"GROUNDHOG DAY" (1993)

GROUNDHOG DAY

by

Danny Rubin .

Second Revision by Harold Ramis

January 7, 1992

HIBERNATING GROUNDHOGS

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

ROLL CREDITS AND THEME MUSIC

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.

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

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

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

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

-2-

We zoom into a tall building in the downtown area and

We don't see anyone at first but the office itself speaks volumes about it's inhabitant— team pictures of the Steelers from the Franco Harris-Terry Bradshaw glory years, a framed memorial portrait of Roberto Clemente, a local Emmy award statue, an erasable weather map and mountains of personal junk on the desk, ^windowsill, and every other available surface.

As the CREDITS END, we notice a sleeping figure on the small sofa, buried deep under a pile of coats and a stolen airline blanket.

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

The sleeping figure rouses himself and looks out at Hawley. It's Phil, the .Channel 9 Action News weatherman.

Phil sits up and.thinks hard. He's in his mid-thirties, smart, rugged-looking, perhaps a little too full of himself, but clearly a guy with a lot of personality.

He jumps up and exits the office with Hawley right behind him.

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

Phil ducks into the studio.

-3-

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

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

-4-

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

Rita is relatively new to the station, but very competent, personable, humorous, self-assured and very pretty— in short, a genuine princess, though Phil is too self-absorbed at this point to realize it.

-5-

Hawley exits leaving Phil and Rita alone in the studio. She knows Phil mainly by his reputation and it isn't good. Still, she finds him appealing in an odd way.

-6-

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

Phil is in his cluttered cubicle talking on a headset phone while he reviews cassettes of his groundhog spots from the past two years on a small monitor. As he talks, he stuffs a number of personal items in an overnight bag, all the time watching himself on the TV monitor.

Stephanie enters and stands in the doorway looking at Phil for a long moment. There is something vaguely off-center about this woman, not quite FATAL ATTRACTION but still a little scary.

Phil sighs.

-7-

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

-8-

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

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

A VAN marked ".Channel 9 Action News" speeds along a two-lane highway through the winter landscape of West Central Pennsylvania. Mounted atop the van is a microwave transmitter. Rita is riding up front with LARRY, the union cameraman and techie. Phil is following close behind the van in a new Lexus coupe. His car has a bumper-sticker that reads "Weathermen Like it Wet."

Phil is talking to one of his girlfriends, sorting through a stack of CD's, as usual, grabbing at the good life with both hands.

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

A SIGN

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

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

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

The van pulls into the parking lot at a Quality Inn. The announcement billboard in ;front of the motel reads: "Groundhog Day Breakfast Special - Feb.2 - All You Can Eat - $5.99." The parking area is already crowded with cars including a number of other news vans. The Lexus pulls in behind the van and everybody gets out.

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

Rita is already helping Larry unload equipment from the van.

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

-10-

She hands him a card.

-11-

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

Larry snorts and continues unloading their gear.

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

CLOSE UP - CLOCK

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

SUPER: FEBRUARY 2

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

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

Phil grimaces and swings out of bed.

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

-12-

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

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

SOUND EFFECT of GRUNTING GROUNDHOGS.

Phil grunts at his reflection in the mirror.

-13-

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.

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

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

-14-

He heads for the door.

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

Phil exits.

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

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

An OLD BUM is sitting on the sidewalk leaning against a storefront. Someone throws him a coin. Phil walks by without taking any notice.

-15-

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

Phil looks at him vaguely.

Phil stares, trying to remember.

- 1 6 -

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

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

Phil looks at him with murderous contempt.

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

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

-17-

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

Rita spots Phil heading into the crowd.

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

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

Phil takes the microphone from Rita and positions himself against the fence.

The Groundhog Club Officials in top hats, striped trousers and cutaway coats parade out to the burrow that houses Punxsutawney Phil.

-18-

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

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

A Groundhog Club Official kneels at the burrow and ceremoniously knocks on the small wooden door, then opens it and retreats.

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

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

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

-19-

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

Larry cuts the camera.

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

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

-20-

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

Phil looks at her evenly for a long moment.

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

-21-

Rita walks away, leaving him sitting alone.

«*

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

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

He slams the phone back into it's cradle, then looks up and notices slow traffic up ahead. He honks his horn as the traffic comes to a complete stop. He keeps honking but nothing moves.

