"ANNIE HALL" (1977)

(Sound and Woody Allen monologue begin)

White credits dissolve in and out on black screen. No sound.

Abrupt medium close-up of Alvy Singer doing a comedy monologue. He wearing a crumbled sports jacket and tieless shirt; the background is stark.

I'm not one o' those characters, you know. Although I'm balding slightly on top, that's about the worst you can say about me. I, uh, I think I'm gonna get better as I get older, you know? I think I'm gonna be the- the balding virile type, you know, as opposed to say the, uh, distinguished gray, for instance, you know? 'Less I'm neither o' those two. Unless I'm one o' those guys with saliva dribbling out of his mouth who wanders into a cafeteria with a shopping bag screaming about socialism. (Sighing) Annie and I broke up and I-I still can't get my mind around that. You know, I-I keep sifting the pieces of the relationship through my mind and-and examining my life and tryin' to figure out where did the screw-up come, you know, and a year ago we were... tsch, in love. You know, and-and-and ... And it's funny, I'm not-I'm not a morose type. I'm not a depressive character. I-I-I, uh, (Laughing) you know, I was a reasonably happy kid, I guess. I was brought up in Brooklyn during World War II.

Alvy as young boy sits on a sofa with his mother in an old-fashioned, cluttered doctor's office. The doctor stands near the sofa, holding a cigarette and listening.

Something he read, huh?

Disgusted, his mother looks at him.

He laughs.

Fall shot of house with an amusement-park roller-coaster ride built over it. A line of cars move up and then slides with great speed while out the window of the house a band shakes a dust mop.

Alvy as a child sits at the table eating soup and reading a comic book while his father sits on the sofa reading the paper. The house shakes with every move of the roller coaster.

Young Alvy at the food-stand concession watching three military men representing the Army, the Navy and the Marines arm in arm with a blond woman in a skirted bathing suit. They all turn and run toward the foreground. The girl stops before the camera to lean over and throw a kiss. The sign over the concession reads "Steve's Famous Clam Bar. Ice Cold Beer, "and the roller coaster is moving in full gear in the background.

Full shot of people in bumper cars thoroughly enjoying bumping into each other as Alvy father stands in the center of the track directing traffic.

Alvy backs up his car off screen.

The camera pans over three austere-looking teachers standing in front of the blackboard. The chalk writing on the board changes as each teacher lectures. While Alvy speaks, one of the male teachers puts an equation on the blackboard. - "2 X 10 = 20 " and other arithmetic formulas.

school. You know, we had a saying, uh, that "Those who can't do, teach, and those who can't teach, teach gym." And ...uh, h'h, of course, those who couldn't do anything, I think, were assigned to our school. I must say-

A female teacher standing in front of an old-fashioned schoolroom. The blackboard behind her reads "Transportation Administration. The camera pans her point of view: a group of young students sitting behind their desks. Alvy as a child sits in a center desk wile all around him there is student activity; there is note-passing, ruler-tapping, nose-picking, gumchewing.

Ivan stands up behind his desk.

Alvy hits his forehead with his hand. Another student glances over at him, reacting.

As Alvy talks, the camera shows him move from his seat and kiss a young girl. She jumps from her seat in disgust, rubbing her cheek, as Alvy moves back to his seat.

1ST GIRL (Making noises) Ugh, he kissed me, he kissed me.

As the teacher, really glaring now, speaks, Alvy rises from his seat and moves over to her. Angry, she points with her band while the students turn their heads to watch what will happen next.

The students, their heads still turned, look back at Alvy, now an adult, sitting in the last seat of the second row.

The girl the young Alvy kissed turns to the older Alvy, she gestures and speaks.

1ST GIRL For God's sakes, Alvy, even Freud speaks of a latency period.

The camera shows the full classroom, the students sitting behind their desks, the teacher standing in the front of the room. One at a time, the young students rise u from their desks and speak.

1ST BOY I'm president of the Pinkus Plumbing Company.

2ND BOY I sell tallises.

3RD BOY I used to be a heroin addict. Now I'm a methadone addict.

2ND GIRL I'm into leather.

Close-up of a TV screen showing Alvy as an adult on a talk show. He sits next to the show, host, Dick Cavett, a Navy man sits on his right. Static is heard throughout the dialogue.

Sounds of TV audience laughter and applause are heard.

More audience laughter joined by Dick Cavett and the naval officer.

Alvy's mother sits at the old-fashioned dining-room table peeling carrots and talking as she looks off screen.

A pretty Manhattan street with sidewalk trees, brownstones, a school; people mill about, some strolling and carrying bundles, others buried. The screen shows the whole length of the sidewalk, a street, and part of the sidewalk beyond. As the following scene ensues, two pedestrians, indistinguishable in the distance, come closer and closer toward the camera, recognizable, finally, as Alvy and his best friend, Rob, deep in conversation. They eventually move past the camera and off screen. Traffic noise is heard in the background.

