groundhog day screenplay by danny rubin - for educational purposes

GROUNDHOGDAY

by

Danny Rubln

Final Revision 3/5/92 by Hardd Ramls

Revlsed Blue 3i7/92 Revised Pink 311 3/92 Revised Yellow 3/17/92 Revised Green 4/24/92 Revised Goldenrod 4/24/92

FADE IN

1 EXT. PITTSBURGH - DAY We see the downtown skyline of Pittsburgh, the tall buildings sprouting from a triangle formed by the three rivers, the Allegheny, the Monongahela, and the Ohio.

ROLL CREDITS AND THEME MUSIC . .

A TV NEWS VAN marked 'WPBH Action News - Pittsburgh' is leaving the city. The van travels across a bridge and disappears into a tunnel.

CUT TO:

2 EXT. INTERSTATE - LATER The van cruises through the frozen countryside of Western Pennsylvania.

PHIL (V.O.) (on the carphone)

With me you don't just get a weatherman. I give you a personality with the credibility of a first-class journalist.

3 INT. THE VAN - CONTINUOUS PHIL CONNORS, the Action News weatherman is talking on the phone. He's in his mid-thirties, smart, rugged-looking, perhaps a little too full of himself, but clearly a guy with a lot of personality.

PHIL (on the phone)

Look at my tape, you'll get it.

LARRY & RITA (together)

We've seen it.

PHIL Strange, I got a very positive response from another network.

LARRY, the union cameraman and techie, is driving. He snorts a: Phil's bald-faced lie.

LARRY Yeah, that would be the Home Shopping Network.

(CONTINUED)

R e v i s e d P i n k 3 / i 3 ; 9 2

i .. 3 CONTINUED:

P H I L (on phone)

I'm getting some annoying static here, Dan.. . I'm mobile. Something's breaking ... I've got to be there...Letls hook up tomorrow. ..I'll call you.. . . Whatever . . . Bye-Bye.

He hangs up and glares at Larry.

PHIL Larry, can you keep a secret? I'm probably leaving PBH. Which means this is the last time I do the Groundhog.

LARRY What's wrong with the groundhog festival? When I worked in San Diego, I covered the swallows comlng back to Capistrano six years in a row:

PHIL You should've killed the guy who made you do that.

LARRY I wanted to do it.

PHIL Then you should've killed yourself. One of these days someone's going to catch me interviewing a groundhog and think I don't have a future.

RITA, the producer, sits contentedly in the jump seat behind and between Larry and Phil. She is competent, personable! humorous, self-assured and very pretty-- in short, a genuine princess, though Phil is too self-absorbed at this point to realize it.

RITA (leaning in)

I think it's a cute story. He comes out, he looks around, he wrinkles up his little nose, he sees his shadow, he doesn't see his shadow-- it's nice. People like it.

(CONTINUED)

Revised Pink 3/13/92

- 3 -

,. .. 3 CONTINUED: . .

PHIL You really are new, aren't you. Wet behind the ears. People like head cheese, too. People are morons.

RITA Nice attitude.

PHIL DO you want a mirror so you can see your face when you wrinkle up your nose?

Rita smiles self-consciously and leans back in her seat.

4 EXT. HIGHWAY - LATER The van swings off the interstate and onto a two-lane highway.

5 INT. THE VAN - SAME TIME Larry is munching on a bag of Fritos. He offers one to Phil.

LARRY Frito?

PHIL So I can spend forty minutes on a treadmill walking it off? Thanks, no.

Rita is watching the passing landscape with interest.

RITA It's orettv out here. isn't it?

it0 ~hil) What's Punxsutawney like?

Phil looks up from the magazine he's reading.

PHIL A magical, enchanted place. It's the Constantinople of the entire Western Appalachian-Susquehanna Drainage.

She knows Phil mainly by his reputation and it isn't good. Still, she finds him appealing in an odd way.

RITA Do you always joke?

(CONTINUED)


5 CONTINUED: . .

PHIL I'm shy and I'm sensitive so I kid.

RITA A lot of people around the station think you're not very sincere.

P H I L Well, I hope I've convinced you.

CUT TO:

6 EXT. HIGHWAY - LATER The van starts passing small businesses and fast food places on the outskirts of town.

A BILLBOARD

'Welcome to Punxsutawney - The Original Weather Capitol of the world Since 1887.' Depicted on the sign is a large cartoon GROUNDHOG wearing a top hat and clutching an umbrella under his arm.

The van passes the billboard and enters htnxsutawney.

CUT TO:

7 EXT. MAIN SQUARE - PUNXSUTAWNEY - LATER The van drives around the picturesque town square. There are cartoon groundhogs everywhere you look and the whole town has been gaily festooned with banners and bunting. The street is already crowded with parked cars including a number of other news vans.

m e van pulls up to the Pennsylvanian, the oldest and 'best' hotel in town and they all get out.

Phil takes one look at the hotel and shakes his head.

PHIL Rita! I can't stay here.

Rita is already helping Larry unload equipment from the van.

LARRY (muttering)

Prima donnas.

(CONTINUED)

Revised P i n k 3/13/92

-. . 7 CONTINUED:

RITA It's okay. I'll handle it.

(crossing to him) What's the problem, Phil?

PHIL I hate this place. I stayed here two years ago, I was miserable. It's a fleabag. I'm not staying here.

RITA You're not staying here.

PHIL (brightening)

I'm not?

RITA No, I booked you at a very nice bed and breakfast on Cherry Street. Larry's just dropping me off, then he'll take you over there.

PHIL (pleased)

Great. That's great. I think that's the mark of a really good producer. Keeping the talent happy.

RITA Whatever I can do.

PHIL Really? Talent needs a foot mas sage?

RITA Within reason. Would you like to have dinner with Larry and me?

PHIL No thanks, I've seen Larry eat. You want to ditch Larm and let me take you someplace nice?

RITA You mean like a date?

PHIL Yeah.

(CONTINUED )

. . 7 CONTINUED:

. . .... . . RITA

Oh, no.

PHIL Okay. I get it. You're a little intimidated by me, you're all excited about the shoot tomorrow. You just get some sleep. 1'11 see you in the morning.

RITA Don't be late.

Phil starts to make another call on the carphone as she crosses back to help Larry.

LARRY Did he actually call himself 'the talent. '

She nods and they both giggle.

m TO:

8 EXT. A FOREST CLEARING - EARLY MORNING 8

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

CUT TO:

9 HIBERNATING GROUNDHOGS

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

END CREDITS AND THPIE MUSIC -

DISSOLVE TO:

10 INT. PHIL'S ROOM - DAWN CLOSE UP - CLOCK A clock-radio changes from 5 : 5 9 to 6:00 AM. The radio comes on, playing the end of the Sonny and Cher hit, *I Got You, Babe. '

(CONTINUED)

1 G CONTINUED :

SUPE?.: FEBRUARY 2

Phil sits up in bed and looks around the room. The decor is typical bed and breakfast, flocked wallpaper, framed prints, acf an odd assortment of mismatched furniture. His suit is hanging neatly on the back of the closet door and his suitcase is open on a stand at the foot of the bed, stili neatly packed.

A radio DEEJAY and his SIDEKICK come on with hyped-up, drivetire 'happy talk.' Phil stares at the radio and listens to them.

DEEJAY Okay, campers, rise and shine, and don't forget your booties because it's COOOLD out there today!

Phil grimaces and swings out of bed.

SIDEKICK It's cold out there everyday. What is this-- Miami Beach?

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

DEEJAY Not hardly. And you can expect hazardous travel later today with that, you know, blizzard thing--

SIDEKICK That 'blizzard thing?"

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

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

DEEJAY Yes they are, but there's another , reason today is especially exciting--

SIDEKICK Especially cold--

DEE JAY Especially cold, okay, but the big question on everybody's lips--

SIDEKICK Chapped lips--

(CONTINUED)

10 CONTINUED :

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

SIDEKICK Punxsutawney Phil.

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

DEEJAY That's right, woodchuck chuckers!

BOTH DEEJAYS Groundhog Day !

SOUND EFFECT of GRUNTING GROUNDHOGS.

Phil crosses to the window and looks out.

11 HISPOV 11

The street is full of people heading toward the centel: of tom.

CUT TO:

12 INT. CORRIDOR - EARLY MORNING 12

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

CHUBBY MAN Morning.

PHIL Morning.

CHUBBY MAN Think it'll be an early Spring?

PHIL I don't know about the groundhog, but I'm predicting March Zlst.

CUT TO:

13 INT. BREAKFAST ROOK - C3KTINUOUS . - - - Phil enters the old lib-ary of the house now set up with a breakfast buffet. An sld spinet piano stands in the corner. One wall is lined with bookcases filled with books. A handful of guests are seated around the room, eating.

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

MRS. LANCASTER Did you sleea well, Mr. Connors?

PHIL (with msck civility)

I slept alone, Mrs. Lancaster.

MRS . LANCASTER Oh, I'm sorry. Would you like some coffee?

PHIL I don't suppse it'd be possible to get an espresso or a cappucino around here.

MRS. LANCASTER (blankly )

I don't really know--

PHIL (mutters)

--how to spell 'espresso. or 'cappucino: Forget it. This'll be fine .

MRS. LANCASTER (as she pours)

Hope you enjoy the festivities. There's talk of a blizzard.

PHIL No. The blizzard's landing due east of here, missing us completely.

(gesturing as if on T ) This low pressure system is coming down from the North, sucking all this moisture up from the Gulf, freezing it, pushing the disturbance easterly, acd paralyzing Altoona. That leaves Funxsutawney cold and overcast, hi~h today in the low 303s, dropp~r.3 to the low 20's c o - l g h t .

(r.=re)

(CONTINUED)

PHIL (Cont 'd) Chance of precipitation -- twenty percent.

(off her surprised look) Did you want to talk weather, or did you just want to chitchat?

MRS. LANCASTER (at at loss)

Well, I--

He heads for the door.

MRS. LANCASTER Oh, will you be checking out today, Mr. Connors?

PHIL Chance of departure-- one hundred percent.

Phil exits.

CUT TO:

- 6 . . - 3 EX?. CHERRY STREET INN - MOENTS LATER 14

Sipping at the steaming coffee, Phil manages to put an his coat and gloves as he descends the front steps of the rambling Victorian house and joins the flow of pedestrian traffic on the street.

15 EXT. TOWN SQUARE - PVNXSUTAWNEY - CONTINUOUS 1:

There are a lot of people on the street for this hour. Traffic is sp heavy in fact, the pedestrians are moving faster than the cars. Everyone seems to be going in the same direction, making the annual trek to see the groundhog.

An extremely red-faced and weathered old bum, OLD JEMSEN, is sitting on the sidewalk leaning against a storefront. Someone presses a coin into his hand. Phil meets Old Jensen's tired gaze. He self-consciously swats his supposedly empty pockets and walks off with a shrug.

MAN 10.C.) Hey, Phil!

A tall, sharp-faced man, NED RYERSON, comes huffing and puffin; right up to him. There is something about this guy that makes us aisllke him on sight.

(CONTINUED)

NED Phil! Phil Connors! I thought that was you!

Phil assumes he's a fan.

PHIL Good to see you. Thanks for wa: ching .

NED My oh my! Phil Connors. Don't say you don't remember me, 'cause I sure as heck-fire remember you. Well?

Phil stares, trying to remember.

NED (prompting)

Ned Rverson? Needlenose Ned? Ned the ~ead. Come on, buddy. Case Western High?

PHIL Ned?

NED I see you clicking through that brain of yours. Click-click, click- click-- Bing! Ned Ryerson, President, Loyal Order of Rowdy Band Members? Bing! Ned Ryerson, got the shingles real bad senior year, almost didn't graduate. Bing again! Ned Ryerson, went out with your sister Mary Pat a couple of times-- 'ti1 you told me not to anymore. We1 1 ?

PHIL (resigned)

Ned Ryerson.

NED Bing !

PHIL So what're you doing with yourself, Ned?

NED Phil, I sell insurance.

(CONTINUED)

PHIL (sorry he asked)

No kidding.

NED Do you have life insurance, Phil? 'Cause if you do, I bet you could use more-- who couldn't?-- but I got a feeling you don't have any. Am I right?

PHIL You know, Ned, I'd love to talk to you but I really have to--

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

NED That's okay. I'll walk with you. When I see an opportunity, I charge it, like a bull. Ned the Bull, that's me now. .Some of my friends live and die by actuarial tables, but I think it's all just a crap shoot anyhoo. Ever hear of single premium life? That could be the ticket for you, buddy. God, it's good to see you! Hey, what're you doing for dinner?

PHIL Dinner? Sorry. I'm on a nine day fast and if I break it now I lose my room at the monastery.

As they continue walking, Phil steps off the curb into what looks like a shallow puddle and ends up ankle deep in wet slush Ned laughs like a donkey.

NED Hey, look out for that first step! It's a doozy!

Phil looks at him with murderous contempt.

CUT TO:

16 EXT. GOBBLER'S KNOB - DAWN 16

h b:g crowd is standing in the park on the main square. They ere cazhered arocnd a large man-made rncund enclosed by a ral: fence. Outside the central area, several flres are going, wlzh

- more people crowded around them.

(CONTINUED)

Revised Yel1.o~ 3/17/51

- 1 3 -

CONTINUED: it

For a cold gray dawn, there is the atmosphere of a festival here. Music is blaring fromloudspeakers. The crowd is singi~ along.

The area directly in front of the mound is reserved for town officials, dignitaries, and news reporters and cameras. Rita stands there, a pocket of genuine beauty in this sea of potbellied old union guys and blow-dried reporters.

The crowd has begun chanting:

CROWD Phil! Phil! Phil! Phil!

Stomping her feet against the cold, Rita looks at her watch and glances around. Larry, the cameraman, is shooting the crowd.

RITA How could he be late? It's just so-- inconsiderate.

LARRY Prima donnas. What happens to some people? They're born nice. They grow up nice. You put 'ern on TV and-- bam! Prima donnas.

Rita spots Phil heading into the crowd.

RITA Here he comes. Phil! Hey, Phil. Over here!

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

RITA Where've you been? You're missing all the fun!

PHIL It was horrible. A giant leech got me.

Rita straightens his tie.

RITA When, we got here at five there was already a crowd. Some of them have been partying all night.

LARRY Okay.

She hands him a microphone.


16 CONTINUED : . .

RITA These people are great. They sing songs 'ti1 they get too cold, then they go warm up by the fires, then they come back and sing some more.

PHIL Yes. They're hicks, Rita.

He primps in the camera lens.

PHIL So, did you sleep okay without me? You tossed and turned, didn't you?

RITA You're incredible.

PHIL Who told you? No, I want to know who told you. No one's supposed to know.

The Groundhog Club Officials in top hats and overcoats parade onto the stage at the front of the mound. Rita snaps to attention.

RITA Groundhog time. Larry?

LARRY (behind the camera)

Getting it.

PHIL On me. Let's go, I'm ready.

Larry looks at Rita. She shrugs. Larry mutters something and turns the camera toward Phil.

Phil straightens up, takes a breath and snaps into announce mode.

PHIL (to camera)

Countdown 1, 2, 3 (pause)

Once a year, the eyes of the nation turn here, to this tiny hamlet in Pennsylvania, to watch a master at work. The master?

(more)

(CONTINUED)


- 16 CONTINUED : . .

PHIL (Cont 'd) Punxsutawney Phil, .the world's most famous weatherman, the groundhog, who, as legend has it, can predict the coming of an early spring. I know what you're thinking--does Phil feel lucky today?

On camera, Phil is professional, smooth, even charismatic. Rita turns to Larry. This is impressive-- so far, so good.

On stage is a hollow tree stump with a little door in the front. BUSTER GREEN, the Groundhog Club President, knocks on the little door with his cane.

PHIL (to Rita)

It's the same every year. They knock on the stump, yank out the hog, talk to it--

An Official pulls the groundhog from the hollow tree stump. The crowd cheers.

Rita laughs, enjoying this imensely

RITA This is a riot!

On stage, Buster Green pretends to talk to the groundhog. At the end of their mock conversation, he unrolls a scroll and reads from it.

