The Color Purple 2023

THE COLOR PURPLE
Screenplay By Marcus Gardley

Based on the novel by Alice Walker
Based on the Musical Stage Play, Book (of the Musical Stage
Play) by Marsha Norman
Music & Lyrics by Brenda Russell Allee Willis Stephen Bray
© WARNER BROS. ENT. 2022. All Rights Reserved. This script is the
confidential and proprietary property of Warner Bros. Pictures and
no portion of it may be performed, distributed, reproduced, used,
quoted or published without prior written permission.
October 31, 2023

1.
WE HEAR A BLUEGRASS BANJO PLAY as...
TITLE CARD: SPRING OF 1909. THE GEORGIA COAST.
EXT. DIRT ROAD - DAY
MISTER (a handsome indigo farmer) rides his horse. A Stetson

hat is cocked low, COVERING HIS FACE. The trot of his horse
against the dirt inspires a melody and he plucks the banjo in
his lap to the beat. This will set the tone for an
exhilarating percussive score that will loom large in the
film.
H e passes a GOLDEN WEEPING WILLOW TREE. Inside, the voices of

TWO GIRLS sing 01.“HUCKLEBERRY PIE/OPENING” to his melody...
CELIE
Hey, sista, whatcha gon' do?
NETTIE
Goin' down by the river, gonna play
with you!
EXT. THE GREAT ANGEL OAK - DAY
CAMERA MOVES through the tree’s draping bush revealing CELIE,

14, pregnant, with a smile that could melt butter, and her
sister NETTIE, 12, breathtakingly beautiful and studious.
Wearing white dresses, the girls sit on a branch covered in

moss. THEY PLAY A POLYRHYTHM IC VERSION OF PATTY CAKE with
hand slaps, snaps, and hand shakes, which harmonizes with the
man’s banjo and the march of his horse. Above, the first
light of morning paints the world sunrise blue.
CELIE
Papa don't like no screamin' 'round
here.
NETTIE
No lip from the woman when they
chug that beer.
The girls run from the tree’s bush. One monarch butterfly
lands on Celie’s arm. Its wings bare patterns that resemble
West African Kente cloth. It’s the first sign that this world
is drenched in magical realism.
CELIE & NETTIE

Sho nuff sun gon' shine. Gonna be
grown ladies of the marryin' kind.
2.
EXT. DEADWOOD BEACH - DAY
They watch a butter-orange sun climb up from the ocean. The

sun wears a crown of light. IT LOOKS REAL YET MAGICAL. The
girls open their arms to its warmth.
CELIE & NETTIE

Sho nuff moon gon' rise like a
huckleberry pie in the middle of
the sky. Gon' be alright. Gon' be
alright.
PRE-LAP: A ROOSTER CROWS!
The sun spreads its light over the vast Georgia Coast.
MATCH CUT TO:
EXT. BA CK ROAD (MAIN DRAG, BLACK PART OF TOWN) - DAY
A YELLOW CHURCH HAT RESEMBLING THE SUN is placed on the head

of FIRST LADY. She is a statuesque beauty who’s convinced God
made her tall so she could look down on folks. She walks
outside singing 02.“MYSTERIOUS WAYS.”
FIRST LADY
It's Sunday morning!
Her female neighbors (CHURCH MOTHER, MISSIONARY, USHERETTE,

PIANIST, DEACONESS, and PROPHETESS) exit their homes wearing
equally huge hats of varying colors. When they stand one
behind the other, they form a rainbow. They respond:
FIRST LADY & CHURCH LADIES

So make a joyful noise! Unto the
Lord!
BLACK FOLK RUSH OUT OF THEIR HOMES AND GATHER IN THE ROAD.
They greet each other. FIRST LADY LEADS THEM TO CHURCH. Two
dozen people (men, women, and children) march in stylized
fashion, swinging their arms and high-stepping to the beat.
This happens every Sunday.
First Lady lifts her bible and sings as more people in town
leave their homes to join the procession.
FIRST LADY
When the King threw Daniel in the
lion's den.
ENSEMBLE
The Good Lord works in mysterious
ways.
3.
The people signify. When they touch each other, they get the
spirit momentarily then continue to march and sing to the
music.
FIRST LADY
God sent a mighty angel brought him
out again.
ENSEMBLE
ways.
They continue to high-step down the road in stylized fashion.
FIRST LADY
When God saw the wicked he knew
what to do.
FIRST LADY (CONT’D) ENSEMBLE

Said, Noah, bring the animals Oh
two by two. 'Cause I'm gonna Oh
keep your boat afloat for
forty days.
When First Lady stretches out her hands, the entire ensemble
leaps and spins. They are magnificent! Their high-stepping
gets even higher as knees and feet are kicking up dust!
FIRST LADY (CONT’D) ENSEMBLE (CONT’D)

Yeah Yeah The Good Lord works in
mysterious ways.
EXT. FURTHER DOWN MAIN DRAG, BLACK PART OF TOWN - DAY
FIRST LADY ENSEMBLE 1 & 2

Yes, He works Yes, He works. (Oh He works!)
Oh, He works I know He works!
FIRST LADY (CONT’D)

ways.
EXT. END OF MAIN DRAG, BLACK PART OF TOWN - DAY
They all move away from the road, which was shaded by trees,
and into the open fields. We see a cascade of arms as they
try to shield themselves from the bright sunlight.
4.
ENSEMBLE 1 ENSEMBLE 2
Yes, He works I know He works
Oh, He works
FIRST LADY
Oh, the Good Lord works...
First Lady is not bothered by the sun. She keeps singing.

Don't waste your time tryin' to
rassle with your worldly woe.
Some of the ensemble open umbrellas one after the other

creating what looks like flower buds FROM ABOVE. Beneath the
umbrellas, First Lady and others walk through them as
s unlight shines on the umbrellas, creating a prism of color
inside.
ENSEMBLE
ways.
First Lady nods to someone thanking them for the shield as

they move out of the rays of the harsh light.
FIRST LADY
'Cause God’s watchin' over you
wherever you go, yeah!
ENSEMBLE
Yes, The Good Lord works in
mysterious ways.
The ensemble continues to move through town with umbrellas

and b ibles! They pass the fields.
FIRST LADY ENSEMBLE (CONT’D)

If your poor back breakin' Ooooh
under all that weight. St. Ooooh
Peter’s gonna lift it at the Ooooh
pearly gate. Let The Spirit Ooooh
walk beside you on your Ooooh
darkest days. Ooooh
Yeah, Yeah, Yeah The Good Lord works in
mysterious ways.
EXT. ROAD TO MAIN STREET - DAY
They high-step down the hill. Umbrellas are now used as

canes. A Choir and a Horse Drawn Piano join the parade!
5.
Young women march toward the camera, smacking their shoulders

and clapping their hands.
FIRST LADY ENSEMBLE 1/ ENSEMBLE 2

Oh yes, He works. Yes, He works / I know..
The Good Lord works Oh, He works / He works
In mysterious ways Yes, He works / I know He
works
Oh, He works
First Lady is so overcome, she starts to faint but some of

the men catch her just in time and lift her onto their
shoulders. She looks u p to God as if it were a miracle.

Ohhh, The Good Lord works in
mysterious ways...
Music becomes mellow and ecstatic. Ensemble: oohs and ahhs.
EXT. THE GENERAL STORE - DAY
ALFONSO (the sisters’ only guardian whose cold disposition

has been iced by years of oppression and bitterness) leads
Celie and Nettie out of the store of which he is the
proprietor.
ALFONSO
Let’s get a move on, Celie, you ’re
slower than mud.
NETTIE
She’s going as fast as she can, Pa.
She say the baby been kickin’.
All three join the procession.
DEACONESS
Whatchu gon’ call your baby, chile?
CELIE
If it’s a boy, I’m a name him Adam.
‘Cause in The Bible Adam had a
garden. And I wants mine to own
land.
DEACONESS
Ain’t that precious.
ALFONSO
Celie! Nettie! Get up here!
6.
CELIE/NETTIE
Yes’em Pa.
EXT. GENERAL STORE - DAY
First Lady waves her own fan as rows of women behind her
swing their arms in stylized fashion as they fan themselves.
The action creates a domino effect. It looks like a waterfall
of arms. Light hits the fans, creating shadows.
ENSEMBLE 1, 2 AND 3 FIRST LADY

God still works Yeah Yeah Yeah Yeah
He still works OHHH
God (God) God still works
FIRST LADY & ENSEMB LE

In mysterious ways (yay!) yaayyyy!
EXT. THE CHURCH - DAY
We see REVEREND AVERY at the entrance to the church. He

carries his bible and preaches as the ensemble stomps, claps,
and dances towards the church!
REVEREND AVERY
None of us knows what The Lord's
got planned for us, no sir. So I
want you to stop your moanin', and
quit your groanin'. Throw away your
handkerchief! And put your hand in
His and follow where He leads.
They all high-step, passing The Reverend, full of the holy

spirit. Now they are high-skipping across the grass toward
the church - arm in arm. Others with their arms waving in the
air. Some dance around Celie and Nettie.
REVEREND AVERY (CONT’D)

The Good Lord’s walkin’ witcha.
ENSEMBLE
Walkin’ witcha.
REVEREND AVERY
The Good Lord’s talkin’ witcha.
ENSEMBLE
Talkin’ witcha.
7.
ENSEMBLE 1, 2 AND 3
God (God) God is singin’ witcha.
REVEREND AVERY
And He is shoutin’ witcha.
ENSEMBLE
Shoutin’ witcha.
Over ensemble and vocal interlude:
INT. THE CHURCH - DAY
Inside, the congregation praises God as folks dance even more

passionately. They slide down pews, stomp, clap, and shout in
an exquisite chaos. Reverend Avery sits on a throne-like
chair in the pulpit. Celie and Nettie sit in the back pew
singing along. Alfonso sits next to them, bored.
REVEREND AVERY ENSEMBLE

Oh! Oh, yeah! Because the Good Lord works
in mysterious...
CELIE
(praying)
Dear, God...
Reverend Avery slams his fist on the podium breaking into her
day dream.
REVEREND AVERY ENSEMBLE

In mysterious ways Ways!
Yes! Oh, yeah.
In unison, the entire church falls to their knees. Song ends.

Let us pray.
They bow their hea ds.
IN CELIE’S IMAGINATION: The statue of Jesus on the cross,

hanging on the rear wall below stained glass.
INT. THE GENERAL STORE - CELIE & NETTIE’S ROOM - NIGHT
Celie bows her head as her sister braids her hair. Celie sits
on a pillow. Nettie stands, reciting a folktale passed down
from their mother.
8.
The girls live with Alfonso in a two-bedroom apartment above

the store. They share a small room that they have clearly
made their own. Note: there is no sign of the color purple.
Nettie recites a version of the African American folktale -
“All God’s Chillen Had Wings.”
NETTIE
“...the girl returned to work in
the field. But it was so hot she
could barely stand. The overseer
yelled at her till she got to her
feet. Frightened, the girl turned
to her mama and asked...”
CELIE
Let me say it. This my favorite
part. The girl said... ”Now Ma, can
I do it now?”
Nettie smirks. Celie looks at the hem of her dress. She

traces her fingers across the stitching and remembers. She
looks in the mirror...
INT. CELIE & NETTIE’S ROOM - DAY - 1905 (FLASHBACK)
Instead of Nettie being there braiding her hair, Celie sees

her mother. MAMA (Celie and Nettie’s mother, stunning and
warm). She holds a spool of thread. CAMERA PULLS into the
mirror.
MAMA
Yes, Miss Celie. Fetch some fabric
then I’ll show you how to sew.
Excited, Celie runs to the corner and fetches blue fabric

from a basket.
MINUTES LATER:
She sits in her mother’s lap as she watches in awe as her

mother sews a hem into the very skirt that Celie was wearing
i n the present-day. Her mother opens her hand.
MAMA (CONT’D)
Give me ya hand. Mama want you to
get a feel for the needle and the
cloth first.
CELIE
Yes, ma’am.
Mama takes her hand and helps her weave needle and thread
through the fabric. The action makes Celie smile.
9.
CELIE (CONT’D)
When can I wear it?
MAMA
Not now baby but soon. This here
color’s gon’ be heaven on you.
Eventually Mama lets Celie’s hand go so the young girl can

sew by herself. She does so like an expert.
NETTIE (V.O.)
“The girl was floating above the
ground but she wasn’t flying yet.
She got nervous that the overseer
would catch her, and without faith,
she fell to the dirt hard...”
Celie pricks herself wit h the needle. She shrieks! But

instead of blood spurting from her finger, she sees a pool of
water seeping between her feet. She shrieks again!
RETURN TO THE PRESENT:
INT. THE GENERAL STORE - CELIE & NETTIE’S ROOM - DAY
CAMERA PULLS BACK out of the mirror as Celie looks at Nettie.
CELIE
I broke my water!
Nettie looks down and sees the puddle!
NETTIE
Hold still! I’ll get the midwife.
Nettie leaves. Celie feels a PANG and grabs her belly.
INT. THE GENERAL STORE - CELIE & NETTIE’S ROOM - NIGHT
CELIE IS BREATHING HARD. She’s been in labor for hours. She

lies in bed by candlelight. Sweat is coming down her face.
Nettie holds her hand. THE MIDWIFE (a deeply spiritual woman,
solid and wise) is looking between Celie’s legs.
MIDWIFE
One more good push, Miss Celie. You
almost there.
Celie PUSHES with a SCREAM ! The baby cries.
MIDWIFE (CONT’D)
It’s a boy.
10.
The midwife puts the newborn, wrapped in a blanket, into

Celie’s arms. Nettie is wiping Celie’s brow with a wet rag.
The girls smile at each other.
CELIE & NETTIE

Adam.
HOURS LATER:
Celie breastfeeds, basking in moonlight. Alfonso opens the

door, dressed in coat and hat.
ALFONSO
That baby nursed yet?
Celie ignores his question.
CELIE
I had a boy, Pa. His name Adam.
ALFONSO
Hand ’im here. I’ll give him to
G od. Same as I did the other one.
CELIE
Let me have just one more day with
‘im. Just to make sure he okay.
ALFONSO
Naw. Ain’t no sense in you gettin’
attached. Maybe if ya mama was
alive she could look after it. You
too young to mother-
NETTIE
I can help Celie with the baby.
I’ll even pull some of her weight
‘round the house.
ALFONSO
Naw, you got schoolin’. Give ‘im
here.
He takes the child who instantly CR IES. He leaves.
CELIE
You think he killin’ my babies?
NETTIE
I believe he give ‘em to God, like
he say.
11.
CELIE
But they mine. How come God don’t
give ‘em back?
Nettie kisses Celie’s forehead then makes her bed. Celie

rushes to the window to see her father board his horse and
buggy carrying the baby.
EXT. GENERAL STORE - NIGHT
Alfonso rides off in a horse Buggy with the baby,

disappearing into the night.
TITLE CARD: SUMMER OF 1910. A YEAR LATER.
EXT. DEADWOOD BEACH - DAY
Nettie walks along the shore carryin g her books and shoes.
She lets the low tide sweep across her bare feet.
Mister, the man from earlier, saunters by with his banjo.

This time he’s sitting up on his horse.
MISTER
Aft’noon.
NETTIE
More like early evenin’ but howdy.
MISTER
Early evenin’? That mean it’s late,
gal. Let me give you a ride home.
NETTIE
I ain’t nobody’s gal but my ma and
she dead. You can call me Nettie.
She walks on. He tries another strategy. He unstraps his

banjo from the side of his saddle and plays. He follows her.
He sings a few lines of 03.“MISTER.” His voice is soothing.
MISTER
(making up the song)
You got some pretty teeth, Nettie.
NETTIE
(to herself)
Oh Lawd, he singin’.
She continues to walk. He follows on his horse.

12.
MISTER
And your skin dazzle my eyes. Like
the moon light the night.
NETTIE
(laughing)
And he poetical too.
He does a trick with his hat.
MISTER
That's a real pretty dress, Nettie.
NETTIE
My sister made it.
She puts on her shoes.
MISTER
And them shoes look just right on
them pretty little feets.
NETTIE
Now you lyin’. I got corns,
bunions, and blisters. I’m a tomboy
and I likes to climb trees - ain’t
nothi n’ pretty ‘bout my feets. Now
leave me be!
MISTER
Name’s Mister.
She can tell he’s bad news. She simply walks away. He looks
at her even more enchanted. He clearly thinks she’s playing
hard to get. She’s not.
EXT. GENERAL STORE - DAY
Nettie walks into the general store. We follow her.
INT. THE GENERAL STORE - DAY
Nettie passes Celie who is on a ladder stocking shelves. She

turns around and sees CORRINE , 23, the Pastor’s wife. She is
pushing a two-year-old baby in a stroller. She walks down an
aisle.
Celie looks down at the baby as Corrine passes. When Corrine

turns her back to examine items on a shelf, Celie takes a
peek at the baby’s blanket. SHE FINDS THE NAME “OLIVIA” sewn
on it. It’s her first born!
13.
CELIE
(whispering to the baby)
You know who I is? I’se ya maw.
The baby drops a TOY RATTLE. Celie picks it up. Alfonso

catches her.
ALFONSO
Celie! Get your narrow behind back
to work!
Celie grabs a broom and hurries out of the store MAKING QUICK
EYE CONTACT WITH CORRINE who tries to greet her.
CORRINE
Blessings, honey...
Celie RUNS AROUND--
EXT. SIDE OF THE GENERAL STORE - CONTINUOUS
She leans against the w all, grinning. The sight of seeing her
baby after years of longing thrills her to no end. She looks
back inside of the store window and CORRINE notices her.
CELIE pretends to sweep the sidewalk. She hears the hammering
of a chain gang and IMAGINES:
CAMERA TRACKS TO REVEAL A HAND SWINGING A PICKAXE.
EXT. QUARRY - DAY
The pickaxe sets the beat of a CHAIN GANG breaking rocks.