Alvy stands in front of glass doors of theater, the ticket taker behind him just inside the glass doors. The sounds of city traffic, car horns honking, can be heard while he looks around waiting for, Annie. A man in a black leather jacket, walking past the theater, stops in front of, Alvy. He looks at him, then moves away. He stops a few steps farther and turns around to look at Alvy again. Alvy looks away, then back at the man. The man continues to stare. Alvy scratches his head, looking for Annie and trying not to notice the man. The man, still staring, walks back to Alvy.

1ST MAN Hey, you on television?

1ST MAN What's your name?

1ST MAN You were on ... uh, the ... uh, the Johnny Carson, right?

1ST MAN What's your name?

Alvy is getting more and more uneasy as the man talks; more and more people move through the doors of the theater.

1ST MAN (Laughing) Come on.

They shake hands and Alvy pats the man's arm. The man in turn looks over his shoulder and motions to another man. All excited now, he points to Alvy and calls out. Alvy looks impatient.

1ST MAN Hey!

2ND MAN (Off screen) What?

1ST MAN This is Alvy Singer!

1ST MAN (Overlapping, ignoring Alvy) This guy's on television! Alvy Singer, right? Am I right?

1ST MAN (Still ignoring Alvy's protestations) This guy's on television.

2ND MAN (Moving into the screen) Who's on television?

1ST MAN This guy, on the Johnny Carson show.

2ND MAN (Also ignoring Alvy) What program?

1ST MAN (Holding out a matchbook) Can I have your autograph?

1ST MAN (Overlapping, Alvy's speech) Yeah, I do. It's for my girl friend. Make it out to Ralph.

1ST MAN It's for my brudder. (To passersby) Alvy Singer! Hey! This is Alvy-

2ND MAN (To Alvy, overlapping 1st man's speech)

You really Alvy Singer, the ... the TV star?

Nodding his head yes, Alvy shoves 2nd man aside and moves to the curb of the sidewalk. The two men follow, still talking over the traffic noise.

1ST MAN -Singer!

2ND MAN Alvy Singer over here!

A cab moves into the frame and stops by the curb. Alvy moves over to it about to get in.

Annie closes the cab door and she and Alvy move over to the ticket booth of the theater as they continue to talk.

They move over to the ticket counter, people in front of them buying tickets and walking off screen.

She moves past the ticket clerk.

Annie moves back to Alvy and takes his arm.

A lined-up crowd of ticket holders waiting to get into the theater, Alvy and Annie among them. A bum of indistinct chatter can be heard through the ensuing scene.

Alvy, reacting to the man's loud monologue, starts to get annoyed, while Annie begins to read her newspaper.

The man in line continues his speech all the while Alvy and Annie talk.

sodomy." (He sighs; then to Annie) Whatta you mean, our sexual problem?

The man in front of them turns to look at them, then looks away.

Alvy steps forward, waving his hands in frustration, and stands facing the camera.

The man in line moves toward Alvy. Both address the audience now.

give it so loud? I mean, aren't you ashamed to pontificate like that? And-and the funny part of it is, M-Marshall McLuhan, you don't know anything about Marshall McLuhan's...work!

Alvy gestures to the camera which follows him and the man in line to the back of the crowded lobby. He moves over to a large stand-up movie poster and pulls Marshall McLuban from behind the poster.

Credits appear over the faces of the soldiers.

THE SORROW AND THE PITY CINEMA 5 LTD., 1972 MARCEL OPHULS, ANDRE HARRIS, 1969 Chronicle of a French town during the Occupation

Annie is sitting up in bed reading.

He starts kissing Annie's arm. She gets annoyed and continues to read.

Allison, clipboard in band, walks about the wings, stopping to talk to various people. Musicians, performers and technicians mill about, busy with activity. Allison wears a large "ADLAI" button, as do the people around her. The sounds of a comedian on the stage of the auditorium can be heard, occasionally, interrupted by chatter and applause from the off screen audience. Allison stops to talk to two women; they, too, wear "ADLAI" buttons.

Alvy moves into the frame behind Allison. He taps her on the shoulder; she turns to face him.

They move closer to the stage, looking out from the wings.

-that I've got to ... ah ... ah ... They're gonna laugh at him for a couple minutes, then I gotta go out there, I gotta ... get laughs, too. How much can they laugh? (Off screen) They-they they're laughed out.

As Allison and Alvy look out at the stage, the camera cuts to their point of view: a comedian standing at a podium in front of huge waving pictures of Adlai Stevenson. The audience, laughing and clapping, sits at round tables in clusters around the room.

The camera moves back to Allison and Alvy watching the stage. Alvy is swinging his hands nervously.

Alvy starts looking Allison up and down; people in the background mill about.

The audience starts to laugh.

The audience is with him, laughing, as Allison continues to watch offstage.

Allison and, Alvy are on the bed, kissing. There are books all over the room; a fireplace, unlit, along one of the walls. Alvy suddenly breaks away and sits on the edge of the bed. Allison looks at him.

Alvy gets up from the bed and starts walking restlessly around the room, gesturing with his hands.

Alvy, stopping for a moment at the fireplace mantel, sighs. He then snaps his fingers and starts walking again.

Alvy stops at the music stand with open sheet music on it as Allison gets up from the bed and retrieves a pack of cigarettes from a bookshelf.

