diff --git "a/scripts/Groundhog Day (format 2).txt" "b/scripts/Groundhog Day (format 2).txt" new file mode 100644--- /dev/null +++ "b/scripts/Groundhog Day (format 2).txt" @@ -0,0 +1,7172 @@ + 1. + + + + FADE IN + + HIBERNATING GROUNDHOGS + + A family of groundhogs is nestled together in their burrow + sleeping off the end of a long winter. + + ROLL CREDITS AND THEME MUSIC + + DISSOLVE TO: + + +1 EXT. A FOREST CLEARING - EARLY MORNING 1 + + The crust of an old snowfall still covers the frozen + ground, and the bare, icy branches of the trees glisten + dully in the early morning light. + + CUT TO: + + +2 INT. TV STUDIO - SAME TIME 2 + + PHIL CONNORS is standing in front of a blank green wall + gesticulating animatedly at some invisible images on the + wall, talking a mile a minute (MOS). He looks completely + crazy as he points at nothing and winks to an unseen + audience. + + CUT TO: + + +3 EXT. WESTERN PENNSYLVANIA - SAME TIME 3 + + CREDITS CONTINUE as we streak across the winter landscape, + flying over fields and farms, small towns and hamlets, + railroad lines and interstates, coalyards and factories, + until we cross the Allegheny River and follow it to the + southwest. + + CUT TO: + + +4 INT. TV STUDIO - SAME TIME 4 + + Phil continues pointing out features on the blank wall, but + from a new angle we can see that he's looking at a monitor + out of the corner of his eye which shows the chromakey + insert he's pointing to a national weather map. + + CUT TO: + 2. + + +5 EXT. NEAR PITTSBURGH - SAME TIME 5 + + The country towns turn to suburbs, traffic on the roads + gets heavier and finally we see the skyline of Pittsburgh + and the confluence of the Allegheny with the Monongahela + and the Ohio. + + We zoom into a tall building in the downtown area and + + DISSOLVE TO: + + +6 INT. PHIL CONNORS' OFFICE - MORNING 6 + + We don't see anyone at first but the office itself speaks + volumes about it's inhabitant, team pictures of the + Steelers from the Franco Harris-Terry Bradshaw glory years, + a framed memorial portrait of Roberto Clemente, a local + Emmy award statue, an erasable weather map and mountains of + personal junk on the desk, windowsill, and every other + available surface. + + As the CREDITS END, we notice a sleeping figure on the + small sofa, buried deep under a pile of coats and a stolen + airline blanket. + + GIL HAWLEY, Executive Producer of the Action News, sticks + his head in the door. + + HAWLEY + Christ, what a pit. Phil. + + The sleeping figure rouses himself and looks out at Hawley. + It's Phil, the Channel 9 Action News weatherman. + + PHIL + (sleepy) + What? + + HAWLEY + It's February first, Phil. You know + what tomorrow is? + + Phil sits up and.thinks hard. He's in his mid-thirties, + smart, rugged-looking, perhaps a little too full of + himself, but clearly a guy with a lot of personality. + + PHIL + (catching on) + Oh, no! Not again. + + He jumps up and exits the office with Hawley right behind + him. + 3. + + + PHIL + Forget it! I'm not going. + + +7 INT. CORRIDOR - CONTINUOUS 7 + + Hawley pursues Phil through the office suite of the Channel + 9 Action News, from the look of it a typical, big city, + local news operation. A logo on the wall identifies the + station as WPGH - Pittsburgh. + + Phil ducks into the studio. + + +8 INT. STUDIO - CONTINUOUS 8 + + Hawley follows him in and catches up with him at the + weather corner of the Action News set. Phil starts putting + weather stats up on a chart. + + PHIL + Get away from me. I'm working. + + HAWLEY + So what's the outlook? We gonna get + that blizzard? + + Phil shakes his head and points to the chart which is + headed "Phil's Phorecast" with a cute caricature of himself + drawn next to the title. + + PHIL + No way. All that moisture coming up + from the Gulf is going to miss us + completely and take a dump on + Harrisburg. + + HAWLEY + (with authority) + Good, 'cause you're going up to + Punxsutawney to cover the groundhog + story tomorrow morning and I want + you back here in time to do the + five. + + PHIL + Jesus, Gil, give me a break, will + you! I covered the goddamn + groundhog last year and the year + before that. + + HAWLEY + 4. + + + And you'll do it :next year and the + year after, too. When I worked in + San Diego, I covered the swallows + coming back to Capistrano for ten + years in a row. + + PHIL + You should've killed the guy who + made you do that. + + HAWLEY + I wanted to do it. + + PHIL + Then you should've killed yourself. + I don't want to get stuck with the + groundhog for the rest of my life. + + HAWLEY + It's a cute story. He comes out, he + looks around, he wrinkles up his + little nose, he sniffs around a + little, he sees his shadow, he + doesn't see his shadow, it's nice. + People like it. + + PHIL + Many people are morons. + + HAWLEY + Just do it. + + PHIL + What'11 you give me? + +Hawley looks across the studio and sees RITA HANSON enter, +a very attractive segment producer in her late twenties. + + HAWLEY + (to Phil) + I'll give you Rita. + (calls her over) + Rita, could you come here for a + second? I got a little job for you. + +Rita is relatively new to the station, but very competent, +personable, humorous, self-assured and very pretty, in +short, a genuine princess, though Phil is too self-absorbed +at this point to realize it. + + PHIL + (teasing) + 5. + + + You can't send Rita out on a story + like this. She's just a cub, a pup, + still wet behind the ears. Look at + her. Her ears are sopping wet. This + needs a Woodward or a Bernstein. + It's a big story. People need to + know. + + RITA + (intrigued) + What's the story? + + HAWLEY + The Punxsutawney Groundhog + Festival. + + RITA + Gil, if it's all right with you I'd + rather follow-up on the nurses' + strike. + + HAWLEY + You can do the nurses when you get + back. Just take the squeaky wheel + here up to Punxsutawney and get him + back in one piece. Okay? + + RITA + Yeah, okay. + +Hawley exits leaving Phil and Rita alone in the studio. She +knows Phil mainly by his reputation and it isn't good. +Still, she finds him appealing in an odd way. + + PHIL + (pleasantly) + You know, this could be extremely + interesting. + + RITA + I've never done a weather story + before. What's Punxsutawney like? + + PHIL + Oh, it's an enchanted place. A + magical world. It's the + Constantinople of the whole Western + Appalachian-Susquehanna Drainage + system. + + RITA + Do you always joke? + 6. + + + PHIL + About 70 to 80% of the time. Inside + I'm actually a very shy and + sensitive person. + + RITA + A lot of people around here think + you're not very sincere. + + PHIL + Tell me the names of these people. + + RITA + I'll line up a crew and + transportation. If you don't feel + like driving, we can all go up in + the van together. + + PHIL + I think I'll take my own car. I'm + not that fond of my fellow man. + + RITA + (exiting) + Nice attitude. + + PHIL + Nice face. + (calls after her) + Why don't you ride up with me? + + RITA + No, thanks. + + STEPHANIE DECASTRO , an attractive, dark-eyed, dark-haired + correspondent, glares at Phil from across the studio. + + +9 INT. PHIL'S OFFICE - LATER 9 + + Phil is in his cluttered cubicle talking on a headset phone + while he reviews cassettes of his groundhog spots from the + past two years on a small monitor. As he talks, he stuffs a + number of personal items in an overnight bag, all the time + watching himself on the TV monitor. + + PHIL + (on the phone) + 7. + + + They don't really think of me as a + weatherman around here. More of a + "personality," but with the + credibility of a first-class + broadcast journalist. Once you look + at my tape I think you'll see what + they mean. + +Stephanie enters and stands in the doorway looking at Phil +for a long moment. There is something vaguely off-center +about this woman, not quite FATAL ATTRACTION but still a +little scary. + + STEPHANIE + (bitterly) + I just want to know one thing: did + I do something wrong or are you + just tired of me or what? I have to + know. + +Phil sighs. + + PHIL + (on the phone) + Dan, can I call you back? I've just + been handed something and I better + get on it -- + (he picks up some papers + and rustles them for + effect) + -- Okay, thanks. + +He takes off the headset, gets up and closes the door for +privacy. + + PHIL + (kindly) + You didn't do anything wrong, + Stephanie, and I'm not tired of + you. It's just that I don't have + time for a real relationship right + now. I told you that the first time + we went out. + + STEPHANIE + (getting close) + Everybody says that at the + beginning of a relationship. + + PHIL + (gently pushing her away) + 8. + + + I'm different. I really meant it! + Things are really starting to move + for me now. I'm not going to be + doing the weather for the rest of + my life. I was just talking to the + CBS guy about a network job. I want + that. This is just the beginning + for me. I can't waste any more + time. + + STEPHANIE + Are you saying our relationship was + a waste of time? + + PHIL + Our relationship? We went out a + total of four times! And only twice + did anything happen. It was fun but + I don't see that as a big + commitment. + + STEPHANIE + (closing in again) + I had our charts done. My + astrologer says we're extremely + compatible. There may even be some + past lives involvement here. + + PHIL + See? So we've already done this. + Let's move on. Next case. + + STEPHANIE + You know what's wrong with you, + Phil? You're selfish. You don't + have time for anyone but yourself. + + PHIL + That's what I'm trying to tell you. + You don't want to be with me. You + can do better. Look, Stephanie, if + I ever said or did anything to + mislead you I'm sorry for that, but + right now I have to do this + groundhog thing and I don't have a + handle on it yet. + +He throws some papers and his datebook into a briefcase and +puts on his jacket. + + PHIL + 9. + + + I'll tell you what. I'm going to do + some serious thinking while I'm in + Punxsutawney, okay? + + He pats her on the shoulder and brushes past her, leaving + her standing there with a malevolent look on her face. + + CUT TO: + + +10 EXT. A HIGHWAY - AFTERNOON 10 + + A VAN marked ".Channel 9 Action News" speeds along a two- + lane highway through the winter landscape of West Central + Pennsylvania. Mounted atop the van is a microwave + transmitter. Rita is riding up front with LARRY, the union + cameraman and techie. Phil is following close behind the + van in a new Lexus coupe. His car has a bumper-sticker that + reads "Weathermen Like it Wet." + + PHIL (V.O.) + (on his earphone) + I'm on my way to Punxsutawney -- + (forced to repeat it, a + little embarrassed) + Punx^su-taw-ney -- Work or fun? I + think that all depends on you. + + +11 INT. THE LEXUS - CONTINUOUS 11 + + Phil is talking to one of his girlfriends, sorting through + a stack of CD's, as usual, grabbing at the good life with + both hands. + + PHIL + -- I thought maybe you could meet + me up there tonight and let me + vulgarize you for about seven hours + -- So I'm supposed to spend the + night in Punxsutawney all alone? + Thanks. + + Phil loads a CD and a great, driving song kicks in. + + CUT TO: + + A SIGN + + "Welcome to Punxsutawney - The Original Weather Capitol of + the World Since 1887." Depicted on the sign is a large + cartoon GROUNDHOG wearing a top hat and clutching an + umbrella under his arm. + 10. + + + The mini-convoy passes some fast food places on the + outskirts of town. + + +12 EXT. MAIN STREET - PUNXSUTAWNEY - LATER 12 + + The van drives along, the small-town main drag. There are + cartoon groundhogs everywhere you look and the whole town + has been gaily festooned with banners and bunting. + + +13 EXT. MOTEL - LATER 13 + + The van pulls into the parking lot at a Quality Inn. The + announcement billboard in front of the motel reads: + "Groundhog Day Breakfast Special - Feb.2 - All You Can Eat + - $5.99." The parking area is already crowded with cars + including a number of other news vans. The Lexus pulls in + behind the van and everybody gets out. + + Phil takes one look at the motel and shakes his head. + + PHIL + (calls out) + Rita! I can't stay here. + + Rita is already helping Larry unload equipment from the + van. + + LARRY + (muttering) + Prima donnas. + + RITA + It's okay. I'll handle it. + + She crosses to the Lexus where Phil is trying to make + another call on his earphone. + + RITA + What's the problem, Phil? + + PHIL + I hate this place. I stayed here + two years ago and I was miserable. + It's like a minimum security + prison. I'm not staying here. + + RITA + You're not staying here. + + PHIL + (brightening) + 11. + + + I'm not? + + RITA + No, Larry and I don't care but I + thought you might, so I booked you + at a very nice bed and breakfast on + Cherry Street. Here's the address. + +She hands him a card. + + PHIL + (pleased) + Great. That's great. That's the + mark of a really good producer. + Making the talent happy. + + RITA + Whatever I can do. + + PHIL + Really? Will you be my love slave? + + RITA + Whatever I can do within reason. + Would you like to have dinner with + Larry and me? + + PHIL + No thanks, I've seen Larry eat. Why + don't you ditch Larry and let me + take you someplace nice? + + RITA + You mean like a date? + + PHIL + Yeah. + + RITA + Oh, no. + + PHIL + Okay. I get it. You're a little + intimidated by me, you're all + excited about the shoot tomorrow, + you want everything to go just + perfect. I understand. You just get + some sleep. Tomorrow will be great. + + RITA + Well, that's something to look + forward to. I'll see you in the + morning. + 12. + + + He drives off, leaving her standing there shaking her head. + + LARRY + Did he actually call himself "the + talent?" + + Larry snorts and continues unloading their gear. + + CUT TO: + + +14 EXT. CHERRY STREET - DAWN 14 + + The first light of morning colors the sky behind the Cherry + Street Inn, a rambling, white Victorian bed and breakfast. + + CLOSE UP - CLOCK + + A 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." + + SUPER: FEBRUARY 2 + + +15 INT. PHIL'S ROOM - DAWN 15 + + Phil sits up in bed and looks around the room. The decor is + typical bed and breakfast, flocked wallpaper, framed + prints, and an odd assortment of mismatched furniture. His + suit is hanging neatly on the back of the closet door and + his suitcase is open on a stand at the foot of the bed, + still neatly packed. + + A radio, DEEJAY and his SIDEKICK come on with hyped-up, + drivetime Chappy talk." Phil stares at the radio and + listens to them. + + DEEJAY + Okay, campers, rise and shine, and + don't forget your booties because + it's COOOLD out there today1 + + Phil grimaces and swings out of bed. + + SIDEKICK + It's cold out there everyday. What + is this— Miami Beach? + + The deejay laughs. Phil shakes his head at the cheesy + repartee as he crosses to the sink and starts brushing his + teeth. + 13. + + + DEEJAY + Not hardly. And you can expect + hazardous travel later today with + that, you know, blizzard thing— + + SIDEKICK + That "blizzard thing?" + +Phil splashes some water on his face and prepares to shave. + + SIDEKICK + 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 specia -- + + SIDEKICK + Especially cold— + + DEEJAY + Especially cold, okay, but the big + question on everybody's lips -- + + SIDEKICK + Chapped 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) + 14. + + + Never again. + + CUT TO: + + +16 INT. CORRIDOR - DAWN 16 + + 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: + + +17 INT. BREAKFAST ROOM - CONTINUOUS 17 + + 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 it'd be possible to + get an espresso or a capuccino + around here. + + MRS. LANCASTER + 15. + + + (blankly) + I don't really know -- + + PHIL + Forget it. This'll be fine. + + 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: + + +18 EXT. BOARDING HOUSE - MOMENTS LATER 18 + + 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. + + +19 EXT. MAIN STREET -KPUNXSUTAWNEY - CONTINUOUS 19 + 16. + + +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! + +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 + 17. + + + I see you clicking through that + brain of yours. Click-click, click- + click, 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. + + PHIL + (sorry he asked) + No kidding. + + NED + 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 + 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 + 18. + + + 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: + + +20 EXT. GOBBLER'S KNOB - DAWN 20 + + 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. + + 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. + 19. + + + 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. + + LARRY + Rolling. + +Rita silently counts down from five and cues Phil who +instantly snaps into announce mode. + + PHIL + 20. + + + (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. + + 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. + +The crowd lets out a good-natured "Awwwwww" in +disappointment. + 21. + + + 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: + + +21 INT. DINER - LATER 21 + + 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? + + RITA + 22. + + + 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 + 23. + + + You don't have to rush off, you + know. That storm is going to miss + us completely. + + RITA + Nice working with you, Phil. See + you around. + + Rita walks away, leaving him sitting alone. + + CUT TO: + + +22 EXT. HIGHWAY - DAY 22 + + 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? -- I + can't hear you -- you're breaking + up -- Hello? Sabrina? + + +23 INT. THE CAR - CONTINUOUS 23 + + 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! + + +24 EXT. THE CAR - CONTINUOUS 24 + 24. + + + 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 comes to a police roadblock up ahead, + manned by TWO HIGHWAY PATROLMEN. + + PHIL + What's going on, Officer? + + PATROLMAN + Nothin's goin1 on. We're closin' + 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: + + +25 INT. GAS STATION - LATER 25 + + Phil is on a pay phone. Snow is falling heavily outside. + GAS STATION ATTENDANT is shovelling around the pumps. + + PHIL + 25. + + + So all the long distance lines are + down? What about the satellite? 