Requiem for a Dream Script
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 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.
20.
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:
INT. MARION'S APARTMENT - DAY
(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?
21.
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.
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:
INT. MARION'S KITCHEN
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.
22.
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?
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.
23.
Then he whispers in her ear:
HARRY
Marion, Marion, I love you.
FADE TO BLINDING WHITE -- THEN:
INT. SARA'S MAILBOX - DAY
We pull out of the white and into Sara's mailbox. She peeks
in -- empty.
CUT TO:
INT. SARA'S KITCHEN - DAY
TIGHT ON kitchen clock ticking normally.
ON Sara's breakfast -- one hard-boiled egg, half a grapefruit
and a mug of black coffee.
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:
INT. MARION'S BATHROOM
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...
24.
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:
INT. SARA'S MAILBOX - DAY
Nothing.
CUT TO:
INT. SARA'S APARTMENT
Sara tries to watch TV but the fridge beckons her.
TIGHT ON the kitchen clock, slowly, slowly ticking.
The fridge shudders. Frustrated, Sara grabs her folding
chair and heads out.
CUT TO:
EXT. SARA'S BUILDING - DAY
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.
25.
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.
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.
26.
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.
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 --
27.
MAILMAN
Here we go. Something for Goldfarb,
Sara Goldfarb.
He hands her a thick manila envelope.
CUT TO:
INT. SARA'S APARTMENT
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?
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.
28.
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!
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.
29.
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:
EXT. SARA'S BUILDING - A MOMENT LATER
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.
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:
INT. TYRONE'S DIVE PAD
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.
30.
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.
Suddenly, it's a sunny day in Tyrone's bedroom. The back
wall is gone and stretching into the sea is --
THE CONEY ISLAND PIER
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:
31.
INT. TYRONE'S DIVE PAD - NOW
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.
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...
32.
Then they laugh and laugh and laugh.
CUT TO:
EXT. BOARDWALK - DAY
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:
INT. SARA'S APARTMENT
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.
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 --
THE BEDROOM
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.
33.
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:
INT. MARION'S APARTMENT
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.
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.
34.
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:
INT. RAOUL'S CAFE - NIGHT
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?
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:
35.
EXT. PROJECTS - NIGHT
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:
EXT. OTHER SIDE OF THE PROJECTS - NIGHT
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:
INT. MARION'S APARTMENT - LATER
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:
36.
INT. DOCTOR PILL'S EXAMINING ROOM
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.
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:
HIP-HOP MINI-MONTAGE
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:
37.
INT. TYRONE'S CLOSET
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:
INT. EMPTY STORE - DAY
In photographs, a straight Real Estate Agent shows Harry and
Marion around the empty store.
OUTSIDE
The Agent snaps a photo of the lovers in front of the store.
CUT TO:
INT. SARA'S KITCHEN
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.
(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:
38.
INT. SARA'S MAILBOX - DAY
She peeks in for anything -- nothing.
CUT TO:
INT. CONEY ISLAND ARCADE
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? 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.
39.
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:
INT. SARA'S APARTMENT
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 --
40.
THE BATHROOM
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...
BACK IN THE LIVING ROOM
-- Sara sits in front of the TV and watches Tappy Tibbons
preach. Slowly she dozes off.
CUT TO:
INT. TYRONE'S DIVE PAD
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.
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?
41.
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:
INT. SARA'S MAILBOX - DAY
Still empty...
CUT TO:
INT. SARA'S BUILDING - DAY
Pop, hit, gulp, snap and tinkle, perk, drip, slurp, slurp,
slurp...
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?
42.
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:
INT. TYRONE'S NEW PAD
Alice and Tyrone make some crazy love. Arms flail, teeth
bite, mouths scream. Some crazy love.
CUT TO:
INT. SARA'S APARTMENT
Sara stands in front of the mirror trying on the red dress.
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:
INT. TAXI CAB - MOVING
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:
43.
EXT. SARA'S BUILDING
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.
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:
INT. SARA'S APARTMENT
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?