They’re making a road f or train tracks. We hear them chant
“hwuh” repeatedly. This music inspires a song from Celie. She
sings 04.“SHE BE MINE.”
CELIE
I seen my baby girl. Can’t be no
one else. Lookin’ just like me and
my daddy. More us than us ourself.
Celie walks past the prisoners on a chain gang still hitting

rock with their pickaxes.
CELIE (CONT’D)
I sees her hand on the lady’s
shoulder. She come outta me chewing
her fist. She got my eyes. And a
face I done kissed. I sews “Olivia”
on her diades. Lil stars and
flowers too. I know she sees sa me
things I do.
14.
IN CELIE’S IMAGINATION: The CHAIN GANG are singing her song.
CELIE & THE CHAIN GANG

Oh The Lord done send me a sign.
Oh, I know... she be mine.
PASTOR SAMUEL rides past CELIE in the horse carriage, with

Corrine holding the baby in the back. CELIE runs to catch up.
She hears children laughing in a nearby creek.
EXT. THE CREEK - DAY
BLACK WASHERWOMEN wash their clothes in the water and hang

them on nearby tree branches.
CEL IE
When I see mamas holdin’ babies. I
feel pain come ‘cross my heart.
Something deep inside been torn
apart. It like a spell come on my
body. My baby’s breath on me. She
gon’ carry her away but I still
see...
The washerwomen hang laundry and rock their babies.
CELIE & WASHERWOMEN

Oh The Lord done send me a sign.
Oh, I know... she be mine. Oh The
Lord done send me a sign. Oh, I
know... she be mine.
T he washerwomen dance.
CELIE
She be mine. She be mine. She be
mine. She be mine. She be mine. She
be mine. She be mine. She be mine.
She be mine.
CELIE spots the CHAIN GANG marching atop the creek. CAMERA
TRACKS along with them.
ALFONSO (O.C.)
Celie!
EXT. THE GENERAL STORE - DAY
ALFONSO’S VOICE SNAPS CELIE OUT OF HER FANTASY. CELIE runs

around to the front and realizes CORRINE and her baby are
gone. S he imagined the moment as she hasn’t left the store.
15.
ALFONSO
Where was you?
CELIE
Sweeping the porch.
She is clever. Alfonso is skeptical but lets her pass.
ALFONSO
Get upstairs.
Celie runs up the stairs, smiling. We realize that she kept

her baby’s TOY RATTLE.
EXT. THE GENERAL STORE - LATER
Alfonso sits on his porch whittling a spoon. Mister is

waiting on him, sitting on his horse.
ALFONSO
What can I do ya for?
MISTER
Thinkin’ ‘bout plantin’ seed. Maybe
grow tobacca. Folks say you used to
grow some yaself.
ALFONSO
Tobacca a hard crop. You best stick
to indigo. Leave real crop to real
men.
Mister responds by spitting on Alfonso’s land. Alfonso looks

at the spit, annoyed.
MISTER
I wants to ask for your Nettie’s
hand. I needs me a wife.
ALFONSO
Who in they right mind gon’ marry
you with all them triflin’, no-good
chill’en you got?
MISTER
They triflin’ ‘cause they ain’t got
no mama. I needs a woman to make
‘em mind.
ALFONSO
You gon’ need more than that from
what I hear. ‘Sides Nettie too
smar t.
(MORE)
16.
ALFONSO (CONT’D)
She gon’ be a school teacher. I’ll
let you have Celie, though, for a
cow and a couple of eggs. She ugly
as homemade sin but she works like
a man.
MISTER
Celie? That’s what you call that
thang that just walked in yo’
store? I don’t want that.
ALFONSO
Then ya chill’ren ain’t beat you
bad ‘nough yet. You’ll come ‘round.
Hopefully, ‘fore they burn down ya
house.
Off Mister, gritting his teeth. CAMERA BOOMS UP SEEING CELIE

AND NETTIE LOOKING OUT THE WINDOW.
INT. GENERAL STORE - CELIE & NETTIE’S BEDROOM - DAY
CELIE
Who dat outside talkin’ to Pa?
NETTIE
The devil. He followed me home from
school. Now I can’t get rid of him.
CELIE
He sho’ look nice for a devil.
NETTIE
Devil always look nice till he
raisin’ hell. Church ladies say he
got four triflin’ chill’ren at
home.
CELIE
Four? That’s a handful and a
headac he.
NETTIE
Say his last wife got shot by some
man she was seeing on the side. But
he didn’t grieve none cause he got
somethin’ on the side too. A loose
woman named Shug Avery.
CELIE
What’s a loose woman?
17.
NETTIE
A woman who won’t let no man tie
her down, I s’pose.
CELIE
That sounds nice. I wants to be a
loose woman.
Celie dances seductively. Nettie stops her.
NETTIE
No, you don’t. We come from queens.
Let me teach you somethin’.
Nettie DRAWS A MAP OF AFRICA ON THE WALL.
NETTIE (CONT’D)
Today, Mrs. Beasely told us about
Africa. She say that’s where our
peoples is from.
Celie traces the sketch of the continent with her finger.
CELIE
(sounding the word out)
Af...free....kah.
NETTIE
She say our mommas was queens over
there. That means we royal-tee.
Nettie wraps Celie’s head in a crown-like headscarf. Celie

does the same for her. They look like queens. They prance
around the room pr etending to be royalty.
Suddenly, Alfonso barges in. He throws a sack at Celie.
ALFONSO
Pack your things, Celie! Time for
you to leave. You marryin’ Mister!
He SLAMS the door behind him. Celie is confused.
CELIE
Who Mister?
NETTIE
The devil.
Celie’s eyes GROW big.

18.
INT. THE GENERAL STORE - STAIRWAY - MINUTES LATER
Celie carries her bags down a flight of stairs. Nettie runs

out and hands Celie her mother’s sewing kit. Celie stuffs it
in her bag along with her baby’s toy rattle.
CELIE
Can’t believes I'se gettin’
married. You think there’ll be a
wedding?
NETTIE
Considerin’ he didn’t even propose,
I doubt it. Don’t let him walk over
you, hear? Keep your head held
hi gh.
Celie nods her head “yes.”
NETTIE (CONT’D)
I’ll come visit when I can. Even if
we have to part, me and you...
NETTIE & CELIE

Us have one heart.
The sisters share a tight embrace.
EXT. THE GENERAL STORE - MINUTES LATER
Mister strolls on his horse away from the store. Celie

follows on foot, carrying her sack.
EXT. MISTER’S HOUSE - DUSK
Mister ties his horse to a fence while Celie stares at the

white three-bedro om house, which sits on a hill. It has seen
better days. A porch swing hangs from a single chain. Dead
sunflowers and a sad looking tree sit in the front yard.
Celie walks up dilapidated porch steps. She enters.
INT. MISTER’S HOUSE - VESTIBULE - DUSK
Inside, it looks like a tornado set down. Newspapers,

clothes, paintings, furniture, and toys are strewn about.
Celie looks over the space and drops her bag in UTTER SHOCK.
MISTER
If you think this is bad wait till
you get upstairs.
(MORE)
19.
MISTER (CONT’D)
You can get to cleanin’ after you
fix supper.
(yelling after his kids)
Y’all come down here and greet ya
new momma!
MINUTES LATER:
The children stand in a single file line STARING AT CELIE as

if they want to eat her. They are: HARPO, 10, stubborn but
sweet, BUB, 8, a thief with a charming curiosity, LIL CAT, 7,
attitudinal but sharp as a tack and BABY CARRIE, 5, who sucks
her thumb when she’s not show ing her toothless smile.
ALL THE CHILDREN

(mean-mugging Celie)
We’ze hungry.
Celie looks like she wants to drop dead.
INT. MISTER’S HOUSE - DINING ROOM - NIGHT
All the children are UNRULY at the dinner table save for
Harpo. He’s devouring the food as if it were his last supper.
There’s no place for Celie to sit, so she stands.
HARPO
(with food in his mouth)
Mercy to glory, Miss Celie. This
food so good , it’s got my eyes
waterin’. I gots to have seconds.
He reaches for more food.
MISTER
You done already had seconds.
HARPO
Well thirds then.
Celie makes Harpo another plate without asking permission

from Mister. She’s so busy serving folks and making sure the
youngest doesn’t throw food, that she hasn’t eaten herself.
The minute she turns her back, Baby Carrie tosses food at her
siblings.
Mister, who sits at the head of the table, ignores this as he

reads the paper.
MISTER
(to Celie)
When you gon’ give these chill’ren
they bath!?
20.
Frightened, they all look at Celie.
CELIE
It’ll have to wait ‘till morn, I-
-Mister BACKHANDS HER ACROSS THE FACE. She falls to the

ground. He steps over her and walks away. The children
(except for Harpo) giggle. Harpo helps her up.
HARPO
You alright, Miss Celie?
She doesn’t respond. Harpo pulls out a chair for her.
HARPO (CONT’D)
Here. You have my plate.
Celie is too shook to thank him.
INT. MISTER’S HOUSE - LIVING ROOM - NIGHT
Mister sits by the hearth with his banjo in his lap. He

always dreamed he’d be a famed blues musician who travelled
the world.
While he plays, the following scenes are intercut with him

playing and Celie cleaning.
INT. MISTER’S HOUSE - UPSTAIRS BATHROOM - HOURS LATER
Celie tries to give the younger children baths. They end up

getting her wet, hopping out of the tub and running t hrough
the house.
-Mister is still playing banjo by the fire.
-Celie is on her knees scrubbing the hallway floor. Scrubbing

the tub. Scrubbing the bathroom sink.
-She is cleaning dishes. Scrubbing a coal stove. Sweeping the

kitchen floor.
-Mister plays even harder.
-Celie is washing the walls in the dining room. Dusting the

shelves. Polishing the silverware. Cleaning the mirrors. She
looks at her fac e in the mirror. She looks haggard.
INT. MISTER’S HOUSE - STAIRCASE - NIGHT
Tired, Celie walks up the stairs. Her face is nonchalant.

21.
INT. MISTER’S HOUSE - MASTER BEDROOM - NIGHT
She falls backward onto the bedroom mattress.
CLOSE ON: Celie’s face. SHE STARES AT A FRAMED SEPIA-COLORED

PICTURE OF A BEAUTIFUL BLACK WOMAN. It sits on the night
stand. The woman is SHUG AVERY.
IN HER IMAGINATION: AS WE PUSH INTO THE PHOTO, IT COMES TO

LIFE, REVEALING Shug Avery in a studio. She smiles. A
photographer’s camera flashes.
Suddenly, we hear a thumping sound. The studio begins to

shake. We pull out of the photograph back into the bedroom.
CELIE IS BACK TO REALITY. We get the sense that Mister is
being intimate with Celie.
A glass falls and shatters from the nightstand. Mister

slides off, turn s over and falls asleep.
Celie reaches into her skirt pocket. She FINDS THE TOY
RATTLE. She holds it close to her chest and curls inside her
herself as she closes her eyes.
PRE-LAP: THE SOUND OF A TOY RATTLE!
INT. MISTER'S HOUSE - MASTER BEDROOM - MORNING
Celie wakes up and SEES Mister’s oldest daughter, Lil Cat,

teasingly shaking the rattle in her face.
CELIE
That’s my baby’s.
Lil Cat snickers then run s off.
TRACKING SHOT AS: Celie darts after her out of the room...
INT. MISTER’S HOUSE - UPSTAIRS - DAY
Across the hall then down the stairs to...
INT. MISTER’S HOUSE - VESTIBULE - DAY
FROM CELIE’S POV:
CAMERA SPINS AROUND as Celie REALIZES the house is AGAIN A

MESS. Bub is throwing mud on the walls and Baby Carrie is
sitting on the counter with her hands in a cake. Food,
clothes, and dishes are everywhere. A KNOCK AT THE DOOR!
22.
Celie opens it to FIND Nettie, wearing a pretty yellow dress

and carrying her bags.
NETTIE
Pa tried to touch me. I can’t live
there no more.
Concerned, Celie embraces her sister.
EXT. MISTER’S HOUSE - DAY
Mister is saddling his horse while Nettie and Celie look on,
nervous.
MISTER
Where she gon’ sleep?
CELIE
I can put the girls in the same
room. Nettie don’t mind sleeping on
a child’s bed.
NETTIE
I won’t be any trouble, Mister. I
spend my days in school and at
night I'se study.
MISTER
(to Nettie)
You gon’ have to pull your weight
‘round the house. And whatever I
say, go.
NETTIE
Yes, suh.
Celie and Nettie smile at each other.
MISTER
Fair ‘nough. I’m going to town.
Celie, gather me some firewood bout
time I get back.
CELIE
Yes’em.
They watch as Mister gets on his horse and trots away.

23.
INT. MISTER'S HOUSE - VESTIBULE - MINUTES LATER
Nettie comes downstairs, having put away her bags. She

glances over the place while Celie cleans on her knees. The
children are running around and screaming like banshees.
NETTIE
Celie, what you do’in?
CELIE
Mister get upset if he come home
and the place ain’t sparklin’.
NETTIE
Did you make this mess?
CELIE
Naw but-
NETTIE
-Get up.
Nettie helps her up then WHIS TLES. The children stop.
NETTIE (CONT’D)
You chill’ren come here!
The children walk to the foyer, huddled together like crabs.
NETTIE (CONT’D)
When y’all woke up this morn’ was
this place a mess?!
No response. She gets more intense!
NETTIE (CONT’D)
I said, was it a mess?!
They shake their heads “no.”
NETTIE (CONT’D)
Then tell me how it got to look so?
Which one of y’alls is a mess
maker!?
They all point at one another.
NETTIE (CONT’D)
Then I sugge st all y’all get to
cleaning! NOW!! We’ll be back ‘fore
long.
They hurriedly obey. Nettie grabs Celie by the arm and runs
out of the house.
24.
EXT. ROAD FROM MISTER’S HOUSE - DAY
Celie and Nettie are so happy to be back together again that

they skip away from the house, laughing. This is the first
moment of freedom that they have had in a good while.
Celie starts to head right but Nettie heads left.
CELIE
Where you go’in? We’ze got to
gather firewood ‘fore Mister come
home.
NETTIE
We will. But first we needs to go
sit up in our tree. For old time’s
sake.
CELIE
But Net-
Nettie grabs her by the hand and drags her along.
NETTIE
Live some. We’ll only be gon’ a
spell!
EXT. TREE-LINED STREET - NEARLY DUSK
The wind blows through the trees as if a spirit is dancing

above. The sisters look up at the canopy of trees. Light
trickles through the trees and paints them in a prism of
colored light. The wind raps at the tree branches setting a
beat and whi stles through leaves like a wood instrument. It
creates music - setting a melody. Nettie sings an upbeat song
to Celie, 05.”KEEP IT MOVING.”
NETTIE
Days keep rolling by,
Just tryna keep your head up
Lift it to the sky
When you get down
Just dance around like you’re a
child
I’ll never let you get too low
oohhhh
If you could be a butterfly,

I know God will take you far
Life could never break your soul
Everyday the sun don’t shine

But oh
(MORE)
25.
NETTIE (CONT’D)
We keep it movin’,
Keep it movin’
It’s up to you
The way you choose to go,
Keep it movin’,
Keep it movin’
Nothing’s gonna take you down
But oh
Just let it go
Life can never break your soul
EXT. DEADWOOD BEACH - DUSK
CELIE and NETTIE run towards deadwood trees on the beach as

fireflies disperse.
NETTIE
There’s so much to explore
I hear a big big big world
Knocking at the door
Getting a little taste
Just leave s you wanting more
We can’t be quiet like before
If you could be a butterfly

I know God will take you far
Life could never break your soul
Everyday the sun don’t shine
But oh
We keep it movin’
Keep it movin’
It’s up to you
The way you choose to go
Keep it movin’
Keep it movin’
Nothing’s gonna take you down
But oh
Just let it go
Life can never break your soul
Tryin’
Prayin’
Pushin’
Aimin’
Smilin’
Takin’ it all in
Celie joins Nettie, echoing her words.

26.
NETTIE (CONT’D) CELIE

Tryin’ (in response)
Prayin’ Tryin’
Pushin’ Prayin’
Aimin’ Pushin’
Smilin’ Aimin’
Takin’ it Smilin’
All in
They continue to sing as the sun starts to set.
NETTIE (CONT’D) CELIE (CONT’D)

Everyday the sun don’t shine (in response)
But oh
We keep it movin’ Keep it movin’
Keep it movin’
It’s up to us Keep it movin
The way you choose to go,
Keep it movin’ Keep it movin’
Keep it movin’
Keep it movin’
NETTIE (CONT’D)
Nothing’s gonna ta ke you down
But oh
NETTIE & CELIE

Wherever we go
Life can never break our soul.
CELIE and NETTIE see Mister on his horse, heading their

way. They take off running.
EXT. MISTER’S HOUSE - NIGHT
The girls quickly gather firewood before they run into the
house.
INT. CHILDREN’S BEDROOM - HOURS LATER
CELIE and NETTIE hide beneath a bedsheet. They giggle. Happy

that they have outwitted Mister.
EXT. MISTER’S HOUSE - BACK PORCH - LATER
Mister sits in his rocking chair on his back porch, sipping

hooch and playing his banjo. NETTIE crosses the back porch
from the outhouse wrapped in a bath towel to her bedroom.
Mister glances at her lustfully. He waits a beat, then -
27.
INT. CHILDREN’S BEDROOM - HOURS LATER
Mister sneaks into the bedroom where Nettie lies asleep. She
wakes, horrified!
NETTIE
What you doing!? You’re married to
my sister!
MISTER
That don’t mean we can’t be
friends. Let’s get friendly.
She pushes him away then tries to hop out of bed.
MISTER (CONT’D)
(taunting her)
Be sweet now. Possum can’t run from
a big dog.
NETTIE
Let me go!
MISTER
Why you fightin’? You knows how I
feels ‘bout you.
NETTIE
I don’t feel the same.
MISTER
I got something that’ll change
that.
He starts to pull down his bottoms. She knees him in the

groin! He moans, releases her.
PRE-LAP: A SCREAM!
EXT. MISTER’S HOUSE - BACK PORCH - NIGHT
Mister is INCENSED! He carries Nettie over his shoulder, in

the pouring rain as she tussles and CRIES. Celie follows
after him PLEADING.
CELIE
LET HER STAY! PLEASE!
NET TIE
I didn’t mean it! I'se sorry!
He walks down the front steps and drops her to the ground.
28.
Celie runs to her while Mister goes back in the house.
Celie helps Nettie to her feet. Mister comes back out and
throws Nettie’s belongings at her. Her books and her yellow
dress are strewn over the yard. They frantically pick up her
belongings and then suddenly...
A GUN SHOT!
CAMERA TURNS AROUND:
Mister is standing on his porch holding a rifle.
His children watch from the kitchen window.
Celie cover s Nettie’s body with her own.
MISTER
(to Nettie)
Get off my land!
Mister points the gun at Celie. Nettie fearlessly pushes

Celie behind her, to guard her.
NETTIE
Fine! I’m going!
Celie falls at Mister’s feet.
CELIE MISTER
Please, suh. Please. I beg You ain't never gonna see or
you. Anything you want, suh. hear from her again! ‘Thanks
For God sake... please. I get for lettin’ her stay
here. GET!!!!!
Nettie wa lks. Celie rushes to her and hugs her. Mister pulls
them apart then pushes Nettie who falls. He grabs Celie and
drags her back towards the house.
Nettie gets to her feet, proud. THE SISTERS LOCK EYES as

