(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...
 
(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.
 
(62A)  EXT. BARN -- DAY
 
Leaves scatter as the bike whips thru
the wet path.
 
(63) EXT. STREETS, VANITY'S MOTEL -- MORNING
 
The STREETS glisten with the rain.
Prince and Vanity pull up in front of
her motel.  She hugs him fiercely, steps
off the bike, her face alive and fresh
as a flower.  His eyes sparkle--
 
PRINCE
See you later?
 
VANITY
When?
 
PRINCE
Why?
 
VANITY
'Cause I have to do something
first.
 
PRINCE
What?
 
VANITY
(coyly)
A secret...
 
PRINCE
Tell me.
 
VANITY
No.
 
PRINCE
Okay, come by -- eight
o'clock.
 
He kicks the bike into gear -- she
touches his jacket longingly--
 
VANITY
Bye...
 
He blasts off.  She watches him a
moment, her eyes glowing.  She heads to
her motel, then stops short -- a single
CARNATION lies oon the sidewalk.  She
looks around quickly, almost expecting
someone to claim it.  But no one's
around, so she picks it up, goes inside.
 
(64) INT. STAIRWELL, VANITY'S MOTEL -- MORNING
 
She enters the LOBBY, closes the door
behind her.  She turns -- another
CARNATION is on the stairwell.  She's
intrigued, glances up the stairs --
there's another one, and yet another
further up.  She's confused, but grabs
them, disappears up the stairs.
 
HALLWAY
as she comes to a halt outside her room,
picking up carnations along the way.
She opens her door, cuts inside.
 
(65) INT. VANIITY'S ROOM -- MORNING
 
She goes into the bathroom, fills the
sink with water, arranges the flowers
within.  She smiles radiantly -- they
look beautiful.  Suddenly something
seizes her thoughts.  She opens her
bureau drawer quickly, pulls out the
yellow pages, leafs through it
hurriedly, We READ: Parking, Passport,
Paving...then Pawnbrokers.  She stops,
runs her finger down the page, then
hunts quickly through her drawer.  Her
eyes dance mischievously when she pulls
out her gold chain.  She places it on
her bureau, hurries to her clothes rack.
Suddenly, a quick KNOCK at the door--
 
MAN(O.S.)
Miss V.?
 
She looks around the corner -- a flower
delivery MAN stands in the hallway,
holding a bouquet of roses--
 
VANITY
Yes...?
 
MAN
Delivery.
 
VANITY
(surprised)
Come in ...
 
He cuts inside, and is followed by
another MAN, holding a bouquet of
daisies--
 
VANITY
Hey -- wait a minute.  What's
going on?
 
The Men leave the room--
 
MAN
Downstairs.
 
She hurries to the window, looks out--
 
(66) EXT. STREET -- DAY -- VANITY'S POV--
 
Morris and Jerome standing by the curb,
their eyes fastened excitedly on her
window, leaning against a flower truck.
We catch a glimpse of a Man bringing her
a dozen chrysanthemums--
 
MORRIS
Good morning, dahling.
 
(67) EXT. VANITY'S WINDOW AND STREET -- DAY
 
(INTERCUT)
 
VANITY
You're crazy! -- What are you
doing?
 
MORRIS
(excited)
Come down -- come down.
 
VANITY
I can't -- I've got things to
do.
 
MORRIS
C'mon, ten minutes.  I want to
show you something-
 
She shakes her head--
 
VANITY
I'm sorry, but thanks for the
flowers.  You're really crazy.
 
She disappears from the window.  They
stand expectantly a long time.  Finally
Jerome looks at Morris--
 
JEROME
Well...what do you think?
 
Morris is staring intently at the window
-- he purses his lips sensualy--
 
MORRIS
Chili sauce.
 
Just then Vanity steps outside, looks
stunning in her tight, black pants and
boots.  Her eyes dance vivaciously, a
red sash is tied around her waste.
Morris gives Jerome his sexy, half-
lidded, pouty-lip look--
 
MORRIS
Oh, Lord...
 
