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Sleepless in Seattle (1993) screenplay

by Nora Ephron and David S. Ward,
story by Jeff Arch
 
FADE IN:

CLOSE ON SAM BALDWIN

A card: Chicago.

He's in his thirties.  His neck is pinched into a crisp dress shirt and tie.  His expression is vacant, faraway. A breeze blows but he doesn't react to it.  In the distance the architecture of the Chicago skyline.

			SAM
	Mommy got sick and it happened
	just like that and there was
	nothing anybody would do.
		(continued)

And pull back to reveal:

EXT. CHICAGO - A GRAVESITE - DAY

Next to Sam is his son Jonah, age 9.  Sam's hand is on his shoulder.  As the mourners go past and each takes a turn shoveling a clod of dirt into an open grave --

			SAM
	If we start asking why we'll go
	crazy.  So, rule number one.
	We don't ask why.

						CUT TO:

CLOSE ON ANNIE REED

Pretty, blonde, animated.  Jeans, a T-shirt, a Baltimore
Orioles hat.

			ANNIE
	Why? I just want to know why?
	That's my first rule.  I always
	ask why.  Come on.  Tell me.
	C'mon, c'mon, c'mon --

And pull back to reveal:

EXT. CHICAGO ALLEY - DAY

Annie is talking to her boyfriend, a good-looking guy
named SETH.  They're carrying packing boxes into the
house they share in the Old Town section of Chicago.
The same stunning architecture in the b.g.  They go up
the back wooden staircase to the house.

			SETH
	There's no why, Annie.  I'm
	just not up for it.  I never
	said I was.

			ANNIE
	Is there somebody else?

			SETH
	Nope.

			ANNIE
	You don't love me, is that it?

			SETH
	Nope.

Follow them into:

INT. KITCHEN - DUSK

As they set down the packing boxes and Seth starts to
assemble them.

			ANNIE
	How about ... you're too
	narcissistic to commit to
	another human being in a long-
	term way.

			SETH
		(agreeably)
	That's good.

						CUT TO:

INT. SAM'S CHICAGO TOWN HOUSE - DAY

An attractive, thirtyish couple, SUZY and GREG are
stocking Sam's freezer with enough Ziploc meals for a
months.  A number of friends and relatives talk quietly
in the living room beyond.  Sam stands alone by a window
that looks into the backyard.  We can see a garden of
flowers -- clearly planted by Sam's wife.

			SUZY
	Five minutes in the microwave.
	Any one of them, five minutes
	and done.  Ready to eat.  Do
	you know how to make juice?

			SAM
	Microwave.  Five minutes.

						CUT TO:

ANNIE'S KITCHEN - SEVERAL DAYS LATER

Packing boxes.  Seth is moving out.

			ANNIE
	You take the microwave?

			SETH
	What am I going to do with a
	microwave?

			ANNIE
	You turn it on, you open it and
	you stand in front of it for a
	very long time.

			SETH
	So you're angry.  Big deal.

						CUT TO:

SAM'S OFFICE - DAY

A large modern architectural firm in a Chicago high-
rise.  Lake Michigan out the window.  A large space with
several architects consulting, drafting, etc.  Sam is at
his desk, working.  An older colleague, ROB, comes over
to him.  Rob has a mustache, smokes a pipe; he's kind
but a little stuffy.

			ROB
	Young man, it's none of my
	business, but maybe you should
	talk to someone.  I myself
	have consulted a professional.
	I used to be up tight.

On Sam's face.  It's hard to imagine Rob being any more
uptight than he is.  Sam takes some business cards out
of his shirt pocket and reads them off.

			SAM
	Hypnotherapy...Shiatu Massage...
	Loss of Spouse support groups...
	Single parent discussion nights...
	Parents without partners.
		(starts riffling, angry)
	Partners without parents.
	People who need people.  Guys
	who go into the woods, beat
	drums and bond.  Get a shrink.
	Hug a friend.  Hug yourself.

He stops, realizing that everyone in the room is staring
at him.  Quickly they pretend they weren't paying
attention.  Someone whispers something to a client.

			SAM
		(continued)
	Don't mind him.  He's the guy
	who just lost his wife.
		(beat)
	What I really think is we need
	a change.

			ROB
	Good idea.  Take a few weeks
	off, get some sun, take Jonah
	fishing --

			SAM
		(shaking his head no)
	A real change.  New city.
	Someplace where every time I go
	around a corner I don't think
	of Maggie.

And hold on Sam for a moment and--

						DISSOLVE:

EXT. WRIGLEY FIELD - DAY

Sam, Jonah and Maggie walking toward the field.  It's a
gorgeous day for a game.  They high-five each other.

			ROB (V.O.)
	Where you going to go?

And cut back to:

INT. SAM'S OFFICE - DAY

As Sam snaps out of it.

			SAM
	I was thinking about Seattle.

INT. CHICAGO TRIBUNE - DAY

The Living Section of the paper.  Annie is blowing her
nose as she finishes telling her tale of woe to her
boss, LAURIE JOHNSON.

			LAURIE
	Honey, he wasn't right for you.

			ANNIE
		(blowing her nose)
	I know.

			LAURIE
	He wasn't even wrong for you,
	like cosmically wrong, so don't
	beat up on yourself for
	wasting...however long it was.

			ANNIE
	I know.
		(blowing her nose
		again)

She pours Annie a cup of hot water.  Annie pulls a
teabag out of her pocket, puts it into the water.

			LAURIE
	Maybe you should see a shrink.

				ANNIE
	I want my money.

			LAURIE
	Go home for the weekend.

			ANNIE
		(after a beat)
	That's what I'm going to do.
	I'm going to go home.
		(she thinks about it)
	I quit.  Laurie, I quit.  I'm
	going back to Baltimore.
		(she's giddy)
	How does a blonde do a high-
	five?

She smacks herself in the head.

						CUT TO:

O'HARE AIRPORT - DAY

The X where walkway K crosses with walkway L.  Coming
down walkway K are Sam, Jonah, Suzy, Greg, their son
MACK, and several other friends.

And coming down walkway L is Annie with Laurie and a
couple of FRIENDS from the paper, JUDITH and DIANE.

They pass each other going in diagonal directions and
continue on.

We stay with Sam's group:

			JONAH
		(to Mack)
	Dad says I'm going to get used
	to it, but I don't think you
	can ever get used to a
	designated hitter.

overlap:

			SUZY
		(to Sam)
	Eventually, in a few months,
	you'll start seeing women,
	you'll meet someone.

			SAM
	Move on.  Right.  That's what
	I'm going to do.  In a few
	months, boom, I'll be fine,
	I'll just grow a new heart.

			SUZY
	I'm sorry --

			GREG
	Sam, she didn't mean --

Sam is shaking his head no as they reach the gate for
the Seattle plane.

			SAM
	I know, I know.
		(emphatic)
	Look, it doesn't happen twice.

						CUT TO:

Annie's group, as they approach the gate for the
Baltimore plane.

			ANNIE
	I'm going to meet someone,
	someone nice and stable who
	wears a hat so he won't catch a
	cold, and I'm going to marry
	him and have three children
	and live happily ever after.
	I mean, I am not cut out for this
	--

			DIANE
	For what?

			ANNIE
	For life as we know it.

			LAURIE
	Just make sure he isn't fat
	like my Michael or you'll spend
	your whole life worrying he's
	going to drop dead.

			JUDITH
	God, you guys are so romantic.

			ANNIE
	Do you know how long romance
	lasts?
		(she snaps her fingers)
	That long.

			DIANE
	Steven still brings me flowers
	every Friday and we've been
	married 10 years.

			LAURIE
		(to Diane)
	Honey, nobody wants to hear
	that.
		(to Annie)
	Here, darling, have some Tic
	Tacs.

Kissing everyone.  Annie starts toward the plane, loaded
with stuff.

			ANNIE
	The next time you see me I am
	going to be incredibly happy.

INT. PLANE - NIGHT

Sam and Jonah sitting together as the plane waits on the
runway.  He notices his father's distractedness, reaches
over and takes his hand.  Sam comes back into focus.

			SAM
	I'm your dad.  Don't ever
	forget that.  That's rule
	number two.
		(beat)
	It's you and me, kid.

INT. PLANE - NIGHT

Annie sitting by herself as the plane waits on the
runway.

			ANNIE
		(to herself)
	I guess it's just us.

She gulps.

EXT. O'HARA AIRPORT - NIGHT

The two planes face in opposite directions, waiting for
instructions.

And now they both start to take off.  In opposite
directions.

And we pull back back back back as the planes take off,
one flying east, the other flying west.

And further and further back as they soar into the air
and leave the frame.

The night sky.

Stars twinkle.

And now tilt down to see the United States.  It looks
like a cross between a satellite photo and a drawing by
Saul Steinberg.

A light goes on in Baltimore.

A light goes on in Seattle.

They are the only lights on the map.

EXT. BALTIMORE SUN BUILDING - LATE AFTERNOON - CHRISTMAS EVE

As Annie comes out of the newspaper building with WALTER
JACKSON, a tall, handsome man who wears a hat.  They're
carrying an armful of Christmas presents.  They're
walking toward the parking lot.

			WALTER
	The short one with black hair
	is your cousin Irene --

			ANNIE
	-- who's married to --

			WALTER
	Harold, who ran away with his
	secretary but came back --

			ANNIE
	-- because Irene threatened to
	put the dog to sleep if he
	didn't --

			WALTER
	And your brother Tom is a
	psychology professor and is
	married to...Betsy --

			ANNIE
	-- who is the most competitive
	woman in the world --

They put the presents in the backs of their two cars and
pull out together.

EXT. A HOUSE IN BALTIMORE SUBURBS - NIGHT

Christmas lights twinkling as the two cars pull up in
front of a comfortable upper middle-class house and park
their cars.  They get out assembling presents.

			WALTER
	Your Uncle Milton lost all his
	money in a Puerto Rican
	condominium that went belly up,
	don't mention the IRS or the
	Federal prison system.  Your
	mother is Barbara, your father
	is Cliff --

			ANNIE
	I hope he doesn't get out his
	slides.

			WALTER
	Am I what they had in mind?

			ANNIE
	They're going to love you.

As they start toward the house.

						CUT TO:

CLANGING ON THE WINE GLASSES.

AND PULL BACK TO REVEAL:

INT. ANNIE'S PARENTS' DINING ROOM - NIGHT

			BARBARA
	Everybody! Annie has an announcement --

			ANNIE
	Walter and I are engaged!

And the family's at the diner table.  Annie's family is
a completely normally-looking WASP family -- only
everyone is a little eccentric.  Annie's mother BARBARA,
a beautiful gray-haired, fantastically cheerful woman,
claps her hands together.  Her father CLIFF, who's at
the head of the table next to her, gives Annie a kiss.
Annie's brother TOM and his wife BETSY are at the table,
along with cousin IRENE and her husband HAROLD.  UNCLE
MILTON, who's Irene's father and Barbara's brother.
There are about FIVE CHILDREN there, too.

			IRENE
	That's wonderful, Annie.  I
	hope it lasts... for years
	and years.

			BETSY
		(the competitive one)
	Do you have a ring?

			ANNIE
	No.  Not yet.

			BETSY
	Oh.  Well.  How will anyone
	know?

			TOM
	Because you're going to call
	them all and tell them.
	Congratulations, Walter.

He claps Walter on the back.

Walter sneezes.  And sneezes again.

			CLIFF
	Are you all right?

			WALTER
	It's nothing.  Nothing.

			ANNIE
	It's probably just the flowers --

			BARBARA
	We'll move them --

			WALTER
	Don't touch them.  I feel
	terrible sneezing at a time
	like this.  This is a big
	moment for me --

			ANNIE
		(overlapping)
	He's allergic to everything,
	don't worry about it --

			HAROLD
	Bees.  I'm allergic to bees.

			CLIFF
	Not salmon I hope --

			ANNIE
	If he eats one tiny piece of a
	nut --

			WALTER
		(cheerfully)
	My head swells up like a
	watermelon and I drop dead.

			IRENE
	It's the same with Harold and
	bees.

			CLIFF
	Your mother and I had salmon at
	our wedding, and I really think
	a wedding without cold salmon --

			WALTER
	I'm not allergic to salmon.  I
	don't think.  But you never
	know.

			HAROLD
	You never know.

			BARBARA
	Oh, honey, I feel terrible, we
	used up this magnum of
	champagne we were saving on
	something else, what did we use
	it for?

			TOM
	Uncle Milton's parole --

			BARBARA
	Right.

			UNCLE MILTON
	And it was delicious.

			BARBARA
	It was, wasn't it, Milton
	darling --

			BETSY
	When are you getting married,
	Annie?

			CLIFF
	In early June.  In the garden.

			HAROLD
	Does it have to be in the garden?

			IRENE
	What about Harold and bees?

			BARBARA
	We'll spray you.

			CLIFF
	Cold salmon.  A lovely cucumber
	salad.  Strawberries.

			WALTER
	I'm afraid I'm allergic to
	strawberries.

			CLIFF
	No strawberries.

Annie smiles at Walter.

			ANNIE
		(to Walter)
	Is that all right with you?

			WALTER
		(to Lou Gehrig line)
	Today I consider myself the
	luckiest man on the face of
	the earth.

			IRENE
	What are you wearing?

			ANNIE
	I don't know.

			BETSY
	I wish you would wear my dress.
	I only wore it once, and you'll
	barely have to do anything to
	it except take it in in the
	bust --

			BARBARA
	I have something that might do
	--

INT. LIVING ROOM - LATER

Walter is sitting on the couch as Cliff shows him slides
of cloud formations in Guatemala.  In the next room
Tom's at the piano and the kids are singing Christmas
carols.

INT. BACK STAIRWAY - SIMULTANEOUS

MAX, one of the children, is teaching Uncle Milton to
burp.

INT. ATTIC - NIGHT

The sound of Christmas carols from below.

The attic is full of boxes and Annie walks through with
her mother.  They come to a dressmakers dummy with a
sheet over it.  Barbara removes the sheet.  A beautiful
antique dress.  A veil sitting on top of the dummy.

			BARBARA
	The Historical Society wanted
	this and I never would give it
	to them --

			ANNIE
	Granny's dress.  Oh, Mom.

			BARBARA
	I notice these things are back
	in fashion.  Oh, honey.
		(tears are rolling down
		her face as she tries
		the veil on Annie)
	He's a lovely man, Annie.

			ANNIE
	I know.  He's wonderful, isn't
	he?

			BARBARA
	Are his folks nice?

			ANNIE
	You'll love them.  We're going
	down to D.C.  tonight to be with
	them Christmas morning.

			BARBARA
	How did it happen?

Barbara starts to unbutton the tiny buttons on the back
of the dress and remove it from the dummy.

			ANNIE
	It's silly, really.  I mean,
	I'd seen him at the office,
	obviously I'd seen him, he's
	the associate publisher, and
	then one day we both ordered
	sandwiches from the same place,
	and he got my lettuce and
	tomato sandwich on whole wheat,
	which of course he was allergic
	to, and I got his lettuce and
	tomato on white.

			BARBARA
		(utterly without irony)
	How amazing.

			ANNIE
	It is, isn't it? You make
	millions of decisions that mean
	nothing and then one day you
	decide to order takeout and it
	changes your life.

			BARBARA
	Destiny takes a hand.

			ANNIE
	Oh, please.  Destiny's just
	something we've invented
	because we can't stand the fact
	that everything that happens is
	accidental.

			BARBARA
	Then how do you explain that
	you both ordered exactly the
	same sandwich except for the
	bread? How many people in this
	world like lettuce and tomato
	without something else like
	tuna?

			ANNIE
	It wasn't a sign.  It was a
	coincidence.

Barbara shrugs, slips the dress off the dummy and Annie
steps into it.

Barbra starts to button the dress on Annie.

			BARBARA
	I was in Atlantic City with my
	family.  Cliff was a waiter.
	He talked me into sneaking out
	for a midnight walk on the
	Steel Pier.  I've probably told
	you this a million times, but
	I don't care.  And then he held
	my hand.  I was scared.  All
	sorts of thing were going
	through my head.  But after a
	while I forgot about them.  At
	one point I looked down, at our
	hands, and I couldn't tell
	which fingers were mine and
	which were his.  And I knew.