BUSTER This February Second, at seven twenty and thirty seconds, Punxsutawney Phil, the Seer of Seers, Prognosticator of Prognosticators--

Phil is bored, looks at his watch.

BUSTER (CONT . ) --emerged reluctantly but alertly in Punxsutawney, Pennsylvannia, to wish the faithful followers a happy Groundhog Day. Phil looked skyward to the east, then behind to the ground, and stated clearly in groundhogese, .I definitely see a shadow." Sorry folks, there you have it, six more weeks of winter.

(CONTINUED)

Revised Pink 3 / 1 3 / 9 2

.... 16 CONTINUED:

he good-natured crowd goes 'A-:' b ther men on the podium hold up hand-lettered-signs reading 'Blizzard', 'Sleet . '

Larry pans the camera back t o Phil .

PHIL ( t o camera)

A disappointed but cheerful crowd. Well, you heard it. Six more weeks of winter.

Sddenly, the groundhog wriggles out of t he O f f i c i a l ' s hands and escapes from him. H e runs of f the stage and through the crowd. WE can t race h i s path as t h e people par t t o avoid him.

RITA ( t o L a r r y )

G e t this--this. Over there , over there.

Larry swings the camera off Phil toward the crowd, t rying t o follow the groundhog.

Ph i l can ' t believe he i s being upstaged l i k e this. Rita is amused.

RITA You're missing the s tory, Phil. I t 's over there .

F ina l ly , someone i n t h e crowd reaches down and picks up the groundhog. The Of f i c i a l comes down t o r e t r i eve him.

Larry pans back t o Ph i l , who pretends t o have been amused by a l l t h i s .

PHIL ( t o camera)

Okay, i n 3. (pause)

You know, t h i s is one time where t e l ev i s ion r e a l l y fails t o capture the t r ue excitement of watching a la rge s q u i r r e l predic t the weather, and I f o r one am grateful I could be here today. From Punxsutawney, t h i s is Phil Connors .

Phi l makes a cu t s ign with h i s hand and hands the mike t o Ri ta

(CONTINUED)


i. 16 CONTINUED : . .

RITA (to Phil)

want to do it again without the sarcasm?

PHIL I'm outta here.

LARRY (mutters)

Prima donnas.

CUT TO:

17 INT. DINER - LATER 15

Phil is sitting at a table having a cup of coffee in is busy, loud and lively cafe.

In the background, an CL3 LADY is playing 'Seventy-six Trombones" on a Hammond Organ.

Rita enters from outsi6e and rejoins Phil at their table. Phi; is in the middle of a story, playing to an audience of bustlizg waitresses, short order cooks, and half-interested patrons.

PHIL At that time, the National Weather . .

Service predicted Hurricane Guenivere would come ashore in Georgia. I seid -- 'Uh-uh. You're not watching the Gulf Stream, boys. She's gonna hit-- New York City:

PATRONS Ohhhh .

Phil sits back, satisfied. Patrons nod politely.

PHIL Mayor of New York wouldn't take my call. City got creamed.

RITA Larry's almost got the van packed UP

An old waitress, DORIS, comes over with some coffee.

DORIS More coffee, hon?

RITA Just the check, please. These sticky buns are just heaven.

DORIS (pleased)

Aren't they?

PHIL (sarcastic, to Rita)

Do we have to leave so soon?

DORIS What's the rush? We just got handed six more weeks of winter.

PHIL That's just a rumor. The groundhog heard i~ fro= he Easter bunny.

Phil gets his coat from the coat-tree.

(CONTINUED)

RITA I don't think Phil's a believer.

DORIS Phil?

An old GEEZER sitting at the counter behind them responds.

GUS Like the groundhog.

VARIOUS VOICES Hey, Phil! Shadow scare ya this morning? (another) Have a good nap? (another) Hollow log too small for YOU?

Phil glowers at them, already sick of hearing this.

Larry pokes his head in the doorway and spots Rita.

LARRY You ready? We better get going if we're going to stay ahead of the weather.

PHIL That storm is going to miss us completely, you know.

Phil leaves a ten dollar bill on the table as he leaves. As they approach the door, Doris hands Rita a bag of sticky buns.

DORIS Here you go, darlin'.

RITA oh, my. Look, Phil! Sticky Buns.

Phil grins in mock excitement.

PHIL I couldn't be happier.

DORIS See you next year, same time.

RITA Thank you so much.

(to Phil) Isn't she swee:?

Phil and Rita exit. '\../

(CONTINUED)

Revised Pink 3!l:f9;

.... 17 CONTINUED: i

Another waitress, ALICE, is already bussing Phil and Rita's table. She notices the ten dollars and hands it over to Doris.

ALICE Ten dollars for coffee and a sticky bun?

DORIS And for listening to him.

CUT TO:

18 EXT. HIGHWAY - DAY The van is driving down the highway. Light snow is just starting to fall. As they cross over a ridge, the biggest, darkest, most ominous storm imaginable is gathering in the sky just beyond.

19 INT. THE VAN - CONTINUOUS The snow is getting heavier. Larry switches on the windshield wipers. Finally, Rita breaks the silence.

PHIL (on the phone)

Hello? Hello? Hello? Goodbye.

RITA I have to say, that was pretty lousy this morning.

PHIL It was worse last year. The rat bit somebody--

RITA I'm not talking about the groundhog. He was fine. I'm talking about you. You call yourself a professional?

PHIL I'm a pro. That was right on the money.

RITA Okay, forget professional. 'How about human? It's just a funny little folk pageant. You acted like it's a personal insult. Who do you think you are?

(CONTINUED )

Revised. Pink 3 / : 2 / 9 2

19 CONTINUED : . .

PHIL oh my God, you take this stuff seriously.

IxL At% Yes, I do. There are no little stories, Phil. Only little reporters with big egos who think they're too good for the job.

PHIL Oh, is that so?

RITA Yes, that is so.

LARRY (wipes window)

Oh boy, take a look at this.

He starts slowing down as the snowfall gets heavier.

PHIL What's going on?

LARRY I don't know, perhaps it's that blizzard we're not going to get.

PHIL What?

The traffic comes to a complete stop. Phil reaches out and begins honking Larry's horn.

PHIL (honking)

This isn't possible.

LARRY (pushing his hand away)

Hey! No one honk's that horn but me, pal.

Larry honks it once to assert his prerogative.

Phil rolls down the window and looks up ahead. The highway is a parking lot.

PHIL NO. NO!

R e v i s e d Pink 3/13!S:

- ?

.L.. . L - EXT. THE CAR - CONTINUOUS i C

Phil jumps out and begins to walk down the'highway, past the parked cars, shivering. As Phil passes the van, Larry honks his * horn. Phil jumps and Larry gives him a little wave. Some cars t

are pulling away from the lineup and turning back. *

Revised Yellow 3/17/91

-- 2 0 CONTINUED :

The snowfall is getting heavier and the wind is picking up. The snow comes down unnaturally hard and fast. He walks on, slipping and sliding in his expensive loafers until he comes to a police roadblock manned by TWO HIGHWAY PATROLMEN.

PHIL What's going on, Connnander?

PATROLMAN Nothin's goin' on. We're closin' the road. Big accident up ahead. Blizzard movin' in.

PHIL What blizzard? A couple of flakes !

PATROLMAN Don't you listen to the weather? We got a major storm here.

PHIL No, no. I make the weather.

(gesturing as if at the weather map)

All that moisture is going to push east of us and hit Altoona.

PATROLMAN Pal, you got that moisture on your head.

Phil stomps off, but comes right back.

PHIL Commander--

PATROLMAN Mister, you can go back to Punxsutawney, or you can go on ahead and freeze to death. Your choice.

(after a beat) Well? What's it gonna be?

PHIL I'm thinking.

CUT TO:


21 INT. GAS STATION - LATER Phil is on a payaphone. Snow is falling heavily outside. Rita and Larry are waiting in the van. A GAS STATION A?TENDANT is shovelling around the pumps.

PHIL (on phone)

All the long distance lines are down? What about the satellite? Is it snowing in space? ... Isn't there some special line you keep open for emergencies or for celebrities? ... Both! I'm a celebrity in an emergency. Can you patch me through on that line?

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

CUT TO:

22 EXT. TOWN SQUARE - DAY Rita and Larry are talking near a booth selling hot cider. The sound of chainsaws is loud in the background. Rita takes two cups of cider and walks to where Phil is standing.

Phil is staring blankly. Surrounding him are twenty-five ice sculptures, many of groundhogs.

PHIL My idea of hell. By Phil Connors.

The artists are working their sculptures with chain-saws. Banners are up. It is a local competition. Many townspeople and tourists cheer them on.

RITA Some of these are great.

She hands him a cup and admires an elaborately carved ice angel.

PHIL This town is a time capsule somebody buried a hundred years ago and no one's dug it up yet.

RITA Cheer up, Phil. The day's what you make of it, right? A couple of hours ago this was just a block of ice.

(CONTINUED)

Revised Yellow 3 / 1 ; . 5 :

.- - 22 CONTINUED:

PHIL And a couple of years ago it was rain.

Phil dumps the cider from his cup, goes up to the statue and scoops the ice shavings into his glass.

PHIL Tell Larry to go get us some bourbon.

LARRY Hey, I'm not your guy. I don't have to do that.

(he turns to Rita) Would you like some bourbon Rita?

RITA Thanks, Larry.

CUT TO:

23 INT. HOTEL BAR - EVENING 2 1

A dance band is playing somewhere in the hotel. Phil is at the bar telling a story to an attractive GIRL (NANCY) and anybody else within earshot. The girl listens politely.

PHIL Over here I've got the satellite photos, over here I've got the temperature grades, and I think 'Aha! You know where she's gonna hit?'

BARTENDER New York City.

Phil pauses, bites the intrusion.

PHIL It's a famous story, yes.

BARTENDER (to others)

Mayor of New York wouldn't take his call. City got creamed.

Everyone chuckles at Phil's expense.

(CONTINUED)

Revised Yellow 3 / 1 7 / 9 2

%.__. 23 CONTINUED:

PHIL (to the girl)

The science of meteorology is way over their heads.

NANCY (nervously)

I better get going.

PHIL No, wait. Don't you want to see the inside of the van? It's really cool.

NANCY I should get back to.the party. Thanks for the drink, Frank. Good night.

(CONTINUED)

R e v i s e d P i n k 3 / 1 2 / 9 2

- 2 4 -

23 CONTINUED:

Nancy heads for the lobby.

PHIL (calling)

It's Phil!

BARTENDER Phil? Like the groundhog.

PATRONS Have a good nap, Phil? (another) Let's hear some groundhogese. (another) Any more predictions?

Rita and Larry enter, dressed for the evening.

RITA Phil, aren't you going to the Groundhog Dinner?

PHIL No, thanks. I had groundhog for lunch. It was good. Tastes like chicken. You two run along.

RITA What are you going to do?

PHIL I think I'll just go back to my hotel and have a nice hot shower.

CUT TO:

24 INT. SHOWER 24

Phil takes off his robe and steps into the shower. His eyes open wide and he SCREAMS.

CUT TO:

25 INT. MAIN FLOOR HALLWAY

Phil encounters Mrs. Lancaster on her way to her room.

PHIL Isn't there any hot water in this place?

MRS. LANCASTER Oh, not today. I'm sorry. Sweet dreams !

t CONTINUED)


25 CONTINUED :

Phil nods, resigned, as she exits into her'room.

26 INT. PHIL'S ROOM - CONTINUOUS 26

Phil enters his room. His open suitcase is on his bed. He throws it onto the floor, then tosses his shaving kit onto the end table. The shaving kit knocks over a vase with flowers, which falls and breaks.

Phil reacts. Perfect end to a perfect day. He flops down on the bed.

DISSOLVE TO:

27 EXT. CHERRY STREET - DAWN , 27

The first light of morning colors the sky behind the Cherry Street Inn.

CUT TO:

2 6 INT. PHIL'S ROOM - DAWN 2E

CLOSE UP - CLOCK

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

Phil sits up in bed. He's wearing pajamas, his suit is once again hanging neatly on the closet door and his suitcase is back on its stand at the foot of the bed, again neatly packed. The flower vase is again set on the end table, unbroken. Phil takes no notice.

The song ends and the same radio deejay and his sidekick come oc with the same manic energy. Phil stares at the radio and listens to them. A look of astonishment comes over his face as they banter.


(CONTINUED)

2 8 CONTINJED :


The deejay laughs. Phil 'mock' laughs at exactly the same time, recognizing the repartee from the previous morning.

PHIL (to himself)

Nice going guys. That's yesterday's tape.

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

DEEJAY Not hardly. Expect hazardous travel later today with that, you know, blizzard thing--

SIDEKICK That "blizzard thing?"

Phil turns on the water and splashes some on his face as if trying to wake himself up, vaguely disturbed by the repetition of he broadcast.

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

DEEJAY Yes they are, but there's another reason today is especially exciting--

SIDEKICK Especially cold--

DEEJAY Especially cold, okay, but the big question on everybody ' s lips--

Phil supplies the next line in unison with the radio

SIDEKICK AND PHIL Chapped lips--

DEEJAY --or. their chapped lips, right-- Do you think Phil's going to come out and see his shadow?

(CONTINUED )

SIDEKICK Punxsutawney Phil.

Some vague doubt causes Phil to go to the window.

DEEJAY That's right, woodchuck chuckers! It IS--

BOTH DEEJAYS Groundhog Day!

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

29 HISPOV - 25

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

PHIL (aghast )

What the hell?

CUT TO: . .. -

30 INT. CORRIDOR - CHERRY STREET INN - DAWN 3 C

Phil rushes out of his room, hastily tying his tie, his suit jacket and overcoat over his arm. As he heads for the breakfast room, the same Chubby Man passes.

CHUBBY MAN Morning.

PHIL Morning.

CHUBBY MAN Think it'll be an early Spring?

PHIL (stops, irritated)

Didn't we do this yesterday?

CHUBBY MAN (intimidated)

I don't know what you mean.

Fhil grabs him by the front of his shirt and looks deep into Zis eyes.

(CONTINUED)

Revised Yellow 3!1719:

PHIL Don't mess with me, pork chop. What day is this?

CHUBBY MAN (terrified)

February second-- Groundhog Day!

Phil can see he's telling the truth and relaxes his grip on the poor man.

PHIL Okay. Sorry. Just checking

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

3 1 INT. BREAKFAST ROOM - CONTINUOUS Phil enters the old library of the house and finds everything exactly as it was the day before. Mrs. Lancaster spots Phil as she comes out of the kitchen with the fresh pot of coffee.

MRS. LANCASTER Did you sleep well, Mr. Connors?

PHIL (completely confused)

Did I sleep well--?

MRS. LANCASTER Would you like some coffee?

PHIL, Yes, please. Better make it a double.

MRS. LANCASTER (pouring)

HOD^ vou eniov the festivities. ~h'ere's talk bf a blizzard.

PHIL Do you ever have deja vu, Mrs. Lancaster?

MRS. LANCASTER I don't know, but I could check with the kitchen.

(CONTINUED)

PHIL Thank you .

He heads for the door, still in a daze.

MRS. LANCASTER Oh, will you be checking out today, Mr. Connors?

PHIL (vaguely)

I'd say there's an eighty percent chance.

He exits.

CUT TO:

32 EXT. CHERRY STREET INN - MOMENTS LATER 3 2

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

PHIL Excuse me. Where's everybody going?

PASSERBY To Gobbler's Knob. It's Groundhog Day !

PHIL It's still just once a year, right?

Phil shakes his head as if trying to clear it and starts off down the street.

33 EXT. TOWN SQUARE - CONTINUOUS 3:

Phil rushes down the street. Again his eyes catch those of OLD JENSEN sitting on the sidewalk leaning against a storefront. Again, without thinking, he swats his supposedly empty pockets then realizes that he did this yesterday.

PHIL This is some dream.

NED RYERSON (0. C . ) Hey, Phil!

Ned Fgerson approaches with the same obnoxious attitude

(CONTINUED)

NED Phil! Phil Connors! I thouaht that - was you !

