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 1.
FADE IN
HIBERNATING GROUNDHOGS
A family of groundhogs is nestled together in their burrow
sleeping off the end of a long winter.
ROLL CREDITS AND THEME MUSIC
DISSOLVE TO:
1 EXT. A FOREST CLEARING - EARLY MORNING 1
The crust of an old snowfall still covers the frozen
ground, and the bare, icy branches of the trees glisten
dully in the early morning light.
CUT TO:
2 INT. TV STUDIO - SAME TIME 2
PHIL CONNORS is standing in front of a blank green wall
gesticulating animatedly at some invisible images on the
wall, talking a mile a minute (MOS). He looks completely
crazy as he points at nothing and winks to an unseen
audience.
CUT TO:
3 EXT. WESTERN PENNSYLVANIA - SAME TIME 3
CREDITS CONTINUE as we streak across the winter landscape,
flying over fields and farms, small towns and hamlets,
railroad lines and interstates, coalyards and factories,
until we cross the Allegheny River and follow it to the
southwest.
CUT TO:
4 INT. TV STUDIO - SAME TIME 4
Phil continues pointing out features on the blank wall, but
from a new angle we can see that he's looking at a monitor
out of the corner of his eye which shows the chromakey
insert he's pointing to a national weather map.
CUT TO:
2.
5 EXT. NEAR PITTSBURGH - SAME TIME 5
The country towns turn to suburbs, traffic on the roads
gets heavier and finally we see the skyline of Pittsburgh
and the confluence of the Allegheny with the Monongahela
and the Ohio.
We zoom into a tall building in the downtown area and
DISSOLVE TO:
6 INT. PHIL CONNORS' OFFICE - MORNING 6
We don't see anyone at first but the office itself speaks
volumes about it's inhabitant, team pictures of the
Steelers from the Franco Harris-Terry Bradshaw glory years,
a framed memorial portrait of Roberto Clemente, a local
Emmy award statue, an erasable weather map and mountains of
personal junk on the desk, windowsill, and every other
available surface.
As the CREDITS END, we notice a sleeping figure on the
small sofa, buried deep under a pile of coats and a stolen
airline blanket.
GIL HAWLEY, Executive Producer of the Action News, sticks
his head in the door.
HAWLEY
Christ, what a pit. Phil.
The sleeping figure rouses himself and looks out at Hawley.
It's Phil, the Channel 9 Action News weatherman.
PHIL
(sleepy)
What?
HAWLEY
It's February first, Phil. You know
what tomorrow is?
Phil sits up and.thinks hard. He's in his mid-thirties,
smart, rugged-looking, perhaps a little too full of
himself, but clearly a guy with a lot of personality.
PHIL
(catching on)
Oh, no! Not again.
He jumps up and exits the office with Hawley right behind
him.
3.
PHIL
Forget it! I'm not going.
7 INT. CORRIDOR - CONTINUOUS 7
Hawley pursues Phil through the office suite of the Channel
9 Action News, from the look of it a typical, big city,
local news operation. A logo on the wall identifies the
station as WPGH - Pittsburgh.
Phil ducks into the studio.
8 INT. STUDIO - CONTINUOUS 8
Hawley follows him in and catches up with him at the
weather corner of the Action News set. Phil starts putting
weather stats up on a chart.
PHIL
Get away from me. I'm working.
HAWLEY
So what's the outlook? We gonna get
that blizzard?
Phil shakes his head and points to the chart which is
headed "Phil's Phorecast" with a cute caricature of himself
drawn next to the title.
PHIL
No way. All that moisture coming up
from the Gulf is going to miss us
completely and take a dump on
Harrisburg.
HAWLEY
(with authority)
Good, 'cause you're going up to
Punxsutawney to cover the groundhog
story tomorrow morning and I want
you back here in time to do the
five.
PHIL
Jesus, Gil, give me a break, will
you! I covered the goddamn
groundhog last year and the year
before that.
HAWLEY
4.
And you'll do it :next year and the
year after, too. When I worked in
San Diego, I covered the swallows
coming back to Capistrano for ten
years in a row.
PHIL
You should've killed the guy who
made you do that.
HAWLEY
I wanted to do it.
PHIL
Then you should've killed yourself.
I don't want to get stuck with the
groundhog for the rest of my life.
HAWLEY
It's a cute story. He comes out, he
looks around, he wrinkles up his
little nose, he sniffs around a
little, he sees his shadow, he
doesn't see his shadow, it's nice.
People like it.
PHIL
Many people are morons.
HAWLEY
Just do it.
PHIL
What'11 you give me?
Hawley looks across the studio and sees RITA HANSON enter,
a very attractive segment producer in her late twenties.
HAWLEY
(to Phil)
I'll give you Rita.
(calls her over)
Rita, could you come here for a
second? I got a little job for you.
Rita is relatively new to the station, but very competent,
personable, humorous, self-assured and very pretty, in
short, a genuine princess, though Phil is too self-absorbed
at this point to realize it.
PHIL
(teasing)
5.
You can't send Rita out on a story
like this. She's just a cub, a pup,
still wet behind the ears. Look at
her. Her ears are sopping wet. This
needs a Woodward or a Bernstein.
It's a big story. People need to
know.
RITA
(intrigued)
What's the story?
HAWLEY
The Punxsutawney Groundhog
Festival.
RITA
Gil, if it's all right with you I'd
rather follow-up on the nurses'
strike.
HAWLEY
You can do the nurses when you get
back. Just take the squeaky wheel
here up to Punxsutawney and get him
back in one piece. Okay?
RITA
Yeah, okay.
Hawley exits leaving Phil and Rita alone in the studio. She
knows Phil mainly by his reputation and it isn't good.
Still, she finds him appealing in an odd way.
PHIL
(pleasantly)
You know, this could be extremely
interesting.
RITA
I've never done a weather story
before. What's Punxsutawney like?
PHIL
Oh, it's an enchanted place. A
magical world. It's the
Constantinople of the whole Western
Appalachian-Susquehanna Drainage
system.
RITA
Do you always joke?
6.
PHIL
About 70 to 80% of the time. Inside
I'm actually a very shy and
sensitive person.
RITA
A lot of people around here think
you're not very sincere.
PHIL
Tell me the names of these people.