			ANNIE
		(hearing it for the
		first time)
	What?

			BARBARA
	You know.

			ANNIE
		(she doesn't know, but
		she doesn't want her
		mother to know she
		doesn't know)
	What?

			BARBARA
	Magic.  It was magic.

			ANNIE
		(repeating)
	Magic.

			BARBARA
	I knew we would be together
	forever, and that everything
	would be wonderful, just the
	way you feel about Walter.
	Walter.  It's quite a formal
	name, isn't it?
		(lowering her voice)
	One of the things I truly knew
	was that your father and I were
	going to have a wonderful time
	... in the sack I believe you
	call it --

			ANNIE
	Mom!

			BARBARA
	Of course it took several years
	before everything worked like
	clockwork in that department,
	so don't be worried if it takes
	a while --

			ANNIE
	Mom, we already...

			BARBARA
	Well, fine, fine.  Fiddle da
	dee.  And how's it working?

			ANNIE
	Like... clockwork.

She turns to look in the mirror.  The dress doesn't fit
at all.  It's completely lopsided.  One shoulder is
higher than the other.  The waist is in the wrong spot.
The effect is quite comical.

			BARBARA
	So you'll get married in a new
	dress.

			ANNIE
	It's a sign.

			BARBARA
		(gently)
	You don't believe in signs.

EXT. STREET - LATE

The house Christmas lights sparkle outside, twinkling on
the tree inside, and the warm light spilling out.

			ANNIE
	They loved you.  I told you
	they would love you and they
	did.

			WALTER
	I love you.

			ANNIE
	I love you, Walter.
		(beat)
	Did anyone ever call you
	anything other than Walter?

			WALTER
	Nope.

			ANNIE
	Even when you were young?

			WALTER
	Nope.  Not even when I was
	young.

It's starting to rain.

			WALTER
	You sure you don't want to
	drive with me?

			ANNIE
	How will I get back to
	Baltimore Saturday?
		(remembering something)
	Oh God, I forgot my present for
	your stepmother -- I took it
	inside by accident.

			WALTER
	I'll wait.

			ANNIE
	Don't be silly.  I'll just be
	ten minutes behind you.

EXT. BELTWAY - NIGHT

As Annie drives back toward Washington, D.C.

Raining.

INT. CAR - NIGHT

Annie driving.  Presents on the front seat.  She's
singing "Sleigh Ride" and doing all the sound effects
and clipclops and giddyups.  After a moment, she
realizes she doesn't know all the words and turns on the
radio.

			DR. MARSHA'S FIELDSTONE'S VOICE
	Welcome back to "You and Your
	Emotions." I'm Dr.  Marcia
	Fieldstone broadcasting across
	America from the top of the
	Sears Tower in Chicago where we
	would have a fantastic view of
	Santa Claus and his reindeer if
	there was a -- oops, never
	mind.  Tonight we're talking
	about wishes and dreams.
	What's your wishes this Christmas
	Eve? Maybe the best present
	you can give yourself is a call
	to me.  The number is --

			ANNIE
	Give me a break.

Annie changes the station.

			RADIO VOICE
	The subject of the evening's
	medical update is You and Your
	Spleen and our host --

She flips the dial back the other way.

			DR. MARCIA FIELDSTONE (V.O.)
	Our caller is from Seattle.

Annie changes the station.

			RADIO VOICE
	Coming up, Jingle Bells
	backwards, sung by the New
	Jersey Cape Mayettes --

Annie twists the dial back the other way.  We hear a
YOUNG BOY's voice.

			BOY'S VOICE (V.O.)
	Hello, this is Jonah --
		(there's a bleep as
		Jonah says his last
		name)

Annie's hand lingers on the dial.

			DR. MARCIA FIELDSTONE (V.O.)
	No last names, Jonah.  Hello
	there, you sound younger than
	our usual callers.  How come
	you're up so late?

			JONAH (V.O.)
	It's not that late in Seattle.

			DR. MARCIA FIELDSTONE (V.O.)
	Got me there.  What's your
	Christmas wish, Jonah?

			JONAH (V.O.)
	It's not for me.  It's for my
	dad.  I think he needs a new
	wife.

Annie shakes her head.

			DR. MARCIA FIELDSTONE (V.O.)
	You don't like the one he was
	now?

			JONAH (V.O.)
	He doesn't have one now.
	That's the problem.

			DR. MARCIA FIELDSTONE (V.O.)
	Where's your mom?

			JONAH (V.O.)
	She died.

Annie closes her eyes for a moment.

			ANNIE
	I don't believe this --

EXT. HIGHWAY - NIGHT

As the car drives along.

			DR. MARCIA FIELDSTONE (V.O.)
	I'm sorry to hear that, Jonah.

			JONAH (V.O.)
	I've been pretty sad, but I
	think my dad is worse.

INT. CAR - NIGHT

			DR. MARCIA FIELDSTONE (V.O.)
	And you're worried about him.

			JONAH (V.O.)
	I'm worried about him, he's
	worried about me, I ride my
	bike to school, he follows in
	the car, like I'm not supposed
	to know he's there.  Now it's
	Christmas, and you know what
	happens to people at Christmas.

			ANNIE
	They lose their minds and call
	crackpot doctors on the radio --

			DR. MARCIA FIELDSTONE (V.O.)
	Have you talked to your dad
	about this?

			JONAH (V.O.)
	No.

			DR. MARCIA FIELDSTONE (V.O.)
	Why not?

			JONAH (V.O.)
	It's very hard for him to talk
	about this stuff.  It's like it
	makes him sadder.

			DR. MARCIA FIELDSTONE (V.O.)
	You want me to talk to him?

			ANNIE
	Perfect.  Sandbag the father.

			JONAH (V.O.)
	And you crazy? He thinks shows
	like this are dumb.  If you
	didn't have an 800 number I
	could never get away with this
	--

			DR. MARCIA FIELDSTONE (V.O.)
	Is he home right now?

			JONAH (V.O.)
	Yeah.

			DR. MARCIA FIELDSTONE (V.O.)
	Well, I think I can help a
	little more if I talk to him
	directly.

			JONAH (V.O.)
	I don't know --

			DR. MARCIA FIELDSTONE (V.O.)
	I'm sure he won't be angry once
	he realizes how concerned you
	are about him.

			JONAH (V.O.)
	Okay, but if I get yelled at,
	I'm never gonna listen to this
	show again.

			DR. MARCIA FIELDSTONE (V.O.)
	Fair enough.

INT. SAM'S HOUSEBOAT - NIGHT

Jonah is on the telephone on the first floor of the
houseboat he lives in with Sam.  He's got the phone cord
coming out of the small first-floor study, and he's
standing near the kitchen end of a large living area
looking out at the back deck, where his dad is sitting
in a deck chair looking out at the sea.

			JONAH
	Dad --

			SAM
	What is it?

ON ANNIE AGAIN.

			JONAH (V.O.)
	There's somebody on the phone
	for you.
		(into phone)
	His name is Sam.

			ANNIE
	This is completely disgusting.

INT. BALDWIN HOUSEBOAT - NIGHT

Sam pokes his head in the back door.  He looks much as
he did eighteen months earlier, except that his hair is
a little longer.  He picks up the phone extension.

			SAM
	Hello.

			DR. MARCIA FIELDSTONE (V.O.)
	Hello, Sam, this is Dr. Marcia
	Fieldstone on Network America.

Sam looks across the room to Jonah.

			SAM
	I'm probably not interested in
	whatever you're selling.

			DR. MARCIA FIELDSTONE (V.O.)
	I'm not selling anything.  Your
	son called and asked for advice
	on how to find you a new wife.

			SAM
		(he really didn't get
		her name)
	Who is this?

			DR. MARCIA FIELDSTONE (V.O.)
		(repeating herself)
	Dr. Marcia Fieldstone of
	Network America.

			SAM
	Jesus, are we on the air?
	Jonah, for God's sake --

			JONAH
	Don't be mad at me, Dad.

Sam can see Jonah.  He's frightened.  Sam immediately
feels how upset Jonah is.

			DR. MARCIA FIELDSTONE (V.O.)
	He feels that since your wife's
	death you've been very unhappy.
	He's genuinely worried about you.

Sam is looking at Jonah, who's rooted to the spot he's
standing on.

			SAM
		(to Jonah)
	I'm not mad at you.  Okay, I'm
	not mad at you.

			DR. MARCIA FIELDSTONE (V.O.)
	I think it's hard for him to
	talk to you about all this.
	Maybe we could talk and it
	would make him feel a little
	better.

Sam hesitates.

			JONAH
	Please --

INT. ANNIE'S CAR - NIGHT

			ANNIE
	This is a grotesque violation
	of this man's personal life,
	but never mind --

			SAM (V.O.)
	All righ...

			DR. MARCIA FIELDSTONE (V.O.)
	Good.  How long ago did your
	wife die?

INT. HOUSEBOAT - NIGHT

			SAM
	It's been about a year and a
	half.

			DR. MARCIA FIELDSTONE (V.O.)
	Have you had any relationship
	since?

			SAM
	No.

Sam is very uncomfortable about this --

			DR. MARCIA FIELDSTONE (V.O.)
	Why not?

			SAM
	Look, Doctor, I don't want to
	be rude, but --

			DR. MARCIA FIELDSTONE (V.O.)
	And I don't want to invade your
	privacy --

INT. CAR - NIGHT

			ANNIE
	Sure you do.

			SAM (V.O.)
		(overlapping)
	Sure you do --

Annie smiles.

			SAM
	Look, we had a tough time at
	first, but I think I'm holding
	my own as a dad, and Jonah and
	I will get along fine again as
	soon as I break his radio.

Annie laughs.  So does Mr.  Fieldstone

INT. HOUSEBOAT - NIGHT

Jonah is smiling too.

			DR. MARCIA FIELDSTONE (V.O.)
	I have no doubt that you're a
	good dad.  You can tell a lot
	from a person's voice.  But
	something must be missing if
	Jonah feels that you're still
	under a cloud.

			JONAH
	Tell her how you don't sleep at
	night.

			SAM
	How do you know that?

Sam and Jonah both talk into their extensions, literally
talking to each other on the phone within their own
house, but also ON THE AIR.

			JONAH
	I can hear you walking around
	sometimes.  At first I thought
	it was a robber.  Go ahead,
	tell her, Dad.

			SAM
	I don't think I have to now.

Sam starts across the room towards Jonah, who starts
toward him, both of them holding their phone receivers.
On the wall in the dining area is a pine bench.

			SAM
	Look, it's almost Christmas --
		(as the two of them sit
		down together on the
		bench)
	A kid needs a mother --

He puts an arm around Jonah.

INT. CAR - NIGHT

As Annie listens.  She's softened considerably.

			DR. MARCIA FIELDSTONE (V.O.)
	Could it be that you need
	someone just as much as Jonah
	does?

			ANNIE
	Yes.

Annie catches herself, covers her mouth in embarrassment.

			ANNIE
	I'm losing my mind.

EXT. HIGHWAY - NIGHT

As Annie makes a turn off the beltway into a rest stop.

			DR. MARCIA FIELDSTONE (V.O.)
	We've been talking to -- well,
	let's just call him Sleepless
	in Seattle, and we'll be right
	back after this break with
	listener response, your
	response, to the things we've
	been discussing.  The number to
	call is...

INT. BALDWIN HOUSE

			SAM
	What's she talking about?

			JONAH
	This is where other people get
	to call in and dump on what you
	said.

We hear the beginning of a commercial.

INT. TRUCK STOP RESTAURANT - NIGHT

Annie walks in, anxious to break the spell of her radio
reverie.  She goes to the counter to order some coffee.
There's a commercial on the radio.  The counter WAITRESS
LORETTA is talking to the customers -- who include a
TRUCK DRIVER at a booth.  HARRIET, a short-order-cook,
is visible through an open window to the kitchen.

			LORETTA
	I'll bet he's tall, with a cute
	butt.

			HARRIET
	I'll bet he hasn't shaved in a
	week.  I'll bet he stinks.

			LORETTA
	Shut up, Harriet.
		(to Annie)
	What'll it be?

			ANNIE
	Coffee, please.  Black.  To go.

			LORETTA
	Maybe I should hustle myself
	out to Seattle.  Give him a
	little present for New Year's
	Eve.

			HARRIET
	You can go there if you want
	but don't open his refrigerator.
	They don't cover anything when
	they put it in the fridge.
	They just stick it in and leave
	it there till it walks out by
	itself.

			LORETTA
	Harriet, ever since you
	divorced your last husband,
	you've been no fun.  I'm
	looking, and this guy pops my
	tarts.

			TRUCK DRIVER
	Come on, Loretta, you're going
	to have to jump-start this guy.
	His battery's dead.  And look
	at me.  Mister Ever-Ready.
	Every six minutes, another
	charge.

			LORETTA
	I'm looking for someone
	sensitive.

			ANNIE
	Come on, nobody wants a guy
	who's sensitive on the radio.

			DR. MARCIA FIELDSTONE (V.O.)
	Let's take a call before we get
	back to Sleepless.  Knoxville,
	Tennessee, you're on.

			SWEET SOUTHERN VOICE
	Yes, I would just like to know
	where I could get this man's
	address?

			LORETTA
		(to the radio)
	Honey, get on line.

EXT. DINER - NIGHT

As Annie gets into her car.

EXT. WASHINGTON, D.C.  STREET - NIGHT

Annie driving toward the house where Walter's parents
live.

			DR. MARCIA FIELDSTONE (V.O.)
	Do you think there's somebody
	out there you could love as
	much as your wife? Maybe even
	more?

			SAM (V.O.)
	It's hard to imagine.

And cut back and forth between the car and the
houseboat.  Sam and Jonah are still on the bench, but
Jonah has fallen asleep in Sam's lap.  Sam is stroking
the boy's hair.

			DR. MARCIA FIELDSTONE (V.O.)
	What are you going to do, Sam?

			SAM
	I don't know.  When I met my
	wife, it was so clear.  I just
	knew.

Annie is listening now.

			DR. MARCIA FIELDSTONE (V.O.)
	What was it that made you know?

				SAM
	I don't think I could really
	describe it.

			DR. MARCIA FIELDSTONE (V.O.)
	Why not?

			SAM
	And if I could describe it,
	it probably wouldn't be on a radio
	show.
		(he laughs to himself)
	But what the hell.  It's not
	one specific thing.  It's more
	of a feeling.
		(continued)

Annie coasts to a stop outside a handsome mansion in
Washington, D.C., the motor running.  She's hooked now,
she's not getting out of the car until she's heard it
all.

			SAM
	You touch her for the first
	time, and suddenly... you're
	home.  It's almost like...

			ANNIE
	Magic.

			SAM
	Magic.

CLOSER ON ANNIE

realizing she has just said this.  Realizing that it
must mean something but not knowing what.

SHE'S CRYING.

			DR. MARCIA FIELDSTONE (V.O.)
	Well, it's time to wrap up,
	folks --

A FIGURE appears at the passenger side window, which
Annie doesn't notice.  She's wiping the tears away with
her hand.

			DR. MARCIA FIELDSTONE (V.O.)
	We hope you'll call again soon.

The figure TAPS on the window --

			WALTER
		(muffled, outside car)
	Annie?

			DR. MARCIA FIELDSTONE (V.O.)
			... and let us know how it's
			going.

-- and taps again.

			WALTER
	Annie?

She turns.  He's pointing at the locked door.  She
searches for the button.  Finally finds it so that
Walter can open the door.

			ANNIE
	I'm sorry, Walter.  I just
	heard the most amazing thing on
	the radio.

They start toward the front door, Walter and Annie
carrying presents, an overnight bag of Annie's.

			ANNIE
	People call up these shows and
	you can't believe the stuff
	they say.  It's the end of
	privacy as we know it, this
	country is just one big global
	village with everyone out there
	going blah blah blah --

As they enter the house, we hear Silent Night and we see
a Christmas tree, glittering with lights.

