ANNIE HALL

“ANNIE HALL”

Written by

Woody Allen and Marshall Brickman

 

(Sound and Woody Allen monologue begin)

FADE IN:

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

FADE OUT: CREDITS

FADE IN:

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

ALVY
There’s an old joke. Uh, two elderly
women are at a Catskills mountain
resort, and one of ’em says: “Boy,
the food at this place is really
terrible.” The other one says, “Yeah,
I know, and such… small portions.”
Well, that’s essentially how I feel
about life. Full of loneliness and
misery and suffering and unhappiness,
and it’s all over much too quickly.
The-the other important joke for me
is one that’s, uh, usually attributed
to Groucho Marx, but I think it
appears originally in Freud’s wit
and its relation to the unconscious.
And it goes like this-I’m
paraphrasing: Uh… “I would never
wanna belong to any club that would
have someone like me for a member.”
That’s the key joke of my adult life
in terms of my relationships with
women. Tsch, you know, lately the
strangest things have been going
through my mind, ’cause I turned
forty, tsch, and I guess I’m going
through a life crisis or something,
I don’t know. I, uh… and I’m not
worried about aging. 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.

CUT TO:

INT. DOCTOR’S OFFICE-DAY

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.

MOTHER
(To the doctor)
He’s been depressed. All off a sudden,
he can’t do anything.

DOCTOR
(Nodding)
Why are you depressed, Alvy?

MOTHER
(Nudging Alvy)
Tell Dr. Flicker.
(Young Alvy sits, his
head down. His mother
answers for him)
It’s something he read.

DOCTOR
(Puffing on his
cigarette and nodding)
Something he read, huh?

ALVY
(His head still down)
The universe is expanding.

DOCTOR
The universe is expanding?

ALVY
(Looking up at the
doctor)
Well, the universe is everything,
and if it’s expanding, someday it
will break apart and that would be
the end of everything!

Disgusted, his mother looks at him.

MOTHER
(shouting)
What is that your business?
(she turns back to
the doctor)
He stopped doing his homework.

ALVY
What’s the point?

MOTHER
(Excited, gesturing
with her hands)
What has the universe got to do with
it?

You’re here in Brooklyn! Brooklyn is not expanding!

DOCTOR
(Heartily, looking
down at Alvy)
It won’t be expanding for billions
of years yet, Alvy. And we’ve gotta
try to enjoy ourselves while we’re
here. Uh?

He laughs.

CUT TO:

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’S VOICE
My analyst says I exaggerate my
childhood memories, but I swear I
was brought up underneath the roller-

CUT TO:

INT. HOUSE

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.

ALVY’S VOICE
coaster in the Coney Island section
of Brooklyn. Maybe that accounts for
my personality, which is a little
nervous, I think.

CUT TO:

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.

ALVY’S VOICE
You know, I have a hyperactive
imagination. My mind tends to jump
around a little, and have some trouble
between fantasy and reality.

CUT TO:

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’S VOICE
My father ran the bumper-car
concession.
(Alvy as a child moves
into the frame driving
a bumper car. He
stops as other cars
bombard him. His
father continues to
direct the traffic)
There-there he is and there I am.
But I-I-I-I used to get my aggression
out through those cars all the time.

Alvy backs up his car off screen.

INT. SCHOOLROOM – DAY

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.

ALVY’S VOICE
I remember the staff at our public
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-

CUT TO:

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 while all around him there is student
activity; there is note-passing, ruler-tapping, nose-picking,
gum chewing.

ALVY’S VOICE
I always felt my schoolmates were
idiots. Melvyn Greenglass, you know,
fat little face, and Henrietta
Farrell, just Miss Perfect all the
time. And-and Ivan Ackerman, always
the wrong answer. Always.

Ivan stands up behind his desk.

IVAN
Seven and three is nine.

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

ALVY’S VOICE
Even then I knew they were just jerks.
(The camera moves
back to the teacher,
who is glaring out
at her students)
In nineteen forty-two I had already
dis-

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.

TEACHER
(Off screen)
That’s the second time this month!
Step up here!

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

ALVY
What’d I do?

TEACHER
Step up here!

ALVY
What’d I do?

TEACHER
You should be ashamed of yourself.

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

ALVY (AS ADULT)
(First off screen,
then onscreen as
camera moves over to
the back of the
classroom)
Why, I was just expressing a healthy
sexual curiosity.

TEACHER
(The younger, Alvy
standing next to her)
Six-year-old boys don’t have girls
on their minds.

ALVY
(Still sitting in the
back of the classroom)
I did.

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.

ALVY
(Gesturing)
Well, I never had a latency period.
I can’t help it.

TEACHER
(With young, Alvy
still at her side)
Why couldn’t you have been more like
Donald?
(The camera pans over
to Donald, sitting
up tall in his seat,
then back to the
teacher)
Now, there was a model boy!

ALVY (AS CHILD)
(Still standing next
to the teacher)
Tell the folks where you are today,
Donald.

DONALD
I run a profitable dress company.

ALVY’S VOICE
Right. Sometimes I wonder where my
classmates are today.

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.

INT. ROOM

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.

ALVY
I lost track of most of my old
schoolmates, but I wound up a
comedian. They did not take me in
the Army. I was, uh… Interestingly
enough, I was-I was four-P.

Sounds of TV audience laughter and applause are heard.

DICK CAVETT
Four-P?

ALVY
Yes. In-in-in-in the event of war,
I’m a hostage.

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

INT. THE HOUSE WHERE ALVY GREW UP

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

MOTHER
You always only saw the worst in
people. You never could get along
with anyone at school. You were always
outta step with the world. Even when
you got famous, you still distrusted
the world.

EXT. MANHATTAN STREET-DAY

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
I distinctly heard it. He muttered
under his breath, “Jew.”

ROB
You’re crazy!

ALVY
No, I’m not. We were walking off the
tennis court, and you know, he was
there and me and his wife, and he
looked at her and then they both
looked at me, and under his breath
he said, “Jew.”

ROB
Alvy, you’re a total paranoid.

ALVY
Wh- How am I a paran-? Well, I pick
up on those kind o’ things. You know,
I was having lunch with some guys
from NBC, so I said… uh, “Did you
eat yet or what?” and Tom Christie
said, “No, didchoo?” Not, did you,
didchoo eat? Jew? No, not did you
eat, but Jew eat? Jew. You get it?
Jew eat?

ROB
Ah, Max, you, uh…

ALVY
Stop calling me Max.

ROB
Why, Max? It’s a good name for you.
Max, you see conspiracies in
everything.

ALVY
No, I don’t! You know, I was in a
record store. Listen to this- so I
know there’s this big tall blond
crew-cutted guy and he’s lookin’ at
me in a funny way and smiling and
he’s saying, “Yes, we have a sale
this week on Wagner.” Wagner, Max,
Wagner- so I know what he’s really
tryin’ to tell me very significantly
Wagner.

ROB
Right, Max. California, Max.

ALVY
Ah.

ROB
Let’s get the hell outta this crazy
city.

ALVY
Forget it, Max.

ROB
We move to sunny L.A. All of show
business is out there, Max.

ALVY
No, I cannot. You keep bringing it
up, but I don’t wanna live in a city
where the only cultural advantage is
that you can make a right turn on a
red light.

ROB
(Checking his watch)
Right, Max, forget it. Aren’t you
gonna be late for meeting Annie?

ALVY
I’m gonna meet her in front of the
Beekman. I think I have a few minutes
left. Right?

EXT. BEEKMAN THEATER-DAY

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?

ALVY
(Nodding his head)
No. Yeah, once in a while. You know,
like occasionally.

1ST MAN
What’s your name?

ALVY
(Clearing his throat)
You wouldn’t know it. It doesn’t
matter. What’s the difference?

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

ALVY
Once in a while, you know. I mean,
you know, every now-

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.

ALVY
(Nervously)
I’m… I’m, uh, I’m Robert Redford.

1ST MAN
(Laughing)
Come on.

ALVY
Alvy Singer. It was nice nice…
Thanks very much… for everything.

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!

ALVY
Fellas… you know-Jesus! Come on!

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

ALVY
(Overlapping 1st man)
Gimme a break, will yuh, gimme a
break. Jesus Christ!

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

ALVY
I need a large polo mallet!

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

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

ALVY
(Annoyed)
Fellas, what is this-a meeting o’
the teamsters? You know…

2ND MAN
(Also ignoring Alvy)
What program?

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

ALVY
You don’t want my autograph.

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

ALVY
(Taking the matchbook
and pen and writing)
Your girl friend’s name is 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.

ALVY
(Overlapping the two
men and stuttering)
I-i-i-i-it’s all right, fellas.
(As Alvy opens the
cab door, the two
men still behind
him, Annie gets out)
Jesus, what’d you do, come by way of
the Panama Canal?

ANNIE
(Overlapping Alvy)
Alright, alright, I’m in a bad mood,
okay?

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

ALVY
Bad mood? I’m standing with the cast
of “The Godfather.”

ANNIE
You’re gonna hafta learn to deal
with it.

ALVY
Deal! I’m dealing with two guys named
Cheech!

ANNIE
Okay.
(They move into the
ticket line, still
talking. A billboard
next to them reads
“INGMAR BERGMAN’S
‘FACE TO FACE ,’LIV
ULLMANN”)
Please, I have a headache, all right?

ALVY
Hey, you are in a bad mood. You-you-
you must be getting your period.

ANNIE
I’m not getting my period. Jesus,
every time anything out of the
ordinary happens, you think that I’m
getting my period!

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

ALVY
(Gesturing)
A li-little louder. I think one of
them may have missed it!
(To the ticket clerk)
H’m, has the picture started yet?

TICKET CLERK
It started two minutes ago.

ALVY
(Hitting his hand on
the counter)
That’s it! Forget it! I-I can’t go
in.

ANNIE
Two minutes, Alvy.

ALVY
(Overlapping Annie)
No, I’m sorry, I can’t do it. We-
we’ve blown it already. I-you know,
uh, I-I can’t go in in the middle.

ANNIE
In the middle?
(Alvy nods his head
yes and let’s out an
exasperated sigh)
We’ll only miss the titles. They’re
in Swedish.

ALVY
You wanna get coffee for two hours
or something? We’ll go next-

ANNIE
Two hours? No, u-uh, I’m going in.
I’m going in.

She moves past the ticket clerk.

ALVY
(Waving to Annie)
Go ahead. Good-bye.

Annie moves back to Alvy and takes his arm.

ANNIE
Look, while we’re talking we could
be inside, you know that?

ALVY
(Watching people with
tickets move past
them)
Hey, can we not stand here and argue
in front of everybody, ’cause I get
embarrassed.

ANNIE
Alright. All right, all right, so
whatta you wanna do?

ALVY
I don’t know now. You-you wanna go
to another movie?
(Annie nods her head
and shrugs her
shoulders disgustedly
as Alvy, gesturing
with his band, looks
at her)
So let’s go see The Sorrow and the
Pity.

ANNIE
Oh, come on, we’ve seen it. I’m not
in the mood to see a four-hour
documentary on Nazis.

ALVY
Well, I’m sorry, I-I can’t… I-I-
I’ve gotta see a picture exactly
from the start to the finish, ’cause-
’cause I’m anal.

ANNIE
(Laughing now)
H’h, that’s a polite word for what
you are.

INT. THEATER LOBBY.

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.

MAN IN LINE
(Loudly to his
companion right behind
Alvy and Annie)
We saw the Fellini film last Tuesday.
It is not one of his best. It lacks
a cohesive structure. You know, you
get the feeling that he’s not
absolutely sure what it is he wants
to say. ‘Course, I’ve always felt he
was essentially a-a technical film
maker. Granted, La Strada was a great
film. Great in its use of negative
energy more than anything else. But
that simple cohesive core…

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

ALVY
(Overlapping the man’s
speech)
I’m-I’m-I’m gonna have a stroke.

ANNIE
(Reading)
Well, stop listening to him.

MAN IN LINE
(Overlapping Alvy and
Annie)
You know, it must need to have had
its leading from one thought to
another. You know what I’m talking
about?

ALVY
(Sighing)
He’s screaming his opinions in my
ear.

MAN IN LINE
Like all that Juliet of the Spirits
or Satyricon, I found it incredibly…
indulgent. You know, he really is.
He’s one of the most indulgent film
makers. He really is-

ALVY
(Overlapping)
Key word here is “indulgent.”

