500 Days of Summer

Synopsis: Tom (Joseph Gordon-Levitt), greeting-card writer and hopeless romantic, is caught completely off-guard when his girlfriend, Summer (Zooey Deschanel), suddenly dumps him. He reflects on their 500 days together to try to figure out where their love affair went sour, and in doing so, Tom rediscovers his true passions in life.
Genre: Drama, Romance
Year:
2009
222 Views

SIMPLE BLACK ON WHITE CREDITS ROLL TO BIG STAR'S "I'M IN LOVE

WITH A GIRL." When all is said and done, up comes a single

number in parenthesis, like so:

(478)

EXT. PARK - DAY

For a few seconds we watch A MAN (20s) and a WOMAN (20s) on a

park bench. Their names are TOM and SUMMER. Neither one says

a word.

CLOSE ON her HAND, covering his. Notice the wedding ring. No

words are spoken. Tom looks at her the way every woman wants

to be looked at.

A DISTINGUISHED VOICE begins to speak to us.

NARRATOR:

This is a story of boy meets girl.

CUT TO:

(1)

INT CONFERENCE ROOM - DAY

The boy is TOM HANSEN. He sits at a very long rectangular

conference table. The walls are lined with framed blow-up

sized greeting cards. Tom, dark hair and blue eyes, wears a t-

shirt under his sports coat and Adidas tennis shoes to

balance out the corporate dress code. He looks pretty bored.

NARRATOR:

The boy, Tom Hansen of Margate, New

Jersey, grew up believing that he'd

never truly be happy until the day

he met his... "soulmate."

CUT TO:

INT LIVING ROOM - 1989

PRE-TEEN TOM sits alone on his bed engrossed in a movie. His

walls are covered in posters of obscure bands. From the TV,

we hear:
"Elaine! Elaine!"

4.

NARRATOR:

This belief stemmed from early

exposure to sad British pop music

and a total misreading of the

movie, "The Graduate."

CUT TO:

INT OFFICE CUBICLE - PRESENT DAY

The girl is SUMMER FINN. She files folders and answers phones

in a plain white office. She has cropped blonde hair almost

like a boy's but her face is feminine and pretty enough to

get away with it.

NARRATOR:

The girl, Summer Finn of

Shinnecock, Michigan, did not share

this belief.

CUT TO:

INT BATHROOM - 1994

Teenage Summer stares at herself in the mirror. Her hair

extends down to her lower back.

NARRATOR:

Since the disintegration of her

parents' marriage, she'd only loved

two things. The first was her long

blonde hair.

She picks up scissors from the counter and begins to slice.

NARRATOR:

The second was how easily she could

cut it off... And feel nothing.

CUT TO:

SPLITSCREEN. INT BOARDROOM/ INT CUBICLE - SAME

On the right side of the screen, Tom continues to listen to

some boring presentation. On the left, Summer answers a call,

takes a message, and walks out of her cubicle down a long

narrow hallway.

5.

NARRATOR:

Tom meets Summer on January 8th in

a San Francisco office building. In

an instant, he will know she's the

one he's been looking for.

CU Summer opening the door to the boardroom, about to come

face to face with Tom for the first time.

NARRATOR:

This is a story of boy meets girl.

But before they do,

CUT TO:

BLACK.

NARRATOR:

You should know up front, this is

not a love story.

(240)

EXT STREETS OF SAN FRAN - NIGHT

A 12 year old GIRL rides her bicycle down the block. She

arrives at an apartment complex, jumps off the bike and races

up the front stairs. She rings the doorbell.

INT TOM'S PLACE - LATER

PAUL and MCKENZIE open the door. These are Tom's best friends

since birth. Paul is a doctor and wears hospital scrubs.

McKenzie works in the cubicle next to Tom.

PAUL:

I didn't know who else to call.

The Girl removes her bike helmet.

GIRL:

You did the right thing. Where is

he?

Tom is in the kitchen breaking things and basically going

insane. About to smash a plate on the floor, he's interrupted

BY:

6.

GIRL:

Thomas.

Tom freezes.

TOM:

Rachel? What are you doing here?

GIRL (RACHEL)

I'm here to help you.

TOM:

Help me how?

RACHEL:

First, put down the plate.

Tom slowly obliges.

RACHEL:

Now come here and sit down.

Tom sits next to the young girl. Paul and Mckenzie sit on

either side of them.

RACHEL:

The key is not to panic.

TOM:

I think I'm gonna be sick.

RACHEL:

Drink this.

She hands him a glass of water. Tom drinks it down.

MCKENZIE:

What is that?

RACHEL:

Vodka.

TOM:

(grimacing at the taste)

More.

He gulps another down.

TOM:

Does Mom know you're here? It's

gotta be past 10.

7.

RACHEL:

Don't worry about it. Start from

the beginning. Tell us what

happened...

Tom takes a deep breath.

EXT PARK - DAY

Tom and Summer eat sandwiches in the park.

TOM (V.O.)

We spent the whole day together.

EXT OUTDOOR MARKET - DAY

Tom and Summer walk through the stalls.

TOM (V.O.)

We went shopping.

EXT COFFEE HOUSE - DAY

Tom and Summer seated outside drinking coffee. He reads the

newspaper, she reads a novel.

TOM (V.O.)

We had coffee.

EXT MOVIE THEATER - DAY

Tom and Summer walk out of a movie theatre.

TOM (V.O.)

We saw a film.

INT RECORD STORE - LATER

Tom and Summer shop for music. Tom excitedly shows Summer a

Ringo Starr solo album.

TOM (V.O.)

We bought music.

8.

INT TOM'S PLACE

TOM:

I thought it was a great day.

RACHEL:

And then what happened?

INT DINER - NIGHT

Tom and Summer in a booth ordering dinner.

TOM:

(to WAITRESS)

Um...you know what...let's go

crazy, I'll have BOTH.

(to Summer)

God, I love eating pancakes at

night. It's like the greatest thing

ever. How great is this?

SUMMER:

I think we should stop seeing each

other.

INT TOM'S PLACE - AS BEFORE

RACHEL:

Just like that?

TOM:

Just like that.

PAUL:

Did she say why?

INT DINER - AS BEFORE

SUMMER:

This thing. This whatever it is.

You and me. Do you think this is

normal?

TOM:

I don't know. Who cares about

normal?! I'm happy. Aren't you

happy?

9.

SUMMER:

You're happy?

TOM:

You're not?

SUMMER:

All we do is argue!

TOM:

That is such a lie!

INT TOM'S PLACE - AS BEFORE

RACHEL:

Maybe she was just in a bad mood.

PAUL:

A hormonal thing.

RACHEL:

P.M.S.?

TOM:

(to Rachel)

What do you know about PMS?

RACHEL:

More than you.

TOM:

Oh my god.

MCKENZIE:

Please continue.

INT DINER - AS BEFORE

SUMMER:

This can't be a total surprise. I

mean, we've been like Sid and Nancy

for months.

TOM:

Summer, Sid stabbed Nancy seven

times with a kitchen knife. We've

had some disagreements but I hardly

think I'm Sid Vicious.

SUMMER:

No... I'm Sid.

10.

TOM:

(BEAT)

So I'm Nancy?!

The Waitress comes out with the food. Tom and Summer stop

their discussion until the meal is served and the Waitress

leaves. Summer starts to eat.

SUMMER:

Let's just eat and we'll talk about

it after. I'm starving.

Without another word she goes back to her pancakes. Tom

watches her eat like this is the worst travesty in the

history of mankind.

SUMMER:

(mouth full)

Mmm, you're so right. These are

great!

Tom looks at his food in disgust. He may never eat again.

SUMMER:

(INNOCENT)

What?

Tom stands up to go.

SUMMER:

Tom, don't. Come back. You're still

my best fr---

THE SCENE FREEZES AND WE ZOOM IN ON TOM'S STUNNED FACE.

INT TOM'S PLACE - AS BEFORE

Silence for a few beats.

PAUL:

Jesus.

MCKENZIE:

That's harsh.

TOM:

I don't know what I'm gonna do.

RACHEL:

You're gonna be fine.

11.

TOM:

(BEAT)

I'm gonna throw up.

MCKENZIE:

Or that.

RACHEL:

Here.

Tom drinks more vodka.

MCKENZIE:

Come on Hansen. You'll be ok.

You're the best guy I know. You'll

find someone.

PAUL:

You know what they say...there's

plenty other fish in the sea.

TOM:

No.

PAUL:

Sure they do. They say that.

TOM:

Well they're wrong. It's not true.

I've fished in that sea. I've

jumped in and swam in that sea! I'm

f*cking Aquaman!

(to Rachel)

Sorry. What I mean is... there are

no other fish. This was my fish.

Paul and McKenzie share a very concerned look.

CUT TO:

(86)

EXT SIDEWALK - DAY

Tom walks alongside his friend PAUL. Out of nowhere, he says:

TOM:

I'm in love with Summer.

12.

PAUL:

(BEAT)

For real?

CUT TO:

CU - SUMMER'S SMILE

TOM (V.O.)

I love her smile.

CU - SUMMER'S HAIR

TOM (V.O.)

I love her hair.

CU - SUMMER'S KNEES

TOM (V.O.)

I love her knees.

CU - SUMMER'S EYES

TOM (V.O.)

I love how one eye is higher up on

her face than the other eye.

CU - SUMMER'S NECK

TOM (V.O.)

I love the scar on her neck from

this operation she had as a kid.

CU - SUMMER'S BREASTS (UNDER A BLACK T-SHIRT)

TOM (V.O.)

I love how she looks in my Clash T-

shirt.

CU - SUMMER ASLEEP

TOM (V.O.)

I love how she looks when she's

sleeping.

CU - SUMMER'S LAUGH

TOM (V.O.)

I love the sound of her laugh.

OVER BLACK, play the middle 8 of "Every Little Thing She Does

is Magic" by The Police.

13.

TOM (V.O.)

I love how I hear this song every

time I think of her.

CU - TOM, STARING DIRECTLY AT THE CAMERA.

TOM (V.O.)

I love how she makes me feel. Like

anything's possible. Like, I don't

know...like life is worth it.

CUT TO:

EXT SIDEWALK - SAME

Paul and Tom.

TOM:

For real, Paul. I'm madly in love

with that girl.

Paul is silent for a beat.

PAUL:

Oh shit.

(1)

INT CONFERENCE ROOM - DAY

Tom as we saw him earlier. Bored. In the boardroom. Mckenzie

is in mid-presentation.

MCKENZIE:

Now I know this may be a little

risque...but if New Hampshire

Greetings wants the jump on those

conservative, right-wing neo-Nazis

at Hallmark, maybe playing it safe

is the wrong approach. The nuclear

family is dead and we need a new

holiday to recognize that.

Mckenzie holds up a home-made photoshopped family portrait of

Martina Navratilova, Ellen DeGeneres, and the kid from "Jerry

Maguire".

14.

MCKENZIE:

May 21st. Other Mother's Day.

The co-workers nod and digest this idea. VANCE is the head of

the department.

VANCE:

Hmmm. That's an intriguing idea

McKenzie. Along with Grossman's

"Magellan Day" I'd say we've got

some potential here. What do you

think Hansen? Could you write up

some prototypes for these?

Tom is about to answer when... the door opens.

SUMMER:

Excuse me, Mr. Vance? There's a

call for you on line 3.

And in walks this girl. Summer. We've met her by now but Tom

hasn't. This is the first time. His eyes go wide and from

that moment on, he can't take them off her.

VANCE:

(to the table)

Everyone this is Summer, my new

assistant. Summer just moved here

from...

SUMMER:

Michigan.

VANCE:

Right. Michigan. Well, Summer,

everyone. Everyone, Summer. Excuse

me, I have to take this.

SUMMER:

Nice to meet you all.

Summer gives a little wave before following Vance out.

She doesn't notice Tom whose face looks like he's just seen

God.

15.

(3, 4, 5)

INT. OFFICE - DAY

Tom trying to work. And failing. He turns to McKenzie.

TOM:

What do we know about this new

girl?

MCKENZIE:

Who?

TOM:

The new girl. Summer. In Vance's

office.

MCKENZIE:

Dude. I hear she's a bitch from

hell!

TOM:

(DISAPPOINTED)

Really?

MCKENZIE:

Patel tried to talk to her in the

copy room. She was totally not

having it.

TOM:

Maybe she was just in a hurry.

MCKENZIE:

And maybe she's some uppity, better

than everyone, superskank.

TOM:

Damn.

MCKENZIE:

I know. She's pretty hot.

TOM:

That makes me so mad! Why is it

pretty girls always think they can

treat people like crap and get away

with it?

16.

MCKENZIE:

Dunno.

TOM:

Like, just cause she has high

cheekbones and soft skin...

MCKENZIE:

...and really good teeth.

TOM:

And maybe the world's most perfect

breasts...Just cause of that stuff,

she can walk around like she's

center of the universe?

MCKENZIE:

(as explanation)

Women.

TOM:

Ugh. You know what? Screw her! We

haven't even met and I can't stand

her already.

INT. ELEVATOR - LATER

Tom is listening to headphones. Summer enters the elevator

and Tom actively puts on a show to ignore her. Summer hears

the music.

SUMMER:

The Smiths.

Tom, pretending not to hear or care, gives her an

unenthusiastic wave.

SUMMER:

I love The Smiths.

Tom, still pretending, takes off his headphones.

TOM:

Sorry?

SUMMER:

I said. I love The Smiths. You have

good taste in music.

A beat as Tom processes this information.

17.

TOM:

(AMAZED)

You like the Smiths?

SUMMER:

(SINGING)

"To die by your side is such a

heavenly way to die." Love it.

The elevator doors open and she gets off.

TOM:

(accidentally out loud)

Oh my god.

(8)

INT OFFICE LOBBY - DAY

The office sings "Happy Birthday" to a FEMALE CO-WORKER. When

they get to the part about her name, Tom is the only one who

knows it, everyone else just there for the cake. Song over,

everyone digs in. Tom finds himself standing next to Summer.