Alvy touches Allison's shoulder, then gets up from the bed and starts walking again.

Alvy's and Annie's voices are heard over the wind-browned exterior of a beach house in the Hamptons. As they continue to talk, the camera moves inside the house. Alvy is picking up chairs, trying to get at the group of lobsters crawling on the floor. Dishes are stacked up in a drying rack, and bags of groceries sit on the counter. There's a table and chairs near the refrigerator.

The lobsters continue to crawl on the floor. Annie, bolding out a wooden paddle, tries to shove them onto it.

She drops the paddle and picks up one of the lobsters by the tail. Laughing, she shoves it at Alvy who jerks backward, squeamishly.

he think we're gonna do, take him to the movies?

Annie hands the lobster to Alvy as he takes it very carefully and drops it gingerly into the pot and puts the cover back on.

She moves hurriedly across the kitchen and picks up another lobster. Smiling, she places it on the counter as Alvy stands beside the refrigerator trying to push it from the wall.

Annie rushes out of the room to get her camera as Alvy picks up the paddle. Trying to get at the lobsters, he ends up knocking over dishes and hitting the chandelier. Holding the paddle, he finally leans back against the sink. Annie, standing in the doorway, starts taking pictures of him.

Alvy drops the lobster back down on the counter, sticking out his tongue and making a face.

The camera pans Annie and Alvy as they walk along the shore.

FLASHBACK OF DENNIS LEANING AGAINST A CAR - NIGHT

Behind him is a movie theater with "MARILYN MONROE, 'MISFITS' " on the marquee. He looks at his watch as the younger Annie, in a beehive hairdo, moves into the

frame. They kiss quickly and look at each other, smiling.

FLASHBACK OF BRICK-WALLED APARTMENT - NIGHT

The younger, Annie and Jerry lean against the wall. Jerry is running his band down Annie's bare arm. Annie and Alvy walk into the room, observing the younger Annie, in jeans and T-shirt, with Jerry.

Jerry stops rubbing the younger Annie's arm and slides down to the floor as she raises her foot toward his chest.

CUT BACK

TO:

EXTERIOR. BEACH-DUSK

It's now sunset, the water reflecting the last light. The camera moves over the scene. The off screen voices of Alvy and Annie are heard as they walk, the camera always one step ahead of them.

A cocktail party is in progress, the rooms crowded with guests as Alvy and Robin make their way through the people. A waiter, carrying a tray, walks past them. Alvy reaches out to pick up a glass; Robin reaches over and picks it of the tray first. There is much low-key chatter in the background.

"A Foul-Rag-and-Bone Shop-of-the-Heart."

They move through the rooms, Robin holding a drink in one hand, her arm draped in Alvy's; the crowd mills around them.

Alvy sits on the foot of the bed watching the Knicks game on television.

Robin enters the room, slamming the door.

the body doesn't lie, as-as we now know.

Alvy reaches over, pulls Robin down onto the bed. He kisses her and moves farther up on the bed.

She sits on the edge of the bed, looking down at the sprawled-out Alvy.

He pulls Robin toward him, caressing her as she pulls herself away.

She gets up and fixes the zipper on her dress. She turns and moves toward the door.

Robin and Alvy are in bed. The room is in darkness. Outside, a siren starts blaring.

She flips on the overhead lamp and turns on her side. Alvy turns to her.

She fumbles about the floor for the Valium, then back on the bed.

He begins to get out of bed.

Rob and Alvy, carrying tennis rackets, come through the door of the locker room to the lobby. They are dressed in tennis whites. They walk toward the indoor court.

Annie and Janet, in tennis whites, stand on the court holding tennis rackets and balls. They are chattering and giggling.

Rob and Alvy enter the court and walk over to the two women. Rob kisses Janet and makes introduction.

Annie and Alvy shake hands.

The group, laughing and chatting, divide up-Rob and Annie moving to the other side of the net, Alvy and Janet standing where they are. They start to play mixed doubles, each taking turns and playing well. At one point in the game, Annie starts to talk to Rob, then turns and sees a ball heading toward her.

Alvy, dressed, puts things into a gym bag. One knee is on the bench and his back is turned from the entrance. Annie walks toward the entrance door dressed in street clothes and carrying her tennis bag over her shoulder. Seeing Alvy, she stops and turns.

She turns around and moves toward the door.

Oh, why-uh ... y-y-you gotta car?

Alvy picks up his bag and moves toward the door. As he turns his bag around, the handle of the tennis racket bits Annie between the legs.

They walk out the door.

Alvy and Annie in the VW as Annie speeds down a city street near the East River.

She zooms down the wrong lane, cars swerving out of her way. A horn blows.

almost on top of it in the wrong direction. Annie swerves away at the very last minute) -a very good driver. (Alvy rubs his head nervously, staring out the window as Annie speeds along) So, listen-hey, you want some gum, anyway?

Annie looks down beside her, searching for the gum.

They both fumble around in her pocketbook. Alvy looks up to see the entire front of a truck in Annie's windshield. She swerves just in time.