Nettie walks backward down the road.
CELIE (CONT’D)
Nettie, write me!!!
NETTIE
I'll write you every day! Nothin'
but death can keep me from it!
MISTER
(to Nettie)
I said, GET! And you don’t ever
come back! Not e ver!
29.
MISTER SHOOTS HIS GUN IN THE AIR AGAIN! Nettie runs. He drags
Celie into the house. Nettie forgot HER BOOKS AND HER YELLOW
DRESS IN THE BACK YARD.
EXT. MISTER'S HOUSE - CONTINUOUS
Celie falls to her knees in the rain! She sings 06.“DEAR GOD-
NETTIE (LILY OF THE FIELD).”
CELIE
DEAR GOD!!!?
(to God; with tears)
What you done with my sister? How
this play in your plan? Won’t you
bring back my Nettie? You the only
one who can.
I never ask for anything but I’m
askin' for this. If I’m really a
lily of the field, you will answer
my prayer. Or you're no God at ALL!
EXT. MISTER'S HOUSE - BACK YARD - NIGHT
Celie turns and sees Mister standing on the back porch,

angry.
MISTER
If s he come back here again, I’ll
kill ya both. Hear me!? I’ll kill
ya dead.
Celie walks back inside, sobbing. She feels a hand on her

shoulder. It’s Harpo, staring at her with sympathetic eyes.
HARPO
Here, Miss Celie.
HE HANDS HER NETTIE’S BOOK AND THE YELLOW DRESS THAT WAS
THROWN IN THE YARD. Celie holds the dress close to her, she
smells Nettie on it.
INT. MISTER'S HOUSE - DINING ROOM - DAYS LATER
CLO SE ON THE YELLOW DRESS as CELIE cuts it into squares. She

starts to sew something with her mother’s spool and thread.
BEGIN TIME TRANSITION --
The CAMERA MOVES THROUGH the room, as time and seasons pass
before our eyes.
30.
CELIE continues to sew what appears to be the beginnings of a

quilt. She adds pieces of her mother’s dress.
CELIE continues to sew. We see the sun beaming through the

window as flowers bloom.
Celie stands up from sewing.
TITLE CARD: 1917. SEVEN YEARS LATER.
Celie has become an adult right before our eyes. She folds
the now large quilt, which is divine and shows what an
exceptional seamstress she is. She stands up to admire her
work.
CELIE
So many winters grey and summers
blue. Another endless day to suffer
through.
She must be dead.
CELIE (CONT’D)
What kind of God are you?
INT./EXT. MISTER'S HOUSE - FRONT PORCH - DAY
A bell sounds as THE POSTMAN, arrives on a US Mail Bicycle.
Mister walks down to greet him.
MISTER
Looks like spring come early this
year.
POSTMAN
Small miracle if you ask me.
He hands Mister the mail then nods goodbye. Mister scans the
mail. An envelope catches his eye. Mister discretely tucks
the envelope into his pocket. He looks up to find Celie
staring at him in the front door. Mister enters the house and
puts the remaining mail on the table. Once he leaves, she
hurries over to see if there is a letter from Nettie. She
searches frantically among the mail but there is no letter.
EXT. M ISTER'S HOUSE - FRONT PORCH - HOURS LATER
CELIE hears two people bickering down the road and sees what
appears to be a small dust storm. She realizes it’s a
pregnant black woman marching up the road. This is SOFIA,
pretty and strong-willed. Harpo catches up to her.
31.
HARPO
Sofia, don’t go no further! Now, I
mean it. I’m putting my foot down.
SOFIA
What’s that foot s’pose to do,
Harpo? I bet it won’t walk over me.
He moves aside. She continues up towards the house.
SOFIA (CONT’D)
Af’noon, ma’am. Is Mister, ‘round?
CELIE
Naw, he at the ale house.
PRE-LAP: THE LAUGHTER OF MEN.
INT. BIG SLIM’S POOL HOUSE - DAY
Inside, the ale house is thick with cigar smoke and men
playing pool. They drink corn liquor, listening to Delta
Blues on a gramophone. The owner is BIG SLIM, big body and
slim legs.
Mister sits at a table with his father OL MISTER, mean as a

wet cat. TWO OTHER MEN sit at the table. They play dominoes.
Mister SLAMS a domino down.
MISTER
Give me ten like you drinkin’ gin,
when your daddy come out, guess who
go in.
The players grumble. Now it’s Ol Mister’s turn.
OL MISTER
I got dirty thirty, I tells no
lies. These bones gon’ make all you
negroes cry.
He LAUGHS while he SLAMS his domino on the table and wins the
hand. The other men curse as Ol Mister takes their money.
Sofia enters with Harpo in tow. Big Slim clocks her, he’s
drying a glass jar.
BIG SLIM
What’s wrong with you, gal? Can’t
you read?
He points to a large sign behind the bar. It says: “NO

FIGHTIN, NO KILLIN, NO WOMEN, NO CHILLEN.”
32.
SOFIA
I read what pleases me.
She walks up to Mister, smiling.
SOFIA (CONT’D)
Howdy, suh. It’s high time me and
you was introduced. Tell him who I
is Harpo.
Harpo takes off his hat, approaches the men.
HARPO
Pa, Grampy, gents. I wants to
introduce y’all to my girl. This
here Sofia.
The men stare. Ol Mister let’s his glasses slide to edge of

his nose as he scans her up and down.
OL MISTER
That’s a lot of woman.
The men giggle quietly.
MISTER
(to Sofia)
Who you kin to, girl? You seem like
trouble.
Sofia swallows her pride.
SOFIA
Naw. I’m one of Argus Butler’s
daughters. I ain’t no trouble. Just
big.
Sofia proudly rubs her belly.
MISTER
Who the daddy?
SOFIA
Harpo.
MISTER
How we know that?
Sofia is starting to get upset.
SOFIA
Harpo know, that’s what matter. We
more than just a whimsy. We’ze in
love.
33.
OL MISTER
Lawdy, this better than radio.
Harpo sits, hides his head in his hands.
MISTER
I ain’t lettin’ my son marry you
just ‘cause you in the family way.
Pretty gal like you can take his
mind but you can’t have his money.
Sofia step closer to Mister.
SOFIA
Don’t matter. My sister and her
husband say I can live with them. I
come here out of respect but if
there ain’t none to get, there sho’
ain’t none to give. Harpo, let’s
get on up and away from here.
HARPO
Comin’, sugar dumplin’.
Harpo tips his hat to the men; starts to head for the door.
MISTER
Boy, don’t move a muscle.
Harpo freezes. Sofia puts her hand on her hips. A standoff.
SOFIA
Fine. Stay then Harpo. But when you
gets cold, you know good and well
who heats up your bone.
Harpo blushes. The men throw up their hands and fall out of
their chairs laughing.
SOFIA (CONT’D)
Don’t keep me waitin’.
She leaves.
MISTER
That gal ain’t welcomed in my
house.
HARPO
But she carryin’ my child.
MISTER
Tough. She ain’t worthy of you.
34.
Ol Mister defends Harpo.
OL MISTER
Least she don’t got the nasty
woman’s disease like your Shug
Avery.
All the men quiet. This is clearly a tense subject.
OL MISTER (CONT’D)
I hear her legs skinny like
baseball bats and she got the body
of a worn out mattress-
Mister slams his fist on the table!
MISTER
That’s enough, daddy! Play the game
or get.
Ol Mister takes his cigar from his mouth.
OL MISTER
You lucky my hand s is itchin’. I’m
bout to take er’body’s money. Here,
Harpo.
He gives Harpo some of his earnings from the game.
See to your family.
HARPO
Bless you, gramp.
Harpo leaves. Ol Mister and Mister look at each other with

well-aged spite. The men continue the game.
PRE-LAP: The sound of loud hammering in the distance.
INT. MISTER'S HOUSE - LIVING ROOM - DAY
Celie is teaching Lil Cat and Baby Carrie how to sew the
quilt that she has been working on.
More LOUD HAMMERING! It JOLTS Mister awake who is asleep on

the couch! He looks out the window to see if he can spot
where the noise is coming from.
MISTER
What in tarnation...
MORE HAMMERING! Mister heads for the front door.

35.
EXT. MISTER'S HOUSE - DAY
He marches down the road, following the loud clanging.
EXT. EDGE OF THE MANGROVE SWAMP - DAY
At the far end of his land, Mister finds Harpo hammering

wooden slats over a bog. He approaches, mad enough to spit
blood.
MISTER
You get my permission to build down
here!?
HARPO
You know good and well grampy gave
me this land when I turnt sixteen.
I’m building me and Sofia a home on
it.
MISTER
Boy, do you carry your brains in
your back pocket? You can’t build a
house on swampland. If you was
smart you’d use it to plant rice.
HARPO
Well maybe I ain’t smart.
MISTER
That’s bout the wisest thing you
done said-
HARPO
Maybe I got a dumb heart cause I'se
in love.
MISTER
You ain’t in love. You just in way
over your head. All the learnin’ I
put inside you and you still don’t
know how to be a man-
HARPO
I’m buildin’ my woman a house, Pa!
You can help me if you want. If
not, well... this conversation gon’
be shorter than the time it took
you to walk down here.
They stare each other down. Normally, Harpo would give in but
his love for Sofia has changed him. HE’S BECOME A NEW MAN.
36.
Mister, upon realizing his son won’t surrender, grunts then

marches back home.
Time passes. The sound of hammering and sawing set a

percussive beat. Harpo’s friends are helping him build his
house while they sing a rousing work song. 07. “HARPO WORK
SONG.”
HARPO (CONT’D)
I been working and working and
woking
HARPO’S FRIENDS
Uh-huh
HARPO
Till the sun go down
HARPO’S FRIENDS
Till the sun go down
HARPO
See ma baby there standing on the
corner
HARPO’S FRIENDS
Uh-huh
HARPO
Looking so fine
HARPO’S FRIENDS
Looking so fine
HARPO
Lawd if I ever get my hand on a
dollar
HARPO’S FRIENDS
Uh-huh
HARPO
Bet I'll blow her mind
HARPO’S FRIENDS
Bet I’ll blow her mind
HARPO
Till then I guess I'll just keep
working
SOFIA AND HER SIX SISTERS arrive in an horse-driven wagon to

help Harpo build. Even though the Butler women wear skirts,
they are not strangers to hard labor. They join in.
37.
THE SUN GOES DOWN as Harpo and Sofia sit on the deck admiring
their almost complete house.
EXT. HARPO & SOFIA’S HOUSE - DAY (SEVERAL MONTHS LATER)
Celie is taking a good look at the facade. The home is raised

several feet above water by wooden stilts. It is well-
constructed and quaint.
Sofia answers the door holding her newborn baby. She FINDS
Celie standing outside with gifts.
SOFIA
Miss Celie!
(call ing to Harpo)
Harpo, we got comp’ny!
(to Celie)
Come, on in!
Celie enters.
INT. HARPO & SOFIA’S HOUSE - LIVING ROOM - CONTINUOUS
There are three rooms, a small kitchen, and a sitting room

inside the house. Inside, it’s modest but comfy.
CELIE
I sewed you curtains for the house
and a blanket for the baby.
She shows Sofia the curtains and blanket.
SOFIA
Don’t this beat the band. Harpo
said you could do magi c with a
needle but I do declare...
(calling after him)
Harpo! I said, we got comp’ny!
Harpo appears.
HARPO
Have mercy, I’m right here.
SOFIA
Take the baby. Me and Miss Celie
need to converse like womens. Make
us tea.
The ladies sit.

38.
HARPO
I’m holding the baby. How I’m
s‘pose to make tea and hold the
baby?
CELIE
I’ll make it.
Celie starts to get up.
SOFIA
No, you won’t neither. You a guest.
Harpo, hand me the baby then go
make tea.
Harpo walks away, annoyed. Sofia smiles at Celie.
SOFIA (CONT’D)
I’m so tickled you come by. You my
only friend in these parts. Mister
still won’t let me in his house.
How you managed to be so nice when
the rest o f Harpo’s kin is mean and
surly?
CELIE
Don’t know. I fig-
SOFIA
-Maybe you too nice. If I was you,
I’d up and left already. You must
ain’t got no kinfolk ‘round these
parts.
CELIE
Only kin that cared for me was my
sister. But I ain’t heard from her
in ages. Figure she dead.
SOFIA
That’s sad. You wanna make my
wedding dress? I’ll pay you good
money for it.
CELIE
...sho. I guess...
Harpo enters with tea. He hands each of them a cup.
HARPO
Tea.
SOFIA
How come it ain’t hot?
39.
HARPO
You didn’t say hot.
SOFIA
Tea got to be hot, Harpo!
HARPO
Don’t sass me in front of comp’ny!
Sofia stands up to face him, still holding the baby. They

look as if they about to fight but suddenly they kiss. Celie
smiles then covers her mouth. They still kissing.
MATCH CUT TO:
INT. THE CHURCH - DAY (A YEAR LATER)
TITLE CARD: SPRING OF 1919.
CAMERA PULLS BACK revealing Harpo kissing Sofia at their

weddi ng. She is still holding the baby. They have just tied
the knot. Attendees cheer!
REVEREND AVERY
“What God hath joined together, let
no man put asunder.”
SOFIA’S SIDE OF THE FAMILY glares at Mister, who sits next to

Celie on the other side of the church, asleep and SNORING.
A band enters the chapel, playing as attendees throw rice

when Harpo and Sofia come together dancing.
SOFIA
I’se married now!
Celie looks on, happy for them but wishing she had a love of
her own.
INT. MISTER'S HOUSE - MASTER BEDROOM - SEVERAL NIGHTS LATER
Mister is w ith Celie in bed while she again stares at THE

FRAMED SEPIA-PICTURE OF SHUG. Without thinking she says:
CELIE
Who this in the picture?
MISTER
That’s Shug. Woman I shoulda
married.
40.
CELIE
She pretty.
MISTER
I knows it. Now shut up.
Mister slams the picture down.
Later, when he is asleep, Celie secretly looks at the

picture. The picture remains still. Celie smiles.
INT. MISTER'S HOUSE - DINING ROOM - THE NEXT MORNING
Celie comes downstairs in her night robe to make Mister

coffee. She spots Harpo sitting at the dining table nursing a
golfball-sized knot on his forehead with ice wrap ped in
cloth.
CELIE
I take it you and Miss Sofia having
a rough honeymoon?
HARPO
How come I can’t get her to mind me
like you do Pa?
CELIE
Don’t know. Every woman ain’t the
same. You want coffee?
HARPO
I wants her to jump when I say.
CELIE
Maybe she ain’t a jumpin’ woman.
HARPO
I fear we ain’t gon’ last. She mean
as a train but I loves her. What’s
I’m gon’ do?
Celie shrugs. A pause, then...
CELIE
Beat her.
The w ords sit on Harpo like a thick coat of sweat.
EXT. MISTER’S HOUSE - BACKYARD - DAY
Something moves with determination through the grass.

41.
CLOSE ON Sofia’s BOOTS TRAMPING ACROSS THE DIRT.
EXT. MISTER'S HOUSE - BACKYARD - DAY
Celie is taking down bedsheets, folding them, and putting

them in a basket.
The silhouette of Sofia moves behind the hung linens and

SEEMS TO GROW IN SIZE THE CLOSER SHE GETS TO CELIE.
Then she BURSTS through the sheets like a mighty wind,

startling Celie. SOFIA HAS A BLACK EYE.
SOFIA
You told Harpo to beat me?
CELIE
No, ma’am.
SOFIA
You’ze a damn lie!
Sofia moves in closer. Celie backs up for dear life.
CELIE
(ashamed)
I didn’t mean it if’in I-
SOFIA
Why you fix your mouth to say it!?
CELIE
Don’t know. I say it ‘cause... I'se
a fool. ‘Cause I jealous of you.
You do what I can’t. You fight.
Sofia sucks her teeth. Thinks. She walks away. Celie sighs,
thinking she is safe. Suddenly, Sofia is back.
SOFIA
I loves Harpo. God kn ows I do. But
I’ll kill him dead 'fo I let him or
anybody beat me!
Celie nods, indicating an apology. Sofia sings 08.“HELL NO.”
SOFIA (CONT’D)
All my life I’ve had to fight! I
had to fight my daddy! I had to
fight my brothers, my cousins, my
uncles too! But I never, never,
never, never, never, never thought.
I'd have to fight in my own house!
42.
MUSIC KICKS IN. Sofia pulls down a sheet that is in her way
and shoves it at Celie. She hasn’t come to hurt her because
they are good friends, but she feels betrayed. Celie puts the
sheet in a basket. Suddenly, Sofia grabs Celie’s hand and
takes her down the road toward her and Harpo’s house.
SOFIA (CONT’D)
I feel sorry for you, to tell you
the truth. You remind me of my
mama!
Celie looks back at her house, worried about where Sofia is

taking her, or what she has in mind.
SOFIA (CONT’D)
Under yo' husband's thumb, naw. You
under yo' husband's foot!
What he say go! Why you so scared
I'll never know. But if a man raise
his hand... Hell no!
EXT. HARPO & SOFIA'S HOUSE - MINUTES LATER
ALL SIX OF SOFIA’S SISTERS show up in two horse buggies as

Celie and Sofia are waiting. The sisters bail out. They march
into the hous e.
SISTERS SOFIA
Hell, hell... hell no! Hell no!
Hell, hell... hell no!
INT. HARPO & SOFIA’S HOUSE - LIVING ROOM - MINUTES LATER
Sofia dresses her baby as her sisters start to collect ALL

her belongings. They work fast and efficiently.
SOFIA
Girl child ain’t safe in a family
‘o mens! Sick and tired how a woman
still live like a slave. Oh, you
better learn how to fight back
While you still alive!
Everybod y moves around Celie, who is too frightened to do

anything.
INT. HARPO & SOFIA’S HOUSE - BEDROOM - DAY
Sofia packs a suitcase and throws everything in it. Celie

looks on.
43.
SOFIA
You show them, girl, and beat back
that jive! ‘Cause when a man just
don’t give a damn... Hell no!
SISTERS SOFIA (CONT’D)

Hell, hell... hell no! Hell, no!
Hell, hell... hell no! No, No, No, No.
Hell, hell... hell no! Hell, no!
Hell, hell... hell no!
MINUTES LATER:
Sofia clocks a photo of her and Harpo hanging on the wall.

She contemplates taking it.
SOFIA
No, when that man used to touch me.
He'd climb on top and start to rock
me away. Lord knows I still loves
him.
She decides not to take it when she sees her reflection in

the glass of the picture and clocks THE BLACK EYE.
SOFIA (CONT’D)
But he tried to make me mind
And I just ain’t that kind...
She puts the picture back on the wall.
SOFIA (CONT’D)
Hell no!
INT. HARPO & SOFIA’S HOUSE - LIVING ROOM - DAY
Each of her sisters carry big items out of the house:

furniture, pots and pans, clothes, etc. Harpo enters. HE HAS
TWO KNOTS ON HIS FOREHEAD.
SISTERS
Hell, hell... hell no.
Sister #1 drops the plate on the ground and keeps moving.

Harpo clea ns the mess.
INT. HARPO & SOFIA’S HOUSE - BEDROOM - DAY
Celie sits on Sofia’s suitcase so she can close it.

