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GROUNDHOG DAY |
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Written by |
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Danny Rubin |
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Second Revision by |
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Harold Ramis |
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January 7, 1992 |
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FADE IN |
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HIBERNATING GROUNDHOGS |
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A family of groundhogs is nestled together in their burrow |
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sleeping off the end of a long winter. |
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ROLL CREDITS AND THEME MUSIC |
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DISSOLVE TO: |
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EXT. A FOREST CLEARING - EARLY MORNING |
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The crust of an old snowfall still covers the frozen ground, |
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and the bare, icy branches of the trees glisten dully in the |
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early morning light. |
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CUT TO: |
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INT. TV STUDIO - SAME TIME |
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PHIL CONNORS is standing in front of a blank green wall |
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gesticulating animatedly at some invisible images on the wall, |
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talking a mile a minute (MOS) . He looks completely crazy as he |
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points at nothing and winks to an unseen audience. |
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CUT TO: |
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EXT. WESTERN PENNSYLVANIA - SAME TIME |
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CREDITS CONTINUE as we streak across the winter landscape, |
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flying over fields and farms, small towns and hamlets, railroad |
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lines and interstates, coalyards and factories, until we cross |
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the Allegheny River and follow it to the southwest. |
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CUT TO: |
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INT. TV STUDIO - SAME TIME |
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Phil continues pointing out features on the blank wall , but |
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from a new angle we can see that he ' s looking at a monitor out |
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of the corner of his eye which shows the chromakey insert he's |
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pointing to -- a national weather map. |
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CUT TO: |
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EXT. NEAR PITTSBURGH - SAME TIME |
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The country towns turn to suburbs, traffic on the roads gets |
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heavier and finally we see the skyline of Pittsburgh and the |
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confluence of the Allegheny with the Monongahela and the Ohio. |
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-2- |
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We zoom into a tall building in the downtown area and |
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DISSOLVE TO: |
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INT. PHIL CONNORS' OFFICE - MORNING |
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We don't see anyone at first but the office itself speaks |
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volumes about it's inhabitant-- team pictures of the Steelers |
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from the Franco Harris-Terry Bradshaw glory years, a framed |
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memorial portrait of Roberto Clemente, a local Emmy award |
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statue, an erasable weather map and mountains of personal junk |
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on the desk, ^windowsill, and every other available surface. |
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As the CREDITS END, we notice a sleeping figure on the small |
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sofa, buried deep under a pile of coats and a stolen airline |
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blanket. |
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GIL HAWLEY, Executive Producer of the Action News, sticks his |
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head in the door. |
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HAWLEY |
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Christ, what a pit. Phil" |
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The sleeping figure rouses himself and looks out at Hawley. |
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It's Phil, the .Channel 9 Action News weatherman. |
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PHIL |
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(SLEEPY) |
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What? |
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HAWLEY |
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It's February first, Phil. You |
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know what tomorrow is? |
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Phil sits up and.thinks hard. He's in his mid-thirties, smart, |
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rugged-looking, perhaps a little too full of himself, but |
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clearly a guy with a lot of personality. |
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PHIL |
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(catching on) |
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Oh, no! Not again. |
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He jumps up and exits the office with Hawley right behind him. |
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PHIL |
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Forget it! I'm not going. |
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INT. CORRIDOR - CONTINUOUS |
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Hawley pursues Phil through the office suite of the Channel 9 |
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Action News, from the look of it a typical, big city, local |
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news operation. A logo on the wall identifies the station as |
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WPGH - Pittsburgh. |
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Phil ducks into the studio. |
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-3- |
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INT. STUDIO - CONTINUOUS |
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Hawley follows him in and catches up with him at the weather |
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corner of the Action News set. Phil starts putting weather |
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stats up on a chart. |
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PHIL |
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Get away from me. I'm working. |
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HAWLEY |
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So what's the outlook? We gonna |
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get that blizzard? |
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Phil shakes his head and points to the chart which is headed |
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"Phil's Phorecast" with a cute caricature of himself drawn next |
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to the title. |
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PHIL |
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No way. All that moisture coming |
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up from the Gulf is going to miss |
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us completely and take a dump on |
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Harrisburg. |
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HAWLEY |
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(with authority) |
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Good, 'cause you're going up to |
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Punxsutawney to cover the |
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groundhog story tomorrow morning |
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and I want you back here in time |
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to do the five. |
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PHIL |
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Jesus, Gil, give me a break, will |
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you! I covered the goddamn |
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groundhog last year and the year |
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before that. |
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HAWLEY |
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And you'll do it :next year and |
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the year after, too. When I |
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worked in San Diego, I covered |
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the swallows coming back to |
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Capistrano for ten years in a |
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row. |
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PHIL |
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You should've killed the guy who |
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made you do that. |
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HAWLEY |
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I wanted to do it. |
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PHIL |
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Then you should've killed |
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yourself. I don't want to get |
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stuck with the groundhog for the |
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rest of my life. |
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-4- |
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HAWLEY |
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It's a cute story. He comes out, |
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he looks around, he wrinkles up |
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his little nose, he sniffs around |
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a little, he sees his shadow, he |
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d oesn't see his shadow-- it's |
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nice. People like it. |
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PHIL |
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Many people are morons. |
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HAWLEY |
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Just do it. |
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PHIL |
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What'11 you give me? |
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Hawley looks across the studio and sees RITA HANSON enter, a |
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very attractive segment producer in her late twenties. |
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HAWLEY |
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(to Phil) |
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I'll give you Rita. |
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(calls her over) |
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Rita, could you come here for a |
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second? I got a little job for |
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you. |
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Rita is relatively new to the station, but very competent, |
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personable, humorous, self-assured and very pretty-- in short, |
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a genuine princess, though Phil is too self-absorbed at this |
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point to realize it. |
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PHIL |
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(TEASING) |
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You can't send Rita out on a |
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story like this. She's just a |
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cub, a pup, still wet behind the |
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ears. Look at her. Her ears are |
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sopping wet. This needs a |
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Woodward or a Bernstein. It's a |
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big story. People need to know. |
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RITA |
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(INTRIGUED) |
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What's the story? |
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HAWLEY |
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The Punxsutawney Groundhog |
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Festival. |
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RITA |
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Gil, if it's all right with you |
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I ' d rather follow-up on the |
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nurses' strike. |
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-5- |
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HAWLEY |
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You can do the nurses when you |
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get back. Just take the squeaky |
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wheel here up to Punxsutawney and |
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get him back in one piece. Okay? |
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RITA |
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Yeah, okay. |
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Hawley exits leaving Phil and Rita alone in the studio. She |
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knows Phil mainly by his reputation and it isn't good. Still, |
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she finds him appealing in an odd way. |
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PHIL |
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(PLEASANTLY) |
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You know, this could be extremely |
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interesting. |
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RITA |
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I've never done a weather story |
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before. What's Punxsutawney |
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like? |
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PHIL |
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Oh, it's an enchanted place. A |
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magical world. It's the |
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Constantinople of the whole |
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Western Appalachian-Susquehanna |
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Drainage system. |
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RITA |
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Do you always joke? |
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PHIL |
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About 70 to 80% of the time. |
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Inside I'm actually a very shy |
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and sensitive person. |
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RITA |
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A lot of people around here think |
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you're not very sincere. |
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PHIL |
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Tell me the names of these |
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people. |
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RITA |
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I'll line up a crew and |
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transportation. If you don't |
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feel like driving, we can all go |
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up in the van together. |
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PHIL |
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I think I'll take my own car. |
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I ' m not that fond of my fellow |
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man. |
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-6- |
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RITA |
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(EXITING) |
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Nice attitude. |
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PHIL |
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Nice face. |
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(calls after her) |
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Why don't you ride up with me? |
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RITA |
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No, thanks. |
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STEPHANIE DECASTRO , an attractive, dark-eyed, dark-haired |
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correspondent, glares at Phil from across the studio. |
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INT. PHIL'S OFFICE - LATER |
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Phil is in his cluttered cubicle talking on a headset phone |
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while he reviews cassettes of his groundhog spots from the past |
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two years on a small monitor. As he talks, he stuffs a number |
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of personal items in an overnight bag, all the time watching |
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himself on the TV monitor. |
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PHIL |
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(on the phone) |
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They don't really think of me as |
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a weatherman around here. More |
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of a "personality," but with the |
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credibility of a first-class |
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broadcast journalist. Once you |
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look at my tape I think you'll |
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see what they mean. |
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Stephanie enters and stands in the doorway looking at Phil for |
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a long moment. There is something vaguely off-center about |
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this woman, not quite FATAL ATTRACTION but still a little |
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scary. |
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STEPHANIE |
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(BITTERLY) |
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I just want to know one thing: |
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did I do something wrong or are |
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you just tired of me or what? I |
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have to know. |
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Phil sighs. |
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PHIL |
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(on the phone) |
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Dan, can I call you back? I've |
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just been handed something and I |
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better get on it... |
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(he picks up some |
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papers and rustles |
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them for effect) |
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...Okay, thanks. |
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-7- |
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He takes off the headset, gets up and closes the door for |
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privacy. |
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PHIL |
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(KINDLY) |
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You didn't do anything wrong, |
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Stephanie, and I ' m not tired of |
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you. It's just that I don't have |
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time for a real relationship |
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right now. I told you that the |
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first time we went out. |
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STEPHANIE |
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(getting close) |
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Everybody says that at the |
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beginning of a relationship. |
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PHIL |
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(gently pushing her |
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AWAY) |
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I'm different. I really meant |