Alvy continues to look for the gum while Annie zooms down the city streets.

Cars are parked on both sides of the street as the VW rounds the corner.

With brakes squealing, Annie turns the VW sharply into the parking spot. Annie and Alvy get out, Alvy looking over his shoulder as he leaves the car.

Alvy reaches into the back of the car and takes out tennis equipment. He hands her her things. People pass by on the street.

Alvy shakes hands with Annie.

Alvy touches the tie Annie is wearing around her neck.

Annie flips the bottom of the tie.

They move toward Annie's apartment building.

Alvy, standing, looks around the apartment. There are lots of books, framed photographs on the white wall. A terrace can be seen from the window. He picks up a copy of Ariet, by Sylvia Platb, as Annie comes out of the kitchen carrying two glasses. She hands them to Alvy.

Annie unscrews the bottle of wine, silent now after her speech.

They move outside to the terrace, Alvy still holding the glasses, Annie the wine. They stand in front of the railing, Annie pouring the wine into the held-out glasses.

They put their glasses together in a toast.

Annie's thoughts pop on the screen as she talks: I dabble? Listen to me-what a jerk!

As do Alvy's: You are a great-looking girl

Again, Annie's thoughts pop on: He probably thinks I'm a yo-yo

And Alvy's: I wonder what she looks like naked?

I'm not smart enough for him. Hang in there

I don't know what I'm saying-she senses I'm shallow

God, I hope he doesn't turn out to be a shmuck like the others

Christ, I sound like FM radio. Relax

They're quiet for a moment, holding wine glasses and sipping. The sounds of distant traffic from the street can be heard on the terrace. Annie, laughing, speaks first.

Annie stands on center stage with a microphone, a pianist behind her. A Bright light is focused on her; the rest of the club is in darkness. There are the typical sounds and movements of a nightclub audience: low conversation, curling smoke, breaking glass, microphone bum, moving chairs, waiters clattering trays, a ringing phone as Annie sings "It Had to Be You.

Alvy and Annie walk quickly down the sidewalk.

They stop in the middle of the sidewalk. Alvy turns Annie around to face him.

They kiss.

They turn and start walking again.

Annie and Alvy sit down in a booth. The deli is fairly well lit and crowded. Conversation, plates clattering, can be heard over the dialogue. The waiter comes over to them to take their order.

Alvy and Annie in bed together.

major hallucinogenics because I took a puff like five years ago at a party and

Annie and Alvy browsing in crowded bookstore. Alvy, carrying two books, "Death and Western Thought" and "The Denial of Death", moves over to where Annie is looking.

I think. Big-

They move over to the cashier line.

You're very lucky ... to be ... (Overlapping Annie's laughter) ... to be miserable.

It's a beautiful sunny day in Central Park. People are sitting on benches, others strolling, some walking dogs. One woman stands feeding cooing pigeons. Alvy's and Annie's voices are heard off screen as they observe the scene before them. An older man and woman walk into view.

The camera shows them sitting side by side relaxed on a bench.

or Cement and Contract, you know what I mean?

Alvy and Annie walk almost in silhouette along the dock, the New York City skyline in the background. Alvy has his arm around Annie and they walk slowly. No one else is around.

They stop walking. Holding Annie's arms, Alvy turns her to face him. The South Street Bridge, lit up for the night, is in the background.

They kiss as a foghorn sounds in the distance.

Alvy, somewhat distraught, is following Annie around his apartment, which is filled with boxes and suitcases, clothes and framed pictures. They both carry cartons.

He moves over to the carton of books on the window seat and reaches in. He starts tossing books off screen.

He tosses the book on the bed and walks back to the window seat.

Alvy moves over to the bed and sits down next to Annie.

Annie and Alvy, in Annie's VW, driving to their summerhouse. The camera moves with them as they pass a house with a lighted window, blooming foliage. There is no dialogue, but it is a comfortable quiet. Classical music plays in the background.

Annie, sitting cross-legged on a wooden chest in the bedroom, is browsing through a school catalogue. Alvy lies in bed reading.

Hey, listen, what-what do you think? Do you think we should, uh, go to that-that party in Southampton tonight?

Alvy leans over and kisses her shoulder.

Alvy, sitting down on the bed, moves over to Annie and takes the weed from her.

As Annie speaks, her inner self (ghostlike, moves up from the bed and) sits down on a chair, watching.

they're always laughin'.

A typical old-fashioned theatrical agency in a Broadway office building. Autographed 8 X 12 is plastered in the sloppy room. The agent, chewing a cigar, sits behind his desk talking to one of his clients, a comedian, who stands with his hands in his pockets. A young Alvy sits stiffly in a chair nearby watching.

there. The only way to remember Jeanne d'Arc means the light's out in the bathroom!" (He laughs. Seated Alvy looks up smiling) "Oh, I met a big lumberjack ..."

The darkened auditorium is filled with college students applauding and cheering, excited, as Alvy stands on spotlighted stage holding the microphone.

who's an emotionally high-strung woman, locked herself in the bathroom and took an overdose of mah-jongg tiles. (More applause and laughter) And, uh, tsch, I was depressed. I was ... in analysis, I-I, uh, was suicidal; as a matter of fact, uh, I would have killed myself but I was in analysis with a strict Freudian and if you kill yourself ... they make you pay for the sessions you miss.