Phil just stares at him and keeps walking.

NED My oh my! Phil Connors. Don't say you don't remember me, 'cause I sure as heck-fire remember you. Well?

PHIL Ned Ryerson?

NED Bing! First shot right out of the box. So how's it going, 01 ' buddy?

'PHIL To tell you the truth, Neddy, I'm not feeling real well. Could you excuse me?

NED Now it's funny you should mention your health 'cause you'll never guess what I d3.

PHIL Do you sell insurance, Ned?

NED Bing again! You're sharp as a tack today. Do you have life insurance, Phil? 'Cause if you do, I bet you could use more-- who couldn't?-- but I got a feeling you don't have any. Am I right?

PHIL (desperate to get away)

I gotta go.

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

NED Hey, look out for that first step. It's a doozy!

Phil i ~ ~ k s down at his wet shoes and cuffs and stumbles off toward Gsbbler ' s Knob.

Revised Pink 3/ 13/92

j.. 34 EXT. GOBBLER'S KNOB - DAWN The crowd is gathered as before for the big moment.

CROWD (chanting)

Phil! Phil! Phil!

In the press area, Rita is having the same dialogue wi.th Larry, when she spots Phil.

RITA Here he comes. Phil! Hey, Phil! Over here!

Phil makes it through the crowd to Rita.

RITA Where've you been? You're missing all the fun.

PHIL Rita, do me a favor. I've never asked you for anything, I never will again but this morning I need a favor. I need someone to give me a good hard slap on the face.

, . ..... Rita shrugs and slaps him very hard.

PHIL (his cheek smarting)

Thank you. That was almost too hard, Rita.

LARRY If you need help with the other cheek, just let me know. - t

Rita shoves the slate into Phil's hands. Larry shoulders the camera to shoot the slate.

PHIL Something's going on, Rita. I don't know what to do.

RITA Are you drunk or something?

PHIL No, drunk is more fun. Can I be serious with you for a minute?

RITA I don't know. Can you?

(CONTINUED )


.- 34 CONTINUED:

PHIL Yes. ~ ' m being serious. I'm having a problem-- no, I may be having a problem.

LARRY (to Rita, getting her attention)

Rita.

To the cheers of the crowd, the Groundhog Club Officials parade onto the stage.

RITA Okay! Groundhog Time!

PHIL See? I knew you were going to say that. I've got a chill down my spine.

RITA Yeah. My toes are numb.

LARRY My snot froze.

PHIL I mean it. I feel really weird.

RITA Let's just do this, Phil. Then we'll talk.

Larry trains the camera on Phil. This time it takes Phil a moment to get up to speed.

PHIL (to camera)

Well, it's Groundhog Day-- again-- and you know what that means.

Phil begins rolling up microphone cable, gathering the slack as he talks. Rita, not understanding, starts feeding it out to him.

PHIL (CONT. ) We're all here on Gobbler's Knob, waiting for the forecast from the world's most famous groundhog, Punxsutawney Phil, who's just about to t e l l us jus t how much more winter we can expect.

(CONTINUED)


3 4 CONTINUED :

Buster Green knocks on the door of the holiow tree stump with his cane. Another Official pulls the groundhog from the stump, and the crowd cheers.

AS the proceedings continue, Phil begins pushing into the crowd, walking away from the camera, toward the spot where the groundhog ran the day before.

BUSTER (reading from scroll)

This February Second, at seven twenty and thirty seconds (etc.)--

LARRY (whispers to Rita)

Where's he going?! .

The microphone cord is playing out, beginning to tug at the camera.

RITA (urgently)

I don't know. Follow him! Let's

Larry and Rita are forced to pick up all their gear and follow Phil into the crowd. Larry keeps shooting.

BUSTER (CONT , ) --and stated clearly in groundhogese .I definitely see a shadow.'

The crowd good-naturedly goes .Awwwww: Other men orn the stage hold up the 'Blizzardm and 'Sleetg signs.

(CONTINUED)

::?en, suddenly, the groundhog again jumps out of the official's ?.ands and runs through the crowd as before.

;3V - LARRY'S T V CAMERA

-ushing through the crowd. People slowly part as he presses 5 rorward, then through peoples' legs and finally totally in the rlear, we see Phil, bent down face to face with the groundhog.

They stare at each other for a moment.

7 5 1 , realizing he is now on camera, tries to pull himself rogether and create a one-on-one interview.

PHIL Since I have you here, I gotta ask -- is this shadow thing legit, or did you look at satellite photos like the rest of us?

?he spectators laugh appreciatively. Rita and Larry watch in amazement.

3ster Green walks over to Phil and takes the groundhog from . . r.-m.

BUSTER (to Phil)

Thank you, sir.

PHIL (flustered, but still professional)

And thank you, 'Punxsutawney Phil, the Seer of Seers, and a real down- to-earth guy. From Punxsutawney, I'm Phil Connors.

Phil, realizing the implications of what just happened, drops tne microphone and wanders off.

Larry shoots his strange exit then pans back to find Rita vatching Phil, amazed.

CUT TO:

35 -ST. SHOWER - LATER :hi1 screams as the cold water hits him.

CUT TO:

', .&... 36 1 PHIL'S ROOM - LATER

phi: is on the phone, wrapped in a blanket, desperately ;wing to make a call.

PHIL (on the phone)

I know there's a blizzard. When do you think the long distance lines will be working again? ... But what if we don't have a tomorrow? We didn't have one today ... Hello...Hello?

He hangs up and shakes his head which is now really starting to ache, then he pops a handful of aspirin, lies down and pulls the covers up over his head. A moment later, he sits up, takes a pencil from the nightstand, breaks it in half and puts the pieces back on the nightstand. Then he lies down again and retreats back under the covers.

CUT TO:

37 INT. PHIL'S ROOM - DAWN 37

CLOSE UP - CLOCK

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

Phil sits up in bed fearing the worst and looks on the nightstand. The pencil is whole again. The morning deejays begin their now familiar rap.



Phil is almost shaking with intensity and fear. He listens for a while, not moving, then throws the covers off.

CUT TO:

38 IN?'. COXRIDOR - DAWN 3 E

p5: .,-, < k~rriedly dressed, bursts out of his room, just as the 'I.-.. ,..-SD~ Kan passes.

(CONTINUED

Revised B l u e 3 / 7 / 9 1

..- 3 8 CONTINUED:

CHUBBY MAN Morning. Think it'll be an early spring?

Phil glares at him as if he's just seen a ghost, and keeps moving.

CUT TO:

39 INT. BREAKFAST ROOM - CONTINIIOUS 3

Phil enters the room just as Mrs. Lancaster is coming out with the coffee.

MRS. LANCASTER Did you sleep well, Mr. Connors?

Phil continues past her and rushes out the door.

CUT TO:

40 EXT. CHERRY STREET INN - MOMENTS LATER Phil bursts from the Inn. coat unbuttoned, and surveys the street. Just as before, people are up and about, heading for the Knob. He runs d o w the stairs.

CUT TO:

41 EXT. TOWN SQUARE - MOMENTS LATER 4

Phil veers around Old Jensen, then stops to catch his breath.

NED Hey, Phil! Phil Connors! I thought that was you!

Phil pushes him away, but Ned keeps on coming.

NED Don't say you don't remember me, 'cause I sure as heck-fire remember you.

Phil shoves him away again, and continues rushing toward the Knob.

(CONTINUED)


- 3 7 -

... 4 5 CONTINUED: . .

PHIL Get away!

In his hasty retreat, Phil steps right into the slush puddle, but keeps going.

4 2 thtu OMITTED (SEE: 49A - 49D)

45

CUT TO:

46 EXT. GOBBLER'S KNOB - DAWN Phil pushes through the crowd at the Knob.

CROWD (chanting)

Phil! Phil! Phil!

To him, it's like a nightmare as he desperately shoves his way through the crowd to Rita.

RITA Where've you been? You're missing all the fun.

PHIL (trvinq to contain his -panici

Could I talk to you about a matter that is not work related?

RITA You never talk about work.

PHIL Just come with me. We really have to talk.

As he pulls her away he notices Larry eyeing them curiously

LARRY Is he hurting you?

PHIL (to Larxy)

Creative meeting. You'd be bored.

RITA Wait a second, we've got work to do.

PAIL No, I've already done it. I'll be at the diner.

(CONTINUED)

Revised P i n k 3 / 1 2 / 9 2

-. 46 CONTINUED:

He exits. , .

CUT TO:

47 INT. DINER - COWl"1NUOUS 4:

They sit together at the same table they had previously. Doris approaches.

DORIS More coffee, hon?

(CONTINUED

Revised Blue 3/7/92

1. ~. 47 CONTINUED:

RITA Just the check, please. These sticky buns are just heaven.

DORIS (pleased)

Aren't they?

Doris exits.

RITA (to Phil)

Okay, now you tell me why you're too sick to work and it better be good.

PHIL Rita, I keep reliving the same day over and over-- Groundhog Day-- today. It's uncanny.

RITA Uh-huh. I'm waiting for the punchline.

PHIL No, really. This is the third time. It's like yesterday never happened.

RITA I'm wracking my brain, but I can't even imagine why you'd make up something like this.

PHIL I'm not making it up! I'm asking for your help!

RITA What do you want me to do?

PHIL I don't know! You're the producer. You figure it out.

RITA Okay, you want my advice? I think you should have your head examined if you expect me to believe a lame story like that, Phil.

DORIS (overhearing)

Phil?

(CONTINUED)

Revised Blue 3/7/92

-39- '

- 47 CONTINUED :

PHIL WITH GUS Like the groundhog.

VARIOUS VOICES Hey, Phil! Shadow scare ya this morning? (another) Have a good nap? (another) Hollow log too small for you?

Phil shakes his head at the now familiar chorus of lame jokes.

PHIL (mutters)

Morons.

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

LARRY You ready? We better get going if we're going to stay ahead of the weather.

Rita stands up. Phil remains seated.

RITA Come on, Phil. We can talk about it back in Pittsburgh.

PHIL I 'm not going back to Pittsburgh--

RITA You're not-- .

PHIL --because of the blizzard.

RITA I thouqht you said it was hitting

PHIL (sharply

I KNOW that's what I said!

RITA (calmly)

Phil, I think you need help.

CUT TO:


!. -..._. 48 INT. MEDICAL CLINIC - DAY INSERT

. .

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

Phil is having his head examined by a NEUROLOGIST.

NEUROLOGIST No spots, no clots, no tumors, no lesions, no aneurisms. At least, none that I can see. Of course, if you want a CAT-scan or an MRI, you have to go into Pittsburgh.

PHIL I can't go into Pittsburgh.

NEUROLOGIST Why can't you go to Pittsburgh?

PHIL I told you. There's a blizzard.

NEUROLOGIST (humoring him)

Oh, right, the blizzard. You know what you may need, Mr. Connors?

PHIL A biopsy?

NEUROLOGIST No. A psychiatrist.

CUT M:

49 INT. PSYCHOLOGIST'S OFFICE - DAY Punxsutawney's only PSYCHOLOGIST is a marriage and family counselor at the local Lutheran church. His appearaince and manner indicate he may have some serious problems of his own.

PSYCHOLOGIST (not too confident)

That's kind of an unusual problem, Mr. Connors. Most of my work is with couples, families, the occasional alcholoic.

PHIL Didn't you take a course about this kind of stuff.

(CONTINUED )


1

.. 4 9 CONTINUED :

PSYCHOLOGIST Sort of, I guess. Abnormal Psychology.

PHIL D m i t , I never wanted to be abnormal. So I'm crazy.

PSYCHOLOGIST (hesitant)

We never say crazy. You may be just a little delusional.

PHIL So I'm delusional. Then none of this is happening.

PSYCHOLOGIST (humoring him)

I wouldn't think so.

PHIL So what do I do?

PSYCHOLOGIST I think we should meet again. How about tomorrow?

49A OMITTED 49.

49B EXT. CORRIDOR - LATER 49

Mrs. Lancaster and several other guests are gathered in the hall outside Phil's room, listening at the door and looking very worried. Loud music is playing, but from inside the room, they can hear the sound of hammering, wood splintering and glass breaking.

49C INT. PHIL'S ROOM - SAME TIME 49

Phil has demolished all the furniture and woodwork in the room t

and splashed himself and everything else in the room with bright red paint. As a final touch he drops a delicate crystal vase and it shatters on the floor. He then crosses to the mirror t

over the demolished sink.

(CONTINUED


4 9C CONTINUED :

Phil stands at the sink, staring at his imige in the mirror, trying to figure out what's happening to him. He starts breathing heavier, as if gathering courage, then, just when we think he's going to cut off his ear or something, he raises an electric barber clipper and shaves a bald stripe up the middle of his head.

He studies his new look for a moment then smashes the mirror with a brass candlestick.

Then he falls exhausted on the bed and closes his eyes. He can hear people pounding on the door outside.

We pan over to the clock radio, the only undamaged object in the * room which reads 5:59 AM.

49D The time changes to 6:00, the radio clicks on and 'I Got You, 491 Babe' starts playing as we pan back to Phil sleeping on the bed.

t

He opens his eyes, jumps out of bed and races over to the sink. The mirror is whole again and his hair is completely restored as if it had never been shaved.

The song ends and the deejays come on. Phil says every word right along with them, shocked into a state of complete wonderment.

PHIL AND DEEJAY Okay, campers, rise and shine, and don't forget your booties because it's CODOLD out there today.

PHIL AND SIDEKICK It s cold out there everyday. What is this-- Miami Beach?

The deejay laughs. Phil laughs dully along with him.

50 INSERT - A BACKLIT TRANSPARENCY OF THE SOLAR SYSTEM 5

A SCIENTIST in a white lab coat is pointing at the graphic. Phil looks on with interest.

SCIENTIST (with authority)

Now if the moon exerts a gravitational pull strong enough to cause the tides, then it may be theoretically ~ossible for a Black Hole or a singularity of sufficient mamitude to actuallv bend-time enough to cause it to- fold back on itself.

(CONTINUED)

OMITTED

%..- 5 0 CONTINUED:

PHIL You think that's a realistic possibility?

A paper airplane sails past his head, accompanied by a noisy outburst of juvenile laughter.

PULL BACK TO REVEAL:

INT. CLASSROOM - DAY Twenty-five eighth-graders running amok.

SCIENTIST (sternly)

All right! I think someone m y just need a little visit to the Assistant Princi~al's office! Get back in your seats. The bell has not rung yet.

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

SCIENTIST (to Phil)

Of course, I'm speaking purely hypothetically.

CUT TO:

51 INT. SCHOOL CORRIDOR/FIRST G m E CLASSROOM - LATER 5

Phil is walking toward the exit when he passes a first grade classroom. The door is open and the TEACHER is narrating a fairy tale while several of the children act it out for the rest of the class.

PRINCESS (stiffly)

Yes, little frog, because you returned my golden ball I will grant you one last wish.

Phil stops outside the door to watch.

52 INT. CLASSROOM - CONTINUOUS 1 A LITTLE BOY in a makeshift frog costume hops around unsteadily. I

FROG My wish is this. That you give me just one kiss.

(CONTINUED) I


52 !CONTINUED: - - - - t

'The princess klsses the frog who clumsily tumbles over. The * kids laugh.

TEACHER Now who can tell me what happened when the princess kissed the frog.

A BOY Her lips got slimed!

The whole class erupts in giggles and shrieks.

TEACHER Okay, come on now. What happened when she kissed the frog?

LITTLE GIRL The princess kissed the frog and the spell got broke and he turned into a handsome prince and they got married and lived happily ever a£ ter.

TEACHER That ' s right.

The frog-boy stands up and takes off his frog costume and dons an aluminum foil crown. The other kids clap.

53 INT. THE CORRIDOR - SAME TIME

Phil is leaning against the wall listening. There is something very arresting about the fairy tale. but finally he just shakes his head and exits.

CUT TO:

54 CU CLOCK 5 4

The clock-radio changes from 5:59 to 6:00 AM. The radio comes on, playing 'I Got You, Babe.'

Phil's hand swings around and swats the radio off.

