eternity 1x04 patients title page - mzp-tv.co.uk · int. office - day phil sits in a high-walled...

|ETERNITY|

#1x04"PATIENTS"

story byRICHARD C. GENTILE

teleplay byRICHARD C. GENTILEand ANGELO SHRINE

Eternity is an Original Virtual Series(c) 2007 Monster Zero Productions

TEASER

FADE IN on the sounds of TICKING CLOCKS:

INT. PHIL CONNORS’ APARTMENT - BEDROOM - NIGHT

We PAN AROUND a large bedroom.

Moonlight streams through the thinly-curtained window, and we see that the room is tidy, but not spotless; the two central features that dominate the room are an elaborate, four-poster bed, and a wall-mounted plasma television.

PHIL CONNORS (40ish, plain, balding) lies alone in the bed. He tosses and turns, clearly unable to sleep.

A half-full glass of water sits on the bedside table, next to a large digital clock which tells us it is “12:15 a.m.” on “Sunday, February 3.”

We see that a movie has just finished playing on his big screen TV, the credits slowly beginning to roll.

Phil looks at the clock on the table, and sighs heavily.

PHILDammit! Those sleeping pills are supposed to be fast-acting!

He watches as the credit ends, and his DVD player starts the movie all over again.

Phil pulls the covers up to cover his torso, getting comfortable. He yawns again, and his eyes slowly begin to FLUTTER shut.

INT. BEDROOM - MORNING

The same bedroom; everything remains as we last saw it. Phil is still asleep, and the TV is still on.

ANNOUNCER (O.S.)...When Chekhov saw the long winter, he saw a winter bleak and dark and bereft of hope. Yet we know that winter is just another step in the cycle of life.

The rest of the speech from the television is drowned out by a loud yawn as Phil awakens.

He turns to the clock: 5:42 a.m. -- still Sunday, February 3.

He gets out of bed, and puts on his glasses. He’s halfway to the adjoining bathroom, but stops.

PHILFebruary 3rd?

(shakes his head)I have got to replace that crappy clock.

INT. OFFICE - DAY

Phil sits in a high-walled cubicle, headset on, typing frantically away on his computer.

PHILThat’s right, sir.

He consults his computer screen.

PHIL (CONT’D)I show that your policy is due to expire today --

(slowly)February 3rd?

He opens his E-mail, consulting the calendar inside. It confirms it is 6:42 a.m. on Sunday, February 3rd.

PHIL (CONT'D)What the hell?

(into headset)No, no, not you, sir!

Phil is obviously puzzled by this odd turn of events.

PHIL (CONT'D)Can I put you on hold for a moment, sir?

He jabs a button on his phone console and throws his headset on his desk. He walks over to the next cubicle, where a young woman sits, headset on as well.

PHIL (CONT'D)Wanda.

WANDA ignores him, listening to her caller and nodding.

PHIL (CONT'D)(louder)

Wanda.

2.

WANDA(annoyed)

Can I put you on hold, ma’am?

She jabs a button on her phone console.

WANDA (CONT'D)What’s so damn important that it couldn’t wait five minutes, Phil? The boss is already on my ass, and you just know this is the call they’re gonna audit--

PHILWhat’s today’s date?

WANDAAre you serious? You interrupted me for that? There’s a calendar function in your Outlook, y’know.

Phil has slowly begun to move from puzzlement toward anger.

PHILAnswer the damn question!

Wanda jabs another button on her phone.

WANDAI’m sorry to keep you waiting, ma’am. Ma’am? Are you there? DAMN!

Phil pushes past Wanda, tapping buttons on her computer.

WANDA (CONT'D)What are you doing?

She places her hand on his shoulder, but Phil pushes it away. We see that he is accessing her calendar.

PHILThis can’t be right.

WANDAThat’s it! I’m getting Waternoose.

He tramps back to his own cubicle, putting the headset back on, and jabbing the phone console.

PHILSir? Thank you for waiting.

(beat)

3.

(MORE)

I’m just trying to clarify my records; I didn’t talk to you before today, did I?

ANGLE ON a well-manicured hand as it removes the headset from Phil’s head.

PHIL (CONT'D)(livid)

What the hell?

He turns and sees MR. WATERNOOSE placing the headset on his own head. Wanda stands at his side, smirking.

WATERNOOSEI’m terribly sorry, sir. Please allow us to extend your policy a month -- free of charge!

He drops the headset on the desk.

WATERNOOSE (CONT'D)(to Wanda)

Back to your desk. NOW!(to Phil)

In my office, Connors.

Off Phil’s poleaxed expression, we:

FADE TO BLACK.

END OF TEASER

GO TO MAIN TITLES.

4.

PHIL (CONT'D)

|ETERNITY|Starring

|DAVID DUCHOVNY||LAURIE HOLDEN|

|JOE MORTON||APRIL GRACE|

and |JOHN NEVILLE|

Created by|ANGELO SHRINE|

Executive Producers|RICHARD C. GENTILE|

|HARRY MARTIN|

Executive Producer|ANGELO SHRINE|

5.

ACT ONE


EXT. HAZY DREAM

We’re somewhere very HIGH UP. There’s a complete absence of sound, save for the very faint noise of RUSHING WATER.

A MALE FIGURE stands up into our frame. He raises both hands out into the air, then just stands there.

As if on command, the male figure turns his head back toward the camera, staring right at it. (His features are too blurry to make out who it is.) The figure steps back down, and we:

CUT TO BLACK.

Over BLACK, we see:

FEBRUARY 3, 2008SUNDAY

INT. PSYCHOLOGY BUILDING - BATHROOM - DAY

BACKGROUND SONG: “Go Ask Alice” by Jefferson Airplane plays quietly in the background.

An immaculately clean bathroom.

CHARLEY WHARTLE is looking at his reflection in the wall mirror. At his side is a cup full of water, and, on a napkin next to it, two blue pills.

Charley reaches down, takes the pills, and pops them into his mouth, washing them down with a gulp of water.

The music abruptly ENDS.

INT. CHARLEY’S OFFICE - DAY

SILENCE, except for the synchronous TICKING of clocks.

We’re in Charley’s office, just as we’ve seen it before: a place for everything, and everything in its place.

The door opens, and Charley walks in, a cup of coffee in his hands. He takes a long look around, gathering his thoughts.

CHARLEYBack to normal, then....

He steps back into the hall.

6.

INT. WAITING ROOM - DAY

Charley walks up to NAHIMANA QUARENZ, sitting at her desk.

NAHIMANAGood morning, Dr. Whartle.

CHARLEYWhat do we have today?

NAHIMANAYou have a full plate all day. But up first is Mr. and Mrs. Collier at 8, followed by Germaine at 9.

Charley frowns, a bit confused.

CHARLEYThe Colliers and Germaine? I just saw them yesterday.

NAHIMANA(unsure)

No.... That’s not possible.

Charley CLEARS HIS THROAT, obviously realizing what’s going on. He hides his true emotions, however.

CHARLEYAnd there’s nothing... new?

NAHIMANAThere is a new patient today -- Phil Connors -- and he wanted to be seen as early as possible. But Dr. Simons was booked solid all day, and you weren’t free until 6 o’clock tonight, so that’s where I pencilled him in.

(beat)Turns out his boss has initiated a consult with this office every week, as a condition of his continued employment.

Charley shoots her a glance, and she raises both hands in defense.

NAHIMANA (CONT'D)I know, I know, doctor-patient confidentiality. But I did make the appointment, and it’s hard not to learn a few things.