44.
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.
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?
45.
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 --
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 --
46.
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 --
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.
47.
SARA
Harry, it's --
HARRY
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.
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?
48.
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?
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?
49.
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.
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.
50.
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 --
SARA
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.
HARRY
What's the big deal about being on
television? Those pills'll kill ya
before ya ever get on, fa krist's
sake.
51.
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? 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.
52.
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.
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.
53.
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?
HARRY
(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:
INT. MOVING CAB
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.
54.
A moment later he collects himself and gets high: flick,
sizzle, snap, suck, slap, rush, sigh...
Harry wipes away his tears.
CUT TO:
INT. SARA'S BEDROOM
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:
INT. BRODY'S LIMO
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.
HENCHMAN
Brody say, you fuck him, I'll kill
you.
55.
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:
INT. SARA'S APARTMENT
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:
INT. MARION'S APARTMENT
Flick, sizzle, snap, suck, slap, rush, sigh...
56.
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:
INT. SARA'S APARTMENT
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?
SKINNY NURSE
(off-screen)
No.
57.
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!
58.
But back in the real world, the fridge shudders. Sara
stares at it, concerned.
CUT TO:
INT. HOLDING TANK - NIGHT
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:
EXT. CONEY ISLAND STREET - MOVING
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?
59.
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:
INT. MARION'S APARTMENT
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:
60.
INT. SARA'S MAILBOX
Still nothing.
CUT TO:
INT. SARA'S APARTMENT
Pop, hit, gulp, snap...
Sara starts to circle around the lazy chair. Tighter and
tighter circles.
CUT TO:
INT. MARION'S APARTMENT
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:
INT. SARA'S MAILBOX
Nope
CUT TO:
INT. SARA'S APARTMENT
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.
Suddenly, the fridge shudders. Sara jumps.
CUT BACK TO:
61.
INT. MARION'S APARTMENT
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:
INT. MARION'S APARTMENT - MIDDLE OF THE NIGHT
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:
62.
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:
INT. MARION'S APARTMENT
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:
INT. SARA'S APARTMENT
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.
63.
COMPUTERIZED OPERATOR
(off-screen)
Welcome to Malin & Block. 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.
64.
Then, a loud shudder! The fridge is vibrating. Sara
doesn't know what to do.
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 --
65.
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 --
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:
INT. MARION'S APARTMENT - LATE MORNING
Marion expectantly watches Harry on the phone. Harry hangs
up.
66.
MARION
Well?
HARRY
Tyrone hasn't found anything.
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:
67.
INT. TYRONE'S CLOSET
Harry and Tyrone open the shoe box. They grab the last cash
in it.
HARRY
Don't worry. 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:
EXT. CITY STREETS - NIGHT
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.
INT. SARA'S APARTMENT
The phone rings! Sara sticks her head out of the bedroom.
68.
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.
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.
69.
SARA
Please, Harry...
CUT TO:
INT. CITY STREETS - SAME
Harry takes a deep breath into the phone. Tyrone rounds the
corner, smiling.
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:
EXT. UNDER THE BOARDWALK - NIGHT
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?
70.
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.
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:
INT. MARION'S APARTMENT
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.
71.
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.
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:
INT. DOCTOR PILL'S EXAMINING ROOM
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 --
72.
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.
Now, Sara is alone staring at the paper. TIGHT ON paper.
It reads 'VALIUM'.
CUT TO:
INT. RAOUL'S CAFE - NIGHT
A 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?
73.
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!
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:
INT. ARNOLD THE SHRINK'S MANHATTAN CRASH PAD
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.
74.
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:
INT. MARION'S APARTMENT
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. 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:
INT. ARNOLD THE SHRINK'S MANHATTAN CRASH PAD - HALLWAY
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 --
THE ELEVATOR
-- as anger, disgust and who knows what else billow up
inside her. Her eyes begin to tear. Then --
ON THE STREET
-- she leans against the building and vomits.