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it! Things are really starting |
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to move for me now. I ' m not |
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going to be doing the weather for |
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the rest of my life. I was just |
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talking to the CBS guy about a |
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network job. I want that. This |
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is just the beginning for me. I |
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can't waste any more time. |
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STEPHANIE |
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Are you saying our relationship |
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was a waste of time? |
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PHIL |
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Our relationship? We went out a |
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total of four times! And only |
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twice did anything happen. It |
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was fun but I don't see that as |
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a big commitment. |
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STEPHANIE |
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(closing in again) |
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I had our charts done. My |
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astrologer says we're extremely |
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compatible. There may even be |
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some past lives involvement here. |
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PHIL |
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See? So we've already done this. |
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Let's move on. Next case. |
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STEPHANIE |
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You know what's wrong with you, |
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Phil? You're selfish. You don't |
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have time for anyone but |
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yourself. |
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-8- |
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PHIL |
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That's what I ' m trying to tell |
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you. You don't want to be with |
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me. You can do better. Look, |
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Stephanie, if I ever said or did |
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anything to mislead you I'm sorry |
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for that, but right now I have to |
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do this groundhog thing and I |
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don't have a handle on it yet. |
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He throws some papers and his datebook into a briefcase and |
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puts on his jacket. |
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PHIL (CONT.) |
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I'll tell you what. I ' m going to |
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do some serious thinking while |
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I ' m in Punxsutawney, okay? |
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He pats her on the shoulder and brushes past her, leaving her |
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standing there with a malevolent look on her face. |
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CUT TO: |
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EXT. A HIGHWAY - AFTERNOON |
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A VAN marked ".Channel 9 Action News" speeds along a two-lane |
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highway through the winter landscape of West Central |
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Pennsylvania. Mounted atop the van is a microwave transmitter. |
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Rita is riding up front with LARRY, the union cameraman and |
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techie. Phil is following close behind the van in a new Lexus |
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coupe. His car has a bumper-sticker that reads "Weathermen |
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Like it Wet." |
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PHIL (V.O.) |
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(on his earphone) |
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I'm on my way to Punxsutawney... |
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(forced to repeat it, |
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a little embarrassed) |
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Punx^su-taw-ney....Work or fun? |
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I think that all depends on you. |
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INT. THE LEXUS - CONTINUOUS |
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Phil is talking to one of his girlfriends, sorting through a |
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stack of CD's, as usual, grabbing at the good life with both |
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hands. |
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PHIL |
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. . . . I thought maybe you could |
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meet me up there tonight and let |
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me vulgarize you for about seven |
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hours....So I ' m supposed to spend |
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the night in Punxsutawney all |
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alo ne? Thanks. |
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Phil loads a CD and a great, driving song kicks in. |
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CUT TO: |
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A SIGN |
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"Welcome to Punxsutawney - The Original Weather Capitol of the |
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World Since 1887." Depicted on the sign is a large cartoon |
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GROUNDHOG wearing a top hat and clutching an umbrella under his |
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arm. |
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The mini-convoy passes some fast food places on the outskirts |
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of town. |
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EXT. MAIN STREET - PUNXSUTAWNEY - LATER |
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The van drives along , the small-town main drag. There are |
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cartoon groundhogs everywhere you look and the whole town has |
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been gaily festooned with banners and bunting. |
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EXT . MOTEL - LATER |
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The van pulls into the parking lot at a Quality Inn. The |
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announcement billboard in ;front of the motel reads: "Groundhog |
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Day Breakfast Special - Feb.2 - All You Can Eat - $5.99." The |
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parking area is already crowded with cars including a number of |
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other news vans. The Lexus pulls in behind the van and |
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everybody gets out. |
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Phil takes one look at the motel and shakes his head. |
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PHIL |
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(calls out) |
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Rita! I can't stay here. |
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Rita is already helping Larry unload equipment from the van. |
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LARRY |
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(MUTTERING) |
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Prima donnas. |
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RITA |
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It's okay. I'll handle it. |
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She crosses to the Lexus where Phil is trying to make another |
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call on his earphone. |
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RITA |
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What's the problem, Phil? |
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PHIL |
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I hate this place. I stayed here |
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two years ago and I was |
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miserable. It's like a minimum |
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security prison. I'm not staying |
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here. |
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-10- |
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RITA |
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You're not staying here. |
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PHIL |
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(BRIGHTENING) |
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I ' m not? |
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RITA |
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No, Larry and I don't care but I |
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thought you might, so I booked |
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you at a very nice bed and |
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breakfast on Cherry Street. |
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Here's the address. |
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She hands him a card. |
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PHIL |
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(PLEASED) |
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Great. That's great. That's the |
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mark of a really good producer. |
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Making the talent happy. |
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RITA |
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Whatever I can do. |
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PHIL |
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Really? Will you be my love |
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slave? |
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RITA |
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Whatever I can do within reason. |
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Would you like to have dinner |
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with Larry and me? |
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PHIL |
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No thanks, I've seen Larry eat. |
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Why don't you ditch Larry and let |
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me take you someplace nice? |
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RITA |
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You mean like a date? |
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PHIL |
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Yeah. |
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RITA |
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Oh, no. |
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PHIL |
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Okay. I get it. You're a little |
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intimidated by me, you're all |
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excited about the shoot tomorrow, |
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you want everything to go just |
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perfect. I understand. You just |
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get some sleep. Tomorrow will be |
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great. |
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-11- |
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RITA |
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Well, that's something to look |
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forward to. I'll see you in the |
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morning. |
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He drives off, leaving her standing there shaking her head. |
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LARRY |
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Did he actually call himself "the |
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talent?" |
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Larry snorts and continues unloading their gear. |
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CUT TO: |
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EXT. CHERRY STREET - DAWN |
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The first light of morning colors the sky behind the Cherry |
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Street Inn, a rambling, white Victorian bed and breakfast. |
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CLOSE UP - CLOCK |
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A digital clock-radio changes from 5:59 to 6:00 AM. The radio |
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comes on, playing the end of the Sonny and Cher hit, "I Got |
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You, Babe." |
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SUPER: FEBRUARY 2 |
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INT. PHIL'S ROOM - DAWN |
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Phil sits up in bed and looks around the room. The decor is |
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typical bed and breakfast, flocked wallpaper, framed prints, |
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and an odd assortment of mismatched furniture. His suit is |
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hanging neatly on the back of the closet door and his suitcase |
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is open on a stand at the foot of the bed, still neatly packed. |
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A iradio, DEEJAY and his SIDEKICK come on with hyped-up, |
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drivetime Chappy talk." Phil stares at the radio and listens |
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to them. |
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DEEJAY |
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Okay, campers, rise and shine, |
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and don't forget your booties |
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because it's COOOLD out there |
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TODAY1 |
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Phil grimaces and swings out of bed. |
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SIDEK ICK |
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It's cold out there everyday. |
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W hat is this-- Miami Beach? |
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The deejay laughs. Phil shakes his head at the cheesy repartee |
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as he crosses to the sink and starts brushing his teeth. |
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-12- |
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DEEJAY |
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Not hardly. And you can expect |
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hazardous travel later today with |
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that, you know, blizzard thing-- |
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SIDEKICK |
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That "blizzard thing?" |
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Phil splashes some water on his face and prepares to shave. |
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SIDEKICK (CONT.) |
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Oh, here's the report: the |
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National Weather Service is |
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calling for a big blizzard thing. |
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DEEJAY |
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Yes they are, but there's another |
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reason today is very special-- |
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SIDEKICK |
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Es pec ia lly cold-- |
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DEEJAY |
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Especially cold, okay, but the |
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big question on everybody's lips-- |
|
|
|
SIDEKICK |
|
Ch ap pe d lips-- |
|
|
|
DEEJAY |
|
:--on their chapped lips, right-- |
|
Do you think Phil's going to come |
|
out and see his shadow? |
|
|
|
SIDEKICK |
|
Punxsutawney Phil. |
|
Phil looks up at himself in the mirror, admiring his own face. |
|
|
|
DEEJAY |
|
That's right, rodent lovers! |
|
|
|
IT'S-- |
|
|
|
BOTH DEEJAYS |
|
Groundhog Day1 |
|
SOUND EFFECT of GRUNTING GROUNDHOGS. |
|
Phil grunts at his reflection in the mirror. |
|
|
|
PHIL |
|
(to himself) |
|
Never again. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-13- |
|
|
|
|
|
|
|
INT. CORRIDOR - DAWN |
|
|
|
Phil heads for the breakfast room of the inn, now well-dressed |
|
in a suit and tie, a nice overcoat slung over his arm. A |
|
CHUBBY MAN passes. |
|
|
|
CHUBBY MAN |
|
Morning . |
|
|
|
PHIL |
|
Morning . |
|
|
|
CHUBBY MAN |
|
Think it'll be an early Spring? |
|
|
|
PHIL |
|
I ' m predicting March 21st. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. BREAKFAST ROOM - CONTINUOUS |
|
|
|
Phil enters the old library of the house now set up with a |
|
breakfast buffet. An old spinet piano stands in the corner. |
|
One wall is lined with .bookcases filled with books. A handful |
|
of guests are seated around the room, eating. |
|
The matron of the house, MRS. LANCASTER, spots Phil as she |
|
comes out of the kitchen with a fresh pot of coffee. |
|
|
|
MRS. LANCASTER |
|
Did you sleep well, Mr. Connors? |
|
|
|
PHIL |
|
(with mock civility) |
|
Like a Roumanian orphan, Mrs. |
|
Lancaster. |
|
|
|
MRS. LANCASTER |
|
Would you like some coffee? |
|
|
|
PHIL |
|
I don't suppose it1 d be possible |
|
to get an espresso or a capuccino |
|
around here. |
|
|
|
MRS. LANCASTER |
|
|
|
(BLANKLY) |
|
I don't really know -- |
|
|
|
PHIL |
|
Forget it. This '11 be fine. |
|
|
|
|
|
|
|
-14- |
|
|
|
|
|
|
|
MRS. LANCASTER |
|
( as she pours) |
|
I wonder what the weather's going |
|
to be like for all the |
|
festivities. |
|
|
|
PHIL |
|
My guess is it'11 be cold and |
|
overcast, high today in the low |
|
30's, dropping to the low 20's |
|
tonight, but I'm predicting that |
|
all that moisture coming up from |
|
the Gulf is going to miss us and |
|
dump some locally heavy snow, |
|
possibly blizzard conditions with |
|
travel advisories in the |
|
Harrisburg area and maybe as far |
|
east as .Philadelphia. |
|
(off her surprised |
|
|
|
LOOK) |
|
You want to talk weather, you |
|
asked the right guy. |
|
He heads for the door. |
|
|
|
;MRS. LANCASTER � |
|
|
|
: |
|
Oh, will you be checking out |
|
today, Mr. Connors? |
|
|
|
PHIL |
|
Unfortunately yes. |
|
Phil exits. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. BOARDING HOUSE - MOMENTS LATER |
|
|
|
Sipping at the steaming coffee, Phil manages to put on his coat |
|
and gloves as he descends the front steps of the house and |
|
joins the flow of pedestrian traffic on the street. |
|
|
|
|
|
|
|
EXT. MAIN STREET -KPUNXSUTAWNEY - CONTINUOUS |
|
|
|
There are a lot of people on the street for this hour. Traffic |
|
is so heavy in fact, the pedestrians are moving faster than the |
|
cars. Everyone seems to be going in the same direction, making |
|
the annual trek to see the groundhog. |
|
An OLD BUM is sitting on the sidewalk leaning against a |
|
storefront. Someone throws him a coin. Phil walks by without |
|
taking any notice. |
|
|
|
MAN (O.C.) |
|
Hey, Phil! |
|
|
|
|
|
|
|
-15- |
|
|
|
|
|
|
|
|
|
A big pie-faced man, NED RYERSON, comes huffing and puffing |
|
right up to him. There is something about this guy that makes |
|
us dislike him on sight. |
|
|
|
NED |
|
Phil! Phil Connors! I thought |
|
that was you! |
|
Phil looks at him vaguely. |
|
|
|
PHIL |
|
(at a loss) |
|
I 'm sorry. Have we-- uh-- |
|
|
|
NED |
|
My oh my! Phil Connors. Don't |
|
say you don't remember me, 'cause |
|
I sure as heckrfire remember you. |
|
Well? |
|
Phil stares, trying to remember. |
|
|
|
NED |
|
Ned Ryerson? Needlenose Ned? |
|
Ned the Head. Come on, buddy. |
|
Case Western High? |
|
|
|
PHIL |
|
Ned? |
|
|
|
NED |
|
I see you clicking through that |
|
brain of yours. Click-click, |
|
c li ck- cli ck, click-click--Bing! |
|
Ned Ryerson, did the whistling |
|
trick with my belly button in the |
|
talent show. Bing! Ned Ryerson, |
|
got the shingles real bad senior |
|
^year^ almost didn't graduate. |
|
Bing again! Ned Ryerson, went |
|
out with your sister Mary Pat a |
|
couple of times-- 'til you told |
|
me not to anymore. Well? |
|
|
|
|
|
|
|
PHIL |
|
|
|
(RESIGNED) |
|
Ned Ryerson. |
|
|
|
NED |
|
Bing! |
|
|
|
PHIL |
|
So what're you doing with |
|
yourself, Ned? |
|
|
|
NED |
|
Phil, I sell insurance. |
|
|
|
|
|
|
|
-16- |
|
|
|
|
|
|
|
PHIL |
|
(sorry he asked) |
|
No kidding. |
|
|
|
NED |
|
Do you have life insurance, Phil? |
|
'Cause if you do, I bet you could |
|
u s e more-- who couldn't?--but I |
|
got a feeling you don't have any. |
|
Am I right? |
|
|
|
PHIL |
|
You know, Ned, I ' d love to talk |
|
to you but I really have to-- |
|
Phil starts to walk away,,but Ned won't take the hint. |
|
|
|
NED |
|
That's okay. I'll walk with you. |
