Sleepless in Seattle Page #8
- PG
- Year:
- 1993
- 105 min
- 1,490 Views
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, RUNNINGAnd 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
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.)
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:
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?
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.
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Sleepless in Seattle" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/sleepless_in_seattle_740>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In