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? + + 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: + + +26 INT. HOTEL BAR - EVENING 26 + + Phil is at the bar in Punxsutawney's oldest and best hote, + 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. + 26. + + + 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? + + 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. + + +27 INT. CHERRY STREET INN - NIGHT - SAME TIME 27 + + Phil enters his room and drunkenly tosses his overcoat, + scarf and gloves on the floor in a heap. + + +28 INT. STEPHANIE'S BEDROOM - NIGHT 28 + + 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 + 27. + + + 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. + + 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: + + 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. + + +29 INT. PHIL'S ROOM - DAWN 29 + 28. + + +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. + + 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 + 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 + 29. + + + 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. + + PHIL + (aghast) + What the hell? + + CUT TO: + + +30 INT. BED AND BREAKFAST - DAWN 30 + + 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. + 30. + + + 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) + February 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. + + +31 INT. BREAKFAST ROOM - CONTINUOUS 31 + + 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) + Did I? I don't know -- + + MRS. LANCASTER + 31. + + + 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: + + +32 EXT. BOARDING HOUSE - MOMENTS LATER 32 + + 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! + 32. + + + 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. + + +33 EXT. MAIN STREET - PUNXSUTAWNEY - CONTINUOUS 33 + + 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. + + PHIL + (very distressed and + desperate to get away + from this guy) + Do you sell insurance, Ned? + + NED + 33. + + + 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 step. + It's a doozy! + + Phil looks down at his wet shoes and cuffs and stumbles off + toward Gobbler's Knob. + + CUT TO: + + +34 EXT. GOBBLER'S KNOB - DAWN 34 + + 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? + + PHIL + (nervous, sweat ing) + I've got to talk to you. I think + I'm losing my mind. + 34. + + + 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 hard! + + 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? + + PHIL + 35. + + + I'm trying to say that if I was + having a problem, just + hypothetically, 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) + What? Yesterday? What are you + talking about? + 36. + + + PHIL + Just trust me. Put the camera here. + +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 + 37. + + + (mumbling) + Prima donnas. + +Phil takes the microphone from Rita and positions himself +against the fence. + + LARRY + Rolling. + +Phil does a similar intro to the one he did before, though +this time it's a bit tentative. + + PHIL + (to camera) + Well, 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 + Okay? And here we go -- + +Phil points to the hole and Larry zooms in. + 38. + + + 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. + + 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: + + +35 INT. PHIL'S ROOM - LATER 35 + + Phil is on the phone desperately trying to make a call. + + PHIL + (on the phone) + 39. + + + 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: + + 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. + + +36 INT. PHIL'S ROOM - DAWN 36 + + 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: + + +37 EXT. CHERRY STREET - LATER 37 + 40. + + + Phil hurries toward the bed and breakfast carrying two + gallon buckets of paint, and a couple of big bags from a + hardware store. + + +38 INT. BED AND BREAKFAST - CONTINUOUS 38 + + Phil enters and passes Mrs. Lancaster in the breakfast + room. + + MRS. LANCASTER + Painting something, Mr. Connors? + + PHIL + I'm conducting an experiment. + + +39 INT. PHIL'S ROOM - LATER 39 + + 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: + + +40 EXT. CORRIDOR - LATER 40 + + 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. + + +41 INT. PHIL'S ROOM - CONTINUOUS 41 + + 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. + 41. + + + 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. + + 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: + + +42 EXT. GOBBLER'S KNOB - EARLY MORNING 42 + + Phil is wrapping up another groundhog report, trying to be + completely professional despite the circumstances. + + PHIL + (with forced good humor) + 42. + + + -- So 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? + + PHIL + I destroyed my hotel room. + + RITA + You what! 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: + 43. + + +43 EXT. MAIN STREET - A BIT LATER 43 + + 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. + + +44 INT. DINER - CONTINUOUS 44 + + 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? + + 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 + over and over -- Groundhog Day -- + today. This is the third time. + + RITA + (completely skeptical) + 44. + + + 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 anchors, + but not me -- not in a thousand + years. + + PHIL + Wait 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. + 45. + + + 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. + + +45 INT. MEDICAL CLINIC - DAY 45 + + 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: + + +46 INT. PSYCHOLOGIST'S OFFICE - DAY 46 + + 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. + + 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 + 46. + + + 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? + + 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. + 47. + + + 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: + + +47 INT. CLASSROOM - DAY 47 + + 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: + + +48 INT. SCHOOL CORRIDOR - LATER 48 + 48. + + + 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. + + TEACHER + So the princess picked up the frog + and kissed him. + + Phil stops outside the door to listen. + + +49 INT. CLASSROOM - CONTINUOUS 49 + + 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. + + TEACHER + 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. + + +50 INT. THE CORRIDOR - SAME TIME 50 + + 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: + + +51 INT. DEW DROP INN - LATER THAT NIGHT 51 + + Phil is at a bar getting drunk with two local blue-collar + workers, GUS and PHIL. + + PHIL + 49. + + + Gus, what would you do if there was + no tomorrow? + + 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 just 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: + + +52 EXT. THE STREET - LATER 52 + + 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) + 50. + + + Where you stayin', Phil? We'll drop + you off. + + PHIL + Hey, friends don't let friends + drive drunk. Give me your keys. + + 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. + + +53 INT. THE BUICK - CONTINUOUS 53 + + 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 -- + + +54 EXT. MAIN STREET - CONTINUOUS 54 + + 