(36) INT. DRESSING ROOM -- NIGHT
 
as Prince sits by himself in front of
the mirror, staring at a cassette on the
counter.  We recognize it immediately as
the tape Jill gave him earlier,
containing Lisa's and Wendy's music.  He
picks it up, snaps it into a ghetto
blaster.  MUSIC, without lyrics, fills
the room.  He adjusts the dials, sits
back and listens a moment.  Suddenly the
door opens--
 
STAGEHAND
Prince, five minutes.
 
Be snaps off the music, drops the
cassette into his pocket, cuts out the
room.
 
(37) INT.  BACKSTAGE -- NIGHT
 
He comes to the stage-area.  His
Band.Members are standing about
anxiously, watching the final moments of
The Modern Aires' performance.  He cuts
behind the curtain, peers at the
crowd...
 
...his eyes fall on Vanity -- his face
brightens instantly.  Just then Jerome
and Morris approach her.  Prince shakes
his head knowingly, offers a wry smile,
then joins his band.
 
 (38) INT.  VAN1TY'S TABLE AND CLUB -- NIGHT
 
She sits demurely.  Morris' eyes are
wide and shining -- her beauty up close
astonishes him--
 
JEROME
Vanity, I'd like you to meet
Morris E. Day.
 
MORRIS
Hold it now -- just leave the
'E' alone.
 
JEROME
(clears throat)
Vanity...this is Morris Day
 
MORRIS
The pleasure's all mine.
 
she offers her hand -- he takes it
decorously--
 
JEROME
If you'd excuse me.
 
Morris signals him -- whispers into his
ear--
 
MORRIS
Too sexy ...
(a beat)
Have  a waitress bring.a
bottle of their best
champacne.
 
He seats himself, fastens her with a
sexy, half-lidded look--
 
MORRIS
Your lips would make a
lollipop too happy.
 
VANITY
You think so, huh?
 
MORRIS
Ye-es.
 
Kim appears with a bottle of champacne
in ice--
 
KIM
Who's paying for this Morris?
 
MORRIS
I think you know that.
(a beat)
Jerome!
 
Jerome appears, opens the bottle with a
flair, performs a classy taste test.
Morris pulls out some cash, pays him,
who snatches the money, leaves--
 
MORRIS
Huh, keep the change--
 
He whispers to Jerome--
 
MORRIS
Get my change, will ya?
 
Jerome leaves, Morris purses his lips--
 
MORRIS
Oh, Lord...either somebody put
something in my drink, or you
are the finest (motherfucker)
I've seen in ages.
 
VANITY
Excuse me, what did you say?
 
MORRIS
Huh...you look nice tonight.
 
He leans in, speaks with a sexy voice--
 
MORRIS
It's rare that I out my cards
on the table when it comes to
meeting younq ladies, but ...
I'm going to make you love me.
 
VANITY
Is that a  fact?
 
He folds his legs dramatically, his
Stacy Adams reflecting the light--
 
MORRIS
Just as sure as my Stacy Adams
are shiny.
 
Just then--
 
M.C. (O.S.)
Ladies and Gentlemen -- please
welcome Prince!
 
The CLUB erupts in CRIES!  Prince hits
the stage, launches into "G-spot," a
fast, high-spirited funk tune that gets
the crowd hopping.  Vanity watches as
Prince whips the crowd into a frenzy.
Morris listens with a complacent grin on
his face, his eyes searching out various
members of The Time who are scattered
through-out the club.  When he connects
with one of them he makes a series of
absurd faces which sends them into
hysterics.  For Prince is playing music
that The Time is noted for, and, as far
as Morris is concerned, performs better.
Not everyone in the club is dancing, or
paying attention, and this does not
escape his notice.
 
Suddenly "G-Spot" comes to a rousing
end.  The CROWD cheers wildly.  Prince
moves quickly to the piano and launches
into "Electric Intercourse," a love
ballad which, as it progresses, becomes
a personal statement for Vanity and
Prince himself.
 
She listens intently, her eyes fastened
on him.  The words have a profound
effect on her -- and the audience.
Without being consciously aware of it,
they're moving closer to the stage,
searching for their personal fix. Prince
surrenders himself to the music totally,
releasing from himself all that is
hurtful -- releasing the sincerity and
truthfulness that escapes him in his
daily life.  We are entering  realm
where life and music are inextricably
bound, and the impact on the performer
and listener is profound.
 