						CUT TO:

A CHRISTMAS TREE GLITTERING WITH LIGHTS

as we pull back to reveal:

INT. HOUSEBOAT - EARLY MORNING

As Jonah opens his presents under the tree and we cut
from gift to gift:

A BROOKS ROBINSON BASEBALL GLOVE which Jonah loves and
which he puts on his hand and keeps on while continuing
to open:

A TIE which mystifies him, but he hangs it around his
neck.

A PLAID SHIRT

A MAP OF THE UNITED STATES -- the kind that's used in
schoolrooms that pulls down from a roller.

And now Sam brings out a long narrow present from behind
the door and Jonah opens --

A NEW FISHING ROD

EXT. HOUSEBOAT - DAY

As Jonah poses with all his Christmas presents -- his
tie hanging around his neck over his bathrobe and new
plaid shirt, his baseball glove, fishing rod -- as Sam
takes his picture.

INT. HOUSEBOAT - DAY (OR POSSIBLY EXT. DECK HOUSEBOAT)

Sam opens his present from Jonah, which is something he
made in woodworking class.

			SAM
	The hopes are perfect --
	beautiful, identical, smooth --
	and they are for something
	really amazing I feel it in my
	bones --

			JONAH
	It's a spice rack.

			SAM
	We desperately need a spice
	rack.  Desperately.

						CUT TO:

INT. KITCHEN OF HOUSEBOAT - DAY

			SAM
	And we desperately need spices.

Where Sam is putting the spices they have -- pepper,
salt, paprika and oregano -- into the spice rack, which
has room for at least twenty more.  Jonah is
methodically making pancakes.

			JONAH
	Dad?  About last night?

			SAM
	It's never happening again.
	Right?

			JONAH
	Right.

There's a knock on the door.

			SAM
	Then it never happened.

Sam goes to answer the door.

TWO YOUNG WOMEN are standing there.  Both are wearing
quite a lot of Spandex.  One of them is named LULU.  It
says so on her jacket.  The other is JOBETH.

			SAM
	Hi.

			LULU
	Hi.  Sam?

			SAM
	Yes?

			LULU
		(looking in and seeing
			Jonah)
	You must be Jonah.

Jonah nods.

			LULU
		(to her friend)
	See.  I told you.  Sam and
	Jonah.  I'm LULU.  This is
	JoBeth.

JoBeth nods, and continues to nod as Lulu talks.

			LULU
		(continues)
	We live two piers over, don't
	we? Number 12, right? We're
	having like a really neat open
	house today from like four to
	whenever if you care to stop
	by.

			SAM
	Thanks, but... we've got plans.

			LULU
	Well, here's the number.  If
	you ever find yourself
	Sleepless, give us a call.  We
	also... do babysitting.

She winks.  JoBeth nods.

Sam nods.

Lulu waves goodbye, and she and JoBeth sashay off down
the dock.

Jonah closes the door and turns to Sam.

			JONAH
	Not.

			SAM
	My feelings exactly.

EXT. LAKE UNION MARINA - EARLY MORNING

Jonah and Sam are fishing off a dingy.

			SAM
	How many people do you think
	heard that thing last night?

			JONAH
	It plays in 50 states.

			SAM
	What?!

			JONAH
	Nobody else is going to know it
	was us.

			SAM
	You're right.
		(after a beat)
	You better hope so.

EXT. BALTIMORE SUN - MORNING

INT. LIFESTYLE SECTION - DAY

A large open newsroom-type space with REPORTERS at
computers.  Around the perimeter are glass-partitioned
offices and meeting rooms.  Inside one of the offices is
BECKY, the Lifestyle editor of the Sun.  She's at a
table with Annie, now a reporter for the section, and
two other colleagues -- KEITH and WYATT.  Wyatt is
playing Gameboy.

			KEITH
	This man sells the greatest
	soup you've ever eaten, there's
	a line around the block, and he
	is, I am not kidding, the meanest
	man in America.
		(beat)
	I feel strongly about this,
	Becky.  This is not just about
	soup.

			BECKY
	Do it.  What else?

			WYATT
	New Year's Eve.  Please don't
	make me write it.

Becky looks at Wyatt, notices the Gameboy.

			BECKY
	Wyatt, I do not mean to remind
	you of your mother, but if you
	don't put that game away, no TV
	for a week.

			WYATT
		(pushing it to the
		center of the table)
	Would someone look this up,
	don't tell me where.

Becky is riffling through some papers on the table,
among which are some tearsheets from the Associated
Press wire.

			BECKY
	Listen to this.  Phone service
	in the greater Chicago area was
	tied up for two hours Christmas
	Eve because some kid called a
	phone-in show to get a wife for
	his father.  Two thousand women
	called in for the number.

			KEITH
	Jesus.

			ANNIE
	I heard it.  This kid calls up
	and says my dad needs a wife
	and I'm talking to myself in
	the car saying, this is
	completely disgusting, you're
	taking advantage of a child,
	and then the father gets on and
	this shrinkette says, do you
	want to talk about it? And he
	says no as a matter of fact I
	don't, and I am saying, bravo!
	Right on! Don't talk to her,
	it's none of her business --
		(she's completely into
		this story now)
	-- and then suddenly, for no
	reason at all, he's talking
	about how much he loved his
	wife, and how he just --
		(she snaps her fingers)
	fell in love with her and I am
	crying.  Me.  A tear is
	actually rolling down my face.
	It was like what happens when I
	watch those phone company ads.
	I don't have to see the whole
	ad, I just have to see the part
	where the daughter gives her
	mother a refrigerator with a
	big red bow on it, have you
	seen that one?

Everyone looks at her.  Apparently she's finished.

			BECKY
	You should write something
	about this.

			ANNIE
	About what?

			BECKY
	Whatever it is.

			KEITH
		(waving the AP story)
	What it is is, there are a lot
	of desperate women out there
	looking for love.

			WYATT
	Especially over a certain age.

Annie is looking at them.  This isn't what she was
talking about at all, although she isn't quite sure what
she was talking about.

			KEITH
	It is easier to be killed by a
	terrorist after the age of 40
	than it is to get married --

			ANNIE
	That is not true.  That
	statistic is not true.

			BECKY
	It's not true, but it feels
	true.

			ANNIE
	There's practically a whole
	book about how that statistic
	is not true --

			WYATT
	Calm down.  You brought it up --

			ANNIE
		(sharply)
	I did not, Wyatt.

A beat, everyone pauses.  Things are a little out of
hand.

			BECKY
	So where were we?

			WYATT
	New Year's Eve.  I'll do it,
	okay?

			BECKY
	Okay.

			ANNIE
	If someone is a widower, why do
	they say he was widowed? Why
	don't they say he was widowered?

Everyone looks at her strangely.

			ANNIE
	I was jus wondering.

EXT. BALTIMORE STREET - DAY

Annie walking purposefully, followed by Becky, hurrying
to catch up.

			BECKY
	What was that about up there?

			ANNIE
	What was what?

			BECKY
	What's with you?

			ANNIE
	Nothing's with me.

INT. BALTIMORE RESTAURANT - DAY

Becky and Annie are having lunch.

			BECKY
	"Sleepless in Seattle"?

			ANNIE
	That's what she called him on
	the show.  Because he can't
	sleep.

			BECKY
	And now 2,000 women want his
	number.  The guy could be a
	crackhead, a psychopath, a
	flasher, a junkie, a
	transvestite, a chain-saw
	murderer, or someone really
	sick, like Rick.

			ANNIE
	Actually, he sounded nice.

			BECKY
	Oh? Oh, really? Now we're
	getting down to it.

			ANNIE
	Not.

She reaches down for her purse.

INT/EXT. REMODEL HOUSE - DAY

A hand reaching down to pick something up -- the Seattle
newspaper, and

PULL BACK TO REVEAL:

Sam carrying the paper down/up the stairs to an old
house that's being renovated.  Jonah, who is playing
Cameboy, is walking along with him.  WORKMEN are active
everywhere.  Dry wall going up, cabinets being
installed, tile being set.

One of Sam's partners, BOB LANGMAN, is walking with him,
and JAY MATHEWS, the on-site supervisor, is waiting for
them in an unfinished doorframe.  Bob is hefty, older,
always eating something dietetic.  Jay is younger and
always wears as little as possible, even in cold weather.

			BOB LANGMAN
	Now she wants a circular
	stairwell off the den.

			JAY
		(to Jonah, in b.g.)
	Punch me, punch in right here.
		(points to his stomach;
		Jonah punches)
	And she wants the Sub-Zero with
	the side-by-side doors --

			BOB
	Which means --

			SAM
	The cabinets have to be redone
	--

They all nod at each other.  The woman has been a
nightmare.

			BOB
	So we thought --

			JAY
	Since you're on the make again
	--

Sam looks at Jonah --

			SAM
	Great.  This is great.  The
	whole town knows.  Just out of
	curiosity, how do you two know?

			BOB
	Grace heard it.

			SAM
	Grace the dispatcher.  Great.

			BOB
	The point is, take the client
	out to dinner and ask her to
	marry you and then maybe we
	won't have to redo the kitchen
	cabinets.

			SAM
	Why me? What about Jay?

			JAY
	Hey, my plate is full.

			SAM
	Well, okay.  What's the big
	deal?  If she'll forget the
	new fireplace, I'll marry her.
	Just point me in the right
	direction.

			JONAH
	Dad, I don't know about this
	one --

			SAM
	Oh, you're changing your mind
	--

			JONAH
	No, I'm not, but --

			SAM
	What's the matter with this
	one? Wouldn't you like to have
	Imelda Marcos as your mother?

			JONAH
	Dad --

Sam cuffs him good-naturedly.

			SAM
	We better take the measurements
	for the new cabinets.

He walks away past some workmen, ladders, etc.  and
starts checking the cross-beams in the ceiling over in
another area of the site.  Bob follows after him.  Jay
tosses Jonah a hammer and they start knocking nails into
the wall.

			BOB
	Sam, if you're not doing
	anything New Year's --
	obviously you're not doing
	anything New Year's -- we're
	having some people over, all of
	them married, not one even
	remotely interested in playing
	around.  Does that sound great
	or what?
		(whistfully)
	I can't think of the last time
	I was at a party when anything
	actually happened.

			SAM
	Thanks, but I'll pass.  It's
	kind of a big night.  I don't
	like to leave Jonah alone.

						CUT TO:

SHOT OF  HOUSEBOAT BEING TOWED BY A TUG DOWN THE RIVER (OR A
SEAPLANE LANDING) - TWILIGHT

EXT. HOUSEBOAT - TWILIGHT

Jonah watching it.  Sam visible in the distance in the
kitchen.

INT. KITCHEN - TWILIGHT

As Sam is busy installing the spice rack.  He marks the
wall, hammers in the nails, etc.

			SAM
		(as he starts putting
		new spices into the
		rack, in alphabetical
		order)
	Does red pepper go under R or
	P?

			JONAH
	P.
		(beat)
	Dad?

			SAM
		(absently)
	What?

			JONAH
	I forgot to mention.  Jed
	called --

			SAM
	Just out of curiosity, do you
	have any friends whose names
	don't begin with a J?  I feel
	like it was a failure of the
	imagination on our part naming
	you Jonah.
  		(looking at the spices)
	What is marjoram? Does anyone
	know?

			JONAH
	Jed is having a slumber party
	New Year's Eve and he invited
	me.

A beat.

			SAM
	Fine.  Fine.

			JONAH
	So I can go.

			SAM
	Sure.
		(almost done with the
		spices)
	Looking good.

			JONAH
	Shouldn't you have used a
	toggle bolt?

			SAM
	I think I know how to have a
	spice rack.

He puts in the last spice.

They stand back to admire it.  A beat.  The rack falls
off the wall.

The rack itself doesn't break, but about six of the
glass jars of spices break.

There's paprika and thyme and currying powder, etc.  all
over the floor along with shards of glass.

			SAM
			God fucking dammit!  Shit!
			Fuck.  Piss.

Jonah bursts into tears.

			SAM
		(still angry)
	I'm sorry.
		(softening)
	I'm sorry.

He picks up Jonah and holds him.

			SAM
	I'm sorry.  I'm just --

			JONAH
	Stressed.

			SAM
	Right.  I'm sorry, Jonah, I'm
	sorry.

And he holds Jonah as Jonah calms down.  Sam closes his
eyes tight.

INT. A TELEVISION SET OF NEW YEAR'S EVE ON TIMES SQUARE

And pull back to reveal:

INT. HOUSEBOAT - NIGHT

Sam, alone, watching the ball drop.  He's got a bag of
Doritos and a beer.

			A VOICE
	Can I have half your beer?

			SAM
	Sure.

It's Maggie.

She takes his bottle of beer and pours half of it into a
glass.

			MAGGIE
	What did I used to say? Here's
	looking at you? Here's mud in
	your eye?

			SAM
	Here's to us.  You used to say
	here's to us.
		(he looks at her and
		his eyes well with
		tears)
	Oh babe.  I miss you so much it
	hurts.

He reaches out for her.  She's gone.

And we hear the television set now counting down to
midnight in New York.

						CUT TO:

INT. NEW YEAR'S EVE PARTY IN BALTIMORE - NIGHT

The same television show counting down to midnight.

Champagne corks popping, etc.

And we see Walter and Annie.

			WALTER
	Happy New Year, darling.

			ANNIE
	Happy New Year.

They start to dance.

			WALTER
	I was thinking, I have to go up
	to Boston for the AAP
	convention and then visit
	Winston-Hughes about switching
	over our computers.  Why don't
	we meet in New York for
	Valentine's Day weekend?

			ANNIE
	Walter, I'd love to --

			WALTER
	We'll stay at the Plaza --

			ANNIE
	Go for a walk in Central Park --

			WALTER
	Go to the Symphony --

A beat.

			ANNIE
	We will?
		(beat)
	The Symphony?
		(beat)
	Okay.
		(beat)
	I'll take you to the Russian
	Tea Room for pelmeni.

			WALTER
	What is it?

			ANNIE
	It's delicious, trust me.

			WALTER
	Does it have wheat in it?

			ANNIE
	I don't think so.

They go on dancing.  It's one of those parties where
everyone looks so happy and so in love.  Annie, however,
looks thoughtful.

ET.  MARINA PARKING AREA - DAY

Sam gets out of his car and starts down the dock toward
his houseboat.  He's carrying a bag of groceries.

In the parking lot is a U.S.  MAIL TRUCK.

EXT. HOUSEBOAT - DAY

Sam approaches his boat and a puzzled look comes over
his face.

A MAILMAN with a sack of mail is standing outside the
front door of the houseboat.  Jonah is signing a receipt
for the mail.

			JONAH
	Look at this, Dad.  They're
	all for you --

Sam picks up an envelop and looks at it.  It's
addressed to Sleepless in Seattle c/o Dr.  Marcia
Fieldstone, Radio Station KWRS in Chicago.  He's
stunned.  As he signs the receipt:

			MAILMAN
	If you're having trouble
	sleeping, you might want to try
	drinking a glass of water from
	the other side.

			JONAH
	I thought that was for hiccups.

			MAILMAN
	Does it work for hiccups?

			JONAH
	For hiccups, a spoonful of
	sugar, you hold it in your
	mouth for a minute.

			MAILMAN
	Really?

The mailman starts back toward the mail truck.

Sam and Jonah start toward the door.

INT. HOUSEBOAT - NIGHT

Sam is in the kitchen making dinner.  Jonah is sitting
at the table, reading the letters from the stack they
found by the door.

			SAM
	Just out of curiosity, how did
	they get our address?

			JONAH
	They called and asked for it.
		(reading)
	"Dear Sleepless in Seattle.
	You are the most attractive man
	I've ever laid ears on."

Jonah rolls his eyes, tosses the letter into a pile of
rejects, opens another.

			SAM
	How did they get our phone
	number?

			JONAH
	You have to give them your
	phone number or they won't let
	you go on the air.

Sam nods as if this makes perfect sense.

			JONAH
		(continues, reading)
	"Dear Sleepless in Seattle: I
	am an SWF"--
		(to Sam)
	What is that?

			SAM
	Thank God.  Something you don't
	know.  It's a single white
	female.