TOM:

Hi.

SUMMER:

Hello.

TOM:

So, uh, Summer...

SUMMER:

Tom.

TOM:

Yeah! How's it going so far?

SUMMER:

The city or the firm?

TOM:

Both... Either.

SUMMER:

I'm happy. Still getting situated.

How long have you worked here?

18.

TOM:

Oh, you know, 4, 5... years.

SUMMER:

Really? Jesus. Did you always want

to write greeting cards?

TOM:

Are you nuts? I don't even want to

do it now.

SUMMER:

What is it you want to do?

TOM:

I studied to be an architect

actually.

SUMMER:

That's so cool! What happened?

TOM:

Eh, you know. Same old story. Moved

to the city to work for a company.

Company went under. Needed a job.

My friend worked here. Got me this.

SUMMER:

And are you any good?

TOM:

(points to a framed card)

Well I wrote that one.

SUMMER:

(READING)

"Today You're a Man. Mazel Tov on

your Bar Mitzvah."

TOM:

It's a big seller.

SUMMER:

I meant, are you any good as an

architect?

TOM:

Oh... No. I doubt it.

SUMMER:

Well, I'd say you're a perfectly

...adequate... greeting card

writer.

19.

TOM:

Why thank you. That's what they

called me in college. "Perfectly

adequate" Hansen.

SUMMER:

They used to call me "Anal Girl."

Tom does a spit-take and almost chokes.

SUMMER:

(EXPLAINING)

I was very neat and organized.

There's an awkward silence.

SUMMER:

Anyway, I should get back.

TOM:

Ok, well, I'll see you around.

She walks back to her cubicle at the other end of the hall.

Tom watches her walk away, completely enamored.

He sits down at his desk and sets out to work. But before he

does, his eyes fall on a sketch he drew of a house. It's

dated 2001 and it's the only architecture sketch on his wall.

(11)

INT TOM'S PLACE - DAY

Tom is playing Playstation with Rachel.

TOM:

And it turns out she's read every

Graham Greene novel ever published.

Her desk is lined with Magritte

posters and Edward Hopper.

RACHEL:

Your favorites.

TOM:

We're so compatible it's insane!

Seriously! It doesn't make sense!

She's not like I thought at all.

She's... amazing.

20.

RACHEL:

Oh boy.

TOM:

What?

RACHEL:

You know...just cause some cute

girl likes the same bizarro music

you do doesn't make her "the one."

TOM:

(BEAT)

Of course it does.

SARAH (O.S.)

Dinner!

SARAH, 50s, Tom and Rachel's mother, stands in the doorway.

SARAH:

Pause and come eat.

They do. Tom enters the living room area and sits down next

to his stepdad MARTIN, 60s, a quiet, professorial Southern

gentleman type.

TOM:

Hey Martin.

ANGLE ON RACHEL and Sarah.

RACHEL:

He met a girl.

SARAH:

(EXCITED)

Yeah?

RACHEL:

(GRIM)

Yeah.

Sarah grows serious too.

SARAH:

Oh shit.

CUT TO:

21.

STOCK FOOTAGE.

The Wright Brothers, Galileo, Heaven's Gate, Neil Armstrong.

NARRATOR:

When one strongly believes in

something, it takes overwhelming

contradictory evidence to change

their minds.

END ON:

LITTLE TOM, age 6, mesmerized by a vinyl album cover of

Olivia Newton-John in "Xanadu."

NARRATOR:

Tom had always been a devout

believer in the idea of "true

love."

(BEAT)

The evidence did not support him.

CUT TO:

(-8914)

INT CLASSROOM - DAY

Little Tom stares at a LITTLE GIRL, 6, who has the same

hairstyle and dress as Newton-John on that cover. Tom draws a

picture. It's a boy and a girl with a giant heart over them.

He stands up and walks over to the girl, putting the picture

on her desk. Not a word is spoken. Satisfied, he returns to

his seat and waits to see what happens.

NARRATOR:

Exhibit A:
Lisa Rayner.

The Little Girl stands up and walks the picture over to

ANOTHER BOY.

Tom is mortified. The OTHER BOY eats the drawing.

(-5313)

22.

EXT FOOTBALL FIELD - NIGHT

A BLONDE CHEERLEADER leads the crowd in a cheer. PAN ACROSS

to find TEENAGE TOM, 15, finishing making out with a homely

HIGH SCHOOL GIRL. He says goodbye and walks off, looking back

longingly.

NARRATOR:

Exhibit B:
Wendy Wilson.

Once Tom is out of frame, a SECOND BOY approaches Wendy. Then

they start making out.

(-2825)

INT AIRPLANE - DAY

COLLEGE TOM sits next to his girlfriend REBECCA MYLES. His

smile gleams.

TOM:

I'm so glad we decided to go away

together Bec. I know we've only

been dating a few months but it's

been...awesome.

NARRATOR:

Exhibit C:
Rebecca Myles.

TOM:

And now, you and me, 8 days in

Mexico... best spring break ever!

Across the aisle Rebecca makes eye contact with three COLLEGE

DUDES.

REBECCA:

I think we should see other people.

(-734)

23.

EXT CAR - NIGHT

Younger Tom sits in the passenger seat. Raven-haired AMANDA

drives.

NARRATOR:

And, finally... Exhibit D: Amanda

Heller.

AMANDA:

It's just... it's complicated.

TOM:

What's complicated? Last week you

said you loved me!

AMANDA:

I know it's sudden but...

TOM:

No, this can't be. Everything was

going so great. I don't understand.

AMANDA:

(BEAT)

Here.

TOM:

What's this?

She puts a disc into the cd player.

AMANDA:

Because you're, like, the biggest

music nerd I've ever met, I think

this should really help explain

where I'm coming from.

A pop song begins to play on the stereo. They listen for a

few beats. Tom is confused.

AMANDA:

You remember how much I loved this

song when you first played it for

me?

TOM:

Sure. It's all you wanted to listen

to for weeks.

24.

AMANDA:

Right. And I still like it, don't

get me wrong. It's just... When I

hear it now, I don't feel the

same...rush.

TOM:

(still confused)

Ok...

AMANDA:

I press the skip button.

Still Tom doesn't understand.

TOM:

What does this have to do with--?

AMANDA:

I'd rather listen to something

else.

And with that, it slowly sinks in for him.

TOM:

But Amanda... this is a great

f*cking song!

(22)

INT LOCAL DIVE BAR - HAPPY HOUR

Tom removes his headphones and sits defeated with McKenzie

and Paul in a booth.

TOM:

It's off.

PAUL:

What?

TOM:

Me and Summer.

MCKENZIE:

Was it ever on?

25.

TOM:

No. But it could have been. In a

world where good things happen to

me.

PAUL:

Yeah well, that's not really where

we live.

TOM:

No.

MCKENZIE:

So what happened?

TOM:

You ready for this?

INT ELEVATOR - THE DAY BEFORE

Tom is alone. The door opens. In walks Summer.

TOM (V.O.)

So there we are. All alone. Nine

more floors to ride. Plenty of

time. I figure...this is my chance.

If not now when, right?

They ride in silence for a few beats.

TOM:

Summer...

SUMMER:

Yeah?

TOM:

(BEAT)

So how was your weekend?

SUMMER:

It was good.

INT LOCAL DIVE BAR - AS BEFORE

The friends wait for more.

TOM:

You believe that shit?

26.

MCKENZIE:

What shit?

PAUL:

I think I missed something.

TOM:

"It was good." She didn't say "It

was good." She said "It was good."

Emphasis on the good. She basically

said "I spent the weekend having

sex with this guy I met at the

gym." F*cking whore. Screw her.

It's over.

Everyone's silent.

MCKENZIE:

What the hell is wrong with you?!

PAUL:

Dude, you got problems.

TOM:

She's not interested in me. There's

nothing I can do.

MCKENZIE:

Based on..."it was good?"

TOM:

And some other things.

PAUL:

Like what, she said "hey" instead

of "hi" cause that totally means

she's a lesbian.

TOM:

I gave her all sorts of chances.

INT OFFICE - DAY

Tom types at his desk. Summer approaches the cubicle Tom

shares with McKenzie.

SUMMER:

I'm going to the supply room.

Anyone need anything?

MCKENZIE:

No thanks.

27.

TOM:

I think you know what I need.

There's a beat.

TOM:

Toner.

SUMMER:

Oh ok, sure, no prob.

INT OFFICE - LATE IN THE DAY

The office is emptying out. Only a few people remain but Tom

and Summer are two of them. Tom takes this opportunity to put

a CD in his computer and play the song really loud. It's "I

Want to Know What Love Is" by Foreigner. No reaction from

Summer. Tom turns it up. Still nothing. Tom turns it down,

defeated.

INT SUMMER'S DESK

Tom is there.

TOM:

Do you want to go out with me?

A beat. Summer says nothing.

TOM:

And the Priest says, "But we're

already out!"

They both laugh.

SUMMER:

That is hilarious!

TOM:

I know!

And when she walks away, he smacks his head a few times with

his palm.

INT LOCAL DIVE BAR - AS BEFORE

TOM:

Not once did she take the bait. Not

once. Screw it. I'm done with her.

It's over.

28.

Tom's friends all look at him like he's crazy.

(27 & 28)

INT OFFICE - TOM'S CUBICLE - DAY

Tom sits at his desk with headphones on trying to work. But

with Summer down at the end of the hall, he's having a hard

time concentrating.

McKenzie shares a cubicle with Tom.

MCKENZIE:

This Friday. 10 bucks all you can

karaoke at The Well.

TOM:

No way McKenzie. Absolutely not.

MCKENZIE:

Come on!

(SINGING)

"Take me down to the paradise city

where the grass is green and they

got big titties!"

TOM:

They won't let you back in there

after last time.

MCKENZIE:

I wasn't that bad.

TOM:

Not at all. You just threw up on

the stage, tried to fight the

bartender, and then threatened to

burn the place down before passing

out on the sidewalk. Quiet night

for you.

MCKENZIE:

(REVERENTIAL)

You saved my life that day.

TOM:

We are not going back there.

29.

MCKENZIE:

This is a work thing, Tommy. It

won't be like that. The whole

office is going.

TOM:

I really can't. Even if I wanted

to. There's a lot of stuff I gotta

take care of.

MCKENZIE:

You're not listening to me.

TOM:

What?

MCKENZIE:

The whole office is going.

Tom looks over to where Summer sits. And realization dawns on

him...

INT KARAOKE BAR - NIGHT

Summer is in a back booth with some co-workers when Tom walks

in to the crowded place. McKenzie has the microphone and he's

singing "Every Rose Has Its Thorn" by Poison. He's real into

it and, well, it's kinda sad. Tom waves to McKenzie and walks

over to the booth.

TOM:

Hi.

SUMMER:

Hey! They said you weren't coming.

TOM:

You asked if I was coming?

(BEAT)

I mean...my plans got cancelled...

Tom is at a loss. There's yet another awkward silent beat

between them. Thankfully, it's interrupted by...

MCKENZIE:

(already drunk)

Goddamn that song is brilliant!

What's up Hansen?

Summer sees the next song come up on the screen.

30.

SUMMER:

Ooh that's me.

She downs a shot and jumps up on stage.

SUMMER:

(into mic)

Ok. I'm the new girl so no making

fun of me.

Her co-workers whistle and cheer her on. She takes a deep

breath as the opening bars of "Born to Run" begin to play and

Summer starts to sing. Tom sees Summer as the actress in

whatever nonsensical karaoke video accompanies the song (it's

something to do with an old convertible, the sunset, and a

midget in a tuxedo.)

LATER. Tom sits in the booth with McKenzie (doing a shot) as

Summer chats with co-workers at another table. Tom can't help

but stare at Summer. She notices and waves. He smiles,

hopeful that she'll come over. She doesn't. He hides his

disappointment.

LATER. Tom walks back to his table with drinks. Summer is

there in mid-conversation with McKenzie.

TOM:

You were great up there, by the

way.

SUMMER:

Well you can't go wrong with The

Boss.

TOM:

(sitting down)

I hear that.

MCKENZIE:

Hey, did you know Tom here's from

Jersey?

SUMMER:

Yeah?

TOM:

Lived there til I was 12.

SUMMER:

I named my cat after Springsteen.

TOM:

No kidding? What's his name?

31.

SUMMER:

Bruce.

TOM:

(BEAT)

That makes sense.

She laughs. She's really cute when she laughs.

MCKENZIE:

So you got a boyfriend?

SUMMER:

Me? No.

Tom shoots daggers at McKenzie for that comment. McKenzie

mouths "what?" Summer sees nothing.

MCKENZIE:

Why not?

SUMMER:

Don't really want one.

MCKENZIE:

Come on. I don't believe that.

SUMMER:

You don't believe a woman could

enjoy being free and independent?

MCKENZIE:

(BEAT)

Are you a lesbian?

SUMMER:

No, I'm not a lesbian. I'm just not

comfortable being somebody's

"girlfriend." I don't want to be

anybody's anything, you know?

MCKENZIE:

I have no idea what you're talking

about.

SUMMER:

It sounds selfish, I know, but... I

just like being on my own.

Relationships are messy and

feelings are always getting hurt.

Who needs all that? We're young.

We're in one of the most beautiful

cities in the world.

(MORE)

32.

SUMMER (cont'd)

I say, let's have as much fun as we

can afford and leave the serious

shit for later.

TOM:

But...what if you meet someone and

fall in love?

SUMMER:

(LAUGHS)

Love? You seriously believe in that

stuff?

TOM:

Of course I do.

SUMMER:

Interesting. A real romantic.

MCKENZIE:

Oh you have no idea. This one...

embarrassing. There was this one

girl,

(to Tom)

I gotta tell this story --

Tom elbows McKenzie hard in the ribs to shut him up.