|
When I see an opportunity, I |
|
charge it, like a bull. Ned the |
|
Bull, that's me now. Some of my |
|
friends live and die by actuarial |
|
tables, but I think it's all just |
|
a crap shoot anyhoo. Ever heard |
|
of single .premium life? That |
|
could be the ticket for you, |
|
buddy. God, it's good to see |
|
you! Hey, what're you doing for |
|
dinner? |
|
|
|
PHIL |
|
Dinner? Umm, I don't think |
|
that's going to work for me. |
|
As they continue walking, Phil steps into what looks like a |
|
shallow puddle and ends up ankle deep in wet slush. Ned laughs |
|
like a donkey. |
|
|
|
NED |
|
Hey, look out for that first |
|
step! It's a doozy! |
|
Phil looks at him with murderous contempt. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - DAWN |
|
|
|
A big crowd is standing in a park-like clearing off a |
|
residential street. They are gathered around a large mound of |
|
dirt enclosed by a rail fence, waiting for the big moment. For |
|
a cold gray dawn, there is the atmosphere of a festival here. |
|
An area close to the mound is roped off for news reporters and |
|
cameras. Rita stands there, a pocket of genuine beauty in this |
|
sea of potbellied old union guys and blow-dried reporters. |
|
|
|
|
|
|
|
-17- |
|
|
|
|
|
|
|
|
|
Stomping her feet against the cold, Rita looks at her watch and |
|
glances around. Larry, the cameraman, just looks bored. |
|
|
|
RITA |
|
How could he be late? |
|
|
|
LARRY |
|
Prima donnas. |
|
|
|
RITA |
|
It's just so-- inconsiderate. |
|
|
|
LARRY |
|
What happens to some people? |
|
They're born nice. They grow up |
|
nice. You put 'em on TV and - |
|
bam! Prima donnas. |
|
Rita spots Phil heading into the crowd. |
|
|
|
RITA |
|
Here he comes. Phil! Hey, Phil. |
|
Over here! |
|
Phil joins them in the press area. Rita pulls him to his mark |
|
near the rail fence. |
|
|
|
RITA |
|
Where've you been? |
|
|
|
PHIL |
|
I got hung up with some jerk I |
|
went to high school with. So, |
|
did you sleep okay without me? |
|
You tossed and turned, didn't |
|
you? |
|
Rita holds up a slate for Larry to ID the tape. |
|
|
|
RITA |
|
You're incredible. |
|
|
|
PHIL |
|
Who told you? |
|
|
|
RITA |
|
Ready when you are. |
|
Phil takes the microphone from Rita and positions himself |
|
against the fence. |
|
The Groundhog Club Officials in top hats, striped trousers and |
|
cutaway coats parade out to the burrow that houses Punxsutawney |
|
Phil. |
|
|
|
RITA |
|
Looks like they're starting. |
|
Roll tape. |
|
|
|
|
|
|
|
-18- |
|
|
|
|
|
|
|
LARRY |
|
Rolling. |
|
Rita silently counts down from five and cues Phil who instantly |
|
snaps into announce mode. |
|
|
|
PHIL |
|
(to camera) |
|
Once a year, the eyes of the |
|
nation turn here, to this tiny |
|
hamlet in Pennsylvania, to watch |
|
a master at work. The master? |
|
Punxsutawney Phil, the world's |
|
most famous weatherman, the |
|
groundhog, who, as legend has it, |
|
can predict the coming of an |
|
early spring. |
|
Rita turns to Larry. This is impressive-- so far, so good. |
|
A Groundhog Club Official kneels at the burrow and |
|
ceremoniously knocks on the small wooden door, then opens it |
|
and retreats. |
|
|
|
PHIL |
|
And here's the big moment we've |
|
all been waiting for. Let's just |
|
see what Mr. Groundhog has to |
|
say. |
|
The groundhog sticks his head out, looks around, steps out of |
|
the hole, and runs over to the other side of the mound, about |
|
as far away from the cameras as he can get. |
|
|
|
PHIL |
|
Hey! Over here, you little |
|
weasel! |
|
Larry zooms in as far as he can but the best he can manage is |
|
a close-up of the groundhog's back. The groundhog stands there |
|
a moment, his body casting a long shadow, then he lets out a |
|
squeak and runs back into the hole. |
|
|
|
PHIL |
|
Great shot, huh, folks? Well, |
|
that was certainly worth the |
|
trip. Now we'll be hearing from |
|
Mr. Buster Greene, President of |
|
the Punxsutawney Groundhog Club, |
|
the so-called Seer of Seers who |
|
will interpret for us. |
|
BUSTER GREENE, dressed up in his top hat and cutaway coat, |
|
walks onto the mound and hushes the crowd. |
|
|
|
|
|
|
|
-19- |
|
|
|
|
|
|
|
|
|
|
|
B U ST E R |
|
He came out, and he saw his |
|
shadow. Sorry, ladies and |
|
gentlemen, but it looks like it's |
|
going to be a long winter. |
|
The crowd lets out a good-natured "Awwwwww" in disappointment. |
|
|
|
PHIL |
|
(sarcastic, to camera) |
|
Well, that's it. Sorry you |
|
couldn't be here in person to |
|
share the electric moment. This |
|
is one event where televison |
|
really fails to capture the |
|
excitement of thousands of people |
|
gathered to watch a large |
|
squirrel predict the weather, and |
|
I for one am deeply grateful to |
|
have been a part of it. |
|
Reporting for Channel 9, this is |
|
Phil Connors. |
|
Larry cuts the camera. |
|
|
|
RITA |
|
(to Phil) |
|
You want to try one that's a |
|
little sweeter? |
|
|
|
PHIL |
|
(to Rita) |
|
That's as sweet as I get. I'm |
|
outa here. |
|
As he exits, Phil tosses the mike to Larry, who isn't expecting |
|
the throw and bobbles it, dropping the mike on the ground. |
|
|
|
LARRY |
|
|
|
(MUTTERS) |
|
Prima donnas. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT . DINER - LATER |
|
Phil is sitting alone having a cup of coffee in a busy, loud |
|
and lively cafe. Rita enters, sees him sitting there, crosses |
|
to his table and sits down across from him. |
|
|
|
RITA |
|
That was really lousy. |
|
|
|
PHIL |
|
Is it my fault the little rat |
|
went south on us? |
|
|
|
|
|
|
|
-20- |
|
|
|
|
|
|
|
RITA |
|
A real professional would have |
|
handled it. You acted like it |
|
was a personal insult. Who do |
|
you think you are -- Wolf Blitzer? |
|
|
|
PHIL |
|
God, you really take this stuff |
|
seriously, don't you. |
|
|
|
RITA |
|
Yes, I do. As far as I ' m |
|
concerned there are no little |
|
stories, Phil. Only little |
|
reporters with big egos who think |
|
they're too good for the job they |
|
have to do. |
|
|
|
PHIL |
|
(trying to look hurt) |
|
You really don't know me very |
|
well, do you. 'Cause if you did |
|
you could never say something |
|
like that about me. I care! |
|
Call me a cockeyed optimist but |
|
I happen to think there's more to |
|
this job than just getting my |
|
ugly mug on the boob tube every |
|
night. |
|
|
|
RITA |
|
Is that so. |
|
|
|
PHIL |
|
Yes, that is so. |
|
Rita is so irritated by him she can't even respond. |
|
Phil looks at her evenly for a long moment. |
|
|
|
PHIL |
|
So as far as us getting together, |
|
would you say the glass is half |
|
empty or half full? |
|
Larry pokes his head in the doorway, looks around, spots Rita |
|
and makes his way over to their table. |
|
|
|
LARRY |
|
(to Rita) |
|
You ready? We better get going |
|
if we ' re going to stay ahead of |
|
the weather. |
|
|
|
PHIL |
|
You don't have to rush off, you |
|
know. That storm is 'going to |
|
miss us completely. |
|
|
|
|
|
|
|
-21- |
|
|
|
|
|
|
|
RITA |
|
Nice working with you, Phil. See |
|
you around. |
|
Rita walks away, leaving him sitting alone. |
|
|
|
CUT TO: |
|
|
|
� |
|
|
|
|
|
|
|
|
|
|
|
EXT. HIGHWAY - DAY |
|
|
|
Phil's Lexus is driving down the highway. Light snow is just |
|
starting to fall. |
|
|
|
PHIL(V.O) |
|
(on the earphone) |
|
I'll call you after I see the |
|
network guy. I should be back |
|
there in a couple of |
|
hours...What?...1 can't hear you-- |
|
you're breaking up...Hello? |
|
Sabrina? |
|
|
|
|
|
|
|
INT. THE CAR - CONTINUOUS |
|
|
|
Phil is getting annoyed as the phone connection deteriorates. |
|
The snow is getting heavier. Phil switches on the windshield |
|
wipers. |
|
|
|
PHIL |
|
Sabrina ? Can you hear me? Shit! |
|
He slams the phone back into it's cradle, then looks up and |
|
notices slow traffic up ahead. He honks his horn as the |
|
traffic comes to a complete stop. He keeps honking but nothing |
|
moves. |
|
He rolls down the window and looks up ahead. The highway is a |
|
parking lot. |
|
|
|
PHIL |
|
No. No! |
|
|
|
|
|
|
|
EXT. THE CAR - CONTINUOUS |
|
|
|
Phil jumps out and begins to walk down the highway, past the |
|
parked cars, shivering in his light sweater and silk sport |
|
shirt. The snowfall is getting heavier and the wind is pickin |
|
up. The snow comes down unnaturally hard and fast. He walks |
|
on, slipping and sliding in his expensive loafers until he |
|
j comes to a police roadblock up ahead, manned by TWO HIGHWAY |
|
|
|
"J PATROLMEN. |
|
|
|
PHIL |
|
What's going on, Officer? |
|
|
|
|
|
|
|
-22- |
|
|
|
|
|
|
|
PATROLMAN |
|
Nothin's goin1 on. We're closin1 |
|
the road. Big accident up ahead. |
|
Blizzard movin1 in. |
|
|
|
PHIL |
|
What blizzard? A couple of |
|
flakes! An isolated phenomenon |
|
of nature. |
|
|
|
PATROLMAN |
|
Are you nuts? We got a major |
|
storm movin' in. |
|
|
|
PHIL |
|
No, no. All that moisture is |
|
going to miss us and hit |
|
Harrisburg. |
|
|
|
PATROLMAN |
|
Pal, you got that moisture on |
|
your head. |
|
|
|
PHIL |
|
But I have to get to Pittsburgh |
|
today! |
|
|
|
PATROLMAN |
|
Mister, the only place anybody's |
|
goin' on this road is back to |
|
Punxsutawney. |
|
Phil glowers at him and shivers. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. GAS STATION - LATER |
|
|
|
Phil is on a pay phone. Snow is falling heavily outside. |
|
GAS STATION ATTENDANT is shovelling around the pumps. |
|
|
|
PHIL |
|
So all the long distance lines |
|
a re down? What about the |
|
sa tellite? Is it snowing in |
|
space?...But I have to call |
|
Pittsburgh...Isn't there some |
|
special line you keep open for |
|
emergencies or for |
|
celebrities?...Well, I'm both |
|
really. I'm a celebrity in an |
|
emergency. Can you patch me |
|
through on that line? |
|
|
|
|
|
|
|
-23- |
|
|
|
|
|
The door opens and Phil is blasted with frigid Arctic wind and |
|
blowing snow. The GAS STATION ATTENDANT enters the tiny office |
|
and in trying to squeeze past Phil accidentally bangs him on |
|
the head with his snow shovel. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. HOTEL BAR - EVENING |
|
|
|
Phil is at the bar in Punxsutawney ' s oldest and best hotel , the |
|
Pennsylvanian. He looks very bored, drinking a beer, |
|
unsuccessfully hustling an attractive local girl named NANCY. |
|
|
|
PHIL |
|
You never saw me on TV-- on the |
|
news? |
|
|
|
NANCY |
|
I don't think so. What part of |
|
the news do you do? |
|
|
|
PHIL |
|
I ' m the White House correspondent |
|
for NBC news. |
|
|
|
NANCY |
|
Oh , I ' m so sure . |
|
|
|
PHIL |
|
Ask me anything? |
|
|
|
NANCY |
|
Okay, how big is the White House? |
|
|
|
PHIL |
|
Three bedrooms, two and a half |
|
baths. Looks much bigger than it |
|
, is. |
|
Nancy just stares at him, clearly not into his sense of humor. |
|
Suddenly, a BRIDE in full white wedding gown and veil rushes |
|
into the bar, crying and shouting. A gaggle of BRIDESMAIDS |
|
flutters around her trying to coax her back to her own wedding |
|
but she won't budge. Then the GROOM, wearing a bad rented tux, |
|
comes storming in and tries to drag her back, until the BEST |
|
MAN restrains him and the bridesmaids hustle the bride away. |
|
Phil watches the whole drama play out, then turns back to |
|
Nancy . |
|
|
|
PHIL |
|
Good start. I ' m sure they'll be |
|
very happy. So what do you say? |
|
You want to play doggie obedience |
|
school with me? |
|
|
|
|
|
|
|
-24- |
|
|
|
|
|
|
|
NANCY |
|
Thanks. I'll pass. |
|
She gets up to leave. |
|
|
|
PHIL |
|
Sit! Stay! |
|
He watches her go, then tosses a tip on the bar and exits |
|
somewhat unsteadily. |
|
|
|
CUT TO: |
|
|
|
INSERT - A THICK BOOK |
|
The cover reads "101 Curses, Spells and Enchantments You Can Do |
|
at Home." A well-manicured feminine hand opens the book to a |
|
marked page . |
|
|
|
|
|
|
|
INT. CHERRY STREET INN - NIGHT - SAME TIME |
|
|
|
Phil enters his room and drunkenly tosses his overcoat, scarf |
|
and gloves on the floor in a heap. |
|
|
|
|
|
|
|
INT. STEPHANIE'S BEDROOM - NIGHT |
|
|
|
Stephanie Decastro, Phil ' s disaffected ex-lover, is sitting |
|
cross-legged on the floor with the book of curses open in front |
|
of her. Her hair is down, she's wearing a caftan with a Zodiac |
|
print, there are candles everywhere and other vaguely occult |
|
decorating touches. |
|
|
|
INSERT |
|
Phil's business card is dropped into a dish. Then the Tarot |
|
card of the Hanged Man, a chicken bone, and a feather are |
|
placed on top of it . |
|
|
|
PHIL |
|
He stands at the sink, looking at himself in the mirror, |
|
flexing his muscles . |
|
|
|
STEPHANIE |
|
Reading from the book> she mutters incantations in a secret |
|
language, then she sprinkles some powder on the plate, then a |
|
few drops of oil. Then she makes a few passes over it with her |
|
hands and, much to her surprise, the contents of the plate |
|
spontaneously combust. |
|
|
|
PHIL |
|
|
|
|
|
As he crosses to the bed, he accidentally knocks over the |
|
suitcase stand, spilling his clothes out onto the floor. |
|
|
|
|
|
|
|
-25- |
|
|
|
|
|
He contemplates picking them up for a moment, decides to leave |
|
them there, and flops down on the bed. He lies there looking |
|
u up at the ceiling until the room starts to spin around, then |
|
he closes his eyes and quickly drops off to sleep, still fully |
|
clothed. |
|
|
|
STEPHANIE |
|
To complete the spell, she picks up a broken wristwatch and |
|
drops it into the fire. |
|
|
|
INSERT |
|
Phil's business card, the Hanged Man and the broken watch in |
|
flames. The watch crystal is cracked and the hands are frozen |
|
at 5:59. |
|
|
|
DISSOLVE TO: |
|
|
|
C LOSE UP - CLOCK |
|
The digital clock-radio changes from 5:59 to 6:00 AM. The |
|
radio comes on, playing the end of the Sonny and Cher hit, "I |
|
Got You, Babe," just as it did the day before. |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - DAWN |
|
|
|
Phil sits up in bed, quickly alert, and looks around the room. |
|
Something is wrong. He's wearing pajamas, his suit is once |
|
again hanging neatly on the closet door and his suitcase is |
|
back on its stand at the foot of the bed, again neatly packed. |
|
The song ends and the same radio deejay and his sidekick come |
|
on with the same manic energy. Phil stares at the radio and |
|
listens to them. A look of astonishment comes over his face as |
|
they banter. |
|
|
|
DEEJAY |
|
Okay, campers, rise and shine, |
|
and don't forget your booties |
|
because it's COOOLD out there |
|
today! |
|
|
|
SIDEKICK |
|
It's cold out there everyday. |
|
What is this-- Miami Beach? |
|
The deejay laughs. Phil "mock" laughs at exactly the same |
|
time, recognizing the repartee from the previous morning. |
|
|
|
PHIL |
|
(to himself) |
|
Nice going guys. That's |
|
yesterday's tape. |
|
Phil crosses to the sink and gets a towel off the rack, only |
|
half-listening to the radio. |
|
|
|
|
|
|
|
-26- |
|
|
|
|
|
|
|
DEEJAY |
|
Not hardly. Expect hazardous |
|
travel later today with that, you |
|
know, blizzard thing -- |
|
|
|
SIDEKICK |
|
That "blizzard thing?" |
|
Phil turns on the water and splashes some on his face as if |
|
trying to wake himself up, vaguely disturbed by the repetition |
|
of the broadcast. |
|
|
|
SIDEKICK (CONT.) |
|
Oh, here's the report: the |
|
National Weather Service is |
|
calling for a big blizzard |
|
thing." |
|
|
|
DEEJAY |
|
Yes they are, but there's another |
|
reason today is very special -- |
|
|
|
SIDEKICK |
|
Especially cold -- |
|
|
|
DEEJAY |
|
Especially cold, okay, but the |
|
big question on everybody's lips -- |
|
Phil supplies the next line in unison with the radio. |
|
|
|
SIDEKICK AND PHIL |
|
Chapped lips -- |
|
|
|
DEEJAY |
|
-- on their chapped lips, right -- |
|
Do you think Phil's going to come |
|
out and see his shadow? |
|
|
|
SIDEKICK |
|
Punxsutawney Phil. |
|
Some vague doubt causes Phil to go to the window. |
|
|
|
DEEJAY |
|
That's right, rodent lovers! |
|
|
|
IT'S-- |
|
|
|
BOTH DEEJAYS |
|
Groundhog Day! |
|
SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back the |
|
curtains and looks out. |
|
|
|
HIS POV |
|
The street is full of people heading toward Gobbler's Knob, |
|
exactly as they did the day before. |
|
|
|
|
|
|
|
-27- |
|
|
|
|
|
|
|
PHIL |
|
|
|
(AGHAST) |
|
What the hell? |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. BED AND BREAKFAST - DAWN |
|
|
|
Phil rushes out into the corridor, hastily tying his tie, his |
|
suit jacket and overcoat over his arm. As he heads for the |
|
breakfast room, the same Chubby Man passes. |
|
|
|
CHUBBY MAN |
|
Morning. |
|
|
|
PHIL |
|
Morning. |
|
|
|
CHUBBY MAN |
|
Think it'll be an early Spring? |
|
|
|
PHIL |
|
(stops, irritated) |
|
Didn't we do this yesterday? |
|
|
|
CHUBBY MAN |
|
|
|
(INTIMIDATED) |
|
I don't know what you mean. |
|
Phil grabs him by the front of his shirt and looks deep into |
|
his eyes. |
|
|
|
PHIL |
|
Don't mess with me, pork chop. |
|
What day is this? |
|
|
|
CHUBBY MAN |
|
|
|
(TERRIFIED) |
|
Febr uary second--Groundhog Day! |
|
Phil can see he's telling the truth and relaxes his grip on the |
|
poor man. |
|
|
|
PHIL |
|
Okay. Sorry. I'm having a bad |
|
day. |
|
Phil walks on, leaving the chubby man baffled and insulted. |
|
|
|
CHUBBY MAN |
|
(to himself) |
|
I'll say. |
|
|
|
|
|
|
|
-28- |
|
|
|
|
|
|
|
INT. BREAKFAST ROOM - CONTINUOUS |
|
|
|
Phil enters the old library of the house and finds everything |
|
exactly as it was the day before. Mrs. Lancaster spots Phil as |
|
she comes out of the kitchen with the fresh pot of coffee. |
|
|
|
MRS. LANCASTER |
|
Did you sleep well, Mr. Connors? |
|
|
|
PHIL |
|
(completely confused) |
|
D i d I? I don't know-- |
|
|
|
MRS. LANCASTER |
|
Would you like some coffee? |
|
|
|
PHIL |
|
Yes, thank you. I ' m feeling a |
|
little strange. |
|
|
|
MRS. LANCASTER |
|
( as she pours) |
|
I wonder what the weather's going |
|
to be like for all the |
|
festivities. |
|
|
|
PHIL |
|
Did you ever have deja vu, Mrs. |
|
Lancaster? |
|
|
|
MRS. LANCASTER |
|
Is that the Italian dessert with |
|
the brandy and the chocolate |
|
mousse? |
|
|
|
PHIL |
|
No, that's spaghetti. Never |
|
mind. |
|
He heads for the door, still in a daze. |
|
|
|
MRS. LANCASTER |
|
Oh, will you be checking out |
|
today, Mr. Connors? |
|
|
|
PHIL |
|
|
|
(VAGUELY) |
|
I don't know. I don't think so. |
|
I'll tell you after I wake up. |
|
Phil exits. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-29- |
|
|
|
|
|
|
|
EXT. BOARDING HOUSE - MOMENTS LATER |
|
|
|
Phil gulps down the steaming coffee, still trying to wake up |
|
from what he assumes is a dream, and descends the front steps |
|
of the house. He accosts a PASSERBY. |
|
|
|
PHIL |
|
Ma'am? Excuse me. Where's |
|
everybody going? |
|
|
|
PASSERBY |
|
To Gobbler's Knob. It's |
|
Groundhog Day! |
|
The coffee cup drops from Phil's hand as he stands there open- |
|
mouthed. Then he slaps his own face and shakes his head as if |
|
trying to clear it and starts off down the street. |
|
|
|
|
|
|
|
EXT. MAIN STREET - PUNXSUTAWNEY - CONTINUOUS |
|
|
|
Phil rushes down the street, again failing to notice the OLD |
|
BUM sitting on the sidewalk leaning against a storefront. |
|
|
|
NED RYERSON (O.C.) |
|
Hey, Phil! |
|
Ned Ryerson approaches with the same obnoxious attitude. |
|
|
|
NED |
|
Phil! Phil Connors! I thought |
|
that was you! |
|
Phil just stares at him and keeps walking. |
|
|
|
NED |
|
My oh my! Phil Connors. Don't |
|
say you don't remember me, 'cause |
|
I sure as heck-fire remember you. |
|
Well? |
|
|
|
PHIL |
|
Ned Ryerson? |
|
|
|
NED |
|
Bing! First shot right out of |
|
the box. So how's it going, ol' |
|
buddy? |
|
|
|
PHIL |
|
To tell you the truth, Neddy, I ' m |
|
not feeling real well. Could you |
|
excuse me? |
|
|
|
NED |
|
Now it's funny you should mention |
|
your health 'cause you'll never |
|
guess what I do. |
|
|
|
|
|
|
|
-30- |
|
|
|
|
|
|
|
PHIL |
|
(very distressed and |
|
desperate to get away |
|
from this guy) |
|
Do you sell insurance, Ned? |
|
|
|
NED |
|
Bing again! You're sharp as a |
|
tack today. Do you have life |
|
insurance, Phil? 'Cause if you |
|
do, I bet you could use more -- |
|
who couldn't?" -- but I got a |
|
feeling you don't have any. Am |
|
I right? |
|
|
|
PHIL |
|
(really annoyed now) |
|
Did I say "fuck off, " Ned? I |
|
can't talk to you right now. |
|
He backs away from Ned and steps right into the same deep, |
|
slushy puddle he stepped in the day before. |
|
|
|
NED |
|
|
|
(BRAYING) |
|
Hey, look .out for that first v |
|
step. It's a doozyi |
|
Phil looks down at his wet shoes and cuffs and stumbles off |
|
toward Gobbler's Knob. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT . GOBBLER ' S KNOB - DAWN |
|
The crowd is gathered as before for the big moment. |
|
In the press area, Rita is having the same dialogue with Larry, |
|
when she spots Phil heading into the crowd. |
|
|
|
RITA |
|
Here he comes. Phill Hey, Phil! |
|
Over here! |
|
Phil waves to her and heads straight for an obscure corner of |
|
the Knob, gesturing for her to follow. |
|
Larry shakes his head as Rita charges through the crowd toward |
|
Phil. She catches up to him just as he is scratching a mark in |
|
the snow with his foot. She notices immediately that he is |
|
uncharacteristically dishevelled, his tie askew, his hair |
|
mussed. |
|
|
|
RITA |
|
Where ' ve you been? |
|
|
|
|
|
|
|
-31- |
|
|
|
|
|
|
|
PHIL |
|
(nervous, sweat ing) |
|
I've got to talk to you. I think |
|
I'm losing my mind. |
|
|
|
. RITA |
|
I know you're losing it. What |
|
are you doing over here? The |
|
camera's over there. |
|
|
|
PHIL |
|
Slap me, Rita. |
|
|
|
RITA |
|
What is this? |
|
|
|
PHIL |
|
|
|
(INSISTENT) |
|
Just slap me-- hard. |
|
She gives up and taps him lightly on the cheek. |
|
|
|
PHIL |
|
I said hardl |
|
|
|
. . .. ... .RITA . |
|
I can't! |
|
|
|
PHIL |
|
Do it! |
|
Rita shrugs and slaps him very hard. |
|
|
|
PHIL |
|
(his cheek smarting) |
|
Better. Almost too hard, Rita. |
|
|
|
RITA |
|
Are you drunk? |
|
|
|
PHIL |
|
No, drunk is more fun. Can I be |
|
serious with you for a minute? |
|
|
|
RITA |
|
I don't know. Can you? |
|
|
|
PHIL |
|
Yes. I ' m being serious. I' m |
|
having a problem-- no, I may be |
|
having a problem. |
|
|
|
RITA |
|
What are you trying to say? |
|
|
|
|
|
|
|
-32- |
|
|
|
|
|
|
|
PHIL |
|
I'm trying to say that if I was |
|
having a problem, just |
|
hypothetical ly, I ' d like to know |
|
that you're someone I could count |
|
on in a crisis. |
|
|
|
RITA |
|
|
|
(WORRIED) |
|
What did you do last night? |
|
The crowd begins to hush. |
|
|
|
LARRY |
|
We better get started. We're |
|
going to miss it. |
|
|
|
PHIL |
|
Were not going to miss it. |
|
(indicating the other |
|
|
|
REPORTERS) |
|
They're going to miss it. |
|
|
|
RITA |
|
|
|
(EMPHATIC) |
|
Phil. We've been out here for an |
|
hour. We're cold and tired. |
|
Let's just get this and get out |
|
of here. |
|
|
|
PHIL |
|
Okay, put it here. |
|
|
|
RITA |
|
What? |
|
|
|
PHIL |
|
Put the camera here . |
|
Rita takes a forlorn glance towards the press area, where all |
|
of the other cameras are set up . |
|
|
|
RITA |
|
Phil , there is no tomorrow on |
|
this one. It's Groundhog Day. |
|
|
|
PHIL |
|
We were in the wrong spot |
|
yesterday . |
|
|
|
RITA |
|
|
|
(IRKED) |
|
W ha t? Yesterday? What are you |
|
talking about? |
|
|
|
PHIL |
|
Just trust me. Put the camera |
|
here . |
|
|
|
|
|
|
|
-33- |
|
|
|
|
|
|
|
|
|