Students mill around Alvy banding him pens and paper for autographs. Annie is next to him, talking over the chattering fans.

Father.

They start moving toward the exit, a girl snapping a picture of Alvy with a flash camera as they walk through the crowd.

The camera shows a neat two-story house surrounded by a well-manicured green lawn, then cuts to:

Alvy and the Halls are eating Easter dinner. The sun is pouring through a big picture window, shining on a large, elegantly laid out table. Alvy sits, at one end,- rubbing his nose and chewing, the Halls flanking him on either side: Mr. and Mrs. Hall, Grammy, and Annie's brother, Duane.

Grammy Hall takes a sip of her wine and nods.

(Smacking his lips) It's dynamite ham.

Grammy Hall stares down the table at Alvy; a look of utter dislike. Alvy tries not to notice.

Grammy continues to stare at Alvy; he is now dressed in the long black coat and hat of the Orthodox Jew, complete with mustache and heard.

Mom Hall reacts by sipping from her glass and frowning. Grammy continues to stare.

Alvy, leaning his elbow on the table, looks out toward the camera.

The screen splits in half - on the right is Alvy's family - his mother, father, aunt and uncle-busily eating at the crowded kitchen table. They eat quickly and interrupt one another loudly. On the left the Halls in their dining room. Both dialogues overlap, juxtaposed.

The two families start talking back and forth to one another. The screen is still split.

Duane, sitting on his bed, sees Alvy walking past the open door.

Alvy sighs and sits down, leaning his arm on Duane's dresser. Duane's face is big lighted by a single lamp.

He slowly gets up and moves toward the door.

Mom and Dad Hall walk into the living room; Annie is with them.

She walks out of the room as Mom and Dad Hall kiss.

Duane, behind the wheel, stares straight ahead. It is raining very hard, the windshield wipers are moving quickly. The headlights of another car brightens the interior of Duane's car as the camera shows first Duane, then Annie, then Alvy tensely staring straight ahead.

The camera bolds on a quiet New York City street; the buildings, brownstones. It's a warm day-people sit on front stoops, window boxes are planted. Annie walks into the frame first, then Alvy, who is walking to her right. They walk quickly, side by side, their voices heard before they move into the frame.

That's not following!

She walks away.

They both stop in the middle of the street.

He walks away.

Alvy is at the sink washing dishes as the screen cuts to the scene of last month's argument. Annie's voice is heard.

I'm home!

Alvy turns toward the camera.

She said, "Will it change my wife." You heard that because you were there so I'm not crazy.

She walks out of the room.

Annie stands at the open door of a cab, Alvy next to her gesturing as people and cars move by.

Annie gets into the cab; Alvy leans over and closes the door.

She moves on down the street.

He walks on.

He continues to walk past some other passersby and moves into the street. A mounted policeman comes by and stops near him. Alvy looks at the horse, as if to speak.

The scene dissolves into a sequence from the animated Snow White and the Seven Dwarfs. The Wicked Queen, resembling Annie, sits in the palace before her mirror. Alvy, as a cartoon figure, sits beside her, arms crossed in front of him.

Rob, as a cartoon figure, enters and sits down on the other side of the Wicked Queen.

The cartoon figures of Alvy and Rob walk past the Wicked Queen; the screen dissolves into the interior of a concert ball. Rob's voice carries over from the cartoon scene as the screen shows Alvy with the female reporter. It's very crowded, noisy; policeman and reporters are everywhere. Alvy stands with his hands in his pockets, watching the commotion.

The reporter is sitting up in bed, lighted cigarette in her hand. Alvy, lying next to her, rubs his eyes and puts on his eyeglasses.

Oh, no, no, don't be ... tsch ... don't be silly. You know, (Yawning) I'm startin' it-I'm startin' to get some feeling back in my jaw now.

He hangs up. The reporter sits in bed still, taking in the situation.

Annie, looking slightly distraught, goes to open the door to Alvy's knock.

sighing) Are you all right? What-

Alvy, disgusted, starts waving his hands and starts to move into the living room.

talking, glances around the apartment. He notices a small book on a cabinet and picks it up.) You know, you, you joke with-about me, you make fun of me, but I'm prepared for anything. An emergency, a tidal wave, an earthquake. Hey, what is this? What? Did you go to a rock concert?

He tosses the book down on the cabinet.

She hands him a magazine.

thin and tired.

She puts a piece of gum in her mouth.

Very big spider.

Alvy starts walking down the ball again, Annie following.

Reaching up into the closet, Alvy takes out a covered tennis racquet.

He walks into the bathroom, Annie looking after him.

Alvy stands in the middle of the bathroom, tennis racquet in one band, rolled magazine in the other. He looks over at the shelf above the sink and picks up a small container. He holds it out, shouting off screen to Annie.

She beats her fist on the bed. Reacting, Alvy puts his arm around her shoulder and leans back against the wall.