TOM:

Summer, hold on... you don't

believe in love?

SUMMER:

I don't even know what that word

means. I know I've never felt it,

whatever it is in all those songs.

And I know that today most

marriages end in divorce. Like my

parents.

TOM:

Well mine too but --

SUMMER:

Oh yeah, And I read in Newsweek,

there were these scientists who

found that by stimulating a part of

the brain with electrodes you can

make a person fall in "love" with a

rock. Is that the love you're

talking about?

TOM:

Well...

33.

SUMMER:

Why, what's your take on it?

CUT TO:

AN ANIMATION SEQUENCE, real quick. AN EXPLOSION OF MANY

DIFFERENT COLORS, COMPLETE WITH A CHOIR AND A CHURCH ORGAN

ALL BUILDING TO A HUGE CRESCENDO.

BACK TO:

INT BAR:

On Tom:

TOM:

I think it's...kind of a huge

thing.

SUMMER:

(BEAT)

Ok. Looks like we're gonna have to

agree to disagree on that one.

McKenzie senses some discontent.

MCKENZIE:

So, uh, who's singing next?

SUMMER:

(re:
singing)

I'd say it's your turn loverboy.

TOM:

Nooo. I don't sing in public.

SUMMER:

Sure you do. I see you lip-synching

to your headphones every morning on

your way in.

TOM:

I don't...

MCKENZIE:

You really do.

SUMMER:

It's ok. I like it. Takes a lot of

self-confidence to look ridiculous.

34.

MCKENZIE:

(can't help himself)

Self-confidence! Ha!

Tom elbows him in the ribs again.

TOM:

Anyway, I'm not near drunk enough

to sing in front of all these

people.

SUMMER:

Ok then. Let's drink.

TOM:

It would take at least ten shots to

get me to sing.

SUMMER:

Bartender!

TEN MINUTES LATER. Tom is up there singing The Clash's

"Magnificent Seven." You wouldn't think so but Tom is a ROCK

STAR up there! He's dancing like Jagger, he's got everyone in

the bar singing along to the audience-participation parts.

It's a sight to behold. Summer is all smiles watching.

LATER. Tom and Summer back at the table. Summer is humming

something.

TOM:

That's not it.

SUMMER:

What is that then?

TOM:

I have no idea.

They're both having a good time.

SUMMER:

I used to watch it every week.

TOM:

Me too. Why can't we think of the

stupid A-Team theme song.

SUMMER:

Pathetic.

TOM:

This is gonna bother me for weeks.

35.

SUMMER:

Totally.

They share another laugh and then it gets quiet. In that good

way.

ANGLE ON McKenzie, wasted, singing the shit out of "Proud to

Be an American." He really means it. At any minute he might

start to cry.

MCKENZIE:

"And I'd proudly stand UP!"

(aggressive drunk)

I said stand!

BACK ON TOM and SUMMER.

TOM:

Oh here we go.

EXT KARAOKE BAR - LATER

Tom helps a nearly comatose McKenzie exit the place. Summer

is with them.

MCKENZIE:

(to Summer)

This guy.

(DRAMATICALLY)

He's the best.

TOM:

Ok, let's get you in a cab.

MCKENZIE:

No. I'm gonna walk. I live right

down that street. Or that one.

SUMMER:

(LAUGHING)

Is he gonna be ok?

TOM:

He'll be fine.

A cab arrives. Tom and Summer help McKenzie inside.

MCKENZIE:

Hey.

TOM:

What's up?

36.

MCKENZIE:

Not you. You.

(beat, to Summer)

He likes you.

TOM:

(QUICKLY)

Ok, goodnight McKenzie!

MCKENZIE:

I mean... likes you, likes you. For

real. Tell her Tom.

Tom shuts the door on McKenzie as fast as he can. Now it's

just Tom and Summer. Tom talks a mile a minute to try and

erase McKenzie's last exchange from her mind.

TOM:

Sorry you had to see that. Happens

every time we come here. It's

unbelievable. Something about that

guy and singing for people. I don't

know. But at least he didn't --

SUMMER:

Is that true?

TOM:

What?

SUMMER:

You know what. Do you...like me?

TOM:

Yeah. I like you. Of course I do.

SUMMER:

As a friend.

TOM:

Right. As a friend.

SUMMER:

Just as a friend?

The wheels are spinning in Tom's head. What's the right

answer here?

TOM:

Yes. I mean... I haven't really

thought about... Yes. Why?

37.

SUMMER:

Nothing. I just... You're

interesting. I'd like us to be

friends. Is that ok?

Tom was clearly hoping for her to say something else. He

hides his disappointment the best he can.

TOM:

Oh yeah totally. Friends. You and

me. That's... perfect.

SUMMER:

Cool.

TOM:

Cool.

Silence.

SUMMER:

Well, I'm that way. Good night Tom.

TOM:

G'night Summer.

Tom watches her walk away for a beat before he turns to go

the other way.

TOM:

(under his breath)

Friends. Awesome. That's just

great. Well done Hansen, you idiot.

Tom walks a few more steps.

And then, seemingly out of nowhere, without his even

noticing, SUMMER HAS WRAPPED HER ARMS AROUND HIM AND PULLED

HIM INTO A KISS!

It's unbelievable. There's a few seconds where Tom isn't sure

if he's dreaming or not. But then he realizes, suddenly, out

of the blue, his best case scenario really is actually

happening.

(29)

FADE UP:
"YOU MAKE MY DREAMS COME TRUE" by Hall and Oates.

38.

EXT STREET - MORNING

It's the greatest morning of all time!

Tom walks down the street. Or, more accurately, Tom struts

down the street. He's pointing at people as he passes,

winking, doing a little shuffle. He is the man. He checks out

his reflection in a window. A YOUNG PAUL NEWMAN stares back.

People wave as he passes, they clap, they give him thumbs up.

A parade forms behind him. The POSTMAN, a POLICE OFFICER, the

HOT DOG VENDOR, RONALD MCDONALD and MAYOR MCCHEESE, everybody

loves Tom today. HALL and OATES themselves walk with Tom

singing the song.

Cars stop at crosswalks to let Tom go by. The DRIVERS also

pump their fists in celebration of Tom's achievement last

night. He walks on, the man. We notice the sidewalk lights up

every time he touches the pavement like in "Billie Jean".

CARTOON BIRDS fly onto Tom's shoulder. He smiles and winks at

them.

INT OFFICE - SAME

Tom passes Summer's office whistling Hall and Oates. She sees

him and immediately lights up.

SUMMER:

Hey!

TOM:

Hey!

Vance pokes out of his corner office.

VANCE.

Summer, I need -- Oh hello Hansen.

TOM:

Hey Mr. Vance.

SUMMER:

Yes, Mr. Vance?

And they're all business. As Tom turns to go, however, Summer

gives him a little coy smile that would be enough to make

anyone's day complete. Tom gives her the international signal

for `I'll call you later' in return. Vance sees none of it.

Tom walks to his cubicle, still on top of the world.

39.

INT TOM'S PLACE - THAT NIGHT

Tom answers the door. It's Paul (in hospital scrubs).

PAUL:

You son of a bitch.

He walks inside without waiting for an invite.

PAUL:

Last night, karaoke night?

TOM:

(ANXIOUS)

Shhh.

PAUL:

The same girl you'd been whining

and crying and bitching about for

weeks now?

TOM:

I have not been...

PAUL:

The same girl you said was way out

of your league and you'd have no

chance with no matter what. That

girl?

TOM:

Paul, seriously...

PAUL:

Did you bang her?

TOM:

No!

PAUL:

Blow job?

TOM:

No!

PAUL:

Hand job?

TOM:

No, Paul, no jobs. I'm still

unemployed. We just kissed.

40.

PAUL:

Come on, level with me. As your

best friend, who tolerated a whole

month of talk talk talk about this

girl, nothing but Summer this,

Summer that, Summer Summer Summer,

I mean you were practically

stalking her...

TOM:

Shhh!

Suddenly, the sound of a toilet flushing is heard. From the

bathroom emerges Summer, dressed to go out.

PAUL:

Oh crap.

SUMMER:

Hi, I'm Summer..

PAUL:

Summer, wow what an unusual name.

I'm sure I'd remember that if I had

heard it before. Tom, how come

you've never mentioned you knew

such a lovely little lady?

(off Tom's nasty look)

Or perhaps you have and I've just

forgot.

(to Summer)

I mean, with all the women in Tom's

life it's hard to keep track...

(not helping)

Ok, well, I was just... I'm Paul.

SUMMER:

Hi Paul.

PAUL:

(not sure what else to

SAY)

I'm a doctor.

SUMMER:

Nice to meet you.

PAUL:

Anyway, I'm leaving now. Pretend I

was never here. Tom, talk to you

later?... Hey, If any jobs open

up...

41.

Tom quickly shuts the door on Paul.

TOM:

If you heard...

SUMMER:

Heard what?

TOM:

Excellent. You ready to go.

SUMMER:

I'm stalking, STARVING!

Tom realizes she's heard it all.

TOM:

(PLAYFULLY)

He exaggerates!

(198)

INT CHINESE RESTAURANT - NIGHT

Tom and Summer eating, not really talking much. At another

table, Tom sees a VERY UNATTRACTIVE COUPLE feeding each other

food.

TOM:

Check them out.

Summer sees. She has no reaction.

TOM:

(SARCASTIC)

That is hot.

Summer keeps eating.

TOM:

I am very turned on right now.

SUMMER:

Sometimes you can be so judgmental.

TOM:

Huh?

42.

SUMMER:

I mean, who are you? They're happy.

Just mind your own business.

Summer goes back to eating. Tom can't believe she snapped.

(31)

INT RESTAURANT - NIGHT

An equally UNATTRACTIVE COUPLE go at it in a booth. PAN

ACROSS to find Tom and Summer early in their relationship, in

a booth across the room, watching in hysterics.

TOM:

9, 9.5?

SUMMER:

Too soon to say. It's all in the

dismount.

TOM:

If we're lucky, there won't be a

dismount.

Summer, her cheeks flushed already from laughing, loses it

again. They are having a great night.

SUMMER:

I can't believe them. I have like

zero patience for PDA.

TOM:

I hear ya. If I want to watch

people make out, I have big windows

and binoculars at home.

SUMMER:

Yeah?

TOM:

(BEAT)

No. That would be wrong.

They laugh some more. She is in hysterics.

SUMMER:

This is fun. You're fun.

43.

TOM:

Thanks.

SUMMER:

I mean, I just want to say, up

front, I'm not looking for anything

serious.

Tom is a little surprised.

SUMMER:

Are you cool with that?

TOM:

(UNCONVINCING)

Sure.

SUMMER:

It freaks some guys out when I say

that.

TOM:

(still confused)

Not me.

SUMMER:

Let's just have fun. Let's

just...hang out, no pressure, no

labels, no obligations.

(BEAT)

Ok?

Tom is visibly disappointed by this but he tries to hide it.

TOM:

Sure.

SUMMER:

(BEAT)

Wanna hold my hand under the table?

A beat.

TOM:

Yeah.

INT TOM'S BEDROOM - LATER THAT NIGHT

Summer and Tom come bounding in, lip-locked and all over each

other. They fall on his bed and begin undressing each other.

Suddenly, Tom stops.

44.

TOM:

I'll be...back in a sec.

He walks into the hallway, out of her sight. He looks into

the hallway mirror.

TOM:

Settle. Don't get too excited.

She's just a girl. There's lots of

them. Who look like that. And like

what you like. They're everywhere.

Calm yourself.

He takes a few deep breaths.

TOM:

Are you calm?

(BEAT)

Ok. Then it's time to go back in.

We watch from behind as he re-enters his bedroom. Where

Summer waits. Under the covers. Naked.

SUMMER:

Hi.

TOM:

Oh sweet Jesus!

Tom can't help but do a little celebration dance.

CUT TO:

LATER. Sex has been had. Summer is asleep. Tom lies next to

her. He still can't help but be ecstatic. He is pumping his

fists in the air and silently shouting "Woo Hoo!!!!"

(388)

CU - TOM. LOOKING THE WORSE FOR WEAR. UNSHAVEN, LONG HAIR,

CRUMPLED CLOTHING. IN SHORT, HE'S A MESS.

TOM:

(into CAMERA)

I f*cking hate Summer.

CU - SUMMER'S SMILE (as before)

TOM (V.O.)

I hate her crooked teeth.

45.

CU - SUMMER'S HAIR (as before)

TOM (V.O.)

I hate her 1950s haircut.

CU - SUMMER'S KNEES (as before)

TOM (V.O.)

I hate her knobby knees.

CU - SUMMER'S EYES (as before)

TOM (V.O.)

I hate her lopsided, asymmetrical,

cock-eyed head.

CU - SUMMER'S NECK (as before)

TOM (V.O.)

I hate that centipede-shaped scar.

CU - SUMMER'S BREASTS (as before)

TOM (V.O.)

I hate her...stupid...big boobs.

CU - SUMMER ASLEEP (as before)

TOM (V.O.)

I hate the way she sleeps.

CU - SUMMER'S LAUGH

TOM (V.O.)

I hate the way she laughs.

OVER BLACK, play the middle 8 of "Every Little Thing She Does

is Magic."

TOM (V.O.)

I HATE THIS F*CKING SONG!

CU - TOM.

REVERSE ANGLE on A TROLLEY FULL OF PEOPLE, terrified of this

raving lunatic.

BUS DRIVER:

Son, you're gonna have to exit the

vehicle.

CUT TO:

46.

INT OFFICE - DAY

Tom passes Summer's desk. A new SECRETARY sits there. He

notices, in the trash, a reprint of an avant garde surrealist

painting of two dogs humping. He stops and retrieves it from

the bin like it's some family heirloom. He gives the

secretary a dirty look for tossing it.

(35)

INT. SF MUSEUM OF MODERN ART - DAY

CU:
the same painting.