7.

CHARLEYThank you, Nahimana.

NAHIMANAOf course.

(beat; timidly)Back in the saddle, huh? Seeing your first patients, back from being a patient yourself. You ready?

Charley simply stares at her. Then he turns and walks back to his office.

CHARLEY(over his shoulder)

Send in the Colliers as soon as they arrive.

NAHIMANAOf course. Oh, Dr. Whartle? Dr. Simons wanted to speak with you.

Charley pauses at the door to his office.

CHARLEYTell her I’m busy.

NAHIMANAYes, sir.

Just as Charley closes his door, the door down the hall opens, and LANA SIMONS looks out.

LANAWas that Charley I heard?

NAHIMANAYes, ma’am.

LANADidn’t you relay my message?

NAHIMANAYes, ma’am, but --

Her words are interrupted by the door opening. A COUPLE (youngish, stylish) enters.

NAHIMANA (CONT'D)Mr. and Mrs. Collier! Right on time, as usual!

8.

Lana’s lip curls in frustration, and she ducks back into her office. Nahimana breathes a silent sigh of relief.

NAHIMANA (CONT'D)The doctor is ready for you.

INT. CHARLEY’S OFFICE - LATER

Charley stands beside his desk, head in his hands.

CHARLEYPlease no, please no, please....

Charley slowly opens a file folder, and picks up a pen. He looks up to the Colliers, who are sitting next to each other, but who couldn’t be more worlds apart.

CHARLEY (CONT'D)So... Has anything changed since yesterday?

MRS COLLIERYesterday?

CHARLEY(hopeful)

Yeah. When you came in here at --(consults the clocks)

7:58.

MR COLLIERDr. Whartle, we haven’t seen you in quite some time.

Charley licks his lips -- that wasn’t the answer he was hoping for. But he nonetheless smiles, and becomes the professional man we haven’t seen in quite a while.

CHARLEYMr. Collier, Mrs. Collier. Please, tell me what’s troubling you today.

Mr. Collier blushes, and Mrs. Collier reddens.

MRS COLLIER Why don’t you ask my husband?

Mr Collier opens his mouth --

MRS COLLIER (CONT'D)(cutting him off)

The cheating, two-faced rat bastard!

9.

CHARLEYMr Collier? Cheating? Is this true?

Mr. Collier opens his mouth... but is interrupted again.

MRS COLLIEROf course it’s true! The stupid slut called the house! She called the house!

(to Mr Collier)You weren’t even smart enough to give her your cell phone number?

Mr. Collier opens his mouth --

MRS COLLIER (CONT'D)How was she in the sack, Jordan?

Both Mr. Collier and Charley shift uncomfortably.

CHARLEYMrs. Collier....

MRS COLLIER Did she let you do things I wouldn’t?

CHARLEY(slightly louder)

Mrs Collier.

MRS COLLIERDid she give good head?

CHARLEYLILY!

Silence fills the room. Mrs. Collier uses her hand to cool her face.

MR COLLIER(quietly)

I’m... sorry.

CHARLEY Mr. Collier, I think that --

MRS COLLIERThink what? You’re taking his side? I might’ve known! I had you pegged from the moment we met!

She stands, pushing her chair back.

10.

MRS COLLIER (CONT'D)I won’t be lectured about morality from you! You’re as bad as he is!

(to Mr Collier)And you can find your own way home!Assuming I don’t have the locks changed by then!

She storms out, slamming the door behind herself.

Charley and Mr. Collier sit uncomfortably.

CHARLEYWell, that went well.

MR COLLIERI’m so sorry.

They both CHUCKLE, the tension relieved for the moment, though Charley still looks vaguely discomfited.

CHARLEYNo need to apologize, Mr. Collier.You’d be surprised how many times I hear this same story.

Charley escorts him to the door.

MR COLLIERWell, I guess the session’s over.

CHARLEY I’ll leave your regular appointment open for next week.

MR COLLIERThat’s fine. And Dr. Whartle?

CHARLEYYes?

In the waiting room beyond, we can see Nahimana typing on her computer.

MR COLLIERI know this isn’t exactly an appropriate question.

Charley loosens his tie, clearly losing patience.

CHARLEYWhat is it, Mr. Collier?

11.

MR COLLIERShe -- What my wife insinuated --

(beat)Is it true?

Off Charley’s surprised look, we:

CUT TO:

INT. DINER - DAY

Charley sits at a table eating alone. An empty beer mug is in front of him, along with another, half-full one. He places his fork down and looks around before taking a sip.

The bell at the door jingles, and Lana walks in. She heads toward the counter to order, but makes a beeline for Charley when she sees him.

LANA(nods at the beer glass)

Drinking in the middle of the day? That’s not like you.

Charley grunts in reply.

LANA (CONT'D)(looks at watch)

Don’t you have another appointment in a little while?

Charley swigs his beer before replying.

CHARLEYIs there something you want, Lana?

Lana motions to an empty chair.

LANAMay I?

Charley nods curtly.

LANA (CONT'D)I’m worried about you, Charley.

CHARLEYDon’t be.

LANAI know you’ve been having a rough time of it lately, what with your wife... and the hospital --

12.

CHARLEY(stiffly)

I’m fine. Really.

LANAI just want you to know I’m here for you. Like I know you’re there for me. And that said, I’ll be taking over the rest of your appointments for today.

CHARLEYWhat?

LANAYou go home. Get some rest. You need it, buddy.

She reaches out her hand to his, but Charley pulls his hand away. He looks down at the beer glasses.

CHARLEY(to himself)

And I did go home.

LANAI’m sorry?

CHARLEYNothing. I gotta go. I have an appointment. My appointment. But thanks for the offer.

LANA Charley.

He stands, dropping a bill on the table. Charley pauses, hand on the door.

LANA (CONT'D)If your problems start to affect your work....

She trails off, as Charley exits.

INT. CHARLEY’S OFFICE - NIGHT

On the sound of TICKING CLOCKS once more.

Charley stands in his office, his back to us, looking out the window. The sun has begun its slow descent in the west, and the numerous clocks tell us it is 5:55 p.m.

13.

The intercom BUZZES, breaking the silence.

NAHIMANA (O.S.)(through intercom)

Dr. Whartle?

He walks to the desk, thumbing the intercom.

CHARLEYYes?

NAHIMANA (O.S.)Your 6 o’clock has arrived.

CHARLEYSend him in.

He pauses, and thumbs the intercom again.

CHARLEY (CONT'D)And Nahimana?

NAHIMANA (O.S.)Sir?

CHARLEYWhy don’t you call it a night? I’ll lock up.

He smiles, the first truly cheerful moment we’ve seen from him today.

NAHIMANA (O.S.)Thank you, sir.

The door opens, and Phil Connors walks in.

CHARLEYMr. Connors?

PHILThat’s me.

CHARLEYPlease, have a seat.

He motions to the chair in front of the table, but Phil makes a beeline for the couch in the corner of the room. Charley moves to the door, pushing it gently shut.

BUT, unseen by Charley or Phil, the door does NOT shut completely.

14.

CHARLEY (CONT'D)So, I usually like to begin a first session by learning a little about my patients in their own words.

As Phil opens his mouth to speak, we:

CUT TO:

INT. WAITING ROOM - CONTINUOUS

Nahimana grabs her purse and coat, and dims the lights. She opens the door, closing it firmly behind herself with an audible CLICK.

CHARLEY (O.S.)That wasn’t so bad, was it?

