Purple Rain

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 –