ANGLE ON Summer and Tom looking at it curiously.

TOM:

It's very... complex.

SUMMER:

Complex. Yes.

CU:
a second painting which is nothing but red.

ANGLE ON Summer and Tom looking at it with the same

expressions.

SUMMER:

In a way, it speaks so much by

saying... so little.

TOM:

I feel the same way.

CU:
a third painting which could only be, well, poop.

ANGLE ON Summer and Tom, still perplexed but trying.

They say nothing, until:

TOM:

You wanna go to the movies?

SUMMER:

(RELIEVED)

God yes!

47.

EXT. MOVIE THEATER - LATER

The marquee reads "Part Vampire. Part Giant. `VAGIANT!'"

INT. MOVIE THEATER - CONT.

The theater is packed. Everyone is laughing and screaming and

throwing popcorn. Tom and Summer are having a great time.

(51)

EXT TRANSAMERICA BUILDING - DAY

Summer and Tom stand on San Francisco's most interesting

street corner, where the ultra-modern Transamerica Building

stands next to the ancient Columbus Tower.

TOM:

A lot of people have problems with

this, but to me, it makes both

structures so much more beautiful

side by side like that.

EXT PALACE OF FINE ARTS - DAY

Summer and Tom in front of the famed Roman-style structure.

TOM:

The guy who made this, Maybeck, he

is a God.

EXT YERNA BUENA GARDEN - DAY

Summer and Tom sit on the steps which offers a stunning view

of the city's architectural marvels.

TOM:

It just makes you feel... peaceful.

They really do seem at peace.

EXT SONY METREON - DAY

Tom and Summer in front of the gargantuan mirrored building.

48.

TOM:

No. See now, this is torture.

SUMMER:

Why?

TOM:

Over there, that's St. Patrick's

church. The beauty of St. Patrick's

is its humility. With this giant

mirror thing deflecting all the

attention away, it's too humble. No

one even knows it's there.

SUMMER:

How would you change it?

TOM:

There's a million things. First,

there's no need for this much

glass. You could easily...

SUMMER:

Show me.

TOM:

What?

SUMMER:

Don't talk about it. Do it.

Summer gives him a pen from her purse and the underside of

her arm. Tom thinks about this. Then he starts to draw a

sketch on her skin. We catch her watching his face as he

draws. She's attracted to his enthusiasm.

TOM:

See this beam, it steps on the

landscape. But if we moved it...

just so...

(55)

EXT OFFICE BUILDING - DAY

Tom and Summer, who have ridden together to work, stand

outside the building.

49.

SUMMER:

You wanna --

TOM:

No you go first.

SUMMER:

It doesn't matter to me.

TOM:

Whatever you want.

A CO-WORKER passes.

CO-WORKER

Hey Summer. Tom.

BOTH:

(like nothing's up)

Hey./ Hi.

Summer joins the co-worker and walks in.

SUMMER:

(to Co-Worker)

So how's it going?

She turns back to look at Tom on the way. She sticks out her

tongue to be cute. Co-Worker doesn't see. Tom is crazy about

her.

INT OFFICE - LATER

Tom at his cubicle with the one architecture sketch. The

phone rings and he picks it up.

TOM:

Hello?

SUMMER (V.O.)

I remember!

INT COPY ROOM - DAY

Summer is on her cell phone in the office copy room. She

begins to sing the theme song to "The A-Team."

TOM (V.O.)

That's it!

50.

McKenzie enters and sees her singing into the phone. Turns

without a word and leaves.

INT TOM'S CUBICLE - SAME

Tom listening to her sing. McKenzie comes over.

MCKENZIE:

Your girl is losing it.

Tom is too wrapped up in the phone call to acknowledge him.

The smile on his face is the biggest we've seen yet.

(68)

INT. SHOWER - LATER

We just see the curtain, but we can see their silhouettes

behind it. Summer and Tom are trying to have sex in the

shower. They're trying to stable themselves, grip something

so as not to fall, elbows are flying, it's a mess.

SUMMER:

This is not at all as easy as it

looks.

TOM:

Ow!

The curtain rips and the bar comes crashing down. They fall

on top of each other laughing.

(77)

INT VIRGIN MEGASTORE - NIGHT

Tom and Summer wander through the aisles.

TOM:

There's no way.

SUMMER:

Why not?

51.

TOM:

"Octopus's Garden?" You may as well

just say "Piggies?"

SUMMER:

I told you. I love Ringo.

TOM:

You're insane.

SUMMER:

Why?

TOM:

Cause nobody loves Ringo.

SUMMER:

That's what I love about him.

(BEAT)

Ooh.

Summer drags Tom into the curtained-off "Porn" section. She

picks up a box.

SUMMER:

(FLIRTATIOUS)

This got great reviews.

INT. SUMMER'S APARTMENT - LATER

Tom and Summer get comfortable. Both are excited and looking

forward to this. The movie starts, the credits roll. Tom and

Summer start to make out a bit, both keeping an eye on the

TV.

CUT TO:

INT. SUMMER'S APARTMENT - 20 MINUTES LATER

Tom and Summer, watching the movie. Intently. They've even

got popcorn.

SUMMER:

Is that... possible?

(79)

52.

INT SPORTS BAR - NIGHT

Tom, Mckenzie and Paul are having a drink.

PAUL:

So what's going on with you and

Summer?

TOM:

I don't know.

PAUL:

Is she your girlfriend?

TOM:

I wouldn't say that.

MCKENZIE:

What would you say?

TOM:

Like, are we "going steady?" Come

on, guys. We're adults.

PAUL:

It's not an unreasonable question.

Watch. McKenzie, do you have a

girlfriend?

MCKENZIE:

No I do not. In fact girls are

repulsed by me. Paul, how about

you?

PAUL:

Why yes, in fact I do. Her name is

Robyn. See Tom, it's easy.

TOM:

It is when you've been with the

same girl since high school.

PAUL:

You've been "seeing" this girl,

what, two months now?

TOM:

Something like that.

PAUL:

And you haven't discussed it?

53.

TOM:

No! She's not... We're not like

that.

PAUL:

Like what?

MCKENZIE:

Normal.

TOM:

We've just been... hanging out.

PAUL:

Hanging out?!

TOM:

Yeah. Guys, look, Summer and I...we

know how we feel. We don't need to

label it. "Boyfriend, girlfriend."

That stuff is very... juvenile.

Beat.

MCKENZIE:

You're so gay.

PAUL:

Well let me ask you this then. Do

you want her to be your girlfriend?

Tom takes a second to think about this.

TOM:

I don't know... Maybe.

MCKENZIE:

I heard her Hansen. She's not the

girlfriend type. You're gonna need

to discuss it.

TOM:

No. We're adults. It'll be fine.

MCKENZIE:

Have you made her a CD yet?

TOM:

(BEAT)

Maybe.

MCKENZIE:

Oh dude.

54.

PAUL:

You really need to have that talk.

(80)

EXT FIELD - DAY

Rachel is playing field hockey on the 7th grade team. Tom is

watching from behind the players' bench. A whistle blows and

Rachel comes back and sits down.

RACHEL:

You were saying?

TOM:

My thinking is... why rock the

boat? Things are going well. If we

start putting labels on it, that's

like the kiss of death. Like saying

to a girl "I love you."

RACHEL:

I know what you mean. That's what

happened with me and Sean.

TOM:

Who the hell's Sean?

RACHEL:

My boyfriend before Mark.

TOM:

Who the f--! Never mind. Help me. I

need solid female advice.

RACHEL:

I'm 12.

TOM:

Yeah but, you know me. This is the

kinda stuff that always gets me in

trouble.

55.

RACHEL:

Hmm. So, basically you do want to

ask the question, `are we

boyfriend/girlfriend?' You're just

afraid you'll get an answer you

don't want and that will shatter

your illusions of how good

everything's been these past few

months. Is that about right?

TOM:

(BEAT)

Something like that.

RACHEL:

Thomas, tell me this. Is it worse

to get the wrong answer now... or

find out in a month she has a date

coming up with Lars from Norway?

TOM:

Who's Lars?

RACHEL:

He's a professional surfer with

Brad Pitt's face and Jesus's abs.

TOM:

That son of a bitch.

RACHEL:

You see what I mean?

The whistle blows again and Rachel gets up to go back on the

field.

RACHEL:

Later dude.

TOM:

Coach, no, wait! I need her.

(shouting to Rachel)

Rachel, what do you think I should

do?

RACHEL:

(calling back)

Just don't be a pussy.

On Tom, we:

CUT TO:

56.

INT TOM'S CAR - THAT NIGHT

Tom and Summer driving on the Golden Gate. Tom is very

conflicted and we can see it in his face. They're silent a

few beats, before:

SUMMER:

Hi.

TOM:

Hi.

SUMMER:

Are you ok?

TOM:

Yeah.

SUMMER:

You sure?

He's not. He clenches his teeth. And begins...

TOM:

Summer, I've gotta ask you

something.

SUMMER:

Ok.

He takes a deep breath. He's about to go on when:

SUMMER:

Wait!

Summer finds on the radio a particular song. ("Waiting in

Vain" by Bob Marley, if you must know.)

SUMMER:

Whoa. Oh my god. We can't talk

during this song. It's too

beautiful.

And it is. Tom's hand is on the gear shift. She puts hers

there and locks it with his. Tom listens and Tom watches

Summer listening. There's something about this moment, the

way she sings along, the way her eyes close during certain

notes, the way her smile rises and falls like she could cry

at any minute from being overwhelmingly happy or just simply

overwhelmed. Tom is powerless to stop his feelings for this

girl.

57.

Marley sings:

B.M.

"In life I know there's lots of

grief/ but your love is my relief."

We know, as well as he does: he will ask nothing tonight.

(172)

INT PARTY - NIGHT

Tom and Summer are in a LARGE CIRCLE OF PEOPLE at a party.

TIME CUTS reveal that Summer is talking with, laughing with,

drinking with, and possibly flirting with many of them. Tom

notices, smiles, pretends it doesn't mean anything, but he's

clearly jealous, not in a sexual way but of the attention

they're getting from her. It's been a while. He misses that

attention.

CUT TO:

(272-286)

INT. BOOKSTORE - DAY

Tom, starting to get that unshaven, unkempt look, wanders

through the self-help section. He leafs through some of the

titles. He grabs just about every one of them.

INT. APARTMENT - LATER

Tom has more than fifty self-help books on a shelf by his

bed. He reads from one called "Six Steps to Getting Over

Him."

TOM (V.O.)

"So he broke your heart. You've

been sad and depressed for weeks.

Perhaps you've turned to drinking

or even drugs. And nothing's

helped. Now what? Should you binge

on rocky road and watch soaps all

day?"

SECONDS LATER. Tom sits in his bed eating ice cream. He

continues to read.

58.

TOM (V.O.)

"No you should not."

He slowly puts the ice cream down.

TOM (V.O.)

"Through extensive research, we

have found the six most effective

ways to get over that lost love and

make room in your heart for a new

man to fill. Those steps are:"

EXT. STREET - DAY

Tom jogs.

TOM (V.O.)

"One. Exercise. The body's release

of endorphins will assuage the

brain and provide a genuine sense

of accomplishment and success."

Cars pass him at top speed. Bicycles breeze by him. A child

on a big wheel soars past. He may as well be jogging in

place.

INT. YOGA CENTER - NIGHT

Tom is taking a yoga class.

TOM (V.O.)

"Two. Physical and Mental

relaxation. Channel all of your

energies to the core of your being

for a new understanding of the self

and others."

This shit is really f*cking hard when you're as inflexible as

Tom. Everyone else in the class seems at peace. Tom can't

even get the breathing right.

INT. HOMELESS SHELTER - DAY

Tom feels good about himself as he gives out food to the

homeless.

TOM (V.O.)

"Three. Charity. Reach out! You are

not alone in your pain."

59.

Next in line is a HOMELESS COUPLE holding hands. Tom spirits

immediately fall. Even these two somehow found each other.

INT SHOE STORE - DAY

Tom stands in the center of a fashionable ladies shoe store.

TOM (V.O.)

"Four. Shoe Shopping! Ladies...you

know you want to. Indulge!"

ANGLE ON TOM, just sorta standing there. Confused. He doesn't

really want new shoes.

EXT. FOREST - DAY

Tom backpacks alone in the forest.

TOM (V.O.)

"Five. Travel. Take some time to

see another environment. Get

perspective. It's a beautiful

world. It will be for you again

someday."

This is it, he's finally found some peace. Tom looks up to

the tops of the trees where the sunlight is peeking in and

takes a deep breath.

FREEZE ON TOM.

INFORMATION BUBBLES pop up on the screen to point out that

Tom is standing in POISON OAK. There's a RUSTY BEAR TRAP a

step ahead of him. A giant POISONOUS SNAKE creeping up

behind him. A TICK on his leg. And in the distance a HUNTER

has Tom sized up in his rifle sight.

UNFREEZE.

Tom starts to itch...

INT. APARTMENT - LATER

Tom is painting the walls of his now nearly bare apartment.

TOM (V.O.)

"Six. Redecorate. Start anew."

He's focused on his task and in fact seems pretty good at it.

60.

TOM (V.O.)

"By taking these few steps, you

will have discovered your inner

strength and should be ready to

move on. I bet you can hardly

remember his face at all."

We pull back to REVEAL Tom has painted a giant mural of

Summer on his wall. He looks at the self-help book and

dropkicks it.

(145)

INT CROWDED BAR - NIGHT

Summer and Tom stand by the bar.

TOM:

I just don't get women's fashion

nowadays. Everybody with the

tattoos, the giant hoop earrings,

those annoying hats. Explain this

to me.

SUMMER:

People think it looks good.

TOM:

Do you?

SUMMER:

On some.

TOM:

I like how you dress.

SUMMER:

Yeah? What if I started wearing

berets and got a huge butterfly

tattoo on my leg?

TOM:

(BEAT)

Please don't.