(68) INT. CLUB (1ST AVE. ST. BAR.) -- DAY
 
CU--Clock.  We SEE 11:25
 
Prince cuts through the back entrance,
walks onto the floor.  Lisa and Wendy
are onstage PLAYING a SONG we
immediately recognize as the one they
had given Prince to listen to.  The DRUM
RIFF is provided by the Linn Machine (a
synthesized drum unit).  Wendy plays
guitar, her back to Prince.  Lisa, at
the keyboards, spots him and stops--
 
WENDY
What's wrong?
 
Lisa points to Prince.  Wendy
immediately rips into the guitar solo of
"G-Spot."  She stops suddenly--
 
WENDY
Is that better? Do you like
that?
 
He ignores her--
 
PRINCE
Where is everybody?
 
LISA
You're late -- they left.
 
PRINCE
So what are you doing here?
 
Lisa immediately launches into the
opening bars of "Let's Get Crazy"--
 
LISA
(imitating Prince)
But I'm here to tell you that
there's something else -- our
music--.
 
The Girls bust up -- he glares at them--
 
PRINCE
Can't you guys get off it?
Can't you just leave it alone?
 
Wendy meets his glare with one of her
own...
 
WENDY
Yeah -- we'll get off it.
 
She turns, snaps off the Linn Machine
angrily, plunging the club into silence.
 
(69) INT. REHEARSAL HALL --DAY
 
The Time is JAMMING like MAD, deep in
the heart of "Sex Shooter."  Brenda and
Susan move furiously to the beat, trying
their best to get it right.  They are
watched by ...
 
...Morris, Vanity  and Jerome standing
off to the side.  Morris has a contented
look on his face, even though his girls
are screwing up.  Vanity's eyes are wide
with excitement
 
MORRIS
As you can see, we need
someone with your special
qualities.
 
(70) INT. PRINCE'S ANTECHAMBER AND BEDROOM -- NIGHT
 
CU--Clock.  We See: 8:15.
 
Prince sits, on his bed, staring at the
clock, seemingly lost in thoucht.  He
gets up, rummages through his coat
pockets, pulls out Lisa's and Wendy's
tape.  He snaps it into the player,
settles back.
 
MUSIC fills the room.  He listens
intently a moment, his face placid.  He
closes his eyes, tries to relax ...
 
Suddenly a DOOR SLAMS in the far reaches
of the house.  Harsh FOOTSTEPS echo
through the upstairs hallway.  Prince
remains still, his eyes closed...
 
Then another deathly DOOR SLAM!  GLASS
dissolves in its frame and trickles to
the floor like icicles.  Resentment
surges in him like a tornado.  He rises
purposefully, turns the MUSIC up...
 
...And then his door SMASHES open and
his Mother LUNGES into the room in a
PANIC.  She flings herself onto his bed
as his Father streaks in and WHACKS!
WHACKS!  WHACKS!  at her with a strap,
SCREAMING at her with an ominous growl
of rage--
 
FATHER
You ain't got no business
leaving here!  All your
sneaking around -- you're just
a sinner!  You're nothing but
a low life sinner!
 
The Mother throws herself at him
drunkenly, starts slapping, scratching
at his face--
 
MOTHER
Shut up!  You don't care about
me!  Leave me alone!
 
Prince claws desperately at his Father's
back--
 
FATHER
Don't I keep the heat on?
Isn't there food in the
refrigerator?
 
MOTHER
(crying)
I don't like it here.  You
never talk to me! I'm always
alone!
 
Prince drags his Father away--
 
PRINCE
Dad, please!
 
FATHER
(shouting)
What's the matter with this
house?  Isn't it nice and warm
here?!
 
The Mother stands on the bed SHRIEKING--
 
MOTHER
You're crazy!