SLEEPLESS IN SEATTLE
SLEEPLESS IN SEATTLE
Nora Ephron & Delia Ephron
May 10, 1992
FADE IN:   CLOSE ON SAM BALDWIN   A card: Chicago.   He's in his thirties.  His neck is pinched into a crisp   dress shirt and tie.  His expression is vacant, faraway.  A breeze blows but he doesn't react to it.  In the   distance the architecture of the Chicago skyline.       SAM      Mommy got sick and it happened       just like that and there was       nothing anybody would do.       (continued)   And pull back to reveal:   EXT. CHICAGO - A GRAVESITE - DAY   Next to Sam is his son Jonah, age 9.  Sam's hand is on   his shoulder.  As the mourners go past and each takes a   turn shoveling a clod of dirt into an open grave --       SAM       If we start asking why we'll go        crazy.  So, rule number one.         We don't ask why.         CUT TO:   CLOSE ON ANNIE REED   Pretty, blonde, animated.  Jeans, a T-shirt, a Baltimore   Orioles hat.       ANNIE       Why? I just want to know why?        That's my first rule.  I always        ask why.  Come on.  Tell me.         C'mon, c'mon, c'mon --   And pull back to reveal:   EXT. CHICAGO ALLEY - DAY   Annie is talking to her boyfriend, a good-looking guy   named SETH.  They're carrying packing boxes into the   house they share in the Old Town section of Chicago.    The same stunning architecture in the b.g.  They go up   the back wooden staircase to the house.       SETH       There's no why, Annie.  I'm        just not up for it.  I never        said I was.       ANNIE       Is there somebody else?       SETH       Nope.       ANNIE       You don't love me, is that it?       SETH       Nope.   Follow them into:   INT. KITCHEN - DUSK   As they set down the packing boxes and Seth starts to   assemble them.       ANNIE       How about ... you're too        narcissistic to commit to        another human being in a long- term way.       SETH       (agreeably)       That's good.         CUT TO:   INT. SAM'S CHICAGO TOWN HOUSE - DAY   An attractive, thirtyish couple, SUZY and GREG are   stocking Sam's freezer with enough Ziploc meals for a   months.  A number of friends and relatives talk quietly   in the living room beyond.  Sam stands alone by a window   that looks into the backyard.  We can see a garden of   flowers -- clearly planted by Sam's wife.       SUZY       Five minutes in the microwave.         Any one of them, five minutes        and done.  Ready to eat.  Do        you know how to make juice?       SAM       Microwave.  Five minutes.         CUT TO:   ANNIE'S KITCHEN - SEVERAL DAYS LATER   Packing boxes.  Seth is moving out.       ANNIE       You take the microwave?       SETH       What am I going to do with a        microwave?       ANNIE       You turn it on, you open it and        you stand in front of it for a        very long time.       SETH       So you're angry.  Big deal.         CUT TO:   SAM'S OFFICE - DAY   A large modern architectural firm in a Chicago high-  rise.  Lake Michigan out the window.  A large space with   several architects consulting, drafting, etc.  Sam is at   his desk, working.  An older colleague, ROB, comes over   to him.  Rob has a mustache, smokes a pipe; he's kind   but a little stuffy.       ROB       Young man, it's none of my        business, but maybe you should        talk to someone.  I myself        have consulted a professional.         I used to be up tight.   On Sam's face.  It's hard to imagine Rob being any more   uptight than he is.  Sam takes some business cards out   of his shirt pocket and reads them off.       SAM       Hypnotherapy...Shiatu Massage...       Loss of Spouse support groups...       Single parent discussion nights...       Parents without partners.       (starts riffling, angry)       Partners without parents.         People who need people.  Guys        who go into the woods, beat        drums and bond.  Get a shrink.         Hug a friend.  Hug yourself.   He stops, realizing that everyone in the room is staring   at him.  Quickly they pretend they weren't paying   attention.  Someone whispers something to a client.       SAM       (continued)       Don't mind him.  He's the guy        who just lost his wife.       (beat)       What I really think is we need        a change.       ROB       Good idea.  Take a few weeks        off, get some sun, take Jonah        fishing --       SAM       (shaking his head no)       A real change.  New city.         Someplace where every time I go        around a corner I don't think        of Maggie.   And hold on Sam for a moment and--         DISSOLVE:   EXT. WRIGLEY FIELD - DAY   Sam, Jonah and Maggie walking toward the field.  It's a   gorgeous day for a game.  They high-five each other.       ROB (V.O.)       Where you going to go?   And cut back to:   INT. SAM'S OFFICE - DAY   As Sam snaps out of it.       SAM       I was thinking about Seattle.   INT. CHICAGO TRIBUNE - DAY   The Living Section of the paper.  Annie is blowing her   nose as she finishes telling her tale of woe to her   boss, LAURIE JOHNSON.       LAURIE       Honey, he wasn't right for you.       ANNIE       (blowing her nose)       I know.       LAURIE       He wasn't even wrong for you,        like cosmically wrong, so don't        beat up on yourself for        wasting...however long it was.       ANNIE       I know.       (blowing her nose         again)   She pours Annie a cup of hot water.  Annie pulls a   teabag out of her pocket, puts it into the water.       LAURIE       Maybe you should see a shrink.              ANNIE       I want my money.       LAURIE       Go home for the weekend.       ANNIE       (after a beat)       That's what I'm going to do.         I'm going to go home.       (she thinks about it)       I quit.  Laurie, I quit.  I'm        going back to Baltimore.       (she's giddy)       How does a blonde do a high-       five?   She smacks herself in the head.         CUT TO:   O'HARE AIRPORT - DAY   The X where walkway K crosses with walkway L.  Coming   down walkway K are Sam, Jonah, Suzy, Greg, their son   MACK, and several other friends.   And coming down walkway L is Annie with Laurie and a   couple of FRIENDS from the paper, JUDITH and DIANE.   They pass each other going in diagonal directions and   continue on.   We stay with Sam's group:       JONAH       (to Mack)       Dad says I'm going to get used        to it, but I don't think you        can ever get used to a        designated hitter.   overlap:       SUZY       (to Sam)       Eventually, in a few months,        you'll start seeing women,        you'll meet someone.       SAM       Move on.  Right.  That's what        I'm going to do.  In a few        months, boom, I'll be fine,        I'll just grow a new heart.       SUZY       I'm sorry --       GREG       Sam, she didn't mean --   Sam is shaking his head no as they reach the gate for   the Seattle plane.       SAM       I know, I know.       (emphatic)       Look, it doesn't happen twice.         CUT TO:   Annie's group, as they approach the gate for the   Baltimore plane.       ANNIE       I'm going to meet someone,        someone nice and stable who        wears a hat so he won't catch a        cold, and I'm going to marry        him and have three children        and live happily ever after.         I mean, I am not cut out for this        --       DIANE       For what?       ANNIE       For life as we know it.       LAURIE       Just make sure he isn't fat        like my Michael or you'll spend        your whole life worrying he's        going to drop dead.       JUDITH       God, you guys are so romantic.       ANNIE       Do you know how long romance        lasts?       (she snaps her fingers)       That long.       DIANE       Steven still brings me flowers        every Friday and we've been        married 10 years.       LAURIE       (to Diane)       Honey, nobody wants to hear        that.       (to Annie)       Here, darling, have some Tic        Tacs.   Kissing everyone.  Annie starts toward the plane, loaded   with stuff.       ANNIE       The next time you see me I am        going to be incredibly happy.   INT. PLANE - NIGHT   Sam and Jonah sitting together as the plane waits on the   runway.  He notices his father's distractedness, reaches   over and takes his hand.  Sam comes back into focus.       SAM       I'm your dad.  Don't ever        forget that.  That's rule        number two.       (beat)       It's you and me, kid.   INT. PLANE - NIGHT   Annie sitting by herself as the plane waits on the   runway.       ANNIE       (to herself)       I guess it's just us.   She gulps.   EXT. O'HARA AIRPORT - NIGHT   The two planes face in opposite directions, waiting for   instructions.   And now they both start to take off.  In opposite   directions.   And we pull back back back back as the planes take off,   one flying east, the other flying west.   And further and further back as they soar into the air   and leave the frame.   The night sky.   Stars twinkle.   And now tilt down to see the United States.  It looks   like a cross between a satellite photo and a drawing by   Saul Steinberg.   A light goes on in Baltimore.   A light goes on in Seattle.   They are the only lights on the map.   EXT. BALTIMORE SUN BUILDING - LATE AFTERNOON - CHRISTMAS EVE   As Annie comes out of the newspaper building with WALTER   JACKSON, a tall, handsome man who wears a hat.  They're   carrying an armful of Christmas presents.  They're   walking toward the parking lot.       WALTER       The short one with black hair        is your cousin Irene --       ANNIE       -- who's married to --       WALTER       Harold, who ran away with his        secretary but came back --       ANNIE       -- because Irene threatened to        put the dog to sleep if he        didn't --       WALTER       And your brother Tom is a        psychology professor and is        married to...Betsy --       ANNIE       -- who is the most competitive        woman in the world --   They put the presents in the backs of their two cars and   pull out together.   EXT. A HOUSE IN BALTIMORE SUBURBS - NIGHT   Christmas lights twinkling as the two cars pull up in   front of a comfortable upper middle-class house and park   their cars.  They get out assembling presents.       WALTER       Your Uncle Milton lost all his        money in a Puerto Rican        condominium that went belly up,        don't mention the IRS or the        Federal prison system.  Your        mother is Barbara, your father        is Cliff --       ANNIE       I hope he doesn't get out his        slides.       WALTER       Am I what they had in mind?       ANNIE       They're going to love you.   As they start toward the house.         CUT TO:   CLANGING ON THE WINE GLASSES.   AND PULL BACK TO REVEAL:   INT. ANNIE'S PARENTS' DINING ROOM - NIGHT       BARBARA       Everybody! Annie has an announcement --       ANNIE       Walter and I are engaged!   And the family's at the diner table.  Annie's family is   a completely normally-looking WASP family -- only   everyone is a little eccentric.  Annie's mother BARBARA,   a beautiful gray-haired, fantastically cheerful woman,   claps her hands together.  Her father CLIFF, who's at   the head of the table next to her, gives Annie a kiss.    Annie's brother TOM and his wife BETSY are at the table,   along with cousin IRENE and her husband HAROLD.  UNCLE   MILTON, who's Irene's father and Barbara's brother.    There are about FIVE CHILDREN there, too.       IRENE       That's wonderful, Annie.  I        hope it lasts... for years        and years.       BETSY       (the competitive one)       Do you have a ring?       ANNIE       No.  Not yet.       BETSY       Oh.  Well.  How will anyone        know?       TOM       Because you're going to call        them all and tell them.         Congratulations, Walter.   He claps Walter on the back.   Walter sneezes.  And sneezes again.       CLIFF       Are you all right?       WALTER       It's nothing.  Nothing.       ANNIE       It's probably just the flowers --       BARBARA       We'll move them --       WALTER Don't touch them.  I feel        terrible sneezing at a time        like this.  This is a big        moment for me --       ANNIE       (overlapping)       He's allergic to everything,        don't worry about it --       HAROLD       Bees.  I'm allergic to bees.       CLIFF       Not salmon I hope --       ANNIE       If he eats one tiny piece of a        nut --       WALTER       (cheerfully)       My head swells up like a        watermelon and I drop dead.       IRENE       It's the same with Harold and        bees.       CLIFF       Your mother and I had salmon at        our wedding, and I really think        a wedding without cold salmon --       WALTER       I'm not allergic to salmon.  I        don't think.  But you never        know.       HAROLD       You never know.       BARBARA       Oh, honey, I feel terrible, we        used up this magnum of        champagne we were saving on        something else, what did we use        it for?       TOM       Uncle Milton's parole --       BARBARA       Right.       UNCLE MILTON       And it was delicious.       BARBARA       It was, wasn't it, Milton        darling --       BETSY       When are you getting married,        Annie?       CLIFF       In early June.  In the garden.       HAROLD       Does it have to be in the garden?       IRENE       What about Harold and bees?       BARBARA       We'll spray you.       CLIFF       Cold salmon.  A lovely cucumber        salad.  Strawberries.       WALTER       I'm afraid I'm allergic to        strawberries.       CLIFF       No strawberries.   Annie smiles at Walter.       ANNIE       (to Walter)       Is that all right with you?       WALTER       (to Lou Gehrig line)       Today I consider myself the        luckiest man on the face of        the earth.       IRENE       What are you wearing?       ANNIE       I don't know.       BETSY       I wish you would wear my dress.         I only wore it once, and you'll        barely have to do anything to        it except take it in in the        bust --       BARBARA I have something that might do        --   INT. LIVING ROOM - LATER   Walter is sitting on the couch as Cliff shows him slides   of cloud formations in Guatemala.  In the next room   Tom's at the piano and the kids are singing Christmas   carols.   INT. BACK STAIRWAY - SIMULTANEOUS   MAX, one of the children, is teaching Uncle Milton to   burp.   INT. ATTIC - NIGHT   The sound of Christmas carols from below.   The attic is full of boxes and Annie walks through with   her mother.  They come to a dressmakers dummy with a   sheet over it.  Barbara removes the sheet.  A beautiful   antique dress.  A veil sitting on top of the dummy.       BARBARA       The Historical Society wanted        this and I never would give it        to them --       ANNIE       Granny's dress.  Oh, Mom.       BARBARA       I notice these things are back        in fashion.  Oh, honey.       (tears are rolling down         her face as she tries         the veil on Annie)       He's a lovely man, Annie.       ANNIE       I know.  He's wonderful, isn't        he?       BARBARA       Are his folks nice?       ANNIE       You'll love them.  We're going        down to D.C.  tonight to be with        them Christmas morning.       BARBARA       How did it happen?   Barbara starts to unbutton the tiny buttons on the back   of the dress and remove it from the dummy.       ANNIE       It's silly, really.  I mean,        I'd seen him at the office,        obviously I'd seen him, he's        the associate publisher, and        then one day we both ordered        sandwiches from the same place,        and he got my lettuce and        tomato sandwich on whole wheat,        which of course he was allergic        to, and I got his lettuce and        tomato on white.       BARBARA       (utterly without irony)       How amazing.       ANNIE       It is, isn't it? You make        millions of decisions that mean        nothing and then one day you        decide to order takeout and it        changes your life.       BARBARA       Destiny takes a hand. ANNIE       Oh, please.  Destiny's just        something we've invented        because we can't stand the fact        that everything that happens is        accidental.       BARBARA       Then how do you explain that        you both ordered exactly the        same sandwich except for the        bread? How many people in this        world like lettuce and tomato        without something else like        tuna?       ANNIE       It wasn't a sign.  It was a        coincidence.   Barbara shrugs, slips the dress off the dummy and Annie   steps into it.   Barbra starts to button the dress on Annie.       