MAN IN LINE
(Overlapping)
without getting… well, let’s put
it this way…

ALVY
(To Annie, who is
still reading,
overlapping the man
in line who is still
talking)
What are you depressed about?

ANNIE
I missed my therapy. I overslept.

ALVY
How can you possibly oversleep?

ANNIE
The alarm clock.

ALVY
(Gasping)
You know what a hostile gesture that
is to me?

ANNIE
I know- because of our sexual problem,
right?

ALVY
Hey, you… everybody in line at the
New Yorker has to know our rate of
intercourse?

MAN IN LINE
It’s like Samuel Beckett, you know-
I admire the technique but he
doesn’t… he doesn’t hit me on a
gut level.

ALVY
(To Annie)
I’d like to hit this guy on a gut
level.

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

ANNIE
Stop it, Alvy!

ALVY
(Wringing his hands)
Well, he’s spitting on my neck! You
know, he’s spitting on my neck when
he talks.

MAN IN LINE
And then, the most important thing
of all is a comedian’s vision.

ANNIE
And you know something else? You
know, you’re so egocentric that if I
miss my therapy you can think of it
in terms of how it affects you!

MAN IN LINE
(Lighting a cigarette
while he talks)
Gal gun-shy is what it is.

ALVY
(Reacting again to
the man in line)
Probably on their first date, right?

MAN IN LINE
(Still going on)
It’s a narrow view.

ALVY
Probably met by answering an ad in
the New York Review of Books.
“Thirtyish academic wishes to meet
woman who’s interested in Mozart,
James Joyce and sodomy.”
(He sighs; then to
Annie)
Whatta you mean, our sexual problem?

ANNIE
Oh!

ALVY
I-I-I mean, I’m comparatively normal
for a guy raised in Brooklyn.

ANNIE
Okay, I’m very sorry. My sexual
problem! Okay, my sexual problem!
Huh?

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

ALVY
I never read that. That was-that was
Henry James, right? Novel, uh, the
sequel to Turn of the Screw? My
Sexual…

MAN IN LINE
(Even louder now)
It’s the influence of television.
Yeah, now Marshall McLuhan deals
with it in terms of it being a-a
high, uh, high intensity, you
understand?  A hot medium… as
opposed to a…

ALVY
(More and more
aggravated)
What I wouldn’t give for a large
sock o’ horse manure.

MAN IN LINE
…as opposed to a print…

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

ALVY
(Sighing and addressing
the audience)
What do you do when you get stuck in
a movie line with a guy like this
behind you? I mean, it’s just
maddening!

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

MAN IN LINE
Wait a minute, why can’t I give my
opinion? It’s a free country!

ALVY
I mean, d- He can give you- Do you
hafta 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!

MAN IN LINE
(Overlapping)
Wait a minute! Really? Really? I
happen to teach a class at Columbia
called “TV Media and Culture”! So I
think that my insights into Mr.
McLuhan- well, have a great deal of
validity.

ALVY
Oh, do yuh?

MAN IN LINE
Yes.

ALVY
Well, that’s funny, because I happen
to have Mr. McLuhan right here. So…
so, here, just let me- I mean, all
right. Come over here… a second.

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 McLuhan from
behind the poster.

MAN IN LINE
Oh.

ALVY
(To McLuban)
Tell him.

MCLUHAN
(To the man in line)
I hear- I heard what you were saying.
You-you know nothing of my work. You
mean my whole fallacy is wrong. How
you ever got to teach a course in
anything is totally amazing.

ALVY
(To the camera)
Boy, if life were only like this!

INT. THEATER. A CLOSE-UP OF THE SCREEN SHOWING FACES OF GERMAN
SOLDIERS.

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

NARRATOR’S VOICE
(Over credits and
soldiers)
June fourteenth, nineteen forty, the
German army occupies Paris. All over
the country, people are desperate
for every available scrap of news.

CUT TO:

INT. BEDROOM-NIGHT

Annie is sitting up in bed reading.

ALVY
(Off screen)
Boy, those guys in the French
Resistance were really brave, you
know? Got to listen to Maurice
Chevalier sing so much.

ANNIE
M’m, I don’t know, sometimes I ask
myself how I’d stand up under torture.

ALVY
(Off screen)
You? You kiddin’?
(He moves into the
frame, lying across
the bed to touch,
Annie, who makes a
face)
If the Gestapo would take away your
Bloomingdale’s charge card, you’d
tell ’em everything.

ANNIE
That movie makes me feel guilty.

ALVY
Yeah, ’cause it’s supposed to.

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

ANNIE
Alvy, I…

ALVY
What-what-what-what’s the matter?

ANNIE
I-you know, I don’t wanna.

ALVY
(Overlapping Annie,
reacting)
What-what-I don’t… It’s not natural!
We’re sleeping in a bed together.
You know, it’s been a long time.

ANNIE
I know, well, it’s just that- you
know, I mean, I-I-I-I gotta sing
tomorrow night, so I have to rest my
voice.

ALVY
(Overlapping Annie
again)
It’s always some kind of an excuse.
It’s- You know, you used to think
that I was very sexy. What… When
we first started going out, we had
sex constantly… We’re-we’re probably
listed in the Guinness Book of World
Records.

ANNIE
(Patting Alvy’s band
solicitously)
I know. Well, Alvy, it’ll pass, it’ll
pass, it’s just that I’m going through
a phase, that’s all.

ALVY
M’m.

ANNIE
I mean, you’ve been married before,
you know how things can get. You
were very hot for Allison at first.

CUT TO:

INT. BACK STAGE OF AUDITORIUM – NIGHT.

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.

ALLISON
(Looking down at the
clipboard)
Ma’am, you’re on right after this
man… about twenty minutes, something
like that.

WOMAN
Oh, thank you.

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

ALVY
(Coughing)
Excuse… excuse me, when do I go
on?

ALLISON
(Looking down at the
clipboard)
Who are you?

ALVY
Alvy… Alvy Singer. I’m a comedian.

ALLISON
Oh, comedian. Yes. Oh, uh… you’re
on next.

ALVY
(Rubbing his hands
together nervously)
What do you mean, next?

ALLISON
(Laughing)
Uh … I mean you’re on right after
this act.

ALVY
(Gesturing)
No, it can’t be, because he’s a comic.

ALLISON
Yes.

ALVY
So what are you telling me, you’re
putting on two comics in a row?

ALLISON
Why not?

ALVY
No, I’m sorry, I’m not goin’- I
can’t… I don’t wanna go on after
that comedian.

ALLISON
It’s okay.

ALVY
No, because they’re-they’re laughing,
so
(He starts laughing
nervously)
I-I-I’d rather not. If you don’t
mind, I prefer-

ALLISON
(Overlapping)
Will you relax, please? They’re gonna
love you, I know.

ALVY
(Overlapping)
I prefer not to, because… look,
they’re laughing at him. See, so
what are yuh telling me-

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

ALLISON
(Overlapping)
Yes.

ALVY
(Overlapping)
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.

ALLISON
(Off screen)
Do you feel all right?

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.

COMEDIAN
(Off screen, onstage)
You know…

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

ALVY
(Above the chatter
around him)
Look, what’s your- what’s your name?

COMEDIAN
(Off screen)
…General Eisenhower is not…

ALLISON
(Looking out at the
stage)
Allison.

ALVY
Yeah? Allison what?

ALLISON
(Still looking off
screen)
Portchnik.

COMEDIAN
…a group from the …

ALVY
(Coughing)
Thank you. I-I don’t know why they
would have me at this kind of rally
’cause…
(He clears his throat)
Excuse me, I’m not essentially a
political comedian at all.

The audience starts to laugh.

ALVY
I… interestingly had, uh, dated…
a woman in the Eisenhower
Administration… briefly… and,
uh, it was ironic to me ’cause, uh…
tsch… ’cause I was trying to, u-u-
uh, do to her what Eisenhower has
been doing to the country for the
last eight years.

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

INT. APARTMENT BEDROOM.

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
H’m, I’m sorry, I can’t go through
with this, because it-I can’t get it
off my mind, Allison… it’s obsessing
me!

ALLISON
Well, I’m getting tired of it. I
need your attention.

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

ALVY
It-but it-it… doesn’t make any
sense. He drove past the book
depository and the police said
conclusively that it was an exit
wound. So-how is it possible for
Oswald to have fired from two angles
at once? It doesn’t make sense.

ALLISON
Alvy.

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

ALVY
I’ll tell you this! He was not
marksman enough to hit a moving target
at that range. But…
(Clears his throat)
if there was a second assassin… it-
That’s it!

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.

ALLISON
We’ve been through this.

ALVY
If they-they recovered the shells
from that rifle.

ALLISON
(Moving back to the
bed and lighting a
cigarette)
Okay. All right, so whatta yuh saying,
now? That e-e-everybody o-o-on the
Warren Commission is in on this
conspiracy, right?

ALVY
Well, why not?

ALLISON
Yeah, Earl Warren?

ALVY
(Moving toward the
bed)
Hey… honey, I don’t know Earl
Warren.

ALLISON
Lyndon Johnson?

ALVY
(Propping one knee on
the bed and gesturing)
L-L-Lyndon Johns Lyndon Johnson is a
politician. You know the ethics those
guys have? It’s like-uh, a notch
underneath child molester.

ALLISON
Then everybody’s in in the conspiracy?

ALVY
(Nodding his head)
Tsch.

ALLISON
The FBI, and the CIA, and J. Edgar
Hoover and oil companies and the
Pentagon and the men’s-room attendant
at the White House?

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

ALVY
I-I-I-I would leave out the men’s-
room attendant.

ALLISON
You’re using this conspiracy theory
as an excuse to avoid sex with me.

ALVY
Oh, my God!
(Then, to the camera)
She’s right! Why did I turn off
Allison Portchnik? She was-she was
beautiful. She was willing. She was
real… intelligent.
(Sighing)
Is it the old Groucho Marx joke?
That-that I-I just don’t wanna belong
to any club that would have someone
like me for a member?

EXT. BEACH HOUSE – DAY

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.

ANNIE
Alvy, now don’t panic. Please.

ALVY
Look, I told you it was a… mistake
to ever bring a live thing in the
house.

ANNIE
Stop it! Don’t… don’t do that!
There.

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

ALVY
Well, maybe we should just call the
police. Dial nine-one-one, it’s the
lobster squad.

ANNIE
Come on, Alvy, they’re only baby
ones, for God’s sake.

ALVY
If they’re only babies, then you
pick ’em up.

ANNIE
Oh, all right. All right! It’s all
right. Here.

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

ALVY
Don’t give it to me. Don’t!

ANNIE
(Hysterically)
Oooh! Here! Here!

ALVY
(Pointing)
Look! Look, one crawled behind the
refrigerator. It’ll turn up in our
bed at night.
(They move over to
the refrigerator;
Alvy moves as close
to the wall as
possible as Annie,
covering her mouth
and laughing
hysterically,
teasingly dangles a
lobster in front of
him)
Will you get outta here with that
thing? Jesus!

ANNIE
(Laughing, to the
lobster)
Get him!

ALVY
(Laughing)
Talk to him. You speak shellfish!
(He moves over to the
stove and takes the
lid of a large steamer
filled with boiling
water)
Hey, look… put it in the pot.

ANNIE
(Laughing)
I can’t! I can’t put him in the pot.
I can’t put a live thing in hot water.

ALVY
(Overlapping)
Gimme! Gimme! Let me do it! What-
what’s 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.

ANNIE
(Overlapping Alvy and
making sounds)
Oh, God! Here yuh go! Oh, good, now
he’ll think-
(She screams)
Aaaah! Okay.

ALVY
(Overlapping Annie)
Okay, it’s in. It’s definitely in
the pot!

ANNIE
All right. All right. All right.

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.

ALVY
Annie, there’s a big lobster behind
the refrigerator. I can’t get it
out. This thing’s heavy. Maybe if I
put a little dish of butter sauce
here with a nutcracker, it will run
out the other side, you know what I
mean?

ANNIE
(Overlapping)
Yeah. I’m gonna get my… I’m gonna
get my camera.

ALVY
You know, I-I think… if I could
pry this door off… We shoulda gotten
steaks ’cause they don’t have legs.
They don’t run around.

