SING SING

Story by:

CLINT BENTLEY, GREG KWEDAR, CLARENCE "DIVINE EYE" MACLIN, & JOHN
"DIVINE G" WHITFIELD

Screenplay by:

CLINT BENTLEY & GREG KWEDAR

Based on, The Sing Sing Follies by John H. Richardson

&

Breakin' The Mummy's Code by Brent Buell

INT. THEATER - DAY

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:

INT. BACKSTAGE - A LITTLE LATER

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.

EXT. SING SING CORRECTIONAL FACILITY - MORNING

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.

INT. CELLBLOCK CORRIDOR - MORNING

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.

INT. CLASSROOM - ANOTHER DAY

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.

EXT. YARD COURTYARD, 2ND LEVEL - CONTINUOUS

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.

EXT. YARD COURTYARD, 2ND LEVEL - CONTINUOUS

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.

EXT. HUDSON RIVER - MORNING

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.

INT. CLASSROOM - LATER

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.

INT. DIVINE G’S CELL - LATER

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.

INT. CLASSROOM - ONLY DAYS LATER

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.

INT. CLASSROOM - ANOTHER DAY

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.

INT. CORRIDOR - MOMENTS LATER

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.

INT. REC ROOM - DAY

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?

INT. REC ROOM - CONTINUOUS

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.

INT. THEATER - LATER

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.
INT. THEATER / ONSTAGE - LATER

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:

INT. THEATER / ONSTAGE - LATER

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.

INT. SING SING HALLWAY - LATER

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.

INT. THEATER - ANOTHER DAY

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.

INT. THEATER / WINDOW - CONTINUOUS

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.

INT. MESS HALL - ANOTHER DAY

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.

INT. DIVINE G’S CELL - NIGHT

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.

INT. THEATER - LATER

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.

INT. THEATER - ANOTHER DAY

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.

INT. THEATER - LATER THAT DAY

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?

INT. REC ROOM - THE NEXT DAY

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.

INT. THEATER - ANOTHER DAY

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.
INT. THEATER - LATER

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.

INT. REC ROOM - LATER

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:

INT. THEATER - ANOTHER DAY

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:

INT. THEATER / ONSTAGE

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.

INT. THEATER / ONSTAGE - MOMENTS LATER

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.

INT. THEATER - ANOTHER DAY

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.

INT. ONSTAGE - ANOTHER DAY

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.

INT. THEATER - LATER

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?

EXT. YARD - ANOTHER DAY

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.

INT. DIVINE G'S CELL - NIGHT

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.

EXT. DIVINE G'S CELL - CONTINUOUS

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.

INT. THEATER - SOME TIME LATER

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.

INT. THEATER - A LITTLE LATER

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.

INT. REC ROOM - DAY

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.

INT. PAY PHONE - ANOTHER DAY

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.

INT. PAROLE BOARD HEARING - DAY

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.

INT. PACKAGE ROOM - ANOTHER DAY

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.

INT. THEATER - A LITTLE LATER

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.

INT. THEATER - DAY

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:
INT. ONSTAGE - LATER

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.

INT. THEATER - FREDDY KRUEGER

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.

INT. THEATER - DAY

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.

INT. CLASSROOM - ANOTHER DAY

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.

INT. MESS HALL - ANOTHER DAY

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.

INT. DIVINE EYE'S CELL - NIGHT

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.

EXT. YARD / STAIRCASE - AFTERNOON

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.

INT. THEATER - EVENING

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.

INT. DIVINE EYE'S CELL - A LITTLE LATER

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.

INT. CLASSROOM - SOME TIME LATER

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.

INT. THEATER - DAY

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.

EXT. THE GATE - SOON AFTER

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.

EXT. SING SING FENCE LINE - CONTINUOUS

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.