A tall, well-built, GOOD-LOOKING DOUCHEBAG GUY has suddenly

appeared next to them.

61.

DOUCHE:

(to Summer)

Hey.

Tom and Summer stop talking.

SUMMER:

Hey.

DOUCHE:

How's it going?

SUMMER:

Ok.

Tom puts his hands in his pockets and watches this exchange

go down. Not sure what else to do. At this point he's more

amused than concerned.

DOUCHE:

You live around here?

SUMMER:

Yeah not too far.

DOUCHE:

I've never seen you here before.

SUMMER:

You're not too perceptive.

DOUCHE:

Ha. That's funny.

Tom smiles to himself. This guy's a tool. Nothing to worry

about.

DOUCHE:

So, uh, let me buy you a drink.

SUMMER:

No thank you.

As she answers Summer gives a quick glance over to Tom. The

Guy notices. Up to this point he had not connected the two of

them together.

DOUCHE:

Are you with this guy?

Tom realizes he has to sort of say something now.

62.

TOM:

(BEAT)

Hi. I'm Tom.

DOUCHE:

Whatever.

(to Summer)

Come on, one drink. What are you

drinking?

SUMMER:

Sorry, no thank you.

Tom is pleased.

DOUCHE:

You're serious? This guy?

And now he's pissed.

TOM:

Hey buddy --

SUMMER:

(to the Douche)

Don't be rude. I'm flattered, I'm

just not interested. Now why don't

you go back over there and leave us

alone, ok?

DOUCHE:

It's a free country.

Summer and Tom make eye contact again, as if to say "now

what?" After a beat:

DOUCHE:

So you and him, huh? I can't

believe that. Is this guy really

your boyfriend?

And that question hangs in the air. Tom, panicked, decides to

cut the silence. All the pent up uncertainty and confusion,

coupled with the challenge to his manhood in front of the

woman he loves, all manifests in one single, solid, almost

automatic RIGHT CROSS TO THE GOOD LOOKING DOUCHEBAG'S FACE.

Which connects spot on and sends the Douche reeling.

Both Douche and Tom wince at the pain (Douche's chin, Tom's

fist).

63.

There's a beat of calm where Tom is actually sorta surprised.

And then the Douche spins around and starts PUMMELLING TOM.

CUT TO:

EXT BAR - A FEW MINUTES LATER

Having been thrown out, Summer and Tom exit the place. Tom is

a bloody mess, granted, but feels pretty great about it.

TOM:

Did you see that punch? I don't

know where it came from. I haven't

punched someone since Josh

Greenberg in fifth grade. Guess I'm

gonna have to throw out this shirt.

Summer starts walking ahead and Tom notices for the first

time she's furious.

TOM:

Hey. What is it?

SUMMER:

I can't believe you.

TOM:

What?

SUMMER:

You were so completely uncool in

there.

TOM:

You're mad at me? I just got my ass

kicked for you.

SUMMER:

Oh that was for me? You were, what,

protecting me? Next time Tommy,

don't. I fight my own battles.

TOM:

Come on, that guy was an asshole!

SUMMER:

You didn't have to hit him. Why

didn't you just let me handle it?

TOM:

I don't know. He was --

64.

SUMMER:

See. This is why I don't want a

serious relationship.

TOM:

Whoa. What was that?

SUMMER:

Nothing. Look, I like you Tom. I

like this. What we've been doing.

But maybe it's gone too...

TOM:

What...?

SUMMER:

I told you all along what I don't

want and it's...

Tom waits for more. It doesn't come.

SUMMER:

I'm tired. Can we talk about this

tomorrow?

It's silent. He doesn't know what to do or say or think.

Neither of them say a word as they go their separate ways.

TOM:

(calling to her)

I just got my ass kicked!

Only the CROWD outside the bar hear this.

TOM:

(to Onlookers)

I got one good shot in.

(146 & 147)

INT. OFFICE - LATER

Tom is in the photocopy room with a bandage on his nose.

Summer walks in, not realizing he would be there. She stops

short.

TOM:

(GENUINE)

Hi.

65.

SUMMER:

(COLD)

Hi.

TOM:

What's up?

SUMMER:

Nothing.

TOM:

Ok.

Nothing else is said.

TOM:

Wait, are you still mad at me?

SUMMER:

(rolling her eyes)

Tom...

TOM:

Holy shit you are. I can't believe

you!

SUMMER:

(re:
copies)

Are you almost done?

TOM:

Yeah. I'm all done.

He starts to walk out.

TOM:

You know what... Sometimes you

really don't make any sense.

Tom walks out. He looks back but she isn't looking. When she

looks back at him, he's gone.

LATER. Tom about to leave the office. Passes Summer's desk.

She's on the phone. He wants to stop and say something but

she's busy. He walks on. She never knew he was there.

LATER. Summer, packed up to go, walks over to Tom's cubicle

but he's already gone.

SPLITSCREEN - INT. BOTH APARTMENTS - THAT NIGHT

Left:
Tom tosses and turns in his sleep.

66.

Right:
Summer lies awake, staring at the ceiling.

Left:
Tom picks up the phone. Is about to dial when he stops

himself and hangs up.

Right:
Summer looks at her phone, willing it to ring. It

doesn't.

INT TOM'S BEDROOM - HOURS LATER

Tom is awakened by a buzzer. He hits the "sleep" button but

the buzzing isn't coming from his alarm. It's his door. He

gets up, concerned, and goes to answer it. It's Summer.

SUMMER:

Say you're sorry.

TOM:

Huh?

SUMMER:

Say you're sorry for acting like a

jerk.

TOM:

I am. I'm sorry for acting like a

jerk.

SUMMER:

Ok. Me too.

TOM:

Summer... we don't have to label

what we're doing. I just... I need -

SUMMER:

I know -

TOM:

Consistency. I need to know you

won't wake up tomorrow and feel a

different way.

SUMMER:

I can't promise you that. Nobody

can. Anyone who does is a liar.

A beat.

SUMMER:

I can only tell you how I feel

right now... or I can show you.

67.

She comes in and kisses him. He thinks about it for a second.

Is this enough to assuage his doubts? Damn it, she wins

again. He shuts the door in our faces.

INT TOM'S BEDROOM - THE NEXT MORNING

Tom and Summer in the wee hours.

TOM:

Have you ever had a real

"boyfriend?"

SUMMER:

What?

TOM:

A boyfriend. "Going steady."

Whatever. You know what I mean.

SUMMER:

Well... yeah.

TOM:

More than one?

SUMMER:

A few.

TOM:

Tell me about them.

SUMMER:

Oh no way.

TOM:

Why?

SUMMER:

Cause there's nothing to tell.

TOM:

Come on, I'm interested.

SUMMER:

You wanna have the relationship

history conversation?

TOM:

Yes.

SUMMER:

You sure about that?

68.

TOM:

No. Yeah. I don't know. Why not? I

can take it.

SUMMER:

Ok. Well, in high school, there was

Markus.

INSERT:
Still photograph of MARKUS. Or at least how he

appears in Tom's mind. Arm cocked, about to throw the winning

touchdown pass.

TOM:

Quarterback slash homecoming king?

SUMMER:

He was a rower. Very hot.

TOM:

What happened to Markus?

SUMMER:

He works for the Republican party.

Very successful. Just not for me.

TOM:

Ok. And then?

SUMMER:

Well, for a short time in college,

there was Kurt.

INSERT:
Still photograph of KURT. As Tom envisions him.

Playing the guitar on stage in Motley Crue.

SUMMER:

That didn't really go anywhere.

(BEAT)

And... my semester in Rome. Daniele

Belardelli. AKA "The Puma."

INSERT:
Still photograph of THE PUMA. A swarthy Italian

posing in front of a Vespa moped in tight Gucci pants, his

boner clearly trying to escape.

TOM:

The Puma?

SUMMER:

Yeah, cause, you know...

Tom has no idea. And he doesn't want to know.

69.

TOM:

And that's it?

SUMMER:

The ones that lasted.

TOM:

What happened? Why didn't they work

out?

SUMMER:

Nothing happened really. It's what

always happens. Life.

On TOM. Silent for a few beats. Did he want to hear that?

CUT TO:

(290S)

EXT. STREET - DAY

Tom, unshaven, un-showered, walks by himself. He turns a

corner and sees Summer walking towards him. As she gets

closer he sees it's not her after all and breathes a sigh of

relief.

INT. BEDROOM - LATER

Tom watches TV. An advertisement for toothpaste comes on. Tom

could swear the actress was Summer.

INT TROLLEY - DAY

A trolley going the other direction passes by. EVERY

PASSENGER ON IT IS SUMMER. Tom is a f*cking mess.

(302)

EXT RESTAURANT - NIGHT

Tom and an attractive girl we haven't seen before walk

towards an outdoor cafe. Her name is ALLISON. It's clear

right away that Tom can't wait for this night to end already.

70.

ALISON:

So how long have you known Paul and

Robyn?

TOM:

Since grade school.

ALISON:

No way, really? That's crazy.

TOM:

Yeah.

ALISON:

Well I'm glad you called. They

spoke very highly of you.

TOM:

Great.

INT RESTAURANT - LATER

Tom and Alison eat. In silence.

ALISON:

So...uh... how's it going?

TOM:

Ok.

Beat.

ALISON:

You've been pretty quiet.

TOM:

Sorry.

ALISON:

I'm pretty quiet too. Usually. It's

nice sometimes to be comfortable

enough that you can just sit and

eat and not have to say anything,

you know?

TOM:

Uh-huh.

More silence.

ALISON:

Do you want to try some --

71.

TOM:

No thanks.

Alison looks at her food. Tom realizes he's been difficult,

starts to feel kinda bad.

TOM:

I'm sorry. It's just... there's

this girl.

ALISON:

Oh.

TOM:

I'm not usually like this. I wasn't

before... Long story short, she

wrecked me. I don't know if you can

tell but it was pretty recent and

I'm still kinda thinking about her.

ALISON:

(DISAPPOINTED)

Well maybe you should think

about... someone else... who could

cheer you up.

TOM:

I can't get her out of my head, you

know? I see her everywhere. She's

all I think about. And it's

horrible. Cause I totally didn't

see it coming. I thought things

were fine. So now I keep going

through every day in my mind, every

second really. Wondering. What went

wrong? Is it my fault? Could I have

prevented it somehow?

EXT TRANSAMERICA BUILDING - (BACK ON DAY 51)

Summer and Tom stand on the street corner looking at the

buildings.

TOM:

A lot of people have problems with

this, but to me, it makes both

structures so much more beautiful

side by side like that.

Tom keeps talking. Summer turns and looks directly at the

CAMERA.

72.

SUMMER:

While you continue to talk about

buildings and whatever other

bullshit interests you, I'll just

nod my head and pretend to listen

while secretly dreaming about the

many ways I can one day rip out

your heart and eat it like the

rabid vampire I am.

INT RESTAURANT - SAME

Tom and Alison.

TOM:

Maybe there were things I could

have said or done, you know?

INT SUMMER'S BEDROOM - NIGHT - (FROM DAY 39)

From the scene in which Tom and Summer first slept together.

He's sleeping like a baby, probably the best sleep he's had

in a long while. Summer lies next to him. Wide awake. Bored

and unfulfilled.

INT RESTAURANT - SAME

Tom and Alison. Alison is desperately trying to get a drink.

ALISON:

Waiter!

TOM:

Or... Christ, I don't know, maybe

she was never that interested in me

to begin with.

INT ELEVATOR - DAY - (FROM DAY 22)

Tom and Summer ride in silence for a few beats.

TOM:

(BEAT)

How was your weekend?

SUMMER:

(winks at him)

It was good.

73.

INT RESTAURANT - SAME

TOM:

Anyway... sorry. If I'm acting

strange, that's why.

ALISON:

It's ok. I'm sure it's tough

getting over an ex-girlfriend.

TOM:

Actually she was never my

girlfriend.

Now Alison is really confused. And it's right around the part

where Tom starts totally cracking up.

TOM:

I just... I thought I'd have

figured it out by now, you know? My

life. Where I'm going, where I want

to end up, who with. All that

stuff. I still don't know anything.

And the thing is... When I was with

Summer, none of that mattered. I

never even noticed how much of my

life was missing! Isn't that weird?

ALISON:

You were in love, that's what it

does. But, now that you know where

the holes are you can start to fill

them.

TOM:

Sure.

(BEAT)

Hey, I've been talking non-stop.

You talk.

ALISON:

Me? Well I grew up --

TOM:

So what do you think? Did I do

something? Did I not do something?

What can I do now?

ALISON:

I...

(BEAT)

(MORE)

74.

ALISON (cont'd)

You wanna get out of here? I know

this great...

TOM:

(suddenly excited)

Oh! You know what we should do...

INT KARAOKE BAR - LATER

Tom is, yes, on stage singing another song by The Clash,

"Train in Vain." Not so much singing as having a nervous

breakdown to music.

TOM:

"You said you'd stand by your

man!/So tell me something I don't

understand. You said you loved

me!/And that's a fact! And then you

left me, said you felt trapped!

Alison sits by herself in a booth trying to hide her face.

TOM:

"You didn't stand by me! Not at

all! You didn't stand by me," I'm

talking about you Summer!

On Alison, having the worst date ever.

CUT TO:

(219)

INT TOM'S BATHROOM - NIGHT

Tom is getting dressed for a big fancy night out. A punkish

pop song plays in the b.g. that he occasionally boogies down

to. He's excited.

He tucks his shirt into his pants. He ties his tie. He

brushes his teeth with aplomb. He looks for, finds, and

plucks a grey hair from his head. He makes some faces into

the mirror.

Satisfied, he grabs his coat and hits the street.

75.

EXT SAN FRANCISCO STREET - SAME

Tom walking in the Spring air, feeling good. The phone rings.

INTERCUT WITH:

INT SUMMER'S APARTMENT - SAME

Summer on the cell as she enters her apartment. She looks

like she's coming back from the gym.

