Sleepless in Seattle (1993)
Directed by Nora Ephron
Story by Jeff Arch
Screenplay by Nora Ephron, David S. Ward and Jeff Arch
May 10, 1992
Tom Hanks.........................Samuel 'Sam' Baldwin
Ross Malinger............................Jonah Baldwin
Meg Ryan....................................Annie Reed
Bill Pullman....................................Walter
Rita Wilson.......................................Suzy
Victor Garber.....................................Greg
Tom Riis Farrell...................................Rob
Carey Lowell.....................Maggie Abbott Baldwin
Le Clanché du Rand........................Barbara Reed
Kevin O'Morrison............................Cliff Reed
David Hyde Pierce..........................Dennis Reed
Valerie Wright..............................Betsy Reed
Frances Conroy..............................Irene Reed
Tom Tammi..................................Harold Reed
Calvin Trillin............................Uncle Milton
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.
AND PULL BACK TO REVEAL:
1 EXT. CHICAGO - A GRAVESITE - DAY 1
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:
2 EXT. CHICAGO ALLEY - DAY 2
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 2
10-31-01
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:
3 INT. KITCHEN - DUSK 3
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:
4 INT. SAM'S CHICAGO TOWN HOUSE - DAY 4
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:
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 3
10-31-01
5 ANNIE'S KITCHEN - SEVERAL DAYS LATER 5
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:
6 SAM'S OFFICE - DAY 6
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 4
10-31-01
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 (CONT'D)
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:
7 EXT. WRIGLEY FIELD - DAY 7
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:
8 INT. SAM'S OFFICE - DAY 8
As Sam snaps out of it.
SAM
I was thinking about Seattle.
9 INT. CHICAGO TRIBUNE - DAY 9
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 5
10-31-01
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:
10 O'HARE AIRPORT - DAY 10
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 6
10-31-01
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?
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 7
10-31-01
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.
11 INT. PLANE - NIGHT 11
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.
12 INT. PLANE - NIGHT 12
Annie sitting by herself as the plane waits on the runway.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 8
10-31-01
ANNIE
(to herself)
I guess it's just us.
She gulps.
13 EXT. O'HARA AIRPORT - NIGHT 13
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.
14 EXT. BALTIMORE SUN BUILDING - LATE AFTERNOON - CHRISTMAS EVE 14
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 --
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 9
10-31-01
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.
15 EXT. A HOUSE IN BALTIMORE SUBURBS - NIGHT 15
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:
16 INT. ANNIE'S PARENTS' DINING ROOM - NIGHT 16
BARBARA
Everybody! Annie has an announcement --
ANNIE
Walter and I are engaged!
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 10
10-31-01
And the family's at the dinner 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 --
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 11
10-31-01
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 --
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 12
10-31-01
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 --
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 13
10-31-01
17 INT. LIVING ROOM - LATER 17
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.
18 INT. BACK STAIRWAY - SIMULTANEOUS 18
MAX, one of the children, is teaching Uncle Milton to burp.
19 INT. ATTIC - NIGHT 19
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 14
10-31-01
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.
(MORE)
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 15
10-31-01
BARBARA (CONT'D)
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
(MORE)
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 16
10-31-01
BARBARA (CONT'D)
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.
20 EXT. STREET - LATE 20
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?
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 17
10-31-01
WALTER
Nope. Not even when I was young.
It's starting to rain.
WALTER (CONT'D)
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.
21 EXT. BELTWAY - NIGHT 21
As Annie drives back toward Washington, D.C.
Raining.
22 INT. CAR - NIGHT 22
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 18
10-31-01
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 hqand 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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 19
10-31-01
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 --
23 EXT. HIGHWAY - NIGHT 23
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.
24 INT. CAR - NIGHT 24
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 20
10-31-01
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.
25 INT. SAM'S HOUSEBOAT - NIGHT 25
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 21
10-31-01
JONAH (V.O.)
There's somebody on the phone for
you.
(into phone)
His name is Sam.
ANNIE
This is completely disgusting.
26 INT. BALDWIN HOUSEBOAT - NIGHT 26
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 22
10-31-01
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 --
27 INT. ANNIE'S CAR - NIGHT 27
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?
28 INT. HOUSEBOAT - NIGHT 28
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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 23
10-31-01
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 --
29 INT. CAR - NIGHT 29
ANNIE
Sure you do.