RITA
I'll line up a crew and
transportation. If you don't feel
like driving, we can all go up in
the van together.
PHIL
I think I'll take my own car. I'm
not that fond of my fellow man.
RITA
(exiting)
Nice attitude.
PHIL
Nice face.
(calls after her)
Why don't you ride up with me?
RITA
No, thanks.
STEPHANIE DECASTRO , an attractive, dark-eyed, dark-haired
correspondent, glares at Phil from across the studio.
9 INT. PHIL'S OFFICE - LATER 9
Phil is in his cluttered cubicle talking on a headset phone
while he reviews cassettes of his groundhog spots from the
past two years on a small monitor. As he talks, he stuffs a
number of personal items in an overnight bag, all the time
watching himself on the TV monitor.
PHIL
(on the phone)
7.
They don't really think of me as a
weatherman around here. More of a
"personality," but with the
credibility of a first-class
broadcast journalist. Once you look
at my tape I think you'll see what
they mean.
Stephanie enters and stands in the doorway looking at Phil
for a long moment. There is something vaguely off-center
about this woman, not quite FATAL ATTRACTION but still a
little scary.
STEPHANIE
(bitterly)
I just want to know one thing: did
I do something wrong or are you
just tired of me or what? I have to
know.
Phil sighs.
PHIL
(on the phone)
Dan, can I call you back? I've just
been handed something and I better
get on it --
(he picks up some papers
and rustles them for
effect)
-- Okay, thanks.
He takes off the headset, gets up and closes the door for
privacy.
PHIL
(kindly)
You didn't do anything wrong,
Stephanie, and I'm not tired of
you. It's just that I don't have
time for a real relationship right
now. I told you that the first time
we went out.
STEPHANIE
(getting close)
Everybody says that at the
beginning of a relationship.
PHIL
(gently pushing her away)
8.
I'm different. I really meant it!
Things are really starting to move
for me now. I'm not going to be
doing the weather for the rest of
my life. I was just talking to the
CBS guy about a network job. I want
that. This is just the beginning
for me. I can't waste any more
time.
STEPHANIE
Are you saying our relationship was
a waste of time?
PHIL
Our relationship? We went out a
total of four times! And only twice
did anything happen. It was fun but
I don't see that as a big
commitment.
STEPHANIE
(closing in again)
I had our charts done. My
astrologer says we're extremely
compatible. There may even be some
past lives involvement here.
PHIL
See? So we've already done this.
Let's move on. Next case.
STEPHANIE
You know what's wrong with you,
Phil? You're selfish. You don't
have time for anyone but yourself.
PHIL
That's what I'm trying to tell you.
You don't want to be with me. You
can do better. Look, Stephanie, if
I ever said or did anything to
mislead you I'm sorry for that, but
right now I have to do this
groundhog thing and I don't have a
handle on it yet.
He throws some papers and his datebook into a briefcase and
puts on his jacket.
PHIL
9.
I'll tell you what. I'm going to do
some serious thinking while I'm in
Punxsutawney, okay?
He pats her on the shoulder and brushes past her, leaving
her standing there with a malevolent look on her face.
CUT TO:
10 EXT. A HIGHWAY - AFTERNOON 10
A VAN marked ".Channel 9 Action News" speeds along a two-
lane highway through the winter landscape of West Central
Pennsylvania. Mounted atop the van is a microwave
transmitter. Rita is riding up front with LARRY, the union
cameraman and techie. Phil is following close behind the
van in a new Lexus coupe. His car has a bumper-sticker that
reads "Weathermen Like it Wet."
PHIL (V.O.)
(on his earphone)
I'm on my way to Punxsutawney --
(forced to repeat it, a
little embarrassed)
Punx^su-taw-ney -- Work or fun? I
think that all depends on you.
11 INT. THE LEXUS - CONTINUOUS 11
Phil is talking to one of his girlfriends, sorting through
a stack of CD's, as usual, grabbing at the good life with
both hands.
PHIL
-- I thought maybe you could meet
me up there tonight and let me
vulgarize you for about seven hours
-- So I'm supposed to spend the
night in Punxsutawney all alone?
Thanks.
Phil loads a CD and a great, driving song kicks in.
CUT TO:
A SIGN
"Welcome to Punxsutawney - The Original Weather Capitol of
the World Since 1887." Depicted on the sign is a large
cartoon GROUNDHOG wearing a top hat and clutching an
umbrella under his arm.
10.
The mini-convoy passes some fast food places on the
outskirts of town.
12 EXT. MAIN STREET - PUNXSUTAWNEY - LATER 12
The van drives along, the small-town main drag. There are
cartoon groundhogs everywhere you look and the whole town
has been gaily festooned with banners and bunting.
13 EXT. MOTEL - LATER 13
The van pulls into the parking lot at a Quality Inn. The
announcement billboard in front of the motel reads:
"Groundhog Day Breakfast Special - Feb.2 - All You Can Eat
- $5.99." The parking area is already crowded with cars
including a number of other news vans. The Lexus pulls in
behind the van and everybody gets out.
Phil takes one look at the motel and shakes his head.
PHIL
(calls out)
Rita! I can't stay here.
Rita is already helping Larry unload equipment from the
van.
LARRY
(muttering)
Prima donnas.
RITA
It's okay. I'll handle it.
She crosses to the Lexus where Phil is trying to make
another call on his earphone.
RITA
What's the problem, Phil?
PHIL
I hate this place. I stayed here
two years ago and I was miserable.
It's like a minimum security
prison. I'm not staying here.
RITA
You're not staying here.
PHIL
(brightening)
11.
I'm not?
RITA
No, Larry and I don't care but I
thought you might, so I booked you
at a very nice bed and breakfast on
Cherry Street. Here's the address.
She hands him a card.
PHIL
(pleased)
Great. That's great. That's the
mark of a really good producer.
Making the talent happy.
RITA
Whatever I can do.
PHIL
Really? Will you be my love slave?
RITA
Whatever I can do within reason.
Would you like to have dinner with
Larry and me?
PHIL
No thanks, I've seen Larry eat. Why
don't you ditch Larry and let me
take you someplace nice?
RITA
You mean like a date?
PHIL
Yeah.
RITA
Oh, no.