CUT TO:

Revised Goldenrod 4/24/92

,.... 55 CU CLOCK

The clock-radio changes from 5:59 to 6:00 AM. The radio comes on, playing 'I Got You, Babe..'

Phil's hand swings around and flips the radio upside down.

CUT TO:

56 CU CLOCK

The clock-radio changes from 5:59 to 6:00 AM. The radio comes on, playing 'I Got You, Babe:

phil's fist comes down and beats in the top of the radio.

CUT m:

57 CU CLOCK

The clock-radio changes from 5 : 5 9 to 6:00 AM. The radio comes on, playing 'I Got You, Babe:

Phil sits up, grabs the radio with both hands, wrestles with it, and hurls it against the wall. From the floor we hear:

DEEJAY Okay, campers, rise and shine, and don't forget your booties because it Is coooold out there ,today!

CUT m:

58 I N T . BOWLING ALLEY - LATER THAT NIGHT Phil is at the bar drinking coffee in hmxsutawney's little eight-lane bowling alley. Sitting down the bar frcnn him are the two young geezers, Gus and Ralph. They're drinking heavily, Phil is sticking to coffee.

PHIL I was in the Virgin islands, once. I met a girl, we ate lobster, drank pina coladas. At sunset, we made love like sea otters. It was a pretty good day. Why couldn't I get that day over and over again.

( C O ~ I N U E D )

Revised Goldenrod 4/24/92

1. 58 CONTINUED:

GUS If you're not happyhere, why don1 t you try someplace else?

PHIL Because if you take 36 east or 310 north-- you hit blizzard. If you try riding a horse west over Sutter's Arbor? Blizzard-- and a sore butt. And when I hot-wired a snowmobile and headed south--

W P H Blizzard?

PHIL Yeah, plus I got a barbed wire body wrap and lost a great deal of blood.

Gus holds up half a glass of beer.

GUS Some people look at this glass and say it's half empty; others say it's half full. You're a .glass is half empty' kind of .a guy, aren ' t you?

PHIL (exasperated)

How would you feel if you were stuck in one place, if every day was exactly the same and nothing you did mattered?

Gus and Ralph realize he could be talking about their lives

RAtPH That about sums it up for me.

PHIL So how full is your glass?

GUS (depressed)

I'm down to about a quarter tank here.

Ralph finishes the last of his beer and regards his glass.

RAt PH (even more depressed)

Runnin' on empty.

CUT M:

59 EX?. THE STREET - LATER - - - " - - ,...

Phil, Gus and Ralph approach Ralph's big, old red Cadillac parked outside the bar. Gus and Ralph are very drunk.

RALPH (fumbling with his car keys )

Come on. I'll drop you guys off.

Ralph barely gets the key into the car lock. The momentum of swinging the door open knocks him down to the ground.

GUS (to Phil)

He's in no shaue. (to ~alphj

Gimme those, Ralph. Friends don't let friends drive drunk.

Gus takes the keys, gets in, starts the car, and begins to drive off-- in reverse-- leaving Phil at the curb with Ralph. Phil steps out into the street as Gus pulls back up.

GUS . This isn't my car.

Phil opens the door and shoves Ralph in the driver's side. , . ...... PHIL

(to Gus) Here. Hold this

60 INT. THE CADILLAC - CONTINUOUS Phil slides into the drivers seat and buckles up.

PHIL Seatbelts.

He pulls the shoulder belt over both Ralph and Gus

GUS What's your name again?

PHIL Phil.

GUS Phil.

PHIL WITH RALPH Like the grounfiog .

- The car pulls away, unhurriedly, and cruises for a while. 6:

PHIL Let me ask you guys a question. What if there were no tomorrow?

RALPH No tomorrow? Let's see. That'd make today yesterday.

GUS No tomorrow means no hangovers. No consequences. Do whatever you want.

PHIL That's true.

Phil casually turns the wheel to the right.

62 EXT. THE STREET - CONTINUOUS 6 2

The car bumps over the curb and up onto the sidewalk. A passenger stepping out of his parked car has to jump back in to avoid being hit as Phil continues driving down the sidewalk.

63 IN". THE CADILLAC - SAME TIME 6 3

PHIL We could do whatever the hell we want.

Ralph looks out the window.

RALPH There's my house.

64 EXT. THE STREET - SAME TIME 64

Phil knocks over a mailbox at the end of the block, bounces back onto the street and turns right onto the town square.

65 INT. POLICE CAR -SAME TIME 65

Two COPS parked on the square see Philwipeout the mailbox.

COP ONE Party car.

COP TWO Come on. Let's try to get 'em home before they hurt somebody.

66 EXT. POLICE CAR - SAME TIME. - . \. 5 ?

It pulls out, lights flashing, in close pursuit of the Cadillac

67 INT. CADILLAC - SAME TIME -- 0 .

Phil begins to accelerate, turning a fast lap around the square. Gus looks back at the pollce car chasing them.

GUS I think they want you to stop.

PHIL Yeah, there's always someone trying to tell you what to do.

RALPH Ain't it the truth.

Phil hits the brakes. The car spins 180 degrees and skids.


The police car runs up onto the sidewalk to avoid a collision with the Cadillac and runs into a trashcan with a groundhog on

l ...,. it. Trash flies everywhere as the police car jams on it's brakes.

The Caddy stops parallel to the police car, Phil waves at the cops, then peels away in reverse.

69 INT. THE CADILLAC - SAME TIME Ralph looks out the window.

RALPH There's the back of my house.

PHIL Your whole life it's the same thing. Hang up your clothes, don't talk with your mouth full, do your homework, be home by midnight, get a job, no smoking--

70 EXT. THE STREET - CONTINUOUS 7C

The car hits a patch of solid ice, skids around and comes to a stop straddling the railroad tracks.

- 71 INT. THE CADILLAC - SAME. TIME

Phil looks down the track, exhilirated by the chase.

PHIL (eyes ,gleaming)

--don't drive on the railroad tracks.

GUS Well now, that's one I happen to agree with.

Phil starts driving down the tracks. The fast bumping across the railroad ties causes all their voices to vibrate.

PHIL (jittery voice)

I don't know, GUS. Sometimes you just have to take the big chance.

GUS (jittery)

Yeah, that's what I used to think, but I got the feelin' I woulda been better off stayin' in the Navy.

7 2 EXT. THE RAILROAD TRACKS - SAME TIME The police car is bumping along the tracks in pursuit of the Caddy.

POLICE (jittery on loudspeaker)

Pull over to the side! This is the police.

7 3 INT. THE CADILLAC - SAME TIME Gus rolls down his window.

GUS (jittery, yelling out window)

Hey, we're talking, here!

Ralph looks out and points.

RALPH (jittery)

~y house.

(CONTINUED)

73 CONTINTED: - - - Phil and Gus look up the track and see the headlight of an oncoming train. Ralph is the last to notice. His eyes go wide as the engine looms in front of them.

74 EXT. RAILROAD TRACKS - SAME TIME 7 4

Phil pulls the Cadillac off the tracks just in time to avoid the collision with the speeding train. The police car pulls off the other side of the tracks and gets blocked by the passing train as Phil races off up another street.


!bo more police cars appear and block the intersection ahead.

76 INT. THE CADILLAC - SAME TIME PHIL

I don't want to live by their rules anymore.

RALPH I noticed that.

PHIL (to Gus)

I mean, why should I, right, Gus?

GUS (shrugs)

It isn't my car.

77 INT. THE CADILLAC - PHIL'S POV - SAME TIME! The two police cars with lights flashing are parked sideways, completely blocking the road. Officers stand in the roadway, motioning for Phil to stop. Phil sees the roadblock ahead.

PHIL you make choices, you live with them.

GUS Q.E.D.

RALPH Amen.

?hll tromps the gas pedal to the floor. . .--

E i ~ i s e d Y e l l o w 3 / 1 7 : $ :

j

i...: 78 EXT. THE STREET - SAME TIME - - e

'The police dive out of the way as the Cadillac crashes broadside into one of the police cars.

Policemen race over to the wreckage of the Zadillac.

70 INT. THE CADILLAC - SAME TIME 7 9

Phil, Gus and Ralph are sitting there stunxsd, still belted in and apparently not seriously hurt.

PHIL Just let me do the talking.

CUT '73:

80 INT. A JAIL CELL - NIGHT The cell door slams shut on Phil. He lies down on the small bunk and closes his eyes.

81 INT. PHIL'S ROOM - DAWN CLOSE UP - CLOCK The time changes from 5 : 5 9 to 6:OO. The radio starts playing ': Got You, Babe.'

Phil sits up suddenly and looks around, conpletely amazed. He a

is in his room at the bed and breakfast, everything exactly the * same as before. He hops out of bed. The music ends and the twc deejays come on.

DEEJAY Okay, campers, rise and shine, and don't forget your booties because it's COOOLD out there today.

Phil talks out loud along with them.

PHIL AND SIDEKICK It's cold out there everyday. What is this-- Miami Beach?

The deejays laugh. Phil laughs, too, exhllirated at having survived the car wreck, still very confuse6 and perplexed, but just beginning to see the possibilities of his unique situation. He starts dressing in a hurry.

82 INT. BREAKFAST ROOM - LATER - - - Phil rushes into the breakfast room just as Mrs. Lancaster comes out of the kitchen with the coffee. Everything is exactly the same as before.

MRS. LANCASTER Did you sleep --

Phil interrupts, answering all her questions before she even asks them.

PHIL Slept like a baby, thank you.

MRS. LANCASTER Oh. Would you --

PHIL Love some coffee.

MRS. LANCASTER Good. I hope--

PHIL Flurries moving in later, but the blizzard hits just outside of town. Mrs. Lancaster, has anyone been around here looking for me this morning? Maybe a state official, blue coat, hat, gun, nightstick--

MRS. LANCASTER (shocked)

No, no one like that. Will there be?

PHIL Apparently not.

He starts to exit.

MRS. LANCASTER Oh, Mr. Connors, will you be--

PHIL Staying an extra day-- absolutely!

Phil gooses her, grabs a sweet roll, and heads for the door, starting to believe now that he can truly do anything he wants to.

CUT TO:

'.-. E j EXT. TOWN SQUXP.E - MOMENTS LATER Phil passes the old bum, ignoring him as usual.

NED (O.C.) Hey, Phil!

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

NED Phil! Phil Connors!

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

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

CUT TO:

64 INT. DINER - LATER THAT MORNING 8 4

Phil is sitting at his usual table, which is covered with an incredible variety of rich foods-- eggs, bacon, sausage, pancakes, pies, cakes, eclairs, ice cream, puddings, etc.

PHIL (mouth full)

Want one?

Rita sits across from him, watching in amazement as he stuffs himself with pastry.

F.A A A

I like to see a man of advancing years throwing caution to the wind. It's inspiring in a way.

PHIL My years are not advancing as fast as you might think.

Phil pulls out a pack of cigarettes.

RITA Don't you worry about cholesterol, lung cancer-- love handles?

Phil chuckles and shakes his head at each of these suggestions. He takes a cigarette and lights it.

PHIL : don't worry about axything anymore.

(CONTINUED )

CONTINUED:


- . 3-

RITA What makes you so special? Everybody worries about something.

PHIL That's exactly what makes me so special. I don't even have to floss.

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

PHIL (with his mouth full)

What?

RITA 'The wretch, concentered all in self, Livina. shall forfeit fair - - renown, And doubly dying, shall go down to the vile dust from whence he sprung, Unwept, unhonored, and unsung.' Sir Walter Scott.

Phil looks at her a for a moment, then starts laughing.

RITA You don't like poetry?

PHIL You think I'm acting like this because I'm egocentric?

RITA Of course you are, Phil. That's your defining characteristic.

Doris approaches with the coffee pot. Without looking up, Phil reaches out and turns Rita's cup upside down. Doris shrugs and continues on.

Larry enters and finds them.

LARRY We'd better get going if we're going to stay ahead of the weather.

RITA Thanks, Larry.

Rita looks at the pile of food.

(CONTINUED)

\.-' 82 CONTINUED:

RITA (to Phil)

You want a doggie bag?

PHIL NO, you go on ahead. I'm staying.

RITA Why? I thought you hated this town.

PHIL I did, but I'm just starting to appreciate it.

85 INT. DINER - A LITTLE LATER 8 5

Phil is just leaving when he notices NANCY, the girl he tried to . pick up at the hotel bar, and stops to talk to her.

PHIL Hi. You see the groundhog this morning?

NANCY ( sweetly i

Uh-huh. I never miss it.

PHIL What ' s your name?

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

NANCY Nancy Taylor. And you are--?

PHIL Where'd you go to high school?

NANCY What?

PHIL High school?

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

NANCY Lincoln High school. In Pittsburgh. Who are you?

PHIL Who was your twelfth grade English teacher?

NANCY Are you kidding?

PHIL I'm waiting.

NANCY Mrs. Walsh.

PHIL Okay. Nancy, Lincoln, Walsh. Thank you very much.

Phil exits jauntily.

NANCY Hey ! Wnat--

CUT TO:

. 86 EXT. GOBBLER'S M O B - NEXT MORNING 8 6

Phil comes through che crowd and finds Nancy waiting for the ceremony to begin.

PHIL Nancy?

Nancy turns and looks at him quizzically.

PHIL Nancy, right?

NANCY I'm sorry, I--

PHIL Nancy Taylor? Lincoln High? I sat next to you in Mrs. Walsh's English class.

NANCY That--

PHIL Phil Conncrs.

NAKY --is amazing!

PHIL You don't remember me, do you?

NrnCY I don't-- sure, I think--

PHIL We used to shoot spit balls.

NANCY Yeah, oh, God--

PHIL I even asked you to the prom.

NWCY Phil Connors.

PHIL Yeah.

NANCY How ARE you?!

PHIL I'm great. Wow, you look terrific. Hey, listen, I gotta do this rep~rt--

NANCY You're a reporter?

PHIL Weatherman. Channel 9, Pittsburgh.

NANCY Right, I should've known--

PHIL But maybe after we could--

NANCY Yeah, yeah, I'd like that--

?'he crowd starts chanting: "Phil, Phil, Phil..:

CUT TO:

8- INT. PHIL'S ROOM - NIGH? 3 7

Tne rocr is dark. Two figures grope on the sofa, silhouetted egel-s: :he flicker of + fake lighc-bulb and cellophane fire in :he flrspiace.

(CONTINUED)

'L ... 87 CONTINUED :

NANCY (moans

Oh, Phil.

PHIL oh, Rita.

Nancy suddenly freezes. There is a moment of silence, then she snaps on the light. Her sweater is askew, half pulled up over her head.

NANCY Who's Rita? Hey-- is this just a one night stand?

PHIL One night stand! Just the opposite. I love you, Nancy. I've always loved you. I know this is kind of sudden, but I want you to be my wife.

NANCY Oh, Phil!

. She throws her arms around him and kisses him passionately. Phll reaches over behind her back and cllcks off the light.

CUT TO :

88 EXT. TOWN SQUARE - DAY 8 8

Phil is sitting on a low concrete fence, watching, his senses alert.

PHIL Gust of wind.

He looks at the branch of a tree blowing in a gust of wind.

PHIL Dog barks.

A dog barks

PHIL Okay, cue the truck.

An armored car pulls up to the bank across the street. Two harmless-looking old GUARDS get out of the truck.

(CONTINUED)

PHIL Okay, Heman Johannsen, into the bank, Felix Langer waits outside.

:HERMAN goes into the bank. FELIX goes around to the back of the truck, unlocks the door and opens it.

PHIL Enter Doris. Bra strap.

Doris, the waitress, pushes up her bra strap and approaches Felix. Phil quietly speaks their dialogue as their mouths move.

PHIL (for Doris)

Felix! (for Felix)

Hey, how you doin', Doris. - ( for- ori is)

Trouble you for a roll of quarters? (for himself) ~-

Cue Herman.

iHennan comes out carrylng two large satchels of cash. He nods :his greetlng to Doris.

-. Phil begins slowly walking across the street toward them.

PHIL (looking at his watch)

Ten, nine, eight, car--

,4t 'car" he pauses a split second without even looking up as a car passes in front of him, then continues without missing a l~ea t .