SAM (V.O.)
(overlapping)
Sure you do --
Annie smiles.
SAM (CONT'D)
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 Dr. Fieldstone
30 INT. HOUSEBOAT - NIGHT 30
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.
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 24
10-31-01
JONAH (CONT'D)
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 (CONT'D)
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.
31 INT. CAR - NIGHT 31
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 (CONT'D)
I'm losing my mind.
32 EXT. HIGHWAY - NIGHT 32
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...
33 INT. BALDWIN HOUSE 33
SAM
What's she talking about?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 25
10-31-01
JONAH
This is where other people get to
call in and dump on what you said.
We hear the beginning of a commercial.
34 INT. TRUCK STOP RESTAURANT - NIGHT 34
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 26
10-31-01
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.
35 EXT. DINER - NIGHT 35
As Annie gets into her car.
36 EXT. WASHINGTON, D.C. STREET - NIGHT 36
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 27
10-31-01
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.
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 (CONT'D)
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.) (CONT'D)
We hope you'll call again soon.
The figure TAPS on the window --
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 28
10-31-01
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 (CONT'D)
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:
37 INT. HOUSEBOAT - EARLY MORNING 37
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
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 29
10-31-01
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 --
NEW FISHING ROD
38 EXT. HOUSEBOAT - DAY 38
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.
39 INT. HOUSEBOAT - DAY (OR POSSIBLY EXT. DECK HOUSEBOAT) 39
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:
40 INT. KITCHEN OF HOUSEBOAT - DAY 40
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 30
10-31-01
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 (CONT'D)
Hi.
LULU
Hi. Sam?
SAM
Yes?
LULU
(looking in and seeing
Jonah)
You must be Jonah.
Jonah nods.
LULU (CONT'D)
(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 (CONT'D)
(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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 31
10-31-01
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.
41 EXT. LAKE UNION MARINA - EARLY MORNING 41
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.
42 EXT. BALTIMORE SUN - MORNING 42
43 INT. LIFESTYLE SECTION - DAY 43
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.
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 32
10-31-01
KEITH (CONT'D)
(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 --
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 33
10-31-01
ANNIE (CONT'D)
(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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 34
10-31-01
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 (CONT'D)
I was jus wondering.
44 EXT. BALTIMORE STREET - DAY 44
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.
45 INT. BALTIMORE RESTAURANT - DAY 45
Becky and Annie are having lunch.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 35
10-31-01
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.
46 INT/EXT. REMODEL HOUSE - DAY 46
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 Gameboy, 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.
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 36
10-31-01
JAY (CONT'D)
(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 --
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 37
10-31-01
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?
(wistfully)
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 A HOUSEBOAT BEING TOWED BY A TUG DOWN THE RIVER (OR
A SEAPLANE LANDING) - TWILIGHT
47 EXT. HOUSEBOAT - TWILIGHT 47
Jonah watching it. Sam visible in the distance in the
kitchen.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 38
10-31-01
48 INT. KITCHEN - TWILIGHT 48
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 39
10-31-01
JONAH
Shouldn't you have used a toggle
bolt?
SAM
I think I know how to hang 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 (CONT'D)
God fucking dammit! Shit! Fuck.
Piss.
Jonah bursts into tears.
SAM (CONT'D)
(still angry)
I'm sorry.
(softening)
I'm sorry.
He picks up Jonah and holds him.
SAM (CONT'D)
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.
49 INT. A TELEVISION SET OF NEW YEAR'S EVE ON TIMES SQUARE 49
And pull back to reveal:
50 INT. HOUSEBOAT - NIGHT 50
Sam, alone, watching the ball drop. He's got a bag of Doritos
and a beer.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 40
10-31-01
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:
51 INT. NEW YEAR'S EVE PARTY IN BALTIMORE - NIGHT 51
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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 41
10-31-01
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.
52 ET. MARINA PARKING AREA - DAY 52
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.
53 EXT. HOUSEBOAT - DAY 53
Sam approaches his boat and a puzzled look comes over his
face.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 42
10-31-01
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.
54 INT. HOUSEBOAT - NIGHT 54
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."
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 43
10-31-01
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 (CONT'D)
(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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 44
10-31-01
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.
55 INT. ANNIE'S BEDROOM - NIGHT 55
Annie and Walter are making love.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 45
10-31-01
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?