PHIL (O.S.)Not really.

The door to Lana’s office opens, and she comes out, struggling into her own jacket.

CHARLEY (O.S.)So, it seems that seeing me is a condition of your continued employment, is that correct?

PHIL (O.S.)Yes.

(mumbles)That rotten bastard! And Wanda.... How could she treat me like that?

Lana starts heading toward the front door, but stops upon hearing the voices from the partially open door.

CHARLEY (O.S.)So, what exactly caused this momentary outburst at work?

PHIL (O.S.)Here we go again.

(beat)You’re not gonna believe this.

Intrigued, Lana shoulders her purse, looks about and sidles to the door, listening.

CHARLEY (O.S.)Why don’t you try me?

(beat)

15.

(MORE)

After all, I’m here to help you, not to judge you.

Lana nods, approving of Charley’s stance.

PHIL (O.S.)Okay, then.

(deep breath)I think I’m reliving the same day.

SILENCE from within Charley’s office, save for the LOUD TICKING of the clocks.

Off Lana’s stunned look, we FADE OUT.

END OF ACT ONE

16.

CHARLEY (O.S.) (CONT'D)

ACT TWO


INT. CHARLEY’S OFFICE - NIGHT

As before. The door still partially ajar; Phil lying on the couch; Charley standing across from him, dumbfounded.

The tableau is still for a long beat. The LOUD TICKING continues. At last, Charley CLEARS HIS THROAT.

CHARLEYI’m sorry, Mr. Connors.

(beat)Can you repeat that?

PHILI knew you wouldn’t believe me.

Charley, still stunned, runs his hand through his hair.

He pulls up a chair, placing it right next to the couch, invading Phil’s personal space. He sits.

CHARLEYNow, of course I believe that you believe what you’re saying.

He begins to slip, almost without thinking, into his detached, clinical mode.

CHARLEY (CONT'D)And of course, such a sudden onslaught of stress would explain your unprecedented outburst at work.

PHIL(knowingly)

“Groundhog Day Syndrome.”

CHARLEYI’m sorry?

PHILGroundhog. Day. Syndrome.

CHARLEYWould you care to elaborate on that... fairly innocuous phrase?

Phil points to the framed diplomas on the wall.

17.

PHILThose aren’t just for show, are they? C’mon, doc! It took me all of five minutes to get this information off the net.

(getting agitated)How can you help me when you can’t even understand what I’m suffering from?

CHARLEYI’m sorry, but “Groundhog Day Syndrome” isn’t a term recognized by the A.M.A., Mr. Connors.

PHILLook, just pull out your little note pad, prescribe me some meds, and write me something for my boss saying I’m all better.

CHARLEYIt doesn’t work that way, you --

He attempts to compose himself.

CUT TO:


Lana walks to a file cabinet against the wall and unlocks it.

CHARLEY (O.S.)You say you’re repeating the same day. How many times?

She opens it and rummages, pulling out a file folder clearly labeled “Connors, P.” She places the file inside her purse.

CHARLEY (O.S.)(CONT'D)How. Many. Times? Have you repeated this day?

Lana starts walking toward the door. After a moment’s hesitation, she opens it, and rushes out into the cold.

CUT BACK TO:

INT. CHARLEY’S OFFICE - CONTINUOUS

As before. Phil is clearly getting intimidated as Charley becomes more forceful.

18.

PHIL(slightly fearful)

T-T-Twice.

CHARLEYTwo times? Did you see an older Gentleman on either day?

PHILWhat are you --

Charley leans in, teeth bared, invading Phil’s space.

CHARLEYDID YOU SEE WHITE-HAIRED MAN IN A OLD-FASHIONED SUIT?

Phil’s casual facade breaks, and tears begin to slide down his cheeks.

PHILI don’t know what you’re talking about!

Charley pauses, hard in thought. Phil wipes away the tears.

CHARLEYYou and I. We haven’t met before, have we?

PHILNo. Yesterday -- God, this is confusing, the last “rotation” I mean -- I saw the other doctor. Lana Simons.

Charley’s jaw drops.

QUICK CUT TO:

INT. SIMONS HOME - NIGHT

Lana and CORWIN “SIMO” SIMONS sit beside each other, having dinner. The food isn’t elaborate, but the place setting and surroundings seem to add an air of warmth to the scene.

Lana wipes her mouth with a linen napkin.

LANAThe weirdest thing happened today.

19.

SIMOUh-uh. We have Rule Number One for a reason. This is supposed to be “You and Me” time, remember?

Lana nods. She stands, giving him a peck on the forehead.

LANAYou’re right, of course, sweetheart.

SIMO(smile in his voice)

But I guess we can bend the rule -- just this once.

Lana quickly plops back into her seat.

LANAIt was the weirdest thing --

SIMOWhat happened?

LANA(quizzically)

Have you noticed Charley acting weird lately?

Simo COUGHS, sipping from the wine glass by his hand.

SIMO(slightly evasive)

No more than usual.

Lana stands and walks over to Simo, kissing him on the cheek.

LANAThat’s one of the things I love about you -- you’re a terrible liar! But, as I was saying, Charley’s been acting strange today. Like he’s been avoiding me.

SIMO(teasing)

Not the first time someone’s wanted to avoid you.

She slaps him lightly.

20.

LANAI’m serious, Simo. And then he had a new patient --

She reaches into her purse, pulling out the file and dropping it on the table in front of Simo, who looks at it curiously.

SIMOYou do remember I’m a police officer, right? And these are confidential medical records?

LANA(pressing on; plainly)

And I heard Charley practically raking this guy over the coals.

(beat)I swear, I almost went in there and told Charley off.

SIMOAnd you want me to do -- what, exactly?

Lana gently pushes the folder closer to Simo.

LANAI just have a bad feeling about this.

Off the green file folder, we:

DISSOLVE TO:

INT. WHARTLE HOUSE - KITCHEN - NIGHT

JOANNA WHARTLE sits alone at the end of the dining room table, also having dinner. But it is a study in contrasts compared to the Simo household.

Where the Simo household was warm and inviting, the Whartle household is austere and off-putting.

Smoke wreathes the room, emanating from the cigarette Joanne is puffing on intermittently.

There’s a loud KNOCK at the door, causing Joanne to GRUMBLE. She finishes chewing her piece of food before standing.

INT. WHARTLE HOUSE - ENTRYWAY - NIGHT

Joanne opens the door.

21.

JOANNEI don’t want whatever it is you’re sell--

And sees Charley. He stands on the porch, his shoulders turned down, his head angled toward the ground -- an embarrassed posture.

Joanne takes one moment to look him up and down. Then she goes to close the door right in his face without a word!

Charley kicks his foot into the door, blocking it.

CHARLEYJo....

JOANNE Get away from here.

Joanne pulls a new cigarette from her pocket. She lights it and takes a long drag, not moving away from the doorway.

CHARLEYCan we talk?

JOANNEMost certainly not.

(eyeing him)You drunk?

Charley ignores her question, though his red eyes give him away. He nods instead to her cigarette.

CHARLEYI thought we agreed you were gonnaquit.

JOANNEYou agreed. I said no such thing.

CHARLEY(SNORTS)

Wasn’t that always the way.

JOANNEOh, no. You do not get to use that reverse psychology crap on me in my house --

CHARLEY(interrupts)

The house I paid for, but go on.

22.

JOANNEOnce -- just once -- I’d like to have a fight where --

She’s interrupted by the RINGING of the house telephone. She turns to look at it, wondering whether or not she can afford to lose the upper hand in the fight by getting out of it.