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. + 51. + + + A POLICE CAR parked in front of the hardware store pulls + out and takes off after him. + + +55 INT. THE BUICK - CONTINUOUS 55 + + Phil swerves in and out of oncoming traffic. Gus is + starting to look a little green. + + PHIL + So many rules -- + + RALPH + You can say that again. + + PHIL + "Don't do this --" + + +56 EXT. THE STREET - CONTINUOUS 56 + + 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 + + +57 INT. THE BUICK - CONTINUOUS 57 + + Ralph hears the siren and looks back at the police car. + + RALPH + All right! Try and stop us, you + mothers! + + PHIL + No more rules! + + RALPH + No more rules! + + +58 EXT. THE STREET - CONTINUOUS 58 + + A second police car joins the chase. + 52. + + + 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. + + 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. + 53. + + + BLACK OUT: + + CLOSE 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? + + 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: + + +59 INT. BREAKFAST ROOM - CONTINUOUS 59 + + 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 + Would 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 + 54. + + + (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 bubble + 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: + + +60 EXT. BOARDING HOUSE - DAWN 60 + + Phil stops on the steps, puts on his coat and gloves and + again joins the traffic heading toward Gobbler's Knob. + + +61 EXT. MAIN STREET - MOMENTS LATER 61 + + 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. + 55. + + + Phil deftly avoids the slushy pothole he stepped in before. + A PEDESTRIAN walking behind him steps right into it. + + CUT TO: + + +62 EXT. GOBBLER'S KNOB - LATER 62 + + 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? + + 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? + 56. + + + 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: + + +63 INT. DINER - LATER THAT MORNING 63 + + 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. + + 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) + 57. + + + 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 + Nantucket--" + + 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? + + 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) + 58. + + + 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: + + +64 EXT. GOBBLER'S KNOB - NEXT MORNING 64 + + 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. + + PHIL + Nancy, right? + + NANCY + I'm sorry, I— + + PHIL + Nancy Taylor? Lincoln High? I sat + next to you in Mrs. Walsh's English + class. + 59. + + + NANCY +That -- + + 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 do this report +-- + + NANCY +You're a reporter? + + PHIL +Weatherman. Channel 9, Pittsburgh. + + NANCY +Right, I should've known -- + + PHIL +But maybe after we could -- + + NANCY +Yeah, yeah, I'd like that -- + 60. + + + RITA (O.C.) + Phil! + + Rita is calling from across the crowd. She looks at him + with disapproval. + + CUT TO: + + +65 INT. PHIL'S ROOM - NIGHT 65 + + 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: + + +66 INT. BREAKFAST ROOM - MORNING 66 + 61. + + +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. + 62. + + + Phil kisses her on the lips and walks off. + + CUT TO: + + +67 EXT. PENN BANK AND TRUST - DAY 67 + + 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. + + SECOND 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: + + +68 INT. USED CAR DEALERSHIP - DAY 68 + 63. + + + 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. + + SALESMAN + A real beauty, huh. We picked it up + at a -- + + PHIL + I'll take it. How much? + + SALESMAN + Well, the sticker says $62,999 but + 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: + + +69 EXT. PUNXSUTAWNEY - DAY 69 + + 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: + + +70 EXT. MAIN STREET - DAY 70 + + 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 + 64. + + + 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: + + +71 INT. TATTOO PARLOR - ANOTHER DAY 71 + + 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: + + +72 INT. BIKER BAR - NIGHT 72 + + 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. + + CUT TO: + + +73 INT. PHIL'S ROOM - NIGHT 73 + + 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) + 65. + + + 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 : + + +74 EXT. A SIDE STREET - THE NEXT MORNING 74 + + 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 out + all right. How'd you know where to + put the camera? + + PHIL + 66. + + + 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? + +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 put + 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) + 67. + + + 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: + + +75 INT. DINER - A LITTLE LATER 75 + + 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. + + 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 + Oh, please -- + 68. + + + 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. + + 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. + 69. + + + 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: + + +76 EXT. GOBBLER'S KNOB - ANOTHER DAY 76 + + 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. + + Phil runs off without another word of explanation. + + CUT TO: + + +77 EXT. THE NEWS VAN - LATER 77 + + Phil has the hood open and is doing something to the + engine. + + CUT TO: + + +78 INT. THE BERGHOF RESTAURANT - LATER 78 + + 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. + 70. + + + 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? + + RITA + (glum) + The van won't start. Larry's + working on it. + + PHIL + Wouldn't you know it. Buy you a + drink? + + RITA + Okay. + + PHIL + 71. + + + (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? + + RITA + Same for me, please. + +The BARTENDER pours. + +Phil lifts his glass. + 72. + + + PHIL + To world peace. + + Rita smiles, reevaluating him. + + RITA + To world peace. + + They clink glasses. + + CUT TO: + + +79 INT. THE BAR - LATER 79 + + 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? + + RITA + At Bryn Mawr? No, uh-uh. Believe it + or not, I studied Nineteenth + Century French Poetry. + 73. + + + 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: + + +80 INT. FUDGE SHOP - DAY 80 + + 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. + 