He's directing his music toward her, and
she receives it gratefully, almost
anxiously.  It fills a void in her, hewn
by a life of meaningless promises.  He
searches her face with his magnificent
eyes, and ends the song with a
heartrending cry which connects with the
souls of all present.  Everyone is
paying attention now.
 
The stage is plunged into darkness.  The
CROWD goes CRAZY!  Vanity applauds
vigorously, wipes the tears from her
eyes.  Morris, who was more affected by
the performance than he'd care to admit,
doesn't like what he sees and searches
for a winning line--
 
MORRIS
He doesn't like girls.
 
She's equal to the challenge--
 
VANITY
I know -- he likes women.
 
But Morris can barely suppress a smile,
and settles himself comfortably into his
chair -- for he knows what Vanity has
lost...at least this round--
 
MORRIS
Well ... he don't do too good
with them either.
 
She flashes him a quizzical look -- he
simply smiles.
 
(39) INT.  BACKSTAGE HALLIIAY -- NIGHT
 
Jubilation time!  Prince and his Band
move through the hallway briskly, past
the outstretched arms of admiring fans.
There's a lot of back-slapping going on
as the Musicians bask in the glow of
well-wishers.  Prince moves past Billy
Sparks, who has an angry look on his
face--
 
BILLY
What's this intercourse, shit?
 
PRINCE
Hey; man -- don't worry about
it.
 
BILLY
I'm warning you...
 
But Prince ignores him, cuts into the
dressing room--
 
(40) INT.  DRESSING ROOM -- NIGHT
 
--then stops suddenly, surprised.  He's
muzzle to muzzle with a cuddly DOG, held
up lovingly by Jill--
 
JILL
Surprise!
 
OOHS! and AAHS!  by  the entire group.
Jill hesitates, then kisses Prince's
cheek compulsively.  He's surprised,
touched--
 
PRINCE
Hey -- wait till we're
married, now.
 
She fidgets, her face blushes red.
Wendy is studying the dog--
 
WENDY
Oh, my God -- look at this!
 
Everyone looks -- Jill grins like the
Cheshire Cat--
 
JILL
Notice anything?
 
PRINCE
What?
 
WENDY
It looks like you!
 
She thrusts the dog into his arms -- the
Band laughs uproariously.  Jill is
beaming--
 
JILL
His hair ...
 
Prince gazes into the mirror -- and sure
enough the dog's hair has been groomed
to match his.  He can't help smiling--
 
PRINCE
Shit ...
 
JILL
(softly)
I wanted to cheer you up.
 
PRINCE
Thanks.
 
MATT
I'm hungry -- where's the
food?!
 
He grabs the dog, 'a la The Werewolf,
starts chomping on it's neck.  The Group
busts up, starts fooling around.
 
Prince glances into the mirror -- Vanity
is there.  He whirls around to the door
-- nothing.  A huge smile sweeps his
face instead.  The Band continues
fooling around, and Prince joins in with
a relish.
 
(41) EXT.  ALLEYWAY #2, REAR CLUB -- NIGHT
 
Vanity leans against a brick wall,
hiding in the shadows.  Suddenly
FOOTSTEPS approach.  Prince appears,
gets on his Motorcycle--
 
VANITY
Hey...
 
He doesn't look up--
 
PRINCE
We have to go to your place.
 
VANITY
What for?
 
PRINCE
I want to show you something.
 
She's embarrassed by her apartment--
 
VANITY
No...no, we can't.
 
PRINCE
Why -- is there someone there?
 
VANITY
Why do you always think
there's somebody else?
 
He averts his eyes -- kick STARTS his
bike--
 
PRINCE
Let's go.
 
VANITY
(Getting on)
Yeah -- but we're not going to
my place.
 
He remains silent, snaps the bike into
gear, blasts down the ally into the
street.
 
(42) PRINCE'S HOUSE AND STREET -- NIGHT
 
Prince and Vanity whip down a
residential street.  As he approaches
his house he slows, moves past it
quietly.
 
He makes a deft U-turn, crosses his
house again -- seems to be listening
intently...
 
After a moment, he cuts down a narrow
path, turns up a back alley.  He rides
to a wooden gate, detaches a hidden