BARBARA       I was in Atlantic City with my        family.  Cliff was a waiter.         He talked me into sneaking out        for a midnight walk on the        Steel Pier.  I've probably told        you this a million times, but        I don't care.  And then he held        my hand.  I was scared.  All        sorts of thing were going        through my head.  But after a        while I forgot about them.  At        one point I looked down, at our        hands, and I couldn't tell        which fingers were mine and        which were his.  And I knew.       ANNIE       (hearing it for the         first time)       What?       BARBARA       You know.       ANNIE       (she doesn't know, but         she doesn't want her         mother to know she         doesn't know)       What?       BARBARA       Magic.  It was magic.       ANNIE       (repeating)       Magic.       BARBARA       I knew we would be together        forever, and that everything        would be wonderful, just the        way you feel about Walter.         Walter.  It's quite a formal        name, isn't it?       (lowering her voice)       One of the things I truly knew        was that your father and I were        going to have a wonderful time       ... in the sack I believe you        call it --       ANNIE       Mom!       BARBARA       Of course it took several years        before everything worked like        clockwork in that department,        so don't be worried if it takes        a while --       ANNIE       Mom, we already...       BARBARA       Well, fine, fine.  Fiddle da        dee.  And how's it working?       ANNIE       Like... clockwork.   She turns to look in the mirror.  The dress doesn't fit   at all.  It's completely lopsided.  One shoulder is   higher than the other.  The waist is in the wrong spot.    The effect is quite comical.       BARBARA       So you'll get married in a new        dress.       ANNIE       It's a sign.       BARBARA       (gently)       You don't believe in signs.   EXT. STREET - LATE   The house Christmas lights sparkle outside, twinkling on   the tree inside, and the warm light spilling out.       ANNIE       They loved you.  I told you        they would love you and they        did.       WALTER       I love you.       ANNIE       I love you, Walter.       (beat)       Did anyone ever call you        anything other than Walter?       WALTER       Nope.       ANNIE       Even when you were young?       WALTER       Nope.  Not even when I was        young.   It's starting to rain.       WALTER       You sure you don't want to        drive with me?       ANNIE       How will I get back to        Baltimore Saturday?       (remembering something)       Oh God, I forgot my present for        your stepmother -- I took it        inside by accident.       WALTER       I'll wait.       ANNIE       Don't be silly.  I'll just be        ten minutes behind you.   EXT. BELTWAY - NIGHT   As Annie drives back toward Washington, D.C.   Raining.   INT. CAR - NIGHT   Annie driving.  Presents on the front seat.  She's   singing "Sleigh Ride" and doing all the sound effects   and clipclops and giddyups.  After a moment, she   realizes she doesn't know all the words and turns on the   radio.       DR. MARSHA'S FIELDSTONE'S VOICE       Welcome back to "You and Your        Emotions." I'm Dr.  Marcia        Fieldstone broadcasting across        America from the top of the        Sears Tower in Chicago where we        would have a fantastic view of        Santa Claus and his reindeer if        there was a -- oops, never        mind.  Tonight we're talking        about wishes and dreams.         What's your wishes this Christmas        Eve? Maybe the best present        you can give yourself is a call        to me.  The number is --       ANNIE       Give me a break.   Annie changes the station.       RADIO VOICE       The subject of the evening's        medical update is You and Your        Spleen and our host --   She flips the dial back the other way.       DR. MARCIA FIELDSTONE (V.O.)       Our caller is from Seattle.   Annie changes the station.       RADIO VOICE       Coming up, Jingle Bells        backwards, sung by the New        Jersey Cape Mayettes --   Annie twists the dial back the other way.  We hear a   YOUNG BOY's voice.       BOY'S VOICE (V.O.)       Hello, this is Jonah --       (there's a bleep as         Jonah says his last         name)   Annie's hand lingers on the dial.       DR. MARCIA FIELDSTONE (V.O.)       No last names, Jonah.  Hello        there, you sound younger than        our usual callers.  How come        you're up so late?       JONAH (V.O.)       It's not that late in Seattle.       DR. MARCIA FIELDSTONE (V.O.)       Got me there.  What's your        Christmas wish, Jonah?       JONAH (V.O.)       It's not for me.  It's for my        dad.  I think he needs a new        wife.   Annie shakes her head.       DR. MARCIA FIELDSTONE (V.O.)       You don't like the one he was        now?       JONAH (V.O.)       He doesn't have one now.         That's the problem.       DR. MARCIA FIELDSTONE (V.O.)       Where's your mom?       JONAH (V.O.)       She died.   Annie closes her eyes for a moment.       ANNIE       I don't believe this --   EXT. HIGHWAY - NIGHT   As the car drives along.       DR. MARCIA FIELDSTONE (V.O.)       I'm sorry to hear that, Jonah.       JONAH (V.O.)       I've been pretty sad, but I        think my dad is worse.   INT. CAR - NIGHT       DR. MARCIA FIELDSTONE (V.O.)       And you're worried about him.       JONAH (V.O.)       I'm worried about him, he's        worried about me, I ride my        bike to school, he follows in        the car, like I'm not supposed        to know he's there.  Now it's        Christmas, and you know what        happens to people at Christmas.       ANNIE       They lose their minds and call        crackpot doctors on the radio --       DR. MARCIA FIELDSTONE (V.O.)       Have you talked to your dad        about this?       JONAH (V.O.)       No.       DR. MARCIA FIELDSTONE (V.O.)       Why not?       JONAH (V.O.)       It's very hard for him to talk        about this stuff.  It's like it        makes him sadder.       DR. MARCIA FIELDSTONE (V.O.)       You want me to talk to him?       ANNIE       Perfect.  Sandbag the father.       JONAH (V.O.)       And you crazy? He thinks shows        like this are dumb.  If you        didn't have an 800 number I        could never get away with this        --       DR. MARCIA FIELDSTONE (V.O.)       Is he home right now?       JONAH (V.O.)       Yeah.       DR. MARCIA FIELDSTONE (V.O.)       Well, I think I can help a        little more if I talk to him        directly.       JONAH (V.O.)       I don't know --       DR. MARCIA FIELDSTONE (V.O.)       I'm sure he won't be angry once        he realizes how concerned you        are about him.       JONAH (V.O.)       Okay, but if I get yelled at,        I'm never gonna listen to this        show again.       DR. MARCIA FIELDSTONE (V.O.)       Fair enough.   INT. SAM'S HOUSEBOAT - NIGHT   Jonah is on the telephone on the first floor of the   houseboat he lives in with Sam.  He's got the phone cord   coming out of the small first-floor study, and he's   standing near the kitchen end of a large living area   looking out at the back deck, where his dad is sitting   in a deck chair looking out at the sea.       JONAH       Dad --       SAM       What is it?   ON ANNIE AGAIN.       JONAH (V.O.)       There's somebody on the phone        for you.       (into phone)       His name is Sam.       ANNIE This is completely disgusting.   INT. BALDWIN HOUSEBOAT - NIGHT   Sam pokes his head in the back door.  He looks much as   he did eighteen months earlier, except that his hair is   a little longer.  He picks up the phone extension.       SAM       Hello.       DR. MARCIA FIELDSTONE (V.O.)       Hello, Sam, this is Dr. Marcia        Fieldstone on Network America.   Sam looks across the room to Jonah.       SAM       I'm probably not interested in        whatever you're selling.       DR. MARCIA FIELDSTONE (V.O.)       I'm not selling anything.  Your        son called and asked for advice        on how to find you a new wife.       SAM       (he really didn't get         her name)       Who is this?       DR. MARCIA FIELDSTONE (V.O.)       (repeating herself)       Dr. Marcia Fieldstone of        Network America.       SAM       Jesus, are we on the air?        Jonah, for God's sake --       JONAH       Don't be mad at me, Dad.   Sam can see Jonah.  He's frightened.  Sam immediately   feels how upset Jonah is.       DR. MARCIA FIELDSTONE (V.O.)       He feels that since your wife's        death you've been very unhappy.        He's genuinely worried about you.   Sam is looking at Jonah, who's rooted to the spot he's   standing on.       SAM       (to Jonah)       I'm not mad at you.  Okay, I'm        not mad at you.       DR. MARCIA FIELDSTONE (V.O.)       I think it's hard for him to        talk to you about all this.         Maybe we could talk and it        would make him feel a little        better.   Sam hesitates.       JONAH       Please --   INT. ANNIE'S CAR - NIGHT       ANNIE       This is a grotesque violation        of this man's personal life,        but never mind --       SAM (V.O.)       All righ...       DR. MARCIA FIELDSTONE (V.O.)       Good.  How long ago did your        wife die?   INT. HOUSEBOAT - NIGHT       SAM       It's been about a year and a        half.       DR. MARCIA FIELDSTONE (V.O.)       Have you had any relationship        since?       SAM       No.   Sam is very uncomfortable about this --       DR. MARCIA FIELDSTONE (V.O.)       Why not?       SAM       Look, Doctor, I don't want to        be rude, but --       DR. MARCIA FIELDSTONE (V.O.)       And I don't want to invade your        privacy --   INT. CAR - NIGHT       ANNIE       Sure you do.       SAM (V.O.)       (overlapping)       Sure you do --   Annie smiles.       SAM       Look, we had a tough time at        first, but I think I'm holding        my own as a dad, and Jonah and        I will get along fine again as        soon as I break his radio.   Annie laughs.  So does Mr.  Fieldstone   INT. HOUSEBOAT - NIGHT   Jonah is smiling too.       DR. MARCIA FIELDSTONE (V.O.)       I have no doubt that you're a        good dad.  You can tell a lot        from a person's voice.  But        something must be missing if        Jonah feels that you're still        under a cloud.       JONAH       Tell her how you don't sleep at        night.       SAM       How do you know that?   Sam and Jonah both talk into their extensions, literally   talking to each other on the phone within their own   house, but also ON THE AIR.       JONAH       I can hear you walking around        sometimes.  At first I thought        it was a robber.  Go ahead,        tell her, Dad.       SAM       I don't think I have to now.   Sam starts across the room towards Jonah, who starts   toward him, both of them holding their phone receivers.    On the wall in the dining area is a pine bench.       SAM       Look, it's almost Christmas --       (as the two of them sit         down together on the         bench)       A kid needs a mother --   He puts an arm around Jonah.   INT. CAR - NIGHT   As Annie listens.  She's softened considerably.       DR. MARCIA FIELDSTONE (V.O.)       Could it be that you need        someone just as much as Jonah        does?       ANNIE       Yes.   Annie catches herself, covers her mouth in embarrassment.       ANNIE       I'm losing my mind.   EXT. HIGHWAY - NIGHT   As Annie makes a turn off the beltway into a rest stop.       DR. MARCIA FIELDSTONE (V.O.)       We've been talking to -- well,        let's just call him Sleepless        in Seattle, and we'll be right        back after this break with        listener response, your response, to the things we've        been discussing.  The number to        call is...   INT. BALDWIN HOUSE       SAM       What's she talking about?       JONAH       This is where other people get        to call in and dump on what you        said.   We hear the beginning of a commercial.   INT. TRUCK STOP RESTAURANT - NIGHT   Annie walks in, anxious to break the spell of her radio   reverie.  She goes to the counter to order some coffee.    There's a commercial on the radio.  The counter WAITRESS   LORETTA is talking to the customers -- who include a   TRUCK DRIVER at a booth.  HARRIET, a short-order-cook,   is visible through an open window to the kitchen.       LORETTA       I'll bet he's tall, with a cute        butt.       HARRIET       I'll bet he hasn't shaved in a        week.  I'll bet he stinks.       LORETTA       Shut up, Harriet.       (to Annie)       What'll it be?       ANNIE       Coffee, please.  Black.  To go.       LORETTA       Maybe I should hustle myself        out to Seattle.  Give him a        little present for New Year's        Eve.       HARRIET       You can go there if you want        but don't open his refrigerator.         They don't cover anything when        they put it in the fridge.         They just stick it in and leave        it there till it walks out by        itself.       LORETTA       Harriet, ever since you        divorced your last husband,        you've been no fun.  I'm        looking, and this guy pops my        tarts.       TRUCK DRIVER       Come on, Loretta, you're going        to have to jump-start this guy.         His battery's dead.  And look        at me.  Mister Ever-Ready.         Every six minutes, another        charge.       LORETTA       I'm looking for someone        sensitive.       ANNIE       Come on, nobody wants a guy        who's sensitive on the radio.       DR. MARCIA FIELDSTONE (V.O.)       Let's take a call before we get        back to Sleepless.  Knoxville,        Tennessee, you're on.       SWEET SOUTHERN VOICE       Yes, I would just like to know        where I could get this man's        address?       LORETTA       (to the radio)       Honey, get on line.   EXT. DINER - NIGHT   As Annie gets into her car.   EXT. WASHINGTON, D.C.  STREET - NIGHT   Annie driving toward the house where Walter's parents   live.       DR. MARCIA FIELDSTONE (V.O.)       Do you think there's somebody        out there you could love as        much as your wife? Maybe even        more?       SAM (V.O.)       It's hard to imagine.   And cut back and forth between the car and the   houseboat.  Sam and Jonah are still on the bench, but   Jonah has fallen asleep in Sam's lap.  Sam is stroking   the boy's hair.       DR. MARCIA FIELDSTONE (V.O.)       What are you going to do, Sam?       SAM       I don't know.  When I met my        wife, it was so clear.  I just knew.   Annie is listening now.       DR. MARCIA FIELDSTONE (V.O.)       What was it that made you know?          SAM       I don't think I could really        describe it.       DR. MARCIA FIELDSTONE (V.O.)       Why not?       SAM       And if I could describe it,        it probably wouldn't be on a radio        show.       (he laughs to himself)       But what the hell.  It's not        one specific thing.  It's more        of a feeling.       (continued)   Annie coasts to a stop outside a handsome mansion in   Washington, D.C., the motor running.  She's hooked now,   she's not getting out of the car until she's heard it   all.       SAM       You touch her for the first        time, and suddenly... you're        home.  It's almost like...       ANNIE       Magic.       SAM       Magic.   CLOSER ON ANNIE   realizing she has just said this.  Realizing that it   must mean something but not knowing what.   SHE'S CRYING.       DR. MARCIA FIELDSTONE (V.O.)       Well, it's time to wrap up,        folks --   A FIGURE appears at the passenger side window, which   Annie doesn't notice.  She's wiping the tears away with   her hand.       DR. MARCIA FIELDSTONE (V.O.)       We hope you'll call again soon.   The figure TAPS on the window --       WALTER       (muffled, outside car)       Annie?       DR. MARCIA FIELDSTONE (V.O.)           ... and let us know how it's            going.   -- and taps again.       WALTER       Annie?   She turns.  He's pointing at the locked door.  She   searches for the button.  Finally finds it so that   Walter can open the door.       ANNIE       I'm sorry, Walter.  I just        heard the most amazing thing on        the radio.   They start toward the front door, Walter and Annie   carrying presents, an overnight bag of Annie's.       ANNIE       People call up these shows and        you can't believe the stuff        they say.  It's the end of        privacy as we know it, this        country is just one big global        village with everyone out there        going blah blah blah --   As they enter the house, we hear Silent Night and we see   a Christmas tree, glittering with lights.         