			JONAH
	This is no good.  She's looking
	for someone French.  Or Greek.
		(puzzled, he throws the
		letter into the reject
		pile, opens another)
	"Dear Sleepless in Seattle: I
	live in Tulsa." Where is that?
	--

			SAM
	Oklahoma.  Do you know where
	that is?

			JONAH
	Somewhere in the middle.

			SAM
	I'm not going to think about
	what they're not teaching you
	in school.  I am not going to
	think about it.
			(beat)
	Generally speaking I think we
	should rule out people who
	don't live somewhere near here
	--

			JONAH
	She's willing to fly anywhere.

As Jonah hands Sam the picture.

			SAM
	She looks like my third grade
	teacher.  I hated my third
	grade teacher.  Hold it! Wait
	a minute! She is my third
	grade teacher!

			JONAH
	Dad, you're not taking this
	seriously.

			SAM
	This is not how you do it.
		(referring to the
		hamburger)
	You want this on an English
	muffin or a bun?

			JONAH
	English muffin.  How do you do
	it?

			SAM
	You see someone you like, you
	get a feeling about them, you
	ask them if they want to have a
	drink or --

			JONAH
	-- a slice of pizza --

			SAM
	But not dinner necessarily on
	the first date because by the
	time you're halfway through
	dinner you might be sorry you
	asked them to dinner whereas if
	it's just a drink, if you like
	them you can always ask them
	for dinner but if you don't you
	can go home if you see what I
	mean.
			(beat)
	I wonder if it still works this
	way.

			JONAH
	It doesn't.  They ask you.

			SAM
	I'm starting to notice that.

INT. ANNIE'S BEDROOM - NIGHT

Annie and Walter are making love.

			JONAH (V.O.)
	If you get a new wife, I guess
	you'll have sex with her, huh?

			SAM (V.O.)
	What do you think?

			JONAH (V.O.)
	Will she scratch up your back?

			SAM (V.O.)
	What?

JONAH'S BEDROOM - NIGHT

As Sam puts Jonah to sleep.  Jonah is holding his teddy
bear while this conversation concludes.

			JONAH
	In the movies women are always
	scratching up guy's back and
	screaming and stuff.  When
	they're having sex.

			SAM
	Whose show was this on?

			JONAH
	Jed's got cables.

			SAM
	Go to sleep.

He kisses him good-night.

			JONAH
	Kiss Howard.
		(he holds out the
		teddy bear)
	G'night, Howard.

INT. ANNIE'S BEDROOM - NIGHT

Annie and Walter have just finished making love.

Walter falling asleep.

Annie lying in bed, with her eyes open.

She starts to get out of bed.  Puts on a robe.

INT. STAIRWAY - HOUSE

As Annie comes downstairs in a bathrobe.

She opens the door to the street.

EXT. STREET - NIGHT

As Annie starts to run down the street.

CLOSEUP OF: ANNIE, RUNNING

And now we widen out to see a misty highway she's running
down.

Past a sign saying: Seattle Approximately 3,000 miles.

Past another sign: Your nerves are shot.

And another: Your feet are cold.

And another: Will you find love.

And another: Before you're cold?

And another: Burma Shave.

And Annie continues to run, and now we see she's running
across a map of the United States -- it's a little like
the one we saw in the beginning of the movie -- it's
like the famous map of the United States by Saul
Steinberg, but instead of being about New York, this one
is about Seattle.

In the distance, at the very edge of the map, we see two
indistinct figures -- a map and a young boy.  They start
to wave at her, very slowly.

Annie's eyes widen.

						CUT TO:

INT. ANNIE'S BEDROOM - NIGHT

Annie in bed, eyes open.  Walter fast asleep.

She gets out of bed, puts on her robe (just as she did
in the dream sequence).

INT. STAIRWELL - NIGHT

As Annie comes down the stairs.

INT. KITCHEN - HOUSE

She turns the light on.

Opens the refrigerator.

Closes it.

Opens it again.  Takes out some milk.

Sits down at the kitchen table with a bowl, corn flakes,
banana.  She's about to assemble it when:

She sees:

THE RADIO

She stands up, turns it on to the station Dr. Marcia
Fieldstone is on.  She sits back down with her corn
flakes.

			ANNOUNCER (V.O.)
	Up next, "You and Your
	Emotions" with Dr.  Marcia
	Fieldstone, clinical
	psychologist and the best
	friend you never had.
		(the teaser continues)

			WOMAN'S VOICE (V.O.)
He says he doesn't love me any
more.

			DR. MARCIA FIELDSTONE (V.O.)
	Why do you want to be with
	someone who doesn't love you?

			ANOTHER WOMAN (V.O.)
	Every time I come close to
	orgasm he stops and goes to
	make himself a sandwich --

			DR. MARCIA FIELDSTONE (V.O.)
	Why don't you make him a
	sandwich beforehand?

			SAM'S VOICE (V.O.)
	When I met my wife, it was so
	clear.  I jus knew.

Annie starts at hearing Sam's voice.

			DR. MARCIA FIELDSTONE (V.O.)
	What was it that made you know?

			SAM'S VOICE (V.O.)
	I don't think I could really
	describe it.

			DR. MARCIA FIELDSTONE (V.O.)
	Why not?

			SAM'S VOICE (V.O.)
	And if I could describe it, it
	probably wouldn't be on a radio
	show.
		(he laughs to himself)
	But what the hell.  It's not
	one specific thing.  It's more
	of a feeling.
			(continuing)
	You touch her for the first
	time, and suddenly... you're
	home.  It's almost like...
	magic.

Annie closes her eyes.

			ANNOUNCER (V.O.)
	We'll be back after this
	commercial with Dr. Marcia
	Fieldstone.

EXT. BALTIMORE - PEABODY LIBRARY - DAY

We see Annie's car pull into a parking space outside the
Peabody Library.  Annie gets out of the car.

INT. LIBRARY - DAY

As Annie strides purposefully across the library and
enters:

INT. ANNIE'S BROTHER TOM'S OFFICE - DAY

Annie bursts into Tom's office and walks over to his
desk.  We barely has time to look up.

			ANNIE
	I think I'm going crazy, Tom.
	I really do.  Are you happily
	married?

			TOM
		(completely panicked by
		the question)
	What?

			ANNIE
	I mean, why did you get
	married? Was it all fireworks
	and trumpets and --

			TOM
		(regaining composure)
	I got married because Betsy
	said we had to break up or get
	married.  So we get married.

			ANNIE
	But when you met her, did you
	believe she was the only person
	for you? That in some mystical,
	cosmic way, it was fated?

			TOM
	Annie, when you meet someone
	and you're attracted to them,
	it just means that your
	subconscious is attracted to
	their subconscious,
	subconsciously.  So what we
	think of as chemistry is just
	two neuroses knowing that they
	are a perfect match.

			ANNIE
	I don't even know him.  But
	I'm having all these fantasies
	about a man I've never met,
	who lives in Seattle.

			TOM
	It rains nine months of the
	year in Seattle.

			ANNIE
	I know, I know.  I do not want
	to move to Seattle.  But what I
	really don't want to do is end
	up always wondering what might
	have happened and knowing I
	could have done something.
	What do you think?
		(Tom opens his mouth to
		say something, but
		before anything comes
		out, Annie fills the
		void)
	It's just cold feet, isn't it?
	Everyone panics before they get
	married, didn't you?

			TOM
	Yes, I did.

			ANNIE
	Thank you, Tom.  I feel so much
	better just having blown this
	off.

			TOM
	Any time.

INT. PEABODY LIBRARY - DAY

As Annie walks through it and pushes the door to exit.

EXT. A DOOR OPENING TO SEATTLE STREET - DAY

Sam and Jay walk out of the Arctic Building onto the
street.

			JAY
	Sandy has a girlfriend, Clenda
	... She's a weightlifter, but
	it's not like her neck is
	bigger than her head or
	anything --

			SAM
	I'm not asking you to set me
	up, Jay.  That's not what I
	need your help for.  I want to
	know what it's like over there.

			JAY
	And that's what I'm trying to
	tell you.  What women are
	looking over, okay? Pecs and a
	cute butt.

			SAM
	You mean, like, "He has the
	cutest butt"? Where did I hear
	that recently?

			JAY
	Everywhere.  You can't even
	turn on the news without
	hearing about how some babe
	thought some guy's butt was
	cute.  Who the first babe to
	say this was I don't know,
	but it caught on.

INT. SEATTLE RESTAURANT - DAY

Sam and Jay at the counter.  Out the window, we can see
water.

			JAY
	When's the latest time you were
	out there?

			SAM
		(trying to remember)
	Seventy... eight.

			JAY
	Well.  Things are different.
	First, you have to be friends.
	You have to like each other.
	Then you neck.  This can go on
	for years.  Then you have
	tests.  Then you get to do it
	with a condom.
		(beat)
	The good news is, split the
	check.

			SAM
	I don't think it could let a
	woman pay for dinner.

			JAY
	Great.  They'll have a parade
	in your honor.  You'll be Man
	of the Year in Seattle
	Magazine.  Tira misu.

			SAM
	What's tira misu?

			JAY
	You'll find out.

			SAM
	What is it?

			JAY
	You'll see.

			SAM
	Some woman is going to want me
	to do it to her and I'm not
	going to know what it is.

			JAY
	You'll like it.

			SAM
		(grimly)
	This is going to be tougher
	than I thought.

EXT. HOUSEBOAT - EARLY EVENING

Sam coming home.

INT. HOUSEBOAT - EARLY EVENING

As he enters.  It's very quiet.  Too quiet.

			SAM
	Jonah?

No answers.

			SAM
	Jonah?

He starts to look concerned.

			SAM
	Jonah?

He goes down the hall to Jonah's room.  The door is
shut.  He opens it.

Jonah is sitting on his bed listening to a tape.
Earphones on.  Next to him is a young girl named
JESSICA.

			SAM
	Jonah?

Jonah takes off the earphones.

			JONAH
	Hi, Dad.  Dad, this is Jessica.

			SAM
	It's nice to meet you, Jessica.

			JONAH
	Dad, this is amazing.  If you
	play this backwards, it says
	"Paul is dead."

			SAM
	I know.

			JONAH
	How do you know?

Sam shrugs, turns to go back down the hall.

			JONAH
	Dad, could you close the door?

			JESSICA
	H and G.
		(Sam looks back)
	Hi and goodbye.

Sam closes the door to Jonah's room.

Hold on Sam.

			SAM
		(to himself)
	Get a life.

INT. HOUSEBOAT - CONTINUOUS

As Sam comes downstairs, goes into his office.  Closes
the door.

INT. SAM'S OFFICE AT HOME - CONTINUOUS

He goes to the phone.  Looks up a number in the phone
book.  Picks up the phone and dials a number.

			SAM
	Hi, Victoria?... It's Sam
	Baldwin, I don't know if you
	remember me.  Oh?  Well, great.
	I was wondering if you wanted
	to have a drink... Friday,
	say... Dinner?... Sure, dinner
	would be fine.  Sure.  Dinner.

INT. AN UNFINISHED DINNER ON A PLATE IN ANNIE'S LIVING ROOM
- NIGHT

Annie is watching "An Affair to Remember" on television,
tears pouring down her face.  Cary Grant is saying: "Are
you in love with him?" Deborah Kerr replies: "I'm not
now."

She's sitting at the dining room table.  A dozen pieces
of paper litter the table.  Annie's been unsuccessfully
typing a letter on an old Underwood typewriter.

			ANNIE
	Now those were the days when
	people knew how to be in love.

She takes a blast from the wine glass to her right.
Becky leans in, refilling the glass.  Annie begins to
type and sob and look at the TV.

			BECKY
	You're a basket case.

			ANNIE
		(as she types)
	They knew it.  Time, distance,
	nothing could separate them.
	Because they knew.  It was
	right.  It was real.  It was...

			BECKY
	... movie.
		(beat)
	That's your problem.  You don't
	want to be in love.  You want
	to be in love in a movie.
		(beat)
	Read it to me.

			ANNIE
		(reading her letter)
	"Dear Sleepless and Son..."

			BECKY
	It sounds like the name of a
	mattress store --

			ANNIE
	"I am not the sort of person
	who listens to call-in radio
	shows" --

Becky flops on the couch.

			BECKY
	And this woman is a writer!
	That's what everyone writes at
	the beginning of letters to
	strangers.

			ANNIE
	I know that.  You think I don't
	know that? "I know that's a
	dumb way to begin, but it's the
	only way I can think of to
	convey what happened to me the
	other night when I heard the
	two of you on the radio.  On
	the other hand, maybe I'm just
	losing my mind."

			BECKY
	You are.  You're losing your
	mind.  What about Walter?

			ANNIE
	I'm going to marry Walter.  I
	just have to get this out of my
	system.

			BECKY
	Right.

			ANNIE
	I should say something in this
	about magic.

			BECKY
	What?

			ANNIE
	I don't know.  I mean, what if
	I never meet him? What if this
	man is my destiny and I never
	meet him?

			BECKY
	Your destiny can be your doom.
	Look at me and Rick.

			ANNIE
		(typing some more)
	"I want to meet you..."

Cary Grant says: "How about the top of the Empire State
Building?"

			BECKY
	"On top of the Empire State
	Building at sunset on
	Valentine's Day."

			ANNIE
	Good.  Perfect.  I'll be in New
	York with Walter, I can squeeze
	it in.

She types in Becky's idea.

Then she takes the piece of paper out of the typewriter,
smashes it into a ball and tosses it up in the air and
into Becky's lap.

			BECKY
	You want to hear about destiny?
	If my husband hadn't gone on a
	diet, which caused me to leave
	him, I would never have been on
	that flight to Miami, and met
	Rick, and ended up having sex
	in the bathroom of a 727 with
	that nob you slide that says
	"vacant-occupied, vacant-
	occupied, vacant-occupied" --
		(she shudders in
		ecstasy, then pulls
		herself together)

			ANNIE
	You never told me you left your
	husband because he went on a
	diet.

			BECKY
		(nods; after a beat)
	He lost all the weight...
	there.

			ANNIE
	That's impossible.  A guy can't
	--

			BECKY
	Can too.

			ANNIE
	No.

			BECKY
	Yes.

			ANNIE
	And then you left him? He lost
	weight there and you left him?

			BECKY
	Plus he fell in love with a
	temp.

			ANNIE
	Listen to this, I love this
	part --

Deborah Kerr says: "It's now or never." And Cary Grant
says: "We'd be fools to let happiness pass us by."
Deborah Kerr: "Winter must be cold for those with no
warm memories."

Becky and Annie with tears rolling down their faces.

			BECKY
	Men never get this movie.

			ANNIE
	I know.

			BECKY
	Do you think at the end of the
	movie when she's in the
	wheelchair they can still do
	it?

			ANNIE
	I always wondered about that
	too.

As Becky reaches for a Kleenex.

INT. JONAH'S BEDROOM

A Kleenex being pulled from a box.  Sam is giving it to
Jonah, who's up.  His hair is mated with perspiration.

			SAM
	It's okay, it's okay.  I'm
	here.

A beat while Jonah calms down.

			JONAH
	It was sinking.

			SAM
	What was?

			JONAH
	Our house.  There was water
	coming in all the windows.

			SAM
		(calm and definite)
	You're worried we're going to
	be all right.  We're going to
	be all right.
		(Sam gives Jonah a
		squeeze)
	I remember sometimes you'd have
	nightmares as a baby.  Your mom
	would hold you and rock you and
	sing you a song.

			JONAH
	Bye bye blackbird.

			SAM
	Is that what she used to sing?

			JONAH
	I miss her.
		(beat)
	What do you think happens to
	someone after they die?

			SAM
	I don't know.

			JONAH
	Like do you believe in heaven?

			SAM
	I never did.  Or the whole idea
	of an afterlife.  But I don't
	know any more.  I have these
	dreams about... your mom... and
	we have long talks about...
	about you, and how you are,
	which she sort of knows but I
	tell her anyway.  So what is
	that? It's sort of an afterlife,
	isn't it?

			JONAH
	I'm starting to forget her.

			SAM
	I know.  But she's here, Jonah.
	Because I have you.  And as
	long as I have you, I have your
	Mom.

Hold on the two of them as music begins.  Bye Bye
Blackbird.

			SAM
	I... uh... have a date with
	someone Friday night.