44.
SOFIA
(to Celie)
Don’t be no fool. Don’t waste your
time.
SISTERS
(taking the welcome mat)
SOFIA SISTERS (CONT’D)

Any man that hurts you ain’t Hell, hell... hell no.
worth a dime. Yeah, yeah,
yeah
Celie carries the suitcase outside for Sofia.
EXT. HARPO & SOFIA'S HOUSE - CONTINUOUS
All of the sisters gather the last of Sofia’s things then hop
back into the horse and buggy.
Sofia steps out of t he house, still holding her baby. Harpo

hugs her. She has a moment of weakness but Sister #6
intervenes.
SOFIA
(to Celie)
You too good for that man.
Sister #6 (the strongest) pulls her apart from Harpo.
SISTERS
SOFIA
Hell no.
Sofia hops aboard the wagon with her baby.
SOFIA (CONT’D)
(to Celie)
You got to say
You need to say
You better say
You oughta say
Yeah
Sister #6 tears Harpo’s house apart, tak ing pieces of a wall

and a window and puts it in the wagon!
SISTERS
Hell.
45.
Sofia and Celie embrace goodbye. When Harpo looks over the
house, THERE IS LITERALLY NOTHING BUT WALLS!
EXT. HARPO & SOFIA’S HOUSE - DAY
The sisters sing as they load into the wagon and ride off.
SOFIA
Hell, hell, hell, hell, hell, hell!
SOFIA AND SISTERS

No!!
Sofia and her sisters ride away in a cloud of dust.
EXT. MISTER’S HOUSE - BACK PORCH - MINUTES LATER
Celie and Harpo walk into the backyard. Miste r is sitting on

the porch playing his banjo. He plays the same song we heard
in an earlier scene. He sees his son bruised - both
physically and emotionally.
MISTER
What happened to you?
HARPO
Kicked by a mule.
MISTER
Was this mule wearing a dress?
Harpo sits on the steps as Celie goes inside.
MISTER (CONT’D)
You gon’ be alright. Some women you
just can’t tame.
(then)
Might as well turn that home you
built into a s moke house now. Me
and you can grow us some tobacca.
Celie tends to Harpo’s bruises.
HARPO
Thinkin’ bout turnin’ it into a
juke joint.
MISTER
Juke joint? People don’t want to
dance by no smelly swamp.
46.
CELIE
Unless Shug Avery singing there.
Mister and Harpo look at each other then at Celie. She grins.
She knows she just got them both excited.
PRE-LAP: SOUND OF HUNDREDS OF STARLINGS LILTING IN THE NIGHT!
TITLE CARD: SPRING OF 1922.
INT. MISTER'S HOUSE - KITCHEN - DUSK
Celie sews with Baby Carrie. She is now 17 and Celie is 27.
They hear a CHOIR OF ROBINS in the sky!
CELIE
Stay here.
EXT. MISTER'S HOUSE - FRONT PORCH - DUSK
Celie walks outside. The sky seems to be thick with rolling

mud. She takes a closer look and SEES THOUSANDS OF STARLINGS
covering the sky. The sight chills her.
EXT. MAIN STREET - NIGHT
Townspeople in the streets look up and see rounds of

SHRIEKING STARLINGS. They stand in the road looking up in
awe. The STARLINGS blot out the sky, causing total darkness.
EXT. REVEREND AVERY’S HOUS E - NIGHT
Reverend Avery, First Lady, and several townspeople rush out

of their homes to the front of Reverend Avery’s House, to
look at the sky.
FIRST LADY
Reverend husband? I thinks you was
right about these being the last
days.
REVEREND AVERY
Lord of mercy. Of all the things to
be right about.
He looks down the road and sees HEADLIGHTS FOLLOWED BY THE

BLARE OF A CAR HORN - it sounds like a lonely jazz trumpet.
47.
FIRST LADY
Who that comin’ yonder?
Reverend sees her before anyone else.
REVEREND AVERY
God help me. It’s my daughter.
EVERYONE GASPS! They part to make a path for a 1921

KENWORTHY. It’s being driven slowly by a good-looking man.
INSIDE, A STUNNING BLACK WOMAN SITS IN THE BACK SEAT. She is

SHUG AVERY, 33, with ruby-red lips and a face hiding beneath
a handsome wide-brim hat with a long hat pin. She se es her
father, the Reverend, and quickly rolls down the window.
SHUG
Howdy, Pa. How ya be?
The Reverend turns his head in anger. First Lady, Shug’s step-
mother, cuts her eyes at her. Shug raises the window. She
then sits back and takes a long pull from her flask. Then she
turns on the radio. Jazz plays.
The townspeople sing 09.“SHUG AVERY COMIN’ TO TOWN.”
A beat is set by SHOE SHINERS (or BOOT BLACKS) hitting rags

against the tips of dress shoes.
Several men rush into A BARBERSHOP wanting a haircut!
MALE ENSEMBLE (3)

Shug Avery’s comin’ to town. Shug
Avery’s comin’
Several men rush into a SUIT STORE wanting to buy new

clothes!
MALE ENSEMBLE (6) (CONT’D)

Shug Avery comin’ to town. You know
that she’s comin’
Several men get their shoes shin ed at A STAND. Others try on

brand new hats!
MALE ENSEMBLE (10) (CONT’D)

She sting like a honeybee. Sweet
pain comin’ over me. Skirt so short
gonna shock your ma. Make a man
wanna break the law.
48.
WIVES and GIRLFRIENDS are PANICKED. A woman drags her husband

from the barbershop. Another chases him from the suit store
with a rolling pin.
1 FEMALE ENSEMBLE (5) 2 FEMALE ENSEMBLE (10)

She’s a trollop in a tight Cryin’ shame. Shug’s her
dress. Lookin’ like a hot name. Drinkin’ all the gin.
mess. Bouncin’ in the bed. Lovin’ all your men.
Bumpin’ in the shed.
The men in THE ALE HOUSE, toasting ale:
MALE ENSEMBLE
Ain’t no other woman like Shug. You
know she’s comin’.
FEMALE ENSEMBLE
Ain’t no other woman like Shug.
When Shug come across that county
line. County line. Oh.
Shug Avery’s car pulls onto the street. A crowd forms.
ENSEMBLE
Shug Avery comin’ to town. Shug
Avery comin’ to town.
FEMALE ENSEMBLE
Lock up all your mens and your
young boys too. Got no friends
‘cept the ones s he screw.
ENSEMBLE
Shug Avery comin’ to town.
MALE ENSEMBLE
Shug Avery’s comin’ to town. Shug
Avery’s comin’. Shug Avery’s comin’
to town. You know that she’s
comin’.
INT. MISTER'S HOUSE - MASTER BEDROOM - NIGHT
FROM ABOVE:
Celie stands at the window looking out. She picks up Shug’s

photograph.
49.
CELIE
Got about a million questions.
Rollin’ around my head. What she
wear? How her hair? Is she skinny?
Is she stout? Must be somethin' to
fuss about.
Mister bursts through the door, half-dressed with half a sock

on and trying to tie a tie. Celie quickly puts the picture
back and helps him.
MISTER
Ain’t no other woman like Shug.
Don’t you know it ain’t no lie.
When Shug come across that county
lin e.
A car horn BLARES transporting us back to the crowded street.
All the young people march down the street to catch up with
Shug’s car.
Once this beat is set, everyone feels the rhythm in their

bones and dances toward Shug’s car.
EXT./INT. SHUG’S CAR - END OF MAIN STREET - NIGHT
Inside, Shug is drinking herself into a stupor and still

listening to the radio. She is oblivious to the townspeople
dancing up the road, toward her car.
EXT. MAIN STREET - CONTINUOUS
Women in fine dresses high-step out of a boutique in heels.
They get closer to Shug’s vehicle.
FEMALE ENSEMBLE
Ooh, that Shug. You know she no
good. A snake in the woods, gonna
poison you.
MALE ENSEMBLE
You don't understand what it do to
a man when you in her hands and she
turn that screw.
50.
FEMALE ENSEMBLE
Better say farewell, 'cuz you're
goin' to hell!
MALE ENSEMBLE
But a man feel swell when he in her
spell.
FEMALE ENSEMBLE
Better lock your doors!
MALE ENSEMBLE
Better change your drawers!
The men run toward Shug’s car. The women chase after them!
ENSEMBLE
She's coming, comin’, comin’,
comin’. Shug Avery comin’ to town!
Shug Avery comin’ to town!
FEMALE ENSEMBLE
Lock up all your mens and your
young boys too. Got no friends
‘cept the ones she screw.
ENSEMBLE
Shug Avery comin’ to town! (town,
town, town)
FEMALE ENSEMBLE MALE ENSEMBLE

Shug Avery comin’ to town! Don’t understand what it do
Shug Avery comin’ to town! to a man.
Don’t understand what it do
to a man.
Shug Avery!
EXT. END OF MAIN STREET - CONTINUOUS
The townspeople finally arrive at the car. They think Shug is

going to get out to greet them.
ENSEMBLE 1/ ENSEMBLE 2/ ENSEMBLE 3

(tiered)
Comin’/ Comin’/ Comin’
Suddenly the driver speeds off, leaving the townspeople

behind. Everyone is stunned.
51.
ENSEMBLE
(confused)
Comin’ to town.
MUSIC STOPS.
EXT. MISTER'S HOUSE - NIGHT
CAMERA STAYS with Shug as her driver takes her up to Mister’s

place. When they arrive, Mister and Celie greet her.
Shug steps out of the car, drunk, but tries to stand tall
like a queen. The minute she and MISTER LOCK EYES, she faints
into his arms. Celie GASPS!
MISTER
(to Celie)
Grab her legs!
Mister and Celie carry Shug upstairs.
CELIE
What’s wrong with her?
MISTER
Nothin’. She just gets thirsty and
likes to drink a little.
She burps. The smell is awful.
MISTER (CONT’D)
Watch her head.
They take her into the house as Shug’s driver speeds away.
INT. MISTER'S HOUSE - MASTER BEDROOM - MORNING
Celie wakes. To her surprise Mister is not i n bed. She smells

something burning. She hurries downstairs.
INT. MISTER'S HOUSE - KITCHEN - DAY
She rushes into the kitchen. It is filled with smoke. Mister

is at the stove burning food. He puts the burnt and blackened
food onto a plate and carries it up to Shug.
INT. MISTER'S HOUSE - STAIRWAY - DAY
Celie is intrigued. She sits on the bottom stair and waits

while she darns socks.
52.
She hears Mister knock on Shug’s door.
INT. MISTER'S HOUSE - UPSTAIRS HALLWAY - DAY
A beat, then CRASH! Shug throws the plate against the wall.
SHUG
You tryin’ to poison me!
MISTER
It ain’t too bad, baby, if’in you
put some hot sauce on it.
SHUG
Oh, I got your hot sauce!
Shug slams the door in his face. He stumbles down the stairs
and rushes back into the kitchen.
INT. MISTER'S HOUSE - KITCHEN - DAY
Miste r is back behind the coal stove trying to fry eggs when
Celie enters. He cracks an egg. The yolk lands on his shoe.
MISTER
Hot nuts!
Celie steps beside him and cracks an egg with one hand in a
quick motion like a master chef. The action stuns Mister. He
steps aside and lets her continue.
SERIES OF SHOTS: Celie makes pancakes and drops biscuits.

She fries fat back and grits. She makes scrambled eg gs with
cheese, peppers, and onions. She squeezes fresh orange juice
into a glass. She cuts up fruit.
INT. MISTER’S HOUSE - STAIRWAY - DAY
Celie walks upstairs with a new tray of food. Everything is

cooked to perfection. Mister puts a red flower sticking out
of a tin can on the tray. Then he waits downstairs, listening
and waiting for Shug’s reaction.
INT. MISTER’S HOUSE - UPSTAIRS HALLWAY - DAY
Stil l holding the tray, Celie knocks on the door.
SHUG (O.C.)
Didn’t I say I wasn’t hungry!
53.
Celie cracks open the door then slides the tray of food
through. She quickly closes the door and hides behind a
corner in case the food is tossed again. But nothing happens.
MANY MINUTES LATER:
The door opens and the tray slides back out. THE PLATES HAVE
BEEN LICKED CLEAN. Even the flower is gone. Celie smiles.
PRE-LAP: BLUES PLAYS ON A GRAMOPHONE.
INT. MISTER'S HOUSE - STAIRWAY - HOURS LATER
Celie si ts at the bottom of the stairs, STILL SEWING HER

QUILT. It is even more intricate. She hears from upstairs:
SHUG (O.C.)
I’m out of giggle water! Somebody
fetch me a bottle in town.
MISTER
Right away, baby.
Mister dashes down the stairs and bolts out the front door.
SECONDS LATER:
The music from Shug’s gramophone stops.
SHUG
Somebody come turn my crank!
Celie moves up the stairs. She cracks open the bathroo m door.
INT. MISTER’S HOUSE - BATHROOM - DAY
She enters quietly. The room is foggy from cigarette smoke

and steamy from the hot bath.
Shug soaks in the tub with one leg leaning over the rim and a
cigarette dangling from her fingers. She has the flower from
earlier in her hair. Her eyes are closed.
Celie is too timid to look at her. Instead, she stares at the

gramophone with curiosity. She’s never seen one up close.
SHUG
Don’t just stare at it! Turn the
handle!
Celie turns the crank. A ragtime instrumental plays. Celie’s

eyes light up. She tiptoes back toward the door.
54.
SHUG (CONT’D)
Where you goin’? I need somebody to
wash my back!
Celie freezes. She sees a clean rag on the sink. She grabs it
and kneels near the tub, all the while keeping her gaze on
the ceiling. She dips the rag in water, bathes Shug’s back.
Shug moans. She presses the rag deeper and lets hot water
drip down Shug’s neck. Shug sighs. Celie musters the courage
to look at her. Shug has her eyes closed.
IMAGI NED:
Celie imagines that she is kneeling by the tub with Shug

still in it, but they are spinning on a HUGE GRAMOPHONE.
Celie sings 10.“DEAR GOD - SHUG” as she bathes her back.
CELIE
Got about a million tingles
Sneakin' on up my spine.
Larger-than-normal soap bubbles rise from the tub and float

around the room.
CELIE (CONT’D)
I wash her body and it feel like
I'm prayin’.
The bubbles reflect Shug’s sleeping face.
CELIE (CONT’D)
Try not to look, but my eyes ain't
obeyin'. Guess I found out what all
of the fuss is about.
Celie is standing, spinning on the record. She is a vision!

Bubbles now float out of the horn of the gramophone.
CELIE (CONT’D)
Shug Avery!
The bubbles reflect an image of Shug and Celie embracing each

other.
CELIE (CONT’D)
This who they talkin’ ‘bout. And
everything they say is true too.
Shug Avery!
Suddenly, we hear the skipping of a record.
SMASH CUT TO:

55.
BACK TO REALITY: Celie wakes from her daydream and turns

the record off. It wakes Shug. When Celie turns around the
women are facing each other.
SHUG
You sho’ is ugly!
Shug releases a wild laugh!
PRE-LAP: The sound of Shug humming.
INT. MISTER’S HOUSE - SHUG’S ROOM - HOURS LATER
Shug is sitting on the floor between Celie’s legs, dressed in

a nightgown, humming a melody that will later be “Miss
Celie ’s Blues.” Celie sits on the bed and combs her hair.
SHUG
You got good hands. You scratched a
song right outta my head.
She hums a little more, then...
SHUG (CONT’D)
How long you and Albert been a
thang?
CELIE
Albert?
SHUG
Your husband. You tryin’ to tell me
you don’t know your own husband’s
name?
CELIE
Thought his name was Mister-
SHUG
Mister ain’t no name, it’s a title.
Just another way of sayin’ “master”
if you as k me. That man can’t stand
up to his own daddy but got
everybody callin’ him mister like
he the only one in town.
CELIE
Let him tell it, he’ll try to
convince you he is. And don’t let
him put on a suit. That man will
start high-steppin’ and talkin’
proud like butter don’t melt in his
mouth.
56.
Shug laughs with a scream, then leans her head against

Celie’s knee, gazing at her face.
SHUG
How come you don’t laugh none? If
you ain’t gon’ laugh, you need to
sell your funny bone.
Celie grins.
SHUG (CONT’D)
And got the brightest beam this
side of the Mason Dixon!
Celie covers her mouth. Shug takes her hand away.
SHUG (CONT’D)
Smile. It’s healthy. Ain’t you got
somethin’ to make you hop out of
bed every mornin’ and just smile?
Ain’t you got chill’en?
A beat, then...
CELIE
Had two. But they was taken. Don’t
know where they is or if they even
alive.
Shug lays her head back on Celie’s knee.
SHUG
When you think about ‘em does your
heart get full like the first time
you held ‘em?
Celie thinks, then...
CELIE
Yes, ma’am.
SHUG
Then they still alive. It’s
nature’s way of telephonin’. That’s
how I know my pa still in this
world . ‘Cause when I think about
him. And how he used to sing to me
when I was a little bit. My heart
gets so full...
CELIE
Why come you just don’t visit ‘im?
He just live yonder by the church-
57.
Shug rises, looks in a mirror and puts lipstick on.
SHUG
He don’t want to see me. He ain’t
forgave me for choosin’ The Blues
over his religion. Funny thing is,
God ain’t never left me. Figure if
God can understand why I sing The
Blues... maybe one day my pa will.
Shug puts lipstick on Celie’s lips then places her in front

of the mirror.
SHUG (CONT’D)
Come. Let’s see that smile in
color.
Nervous, Celie looks in the mirror. She forces a grin.
SHUG (CONT’D)
Sweet and loving God. Now we
talkin’. Albert won’t be able to
keep his hands off you.
Celie quickly rubs the lipstick off.
CELIE
(disgusted)
Maybe we should try another color.
Shug tickles her, laughing. Celie releases a full smile.

They’ve bonded.
INT. MISTER'S HOUSE - LIVING ROOM - HOURS LATER
A SONG FROM THE PERIOD PLAYS ON THE GRAMOPHONE. Mister and

Shug slow danc e. Celie sits, staring at their feet. She looks
up. Shug and Mister are kissing. She drops her head.
Suddenly, Mister’s pants drop. Then Shug’s dress. Now Celie

is too afraid to look up. She walks to the door with her head
bowed. Just before she closes the door, she catches Mister
kissing Shug’s neck while Shug STARES AT HER. THEIR EYES
LOCK. Celie closes the door. She is both jealous and aroused.
EXT. MISTER'S HOUSE - FRONT PORCH - NEXT DAY
IT’S THE HOTTEST DAY OF THE SUMMER! Mister is sitting on his

porch steps with his chest bare, rubbing ice cubes on his
neck. Ol Mister saunters up the walk with his cane, wearing a
three-piece-suit, a tie, and a straw hat. They say mean
people don’t sweat. Here’s an example.
58.
OL MISTER
Heard your ho done come back and
brought the plagues.
MISTER
Don’t start that foolishness, pa.
OL MISTER
You ain’t seen them robins covering
the sky last week? Heard that’s
when she arrived.
Ol Mister slaps the back of his neck - killing a mosquito.
Not to mention the swarms of
‘squitos and this here heat wave.
The woman’s cursed. She’ll be the
death of us all.
Celie walks outside.
CE LIE
You wanna glass of water, Ol
Mister?
OL MISTER
Don’t mind if I do.
Ol Mister walks up to the porch to get some shade.
When I look o’er this land, I think
of my daddy who slaved it from when
he was a boy till his body went to
the dust. Even after he got his
freedom he sharecropped it and
saved every penny so he could buy
it from the white family that sold
his mother for two pigs and a bag
of meal. Now you bringin’ your
whore on the same land your kinfolk
bled and died for. It be a doggone
shame.
MISTER
Shug ain’t no whore, she got a wild
heart like me. You ain’t got the
head to understand it but I ain’t
never stopped lovin’ her. Shoulda
married her when I had the chance.
59.
OL MISTER
Is that what this ‘bout? Love? That
mess less reliable than rain. Land
the only thing a colored man can
count on. Land can grow green and
put green in your pockets. You
wanna love somethin’, love this
land.
Celie is behind the porch screen. SHE SPITS IN OL MISTER’S

WATER THEN STIRS IT WITH HER FINGER. She walks back outside.
CELIE
Here you are. I sweetened it for
ya.
OL MISTER
Celie, you has my sympathies. Ain’t
many a woman would allow they
husband’s ho to lay up in they
house. Eatin’ they food, spreadin’
legs-
MISTER
Time for you to go, daddy.
Mister grabs his father by the arm.
OL MISTER
Can’t I drink my water first?!
Mister pauses. Ol Mister clears his throat then takes his

sweet time swallowing the water in one gulp. Celie hides her
grin. He hands her the glass then walks back the way he came.
He smacks another mosquito on his neck. They watch him leave.
EXT. MISTER’S HOUSE - CELIE’S GARDEN - NEXT DAY
Celie and Shug pick peas.
SHUG
I don’t know nothin bout pickin’
peas. How you know which one is
ripe?
CELIE
Got to feel ‘em. They like some
people. If they rough around the
edges, it usually means they soft
inside. Taste this one.
She hands Shug a pea from her lap. Shug eats. It’s deli cious.
60.
SHUG
That’s a piece of heaven.
CELIE
You ain’t see nothin. Come on...
Celie lifts Shug to her feet.
EXT. FIELD OF HIGH GRASS - DUSK
They walk carrying goods in a basket. Shug smells and picks

flowers. We start the scene in medias res:
SHUG
More than anything, God love
admiration.
CELIE
You sayin’ God is vain?
SHUG
Not vain, Miss Celie. God just
wants to share a good thing. I
think it pisses God off if you wa lk
by the color purple in a field and
don't notice it.
CELIE
You sayin’ God wants to be loved
like it say in The Bible?
SHUG
Everything wants to be loved.
‘Specially God. That’s why God be
in everything. ‘Cause the more you
love what God made, the more you is
lovin’ God and God lovin’ you. God
be in music, water, in sunlight.
God be... big like the sky yet
small enough to live in our hearts.
CELIE
Bee n wonderin’ if God love me, why
he let my babies be takin’ and why
he take my Nettie.
SHUG
Sound like men did that. Not God.
Shug spots A RARE PURPLE CROCUS FLOWER in the field. THIS IS