He touches her face gently as she wipes tears from her face.

Alvy pulls her to him and they kiss again.

Alvy is lying in bed next to Annie, who is leaning on her elbow looking down at him. He rubs her arms and she smiles.

I mean, I know it's hard and ... Yeah.

Alvy raises up his head and they kiss.

Annie is behind the wheel in her VW, Rob is beside her, Alvy in the back seat leaning forward so that his head is between them. They're driving down the highway.

Alvy Annie and Rob move toward the roller coaster on the screen. The area's deserted. Sea gulls are heard.

Annie laughs.

FLASHBACK - INT. ALVY'S HOUSE.

Alvy's father sits in his chair. His mother is polishing a door while Alvy lies on the floor playing. Annie, adult Alvy and Rob quietly walk into the scene to watch.

Alvy's father gets up and gets his hard hat. He sits back down and starts polishing it.

As the three friends watch Alvy's old living room, the scene has suddenly shifted. A huge crowd stands around the room, laughing, eating, chatting and

vibrating with the turns of the roller-coaster ride.

Joey grabs Alvy's cheeks and pinches them.

A group of women stands near a buffet table eating and listening to Alvy mother and her sister, Tessie, and a young girl, as the three friends watch.

She touches Tessie's shoulder. Tessie starts to laugh.

Moskowitz had the personality. She's the life of the ghetto, no doubt.

Tessie nods her head "yes."

Tessie gyrates back and forth imitating a dancer while Annie and the adult Alvy lean on each other laughing.

Alvy and Annie walk contentedly down a street; Alvy's arm is draped around Annie. People walk by them on the street as they move toward their apartment building.

Annie and Alvy sit on the sofa. Annie's unwrapping a gift while Alvy watches.

She pulls out flimsy black lingerie from the box.

Alvy leans over and hands her another box as she puts down the lingerie.

Alvy kisses Annie.

Annie, spotlighted onstage, stands in front of the microphone, smiling. She looks downward and sings "Seems Like Old Times. " The audience applauds loudly as the music fades out.

Alvy sits at the bar, clapping and staring at Annie as she walks over to him and sits down. The low murmur of the night club is surrounding them.

Tony, a famous record personality, pushes through the crowd, moving toward Alvy and Annie. An entourage follows him as he makes his way to their table.

He shakes hands with Annie, smiling.

Seated Alvy looks the other way, reacting.

Tony reaches over and shakes hands with Alvy. The nightclub crowd surrounds

them all with their low chatter and cigarette smoke.

Annie and Tony and his entourage turn to look at Alvy.

Annie turns, looks at Tony as he smiles and gestures with his hands.

He shakes hands with Annie.

She turns and looks at Alvy.

nice to meet some new people.

The screen is projecting the beginning of "The Sorrow and the Pity": a street filled with fleeing cars, belongings tied on top and piled in the back seats. Subtitles pop on:

"The Jewish warmongers and Parisian plutocrats tried to flee with their gold and jewels"

as a narrator explains in German.

CUT TO.

Split screen: Annie and her psychiatrist on the left; Alvy and his on the right. Annie, talking, sits in a white molded chair, as does her doctor. The office is very modern: stark, white and chrome. Alvy, talking to his psychiatrist, lies on a deep leather sofa, the doctor seated away from him. This office looks more like a well-worn den: bookcases overflowing, dark wood. The dialogue is separated in each screen, though no one talks simultaneously.

Alvy and Annie sit close together on the sofa in some friends' apartment. Their friends, another couple, stand behind the sofa in the background. Excited, they talk almost all at once.

They all start talking at once.

Annie laughs, chatters.

Annie laughs.

He puts his finger into the drug, smells it and then sneezes. The powder blows all over the room as the man, woman and Annie react silently.

CALIFORNIA. BEVERLY HILLS STREET-DAY

It's a warm, beautiful day. Rob, Annie and Alvy in Rob's convertible are moving past the spacious houses, the palm trees. The sunlight reflects off the car. Annie, excited, is taking the whole place in. Background voices sing Christmas carols.

Annie starts snapping pictures of the view.

They pass a large house with spacious lawn. Sitting on the lawn is a Santa Claus complete with sleigh and reindeer. Voices continue to sing Christmas carols; Annie continues to take pictures.

They continue driving, now in a less residential area, passing a hot-dog stand. "Tail-Pup" concession; people mill about eating hot dogs.

They pass a theater, the marquee announcing "House of Exorcism Messiah of Evil. Rated R. Starts at 7:15."

Several monitors line the wall in front of an elaborate console. Rob and Alvy, along with Charlie, the technician, stand in the small room watching the screens showing Rob as a television star on a situation comedy. They chatter, analyzing the footage, over the sounds of the taped television comedy.

TV monitors go black as the technician turns of the monitors to fix the laugh track.

Technicians turn the monitors back on, showing Rob on the screen with another character, Arnie.

Loud laughter from the TV monitors.

The sounds of laughter and applause are heard from the TV.

The monitors show a woman on the screen.