PHIL -- six, five, quarter -- ;kt *quarter; Felix drops a quarter out of a sack full of (change. Herman sets down the bags of cash on the tailgate of the truck. Phil is still calmly counting and walking toward the money.

PHIL -- three, two --

Felix and Doris both follow the rolling quarter, and Herman turns away for a split second to watch them. In one swift move, Phil takes one final step towards them, snatches a bag of money, and disappears behind the truck.

(CONTINUED)

Revises Pink 3/13/92

L.. € 5 CONTINUED: 8 t

~t that instant, Herman looks back to he' l;ft the moneybags and slowly begins to realize that one is missing. He looks around in confusion. Nobody in sight.

CUT TO:

E EXT. USED CAR DEALERSHIP - DAY Phil pats the hood of a classic Mercedes sedan as a SALESMAN stands by beaming.

SALESMAN A real beauty, huh. We picked it

PHIL I'll take it. How much?

SALESMAN Well, the sticker says $22,999 but if you want--

PHIL I'll tell you what. 1'11 give you $30,000 if you just knock off the salesman stuff and let me get out of here with my car.

The Salesman gawks as Phil opens a moneybag and starts counting out stacks of bills.

CUT TO:

S! EXT. PUNXSUTAWNEY - DAY 9 (

We see the Mercedes sedan tooling around the square. Phil calls out greetings to the people he knows, none of whom seem to know him.

PHIL Hey, Nancy! How's it going?

Nancy can't figure out who he is

PHIL My own fiance-- doesn't even remember me.

He passes Ned Ryerson.

PHIL Ned! Ned Ryerson! I thought that was you!

(CONTINUED)

.<.: 9 0 CONTINUED:

Revised Yellow 3/17\92

5;;

NED Phil! Phil Connors!

PHIL BING!

Phil continues cruising.

PHIL Hey, Bruno!

We hear an off-camera 'Woof!'

CUT TO:

91 INT. PHIL'S ROOM - DAY 91

Phil takes out a suit and holds it up. He's been wearing this suit almost every day. He pulls the second suit out of the bag. He's been wearing this one every other day. He looks from one suit to the next and shakes his head.

CUT TO:

. ..~ . 92 EXT. MAIN STREET - NIGHT 9;

The Mercedes sedan comes to a stop right in front of the movie theater and the door opens.

A pair of really elaborate cowboy boots complete with silver spurs hits the pavement first, then we PAN UP to see Phil emerge from the car wearing a really gaudy, full cowboy outfit with real six-guns on his hips. A very trashy-looking girl, LARAINE, gets out on the passenger side, dressed like a French maid.

LARAINE (very self -conscious)

I thought we were going to a costume party.

PHIL No, let's go to the movies. You'll love it. I've seen it a hundred times .

LARAINE (protests)

Phil !

PHIL I told you-- call me 'Bronco.'

Revised Buff 4 1 3 0 1 9 2

92 CONTINUED:

He escorts her into the theater.

CUT TO:

93 OMITTED

CUT M:

94 OMITTED

CUT TO:

95 INT. PHIL'S ROOM - NIGHT There is a very wild party in progress. The revelers include everyone from college kids and bikers to farmers.

Bruno the German shepherd runs into the scene, barking at the activity. Then Bruno runs over to Phil who's just sitting on the sofa staring at the fake fire. He's wearing a really loud sportshirt, a number of gold neck chains and rings on every finger. On his lap is a whole chocolate cake which he is absently eating with his fingers. A very trashy looking girl named ANGIE in too-tight jeans and halter top is coming on to him, practically licking his ears.

PHIL (more to himself than to Angie)

Eventually you'd just get tired of screwing around and then you'd want a real relationship, wouldn't you?

ANGIE I don't know.

PHIL Someone decent, right? Someone you respect, who respects you.

ANGIE I guess so.

PHIL (still musing)

It's tough to find a relationship like that, especially if your time is kind of limited. But you still have to try, don't you?

(CONTINUED)

Revised Buff 4 / 3 0 ! 9 2

L 9 5 CONTINUED :

Phil looks over at Angie who's passed out on the sofa with her mouth open.

The science teacher Phil consulted earlier comes up to him with Nancy and Laraine in tow.

SCIENCE TEACHER Nancy, Laraine? Have you met Phil Connors ?

NANCY No, I don't think so.

LARAINE Hi, nice to meet you.

Phil sighs! too tired to even go through the motions. Bruno starts eatlng the chocolate cake in his lap.

CUT TO:

96 EXT. TOWN SQUARE - THE NEXT MORNING Rita is in the news van reviewing the tape of Phil's report. Phil hovers at the open side door.

RITA You look good. I mean, it came out all right. How'd you know where the groundhog was going?

PHIL Just a hunch. R+a, if you only had one day to llve, what would you do with it?

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

RITA I don't know, Phil. What are you dying of?

PHIL No, I mean like what if the entire world was about to explode?

RITA ~ ' d just want to know where to put the camera. What are you looking for. Phil-- a date for the weekend?

She starts walking toward the diner. Phil sticks right with her.

'L.. 9 6 CONTINUED :

Revised Y e l l o w 3 / l i / 9 2

. . + - . -

PHIL No, I just want to know you better. What do you like, what do you want, what do you think about, what kind of men are you interested in, what do you do for fun?

RITA (she stops)

Is this real or are you just going to make a fool out of me?

PHIL I'm just trying to talk to you like a normal person. Isn't this how normal people talk?

RITA Close.

PHIL Okay, so talk to me. C'mon, I'll buy you a cup of coffee.

CUT TO:

97 INT. DINER - A LITTLE LATER Phil and Rita are at their usual table, drinking coffee.

RITA I guess I want what everybody wants-- vou know. career. love. marriage; children.

PHIL You seeing anybody?

RITA This is getting too personal. I don't think I'm ready to discuss these things with you. What about you? What do you want?

PHIL What I really want is someone like you.

RITA oh, please--

(CONTINUED )

..- 97 CONTINUED:

Revised Yellow ? i 1 7 / 9 :

. - '. r

PHIL Why not? Whatare you looking for? Who's your perfect guy?

RITA Well. First of all, he's too humble to know he's perfect.

PHIL That's me.

RITA He's intelligent, Supportive, funny.

PHIL Intelligent, supportive, funny. Me, me, me.

RITA (thinkina)

He ' s romantic- and courageous.

PHIL Me, me also.

KA In He has a good body but he doesn't have to look in the mirror everv - -~ - - - - two minutes.

PHIL - -.- ~

I have a great body and I never look at it.

n A I a He's kind and sensitive and gentle and considerate. And he's not afraid to cry in front of me.

PHIL This is a man we're talking about, right?

RITA He likes animals and children and he doesn't mind changing poopy diapers.

PHIL Okay, but does he have to say 'poopy? =

(CONTINUED)

97 CONTINUED :


- - :,

RITA Oh, and he plays an instrument and loves his mother.

PHIL I hate this guy.

CUT TO:

Revised Blue 3/7/92

--_ 98 EXT. THE NEWS VAN - ANOTHER DAY Phil has the hood open and is doing something to the engine.

CUT TO:

99 INT. HOTEL BAR - LATER Rita is sitting at the bar in the Pennsylvanian Hotel. Phil enters and sits down next to her.

PHIL So what are the chances of getting out of here today?

RITA (glum).

The van st111 won't start. Larry's working on it.

PHIL (innocent)

Wouldn't you know it. Buy you a drink?

RITA Okay.

PHIL (to the bartender)

Jack Daniels.

BARTENDER For you, miss?

RITA Campari and soda, please, with a slice of orange.

Phil nods to himself.

CUT TO:

100 SAME SCENE - ANOTHER DAY Phil walks in and sits next to Rita.

PHIL So what are the chances of getting out of here today?

RITA (glum).

The van st111 won't start Larry's working on it.

(CONTINUED)

I...

10 0 CONTINUED :

PHIL wouldn't you know it. Buy you a drink?

RITA Okay.

PHIL (to the bartender)

Campari and soda, with a slice of orange, please.

Rita looks at Phil, surprised.

BARTENDER For you miss?

RITA Same for me, please.

The BARTENDSR pours.

RITA That's my favorite drink?

PHIL MLne, too.

RITA What should we toast to?

PHIL To the groundhog!

Rita stares for a moment

RITA I always drink to world peace.

CUT TO:

101 SAME SCENE - ANOTHER DAY BARTENDER

Take your order?

PHIL Campari and soda with a slice of orange, please.

Riza looks at Phil.

(CONTINUED


I -- 10 1 CONTINUED :

BARTENDER For you, miss?

RITA Same for me, please.

The BARTENDER pours.

RITA That's my favorite drink.

PHIL Mine, too.

(he lifts his glass) Would you mind drinking to world peace?

Rita smiles, re-evaluating him.

RITA To world peace.

They clink glasses.

PHIL To world peace.

CUT TO:

102 INT. FUDGE SHOP - DAY Phil and Rita are sitting at a table in a small confectionery. tasting chunks of different flavored fudge. Rita takes a bite.

RITA This is terrific.

PHIL Best fudge in town.

RITA How do you know so much about Punxsutawney?

PHIL I like small towns. I think they engender real community more than big cities.

RITA That is so true! I've always thought that, too.

(CONTINUED)

Revised Y e l l o w 3/17/92

.... 10 2 CONTINUED :

PHIL No kidding. Here-- try the white chocolate.

RITA Oh, yuk, don't make me sick.

PHIL (making mental note)

No white chocolate.

RITA There's something so familiar about this. Do you ever have deja vu?

PHIL All the time.

Larry enters.

LARRY (irate)

I don't believe it. Some horse's ass bouaht even distributor caD - -

in this town. henre going to be stuck here all night! I'm going down the street to try and steal one. Wish me luck.

Phil shrugs resignedly.

CUT TO:

103 INT. BERGHOF RESTAURANT - NIGHT 103

Rita and Phil are now sitting together at a table in the town's best restaurant, a good chophouse with Black Forest decor and waitresses in dirndl skirts and aprons. They're sharing a good dinner and a bottle of white wine.

PHIL I think people worry too much about their careers.

RITA I agree. I just try to go with the flow-- see where it leads me.

PHIL And it led you here.

(CONTINUED)

R e v i s e d Yellow 3/17/92

'.-.. 1 C CONTINUED :

RITA Urn-hm. Of course it's about a million miles from where I started out in college.

PHIL You weren't in broadcasting?

(CONTINUED)

RITA A: B-yn Mawr? No, uh-uh. Believe it or not, I studied Nineteenth Century French Poetry.

PHIL (laughs good-naturedly)

Really? What a waste of time.

Pita looks offended. Phil knows he made a mistake..

CvT TO:

I 0 4 SP2E SCSNE - ANOTHER DAY

PHIL You weren't in broadcasting?

RITA A t Bryn Mawr? No: uh-uh. Believe i: or not, I studled Nineteenth Century French Poetry.

Phil leans in closer to her.

PXIL La fille qui j'ainera Sera come bon vin Qui se bonifiera Un peut chaque matin. It's Belgian, not French, of course, but I like it.

Rita smiles, entranced. Over her romantic look we hear the song, "I Can't Get Started With You9.

CUT TO:

105 EXT. THE BANDSTAND - NIGHT The music continues over Rita and Phil dancing close.

CUT TO:

106 EXT. T O m SQUARE - LATER THAT NIGHT 1 [

There is a light snow falling. Phil and Rita are making a li--- e a n Somehow the town looks magical tonight-- old , whzdesore.

( COhTINUED)

A snowball hits Phil in the back. Phil turns to see a laughinp KID.

PHIL (angry)

Hey, you little shit!

?.i:a is aghast.

CUT TO:

107 SAME SCENE - ANOTHER NIGHT Phil and Rita are making the snowman again. The snowball hits Phil in the back.

This time Phil turns to see the giggling kid and laughs, as if enj,oying the impertinence of youth. Phil packs a snowball and tosses it. The kid throws one back. Rita and Phil both get in:o it, packing snowballs and getting into a war with this kid and his little gang of friends.

A snowball catches Rita off balance, she slips and goes down in a snowbank. Phil bends down to help her and slips. They are now together, lying in the snow, laughing. Their eyes lock for a lor.; slr7ee: moment, then Rita gets embarrassed and stands up.

CUT TO:

108 EX?. CHERXY STXEET INN - NIGHT Phil and Rita are walking slowly, very close.

PHIL What?

RITA I'm just amazed. And I'm not easily amazed.

PHIL About what ?

RITA How you can start a day with one kind of expectation and end up so corrpletely different.

PHIL 30 you like how this day is turnins out?

-

(CONTINUED )

R e v i s e d Yellow 3 / 1 7 : 9 2

..... 10 8 CONTINUED :

RITA Yes. I like it very much.

They stop at the front door of the hotel. She turns to him.

RITA ~ u t it couldn't have been more perfect, you could never have planned a day like this.

PHIL Maybe, come on in. I Want you to see my room.

He takes her by the hand and leads her into the bed and breakfast.

109 INT. CHERRY STREET INN - CONTINUOUS 1(

Phil and Rita enter and walk past the parlor and the breakfast room.

RITA What a lovely place!

PHIL It's given me a lot of really good decorating ideas.

110 INT. PHIL'S ROOM - CONTINUOUS 1:

Phil has prepared the room, anticipating Rita's visit. The lighting is subdued and romantic, the fake fire is on in the fireplace, and books are strategically placed around the room as if he reads constantly.

Phil pretends to warm his hands over the fake fire.

PHIL So what do you think?

(CONTINUED)

RITA This is a wonderfa1 room.

PIiIL It is now.

He takes her inhis arms and kisses her. She kisses back, the= he gciaes her down onto the bed and gently pushes her back against the pillows. Phil starts to kiss her again but Rita seems to catch herself.

RITA 1 don' t know, Phil. I don' t think we should do this.

PIiIL No, we should. This is the perfect end to a .perfect day.

AL A n

Well-- it's e li:=le fast for me. we betzer not. 1:aybe I should go.

She stands up and starts to straighten her clothes.

r r . A u

Kinere? h?.y? I've got some poetry bsoks , F.i;r5a.;B , Ieauaelaire. We have this nice fire, I've got ice cream our there on the window sill--

Phil opens the window, pulls a carton of ice cream inside.

PHIL '

Rocky road.

It's her favorite.

RITA How did you ... ?

PHIL Please stay, Rita. We can--

RITA (definite)

No, really, Phil. I'm tired. We can be together tomorrow.

PSZL (seeing it cll slip away

31s: a little 1cz;er..

RITA I said *no:

PHIL (getting desperate)

But tomorrow is so far away!

RITA (adamant)

Let's not ruin it, Phil. There's no way I'm sleeping with you tonight.

PHIL Why not, Rita, I love you!

RITA You don't even know me!

There is a moment of silent tension, then all her old doubts abou: Phil come rushing back.

RITA Oh, no. I can't believe I fell for it. This whole day was just one long set-up. And I ate fudge. Yucchh! I hate fudge.

PHIL (making mental note)

No white chocolate, no fudge.

RITA What are you doing-- keeping some kind of list? Did you call up my friends and ask what I like and don't like? Is that what love is to YOU?

PHIL No, this is real. I love you.

RITA Stop saying that! Do you get off on manipulating people? Did you have some problem in your childhood?

PHIL (ingenuously)

I had a terrible childhood.

(CONTINUED)

Revised Yellow 3 : i 7 / 9 2

RITA Well, stop taking it out on everyone else! I could never love someone like vou. because vou'll never love anyone but yourself.

PHIL But I can change! Just give me a chance. I can be sensitive and supportive and considerate--

RITA You had your chance.

PHIL (cheerf ullv mumblina) - ~

I love my mothe?--

She gives him a hard slap on the cheek.

RITA That's for making me care about you.

She turns and exits, leaving Phil standing there hurting. .-.. CUT TO:

112 EXT. TOWN SQUARE - ANOTHER NIGHT 112

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

CUT TO:

113 EXT: CHERRY STREET INN - ANOTHER NIGHT 113

Phil and Rita are at the front door, but this time he can't even seem to get her to come inside. She shoves him away and leaves him standing there alone.