SUMMER:

Hey it's me.

TOM:

Hello me. You having a good day?

SUMMER:

I am thank you. Listen, about

tonight... I think I might just

stay in and go to bed early.

TOM:

What? Why?

SUMMER:

I'm just really tired and I've

gotta go in early tomorrow. Would

you be super mad at me if we went

out this weekend instead?

TOM:

Well... You don't want to just,

maybe, go to dinner. I mean, you've

gotta eat right?

SUMMER:

I'm not really that hungry. And

this place is fancy right?

TOM:

(touching his tie)

Sorta.

SUMMER:

I'd rather not. Seriously, do you

mind?

Tom is standing still now, no longer moving. He's trying to

keep his frustration from being audible.

76.

TOM:

Hey, no, that's cool. Whatever you

want to do.

SUMMER:

Thank you. So we'll talk tomorrow,

alright?

TOM:

Sure.

SUMMER:

Great. Good night Tom.

TOM:

Good night.

(BEAT)

Hey, Happy... birthday.

But the line is dead. Tom's head sinks into his chest. Yet

another frustrating night...

CUT TO:

CU PAUL, TALKING DIRECTLY TO THE CAMERA DOCUMENTARY STYLE

PAUL:

I just got lucky I guess. We met in

elementary school. We had the same

class schedule in the 7th grade and

we just... clicked.

CUT TO:

CU MCKENZIE.

MCKENZIE:

Love? Shit, I don't know. As long

as she's cute and she's willing,

right? Actually, cute is a strong

word. Not atrocious.

CU RACHEL.

RACHEL:

That's a pretty complex question.

Philosophers, poets, scientists,

everybody has a theory, don't they?

(MORE)

77.

RACHEL (cont'd)

I kinda like what Nietzsche said:

"There is always some madness in

love, but there is also...always

some reason in madness." Think

about it. Pretty smart. Although,

Nietzsche also said "Kill the

Jews." So there's that.

CU VANCE.

VANCE.

I've been happily married for 30

years. She's the light that guides

me home.

(BEAT)

Yes it is from one of our cards.

(BEAT)

No someone else wrote it. Doesn't

make it less true.

CU SUMMER:

SUMMER:

Ok I'm sick of this love shit. Come

on! We've been fed this nonsense

for generations to the point where

it's now genetically encoded in our

very beings. And what does it mean?

Absolutely nothing. Give me a

break!

CU MCKENZIE:

MCKENZIE:

I'm just saying... I really need

some ass. I'm desperate.

(BEAT)

You got nothing?

CU PAUL:

PAUL:

I wouldn't say "the girl of my

dreams," no. The girl of my dreams

would have a better rack. Probably

different hair, could like sports a

little more. But... truth is...

Robyn's better than the girl of my

dreams.

(BEAT)

You know why? Cause she's real.

CU TOM.

78.

He says nothing. Just stands there. So confused. We go right

INTO:

ANIMATION. A QUICK 5 second recap of the earlier color

sequence.

(101)

INT OFFICE - DAY

Tom is wandering through the office whistling.

MCKENZIE:

Hansen, don't you have like twenty

bar mitzvah cards to write?

TOM:

Nope. All done. What are you

working on?

MCKENZIE:

Congratulations. But I've run out

of ways to say it. "Good job,"

"well done," "way to go"... I got

nothing.

TOM:

Why don't you try... "Everyday you

make me proud. But today, you get a

card."

MCKENZIE:

(BEAT)

Shit. That's not bad.

TOM:

No worries.

Tom walks by the room marked "Weddings and Anniversaries."

He's about to keep going when he pauses.

INT WEDDINGS AND ANNIVERSARIES SUITE - LATER

All of the people who work in here are MIDDLE AGED WOMEN.

Currently, they are standing around one desk where Tom sits

writing everyone's cards.

79.

TOM:

This is good Millie. "To my wife,

the love of my life. I love you."

That's very nice. I was thinking

though, why not try something

like... "Everyday that we don't

meet is meaningless and

incomplete." You know, spice it up

a little.

The Women clutch their heart like they might faint.

INT RELIGIOUS HOLIDAYS WING - LATER

Workers are again all gathered around Tom.

TOM:

Did you try... "Merry?"

ALL:

Whoa/Perfect/Yes!

TOM:

What else you got?

EMPLOYEE #1

Passover.

Tom says something totally in Yiddish. No one knows what the

hell he just said except for one Employee who bursts out in

tears of joy.

INT OFFICE HALLWAY - LATER

Tom passes Summer at her desk. She waves. He waves back. He's

so in love with her.

INT ANOTHER WING - LATER

ANGLE ON TOM writing furiously at a computer terminal.

TOM:

"...aint no woman got what you got,

sista girl. Happy birthday to the

lean, sheen, and sizzly mocha

queen!"

(BEAT)

How's that?

The AFRICAN-AMERICAN MAHOGANY WRITERS are impressed.

80.

MAHOGANY WRITER #1

Something's gotten into you son!

TOM:

Yeah. It's pretty cool.

(222)

EXT MOVIE THEATRE - NIGHT

Tom and Summer in line to buy tickets.

TOM:

You really want to see this?

SUMMER:

It sounds amazing.

TOM:

It's, like, all stabbing and shit.

SUMMER:

Exactly.

TOM:

Ok.

SUMMER:

All you take me to are sappy little

romances. I want to see some open

wounds, damn it. I want carnage.

TOM:

Fantastic.

Suddenly, Tom sees something at the front of the line.

TOM:

Oh shit.

SUMMER:

What?

And here they come, Tom's mom and step-dad, Sarah and Martin.

Tom's face registers a noticeable panic.

SARAH:

Hey!

81.

Sarah and Martin are delighted at this coincidence. Sarah

hugs and kisses her son.

TOM:

(looking at Summer)

Hi Mom.

Summer smiles. Maybe this will be ok.

TOM:

Mom, Martin, this is Summer.

SARAH:

Summer! Well hello! We've heard so

much about you! It's so good to

finally meet you.

Sarah hugs Summer.

SUMMER:

You too.

And now Martin weighs in with his own hug. Tom notices

Summer's face growing increasingly concerned. Why is he

hugging me?

MARTIN:

(to Tom)

Is this the girlfriend?

Tom is caught like a deer in headlights. What can he do?

TOM:

Well this is the girl friend I've

told you about. I don't know if

"girlfriend" is the right word...

SARAH:

You going to see the serial killer

one?

SUMMER:

Yes we are.

SARAH:

Great! Should we save you seats?

Again, this has become incredibly awkward for Tom and for

Summer.

SUMMER:

Absolutely.

82.

SARAH:

Ok. We'll see you inside.

When they're out of earshot, Tom sees that Summer is

distraught.

TOM:

Sorry about that.

SUMMER:

It's fine.

TOM:

You wanna go do something else? We

can totally bolt.

SUMMER:

Did you tell them I was your

girlfriend?

TOM:

What?! No way... I never used that

word.

SUMMER:

They seemed to think... I mean, why

is your step-dad giving me a hug?

TOM:

He's very...loving.

SUMMER:

Does he hug all your friends?

There's that word again.

Summer looks at Tom, like she's disappointed or even angry at

him for something. Then she walks ahead of him into the

theatre. He's forced to follow. Answer-less, as conflicted as

ever. Why is none of this easy?

CUT TO:

INT MOVIE THEATRE - LATER

Summer, Tom, Sarah, Martin in a row. Summer's face is cold,

emotionless. Tom tries to look at her, to make eye contact,

something. She knows he's looking but it doesn't make her

head turn his way. Tom gives up and watches the movie.

ANGLE ON THE MOVIE SCREEN. We see a BLACK AND WHITE FILM.

83.

It's a MAN racing down the street, fleeing from an unseen

assassin. When he turns around we see the man is TOM. Bullets

fly and he's hit repeatedly in the back while running away

like Belmondo in BREATHLESS. He dies an elaborate, violent,

horrible on-screen death.

(228)

INT CLUB - NIGHT

Rave music blares. Tom stands off to the side looking

miserable. Summer is on the dance floor. Though she's not

really dancing with anyone in particular, she's dancing with

everyone. Finally she comes over, white shirt dripping with

sweat and clearly a little high on one thing or another.

SUMMER:

You're not having any fun.

TOM:

You're having enough for both of

us.

SUMMER:

I'm dancing. I haven't danced in

ages. God. Come on.

TOM:

No.

SUMMER:

Come on! I wanna dance with you.

TOM:

Where were you an hour ago? I might

have danced then. I've been

standing here by myself this whole

time and you didn't look over once.

SUMMER:

So you're pissed?

TOM:

I'm not pissed. Summer... you know

I hate this shit.

SUMMER:

Then why are you here?

84.

TOM:

This is what you wanted to do

so...we're doing it.

SUMMER:

Yeah well, I didn't need a

chaperone. Go home. You're a

buzzkill standing there pouting.

TOM:

(HURT)

That's real nice.

He walks off. She feels some guilt for a second.

SUMMER:

Tom!

But when he doesn't turn around she just shakes it off and

starts dancing again.

LATER. Tom is outside in the rain. We can still hear the

music blaring from the club. Summer is in there. Tom is

alone. He can't believe it's come to this.

(251)

FADE UP:
"YOU MAKE MY DREAMS COME TRUE" by Hall and Oates.

EXT STREET - MORNING

The worst morning ever.

Tom walks down the street. Or, more accurately, Tom sulks

down the street. Though it's sunny and warm, Tom is a sad,

broken man and the world is an awful place. There's still

Hall and Oates following Tom, almost trying to cheer him up.

He checks out his reflection in a window. Ron Howard's

brother Clint looks back.

Tom walks by a COUPLE making out on a bench. He grimaces.

He walks by a sign that says "TODAY ONLY: FREE BEER." He

doesn't even stop.

Cartoon Bird returns but Tom swats it away.

The WORLD'S MOST BEAUTIFUL WOMAN stops to ask him for

directions. He doesn't even look up.

85.

Tom's parade of supporters, The Postman, Mayor McCheese, all

of them shake their heads and give him disapproving looks.

The Cartoon Bird takes a cartoon shit on Tom's shoulder. Tom

tries to kill the bird. Can't even manage that.

INT OFFICE - SAME

He passes Summer desk on the way in. She's no longer there.

He miserably sits down at his desk, tries to work but he ends

up just staring into space.

INT VANCE'S OFFICE - DAY

Tom has been called into the Principal's office.

TOM:

You wanted to see me, Mr. Vance?

VANCE:

Yes Hansen. Sit down.

TOM:

Ok.

VANCE.

Has something happened to you

recently?

TOM:

What do you mean?

VANCE:

A death in the family, someone

taken ill...anything like that?

TOM:

No.

VANCE:

Look, I don't mean to pry. Does

this have something to do with

Summer leaving.

TOM:

Who?

VANCE.

My assistant.

86.

TOM:

(faking badly)

Your...?

VANCE.

Tom...everyone knows. Nevermind.

The reason I'm asking... lately

your work performance has been... a

little off.

TOM:

I'm not following.

VANCE:

For example, here's something you

wrote last week...

(reads from a card on his

DESK)

"Roses are Red, Violets are Blue.

F*ck You Whore." Now...most

shoppers on Valentine's Day ---

TOM:

Mr. Vance... are you firing me?

VANCE:

No, no, no. Relax Hansen. You're

one of our most... adequate

writers.

TOM:

Ok. Well, I'm sorry. Things for me

have been a little difficult.

VANCE:

That's ok. I understand that. I was

just thinking... perhaps you could

channel your energy into... this.

He hands him some sympathy cards.

TOM:

Funerals and sympathy?

VANCE:

Misery, sadness, loss of faith, no

reasons to live... it's perfect for

you. Whaddaya say? Good? Good. Now

back to work you go.

He quickly ushers him out of the office.

87.

(383)

INT TOM'S BEDROOM - MORNING

Tom wakes up. He gets his bearings and then quickly rolls

onto the floor and begins a brief push-up routine.

NARRATOR (V.O.)

Most days of the year are entirely

unremarkable. They begin and they

end without creating a single

lasting memory. Most days have no

real impact on the course of a

life.

The phone rings. Tom stops his push-ups to answer it.

NARRATOR (V.O.)

May 8th was a Saturday.

INT DELI - DAY

Tom walks in to find Paul and McKenzie at a table. They look

extremely nervous.

TOM:

What's going on?

Neither one answers him. They look at each other. Finally...

PAUL:

We have news.

TOM:

Ok.

MCKENZIE:

It's about her.

TOM:

Do I want to hear it?

PAUL:

Thats what we wanted to ask you.

MCKENZIE:

It's just...lately you've

been...better.

88.

PAUL:

You've been much much better.

MCKENZIE:

So maybe it's best we don't ever

bring her up again.

PAUL:

Just let sleeping dogs lie.

MCKENZIE:

Leave those dogs alone Tom!

TOM:

You guys, look, I'm... I appreciate

what you're saying and, thank you,

really, for putting up with me

these past few months. I've been

crazy. But I've accepted the fact

that she and I were just two very

different people who wanted very

different things. I wanted to get

serious. Shit, I loved her. And I

know now, she just isn't the kind

of girl who can settle down with

one person and be happy. The way I

wanted. And she probably never

will. There was nothing I could do.

Mckenzie and Paul just sit there. Now more uncomfortable than

ever. On Tom, we:

CUT TO:

EXT DELI - SECONDS LATER

Tom comes charging out of the place with his friends

following behind.

TOM:

There's no f*cking way!

MCKENZIE:

Tom.

TOM:

It can't be. It's impossible!

PAUL:

It is.

89.

TOM:

How do you know?

On Tom's pained face we...

CUT TO:

INT TOM'S BEDROOM

Tom is going apeshit in his room. He's ripping down posters,

taking pictures out of frames and tearing them apart. He

punches the wall. He drinks an entire bottle of red wine. He

tries to find something to kick and can't. He throws his cell

phone off his balcony. Finally he collapses on the bed.

