Woody Allen (1935)
Annie Hall (9)
I love the rain, It washes the memories off the sidewalk
(Play it agqain,Sam)
Nothing at all?
No, I think I can get a lab man up here.
(Grabbing the rest of the chicken
from the plate)
Oh, jesus. Can I have the salt, please?
What do you mean? Do you think he's-
(Handing the salt to Alvy)
Yes, excuse me.
Perhaps it would be even better if we
took him to the hospital for a day or two.
Alvy begins to eat.
Uh-huh ... Oh, hospital?
Well, otherwise, there's no real way to
tell what's going on.
(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
parked cars. Loud music is heard.
(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.
A Hollywood Christmas party is in session, complete with music,
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;
conversation and clinking glasses can be heard. Two men, California-tanned,
stand by the French doors talking.
Well, you take a meeting with him, I'll
take a meeting with you if you'll take
a meeting with Freddy.
I took a meeting with Freddy. Freddy
took a meeting with Charlie. You take
a meeting with him.
All the good meetings are taken.
FULL GROUP SHOT
A man stands talking, people in groups behind him. Two born
like gadgets are
attached to his shoulders; he's wearing a bizarre space costume.
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
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
You like this house, Max?
I even brought a road map to get us to
Whee, you shoulda told me it was Tony
What difference does that make?
Alvy looks into the room, where Annie and Tony Lacey are having
I think he has a little thing for Annie.
Oh, no, no, that's bullshit, Max. He
goes with that girl over there.
Rob nods his head toward a tall woman dressed all in white
conversing with a
group of people close-by.
The one with the V.P.L.
Visible panty line. Max, she is gorgeous.
Yeah, she's a ten, Max, and that's great
for you because you're -you're used to
twos, aren't you?
There are no twos, Max.
Yeah, you're used to the kind with the-
with the shopping bags walking through
Central Park with the surgical masks
And ... uh-
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
And I think they just came back from
Masters and Johnson.
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
If she comes over here, Max, my brain
is going to turn into guacamole.
I'll handle it. I'll handle it. Hi.
GIRL IN WHITE
You're Alvy Singer, right? Didn't
we meet at EST?
EST? No, no, I was never to est.
GIRL IN WHITE
Then how can you criticize it?
Oh, he-he didn't say anything.
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?
(Shaking his head)
Hi. How do you do.
GIRL IN WHITE
Do you taste to see if the food's poisoned?
Yeah, he's crazy.
The girl in white laughs.
(Looking at Rob and the girl)
Hey, you guys are wearin' white. It must
be in the stars.
Uri Geller must be on the premises
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.
We just need about six weeks, in about
six weeks we could cut a whole album.
I don't know, this is strange to me,
just ... that's all you need. You can
come and stay here.
There's a whole wing in this house.
Oh yeah, stay here? U-huh.
You can have it to use. Why-why are
I don't know. I don't know.
She picks up an hors doeuvre.
The two men still talking about meetings surrounded by other
groups of people
Not only is he a great agent, but he
really gives good meetings.
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.
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?
Annie and the girl in white laugh.
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.
Yeah, this place is great.
Uh, you guys are still-uh, you're still
Yeah, I love it there.
Well, I used to live there. I used to
live there for years. You know, but
it's gotten-it's so dirty now.
I'm into garbage. It's my thing.
Boy, this is really a nice screening
room. It's really a nice room.
Oh, and there's another thing about New
York. See ... you-you wanna see a movie,
you have to stand in a long line.
It could be freezing, it could be raining.
And here, you just-
GIRL IN WHITE
We saw "Grand Illusion" here last night.
ALVY AND ANNIE
MAN ON THE SOFA
(Looking over his shoulder at
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)
(Shaking his head no)
Come and see our bedroom. We did a
fantastic lighting job. Okay?
Oh, good. Okay.
Tony and the girl in white leave the room, Annie and Alvy following.
(Taking Alvy's arm)
It's wonderful. I mean, you know they
just watch movies all day.
Yeah, and gradually you get old and die.
You know it's important to make a little
effort once in a while.
Don't you think his girl friend's
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
the room dancing.
The screen shows a plane in flight, Los Angeles far below, then:
AIRPLANE. INT. AIRPLANE
Annie and Alvy sit, the stewardess behind them serving other passengers. Annie
stares out the window bolding a coffee cup; Alvy reads. Both are preoccupied,
thinking their own thoughts.
That was fun. I don't think California
is bad at all. It's a drag coming home.
Lotta beautiful women. It was fun
(As she sips coffee)
I have to face facts. I-I adore Alvy,
but our relationship doesn't seem to
(An open magazine lies in
I'll have the usual trouble with Annie
in bed tonight. Whatta I need this?
If only I had the nerve to break up,
but it would really hurt him.
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.
(Looking back at Alvy)
Alvy, uh, let's face it. You know
something, don't think our relationship
Tsch, I know. A relationship, I think,
is-is like a shark, you know? It has
to constantly move forward or it dies.
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
(Holding up a book)
Whose "Catcher in the Rye" is this?
(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.
Oh, it sure has ... You know, you wrote
your name in all my books, 'cause you
knew this day was gonna come.
(Putting down the books and
flipping back her hair)
Well, uh, Alvy, you wanted to break up
just as much as I do.
(Riffling through the books)
There's no-no question in my mind. I
think we're doing the mature thing,
without any doubt.
(Holding a framed picture and
Now, look, all the books on death and
dying are yours and all the poetry books
(Looking down at a book)
This "Denial of Death". You remember this?
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.
Remember that day?
Right. Geez, I feel like there's a
great weight off my back. M'mmm.
(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.
There's no-there's no question about
that, 'cause we've given this ... uh,
uh, I think a more than fair shot,
He tosses the book into the carton.
Yeah, my analyst thinks this move is
keen for me.
Yeah, and I-I tru- you know, I trust
her, because my-my analyst recommended
(Walking in with another
armload of books)
Well, why should I put you through all
my moods and hang-ups anyway?
Right. And you-and you know what the
beauty part is?
(Holding a small box of buttons)
We can always come back together again.
Because there's no-there's no problem.
'Cause ... Right.
Exactly, but ... exactly. Ooooh!
You know, I-I-I don't think many couples
could handle this. You know, they could
just break up and remain friends.
(Taking a button from a box)
Hey, this one's mine, this button.
This one, you rem-
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.
(Into the camera, to the audience)
I miss Annie. I made a terrible
A couple, walking down the street, stops as the man talks to Alvy.
MAN ON THE STREET
She's living in Los Angeles with
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.
Yeah. He may- Listen, Harvard makes
mistakes too, you know. Kissinger
The couple strolls away as an older woman walks up to Alvy while others walk
Don't tell me you're jealous?
Yeah, jealous. A little bit like Medea.
Lemme, lemme-can I show you something,
(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.
Well, why don't you go out with other
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
bolding up a live lobster. He puts it on a grill tray.
(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.
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
(Looking up in stooped-over
I'm not myself since I stopped smoking.
(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.
Sixteen years ago.
Whatta you mean?
You stopped smoking sixteen years ago,
is that what you said? Oh, I-I don't
understand. Are you joking, or what?
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.
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
An airborne plane.
EXT. LOS ANGELES
People milling about as Alvy, in the outside phone-booth center, talks.
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 ...
Tsch, I-well, I flew in to see you ...
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
a car on a busy street; he causes a near-accident by jerking the car too slowly
toward an intersection.
qu'on fait n'est jamais compris mais seulement loué ou blâmé.
Nietzsche, Gay Science