Rita looks at him like he's crazy, then looks at her watch and |
|
gives up. |
|
|
|
RITA |
|
Larry! |
|
She charges off toward the cameras. |
|
In the Press Area, several reporters are already talking to |
|
their cameras, dribbling on about how "He could appear any |
|
second now." Rita and Larry grab their gear and rush back to |
|
Phil. |
|
Larry hurriedly sets up the camera. |
|
|
|
LARRY |
|
You want me to roll tape? |
|
|
|
RITA |
|
(to Phil) |
|
Are you going to get on your |
|
mark? |
|
|
|
PHIL |
|
No hurry. |
|
Larry glances over at the other news reporters, all talking to |
|
their cameras and pointing towards the mound. |
|
|
|
LARRY |
|
|
|
(DESPERATELY) |
|
Everyone else is rolling! |
|
Rita looks helplessly at Phil. |
|
|
|
RITA |
|
I'm begging you, all right? |
|
Gould we please just do this? |
|
Phil glances down at his watch. |
|
|
|
PHIL |
|
Okay, let's do it. |
|
He crosses over to Larry and taps him on the shoulder. |
|
|
|
PHIL |
|
Roll tape. |
|
|
|
LARRY |
|
|
|
(MUMBLING) |
|
Prima donnas. |
|
Phil takes the microphone from Rita and positions himself |
|
against the fence. |
|
|
|
LARRY |
|
Rolling. |
|
|
|
|
|
|
|
-34- |
|
|
|
|
|
Phil does a similar intro to the one he did before, though this |
|
time it's a bit tentative. |
|
|
|
PHIL |
|
(to camera) |
|
We ll, it's Groundhog Day-- again-- |
|
and you know what that means. |
|
Everybody's here on Gobbler's |
|
Knob waiting in the cold for the |
|
appearance of the most famous |
|
groundhog in the world, |
|
Punxsutawney Phil, who's going to |
|
tell us just how much more of |
|
this we can expect. |
|
The Groundhog Club Official knocks on the groundhog's door, |
|
then opens it and retreats. |
|
Phil takes a deep breath and makes his first experimental |
|
prediction, recalling the previous day. |
|
|
|
PHIL |
|
My forecast is we're going to see |
|
the groundhog peek its head out |
|
of its hole, look around a little |
|
bit, then he's going to come out, |
|
scamper over to this general |
|
area, look at the crowd for a |
|
second, make a little burping |
|
noise and run back into the |
|
ground. |
|
|
|
RITA |
|
(whispers to Larry) |
|
That's it. I'm going to kill |
|
him. |
|
Phil looks at his watch. |
|
|
|
PHIL |
|
O k ay ? And here we go-- |
|
Phil points to the hole and Larry zooms in. |
|
The groundhog sticks his head out, looks left, looks right, |
|
steps out of the hole, and runs away from the press pool, |
|
directly over to Larry's camera. As he stands there, his body |
|
casts a long shadow. The groundhog looks right into the |
|
camera, lets out a squeak, and runs back into the hole. |
|
Rita and Larry are completely amazed as the crowd cheers the |
|
brief appearance of the groundhog. Larry pans back to Phil. |
|
Phil just stands there speechless, staring at the groundhog |
|
burrow. |
|
|
|
|
|
|
|
-35- |
|
|
|
|
|
|
|
RITA |
|
|
|
(HISSES) |
|
Phil! |
|
Buster Greene, the Groundhog club official, walks onto the |
|
mound and hushes the crowd, exactly as before. |
|
|
|
BUSTER |
|
He came out, and he saw his |
|
shadow. Sorry, ladies and |
|
gentlemen, but it looks like it's |
|
going to be a long winter. |
|
Again the crowd lets out a good-natured "Awwwwww" in |
|
disappointment. |
|
Larry pans back to Phil just in time to see him walking away in |
|
a fog, without signing off. Then he pans back to Rita. |
|
|
|
RITA |
|
(at a loss) |
|
For Channel 9 News, this is Rita |
|
Hanson in Punxsutawney. |
|
She holds for a moment then makes the cut sign, drawing her |
|
finger across her throat. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
- LATER |
|
|
|
INT; PHIL'S ROOM |
|
Phil is on the phone desperately trying to make a call. |
|
|
|
PHIL |
|
(on the phone) |
|
I know there's a blizzard, but I |
|
have to get a call through to my |
|
doctor in Pittsburgh. It's a |
|
medical emergency. . . .No, don't |
|
give me the Punxsutawney Fire |
|
Department. When do you think |
|
the long distance lines will be |
|
working again?. . . But what if we |
|
don't have a tomorrow? We didn't |
|
have one today, my friend... |
|
Hello...Hello? |
|
He hangs up and shakes his head which is now really starting to |
|
ache, then he pops a handful of Tylenol, lies down and pulls |
|
the covers up over his head. A moment later, he sits up, takes |
|
a pencil from the nightstand, breaks it in half and puts the |
|
pieces back on the nightstand. Then he lies back down and |
|
retreats back under the covers. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-36- |
|
|
|
CLOSE UP - CLOCK |
|
The digital clock-radio changes from 5:59 to 6:00 AM. The |
|
radio comes on, playing the end of the Sonny and Cher hit, "I |
|
Got You, Babe," just as it did the day before. |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - DAWN |
|
|
|
Phil sits up in bed fearing the worst and looks on the |
|
nightstand. The pencil is whole again. Completely stunned by |
|
the phenomenon, he jumps out of bed and starts dressing |
|
hurriedly as the morning Deejays begin their now familiar rap. |
|
|
|
DEEJAY |
|
Okay, campers, rise and shine, |
|
and don't forget your booties |
|
because it's COOOLD out there |
|
today! |
|
|
|
SIDEKICK |
|
It's cold out there everyday. |
|
What is this-- Miami Beach? |
|
Phil rushes out of the room. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. CHERRY STREET - LATER |
|
|
|
Phil hurries toward the bed and breakfast carrying two gallon |
|
buckets of paint, and a couple of big bags from a hardware |
|
store. |
|
|
|
|
|
|
|
INT. BED AND BREAKFAST - CONTINUOUS |
|
|
|
Phil enters and passes Mrs. Lancaster in the breakfast room. |
|
|
|
MRS. LANCASTER |
|
Painting something, Mr. Connors? |
|
|
|
PHIL |
|
I ' m conducting an experiment. |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - LATER |
|
|
|
Phil enters and dumps the bags on the bed. Out fall a couple |
|
of big paintbrushes, a small sledgehammer, a handsaw, a |
|
crowbar, plastic goggles and assorted other tools. He puts on |
|
the goggles, grabs a hammer and some nails and starts nailing |
|
the door shut. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-37- |
|
|
|
|
|
|
|
EXT. CORRIDOR - LATER |
|
|
|
Mrs. Lancaster and several other guests are gathered in the |
|
hall outside Phil's room, listening at the door and looking |
|
very worried. Loud music is playing inside the room. |
|
From inside the room, they hear the sound of loud hammering, |
|
wood splintering and glass breaking. |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - CONTINUOUS |
|
|
|
Phil, has demolished just about all the furniture and woodwork |
|
in the room. He rips off the last of the wooden moldings with |
|
the crowbar, then crosses to the mirror over the demolished |
|
sink. |
|
Phil stands there, staring at his image in the mirror, trying |
|
to figure out what's happening to him. He starts breathing |
|
heavier, as if gathering courage, then, just when we think he's |
|
going to cut off his ear or something, he raises an electric |
|
barber clipper and shaves a bald stripe up the middle of his |
|
head. He studies his new look for a moment then smashes the |
|
mirror with his sledgehammer. |
|
Then he opens the cans of paint, dips the two big brushes into |
|
the cans and starts slapping bright red paint onto the walls, |
|
madly, feverishly, splashing himself and everything else in the |
|
room with it. |
|
As a final touch he grabs the bed pillows and rips them open, |
|
then shakes them all around the room creating a storm of |
|
feathers. |
|
Finally, Phil falls exhausted on the bed. From outside we can |
|
hear outraged hotel employees pounding on the door. |
|
We pan over to the clock radio, the only undamaged object in |
|
the room. Feathers drift down past the face of the clock which |
|
reads 5:59 AM. The time changes to 6:00, the radio clicks on |
|
and "I Got You, Babe" starts playing as we pan back to Phil |
|
sleeping on the bed. |
|
He opens his eyes, jumps out of bed and looks around. No |
|
paint, no feathers, no damage. Everything is as clean and tidy |
|
as the day he checked in. |
|
He races over to the unbroken mirror and looks at himself. His |
|
hair is completely restored, as if it had never been shaved. |
|
The song ends and the deejays come on. Phil says every word |
|
right along with them, shocked into a state of complete |
|
wonderment. |
|
|
|
|
|
|
|
-38- |
|
|
|
|
|
|
|
PHIL AND DEEJAY |
|
Okay, campers, rise and shine, |
|
and don't forget your booties |
|
because it's COOOLD out there |
|
today. |
|
|
|
PHIL AND SIDEKICK |
|
It's cold out there everyday. |
|
What is this -- Miami Beach? |
|
The deejay laughs. Phil laughs insanely along with him. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT . GOBBLER ' S KNOB - EARLY MORNING |
|
Phil is wrapping up another groundhog report, trying to be |
|
completely professional despite the circumstances. |
|
|
|
PHIL |
|
(with forced good |
|
|
|
HUMOR) |
|
. . . S o according to Mr. Groundhog |
|
I guess we can expect six more |
|
weeks of winter. It's not very |
|
scientific, but it sure is fun. |
|
Hey, wait a second. If he's |
|
right, I could be out of a job! |
|
(mock laugh) |
|
For Channel 9 News, this is Phil |
|
Connors in Punxsutawney . |
|
He holds until Larry stops tape, then approaches Rita. |
|
|
|
PHIL |
|
How was that? |
|
|
|
RITA |
|
|
|
(PLEASED) |
|
It was good. A little smarmy for |
|
my taste, but I guess that's what |
|
sells. |
|
|
|
PHIL |
|
Could I talk to you about a |
|
matter that is not work related? |
|
|
|
RITA |
|
You never talk about work. |
|
|
|
PHIL |
|
Do you know what I did last |
|
night? |
|
|
|
RITA |
|
Do I want to know? |
|
|
|
|
|
|
|
-39- |
|
|
|
|
|
|
|
PHIL |
|
I destroyed my hotel room. |
|
|
|
RITA |
|
You whatl This is not some kind |
|
of rock and roll tour. We don't |
|
have the budget for that-- |
|
|
|
PHIL |
|
No, it's okay. This morning it |
|
was all right again. That's what |
|
I have to talk to you about. |
|
|
|
RITA |
|
Phil, what are you doing? |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. MAIN STREET - A BIT LATER |
|
|
|
Phil and Rita cross the street and walk past a crowd of |
|
concerned citizens gathered around what looks like a car |
|
accident. As an ambulance arrives, Phil and Rita enter the |
|
cozy looking diner on the corner. |
|
|
|
|
|
|
|
INT. DINER.- CONTINUOUS |
|
|
|
Phil and Rita sit together at the same table they had |
|
previously. The WAITER approaches. |
|
|
|
RITA |
|
(to waiter) |
|
Could I have some coffee, please? |
|
The waiter pours her a cup. |
|
|
|
WAITER |
|
|
|
(EXITING) |
|
I'll be back to take your order. |
|
|
|
RITA |
|
Thanks. |
|
(to Phil) |
|
Okay, so tell me. How'd you know |
|
where to put the camera? |
|
|
|
PHIL |
|
Because I've done it before. |
|
|
|
RITA |
|
I know, but the groundhog doesn't |
|
do exactly the same thing every |
|
year, does he? |
|
|
|
|
|
|
|
-40- |
|
|
|
|
|
|
|
PHIL |
|
I ' m not talking about last year. |
|
I ' m talking about today. I lived |
|
it before. |
|
|
|
RITA |
|
You're having deja vu? |
|
|
|
PHIL |
|
Big time. Rita, I know it's nuts |
|
but I keep reliving the same day |
|
o ve r and over-- Groundhog Day-- |
|
today. This is the third time. |
|
|
|
RITA |
|
(completely skeptical) |
|
Uh-huh. I'm waiting for the |
|
punchline. |
|
|
|
PHIL |
|
No, really. It's like today |
|
never happened. I shaved my head |
|
last night, today its all grown |
|
back. I could probably cut off |
|
my limbs, one by one, and - pop! |
|
They'd grow back. Just like a |
|
starfish. I probably don't even |
|
have to floss? |
|
|
|
RITA |
|
I'm wracking my brain, but I |
|
can't even begin to imagine why |
|
you'd make up something like |
|
this. |
|
|
|
PHIL |
|
'Cause I'm not making it up. I'm |
|
asking for your help. |
|
Rita looks at him for a long moment. |
|
|
|
RITA |
|
Okay, I'll bite. What do you |
|
want me to do? |
|
|
|
PHIL |
|
The truth? I'd 1ike you to spend |
|
the next 24 hours with me and |
|
don't leave my side for a second. |
|
|
|
RITA |
|
I see. You know, Phil, you can |
|
charm all the little P.A.'s at |
|
the station, all the secretaries, |
|
and even some of the weekend |
|
a nchors, but not me-- not in a |
|
thousand years. |
|
|
|
|
|
|
|
-41- |
|
|
|
|
|
|
|
PHIL |
|
Wa it a second-- |
|
|
|
RITA |
|
Not if I was dying and your |
|
breath was the only cure; not if |
|
having your child was the only |
|
way to preserve the human race. |
|
Just get it out of your head |
|
because it is NOT GOING TO |
|
|
|
HAPPEN! |
|
|
|
PHIL |
|
So much for the truth. |
|
Larry pokes his head in the doorway, looks around, spots Rita |
|
and makes his way over to their table. |
|
|
|
LARRY |
|
(to Rita) |
|
You ready? We better get going |
|
if we're going to stay ahead of |
|
the weather. |
|
|
|
RITA |
|
Yeah, , I ' m . ready, Larry. |
|
|
|
(EXITING) |
|
Good luck, Phil. |
|
|
|
CUT TO: |
|
|
|
INSERT |
|
X-rays of Phil's skull are slapped up onto a light box. |
|
|
|
|
|
|
|
INT. MEDICAL CLINIC - DAY |
|
|
|
Phil is having his head examined by a NEUROLOGIST. |
|
|
|
NEUROLOGIST |
|
No spots, no tumors, no lesions, |
|
no clots, no aneurisms. |
|
Everything looks fine and dandy |
|
to me, Mr. Connors. Have you |
|
considered psychiatric help? |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. PSYCHOLOGIST'S OFFICE - DAY |
|
|
|
Punxsutawney's only PSYCHOLOGIST is a marriage and family |
|
counselor at the local Lutheran church. His appearance and |
|
manner indicate he may have some serious problems of his own. |
|
|
|
|
|
|
|
-42- |
|
|
|
|
|
|
|
PSYCHOLOGIST |
|
(not too confident) |
|
That's kind of an unusual |
|
problem, Mr. Connors. Most of my |
|
work is with couples and |
|
families. |
|
Phil is lying on a couch. His head is completely shaved. |
|
|
|
PHIL |
|
Yeah, but you're still a |
|
psychologist. You must have had |
|
some course in school that |
|
covered this kind of thing. |
|
|
|
PSYCHOLOGIST |
|
Sort of, I guess. Abnormal |
|
Psychology. |
|
|
|
PHIL |
|
So based on that what would you |
|
say? |
|
|
|
PSYCHOLOGIST |
|
|
|
(HESITANT) |
|
I ' d say that maybe you're -- I |
|
don't know -- a little delusional. |
|
|
|
PHIL |
|
You're saying this thing is not |
|
really happening to me? |
|
|
|
PSYCHOLOGIST |
|
Uh-huh. |
|
|
|
PHIL |
|
Then how do I know this |
|
conversation is really happening? |
|
|
|
PSYCHOLOGIST |
|
I guess you don't. |
|
|
|
PHIL |
|
Then forget about me paying you. |
|
A discreet little alarm sounds. |
|
|
|
PSYCHOLOGIST |
|
|
|
(RELIEVED) |
|
I'm afraid that's all the time we |
|
have, Mr. Connors. |
|
|
|
PHIL |
|
Wait! Are you saying I'm crazy? |
|
|
|
|
|
|
|
-43- |
|
|
|
|
|
|
|
PSYCHOLOGIST |
|
(humoring him) |
|
Not necessarily. If it concerns |
|
you we should schedule our next |
|
session as soon as possible. |
|
How's tomorrow for you? |
|
Phil glowers at him. |
|
|
|
CUT TO: |
|
|
|
INSERT - A MODEL OF THE SOLAR SYSTEM |
|
A SCIENTIST in a white lab coat is holding up the model. Phil |
|
looks on with interest. |
|
|
|
SCIENTIST |
|
|
|
(AUTHORITATIVELY) |
|
Now if the moon exerts a |
|
gravitational pull strong enough |
|
to cause the tides, .then it may |
|
be theoretically possible for a |
|
Black Hole or a Singularity of |
|
sufficient magnitude to actually |
|
bend time enough to cause it to |
|
fold back ,on itself. |
|
|
|
PHIL |
|
You think that's a realistic |
|
possibility? |
|
A paper airplane sails past his head, accompanied by a noisy |
|
outburst of juvenile laughter. We pull back to REVEAL: |
|
|
|
|
|
|
|
INT. CLASSROOM - DAY |
|
|
|
Twenty-five eighth-graders running amok. |
|
|
|
SCIENTIST |
|
|
|
(STERNLY) |
|
All right! I think someone may |
|
just need a little visit to the |
|
Assistant Principal's office! |
|
Get back in your seats. The bell |
|
has not rung yet. |
|
The kids sit back down, but keep up their noisy chatter. |
|
|
|
SCIENTIST |
|
(to Phil) |
|
Well, I ' m speaking purely |
|
hypothetically. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-44- |
|
|
|
|
|
|
|
INT. SCHOOL CORRIDOR - LATER |
|
|
|
Phil is walking toward the exit when he passes a first grade |
|
classroom. The door is open and the TEACHER is discussing a |
|
story with the class. |
|
|
|
TEACH ER |
|
So the princess picked up the |
|
frog and kissed him. |
|
Phil stops outside the door to listen. |
|
|
|
|
|
|
|
INT. CLASSROOM - CONTINUOUS |
|
|
|
|
|
TEACHER |
|
Now who can tell me what happened |
|
when the princess kissed the |
|
frog. |
|
|
|
LITTLE BOY |
|
Her lips got slimed! |
|
The whole class erupts in giggles and shrieks. |
|
|
|
T EACHER |
|
Okay, come on now. What happened |
|
when she kissed the frog? |
|
|
|
LITTLE GIRL |
|
The princess kissed the frog and |
|
the spell got broke and he turned |
|
into a handsome prince and they |
|
got married and lived happily |
|
ever after. |
|
|
|
TEACHER |
|
That's right. |
|
|
|
|
|
|
|
INT. THE CORRIDOR - SAME TIME |
|
|
|
Phil is leaning against the wall listening. There is something |
|
very arresting about the fairy tale, but finally he just shakes |
|
his head and exits. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. DEW DROP INN - LATER THAT NIGHT |
|
|
|
Phil is at a bar getting drunk with two local blue-collar |
|
workers, GUS and PHIL. |
|
|
|
PHIL |
|
Gus, what would you do if there |
|
was no tomorrow? |
|
|
|
|
|
|
|
-45- |
|
|
|
|
|
|
|
GUS |
|
You mean like if the world was |
|
gonna end? |
|
|
|
PHIL |
|
No, I mean like if it was never |
|
going to end. If everyday was |
|
the same and you were stuck here |
|
and you couldn't get out and |
|
nothing you did mattered? |
|
|
|
GUS |
|
You're right. Everyday is the |
|
same, I can't get out of here and |
|
nothin' I do matters. |
|
|
|
V RALPH |
|
No, he's askin1 you a question, |
|
ya idiot. |
|
|
|
GUS |
|
What was the question? |
|
|
|
RALPH |
|
What if nothing mattered?! Jeez, |
|
I know what I'd do. I ' d j ust |
|
spend all my time drivin' fast, |
|
gettin1 loaded and gettin' laid. |
|
That's it. |
|
|
|
PHIL |
|
That's it. It just doesn't get |
|
any better than this, does it? |
|
Good friends, good conversation |
|
and quality brew. Drink up, |
|
boys. |
|
They salute each other and drink. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. THE STREET - LATER |
|
|
|
Phil, Gus and Ralph approach Ralph's big, black, old Buick |
|
convertible parked outside the bar. They are even drunker than |
|
they were before. |
|
|
|
RALPH |
|
(fumbling with his |
|
|
|
CARKEYS) |
|
Where you stayin', Phil? We'll |
|
drop you off. |
|
|
|
PHIL |
|
Hey, friends don't let friends |
|
drive drunk. Give me your keys. |
|
|
|
|
|
|
|
-46- |
|
|
|
|
|
He's as wasted as they are, but Ralph hands over his keys |
|
without a fight. |
|
|
|
RALPH |
|
Thanks , man . |
|
|
|
PHIL |
|
It's nothing. Get in. |
|
They all pile into the front seat with Phil at the wheel. |
|
|
|
PHIL |
|
(starting the ear) |
|
Seatbelts. |
|
Ralph and Gus give him the thumbs up sign and start digging |
|
around in the seat cracks for their seatbelts. Suddenly, Phil |
|
floors the accelerator and peels away, sideswiping a parked car |
|
as he screeches around the corner. |
|
|
|
|
|
|
|
INT. THE BUICK - CONTINUOUS |
|
|
|
Phil is having a great time. Gus and Ralph are whooping it up |
|
like kids on a roller coaster. |
|
|
|
PHIL |
|
This is great, Ralph! |
|
|
|
RALPH |
|
Oh, hey, take a left! |
|
Phil passes the intersection. |
|
|
|
RALPH |
|
You missed it! |
|
|
|
PHIL |
|
No problem -- |
|
|
|
|
|
|
|
EXT . MAIN STREET - CONTINUOUS |
|
Phil throws the car into a high-speed, skidding U-turn, goes up |
|
on the curb, across a couple of lawns, takes out a mailbox and |
|
a STOP sign and bounces back onto the street. |
|
A POLICE CAR parked in front of the hardware store pulls out |
|
and takes off after him. |
|
|
|
|
|
|
|
INT. THE BUICK - CONTINUOUS |
|
|
|
Phil swerves in and out of oncoming traffic. Gus is starting |
|
to look a little green. |
|
|
|
PHIL |
|
So many rules -- |
|
|
|
|
|
|
|
-47- |
|
|
|
|
|
|
|
RALPH |
|
You can say that again. |
|
|
|
PHIL |
|
"Don't do this--" |
|
|
|
|
|
|
|
EXT. THE STREET - CONTINUOUS |
|
|
|
The Buick demolishes a parked car. |
|
|
|
PHIL (V.O.) |
|
"Don't do that -- " |
|
He mows down a row of parking meters. |
|
|
|
POLICE CAR |
|
It comes screaming around a corner in hot pursuit of the Buick |
|
|
|
|
|
|
|
INT. THE BUICK - CONTINUOUS |
|
|
|
Ralph hears the siren and looks back at the police car. |
|
|
|
|
|
All right! Try and stop us, you |
|
mothers ! |
|
|
|
PHIL |
|
No more rules! |
|
|
|
RALPH |
|
No more rules! |
|
|
|
|
|
|
|
EXT. THE STREET - CONTINUOUS |
|
|
|
A second police car joins the chase. |
|
|
|
RALPH |
|
(looking back) |
|
That's two! |
|
|
|
PHIL |
|
Having a good time? |
|
|
|
RALPH |
|
I'm having a great time! |
|
Phil speeds up to a hundred miles and hour. Gus is looking |
|
even worse from the liquor and the motion of the car. |
|
|
|
GUS |
|
Hey, uh -- |
|
|
|
PHIL |
|
Phil. |
|
|
|
|
|
|
|
-48- |
|
|
|
|
|
|
|
GUS |
|
Yeah, Phil-- like the groundhog. |
|
|
|
PHIL |
|
Right. |
|
|
|
GUS |
|
Hey, Phil? How're we going to |
|
get out of this? |
|
|
|
THEIR POV - THE INTERSECTION AHEAD |
|
Two police cars with lights flashing are parked sideways, |
|
completely blocking the road. Officers stand in the roadway, |
|
motioning for Phil to stop. |
|
|
|
PHIL |
|
|
|
(CALMLY) |
|
Gus, you're just going to have to |
|
trust me on this one. |
|
He tromps the gas pedal to the floor. Gus's eyes go wide with |
|
terror. |
|
The police dive out of the way. |
|
|
|
PHIL AND RALPH |
|
Yahooooo! |
|
|
|
THEIR POV - THROUGH THE WINDSHIELD |
|
The Buick crashes head on into one of the police cars. |
|
|
|
BLACK OUT: |
|
|
|
C LOSE UP - CLOCK |
|
The time changes from 5:59 to 6:00. The radio starts playing |
|
"I Got You, Babe." |
|
Phil sits up suddenly and looks around, completely amazed. He |
|
is in his room at the bed and breakfast, everything exactly the |
|
same as before. He hops out of bed and quickly examines |
|
himself for signs of physical injury. Nothing. The music ends |
|
and the two deej ays come on. |
|
|
|
DEEJAY |
|
Okay, campers, rise and shine, |
|
and don't forget your booties |
|
because it's COOOLD out there |
|
today. |
|
Phil talks out loud along with them. |
|
|
|
PHIL AND SIDEKICK |
|
It's cold out there everyday. |
|
What is this-- Miami Beach? |
|
|
|
|
|
|
|
-49- |
|
|
|
|
|
The deejays laughs. Phil laughs, too, exhilirated at having |
|
survived the car wreck, still very confused and perplexed, but |
|
just beginning to see the possibilities of his unique |
|
situation. He starts dressing in a hurry. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. BREAKFAST ROOM - CONTINUOUS |
|
|
|
Phil rushes into the breakfast room just as Mrs. Lancaster |
|
comes out of the kitchen with the coffee. Everything is |
|
exactly the same as before. |
|
|
|
MRS. LANCASTER |
|
W o u l d you-- |
|
Phil interrupts, answering all her questions before she even |
|
asks them. |
|
|
|
PHIL |
|
|
|
(URGENTLY) |
|
Yes, I would like some coffee; |
|
the weather is going to be cold |
|
and overcast with blizzard |
|
conditions moving in later today; |
|
and yes, I will be staying an |
|
extra day. |
|
|
|
MRS. LANCASTER |
|
|
|
(BAFFLED) |
|
Why thank you. |
|
|
|
PHIL |
|
Mrs. Lancaster, has anyone been |
|
around here looking for me this |
|
morning? Maybe a state official, |
|
blue coat, hat, gun, nightstick, |
|
badge, driving a late-model Ford |
|
