Hannah and Her Sisters Page #14

DAVID:

(turning to April, emphatically)

You know, April, people pass by

vital structures in this city all

the time, and they never take the

time to appreciate them. I get the

feeling you tune in to your

environment.

APRIL:

(shaking her head)

Oh--

HOLLY:

(interrupting,

gesturing and nodding)

Oh, it's really important.

David turns and briefly glances at Holly; he then turns back

to April.

APRIL:

(looking only at David)

What are your favorite buildings,

David?

DAVID:

You want to see some?

APRIL:

(nodding)

Oh, yeah.

DAVID:

Well, let's do it.

APRIL:

(looking at David)

Great.

David starts the car and the movie cuts to an unfolding

visual excursion through New York City's landmark buildings,

as seen from the trio's point of view in the moving Jaguar.

Inspiring classical music plays in the background.

The series of shots includes the Dakota, complete with

surrounding winter trees, the Graybar building on Lexington

Avenue, an incredibly ornate building on Seventh Avenue and

Fifty-eighth Street, a red-stone church, an old building

with embellished, bulging windows on West Forty-fourth

Street, the Art Deco Chrysler Building, a red-brick building,

Abigail Adams's old stone house, and the Pomander Walk

nestled off Broadway on the Upper West Side. The group can

be seen walking down the path between the old-fashioned row

houses and shrubbery. A lamppost sits in the foreground.

It is now dark. The music continues to play as the film

cuts to the façade of a rococo-style building, complete with

French doors and ornate windows. The admiring group is

heard offscreen.

HOLLY:

(offscreen)

Oh, it's just so romantic. I just

want to put on a long gown...

DAVID:

(offscreen, overlapping)

Yes.

HOLLY:

(offscreen, continuing)

...and open the French doors and go

on the balcony --

APRIL:

(offscreen, interrupting)

It's French, though. It really is.

HOLLY:

(offscreen)

Yeah.

APRIL:

(offscreen, overlapping)

It feels like you're in France.

DAVID:

(offscreen, overlapping)

It-it is. It's romantic.

The music stops. The screen, which has been exploring the

rococo building's façade, now shows the equally elegant

building alongside it.

DAVID:

(offscreen)

And it's got a handsome partner

sitting right beside it.

HOLLY:

(offscreen)

Yeah.

DAVID:

(offscreen, overlapping)

They fit right in together. And

your eye goes along, lulled into

complacency, and then...

The film moves from the two elegant façade to show an ugly,

ultra-modern structure covered with tiny, diamond-shaped

motifs.

APRIL:

(offscreen)

That's just --

DAVID:

(offscreen, interrupting)

Look at this.

HOLLY:

(offscreen)

That's disgusting!

APRIL:

(offscreen, continuing)

...a monstrosity! Who would do that?

HOLLY:

(offscreen, overlapping)

It's really terrible.

DAVID:

(offscreen, emphatically)

It's really sad.

HOLLY:

(offscreen)

And it ruins everything else.

DAVID:

(offscreen, agreeing)

It does.

The film moves from the ugly façade to the building's

equally ugly entrance. A large car is parked right in front

of the building.

APRIL:

(offscreen)

Well...we have seen a lot of stuff

today, though.

HOLLY:

(offscreen, chuckling)

Yeah.

DAVID:

(offscreen, overlapping)

Yeah.

APRIL:

(offscreen, overlapping)

A lot of works.

The group is now seen walking down the canopied entrance

stairs of an apartment house on the other side of the

street, where they'd been gazing at both the lovely and ugly

façades across the way. David is in the lead; the women

follow, Holly slightly behind April.

HOLLY:

(nodding)

Yeah.

DAVID:

(glancing at his watch)

Maybe we should start thinking

about going home, huh?

HOLLY:

Fast.

APRIL:

Oh, geez, yeah.

HOLLY:

(overlapped)

Okay.

They walk towards the car.

DAVID:

(looking back at the

women as he walks

around the car to the

driver's side)

Uh, who gets dropped first?

APRIL:

Uh --

HOLLY:

(overlapping, looking

at April)

Oh, gee, I don't know. Um...

DAVID:

(offscreen, overlapping)

Well...

APRIL:

(overlapping)

Well, I live downtown.

HOLLY:

(glancing at April)

Yeah, I, we both live downtown.

David leans over the roof of the car, looking at the women,

waiting for their decision.

APRIL:

(gesturing)

Uh...

HOLLY:

(to David)

It depends on what way you want to

go.

APRIL:

(overlapping)

Well, wait. You know what? I know.

HOLLY:

Uh...

APRIL:

(to Holly, gesturing)

If...well, if we took the, if we

took Fifth, then-then-then we'd get

to your house first, yeah?

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