THE FIRST TIME WE SEE THE COLOR PURPLE IN THE FILM. She
plucks the flower then hands it to Celie.
61.
CLOSE ON CELIE smelling the flower as a honey-tinted red

sunset spreads like open arms across the sky.
EXT. DOWN THE ROAD FROM THE JUKE JOINT - DUSK
Celie and Shug walk to Harpo’s juke joint. One can hear
crickets greasing their legs under the blush of the moon.
EXT. HARPO’S JUKE JOINT - DUSK
Harpo and his buddies are almost done building the juke.
SQUEAK is helping them. She hangs on Harpo, which in dicates
they are an item. Shug can’t keep her eyes off the handsome,
sweaty men. Harpo walks toward her and Celie.
SHUG
(to Harpo)
Good to see you not just followin’
in your pa’s footsteps. But
building something of your own.
This gon’ be nice.
HARPO
Thank ya, Miss Shug. We open Friday
night. Was hopin’ you might come by
and sang a little-
SQUEAK
But if you can’t, don’t worry.
‘Cause I gots a voice too.
The men grumble. Squeak cuts her eyes at them.
SHUG
Sounds nice.
Shug gets a closer look at the bare-chested men.
SHUG (CONT’D)
(flirtatiously)
You men gon’ be ready for me come
Fri-dee?
The men take off their hats, out of respect.
HARPO’S BUDDIES
Sho ma’am/God’s my witness/Bet my
house.
SHUG
Well alright. I guess I’m singing.
62.
They cheer! She takes Celie’s hand and they walk off.
EXT. MAIN STREET - NEXT DAY
Harpo and his buddies hang signs over town. They read: “COME
SEE SHUG SING THE BLUES, FRIDAY NIGHT DOWN AT HARPO’S JUKE.”
Townspeople read the sign and take note.
INT. MISTER’S HOUSE - SHUG’S ROOM - NIGHT
Celie helps Shug step into an exquisite dress. There is a

palpable chemistry between them.
SHUG
Tell me the truth, yo u mind if
Albert sleep with me?
CELIE
Naw. It keep him off me.
SHUG
Why you say it like that? You don’t
like layin’ with him?
CELIE
Most time I pretend I ain’t even
there. He don’t know the
difference.
(then)
You love ’im?
Shug shrugs.
SHUG
I gots what you call a passion for
him. He smell right. Makes me laugh
some. Sometime it just feel good
being with somebody who loves you
unconditional.
CELIE
That do sou nd nice.
Shug dabs perfume on her neck.
SHUG
I laid you out somethin’ on the
bed.
Celie looks at the dress. It’s really fancy.

63.
CELIE
My, that’s fancy. But it ain’t me.
I’ll look silly-
Celie puts it down. Shug puts it back in her arms.
SHUG
Put it on. You gon’ be my guest
tonight. Gots to look like we
belong.
Celie is speechless. This is the first time Shug has hinted

that there is something between them.
INT. MISTER'S HOUSE - BOTTOM OF STAIRCASE - NIGHT
Mister is waiting downstairs when Celie walks down. SHE IS A

VISION. Shug has completely dolled her up. Mister can hardly
speak.
CELIE
Shug said for us to go on ahead.
She wanna make an entrance.
Mister is disappointed. He wanted to walk to the juke with

Shug on his arm. He and Celie leave the house.
EXT. DOWN THE ROAD FROM THE JUKE JOINT - NIGHT
They walk together in silence. Mister carries an oil lamp to

guide their way. Fireflies float around them. Couples,
holdin g hands and kissing one another, pass Celie and Mister
on their way to the juke. Celie keeps her eyes to the ground.
Mister looks at trees. This is awkward for them.
EXT. HARPO’S JUKE JOINT - NIGHT
People sit on the roof fanning themselves with their own

hats. An old man chews snuff as he fishes from a tree. An
inebriated woman hangs out of a window drinking moonshine.
Celie and Mister arrive. Mister helps her into the juke via a
plank walkway.
INT. HARPO'S JUKE JOINT - NIGHT
Inside, the place is packed. Folks sit on tables, chairs, and

each other. The piano player plays a rag. People are waiting
for Shug.
64.
Harpo guides Celie and Mister to the best seats - front and
center. Suddenly, everyone hears a commotion coming from up
river. They rush to the windows to see what it is.
EXT. DOWN THE MANGROVE SWAMP - NIGHT
We see flickering lights coming from something floating

upstream toward the juke. Before we can make it out, we hear
Shug’s voice. She loudly sings 11.“PUSH DA BUTTON” .
SHUG
Now there's somethin' 'bout good
lovin' that all you ladies should
know.
We hear instruments blaring as we see paper water candles

floating on the swamp in front of a large log raft.
SHUG (CONT’D)
If you wanna light yo' man on fire
You gotta start it real slow.
A HORN SECTION on the raft come into view. There’s a trumpet

player, a trombone player, and a sax player. They play their
hearts out while Shug is lit by lantern light. Her face is
hidden behind a large, opulent fan made of peacock fathers.
HARPO SHUG (CONT’D)

It’s Shug! Everybody, Shug’s Keep on turnin’ up that
on the water! voltage ‘til that man begin
to glow. Like you switchin’
on a light bulb: watch the
juice begin to flow!
Shug closes the fan, revealing her face which is half-covered

by a feathery peacock hat. She looks divine. Folks go wild!
E XT. HARPO’S JUKE JOINT - NIGHT
The raft is docked. Harpo takes Shug’s hand and helps her
onto land. The crowd parts as she makes her way toward the
juke entrance while people cheer her on.
Shug enters the juke gyrating her body, using her fan like a
vaudeville dancer and flirting with the men, driving them
crazy. One man slides between her legs. She pulls him up by
h is ears, drawing him toward her breasts. When he gets close
to kissing her, she pushes him away. He pretends to faint.
65.
SHUG
Now that I've got your attention.
Here's what you men need to hear:
You want your lady racin' witchu.
You gotta get her in gear! Well.
Here’s the key to rev her motor.

Find the spot she love the best. If
you don’t know where it is, give
her the stick! She'll do the rest!
She separates a man who is dancing with a woman. She dances

with the woman instead then makes her way to the...
MAKESHIFT STAG E:
When she gets to the stage, the band is already there

playing. Mister and Celie are still sitting front and center.
She winks at Celie and hands her the fan. Everyone in the
juke dances to the music.
SHUG & ENSEMBLE

Push da button!(Push da button!)
Push da button!(Push da button!)
You gotta push it if you wanna come
in!
Men spin women around tables. Folks leap over tables.
SHUG & ENSEMBLE (CONT’D)

Oh! Push da button! (Push da
button!) Give me somethin'! (Push
da button!) To let ya baby know it
ain’t no sin! Well, if you wanna
feel the train a comin’ yo' way!
(wooh wooh) Baby, push da button
and pull the window shade!
Men lift Shug on top of the table where Celie and Mister sit.
Women jump on men’s backs. Some men jump in women’s laps.
Everyone is drinking moonshine and singing along.

Now listen all you red-hot lovers.
You oughta know what to do! (You
oughta know what to do!)
There ain’t nothin' wrong with
nothin'. That's right with both of
you! (That's right with both of
you!) So when tonight, you make ya
lover cry out like a lion roar.
Tell your neighbors your new kitty
found the cream (oohhhh) it's
lookin' for!
66.
Shug sings to Celie.

Hey, push da button! (Push da
button!)Push da button! (Push da
button!)You gotta push it if you
wanna come in! Oh! Push da button!
(Push da button!) Give me
somethin'! (Push da button!) To let
ya baby know it ain’t no sin! Well.
If you wanna feel the train a
comin' yo' way! Baby, push da
button and pull down the window
shade. Come on and...
DANCE BREAK: A beat dr ops in the music. Shug stomps her foot
and everyone follows suit, stomping their feet. A feeling of
euphoric ecstasy fills the space as people give in to carnal
desire. People grind their bodies against each other. Men
ride a few lady’s backsides. Celie is so shocked by the
sight, she hides her face behind the fan. Mister, on the
other hand, is in heaven. People dance in sync while Shug
wipes her brow, takes a drink, and sings the last section.
The band picks up the melody as she walks among the crowd.

Now ladies (Push) I need you to
work a lil’ harder. (Push) Ok. I
want you to reach down and (Pull) I
need you to find your inner Shug,
baby. (Push) There it go. There it
go. All right now.
A few couples hop on tables and dance as Shug wails! Several

others crawl along the flo ors. Some even climbs the walls!
SHUG
Ey! Push da button. (Push da
button) Push da button. (Push da
button) You gotta push it if you
wanna come in! Push da button!
(Push da button!) Give me
somethin'! (Push da button!) To let
ya baby know it ain’t no sin! Well.
If you wanna feel the train comin'
yo' way! (Wooh wooh) Baby, baby,
whatta you gotta do (Push da
button) Push da button. Yeah!
EVERYONE APPL AUDS AS THE SONG ENDS.
Shug sits in Celie’s lap. Mister looks on, jealous. Harpo

stands on the bar counter.
67.
HARPO
Drinks on the house!
Folks cheer and crowd the bar. In all the commotion, Sofia
enters with a prizefighter named HENRY (BUSTER) BROADNAX. She
looks gorgeous and her gentleman friend is also a CATCH.
SOFIA
C'mon, Buster! Let’s find us a
seat.
Harpo hasn’t noticed her yet. He and Squeak are busy serving
drinks. Sofia takes it all in.
SOFIA (CONT’D)
Would you look at what Harpo done
here.
Sofia sees Celie.
S OFIA (CONT’D)
Oooooh, Miss Celie!
Celie is elated to see her.
CELIE
Sofia!
They embrace.
CELIE (CONT’D)
This here Shug Avery.
SOFIA
Nice to meet you, ma'am.
They shake hands.
SHUG
Mutual. Who dis?
HENRY
Henry Broadnax. But my people call
me Buster.
SOFIA
He’s a prizefighter. Man was never
knocked out till he met me.
They all laugh to ease the tension. Mister returns to the

table with drinks for he and Shug. He and Sofia make eye
contact. Their disdain for one another is still ripe.
68.
MISTER
Shouldn’t you be at home, tendin’
to your baby?
SOFIA
Shouldn’t you be somewhere with
folks your age. Like a cemetery.
Harpo walks up to the table to thank Shug. Squeak is on his

arm. He sees Sofia and pretends not to be bothered by her
being with another man.
HARPO
(to Sofia)
How’s my son?! Who I ain’t seen in
a month of Sundees.
SOFIA
Our son is fine. You know where he
be. If you want to see him, use
your feet. Now I didn’t come here
for no mess. Came to hear Miss Shug
sing-
HARPO
It’s scandless, you galavantin’
‘round town with another man when
you still married to me. I hear you
raisin’ his chill’ren too and he
got four mouths to feed plus mine.
SOFIA
Six if you count our new baby.
HARPO & MISTER

New Baby?!
SOFIA
Yes, Lawd. Me and Buster had us a
girl. Oh look, there’s a seat.
Sofia and Buster walk away. Squeak sees the jealousy on

Harpo’s face.
HARPO
(to the piano player)
Play somethin' with a slow drag,
Jaw Bone. Folks want to dance
close.
69.
MUSIC PLAYS.
Harpo stares at Sofia and Buster. Mister and Shug converse.

Celie drinks moonshine and is disgusted. Harpo approaches
Sofia.
HARPO
Thanks for comin. I'se sorry, I
gots off on the wrong foot just
now. Care to shake a leg? Let me
make up for it?
Sofia looks at Buster who shrugs. She sighs, grabs Harpo’s

hand and they walk to the dance floor. They dance close.
Eventually, Squeak steps to t hem, pissed.
SQUEAK
Harpo, who dis woman?
HARPO
You know who dis is. Go somewhere
and be nice. Me and Sofia just
findin’ our rhythm.
SQUEAK
But I wants to dance too!
Sofia breaks from Harpo.
SOFIA
Fine with me.
Sofia starts to walk away but Harpo grabs her.
HARPO
You don't have to go nowhere. This
used to be your house!
Everyone in the juke joint starts to stare! People murmur.
SQUEAK
What you mean her house?! You said
this was our house. She walked
away, took your baby, and left you
a cryin’ shame. Now you mine.
Dead silence! Sofia takes a breath, swallows her pride.
SOFIA
Like I say. Fine. with. me.
Sofia starts to leave again but Harpo pulls her closer. They
dance a few more steps. Squeak pushes Harpo. Sofia touches
Squeak to calm her down.
70.
SQUEAK
(To Sofia)
Don’t touch me, you snaggle-tooth
heifer!
She SLAPS Sofia! Everyone GASPS!
BUSTER & MISTER

Time to go.
Sofia stares at Squeak. Buster rises, heads toward Sofia.
BUSTER
Momma bear, don’t do nothin’ rash.
Sofia steps to Squeak. Half the juke hurries out. The other
half slowly hides under tables.
Sofia CHARGES at Squeak! They roll on the floor, FIGHTING!

Sofia decks Squeak with one punch, her legs go flying in the
air - she is knocked out. Mister shakes his head. IN ALL THE
COMMOTION, SHUG GRABS CELIE’S HAND AND EXITS THE JUKE.
EXT. HARPO’S JUKE JOINT - NIGHT
THE CAMERA FOLLOWS Shug and Celie as they walk close. We hear
the distant sounds of brawling at the juke joint.
CELIE
You keep singing at the juke, I bet
Harpo make a lot of money.
SHUG
Aw, he don’t need me. That boy got
a good head on his shoulders. He
goin’ places most folks never
dream. ‘Sides, as much as I’d like
to stay, Memphis callin’. If I
don’t remind folks I’m still alive
in the big city, they’ll forget
about me.
Celie is gutted by this news.
CELIE
I ain’t ready for you to leave.
Mister so much nicer when you
around. He don’t beat me as much.
SHUG
Beat you? Why he do that?
Celie shrugs; looks at the ground.

71.
CELIE
‘Cause I ain’t you, I guess.
SHUG
You gots to stand up to him. You
gots to try.
CELIE
When you leavin’?
SHUG
Tomorrow afternoon. But I’ll be
back in a month or so, you’ll see.
Celie finally looks at her.
CELIE
When you gone a hour, it feel like
forever to me.
SHUG
That’s why I gots to come back.
Nobody love me like you.
Shug opens her car door for Celie to step inside.
CELIE
Where’s we goin’?
SHUG
Time fo r you to see more of the
world.
Shug drives away. Celie smiles.
EXT. THE ELMIRA MOVIE THEATER - NIGHT
Shug pulls up to the cinema and screeches to a halt.
They walk towards the entrance with their arms linked.
They approach A WHITE TICKET BOOTH OPERATOR who sits in a

glass box.
WHITE TICKET BOOTH OPERATOR

May I help you?
SHUG
Two tickets, please.
Shug hands him money. He gives her the tickets.

72.
INT. THE ELMIRA MOVIE THEATER - MEZZANINE - CONTINUOUS
They sit in the front row of the balcony. NO ONE IS THERE BUT
THEM. A black and white movie plays. Celie is engrossed by
the screen yet she can feel Shug staring at her.
IMAGINED:
The shaft of light emanating from the movie projector pours

onto Celie, she glances at Shug and the CAMERA pushes into
the movie screen.
EXT./INT. KITTY HAWK PLANE - DAY
Celie imagines herself and Shug on screen instead of the

actress in the movie. She looks at Shug who is piloting the
aircraft. We hear a rousing score.
They fly off screen as...
INT. FILM STAGE - CONTINUOUS
The movie screen rises r evealing a stage. On both sides sits

an orchestra dressed in tuxedos and an art deco background.
Celie and Shug walk down the stairs to center stage dressed
in stunning gowns. They sing into box head microphones.
12. “WHAT ABOUT LOVE?”
CELIE
Is that me who's floating away
Lifted up to the clouds by a kiss
Never felt nothin' like this
SHUG
Will you be my light in the storm?
Will I see a new world in your
eyes?
CELIE & SHUG

With you my whole spirit rise
CELIE
And what about hope
SHUG
What about hope
CELIE
What about joy
SHUG
What about joy
73.
CAMERA CLOCKS the musicians in the orchestra.
CELIE & SHUG

What about tears when I'm happy
What about wings when I fall
Then back to Celie and Shug.
CELIE & SHUG (CONT’D)

I want you to be a story for me
That I can believe in forever!!!
CAMERA SPINS around them. They sing to each other.
SHUG
And what about...
CELIE
What about...
SHUG
What about...
CELIE
What about...
CELIE & SHUG

Love?
They move in closer and hold hands.
CE LIE
What about...
SHUG
What about...
CELIE
What about...
SHUG
What about...
CELIE
What about love?
CELIE (CONT’D) SHUG

You and me, You and me,
You and me, You and me and love now
Sing to me oh, oh, oh, oh
CELIE & SHUG

What about...
74.
SHUG
What about...
CELIE
What about...
CELIE & SHUG

Love?
INT. THE ELMIRA MOVIE THEATER - MEZZANINE - NIGHT
They are back in their seats, KISSING.
INT. MISTER'S HOUSE - SHUG'S ROOM - NIGHT
Shug takes Celie into her bedroom and into her bed.
They kiss. Shug turns off the light, giving us the impression
that they will sleep together.
INT. MISTER'S HOUSE - SHUG'S ROOM - NEXT MORNING
Celie is still asleep when S hug wakes in bed. She feels dawn
on her skin. She gets out of bed and slips into her robe.
INT. MISTER'S HOUSE - DOWNSTAIRS - DAY
Shug is about to make coffee when she sees the postman coming
up the road in a 1920s U.S. Mail truck.
EXT. ROAD LEADING TO MISTER’S HOUSE - CONTINUOUS
She meets the postman at the mailbox. He sees her in her robe
and is embarrassed. This tickles her.
SHUG
(grinning)
Mornin’.
S hug opens her hand to take the mail from him.
POSTMAN
Albert around?
SHUG
Naw. Probably passed out somewhere.
The postman nods his hat then leaves. Shug sorts through the
mail. She sees something that catches her eye.
75.
CAMERA FOCUS: On the return address. THE LETTER IS FROM

NETTIE IN AFRICA! Shug gasps!
SHUG (CONT’D)
Mercy to glory...
She rushes into the house.
INT. MISTER'S HOUSE - SHUG'S ROOM - DAY
Shug bolts into the room, waking Celie!
SHUG
It’s from her!
CELIE
(wiping her eyes)
What’s from who?
SHUG
You got a letter. Celie, it’s...
...it’s from ya Nettie.
Shug hands her the letter. Celie looks at the return address.
Tears fill her eyes. She opens the letter, reads.
CELIE
“Dear Celie, I hope this r eaches
you, as I’ve been writing you every
week for years. I suppose you
didn’t get any of my letters
because you haven’t written back.”
Celie looks at Shug IN SHOCK.
CELIE (CONT’D)
(to Shug)
She’s alive. My Nettie, she...
Celie is so overcome she can’t continue. Shug takes the

letter and helps.
SHUG
“You probably won’t get this
either, because Mister is still
probably the only one who takes
mail from the box. B ut if you do
get this, I want you to know, I
love you, and I’m not dead.”
Celie takes the letter, looks at it, clutches it to her heart

as tears flood her face.
76.
INT. HARPO’S JUKE JOINT - DAY
Mister is passed out at the bar. Harpo has just cleaned the
place after a long night of revelry.
HARPO
Time for you to go home, pa.
Mister wakes, groggy. Harpo helps his father up.
MISTER
Why you givin’ way free drinks?
It’s bad for biz-ness. The point is
to make money, not give it away.
HARPO
I hear ya, pa.
Harpo escorts his father outside.
INT. MISTER'S HOUSE - SHUG'S ROOM - DAY
Celie is reading the letter again when Shug nudges her.
SHUG
There’s got to be more of ‘em
somewhere.
They look at each other. They rush into--
INT. MISTER'S HOUSE - MASTER BEDROOM - CONTINUOUS
--Mister’s bedroom and hurriedly look for the other letters.

