GROUNDHOG DAY

by

Danny Rubin .

Second Revision byHarold Ramis

January 7, 1992

FADE IN

HIBERNATING GROUNDHOGS

A family of groundhogs is nestled together in their burrowsleeping off the end of a long winter.

ROLL CREDITS AND THEME MUSIC

DISSOLVE TO:

EXT. A FOREST CLEARING - EARLY MORNING

The crust of an old snowfall still covers the frozen ground,and the bare, icy branches of the trees glisten dully in theearly morning light.

CUT TO:

INT. TV STUDIO - SAME TIME

PHIL CONNORS is standing in front of a blank green wallgesticulating animatedly at some invisible images on the wall,talking a mile a minute (MOS) . He looks completely crazy as hepoints at nothing and winks to an unseen audience.

CUT TO:

EXT. WESTERN PENNSYLVANIA - SAME TIME

CREDITS CONTINUE as we streak across the winter landscape,flying over fields and farms, small towns and hamlets, railroadlines and interstates, coalyards and factories, until we crossthe Allegheny River and follow it to the southwest.

CUT TO:

INT. TV STUDIO - SAME TIME

Phil continues pointing out features on the blank wall , butfrom a new angle we can see that he ' s looking at a monitor outof the corner of his eye which shows the chromakey insert he'spointing to — a national weather map.

CUT TO:

EXT. NEAR PITTSBURGH - SAME TIME

The country towns turn to suburbs, traffic on the roads getsheavier and finally we see the skyline of Pittsburgh and theconfluence of the Allegheny with the Monongahela and the Ohio.

-2-

We zoom into a tall building in the downtown area and

DISSOLVE TO:

INT. PHIL CONNORS' OFFICE - MORNING

We don't see anyone at first but the office itself speaksvolumes about it's inhabitant— team pictures of the Steelersfrom the Franco Harris-Terry Bradshaw glory years, a framedmemorial portrait of Roberto Clemente, a local Emmy awardstatue, an erasable weather map and mountains of personal junkon the desk, ^windowsill, and every other available surface.

As the CREDITS END, we notice a sleeping figure on the smallsofa, buried deep under a pile of coats and a stolen airlineblanket.

GIL HAWLEY, Executive Producer of the Action News, sticks hishead in the door.

HAWLEYChrist, 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?

HAWLEYIt's February first, Phil. Youknow 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, butclearly 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.

PHILForget it! I'm not going.

INT. CORRIDOR - CONTINUOUS

Hawley pursues Phil through the office suite of the Channel 9Action News, from the look of it a typical, big city, localnews operation. A logo on the wall identifies the station asWPGH - Pittsburgh.

Phil ducks into the studio.

-3-

INT. STUDIO - CONTINUOUS

Hawley follows him in and catches up with him at the weathercorner of the Action News set. Phil starts putting weatherstats up on a chart.

PHILGet away from me. I'm working.

HAWLEYSo what's the outlook? We gonnaget that blizzard?

Phil shakes his head and points to the chart which is headed"Phil's Phorecast" with a cute caricature of himself drawn nextto the title.

PHILNo way. All that moisture comingup from the Gulf is going to missus completely and take a dump onHarrisburg.

HAWLEY(with authority)

Good, 'cause you're going up toPunxsutawney to cover thegroundhog story tomorrow morningand I want you back here in timeto do the five.

PHILJesus, Gil, give me a break, willyou! I covered the goddamngroundhog last year and the yearbefore that.

HAWLEYAnd you'll do it :next year andthe year after, too. When Iworked in San Diego, I coveredthe swallows coming back toCapistrano for ten years in arow.

PHILYou should've killed the guy whomade you do that.

HAWLEYI wanted to do it.

PHILThen you should've killedyourself. I don't want to getstuck with the groundhog for therest of my life.

-4-

HAWLEYIt's a cute story. He comes out,he looks around, he wrinkles uphis little nose, he sniffs arounda little, he sees his shadow, hedoesn't see his shadow— it'snice. People like it.

PHILMany people are morons.

HAWLEYJust do it.

PHILWhat'11 you give me?

Hawley looks across the studio and sees RITA HANSON enter, avery attractive segment producer in her late twenties.

HAWLEY(to Phil)

I'll give you Rita.(calls her over)

Rita, could you come here for asecond? I got a little job foryou.

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 thispoint to realize it.

PHIL(teasing)

You can't send Rita out on astory like this. She's just acub, a pup, still wet behind theears. Look at her. Her ears aresopping wet. This needs aWoodward or a Bernstein. It's abig story. People need to know.

RITA(intrigued)

What's the story?

HAWLEYThe Punxsutawney GroundhogFestival.

RITAGil, if it's all right with youI'd rather follow-up on thenurses' strike.

-5-

HAWLEYYou can do the nurses when youget back. Just take the squeakywheel here up to Punxsutawney andget him back in one piece. Okay?

RITAYeah, okay.

Hawley exits leaving Phil and Rita alone in the studio. Sheknows 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 extremelyinteresting.

RITAI've never done a weather storybefore. What's Punxsutawneylike?

PHILOh, it's an enchanted place. Amagical world. It's theConstantinople of the wholeWestern Appalachian-SusquehannaDrainage system.

RITADo you always joke?

PHILAbout 70 to 80% of the time.Inside I'm actually a very shyand sensitive person.

RITAA lot of people around here thinkyou're not very sincere.

PHILTell me the names of thesepeople.

RITAI'll line up a crew andtransportation. If you don'tfeel like driving, we can all goup in the van together.

PHILI think I'll take my own car.I'm not that fond of my fellowman.

-6-

RITA(exiting)

Nice attitude.

PHILNice face.

(calls after her)Why don't you ride up with me?

RITANo, thanks.

STEPHANIE DECASTRO , an attractive, dark-eyed, dark-hairedcorrespondent, glares at Phil from across the studio.

INT. PHIL'S OFFICE - LATER

Phil is in his cluttered cubicle talking on a headset phonewhile he reviews cassettes of his groundhog spots from the pasttwo years on a small monitor. As he talks, he stuffs a numberof personal items in an overnight bag, all the time watchinghimself on the TV monitor.

PHIL(on the phone)

They don't really think of me asa weatherman around here. Moreof a "personality," but with thecredibility of a first-classbroadcast journalist. Once youlook at my tape I think you'llsee what they mean.

Stephanie enters and stands in the doorway looking at Phil fora long moment. There is something vaguely off-center aboutthis woman, not quite FATAL ATTRACTION but still a littlescary.

STEPHANIE(bitterly)

I just want to know one thing:did I do something wrong or areyou just tired of me or what? Ihave to know.

Phil sighs.

PHIL(on the phone)

Dan, can I call you back? I'vejust been handed something and Ibetter get on it...

(he picks up somepapers and rustlesthem for effect)

...Okay, thanks.

-7-

He takes off the headset, gets up and closes the door forpprriivvaaccyy..

PHIL(kindly)

You didn't do anything wrong,Stephanie, and I'm not tired ofyou. It's just that I don't havetime for a real relationshipright now. I told you that thefirst time we went out.

STEPHANIE(getting close)

Everybody says that at thebeginning of a relationship.

PHIL(gently pushing heraway)

I'm different. I really meantit! Things are really startingto move for me now. I'm notgoing to be doing the weather forthe rest of my life. I was justtalking to the CBS guy about anetwork job. I want that. Thisis just the beginning for me. Ican't waste any more time.

STEPHANIEAre you saying our relationshipwas a waste of time?

PHILOur relationship? We went out atotal of four times! And onlytwice did anything happen. Itwas fun but I don't see that asa big commitment.

STEPHANIE(closing in again)

I had our charts done. Myastrologer says we're extremelycompatible. There may even besome past lives involvement here.

PHILSee? So we've already done this.LLeett''ss mmoovvee oonn.. NNeexxtt ccaassee..

STEPHANIEYou know what's wrong with you,Phil? You're selfish. You don'thave time for anyone butyourself.

-8-

PHILThat's what I'm trying to tellyou. You don't want to be withme. You can do better. Look,Stephanie, if I ever said or didanything to mislead you I'm sorryfor that, but right now I have todo this groundhog thing and Idon't have a handle on it yet.

He throws some papers and his datebook into a briefcase andputs on his jacket.

PHIL (CONT.)I'll tell you what. I'm going todo some serious thinking whileI'm in Punxsutawney, okay?

He pats her on the shoulder and brushes past her, leaving herstanding there with a malevolent look on her face.

CUT TO:

EXT. A HIGHWAY - AFTERNOON

A VAN marked ".Channel 9 Action News" speeds along a two-lanehighway through the winter landscape of West CentralPennsylvania. Mounted atop the van is a microwave transmitter.Rita is riding up front with LARRY, the union cameraman andtechie. Phil is following close behind the van in a new Lexuscoupe. His car has a bumper-sticker that reads "WeathermenLike 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.

INT. THE LEXUS - CONTINUOUS

Phil is talking to one of his girlfriends, sorting through astack of CD's, as usual, grabbing at the good life with bothhands.

PHIL. . . . I thought maybe you couldmeet me up there tonight and letme vulgarize you for about sevenhours....So I'm supposed to spendthe night in Punxsutawney allalone? Thanks.

Phil loads a CD and a great, driving song kicks in.

CUT TO:

A SIGN

"Welcome to Punxsutawney - The Original Weather Capitol of theWorld Since 1887." Depicted on the sign is a large cartoonGROUNDHOG wearing a top hat and clutching an umbrella under hisarm.

The mini-convoy passes some fast food places on the outskirtsof town.

EXT. MAIN STREET - PUNXSUTAWNEY - LATER

The van drives along , the small-town main drag. There arecartoon groundhogs everywhere you look and the whole town hasbeen gaily festooned with banners and bunting.

EXT. MOTEL - LATER

The van pulls into the parking lot at a Quality Inn. Theannouncement billboard in ;front of the motel reads: "GroundhogDay Breakfast Special - Feb.2 - All You Can Eat - $5.99." Theparking area is already crowded with cars including a number ofother news vans. The Lexus pulls in behind the van andeverybody 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.

RITAIt's okay. I'll handle it.

She crosses to the Lexus where Phil is trying to make anothercall on his earphone.

RITAWhat's the problem, Phil?

PHILI hate this place. I stayed heretwo years ago and I wasmiserable. It's like a minimumsecurity prison. I'm not stayinghere.

-10-

RITAYou're not staying here.

PHIL(brightening)

I'm not?

RITANo, Larry and I don't care but Ithought you might, so I bookedyou at a very nice bed andbreakfast on Cherry Street.Here's the address.

She hands him a card.

PHIL(pleased)

Great. That's great. That's themark of a really good producer.Making the talent happy.

RITAWhatever I can do.

PHILReally? Will you be my loveslave?

RITAWhatever I can do within reason.Would you like to have dinnerwith Larry and me?

PHILNo thanks, I've seen Larry eat.Why don't you ditch Larry and letme take you someplace nice?

RITAYou mean like a date?

PHILYeah.

RITAOh, no.

PHILOkay. I get it. You're a littleintimidated by me, you're allexcited about the shoot tomorrow,you want everything to go justperfect. I understand. You justget some sleep. Tomorrow will begreat.

-11-

RRIITTAAWell, that's something to lookforward to. I'll see you in themorning.

He drives off, leaving her standing there shaking her head.

LARRYDid he actually call himself "thetalent?"

Larry snorts and continues unloading their gear.

CUT TO:

EXT. CHERRY STREET - DAWN

The first light of morning colors the sky behind the CherryStreet Inn, a rambling, white Victorian bed and breakfast.

CLOSE UP - CLOCK

A digital clock-radio changes from 5:59 to 6:00 AM. The radiocomes on, playing the end of the Sonny and Cher hit, "I GotYou, Babe."

SUPER: FEBRUARY 2

INT. PHIL'S ROOM - DAWN

Phil sits up in bed and looks around the room. The decor istypical bed and breakfast, flocked wallpaper, framed prints,and an odd assortment of mismatched furniture. His suit ishanging neatly on the back of the closet door and his suitcaseis open on a stand at the foot of the bed, still neatly packed.

A iradio, DEEJAY and his SIDEKICK come on with hyped-up,drivetime Chappy talk." Phil stares at the radio and listensto them.

DEEJAYOkay, campers, rise and shine,and don't forget your bootiesbecause it's COOOLD out theretoday1

Phil grimaces and swings out of bed.

SIDEKICKIItt''ss ccoolldd oouutt tthheerree eevveerryyddaayy..What is this— Miami Beach?

The deejay laughs. Phil shakes his head at the cheesy reparteeas he crosses to the sink and starts brushing his teeth.

-12-

DEEJAYNot hardly. And you can expecthazardous travel later today withthat, you know, blizzard thing—

SIDEKICKThat "blizzard thing?"

Phil splashes some water on his face and prepares to shave.

SIDEKICK (CONT.)Oh, here's the report: theNational Weather Service iscalling for a big blizzard thing.

DEEJAYYes they are, but there's anotherreason today is very special—

SIDEKICKEspecially cold—

DEEJAYEspecially cold, okay, but thebig question on everybody's lips—

SIDEKICKChapped lips—

DEEJAY:—on their chapped lips, right—Do you think Phil's going to comeout and see his shadow?

SIDEKICKPunxsutawney Phil.

Phil looks up at himself in the mirror, admiring his own face.

DEEJAYThat's right, rodent lovers!It's—

BOTH DEEJAYSGroundhog Day1

SOUND EFFECT of GRUNTING GROUNDHOGS.

Phil grunts at his reflection in the mirror.

PHIL(to himself)

Never again.

CUT TO:

-13-

INT. CORRIDOR - DAWN

Phil heads for the breakfast room of the inn, now well-dressedin a suit and tie, a nice overcoat slung over his arm. ACHUBBY MAN passes.

CHUBBY MANMorning .

PHILMorning .

CHUBBY MANThink it'll be an early Spring?

PHILI'm predicting March 21st.

CUT TO:

INT. BREAKFAST ROOM - CONTINUOUS

Phil enters the old library of the house now set up with abreakfast buffet. An old spinet piano stands in the corner.One wall is lined with .bookcases filled with books. A handfulof guests are seated around the room, eating.

The matron of the house, MRS. LANCASTER, spots Phil as shecomes out of the kitchen with a fresh pot of coffee.

MRS. LANCASTERDid you sleep well, Mr. Connors?

PHIL(with mock civility)

Like a Roumanian orphan, Mrs.Lancaster.

MRS. LANCASTERWould you like some coffee?

PHILI don't suppose it1 d be possibleto get an espresso or a capuccinoaround here.

MRS. LANCASTER(blankly)

I don't really know —

PHILForget it. This '11 be fine.

-14-

MRS. LANCASTER(as she pours)

I wonder what the weather's goingto be like for all thefestivities.

PHILMy guess is it'11 be cold andovercast, high today in the low30's, dropping to the low 20'stonight, but I'm predicting thatall that moisture coming up fromthe Gulf is going to miss us anddump some locally heavy snow,possibly blizzard conditions withtravel advisories in theHarrisburg area and maybe as fareast as .Philadelphia.

(off her surprisedlook)

You want to talk weather, youasked the right guy.

He heads for the door.

;MRS. LANCASTER •:Oh, will you be checking outtoday, Mr. Connors?

PHILUnfortunately yes.

Phil exits.

CUT TO:

EXT. BOARDING HOUSE - MOMENTS LATER

Sipping at the steaming coffee, Phil manages to put on his coatand gloves as he descends the front steps of the house andjoins the flow of pedestrian traffic on the street.

EXT. MAIN STREET -KPUNXSUTAWNEY - CONTINUOUS

There are a lot of people on the street for this hour. Trafficis so heavy in fact, the pedestrians are moving faster than thecars. Everyone seems to be going in the same direction, makingthe annual trek to see the groundhog.

