting read–being the reason for sharing the script here. The script is located at: IMSDB and I first learn of the script from the Prince Org community. There’s content in the script that may not be suitable for children–viewer/reader discretion is advised. Enjoy the read!
P U R P L E R A I N
by Albert Magnoli
Formerly Dreams by William Blinn
Scanned & Edited by lovesexy
Cyber published by P.L.T.T.
(email@example.com)February 15, 2017 at 10:52 pm #1123
(1) Black Screen
SOUND under: MUSIC building in INTENSITY
We are gathered here today
To get through this thing
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
Then huge CU of EYES opening, gazing
into mirror, HAND applying makeup,
sudden BLACKNESS, then–
That’s right…a world of
You can always see the sun —
Day or night.
BURN IN MAIN TITLE: PURPLE RAINFebruary 15, 2017 at 10:53 pm #1124
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
In this life, You’re on your
Now, pulsating COLOR — FLASHES of hot,
And if de-elevator tries to
bring you down,
Go crazy, punch a higher
and the BEAT provocative now,
relentless, BUILDING with fierce intent
(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
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
The MUSIC continues as we …February 15, 2017 at 10:54 pm #1125
(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
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 …
(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-raucousness, his
charm — every move he makes is for a
calculated effect. He knows exactlyFebruary 15, 2017 at 10:54 pm #1126
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…
(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
jumping 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 …
(6) EXT. CORNER, STREETS #1 — NIGHT
A POLICE CAR, lights FLASHING, sits at
the curb. A small CROWD has gathered
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 …February 15, 2017 at 10:55 pm #1127
“Let’s Get Crazy” continues as we…
(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–
Oh, Lord …
“Let’s Get Crazy” continues as we …
(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 …
(9) EXT. STREETS #2 — NIGHT
A SEVILLE sweeps to a stop. The
Businessman is at the wheel. VanityFebruary 15, 2017 at 10:56 pm #1128
steps from the car languidly and offers
a curt wave goodbye. The car pulls
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 …
(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…
(11) INT. DRESSING ROOM, CLUB — NIGHTFebruary 15, 2017 at 10:57 pm #1129
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…
(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
She rushes to the window, tears open the
shutters — iron bars obstruct her
(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.February 15, 2017 at 10:58 pm #1130
The night is electric — the scene
(14) INT. VANITY’S HALLWAY — NIGHT
She runs from the room, cuts down the
hallway, slamming the door behind her
“Let’s Get Crazy” continues as we…
(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
“Let’s Get Crazy” continues as we…
(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, followsFebruary 15, 2017 at 10:59 pm #1131
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
We’re going to slay him…
“Let’s Get Crazy” continues as we…
(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
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
I have an appointment with the
No you don’t — he doesn’t see
anybody.February 15, 2017 at 10:59 pm #1132
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
Vanity streaks inside, blazes up the
stairway, ducks behind a GROUP of
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–
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–
Sorry … where’s the office?
Jill squats, picks up the broken glasses-
Do you think you can just come
in here and take over?
VANITYFebruary 15, 2017 at 11:00 pm #1133
I said I’m sorry — what do
you want me to do? Where’s
Jill points — Vanity hurries away —
No one’s in!
Vanity stops dead in her tracks, does a
slow burn. She walks back to Jill–
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.
Do you have any experience?
Vanity simmers, enunciates every word–
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…
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 thatFebruary 15, 2017 at 11:01 pm #1134
the very act of touching will release
you in a way you never thought
Prince brines “Let’s Get Crazy” to a
rousing, blistering end. Suddenly the
stage is plunged into darkness. The
CROWD goes WILD!
…Vanity snaps out of it. Jill is
tugging at her arm, a puzzled look on
Here, fill this out — I’ll
have him call you.
I don’t have a phone. When
will he be back?
Well…you can try tomorrow.
You can count on it.
Vanity hands the card back to her —
Jill reads the name, address — looks up
as Morris and The Time pass Prince on
their way to the stage–
Why don’t you stay awhile, see
how it’s done.
The Band Members bust up — but Prince
ignores them, then–
Ladies and gentlemen — pleaseFebruary 15, 2017 at 11:01 pm #1135
welcome The Time.
Sudden APPLAUSE and CRIES. Vanity and
Jill turn directly into the path of
Prince, descending the Steps of the
stage. Vanity gasps, LOCKS eyes with
him. Jill seems to jump out of her skin
— it’s obvious she has a crush on him
Hi ya, Prince — God I liked
that song, it’s real fun.
