Requiem for a dream
Executive Summary
Poster
Note: This is for fun only. There will be many wrong things in the mock poster. It doesn't mean the AI misunderstood your story.
Overview
Genres: Drama, Crime, Thriller, Psychological Thriller, Comedy, Romance, Dark Comedy, Drug Addiction, Surreal, Fantasy
Setting: 1970s, New York City
Overview: Requiem for a Dream follows the intertwined lives of Harry Goldfarb, his mother Sara, Marion, and Tyrone as they navigate addiction, desperation, and the pursuit of dreams in Brooklyn. The story delves into their struggles with drugs, isolation, and family dynamics, culminating in a journey of self-discovery and redemption.
Themes: Addiction, Isolation and Loneliness, Loss and Grief, Family Dynamics, Dreams and Aspirations
Conflict and Stakes: Sara's struggle to achieve her dream of being famous, Harry's battle with drug addiction, and the relationships between the characters as they try to navigate their lives in a dangerous and unforgiving world.
Overall Mood: Dark and Gritty
Mood/Tone at Key Scenes:
- Scene 1: Opening scene sets the tone for the rest of the film. It's a dark and gritty depiction of Sara's life.
- Scene 10: The scene where Harry and Marion are overdosing on heroin. It's a powerful and disturbing scene that shows the depths of their addiction.
- Scene 15: The ending of the film, when Sara is finally able to achieve her dream of being on television. It's a bittersweet moment, but it also offers a glimmer of hope.
Standout Features:
- Standout Feature: Standout Features
- Standout Feature: Standout Features
- Standout Feature: Standout Features
Comparable Scripts:
- Requiem for a Dream
- Trainspotting
- The Basketball Diaries
- The Wire
- Breaking Bad
- We Need to Talk About Kevin
- The Road
- The Handmaid's Tale
Writing Style:
The screenplay exhibits a range of writing styles, blending elements from various notable screenwriters and directors, resulting in a dynamic and engaging narrative. Raw emotional intensity, gritty realism, and psychological depth are recurring themes throughout the screenplay.
Style Similarities:
- Darren Aronofsky
- Quentin Tarantino
- David Lynch
Pass/Consider/Recommend
Recommend
Explanation: Overall, the screenplay is a compelling and well-written piece that effectively explores complex themes, creates engaging characters, and immerses the audience in a powerful narrative. While there are areas for improvement in terms of pacing, character development, and visual engagement, the screenplay's strengths far outweigh its weaknesses, making it a strong contender for production.
USP: **Unique Selling Proposition (USP):** This captivating script offers a raw and intense exploration of dysfunctional relationships, family dynamics, and the impact of addiction. Through authentic dialogue, gritty character interactions, and a focus on internal struggle, the screenplay delves into the complex emotions and desperate measures that drive individuals to the brink. Set against the backdrop of urban life, the narrative weaves together themes of hope, despair, love, and redemption, inviting the audience on a visceral journey into the heart of human experience.
Market Analysis
Budget Estimate:$5-10 million
Target Audience Demographics: Adult audiences interested in stories about addiction, family, and the human condition.
Marketability: The screenplay tells a powerful and emotionally resonant story with well-developed characters that will appeal to a wide range of adult audiences.
The screenplay is a character-driven drama that may not have the mass appeal of a big-budget action film, but it has the potential to connect with a niche audience.
The screenplay lacks a strong central conflict and the plot is somewhat meandering, which could make it difficult to market to a mainstream audience.
Profit Potential: Moderate, due to its limited commercial appeal.
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by raw and emotional dialogue, intense character interactions, and a focus on internal struggles. The screenplay is filled with tension and conflict, highlighting the dysfunctional relationships between the characters.
Best representation: Scene 1 - Harry and Tyrone's Odyssey with a Televised Treasure. This scene serves as the best representation of the writer's voice due to its vivid portrayal of the characters' internal struggles and the palpable tension between them.
Memorable Lines:
- MARION: Oh Harry, I love you. You make me feel like a person, like I’m me and I’m beautiful. (Scene 20)
- Tappy Tibbons: Juice by Sara! Juice by Sara! Juice by Sara! ooooOOOOH! Sara’s got juice! Sara’s got juice! ooooOOOH Sara! (Scene 21)
- Harry: Yeah, I feel like I’m dreamin’. (Scene 27)
- Sara: So, I’m thinking thin. (Scene 10)
- Marion: I love you, Harry. (Scene 22)
Characters
Sara Goldfarb:An elderly woman struggling with depression who is obsessed with a game show and the belief that she is destined for fame.
Harry Goldfarb:Sara's troubled son who is addicted to heroin and tries to take care of his mother but is unable to overcome his own demons.
Tyrone:Harry's friend and fellow drug addict who is always on the lookout for the next score.
Marion Silver:Harry's love interest who is a bright and talented young woman but is struggling with her own inner demons, including an eating disorder.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Harry and Sara's Closet Conflict | Tense, Emotional, Dramatic | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 2 - Harry and Tyrone's Odyssey with a Televised Treasure | Sarcastic, Nonchalant, Dark | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 3 - A Night of Plans and Playfulness | Tense, Dark, Humorous | 8 | 8 | 8 | 9 | 8 | 6 | 8 | 9 | 8 | 7 | 7 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 4 - Arrival at the Seacoast Tower | Excitement, Hopeful, Nostalgic, Humorous | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 5 - Rooftop Escape | Dark, Humorous, Sarcastic | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 6 - Sara's Transformation Begins | Melancholic, Hopeful, Reflective | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 7 - Hanging Out and Partying | Dark, Humorous, Intense | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | |
| 8 - Love and Business Plans | Intimate, Hopeful, Reflective, Passionate | 9 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 4 | 5 | 6 | 8 | 6 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 9 - The Struggle | Melancholic, Reflective, Hopeful | 8 | 7 | 7 | 9 | 9 | 7 | 8 | 6 | 5 | 7 | 4 | 6 | 6 | 9 | 6 | 9 | 8 | 8 | 7 | |
| 10 - Sara and the Yentas Diet | Humorous, Reflective, Light-hearted | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 5 | 7 | 4 | 7 | 6 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 11 - Game Show Dreams | Excitement, Humor, Nostalgia | 8 | 7 | 7 | 8 | 8 | 6 | 8 | 7 | 3 | 6 | 4 | 6 | 6 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 12 - Euphoria and Unease | Intense, Suspenseful, Dark, Hopeful, Melancholic | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 9 | 7 | 8 | 8 | 9 | 9 | |
| 13 - Nightfall Temptation | Tense, Intimate, Playful, Deceptive | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 14 - Hopeful Expectations | Hopeful, Playful, Reflective | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 15 - A New Television | Intimate, Reflective, Nostalgic, Playful | 8 | 8 | 7 | 7 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 6 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 16 - Anxious Anticipation | Excitement, Anticipation, Nervousness, Joy | 8 | 7 | 7 | 8 | 8 | 5 | 8 | 9 | 3 | 8 | 4 | 6 | 7 | 8 | 6 | 9 | 8 | 9 | 9 | |
| 17 - Reconciliation and Love | Emotional, Reflective, Tender | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 5 | 6 | 4 | 6 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 18 - Dinner Conversation with Harry and Sara | Tense, Emotional, Confrontational | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
| 19 - A Mother's Hope | Emotional, Reflective, Hopeful | 9 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 20 - Farewell and Chaos | Emotional, Intense, Tense, Romantic | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | |
| 21 - Sara's Dream, Tyrone's Terror, and Harry's Hustle | Tense, Suspenseful, Dark | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 22 - The Struggle to Quit | Anxiety, Desperation, Tension, Hope | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 23 - Morning Mystery | Anxious, Confused, Tense | 8 | 7 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | |
| 24 - Guilt and Anxiety | Tense, Anxious, Desperate | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 25 - Desperate Choices | Tense, Desperate, Suspenseful, Intense | 8 | 7 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 26 - Dark Encounters | Tense, Dark, Emotional | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 7 | 7 | |
| 27 - Drug Deal Gone Wrong | Tense, Suspenseful, Action-packed | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 28 - Desperate Measures | Tense, Desperate, Suspenseful | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 29 - Frantic Search and Plan Revelation | Intense, Emotional, Confrontational | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | |
| 30 - The Haunting of Sara's Apartment | Terrifying, Surreal, Desperate | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 10 | 7 | 9 | 8 | 8 | 8 | |
| 31 - Chaos and Confusion in the City | Manic, Desperate, Confused, Emotional | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 7 | 9 | 6 | 9 | 9 | 8 | 8 | |
| 32 - Converging Paths: Medical Emergencies, Addiction, and Nervous Apprehension | Surreal, Disturbing, Intense, Confused | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 33 - Uncomfortable Encounter | Dark, Intense, Disturbing, Tense | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 34 - Uneasy Encounters and Inner Turmoil | Dark, Intense, Disturbing | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 35 - Troubled Times | Tense, Disturbing, Surreal, Intense | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 6 | 9 | 8 | 7 | 7 | |
| 36 - The Struggle of Sara | Disturbing, Intense, Emotional | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 10 | 7 | 9 | 9 | 8 | 8 | |
| 37 - Pain and Preparations | Intense, Disturbing, Desperate | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
| 38 - Disturbing Orgy and Shock Therapy | Dark, Disturbing, Intense | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 8 | 9 | 9 | 8 | 8 | |
| 39 - Despair and Isolation | Dark, Intense, Disturbing | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 10 | 7 | 9 | 8 | 8 | 8 | |
| 40 - Sara's Dream | Joyful, Surreal, Emotional | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 4 | 6 | 3 | 5 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
Scene 1 - Harry and Sara's Closet Conflict
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Screenplay by
Hubert Selby, Jr. and Darren Aronofsky
Based on the novel
by Hubert Selby, Jr.
Shooting Script, 2000
FADE IN:
1 ON THE TV - 1
is Tappy Tibbons, America’s favorite television personality.
His charismatic personality shines for the entire world to
see.
His audience cheers wildly.
AUDIENCE
Juice by Tappy! Juice by Tappy!
Juice by Tappy! ooooOOOOH! Tappy’s got juice! Tappy’s got
juice! ooooOOOOH Tappy!
TAPPY TIBBONS
Thank you! Thank you vey much!
Today’s winner is a flight attendant
from Washington DC. Will you please
welcome Mary -
Suddenly, the plug is pulled. The TV flickers off and we -
CUT TO:
THE PRESENTATION TITLES, THEN -
CUT TO:
2 INT. SARA’S LIVING ROOM - DAY 2
Harry Goldfarb, young twenties, is an eccentric kid with a
seductive smile.
He tries to stop his mother, Sara Goldfarb, from locking
herself in the closet.
HARRY
Ma! Ma! C’mon, Ma!
SARA
Harold. Please. Not again the TV.
She slams the door closed and Harry talks to the shut door.
HARRY
Why do you haveta make such a big
deal out of this? Eh? You know
you’ll have the set back in a couple
of hours.
No answer.
(CONTINUED)
2.
2 CONTINUED: 2
HARRY
Why ya gotta make me feel guilty?
(frustrated)
Ahhh...
Harry walks across the room to the early eighties TV with
ridiculous rabbit ears.
Sara locks the door and retreats to the back of the closet.
Harry starts to push the set on its stand when suddenly it
jerks - almost falling. Harry spies a thick bicycle chain
going from around the TV to the radiator.
HARRY
Jesus! Whatta ya tryin’ to do, eh?
You tryin’ to get me to break my own
mother’s set? Or break the radiator?
Harry marches to the closet.
HARRY
..an’ maybe blow up the whole house?
You tryin’ to make me a killer?
Your own son? Your own flesh and
blood? WHATTA YA DOIN’ TA ME?
YOUR OWN SON!!!
Then, a thin key slowly peeks out from under the closet door.
Harry works it out with his fingernail and yanks it up.
HARRY
Why do you always gotta play games
with my head for krist’s sake?
Don’t you have any considerations
for my feelings? Why do you haveta
make my life so difficult?
And then, meekly from the closet -
SARA
Harold, I wouldn’t. The chain isn’t
for you. The robbers.
HARRY
Then why didn’t you tell me? The
set almost fell. I coulda had a
heart attack.
Sara shakes her head in the darkness.
SARA
You should be well, Harold.
(CONTINUED)
3.
2 CONTINUED: (2) 2
HARRY
Then why won’t you come out?
Harry tries to open the locked closet door but can’t.
HARRY
See what I mean? See how you always
gotta upset me?
Harry walks to the TV, unlocks the chain and starts to wheel
the TV towards the front door. He pauses by the closet.
HARRY
Ma? Ma? C’mon out? Please, Ma.
No response. Inside, Sara hugs her knees.
Then, he throws up his hands, mumbles -
HARRY
Eh, screw it.
And pushes the set carefully out of the apartment.
In the closet, Sara hears the door shut. She mumbles to
herself -
SARA
It’s not happening. And if it should
be happening it would be alright, so
don’t worry, Seymour. It’ll all
work out. You’ll see already. In
the end it’s all nice.
SMASH CUT TO:
BLACK -
- AND THE TITLE: ’REQUIEM FOR A DREAM’
TITLES BEGIN -
Scene 2 - Harry and Tyrone's Odyssey with a Televised Treasure
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Waiting for Harry is Tyrone C. Love, young twenties, leaning
against the wall, playing skillfully with a yo-yo.
Taking his time, Tyrone helps Harry wheel the set to the
dingy elevator.
TYRONE
Sheeit, this mutha startin’ to look
a little seedy, man.
(CONTINUED)
4.
3 CONTINUED: 3
HARRY
What’s the matter, ya particular all
of a sudden?
TYRONE
Hey, baby, ah don’t care if it’s
growin’ hair just so’s we get our
braid.
CUT TO:
4 EXT. SARA’S BUILDING - BRIGHTON BEACH, BROOKLYN - DAY 4
Lining the front of the building in beach chairs are ten
female Yentas absorbing the sun and passing judgement on
Harry.
Harry says hello and is greeted by a chorus of fake, sarcastic
’hellos’ in return.
CUT TO:
5 EXT. STREETS OF BRIGHTON BEACH AND CONEY ISLAND 5
Harry and Tyrone carefully navigate the TV through the streets
of the old Brooklyn neighborhood.
They go under the elevated train, past the giant, dying
projects, across the boardwalk, beneath the shadows of the
towering parachute jump and through the cracking and boarded-
up amusement park.
THE TITLES END.
A HARD CUT TO:
BLACK
ON THE SCREEN IN WHITE LETTERS: ’SUMMER’
CUT TO:
6 INT. PAWN SHOP - DAY 6
Old and squat Mr. Rabinowitz shakes his head as Harry and
Tyrone push the set into his store.
He stands behind a cage of bulletproof glass with all of the
pawn shop’s possessions.
MR RABINOWITZ
So look, the table too already.
(CONTINUED)
5.
6 CONTINUED: 6
HARRY
Hey, what do you want from me? I
can’t schlep it on my back.
MR RABINOWITZ
You got a friend.
TYRONE
Hey man, I ain’t my leper’s schlepper.
Harry chuckles.
MR RABINOWITZ
Such a son. A goniff. Your mother
needs you like a moose needs a hat
rack.
The pawn shop owner clucks his tongue and slowly counts out
the money.
CUT TO:
7 QUICK HIP-HOP MONTAGE: 7
Lighter flicks-liquid on spoon sizzles-tourniquet snaps-
needle sucks-hand slaps vein-a thunderous rush of liquid-and
finally an ecstatic sigh.
8 INT. TYRONE’S DIVE PAD - LATER 8
Tyrone’s pad is run down but it’ll do. Tight on Harry back-
spinning a record on the turntable and halting the beat.
Then he lets the other turntable spin and start a new tune.
TYRONE
Sheeit, that’s some boss scag, baby.
I mean DYN-A-MITE.
HARRY
Yeah, man, something else.
Harry calmly watches the record spin.
CUT TO:
Scene 3 - A Night of Plans and Playfulness
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 7
Tyrone and Harry sit at the counter of an all-night donut
shop, sipping hot chocolate and eating chocolate Crullers.
TYRONE
Ya know what we oughta do, man?
Huh?
(MORE)
(CONTINUED)
6.
9 CONTINUED: 9
TYRONE (CONT'D)
We oughta get a piece of this Brody
shit and cut it and off it, ya dig?
HARRY
This stuff’s good enough to cut in
half and still get you wasted. We
could double our money. Easy.
TYRONE
That’s right. An’ then we buy a
couple a pieces an’ we got something’
else goin’, man. It sure would be
righteous.
HARRY
In no time we’d get a pound of pure
straight from Sal the Geep.
TYRONE
No hassles. That’s all I want, no
hassles.
Just then, a hulking Cop sits down on the stool next to Harry.
Tyrone and Harry both fall silent and slowly sip their hot
chocolates.
Harry looks down at the Cop’s gun. It’s maybe six inches
from his hand.
Slowly, he reaches over and undoes the safety latch on the
Cop’s holster.
Tyrone’s eyes fill with fear.
The Waitress comes over and gives the Cop his office.
WAITRESS
Can I get you a -
Just then, Harry yanks the gun out of the holster. The Cop
spins around. Harry retreats -
COP
Hey! Hey!
Harry smiles as the Cop charges. Tyrone snickers. Then
Harry tosses the gun over the Cop’s head. Tyrone catches
it.
The Cop chases Tyrone.
Harry and Tyrone laugh as they toss the gun back and forth
just over the frustrated Cop’s head.
(CONTINUED)
7.
9 CONTINUED: (2) 9
The Cop slips and falls on his ass and we -
CUT BACK TO:
10 REALITY. FIVE MINUTES EARLIER - 10
WAITRESS
Anything else? Huh?
Tyrone butts Harry. Harry looks up at the Waitress who stares
at him. The towering Cop looks over as well.
WAITRESS
Well.
HARRY
No, no. Just the check.
The Cop returns to his donut.
CUT TO:
11 INT. PAWN SHOP - DAY 11
Mr Rabinowitz shakes his head as Sara enters. He pulls out
a ledger book that is labeled ’Sara Goldfarb’s TV’.
MR RABINOWITZ
Good evening, Mrs Goldfarb.
SARA
Good evening, Mr Rabinowitz, though
I’m not so sure how good it is.
And you?
MR RABINOWITZ
Uh, so what can I say? Are you
wanting your TV?
SARA
Yes, if you don’t mind.
Sara pulls a crinkled ten dollar bill out of the corner of
her blouse and hands it to Mr Rabinowitz.
MR RABINOWITZ
Mrs Goldfarb, can I ask you a
question, you won’t be taking it
personal?
Sara shrugs.
MR RABINOWITZ
How many years we know each other?
(MORE)
(CONTINUED)
8.
11 CONTINUED: 11
MR RABINOWITZ (CONT'D)
(he nods his head)
Who’s to count? Why don’t you tell
already the police so maybe they
could talk to Harry and he wouldn’t
be stealing no more the TV.
SARA
Oooo, Mr Rabinowitz, I couldn’t,
Harold’s my only child. He’s all I
have.
CUT TO:
12 INT. SARA’S LIVING ROOM - LATER 12
Sara chains the TV to the radiator again. She turns on the
set, adjusts the rabbit ears and watches whatever is on.
Sara smiles as she settles into her chair. She cermoniously
removes the plastic wrapper from around a box of chocolates.
Immediately, she pulls out a chocolate, covered cream and
lets it dissolve in her mouth. Her eyes shut in gentle
ecstasy.
CUT TO:
Scene 4 - Arrival at the Seacoast Tower
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 8
Looking straight up at the thirty-storey building with sharp
eyes is Marion. She is beautiful, fresh, and in her young
twenties.
Harry, with a stack of newspapers under his arm, comes up
from behind and kisses her on the neck.
CUT TO:
SEACOAST TOWER’S FOYER
Harry randomly presses one of
countless buzzers. An Old Lady
responds a moment later.
OLD LADY
Hello? Who is it?
Harry mumbles into the speaker. He and Marion try to hold
their laughter.
OLD LADY
Who?
Harry mumbles again. When the buzzer rings we’re on -
9.
14 THE ELEVATOR 14
- in black-and-white video. A security camera watches Harry
and Marion jump around as they head to the -
15 TOP FLOOR 15
PING! Harry dips his head out the open doors.
All clear. He grabs Marion and they dash to the -
16 STAIRWELL 16
- where red, bold warnings on the emergency exit roof door
threaten alarm if the door is opened.
MARION
What do we do now?
Harry pulls out a wire from his back pocket and shorts the
alarm.
Then, he kicks the roof door open. White light rushes in.
CUT TO:
17 INT. SARA’S LIVING ROOM 17
Her phone rrrings and Sara leans towards it but she continues
to adjust the rabbit ears on her set, torn between the priorty
of the two activities.
Finally, four rings later, she lunges for the phone and flops
down in her viewing chair. She is greeted by a Cheery Voice.
SARA
Hello?
CHEERY VOICE
(off-screen)
Mrs Goldfarb? Mrs Sara Goldfarb?
