Purple Rain

 

 

Screenplay by                             Albert Magnoli

                                                 William Blinn

 

Produced by                               Robert Cavallo

                                                 Joe Ruffalo

                                                 Steven Fargnoli

 

Directed by                                Albert Magnoli

 

 

 

Cast List:

 

Prince                                       The Kid

Apollonia Kotero                     Apollonia

Morris Day                               Morris

Olga Karlatos                           Mother

Clarence Williams III              Father

Jerome Benton                                    Jerome

Billy Sparks                              Billy

Jill Jones                                  Jill

 

 

 

BLACK SCREEN

 

SOUND under: MUSIC building in INTENSITY as –

 

PRINCE (OVER)

Dearly beloved,

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.

 

Then huge CLOSEUP of EYES opening, gazing into mirror, HAND applying makeup, sudden BLACKNESS, then –

 

PRINCE (CONT'D)

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 (CONT'D)

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 (CONT'D)

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 –

 

 

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:

 

 

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:

 

 

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:

 

 

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...

 

CUT TO:

 

 

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...

 

CUT TO:

 

 

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:

 

 

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:

 

 

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:

 

 

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:

 

 

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:

 

 

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...

 

 

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...

 

 

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...

 

CUT TO:

 

 

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:

 

 

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:

 

 

EXT. CLUB – NIGHT

 

COMMOTION! The CROWD has become unwieldy – 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.

 

 

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 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...

 

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!

 

... Vanity snaps out of it. Jill is tugging at her arm, a puzzled look on her face –

 

JILL

Here, fill this out – I'll have him call you.

 

VANITY

I don't have a phone. When will he be back?

 

JILL

Well... you can try tomorrow.

 

VANITY

You can count on it.

 

Vanity hands the card back to her – Jill reads the name, address – looks up puzzled –

 

JILL

Vanity??

 

 

BACKSTAGE

 

As Morris and The Time pass Prince on their way to the stage –

 

MORRIS

Why don't you stay awhile, see how it's done.

 

The Band Members bust up – but Prince ignores them, then –

 

MC

Ladies and gentlemen – please welcome The Time.

 

 

CLUB

 

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 something awful –

 

JILL

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 stage.

 

 

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 to say, turns –

 

VANITY

I really liked your song too...

 

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 ger coldly.

 

Morris meanwhile is beside himself. Some gorgeous, dark-haired babe, eyes wide as saucers was starlng 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 shoulder –

 

JILL

Hey...

 

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 thouchts are elsewhere. She finally comes to a decision, pulls away, cuts through the club.

 

 

INT. FOYER AND STAIRWAY – NIGHT

 

As she runs down the stairs, cuts behind Chick, BURSTS out the door.

 

 

EXT. CLUB – NIGHT

 

FRANTIC! The STREETS are thick with TRAFFIC. She scans them wildly – nothing. Suddenly Prince, astride his motorcycle, BLAZES past her from the opposite direction. She starts running, shouts –

 

VANITY

Hey wait!

 

But Prince is too far away, the traffic too congested for him to hear. He whips down the street, disappears around the corner.

 

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 apartment.

 

 

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 their privacy.

 

He climbs the steps to the porch, opens the front door...

 

... his mothers 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 –

 

FATHER (O.S.)

Listen to me! You come home when I say come home! You've got no business in the streets!

 

WHACK! His mother SCREAMS – Prince BURSTS into the room.

 

 

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 hands.

 

He's upon her now, WHACKING! at her horribly, trying to get to her face –

 

FATHER

You do what I say, do you hear me?! You've got to keep this place clean! You here, no place else!

 

MOTHER

You're crazy!

 

WHACK!

 

MOTHER

Asshole!

 

WHACK!

 

MOTHER

Motherfucker!!!

 

The Father lunges, WHACKS! her across the face. She topples to the floor, a lamp CRASHES to the ground. Prince cuts through the room, lunges desperately in front of him –

 

PRINCE

(pleading)

Please, Dad... she's heard you. She's had enough!

 

His Mother drags herself up along the wall –

 

MOTHER

(hysterical)

He's trying to kill me! He's crazy! Look what he's doing to me!

 

PRINCE

(tearfully)

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 –

 

FATHER

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.

 

 

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 labyrinthine 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 darkness...

 

FADE OUT

 

FADE IN:

 

 

INT. CLUB EARLY MORNING

 

MUSIC wafts through the sun-drenched CLUB. Jill is seated at the PIANO, á 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 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 rummages through her bag, pulls out a cassette –

 

JILL

It's a song Lisa and Wendy wrote.

 

He stiffens, doesn't reach for it –