CUT TO:   A CHRISTMAS TREE GLITTERING WITH LIGHTS   as we pull back to reveal:   INT. HOUSEBOAT - EARLY MORNING   As Jonah opens his presents under the tree and we cut   from gift to gift:   A BROOKS ROBINSON BASEBALL GLOVE which Jonah loves and   which he puts on his hand and keeps on while continuing   to open:   A TIE which mystifies him, but he hangs it around his   neck.   A PLAID SHIRT   A MAP OF THE UNITED STATES -- the kind that's used in   schoolrooms that pulls down from a roller.   And now Sam brings out a long narrow present from behind   the door and Jonah opens --   A NEW FISHING ROD   EXT. HOUSEBOAT - DAY   As Jonah poses with all his Christmas presents -- his   tie hanging around his neck over his bathrobe and new   plaid shirt, his baseball glove, fishing rod -- as Sam   takes his picture.   INT. HOUSEBOAT - DAY (OR POSSIBLY EXT. DECK HOUSEBOAT)   Sam opens his present from Jonah, which is something he   made in woodworking class.       SAM       The hopes are perfect --        beautiful, identical, smooth --        and they are for something        really amazing I feel it in my        bones --       JONAH       It's a spice rack.       SAM       We desperately need a spice        rack.  Desperately.         CUT TO:   INT. KITCHEN OF HOUSEBOAT - DAY       SAM       And we desperately need spices.   Where Sam is putting the spices they have -- pepper,   salt, paprika and oregano -- into the spice rack, which   has room for at least twenty more.  Jonah is   methodically making pancakes.       JONAH       Dad?  About last night?       SAM       It's never happening again.         Right?       JONAH       Right.   There's a knock on the door.       SAM       Then it never happened.   Sam goes to answer the door.   TWO YOUNG WOMEN are standing there.  Both are wearing   quite a lot of Spandex.  One of them is named LULU.  It   says so on her jacket.  The other is JOBETH.       SAM       Hi.       LULU       Hi.  Sam?       SAM       Yes?       LULU       (looking in and seeing            Jonah)       You must be Jonah.   Jonah nods.       LULU       (to her friend)       See.  I told you.  Sam and        Jonah.  I'm LULU.  This is        JoBeth.   JoBeth nods, and continues to nod as Lulu talks.       LULU       (continues)       We live two piers over, don't        we? Number 12, right? We're        having like a really neat open        house today from like four to        whenever if you care to stop        by.       SAM       Thanks, but... we've got plans.       LULU       Well, here's the number.  If        you ever find yourself        Sleepless, give us a call.  We        also... do babysitting.   She winks.  JoBeth nods.   Sam nods.   Lulu waves goodbye, and she and JoBeth sashay off down   the dock.   Jonah closes the door and turns to Sam.       JONAH       Not.       SAM       My feelings exactly.   EXT. LAKE UNION MARINA - EARLY MORNING   Jonah and Sam are fishing off a dingy.       SAM       How many people do you think        heard that thing last night?       JONAH       It plays in 50 states.       SAM       What?!       JONAH       Nobody else is going to know it        was us.       SAM       You're right.       (after a beat)       You better hope so.   EXT. BALTIMORE SUN - MORNING   INT. LIFESTYLE SECTION - DAY   A large open newsroom-type space with REPORTERS at   computers.  Around the perimeter are glass-partitioned   offices and meeting rooms.  Inside one of the offices is   BECKY, the Lifestyle editor of the Sun.  She's at a   table with Annie, now a reporter for the section, and   two other colleagues -- KEITH and WYATT.  Wyatt is   playing Gameboy.       KEITH       This man sells the greatest        soup you've ever eaten, there's        a line around the block, and he        is, I am not kidding, the meanest        man in America.       (beat)       I feel strongly about this,        Becky.  This is not just about        soup.       BECKY       Do it.  What else?       WYATT       New Year's Eve.  Please don't        make me write it.   Becky looks at Wyatt, notices the Gameboy.       BECKY       Wyatt, I do not mean to remind        you of your mother, but if you        don't put that game away, no TV        for a week.       WYATT       (pushing it to the         center of the table)       Would someone look this up,        don't tell me where.   Becky is riffling through some papers on the table,   among which are some tearsheets from the Associated   Press wire.       BECKY       Listen to this.  Phone service        in the greater Chicago area was        tied up for two hours Christmas        Eve because some kid called a        phone-in show to get a wife for        his father.  Two thousand women        called in for the number.       KEITH       Jesus.       ANNIE       I heard it.  This kid calls up        and says my dad needs a wife        and I'm talking to myself in        the car saying, this is        completely disgusting, you're        taking advantage of a child,        and then the father gets on and        this shrinkette says, do you        want to talk about it? And he        says no as a matter of fact I        don't, and I am saying, bravo!        Right on! Don't talk to her,        it's none of her business --       (she's completely into         this story now)       -- and then suddenly, for no        reason at all, he's talking        about how much he loved his        wife, and how he just --       (she snaps her fingers)       fell in love with her and I am        crying. Me.  A tear is        actually rolling down my face.         It was like what happens when I        watch those phone company ads.         I don't have to see the whole        ad, I just have to see the part        where the daughter gives her        mother a refrigerator with a        big red bow on it, have you        seen that one?   Everyone looks at her.  Apparently she's finished.       BECKY       You should write something        about this.       ANNIE       About what?       BECKY       Whatever it is.       KEITH       (waving the AP story)       What it is is, there are a lot        of desperate women out there        looking for love.       WYATT       Especially over a certain age.   Annie is looking at them.  This isn't what she was   talking about at all, although she isn't quite sure what   she was talking about.       KEITH       It is easier to be killed by a        terrorist after the age of 40        than it is to get married --       ANNIE       That is not true.  That        statistic is not true.       BECKY       It's not true, but it feels        true.       ANNIE       There's practically a whole        book about how that statistic        is not true --       WYATT       Calm down. You brought it up --       ANNIE       (sharply)       I did not, Wyatt.   A beat, everyone pauses.  Things are a little out of   hand.       BECKY       So where were we?       WYATT       New Year's Eve.  I'll do it,        okay? BECKY       Okay.       ANNIE       If someone is a widower, why do        they say he was widowed? Why        don't they say he was widowered?   Everyone looks at her strangely.       ANNIE       I was jus wondering.   EXT. BALTIMORE STREET - DAY   Annie walking purposefully, followed by Becky, hurrying   to catch up.       BECKY       What was that about up there?       ANNIE       What was what?       BECKY       What's with you?       ANNIE       Nothing's with me.   INT. BALTIMORE RESTAURANT - DAY   Becky and Annie are having lunch.       BECKY       "Sleepless in Seattle"?       ANNIE       That's what she called him on        the show.  Because he can't        sleep.       BECKY       And now 2,000 women want his        number.  The guy could be a        crackhead, a psychopath, a        flasher, a junkie, a        transvestite, a chain-saw        murderer, or someone really        sick, like Rick.       ANNIE       Actually, he sounded nice.       BECKY       Oh? Oh, really? Now we're        getting down to it.       ANNIE       Not.   She reaches down for her purse.   INT/EXT. REMODEL HOUSE - DAY   A hand reaching down to pick something up -- the Seattle   newspaper, and   PULL BACK TO REVEAL:   Sam carrying the paper down/up the stairs to an old   house that's being renovated.  Jonah, who is playing   Cameboy, is walking along with him.  WORKMEN are active   everywhere.  Dry wall going up, cabinets being   installed, tile being set.   One of Sam's partners, BOB LANGMAN, is walking with him,   and JAY MATHEWS, the on-site supervisor, is waiting for   them in an unfinished doorframe.  Bob is hefty, older,   always eating something dietetic.  Jay is younger and   always wears as little as possible, even in cold weather.       BOB LANGMAN       Now she wants a circular        stairwell off the den.       JAY       (to Jonah, in b.g.)       Punch me, punch in right here.       (points to his stomach;        Jonah punches)       And she wants the Sub-Zero with        the side-by-side doors --       BOB Which means --       SAM       The cabinets have to be redone        --   They all nod at each other.  The woman has been a   nightmare.       BOB       So we thought --       JAY       Since you're on the make again        --   Sam looks at Jonah --       SAM       Great.  This is great.  The        whole town knows.  Just out of        curiosity, how do you two know?       BOB       Grace heard it.       SAM       Grace the dispatcher.  Great.       BOB       The point is, take the client        out to dinner and ask her to        marry you and then maybe we        won't have to redo the kitchen        cabinets.       SAM       Why me? What about Jay?       JAY       Hey, my plate is full.       SAM       Well, okay.  What's the big        deal?  If she'll forget the        new fireplace, I'll marry her.         Just point me in the right        direction.       JONAH       Dad, I don't know about this        one --       SAM       Oh, you're changing your mind        --       JONAH       No, I'm not, but --       SAM       What's the matter with this        one? Wouldn't you like to have        Imelda Marcos as your mother?       JONAH       Dad --   Sam cuffs him good-naturedly.       SAM       We better take the measurements        for the new cabinets.   He walks away past some workmen, ladders, etc.  and   starts checking the cross-beams in the ceiling over in   another area of the site.  Bob follows after him.  Jay   tosses Jonah a hammer and they start knocking nails into   the wall.       BOB       Sam, if you're not doing        anything New Year's --        obviously you're not doing        anything New Year's -- we're        having some people over, all of        them married, not one even        remotely interested in playing        around.  Does that sound great        or what?       (whistfully)       I can't think of the last time        I was at a party when anything        actually happened.       SAM       Thanks, but I'll pass.  It's        kind of a big night.  I don't        like to leave Jonah alone.         CUT TO:   SHOT OF  HOUSEBOAT BEING TOWED BY A TUG DOWN THE RIVER (OR A   SEAPLANE LANDING) - TWILIGHT   EXT. HOUSEBOAT - TWILIGHT   Jonah watching it.  Sam visible in the distance in the   kitchen.   INT. KITCHEN - TWILIGHT   As Sam is busy installing the spice rack.  He marks the   wall, hammers in the nails, etc.       SAM       (as he starts putting         new spices into the         rack, in alphabetical         order)       Does red pepper go under R or        P?       JONAH       P.       (beat)       Dad?       SAM       (absently)       What?       JONAH       I forgot to mention.  Jed        called --       SAM       Just out of curiosity, do you        have any friends whose names        don't begin with a J?  I feel        like it was a failure of the        imagination on our part naming        you Jonah.         (looking at the spices)       What is marjoram? Does anyone        know?       JONAH       Jed is having a slumber party        New Year's Eve and he invited        me.   A beat.       SAM       Fine.  Fine.       JONAH       So I can go.       SAM       Sure.       (almost done with the         spices)       Looking good.       JONAH       Shouldn't you have used a        toggle bolt?       SAM       I think I know how to have a        spice rack.   He puts in the last spice.   They stand back to admire it.  A beat.  The rack falls   off the wall.   The rack itself doesn't break, but about six of the   glass jars of spices break.   There's paprika and thyme and currying powder, etc.  all   over the floor along with shards of glass.       SAM           God fucking dammit!  Shit!            Fuck.  Piss.   Jonah bursts into tears.       SAM       (still angry)       I'm sorry.       (softening)       I'm sorry.   He picks up Jonah and holds him.       SAM       I'm sorry.  I'm just --       JONAH       Stressed.       SAM       Right.  I'm sorry, Jonah, I'm        sorry.   And he holds Jonah as Jonah calms down.  Sam closes his   eyes tight.   INT. A TELEVISION SET OF NEW YEAR'S EVE ON TIMES SQUARE   And pull back to reveal:   INT. HOUSEBOAT - NIGHT   Sam, alone, watching the ball drop.  He's got a bag of   Doritos and a beer.       A VOICE       Can I have half your beer?       SAM       Sure.   It's Maggie.   She takes his bottle of beer and pours half of it into a   glass.       MAGGIE       What did I used to say? Here's        looking at you? Here's mud in        your eye?       SAM       Here's to us.  You used to say        here's to us.       (he looks at her and         his eyes well with         tears)       Oh babe.  I miss you so much it        hurts.   He reaches out for her.  She's gone.   And we hear the television set now counting down to   midnight in New York.         CUT TO:   INT. NEW YEAR'S EVE PARTY IN BALTIMORE - NIGHT   The same television show counting down to midnight.   Champagne corks popping, etc.   And we see Walter and Annie.       WALTER       Happy New Year, darling.       ANNIE       Happy New Year.   They start to dance.       WALTER       I was thinking, I have to go up        to Boston for the AAP        convention and then visit        Winston-Hughes about switching        over our computers.  Why don't        we meet in New York for        Valentine's Day weekend?       ANNIE       Walter, I'd love to --       WALTER       We'll stay at the Plaza --       ANNIE       Go for a walk in Central Park --       WALTER       Go to the Symphony --   A beat.       ANNIE       We will?       (beat)       The Symphony?       (beat)       Okay.       (beat)       I'll take you to the Russian        Tea Room for pelmeni.       WALTER       What is it?       ANNIE       It's delicious, trust me.       WALTER       Does it have wheat in it?       ANNIE       I don't think so.   They go on dancing.  It's one of those parties where   everyone looks so happy and so in love.  Annie, however,   looks thoughtful.   ET.  MARINA PARKING AREA - DAY   Sam gets out of his car and starts down the dock toward   his houseboat.  He's carrying a bag of groceries.   In the parking lot is a U.S.  MAIL TRUCK.   EXT. HOUSEBOAT - DAY   Sam approaches his boat and a puzzled look comes over   his face.   A MAILMAN with a sack of mail is standing outside the   front door of the houseboat.  Jonah is signing a receipt   for the mail.       JONAH       Look at this, Dad.  They're        all for you --   Sam picks up an envelop and looks at it.  It's   addressed to Sleepless in Seattle c/o Dr.  Marcia   Fieldstone, Radio Station KWRS in Chicago.  He's   stunned.  As he signs the receipt:       MAILMAN       If you're having trouble        sleeping, you might want to try        drinking a glass of water from        the other side.       JONAH       I thought that was for hiccups.       MAILMAN       Does it work for hiccups?       JONAH       For hiccups, a spoonful of        sugar, you hold it in your        mouth for a minute.       MAILMAN       Really?   The mailman starts back toward the mail truck.   Sam and Jonah start toward the door.   INT. HOUSEBOAT - NIGHT   Sam is in the kitchen making dinner.  Jonah is sitting   at the table, reading the letters from the stack they   found by the door.       SAM       Just out of curiosity, how did        they get our address?       JONAH       They called and asked for it.       (reading)       "Dear Sleepless in Seattle.         You are the most attractive man        I've ever laid ears on."   Jonah rolls his eyes, tosses the letter into a pile of   rejects, opens another.       SAM       How did they get our phone        number?       