SARA
It’s me. Speaking.
The voice is so enthusiastic that she looks over to the TV
to see if it’s coming from there.
CHEERY VOICE
(off-screen)
Mrs Goldfarb, this is Lyle Russel
from Malin & Block.
SARA
I’m not interested in -
(CONTINUED)
10.
17 CONTINUED: 17
CHEERY VOICE
(off-screen)
Wait, Mrs Goldfarb. I’m not selling
anything. Nothing. I just want to
offer you a chance to be on
television.
SARA
Television?
CHEERY VOICE
(off-screen)
That’s right, Mrs Goldfarb.
SARA
Look, I don’t have any -
CHEERY VOICE
(off-screen)
I’m not looking for money, Mrs
Goldfarb. I’m calling to tell you
you’ve already won. Your name was
selected from a long list of available
contestants. You’ve been chosen and
you now have an opportunity to be on
television.
SARA
Me? On television?
Sara’s eyes light up.
LYLE RUSSEL
(off-screen)
That’s right, Mrs Goldfarb. You on
television.
SARA
I never thought I’d be on television.
I’m just a -
LYLE RUSSEL
(off-screen)
Malin & Block discovers contestants
for most of America’s favorite
television shows.
SARA
Ooooooo... Me... me... on... oh I
can’t...
LYLE RUSSEL
(off-screen)
Yes, Mrs Goldfarb, you.
(MORE)
(CONTINUED)
11.
17 CONTINUED: (2) 17
LYLE RUSSEL (CONT'D)
Congratulations! I can’t tell you
why you are so lucky, but you are.
Congratulations!
Sara falls against the back of the viewing chair, one hand
clutches desperately at the phone, the other on top of her
dress. Her eyes bulge, her mouth hangs open.
LYLE RUSSEL
(off-screen)
You will receive all necessary
information in the mail, Mrs Goldfarb.
Goodbye and... God bless.
Click! Sara tries to catch her breath. She awakens from
her ecstasy when the phone beeps its off-the-hook sound.
18 INT. SARA’S BEDROOM - A BIT LATER 18
Sara picks up a framed photo. The picture was taken on
Harry’s high school graduation day years ago. Harry, in the
middle, is an eighteen-year-old in cap and gown. Sara’s
husband Seymour hovers over Harry’s left shoulder.
On Harry’s right is a younger-looking Sara. She is thirty
pounds lighter, has brilliant red hair and wears a red dress
and gold shoes. Sara stares at her outfit.
Then she rushes to the closet. As she hums a tuneless
monotone, she carefully pulls out the last dress on the hook.
She ceremoniously removes the dry-cleaning plastic and smiles
at her red dress.
She puts it on. In the mirror she looks over one shoulder
and then the other. She tries to zip up the back, but after
half an inch and many minutes of exertion she gives up.
On her hands and knees, she searches through mounds of shoes
for the special pair. She pulls out the gold shoes and dusts
them off. Shakily, Sara puts them on. She smiles at herself
in the mirror.
CUT TO:
Scene 5 - Rooftop Escape
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
Harry and Marion throw paper airplanes down on the dying
amusement park.
HARRY
... but why you so hard on your folks?
I mean, they give you the bread for
rent, money for the shrink -
(CONTINUED)
12.
19 CONTINUED: 19
MARION
They bug me. They’re fucking
hypocrites.
Harry shrugs - no big deal.
MARION
Like they’re in that big house with
all their cars and money. They pay
me off so they don’t have to deal
with me. They pay off charities to
deal with their racism. Then we’ll
see how liberal they are when I come
home with a black guy.
HARRY
You know what you gotta do.
MARION
Yeah.
HARRY
You gotta get away from them.
MARION
How?
HARRY
What about your clothes? Maybe you
could sell them. Open a store.
MARION
I can’t.
HARRY
Why?
MARION
When will I have time to hang with
you?
A deserved kiss.
CUT TO:
20 EXT. ADA’S APARTMENT - HALLWAY - CONTINUOUS 20
Sara, barely wearing her red dress, knocks on a door. Ada,
an orange-haired woman Sara’s age, answers the door.
ADA
So where’s the party?
(CONTINUED)
13.
20 CONTINUED: 20
SARA
Party, schmarty. This is like all
the parties. When I tell you, you’ll
jump out the window.
ADA
A basement window, I hope.
CUT TO:
21 INT. SARA’S BEDROOM 21
Ada tries to stuff Sara into her red dress but it ain’t
happening.
ADA
Well, I have a great diet book.
SARA
Zophtic.
CUT BACK TO:
22 EXT. EMERGENCY EXIT DOOR 22
Marion grabs Harry’s short-circuit wire. Harry, who’s already
inside, looks at his girl’s mischievous eyes.
HARRY
Marion!
Harry gets it. He smiles. Then, Marion yanks the wire.
ALARMS SCREAM!!!
Harry and Marion bolt to the -
23 TOP FLOOR 23
- where both elevators charge the top floor.
MARION
They’re coming.
Harry grabs Marion’s hand and pulls her down the hallway.
Dead end.
Harry and Marion squeeze against the doorway -- fighting the
urge to crack-up. Then:
PING! -- the elevator. A Security Guard charges out.
Harry and Marion hold their breath. The Guard heads straight
for the staircase.
(CONTINUED)
14.
23 CONTINUED: 23
Then our criminals charge --
24 THE ELEVATOR 24
-- and in black-and-white video make out all the way down.
THEN:
25 EXT. SEACOAST TOWER - DAY 25
Harry and Marion burst out of the front door laughing, alarms
ringing behind them.
CUT TO:
26 INT. SARA’S MAILBOX - DAY 26
The mailbox opens and Sara disappointedly peers into the
empty darkness.
CUT TO:
Scene 6 - Sara's Transformation Begins
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
Sara sits in her viewing chair watching television and reading
her diet book as she slides herself a chocolate.
The diet book is called ’Ten Pounds in Ten Days.’
She flips through about a hundred pages of introduction until
she comes to the words, ’FIRST WEEK.’
She stares at the page and suddenly she becomes concerned.
She reaches for a chocolate-covered caramel as we read the
page with her:
BREAKFAST
1 hard-boiled egg
1/2 grapefruit
1 cup black coffee (no sugar)
LUNCH
1 hard-boiled egg
1/2 grapefruit
1/2 cup lettuce (no dressing)
Cup Black coffee (no sugar)
DINNER
1 hard-boiled egg
1/2 grapefruit
1 cup black coffee (no sugar)
(CONTINUED)
15.
27 CONTINUED: 27
NOTE: Drink at least 2 quarts of water each day.
Sara stares and chews Her eyes focus on the words, ’no’ ’1,’
and ’1/2’. They focus on the repetition of meals. They
focus on the insanity, searching for the real information
between the lines.
She hears a giggle and turns to look at the refrigerator.
The fridge tremors slightly -- a small mechanical rattle.
Defeated, she drops the book and reaches for another
chocolate. Her head starts to hang and tears begin to well
up in her eyes.
But then she notices something on the television.
TAPPY TIBBONS
Now, let’s meet our next winner.
Straight from Brighton Beach,
Brooklyn, let’s give juicy welcome
to Mrs Sara Goldfarb.
There she is! Herself dressed in red, her hair gorgeous
red, walking across the screen, so slim, so trim, so sexy.
Such curves. This is Red Sara.
Our Sara’s tears fade as her chin lifts and she begins to
smile.
She watches Red Sara pose for the television audience. She
can hear the applause and the wolf whistles.
She puts the chocolates away and lifts up the book -- new
hope.
CUT TO:
28 INT. MARION’S APARTMENT - MIDSUMMER DAY 28
Bright, summer sun shoots through the window and screams
across Marion’s living room floor until it slows and falls
upon Harry and Marion.
They are asleep, fully dressed in each other’s arms.
The racing sounds of the outside midday summer traffic
dissipate and they are alone in a vacuum of melodious
heartbeats and deep breaths.
CUT TO:
16.
29 INT. SARA’S APARTMENT - DAY 29
Ada strips Sara’s hair with a smelly home-made peroxide
concoction at the sink. They’re positioned so that they can
both watch the TV set from the corners of their eyes.
SARA
Ech, what a smell. That’s the Gawanus
Canal?
ADA
Just relax, Dolly, you got a long
way to go. You’ll get used to it.
SARA
Get used to it? I’m almost losing
my appetite.
They chuckle.
SARA
When’s lunch?
Bigger laugh.
ADA
Sweetie, we’re lucky if we’re finished
before supper.
SARA
So long?
ADA
That’s right. With you we’re starting
from scratch one.
SARA
And I thought I would catch a little
sun today.
ADA
In a box you’ll catch it. You just
relax and think how gorgeous you’ll
look with your red hair. Today the
hair, tomorrow the sun.
CUT TO:
Scene 7 - Hanging Out and Partying
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
Marion straightens up the kitchen. Harry is spinning some
records on his portable turntable. Tyrone plays with his yo-
yo.
(CONTINUED)
17.
30 CONTINUED: 30
MARION
Anybody wanna waste some time?
Marion pulls out three pills. Harry and Tyrone each grab
one. Ingestion...
WIDE SHOT of the kitchen in time lapse. The next three-
minute scene is actually a three-hour event as Harry, Marion
and Tyrone hang out. We listen to them at normal, if not
slightly slowed down, speed.
HARRY
I’m starving.
TYRONE
Yeah, me too, get me a Snickers.
HARRY
Damn, Ty, don’t you eat anything
except Snickers?
TYRONE
Yeah, Chuckles. Ah digs Chuckles.
MARION
You sure as hell don’t know anything
about eating, man.
HARRY
What you need is some good noodle
soup.
TYRONE
Sheeit, Pepsi and Snickers’ll take
care of anything.
HARRY
And maybe some bread.
TYRONE
I prefer the type that goes in my
pocket not my mouth.
HARRY
Exactly. Angel told me about a
job --
In the flash of an eye, Harry changes record after record,
Tyrone rolls a joint and Marion lights some candles.
TYRONE
A job! Hah!
MARION
What? You lose a bet?
(CONTINUED)
18.
30 CONTINUED: (2) 30
TYRONE
(giggles)
Damn, this is a righteous chick,
Jim.
HARRY
No, we got this idea. Tyrone has
this connection, Brody, with some
dynamite shit. If we can get some
cash together we can get a piece,
cut it up and make a fortune.
TYRONE
Soon we could get a pound of pure
and retire.
HARRY
We’d get off hard knocks and be on
easy street.
Someone is at the door. Marion answers it and seven friends
pile in.
Everyone is in time lapse and everyone is partying. We watch
and listen to the evening’s festivities until --
MARION
What’s the catch?
Suddenly, the racing kitchen clock stops.
CUT TO:
31 INT. SARA’S BATHROOM - DAY 31
Sara stares in the mirror, blinking at her ridiculously orange
hair. It’s nowhere near red.
SARA
That’s red?
ADA
Well, it’s not exactly red but it’s
almost, maybe, in the same family.
SARA
The same family? They’re not even
distant cousins already.
ADA
It’s a red. Not a red red, but a
red.
(CONTINUED)
19.
31 CONTINUED: 31
SARA
Red? You’re telling me this is a
red?
ADA
Yeah. I’m telling. It’s a red.
SARA
Then what’s orange? If this is a
red I want to know what’s orange.
Ada looks at Sara’s hair, then her reflection, then back to
Sara’s hair and then back to her reflection. She purses her
lips and shrugs.
ADA
Well, it could be a little orange,
too.
SARA
A little orange? It’s a little orange
like being a little pregnant.
ADA
(shrugs)
So what’s to worry? It’ll be alright.
SARA
What’s to worry? Someone may try to
juice me.
ADA
Relax, relax, Dolly. It just needs
a little more dye. It’ll be alright
for television.
SARA
All day long, I’m getting my scalp
scraped and burned and smelling like
dead fish and I look like a
basketball.
ADA
Relax. You should learn to relax.
That’s your trouble, you don’t know
how to relax already. I’m telling
you it’s alright. Tomorrow we’ll do
it again and you’ll look like Lucille
Ball.
Ada leads Sara away from the mirror.
CUT TO:
20.
Scene 8 - Love and Business Plans
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
(Post-sex) + (pre-sleep) = (intimate talk)
HARRY
You know something? I’ve always
thought you are the most beautiful
woman I’ve ever seen.
MARION
Really?
HARRY
Since the first time I met you.
MARION
That’s nice, Harry. That really
makes me feel good.
HARRY
Good for your ego, eh?
MARION
Well, I can’t say that it does it
any harm, but that’s not what I mean.
It makes me feel good all over,
like...well, you know lots of people
tell me that and it’s meaningless,
completely meaningless.
HARRY
You mean because you think they’re
putting you on?
MARION
No, no, nothing like that. I don’t
know or care if they are. I guess
maybe they really mean it, but from
them it just doesn’t mean anything
to me. When you say it, I hear it.
You know what I mean? I really hear
it.
HARRY
Someone like you could really make
it alright for me.
MARION
You think?
HARRY
Yeah. I’ve been thinking...
Harry drifts off. Marion’s interest is sparked.
(CONTINUED)
21.
32 CONTINUED: 32
MARION
What?
Harry looks at Marion. A beat. Then he gets the courage.
He jumps out of bed.
HARRY
Here.
He pulls Marion. She laughs:
MARION
What?
CUT TO:
33 INT. MARION’S KITCHEN 33
Harry in a shirt stands over Marion who’s wrapped in a sheet.
They lean over a folder on the kitchen table.
MARION
What is it?
HARRY
You remember when I told you about
the store. Well, I’ve been thinking
about it. I put together some numbers
and it’s not impossible. I think
you can do it. We should do it. We
can do it together.
MARION
How long have you been thinking about
this?
HARRY
Not so long. Since we started hanging
out.
A pause. Marion thinks.
MARION
It’s a great idea.
HARRY
Yeah?
MARION
It is. Let’s do it. Let’s open it
in the city. How do we start?
(CONTINUED)
22.
33 CONTINUED: 33
HARRY
Well, first me and Ty gotta get
money for the piece and then --
MARION
I’ll get it.
HARRY
Nah.
MARION
No, I can.
HARRY
Really? How?
MARION
How do you think? My fucking parents.
A laugh. And then they hug and kiss gently.
Harry pulls his face back a few inches from Marion’s.
HARRY
I think I’m falling in love with
you.
MARION
Think?
TIGHT SHOTS and QUICK CUTS as Harry kisses the tip of Marion’s
nose, then her eyelids, then her cheeks and her soft lips,
her chin, her neck and lastly her ear lobes.
Then he whispers in her ear:
HARRY
Marion, Marion, I love you.
FADE TO BLINDING WHITE -- THEN:
34 INT. SARA’S MAILBOX - DAY 34
We pull out of the white and into Sara’s mailbox. She peeks
in -- empty.
CUT TO:
Scene 9 - The Struggle
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 9
- Dialogue: 6
TIGHT ON kitchen clock ticking normally.
ON Sara’s breakfast -- one hard-boiled egg, half a grapefruit
and a mug of black coffee.
(CONTINUED)
23.
35 CONTINUED: 35
ON the directions in Sara’s diet book.
ON Sara -- blinking at her ’meal’, a sigh.
We watch as she tries to enjoy her breakfast.
After the food is gone she fills a glass of water. As she
sips it, she notices her hand reaching for something --
something more to eat.
TIGHT ON the kitchen clock ticking real slow. Her Timex the
same.
We see her eyes, her lips, her twitching fingers.
A quick glimpse at the fridge. She grabs her stomach and
says to it:
SARA
Stop already.
(then to herself)
You’ll feel better in the red dress
than a cheese danish.
CUT TO:
36 INT. MARION’S BATHROOM 36
Marion throws some cold water on her face. She looks at her
naked body in the mirror. She feels lifeless, drab and dead.
QUICK CUTS: Tinfoil crinkles, powder sprinkles, lighter
flicks, smoke drifts, straw sucks, a pleasure sigh...
Once again, Marion looks in the mirror.
Now she looks alive and glorious. Rays of golden light encase
her body in a gentle glow.
She cups her hands under her breasts and smiles as she turns
and poses, admiring their size and firmness.
’Not bad,’ she thinks.
CUT TO:
37 INT. SARA’S MAILBOX - DAY 37
Nothing.
CUT TO:
38 INT. SARA’S APARTMENT 38
Sara tries to watch TV but the fridge beckons her.
(CONTINUED)
24.
38 CONTINUED: 38
TIGHT ON the kitchen clock, slowly, slowly ticking.
The fridge shudders. Frustrated, Sara grabs her folding
chair and heads out.
CUT TO:
Scene 10 - Sara and the Yentas Diet
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
The outside of the building is lined with the old Yentas
sitting in beach chairs catching the sun. A few have
reflectors and stare up at the sun.
Sara exits her building and lets the sun hit her hair. Her
friend Rae says something first.
RAE
Ada told us. It’s gorgeous.
SARA
Thank you. We’re making it a little
darker tomorrow.
RAE
So why darker?
SARA
To match my red dress.
RAE
But now it’s looking like Lucille
Ball.
SARA
But I’m not. But soon...I’m on a
diet.
ADA
Yes, she is.
YENTA #1
Cottage cheese and lettuce?
ADA
No.
RAE
What diet you on?
SARA
Eggs and grapefruit.
RAE
Oi vay. I was on that once. Lots
of luck, Dolly.
(CONTINUED)
25.
39 CONTINUED: 39
SARA
It’s not so bad.
RAE
How long you been on already?
SARA
All day.
RAE
All day? It’s one o’clock.
SARA
So, I’m thinking thin.
Now, old Mrs. Scarlini pipes up.
MRS SCARLINI
My Rosie lost fifty pounds like that
almost.
YENTA #1
Like that?
SARA
Like what?
MRS SCARLINI
Poof.
RAE
You put her in a sweat box?
MRS SCARLINI
A doctor. He gave her pills. It
makes you not want to eat.
YENTA #1
So what’s so good about that? You
mean I’m sitting here not thinking
about chopped liver and pastrami on
rye?
MRS SCARLINI
With a slice of onion and mustard.
YENTA #2
Herring.
YENTA #1
Herring?
YENTA #2
Yeah, herring. In sour cream.
(MORE)
(CONTINUED)
26.
39 CONTINUED: (2) 39
YENTA #2 (CONT'D)
When the sun goes behind the building
I’m having a nosh.
ADA
You shouldn’t talk like that when
someone’s on a diet.
SARA
Eh, big deal. I’ll sneak an extra
piece of lettuce. I’m thinking thin.
RAE
The mailman...
Just then, the Mailman arrives. Sara picks up her chair and
follows him into the building. Ada, Rae and the other Yentas
follow Sara.
SARA
Goldfarb. Goldfarb. I know you
have something for Goldfarb.
MAILMAN
Let’s see. Not much around here
except at the beginning of the month
with the social security checks.
SARA
But I’m expecting something --
MAILMAN
Here we go. Something for Goldfarb,
Sara Goldfarb.
He hands her a thick manila envelope.
CUT TO:
Scene 11 - Game Show Dreams
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 8
- Dialogue: 7
The Yentas follow Sara into the apartment. Yenta #2 flips
on the TV, someone else starts a pot of coffee.
ADA
So let’s see.
YENTA #1
Open it, open it.
Sara carefully opens the envelope. She takes out a
questionnaire.
RAE
So when do you go on?
(CONTINUED)
27.
40 CONTINUED: 40
SARA
They decide after you send this form.
ADA
Oh, it’s so exciting.
The other women murmur their excitement, too. Ada takes the
application from Sara and places it on the table.
ADA
OK, OK. You sit, Dolly and just
answer the questions.
Sara, a bit nervous, sits down. Ada gives her a pencil and
leans over her shoulder. The Yentas crowd around.
ADA
Name? Easy enough. S-a-r-a G-o-l-d-
f-a-r-b.
SARA
You call that a question? That kind
I take six at once.
The Yentas laugh as Sara carefully prints her name.
ADA
Address.
SARA
A breeze.
Sara fills out question after question until:
ADA
Uh-oh.
SARA
What? What?
ADA
Date of Birth.
SARA
So now you’re getting personal.
OK, I’ll tell you.
She fills it in.
ADA
Age?
SARA
So now you want me to count for you!
(CONTINUED)
28.
40 CONTINUED: (2) 40
ADA
Marital Status?
SARA
(smiles)
Wanting, needing. How about if I
win Robert Redford?
A big laugh.
ADA
Sex?
A bigger laugh.
SARA
Please?
The biggest.
ADA
That’s it, Dolly.
Sara holds the paper against her chest and says a short
prayer. The Yentas respect her silence.
Then she carefully folds it and places it in the self-
addressed envelope.
She seals it and holds the flap down for many seconds.
Then she puts it on her chair and sits on it, just to make
sure it’s sealed.
Next she tosses her head and shoulders at the refrigerator
and says to it:
SARA
Who needs you?