An OLD BUM is sitting on the sidewalk leaning against astorefront. Someone throws him a coin. Phil walks by withouttaking any notice.

MAN (O.C.)Hey, Phil!

-15-

A big pie-faced man, NED RYERSON, comes huffing and puffingright up to him. There is something about this guy that makesus dislike him on sight.

NEDPhil! Phil Connors! I thoughtthat was you!

Phil looks at him vaguely.

PHIL(at a loss)

I'm sorry. Have we— uh—

NEDMy oh my! Phil Connors. Don'tsay you don't remember me, 'causeI sure as heckrfire remember you.Well?

Phil stares, trying to remember.

NEDNed Ryerson? Needlenose Ned?Ned the Head. Come on, buddy.Case Western High?

PHILNed?

NEDI see you clicking through thatbrain of yours. Click-click,click-click, click-click—Bing!Ned Ryerson, did the whistlingtrick with my belly button in thetalent show. Bing! Ned Ryerson,got the shingles real bad senior^year^ almost didn't graduate.Bing again! Ned Ryerson, wentout with your sister Mary Pat acouple of times— 'til you toldme not to anymore. Well?

PHIL(resigned)

Ned Ryerson.

NEDBing!

PHILSo what're you doing withyourself, Ned?

NEDPhil, I sell insurance.

- 1 6 -

PHIL(sorry he asked)

No kidding.

NEDDo you have life insurance, Phil?'Cause if you do, I bet you coulduse more— who couldn't?—but Igot a feeling you don't have any.Am I right?

PHILYou know, Ned, I'd love to talkto you but I really have to—

Phil starts to walk away,,but Ned won't take the hint.

NEDThat's okay. I'll walk with you.When I see an opportunity, Icharge it, like a bull. Ned theBull, that's me now. Some of myfriends live and die by actuarialtables, but I think it's all justa crap shoot anyhoo. Ever heardof single .premium life? Thatcould be the ticket for you,buddy. God, it's good to seeyou! Hey, what're you doing fordinner?

PHILDinner? Umm, I don't thinkthat's going to work for me.

As they continue walking, Phil steps into what looks like ashallow puddle and ends up ankle deep in wet slush. Ned laughslike a donkey.

NEDHey, look out for that firststep! It's a doozy!

Phil looks at him with murderous contempt.

CUT TO:

EXT. GOBBLER'S KNOB - DAWN

A big crowd is standing in a park-like clearing off aresidential street. They are gathered around a large mound ofdirt enclosed by a rail fence, waiting for the big moment. Fora cold gray dawn, there is the atmosphere of a festival here.

An area close to the mound is roped off for news reporters andcameras. Rita stands there, a pocket of genuine beauty in thissea of potbellied old union guys and blow-dried reporters.

-17-

Stomping her feet against the cold, Rita looks at her watch andggllaanncceess aarroouunndd.. LLaarrrryy,, tthhee ccaammeerraammaann,, jjuusstt llooookkss bboorreedd..

RITAHow could he be late?

LARRYPrima donnas.

RITAIt's just so— inconsiderate.

LARRYWhat happens to some people?They're born nice. They grow upnice. You put 'em on TV and -bam! Prima donnas.

Rita spots Phil heading into the crowd.

RITAHere he comes. Phil! Hey, Phil.Over here!

Phil joins them in the press area. Rita pulls him to his marknear the rail fence.

RITAWhere've you been?

PHILI got hung up with some jerk Iwent to high school with. So,did you sleep okay without me?You tossed and turned, didn'tyou?

Rita holds up a slate for Larry to ID the tape.

RITAYou're incredible.

PHILWho told you?

RITAReady when you are.

Phil takes the microphone from Rita and positions himselfagainst the fence.

The Groundhog Club Officials in top hats, striped trousers andcutaway coats parade out to the burrow that houses PunxsutawneyPhil.

RITALooks like they're starting.Roll tape.

-18-

LARRYRolling.

Rita silently counts down from five and cues Phil who instantlysnaps into announce mode.

PHIL(to camera)

Once a year, the eyes of thenation turn here, to this tinyhamlet in Pennsylvania, to watcha master at work. The master?Punxsutawney Phil, the world'smost famous weatherman, thegroundhog, who, as legend has it,can predict the coming of anearly spring.

Rita turns to Larry. This is impressive— so far, so good.

A Groundhog Club Official kneels at the burrow andceremoniously knocks on the small wooden door, then opens itand retreats.

PHILAAnndd hheerree''ss tthhee bbiigg mmoommeenntt wwee''vveeaallll bbeeeenn wwaaiittiinngg ffoorr.. LLeett''ss jjuussttsee what Mr. Groundhog has tosay.

The groundhog sticks his head out, looks around, steps out ofthe hole, and runs over to the other side of the mound, aboutas far away from the cameras as he can get.

PHILHey! Over here, you littleweasel!

Larry zooms in as far as he can but the best he can manage isa close-up of the groundhog's back. The groundhog stands therea moment, his body casting a long shadow, then he lets out asqueak and runs back into the hole.

PHILGreat shot, huh, folks? Well,that was certainly worth thetrip. Now we'll be hearing fromMr. Buster Greene, President ofthe Punxsutawney Groundhog Club,the so-called Seer of Seers whowill interpret for us.

BUSTER GREENE, dressed up in his top hat and cutaway coat,walks onto the mound and hushes the crowd.

-19-

BBUUSSTTEERRHe came out, and he saw hisshadow. Sorry, ladies andgentlemen, but it looks like it'sgoing to be a long winter.

The crowd lets out a good-natured "Awwwwww" in disappointment.

PHIL(sarcastic, to camera)

Well, that's it. Sorry youcouldn't be here in person toshare the electric moment. Thisis one event where televisonreally fails to capture theexcitement of thousands of peoplegathered to watch a largesquirrel predict the weather, andI for one am deeply grateful tohave been a part of it.Reporting for Channel 9, this isPhil Connors.

Larry cuts the camera.

RITA((ttoo PPhhiill))

You want to try one that's alittle sweeter?

PHIL(to Rita)

That's as sweet as I get. I'mouta here.

As he exits, Phil tosses the mike to Larry, who isn't expectingthe throw and bobbles it, dropping the mike on the ground.

LARRY(mutters)

Prima donnas.

CUT TO:

INT. DINER - LATER

Phil is sitting alone having a cup of coffee in a busy, loudand lively cafe. Rita enters, sees him sitting there, crossesto his table and sits down across from him.

RITAThat was really lousy.

PHILIs it my fault the little ratwent south on us?

-20-

RITAA real professional would havehandled it. You acted like itwas a personal insult. Who doyou think you are — Wolf Blitzer?

PHILGod, you really take this stuffseriously, don't you.

RITAYes, I do. As far as I'mconcerned there are no littlestories, Phil. Only littlereporters with big egos who thinkthey're too good for the job theyhave to do.

PHIL(trying to look hurt)

You really don't know me verywell, do you. 'Cause if you didyou could never say somethinglike that about me. I care!Call me a cockeyed optimist butI happen to think there's more tothis job than just getting myugly mug on the boob tube everynight.

RITAIs that so.

PHILYes, that is so.

Rita is so irritated by him she can't even respond.

Phil looks at her evenly for a long moment.

PHILSo as far as us getting together,would you say the glass is halfempty or half full?

Larry pokes his head in the doorway, looks around, spots Ritaand makes his way over to their table.

LARRY(to Rita)

You ready? We better get goingif we ' re going to stay ahead ofthe weather.

PHILYou don't have to rush off, youknow. That storm is 'going tomiss us completely.

-21-

RRIITTAANice working with you, Phil. Seeyou around.

Rita walks away, leaving him sitting alone.

CUT TO:«*

EXT. HIGHWAY - DAY

Phil's Lexus is driving down the highway. Light snow is juststarting to fall.

PHIL(V.O)(on the earphone)

I'll call you after I see thenetwork guy. I should be backthere in a couple ofhours...What?...1 can't hear you—you're breaking up...Hello?Sabrina?

INT. THE CAR - CONTINUOUS

PPPhhhiiilll iiisss gggeeettttttiiinnnggg aaannnnnnoooyyyeeeddd aaasss ttthhheee ppphhhooonnneee cccooonnnnnneeeccctttiiiooonnn dddeeettteeerrriiiooorrraaattteeesss...The snow is getting heavier. Phil switches on the windshieldwipers.

PHILSabrina? Can you hear me? Shit!

He slams the phone back into it's cradle, then looks up andnotices slow traffic up ahead. He honks his horn as thetraffic comes to a complete stop. He keeps honking but nothingmoves.

He rolls down the window and looks up ahead. The highway is aparking lot.

PHILNo. No!

EXT. THE CAR - CONTINUOUS

Phil jumps out and begins to walk down the highway, past theparked cars, shivering in his light sweater and silk sportshirt. The snowfall is getting heavier and the wind is pickinup. The snow comes down unnaturally hard and fast. He walkson, slipping and sliding in his expensive loafers until he

j comes to a police roadblock up ahead, manned by TWO HIGHWAY"J PATROLMEN.

PHILWhat's going on, Officer?

-22-

PPAATTRROOLLMMAANNNothin's goin1 on. We're closin1the road. Big accident up ahead.Blizzard movin1 in.

PHILWhat blizzard? A couple offlakes! An isolated phenomenonof nature.

PATROLMANAre you nuts? We got a majorstorm movin' in.

PHILNo, no. All that moisture isgoing to miss us and hitHarrisburg.

PATROLMANPal, you got that moisture onyour head.

PHILBut I have to get to Pittsburghtoday!

PATROLMANMister, the only place anybody'sgoin' on this road is back toPunxsutawney.

Phil glowers at him and shivers.

CUT TO:

INT. GAS STATION - LATER

Phil is on a pay phone. Snow is falling heavily outside.GAS STATION ATTENDANT is shovelling around the pumps.

PHILSo all the long distance linesare down? What about thesatellite? Is it snowing inspace?...But I have to callPittsburgh...Isn't there somespecial line you keep open foremergencies or forcelebrities?...Well, I'm bothreally. I'm a celebrity in anemergency. Can you patch methrough on that line?

-23-

The door opens and Phil is blasted with frigid Arctic wind andblowing snow. The GAS STATION ATTENDANT enters the tiny officeand in trying to squeeze past Phil accidentally bangs him onthe head with his snow shovel.

CUT TO:

INT. HOTEL BAR - EVENING

Phil is at the bar in Punxsutawney ' s oldest and best hotel , thePennsylvanian. He looks very bored, drinking a beer,unsuccessfully hustling an attractive local girl named NANCY.

PHILYou never saw me on TV-- on thenews?

NANCYI don't think so. What part ofthe news do you do?

PHILI ' m the White House correspondentfor NBC news.

NANCYOh , I ' m so sure .

PHILAsk me anything?

NANCYOkay, how big is the White House?

PHILThree bedrooms, two and a halfbaths. Looks much bigger than it

, is.

Nancy just stares at him, clearly not into his sense of humor.

Suddenly, a BRIDE in full white wedding gown and veil rushesinto the bar, crying and shouting. A gaggle of BRIDESMAIDSflutters around her trying to coax her back to her own weddingbut she won't budge. Then the GROOM, wearing a bad rented tux,comes storming in and tries to drag her back, until the BESTMAN restrains him and the bridesmaids hustle the bride away.

Phil watches the whole drama play out, then turns back toNancy .

PHILGood start. I'm sure they'll bevery happy. So what do you say?You want to play doggie obedienceschool with me?

-24-

NANCYThanks. I'll pass.

She gets up to leave.

PHILSit! Stay!

He watches her go, then tosses a tip on the bar and exitssomewhat unsteadily.

CUT TO:

INSERT - A THICK BOOK

The cover reads "101 Curses, Spells and Enchantments You Can Doat Home." A well-manicured feminine hand opens the book to amarked page .

INT. CHERRY STREET INN - NIGHT - SAME TIME

Phil enters his room and drunkenly tosses his overcoat, scarfand gloves on the floor in a heap.

INT. STEPHANIE'S BEDROOM - NIGHT

Stephanie Decastro, Phil ' s disaffected ex-lover, is sittingcross-legged on the floor with the book of curses open in frontof her. Her hair is down, she's wearing a caftan with a Zodiacprint, there are candles everywhere and other vaguely occultdecorating touches.

INSERT

Phil's business card is dropped into a dish. Then the Tarotcard of the Hanged Man, a chicken bone, and a feather areplaced 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 secretlanguage, then she sprinkles some powder on the plate, then afew drops of oil. Then she makes a few passes over it with herhands and, much to her surprise, the contents of the platespontaneously combust.

PHIL

As he crosses to the bed, he accidentally knocks over thesuitcase stand, spilling his clothes out onto the floor.

-25-

He contemplates picking them up for a moment, decides to leavethem there, and flops down on the bed. He lies there lookingu up at the ceiling until the room starts to spin around, thenhe closes his eyes and quickly drops off to sleep, still fullyclothed.

STEPHANIE

To complete the spell, she picks up a broken wristwatch anddrops it into the fire.

INSERT

Phil's business card, the Hanged Man and the broken watch inflames. The watch crystal is cracked and the hands are frozenat 5:59.

DISSOLVE TO:

CLOSE UP - CLOCK

The digital clock-radio changes from 5:59 to 6:00 AM. Theradio comes on, playing the end of the Sonny and Cher hit, "IGot You, Babe," just as it did the day before.

INT. PHIL'S ROOM - DAWN

Phil sits up in bed, quickly alert, and looks around the room.Something is wrong. He's wearing pajamas, his suit is onceagain hanging neatly on the closet door and his suitcase isback on its stand at the foot of the bed, again neatly packed.

The song ends and the same radio deejay and his sidekick comeon with the same manic energy. Phil stares at the radio andlistens to them. A look of astonishment comes over his face asthey banter.

DEEJAYOkay, campers, rise and shine,and don't forget your bootiesbecause it's COOOLD out theretoday!

SIDEKICKIt's cold out there everyday.What is this— Miami Beach?

The deejay laughs. Phil "mock" laughs at exactly the sametime, recognizing the repartee from the previous morning.

PHIL(to himself)

Nice going guys. That'syesterday's tape.

Phil crosses to the sink and gets a towel off the rack, onlyhalf-listening to the radio.

-26-

DEEJAYNot hardly. Expect hazardoustravel later today with that, youknow, blizzard thing —

SIDEKICKThat "blizzard thing?"

Phil turns on the water and splashes some on his face as iftrying to wake himself up, vaguely disturbed by the repetitionof the broadcast.

SIDEKICK (CONT.)Oh, here's the report: theNational Weather Service iscalling for a big blizzardthing."

DEEJAYYes they are, but there's anotherreason today is very special —

SIDEKICKEspecially cold —

DEEJAYEspecially cold, okay, but thebig question on everybody's lips —

Phil supplies the next line in unison with the radio.

SIDEKICK AND PHILChapped lips —

DEEJAY— on their chapped lips, right —Do you think Phil's going to comeout and see his shadow?

SIDEKICKPunxsutawney Phil.

Some vague doubt causes Phil to go to the window.

DEEJAYThat's right, rodent lovers!It's—

BOTH DEEJAYSGroundhog Day!

SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back thecurtains and looks out.

HIS POV

The street is full of people heading toward Gobbler's Knob,exactly as they did the day before.

-27-

PHIL(aghast)

What the hell?

CUT TO:

INT. BED AND BREAKFAST - DAWN

Phil rushes out into the corridor, hastily tying his tie, hissuit jacket and overcoat over his arm. As he heads for thebreakfast room, the same Chubby Man passes.

CHUBBY MANMorning.

PHILMorning.

CHUBBY MANThink 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 intohis eyes.