PHIL
Okay. I get it. You're a little
intimidated by me, you're all
excited about the shoot tomorrow,
you want everything to go just
perfect. I understand. You just get
some sleep. Tomorrow will be great.
RITA
Well, that's something to look
forward to. I'll see you in the
morning.
12.
He drives off, leaving her standing there shaking her head.
LARRY
Did he actually call himself "the
talent?"
Larry snorts and continues unloading their gear.
CUT TO:
14 EXT. CHERRY STREET - DAWN 14
The first light of morning colors the sky behind the Cherry
Street Inn, a rambling, white Victorian bed and breakfast.
CLOSE UP - CLOCK
A digital clock-radio changes from 5:59 to 6:00 AM. The
radio comes on, playing the end of the Sonny and Cher hit,
"I Got You, Babe."
SUPER: FEBRUARY 2
15 INT. PHIL'S ROOM - DAWN 15
Phil sits up in bed and looks around the room. The decor is
typical bed and breakfast, flocked wallpaper, framed
prints, and an odd assortment of mismatched furniture. His
suit is hanging neatly on the back of the closet door and
his suitcase is open on a stand at the foot of the bed,
still neatly packed.
A radio, DEEJAY and his SIDEKICK come on with hyped-up,
drivetime Chappy talk." Phil stares at the radio and
listens to them.
DEEJAY
Okay, campers, rise and shine, and
don't forget your booties because
it's COOOLD out there today1
Phil grimaces and swings out of bed.
SIDEKICK
It's cold out there everyday. What
is this— Miami Beach?
The deejay laughs. Phil shakes his head at the cheesy
repartee as he crosses to the sink and starts brushing his
teeth.
13.
DEEJAY
Not hardly. And you can expect
hazardous travel later today with
that, you know, blizzard thing—
SIDEKICK
That "blizzard thing?"
Phil splashes some water on his face and prepares to shave.
SIDEKICK
Oh, here's the report: the National
Weather Service is calling for a
big blizzard thing.
DEEJAY
Yes they are, but there's another
reason today is very specia --
SIDEKICK
Especially cold—
DEEJAY
Especially cold, okay, but the big
question on everybody's lips --
SIDEKICK
Chapped lips --
DEEJAY
-- on their chapped lips, right --
Do you think Phil's going to come
out and see his shadow?
SIDEKICK
Punxsutawney Phil.
Phil looks up at himself in the mirror, admiring his own
face.
DEEJAY
That's right, rodent lovers! It's -
-
BOTH DEEJAYS
Groundhog Day1
SOUND EFFECT of GRUNTING GROUNDHOGS.
Phil grunts at his reflection in the mirror.
PHIL
(to himself)
14.
Never again.
CUT TO:
16 INT. CORRIDOR - DAWN 16
Phil heads for the breakfast room of the inn, now well-
dressed in a suit and tie, a nice overcoat slung over his
arm. A CHUBBY MAN passes.
CHUBBY MAN
Morning.
PHIL
Morning.
CHUBBY MAN
Think it'll be an early Spring?
PHIL
I'm predicting March 21st.
CUT TO:
17 INT. BREAKFAST ROOM - CONTINUOUS 17
Phil enters the old library of the house now set up with a
breakfast buffet. An old spinet piano stands in the corner.
One wall is lined with .bookcases filled with books. A
handful of guests are seated around the room, eating.
The matron of the house, MRS. LANCASTER, spots Phil as she
comes out of the kitchen with a fresh pot of coffee.
MRS. LANCASTER
Did you sleep well, Mr. Connors?
PHIL
(with mock civility)
Like a Roumanian orphan, Mrs.
Lancaster.
MRS. LANCASTER
Would you like some coffee?
PHIL
I don't suppose it'd be possible to
get an espresso or a capuccino
around here.
MRS. LANCASTER
15.
(blankly)
I don't really know --
PHIL
Forget it. This'll be fine.
MRS. LANCASTER
(as she pours)
I wonder what the weather's going
to be like for all the festivities.
PHIL
My guess is it'11 be cold and
overcast, high today in the low
30's, dropping to the low 20's
tonight, but I'm predicting that
all that moisture coming up from
the Gulf is going to miss us and
dump some locally heavy snow,
possibly blizzard conditions with
travel advisories in the Harrisburg
area and maybe as far east as
Philadelphia.
(off her surprised look)
You want to talk weather, you asked
the right guy.
He heads for the door.
MRS. LANCASTER
Oh, will you be checking out today,
Mr. Connors?
PHIL
Unfortunately yes.
Phil exits.
CUT TO:
18 EXT. BOARDING HOUSE - MOMENTS LATER 18
Sipping at the steaming coffee, Phil manages to put on his
coat and gloves as he descends the front steps of the house
and joins the flow of pedestrian traffic on the street.
19 EXT. MAIN STREET -KPUNXSUTAWNEY - CONTINUOUS 19
16.
There are a lot of people on the street for this hour.
Traffic is so heavy in fact, the pedestrians are moving
faster than the cars. Everyone seems to be going in the
same direction, making the annual trek to see the
groundhog.
An OLD BUM is sitting on the sidewalk leaning against a
storefront. Someone throws him a coin. Phil walks by
without taking any notice.
MAN (O.C.)
Hey, Phil!
A big pie-faced man, NED RYERSON, comes huffing and puffing
right up to him. There is something about this guy that
makes us dislike him on sight.
NED
Phil! Phil Connors! I thought that
was you!
Phil looks at him vaguely.
PHIL
(at a loss)
I'm sorry. Have we -- uh --
NED
My oh my! Phil Connors. Don't say
you don't remember me, 'cause I
sure as heckrfire remember you.
Well?
Phil stares, trying to remember.
NED
Ned Ryerson? Needlenose Ned? Ned
the Head. Come on, buddy. Case
Western High?
PHIL
Ned?
NED
17.
I see you clicking through that
brain of yours. Click-click, click-
click, click-click—Bing! Ned
Ryerson, did the whistling trick
with my belly button in the talent
show. Bing! Ned Ryerson, got the
shingles real bad senior year
almost didn't graduate. Bing again!
Ned Ryerson, went out with your
sister Mary Pat a couple of times -
- 'til you told me not to anymore.
Well?
PHIL
(resigned)
Ned Ryerson.
NED
Bing!
PHIL
So what're you doing with yourself,
Ned?