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.

ANNIE
Great! Great!
(Screaming)
Goddammit!
(Screaming)
Ooooh! These are… p-p-p-pick this
lobster up. Hold it, please!

ALVY
All right! All right! All right!
All right! Whatta yuh mean? Are yuh
gonna take pictures now?

ANNIE
It’ll make great- Alvy, be- Alvy,
it’ll be wonderful… Ooooh, lovely!

ALVY
(Picking up the lobster
Annie placed on the
counter earlier)
All right, here! Oh, God, it’s
disgusting!

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

ANNIE
Don’t be a jerk. One more, Alvy,
please, one more picture.
(Reluctantly Alvy
picks up the lobster
again as Annie takes
another picture)
Oh, oh, good, good!

EXT. OCEAN FRONT-DUSK.

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

ALVY
So, so-well, here’s what I wanna
know. W-what…
(He clears his throat)
Am I your first big romance?

ANNIE
Oh… no, no, no, no, uh, uh. No.

ALVY
Well, then, w-who was?

ANNIE
Oh, well, let’s see, there was Dennis,
from Chippewa Falls High School.

CUT TO:

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.

ALVY’S VOICE
(Off screen)
Dennis-right, uh, uh… local kid
probably, would meetcha in front of
the movie house on Saturday night.

ANNIE’S VOICE
Oh, God, you should’ve seen what I
looked like then.

ALVY’S VOICE
(Off screen, laughing)
Oh, I can imagine. P-p-probably the
wife of an astronaut.

ANNIE’S VOICE
Then there was Jerry, the actor.

CUT TO:

FLASHBACK OF BRICK-WALLED APARTMENT – NIGHT

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

ALVY’S VOICE
(Laughing)
Look at you, you-you’re such a clown.

ANNIE’S VOICE
I look pretty.

ALVY’S VOICE
Well, yeah, you always look pretty,
but that guy with you…

JERRY
Acting is like an exploration of the
soul. I-it’s very religious. Uh,
like, uh, a kind of liberating
consciousness. It’s like a visual
poem.

ALVY
(Laughing)
Is he kidding with that crap?

YOUNGER ANNIE
(Laughing)
Oh, right. Right, yeah, I think I
know exactly what you mean, when you
say “religious.”

ALVY
(Incredulous, to Annie)
You do?

ANNIE
(Still watching)
Oh, come on-I mean, I was still
younger.

ALVY
Hey, that was last year.

JERRY
It’s like when I think of dying.
You know how I would like to die?

YOUNGER ANNIE
No, how?

JERRY
I’d like to get torn apart by wild
animals.

ALVY’S VOICE
Heavy! Eaten by some squirrels.

ANNIE’S VOICE
Hey, listen-I mean, he was a terrific
actor, and look at him, he’s neat-
looking and he was emotional… Y-
hey, I don’t think you like emotion
too much.

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

JERRY
Touch my heart… with your foot.

ALVY’S VOICE
I-I may throw up!

CUT BACK TO:

EXT. 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.

ANNIE
He was creepy.

ALVY
Yeah, I-I think you’re pretty lucky
I came along.

ANNIE
(Laughing)
Oh, really? Well, la-de-da!

ALVY
La-de-da. If I-if anyone had ever
told me that I would be taking out a
girl who used expressions like “la-
de-da”…

ANNIE
Oh, that’s right. That you really
like those New York girls.

ALVY
Well, no… not just, not only.

ANNIE
Oh, I’d say so. You married-

CUT TO:

INT. NEW YORK CITY APARTMENT-NIGHT

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.

ANNIE
(Off screen)
two of them.

ROBIN
There’s Henry Drucker. He has a chair
in history at Princeton. Oh, the
short man is Hershel Kaminsky. He
has a chair in philosophy at Cornell.

ALVY
Yeah, two more chairs and they got a
dining-room set.

ROBIN
Why are you so hostile?

ALVY
(Sighing)
‘Cause I wanna watch the Knicks on
television.

ROBIN
(Squinting)
Is that Paul Goodman? No. And be
nice to the host because he’s
publishing my book. Hi, Doug! Douglas
Wyatt. “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
(Taking Robin’s hand)
I’m so tired of spending evenings
making fake insights with people who
work for Dysentery.

ROBIN
Commentary.

ALVY
Oh, really, I heard that Commentary
and Dissent had merged and formed
Dysentery.

ROBIN
No jokes-these are friends, okay?

INT. BEDROOM

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

TV ANNOUNCER
(Off screen)
Cleveland Cavaliers losing to the
New York Knicks.

Robin enters the room, slamming the door.

ROBIN
Here you are. There’s people out
there.

ALVY
Hey, you wouldn’t believe this. Two
minutes ago, the Knicks are ahead
fourteen points, and now…
(Clears his throat)
they’re ahead two points.

ROBIN
Alvy, what is so fascinating about a
group of pituitary cases trying to
stuff the ball through a hoop?

ALVY
(Looking at Robin)
What’s fascinating is that it’s
physical. You know, it’s one thing
about intellectuals, they prove that
you can be absolutely brilliant and
have no idea what’s going on. But on
the other hand…
(Clears his throat)
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.

ROBIN
Stop acting out.

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

ALVY
No, it’ll be great! It’ll be great,
be-because all those Ph.D.’s are in
there, you know, like… discussing
models of alienation and we’ll be in
here quietly humping.

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

ROBIN
Alvy, don’t! You’re using sex to
express hostility.

ALVY
“Why-why do you always r-reduce my
animal urges to psychoanalytic
categories?
(Clears his throat)
he said as he removed her
brassiere…”

ROBIN
(Pulling away again)
There are people out there from The
New Yorker magazine. My God! What
would they think?

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

INT. APARTMENT-NIGHT

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

ROBIN
Oh, I’m sorry!

ALVY
Don’t get upset!

ROBIN
Dammit! I was so close.

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

ALVY
(Gesturing)
Jesus, last night it was some guy
honking his car horn. I mean, the
city can’t close down. You know,
what-whatta yuh gonna do, h-have ’em
shut down the airport, too? No more
flights so we can have sex?

ROBIN
(Reaching over for
her eyeglasses on
the night table)
I’m too tense. I need a Valium. My
analyst says I should live in the
country and not in New York.

ALVY
Well, I can’t li- We can’t have this
discussion all the time. The country
makes me nervous. There’s… You got
crickets and it-it’s quiet… there’s
no place to walk after dinner, and…
uh, there’s the screens with the
dead moths behind them, and… uh,
yuh got the-the Manson family
possibly, yuh got Dick and Terry-

ROBIN
(Interrupting)
Okay, okay, my analyst just thinks
I’m too tense. Where’s the goddamn
Valium?

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

ALVY
Hey, come on, it’s quiet now. We can-
we can start again.

ROBIN
I can’t.

ALVY
What-

ROBIN
My head is throbbing.

ALVY
Oh, you got a headache!

ROBIN
I have a headache.

ALVY
Bad?

ROBIN
Oswald and ghosts.

ALVY
Jesus!

He begins to get out of bed.

ROBIN
Where are you going?

ALVY
Well, I’m-I’m gonna take another in
a series of cold showers.

EXT. MEN’S LOCKER ROOM OF THE TENNIS CLUB.

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.

ROB
Max, my serve is gonna send yuh to
the showers-

ALVY
Right, right, so g-get back to what
we were discussing, the failure of
the country to get behind New York
City is-is anti-Semitism.

ROB
Max, the city is terribly worried.

ALVY
But the- I’m not discussing politics
or economics. This is foreskin.

ROB
No, no, no, Max, that’s a very
convenient out. Every time some group
disagrees with you it’s because of
anti-Semitism.

ALVY
Don’t you see? The rest of the country
looks upon New York like we’re-we’re
left-wing Communist, Jewish,
homosexual, pornographers. I think
of us that way, sometimes, and I-I
live here.

ROB
Max, if we lived in California, we
could play outdoors every day, in
the sun.

ALVY
Sun is bad for yuh. Everything our
parents said was good is bad. Sun,
milk, red meat, college…

INT. TENNIS COURT

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

ANNIE
(Laughing)
I know, but ooh- here he comes.
Okay.

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

ROB
You know Alvy?

JANET
Oh, hi, Alvy.

ANNIE
(To Rob)
How are yuh?

ROB
(To Alvy)
You know Annie?

JANET
I’m sorry. This is Annie Hall.

ALVY
Hi.

ANNIE
Hi.

Annie and Alvy shake hands.

JANET
(Laughing)
Alvy.

ROB
(Eager to begin)
Who’s playing who here? Alvy Well,
uh… you and me against them?

ANNIE
(Overlapping Alvy)
Well… so… I can’t play too good,
you know.

JANET
(Laughing)
I’ve had four lessons!

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
(Hitting the ball
back)
Holy gods!

INT. LOBBY

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.

ANNIE
Hi. Hi, hi.

ALVY
(Looking over his
shoulder)
Hi. Oh, hi. Hi.

ANNIE
(Hands clasped in
front of her, smiling)
Well, bye. She laughs and backs up
slowly toward the door.

ALVY
(Clearing his throat)
You-you play… very well.

ANNIE
Oh, yeah? So do you. Oh, God, whatta-
(Making sounds and
laughing)
whatta dumb thing to say, right? I
mean, you say it, “You play well,”
and right away… I have to say well.
Oh, oh… God, Annie.
(She gestures with
her hand)
Well… oh, well… la-de-da, la-de-
da, la-la.

She turns around and moves toward the door.

ALVY
(Still looking over
his shoulder)
Uh… you-you wanna lift?

ANNIE
(Turning and aiming
her thumb over her
shoulder)
Oh, why-uh… y-y-you gotta car?

ALVY
No, um… I was gonna take a cab.

ANNIE
(Laughing)
Oh, no, I have a car.

ALVY
You have a car?
(Annie smiles, hands
folded in front of
her)
So…
(Clears his throat)
I don’t understand why… if you
have a car, so then-then wh-why did
you say “Do you have a car?”… like
you wanted a lift?

ANNIE
I don’t…
(Laughing)
I don’t… Geez, I don’t know, I’ve…
I wa- This… yeah, I got this VW
out there…
(Laughing and gesturing
toward the door)
What a jerk, yeah. Would you like a
lift?

ALVY
(Zipping up his bag)
Sure. W-w-w-which way yuh goin’?

ANNIE
Me? Oh, downtown!

ALVY
Down- I’m-I’m goin’ uptown.

ANNIE
(Laughing)
Oh, well, I’m goin’ uptown, too.

ALVY
Uh, well, you just said you were
going downtown.

ANNIE
Yeah, well, I’m, but I…

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

ALVY
(Laughing)
So sorry.

ANNIE
(Laughing)
I mean, I can go uptown, too. I live
uptown, but… uh, what the hell, I
mean, it’d be nice having company,
you know I mean, I hate driving alone.

ALVY
(Making sounds)
Yeah.

They walk out the door.

EXT. NEW YORK STREET- DAY

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

ALVY
So, how long do you know Janet?
Where do you know her from?

ANNIE
(Laughing)
Oh, I’m in her acting class.

ALVY
Oh – you’re an actress.

ANNIE
Well, I do commercials, sort of…

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

ALVY
I, uh… well, you’re not from New
York, right?

ANNIE
No, Chippewa Falls.

ALVY
Right!
(A pause)
Where?

ANNIE
Wisconsin.

ALVY
(Finally reacting)
Uh, you’re driving a-

ANNIE
Uh, don’t worry, I’m a very-
(A car moves closer
to the VW, 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.

ALVY
No, no thanks. Hey, don’t-

ANNIE
Well, where is it? I-

ALVY
No, no, no, no, you just… just
watch the road. I’ll get it-

ANNIE
Okay.

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
For yuh.

ANNIE
Okay, that’s good.

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

ANNIE
All right.

ALVY
I’ll getcha a piece.

ANNIE
Yeah… so, listen-you drive?

ALVY
Do I drive? Uh, no, I gotta-I gotta
problem with driving.

ANNIE
Oh, you do?

ALVY
Yeah. I got, uh, I got a license but
I have too much hostility.

ANNIE
Oh, right.

ALVY
Nice car.

ANNIE
(A bit rapidly)
Huh?

ALVY
You keep it nice.
(He pulls a half-eaten
sandwich out of her
bag)
Can I ask you, is this-is this a
sandwich?