PHILDon'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 thepoor man.

PHILOkay. Sorry. I'm having a badday.

Phil walks on, leaving the chubby man baffled and insulted.

CHUBBY MAN(to himself)

I'll say.

-28-

INT. BREAKFAST ROOM - CONTINUOUS

Phil enters the old library of the house and finds everythingexactly as it was the day before. Mrs. Lancaster spots Phil asshe comes out of the kitchen with the fresh pot of coffee.

MRS. LANCASTERDid you sleep well, Mr. Connors?

PHIL(completely confused)

Did I? I don't know—

MRS. LANCASTERWould you like some coffee?

PHILYes, thank you. I'm feeling alittle strange.

MRS. LANCASTER(as she pours)

I wonder what the weather's goingto be like for all thefestivities.

PHILDid you ever have deja vu, Mrs.Lancaster?

MRS. LANCASTERIs that the Italian dessert withthe brandy and the chocolatemousse?

PHILNo, that's spaghetti. Nevermind.

He heads for the door, still in a daze.

MRS. LANCASTEROh, will you be checking outtoday, Mr. Connors?

PHIL(vaguely)

I don't know. I don't think so.I'll tell you after I wake up.

Phil exits.

CUT TO:

-29-

EXT. BOARDING HOUSE - MOMENTS LATER

Phil gulps down the steaming coffee, still trying to wake upfrom what he assumes is a dream, and descends the front stepsof the house. He accosts a PASSERBY.

PHILMa'am? Excuse me. Where'severybody going?

PASSERBYTo Gobbler's Knob. It'sGroundhog Day!

The coffee cup drops from Phil's hand as he stands there open-mouthed. Then he slaps his own face and shakes his head as iftrying to clear it and starts off down the street.

EXT. MAIN STREET - PUNXSUTAWNEY - CONTINUOUS

Phil rushes down the street, again failing to notice the OLDBUM sitting on the sidewalk leaning against a storefront.

NED RYERSON (O.C.)Hey, Phil!

Ned Ryerson approaches with the same obnoxious attitude.

NEDPhil! Phil Connors! I thoughtthat was you!

Phil just stares at him and keeps walking.

NEDMy oh my! Phil Connors. Don'tsay you don't remember me, 'causeI sure as heck-fire remember you.Well?

PHILNed Ryerson?

NEDBing! First shot right out ofthe box. So how's it going, ol'buddy?

PHILTo tell you the truth, Neddy, I'mnot feeling real well. Could youexcuse me?

NEDNow it's funny you should mentionyour health 'cause you'll neverguess what I do.

-30-

PHIL(very distressed anddesperate to get awayfrom this guy)

Do you sell insurance, Ned?

NEDBing again! You're sharp as atack today. Do you have lifeinsurance, Phil? 'Cause if youdo, I bet you could use more —who couldn't?" — but I got afeeling you don't have any. AmI right?

PHIL(really annoyed now)

Did I say "fuck off, " Ned? Ican't talk to you right now.

He backs away from Ned and steps right into the same deep,slushy puddle he stepped in the day before.

NED(braying)

Hey, look .out for that first v

step. It's a doozyi

Phil looks down at his wet shoes and cuffs and stumbles offtoward Gobbler's Knob.

CUT TO:

EXT . GOBBLER ' S KNOB - DAWN

The crowd is gathered as before for the big moment.

In the press area, Rita is having the same dialogue with Larry,when she spots Phil heading into the crowd.

RITAHere he comes. Phill Hey, Phil!Over here!

Phil waves to her and heads straight for an obscure corner ofthe Knob, gesturing for her to follow.

Larry shakes his head as Rita charges through the crowd towardPhil. She catches up to him just as he is scratching a mark inthe snow with his foot. She notices immediately that he isuncharacteristically dishevelled, his tie askew, his hairmussed.

RITAWhere ' ve you been?

-31-

PHIL(nervous, sweat ing)

I've got to talk to you. I thinkI'm losing my mind.

. RITAI know you're losing it. Whatare you doing over here? Thecamera's over there.

PHILSlap me, Rita.

RITAWhat is this?

PHIL(insistent)

Just slap me— hard.

She gives up and taps him lightly on the cheek.

PHILI said hardl

. . . . ... .RITA .I can't!

PHILDo it!

Rita shrugs and slaps him very hard.

PHIL(his cheek smarting)

Better. Almost too hard, Rita.

RITAAre you drunk?

PHILNo, drunk is more fun. Can I beserious with you for a minute?

RITAI don't know. Can you?

PHILYes. I'm being serious. I'mhaving a problem— no, I may behaving a problem.

RITAWhat are you trying to say?

-32-

PHILI'm trying to say that if I washaving a problem, justhypothetical ly, I'd like to knowthat you're someone I could counton in a crisis.

RITA(worried)

What did you do last night?

The crowd begins to hush.

LARRYWe better get started. We'regoing to miss it.

PHILWere not going to miss it.

(indicating the otherreporters)

They're going to miss it.

RITA(emphatic)

Phil. We've been out here for anhour. We're cold and tired.Let's just get this and get outof here.

PHILOkay, put it here.

RITAWhat?

PHILPut the camera here .

Rita takes a forlorn glance towards the press area, where allof the other cameras are set up .

RITAPhil , there is no tomorrow onthis one. It's Groundhog Day.

PHILWe were in the wrong spotyesterday .

RITA(irked)

What? Yesterday? What are youtalking about?

PHILJust trust me. Put the camerahere .

-33-

Rita looks at him like he's crazy, then looks at her watch andgives up.

RITALarry!

She charges off toward the cameras.

In the Press Area, several reporters are already talking totheir cameras, dribbling on about how "He could appear anysecond now." Rita and Larry grab their gear and rush back toPhil.

Larry hurriedly sets up the camera.

LARRYYou want me to roll tape?

RITA(to Phil)

Are you going to get on yourmark?

PHILNo hurry.

Larry glances over at the other news reporters, all talking totheir cameras and pointing towards the mound.

LARRY(desperately)

Everyone else is rolling!

Rita looks helplessly at Phil.

RITAI'm begging you, all right?Gould we please just do this?

Phil glances down at his watch.

PHILOkay, let's do it.

He crosses over to Larry and taps him on the shoulder.

PHILRoll tape.

LARRY(mumbling)

Prima donnas.

Phil takes the microphone from Rita and positions himselfagainst the fence.

LARRYRolling.

-34-

Phil does a similar intro to the one he did before, though thistime 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'sKnob waiting in the cold for theappearance of the most famousgroundhog in the world,Punxsutawney Phil, who's going totell us just how much more ofthis 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 experimentalprediction, recalling the previous day.

PHILMy forecast is we're going to seethe groundhog peek its head outof its hole, look around a littlebit, then he's going to come out,scamper over to this generalarea, look at the crowd for asecond, make a little burpingnoise and run back into theground.

RITA(whispers to Larry)

That's it. I'm going to killhim.

Phil looks at his watch.

PHILOkay? And here we go—

Phil points to the hole and Larry zooms in.

The groundhog sticks his head out, looks left, looks right,steps out of the hole, and runs away from the press pool,directly over to Larry's camera. As he stands there, his bodycasts a long shadow. The groundhog looks right into thecamera, lets out a squeak, and runs back into the hole.

Rita and Larry are completely amazed as the crowd cheers thebrief appearance of the groundhog. Larry pans back to Phil.

Phil just stands there speechless, staring at the groundhogburrow.

-35-

RITA(hisses)

Phil!

Buster Greene, the Groundhog club official, walks onto themound and hushes the crowd, exactly as before.

BUSTERHe came out, and he saw hisshadow. Sorry, ladies andgentlemen, but it looks like it'sgoing to be a long winter.

Again the crowd lets out a good-natured "Awwwwww" indisappointment.

Larry pans back to Phil just in time to see him walking away ina fog, without signing off. Then he pans back to Rita.

RITA(at a loss)

For Channel 9 News, this is RitaHanson in Punxsutawney.

She holds for a moment then makes the cut sign, drawing herfinger across her throat.

CUT TO:

INT; PHIL'S ROOM - LATER

Phil is on the phone desperately trying to make a call.

PHIL(on the phone)

I know there's a blizzard, but Ihave to get a call through to mydoctor in Pittsburgh. It's amedical emergency. . . .No, don'tgive me the Punxsutawney FireDepartment. When do you thinkthe long distance lines will beworking again?. . . But what if wedon't have a tomorrow? We didn'thave one today, my friend...Hello...Hello?

He hangs up and shakes his head which is now really starting toache, then he pops a handful of Tylenol, lies down and pullsthe covers up over his head. A moment later, he sits up, takesa pencil from the nightstand, breaks it in half and puts thepieces back on the nightstand. Then he lies back down andretreats back under the covers.

CUT TO:

-36-

CLOSE UP - CLOCK

The digital clock-radio changes from 5:59 to 6:00 AM. Theradio comes on, playing the end of the Sonny and Cher hit, "IGot You, Babe," just as it did the day before.

INT. PHIL'S ROOM - DAWN

Phil sits up in bed fearing the worst and looks on thenightstand. The pencil is whole again. Completely stunned bythe phenomenon, he jumps out of bed and starts dressinghurriedly as the morning Deejays begin their now familiar rap.

DEEJAYOkay, campers, rise and shine,and don't forget your bootiesbecause it's COOOLD out theretoday!

SIDEKICKIt's cold out there everyday.What is this— Miami Beach?

Phil rushes out of the room.

CUT TO:

EXT. CHERRY STREET - LATER

Phil hurries toward the bed and breakfast carrying two gallonbuckets of paint, and a couple of big bags from a hardwarestore.

INT. BED AND BREAKFAST - CONTINUOUS

Phil enters and passes Mrs. Lancaster in the breakfast room.

MRS. LANCASTERPainting something, Mr. Connors?

PHILI'm conducting an experiment.

INT. PHIL'S ROOM - LATER

Phil enters and dumps the bags on the bed. Out fall a coupleof big paintbrushes, a small sledgehammer, a handsaw, acrowbar, plastic goggles and assorted other tools. He puts onthe goggles, grabs a hammer and some nails and starts nailingthe door shut.

CUT TO:

-37-

EXT. CORRIDOR - LATER

Mrs. Lancaster and several other guests are gathered in thehall outside Phil's room, listening at the door and lookingvery worried. Loud music is playing inside the room.

From inside the room, they hear the sound of loud hammering,wood splintering and glass breaking.

INT. PHIL'S ROOM - CONTINUOUS

Phil, has demolished just about all the furniture and woodworkin the room. He rips off the last of the wooden moldings withthe crowbar, then crosses to the mirror over the demolishedsink.

Phil stands there, staring at his image in the mirror, tryingto figure out what's happening to him. He starts breathingheavier, as if gathering courage, then, just when we think he'sgoing to cut off his ear or something, he raises an electricbarber clipper and shaves a bald stripe up the middle of hishead. He studies his new look for a moment then smashes themirror with his sledgehammer.

Then he opens the cans of paint, dips the two big brushes intothe cans and starts slapping bright red paint onto the walls,madly, feverishly, splashing himself and everything else in theroom 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 offeathers.

Finally, Phil falls exhausted on the bed. From outside we canhear outraged hotel employees pounding on the door.

We pan over to the clock radio, the only undamaged object inthe room. Feathers drift down past the face of the clock whichreads 5:59 AM. The time changes to 6:00, the radio clicks onand "I Got You, Babe" starts playing as we pan back to Philsleeping on the bed.

He opens his eyes, jumps out of bed and looks around. Nopaint, no feathers, no damage. Everything is as clean and tidyas the day he checked in.

He races over to the unbroken mirror and looks at himself. Hishair is completely restored, as if it had never been shaved.

The song ends and the deejays come on. Phil says every wordright along with them, shocked into a state of completewonderment.

-38-

PHIL AND DEEJAYOkay, campers, rise and shine,and don't forget your bootiesbecause it's COOOLD out theretoday.

PHIL AND SIDEKICKIt's cold out there everyday.What is this — Miami Beach?

The deejay laughs. Phil laughs insanely along with him.

CUT TO:

EXT . GOBBLER ' S KNOB - EARLY MORNING

Phil is wrapping up another groundhog report, trying to becompletely professional despite the circumstances.

PHIL(with forced goodhumor)

. .. S o according to Mr. GroundhogI guess we can expect six moreweeks of winter. It's not veryscientific, but it sure is fun.Hey, wait a second. If he'sright, I could be out of a job!

(mock laugh)For Channel 9 News, this is PhilConnors in Punxsutawney .

He holds until Larry stops tape, then approaches Rita.

PHILHow was that?

RITA(pleased)

It was good. A little smarmy formy taste, but I guess that's whatsells.

PHILCould I talk to you about amatter that is not work related?

RITAYou never talk about work.

PHILDo you know what I did lastnight?

RITADo I want to know?

-39-

PPHHIILLI destroyed my hotel room.

RITAYou whatl This is not some kindof rock and roll tour. We don'thave the budget for that—

PHILNo, it's okay. This morning itwas all right again. That's whatI have to talk to you about.

RITAPhil, what are you doing?

CUT TO:

EXT. MAIN STREET - A BIT LATER

Phil and Rita cross the street and walk past a crowd ofconcerned citizens gathered around what looks like a caraccident. As an ambulance arrives, Phil and Rita enter thecozy looking diner on the corner.

INT. DINER.- CONTINUOUS

Phil and Rita sit together at the same table they hadpreviously. 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.

RITAThanks.

(to Phil)Okay, so tell me. How'd you knowwhere to put the camera?

PHILBecause I've done it before.

RITAI know, but the groundhog doesn'tdo exactly the same thing everyyear, does he?

-40-

PHILI'm not talking about last year.I'm talking about today. I livedit before.

RITAYou're having deja vu?

PHILBig time. Rita, I know it's nutsbut I keep reliving the same dayover and over— Groundhog Day—today. This is the third time.

RITA(completely skeptical)

Uh-huh. I'm waiting for thepunchline.

PHILNo, really. It's like todaynever happened. I shaved my headlast night, today its all grownback. I could probably cut offmy limbs, one by one, and - pop!They'd grow back. Just like astarfish. I probably don't evenhave to floss?

RITAI'm wracking my brain, but Ican't even begin to imagine whyyou'd make up something likethis.

PHIL'Cause I'm not making it up. I'masking for your help.

Rita looks at him for a long moment.

RITAOkay, I'll bite. What do youwant me to do?

PHILThe truth? I'd 1ike you to spendthe next 24 hours with me anddon't leave my side for a second.

RITAI see. You know, Phil, you cancharm all the little P.A.'s atthe station, all the secretaries,and even some of the weekendanchors, but not me— not in athousand years.

-41-

PHILWait a second—

RITANot if I was dying and yourbreath was the only cure; not ifhaving your child was the onlyway to preserve the human race.Just get it out of your headbecause it is NOT GOING TOHAPPEN!

PHILSo much for the truth.

Larry pokes his head in the doorway, looks around, spots Ritaand makes his way over to their table.

LARRY(to Rita)

You ready? We better get goingif we're going to stay ahead ofthe weather.

RITAYeah, ,I'm.ready, Larry.

(exiting)Good luck, Phil.

CUT TO:

INSERT

X-rays of Phil's skull are slapped up onto a light box.

INT. MEDICAL CLINIC - DAY

Phil is having his head examined by a NEUROLOGIST.

NEUROLOGISTNo spots, no tumors, no lesions,no clots, no aneurisms.Everything looks fine and dandyto me, Mr. Connors. Have youconsidered psychiatric help?

CUT TO:

INT. PSYCHOLOGIST'S OFFICE - DAY

Punxsutawney's only PSYCHOLOGIST is a marriage and familycounselor at the local Lutheran church. His appearance andmanner indicate he may have some serious problems of his own.

