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Scene Map 40
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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REQUIEM FOR A DREAM Screenplay by Hubert Selby, Jr. and Darren Aronofsky Based on the novel by Hubert Selby, Jr.
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3 EXT. SARA’S APARTMENT - HALLWAY - CONTINUOUS 3 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.
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9 INT. DONUT SHOP - NIGHT - LATER 9 Tyrone and Harry sit at the counter of an all-night donut shop, sipping hot chocolate and eating chocolate Crullers. TYRONE Ya know what we oughta do, man?
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13 EXT. SEACOAST TOWER - DAY 13 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
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19 EXT. ROOF - DAY 19 Harry and Marion throw paper airplanes down on the dying amusement park. HARRY ... but why you so hard on your folks?
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27 INT. SARA’S APARTMENT 27 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
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30 INT. MARION’S KITCHEN 30 Marion straightens up the kitchen. Harry is spinning some records on his portable turntable. Tyrone plays with his yo- yo. (CONTINUED)
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32 INT. MARION’S APARTMENT - DAY 32 (Post-sex) + (pre-sleep) = (intimate talk) HARRY You know something? I’ve always thought you are the most beautiful
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35 INT. SARA’S KITCHEN - DAY 35 TIGHT ON kitchen clock ticking normally. ON Sara’s breakfast -- one hard-boiled egg, half a grapefruit and a mug of black coffee. (CONTINUED)
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39 EXT. SARA’S BUILDING - DAY 39 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
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40 INT. SARA’S APARTMENT 40 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.
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42 INT. TYRONE’S DIVE PAD 42 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!
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46 INT. SARA’S APARTMENT 46 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.
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52 INT. MARION’S APARTMENT - LATER 52 Harry spins Marion around. HARRY We’re on our way, baby, we’re really on our way.
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60 INT. CONEY ISLAND ARCADE 60 Marion and Harry play skeeball. Marion hits a fifty and smiles. Harry stops playing. HARRY Yeah, that’s what I’ll do.
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66 INT. SARA’S BUILDING - DAY 66 Pop, hit, gulp, snap and tinkle, perk, drip, slurp, slurp, slurp... (CONTINUED) 41.
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71 INT. SARA’S APARTMENT 71 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.
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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
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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 --
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HARRY (shows her) Yeah, I got it, Ma. I’d better hurry. I’m late now. SARA
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77 INT. SARA’S APARTMENT 77 Pop, hit, gulp, snap... Sara still sits. She feels nothing. Coffee: tinkle, perk, drip, slurp, slurp, slurp... Still nothing.
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80 INT. MARION’S APARTMENT 80 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
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89 INT. SARA’S APARTMENT 89 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.
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90 INT. MARION’S APARTMENT - LATE MORNING 90 Marion expectantly watches Harry on the phone. Harry hangs up. MARION Well?
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94 INT. CITY STREETS - SAME 94 Harry takes a deep breath into the phone. Tyrone rounds the corner, smiling. (CONTINUED) 68.
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98 INT. RAOUL’S CAFE - NIGHT 98 Dimly lit café. Marion wears lots of make-up and a long- sleeve blouse. Arnold is worried. MARION
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107 INT. MODERN SUPERMARKET - NIGHT 107 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
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114 INT. TYRONE’S OLD DIVE PAD 114 Tyrone puffs on a cigarette while Harry paces. HARRY Stupid fucking junkie. Fucked. We are fucked. That’s the last shit
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116 INT. MARION’S APARTMENT 116 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.
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117 INT. SARA’S APARTMENT 117 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:
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118 EXT. BRIGHTON BEACH AVENUE - DAY 118 Sara manically marches down the street. The world shoots by her. A train roars by on the elevated tracks up above. CUT TO: 85.
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123 INT. PONTIAC VENTURA ON JERSEY TURNPIKE - DAWN 123 Tyrone drives. TIGHT ON the tuner. The radio plays alternative rock. TYRONE Sheeit, the heater is just fine. I
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130 EXT. BIG TIM’S APARTMENT 130 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
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135 INT. BIG TIM’S BATHROOM 135 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.
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139 INT. PONTIAC VENTURA 139 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
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147 INT. PSYCHE WARD 147 Doctor Spencer towers over Sara. He reads her chart and is concerned. DOCTOR SPENCER You have to eat, Mrs Goldfarb. If
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153 INT. HOLDING TANK 153 Harry is withdrawing in pain on his bunk. Tyrone is at the bars, sweating and dying. HARRY Jesus krist. I need a doctor.
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161 INT. BIG TIM’S LUSH PAD 161 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
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170 EXT. CONEY ISLAND PIER 170 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!
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177 INT. PSYCHE WARD 177 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

Requiem for a dream

Four lives consumed by addiction and trauma converge in a harrowing and vivid journey towards a break in their collective corrupt humanity.

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Overview

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Unique Selling Point

**Unique Selling Proposition (USP):** This captivating script offers a raw and intense exploration of dysfunctional relationships, family dynamics, and the impact of addiction. Through authentic dialogue, gritty character interactions, and a focus on internal struggle, the screenplay delves into the complex emotions and desperate measures that drive individuals to the brink. Set against the backdrop of urban life, the narrative weaves together themes of hope, despair, love, and redemption, inviting the audience on a visceral journey into the heart of human experience.

AI Verdict & Suggestions

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Gemini
 Recommend
Claude
 Recommend
Story Facts

Genres: Drama, Crime, Thriller, Psychological Thriller, Comedy, Romance, Dark Comedy, Drug Addiction, Surreal, Fantasy

Setting: 1970s, New York City

Themes: Addiction, Isolation and Loneliness, Loss and Grief, Family Dynamics, Dreams and Aspirations

Conflict & Stakes: Sara's struggle to achieve her dream of being famous, Harry's battle with drug addiction, and the relationships between the characters as they try to navigate their lives in a dangerous and unforgiving world.

Mood: Dark and Gritty

Standout Features:

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Comparable Scripts: Requiem for a Dream, Trainspotting, The Basketball Diaries, The Wire, Breaking Bad, We Need to Talk About Kevin, The Road, The Handmaid's Tale

Script Level Analysis

Writer Exec

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

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Overall Score: 7.50
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Emotional Analysis

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Goals and Philosophical Conflict
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Themes
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Logic & Inconsistencies
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Scene Analysis

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Writer Exec

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Correlations
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Loglines
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