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Scene Map 60
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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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.
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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.
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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
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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
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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:
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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
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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.
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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
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INT. CLASSROOM - LATER The company are all seated in chairs in a big circle. BRENT Gentlemen. Congratulations on Midsummer. You did beautiful work.
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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.)
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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.
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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
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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
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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
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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.
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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.
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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.
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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
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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.
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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.
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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
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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
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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
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INT. THEATER - LATER All the men sit onstage, cross-legged. Brent walks between them. BRENT Close your eyes and go to your most
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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
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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
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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.
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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
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INT. THEATER - LATER Divine Eye finishes his monologue but it lands flat, lacking conviction. Brent watches him. BRENT Want to try it again?
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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.
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INT. THEATER - ANOTHER DAY Brent is fielding a barrage of questions about creative choices. DAP This isn’t an Egyptian headband,
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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.)
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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,
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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
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INT. ONSTAGE - ANOTHER DAY Everyone is now lined up onstage. BRENT Some of you have expressed that a traditional curtain call is not in
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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
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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.
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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.
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EXT. DIVINE G'S CELL - CONTINUOUS DIVINE G (O.S.) (smiles) After I sat through your dumbass story.
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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.
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INT. THEATER - A LITTLE LATER Divine G is stacking chairs again. Divine Eye comes beside him to help. Divine Eye stops stacking. DIVINE EYE
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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
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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
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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.
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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.
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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
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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.
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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
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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
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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.
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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.
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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
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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.
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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.
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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.
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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
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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
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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
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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.
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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.

Sing Sing

Inside a maximum-security prison, a group of inmates find redemption and hope through a theatrical production, forging unexpected bonds and confronting their pasts.

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Overview

Poster
Unique Selling Point

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.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

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Gemini
 Recommend
GPT4
 Recommend
Claude
 Recommend
Story Facts
Genres:
Drama 65% Comedy 25% Crime 10%

Setting: Contemporary, Sing Sing Correctional Facility and surrounding areas

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 & 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.

Mood: Reflective and uplifting, with moments of tension and humor.

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

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

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Overall Score: 8.25
Story Critique
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Characters

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Emotional Analysis

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Goals and Philosophical Conflict
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Themes
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Logic & Inconsistencies
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Scene Analysis

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Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
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Memorable Lines
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Correlations
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Loglines
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