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

Phil jumps out and begins to walk down the highway, past the parked cars, shivering in his light sweater and silk sport shirt. The snowfall is getting heavier and the wind is pickin up. The snow comes down unnaturally hard and fast. He walks on, slipping and sliding in his expensive loafers until he j comes to a police roadblock up ahead, manned by TWO HIGHWAY "J PATROLMEN.

-22-

Phil glowers at him and shivers.

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

-23-

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

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

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

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

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

-24-

She gets up to leave.

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

INSERT - A THICK BOOK

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

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

Stephanie Decastro, Phil ' s disaffected ex-lover, is sitting cross-legged on the floor with the book of curses open in front of her. Her hair is down, she's wearing a caftan with a Zodiac print, there are candles everywhere and other vaguely occult decorating touches.

INSERT

Phil's business card is dropped into a dish. Then the Tarot card of the Hanged Man, a chicken bone, and a feather are placed on top of it .

PHIL

He stands at the sink, looking at himself in the mirror, flexing his muscles .

STEPHANIE

Reading from the book> she mutters incantations in a secret language, then she sprinkles some powder on the plate, then a few drops of oil. Then she makes a few passes over it with her hands and, much to her surprise, the contents of the plate spontaneously combust.

PHIL

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

-25-

He contemplates picking them up for a moment, decides to leave them there, and flops down on the bed. He lies there looking u up at the ceiling until the room starts to spin around, then he closes his eyes and quickly drops off to sleep, still fully clothed.

STEPHANIE

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

INSERT

Phil's business card, the Hanged Man and the broken watch in flames. The watch crystal is cracked and the hands are frozen at 5:59.

CLOSE UP - CLOCK

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

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

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

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

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

-26-

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

Phil supplies the next line in unison with the radio.

Some vague doubt causes Phil to go to the window.

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

HIS POV

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

-27-

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

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

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

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

-28-

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.

He heads for the door, still in a daze.

Phil exits.

-29-

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.

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

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

Ned Ryerson approaches with the same obnoxious attitude.

Phil just stares at him and keeps walking.

-30-

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

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

The crowd is gathered as before for the big moment.

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

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

Larry shakes his head as Rita charges through the crowd toward Phil. She catches up to him just as he is scratching a mark in the snow with his foot. She notices immediately that he is uncharacteristically dishevelled, his tie askew, his hair mussed.

-31-

I know you're losing it. What are you doing over here? The camera's over there.

She gives up and taps him lightly on the cheek.

I can't!

Rita shrugs and slaps him very hard.

-32-

The crowd begins to hush.

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

-33-

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

She charges off toward the cameras.

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

Larry hurriedly sets up the camera.

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

Rita looks helplessly at Phil.

Phil glances down at his watch.

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

Phil takes the microphone from Rita and positions himself against the fence.

-34-

Phil does a similar intro to the one he did before, though this time it's a bit tentative.

The Groundhog Club Official knocks on the groundhog's door, then opens it and retreats.

Phil takes a deep breath and makes his first experimental prediction, recalling the previous day.

Phil looks at his watch.

Phil points to the hole and Larry zooms in.

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

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

Phil just stands there speechless, staring at the groundhog burrow.

-35-

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

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

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

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

INT; PHIL'S ROOM - LATER

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

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

-36-

CLOSE UP - CLOCK

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

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

Phil rushes out of the room.

Phil hurries toward the bed and breakfast carrying two gallon buckets of paint, and a couple of big bags from a hardware store.

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

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

-37-

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

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

Phil, has demolished just about all the furniture and woodwork in the room. He rips off the last of the wooden moldings with the crowbar, then crosses to the mirror over the demolished sink.

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

Then he opens the cans of paint, dips the two big brushes into the cans and starts slapping bright red paint onto the walls, madly, feverishly, splashing himself and everything else in the room with it.

As a final touch he grabs the bed pillows and rips them open, then shakes them all around the room creating a storm of feathers.

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

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

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

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

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

-38-

The deejay laughs. Phil laughs insanely along with him.

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

He holds until Larry stops tape, then approaches Rita.

-39-

Phil and Rita cross the street and walk past a crowd of concerned citizens gathered around what looks like a car accident. As an ambulance arrives, Phil and Rita enter the cozy looking diner on the corner.

Phil and Rita sit together at the same table they had previously. The WAITER approaches.

The waiter pours her a cup.

-40-

Rita looks at him for a long moment.