ANNIE
Huh? Oh, yeah.

EXT. STREET-DAY

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

ANNIE
I live over here. Oh, my God! Look!
There’s a parking space!

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
That’s okay, you… we-we can walk
to the curb from here.

ANNIE
Don’t be funny.

ALVY
You want your tennis stuff?

ANNIE
Huh? Oh… yeah.

ALVY
You want your gear? Here you go.

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

ANNIE
(Laughing)
Yeah, thanks. Thanks a lot. Well…

ALVY
(Sighing)
Well, thanks, thank you. You-you’re
a wonderful tennis player.

ANNIE
(Laughing)
Oh.

Alvy shakes hands with Annie.

ALVY
You’re the worst driver I’ve ever
seen in my life… that’s including
any place… the worst… Europe,
United… any place… Asia.

ANNIE
(Laughing)
Yeah.

ALVY
And I love what you’re wearin’.

Alvy touches the tie Annie is wearing around her neck.

ANNIE
Oh, you do? Yeah? Oh, well, it’s
uh… this is, uh… this tie is a
present, from Grammy Hall.

Annie flips the bottom of the tie.

ALVY
Who? Grammy? Grammy Hall?

ANNIE
(Laughing and nodding
her head)
Yeah, my grammy.

ALVY
You’re jo- Whatta yuh kid- What did
you do, grow up in a Norman Rockwell
painting?

ANNIE
(Laughing)
Yeah, I know.

ALVY
Your grammy!

ANNIE
I know, it’s pretty silly, isn’t it?

ALVY
Jesus, my-my grammy… n-never gave
gifts, you know. She-she was too
busy getting raped by Cossacks.

ANNIE
(Laughing)
Well…

ALVY
Well… thank you again.

ANNIE
Oh, yeah, yeah.

ALVY
I’ll see yuh.

ANNIE
(Overlapping, gesturing)
Hey, well, listen… hey, you wanna
come upstairs and, uh… and have a
glass of wine and something? Aw, no,
I mean… I mean, you don’t have to,
you’re probably late and everything
else …

ALVY
No, no, that’ll be fine. I don’t
mind. Sure.

ANNIE
You sure?

ALVY
(Overlapping)
No, I got time.

ANNIE
Okay.

ALVY
Sure, I got… I got nothing, uh,
nothing till my analyst’s appointment.

They move toward Annie’s apartment building.

ANNIE
Oh, you see an analyst?

ALVY
Y-y-yeah, just for fifteen years.

ANNIE
Fifteen years?

ALVY
Yeah, uh, I’m gonna give him one
more year and then I’m goin’ to
Lourdes.

ANNIE
Fifteen-aw, come on, you’re… yeah,
really?

INT. ANNIE’S APARTMENT

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 Plath, as Annie comes out of the kitchen carrying two
glasses. She hands them to Alvy.

ALVY
Sylvia Plath.

ANNIE
M’hm…

ALVY
Interesting poetess whose tragic
suicide was misinterpreted as
romantic, by the college-girl
mentality.

ANNIE
Oh, yeah.

ALVY
Oh, sorry.

ANNIE
Right. Well, I don’t know, I mean,
uh, some of her poems seem – neat,
you know.

ALVY
Neat?

ANNIE
Neat, yeah.

ALVY
Uh, I hate to tell yuh, this is
nineteen seventy-five, you know that
“neat” went out, I would say, at the
turn of the century.
(Annie laughs)
Who-who are-who are those photos on
the wall?

ANNIE
(Moving over to the
photographs)
Oh… oh, well, you see now now, uh,
that’s my dad, that’s Father-and
that’s my… brother, Duane.

ALVY
Duane?

ANNIE
(Pointing)
Yeah, right, Duane-and over there is
Grammy Hall, and that’s Sadie.

ALVY
Well, who’s Sadie?

ANNIE
Sadie? Oh, well, Sadie…
(Laughing)
Sadie met Grammy through, uh, through
Grammy’s brother George. Uh, George
was real sweet, you know, he had
that thing. What is that thing where
you, uh, where you, uh, fall asleep
in the middle of a sentence, you
know-what is it? Uh…

ALVY
Uh, narcolepsy.

ANNIE
Narcolepsy, right, right. Right.
So, anyway, so…
(Laughing)
George, uh, went to the union, see,
to get his free turkey, be-because,
uh, the union always gave George
this big turkey at Christmas time
because he was…
(Annie points her
fingers to each side
of her head,
indicating George
was a little crazy)
shell-shocked, you know what I mean,
in the First World War.
(Laughing hysterically,
she opens a cabinet
door and takes out a
bottle of wine)
Anyway, so, so…
(Laughing through the
speech)
George is standing in line, oh, just
a sec… uh, getting his free turkey,
but the thing is, he falls asleep
and he never wakes up. So, so…
(Laughing)
so, he’s dead …
(Laughing)
he’s dead. Yeah. Oh, dear. Well,
terrible, huh, wouldn’t you say? I
mean, that’s pretty unfortunate.

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

ALVY
Yeah, it’s a great story, though, I
mean, I… I… it really made my
day. Hey, I think I should get outta
here, you know, ’cause I think I’m
imposing, you know…

ANNIE
(Laughing)
Oh, really? Oh, well… uh, uh, maybe,
uh, maybe, we, uh…

ALVY
…and… uh, yeah, uh… uh, you
know, I-I-I…

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.

ANNIE
Well, I mean, you don’t have to, you
know.

ALVY
No, I know, but… but, you know,
I’m all perspired and everything.

ANNIE
Well, didn’t you take, uh… uh, a
shower at the club?

ALVY
Me? No, no, no, ’cause I never shower
in a public place.

ANNIE
(Laughing)
Why not?

ALVY
‘Cause I don’t like to get naked in
front of another man, you know-it’s,
uh…

ANNIE
(Laughing)
Oh, I see, I see.

ALVY
You know, I don’t like to show my
body to a man of my gender-

ANNIE
Yeah. Oh, yeah. Yeah, I see. I guess-

ALVY
’cause, uh, you never know what’s
gonna happen.

ANNIE
(Sipping her wine and
laughing)
Fifteen years, huh?

ALVY
Fifteen years, yeah.

ANNIE
Yeah. Oh, God bless!

They put their glasses together in a toast.

ALVY
God bless.

ANNIE
(Laughing)
Well, uh…
(Pausing)
You’re what Grammy Hall would call a
real Jew.

ALVY
(Clearing his throat)
Oh, thank you.

ANNIE
(Smiling)
Yeah, well… you- She hates Jews.
She thinks that they just make money,
but let me tell yuh, I mean, she’s
the one yeah, is she ever. I’m tellin’
yuh.

ALVY
(pointing toward the
apartment after a
short pause)
So, did you do shoot the photographs
in there or what?

ANNIE
(Nodding, her hand on
her hip)
Yeah, yeah, I sorta dabble around,
you know.

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

ALVY
They’re… they’re… they’re
wonderful, you know. They have…
they have, uh… a… a quality.

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

ANNIE
Well, I-I-I would-I would like to
take a serious photography course
soon.

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

ALVY
Photography’s interesting, ’cause,
you know, it’s-it’s a new art form,
and a, uh, a set of aesthetic criteria
have not emerged yet.

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

ANNIE
Aesthetic criteria? You mean, whether
it’s, uh, good photo or not?

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

ALVY
The-the medium enters in as a
condition of the art form itself.
That’s-

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

ANNIE
Well, well, I… to me-I… I mean,
it’s-it’s-it’s all instinctive, you
know. I mean, I just try to uh, feel
it, you know? I try to get a sense
of it and not think about it so much.

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

ALVY
Still, still we- You need a set of
aesthetic guide lines to put it in
social perspective, I think.

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
Well, I don’t know. I mean, I guess-
I guess you must be sorta late, huh?

ALVY
You know, I gotta get there and begin
whining soon… otherwise I- Hey…
well, are you busy Friday night?

ANNIE
Me? Oh, uh.
(Laughing)
No.

ALVY
(Putting his band on
his forehead)
Oh, I’m sorry, wait a minute, I have
something. Well, what about Saturday
night?

ANNIE
(Nodding)
Oh… nothing. Not-no, no!

ALVY
Oh, you… you’re very popular, I
can see.

ANNIE
(Laughing)
I know.

ALVY
Gee, boy, what do you have? You have
plague?

ANNIE
Well, I mean, I meet a lot of…
jerks, you know-

ALVY
Yeah, I meet a lotta jerks, too.

 

She moves on down the street.

ALVY
(Scratching his head)
Love fades. God, that’s a depressing
thought. Have to ask you a question.
(He stops another
passer-by,a man)
Don’t go any further. Now, with your
wife in bed, d-d-does she need some
kind o’ artificial stimulation like-
like marijuana?

MAN ON THE STREET
We use a large vibrating egg.

He walks on.

ALVY
(Continuing to walk)
Large vibrating egg. Well, I ask a
psychopath, I get that kind of an
answer. Jesus, I-I, uh, here…
(He moves up the
sidewalk to a young
trendy-looking couple,
arms wrapped around
each other)
You-you look like a really happy
couple. Uh, uh… are you?

YOUNG WOMAN
Yeah.

ALVY
Yeah! So… so h-h-how do you account
for it?

YOUNG WOMAN
Uh, I’m very shallow and empty and I
have no ideas and nothing interesting
to say.

YOUNG MAN
And I’m exactly the same way.

ALVY
I see. Well, that’s very interesting.
So you’ve managed to work out
something, huh?

YOUNG MAN
Right.

YOUNG WOMAN
Yeah.

ALVY
Oh, well, thanks very much for talking
to me.

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.

ALVY’S VOICE-OVER
You know, even as a kid I always
went for the wrong women. I think
that’s my problem. When my mother
took me to see Snow White, everyone
fell in love with Snow White. I
immediately fell for the Wicked Queen.

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.

WICKED QUEEN
We never have any fun anymore.

CARTOON FIGURE ALVY
How can you say that?

WICKED QUEEN
Why not? You’re always leaning on me
to improve myself.

CARTOON FIGURE ALVY
You’re just upset. You must be getting
your period.

WICKED QUEEN
I don’t get a period! I’m a cartoon
character. Can’t I be upset once in
a while?

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

CARTOON FIGURE ROB
Max, will you forget about Annie? I
know lots of women you can date.

CARTOON FIGURE ALVY
I don’t wanna go out with any other
women.

CARTOON FIGURE ROB
Max, have I got a girl for you. You
are going to love her. She’s a
reporter-

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.

CARTOON FIGURE ROB’S VOICE-OVER
for Rolling Stone.

FEMALE REPORTER
I think there are more people here
to see the Maharishi than there were
to see the Dylan concert. I covered
the Dylan concert… which gave me
chills. Especially when he sang “She
takes just like a woman And she makes
love just like a woman Yes, she does
And she aches just like a woman But
she breaks just like a little girl.”
(They move toward the
aisles as a guard
holds up his hands
to stop them)
Up to that I guess the most
charismatic event I covered was Mick’s
Birthday when the Stones played
Madison Square Garden.

ALVY
(Laughing)
Man, that’s great. That’s just great.

REPORTER
You catch Dylan?

ALVY
(Coughing)
Me? No, no. I-I couldn’t make it
that ni- My-my raccoon had hepatitis.

REPORTER
You have a raccoon?

ALVY
(Gesturing)
Tsch, a few.

REPORTER
The only word for this is trans-
plendid. It’s trans-plendid.

ALVY
I can think of another word.

REPORTER
He’s God! I mean, this man is God!
He’s got millions of followers who
would crawl all the way across the
world just to touch the hem of his
garment.

ALVY
Really? It must be a tremendous hem.

REPORTER
I’m a Rosicrucian myself.

ALVY
Are you?

REPORTER
Yeah.

ALVY
I can’t get with any religion that
advertises in Popular Mechanics.
Look-
(The Maharishi, a
small, chunky man,
walks out of the
men’s room, huge
bodyguards flanking
him while policemen
bold back the crowds)
there’s God coming outta the men’s
room.

REPORTER
It’s unbelievably trans-plendid! I
was at the Stones concert in Altamount
when they killed that guy, remember?

ALVY
Yeah, were yuh? I was-I was at an
Alice Cooper thing where six people
were rushed to the hospital with bad
vibes.