-42-

PSYCHOLOGIST(not too confident)

That's kind of an unusualproblem, Mr. Connors. Most of mywork is with couples andfamilies.

Phil is lying on a couch. His head is completely shaved.

PHILYeah, but you're still apsychologist. You must have hadsome course in school thatcovered this kind of thing.

PSYCHOLOGISTSort of, I guess. AbnormalPsychology.

PHILSo based on that what would yousay?

PSYCHOLOGIST(hesitant)

I'd say that maybe you're — Idon't know* — a little delusional.

PHILYou're saying this thing is notreally happening to me?

PSYCHOLOGISTUh-huh.

PHILThen how do I know thisconversation is really happening?

PSYCHOLOGISTI guess you don't.

PHILThen forget about me paying you.

A discreet little alarm sounds.

PSYCHOLOGIST(relieved)

I'm afraid that's all the time wehave, Mr. Connors.

PHILWait! Are you saying I'm crazy?

-43-

PSYCHOLOGIST(humoring him)

Not necessarily. If it concernsyou we should schedule our nextsession as soon as possible.How's tomorrow for you?

Phil glowers at him.

CUT TO:

INSERT - A MODEL OF THE SOLAR SYSTEM

A SCIENTIST in a white lab coat is holding up the model. Phillooks on with interest.

SCIENTIST(authoritatively)

Now if the moon exerts agravitational pull strong enoughto cause the tides, .then it maybe theoretically possible for aBlack Hole or a Singularity ofsufficient magnitude to actuallybend time enough to cause it tofold back ,on itself.

PPHHIILLYou think that's a realisticpossibility?

A paper airplane sails past his head, accompanied by a noisyoutburst of juvenile laughter. We pull back to REVEAL:

INT. CLASSROOM - DAY

Twenty-five eighth-graders running amok.

SCIENTIST(sternly)

All right! I think someone mayjust need a little visit to theAssistant Principal's office!Get back in your seats. The bellhas not rung yet.

The kids sit back down, but keep up their noisy chatter.

SCIENTIST(to Phil)

Well, I'm speaking purelyhypothetically.

CUT TO:

-44-

INT. SCHOOL CORRIDOR - LATER

Phil is walking toward the exit when he passes a first gradeclassroom. The door is open and the TEACHER is discussing astory with the class.

TEACHERSo the princess picked up thefrog and kissed him.

Phil stops outside the door to listen.

INT. CLASSROOM - CONTINUOUS

TEACHERNow who can tell me what happenedwhen the princess kissed thefrog.

LITTLE BOYHer lips got slimed!

The whole class erupts in giggles and shrieks.

TEACHEROkay, come on now. What happenedwhen she kissed the frog?

LITTLE GIRLThe princess kissed the frog andthe spell got broke and he turnedinto a handsome prince and theygot married and lived happilyever after.

TEACHERThat's right.

INT. THE CORRIDOR - SAME TIME

Phil is leaning against the wall listening. There is somethingvery arresting about the fairy tale, but finally he just shakeshis head and exits.

CUT TO:

INT. DEW DROP INN - LATER THAT NIGHT

Phil is at a bar getting drunk with two local blue-collarworkers, GUS and PHIL.

PHILGus, what would you do if therewas no tomorrow?

-45-

GUSYou mean like if the world wasgonna end?

PHILNo, I mean like if it was nevergoing to end. If everyday wasthe same and you were stuck hereand you couldn't get out andnothing you did mattered?

GUSYou're right. Everyday is thesame, I can't get out of here andnothin' I do matters.

V RALPHNo, he's askin1 you a question,ya idiot.

GUSWhat was the question?

RALPHWhat if nothing mattered?! Jeez,I know what I'd do. I ' d j ustspend all my time drivin' fast,gettin1 loaded and gettin' laid.That's it.

PHILThat's it. It just doesn't getany better than this, does it?Good friends, good conversationand quality brew. Drink up,boys.

They salute each other and drink.

CUT TO:

EXT. THE STREET - LATER

Phil, Gus and Ralph approach Ralph's big, black, old Buickconvertible parked outside the bar. They are even drunker thanthey were before.

RALPH(fumbling with hiscarkeys)

Where you stayin', Phil? We'lldrop you off.

PHILHey, friends don't let friendsdrive drunk. Give me your keys.

-46-

He's as wasted as they are, but Ralph hands over his keyswithout a fight.

RALPHThanks , man .

PHILIt'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 diggingaround in the seat cracks for their seatbelts. Suddenly, Philfloors the accelerator and peels away, sideswiping a parked caras he screeches around the corner.

INT. THE BUICK - CONTINUOUS

Phil is having a great time. Gus and Ralph are whooping it uplike kids on a roller coaster.

PHILThis is great, Ralph!

RALPHOh, hey, take a left!

Phil passes the intersection.

RALPHYou missed it!

PHILNo problem —

EXT . MAIN STREET - CONTINUOUS

Phil throws the car into a high-speed, skidding U-turn, goes upon the curb, across a couple of lawns, takes out a mailbox anda STOP sign and bounces back onto the street.

A POLICE CAR parked in front of the hardware store pulls outand takes off after him.

INT. THE BUICK - CONTINUOUS

Phil swerves in and out of oncoming traffic. Gus is startingto look a little green.

PHILSo many rules —

-47-

RALPHYou can say that again.

PHIL"Don't do this—"

EXT. THE STREET - CONTINUOUS

The Buick demolishes a parked car.

PHIL (V.O.)"Don't do that — "

He mows down a row of parking meters.

POLICE CAR

It comes screaming around a corner in hot pursuit of the Buick

INT. THE BUICK - CONTINUOUS

Ralph hears the siren and looks back at the police car.

All right! Try and stop us, youmothers !

PHILNo more rules!

RALPHNo more rules!

EXT. THE STREET - CONTINUOUS

A second police car joins the chase.

RALPH(looking back)

That's two!

PHILHaving a good time?

RALPHI'm having a great time!

Phil speeds up to a hundred miles and hour. Gus is lookingeven worse from the liquor and the motion of the car.

GUSHey, uh —

PHILPhil.

-48-

GUSYeah, Phil— like the groundhog.

PHILRight.

GUSHey, Phil? How're we going toget 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 totrust me on this one.

He tromps the gas pedal to the floor. Gus's eyes go wide withterror.

The police dive out of the way.

PHIL AND RALPHYahooooo!

THEIR POV - THROUGH THE WINDSHIELD

The Buick crashes head on into one of the police cars.

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. Heis in his room at the bed and breakfast, everything exactly thesame as before. He hops out of bed and quickly examineshimself for signs of physical injury. Nothing. The music endsand the two deej ays come on.

DEEJAYOkay, campers, rise and shine,and don't forget your bootiesbecause it's COOOLD out theretoday.

Phil talks out loud along with them.

PHIL AND SIDEKICKIt's cold out there everyday.What is this— Miami Beach?

-49-

The deejays laughs. Phil laughs, too, exhilirated at havingsurvived the car wreck, still very confused and perplexed, butjust beginning to see the possibilities of his uniquesituation. He starts dressing in a hurry.

CUT TO:

INT. BREAKFAST ROOM - CONTINUOUS

Phil rushes into the breakfast room just as Mrs. Lancastercomes out of the kitchen with the coffee. Everything isexactly the same as before.

MRS. LANCASTERWould you—

Phil interrupts, answering all her questions before she evenasks them.

PHIL(urgently)

Yes, I would like some coffee;the weather is going to be coldand overcast with blizzardconditions moving in later today;and yes, I will be staying anextra day.

MRS. LANCASTER(baffled)

Why thank you.

PHILMrs. Lancaster, has anyone beenaround here looking for me thismorning? Maybe a state official,blue coat, hat, gun, nightstick,badge, driving a late-model Fordbr Chevy, black and white withbubble 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 wantsto.

CUT TO:

-50-

EXT. BOARDING HOUSE - DAWN

Phil stops on the steps, puts on his coat and gloves and againjoins the traffic heading toward Gobbler's Knob.

EXT. MAIN STREET - MOMENTS LATER

Phil passes the old bum, ignoring him as usual.

NED (O.C.)Hey, Phil!

Phil slips off his glove as Ned Ryerson lumbers toward him.

NEDPhil! Phil Connors!

PHILNed! Ned Ryerson! Ned the Head!

Before Ned can say another word, Phil SLUGS HIM. Ned goesdown, Phil puts his glove back on and keeps walking.

Phil deftly avoids the slushy pothole he stepped in before. APEDESTRIAN walking behind him steps right into it.

CUT TO:

EXT. GOBBLER'S KNOB - LATER

Phil is passing through the crowd on his way to the press areawhen he notices NANCY, the girl he met at the hotel bar, andstops to talk to her.

PHILYou here to see the groundhog?

She gives him a look. It's obvious she's never seen himbefore.

NANCYCan you think of another reasonanybody'd be out here at dawn ona freezing day?

PHILWhat's your name?

NANCYNancy Taylor. And you are—

PHILWhere'd you go to high school?

-51-

NANCYWhat is this?

PHIL(playful)

High school?

She really doesn't know what to make of Phil but she decides toplay along.

NANCYLincoln High school. InPittsburgh. Who are you?

PHILWho was your twelfth gradeEnglish teacher?

NANCYAre you kidding?

PHILI'm waiting.

NANCY.Mrs. Walsh.

PHILWalsh. Nancy, Lincoln, Walsh.

NANCYIs this some kind of come-on?

PHILI'm not really sure. We'll haveto see.

Phil walks off and joins Rita at their camera position.

CUT TO:

INT. DINER - LATER THAT MORNING

Phil is sitting at his usual table, which is covered with anincredible 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 stuffshimself with pastry.

RITAIs this some new fad diet? Don'tyou worry about cholesterol?

Phil scrapes a plate and takes a final bite of a chocolateeclair.

-52-

PHILI don't worry about anythinganymore.

RITAWhat makes you so special?Everybody worries aboutsomething.

PHILThat's exactly what makes me sospecial.

He takes a big bite of cake. Rita shakes her head.

PHIL(with his mouth full)

What?

RITA"The wretch, concentered allin self,Living, shall forfeit fairrenown,And doubly dying, shall godown to the vile dust fromwhence he sprung,Unwept, unhonored, andunsung." Sir Walter Scott.

PHIL(stares at her for along moment)

"There was a young man fromNantucket—"

RITAThat's really funny. When areyou going to grow up, Phil?

PHILAt this rate-- never.

(he pulls out a pack ofcigarettes)

Okay if I smoke?

Rita shrugs. Phil lights up a cigarette.

RITAYou really do have a death wish,don't you?

PHILJust the opposite, Rita. I havea life wish. I'm just trying toenjoy it. Taking pleasure in thelittle things. Don't you everjust want to cut loose and gowild?

-53-

RITAI wouldn't even know what itmeans to go wild.

PHILYeah, well, that's where I comein. Going wild is one of myspecialties. Last night I gotcompletely loaded and drove head-on into a police car.

RITA(disbelieving)

Oh, really? You look pretty goodthis morning.

PHILThat's my point. I know youwon't believe me, but we could doanything we want today and itwouldn't matter one bit.Absolutely no consequences.Complete and total freedom.

RITAAnd how..,do we manage that?

PHILYou leave that to me. Why don'tyou send Larry back and hang outwith me for the rest of the day?You never make it through thatblizzard anyway.

Larry enters the diner and spots them.

RITAI'll take my chances with the-weather. But you have a goodtime.

PHILDon't worry. I plan to.

CUT TO:

EXT. GOBBLER'S KNOB - NEXT MORNING

Phil comes through the crowd and finds Nancy in the same spotshe was in the day before.

PHILNancy?

Nancy turns and looks at him quizzically.

-54-

PHILNancy, right?

NANCYI'm sorry, I—

PHILNancy Taylor? Lincoln High? Isat next to you in Mrs. Walsh'sEnglish class.

NANCYThat—

PHILPhil Connors.

NANCY--is amazing!

PHILYou don't remember me, do you?

NANCYI don't— sure, I think—

PHILWe used to shoot spit balls—

NANCYYeah, oh, God—

PHILI even asked you to the prom.

NANCYPhil Connors.

PHILYeah.

NANCYHow ARE you?!

PHILI'm great. Wow, you lookterrific. Hey, listen, I gottado this report—

NANCYYou're a reporter?

PHILWeatherman. Channel 9,Pittsburgh.

NANCYRight, I should've known—

-55-

PHILBut maybe after we could —

NANCYYeah, yeah, I'd like that —

RITA (O.C.)Phil!

Rita is calling from across the crowd. She looks at him withdisapproval .

CUT TO:

INT. PHIL'S ROOM - NIGHT

Phil is making passionate love to a WOMAN in the dark.

WOMAN(moans)

Oh, Phil.

PHILOh , Rita .

The woman suddenly freezes. There is a moment of silence, thenshe snaps on the light. It's Nancy, not Rita. Phil is assurprised as she is by his slip of the tongue.

NANCY(cold)

Who's Rita?

PHIL(caught)

No one. It's just something Isay when I make love. You know —"Orita", "Orighta"-- it's like"Oh, baby" or something.

NANCY(not entirelyconvinced)

Oh.

PHIL(corrects her)

O-rita.

Nancy laughs uncertainly. Phil switches off the light,thinking now about Rita.

CUT TO:

-56-

INT. BREAKFAST ROOM - MORNING

Some elderly GUESTS are sipping coffee and eating breakfast,staring uncomfortably at something on the other side of theroom.

THEIR POV

Phil is standing at the bookcase, wearing only pajamas,absently munching on a Danish as he reads from one of thebooks.

Mrs. Lancaster approaches him.

MRS. LANCASTERIsn't it a wonderful collection?

PHIL(not looking up)

Yes, it is. You don't usuallyfind this many trashy novels inone place.

MRS. LANCASTERYou can take a book up to yourroom if you like.

PHILNo, thank you. I've actuallyread them all. I was justrereading some of the dirtyparts.

He finishes and puts the book back on the shelf.

MRS. LANCASTER(worried)

How long will you be staying withus, Mr. Connors?

PHILIndefinitely. I've already beenhere for 211 days.

MRS. LANCASTER(humoring him)

Really? That's quite a longtime, isn't it. I hope you'refinding things to do in ourlittle town.

PHIL(casually)

Yes, well, I'm getting a littletired of casual sex so today Ithought I'd rob a bank and buymyself a really expensive car.

-57-

Phil kisses her on the lips and walks off.

CUT TO:

EXT. PENN BANK AND TRUST - DAY

Two harmless-looking old GUARDS are calmly loading bags of cashinto an armored car parked in front of a local bank. SuddenlyPhil appears, wielding a shotgun, wearing a Batman style cape,his face completely hidden by a ski mask.

PHIL(shouts)

All right, freeze!! Drop yourguns J!

The guards stand there frozen with terror.

PHIL You guys ever been held upbefore?

(they shake theirheads)

It's kind of exciting, isn't it?

FIRST GUARD(frightened)

I guess so. Something to tellthe kids about.

PHIL Yeah. By the way, I'm Phil.

He raises the mask and shows his face.

FIRST GUARDHerman.

SECOND GUARD Felix.

PHIL(shaking their hands)

Herman and Felix. Okay. Take iteasy, boys. And thanks.

The frightened guards watch as Phil makes off with two largesatchels of cash.

CUT TO:

INT. USED CAR DEALERSHIP - DAY

Phil pats the hood of a used BMW 850 sports car as a SALESMANstands by beaming. Phil is wearing a full Steelers footballuniform complete with shoulder pads.

-58-

SALESMANA real beauty, huh. We picked itup at a—

PHILI'll take it. How much?

SALESMANWell, the sticker says $62,999but if you want—

PHILI'll tell you what. I'll giveyou $70,000 if you just knock offthe car salesman stuff and let meget out of here with my car.