-41-

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

INSERT

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

Phil is having his head examined by a NEUROLOGIST.

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

-42-

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

A discreet little alarm sounds.

-43-

Phil glowers at him.

INSERT - A MODEL OF THE SOLAR SYSTEM

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

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

Twenty-five eighth-graders running amok.

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

-44-

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

Phil stops outside the door to listen.

The whole class erupts in giggles and shrieks.

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.

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

-45-

They salute each other and drink.

Phil, Gus andRalph approach Ralph's big, black, old Buick convertible parked outsidethe bar. They are even drunkerthan they were before.

-46-

He's as wasted as they are, but Ralph hands over his keys without a fight.

They all pile into the front seat with Phil at the wheel.

Ralph and Gus give him the thumbs up sign and start digging around in the seat cracks for their seatbelts. Suddenly, Phil floors the accelerator and peels away, sideswiping a parked car as he screeches around the corner.

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

Phil passes the intersection.

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

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

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

-47-

The Buick demolishes a parked car.

He mows down a row of parking meters.

POLICE CAR

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

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

All right! Try and stop us, you mothers !

A second police car joins the chase.

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

-48-

THEIR POV - THE INTERSECTION AHEAD

Two police cars with lights flashing are parked sideways, completely blocking the road. Officers stand in the roadway, motioning for Phil to stop.

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

The police dive out of the way.

THEIR POV - THROUGH THE WINDSHIELD

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

BLACK OUT:

CLOSE UP - CLOCK

The time changes from 5:59 to 6:00. The radio starts playing "I Got You, Babe."

Phil sits up suddenly and looks around, completely amazed. He is in his room at the bed and breakfast, everything exactly the same as before. He hops out of bed and quickly examines himself for signs of physical injury. Nothing. The music ends and the two deej ays come on.

Phil talks out loud along with them.

-49-

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

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.

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

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.

-50-

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

Phil passes the old bum, ignoring him as usual.

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

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.

Phil is passing through the crowd on his way to the press area when he notices NANCY, the girl he met at the hotel bar, and stops to talk to her.

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

-51-

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

NANCY

Phil walks off and joins Rita at their camera position.

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

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

Phil scrapes a plate and takes a final bite of a chocolate eclair.

-52-

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

Rita shrugs. Phil lights up a cigarette.

-53-

Larry entersthe diner and spots them.

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

Nancy turns and looks at him quizzically.

-54-

NANCY

Right, I should've known—

-55-

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

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

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

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

-56-

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

THEIR POV

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

Mrs. Lancaster approaches him.

He finishes and puts the book back on the shelf.

-57-

Phil kisses her on the lips and walks off.

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

The guards stand there frozen with terror.

He raises the mask and shows his face.

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

Phil pats the hood of a used BMW 850 sports car as a SALESMAN stands by beaming. Phil is wearing a full Steelers football uniform complete with shoulder pads.

-58-

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

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

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

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

He escorts her into the theater.

-59-

Phil is lying on the table, getting elaborately tattooed.

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

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

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

i

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

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

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

-60-

The dog jumps up again.

Phil looks over at Angle who's passed out with her mouth open

CUT TO :

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

- 6 1 -

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

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

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

wants— you know, career, love, marriage, children. So far I don't have any of it.

-62-

She stares hard at him.

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

-63-

Larry scowls at Phil and exits.

Phil watches Rita exit.

PHIL'S POV

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

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

Phil is wrapping up his groundhog report.

Larry stops tape.

-64-

Phil runs off without another word of explanation.

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

Rita is sitting at the bar in the town's best restaurant, a good chophouse with Black Forest decor and waitresses dressed in dirndl skirts and aprons. Phil enters and sits down next to her.

Phil nods to himself.

SAME SCENE - ANOTHER DAY

Phil walks in and sits next to Rita.

-65-

Rita looks at Phil, surprised.

The BARTENDER pours.

Rita stares for a moment.

SAME SCENE - ANOTHER DAY

Rita looks at Phil.

, BARTENDER

For you, miss?

-66-

The BARTENDER pours.

Phil lifts his glass.

Rita smiles, reevaluating him.

They clink glasses.

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

Rita looks offended. Phil knows he made a mistake.

SAME SCENE - ANOTHER DAY

-67-

Phil leans in closer to her.

Rita smiles, entranced.

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

Phil smiles. Then Larry enters.