INT. ALVY’S BEDROOM-NIGHT

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.

REPORTER
(Looking down at him)
I hope you don’t mind that I took so
long to finish.

ALVY
(Sighing)
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.

REPORTER
Oh, sex with you is really a
kafkaesque experience.

ALVY
Oh, tsch, thank you. H’m.

REPORTER
I mean that as a compliment.

ALVY
(Making sounds)
I think-I think there’s too much
burden placed on the orgasm, you
know, to make up for empty areas in
life.

REPORTER
Who said that?

ALVY
(Rubbing his chin and
shoulder)
Uh, oh, I don’t know. It might have
been Leopold and Loeb.
(The telephone rings.
Alvy picks it up,
rising up slightly
from the bed,
concerned, as he
talks)
Hello. Oh, hi… Uh, no, what-what’s
the matter? What-what-what? You sound
terrible… No, what- Sure I- Whatta
yuh what kind of an emergency?…
No, well, stay there. Stay there,
I’ll come over right now. I’ll come
over right now.  Just stay there,
I’ll come right over.

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

INT. ANNIE’S APARTMENT HALLWAY

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

ALVY
What’s- It’s me, open up.

ANNIE
(Opening the door)
Oh.

ALVY
Are you okay?  What’s the matter?
(They look at each
other, Annie sighing)
Are you all right? What-

ANNIE
There’s a spider in the bathroom.

ALVY
(Reacting)
What?

ANNIE
There’s a big black spider in the
bathroom.

ALVY
That’s what you got me here for at
three o’clock in the morning, ’cause
there’s a spider in the bathroom?

ANNIE
My God, I mean, you know how I am
about insects.

ALVY
(Interrupting, sighing)
Oooh.

ANNIE
I can’t sleep with a live thing
crawling around in the bathroom.

ALVY
Kill it! For Go- What’s wrong with
you? Don’t you have a can of Raid in
the house?

ANNIE
(Shaking her head)
No.

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

ALVY
(Sighing)
I told you a thousand times you should
always keep, uh, a lotta insect spray.
You never know who’s gonna crawl
over.

ANNIE
(Following him)
I know, I know, and a first-aid kit
and a fire extinguisher.

ALVY
Jesus. All right, gimme a magazine.
I- ’cause I’m a little tired.
(While Annie goes of
to find him a
magazine, Alvy, still
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?

ANNIE
Yeah.

ALVY
Oh, yeah, really?  Really?  How-how’d
you like it? Was it-was it, I mean,
did it… was it heavy? Did it achieve
total heavy-ocity? Or was it, uh…

ANNIE
It was just great!

ALVY
(Thumbing through the
book)
Oh, humdinger. When- Well, I got a
wonderful idea. Why don’tcha get the
guy who took you to the rock concert,
we’ll call him and he can come over
and kill the spider. You know, it’s
a-

He tosses the book down on the cabinet.

ANNIE
I called you; you wanna help me…
or not? H’h? Here.

She hands him a magazine.

ALVY
(Looking down at the
magazine)
What is this? What are you, since
when do you read the “National
Review”? What are you turning in to?

ANNIE
(Turning to a nearby
chair for some gum
in her pocketbook)
Well, I like to try to get all points
of view.

ALVY
It’s wonderful. Then why don’tcha
get William F. Buckley to kill the
spider?

ANNIE
(Spinning around to
face him)
Alvy, you’re a little hostile, you
know that? Not only that, you look
thin and tired.

She puts a piece of gum in her mouth.

ALVY
Well, I was in be- It’s three o’clock
in the morning. You, uh, you got me
outta bed, I ran over here, I couldn’t
get a taxi cab. You said it was an
emergency, and I didn’t ge- I ran up
the stairs. Hell – I was a lot more
attractive when the evening began.
Look, uh, tell- Whatta you- Are you
going with a right-wing rock-and-
roll star? Is that possible?

ANNIE
(Sitting down on a
chair arm and looking
up at Alvy)
Would you like a glass of chocolate
milk?

ALVY
Hey, what am I-your son? Whatta you
mean? I-I came over to —

ANNIE
(Touching his chest
with her hand)
I got the good chocolate, Alvy.

ALVY
Yeah, where is the spider?

ANNIE
It really is lovely. It’s in the
bathroom.

ALVY
Is he in the bathroom?

ANNIE
(Rising from chair)
Hey, don’t squish it, and after it’s
dead, flush it down the toilet, okay?
And flush it a couple o’ times.

ALVY
(Moving down the
hallway to the
bathroom)
Darling, darling, I’ve been killing
spiders since I was thirty, okay?

ANNIE
(Upset, hands on her
neck)
Oh. What?

ALVY
(Coming back into the
living room)
Very big spider.

ANNIE
Yeah?

ALVY
Two… Yeah. Lotta, lotta trouble.
There’s two of ’em.

Alvy starts walking down the ball again, Annie following.

ANNIE
Two?

ALVY
(Opening a closet
door)
Yep. I didn’t think it was that big,
but it’s a major spider. You got a
broom or something with a-

ANNIE
Oh, I-I left it at your house.

ALVY
(Overlapping)
snow shovel or anything or something.

ANNIE
(Overlapping)
I think I left it there, I’m sorry.

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

ALVY
(Holding the racquet)
Okay, let me have this.

ANNIE
Well, what are you doing… what are
you doing with-

ALVY
Honey, there’s a spider in your
bathroom the size of a Buick.

He walks into the bathroom, Annie looking after him.

ANNIE
Well, okay. Oooh.

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.

ALVY
Hey, what is this? You got black
soap?

ANNIE
(Off screen)
It’s for my complexion.

ALVY
Whatta-whatta yuh joining a minstrel
show? Geez.
(Alvy turns and starts
swapping the racquet
over the shelf,
knocking down articles
and breaking glass)
Don’t worry!
(He continues to swat
the racquet all over
the bathroom. He
finally moves out of
the room, hands close
to his body. He walks
into the other room,
where Annie is sitting
in a corner of her
bed leaning against
the wall)
I did it! I killed them both. What-
what’s the matter? Whatta you-
(Annie is sobbing,
her band over her
face)
whatta you sad about? You- What’d
you want me to do? Capture ’em and
rehabilitate ’em?

ANNIE
(Sobbing and taking
Alvy’s arm)
Oh, don’t go, okay? Please.

ALVY
(Sitting down next to
her)
Whatta you mean, don’t go? Whatta-
whatta what’s the matter? Whatta you
expecting termites? What’s the matter?

ANNIE
(Sobbing)
Oh, uh, I don’t know. I miss you.
Tsch.

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

ALVY
Oh, Jesus, really?

ANNIE
(Leaning on his
shoulder)
Oh, yeah. Oh.
(They kiss)
Oh! Alvy?

ALVY
What?

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

ANNIE
Was there somebody in your room when
I called you?

ALVY
W-w-whatta you mean?

ANNIE
I mean was there another- I thought
I heard a voice.

ALVY
Oh, I had the radio on.

ANNIE
Yeah?

ALVY
I’m sorry. I had the television set
had the television-

ANNIE
Yeah.

Alvy pulls her to him and they kiss again.

CUT TO:

INT. ALVY’S BED

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.

ANNIE
Alvy, let’s never break up again. I
don’t wanna be apart.

ALVY
Oh, no, no, I think we’re both much
too mature for something like that.

ANNIE
Living together hasn’t been so bad,
has it?

ALVY
It’s all right for me, it’s been
terrific, you know?  Better than
either one of my marriages. See,
’cause… ’cause there’s just
something different about you. I
don’t know what it is, but it’s great.

ANNIE
(Snickering)
You know I think that if you let me,
maybe I could help you have more
fun, you know? I mean, I know it’s
hard and… Yeah.

ALVY
I don’t know.

ANNIE
Alvy, what about… what if we go
away this weekend, and we could-

ALVY
Tsch, why don’t we get… why don’t
we get Rob, and the three of us’ll
drive into Brooklyn, you know, and
we show you the old neighborhood.

ANNIE
Okay, okay. Okay.

ALVY
That’d be fun for yuh. Don’t you
think-

ANNIE
Yeah.

Alvy raises up his head and they kiss.

EXT. HIGHWAY

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.

ANNIE
-me, my God, it’s a great day!

ALVY
(Interrupting)
Hey, can yuh watch the road? Watch
the —

ROB
(Overlapping)
Yeah, watch the road!

ALVY
You’ll total the whole car.

ANNIE
(Laughing)
Hey, you know, I never even visited
Brooklyn before.

ROB
I can’t wait to see the old
neighborhood.

ALVY
Yeah, the neighborhood’s gonna be
great.

ROB
We can show her the schoolyard.

ALVY
Right. I was a great athlete. Tell
her, Max, I was the best, I was all
schoolyard.

ROB
Yes, I remember.
(Annie laughs)
He was all schoolyard. They threw
him a football once, he tried to
dribble it.

ALVY
Yeah, well, I used to lose my glasses
a lot.

EXT. AMUSEMENT PARK.

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

ALVY
Oh, look, look, there’s that… that’s
that’s my old house. That’s where we
used to live.

ANNIE
(Laughing)
Holy cow!

ROB
You’re lucky, Max-where I used to
live is now a pornographic equipment
store.

Annie laughs.

ALVY
I have some very good memories there.

ROB
What kind of good memories, Max?
Your mother and father fighting all
the time.

ALVY
Yeah, and always over the most
ridiculous things.

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
You fired the cleaning woman?

ALVY’S MOTHER
She was stealing.

ALVY’S FATHER
But she’s colored.

ALVY’S MOTHER
SO?

ALVY’S FATHER
So the colored have enough trouble.

ALVY’S MOTHER
She was going through my pocketbook!

ALVY’S FATHER
They’re persecuted enough!

ALVY’S MOTHER
Who’s persecuting? She stole!

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

ALVY’S FATHER
All right-so we can afford it.

ALVY’S MOTHER
How can we afford it? On your pay?
What if she steals more?

ALVY’S FATHER
She’s a colored woman, from Harlem!

She has no money! She’s got a right to steal from us! After
all, who is she gonna steal from if not us?

ADULT ALVY
(Yelling into the
scene)
You’re both crazy!

ROB
They can’t hear you, Max.

ALVY’S MOTHER
Leo… I married a fool!

ROB
(Pointing)
Hey, Max! Who’s that?

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.

ALVY
It-it-it’s the welcome-home party in
nineteen forty-five, for my cousin
Herbie.

ADULT ALVY
(Pointing)
Look, look, there’s-there’s that one
over there, that’s Joey Nichols, he
was my-
(Young Alvy stands
next to Joey Nichols,
who’s sitting in one
of the easy chairs.
They smile at each
other; people and
noise all around)
father’s friend. He was always
bothering me when I was a kid.

JOEY
Joey Nichols.
(Laughing)
See. Nichols. See, Nichols!
(Joey shows young
Alvy his cuff links
and a tie pin, which
are made from nickels,
as Alvy stands with
hands on hips,
unconcerned. Joey
then slaps his band
to his forehead and
puts a nickel on his
forehead)
Yuh see, nickels! You can always
remember my name, just think of Joey
Five Cents.
(Laughing)
That’s me. Joey Five Cents!

Joey grabs Alvy’s cheeks and pinches them.

YOUNG ALVY
(Turning away)
What an asshole!

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.

ALVY’S MOTHER
I was always the sister with good
common sense. But Tessie was always
the one with personality. When she
was younger, they all wanted to marry
Tessie.

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

ADULT ALVY
(Pointing, to Rob)
Do you believe that, Max? Tessie
Moskowitz had the personality. She’s
the life of the ghetto, no doubt.

ALVY’S MOTHER
(To the young girl)
She was once a great beauty.

Tessie nods her head “yes.”

ROB
Tessie, they say you were the sister
with personality.

TESSIE
(Addressing the young
girl)
I was a great beauty.

ROB
Uh, how did this personality come
about?

TESSIE
(Grabbing the young
girl’s cheek)
I was very charming.

ROB
There were many men interested in
you?

TESSIE
(To the young girl)
Oh, I was quite a lively dancer.

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

ROB
(Laughing)
That’s pretty hard to believe.

EXT. STREET.

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
Well, I had a really good day, you
know that? It was just a real fine
way to spend my birthday.