Alvy lies in bed, one elbow propped up, a doctor sitting next to him looking

concerned. The doctor bolds out a plate of chicken; Alvy listlessly stares at it. Annie, in the background, is on the phone.

Annie bangs up and moves over to Alvy.

Reacting, Alvy puts up his band in disgust, then starts eating the piece of chicken he has been holding. The doctor and Annie watch him, reacting.

Alvy begins to eat.

Rob, Annie and Alvy in Rob's car pull into a long circular driveway as an attendant walks over to the car. A sprawling house is seen to the right; a couple moves toward the front door, and the driveway is crowded with other parked cars. Loud music is heard.

I reached Los Angeles.

A Hollywood Christmas party is in session, complete with music, milling people, circulating waiters bolding out trays of drinks. It's all very casual. French doors run the entire width of one wall; they are opened to the back lawn, guests move from the room to outside and back in. It is crowded; bits of conversation and clinking glasses can be heard. Two men, California-tanned, stand by the French doors talking.

1ST MAN Well, you take a meeting with him, I'll take a meeting with you if you'll take a meeting with Freddy.

2ND MAN I took a meeting with Freddy. Freddy took a meeting with Charlie. You take a meeting with him.

1ST MAN All the good meetings are taken.

FULL GROUP SHOT

A man stands talking, people in groups behind him. Two born like gadgets are attached to his shoulders; he's wearing a bizarre space costume.

3RD MAN Right now it's only a notion, but I think I can get money to make it into a concept ... and later turn it into an idea.

Alvy and Rob stand near the French doors leading to the back lawn, eating and drinking and watching the people walking in and out of the house.

Alvy looks into the room, where Annie and Tony Lacey are having an animated conversation.

Rob nods his head toward a tall woman dressed all in white conversing with a group of people close-by.

A couple moves over toward Rob and Alvy. The man's arm is around the woman; they stand very close. In the background, Annie and Tony are still talking.

As Rob and Alvy observe the guests, the woman in white starts walking toward them.

The girl in white laughs.

Rob and the girl walk of together as the camera moves in on Tony and Annie standing by the buffet table.

She picks up an hors doeuvre.

The two men still talking about meetings surrounded by other groups of people milling about.

1ST MAN

Not only is he a great agent, but he really gives good meetings.

2ND MAN M'mm.

Tony, band in band with the girl in white, is leaving the party room with Alvy and Annie to show them the rest of the house.

Annie and the girl in white laugh.

They stop in a den-like screening room. A man is slouched back on one of the comfortable sofas that fill the room. It is much quieter in here; a contrast to the noise and crowd downstairs.

Tony and the girl in white leave the room, Annie and Alvy following.

They pass a man talking on the phone in the hallway.

As they come down stairs the party is still in big gear. People are looser now; conversations are more animated, some talk quietly in more intimate corners, some couples are dancing. Alvy stands alone sipping a drink near the huge Christmas tree. A tall woman, passing by, shakes his hand, then leaves. He continues to sip his drink, alone, watching Tony and Annie in the center of the room dancing.

The screen shows a plane in flight, Los Angeles far below, then:

AIRPLANE. INT. AIRPLANE

Annie and Alvy sit, the stewardess behind them serving other passengers. Annie stares out the window bolding a coffee cup; Alvy reads. Both are preoccupied, thinking their own thoughts.

He looks over at Annie.

A lighted Christmas tree stands in the middle of boxes, books, and the general disarray of packing and figuring out what belongs to whom as Alvy helps Annie move out.

Oh, it sure has ... You know, you wrote your name in all my books, 'cause you knew this day was gonna come.

Annie goes over to Alvy. They both look down at the book; the fireplace, burning nicely, is behind them.

She walks away.

He tosses the book into the carton.

People milling about on the sidewalk as Alvy walks out of a store and moves toward the foreground.

A couple, walking down the street, stops as the man talks to Alvy.

The couple strolls away as an older woman walks up to Alvy while others walk by.

RECENT FLASHBACK - INT. ALVY'S COUNTRY KITCHEN

Alvy's arms and legs fill the screen as he slowly gets up from the floor bolding up a live lobster. He puts it on a grill tray.

His date, a girl wearing short shorts, leans against the sink and lights a cigarette. She makes no move to help.

He gets up of the floor with the lobster on the tray.

A solitary Alvy walking along the FDR Drive where he had walked with Annie. - The New York skyline is still in the background, the sea gulls go by, the fog horn blows. He walks slowly, moving off screen.

Alvy sits on his bed talking on the phone.

An airborne plane.

People milling about as Alvy, in the outside phone-booth center, talks.

Alvy's conversation is still heard as the screen shows him behind the wheel of a car on a busy street; he causes a near-accident by jerking the car too slowly toward an intersection.

rented a car I'm driving ... that ... Whatta you mean? What-why is that such a miracle? I'm driving myself --

People sit at umbrellaed tables with checkered tablecloths at a Sunset Boulevard outdoor cafe. Street traffic goes by while they dine. There's a mild California breeze. The restaurant is somewhat crowded as Alvy makes his way around the tables looking about. He finally sits down at an empty table; nearby sits a woman with a younger man. A waitress brings Alvy a menu and waits for his order.