NED
Phil, I sell insurance.
PHIL
(sorry he asked)
No kidding.
NED
Do you have life insurance, Phil?
'Cause if you do, I bet you could
use more -- who couldn't? -- but I
got a feeling you don't have any.
Am I right?
PHIL
You know, Ned, I'd love to talk to
you but I really have to --
Phil starts to walk away,,but Ned won't take the hint.
NED
18.
That's okay. I'll walk with you.
When I see an opportunity, I charge
it, like a bull. Ned the Bull,
that's me now. Some of my friends
live and die by actuarial tables,
but I think it's all just a crap
shoot anyhoo. Ever heard of single
premium life? That could be the
ticket for you, buddy. God, it's
good to see you! Hey, what're you
doing for dinner?
PHIL
Dinner? Umm, I don't think that's
going to work for me.
As they continue walking, Phil steps into what looks like a
shallow puddle and ends up ankle deep in wet slush. Ned
laughs like a donkey.
NED
Hey, look out for that first step!
It's a doozy!
Phil looks at him with murderous contempt.
CUT TO:
20 EXT. GOBBLER'S KNOB - DAWN 20
A big crowd is standing in a park-like clearing off a
residential street. They are gathered around a large mound
of dirt enclosed by a rail fence, waiting for the big
moment. For a cold gray dawn, there is the atmosphere of a
festival here.
An area close to the mound is roped off for news reporters
and cameras. Rita stands there, a pocket of genuine beauty
in this sea of potbellied old union guys and blow-dried
reporters.
Stomping her feet against the cold, Rita looks at her watch
and glances around. Larry, the cameraman, just looks bored.
RITA
How could he be late?
LARRY
Prima donnas.
RITA
It's just so -- inconsiderate.
19.
LARRY
What happens to some people?
They're born nice. They grow up
nice. You put 'em on TV and - bam!
Prima donnas.
Rita spots Phil heading into the crowd.
RITA
Here he comes. Phil! Hey, Phil.
Over here!
Phil joins them in the press area. Rita pulls him to his
mark near the rail fence.
RITA
Where've you been?
PHIL
I got hung up with some jerk I went
to high school with. So, did you
sleep okay without me? You tossed
and turned, didn't you?
Rita holds up a slate for Larry to ID the tape.
RITA
You're incredible.
PHIL
Who told you?
RITA
Ready when you are.
Phil takes the microphone from Rita and positions himself
against the fence.
The Groundhog Club Officials in top hats, striped trousers
and cutaway coats parade out to the burrow that houses
Punxsutawney Phil.
RITA
Looks like they're starting. Roll
tape.
LARRY
Rolling.
Rita silently counts down from five and cues Phil who
instantly snaps into announce mode.
PHIL
20.
(to camera)
Once a year, the eyes of the nation
turn here, to this tiny hamlet in
Pennsylvania, to watch a master at
work. The master? Punxsutawney
Phil, the world's most famous
weatherman, the groundhog, who, as
legend has it, can predict the
coming of an early spring.
Rita turns to Larry. This is impressive, so far, so good.
A Groundhog Club Official kneels at the burrow and
ceremoniously knocks on the small wooden door, then opens
it and retreats.
PHIL
And here's the big moment we've all
been waiting for. Let's just see
what Mr. Groundhog has to say.
The groundhog sticks his head out, looks around, steps out
of the hole, and runs over to the other side of the mound,
about as far away from the cameras as he can get.
PHIL
Hey! Over here, you little weasel!
Larry zooms in as far as he can but the best he can manage
is a close-up of the groundhog's back. The groundhog stands
there a moment, his body casting a long shadow, then he
lets out a squeak and runs back into the hole.
PHIL
Great shot, huh, folks? Well, that
was certainly worth the trip. Now
we'll be hearing from Mr. Buster
Greene, President of the
Punxsutawney Groundhog Club, the
so-called Seer of Seers who will
interpret for us.
BUSTER GREENE, dressed up in his top hat and cutaway coat,
walks onto the mound and hushes the crowd.
BUSTER
He came out, and he saw his shadow.
Sorry, ladies and gentlemen, but it
looks like it's going to be a long
winter.
The crowd lets out a good-natured "Awwwwww" in
disappointment.
21.
PHIL
(sarcastic, to camera)
Well, that's it. Sorry you couldn't
be here in person to share the
electric moment. This is one event
where televison really fails to
capture the excitement of thousands
of people gathered to watch a large
squirrel predict the weather, and I
for one am deeply grateful to have
been a part of it. Reporting for
Channel 9, this is Phil Connors.
Larry cuts the camera.
RITA
(to Phil)
You want to try one that's a little
sweeter?
PHIL
(to Rita)
That's as sweet as I get. I'm outa
here.
As he exits, Phil tosses the mike to Larry, who isn't
expecting the throw and bobbles it, dropping the mike on
the ground.
LARRY
(mutters)
Prima donnas.
CUT TO:
21 INT. DINER - LATER 21
Phil is sitting alone having a cup of coffee in a busy,
loud and lively cafe. Rita enters, sees him sitting there,
crosses to his table and sits down across from him.
RITA
That was really lousy.
PHIL
Is it my fault the little rat went
south on us?
RITA
22.
A real professional would have
handled it. You acted like it was a
personal insult. Who do you think
you are — Wolf Blitzer?
PHIL
God, you really take this stuff
seriously, don't you.
RITA
Yes, I do. As far as I'm concerned
there are no little stories, Phil.
Only little reporters with big egos
who think they're too good for the
job they have to do.
PHIL
(trying to look hurt)
You really don't know me very well,
do you. 'Cause if you did you could
never say something like that about
me. I care! Call me a cockeyed
optimist but I happen to think
there's more to this job than just
getting my ugly mug on the boob
tube every night.
RITA
Is that so.
PHIL
Yes, that is so.
Rita is so irritated by him she can't even respond.
Phil looks at her evenly for a long moment.
PHIL
So as far as us getting together,
would you say the glass is half
empty or half full?
Larry pokes his head in the doorway, looks around, spots
Rita and makes his way over to their table.
LARRY
(to Rita)
You ready? We better get going if
we 're going to stay ahead of the
weather.
PHIL
23.
You don't have to rush off, you
know. That storm is going to miss
us completely.
