Sing Sing
Executive Summary
Poster
Overview
Genres: Drama, Comedy, Prison, Crime, Fantasy, Musical, Romance, Slice of Life, Theater
Setting: Contemporary, Sing Sing Correctional Facility and surrounding areas
Overview: Set within the confines of Sing Sing Correctional Facility, 'Sing Sing' follows John 'Divine G' Whitfield, a dedicated inmate who finds solace in theater amidst the chaos of prison life. The story begins with Divine G leading a theater group, where he navigates the complexities of friendship and personal growth alongside fellow inmate Divine Eye, a tough exterior masking a vulnerable artist. As they prepare for a series of theatrical productions, the narrative delves into their struggles with past mistakes, the transformative power of art, and the bonds formed through shared experiences. The middle of the story highlights the challenges they face, including the loss of a close friend, Mike Mike, which forces Divine G to confront his vulnerabilities. The climax centers around their emotional journeys as they grapple with their identities and aspirations for redemption. Ultimately, the story culminates in Divine Eye's release and Divine G's reflections on his journey, leaving the audience with a sense of hope and the enduring power of creativity.
Themes: Redemption and Self-Discovery, The Power of Art and Theatre, Friendship and Brotherhood, Confronting the Past and Accepting Responsibility, The Struggle for Freedom and Hope
Conflict and Stakes: The main conflict revolves around Divine G's struggle to find his voice and purpose in the theater while dealing with the emotional weight of his past and the challenges of incarceration. Divine Eye's journey of self-discovery and acceptance also plays a crucial role, as he navigates his identity and aspirations amidst the harsh realities of prison life.
Overall Mood: Reflective and uplifting, with moments of tension and humor.
Mood/Tone at Key Scenes:
- Scene 1: The opening scene is somber and reflective as Divine G delivers a poignant monologue about love and loss.
Standout Features:
- Unique Hook: The concept of a theater program within a prison setting, exploring the transformative power of art.
- Character Development: The profound personal growth of Divine G and Divine Eye as they confront their pasts and embrace their artistic identities.
- Emotional Depth: The exploration of themes such as friendship, loss, and the struggle for redemption resonates deeply with audiences.
Comparable Scripts:
- Dead Poets Society
- The Shawshank Redemption
- The Green Mile
- One Flew Over the Cuckoo's Nest
- The Pursuit of Happyness
- The Last Black Man in San Francisco
- A Midsummer Night's Dream
- The Intouchables
- The Miracle Worker
Writing Style:
The screenplay exhibits a diverse range of writing styles, but leans heavily towards dialogue-driven narratives with a focus on complex character relationships and emotional depth. There's a strong emphasis on realistic and witty dialogue, often used to reveal inner conflicts and power dynamics. While some scenes incorporate elements of gritty realism and social commentary, others explore philosophical and existential themes through introspection and unique character interactions. A blend of humor and drama is frequently present, creating engaging and unpredictable scenes.
Style Similarities:
- Aaron Sorkin
- Quentin Tarantino
- David Mamet
Pass/Consider/Recommend
Recommend
Explanation: Sing Sing is a compelling drama with strong character arcs and a unique setting. While the pacing occasionally lags and the plot of the comedic play-within-a-play is somewhat convoluted, the emotional core of the story, focusing on redemption and the power of art within a prison setting, resonates deeply. Minor revisions to pacing and plot clarity would significantly enhance its marketability.
USP: Sing Sing offers a fresh and compelling perspective on the criminal justice system, using the power of theatrical performance and the shared humanity of its diverse ensemble to explore themes of redemption, identity, and the restorative potential of the arts. The script's ability to balance moments of humor and levity with deep emotional resonance, as well as its unique setting within a maximum-security prison, make it a standout work that would appeal to a wide range of audiences seeking thought-provoking and artistically ambitious storytelling.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 18-54, particularly those interested in drama, social issues, and stories of personal growth.
Marketability: The screenplay has strong emotional depth and relatable themes, appealing to a broad audience interested in character-driven narratives.
The unique setting of a prison theater program offers a fresh perspective on redemption and creativity, which can attract viewers looking for innovative storytelling.
The diverse cast and their compelling arcs provide opportunities for strong performances, which can generate buzz and interest in the film.
Profit Potential: High, due to its potential for critical acclaim, award nominations, and a strong connection with audiences interested in meaningful stories.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is multifaceted, blending gritty realism with poetic introspection and a sharp wit. It shifts seamlessly between intense, emotionally charged scenes and moments of light-hearted camaraderie, often employing vivid imagery and naturalistic dialogue to reveal character depth and inner lives. A recurring theme is the transformative power of art, particularly theater, in the context of harsh realities like prison life.
Best representation: Scene 10 - Casting Chaos: The Mummy's Code. Scene 10 best represents the writer's voice because it perfectly balances the gritty realism of the prison setting with moments of profound introspection and understated humor. The dialogue is naturalistic yet poignant, revealing the characters' inner lives and their complex relationship. The setting – a dimly lit cell after lights out – contributes to the intimacy and emotional weight of the scene, while the line 'Dying is easy. Comedy is hard.' functions as a microcosm of the screenplay's overall themes and the writer's distinct style. The scene showcases the author's ability to evoke powerful emotions through subtle interactions and understated language, creating a moment of profound resonance without resorting to melodrama.
Memorable Lines:
- Divine Eye: We the willing, led by the unknowing, have been doing the impossible for the ungrateful for so long, with so little, that now we are qualified to do anything with nothing. (Scene 46)
- MAN ON STAGE: So quick bright things come to confusion. (Scene 1)
- DINO: Everyone has a breaking point, no matter how strong they are. (Scene 51)
- DIVINE G: Releasing those tears is healthy for you. Don’t tamp that shit down. (Scene 4)
- DIVINE G: I say we go for it. I think this is one of those instances where the art we are seeking is also seeking us. I have no idea why... Trust the process. (Scene 19)
Characters
Divine G:A passionate and introspective inmate who leads a theater program, grappling with his past and striving for redemption.
Divine Eye:A fellow inmate with a troubled past, seeking to find his artistic voice while dealing with self-doubt and the weight of his history.
Mike Mike:Divine G's supportive friend, who provides comic relief and a grounded perspective on their shared experiences.
Brent:The civilian director of the theater program, who encourages the inmates to explore their creativity and emotional depth.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - The Complexity of Love | Reflective, Melancholic, Poetic | 9.2 | 10 | 9 | 9 | 9 | 8 | 9 | 7 | 6 | 6 | 5 | 7 | 7 | 10 | 10 | 9 | 8 | 8 | 8 | |
2 - Backstage Celebration | Light-hearted, Reflective, Exciting | 7.5 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 7 | 7 | 8 | 9 | 9 | 9 | |
3 - Determined Solitude | Serious, Intense, Reflective | 8.2 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
4 - Moments of Connection | Emotional, Reflective, Intimate | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
5 - Decisions in the Classroom | Reflective, Collaborative, Serious | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
6 - Betrayal in the Yard | Tense, Confrontational, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
7 - The Facade of Laughter | Serious, Intense, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
8 - Breaking the Ice | Awkward, Lively, Serious | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 4 | 7 | 3 | 6 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
9 - From Serious to Silly: A Theatrical Shift | Serious, Light-hearted, Collaborative | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7 | 5 | 7 | 4 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
10 - Comedy vs. Drama: A Late-Night Reflection | Reflective, Light-hearted, Supportive | 8.5 | 8 | 9 | 8 | 9 | 7 | 8 | 7.5 | 6 | 8 | 5 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
11 - Casting Chaos: The Mummy's Code | Humorous, Whimsical, Creative | 8.5 | 8 | 8 | 9 | 9 | 5 | 8 | 7 | 4 | 6 | 3 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
12 - Audition Antics | Intense, Silly, Profound | 8.5 | 8 | 8 | 8 | 8 | 8 | 8 | 7.5 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
13 - Audition Anticipation | Intense, Reflective, Conversational | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
14 - Defending the Past | Reflective, Conversational, Confessional | 7.5 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
15 - Serious Questions, Funky Revelations | Serious, Light-hearted, Conversational | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | |
16 - Theater Introductions: A Playful Rehearsal | Reserved, Excited, Sarcastic, Transformed | 8.5 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | |
17 - Rehearsal Realities: Embracing the Absurd | Light-hearted, Playful, Creative | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
18 - A Tale of Two Performances | Serious, Awkward, Encouraging | 7.5 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
19 - Embracing the Challenge | Reflective, Humorous, Serious | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
20 - Theater Tensions | Serious, Tense, Intense | 7.5 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 9 | 9 | |
21 - Tension at The Steeple | Tense, Confrontational, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
22 - Tension in the Mess Hall | Frustration, Anxiety, Concern | 7.5 | 7 | 8 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 7 | 7 | 8 | 8 | 7 | 9 | 8.5 | 8 | 8 | |
23 - Chaos in the Cell | Introspective, Tense, Resigned | 7.5 | 8 | 7 | 8 | 8 | 5 | 8 | 7 | 4 | 7 | 3 | 5 | 7 | 8 | 6 | 8 | 8 | 9 | 9 | |
24 - Finding Solace in Brotherhood | Reflective, Serene, Hopeful | 9.2 | 9 | 9 | 8 | 10 | 8 | 8 | 7 | 2 | 6 | 3 | 7 | 6 | 10 | 9 | 8 | 8 | 8 | 8 | |
25 - Finding Focus in Chaos | Tense, Reflective, Hopeful | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 7 | 8 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
26 - Rehearsals of Reflection | Reflective, Intimate, Resigned | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
27 - Guidance and Uncertainty | Informative, Supportive, Reflective | 8.5 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 3 | 7 | 5 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
28 - Theatrical Deaths: A Comedic 'Die Off' | Humorous, Playful, Awkward | 8.5 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 5 | 7 | 4 | 6 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
29 - Claiming the Stage | Serious, Inspirational, Encouraging | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 6 | 8 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
30 - Rehearsing Resilience | Tense, Reflective, Supportive | 8.5 | 9 | 8 | 8 | 9 | 8 | 7 | 6 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | |
31 - Rehearsal Ruckus: Props and Perspectives | Tense, Light-hearted, Humorous | 7.5 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | |
32 - Adjusting the Spotlight | Tense, Confrontational, Determined | 8.2 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
33 - Theatrical Tension and Triumph | Tension, Humor, Nervousness | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
34 - Theater of Identity | Reflective, Introspective, Supportive | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
35 - Curtain Call Celebration | Joyful, Emotional, Creative | 8.5 | 8 | 8 | 9 | 8 | 7 | 9 | 8 | 3 | 7 | 4 | 6 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
36 - A Stumble on Stage | Inspiring, Supportive, Light-hearted | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | |
37 - A Glimmer of Hope | Reflective, Supportive, Resigned | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
38 - Reflections Behind Bars | Reflective, Nostalgic, Intimate | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 6 | 3 | 7 | 2 | 6 | 6 | 9 | 9 | 9 | 8 | 8 | 7 | |
39 - The Impersonal Cleanse | Melancholic, Reflective, Somber | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
40 - In Memory of Mike Mike | Grief, Supportive, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 3 | 6 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
41 - Stacking Chairs and Unspoken Grief | Tension, Resignation, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
42 - Reflections of Routine | Somber, Reflective, Introspective | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 3 | 7 | 4 | 6 | 6 | 9 | 7 | 8 | 8 | 8 | 8 | |
43 - Longing at the Pay Phone | Frustration, Sadness, Longing | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
44 - A Fight for Freedom | Serious, Reflective, Tense | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
45 - Bittersweet Freedom | Reflective, Emotional, Supportive | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
46 - Celebration of Gratitude | Emotional, Reflective, Humorous | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 3 | 5 | 4 | 7 | 6 | 9 | 8 | 9 | 8 | 8 | 8 | |
47 - Costume Chaos and Character Reflections | Reflective, Somber, Humorous | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 5 | 6 | 4 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
48 - Final Dress Rehearsal: A Moment of Celebration and Distraction | Joyful, Reflective, Somber | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 5 | 6 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
49 - Theatrical Despair | Intense, Emotional, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
50 - Echoes of Abandonment | Somber, Reflective, Empty | 7.5 | 8 | 6 | 9 | 7 | 6 | 8 | 7 | 3 | 7 | 2 | 4 | 7 | 8 | 5 | 8 | 8 | 8 | 8 | |
51 - Circle of Betrayal | Reflective, Serious, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
52 - Silent Acknowledgment | Tense, Reflective, Somber | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
53 - From Isolation to Connection | Reflective, Vulnerable, Supportive | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 4 | 7 | 3 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
54 - Reflections by the River | Reflective, Confessional, Intimate | 9.2 | 9 | 9 | 9 | 10 | 8 | 9 | 8 | 7 | 7 | 6 | 8 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
55 - Unity in Performance | Reflective, Hopeful, Emotional, Unity | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
56 - Bittersweet Farewell | Reflective, Emotional, Intimate | 9.2 | 9 | 9 | 9 | 10 | 8 | 8 | 7 | 3 | 6 | 4 | 7 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
57 - Divine G's Proposal | Reflective, Collaborative, Uncertain | 8.2 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
58 - Curtain Call: A Reflection on Freedom | Reflective, Bittersweet, Hopeful | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
59 - First Steps to Freedom | Reflective, Hopeful, Humorous | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 3 | 8 | 4 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
60 - Embracing Freedom | Reflective, Hopeful, Emotional | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 3 | 6 | 7 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 |
Scene 1 - The Complexity of Love
A MAN on a stage. Bathed in a lone spotlight, standing in a
grove of trees. Butterflies flutter around him. A soft breeze
crackles through the speakers.
He looks around at the swaying branches. And speaks.
MAN ON STAGE
For aught that I could ever read,
could ever hear by tale or history,
the course of true love never did
run smooth.
He stares out into the darkness of the theater and resumes
his monologue.
MAN ON STAGE (CONT’D)
But either it was different in
blood or else misgraffed in respect
of years. Or else it stood upon the
choice of friends. Or, if there
were a sympathy in choice. War,
death, or sickness did lay siege to
it. Making it momentany as a sound.
Swift as a shadow. Short as any
dream. Brief as the lightning in
the collied night. That, in a
spleen, unfolds both heaven and
Earth. And, ere a man hath power to
say “Behold!” The jaws of darkness
do devour it up. So quick bright
things come to confusion.
The man bows his head. The spotlight goes dark.
A roar of APPLAUSE erupts in the theater.
In the darkness onstage, the man is joined by the rest of the
cast. They join hands, smile and nod to each other.
The lights flood the stage and they take their bows to the
roar of a standing ovation.
CUT TO:
Ratings
Scene 2 - Backstage Celebration
The man is holding a slice of cheese pizza in his teeth while
he changes out of his costume. INTO A GREEN JUMPSUIT.
The rest of the cast don identical jumpsuits while TWO
CORRECTIONS OFFICERS watch over them.
Yet still, the excitement among the company is electric --
everyone congratulating each other, hugging.
Soon the whole company lines up on the wall. A CORRECTIONS
OFFICER starts counting them. One after another, the cast and
crew call out their numbers.
We draw closer to the man who gave the monologue, waiting his
turn. We see the contours and shadows of his face in sharp
relief, his eyes bright despite the years on his face. This
is JOHN “DIVINE G” WHITFIELD.
CUT TO:
TITLE CARD.
Ratings
Scene 3 - Determined Solitude
Sing Sing Correctional Facility is rooted on the shore of the
Hudson River. Red brick, ancient stone, razor wire. The lull
of water on the bank, the breeze through forest trees.
The only prison in the U.S. where a commuter train whips
through the yard heading to Cold Spring, to Poughkeepsie, to
towns beyond.
The walls of Sing Sing barely tremble.
INT. B BLOCK - EARLY MORNING
First light. Sing Sing’s infamous B BLOCK - 4 stories tall
and housing over 800 men - is raucous and echoes with noise.
As we move down the corridor we hear the sound of typing.
We arrive at Divine G’s cell. He’s seated in front of a
TYPEWRITER, headphones on as he types. He slides a fresh
sheet of paper, sets the margins, and continues his work.
Ratings
Scene 4 - Moments of Connection
A long line of men snaking through corridors and gates. Each
gate thundering open before them, pounding shut behind. A
sound felt in the bones.
INT. MESS HALL - LATER
Divine G moves his fork through runny powdered eggs. His
instant coffee steaming.
A man stands next to him. Divine G doesn’t look up.
BOOK FAN
Excuse me. I’ve been trying to
catch you in the yard, but...
Divine G looks up at him. The man holds out a BOOK: a
bedraggled copy of MONEY GRIP by Divine G.
BOOK FAN (CONT’D)
Mind signing it?
Divine G warms up.
DIVINE G
Of course.
(sees the title)
You from Rikers?
BOOK FAN
Spent two years there. How’d you
know?
DIVINE G
This one was very popular there for
a while. Got a pen?
Divine G signs the book, then returns to his breakfast. The
man is still there. Standing awkwardly.
BOOK FAN
Man I can’t believe Puck did you
dirty like that.
DIVINE G
Hell of a twist.
BOOK FAN
But hey man, for real...
He doesn’t know how to say it, but he fumbles through an
AWKWARD THANK YOU to Divine G for the emotional scene on
stage.
BOOK FAN (CONT’D)
I hadn’t seen anything like that
before.
Divine G removes his glasses and looks up at the man.
DIVINE G
Releasing those tears is healthy
for you. Don’t tamp that shit down.