Annie, wearing a flowered dress and wide hat, moves into view. Alvy, noticing her, watches as she walks over to his table. He rises and they shake hands.

Alvy wipes at his nose as he stares. He smiles, the street traffic moving behind him. Annie smiles back.

perfectly fine out here. I mean, Tony's very nice and, uh, well, I meet people and I go to parties and-and we play tennis. I mean, that's ... that's a very big step for me, you know? I mean ... (Reacting, Alvy looks down at his hands, then up) I'm able to enjoy people more.

(Louder, to the waitress) Check, please. Can I -can I ... Can I ... Can I ...

He nods his head in disbelief.

She starts to rise.

They move down the steps of the cafe' toward the parking lot.

Annie gets into her car. Alvy moves over to his rented convertible.

She closes the door, starts the motor.

Annie drives away. Alvy gets behind the wheel, starts the motor. Putting the car in gear, he inadvertently moves forward, hitting a bunch of trash cans with a loud crash. Putting the car in reverse, Alvy notices a beige car that has just turned into the parking lot. For a brief moment, the screen shows a flashback of the bumper-car ride at the Brooklyn amusement park. Alvy's father is on the Platform directing traffic; young Alvy is in a small car bumping others right and left. Alvy, hack in the parking lot, backs up his convertible, purposefully smashing the side of the beige car as another flashback of bumper- car ride appears, this time-as, Alvy's father directs traffic-a Marine in a small car bits the back end of a soldier's car, and Alvy, back in the parking

lot, moves his car over to another parked car and bits it full force.

Another flashback appears. people in the small cars really racing around the track now, bumping into one another over and over again, Alvy's father directing the flow, as the film cuts back to the parking lot, where Alvy reverses the convertible and rams it into the front end of yet another car.

He sits behind the wheel as people rush out of various cars and as sirens start blaring, coming closer and closer, stopping finally as a motorcycle cop gets off beside Alvy's car and walks over to him.

He drops the license and it falls to the ground.

not your fault. Don't take it personal.

A guard moves down the ball to the cell where, Alvy stands with other inmates. He unlocks the door and opens it, letting Alvy out.

He walks down the corridor off screen.

Policemen are walking up and down the courthouse steps as Alvy and Rob move out the door of the building, down the steps to the street.

They walk over to Rob's convertible and get in.

He puts on an elaborate helmet and goggles.

An actor and actress sit on hard wooden chairs in a sparse rehearsal ball. They face each other. The actress resembles Annie; the actor, Alvy.

The camera pulls back, showing Alvy sitting with two men at a table set up near the actors. A mirror, running the whole width of the wall, reflects the two actors, a script lying on the table between them. It is obvious now that they are rehearsing a scene that Alvy wrote.

The camera moves back to actual actor and actress.

Goodbye, Sunny.

The actor begins to leave as the actress jumps up from her chair.

The camera cuts to Alvy, who turns and looks straight into the camera.

Annie, singing "Seems Like Old Times, " overlaps Alvy's speech and continues over the next scene, where Alvy, standing in front of a Manhattan theater, shakes hands with Annie and her escort. The theater marquee reads "OPHULS PRIZE FILM: 'THE SORROW AND THE PITY'."

A series of flashbacks following in quick succession while Annie continues to sing:

Annie and Alvy going up the FDR Drive, the day they met playing tennis, Annie driving, Alvy bolding up partially eaten sandwich.

Annie and Alvy in the Hamptons house kitchen, Annie banding a live lobster to Alvy, who drops it in the pot on the stove.

Annie and Alvy walking side by side by the shoreline.

Alvy at the tennis club, packing his bag, as he looks over his shoulder and sees Annie, hands on her face, then clapping, as she offers him a ride home

in her car.

Annie opening the door to Alvy the night he came over to kill the spider; Annie and, Alvy in the bookstore buying the "Death" titles; Annie and, Alvy in their Hamptons house, Annie reading a school catalogue, the night Alvy puts in the red light.

The memories continue to flash on the screen: Annie and Alvy at a friend's house, Alvy blowing the cocaine all over the sofa; Annie and Alvy playing tennis; Annie and Alvy having a picture taken backstage at the college performance in Annie's hometown; Alvy bolding Annie close, the night he came over to kill the spider.

And continue: Annie carrying her luggage and clothes into Alvy's bedroom, Alvy following, the day she first moved into his apartment. Annie holding up her sexy birthday present from Alvy, then leaning over and kissing him; Annie and Alvy walking down a city street, holding each other close; sitting on the park bench, observing the people; and kissing, on the FDR Drive, the New York City skyline behind them. The music stops.

Returning to the present, the camera, focusing through the cafe window, shows Annie and Alvy across street. They look about at the city traffic. Lunch is over; it's time.

Alvy and Annie shake hands and kiss each other friendly like. Annie crosses the street, Alvy watching her go. Then he turns, and slowly walks down the street off screen. His voice is heard over the scene:

DISSOLVES

BLACK BACKGROUND;

credits popping on and of in white.

Found on INFlow Screenplay Repository