ANNIE HALL

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

DISSOLVES INTO:

BLACK BACKGROUND;

credits popping on and of in white.