EXT. YARD - AFTERNOON
Divine G stands against a wall in a corner of the yard. He
pulls out a baggie of carrots and green beans and shakes it
out on the ground.
A GROUP OF GEESE gather around him. They know Divine G, they
eat greedily. Divine G scolds one of them.
DIVINE G
Come on. Don’t hog it all from your
brothers.
He watches the patterns of men in the yard.
Then a SIREN WAILS and Divine G drops onto his belly, puts
his hands on the back of his head along with everyone else in
the yard.
Ratings
Scene 5 - Decisions in the Classroom
Divine G -- reading glasses low on his nose and a notepad in
his lap -- sits with a group of four other men in a cramped
classroom. This is the STEERING COMMITTEE.
Inspirational posters hang askew on the walls around them:
You’ll always miss 100% of the shots you don’t take.
Attitudes are contagious, is yours worth catching?
DIVINE G
Alright gentlemen. Beautiful work
last night. Let’s hear those kudos.
The men discuss their favorite parts of the production. The
beautiful moments, the standout performances, the gaffes, the
reactions from the crowd.
JJ
But G. That monologue... I never
heard population that quiet.
DAP
When you looked around at those
butterflies...
The group murmurs in appreciation of the moment.
DIVINE G
It’s because I forgot the rest of
the monologue. I was thinking.
They all laugh.
DIVINE G (CONT’D)
Dropped two lines though. I’ll
never forgive myself.
Divine G flips the page on his clipboard.
DIVINE G (CONT’D)
Now, uh, we also need to talk about
what we can do better. Those
transitions were... rough.
MIKE MIKE
Man. I’m still riding high. Already
miss stepping on the wood.
(looking around)
Maybe talk about improvements at
the next meeting.
The others nod. So Divine G flips another page.
DIVINE G
Alright. Well, Want to go over the
waitlist? See if there’s anyone to
pull up?
They review the waitlist. Debate different men vying for
acceptance into the program. Who they think has the most to
gain from the work.
DIVINE G (CONT’D)
What about Curtis Cross?
MIKE MIKE
I talked to some people about him.
He’s not serious. He’s just wants
to be a star. Steal the show.
DIVINE G
Alright. Maybe he stays on the
waitlist one more round. Then we
revisit him?
They agree.
DIVINE G (CONT’D)
One more. This is his second
request. Divine Eye.
The others are wary of the idea. Divine Eye has a reputation
for running the yard.
DIVINE G (CONT’D)
I know it. But he’s teaching a
history class with the NAACP. He’s
smart. He just needs something
better than yard work to channel
his talents into.
The others still aren’t convinced.
DIVINE G (CONT’D)
Isn’t that why we’re here? To go
after the ones who need this
program?
They get quiet.
DIVINE G (CONT’D)
Let’s just interview him. See
what’s what.
They agree.
EXT. YARD BERM - ANOTHER DAY
Divine G and Mike Mike are talking on the edge of the yard.
Both scanning the yard, looking for someone.
MIKE MIKE
(looks at the sky)
It’s too hot for this. Let’s look
for him another day.
Divine G just watches the yard.
DIVINE G
There he is.
Divine G starts walking, Mike Mike follows.
Ratings
Scene 6 - Betrayal in the Yard
They approach a man walking across the yard. He’s broad-
shouldered and muscular, yet graceful: like he could dance as
well as he could fight. This is CLARENCE “DIVINE EYE” MACLIN.
DIVINE G
Excuse me, could I have a word? I--
DIVINE EYE
Be with you in a second. I gotta
take care of something right quick.
Divine Eye keeps walking. He descends some steps into the
lower courtyard. Divine G and Mike Mike stand there, annoyed,
and watch what unfolds below.
EXT. YARD COURTYARD, 1ST LEVEL - CONTINUOUS
Divine G and Mike Mike watch from a distance as Divine Eye
approaches a YOUNG PRISONER -- clearly new here -- who has
been waiting for him. This is CLAY. Divine Eye steps close to
him.
CLAY
Oh hey man.
DIVINE EYE
Yo. Nice layup out there.
CLAY
You saw that?
DIVINE EYE
What you mean? Of course I saw
that.
Divine Eye leans closer.
DIVINE EYE (CONT’D)
You got what I left with you?
CLAY
Yeah, of course. I held it all day
just like you told me.
DIVINE EYE
And you didn’t tell no one you had
it, right?
CLAY
No, no, of course not.
They stand there awkwardly a moment.
DIVINE EYE
Well let’s see it then.
CLAY
Oh yeah.
Clay scrambles in his pockets. Brings out SQUARE OF TIN FOIL,
folded tightly around something. Hands it to Divine Eye.
DIVINE EYE
Appreciate you helping me out like
that. I won’t forget it.
Divine G and Mike Mike just watch as this unfolds.
Divine Eye opens the packet just enough to check the
contents. A ROUGH-CRUSHED WHITE POWDER.
Divine Eye looks confused at it. Then at the Young Man.
CLAY
What...?
DIVINE EYE
What the fuck is this?
CLAY
What?
DIVINE EYE
What do you mean, what? This ain’t
what I gave you.
Divine Eye tastes some on his finger. Shakes his head.
CLAY
Huh? Yes it is, I just--
DIVINE EYE
What is this, fucking aspirin? What
the fuck are you trying to pull?
CLAY
Hey man, I didn’t... I put it in my
pocket just like you told me and--
DIVINE EYE
(quietly livid)
You think I’m a fucking fool?
CLAY
No man, I swear to God.
DIVINE EYE
You saying I’m lying then? That I
don’t know what I’m looking at?
Taste it.
CLAY
No, I believe you, I just--
DIVINE EYE
This is aspirin. You know what I
fucking left with you?
CLAY
No.
DIVINE EYE
Not fucking aspirin.
Divine Eye shoves it back to him. He steps close. The other
man is trying hard to stand there.
DIVINE EYE (CONT’D)
I don’t know what you did or didn’t
do, and I don’t care. That was five
hundred dollars. You fucked me. Now
you owe me five hundred dollars.
CLAY
Oh please man, come on--
DIVINE EYE
Next time I see you, you better
have a plan for how to get me my
money.
Divine Eye leaves Clay there, stunned.
Ratings
Scene 7 - The Facade of Laughter
Divine Eye is laughing as he climbs the stairs back to where
Divine G and Mike Mike wait for him.
MIKE MIKE
That’s fucked up.
DIVINE EYE
He’s gotta learn what it’s like
around here. Can’t be going around
trusting people. What can I help
yall with?
DIVINE G
You signed up for RTA. We’ve got a
couple openings for our next
production. Maybe you could put
your acting talents to better use
than hustling people.
DIVINE EYE
What, that? That was nothing. You
haven’t seen acting yet.
Divine G seems to be studying him.
DIVINE G
Why did you sign up for the
program?
DIVINE EYE
Heard yall got chick volunteers.
Divine G just stares at him. Sees through the act.
DIVINE EYE (CONT’D)
Do I need a reason?
DIVINE G
No. You just have to be honest.
Divine Eye looks around.
DIVINE EYE
I’m bored. Tired of this yard shit.
I came across this book that fell
off the library cart. Read a couple
lines. When we are born, we cry
that we are born to this great
stage of fools. I thought, this cat
must’ve done some time. He knows
what’s going on.
DIVINE G
So King Lear just happened to fall
off the library cart? And you just
read a few lines.
DIVINE EYE
Yeah well, life’s funny, isn’t it?
Divine G tries to hide his smile.
DIVINE G
We’ll be in touch.
Divine G and Mike Mike leave.
Ratings
Scene 8 - Breaking the Ice
The water is gentle over the Hudson. Sing Sing’s walls paint
the shoreline. CO’s move between guard towers like toy
soldiers. A sailboat lists by lazily.
INT. CLASSROOM - ANOTHER DAY
The classroom is now bustling with 15 MEN who have been
selected for the program.
A few actors filtering coffee through a sock. Others are
warming up with vocal exercises.
Divine G catches a glimpse of Divine Eye stepping into the
classroom. Circling the room, not sure where to stand or who
to talk to.
Soon, a civilian VOLUNTEER strides in, wearing work boots and
aviator pants. A gold post earring and a long white ponytail.
This is BRENT.
BRENT
Hello everyone. I see some familiar
faces, but for those of you who
don’t know me, my name is Brent,
I’ll be at your service as your
director for, whatever you decide
to do for your upcoming production.
But there’s plenty of time for all
that later. For now, let’s start
with a warmup.
He gathers everyone into a circle and moves to the center. He
tells them to start moving.
Then he gives them cues to perform different walks: Walk like
an old man. Like a model. Like a zombie. Like someone who’s
won the lottery.
The awkwardness fades from them and everyone loosens up.
Ratings
Scene 9 - From Serious to Silly: A Theatrical Shift
The company are all seated in chairs in a big circle.
BRENT
Gentlemen. Congratulations on
Midsummer. You did beautiful work.
You should be proud. Have you
decided what’s next?
The men start to discuss a range of shows. From On The
Waterfront to A Few Good Men to Candide to...
Then one of the men speaks up. Says it’s time they finally
put on one of Divine G’s plays. Novelist. Memoirist. Winner
of four national writing competitions.
BRENT (CONT’D)
I love it. Do you have something in
mind, G?
DIVINE G
Well, I don’t know...
The company pushes him, tells him to spit it out.
Divine G starts to pitch it.
DIVINE G (CONT’D)
OK. I just finished one actually.
It’s called, Fine Print. It’s the
saga of Zabar Turner, a record
producer, who gets tricked into
signing over his record company by
the conniving Fast Freddy. It’s a
story of his journey to get his
studio back. It’s about friendship,
the dangers of overzealous
ambition, betrayal, and the power
of perseverance. And how all
relationships under heaven
contain... Fine Print.
The company eats it up.
BRENT
Wow. Sounds amazing. Well, do we
have a any other ideas? Or should
we take a vote?
Divine Eye raises his hand.
BRENT (CONT’D)
Yes, a new face. Hi.
DIVINE EYE
Yeah, I don’t want to step on
anybody’s toes in here, and I don’t
mean no disrespect, but does every
play have to be so serious?
MIKE MIKE
What do you mean?
DIVINE EYE
I’m just saying, every day in here
is a drama. Every day is a tragedy.
Might be nice to do, I don’t know,
a comedy. Population might
appreciate it.
Divine G just listens.
BRENT
How does everyone else feel?
The rest of the men are warming to it.
DIVINE EYE
With a comedy, you could really
turn it up. Have music numbers,
dance numbers. Make it big.
DIVINE G
What kind of comedy would you
propose doing?
DIVINE EYE
What do you mean, what kind of
comedy?
DIVINE G
Do you want to do something broad?
Want to be more low-key and do
satire? Is it musical or not?
DIVINE EYE
Man I don’t know. I’m just saying--
DAP
A cowboy comedy.
Everyone goes quiet and looks at him.
DAP (CONT’D)
I’ve always wanted to do a cowboy
play.
This opens the floodgates. The men start throwing out random
ideas for the comedy: Pirates, Ancient Egypt, Robin Hood.
Freddy Krueger.
MIKE MIKE
OK hold on. Does anyone know a
comedy out there has all that?
Someone suggests Divine G write it.
DIVINE G
That’s not really in my wheelhouse.
BIG E
It could time travel.
DIVINE G
I know, but--
BRENT
That’s true. It could time travel
through all these places. Have a
ton of roles to get more people up
on stage. Have a message.
All eyes go to Brent.
BRENT (CONT’D)
I uh... I could write it if you
aren’t feeling it, G.
DIVINE G
Doesn’t bother me. If everyone else
is on board.
BRENT
I’ll run it by Katherine and if the
script is bad, we can always pivot
to something else.
MIKE MIKE
Well. I guess let’s take a vote.
All in favor of this original
comedy...
Everyone raises their hand.
Ratings
Scene 10 - Comedy vs. Drama: A Late-Night Reflection
Divine G is at his desk after lights out. Trying to repair
the bent arm of his glasses without breaking them.
A voice comes from the cell across from his.
MIKE MIKE (O.C.)
I’ve read five drafts of Fine
Print. It’s good man. And I mean...
it could be funny. With the right
take. Or maybe you could write a
musical number in it.
DIVINE G
(laughs)
It’s a straight drama. No point
trying to change that.
MIKE MIKE (O.C.)
Do you have another play that’s
funnier? Maybe we can take another
vote.
DIVINE G
Appreciate it brother. But--
MIKE MIKE (O.C.)
I think it’s important that we do a
play written by one of our own. It
would say a lot. And I hate to see
you get passed over when--
DIVINE G
Mike Mike. Please. I’m really OK
with it. When the time is right --
if the time is right -- we’ll do
one of mine. If not, it’s fine man.
Besides, it’s not like we’re short
on time in here.
He hears Mike Mike sigh.
MIKE MIKE (O.C.)
OK OK. Not trying to be pushy.
Divine G sets the glasses down. Thinks.
DIVINE G
I can’t remember the last time
everyone was that excited about a
play. Maybe he’s right. Maybe a
comedy will take the edge off
around here.
MIKE MIKE
I’ll say one thing, it’ll be easier
than all that dying stuff from the
last production.
Divine G resumes his work resurrecting the glasses.
DIVINE G
Dying is easy. Comedy is hard.
Ratings
Scene 11 - Casting Chaos: The Mummy's Code
The theater group is together again. Brent is passing out
scripts for the play. He looks exhausted from jamming this
play out in just a few days.
Divine G looks at the title page. BREAKIN’ THE MUMMY’S CODE.
BRENT
I took everything you all wanted
and put it in here. Ancient Egypt,
pirates, Old West Gunfights. And I
sprinkled in the Black Plague and
Roman Gladiators because it seemed
like a good idea at the time.
DIVINE G
(thumbing through)
A hundred and forty-seven pages...
MIKE MIKE
...over the weekend?
BRENT
It was a lot to fit in. It’s got
some dance numbers, some songs, a
Hamlet soliloquy. But at its heart,
it’s the story of an Egyptian
prince who follows clues through
time to find his Mummy.
The men are trying to follow along. They start asking
questions about the plot, about how Hamlet fits in to Ancient
Egypt, is Freddy Krueger in there.
BRENT (CONT’D)
Yes. Freddy is in there. It will
make sense when you read it. For
now, just find a character you
identify with. Cast list is on the
board. Pick an audition slot.
There’s enough for everyone to have
at least one role in here.
Ratings
Scene 12 - Audition Antics
Brent sits at a long table with Divine G and the Steering
Committee. Each with a notepad and a script.
The door opens and one of the men steps in. They thank him
for coming and ask him what role he’s going out for. He names
three characters.
BRENT
OK. Whenever you’re ready.
The man stands quietly a moment, readying himself. Then he
bursts into an incredibly intense rendition of “HAPPY
BIRTHDAY”.
In Divine G’s notes, he just puts a question mark.
INT. CLASSROOM - DAY
AUDITION MONTAGE.
Actors step in one after another. Their auditions range from
the silly to the profound.
They act out gonzo scenes from the play. Tell stories from
their childhood. Sing. Dance. Freestyle rap.
They are all range of ages and talents.
CUT TO:
INT. CLASSROOM - CONTINUOUS
And finally we land on Divine G as he FINISHES HIS AUDITION.
He went to the bottom of the well to pull out what he just
brought.
The Committee is speechless. Divine G is still recovering.
He goes to take his seat but they tell him he can’t observe
the next audition since they’re going out for the same part.
DIVINE G
Someone else is going out for
Hamlet?
BRENT
Divine Eye is.
Divine G nods, pretends it doesn’t bother him.
DIVINE G
I’ll send him in.
Ratings
Scene 13 - Audition Anticipation
Divine G steps out of the classroom. Divine Eye waits on a
bench with his head leaned back against the wall, as if he
might be asleep.
DIVINE G
You’re up.
Divine Eye stands.
DIVINE EYE
Sounded good in there. Intense.
DIVINE G
Thanks. Hey... Could I ask you
something?
DIVINE EYE
Anything.
DIVINE G
You asked to do a comedy.
DIVINE EYE
Yes.
DIVINE G
And now we’re doing a comedy.
DIVINE EYE
I’m excited.
DIVINE G
And yet you’re auditioning for the
only dramatic role in the whole
play.
Divine Eye thinks a moment.
DIVINE EYE
Comedy’s tough, man. I don’t want
to bomb up there.
Divine G nods.
DIVINE G
Good luck then.
Divine Eye steps into the room.
Divine G takes a seat in the corridor, listening to the
muffled audition through the walls.
Ratings
Scene 14 - Defending the Past
Close on Divine G. Sitting up alert in a chair.
DIVINE G
I would also like to note,
Commissioners, that I was a
candidate to become a New York City
Police Officer.
VOICE (O.C.)
I see that in your packet. I’m just
going to go out on a limb here and
guess that that was before you
became a rampaging drug dealer.
DIVINE G
Well sir, I only hustled that one
year after my accident and then...
Mike Mike, can you get your feet
off the desk?
Ratings
Scene 15 - Serious Questions, Funky Revelations
We see Mike Mike now. They’re on opposite sides of a desk.
Mike Mike puts his feet down.
MIKE MIKE
My bad.
DIVINE G
It’s just hard to get the vibe with
you lounging like that.
MIKE MIKE
Alright, I got you.
Mike Mike gets back into character, serious again. He talks
like a cop from an old movie.