ALVY
Ah? Oh, well, your birthday’s not
till tomorrow, honey, I hate to tell
yuh.

ANNIE
Yeah, but it’s real close.

ALVY
Yeah, but no presents till midnight.

ANNIE
(Laughing)
Oh, darn it.

INT. APARTMENT

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

ANNIE
(Making sounds)
This is-
(Making sounds)
Huh?

She pulls out flimsy black lingerie from the box.

ALVY
Happy birthday.

ANNIE
What is this? Is this a… Present?
(Laughing)
Are you kidding?

ALVY
Yeah, hey, why don’t yuh try it on?

ANNIE
Uh, yeah, uh… t-t-this is more
like a present for you, yeah, but
it’s-

ALVY
Try it… it’ll add years to our sex
life.

ANNIE
(Looking up at Alvy
and laughing)
Uh huh. Yeah. Forget it.

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

ALVY
Here’s a real present.

ANNIE
(Opening the gift)
What… huh?

ALVY
Check it out.

ANNIE
Oh, yeah? What is this, anyway?
(continuing)
Let me see. Okay, let’s… oooh,
God!
(She takes out a watch
from the box)
Oh, you knew I wanted this…
(Laughing)
God, it’s terrific, God!

ALVY
(Making sounds)
Yeah, I know. Just-just put on the
watch, and-and… that thing, and
we’ll just…

ANNIE
(Laughing)
Oh! My God!
(Making sounds)

Alvy kisses Annie.

INT. NIGHT CLUB.

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.

ANNIE
(Laughing)
Thank you.

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.

ALVY
(Reacting)
You were-you were sensational. I
mean, I-you know, I-I told yuh that
if yuh stuck to it, you would be
great, and-and, you know, I-I-you-
you were sensational.

ANNIE
(Looking at Alvy,
smiling)
Yeah, well, we have the, I mean,
they were just a terrific audience,
I mean, you know, it makes it really
easy for me, because I can be…
huh?

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.

TONY
Excuse me.

He shakes hands with Annie, smiling.

ANNIE
Oh.

TONY
Hi, I’m-I’m Tony Lacey.

ANNIE
Well, hi!

TONY
Uh, we just wanted to stop by and
say that we really enjoyed your sets.

ANNIE
(Laughing)
Oh, yeah, really, oh!

TONY
I though it was… very musical, and
I liked it a lot.

ANNIE
Oh, neat… oh, that’s very nice,
gosh, thanks a lot.

TONY
Are you… are you recording? Or do-
Are you with any label now?

ANNIE
(Laughing)
No, no, no, not at all.

TONY
Uh, well, I’d like to talk to you
about that sometime, if you get a
chance.

Seated Alvy looks the other way, reacting.

ANNIE
Oh. What about?

TONY
…of possibly working together.

ANNIE
(Looking for the first
time at Alvy)
Well, hey, that’s, that’s nice. Uh.
Oh, listen, this is, uh, Alvy Singer.
Do you know Alvy? Uh… and… uh…
Tony Lacey.

TONY
No, I don’t-I don’t know, but I-I
know your work. I’m a big fan of
yours.

Tony reaches over and shakes hands with Alvy. The nightclub
crowd surrounds them all with their low chatter and cigarette
smoke.

ALVY
Thank you very much. It’s a pleasure.

TONY
(Turning to introduce
his entourage)
This is, uh, Shawn, and, uh… Bob
and Petronia.

ANNIE
Hi.

ENTOURAGE
Hi.

ANNIE
(Laughing)
Hi, hi, Bob…

TONY
Uh… w-we’re going back to the
Pierre. We’re staying at the Pierre…
and we’re gonna meet Jack and
Angelica, and have a drink there,
and… if you’d like to come, uh,
we’d love to have you.

ANNIE
Yeah.

TONY
And we could just sit and talk…
nothing. Uh, not a big deal, it’s
just relax, just be very mellow.

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

ALVY
(Fingers to his mouth,
reacting)
Remember, we had that thing.

ANNIE
What thing?

ALVY
(Staring at Annie and
clearing his throat)
Don’t you remember we-we-we discussed
that thing that we were-

ANNIE
(Overlapping)
Thing?

ALVY
(Overlapping)
yes, we had, uh…

ANNIE
(Looking at Alvy,
reacting)
Oh, the thing! Oh, the thing…
(Laughing)
…yeah… yeah.

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

TONY
Oh, well, I-if it’s inconvenient,
eh, we can’t do it now… that’s
fine, too. W-w-w-we’ll do it another
time.

ANNIE
Hey-

TONY
Maybe if you’re on the Coast, we’ll
get together and… and we’ll meet
there.

He shakes hands with Annie.

ANNIE
(Reacting)
Oh.

TONY
It was a wonderful set.

ANNIE
Oh, gosh.

TONY
(Smiling)
I really enjoyed it.
(Looking at Alvy)
Nice to have metcha. Good night.

ENTOURAGE
Bye-bye.

ANNIE
Nice to see you… bye. Yeah. Bye.

She turns and looks at Alvy.

ALVY
(Reacting)
What’s… you… well, what’s the
matter, You w-wanna go to that party?

ANNIE
(Looking down at her
hands, then up at
Alvy)
I don’t know, I thought it might be
kind of fun, you know what I mean,
it’d be nice to meet some new people.

ALVY
(Sighing)
I’m just not… you know, I don’t
think I could take a mellow eve-
’cause I-I don’t respond well to
mellow, you know what I mean, I-I
have a tendency to… if I get too
mellow, I-I ripen and then rot. You
know, and it’s-it’s not good for
my…
(Making sounds)

ANNIE
All right, all right, you don’t wanna
go to the party, so uh, whatta you
wanna do?

INT. MOVIE THEATER.

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.

ANNIE
(To her doctor)
That day in Brooklyn was the last
day I remember really having a great
time.

ALVY
(To his doctor)
Well, we never have any laughs
anymore, is the problem.

ANNIE
Well, I’ve been moody and
dissatisfied.

ALVY’S PSYCHIATRIST
How often do you sleep together?

ANNIE’S PSYCHIATRIST
Do you have sex often?

ALVY
Hardly ever. Maybe three times a
week.

ANNIE
Constantly! I’d say three times a
week. Like the other night, Alvy
wanted to have sex.

ALVY
She would not sleep with me the other
night, you know, it’s-

ANNIE
And… I don’t know… I mean, six
months ago I-I woulda done it. I
woulda done it, just to please him.

ALVY
I mean… I tried everything, you
know, I-I-I put on soft music and my-
my red light bulb, and…

ANNIE
But the thing is-I mean, since our
discussions here, I feel I have a
right to my own feelings. I think
you woulda been happy because… uh,
uh, I really asserted myself.

ALVY
The incredible thing about it is,
I’m paying for her analysis and she’s
making progress and I’m getting
screwed.

ANNIE
I don’t know, though, I feel so guilty
because Alvy is paying for it, so,
you know, so I do feel guilty if I
don’t go to bed with him. But if I
do go to bed with him, it’s like I’m
going against my own feelings. I
don’t know I-I can’t win.

ALVY
(Simultaneously, with
Annie)
You know… it’s getting expensive
my analyst… for her analyst. She-
she’s making progress and I’m not
making any progress. Her progress is
defeating my progress.

ANNIE
(Simultaneously, with
Alvy)
Sometimes I think-sometimes I think
I should just live with a woman.

CUT TO:

INT. APARTMENT

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.

WOMAN FRIEND
Wow, I don’t believe it… you mean
to tell me you guys have never snorted
coke?

ANNIE
Well, I always wanted to try, you
know, but, uh, Alvy, uh… he’s very
down on it.

ALVY
Hey, don’t put it on me. You kn- Wh-
what is it, I don’t wanna put a wad
of white powder in my nose ’cause
the-the nasal membranes…

They all start talking at once.

ANNIE
You never wanna try anything new,
Alvy.

ALVY
(Counting on his
fingers)
How can you say that? I mean,
(Making sounds)
who said I-I-I-I said that you, I
and that girl from your acting class
should sleep together in a threesome.

ANNIE
(Reacting)
That’s sick!

ALVY
Yeah, I know it’s sick, but it’s
new. You know, you didn’t say it
couldn’t be sick.

Annie laughs, chatters.

WOMAN FRIEND
Just come on, Alvy.
(All four are now
sitting on the sofa.
The male friend starts
to prepare lines of
cocaine; Alvy and
Annie look at each
other, reacting)
Do your body a favor. Try it, come
on.

ALVY
Oh, yeah?

ANNIE
Yeah. Come on. It’d be fun.

ALVY
(Moving forward on
the couch)
Oh, I’m sure it’s a lot of fun, ’cause
the Incas did it, you know, and-and
they-they-they were a million laughs.

ANNIE
(Laughing)
Alvy, come on, for your own
experience. I mean, you wanna write,
why not?

MALE FRIEND
It’s great stuff, Alvy. Friend of
mine just brought it in from
California.

ANNIE
Oh, do you know something-I didn’t
tell yuh, we’re going to California
next week.

GIRL
Oh, really?

ANNIE
Yeah…

ALVY
…I’m thrilled. As you know, uh…
uh, on my agent’s advice I sold out,
and I’m gonna do an appearance on
TV.

ANNIE
(Interrupting)
No, no, no that’s not it at all.
Alvy’s giving an award on television.
Gee, he talks like he’s violating a
moral issue sitting here.

GIRL
You’re kidding?

ALVY
It’s so phony, and we have to leave
New York during Christmas week, which
really kills me.

MAN
(Interrupting)
Alvy, listen, while you’re in
California, could you possibly score
some coke for me?

Annie laughs.

ALVY
(Over Annie’s laughter)
Sure, sure, I’ll be glad to. I-I’ll
just put it in a-a-a h-h-hollow heel
that I have in my boot, you know.
(Alvy picks up the
small open gold case
of cocaine base the
man placed on the
coffee table and
looks at it, reacting)
H-h-how much is this stuff?

MAN
It’s about two thousand dollars an
ounce.

ANNIE
God.

ALVY
Really? And what is the kick of it?
Because I never…

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.

CUT TO:

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.

VOICES
(Singing)
We wish you a Merry Christmas, We
wish you a Merry Christmas, We wish
you a Merry Christmas, And a Happy
New Year.

ROB
(Over the singing)
I’ve never been so relaxed as I have
been since I moved out here, Max. I
want you to see my house. I live
right next to Hugh Hefner’s house,
Max. He lets me use the Jacuzzi. And
the women, Max, they’re like the
women in Playboy magazine, only they
can move their arms and legs.

ANNIE
(Laughing)
You know, I can’t get over that this
is really Beverly Hills.

VOICES
(Singing)
We wish you a Merry Christmas, And a
Happy New Year.

ALVY
Yeah, the architecture is really
consistent, isn’t it? French next to-

VOICES
(Singing over the
dialogue)
Oh, Christmas… tree, Oh, Christmas
tree, How bright and green Our…

ALVY
Spanish, next to Tudor, next to
Japanese.

ANNIE
God, it’s so clean out here.

ALVY
It’s that they don’t throw their
garbage away. They make it into
television shows.

ROB
Aw, come on, Max, give us a break,
will yuh? It’s Christmas.

Annie starts snapping pictures of the view.

ALVY
Can you believe this is Christmas
here?

VOICES
(Singing)
Oh Christmas tree, Oh Christmas
tree…

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.

ANNIE
You know, it was snowing-it was
snowing and really gray in New York
yesterday.

ROB
No kidding?

ALVY
Right-well, Santa Claus will have
sunstroke.

ROB
Max, there’s no crime, there’s no
mugging.

ALVY
There’s no economic crime, you know,
but there’s-there’s ritual, religious-
cult murders, you know, there’s wheat-
germ killers out here.

ROB
While you’re out here, Max, I want
you to see some of my TV show. And
we’re invited to a big Christmas
party.

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

VOICES
(Singing, louder now)
Remember Christ our Savior Was born
on Christmas day To save us all…
from Satan’s power As we were gone
astray.

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

INT. TV CONTROL ROOM.

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.

ALVY
(Overlapping the
chatter)
Oh.

ROB
Look, now, Charlie, give me a big
laugh here.

ROB ON TV SCREEN
A limousine to the track breakdown?

ROB
(Watching)
A little bigger.

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

ALVY
Do you realize how immoral this all
is?

