Requiem for a Dream
by
Darren Aronofsky & Hubert Selby, Jr.
ON THE TV -
- 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:
INT. SARA'S LIVING ROOM - DAY
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.
2.
HARRY (CONT'D)
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 (CONT'D)
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 (CONT'D)
..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 (CONT'D)
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.
3.
HARRY
Then why won't you come out?
Harry tries to open the locked closet door but can't.
HARRY (CONT'D)
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 (CONT'D)
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 -
EXT. SARA'S APARTMENT - HALLWAY - CONTINUOUS
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.
4.
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:
EXT. SARA'S BUILDING - BRIGHTON BEACH, BROOKLYN - DAY
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:
EXT. STREETS OF BRIGHTON BEACH AND CONEY ISLAND
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:
INT. PAWN SHOP - DAY
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.
5.
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:
QUICK HIP-HOP MONTAGE:
Lighter flicks-liquid on spoon sizzles-tourniquet snaps-
needle sucks-hand slaps vein-a thunderous rush of liquid-and
finally an ecstatic sigh.
INT. TYRONE'S DIVE PAD - LATER
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:
INT. DONUT SHOP - NIGHT - LATER
Tyrone and Harry sit at the counter of an all-night donut
shop, sipping hot chocolate and eating chocolate Crullers.
6.
TYRONE
Ya know what we oughta do, man?
Huh? 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.
7.
Harry and Tyrone laugh as they toss the gun back and forth
just over the frustrated Cop's head. The Cop slips and
falls on his ass and we -
CUT BACK TO:
Reality. Five minutes earlier -
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:
INT. PAWN SHOP - DAY
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.
8.
MR RABINOWITZ
How many years we know each other?
(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:
INT. SARA'S LIVING ROOM - LATER
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:
EXT. SEACOAST TOWER - DAY
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?
9.
Harry mumbles again. When the buzzer rings we're on -
THE ELEVATOR
- in black-and-white video. A security camera watches Harry
and Marion jump around as they head to the -
TOP FLOOR
PING! Harry dips his head out the open doors.
All clear. He grabs Marion and they dash to the -
STAIRWELL
- 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:
INT. SARA'S LIVING ROOM
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.
10.
CHEERY VOICE
(off-screen)
Mrs Goldfarb, this is Lyle Russel
from Malin & Block.
SARA
I'm not interested in -
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.
11.
SARA
Ooooooo... Me... me... on... oh I
can't...
LYLE RUSSEL
(off-screen)
Yes, Mrs Goldfarb, you.
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.
INT. SARA'S BEDROOM - A BIT LATER
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:
12.
EXT. ROOF - DAY
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 -
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?
13.
A deserved kiss.
CUT TO:
EXT. ADA'S APARTMENT - HALLWAY - CONTINUOUS
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?
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:
INT. SARA'S BEDROOM
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:
EXT. EMERGENCY EXIT DOOR
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 -
TOP FLOOR
- where both elevators charge the top floor.
14.
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.
Then our criminals charge --
THE ELEVATOR
-- and in black-and-white video make out all the way down.
THEN:
EXT. SEACOAST TOWER - DAY
Harry and Marion burst out of the front door laughing,
alarms ringing behind them.
CUT TO:
INT. SARA'S MAILBOX - DAY
The mailbox opens and Sara disappointedly peers into the
empty darkness.
CUT TO:
INT. SARA'S APARTMENT
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
15.
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)
1 cup black coffee (no sugar)
DINNER
1 hard-boiled egg
1/2 grapefruit
1 cup black coffee (no sugar)
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:
16.
INT. MARION'S APARTMENT - MIDSUMMER DAY
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:
INT. SARA'S APARTMENT - DAY
Ada strips Sara's hair wth 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.
17.
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:
INT. MARION'S KITCHEN
Marion straightens up the kitchen. Harry is spinning some
records on his portable turntable. Tyrone plays with his
yo-yo.
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.
18.
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?
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:
INT. SARA'S BATHROOM - DAY
Sara stares in the mirror, blinking at her ridiculously
orange hair. It's nowhere near red.
19.
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.
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 lo
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