-68-

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

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

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

A snowball hits Phil in the back. He and Rita turn around to see a giggling KID. Phil packs a snowball and tosses it. The kid throws one back. Rita and Phil both get into it, packing snowballs and getting into a war with this kid and his little gang of friends.

A snowball catches Rita unaware, she slips and goes down in a snowbank. Phil bends down to help her and slips. They are no together, lying in the snow, laughing. Their eyes lock for a long sweet moment, then Rita gets embarrassed and stands up.

Phil and Rita are walking slowly, very close.

-69-

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

Rita ignores the remark and hugs him. Phil tries to kiss her but she gently puts her fingers to his lips, stopping him. \ They enter the bed and breakfast inn.

Rita hugs him again and starts to exit.

-70-

Rita shakes loose from his grasp.

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

-71-

Rita slaps him hard on the cheek.

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

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

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

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

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

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

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

-72-

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

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

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

Phil looks at her sadly, then turns away.

The balls CRACK as the cue ball breaks the rack.

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

-73-

Phil shoots, sinks a tough one.

Phil sinks another one.

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

-74-

Larry and Rita look on, incredulous.

CLOSE UP - TV SET

The program JEOPARDY! is playing.

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

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

More cheering from the small group.

-75-

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

A woman passes walking her dog.

Phil continueswalking, counting the sidewalk cracks. THREE NEIGHBORHOODKIDS notice Phil and walk along, matching him step for step.

iPHIL Two thousand six hundredand seventy-four, two thousand six hundred andseventy-five, two thousand'—

-76-

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

Phil stops. He has lost count. His lip curls up like an animal as he turns slowly, growling at the kids. They run away screaming with glee. Phil starts after them but runs right into a COP.

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

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

Some big new idea has formed in his mind.

Rita is looking at Phil as Larry videotapes his report.

-77-

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

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

Phil is walking around the mound, casing it out. He takes a rifle out from under his coat and sneaks up to the burrow. He pulls a smoke bomb from his pocket, lights it, and throws it into the hole, then scurries for the edge of the knob and hits the deck. He lifts his rifle and aims it.

Smoke is now pouring from the mound. Lots of it.

Phil waits, his trigger finger twitching.

A WOMAN casually walks by, stops. She surveys the situation.

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

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

-78-

She leaves.

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

Phil walks past the front desk looking very haggard and dangerous, and enters the children's section. No one is present except the CHILDREN'S LIBRARIAN, a young woman, reshelving books in the stacks. He looks around quickly and sees a window in the wall and over it a large sign which reads: "Punxsutawney Phil - The Great Prognosticates"

Phil heads right for it.

The groundhog scurries around his little temperature-controlled habitat, oblivious to the approaching danger.

As Phil approaches the groundhog display, he reaches into his overcoat and pulls out a pump shotgun with a short pistol grip.

The children's librarian sees the gun and freezes.

Phil pumps a shell into the chamber as he walks right up to the case.

PHIL'S POV

The groundhog looks right into his sights.

Philsqueezes the trigger. LOUD GUNSHOT.

The glass window is still intact, not a scratch on it. The groundhog looks up playfully.

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

The librarian comes running up and looks at the groundhog.

-79-

CCUUTT TTOO::

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

Phil looks directly at the groundhog with hate and scheming madness.

Suddenly, Phil whips out a big kitchen knife from under his icoat and dives at the groundhog. Town officials and police throw themselves on Phil as the groundhog scampers safely back into his hole.

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

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

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

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

-80-

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

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

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.

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

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

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

-81-

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

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

Buster pursues Phil with relentless determination.

Rita is driving. Larry is hooking up the camera.

Larry squeezes into the passenger seat with the camera mounted on his shoulder .

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

-82-

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

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

Phil hits the gas.

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

The pickup bursts through a retaining fence and rockets over the edge of the cliff.

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

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

PHIL

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

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

-83-

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

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

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

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

DRIVERS' POV

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

A TV SCREEN

A woman in some horror movie is screaming.

REVEAL

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

A few moments pass.

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

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

-84-

Suddenly, the doors burst open and Phil comes running out of the bank screaming, dressed in camouflage fatigues and armed to the teeth with an assault rifle in one hand, an Uzi in the other and a couple of handguns stuck in his belt. He doesn't get three feet before he is shot down in an incredible hail of gunfire.

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

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

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

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

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

-85-

The waiter comes to the table.

The waiter looks at him like he's nuts.

