Rencontres à part: Films, personnages et spectateurs de Woody Allen.

tel-00483686, version 1 - 16 May 2010
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 se-rious 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 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 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 offscreen. 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 think that‘s pretty much how I feel 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 off in white. 3
INTERIORS
CUT TO:
INTERIOR. BEDROOM—NIGHT.
Joey’s hands can be seen; she is writing in a notebook on her bed.
JOEY‘S VOICE (As she writes) After the funeral service… we all returned to the beach
house. We couldn‘t help experiencing some very nostalgic memories… naturally of my
mother… and pleasantly of the few warmer moments we‘d known.
3 ALLEN, 1983, pp. 102-3.
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