They look under the mattress. In his drawers. In his
suitcase. In his closet. Celie gets nervous.
CELIE
He’ll be back any minute.
SHUG
Let’s just t hink. If you were
Albert, what piece of furniture
would you value most?
They both look at the bed.
EXT. DIRT ROAD TOWARD MISTER'S HOUSE - DAY
Mister and Harpo are near the house. Mister is hungover and
can hardly walk. He leans on his son for strength.
77.
INT. MISTER'S HOUSE - MASTER BEDROOM - DAY
The ladies pull the bed back revealing a crack in one of the
floor slats. Celie pulls up the slat and FINDS A LARGE TRUNK.
SHE OPENS IT AND DISCOVERS HUNDREDS OF LETTERS. She is

STUNNED. Celie embraces them.
CELIE
(laughter and tears)
My Nettie sho’ not dead!
They hear the front door SLAM! Mister has entered the house.
MISTER (O.C.)
Shug, baby!
SHUG
(calling back to him)
Just a minute! I’m coming down!
INT. MISTER'S HOUSE - UPSTAIRS HALLWAY - DAY
Celie takes the letters into Shug’s bedroom.
SHUG
Take your time. I’ll keep him busy
downstairs.
Shug exits. Celie organizes the let ters according to date.
EXT. MISTER’S HOUSE - HOURS LATER
Dressed in a fur coat and hat, Shug joins her band members in
the yard. They take her luggage to a truck and drive off.
Shug kisses Mister and embraces Celie.
CELIE
(whispering in her ear)
Take me with you.
Shug eyes Mister, who looks on, jealous. She can’t do it.
SHUG
Next time. I’ll be back ‘fore y’all
can spell Mississippi.
She gets into her co nvertible and waves “goodbye” as her

driver speeds down the road.
78.
EXT. DEADWOOD BEACH - LATER THAT DAY (SPRING, 1923)
Celie sits on a deadwood tree and reads a letter. 13. AFRICAN

HOMELAND.
NETTIE (V.O.)
“Dear Celie, When Mister forced me
off his land, I got a job working
for a pastor across town. He and
his wife needed somebody to see
after their two children. I helped
take care of their babies for food
and shelter. Eventually, they told
me they were going to Africa as
missionaries and maybe I could go
with them.”
Celie looks up from the paper. She imagines the ship sailing
on the hor izon.
NETTIE (V.O.)
“While we were on a great boat to
Africa, the Reverend told me he and
his wife couldn’t bare children.
But God sent them two. They showed
me the name you had sewn on the
baby’s blanket and I knew the
babies God had sent them were
yours. It’s a miracle! Adam and
Olivia are right here with me!”
Celie is overcome by the news!
CELIE
My babies, they’re alive. They with
Nettie!
ON THE BEA CH --
A wave crashes against the shore! She looks to the sea and
imagines Nettie, Pastor Samuel and Corrine arriving by a
paddle boat. She sees Nettie holding her babies.
They are welcomed by THE ASHANTI TRIBE, dressed in royal

regalia.
BARE-CHESTED DRUMMERS BEAT KETE DRUMS.
They’re followed by women dancing to the drum beat. A man

carries a large umbrella that shades the Ashanti King. He is
flan ked by a sword bearer and a staff bearer. The King,
wearing a gold crown and kente cloth, sits on a palanquin
carried by six men. The deadwood tree comes to life.
79.
Leaves sprout and flowers bloom. Celie is awed. She hears The
Ashanti tribe singing:
ASHANTI TRIBE TRIBE

Agoo-aye “A-goo-AYE” (Are you out
Amee there?)
Agoo-aye “A-meeer” (Yes, we are)
Amee “A-gooo-AYE” (Are you out
there?)
“A-meeer” (Yes, we are)
The kete drummers surround Nettie. She is overcome with joy.
ASHANTI TRIBE (CONT’D)

Aye, Aye, Aye
Aye, Aye, Aye
Aye, Aye, Aye
Aye, Aye, Aye
Celie continues to read the let ter.
NETTIE (V.O)
(overlaps following lyric)
It was like black seeing black
for the first time. Beautiful black
people dressed kente cloth. And
when they danced, it was like the
folks in church back home.
ASHANTI TRIBE ASHANTI TRIBE

Agoo-aye “A-gooo-AYE” (Are you out
Amee there?)
there?)
The drum beat intensifies as th e dancers move to the rhythm.
NETTIE (V.O.)
The little I knew about myself and
my people wouldn’t have filled a
thimble. Celie, we are more than
just kings and queens. The world
began here. We are at the center of
the universe.
80.
ASHANTI TRIBE ASHANTI TRIBE

Na okoo, Na! oba “NA-wor-KOO, NA-wor-BA”
Asanteman e kyia mo (He/She goes, He/She comes)
Ye" ma mo Akwaaba-oh “A-san-te-MAN-e-chia moh”
(The Ashanti people greet
you)
“YER ma-moa-KWAA-boh”
(We welcome you)
ASHANTI TRIBE (CONT’D) ASHANTI TRIBE (CONT’D)

you)
(We welcome you) *

Agoo-aye “A-gooo-AYE” (Are you out
Amee there?)
there?)

you)
(We welcome you) *

you)
(We welcome you)
The horn of a Fishing Trawler WAKES CELIE FROM HER REVERIE.

BACK TO REALITY. The Ashanti Tribe has vanished. The b each is
empty.
INT. MISTER’S HOUSE - NIGHT
Celie hurries into the house. She hides the letters and
tiptoes into the bedroom where Mister snores loudly.
81.
Celie slides into bed and the CAMERA STAYS with her. She is
overcome with joy, finally knowing her Sister is alive.
INT. GENERAL STORE - THE NEXT DAY
Celie shops in the General Store and sees MARY ELLEN, 16,
Alfonso’s new wife. ALFONSO comes out of the back room. He
makes eye contact, but she averts his gaze.
EXT. BACK ROAD (MAIN DRAG, BLACK PART OF TOWN) - DAY
Celie continues to read Nettie’s letter as she walks home.
NETTIE (V.O)
Dear Celie, I hope this letter
finds you well. Life has become
dire for us. Our village was bombed
in order to make way for a road to
grow cocoa trees!
CELIE’S environment transforms to the village in Africa.
She imagines the Ashanti tribesmen and women marching away

from their village. BRITISH COLONIAL OFFICERS on horseback
oversee the village’s eviction. Celie ima gines Pastor Samuel,
Corrine, and Nettie carrying her babies among the villagers.
NETTIE (V.O.)
The British colonial administrators
ignored our pleas to let us keep
our land. We couldn’t fight them,
so now we walk to a refugee camp
across the border.
Smoke from the smoldering village becomes smoke from a

locomotive train, snapping Celie back to reality on Main
Street. She continues to read the lette r.
NETTIE (V.O.)
I have faith that God will let us
see each other before we die.
I only hope when that day comes, we
are not too old to recognize each
other.
Celie hurries towards her house.
INT. MISTER’S HOUSE - DINING ROOM - NIGHT
When Celie arrives, Mister is sitting at the table. She puts

a plate of food in front of him and places one for herself.
82.
MISTER
Why supper late?
CELIE
Lost track of time-
MISTER
I works the land sun up to sun down
- breaking my back. All you have to
do is cook and clean and ya can’t
even do that.
CELIE
(gritting her teeth)
I’ll do better.
MISTER
That’s what ya mouth say.
Mister pushes her plate on the floor.
MISTER (CONT’D)
Clean it up! If I got to eat late,
you won’t eat at all.
Celie gets on her knees to clean up the mess.
EXT. MIS TER’S HOUSE - NEXT DAY
Celie is raking leaves when Sofia, Henry, and their children

pull up in a car. Sofia honks.
SOFIA
Miss Celie! Hop on in, we going to
town!
CELIE
I can’t. Gots work ‘round the
house.
SOFIA
Work can wait. Come on, gal. I
ain’t seen you since Jesus wept.
Get in here!
Celie thinks. Then in her first act of defiance, she proudly

gets into Sofia’s car.
INT./EXT. SOFIA’S SEDAN - DAY
Celie sits in the back, sandwiched between Sofia’s children.

83.
EXT. MAIN STREET - GAS STATION (WHITE PART OF TOWN) - DAY
Sofia, and her children eat ice cream cones as they lean
against the sedan. Henry pumps gas into the car’s tank. Celie
sits in the back seat.
THE MAYOR pulls up to the gas station in a convertible. His

wife, MISS MILLIE, sits in the passenger seat. She SPOTS
Sofia’s children and walks up to them.
MISS MILLIE
(to Sofia)
Are those yours? They so chocolate
I could eat ‘em up. And so well-
behaved. And clean. You should come
be my maid.
SOFIA
No and no, thank you. Come on
chill’ren. Let’s get in the car.
MISS MILLIE
You sure? That’s a lot of mouths to
feed.
Sofia ignores her. Miss Millie is relentless.
MISS MILLIE (CONT’D)

I’m Miss Millie in case you
wonderin’. The mayor’s wife. I’m
sure you heard of me. If not, just
ask around. The colored love me.
I’l l pay you fair.
Henry can see that Sofia is getting riled up.
HENRY
(to Sofia)
Honey, just get in the car.
Celie stares out of the back window, as Miss Millie persists.
MISS MILLIE
I’m talkin to you, gal! You wants
to be my maid or not?!
Sofia stops with her back to Miss Millie. She thinks, then:
SOFIA
Hell. No.
Miss Mille gasps! All the WHITE PEOPLE within earshot

grumble! The Mayor rushes to “protect” his wife.
84.
THE MAYOR
What’s that you say to my wife?
Sofia turns around, thinking maybe she’s going to apologize.

But suddenly The Mayor SLAPS her! Sofia punches him without
thinking! He falls out cold. Miss Millie screams!
SERIES OF QUICK FLASHES:
-White men move toward Sofia. White women hurry to help The
Mayor and his wife.
-Celie helps the children into the car. She locks the rear
doors.
HENRY
Come on, Sofia! G et in the car!!!
Sofia won’t budge. She knows if she gets close to her

children they could be in danger as well.
SOFIA
(to Buster)
Get my chill’ren out of here!
Sofia is surrounded by the mob of White Men.
SOFIA (CONT’D)
GET MY CHILDREN OUT OF HERE NOW!!!
Henry is torn, but obeys.
INT./EXT. SOFIA'S SEDAN - CONTINUOUS
HENRY
(to Celie re: the kids)
Don’t let ‘em see.
Celie makes the kids squat down and cover their eye s.
MORE SERIES OF SHOTS:
-The white men close in on Sofia SHOUTING obscenities at her.
-Sofia balls her fists!
-They attack! She swings at them, defending herself.
-SOMEONE HITS HER WITH A TIRE IRON, KNOCKING HER OUT.
TITLE CARD: FALL OF 1923. SEVERAL MONTHS LATER.

85.
INT. LOCAL JAIL HOUSE - HALLWAY - DAY
Sofia sits behind bars. Her wounds have not properly healed
since the attack and her face is somewhat deformed.
Celie enters the corridor with food. She stops at Sofia’s

cell and sits on a stool that’s been put there for her.
CELIE
Hey, Sofia. What you know good?
Sofia remains quiet and motionless.
CELIE (CONT’D)
Sorry, I’se late. The weather
outside is just awful. But yo u know
I won’t miss our visits come hell
or heaven-take-me.
Celie smiles. Sofia does nothing.
CELIE (CONT’D)
Sheriff said I could bring you a
plate for Thanksgiving. He say you
ain’t ate in days.
She slides a plate of food into the cell.
CELIE (CONT’D)
Made your favorites: yams,
collards, turkey legs, hot water
cornbread, black-eyed peas, and
peach cobbler.
(then)
Harpo and Squeak been keepin’ a
close eye on your ch ill’ren. Buster
was helpin’ out but...figure he
couldn’t get over not defendin’
you. It broke him some. So he up
and left town. But Harpo love his
kids like they his own. He been
makin’ lots of money down at the
juke ever since Squeak started
sangin’-
The hallway door cracks open. DEPUTY enters.
DEPUTY
Time to go.
CELIE
But I just got here.
86.
DEPUTY
‘Said, time to go.
A beat, then.
CELIE
(to Sofia)
I’ll be back next week. Eat
somethin’ for me, hear? I’m a get
you out of this place, God’s my
witness.
MONTAGE: (SOFIA IN JAIL SEQUENCE)
EXT. JAIL - DAY
We hear the clanging sounds of jail bars closing. This forms

the beat for 14. “HELL NO (REPRISE).” Celie sings as she
walks away from the jail.
CELIE
Girl child ain’t safe in a family
‘o mens!
I’m sick and tired how a woman
still live like a slave.
Oh, We better learn how to fight
back
While we still alive!
Tears flood Celie’s eyes. She glances back at the jail.
CELIE (CONT’D)
So all of us girls can beat back
that jive!
‘Cause when a man just don’t give a
damn...Hell no!
Hell, hell no! No, no, no, oh no!
My Lord! My Lord! Hell no! No, no
no!
INT. JAIL CELL/HALLWAY - DAY
CAMERA starts on Sofia in her cell. Celie, Harpo and their

young children standing there to visit. Heavy rain rattles on
the jail window.
A FEW MORE YEARS HAVE PASSED. Sofia’s wounds have healed. We

see a snowstorm outside the jail window, Celie, Harpo and
Sofia’s now older kids stand outside the jailhouse.
Sofia sweats in a hot jail c ell. The sun beams through the
jail window.
87.
We see Celie, Harpo, and Sofia’s now young adult children.

The jail door creaks open. Miss Millie steps into frame.
EXT. OUTSIDE JAIL HOUSE - DAY
Sofia walks out of jail on Miss Millie’s arm, Harpo and her
children are surprised to see how old she looks.
MISS MILLIE
Aren’t we proud of our Sofia? She’s
come so far, I’ve agreed to let her
live and work for me till she gets
on her feet.
Miss Millie waits for an applause. There is none.
MISS MILLE
Well. Come on then.
Miss Millie heads to her car. Sofia follows, but not before
she embraces her children. Celie hands her a cardigan that
she made. HARPO AND SOFIA LOCK EYES. They embrace. HONK!
Miss Millie is in the car honking the horn.
MISS MILLIE
Let’s not dawdle.
Sofia tries to break from Harpo’s arms but he won’t let go.
He cries. She softly pushes him away then gets into the car
with Miss Millie. The latter drives off.
INT. MISTER'S HOUSE - LIVING ROOM - DAY
BLACK HANDS open Nettie’s latest letter. While we hear her

voice, we see sharecroppers picking indigo in Mi ster’s field.
NETTIE (V.O.)
“Dear Celie, The letters you’ve
sent fill my days with joy. I know
it must have been hard finding me.
We’ve had to relocate several times
over the years. I’ve decided it’s
best that me and the children make
our way back home to you. The
British have seized the East.
Nationalist movements are on the
rise. We lost our passports and
documentation when our village was
burned. Celie, we need your help
getting back to The States.
(MORE)
88.
NETTIE (V.O.) (CONT'D)
As soon as you get this, please go
to the immigration office to prove
our citizenship. You’re our only
hope.”
Celie walks into the house and we realize the letter wasn’t
being read by her. It was Mister!
MISTER
I told you not to touch the mail?!
Says here you been writing her.
He SLAPS CELIE! She falls at his feet. Mister leans over her.
MISTER (CONT’D)
Shug be here shortly. Come shave
me.
CLOSE ON Celie: Doubled over, holding her face. We see

Mister’s feet walking away.
EXT. MISTER'S HOUSE - FRONT PORCH - MINUTES LATER
FOCUS ON: A STRAIGHT RAZOR. Celie sharpens it against a

leather strap. Her hand is steady. Her eyes are cold. She
continues to sharpen the straight razor as...
Mister walks onto th e porch, WHISTLING. His lower face is

covered in shaving cream. He sits in a chair and leans his
head back. Closes his eyes.
Celie holds his chin up. She places the blade near his Adam’s
apple. SHE IS JUST ABOUT TO SLICE HIS THROAT WHEN-
HONK! THE SOUND OF A CAR HORN!
Mister JUMPS UP, looks at her and realizes that Celie was
just about to slit his throat. Celie’s hand is TREMBLING!
Mister rubs his neck, in shock. Now he’s trembling! ANOTHER
HONK!
SHUG (O.C.)
I’se home!
EXT. MISTER'S HOUSE - DAY
A yellow convertible pulls up to the house. Shug hops out

with her new husband GRADY, 40-something, debonair and rich.
They walk up to the porch where Celie and Mister are.
89.
SHUG
The minute after we gots married,
Grady say, “honey, what you want
for your honeymoon?” I told him two
things: a new car and a drive to
see my two favorite peoples for
Easter.
She lets out a high pitch scream! She hugs them both. They
don’t even smile. Grady steps forward, shakes their hands.
GRADY
Shug talks about y’all so much, I
feel like we already kin.
An awkward tension. Shug tries to break it:
SHUG
Miss Celie, us married ladies now.
What y’all got to eat?
Shug takes Celie’s arm. They enter the house.
EXT. MISTER'S HOUSE - LATER THAT DAY
Miss Millie speeds down the road in her automobile with Sofia
in the passenger seat. She drives to Mister’s house. Then
breaks. Then backs up. She’s finally letting Sofia be with
her family. Sofia gets out and slowly walks to the door. She
wears the card igan that Celie made for her. She looks worse
than ever.
INT. MISTER'S HOUSE - DINING ROOM - LATER THAT DAY
Easter dinner. Mister and Ol Mister sit at the heads of a

long table. Around the table sits Harpo, Grady, Sofia,
Squeak, Celie, and Shug. Sofia sits with her head hung low.
GRADY
That was a fine supper, Miss Celie.
I’m fuller than a tick on a big
dog.
Grady releases a belly laugh! Celie says no thing. She hasn’t

been herself since Mister hit her and a rage is simmering.
HARPO
Sofia, we glad you finally home.
You sure you don’t want to eat?
Sofia shakes her head “no.” Ol Mister smokes a cigar.