JONAH       You have to give them your        phone number or they won't let        you go on the air.   Sam nods as if this makes perfect sense.       JONAH       (continues, reading)       "Dear Sleepless in Seattle: I        am an SWF"--       (to Sam)       What is that?       SAM       Thank God.  Something you don't        know.  It's a single white        female.       JONAH       This is no good.  She's looking        for someone French.  Or Greek.       (puzzled, he throws the         letter into the reject         pile, opens another)       "Dear Sleepless in Seattle: I        live in Tulsa." Where is that?        --       SAM       Oklahoma.  Do you know where        that is?       JONAH       Somewhere in the middle.       SAM       I'm not going to think about        what they're not teaching you        in school.  I am not going to        think about it.          (beat)       Generally speaking I think we        should rule out people who        don't live somewhere near here        --       JONAH       She's willing to fly anywhere.   As Jonah hands Sam the picture.       SAM       She looks like my third grade        teacher.  I hated my third        grade teacher.  Hold it! Wait        a minute! She is my third        grade teacher!       JONAH       Dad, you're not taking this        seriously.       SAM       This is not how you do it.       (referring to the         hamburger)       You want this on an English        muffin or a bun?       JONAH       English muffin.  How do you do        it?       SAM       You see someone you like, you        get a feeling about them, you        ask them if they want to have a        drink or --       JONAH       -- a slice of pizza --       SAM       But not dinner necessarily on        the first date because by the        time you're halfway through        dinner you might be sorry you        asked them to dinner whereas if        it's just a drink, if you like        them you can always ask them        for dinner but if you don't you        can go home if you see what I        mean.          (beat)       I wonder if it still works this        way.       JONAH       It doesn't.  They ask you.       SAM       I'm starting to notice that.   INT. ANNIE'S BEDROOM - NIGHT   Annie and Walter are making love.       JONAH (V.O.)       If you get a new wife, I guess        you'll have sex with her, huh?       SAM (V.O.)       What do you think?       JONAH (V.O.)       Will she scratch up your back?       SAM (V.O.)       What?   JONAH'S BEDROOM - NIGHT   As Sam puts Jonah to sleep.  Jonah is holding his teddy   bear while this conversation concludes.       JONAH       In the movies women are always        scratching up guy's back and        screaming and stuff.  When        they're having sex.       SAM       Whose show was this on?       JONAH       Jed's got cables.       SAM       Go to sleep.   He kisses him good-night.       JONAH       Kiss Howard.       (he holds out the         teddy bear)       G'night, Howard.   INT. ANNIE'S BEDROOM - NIGHT   Annie and Walter have just finished making love.   Walter falling asleep.   Annie lying in bed, with her eyes open.   She starts to get out of bed.  Puts on a robe.   INT. STAIRWAY - HOUSE   As Annie comes downstairs in a bathrobe.   She opens the door to the street.   EXT. STREET - NIGHT   As Annie starts to run down the street.   CLOSEUP OF: ANNIE, RUNNING   And now we widen out to see a misty highway she's running   down.   Past a sign saying: Seattle Approximately 3,000 miles.   Past another sign: Your nerves are shot.   And another: Your feet are cold.   And another: Will you find love.   And another: Before you're cold?   And another: Burma Shave.   And Annie continues to run, and now we see she's running   across a map of the United States -- it's a little like   the one we saw in the beginning of the movie -- it's   like the famous map of the United States by Saul   Steinberg, but instead of being about New York, this one   is about Seattle.   In the distance, at the very edge of the map, we see two   indistinct figures -- a map and a young boy.  They start   to wave at her, very slowly.   Annie's eyes widen.         CUT TO:   INT. ANNIE'S BEDROOM - NIGHT   Annie in bed, eyes open.  Walter fast asleep.   She gets out of bed, puts on her robe (just as she did   in the dream sequence).   INT. STAIRWELL - NIGHT   As Annie comes down the stairs.   INT. KITCHEN - HOUSE   She turns the light on.   Opens the refrigerator.   Closes it.   Opens it again.  Takes out some milk.   Sits down at the kitchen table with a bowl, corn flakes,   banana.  She's about to assemble it when:   She sees:   THE RADIO   She stands up, turns it on to the station Dr. Marcia   Fieldstone is on.  She sits back down with her corn   flakes.       ANNOUNCER (V.O.)       Up next, "You and Your        Emotions" with Dr.  Marcia        Fieldstone, clinical        psychologist and the best        friend you never had.       (the teaser continues)       WOMAN'S VOICE (V.O.)   He says he doesn't love me any    more.       DR. MARCIA FIELDSTONE (V.O.)       Why do you want to be with        someone who doesn't love you?       ANOTHER WOMAN (V.O.)       Every time I come close to        orgasm he stops and goes to        make himself a sandwich --        DR. MARCIA FIELDSTONE (V.O.)       Why don't you make him a        sandwich beforehand?       SAM'S VOICE (V.O.)       When I met my wife, it was so        clear.  I jus knew.   Annie starts at hearing Sam's voice.       DR. MARCIA FIELDSTONE (V.O.)       What was it that made you know?       SAM'S VOICE (V.O.)       I don't think I could really        describe it.       DR. MARCIA FIELDSTONE (V.O.)       Why not?       SAM'S VOICE (V.O.)       And if I could describe it, it        probably wouldn't be on a radio        show.       (he laughs to himself)       But what the hell.  It's not        one specific thing.  It's more        of a feeling.            (continuing)       You touch her for the first        time, and suddenly... you're        home.  It's almost like...        magic.   Annie closes her eyes.       ANNOUNCER (V.O.)       We'll be back after this        commercial with Dr. Marcia        Fieldstone.   EXT. BALTIMORE - PEABODY LIBRARY - DAY   We see Annie's car pull into a parking space outside the   Peabody Library.  Annie gets out of the car.   INT. LIBRARY - DAY   As Annie strides purposefully across the library and   enters:   INT. ANNIE'S BROTHER TOM'S OFFICE - DAY   Annie bursts into Tom's office and walks over to his   desk.  We barely has time to look up.       ANNIE       I think I'm going crazy, Tom.         I really do.  Are you happily        married?       TOM       (completely panicked by         the question)       What?       ANNIE       I mean, why did you get        married? Was it all fireworks        and trumpets and --       TOM       (regaining composure)       I got married because Betsy        said we had to break up or get        married.  So we get married.       ANNIE       But when you met her, did you        believe she was the only person        for you? That in some mystical,        cosmic way, it was fated?       TOM       Annie, when you meet someone        and you're attracted to them,        it just means that your        subconscious is attracted to        their subconscious,        subconsciously.  So what we        think of as chemistry is just        two neuroses knowing that they        are a perfect match.       ANNIE       I don't even know him.  But        I'm having all these fantasies        about a man I've never met,        who lives in Seattle.       TOM       It rains nine months of the        year in Seattle.       ANNIE       I know, I know.  I do not want        to move to Seattle.  But what I        really don't want to do is end        up always wondering what might        have happened and knowing I        could have done something.         What do you think?       (Tom opens his mouth to         say something, but         before anything comes         out, Annie fills the         void)       It's just cold feet, isn't it?        Everyone panics before they get        married, didn't you?       TOM       Yes, I did.       ANNIE       Thank you, Tom.  I feel so much        better just having blown this        off.       TOM       Any time.   INT. PEABODY LIBRARY - DAY   As Annie walks through it and pushes the door to exit.   EXT. A DOOR OPENING TO SEATTLE STREET - DAY   Sam and Jay walk out of the Arctic Building onto the   street.       JAY       Sandy has a girlfriend, Clenda       ... She's a weightlifter, but        it's not like her neck is bigger than her head or        anything --       SAM       I'm not asking you to set me        up, Jay.  That's not what I        need your help for.  I want to        know what it's like over there.       JAY       And that's what I'm trying to        tell you.  What women are        looking over, okay? Pecs and a        cute butt.       SAM       You mean, like, "He has the        cutest butt"? Where did I hear        that recently?       JAY       Everywhere.  You can't even        turn on the news without        hearing about how some babe        thought some guy's butt was        cute.  Who the first babe to        say this was I don't know,        but it caught on.   INT. SEATTLE RESTAURANT - DAY   Sam and Jay at the counter.  Out the window, we can see   water.       JAY       When's the latest time you were        out there?       SAM       (trying to remember)       Seventy... eight.       JAY       Well.  Things are different.         First, you have to be friends.         You have to like each other.         Then you neck.  This can go on        for years.  Then you have        tests.  Then you get to do it        with a condom.       (beat)       The good news is, split the        check.       SAM       I don't think it could let a        woman pay for dinner.       JAY       Great.  They'll have a parade        in your honor.  You'll be Man        of the Year in Seattle        Magazine.  Tira misu.       SAM       What's tira misu?       JAY       You'll find out.       SAM       What is it?       JAY       You'll see.       SAM       Some woman is going to want me        to do it to her and I'm not        going to know what it is.       JAY       You'll like it.       SAM       (grimly)       This is going to be tougher        than I thought.   EXT. HOUSEBOAT - EARLY EVENING   Sam coming home.   INT. HOUSEBOAT - EARLY EVENING   As he enters.  It's very quiet.  Too quiet.       SAM       Jonah?   No answers.       SAM       Jonah?   He starts to look concerned.       SAM       Jonah?   He goes down the hall to Jonah's room.  The door is   shut.  He opens it.   Jonah is sitting on his bed listening to a tape.    Earphones on.  Next to him is a young girl named   JESSICA.       SAM       Jonah?   Jonah takes off the earphones.       JONAH       Hi, Dad.  Dad, this is Jessica.       SAM       It's nice to meet you, Jessica.       JONAH       Dad, this is amazing.  If you        play this backwards, it says        "Paul is dead."       SAM       I know.       JONAH       How do you know?   Sam shrugs, turns to go back down the hall.       JONAH       Dad, could you close the door?       JESSICA       H and G.       (Sam looks back)       Hi and goodbye.   Sam closes the door to Jonah's room.   Hold on Sam.       SAM       (to himself)       Get a life.   INT. HOUSEBOAT - CONTINUOUS   As Sam comes downstairs, goes into his office.  Closes   the door.   INT. SAM'S OFFICE AT HOME - CONTINUOUS   He goes to the phone.  Looks up a number in the phone   book.  Picks up the phone and dials a number.       SAM       Hi, Victoria?... It's Sam        Baldwin, I don't know if you        remember me.  Oh?  Well, great.         I was wondering if you wanted        to have a drink... Friday,        say... Dinner?... Sure, dinner        would be fine.  Sure.  Dinner.   INT. AN UNFINISHED DINNER ON A PLATE IN ANNIE'S LIVING ROOM   - NIGHT   Annie is watching "An Affair to Remember" on television,   tears pouring down her face.  Cary Grant is saying: "Are   you in love with him?" Deborah Kerr replies: "I'm not   now."   She's sitting at the dining room table.  A dozen pieces   of paper litter the table.  Annie's been unsuccessfully   typing a letter on an old Underwood typewriter.       ANNIE       Now those were the days when        people knew how to be in love.   She takes a blast from the wine glass to her right.    Becky leans in, refilling the glass.  Annie begins to   type and sob and look at the TV.       BECKY       You're a basket case.       ANNIE       (as she types)       They knew it.  Time, distance,        nothing could separate them.         Because they knew.  It was        right.  It was real.  It was...       BECKY       ... movie.       (beat)       That's your problem.  You don't        want to be in love.  You want        to be in love in a movie.       (beat)       Read it to me.       ANNIE       (reading her letter)       "Dear Sleepless and Son..."       BECKY       It sounds like the name of a        mattress store --       ANNIE       "I am not the sort of person        who listens to call-in radio        shows" --   Becky flops on the couch.       BECKY       And this woman is a writer!        That's what everyone writes at        the beginning of letters to        strangers.       ANNIE       I know that.  You think I don't        know that? "I know that's a        dumb way to begin, but it's the        only way I can think of to        convey what happened to me the        other night when I heard the        two of you on the radio.  On        the other hand, maybe I'm just        losing my mind."       BECKY       You are.  You're losing your        mind.  What about Walter?       ANNIE       I'm going to marry Walter.  I        just have to get this out of my        system.       BECKY       Right.       ANNIE       I should say something in this        about magic.       BECKY       What?       ANNIE       I don't know.  I mean, what if        I never meet him? What if this        man is my destiny and I never        meet him?       BECKY       Your destiny can be your doom.         Look at me and Rick.       ANNIE       (typing some more)       "I want to meet you..."   Cary Grant says: "How about the top of the Empire State   Building?"       BECKY       "On top of the Empire State        Building at sunset on        Valentine's Day."       ANNIE       Good.  Perfect.  I'll be in New        York with Walter, I can squeeze        it in.   She types in Becky's idea.   Then she takes the piece of paper out of the typewriter,   smashes it into a ball and tosses it up in the air and   into Becky's lap. BECKY       You want to hear about destiny?        If my husband hadn't gone on a        diet, which caused me to leave        him, I would never have been on        that flight to Miami, and met        Rick, and ended up having sex        in the bathroom of a 727 with        that nob you slide that says        "vacant-occupied, vacant-       occupied, vacant-occupied" --       (she shudders in         ecstasy, then pulls         herself together)       ANNIE       You never told me you left your        husband because he went on a        diet.       BECKY       (nods; after a beat)       He lost all the weight...        there.       ANNIE       That's impossible.  A guy can't        --       BECKY       Can too.       ANNIE       No.       BECKY       Yes.       ANNIE       And then you left him? He lost        weight there and you left him?       BECKY       Plus he fell in love with a        temp.       ANNIE       Listen to this, I love this        part --   Deborah Kerr says: "It's now or never." And Cary Grant   says: "We'd be fools to let happiness pass us by."   Deborah Kerr: "Winter must be cold for those with no   warm memories."   Becky and Annie with tears rolling down their faces.       BECKY       Men never get this movie.       ANNIE       I know.       BECKY       Do you think at the end of the        movie when she's in the        wheelchair they can still do        it?       ANNIE       I always wondered about that        too.   As Becky reaches for a Kleenex.   INT. JONAH'S BEDROOM   A Kleenex being pulled from a box.  Sam is giving it to   Jonah, who's up.  His hair is mated with perspiration.       SAM       It's okay, it's okay.  I'm        here.   A beat while Jonah calms down.       JONAH       It was sinking.       SAM       What was?       JONAH       Our house.  There was water        coming in all the windows.       SAM       (calm and definite)       You're worried we're going to        be all right.  We're going to        be all right.       (Sam gives Jonah a         squeeze) I remember sometimes you'd have        nightmares as a baby.  Your mom        would hold you and rock you and        sing you a song.       JONAH       Bye bye blackbird.       SAM       Is that what she used to sing?       JONAH       I miss her.       (beat)       What do you think happens to        someone after they die?       SAM       I don't know.       JONAH       Like do you believe in heaven?       SAM       I never did.  Or the whole idea        of an afterlife.  But I don't        know any more.  I have these        dreams about... your mom... and        we have long talks about...        about you, and how you are,        which she sort of knows but I        tell her anyway.  So what is        that? It's sort of an afterlife,        isn't it?       JONAH       I'm starting to forget her.       SAM       I know.  But she's here, Jonah.         Because I have you.  And as        long as I have you, I have your        Mom.   Hold on the two of them as music begins.  Bye Bye   Blackbird.       SAM       I... uh... have a date with        someone Friday night.       JONAH       Good.   A beat.       SAM       Did I ever tell you about the        time I ate a dog biscuit?   As Jonah cuddles closer MUSIC COMES UP AS WE PULL BACK   FROM THE BED AND...         CUT TO:   EXT. ANNIE'S TOWNHOUSE - LATE NIGHT   AS MUSIC CONTINUES.  Annie waves as Becky gets into her   car and rides away.  Annie turns to her doorway and   stops.  She can't go back in.  She needs to walk and   think.  She crosses the street into a little   neighborhood park.  We can see the moon.         CUT TO:   EXT. SAM'S HOUSEBOAT - NIGHT   Sam comes out onto the porch.  Flops down in his deck   chair.  The city lights in the background.  Same moon.    The MUSIC CONTINUES.         CUT TO:   EXT. PARK - NIGHT   Annie flops down on a child's swing set in the park.    MUSIC CONTINUES.         CUT TO:   CLOSE ON SAM   CLOSE ON ANNIE   AND A LONG SHOT OF ANNIE IN THE SWING   As Walter pulls up into the parking space Becky pulled   out of.  Annie starts toward him.   A LONG SHOT OF SAM ON THE BACK OF THE BOAT   Make my bed and light the lights I'll arrive late   tonight, blackbird, bye bye.   FADE IN:   INT. BALTIMORE SUN - DAY   Annie on the phone at her desk.       ANNIE       Laurie, it's Annie.  Fine, I'm        fine.  Listen, I'm doing an        article on call-in radio shows.         Do you know anyone who works        for someone named Dr. Marcia        Fieldstone...?         CUT TO:   Annie on the phone.       ANNIE       I'm a writer for the Baltimore        Sun and I'm a friend of Laurie        Johnson's.  I'm doing a piece        on how people handle        bereavement and I understand        that you had a caller the other        night... I know you're not        supposed to, but Laurie said        you might, and I'll plug the        show and everything --       (she winces in         anticipation of a         rejection, but then         her face relaxes)         CUT TO:   Annie dialing Sam's telephone number.       JONAH (ON MACHINE)       This is Jonah Baldwin, we're        not in right now but you can        leave --   Annie hangs up.       ANNIE       Baldwin.         CUT TO:   Annie at her computer modem.  She's dialing a number.    We hear some beeps.       COMPUTER SCREEN       Directory.  Enter password.       (Annie types)       Ann Reed.  BSun124.       (computer)       Find.       (Annie types)       Samuel Baldwin.       (computer types)       216 Samuel Baldwin.  Strike Y        to printout or enter factors.       (Annie types)       Samuel Baldwin, Seattle.       (there's a pause)       Not found.       (Annie thinks for a         moment, then types)       Samuel Baldwin, Jonah Baldwin.       (a pause)       Samuel Baldwin, Jonah Baldwin        found.  Strike Y to printout or        enter factors.       (Annie types Y)   And now on the computer screen, we see a funeral notice   from the Chicago Tribune that reads: Baldwin, Margaret   Abbott, beloved wife of Samuel, mother of Jonah, June   10, Funeral 10 a.m.  Thursday, Church of the Heavenly   Rest, 110 N.  State, in lieu of flowers contributions   should be sent to Chicago Horticultural Society.  And   then there's a citation: Chicago Tribune, June 12, 1989.   Annie types another entry.       ANNIE       (typing)       Samuel.  Baldwin, Chicago.       (after a beat)       Four Samuel Baldwins.  Strike Y        to printout.       (Annie strikes Y)       Samuel Baldwin, arrested for        grand larceny, 1961.  Samuel        Baldwin, alderman, convicted of        accepting bribes, 1967.  Samuel        J. Baldwin, architect, built        City Plaza.       (Annie presses Y)         CUT TO:   A PRINTOUT OF AN ARTICLE   that Annie's reading.  There's a newspaper picture of   Sam at the dedication of a building site.  It's got that   kind of grainy quality that things have when they've   been transmitted, but you can make out Sam's basic good   looks.   EXT. BO'S SECURITIES/WORLDWIDE - DAY   Annie coming from the street toward a storefront in   downtown Baltimore across the street from the courthouse.    Next door there's a bailbondsman, there are ambulance-  chasing lawyers hanging out on the corner.   The sign on the door reads: "No job too small." "All   major credit cards accepted." And then everything on   the sign is translated into Spanish.   INT. BO'S SECURITIES - DAY   Detective Bo Wheedle, a former cop, sits at his desk   listening to Annie.  He has some papers.       ANNIE       I need to know about him        because... he's involved with        my sister...           DET. WHEEDLE       Okay.       ANNIE       She has a pattern of getting        involved with losers... Once        she almost ran away with a        human cannonball from the        circus.       DET. WHEEDLE       Do you want a matrimonial, past        wives, any kids--       ANNIE       No, I know that part --       DET. WHEEDLE       So you want a financial, is he        a deadbeat, we can do a D&B --       ANNIE       No, no, no, it's more like, who        is he, does he have a sense of        humor, is he nice -- no forget        nice, I've got nice --       DET. WHEEDLE       A sense of humor.       ANNIE       I'll tell you the truth, I        heard this guy on a call-in        radio show and I might not        marry the person I should marry        because I've become obsessed        with him.       DET. WHEEDLE       Oh.  Like Glenn Close in that        movie.       ANNIE       No.  Not remotely.  I just want        to find out about him.       DET. WHEEDLE       You want a tail.       (picking up the phone)       I got a guy in Seattle --   INT. SAM'S HOUSEBOAT - NIGHT   Jonah is watching Geraldo with his babysitter, CLARISE,   17.  Geraldo is talking to a heavily made-up, sexily-dressed   WOMAN.       GERALDO       So how long have you been a        woman?       WOMAN       (husky voice)       About two weeks.   Sam is coming down the stairs.       CLARISE       (to Jonah)       Pssst!   Jonah hits the remote control and the channel changes to   the Disney channel as Sam comes into the room, dressed   for his date.       SAM       Clarise, I'll be back by        midnight I'm sure --       CLARISE       Whenever.   Sam tosses Jonah a letter.       SAM       This one's for both of us.       JONAH       (reading from the         envelope)       Sleepless and Son.       (reading the postmark)       Baltimore.   He starts to open the letter.       SAM       I left the number of the        restaurant I'll be at if        there's any emergency.       CLARISE       Fine.       SAM       (to Jonah)       How do I look?       JONAH       (absently)       Great.       SAM       (looks in mirror)       I look stupid.  I look stupid,        don't I? I look like I'm        trying too hard.  I was going        to get a haircut but then I        thought I'd look like I just        got a haircut.       (checks his teeth,         peers up his nose)       JONAH       (reading the letters)       This is a good letter, Dad.       SAM       (checks his fly, looks         down at his feet)       The heels on these shoes are        very large.  Why have I never        noticed this? The heels on        these shoes are grotesque.       JONAH       Her name is Annie.  Annie Reed.       SAM       Now I'm late.  Bye.   He starts toward the door.       JONAH       Listen to this --       SAM       Not now, Jonah --       JONAH       Just this one part, okay?       (reading)       "I have been an excellent        third-baseman for as long as I        or anyone else can remember,        and I guarantee you will not        get one past me"       SAM       Jonah, I'm leaving --       JONAH       WAIT!!!       (Sam stops, amazed at         Jonah's vehemence;         Jonah continues         reading)       -- "and while we're on the        subject, let's just say right        now that Brooks Robinson was        the best third baseman ever.         It's important that you agree        with me on that because I'm        from Baltimore."  Dad, she        thinks Brooks Robinson is the        greatest.   Sam goes out the door with Jonah behind him, waving the   letter.   EXT. HOUSEBOAT - NIGHT       JONAH       Dad!       SAM       Everyone thinks Brooks Robinson        is the greatest.       JONAH       It's a sign.       SAM       Oh, right.   Sam stops, takes Jonah by the hand and takes him back   into the house.       SAM       Come here.  I want to show you        something.   INT. HOUSE - NIGHT   As Sam pulls down the map of the United States, which is   hanging over one of the kitchen windows and stands Jonah   in front of it.       SAM       Here is Seattle.       (moves his finger         across the country)       And here is Baltimore.  Case        closed.       (he pulls the map and         it snaps back up)       JONAH       She doesn't want us to go to        Baltimore.  She wants to meet        us in New York City on        Valentine's Day.  On top of the        Empire State Building.       SAM       Perfect.  We'll be there.   Sam goes out the door.  Jonah just looks down at his   letter, his hopes on hold.  Clarise switches the TV back   to Geraldo.   INT. RESTAURANT - NIGHT   Sam sits at a table.  Nursing a beer.  A little nervous.    He looks up and spots:   VICTORIA   walking into the place.  She's attractive.  She waves   and smiles and sits down, orders a white wine spritzer   from the maitre d'.   After a beat.       SAM       Hi.       VICTORIA       Hi.   An awkward pause.       SAM       You look good.       VICTORIA       You look good yourself.   Another pause.       VICTORIA       I thought you were never going        to call me.       SAM       You did?       VICTORIA       I really wanted you to call me,        and I thought you were never        going to --       SAM       You could have called me --       VICTORIA       No way.  No way I was going to        be the first woman you went out        with after...       (she gestures         helplessly)       There is no percentage        whatsoever in being the first        woman anyone goes out with        after...       SAM       You are the first woman I'm        going out with.       VICTORIA       Oh.       SAM       So whatdya say? I'll get the        check, and I'll call you in        eight months.   Victoria laughs far too enthusiastically.       VICTORIA       Oh, you are funny --   We hear a CLICK as the image FREEZES.         CUT TO:   SEATTLE DETECTIVE   sitting at a table across the room, having just taken   the picture of Sam we saw frozen, with a miniature   camera.  In QUICK CUTS we see a progression of later   photographs:   SAM AND VICTORIA SIMPLY TALKING.   SAM HOLDING HIS FORK ACROSS THE TABLE TO GIVE VICTORIA   A BITE OF HIS SALMON.   SAM AND VICTORIA SHARING A LAUGH.         CUT TO:   INT. BALTIMORE MARKET - DAY   Lots and lots of fish stalls with crabs, etc.  Annie is   walking with Det. Wheedle toward a table you stand at   near the clam bar.       ANNIE       Tell me he's living in squalor.         Tell me everything he has is        being repossessed, including        his filthy, dented mobile home.       WHEEDLE       He's got a houseboat.       ANNIE I hate boats.       WHEEDLE       It sounds nice.       ANNIE       Boats.  You go out in them.         You come back in them.  I hate        them.       WHEEDLE       Houseboats don't go anywhere.       ANNIE       Boats.  All anyone talks about        is the wind.  Is it up, is it        down.  I can't live with a man        who only talks about the wind.       WHEEDLE       It's not a boat boat.  It's        really a house.       ANNIE       But it's on the water.       WHEEDLE       It's on the lake right in the        middle of Seattle.          (beat)       It rains nine months of the        year in Seattle.       ANNIE       I hope I don't have to pay for        that piece of information.       WHEEDLE       No, that's free.  He's an        architect.  Used to do big        high-profile projects.  He        scaled it all back when his        wife died.  Now he remodels        people's homes.  He works in        a small firm, makes a good        living.   He shows her a good picture of him.       ANNIE       He's real.   She goes to the next shot.  Sees a picture of Sam and   Victoria in the restaurant, although all we see of   Victoria is her back and mane of blond hair.   Hold on Annie's face.   INT. SEATTLE MARKETPLACE   With its stalls of king crab, but otherwise almost   identical in design to the Baltimore marketplace.   Sam and Jonah walk past the fish stand, Sam looking   around, slightly distracted.       JONAH       I figure we could go to New        York, catch the Knicks, and        since we'd be there anyway,        obviously we'd go to the Empire        State Building --       SAM       There she is.   As Victoria comes toward them, with a bag full of   groceries.       JONAH       Why is she bringing that bag?       SAM       She's going to cook something        for us?       VICTORIA       Hi, Sam.  And let me guess --        you must be Jonah.       JONAH       Hi.       (back to the subject)       He should book now because we        can get an excursion fare.         Jessica's parents are travel        agents and --       SAM       Not now, Jonah.   INT. HOUSEBOAT - LATER   Sam, Jonah and Victoria are at the dining room table,   finishing the dinner that Victoria cooked.       SAM       We can't finish the job.  She's        on her sixth painter, now she's        thinking maybe she wants the        fireplace rebricked --       VICTORIA       I know her pretty well.  Maybe        I could call her --       SAM       I've already solved it.  I've        hired a hit man.   Victoria laughs a little too hard.       VICTORIA       Oh that is so funny, you are so        funny.   Sam smiles.  Jonah is appalled.       SAM       Every time she wants to change        something, she talks in this        little baby voice --       (in a little baby         voice)       "Couldn't you just move the        stairway a teeny tiny bit?"--   Victoria almost dies laughing.  Jonah's eyes narrow to   slits.       JONAH       Do you like baseball?       VICTORIA       Yes, I do.  In fact, my firm has        box seats for the Mariners.         Why don't we all go next week?       JONAH       What about camping?       VICTORIA       What about it?       JONAH       Do you like it?       VICTORIA       I went camping once.       (to Sam)       I love to brush my teeth in a        brook and floss with a weed.       JONAH       We ought to start camping        again, Dad.       SAM       Okay, tiger.  Time for bed.       JONAH       It's only ten o'clock.       SAM       (a little edgy)       Jonah!       JONAH       Okay.       SAM       Thank Victoria for dinner.       JONAH       Thanks for dinner.  I never saw        anybody cook potatoes that way.       SAM       (gracious)       I'm glad you liked it.  Good        night, Jonah.   They watch as Jonah pads down the hallway.   EXT. SAM'S HOUSEBOAT - REAR DECK - ON SAM & VICTORIA   They're standing at the rail, talking.   INT. HOUSEBOAT - NIGHT   Jonah has snuck downstairs and is peeking out the window   at them.   Victoria runs her finger down Sam's arm.   Jonah is horrified.   He dashes over to the phone and begins to dial.   INT. ANNIE'S BEDROOM - NIGHT   A sleeping Annie and Walter are startled awake by the   ringing of her phone.       ANNIE       (groggy)       Hello.       BECKY       (through filter)       Turn on your radio!       ANNIE       What?       BECKY       (through filter)       The kid is on.  You've got me        listening to this garbage.         Go on, turn it on.       