CUT TO:

113A EXT. CHERRY STREET INN - OTHER NIGHTS In quick cuts we see Rita slap Phil and leave him.

CUT TO:

R e v i s e d Yellow 3 ; ; 7 , ! 9 :

1,. <

"- 113B EXT. PENNSYLVANIAN HOTEL - ANOTHER NIGHT

Rita slaps Phil and enters the hotel, again leaving him out i n the cold.

cm TO:

114 OMITTED

R e v i s e d Pink 3/13/92

',,_~. , 1 1 5 EXT. HOTEL - NIGHT . .

The streets are deserted except for Phil, staring up at Rita's window.

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

CUT TO: t

1 1 5 A EXT. I C E SCULPTURE AREA 115A

Phil stands around the carved groundhogs staring at'them, one of them.

CUT TO:

1 1 6 INT. PHIL'S ROOM - DAWN 1 1 6

'I Got You, BabeD is playing. Phil hits the clock radio to turn. it off. He lies there for a moment, then hefts himself heavily out of bed, not eager to repeat the day yet another time. With the radio off, Phil does the deejays' morning routine himself, seemingly for the millionth time.

PHIL (dully

Okay, campers, rise and shine, and don't foraet vour booties because it 's cooooold- out there today.

Phil continues the radio report at his own pace, obviously fatigued.

PHIL It's cold out there everyday. What is this-- Miami Beach? Haw. Not hardly. And you can expect hazardous travel later today with that, you know, blizzard thing.

CUT TO:


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

RITA You look terrible, Phil. What happened? Rough night?

PHIL (sadly)

Yeah.

CUT TO:

L.. -.- - - a 1)::. POOL HALL - NIGET

The balls CRACK as the Cue ball breaks the rack.

phi1 is walking around the table, cue in hand, sinking b e l l after ball, while a couple of tough young POOL PLAYERS l=sk or.

FIRST PLAYER Who is this guy?

SECOND PLAYER I don't know. Hey, mister! Who are you, anyway?

Phil shoots, sinks a tough one.

PHIL You don't know me? I've been playing here every day for months.

FIRST PLAYER Oh, yeah? So how come I cin't seen YOU?

PHIL I don't know. I seen you.

SECOND PLAYER So what's your name?

PHIL They call me Punxsutawney Phil.

SECOND PLAYER Punxsutawney Phil? Like the groundhog.

PHIL Yeah, like the groundhog.

The $001 shark laughs derisively then stops when Phil makes a particularly difficult shot.

SECOND PLAYER Lucky.

PHIL Oh, I'm real lucky. You looking for some action?

SECOND PLAYER (lying) - do- # * - .. , bet pool.

P:-:;L So what do you bet, Gertrude?

On the 7 set above the bar, a 76ers basketball game is ir: progress.

SECOhD PLAYER Basketball.

Phil rins the rest of the table as he talks.

PHIL Okay, I'll take the Sixers over the Celts by 7--

(sinks a ball) Knicks over Washington by 11--

(sinks another) Bulls by 5 over the Pistons--

(slnks another) and the Sonics over the Blazers by 8.

Xe ficishes with a very hard two rail bank shot and turns to face :% pool sharks.

FIRST PLAYER (dawning realization)

Hey, mister. You some kind of hustler?

CUT TO:

-15 mT. GC33LER1S KNOB - DAWN

The crmd is waiting expectantly for the groundhog to appear. Phil is a wreck, squatting unprofessionally in front of the camera.

PHIL (cynically)

This is one of the most pitiful spectacles known to civilization. With one nod from a filthy rodent best known to pest control agencies, a moribund old coal mining hamlet turns magically into the Lourdes of Pennsylvania, Mecca to thousands of people who, if they hate the winter so damned much, why don't they move to Florida, anyway?

Larry 6nd Pita look on, incredulous.

CUT TO:

\_.. 120 INT. BOPLING ALLEY - NIGHT A crowd is gathered at one of the alleys. The overhead projector shows two completed games of 284 and 290. The third game shows eleven consecutive strikes.

Phil bowls, the ball hooks right into the pocket and all the pins go flying. Perfect game. The crowd cheers. Phil nods in acknowledgement but just looks bored by it all.

CUT TO:

121 INT. PARLOUR

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)

h%o are Watson and Crick?

ALEX (on TV)

Correct.

We pull back to reveal Phil sitting in his bathrobe in a big lounge chair in the parlor of his hotel. Mrs. Lancaster, and other guests watch his performance, awed by his 'intellect.'

ALEX (on TV)

W i n brother and sister Sebastian and Olivia create confusion in this Shakespearean comedy.

PHIL What is 'Welfth Night.'

CONTESTANT (on TV)

What 1 s .Twelfth Night?'

ALEX (or! TV)

Correct.

More cheering from the small group.

MRS. LANCASTER (to Phil)

How do you know all the answers?

PHIL Rerun.

CONTESTANT (on m)

I'll take New Jersey for eight hundred, Alex.

ALEX (on TV)

k?d the answer is-- an audio dailv - double.

PHIL Count Basie.

CUT TO:

122 EXT. STREET - DAY 12; i.....

Phil is waiking through town, still dressed only in his pajamas and overcoat, counting the sidewalk cracks, taking giants steps from one to the next. He looks crazy.

PHIL Two thousand six hundred and seventy- one--

(takes another step) two thousand six hundred and seventy- two--

(another step) two thousand six hundred and seventy- three--

A woman passes walking her dog.

PHIL Hey, pick up after your dog!

DOG WALKER But he hasn't done anything.

PHIL He's going to!

(poin=ing) Tnere and there. And there!

( CONTINUED)

R e v i s e d Yellow 3/17/92

,. ...- 122 CONTINUED :

Phil continues walking, counting the sidewalk cracks. THREE NEIGHBORHOOD KIDS notice Phil and walk along, matching him step for step.

PHIL Two thousand six hundred seventy- four, two thousand six hundred seventy-five, two thousand--

JOEY Five million eight hundred--

PHIL Six hundred--

MIKE AND SUE Ninety, twenty, four, six, fifty- seven--

PHIL Two thousand, four--

JOEY, ' MIKE AND SUE Two, eight, nine, forty-six--

Phil stops. He has lost count. His lip curls up like an animal as he turns slowly, growling at the kids. They run away screaming with glee as Phil starts after them but a COP pulls up in a cruiser and gets out.

COP You got a problem, buddy?

PHIL (out of control)

Yeah, I got a problem, buddy! I can't stand this town and I can't stand this street and I can't stand the fourteen bars and the five banks and the one star food and the bad weather and the quaint little shops and most of all, I can't stand anything-- ANYTHING-- with a groundhog on it.

COP (calmly)

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

Revised Yellow 3 / 1 7 / 9 2

.\.. 122 CONTINUED :

PHIL Phil.

COP Phil. Like the groundhog!

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

PHIL Yeah, like the--

(he rips the groundhog patch off the cop's

Some big new idea has formed in his mind.

CUT M:

122A EXT. TOWN SQUARE - NIGHT X 2 A t

The sound of a chain saw fills the air. Phil, dressed crazily , in his pajamas and robe, is sawing the heads off all the t groundhog statues.

CUT TO:

123 EXT. GOBBLER'S KNOB - EARLY MORNING Rita is looking at Phil as Larry videotapes his report.

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

PHIL (to camera)

There is no way this winter is ever going to end as long as that groundhog keeps seeing his shadow every day. I don't see any other way out. He's got to be stopped and I've got to stop him. For Channel 9 news, this is Phil Connors .

Larry looks at Rita as he finishes taping Phil.

LARRY He's out of his gourd.

CUT TO:

Revised Y e l l o w 3 / 1 7 / 9 2

<.-. 124 OMITTED

Larry and Rita are loading their equipment back into the van. Phil approaches, demented.

PHIL (at the end of his rope)

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

Phil kisses her gently on the cheek and walks off.

Buster Green and TWO other GROUNDHOG CLUB OFFICIALS are lifting a cage into the front seat of Buster's pickup.

BUSTER (to the groundhog)

There you go. 01' buddy. Good job. Hey! He smiled at me. See that?

FIRST OFFICIAL Right.

BUSTER (securing the cage)

Okay, little fella.

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

FIRST OFFICIAL Hi there, mister. Something I can do you for?

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

FIRST OFFICIAL Hey! What're you--!

Phil drives off in Buster's truck.

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

Buster and his aides race for another car parked nearby.

(CONTINUED)


- - 12 5 CONTINUED : . .

BUSTER Jake! Get the word out. Somebody kidnapped Phil. We're going after him. Come on, T o w !

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

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

RITA Let's go! Phil just snatched the groundhog !

They jump into the van.

RITA Why would anybody steal a groundhog?

LARRY (mutters)

I could think of a couple of reasons. Pervert.

CUT TO:

126 EXT. LOCAL ROAD - MINUTES LATER 12f

Phil comes tearing around a corner, followed by Buster in his car, and close behind him, a police car and the Channel 9 news van.

127 INT. PICKUP - CONTINUOUS Phil looks at the groundhog on the seat next to him, then punches the gas as he turns onto a back road.

PHIL You know who I am, don't YOU? Look in the mirror. It's me. We're Phil. I knew vou'd understand. This is-the winter that's never gonna end. You predicted it. You called the storm, I didn't.

128 IN'l'. BUSTER'S CAR - SAME TIME

\- Buster pursues Phil with relentless determination.

(CONTINUED I

CONTINUED:


li 6

BUSTER Nobody takes ny groundhog and gets away with it.

INT. THE NEWS VAN - SAME TIME Larry is driving.

RITA (very upset)

What is he doing? He must've just-- snapped.

LARRY This oughta be good.

RITA What can he be thinking?

OMITTED

INT. PICKUP - SAME TIME PHIL

Coming to the end of the trail, Phil. Then we're going-out in a blaze of glory. What? You wanna drive? Sure, pal. Whatever you say.

Phil holds the groundhog up to the steering wheel.

EXT. OLD QUARRY ROAD - CONTINUOUS The cars chase the pickup onto a narrow access road.

OMITTED 132

EXT. OLD QUARRY ROAD - SAME TIME 133

The pickup is losing its lead over the pursuers as it nears the old limestone quarry and breaks through the security gate.

INT. THE PICKUP - SAME TIME 134

Phil looks in his rearview mirror at the cars chasing him. The groundhog is driving.

(CONTINUED)

R e v i s e d Y e l l o w 3 / 1 7 / 0 2

I__. 13 4 CONTINUED :

PHIL Not bad for a quadruped. Remember to check your mirrors. Okay, pal.

135 EXT. THE QUARRY - CONTINUOUS 13 5

The pickup truck races into the quarry past big piles of crushed rock and gravel and disappears behind a huge mound.

Buster and the police arrive a moment later and skid to a stop blocking the only means of escape. Buster and the cops jump out of their cars as the news van arrives.

BUSTER Hot dog! There's no way out 'cept the way we came. We've got him now.

Rita and Larry jump out. Everyone looks in the direction Phil disappeared and waits.

A moment later, the pickup rolls slowly into view from behind the huge rock pile and stops.

BUSTER If you've gotta shoot, aim high. I don't want to kill the groundhog.

136 INT. THE PICKUP - SAME TIME Phil surveys the scene and takes a breath.

PHIL Okay, Phil, it's show time.

Phil hits the gas.

137 EXT. THE QUARRY - SAME TIME The pickup speeds toward the other vehicles but instead of heading for the way out, veers toward the edge of the limestone quarry, passing Buster, the police, Larry, who's shooting the whole thing, and finally Rita.

They all watch in amazement as the pickup bursts through a low retaining fence and rockets over the edge of the cliff.

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

(CONTINUED)

. 13 B RITA AN3 LARRY

look down at the wreckage, stunned.

LARRY (optimistically)

He may be all right.

Then the truck explodes.

139 BIG FIREBALL. FLAMING WRECKAGE. Then a small click, 139 followed by "I Got You, Babe.'

DISSOLVE TO:

140 INT. PHIL'S ROOM - DAWN 14 0

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

PHIL Ah, nuts!

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

CUT TO: '.. .:

141 INT. BREAKFAST ROOM - A LITTLE LATER 141

Phil enters in his pajamas, nods to Mrs. Lancaster and grabs a toaster off the buffet table.

142 INT. BATHROOM - MOMENTS LATER 142

Phil enters, plugs in the toaster and steps into the tub with it.

143 INT. BREAKFAST ROOM - SAME TIME 143

Mrs. Lancaster and the other guests hear the zap of an electrocution, the lights flicker and dim for a moment, then come back on again.

CUT TO:

R e v i s e d Yellow 3 / 1 7 / 9 2

143h EXT. STREET- DAY . -. - - 2 r

A truck accelerates down Main Street. Suddenly, Phil, dressed in pajamas and overcoat, leaps out in front of it.

DRIVERS' POV *

He sees Phil through the windshield but doesn't have time to hit the brakes before he runs right over him. t

CUT TO:

143B INT. PHIL'S ROOM - DAWN 'I Got You, Babe' is playing. Phil wakes up and smashes the radio.

CUT TO:

144 EXT. CLOSE UP - PHIL- ANOTHER DAY 144

He's standing outside somewhere with the wind blowing through his hair.

PULL BACK TO REVEAL: . Phil stands atop the Gothic bell tower of the Pennsylvanian

Hotel, the highest point in town, looking off into the distance. Then he jumps off in a pretty well-executed swan dive.

145 ON THE GROUND 145

Somebody screams, and a crowd immediately forms around a spot on the sidewalk.

Ned Ryerson pushes through to the front

NED Phil! Phil Connors! I thought that was him! Gee, I wonder if he had life insurance.

CUT TO:

146 OMITTED

147 OMITTED

14s INT. MORGUE - DAY Rita weeps while Larry stands by comforting her.

(CONTINUED)

\- 148 CONTINUED:

LARRY (obligatory)

He was really a great guy. I really, really liked him.

Revised Y e l l o w 3/17; 5 2

148

is.- 140 CONTINUED:

Phil's body is covered with a sheet.

In the shadowy darkness under the sheet, a CLICK is heard.

149 INT. PHIL'S ROOM - CONTINUOUS Phil's eyes pop open. 'I Got You, Babe* plays.

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

CUT TO:

150 INT. CHURCH - DAY 150

Phil enters, sits wearily in one of the pews and bows his head to,pray. Behind him, light is pouring through a beautiful stained glass window. Desperate and with no place left to turn, Phil prays for help. Suddenly he hears celestial music. It builds and swells, filling him with hope, inspiring him with faith. Then just as he's about to reach some kind of true epiphany, the music seems to stick on one off-key note, which just keeps sounding over and over.

\,... Phil looks around and sees an organ tuner up in the loft working on the church's old pipe organ.

PHIL f shout s )

Hey! D O you' mind? I'm praying here !

The organ tuner starts to apologize, but Phil just shakes his head and exits.

CUT TO:

151 INT. DINER - MORNING 151

Phil and Rita are sitting in the diner at their regular table The morning hubbub is going on as usual.

RITA I'm sorry. What was that again?

PHIL I'm a god.

RITA .You're God?

(CONTINUED )

PHIL No, I'm A god. Not THE God-- at least I don't think I am.

RITA That's reassuring. For a minute there I thought you might be crazy.

PHIL No, it's true. It's the only possible explanation. I'm a supernatural being.

RITA Because you survived a car wreck?

Doris comes to the table.

DORIS You ready to order, folks?

PHIL '

(to Rita, ignoring her) Not just the car wreck! I didn't just blow up yesterday, you know. I've been run over, drowned, crushed, stabbed. shot, electrocuted, poisoned, frozen, burned, and asphyxiated--

RITA Really?

Doris looks at him like he's nuts.

PHIL --but I always wake up the next day without a scratch, without even a headache. I'm telling you, I'm imortal.

DORIS The special today is blueberry waffles.

RITA Why are you telling me this?

DORIS (shrugs

Because some people like blueberry waffles.

(CONTINUED)

R e v i s e d Yellow 3 / 1 7 / 3 1

l... 151 CONTINUED :

RITA (to Doris)

Not you, him.