The Salesman gawks as Phil opens his briefcase and startscounting out stacks of bills.

CUT TO:

EXT. PUNXSUTAWNEY - DAY

From a high angle, we see the BMW tearing around the streets ofthe town as if running a Grand Prix road race.

CUT TO:

EXT. MAIN STREET - DAY

The BMW comes screeching to a stop right in front of the movietheater and the door opens.

A pair of really elaborate cowboy boots complete with silverspurs hits the pavement first; then we PAN UP to see Philemerge from the car wearing a really gaudy; full cowboy outfitwith real six-guns on his hips. A very trashy-looking girl,LARAINE, gets out on the passenger side, dressed like a Frenchmaid.

LARAINE(very self-conscious)

I thought we were going to acostume party.

PHILYeah, we are, we are. But firstI have this movie theater fantasyI want to talk to you about.

He escorts her into the theater.

CUT TO:

-59-

INT. TATTOO PARLOR - ANOTHER DAY

Phil is lying on the table, getting elaborately tattooed.

Rita walks by, looks in the window and is shocked to see Philthere.

Phil waves at her and points to the colorful new heart piercedby a bloody dagger being tattooed on his arm.

CUT TO:

INT. BIKER BAR - NIGHT

We pan down the line of ROUGH TRADE PATRONS to. Phil, dressedall in black leathers, both arms heavily tattooed, looking likeSid Viscious on crack. He takes off his hat to reveal red,white and blue hair shaved almost down to his skull. A slutnamed ANGIE and another overweight, not very pretty MADONNAWANNA-BE, both in too-tight jeans and bullet bras are coming onto him, practically licking his ears. Angie pops a couple ofmystery pills into his mouth. Phil washes them down with ashot and a beer.

iCUT TO:

INT. PHIL'S ROOM - NIGHT

It looks like ;outtakes from Fellini's "Satyricon." Heavy metalis blaring from the radio, as several unsavory looking men andwomen are partying down, a few already passed out, sleeping offwhatever hit them. Someone is knocking loudly on the door,shouting complaints about the music. A beer bottle smashesagainst the door.

Phil is sitting up on the bed with Angie. He has his armaround her shoulder and a fifth of Wild Turkey in his hand.

PHIL(more to himself thanto Angie)

Yeah, but eventually you' d justget tired of screwing around andthen you'd want a realrelationship, wouldn't you?

ANGIEI don't know.

A big German Shepherd tries to jump up on the bed with them.

PHILGet down, Brunoi

(continuing)Someone decent, someone who yourespected, who respects you.

-60-

ANGIEI guess so.

The dog jumps up again.

PHILDown , Bruno !

(still musing)It's tough to find a relationshiplike that, especially if yourtime is kind of limited. But youstill 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

PHILThere ' s got to be more to it thanthis.

CUT TO :

EXT. A SIDE STREET - THE NEXT MORNING

Rita is in the news van reviewing the tape of Phil's reportPhil hovers at the open side door.

RITAYou look good. I mean, it cameout all right. How'd you knowwhere to put the camera?

PHILPsychic. So did you have a niceevening?

RITA(guarded)

I just had a sandwich, watchedsome TV and went to bed.

PHILI got my whole body tattooed andpart ied all night with somenymphomaniac biker chicks.

RITA(skeptical)

Sounds wholesome. Were those thenew 24-hour disappearing tattoosor can I see them?

PHILNo, they're gone. Rita, if youonly had one day to live, whatwould you do with it?

- 6 1 -

She switches off the videotape and steps out of the van.

RITAI don't know, Phil. What are youdying of?

PHILNo, I mean like what if theentire world was about toexplode?

RITAI'd just want to know where toput the camera. What are youlooking for, Phil— a date forthe weekend?

She starts walking toward the center of town. Phil sticksright with her.

PHILNo, I just want to know youbetter. What do you like, whatdo you want, what do you thinkabout, what kind of men are youinterested in, what do you do forfun?

RITA(she stops)

Is this real or are you justgoing to make me feel like afool?

PHILI'm just trying to talk to youlike a normal person. Isn't thishow normal people talk?

RITAClose.

PHILOkay, so talk to me. C'mon, I'llbuy you a cup of coffee.

CUT TO:

INT. DINER - A LITTLE LATER

Phil and Rita are at their usual table, drinking coffee.

RITAI guess I want what everybodywants— you know, career, love,marriage, children. So far Idon't have any of it.

-62-

PHILYou have a career.

RITAI have a job. Doing stories onthe Punxsutawney groundhog is notmy ultimate goal. No offense.

PHILHow about the other stuff? Youseeing anybody?

RITAThis is getting too personal. Idon't think I'm ready to discussthese things with you. Whatabout you? What do you want?

PHILWhat I really want is someonelike you.

RITAOh, please—

PHILWhy not?

RITAPhil, you know, you have so muchtalent and ability. If you'djust drop the attitude and actlike a decent human being, thenmaybe I'd—

(she hesitates)

PHILYou'd what?

RITAI don't know what.

PHILThen maybe you'd like me?

She stares hard at him.

RITAI don't know. It's sort of likethe way I feel about UFO's. I'dhave to see it to believe it.

Larry pokes his head in the doorway, looks around, spots Ritaand makes his way over to their table.

-63-

LARRY(to Rita)

You ready? We better get goingif we're going to stay ahead ofthe weather.

RITAYeah, 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 closedanyway. Do you really want to bestuck in the van with Larry forthree hours?

RITAI've got to get back. I'll seeyou later.

Phil watches Rita exit.

PHIL'S POV

Rita gets in the news van and drives off with Larry.

Phil stares out the window, more" determined than ever to winher over.

CUT TO:

EXT. GOBBLER•S KNOB - ANOTHER DAY

Phil is wrapping up his groundhog report.

PHILWell, you heard it right from thegroundhog's mouth. Bundle upgood, 'cause it's going to be along winter— at least inPunxsutawney. Reporting forChannel 9, this is Phil Connors.

Larry stops tape.

RITAThat was great. How did you knowthe—

PHIL(preoccupied)

I have to go now. There'ssomething I have to do.

-64-

Phil runs off without another word of explanation.

CUT TO:

EXT. THE NEWS VAN - LATER

Phil has the hood open and is doing something to the engine.

CUT TO:

INT. THE BERGHOF RESTAURANT - LATER

Rita is sitting at the bar in the town's best restaurant, agood chophouse with Black Forest decor and waitresses dressedin dirndl skirts and aprons. Phil enters and sits down next toher.

PHIL(acting surprised)

Oh, hi, Rita. You still here?

RITA(glum)

The van won't start. Larry'sworking on it.

PHIL(innocent)

Wouldn't you know it. Buy you adrink?

RITAOkay.

PHIL(to the bartender)

Jack Daniels.

BARTENDERFor you, miss?

RITATequila,with lime. Gold, ifyou've got it.

Phil nods to himself.

CUT TO:

SAME SCENE - ANOTHER DAY

Phil walks in and sits next to Rita.

PHIL(acting surprised)

Oh, hi, Rita. You still here?

-65-

RITA(glum)

The van won't start. Larry'sworking on it.

PHILWouldn't you know it. Buy you adrink?

RITAOkay.

PHIL(to the bartender)

Tequila with lime, gold if you'vegot it.

Rita looks at Phil, surprised.

BARTENDERFor you miss?

RITASame for me, please.

The BARTENDER pours.

PHIL(to Rita)

What should we toast to?

RITAYour call.

PHILTo the groundhog!

Rita stares for a moment.

RITAI always drink to world peace.

CUT TO:

SAME SCENE - ANOTHER DAY

BARTENDERTake your order?

PHILTequila with lime, gold if you'vegot it.

Rita looks at Phil.

, BARTENDERFor you, miss?

-66-

RITASame for me, please.

The BARTENDER pours.

Phil lifts his glass.

PHILTo world peace.

Rita smiles, reevaluating him.

RITATo world peace.

They clink glasses.

CUT TO:

INT. THE BAR - LATER

Rita and Phil are now sitting together at a table, a plate ofcheese and crackers and a bottle of white wine between them.

PHILYou like your job?

RITAIt's okay. I think it could bereally challenging. Of courseit's about a million miles fromwhere I started out in college.

PHILYou weren't in broadcasting?

RITAAt Bryn Mawr? No, uh-uh."Believe it or not, I studiedNineteenth 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

PHILYou weren't in broadcasting?

-67-

RITAAt Bryn Mawr? No, uh-uh.Believe it or not, I studiedNineteenth Century French Poetry.

Phil leans in closer to her.

PHILLa fille qui j'aimeraSera comme bon vinQui se bonifieraUn peut chaque matin.

Rita smiles, entranced.

CUT TO:

INT. FUDGE SHOP - DAY

Phil and Rita are sitting at a table in a small confectionery,tasting chunks of different flavored fudge. Rita takes a bite

RITAThis is terrific.

PPHHIILLBest fudge in town.

RITAHow do you know so much aboutPunxsutawney?

PHILI like small towns. I think theyengender real community more thanbig cities.

RITAThat is so true! I've alwaysthought that, too.

PHILNo kidding. Here— try the whitechocolate.

RITAOh, yuk, don't make me sick.

PHIL(making mental note)

No white chocolate.

RITAThere's something so familiarabout this. Do you ever havedeja vu?

Phil smiles. Then Larry enters.

-68-

LARRY(irate, to Rita)

I don't believe it. Someonebought every distributor cap inthis town. We're going to bestuck here all night1

Over Phil's sympathetic look we hear the song, "I Can't GetStarted With You".

CUT TO:

INT. THE BERGHOF RESTAURANT - NIGHT

The music continues over Rita and Phil on the small dancefloor. They dance, close, dreamy, romantic.

CUT TO:

EXT. MAIN STREET - LATER THAT NIGHT

There is a light snow falling. Phil and Rita are making alittle snowman. Somehow the town looks magical tonight— oldfashioned, wholesome.

A snowball hits Phil in the back. He and Rita turn around tosee a giggling KID. Phil packs a snowball and tosses it. Thekid throws one back. Rita and Phil both get into it, packingsnowballs and getting into a war with this kid and his littlegang of friends.

A snowball catches Rita unaware, she slips and goes down in asnowbank. Phil bends down to help her and slips. They are notogether, lying in the snow, laughing. Their eyes lock for along sweet moment, then Rita gets embarrassed and stands up.

CUT TO:

EXT. CHERRY STREET INN - NIGHT

Phil and Rita are walking slowly, very close.

PHILWhat?

RITAI'm just amazed. And I'm noteasily amazed.

PHILAbout what?

-69-

RRIITTAAHow you can start a day with onekind of expectation and end up socompletely different.

PHILDo you like how this day isturning out?

RITAYes. I like it very much.

They stop dn front of Phil's hotel. She turns to him.

RITAYou could never have planned aday like this, but it couldn'thave been more perfect.

PHILYou're wrong. I've been planningthis day for weeks.

Rita ignores the remark and hugs him. Phil tries to kiss herbut she gently puts her fingers to his lips, stopping him.

\ They enter the bed and breakfast inn.

INT. VESTIBULE - CONTINUOUS

Rita hugs him again and starts to exit.

RITAThanks. See you tomorrow.

PHILTomorrow? Wait, aren't you goingto come up to my room for awhile?

RITA(very reluctant)

I don't know, Phil—

PHILNo•reason to end a perfect day.

RITA(deciding)

Well— we better not.

PHIL No, you should. The, uh, the poetry! I've got some books,

Rimbaud, Beaudelaire, we couldlight a fire—

-70-

RITAThanks, but —

PHIL(seeing it all slipaway)

Please come, Rita. It'll be —

RITA(definite)

Phil, I'm tired. We can betogether tomorrow.

PHIL(getting desperate)

But there is no tomorrow for me!

RITA(adamant)

Let's not ruin it, Phil. There'sno way I'm sleeping with youtonight.

PHILWhy not? Rita, I love you!

RITAYou don't even know me!

PHIL(grabs her hand)

Please! You have to!

Rita shakes loose from his grasp.

RITAWhat's wrong with you!

There is a long moment of silent tension, then all her olddoubts about Phil come rushing back.

RITA(shaking her head)

Oh, no. I can't believe I fellfor it. This whole day was justone long set-up. And I atefudge. Yucchh! I hate fudge.

PHILNo, it was real. I love you.

RITAStop saying that! Do you reallyexpect me to trust you? Thewhole secretarial pool is a PhilConnors recovery group.

-71-

PHILBut I can change! I really can—

Rita slaps him hard on the cheek.

RITAThat's for making me care aboutyou.

She turns and stomps off, leaving Phil standing there hurting.

CUT TO:

EXT. MAIN STREET - ANOTHER NIGHT

The snowball fight with the kids is going on as before. Philfalls into the snowbank with Rita and they almost kiss.

CUT TO:

INT. QUALITY INN MOTEL - LATER

Phil is trying (MOS) to talk his way into Rita's room. She^pushes him away and slams the door in his face.

CUT TO:

EXT. MOTEL - NIGHT

The streets are deserted except for Phil, staring up at Rita'swindow in the Quality Inn.

Rita comes to her window and looks out. She sees Phil lookingup at her and draws the curtains.

CUT TO:

INT. PHIL'S ROOM - DAWN

"I Got You, Babe" is playing. Phil hits the clock radio toturn it off. He lies there for a moment, then hefts himselfheavily out of bed, not eager to repeat the day yet anothertime. With the radio off, Phil does the deejays' morningroutine himself, seemingly for the millionth time.

PHIL(dully)

Okay, campers, rise and shine,and don't forget your bootiesbecause it's cooooold out theretoday.

Phil continues the radio report at his own pace, obviouslyfatigued.

-72-

PHILIt's cold out there everyday.What is this — Miami Beach? Haw.Not hardly. And you can expecthazardous travel later today withthat, you know, blizzard thing.

CUT TO:

EXT. GOBBLER'S KNOB - DAWN

Phil is walking through the crowd. He spots Nancy, walks up toher and greets her half-heartedly .

PHILHi, Nancy.

NANCY(pleasantly)

Hi. Do I know you?

Phil can't manage enough enthusiasm to pursue her yet again.

PHILNo, I guess not. I thought youwere someone else.

Phil wanders over to where Rita and Larry are setting up thecamera. Rita comes over to him.

RITAAre you all right, Phil? Youlook terrible.

Phil looks at her sadly, then turns away.

PHIL(vacantly)

I'm fine.

CUT TO:

INT . BIKER BAR - NIGHT

The balls CRACK as the cue ball breaks the rack.

Phil is walking around the table, cue in hand, sinking ballafter ball, while several admiring HUSTLERS look on.

FIRST HUSTLERWho is this guy?

-73-

SECOND HUSTLERI don't know. Hey, mister—

(Phil doesn't stopshooting)

Who are you, anyway?

Phil shoots, sinks a tough one.

PHILYou don't know me? I've beenplaying here every day for twomonths.

FIRST HUSTLEROh, yeah? So how come I ain'tseen you?

PHILI don't know. I seen you.

SECOND HUSTLERSo what's your name?

PHILThey call me— Punxsutawney Phil.

SECOND HUSTLERPunxsutawney Phil? Like thegroundhog.

PHILYeah, like the groundhog.

Phil sinks another one.

CUT TO:

EXT. GOBBLER'S KNOB - DAWN

The crowd is waiting expectantly for the groundhog to appearPhil is a wreck, squatting unprofessionally in front of thecamera.

PHIL(cynically)

This is one of the most pitifulspectacles known to civilization.With one nod from a filthy rodentbest known to pest controlagencies, a moribund old coalmining hamlet turns magicallyinto the Lourdes of Pennsylvania,Mecca to thousands of people who,if they hated the winter sodamned much, why don't they moveto Florida, anyway?