WALTER       Who is it?       ANNIE       Oh, it's just Becky, she's        having trouble with Rich again.       (into phone)       Hold on, Becky, I'm going        downstairs.   She puts the phone on hold and gets out of bed.   INT. KITCHEN - NIGHT   As Annie comes in and turns on the radio and picks up   the phone.       JONAH (V.O.)       This is a complete disaster.  I        wanted him to find a wife, but        he's got the wrong one --       ANNIE       How am I going to explain this        to Walter?       BECKY (V.O.)       Shhh, listen to this --   Annie takes the portable radio and the telephone   receiver, opens the broom closet and closes herself   inside.       DR. MARCIA FIELDSTONE (V.O.)       Shouldn't your father be the        judge of whether she's right        or wrong?   ON JONAH   sneaking glances out at Sam and Victoria as he talks.    Victoria puts her arms around Sam's waist and clasps   them behind him.       JONAH       Please, please don't make me        sick.  He's not sane enough to        judge anything.  She's a ho.   ON THE OUTSIDE OF THE BROOM CLOSET, WITH THE TELEPHONE   CORD LEADING INTO IT.       JONAH (V.O.)       (muffled slightly)       My dad's been captured by a ho.   Suddenly Sam happens to look over to the window.  Jonah   ducks down behind the desk before Sam sees him.   EXT. HOUSEBOAT - NIGHT   Victoria notices Sam glancing back at the house, aware   that he's concerned about Jonah seeing them.       VICTORIA       Is he there?       SAM       (turning back)       No.       (beat)       After he was born, every time        we started to make love, he        would cry.  He had an uncanny        sense of timing.  We really        shouldn't do anything here        anyway.       VICTORIA       Absolutely.  Right.   And she moves in to kiss him.   ON JONAH   Jonah peeks up over the top of the desk to check if the   coast is clear and is sickened to see them locked in a   kiss.       JONAH       Oh God, it's major.  He's        kissing her on the lips.  I        have to stop this.   ON BROOM CLOSET       ANNIE       (muffled)       Come on, Jonah --       BECKY (V.O.)       Do something --   ON JONAH       DR. MARCIA FIELDSTONE (V.O.)       Jonah, you can't butt in here.       JONAH       Yes, I can.   He hangs up the phone and SCREAMS.         CUT TO:   ANNIE AS THE BROOM CLOSET DOOR OPENS.   SHE SCREAMS.   It's Walter.       WALTER       Miss Scarlett.  In the broom        closet.  With the radio.       ANNIE       (to Becky)       I gotta go.  I'll see you at        work.       (she hangs up, turns         off radio)       Walter, you scared me.  Don't        ever do that again.   INT. HOUSEBOAT - NIGHT   As Sam holds Jonah by the shoulders.       SAM       Don't ever do that again.       JONAH       I thought I saw a black widow        spider.   Sam looks at Victoria, shrugs.  Back to Jonah.       SAM       What are you doing up?       JONAH       I was thirsty.       SAM       There's a bathroom upstairs.       JONAH       The water tastes better in the        kitchen.       SAM       That's true.  Why is that?   INT. ANNIE'S TOWNHOUSE APARTMENT - NIGHT   As she and Walter go upstairs to bed.       ANNIE       Becky heard this woman on the        radio complaining about this        guy she was sure was Rick,        which meant he was cheating on        her.  She was completely        hysterical.  Then it turned out        the woman lived in Duluth.       WALTER       That doesn't make any sense.       ANNIE       I know.  It makes no sense at        all.  Thank God my life is in        place.   INT. ANNIE'S BEDROOM - NIGHT   Walter asleep.  Annie stares up at the ceiling, wide   awake.  Thinking.   INT. JONAH'S BEDROOM - NIGHT   Jonah lying on his pillow, staring up at the ceiling,   wide awake.  Thinking.   INT. JESSICA'S PARENTS' TRAVEL AGENCY - DAY   Jessica is reading the letter from Annie.  She's sitting   at a computer in their travel agency, which is on the   entrance level to a charming Seattle townhouse.  Jonah   sitting there.       JESSICA       Write her.       JONAH       You think so?       JESSICA       It's Y. O. H.       JONAH       (agreeing)       Yeah.       (a beat)       What's that?       JESSICA       Your only hope.   INT. NEWSROOM - DAY   Annie, at her computer, talking to Becky.       ANNIE       I thought I would look into        doing a story about those radio        shows.       BECKY       (nods; after a beat)       You'd probably have to go        somewhere to really look into        it.       ANNIE       Definitely.   EXT. STREET OUTSIDE JESSICA'S HOUSE - A LITTLE LATER   Jonah and Jessica at the mailbox.  As Jonah opens the   mailbox and drops the letter in, we hear a SQUEAL OF   BRAKES.  It's Sam's car.       SAM       (angry)       Get in the car right this        minute.   Jonah, about to get in, looks at Jessica.       JESSICA       I'll call you later.   Jonah gets in.   INT. SAM'S CAR - CONTINUOUS       SAM       Did you call that radio station        again?       JONAH       No.       SAM       Everyone at work heard you.       JONAH       I just called for a second.       SAM       Long enough to call Victoria a        ho.       JONAH       It's a short word.       SAM       This is not a joke.  Thank God        Victoria doesn't know.  It        would really have hurt her        feelings.       JONAH       (really getting into         it)       If she knew, she'd never        forgive me.  It would be        hopeless for the two of you.   EXT. SEATTLE STREET - CONTINUOUS   As the car drives off.       SAM (V.O.)       Don't open your mouth again.         Ever.   EXT. A CAR DOOR SLAMMING - NIGHT   And pull back to reveal:   EXT. BALTIMORE RESIDENTIAL STREET - NIGHT   As Annie and Walter get out of the car, dressed for a   dinner.       WALTER       Couldn't you just do a phone        interview?       ANNIE       Not for the kind of place I        want to do.  I won't be in        Chicago that long.       WALTER       When you get back, I'll be        gone --       ANNIE       And then I'll see you in New        York --       WALTER       Okay, okay.   EXT. BALTIMORE INTERNATIONAL AIRPORT - DAY   A 747 accelerates down the runway and blasts into the   winter sky.   INT. AIRPLANE - IN FLIGHT - DAY   Annie is looking out the window, preoccupied.       PILOT'S VOICE       This is Captain Foster        welcoming you aboard Flight 132        to Seattle.  Our flying time        today...       ANNIE       Do you believe that any lie is        a betrayal? That's what Harold        Pinter says, but it seems to me        it's a very harsh way of        drawing the line.   Annie turns back to the window, leaving the seatmate,   who in any case doesn't speak English, completely   mystified.   INT. SEATTLE/TACOMA AIRPORT - DAY   Jonah is standing out of the way at a departure gate,   watching Sam as Victoria checks in for a flight bound   for Minneapolis.       VICTORIA       (turning to Jonah)       Can I bring something back for        you? A souvenir?       (to Sam)       Does he like those little snow        scenes?       (to Jonah)       You know -- you shake them up        and the snow floats down?   Sam looks at Jonah, threateningly.  Be nice or else.       JONAH       (extremely polite)       Sure.  I'd really like that.         Thank you so much.       VICTORIA       Well...       JONAH       I think they're announcing your        flight.   Sure enough, passengers are starting to board.       SAM       He's ten.       VICTORIA          (he's good at it)       He's good at it.       SAM       I read an article about this       ...       VICTORIA       I read the same article...       SAM       It takes time --       VICTORIA       Absolutely.  When I come back,        maybe the two of us should        spend some time together, on        our own.  What do you think?       SAM       Sure.  Sure.   Victoria waves goodbye and starts toward the jetway.    As Sam watches her go, Jonah looks at him, sticks his   finger in his mouth and pretends to gag.       SAM       (impatiently)       Jonah, this isn't fair.  You        don't know Victoria.  I hardly        know her myself.  She is, in        fact, a mystery to me.  She        tosses her hair a lot.  Why        does she do this? I have no        idea.  Is it a twitch? Does        she need a haircut? Should she        use barrette so it doesn't        keep falling in her face?        These are things that I'm        willing to get to the bottom        of, and that is why I am dating        her.  That is all I am doing.         I am not marrying her.  Can you        appreciate the difference?        That's what single people do,        they try people on and they see        if they fit.  But nobody fits        perfectly, everyone is an        adjustment.       JONAH       Was Mom an adjustment?       SAM       (complete exasperation)       I'm never going to meet anyone        who's going to measure up to        your mom in your eyes? What do        you think? There's a perfect        woman walking around out there?   At that moment, Annie emerges from the jetway right next   to the one Victoria went into and comes toward us.       SAM       There's no such thing as a        perf --   Sam sees Annie immediately, and is instantly struck by   her looks, her fluidity, her poise.   Annie walks right toward Sam, right past him, inches   from him, not noticing him as she looks for the exit.    Sam continues to stare at her.       SAM       (to himself, referring         to Annie)       God, she's beautiful.       JONAH       (unaware he's talking         about Annie)       Victoria? She's okay.   Sam and Jonah start toward the exit, Sam trying not to   lose sight of Annie.       JONAH       Dad, I was talking to Jessica        about reincarnation, and she        thinks that probably you knew        Annie in another life.       SAM       (completely distracted)       Who is Annie?       JONAH       The one who wrote us.   Sam is preoccupied with Annie.  She takes a turn that he   doesn't expect.  He's having trouble keeping up, because   he has to wait for Jonah.       JONAH       (continuing)       But Jessica says you and Annie        never got together in that        life, and your hearts are like        puzzles with parts out of them        and when you get together the        puzzle's complete.   He's lost Annie in the crowd.  She's nowhere in sight.       SAM       God dammit.   A beat, then Sam heads off to the exit.  Jonah follows.    As they walk into the distance --       JONAH       The reason I know this and you        don't is that I'm younger and        purer so I'm more in touch with        cosmic forces.       SAM       I sincerely hope you are not        going to marry Jessica.   EXT. AIRPORT CAR RENTAL AGENCY - DAY   As the shuttle bus drops Annie off at a rental car.  As   she gets in and starts the car.   EXT/INT. SEATTLE/RENTAL CAR - DAY   Annie driving through the streets of Seattle, referring   continually to a map she has spread out on the passenger   seat, trying to navigate her way to the Baldwin houseboat.   EXT. STREET FRONTING THE BALDWIN HOUSEBOAT SLIP -- DAY   Annie drives slowly down the street, looking for the   Baldwins' marina.  She stops, blocking the driveway to   the marina.   ON ANNIE IN HER RENTAL CAR   checking the map.   Suddenly she hears a HORN HONKING behind her.  She looks   into the rear-view mirror and sees Sam and Jonah in   their van, anxious for her to move so they can pull into   their driveway.   Recognizing Sam from Wheedle's picture, Annie panics and   speeds away, tires squealing.   EXT. SEATTLE GAS STATION - DAY   Annie's car is parked just outside the rest room.   INT. GAS STATION RESTROOM - DAY   Annie's in the Ladies' Room, splashing some water on her   face.  She towels it off and looks into the mirror.       ANNIE       (practicing)       Hello, Mr.  Baldwin? No.         Hello, Sam?       (sweet)       I'm Annie Reed.       (dignified)       I'm Annie Reed.       (sultry)       I'm Annie Reed.       (matter-of-fact)       I'm Annie Reed.   She settles on the matter-of-fact reading.       ANNIE       I heard about you calling Dr.        Fieldstone, and well, I just        happened to be out here on...   JUMP CUT:       ANNIE       (businesslike)       business...   JUMP CUT:       ANNIE       (carefree)       vacation...   JUMP CUT:       ANNIE       (losing confidence,         ready to pack it in)       for no good reason at all...       (rallying, businesslike         again)       business... and I thought I'd        drop and...       (breezy)       say hello...   JUMP CUT:       ANNIE       (earnest)       invite you to lunch...   JUMP CUT:           ANNIE       (sexy)       take a shower with you...   JUMP CUT:       ANNIE       (embarrassed with all         this)       shoot myself.   EXT. STREET NEAR MARINA - LATER   ON ANNIE   watching.  She's at a safe distance, across the street   and down some from the marina entrance.  She watches it   for a moment, then gains courage.  She starts to cross   the street to enter the dock.   EXT. DOCK - CONTINUOUS   Annie walks toward Sam's houseboat.  Nervously.  Goes up   to the door.  Adjusts herself quickly and knocks.  No   response.  Let down, she's just about to walk away when   she hears a motor REV UP.   Annie peeks around the side of Sam's houseboat and spots   Sam and Jonah heading out in their dingy.   EXT. STREET NEAR MARINA - CONTINUOUS   Annie races back to her car, jumps in and follows the   boat along the seashore drive.   EXT. SEATTLE HIGHWAY - CONTINUOUS   As we see Annie driving along the water as Sam and Jonah   chug along in the water.   EXT. ALKI BEACH - ON SAM AND JONAH   They're down at the water's edge, skipping broken   clamshells, like stones, across the surface of the water.    They're laughing, pointing, counting out the number of   skips, arguing over the merits of each throw.   ON ANNIE   checking them out from a phone booth next to the Snak Shak.         DISSOLVE TO:   ANNIE'S POV - ON SAM AND JONAH - LATER   They're throwing a football.  Jonah catches it and   starts to pretend to score a touchdown, dodging and   feinting.  Sam tackles him and they tumble together on   the beach.   CLOSE ON ANNIE   watching.  The purity and innocence of this little scene   -- a father and son at play -- is affecting her more   than she ever could have imagined.  Their LAUGHTER   filters up to her.  Right to her heart.       ANNIE (V.O.)       I watched him play with his son        at the beach.   INT. ANNIE'S MOTEL ROOM - NIGHT   Annie's on the phone with Becky.  We cut back and forth   between them.       BECKY (V.O.)       Did you talk to him?       ANNIE       I couldn't do it.  How did I        get here?   INT. BECKY'S BEDROOM - NIGHT   Becky on the phone in bed.  And cut back and forth.       BECKY       You told a lie and got on a        plane.       ANNIE       That's not what I mean.       (beat)       I'm going back over there        tomorrow and talk to him.  I        am.       BECKY       Okay.  Good.  Goodbye.       ANNIE       Becky?       BECKY       What?       ANNIE       Is this crazy?       BECKY       No.  That's the weirdest part        about it.       ANNIE       Thank you.  I love you.       BECKY       I love you, too.       ANNIE       Good night.   Annie hangs up the phone.  She turns off the light.    Moonlight coming through the window.  Hold on her.   EXT. STREET NEAR MARINA - DAY   Annie parks across from the marina, starts to get out.   Sam's van pulls into a parking space.  Jonah in the   front with Sam.  They're diagonally across a four-lane   street.   ON SAM AND JONAH   As they start to get groceries out of the car.   Annie watching.  This is it.  No chickening out this time.   She's come three thousand miles, told lies, the whole   thing.  It's now or never.   Sam and Jonah start toward the gate to the dock.   Annie starts to cross the street, gathering courage and   rightness with every step.   But she STOPS DEAD WHEN SHE SEES:   SUZY   who we remember from eighteen months ago, appearing at   the gate to the marina -- waving, smiling a mile wide --   beckoning Sam and Jonah home like a military wife whose   boys have just come back from the front.  Sam and Jonah   are overjoyed to see her.  Jonah breaks into a run,   nearly leaping into Suzy's waiting arms -- as Sam brings   up the rear, picking up Jonah's sodas which he dropped   when he started running.   ON ANNIE   She comes to a standstill, in the middle of the street.    In shock.  The scene in front of her is too horrible to   bear.   ANNIE'S POV - GATE TO MARINA   Sam catches up.  Suzy -- no less beautiful and vivacious   than she was before -- tousles Jonah's hair, kisses Sam   and hugs them both.   