RITA
Nice working with you, Phil. See
you around.
Rita walks away, leaving him sitting alone.
CUT TO:
22 EXT. HIGHWAY - DAY 22
Phil's Lexus is driving down the highway. Light snow is
just starting to fall.
PHIL(V.O)
(on the earphone)
I'll call you after I see the
network guy. I should be back there
in a couple of hours -- What? -- I
can't hear you -- you're breaking
up -- Hello? Sabrina?
23 INT. THE CAR - CONTINUOUS 23
Phil is getting annoyed as the phone connection
deteriorates. The snow is getting heavier. Phil switches on
the windshield wipers.
PHIL
Sabrina? Can you hear me? Shit!
He slams the phone back into it's cradle, then looks up and
notices slow traffic up ahead. He honks his horn as the
traffic comes to a complete stop. He keeps honking but
nothing moves.
He rolls down the window and looks up ahead. The highway is
a parking lot.
PHIL
No. No!
24 EXT. THE CAR - CONTINUOUS 24
24.
Phil jumps out and begins to walk down the highway, past
the parked cars, shivering in his light sweater and silk
sport shirt. The snowfall is getting heavier and the wind
is pickin up. The snow comes down unnaturally hard and
fast. He walks on, slipping and sliding in his expensive
loafers until he comes to a police roadblock up ahead,
manned by TWO HIGHWAY PATROLMEN.
PHIL
What's going on, Officer?
PATROLMAN
Nothin's goin1 on. We're closin'
the road. Big accident up ahead.
Blizzard movin1 in.
PHIL
What blizzard? A couple of flakes!
An isolated phenomenon of nature.
PATROLMAN
Are you nuts? We got a major storm
movin' in.
PHIL
No, no. All that moisture is going
to miss us and hit Harrisburg.
PATROLMAN
Pal, you got that moisture on your
head.
PHIL
But I have to get to Pittsburgh
today!
PATROLMAN
Mister, the only place anybody's
goin' on this road is back to
Punxsutawney.
Phil glowers at him and shivers.
CUT TO:
25 INT. GAS STATION - LATER 25
Phil is on a pay phone. Snow is falling heavily outside.
GAS STATION ATTENDANT is shovelling around the pumps.
PHIL
25.
So all the long distance lines are
down? What about the satellite? Is
it snowing in space? -- But I have
to call Pittsburgh -- Isn't there
some special line you keep open for
emergencies or for celebrities? --
Well, I'm both really. I'm a
celebrity in an emergency. Can you
patch me through on that line?
The door opens and Phil is blasted with frigid Arctic wind
and blowing snow. The GAS STATION ATTENDANT enters the tiny
office and in trying to squeeze past Phil accidentally
bangs him on the head with his snow shovel.
CUT TO:
26 INT. HOTEL BAR - EVENING 26
Phil is at the bar in Punxsutawney's oldest and best hote,
the Pennsylvanian. He looks very bored, drinking a beer,
unsuccessfully hustling an attractive local girl named
NANCY.
PHIL
You never saw me on TV -- on the
news?
NANCY
I don't think so. What part of the
news do you do?
PHIL
I'm the White House correspondent
for NBC news.
NANCY
Oh, I'm so sure.
PHIL
Ask me anything?
NANCY
Okay, how big is the White House?
PHIL
Three bedrooms, two and a half
baths. Looks much bigger than it
is.
Nancy just stares at him, clearly not into his sense of
humor.
26.
Suddenly, a BRIDE in full white wedding gown and veil
rushes into the bar, crying and shouting. A gaggle of
BRIDESMAIDS flutters around her trying to coax her back to
her own wedding but she won't budge. Then the GROOM,
wearing a bad rented tux, comes storming in and tries to
drag her back, until the BEST MAN restrains him and the
bridesmaids hustle the bride away.
Phil watches the whole drama play out, then turns back to
Nancy.
PHIL
Good start. I'm sure they'll be
very happy. So what do you say? You
want to play doggie obedience
school with me?
NANCY
Thanks. I'll pass.
She gets up to leave.
PHIL
Sit! Stay!
He watches her go, then tosses a tip on the bar and exits
somewhat unsteadily.
CUT TO:
INSERT - A THICK BOOK
The cover reads "101 Curses, Spells and Enchantments You
Can Do at Home." A well-manicured feminine hand opens the
book to a marked page.
27 INT. CHERRY STREET INN - NIGHT - SAME TIME 27
Phil enters his room and drunkenly tosses his overcoat,
scarf and gloves on the floor in a heap.
28 INT. STEPHANIE'S BEDROOM - NIGHT 28
Stephanie Decastro, Phil's disaffected ex-lover, is sitting
cross-legged on the floor with the book of curses open in
front of her. Her hair is down, she's wearing a caftan with
a Zodiac print, there are candles everywhere and other
vaguely occult decorating touches.
INSERT
27.
Phil's business card is dropped into a dish. Then the Tarot
card of the Hanged Man, a chicken bone, and a feather are
placed on top of it.
PHIL
He stands at the sink, looking at himself in the mirror,
flexing his muscles.
STEPHANIE
Reading from the book, she mutters incantations in a secret
language, then she sprinkles some powder on the plate, then
a few drops of oil. Then she makes a few passes over it
with her hands and, much to her surprise, the contents of
the plate spontaneously combust.
PHIL
As he crosses to the bed, he accidentally knocks over the
suitcase stand, spilling his clothes out onto the floor.
He contemplates picking them up for a moment, decides to
leave them there, and flops down on the bed. He lies there
looking u up at the ceiling until the room starts to spin
around, then he closes his eyes and quickly drops off to
sleep, still fully clothed.
STEPHANIE
To complete the spell, she picks up a broken wristwatch and
drops it into the fire.
INSERT
Phil's business card, the Hanged Man and the broken watch
in flames. The watch crystal is cracked and the hands are
frozen at 5:59.
DISSOLVE TO:
CLOSE UP - CLOCK
The digital clock-radio changes from 5:59 to 6:00 AM. The
radio comes on, playing the end of the Sonny and Cher hit,
"I Got You, Babe," just as it did the day before.
29 INT. PHIL'S ROOM - DAWN 29
28.