JOANNE (CONT'D)(snarling)

Saved by the bell. You would’ve left here with this cigarette in your eye.

She walks over to the wall table and picks up the receiver.

JOANNE (CONT'D)What is it? Oh, hey Simo.

Charley goes to step a foot into the house, but thinks better of it, remaining out in the cold.

JOANNE (CONT'D)A stakeout? Are you serious? What time is it?

She glares at Charley, shooting daggers with her eyes.

JOANNE (CONT'D)Course I’m in. I can’t leave my partner out in the cold now, can I?

She CHUCKLES at something on the other line.

JOANNE (CONT'D)Right, see you in a few.

She hangs up the phone, and moves to the front door.

CHARLEYI would really like to talk to you. Especially today, which would seem like the most perfect day to get things right.

Joanne puts her hand on the door and looks down at Charley’s foot, still in the path of the door. He quickly removes his foot, and Joanne smiles.

JOANNE Don’t wait up.

Joanne SLAMS THE DOOR!

23.

INT. PHIL CONNORS’ APARTMENT - BEDROOM - NIGHT

PAN AROUND Phil’s bedroom, just as we’ve seen it before. Phil sits on the bed, turning the TV on with the remote.

TV(filtered)

I was in the Virgin Islands once. I met a girl. We ate lobster and drank piña coladas. At sunset we made love like sea otters. That was a pretty good day. Why couldn’t I get that day over and over and over....

Phil looks skyward.

PHILYes, the irony is not lost on me.

Through the window, we see the headlights of a car pulling up and parking at the curb outside.

Phil puts his head in his hands.

PHIL (CONT'D)I know it’s been awhile since we last talked. But if I ever needed your help, it’s now.

We see that the clock on the night stand reads 11:57 p.m. onSunday, February 3.

CUT TO:

INT. SIMO’S CAR - NIGHT

Joanne and Simo sit in the front seat of the car. Joanne is in the driver’s seat, while Simo is in the passenger seat, looking out with a pair of binoculars.

They look out at Phil Connors’s apartment building. There’s only one room with the light on, up on the second floor. They can clearly see Phil through the cracks in the blinds.

JOANNEIs that him?

SIMOThat’s him.

JOANNEHe’s talking to himself.

24.

SIMO(snidely)

That’s praying, Jo.

Joanne turns her head and rolls her eyes.

JOANNEWell, why are we here? What’d this guy do?

SIMO I don’t know.

JOANNELana didn’t tell you?

SIMONo, she just said she had a bad feeling about this guy.

JOANNEShouldn’t be surprised, I guess. Nothing good ever seems to come out of that office.

We see that the clock on the dashboard reads 11:57. As the number rolls over to 11:58, we:

DISSOLVE TO:

INT. PHIL’S BEDROOM - NIGHT

Close-up of the clock, reading 11:58.

PHILPlease, please, PLEASE let this be the end!

He opens the drawer of the night stand, and pulls out a straight razor. He stares intently at the razor, watching it SHINE in the moonlight from the open window.

Phil takes the razor, and holds it flush against his throat! He breathes roughly, seriously considering the act --

PHIL (CONT'D)God, I wish I was stronger.

But instead of cutting himself, he pulls the razor away and drops it. We watch as it bounces off the night stand and CLATTERS to the ground.

25.

INT. SIMONS HOUSE - LIVING ROOM - NIGHT

The living room’s dark, dimly lit by the flickering light of the television and the street lamps from outside the window.

Charley sits on the small couch -- his bed for the past month. He raises his hand, and we notice that he’s holding a bottle of Crown Royal whisky in his hand.

He touches the bottle to his lips and takes a long swallow.

CHARLEYAhh, now that’s good.

He takes one more long swig. His speech is very SLURRED.

CHARLEY (CONT'D)Now, if you’re wondering why I’m drinking, it’s to test one of two things. First and foremost, will drinking end the cycle -- will inebriation see to its end. Second and secondmost, it takes like yum.

Charley HICCUPS, then CHUCKLES quietly.

CHARLEY (CONT'D)But third, and equally as interesting I think. If I’m drunk now, and repeat the day, will I be hung over upon my waking? Or sober?

He nods across the room, then takes another drink.

CHARLEY (CONT'D)That is the question.

We PAN AROUND, until we finally see that he’s talking to Lana. She’s standing against the far wall, holding her nightgown tight against her body.

LANAOr I can give you some water. You’re talking crazy talk, Charley.

CHARLEY(becoming unhinged)

I’m not crazy! And you’ll see.

He points to the big wall clock on the wall. It read 11:59 and 51 seconds. As the second hand gets ever-so-closer to the top of the hour --

26.

CHARLEY (CONT'D)Just watch. And remember. Okay? Remember all of this. I may be drunk, but I know what I’m saying. Just watch....

They both look at the clock -- Lana with trepidation and Charley with hope. The second hand hits midnight, and --

CUT TO:

EXT. HAZY DREAM

Our screen is very HAZY. Quiet sounds of RUSHING WATER.

The scene is the same as before, though slightly more clear. We see now that the Male Figure stands up onto a rusty railing, then extends his hands into the air.

Something behind him suddenly catches his attention, and he turns away from the water to see what it was. As the figure steps down off the railing, we:

CUT TO BLACK.

Over BLACK, we see:


INT. SIMONS HOUSE - LIVING ROOM - MORNING

Charley wakes up with a start! His chin and cheeks have morning stubble, and his eyes are completely bloodshot. The clock on the wall indicates that it’s still February 3.

Charley goes to stand up, and he quickly grabs his head.

CHARLEYOh God....

He leans over the couch and PUKES loudly!

FADE TO:

INT. OFFICE - MORNING

Phil Connors sits in his high-walled cubicle, looking up at Mr. Waternoose, who had just ripped Phil’s headset off his head and placed it on his own.

Wanda is also present, giving a half-smirk.

27.

WATERNOOSE(into headset)

I’m terribly sorry, sir. Please allow us to extend your policy a month -- free of charge!

He drops the headset on the desk.

WATERNOOSE (CONT'D)(to Wanda)

Back to your desk. NOW!(to Phil)

In my office, Connors.

CUT TO:

INT. WATERNOOSE’S OFFICE - MORNING

Phil sits in the chair in the center of Waternoose’s huge office, hugging his legs up to his chest.

The larger man walks in circles around Phil’s chair, intimidating him.

WATERNOOSEConnors, Connors, Connors. What am I to do with you?

PHIL(to himself)

Why does this keep happening?

WATERNOOSEExcuse me?

PHILI didn’t say anything.

WATERNOOSEYou need to speak up, you hear me? Loud, boisterous, gung-ho -- that’s the attitude we’re looking for here at Phone-Comm. And you sit there all timid, hugging your legs like a little rodent. Well, you know what?

(gets in his face)I’ve had enough.

PHILYes--s--sir.

28.

WATERNOOSEUnfortunately, I can’t fire you. No. But that’d be the easy way out anyway, huh?

PHILYes.

WATERNOOSE(company line)

So what I’m going to do instead, is make sure you get the proper care you deserve.

(false smile)Psychiatry.

Waternoose points to his desk.

WATERNOOSE (CONT'D)There’s a phone book. Find one. And get out of my sight.

Waternoose HUFFS to the door, stomping loudly on the ground as he exits, then finally SLAMS THE DOOR shut.