			JONAH
	Good.

A beat.

			SAM
	Did I ever tell you about the
	time I ate a dog biscuit?

As Jonah cuddles closer MUSIC COMES UP AS WE PULL BACK
FROM THE BED AND...

						CUT TO:

EXT. ANNIE'S TOWNHOUSE - LATE NIGHT

AS MUSIC CONTINUES.  Annie waves as Becky gets into her
car and rides away.  Annie turns to her doorway and
stops.  She can't go back in.  She needs to walk and
think.  She crosses the street into a little
neighborhood park.  We can see the moon.

						CUT TO:

EXT. SAM'S HOUSEBOAT - NIGHT

Sam comes out onto the porch.  Flops down in his deck
chair.  The city lights in the background.  Same moon.
The MUSIC CONTINUES.

						CUT TO:

EXT. PARK - NIGHT

Annie flops down on a child's swing set in the park.
MUSIC CONTINUES.

						CUT TO:

CLOSE ON SAM

CLOSE ON ANNIE

AND A LONG SHOT OF ANNIE IN THE SWING

As Walter pulls up into the parking space Becky pulled
out of.  Annie starts toward him.

A LONG SHOT OF SAM ON THE BACK OF THE BOAT

Make my bed and light the lights I'll arrive late
tonight, blackbird, bye bye.

FADE IN:

INT. BALTIMORE SUN - DAY

Annie on the phone at her desk.

			ANNIE
	Laurie, it's Annie.  Fine, I'm
	fine.  Listen, I'm doing an
	article on call-in radio shows.
	Do you know anyone who works
	for someone named Dr. Marcia
	Fieldstone...?

						CUT TO:

Annie on the phone.

			ANNIE
	I'm a writer for the Baltimore
	Sun and I'm a friend of Laurie
	Johnson's.  I'm doing a piece
	on how people handle
	bereavement and I understand
	that you had a caller the other
	night... I know you're not
	supposed to, but Laurie said
	you might, and I'll plug the
	show and everything --
		(she winces in
		anticipation of a
		rejection, but then
		her face relaxes)

						CUT TO:

Annie dialing Sam's telephone number.

			JONAH (ON MACHINE)
	This is Jonah Baldwin, we're
	not in right now but you can
	leave --

Annie hangs up.

			ANNIE
	Baldwin.

						CUT TO:

Annie at her computer modem.  She's dialing a number.
We hear some beeps.

			COMPUTER SCREEN
	Directory.  Enter password.
		(Annie types)
	Ann Reed.  BSun124.
		(computer)
	Find.
		(Annie types)
	Samuel Baldwin.
		(computer types)
	216 Samuel Baldwin.  Strike Y
	to printout or enter factors.
		(Annie types)
	Samuel Baldwin, Seattle.
		(there's a pause)
	Not found.
		(Annie thinks for a
		moment, then types)
	Samuel Baldwin, Jonah Baldwin.
		(a pause)
	Samuel Baldwin, Jonah Baldwin
	found.  Strike Y to printout or
	enter factors.
		(Annie types Y)

And now on the computer screen, we see a funeral notice
from the Chicago Tribune that reads: Baldwin, Margaret
Abbott, beloved wife of Samuel, mother of Jonah, June
10, Funeral 10 a.m.  Thursday, Church of the Heavenly
Rest, 110 N.  State, in lieu of flowers contributions
should be sent to Chicago Horticultural Society.  And
then there's a citation: Chicago Tribune, June 12, 1989.

Annie types another entry.

			ANNIE
		(typing)
	Samuel.  Baldwin, Chicago.
		(after a beat)
	Four Samuel Baldwins.  Strike Y
	to printout.
		(Annie strikes Y)
	Samuel Baldwin, arrested for
	grand larceny, 1961.  Samuel
	Baldwin, alderman, convicted of
	accepting bribes, 1967.  Samuel
	J. Baldwin, architect, built
	City Plaza.
		(Annie presses Y)

						CUT TO:

A PRINTOUT OF AN ARTICLE

that Annie's reading.  There's a newspaper picture of
Sam at the dedication of a building site.  It's got that
kind of grainy quality that things have when they've
been transmitted, but you can make out Sam's basic good
looks.

EXT. BO'S SECURITIES/WORLDWIDE - DAY

Annie coming from the street toward a storefront in
downtown Baltimore across the street from the courthouse.
Next door there's a bailbondsman, there are ambulance-
chasing lawyers hanging out on the corner.

The sign on the door reads: "No job too small." "All
major credit cards accepted." And then everything on
the sign is translated into Spanish.

INT. BO'S SECURITIES - DAY

Detective Bo Wheedle, a former cop, sits at his desk
listening to Annie.  He has some papers.

			ANNIE
	I need to know about him
	because... he's involved with
	my sister...

			DET. WHEEDLE
	Okay.

			ANNIE
	She has a pattern of getting
	involved with losers... Once
	she almost ran away with a
	human cannonball from the
	circus.

			DET. WHEEDLE
	Do you want a matrimonial, past
	wives, any kids--

			ANNIE
	No, I know that part --

			DET. WHEEDLE
	So you want a financial, is he
	a deadbeat, we can do a D&B --

			ANNIE
	No, no, no, it's more like, who
	is he, does he have a sense of
	humor, is he nice -- no forget
	nice, I've got nice --

			DET. WHEEDLE
	A sense of humor.

			ANNIE
	I'll tell you the truth, I
	heard this guy on a call-in
	radio show and I might not
	marry the person I should marry
	because I've become obsessed
	with him.

			DET. WHEEDLE
	Oh.  Like Glenn Close in that
	movie.

			ANNIE
	No.  Not remotely.  I just want
	to find out about him.

			DET. WHEEDLE
	You want a tail.
		(picking up the phone)
	I got a guy in Seattle --

INT. SAM'S HOUSEBOAT - NIGHT

Jonah is watching Geraldo with his babysitter, CLARISE,
17.
Geraldo is talking to a heavily made-up, sexily-dressed
WOMAN.

			GERALDO
	So how long have you been a
	woman?

			WOMAN
		(husky voice)
	About two weeks.

Sam is coming down the stairs.

			CLARISE
		(to Jonah)
	Pssst!

Jonah hits the remote control and the channel changes to
the Disney channel as Sam comes into the room, dressed
for his date.

			SAM
	Clarise, I'll be back by
	midnight I'm sure --

			CLARISE
	Whenever.

Sam tosses Jonah a letter.

			SAM
	This one's for both of us.

			JONAH
		(reading from the
		envelope)
	Sleepless and Son.
		(reading the postmark)
	Baltimore.

He starts to open the letter.

			SAM
	I left the number of the
	restaurant I'll be at if
	there's any emergency.

			CLARISE
	Fine.

			SAM
		(to Jonah)
	How do I look?

			JONAH
		(absently)
	Great.

			SAM
		(looks in mirror)
	I look stupid.  I look stupid,
	don't I? I look like I'm
	trying too hard.  I was going
	to get a haircut but then I
	thought I'd look like I just
	got a haircut.
		(checks his teeth,
		peers up his nose)

			JONAH
		(reading the letters)
	This is a good letter, Dad.

			SAM
		(checks his fly, looks
		down at his feet)
	The heels on these shoes are
	very large.  Why have I never
	noticed this? The heels on
	these shoes are grotesque.

			JONAH
	Her name is Annie.  Annie Reed.

			SAM
	Now I'm late.  Bye.

He starts toward the door.

			JONAH
	Listen to this --

			SAM
	Not now, Jonah --

			JONAH
	Just this one part, okay?
		(reading)
	"I have been an excellent
	third-baseman for as long as I
	or anyone else can remember,
	and I guarantee you will not
	get one past me"

			SAM
	Jonah, I'm leaving --

			JONAH
	WAIT!!!
		(Sam stops, amazed at
		Jonah's vehemence;
		Jonah continues
		reading)
	-- "and while we're on the
	subject, let's just say right
	now that Brooks Robinson was
	the best third baseman ever.
	It's important that you agree
	with me on that because I'm
	from Baltimore."  Dad, she
	thinks Brooks Robinson is the
	greatest.

Sam goes out the door with Jonah behind him, waving the
letter.

EXT. HOUSEBOAT - NIGHT

			JONAH
	Dad!

			SAM
	Everyone thinks Brooks Robinson
	is the greatest.

			JONAH
	It's a sign.

			SAM
	Oh, right.

Sam stops, takes Jonah by the hand and takes him back
into the house.

			SAM
	Come here.  I want to show you
	something.

INT. HOUSE - NIGHT

As Sam pulls down the map of the United States, which is
hanging over one of the kitchen windows and stands Jonah
in front of it.

			SAM
	Here is Seattle.
		(moves his finger
		across the country)
	And here is Baltimore.  Case
	closed.
		(he pulls the map and
		it snaps back up)

			JONAH
	She doesn't want us to go to
	Baltimore.  She wants to meet
	us in New York City on
	Valentine's Day.  On top of the
	Empire State Building.

			SAM
	Perfect.  We'll be there.

Sam goes out the door.  Jonah just looks down at his
letter, his hopes on hold.  Clarise switches the TV back
to Geraldo.

INT. RESTAURANT - NIGHT

Sam sits at a table.  Nursing a beer.  A little nervous.
He looks up and spots:

VICTORIA

walking into the place.  She's attractive.  She waves
and smiles and sits down, orders a white wine spritzer
from the maitre d'.

After a beat.

			SAM
	Hi.

			VICTORIA
	Hi.

An awkward pause.

			SAM
	You look good.

			VICTORIA
	You look good yourself.

Another pause.

			VICTORIA
	I thought you were never going
	to call me.

			SAM
	You did?

			VICTORIA
	I really wanted you to call me,
	and I thought you were never
	going to --

			SAM
	You could have called me --

			VICTORIA
	No way.  No way I was going to
	be the first woman you went out
	with after...
		(she gestures
		helplessly)
	There is no percentage
	whatsoever in being the first
	woman anyone goes out with
	after...

			SAM
	You are the first woman I'm
	going out with.

			VICTORIA
	Oh.

			SAM
	So whatdya say? I'll get the
	check, and I'll call you in
	eight months.

Victoria laughs far too enthusiastically.

			VICTORIA
	Oh, you are funny --

We hear a CLICK as the image FREEZES.

						CUT TO:

SEATTLE DETECTIVE

sitting at a table across the room, having just taken
the picture of Sam we saw frozen, with a miniature
camera.  In QUICK CUTS we see a progression of later
photographs:

SAM AND VICTORIA SIMPLY TALKING.

SAM HOLDING HIS FORK ACROSS THE TABLE TO GIVE VICTORIA
A BITE OF HIS SALMON.

SAM AND VICTORIA SHARING A LAUGH.

						CUT TO:

INT. BALTIMORE MARKET - DAY

Lots and lots of fish stalls with crabs, etc.  Annie is
walking with Det. Wheedle toward a table you stand at
near the clam bar.

			ANNIE
	Tell me he's living in squalor.
	Tell me everything he has is
	being repossessed, including
	his filthy, dented mobile home.

			WHEEDLE
	He's got a houseboat.

			ANNIE
	I hate boats.

			WHEEDLE
	It sounds nice.

			ANNIE
	Boats.  You go out in them.
	You come back in them.  I hate
	them.

			WHEEDLE
	Houseboats don't go anywhere.

			ANNIE
	Boats.  All anyone talks about
	is the wind.  Is it up, is it
	down.  I can't live with a man
	who only talks about the wind.

			WHEEDLE
	It's not a boat boat.  It's
	really a house.

			ANNIE
	But it's on the water.

			WHEEDLE
	It's on the lake right in the
	middle of Seattle.
			(beat)
	It rains nine months of the
	year in Seattle.

			ANNIE
	I hope I don't have to pay for
	that piece of information.

			WHEEDLE
	No, that's free.  He's an
	architect.  Used to do big
	high-profile projects.  He
	scaled it all back when his
	wife died.  Now he remodels
	people's homes.  He works in
	a small firm, makes a good
	living.

He shows her a good picture of him.

			ANNIE
	He's real.

She goes to the next shot.  Sees a picture of Sam and
Victoria in the restaurant, although all we see of
Victoria is her back and mane of blond hair.

Hold on Annie's face.

INT. SEATTLE MARKETPLACE

With its stalls of king crab, but otherwise almost
identical in design to the Baltimore marketplace.

Sam and Jonah walk past the fish stand, Sam looking
around, slightly distracted.

			JONAH
	I figure we could go to New
	York, catch the Knicks, and
	since we'd be there anyway,
	obviously we'd go to the Empire
	State Building --

			SAM
	There she is.

As Victoria comes toward them, with a bag full of
groceries.

			JONAH
	Why is she bringing that bag?

			SAM
	She's going to cook something
	for us?

			VICTORIA
	Hi, Sam.  And let me guess --
	you must be Jonah.

			JONAH
	Hi.
		(back to the subject)
	He should book now because we
	can get an excursion fare.
	Jessica's parents are travel
	agents and --

			SAM
	Not now, Jonah.

INT. HOUSEBOAT - LATER

Sam, Jonah and Victoria are at the dining room table,
finishing the dinner that Victoria cooked.

			SAM
	We can't finish the job.  She's
	on her sixth painter, now she's
	thinking maybe she wants the
	fireplace rebricked --

			VICTORIA
	I know her pretty well.  Maybe
	I could call her --

			SAM
	I've already solved it.  I've
	hired a hit man.

Victoria laughs a little too hard.

			VICTORIA
	Oh that is so funny, you are so
	funny.

Sam smiles.  Jonah is appalled.

			SAM
	Every time she wants to change
	something, she talks in this
	little baby voice --
		(in a little baby
		voice)
	"Couldn't you just move the
	stairway a teeny tiny bit?"--

Victoria almost dies laughing.  Jonah's eyes narrow to
slits.

			JONAH
	Do you like baseball?

			VICTORIA
	Yes, I do.  In fact, my firm has
	box seats for the Mariners.
	Why don't we all go next week?

			JONAH
	What about camping?

			VICTORIA
	What about it?

			JONAH
	Do you like it?

			VICTORIA
	I went camping once.
		(to Sam)
	I love to brush my teeth in a
	brook and floss with a weed.

			JONAH
	We ought to start camping
	again, Dad.

			SAM
	Okay, tiger.  Time for bed.

			JONAH
	It's only ten o'clock.

			SAM
		(a little edgy)
	Jonah!

			JONAH
	Okay.

			SAM
	Thank Victoria for dinner.

			JONAH
	Thanks for dinner.  I never saw
	anybody cook potatoes that way.

			SAM
		(gracious)
	I'm glad you liked it.  Good
	night, Jonah.

They watch as Jonah pads down the hallway.

EXT. SAM'S HOUSEBOAT - REAR DECK - ON SAM & VICTORIA

They're standing at the rail, talking.

INT. HOUSEBOAT - NIGHT

Jonah has snuck downstairs and is peeking out the window
at them.

Victoria runs her finger down Sam's arm.

Jonah is horrified.

He dashes over to the phone and begins to dial.

INT. ANNIE'S BEDROOM - NIGHT

A sleeping Annie and Walter are startled awake by the
ringing of her phone.

			ANNIE
		(groggy)
	Hello.

			BECKY
		(through filter)
	Turn on your radio!

			ANNIE
	What?

			BECKY
		(through filter)
	The kid is on.  You've got me
	listening to this garbage.
	Go on, turn it on.

			WALTER
	Who is it?

			ANNIE
	Oh, it's just Becky, she's
	having trouble with Rich again.
		(into phone)
	Hold on, Becky, I'm going
	downstairs.

She puts the phone on hold and gets out of bed.

INT. KITCHEN - NIGHT

As Annie comes in and turns on the radio and picks up
the phone.

			JONAH (V.O.)
	This is a complete disaster.  I
	wanted him to find a wife, but
	he's got the wrong one --

			ANNIE
	How am I going to explain this
	to Walter?

			BECKY (V.O.)
	Shhh, listen to this --

Annie takes the portable radio and the telephone
receiver, opens the broom closet and closes herself
inside.

			DR. MARCIA FIELDSTONE (V.O.)
	Shouldn't your father be the
	judge of whether she's right
	or wrong?