-86-

The /waiter turns to leave.

The waiter turns back.

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

Doris touces her engagement ring, dumbfounded. Rita is a little embarrassed.

-87-

Phil drags Rita to the counter.

Rita flashes a quick smile.

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

-88-

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

Phil takes a long pause.

-89-

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

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

Phil hands the paper to Rita. She reads it.

Larry looks at the paper.

Rita looks at Phil with new understanding and empathy.

Phil and Rita are walking down the sidewalk.

-90-

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

NED RY-ERSON approaches.

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

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

Just how well do we know each other?

Rita stops walking.

-91-

Phil continues walking.

She catches up to him. Phil turns to her.

She begins walking again.

Phil and Rita are sitting on a park bench.

else you could know so much. Maybe it is really happening.

-92-

Rita looks at him with compassion.

Rita comes to a decision.

A hat is lying on Phil's bed. A playing card flies past. A second playing card sails right into the hat. Another playing card sails past, missing. Another playing card sails right in Phil and Rita are tossing cards. Rita is missing. Phil is hitting.

-93-

There ' s a knock on the door .

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

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

-94-

Phil looks at her with tremendous affection and gratitude.

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

THE PIZZA BOX - LATER

There's only one slice left.

Phil and Rita are sitting together on the bed, close but not touching. Soft music is playing on the radio.

-95-

Phil stares at her for a long time letting this sink in. Then he belches really loud. Rita stares at him, then burps surprisingly loud herself.

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

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

11:;59 turns to 12:00.

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

-96-

She is mad in a playful way.

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

LATER

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

Her eyes start to close again.

-97-

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.

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

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

Rita opens her eyes.

He kisses her gently on the forehead.

-98-

CCLLOOSSEEUUPP--TTHHEECCLLOOCCKK

The time changes from 5:59 to 6:00. The radio starts playing.

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

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

Phil arrives, carrying two cups of coffee.

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

He hands her the coffee.

He hands Larry a cup.

-99-

She reaches for an equipment case.

Phil helps Larry carry the camera gear.

Larry looks suspicious. Rita looks on, reevaluating Phil.

Phil enters the library, approaches the Librarian.

Phil walks through the stacks, past the groundhog window.

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

-100-

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

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

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

CUT TO :

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

Phil plays on, definitely improving.

-101-

We see several cuts of Phil studying at the library.

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

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

Rita looks on, clearly delighted with the report.

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

Phil is delivering another report.

-102-

Larry whispers an aside to Rita.

Beyond the graveyard is a work shed with various tombstones scattered about. Old TUCKER, the town stonecarver, is at work chiseling a name into a gravemarker.

Behind him, Phil is chipping away at a small hunk of marble, sculpting a very lovely cherub.

Rita sits on a stool eating an apple and sipping hot tea watching him with amazed interest.

-103-

Rita shrugs.

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

Phil takes a bite of her apple and gets up.

They exit.

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

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

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

-104-

Phil gives Ned a big hug and keeps holding on for an uncomfortably long time, actually giving Ned a hickey on the neck. Ned goes into homophobic shock.

He hurries off.

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

Phil is walking down the street. He glances down the alley as he passes, stops, walks back and enters the alley. The OLD BUM that Phil never noticed before is lying there, huddled against a wall. Phil goes to help him.

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

Phil practically carries him out of the alley.

A nurse approaches Phil.

-105-

Phil pauses for a long moment.

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

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

Phil isfuriously looking over X-rays, flipping throughmedical journals and making notes.

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

-106-

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

Phil is delivering his report. Everyone there is silent and listening to Phil. Even the other reporters have turned their cameras on him.

Phil smiles. Rita smiles, too.

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

Phil hands the microphone to Rita.

Phil rushes off.

-107-

Rita rushes off after Phil.

Phil walks briskly toward an intersection, glancing nervously at his watch. Rita follows him at a distance, hurrying to keep up.

MARIE, a little nine-year-old girl, approaches the intersection shielding her brand new puppy under her winter coat. She isn't paying attention to traffic and fails to notice a big truck bearing down on her.

As she steps off the curb, Phil arrives and, with split-second timing, nonchalantly but firmly grabs her coat to hold her back, just as the big truck rushes past in the street, narrowly missing her.

Phil looks at his watch and rushes off.

Rita looks on amazed and follows him at a distance.