CUT TO:
41 EXT. SARA’S BUILDING - A MOMENT LATER 41
Sara marches out of the building waving the envelope. The
Yentas follow their friend. Victorious, they march to the
mailbox.
YENTA #1
I wonder when you’ll hear?
ADA
Maybe they’ll send you to Tavern on
the Green, that’s where they send
all the stars.
(CONTINUED)
29.
41 CONTINUED: 41
SARA
I’m eating eggs and grapefruit at
Tavern on the Green.
The ladies laugh as they follow their hero, their savior,
their victor. Suddenly, the envelope begins to glow. It
glows a brilliant white.
At the mailbox Sara kisses the envelope and drops it in the
mail slot. She closes the lid and then opens it to make
sure it has dropped into the box.
And then the ladies huddle around Sara as the blue mailbox
begins to radiate and bathe them in a cool blue light. The
Yentas ’ooooh’ and ’ahhh’.
CUT TO:
Scene 12 - Euphoria and Unease
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
Tyrone is on the phone with Brody’s Henchman. Harry sits at
the table counting twenties into a small, neat pile.
TYRONE
Dynamite? Dynamite. Dynamite!
Alright, we’s on the way.
Tyrone hangs up.
TYRONE
Brody’s man says it’s real fine shit.
HARRY
Alright. Here we go.
TYRONE
Here we go.
HARRY
(serious)
Let’s do this right.
TYRONE
Naturally.
Tyrone takes the money and slaps Harry five. Exit Tyrone.
Harry spins some vinyl, rolls a joint, sparks it and takes a
few pokes. He starts grooving with the music as his
nervousness dissolves.
Then something is off and Harry feels it. He stops the
turntable.
(CONTINUED)
30.
42 CONTINUED: 42
Suddenly, it’s a sunny day in Tyrone’s bedroom. The back
wall is gone and stretching into the sea is --
43 THE CONEY ISLAND PIER 43
Now, strolling with a baby carriage is a woman in a red dress.
It’s Marion.
Harry watches her from Tyrone’s apartment.
He calls for her but she keeps going. He chases after her.
He’s trying to get a glimpse into the carriage. Finally,
Marion hears him and she spins around. She smiles and waves.
She reaches into the carriage to pick something up. Harry
is almost with her. He keeps running.
And just as he’s about to get a peek, he stops. He hears a
key in a lock.
He spins round and we --
CUT BACK TO:
44 INT. TYRONE’S DIVE PAD - NOW 44
Tyrone enters the room with a big-ass, shit-eatin’ grin on
his face.
He drops a little package on the table.
TYRONE
There it is, Jim.
HARRY
Huh?
TYRONE
There it is.
Harry snaps out of it and he looks at the package.
TYRONE
Shall we try?
HARRY
Wait, Ty. This is our chance to
make it big and I mean really big.
We don’t have to be dealin’ in no
petty-ass pieces all our lives. We
play it right an’ we can get a pound
of pure, but if we get wasted we’ll
fuck it up.
(CONTINUED)
31.
44 CONTINUED: 44
TYRONE
Right, on, baby, ahm not jivin’ you.
Ah doan’ want to be runnin’ no streets
the res’ of mah life in no ripped
sneakers, mah nose runnin’ down to
mah chin. All we gotta do is have a
little taste so we know how much to
cut it.
HARRY
Fair enough.
Palms slap, then: flick, sizzle, snap, suck, slap, rush,
sigh...
And: flick, sizzle, snap, suck, slap, rush, sigh...
Tyrone and Harry look at each other with flush faces and
hanging heads.
They grin at each other.
TYRONE
Sheeit...
Then they laugh and laugh and laugh.
CUT TO:
45 EXT. BOARDWALK - DAY 45
Marion sits in front of the Wonder Wheel watching the summer
crowd play.
She unpacks the shopping bag next to her. She pulls out
some sketch pads, pencils, charcoal and a sharpener.
She stares at the blank page. A moment later, she begins to
sketch.
CUT TO:
Scene 13 - Nightfall Temptation
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Sara sits in her chair trying to watch TV.
But she can’t concentrate. The kitchen clock ticks terribly
slowly. So does her Timex.
Everywhere she looks in the room steaming hot food appears.
Over there, by her plants, is a bacon doublecheese burger.
Then over there, by the lamp, is a chocolate-covered eclair.
(CONTINUED)
32.
46 CONTINUED: 46
She grabs a glass of water and downs it.
She turns to the fridge. It shudders at her. She screams
at it:
SARA
Shut up!
Suddenly the fridge door becomes transparent. She can see
all the produce in her stuffed fridge beckoning her.
She turns away and goes into --
47 THE BEDROOM 47
She flips off the light and tries to sleep.
She closes her eyes but they pop open. Then slowly her beige
ceiling disappears and turns into a clear blue sky with puffy,
white clouds. Then it dissolves into a sizzling, juicy pizza-
pie.
Sara twists and turns. Then the pie turns into a chocolate-
covered cherry. Then it becomes a bagel smothered with lox,
onions and crowned with a healthy slice of tomato.
There’s no hope. Sara sits up in her bed and reaches for
the phone. She dials.
MRS SCARLINI
(off-screen)
Hello?
SARA
Louise, it’s Sara. I need the number
of that doctor.
CUT TO:
48 INT. MARION’S APARTMENT 48
on Harry looking hollow.
HARRY
Why do you have to see him for krist’s
sake? Cut the son of a bitch loose.
Marion is dressing herself up in front of the mirror. She
looks like a million bucks in a chic black dress. She
carefully applies her lipstick.
MARION
I don’t want him mentioning to my
parents that I have stopped therapy.
(MORE)
(CONTINUED)
33.
48 CONTINUED: 48
MARION (CONT'D)
They’re already pissed at me and
they’re thinking of cutting me off.
Marion turns and touches Harry’s face tenderly.
MARION
Sweetheart, I am not going to sleep
with him. He’s got some issue with
womanly blood so I told him I’m on
the rag. He’s planning on going
home after the concert.
Harry tries not to sulk, but his chin dips. Then Marion
chuckles but Harry doesn’t respond. Suddenly, she hugs him
and squeals with absolute glee.
MARION
Oh Harry, you’re jealous!
Harry half-heartedly tries to push her away but Marion doesn’t
let him.
MARION
Come on, sweetheart, put your arms
around me, come on, please!?
Please!?
She lifts his hands and puts them on her shoulders as she
snuggles deeper into him. Then she starts kissing him on
the ears, eyelids and neck and soon he starts to giggle.
HARRY
Come on, stop, stop you crazy girl
or I’ll bite you on the throat.
They laugh as they tickle each other and cover each other in
kisses.
CUT TO:
49 INT. RAOUL’S CAFE - NIGHT 49
A fancy French pretension -- two plates of frogs’ legs, two
glasses of Cinzano with twists, and a stunning Marion with a
dumpy Arnold the Shrink.
ARNOLD THE SHRINK
I’m disappointed that you are
indisposed.
MARION
Is Anita out of town or something?
(CONTINUED)
34.
49 CONTINUED: 49
ARNOLD THE SHRINK
Why do you ask?
MARION
I’m just curious if she’s
’indisposed’.
ARNOLD THE SHRINK
(taken aback)
Marion. No she’s fine.
MARION
Can I ask you something personal,
Arnold?
ARNOLD THE SHRINK
What is it?
Arnold leans in. Then she fucks with him. She tells him
he’s got something on his face when he doesn’t. She tortures
him until all she can do is laugh.
CUT TO:
50 EXT. PROJECTS - NIGHT 50
Sodium streetlight pops as Tyrone cold lamps by a beat-up
bodega.
A black hand slaps Tyrone money. The money slides into his
pocket. Tyrone’s eyes swish left then right. He slips
something out from behind the tire of a parked car. And
slaps a bag of white powder back.
Pop, slap, slide, swish, slip, slap! Again. And again.
And again.
CUT TO:
51 EXT. OTHER SIDE OF THE PROJECTS - NIGHT 51
Neon crackle as Harry chills outside an OTB.
A white hand slaps Harry money. The money slips into his
pocket. Harry’s eyes swish right then left. He clinks
something out of a trash can. And he slaps a bag of white
powder back.
Crackle, slap, slip, swish, clink, slap! Again. And again.
And again.
CUT TO:
35.
Scene 14 - Hopeful Expectations
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Harry spins Marion around.
HARRY
We’re on our way, baby, we’re really
on our way.
MARION
Harry.
HARRY
It was great out there. Everyone’s
thirsty.
MARION
I’m so glad. And baby, I’m drawing
again. I’m drawing. I can’t stop.
Marion takes out her sketchbook. She shows him her sketches.
Harry and Marion lean into each other, suddenly hugging each
other, kissing, dreaming and believing.
CUT TO:
53 INT. DOCTOR PILL’S EXAMINING ROOM 53
A Skinny Nurse weight and measures Sara
SKINNY NURSE
How are you?
SARA
Fine, that’s why I’m here.
They both laugh. The Nurse takes Sara’s blood pressure.
SKINNY NURSE
How’s your hearing and vision?
SARA
I have both.
The Nurse laughs again.
SKINNY NURSE
Now, wait just a minute.
The nurse smiles and leaves.
A moment later, Doctor Pill enters. He looks at the chart
the Nurse filled out and then he smiles at Sara.
(CONTINUED)
36.
53 CONTINUED: 53
DOCTOR PILL
I see you’re a little overweight.
SARA
A little? I have fifty pounds I’m
willing to donate.
DOCTOR PILL
We can take care of that, no problem.
CUT TO:
54 HIP-HOP MINI-MONTAGE 54
TIGHTS of dope being cut, plastic bags being filled, Tyrone
and Harry dealing, Marion sketching and sewing, Harry and
Marion kissing, Harry spinning tunes, flick, sizzle, snap,
suck, slap, rush, sigh and crinkle, sprinkle, flick, drift,
suck, sigh...
CUT TO:
55 INT. TYRONE’S CLOSET 55
Harry and Tyrone neatly stuff a shoe box full of money.
They put a rubber band around the box and hide it in the
back of the closet.
Harry gives Tyrone five, Tyrone gives Harry five.
CUT TO:
56 INT. EMPTY STORE - DAY 56
In photographs, a straight Real Estate Agent shows Harry and
Marion around the empty store.
57 OUTSIDE 57
The Agent snaps a photo of the lovers in front of the store.
CUT TO:
58 INT. SARA’S KITCHEN 58
On the table in front of her are four bottles of pills and
the instructions.
SARA
Purple in the morning. Red in the
afternoon. Orange in the evening.
(MORE)
(CONTINUED)
37.
58 CONTINUED: 58
SARA (CONT'D)
(to the refrigerator)
That’s my three meals, Mr Smarty
Pants.
(then to herself)
Green at night. Just like that.
One, two, three, four...
She pops a purple: a pill cap pops off, pill hits hand, mouth
gulps, pill cap snaps on.
Then she heads to the fridge and makes herself a smoked fish
and cream cheese sandwich on an onion Kaiser roll.
She shows off to the fridge as she devours it.
Then she makes a cup of coffee: an empty pot tinkles into
place, the coffee perks, the coffee drips, and then Sara
slurps, slurps, slurps.
She picks up the remote and flips on the set but she can’t
seem to sit down, so she heads outside with her chair.
CUT TO:
59 INT. SARA’S MAILBOX - DAY 59
She peeks in for anything -- nothing.
CUT TO:
Scene 15 - A New Television
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
Marion and Harry play skeeball. Marion hits a fifty and
smiles. Harry stops playing.
HARRY
Yeah, that’s what I’ll do.
MARION
Huh?
HARRY
For my mom. I’ve been thinking of
getting something for her, you know,
some kind of present, but I didn’t
know what to get.
MARION
Well?
HARRY
I finally asked myself, what’s her
fix? Television, right?
(MORE)
(CONTINUED)
38.
60 CONTINUED: 60
HARRY (CONT'D)
If ever there’s a TV junkie it’s the
old lady. I figure maybe I owe her
a new one anyway with all the wear
and tear her set got from being
schlepped back and forth to old Abe’s.
MARION
You really love her, don’t you?
HARRY
I don’t know. I guess so. One time
I feel one way and the other time I
feel something else. Most of the
time I just want her to be happy.
MARION
Let’s go get it now.
HARRY
Well...
MARION
C’mon.
HARRY
I don’t wanna deal with salesman...
MARION
Oh, come on.
HARRY
(gets an idea)
Well, let’s push off first.
MARION
It’s still early. We shouldn’t get
going till tonight.
HARRY
Yeah, I know, but this is different.
After all, I was always usin’ the
old lady’s set to cop money so now
we’ll use a little stuff to get her
a set.
Marion doesn’t fight him.
Then there’s the: flick, sizzle, snap, suck, slap, rush,
sigh...
And: crinkle, sprinkle, flick, drift, suck, sigh...
CUT TO:
39.
61 INT. SARA’S APARTMENT 61
Coffee: tinkle, perk, drip, slurp, slurp, slurp... and Pill:
pop, hit, gulp, snap...
Sara starts to clean the apartment.
Time races by as she intricately cleans every single square
inch of the kitchen. She cleans the inside of the fridge
and dumps all the food.
Next, she moves into the living room and continues to clean.
Then everything slows down.
Sara collapses into her viewing chair in front of the TV.
She tries to watch but she’s squirming in her seat.
Then she notices something wrong. She’s not sure what so
she heads into --
62 THE BATHROOM 62
In the mirror, she stares at her clenched teeth grinding.
She wonders what this means. She shrugs and takes the green
pill: pop, hit, gulp, snap...
63 BACK IN THE LIVING ROOM 63
-- Sara sits in front of the TV and watches Tappy Tibbons
preach. Slowly she dozes off.
CUT TO:
64 INT. TYRONE’S DIVE PAD 64
Tyrone’s old pad has been spruced up. It’s filled with tons
of cool toys. It looks like Christmas morning.
Beautiful and very young Alice lies naked in the giant bed
staring at Tyrone.
He sits naked at his desk playing with flip books. First
there’s a wacky duck dancing, then there’s a crying GI
soldier.
ALICE
Why dontcha come back to bed, honey?
TYRONE
Sheeit, plenty time for that, woman,
I got me a cool-ass toy ahm groovin’
behind.
(CONTINUED)
40.
64 CONTINUED: 64
Tyrone picks up another flip book and lets things rip. The
animation suddenly turns into live action and we are following
the back of a little boy.
The boy runs across a black room into the arms of a beautiful
woman.
The boy is Young Tyrone and the woman is Tyrone’s Mother.
YOUNG TYRONE
I told ya, Ma. One day I’d make it.
TYRONE’S MOTHER
You don’t have to make anything.
You just gotta love your momma.
The image of boy and mother dies when the flip book ends.
Tyrone looks at it sadly.
ALICE
What are you doing, honey?
TYRONE
Thinking about you, baby, and what
I’m gonna do to ya.
Tyrone leaps onto the bed and Alice squeals playfully.
ALICE
Don’t do that, Tyrone. You’ll scare
me to death.
TYRONE
Oh little momma, I wouldn’t want to
scare you...I doan’ want to scare
nobody. All I want from life is no
hassles and some peace and
harmony...an’ I want it from the
finest fox that ever lived.
CUT TO:
65 INT. SARA’S MAILBOX - DAY 65
Still empty...
CUT TO:
Scene 16 - Anxious Anticipation
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 8
- Dialogue: 6
Pop, hit, gulp, snap and tinkle, perk, drip, slurp, slurp,
slurp...
(CONTINUED)
41.
66 CONTINUED: 66
The Yentas all rise when Sara comes out and they move their
chairs so that she can have her proper seat in the sun.
YENTA #1
Sara, you know yet when?
YENTA #2
Are you hearing anything?
SARA
Nothing yet.
ADA
You can bring friends?
SARA
How should I know?
ADA
They should let you bring at least a
schlepper. Who’s going to carry
home all those prizes?
SARA
Believe me, I’ll get them home.
Especially Robert Redford. For him I don’t need a schlepper.
But Sara is having a hard time sitting still. She looks up
and down the street for the Mailman and paces around her
friends.
They watch her with a bit of concern. Then Mrs Scarlini
comes out of the building for sunning. Sara grabs her and
hugs her.
SARA
I love you forever. I can’t believe
it but I’m not even thinking of food.
If you put down a big bowl of chicken
noodle soup I wouldn’t eat it. Thank
you so much, Rosie. Thank you!
CUT TO:
67 INT. TYRONE’S NEW PAD 67
Alice and Tyrone make some crazy love. Arms flail, teeth
bite, mouths scream. Some crazy love.
CUT TO:
68 INT. SARA’S APARTMENT 68
Sara stands in front of the mirror trying on the red dress.
(CONTINUED)
42.
68 CONTINUED: 68
The dress won’t close.
Pop, hit, glup, snap...
The red dress gets a little closer.
Pop, hit, glup, snap...
The dress gets even closer.
CUT TO:
69 INT. TAXI CAB - MOVING 69
Harry squirms in the back seat wearing a sharp new pair of
slacks, a sports shirt and a pair of new shoes.
He nervously pats down his hair and adjusts his collar.
CUT TO:
70 EXT. SARA’S BUILDING 70
The Yentas all admire Sara’s slim figure until the Mailman
approaches. Everyone turns to him--hoping...
He grins and shakes his head.
MAILMAN
When I see it I’ll be waving it all
over the place.
The Mailman enters the building.
A cab pulls up. Harry steps out. He stares at the
intimidating line of Yentas.
Sara stares for a brief second not computing this apparition.
Then she jumps up and wraps her arms around him, almost
knocking him off balance.
SARA
Harry!
She kisses him and he kisses her. She’s so excited she kisses
him again.
HARRY
Hey, take it easy, Ma, you’ll crush
me.
He gives her a quick smile as he adjusts his clothes.
(CONTINUED)
43.
70 CONTINUED: 70
SARA
Come, come inside, Harry. I’ll make
you a pot of coffee and we’ll have a
visit.
She grabs his hand and heads to the entrance.
CUT TO:
Scene 17 - Reconciliation and Love
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Sara makes a pot of coffee as she bustles around grabbing
cups, saucers, spoons, milk and napkins.
Harry stares wide-eyed at his hyperactive mother. He tries
to get a word in but can’t.
SARA
And how are you, Harry, you’re looking
so good. You want something to eat?
HARRY
No, Ma --
SARA
A little nosh, maybe, or cake, I’ll
go get some if you want, but I don’t
have anything in the house but Ada
will have something, a cupcake, maybe.
HARRY
No --
Finally, the coffee is ready and she fills two cups.
SARA
You want something to eat?
HARRY
(almost screams)
No, Ma. Nothing. Sit. Sit, for
krist’s sake. You’re making me dizzy.
SARA
You notice something? You notice
I’m slimmer?
HARRY
Yeah, yeah, I guess you are, Mom.
SARA
Twenty-five pounds. You believe it?
Twenty-five pounds and that’s just
the beginning.
(CONTINUED)
44.
71 CONTINUED: 71
HARRY
That’s great, Ma. That’s really
great, I’m really happy for ya.
But sit down, eh?
Sara sits, Harry is bewildered.
HARRY
I’m sorry I haven’t been around for
awhile, Ma, but I’ve been busy, real
busy.
Sara nods as she clenches her jaw.
SARA
You got yourself a good job?
You’re doing well?
HARRY
Yeah, Ma, real good.
SARA
What kind of business?
HARRY
Well, I’m sort of a distributor,
like. For a big importer. My own.
SARA
Oh, I’m so happy for you.
Sara gets up and smothers Harry with kisses.
HARRY
Hey, Ma, easy, eh? You’re killing
me. Krist, whatta ya been doin’,
liftin’ weights?
SARA
Your own business. Oh Harry, I knew
when I saw you that you had your own
business. I always knew that you
could do that.
HARRY
(smiles)
Yeah, Ma, you were right. I made it
just like you said I would.
SARA
So now maybe you’ll meet a nice girl
and have a baby?
HARRY
I already met one --
(CONTINUED)
45.
71 CONTINUED: (2) 71
Sara squeals and squeaks and starts to jump out of her chair.
Harry holds his arms up in front of him.
HARRY
Jesus krist, Ma, don’t go ape shit,
eh?
SARA
Is she a nice girl? Who’s her
parents? What --
HARRY
You know’er, Ma. Marion. Marion
Silver. Remember, they --
SARA
Oh, Silver. Of course. I know
Manhattan Beach. He’s got a house
on the esplanade. Garment business.
HARRY
Yeah, yeah, he’s big in women’s
undies.
Harry chuckles. Sara is so happy, she can’t stay sitting.
She refills their cups.
HARRY
Before you go bouncin’ all over again
and make me forget, what I want to
tell ya is I got you a present and --
SARA
Harry, I don’t want a present, just
have a baby.
HARRY
Later for that, eh? Will you let me
tell you what I got, eh? Will ya?
Sara nods, grins, grinds and clenches.
HARRY
Krist, you’re really something else
today. Look, I know... well...