br Chevy, black and white with |
|
bub ble lights on top-- |
|
|
|
MRS. LANCASTER |
|
|
|
(SHOCKED) |
|
No, no one like that-- I .don't-- |
|
Will they be? |
|
|
|
PHIL |
|
(greatly relieved) |
|
Apparently not. |
|
Phil gooses her, grabs a sweet roll, and heads for the door, |
|
starting to believe now that he can truly do anything he wants |
|
to. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-50- |
|
|
|
|
|
|
|
EXT. BOARDING HOUSE - DAWN |
|
|
|
Phil stops on the steps, puts on his coat and gloves and again |
|
joins the traffic heading toward Gobbler's Knob. |
|
|
|
|
|
|
|
EXT. MAIN STREET - MOMENTS LATER |
|
|
|
Phil passes the old bum, ignoring him as usual. |
|
|
|
NED (O.C.) |
|
Hey, Phil! |
|
Phil slips off his glove as Ned Ryerson lumbers toward him. |
|
|
|
NED |
|
Phil! Phil Connors! |
|
|
|
PHIL |
|
Ned! Ned Ryerson! Ned the Head! |
|
Before Ned can say another word, Phil SLUGS HIM. Ned goes |
|
down, Phil puts his glove back on and keeps walking. |
|
Phil deftly avoids the slushy pothole he stepped in before. A |
|
PEDESTRIAN walking behind him steps right into it. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT . GOBBLER'S KNOB - LATER |
|
Phil is passing through the crowd on his way to the press area |
|
when he notices NANCY, the girl he met at the hotel bar, and |
|
stops to talk to her. |
|
|
|
PHIL |
|
You here to see the groundhog? |
|
She gives him a look. It's obvious she's never seen him |
|
before. |
|
|
|
NANCY |
|
Can you think of another reason |
|
anybody'd be out here at dawn on |
|
a freezing day? |
|
|
|
PHIL |
|
What's your name? |
|
|
|
NANCY |
|
Nancy Taylor. And you are-- |
|
|
|
|
|
|
|
PHIL |
|
Where'd you go to high school? |
|
|
|
|
|
|
|
-51- |
|
|
|
|
|
|
|
NANCY |
|
What is this? |
|
|
|
PHIL |
|
|
|
(PLAYFUL) |
|
High school? |
|
She really doesn't know what to make of Phil but she decides to |
|
play along. |
|
|
|
NANCY |
|
Lincoln High school. In |
|
Pittsburgh. Who are you? |
|
|
|
PHIL |
|
Who was your twelfth grade |
|
English teacher? |
|
|
|
NANCY |
|
Are you kidding? |
|
|
|
PHIL |
|
I'm waiting. |
|
|
|
NANCY |
|
.Mrs. Walsh. |
|
|
|
PHIL |
|
Walsh. Nancy, Lincoln, Walsh. |
|
|
|
NANCY |
|
Is this some kind of come-on? |
|
|
|
PHIL |
|
I'm not really sure. We'll have |
|
to see. |
|
Phil walks off and joins Rita at their camera position. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. DINER - LATER THAT MORNING |
|
|
|
Phil is sitting at his usual table, which is covered with an |
|
incredible variety of rich foods-- eggs, bacon, sausage, |
|
pancakes, pies, cakes, eclairs, ice cream, puddings, etc. |
|
Rita sits across from him, watching in amazement as he stuffs |
|
himself with pastry. |
|
|
|
RITA |
|
Is this some new fad diet? Don't |
|
you worry about cholesterol? |
|
Phil scrapes a plate and takes a final bite of a chocolate |
|
eclair. |
|
|
|
|
|
|
|
-52- |
|
|
|
|
|
|
|
PHIL |
|
I don't worry about anything |
|
anymore. |
|
|
|
RITA |
|
What makes you so special? |
|
Everybody worries about |
|
something. |
|
|
|
PHIL |
|
That's exactly what makes me so |
|
special. |
|
He takes a big bite of cake. Rita shakes her head. |
|
|
|
PHIL |
|
(with his mouth full) |
|
What? |
|
|
|
RITA |
|
"The wretch, concentered all |
|
in self, |
|
Living, shall forfeit fair |
|
renown, |
|
And doubly dying, shall go |
|
down to the vile dust from |
|
whence he sprung, |
|
Unwept, unhonored, and |
|
unsung." Sir Walter Scott. |
|
|
|
PHIL |
|
(stares at her for a |
|
long moment) |
|
"There was a young man from |
|
Na n t uc k e t-- " |
|
|
|
RITA |
|
That's really funny. When are |
|
you going to grow up, Phil? |
|
|
|
PHIL |
|
At this rate-- never. |
|
(he pulls out a pack of |
|
|
|
CIGARETTES) |
|
Okay if I smoke? |
|
Rita shrugs. Phil lights up a cigarette. |
|
|
|
RITA |
|
You really do have a death wish, |
|
don't you? |
|
|
|
PHIL |
|
Just the opposite, Rita. I have |
|
a life wish. I'm just trying to |
|
enjoy it. Taking pleasure in the |
|
little things. Don't you ever |
|
just want to cut loose and go |
|
wild? |
|
|
|
|
|
|
|
-53- |
|
|
|
|
|
|
|
RITA |
|
I wouldn't even know what it |
|
means to go wild. |
|
|
|
PHIL |
|
Yeah, well, that's where I come |
|
in. Going wild is one of my |
|
specialties. Last night I got |
|
completely loaded and drove head- |
|
on into a police car. |
|
|
|
RITA |
|
|
|
(DISBELIEVING) |
|
Oh, really? You look pretty good |
|
this morning. |
|
|
|
PHIL |
|
That's my point. I know you |
|
won't believe me, but we could do |
|
anything we want today and it |
|
wouldn't matter one bit. |
|
Absolutely no consequences. |
|
Complete and total freedom. |
|
|
|
RITA |
|
And how. . , do we manage that? |
|
|
|
PHIL |
|
You leave that to me. Why don't |
|
you send Larry back and hang out |
|
with me for the rest of the day? |
|
You never make it through that |
|
blizzard anyway. |
|
Larry enters the diner and spots them. |
|
|
|
RITA |
|
I'll take my chances with the |
|
-weather. But you have a good |
|
time. |
|
|
|
PHIL |
|
Don't worry. I plan to. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - NEXT MORNING |
|
|
|
Phil comes through the crowd and finds Nancy in the same spot |
|
she was in the day before. |
|
|
|
PHIL |
|
Nancy? |
|
Nancy turns and looks at him quizzically. |
|
|
|
|
|
|
|
-54- |
|
|
|
|
|
|
|
PHIL |
|
Nancy, right? |
|
|
|
NANCY |
|
I'm sorry, I-- |
|
|
|
PHIL |
|
Nancy Taylor? Lincoln High? I |
|
sat next to you in Mrs. Walsh's |
|
English class. |
|
|
|
NANCY |
|
T h at -- |
|
|
|
PHIL |
|
Phil Connors. |
|
|
|
NANCY |
|
--is amazing! |
|
|
|
PHIL |
|
You don't remember me, do you? |
|
|
|
NANCY |
|
I don't-- sure, I think-- |
|
|
|
PHIL |
|
We used to shoot spit balls-- |
|
|
|
NANCY |
|
Yeah, oh, God-- |
|
|
|
PHIL |
|
I even asked you to the prom. |
|
|
|
NANCY |
|
Phil Connors. |
|
|
|
PHIL |
|
Yeah. |
|
|
|
NANCY |
|
How ARE you?! |
|
|
|
PHIL |
|
I ' m great. Wow, you look |
|
terrific. Hey, listen, I gotta |
|
d o this report-- |
|
|
|
NANCY |
|
You're a reporter? |
|
|
|
PHIL |
|
Weatherman. Channel 9, |
|
Pittsburgh. |
|
|
|
NANCY |
|
Right, I should've known-- |
|
|
|
|
|
|
|
-55- |
|
|
|
|
|
|
|
PHIL |
|
But maybe after we could -- |
|
|
|
NANCY |
|
Yeah, yeah, I ' d like that -- |
|
|
|
RITA (O.C.) |
|
Phil! |
|
Rita is calling from across the crowd. She looks at him with |
|
disapproval . |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - NIGHT |
|
|
|
Phil is making passionate love to a WOMAN in the dark. |
|
|
|
WOMAN |
|
|
|
(MOANS) |
|
Oh, Phil. |
|
|
|
PHIL |
|
Oh , Rita . |
|
The woman suddenly freezes. There is a moment of silence, then |
|
she snaps on the light. It's Nancy, not Rita. Phil is as |
|
surprised as she is by his slip of the tongue. |
|
|
|
NANCY |
|
|
|
(COLD) |
|
Who's Rita? |
|
|
|
PHIL |
|
|
|
(CAUGHT) |
|
No one. It's just something I |
|
say when I make love. You know -- |
|
"Orita", "Orighta"-- it's like |
|
"Oh, baby" or something. |
|
|
|
NANCY |
|
(not entirely |
|
|
|
CONVINCED) |
|
Oh. |
|
|
|
PHIL |
|
(corrects her) |
|
O-rita. |
|
Nancy laughs uncertainly. Phil switches off the light, |
|
thinking now about Rita. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-56- |
|
|
|
|
|
|
|
INT. BREAKFAST ROOM - MORNING |
|
|
|
Some elderly GUESTS are sipping coffee and eating breakfast, |
|
staring uncomfortably at something on the other side of the |
|
room. |
|
|
|
THEIR POV |
|
Phil is standing at the bookcase, wearing only pajamas, |
|
absently munching on a Danish as he reads from one of the |
|
books. |
|
Mrs. Lancaster approaches him. |
|
|
|
MRS. LANCASTER |
|
Isn't it a wonderful collection? |
|
|
|
PHIL |
|
(not looking up) |
|
Yes, it is. You don't usually |
|
find this many trashy novels in |
|
one place. |
|
|
|
MRS. LANCASTER |
|
You can take a book up to your |
|
room if you like. |
|
|
|
PHIL |
|
No, thank you. I've actually |
|
read them all. I was just |
|
rereading some of the dirty |
|
parts. |
|
He finishes and puts the book back on the shelf. |
|
|
|
MRS. LANCASTER |
|
|
|
(WORRIED) |
|
How long will you be staying with |
|
us, Mr. Connors? |
|
|
|
PHIL |
|
Indefinitely. I've already been |
|
here for 211 days. |
|
|
|
MRS. LANCASTER |
|
(humoring him) |
|
Really? That's quite a long |
|
time, isn't it. I hope you're |
|
finding things to do in our |
|
little town. |
|
|
|
PHIL |
|
|
|
(CASUALLY) |
|
Yes, well, I'm getting a little |
|
tired of casual sex so today I |
|
thought I'd rob a bank and buy |
|
myself a really expensive car. |
|
|
|
|
|
|
|
-57- |
|
|
|
|
|
Phil kisses her on the lips and walks off. |
|
|
|
CUT TO: |
|
|
|
EXT. PENN BANK AND TRUST - DAY |
|
|
|
Two harmless-looking old GUARDS are calmly loading bags of cash |
|
into an armored car parked in front of a local bank. Suddenly |
|
Phil appears, wielding a shotgun, wearing a Batman style cape, |
|
his face completely hidden by a ski mask. |
|
|
|
PHIL |
|
|
|
(SHOUTS) |
|
All right, freeze!! Drop your |
|
guns J! |
|
The guards stand there frozen with terror. |
|
|
|
PHIL |
|
You guys ever been held up |
|
before? |
|
(they shake their |
|
|
|
HEADS) |
|
It's kind of exciting, isn't it? |
|
|
|
FIRST GUARD |
|
|
|
(FRIGHTENED) |
|
I guess so. Something to tell |
|
the kids about. |
|
|
|
PHIL |
|
Yeah. By the way, I'm Phil. |
|
He raises the mask and shows his face. |
|
|
|
FIRST GUARD |
|
Herman. |
|
|
|
S E C O N D GUARD |
|
Felix. |
|
|
|
PHIL |
|
(shaking their hands) |
|
Herman and Felix. Okay. Take it |
|
easy, boys. And thanks. |
|
The frightened guards watch as Phil makes off with two large |
|
satchels of cash. |
|
|
|
CUT TO: |
|
|
|
INT. USED CAR DEALERSHIP - DAY |
|
|
|
Phil pats the hood of a used BMW 850 sports car as a SALESMAN |
|
stands by beaming. Phil is wearing a full Steelers football |
|
uniform complete with shoulder pads. |
|
|
|
|
|
|
|
-58- |
|
|
|
|
|
|
|
SALESMAN |
|
A real beauty, huh. We picked it |
|
u p at a-- |
|
|
|
PHIL |
|
I'll take it. How much? |
|
|
|
SALESMAN |
|
Well, the sticker says $62,999 |
|
bu t if you want-- |
|
|
|
PHIL |
|
I'll tell you what. I'll give |
|
you $70,000 if you just knock off |
|
the car salesman stuff and let me |
|
get out of here with my car. |
|
The Salesman gawks as Phil opens his briefcase and starts |
|
counting out stacks of bills. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. PUNXSUTAWNEY - DAY |
|
|
|
From a high angle, we see the BMW tearing around the streets of |
|
the town as if running a Grand Prix road race. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. MAIN STREET - DAY |
|
|
|
The BMW comes screeching to a stop right in front of the movie |
|
theater and the door opens. |
|
A pair of really elaborate cowboy boots complete with silver |
|
spurs hits the pavement first; then we PAN UP to see Phil |
|
emerge from the car wearing a really gaudy; full cowboy outfit |
|
with real six-guns on his hips. A very trashy-looking girl, |
|
LARAINE, gets out on the passenger side, dressed like a French |
|
maid. |
|
|
|
LARAINE |
|
(very self-conscious) |
|
I thought we were going to a |
|
costume party. |
|
|
|
PHIL |
|
Yeah, we are, we are. But first |
|
I have this movie theater fantasy |
|
I want to talk to you about. |
|
He escorts her into the theater. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-59- |
|
|
|
|
|
|
|
INT. TATTOO PARLOR - ANOTHER DAY |
|
|
|
Phil is lying on the table, getting elaborately tattooed. |
|
Rita walks by, looks in the window and is shocked to see Phil |
|
there. |
|
Phil waves at her and points to the colorful new heart pierced |
|
by a bloody dagger being tattooed on his arm. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. BIKER BAR - NIGHT |
|
|
|
We pan down the line of ROUGH TRADE PATRONS to. Phil, dressed |
|
all in black leathers, both arms heavily tattooed, looking like |
|
Sid Viscious on crack. He takes off his hat to reveal red, |
|
white and blue hair shaved almost down to his skull. A slut |
|
named ANGIE and another overweight, not very pretty MADONNA |
|
WANNA-BE, both in too-tight jeans and bullet bras are coming on |
|
to him, practically licking his ears. Angie pops a couple of |
|
mystery pills into his mouth. Phil washes them down with a |
|
shot and a beer. |
|
|
|
I |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - NIGHT |
|
|
|
It looks like ;outtakes from Fellini's "Satyricon." Heavy metal |
|
is blaring from the radio, as several unsavory looking men and |
|
women are partying down, a few already passed out, sleeping off |
|
whatever hit them. Someone is knocking loudly on the door, |
|
shouting complaints about the music. A beer bottle smashes |
|
against the door. |
|
Phil is sitting up on the bed with Angie. He has his arm |
|
around her shoulder and a fifth of Wild Turkey in his hand. |
|
|
|
PHIL |
|
(more to himself than |
|
to Angie) |
|
Yeah, but eventually you' d just |
|
get tired of screwing around and |
|
then you'd want a real |
|
relationship, wouldn't you? |
|
|
|
ANGIE |
|
I don't know. |
|
A big German Shepherd tries to jump up on the bed with them. |
|
|
|
PHIL |
|
Get down, Brunoi |
|
|
|
(CONTINUING) |
|
Someone decent, someone who you |
|
respected, who respects you. |
|
|
|
|
|
|
|
-60- |
|
|
|
|
|
|
|
|
|
|
|
ANGIE |
|
I guess so. |
|
The dog jumps up again. |
|
|
|
PHIL |
|
Down , Bruno ! |
|
(still musing) |
|
It's tough to find a relationship |
|
like that, especially if your |
|
time is kind of limited. But you |
|
still have to try, don't you? |
|
(the dog again) |
|
Bruno! I told you! Off the bed! |
|
Phil looks over at Angle who's passed out with her mouth open |
|
|
|
PHIL |
|
There ' s got to be more to it than |
|
this. |
|
|
|
CUT TO : |
|
|
|
|
|
|
|
EXT. A SIDE STREET - THE NEXT MORNING |
|
|
|
Rita is in the news van reviewing the tape of Phil's report |
|
Phil hovers at the open side door. |
|
|
|
RITA |
|
You look good. I mean, it came |
|
o ut all right. How'd you know |
|
where to put the camera? |
|
|
|
PHIL |
|
Psychic. So did you have a nice |
|
evening? |
|
|
|
RITA |
|
|
|
(GUARDED) |
|
I just had a sandwich, watched |
|
some TV and went to bed. |
|
|
|
PHIL |
|
I got my whole body tattooed and |
|
part ied all night with some |
|
nymphomaniac biker chicks. |
|
|
|
RITA |
|
|
|
(SKEPTICAL) |
|
Sounds wholesome. Were those the |
|
new 24-hour disappearing tattoos |
|
or can I see them? |
|
|
|
PHIL |
|
No, they're gone. Rita, if you |
|
only had one day to live, what |
|
would you do with it? |
|
|
|
|
|
|
|
-61- |
|
|
|
|
|
|
|
|
|
She switches off the videotape and steps out of the van. |
|
|
|
RITA |
|
I don't know, Phil. What are you |
|
dying of? |
|
|
|
PHIL |
|
No, I mean like what if the |
|
entire world was about to |
|
explode? |
|
|
|
RITA |
|
I ' d just want to know where to |
|
p ut the camera. What are you |
|
looking for, Phil-- a date for |
|
the weekend? |
|
She starts walking toward the center of town. Phil sticks |
|
right with her. |
|
|
|
PHIL |
|
No, I just want to know you |
|
better. What do you like, what |
|
do you want, what do you think |
|
about, what kind of men are you |
|
interested in, what do you do for |
|
fun? |
|
|
|
RITA |
|
(she stops) |
|
Is this real or are you just |
|
going to make me feel like a |
|
fool? |
|
|
|
PHIL |
|
I'm just trying to talk to you |
|
like a normal person. Isn't this |
|
how normal people talk? |
|
|
|
RITA |
|
Close. |
|
|
|
PHIL |
|
Okay, so talk to me. C'mon, I'll |
|
buy you a cup of coffee. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. DINER - A LITTLE LATER |
|
|
|
Phil and Rita are at their usual table, drinking coffee. |
|
|
|
RITA |
|
I guess I want what everybody |
|
wants-- you know, career, love, |
|
marriage, children. So far I |
|
don't have any of it. |
|
|
|
|
|
|
|
-62- |
|
|
|
|
|
|
|
PHIL |
|
You have a career. |
|
|
|
RITA |
|
I have a job. Doing stories on |
|
the Punxsutawney groundhog is not |
|
my ultimate goal. No offense. |
|
|
|
PHIL |
|
How about the other stuff? You |
|
seeing anybody? |
|
|
|
RITA |
|
This is getting too personal. I |
|
don't think I ' m ready to discuss |
|
these things with you. What |
|
about you? What do you want? |
|
|
|
PHIL |
|
What I really want is someone |
|
like you. |
|
|
|
RITA |
|
O h , please-- |
|
|
|
PHIL |
|
Why not? |
|
|
|
RITA |
|
Phil, you know, you have so much |
|
talent and ability. If you'd |
|
just drop the attitude and act |
|
like a decent human being, then |
|
maybe I ' d -- |
|
(she hesitates) |
|
|
|
PHIL |
|
You'd what? |
|
|
|
RITA |
|
I don't know what. |
|
|
|
PHIL |
|
Then maybe you'd like me? |
|
She stares hard at him. |
|
|
|
RITA |
|
I don't know. It's sort of like |
|
the way I feel about UFO's. I'd |
|
have to see it to believe it. |
|
Larry pokes his head in the doorway, looks around, spots Rita |
|
and makes his way over to their table. |
|
|
|
|
|
|
|
-63- |
|
|
|
|
|
|
|
LARRY |
|
(to Rita) |
|
You ready? We better get going |
|
if we're going to stay ahead of |
|
the weather. |
|
|
|
RITA |
|
Yeah, I'll be right out, Larry. |
|
Larry scowls at Phil and exits. |
|
|
|
PHIL |
|
(to Rita) |
|
Why don't you stay for a while? |
|
The road's going to be closed |
|
anyway. Do you really want to be |
|
stuck in the van with Larry for |
|
three hours? |
|
|
|
RITA |
|
I've got to get back. I'll see |
|
you later. |
|
Phil watches Rita exit. |
|
|
|
PHIL'S POV |
|
Rita gets in the news van and drives off with Larry. |
|
Phil stares out the window, more" determined than ever to win |
|
her over. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER�S KNOB - ANOTHER DAY |
|
|
|
Phil is wrapping up his groundhog report. |
|
|
|
PHIL |
|
Well, you heard it right from the |
|
groundhog's mouth. Bundle up |
|
good, 'cause it's going to be a |
|
long winter-- at least in |
|
Punxsutawney. Reporting for |
|
Channel 9, this is Phil Connors. |
|
Larry stops tape. |
|
|
|
RITA |
|
That was great. How did you know |
|
|
|
THE-- |
|
|
|
PHIL |
|
|
|
(PREOCCUPIED) |
|
I have to go now. There's |
|
something I have to do. |
|
|
|
|
|
|
|
-64- |
|
|
|
|
|
Phil runs off without another word of explanation. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. THE NEWS VAN - LATER |
|
|
|
Phil has the hood open and is doing something to the engine. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. THE BERGHOF RESTAURANT - LATER |
|
|
|
Rita is sitting at the bar in the town's best restaurant, a |
|
good chophouse with Black Forest decor and waitresses dressed |
|
in dirndl skirts and aprons. Phil enters and sits down next to |
|
her. |
|
|
|
PHIL |
|
(acting surprised) |
|
Oh, hi, Rita. You still here? |
|
|
|
RITA |
|
|
|
(GLUM) |
|
The van won't start. Larry's |
|
working on it. |
|
|
|
PHIL |
|
|
|
(INNOCENT) |
|
Wouldn't you know it. Buy you a |
|
drink? |
|
|
|
RITA |
|
Okay. |
|
|
|
PHIL |
|
(to the bartender) |
|
Jack Daniels. |
|
|
|
BARTENDER |
|
For you, miss? |
|
|
|
RITA |
|
Tequila,with lime. Gold, if |
|
you've got it. |
|
Phil nods to himself. |
|
|
|
CUT TO: |
|
|
|
SAME SCENE - ANOTHER DAY |
|
Phil walks in and sits next to Rita. |
|
|
|
PHIL |
|
(acting surprised) |
|
Oh, hi, Rita. You still here? |
|
|
|
|
|
|
|
-65- |
|
|
|
|
|
|
|
R IT A |
|
|
|
(GLUM) |
|
The van won't start. Larry's |
|
working on it. |
|
|
|
PHIL |
|
Wouldn't you know it. Buy you a |
|
drink? |
|
|
|
RITA |
|
Okay. |
|
|
|
PHIL |
|
(to the bartender) |
|
Tequila with lime, gold if you've |
|
got it. |
|
Rita looks at Phil, surprised. |
|
|
|
BARTENDER |
|
For you miss? |
|
|
|
RITA |
|
Same for me, please. |
|
The BARTENDER pours. |
|
|
|
PHIL |
|
(to Rita) |
|
What should we toast to? |
|
|
|
RITA |
|
Your call. |
|
|
|
PHIL |
|
To the groundhog! |
|
Rita stares for a moment. |
|
|
|
RITA |
|
I always drink to world peace. |
|
|
|
CUT TO: |
|
|
|
SAME SCENE - ANOTHER DAY |
|
|
|
BARTENDER |
|
Take your order? |
|
|
|
PHIL |
|
Tequila with lime, gold if you've |
|
got it. |
|
Rita looks at Phil. |
|
|
|
, BARTENDER |
|
For you, miss? |
|
|
|
|
|
|
|
-66- |
|
|
|
|
|
|
|
|
|
|
|
RITA |
|
Same for me, please. |
|
The BARTENDER pours. |
|
Phil lifts his glass. |
|
|
|
PHIL |
|
To world peace. |
|
Rita smiles, reevaluating him. |
|
|
|
RITA |
|
To world peace. |
|
They clink glasses. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. THE BAR - LATER |
|
|
|
Rita and Phil are now sitting together at a table, a plate of |
|
cheese and crackers and a bottle of white wine between them. |
|
|
|
PHIL |
|
You like your job? |
|
|
|
RITA |
|
It's okay. I think it could be |
|
really challenging. Of course |
|
it's about a million miles from |
|
where I started out in college. |
|
|
|
PHIL |
|
You weren't in broadcasting? |
|
|
|
RITA |
|
At Bryn Mawr? No, uh-uh. |
|
"Believe it or not, I studied |
|
Nineteenth Century French Poetry. |
|
|
|
PHIL |
|
(laughs good-naturedly) |
|
Really? What a waste of time. |
|
Rita looks offended. Phil knows he made a mistake. |
|
|
|
CUT TO: |
|
|
|
SAME SCENE - ANOTHER DAY |
|
|
|
PHIL |
|
You weren't in broadcasting? |
|
|
|
|
|
|
|
-67- |
|
|
|
|
|
|
|
|
|
|
|
RITA |
|
At Bryn Mawr? No, uh-uh. |
|
Believe it or not, I studied |
|
Nineteenth Century French Poetry. |
|
Phil leans in closer to her. |
|
|
|
PHIL |
|
La fille qui j'aimera |
|
Sera comme bon vin |
|
Qui se bonifiera |
|
Un peut chaque matin. |
|
Rita smiles, entranced. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. FUDGE SHOP - DAY |
|
|
|
Phil and Rita are sitting at a table in a small confectionery, |
|
tasting chunks of different flavored fudge. Rita takes a bite |
|
|
|
RITA |
|
This is terrific. |
|
|
|
PHIL |
|
Best fudge in town. |
|
|
|
RITA |
|
How do you know so much about |
|
Punxsutawney? |
|
|
|
PHIL |
|
I like small towns. I think they |
|
engender real community more than |
|
big cities. |
|
|
|
RITA |
|
That is so true! I've always |
|
thought that, too. |
|
|
|
PHIL |
|
No kidding. Here-- try the white |
|
chocolate. |
|
|
|
RITA |
|
Oh, yuk, don't make me sick. |
|
|
|
PHIL |
|
(making mental note) |
|
No white chocolate. |
|
|
|
RITA |
|
There's something so familiar |
|
about this. Do you ever have |
|
deja vu? |
|
Phil smiles. Then Larry enters. |
|
|
|
|
|
|
|
-68- |
|
|
|
|
|
|
|
|
|
|
|
LARRY |
|
(irate, to Rita) |
|
I don't believe it. Someone |
|
bought every distributor cap in |
|
this town. We're going to be |
|
stuck here all night1 |
|
Over Phil's sympathetic look we hear the song, "I Can't Get |
|
Started With You". |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. THE BERGHOF RESTAURANT - NIGHT |
|
|
|
The music continues over Rita and Phil on the small dance |
|
floor. They dance, close, dreamy, romantic. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. MAIN STREET - LATER THAT NIGHT |
|
|
|
There is a light snow falling. Phil and Rita are making a |
|
little snowman. Somehow the town looks magical tonight-- old |
|
fashioned, wholesome. |
|
A snowball hits Phil in the back. He and Rita turn around to |
|
see a giggling KID. Phil packs a snowball and tosses it. The |
|
kid throws one back. Rita and Phil both get into it, packing |
|
snowballs and getting into a war with this kid and his little |
|
gang of friends. |
|
A snowball catches Rita unaware, she slips and goes down in a |
|
snowbank. Phil bends down to help her and slips. They are no |
|
together, lying in the snow, laughing. Their eyes lock for a |
|
long sweet moment, then Rita gets embarrassed and stands up. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT . CHERRY STREET INN - NIGHT |
|
Phil and Rita are walking slowly, very close. |