MIKE MIKE (CONT’D)
We’re not interested in what you
could have been, Whitfield. We’re
here to talk about what you are. I
see here you were in a group called
Mix Machine. Is that some sort of
criminal gang organization?
DIVINE G
No. That was a DJ group. We were--
MIKE MIKE
I’ll bet it was funky as hell,
wasn’t it?
Divine G stares at him. Tries to keep a straight face.
MIKE MIKE (CONT’D)
Admit it!
Divine G bursts out laughing.
Ratings
Scene 16 - Theater Introductions: A Playful Rehearsal
The theater inside is cavernous, with dramatic arched
ceilings, light pouring in through big windows.
The whole company is gathered on stage. Brent has handed out
the roles to everyone. They’re looking over their sides.
Divine G flips through his script, reserved. Divine Eye is
trying to find his part in his.
Most are excited.
CARMINE
Man. How was I cast as a tree?
DINO
I started out as background on my
first production. Can’t have a
believable Sherwood Forest without
believable trees.
Brent begins an exercise.
BRENT
OK. I want you all to step into the
circle, say your name, step out,
then step back in and introduce
yourself as your character, in that
voice.
They begin. Through this we get a glimpse into the
personalities of each man.
It comes to Divine Eye. He steps forward with his own name.
When he steps forward again, it’s in the exact same tone.
DIVINE EYE
Prince Hamlet of Denmark.
The others won’t accept it. They make him go again. He goes
way over the top sarcastically.
Divine G watches Divine Eye as he steps back into the circle,
barely paying attention.
The exercise circles around finally comes to Divine G. He
steps forward with his name. And then comes forward again
completely transformed. Like he grew two feet.
DIVINE G
Gladiator Goliathon.
Ratings
Scene 17 - Rehearsal Realities: Embracing the Absurd
They have transitioned into the work for the day. Brent gives
an overview of the rehearsal schedule. The big dance and
musical numbers.
An actor RAISES HIS HAND.
BRENT
Yes.
MOSI
I have a question about my
character. Wouldn’t he be freaked
out by some cat from Ancient Egypt
time traveling into the Middle
Ages? I mean, if I put myself into
the mind of someone from that time,
I don’t even know what a mummy is.
And do we even have a common
language?
BRENT
Well, good questions, but remember,
it’s a comedy, so we can take some
liberties and have fun with it. Why
don’t we workshop it when we get to
it and see how it plays?
Another actor raises his hand.
DAP
I also had a question. Of what
nature is the time travel in this
play?
BRENT
The nature of...?
DAP
Is it via a wormhole? A rip in the
space-time fabric? I’m just
wondering how we play it. How hard
would it be on the human body?
BRENT
Well, again, those are great
questions, but um... why don’t we
take those scene by scene?
Divine G steps up.
DIVINE G
Brent. May I?
Brent nods.
DIVINE G (CONT’D)
(to everyone)
Listen. You guys wanted a cowboy
play, you wanted Ancient Egypt.
Somebody asked for Freddy Krueger
for some reason. And Brent gave us
all that. How did you think that
was going to happen?
No one has an answer.
DIVINE G (CONT’D)
Let’s just focus on getting our
scenes up on their feet, focus on
the emotion of your scene and if
that’s true, then the play will
start to come together.
BRENT
Well, uh, thanks. That’s great. Why
don’t we start with your scene?
CUT TO:
Ratings
Scene 18 - A Tale of Two Performances
Divine G is with Mike Mike. They’re working out a scene,
reading from sides as they act.
Divine G’s years of skill shines through in this moment. He
reads from the script as he moves around the stage and
somehow emotion flows out of every moment.
Divine Eye stands in the wings, barely paying attention.
They wrap Divine G’s scene.
BRENT
Amazing! Who’s next?
DIVINE EYE
I’ll do my scene.
INT. THEATER / ONSTAGE - LATER
Divine Eye is center stage with his scene partners. He’s
trying to keep up with them as they do the scene, but he
keeps losing his place in the scene, fumbling lines. Squints
at his page. Complains that he doesn’t have his glasses.
Someone gives him a pair. Still brutal.
Brent helps him, tells him to move his thumb along the side
of the page by the line he’s on.
All of Divine Eye’s confidence is gone as he limps through
the scene.
They mercifully reach the end.
BRENT
OK, that was a good start. It will
get smoother. Who wants to go next?
The group moves on to the next scene.
Divine G watches Divine Eye disappear down to the theater
seats and just wait to leave.
Ratings
Scene 19 - Embracing the Challenge
Class is over. Divine G and the other members of the Steering
Committee are standing in line, waiting for a gate to open.
They’re talking about how crazy the play is. Asking if
they’re in over their heads.
DAP
So is the mummy time traveling too?
Or just her son?
MIKE MIKE
I thought the mummy was a metaphor.
JJ
Forget that. How are we going to
get this thing done? It’s too many
props, too much wardrobe.
DINO
And it’s going to run four hours. B
Block will kill us. Right there on
stage, they’ll walk up and murder
every one of us.
MIKE MIKE
At least we won’t have to finish
the play.
Divine G is just listening.
JJ
Maybe we postpone until the fall.
Skip this production and give
ourselves more time to prep.
They look to Divine G.
DIVINE G
I say we go for it. I think this is
one of those instances where the
art we are seeking is also seeking
us. I have no idea why...
(laughs)
Trust the process.
Ratings
Scene 20 - Theater Tensions
The group is in the middle of another exercise: physical
acting. They’re “becoming objects”: a statue, a tree, a
tomato.
When it’s Divine Eye’s turn, he declines.
DIVINE EYE
I’m good man. I’ll catch it on the
next round.
It throws off the energy of the group. But they move on.
INT. THEATER - LATER
Later, they’re done for the day. Everyone looks exhausted as
they’re straightening the room. Divine G stops Divine Eye on
his way out.
DIVINE G
Yo. Before you leave, let me show
you something.
Divine Eye looks to others leaving, as if he has somewhere to
be.
DIVINE G (CONT’D)
It’ll only take a second.
DIVINE EYE
Alright.
Ratings
Scene 21 - Tension at The Steeple
Divine G leads Divine Eye deeper backstage. To a corner with
a LITTLE CAGED WINDOW. Through it they can see rolling green
mountains.
Divine G stands by the window. Divine Eye is looking around
the room.
DIVINE EYE
You know they call this room The
Steeple. Lotta business gets done
in here.
DIVINE G
Window’s got a nice view too. You
ever look out there?
Divine Eye stares at him.
DIVINE EYE
I don’t look where I can’t go. And
I don’t think you brought me up
here to look at some mountains.
The conversation stops cold a moment.
DIVINE G
Listen. You uh, you seem...
frustrated with the work. I can see
you struggling and I’ve been there.
It’s--
DIVINE EYE
I’m not struggling, those exercises
are just goofy.
DIVINE G
They’re leading to something
bigger. You’ll find the depth if
you lean into it. There’s no bottom
to what the work will give you if
you--
DIVINE EYE
Is this the speech you give all the
new guys?
DIVINE G
It’s not a--
DIVINE EYE
Listen man, I know your type.
Always gotta be up front. On top.
Herding everybody around with your
lessons. But I don’t need that. I
didn’t come here for that.
Divine G is quiet a moment, thinking of how polite to be.
DIVINE G
I’ve been wanting to put a play of
mine up for years. Years.
(MORE)
DIVINE G (CONT’D)
But then you walk in and ask for a
comedy and now... Here we are. But
I didn’t say one word. You know
why?
DIVINE EYE
Cause I was right. Cause everybody
likes a comedy.
DIVINE G
Because it’s what the group wanted.
It doesn’t matter what I want.
Doesn’t matter if we never do one
of my plays. No one is bigger than
the program. No one.
DIVINE EYE
(sarcastic)
Well you’re a real big person.
That’s--
DIVINE G
I know you’ve got a knife in your
waistband.
Divine Eye is quiet at that.
DIVINE G (CONT’D)
You think it makes you stronger but
it’s a false strength. That yard
shit is not necessary in here.
DIVINE EYE
I don’t need you telling me what’s
necessary.
DIVINE G
You’ve got your armor up. Afraid of
what might be underneath it. Afraid
that if--
DIVINE EYE
You practice that line?
They stare at each other.
DIVINE EYE (CONT’D)
How about this? I do my thing, you
do yours. And don’t take me into
any dark corners no more. That
makes a xxxxxx nervous, you feel
me?
DIVINE G
(quickly)
Hey we don’t say that in here. We
use beloved. And if I--
Divine G takes a deep breath. Re-centers.
DIVINE G (CONT’D)
All I want to say is: you signed up
for this program. You could have
the respect for your brothers to
try a little when you show up. At
least don’t fuck it up for them.
Divine Eye stares at him like he might try taking his head
off shortly.
DIVINE G (CONT’D)
This place is sacred. It’s fragile.
This program is on a tightrope and
if they take it away... They’ll
take any excuse to shut us down. A
blade would be a pretty good
excuse. That’s all I want to say to
you. Please remember how much these
guys need this.
DIVINE EYE
That’s it?
DIVINE G
That’s it.
Divine G leaves him there at the window.
Ratings
Scene 22 - Tension in the Mess Hall
Divine G sits at a table by himself. Jots notes on a legal
pad while he sips his coffee.
Divine G looks up to see Divine Eye moving along a table,
stopping every few men, small exchanges of product and
currency, subtle as sleight of hand.
Divine G returns to his legal pad, tries to ignore it,
frustration starting to burn in him.
INT. THEATER - LATER THAT DAY
The group sits in a circle onstage. They start roll call.
They’re missing two.
MOSI
Carlos is on A Block. They’ve been
on keeplock all day.
BRENT
What about Divine Eye? Is he on A
Block?
BIG E
Nope. He’s B Block. No idea where
he is.
They decide to move on with class.
Divine G stares at the empty chair where Divine Eye should
be.
Ratings
Scene 23 - Chaos in the Cell
Divine G is back in his cell, working at his desk.
The gates open and a CO appears.
CO
Random contraband check. Step out
of the cell.
Divine G knows the drill. He sighs. Steps out and holds onto
the bars.
The CO goes in the cell and turns it over, goes through every
drawer, turns over his bed, fans out books and drops them.
Turns meticulous order to chaos.
Divine G just stares off into space.
Finally the CO finishes.
CO (CONT’D)
OK. Go back in.
Divine G returns to his cell and starts to piece it together
as the gate slams behind him.
Ratings
Scene 24 - Finding Solace in Brotherhood
All the men sit onstage, cross-legged. Brent walks between
them.
BRENT
Close your eyes and go to your most
perfect spot. Most perfect moment.
(MORE)
BRENT (CONT’D)
What are the sounds? Do you hear
anything? Who is there?
Divine G closes his eyes. Slows his breathing. He hears
someone come in and join the circle late. He sneaks a look.
It’s Divine Eye.
BRENT (CONT’D)
Do you feel the temperature? Is
there a breeze? Are you inside?
Out? What are the smells? Hold
yourself there. And... open your
eyes.
Divine G opens his eyes. The men are squinting at the light.
He sees Divine Eye, his face is serene.
BRENT (CONT’D)
Does anyone want to describe where
you just were?
The men look around at each other.
Then begin to share their perfect spots...
It comes around to Divine Eye, he makes a joke about how
wherever he was there was hammock there. But even though he
won’t admit it, it’s clear by his face he really went
somewhere.
Finally it comes around to Mike Mike.
MIKE MIKE
You know uh... I really tried to go
somewhere else. Squeezed my eyes.
Sniffed around. And I came up
empty. Just blank nothing. I guess
I’ve been here too long to imagine
anything out there. But uh...
(looks around at the
circle)
If I gotta be stuck somewhere. This
is where I’d be here. Right here
with yall. This spot. This is
perfect.
Ratings
Scene 25 - Finding Focus in Chaos
Divine Eye is in the middle of blocking his scene. Divine G
is with the rest of the company that circles the stage,
watching on.
Divine Eye is agitated, having trouble focusing. One of the
men walks behind him in the blocking.
DIVINE EYE
Hey hey. He can’t walk back there.
I get nervous with people walking
behind me.
The guy stops, looks to Brent.
BRENT
Well you’re gonna have to get used
to that. Or act like it doesn’t
bother you.
DIVINE EYE
He could walk in front of me.
BRENT
At some point, someone will walk
behind you. Do you remember your
first mark?
DIVINE EYE
I’m supposed to be next to
Gravedigger. Then Leslie and Marion
magically appear stage left. Got
it.
BRENT
Great. Let’s run it.
Divine Eye tries to calm himself. Begins his soliloquy.
Stumbles.
DIVINE EYE
Shit. Line!
BRENT
Whether ‘tis nobler... Let’s take
it from the top.
They do, but now it’s not just Divine Eye stumbling. The
others in the scene are too. They can’t find a rhythm.
It starts to get TENSE. Guys are getting agitated. One curses
himself.
Suddenly Dino’s voice cut’s through the group.
DINO
Stop!
Dino is quiet a moment, then speaks up from the wings.
[What follows is a real story.]
DINO (CONT’D)
I was a keeplock monster. My anger
consumed me. I worked everything
out with violence. But one morning
at breakfast there was this guy
sitting across from me -- had a big
mole on his nose, I’ll never forget
that. I don’t know who he was but
somebody stepped up behind him and
just cut him. Ear to ear, didn’t
say nothing. The blood, it was...
everywhere. On the table, on my
clothes, on my... face. But I
didn’t move. None of us did. We
just sat there... still. Didn’t
even look at him as he died. Back
in my cell I realized... that’s not
normal. I started to feel like I
wasn’t even human. After that day
everything changed. I heard about
this and my first thought was,
dressing up in funny outfits and
dancing around in a max security
prison is not a great idea. But I
gave it a shot. First time I felt
like a human in... since I could
remember. It showed me the way
back.
The tension from the room is gone. They get back to work.
INT. SING SING HALLWAY - ANOTHER DAY
Divine G stands in a long line of people in a hallway. The
gate ahead is shut -- they’re stuck between places.
They’ve been waiting here a long time. Divine G is clearly
agitated.
One man in line yells out to ask what’s going on. A CO yells
back for him to shut the fuck up.
So they continue to wait.
Ratings
Scene 26 - Rehearsals of Reflection
Divine G is sitting in a row of empty seats. He watches the
actors onstage blocking a dance number for a pirate ship
scene. Brent directs the action.
The men aren’t off book. They don’t know their marks yet. The
choreography is all over the place.
Divine G jots some notes in a notebook on his lap.
Soon, Divine Eye comes and sits in the row behind him,
soaking wet from the rain.
DIVINE EYE
Why ain’t you up there?
DIVINE G
(without looking back)
We’re not rehearsing any scenes I’m
in today.
DIVINE EYE
So you just come through to keep a
check on everybody?
DIVINE G
I just enjoy watching them is all.
They stumble onstage. Someone curses himself. Brent
encourages him.
DIVINE G (CONT’D)
It’s a good reminder to see it when
it’s so... rough. But I know,
somehow someway, it’ll all come
together by opening night. Trust
the process. That’s what we say in
here.
DIVINE EYE
What are those notes then? Writing
love letters?
Divine G moves his hand over the notebook, covering the page.
DIVINE G
Nah. Legal work. Some brothers want
healthier food in the mess hall.
I’m researching some litigation to
see if we can fix that.
Divine Eye nods, watches the stage a moment.
DIVINE G (CONT’D)
So you just drifted on in, huh?
DIVINE EYE
Yeah...
Divine Eye is quiet a moment.
The ship backdrop onstage almost falls over, the actors have
to hold it up while they devise a way to keep it standing.
DIVINE EYE (CONT’D)
You’re telling me that’s normal?
DIVINE G
Trust the process.
They watch them scramble onstage.
DIVINE EYE
You got any kids?
Divine G is surprised by the question.
DIVINE G
Two girls and a boy.
DIVINE EYE
What are their names?
DIVINE G
You’re all up in my business
today...
Divine G pauses a moment. As if the memories are painful to
touch.
DIVINE G (CONT’D)
Divequa, Dinasia, and Karron.
Karron was just born when I came in
here. But he’s the only one who
still writes me. He’s getting into
acting, of all things. Been making
these little movies, putting them
on that youtube.
DIVINE EYE
You don’t write your girls?
DIVINE G
... They don’t... I don’t want to
bother them. They’re trying to live
their lives. We think we’re the
only ones in a prison, but they’re
locked up in here with us. In their
own way.
Divine Eye watches the action onstage.
DIVINE EYE
When I started my bid, my boy was
young, but he was taken care of.
The brothers I used to roll with,
they looked after him. I mean
rolled out the red carpet for him
wherever he went. Treated him like
a prince. Before long, he was doing
the same work I was. Now he’s
wearing greens. Just like his old
dad.
Divine G is quiet now.
DIVINE EYE (CONT’D)
I feel different in here. If I’d
had this on the outside, I’d’ve
done something else, I know it. I
wouldn’t be in here. And he
wouldn’t be in here either.
Divine Eye stands up to leave.
DIVINE EYE (CONT’D)
Keep writing your girls, man. Don’t
matter if they write back or not.
Divine G sits with that. Someone on stage yells for a line
reading. Divine Eye chuckles.
DIVINE EYE (CONT’D)
At least I’m not the only one.
DIVINE G
There’s a trick to that, you know.
Divine Eye is quiet a moment, as if maybe he didn’t hear him.
DIVINE EYE
(finally)
What’s the trick?