-74-

Larry and Rita look on, incredulous.

. CUT TO:

CLOSE UP - TV SET

The program JEOPARDY! is playing.

ALEX TREBECK(on TV)

Nobel prize-winning co-discoverers of the DNA molecule.

PHIL (O.C.)Who are Watson and Crick.

CONTESTANT(on TV)

Who are Watson and Crick?

ALEX(on TV)

Correct.

There is a cheering from a small group of people off-screen.

INT. PARLOR - CONTINUOUS

Phil is sitting in his bathrobe in a big lounge chair in theparlor of his hotel. Mrs. Lancaster, and other guests watchhis performance, awed by his "intellect."

ALEX(on TV)

Twin brother and sister Sebastianand Olivia create confusion inthis Shakespearean comedy.

PHILWhat 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 eighthundred, Alex.

-75-

ALEX(on TV)

And the answer is— an audiodaily double.

PHILCount Basie.

CUT TO:

EXT. STREET - DAY

Phil is walking through town, still dressed only in his pajamasand overcoat, counting the sidewalk cracks, taking giants stepsfrom one to the next. He looks crazy.

PHILTwo thousand six hundred andseventy-one—

(takes another step)two thousand six hundred andseventy-two—

(another step)two thousand six hundred and

seventy-thr-ee-^-

A woman passes walking her dog.

PHILHey, pick up after your dog!

DOG WALKERHe hasn't done anything.

PHILHe's going to!

(pointing)There and there. And there!

Phil continues walking, counting the sidewalk cracks. THREENEIGHBORHOOD KIDS notice Phil and walk along, matching him stepfor step.

iPHILTwo thousand six hundred andseventy-four, two thousand sixhundred and seventy-five, twothousand'—

JOEYFive million eight hundred—

PHILSix hundred—

MIKE AND SUENinety, twenty, four, six, fifty—

-76-

PHILTwo thousand, four hundred—

JOEY, MIKE AND SUETwo, eight, nine, forty-six—

Phil stops. He has lost count. His lip curls up like ananimal as he turns slowly, growling at the kids. They run awayscreaming with glee. Phil starts after them but runs rightinto a COP.

COPYou got a problem, buddy?

PHIL(out of control)

Yeah, I got a problem, buddy! Ican't stand this place anymore!I can't stand this street and Ican't stand the fourteen bars andthe five banks and the one starfood and the bad weather and the"quaint" little shops and most ofall, I can't stand anything—ANYTHING— with a groundhog onit.

He rips a groundhog patch off the cop's jacket sleeve.

COP(calmly)

Okay. Then let's see what we cando about getting you out of here.You got a name?

PHIL(eyes downcast)

Phil.

COPPhil. Like the groundhog!

Phil turns to the cop like a rabid dog, ready to strike.

PHILYeah, like the—

(he stops as if struck)—groundhog.

Some big new idea has formed in his mind.

CUT TO:

EXT. GOBBLER'S KNOB - EARLY MORNING

Rita is looking at Phil as Larry videotapes his report.

-77-

LARRY(turning to Rita)

The guy's nuts. He's out of hisgourd.

RITALet him finish, then I'll callthe station.

They turn back to watch Phil's wrap-up.

Phil is completely unkempt, still wearing only pajama bottomsand his overcoat, looking even more demented.

PHIL(to camera)

There is no way this winter isever going to end as long as thatgroundhog keeps seeing his shadoweveryday. I don't see any otherway out. He's got to be stoppedand I've got to stop him. ForChannel 9 news, this is PhilConnors.

CUT TO:

EXT. GOBBLER'S KNOB - NIGHT

Phil is walking around the mound, casing it out. He takes arifle out from under his coat and sneaks up to the burrow. Hepulls a smoke bomb from his pocket, lights it, and throws itinto the hole, then scurries for the edge of the knob and hitsthe 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.

WOMANHe ain't there.

Phil doesn't move. He-doesn't care that she sees him.

WOMANYou can wait all night, but heain't coming out. He don't livethere. They keep him in thelibrary.

Phil's gun droops. The woman begins to walk off, then stops.

WOMANPlug him once for me.

CUT TO:

-78-

She leaves.

EXT. CIVIC CENTER - DAY

Phil passes a pedestal bearing a life-size bronze statue of thegroundhog and enters the public library.

INT. LIBRARY - CONTINUOUS

Phil walks past the front desk looking very haggard anddangerous, and enters the children's section. No one ispresent except the CHILDREN'S LIBRARIAN, a young woman,reshelving books in the stacks. He looks around quickly andsees 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-controlledhabitat, oblivious to the approaching danger.

As Phil approaches the groundhog display, he reaches into hisovercoat 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 thecase.

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. Thegroundhog looks up playfully.

Phil fires off four more rounds but, again, no results. Philcan't believe it. He charges the glass and pounds it with therifle butt. He can't even chip it. Suddenly he is seized frombehind by TWO STRONG MEN who take the rifle from him andwrestle him to floor.

The librarian comes running up and looks at the groundhog.

BYSTANDERIs he all right?

LIBRARIANHe's just fine. That's twoinches of bullet-proof glassthere. You can't be too carefulin this day and age.

-79-

CCUUTT TTOO::

EXT. GOBBLER'S KNOB - DAWN

The groundhog is just poking his head out of the hole. Hestands full height and looks around.

Phil looks directly at the groundhog with hate and schemingmadness.

Suddenly, Phil whips out a big kitchen knife from under hisicoat and dives at the groundhog. Town officials and policethrow themselves on Phil as the groundhog scampers safely backinto his hole.

Rita and Larry videotape the incident, aghast at Phil's insaneattack.

CUT TO:

EXT. GOBBLER'S KNOB - ANOTHER DAY

Larry and Rita are loading their equipment back into the van.Rita spots Phil standing on the other side of the crowd,ssttaarriinngg aatt hheerr.. SShhee mmaarrcchheess ssttrraaiigghhtt oovveerr ttoo hhiimm,, ffuurriioouuss..

RITAWhere were you this morning? Howcould you possibly miss theshoot?

PHIL(at the end of hisrope)

I've come to the end of me, Rita.There's only one way out now.Just remember/we had a wonderfulday together once.

Phil kisses her gently on the cheek and walks off toward theback of the knob. Rita watches him, then follows at a discreetdistance, very worried.

In a small clearing behind the man-made groundhog burrow,Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS arelifting a cage into the front seat of Buster's pickup.

BUSTER(to the groundhog)

There you go, ol' buddy. Goodjob. Hey! He smiled at me. Seethat?

FIRST OFFICIALRight.

-80-

BUSTER(securing the cage)

There, little fella.

The other official looks up and sees Phil walking toward themlike a zombie.

OTHER OFFICIALHi, there, mister. Something Ican do you for?

Without a word, Phil jumps quickly into the cab of the pickupand starts it up .

FIRST OFFICIALHey! What 're you — !

Phil drives off in Buster's truck.

Rita witnesses the groundhog-napping and runs back toward theknob.

RITA(shouts)

Larry!

Buster and his aides race for another car parked nearby.

BUSTERJake! Call the police, and getthe word out. Somebody kidnappedPhil. We're going after him.Come on, Tommy!

They jump into a car, Buster guns the engine and takes offafter the pickup.

Rita runs up to Larry and grabs the camera on the fly.

RITALet's go! Phil just snatched thegroundhog!

Larry does a slow take and starts gathering up the rest of thegear.

LARRY(mutters)

Probably some kind of gerbildeal. Pervert.

CUT TO:

-81-

EXT. LOCAL ROAD - MINUTES LATER

Phil comes tearing around a slippery curve, followed by Busterin his car, and close behind him, a contingent of police carsand the Channel 9 news van.

INT. PICKUP - CONTINUOUS

Phil looks at the groundhog on the seat next to him, thenpunches the gas as he turns up a mountain drive.

PHILComing to the end of the trail,Phil. Then we're going out in ablaze of glory.

INT. BUSTER'S CAR - SAME TIME

Buster pursues Phil with relentless determination.

BUSTERNobody takes my groundhog andgets away with it.

.. • .

INT. THE NEWS VAN - SAME TIME

Rita is driving. Larry is hooking up the camera.

RITA(very upset)

What is he doing? What can he bethinking? He must1 ve just —snapped.

Larry squeezes into the passenger seat with the camera mountedon his shoulder .

LARRYThis oughta be good.

EXT. MOUNTAIN ROAD - CONTINUOUS

The cars chase the pickup to the top of the mountain.

INT. BUSTER'S CAR - CONTINUOUS

BUSTEROkay! I know this road. There'sno way off ' cept the way we comeup.

FIRST OFFICIALAll right! We got him now.

-82-

EXT. LOGGER'S LEAP - CONTINUOUS

The pickup is losing its lead over the pursuers as it nears thesharp mountain cliff.

INT. THE PICKUP - SAME TIME

Phil looks in his rearview mirror at the cars chasing him. Heglances down at the groundhog. He takes a breath.

PHILOkay, pal. It's showtime.

Phil hits the gas.

INT. THE NEWS VAN - SAME TIME

Larry is taping as Rita comes around the curve just in time tosee the pickup truck speeding toward the cliff. Rita hits thebrakes and watches in horror.

RITAPHIL! NO!

EXT. LOGGER'S LEAP - CONTINUOUSThe pickup bursts through a retaining fence and rockets overthe edge of the cliff.

The pickup seems to hang in the air for a long time, then itbegins its SLOW MOTION descent, falling ever so gracefullyuntil it impacts on the granite rock face far below.

BIG EXPLOSION. BIG FIREBALL. FLAMING WRECKAGE. Then a smallclick, followed by "I Got You, Babe."

DISSOLVE TO:

PHIL

He slowly opens his eyes and blinks. He looks around andrealizes he's back in his room at the bed and breakfast.

PHILAh, nuts!

Phil throws off the covers and hurls himself out of bed.

CUT TO:

-83-

INT. NED RYERSON'S OFFICE - DAY

Ned and a client are huddled over his desk, looking at somepapers. A BODY DROPS quickly past the window behind them.It's Phil.

They rush to the window and look down at the sidewalk threestories below. Phil is sprawled there like a broken puppet,lifeless.

INT. PHIL'S ROOM - DAWN

"I Got You, Babe" is playing. Phil wakes up and smashes theradio.

CUT TO:

EXT. STREET - DAY

Rita and Larry are walking down the street when a GREYHOUND BUSpulls out of the bus station and accelerates down Main Street.Suddenly, Phil, dressed in pajamas and overcoat, leaps out infront of the speeding bus. Rita witnesses the whole incident.

DRIVERS' POV

He sees Phil through the windshield but doesn't even have timeto hit the brakes before he runs right over Phil.

CUT TO:

A TV SCREEN

A woman in some horror movie is screaming.

REVEAL

Mrs. Lancaster is watching TV in the parlor of the hotel. Inthe corridor behind her, Phil walks by, dressed in a robe,carrying an electric toaster and a towel, heading for thebathroom.

A few moments pass.

We hear the zap of an electrocution, the lights and TV flickerand dim for a moment, then come back on again.

CUT TO:

EXT. THE BANK - DAY

The building is surrounded by police, all crouched behind theircars with guns and rifles trained on the doors.

-84-

Suddenly, the doors burst open and Phil comes running out ofthe bank screaming, dressed in camouflage fatigues and armed tothe teeth with an assault rifle in one hand, an Uzi in theother and a couple of handguns stuck in his belt. He doesn'tget three feet before he is shot down in an incredible hail ofgunfire.

Rita stands beside the camera gaping in horror while Larryrecords the grisly massacre.

INT. CORONER'S - DAY

Rita stands by weeping while Phil's body is covered with asheet.

In the shadowy darkness under the sheet, a CLICK is heard andPhil's eyes pop open. "I Got You, Babe" plays.

INT. PHIL'S ROOM - CONTINUOUS

Phil pulls the sheet off his face and finds himself back in hisbed in his room. A tear falls from his eye.

CUT TO:

INT. DINER - DAY

Phil and Rita are sitting in the diner at their regular table.

RITAI'm sorry. What was that again?

PHILI'm a god.

RITAYou're God?

PHILNo, I'm A god. Not THE God— atleast I don't think I am.

RITAThat's reassuring. For a mintutethere I thought you might becrazy.

PHILNo, it's true. It's the onlypossible explanation. I'm asupernatural being.

RITABecause you survived a car wreck?

-85-

The waiter comes to the table.

WAITERAre you ready to order?

PHIL(to Rita, ignoring thewaiter)

Not just the car wreck! I didn'tjust blow up yesterday, you know.I've been run over, drowned,crushed, stabbed, shot,electrocuted, poisoned, frozen,burned, and asphyxiated—

RITAReally?

The waiter looks at him like he's nuts.

PHIL—but I always wake up the nextday without a scratch, withouteven a headache. I'm tellingyou, I'm immortal.

WAITERThe special today is blueberrywaffles.

RITAWhy are you telling me this?

WAITER(shrugs)

Because some people likeblueberry waffles.

RITA(to the waiter)

Not you— him.

PHILBecause I want you to believe inme.

RITAYou're not a god, Phil. Take myword for it. This is twelveyears of Catholic school talking.

WAITERI could come back if you're notready.

PHILHow do you know I'm not a god?

-86-

RITAPlease.

PHILHow do you know?

RITABecause it's not possible.

WAITERI'll come back.

The /waiter turns to leave.

PHILHey, Billy!

The waiter turns back.

PHILThis is Bill. He's been a waiterfor three years because he leftPenn State and had to find work.He likes the town, he paints toysoldiers, and he's gay.

WAITERI am notl

Phil grabs an astonished Rita and pulls her over to the nexttable.

RITAWhat are you doing?

PHILThis is Doris Kleiser and herfiance Fred.

DORISDo I know you?

PHILThey're supposed to get marriedtonight but Doris is havingsecond thoughts.

FREDWhat!

Doris touces her engagement ring, dumbfounded. Rita is alittle embarrassed.

RITALovely ring.

DORISThanks.

-87-

Phil drags Rita to the counter.

PHILThis is Ralph. Say "Hi," Rita.

Rita flashes a quick smile.

RALPHDon't believe I've had the—

PHILRalph hates his life here andwants to drive around townsmashing into policemen.

RALPHWell, who don't?

RITAThis is some kind of trick.

PHILYes, it's a trick. But maybe thereal God cheats, too. Maybe Godisn't omnipotent— he's just had

a lot of practice.

RITAHow about that guy?

PHILTom. Worked in the coal mine•til they shut it down.

RITAHer?

PHIL 'Nancy. Went to Lincoln HighSchool in Pittsburgh. Takesherself out to lunch once a week.

Rita is getting very bewildered. From their reactions she cansee that Phil is right about each and every one of them.

RITAHow do you know these people!

PHILI told you the truth. In fiveseconds there's going to be agrease fire in the kitchen.

Five, four—

RITAThis is nuts.

-88-

PHIL—three, two, one.

Phil points to the kitchen as smoke starts pouring from theservice window. Everyone in the diner is now staring at them

RITA(trying to puzzle itout)

Okay, enough. Let's just sitdown and think for a second.

(they sit)What do you know about me, Phil?Do you know me, too?

Phil takes a long pause.

PHILI know all about you, Rita. Iknow you like producing, but hopefor better than Channel 9,Pittsburgh.

RITAEveryone knows that.

PHILYou like boats but not the ocean.There's a lake you go to in thesummer with your family, up inthe mountains, with an old woodendock and a boathouse with boardsmissing in the roof, and a placeyou used to crawl underneath tobe alone, and at night you'd lookup and see the stars. You're asucker for Rocky Road, MarlonBrando, and French poetry.You're wonderfully generous;you're kind to strangers, andchildren; and when you stand inthe snow, you look like an angel.