|
|
|
PHIL |
|
What? |
|
|
|
RITA |
|
I ' m just amazed. And I'm not |
|
easily amazed. |
|
|
|
PHIL |
|
About what? |
|
|
|
|
|
|
|
-69- |
|
|
|
|
|
|
|
RITA |
|
How you can start a day with one |
|
kind of expectation and end up so |
|
completely different. |
|
|
|
PHIL |
|
Do you like how this day is |
|
turning out? |
|
|
|
RITA |
|
Yes. I like it very much. |
|
They stop dn front of Phil's hotel. She turns to him. |
|
|
|
RITA |
|
You could never have planned a |
|
day like this, but it couldn't |
|
have been more perfect. |
|
|
|
PHIL |
|
You're wrong. I've been planning |
|
this day for weeks. |
|
Rita ignores the remark and hugs him. Phil tries to kiss her |
|
but she gently puts her fingers to his lips, stopping him. |
|
\ They enter the bed and breakfast inn. |
|
|
|
|
|
|
|
INT. VESTIBULE - CONTINUOUS |
|
|
|
Rita hugs him again and starts to exit. |
|
|
|
RITA |
|
Thanks. See you tomorrow. |
|
|
|
PHIL |
|
Tomorrow? Wait, aren't you going |
|
to come up to my room for a |
|
while? |
|
|
|
RITA |
|
(very reluctant) |
|
I don't know, Phil-- |
|
|
|
PHIL |
|
No�reason to end a perfect day. |
|
|
|
RITA |
|
|
|
(DECIDING) |
|
Well-- we better not. |
|
|
|
PHIL |
|
No, you should. The, uh, the |
|
poetry! I've got some books, |
|
Rimbaud, Beaudelaire, we could |
|
l ig ht a fire-- |
|
|
|
|
|
|
|
-70- |
|
|
|
|
|
|
|
RITA |
|
Thanks, but -- |
|
|
|
PHIL |
|
(seeing it all slip |
|
|
|
AWAY) |
|
Please come, Rita. It'll be -- |
|
|
|
RITA |
|
|
|
(DEFINITE) |
|
Phil, I'm tired. We can be |
|
together tomorrow. |
|
|
|
PHIL |
|
(getting desperate) |
|
But there is no tomorrow for me! |
|
|
|
RITA |
|
|
|
(ADAMANT) |
|
Let's not ruin it, Phil. There's |
|
no way I ' m sleeping with you |
|
tonight. |
|
|
|
PHIL |
|
Why not? Rita, I love you! |
|
|
|
RITA |
|
You don't even know me! |
|
|
|
PHIL |
|
(grabs her hand) |
|
Please! You have to! |
|
Rita shakes loose from his grasp. |
|
|
|
RITA |
|
What's wrong with you! |
|
There is a long moment of silent tension, then all her old |
|
doubts about Phil come rushing back. |
|
|
|
RITA |
|
(shaking her head) |
|
Oh, no. I can't believe I fell |
|
for it. This whole day was just |
|
one long set-up. And I ate |
|
fudge. Yucchh! I hate fudge. |
|
|
|
PHIL |
|
No, it was real. I love you. |
|
|
|
RITA |
|
Stop saying that! Do you really |
|
expect me to trust you? The |
|
whole secretarial pool is a Phil |
|
Connors recovery group. |
|
|
|
|
|
|
|
-71- |
|
|
|
|
|
|
|
|
|
|
|
PHIL |
|
But I can change! I really can-- |
|
Rita slaps him hard on the cheek. |
|
|
|
RITA |
|
That's for making me care about |
|
you. |
|
She turns and stomps off, leaving Phil standing there hurting. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. MAIN STREET - ANOTHER NIGHT |
|
|
|
The snowball fight with the kids is going on as before. Phil |
|
falls into the snowbank with Rita and they almost kiss. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. QUALITY INN MOTEL - LATER |
|
|
|
Phil is trying (MOS) to talk his way into Rita's room. She |
|
^pushes him away and slams the door in his face. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. MOTEL - NIGHT |
|
|
|
The streets are deserted except for Phil, staring up at Rita's |
|
window in the Quality Inn. |
|
Rita comes to her window and looks out. She sees Phil looking |
|
up at her and draws the curtains. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - DAWN |
|
|
|
"I Got You, Babe" is playing. Phil hits the clock radio to |
|
turn it off. He lies there for a moment, then hefts himself |
|
heavily out of bed, not eager to repeat the day yet another |
|
time. With the radio off, Phil does the deejays' morning |
|
routine himself, seemingly for the millionth time. |
|
|
|
PHIL |
|
|
|
(DULLY) |
|
Okay, campers, rise and shine, |
|
and don't forget your booties |
|
because it's cooooold out there |
|
today. |
|
Phil continues the radio report at his own pace, obviously |
|
fatigued. |
|
|
|
|
|
|
|
-72- |
|
|
|
|
|
|
|
PHIL |
|
It's cold out there everyday. |
|
What is this -- Miami Beach? Haw. |
|
Not hardly. And you can expect |
|
hazardous travel later today with |
|
that, you know, blizzard thing. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - DAWN |
|
|
|
Phil is walking through the crowd. He spots Nancy, walks up to |
|
her and greets her half-heartedly . |
|
|
|
PHIL |
|
Hi, Nancy. |
|
|
|
NANCY |
|
|
|
(PLEASANTLY) |
|
Hi. Do I know you? |
|
Phil can't manage enough enthusiasm to pursue her yet again. |
|
|
|
PHIL |
|
No, I guess not. I thought you |
|
were someone else. |
|
Phil wanders over to where Rita and Larry are setting up the |
|
camera. Rita comes over to him. |
|
|
|
RITA |
|
Are you all right, Phil? You |
|
look terrible. |
|
Phil looks at her sadly, then turns away. |
|
|
|
PHIL |
|
|
|
(VACANTLY) |
|
I ' m fine. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT . BIKER BAR - NIGHT |
|
The balls CRACK as the cue ball breaks the rack. |
|
Phil is walking around the table, cue in hand, sinking ball |
|
after ball, while several admiring HUSTLERS look on. |
|
|
|
FIRST HUSTLER |
|
Who is this guy? |
|
|
|
|
|
|
|
-73- |
|
|
|
|
|
|
|
SECOND HUSTLER |
|
I don't know. Hey, mister-- |
|
(Phil doesn't stop |
|
|
|
SHOOTING) |
|
Who are you, anyway? |
|
Phil shoots, sinks a tough one. |
|
|
|
PHIL |
|
You don't know me? I've been |
|
playing here every day for two |
|
months. |
|
|
|
FIRST HUSTLER |
|
Oh, yeah? So how come I ain't |
|
seen you? |
|
|
|
PHIL |
|
I don't know. I seen you. |
|
|
|
SECOND HUSTLER |
|
So what's your name? |
|
|
|
PHIL |
|
They call me-- Punxsutawney Phil. |
|
|
|
SECOND HUSTLER |
|
Punxsutawney Phil? Like the |
|
groundhog. |
|
|
|
PHIL |
|
Yeah, like the groundhog. |
|
Phil sinks another one. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - DAWN |
|
|
|
The crowd is waiting expectantly for the groundhog to appear |
|
Phil is a wreck, squatting unprofessionally in front of the |
|
camera. |
|
|
|
PHIL |
|
|
|
(CYNICALLY) |
|
This is one of the most pitiful |
|
spectacles known to civilization. |
|
With one nod from a filthy rodent |
|
best known to pest control |
|
agencies, a moribund old coal |
|
mining hamlet turns magically |
|
into the Lourdes of Pennsylvania, |
|
Mecca to thousands of people who, |
|
if they hated the winter so |
|
damned much, why don't they move |
|
to Florida, anyway? |
|
|
|
|
|
|
|
-74- |
|
|
|
|
|
Larry and Rita look on, incredulous. |
|
|
|
. CUT TO: |
|
|
|
CLOSE UP - TV SET |
|
The program JEOPARDY! is playing. |
|
|
|
ALEX TREBECK |
|
(on TV) |
|
Nobel prize-winning co- |
|
discoverers of the DNA molecule. |
|
|
|
PHIL (O.C.) |
|
Who are Watson and Crick. |
|
|
|
CONTESTANT |
|
(on TV) |
|
Who are Watson and Crick? |
|
|
|
ALEX |
|
(on TV) |
|
Correct. |
|
There is a cheering from a small group of people off-screen. |
|
|
|
|
|
|
|
INT. PARLOR - CONTINUOUS |
|
|
|
Phil is sitting in his bathrobe in a big lounge chair in the |
|
parlor of his hotel. Mrs. Lancaster, and other guests watch |
|
his performance, awed by his "intellect." |
|
|
|
ALEX |
|
(on TV) |
|
Twin brother and sister Sebastian |
|
and Olivia create confusion in |
|
this Shakespearean comedy. |
|
|
|
PHIL |
|
What is "Twelfth Night." |
|
|
|
CONTESTANT |
|
(on TV) |
|
What is "Twelfth Night?" |
|
|
|
ALEX |
|
(on TV) |
|
Correct. |
|
More cheering from the small group. |
|
|
|
CONTESTANT |
|
(on TV) |
|
I'll take New Jersey for eight |
|
hundred, Alex. |
|
|
|
|
|
|
|
-75- |
|
|
|
|
|
|
|
ALEX |
|
(on TV) |
|
And the answer is-- an audio |
|
daily double. |
|
|
|
PHIL |
|
Count Basie. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. STREET - DAY |
|
|
|
Phil is walking through town, still dressed only in his pajamas |
|
and overcoat, counting the sidewalk cracks, taking giants steps |
|
from one to the next. He looks crazy. |
|
|
|
PHIL |
|
Two thousand six hundred and |
|
s e ve n ty -o n e-- |
|
(takes another step) |
|
two thousand six hundred and |
|
se v en t y -t w o -- |
|
(another step) |
|
two thousand six hundred and |
|
seventy-thr-ee-^- |
|
A woman passes walking her dog. |
|
|
|
PHIL |
|
Hey, pick up after your dog! |
|
|
|
DOG WALKER |
|
He hasn't done anything. |
|
|
|
PHIL |
|
He's going to! |
|
|
|
(POINTING) |
|
There and there. And there! |
|
Phil continues walking, counting the sidewalk cracks. THREE |
|
NEIGHBORHOOD KIDS notice Phil and walk along, matching him step |
|
for step. |
|
|
|
IPHIL |
|
Two thousand six hundred and |
|
seventy-four, two thousand six |
|
hundred and seventy-five, two |
|
|
|
THOUSAND'-- |
|
|
|
JOEY |
|
Five million eight hundred-- |
|
|
|
PHIL |
|
S i x hundred-- |
|
|
|
MIKE AND SUE |
|
Ninety, twenty, four, six, fifty-- |
|
|
|
|
|
|
|
-76- |
|
|
|
|
|
|
|
PHIL |
|
Two thousand, four hundred-- |
|
|
|
JOEY, MIKE AND SUE |
|
Two, eight, nine, forty-six-- |
|
Phil stops. He has lost count. His lip curls up like an |
|
animal as he turns slowly, growling at the kids. They run away |
|
screaming with glee. Phil starts after them but runs right |
|
into a COP. |
|
|
|
COP |
|
You got a problem, buddy? |
|
|
|
PHIL |
|
(out of control) |
|
Yeah, I got a problem, buddy! I |
|
can't stand this place anymore! |
|
I can't stand this street and I |
|
can't stand the fourteen bars and |
|
the five banks and the one star |
|
food and the bad weather and the |
|
"quaint" little shops and most of |
|
all, I can't stand anything-- |
|
ANYTHING-- with a groundhog on |
|
it. |
|
He rips a groundhog patch off the cop's jacket sleeve. |
|
|
|
COP |
|
|
|
(CALMLY) |
|
Okay. Then let's see what we can |
|
do about getting you out of here. |
|
You got a name? |
|
|
|
PHIL |
|
(eyes downcast) |
|
Phil. |
|
|
|
COP |
|
Phil. Like the groundhog! |
|
Phil turns to the cop like a rabid dog, ready to strike. |
|
|
|
PHIL |
|
Yeah, like the-- |
|
(he stops as if struck) |
|
--groundhog. |
|
Some big new idea has formed in his mind. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT . GOBBLER'S KNOB - EARLY MORNING |
|
Rita is looking at Phil as Larry videotapes his report. |
|
|
|
|
|
|
|
-77- |
|
|
|
|
|
|
|
LARRY |
|
(turning to Rita) |
|
The guy's nuts. He's out of his |
|
gourd. |
|
|
|
RITA |
|
Let him finish, then I'll call |
|
the station. |
|
They turn back to watch Phil's wrap-up. |
|
Phil is completely unkempt, still wearing only pajama bottoms |
|
and his overcoat, looking even more demented. |
|
|
|
PHIL |
|
(to camera) |
|
There is no way this winter is |
|
ever going to end as long as that |
|
groundhog keeps seeing his shadow |
|
everyday. I don't see any other |
|
way out. He's got to be stopped |
|
and I've got to stop him. For |
|
Channel 9 news, this is Phil |
|
Connors. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - NIGHT |
|
|
|
Phil is walking around the mound, casing it out. He takes a |
|
rifle out from under his coat and sneaks up to the burrow. He |
|
pulls a smoke bomb from his pocket, lights it, and throws it |
|
into the hole, then scurries for the edge of the knob and hits |
|
the deck. He lifts his rifle and aims it. |
|
Smoke is now pouring from the mound. Lots of it. |
|
Phil waits, his trigger finger twitching. |
|
A WOMAN casually walks by, stops. She surveys the situation. |
|
|
|
WOMAN |
|
He ain't there. |
|
Phil doesn't move. He-doesn't care that she sees him. |
|
|
|
WOMAN |
|
You can wait all night, but he |
|
ain't coming out. He don't live |
|
there. They keep him in the |
|
library. |
|
Phil's gun droops. The woman begins to walk off, then stops. |
|
|
|
WOMAN |
|
Plug him once for me. |
|
|
|
|
|
|
|
-78- |
|
|
|
|
|
She leaves. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. CIVIC CENTER - DAY |
|
|
|
Phil passes a pedestal bearing a life-size bronze statue of the |
|
groundhog and enters the public library. |
|
|
|
|
|
|
|
INT. LIBRARY - CONTINUOUS |
|
|
|
Phil walks past the front desk looking very haggard and |
|
dangerous, and enters the children's section. No one is |
|
present except the CHILDREN'S LIBRARIAN, a young woman, |
|
reshelving books in the stacks. He looks around quickly and |
|
sees a window in the wall and over it a large sign which reads: |
|
"Punxsutawney Phil - The Great Prognosticates" |
|
Phil heads right for it. |
|
The groundhog scurries around his little temperature-controlled |
|
habitat, oblivious to the approaching danger. |
|
As Phil approaches the groundhog display, he reaches into his |
|
overcoat and pulls out a pump shotgun with a short pistol grip. |
|
The children's librarian sees the gun and freezes. |
|
Phil pumps a shell into the chamber as he walks right up to the |
|
case. |
|
|
|
PHIL'S POV |
|
The groundhog looks right into his sights. |
|
Philsqueezes the trigger. LOUD GUNSHOT. |
|
The glass window is still intact, not a scratch on it. The |
|
groundhog looks up playfully. |
|
Phil fires off four more rounds but, again, no results. Phil |
|
can't believe it. He charges the glass and pounds it with the |
|
rifle butt. He can't even chip it. Suddenly he is seized from |
|
behind by TWO STRONG MEN who take the rifle from him and |
|
wrestle him to floor. |
|
The librarian comes running up and looks at the groundhog. |
|
|
|
BYSTANDER |
|
Is he all right? |
|
|
|
LIBRARIAN |
|
He's just fine. That's two |
|
inches of bullet-proof glass |
|
there. You can't be too careful |
|
in this day and age. |
|
|
|
|
|
|
|
-79- |
|
|
|
|
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - DAWN |
|
|
|
The groundhog is just poking his head out of the hole. He |
|
stands full height and looks around. |
|
Phil looks directly at the groundhog with hate and scheming |
|
madness. |
|
Suddenly, Phil whips out a big kitchen knife from under his |
|
icoat and dives at the groundhog. Town officials and police |
|
throw themselves on Phil as the groundhog scampers safely back |
|
into his hole. |
|
Rita and Larry videotape the incident, aghast at Phil's insane |
|
attack. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - ANOTHER DAY |
|
|
|
Larry and Rita are loading their equipment back into the van. |
|
Rita spots Phil standing on the other side of the crowd, |
|
staring at her. She marches straight over to him, furious. |
|
|
|
RITA |
|
Where were you this morning? How |
|
could you possibly miss the |
|
shoot? |
|
|
|
PHIL |
|
(at the end of his |
|
|
|
ROPE) |
|
I've come to the end of me, Rita. |
|
There's only one way out now. |
|
Just remember/we had a wonderful |
|
day together once. |
|
Phil kisses her gently on the cheek and walks off toward the |
|
back of the knob. Rita watches him, then follows at a discreet |
|
distance, very worried. |
|
In a small clearing behind the man-made groundhog burrow, |
|
Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS are |
|
lifting a cage into the front seat of Buster's pickup. |
|
|
|
B USTER |
|
(to the groundhog) |
|
There you go, ol' buddy. Good |
|
job. Hey! He smiled at me. See |
|
that? |
|
|
|
FIRST OFFICIAL |
|
Right. |
|
|
|
|
|
|
|
-80- |
|
|
|
|
|
|
|
BUSTER |
|
(securing the cage) |
|
There, little fella. |
|
The other official looks up and sees Phil walking toward them |
|
like a zombie. |
|
|
|
OTHER OFFICIAL |
|
Hi, there, mister. Something I |
|
can do you for? |
|
Without a word, Phil jumps quickly into the cab of the pickup |
|
and starts it up . |
|
|
|
FIRST OFFICIAL |
|
Hey! What 're you -- ! |
|
Phil drives off in Buster's truck. |
|
Rita witnesses the groundhog-napping and runs back toward the |
|
knob. |
|
|
|
RITA |
|
|
|
(SHOUTS) |
|
Larry! |
|
Buster and his aides race for another car parked nearby. |
|
|
|
BUSTER |
|
Jake! Call the police, and get |
|
the word out. Somebody kidnapped |
|
Phil. We're going after him. |
|
Come on, Tommy! |
|
They jump into a car, Buster guns the engine and takes off |
|
after the pickup. |
|
Rita runs up to Larry and grabs the camera on the fly. |
|
|
|
RITA |
|
Let's go! Phil just snatched the |
|
groundhog! |
|
Larry does a slow take and starts gathering up the rest of the |
|
gear. |
|
|
|
LARRY |
|
|
|
(MUTTERS) |
|
Probably some kind of gerbil |
|
deal. Pervert. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-81- |
|
|
|
|
|
|
|
|
|
|
|
EXT. LOCAL ROAD - MINUTES LATER |
|
|
|
Phil comes tearing around a slippery curve, followed by Buster |
|
in his car, and close behind him, a contingent of police cars |
|
and the Channel 9 news van. |
|
|
|
|
|
|
|
INT. PICKUP - CONTINUOUS |
|
|
|
Phil looks at the groundhog on the seat next to him, then |
|
punches the gas as he turns up a mountain drive. |
|
|
|
PHIL |
|
Coming to the end of the trail, |
|
Phil. Then we're going out in a |
|
blaze of glory. |
|
|
|
|
|
|
|
INT. BUSTER'S CAR - SAME TIME |
|
|
|
Buster pursues Phil with relentless determination. |
|
|
|
BUSTER |
|
Nobody takes my groundhog and |
|
gets away with it. |
|
|
|
.. � . |
|
|
|
INT. THE NEWS VAN - SAME TIME |
|
|
|
Rita is driving. Larry is hooking up the camera. |
|
|
|
RITA |
|
(very upset) |
|
What is he doing? What can he be |
|
thinking? He must1 ve just -- |
|
snapped. |
|
Larry squeezes into the passenger seat with the camera mounted |
|
on his shoulder . |
|
|
|
LARRY |
|
This oughta be good. |
|
|
|
|
|
|
|
EXT. MOUNTAIN ROAD - CONTINUOUS |
|
|
|
The cars chase the pickup to the top of the mountain. |
|
|
|
|
|
|
|
INT. BUSTER'S CAR - CONTINUOUS |
|
|
|
|
|
BUSTER |
|
Okay! I know this road. There's |
|
no way off ' cept the way we come |
|
up. |
|
|
|
FIRST OFFICIAL |
|
All right! We got him now. |
|
|
|
|
|
|
|
-82- |
|
|
|
|
|
|
|
EXT. LOGGER'S LEAP - CONTINUOUS |
|
|
|
The pickup is losing its lead over the pursuers as it nears the |
|
sharp mountain cliff. |
|
|
|
|
|
|
|
INT. THE PICKUP - SAME TIME |
|
|
|
Phil looks in his rearview mirror at the cars chasing him. He |
|
glances down at the groundhog. He takes a breath. |
|
|
|
PHIL |
|
Okay, pal. It's showtime. |
|
Phil hits the gas. |
|
|
|
|
|
|
|
INT. THE NEWS VAN - SAME TIME |
|
|
|
Larry is taping as Rita comes around the curve just in time to |
|
see the pickup truck speeding toward the cliff. Rita hits the |
|
brakes and watches in horror. |
|
|
|
RITA |
|
|
|
PHIL! NO! |
|
|
|
|
|
|
|
|
|
|
|
EXT. LOGGER'S LEAP - CONTINUOUS |
|
|
|
The pickup bursts through a retaining fence and rockets over |
|
the edge of the cliff. |
|
The pickup seems to hang in the air for a long time, then it |
|
begins its SLOW MOTION descent, falling ever so gracefully |
|
until it impacts on the granite rock face far below. |
|
BIG EXPLOSION. BIG FIREBALL. FLAMING WRECKAGE. Then a small |
|
click, followed by "I Got You, Babe." |
|
|
|
DISSOLVE TO: |
|
|
|
PHIL |
|
He slowly opens his eyes and blinks. He looks around and |
|
realizes he's back in his room at the bed and breakfast. |
|
|
|
PHIL |
|
Ah, nuts! |
|
Phil throws off the covers and hurls himself out of bed. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-83- |
|
|
|
|
|
|
|
INT. NED RYERSON'S OFFICE - DAY |
|
|
|
Ned and a client are huddled over his desk, looking at some |
|
papers. A BODY DROPS quickly past the window behind them. |
|
It's Phil. |
|
They rush to the window and look down at the sidewalk three |
|
stories below. Phil is sprawled there like a broken puppet, |
|
lifeless. |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - DAWN |
|
|
|
"I Got You, Babe" is playing. Phil wakes up and smashes the |
|
radio. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. STREET - DAY |
|
|
|
Rita and Larry are walking down the street when a GREYHOUND BUS |
|
pulls out of the bus station and accelerates down Main Street. |
|
Suddenly, Phil, dressed in pajamas and overcoat, leaps out in |
|
front of the speeding bus. Rita witnesses the whole incident. |
|
|
|
D RIVERS' POV |
|
He sees Phil through the windshield but doesn't even have time |
|
to hit the brakes before he runs right over Phil. |
|
|
|
CUT TO: |
|
|
|
A TV SCREEN |
|
A woman in some horror movie is screaming. |
|
|
|
REVEAL |
|
Mrs. Lancaster is watching TV in the parlor of the hotel. In |
|
the corridor behind her, Phil walks by, dressed in a robe, |
|
carrying an electric toaster and a towel, heading for the |
|
bathroom. |
|
A few moments pass. |
|
We hear the zap of an electrocution, the lights and TV flicker |
|
and dim for a moment, then come back on again. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. THE BANK - DAY |
|
|
|
The building is surrounded by police, all crouched behind their |
|
cars with guns and rifles trained on the doors. |
|
|
|
|
|
|
|
-84- |
|
|
|
|
|
Suddenly, the doors burst open and Phil comes running out of |
|
the bank screaming, dressed in camouflage fatigues and armed to |
|
the teeth with an assault rifle in one hand, an Uzi in the |
|
other and a couple of handguns stuck in his belt. He doesn't |
|
get three feet before he is shot down in an incredible hail of |
|
gunfire. |
|
Rita stands beside the camera gaping in horror while Larry |
|
records the grisly massacre. |
|
|
|
|
|
|
|
INT. CORONER'S - DAY |
|
|
|
Rita stands by weeping while Phil's body is covered with a |
|
sheet. |
|
In the shadowy darkness under the sheet, a CLICK is heard and |
|
Phil's eyes pop open. "I Got You, Babe" plays. |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - CONTINUOUS |
|
|
|
Phil pulls the sheet off his face and finds himself back in his |
|
bed in his room. A tear falls from his eye. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. DINER - DAY |
|
|
|
Phil and Rita are sitting in the diner at their regular table. |
|
|
|
RITA |
|
I ' m sorry. What was that again? |
|
|
|
PHIL |
|
I'm a god. |
|
|
|
RITA |
|
You're God? |
|
|
|
PHIL |
|
No, I'm A god. Not THE God-- at |
|
least I don't think I am. |
|
|
|
RITA |
|
That's reassuring. For a mintute |
|
there I thought you might be |
|
crazy. |
|
|
|
PHIL |
|
No, it's true. It's the only |
|
possible explanation. I'm a |
|
supernatural being. |
|
|
|
RITA |
|
Because you survived a car wreck? |
|
|
|
|
|
|
|
-85- |
|
|
|
|
|
The waiter comes to the table. |
|
|
|
WAITER |
|
Are you ready to order? |
|
|
|
PHIL |
|
(to Rita, ignoring the |
|
|
|
WAITER) |
|
Not just the car wreck! I didn't |
|
just blow up yesterday, you know. |
|
I've been run over, drowned, |
|
crushed, stabbed, shot, |
|
electrocuted, poisoned, frozen, |
|
burn ed, and asphyxiated-- |
|
|
|
RITA |
|
Really? |
|
The waiter looks at him like he's nuts. |
|
|
|
PHIL |
|
--but I always wake up the next |
|
day without a scratch, without |
|
even a headache. I'm telling |
|
you, I ' m immortal. |
|
|
|
WAITER |
|
The special today is blueberry |
|
waffles. |
|
|
|
RITA |
|
Why are you telling me this? |
|
|
|
WAITER |
|
|
|
(SHRUGS) |
|
Because some people like |
|
blueberry waffles. |
|
|
|
RITA |
|
(to the waiter) |
|
No t you-- him. |
|
|
|
PHIL |
|
Because I want you to believe in |
|
me. |
|
|
|
RITA |
|
You're not a god, Phil. Take my |
|
word for it. This is twelve |
|
years of Catholic school talking. |
|
|
|
WAITER |
|
I could come back if you're not |
|
ready. |
|
|
|
PHIL |
|
How do you know I'm not a god? |
|
|
|
|
|
|
|
-86- |
|
|
|
|
|
|
|
RITA |
|
Please. |
|
|
|
PHIL |
|
How do you know? |
|
|
|
RITA |
|
Because it's not possible. |
|
|
|
WAITER |
|
I'll come back. |
|
The /waiter turns to leave. |
|
|
|
PHIL |
|
Hey, Billy! |
|
The waiter turns back. |
|
|
|
PHIL |
|
This is Bill. He's been a waiter |
|
for three years because he left |
|
Penn State and had to find work. |
|
He likes the town, he paints toy |
|
soldiers, and he's gay. |
|
|
|
WAITER |
|