Ratings
Scene 27 - Guidance and Uncertainty
Divine G lays his script across a table. It’s got notes all
over it, more notes than lines.
DIVINE EYE
Holy shit.
DIVINE G
You can’t memorize your lines until
you know what they mean.
(MORE)
DIVINE G (CONT’D)
Gotta get down under them.
Paraphrase, whatever you’ve got to
do to understand what they’re
actually saying. Then...
Divine G pulls out a ROLL OF PAPER. He’s taped a bunch of
paper together to make one long scroll. It’s filled with
writing.
DIVINE G (CONT’D)
Then you write. Write all your
scenes without punctuation. In one
long sentence. Write your lines and
write your scene partners’ lines.
It’s a mess but trust me.
(moving down the scroll)
Then, a week later, start taking it
down in blocks. Then scenes. Pretty
soon you’re running the whole thing
in your head. Then out loud. And
then... Only then can you really
start to play with it. Then you can
be present in the moment.
Divine Eye looks lost.
DIVINE G (CONT’D)
The point is to make it digestible.
You do it the same way you eat an
elephant. One bite at a time.
Here...
Divine Eye pulls another roll of paper from his stack of
things. He gives it to Divine Eye.
DIVINE G (CONT’D)
Made one for you.
DIVINE EYE
Thanks. What are those big ones?
DIVINE G
Ah these...
Divine G rolls five posters out. Bigger than the rolls of
paper, each intricately covered in writing. Divine Eye leans
over the table trying to make sense of the maze.
DIVINE G (CONT’D)
My lists. Got one for the day. One
for the week. The month. The year.
Five years...
DIVINE EYE
Bro. I’ve met serial killers that
weren’t this organized.
Divine G laughs.
DIVINE G
Helps me fight the slow time.
Divine Eye looks closer at the lists. We drift closer to the
writing. To a series of legal goals, surrounded by a calendar
date.
DIVINE EYE
What’s that one?
DIVINE G
The most important one. Other than
the play. Got a parole hearing
coming up. A clemency hearing.
Divine Eye thinks.
DIVINE EYE
They say you found a tape. Proving
you’re innocent.
DIVINE G
Took me ten years. But yes.
DIVINE EYE
Well then you got the golden goose.
I don’t even have to say good luck.
DIVINE G
We’ll see... Do you feel prepared
for your date?
Divine Eye is quiet.
DIVINE G (CONT’D)
I saw the docket. I don’t want to
get in your business, but to be
successful you have to--
DIVINE EYE
(quick)
I’m good man. I’ve gotta take care
of some business. Thanks for the
help.
Divine Eye starts to leave.
DIVINE G
Hey.
Divine Eye stops.
DIVINE G (CONT’D)
(holds out the paper)
Forgot this.
Divine Eye thanks him, takes the paper and leaves.
Ratings
Scene 28 - Theatrical Deaths: A Comedic 'Die Off'
ONSTAGE, the actor playing ALOTINCOMMON is walking through
the MEDIEVAL ENGLAND set. A PEASANT appears, says a joke, and
DIES.
More peasants appear and as soon as they see the dead peasant
they die too.
Brent hops onstage.
BRENT
OK OK OK. Umm... We’re too
restrained. Too stiff. This is
supposed to fly off the rails.
He thinks.
BRENT (CONT’D)
Everyone on stage.
(sees hesitation)
Let’s go. Everyone.
The cast steps up on stage, Divine G bringing up the rear.
BRENT (CONT’D)
Pair up. We’re going to do a little
exercise.
As Divine G finally gets to stage, only one other person
doesn’t have a partner: Divine Eye.
Divine G ambles over to him. Without saying a word they agree
to PAIR UP.
BRENT (CONT’D)
OK. I want you to die for each
other. There’s no right way, no
wrong way, anyway you want, the
only rule is... you have to make
your partner laugh. Let’s go.
Some of them start dying immediately. Others are less sure.
BRENT (CONT’D)
Don’t overthink it, just follow
your instincts!
Divine Eye and Divine G stand there a moment awkwardly.
DIVINE G
You want to go first?
DIVINE EYE
Nah, let’s see the pro in action.
Divine G nods. Seems to be thinking. Then suddenly he FREEZES
IN FAUX PAIN, he dies magnificently over-the-top like a
Victorian stage actor.
He falls to his knees and slumps.
When he looks up, Divine Eye is smiling.
DIVINE G
Not bad, huh?
DIVINE EYE
You know when somebody tells a joke
so bad, that you have to laugh at
just how bad it is?
DIVINE G
Oh come on. I threw a little
Laurence Olivier in there.
DIVINE EYE
I never met him. Where’s he doing
his bid?
DIVINE G
OK smartass, show me how it’s done
then.
DIVINE EYE
Alright then, I just have to--
Divine Eye starts choking, gasping for air but none comes.
It’s hyper-realistic, veins popping out on his neck. Not
funny at all.
Then he lets out a long fart and starts laughing
hysterically.
Divine G can’t help but crack up.
DIVINE EYE (CONT’D)
Got you!
DIVINE G
You can’t use props though, that’s
cheating.
DIVINE EYE
I didn’t hear Brent say that in the
rules. Hey Brent! Did you say
anything about props?
BRENT
(across the room)
What?!
DIVINE G
Nevermind that. You can cheat.
Check this.
Divine G starts miming. It’s flawless. He’s pulling a rope,
hoisting a piano high into the air. Then something catches
his eye. He watches a passersby, waves, and the piano falls
and crushes him dead.
Divine Eye laughs.
DIVINE G (CONT’D)
Ah hah!
DIVINE EYE
I’ll give you that one. Reminded me
of my corny uncle.
DIVINE G
Nuh uh. You’re just playing it
cool. You loved it.
DIVINE EYE
Whatever. But do you know how to
die like this--
Divine Eye stabs an imaginary blade into Divine G’s belly.
Divine G dies spectacularly.
Then Divine G, from the ground, pulls the pin from an
imaginary grenade and it explodes at Divine Eye’s feet.
Divine Eye flies off his feet.
We move back now and watch the whole company try to one-up
each other in a “die off”. Noble deaths. Vengeful deaths.
Cowardly deaths. Playing like kids.
Ratings
Scene 29 - Claiming the Stage
Divine Eye finishes his monologue but it lands flat, lacking
conviction. Brent watches him.
BRENT
Want to try it again?
DIVINE EYE
Why? Did I do something wrong?
BRENT
Let’s just try something.
DIVINE EYE
Long as you don’t say anything
about eating any fucking elephants.
BRENT
I don’t know what that means, but I
won’t... OK. Let’s start at the
beginning.
DIVINE EYE
With my first line?
BRENT
No no no. To before you even walk
onstage. Go to the wing, then step
into the scene.
Divine Eye looks around.
BRENT (CONT’D)
Go ahead. Let’s see it.
Divine Eye sighs. Then trudges off. Comes back in and stands
on his mark.
Brent looks confused.
BRENT (CONT’D)
Sorry, did you do it already? I
fell asleep.
The company laughs.
BRENT (CONT’D)
You’re stepping onstage like you
need permission to be here. If you
have that mindset, you can’t flow.
You have to take the stage. Show
the audience it’s time to pay
attention to you.
Divine Eye tries again. It’s a little better.
Divine G steps onstage.
DIVINE G
(to Brent)
May I?
(to Divine Eye)
Think about it this way. The world
out there expects men like you and
me to walk through a door cowering.
To bow our head. To feel like we
don’t belong. But not in here. In
here you’re Divine fucking Eye.
Divine G demonstrates.
DIVINE G (CONT’D)
Walk in big. Like when you step out
into the yard. Say I’m fuckin here.
This is my fucking theater!
Divine G nods to him to try it.
Divine Eye steps off. This time he comes back in big.
DIVINE EYE
I’M FUCKIN HERE.
DIVINE G
THIS IS MY FUCKIN THEATER.
DIVINE EYE
THIS MY FUCKIN THEATER!!
DIVINE G
That’s how you do it. Alright.
Now. Where are you going. How do
you leave the scene. Emotionally...
DIVINE EYE
I’m mad.
DIVINE G
Mad. Why?
DIVINE EYE
Cause Maid Marion left me for him.
I gave her this rock to remember
me. And she threw it out like
garbage.
DIVINE G
But anger. That’s easy. It’s the
easiest thing to play. You go big,
you scream, and wow, he’s angry.
Divine G steps close.
DIVINE G (CONT’D)
You wanna go deeper. Try playing
hurt. Hurt makes you look in. Makes
you name it.
Divine G steps offstage. Divine Eye is lost in thought. His
mind running. Inspired.
BRENT (O.C.)
Let’s run it from the top!
CUT TO:
MONTAGE OF THE PLAY COMING TOGETHER:
Divine G and Divine Eye and other men from the company
rehearse throughout the prison.
Ratings
Scene 30 - Rehearsing Resilience
The group is rehearsing lines from their play as a group as
camera moves around them.
INT. CELLBLOCK - NIGHT
- Rehearsing between cells after lights out.
INT. MESS HALL - DAY
- Rehearsing across trays at chow.
EXT. WEIGHT POUND - DAY
- Rehearsing between reps at the weight pound.
CUT TO:
Ratings
Scene 31 - Rehearsal Ruckus: Props and Perspectives
Brent is fielding a barrage of questions about creative
choices.
DAP
This isn’t an Egyptian headband,
it’s clearly Phoenician.
BRENT
Hmm. We’ll take a look at that.
Check with props.
The actor playing Coal steps up holding his script.
BIG E
Brent. Brocolli? I need a six
shooter. Make it cardboard. Paint
it in crayons. What am I supposed
to do with broccoli? No one’s gonna
buy it.
BRENT
It’s funny. They’re expecting a six-
shooter. Make em expect a six-
shooter. Then give em broccoli.
The actor doesn’t totally buy it. Then the man playing Freddy
Krueger approaches, tense.
JJ
We’ve got a serious issue here. The
RTA principles are not clear in my
character. And if I don’t have a
motivation and a moral, we’ll undo
everything we’ve been fighting for.
MIKE MIKE
You’re Freddy Krueger dude. Your
motivation is slicing people up.
BRENT
The moral is in the mummy.
CUT TO:
Ratings
Scene 32 - Adjusting the Spotlight
One of the stage crew is on ladder rigging a light. Divine
Eye below him standing on his mark.
The stage crew turns it on, but the spot is off by a foot.
STAGE CREW (O.S.)
Can you skooch a tad to the right,
Eye?
DIVINE EYE
I’m on my mark. Why don’t you
skooch your fuckin light?
The stage crew looks to Brent.
BRENT
We can move the mark a little.
Divine Eye is silent a moment, like he might fight it.
DIVINE EYE
Alright, let’s move the mark.
INT. HALLWAY OUTSIDE THEATER - ANOTHER DAY
Brent is with Divine G, Mike Mike and a few other men. He
speaks to them quietly.
BRENT
The Superintendent has some big
money out in the seats. Money that
can buy us curtains. We need to
melt their faces off with this
fight scene.
MIKE MIKE
We got this.
BRENT
Make it savage.
Ratings
Scene 33 - Theatrical Tension and Triumph
They jog onstage to find the Superintendent with WOMEN FROM A
LOCAL CHURCH.
Brent looks to the men. Too late to back out.
Divine G and Mike Mike engage in mortal gladiatorial combat,
moving in slow motion. Stabbing each other with fake swords.
Brent glancing nervously between the women and the scene
unfolding.
They finish and bow to polite clapping from their guests. The
Superintendent walks the women out.
BRENT
Don’t worry guys. We can figure it
out without curtains.
Moments later, The Superintendent returns, shaking his head.
SUPERINTENDENT
I can’t believe you chose that
scene. But... they loved it.
Ratings
Scene 34 - Theater of Identity
Lunch is brought to the theater so the men can keep
rehearsing.
Divine Eye and Divine G are off to the side in their own row.
Divine Eye is pushing the sad looking meal around with his
fork.
DIVINE G
Need a line reading?
DIVINE EYE
Huh?
DIVINE G
Nothing. Bad joke. You OK?
Divine Eye looks for how to say it.
DIVINE EYE
It’s just, Hamlet bro. That
soliloquy.
(looks for the words)
My slings and arrows are on the
inside. And all this make believe
ain’t gonna change that. If they
stamp my ticket and crack those
gates... I’m still a fucking
gangster. Jail house college
doesn’t change that. Theater ain’t
gonna change it. It’s my destiny.
It was always waiting for me. It’s
like Hamlet, all he wants is Maid
Marion and he’s going to try and
take on the whole Roman Empire, but
to what end?
Divine G looks confused a moment.
DIVINE G
I forget how different this version
of Hamlet is. But listen. That’s
not what I see. You’re an artist.
You always have been.
(MORE)
DIVINE G (CONT’D)
This isn’t turning you into
something else, it’s revealing the
parts of you that have been hidden.
Let it. Let it strip all that other
shit away.
Ratings
Scene 35 - Curtain Call Celebration
Everyone is now lined up onstage.
BRENT
Some of you have expressed that a
traditional curtain call is not in
the spirit of Mummy’s Code.
Brent looks around the company.
BRENT (CONT’D)
So instead of a bow... we’re gonna
dance. Keys... hit it.
Keys presses play on a boombox in the wings. A CD whirls to
life. Music pulses through the dusty speakers.
No one wants to make the first move.
DIVINE EYE
Fuck it. Let’s roll.
Divine Eye starts to move. And like a wave the room bursts
into motion.
The whole cast starts dancing, freestyling down the line.
Motion slows, and score overtakes the track. Swelling with
emotion as the men dance with unbridled joy.
Ratings
Scene 36 - A Stumble on Stage
Score continues as the sets are unveiled.
The men push each other around in a ROMAN CHARIOT. Wielding
cardboard swords.
Two long-cut boards are brought in, painted like WAVES ON THE
SEA.
They layer the boards and stand on either end, pulling them
back and forth to make it look like ROLLING WAVES, endless
open ocean.
Everyone is in awe as they watch. Transported.
INT. THEATER - LATER
Divine Eye takes the stage with confidence. The whole company
surrounds the stage watching.
He finds his mark.
Divine G and Mike Mike are on pins and needles with the rest.
Divine Eye starts the soliloquy.
It’s flawless. Everyone leaning forward as he nears the end.
But he stumbles on the very last line.
DIVINE EYE
Perchance... Perchaaaance--
Divine Eye reaches out his fist, like he’s grabbing for the
last line. But he only catches air.
DIVINE EYE (CONT’D)
(smiling)
--aaand there it went.
They all come around him, razzing him and celebrating his
progress. Brent gives him a hug.
BRENT
Very close. And very good. One more
time from the top?
Ratings
Scene 37 - A Glimmer of Hope
Divine G is walking the yard, slowly around the perimeter,
deep in thought. He has a folder under his arm.
He sees Divine Eye standing off by himself. He approaches
him.
DIVINE G
Hey. Been waiting for you. Spin the
yard with me?
Divine Eye follows him and they start walking the path
together.
DIVINE G (CONT’D)
I know you haven’t had a lot of
time to prep for your parole board
hearing.
(MORE)
DIVINE G (CONT’D)
I don’t want to step on your toes,
but I know you’ve been busy with
the play -- I remember how much it
was my first year -- so I did a
little prep work for you.
He hands Divine Eye the folder. Divine Eye opens it.
DIVINE EYE
What did I say the last time we
talked about this?
DIVINE G
I did what I could on the forms,
you’ll just need to fill in the
addresses and all that. And write
your essay. The other stuff is just
a template. You’ll need to put it
in your own words to--
Divine Eye closes the folder. Stops them.
DIVINE EYE
How can you stand here and have all
this faith in the system? The
system that put you here. The
system that won’t let you out, even
with what you have. I got none of
that and--
DIVINE G
Are you telling me they got you?
DIVINE EYE
Who got me?
DIVINE G
They’ve got you convinced that you
belong in here. That this is where
you’re supposed to be--
DIVINE EYE
--That ain’t it--
DIVINE G
--and now you can act tough and say
you’re not going to prepare but
that’s what’s real, isn’t it? They
got you fooled.
Divine Eye looks around. He’s trying to hold in his emotions.
DIVINE EYE
What do I got out there? Got no
real family to speak of. All my
friends are in here. Even my son is
in here. Shit. I’ve been in so
long, I don’t even know what I’d do
if they let me out. Maybe this
is...
DIVINE G
Don’t say it. They want you to say
it. But you’re not a lap dog,
you’re a fucking wolf.
They start walking again.
DIVINE G (CONT’D)
How we see the world is how it’s
delivered to us.
DIVINE EYE
(slowly)
If I try and they don’t let me
out...
DIVINE G
Then you try again on the next one.
It doesn’t change who you are or
where you’re supposed to be.
Divine Eye opens the folder. Looks at the papers.
DIVINE EYE
How long does the essay need to be?
DIVINE G
There’s no limit. Three to five
pages is a good length, from my
research.
DIVINE EYE
I heard sometimes they don’t even
tell you their decision. You just
wait.
DIVINE G
They always send a letter. If it’s
a thick letter, you didn’t get it.
But if it’s thin, just one sheet of
paper... then you’re free. Thick as
a brick, or light as a feather.
Divine Eye takes all this in.
Ratings
Scene 38 - Reflections Behind Bars
Divine G and Mike Mike are talking across their cells. Just
sharing stories and chatting.
Mike Mike shares a story about growing up in the Bay, talking
about his childhood. Divine G is listening, laughing.