74. + + + 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: + + +81 INT. THE BERGHOF RESTAURANT - NIGHT 81 + + The music continues over Rita and Phil on the small dance + floor. They dance, close, dreamy, romantic. + + CUT TO: + + +82 EXT. MAIN STREET - LATER THAT NIGHT 82 + + 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: + + +83 EXT. CHERRY STREET INN - NIGHT 83 + + Phil and Rita are walking slowly, very close. + + PHIL + What? + + RITA + I'm just amazed. And I'm not easily + amazed. + 75. + + + PHIL + About what? + + 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. + + +84 INT. VESTIBULE - CONTINUOUS 84 + + 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. + 76. + + + PHIL + No, you should. The, uh, the + poetry! I've got some books, + Rimbaud, Beaudelaire, we could + light a fire -- + + 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 + 77. + + + 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. + + 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: + + +85 EXT. MAIN STREET - ANOTHER NIGHT 85 + + The snowball fight with the kids is going on as before. + Phil falls into the snowbank with Rita and they almost + kiss. + + CUT TO: + + +86 INT. QUALITY INN MOTEL - LATER 86 + + 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: + + +87 EXT. MOTEL - NIGHT 87 + + 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: + + +88 INT. PHIL'S ROOM - DAWN 88 + 78. + + + "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. + + 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: + + +89 EXT. GOBBLER'S KNOB - DAWN 89 + + 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. + 79. + + + PHIL + (vacantly) + I'm fine. + + CUT TO: + + +90 INT. BIKER BAR - NIGHT 90 + + 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? + + 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: + 80. + + +91 EXT. GOBBLER'S KNOB - DAWN 91 + + 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. + + +92 INT. PARLOR - CONTINUOUS 92 + + 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." + 81. + + + 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. + + ALEX + (on TV) + And the answer is -- an audio daily + double. + + PHIL + Count Basie. + + CUT TO: + + +93 EXT. STREET - DAY 93 + + 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 + seventy-one -- + (takes another step) + two thousand six hundred and + seventy-two -- + (another step) + two thousand six hundred and + seventy-three -- + + A woman passes walking her dog. + 82. + + + 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 + Six hundred -- + + MIKE AND SUE + Ninety, twenty, four, six, fifty -- + + 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) + 83. + + + 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: + + +94 EXT. GOBBLER'S KNOB - EARLY MORNING 94 + + Rita is looking at Phil as Larry videotapes his report. + + 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. + 84. + + + 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: + + +95 EXT. GOBBLER'S KNOB - NIGHT 95 + + 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. + + She leaves. + + CUT TO: + 85. + + +96 EXT. CIVIC CENTER - DAY 96 + + Phil passes a pedestal bearing a life-size bronze statue of + the groundhog and enters the public library. + + +97 INT. LIBRARY - CONTINUOUS 97 + + 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. + 86. + + + CUT TO: + + +98 EXT. GOBBLER'S KNOB - DAWN 98 + + 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: + + +99 EXT. GOBBLER'S KNOB - ANOTHER DAY 99 + + 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. + + BUSTER + (to the groundhog) + There you go, ol' buddy. Good job. + Hey! He smiled at me. See that? + 87. + + + FIRST OFFICIAL + Right. + + 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. + 88. + + + CUT TO: + + +100 EXT. LOCAL ROAD - MINUTES LATER 100 + + 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. + + +101 INT. PICKUP - CONTINUOUS 101 + + 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. + + +102 INT. BUSTER'S CAR - SAME TIME 102 + + Buster pursues Phil with relentless determination. + + BUSTER + Nobody takes my groundhog and gets + away with it. + + +103 INT. THE NEWS VAN - SAME TIME 103 + + Rita is driving. Larry is hooking up the camera. + + RITA + (very upset) + What is he doing? What can he be + thinking? He must'v just snapped. + + Larry squeezes into the passenger seat with the camera + mounted on his shoulder. + + LARRY + This oughta be good. + + +104 EXT. MOUNTAIN ROAD - CONTINUOUS 104 + + The cars chase the pickup to the top of the mountain. + + +105 INT. BUSTER'S CAR - CONTINUOUS 105 + 89. + + + 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. + + +106 EXT. LOGGER'S LEAP - CONTINUOUS 106 + + The pickup is losing its lead over the pursuers as it nears + the sharp mountain cliff. + + +107 INT. THE PICKUP - SAME TIME 107 + + 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. + + +108 INT. THE NEWS VAN - SAME TIME 108 + + 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! + + +109 EXT. LOGGER'S LEAP - CONTINUOUS 109 + + 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 + 90. + + + 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: + + +110 INT. NED RYERSON'S OFFICE - DAY 110 + + 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. + + +111 INT. PHIL'S ROOM - DAWN 111 + + "I Got You, Babe" is playing. Phil wakes up and smashes the + radio. + + CUT TO: + + +112 EXT. STREET - DAY 112 + + 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. + + DRIVERS' 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 + 91. + + + 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: + + +113 EXT. THE BANK - DAY 113 + + The building is surrounded by police, all crouched behind + their cars with guns and rifles trained on the doors. + + 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. + + +114 INT. CORONER'S - DAY 114 + + 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. + + +115 INT. PHIL'S ROOM - CONTINUOUS 115 + + 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: + + +116 INT. DINER - DAY 116 + + Phil and Rita are sitting in the diner at their regular + table. + + RITA + I'm sorry. What was that again? + 92. + + + 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? + +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, + burned, 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 + 93. + + + Why are you