ROB
Max, I’ve got a hit series.

ALVY
Yeah, I know; but you’re adding fake
laughs.

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

ARNIE
Oh, I’m sorry.

ROB ON TV SCREEN
Arnie.

ARNIE
Yeah.

ROB
(Turning to the
technician)
Give me a tremendous laugh here,
Charlie.

ALVY
Look, uh…

Loud laughter from the TV monitors.

ROB
(To Alvy)
We do the show live in front of an
audience.

ALVY
Great, but nobody laughs at it ’cause
your jokes aren’t funny.

ROB
Yeah, well, that’s why this machine
is dynamite.

ROB ON TV SCREEN
You better lie down. You’ve been in
the sun too long.

ROB
(To the technician)
Yeah… uh, now give me a like a
medium-size chuckle here… and then
a big hand.

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

ALVY
(Removing his glasses
and rubbing his face)
Is there booing on there?

The monitors show a woman on the screen.

WOMAN
We were just gonna fix you up with
my cousin Dolores.

ALVY
(Overlapping the TV)
Oh, Max, I don’t feel well.

ROB
What’s the matter?

ALVY
I don’t know, I just got-I got very
dizzy…
(Coughing)
I feel dizzy, Max.

ROB
Well, sit down.

ALVY
(Sitting down)
Oh, Jesus.

ROB
You all right?

ALVY
I don’t know, I mean, I-

ROB
(Crouching before
Alvy, looking at him)
You wanna lie down?

ALVY
No, no-my, you know, my stomach felt
queasy all morning. I just started
getting…

ROB
How about a ginger ale?

ALVY
Oh, Max… no, I maybe I better lie
down.

INT. HOTEL ROOM.

Alvy lies in bed, one elbow propped up, a doctor sitting
next to him looking concerned. The doctor holds out a plate
of chicken; Alvy listlessly stares at it. Annie, in the
background, is on the phone.

ANNIE
(Talking into the
phone)
Yes.

DOCTOR
(Holding out the food)
Why don’t you just try to get a little
of this down? This is just plain
chicken.

ALVY
(Taking a piece of
chicken and holding
it)
Oh, oh, no, I can’t-I can’t eat this.
I’m nauseous.
(He gasps and makes
sounds)
If you could-if you could just give
me something to get me through the
next two hours, you know I-I have to
go out to Burbank… and give out an
award on a TV show.

ANNIE
(On the phone,
overlapping the doctor
and Alvy)
Well… H-h huh… Oh, good… Yes,
I’ll tell him.

DOCTOR
Well, there’s nothing wrong with you
actually, so far as I can tell. I
mean, you have no fever, no… no
symptoms of anything serious. You
haven’t been eating pork or shellfish.

Annie hangs up and moves over to Alvy.

ANNIE
(Sitting on the edge
of the bed)
Excuse me. I’m sorry, I’m sorry,
Doctor. Uh, Alvy-Alvy, that was the
show. They said everything is fine.
They found a replacement, so they’re
going to tape without you.

ALVY
(Making sounds)
I’m nauseous.
(He sighs and gasps)
Oh, jesus, now I don’t get to do the
TV show?

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.

ANNIE
Yeah. Listen, Doctor, I’m worried.

DOCTOR
Now, Mrs. Singer, I can’t find
anything —

ALVY
Christ!

ANNIE
Nothing at all?

DOCTOR
No, I think I can get a lab man up
here.

ALVY
(Grabbing the rest of
the chicken from the
plate)
Oh, jesus. Can I have the salt,
please?

ANNIE
What do you mean? Do you think he’s-

DOCTOR
(Handing the salt to
Alvy)
Yes, excuse me.
(To Annie)
Perhaps it would be even better if
we took him to the hospital for a
day or two.

Alvy begins to eat.

ANNIE
Uh-huh… Oh, hospital?

DOCTOR
Well, otherwise, there’s no real way
to tell what’s going on.

ALVY
(Making sounds, gasping)
This is not bad, actually.

EXT. BEVERLY HILLS STREET RESIDENTIAL AREA – DAY

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.

ALVY
(Getting out of the
car)
Hey, don’t tell me we’re gonna hafta
walk from the car to the house. Geez,
my feet haven’t touched pavement
since I reached Los Angeles.

INT. HOUSE

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.

CUT TO:

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.

CUT TO:

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.

ROB
You like this house, Max?

ALVY
M’hm.

ROB
I even brought a road map to get us
to the bathroom.

ALVY
Whee, you shoulda told me it was
Tony Lacey’s party.

ROB
What difference does that make?

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

ALVY
I think he has a little thing for
Annie.

ROB
Oh, no, no, that’s bullshit, Max.
He goes with that girl over there.

ALVY
Where?

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

ROB
The one with the V.P.L.

ALVY
V.P.L.?

ROB
Visible panty line. Max, she is
gorgeous.

ALVY
Yeah, she’s a ten, Max, and that’s
great for you because you’re-you’re
used to twos, aren’t you?

ROB
There are no twos, Max.

ALVY
Yeah, you’re used to the kind with
the- with the shopping bags walking
through Central Park with the surgical
masks on muttering.

ROB
M’hm.

ALVY
And… uh-

ROB
(Interrupting)
How do you like this couple, Max?

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.

ROB
And I think they just came back from
Masters and Johnson.

ALVY
Yeah, intensive care ward.
(Watching the woman
in white)
My God-hey, Max, I think she’s… I
think she’s giving me the eye.

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

ROB
If she comes over here, Max, my brain
is going to turn into guacamole.

ALVY
I’ll handle it. I’ll handle it. Hi.

GIRL IN WHITE
You’re Alvy Singer, right? Didn’t we
meet at EST?

ALVY
(Reacting)
EST? No, no, I was never to est.

GIRL IN WHITE
Then how can you criticize it?

ALVY
Oh.

ROB
Oh, he-he didn’t say anything.

ALVY
(Laughing)
No, no, I came out here to get some
shock therapy, but there was an energy
crisis, so I… He’s my-my food
taster. Have you two met?

ROB
(Shaking his head)
Hi. How do you do.

GIRL IN WHITE
Do you taste to see if the food’s
poisoned?

ALVY
Yeah, he’s crazy.

The girl in white laughs.

ALVY
(Looking at Rob and
the girl)
Hey, you guys are wearin’ white. It
must be in the stars.

ROB
Yeah. Right.

ALVY
Uri Geller must be on the premises
someplace.

ROB
We’re gonna operate together.

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

TONY
We just need about six weeks, in
about six weeks we could cut a whole
album.

ANNIE
I don’t know, this is strange to me,
you know.

TONY
Just… that’s all you need. You can
come and stay here.

ANNIE
Oh.

TONY
There’s a whole wing in this house.

ANNIE
(Laughing)
Oh yeah, stay here? U-huh.

TONY
You can have it to use. Why-why are
you smiling?

ANNIE
(Laughing)
I don’t know. I don’t know.

She picks up an hors doeuvre.

CUT TO:

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.

TONY
This is a great house, really.
Everything. Saunas, Jacuzzis, three
tennis courts. You know who the
original owners were? Nelson Eddy,
then Legs Diamond. Then you know who
lived here?

ALVY
Trigger.

Annie and the girl in white laugh.

TONY
Charlie Chaplin.

ALVY
Hey.

TONY
Right before his un-American thing.

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.

ALVY
Yeah, this place is great.

ANNIE
Yeah.

TONY
Uh, you guys are still-uh, you’re
still New Yorkers.

ALVY
Yeah, I love it there.

ANNIE
(Laughing)
Yeah.

TONY
Well, I used to live there. I used
to live there for years. You know,
but it’s gotten-it’s so dirty now.

ANNIE
Yeah.

ALVY
I’m into garbage. It’s my thing.

ANNIE
Boy, this is really a nice screening
room. It’s really a nice room.

TONY
Oh, and there’s another thing about
New York. See… you-you wanna see a
movie, you have to stand in a long
line.

ANNIE
Yeah.

TONY
It could be freezing, it could be
raining.

ANNIE
Yeah.

TONY
And here, you just-

GIRL IN WHITE
We saw “Grand Illusion” here last
night.

ALVY AND ANNIE
(In unison)
Oh, yeah?

MAN ON THE SOFA
(Looking over his
shoulder at the group)
That’s a great film if you’re high.
(The group laughs,
looking down at the
man on the sofa. He
looks up at them,
smiling, a joint in
his hand, and offers
them a cigarette)
Hey, you.

TONY
(Shaking his head no)
Come and see our bedroom. We did a
fantastic lighting job. Okay?

ANNIE
Oh, good. Okay.

ALVY
I’m cool.

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

ANNIE
(Taking Alvy’s arm)
It’s wonderful. I mean, you know
they just watch movies all day.

ALVY
Yeah, and gradually you get old and
die. You know it’s important to make
a little effort once in a while.

ANNIE
Don’t you think his girl friend’s
beautiful?

ALVY
Yeah, she’s got a great-lookin’ fa-
A pat on the androgynous side. But
it’s…

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

MAN ON THE PHONE
Yeah, yeah. I forgot my mantra.

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:

CUT TO:

INT. AIRPLANE

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

ANNIE’S VOICE-OVER
(To herself)
That was fun. I don’t think California
is bad at all. It’s a drag coming
home.

ALVY’S VOICE-OVER
(To himself)
Lotta beautiful women. It was fun to
flirt.

ANNIE’S VOICE-OVER
(As she sips coffee)
I have to face facts. I-I adore Alvy,
but our relationship doesn’t seem to
work anymore.

ALVY’S VOICE-OVER
(An open magazine
lies in his lap)
I’ll have the usual trouble with
Annie in bed tonight. Whatta I need
this?

ANNIE’S VOICE-OVER
If only I had the nerve to break up,
but it would really hurt him.

ALVY’S VOICE-OVER
If only I didn’t feel guilty asking
Annie to move out. It’d probably
wreck her. But I should be honest.

He looks over at Annie.

ANNIE
(Looking back at Alvy)
Alvy, uh, let’s face it. You know
something, don’t think our
relationship is working.

ALVY
Tsch, I know. A relationship, I think,
is-is like a shark, you know? It has
to constantly move forward or it
dies.
(He sighs)
And I think what we got on our hands
(Clearing his throat)
is a dead shark.

INT. ALVY’S LIVING ROOM-DAY

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.

ALVY
(Holding up a book)
Whose “Catcher in the Rye” is this?

ANNIE
(Walking into the
room with an armload
of books)
Well, let’s see now… If it has my
name on it, then I guess it’s mine.

ALVY
(Reacting)
Oh, it sure has… You know, you
wrote your name in all my books,
’cause you knew this day was gonna
come.

ANNIE
(Putting down the
books and flipping
back her hair)
Well, uh, Alvy, you wanted to break
up just as much as I do.

ALVY
(Riffling through the
books)
There’s no-no question in my mind.
I think we’re doing the mature thing,
without any doubt.

ANNIE
(Holding a framed
picture and moving
about)
Now, look, all the books on death
and dying are yours and all the poetry
books are mine.

ALVY
(Looking down at a
book)
This “Denial of Death”. You remember
this?

ANNIE
Oh-

ALVY
This is the first book that I got
you.

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

ANNIE
God.

ALVY
Remember that day?

ANNIE
Right. Geez, I feel like there’s a
great weight off my back. M’mmm.

ALVY
Thanks, honey.

ANNIE
(Patting Alvy’s
shoulder)
Oh, no, no, no, no, no. I mean, you
know, no, no, no, I mean, I think
it’s really important for us to
explore new relationships and stuff
like that.

She walks away.

ALVY
There’s no-there’s no question about
that, ’cause we’ve given this… uh,
uh, I think a more than fair shot,
you know?

He tosses the book into the carton.

ANNIE
(Off screen)
Yeah, my analyst thinks this move is
keen for me.

ALVY
(Off screen)
Yeah, and I-I tru- you know, I trust
her, because my-my analyst recommended
her.

ANNIE
(Walking in with
another armload of
books)
Well, why should I put you through
all my moods and hang-ups anyway?

ALVY
Right. And you-and you know what the
beauty part is?

ANNIE
What?

ALVY
(Holding a small box
of buttons)
We can always come back together
again. Because there’s no-there’s no
problem. ‘Cause… Right.