It reminds Divine G of his youth. He starts talking about his
time at the FAME school. How he danced ballet.
MIKE MIKE
Ballet? Are you joking?
DIVINE G
(laughs)
Shut the fuck up. I loved it.
There’s no room for lies in ballet.
Everything is direct, every
movement is necessary.
(gets quiet)
I couldn’t tell my friends about--
Silence from Mike Mike.
DIVINE G (CONT’D)
Hey. You fall asleep on me again?
Still silence.
Ratings
Scene 39 - The Impersonal Cleanse
DIVINE G (O.S.)
(smiles)
After I sat through your dumbass
story.
He rolls over.
DIVINE G (O.S.) (CONT’D)
Good night, Mike Mike. You dick.
INT. DIVINE G'S CELL - NEXT MORNING
Divine G is laying on his side, staring at the wall. A sound
fills his space, coming from another cell: cleaning,
scrubbing, shoving contents into trash bags. He just stares
into space, a blank look on his face.
Through the portal in his door we see the source of the
noise: A JANITOR is cleaning out Mike Mike’s cell while a CO
stands watch.
The janitor rips down photos, bags sheets and what little
clothing was left.
It’s unceremonious. Efficient. Without regard for the life
that once occupied the room.
Ratings
Scene 40 - In Memory of Mike Mike
The whole cast sits in a big circle on the stage. Except for
ONE EMPTY CHAIR. Mike Mike’s. We let them sit in silence for
a while. Taking in each face. Their grief.
Finally one of the men speaks up.
BIG E
Man, I can understand a brother
stringing up. I can understand a
stabbing. But his brain just shut
down...
PREME
My dad died of an aneurism. One day
he was fine, the next just... I
found him leaned over the sink.
Toothbrush still in his mouth.
They start to share stories about what Mike Mike did for each
of them.
Divine G tries to nod along and smile but its clear something
is breaking apart inside of him.
They promise to dedicate the show to Mike Mike. To find ways
to support his family in their grief.
The walls begin to tremble from the commuter train.
Ratings
Scene 41 - Stacking Chairs and Unspoken Grief
Divine G is stacking chairs again. Divine Eye comes beside
him to help.
Divine Eye stops stacking.
DIVINE EYE
Do you want to talk about it?
DIVINE G
Everything that needed to be said,
got said. Right? Do you need to get
anything off your chest?
DIVINE EYE
I’m only asking because you didn’t
say much earlier and--
DIVINE G
(sharp)
What’s that supposed to mean?
DIVINE EYE
Look man. I didn’t mean anything by
it. I’m just saying, if you need--
DIVINE G
I’m good.
Divine G realizes his tone. Softens a bit.
DIVINE G (CONT’D)
I gotta go write a dozen letters to
his family tonight. So I need to
finish up these chairs. Appreciate
it.
Divine G steps away with three stacked chairs.
Ratings
Scene 42 - Reflections of Routine
MONTAGE: THE NEXT FEW DAYS
We watch Divine G go through life, living in the slow time.
- Watching TV with other men in the common area.
EXT. YARD COURTYARD - DAY
- Divine G circles the courtyard. As he’s been doing for
hours. And will continue to do.
INT. THEATER - LIGHTING BOOTH - DAY
- Divine G watches down on the rehearsals. The men onstage
are paired up and waltzing around part of the pirate ship
set.
Ratings
Scene 43 - Longing at the Pay Phone
A singular PAY PHONE hangs on the wall. A long line of people
waiting to use it. Currently, Divine G is on a call, though
his mind seems far away.
DIVINE G
...No, that’s not what I’m saying
but--
(listens)
But you need to tell them that they
can’t talk to you like--
(listens)
I hear you, Mama, but--
(listens, now frustrated)
Well why are we even talking about
then? If you don’t want to do
anything about it, then you’re just
wasting your time by--
(listens, softens)
I’m sorry, I just... No, I’m not
nervous, I just want to have it
done already. Maybe I’m a little
nervous.
(listens)
Yes ma’am. I know. I’m just--
(chokes up)
I’m just ready to see you, Mama.
I’m ready to come home.
Ratings
Scene 44 - A Fight for Freedom
Divine G sits in a room more befitting a congressman’s office
than a prison.
THREE COMMISSIONERS sit in high-backed chairs. Thumbing
through his file.
They make him a wait a long time before speaking to him.
LEAD COMMISSIONER FERGUSON
Mr. Whitfield, this is a Clemency
hearing for your conviction of
murder in the second, for which you
were convicted of 25 to life, as
well as weapons possession, second
and third, two counts on each, two
to seven and five to 15
respectively. The sentences are
verdict by trial.
DIVINE G
That’s correct.
LEAD COMMISSIONER FERGUSON
You have also served out your
sentence for criminal possession of
a controlled substance, third
degree, one to three year sentence
by plea.
DIVINE G
Yes.
LEAD COMMISSIONER FERGUSON
I’ll note at the outset we were
able to acquire the sentencing
minutes, which will be considered
as well as your parole packet.
DIVINE G
Did you also have time to review
the letter from the Jeffrey
Deskovic Foundation for Justice? I
received a letter saying there was
some issue with the timing of my
filing, but I sent it within the
submission window.
LEAD COMMISSIONER FERGUSON
No, we have it here. I believe I
saw that. But before we get to
that, we’ve got to finish defining
what it is that we’re talking
about. Now we’re talking about the
March 25th, 88 homicide of Rudolph
Migliarese. He had been shot many
times in the head and body.
Correct?
DIVINE G
As far as I understand.
LEAD COMMISSIONER FERGUSON
And in terms of this offense you
have exhausted your appeals, you
had the Innocence Project look at
this, Legal Aid, you hired an
investigator. Apparently you’ve
raised other issues of
prosecutorial and police department
misconduct. And there were some...
(reading)
...other exculpatory statements
made by another person that were
never given to you for your trial.
DIVINE G
Harold Wesley exonerated me on the
audio tape I submitted.
LEAD COMMISSIONER FERGUSON
But in the end your appeals were
not successful.
DIVINE G
To date. That’s correct.
LEAD COMMISSIONER FERGUSON
You do understand that we cannot
overturn or invalidate the
conviction of this court? We can
only take into consideration your
assertions of innocence and the
information presented to support
your claims.
DIVINE G
I understand.
LEAD COMMISSIONER FERGUSON
This tape that you submitted,
supposedly proving your
innocence...
DIVINE G
(excited)
Yes. Harold Wesley confessed to the
crime on that tape. But it was
buried, along with some other key
evidence.
LEAD COMMISSIONER FERGUSON
Yes, that’s part of the issue. It’s
been next to impossible for us to
verify the authenticity of it
because the person who made the
tape is deceased. And we can’t get
the DA’s office to return our
calls.
Divine G is unsure how to respond.
DIVINE G
I don’t...
LEAD COMMISSIONER FERGUSON
You understand that creates a
complicated legal issue, don’t you?
DIVINE G
Well, yes, but I can’t control--
LEAD COMMISSIONER FERGUSON
(barreling on)
--Since you’ve been in custody
you’ve been involved in numerous
programs -- it’s too long of a list
to go over every one -- but I have
a question about the theater
program. You’ve been involved in
that many years, have you not?
DIVINE G
Yes. I’m one of the founding
members of that program. I’m very
proud of it.
LEAD COMMISSIONER FERGUSON
And what part do you play in that
program? Actor, director...?
DIVINE G
No I’m not a director. I’m on the
Steering Committee, kind of the
board that guides the direction of
the program inside. And yes, I act.
Usually a few roles per production.
(growing more proud)
It seems like just acting in a
play, but it really opens up
something inside these men --
myself included -- that was closed
off. We all learn to get closer in
touch with our feelings.
LEAD COMMISSIONER FERGUSON
So are you acting at all during
this interview?
The air goes dead. The other Commissioners stare at him.
DIVINE G
(fumbling)
Well I-- Well no, not here. Of
course not. I mean this is-- This
is coming from the heart. I hope
that’s the way it’s being
interpreted, it’s coming from the
heart. I just--
(stops, takes a breath)
(MORE)
DIVINE G (CONT’D)
The program is designed to help
individuals learn management skills
and just, become better human
beings. That’s all I was trying to
get across.
LEAD COMMISSIONER FERGUSON
I read about the program. It’s a
good program. OK, any other
questions from the board?
(none)
Well thank you for answering our
questions, Mr. Whitfield. We’ll
take all this into account and
deliver our decision in two weeks.
DIVINE G
Thank you for the time. And thank
you for the consideration.
The back door opens. Divine G hangs there a moment as if
there might be more to say. Then he fades out of the room.
Ratings
Scene 45 - Bittersweet Freedom
Diving G checks his mail one afternoon. There’s a LETTER.
From The Parole Board. It’s THICK, HEAVY.
He immediately knows what it says without opening it. We read
it all over his face.
INT. THEATER / WINDOW - A LITTLE LATER
Divine G steps to the small window looking out at the
mountains. Someone else is already there, looking out: Divine
Eye.
He holds his own LETTER in his hand. A single page. PAROLE
GRANTED.
Divine G steps up next to him. Sees tears have been running
down Divine Eye’s face. Divine G just looks out the window
and they both quietly stare out a while before speaking.
DIVINE G
You’re going home.
DIVINE EYE
I can’t believe it. It still
doesn’t feel real.
DIVINE EYE (CONT’D)
What about yours man? Have you
heard anything yet?
Divine G wants to do anything but stamp out Divine Eye’s
enthusiasm right now. Struggling over whether to come clean.
He begins to say something, but his words catch in his throat
and he looks back out the window.
Divine Eye looks at his friend.
DIVINE EYE (CONT’D)
I wouldn’t be here without you,
beloved. Thank you.
Divine G smiles. Thanks him without saying a word.
DIVINE G
Come on. They’re waiting for you.
They start walking back toward the theater.
DIVINE G (CONT’D)
You know you don’t have to carry
that thing everywhere with you,
right? They’ll let you out even if
you lose it.
DIVINE EYE
I have to keep looking at it to
make sure I read it right.
Ratings
Scene 46 - Celebration of Gratitude
A SINGLE CUPCAKE is carried onstage where Divine Eye waits,
everyone gathered around him.
PRE-LAP: Audio of people telling stories of Divine Eye. The
stories continue as everyone congratulates him on getting
parole.
Divine G hangs back in the wings, watching it all.
After a few stories, Divine Eye speaks.
DIVINE EYE
This, um, reminds me of something
I read on the wall in the box. Got
me through my longest stretch in
there.
(thinks a moment)
(MORE)
DIVINE EYE (CONT’D)
We the willing, led by the
unknowing, have been doing the
impossible for the ungrateful for
so long, with so little, that now
we are qualified to do anything
with nothing.
(considers the cupcake)
I love yall man. Every one of you.
Now come up here and get some of
this. Everyone gets a taste, even
if its just a little one.
Ratings
Scene 47 - Costume Chaos and Character Reflections
ONER tracking backstage and frontstage as COSTUMES are
brought in by the program founder Katherine and the buzz is
palpable as everyone tries them on for the first time. The
outfits are eccentric. Outrageous.
Katherine jokes about the strange places she had to look to
find them but says its worth it seeing the men in them now.
Reminds them that every button and every zipper must be
accounted for.
Sets roll past us. Three men in a tree costume struggle to
walk together. Big E practices drawing his broccoli from his
belt. His scene partner a carrot.
We turn a corner as two of the female volunteers greet their
fellow cast like old friends.
We come to a rest on one of the new members wearing a gold
polyester suit, staring at himself in a mirror.
PETE
I haven’t worn a suit in fifteen
years.
Divine Eye guides him away from the mirror.
DIVINE EYE
OK, that’s good. Can you move over
toward the stage, brother? Lotta
guys need to use this mirror.
We follow Pete around a corner to land on Divine G, standing
beside the curtain, alone in his gladiator outfit. Spinning a
wig in his hands.
CUT TO:
Ratings
Scene 48 - Final Dress Rehearsal: A Moment of Celebration and Distraction
The cast is onstage. Cheering as every set is shown off and
wheeled in.
We get a beautiful pep talk from Brent. This is the final
dress rehearsal before opening night. He thanks the men for
trusting the process, for trusting him to be part of it.
We now drift across the stage as MOMENTS FROM THE PLAY
UNFOLD.
Throughout these moments WE TRACK DIVINE G as his mind seems
elsewhere.
INT. THEATER - ANCIENT EGYPT SET
The Egyptian Set is wheeled in. The prince does his Egyptian
slide across the stage. Two Egyptian guards stand beside
Mummy in her sarcophagus.
INT. THEATER - WHISKERANDOS TOWER
Leslie, Maid Marion, and a companion walk in place as
Whiskerandos Tower is wheeled closer. Tower is turned and
reveals Whiskerandos, He says his big line.
A remote controlled car brings a clue to their next
destination.
Ratings
Scene 49 - Theatrical Despair
The growing shadow puppet of Freddy Krueger looms closer.
INT. THEATER - HAMLET
We enter this scene after Divine Eye finishes his soliloquy.
Now we see the bizarre turns that Mummy’s Code has in store
for us.
INT. THEATER - PIRATE SHIP SCENE
Focus on the entrance of the bathtub sailing across the sea,
the pirate ship entering the stage opposite.
We cut to Leslie and Maid Marion waltzing across the sea.
Then the pirates in Hawaiian shirts pair off and join them.
INT. THEATER - LATER
DIVINE G’S SCENE IN THE GLADIATOR COLISEUM IS UP.
He enters the stage with three others. He gives his line
reading, fast and flat.
DIVINE G
Zakariedies has got me locked into
a 25 year no-pay contract. If I
don't stay and be his number one
gladiator, he's gonna kill my wife
and daughters and feed me to the
lions.
The timing throws his scene partner, who stumbles. Then asks
for his line.
Brent starts to read the line, but Divine G railroads them.
DIVINE G (CONT’D)
(to first actor)
You say, We sure could’a used you
for some serious backup. Then I
say, Hey, well never fear,
Gladiator Goliathon is here. I’ll
smash ‘em, I’ll bash ‘em, whether
short or tall. Then,
(to second actor)
You say, Why, you’re just the kind
of person we need. You could be our
bodyguard, and hopefully you’ve at
least been rehearsing,
(turning to the theater)
And then I cap it off by moving up
and saying the profound line, Look,
if you can help me escape, consider
it done. And that’s the end of Act
IV.
Divine G looks out into the empty seats.
DIVINE G (CONT’D)
Oh yes, and remember, it’s a
comedy. So say it BIG! Say it
merry! Be HAPPY!
It’s dead silent in the theater.
BRENT (O.S.)
Um. Why don’t we take five and--
DIVINE G
Why? It’s not going to help. More
time and more time, if we don’t
have it now, we’re not going to get
it, don’t you all understand that?
Don’t you get that?
Divine Eye steps onstage. Leans in quietly.
DIVINE EYE
C’mon bro. Let’s take a walk.
DIVINE G
(snaps)
Get the fuck away from me!
He and Divine Eye stare at each other. Everyone in the cast
and crew is frozen.
The Divine G relaxes.
DIVINE G (CONT’D)
See? Anger is easy to play.
He looks out to the whole company.
DIVINE G (CONT’D)
What the fuck are we doing here?
These silly fucking outfits.
Dancing around, for what? So we can
do it all over again in six months?
Working our asses off. We kill
ourselves just to get permission to
paint cardboard and then what?
The others are looking down, shaking their heads,
disappointed in him, but no one stops him.
DIVINE G (CONT’D)
We’re just entertaining ourselves.
Dancing for them while they warm up
the chair. That’s the real fucking
joke.
DIVINE EYE
You done?
Divine G sighs, holding back tears, looks around.
DIVINE G
No. I’m not.
(long pause)
Isn’t that hilarious?
Divine G walks off the stage into the darkness until it
envelopes him whole.
In the void a door slams shut.
Ratings
Scene 50 - Echoes of Abandonment
SING SING - VARIOUS
A series of shots of EMPTY SPACES throughout the prison:
- The THEATER. The stage filled with props, but dark and
empty.
INT. CLASSROOM - DAY
- A CLASSROOM. Filled with chairs, the lights out.
EXT. YARD - DAY
- The YARD. Wind blowing the dirt around. Little wrens
searching for scraps.
Ratings
Scene 51 - Circle of Betrayal
The entire cast sits in a circle of chairs. The conversation
is chaotic, everyone talking over each other. The subject:
Divine G leaving.
Divine Eye sits in a chair at the edge, barely in the circle.
Brent is here too, mostly listening.
The cast is talking about Divine G, mostly talking shit about
him leaving them. Saying he betrayed them, betrayed the show.
Then someone’s voice cuts through.
DINO
Hey!
They all stop, turn to him. Dino focuses on one of them.
DINO (CONT’D)
You love this program? You’re
protective of it? How did you get
in here?
The man doesn’t answer, just looks down.
DINO (CONT’D)
(to another)
And what about you? You were
running meth through the yard, if I
remember right. And he fought for
you to be in this program. When
some of us didn’t think you should
be in here, to be honest.
(to them all)
Everyone has a breaking point, no
matter how strong they are.
JJ
So does that mean the rules don’t
apply to him? We have clear
protocols in place for this.
Everyone gets quiet. Divine Eye says nothing. Just observes.
After awhile, Brent speaks. Softly from the side.