90.
SHUG
It’s come time for me to tell
y’all, Me and Grady can’t stay. We
need to be on the road ‘fore dusk.
Everyone groans in protest.
MISTER
Y’all just got here.
SHUG
I know. But Grady got to get back
to work tomorrow. Also... we takin’
Celie with us.
MISTER
Come ‘gain?
SHUG
Celie coming to Memphis with us.
It’s time she saw more of the
world.
Mister laughs. Then he realizes she’s serious. He’s angry!
MISTER
Like hell! I’d die ‘fore I let that
happen.
CELIE
Good. That’s just the going away
present I been needin’.
OL MISTER
Woah, son. Handle your woman. She
found her mouth-
MISTER
She just bein’ stupid. What’s
gotten into you, dummy?
CELIE
I done had enough of you! That’s
what’s gotten into me. It's time
for me to get free from you and
enter Creation.
Ol Mister stands as if he’s actually going to fight.
OL MISTE R
You ain’t gon’ be talkin’ to my boy
that way in my house!
91.
CELIE
Maybe if he hadn’t been your boy he
mighta turned out an inch of a man!
Mister RISES, RAISES HIS FIST to hit her. She stands up to

defend herself, holding A KNIFE. People panic! Shug tries to
take the knife to no avail.
CELIE (CONT’D)
(to Mister)
You took my sister Nettie from me.
You hid her letters all those years
when you knew she was the only
person love me.
(to everyone else)
She alive! My Nettie in Africa! And
my chill’ren they with her ‘cause
there’s a God. And when they come
home, all us together gon’ beat
your black ass!
GRADY
I better start loading the luggage.
He leaves to do so. Shug cautiously takes the knife from

Celie.
HARPO
Miss Celie, it’s Easter. Let’s try
and be civil-
CELIE
Your daddy made my life hell on
earth! He ain’t nothin’ but a sack
of dead horse shit and horse shit
belong in t he ground.
Sofia releases a small laugh that GROWS into a holler!
SOFIA
(still laughing)
She called him a sack of dead horse
shit! Now if that ain’t worth the
joy of laughter, I don’t know what
is. Harpo pass me them peas.
Confused, Harpo passes her peas. Everybody looks at Sofia,

stunned.
SOFIA (CONT’D)
Yes, Lawd. I wants to thank you,
Miss Celie...for everything you
done for me. I was feelin’ my bad
rottin’ in that prison cell.
(MORE)
(MORE)
92.
SOFIA (CONT’D)
But you came and seen’t ‘bout me
every week without fail. That’s how
I knows there’s a God. ‘Cause He
gots to be livin’ in you. Harpo
pass me dat ham.
OL MISTER
The women at this table done lost
they’ze mind.
SHUG
Jus’ hush, you old toothless goat.
Celie and Shug rise to leave. Mister stands in their way.
MISTER
(to Celie)
You leave and you not gettin’ a
dime from me. Not a red cent.
Celie SLAMS her hand on the table!
CELIE
Did I ever ask you for anything!?
Did I EVER ask you for ANYTHING
including your hand in marriage?!
Shug slowly puts her arms around Celie and escorts her out.
SHUG
Come on, Miss Celie. Let’s go now.
Sofia can take care of this.
Shug and Celie exit the house.
SOFIA
(while eating)
Mmm huh. Sofia born to take care
this. Y’all go on!
Squeak gets up. Harpo grabs her.
HARPO
Where you going Squeak?
SQUEAK
I wants to go to Memphis too.
HARPO
And do what?
SQU EAK
I wants to be a singer like Shug.
93.
HARPO
So you just leavin’ me? SQUEAK?
SQUEAK
My name ain’t Squeak. It’s Mary
Agnes.
Squeak shrugs. She exits. Sofia chuckles. She continues to

make her plate.
SOFIA
Old Sofia home now. There gon’ be
some changes made!
All the men look at each other, shocked. Ol Mister smokes and
Harpo scratches his head. Mister runs outside.
EXT. MISTER’S HOUSE - CONTINUOUS
Grady puts the last of the luggage in the trunk . Celie, Shug
and Squeak are getting in the car when Mister approaches.
MISTER
(to Celie)
You’ll be back! Shug got talent.
And looks. All you fit to do is
clean her slop-jar and cook her
food. You not even that good a
cook.
Mister is just about to grab Celie, when she turns around and
points two fingers at him. Cursing him. Her hand is steady.
Mister is afraid to move.
CELIE
Until you do right by me...
everything you think about
gon’ crumble!
Everyone is awe-struck, feeling the weight of the moment.

Celie gets into the back seat of the convertible and slams
the door. Grady, Shug and Squeak hurriedly get in. Grady
starts the engine. Mister runs up to Celie.
MISTER
You’ze black, poor, you ugly, you a
woman. I shoulda kept you under my
shoe like the roach you is.
Celie won’t look at him. She simply re plies:

94.
CELIE
The jail you planned for me is the
one you’ll rot in.
(no malice but insight)
Everything you done to me. Already
done to you.
As Grady drives off, she stands and faces Mister.
CELIE (CONT’D)
I may be poor. I may be black. I
may even be ugly. But I’m here!
Mister watches as they drive away.
MISTER
(calling after her)
You'll be back!
EXT. TREE-LINED STREET - DAY
Grady drives away from Misters House. Celie fon dly remembers
the good times with her sister Nettie.
EXT. GEORGIA ROAD TO HIGHWAY - NIGHT
Grady’s car turns off of a dirt road and onto a paved

highway.
EXT. TENNESSEE ROAD - MORNING
They pass a road sign that reads: “WELCOME TO MEMPHIS.”

CAMERA FOCUSES on Celie’s face. We see the reflection of
lights, buildings, and steamboats on her beautiful skin. This
is her first time in a major city.
EXT. SHU G’S HOUSE - MORNING
Grady pulls up to a Victorian house with a well-manicured

garden.
INT. SHUG’S HOUSE - LIVING ROOM - MORNING
Shug and Grady give Celie and Squeak a tour of the huge and
beautiful home. The ladies are speechless.
95.
INT. SHUG’S HOUSE - CELIE’S ROOM - MORNING
Shug shows Celie her room. It is breathtaking.
SHUG
If you ask me, this room gets the
best sunlight.
CELIE
Ain’t never had my own room before.
Afraid I won’t know how to act.
SHUG
Then just act natural.
Celie opens the shades. A glaze of sunlight falls over her.

THEY HOLD HANDS AS THEY WATCH THE DAWN. The sun shines!
EXT. MISTER'S LAND - INDIGO FIELDS - DAY
The s un is scorching the earth. SHARECROPPERS are working in

the fields, cutting Mister’s crop, and keeping their heads
cool with straw hats and wet rags around their necks.
A SHARECROPPER EXAMINES A LEAF. IT LOOKS CHEWED. He looks at

more leaves. They’re all chewed. He runs to Mister.
SHARECROPPER
Boss, you might wanna come look.
SERIES OF SHOTS:
-Mister looks at leaves in his crop. All are chewed up.
-He moves further down the row and finds a colony of leaf
beetles hiding at the roots of several plants.
-He gets so angry he kicks the dirt and A PLAGUE OF LEAF

BEETLES FLY INTO THE AIR! The sharecroppers run off. Mister’s
entire harvest is RUINED.
-He sets fire to the entire crop. Mister watches it burn. We

see the dancing flames and the rising smoke reflected in his
eyes.
TITLE CARD: FALL OF 1945.
IN T. SHUG’S HOUSE - CELIE’S ROOM - DAY
Celie is sitting in an armchair sewing the quilt that she has

been working on throughout the film.
96.
We can hear people CHEERING downstairs. A knock. Shug cracks

open the door and enters.
SHUG
Girl, what you doin’ still up in
this room? We got company.
CELIE
I’m almost done.
SHUG
You been workin’ on that quilt
since before I even met you. It can
wait. Come on!
She grabs Celie.
INT. SHUG’S HOUSE - STAIRWAY - DAY
She guides Celie downstairs, covering her eyes and into...
INT. SHUG’S HOUSE - PARLOR ROOM - D AY
...a room where dozens of Shug and Grady’s friends (affluent

African Americans in Memphis) await Celie.
EVERYONE
Surprise!
Shug removes her hand from Celie’s face REVEALING THE CROWD
OF PEOPLE AND A BIRTHDAY CAKE that Squeak holds.
SQUEAK
Happy Birthday, Miss Celie.
Celie is elated! She blows out her candles and folks CHEER!
Shug presents her with a gift.
SHUG
Here. This that little somethin’
you scra tched out of my head.
Celie unwraps it, revealing a new vinyl record. Grady sits at

the piano and begins the chords for 15. “MISS CELIE’S BLUES.”
Shug sings to Celie. Grady plays the piano.
SHUG (CONT’D)
Sister, you've been on my mind.
Sister, we're two of a kind
So sister, I'm keepin' my eyes on
you. I betcha think
I don't know nothin'...
(MORE)
97.
SHUG (CONT’D)
But singin' the blues
Oh sister, have I got news for you
I’m somethin'
I hope you think
that you’re somethin' too
Oh, Scufflin'
I been up that lonesome road
And I seen a lot of suns goin' down
Oh, but trust me
No low life's gonna run me around
Shug takes Celie by the hand pulls her close. We clock Squeak
flirting with Grady.
SHUG (CONT’D)
So let me tell you somethin' sister
Remember your name
No twister,
go nna steal your stuff away
My sister
We sho' ain't got a whole lot of
time
So shake your shimmy,
Sister
'Cause honey the 'shug
is feelin' fine.
Celie and Shug embrace as everyone applauds.
THE PHONE RINGS! Squeak answers. She says something inaudible

then approaches Celie.
SQUEAK
You got a call.
She hands her the phone.
CELIE
Who is it?
SQUEAK
Don’t know but sounds urgent.
TIGHT SHOT ON CELIE taking a phone call.
CELIE
Evening. This Celie.
She hears news. We can tell by the look on her face that she
is in shock.
SMASH TO:
98.
EXT. OUTSIDE CHURCH ON A HILL - DAY
We see a WIDE SHOT of the facade as we hear Reverend Avery’s

booming voice!
REVEREND AVERY (O.C.)

Oh God, we thank you for the life
of Mr. Alphonso.
INT. CHURCH ON A HILL - CONTINUOUS
We are at Alfonso’s homegoing. Reverend Avery is standing

behind a podium giving the eulogy; handkerchief in hand.
REVEREND AVERY
Bible say we ought to weep when a
child is born and rej oice when a
body goes to the dust. Because in
death there is everlasting life for
those who are pure in heart.
As he speaks, the CAMERA FINDS Celie sitting on a church pew

in between Sofia and Shug. We get the sense that the ladies
are there to support her. Shug holds her hand.
Mary Ellen, Alfonso’s widow, sits in the front pew as she

stares at the closed casket. She is both grieved by the death
of her husband and somewhat grateful that she can start her
life anew. Near the casket, stands a funeral wreath and a
black and white photo of Alfonso - looking mean and surly.
Except for a FEW CONGR EGANTS who pride themselves on never

missing a church service - the place is empty as a whistle.

Mr. Alfonso... was a man... unlike
any man I’ve ever known. He was
hardworking. Diligent. He possessed
a quiet demeanor.
SOFIA
(under her breath)
Yeah, quiet as a snake.
The reverend clears his throat. His way of cautioning Sofia.
REVEREND AVERY
Sho. He could be difficult and
stubborn.
SOFIA
Now you preachin’!
99.
Shug SHUSHES Sofia. She responds by snapping her fan open and
fanning herself. The reverend is grateful that his daughter
has come to his aide. Shug stares at him, hoping he would
glance in her direction. He doesn’t. He continues...
REVEREND AVERY
I’d be a lie, if I said I was
certain Mr. Alfonso made it to The
Pearly Gates. But what I do know,
is that if we don’t forgive, and
ask for forgiveness fr om others...
We can tell his words are affecting Shug. Celie holds Shug’s
hand even tighter. Shug perks up hoping her father will
finally look at her... but he doesn’t. Not yet.

...God will be hard-pressed to show
His mercy toward us. So don’t
tarry, church!
He finally looks in Shug’s direction.

For no man knows the day nor the
hour when we will see our father
again. Amen.
He nods to an ORGANIST to play, implying that he is done.
EXT. OUTSIDE CHURCH ON A HILL - FRONT STEPS - DAY
People gather. A hearse is parked on the lawn. Celie and Mary

Ellen embrace. She whispers something in Celie’s ear as...
SOFIA
(to Shug)
Your pa sho know he can preach. But
all that talk of hell got me
thirsty! Let’s us mosey to the juke
for a drank.
Shug looks back into the church through the front door. She
sees her father walking toward her. She thinks he may speak
to her but S ofia grabs Shug’s arm and walks toward Celie.
SOFIA (CONT’D)
We go’in to drank. You comin’?
CELIE
Y’all go ‘head. I’ll be there soon.
Sofia and Shug head to the juke without Celie.

100.
EXT. THE GENERAL STORE - DAY (A WEEK LATER)
Back in town, a horse driven hearse carrying the casket of

Alfonso passes before Celie and Mary Ellen - Alfonso’s widow.
The women wear all black.
INT. THE GENERAL STORE - MINUTES LATER
Celie peruses the store. It’s dusty and unkempt. Mary Ellen
comes downstairs with a suitcase. She hands Celie keys.
CELIE
What’s this for?
MARY ELLEN
It’s for you of course. T he place
is yours.
CELIE
He didn’t leave it to you?
MARY ELLEN
No, ma’am. It what’in his to give.
(then)
You didn’t know?
CELIE
We wasn’t exactly on speaking
terms...
MARY ELLEN
I see. Well. When I went to settle
Alfonso’s will, I found out from
the lawyer, this wasn’t his land
nor his sto’. Your pa built this
place and when he died, the place
went to your ma-
CELIE
But Alfonso was my pa.
MARY ELLEN
No, ma’am . I read the papers
myself. The one your real pa drew
up. Long before your maw met
Alfonso. Your real daddy even put
you and your sister’s name on the
deed. That’s how I know this here
land belong to y’all.
Celie is so shocked, her knees nearly buckle.

101.
CELIE
I don’t believe it. He... Alfonso
whatin’t my real pa. I had a pa and
a mamma that loved me. Sweet
Jesus... my people loved me.
Celie breaks into tears. Mary Ellen puts her hand on Celie’s
shoulder.
MARY ELLEN
I hope this place brings you and
your sister comfort.
Celie nods, “thank you.” Mary Ellen leaves with her suitcase.
A beat, then... Celie SCREAMS! Then she claps her hands and
holds herself to push back more tears. She closes her eyes.
SHE IMAGINES: HER MAMA STANDING BEHIND HER IN THE REFLECTION

OF THE WINDOW GLASS.
CELIE
Ma, I got our home back. Now what’s
I gon’ do?
PRE-LAP: CHIME OF THE BELL ON THE FRONT DOOR.
INT. CELIE’S FANCY PANTS SHOP - DAY (MONTHS LATER)
GRAND OPENING. A small crowd has gathered to celebrate the

opening of Celie’s store.
CELIE SINGS 16. “MISS CELIE’S PANTS”
With the women in the shop, Celie slides across the floor
hanging onto a dress rack with wheels.
CELIE
All I need's a needle and a spool
of thread. Got about a million
patterns in my head.
She slides by several ladies who hop out of dressing rooms

wearing fabulous pants! They all dance in sync!
CELIE (CONT’D)
All the ladies' legs are gonna love
to dance. When they in Miss Celie's
pants.
102.
SEAMSTRESSES
Gabardine, velveteen, satin, or
lace. Buttons and bows all over the
place.
They toss buttons and lace into the air as if it were Mardi
Gras! Sofia crowns Celie with a headscarf-crown!
CELIE
Styles that make you feel like a
queen.
Seamstresses roll by on wheeled-platforms while sitting at

sewing machines.
SEAMSTRESSES
That woman's a wiz with the sewing
machine!
The women dance The Charleston, etc. The fabric of their

pants changes every few seconds!
CELIE/SHUG/SOFIA/SQUEAK/SEAMSTRESSES
Who dat say? Who dat say? Who dat?
Who dat say? Who dat say? Who dat?
Who dat say? What you say?
In Miss Celie's pants! Who dat say?
Who dat say? Who dat?
Sofia enters on skates that match her pants, jacket, and hat!
SOFIA
Lookit here, get out my way.
Sofia's back, and I'm here to stay.
CELIE/SHUG/SOFIA/SQUEAK/SE AMSTRESSES
In Miss Celie's pants!
Shug appears reflected in all of the dressing room mirrors,

wearing a different outfit in each mirror. Celie tries to
figure out which one is the real Shug until Shug taps her on
the shoulder from behind and spins her.
SHUG
Girl, you swept out the mem'ries,
Filled this place with joy.
Sofia pulls down a curtain revealing more shelves of fabric.
SOFIA
In this big ol' st ore!
SQUEAK
Got your sewing machines.
103.
SHUG
Mirrors shiny clean.
SQUEAK
And a fittin' room
Smell like sweet perfume.
SOFIA
That man might have.
SOFIA/SHUG/SQUEAK
Done you wrong...
SOFIA
And brought you to tears, made you
believe you’re not strong.
SOFIA/SHUG/SQUEAK/SEAMSTRESSES
Strong.
CELIE
But look . . .
I said, look . . .
Are you lookin'? . . .
SHUG
We all lookin’ honey.
Celie snatches off her pants revealing another pair!
CELIE
Look who's wearin’ the p ants
INT. MISS CELIE’S FANCY PANTS STORE - DRESSING ROOMS
CELIE
NOW!
Women roll in on the back of dress form dummies. Some Lindy

Hop and tap dance! A few leap in the air from trampolines!
SQUEAK/SOFIA/SHUG/EVERYONE
Who dat? Who dat say? Who dat say?
Who dat? Who dat say? Who dat say?
Who dat?
CELIE/HARPO/SQUEAK/SOFIA/SHUG/EVERYONE
Who dat say? What you say? In Miss
Celie's pants!
104.
CELIE/HARPO/SQUEAK/SOFIA/SHUG/EVERYONE (CONT’D)
Dwee-n-doo-dat, Dwee-n-doo-dat,
Dwee-n-doo-dat, Daah Dwee, Dwee Doo-
Da, Ba-Ba-Doo-Day, Ba-Ba-Doo-Day,
Ba-Ba-Doo-Day
CELIE HARPO/SQUEAK/SOFIA/SHUG/EVERY
Who dat say. Who that say. ONE
Who that say. Dwee-Doo-N-Dow, Dwee-Doo-N-
Doo, Doo-Ba-Doo-Da, Who dat
say? Who dat say? Who dat?
Who dat say? Who dat say? Who
dat? Who dat say? What you
say?
CELIE/HARPO/SQUEAK/SOFIA/S HUG/EVERYONE
In Miss Celie's pants!
Celie does a split in mid-air releasing the final high note!