ON JONAH

sneaking glances out at Sam and Victoria as he talks.
Victoria puts her arms around Sam's waist and clasps
them behind him.

			JONAH
	Please, please don't make me
	sick.  He's not sane enough to
	judge anything.  She's a ho.

ON THE OUTSIDE OF THE BROOM CLOSET, WITH THE TELEPHONE
CORD LEADING INTO IT.

			JONAH (V.O.)
		(muffled slightly)
	My dad's been captured by a ho.

Suddenly Sam happens to look over to the window.  Jonah
ducks down behind the desk before Sam sees him.

EXT. HOUSEBOAT - NIGHT

Victoria notices Sam glancing back at the house, aware
that he's concerned about Jonah seeing them.

			VICTORIA
	Is he there?

			SAM
		(turning back)
	No.
		(beat)
	After he was born, every time
	we started to make love, he
	would cry.  He had an uncanny
	sense of timing.  We really
	shouldn't do anything here
	anyway.

			VICTORIA
	Absolutely.  Right.

And she moves in to kiss him.

ON JONAH

Jonah peeks up over the top of the desk to check if the
coast is clear and is sickened to see them locked in a
kiss.

			JONAH
	Oh God, it's major.  He's
	kissing her on the lips.  I
	have to stop this.

ON BROOM CLOSET

			ANNIE
		(muffled)
	Come on, Jonah --

			BECKY (V.O.)
	Do something --

ON JONAH

			DR. MARCIA FIELDSTONE (V.O.)
	Jonah, you can't butt in here.

			JONAH
	Yes, I can.

He hangs up the phone and SCREAMS.

						CUT TO:

ANNIE AS THE BROOM CLOSET DOOR OPENS.

SHE SCREAMS.

It's Walter.

			WALTER
	Miss Scarlett.  In the broom
	closet.  With the radio.

			ANNIE
		(to Becky)
	I gotta go.  I'll see you at
	work.
		(she hangs up, turns
		off radio)
	Walter, you scared me.  Don't
	ever do that again.

INT. HOUSEBOAT - NIGHT

As Sam holds Jonah by the shoulders.

			SAM
	Don't ever do that again.

			JONAH
	I thought I saw a black widow
	spider.

Sam looks at Victoria, shrugs.  Back to Jonah.

			SAM
	What are you doing up?

			JONAH
	I was thirsty.

			SAM
	There's a bathroom upstairs.

			JONAH
	The water tastes better in the
	kitchen.

			SAM
	That's true.  Why is that?

INT. ANNIE'S TOWNHOUSE APARTMENT - NIGHT

As she and Walter go upstairs to bed.

			ANNIE
	Becky heard this woman on the
	radio complaining about this
	guy she was sure was Rick,
	which meant he was cheating on
	her.  She was completely
	hysterical.  Then it turned out
	the woman lived in Duluth.

			WALTER
	That doesn't make any sense.

			ANNIE
	I know.  It makes no sense at
	all.  Thank God my life is in
	place.

INT. ANNIE'S BEDROOM - NIGHT

Walter asleep.  Annie stares up at the ceiling, wide
awake.  Thinking.

INT. JONAH'S BEDROOM - NIGHT

Jonah lying on his pillow, staring up at the ceiling,
wide awake.  Thinking.

INT. JESSICA'S PARENTS' TRAVEL AGENCY - DAY

Jessica is reading the letter from Annie.  She's sitting
at a computer in their travel agency, which is on the
entrance level to a charming Seattle townhouse.  Jonah
sitting there.

			JESSICA
	Write her.

			JONAH
	You think so?

			JESSICA
	It's Y. O. H.

			JONAH
		(agreeing)
	Yeah.
		(a beat)
	What's that?

			JESSICA
	Your only hope.

INT. NEWSROOM - DAY

Annie, at her computer, talking to Becky.

			ANNIE
	I thought I would look into
	doing a story about those radio
	shows.

			BECKY
		(nods; after a beat)
	You'd probably have to go
	somewhere to really look into
	it.

			ANNIE
	Definitely.

EXT. STREET OUTSIDE JESSICA'S HOUSE - A LITTLE LATER

Jonah and Jessica at the mailbox.  As Jonah opens the
mailbox and drops the letter in, we hear a SQUEAL OF
BRAKES.  It's Sam's car.

			SAM
		(angry)
	Get in the car right this
	minute.

Jonah, about to get in, looks at Jessica.

			JESSICA
	I'll call you later.

Jonah gets in.

INT. SAM'S CAR - CONTINUOUS

			SAM
	Did you call that radio station
	again?

			JONAH
	No.

			SAM
	Everyone at work heard you.

			JONAH
	I just called for a second.

			SAM
	Long enough to call Victoria a
	ho.

			JONAH
	It's a short word.

			SAM
	This is not a joke.  Thank God
	Victoria doesn't know.  It
	would really have hurt her
	feelings.

			JONAH
		(really getting into
		it)
	If she knew, she'd never
	forgive me.  It would be
	hopeless for the two of you.

EXT. SEATTLE STREET - CONTINUOUS

As the car drives off.

			SAM (V.O.)
	Don't open your mouth again.
	Ever.

EXT. A CAR DOOR SLAMMING - NIGHT

And pull back to reveal:

EXT. BALTIMORE RESIDENTIAL STREET - NIGHT

As Annie and Walter get out of the car, dressed for a
dinner.

			WALTER
	Couldn't you just do a phone
	interview?

			ANNIE
	Not for the kind of place I
	want to do.  I won't be in
	Chicago that long.

			WALTER
	When you get back, I'll be
	gone --

			ANNIE
	And then I'll see you in New
	York --

			WALTER
	Okay, okay.

EXT. BALTIMORE INTERNATIONAL AIRPORT - DAY

A 747 accelerates down the runway and blasts into the
winter sky.

INT. AIRPLANE - IN FLIGHT - DAY

Annie is looking out the window, preoccupied.

			PILOT'S VOICE
	This is Captain Foster
	welcoming you aboard Flight 132
	to Seattle.  Our flying time
	today...

			ANNIE
	Do you believe that any lie is
	a betrayal? That's what Harold
	Pinter says, but it seems to me
	it's a very harsh way of
	drawing the line.

Annie turns back to the window, leaving the seatmate,
who in any case doesn't speak English, completely
mystified.

INT. SEATTLE/TACOMA AIRPORT - DAY

Jonah is standing out of the way at a departure gate,
watching Sam as Victoria checks in for a flight bound
for Minneapolis.

			VICTORIA
		(turning to Jonah)
	Can I bring something back for
	you? A souvenir?
		(to Sam)
	Does he like those little snow
	scenes?
		(to Jonah)
	You know -- you shake them up
	and the snow floats down?

Sam looks at Jonah, threateningly.  Be nice or else.

			JONAH
		(extremely polite)
	Sure.  I'd really like that.
	Thank you so much.

			VICTORIA
	Well...

			JONAH
	I think they're announcing your
	flight.

Sure enough, passengers are starting to board.

			SAM
	He's ten.

			VICTORIA
			(he's good at it)
	He's good at it.

			SAM
	I read an article about this
	...

			VICTORIA
	I read the same article...

			SAM
	It takes time --

			VICTORIA
	Absolutely.  When I come back,
	maybe the two of us should
	spend some time together, on
	our own.  What do you think?

			SAM
	Sure.  Sure.

Victoria waves goodbye and starts toward the jetway.
As Sam watches her go, Jonah looks at him, sticks his
finger in his mouth and pretends to gag.

			SAM
		(impatiently)
	Jonah, this isn't fair.  You
	don't know Victoria.  I hardly
	know her myself.  She is, in
	fact, a mystery to me.  She
	tosses her hair a lot.  Why
	does she do this? I have no
	idea.  Is it a twitch? Does
	she need a haircut? Should she
	use barrette so it doesn't
	keep falling in her face?
	These are things that I'm
	willing to get to the bottom
	of, and that is why I am dating
	her.  That is all I am doing.
	I am not marrying her.  Can you
	appreciate the difference?
	That's what single people do,
	they try people on and they see
	if they fit.  But nobody fits
	perfectly, everyone is an
	adjustment.

			JONAH
	Was Mom an adjustment?

			SAM
		(complete exasperation)
	I'm never going to meet anyone
	who's going to measure up to
	your mom in your eyes? What do
	you think? There's a perfect
	woman walking around out there?

At that moment, Annie emerges from the jetway right next
to the one Victoria went into and comes toward us.

			SAM
	There's no such thing as a
	perf --

Sam sees Annie immediately, and is instantly struck by
her looks, her fluidity, her poise.

Annie walks right toward Sam, right past him, inches
from him, not noticing him as she looks for the exit.
Sam continues to stare at her.

			SAM
		(to himself, referring
		to Annie)
	God, she's beautiful.

			JONAH
		(unaware he's talking
		about Annie)
	Victoria? She's okay.

Sam and Jonah start toward the exit, Sam trying not to
lose sight of Annie.

			JONAH
	Dad, I was talking to Jessica
	about reincarnation, and she
	thinks that probably you knew
	Annie in another life.

			SAM
		(completely distracted)
	Who is Annie?

			JONAH
	The one who wrote us.

Sam is preoccupied with Annie.  She takes a turn that he
doesn't expect.  He's having trouble keeping up, because
he has to wait for Jonah.

			JONAH
		(continuing)
	But Jessica says you and Annie
	never got together in that
	life, and your hearts are like
	puzzles with parts out of them
	and when you get together the
	puzzle's complete.

He's lost Annie in the crowd.  She's nowhere in sight.

			SAM
	God dammit.

A beat, then Sam heads off to the exit.  Jonah follows.
As they walk into the distance --

			JONAH
	The reason I know this and you
	don't is that I'm younger and
	purer so I'm more in touch with
	cosmic forces.

			SAM
	I sincerely hope you are not
	going to marry Jessica.

EXT. AIRPORT CAR RENTAL AGENCY - DAY

As the shuttle bus drops Annie off at a rental car.  As
she gets in and starts the car.

EXT/INT. SEATTLE/RENTAL CAR - DAY

Annie driving through the streets of Seattle, referring
continually to a map she has spread out on the passenger
seat, trying to navigate her way to the Baldwin houseboat.

EXT. STREET FRONTING THE BALDWIN HOUSEBOAT SLIP -- DAY

Annie drives slowly down the street, looking for the
Baldwins' marina.  She stops, blocking the driveway to
the marina.

ON ANNIE IN HER RENTAL CAR

checking the map.

Suddenly she hears a HORN HONKING behind her.  She looks
into the rear-view mirror and sees Sam and Jonah in
their van, anxious for her to move so they can pull into
their driveway.

Recognizing Sam from Wheedle's picture, Annie panics and
speeds away, tires squealing.

EXT. SEATTLE GAS STATION - DAY

Annie's car is parked just outside the rest room.

INT. GAS STATION RESTROOM - DAY

Annie's in the Ladies' Room, splashing some water on her
face.  She towels it off and looks into the mirror.

			ANNIE
		(practicing)
	Hello, Mr.  Baldwin? No.
	Hello, Sam?
		(sweet)
	I'm Annie Reed.
		(dignified)
	I'm Annie Reed.
		(sultry)
	I'm Annie Reed.
		(matter-of-fact)
	I'm Annie Reed.

She settles on the matter-of-fact reading.

			ANNIE
	I heard about you calling Dr.
	Fieldstone, and well, I just
	happened to be out here on...

JUMP CUT:

			ANNIE
		(businesslike)
	business...

JUMP CUT:

			ANNIE
		(carefree)
	vacation...

JUMP CUT:

			ANNIE
		(losing confidence,
		ready to pack it in)
	for no good reason at all...
		(rallying, businesslike
		again)
	business... and I thought I'd
	drop and...
		(breezy)
	say hello...

JUMP CUT:

			ANNIE
		(earnest)
	invite you to lunch...

JUMP CUT:

			ANNIE
		(sexy)
	take a shower with you...

JUMP CUT:

			ANNIE
		(embarrassed with all
		this)
	shoot myself.

EXT. STREET NEAR MARINA - LATER

ON ANNIE

watching.  She's at a safe distance, across the street
and down some from the marina entrance.  She watches it
for a moment, then gains courage.  She starts to cross
the street to enter the dock.

EXT. DOCK - CONTINUOUS

Annie walks toward Sam's houseboat.  Nervously.  Goes up
to the door.  Adjusts herself quickly and knocks.  No
response.  Let down, she's just about to walk away when
she hears a motor REV UP.

Annie peeks around the side of Sam's houseboat and spots
Sam and Jonah heading out in their dingy.

EXT. STREET NEAR MARINA - CONTINUOUS

Annie races back to her car, jumps in and follows the
boat along the seashore drive.

EXT. SEATTLE HIGHWAY - CONTINUOUS

As we see Annie driving along the water as Sam and Jonah
chug along in the water.

EXT. ALKI BEACH - ON SAM AND JONAH

They're down at the water's edge, skipping broken
clamshells, like stones, across the surface of the water.
They're laughing, pointing, counting out the number of
skips, arguing over the merits of each throw.

ON ANNIE

checking them out from a phone booth next to the Snak Shak.

						DISSOLVE TO:

ANNIE'S POV - ON SAM AND JONAH - LATER

They're throwing a football.  Jonah catches it and
starts to pretend to score a touchdown, dodging and
feinting.  Sam tackles him and they tumble together on
the beach.

CLOSE ON ANNIE

watching.  The purity and innocence of this little scene
-- a father and son at play -- is affecting her more
than she ever could have imagined.  Their LAUGHTER
filters up to her.  Right to her heart.

			ANNIE (V.O.)
	I watched him play with his son
	at the beach.

INT. ANNIE'S MOTEL ROOM - NIGHT

Annie's on the phone with Becky.  We cut back and forth
between them.

			BECKY (V.O.)
	Did you talk to him?

			ANNIE
	I couldn't do it.  How did I
	get here?

INT. BECKY'S BEDROOM - NIGHT

Becky on the phone in bed.  And cut back and forth.

			BECKY
	You told a lie and got on a
	plane.

			ANNIE
	That's not what I mean.
		(beat)
	I'm going back over there
	tomorrow and talk to him.  I
	am.

			BECKY
	Okay.  Good.  Goodbye.

			ANNIE
	Becky?

			BECKY
	What?

			ANNIE
	Is this crazy?

			BECKY
	No.  That's the weirdest part
	about it.

			ANNIE
	Thank you.  I love you.

			BECKY
	I love you, too.

			ANNIE
	Good night.

Annie hangs up the phone.  She turns off the light.
Moonlight coming through the window.  Hold on her.

EXT. STREET NEAR MARINA - DAY

Annie parks across from the marina, starts to get out.

Sam's van pulls into a parking space.  Jonah in the
front with Sam.  They're diagonally across a four-lane
street.

ON SAM AND JONAH

As they start to get groceries out of the car.

Annie watching.  This is it.  No chickening out this time.

She's come three thousand miles, told lies, the whole
thing.  It's now or never.

Sam and Jonah start toward the gate to the dock.

Annie starts to cross the street, gathering courage and
rightness with every step.

But she STOPS DEAD WHEN SHE SEES:

SUZY

who we remember from eighteen months ago, appearing at
the gate to the marina -- waving, smiling a mile wide --
beckoning Sam and Jonah home like a military wife whose
boys have just come back from the front.  Sam and Jonah
are overjoyed to see her.  Jonah breaks into a run,
nearly leaping into Suzy's waiting arms -- as Sam brings
up the rear, picking up Jonah's sodas which he dropped
when he started running.

ON ANNIE

She comes to a standstill, in the middle of the street.
In shock.  The scene in front of her is too horrible to
bear.

ANNIE'S POV - GATE TO MARINA

Sam catches up.  Suzy -- no less beautiful and vivacious
than she was before -- tousles Jonah's hair, kisses Sam
and hugs them both.

ON SAM, JONAH AND SUZY.

			SAM
	God, it's wonderful to see you.
	Where's Greg?

			SUZY
	He's over at the boat show.
	He'll be by later.
		(she looks around)
	It's so beautiful here.