(deep breath)
What I’m trying to say is
that...well...
(shrugs)
Well...I know I ain’t been the best
son in the world --
(CONTINUED)
46.
71 CONTINUED: (3) 71
SARA
Oh, Harry, you’re a good --
HARRY
No, no! Please, Ma, let me finish.
I’ll never get it out if you keep
interrupting me.
(deep breath)
I’m sorry for being such a bastard.
(stop -- breathe --
sigh)
I wanna make it up. I mean, I know
I can’t change anything that’s
happened, but I want ya to know that
I’m sorry and I love ya, and I wanna
make it right.
SARA
Harry, it’s --
Scene 18 - Dinner Conversation with Harry and Sara
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
I don’t know why I do those things.
I don’t really want to do them. It
just sort’ve happens, I guess. I
don’t know. It’s all kinda goofy
somehow, but I really do love ya,
Ma, and I want you to be happy so I
got ya a brand new TV set. It’s
gonna be delivered in a couple a
days. From Macy’s.
Sara squeals, but Harry wards her off with his hands. She
sits down, grins and grinds her teeth.
SARA
Oh, Harry, you’re such a good boy.
Your father would be so happy to see
what you’re doing for your poor,
lonely mother.
Harry leans over and gives her an honest, open and perfectly
beautiful kiss.
SARA
You see that, Seymour? You see how
good your son is? He knows how lonely
his mother is living all alone, no
one to make her a visit...
Harry feels pretty good as he listens to his mother until
something puzzles him. He stops hearing his mother and now
he suddenly hears some other, strange sound. What is it?
He looks around until he looks at his mother. Suddenly he
is filled with surprise, disbelief and confusion.
(CONTINUED)
47.
71 CONTINUED: (4) 71
The noise he hears is his mother’s teeth grinding.
TIGHT ON Sara’s mouth. Harry leans across the table.
HARRY
Hey, Ma, you droppin’ uppers?
SARA
What?
HARRY
You on uppers?
(getting angry)
You’re on diet pills, ain’t ya?
Sara is suddenly stunned. She’s completely bewildered.
SARA
On? On? What is on?
HARRY
How come ya lost so much weight?
SARA
I told you, I’m going to a specialist.
HARRY
A specialist. What kinda specialist?
SARA
What kind? A specialist. For weight.
HARRY
Yeah, that’s what I thought.
You’re makin’ a croaker for speed,
ain’t ya?
SARA
Harry, you alright?
(shrugs)
I’m just going to a doctor. I
don’t know from croaker, making --
HARRY
What does he give ya, Ma? Eh?
Does he give ya pills?
SARA
Of course he gives me pills. He’s a
doctor. Doctors give pills.
HARRY
What kind of pills?
(CONTINUED)
48.
71 CONTINUED: (5) 71
SARA
What kind. A purple one, red one,
orange and --
HARRY
No, no, I mean what kind?
SARA
They’re round...and flat.
HARRY
(rolls eyes)
I mean, like what’s in them?
SARA
Harry, I’m Sara Goldfarb, not Albert
Einstein. How should I know what’s
in them?
HARRY
Look, Ma, does that stuff make you
feel good sort of and give you lots
of pep?
SARA
(nods)
Well, I guess maybe a little.
HARRY
A little? Jesus, I can hear ya
grinding ya teeth from here.
SARA
But that goes away at night.
HARRY
At night?
SARA
When I take the green one. In thirty
minutes I’m asleep. Poof, just like
that.
Harry shakes his head and rolls his eyes.
HARRY
Hey, Ma, ya gotta cut that stuff
loose. It’s no good.
SARA
Who said it’s no good? Twenty-five
pounds I lost.
(CONTINUED)
49.
71 CONTINUED: (6) 71
HARRY
Big deal. Do ya wanna be a dope
fiend fa krist’s sake?
SARA
What’s this dope fiend? Am I foaming
at the mouth? He’s a nice doctor.
HARRY
Ma, I’m telling ya this croaker’s no
good.
SARA
How come you know so much? How come
you know more about medicine than a
doctor?
HARRY
(deep sigh)
I know, Ma, believe me, I know.
You’ll get strung out fa krist’s
sake.
SARA
C’mon. I almost fit in my red dress,
the one I wore at your high school
graduation. The one your father
liked so much. I remember how he
looked at me in the red dress. It’s
not long after that he got sick and
died and you’re without a father, my
poor baby, but thank God he saw you
happy for a little and --
HARRY
What’s with the red dress? What
does that --
Scene 19 - A Mother's Hope
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
I’m going to wear the red dress
on...Oh, you don’t know. I’m going
to be on television. I got a call
and an application and --
HARRY
C’mon, Ma, who’s pullin’ ya leg?
SARA
I’m telling you I’m being a contestant
on television. They haven’t told me
when, but you’ll see, you’ll be proud
when you see your mother in her red
dress and golden shoes on television.
(CONTINUED)
50.
71 CONTINUED: (7) 71
HARRY
What’s the big deal about being on
television? Those pills’ll kill ya
before ya ever get on, fa krist’s
sake.
SARA
Big deal? You drove up in a cab.
You see who had the sun seat? You
notice your mother in the special
spot getting the sun? You know who
everybody talks to? You know who’s
somebody now? Who’s no longer just
a widow in a little apartment who
lives alone? I’m somebody now, Harry.
Everyone likes me. Soon millions of
people will see me and like me.
I’ll tell them about you and your
father. I’ll tell them how your
father liked the red dress and how
good he was to us. Remember?
Harry nods. Defeated, he stares at the floor.
SARA
And who knows what I might win? A
new refrigerator. A Rolls-Royce,
maybe. Robert Redford.
HARRY
Robert Redford?
SARA
So what’s wrong with Robert Redford?
Harry blinks and shakes his head. Bewildered, he surrenders
to her flow.
Sara looks at her entire family and a softness overtakes
her.
SARA
It’s not the prizes, Harry. It
doesn’t make any difference if I win
or lose. It’s like a reason to get
up in the morning. It’s a reason to
lose weight so I can be healthy.
It’s a reason to fit in the red dress.
It’s a reason to smile, already. It
makes tomorrow alright.
(close to Harry now)
What have I got, Harry? Why should
I even make the bed or wash the
dishes?
(MORE)
(CONTINUED)
51.
71 CONTINUED: (8) 71
SARA (CONT'D)
I do them, but why should I? I’m
alone. Seymour’s gone, you’re gone,
I have no one to take care of.
Anybody. Everybody. What do I have?
I’m lonely, Harry. I’m old.
Harry fidgets, his eyes blink, he tries:
HARRY
You got friends, Ma. What --
SARA
It’s not the same. You need someone
to make for. No, Harry, I like how
I feel this way. I like thinking
about the red dress and the
television...and your father and
you. Now when I get the sun I smile.
HARRY
I’ll come visit, Ma. Now that I’m
straight, my business is going good,
I’ll come. Me and Marion. Honest,
Ma. I swear. We’ll come for dinner.
Soon.
Sara shakes her head and smiles at Harry, trying hard to
believe.
SARA
Good, you bring her and I’ll make
your soup and a roast.
HARRY
That sounds great, Ma. I’ll give
you a call ahead a time, OK?
SARA
(nods)
Good. I’m glad. I’m glad you got a
nice girl and a good business. I’m
glad.
Sara gets up and hugs Harry, tears welling in her eyes.
SARA
Your father and I were always wanting
only the very best for you.
I’m glad, Harry, that you have someone
to be with. You should be healthy
and happy. And have lots of babies.
Don’t have only one. It’s no good.
Have lots of babies. They’ll make
you happy.
(CONTINUED)
52.
71 CONTINUED: (9) 71
Harry does his best to hug his mother. He fights his
desperation to get away and holds onto her.
Eventually, Sara backs away and looks into his face, smiling.
SARA
Look, I’m crying already. I’m so
happy I’m crying.
HARRY
(forces smiles)
I’m glad you’re happy, Ma. I
really love ya. An’ I’m sorry --
Sara waves his apology away -- tosh, tosh.
HARRY
I really am. But I’m goin’ ta make
it up now. You should just be happy.
SARA
Don’t worry about me. I’m used to
being alone.
A long silent beat as child and parent smile at each other.
Harry looks at his watch.
HARRY
I got to go, Ma. I have an
appointment in Manhattan in a little
bit. But I’ll be back.
SARA
Good. I’ll make for you. You still
have your key?
Scene 20 - Farewell and Chaos
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
(shows her)
Yeah, I got it, Ma. I’d better hurry.
I’m late now.
SARA
Goodbye, Son.
One more kiss and hug and Harry is gone. Sara stares at the
door for many long moments.
Then she takes her orange pill -- pop, hit, glup, snap --
and washes it down with a fresh cup of coffee.
CUT TO:
53.
72 INT. MOVING CAB 72
Harry sits in the back seat filled with worry and concern.
Tears well up into his eyes until he can’t hold it any longer.
He sobs hard, real hard.
A moment later he collects himself and gets high: flick,
sizzle, snap, suck, slap, rush, sigh...
Harry wipes away his tears.
CUT TO:
73 INT. SARA’S BEDROOM 73
Sara zips up the red dress. It closes.
She swings around gloriously and her locked jaw smiles at
herself in the mirror. Eyes glow.
And she begins to waltz by herself. Humming...
HARD CUT TO:
BLACK
ON THE SCREEN IN WHITE LETTERS: ’FALL’
CUT TO:
74 INT. BRODY’S LIMO 74
Tyrone steps into a white limo with leopardskin upholstery.
He exchanges fives with, Brody (late twenties, bespectacled,
highly intelligent looking) and his two Henchmen.
Brody doesn’t speak. He signs to Henchman #1
HENCHMAN
Brody say you coming up quick, kid.
TYRONE
Thanks, Brody.
The Henchman signs back. Then Brody responds.
HENCHMAN
Brody wants to promote you. He wants
to give you some more responsibility.
Are you interested?
TYRONE
Yeah, yeah.
(CONTINUED)
54.
74 CONTINUED: 74
HENCHMAN
Brody say, you fuck him, I’ll kill
you.
TYRONE
I wouldn’t do that, Jim.
Just then, Tyrone notices the driver’s door is open. Tyrone
points.
TYRONE
Where’s the --
Brody spins just when a White Gunman leans in through the
driver’s door with a 9mm Glock --
BANG! BANG! BANG!
Three bullets rip through Brody’s body. Blood and guts
splatter Tyrone and Brody’s dead body collapses into his
lap.
The Henchmen pull out their pieces and return fire. One
Henchman gets splattered. The other kills the White Man.
Tyrone slips and scrambles out of the limo. The White Gunman
lies dead in the street.
Tyrone runs! Frantic, with blood all over him, he runs
hyperventilating with panic until two Cops give chase.
Sirens and lights.
They catch him and slam him against the wall. Cuff wrist
one, cuff wrist two.
CUT TO:
75 INT. SARA’S APARTMENT 75
Pop, hit, gulp, snap...
Sara’s living room is dominated by a gigantic, towering,
black TV. The ominous hulk of technology stares down on
Sara who sits in her lazy chair staring at the set’s cold,
dark screen.
Something is wrong.
Some coffee: tinkle, perk, drip, slurp, slurp, slurp...
Nothing. So one more:
Pop, hit, gulp, snap...
CUT TO:
55.
76 INT. MARION’S APARTMENT 76
Flick, sizzle, snap, suck, slap, rush, sigh...
Crinkle, sprinkle, flick, drift, suck, sigh...
Harry and Marion lean against each other on the floor. They
stare up at the ceiling. Sketches and pieces of Marion’s
clothing lie around them.
MARION
Oh Harry, I love you. You make me
feel like a person, like I’m me and
I’m beautiful.
HARRY
You are beautiful. You’re the most
beautiful woman in the world. You’re
my dream.
CUT TO:
Scene 21 - Sara's Dream, Tyrone's Terror, and Harry's Hustle
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
Pop, hit, gulp, snap...
Sara still sits. She feels nothing.
Coffee: tinkle, perk, drip, slurp, slurp, slurp...
Still nothing.
She picks up the bottles of pills from Doctor Pill and
examines the labels.
She looks real close.
Then she calls Doctor Pill.
SKINNY NURSE
(off-screen)
Doctor’s office?
SARA
Hello, this is Mrs Goldfarb
SKINNY NURSE
(off-screen)
No, Mrs Goldfarb, I’m absolutely
certain. I’ve checked again.
SARA
Are you sure you didn’t give me the
wrong pills?
(CONTINUED)
56.
77 CONTINUED: 77
SKINNY NURSE
(off-screen)
No.
SARA
But maybe you gave me a smaller one
the last time.
SKINNY NURSE
(off-screen)
That isn’t possible, Mrs Goldfarb.
You see, they are all the same
potency. The change is in the color.
All the purple are the same strength,
all the red, etc.
SARA
But something isn’t the same.
SKINNY NURSE
(off-screen)
You’re just becoming adjusted to
them. At first you get a strong
reaction, but after a while that
wears off and you just don’t feel
like eating. It’s nothing to worry
about, Mrs Goldfarb.
Click. Sara stares at the phone and slowly hangs it up.
She drops two pills in her hand. She stares at both pills --
shrugs and pops them: pop, hit, gulp, snap...
Then a small grin invades her face. Something’s happening.
She flips on the TV TO TAPPY:
TAPPY TIBBONS
Now let’s meet our next winner.
She’s a beautiful woman with a winning sense of humor and a
magical smile. Straight from Brighton Beach, Brooklyn, let’s
give a juicy welcome to Mrs Sara Goldfarb.
And there she is! Red, red, red. Sara smiles at Red Sara.
The audience loves her.
TAPPY AND AUDIENCE
Juice by Sara! Juice by Sara! Juice
by Sara! ooooOOOOH! Sara’s got
juice! Sara’s got juice! ooooOOOH
Sara!
(CONTINUED)
57.
77 CONTINUED: (2) 77
But back in the real world, the fridge shudders. Sara stares
at it, concerned.
CUT TO:
78 INT. HOLDING TANK - NIGHT 78
Tyrone, terrified, holds onto the bars for dear life.
Junkies and winos that seem more like ghosts and giant rats
taunt him. Until:
GUARD
(off-screen)
Love...Love, Tyrone C. Seven-
three-five. Get your shit together
and come on.
CUT TO:
79 EXT. CONEY ISLAND STREET - MOVING 79
Harry and Tyrone rap as they scam the streets searching for
a connection. They eye other junkies suspiciously.
TYRONE
How much?
HARRY
They got most of our cash. You’re
up for consortin’.
TYRONE
Sheeit.
HARRY
Angel says it’s a war between the
Italians and the Blacks. He says
Sal the Geep is keeping all the shit
down in Florida until guys like Brody
are all knocked off.
TYRONE
Sheeit.
HARRY
No one’s got a thing.
TYRONE
Except Big Tim.
HARRY
Who?
(CONTINUED)
58.
79 CONTINUED: 79
TYRONE
He’s holdin’ a nice taste.
HARRY
How much?
TYRONE
Some say a piece, others a truckload.
HARRY
Shit. Let’s go see him.
TYRONE
He’s holdin’, but he’s not sellin’.
He’s only givin’ up for pussy.
HARRY
What?
TYRONE
The only habit that muthafuck have
is pussy. He hooked on that thang.
Ah told’im ah give’im all he want,
but he say ahm not pretty enough
for’im.
Just then, a white van screeches to a halt at the corner in
front of them. The side door slides open. Two white guys
toss a dead black guy into a city garbage can.
The van screeches off. The black guy’s sneakers poke up out
of the can.
Harry and Tyrone turn around and quickly exit the scene.
CUT TO:
Scene 22 - The Struggle to Quit
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
MARION
Well, why don’t we just stop using?
Harry, Tyrone and Marion stare at each other for a moment,
the implication of Marion’s question slowly, through much
resistance, sinking in and registering.
HARRY
Yeah, I guess we’d better.
CUT TO:
59.
81 INT. SARA’S MAILBOX 81
Still nothing.
CUT TO:
82 INT. SARA’S APARTMENT 82
Pop, hit, gulp, snap...
Sara starts to circle around the lazy chair. Tighter and
tighter circles.
CUT TO:
83 INT. MARION’S APARTMENT 83
We pan the apartment and see Harry, Tyrone and Marion trying
to do something, anything but nothing. But everything is
real slow and every moment is real painful.
The kitchen clock is almost moving backwards. We see their
eyes. Their sweating lips. Their twitching fingers.
CUT TO:
84 INT. SARA’S MAILBOX 84
NOPE.
CUT TO:
85 INT. SARA’S APARTMENT 85
Pop, hit, gulp, snap -- and again -- pop, hit, gulp, snap...
Sara stops pacing. Out of breath, she towers over the phone.
She dials 411. Her mouth races after her speed-drenched
mind.
COMPUTERIZED OPERATOR
(off-screen)
Welcome to Bell Atlantic. Number
please?
SARA
Malin & Block. Manhattan.
COMPUTERIZED OPERATOR
(off-screen)
Please hold for your number.
(CONTINUED)
60.
85 CONTINUED: 85
Suddenly, the fridge shudders. Sara jumps.
CUT BACK TO:
86 INT. MARION’S APARTMENT 86
Finally Marion stands up:
MARION
It’s three already. We’re making a
big deal out of nothing.
TYRONE
(a bit too willing)
Yeah, we can stop using. We proved
it. Right now.
MARION
Harry, it’s stupid to panic and think
the world’s coming to an end just
’cause we can’t score any solid
weight.
HARRY
OK, fine.
Flick, sizzle, snap, suck, slap, rush, sigh...
AND:
Crinkle, sprinkle, flick, drift,
suck, sigh...
AND THEN AGAIN:
Flick, sizzle, snap, suck, slap,
rush, sigh...
CUT TO:
87 INT. MARION’S APARTMENT - MIDDLE OF THE NIGHT 87
Harry and Marion twist and turn in their bed. The sheets
are covered in sweat.
Finally, Marion bolts up in bed gasping for breath. Harry
turns on the light.
HARRY
You alright?
MARION
(nods)
Must have had a bad dream, I guess.
CUT TO:
(CONTINUED)
61.
87 CONTINUED: 87
INT. MARION’S KITCHEN.
Harry fills a glass of water. He notices that the spot where
he normally shoots up in his inner arm is sore and red.
CUT BACK TO:
88 INT. MARION’S APARTMENT 88
Marion is still panting when Harry returns with a glass of
water.
MARION
Maybe we should dip in now.
HARRY
It’s all we have.
MARION
Tyrone will score in the morning.
HARRY
It’s a bitch out there.
MARION
It’ll be fine, sweetheart, I just
know it will.
A long beat.
HARRY
Yeah, I guess. I’ll get the stuff.
MARION
I love you, Harry.
Relief. For now. Crinkle, sprinkle, flick, drift, suck,
sigh...
CUT TO:
Scene 23 - Morning Mystery
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 6
Pop, hit, gulp, snap.
Sara downs a cup of coffee and goes to the phone.
Out of the corner of her eye she watches the fridge. She
dials a number.
COMPUTERIZED OPERATOR
(off-screen)
Welcome to Malin & Block.
(MORE)
(CONTINUED)
62.
89 CONTINUED: 89
COMPUTERIZED OPERATOR (CONT'D)
If you know your party’s extension,
please enter it now. For the
directory please press four, one,
one.
Sara presses 411.
COMPUTERIZED OPERATOR
(off-screen)
Please enter the last name of the
person you are trying to reach.
SARA
Russel. Lyle Russel.
Sara starts to press some numbers.
COMPUTERIZED OPERATOR
(off-screen)
We’re sorry, there’s no one in the
directory with that name. Please
wait for an operator.
A moment later an operator answers.
WOMAN ON PHONE
(off-screen)
Malin & Block.
SARA
Lyle Russel.
WOMAN ON PHONE
(off-screen)
I’m sorry, but I don’t have his name
listed on my directory.
SARA
The television.
WOMAN ON PHONE
(off-screen)
What television?
SARA
I don’t know. I want to find out.
WOMAN ON PHONE
(off-screen)
Hold on a second.
Then, a loud shudder! The fridge is vibrating. Sara doesn’t
know what to do.
(CONTINUED)
63.
89 CONTINUED: (2) 89
ANOTHER WOMAN ON PHONE
(off-screen)
Can I help you?
SARA
I want to speak to Lyle Russel.
ANOTHER WOMAN ON PHONE
(off-screen)
Who’s that?
SARA
He called me and said I was going
to be on a show and --
ANOTHER WOMAN ON PHONE
(off-screen)
Just a minute. I’ll connect you
with the programs department.
Sara waits as the phone rings and rings and the fridge
continues to vibrate unnaturally.
THIRD WOMAN ON PHONE
(off-screen)
Can I help you?
SARA
I want Lyle Russel.
THIRD WOMAN ON PHONE
(off-screen)
Lyle Russel? Are you sure you have
the right number?
SARA
He’s putting me on a show.
