Woody Allen Match Point Script Pdf

ManhattanScreenplay by WoodyAllen and Marshall BrickmanThe words 'United Artists, a Transamerica Company, ' appear in white over a silent black screen, cutting almostimmediately and suddenly to a series of shots of the New York City skyline. As'Rhapsody in Blue' is heard over the scenery, the images flash on and off: theskyline at dawn, the sun silhouetting the Empire State Building, juttingskyscrapers, parking lots, crowded streets, the Brooklyn Bridge, neon lightsadvertising Broadway, Coca-Cola, various hotels, the snow-covered and lamp-litstreets of Park Avenue and Central Park, the garment district, an exciteddemonstration downtown.As the music swells over theManhattan scenery, Ike's voice is heard, as if reading aloud from hiswritings.ike'svoice-over 'Chapter One. He adored New York City. He idol­izedit all out of proportion.' Uh, no, make that: 'He—he.

Romanticized it allout of proportion. No matter what the season was, this wasstill a town that existed in black and white and pulsated to the great tunes ofGeorge Gershwin.' Ahhh, now let me start this over. 'Chapter One.

He was tooromantic about Manhattan as he was about everything else. He thrived on thehustle.

Bustle of the crowds and the traffic.' As Ike continues to talk,more Manhattan scenes are shown: sophisticated women walking down Fifth Avenue;construction men drilling on the streets;the docks; a ferry moving into port; children running down the stepsof a private school, finished for the day. Accenting Ike's words, the imagescontinue to flash: a fish market, presided over by a man in a smudged apron; twoelderly women, bundled in winter coats; a fruit stand; high school boys playingbasketball in a fenced-off court; joggers in the Park; the PlazaHotel;garbage piled up on the streets; building fronts of such landmarks asGucci and Sotheby Parke Bernet; the Guggenbeim Museum; people, young andold;trafficked streets; three men loitering on a corner; the crowdedlower level of the 59th Street Bridge. The 'Rhapsody in Blue' score continuesvery softly in the background.ike'svoice-over 'To him, New York meant beautiful women and street-smartguys who seemed to know all the angles.' Corny, too corny.for. My taste (Clearing his throat).

I mean, let me try and makeit more profound. 'Chapter One. He adored New York City. To him, it was ametaphor for the decay of contemporary culture.

The same lack of individualintegrity to cause so many people to take the easy way out. Was rapidlyturning the town of his dreams in—' No, it's gonna be too preachy. I mean, youknow. Let's face it, I wanna sell some books here. 183MANHATTANIKE Because. That's a—that's a key question. You know, I—I, ofcourse, can't swim, so I never have to face it.

He puts a cigarette in hismouth and lights it, staring at Tracy, looking only at her and humming, whileEmily and Yale talk in the background.IKE (To Tracy, mumbling) I don't know.YALE(To Emily) No, no. Which of us would do it.He chuckles.EMILY (To Yale, chuckling) I don't know.YALE (Giving Emily a forkfulof his food) You want a little more?EMILY No.YALE Come on.(Chuckling) You really do.EMILY (Taking thefood) Thanks.IKE (Puffing on his cigarette, still looking at Tracy) Mm. Oh, man, that is sogreat!YALE(To Emily, overlapping) Mm.TRACY (To Ike,chuckling) You don't smoke.IKE Iknow I don't smoke. I don't inhale because it gives you cancer. But(Exhaling) I look soincredibly handsome with a cigarette—TRACY (Interrupting) Oh.IKE —that I can't not hold one. (Still smoking thecigarette) You like the way I look?TRACY Mm-hm.She nods her head yes while Yale chuckles withEmily in the background.IKE (Looking at Tracy) I know.YALE (ToEmily) Provocative.IKE (To Tracy) I'm getting through to you, right?TRACY (Overlapping) Yup.