PHIL Because I want you to believe in me.

RITA You're not a god, Phil. Take my word for it. This is twelve years of Catholic school talking.

DORIS I could come back if you're not ready.

PHIL How do you know I'm not a god?

RITA Please.

PHIL How do you know?

RITA Because it's not possible.

DORI S I'll come back.

Doris turns to leave.

PHIL Hey, Doris!

She turns back.

PHIL This is Doris. Her brother-in-law Carl owns the diner, she's worked here since she was seventeen and she'd give anything to visit Paris once before she dies.

DORIS (amazed)

Boy, would I! Hey! How did--

Phil grabs a passing waiter.

(CONTINUED)

-- 151 CONTINUED :

PHIL This is Bill. He's been a waiter for three years because he left Penn State and had to find work. He likes the town, he paints toy soldiers, and he's gay.

WAITER I am not!

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

RITA What are you doing?

PHIL This is Debbie Kleiser and her fiance Fred.

DEBBIE Do I know you?

PHIL They're supposed to get married this afternoon but Debbie is having second thoughts.

FRED What !

Debbie touches her engagement ring, dumbfounded. Rita is a little embarrassed.

RITA Lovely ring.

DEBBIE Thanks.

Phil drags Rita to the counter.

PHIL This is Gus. Say 'Hi; Rita.

Rita flashes a quick smile.

GUS Don't believe I've had the--

PHIL Gus hates his life here and wishes he'd stayed in the Navy.

(CONTINUED)

F.cvised Yellow 3/17/92

k.... 151 CONTINUED:

GUS Well, I coulda retired at half pay after twenty years.

RITA This is some kind of trick.

PHIL Yes, it's a trick. But maybe the real God cheats. too. Mavbe God

~~

isn't omnipotent. He's jht had a lot of practice.

RITA How about that guy?

PHIL Tom. Worked in the coal mine 'ti1 they shut it down.

RITA Her?

PHIL Alice, came from Ireland when she was a babv and lived in Erie most of her li?e.

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

RITA How do you know these people!

PHIL I told you the truth. In five seconds a busboy's going to drop a whole tray of dishes. Five,

RITA This is nuts.

PHIL --three, two, one.

Phil points to the kitchen as a busboy trips and drops a fully loaded bussing tray. Everyone in the diner is now staring at them.

RITA (astounded

Okay, enough.

She pulls hin into a booth.

. 151 CONTZlFJZD :

RITA (Cont 'd) (they sit)

What do you know about me, Phil? Do you know me, too?

PHIL I know all about you, Rita. I know you like producing, but hope for better than Channel 9, Pittsburgh.

RITA Everyone knows that.

PHIL You like boats but not the ocean. There's a lake you goto in the summer with your family, up in the mountains, with an old wooden dock and a boathouse with boards missing in the roof, and a place you used to crawl underneath to be alone, and at night you'd look up and see the stars. You're a sucker for Rocky Road, Marlon Brando, and French poetry. You're wonderfully generous; you're kind to strangers, and children: and when you stand in the snow, you look like an angel.

RITA How are you doing this?

PHIL I told you! I wake up every day right here, right in Punxsutawney, and it's alwavs Februarv second and I can't turn it off. I? you still don't believe me, listen--

RITA But, Phil--

PHIL Listen! In ten seconds Larry is going to walk through that door and take you away from me.

RITA Larry?

PHIL Bu: voz can't let hin. ?lease believe me. You've got to believe me.

(CONTINUED)

151 C:31:TIlC:ZD:

RITA I don't--

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

PHIL Look.

As Rita turns around to see Larry, Phil grabs a pen and pad from i3 passing waitress and quickly writes something down as Larry makes his way to their table. Phil finishes writing.

LARRY (to ~ i t a )

You ready? We better get going if we're going to stay ahead of the weather.

Phil hands the paper to Rita. She reads it.

RITA . (reading)

* . . . stay ahead of the weather.' '>. L...' Larry looks at the paper.

LARRY What's that?

Rica looks at Phil with new understanding and empathy.

CUT TO:

152 EXT. FUDGE SHOP - DAY - - - 2 2

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

RITA This is great.

PHIL No, it isn't. You hate fudge.

RITA Just how well do we know each other?

PHIL I told you. I know everybody.

X E ~ ?.yersoc approaches.

(CONTINUED)

. -. , - .....

- - C3NTINUE3:

NED Hey, Phil! Phil Connors!

PHIL Rita, this is Ned Ryerson. He's an asshole.

NED He remembers me!

Phil and Rita keep walking.

RITA Did we ever-- you know?

PHIL (teasing)

Did we ever! You were an animal.

RITA (stops )

Come on.

PHIL you're European trained, aren't you.

RITA (blushing)

Phil! It's not funny.

PHIL You weren't interested.

RITA (relieved)

Okay.

She begins walking again.

RITA Not that it would've been so awful.

PHIL I understand.

RITA I just had to know whether to smack you or not.

PHIL You did.

(CONTINUED)

RITA Good.

CUT TO:

153 'EXT. PARK - A LITTLE LATER

Phil and Rita are sitting on a park bench.

PHIL So do you believe any of this?

RITA I don't know. I don't know how else you could know so much. Maybe it is really happening.

PHIL I used to try to stay up all night sometimes. I thouoht if I could stay conscious I could figure out what was going on, or at least hang onto something from the day before. But I gave up on that a long time ago.

Rita looks at him with compassion.

RITA It sounds so-- lonely.

PHIL (trying to shrug it off)

It's not that bad. You get used to it.

RITA Maybe I should spend the rest of the day with you-- as an objective witness. Just to see what happens.

PHIL Yeah, sure. That'd be very scientific.

CUT TO:

154 INT. PHIL'S ROOM - NIGHT A h a t is lying on Phil's bed. A laying card flies pas:. A second playing card sails right ir.=o the hat. Another playing card sails past, missing.

(CONTINUED )


''i-.. 154 CONTINUED :

Another playing card sails right in. Phil and Rita are tossing cards. Rita is missing. Phil is hitting.

PHIL It's not in the wrist so much as the fingers. Be the hat.

RITA It would take me a year to get good at. this.

PHIL Uh-uh. Six months. Four, five hours a day.

RITA Is this what you do with eternity?

PHIL Now you know. It's like waiting for a bus that never comes. You should see me play pool-- and bowling, juggling, hacky sack. I can ride a unicycle.

Rita takes a slice of pizza from the box on the table.

RITA UMMM. Pepperoni and olives. Y. favorite, of course. Doesn't knowing everything kind of take the fun out of things?

PHIL That's not the worst part.

RITA What's the worst part?

PHIL The worst part is that tomorrow you won't remember any of this. You'll go back to treating me like a complete jerk--

RITA

PHIL It's not your fault. I am a jerk.

RITA No, you ' re not.

PHIL Okay, I'm not. It really doesn't make a lot of difference. I've killed myself so many times, I don't even exist anymore. I'm just completely empty.

RITA Sometimes I wish I had a thousand lifetimes. One to be a great ~ournalist. One to, I don't know, go back to school, study art. or physics or something. One just to take care of all the busywork, you know, pay the bills, get my car tuned up. One to be the wild woman of Borneo. One to be Mother Theresa. Maybe it's not a curse, Phll. It all just depends on how you look at it.

PHIL If you're going to be this positive all the time I may have to rough you up a little.

Phil stares at her for a long time then he belches really loud. Rlta stares at hlm, then burps surprisingly loud herself.

RITA I want you to know, it's been a really nice day for me.

PHIL Me, too.

RITA Maybe, if it's not too boring for you, we could do it again.

PHIL I hope so.

The clock reads 11:59. Rita grabs Phil's hand. He puts his a-?n around her.

(CONTINUED

',.- 154 CONTINUED: . - - 2 ;

They look into each others' eyes. Rita gives Phil a reassuring smile. She squeezes his hand. Their eyes turn to the clock.

11:59 turns to 12:OO.

Rita looks up at Phil as if expecting some magical event.

RITA You're still here!

PHIL I know.

RITA I thought.you were supposed to disappear-- or I was or something.

PHIL Not 'ti1 six.

RITA You rat!

She is mad in a playful way.

PHIL I never said midnight.

RITA You knew I was waiting for midnight!

PHIL But I never said it

RITA Oh, I can't believe you!

(she slugs him with a pillow)

I didn't know this was going to take all night!

PHIL Does that mean you're going?

RITA NO.

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

DISSOLVE TO:

. - - ., 155 LATER - - - - -

p.i:a is now sitting ricnt next to Phil on the bed, her head resting on his shoulder. She nods off then catches herself.

RITA I 'm sorry.

PHIL It's okay to go to sleep you know. I promise I won't touch you-- much.

RITA NO, it's all right. I'm not tired. What were yoc saying?

Her eyes start to close again.

PHIL I was saying that the cow was eventually returned to its rightful owner.

RITA (drifting off)

Really?

PHI; That's right.

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

PHIL . What I was going to say was, I think you're the kindest, sweetest, prettiest, most wonderful girl I ever met in rry life.

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

PHIL Shhhh. That's good.

(satisfied she's still asleep)

I could never tell you this, but from the first minute I looked at you I just wanted to hold you close and be with y3u forever.

She srirs again but he kisses her until she retnrns to deep s leea .

(CONTINUED)

PHIL I know I could never deserve someone like you, but if ever I could, I swear I would love you for the rest of my life.

Rita opens her eyes.

RITA (half -asleep)

Did you say something?

PHIL Yeah. Good-night, Rita.

He kisses her gently on the forehead.

RITA Good-night, Phil.

l56 CLOSE UP - THE CLOCK 156

The time changes from 5:59 to 6:OO. The radio starts playing.

Phil wakes up alone in bed. He lies there for a moment then leaas out of bed like a man reborn and heads straight for rhe shower.

CUT TO:

157 EXT. TOWN SQUARE - A BIT LATER 157

Phil enters the square heading for the Knob and sees Old Jensen in his usual place. This time Phil stops and hands him all the money in his pocket.

NED (0.C.) Hey, Phil! Phil Connors!

As Ned approaches Phil turns and automatically slugs him. He starts to walk away but some better impulse comes over him and he turns back to Ned.

PHIL (helping him to his feet)

I'm sorry. Are you all right? I thought you were this horrible guy I went to hiah school with-- Ned

(CONTINUED

Revised P i n k 3 / 1 3 / 9 2

L.. 157 CONTINUED:

NED ( f ee l ing h i s j a w )

No, never heard of him.

Ned e x i t s i n a hurry a s Phi l continues t o the Knob.

CUT TO:


Rita and Larry a r e i n the packed press area , beginning t o s e t up the equipment.

Phil a r r i v e s on t i m e , carrying two cups of coffee .

PHIL Rita?

She looks a t him without a t r a c e of the rapport they shared the night before.

R I T A Oh, h i , Phi l .

PHIL Thought you might l i k e some--

H e hands her the coffee.

RITA Thanks !

PHIL Careful, i t ' s hot. Larry?

H e hands Larry a cup.

PHIL Larry, skimmed milk--two sugars.

LARRY (surpr ised, mutters)

Yeah, grea t . Thank you.

R I T A We're jus t s e t t i n g up.

PHIL You know, I bumped i n t o Buster Green, he kind of runs t h i s thing, and he tipped me off t ha t w e might get a b e t t e r shot over there .

(CONTINUED )


PHIL I mean, maybe we should go for it. What do you think?

RITA Sounds good to me.

PHIL Larry?

LARRY Sure, why not?

RITA All right. Thanks, Phil. Good work.

She reaches for an equipment case.

PHIL I'll get that.

Phil helps Larry carry the camera gear.

PHIL (to Larry)

We never talk. You got kids, Larry?

LARRY No I have a cat. Alfie.

PHIL Is it male or female?

LARRY He's male.

Larry looks suspicious. Rita looks on, re-evaluating Phil.

CUT TO:

159 INT. LIBRARY - DAY Phil enters the library, approaches the Librarian.

PHIL Where would I find the Philosophy section?

(CONTINUED)


-106A-

' -.. .: 159 CONTINUED:

LIBRARIAN . -

Down and to the left, 6 0 0 ' s .

Phil disappears into the stacks.

160 1NT.LIBRARY - ANOTHER DAY 16C

Phil is reading one of a huge pile of books on the table in front of him.

161 CU - LIBRARY CLOCK ..

The hands start spinning faster and faster.

CUT TO:

162 INT. DINER - DAY 15;

Phil is at his usual table, his nose in a book. The organ lady is playing a particularly obnoxious version of 'Raindrops Keep Falling On My Head.' Phil looks up from his book an3 winces.

CUT TO:

163 EXT. A HOUSE - DAY 1 6 3

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

MARY Yes?

PHIL I'd like a piano lesson, please.

MARY oh. Okay, I'm with a student now. but --

PHIL I'll give you a thousand dollars

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

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

CUT TO:

164 INT. HALLWAY - DAWN 164

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

CHUBBY MAN Morning.

PHIL Buon Giorno, signore.

(CONTINUED)

CHUBBY MAN (loudly over- articulating, as if to a foreigner)

THINK IT'LL BE AN EARLY SPRING?

PHIL "Winter slumbering in the open air wears on his smiling face a dream of Spring. "

CHUBBY MAN Oh.

CUT TO:

165 IKT. MARY'S HOUSE - DAY Phil and Mary are sitting together at the piano. Phil is playing, poorly.

m y Not bad, Mr. Connors. You say this is your first lesson?

PHIL Technically, yes.

Phil plays on, definitely improving.

CUT TO:

166 ILT. LIBRARY - DAY We see several cuts of Phil studying at the library.

167 SUPERED over these cuts is a calendar with the pages flipping by. They all read 'February 2:

CUT TO:

168 EXT. GOBBLER'S KNOB - DAWN Phil stands in front of the camera, giving his report.

PHIL In fact, the groundhog's legendary ability to predict'the weather may be more than just German folklore.

(more)

(CONTINUED)


i-. 168 CONTINUED:

PHIL Higher temperatures trigger hormonal changes in male groundhogs, which wakes them from hibernation and sends them out to battle with other males for mating rights. So, the truth is they're not looking for their shadows, they're looking for groundhog babes.

Rita looks on, clearly delighted with the report

CUT TO:

169 INT. MARY'S HOUSE - DAY 169

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

CUT TO:

170 EXT. GOBBLER'S KNOB - DAWN Phil is delivering another report.

PHIL Groundhog Day, February second, also known as Candlemas Day or the Feast of the Purification of the Virgin Mary, the day Mary first came to the temple for ritual blessings following the birth of the infant Jesus, and celebrated since the Middle Ages by the sacramental lighting of candles....

Larry whispers to Rita.

LARRY Is he making this stuff up?

RITA (riveted)

Shhhhh .

171 EXT. TOWN SQUARE - DAY Larry and Rita are at the cider stand talking, when tho sound of a chain saw attracts their attention. Rita turns with surprise to see Phil working on a very elaborate statue, ice chi25 flyinp into his face. He is concentrating very hard, trying t3 get it right. Rita doesn't know what to think.

CUT TO:

. . 172 EXT. MAIN STREET - LATER 17;

Phil is heading for his piano lesson when he finds himself face to face with Ned Ryerson.

NED Phil! Phil Connors! - I thought that was you !

PHIL Red? Ned Ryerson! I don't believe it. I've missed you so much.

Phil gives Ned a big hug and keeps holding on for an uncomfortably long time. Ned goes into homophobic shoc~.

NED Uh. I gotta get going. Nice to see you, Phil.

He hurries off.

CUT TO:

173 INT. MARY'S HOUSE - DAY Phil is sitting on the piano bench with Mary, playing pretty well. Mary is astonished.

MARY How long have you been studying, Mr. Connors?

PHIL Just today.

CUT TO:

174 EXT. STREET - DAY Phil is walking down the street. He glances down the cliey as he passes, stops, walks back and enters tne ailey.

(CONTINUED 1

t l d Jensen, the homeless man that Phil never noticed before is lying there, huddled against a wall. Phil goes to help him.

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

'Ihe old bum turns to look at Phil, then closes his eyes

PHIL (helps the old man to his feet)

There you go.