THIRD WOMAN ON PHONE
(off-screen)
A show? What show?
Still on the phone, Sara slowly walks over to the fridge.
THIRD WOMAN ON PHONE
(off-screen)
I’m afraid I don’t understand. If
you can’t tell me --
SARA
He called me and said I’m going to
be on TV and he sent me papers. I
sent them back a long time already
and I still don’t know when --
(CONTINUED)
64.
89 CONTINUED: (3) 89
THIRD WOMAN ON PHONE
(off-screen)
Oh, I understand. Just a moment.
Some more clicks. Sara can barely stand. As she gets to
the fridge, it slowly stops vibrating. Sweat is building.
FOURTH WOMAN ON PHONE
(off-screen)
Can I help you?
Carefully, Sara examines the fridge. She’s having a hard
time talking.
FOURTH WOMAN ON PHONE
(off-screen)
Hello?
SARA
Lyle Russel.
FOURTH WOMAN ON PHONE
(off-screen)
Who?
SARA
Lyle Russel?
FOURTH WOMAN ON PHONE
(off-screen)
Are you sure you have the right
department?
And then, suddenly, the entire fridge quakes violently!
Sara drops the phone and runs to her bedroom. On the phone:
FOURTH WOMAN ON PHONE
(off-screen)
Hello? Hello?
CUT TO:
Scene 24 - Guilt and Anxiety
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Marion expectantly watches Harry on the phone. Harry hangs
up.
MARION
Well?
HARRY
Tyrone hasn’t found anything.
(CONTINUED)
65.
90 CONTINUED: 90
MARION
Nothing?
HARRY
Nothing.
MARION
What are we going to do?
HARRY
I don’t know.
MARION
Well, you have to do something.
It’s your fault we don’t have
something for the morning.
HARRY
What are you talking about?
MARION
You were all hot in the biscuit to
get off last night.
HARRY
That’s all bullshit.
MARION
You didn’t have to and we could have
had something now.
HARRY
Whatta am I gonna do? Just sit and
watch you push off and not go myself?
MARION
Then, just don’t put all the weight
on me, that’s all. And leave me
alone.
Pissed beat.
HARRY
I’m gonna go meet Ty.
CUT TO:
91 INT. TYRONE’S CLOSET 91
Harry and Tyrone open the shoe box. They grab the last cash
in it.
HARRY
Don’t worry.
(MORE)
(CONTINUED)
66.
91 CONTINUED: 91
HARRY (CONT'D)
We’ll fill it up again, man.
Things’ll get better soon, then we’ll
be puttin’ the bread back in the
box.
CUT TO:
92 EXT. CITY STREETS - NIGHT 92
Harry and Tyrone wait by a payphone on an abandoned street
corner.
HARRY
I gotta call my mom. I just don’t
know what to do with her.
TYRONE
Ahm glad ah doan’t have no one laying
that kind of heavy motha shit on me,
Jim. You honkies are too much with
that guilt shit.
HARRY
Krist, you ain’t kiddin’, man. I
sometimes think we’d be better without
moms.
TYRONE
Ah doan’ know, man. Mah mom died
when ah was eight, but I remember
she was one groovy woman. She have
seven kids, Jim, an she was all big
like an’ all the time singin’ and
smilin’. She have a big chest like
this and she used to cuddle me, Jim,
an’ ah remember how good it felt in
there an’ how sweet she smell. You
know, she sing an’ it make you feel
good all ovuh, jus’ like dope.
Small laugh in the freezing cold. Then, a Snot-faced Dealer
rounds the corner and nods to Tyrone.
93 INT. SARA’S APARTMENT 93
The phone rings! Sara sticks her head out of the bedroom.
She looks at the fridge. It’s quiet and still. She sneaks
to the lazy chair and flips on the TV.
Then she answers the phone.
(CONTINUED)
67.
93 CONTINUED: 93
HARRY
(off-screen)
Hey, Ma. How ya doing?
SARA
(scared)
Oh, Harry.
HARRY
(off-screen)
I wanted to say hello, and that I’ll
visit soon.
Suddenly, the fridge hops, making a smashing noise. Sara
sinks into her chair. Sara lets out a small scream.
HARRY
(off-screen)
Ma? You --
SARA
Can you come now? For a little while?
HARRY
(off-screen)
Ma, I’m tied up. I got a lot of
irons in the fire and I have ta be
around to take care of’em.
The fridge hops again.
SARA
(at fridge)
Stop it!
(to Harry)
Not even a little visit? Please,
Harry. Come over.
HARRY
(off-screen)
Hey, Ma, will you lighten up and
stop playin’ those guilt games with
my head?
The fridge shakes and quivers like it’s laughing.
SARA
Please, Harry...
CUT TO:
Scene 25 - Desperate Choices
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 7
Harry takes a deep breath into the phone. Tyrone rounds the
corner, smiling.
(CONTINUED)
68.
94 CONTINUED: 94
HARRY
(into phone)
Look, Ma, I don’t want to hassle
you, okay? I loveya and I’ll see
you soon. Take care.
SARA
(off-screen)
Harry, it’s all confusing and --
Harry hangs up and the two of them rush off.
CUT TO:
95 EXT. UNDER THE BOARDWALK - NIGHT 95
Flick, sizzle, snap, suck, slap, rush, sigh...
TYRONE
So you want to hear the news?
HARRY
What news?
TYRONE
The good news and the bad news.
HARRY
Shoot.
TYRONE
The good news is that in a couple of
days they’ll be prime on the streets.
HARRY
(psyched)
Really!
(suspicious)
Who told you?
TYRONE
Angel says Sal the Geep has sent
word to let go a couple a keys for
the Christmas season, he being a
good Christian an’ not wantin’ anybody
to be wantin’ during this glorious
season.
HARRY
You believe it?
TYRONE
I didn’t until I heard the bad news.
(CONTINUED)
69.
95 CONTINUED: 95
HARRY
Yeah...
TYRONE
The price is doubled and you have to
cop for weight, at least half a piece.
HARRY
How much?
TYRONE
Two.
HARRY
Fuckin’ insane!
TYRONE
What you gonna do? The man ain’t
goin’ to lay no nickel bag on you,
thas foe damn sure.
HARRY
Where we gonna get two?
CUT TO:
96 INT. MARION’S APARTMENT 96
Marion can’t believe what Harry just suggested.
MARION
You mean Arnold?
HARRY
Well your parents won’t even take
your call.
MARION
I haven’t seen him in months.
HARRY
So what? He’s still callin’, ain’t
he?
MARION
Yes, but I don’t know.
Marion stares into Harry’s eyes -- pleading.
HARRY
Look, I don’t know what else to do.
This is our last chance to get back on track. We won’t have
ta scuffle and make that freezing scene every day. We need
the bread.
(CONTINUED)
70.
96 CONTINUED: 96
MARION
Getting the bread is not the
problem, Harry --
HARRY
Then what’s the problem, fa krist’s
sake?
MARION
I just don’t know what I’ll have to
do to get it.
Harry gets it. Marion gets it. But for Harry, this is too
important. He gets down and holds her hand:
HARRY
Look baby, this is our last chance
to get back on track. We’ll be back
in bizness in no time. We’ll start
moving again and we’ll start saving
again. It’ll happen, Marion.
Marion looks into him. Then, she gives him a gentle nod.
CUT TO:
97 INT. DOCTOR PILL’S EXAMINING ROOM 97
Doctor Pill smiles while Sara looks around wild-eyed.
DOCTOR PILL
What seems to be the problem? The
weight is doing fine.
SARA
The weight is fine. I’m not so
good. The refrigerator --
Suddenly, she looks around terrified.
DOCTOR PILL
Something wrong?
SARA
Things are all mixed up. Confused
like --
DOCTOR PILL
Well, that’s nothing to worry about.
He scribbles out a prescription.
DOCTOR PILL
Just give this to the nurse and make
an appointment for a week.
(CONTINUED)
71.
97 CONTINUED: 97
Now, Sara is alone staring at the paper. TIGHT ON paper.
It reads ’VALIUM’.
CUT TO:
Scene 26 - Dark Encounters
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
Dimly lit café. Marion wears lots of make-up and a long-
sleeve blouse.
Arnold is worried.
MARION
No, no, I’ve just had the flu forever
it seems like.
ARNOLD THE SHRINK
Are you depressed?
MARION
No, it’s nothing like that. Just
been very busy. I’ve been designing
nonstop.
ARNOLD THE SHRINK
That’s wonderful, I’m glad to hear
you’ve been productive.
He smiles and touches her hand.
ARNOLD THE SHRINK
To be perfectly straight, I was
surprised to hear from you. Is
something wrong?
MARION
No, why?
ARNOLD THE SHRINK
That’s usually the case when someone
calls whom you haven’t heard from
for a while.
MARION
No, everything’s fine, but I do have
a favor to ask.
He smiles and leans back into his chair. His smugness bothers
her so she grabs her fork and stabs it into the back of his
hand. Blood spurts out and she screams:
MARION
YOU SMUG SONOFABITCH!
(CONTINUED)
72.
98 CONTINUED: 98
A moment later, everything is back to normal. Marion was
fantasizing.
ARNOLD THE SHRINK
(grin)
A favor? What is it?
MARION
I need to borrow some money.
CUT TO:
99 INT. ARNOLD THE SHRINK’S MANHATTAN CRASH PAD 99
In the bedroom, Marion slowly takes off her clothes. She’s
dying and almost crying.
Arnold, big smile, big erection (for him), watches her.
ARNOLD THE SHRINK
May I ask why?
MARION
Could you turn off the light?
ARNOLD THE SHRINK
Why do you want the light off?
MARION
I just do.
ARNOLD THE SHRINK
You never did before.
MARION
Please, Arnold.
Shrugging, he remote controls off the light. Arnold creeps
up behind her and starts planting kisses on her.
Very gently, she begins to cry.
CUT TO:
100 INT. MARION’S APARTMENT 100
Harry scratches some vinyl. He takes the LP and frisbees it
into the wall. It shatters!
Then, he collapses onto Marion’s couch, picks up the remote
and flips on the set. He tries to watch but he keeps looking
at the clock.
Then, he hears the sounds of sex. He looks up on the TV and
sees Marion fucking some dude with a hairy back.
(CONTINUED)
73.
100 CONTINUED: 100
So, Harry lies on the ground and reaches for something under
the couch.
Then: flick, sizzle, snap, suck, rush, sigh...
The image on the set slowly starts to dissolve back to the
normal TV show.
Harry, a bit more comfortable, reclines on the couch and
nods.
CUT TO:
101 INT. ARNOLD THE SHRINK’S MANHATTAN CRASH PAD - HALLWAY 101
At the front door Arnold, wrapped in a sheet, hands Marion
some money. She leaves and he quickly locks the door.
Down the hallway and into --
102 THE ELEVATOR 102
-- as anger, disgust and who knows what else billow up
inside her. Her eyes begin to tear. Then --
103 ON THE STREET 103
-- she leans against the building and vomits.
CUT TO:
104 INT. MARION’S APARTMENT 104
Marion crawls out of her winter clothes and joins Harry on
the couch.
They sit on either side of the couch not looking at each
other.
CUT TO:
105 INT. TYRONE’S NEW PAD 105
Tyrone, in his bikini underwear, stares at a picture of his
mom.
Alice is gone.
He looks at the window. It’s night-time and it’s sleeping.
TYRONE
Sheeit.
(CONTINUED)
74.
105 CONTINUED: 105
Tyrone starts to get dressed.
CUT TO:
106 INT. SARA’S BEDROOM - NIGHT 106
Pop, gulp, hit, snap...
Sara puts on some make-up. Her hand is not steady and her
work is far from perfect. The lipstick is lopsided. The
mascara is caked on one set of eyelashes.
In the red dress, with very little energy, she spins in front
of the mirror.
She starts a dumpy version of a waltz. Very slowly. Her
eyes are sunken and dark-ringed. Flesh hangs from her upper
arms and neck.
CUT TO:
Scene 27 - Drug Deal Gone Wrong
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Harry and Tyrone stroll the aisles with an empty shopping
cart. They eye other customers, most of whom are junkies
trying to act nonchalant and making believe they’re shopping.
In actuality they’re just trying to figure out what the fuck’s
going on.
TYRONE
You dig the action, man.
HARRY
Yeah, I feel like I’m dreamin’.
TYRONE
I watch your back, you watch mine.
HARRY
What are we supposed to do?
TYRONE
I don’t know. All they said was be
at Waldbaum’s.
Just then, they round a corner and spot a Pony-tailed Junkies
walking into the back loading area. They follow.
CUT TO:
75.
108 INT. MARION’S APARTMENT 108
Marion impatiently circles the apartment. She’s very anxious.
CUT TO:
109 INT. SUPERMARKET LOADING AREA - LATER 109
Harry and Tyrone join a mass of smoking junkies in the back
of the supermarket. Everyone is crowded in by the towering
boxes of produce and canned goods.
HARRY
Everyone and their mother.
A moment later, the steel roll-gate starts to open. All the
junkies turn to look.
Then, an eighteen-wheeler starts backing into the loading
dock. ’IRVING’S FLORIDA ORANGES’ is painted onto the truck.
When the truck stops at the dock, two White Heavies emerge
from the front cab. They wear ski masks and carry glistening
machine guns.
Sitting behind a table in front of the crates of oranges is
a distinguished Bald Man sporting a white fur coat. He is
flanked by two other heavies with masks and machine guns.
The junkies applaud! The two men unlock the back of the
truck.
The Bald Man pops open two steel suitcases on the table.
Harry, Tyrone and all the junkies push forward. The men
with guns try to control them.
CUT TO:
110 INT. MARION’S APARTMENT 110
Marion, still circling, starts searching the apartment. She
rips open her bureau, flips through clothes and unknowingly
tosses her clothing sketches.
They slowly drift to the floor.
CUT TO:
111 EXT. SUPERMARKET LOADING AREA - LATER 111
Harry and Tyrone push their way to the front. A few lucky
junkies hand the Bald Man money and get their dope. The
heavies scream at the junkies to calm down or they’re outta
here.
(CONTINUED)
76.
111 CONTINUED: 111
Then suddenly, Harry spots a Gap-toothed Junkies pulling a
gun. The men with the machine guns see him and pull out
their guns. Harry grabs Tyrone and starts to pull him away
when suddenly:
Bang!
Gap-tooth’s gun goes off. It hits some oranges behind the
Bald Man. The heavies let loose. Bullets everywhere!
Harry and Tyrone head for the supermarket in front. Boxes
are blowing up around them.
The Bald Man slams the steel suitcases closed and starts
pulling the truck doors closed.
Harry and Tyrone charge into the --
112 INT. SUPERMARKET - SAME 112
-- with a bunch of other junkies. They rush down an aisle
when the Pony-tailed Junkie gets nailed in front of them.
He slides across the linoleum leaving a trail of blood behind
him.
Harry and Tyrone leap over the dead body and rush --
113 OUTSIDE 113
-- just in time to spot the eighteen-wheeler whiz by. Some
of the junkies give chase. Harry thinks about it but Ty
stops him. Instead, they quickly duck out.
CUT TO:
Scene 28 - Desperate Measures
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Tyrone puffs on a cigarette while Harry paces.
HARRY
Stupid fucking junkie. Fucked. We
are fucked. That’s the last shit
for miles.
TYRONE
Muthafuckas going back to Florida,
sitting on their asses in sun while
we’re up here ass-deep in snow.
HARRY
Damn it. What are we gonna do now?
(MORE)
(CONTINUED)
77.
114 CONTINUED: 114
HARRY (CONT'D)
(then an idea)
Hey. What would happen if we went
down there to cop?
TYRONE
Now you’re talking -- sunny F.L.
HARRY
Yeah. Everybody’s up here scufflin’
to stay alive and gettin’ ripped off
or knocked off, and nobody’s thought
about goin’ right to the fuckin’
source.
TYRONE
You’re serious?
HARRY
Why not?
TYRONE
What the fuck you talkin’ about?
Goin’ up to the muthafuckin’ room
clerk at some hotel an’ askin’ for a
connection?
HARRY
C’mon, Ty, get with it, eh? You
tellin’ me you can’t nose our some
dope when it’s around?
TYRONE
You are serious. Tha’s here, man.
The Apple’s mah neighborhood. What
the fuck ah know about Miami? Them
muthafuckin’ Italians ain’t sittin’
aroun’ jus’ waitin’ for me to show
up, Jim.
HARRY
Dope smells the same there as it
does here.
TYRONE
Yeah, but it’s a long-ass walk, man.
HARRY
Not if you’re drivin’. Look man,
it’s colder than hell and those
streets are hotter’n a bitch.
After tonight...shit. Guys are
gettin’ knocked off like they’re
givin’ away season tickets for every
dead fiend.
(CONTINUED)
78.
114 CONTINUED: (2) 114
TYRONE
That’s no lie, Jim.
HARRY
Man, we got nothin’ to lose, and we
got to do it now while we still have
a few bucks.
TYRONE
If it’s such a good idea why ain’t
somebody else thought of it?
HARRY
Because they’re assholes. And that’s
just it. Nobody else has thought of
it. It’s wide open and it we get
there before anyone else we can name
our own price amd sit back an’ be
cool and have those fools scufflin’
the streets for us.
TYRONE
Las’ summer was a ball, Jim...Seems
like a thousan’ years since las’
summer. Sheeit.
HARRY
It’ll be back like that, but only
better. This is the kinda set up
you dream about.
TYRONE
(starts to give in)
You know, Angel can probably get us
a short if we promise him some
dynamite scag.
HARRY
You think?
TYRONE
(gives in)
That muthafucka can dig up anything,
even the daid.
CUT TO:
115 INT. SARA’S APARTMENT 115
Sara peeks her head into the living room, all the shades and
curtains are drawn. She quietly tiptoes to the window and
peeks out through the side of the shade.
Then she tiptoes over to the front door. Very carefully,
she removes the tape over the peephole. The hallway is empty.
(CONTINUED)
79.
115 CONTINUED: 115
She retapes the peephole.
Suddenly, the fridge lurches at her. It slides a good foot
towards her. She jumps and runs to her viewing chair.
CUT TO:
Scene 29 - Frantic Search and Plan Revelation
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 9
Marion rips through the apartment as she searches for
something, anything.
She sinks to the floor and starts to sob. Just then, Harry
walks in on her on the floor.
MARION
(gets up, screams)
Where have you been? I’ve been
waiting all night.
HARRY
Where the hell do you think I’ve
been?
MARION
Where’s the score?
HARRY
Some dumb-ass junkie --
MARION
Did what? You fucked it up! Don’t
tell me you fucked it up!
HARRY
I didn’t fuck it up. Me and Ty have
a plan.
MARION
A plan!? I don’t want another plan,
I want my stuff!
HARRY
What the fuck’s wrong with you?
MARION
Me!? You promised that everything
was gonna be OK. I fucked that
sleazebag -- I put myself through
hell for you. So what the fuck do
you have for me?!
HARRY
What do you want from me?
(MORE)
(CONTINUED)
80.
116 CONTINUED: 116
HARRY (CONT'D)
I don’t have anything, nothing,
there’s nothing out there.
MARION
I don’t give a shit. You loser.
You fucking loser, I want you to
come through for me.
HARRY
Ya think I’m playin’ fuckin’ games,
for krist’s sake? You wanna have
some extra stuff?
Harry calls Tyrone. He grabs the picture of him and Marion
in front of the store.
HARRY
We were hipped to a dude that’s
holding some weight, but he ain’t
sellin’.
TYRONE
(off-screen)
Yeah.
HARRY
Give me that guy’s number. The guy
who likes broads.
TYRONE
(off-screen)
Big Tim? What for?
HARRY
Just give me the number, for krist’s
sake.
TYRONE
(off-screen)
OK, OK. Nine three four...
HARRY
You worried so goddam much...
Harry hangs up on Ty and hands Marion the number on the back
of the photo.
HARRY
Here, go fix yourself up with’im.
You won’t have to wait so long, and
I won’t have ta freeze my ass off in
the fuckin’ streets.
(CONTINUED)
81.
116 CONTINUED: (2) 116
MARION
Fuck you.
HARRY
No, fuck you!
Harry charges out of the apartment. Marion stares after
him.
We float out of focus.
CUT TO:
Scene 30 - The Haunting of Sara's Apartment
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 7
Pop, hit, gulp, snap. The fridge lurches another foot towards
her.
She grabs the giant remote and flips on the TV. On the set
is Tappy Tibbons:
TAPPY TIBBONS
Now let’s meet our next winner.
She’s a beautiful woman with a winning sense of humor and a
magical smile. She’s really gonna win your heart. Straight
from Brighton Beach, Brooklyn, let’s give a juicy welcome to
our very own Mrs Sara Goldfarb.
Red Sara marches out to applause.
TAPPY AND AUDIENCE
Juice by Sara! Juice by Sara!
Juice by Sara! ooooOOOOH! Sara’s
got juice! Sara’s got juice!
ooooOOOOH Sara!
