ANNIE HALL

(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:

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.

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)