56 JONAH'S BEDROOM - NIGHT 56
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.
57 INT. ANNIE'S BEDROOM - NIGHT 57
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.
58 INT. STAIRWAY - HOUSE 58
As Annie comes downstairs in a bathrobe.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 46
10-31-01
She opens the door to the street.
59 EXT. STREET - NIGHT 59
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 old?
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:
60 INT. ANNIE'S BEDROOM - NIGHT 60
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).
61 INT. STAIRWELL - NIGHT 61
As Annie comes down the stairs.
62 INT. KITCHEN - HOUSE 62
She turns the light on.
Opens the refrigerator.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 47
10-31-01
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 just 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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 48
10-31-01
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.
63 EXT. BALTIMORE - PEABODY LIBRARY - DAY 63
We see Annie's car pull into a parking space outside the
Peabody Library. Annie gets out of the car.
64 INT. LIBRARY - DAY 64
As Annie strides purposefully across the library and enters:
65 INT. ANNIE'S BROTHER TOM'S OFFICE - DAY 65
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 49
10-31-01
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.
66 INT. PEABODY LIBRARY - DAY 66
As Annie walks through it and pushes the door to exit.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 50
10-31-01
67 EXT. A DOOR OPENING TO SEATTLE STREET - DAY 67
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.
68 INT. SEATTLE RESTAURANT - DAY 68
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.
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 51
10-31-01
JAY (CONT'D)
(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.
69 EXT. HOUSEBOAT - EARLY EVENING 69
Sam coming home.
70 INT. HOUSEBOAT - EARLY EVENING 70
As he enters. It's very quiet. Too quiet.
SAM
Jonah?
No answers.
SAM (CONT'D)
Jonah?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 52
10-31-01
He starts to look concerned.
SAM (CONT'D)
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 (CONT'D)
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 (CONT'D)
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 53
10-31-01
71 INT. HOUSEBOAT - CONTINUOUS 71
As Sam comes downstairs, goes into his office. Closes the
door.
72 INT. SAM'S OFFICE AT HOME - CONTINUOUS 72
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.
73 INT. AN UNFINISHED DINNER ON A PLATE IN ANNIE'S LIVING ROOM--
NIGHT 73
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.
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 54
10-31-01
BECKY (CONT'D)
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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 55
10-31-01
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 56
10-31-01
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.
74 INT. JONAH'S BEDROOM 74
A Kleenex being pulled from a box. Sam is giving it to Jonah,
who's up. His hair is matted with perspiration.
SAM
It's okay, it's okay. I'm here.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 57
10-31-01
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 58
10-31-01
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 (CONT'D)
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:
75 EXT. ANNIE'S TOWNHOUSE - LATE NIGHT 75
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:
76 EXT. SAM'S HOUSEBOAT - NIGHT 76
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:
77 EXT. PARK - NIGHT 77
Annie flops down on a child's swing set in the park.
MUSIC CONTINUES.
CUT TO:
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 59
10-31-01
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:
78 INT. BALTIMORE SUN - DAY 78
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 (CONT'D)
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 60
10-31-01
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)
(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 (CONT'D)
(typing)
Samuel. Baldwin, Chicago.
(after a beat)
Four Samuel Baldwins. Strike Y to
printout.
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 61
10-31-01
ANNIE (CONT'D)
(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:
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.
79 EXT. BO'S SECURITIES/WORLDWIDE - DAY 79
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.
80 INT. BO'S SECURITIES - DAY 80
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--
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 62
10-31-01
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 --
81 INT. SAM'S HOUSEBOAT - NIGHT 81
Jonah is watching Geraldo with his babysitter, CLARISE,
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!
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 63
10-31-01
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 64
10-31-01
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 65
10-31-01
82 EXT. HOUSEBOAT - NIGHT 82
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 (CONT'D)
Come here. I want to show you
something.
83 INT. HOUSE - NIGHT 83
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.
84 INT. RESTAURANT - NIGHT 84
Sam sits at a table. Nursing a beer. A little nervous.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 66
10-31-01
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 (CONT'D)
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 67
10-31-01
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:
85 INT. BALTIMORE MARKET - DAY 85
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 68
10-31-01
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 69
10-31-01
86 INT. SEATTLE MARKETPLACE 86
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.
87 INT. HOUSEBOAT - LATER 87
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 --
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 70
10-31-01
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 71
10-31-01
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.