(384)

INT TOM'S BEDROOM

The half-destroyed alarm clock goes off. Tom hits the off

button.

(385)

INT TOM'S BEDROOM

Same exact thing.

(386)

INT SUPERMARKET - DAY

Tom, in a robe and boxer shorts, buys milk, OJ, cigarettes,

Jack Daniels, and twinkies.

The CLERK eyes him suspiciously.

EXT STREET - SAME

Tom sees a COUPLE kissing on the sidewalk. He winces. He sees

ANOTHER COUPLE entwined on a bench. It's killing him. He sees

a THIRD COUPLE walking towards him holding hands. He snaps.

90.

TOM:

Jesus Christ people! Get a room!

They look at this lunatic in his robe and quickly walk away.

(387)

INT TOM'S BEDROOM

Alarm clock. We PAN ACROSS to see Tom is wide awake. He

probably hasn't slept in a day or so. He has no reaction to

the alarm.

INT OFFICE - LATER

Tom actually wanders in to work, wearing sunglasses and the

clothes he slept in. People pass and say hello. He can't

muster responses. At his desk,

MCKENZIE:

Tom!

Nothing.

MCKENZIE:

I've been calling every five

minutes. Are you ok?

TOM:

What? Oh yeah. Great.

MCKENZIE:

Do you need anything?

TOM:

Twinkies?

MCKENZIE:

Sorry.

TOM:

I'm out of twinkies.

MCKENZIE:

Well let's go.

TOM:

Go... where?

91.

MCKENZIE:

It's Thursday.

INT BOARDROOM - LATER

Tom sits next to McKenzie and across from Vance. He's in his

usual boardroom position, which is to say, near comatose.

A female CO-WORKER, 50s, stands at the front of the room in

mid-presentation, showing slides that have something to do

with a cat in various poses. First we see, "Cat Reaching Up

for Out-of-Reach Milk Bowl."

CO-WORKER

This one says "Go for it!"

She clicks to the next slide. "Cat Hanging From Tree Branch."

CO-WORKER

This one says "Don't give up!"

Click. We see "Cat Considering a Giant Leap."

CO-WORKER

And this one says "You can do it!"

We have a whole line of

inspirational cards featuring

Pickles, my cat. I think people

will really enjoy them. Thank you.

She takes her seat.

VANCE.

Good job Rhoda, I agree. Really

inspirational stuff. Now, who's

next. We haven't heard from

"Sympathy" in a while. Hansen...

TOM:

(reacting to his name)

Hmm?

VANCE.

The Winter collection. You have

anything to contribute?

TOM:

Uh...no. I really don't.

VANCE.

You have nothing?

92.

TOM:

Well I wouldn't say nothing...

Actually, that's about right.

VANCE.

(DISAPPOINTED)

Oh...k. We'll come back to you.

McKenzie --

TOM:

You know what...?

VANCE.

Yes Tom.

TOM:

Can I say something about the cat?

VANCE:

Well sure. Go ahead.

TOM:

This here is, and Rhoda, you know I

mean no disrespect... but this...

this is total shit.

MCKENZIE:

Tom!

TOM:

"Don't give up?" "You can do it?"

He points to the screen, still showing the "Cat About to

Leap" image.

TOM:

This isn't inspirational. It's

suicidal. He tries that jump, I'm

writing a sympathy card for that

cat. That's the last thing I want

to be doing with my life. It's bad

enough writing these things for

people.

VANCE:

Hansen, this is a place of

business. We don't cut down our co-

workers --

TOM:

That's cause we're liars! It's what

we do here. Why don't we level with

people? Stop feeding them nonsense?

93.

CO-WORKER (RHODA)

We're a greeting card company.

TOM:

Yes but think about it! Why do

people buy these things? Not to say

how they feel. There's paper and

pens for that. People give these

cards when they can't say how they

feel. Or they're afraid to. And we

provide the service that lets `em

get away with that!

Tom is getting excited. The rest of the room is growing

uncomfortable.

TOM:

I say to hell with it! Let's level

with America. Or at least make them

speak for themselves! I mean,

seriously, what's this...

(picks a card off the

TABLE)

"I'm sorry to hear your grandmother

has passed." What the hell? Let's

give em some truth. Something like,

"Sorry to hear about your

grandmother. Here's a card so I get

some credit in your time of need.

I'm sure it makes up for the fact

that grandma's dead."

Vance and the card-writing team are appalled.

TOM:

Think about it.

(picks up another card)

"Congratulations on your new baby."

Eh... How bout... "Congratulations

on your new baby... Guess that's it

for hanging out. Nice knowing ya,

buddy."

VANCE:

Hansen, sit down!

TOM:

(picks up a card)

Wait, what's this? Ooh... fancy!

Look at this one with all the

hearts. Let's open it up. "Happy

Valentine's Day, Sweetheart. I love

you." Oh that's nice.

94.

MCKENZIE:

Tom...

TOM:

If someone gave me this card, Mr.

Vance... I would eat it.

MCKENZIE:

Tom!

Tom recognizes he's losing his shit. He takes a seat on the

boardroom table.

TOM:

(BEAT)

It's these greeting cards, Sir,

these cards, these movies, these

pop songs. They're responsible for

all the lies, the heartache,

everything! We're responsible!

Everyone shifts in their seats.

TOM:

I think we do a bad thing here.

People should be able to say how

they feel, how they really feel,

without some strangers putting

words in their mouths. The truth. A

card is a nice thought but it

shouldn't do the dirty work for

you. You love someone, tell them

yourself, in your own words. Maybe

it's not love at all. Maybe there's

no such thing as love. Maybe

it's... "galoogoo."

(BEAT)

Yeah I made it up, so what?!

Tom gets up and walks to the door.

TOM:

It's all crap. We make and peddle

crap. And sometimes people believe

in this crap. I just can't do it

anymore, Mr. Vance. There's enough

bullshit in the world without my

help. I quit.

95.

And with that he gets up and walks off. The room is pretty

stunned. Someone coughs. McKenzie tries to start a clap. It

doesn't really take.

CUT TO:

EXT BUILDING - MINUTES LATER

Tom comes outside with some boxes. He stands out in front of

the building. His face says one thing. "Holy shit. Did I just

do that?!" And then we,

CUT TO:

(383)

EXT DELI - SAME AS EARLIER

Tom and his friends on the sidewalk outside the deli.

TOM:

There's no f*cking way!

MCKENZIE:

Tom.

TOM:

It can't be. It's impossible!

PAUL:

It is.

TOM:

How do you know?

MCKENZIE:

We know.

TOM:

But... It's May! We broke up last

August.

PAUL:

I know.

TOM:

And you said she was single at

Christmas.

96.

MCKENZIE:

She was.

TOM:

And now she's...

MCKENZIE:

Yeah.

TOM:

Now she's getting married.

PAUL:

I'm so sorry Tom.

TOM:

Married?

PAUL:

It's insane.

TOM:

It's impossible. It doesn't make

sense. Where did they meet? Is it

someone we know?

PAUL:

No.

TOM:

So everything she said. All that

stuff about... it can't be. Not

her. I know her too well. She

wouldn't do that.

His friends say nothing.

TOM:

(BEAT)

F*ck!

And with that he storms off.

MCKENZIE:

Tom!

PAUL:

Let him go.

ANGLE ON Tom walking away from them.

Literally, his entire universe falls apart.

97.

FX:
BUILDINGS come crumbling down. The whole city turns to

rubble. He's the only constant as the world around him is

ERASED, brick by brick, beam by beam, as if by an unseen

force and reduced to nothing.

CUT TO:

BLACK.

And we fade up those famous OPENING BARS OF "HAVA NAGILA."

(399)

CU on a CIRCLE OF PEOPLE HOLDING HANDS, some young, some old,

Tom right in the mix trying hard to smile. Has he joined a

cult?

We are:

INT BALLROOM - NIGHT

Tom's sister Rachel's Bat Mitzvah. Tom and his family have

formed a traditional Hora. They dance in a big circle and

clap their hands. A chair is brought to the center and Rachel

is lifted high above the circle by Tom, his step-dad, and

some others.

CUT TO:

LATER. Rachel is standing by a cake with a microphone.

RACHEL:

Your apple pies are really great.

So Uncle Sid and Aunt Ro, come

light candle number eight!

ANGLE ON TOM sitting with his mom Sarah at the table. They

clap. Mom looks at her son knowing something is wrong. Tom

catches her looking.

CUT TO:

LATER. Tom being accosted by two more Aunts.

AUNT ANITA:

I can't believe that. No

girlfriend?

98.

TOM:

I can't believe it either!

AUNT BETSY:

What are you 30? You should be

married now. With a family. What

are you waiting for?

TOM:

The right girl I guess.

AUNT BETSY:

There's girls everywhere. I bet you

have to beat em off with a stick.

TOM:

Oh you'd be surprised.

AUNT ANITA:

(actually squeezing his

CHEEKS)

Look at this punum. Are all those

girls blind?

AUNT BETSY:

My friend Mimi has a granddaughter.

Yay high. Great figure. Bosom out

to here --

TOM:

Hey I appreciate that Aunt Betsy.

Lord knows I like bosoms. It's

just... I recently got out of

a...well, I don't know what it was.

AUNT ANITA:

Oh I'm sorry. When was that?

TOM:

July.

AUNT BETSY:

You mean...seven months ago?

AUNT ANITA:

Was it a man?

TOM:

What?

AUNT BETSY:

She's means `are you a homosexual?'

99.

TOM:

No. Where's that coming from?

AUNT BETSY:

We just always wondered.

Awkward.

AUNT ANITA:

So how's work?

CUT TO:

LATER. Tom at the bar. He downs his drink in one gulp.

CUT TO:

LATER. ANGLE ON Tom alone at the table. The band plays "Lady

in Red" and everyone's dancing. When we're back on Tom, he's

sitting with Summer.

TOM:

Well...glad you came?

SUMMER:

Of course. Where am I exactly?

TOM:

When you turn 13 in the Jewish

religion, you officially become an

adult.

ANGLE ON RACHEL, dancing with a BOY.

SUMMER:

Wow. So this is a big day in your

sister's life.

TOM:

Pretty big, yeah.

SUMMER:

(BEAT)

So why aren't you smiling?

ANGLE ON TOM. Alone. Still not smiling. Rachel arrives in the

nick of time.

RACHEL:

Hey brother. Wanna dance?

She drags him to the dance floor.

100.

RACHEL:

Hi.

TOM:

You having fun? You were great this

morning.

RACHEL:

Yeah yeah yeah. Talk to me. How are

you?

TOM:

Me? I'm good. I'm great.

RACHEL:

(re:
Summer's engagement)

I heard.

TOM:

Yeah.

RACHEL:

Sucks.

TOM:

Yup.

It's silent a few beats.

TOM:

Anyway, who cares about me? This is

your day.

She hugs him. Tight. He doesn't cry but he could.

RACHEL:

You know, my friends... they're all

in love with you.

TOM:

Is that right?

RACHEL:

Look.

He sees a coven of 13-year olds swooning across the dance

floor at him.

TOM:

That's nice.

101.

RACHEL:

What I tell ya? There are plenty

other fish in the sea.

TOM:

Those are guppies.

RACHEL:

Who knows, someday one might turn

out to be your "true love."

TOM:

Are you making fun of me now?

RACHEL:

No I'm serious.

TOM:

I got news for you Rach. That true

love stuff... it's make-believe.

RACHEL:

Well that's not very romantic.

TOM:

It's the new me.

The song ends.

TOM:

Alright... go play with your

friends.

RACHEL:

You'll be ok?

TOM:

(LYING)

Sure.

RACHEL:

Tom.

TOM:

Hmm?

RACHEL:

I know you think she was the

perfect girl for you...

(BEAT)

I don't. I think you're just

remembering the good stuff. But

what do I know, right? I'm 13.

102.

She blows him a kiss and then runs off and joins her girls.

Tom watches her go.

CUT TO:

(240)

SPLITSCREEN - TOM'S BEDROOM/ SUMMER'S BEDROOM - MORNING

Tom is wide-awake, sitting fully dressed on his bed putting

his shoes on. He holds the phone up to his ear.

TOM:

Hey.

Summer is half-asleep under the covers. The phone lays at her

side and she angles towards it.

SUMMER:

Hello?

TOM:

Are you still sleeping?

SUMMER:

(GROGGY)

I'm getting up. What time is it?

TOM:

10:
30. Are we still hanging out

today?

SUMMER:

Ok. Sure.

TOM:

I'll meet you at Liberty in... 20

minutes?

SUMMER:

I might need 45.

EXT PARK - DAY

Tom and Summer are having a picnic. If it looks familiar,

it's cause we saw them here on page 7. This is that fateful

day Tom described to his sister and his friends. The day it

all, finally, fell apart.

103.

TOM:

So how was last night?

SUMMER:

It was fine. Just a work thing.

TOM:

Where did you guys go?

SUMMER:

Some restaurant.

TOM:

Fun?

SUMMER:

Uneventful. Didn't get home until

after 12 though which is way too

late for a stupid work function.

How was your night?

TOM:

Pretty standard.

Not much more to say. Stay with them for a few extra beats of

silence.

EXT OUTDOOR MARKET - LATER

Tom and Summer shopping at the fruit market. Unless we were

looking for trouble we wouldn't see any. But since we are, we

might notice she lags behind him as they walk through the

aisles. His hands are in his pockets. He's bored. She's

distant. But only if we're really looking.

(406)

INT. APARTMENT - LATER

Tom, almost with a full beard, is redecorating his apartment

again. We see him rearranging the furniture in the room.

LATER. He hangs some new pictures.

LATER. He uses a pencil on the wall to mark for a bookshelf.

Then he uses a ruler to make sure his marks are even. He

draws a faint line on the wall to mark where he needs to nail

something.