CUT TO:
INT. MARION'S APARTMENT
Marion crawls out of her winter clothes and joins Harry on
the couch.
75.
They sit on either side of the couch not looking at each
other.
CUT TO:
INT. TYRONE'S NEW PAD
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.
Tyrone starts to get dressed.
CUT TO:
INT. SARA'S BEDROOM - NIGHT
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:
INT. MODERN SUPERMARKET - NIGHT
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.
76.
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:
INT. MARION'S APARTMENT
Marion impatiently circles the apartment. She's very anxious.
CUT TO:
INT. SUPERMARKET LOADING AREA - LATER
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:
77.
INT. MARION'S APARTMENT
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:
EXT. SUPERMARKET LOADING AREA - LATER
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.
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 --
INT. SUPERMARKET - SAME
-- 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 --
OUTSIDE
-- 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:
78.
INT. TYRONE'S OLD DIVE PAD
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?
(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.
79.
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.
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.
80.
HARRY
You think?
TYRONE
(gives in)
That muthafucka can dig up anything,
even the daid.
CUT TO:
INT. SARA'S APARTMENT
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. 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:
INT. MARION'S APARTMENT
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!
81.
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? 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?
82.
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.
MARION
Fuck you.
HARRY
No, fuck you!
Harry charges out of the apartment. Marion stares after him.
We float out of focus.
CUT TO:
INT. SARA'S APARTMENT
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.
83.
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.
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.
84.
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.
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.
85.
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.
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.
86.
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:
EXT. BRIGHTON BEACH AVENUE - DAY
Sara manically marches down the street. The world shoots by
her. A train roars by on the elevated tracks up above.
CUT TO:
INT. PONTIAC VENTURA CROSSING VERRAZANO'S BRIDGE - NIGHT
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.
87.
TYRONE
I know, Jim. I just feel like
breaking out into song.
Hands slap five. Harry cringes when Tyrone hits his hand.
CUT TO:
INT. D-TRAIN SUBWAY CAR - MOVING
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:
INT. MARION'S APARTMENT
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!
88.
ANGEL
(off-screen)
It's a drought. I ain't got nothing.
MARION
Please! Angel! Please!
CUT TO:
INT. MALIN & BLOCK - RECEPTION AREA
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.
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 --
89.
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:
INT. PONTIAC VENTURA ON JERSEY TURNPIKE - DAWN
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.
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:
INT. MALIN & BLOCK - RECEPTION AREA
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.
90.
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:
INT. MARION'S APARTMENT
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:
INT. AMBULANCE - MOVING
Sara is strapped to a gurney. She mumbles to herself.
91.
SARA
Oh, Harry. I'm going to be on
television.
CUT TO:
INT. PONTIAC VENTURA PARKED IN HO JO LOT
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.
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:
EXT. APARTMENT BUILDING ENTRANCE
A security camera studies Marion as she waits at the front
door. Buzz! Marion pushes the door open and enters.
CUT TO:
INT. BELLEVUE HOSPITAL
Sara, on her gurney, is pushed through crowded corridors of
a hospital. The noise and chaos reach her in surreal
muffled tones.
92.
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:
EXT. BIG TIM'S APARTMENT
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.
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.
93.
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.
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:
94.
INT. BIG TIM'S BATHROOM
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 -
THE BATHROOM
Marion fixes her hair and smiles at herself.
CUT TO:
INT. BIG TIM'S LIVING ROOM
Big Tim laughs as Marion emerges from the bathroom.
MARION
Sorry. Must have been the
chartreuse.
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:
INT. PONTIAC VENTURA SOMEWHERE ON I-95 - HEADING SOUTH
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.
95.
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:
INT. BIG TIM'S BATHROOM
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.
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...
96.
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.
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.
97.
Then Marion lifts up her skirt and does the deed.
CUT TO:
INT. PSYCHE WARD
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.
And for a moment, Doctor Spencer is Harry -- golden smile
and all.
CUT TO:
INT. MARION'S BATHROOM
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:
EXT. I-95 - MAYBE GEORGIA
CUT TO:
98.