RED SARA
Thank you. Thank you. Oh Mr
Tibbons, it’s --
TAPPY TIBBONS
Tappy, please.
The fridge lurches again! She tries to ignore it and watch
TV:
RED SARA
OK, Tappy. It’s a pleasure to be
here.
TAPPY TIBBONS
Well, it’s a pleasure to have you.
(MORE)
(CONTINUED)
82.
117 CONTINUED: 117
TAPPY TIBBONS (CONT'D)
And that is one gorgeous outfit you
have.
RED SARA
Oh thank you, Tappy. I just want to
say hello to my husband, Seymour,
and my beautiful successful son,
Harold. Hello, Harold. I hope you’re
happy. I hope you’re in love. Please
come and see me and bring Marion,
won’t you?
The fridge slides closer. She fights not to look.
TAPPY TIBBONS
Hah hah. I’m sure he’ll be here
soon. It’s time to start now, are
you ready?
RED SARA
Oh yes. I’m ready, I’m ready.
TAPPY TIBBONS
After you...
Tappy motions towards the camera as the audience begins to
applaud.
And then, Red Sara disappears. Sara hears something.
She looks to her right and sees Red Sara standing in her
living room. Sara is shocked.
SARA
What are you doing?
Red Sara doesn’t answer, she just huffs and humphs as she
inspects the apartment.
SARA
Who are you? What do you want?
Red Sara continues to ignore her as she looks down her nose
at the apartment. Then Red Sara waves at Tappy Tibbons.
RED SARA
Tappy!
TAPPY TIBBONS
Oh, I thought you’d never ask.
Excuse me, everybody.
Tappy disappears from the screen. And now he too is with
Red Sara in Sara’s living room.
(CONTINUED)
83.
117 CONTINUED: (2) 117
Sara sits in her chair, dumbfounded. She starts to get more
and more upset as Tappy and Red Sara laugh at her furnishings
and chatchkas.
SARA
What do you expect? I’m all alone.
Could you do better? It’s an old building. Ten years no
painting, maybe more.
Red Sara and Tappy walk behind Sara’s chair towards the
windows.
SARA
I’m old. Alone. You don’t
understand. I’m trying. I’m trying.
Please, please, I’ll explain.
Now, Tappy and Red Sara laugh as they point at the TV. Sara
looks over. On the TV she sees herself in her viewing chair.
A giant, fanatic audience surrounds her -- laughing and
pointing.
Then there’s a giant C-R-A-C-K!!! as Sara’s walls split apart.
Suddenly, she’s on a television set. Two TV cameras slide
in on her.
A Make-up Artist and Sound Man bum rush her. The man tries
to put a mic on her while the woman tries to touch up her
face.
SARA
No! No! Please, leave me alone!
The studio audience is going bananas laughing at her.
Cameras and TV cables stretch across the floor. Then the
First Assistant Director by camera one cues her:
FIRST ASSISTANT DIRECTOR
Ready, Mrs Goldfarb, three, two,
one...
He points at Sara and a bright spotlight falls on her.
Suddenly, Tappy and Red Sara lead a cha-cha line around Sara’s
lazy chair. Various weirdos, freaks and girls in bikinis
join in.
Sara is terrified.
The fridge leaps towards her. Sara cries onto her wrinkled
red dress.
(CONTINUED)
84.
117 CONTINUED: (3) 117
She sinks to the floor. She crawls to the TV and begs:
SARA
Oh please... please... let me on the
show... please... please... any
show... please...
The partying gets louder and louder. Red Sara is French
kissing Tappy Tibbons in Sara’s lazy chair.
The fridge is only a few feet from her.
RED SARA
Feed me, Sara. Feed me.
Tappy joins in:
TAPPY TIBBONS
Feed me. Feed me.
Now the other freaks in the room and the studio crew:
FREAKS AND CREW
Feed me. Feed me. Feed me.
And now, the audience on the TV is chanting it:
AUDIENCE
Feed me. FEED ME. FEED ME.
The fridge towers over her. Suddenly, metal is tearing and
the fridge has a mouth. Freon sprays out of its opening.
The giant metal mouth lurches at Sara threatening to bite
her.
Sara screams and bolts out of her home leaving the front
door to her abandoned apartment wide open.
HARD CUT TO:
BLACK
ON THE THE SCREEN IN WHITE LETTERS: ’WINTER’
CUT TO:
Scene 31 - Chaos and Confusion in the City
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 6
Sara manically marches down the street. The world shoots by
her. A train roars by on the elevated tracks up above.
CUT TO:
85.
119 INT. PONTIAC VENTURA CROSSING VERRAZANO’S BRIDGE - NIGHT 119
Harry and Tyrone ride in a beat-up 1972 Pontiac Ventura 2.
Harry drives.
TIGHT ON the car tuner. Tyrone spins the dial. Hip-hop
blasts on the radio.
Then Tyrone turns on the heat.
HARRY
Thank you, Angel.
TYRONE
Ah sure hope this mutha works. Ah
could use some heat.
Ty sparks a joint.
TYRONE
How long will it take?
HARRY
We’ll make it in a day, easy.
TYRONE
California, here we come.
HARRY
It’s Florida.
TYRONE
I know, Jim. I just feel like
breaking out into song.
Hands slap five. Harry cringes when Tyrone hits his hand.
CUT TO:
120 INT. D-TRAIN SUBWAY CAR - MOVING 120
Sara sits on the subway. Her hair sticks to her wet face.
She turns to the strangers across from her.
SARA
I’m going on television. Today I’ll
find out when.
It’s New York: of course she’s ignored.
CUT TO:
86.
121 INT. MARION’S APARTMENT 121
Marion sobs into the phone. She shreds the upholstrey on
the couch.
MARION
Florida!? Florida!? When’s he gonna
be back?
ANGEL
(off-screen)
I don’t know. A few days.
MARION
Days!? What am I supposed, to do?
You gotta help me!
ANGEL
(off-screen)
It’s dry --
MARION
I can get you money, from my parents.
ANGEL
(off-screen)
Money means shit.
MARION
Please. Angel! Please!
ANGEL
(off-screen)
It’s a drought. I ain’t got nothing.
MARION
Please! Angel! Please!
CUT TO:
122 INT. MALIN & BLOCK - RECEPTION AREA 122
A Secretary looks up, startled. In front of her is Sara.
Sara’s hair and body are wet and she is wobbly.
The Secretary stares at Sara, not knowing what to do.
SARA
Why aren’t you calling me? I have
to know when I’m going to be on
television. I’m Sara Goldfarb and
you should tell me when I’m going to
be on television.
(CONTINUED)
87.
122 CONTINUED: 122
SECRETARY
Just sit for a moment. I’ll ring
them.
Sara wobbles to a chair. She’s confused and disorientated.
Some office women come out from inside the office and huddle
around her. Some security guards appear as well.
Sara tries to stand but she falls over amd lands back in the
chair.
The women tell her to stay seated.
SARA
I need to know when maybe you lost
my card, please, Dolly, you’ll look
and let --
OFFICE WOMAN
Get her a cup of soup. Tell Mary to
call an ambulance. Just relax,
Mrs Goldfarb, everything will --
SARA
(cries)
It’s not the prizes. I’ll give them
away to the poor, I just want to be
on the show. I’m waiting so long to
be on with my Harry and grandson --
The Secretary returns with a mug filled with soup.
SECRETARY
Here, Mrs Goldfarb, sip this.
OFFICE WOMAN
Sometimes it takes awhile to get
called for a show, Mrs Goldfarb.
CUT TO:
Scene 32 - Converging Paths: Medical Emergencies, Addiction, and Nervous Apprehension
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Tyrone drives. TIGHT ON the tuner. The radio plays
alternative rock.
TYRONE
Sheeit, the heater is just fine. I
guess this ain’t goin’ to be such a
bad trip.
HARRY
Yeah, it’s no big thing.
(CONTINUED)
88.
123 CONTINUED: 123
TYRONE
(checks odometer)
We’s a couple a hundred miles closer
to Miami, Jim. Let’s stop at the
next pit and take a taste.
HARRY
Yeah. Betta drop a few dexies too
and get some coffee.
TYRONE
Right on.
CUT TO:
124 INT. MALIN & BLOCK - RECEPTION AREA 124
A crowd watches Sara babble. Two Paramedics arrive.
PARAMEDIC
(to his partner)
Looks like shock.
(to Sara)
Can you walk?
SARA
I’m walking across the stage and you
should see my Harold on television.
We’re giving the prizes away. I
just want to be on television.
PARAMEDIC
(to women)
Do you know her name?
OFFICE WOMAN #1
We think it’s Sara Goldfarb.
SARA
The announcer is calling my Little
Red Riding Hood, call Seymour and
tell him to pick me up at the beauty
parlor. I’ve got the red dress I
wore at Harry’s graduation and the
gold shoes.
PARAMEDIC
(gently)
Okay, Mrs Goldfarb, let’s just take
it nice and easy. Here we go.
And the paramedics help poor Sara to her feet. They head to
the elevator. Sympathy from the staring office women.
CUT TO:
89.
125 INT. MARION’S APARTMENT 125
Marion stares at Big Tim’s number. A moment later she picks
up the phone and dials.
BIG TIM
(off-screen)
Yeah?
Marion hangs up. A long beat. Then she dials again.
BIG TIM
(off-screen)
Yeah!?
MARION
(nervous)
Hi...
Big Tim lets go a big laugh.
CUT TO:
126 INT. AMBULANCE - MOVING 126
Sara is strapped to a gurney. She mumbles to herself.
SARA
Oh, Harry. I’m going to be on
television.
CUT TO:
127 INT. PONTIAC VENTURA PARKED IN HO JO LOT 127
Flick, sizzle, snap, suck, slap, rush, sigh...
Tyrone leans against the driver’s door -- high.
Harry rolls up his sleeve. Right in the crotch of his arm
is a nasty hole from shooting too much. It’s infected and
rings of red surround it.
TYRONE
Sheeit. How long you got that?
HARRY
A few days.
TYRONE
That don’t look too good, Jim.
HARRY
It don’t feel too good either. But
a little stuff’ll take care of that.
(CONTINUED)
90.
127 CONTINUED: 127
TYRONE
Don’t shoot in there.
HARRY
I’ll blow it if I don’t. Fuck it.
Flick, sizzle, snap, suck, slap -- break from the montage.
For the first time we see a TIGHT CLOSE-UP of a needle going
into the hole, then we end the montage -- rush, sigh...
CUT TO:
128 EXT. APARTMENT BUILDING ENTRANCE 128
A security camera studies Marion as she waits at the front
door. Buzz! Marion pushes the door open and enters.
CUT TO:
129 INT. BELLEVUE HOSPITAL 129
Sara, on her gurney, is pushed through crowded corridors of
a hospital. The noise and chaos reach her in surreal muffled
tones.
She’s mumbling to herself -- dreaming of being on television.
Then she’s slid into the emergency room.
Young, serious Doctor Spencer shines a light into her eyes.
Sara tries to smile.
DOCTOR SPENCER
No emergency. Take her to psyche.
CUT TO:
Scene 33 - Uncomfortable Encounter
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Big Tim’s door opens wide, revealing an even wider Big Tim.
Big Tim is big in every way. His body is big, his smile is
big, his laugh is big and even his apartment is big.
BIG TIM
Come in.
He steps aside and Marion enters the huge living room with a
grand view of Prospect Park.
Big Tim takes her coat.
(CONTINUED)
91.
130 CONTINUED: 130
BIG TIM
Have a seat. What would you like?
MARION
(meek)
Nothing.
BIG TIM
Oh, you strictly a dope fien’?
Marion is startled by Big Tim’s comment. She recovers.
MARION
Oh, maybe I’ll have a little
chartreuse.
BIG TIM
Yellow or green?
MARION
(surprised)
Oh, ahhh...yellow.
Big Tim joins her with the drinks. He takes out a hash pipe
and sparks it. Marion is offered the pipe and she takes a
few pokes.
BIG TIM
What’s your name?
MARION
Marion.
Big Tim’s laugh is loud, deep and happy -- a presence of its
own.
BIG TIM
What you know, Maid Marion. I’m
Little John.
Big Tim pulls Marion into his chest. She lets him.
BIG TIM
You know what I like best about patty
chicks?
Marion smiles as she relaxes into him.
BIG TIM
They give good head. Black broads
don’t know nothing about giving head.
I don’t know why. Might be it has
something to do with some ancient
tribal custom.
(CONTINUED)
92.
130 CONTINUED: (2) 130
Big laugh from Big Tim. He pulls Marion up to him and kisses
her. After a beat, she kisses back. Then, he backs off.
BIG TIM
Better save some of that energy.
She lies down on his stomach. Gently he turns her head around
as he pulls out his penis.
She stares at Big Tim’s joint knowing what she’s supposed to
do but not being able to do it. Her insides tremble and
knot.
BIG TIM
I know it’s purty, baby, but I didn’t
take it out for air.
He nudges her and she grabs it and starts kissing it.
Suddenly, she stops. She’s going to be sick. Big Tim laughs
his big laugh and points to the bathroom.
BIG TIM
That way.
CUT TO:
131 INT. BIG TIM’S BATHROOM 131
Marion finishes barfing. She washes her face and mouth in
the sink. She looks up at herself. She’s trembling.
She shuts her eyes and we cut to --
BLACK -
We hear Marion breathe deeply. She collects herself.
Into the BLACK rushes streams of RED.
When she opens her eyes we are back in -
132 THE BATHROOM 132
Marion fixes her hair and smiles at herself.
CUT TO:
133 INT. BIG TIM’S LIVING ROOM 133
Big Tim laughs as Marion emerges from the bathroom.
MARION
Sorry. Must have been the chartreuse.
(CONTINUED)
93.
133 CONTINUED: 133
BIG TIM
Welcome back.
Marion’s smile turns into an eager grin. He chuckles as she
gets on her knees.
BIG TIM
Yeahhhh, little bo-peep done foun’
her sheep.
Big Tim laughs his big laugh as we --
CUT TO:
134 INT. PONTIAC VENTURA SOMEWHERE ON I-95 - HEADING SOUTH 134
Tyrone drives while Harry squirms. His arm hurts like hell.
TIGHT ON tuner. The radio plays country and western.
TYRONE
I told you to stay away from that
arm, man.
HARRY
I gotta call Marion.
Tyrone watches the odometer changes from 599 to 600.
TYRONE
Well, it’ll be long-distance now.
That’s six hundred. We six hundred
damn miles closer to Miami.
HARRY
Yeah. We’re also six hundred miles
away from New York.
Afraid now, Tyrone looks out the window. The landscape is
foreign and strange -- almost alien.
CUT TO:
Scene 34 - Uneasy Encounters and Inner Turmoil
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
After sex, Big Tim opens the door and leans up against the
doorway. Naked, he watches Marion as she finishes getting
dressed. Marion can’t look at herself in the mirror or at
Big Tim.
BIG TIM
You know, baby, I can fix it so you
can pick up a real, nice taste.
Though it’s more like play, baby.
(MORE)
(CONTINUED)
94.
135 CONTINUED: 135
BIG TIM (CONT'D)
Sunday night we’re having a gathering,
all good people --
MARION
(smiles)
No, I couldn’t. I’m busy. And I’m
not really hooked.
Big Tim laughs his big laugh and tosses her some bags.
BIG TIM
Yeah, I know. But I’m tellin’ ya’,
it’s a real nice taste.
Marion quickly grabs the bags and starts putting them in her
purse.
BIG TIM
What the fuck you doing?
MARION
(startled)
Nothing, I’m...
BIG TIM
Damn!
(laughs)
Damn, I got me some kinda virgin.
Now you gotta be kidding ol’ Tim,
you just got to be.
MARION
I don’t kn --
BIG TIM
You mean you not going to count what’s
there but you just going to be puttin’
it in your pocketbook and just walk
out in the street? Damn! You sure
haven’t been around long, baby.
MARION
(flushed)
I’m not exactly a naive school girl,
I... I... I’ve been all through Europe
an’... an’... and I’m just not --
BIG TIM
Sheeit, ain’t nothing to be ashamed
of, baby, we all gotta get down with
it for the first time. I ain’t bad
rappinya. I just don’t want to see
you get ripped off.
(CONTINUED)
95.
135 CONTINUED: (2) 135
Sheeit, you earned that baby and you sure as hell don’t want
to donate it to some purse snatcher.
He laughs. Marion smiles.
BIG TIM
Lookit, there be one place you can
stash ol’ doogie without you worrying
about it be accidently getting in
the wrong hands, you dig? Ain’t no
purse snatcher or mugger going to
rip you off there, baby.
As Marion catches on she flushes and nods her head.
Big Tim laughs his big laugh as he wanders into the living
room.
BIG TIM
I’ll see you Sunday, Maid Marion.
Then Marion lifts up her skirt and does the deed.
CUT TO:
136 INT. PSYCHE WARD 136
Sara is strapped to a hospital bed. She sobs to herself.
The grey ward is packed with twice as many beds as there
should be. Patients wander around in straitjackets. Screams
of agony and pain barely reach her ears.
Doctor Spencer addresses Sara and tries to calm her.
DOCTOR SPENCER
Mrs Goldfarb. Please try and answer
me. When did you start taking the
pills?
SARA
When? The summer... Oh, this summer.
I got a special place in the sun.
Ada fixed my hair.
DOCTOR SPENCER
You started in the summer. Last
summer? OK Mrs Goldfarb, everything
will be alright, we’ll fix you up in
no time.
SARA
(grins)
You’re a good boy, Harold.
(CONTINUED)
96.
136 CONTINUED: 136
And for a moment, Doctor Spencer is Harry -- golden smile
and all.
CUT TO:
137 INT. MARION’S BATHROOM 137
We look down on Marion’s back from above the tub. She is
bent over, her head beneath the water between her knees.
She holds her breath for an eternity...
Then, we look into her face as she screams. Air bubbles
shoot to the surface.
CUT TO:
138 EXT. I-95 - MAYBE GEORGIA 138
CUT TO:
Scene 35 - Troubled Times
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 6
Tyrone still drives.
There’s a preacher screaming gospel on the radio.
Harry squirms as he grabs his arm. He’s wincing in pain.
HARRY
Man, I can’t cut it. I gotta do
something about this arm.
TYRONE
Let’s see what it looks like.
Harry winces as he very carefully rolls up his sleeve.
The area around the hole is white and raised. Even worse,
the area around the white is slightly green. Also, a wide,
dark red streak reaches down his arm towards his hand.
They both stare at it for a moment.
HARRY
Oh man.
TYRONE
Sheeit, that be the ugliest mothafucka
I’ve ever seen.
HARRY
I gotta call Marion.
(CONTINUED)
97.
139 CONTINUED: 139
TYRONE
Let’s find a hospital first.
CUT TO:
140 INT. PSYCHE WARD 140
A needle puntures Sara’s arm. The Nurse wipes off the blood
that spills out.
In a surreal moment, the world slows down. Real slow.
Sara’s tongue sticks to the top of her mouth. She pries it
off with a rattling smack in her brain. Her mouth is dry
and small drops of foam form on the sides of her chapped
lips.
CUT TO:
141 INT. SOUTHERN DOCTOR’S EXAMINATION ROOM 141
To try and disperse the pain, Harry marches around the
examination room. The pain is excruciating.
A grey-haired Southern Doctor comes in.
SOUTHERN DOCTOR
What’s the problem?
HARRY
My arm, it’s killing me.
The Doctor looks for a moment. Then, he grabs Harry’s arm
and looks at it. Harry winces in pain.
SOUTHERN DOCTOR
I’ll be back in a minute.
The Doctor leaves.
CUT TO:
142 INT. MARION’S APARTMENT 142
Marion stares at an empty pile of bags in front of her.
Then she stares at the photo of her and Harry in front of
the store. Next, she flips it over and looks at Big Tim’s
number. A moment later she picks it up and dials Big Tim.
BIG TIM
(off-screen)
Yeah!?
(CONTINUED)
98.
142 CONTINUED: 142
MARION
(nervous)
Hi...
Big Tim lets go a big laugh.
CUT TO:
143 INT. PSYCHE WARD 143
Two Male Attendants enter with a tray of food. They joke
with each other and barely notice Sara.
They try to lift Sara up but she can’t support herself.
Then they try harder and they shove her into a sitting
position. One of the attendants puts some food in her mouth.
She tries to swallow, but her throat isn’t working.
ATTENDANT
(slow motion)
S-w-a-l-l-o-w! S-w-a-l-l-o-w!
But the food just dribbles out the side. As they continue
their conversation about the Jets, they grab her and force
the food down her throat by holding her nose and keeping her
mouth shut.
Her eyes blast open in terror. Her head beats thunderously
in her ears.
CUT TO:
144 INT. MARION’S APARTMENT 144
Marion puts mascara on her left eye. Then she puts on some
clothes.