104.

(240)

INT COFFEE HOUSE - LATER

That day again. As we've seen before, Tom reads a newspaper.

Summer reads a novel.

TOM:

It's playing at 5.

SUMMER:

You want to go?

TOM:

I don't know. You wanna maybe go

back to your place or ---

SUMMER:

I want to see it. Let's go.

TOM:

Ok cool.

SUMMER:

Unless you don't want to.

TOM:

No, I will. That's fine.

SUMMER:

Ok.

A few more silent beats. Something's in the air.

INT MOVIE - LATER

Tom and Summer watching the film. Tears begin to well in

Summer's eyes. They soon turn to audible sobs. Tom turns to

look at her, to offer some sort of comfort, believing it to

be a response to the movie. She doesn't look back.

(409)

INT TOM'S BEDROOM - DAY

Tom drawing a straight line on his wall. Redecorating.

105.

And then he stops.

He looks at the line he's drawn. He extends it a little bit.

He draws another. He begins to furiously draw on the wall.

From out of nowhere, inspiration has hit. An image starts to

form. A pretty impressive looking futuristic skyscraper,

almost shaped like a tear drop.

(240)

EXT MOVIE THEATRE - LATER

Same day from the past. They walk out, at first everything's

alright. It's exactly as we saw on page 7. But soon after

that she begins to cry again. Serious, real sobbing.

TOM:

Hey.

He goes to hug her. He hugs her. It's unclear if she hugs

back.

TOM:

Hey Sum, it's just a movie.

SUMMER:

I know. I'm sorry Tom.

TOM:

Is everything alright with you?

She smiles, tries to pull herself together.

SUMMER:

Yeah. I'm just...I'm sorry. I'm

being ridiculous.

TOM:

It's ok. This happens to me every

time I watch "Hoosiers." Let's go

for a walk, ok. Let's get some air.

Or go to Sister Ray's.

SUMMER:

Ok.

They walk.

106.

INT RECORD STORE - NIGHT

Tom and a much more in control Summer walk down the aisles.

He grabs one.

TOM:

It pains me that we live in a world

where no one's ever heard of

Spearmint.

SUMMER:

I've never heard of them.

TOM:

And it's painful. Oh look.

He grabs a Ringo Starr album and shows it to her, just as

we've seen on Page 7. She smiles and they continue on down

the aisles.

In CU, Tom goes to hold Summer's hand. But something happens.

It could be a total coincidence, but just as his hand

approaches hers (in SLO-MO), she moves it away and keeps it

at her side. Tom puts his hands in his pockets, unsure if

there's something to read in that.

(411)

EXT HARBOR - DAY

Tom sketches intensely. The landscape, the skyline, the

works. He's in the zone.

(240)

EXT RECORD STORE - LATER

Again, that fateful day continues. Tom and Summer outside.

SUMMER:

So.

TOM:

So... Now what?

107.

SUMMER:

Now...I think I'm gonna call it a

day.

TOM:

Yeah? You wanna maybe...get some

dinner or something?

SUMMER:

I've got pasta at home.

TOM:

Are you hungry?

SUMMER:

I'm pretty hungry, but --

TOM:

Ooh!

SUMMER:

What?

TOM:

I've got a great idea!

SUMMER:

What?

TOM:

Let's get breakfast.

SUMMER:

Now?

TOM:

Pancakes?

Summer's resistance is futile. And the rest as they say is

history.

FADE UP:
"Number Two" by the Pernice Brothers. Which plays

OVER:

(417-464)

1. INT TOM'S BATHROOM - DAY

Tom shaves. Makes himself look presentable.

108.

LATER. Tom, now clean shaven and looking like he did when we

first met him, sketches on his bed with one hand while

holding a phone with the other.

2. EXT CITY SIDEWALK - DAY

Tom sits on a street corner drawing new additions to the

city's skyline.

2. INT LIBRARY - DAY

Tom sits with his feet up on a table, headphones on his ears,

reading one of many Taschen books on innovative building

design.

3. INT OFFICE LOBBY - DAY

Tom drops off his portfolio with the security guard in the

lobby of a high-rise.

4. EXT SOCCER FIELD - DAY

Tom and his mom and step-dad cheer on his sister playing

soccer. It's a nice temporary distraction for him.

6. INT TOM'S BEDROOM - DAY

Tom getting bad news on the phone. He has a list written on

his wall (which is now composed of a dynamic cityscape of

futuristic looking structures). He crosses "Abrams and

Abrams" off the list. We notice several others are also

crossed off.

5. EXT GOLDEN GATE BRIDGE - DAY

Tom has his car on the side of the road and is out measuring

the distance between the beams of the bridge.

8. EXT PARK - DAY

Tom jogs. A little faster this time.

9. INT TOM'S BEDROOM - NIGHT

Tom getting more bad news from the answering machine,

crossing off yet another firm from the list. Few remain. He

sits on the bed with his shoulders slumped. For a beat, lost

in thought.

109.

Then, as if to shut those thoughts out, whatever they were,

he turns on the TV and joylessly watches the nothingness.

9. SPLITSCREEN - DAY

On the LEFT, Tom, alone, on a bus. Looking out the window.

Thinking.

On the RIGHT, Summer. In her wedding dress. The veil is

lifted. And she's a bride.

END MUSIC.

(478)

EXT OFFICE BUILDING - ANOTHER DAY

Tom, in a suit, exits a building after another dismal

interview. We can see he is frustrated but not deterred. In

the distance, his favorite spot in the city, where he took

Summer ages ago.

EXT. PARK - DAY

Tom walks over and sits down on a bench. He stares off, lost

in thought. And then, from out of nowhere, there's her voice.

SUMMER (V.O.)

Hey.

Summer sits like an apparition on a neighboring bench. She

may have just sat down, she may have been there for hours.

Tom isn't sure if she's real. He doesn't quite know what to

do.

SUMMER:

(re:
suit)

Where you coming from?

TOM:

What? Oh. Nowhere. How long have

you been sitting there?

SUMMER:

Awhile.

Tom finds it hard to look at her.

110.

SUMMER:

I come here a lot. I always loved

this place, ever since you brought

me here.

The mention of their past makes the atmosphere frosty.

TOM:

So... I should probably say

congratulations.

SUMMER:

Probably. But only if you mean it.

TOM:

I don't know if I do honestly.

SUMMER:

I understand.

TOM:

Yeah well...anyway...I hope you're

happy.

SUMMER:

You really do?

TOM:

(BEAT)

God no.

They both laugh a little. The tension begins to dissipate.

SUMMER:

How are you, Tom?

TOM:

I'm good. Ish.

SUMMER:

That's good.

TOM:

Yeah I quit the office.

SUMMER:

Really? That's great! What are you

doing now?

TOM:

Mostly...sleeping. Breaking things.

Awkward silence.

111.

TOM:

So who's the guy?

SUMMER:

Who, my guy?

TOM:

Yeah... Wait. Don't tell me. I

don't want to know.

SUMMER:

Tom...

TOM:

No really, I don't.

SUMMER:

Ok.

More awkward silence. This one goes on a beat longer. And

THEN:

TOM:

It's amazing to me. You're married.

SUMMER:

I know.

TOM:

You're not only someone's

girlfriend, your someone's wife!

SUMMER:

Pretty crazy, huh?

TOM:

(SIGHS)

I'll never understand that.

SUMMER:

Tom --

TOM:

What's different now? How could

things change so quickly?

SUMMER:

I don't know. It just happened.

TOM:

What happened?! That's what I don't

get.

112.

SUMMER:

I... Tom...

TOM:

What, tell me...

SUMMER:

I woke up one day and I knew.

Tom says nothing.

SUMMER:

I knew I could promise him I'd feel

the same way every morning. In a

way that I... I never could with

you.

And there's not much else to say after that.

Tom gets up to leave.

TOM:

You know what sucks? Realizing that

everything you believe in is

complete bullshit.

SUMMER:

What is?

TOM:

Destiny, soulmates, true love. All

that stuff. It's nothing more than

silly childhood fairy tale

nonsense, isn't it? God!

SUMMER:

Tom, don't go.

TOM:

I should have listened to you,

Summer. You were right all along.

Summer takes a beat to let this hang there.

SUMMER:

I was right?

And then, out of nowhere, she begins to hysterically laugh.

TOM:

What? This is funny?

113.

Tries to stop but it only makes it worse. Now's she's

completely cracking up.

TOM:

What are you laughing at?

And she can't stop. She's totally lost control.

TOM:

(trying himself not to

LAUGH)

You're a crazy person!

SUMMER:

Tom! You're the crazy person!

TOM:

What are you talking about?!

SUMMER:

One day I'm reading a book at the

corner deli and this guy sits down

and starts asking about it. Now

he's my husband!

TOM:

This is funny to you?

SUMMER:

What would have happened if I went

to the movies instead? If I went

somewhere else for lunch? If I

showed up to eat ten minutes later?

Tom, it was meant to be, just like

you said. And as it was happening,

I knew it. I could feel it, sure as

the sun. And I kept thinking to

myself "Holy shit. Tom was right."

You were right about all of it.

(BEAT)

It just wasn't me you were right

about.

Tom is speechless. Summer takes his hand. We may notice her

wedding ring. We may also notice that this is the same exact

shot as the first scene of the screenplay. We hold it for a

few seconds more. And then, the hands separate.

SUMMER:

Anyway, I should probably be

getting back. It was good to see

you. I'm glad you're well.

114.

Summer gets up and starts walking away from him. After a

SECOND:

TOM:

Summer!

She stops and turns back. He takes in her face, most likely

for the last time ever.

TOM:

I really do hope you're happy.

SUMMER:

I know.

(BEAT)

See you later.

And she walks away. The CAMERA TRACKS AWAY with her, leaving

Tom alone in the park, getting smaller and farther away every

second.

FADE OUT:

A FEW SECONDS OF BLACK, BEFORE...

FADE IN:

(500)

INT OFFICE WAITING AREA - DAY

Tom, in a suit, with a hefty batch of architecture sketches

at his side, waits in the foyer of Allen, Prince, and Gethers

Architecture. From the room we can tell this firm is big

time.

Tom waits.

We notice, before he does, a VERY CUTE GIRL sitting in a

another chair, also waiting. She smiles. He smiles back.

GIRL:

Are you here to interview?

TOM:

Sorry?

115.

GIRL:

Are you interviewing? For the

position?

TOM:

Oh. Yeah. Why, are you?

GIRL:

Yup.

TOM:

Ah. My competition.

GIRL:

It would appear.

TOM:

Gee, this is a little awkward.

GIRL:

Yes it is.

TOM:

Well, I hope you don't get it.

GIRL:

I hope you don't get it.

They both laugh. There's a silence for a few beats. And it's

during this time that something weird comes over Tom and we

can visibly see it in his face. He likes the look of this

girl. This girl is cute. He'd like to talk more with her.

And, honestly, he's a little surprised by it.

TOM:

So, uh...

GIRL:

Hmm?

TOM:

Are you from...California?

GIRL:

Grew up not too far from here.

Atherton, near Stanford.

TOM:

I know Atherton. Nice area.

GIRL:

Have I seen you before?

116.

TOM:

I, uh, don't know. I don't think

so.

GIRL:

Do you go to St. Patrick's? Not to

pray or anything but to stand

outside?

TOM:

I do! I love that church. It's like

my favorite structure in the city.

GIRL:

If only it wasn't near that

horrible mirrored thing...

TOM:

Yes! Exactly. I totally agree!

GIRL:

Yeah.

(BEAT)

I think I've seen you there.

TOM:

You have? Really? Hmm. I didn't see

you.

GIRL:

It happens. You probably weren't

looking.

A MAN comes out.

MAN:

Tom Hansen?

TOM:

Yes.

MAN:

Come on back.

TOM:

Thank you.

He starts to go. But halfway through the doorway, he pauses

and looks back at the girl.

117.

NARRATOR:

If Tom had learned anything... it

was that you can't ascribe great

cosmic significance to a simple

earthly event. Coincidence. That's

all anything ever is. Nothing more

than coincidence.

ANIMATION. 1 second clip of the colored sequence. Real fast.

Hardly noticeable. But it's there.

NARRATOR:

It took a long time but Tom had

finally learned. There are no

miracles. There's no such thing as

fate. Nothing is meant to be. He

knew. He was sure of it now.

(BEAT)

Tom was...

Tom turns back around.

NARRATOR:

...pretty sure.

TOM:

(to Girl)

Excuse me.

GIRL:

Hello stranger.

TOM:

When this is over... uh... would

you like to maybe...grab a cup of

coffee or something?

GIRL:

Oh. I'm sorta supposed to meet

someone.

TOM:

(DEFLATED)

Oh. Got it... No problem.

He turns back around and shakes that off, tries to refocus on

the task at hand. A job interview. And then he hears.

GIRL:

Ok.

Tom turns back around.

118.

TOM:

What's that?

GIRL:

Why not?

TOM:

Yeah?

GIRL:

Yeah.

TOM:

Great! So... I'll wait for you

here, or you wait for me

or...something.

She laughs. She's cute when she laughs.

GIRL:

We'll figure it out.

TOM:

Ok!

(extends hand to shake)

My name's Tom.

GIRL:

Nice to meet you...

She puts out her hand to meet his. They shake.

GIRL:

I'm Autumn.

And on his face...

SMASH CUT TO:

THE END:

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Scott Neustadter

Scott Eric Neustadter is an American screenwriter and producer. He often works with his writing partner, Michael H. Weber. The two writers wrote the original screenplays for Days of Summer and The Pink Panther 2. Days of Summer is based on two real relationships Neustadter had. more…

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Submitted by acronimous on March 13, 2019

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"500 Days of Summer" Scripts.com. STANDS4 LLC, 2019. Web. 16 Sep. 2019. <https://www.scripts.com/script/500_days_of_summer_24134>.

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