telling me this? + + WAITER + (shrugs) + Because some people like blueberry + waffles. + + RITA + (to the waiter) + Not 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? + + 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. + 94. + + + WAITER + I am not! + +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. + +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. + 95. + + + 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. + + 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. + 96. + + + 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 believe me, listen -- + + RITA +But, Phil -- + + 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 -- + 97. + + + 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: + + +117 EXT. PUNXSUTAWNEY - DAY 117 + + 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. + + 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 + 98. + + + I don't know. I just woke up. Just + like always. + + NED RY-ERSON approaches. + + NED + Hey, Phil! Phil Connors! + + 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: + + +118 EXT. FUDGE SHOP - DAY 118 + + 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. + + RITA + 99. + + + 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: + + +119 EXT. PARK - DAY 119 + + Phil and Rita are sitting on a park bench. + + PHIL + So do you believe any of this? + + RITA + 100. + + + I don't know. I don't know how else + you could know so much. Maybe it is + really happening. + + 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: + + +120 INT. PHIL'S ROOM - NIGHT 120 + + 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. + 101. + + + PHIL + Uh-uh. Six months. Four, five hours + a day. + + RITA + Is this what you do with eternity? + + 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 + Uhhhh -- + +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 + 102. + + +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. + + 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 +game, 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? + 103. + + + 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: + + +121 EXT. PHIL'S ROOM - THE PIZZA BOX - LATER 121 + + 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. + + 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. + 104. + + +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! + +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: + 105. + + +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? + + 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) + 106. + + + 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. Everytime + 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. + + CLOSE 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: + + +122 EXT. GOBBLER'S KNOB - DAWN 122 + + Rita and Larry are in the packed press area, beginning to + set up the equipment. + + Phil arrives, carrying two cups of coffee. + 107. + + + 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? + + 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. + 108. + + + 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: + + +123 INT. LIBRARY - DAY 123 + + 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: + + +124 EXT. A HOUSE - DAY 124 + + Phil rings the doorbell. A kindly young woman, MARY, + answers + + MARY + Yes? + + PHIL + I'd like a piano lesson, please. + + 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. + 109. + + + 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: + + +125 INT. HALLWAY - DAWN 125 + + 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: + + +126 INT. MARY'S HOUSE - DAY 126 + + 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: + + +127 INT. LIBRARY - DAY 127 + + We see several cuts of Phil studying at the library. + 110. + + + SUPERED over these cuts is a calendar with the pages + flipping by. They all read "February 2." + + CUT TO: + + +128 EXT. GOBBLER'S KNOB - DAWN 128 + + 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: + + +129 INT. MARY'S HOUSE - DAY 129 + + Phil is playing the piano with ever increasing skill as + more February 2 calendar pages flip by. + + CUT TO: + + +130 EXT. GOBBLER'S KNOB - DAWN 130 + + Phil is delivering another report. + + PHIL + 111. + + + 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: + + +131 EXT. CEMETERY - DAY 131 + + 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 + 112. + + + Oh, is that so, Miss Plato? Then + let me ask you this. Where does + this "absolute good" come from? + From the sky? + + 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: + + +132 EXT. MAIN STREET - LATER 132 + + 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. + 113. + + + 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. + + 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: + + +133 INT. MARY'S HOUSE - DAY 133 + + 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: + + +134 EXT. STREET - DAY 134 + + 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 + 114. + + + (helps the old man to his + feet) + There you go. + + Phil practically carries him out of the alley. + + CUT TO: + + +135 INT. HOSPITAL EMERGENCY ROOM - NIGHT 135 + + A nurse approaches Phil. + + NURSE + You the one brought in the old man? + + 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: + + +136 INT. DINER - MORNING 136 + + Phil is propping up the old man at a table, trying to feed + him hot soup. + 115. + + + CUT TO: + + +137 INT. HOSPITAL - DAY 137 + + Phil is furiously looking over X-rays, flipping through + medical journals and making notes. + + CUT TO: + + +138 EXT. ALLEY - NIGHT 138 + + Phil is in the alley, shaking the old man, trying to rouse + him. + + PHIL + Come on. Hang on. Hang on, there. + Breathe. + + Phil stops. The body lies, unmoving. Phil sits back, + breathing heavily. + + CUT TO: + + +139 EXT. GOBBLER'S KNOB - DAWN 139 + + 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. + 116. + + + 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. + + Rita rushes off after Phil. + + CUT TO: + + +140 EXT. STREET CORNER - DAY 140 + + 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 + 117. + + + 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: + + +141 INT. BERGHOF RESTAURANT - DAY 141 + + 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! + + 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 + 118. + + + 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: + + +142 INT. HOSPITAL CORRIDOR - LATER 142 + + A gurney bursts through the double doors, paramedics and + nurses in attendance. The patient is a teenage girl, JANEY, + totally unconscious. + + +143 INT. EMERGENCY ROOM - CONTINUOUS 143 + + The gurney is wheeled into the surgery. + + NURSE + Looks like insulin shock. She's + probably diabetic. + 119. + + + 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 + Right, Doctor -- uh -- + + She realizes she's never seen him before. + + PHIL + Call me Phil. + + NURSE + Phil. Like the groundhog? + + PHIL + Exactly. + + CUT TO: + + +144 INT. CHILDREN'S WARD - LATE AFTERNOON 144 + + 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! + + 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. + 120. + + + 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: + + +145 EXT. RESIDENTIAL STREET - A LITTLE LATER 145 + + 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 just + let him fall. Teach him a lesson. + + RITA + Phil, this is too -- I must be + dreaming. + + PHIL + Yeah, you and me both. Come on, + We're almost done. + + CUT TO: + 121. + + +146 EXT. ALLEY - NIGHT 146 + + 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 ol' 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." + + ANDY + (repeating) + "At 8:02 we let it go." + 122. + + + BUD + Wow, that's nice. + + Rita hands him the note and quickly walks away. + + ANDY + Suppose he wrote it? + + BUD + (doubtful) + Are you kidding? + + CUT TO: + + +147 EXT. MAIN STREET - NIGHT 147 + + Rita catches up with Phil outside the Pennsylvanian, the + town's oldest and best hotel. + + RITA + Now what? + + PHIL + Come on. You'll see. + + They enter. + + CUT TO: + + +148 INT. HOTEL LOBBY - CONTINUOUS 148 + + As Phil and Rita enter there is music coming from a side + room. + + The black velvet announcement board proclaims: KLEISER- + SCOTT WEDDING. + + CUT TO: + + +149 INT. PARTY ROOM - CONTINUOUS 149 + + Phil and Rita walk into a banquet room decorated with + 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. + 123. + + + RITA + This is incredible. Who's wedding + is this? + +Phil grabs two glasses of champagne and hands one to Rita. + + PHIL + Just some friends. Doris! + +The bride, DORIS, young and cheery, is on her way to see +Phil. She is dragging FRED, her groom, with her. + + DORIS + Hi, Mr. Connors! Come ON, Freddy. + + FRED + Hi. + + DORIS + This is the guy I told you about. + + FRED + No way! + + PHIL + How's it going, Fred? + + FRED + Hey, I'd like to thank you for + making Doris go through with this. + + PHIL + Are you kidding? Don't buy that + playing hard to get stuff. She's + crazy about you, you stud. + + DORIS + I'm really glad you could come. + + PHIL + Congratulations. + +Phil reaches into his pocket, pulls out two tickets and +hands them to Doris. + + DORIS + What is this? Oh, no way! No way! + Ahhh! + +Doris throws herself on Fred and jumps up and down. Fred +grabs the tickets. + + FRED + 124. + + + Wrestlemania! No way! No way! + +Doris throws herself on Phil. + + DORIS + How did you know? + + FRED + We're like going to be in + Pittsburgh anyway. + + 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. + + FRED + Thanks, Mr. Connors. You're a real + pal. + + 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 + + PHIL + What do you want to know? + + RITA + Who are you? + + PHIL + I really don't know. + + RITA + No, there's something going on with + you. + 125. + + + 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. + + RITA + That's pretty amazing. + + 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. + + PHIL + Hello, Mary. Rita, this is one of + Punxsey's finest musicians. + + MARY + Give me a break. You should talk. + Why don't you play something? + + PHIL + No, I -- + + MARY + Please. + + FRED + Hey, Mr. Connors. Go for it. + +Phil looks at Rita. She nods and shrugs. + 126. + + + 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. + + LEO + That's a great guy you've got + there. Doctor Connors fixed my + back, you know. + + RITA + Doctor Connors? + + Rita looks over at Phil, joyously playing the piano. + + CUT TO: + + +150 EXT. STREET - NIGHT 150 + + 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. + + PHIL + Wait! Don't move! + + Phil scoops up some snow and begins packing it down, + furiously, joyously, then rolling it into a large ball. + + RITA + Making a snow man? I'll help. + + PHIL + No, stay there. Stand right there. + + Phil lifts the now larger chunk of packed snow and sets it + on a mailbox. Then he looks at her and starts to sculpt it. + + DISSOLVE TO: + + LATER + 127. + + +Phil is using a stick and the heat of his bare hands to +model a delicate fold in the snow sculpture. Several +bystanders look on with interest as Phil stands back from +his work. + + RITA + Can I look? + + PHIL + Okay, look. + +It is an excellent likeness of Rita, the snow white as +alabaster, pure as marble, a beautiful and delicate homage. + + RITA + (overwhelmed) + Nobody's ever done this for me. Not + even a drawing. It's beautiful. + + 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 + 128. + + + It doesn't matter. Really, it + doesn't. + +They kiss again. + + CUT TO: + +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! + + 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 tomorrow! + It's + +Phil turns on the radio. + + DEEJAY + -- still shoveling put the + highways, but if you're walking, + it's a beautiful day. + + SIDEKICK + Yeah, the snow kind of cleaned + everything up -- + + DEEJAY + -- except your mouth. + 129. + + +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. + + PHIL + Did I just dream it? + +Phil opens the door and runs into the hallway wearing only +pajama bottoms. + + RITA + Phil? 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. + 130. + + + 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: + + +151 INT. BREAKFAST ROOM - LATER 151 + + Phil and Rita, dressed now, enter and encounter Mrs. + Lancaster Phil hugs her. + + MRS. LANCASTER + Oh, my! + + 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. + + +152 EXT. THE STREET - DAY 152 + + 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. + 131. + + + 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. + + 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- - + 132. + + +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 + \ No newline at end of file