She fidgets uncontrollably, Vanity’s
card burning a hole into her hand.
Prince glances at the card, then stares
at Vanity, the ripeness of her look
paralyzing. He tears his eyes away,
puts on his sunglasses, looks toward the
(18A) INT. CLUB — NEAR STAGE — NIGHT
MORRIS and The Time rip into a funk tune
called “Jungle Love.” Their stranglehold
on the audience is instantaneous.
Morris struts across the stage like a
panther, playing to the audience with a
relish. His eyes fastened on Prince —
his pride unmistakable.
PRINCE watches Morris a moment, then
eyes Vanity again. The heat between
them is apparent. Vanity’s heart is
pounding, she’s not sure what to do.
She keeps her eyes on Morris, hoping
that a Solution will present itself.
PRINCE watches as Jill tacks the card to
a board behind the bar. Sizing up the
situation quickly, he again glances at
Vanity — but her eyes are fastened on
Morris. Feeling terribly shy and
thinking there’s nothing he can do to
divert her attention away from him, he
reluctantly heads for the front door.
Vanity finally hits upon something toFebruary 15, 2017 at 11:02 pm #1136
I really liked your song
But he’s gone. Her eyes scan the room
frantically — catches a glimpse of him
leaving. She takes a sudden step, then
stops, paralyzed with indecision. Jill
regards her coldly.
MORRIS meanwhile is beside himself.
Some gorgeous, dark-haired babe, eyes
wide as saucers was staring at him from
the bar. Prince has left, and this girl
is his. He motions to Jerome, and they
direct their act in her direction.
JILL gazes at Vanity, fidgets intensely,
suspicious and resentful of her. She
glances up and notices Morris, look.
She seizes upon an idea, forces a
friendly smile, taps Vanity on the
She points to the stage. Vanity looks
at Morris, and he goes crazy,
entertaining her with his own special
blend of showmanship. The CROWD loves
it! Vanity is held a moment, but her
thoughts are elsewhere. She finally
comes to a decision, pulls away, cuts
through the club.
(18B) INT. FOYER AND STAIRWAY — NIGHT
as she runs down the stairs, cuts behind
Chick, BURSTS out the door.
(19) EXT. CLUB — NIGHT
FRANTIC! The STREETS are thick with
TRAFFIC. She scans them wildly —
nothing. Suddenly Prince, astride hisFebruary 15, 2017 at 11:02 pm #1137
motorcycle, BLAZES past her from the
opposite direction. She starts running,
But Prince is too far away, the traffic
too congested for him to hear. He whips
down the street, disappears around the
Vanity continues running, then slows,
dejection overcoming her in waves. She
looks around — KIDS are staring at her,
passing jokes. Embarrassed, She moves
to the front door but Chick is there,
his eyes upon her cold, impassionate.
Exhausted and slightly tearful, she cuts
across the street, heads back to her
(20) EXT. PRINCE’S HOUSE — NIGHT
Prince WHIPS down the street, cuts his
motor, coasts up the drive. He comes to
a stop against a wooden gate. His house
is a nondescript, one-family structure
with a wide front porch. He lives in a
neat and tidy, homogeneous, lower middle-
class neighborhood whose occupants are
hard-working type fiercely protective of
He climbs the steps to the porch, opens
the front door…
…his mother’s SCREAM is like ice in his
veins. Fear trickles into the hollows
of his body like cold water, His pain
commands him to move, but the impulse
short circuits somewhere at the waist,
leaving his legs twitching
uncontrollably. Then another SCREAM
from his mother, and his father’s voice
now, LOUD and FURIOUS–February 15, 2017 at 11:03 pm #1138
Listen to me! You come home
when I say come home! You’ve
got no business in the
WHACK! His mother SCREAMS — Prince
BURSTS into the room.
(21) INT. Prince’s LIVING ROOM — NIGHT
Prince’s MOTHER is at the far side of
the living room CRYING uncontrollable.
She’s in her early 40’s, a dark-haired,
faded beauty, with large, wild, anxious
eyes. There’s a detectable scent of
liquor in the air, and her slurred
speech pins her as the source.
His FATHER is in his late 40’s, a squat,
but solidly built black man, with a
cherubic face, and graceful expressive
He’s upon her now, WHACKING! at her
horribly, trying to get to her face–
You do what I say, do you hear
me?! You’ve got to keep this
place clean! You here, no
The Father lunges, WHACKS! her across
the face. She topples to the floor, aFebruary 15, 2017 at 11:04 pm #1139
lamp CRASHES to the ground. Prince cuts
through the room, lunges desperately in
front of him–
Please, Dad…she’s heard you.