CUT TO:
145 INT. SOUTHERN DOCTOR’S WAITING ROOM 145
Tyrone fills through an old copy of Fortune Magazine. He
tries to ignore all the white folks gawking at him.
Then he spots a pair of boots standing in front of him.
Next, he spots the gun and baton.
Tyrone looks up into a towering Highway Cop’s stern glare.
Cuff one wrist, cuff the other.
CUT TO:
99.
146 INT. MARION’S APARTMENT 146
TIGHT ON Marion’s right eye as she carefully applies mascara.
She puts on some more clothes.
CUT TO:
Scene 36 - The Struggle of Sara
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
Doctor Spencer towers over Sara. He reads her chart and is
concerned.
DOCTOR SPENCER
You have to eat, Mrs Goldfarb. If
we’re going to get you healthy again,
you have to eat. Try to work with
the attendants. I’m going to try
some new medications. They should
help us.
He pats her on the shoulder and walks away. Sara tries to
call for him, to make any noise, to plead, to do anything.
But she can’t.
A moment later, the two Male Attendants come for her. They
grab her and move her into a wheelchair. Restraints for her
arms and legs are slapped on.
They grab a clear plastic tube. They cover it with lubricant.
Then they try to slide it into her nose.
Sara struggles until one attendant grabs her head and whacks
it flat against a head rest.
ATTENDANT
OK, Miss, just relax. We’re gonna
try to help you to eat.
Pinned, they slide the tube into Sara’s nose, down her throat
and into her stomach.
Then the feeding begins.
CUT TO:
148 INT. MARION’S APARTMENT 148
TIGHT ON Marion’s lips as she puts on lipstick. Marion smacks
her lips together.
Marion in front of the full-length mirror is dressed to the
hilt.
(CONTINUED)
100.
148 CONTINUED: 148
She makes last minute corrections to her outfit when the
phone rings.
Nervous, she answers.
MARION
Hello?
CUT TO:
149 INT. SOUTHERN JAIL PAYPHONE AREA - MARION’S APARTMENT 149
INTERCUT:
Harry in pain on the telephone. Marion sits by the phone.
HARRY
Marion.
MARION
Harry? Oh, Harry.
HARRY
Oh, Marion, I’ve been thinking about
you. You’re OK?
MARION
When you coming back?
HARRY
Soon. You’re holding out right?
MARION
When?
HARRY
Soon. Everything’s going to be
alright.
MARION
Will you come today?
HARRY
Yeah, soon. Just wait for me.
I’ll be back soon. You’ll wait,
right?
Marion doesn’t answer. She closes her eyes.
HARRY
Marion.
MARION
Yeah.
(CONTINUED)
101.
149 CONTINUED: 149
HARRY
Just wait.
MARION
I will, Harry.
HARRY
I’m coming, Marion. I am. And I’m
sorry. I’m real sorry.
MARION
I know, Harry. I know.
A long beat. Silence. Slowly Marion hangs up.
150 BY THE PAYPHONES 150
-- Harry hangs up. His sobs turns into his pain. His pain
turns into his misery.
151 IN MARION’S APARTMENT 151
-- Marion hangs up and wipes away her tears. She catches
her image in the mirror and quickly finishes her mascara.
Then: Crinkle, sprinkle, flick, drift, suck, sigh...
CUT TO:
152 INT. PSYCHE WARD - HALLWAY 152
Sara is still strapped to the wheelchair. Doctor Spencer
smiles at her.
DOCTOR SPENCER
Mrs Goldfarb, are you alright?
Sara can’t respond. She can only look. Doctor Spencer tries
to be positive.
DOCTOR SPENCER
Mrs Goldfarb, we’ve tried several
medications and you don’t seem to be
responding. I believe we’ve come to
a point where we need to try some
alternative methods. We’ve had
excellent results with these
techniques in the past. So if I can
just get your John Hancock, we’ll
get underway.
(CONTINUED)
102.
152 CONTINUED: 152
Doctor Spencer hands Sara a pen. Somehow, she is able to
sign.
CUT TO:
Scene 37 - Pain and Preparations
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Harry is withdrawing in pain on his bunk. Tyrone is at the
bars, sweating and dying.
HARRY
Jesus krist. I need a doctor.
TYRONE
(through bars)
My friend needs a doctor. Please.
He needs a doctor.
HARRY
I won’t make it.
TYRONE
(to Harry)
Just hang tough, baby. Just hang
tough.
HARRY
Please! Please, Ma! Help me.
TYRONE
(through bars)
Help! Please!
HARRY
Please, Maaaaaa!
CUT TO:
154 INT. PSYCHE WARD - HALLWAY 154
Sara is quickly unstrapped from her wheelchair. She’s lifted
up and placed onto a gurney. Her head hangs, lifeless.
Then she’s strapped down.
CUT TO:
155 INT. BIG TIM’S LUSH PAD 155
TIGHT ON Marion’s hand knocking on Big Tim’s front door.
TIGHT ON Big Tim’s famous smile:
(CONTINUED)
103.
155 CONTINUED: 155
BIG TIM
Maid Marion. Welcome.
CUT TO:
156 INT. PSYCHE WARD - HALLWAY 156
Sara is wheeled quickly through the halls of the asylum.
CUT TO:
157 EXT. HOLDING TANK 157
Tyrone tries to keep Harry in line with all the convicts but
Harry can barely stand.
A Court Doctor, followed by two Guards, moves from prisoner
to prisoner.
Bored to death he looks into each prisoner’s eyes with a
mini-mag and says:
COURT DOCTOR
Can you hear me? Can you see me?
EACH PRISONER RESPONDS:
PRISONER
Yes, sir.
The doctor checks a box on a piece of paper.
COURT DOCTOR
OK for work.
The Guards chuckle.
CUT TO:
158 INT. PSYCHE WARD - HALLWAY 158
Sara continues her trip on the gurney. Terror enters her
heart.
CUT TO:
159 EXT. HOLDING TANK 159
Now it’s Tyrone’s turn.
COURT DOCTOR
Can you hear me? Can you see me?
Tyrone nods. That isn’t good enough, and so a guard whacks
him in the back of the head.
(CONTINUED)
104.
159 CONTINUED: 159
GUARD
Say ’sir’, nigga. God damn New Yawk
dope fien’ niggas. Learn some
manners.
COURT DOCTOR
Can you hear me? Can you see me?
TYRONE
Yes, sir.
GUARD
Good boy.
They chuckle. The doctor moves down to Harry.
Harry can barely stand. His eyes are glazed over.
COURT DOCTOR
Can you hear me? Can you see me?
GUARD
Says he’s got something wrong with
his arm.
The doctor yanks Harry’s sleeve up. Lightning pain:
HARRY
(scream)
Ma...
Harry collapses. The guards laugh at him as they pick him
up.
GUARD
Your mommy isn’t here.
The doctor looks at Harry’s arm. The guards grab their noses
and almost yack from the smell.
COURT DOCTOR
I don’t think you’ll be putting any
more dope in that arm.
GUARD
Damn, it smells worse than he do.
COURT DOCTOR
Better get him over to the hospital.
I don’t expect he’ll live out the
week.
CUT TO:
105.
160 INT. PSYCHE WARD - SHOCK THERAPY ROOM 160
Sara is unstrapped from the gurney. Then she is lifted off
the gurney and laid on a table. Next she is strapped to the
table.
She tries to struggle but the hands are too many, too strong.
CUT TO:
Scene 38 - Disturbing Orgy and Shock Therapy
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
We hear twenty men cheer as we glimpse into the room.
They’re all wearing suits and holding flashlights.
TIGHT ON Marion’s shocked face. TIGHT ON Big Tim’s knowing
smile. TIGHT ON cigars in strangers’ mouths. TIGHT ON male
hands clapping. TIGHT ON empty faces of five other pretty
women checking out Marion.
BIG TIM
(whispering to Marion)
They be six of you cuttin’ up an
entire piece.
Marion looks at him.
BIG TIM
An’ it be real good.
Marion accepts it. Then...
TIGHT ON Big Tim’s famous smile:
BIG TIM
Show time.
The men shine their lights on Marion’s clothed tits, her
privates.
CUT TO:
162 INT. PSYCHE WARD - SHOCK THERAPY ROOM 162
Someone sticks something between Sara’s teeth. The people
around her talk casually and laugh occasionally.
She tries to look around but her body is immobile.
She can make out shadows on the edges of her vision but mostly
all she sees are the lights above her.
(CONTINUED)
106.
162 CONTINUED: 162
Then she feels two cold metal discs placed against her
temples.
CUT TO:
163 INT. EMERGENCY OPERATING ROOM 163
Harry is thrown onto an operating table. His clothes are
gone in a blink of the eye.
A serious and focused Emergency Doctor steps in.
EMERGENCY DOCTOR
We’re taking it off at the shoulder.
Let’s move here people, otherwise we lose him.
Harry remains semiconscious as the Anesthesiologist sticks a
mask over his face.
Everything starts to go white. The Emergency Doctor starts
up a circular saw.
Before everything is gone, Harry witnesses the doctor cutting
into his shoulder.
CUT TO:
164 INT. PSYCHE WARD 164
Sara’s heart pounds in her ears. She tries to scream, but a
Technician interrupts her:
TECHNICIAN
(off-screen)
OK, ready and one.
SMASH CUT TO:
BLINDING PRIMARY RED
We hear a crowd cheer!
CUT TO:
165 INT. BIG TIM’S LUSH PAD 165
In slow motion and tight close-ups we experience the orgy
with Marion.
There’s nipples, tongues, sex toys, eyes closed in ecstasy,
men’s glares, men’s smiles and the like. The images aren’t
sexy, they’re scary.
One of the girls holds up a double-headed dildo and says:
(CONTINUED)
107.
165 CONTINUED: 165
GIRL
What should we do now?
PERVERT SCREAMS OUT:
PERVERT
Ass to ass, ass to ass!
Marion complies and the flashlights shine. Then the Pervert
starts a chant:
PERVERT
Cum! Cum!
The other men join in as the pace quickens.
PERVERT AND ALL THE MEN
(building in pace and
volume)
Cum! Cum! CUM! CUM! CUM!! CUM!!!
Marion is at first afraid. Then, she closes her eyes. Her
lips start to quiver. Big Tim’s smile gets wider and wider
and wider.
And then Marion comes.
CUT TO:
166 INT. PSYCHE WARD - SHOCK THERAPY ROOM 166
Sara’s arched and stiffened body looks as if fire has just
shot through her body.
Her eyes are almost popping out of her head as her mind
screams AAAAAAAAAAAAAHHHHHHHHHHHHHHHH...
She settles for a moment on the table.
Her heart does not beat, her lungs do not breathe.
A moment later, the breath returns. Then the heartbeat slowly
emerges. And then, the Technician:
TECHNICIAN
OK, ready and two.
SMASH CUT TO:
PRIMARY RED
A crowd cheers!
THEN WE FADE TO:
108.
167 PRIMARY BLUE 167
Then we --
CUT BACK TO:
168 INT. PSYCHE WARD 168
Once again Sara tries to scream in pain. Flames seem to
sear every cell of her body and her bones feel like they are
being twisted and crushed.
Smoke simmers off of her hair and skin.
As her body settles, it happens one last time:
TECHNICIAN
OK, ready and three.
SMASH CUT TO:
169 PRIMARY BLUE 169
The crowd cheers once more.
DISSOLVE TO:
Scene 39 - Despair and Isolation
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
The pier stretches off into the beautiful sea. A woman in a
red dress walks a baby carriage.
Now we’re on Harry, looking healthy and vibrant. He screams
for Marion!
But she doesn’t hear him and she keeps walking. He runs
after them.
When he gets close, he suddenly stops. Marion turns around.
He reaches to hug her. But, as he does we are in --
BLACK
Harry gets terrified. He starts to scream for Marion.
HARRY
Marion? Marion?!
He steps backwards off the edge of a cliff and rushes
headfirst into a concrete sidewalk as he screams:
HARRY
MARION!
(CONTINUED)
109.
170 CONTINUED: 170
And we --
CUT TO:
171 INT. HOSPITAL ROOM 171
An Angelic Nurse looks down upon Harry. Tubes stick into
every part of him. His eyes are half-open.
She wipes the sweat from his brow.
HARRY
Marion.
ANGELIC NURSE
It’s alright. Don’t worry. You’re
in a hospital and you’re going to be
just fine.
HARRY
Marion. Marion.
ANGELIC NURSE
Who’s that? She’ll be sent for.
She’ll come. She loves you and she’ll
come.
Then Harry opens his eyes fully. For a moment he understands.
He is an adult and he is calm.
HARRY
No.
ANGELIC NURSE
No?
HARRY
No. She won’t.
ANGELIC NURSE
She’ll come.
HARRY
No. She won’t.
And then Harry starts to cry. As we float up high above his
bed we watch him curl into a ball.
CUT TO:
172 EXT. JAIL MACHINE SHOP 172
Tyrone drills holes into metal plates with an oversized
machine. He dry heaves and fights to stay in his seat.
(CONTINUED)
110.
172 CONTINUED: 172
A Laughing Guard snickers at him.
CUT TO:
173 INT. MARION’S APARTMENT 173
At the foot of Marion’s couch are the torn and smeared
sketches of Marion’s designs.
Marion comes in through the front door. She walks across
the sketches and sits on the couch. She has lipstick smeared
across her face.
She pulls out a large bag of dope and stares at it. Happily,
she fondles the bag. Then, she hugs it tight against her
bosom. Slowly, she curls up into a fetal position, content.
CUT TO:
174 INT. JAIL DORMITORY 174
The work gang collapse onto their individual bunks. Tyrone,
sweaty and dirty, does the same.
He fights the cramps in his stomach for as long as he can
until he passes out.
Then, Tyrone and his bed dissolve into the past. Young Tyrone
rests in his mom’s generous arms.
Finally, it is peaceful. Tyrone’s mom brushes the tears
from his eyes.
TYRONE’S MOTHER
How’s your tummy feel?
YOUNG TYRONE
It’s mostly gone, Momma. I doan’
need no more medicine.
TYRONE’S MOTHER
That’s my big boy.
He looks up at his mom as she starts to sing ’Hush little
baby’.
YOUNG TYRONE
Your breath be all nice an’ sweet,
Mommy.
She hugs her son tight.
(CONTINUED)
111.
174 CONTINUED: 174
TYRONE’S MOTHER
The sweetness be in you, child, the
sweetness be in you.
CUT TO:
175 INT. PSYCHE WARD - VISITING ROOM 175
Ada and Rae sit in the corner of the room stunned by their
surroundings. Mounted on the wall is a television. Tappy
Tibbons is on. No one is watching.
Sara shuffles towards them and they barely recognize her.
Her grey roots match her grey skin which matches her grey
gown.
Ada starts taking food out of a large shopping bag.
ADA
We got some lox and cream cheese and
bagels and blintzes with sour cream
and some danishes and pastrami and
chopped liver on rye with mustard
and onions and a container of tea
and... How are you, Dolly?
But Sara doesn’t answer. She can’t. They put their hands
on their friend’s shoulders but nothing seems to reach her.
Then they notice that water is dripping down Sara’s leg and
onto the floor. Sara has urinated on herself.
CUT TO:
176 EXT. BUS STOP 176
Ada and Rae sit waiting for the bus on a grey day in front
of a grey building. Tears flow from their eyes. They hug
each other.
CUT TO:
Scene 40 - Sara's Dream
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 7
Sara lies on her bed. A tiny smile emerges on her face.
We get closer and closer to her until we go into the blackness
of her pupil.
Deep in the blackness we see another world. It is a world
of PRIMARY BLUE. And sucking us into the blue is the roar
of a crowd.
And there with a giant smile is good ol’ Tappy in black tie.
(CONTINUED)
112.
177 CONTINUED: 177
He looks into the camera and says:
TAPPY TIBBONS
And our next winner is that delightful
personality, straight from Brighton
Beach, Brooklyn, please give a juicy
welcome to Mrs Goldfarb.
Red Sara steps out and joins Tappy. She’s overwhelmed.
TAPPY AND AUDIENCE
Juice by Sara! Juice by Sara!
Juice by Sara! ooooOOOOH! Sara’s
got juice! Sara’s got juice!
ooooOOOOH Sara!
TAPPY TIBBONS
And Mrs Goldfarb, that’s not it.
I’m delighted to tell you that you’ve
just won the grand prize.
RED SARA
Really?
TAPPY TIBBONS
Yes! How does it feel?!
RED SARA
It feels great. I feel wonderful.
I feel amazing. This is great!
The audience goes crazy, they love it. And they start to
chant:
AUDIENCE
We love Sara! We love Sara!
The chant continues...
TAPPY TIBBONS
They love you, Sara.
RED SARA
I love them. Oh, I love them.
TAPPY TIBBONS
Now let me show you what you’ve won.
Your prize has a sweet smile and his
own private business. He just got
engaged and he’s planning to get
married this summer. Will you please
give a juicy welcome to Mrs Sara
Goldfarb’s one and only son --
Harry Goldfarb!
(CONTINUED)
113.
177 CONTINUED: (2) 177
Harry walks out from back. The audience are out of their
seats, screaming at the tops of their lungs. Sara is gushing!
TAPPY AND AUDIENCE
Juice by Harry! Juice by Harry!
Juice by Harry! ooooOOOOH! Harry’s
got juice! Harry’s got juice!
ooooOOOOH Harry!
Harry walks out and hugs his mother.
RED SARA
Oh Harry, Harry, Harry. I love you,
Harry.
HARRY
I love you too, Ma.
They hug and they hug as the audience scream their applause.
A smile fills Sara’s beautiful face. Happiness. Total and
complete love.
Except for the truth, the nagging reality. It means tears
for Sara and her sparkling eyes well up with fantastic, warm
tears.
But they don’t damage her glorious smile.