When she lands, Shug catches her. They kiss. There is a knock
at the door. Celie breaks from Shug to answer it.
Sofia clears tables at the juke. Harpo is counting money at

the bar. A band plays. Very few people slow dance. Sofia goes
behind the bar to put dirty jars in sud water. Harpo sees how
beautiful she is and dances seductively with her to the
music. She refuses him at first but quickly gives in. Soon,
she is taking the lead and he jumps into her arms. They
laugh. Their flirtation is interrupted by...
Mister walking on stage, drunk, playing his banjo. The band

gets annoyed. People bark at him for ruining the mood.
SOFIA
(to Harpo)
Best do something about ya paw. He
been in here ev’ry night this week
causin’ a ruckus and raisin’ Cain.
HARPO
I know, I’ll take care of it.
He winks at her. She bites her lip. Harpo walks up to Mister.
HARPO (CONT’D)
Time to go, Pa.
Mister shoves him away. They scuffle a bit until OTHER MEN
help Harpo control him.
105.
MISTER
Y’all don’t know nothin ‘bout real
music no how! I used to break
hearts back in my day! Women used
to toss off theyz drawers.
(to Harpo)
Tell ‘im boy. Tell ‘im how great I
was. Coulda been in Shug’s band if
I wanted! If I didn’t have to farm
my grandpa’s land...
Harpo puts his arm around his father but says nothing. He
escorts him out of the juke.
EXT. HARPO’S JUKE - NIGHT
IT’S RAINING. Harpo he lps his father home.
MISTER
Had my doubts. ‘Bout you buildin’
that juke, boy. But you done good.
Harpo has NEVER heard a compliment from his father.
HARPO
You alright, pa?
MISTER
‘Course.
Mister shoves him away.
MISTER (CONT’D)
Why you got your arm ‘round me like
I’m old? I can get home myself.
Harpo stops, watches his father walk up the road in the rain.
EXT. MISTER’S LAND - INDIGO FIELDS - NIGHT
It’s pitch black . LIGHTNING FLASHES. Followed by THUNDER!
It JOLTS Mister on his walk home. He tries to cover his ears

from the thunder and shield his eyes from the lightning. It’s
as if they are yelling at him. The rain falls hard as rocks.
He tries to run but trips and falls. He balls up into his

knees. THUNDER CLAPS IN THE SKY. He trembles then crawls
toward his house in the mud, too afraid to stand to his f eet.
106.
EXT. MISTER'S LAND - INDIGO FIELDS - NIGHT
Exhausted, Mister passes out on the wet muddy earth.
EXT. MISTER’S LAND - INDIGO FIELDS - THE NEXT MORNING
He is awaken by the Postman (who is quite old now). Mister

realizes he slept on the ground all night. The Postman helps
him up. Mister stands, embarrassed.
POSTMAN
You alright, Albert?
MISTER
Yes, sir. Fell asleep lookin’ at
the stars is all.
Mister dusts h imself off as the postman hands him mail.
POSTMAN
You take care of yourself.
Mister does not reply, he sorts through the mail. One in

particular catches his eye.
CLOSE ON LETTER: IT’S FROM NETTIE. Mister opens it and

quickly reads. Then he lets his eyes glaze over his burnt
fields then his house, which looks worse than it ever has.
EXT. MAIN STREET - OUTSIDE IMMIGRATION OFFICE - DAY
Mister walks up the steps into the building. He wears an old,

worn-out suit.
INT. IMMIGRATION OFFICE - DAY
He crosses a large foyer and goes up the spiral staircase.
INT. IMMIGRATION OFFICE - WAITING ROOM - DAY
H e waits outside the office. He’s nervous and feels out of

place. A voice startles him.
IMMIGRATION OFFICER (O.S.)

Mr. Johnson?
107.
INT. IMMIGRATION OFFICE - DAY
Mister sits on the other side of the desk from AN IMMIGRATION

OFFICER, 40s, white and male. We start mid-scene:
IMMIGRATION OFFICER
Even if we could find them, which I
doubt, it’ll cost you hundreds to
get them here from Africa.
He hands Mister back the letters.
MISTER
I see. Well. I thanks ya.
Mister starts to leave. Then a thought strikes him.
MISTER (CONT’D)
Say, I gots some land . I could sell
some of it and get the money.
That’ll help wouldn’t it?
The Officer looks at Mister like he’s a fool.
IMMIGRATION OFFICER
If I were you sir, I’d put my money
to better use.
INT. CELIE’S FANCY PANTS SHOP - NIGHT
Celie is sweeping when suddenly, THERE IS A KNOCK. She has

her back to the door...
CELIE
We’re closed.
The stranger goes away. She continues to sweep. A beat,

then... the stranger r eturns. Knocks again. Celie gets a look
at the person. They look familiar. She puts down her broom
and cracks opens the door.
INT. CELIE'S FANCY PANTS SHOP - DOORWAY - NIGHT
CELIE
Albert?
MISTER
Eve’nin’. Hate to bother...
CELIE
Something wrong?
108.
He can’t find the words. He hands Celie a box. Inside the

box, there are: A FEW NEW LETTERS FROM NETTIE, that SEPIA
PHOTO OF SHUG and THE TOY RATTLE. She looks at the items and
starts to turn away.
MISTER
Naw. Uh. This gon’ sound odd but...
I come to try on some pants. I can
come back another time if it’s too
much trouble.
Celie thinks, looks at the box, she gives in.
CELIE
Come on in.
MISTER
Obliged.
INT. CELIE'S FANCY PANTS SHOP - CONTINUOUS
Mister enters the store with a box of materials that belong

to Celie. He takes off his hat. Rubs his hand over his head
as a means to brush his hair. We’ve never seen this side of
him. He’s nervous.
She is confused by this. She retrieves her tape measure.
CELIE
You’ll need to take off your coat.
He does. She wraps her tape measure around his waist. They
haven’ t been this close in a decade.
He can’t help but look at her. She has never been more
beautiful.
Or has she always been this alluring and he just failed to

see it? It’s not just her beauty that enchants him, but her
ingenuity. Her smell, her eyes...
MISTER
You... you lookin’ nice... if I may
say. Not just for your age neither.
For any age. Looking... nice.
She ignores the compliment. Points to the sh elves.
CELIE
You see some fabric you like?
He stares at the dozens on her wall. The choice is difficult.

109.
MISTER
Why don’t I just get the one that
nobody ever buys? Help out your
business some.
MINUTES LATER:
He’s wearing the ugliest pair of pants in creation. He looks

in the mirror trying to put on a brave face. Celie giggles.
CELIE
You sure you want to be seen in
those? They’re starting to make me
itch and I ain’t even wearing ‘em.
MISTER
I don’t mind. Might as well give
folks somethin to laugh about.
(imi tating them)
“Y’all see Mister. I think he done
took a job as a circus clown on
‘count of his new bloomers.”
Celie LAUGHS.
CELIE
Forgive me.
MISTER
Worth it to see you smile.
She stops, surprised by his candor. Now he’s too afraid to

look her in the eyes. Maybe he went too far.
CELIE
I best be closin’ the shop. It’s
getting late.
MISTER
That it is.
He gives her cash to pay for the pants.
CELIE
Thank ya.
He op ens the door and is just about to exit when...
CELIE (CONT’D)
I’m throwing my annual Easter feast
come Sunday. You’re more than
welcome to come by.
110.
MISTER
I’d like that.
(beat)
Say, maybe someday... I don’t
know... if you feel up to it
sometime, maybe you and I, we can
go on a date or something.
Celie is stunned.
CELIE
Uh. Let’s us just be friends.
He nods, tilts his hat then walks away. Celie shakes her
head, grinning.
She examines all of the objects in the box that Mister

brought. Inside, there is Nettie’s hat, a picture of Shug,
her baby’s toy ra ttle - all things that she treasures. She
puts on the hat. It fills her with joy. She sings 17.”I’M
HERE.”
CELIE (CONT’D)
I've got my sister, I can feel her
now. She may not be here, but she's
still mine. I know she still love
me. Got my children, I can't hold
them now. They may not be here but
they're still mine I hope...
They know I still love them.
EXT. CELIE’S FANCY PANTS SHOP - NIGHT
Celie sits on a chair on the porch near the store entrance.
CELIE
Got my house, it still keep the
cold out. Got my chair when m y body
can't hold out. Got my hands doing
good like they s'posed to. Showing
my heart to the folks that I'm
close to.
The moon is so bright. Celie sings her heart out!
CELIE (CONT’D)
Got my eyes though they don't see
as far now. They see more 'bout how
things really are now!
Celie looks up the road.

111.
CELIE (CONT’D)
(looks up, sings to God)
I'm gonna take a deep breath. Gonna
hold my head up. Gonna put my
shoulders back. And look you
straight in the eye.
A crowd begins forming as people come to see who’s singing.

They bring oil lamps. It’s as if her voice is calling them.
CELIE (CONT’D)
I'm gonna flirt with somebody. When
they walk by. I'm gonna sing out!
Sing out!!!
The townspeople surround Celie.
FROM ABOVE:
CAMER A SPINS AROUND THE LIT LAMPS ENCIRCLING HER.
CELIE (CONT’D)
I believe I have inside of me
everything that I need to live a
bountiful life.
CAMERA CAPTURES THE LIT FACES OF THE TOWNSPEOPLE.
CELIE (CONT’D)
And all the love alive in me. I'll
stand as tall as the tallest tree.
And I'm thankful for every day that
I'm given. Both the easy and hard
ones I'm livin'.
She spreads her arms.
CELIE (CONT’D)
But most of all, I'm thankful fo r.
Lovin' who I really am. I'm
beautiful.
SHE KNEELS IN FRONT OF A LITTLE BLACK GIRL.
CELIE (CONT’D)
Yes, you’re beautiful.
WIDE SHOT: REVEALING THAT SHE IS ACTUALLY ALONE.
CELIE (CONT’D)
And I'm here!!!
For the first time, she seems like a giant in the small town.
112.
EXT. MISTER’S HOUSE - MAIL BOX - DAY
Mister opens the mailbox, finds an invitation to Celie’s

Annual Easter Picnic.
EXT. ROAD NEAR CHURCH ON A HILL - DAY
It’s a few days before Celie’s Easter Feast. Shug drives

slowly toward Celie’s house.
INT. SHUG’S AUTOMOBILE - CONTINUOUS
She is fiddling with the radio, trying to find a tune to

soothe her soul when she hears familiar strains coming from a
piano in the distance. She stops her car.
EXT. OUTSIDE CHURCH ON THE HILL - CONTINUOUS
She realizes that she is just a stone’s throw from her

father’s church. She gets out of the car, and follows after
the glorious melody from the piano. The song is familiar.
It’s the signature song she and her father used to sing when
she was a girl. She smiles, hearing the piano.
SHUG
Oh, pa. That used to be our song.
She cl oses her eyes. Letting the music feel her body.
SHUG (CONT’D)
SPEAK MY LORD...
SPEAK TO ME...
EXT. OUTSIDE CHURCH ON THE HILL - CONTINUOUS
Shug stops at the threshold when she sees her father sitting
at the piano. His back is to her. She hesitates then enters.
SHUG
I LOVE YOU, LORD...
SPEAK TO ME...
Reverend Avery recognizes his daughter’s voice. He STOPS

playing but he doesn’t turn around. She walks to him and si ts
beside him at the piano. She sings. He plays.
SHUG (CONT’D)
CAN’T SLEEP AT NIGHT...
They sing together as tears fall from Shug’s eyes.

113.
SHUG & REVEREND AVERY

AND YOU WONDER WHY. MAYBE GOD IS
TRYIN’ TO TELL YOU SOMETHIN’ RIGHT
NOW. OH YES!
She lays her head on his shoulder. He closes his eyes as if

God has finally answered his prayer.
EXT. THE GREAT ANGEL OAK - EASTER DAY
There is an extremely large and round table that surrounds

the ancient tree. The very tree where she and Nettie
frequented when they were young.
THE TABLE IS COVERED I N THE PHENOMENAL QUILT THAT CELIE HAS

BEEN SEWING THROUGHOUT THE FILM.
SERIES OF QUICK CUTS: People arrive. They all greet Celie as

a queen-like figure. They bring food to the table until a
feast appears that delights the eyes. Celie mingles like the
wise elder she is.
MINUTES LATER:
Celie SPOTS Shug with Mister. Shug is carrying liquor. She

kisses Celie’s cheek.
Mister gives Celie a pie. He’s wearin g the ugly pants he

bought.
CELIE
I can’t believe you wore those.
MISTER
Thought it’d help scare away some
of the flies.
She smiles. Mister and Shug sit on either side of her. Celie
is just about to say grace again when she notices something.
CELIE
(looking to the distance)
Now who’s that? Most of the town
already here.
MISTER
I invited a few folks. Hope that’s
alright.
CELIE
‘Course. Everyone’s welcome.
(to folks at the table)
Y’all make room.
114.
People move in closer and add chairs to the circle. Mister

and Shug exchange glances. They know something she doesn’t.
A car stops in the distance. A middle-aged black woman gets

out. She lifts up her head and throws her beautiful voice
into the wind. She sings out: 18. “HUCKLEBERRY PIE
(REPRISE).”
NETTIE
Hey, sista! Whatcha gon' do!?
Celie instantly recognizes the voice. Her body trembles! She

grabs onto the table for dear life.
NETTIE (CONT’D)
Goin' down by the river! Gonna play
with you!
Celie gets up, walks then runs toward the voice. Everyone
around the table looks to see what is happening.
CELIE
Sho nuff sun gon’ shine.
Nettie and Celie run toward one another as tears flood their
eyes.
EXT. THE GREA T ANGEL OAK - CONTINUOUS
NETTIE & CELIE

Gonna be grown ladies of the
marryin’ kind. Gon’ be alright.
Gon’ be alright.
They run into each other’s arms!
CELIE
My Nettie.
NETTIE
Celie.
They are crying, overcome with earth-shattering joy. Everyone

around the table has followed Celie and now stand a few feet
away, watching. When Celie and Nettie break apart, Celie sees
the others.
NETTIE (CONT’D)
These are your child ren, Olivia and
Adam.
They have her smile.

115.
OLIVIA & ADAM

(West African accent)
Momma / Momma it us / We love you,
momma.
Celie hugs and kisses them. She refuses to let them go.
ADAM
This my wife, Abena.
ABENA walks to Celie and kisses her hand.
ABENA
(West African accent)
Your presence blesses us, mama.
You have grandchildren.
Seven black children of various ages run toward Celie,

laughing.
HER GRANDCHILDREN
We pleased! / We pleased to meet
you, Nana !
Celie kneels to them and embraces her grandchildren. She

lifts one of them up, (a toddler) on her waist.
CELIE
My family home!
THE FEASTING TABLE:
Celie stands at the head of the table which now includes her
family and dearest friends. She says grace over the food as
everyone else sits and bows their heads. Her prayer is this
song: 19.“THE COLOR PURPLE.” She stretches out her hand!
CELIE
Dear God, dear stars, dear trees,
dear sky. Dear peoples, dear
everything, dear God.
God is inside me and everyone else
That was or ever will be.
I came into this world with God
And when I finally looked inside, I
found it. Just as close as my
breath is to me.
Moved by her prayer, everyone at the table lifts their heads.
CELIE/NETTIE/SOFIA
Rising...
116.
ADAM/OLIVIA
Rising...
SHUG/MISTER
Rising...
EVERYONE
Like the sun
Is the hope that sets us free.
Celie joins hands with them.
CELIE
Your heart beat
Make my heart beat
EVERYONE
When we share love.
CAMERA CIRCLES THE TABLE and we see many of the people that
we were introduced to in the film: Harpo and Sofia, and all
of their kids (who are now grown and have kids), all of
Mister’s children who are now grown, Mist er and Shug.
CELIE & EVERYONE

Like a blade of corn. Like a
honeybee. Like a waterfall.
All a part of me. Like the color
purple. Where do it come from?
Now my eyes are open. Look what God
has done.
CAMERA STOPS AT THE END OF THE TABLE WHERE IT STAYS ON ADAM

AND OLIVIA AND THEIR CHILDREN. They are all smiles. Happy to
be home. They smile at Celie, who smiles at them from the
other end of the table.
EVERY ONE CELIE

It takes a grain of love, to Grain of love. Mighty tree.
make a mighty tree. Even the Smallest voice. Harmony. Like
smallest voice, can make a a drop of water. River high.
harmony. Like a drop of There are miracles. I.
water, keep the river high.
There are miracles, for you
and I.
CELIE & EVERYONE

Like a blade of corn. Like a
honeybee. Like a waterfall.
All a part of me. Like the color
purple . Where do it come from? Now
my eyes are open. Look what God has
done.
117.
CELIE IMAGINES HER DESCENDANTS OVER THE DECADES:
THE CAMERA ROTATES around the table revealing her offspring

in the 1960’s along with the music and fashion of that era.
THE CAMERA ROTATES AGAIN, and this time we find ourselves in

the 1980’s. The music and style has changed, reflecting the
times. Celie’s descendants are now grown, some with their own
children.
THE CAMERA ROTATES ONCE MORE and la nds in the 2000’s. Celie’s
descendants continue to gather, giving us the impression that
they carry on this tradition every year and with each new
generation.
EVERYONE CELIE
Like a blade of corn. Like a Oh a blade of corn. Like a
honeybee. Like a waterfall. honeybee. All a part of me,
All a part of me. Like the yeah. Like the color purple.
color purple. Where do it Where do it come from? My
come from? Now my eyes are eyes are open. Look what God
open. Look what God has done. has done.
Celie snaps out of her fantasy and we are back at the table
in 1940’s. Celie takes Nettie’s hand.
CELIE (CONT’D)
I don't think us feel old at all.
NETTIE
I think this is the youngest us
ever felt. Yeah.
CELIE & ENSEMBLE (V.O.)

Amen!
SKIES FADE TO BLACK.

The Color Purple 2023

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THE COLOR PURPLE

Screenplay By Marcus Gardley

October 31, 2023

WE HEAR A BLUEGRASS BANJO PLAY as...

TITLE CARD: SPRING OF 1909. THE GEORGIA COAST.

EXT. DIRT ROAD - DAY

MISTER (a handsome indigo farmer) rides his horse. A Stetson

H e passes a GOLDEN WEEPING WILLOW TREE. Inside, the voices of

EXT. THE GREAT ANGEL OAK - DAY

CAMERA MOVES through the tree’s draping bush revealing CELIE,

Wearing white dresses, the girls sit on a branch covered in

CELIE & NETTIE

EXT. DEADWOOD BEACH - DAY

They watch a butter-orange sun climb up from the ocean. The

CELIE & NETTIE

PRE-LAP: A ROOSTER CROWS!

MATCH CUT TO:

EXT. BA CK ROAD (MAIN DRAG, BLACK PART OF TOWN) - DAY

A YELLOW CHURCH HAT RESEMBLING THE SUN is placed on the head

Her female neighbors (CHURCH MOTHER, MISSIONARY, USHERETTE,

FIRST LADY & CHURCH LADIES

They continue to high-step down the road in stylized fashion.

FIRST LADY (CONT’D) ENSEMBLE

FIRST LADY (CONT’D) ENSEMBLE (CONT’D)

EXT. FURTHER DOWN MAIN DRAG, BLACK PART OF TOWN - DAY

FIRST LADY ENSEMBLE 1 & 2

FIRST LADY (CONT’D)

EXT. END OF MAIN DRAG, BLACK PART OF TOWN - DAY

First Lady is not bothered by the sun. She keeps singing.

FIRST LADY (CONT’D)

Some of the ensemble open umbrellas one after the other

First Lady nods to someone thanking them for the shield as

The ensemble continues to move through town with umbrellas

FIRST LADY ENSEMBLE (CONT’D)

EXT. ROAD TO MAIN STREET - DAY

They high-step down the hill. Umbrellas are now used as

Young women march toward the camera, smacking their shoulders

FIRST LADY ENSEMBLE 1/ ENSEMBLE 2

First Lady is so overcome, she starts to faint but some of

FIRST LADY (CONT’D)

Music becomes mellow and ecstatic. Ensemble: oohs and ahhs.

EXT. THE GENERAL STORE - DAY

ALFONSO (the sisters’ only guardian whose cold disposition

All three join the procession.

EXT. GENERAL STORE - DAY

ENSEMBLE 1, 2 AND 3 FIRST LADY

FIRST LADY & ENSEMB LE

EXT. THE CHURCH - DAY

We see REVEREND AVERY at the entrance to the church. He

They all high-step, passing The Reverend, full of the holy

REVEREND AVERY (CONT’D)

Over ensemble and vocal interlude:

INT. THE CHURCH - DAY

Inside, the congregation praises God as folks dance even more

REVEREND AVERY ENSEMBLE

REVEREND AVERY ENSEMBLE

In unison, the entire church falls to their knees. Song ends.

REVEREND AVERY (CONT’D)