BRENT
I remember my first time directing
a production in here. I decided all
the roles, who would get what
parts. It’s how you do it on the
outside, the director decides. Then
I brought that list in and Divine G
pulled me aside and said, that’s
not how we do it here. We decide
together.
Brent smiles. A few smile with him.
Brent thinks.
BRENT (CONT’D)
When the towers fell, I was so
worried about you guys. I called
all my friends, a few family
members, but I couldn’t call you. I
couldn’t make sure you were ok. The
second they let us in I came back
and Divine G was the first person I
saw. I cried at the sight of him.
He just pulled me in and let me get
it all out. Then he said, you good?
I said, yeah I think so. He said,
OK, well get your shit together. I
don’t need you worrying the others.
They all laugh. Then it gets quiet again.
Divine Eye stands and walks out of the room.
Ratings
Scene 52 - Silent Acknowledgment
Divine Eye sits by himself, eating silently, full of
questions.
Someone walks across behind him, DROPS A WAD OF CASH on the
table by his tray. Divine Eye instinctively hides it under
his tray.
He looks up to see who has passed. Clay.
The young man he extorted crosses the room and sits with a
GROUP OF HARD-LOOKING MEN. He’s accepted into their ranks.
He looks across the room at Divine Eye. The young man looks
ten years older. It seems to have cost him a lot to get this
money.
He nods to Divine Eye. A moment of recognition.
Ratings
Scene 53 - From Isolation to Connection
VARIOUS SHOTS of Divine Eye’s cell. Stacked cans of soup. Air
Jordans. Ramen for days. A wealth amassed over the years.
But not the wealth Divine Eye longs for any longer.
Divine Eye sits at his desk. Lit by a single desk lamp.
After a while he pulls out his script. Opens it to his first
scene. He starts mumbling, rehearsing his lines.
INT. CLASSROOM - LATER
Divine Eye is back with the rest of the cast.
Brent starts a warmup. He asks everyone to close their eyes.
He has them IMAGINE A FRIEND. Anyone they would like to see
who they haven’t in a long time.
BRENT
Now hold that face in your mind.
And open your eyes.
A man in street clothes stands there, smiling. This is
CHARLIE.
CHARLIE
Did it look like me?
They group explodes with excitement, everyone jumps up,
hugging Charlie.
CUT TO:
A LITTLE LATER.
Charlie sits in the circle with them. Telling a story.
He talks about what it felt like to go home. The first meal
he ate. The first person he saw.
Slowly, he becomes more vulnerable. He talks about his
struggles since going home. How hard it is to take the mask
off that sustained him in here. How he forgot how to accept
love.
CHARLIE
(looking for the words)
I’ve been talking to a counselor
and she says, you know, I might
have the, uh, the PT...
CARMINE
(softly)
PTSD.
Charlie nods. Tears in his eyes.
CHARLIE
I miss yall is all. I feel like my
family is in here and I’m just...
He starts to choke up. Has to stop.
CHARLIE (CONT’D)
(collecting himself)
Ah shit. Brent asked me to come in
here and pump you up before the big
show and look at me.
They all laugh with him.
CHARLIE (CONT’D)
Maybe, uh, maybe we can do a
exercise. Just cut it up a little.
Would that be OK?
BRENT
Yeah. Definitely. Let’s all get up
on our feet. Stop sitting around
like a sewing circle.
They all get on their feet and Brent starts describing the
exercise.
Ratings
Scene 54 - Reflections by the River
Divine Eye sees Divine G across the yard, sitting on some
stairs. Watching the Hudson River. The town beyond the river.
People going home.
Soon he crosses the yard and sits quietly with him.
After a while the passenger train goes through the yard.
Divine Eye lets the silence settle back in before he knows
what to say.
DIVINE EYE
You know, I lied when I came into
the program. I said I didn’t know
what those plays were and I just
wanted to talk to the chicks and
all that. I mean, I did want to
talk to chicks, but I knew about
the plays. I was artistic, you
know. When I was a kid.
Divine G is listening.
DIVINE EYE (CONT’D)
I painted. Drew a lot. Anytime my
mom’s friends were sick, she’d have
me draw a card for them. Or paint
something. But I was always, you
know, I didn’t look like an artist.
So other plans were set for me.
When I got to be like twelve, I
didn’t draw any more. My moms was
always asking why don’t you draw
something for me and I just... I
wasn’t nice about it.
Divine Eye gets quiet, looks around the yard. His world here.
DIVINE EYE (CONT’D)
I was out here in the yard one day,
couple years back, and it starts
pouring rain, so they shut it down.
But I had some business to do. So I
go to the theater, did what I had
to do, then I just sat there,
nowhere else to be. But all you
cats were putting on a play.
DIVINE G
Which one was it?
DIVINE EYE
The one with the... guys in the
asylum--
DIVINE G
Cuckoo’s Nest. Not a comedy.
DIVINE EYE
(smiles at that)
Nope. But here’s what it was. See,
before that day, I thought I was
free. I did whatever I wanted. I
was a wolf. But I saw you up on
stage, crying over someone who
died, and I realized, I ain’t free.
I wear a mask. Every day. All of us
do. Except for you. And I needed
that. I watched every play you were
in after that. I got on the waiting
list and I spent a whole year
getting no tickets, just so I could
know what that felt like.
Divine G doesn’t know how to respond.
DIVINE EYE (CONT’D)
You don’t know how to ask for help.
And you don’t trust it when it’s
offered. But you need it. Just like
the rest of us. You just have to
ask for it.
DIVINE G
I knew you were lying about that
too. I never forget a face out in
that crowd.
DIVINE EYE
(laughs)
Yeah right.
They watch the geese float over the river.
DIVINE G
I fucked up.
DIVINE EYE
You did.
Divine Eye lets that hang.
DIVINE EYE (CONT’D)
But the thing is, everyone in RTA
took a vote. They know you. They
know that wasn’t you. You would be
welcome back. On just one
condition.
DIVINE G
What’s that?
DIVINE EYE
You gotta admit that I absolutely
crushed that soliloquy. Like,
Shakespeare himself rolled around
in his grave just a little so he
could hear what I was bringing to
it.
Divine G laughs.
DIVINE G
You did. You did, my beloved.
Ratings
Scene 55 - Unity in Performance
BACKSTAGE.
The cast is in a tight huddle.
Divine G looks across the cast. They look him back at him,
waiting for him to say something.
DIVINE G
I thought I was stronger. And uh...
I’m just grateful for this family.
And everyone understands this. They nod. Welcome him back.
Then one actor starts a chant that the others soon join.
ALL
(starting quiet)
Energy. Energy. Flowing through my
body.
(a little louder)
Energy. Energy! Flowing through my
body.
The circle is now alive, swaying back and forth. Splitting
off and dancing.
ALL (CONT’D)
ENERGY! ENERGY!! FLOWING THROUGH MY
BODY!!!
CUT TO:
ONSTAGE. LATER. JUST BEFORE SHOWTIME.
The stage crew is shepherding in the sets for the first
scene.
Divine G and Divine Eye stand on stage, on their marks. The
curtain closed before them. Props around them.
They are still. Ready.
The din of the audience falls to a hush. A quietness shot
through with anticipation.
The Divines share one last look. A fleeting moment.
And then...
The curtains open to a WASH OF LIGHT.
A roar of applause.
WASH TO WHITE.
INT. CORRIDOR - DAYS LATER
Divine G is walking down the cellblock, escorted by a CO,
passing one cell after another. Each a little microcosm,
showing the life of the person inside.
CO
Yall were pretty good out there the
other night.
Ratings
Scene 56 - Bittersweet Farewell
Divine Eye’s cell is completely empty. He sits on his cot in
there.
Divine G smiles when he sees him, leans on the bars.
DIVINE G
They let me come down and say
goodbye. Still waiting?
DIVINE EYE
Been the longest two days of my
whole bid.
DIVINE G
I’ve heard that.
(of the cell)
You cleaned out.
DIVINE EYE
I didn’t have that much to start
with. Sorry I didn’t have nothing
to give you. I didn’t feel like I
had nothing good enough.
DIVINE G
You’ve given me plenty.
They sit with that a moment.
DIVINE EYE
This ain’t goodbye, you know. I’ll
see you out there before long.
DIVINE G
Nah...
DIVINE EYE
Come on man. Don’t get all, what’d
you call it, fatalistic. Don’t bum
me out on my last day in here.
DIVINE G
Nah, It’s not like that. I’m good.
Here. Whatever that means.
Divine G is thoughtful a moment.
DIVINE G (CONT’D)
I had a little brother, Jeffrey. He
had a, condition, it was
congenital. His heart wasn’t strong
enough to pump blood around his
body... looked all blue since I can
remember. It was ironic because he
was the biggest hearted person I
ever met. He knew things too. From
the time he was ten he started
saying he was gonna die soon, that
he wouldn’t be with us long. He
always said, Davey, don’t worry
mama when I’m gone. I used to get
so fuckin mad at him but...
(MORE)
DIVINE G (CONT’D)
it was just cause I was scared of
what he was saying. Scared of
losing him.
Divine G is quiet. Seems to be working out what he’s trying
to say.
DIVINE G (CONT’D)
I used to carry him to the park in
the afternoons. The 260 park in
Canarsie. He was a baseball fanatic
so we’d go down to the five
diamonds and watch the other kids
play. I don’t know anything about
baseball but I’d just sit there and
listen to him talk and talk. He saw
all these intricacies of the game I
just didn’t see.
(sighs)
After I lost him... I didn’t open
up. I took care of people but I
didn’t really... I didn’t want to
lose somebody I was close to like
that again.
(looks at Divine Eye)
I couldn’t stand you when you came
into the program. Couldn’t stand
the sight of you.
They both laugh at that.
DIVINE G (CONT’D)
Now I feel like I’m sitting on that
bench again with him. Knowing he’s
going someplace better, but wishing
so bad he’d just stay a little
longer.
Divine Eye stands and they hug each other.
DIVINE G (CONT’D)
Alright get out of here.
Ratings
Scene 57 - Divine G's Proposal
Another day. Divine G and three others of the Steering
Committee sit in a circle in the classroom. A few seats
remain empty.
Divine G sips his tea and makes a few notes. The others are
still buzzing from the play, talking about what a joy it was
to do a comedy.
JJ
Yeah, but I thought a comedy would
be a lot easier than that.
The others laugh and agree. A new Steering Committee member,
SUAREZ speaks up.
BIG E
So what do we want to do next?
The room quiets. Divine G still isn’t saying much.
Others start to throw out ideas: 12 Angry Men, The Seagull,
Jitney.
DAP
What about one of Divine G’s plays?
Everyone looks to Divine G. He isn’t sure how to respond.
DAP (CONT’D)
Do you have one that you want to
do?
DIVINE G
I don’t know...
JJ
Come on man. Wasn’t there one about
a music man or something?
DIVINE G
Ah yeah. Fine Print. But that one
still needs some work. Lost in the
second act.
(thinks)
You know. I’ve got one that I wrote
a couple years back that could fit.
It’s called Pro Se. It’s about...
Divine G goes on describing the play.
Ratings
Scene 58 - Curtain Call: A Reflection on Freedom
Music begins as we see grainy DV CAM footage begin of:
SEVEN YEARS OF CURTAIN CALLS.
We see the end of play after play, moments of Divine G with
rotating casts, dressed in an array of costumes from
different eras and countries, all stepping out as the
curtains part to take their bow. Intercut with ACTUAL FOOTAGE
of RTA performances.
Again and again.
INT. DIVINE G'S CELL - ANOTHER DAY
SEVEN YEARS LATER.
Divine G sits alone in his cell, a box on his lap. Everything
else has been cleaned out.
On top of the box, A LETTER. LIGHT AS A FEATHER.
His GATE clangs open. He steps out, carrying his box, and
stands outside his gate, waiting for his CO escort.
He looks around. His eyes land on Mike Mike’s old cell. A new
face looks out at him from it. A young man. They nod to each
other, a subtle moment of recognition.
Then the CO steps up beside Divine G and walks him away.
Ratings
Scene 59 - First Steps to Freedom
Divine G stands with his paper sack. A twenty foot steel gate
lumbers open.
He steps in a narrow passage between gates. His heart starts
to thunder in his chest.
A CO steps out of an office a clipboard. We watch their
interaction without words from the watchtower, high as a
bird.
The CO makes a note and signals to the gate man in the tower.
The second gate groans, opening on a neighborhood street.
Divine G takes his first steps of freedom. He has trouble
breathing.
INT. / EXT. PARKED SUV - DAY
Peering through a windshield, we see a little road that wraps
around the prison fence, layers of razor wire in the
background.
Soon, Divine G comes walking around the bend. We pan to see
the person leaned on the hood of the car, waiting for Divine
G. Divine Eye.
DIVINE EYE
Was starting to get worried.
Thought you had decided to stay.
DIVINE G
I was just trying not to walk too
fast. Didn’t want them to see me
running, think I was escaping and
shoot me.
They laugh.
Ratings
Scene 60 - Embracing Freedom
Divine Eye meets G along the fence. They grab each other a
deep hug. Holding it for a while.
An expanse of prison and razor wire stretches out beyond
them.
INT. SUV / COUNTRY ROAD - LATER
A blur of green out the window. Divine Eye drives along a
road socked in with trees. Wind sings through the open
windows.
Divine G looks out. The movement is overwhelming.
DIVINE EYE
You good?
Divine G looks for the words.
DIVINE G
It’s a lot, isn’t it?
He looks over to Divine Eye. Divine Eye nods.
DIVINE G (CONT’D)
Almost too much.
Divine G’s emotions are welling up.
DIVINE EYE
Just sit with it man. Sit with it.
You’ve got plenty of time.
Divine G leans his head back by the open window. The trees
give way to open farmland. The breeze and the sunlight
crossing his face. He closes his eyes. Soaks it in.
And then his eyes open. To the new world.