Phil enters the crowded restaurantand pushes past all the people waiting to be seated. He walks casually but quickly and purposefully around the tables, squeezingpast busy waitresses and seated patrons towarda commotion in the back of the restaurant.

TWO BUSINESSMEN are leaning over a THIRD.

-108-

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

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

Phil lets go of the grateful victim.

He exits.

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

(confronting)

-Okay, hold it right there. I

want to know what' s going on and I want to know right now.

Phil looks at his watch and rushes away.

-109-

A gurney bursts through the double doors, paramedics and nurses in attendance. The patient is a teenage girl, JANEY, totally unconscious.

The gurney is wheeled into the surgery.

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

She realizes she's never seen him before.

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

-110-

Phil makes an animal really quickly.

Rita watches from the doorway, unseen by Phil.

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

Finally, Phil extricates himself and exits to find Rita waiting.

Phil rushes down the sidewalk with Rita close behind him. He stops under a tree and puts his arms out just as a YOUNG BOY falls out of the tree and into his arms, knocking him to the ground. The kid runs off unhurt as Phil gets back to his feet and brushes himself off.

-111-

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

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

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

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

Yeah. Let's go.

She waits and watches.

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

Bud picks up the note Phil left.

Rita steps closer.

-112-

Rita hands him the note and quickly walks away.

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

They enter.

CUT TO :

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

The black velvet announcement board proclaims: KLEISER-SCOTT WEDDING.

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

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

-113-

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

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

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

Doris throws herself on Fred and jumps up and down. Fred grabs the tickets.

Doris throws herself on Phil.

-114-

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

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

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

-115-

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

Mary the piano teacher notices Phil.

•MARY GGiivvee mmee aa bbrreeaakk..YYoouu sshhoouulldd talk. Why don't you play something?

Phil looks at Rita. She nods and shrugs.

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

Then, after a pause to let the serious notes sink in, Phil transforms the piece into a fast, lively, upbeat jazz romp. Everyone is delighted, and as the rest of the band kicks in, everyone grabs a partner and begins to dance.

An old coot, UNCLE LEO, grabs Rita and the two of them dance up a storm.

- -116-

Ritalooks overat Phil, joyouslyplayingthepiano.

It issnowinglightly. Philand Ritaarewalkingslowly, arm in arm, close. Theystopand embrace. Phil looks atRita. She looks likean angel.

Phil scoopsup some snowand beginspackingit down, furiously, joyously, thenrolling it into a largeball.

Phil liftsthe nowlargerchunk ofpackedsnow andsets it on a mailbox. Then helooksat her, and startstosculptit.

LATER

Phil is usinga stickandthe heatof hisbare handstomodel a delicatefoldinthe snowsculpture. Severalbystanders look onwith interestasPhil standsbackfromhis work.

Itis an excellentlikenessofRita, thesnow whiteas alabaster,pureas marble, a beautifulanddelicatehomage.

-117-

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

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

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

They kiss again.

CLOSE UP - THE CLOCK

The digital clock-radio changes from 5:59 to 6:00. Silence. No Sonny and Cher, no deejays— nothing.

Phil sits up in bed. He looks around the room. Things are different, messier. Then he sees the covers move. Wide-eyed now, he looks over and sees Rita waking up, snuggling deep under the covers.

-118-

Mmmm. Morning.

Phil pounces on Rita, showering her with kisses.

PHIL

You're here! My god! I can't believe you're here!

RITA

Glad to see you, too.

PHIL

No! It's happened. Don't you get it? It's tomorrow! It's —

Phil turns on the radio.

DEEJAY

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.

HIS POV - THE STREET

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

PHIL

No groundhog! Rita! They're all gone!

RRIITTAA

You must've had some dream.

Phil stops, thinks.

- 1 1 9 -

Phil opens the door and runs into the hallway wearing only pajama bottoms.

Rita sits up in bed and waits. Suddenly, from somewhere else in the inn comes the sound of Phil at the piano expertly playing a difficult classical piece. He stops after a few bars.

Phil runs back into the room.

He pounces on Rita again.

They kiss, passionately, hungrily.

He scoops her up in his arms.

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

-120-

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

Phil and Rita walk down Main Street hand in hand.

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

Phil smells the flowers, and hands the bouquet to Rita.

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

-121-

Phil and Rita walk off together.

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

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

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

Phil and Rita walk on as we pull up and away from Main Street revealing the whole of Punxsutawney and the snowy countryside that embraces it.