RITAHow are you doing this?

PHILI told you! I wake up every dayright here, right inPunxsutawney, and it's alwaysFebruary second and I can't turnit off. If you still don'tbelieve me, listen—

RITABut, Phil—

-89-

PHILListen! In ten seconds Larry isgoing to walk through that doorand take you away from me.

RITALarry?

PHILBut you can't let him. Pleasebelieve me. You've got tobelieve me.

RITAI don't —

Larry pokes his head in the doorway, looks around and spotsRita.

PHILLook.

As Rita turns around to see Larry, Phil grabs a pen and padfrom a passing waitress and quickly writes something down asLarry makes his way to their table. Phil finishes writing.

LARRY(to Rita)

You ready? We better get goingif we're going to stay ahead ofthe weather.

Phil hands the paper to Rita. She reads it.

RITA(reading)

" . . . stay ahead of the weather. "

Larry looks at the paper.

LARRYWhat ' s that?

Rita looks at Phil with new understanding and empathy.

CUT TO:

EXT. PUNXSUTAWNEY - DAY

Phil and Rita are walking down the sidewalk.

PHILAfer I got over the shock, it waskind of fun for the first year ortwo. I had anything I wanted.Except you, of course.

-90-

Phil abruptly pulls Rita aside. A big pile of snow slides offa roof and onto the sidewalk where they would have walked.Phil doesn't even look up. Rita looks, as if she's seeing amiracle.

RITAHow did this start?

PHILI don't know. I just woke up.Just like always.

NED RY-ERSON approaches.

NEDHey, Phil! Phil Connors 1

PHILRita, this is Ned Ryerson. He'san asshole.

NEDHe remembers me!

Phil and Rita keep walking. Rita looks back at Ned, perplexed

PHILTrust me on that one.

CUT TO:

EXT. FUDGE SHOP - DAY

Phil and Rita come out of the shop, sharing pieces of fudge.

RITAThis is great.

PHILNo, it isn't. You hate fudge.

. RITAJust how well do we know eachother?

PHILI told you. I know everybody.

Rita stops walking.

RITADid we ever...you know?

PHIL(teasing)

Did we ever! You were an animal.

-91-

RITACome on.

PHILYou're European trained, aren'tyou.

Phil continues walking.

RITA(blushing)

Phil! It's not funny.

She catches up to him. Phil turns to her.

PHILYou weren't interested.

RITA(relieved)

Okay.

She begins walking again.

RITANot that it would've been soawful.

PHILI understand.

RITAI just had to know whether tosmack you or not.

PHILYou did.

RITAGood.

CUT TO:

EXT. PARK - DAY

Phil and Rita are sitting on a park bench.

PHILSo do you believe any of this?

RITAI don't know. I don't know howelse you could know so much.Maybe it is really happening.

-92-

PHILI used to try to stay up allnight sometimes. I thought if Icould stay conscious I couldfigure out what was going on, orat least hang onto something fromthe day before. But I gave up onthat a long time ago.

Rita looks at him with compassion.

RITAIt sounds so— lonely.

PHIL(trying to shrug itoff)

It's not that bad. You get usedto it.

Rita comes to a decision.

RITAMaybe I should spend the rest ofthe day with you— as anobjective witness. Just to seewhat happens. Okay?

PHILYeah, sure. That'd be okay.

CUT TO:

INT. PHIL'S ROOM - NIGHT

A hat is lying on Phil's bed. A playing card flies past. Asecond playing card sails right into the hat. Another playingcard sails past, missing. Another playing card sails right inPhil and Rita are tossing cards. Rita is missing. Phil ishitting.

PHILIt's not in the wrist so much asthe fingers. Be the hat.

RITAIt would take me a year to getgood at this.

PHILUh-uh. Six months. Four, fivehours a day.

RITAIs this what you do witheternity?

-93-

PHILNow you know. It's like waitingfor a bus that never comes . Youshould see me play pool — andbowling, juggling, hacky sack.I can ride a unicycle.

There ' s a knock on the door .

PHILI'll get it!

Phil jumps for the door and opens it. The PIZZA GUY is there.

PHILHi, Marty. $11.75 including thedelivery charge, right?

PIZZA GUYUhhhh—

Phil pays him, takes the pizza and closes the door.

RITA(opening the pizza box)

MMMM. Pepperoni and olives. Myfavorite .

PHILOf course. I told you, I knoweverything .

RITA(taking a bite ofpizza)

I don ' t think I ' d want to knoweverything that ' s going tohappen. I like to be surprised.

PHILThat's not the worst part.

RITAWhat's the worst part?

PHILThe worst part is starting overeveryday. Tomorrow you won'tremember any of this. You'll goback to treating me like acomplete jerk —

RITANo —

PHILIt's not your fault. I am ajerk.

-94-

RITANo, you're not.

PHILOkay, I'm not. It really doesn'tmake a lot of difference. I'vekilled myself so many times, Idon't even exist anymore. I'mjust completely empty.

RITAOr completely clean.

PHILIf you're going to be thispositive all the time I may haveto rough you up a little.

RITAWait! Have we done this before?

PHILWhich part?

RITAYou getting me up here, the cardgame, the pizza—

PHILNo, this is the first time.

RITA(excited)

Well?

PHILWell, what?

RITAWell how does it feel to be doingsomething completely new?

Phil looks at her with tremendous affection and gratitude.

PHILGood. Really good.

He takes a slice of pizza and starts eating with gusto.

DISSOLVE TO:

THE PIZZA BOX - LATER

There's only one slice left.

Phil and Rita are sitting together on the bed, close but nottouching. Soft music is playing on the radio.

-95-

RRIITTAASometimes I wish I had a thousandlifetimes. One to be a greatjournalist. One to, I don'tknow, go back to school, studyart, or auto mechanics. One justto take care of all the busywork,you know, pay the bills, get mycar tuned up. One to be the wildwoman of Borneo. One to beMother Theresa. Maybe it's nota curse, Phil. It all justdepends on how you look at it.

Phil stares at her for a long time letting this sink in. Thenhe belches really loud. Rita stares at him, then burpssurprisingly loud herself.

RITAI want you to know, it's been areally nice day for me.

PHILMe, too.

RITAMaybe, if it's not too boring foryou, we could do it again.

PHILI hope so.

The clock reads 11:59. Rita grabs Phil's hand. He puts hisarm around her.

They look into each others' eyes. Rita gives Phil a reassuringsmile. 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.

RITAYou're still here!

PHILI know.

RITAI thought you were supposed toddiissaappppeeaarr—— oorr II wwaass oorrssoommeetthhiinngg..

PHILNot 'til six.

RITAYou rat!

-96-

She is mad in a playful way.

PHILI never said midnight—

RITAYou knew I was waiting formidnight!

PHILBut I never said it.

RITAOh, I can't believe you!

(she slugs him with apillow)

I didn't know this was going totake all night!

PHILDoes that mean you're going?

RITANo.

Phil takes Rita's hand. She doesn't resist.

DISSOLVE TO:

LATER

Rita is now sitting right next to Phil on the bed, her headresting on his shoulder. She nods off then catches herself.

RITAI'm sorry.

PHILIt's okay to go to sleep youknow. I promise I won't touchyou— much.

RITANo, it's all right. I'm nottired. What were you saying?

Her eyes start to close again.

PHILI was saying that the cow waseventually returned to it'srightful owner.

RITA(drifting off)

Really?

-97-

PHILThat's right.

He looks at her, sees she's truly asleep, and gently maneuversher into a comfortable reclining position on the bed. Then hecarefully puts a pillow under her head and settles down next toher.

PHILWhat I was going to say was, Ithink you're the kindest,sweetest, prettiest, mostwonderful girl I ever met in mylife.

She starts to stir but he gently kisses her back to sleep.

PHILShhhh. That's good.

(satisfied she's stillasleep)

I could never tell you this, butfrom the first minute I looked atyou I wanted to just hold youclose and be with you forever.iEverytime I -saw you around thestation, I thought my heart wasgoing to explode. I used todream about us being together.In my dream you loved me as muchas I loved you and we didn't haveto say anything but I knew youunderstood everything.

She stirs again but he kisses her until she returns to deepsleep.

PHILI know a guy like me could neverdeserve to have someone like you,but if I did, I swear I wouldlove you for the rest of my life.

Rita opens her eyes.

RITA(half-asleep)

Did you say something?

PHILGood-night, Rita.

He kisses her gently on the forehead.

RITAGood-night, Phil.

-98-

CCLLOOSSEE UUPP -- TTHHEE CCLLOOCCKK

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 thenleaps out of bed like a man reborn and heads straight for theshower.

CUT TO:

EXT. GOBBLER'S KNOB - DAWN

Rita and Larry are in the packed press area, beginning to setup the equipment.

Phil arrives, carrying two cups of coffee.

PHILRita?

She looks at him without a trace of the rapport they shared thenight before.

RITAOh, hi, Phil.

PHILThought you might like some—

He hands her the coffee.

RITAThanks!

PHILCareful, it's hot. Larry?

He hands Larry a cup.

LARRY(surprised, mutters)

Yeah, great.

RITAWe're just setting up.

PHILYou know, I bumped into BusterGreene, he kind of runs thisthing, and he tipped me off thatwe might get a better shot overthere.

RITAReally?

-99-

PHILI mean, maybe we should go forit. What do you think?

RITASounds good to me. Larry?

LARRYSure, why not?

RITAAll right. Thanks, Phil. Goodwork.

She reaches for an equipment case.

PHILI'll get that.

Phil helps Larry carry the camera gear.

PHIL(to Larry)

You and I never talk, Larry. Yougot kids?

Larry looks suspicious. Rita looks on, reevaluating Phil.

CUT TO:

INT. LIBRARY - DAY

Phil enters the library, approaches the Librarian.

PHILWhere would I find the Philosophysection?

LIBRARIANDown and to the left, 600's.

Phil walks through the stacks, past the groundhog window.

CUT TO:

EXT. A HOUSE - DAY

Phil rings the doorbell. A kindly young woman, MARY, answers

MARYYes?

PHILI'd like a piano lesson, please.

-100-

MARYOh. Okay, I'm with a studentnow, but —

PHILI'll give you a thousand dollars.

Mary hesitates only a moment, then ushers Phil into the houseand closes the door.

A moment later the door opens and a LITTLE GIRL with an armloaof music books exits as if pushed. The door closes behind her.

CUT TO:

INT. HALLWAY - DAWN

Phil walks happily down the hallway. He passes the chubby man.

CHUBBY MANMorning.

PHILBuon Giorno, signore./ : '.. '•-

CHUBBY MANThink it ' 11 be an early Spring?

PHIL"Winter slumbering in the openair wears on his smiling face adream of Spring."

CHUBBY MANOh.

CUT TO :

INT. MARY'S HOUSE - DAY

Phil and Mary are sitting together at the piano. Phil isplaying, poorly.

MARYNot bad, Mr. Connors. You saythis is your first lesson?

PHILTechnically, yes.

Phil plays on, definitely improving.

CUT TO:

-101-

INT. LIBRARY - DAY

We see several cuts of Phil studying at the library.

SUPERED over these cuts is a calendar with the pages flippingby. They all read "February 2 . "

CUT TO:

EXT. GOBBLER'S KNOB - DAWN

Phil stands in front of the camera, giving his report.

PHILIn fact, the groundhog'slegendary ability to predict theweather may be more than just theGerman folklore of the region.Higher temperatures triggerhormonal changes in thetestosterone levels of malegroundhogs, which may in factwake them from hibernation andsend them out to battle withother males ;for mating rights.So, the truth is they're notlooking for their shadows,they're looking for groundhogchicks.

Rita looks on, clearly delighted with the report.

CUT TO:

INT. MARY'S HOUSE - DAY

Phil is playing the piano with ever increasing skill as moreFebruary 2 calendar pages flip by.

CUT TO:

EXT. GOBBLER'S KNOB - DAWN

Phil is delivering another report.

-102-

PHILGroundhog Day, February second,also known as Candlemas Day orthe Feast of the Purification ofthe Virgin Mary, the day Maryfirst came to the temple forritual blessings following thebirth of the infant Jesus, andcelebrated since the Middle Agesby the sacramental lighting ofcandles. Hence the old Scottishcouplet which long predates the.American groundhog tradition: "IfCandlemas dawns bright and clear,there'll be two winters in theyear."

Larry whispers an aside to Rita.

LARRYIs he making this stuff up?

RITA(riveted)

Shhhhh.

CUT TO:

EXT. CEMETERY - DAY

Beyond the graveyard is a work shed with various tombstonesscattered about. Old TUCKER, the town stonecarver, is at workchiseling 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 teawatching him with amazed interest.

PHILBut what if the rules changed?What if none of your actions hadconsequences?

RITAThere would still be an absolutemorality. There has to be anabsolute good, regardless of thecircumstances.

PHILOh, is that so, Miss Plato? Thenlet me ask you this. Where doesthis "absolute good" come from?From the sky?

-103-

Rita shrugs.

RITAI don't know. From my freshmanPhilosophy course, I guess.

They both laugh. Then she looks at him for a long moment andgrins.

PHILWhat?

RITANothing. I just can't believeyou're such a fine sculptor.

Phil takes a bite of her apple and gets up.

PHILI gotta go.

RITAWhere do you have to go inPunxsutawney?

PHILI got piano and then drums.

RITAHere?

PHILCome on, I'll drop you off.

They exit.

CUT TO:

EXT. MAIN STREET '••-.. LATER

Phil drops Rita off and watches as she crosses the street toLarry who is waiting on the other side.

Across the street, Rita takes a wistful glance toward Phil,then gets in the news van and drives off.

Phil gets out of the car and starts walking, but finds himselfface to face with Ned Ryerson.

NEDPhil! Phil Connors! I thoughtthat was you!

PHILNed? Ned Ryerson! I don'tbelieve it. I've missed you somuch.

-104-

Phil gives Ned a big hug and keeps holding on for anuncomfortably long time, actually giving Ned a hickey on theneck. Ned goes into homophobic shock.

NEDUh, I gotta get going. Nice tosee you, Phil.

He hurries off.

CUT TO:

INT. MARY'S HOUSE - DAY

Phil is sitting on the piano bench with Mary, playing prettywell. Mary is astonished.

MARYHow long have you been studying,Mr. Connors?

PHILOne day. I'm gifted.

CUT TO:

EXT. STREET - DAY

Phil is walking down the street. He glances down the alley ashe passes, stops, walks back and enters the alley. The OLD BUMthat Phil never noticed before is lying there, huddled againsta wall. Phil goes to help him.

PHILHey, mister. Hey. Come on,let's get you somewhere warm.

The old bum turns to look at Phil, then closes his eyes.

PHIL(helps the old man tohis feet)

There you go.

Phil practically carries him out of the alley.

CUT TO:

INT. HOSPITAL EMERGENCY ROOM - NIGHT

A nurse approaches Phil.

NURSEYou the one brought in the oldman?

-105-

PHILHow is he?

NURSEHe passed away just now.

Phil pauses for a long moment.

PHILWhat'd he die of?

NURSE(shrugs)

He was just old. It was histime.

PHILI want to see his chart. Excuseme.

Phil brushes past her and makes for the big double doorsleading to triage.

NURSESir, you can't —

(hurrying after him)Look! Some people just die!

PHILNot on my watch.

CUT TO:

INT. DINER - MORNING

Phil is propping up the old man at a table, trying to feed himhot soup.

CUT TO:

INT. HOSPITAL - DAY

Phil is furiously looking over X-rays, flipping through medicaljournals and making notes.

CUT TO:

EXT. ALLEY - NIGHT

Phil is in the alley, shaking the old man, trying to rouse him.

PHILCome on . Hang on . Hang on ,there . Breathe .