INT. PSYCHOLOGY BUILDING - BATHROOM - DAY

Charley is looking at his reflection in the wall mirror of the now familiar bathroom. At his side is a cup of water, and, on a napkin next to it, two blue pills.

Charley reaches down, takes the pills, and looks like he is about to pop them into his mouth --

But hesitates instead, his hand holding the pills over the open toilet bowl.

He thinks better of it, and pops the pills into his mouth.


Charley steps into his office -- which is, for some reason, eerily silent. He takes a look around, as if expecting to see someone. And he is not disappointed.

CHARLEYI might have known.

THE GENTLEMAN sits in the chair, legs crossed, looking immaculate as usual. And he’s smiling.

Charley walks to his desk, thumbing the intercom.

29.

CHARLEY (CONT'D)Nahimana?

NAHIMANA (O.S.)Yes, Dr. Whartle?

CHARLEYCould you cancel the Colliers? Just reschedule them, if you would.

NAHIMANA (O.S.)Of course.

CHARLEYThank you.

He turns to The Gentleman. They both SPEAK at the same time.

CHARLEY & THE GENTLEMANWhy am I repeating this day?

The Gentleman CHUCKLES to himself.

THE GENTLEMAN You truly are a creature of habit, aren’t you, Mr. Whartle?

Charley opens his mouth angrily, but the intercom BUZZES.

CHARLEY(angrily)

Yes?

NAHIMANA (O.S.)I’m sorry to bother you again, sir.

CHARLEYWhat is it, Nahimana?

NAHIMANA (O.S.)I meant to tell you. You have a new patient tonight at 6. Phil Connors. When he called, he seemed in quite a state. He wanted to see you or Dr. Simons as early as possible.

CHARLEYAnd?

NAHIMANA (O.S.)And since you’ve canceled your first session, I just thought --

30.

CHARLEY(rudely)

I’m busy now. Thank you.

Charley quickly switches off the intercom. He looks back over to The Gentleman who sits with his hands crossed.

THE GENTLEMANFar be it for me to comment, Mr. Whartle, but... you look terrible.

CHARLEY(rubbing his forehead)

Thanks.

THE GENTLEMANI do have a suggestion.

CHARLEYOh, really? Regarding what?

The Gentleman suddenly stands. He walks across the room and stares right into Charley’s eyes.

THE GENTLEMANAlcohol won’t help. Trust me on that one.

(beat)I stick with tea.

With that, The Gentleman walks out of the office.

CHARLEYArrogant, old fool--

He stops himself. An odd silence has filled the room. And it doesn’t take Charley long to notice what’s causing it.

All of the clocks have STOPPED TICKING.

It’s like they’ve all died at the same time -- and they all now read 11:17 a.m.

CHARLEY (CONT'D)Eleven-seventeen....

AERIAL VIEW: Charley spins around, looking at all of his clocks, wondering what happened, as we quickly CUT TO BLACK.

END OF ACT TWO

31.

ACT THREE



Nahimana is busy typing away at the computer. She looks up when she sees Charley slowly sulking up to the desk.

NAHIMANADr. Whartle? Are you okay? You don’t look so good.

CHARLEY(ignoring her)

What time is it?

She checks her wristwatch.

NAHIMANAUh, it’s 8:22, why?

CHARLEY Do me a favor. Cancel Germaine too, huh? And everyone else. I’m not seeing patients today.

NAHIMANAOh...kay? Would you like anything?

Charley turns and walks back to his office, lightly touching his temple with his right hand.

CHARLEYSilence....

Charley steps into the office.

EXT. PHIL CONNORS’ APARTMENT - NIGHT

The sun has just set in the horizon.

We follow a pair of feminine legs as they walk across the cement walkway up to the front door.

PAN UP to reveal the legs belong to Wanda, from Phil’s work. She’s carrying a PLASTIC SACK full of DVDs.

Wanda goes to the call-box outside the front door of the apartment complex. She sees the name “Phil Connors” and hits the BUZZER next to his name.

She waits. Nothing. So she BUZZES again.

32.

WANDACome on, Phil.

A long beat passes, and Wanda HUFFS in disappointment. She turns around to walk back to her car, and nearly TRIPS over a large German shepherd! (It’s PHILLY, of course.)

WANDA (CONT'D)Hey! Watch it, doggie.

She kicks at the dog, but he’s already jogging away from her, his tongue wagging out of his mouth.

Wanda quickly rushes back to her car.

INT. CHARLEY’S OFFICE - LATER

SLOW PAN around the room. The clocks TICK LOUDLY in the background. The lights are all off, and we notice that the time is now 6:16 p.m.

Continue PANNING until we see Charley, fast asleep on the patient’s couch in the corner of the room.

He MOANS loudly and then sits up on the couch.

CHARLEYWater....

Charley stands off the couch and begins walking toward the door. On his way, he notices the time.

CHARLEY (CONT'D)Six o’clock.

Charley suddenly comes to a realization, and he quickly runs out of his office and into:

INT. LANA’S OFFICE - DAY

Charley BURSTS into the office. It’s as tidy as Charley’s, though far quieter (there are no clocks to be heard.)

Lana sits behind her desk, talking to Phil Connors. As Charley storms in, she looks up, annoyed.

LANACharley? I’m sorry, but I’m with a patient right now. Please step outside.

Phil jerks up, surprised at the interruption. He looks over at Charley, and the two men LOCK EYES.

33.

ANGLE ON Charley, as recognition flashes in his eyes.

ANGLE ON Phil, as uncertainty fills his features, though we can’t be sure if he recognizes Charley or not.

LANA (CONT'D)(to both)

Have you two met?

PHIL(to Charley)

Have we met?

CHARLEYHave we met before?

Phil shakes his head.

PHILNo. I mean -- I don’t think so. But it feels like I should for some reason. Does that make sense?

(beat; to Lana)Am I crazy?

Charley nods enthusiastically, and opens his mouth to respond, only to be GRABBED by Lana.

LANAOutside, Charley. Now!

She begins to drag him by the arm toward the door.

CHARLEY(to Phil)

Don’t go anywhere. We have a lot to talk about!

Lana continues dragging Charley toward the door.


She closes her office door behind them.

Nahimana sits at her desk, typing on her computer. She looks up as the two enter.

Seeing the storm clouds in Lana’s face, Nahimana stands, grabs her coffee mug (with a “World’s Best Secretary” logo) and hastily heads toward the front door.

NAHIMANAThink I’ll run next door for some... things.

She exits. Lana glares at Charley.

34.

LANAWhat the hell is going on with you, Charley? You’ve been acting really weird lately.

CHARLEY(softly; to himself)

You don’t know the half of it.

LANAI know you’re having marital problems. I know this is your first day back, so --

CHARLEYThat has nothing --

LANAMaybe you should take some time off. Get your affairs in order.

Charley gawks at her.

LANA (CONT'D)Sorry, bad choice of words.

CHARLEYYou think?

He chuckles weakly, and we:

CUT TO:

INT. LANA’S OFFICE - CONTINUOUS

Phil paces the office restlessly.

PHILWhy is this happening to me?

He stands, spotting a box of tissues on Lana’s desk. He grabs one, and PAUSES as he sees a green file folder with his name on the tab.

He looks around, making sure he’s still alone. Phil OPENS the folder and begins reading.

His face darkens as he reads. He GRABS the file, and throws open the door to the waiting room.


Phil gestures toward Lana excitedly with the file.

35.

PHILThis? This is what you think of me? Possible schizophrenia?

(pulls out a page)No such thing as GDS?