You'll have to excuseme.She gets up from the table.YALE (Looking at Tracy asshe walks away) Jesus, she's gorgeous.IKE (Drinking his glass of wine and nodding his head) Mm, but she's seventeen. (Smacking his lips together) I'mforty-two and she's seven. (Coughing) I-I'm dating a girl wherein I can beat up herfather. It's the first time that phenomenon ever occurred in my life.EMILY (Shaking herhead) He's drunk. Yale You're drunk.

You know, you shouldnever drink.IKE (Still drinking his wine) Tsch. Did Itell you (Exhaling) that my ex-wife—EMILY (Interrupting) Who, Tina?IKE (Shaking his head and holding up two fingers) — mm-mm-my second ex-wife—is writing a book about our marriage and thebreakup?EMILY That's reallytacky.IKE (Puffing on his cigarette) It's reallydepressing. You know, she's gonna (Sighing) give all those details out,all my little idiosyncrasies, and my quirks and mannerisms and—and, mm, mm, notthat I have anything to hide because, you know. (Smacking his lipstogether) but there are a few disgusting little moments that I regret.Yale sighs.YALEIt's just gossip, you know.

Gossip is the newpornography. 185man Eleven-forty.IKE (To Yale, chuckling) She's got homework.I'm dating a girl who does homework.Tracy continues to sigh as the film leaves the noisy restaurant andcuts to:EXTERIOR. STREET—NIGHT.Emily and Tracy trail behind Ike and Yale asthey walk along the sidewalk, illuminated by the street lamps. Ike casuallyholds his sweater over his shoul­der as he talks to his oldfriend.IKE What is it? What's the matter with you?

You—you—you, where isyour—where are you now?YALE(Sighing) Oh.IKE Your mind is like a million miles away someplace.YALEYeah, I have something I wanna talk to you about. I,uh, I just didn't know quite how to.

I, uh, I, uh, uh,uh, about seven or eight weeks ago, I, uh, I went to this dinner party. And, uh,I met a woman there. And (Sighing) tsch, and I-I-I-I've— I've got kind ofinvolved with her. Um, um.IKE You're kidding?YALE It started out verycasually, you know.

I mean—IKE (Overlapping) Un-huh.YALE—we had lunch a couple of times. And now, it's.you know, it's—it's getting out of hand, and I don't know what to do about it. Imean, I'm. It's scary.IKE Well, what—who is she? What are—what are the details, hm?YALE Well, she's ajournalist.IKE Ah-ha.YALE She's very—IKE (Interrupting) Is she married too?YALE No, no, no. She's verybeautiful.IKE Um-hm.YALEShe's very—you know, kind of nervous, high-strung.

188IKE Yeah, but this affects me. Jill I'm in a rush.IKE Soyou're gonna tell everybody everything, right? Our life, our sexual life,our—all the details, right?JILL (Overlapping) What do you do? Do you spyon me?IKE No, I don't have to spy. I was at a party and a guy said he reada-a-a-an advance chapter of a book that my wife was writing.

And it was hotstuff. Was hot stuff.Jill laughs.IKE (Gesturing) I spilled my—I spilled wineon my pants.JILL(Looking at Ike)Well, I don't care to discuss it.IKE You don't care to discuss it. How's Willie?JILL (Lookingaway) Fine.They stop near some fountains in front of a Sixth Avenue building,still talking.IKE Well, give me some details, will you? What do you mean 'fine'? Imean, does he play baseball? Does he wear dresses?

What?!JILLHe doesn't wear dresses. You'll find out all thedetails when it's your turn to see him.IKE Hey, don't write this book.

It's a humiliating experience.JILLIt's an honest account of our breakup. Theycontinue walking again at their quick pace.IKE Jesus, everybody that knows us is gonna know everything.JILLLook at you, you're so threatened. Jill walks offas Ike continues to talk.IKE (Stopping in his tracks, yelling after Jill's recedingfigure) Hey, I'm not threatened because I, uh, ofthe two of us, I was not the immoral, psychotic, promiscuous one. I hope Ididn't leave out anything.CUT TO:INTERIOR.IKE'S APARTMENT—NIGHT.Tracy sits on a couch in the living-room area, reading a book, whileIke, carrying two wine glasses, walks down a nearby spiral staircase intothe. He talks to Tracy as he walks into the kitchen to put awaythe glasses. Mood music plays in the background.IKE Are you telling me that-that-that I'm—that-that you've had threeaffairs before me?