THE END.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
divine g |
|
While Divine G's character arc is rich and layered, it could benefit from clearer motivations and stakes throughout the screenplay. His emotional struggles are compelling, but the narrative sometimes lacks a strong sense of urgency or conflict that drives his development. Additionally, the transitions between his various emotional states could be more pronounced to enhance the impact of his growth. | To improve Divine G's character arc, consider introducing specific goals or obstacles that he must overcome, which would create a stronger narrative drive. Incorporating more external conflicts, such as challenges within the theater group or interactions with prison authorities, could heighten the stakes and provide opportunities for Divine G to demonstrate his growth. Additionally, emphasizing key moments of vulnerability and connection with other characters could deepen the audience's emotional investment in his journey. |
mike mike | Throughout the screenplay, Mike Mike evolves from a light-hearted comic relief character to a more complex figure who grapples with his past and the weight of his relationships. Initially, he serves as a source of encouragement and humor, helping Divine G navigate the challenges of producing a play. As the story progresses, Mike Mike faces personal struggles that force him to confront his vulnerabilities and the consequences of his past actions. This culminates in a moment of introspection where he challenges Divine G to pursue more ambitious projects, reflecting his growth and desire for deeper connections. Ultimately, his absence becomes a poignant reminder of the impact he had on the group, leading to a heartfelt reflection on friendship and resilience. | While Mike Mike's character arc is compelling, it risks becoming overshadowed by the more dominant narrative of Divine G. His transformation from comic relief to a more nuanced character is intriguing, but it may lack sufficient depth and exploration of his backstory. The screenplay could benefit from more scenes that delve into his past and the specific events that shaped his character, allowing the audience to connect with him on a deeper level. Additionally, his moments of vulnerability could be more pronounced to create a stronger emotional impact. | To improve Mike Mike's character arc, consider incorporating flashback scenes that reveal key moments from his past, showcasing the experiences that led to his rough exterior and resilience. This would provide context for his behavior and deepen the audience's understanding of his character. Additionally, allow for more interactions between Mike Mike and Divine G that highlight their contrasting perspectives, emphasizing the growth of their friendship. Finally, ensure that Mike Mike's absence is not only felt by the group but also serves as a catalyst for Divine G's development, reinforcing the theme of friendship and the importance of pursuing one's dreams. |
divine eye | Divine Eye's character arc begins with him as a tough, skeptical individual who struggles with self-doubt and a desire for change. As he participates in the theater group, he faces internal conflicts and challenges that force him to confront his past and insecurities. Through his interactions with Divine G and other cast members, he gradually opens up, revealing his vulnerabilities and artistic potential. By the climax of the screenplay, Divine Eye embraces his identity as an artist, finding confidence and camaraderie within the group. His journey culminates in a moment of self-acceptance and emotional growth, where he learns to balance his tough exterior with his empathetic nature, ultimately becoming a guiding force for others in the group. | While Divine Eye's character arc is compelling, it could benefit from a clearer trajectory that highlights specific turning points in his development. The transition from a guarded individual to a supportive character feels somewhat abrupt at times, and the screenplay could delve deeper into the motivations behind his transformation. Additionally, the balance between his comedic and dramatic elements could be refined to ensure that both aspects contribute meaningfully to his growth rather than feeling disjointed. | To improve Divine Eye's character arc, consider incorporating more pivotal moments that challenge his beliefs and force him to confront his vulnerabilities. For instance, introducing a specific incident that triggers a significant emotional response could serve as a catalyst for his growth. Additionally, exploring his relationships with other characters in greater depth could provide more context for his transformation. Emphasizing the impact of his past on his present actions and decisions will create a more cohesive narrative. Finally, ensuring that his comedic elements are woven into his emotional journey will help maintain a consistent tone and enhance the overall depth of his character. |
brent | Throughout the screenplay, Brent undergoes a significant character arc. Initially, he is portrayed as an exhausted yet enthusiastic director, driven by a passion for creativity and collaboration. As the story progresses, he faces challenges that test his leadership and commitment to the group. He learns to balance his authoritative nature with empathy, ultimately realizing that true success lies not just in the production but in the personal growth of the inmates. By the climax, Brent transforms into a more reflective and compassionate leader, understanding the importance of vulnerability and connection in both theater and life. In the resolution, he emerges as a more rounded individual, having fostered a sense of unity and emotional expression within the group, while also finding personal fulfillment in their collective journey. | While Brent's character arc is compelling, it could benefit from deeper exploration of his internal struggles and motivations. The transition from an exhausted director to a compassionate leader feels somewhat abrupt and could be enhanced by showcasing specific moments that challenge his beliefs and leadership style. Additionally, the screenplay could delve into Brent's backstory to provide context for his passion for theater and his dedication to the inmates, making his journey more relatable and impactful. | To improve Brent's character arc, consider incorporating flashbacks or dialogue that reveal his past experiences with theater and leadership, highlighting any failures or successes that shaped his approach. Introduce a pivotal moment where Brent's authority is challenged, forcing him to confront his own vulnerabilities and adapt his leadership style. This could be a conflict with an inmate or a setback in the production that requires him to reassess his priorities. Additionally, allow for moments of self-reflection where Brent acknowledges his exhaustion and the toll it takes on him, leading to a more gradual and believable transformation into a compassionate leader. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Reflective Tone and High Concept Scores | Scenes with a 'Reflective' tone (appearing frequently throughout the screenplay) consistently receive high scores in 'Concept' (8 or above in almost all cases). This suggests a strong thematic foundation underlying the reflective moments, and the author's skill in weaving concept into these scenes. Consider exploring if this could be leveraged further for deeper thematic resonance. |
Emotional Impact and Dialogue Correlation | There's a noticeable inverse correlation between 'Emotional Impact' and 'Dialogue' scores in several scenes. Specifically, scenes with high emotional impact (7 or above) often have lower dialogue scores (6 or below). This may indicate that the emotional power comes from the subtext, actions, or visuals rather than explicitly stated dialogue. Exploring more emotionally evocative dialogue might enhance emotional impact without sacrificing the current stylistic choices. |
High Stakes and Conflict Correlation | Scenes scoring high on 'High Stakes' also tend to receive high scores in 'Conflict,' and vice versa. This is expected but highlights a strength in creating engaging, consequential conflicts. Consider if the 'High Stakes' aspect could be pushed further for some scenes without increasing tension excessively. |
Character Change and Scene Tone | Scenes with significant 'Character Change' scores are frequently paired with varied tones, including both 'Reflective' and more action-oriented tones ('Tense,' 'Confrontational'). This indicates a dynamic approach to character development, showcasing change in diverse narrative contexts. Consider exploring whether the character change is always clearly shown within each scene for maximum impact. |
Clusters of Low Emotional Impact and Dialogue Scores | Several scenes (e.g., 8, 9, 22, 23, 26, 27, 28, 35, 38, 40, 42, 43, 46, 47, 50, 53) have notably lower scores in 'Emotional Impact' and 'Dialogue' compared to other elements. While this might be intentional for pacing or contrast, it's a pattern to review, especially in relation to the overall narrative arc. Evaluate whether these lower scores impact the audience engagement in a way intended, or provide opportunities to enhance emotional resonance without compromising other scene elements. |
Thematic Grouping of Final Scenes | The final scenes (54-60) show a strong thematic consistency, emphasizing 'Reflective,' 'Hopeful,' 'Emotional,' and 'Intimate' tones. This suggests a deliberate and well-executed resolution. The high consistency could be a strength, but slight variation in emotional tone in this final grouping might increase their impact and make them more memorable. |
High Overall Grade with Varied Tone | Despite the frequent use of 'Reflective' tones, scenes receive consistently high overall grades even when incorporating varied and contrasting tones like 'Humorous,' 'Tense,' or 'Confrontational.' This indicates a strength in blending seemingly disparate tones within a unified narrative structure. Consider highlighting this skillful interweaving of tones in your writer's statement. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong foundation in creating emotionally resonant scenes with engaging characters and dialogue. The writer consistently showcases an ability to convey emotional depth and thematic complexity. However, there's room for improvement in structural elements, particularly scene construction and pacing, as well as a more consistent application of these strengths across all scenes. The recurring suggestion to read 'Save the Cat!' highlights a need for strengthening plot structure and character arcs, ensuring each scene contributes meaningfully to the overall narrative.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Save the Cat!' by Blake Snyder | This book provides a foundational understanding of screenplay structure, focusing on creating engaging scenes and well-defined character arcs, directly addressing the recurring feedback about scene structure and character development. |
Book | 'Screenplay: The Foundations of Screenwriting' by Syd Field | This classic text offers insights into screenplay structure, formatting, and the fundamentals of storytelling. This complements 'Save the Cat!' by offering a more detailed technical understanding of screenplay construction. |
Book | 'The Art of Dramatic Writing' by Lajos Egri | This book provides a more in-depth look at character development, focusing on motivation and conflict. This will help the writer to create characters with more nuanced internal struggles and more impactful interactions. |
Screenplay | A selection of screenplays by diverse writers representing various genres (e.g., 'Pulp Fiction', 'The Shawshank Redemption', 'Moonlight', 'Birdman', 'Manchester by the Sea', 'Training Day') | Studying a range of styles will expose the writer to different approaches to dialogue, characterization, and storytelling, broadening their toolkit and enhancing their unique style. |
Exercise | Character-driven scene rewrite: Select a scene from the screenplay and rewrite it entirely from the perspective of a different character, focusing on their unique motivations and point of view.Practice In SceneProv | This exercise will enhance the writer's understanding of diverse character perspectives and motivations, leading to richer dialogue and more complex character interactions. |
Exercise | Visual Storytelling Exercise: Choose a scene with primarily dialogue and rewrite it, incorporating strong visual descriptions and minimal dialogue. Focus on conveying the story through actions and visuals.Practice In SceneProv | This exercise will help the writer develop a more balanced and immersive approach to storytelling that leverages both visual and dialogue-driven elements. |
Exercise | Scene Structure Exercise: Take a scene and break it down into its constituent parts (inciting incident, rising action, climax, falling action, resolution). Then, rewrite the scene, paying close attention to how each part contributes to the overall scene's objective and the narrative's forward momentum.Practice In SceneProv | This will force the writer to think about scene construction more strategically, leading to better-paced and more impactful scenes. |
Stories Similar to this one
Story | Explanation |
---|---|
Dead Poets Society | Both stories explore the transformative power of art and literature within a constrained environment. In 'Dead Poets Society,' a group of students is inspired by their teacher to pursue their passions, similar to how Divine G and his fellow inmates find purpose and self-expression through theater. |
The Shawshank Redemption | This film shares themes of hope, friendship, and redemption within a prison setting. Both Divine G and Andy Dufresne use creativity and resilience to navigate their harsh realities, ultimately seeking freedom and personal growth. |
The Green Mile | Both narratives feature a prison environment where characters confront deep moral and existential questions. The emotional depth and exploration of humanity in 'The Green Mile' resonate with Divine G's journey and the relationships he builds with fellow inmates. |
One Flew Over the Cuckoo's Nest | Similar to the dynamics in Divine G's theater group, this story showcases the struggle against oppressive systems and the importance of camaraderie among individuals in a confined setting. Both narratives highlight the power of individuality and creativity in the face of adversity. |
The Pursuit of Happyness | Both stories depict the journey of individuals striving for a better life against overwhelming odds. Divine G's pursuit of artistic expression and personal redemption parallels Chris Gardner's quest for success and stability, emphasizing resilience and hope. |
The Last Black Man in San Francisco | This film explores themes of identity, belonging, and the impact of environment on personal growth. Divine G's journey through theater in prison reflects similar struggles with self-identity and the search for meaning in a changing world. |
A Midsummer Night's Dream | Both stories involve themes of love, transformation, and the complexities of human relationships. The theatrical elements in Divine G's narrative echo the whimsical and layered storytelling found in Shakespeare's play, where characters navigate their emotions and identities. |
The Intouchables | This film highlights the transformative power of friendship and the impact of art on personal growth. The bond between Divine G and his fellow inmates mirrors the relationship between Philippe and Driss, showcasing how connection can lead to healing and self-discovery. |
The Miracle Worker | Both stories focus on the power of mentorship and the impact of guidance on personal development. Divine G's role in helping others find their voice through theater parallels Anne Sullivan's efforts to teach Helen Keller, emphasizing the importance of patience and understanding. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Redemption Arc | Divine G and Divine Eye both seek redemption through their involvement in theater while incarcerated. | A redemption arc is a narrative trope where a character seeks to atone for past mistakes or wrongdoings, often leading to personal growth. An example is the character of Andy Dufresne in 'The Shawshank Redemption,' who finds purpose and redemption through his efforts to improve the prison library and help fellow inmates. |
The Power of Art | The screenplay emphasizes how theater and art provide a transformative experience for the inmates. | This trope illustrates how art can inspire change and personal growth. A notable example is 'Dead Poets Society,' where the teacher encourages students to appreciate poetry, leading them to find their own voices. |
Found Family | The cast of inmates forms a close-knit community, supporting each other through their struggles. | Found family refers to a group of people who create a familial bond despite not being related by blood. An example is 'The Fast and the Furious' franchise, where characters form strong bonds that resemble family ties. |
The Mentor | Divine G takes on a mentor role, guiding Divine Eye and other inmates in their artistic pursuits. | The mentor trope involves a character who provides guidance and support to a less experienced character. An example is Mr. Miyagi in 'The Karate Kid,' who teaches Daniel not just karate but life lessons. |
The Underdog | The inmates, particularly Divine G and Divine Eye, are portrayed as underdogs striving to succeed in theater despite their circumstances. | The underdog trope features characters who face significant obstacles but strive to overcome them. An example is Rocky Balboa in 'Rocky,' who fights against all odds to become a champion. |
The Big Performance | The climax of the screenplay revolves around the inmates' final performance, showcasing their growth. | This trope involves a significant performance that serves as a culmination of character development and themes. An example is 'A Star is Born,' where the protagonist's final performance is pivotal to the narrative. |
The Emotional Goodbye | Divine G and Divine Eye share an emotional farewell as Divine Eye prepares to leave prison. | This trope highlights the emotional weight of parting, often emphasizing the bond between characters. An example is the farewell scene in 'The Pursuit of Happyness,' where the protagonist must leave behind his struggles. |
The Misfit Group | The cast consists of diverse characters, each with their own quirks and backgrounds, coming together for a common goal. | This trope features a group of individuals who are outsiders or misfits, uniting for a shared purpose. An example is 'The Breakfast Club,' where a group of high school students from different cliques bond during detention. |
The Last Chance | The theater program represents a last chance for the inmates to express themselves and seek a better future. | This trope involves characters facing a critical opportunity that could change their lives. An example is 'The Pursuit of Happyness,' where the protagonist's internship is his last chance to secure a better future. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Redemption and Self-Discovery | Divine G's and Divine Eye's journeys of self-improvement and finding meaning within the prison system through theatre. Divine G's past mistakes and his efforts to guide others toward positive change. Divine Eye's transformation from a cynical hustler to a dedicated performer. | This theme explores the possibility of finding redemption and personal growth even in the face of adversity. It showcases how individuals can overcome their past mistakes and discover their true selves through creative expression and personal relationships. | ||||||||||||
Strengthening Redemption and Self-Discovery:
| ||||||||||||||
The Power of Art and Theatre | The transformative impact of the theatre program on the inmates' lives. The use of theatre as a means of self-expression, personal growth, and social commentary. The collaborative nature of creating and performing a play within the challenging environment of prison. | The screenplay highlights the therapeutic and transformative power of art, demonstrating how it can be a tool for self-expression, social connection, and personal growth, even in a harsh environment like prison. | ||||||||||||
Friendship and Brotherhood | The development of a strong bond between Divine G and Divine Eye, despite their differing personalities and pasts. The supportive relationships within the theatre group, despite the harsh environment. | This theme emphasizes the importance of human connection and support in overcoming adversity. The film showcases how shared experiences and mutual respect can foster strong bonds, even amidst conflict. | ||||||||||||
Confronting the Past and Accepting Responsibility | Divine G's struggle with his past mistakes and his attempts to atone for them. Divine Eye's initial reluctance to confront his own past and his gradual acceptance of responsibility for his actions. The importance of facing past mistakes for genuine personal growth. | This theme explores the difficult process of confronting one's past, taking responsibility for one's actions, and moving forward towards a better future. | ||||||||||||
The Struggle for Freedom and Hope | The inmates' desire for freedom and their hope for a better future. The contrast between the oppressive reality of prison and the liberating power of artistic expression. The eventual release of Divine Eye and Divine G's parole hearing. | This theme emphasizes the human desire for freedom and the importance of hope in overcoming adversity. It highlights the struggle for personal liberation both within and outside of the prison walls. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
---|---|
Summary: | The writer's voice is multifaceted, blending gritty realism with poetic introspection and a sharp wit. It shifts seamlessly between intense, emotionally charged scenes and moments of light-hearted camaraderie, often employing vivid imagery and naturalistic dialogue to reveal character depth and inner lives. A recurring theme is the transformative power of art, particularly theater, in the context of harsh realities like prison life. |
Voice Contribution | The writer's voice contributes to the script by creating a richly textured and emotionally resonant world. The blend of realism and poetic sensibility enhances thematic depth, exploring themes of redemption, second chances, creativity, and the enduring power of human connection in the face of adversity. The naturalistic dialogue and vivid descriptions draw the audience into the characters' lives, fostering empathy and understanding. The shifts in tone and mood, from intense drama to playful humor, maintain engagement and prevent the narrative from becoming overly sentimental or bleak. |
Best Representation Scene | 10 - Comedy vs. Drama: A Late-Night Reflection |
Best Scene Explanation | Scene 10 best represents the writer's voice because it perfectly balances the gritty realism of the prison setting with moments of profound introspection and understated humor. The dialogue is naturalistic yet poignant, revealing the characters' inner lives and their complex relationship. The setting – a dimly lit cell after lights out – contributes to the intimacy and emotional weight of the scene, while the line 'Dying is easy. Comedy is hard.' functions as a microcosm of the screenplay's overall themes and the writer's distinct style. The scene showcases the author's ability to evoke powerful emotions through subtle interactions and understated language, creating a moment of profound resonance without resorting to melodrama. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay demonstrates a high level of originality through its exploration of themes such as creativity in confinement, the complexities of human relationships, and the transformative power of theater within a prison setting. The unique character dynamics, particularly between Divine G and Divine Eye, along with the innovative blending of genres and emotional depth, contribute to a fresh narrative perspective. The use of unconventional settings, such as a prison theater, and the incorporation of personal backstories further enhance the screenplay's originality.
- Most unique situations: The most unique situations in the screenplay are the characters engaging in theatrical performances within a prison environment, the exploration of redemption and personal growth through art, and the emotional complexities surrounding their relationships and pasts. Additionally, the juxtaposition of light-hearted moments with serious themes, such as grief and self-discovery, adds to the uniqueness of the narrative.
- Overall unpredictability score: 7
- Overall unpredictability explanation: The screenplay maintains a moderate level of unpredictability, primarily through the characters' evolving relationships and the unexpected emotional depth revealed in their interactions. While certain plot points, such as Divine Eye's eventual release and the challenges faced by Divine G, may follow familiar arcs, the nuanced character development and the intertwining of personal histories keep the audience engaged and guessing about the characters' choices and outcomes. The blend of humor and drama also contributes to an unpredictable viewing experience.
Goals and Philosophical Conflict | |
---|---|
internal Goals | Throughout the screenplay, Divine G evolves from seeking recognition for his talent and grappling with his past mistakes to embracing vulnerability and mentorship. He transitions from maintaining a tough exterior to expressing deeper emotions and finding solace in creative expression. |
External Goals | Divine G's external goals shift from seeking recognition and success in the theater to supporting others in their artistic journeys and navigating the complexities of his parole situation. His involvement in the theater becomes a conduit for his and others' release from the confines of their pasts. |
Philosophical Conflict | The overarching philosophical conflict is between Individuality vs. Conformity, where Divine G and Divine Eye must navigate their personal identities amidst the pressures of societal expectations and the prison environment. |
Character Development Contribution: The interplay between internal and external goals highlights Divine G's journey toward self-acceptance and emotional connection. His mentorship of Divine Eye reflects his growth from self-doubt to embracing vulnerability and community.
Narrative Structure Contribution: The evolution of goals and conflicts propels the narrative forward, structuring the pace of Divine G's journey as he navigates mentorship, community, and redemption within the confines of the prison setting.
Thematic Depth Contribution: The conflicts and goals deepen the thematic exploration of identity, personal growth, and redemption, emphasizing the importance of community, creativity, and resilience in overcoming past mistakes.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay's world is primarily set within Sing Sing Correctional Facility, a physically imposing red brick and ancient stone prison on the Hudson River, characterized by razor wire, long corridors, gates, a mess hall, a cramped classroom, and a prison yard with multiple levels. Contrasting this harsh environment are serene natural settings like the Hudson River and surrounding farmland, as well as the grand and theatrical spaces of a prison theater with its stage, wings, and backstage areas, including a secluded spot called 'The Steeple'. Other locations include a classroom in a school setting, police interrogation rooms, rec rooms, and even a public space with a payphone line.