INT. PONTIAC VENTURA
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.
TYRONE
Let's find a hospital first.
CUT TO:
INT. PSYCHE WARD
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:
99.
INT. SOUTHERN DOCTOR'S EXAMINATION ROOM
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:
INT. MARION'S APARTMENT
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!?
MARION
(nervous)
Hi...
Big Tim lets go a big laugh.
CUT TO:
INT. PSYCHE WARD
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.
100.
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:
INT. MARION'S APARTMENT
Marion puts mascara on her left eye. Then she puts on some
clothes.
CUT TO:
INT. SOUTHERN DOCTOR'S WAITING ROOM
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:
INT. MARION'S APARTMENT
TIGHT ON Marion's right eye as she carefully applies mascara.
She puts on some more clothes.
CUT TO:
INT. PSYCHE WARD
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.
101.
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:
INT. MARION'S APARTMENT
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. She makes last minute corrections to her outfit when
the phone rings.
Nervous, she answers.
MARION
Hello?
CUT TO:
INT. SOUTHERN JAIL PAYPHONE AREA - MARION'S APARTMENT
INTERCUT:
Harry in pain on the telephone. Marion sits by the phone.
HARRY
Marion.
MARION
Harry? Oh, Harry.
102.
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.
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.
BY THE PAYPHONES
-- Harry hangs up. His sobs turns into his pain. His pain
turns into his misery.
103.
IN MARION'S APARTMENT
-- 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:
INT. PSYCHE WARD - HALLWAY
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.
Doctor Spencer hands Sara a pen. Somehow, she is able to
sign.
CUT TO:
INT. HOLDING TANK
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.
104.
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:
INT. PSYCHE WARD - HALLWAY
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:
INT. BIG TIM'S LUSH PAD
TIGHT ON Marion's hand knocking on Big Tim's front door.
TIGHT ON Big Tim's famous smile:
BIG TIM
Maid Marion. Welcome.
CUT TO:
INT. PSYCHE WARD - HALLWAY
Sara is wheeled quickly through the halls of the asylum.
CUT TO:
EXT. HOLDING TANK
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?
105.
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:
INT. PSYCHE WARD - HALLWAY
Sara continues her trip on the gurney. Terror enters her
heart.
CUT TO:
EXT. HOLDING TANK
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.
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?
106.
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:
INT. PSYCHE WARD - SHOCK THERAPY ROOM
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:
INT. BIG TIM'S LUSH PAD
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.
107.
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:
INT. PSYCHE WARD - SHOCK THERAPY ROOM
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.
Then she feels two cold metal discs placed against her
temples.
CUT TO:
INT. EMERGENCY OPERATING ROOM
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.
108.
Before everything is gone, Harry witnesses the doctor
cutting into his shoulder.
CUT TO:
INT. PSYCHE WARD
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:
INT. BIG TIM'S LUSH PAD
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:
GIRL
What should we do now?
A 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!!!
109.
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:
INT. PSYCHE WARD - SHOCK THERAPY ROOM
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:
PRIMARY BLUE
Then we --
CUT BACK TO:
INT. PSYCHE WARD
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:
110.
PRIMARY BLUE
The crowd cheers once more.
DISSOLVE TO:
EXT. CONEY ISLAND PIER
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!
And we --
CUT TO:
INT. HOSPITAL ROOM
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.
111.
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:
EXT. JAIL MACHINE SHOP
Tyrone drills holes into metal plates with an oversized
machine. He dry heaves and fights to stay in his seat. A
Laughing Guard snickers at him.
CUT TO:
INT. MARION'S APARTMENT
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:
112.
INT. JAIL DORMITORY
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.
TYRONE'S MOTHER
The sweetness be in you, child, the
sweetness be in you.
CUT TO:
INT. PSYCHE WARD - VISITING ROOM
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.
113.
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:
EXT. BUS STOP
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:
INT. PSYCHE WARD
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.
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!
114.
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!
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.
115.
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