That's really hard to believe. You know, it's mind-boggling.When I was your age, I was still being tucked in by my grandparents.TRACY Oh, well, they werereally immature boys. I mean, they were nothing like you.IKE Yeah, what does that mean?TRACY Well, I told youbefore. I think I'm in love with you.Ike leaves the kitchen and walks over to the couch.

He sits downbeside Tracy, pushing aside her sprawled-out legs to make room.IKE Hey, don't get carried away, okay? This is—this is a terrific thing(Pushing aside Tracy's legs)—move over, love—'cause you know, and thenit's a wonderful. You know, we're having a great time and all that. Butyou're a kid, and—and I never want you to forget that, you know. I mean, you'regonna meet a lot of terrific men in your life and. You know, I want you toenjoy me, my—my wry sense of humor and (Chuckling) astonishing sexualtechnique, but never forget that, you know, you've—you've got your whole lifeahead of you.TRACY Well, don't you haveany feelings for me?IKE (Gesturing) Well, how can you ask thatquestion?

What do you— of course, I've got nothing but feelings for you, but,you know. You don't wanna get hung up with one person at your age. Tsch, charming, you know, and (Clearing his throat). Erotic.There's no question about that.

As long as the cops don't burst in, we're—youknow, I think we're gonna break a couple of records. But you can't,uh, you can't do it.

It's not, uh, it's not a good thing. You should think of me. Sort of as a detour on the highway of life. Tsch, so get dressed because Ithink you gotta get outta here.

He gets up from the couch and takes Tracy bythe hand.TRACY Don't you want me tostay over?Reluctantly she gets up from the couch. They walk hand in hand up thespiral staircase as they talk.

190FOUR FII.MS OF WOODY A LL ENIKE I—I don't want you to get in the habit, you know, because the firstthing you know, you stay over one night and then two nights and then, you know,then you're—you're living here.TRACY You know, thatdoesn't sound too bad.IKE Mm, no, no, it's not such a great idea. You won't like it. Believeme, I'm—I'm tough to get along with.

Tomorrow we'll go to the Bleecker StreetCinema and I'll show you the Veronica Lake movie, okay?TRACY All right. VeronicaLake's the pinup with the red hair?IKE No, that's Rita Hayworth. Tell me, do we—do we have to go over thisall the time?As Ike and Tracy walk up the stairs they leave the screen; theirvoices are still heard.TRACY (Walkingoffscreen) Who, Ri-Rita who?IKE (Walking offscreen) Rita Hayworth. Areyou joking with me? I mean, I never know when you're teasing.TRACY (Offscreen) Of course I'm joking!

Do youthink I'm unaware of any event pre-Paul McCartney or something? The musicstops and the film dissolves into the Guggenheim Museum, inhere Tracy, in shirtand jeans, and Ike study some photographs. It is crowded;peoplewalk by them, talking and looking.IKE You see, I find these photographs interesting, you know. I mean—TRACY (Interrupting) Yeah, so do I.IKE Have you—do you ever use the camera that I got you?TRACY Oh, yeah, I use itall the time. I was taking pictures in our drama class.IKE Were you? Tracy It'sfun. It's really neat, yeah.IKE You know who you sound like when you talk?

The mouse in the Tomand Jerry cartoons.TRACY (Laughing) Are you kidding me?IKE No, no, I figured it out. MANHATTANTRACY You should talk! Youhave a whiny voice.Shechuckles.IKE You sound—you sound exactly like the mouse.