- Culture: The primary cultural elements revolve around the prison environment and the theater program within it. This creates a unique juxtaposition of confinement and creative expression. Other cultural aspects include the presence of a local church group, hip-hop music culture (referenced through the 'Mix Machine' DJ group), and the broader societal interest in theater and performing arts, evident in references to classic plays like Hamlet. The culture of survival and power dynamics within the prison are also significant.
- Society: The societal structures are multifaceted. The prison system dictates a hierarchical society based on power, influence, and survival. Within the prison, there are distinct social groups and power dynamics. The theater program itself creates another society, fostering a sense of community, collaboration, and mentorship among the inmates and civilian volunteers. Outside the prison, there are the formal structures of parole hearings and police interrogations, alongside the informal social structures of family relationships and community support.
- Technology: Technology is largely minimal and anachronistic, reflecting the setting. The most notable technological element is the use of a typewriter within the prison, highlighting the outdated technology within the prison. Other technology is minimal; a mention of instant coffee, DV CAM footage, a boombox and CD player, a remote-controlled car as a prop, and basic tools for repairing glasses. The focus remains primarily on interpersonal relationships and creative expression rather than advanced technology.
- Characters influence: The harsh physical environment of the prison profoundly shapes the characters' actions and experiences, forcing them to navigate power dynamics, survive daily challenges, and find creative outlets. The theater program provides a counterpoint, offering an escape from the harsh reality of prison life and enabling self-expression, personal growth, and the forging of unique bonds. The juxtaposition between these environments constantly tests and shapes the characters' resilience, morality, and choices. For example, Divine Eye's struggle to reconcile his criminal activities with his burgeoning artistic talent is directly shaped by this dual environment.
- Narrative contribution: The contrasting physical environments and societal structures drive the narrative forward, creating tension, conflict, and opportunities for character development. The prison setting provides a backdrop for the main conflict—the characters’ struggle for freedom and self-discovery—while the theater provides a space for their transformation and growth. The contrast between the confined prison and the expansive natural world highlights the characters' desires for both freedom and connection.
- Thematic depth contribution: The screenplay explores profound themes through its world-building. The juxtaposition of the brutal prison reality and the vibrant theater program underscores themes of redemption, self-discovery, art as a form of resistance, and the complexities of human nature. The contrast between confinement and freedom, order and chaos, and the individual versus the system enhances the thematic depth. The characters’ relationships and struggles within these contrasting worlds explore themes of brotherhood, loyalty, betrayal, and the enduring power of hope.
central conflict
The struggle for personal redemption and self-identity within the confines of prison life, juxtaposed against the backdrop of a theater program that offers hope and creativity.
primary motivations
- Divine G's desire to prove his innocence and find redemption through theater.
- Divine Eye's quest for self-discovery and acceptance in a world that has marginalized him.
- The cast's collective need for expression and connection amidst their incarceration.
catalysts
- The introduction of the theater program that allows inmates to explore their creativity.
- Divine G's leadership and mentorship, which inspires others to engage in the arts.
- The emotional impact of performances that resonate with the inmates' experiences.
barriers
- The oppressive prison environment that stifles creativity and personal growth.
- Internal conflicts among cast members, including jealousy and insecurity.
- The looming reality of parole and the uncertainty of life after prison.
themes
- Redemption and forgiveness.
- The transformative power of art.
- Friendship and loyalty in adversity.
- The struggle against systemic injustice.
stakes
The characters' futures hinge on their ability to navigate their pasts, find redemption, and succeed in their artistic endeavors, which could lead to personal freedom or continued incarceration.
uniqueness factor
The integration of a theater program within a prison setting, highlighting the juxtaposition of creativity and confinement, and the exploration of personal narratives through performance.
audience hook
The emotional journey of the characters as they confront their pasts and strive for a better future, coupled with the dynamic and often humorous interactions within the theater program.
paradoxical engine or bisociation
The contrast between the harsh realities of prison life and the liberating experience of theater, creating a space where inmates can explore their identities and emotions.
paradoxical engine or bisociation 2
The duality of performance as both a means of escape from reality and a confrontation with it, allowing characters to express their truths while navigating the complexities of their lives.
Engine: Gemini
Recommend
Executive Summary
Sing Sing is a compelling drama with strong character arcs and a unique setting. While the pacing occasionally lags and the plot of the comedic play-within-a-play is somewhat convoluted, the emotional core of the story, focusing on redemption and the power of art within a prison setting, resonates deeply. Minor revisions to pacing and plot clarity would significantly enhance its marketability.
- The character development is superb. Divine G and Divine Eye's journeys are particularly well-crafted, showcasing their growth, vulnerabilities, and ultimately, their connection. The supporting cast also receive ample development. The script deftly portrays the complexities of their relationships and their shared experiences. high ( Scene 16 Scene 18 Scene 29 Scene 37 Scene 57 )
- The screenplay effectively utilizes the prison setting to create a unique and compelling atmosphere. The contrast between the harsh reality of prison life and the creative energy of the theatre program is effectively portrayed. high ( Scene 3 Scene 6 Scene 22 Scene 50 )
- The dialogue is sharp and realistic, capturing the nuances of the characters' personalities and their relationships. The emotional intensity is palpable in key scenes. medium ( Scene 44 Scene 57 )
- The use of theatrical devices and staging instructions are creatively employed, enhancing the visual storytelling and emotional impact of the narrative. This adds a layer of visual interest to the overall script. medium ( Scene 28 Scene 35 )
- The ending is powerful and satisfying, providing a sense of closure while also leaving room for reflection on the characters' futures. The final scene leaves a lasting emotional impact on the viewer. high ( Scene 59 )
- The plot of the play within a play ('Breakin' the Mummy's Code') is overly convoluted and lacks clear narrative focus. Simplifying the plot and streamlining the comedic elements would enhance the overall pacing and engagement. The sheer number of time periods and plotlines can be confusing. high ( Scene 11 Scene 29 Scene 31 Scene 48 )
- The screenplay's pacing is inconsistent. Some sections feel rushed, while others drag. A more consistent rhythm would enhance the narrative flow. Specifically, several montage sequences could benefit from tighter editing and more selective focus. medium ( Scene 20 Scene 29 Scene 42 )
- The handling of Divine G's outburst in scene 49 and subsequent departure could be improved. While the scene highlights his internal struggles, the resolution feels abrupt, and the handling of the group's reaction could be more nuanced. The audience needs more time to feel his pain before the reconciliation. medium ( Scene 51 )
- A more detailed backstory for some of the supporting characters would add depth and complexity to the narrative. Expanding on their individual experiences and motivations could create more emotional resonance with the audience. medium
- The parole hearing scene is particularly well-written, highlighting the tension between Divine G's hope for freedom and the bureaucratic obstacles he faces. It's a showcase of strong dramatic writing. high ( Scene 44 )
- The quote from the parole board letter in scene 46 resonates with the themes of the film and cleverly uses the inmate's perspective to reinforce the film's message. medium ( Scene 46 )
- The scene where Clay, the young man swindled by Divine Eye, re-appears is a powerful commentary on the cyclical nature of crime and the enduring consequences of bad choices. high ( Scene 52 )
- Underdeveloped female characters The screenplay largely focuses on the male inmates, leaving female characters, such as the volunteers and Divine G’s daughters, underdeveloped. Their roles are primarily supportive, with limited exploration of their individual motivations and experiences. medium
- Overuse of exposition In several scenes, particularly during rehearsals, crucial plot points and character motivations are delivered through lengthy dialogues rather than through action or subtle character interactions. This can sometimes feel heavy-handed and detracts from the overall pacing. medium
Engine: GPT4
Recommend
Executive Summary
The screenplay of 'Sing Sing' presents a compelling narrative centered around the transformative power of theater within a correctional facility. It effectively explores themes of redemption, identity, and the human experience through the lens of its well-developed characters. The interplay between humor and drama, alongside the unique setting, creates a rich tapestry that engages the audience while providing insight into the lives of incarcerated individuals. However, there are areas for improvement, particularly in pacing and character arcs that could be more fully realized.
- The screenplay opens with a powerful monologue that sets the tone for the exploration of love and loss, establishing a strong emotional foundation. The climax during the parole board hearing effectively encapsulates the stakes for the protagonist, Divine G. high ( Scene 1 (INT. THEATER - DAY) Scene 44 (INT. PAROLE BOARD HEARING - DAY) )
- The character development throughout the screenplay is robust, particularly in the relationship between Divine G and Divine Eye. Their evolving dynamic showcases growth, vulnerability, and the impact of mentorship. high ( Scene 5 (INT. CLASSROOM - ANOTHER DAY) Scene 48 (INT. THEATER - LATER) )
- The humor interwoven throughout the script provides levity and balance to the heavier themes, making the narrative more engaging and relatable. medium ( Scene 11 (INT. CLASSROOM - ONLY DAYS LATER) Scene 35 (INT. THEATER - ANOTHER DAY) )
- The emotional weight of the story is heightened by the exploration of grief and loss, particularly in the aftermath of Mike Mike's death, which adds depth to the narrative. high ( Scene 40 (INT. THEATER - DAY) )
- The setting of Sing Sing Correctional Facility is vividly depicted, creating a strong sense of place that enhances the story's authenticity and emotional resonance. medium ( Scene 37 (EXT. YARD - ANOTHER DAY) )
- The pacing in certain sections feels rushed, particularly during transitions between major plot points. More time could be spent on character reflections and emotional beats to enhance the overall flow. high ( Scene 10 (INT. DIVINE G’S CELL - LATER) Scene 50 (INT. THEATER - DAY) )
- Some character arcs, particularly for supporting characters, feel underdeveloped. Expanding on their backstories and motivations could provide a richer narrative experience. medium ( Scene 22 (INT. MESS HALL - ANOTHER DAY) )
- The resolution of certain conflicts, particularly regarding Divine Eye's character, could be more clearly defined to avoid leaving the audience with unanswered questions. medium ( Scene 29 (INT. THEATER - LATER) )
- The screenplay occasionally relies on clichés, particularly in dialogue. More original phrasing could enhance character voices and authenticity. low ( Scene 23 (INT. PACKAGE ROOM - ANOTHER DAY) )
- The thematic elements could be more consistently woven throughout the screenplay, particularly in the latter acts, to reinforce the central messages. medium ( Scene 57 (INT. CLASSROOM - SOME TIME LATER) )
- A deeper exploration of the prison's history and its impact on the characters could provide additional context and emotional weight to the narrative. medium ( Scene 3 (EXT. SING SING CORRECTIONAL FACILITY - MORNING) )
- More scenes depicting the daily lives of the inmates outside of theater rehearsals could enhance the audience's understanding of their struggles and aspirations. medium ( Scene 12 (INT. CLASSROOM - ANOTHER DAY) )
- The screenplay could benefit from additional moments of introspection from Divine G, particularly regarding his past and how it shapes his present. medium ( Scene 24 (INT. THEATER - LATER) )
- A more pronounced exploration of the consequences of incarceration on family dynamics could add depth to the emotional stakes. medium ( Scene 46 (INT. THEATER - A LITTLE LATER) )
- The screenplay lacks a clear resolution for some character arcs, particularly regarding the future of the theater program after Divine G's departure. medium ( Scene 58 (INT. THEATER - DAY) )
- The opening monologue is a standout moment that sets a profound tone for the entire screenplay, showcasing the power of words and performance. high ( Scene 1 (INT. THEATER - DAY) )
- The parole board scene serves as a critical turning point, encapsulating the stakes for Divine G and highlighting the themes of redemption and hope. high ( Scene 44 (INT. PAROLE BOARD HEARING - DAY) )
- The final dress rehearsal scene effectively builds anticipation for the opening night, showcasing the camaraderie and growth of the cast. medium ( Scene 35 (INT. THEATER - ANOTHER DAY) )
- The emotional weight of Mike Mike's death resonates throughout the screenplay, serving as a catalyst for character development and thematic exploration. high ( Scene 40 (INT. THEATER - DAY) )
- The final moments of Divine G stepping into freedom are poignant and impactful, leaving the audience with a sense of hope and possibility. high ( Scene 59 (EXT. SING SING FENCE LINE - CONTINUOUS) )
- Character Development The screenplay occasionally overlooks the depth of certain supporting characters, leading to a lack of emotional investment in their arcs. For example, characters like Mike Mike and others in the theater program could have more backstory and development to enhance their roles in the narrative. medium
- Clichéd Dialogue Some dialogue feels clichéd or overly familiar, which can detract from the authenticity of the characters. For instance, phrases like 'trust the process' may come off as generic rather than unique to the characters' experiences. low
Engine: Claude
Recommend
Executive Summary
Sing Sing is a powerful and nuanced drama that explores the transformative power of art and community within the confines of a maximum-security prison. With a strong ensemble cast, rich character development, and a compelling narrative that seamlessly blends comedic and dramatic elements, the screenplay provides a unique and insightful perspective on the criminal justice system and the human condition. The script's exploration of themes such as redemption, identity, and the power of self-expression make it a standout work that would be of great interest to both audiences and industry professionals.
- The script effectively uses an exercise where the characters close their eyes and imagine their perfect moment or place as a means of revealing their inner lives and emotional states. This provides important insight into the characters and their journeys. high ( Scene 9 )
- The scene where Divine G observes the chaotic rehearsal of the play-within-the-play provides a thoughtful meditation on the creative process, the challenges of bringing a complex story to life, and the power of trusting the process, even when it seems overwhelming. medium ( Scene 26 (Divine G watches the rehearsal) )
- The exchange between Divine G and Divine Eye on the staircase is a powerful and emotionally resonant moment that reveals the depth of their relationship and the ways in which the theater program has impacted them both. high ( Scene 54 )
- The scene where Divine G's performance in the Gladiator Coliseum sequence falls flat could use some refinement. While it effectively demonstrates his emotional state, the directness of his delivery and the lack of comedic timing may make it feel out of place within the larger context of the play-within-the-play. medium ( Scene 49 )
- While the parole hearing roleplay scene is effective in highlighting Divine G's frustration with the justice system, the comedic tone may undercut the gravity of the situation and make it feel less impactful than it could be. low ( Scene 14 (Divine G and Mike Mike roleplay a parole hearing) )
- The abrupt and somber aftermath of Mike Mike's death could benefit from additional character development and exploration of the emotional impact on the rest of the ensemble. This pivotal moment in the story feels a bit rushed and could be expanded upon to deepen the audience's investment in the characters and their journeys. medium ( Scene 39 )
- The opening monologue, while beautifully written, could be better integrated into the overall narrative. As it stands, it feels a bit disconnected from the rest of the script and could benefit from a clearer thematic or narrative connection to the central story. low ( Scene 1 (Opening monologue) )
- The confrontation between Divine G and Divine Eye in the theater's Steeple is a powerful and nuanced exploration of their conflicting perspectives on the theater program and the role it plays in their lives. The scene highlights the depth of their relationship and the complex dynamics within the ensemble. high ( Scene 21 )
- The brief but impactful scene where Divine Eye encounters the young man he previously extorted provides a poignant and thought-provoking moment of reflection on the consequences of one's actions and the potential for redemption. medium ( Scene 52 )
- The montage of the theater program's curtain calls over the years, intercut with actual footage, serves as a powerful and emotionally resonant capstone to the story, highlighting the enduring impact of the ensemble's work and the transformative power of the arts. high ( Scene 58 )
- Potential Overwriting In certain scenes, such as the opening monologue (Sequence 1) and Divine G's parole hearing (Sequence 44), the writing may be slightly overwritten, with an abundance of ornate language and poetic flourishes that could potentially distract from the core narrative and character development. While this lyricism is effective in conveying the characters' emotional states, there is a risk of it becoming overly self-conscious or heavy-handed at times. medium
- Uneven Pacing While the overall pacing of the screenplay is generally strong, there are a few instances where the narrative feels slightly uneven, such as the abrupt aftermath of Mike Mike's death (Sequence 39) and the potentially drawn-out rehearsal sequences (Sequence 25). A more consistent and deliberate approach to pacing could help maintain the audience's engagement and ensure the emotional beats land with maximum impact. medium
- Repetitive Dialogue Tags In some instances, the script relies too heavily on generic dialogue tags like said or replied, which can become repetitive and diminish the natural flow of the conversation. Incorporating a more diverse range of tags or occasionally eliminating them entirely could help create a more immersive and realistic dialogue experience. low
- Underdeveloped Secondary Characters While the central characters are well-developed and nuanced, some of the secondary characters, such as the prison staff and other inmates, feel a bit more one-dimensional or underutilized. Providing these characters with more distinct personalities, backstories, and meaningful interactions could help enhance the overall world-building and create a more compelling ensemble. medium
Memorable lines in the script:
Scene Number | Line |
---|---|
46 | Divine Eye: We the willing, led by the unknowing, have been doing the impossible for the ungrateful for so long, with so little, that now we are qualified to do anything with nothing. |
1 | MAN ON STAGE: So quick bright things come to confusion. |
51 | DINO: Everyone has a breaking point, no matter how strong they are. |
4 | DIVINE G: Releasing those tears is healthy for you. Don’t tamp that shit down. |
19 | DIVINE G: I say we go for it. I think this is one of those instances where the art we are seeking is also seeking us. I have no idea why... Trust the process. |