(pulls out another page)Recommend a mood-stabilizer medication?

He FLINGS the file to the floor, scattering papers everywhere. He addresses both of them.

PHIL (CONT'D)You don’t know me! You don’t know the first thing about me.

Phil stalks toward the door.

CHARLEYBut I --

(glances at Lana)-- we would like to.

Phil walks toward Charley, placing his hand on Phil’s shoulder just as Phil reaches for the knob.

CHARLEY (CONT'D)We have more in common than you might think.

PHILYou can’t help me. No one can!

Phil opens the door and exits.

Lana quickly turns to Charley.

LANAGroundhog Day Syndrome? How the hell did you know about that?

CHARLEYAbout GDS? Maybe I have it, too. Well, in a manner of speaking.

Lana merely stands, unable to respond.

LANAYou do realize that’s not even a real disease, right?

36.

CHARLEY Let’s talk. In my office. We could both use a drink. Water for me, but I’ll make it really cold.

LANAUh, pregnant, remember?

CHARLEYTwo waters, then.

(motions to his door)Shall we?

Still angry, she nonetheless walks into his office.

INT. SQUAD CAR - DAY

Joanne and Simo drive their beat, sitting in complete silence. After a beat, Simo breaks it.

SIMOYou know...? Nothing.

JOANNEWhat?

SIMONothing.

JOANNE(snotty)

Well said.

SIMO(preachy)

It isn’t healthy. You and Charley. You guys need to start working together. Toward patching things up. Or ending it altogether.

Joanne grimaces.

JOANNESomeone’s been talking to a shrink.

(beat)Just drive.

The CB radio SQUAWKS with static.

RADIO (O.S.)Car 2132, we have an attempted jumper near you.

37.

JOANNEA jumper?

Joanne flicks on the SIREN, as Simo picks up the CB.

SIMO2132 here, base. We’re on it. What’s the location?


Lana sits, a glass of water clutched firmly in her hand. Charley has just finished his long story, as evidenced by the unreal look on Lana’s face.

CHARLEYLana?

LANAYou’ve watched too many movies.

CHARLEYLana.

LANA All right, all right, let’s say I bite. So, how exactly does this “Gentleman” tie in to this?

CHARLEYI don’t know. There are a lot of things I don’t know. It’s all so confusing.

LANAAnd these hazy dreams...?

CHARLEYIt’s only on the first repeat that I see the dream. In fact, it’s seeing the dream that lets me know for sure in the first place.

LANAI’m... glad we’re having this talk, Charley. It explains a lot. But I still think there’s some kind of rational explanation.

CHARLEYThink about it all you want. Another few hours and you’ll forget everything we talked about anyway.

38.

LANAIs this -- Is this why you checked yourself into St. Dante’s Cross?

Before Charley can answer, Lana’s cell phone RINGS. She grabs it out of her purse and flips it open.

LANA (CONT'D)Hey hon, is everything okay?

(beat)Yeah, he’s a patient of mine.

(beat)What? I’ll be right over.

She clicks her phone shut.

LANA (CONT'D)It’s Phil Connors.

CHARLEYWhere’d he run off to?

LANAThe Wacker Bridge. He just jumped off. He killed himself.

Off Charley’s horrified look, we:

FADE AWAY TO:

EXT. HAZY DREAM

The Hazy Dream is becoming more and more clear. For one, we finally see that the Male Figure is indeed Phil Connors.

Phil stands up onto the familiar railing and extends his arms up into the air. He spreads apart his fingers, feeling the wind from the FLOWING RIVER below him.

Something sounds behind him, so he quickly turns to it, turning toward camera. He then steps down off the railing.

CUT TO BLACK.

Over BLACK, we see:


39.

INT. PSYCHOLOGY BUILDING - BATHROOM - MORNING

Charley stares at his reflection in the mirror. He looks much better than “yesterday,” as his hangover has subsided.

At his side is a napkin with two blue pills. Charley takes the pills and is about to pop them into his mouth --

But he pauses, reaching into his pants pocket, and flips open his cell phone. He keys a speed-dial, and puts it to his ear.

CHARLEYNahimana? Sorry to bother you so early. Can you clear my morning schedule? Just clear it. You’re going to get a call from a new patient this morning. Give him the earliest session possible.

(beat; smile in his voice)Oh, I just know. Thank you.

He looks down at his hand, seeing the pills still there.

He tips his hand, dropping the pills into the open toilet bowl. He FLUSHES them away.


Phil stands at his boss’s desk, finishing up a phone call. We see the open phone book next to him, with a red circle over “Charles Whartle, Ph. D. / Lana Simons, Ph. D.”

PHILAll right. Thank you, ma’am. Thank you very much.

He hangs up the phone and turns to the door. He’s shocked to see Wanda standing there, staring at him.

PHIL (CONT'D)What do you want?

WANDAI just had to say... that I’m sorry.

PHILYou’re sorry?

WANDALook, the customers I’ve been talking to all morning, they’re just so rude.

40.

(MORE)

When you talked to me, when you typed on my computer, I channeled all my anger toward you. And for that, I do apologize.

PHILWell, apology not accepted.

WANDAWhat?

PHILWaternoose is pissed. He wants to fire me!

WANDA(honestly)

I -- Is there anything I can do?

PHILYeah. Make the sun set. And stop it from rising tomorrow.

With that, Phil brushes past his friend and out into the busy call center.

INT. PSYCHOLOGY BUILDING - WAITING ROOM - DAY

Charley sits in the waiting room, bent over in a chair, his hands crossed, staring intently out the window. Waiting.

Nahimana finally looks up from her computer.

NAHIMANAHe’ll come.

CHARLEYWhat?

NAHIMANAYou’re waiting like a little boy who’s lost his puppy. Can I get you a cup of coffee while you wait?

CHARLEY I’m fine, thanks.

NAHIMANACan I... ask you a question?

CHARLEYShoot.

41.

WANDA (CONT'D)

NAHIMANAWhy do you do it?

CHARLEY(puzzled)

Do what?

Nahimana gestures, encompassing the entire office.

NAHIMANAThis. Sit here, all day, every day, listening to people’s problems? This is your first day back, and... why do you do it? Over and over and over again?

(uncomfortable beat)I’m sorry. That was completely --

CHARLEYThat’s a fair question. An important question.

(beat)And one day, I hope to learn the answer.

Just then, the front door opens. Phil Connors walks in, SHUFFLING across the carpeted floor.

Charley stands, extending his hand.

CHARLEY (CONT'D)Mr. Connors. I’m Dr. Whartle.

Phil takes Charley’s hand. And as they touch, a visible SPARK OF ELECTRICITY arcs between their outstretched fingers.

Charley’s eyes widen, and he jerks his hand back.

CHARLEY (CONT'D)Let’s take a trip. Shall we?

PHILOkay. Sure, doc.

Charley gestures toward the door Phil had just entered from.

EXT. CHICAGO STREETS - DAY

The streets are noisy, with CARS driving by, PEOPLE YELLING, etc. We FOCUS ON Charley and Phil as they walk down the busy sidewalk, talking.

42.

CHARLEYAnd how about your personal life?

PHILPersonal life? Well, let’s see. My love life sucks, I have no friends, and my job is pure hell.

CHARLEYLet me just be blunt, Mr. Connors. I know your secret. I know you’re repeating this day. Let’s talk about that.

PHILWhat? How did you --

CHARLEYHow did I know? Cause I am too. And believe it or not, you’re the key to me getting out of it.

PHILNo.... You’re lying. What is this? You don’t even know me.