She’s had enough!
His Mother drags herself up along the
He’s trying to kill me! He’s
crazy! Look what he’s doing
Dad, please … she’s–
WHACK! Prince’s head snaps back, his
feet lift from the floor, his body
CRASHES in a heap by the door…
Stunned SILENCE. Prince, flat on his
back, fights vertigo with everything
he’s got. His Mother lets out a YELP,
rushes into the bedroom, SLAMS the door.
His Father stands motionless, sullen–
Get up…you ain’t hurt.
Prince opens his Mouth, BLOOD gushes
from a gash in his tongue. He hoists
himself up slowly, using the wall for
support. He moves into the kitchen,
disappears down the basement steps.
(22) BASEMENT — HALLWAYS AND BEDROOM — NIGHT
A naked LIGHT BULB snaps ON. It dangles
like a pendulum, casting strange
shadows. The basement is partitioned
off into a series of rooms,
interconnected by a labyrinthineFebruary 15, 2017 at 11:04 pm #1140
combination of passages. An old washer
and dryer stand in the corner.
Prince descends the steps slowly. He
comes through a door, closes it behind
him. He moves down a narrow passageway,
enters a small cramped BEDROOM.
He closes the door and locks it behind
him. MOONLIGHT filters in through the
casement windows. The total effect is
like entering a womb, a deep dark
chamber of security and safety.
Lying heavily onto his bed, he sighs
long and deep, his eyes piercing the
(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,
Suddenly she stops — listens intently.
She jumps up, deliberately spills her
orange juice on the piano. Prince comes
around the corner, stops short–
What are you doing here?
She’s a bundle of loose, embarrassing
ends — the cigarette, hat, juice–February 15, 2017 at 11:05 pm #1141
What…what are you doing
He feels caught out — SCANS the BOARD
earnestly for Vanity’s info — tries
to think of something to say–
Huh … it’s kind of dead in
here. Where is everybody?
In bed I guess…
Oh, God …
Guess what, I bought a dog.
(he spots vanity’s card)
Ah, I guess I’ll come back at
a better time. You think
tonight the the place’ll be
Well, I’ll be here — I always
like what you do.
He smiles, moves to the door — Jill
connects with a thought–
Wait! I’ve got something for
What? A subpoena?
She rummages through her bag, pulls out a
cassette–February 15, 2017 at 11:06 pm #1142
It’s a song Lisa and Wendy
He stiffens, doesn’t reach for it–
Why didn’t they give it to me
Well, I liked it and wanted to
listen to it. They told me to
give it to you when I was
He puts his sunglasses on, hesitates,
then takes it from her gingerly. He
regards it for a long time–
You really liked it, huh?
(24) INT. REHEARSAL HALL — DAY
MUSIC throbs through 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
…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–February 15, 2017 at 11:06 pm #1143
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–
You ladies don’t seem to
realize how valuable my time
is. You’re going to make my
boys look bad.
Why don’t you let us come up
with our own steps?
Morris glares at her–
We tried that…
The Girls fidget–
Now you’re in the best
possible position you can be
in, so what’ s the matter —
your shoes on too tight or
(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
I think I’m going to need a
drink, a strong drink.
Let’s get the hell out ofFebruary 15, 2017 at 11:07 pm #1144
(25) EXT. STREETS AND ALLEY — DOWNTOWN — DAY
Morris and Jerome move briskly down the
This just ain’t happening. The
bitches are okay, but we need
something more exciting-
You’re right. We could be
doing much better. Any ideas?
That powder fine babe we saw
Oooh, yeee! — Why don’t we
find out who she is?
Morris snaps an address in front of his
I already know that. Jill
gave me everything last night.
Then what are we waiting for?
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–
(yelling)February 15, 2017 at 11:08 pm #1145
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?!
Jerome puts the girl in a headlock,
DRAGS her into the alley–
Leave me alone you ape! —
What are you doing to me?!
He flings her into the dumpster, SLAMS
the lid with a CRASH. Morris pats his
Lo-rd..! Such nastiness.
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,
Jerome, this car —
it’s…it’s lacking something.
What do you think?
Hmm… I don’t know…
I got it! The hubcaps. We
need something sweeter.
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