Phil sits up in bed, quickly alert, and looks around the
room. Something is wrong. He's wearing pajamas, his suit is
once again hanging neatly on the closet door and his
suitcase is back on its stand at the foot of the bed, again
neatly packed.
The song ends and the same radio deejay and his sidekick
come on with the same manic energy. Phil stares at the
radio and listens to them. A look of astonishment comes
over his face as they banter.
DEEJAY
Okay, campers, rise and shine, and
don't forget your booties because
it's COOOLD out there today!
SIDEKICK
It's cold out there everyday. What
is this -- Miami Beach?
The deejay laughs. Phil "mock" laughs at exactly the same
time, recognizing the repartee from the previous morning.
PHIL
(to himself)
Nice going guys. That's yesterday's
tape.
Phil crosses to the sink and gets a towel off the rack,
only half-listening to the radio.
DEEJAY
Not hardly. Expect hazardous travel
later today with that, you know,
blizzard thing --
SIDEKICK
That "blizzard thing?"
Phil turns on the water and splashes some on his face as if
trying to wake himself up, vaguely disturbed by the
repetition of the broadcast.
SIDEKICK
Oh, here's the report: the National
Weather Service is calling for a
big blizzard thing."
DEEJAY
Yes they are, but there's another
reason today is very special --
SIDEKICK
29.
Especially cold --
DEEJAY
Especially cold, okay, but the big
question on everybody's lips --
Phil supplies the next line in unison with the radio.
SIDEKICK AND PHIL
Chapped lips --
DEEJAY
-- on their chapped lips, right --
Do you think Phil's going to come
out and see his shadow?
SIDEKICK
Punxsutawney Phil.
Some vague doubt causes Phil to go to the window.
DEEJAY
That's right, rodent lovers! It's -
-
BOTH DEEJAYS
Groundhog Day!
SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back the
curtains and looks out.
HIS POV
The street is full of people heading toward Gobbler's Knob,
exactly as they did the day before.
PHIL
(aghast)
What the hell?
CUT TO:
30 INT. BED AND BREAKFAST - DAWN 30
Phil rushes out into the corridor, hastily tying his tie,
his suit jacket and overcoat over his arm. As he heads for
the breakfast room, the same Chubby Man passes.
CHUBBY MAN
Morning.
30.
PHIL
Morning.
CHUBBY MAN
Think it'll be an early Spring?
PHIL
(stops, irritated)
Didn't we do this yesterday?
CHUBBY MAN
(intimidated)
I don't know what you mean.
Phil grabs him by the front of his shirt and looks deep
into his eyes.
PHIL
Don't mess with me, pork chop. What
day is this?
CHUBBY MAN
(terrified)
February second—Groundhog Day!
Phil can see he's telling the truth and relaxes his grip on
the poor man.
PHIL
Okay. Sorry. I'm having a bad day.
Phil walks on, leaving the chubby man baffled and insulted.
CHUBBY MAN
(to himself)
I'll say.
31 INT. BREAKFAST ROOM - CONTINUOUS 31
Phil enters the old library of the house and finds
everything exactly as it was the day before. Mrs. Lancaster
spots Phil as she comes out of the kitchen with the fresh
pot of coffee.
MRS. LANCASTER
Did you sleep well, Mr. Connors?
PHIL
(completely confused)
Did I? I don't know --
MRS. LANCASTER
31.
Would you like some coffee?
PHIL
Yes, thank you. I'm feeling a
little strange.
MRS. LANCASTER
(as she pours)
I wonder what the weather's going
to be like for all the festivities.
PHIL
Did you ever have deja vu, Mrs.
Lancaster?
MRS. LANCASTER
Is that the Italian dessert with
the brandy and the chocolate
mousse?
PHIL
No, that's spaghetti. Never mind.
He heads for the door, still in a daze.
MRS. LANCASTER
Oh, will you be checking out today,
Mr. Connors?
PHIL
(vaguely)
I don't know. I don't think so.
I'll tell you after I wake up.
Phil exits.
CUT TO:
32 EXT. BOARDING HOUSE - MOMENTS LATER 32
Phil gulps down the steaming coffee, still trying to wake
up from what he assumes is a dream, and descends the front
steps of the house. He accosts a PASSERBY.
PHIL
Ma'am? Excuse me. Where's everybody
going?
PASSERBY
To Gobbler's Knob. It's Groundhog
Day!
32.
The coffee cup drops from Phil's hand as he stands there
open-mouthed. Then he slaps his own face and shakes his
head as if trying to clear it and starts off down the
street.
33 EXT. MAIN STREET - PUNXSUTAWNEY - CONTINUOUS 33
Phil rushes down the street, again failing to notice the
OLD BUM sitting on the sidewalk leaning against a
storefront.
NED RYERSON (O.C.)
Hey, Phil!
Ned Ryerson approaches with the same obnoxious attitude.
NED
Phil! Phil Connors! I thought that
was you!
Phil just stares at him and keeps walking.
NED
My oh my! Phil Connors. Don't say
you don't remember me, 'cause I
sure as heck-fire remember you.
Well?
PHIL
Ned Ryerson?
NED
Bing! First shot right out of the
box. So how's it going, ol' buddy?
PHIL
To tell you the truth, Neddy, I'm
not feeling real well. Could you
excuse me?
NED
Now it's funny you should mention
your health 'cause you'll never
guess what I do.
PHIL
(very distressed and
desperate to get away
from this guy)
Do you sell insurance, Ned?
NED
33.
Bing again! You're sharp as a tack
today. Do you have life insurance,
Phil? 'Cause if you do, I bet you
could use more -- who couldn't?" --
but I got a feeling you don't have
any. Am I right?
PHIL
(really annoyed now)
Did I say "fuck off," Ned? I can't
talk to you right now.
He backs away from Ned and steps right into the same deep,
slushy puddle he stepped in the day before.
NED
(braying)
Hey, look out for that first step.
It's a doozy!
Phil looks down at his wet shoes and cuffs and stumbles off
toward Gobbler's Knob.
CUT TO:
34 EXT. GOBBLER'S KNOB - DAWN 34
The crowd is gathered as before for the big moment.
In the press area, Rita is having the same dialogue with
Larry, when she spots Phil heading into the crowd.
RITA
Here he comes. Phill Hey, Phil!
Over here!
Phil waves to her and heads straight for an obscure corner
of the Knob, gesturing for her to follow.