88 EXT. SAM'S HOUSEBOAT - REAR DECK - ON SAM & VICTORIA 88
They're standing at the rail, talking.
89 INT. HOUSEBOAT - NIGHT 89
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.
90 INT. ANNIE'S BEDROOM - NIGHT 90
A sleeping Annie and Walter are startled awake by the ringing
of her phone.
ANNIE
(groggy)
Hello.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 72
10-31-01
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 Rick again.
(into phone)
Hold on, Becky, I'm going downstairs.
She puts the phone on hold and gets out of bed.
91 INT. KITCHEN - NIGHT 91
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 73
10-31-01
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.) (CONT'D)
(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.
92 EXT. HOUSEBOAT - NIGHT 92
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 74
10-31-01
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.
93 INT. HOUSEBOAT - NIGHT 93
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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 75
10-31-01
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?
94 INT. ANNIE'S TOWNHOUSE APARTMENT - NIGHT 94
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.
95 INT. ANNIE'S BEDROOM - NIGHT 95
Walter asleep. Annie stares up at the ceiling, wide awake.
Thinking.
96 INT. JONAH'S BEDROOM - NIGHT 96
Jonah lying on his pillow, staring up at the ceiling, wide
awake. Thinking.
97 INT. JESSICA'S PARENTS' TRAVEL AGENCY - DAY 97
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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 76
10-31-01
JESSICA
It's Y. O. H.
JONAH
(agreeing)
Yeah.
(a beat)
What's that?
JESSICA
Your only hope.
98 INT. NEWSROOM - DAY 98
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.
99 EXT. STREET OUTSIDE JESSICA'S HOUSE - A LITTLE LATER 99
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.
100 INT. SAM'S CAR - CONTINUOUS 100
SAM
Did you call that radio station again?
JONAH
No.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 77
10-31-01
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.
101 EXT. SEATTLE STREET - CONTINUOUS 101
As the car drives off.
SAM (V.O.)
Don't open your mouth again. Ever.
102 EXT. A CAR DOOR SLAMMING - NIGHT 102
AND PULL BACK TO REVEAL:
103 EXT. BALTIMORE RESIDENTIAL STREET - NIGHT 103
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 --
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 78
10-31-01
WALTER
Okay, okay.
104 EXT. BALTIMORE INTERNATIONAL AIRPORT - DAY 104
A 747 accelerates down the runway and blasts into the winter
sky.
105 INT. AIRPLANE - IN FLIGHT - DAY 105
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.
106 INT. SEATTLE/TACOMA AIRPORT - DAY 106
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...
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 79
10-31-01
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 (CONT'D)
(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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 80
10-31-01
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 (CONT'D)
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 (CONT'D)
(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 (CONT'D)
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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 81
10-31-01
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 (CONT'D)
(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.
107 EXT. AIRPORT CAR RENTAL AGENCY - DAY 107
As the shuttle bus drops Annie off at a rental car. As she
gets in and starts the car.
108 EXT/INT. SEATTLE/RENTAL CAR - DAY 108
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.
109 EXT. STREET FRONTING THE BALDWIN HOUSEBOAT SLIP -- DAY 109
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 82
10-31-01
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.
110 EXT. SEATTLE GAS STATION - DAY 110
Annie's car is parked just outside the rest room.
111 INT. GAS STATION RESTROOM - DAY 111
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 (CONT'D)
(businesslike)
business...
JUMP CUT:
ANNIE (CONT'D)
(carefree)
vacation...
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 83
10-31-01
JUMP CUT:
ANNIE (CONT'D)
(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 (CONT'D)
(earnest)
invite you to lunch...
JUMP CUT:
ANNIE (CONT'D)
(sexy)
take a shower with you...
JUMP CUT:
ANNIE (CONT'D)
(embarrassed with all
this)
shoot myself.
112 EXT. STREET NEAR MARINA - LATER 112
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.
113 EXT. DOCK - CONTINUOUS 113
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 84
10-31-01
114 EXT. STREET NEAR MARINA - CONTINUOUS 114
Annie races back to her car, jumps in and follows the boat
along the seashore drive.
115 EXT. SEATTLE HIGHWAY - CONTINUOUS 115
As we see Annie driving along the water as Sam and Jonah
chug along in the water.