ON SAM, JONAH AND SUZY.       SAM       God, it's wonderful to see you.         Where's Greg?       SUZY       He's over at the boat show.         He'll be by later.       (she looks around)       It's so beautiful here.   ANNIE   There is such apparent warmth, and joy, and love about   this homecoming that she forget where she is -- in the   middle of the street.  A car HORN blares at her... all   she can do is stare at the nightmare that has unfolded.    She starts to back away -- and that's when she sees --   A TAXICAB   coming right at her, horn BLARING, tires SQUEALING.    Annie starts to jump to the other lane but there's a van   bearing down from the opposite direction.  She steps   back to the middle line.   The cab goes into a skid.  Annie freezes.   Sam heard the noise and turns to see what's going on.    The cab comes SCREECHING right at the CAMERA.   Annie screams.   The cab stops inches from her body.  The van in the   other oncoming lane fishtails to a stop as well.   ON SAM   responding.  He runs from the gate toward the near-  accident.   ON THE CAB DRIVER   getting out of the cab, as other people gawk from the   sidewalk.       DRIVER       Lady, what the hell are you        doing?   Annie, still in shock from her brush with disaster,   hears the Cabbie but doesn't respond.  Stunned, she   turns to see Sam on the other side of the street.  Their   eyes meet.  Sam stops, realizing it's the woman he saw   in the airport.       SAM       Hello.       ANNIE       Hello.   Annie, totally mortified and humiliated by everything   that's happened, bolts for her car.   Sam wants to run after her -- but there's traffic is   coming past and he can't cross the street.  Annie gets   into her car, starts and pulls away.  Sam stands there,   deflated.   EXT. AIRPLANE - IN FLIGHT ACROSS THE U.S. - DAY       ANNIE (V.O.)       How could I have been such an        idiot?   EXT. BALTIMORE STREET - DUSK   Becky's car driving toward Annie's house.       BECKY       You were standing in the middle        of the street?   INT. BECKY'S CAR - DUSK       ANNIE       You know that dream where        you're walking down the street        naked and everyone is looking        at you?       BECKY       I love that dream.       ANNIE       That was nothing compared to        this humiliation, nothing.       BECKY       But he saw you, right?       ANNIE       He said hello.   EXT. TOWNHOUSE - ON ANNIE & BECKY - DUSK   As Annie leads the way to her door, from Becky's car.       BECKY       And what did you say?   Annie takes the mail from the mailbox on her way to the   door.       ANNIE       All I could think of to say was        hello.         CUT TO:   "AN AFFAIR TO REMEMBER" ON THE TELEVISION SET.  DEBORAH   KERR IS SAYING: "ALL I COULD THINK OF TO SAY WAS HELLO."   And pull back to reveal:   INT. ANNIE'S TOWNHOUSE LIVING ROOM - NIGHT   Becky and Annie looking at the television.       BECKY       It's a sign --       ANNIE       It's a sign I've watched this        movie too many times.       (beat)       I'm so stupid.  From the minute        I listen to that stupid program        on the radio, I've been a        complete jerk.   She starts absently going through the mail, throwing   almost all of it away without even opening it.       BECKY       You don't know who she was,        Annie --       ANNIE       I saw her.  She looked just        like this --   She shows Becky the photo of Victoria and Sam having   dinner.       BECKY       This is a photo of hair.       ANNIE       Well, it's the same woman.  And        he was crazy about her.       (looking at one letter)       What is this?       (beat)       This is from Seattle.   She opens the letter.   Reads it.   Looks up at Becky.       ANNIE       Becky?       BECKY       So I mailed your letter.       ANNIE       (reading the letter)       "Dear Annie: Thanks for your        letter.  It was great.  We're        very excited about meeting you        in New York on Valentine's Day        and seeing if we are M.F.E.O.        Sleepless in Seattle."       BECKY       M.F.E.O.?       ANNIE       Made for each other.   A long beat.       BECKY       It's cute.  It's like a little        clue.   Annie looks at her balefully.       BECKY       (continuing)       So he can't write.  Big deal.         I mean, verbal ability is a        highly overrated thing in a        guy, and our pathetic need for        it is what gets us into so much        trouble.       ANNIE       (with resolve)       I'm going to run back to        Walter's arms, if he's still        have me.       BECKY       What about the letter?       ANNIE       It doesn't mean anything.  It        was written before I went out        there.  Before the ho.   She puts the letter on an ashtray, takes a match and   lights it.  They both watch it burn.   CLOSEUP ON THE FIRE   And pull back to reveal:   INT. SAM'S HOUSEBOAT - NIGHT   A fire is blazing in the wood-burning stove.  Suzy is   sitting with her husband Greg and Sam.  Jonah is in   evidence, curled up on the couch under some blankets,   asleep.  On the table near the couch is red construction   paper for valentines, doilies, magic markers, etc.       SUZY       You saw her in the airport and then here?       SAM       I tried to talk to her...       (he shrugs)       It was like I knew her.  Weird.       GREG       Well, at least you're out there        seeing people again.  That's        terrific.       SAM       Well, just one really.       SUZY       How's Jonah taking it?       SAM       It'll take him a while to come        around.  A month ago he called        one of those radio call-in        shows and told them I needed a        wife --       SUZY       (charmed)       You're kidding --       SAM       Now that I'm seeing someone,        it's a whole other thing.   ON JONAH   he's not asleep after all.  He's been listening all   along.       SAM       He's become obsessed with        some woman who wrote me --       GREG       Are you serious?       SAM       She wants to meet me at the top        of the Empire State Building.       SUZY       It's a little derivative.       SAM       What do you mean?       SUZY       "An Affair To Remember." Did        you ever see it? Cary Grant        and Deborah Kerr.  Before that        it was called "Love Affair With        Irene Dunne And Charles Boyer."       GREG       Women love this movie.   On Jonah, listening.       SUZY       They met at the Empire State        Building, only they didn't.         Never mind.       GREG       What kind of person would write        to someone they heard on the        radio?       SAM       I got hundreds of letters from        women all over the country --       GREG Desperate women --       SUZY       Just because someone's looking        for a nice guy doesn't make        them desperate.       GREG       How about rapacious and love-       starved?       SUZY       No.       GREG       It is easier to be killed by a        terrorist --       SUZY       It is not --       GREG       Right, right.   Suzy's irritated.       SAM       Anyway, Victoria's nice.       SUZY       Would you follow her through an        airport?       SAM       Look, I met somebody.  She's        good, and capable and smart.         We hit it off.  We can't spend        your life chasing after        fantasies.   Jonah is devastated by the realization that his dad is   serious about Victoria.   INT. SAM'S BEDROOM - ON SAM IN BED - NIGHT   The door to his bedroom opens.   Annie walks in.  She's wearing a white men's shirt.       ANNIE       Hi.       SAM       Hi.       (a beat)       So far so good.  So.  What        should we talk about? How        insecure we were in high        school.  Shirley Votypka, the        first girl I ever felt up.         Health.  What about health?        Did you know that eating six        macadamia nuts is the        equivalent of eating a steak?       ANNIE       Shhhh --   She unbuttons her shirt.   And they kiss.   FREEZE FRAME on the kiss.  It becomes the silhouette of   a man and a woman kissing.   AND PULL BACK TO REVEAL:    The silhouette of a man and a woman kissing on a red box  of Valentine's Day chocolates and now we see:   EXT. BALTIMORE - VALENTINE'S DAY - DAY   A few quick shot of Valentine's Day in Baltimore: shop   windows lined with candy displays of red satin hearts,   lacy Valentine cards, red roses in elaborate floral   arrangements, old ladies selling chocolates, young   ladies selling perfume.   A red Valentine's envelope is being tossed on a desk,   and pull back to reveal:   INT. BALTIMORE SUN - DAY   Annie at work.  She looks at the card and opens it.    It's from Walter.  She smiles.  Looks up.  There's   Becky.       BECKY       You're going to miss the train.       ANNIE       No, I'm not.       (she starts assembling         her things)       BECKY       What are your plans in New        York?       ANNIE       We're going to the Rainbow Room        and the symphony tomorrow night.       BECKY       I love the symphony.       ANNIE       (cheerfully)       I hate it.       (she stands to go,         starts toward the         elevator)       I'm so happy, Becky.  Finally I        feel happy.  This is right.         This is real.  Everything else is what happens when you watch        too many movies and completely        lose sight of what counts.       (as she steps into         elevator)       Please don't tell anyone about        what happened.  "Sleepless in        Seattle" is history.   INT. BALTIMORE TRAIN STATION - DAY   Annie through the train window as the train starts to   move out of the station.   MAP OF THE UNITED STATES.   The map we saw at the beginning of the movie, as the   light dims in Baltimore and a light goes on in New York.   EXT. NEW YORK HOTEL - NIGHT   Annie steps out of a cab.   INT. NEW YORK HOTEL - NIGHT   Walter opens the door to a beautiful suite.  A bouquet   of flowers sits on the desk.  A bucket of champagne.   Annie throws herself into his arms.   Walter sneezes.   EXT. THE EMPIRE STATE BUILDING - DAY   And pull back to reveal that it's a shot from "An Affair   To Remember."   And pull back to reveal:   INT. JESSICA'S HOUSE - DAY   JONAH is watching with his little girlfriend JESSICA,   who's crying.       JESSICA       (weeping)       This is the best movie I've        ever seen in my life.       JONAH       I don't get it.       JESSICA       You have to go to her, Jonah.         You have to find her.   Jonah nods.  But he isn't sure how he's going to do it.       JONAH       Do you know how much it costs        to go to New York?       JESSICA       Nobody knows.  It changes        practically every day.  How        much money do you have?       JONAH       Eighty dollars.       JESSICA       I have forty-two.  So that        would definitely cover        taxicabs, I think.       JONAH       But how am I going to get        there?       JESSICA'S MOTHER       Honey, I'm going out for a few        minutes.       (sticking her head in         the door to the living         room)       Could you keep an eye on things        out front till I get back?   Jessica looks over at Jonah.       JESSICA       Sure.   INT. JESSICA'S HOUSE - TRAVEL AGENCY OFFICE - DAY   Jessica is working on the computer.  She punches Jonah's   name into it.       JESSICA       Do you want an aisle or a        window seat?       JONAH       Window.       JESSICA       Do you want a fruit plate?       JONAH       I don't know.  Do I?       JESSICA       (shrugs)       I'd rather die than eat on an        airplane.       (beat)       I'm telling them you're twelve        so you can fly unaccompanied        and they won't make you be        carried around by a stewardess        and everything.   Jonah nods.   Now Jessica takes a ticket form out of the desk and   starts to fill it out for Jonah.   EXT. FIFTH AVENUE - TIFFANY'S - A SCULPTED GLASS HEART   - DAY   formed by two dancers bending over backwards, awash in   pink light and spotlighted in white.   Walter and Annie are among a few other people -- couples   mostly -- looking in the windows.  Each one a variation   on the heart motif.  They move to a window -- "Broken   Heart" -- burnished metal, with tow cherubs flying out   of the wound in the middle.   ON WALTER AND ANNIE'S REFLECTION   in the Broken Heart window.   They're both in their own worlds.  Then they both start   to speak at once.  They stop.  Annie looks at Walter.       ANNIE       You go.       WALTER       Ever since Christmas, you've        been different.  Kind of        distracted, distant.  But I        feel like you're coming back        from wherever you were.       ANNIE       I am.       (she smiles at him)       I was just... I just got... I        think I got nervous.  It's        normal, right? Don't you ever        feel nervous about, you know?       WALTER       What?       ANNIE       About forever.       WALTER       No.       ANNIE       Well, I did.  And you know what        I think? I think that it was        almost... too perfect.   INT. FIRST FLOOR - TIFFANY'S - DAY   As Annie and Walter walk through the jewelry department   to the elevator.       ANNIE       I started to wonder whether we        were the human equivalent of        two rights making a wrong, you        know?   Walter has no idea what she means, but he's completely   good-natured about it.   INT. THIRD FLOOR TIFFANY'S - DAY   Annie and Walter are walking around the floor, followed   by a SALESWOMAN who is carrying a large white card on   which she is noting their selections.       ANNIE       It was like kismet but not, if        you see what I mean.   Walter's brow furrows slightly.       ANNIE       (continuing)       You have to grow up.  You can't        have all these adolescent        dreams about how exciting your        life is going to be --   Walter starting to look puzzled.       ANNIE       (continuing)       Don't hate me but I love this        pattern.           WALTER       You couldn't.       ANNIE       I do.       WALTER       It's just like my grandmother's        china.       SALESWOMAN       How many place settings should        I put down?       ANNIE & WALTER       Ten.   Walter beams at her.       WALTER       Exactly.  Eight is too few and        twelve is too many.   The SALESWOMAN writes a "10" on the big sheet of paper.   INT. FIRST FLOOR - TIFFANY'S - DAY   As Annie and Walter come out of the elevator on the   ground floor and WALTER stops for a moment at the   Jewelry Repair department, reappears with a little blue   Tiffany's box he gives to Annie.   Annie opens it.   Inside is a lovely antique diamond ring.       ANNIE       Walter.       WALTER       It was my mother's.       ANNIE       It's so beautiful.  It's just        what I would have picked out if        I'd had every ring in the world        to choose from.       (as she slips the ring         onto her finger)       You see what I mean.  There are        people who would like a        relationship to be full of        surprises, but I am not one of        them.       (as she starts out the         door with Walter         behind, thinking about         what she has just         said)       Surprises are highly overrated.   As they go out the door to:   EXT. FIFTH AVE.  - DAY   As they start down the street and go off into the   distance.       ANNIE       (continuing) Promise me something, Walter.         Promise me you will never have        a surprise party for me.  Ever.         You know what happens, you walk        in the door in some horrible        sweater you put on that morning,        and there are hundreds of people        in their best clothes shouting        "Surprise!"   INT. SAM'S BEDROOM - NIGHT   Sam's got a suitcase on the bed, packing.  Jonah is   standing in the doorway, watching.   He goes to his desk looking for something but can't find   it.  He tries a few drawers.       SAM       Have you seen my wallet?       JONAH       It might be in the kitchen.   Sam doesn't remember leaving it in the kitchen.       SAM       I'm only going to be away one        night, okay, and Clarise will        be here.  You'll have a swell        time.  You'll watch a little        Geraldo, some Nightmare on Elm        Street 12, I'll never know.       JONAH       Are you going with her?       SAM       Yes.   Jonah walks out of Sam's bedroom and we hear the door to   his bedroom slam shut.   ON SAM   Starting to boil.   He walks into --   INT. HALLWAY - NIGHT   And open the door to Jonah's room.   INT. JONAH'S ROOM - NIGHT       SAM       I have to have a life.  I have        to do things that I want with        people my own age.  It's none        of your business who I am going        out with.  