Larry shakes his head as Rita charges through the crowd
toward Phil. She catches up to him just as he is scratching
a mark in the snow with his foot. She notices immediately
that he is uncharacteristically dishevelled, his tie askew,
his hair mussed.
RITA
Where've you been?
PHIL
(nervous, sweat ing)
I've got to talk to you. I think
I'm losing my mind.
34.
RITA
I know you're losing it. What are
you doing over here? The camera's
over there.
PHIL
Slap me, Rita.
RITA
What is this?
PHIL
(insistent)
Just slap me -- hard.
She gives up and taps him lightly on the cheek.
PHIL
I said hard!
RITA
I can't!
PHIL
Do it!
Rita shrugs and slaps him very hard.
PHIL
(his cheek smarting)
Better. Almost too hard, Rita.
RITA
Are you drunk?
PHIL
No, drunk is more fun. Can I be
serious with you for a minute?
RITA
I don't know. Can you?
PHIL
Yes. I 'm being serious. I' m
having a problem -- no, I may be
having a problem.
RITA
What are you trying to say?
PHIL
35.
I'm trying to say that if I was
having a problem, just
hypothetically, I'd like to know
that you're someone I could count
on in a crisis.
RITA
(worried)
What did you do last night?
The crowd begins to hush.
LARRY
We better get started. We're going
to miss it.
PHIL
Were not going to miss it.
(indicating the other
reporters)
They're going to miss it.
RITA
(emphatic)
Phil. We've been out here for an
hour. We're cold and tired. Let's
just get this and get out of here.
PHIL
Okay, put it here.
RITA
What?
PHIL
Put the camera here.
Rita takes a forlorn glance towards the press area, where
all of the other cameras are set up.
RITA
Phil, there is no tomorrow on this
one. It's Groundhog Day.
PHIL
We were in the wrong spot
yesterday.
RITA
(irked)
What? Yesterday? What are you
talking about?
36.
PHIL
Just trust me. Put the camera here.
Rita looks at him like he's crazy, then looks at her watch
and gives up.
RITA
Larry!
She charges off toward the cameras.
In the Press Area, several reporters are already talking to
their cameras, dribbling on about how "He could appear any
second now." Rita and Larry grab their gear and rush back
to Phil.
Larry hurriedly sets up the camera.
LARRY
You want me to roll tape?
RITA
(to Phil)
Are you going to get on your mark?
PHIL
No hurry.
Larry glances over at the other news reporters, all talking
to their cameras and pointing towards the mound.
LARRY
(desperately)
Everyone else is rolling!
Rita looks helplessly at Phil.
RITA
I'm begging you, all right? Gould
we please just do this?
Phil glances down at his watch.
PHIL
Okay, let's do it.
He crosses over to Larry and taps him on the shoulder.
PHIL
Roll tape.
LARRY
37.
(mumbling)
Prima donnas.
Phil takes the microphone from Rita and positions himself
against the fence.
LARRY
Rolling.
Phil does a similar intro to the one he did before, though
this time it's a bit tentative.
PHIL
(to camera)
Well, it's Groundhog Day -- again -
- and you know what that means.
Everybody's here on Gobbler's Knob
waiting in the cold for the
appearance of the most famous
groundhog in the world,
Punxsutawney Phil, who's going to
tell us just how much more of this
we can expect.
The Groundhog Club Official knocks on the groundhog's door,
then opens it and retreats.
Phil takes a deep breath and makes his first experimental
prediction, recalling the previous day.
PHIL
My forecast is we're going to see
the groundhog peek its head out of
its hole, look around a little bit,
then he's going to come out,
scamper over to this general area,
look at the crowd for a second,
make a little burping noise and run
back into the ground.
RITA
(whispers to Larry)
That's it. I'm going to kill him.
Phil looks at his watch.
PHIL
Okay? And here we go --
Phil points to the hole and Larry zooms in.
38.
The groundhog sticks his head out, looks left, looks right,
steps out of the hole, and runs away from the press pool,
directly over to Larry's camera. As he stands there, his
body casts a long shadow. The groundhog looks right into
the camera, lets out a squeak, and runs back into the hole.
Rita and Larry are completely amazed as the crowd cheers
the brief appearance of the groundhog. Larry pans back to
Phil.
Phil just stands there speechless, staring at the groundhog
burrow.
RITA
(hisses)
Phil!
Buster Greene, the Groundhog club official, walks onto the
mound and hushes the crowd, exactly as before.
BUSTER
He came out, and he saw his shadow.
Sorry, ladies and gentlemen, but it
looks like it's going to be a long
winter.
Again the crowd lets out a good-natured "Awwwwww" in
disappointment.
Larry pans back to Phil just in time to see him walking
away in a fog, without signing off. Then he pans back to
Rita.
RITA
(at a loss)
For Channel 9 News, this is Rita
Hanson in Punxsutawney.
She holds for a moment then makes the cut sign, drawing her
finger across her throat.
CUT TO:
35 INT. PHIL'S ROOM - LATER 35
Phil is on the phone desperately trying to make a call.
PHIL
(on the phone)
39.
I know there's a blizzard, but I
have to get a call through to my
doctor in Pittsburgh. It's a
medical emergency -- No, don't give
me the Punxsutawney Fire
Department. When do you think the
long distance lines will be working
again? -- But what if we don't have
a tomorrow? We didn't have one
today, my friend -- Hello -- Hello?
He hangs up and shakes his head which is now really
starting to ache, then he pops a handful of Tylenol, lies
down and pulls the covers up over his head. A moment later,
he sits up, takes a pencil from the nightstand, breaks it
in half and puts the pieces back on the nightstand. Then he
lies back down and retreats back under the covers.
CUT TO:
CLOSE UP - CLOCK
The digital clock-radio changes from 5:59 to 6:00 AM. The
radio comes on, playing the end of the Sonny and Cher hit,
"I Got You, Babe," just as it did the day before.
36 INT. PHIL'S ROOM - DAWN 36
Phil sits up in bed fearing the worst and looks on the
nightstand. The pencil is whole again. Completely stunned
by the phenomenon, he jumps out of bed and starts dressing
hurriedly as the morning Deejays begin their now familiar
rap.
DEEJAY
Okay, campers, rise and shine, and
don't forget your booties because
it's COOOLD out there today!