FADE TO BLACK:
CREDITS ROLL
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| harry goldfarb | Harry Goldfarb starts off as a conflicted young man torn between caring for his mother and his own desires, struggling with addiction and the harsh realities of his environment. As the story progresses, he becomes more desperate and resourceful, willing to do whatever it takes to survive in Brooklyn. However, his actions lead him down a dangerous path of criminal activities, ultimately resulting in a downward spiral of addiction and self-destruction. | The character arc for Harry Goldfarb is well-developed and captures the complexity of his personality and struggles. However, the transition from a conflicted young man to a desperate and resourceful individual involved in criminal activities could be more gradual and nuanced. The sudden shift in his behavior may feel jarring to the audience and could benefit from more foreshadowing and development. | To improve the character arc for Harry Goldfarb, consider adding more scenes that showcase his gradual descent into criminal activities, highlighting the internal conflicts and external pressures that drive his decisions. Develop his relationships with other characters to provide more context for his actions and motivations. Additionally, explore the emotional toll of his choices on himself and those around him to create a more impactful and cohesive narrative. |
| sara goldfarb | Sara Goldfarb starts as a paranoid and anxious woman locked in a closet to prevent her son from watching TV, showcasing her struggles with addiction and mental health issues. She is then offered a chance to be on television, sparking a newfound sense of purpose and optimism in her. However, her desperation and vulnerability lead her down a path of self-destruction, ultimately culminating in a realization of the consequences of her choices and the need for self-acceptance and healing. | The character arc for Sara Goldfarb is compelling and highlights the impact of addiction and mental health struggles on her journey. However, the transition from hopeful optimism to self-destruction could be further developed to show a clearer cause-and-effect relationship. Additionally, more emphasis on Sara's inner turmoil and emotional growth throughout the screenplay could enhance the depth of her character arc. | To improve the character arc for Sara Goldfarb, consider incorporating more internal monologues or soliloquies to delve deeper into her thoughts and emotions. Show a gradual escalation of her struggles and the triggers that lead to her downfall, providing a more nuanced portrayal of her journey. Additionally, explore moments of self-reflection and redemption to showcase Sara's growth and resilience in overcoming her challenges. |
| harry | Harry starts off as a confident and ambitious hustler, driven by his desire to make money through risky deals. However, as the story progresses, he becomes increasingly conflicted due to his struggles with addiction and the consequences of his actions. He faces moral dilemmas and inner turmoil, ultimately seeking redemption and reconciliation with his loved ones. | The character arc for Harry is well-developed, showcasing his growth and internal struggles throughout the screenplay. However, there could be more clarity in depicting the catalyst for his descent into darkness and addiction, as well as a stronger resolution for his redemption arc. | To improve the character arc, consider adding more backstory or flashbacks to illustrate the events that led to Harry's addiction. This will provide a clearer understanding of his internal struggles and motivations. Additionally, focus on developing a more impactful resolution for Harry's redemption arc, showing his growth and transformation more explicitly. |
| tyrone | Tyrone starts off as a cautious and practical character, hesitant to take big risks but willing to support Harry in difficult situations. As the story progresses, he becomes more confident and street-smart, navigating dangerous situations and making tough decisions. However, he also shows a more sensitive side in his interactions with Sara, displaying empathy and concern for her well-being. By the end of the screenplay, Tyrone learns to balance his loyalty to Harry with his desire for a peaceful and harmonious life, ultimately finding a sense of fulfillment and purpose. | The character arc for Tyrone is well-developed, showing growth and complexity throughout the screenplay. However, there could be more consistency in his character traits and development. Some scenes depict him as more cautious and reflective, while others show him as confident and street-smart. Finding a balance between these aspects of his personality could make his arc more cohesive and compelling. | To improve the character arc for Tyrone, consider establishing a clearer internal conflict for him to grapple with throughout the story. This could involve exploring his desire for adventure and excitement versus his need for stability and peace. Additionally, ensure that his actions and decisions align with his established traits and motivations, creating a more authentic and relatable character arc. |
| marion | Marion's character arc follows her journey from a rebellious young woman seeking freedom and self-expression to a vulnerable and conflicted individual caught in a cycle of addiction and desperation. Throughout the screenplay, Marion struggles with her moral compass, faces betrayal and broken promises, and ultimately makes risky decisions in a desperate attempt to survive. Her arc culminates in a moment of emotional collapse, where she must confront her inner turmoil and make a choice that will define her future. | The character arc for Marion is well-developed and effectively portrays her internal struggles and external challenges. However, there could be more emphasis on her growth and development throughout the screenplay. Marion's transformation from a strong-willed rebel to a vulnerable and conflicted individual could be further explored to create a more impactful and cohesive narrative. | To improve Marion's character arc, consider adding more scenes that showcase her evolution and growth. Show moments of introspection and self-discovery that highlight her journey towards self-acceptance and understanding. Additionally, explore the relationships and interactions that shape Marion's decisions and actions, providing depth and complexity to her character development. |
| sara | Sara's character arc follows a journey of self-discovery and redemption. Initially struggling with weight loss, addiction, and loneliness, she becomes increasingly desperate and delusional, seeking validation through appearing on television. However, as she faces escalating challenges and confronts her inner demons, Sara begins to realize the importance of self-acceptance and inner strength. Ultimately, she finds solace and joy in her dream of winning on a game show, symbolizing her newfound sense of purpose and hope. | The character arc for Sara is compelling and engaging, showcasing her inner struggles and growth throughout the screenplay. However, there could be more clarity in depicting the specific triggers and turning points that lead to her transformation. Additionally, the resolution of her arc could be further developed to provide a more satisfying conclusion for the audience. | To improve the character arc for Sara, consider incorporating more specific moments of conflict and revelation that drive her transformation. Show her confronting her inner demons and making difficult choices that ultimately lead to her self-acceptance. Additionally, provide a more nuanced and emotionally resonant resolution for her arc, highlighting the significance of her journey and the lessons she learns along the way. |
| big tim | Big Tim starts off as a charming and manipulative predator who preys on vulnerable individuals like Marion. As the story progresses, his true nature is revealed as he becomes more intimidating and controlling. Eventually, his actions catch up to him and he faces consequences for his predatory behavior. | The character arc for Big Tim is well-developed, showing a clear progression from charming manipulator to intimidating predator. However, the arc could be strengthened by providing more insight into his motivations and backstory. This would help to create a more complex and nuanced character. | To improve the character arc for Big Tim, consider adding scenes that delve into his past experiences that have shaped him into the manipulative predator he is. This could include exploring his relationships with other characters, his upbringing, or any traumatic events that have influenced his behavior. By adding depth to his character, the audience will have a better understanding of why he acts the way he does. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Emotional Impact and High Stakes | Scenes with high emotional impact tend to also have high stakes, creating a strong sense of tension and urgency. |
| Dark Tone and Intense Scenes | Scenes with a dark tone often feature intense moments, characterized by high conflict and emotional turmoil. |
| Hopeful Tone and Reflective Scenes | Scenes with a hopeful tone tend to be more reflective, allowing characters to process their emotions and experiences. |
| Dialogue and Character Development | Strong dialogue contributes to well-developed characters, providing insights into their motivations, relationships, and inner conflicts. |
| Consistent Emotional Impact | The screenplay maintains a consistent level of emotional impact, effectively engaging the audience throughout the story. |
| Tense Scenes and Character Changes | Tense scenes often lead to significant character changes, as characters are forced to confront their own emotions and make difficult decisions. |
Writer's Craft Overall Analysis
The analyzed scenes showcase the writer's talent for creating engaging and impactful scenes with strong character development, emotional depth, and compelling narratives. The writer effectively conveys characters' emotions, motivations, and conflicts through authentic dialogue, vivid descriptions, and engaging interactions. The writing exhibits a strong command of language, atmosphere, and pacing, effectively drawing the audience into the story world and immersing them in the characters' experiences.
Key Improvement Areas
Dialogue
Several scenes demonstrate strong writing in terms of creating raw and engaging dialogue. However, there are opportunities to further enhance the authenticity and depth of character interactions through more nuanced and context-specific dialogue that reflects their backgrounds, motivations, and relationships.
Pacing
While the scenes generally maintain a good pace, there are instances where the pacing could be optimized to create a more dynamic and engaging narrative flow. This includes varying the length and rhythm of scenes, incorporating moments of tension and release, and ensuring a smooth transition between scenes.
Character Development
The writer effectively establishes the characters and their motivations, but there is potential to further develop their arcs and inner journeys. This includes exploring their backstories, complexities, and growth over the course of the story, as well as creating stronger connections between their actions and the consequences they face.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Screenplay | Read 'Save the Cat' by Blake Snyder | This book provides valuable insights into screenplay structure, character development, and storytelling techniques that can enhance the writer's craft in all key improvement areas. |
| Exercise | Practice writing dialogue between characters with conflicting desires and beliefs to deepen emotional complexity and tension.Practice In SceneProv | This exercise will help improve the writer's ability to create authentic, engaging dialogue that drives the narrative forward and showcases character development. |
| Video | Watch 'Scene Writing Masterclass' by John Truby | This video course offers a comprehensive guide to writing effective scenes, covering aspects such as structure, character development, and pacing, which can help address the identified key improvement areas. |
Additional Notes: The writer demonstrates a clear talent for storytelling and a strong foundation in screenwriting principles. With continued practice and refinement, they can enhance their craft to create even more compelling, emotionally resonant, and well-structured screenplays.
Stories Similar to this one
| Story | Explanation |
|---|---|
| Requiem for a Dream | The film follows four people whose lives are consumed by drug addiction and its consequences. Like Harry Goldfarb, they lose themselves in their addictions and become increasingly isolated and desperate. |
| Trainspotting | This film also follows a group of young people whose lives are consumed by drug addiction. It depicts the highs and lows of addiction, as well as the toll it takes on relationships and mental health. |
| The Basketball Diaries | This film is based on the true story of a high school basketball player who becomes addicted to heroin. It shows the devastating effects of addiction on a young person's life and relationships. |
| The Wire | This TV series follows the lives of drug dealers and police officers in Baltimore. It provides a complex and realistic portrayal of the drug trade and its impact on individuals and communities. |
| Breaking Bad | This TV series follows a high school chemistry teacher who turns to cooking meth to provide for his family after being diagnosed with cancer. It examines the moral dilemmas and consequences of drug dealing. |
| We Need to Talk About Kevin | This film follows the story of a mother whose son grows up to be a mass murderer. It explores the themes of maternal guilt and responsibility, and the lasting impact of violence. |
| The Road | This novel follows a father and son who are traveling through a post-apocalyptic world. It examines the themes of survival, morality, and the importance of human connection. |
| The Handmaid's Tale | This novel and TV series follows a woman who is forced to become a surrogate for a wealthy couple in a dystopian society. It explores the themes of female oppression, violence, and the importance of resistance. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Antagonist-centered episode | The episode focuses on the lives and motivations of the antagonists, Tyrone and Harry, and their efforts to secure drugs. | This trope gives the audience a deeper understanding of the motivations and actions of the antagonists, adding complexity to their characters. |
| Drug use | Harry, Tyrone, and Marion struggle with drug addiction and its consequences. | Drug use is often depicted in film and television to explore themes of addiction, recovery, and the moral and social consequences of drug abuse. |
| Dysfunctional family | Sara Goldfarb's relationship with her son, Harry, is strained and dysfunctional. | Dysfunctional families are a common trope in film and television, as they provide a setting for exploring complex emotional dynamics, secrets, and conflicts. |
| False accusation | Sara is falsely accused of stealing a television set. | False accusations can create tension and suspense, as the protagonist must work to clear their name. |
| Heroic sacrifice | Harry sacrifices his own well-being to save his mother, Sara. | Heroic sacrifices are often used to create a sense of climax and resolution, as the protagonist's selfless actions demonstrate their heroism. |
| Isolation | Sara Goldfarb is isolated from society due to her mental illness and fears. | Isolation can be a powerful storytelling device, as it can create a sense of vulnerability, loneliness, and desperation. |
| LGBTQ+ characters | Marion Silver is a lesbian, and her relationship with Harry adds a layer of complexity to their characters. | Including LGBTQ+ characters in film and television can help normalize and increase representation of diverse identities. |
| Mental illness | Sara Goldfarb struggles with mental illness and addiction, which affects her relationships and behavior. | Mental illness can be a delicate and challenging subject to portray, but can also provide opportunities for deep character development and exploration. |
| Obsessive-compulsive disorder | Sara Goldfarb's excessive cleaning and compulsive behaviors are a manifestation of her obsessive-compulsive disorder. | Obsessive-compulsive disorder can be a debilitating condition, and its portrayal in film and television can help increase awareness and understanding. |
| Unreliable narrator | Sara Goldfarb's perspective on events is often unreliable due to her mental illness. | Unreliable narrators can create a sense of mystery and uncertainty, as the audience is left to question the truth of the story. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Addiction | Characters struggle with addiction to drugs, food, and diet pills, leading to physical and emotional consequences. | Addiction is presented as a destructive force that traps individuals in a cycle of self-destruction and despair. | ||||||||||||
Strengthening Addiction:
| ||||||||||||||
| Isolation and Loneliness | Characters feel isolated and disconnected from others, leading to depression, anxiety, and a search for connection. | Isolation and loneliness are shown to be devastating emotions that can drive individuals to desperate measures. | ||||||||||||
| Loss and Grief | Characters grapple with the loss of loved ones, relationships, and dreams, leading to feelings of sadness, longing, and regret. | Loss and grief are presented as powerful emotions that can shape and alter the course of one's life. | ||||||||||||
| Family Dynamics | Complex and dysfunctional family relationships are explored, revealing the bonds and conflicts that shape individuals. | Family dynamics are shown to have a profound impact on the development and well-being of characters. | ||||||||||||
| Dreams and Aspirations | Characters pursue their dreams and aspirations, facing obstacles and making sacrifices along the way. | Dreams and aspirations are presented as driving forces that motivate characters and shape their destinies. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by raw and emotional dialogue, intense character interactions, and a focus on internal struggles. The screenplay is filled with tension and conflict, highlighting the dysfunctional relationships between the characters. |
| Voice Contribution | The writer's voice intensifies the emotional depth of the script, emphasizing the characters' internal turmoil and the complexity of their relationships. |
| Best Representation Scene | 1 - Harry and Sara's Closet Conflict |
| Best Scene Explanation | This scene serves as the best representation of the writer's voice due to its vivid portrayal of the characters' internal struggles and the palpable tension between them. |
Originality
- Overall originality score: 9
- Overall originality explanation: The screenplay demonstrates a high level of originality through its unique and fresh take on various themes and character interactions. The scenes are filled with authentic dialogue and engaging visuals that contribute to the overall originality of the screenplay.
- Most unique situations: The most unique situations in the screenplay are the surreal and dream-like elements in the scene where Sara hallucinates a world of primary blue and is announced as the winner of a contest by Tappy Tibbons. This scene stands out for its imaginative and visually striking portrayal of Sara's inner happiness and the contrast with the reality of her situation.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay maintains a high level of unpredictability throughout, keeping the audience engaged and surprised by the characters' actions and the unfolding events. The unique and original scenes contribute to the overall unpredictability of the screenplay.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal in this screenplay is to navigate the challenges of addiction, familial relationships, and personal growth. |
| External Goals | The protagonist's external goal in this screenplay is to navigate the criminal underworld, financial instability, and personal relationships. |
| Philosophical Conflict | The overarching philosophical conflict in this screenplay involves the characters' internal struggles with self-worth, redemption, and the consequences of their actions. |
Character Development Contribution: The protagonist's evolving internal and external goals contribute to their development as they struggle with addiction, relationship dynamics, and the search for validation and purpose.
Narrative Structure Contribution: The intertwined internal and external goals provide a complex and layered narrative structure, showcasing the protagonist's journey through addiction, criminal activities, and personal growth.
Thematic Depth Contribution: The exploration of philosophical conflicts adds thematic depth to the screenplay, delving into themes of self-worth, redemption, human connection, and the consequences of one's choices.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The screenplay presents a multifaceted physical environment comprising various settings such as cramped apartments, urban areas, psychiatric facilities, and bustling cityscapes. Each setting contributes to the atmosphere and mood of the scene, reflecting the characters' emotional states and the overall tone of the narrative.
- Culture: The cultural backdrop depicted in the screenplay is characterized by elements of addiction, desperation, and a struggle for survival. Characters navigate a world marred by drug use, violence, and social isolation. The scenes in the pawn shop, dive pad, and psyche ward highlight the characters' entrapment within a cycle of substance abuse and its consequences.
- Society: The screenplay portrays a society grappling with issues of mental health, drug addiction, and financial struggles. Characters are often marginalized and isolated, with limited opportunities and limited access to support and resources. The depiction of life in a rundown apartment building and the interactions between the elderly women in Brighton Beach provide insights into the challenges faced by individuals in a disadvantaged environment.
- Technology: The technological elements in the screenplay are primarily used to underscore the characters' dependence on drugs and the pervasiveness of addiction in their lives. Scenes involving phones for drug dealing, pills, and internet communications highlight the characters' reliance on external substances to cope with their inner turmoil.
- Characters influence: The world elements in the screenplay have a profound impact on the characters' experiences and actions. The gritty urban setting, for instance, contributes to a sense of danger and desperation, driving characters like Harry and Tyrone to engage in increasingly risky behaviors. The presence of drugs and the characters' addiction fuel conflicts and shape their relationships. Sara's struggle with self-image and her desire for recognition and validation highlight the societal pressure to conform to beauty standards.
- Narrative contribution: The world elements contribute to the overall narrative of the screenplay by providing context and depth to the characters' actions and motivations. The bleak and often hostile environment reflects the characters' inner struggles and the challenges they face. The episodic structure of the screenplay, with its shifts between different settings, allows for a fragmented and non-linear exploration of the characters' lives, highlighting the cyclical nature of addiction and the complexities of human relationships.
- Thematic depth contribution: The world elements contribute to the screenplay's thematic depth by exploring issues of addiction, mental health, societal inequality, and the search for connection in a fragmented world. The characters' struggles with addiction and the consequences they face underscore the destructive nature of substance abuse and its impact on individuals and their relationships. Sara's journey highlights the pressures of societal expectations and the importance of self-acceptance. The depiction of poverty and marginalization raises questions about social justice and the lack of opportunities for those living on the fringes of society.
Story Engine Analysis
central conflict
The film explores the destructive power of drug addiction on individuals and their relationships, particularly the impact on Harry Goldfarb and his mother, Sara.
primary motivations
- Harry's desire to connect with his mother, Sara, and make amends for past mistakes.
- Sara's struggle with loneliness, weight loss, and the pursuit of a sense of purpose.
- Tyrone's determination to provide for himself and escape his circumstances.
catalysts
- Harry's encounter with the locked closet and his subsequent realization of Sara's addiction.
- Sara's phone call informing Harry about her television appearance.
- Tyrone and Harry's decision to travel to Florida to acquire drugs directly from the source.
barriers
- Sara's drug addiction and her refusal to confront her issues.
- Harry's own struggles with addiction and his inability to fully support Sara.
- The dangerous and unpredictable environment of the drug trade.
themes
- Addiction and its devastating consequences.
- The complexities of family relationships.
- The search for purpose and meaning in life.
stakes
- Harry and Sara's relationship and their ability to overcome addiction together.
- Sara's physical and mental health.
- Tyrone's freedom and safety.
uniqueness factor
The film's unflinching and realistic portrayal of drug addiction, capturing its physical, psychological, and emotional toll on individuals and their loved ones.
audience hook
The intense performances of Ellen Burstyn and Jared Leto, coupled with the film's gritty and immersive atmosphere, create a deeply engaging and unforgettable cinematic experience.
paradoxical engine or bisociation
The paradoxical engine lies in the contrast between Sara's desperate pursuit of happiness and self-improvement through diet pills and television appearances, and the self-destructive nature of her addiction.
paradoxical engine or bisociation 2
Another paradoxical engine can be seen in Harry's desire to reconnect with his mother while simultaneously struggling with his own addiction and self-destructive tendencies.
Engine: Gemini
Screenplay Rating:
Recommend
Executive Summary
Requiem for a Dream is a powerful and disturbing exploration of addiction and its devastating consequences. The screenplay's strengths lie in its unflinching realism, innovative visual style, and compelling character arcs. However, its graphic content and bleakness may limit its appeal to a wider audience. Further development of Marion's character and exploration of systemic issues could enhance the narrative's depth and impact.
Strengths
- Vivid and unflinching portrayal of addiction and its consequences high
- Unique and impactful visual storytelling techniques, such as the hip-hop montages and time-lapse sequences high
- Compelling character arcs that explore the depths of human despair and the yearning for connection high
- Powerful and emotionally charged dialogue that reveals the characters' inner struggles and desires high ( Scene 71 )
- Effective use of symbolism and recurring motifs, like the red dress and the television, to enhance the narrative's thematic depth medium
Areas of Improvement
- The relentless bleakness and graphic content may be overwhelming for some audiences medium
- Limited exploration of potential solutions or paths to recovery from addiction medium
- Marion's character arc could benefit from further development, particularly regarding her motivations and internal conflicts medium ( Scene 98 Scene 130 Scene 161 )
- The ending, while powerful, could be seen as overly deterministic and lacking a sense of hope low
MissingElements
- Exploration of the systemic factors that contribute to addiction and poverty in the characters' lives medium
- Deeper examination of the characters' backstories and the events that led them to their current situations low
NotablePoints
- The screenplay's portrayal of Sara's descent into delusion and psychosis is both disturbing and thought-provoking high ( Scene 17 Scene 27 Scene 117 )
- The film's soundtrack, particularly the use of Clint Mansell's 'Lux Aeterna,' is highly effective in creating a sense of dread and emotional intensity high
Engine: Claude
Screenplay Rating:
Recommend
Executive Summary
Requiem for a Dream is a powerful and emotionally resonant screenplay that explores the tragic descent of its characters into the depths of addiction and obsession. The screenplay's strengths lie in its strong character development, particularly the complex relationship between Harry and his mother Sara, as well as its bold and unsettling exploration of moral and ethical boundaries. While some pacing and structural issues could be addressed, the screenplay's overall narrative impact and thematic depth make it a compelling and recommendation-worthy work.
Strengths
- The opening scenes effectively establish the troubled relationship between Harry and his mother Sara, setting up the central conflict and character dynamics that drive the story. high ( Scene 1 (2) Scene 1 (3) )
- The screenplay effectively explores the moral descent of the characters, particularly Marion's decision to engage in prostitution to support her drug habit. high ( Scene 9 (49) Scene 14 (80) )
- The extended dialogue between Harry and Sara is a standout, revealing the depth of their relationship and Sara's tragic delusion. high ( Scene 17 (71) )
Areas of Improvement
- The opening sequence featuring Tappy Tibbons feels slightly disconnected from the rest of the story and could be integrated more seamlessly. medium ( Scene 1 (1) )
- The pacing in certain sequences, such as the supermarket shootout and Marion's interactions with Big Tim, could be tightened to maintain a more consistent rhythm. medium ( Scene 14 (79) Scene 27 (92) )
MissingElements
- More development and exploration of Harry and Tyrone's relationship and criminal activities could provide additional context and depth to their arcs. medium ( Scene 3 (8) Scene 5 (30) )
NotablePoints
- The screenplay's portrayal of Sara's mental deterioration and her delusional fixation on appearing on television is a powerful and poignant exploration of addiction and obsession. high ( Scene 17 (71) Scene 19 (71) )
- The graphic and unsettling depiction of Marion's exploitation and involvement in the orgy sequence is a bold and impactful narrative choice. high ( Scene 27 (160) Scene 27 (165) )
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 20 | MARION: Oh Harry, I love you. You make me feel like a person, like I’m me and I’m beautiful. |
| 21 | Tappy Tibbons: Juice by Sara! Juice by Sara! Juice by Sara! ooooOOOOH! Sara’s got juice! Sara’s got juice! ooooOOOH Sara! |
| 27 | Harry: Yeah, I feel like I’m dreamin’. |
| 10 | Sara: So, I’m thinking thin. |
| 22 | Marion: I love you, Harry. |