116 EXT. ALKI BEACH - ON SAM AND JONAH 116
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:
117 ANNIE'S POV - ON SAM AND JONAH - LATER 117
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.
118 INT. ANNIE'S MOTEL ROOM - NIGHT 118
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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 85
10-31-01
119 INT. BECKY'S BEDROOM - NIGHT 119
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.
120 EXT. STREET NEAR MARINA - DAY 120
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 86
10-31-01
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 --
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 87
10-31-01
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.
121 EXT. AIRPLANE - IN FLIGHT ACROSS THE U.S. - DAY 121
ANNIE (V.O.)
How could I have been such an idiot?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 88
10-31-01
122 EXT. BALTIMORE STREET - DUSK 122
Becky's car driving toward Annie's house.
BECKY
You were standing in the middle of
the street?
123 INT. BECKY'S CAR - DUSK 123
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.
124 EXT. TOWNHOUSE - ON ANNIE & BECKY - DUSK 124
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:
125 INT. ANNIE'S TOWNHOUSE LIVING ROOM - NIGHT 125
Becky and Annie looking at the television.
BECKY
It's a sign --
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 89
10-31-01
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 (CONT'D)
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.?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 90
10-31-01
ANNIE
Made for each other.
A long beat.
BECKY
It's cute. It's like a little clue.
Annie looks at her balefully.
BECKY (CONT'D)
(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:
126 INT. SAM'S HOUSEBOAT - NIGHT 126
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...
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 91
10-31-01
SAM (CONT'D)
(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 (CONT'D)
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?
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 92
10-31-01
SUZY (CONT'D)
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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 93
10-31-01
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.
127 INT. SAM'S BEDROOM - ON SAM IN BED - NIGHT 127
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:
128 EXT. BALTIMORE - VALENTINE'S DAY - DAY 128
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:
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 94
10-31-01
129 INT. BALTIMORE SUN - DAY 129
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.
130 INT. BALTIMORE TRAIN STATION - DAY 130
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 95
10-31-01
131 EXT. NEW YORK HOTEL - NIGHT 131
Annie steps out of a cab.
132 INT. NEW YORK HOTEL - NIGHT 132
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.
133 EXT. THE EMPIRE STATE BUILDING - DAY 133
And pull back to reveal that it's a shot from "An Affair To
Remember."
AND PULL BACK TO REVEAL:
134 INT. JESSICA'S HOUSE - DAY 134
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 96
10-31-01
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.
135 INT. JESSICA'S HOUSE - TRAVEL AGENCY OFFICE - DAY 135
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 97
10-31-01
136 EXT. FIFTH AVENUE - TIFFANY'S - A SCULPTED GLASS HEART - DAY136
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.
137 INT. FIRST FLOOR - TIFFANY'S - DAY 137
As Annie and Walter walk through the jewelry department to
the elevator.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 98
10-31-01
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.
138 INT. THIRD FLOOR TIFFANY'S - DAY 138
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 (CONT'D)
(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 (CONT'D)
(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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 99
10-31-01
WALTER
Exactly. Eight is too few and twelve
is too many.
The SALESWOMAN writes a "10" on the big sheet of paper.
139 INT. FIRST FLOOR - TIFFANY'S - DAY 139
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:
140 EXT. FIFTH AVE. - DAY 140
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.
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 100
10-31-01
ANNIE (CONT'D)
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!"
141 INT. SAM'S BEDROOM - NIGHT 141
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 --
142 INT. HALLWAY - NIGHT 142
And open the door to Jonah's room.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 101
10-31-01
143 INT. JONAH'S ROOM - NIGHT 143
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.
144 INT. SAM'S BEDROOM - CONTINUOUS 144
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 102
10-31-01
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:
145 INT. UPSTAIRS HALLWAY - NIGHT 145
AND INTO:
146 INT. JONAH'S BEDROOM - NIGHT 146
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.
147 INT. HALL - CONTINUOUS 147
Jonah weeping as Sam goes back to his bedroom.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 103
10-31-01
148 INT. SAM'S BEDROOM - CONTINUOUS 148
The sound of Jonah weeping.
Sam sits down on the bed, wiped out. Hold on him.
149 EXT. BALDWIN HOUSEBOAT - MORNING 149
As Clarise the babysitter arrives at the houseboat.
150 INT. HOUSEBOAT - MORNING 150
Sam and Clarise in the hallway outside Jonah's door.