ANNIE
(Overlapping)
Exactly, but… exactly. Ooooh!

ALVY
You know, I-I-I don’t think many
couples could handle this. You know,
they could just break up and remain
friends.

ANNIE
(Taking a button from
a box)
Hey, this one’s mine, this button.
This one, you rem-

ALVY
(Interrupting)
Yeah.

ANNIE
I guess these are all yours. Impeach,
uh, Eisenhower… Impeach Nixon…
Impeach Lyndon Johnson… Impeach
Ronald Reagan.

EXT. NEW YORK CITY STREET-DAY

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

ALVY
(Into the camera, to
the audience)
I miss Annie. I made a terrible
mistake.

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

MAN ON THE STREET
She’s living in Los Angeles with
Tony Lacey.

ALVY
Oh, yeah? Well, if she is, then the
hell with her! If she likes that
lifestyle, let her live there! He’s
a jerk, for one thing.

MAN ON THE STREET
He graduated Harvard.

ALVY
Yeah. He may- Listen, Harvard makes
mistakes too, you know. Kissinger
taught there.

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

OLD WOMAN
Don’t tell me you’re jealous?

ALVY
Yeah, jealous. A little bit like
Medea. Lemme, lemme-can I show you
something, lady?
(He takes a small
item from his pocket
to show the woman)
What I have here… I found this in
the apartment. Black soap. She used
to wash her face eight hundred times
a day with black soap. Don’t ask me
why.

OLD WOMAN
Well, why don’t you go out with other
women?

ALVY
Well, I-I tried, but it’s, uh, you
know, it’s very depressing.

RECENT FLASHBACK – INT. ALVY’S COUNTRY KITCHEN

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

ALVY
(Pointing to the
lobster)
This always happens to me. Quick, g-
go get a broom.

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

GIRL DATE
(Smoking)
What are you making such a big deal
about?
(As she talks, the
lobster drops from
the tray to the floor.
Alvy jumps away,
then gingerly scrapes
the tray toward the
lobster)
They’re only lobsters. Look, you’re
a grown man, you know how to pick up
a lobster.

ALVY
(Looking up in stooped-
over position)
I’m not myself since I stopped
smoking.

GIRL DATE
(Still leaning against
the sink, her hand
on her hip)
Oh, when’d you quit smoking?

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

ALVY
Sixteen years ago.

GIRL DATE
(Puzzled)
Whatta you mean?

ALVY
(Mocking)
Mean?

GIRL DATE
You stopped smoking sixteen years
ago, is that what you said? Oh, I-I
don’t understand. Are you joking, or
what?

CUT TO:

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.

INT. ALVY’S BEDROOM – DAY

Alvy sits on his bed talking on the phone.

ALVY
Listen, honey, Central Park’s turning
green… Yeah, I sa-I saw that lunatic
that we-where we used to see… with
the, uh, uh, pinwheel hat and, you
know, and the roller skates?…
Listen, I-I want you to come back
here… Well, I-I-then I’m gonna
come out there and getcha.

CUT TO:

An airborne plane.

CUT TO:

EXT. LOS ANGELES AIRPORT.

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

ALVY
Whatta you mean, where am I? Where
do- where do you think I am? I’m-I’m
out… I’m at the Los Angeles Airport.
I flew in…

(SNIFFLING)
Tsch, I-well, I flew in to see you…
(Muttering)
Hey, listen, can we not debate this
on-on the telephone because I’m, you
know, I-I feel that I got a
temperature and I’m-I’m getting my-
my chronic Los Angeles nausea. I-I
don’t feel so good.

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.

ALVY’S VOICE-OVER
Well, where-wherever you wanna meet,
I don’t care. I’ll-I’ll drive in. I
rented a car I’m driving… that…
Whatta you mean? What-why is that
such a miracle? I’m driving myself —

EXT. OUTDOOR CAFE – DAY

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.

ALVY
(To the waitress)
I’m gonna… I’m gonna have the
alfalfa sprouts and, uh, a plate of
mashed yeast.

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.

ANNIE
Hi.

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

ALVY
You look very pretty.

ANNIE
Oh, no, I just lost a little weight,
that’s all.
(Alvy adjusts his
glasses, not exactly
knowing where to
start; a bit uneasy)
Well, you look nice.

ALVY
(Nodding his head)
You see, I-I’ve been thinking about
it and I think that we should get
married.

ANNIE
(Adjusting her
sunglasses)
Oh, Alvy, come on.

ALVY
Why? You wanna live out here all
year? It’s like living in Munchkin
Land.

ANNIE
(Looking around)
Well, whatta you mean? I mean, it’s
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.

ALVY
(Sadly)
So whatta you… You’re not gonna
come back to New York?

ANNIE
(Smiling)
What’s so great about New York? I
mean, it’s a dying city. You read
“Death in Venice.”

ALVY
Hey, you didn’t read “Death in Venice”
till I bought it for yuh.

ANNIE
That’s right, that’s right.
(Still smiling)
You only gave me books with the word
“death” in the titles.

ALVY
(Nodding his head and
gesturing)
That’s right, ’cause it’s an important
issue.

ANNIE
Alvy, you’re incapable of enjoying
life, you know that? I mean, your
life is New York City. You’re just
this person. You’re like this island
unto yourself.

ALVY
(Toying with his car
keys)
I can’t enjoy anything unless I…
unless everybody is. I-you know, if
one guy is starving someplace,
that’s… you know, I-I… it puts a
crimp in my evening.
(Looking down at his
hands, sadly)
So wanna get married or what?

ANNIE
(Seriously)
No. We’re friends. I wanna remain
friends.

ALVY
(In disbelief)
Okay.
(Louder, to the
waitress)
Check, please. Can I -can I…
Can I… Can I…

ANNIE
(Interrupting)
You’re mad, aren’t you?

ALVY
(Shaking his head)
No.
(Then nodding)
Yes, of course I’m mad, because you
love me, I know that.

ANNIE
Alvy, I can’t say that that’s true
at this point in my life. I really
just can’t say that that’s true. I
mean, you know how wonderful you
are. I mean, you know… you’re the
reason that I got outta my room and
that I was able to sing, and-and-
and, you know, get more in touch
with my feelings and all that crap.
Anyway, look, I don’t wanna- Listen,
listen, listen, uh
(Laughing)
h’h, so whatta you up to anyway,
huh?

ALVY
(Shrugging his
shoulders)
The usual, you know. Uh, tryin’ t’
write. I’m workin’ on a play.
(Sighing)
Jesus. So whatta yuh saying? That
you’re not comin’ back to New York
with me?

He nods his head in disbelief.

ANNIE
(Nodding)
No!
(Pauses)
Look, I gotta go.

She starts to rise.

ALVY
You mean that…
(He gets up and starts
following her past
diners at other tables)
I-I-I-I flew three thousand miles to
see you.

ANNIE
I’m late.

ALVY
Air miles, you know. I mean, you
know what that does to my stomach?

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

ANNIE
If you must know, it’s a hectic time
for Tony. The Grammys are tonight.

ALVY
The what?

ANNIE
The Grammys. He’s got a lotta records
up for awards.

ALVY
You mean they give awards for that
kind o’ music?

ANNIE
Oh!

ALVY
I thought just earplugs.

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

ANNIE
Just forget it, Alvy, okay? Let’s
just forget the conversation.

She closes the door, starts the motor.

ALVY
(Yelling after her)
Awards! They do nothing but give out
awards! I can’t believe it. Greatest,
greatest fascist dictator, Adolf
Hitler!

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
hits 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.

ALVY
(Getting out of the
car)
Officer, I know what you’re gonna
say. I’m-I’m not a great driver, you
know, I-I have some problems with-
with-with-

OFFICER
(Interrupting)
May I see your license, please?

ALVY
Sure.
(Searching, he finally
fishes his license
out of his pocket)
just don’t-don’t get angry, you know
what I mean? ‘Cause I-I have – I
have my-my license here. You know,
it’s a rented car. And I’ve…

He drops the license and it falls to the ground.

OFFICER
Don’t give me your life story
(Looking at the piece
of paper on the ground)
just pick up the license.

ALVY
Pick up the license. You have to ask
nicely ’cause I’ve had an extremely
rough day. You know, my girl friend-

OFFICER
(Interrupting)
Just give me the license, please.

ALVY
Since you put it that way.
(He laughs)
It’s hard for me to refuse.
(He leans over, picks
up the license, then
proceeds to rip it
up. He lets the pieces
go; they float to
the ground)
…have a, I have a terrific problem
with authority, you know. I’m…
it’s not your fault. Don’t take it
personal.

CUT TO:

INT. JAIL-CELLS CORRIDOR.

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.

ALVY
So long, fellas. Keep in touch.

He walks down the corridor off screen.

EXT. A STREET IN FRONT OF THE COURT HOUSE – DAY

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.

ROB
Imagine my surprise when I got your
call, Max.

ALVY
(Carrying his jacket
over his shoulder)
Yeah. I had the feeling that I got
you at a bad moment. You know, I
heard high-pitched squealing.

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

ROB
(Starting the car)
Twins, Max. Sixteen-year-olds. Can
you imagine the mathematical
possibilities?

ALVY
(Reacting)
You’re an actor, Max. You should be
doing Shakespeare in the Park.

ROB
Oh, I did Shakespeare in the Park,
Max. I got mugged. I was playing
Richard the Second and two guys with
leather jackets stole my leotard.

He puts on an elaborate helmet and goggles.

ALVY
(Looking at Rob’s
helmet)
Max, are we driving through plutonium?

ROB
Keeps out the alpha rays, Max. You
don’t get old.

CUT TO:

INT. REHEARSAL HALL OF A THEATER.

An actor and actress sit on hard wooden chairs in a sparse
rehearsal hall.

They face each other. The actress resembles Annie; the actor,
Alvy.

ACTOR
You’re a thinking person. How can
you choose this lifestyle?

ACTRESS
What is so incredibly great about
New York? It’s a dying city! You-you
read “Death in Venice”.

ACTOR
You didn’t read “Death in Venice”
till I gave it to you!

ACTRESS
Well, you only give me books with
the word “death” in the title.

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.

ACTOR
(In mirrored reflection)
It’s an important issue.

ACTRESS
(In mirrored reflection)
Alvy, you are totally incapable of
enjoying life.

The camera moves back to actual actor and actress.

ACTRESS
You’re like New York. You’re an
island.

ACTOR
(Rising with emotion)
Okay, if that’s all that we’ve been
through together means to you, I
guess it’s better if we just said
goodbye, once and for all! You know,
it’s funny, after all the serious
talks and passionate moments that it
ends here… in a health food
restaurant on Sunset Boulevard.
Goodbye, Sunny.

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

ACTRESS
Wait!  I’m-I’m gonna… go with you.
(The actor comes back.
They embrace)
I love you.

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

ALVY
(To the audience,
gesturing)
Tsch, whatta you want? It was my
first play. You know, you know how
you’re always tryin’ t’ get things
to come out perfect in art because,
uh, it’s real difficult in life.
Interestingly, however, I did run
into Annie again. It was on the Upper
West Side of Manhattan.

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’.”

ALVY’S VOICE
(Over the theater
scene and, Annie’s
singing)
She had moved back to New York. She
was living in SoHo with some guy.
(Laughing)
And when I met her she was, of all
things, dragging him in to see “The
Sorrow and the Pity.” Which I counted
as a personal triumph. Annie and
I…
(Alvy’s voice continues
over the scene shot
through a window of
Manhattan cafe showing
Alvy and Annie sitting
at a table, laughing
and enjoying
themselves)
…we had lunch sometime after that,
and, uh, just, uh, kicked around old
times.

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:

ALVY’S VOICE-OVER
After that it got pretty late. And
we both hadda go, but it was great
seeing Annie again, right? I realized
what a terrific person she was and-
and how much fun it was just knowing
her and I-I thought of that old joke,
you know, this- this-this guy goes
to a psychiatrist and says, “Doc,
uh, my brother’s crazy.  He thinks
he’s a chicken.” And, uh, the doctor
says, “Well, why don’t you turn him
in?” And the guy says, “I would, but
I need the eggs.” Well, I guess that’s
pretty much how how I feet about
relationships. You know, they’re
totally irrational and crazy and
absurd and… but, uh, I guess we
keep goin’ through it because, uh,
most of us need the eggs.

THE END

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