I am notl |
|
Phil grabs an astonished Rita and pulls her over to the next |
|
table. |
|
|
|
RITA |
|
What are you doing? |
|
|
|
PHIL |
|
This is Doris Kleiser and her |
|
fiance Fred. |
|
|
|
DORIS |
|
Do I know you? |
|
|
|
PHIL |
|
They're supposed to get married |
|
tonight but Doris is having |
|
second thoughts. |
|
|
|
FRED |
|
What! |
|
Doris touces her engagement ring, dumbfounded. Rita is a |
|
little embarrassed. |
|
|
|
RITA |
|
Lovely ring. |
|
|
|
DORIS |
|
Thanks. |
|
|
|
|
|
|
|
-87- |
|
|
|
|
|
Phil drags Rita to the counter. |
|
|
|
PHIL |
|
This is Ralph. Say "Hi," Rita. |
|
Rita flashes a quick smile. |
|
|
|
RALPH |
|
Don't believe I've had the-- |
|
|
|
PHIL |
|
Ralph hates his life here and |
|
wants to drive around town |
|
smashing into policemen. |
|
|
|
RALPH |
|
Well, who don't? |
|
|
|
RITA |
|
This is some kind of trick. |
|
|
|
PHIL |
|
Yes, it's a trick. But maybe the |
|
real God cheats, too. Maybe God |
|
isn't omnipotent-- he's just had |
|
a lot of practice. |
|
|
|
RITA |
|
How about that guy? |
|
|
|
PHIL |
|
Tom. Worked in the coal mine |
|
�til they shut it down. |
|
|
|
RITA |
|
Her? |
|
|
|
PHIL ' |
|
Nancy. Went to Lincoln High |
|
School in Pittsburgh. Takes |
|
herself out to lunch once a week. |
|
Rita is getting very bewildered. From their reactions she can |
|
see that Phil is right about each and every one of them. |
|
|
|
RITA |
|
How do you know these people! |
|
|
|
PHIL |
|
I told you the truth. In five |
|
seconds there's going to be a |
|
grease fire in the kitchen. |
|
Five, four-- |
|
|
|
RITA |
|
This is nuts. |
|
|
|
|
|
|
|
-88- |
|
|
|
|
|
|
|
PHIL |
|
--three, two, one. |
|
Phil points to the kitchen as smoke starts pouring from the |
|
service window. Everyone in the diner is now staring at them |
|
|
|
RITA |
|
(trying to puzzle it |
|
|
|
OUT) |
|
Okay, enough. Let's just sit |
|
down and think for a second. |
|
(they sit) |
|
What do you know about me, Phil? |
|
Do you know me, too? |
|
Phil takes a long pause. |
|
|
|
PHIL |
|
I know all about you, Rita. I |
|
know you like producing, but hope |
|
for better than Channel 9, |
|
Pittsburgh. |
|
|
|
RITA |
|
Everyone knows that. |
|
|
|
PHIL |
|
You like boats but not the ocean. |
|
There's a lake you go to in the |
|
summer with your family, up in |
|
the mountains, with an old wooden |
|
dock and a boathouse with boards |
|
missing in the roof, and a place |
|
you used to crawl underneath to |
|
be alone, and at night you'd look |
|
up and see the stars. You're a |
|
sucker for Rocky Road, Marlon |
|
Brando, and French poetry. |
|
You're wonderfully generous; |
|
you're kind to strangers, and |
|
children; and when you stand in |
|
the snow, you look like an angel. |
|
|
|
|
|
|
|
RITA |
|
How are you doing this? |
|
|
|
PHIL |
|
I told you! I wake up every day |
|
right here, right in |
|
Punxsutawney, and it's always |
|
February second and I can't turn |
|
it off. If you still don't |
|
bel iev e me, listen-- |
|
|
|
RITA |
|
B u t , Phil-- |
|
|
|
|
|
|
|
-89- |
|
|
|
|
|
|
|
PHIL |
|
Listen! In ten seconds Larry is |
|
going to walk through that door |
|
and take you away from me. |
|
|
|
RITA |
|
Larry? |
|
|
|
PHIL |
|
But you can't let him. Please |
|
believe me. You've got to |
|
believe me. |
|
|
|
RITA |
|
I don't -- |
|
Larry pokes his head in the doorway, looks around and spots |
|
Rita. |
|
|
|
PHIL |
|
Look. |
|
As Rita turns around to see Larry, Phil grabs a pen and pad |
|
from a passing waitress and quickly writes something down as |
|
Larry makes his way to their table. Phil finishes writing. |
|
|
|
LARRY |
|
(to Rita) |
|
You ready? We better get going |
|
if we're going to stay ahead of |
|
the weather. |
|
Phil hands the paper to Rita. She reads it. |
|
|
|
RITA |
|
|
|
(READING) |
|
" . . . stay ahead of the weather. " |
|
Larry looks at the paper. |
|
|
|
LARRY |
|
What ' s that? |
|
Rita looks at Phil with new understanding and empathy. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. PUNXSUTAWNEY - DAY |
|
|
|
Phil and Rita are walking down the sidewalk. |
|
|
|
PHIL |
|
Afer I got over the shock, it was |
|
kind of fun for the first year or |
|
two. I had anything I wanted. |
|
Except you, of course. |
|
|
|
|
|
|
|
-90- |
|
|
|
|
|
|
|
|
|
Phil abruptly pulls Rita aside. A big pile of snow slides off |
|
a roof and onto the sidewalk where they would have walked. |
|
Phil doesn't even look up. Rita looks, as if she's seeing a |
|
miracle. |
|
|
|
RITA |
|
How did this start? |
|
|
|
PHIL |
|
I don't know. I just woke up. |
|
Just like always. |
|
NED RY-ERSON approaches. |
|
|
|
NED |
|
Hey, Phil! Phil Connors 1 |
|
|
|
PHIL |
|
Rita, this is Ned Ryerson. He's |
|
an asshole. |
|
|
|
NED |
|
He remembers me! |
|
Phil and Rita keep walking. Rita looks back at Ned, perplexed |
|
|
|
PHIL |
|
Trust me on that one. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. FUDGE SHOP - DAY |
|
|
|
Phil and Rita come out of the shop, sharing pieces of fudge. |
|
|
|
RITA |
|
This is great. |
|
|
|
PHIL |
|
No, it isn't. You hate fudge. |
|
|
|
. RITA |
|
Just how well do we know each |
|
other? |
|
|
|
PHIL |
|
I told you. I know everybody. |
|
Rita stops walking. |
|
|
|
RITA |
|
Did we ever...you know? |
|
|
|
PHIL |
|
|
|
(TEASING) |
|
Did we ever! You were an animal. |
|
|
|
|
|
|
|
-91- |
|
|
|
|
|
|
|
|
|
|
|
RITA |
|
Come on. |
|
|
|
PHIL |
|
You're European trained, aren't |
|
you. |
|
Phil continues walking. |
|
|
|
RITA |
|
|
|
(BLUSHING) |
|
Phil! It's not funny. |
|
She catches up to him. Phil turns to her. |
|
|
|
PHIL |
|
You weren't interested. |
|
|
|
RITA |
|
|
|
(RELIEVED) |
|
Okay. |
|
She begins walking again. |
|
|
|
RITA |
|
Not that it would've been so |
|
awful. |
|
|
|
PHIL |
|
I understand. |
|
|
|
RITA |
|
I just had to know whether to |
|
smack you or not. |
|
|
|
PHIL |
|
You did. |
|
|
|
RITA |
|
Good. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. PARK - DAY |
|
|
|
Phil and Rita are sitting on a park bench. |
|
|
|
PHIL |
|
So do you believe any of this? |
|
|
|
RITA |
|
I don't know. I don't know how |
|
else you could know so much. |
|
Maybe it is really happening. |
|
|
|
|
|
|
|
-92- |
|
|
|
|
|
|
|
PHIL |
|
I used to try to stay up all |
|
night sometimes. I thought if I |
|
could stay conscious I could |
|
figure out what was going on, or |
|
at least hang onto something from |
|
the day before. But I gave up on |
|
that a long time ago. |
|
Rita looks at him with compassion. |
|
|
|
RITA |
|
It sounds so-- lonely. |
|
|
|
PHIL |
|
(trying to shrug it |
|
|
|
OFF) |
|
It's not that bad. You get used |
|
to it. |
|
Rita comes to a decision. |
|
|
|
RITA |
|
Maybe I should spend the rest of |
|
the day with you-- as an |
|
objective witness. Just to see |
|
what happens. Okay? |
|
|
|
PHIL |
|
Yeah, sure. That'd be okay. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. PHIL'S ROOM - NIGHT |
|
|
|
A hat is lying on Phil's bed. A playing card flies past. A |
|
second playing card sails right into the hat. Another playing |
|
card sails past, missing. Another playing card sails right in |
|
Phil and Rita are tossing cards. Rita is missing. Phil is |
|
hitting. |
|
|
|
PHIL |
|
It's not in the wrist so much as |
|
the fingers. Be the hat. |
|
|
|
RITA |
|
It would take me a year to get |
|
good at this. |
|
|
|
PHIL |
|
Uh-uh. Six months. Four, five |
|
hours a day. |
|
|
|
RITA |
|
Is this what you do with |
|
eternity? |
|
|
|
|
|
|
|
-93- |
|
|
|
|
|
|
|
|
|
|
|
PHIL |
|
Now you know. It's like waiting |
|
for a bus that never comes . You |
|
should see me play pool -- and |
|
bowling, juggling, hacky sack. |
|
I can ride a unicycle. |
|
There ' s a knock on the door . |
|
|
|
PHIL |
|
I'll get it! |
|
Phil jumps for the door and opens it. The PIZZA GUY is there. |
|
|
|
PHIL |
|
Hi, Marty. $11.75 including the |
|
delivery charge, right? |
|
|
|
PIZZA GUY |
|
U h hh h -- |
|
Phil pays him, takes the pizza and closes the door. |
|
|
|
RITA |
|
(opening the pizza box) |
|
MMMM. Pepperoni and olives. My |
|
favorite . |
|
|
|
PHIL |
|
Of course. I told you, I know |
|
everything . |
|
|
|
RITA |
|
(taking a bite of |
|
|
|
PIZZA) |
|
I don ' t think I ' d want to know |
|
everything that ' s going to |
|
happen. I like to be surprised. |
|
|
|
PHIL |
|
That's not the worst part. |
|
|
|
RITA |
|
What's the worst part? |
|
|
|
PHIL |
|
The worst part is starting over |
|
everyday. Tomorrow you won't |
|
remember any of this. You'll go |
|
back to treating me like a |
|
complete jerk -- |
|
|
|
RITA |
|
No -- |
|
|
|
PHIL |
|
It's not your fault. I am a |
|
jerk. |
|
|
|
|
|
|
|
-94- |
|
|
|
|
|
|
|
|
|
|
|
RITA |
|
No, you're not. |
|
|
|
PHIL |
|
Okay, I ' m not. It really doesn't |
|
make a lot of difference. I've |
|
killed myself so many times, I |
|
don't even exist anymore. I'm |
|
just completely empty. |
|
|
|
RITA |
|
Or completely clean. |
|
|
|
PHIL |
|
If you're going to be this |
|
positive all the time I may have |
|
to rough you up a little. |
|
|
|
RITA |
|
Wait! Have we done this before? |
|
|
|
PHIL |
|
Which part? |
|
|
|
RITA |
|
You getting me up here, the card |
|
gam e, the pizza-- |
|
|
|
PHIL |
|
No, this is the first time. |
|
|
|
RITA |
|
|
|
(EXCITED) |
|
Well? |
|
|
|
PHIL |
|
Well, what? |
|
|
|
RITA |
|
Well how does it feel to be doing |
|
something completely new? |
|
Phil looks at her with tremendous affection and gratitude. |
|
|
|
PHIL |
|
Good. Really good. |
|
He takes a slice of pizza and starts eating with gusto. |
|
|
|
DISSOLVE TO: |
|
|
|
THE PIZZA BOX - LATER |
|
There's only one slice left. |
|
Phil and Rita are sitting together on the bed, close but not |
|
touching. Soft music is playing on the radio. |
|
|
|
|
|
|
|
-95- |
|
|
|
|
|
|
|
|
|
|
|
RITA |
|
Sometimes I wish I had a thousand |
|
lifetimes. One to be a great |
|
journalist. One to, I don't |
|
know, go back to school, study |
|
art, or auto mechanics. One just |
|
to take care of all the busywork, |
|
you know, pay the bills, get my |
|
car tuned up. One to be the wild |
|
woman of Borneo. One to be |
|
Mother Theresa. Maybe it's not |
|
a curse, Phil. It all just |
|
depends on how you look at it. |
|
Phil stares at her for a long time letting this sink in. Then |
|
he belches really loud. Rita stares at him, then burps |
|
surprisingly loud herself. |
|
|
|
RITA |
|
I want you to know, it's been a |
|
really nice day for me. |
|
|
|
PHIL |
|
Me, too. |
|
|
|
RITA |
|
Maybe, if it's not too boring for |
|
you, we could do it again. |
|
|
|
PHIL |
|
I hope so. |
|
The clock reads 11:59. Rita grabs Phil's hand. He puts his |
|
arm around her. |
|
They look into each others' eyes. Rita gives Phil a reassuring |
|
smile. She squeezes his hand. Their eyes turn to the clock. |
|
11:;59 turns to 12:00. |
|
Rita looks up at Phil as if expecting some magical event. |
|
|
|
RITA |
|
You're still here! |
|
|
|
PHIL |
|
I know. |
|
|
|
RITA |
|
I thought you were supposed to |
|
disappear-- or I was or |
|
something. |
|
|
|
PHIL |
|
Not 'til six. |
|
|
|
RITA |
|
You rat! |
|
|
|
|
|
|
|
-96- |
|
|
|
|
|
|
|
|
|
She is mad in a playful way. |
|
|
|
PHIL |
|
I never said midnight-- |
|
|
|
RITA |
|
You knew I was waiting for |
|
midnight! |
|
|
|
PHIL |
|
But I never said it. |
|
|
|
RITA |
|
Oh, I can't believe you! |
|
(she slugs him with a |
|
|
|
PILLOW) |
|
I didn't know this was going to |
|
take all night! |
|
|
|
PHIL |
|
Does that mean you're going? |
|
|
|
RITA |
|
No. |
|
Phil takes Rita's hand. She doesn't resist. |
|
|
|
DISSOLVE TO: |
|
|
|
LATER |
|
Rita is now sitting right next to Phil on the bed, her head |
|
resting on his shoulder. She nods off then catches herself. |
|
|
|
RITA |
|
I'm sorry. |
|
|
|
PHIL |
|
It's okay to go to sleep you |
|
know. I promise I won't touch |
|
you-- much. |
|
|
|
RITA |
|
No, it's all right. I'm not |
|
tired. What were you saying? |
|
Her eyes start to close again. |
|
|
|
PHIL |
|
I was saying that the cow was |
|
eventually returned to it's |
|
rightful owner. |
|
|
|
RITA |
|
(drifting off) |
|
Really? |
|
|
|
|
|
|
|
-97- |
|
|
|
|
|
|
|
|
|
|
|
PHIL |
|
That's right. |
|
He looks at her, sees she's truly asleep, and gently maneuvers |
|
her into a comfortable reclining position on the bed. Then he |
|
carefully puts a pillow under her head and settles down next to |
|
her. |
|
|
|
PHIL |
|
What I was going to say was, I |
|
think you're the kindest, |
|
sweetest, prettiest, most |
|
wonderful girl I ever met in my |
|
life. |
|
She starts to stir but he gently kisses her back to sleep. |
|
|
|
PHIL |
|
Shhhh. That's good. |
|
(satisfied she's still |
|
|
|
ASLEEP) |
|
I could never tell you this, but |
|
from the first minute I looked at |
|
you I wanted to just hold you |
|
close and be with you forever. |
|
iEverytime I -saw you around the |
|
station, I thought my heart was |
|
going to explode. I used to |
|
dream about us being together. |
|
In my dream you loved me as much |
|
as I loved you and we didn't have |
|
to say anything but I knew you |
|
understood everything. |
|
She stirs again but he kisses her until she returns to deep |
|
sleep. |
|
|
|
PHIL |
|
I know a guy like me could never |
|
deserve to have someone like you, |
|
but if I did, I swear I would |
|
love you for the rest of my life. |
|
Rita opens her eyes. |
|
|
|
RITA |
|
|
|
(HALF-ASLEEP) |
|
Did you say something? |
|
|
|
PHIL |
|
Good-night, Rita. |
|
He kisses her gently on the forehead. |
|
|
|
RITA |
|
Good-night, Phil. |
|
|
|
|
|
|
|
-98- |
|
|
|
|
|
|
|
C LOSE UP - THE CLOCK |
|
The time changes from 5:59 to 6:00. The radio starts playing. |
|
Phil wakes up alone in bed. He lies there for a moment then |
|
leaps out of bed like a man reborn and heads straight for the |
|
shower. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - DAWN |
|
|
|
Rita and Larry are in the packed press area, beginning to set |
|
up the equipment. |
|
Phil arrives, carrying two cups of coffee. |
|
|
|
PHIL |
|
Rita? |
|
She looks at him without a trace of the rapport they shared the |
|
night before. |
|
|
|
RITA |
|
Oh, hi, Phil. |
|
|
|
PHIL |
|
Thought you might like some-- |
|
He hands her the coffee. |
|
|
|
RITA |
|
Thanks! |
|
|
|
PHIL |
|
Careful, it's hot. Larry? |
|
He hands Larry a cup. |
|
|
|
LARRY |
|
(surprised, mutters) |
|
Yeah, great. |
|
|
|
RITA |
|
We're just setting up. |
|
|
|
PHIL |
|
You know, I bumped into Buster |
|
Greene, he kind of runs this |
|
thing, and he tipped me off that |
|
we might get a better shot over |
|
there. |
|
|
|
RITA |
|
Really? |
|
|
|
|
|
|
|
-99- |
|
|
|
|
|
|
|
PHIL |
|
I mean, maybe we should go for |
|
it. What do you think? |
|
|
|
RITA |
|
Sounds good to me. Larry? |
|
|
|
LARRY |
|
Sure, why not? |
|
|
|
RITA |
|
All right. Thanks, Phil. Good |
|
work. |
|
She reaches for an equipment case. |
|
|
|
PHIL |
|
I'll get that. |
|
Phil helps Larry carry the camera gear. |
|
|
|
PHIL |
|
(to Larry) |
|
You and I never talk, Larry. You |
|
got kids? |
|
Larry looks suspicious. Rita looks on, reevaluating Phil. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. LIBRARY - DAY |
|
|
|
Phil enters the library, approaches the Librarian. |
|
|
|
PHIL |
|
Where would I find the Philosophy |
|
section? |
|
|
|
LIBRARIAN |
|
Down and to the left, 600's. |
|
Phil walks through the stacks, past the groundhog window. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. A HOUSE - DAY |
|
|
|
Phil rings the doorbell. A kindly young woman, MARY, answers |
|
|
|
MARY |
|
Yes? |
|
|
|
PHIL |
|
I ' d like a piano lesson, please. |
|
|
|
|
|
|
|
-100- |
|
|
|
|
|
|
|
MARY |
|
Oh. Okay, I ' m with a student |
|
now, but -- |
|
|
|
PHIL |
|
I'll give you a thousand dollars. |
|
Mary hesitates only a moment, then ushers Phil into the house |
|
and closes the door. |
|
A moment later the door opens and a LITTLE GIRL with an armloa |
|
of music books exits as if pushed. The door closes behind her. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. HALLWAY - DAWN |
|
|
|
Phil walks happily down the hallway. He passes the chubby man. |
|
|
|
CHUBBY MAN |
|
Morning. |
|
|
|
PHIL |
|
Buon Giorno, signore. |
|
|
|
/ '. |
|
|
|
. ' |
|
|
|
� |
|
|
|
- |
|
|
|
: |
|
|
|
CHUBBY MAN |
|
Think it ' 11 be an early Spring? |
|
|
|
PHIL |
|
"Winter slumbering in the open |
|
air wears on his smiling face a |
|
dream of Spring." |
|
|
|
CHUBBY MAN |
|
Oh. |
|
|
|
CUT TO : |
|
|
|
|
|
|
|
INT. MARY'S HOUSE - DAY |
|
|
|
Phil and Mary are sitting together at the piano. Phil is |
|
playing, poorly. |
|
|
|
MARY |
|
Not bad, Mr. Connors. You say |
|
this is your first lesson? |
|
|
|
PHIL |
|
Technically, yes. |
|
Phil plays on, definitely improving. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-101- |
|
|
|
|
|
|
|
|
|
|
|
INT. LIBRARY - DAY |
|
|
|
We see several cuts of Phil studying at the library. |
|
SUPERED over these cuts is a calendar with the pages flipping |
|
by. They all read "February 2 . " |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - DAWN |
|
|
|
Phil stands in front of the camera, giving his report. |
|
|
|
PHIL |
|
In fact, the groundhog's |
|
legendary ability to predict the |
|
weather may be more than just the |
|
German folklore of the region. |
|
Higher temperatures trigger |
|
hormonal changes in the |
|
testosterone levels of male |
|
groundhogs, which may in fact |
|
wake them from hibernation and |
|
send them out to battle with |
|
other males ;for mating rights. |
|
So, the truth is they're not |
|
looking for their shadows, |
|
they're looking for groundhog |
|
chicks. |
|
Rita looks on, clearly delighted with the report. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. MARY'S HOUSE - DAY |
|
|
|
Phil is playing the piano with ever increasing skill as more |
|
February 2 calendar pages flip by. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - DAWN |
|
|
|
Phil is delivering another report. |
|
|
|
|
|
|
|
-102- |
|
|
|
|
|
|
|
PHIL |
|
Groundhog Day, February second, |
|
also known as Candlemas Day or |
|
the Feast of the Purification of |
|
the Virgin Mary, the day Mary |
|
first came to the temple for |
|
ritual blessings following the |
|
birth of the infant Jesus, and |
|
celebrated since the Middle Ages |
|
by the sacramental lighting of |
|
candles. Hence the old Scottish |
|
couplet which long predates the |
|
.American groundhog tradition: "If |
|
Candlemas dawns bright and clear, |
|
there'll be two winters in the |
|
year." |
|
Larry whispers an aside to Rita. |
|
|
|
LARRY |
|
Is he making this stuff up? |
|
|
|
RITA |
|
|
|
(RIVETED) |
|
Shhhhh. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. CEMETERY - DAY |
|
|
|
Beyond the graveyard is a work shed with various tombstones |
|
scattered about. Old TUCKER, the town stonecarver, is at work |
|
chiseling a name into a gravemarker. |
|
Behind him, Phil is chipping away at a small hunk of marble, |
|
sculpting a very lovely cherub. |
|
Rita sits on a stool eating an apple and sipping hot tea |
|
watching him with amazed interest. |
|
|
|
PHIL |
|
But what if the rules changed? |
|
What if none of your actions had |
|
consequences? |
|
|
|
RITA |
|
There would still be an absolute |
|
morality. There has to be an |
|
absolute good, regardless of the |
|
circumstances. |
|
|
|
PHIL |
|
Oh, is that so, Miss Plato? Then |
|
let me ask you this. Where does |
|
this "absolute good" come from? |
|
From the sky? |
|
|
|
|
|
|
|
-103- |
|
|
|
|
|
Rita shrugs. |
|
|
|
RITA |
|
I don't know. From my freshman |
|
Philosophy course, I guess. |
|
They both laugh. Then she looks at him for a long moment and |
|
grins. |
|
|
|
PHIL |
|
What? |
|
|
|
RITA |
|
Nothing. I just can't believe |
|
you're such a fine sculptor. |
|
Phil takes a bite of her apple and gets up. |
|
|
|
PHIL |
|
I gotta go. |
|
|
|
RITA |
|
Where do you have to go in |
|
Punxsutawney? |
|
|
|
PHIL |
|
I got piano and then drums. |
|
|
|
RITA |
|
Here? |
|
|
|
PHIL |
|
Come on, I'll drop you off. |
|
They exit. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. MAIN STREET '��-.. LATER |
|
|
|
Phil drops Rita off and watches as she crosses the street to |
|
Larry who is waiting on the other side. |
|
Across the street, Rita takes a wistful glance toward Phil, |
|
then gets in the news van and drives off. |
|
Phil gets out of the car and starts walking, but finds himself |
|
face to face with Ned Ryerson. |
|
|
|
NED |
|
Phil! Phil Connors! I thought |
|
that was you! |
|
|
|
PHIL |
|
Ned? Ned Ryerson! I don't |
|
believe it. I've missed you so |
|
much. |
|
|
|
|
|
|
|
-104- |
|
|
|
|
|
Phil gives Ned a big hug and keeps holding on for an |
|
uncomfortably long time, actually giving Ned a hickey on the |
|
neck. Ned goes into homophobic shock. |
|
|
|
NED |
|
Uh, I gotta get going. Nice to |
|
see you, Phil. |
|
He hurries off. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. MARY'S HOUSE - DAY |
|
|
|
Phil is sitting on the piano bench with Mary, playing pretty |
|
well. Mary is astonished. |
|
|
|
MARY |
|
How long have you been studying, |
|
Mr. Connors? |
|
|
|
PHIL |
|
One day. I'm gifted. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. STREET - DAY |
|
|
|
Phil is walking down the street. He glances down the alley as |
|
he passes, stops, walks back and enters the alley. The OLD BUM |
|
that Phil never noticed before is lying there, huddled against |
|
a wall. Phil goes to help him. |
|
|
|
PHIL |
|
Hey, mister. Hey. Come on, |
|
let's get you somewhere warm. |
|
The old bum turns to look at Phil, then closes his eyes. |
|
|
|
PHIL |
|
(helps the old man to |
|
his feet) |
|
There you go. |
|
Phil practically carries him out of the alley. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. HOSPITAL EMERGENCY ROOM - NIGHT |
|
|
|
A nurse approaches Phil. |
|
|
|
NURSE |
|
You the one brought in the old |
|
man? |
|
|
|
|
|
|
|
-105- |
|
|
|
|
|
|
|
PHIL |
|
How is he? |
|
|
|
NURSE |
|
He passed away just now. |
|
Phil pauses for a long moment. |
|
|
|
PHIL |
|
What'd he die of? |
|
|
|
NURSE |
|
|
|
(SHRUGS) |
|
He was just old. It was his |
|
time. |
|
|
|
PHIL |
|
I want to see his chart. Excuse |
|
me. |
|
Phil brushes past her and makes for the big double doors |
|
leading to triage. |
|
|
|
NURSE |
|
Sir, you can't -- |
|
(hurrying after him) |
|
Look! Some people just die! |
|
|
|
PHIL |
|
Not on my watch. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. DINER - MORNING |
|
|
|
Phil is propping up the old man at a table, trying to feed him |
|
hot soup. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. HOSPITAL - DAY |
|
|
|
Phil is furiously looking over X-rays, flipping through medical |
|
journals and making notes. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. ALLEY - NIGHT |
|
|
|
Phil is in the alley, shaking the old man, trying to rouse him. |
|
|
|
PHIL |
|
Come on . Hang on . Hang on , |
|
there . Breathe . |
|
|
|
|
|
|
|
-106- |
|
|
|
|
|
Phil stops. The body lies, unmoving. Phil sits back, |
|
breathing heavily. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. GOBBLER'S KNOB - DAWN |
|
|
|
Phil is delivering his report. Everyone there is silent and |
|
listening to Phil. Even the other reporters have turned their |
|
cameras on him. |
|
|
|
PHIL |
|
...When Chekhov saw the long |
|
winter, it was a winter bleak and |
|
dark and bereft of hope; and yet, |
|
we know winter's only one more |
|
step in the cycle. And standing |
|
among the people of Punxsutawney -- |