It's really an art.TRACY (Chuckling) Oh, well. Thanks.IKE Iknow, I'm a whiner. You know—Ike stops talking and looks through the doorway. Both he and Tracystand there, looking offscreen, as they greet Vale, who is not yetseen.IKE (To Yale) What are you doing here?TRACY (Overlapping) H-hi.YALE (Offscreen) Hi.IKE How-how long have you been here?TRACY (ToYale) Really, we were just talking aboutyou.IKE (Gesturing) Oh, that's hilarious.TRACY Ha.IKE (Overlapping, to Yale) What'reyou—what're you, uh, what're you —were—what are you—you walking around behind usor what?Tracy laughs while Yale walks through the doorway into thephotography room.YALE (Chuckling, toIke) How are you? (To Tracy) Hi.IKE Okay, good. That's so funny. We were talking about—you know,we're—we're all gonna go to that Shakespeare in the Park thing this weekend.

Seeif we can go ahead and do that.YALEOh, yeah, right. (Mary Wilke walks through thedoorway and stands beside Yale) I wanna do that. (Turning to Mary)Issac Davis and Tracy.MARY(Shaking Ike's hand)Well, hello, hi.IKE Hello, how do you do? How are you?MARYNice to meet you.IKE You, too. You, too.TRACY Hi.IKE (Chuckling nervously) We were downstairsat the Castelli Gallery. We saw the photography exhibition. Incredible,absolutely incred­ible.

192 FOUR FILMS OF WOODYALLENTRACY Oh, it's reallygood.MARYReally, you liked that?Yalesighs, not participating in the conversation.IKE The-the photographs downstairs.MARYYes, downstairs.IKE (Overlapping). Castelli Gallery. Great, absolutely great.

(Pausing) Mm-hm, did you?MARYHuh? No, I—I really felt it was very derivative. Tome, it looked like it was straight out of Diane Arbus, but it had none of thewit. It was—IKE (Interrupting) Really? Well, you know,we—we didn't like 'em as much as the—the Plexiglas sculpture, that I will admit.I mean, it—MARY(Interrupting)Really, you liked the Plexiglas, huh?IKE You didn't like the Plexiglas sculpture either?MARY(Sighing) Oh, it'sinteresting. (Shrugging) Nah, I—uh, I, uh, tsch.IKE It-it was a hell of a lot better than that—that steel cube.

Did yousee the steel cube?TRACY (Overlapping) Oh, yeah, that was theweirdest.Ike laughs nervously.MARYNow, that was brilliant to me, absolutely brilliant.IKE The steel cube was brilliant?MARYYes. Uh, to me, it was—it was very textural. Youknow what I mean?

It was perfectly integrated and it had a-a-a marvelous kind ofnegative capability. The rest of the stuff downstairs was bullshit.Ike raises an eyebrow, reacting, as the film moves outside the museumto the sidewalk where Ike and Tracy, Yale and Mary walk in the sun, fourabreast, talking.YALE(To Ike) You wanna go see the Sol LeWitts?IKE Sure, that'd be fun. (To Tracy) You wanna see Sol LeWittstoo?193MANHATTANMARY(Overlapping) Youknow, he's having an opeining at the Modern soon. I was gonna, uh, do a piece onSol for Insights. Do—do you know that magazine?

It's a—you know, it's oneof those little maga­zines. I mean, they're such schmucks up there.(Chuckling) Really mired in thirties radicalism. (Looking atTracy) What do you do, Tracy?TRACY I go to highschool.MARY(Chuckling and nodding) Oh, really, really, hm. (Aside, to Yale) Somewhere Nabokov issmiling, if you know what I mean.YALE(Laughing, to Ike) Ithink LeWitt's overrated. In fact, I think he may be a candidate for the oldAcademy.MARY(Interrupting) Doyou? (Laughing) Oh, that's right, we—YALE(Interrupting) Maryand I have invented the, uh, Academy of the Overrated—MARY(interrupting) That'sright.