SAM
Jonah? Clarise is here, okay? And
I'm leaving.
No response.
SAM (CONT'D)
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.
151 EXT. SEATTLE/TACOMA AIRPORT - DAY 151
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.
152 INT. AIRPORT FIRST CLASS TICKET COUNTER - DAY 152
The TICKET CLERK turns back to the counter.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 104
10-31-01
TICKET CLERK
Next.
Jonah steps forward, with his ticket.
153 INT. JESSICA'S HOUSE - DAY 153
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 105
10-31-01
154 INT. SAM'S CAR - DAY 154
CLOSE ON SAM
Driving to the airport.
155 EXT. HIGHWAY NEAR SEATTLE/TACOMA AIRPORT - DAY 155
As his car takes the airport exit.
156 INT. AIRPLANE - DAY 156
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.
157 INT. AIRPORT TICKET COUNTER - ON SAM - DAY 157
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 106
10-31-01
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 (CONT'D)
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.
158 INT. O'HARA AIRPORT - DAY 158
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.
159 INT. KENNEDY AIRPORT - DAY 159
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.
160 EXT. KENNEDY AIRPORT - A FEW MINUTES LATER 160
Jonah stands in a taxi line.
161 INT. TAXI - A FEW MINUTES LATER 161
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.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 107
10-31-01
162 INT. PLANE TO NEW YORK - DAY 162
Sam is in an aisle seat. He closes his eyes and squeezes
them tight.
SAM
(to himself)
Come on... come on... come on...
COMEONCOMEONCOMEONCOMEONCOMEON...
163 EXT. EMPIRE STATE BUILDING - AFTERNOON 163
It looks magnificent in the waning afternoon light.
CABBIE'S VOICE
There it is.
WE ARE WATCHING FROM:
164 INT. A TAXICAB 164
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.
165 INT. RAINBOW ROOM - DUSK 165
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?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
Screenplay-Sleepless_in_Seattle p. 108
10-31-01
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 --
166 EXT. KENNEDY AIRPORT - DUSK 166
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.) (CONT'D)
Empire State Building.
167 INT. EMPIRE STATE BUILDING LOBBY - DUSK 167
Jonah, carrying his backpack, walks through the majestic
lobby and follows the arrow to the Observation Deck.
168 EXT. TOP OF EMPIRE STATE BUILDING - HELICOPTER SHOT - DUSK 168
Looking down on the observation deck. The city below.
The tiny figure of Jonah walks into the middle of the deck.
Looks around.
169 EXT. 59TH STREET BRIDGE - DUSK 169
Sam's cab speeds across the bridge and into Manhattan, heading
for the Empire State Building.
170 INT. TOP OF THE EMPIRE STATE BUILDING - DUSK 170
Jonah is going to take the bull by the horns. He walks up
to a likely-looking WOMAN.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 109
10-31-01
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?
171 EXT. RAINBOW ROOM - DUSK 171
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:
172 EXT. EMPIRE STATE BUILDING OBSERVATION DECK - DUSK INTO 172
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 (CONT'D)
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 110
10-31-01
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.
173 INT. RAINBOW ROOM - NIGHT 173
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 --
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 111
10-31-01
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.
(MORE)
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 112
10-31-01
WALTER (CONT'D)
(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:
174 EXT. WEST 50TH STREET - NIGHT 174
As Annie comes out to the street and hails a cab.
As it screeches off toward Fifth Ave.
175 INT. EMPIRE STATE BUILDING OBSERVATION DECK - NIGHT 175
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?
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 113
10-31-01
Sam shrugs.
SAM
Big deal.
After a beat.
SAM (CONT'D)
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.
176 EXT. FIFTH AVE - NIGHT 176
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.
177 INT. LOBBY OF THE EMPIRE STATE BUILDING - NIGHT 177
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 114
10-31-01
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.
178 INT. TOP OF THE EMPIRE STATE BUILDING 178
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 115
10-31-01
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.
(CONTINUED)
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Screenplay-Sleepless_in_Seattle p. 116
10-31-01
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 (CONT'D)
Shall we?
Annie slips her hand into his. It feels comfortable, natural,
right.
ANNIE
Sam?
He looks at her.
ANNIE (CONT'D)
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.
179 EXT. THE EMPIRE STATE BUILDING - NIGHT 179
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
THE END