ANNIE

There is such apparent warmth, and joy, and love about
this homecoming that she forget where she is -- in the
middle of the street.  A car HORN blares at her... all
she can do is stare at the nightmare that has unfolded.
She starts to back away -- and that's when she sees --

A TAXICAB

coming right at her, horn BLARING, tires SQUEALING.
Annie starts to jump to the other lane but there's a van
bearing down from the opposite direction.  She steps
back to the middle line.

The cab goes into a skid.  Annie freezes.

Sam heard the noise and turns to see what's going on.
The cab comes SCREECHING right at the CAMERA.

Annie screams.

The cab stops inches from her body.  The van in the
other oncoming lane fishtails to a stop as well.

ON SAM

responding.  He runs from the gate toward the near-
accident.

ON THE CAB DRIVER

getting out of the cab, as other people gawk from the
sidewalk.

			DRIVER
	Lady, what the hell are you
	doing?

Annie, still in shock from her brush with disaster,
hears the Cabbie but doesn't respond.  Stunned, she
turns to see Sam on the other side of the street.  Their
eyes meet.  Sam stops, realizing it's the woman he saw
in the airport.

			SAM
	Hello.

			ANNIE
	Hello.

Annie, totally mortified and humiliated by everything
that's happened, bolts for her car.

Sam wants to run after her -- but there's traffic is
coming past and he can't cross the street.  Annie gets
into her car, starts and pulls away.  Sam stands there,
deflated.

EXT. AIRPLANE - IN FLIGHT ACROSS THE U.S. - DAY

			ANNIE (V.O.)
	How could I have been such an
	idiot?

EXT. BALTIMORE STREET - DUSK

Becky's car driving toward Annie's house.

			BECKY
	You were standing in the middle
	of the street?

INT. BECKY'S CAR - DUSK

			ANNIE
	You know that dream where
	you're walking down the street
	naked and everyone is looking
	at you?

			BECKY
	I love that dream.

			ANNIE
	That was nothing compared to
	this humiliation, nothing.

			BECKY
	But he saw you, right?

			ANNIE
	He said hello.

EXT. TOWNHOUSE - ON ANNIE & BECKY - DUSK

As Annie leads the way to her door, from Becky's car.

			BECKY
	And what did you say?

Annie takes the mail from the mailbox on her way to the
door.

			ANNIE
	All I could think of to say was
	hello.

						CUT TO:

"AN AFFAIR TO REMEMBER" ON THE TELEVISION SET.  DEBORAH
KERR IS SAYING: "ALL I COULD THINK OF TO SAY WAS HELLO."

And pull back to reveal:

INT. ANNIE'S TOWNHOUSE LIVING ROOM - NIGHT

Becky and Annie looking at the television.

			BECKY
	It's a sign --

			ANNIE
	It's a sign I've watched this
	movie too many times.
		(beat)
	I'm so stupid.  From the minute
	I listen to that stupid program
	on the radio, I've been a
	complete jerk.

She starts absently going through the mail, throwing
almost all of it away without even opening it.

			BECKY
	You don't know who she was,
	Annie --

			ANNIE
	I saw her.  She looked just
	like this --

She shows Becky the photo of Victoria and Sam having
dinner.

			BECKY
	This is a photo of hair.

			ANNIE
	Well, it's the same woman.  And
	he was crazy about her.
		(looking at one letter)
	What is this?
		(beat)
	This is from Seattle.

She opens the letter.

Reads it.

Looks up at Becky.

			ANNIE
	Becky?

			BECKY
	So I mailed your letter.

			ANNIE
		(reading the letter)
	"Dear Annie: Thanks for your
	letter.  It was great.  We're
	very excited about meeting you
	in New York on Valentine's Day
	and seeing if we are M.F.E.O.
	Sleepless in Seattle."

			BECKY
	M.F.E.O.?

			ANNIE
	Made for each other.

A long beat.

			BECKY
	It's cute.  It's like a little
	clue.

Annie looks at her balefully.

			BECKY
		(continuing)
	So he can't write.  Big deal.
	I mean, verbal ability is a
	highly overrated thing in a
	guy, and our pathetic need for
	it is what gets us into so much
	trouble.

			ANNIE
		(with resolve)
	I'm going to run back to
	Walter's arms, if he's still
	have me.

			BECKY
	What about the letter?

			ANNIE
	It doesn't mean anything.  It
	was written before I went out
	there.  Before the ho.

She puts the letter on an ashtray, takes a match and
lights it.  They both watch it burn.

CLOSEUP ON THE FIRE

And pull back to reveal:

INT. SAM'S HOUSEBOAT - NIGHT

A fire is blazing in the wood-burning stove.  Suzy is
sitting with her husband Greg and Sam.  Jonah is in
evidence, curled up on the couch under some blankets,
asleep.  On the table near the couch is red construction
paper for valentines, doilies, magic markers, etc.

			SUZY
	You saw her in the airport and
	then here?

			SAM
	I tried to talk to her...
		(he shrugs)
	It was like I knew her.  Weird.

			GREG
	Well, at least you're out there
	seeing people again.  That's
	terrific.

			SAM
	Well, just one really.

			SUZY
	How's Jonah taking it?

			SAM
	It'll take him a while to come
	around.  A month ago he called
	one of those radio call-in
	shows and told them I needed a
	wife --

			SUZY
		(charmed)
	You're kidding --

			SAM
	Now that I'm seeing someone,
	it's a whole other thing.

ON JONAH

he's not asleep after all.  He's been listening all
along.

			SAM
	He's become obsessed with
	some woman who wrote me --

			GREG
	Are you serious?

			SAM
	She wants to meet me at the top
	of the Empire State Building.

			SUZY
	It's a little derivative.

			SAM
	What do you mean?

			SUZY
	"An Affair To Remember." Did
	you ever see it? Cary Grant
	and Deborah Kerr.  Before that
	it was called "Love Affair With
	Irene Dunne And Charles Boyer."

			GREG
	Women love this movie.

On Jonah, listening.

			SUZY
	They met at the Empire State
	Building, only they didn't.
	Never mind.

			GREG
	What kind of person would write
	to someone they heard on the
	radio?

			SAM
	I got hundreds of letters from
	women all over the country --

			GREG
	Desperate women --

			SUZY
	Just because someone's looking
	for a nice guy doesn't make
	them desperate.

			GREG
	How about rapacious and love-
	starved?

			SUZY
	No.

			GREG
	It is easier to be killed by a
	terrorist --

			SUZY
	It is not --

			GREG
	Right, right.

Suzy's irritated.

			SAM
	Anyway, Victoria's nice.

			SUZY
	Would you follow her through an
	airport?

			SAM
	Look, I met somebody.  She's
	good, and capable and smart.
	We hit it off.  We can't spend
	your life chasing after
	fantasies.

Jonah is devastated by the realization that his dad is
serious about Victoria.

INT. SAM'S BEDROOM - ON SAM IN BED - NIGHT

The door to his bedroom opens.

Annie walks in.  She's wearing a white men's shirt.

			ANNIE
	Hi.

			SAM
	Hi.
		(a beat)
	So far so good.  So.  What
	should we talk about? How
	insecure we were in high
	school.  Shirley Votypka, the
	first girl I ever felt up.
	Health.  What about health?
	Did you know that eating six
	macadamia nuts is the
	equivalent of eating a steak?

			ANNIE
	Shhhh --

She unbuttons her shirt.

And they kiss.

FREEZE FRAME on the kiss.  It becomes the silhouette of
a man and a woman kissing.

AND PULL BACK TO REVEAL:

The silhouette of a man and a woman kissing on a red box
of Valentine's Day chocolates and now we see:

EXT. BALTIMORE - VALENTINE'S DAY - DAY

A few quick shot of Valentine's Day in Baltimore: shop
windows lined with candy displays of red satin hearts,
lacy Valentine cards, red roses in elaborate floral
arrangements, old ladies selling chocolates, young
ladies selling perfume.

A red Valentine's envelope is being tossed on a desk,
and pull back to reveal:

INT. BALTIMORE SUN - DAY

Annie at work.  She looks at the card and opens it.
It's from Walter.  She smiles.  Looks up.  There's
Becky.

			BECKY
	You're going to miss the train.

			ANNIE
	No, I'm not.
		(she starts assembling
		her things)

			BECKY
	What are your plans in New
	York?

			ANNIE
	We're going to the Rainbow Room
	and the symphony tomorrow night.

			BECKY
	I love the symphony.

			ANNIE
		(cheerfully)
	I hate it.
		(she stands to go,
		starts toward the
		elevator)
	I'm so happy, Becky.  Finally I
	feel happy.  This is right.
	This is real.  Everything else
	is what happens when you watch
	too many movies and completely
	lose sight of what counts.
		(as she steps into
		elevator)
	Please don't tell anyone about
	what happened.  "Sleepless in
	Seattle" is history.

INT. BALTIMORE TRAIN STATION - DAY

Annie through the train window as the train starts to
move out of the station.

MAP OF THE UNITED STATES.

The map we saw at the beginning of the movie, as the
light dims in Baltimore and a light goes on in New York.

EXT. NEW YORK HOTEL - NIGHT

Annie steps out of a cab.

INT. NEW YORK HOTEL - NIGHT

Walter opens the door to a beautiful suite.  A bouquet
of flowers sits on the desk.  A bucket of champagne.

Annie throws herself into his arms.

Walter sneezes.

EXT. THE EMPIRE STATE BUILDING - DAY

And pull back to reveal that it's a shot from "An Affair
To Remember."

And pull back to reveal:

INT. JESSICA'S HOUSE - DAY

JONAH is watching with his little girlfriend JESSICA,
who's crying.

			JESSICA
		(weeping)
	This is the best movie I've
	ever seen in my life.

			JONAH
	I don't get it.

			JESSICA
	You have to go to her, Jonah.
	You have to find her.

Jonah nods.  But he isn't sure how he's going to do it.

			JONAH
	Do you know how much it costs
	to go to New York?

			JESSICA
	Nobody knows.  It changes
	practically every day.  How
	much money do you have?

			JONAH
	Eighty dollars.

			JESSICA
	I have forty-two.  So that
	would definitely cover
	taxicabs, I think.

			JONAH
	But how am I going to get
	there?

			JESSICA'S MOTHER
	Honey, I'm going out for a few
	minutes.
		(sticking her head in
		the door to the living
		room)
	Could you keep an eye on things
	out front till I get back?

Jessica looks over at Jonah.

			JESSICA
	Sure.

INT. JESSICA'S HOUSE - TRAVEL AGENCY OFFICE - DAY

Jessica is working on the computer.  She punches Jonah's
name into it.

			JESSICA
	Do you want an aisle or a
	window seat?

			JONAH
	Window.

			JESSICA
	Do you want a fruit plate?

			JONAH
	I don't know.  Do I?

			JESSICA
		(shrugs)
	I'd rather die than eat on an
	airplane.
		(beat)
	I'm telling them you're twelve
	so you can fly unaccompanied
	and they won't make you be
	carried around by a stewardess
	and everything.

Jonah nods.

Now Jessica takes a ticket form out of the desk and
starts to fill it out for Jonah.

EXT. FIFTH AVENUE - TIFFANY'S - A SCULPTED GLASS HEART
- DAY

formed by two dancers bending over backwards, awash in
pink light and spotlighted in white.

Walter and Annie are among a few other people -- couples
mostly -- looking in the windows.  Each one a variation
on the heart motif.  They move to a window -- "Broken
Heart" -- burnished metal, with tow cherubs flying out
of the wound in the middle.

ON WALTER AND ANNIE'S REFLECTION

in the Broken Heart window.

They're both in their own worlds.  Then they both start
to speak at once.  They stop.  Annie looks at Walter.

			ANNIE
	You go.

			WALTER
	Ever since Christmas, you've
	been different.  Kind of
	distracted, distant.  But I
	feel like you're coming back
	from wherever you were.

			ANNIE
	I am.
		(she smiles at him)
	I was just... I just got... I
	think I got nervous.  It's
	normal, right? Don't you ever
	feel nervous about, you know?

			WALTER
	What?

			ANNIE
	About forever.

			WALTER
	No.

			ANNIE
	Well, I did.  And you know what
	I think? I think that it was
	almost... too perfect.

INT. FIRST FLOOR - TIFFANY'S - DAY

As Annie and Walter walk through the jewelry department
to the elevator.

			ANNIE
	I started to wonder whether we
	were the human equivalent of
	two rights making a wrong, you
	know?

Walter has no idea what she means, but he's completely
good-natured about it.

INT. THIRD FLOOR TIFFANY'S - DAY

Annie and Walter are walking around the floor, followed
by a SALESWOMAN who is carrying a large white card on
which she is noting their selections.

			ANNIE
	It was like kismet but not, if
	you see what I mean.

Walter's brow furrows slightly.

			ANNIE
		(continuing)
	You have to grow up.  You can't
	have all these adolescent
	dreams about how exciting your
	life is going to be --

Walter starting to look puzzled.

			ANNIE
		(continuing)
	Don't hate me but I love this
	pattern.

			WALTER
	You couldn't.

			ANNIE
	I do.

			WALTER
	It's just like my grandmother's
	china.

			SALESWOMAN
	How many place settings should
	I put down?

			ANNIE & WALTER
	Ten.

Walter beams at her.

			WALTER
	Exactly.  Eight is too few and
	twelve is too many.

The SALESWOMAN writes a "10" on the big sheet of paper.

INT. FIRST FLOOR - TIFFANY'S - DAY

As Annie and Walter come out of the elevator on the
ground floor and WALTER stops for a moment at the
Jewelry Repair department, reappears with a little blue
Tiffany's box he gives to Annie.

Annie opens it.

Inside is a lovely antique diamond ring.

			ANNIE
	Walter.

			WALTER
	It was my mother's.

			ANNIE
	It's so beautiful.  It's just
	what I would have picked out if
	I'd had every ring in the world
	to choose from.
		(as she slips the ring
		onto her finger)
	You see what I mean.  There are
	people who would like a
	relationship to be full of
	surprises, but I am not one of
	them.
		(as she starts out the
		door with Walter
		behind, thinking about
		what she has just
		said)
	Surprises are highly overrated.

As they go out the door to:

EXT. FIFTH AVE.  - DAY

As they start down the street and go off into the
distance.

			ANNIE
		(continuing)
	Promise me something, Walter.
	Promise me you will never have
	a surprise party for me.  Ever.
	You know what happens, you walk
	in the door in some horrible
	sweater you put on that morning,
	and there are hundreds of people
	in their best clothes shouting
	"Surprise!"

INT. SAM'S BEDROOM - NIGHT

Sam's got a suitcase on the bed, packing.  Jonah is
standing in the doorway, watching.

He goes to his desk looking for something but can't find
it.  He tries a few drawers.

			SAM
	Have you seen my wallet?

			JONAH
	It might be in the kitchen.

Sam doesn't remember leaving it in the kitchen.

			SAM
	I'm only going to be away one
	night, okay, and Clarise will
	be here.  You'll have a swell
	time.  You'll watch a little
	Geraldo, some Nightmare on Elm
	Street 12, I'll never know.

			JONAH
	Are you going with her?

			SAM
	Yes.

Jonah walks out of Sam's bedroom and we hear the door to
his bedroom slam shut.

ON SAM

Starting to boil.

He walks into --

INT. HALLWAY - NIGHT

And open the door to Jonah's room.

INT. JONAH'S ROOM - NIGHT

			SAM
	I have to have a life.  I have
	to do things that I want with
	people my own age.  It's none
	of your business who I am going
	out with.  I don't give a good
	goddam if you're angry --

			JONAH
		(holding up Annie's
		letter)
	This is the one I like.

Sam starts back to his bedroom.

INT. SAM'S BEDROOM - CONTINUOUS

			SAM
	I don't care who you like.
	It's who I like.  But the truth
	is you're never going to like
	anyone because it isn't your
	mother.

Sam throws a pair of socks into the suitcase.

			JONAH
		(yelling)
	Fine.  I won't say anything.
	You can marry Count Dracula.

			SAM
	Thank you, Jonah.  But the
	point is, I am not asking
	permission.

			JONAH
		(yelling)
	What's wrong with Annie?

			SAM
		(emphasizing every
		word)
	Shut up.