Phil breaks away from Charley and steps down into the street.

PHIL (CONT'D)Who are you? What do you want with me?! You can’t help me!

Without waiting for a response, Phil darts through the street. Just then, a large SCHOOL BUS slams on its brakes!

Phil stops in the middle of the street as the bus speeds toward him. He’s frozen. Unable to move. Unable to scream.

The bus comes closer -- but Charley jumps down and pushes Phil out of the way! He then jumps out of the way as well.

The bus careens forward, then finally comes to a complete stop, Charley on one side, Phil on the other.

Charley runs around the bus -- Bus Number 64, unseen by Charley -- to the other side.

At first, all he sees is blood.

Then the top half of Phil.

Then the bottom half of Phil.

43.

Charley had pushed Phil aside, and in between two other cars -- a blue sports car and a taxicab.

The taxicab wasn’t able to stop in time, and it had rammed forward into Phil, effectively SLICING HIS BODY IN HALF when it came into contact with the sports car.

CHARLEYOh my God....

Spectators begin YELLING on the side of the street. It’s pure pandemonium and chaos.

In all the excitement, we see Phil BLINK. He’s still alive -- barely. Charley bends down next to the troubled man.

CHARLEY (CONT'D)Phil, you’ll be all right. Just hold on. Okay? Ssh. It’ll be okay.

Phil MUMBLES something. His legs, several yards away, twitch on the ground.

MAN (O.S.)He’s saying something!

WOMAN (O.S.)Is he alive?

CHARLEYPhil? Phil, can you hear me? Just hold on. You hear?

Phil opens his mouth, so Charley bends down lower.

PHIL(raspy)

It’s... all right.... I’ll be... fine... in the morning....

Charley pulls away from the man, shocked, as Phil closes his eyes for the last time.

AERIAL VIEW: the taxicab and blue car are covered in blood, with the top half of Phil’s body propped up between them; the school bus is smoking; dozens of spectators stand motionless.

FADE TO BLACK.

END OF ACT THREE

44.

ACT FOUR


EXT. HOSPITAL - NIGHT

Police cars light up the exterior of the hospital with their blue and red lights. Among the officers, and the only one we recognize, is Simo.

Other people are present as well, namely Charley, Lana, Nahimana, some of Phil’s coworkers, and Mr. Waternoose.

A car pulls up to the scene, and Wanda exits. She’s carrying the sack of DVDs we saw her with on a previous rotation.

Charley notices her, eyeing her suspiciously.

An ambulance pulls up, its lights flashing, but its siren off. It pulls up to the hospital and two PARAMEDICS get out.

They open the back and pull out a gurney. A body bag lies on the gurney. Everyone watches as the paramedics pull the gurney into the hospital.

Charley turns to look at Wanda, who’s now walking away from the scene.

CHARLEYI’ll be right back.

SIMOCharley? Where are you --

CHARLEYRight back.

Charley leaves the crowd of people. He jogs across the pavement, before finally meeting up with Wanda.

CHARLEY (CONT'D)Miss? Excuse me, Miss?

Wanda hears him, but keeps walking.

WANDAGo away.

CHARLEYCan I talk to you? Hold up, Miss. My name is Charles Whartle. I was caring for Phil.

45.

WANDA(crying)

I said go... away.

Charley reaches out and grabs her wrist. He pulls her toward him, and she doesn’t fight back.

CHARLEYIt’s okay. What’s your name?

WANDAJust Wanda.

CHARLEYWanda. Were you his friend? Coworker?

WANDABoth.

CHARLEYWhat’s this? What did you bring?

Charley takes the plastic sack from her hand. He looks inside -- just a bunch of old 80s and 90s DVDs.

One DVD in particular catches his eye. “Groundhog Day.” Curious, he opens up the case, but there’s no DVD inside. When she’s not looking, he slips the case behind his back.

WANDAJust his movies. I -- I’ve been carrying them all day. I went to his house to return them, but he wasn’t there. I’ve been driving around. And then I heard --

CHARLEYIt’s okay. Why are you returning them?

Wanda looks up to the sky.

WANDABecause we had a fight this morning. And this was my excuse. To see him again, and apologize. But now --

She points to the.

CHARLEYYou really care for him, don’t you?

46.

WANDAI -- I didn’t even know. Until now.

Charley looks down at the ground.

CHARLEYListen. What if I told you that this wasn’t over.

WANDAWhat?

CHARLEYThat this is just... a bad dream.

WANDAI’d say you’re crazy.

CHARLEYWhen you wake up, we’re going to fix this. Together. He won’t talk to me. But you, he will.

WANDAOh...kay?

SIMO (O.S.)Hey, Charley!

Charley and Wanda turn to the group of people, where Simo’s waving him over. Charley ignores him and begins walking away from the hospital.

CHARLEY(over his shoulder)

Tomorrow, Wanda. See you then.

Wanda watches him go, a curious look on her face.

EXT. PHIL CONNORS’ APARTMENT - NIGHT

Charley hustles onto the scene of the apartment complex. He quickly looks at his wristwatch: 11:55 p.m.

He goes to open the front door, but it’s locked.

CHARLEY Dammit!

He sees the buzzer, and notes that Phil Connors lives in Apartment 203. But how to get in? Charley looks around the quiet neighborhood, before glancing at the nearby window.

47.

He takes off his suit jacket and wraps it around his fist.

CHARLEY (CONT'D)Good thing I have friends in the force!

CRASH! He slams his fist into the window, and glass shatters inward in a hail of shards.

He cleans the sill of stray glass (we see a “Neighborhood Watch” sticker on one of the larger shards), and hauls himself inside with a grunt.

INT. PHIL CONNORS’ APARTMENT - NIGHT

Charley’s inside the apartment complex, staring at Apartment #203. He braces himself to kick down the door --

CHARLEYHope this works.

-- but stops as a thought enters his head.

He reaches down and grabs the doorknob... and it turns. The door opens with a quiet CREAK.

CHARLEY (CONT'D)That’s better.

He steps into the APARTMENT. The only noise from inside is the faint sounds of the TV.

He walks through the tiny apartment toward the bedroom. The room is elegantly appointed.

CHARLEY (CONT'D)Not bad.

The room is exactly as we’ve seen it before. The TV is on, and we can see that the DVD player is on, playing a movie.

Charley walks over and pushes Eject, and out pops the copy of “Groundhog Day.”

THE GENTLEMAN (O.S.)Symbolic, wouldn’t you say?

Charley whirls around, only to see The Gentleman standing in his doorway. His dog Philly sits calmly at his side.

CHARLEY What the hell are you doing here?

48.

THE GENTLEMANBreaking and entering. Oh, wait. No. That was you.

CHARLEY What the hell is going on here?

The Gentleman steps forward.

THE GENTLEMANTo put it bluntly, Mr. Whartle? An anomaly.

(beat)May I continue?

CHARLEYBy all means. Usually I have to figure all this out on my own.

THE GENTLEMANThere are rules, Mr. Whartle, which we all must abide by. But, as I said, this is an unexpected anomaly, and we are allowed some leeway.

(beat)Yesterday, this troubled man decided to celebrate the holiday by playing this movie on “repeat.”

CHARLEYHoliday?

THE GENTLEMANFebruary 2nd.

CHARLEYRight.

THE GENTLEMANMr. Connors fell asleep watching the movie, and slipped into a fugue state. When he awoke this morning, well, you know what happened.