I don't give a good        goddam if you're angry --       JONAH       (holding up Annie's         letter)       This is the one I like.   Sam starts back to his bedroom.   INT. SAM'S BEDROOM - CONTINUOUS       SAM       I don't care who you like.         It's who I like.  But the truth        is you're never going to like        anyone because it isn't your        mother.   Sam throws a pair of socks into the suitcase.       JONAH       (yelling)       Fine.  I won't say anything.         You can marry Count Dracula.       SAM       Thank you, Jonah.  But the        point is, I am not asking        permission.       JONAH       (yelling)       What's wrong with Annie? SAM       (emphasizing every         word)       Shut up.   Jonah appears at the doorway.       JONAH       Shut up?  Shut up???  Mom never        did that.  Mom never said shut        up to me.  Mom never yelled at        me.       SAM       This conversation is finished.       JONAH       You said we could go to New        York.       SAM       Did not.       JONAH       Did too.       SAM       I can't know what I said, but        we're not going.       JONAH       (crossing his arms         across his chest)       I'm not leaving this room until        you say yes.       SAM       Get out.       JONAH       No.       SAM       Goddammit, I am sick of this        --   Sam picks Jonah up and carries him kicking and screaming   into:   INT. UPSTAIRS HALLWAY - NIGHT   and into:   INT. JONAH'S BEDROOM - NIGHT       JONAH       Put me down.  I hate you, I        hate you --   He throws Jonah on the bed.  Jonah in tears.       SAM       I'm sick of this phony        melodramatic bullshit.  I'm        sick of it.   He leaves the room and slams the door.   INT. HALL - CONTINUOUS   Jonah weeping as Sam goes back to his bedroom.   INT. SAM'S BEDROOM - CONTINUOUS   The sound of Jonah weeping.   Sam sits down on the bed, wiped out.  Hold on him.   EXT. BALDWIN HOUSEBOAT - MORNING   As Clarise the babysitter arrives at the houseboat.   INT. HOUSEBOAT - MORNING   Sam and Clarise in the hallway outside Jonah's door.       SAM       Jonah?  Clarise is here, okay?        And I'm leaving.   No response.       SAM       Jonah?       (to Clarise)       He's probably still asleep.   He opens the door gently to the room.   Jonah's gone.   IN QUICK CUTS:   Sam looks in the bathroom: no Jonah.  In the main cabin.    The back deck.  Out onto the docks.  Looking all up and   down.  Clarise coming down the deck -- she's apparently   been looking in the neighborhood.  As she shakes her   head no, Sam goes to the bicycle shed.  Jonah's bike   still there.  Sam stands on the deck.   EXT. SEATTLE/TACOMA AIRPORT - DAY   We see a group of people filing off an airport shuttle   bus.  The sign in front rotates from "Airport" back to   "Marina."   Jonah comes down the stairs and steps off with his   Mariners backpack.  He just stands there a beat, looking   around.  Then he goes through the glass doors.   INT. AIRPORT FIRST CLASS TICKET COUNTER - DAY   The TICKET CLERK turns back to the counter.       TICKET CLERK       Next.   Jonah steps forward, with his ticket.   INT. JESSICA'S HOUSE - DAY   Jessica is sitting defiantly in a chair in the middle of   the living room.  She is being interrogated but she is   not going to talk.  There's a clock on the mantel.  Sam   is in the room with Jessica's mother and father.       JESSICA'S MOTHER       Jessica, this is not        acceptable.       JESSICA'S FATHER       If you don't tell us right now,        right this minute, I'm going to        kill you.   Jessica rolls her eyes.   She looks over the clock on the mantel.  As it ticks   to 8:30:       JESSICA       He's on his way to New York.       JESSICA'S MOTHER       What?       SAM       How?       JESSICA       (the child of travel         agents)       United 597.   Jessica's mother and father are horrified.       JESSICA'S MOTHER       Jessica!       SAM       When does it leave?       JESSICA'S FATHER       Eight-thirty.   Everyone looks over at the clock.  It says 8:31.    Jessica smiles.   INT. SAM'S CAR - DAY   CLOSE ON SAM   Driving to the airport.   EXT. HIGHWAY NEAR SEATTLE/TACOMA AIRPORT - DAY   As his car takes the airport exit.   INT. AIRPLANE - DAY   A stewardess bends affectionately over Jonah, ensconced   in the first-class section.  He's got his backpack on   his lap and he's holding it.       STEWARDESS       Here you go... here's a nice pin        for you, for flying with us.       JONAH       (completely unmoved,         but polite)       Thank you.       STEWARDESS       You're welcome.  Can I take        that for you?       JONAH       (clutching it even         tighter)       No.   INT. AIRPORT TICKET COUNTER - ON SAM - DAY   at the reservations desk.  Desperation.       SAM       (frantic)       He's about this high, 90        pounds, never combs his hair,        Mariner's hat --       AIRLINE CLERK       (to his colleagues)       Anyone check in a        unaccompanied minor on the New        York flight?       FIRST CLASS TICKET CLERK       I did.   Sam closes his eyes.       SAM       I'll kill him.       (beat)       I have to get to New York as        fast as I can.       AIRLINE CLERK       We can get you on a flight to        Chicago and you can change        planes --   Starting to punch information into the computer.       AIRLINE CLERK       How will you be paying for        this?       SAM       (taking out his wallet)       American Express.       (there's no American         Express card in his         wallet)       Visa.       (beat)       I really am going to kill him.   INT. O'HARA AIRPORT - DAY   As Sam comes out of the plane from Seattle and dashes   through the concourse, managing to arrive at the plane   for New York at the very last moment.   INT. KENNEDY AIRPORT - DAY   As Jonah comes out of the plane from Seattle and looks   up to see which way to go.  He looks very small.  Big   New York passengers in a hurry whiz by with their   carryons dangerously flying at their sides.   EXT. KENNEDY AIRPORT - A FEW MINUTES LATER   Jonah stands in a taxi line.   INT. TAXI - A FEW MINUTES LATER   Jonah sits down in the back seat.  Looks up.  A big   bruiser of a CAB DRIVER leans back over the seat, sizing   Jonah up.       TAXI DRIVER       Where to?       JONAH       Empire State Building.   INT. PLANE TO NEW YORK - DAY   Sam is in an aisle seat.  He closes his eyes and   squeezes them tight.       SAM       (to himself)       Come on... come on... come on...        COMEONCOMEONCOMEONCOMEONCOMEON...   EXT. EMPIRE STATE BUILDING - AFTERNOON   It looks magnificent in the waning afternoon light.       CABBIE'S VOICE       There it is.   We are watching from:   INT. A TAXICAB   where Jonah, with his head out the window, regards the   building with awe.       CABBIE       What are you gonna do there,        spit off the top?       JONAH       No.  I'm gonna meet...       (trying to figure out         what to call her)       my mother.   INT. RAINBOW ROOM - DUSK   Walter and Annie walking toward their table with the   MAITRE D'.   Annie sits down, looks at the view.  Walter starts to   sit, revealing a spectacular view of the EMPIRE STATE   BUILDING directly behind him.  Annie's smile fades.       WALTER       Is something wrong.   Annie shakes her head.       MAITRE D'       May I get you a drink?       WALTER       Some champagne?       ANNIE       Fine, fine.   Walter glances back over his shoulder.       WALTER       Beautiful view, isn't it?       ANNIE       Walter, there's something I        have to tell you --   EXT. KENNEDY AIRPORT - DUSK   As Sam rushes out of the terminal.  Desperate.   A cab pulls up.  Sam bolts to the head of the line and   muscles his way into the cab.  The other people in line   are irate.       SAM       Sorry, this is an emergency.   The cab pulls out to a chorus of verbal abuse.       SAM (V.O.)       Empire State Building.   INT. EMPIRE STATE BUILDING LOBBY - DUSK   Jonah, carrying his backpack, walks through the majestic   lobby and follows the arrow to the Observation Deck.   EXT. TOP OF EMPIRE STATE BUILDING - HELICOPTER SHOT - DESK   Looking down on the observation deck.  The city below.    The tiny figure of Jonah walks into the middle of the   deck.  Looks around.   EXT. 59TH STREET BRIDGE - DUSK   Sam's cab speeds across the bridge and into Manhattan,   heading for the Empire State Building.   INT. TOP OF THE EMPIRE STATE BUILDING - DUSK   Jonah is going to take the bull by the horns.  He walks   up to a likely-looking WOMAN.       JONAH       Hi, I'm Jonah.  Are you Annie?       WOMAN #1       No.       (smiles at him)       I'm Cynthia.   He spies another unattached woman.       JONAH       Excuse me, are you Annie?   EXT. RAINBOW ROOM - DUSK   A helicopter shot of Annie talking animatedly to Walter.   And pull back to reveal that the Rainbow Room is   actually being seen by Jonah through a viewscope in:   EXT. EMPIRE STATE BUILDING OBSERVATION DECK - DUSK INTO   NIGHT   Jonah is looking through the viewfinder.  He turns   around, forlorn.  He takes off his backpack and is about   to sit down next to it when Sam bolts into the   observation deck.   Jonah leaps into his arms.       SAM       You're my family.  You're all        I've got.  What if something        happened to you?   Sam's eyes well up.  Jonah starts to cry.       SAM       What if I couldn't get to you?       JONAH       I was scared of what you were        gonna do.       SAM       When I found you?       JONAH       If I didn't go.       SAM       Listen, have I ever done        anything really stupid?       JONAH       No.       SAM       I mean, so far, have I screwed        it up for you?       JONAH       No.   The two of them hold each other tight.  After a beat:       SAM       I can't believe you flew first        class.       JONAH       It was all they had.   INT. RAINBOW ROOM - NIGHT   Annie and Walter.  There's champagne in their glasses,   but neither of them has drunk a drop.       ANNIE       I don't know what to say about        it, Walter.  It was a form of        temporary insanity.  But I had        to tell you about it because --       WALTER       (matter-of-fact)       -- it was a betrayal.       ANNIE       Yes.  But it wasn't really.  It        was just...       WALTER       So what happened?       ANNIE       I told you.  Nothing --       WALTER       At the top of the Empire State        Building --       ANNIE       I'm not at the top of the        Empire State Building.  I'm        here.       WALTER       Not really.       (beat)       Look, Annie, I love you.  Let's        leave that out of it.  I don't        want to be someone you're        settling for.  I don't want to        be someone anyone settles for.          (beat)       I have a life insurance policy,         I'm fully invested in growth        stocks, I have a paid        subscription to Home Rox        Office, I have no sexual        diseases, I have been steadily        employed in a part of the        economy that isn't soft, I have        expectation in the way of        inherited wealth, I dress        nicely, I am a member of the        private sector, an independent        voter, I don't watch Monday        Night Football, the only thing        wrong with me is that I am        allergic to wheat,        strawberries, penicillin,        pollen, nuts and wool.  There        are plenty of women who see me        as the brass ring.  If you        don't -- marriage is hard        enough without bringing such        low expectations into it, isn't        it?   Annie is nodding.  She wipes a tear from her face.       ANNIE       Oh, Walter.  I don't deserve        you.       WALTER       I think that's what I'm saying.   Slowly, gingerly, Annie slips the engagement ring off   her finger and hands it to Walter.   No bitterness here.  Both of them trying to be gentle   with each other.       ANNIE       You okay?       WALTER       Yes.       (beat)       Some people will do anything to        get out of going to a symphony.   This breaks the tension.  Both of them smiles.       ANNIE       Oh!       WALTER       What?       ANNIE       Look!   Walter turns to look over his shoulder at what Annie   sees:   THE LIGHTS HAVE JUST GONE ON ON THE EMPIRE STATE BUILDING   VALENTINE LIGHTS:   A huge pink and white heart.   Walter turns back to Annie.       WALTER       Go for it.   And as Annie's heart leaps and she's about to bolt.         CUT TO:   EXT. WEST 50TH STREET - NIGHT   As Annie comes out to the street and hails a cab.   As it screeches off toward Fifth Ave.   INT. EMPIRE STATE BUILDING OBSERVATION DECK - NIGHT   The lights are on all over the city.   The crowd has thinned out considerably.  Jonah and Sam   are among the last people left.  They gaze out at the   twinkling lights and the ever-darkening sky.       ELEVATOR OPERATOR       Last call.  Closing time.   Jonah looks at Sam.       JONAH       This is pretty dumb, wasn't        it?   Sam shrugs.       SAM       Big deal.   After a beat.       SAM       Maybe we'll get a dog when we        get back.       JONAH       Okay.       SAM       What do you mean, okay?        Wouldn't you like a dog?       JONAH       Sure.   Sam puts his arm around him, they start toward the   elevator.       SAM       Let's go home.   EXT. FIFTH AVE - NIGHT   Annie's cab stuck in traffic.   As Annie gets out of the cab.   She's breaking into a hard run toward the Empire State   Building.   INT. LOBBY OF THE EMPIRE STATE BUILDING - NIGHT   Annie sprints in and over to Information Booth.       INFORMATION BOOTH PERSON       Sorry, ma'am, but the elevators        are closed.       ANNIE       (out of breath)       No.  Please.  I really need to        get up there.       INFORMATION BOOTH PERSON       We're closing up.  No more runs        tonight.   Annie takes a deep breath.  She's hit the end of the   road.  She turns to go but then turns back.       ANNIE       (out of breath)       Listen, can I just take a look?        Maybe... maybe... There's        someone I was supposed to        meet... He's probably not        there, but if I don't at least        look I'll always wonder about        it.   The Information Booth Person looks at her.       INFORMATION BOOTH PERSON       Cary Grant, right?       ANNIE       You know that movie?       INFORMATION BOOTH PERSON       One of my wife's favorites.   INT. TOP OF THE EMPIRE STATE BUILDING   After a few beat the elevator door opens on a very   empty platform.       ELEVATOR MAN       Sorry, ma'am.  Empty.   Annie slowly walks out.       ANNIE       Can I take a minute?       ELEVATOR MAN       Go ahead.   She sighs.  Heads for the telescopes.  Looks out at the   twinkling lights below.   She casually turns the telescope and suddenly sees   something on the floor.   Jonah's Seattle Mariners backpack.   She picks it up.  She realizes that it might be...   could be... and opens it. Inside is a toothbrush and   Jonah's teddy bear.  As she takes out the bear the other   elevator DINGS.   Annie looks up as Jonah and Sam exit the elevator.       JONAH       I left it near the...   And they stop.  There she is.  There they are.  Sam   can't believe it.  It's the mystery woman.       SAM       It's you.       ANNIE       It's me?       SAM       The one in the street.  I        chased after you.       JONAH       Are you Annie?       ANNIE       Yes.       SAM       (confused)      You're Annie too?   She smiles awkwardly.       ANNIE       (indicating the         backpack)       Is this yours?   Jonah walks over to her.  He puts his hand out.  She   shakes it solemnly.       JONAH       I'm Jonah.       (nodding back to Sam)       That's my dad.  His name is        Sam.       ANNIE       Hi, Jonah.  Sam.       (indicating the teddy         bear)       And who is this?       JONAH       Howard.       ANNIE       Howard.   Sam nods.  Smiling.  Starting to put it all together.    Annie smiles.  Still nervous.  No one knows what to do   next.  Just then, one of the elevator operators CLEARS   HIS THROAT.       SAM       We better go.   Annie nods.   Sam holds out his hand.       SAM       Shall we?   Annie slips her hand into his.  It feels comfortable,   natural, right.       ANNIE       Sam?   He looks at her.       ANNIE       It's nice to meet you.   On Annie.   On Sam.   On Jonah.  He makes a triumphant little double-fist   gesture to himself as the elevator doors close.   EXT. THE EMPIRE STATE BUILDING - NIGHT   WE SEE THE BUILDING from above, all lit up, a romantic   confection, the world's largest Valentine.   The CAMERA PULLS BACK and we see the United States   spread out before us, with lights twinkling everywhere.   And    FADE OUT