Jonah appears at the doorway.

			JONAH
	Shut up?  Shut up???  Mom never
	did that.  Mom never said shut
	up to me.  Mom never yelled at
	me.

			SAM
	This conversation is finished.

			JONAH
	You said we could go to New
	York.

			SAM
	Did not.

			JONAH
	Did too.

			SAM
	I can't know what I said, but
	we're not going.

			JONAH
		(crossing his arms
		across his chest)
	I'm not leaving this room until
	you say yes.

			SAM
	Get out.

			JONAH
	No.

			SAM
	Goddammit, I am sick of this
	--

Sam picks Jonah up and carries him kicking and screaming
into:

INT. UPSTAIRS HALLWAY - NIGHT

and into:

INT. JONAH'S BEDROOM - NIGHT

			JONAH
	Put me down.  I hate you, I
	hate you --

He throws Jonah on the bed.  Jonah in tears.

			SAM
	I'm sick of this phony
	melodramatic bullshit.  I'm
	sick of it.

He leaves the room and slams the door.

INT. HALL - CONTINUOUS

Jonah weeping as Sam goes back to his bedroom.

INT. SAM'S BEDROOM - CONTINUOUS

The sound of Jonah weeping.

Sam sits down on the bed, wiped out.  Hold on him.

EXT. BALDWIN HOUSEBOAT - MORNING

As Clarise the babysitter arrives at the houseboat.

INT. HOUSEBOAT - MORNING

Sam and Clarise in the hallway outside Jonah's door.

			SAM
	Jonah?  Clarise is here, okay?
	And I'm leaving.

No response.

			SAM
	Jonah?
		(to Clarise)
	He's probably still asleep.

He opens the door gently to the room.

Jonah's gone.

IN QUICK CUTS:

Sam looks in the bathroom: no Jonah.  In the main cabin.
The back deck.  Out onto the docks.  Looking all up and
down.  Clarise coming down the deck -- she's apparently
been looking in the neighborhood.  As she shakes her
head no, Sam goes to the bicycle shed.  Jonah's bike
still there.  Sam stands on the deck.

EXT. SEATTLE/TACOMA AIRPORT - DAY

We see a group of people filing off an airport shuttle
bus.  The sign in front rotates from "Airport" back to
"Marina."

Jonah comes down the stairs and steps off with his
Mariners backpack.  He just stands there a beat, looking
around.  Then he goes through the glass doors.

INT. AIRPORT FIRST CLASS TICKET COUNTER - DAY

The TICKET CLERK turns back to the counter.

			TICKET CLERK
	Next.

Jonah steps forward, with his ticket.

INT. JESSICA'S HOUSE - DAY

Jessica is sitting defiantly in a chair in the middle of
the living room.  She is being interrogated but she is
not going to talk.  There's a clock on the mantel.  Sam
is in the room with Jessica's mother and father.

			JESSICA'S MOTHER
	Jessica, this is not
	acceptable.

			JESSICA'S FATHER
	If you don't tell us right now,
	right this minute, I'm going to
	kill you.

Jessica rolls her eyes.

She looks over the clock on the mantel.  As it ticks
to 8:30:

			JESSICA
	He's on his way to New York.

			JESSICA'S MOTHER
	What?

			SAM
	How?

			JESSICA
		(the child of travel
		agents)
	United 597.

Jessica's mother and father are horrified.

			JESSICA'S MOTHER
	Jessica!

			SAM
	When does it leave?

			JESSICA'S FATHER
	Eight-thirty.

Everyone looks over at the clock.  It says 8:31.
Jessica smiles.

INT. SAM'S CAR - DAY

CLOSE ON SAM

Driving to the airport.

EXT. HIGHWAY NEAR SEATTLE/TACOMA AIRPORT - DAY

As his car takes the airport exit.

INT. AIRPLANE - DAY

A stewardess bends affectionately over Jonah, ensconced
in the first-class section.  He's got his backpack on
his lap and he's holding it.

			STEWARDESS
	Here you go... here's a nice pin
	for you, for flying with us.

			JONAH
		(completely unmoved,
		but polite)
	Thank you.

			STEWARDESS
	You're welcome.  Can I take
	that for you?

			JONAH
		(clutching it even
		tighter)
	No.

INT. AIRPORT TICKET COUNTER - ON SAM - DAY

at the reservations desk.  Desperation.

			SAM
		(frantic)
	He's about this high, 90
	pounds, never combs his hair,
	Mariner's hat --

			AIRLINE CLERK
		(to his colleagues)
	Anyone check in a
	unaccompanied minor on the New
	York flight?

			FIRST CLASS TICKET CLERK
	I did.

Sam closes his eyes.

			SAM
	I'll kill him.
		(beat)
	I have to get to New York as
	fast as I can.

			AIRLINE CLERK
	We can get you on a flight to
	Chicago and you can change
	planes --

Starting to punch information into the computer.

			AIRLINE CLERK
	How will you be paying for
	this?

			SAM
		(taking out his wallet)
	American Express.
		(there's no American
		Express card in his
		wallet)
	Visa.
		(beat)
	I really am going to kill him.

INT. O'HARA AIRPORT - DAY

As Sam comes out of the plane from Seattle and dashes
through the concourse, managing to arrive at the plane
for New York at the very last moment.

INT. KENNEDY AIRPORT - DAY

As Jonah comes out of the plane from Seattle and looks
up to see which way to go.  He looks very small.  Big
New York passengers in a hurry whiz by with their
carryons dangerously flying at their sides.

EXT. KENNEDY AIRPORT - A FEW MINUTES LATER

Jonah stands in a taxi line.

INT. TAXI - A FEW MINUTES LATER

Jonah sits down in the back seat.  Looks up.  A big
bruiser of a CAB DRIVER leans back over the seat, sizing
Jonah up.

			TAXI DRIVER
	Where to?

			JONAH
	Empire State Building.

INT. PLANE TO NEW YORK - DAY

Sam is in an aisle seat.  He closes his eyes and
squeezes them tight.

			SAM
		(to himself)
	Come on... come on... come on...
	COMEONCOMEONCOMEONCOMEONCOMEON...

EXT. EMPIRE STATE BUILDING - AFTERNOON

It looks magnificent in the waning afternoon light.

			CABBIE'S VOICE
	There it is.

We are watching from:

INT. A TAXICAB

where Jonah, with his head out the window, regards the
building with awe.

			CABBIE
	What are you gonna do there,
	spit off the top?

			JONAH
	No.  I'm gonna meet...
		(trying to figure out
		what to call her)
	my mother.

INT. RAINBOW ROOM - DUSK

Walter and Annie walking toward their table with the
MAITRE D'.

Annie sits down, looks at the view.  Walter starts to
sit, revealing a spectacular view of the EMPIRE STATE
BUILDING directly behind him.  Annie's smile fades.

			WALTER
	Is something wrong.

Annie shakes her head.

			MAITRE D'
	May I get you a drink?

			WALTER
	Some champagne?

			ANNIE
	Fine, fine.

Walter glances back over his shoulder.

			WALTER
	Beautiful view, isn't it?

			ANNIE
	Walter, there's something I
	have to tell you --

EXT. KENNEDY AIRPORT - DUSK

As Sam rushes out of the terminal.  Desperate.

A cab pulls up.  Sam bolts to the head of the line and
muscles his way into the cab.  The other people in line
are irate.

			SAM
	Sorry, this is an emergency.

The cab pulls out to a chorus of verbal abuse.

			SAM (V.O.)
	Empire State Building.

INT. EMPIRE STATE BUILDING LOBBY - DUSK

Jonah, carrying his backpack, walks through the majestic
lobby and follows the arrow to the Observation Deck.

EXT. TOP OF EMPIRE STATE BUILDING - HELICOPTER SHOT - DESK

Looking down on the observation deck.  The city below.
The tiny figure of Jonah walks into the middle of the
deck.  Looks around.

EXT. 59TH STREET BRIDGE - DUSK

Sam's cab speeds across the bridge and into Manhattan,
heading for the Empire State Building.

INT. TOP OF THE EMPIRE STATE BUILDING - DUSK

Jonah is going to take the bull by the horns.  He walks
up to a likely-looking WOMAN.

			JONAH
	Hi, I'm Jonah.  Are you Annie?

			WOMAN #1
	No.
		(smiles at him)
	I'm Cynthia.

He spies another unattached woman.

			JONAH
	Excuse me, are you Annie?

EXT. RAINBOW ROOM - DUSK

A helicopter shot of Annie talking animatedly to Walter.

And pull back to reveal that the Rainbow Room is
actually being seen by Jonah through a viewscope in:

EXT. EMPIRE STATE BUILDING OBSERVATION DECK - DUSK INTO
NIGHT

Jonah is looking through the viewfinder.  He turns
around, forlorn.  He takes off his backpack and is about
to sit down next to it when Sam bolts into the
observation deck.

Jonah leaps into his arms.

			SAM
	You're my family.  You're all
	I've got.  What if something
	happened to you?

Sam's eyes well up.  Jonah starts to cry.

			SAM
	What if I couldn't get to you?

			JONAH
	I was scared of what you were
	gonna do.

			SAM
	When I found you?

			JONAH
	If I didn't go.

			SAM
	Listen, have I ever done
	anything really stupid?

			JONAH
	No.

			SAM
	I mean, so far, have I screwed
	it up for you?

			JONAH
	No.

The two of them hold each other tight.  After a beat:

			SAM
	I can't believe you flew first
	class.

			JONAH
	It was all they had.

INT. RAINBOW ROOM - NIGHT

Annie and Walter.  There's champagne in their glasses,
but neither of them has drunk a drop.

			ANNIE
	I don't know what to say about
	it, Walter.  It was a form of
	temporary insanity.  But I had
	to tell you about it because --

			WALTER
		(matter-of-fact)
	-- it was a betrayal.

			ANNIE
	Yes.  But it wasn't really.  It
	was just...

			WALTER
	So what happened?

			ANNIE
	I told you.  Nothing --

			WALTER
	At the top of the Empire State
	Building --

			ANNIE
	I'm not at the top of the
	Empire State Building.  I'm
	here.

			WALTER
	Not really.
		(beat)
	Look, Annie, I love you.  Let's
	leave that out of it.  I don't
	want to be someone you're
	settling for.  I don't want to
	be someone anyone settles for.
			(beat)
	I have a life insurance policy,
	I'm fully invested in growth
	stocks, I have a paid
	subscription to Home Rox
	Office, I have no sexual
	diseases, I have been steadily
	employed in a part of the
	economy that isn't soft, I have
	expectation in the way of
	inherited wealth, I dress
	nicely, I am a member of the
	private sector, an independent
	voter, I don't watch Monday
	Night Football, the only thing
	wrong with me is that I am
	allergic to wheat,
	strawberries, penicillin,
	pollen, nuts and wool.  There
	are plenty of women who see me
	as the brass ring.  If you
	don't -- marriage is hard
	enough without bringing such
	low expectations into it, isn't
	it?

Annie is nodding.  She wipes a tear from her face.

			ANNIE
	Oh, Walter.  I don't deserve
	you.

			WALTER
	I think that's what I'm saying.

Slowly, gingerly, Annie slips the engagement ring off
her finger and hands it to Walter.

No bitterness here.  Both of them trying to be gentle
with each other.

			ANNIE
	You okay?

			WALTER
	Yes.
		(beat)
	Some people will do anything to
	get out of going to a symphony.

This breaks the tension.  Both of them smiles.

			ANNIE
	Oh!

			WALTER
	What?

			ANNIE
	Look!

Walter turns to look over his shoulder at what Annie
sees:

THE LIGHTS HAVE JUST GONE ON ON THE EMPIRE STATE BUILDING
VALENTINE LIGHTS:

A huge pink and white heart.

Walter turns back to Annie.

			WALTER
	Go for it.

And as Annie's heart leaps and she's about to bolt.

						CUT TO:

EXT. WEST 50TH STREET - NIGHT

As Annie comes out to the street and hails a cab.

As it screeches off toward Fifth Ave.

INT. EMPIRE STATE BUILDING OBSERVATION DECK - NIGHT

The lights are on all over the city.

The crowd has thinned out considerably.  Jonah and Sam
are among the last people left.  They gaze out at the
twinkling lights and the ever-darkening sky.

			ELEVATOR OPERATOR
	Last call.  Closing time.

Jonah looks at Sam.

			JONAH
	This is pretty dumb, wasn't
	it?

Sam shrugs.

			SAM
	Big deal.

After a beat.

			SAM
	Maybe we'll get a dog when we
	get back.

			JONAH
	Okay.

			SAM
	What do you mean, okay?
	Wouldn't you like a dog?

			JONAH
	Sure.

Sam puts his arm around him, they start toward the
elevator.

			SAM
	Let's go home.

EXT. FIFTH AVE - NIGHT

Annie's cab stuck in traffic.

As Annie gets out of the cab.

She's breaking into a hard run toward the Empire State
Building.

INT. LOBBY OF THE EMPIRE STATE BUILDING - NIGHT

Annie sprints in and over to Information Booth.

			INFORMATION BOOTH PERSON
	Sorry, ma'am, but the elevators
	are closed.

			ANNIE
		(out of breath)
	No.  Please.  I really need to
	get up there.

			INFORMATION BOOTH PERSON
	We're closing up.  No more runs
	tonight.

Annie takes a deep breath.  She's hit the end of the
road.  She turns to go but then turns back.

			ANNIE
		(out of breath)
	Listen, can I just take a look?
	Maybe... maybe... There's
	someone I was supposed to
	meet... He's probably not
	there, but if I don't at least
	look I'll always wonder about
	it.

The Information Booth Person looks at her.

			INFORMATION BOOTH PERSON
	Cary Grant, right?

			ANNIE
	You know that movie?

			INFORMATION BOOTH PERSON
	One of my wife's favorites.

INT. TOP OF THE EMPIRE STATE BUILDING

After a few beat the elevator door opens on a very
empty platform.

			ELEVATOR MAN
	Sorry, ma'am.  Empty.

Annie slowly walks out.

			ANNIE
	Can I take a minute?

			ELEVATOR MAN
	Go ahead.

She sighs.  Heads for the telescopes.  Looks out at the
twinkling lights below.

She casually turns the telescope and suddenly sees
something on the floor.

Jonah's Seattle Mariners backpack.

She picks it up.  She realizes that it might be...
could be... and opens it.  Inside is a toothbrush and
Jonah's teddy bear.  As she takes out the bear the other
elevator DINGS.

Annie looks up as Jonah and Sam exit the elevator.

			JONAH
	I left it near the...

And they stop.  There she is.  There they are.  Sam
can't believe it.  It's the mystery woman.

			SAM
	It's you.

			ANNIE
	It's me?

			SAM
	The one in the street.  I
	chased after you.

			JONAH
	Are you Annie?

			ANNIE
	Yes.

			SAM
		(confused)
	You're Annie too?

She smiles awkwardly.

			ANNIE
		(indicating the
		backpack)
	Is this yours?

Jonah walks over to her.  He puts his hand out.  She
shakes it solemnly.

			JONAH
	I'm Jonah.
		(nodding back to Sam)
	That's my dad.  His name is
	Sam.

			ANNIE
	Hi, Jonah.  Sam.
		(indicating the teddy
		bear)
	And who is this?

			JONAH
	Howard.

			ANNIE
	Howard.

Sam nods.  Smiling.  Starting to put it all together.
Annie smiles.  Still nervous.  No one knows what to do
next.  Just then, one of the elevator operators CLEARS
HIS THROAT.

			SAM
	We better go.

Annie nods.

Sam holds out his hand.

			SAM
	Shall we?

Annie slips her hand into his.  It feels comfortable,
natural, right.

			ANNIE
	Sam?

He looks at her.

			ANNIE
	It's nice to meet you.

On Annie.

On Sam.

On Jonah.  He makes a triumphant little double-fist
gesture to himself as the elevator doors close.

EXT. THE EMPIRE STATE BUILDING - NIGHT

WE SEE THE BUILDING from above, all lit up, a romantic
confection, the world's largest Valentine.

The CAMERA PULLS BACK and we see the United States
spread out before us, with lights twinkling everywhere.

And


FADE OUT

 
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