CHARLEYHe woke up and thought he was this character from the movie? But how? I don’t get it. How could --

Charley stops himself. He grabs the DVD case he’d stolen from Wanda’s bag. He looks at the back and reads an excerpt:

49.

“Weather man Phil Connors (Bill Murray, “Ghost Busters”) wakes up to find himself living the same day over and over again....”

CHARLEY (CONT'D)“Phil Connors.”

THE GENTLEMANAnd the pieces fall together.

CHARLEY(realizes)

He heard the name -- his name -- in his sleep, in his fugue state. It messed with his brain. This guy really thinks he’s stuck in a loop.

THE GENTLEMAN(offended)

He has no idea....

The Gentleman turns around and begins exiting the apartment.

CHARLEYThanks. For your help.

The Gentleman stops for a slight second, then continues walking.

THE GENTLEMANCome Philly, it’s time for supper.

Charley watches the old man exit with his dog.

FADE TO:

EXT. HAZY DREAM

Same as before, only now COMPLETELY VIVID.

We see Phil Connors stand up on the railing overlooking the Wacker River. See him stretch his arms out to the sky, obviously ready to jump over the edge.

And he would jump, save for a voice that shouts out behind him. A quiet, feminine, familiar voice.

WANDA (O.S.)(echoing)

Phil....

50.

Phil quickly turns around, facing her and our camera. A warm smile comes across his face, and he steps down.

CUT TO BLACK.

Over BLACK, we see:


INT. PSYCHOLOGY BUILDING - BATHROOM - MORNING

BACKGROUND SONG: “Go Ask Alice” by Jefferson Airplane plays quietly.

Charley looks at his reflection in the mirror, a big smile on his face, knowing the day’s almost over.

He looks over at the blue pills on the napkin at his side. Without a second thought, he takes the pills into his mouth.


Phil’s at Waternoose’s desk. Wanda’s in the doorway.

PHILYeah. Make the sun set. And stop it from rising tomorrow.

With that, Phil brushes past his friend and out into the busy call center. Wanda watches him go, still saddened.

Suddenly, the phone on Waternoose’s desk RINGS. She goes over to pick it up, when a boisterous voice yells out behind her.

WATERNOOSEHey! Don’t even think about it. Get out of here. Back to work.

WANDA(timidly)

Yes, sir.

She exits. Waternoose shakes his head at the incompetence of his employees, then answers the phone.

WATERNOOSEMel Waternoose, Phone-Comm, how can I help you?

(listening)Uh-huh. Yes. Oh.... Well, are you sure? Okay. Yes, sir.

51.

Waternoose EXHALES loudly, then lowers the phone to his side.

WATERNOOSE (CONT'D)Wanda! Wanda! Phone!

Still GRUMBLING, he sets the phone down on the desk, and exits the office to go find the woman he just sent away.

EXT. CHICAGO STREETS - LATER

Charley and Phil are walking slowly down the Chicago streets. This time, Charley’s walking closest to the road.

PHILBut I still don’t get why we’re meeting out here, instead of in your office.

CHARLEYI like the noise. The action. Feels more real to me, you know?

Charley winces as the school bus speeds past them on the road, then turns a corner and drives away.

PHIL Listen, I really don’t feel like talking this morning. I just got in a huge fight with my good friend -- hell, maybe my only friend. Give me a few more hours, and I’m sure I’ll be much more open.

CHARLEYI can’t spend anymore time on this.

PHILHuh?

CHARLEYTell me everything. Now.

PHILEverything about what?

Charley suddenly becomes more direct. More angry.

CHARLEYYou’re repeating this day over and over again, right?

PHILHow do you --

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CHARLEYI just know. Now you tell me.

(beat)TELL ME!

PHILYou’re crazy!

CHARLEYNo, it’s you who’s crazy. No one’s going to believe you. You’re making it up! I can help you.

PHILNo....

Phil steps down into the street without looking. Luckily, at this time, there’s no cars to run him over.

PHIL (CONT'D)You can’t help me! No one can!

Phil takes off running. He dodges through traffic, hops up onto the curb, and runs as fast as he can.

CUT BACK TO Charley, who’s got a smile on his face.

CHARLEYLike clockwork.

EXT. WACKER BRIDGE - LATER

Phil is still running. He’s almost out of breath, but he’s still running.

His shirt is stained with sweat and his eyes are puffy red. Obviously, Charley’s words hurt him.

Phil takes a look at the bridge, which is almost completely empty, save for a few passersby at the other end.

PHILNo one can....

AERIAL VIEW: Phil slowly walks up to the railing at the edge of the bridge. The Wacker River FLOWS LOUDLY far below him.

CUT TO:

INT. UNDISCLOSED ELEGANT ROOM - DAY

In an ELEGANTLY-DECORATED room, with high vaulted ceilings and walls made of glass, stands The Gentleman.

53.

He stands against his large stain-glass window, staring out at the beautiful VIEW of the Wacker River.

From this far distance, he can see Phil standing on the edge. The Gentleman has a look of hope on his face.

CUT TO:


Charley stands in the middle of the office. He’s staring up at all of the dozens of silent clocks in the room (at 11:17 and stopped) -- matching them up with his own wristwatch (at 11:16 and ticking).

He waits for the wristwatch to tick over to 11:17. As it does, all of the other clocks COME TO LIFE, back to their happy TICKING selves.

CUT TO:

EXT. WACKER BRIDGE - DAY

Standing on the railing, Phil closes his eyes and slowly outstretches his arms into the sky. He spreads apart his fingers, feeling the cold wind from the river below him.

PHIL(whispers)

I’m truly alone....

Phil takes one more foot up the railing, preparing himself for the long jump down. Then, to his surprise:

WANDA (O.S.)Phil.

Shocked, Phil opens his eyes.

He turns his head around. He sees Wanda standing there, her plastic sack in her hand, alone in the middle of the bridge.

WANDA (CONT'D)(calmly)

Phil, get down from there. What are you doing?

PHILI’m -- I’m --

Phil quickly gets off the bridge. He hugs his chest, trying to warm up.

54.

PHIL (CONT'D)It’s a beautiful view, isn’t it?

WANDAI’m sorry. I am so sorry I yelled at you. Like I said, I was just --

PHILI know. And I’m sorry for not accepting your apology.

(beat)What are you doing here?

WANDASomeone called me. Told me you were here. Told me to bring this.

PHIL(sees the bag)

What, you brought me lunch?

Wanda CHUCKLES softly. A single tear wells in her eye. She holds the sack out for him.

WANDANo. It’s your movies. I’m returning them, because I don’t think I deserve to keep them any longer.

PHIL(not taking the sack)

I lent them to you. They’re yours.

The wind continues to blow, causing them to get closer together in order to hear each other.

WANDAI do have a confession to make, though.

PHILWhat’s that?

WANDAI have the box, but... I think I must have lost your copy of the hedgehog movie.

PHILHedgehog movie?

Phil looks down, wondering what she’s talking about. Then, a huge smile crosses his face.

55.

PHIL (CONT'D)I think I might know where that one is.

WANDAReally?

PHILYeah. What say you and I skip the rest of work today and go back to my place?

Wanda smiles as well, clearly happy to have her friend back.

With that, the happy couple walk away from the edge of the bridge. They walk down the middle of the bridge, smiling and LAUGHING together, carrying the sack of movies.

FADE TO BLACK.

CUT AWAY TO:

56.

|ETERNITY|

57.

eternity 1x04 patients title page - mzp-tv.co.uk · int. office - day phil sits in a high-walled...

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