She laughs.YALE—for, uh, such notables as.MARY(overlapping) Suchpeople as, uh.YALE(Laughing) GustavMahler.MARYAnd Isak Dinesen and Carl Jung.YALE. Scott Fitzgerald and. (Chuckling)uh—MARY(Interrupting) LennyBruce. We can't forget Lenny Bruce— now, can we?YALE(Laughing) LennyBruce.MARYAnd how about Norman Mailer and Walt Whitmanand—IKE (Interrupting) I think those people areall terrific, everyone that you mentioned.MARYWhat? What?YALE(To Mary) Who's thatguy you had? You had a great one last week. 194FOUR FILMS OF WOODY ALLENMARY(Overlapping) No, no,I didn't have it.

It was yours. It was Heinrich Boll, wasn't it?YALE (Laughing) Oh, God.IKE (Looking incredulous) Overrated?YALE Anyway, we don't wannaleave out ol' Heinrich.IKE Hey, what about Mozart?

You guys don't wanna leave out Mo­zart—Imean, while you're trashing people.MARY(Chuckling) Oh, well,how about Vincent Van Gogh (Pronounc­ing it 'Goch'). Or IngmarBergman?IKE (Overlapping) Van Goch? (Aside, toTracy) Did she say 'Van Goch'?MARY(To Yale) How aboutIngmar Bergman?IKE (Overlapping, shaking his head) VanGoch.YALE(Overlapping to Mary)Oh, you—you'll get in trouble with Berg­man.

He sighs.MARY What do youmean?IKE (Overlapping, looking at Mary) Bergman?Bergman's the only ge­nius in cinema today, I think. I just mean—YALE(Interrupting, to Mary) He's a big Bergman fan, you know.MARY(Looking at Ike, gesturing) Oh, please, you know. God, you're so the opposite! I mean, you writethat absolutely fabulous television show.

It's brilliantly funny and his view isso Scandinavian. It's bleak, my God. I mean, all that Kierkegaard, right? Realadolescent, you know, fashionable pessimism. I mean, the silence.

God's silence.Okay, okay, okay, I mean, I loved it when I was at Radcliffe, but, I mean, allright, you outgrow it. You absolutely outgrow it.YALEAh, I think I've got to go with him and Ingmar.He laughs hesitantly.IKE (Aside, to Tracy) Get her away from me. Idon't think I can take too much more of her. She's really a cr-creep.MARYOh, no, no, no, no, don't you see—don't you guys seethat it is the dignifying of one's own psychological and sexual hangupsby. 195MANHATTANattaching them tothese grandiose philosophical issues?

That's what it is.Ikeclears his throat. The group stops walking.YALE(Pointing to a nearby apartmentbuilding) Here we are.IKE (Fumbling) Uh, listen, I.MARY(overlapping)Oh.IKE (To Mary) It was very nice meeting you.MARY Well.IKE (Shaking Mary's hand) It was—it was apleasure and a—YALE (Interrupting) Oh.IKE —sincere sensation, but we have to go—MARYYeah, well.IKE —because we gotta get some—we gotta do some shopping. I forgot aboutit.MARY(Laughing nervously)Hey, listen.

Hey, listen, I don't even wanna have this conversation. Imean—really, I mean, I'm just from Philadelphia. You know, I mean, we believe inGod, so—uh, uh, okay?IKE (Gesturing) What the hell does that mean?MARY(Frowning, confused)Is it?IKE (Gesturing) What is it—what—what'dyou—what'd you—what'd she mean—what do you mean by that there?MARY Well, what—IKE (Interrupting) 'I'm from Philadelphia.' 'I believe in God.' What-what does. (Mary laughs nervously) Does—doesthis make any sense to you at all?

I.CUT TO:INTERIOR.DEAN AND DELUCA'S FOOD SHOP—DAY.Tracy and Ike are picking up some groceries. While Tracy calmly looksat the foodstuff, a wire basket in her hand, Ike talks and gesturesrapidly. 196FOUR FILMS OF WOODY ALLENIKE (Sighing) What a creep! Could you believeher? I mean, she was really—TRACY (Interrupting) Oh, she seemed realnervous.IKE Nervous?