-106-

Phil stops. The body lies, unmoving. Phil sits back,breathing heavily.

CUT TO:

EXT. GOBBLER'S KNOB - DAWN

Phil is delivering his report. Everyone there is silent andlistening to Phil. Even the other reporters have turned theircameras on him.

PHIL...When Chekhov saw the longwinter, it was a winter bleak anddark and bereft of hope; and yet,we know winter's only one morestep in the cycle. And standingamong the people of Punxsutawney —

(Phil looks directly atRita)

— basking in the warmth of theirhearths and hearts, I couldn'timagine a better fate than a longand lustrous winter.

Phil smiles. Rita smiles, too.

PHILFor Channel 9 news, I'm PhilConnors.

There is much applause. Even Larry brushes away a tear.

Phil hands the microphone to Rita.

RITAPhil—

PHILSorry. I'm gonna be late.

Phil rushes off.

RITALate for what? Phil?

(To Larry)Could you break it down and wrapout of here by yourself, Larry?

LARRYSure .

RITAThanks .

-107-

Rita rushes off after Phil.

CUT TO:

EXT. STREET CORNER - DAY

Phil walks briskly toward an intersection, glancing nervouslyat his watch. Rita follows him at a distance, hurrying to keepup.

MARIE, a little nine-year-old girl, approaches the intersectionshielding her brand new puppy under her winter coat. She isn'tpaying attention to traffic and fails to notice a big truckbearing down on her.

As she steps off the curb, Phil arrives and, with split-secondtiming, nonchalantly but firmly grabs her coat to hold herback, just as the big truck rushes past in the street, narrowlymissing her.

PHILHey! Did you forget to look bothways? You didn't even look oneway.

MARIEMy doggie was cold.

PHILYeah, well, my doggies arefreezing, but I'm still gonnawatch out for cars. See youaround, kid.

Phil looks at his watch and rushes off.

Rita looks on amazed and follows him at a distance.

CUT TO:

INT. BERGHOF RESTAURANT - DAY

Phil enters the crowded restaurant and pushes past all thepeople waiting to be seated. He walks casually but quickly andpurposefully around the tables, squeezing past busy waitressesand seated patrons toward a commotion in the back of therestaurant.

TWO BUSINESSMEN are leaning over a THIRD.

BUSINESSMANOh, my God! He's having a heartattack!

SECOND BUSINESSMANLay him down!

-108-

BUSINESSMANWhat do I do? He's notbreathing1

SECOND BUSINESSMANHe's turning blue! Help!

Phil walks straight up to the BLUE-FACED MAN, grabs him frombehind, gets him in the Heimlich grip and squeezes sharply.

A bolus of food flies across the room. The victim coughs andsputters, then starts breathing again.

FIRST BUSINESSMANJerry, you okay?

SECOND BUSINESSMANI think that did it.

Phil lets go of the grateful victim.

PHILIf you're going to eat steak, getbetter teeth, will you? Enjoythe rest of your lunch, gents.

He exits.

JERRYWow. Who was that guy?

Phil gets to the door and finds Rita standing there, looking athim in awe.

PHILRita!

.RITA(confronting)

-Okay, hold it right there. Iwant to know what' s going on andI want to know right now.

PHILI'm sorry, I'm really pressedright now. Meet me outside thehospital about 5:00 and we'lltalk about it.

RITAThe hospital?

Phil looks at his watch and rushes away.

PHILTry the curlycue fries. Killer.

CUT TO:

-109-

INT. HOSPITAL CORRIDOR - LATER

A gurney bursts through the double doors, paramedics and nursesin attendance. The patient is a teenage girl, JANEY, totallyunconscious.

INT. EMERGENCY ROOM - CONTINUOUS

The gurney is wheeled into the surgery.

NURSELooks like insulin shock. She'sprobably diabetic.

Phil enters wearing a doctor's scrub suit and begins barkingorders.

PHILShe's not diabetic. It's anoverdose. Let's get her up hereand pump her stomach, then I wanta complete blood work-up, STAT.

NURSERight, Doctor—uh—

She realizes she's never seen him before.

PHILCall me Phil.

NURSEPhil. Like the groundhog?

PHILExactly.

CUT TO:

INT. CHILDREN'S WARD - LATE AFTERNOON

Sick CHILDREN in hospital gowns are gathered around Phil,laughing and squealing. Phil is. making balloon animals.

KIDMake a giraffe!

PHILA giraffe? Let's see. It's justlike a dog with a biiiiig— whatwas it?

ALL THE KIDSNeck!

-110-

PHILA big tail? Okay, a big tail.

KIDSNeck! A big neck!

Phil makes an animal really quickly.

Rita watches from the doorway, unseen by Phil.

PHILThere. A dog with long legs.

KIDSNooo ! Long neck !

PHILOh! Right! A dog with a bighead.

KIDSNoooo!

The kids attack Phil. Lots of rolling around on the bed. Ritawatches, completely enthralled.

Finally, Phil extricates himself and exits to find Ritawaiting.

RITAAll right, now what's going on?

PHIL(taking her arm)

Come on. We have to hurry.

CUT TO:

EXT. RESIDENTIAL STREET - A LITTLE LATER

Phil rushes down the sidewalk with Rita close behind him. Hestops under a tree and puts his arms out just as a YOUNG BOYfalls out of the tree and into his arms, knocking him to theground. The kid runs off unhurt as Phil gets back to his feetand brushes himself off.

PHIL(to Rita)

That little bastard has neverthanked me once . I ought to j ustlet him fall. Teach him alesson.

RITAPhil, this is too — I must bedreaming.

-111-

PHILYeah, you and me both. Come on,We're almost done.

CUT TO:

EXT. ALLEY - NIGHT

Phil kneels on the cold ground beside the old bum who lieshuddled against the wall, immobile.

Rita is standing by at the end of the alley, watching as Philexamines him.

Phil writes something down on a small pad. He finishes, andsets it down by the old man. Then he takes his coat and usesit to cover the man up. A siren is heard.

Phil stands and walks away, as an ambulance pulls into thealley.

RITAIs he — ?

. 'PHILYeah. Let's go.

RITAIn a minute.

She waits and watches.

The paramedics, BUD and ANDY, get out of the ambulance andinspect the scene.

BUDIt's ol1 Really.

ANDYThat's a shame.

BUDLook here .

Bud picks up the note Phil left.

Rita steps closer.

RITAMay I see that?

(reading aloud)"Every night, by cold bricksglowI watch the shadow risingfrom this old man in the snow.At 8:02 we let it go."

-112-

ANDY(repeating)

"At 8:02 we let it go."

BUDWow, that's nice.

Rita hands him the note and quickly walks away.

ANDYSuppose he wrote it?

BUD(doubtful)

Are you kidding?

CUT TO:

EXT. MAIN STREET - NIGHT

Rita catches up with Phil outside the Pennsylvanian, the town'soldest and best hotel.

RITANow what?

PHILCome on. You'll see.

They enter.

CUT TO :

INT. HOTEL LOBBY - CONTINUOUS

As Phil and Rita enter there is music coming from a side room.

The black velvet announcement board proclaims: KLEISER-SCOTTWEDDING.

CUT TO:

INT. PARTY ROOM - CONTINUOUS

Phil and Rita walk into a banquet room decorated withstreamers, balloons and flowers. There is a long buffet tableand a punch bowl. Another long table is loaded with weddinggifts. A small band is playing.

People are dancing. The wedding party is dressed in rentedtuxedos and appropriately pouffy bridesmaid dresses.

RITAThis is incredible. Who'swedding is this?

-113-

Phil grabs two glasses of champagne and hands one to Rita.

PHILJust some friends. Dorisi

The bride, DORIS, young and cheery, is on her way to see Phil.She is dragging FRED, her groom, with her.

DORISHi, Mr. Connors! Come ON,Freddy.

FREDHi.

DORISThis is the guy I told you about.

FREDNo way!

PHILHow's it going, Fred?

FREDHey, I'd like to thank you formaking Doris go through withthis.

PHILAre you kidding? Don't buy thatplaying hard to get stuff. She'scrazy about you, you stud.

DORISI'm really glad you could come.

PHILCongratulations.

Phil reaches into his pocket, pulls out two tickets and handsthem to Doris.

DORISWhat is this? Oh, no way! Noway! Ahhh!

Doris throws herself on Fred and jumps up and down. Fred grabsthe tickets.

FREDWrestlemania! No way! No way!

Doris throws herself on Phil.

DORISHow did you know?

-114-

FREDWe're like going to be inPittsburgh anyway.

PHILI don't know. I just thoughtabout you two, tried to picturewhat you ' d want more thananything in the world and it cameto me. Bing! Wrestlemania.

FREDThanks, Mr. Connors. You're areal pal.

DORISThis is the best!

Doris gives Phil a kiss. She and Fred move on.

RITAI don ' t understand . You rushfrom one person to the next in atown you only visit once a year,you know everything before ithappens , and you — - I don ' t know ,you seem to be Punxsutawney ' sleading citizen.

The band finishes a set. The guests stop dancing and head forthe refreshments. Phil and Rita are left alone for the moment

PHILWhat do you want to know?

RITAWho are you?

PHILI really don't know.

RITANo, there's something going onwith you.

PHILOkay, I wake up in Punxsutawneyon February second — every day.It's supernatural. I don't eventry to explain it anymore. So,I live each day as if it's theonly day I've got.

Rita stares into his eyes for a very long time, but sees onlygood, true things.

RITAThat's pretty amazing. "

-115-

PPHHIILLYou want to know what's reallyamazing? I've been waiting foryou every day for ten thousandyears. I dream of you everynight of my life. You've been myconstant weapon against totaldespair, and just knowing youexist has kept me alive. How'sthat?

Rita can't even speak. This is clearly the nicest thinganybody has ever said to anybody.

Mary the piano teacher notices Phil.

MARYPhil!

(to her friend)This is the guy.

PHILHello, Mary. Rita, this is oneof Punxsey's finest musicians.

•MARYGGiivvee mmee aa bbrreeaakk.. YYoouu sshhoouullddtalk. Why don't you playsomething?

PHILNo, I—

MARYPlease.

FREDHey, Mr. Connors. Go for it.

Phil looks at Rita. She nods and shrugs.

Phil walks up to the platform and sits at the piano. He beginsto play a slow, serious, classical piece. Everyone fallssilent. It's so beautiful, Rita is almost in tears.

Then, after a pause to let the serious notes sink in, Philtransforms 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 upa storm.

LEOThat's a great guy you've gotthere. Doctor Connors fixed myback, you know.

- -116-

RITADoctor Connors?

Rita looks over at Phil, joyously playing the piano.

CUT TO:

EXT. STREET - NIGHT

It is snowing lightly. Phil and Rita are walking slowly, armin arm, close. They stop and embrace. Phil looks at Rita.She looks like an angel.

PHILWait! Don't move!

Phil scoops up some snow and begins packing it down, furiously,joyously, then rolling it into a large ball.

RITAMaking a snow man? I'll help.

PHILNo, stay there. Stand rightthere.

Phil lifts the now larger chunk of packed snow and sets it ona mailbox. Then he looks at her, and starts to sculpt it.

DISSOLVE TO:

LATER

Phil is using a stick and the heat of his bare hands to modela delicate fold in the snow sculpture. Several bystanders lookon with interest as Phil stands back from his work.

RITACan I look?

PHILOkay, look.

It is an excellent likeness of Rita, the snow white asalabaster, pure as marble, a beautiful and delicate homage.

RITA(overwhelmed)

Nobody's ever done this for me.Not even a drawing. It'sbeautiful.

-117-

PHILThis is how I see you. When itall gets too much, I just closemy eyes and there you are— justlike this. Take it home and keepit in the freezer.

Rita embraces Phil. They are about to kiss, looking deep intoeach others eyes.

PHILThis one's for the Frog Prince.

RITAWhat?

PHILNothing.

They kiss— a long, deep, soul-stirring kiss.

PHILWill you come with me?

Rita nods. They continue standing there, embracing, warmingeach other in the cold night air.

RITA(looks back at the icesculpture)

We're just going to leave her?

PHILIt doesn't matter. Really, itdoesn'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 aredifferent, messier. Then he sees the covers move. Wide-eyednow, he looks over and sees Rita waking up, snuggling deepunder the covers.

PHIL(disbelieving)

It's not true. It's not. Itcan't be true. Rita? Rita!

-118-

RITA((ssttrreettcchhiinnggluxuriously)

Mmmm. Morning.

Phil pounces on Rita, showering her with kisses.

PHILYou're here! My god! I can'tbelieve you're here!

RITAGlad to see you, too.

PHILNo! It's happened. Don't youget it? It's tomorrow! It's —

Phil turns on the radio.

DEEJAY. . . still shoveling put thehighways, but if you're walking,it's a beautiful day.

SIDEKICKYeah, the snow kind of cleanedeverything up—

DEEJAY—except your mouth.

Phil kisses the radio.

PHILI love those guys.

RITAAre you always this jolly in themorning?

Phil runs to the window and looks out.

HIS POV - THE STREET

The street ;is virtually empty, the town just waking up. Kidsare throwing snowballs.

PHILNo groundhog! Rita! They're allgone!

RRIITTAAYou must've had some dream.

Phil stops, thinks.

-1 1 9 -

PHILDid I just dream it?

Phil opens the door and runs into the hallway wearing onlypajama bottoms.

RITAPhil? Phil!

Rita sits up in bed and waits. Suddenly, from somewhere elsein the inn comes the sound of Phil at the piano expertlyplaying a difficult classical piece. He stops after a fewbars.

PHIL (O.C.)Yeah!!!!

Phil runs back into the room.

PHILIt really happened! You'rereally here!

He pounces on Rita again.

PHILYou're really actually here.

RITA(laughing)

I'm here, I'm here!

They kiss, passionately, hungrily.

PHILLet's go!

He scoops her up in his arms.

RITAWhere're we going?

PHILAnywhere! Everywhere!

CUT TO:

INT. BREAKFAST ROOM - LATER

Phil and Rita, dressed now, enter and encounter Mrs. LancasterPhil hugs her.

MRS. LANCASTEROh, my!

-120-

PHILFlorence! Say hello to Rita.She loves me.

MRS. LANCASTERI'm not surprised.

He kisses her on the cheek and rushes out with Rita.

EXT. THE STREET - DAY

Phil and Rita walk down Main Street hand in hand.

A MANPhil! Good morning!

A LADYMr. Connors. I wanted to thankyou.

PHILThat's all right. I—

A FLORIST steps out of the flower shop with a bouquet.

FLORISTPhil, here. I want you to havethese.

PHILThanks, 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 onrecord. I would find myself nolonger able to affect the chainof events in this town, but I didlearn something about time. Youcan waste time, you can killtime, you can do time, but if youuse it wisely, there's neverenough of it. So you'd bettermake the most of the time you'vegot.

A car skids on the ice and smashes into a tree. Phil and Ritarush over to help, but the driver waves that he's okay. Ritaand Phil continue their walk.

-121-

PHIL (V.O.)Larry never got through theblizzard, so none of my groundhogreports ever made it on the air.But Rita and I— we lived happilyever after.

Phil and Rita walk off together.

Across the street, Larry is trying to get rid of Ned Ryersonwho is doggedly trying to sell him insurance.

NEDBut Phil told me you were hisaccountant!

LARRYLook, I told you! He's nuts!

Larry keeps trying to walk away, but Ned won't leave him alone.

NEDLet me just tell you about singlepremium life—

Finally, Larry slugs Ned and storms off, leaving Nedfflloouunnddeerriinngg iinn aa ssnnoowwbbaannkk..

Phil and Rita walk on as we pull up and away from Main Streetrevealing the whole of Punxsutawney and the snowy countrysidethat embraces it.

THE END