P?.il practically carries him out of the alley.

CUT TO:

175 I::?. HOSPITAL EMERGENCY ROOM - NIGHT ;. nurse approaches Phil. .

NURSE You the one brought in the old man?

PHIL How is he?

NURSE He passed away just now.

Phil pauses for a long moment.

PHIL What'd he die of?

NURSE (shrugs

He was just old. It was his time.

PHIL I want Lo see his chart. Excuse me.

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

NURSE Sir, you can't--

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

'.. \--

175 CONTINUED:

PHIL Not on my watch.

CUT TO:

176 INT. DINER -AFTERNOON 176

Phil is propping up the old m n at a table, trying to feed him hot soup.

CUT TO:

177 INT. HOSPITAL LIBRARY - DAY 177

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

CUT TO:

178 EXT. ALLEY - NIGHT 178

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

. PHIL Come on. Hang on. Hang on, there. Breathe.

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

CUT TO:

179 EXT. GOBBLER'S KNOB - DAWN Phil is delivering his report. Everyone there is silent and listening to Phil. Even the other reporters have turned their cameras on him.

PHIL ... When Chekhov saw the long winter, it was a winter bleak and dark and bereft of hope; and yet, we know winter's only one more step in the cycle.

(more)

(CONTINUED


I '. -... 17 9 CONTINUED:

And standing among the people of' Punxsutawney--

(Phil looks directly at Rita)

--basking in the warmth of their hearths and hearts, I couldn't imagine a better fate than a long and lustrous winter.

Phil smiles. Rita smiles, too.

PHIL For Channel 9 news, I'm Phil Connors .

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

PHIL Okay for you two?

RITA Yeah.

LARRY Phil, you touched me man. Thanks.

PHIL Gotta go.

Phil hands the microphone to Rita and walks away.

RITA Phil! Wait!

She catches up to him still carrying the microphone.

RITA That was kind of-- surprising. I didn't know vou were so-- versatile. -

PHIL I surprise myself sometimes.

She runs out of microphone cable and is jerked back. She quickly unplugs the mike and continues walking with him.

RITA Where're you going now? Maybe we could get a cup of coffee or something.

PHIL I'd love that, maybe later. I've got some errands to run.

(CONTINUED)


-113A-

- . 17 9 CONTINUED:

Phil rushes off . RITA

( c a l l s a f t er him) Errands? Here? What errands? Aren't we going back?

CUT TO:

i L... 180 EXT. STREET CORNER - DAY . - . - -

Phil walks briskly toward an intersection, glancing nervously a: his watch.

MARIE, a little nine-year-Old girl, approaches the intersection shielding her brand new puppy under her winter coat. She isn't paying attention to traffic and fails to notice a big truck bearing down on her.

As she steps off the curb, Phil arrives and, with split-second timing, nonchalantly but firmly grabs her coat to hold her back, just as the big truck rushes past in the street, narrowly missing her.

PHIL Hey! Did you forget t o look both ways? You didn't even look one way.

MARIE My doggie was cold.

PHIL Yeah, well, my doggies are freezing, but I'm still gonna watch out for cars. See you around, kid.

.. . Phil looks at his watch and rushes off.

CUT TO:

181 EXT. STREET - DAY 18:

A car carrying three OLD LADIES runs over a board in the road and pops a tire. The driver, GERTIE, reacts.

GERTIE Oh, m y .

RUBY You've totalled it.

SARA It's just a flat tire.

GERTIE I better call someone.

As Gertie begins to get out, the car starts bouncing, already being hoisted up into the air on a jack.

She looks down to see Phil happily changing her tire.

CUT TO:

182 INT. BERGHOF RESTAURANT - DAY - - - - .... - - - Phil enters the crowded restaurant and pushes past all the people waiting to be seated. He walks casually, but quickly and :purposefully around the tables, squeezing past busy waitresses and seated patrons. Without missing a beat or losing a step, he automatically lights someone's cigarette, helps someone on with their coat and brings water to a table, all the time heading toward some commotion in the back of the restaurant.

A WOMAN and her two grown children, a SON and a DAUGHTER, are leaning over her husband whois prostrate on the floor. It's Buster Green, the groundhog official, still wearing his tailcoat.

WOMAN Oh, my God! He's having a heart attack!

DAUGHTER Somebody please help us!

SON What do I do? He's not breathing!

WOMAN He's turning blue! Help!

- . -,... Phil walks straight up to the scene, pulls Buster up to a sitting position, grabs him from behind in the Heimlich grip an5 squeezes sharply.

A bolus of food flies across the room. Buster coughs and sputters, then starts breathing again.

DAUGHTER You okay, Daddy?

SON I think that did it.

Phil' lets go of the grateful victim.

PHIL If you're going to eat steak, get better teeth, will you? Enjoy the rest of your lunch, folks.

He exits.

CUT TO:

i.. 183 EXT. RESIDENTIAL STREET - A LITTLE LATER . - - - - Phil runs down the sidewalk right up to an old house and puts his arms out just as a YOUNG BOY falls off the garage roof and right into Phil's arms, knocking him to the ground. The kid runs off unhurt as Phil gets back to his feet and brushes himself off.

PHIL (to himself)

That little bastard has never thanked me once.

(shouts) Next time I'm letting you fall!

CUT TO:

184 CLOSE-UP - A PACKAGE 181

Someone is shakily gift-wrapping a package with ribbon and having considerable trouble doing it until a hand reaches in and holds the knot with an index finger.

CUT TO:

185 EXT. ALLEY - NIGHT 181

Phil kneels on the cold ground beside Old Jensen who lies huddled against the wall, immobile. He finishes writing something down on a small pad and sets it down by the old man. Then he covers him with a blanket and walks away as an ambulance pulls into the alley.

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

BUD It's 01' Jensen.

ANDY That's a shame.

BUD Look here.

Bud picks up the note Phil left.

(CONTINUED)


-117-

\.. 185 CONTINUED :

186 INT. PENNSYLVANIAN HOTEL BAR - NIGHT Larry is at the bar trying to hustle Nancy.

BUD (reading aloud)

'Every night, by cold bricks glow. I watch the shadow rising from this old man in the snow. At 8:02 we let it go.'

ANDY (repeating)

'At 8:02 we let it go.'

BUD Wow, that's nice.

m TO:

LARRY ... A lot of people think you just hold the camera and ~oint it at - stuff.

(snorts) There's a heck of a lot mare to it than that. Hey, would you like to see the inside of the van?

NANCY I really should get back to the party.

LARRY I'll go with you.

Larry and Nancy encounter Rita on their way back into the bar.

LARRY Hi, Rita. You corning to the party?

RITA Sure. Sounds like a lot of fun. Maybe we should call Phil and see if he wants to come.

NANCY Phil Connors? I think he's already in there.

They all exit together.

R e v i s e d Cherry 5/12/92

-118-

-..._. 187 OMITTED 18

188 INT. BANQUET ROOM - CONTINUOUS A wild groundhog party is going on. People of all ages, just about everybody we have seen previously in huursutawney is here tonight. The room is gaily decorated with banners and groundhog signs. The band is really kicked up and everybody is dancing. Larry and Nancy go off to get some punch.

. .

A crowd is gathered around the bandstand listening to an unusually wild piano solo. Rita presses forward to look and is amazed to see that the piano player is Phil.

Phil is playing very well, going nuts like Jerry Lee Lewis.

Rita is standing next to Mary, Phil's piano teacher.

MARY Isn't he good?

RITA He's great.

MARY (proudly)

He's my student.

Phil finishes with a flourish. Everybody applauds. Phil modestly bows out and Mary resumes her place with the band.

The band starts up again, a slow piece. Phil spots Rita and comes down to her.

PHIL Hey! Welcome to the party!

RITA Phil, I didn't know you could play like that.

PHIL I'm versatile.

She laughs. He takes her hand and they start dancing.

PHIL Did you have a good day?

lee CONTINUED : I_".

RITA Yeah, sure. I mean, it's a little strange being stuck here, and all --

Phil laughs and swings her around on the dance floor.

Gertie and Sara, the two old ladies with the flat tire, are dancing together.

GERTIE Mr. Connors! Thanks again for your help.

PHIL My pleasure, ladies.

SARA He's got the fastest jack in Jefferson county.

Phil and Rita dance on.

RITA What was that all about?

PHIL Oh, I don't know. They've been hitting on me all night.

Phil is interrupted by Mrs. Green, Buster's wife.

MRS. GREEN There you are!

She grabs him and gives him a big kiss.

MRS. GREEN I never thanked you properly for what you did for Buster. He would've choked for sure.

PHIL Well, the guy was trying to swallow an entire cow.

MRS. GREEN (to Rita)

Hang onto him, dear. He's a real find.

Mrs. Green moves on. Rita looks at Phil.

(CONTINUED)

RITA (really confused)

What did you do today?

Phil is now accosted by Fred and Debbie Kleiser, very young newlyweds.

FRED Mr. Connors. Excuse me.

PHIL Fred! How was the wedding?

FRED I just wanted to thank you for making Debbie go though with it and everything --

PHIL Hey, don't buy that playing hard to get stuff. She's crazy about you.

DEBBIE' You are the best.

PHIL Rita, Fred and Debbie --

RITA Hi.

Phil reaches into his pocket, pulls out two tickets and hands them to Debbie.

PHIL Congratulations.

DEBBIE What is this? Oh, no way! No way! Ahhh !

Debbie throws herself on Fred and jumps up and down. Fred grabs the tickets.

FRED Wrestlemania! No way! No way!

Debbie throws herself on Phil.

DEBBIE How did you know? We're like going to be in Pittsburgh anyway.

(CONTINUED )

'"- 18 i; CONTINUED :

FRED Thanks, Mr. Connors. You're a real pal.

DEBBIE This is the best!

Debbie gives Phil a kiss. She and Fred move on. Phil grabs Rita to continue dancing, but Rita stops.

RITA I don't understand.

PHIL I know.

RITA How does everybody know you? I mean, you only visit here once a year but you seem to be the most popular person in town.

i4 MAN leans into the conversation.

MAN Thank you, Doctor Connors. You really fixed my back.

Ne ducks out again.

RITA Doctor Connors?

PHIL It's like an honorary title.

Rita stares at Phil.

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

RITA What's going on?

PHIL I really don't know.

RITA No, there's something going on with you.

PHIL Okay, you want the long version or the short one.

(CONTINUED)

Revised Cherry 5 / 1 2 / 9 2

RITA . Try the short one and we'll go from there.

Buster Green mounts the stage to emcee the Bachelor Auction.

BUSTER Okay, folks. Attention! Time for . ~

the big Bachelor Auction. You all know the rules now. All the eligible bachelors come up to the front. Ladies, you bid on 'em, you get to do whatever you want with 'em, no questions asked.

(winks broadly) So get out your pocketbooks and remember, it's all for charity. Come on now. Any more bachelors out there?

Doris accosts Phil.

DORIS What are you doing down here. Phil?

PHIL Hi, Doris.

DORIS Get up there. Go on. I got ten dollars that says you're mine.

(to Buster) Hey, Buster! I got your first victim!

BUSTER Phil Connors! Get on up here!

Phil smiles at Rita as he gets pushed up to the stage by the crowd.

A precocious TEEN GIRL turns to her FATHER.

TEEN GIRL That's the man I want, Daddy.

Rita is totally confused as Buster opens the bidding on Phil.

BUSTER Now what do I hear for this fine specimine?

Green Revised 4 /24 / 92

. 188 CONTINUED:

GERTIE Five dollars.

BUSTER The bidding has begun at five dollars.

WRIS Ten dollars.

BUSTER Ten dollars, for Phil Connors? Why, my necktie cost more than that.

Rita pulls out her checkbook and thumbs through it.

Larry is watching with Nancy, trying to look suave.

NANCY (calls out)

Fifteen!

Larry frowns.

W R I S Twenty!

Buster waits a moment then starts to close the bidding.

BUSTER I have twenty dollars bid. Do I hear more?

RITA Three hundred sixty-five dollars and eighty-eight cents!

Everybody laughs and applauds her boldness. From the stage, Phil smiles at her.

BUSTER Okay, bachelors. Who ' s next ?

Larry bounds up on stage and tries his best to look appealing.

CUT TO:

189 EXT. PARK - NIGHT 189

Rita is sitting on a stone pedestal while Phil carves her image * out of packed snow, using only a sharp stick and the heat of his ' hands to model the delicate contours of her features. t

- (CONTINUED)

Green Revised 4/24/92

'.- 189 CONTINUED:

RITA I'm getting cold. Do I have to sit here much longer?

PHIL I'm just trying to give you your money's worth. You paid top dollar.

RITA I think you were a bargain. Can I look now?

PHIL Almost. I just have to pour some cherry syrup on it then we can eat it.

RITA I'm freezing. Come on. I want to see it.

PHIL Okay. Let me get it into the light.

He turns it.

RITA Oh, Phil. It's beautiful. It's just amazing. How did you do that?

PHIL I know your face so well I could've done it with my eyes closed.

RITA I don't know what to say.

They kiss.

PHIL I do. No matter what happens tormorrow or for the rest of my life, I'm happy now because I love you.

RITA Phil, I think I'm happy, too.

They kiss again and exit

190 OMITTED

CUT TO:

CUT TO:

... 190 CONTINJED:

RITA What ?

PHIL Nothing.

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

CUT TO:

191 CLOSE UP - THE CLOCK 19

The digital clock-radio changes from 5:59 to 6:OO. .I Got You, Babe" starts playing.

Phil opens his eyes feeling more bereft than ever.

DEEJAY (interrupting the song)

Not again.

SIDEKICK can't get enough of Cher.

DEEJAY Yeah, but that's way too much of Sonny.

Phil sits up in bed as the deejays continue this new banter. He looks around the room. Things are different, messier. Then he sees the covers move. Wide-eyed now, he looks over and sees Rita waking up, snuggling deep under the covers.

PHIL (disbelieving)

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

RITA (stretching luxuriously)

M m m . Morning.

Phil pounces on Rita, showering her with kisses.

PHIL You're here! My god! I can't believe you're here!

RITA Glad to see you, too.

(CONTINUED)

PHIL No! It's happened. Don't you get it? It's tomorrow! Listen!

DEEJAY ... still shoveling out the highways, but if you're walking, it's a beautiful day.

SIDEKICK Yeah, the snow kind of cleaned everything up--

DEEJAY --except your mouth.

Phil kisses the radio.

PHIL I love those guys.

RITA Are you always this jolly in the morning?

Phil runs to the window and looks out.

192 HIS POV - THE STREET 19i

The street is virtually empty, the town just waking up. Kids are throwing snowballs.

193 INT. PHIL'S ROOM - CONTINUOUS PHIL

No groundhog! Rita! They're all gone !

RITA You must've had some dream.

Phil stops, thinks.

PHIL Did I just dream it?

Phil opens the door and runs into the hallway wearing only pa j ama bottoms .

RITA Phil? Phil!

(CONTINUED)

L.. 19 3 CONTINUED : - a - " . - - - Rita sits up in bed and waits. Suddenly, from somewhere else ir. the inn comes the sound of Phil at the piano expertly playing a difficult classical piece. He stops after a few bars.

PHIL (0.C.) Yeah! ! ! !

Phil runs back into the room.

PHIL It really happened! You're really here !

(he Dounces on Rita &: ~ -

again) You're really actually here.

RITA (laughing)

I'm here, I'm here!

They kiss.

PHIL Let's go!

-. He scoops her up in his arms.

CUT TO:

194 INT. BREAKFAST ROOM - LATER Phil and Rita, dressed now, enter and encounter Mrs. Lancaster. Phil hugs her.

MRS. LANCASTER Oh, my!

PHIL Florence! Say hello to Rita. She stayed with me last night.

MRS. LANCASTER That's all right. No extra charge.

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

CUT TO:

. l a 5 EXT. CHERRY STREET - DAY . - - b - - - -

From the vantage point of Phil's bedroom window, we see Phil and Rita walk off down the beautiful, snow-covered streets cf ~unxsutawiey .

THE END

groundhog day screenplay by danny rubin - for educational purposes

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