She was overbearing. She was, mm, you know, mm, terrible.She was all cerebral (Sighing and pointing to bis head) you know.Wh-was—where the hell does that little Radcliffe tootsie come off rating, mm,Scott Fitzgerald and Gustav Mahler and then Heinrich Boll?TRACY (Putting a can inher basket) I don't understand why you're getting somad.IKE I'm mad because I don't like that pseudointellectual garbage. And shewas pedantic.

(Prouncing it 'Goch') Did you hear that?She said 'Van Goch.' I couldn't— Like an Arab she spoke. I couldn't. And ifshe had made one more remark about Bergman, I would've knocked her other contactlens out.He makes a fist in the air.TRACY (Putting a container of cocoa in her basket) Oh, is she Yale'smis­tress? 197MANHATTANIKE (Shaking his head) That will never ceaseto mystify me. I mean, he's got a wonderful wife and he prefers to—to, mm,diddle this little yo-yo that—that.

Uh, but—but he was always asucker for, uh, th-th-those kind of women, you know, the kind, uh, who'd involvehim in discussions of existential reality, you know. They probably sit around onthe floor with wine and cheese and mispronounce 'allegorical' and 'didacticism.' He sighs.TRACY Well, I get thefeeling that Yale really likes her.IKE Well, I'm old-fashioned. I don't believe in extramaritalrelation­ships. I think people should mate for life, like pigeons orCatholics.They walk to the cashier. Tracy takes out her parcels and places themon the counter.TRACY Tsch.

Well, I don'tknow, maybe people weren't meant to have one deep relationship. Maybe we'remeant to have, you know, a series of relationships of different lengths. I mean,that kind of thing's gone out of date.IKE Hey, don't tell me what's gone out of date, okay? You'reseven­teen years old. You were brought up on drugs and television and thepill.

I-I-I was World War Two. (Sighing) I was in the trenches.TRACY (Chuckling) Oh, you were eight in WorldWar Two.IKE That's right.

I was never in the trenches. I was caught right in themiddle. It was a very tough position. Tracy laughs.IKE (Looking away, gesturing) Get thegroceries, will you?CUT TO:INTERIOR.TELEVISION STUDIO—DAY.Technicians and cameramen scurry around a raised set where a comedicInterviewer sits with his guests, Gregory and Caroline Payne Whitney Smith.

Shehas long blond hair; she remains motionless, staring into one of the televisioncameras. Her husband is much more jittery; he wears a turned-around baseball capon his head. Audience laughter is heard over the skit as the Interviewer or hisguests say or do something funny.interviewer Good morning and welcome to Human Beings Wow! We're talkingthis evening with, uh, Gregory and Caroline Payne. 198FOUR FILMS OF WOODYALLENWhitney Smith, who are very close friends of the Carter family, isn'tthat right?gregory (Nodding and laughing) And we're justnormal people, just ordinary people just like you are, in debt.interviewer (Chuckling) Except for the fact that Mrs.Payne Whitney Smith is a catatonic.

Woody Allen Match Point

Isn't that correct?gregory Well, we don't consider her a catatonic. We just kind of consider herquiet.interviewer Oh, that'svery.The camera moves to the control booth, where Ike stands near thewindow looking down on the studio set. Television monitors display the interviewskit going on below; a man sits behind the control console while Dick, theshow's director, sits near him; Paul, the show's producer, stands between them,almost totally offscreen except for his wristwatched arm.The skit continues overthe voices of the men in the booth.interviewer (Overthe television monitors). She's awon­derful, wonderful person and you take very good care of hertoo.technician in control booth I said 'Slide seven.'

Match Point Woody Allen Movie

Plot:Homage to Ingmar Bergman in this family drama involving a fashionable Long Island interior designer who tries to impose her overbearing, critical standards on her husband and her three grown daughters. The film is a realistic look at the relationships among one artistically-oriented family; one daughter is a successful writer; the second is looking for an artistic outlet; and the third is an actress. The mother has been deserted by her husband, their father. She thinks and hopes they may reconcile, but she soon learns that he has other thoughts that circle about a new acquaintance, a woman who has had two husbands and is still lively.