|
(Phil looks directly at |
|
|
|
RITA) |
|
-- basking in the warmth of their |
|
hearths and hearts, I couldn't |
|
imagine a better fate than a long |
|
and lustrous winter. |
|
Phil smiles. Rita smiles, too. |
|
|
|
PHIL |
|
For Channel 9 news, I ' m Phil |
|
Connors. |
|
There is much applause. Even Larry brushes away a tear. |
|
Phil hands the microphone to Rita. |
|
|
|
RITA |
|
|
|
PHIL-- |
|
|
|
PHIL |
|
Sorry. I'm gonna be late. |
|
Phil rushes off. |
|
|
|
RITA |
|
Late for what? Phil? |
|
(To Larry) |
|
Could you break it down and wrap |
|
out of here by yourself, Larry? |
|
|
|
LARRY |
|
Sure . |
|
|
|
RITA |
|
Thanks . |
|
|
|
|
|
|
|
-107- |
|
|
|
|
|
Rita rushes off after Phil. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. STREET CORNER - DAY |
|
|
|
Phil walks briskly toward an intersection, glancing nervously |
|
at his watch. Rita follows him at a distance, hurrying to keep |
|
up. |
|
MARIE, a little nine-year-old girl, approaches the intersection |
|
shielding her brand new puppy under her winter coat. She isn't |
|
paying attention to traffic and fails to notice a big truck |
|
bearing down on her. |
|
As she steps off the curb, Phil arrives and, with split-second |
|
timing, nonchalantly but firmly grabs her coat to hold her |
|
back, just as the big truck rushes past in the street, narrowly |
|
missing her. |
|
|
|
PHIL |
|
Hey! Did you forget to look both |
|
ways? You didn't even look one |
|
way. |
|
|
|
MARIE |
|
My doggie was cold. |
|
|
|
PHIL |
|
Yeah, well, my doggies are |
|
freezing, but I ' m still gonna |
|
watch out for cars. See you |
|
around, kid. |
|
Phil looks at his watch and rushes off. |
|
Rita looks on amazed and follows him at a distance. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. BERGHOF RESTAURANT - DAY |
|
|
|
Phil enters the crowded restaurant and pushes past all the |
|
people waiting to be seated. He walks casually but quickly and |
|
purposefully around the tables, squeezing past busy waitresses |
|
and seated patrons toward a commotion in the back of the |
|
restaurant. |
|
TWO BUSINESSMEN are leaning over a THIRD. |
|
|
|
BUSINESSMAN |
|
Oh, my God! He's having a heart |
|
attack! |
|
|
|
SECOND BUSINESSMAN |
|
Lay him down! |
|
|
|
|
|
|
|
-108- |
|
|
|
|
|
|
|
BUSINESSMAN |
|
What do I do? He's not |
|
|
|
BREATHING1 |
|
|
|
SECOND BUSINESSMAN |
|
He's turning blue! Help! |
|
Phil walks straight up to the BLUE-FACED MAN, grabs him from |
|
behind, gets him in the Heimlich grip and squeezes sharply. |
|
A bolus of food flies across the room. The victim coughs and |
|
sputters, then starts breathing again. |
|
|
|
FIRST BUSINESSMAN |
|
Jerry, you okay? |
|
|
|
SECOND BUSINESSMAN |
|
I think that did it. |
|
Phil lets go of the grateful victim. |
|
|
|
PHIL |
|
If you're going to eat steak, get |
|
better teeth, will you? Enjoy |
|
the rest of your lunch, gents. |
|
He exits. |
|
|
|
JERRY |
|
Wow. Who was that guy? |
|
Phil gets to the door and finds Rita standing there, looking at |
|
him in awe. |
|
|
|
PHIL |
|
Rita! |
|
|
|
.RITA |
|
|
|
(CONFRONTING) |
|
-Okay, hold it right there. I |
|
want to know what' s going on and |
|
I want to know right now. |
|
|
|
PHIL |
|
I'm sorry, I'm really pressed |
|
right now. Meet me outside the |
|
hospital about 5:00 and we'll |
|
talk about it. |
|
|
|
RITA |
|
The hospital? |
|
Phil looks at his watch and rushes away. |
|
|
|
PHIL |
|
Try the curlycue fries. Killer. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
-109- |
|
|
|
|
|
|
|
INT. HOSPITAL CORRIDOR - LATER |
|
|
|
A gurney bursts through the double doors, paramedics and nurses |
|
in attendance. The patient is a teenage girl, JANEY, totally |
|
unconscious. |
|
|
|
|
|
|
|
INT. EMERGENCY ROOM - CONTINUOUS |
|
|
|
The gurney is wheeled into the surgery. |
|
|
|
NURSE |
|
Looks like insulin shock. She's |
|
probably diabetic. |
|
Phil enters wearing a doctor's scrub suit and begins barking |
|
orders. |
|
|
|
PHIL |
|
She's not diabetic. It's an |
|
overdose. Let's get her up here |
|
and pump her stomach, then I want |
|
a complete blood work-up, STAT. |
|
|
|
NURSE |
|
R i g h t , Doctor--uh-- |
|
She realizes she's never seen him before. |
|
|
|
PHIL |
|
Call me Phil. |
|
|
|
NURSE |
|
Phil. Like the groundhog? |
|
|
|
PHIL |
|
Exactly. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. CHILDREN'S WARD - LATE AFTERNOON |
|
|
|
Sick CHILDREN in hospital gowns are gathered around Phil, |
|
laughing and squealing. Phil is. making balloon animals. |
|
|
|
KID |
|
Make a giraffe! |
|
|
|
PHIL |
|
A giraffe? Let's see. It's just |
|
like a dog with a biiiiig-- what |
|
was it? |
|
|
|
ALL THE KIDS |
|
Neck! |
|
|
|
|
|
|
|
-110- |
|
|
|
|
|
|
|
PHIL |
|
A big tail? Okay, a big tail. |
|
|
|
KIDS |
|
Neck! A big neck! |
|
Phil makes an animal really quickly. |
|
Rita watches from the doorway, unseen by Phil. |
|
|
|
PHIL |
|
There. A dog with long legs. |
|
|
|
KIDS |
|
Nooo ! Long neck ! |
|
|
|
PHIL |
|
Oh! Right! A dog with a big |
|
head. |
|
|
|
KIDS |
|
Noooo! |
|
The kids attack Phil. Lots of rolling around on the bed. Rita |
|
watches, completely enthralled. |
|
Finally, Phil extricates himself and exits to find Rita |
|
waiting. |
|
|
|
RITA |
|
All right, now what's going on? |
|
|
|
PHIL |
|
(taking her arm) |
|
Come on. We have to hurry. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT . RESIDENTIAL STREET - A LITTLE LATER |
|
Phil rushes down the sidewalk with Rita close behind him. He |
|
stops under a tree and puts his arms out just as a YOUNG BOY |
|
falls out of the tree and into his arms, knocking him to the |
|
ground. The kid runs off unhurt as Phil gets back to his feet |
|
and brushes himself off. |
|
|
|
PHIL |
|
(to Rita) |
|
That little bastard has never |
|
thanked me once . I ought to j ust |
|
let him fall. Teach him a |
|
lesson. |
|
|
|
RITA |
|
Phil, this is too -- I must be |
|
dreaming. |
|
|
|
|
|
|
|
-1 1- |
|
|
|
1 |
|
|
|
|
|
|
|
PHIL |
|
Yeah, you and me both. Come on, |
|
We're almost done. |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
EXT. ALLEY - NIGHT |
|
|
|
Phil kneels on the cold ground beside the old bum who lies |
|
huddled against the wall, immobile. |
|
Rita is standing by at the end of the alley, watching as Phil |
|
examines him. |
|
Phil writes something down on a small pad. He finishes, and |
|
sets it down by the old man. Then he takes his coat and uses |
|
it to cover the man up. A siren is heard. |
|
Phil stands and walks away, as an ambulance pulls into the |
|
alley. |
|
|
|
RITA |
|
Is he -- ? |
|
|
|
. 'PHIL |
|
Yeah. Let's go. |
|
|
|
RITA |
|
In a minute. |
|
She waits and watches. |
|
The paramedics, BUD and ANDY, get out of the ambulance and |
|
inspect the scene. |
|
|
|
BUD |
|
It's ol1 Really. |
|
|
|
ANDY |
|
That's a shame. |
|
|
|
BUD |
|
Look here . |
|
Bud picks up the note Phil left. |
|
Rita steps closer. |
|
|
|
RITA |
|
May I see that? |
|
(reading aloud) |
|
"Every night, by cold bricks |
|
|
|
GLOW |
|
I watch the shadow rising |
|
from this old man in the snow. |
|
At 8:02 we let it go." |
|
|
|
|
|
|
|
-112- |
|
|
|
|
|
|
|
ANDY |
|
|
|
(REPEATING) |
|
"At 8:02 we let it go." |
|
|
|
BUD |
|
Wow, that's nice. |
|
Rita hands him the note and quickly walks away. |
|
|
|
ANDY |
|
Suppose he wrote it? |
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BUD |
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|
|
(DOUBTFUL) |
|
Are you kidding? |
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CUT TO: |
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|
EXT. MAIN STREET - NIGHT |
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|
|
Rita catches up with Phil outside the Pennsylvanian, the town's |
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oldest and best hotel. |
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|
|
RITA |
|
Now what? |
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|
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PHIL |
|
Come on. You'll see. |
|
They enter. |
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CUT TO : |
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INT. HOTEL LOBBY - CONTINUOUS |
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|
|
As Phil and Rita enter there is music coming from a side room. |
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The black velvet announcement board proclaims: KLEISER-SCOTT |
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|
|
WEDDING. |
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CUT TO: |
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|
INT. PARTY ROOM - CONTINUOUS |
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|
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Phil and Rita walk into a banquet room decorated with |
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streamers, balloons and flowers. There is a long buffet table |
|
and a punch bowl. Another long table is loaded with wedding |
|
gifts. A small band is playing. |
|
People are dancing. The wedding party is dressed in rented |
|
tuxedos and appropriately pouffy bridesmaid dresses. |
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|
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RITA |
|
This is incredible. Who's |
|
wedding is this? |
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-113- |
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|
|
Phil grabs two glasses of champagne and hands one to Rita. |
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|
|
PHIL |
|
Just some friends. Dorisi |
|
The bride, DORIS, young and cheery, is on her way to see Phil. |
|
She is dragging FRED, her groom, with her. |
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|
|
DORIS |
|
Hi, Mr. Connors! Come ON, |
|
Freddy. |
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|
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FRED |
|
Hi. |
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|
|
DORIS |
|
This is the guy I told you about. |
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|
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FRED |
|
No way! |
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|
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PHIL |
|
How's it going, Fred? |
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|
|
FRED |
|
Hey, I ' d like to thank you for |
|
making Doris go through with |
|
this. |
|
|
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PHIL |
|
Are you kidding? Don't buy that |
|
playing hard to get stuff. She's |
|
crazy about you, you stud. |
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|
|
DORIS |
|
I ' m really glad you could come. |
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|
|
PHIL |
|
Congratulations. |
|
Phil reaches into his pocket, pulls out two tickets and hands |
|
them to Doris. |
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|
|
DORIS |
|
What is this? Oh, no way! No |
|
way! Ahhh! |
|
Doris throws herself on Fred and jumps up and down. Fred grabs |
|
the tickets. |
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|
|
FRED |
|
Wrestlemania! No way! No way! |
|
Doris throws herself on Phil. |
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|
|
DORIS |
|
How did you know? |
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|
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-114- |
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FRED |
|
We're like going to be in |
|
Pittsburgh anyway. |
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|
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PHIL |
|
I don't know. I just thought |
|
about you two, tried to picture |
|
what you ' d want more than |
|
anything in the world and it came |
|
to me. Bing! Wrestlemania. |
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|
|
FRED |
|
Thanks, Mr. Connors. You're a |
|
real pal. |
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|
|
DORIS |
|
This is the best! |
|
Doris gives Phil a kiss. She and Fred move on. |
|
|
|
RITA |
|
I don ' t understand . You rush |
|
from one person to the next in a |
|
town you only visit once a year, |
|
you know everything before it |
|
happens , and you -- - I don ' t know , |
|
you seem to be Punxsutawney ' s |
|
leading citizen. |
|
The band finishes a set. The guests stop dancing and head for |
|
the refreshments. Phil and Rita are left alone for the moment |
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|
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PHIL |
|
What do you want to know? |
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|
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RITA |
|
Who are you? |
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|
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PHIL |
|
I really don't know. |
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|
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RITA |
|
No, there's something going on |
|
with you. |
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|
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PHIL |
|
Okay, I wake up in Punxsutawney |
|
on February second -- every day. |
|
It's supernatural. I don't even |
|
try to explain it anymore. So, |
|
I live each day as if it's the |
|
only day I've got. |
|
Rita stares into his eyes for a very long time, but sees only |
|
good, true things. |
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|
|
RITA |
|
That's pretty amazing. " |
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|
|
-115- |
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|
|
|
|
|
PHIL |
|
You want to know what's really |
|
amazing? I've been waiting for |
|
you every day for ten thousand |
|
years. I dream of you every |
|
night of my life. You've been my |
|
constant weapon against total |
|
despair, and just knowing you |
|
exist has kept me alive. How's |
|
that? |
|
Rita can't even speak. This is clearly the nicest thing |
|
anybody has ever said to anybody. |
|
Mary the piano teacher notices Phil. |
|
|
|
MARY |
|
Phil! |
|
(to her friend) |
|
This is the guy. |
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|
|
PHIL |
|
Hello, Mary. Rita, this is one |
|
of Punxsey's finest musicians. |
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|
|
�MARY |
|
Give me a break. You should |
|
talk. Why don't you play |
|
something? |
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|
|
PHIL |
|
N o , I-- |
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|
|
MARY |
|
Please. |
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|
|
FRED |
|
Hey, Mr. Connors. Go for it. |
|
Phil looks at Rita. She nods and shrugs. |
|
Phil walks up to the platform and sits at the piano. He begins |
|
to play a slow, serious, classical piece. Everyone falls |
|
silent. It's so beautiful, Rita is almost in tears. |
|
Then, after a pause to let the serious notes sink in, Phil |
|
transforms the piece into a fast, lively, upbeat jazz romp. |
|
Everyone is delighted, and as the rest of the band kicks in, |
|
everyone grabs a partner and begins to dance. |
|
An old coot, UNCLE LEO, grabs Rita and the two of them dance up |
|
a storm. |
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|
|
LEO |
|
That's a great guy you've got |
|
there. Doctor Connors fixed my |
|
back, you know. |
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|
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|
|
- -116- |
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|
|
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|
|
RITA |
|
Do ctor Connors? |
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|
|
Rit a looks over at Phil, joyously playing the piano. |
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|
CUT TO: |
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|
|
EXT . STREET - NIGHT |
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|
|
It is snowing lightly. Phil and Rita are walking slowly, arm |
|
in arm, close. They stop and embrace. Phil looks at Rita. |
|
She looks like an angel. |
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|
|
|
|
|
|
PHIL |
|
Wait! Don't move! |
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|
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|
|
Phil scoops up some snow and begins packing it down, furiously, |
|
joyously, then rolling it into a large ball. |
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RITA |
|
Making a snow man? I'll help. |
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|
PHIL |
|
No, stay there. Stand right |
|
th ere. |
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|
|
Ph il lifts the now larger chunk of packed snow and sets it on |
|
a mailbox. Then he looks at her, and starts to sculpt it. |
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|
|
DISSOLVE TO: |
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|
|
LATER |
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|
|
|
Phil is using a stick and the heat of his bare hands to model |
|
a delicate fold in the snow sculpture. Several bystanders look |
|
o n with interest as Phil stands back from his work. |
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|
|
RITA |
|
Can I look? |
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|
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|
|
PHIL |
|
O kay, look. |
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|
|
It is an excellent likeness of Rita, the snow white as |
|
alabaster, pure as marble, a beautiful and delicate homage. |
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|
|
RITA |
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|
|
(OVERWHELMED) |
|
Nobody's ever done this for me. |
|
Not even a drawing. It's |
|
beautiful. |
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|
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|
|
-117- |
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|
|
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|
|
PHIL |
|
This is how I see you. When it |
|
all gets too much, I just close |
|
my eyes and there you are-- just |
|
like this. Take it home and keep |
|
it in the freezer. |
|
Rita embraces Phil. They are about to kiss, looking deep into |
|
each others eyes. |
|
|
|
PHIL |
|
This one's for the Frog Prince. |
|
|
|
RITA |
|
What? |
|
|
|
PHIL |
|
Nothing. |
|
They kiss-- a long, deep, soul-stirring kiss. |
|
|
|
PHIL |
|
Will you come with me? |
|
Rita nods. They continue standing there, embracing, warming |
|
each other in the cold night air. |
|
|
|
RITA |
|
(looks back at the ice |
|
|
|
SCULPTURE) |
|
We're just going to leave her? |
|
|
|
PHIL |
|
It doesn't matter. Really, it |
|
doesn't. |
|
They kiss again. |
|
|
|
CUT TO: |
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|
|
CLOSE UP - THE CLOCK |
|
The digital clock-radio changes from 5:59 to 6:00. Silence. |
|
No Sonny and Cher, no deejays-- nothing. |
|
Phil sits up in bed. He looks around the room. Things are |
|
different, messier. Then he sees the covers move. Wide-eyed |
|
now, he looks over and sees Rita waking up, snuggling deep |
|
under the covers. |
|
|
|
PHIL |
|
|
|
(DISBELIEVING) |
|
It's not true. It's not. It |
|
can't be true. Rita? Rita! |
|
|
|
|
|
|
|
-118- |
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|
|
|
|
|
|
RITA |
|
|
|
(STRETCHING |
|
|
|
LUXURIOUSLY) |
|
Mmmm. Morning. |
|
Phil pounces on Rita, showering her with kisses. |
|
|
|
PHIL |
|
You're here! My god! I can't |
|
believe you're here! |
|
|
|
RITA |
|
Glad to see you, too. |
|
|
|
PHIL |
|
No! It's happened. Don't you |
|
get it? It's tomorrow! It's -- |
|
Phil turns on the radio. |
|
|
|
DEEJAY |
|
. . . still shoveling put the |
|
highways, but if you're walking, |
|
it's a beautiful day. |
|
|
|
S IDEKICK |
|
Yeah, the snow kind of cleaned |
|
e ve r yt h in g up-- |
|
|
|
DEEJAY |
|
--except your mouth. |
|
Phil kisses the radio. |
|
|
|
PHIL |
|
I love those guys. |
|
|
|
RITA |
|
Are you always this jolly in the |
|
morning? |
|
Phil runs to the window and looks out. |
|
|
|
HIS POV - THE STREET |
|
The street ;is virtually empty, the town just waking up. Kids |
|
are throwing snowballs. |
|
|
|
PHIL |
|
No groundhog! Rita! They're all |
|
gone! |
|
|
|
RITA |
|
You must've had some dream. |
|
Phil stops, thinks. |
|
|
|
|
|
|
|
-1 1 9 - |
|
|
|
|
|
|
|
PHIL |
|
Did I just dream it? |
|
Phil opens the door and runs into the hallway wearing only |
|
pajama bottoms. |
|
|
|
RITA |
|
Phi l? Phil! |
|
Rita sits up in bed and waits. Suddenly, from somewhere else |
|
in the inn comes the sound of Phil at the piano expertly |
|
playing a difficult classical piece. He stops after a few |
|
bars. |
|
|
|
PHIL (O.C.) |
|
Yeah!!!! |
|
Phil runs back into the room. |
|
|
|
PHIL |
|
It really happened! You're |
|
really here! |
|
He pounces on Rita again. |
|
|
|
PHIL |
|
You're really actually here. |
|
|
|
RITA |
|
|
|
(LAUGHING) |
|
I'm here, I'm here! |
|
They kiss, passionately, hungrily. |
|
|
|
PHIL |
|
Let's go! |
|
He scoops her up in his arms. |
|
|
|
RITA |
|
Where're we going? |
|
|
|
PHIL |
|
Anywhere! Everywhere! |
|
|
|
CUT TO: |
|
|
|
|
|
|
|
INT. BREAKFAST ROOM - LATER |
|
|
|
Phil and Rita, dressed now, enter and encounter Mrs. Lancaster |
|
Phil hugs her. |
|
|
|
MRS. LANCASTER |
|
Oh, my! |
|
|
|
|
|
|
|
-120- |
|
|
|
|
|
|
|
PHIL |
|
Florence! Say hello to Rita. |
|
She loves me. |
|
|
|
MRS. LANCASTER |
|
I'm not surprised. |
|
He kisses her on the cheek and rushes out with Rita. |
|
|
|
|
|
|
|
EXT. THE STREET - DAY |
|
|
|
Phil and Rita walk down Main Street hand in hand. |
|
|
|
A MAN |
|
Phil! Good morning! |
|
|
|
A LADY |
|
Mr. Connors. I wanted to thank |
|
you. |
|
|
|
PHIL |
|
That's all right. I-- |
|
A FLORIST steps out of the flower shop with a bouquet. |
|
|
|
FLORIST |
|
Phil, here. I want you to have |
|
these. |
|
|
|
PHIL |
|
Thanks, Carl. |
|
Phil smells the flowers, and hands the bouquet to Rita. |
|
|
|
PHIL (V.O.) |
|
And so began my final lifetime, |
|
and ended the longest winter on |
|
record. I would find myself no |
|
longer able to affect the chain |
|
of events in this town, but I did |
|
learn something about time. You |
|
can waste time, you can kill |
|
time, you can do time, but if you |
|
use it wisely, there's never |
|
enough of it. So you'd better |
|
make the most of the time you've |
|
got. |
|
A car skids on the ice and smashes into a tree. Phil and Rita |
|
rush over to help, but the driver waves that he's okay. Rita |
|
and Phil continue their walk. |
|
|
|
|
|
|
|
-121- |
|
|
|
|
|
|
|
PHIL (V.O.) |
|
Larry never got through the |
|
blizzard, so none of my groundhog |
|
reports ever made it on the air. |
|
But Rita and I-- we lived happily |
|
ever after. |
|
Phil and Rita walk off together. |
|
Across the street, Larry is trying to get rid of Ned Ryerson |
|
who is doggedly trying to sell him insurance. |
|
|
|
NED |
|
But Phil told me you were his |
|
accountant! |
|
|
|
LARRY |
|
Look, I told you! He's nuts! |
|
Larry keeps trying to walk away, but Ned won't leave him alone. |
|
|
|
NED |
|
Let me just tell you about single |
|
premium life-- |
|
Finally, Larry slugs Ned and storms off, leaving Ned |
|
floundering in a snowbank. |
|
Phil and Rita walk on as we pull up and away from Main Street |
|
revealing the whole of Punxsutawney and the snowy countryside |
|
that embraces it. |
|
|
|
THE END |