SIDEKICK
It's cold out there everyday. What
is this -- Miami Beach?
Phil rushes out of the room.
CUT TO:
37 EXT. CHERRY STREET - LATER 37
40.
Phil hurries toward the bed and breakfast carrying two
gallon buckets of paint, and a couple of big bags from a
hardware store.
38 INT. BED AND BREAKFAST - CONTINUOUS 38
Phil enters and passes Mrs. Lancaster in the breakfast
room.
MRS. LANCASTER
Painting something, Mr. Connors?
PHIL
I'm conducting an experiment.
39 INT. PHIL'S ROOM - LATER 39
Phil enters and dumps the bags on the bed. Out fall a
couple of big paintbrushes, a small sledgehammer, a
handsaw, a crowbar, plastic goggles and assorted other
tools. He puts on the goggles, grabs a hammer and some
nails and starts nailing the door shut.
CUT TO:
40 EXT. CORRIDOR - LATER 40
Mrs. Lancaster and several other guests are gathered in the
hall outside Phil's room, listening at the door and looking
very worried. Loud music is playing inside the room.
From inside the room, they hear the sound of loud
hammering, wood splintering and glass breaking.
41 INT. PHIL'S ROOM - CONTINUOUS 41
Phil, has demolished just about all the furniture and
woodwork in the room. He rips off the last of the wooden
moldings with the crowbar, then crosses to the mirror over
the demolished sink.
Phil stands there, staring at his image in the mirror,
trying to figure out what's happening to him. He starts
breathing heavier, as if gathering courage, then, just when
we think he's going to cut off his ear or something, he
raises an electric barber clipper and shaves a bald stripe
up the middle of his head. He studies his new look for a
moment then smashes the mirror with his sledgehammer.
41.
Then he opens the cans of paint, dips the two big brushes
into the cans and starts slapping bright red paint onto the
walls, madly, feverishly, splashing himself and everything
else in the room with it.
As a final touch he grabs the bed pillows and rips them
open, then shakes them all around the room creating a storm
of feathers.
Finally, Phil falls exhausted on the bed. From outside we
can hear outraged hotel employees pounding on the door.
We pan over to the clock radio, the only undamaged object
in the room. Feathers drift down past the face of the clock
which reads 5:59 AM. The time changes to 6:00, the radio
clicks on and "I Got You, Babe" starts playing as we pan
back to Phil sleeping on the bed.
He opens his eyes, jumps out of bed and looks around. No
paint, no feathers, no damage. Everything is as clean and
tidy as the day he checked in.
He races over to the unbroken mirror and looks at himself.
His hair is completely restored, as if it had never been
shaved.
The song ends and the deejays come on. Phil says every word
right along with them, shocked into a state of complete
wonderment.
PHIL AND DEEJAY
Okay, campers, rise and shine, and
don't forget your booties because
it's COOOLD out there today.
PHIL AND SIDEKICK
It's cold out there everyday. What
is this -- Miami Beach?
The deejay laughs. Phil laughs insanely along with him.
CUT TO:
42 EXT. GOBBLER'S KNOB - EARLY MORNING 42
Phil is wrapping up another groundhog report, trying to be
completely professional despite the circumstances.
PHIL
(with forced good humor)
42.
-- So according to Mr. Groundhog I
guess we can expect six more weeks
of winter. It's not very
scientific, but it sure is fun.
Hey, wait a second. If he's right,
I could be out of a job!
(mock laugh)
For Channel 9 News, this is Phil
Connors in Punxsutawney.
He holds until Larry stops tape, then approaches Rita.
PHIL
How was that?
RITA
(pleased)
It was good. A little smarmy for my
taste, but I guess that's what
sells.
PHIL
Could I talk to you about a matter
that is not work related?
RITA
You never talk about work.
PHIL
Do you know what I did last night?
RITA
Do I want to know?
PHIL
I destroyed my hotel room.
RITA
You what! This is not some kind of
rock and roll tour. We don't have
the budget for that --
PHIL
No, it's okay. This morning it was
all right again. That's what I have
to talk to you about.
RITA
Phil, what are you doing?
CUT TO:
43.
43 EXT. MAIN STREET - A BIT LATER 43
Phil and Rita cross the street and walk past a crowd of
concerned citizens gathered around what looks like a car
accident. As an ambulance arrives, Phil and Rita enter the
cozy looking diner on the corner.
44 INT. DINER - CONTINUOUS 44
Phil and Rita sit together at the same table they had
previously. The WAITER approaches.
RITA
(to waiter)
Could I have some coffee, please?
The waiter pours her a cup.
WAITER
(exiting)
I'll be back to take your order.
RITA
Thanks.
(to Phil)
Okay, so tell me. How'd you know
where to put the camera?
PHIL
Because I've done it before.
RITA
I know, but the groundhog doesn't
do exactly the same thing every
year, does he?
PHIL
I'm not talking about last year.
I'm talking about today. I lived it
before.
RITA
You're having deja vu?
PHIL
Big time. Rita, I know it's nuts
but I keep reliving the same day
over and over -- Groundhog Day --
today. This is the third time.
RITA
(completely skeptical)
44.
Uh-huh. I'm waiting for the
punchline.
PHIL
No, really. It's like today never
happened. I shaved my head last
night, today its all grown back. I
could probably cut off my limbs,
one by one, and -- pop! They'd grow
back. Just like a starfish. I
probably don't even have to floss?
RITA
I'm wracking my brain, but I can't
even begin to imagine why you'd
make up something like this.
PHIL
'Cause I'm not making it up. I'm
asking for your help.
Rita looks at him for a long moment.
RITA
Okay, I'll bite. What do you want
me to do?
PHIL
The truth? I'd 1ike you to spend
the next 24 hours with me and don't
leave my side for a second.
RITA
I see. You know, Phil, you can
charm all the little P.A.'s at the
station, all the secretaries, and
even some of the weekend anchors,
but not me -- not in a thousand
years.
PHIL
Wait a second --
RITA
Not if I was dying and your breath
was the only cure; not if having
your child was the only way to
preserve the human race. Just get
it out of your head because it is
NOT GOING TO HAPPEN!
PHIL
So much for the truth.
45.
Larry pokes his head in the doorway, looks around, spots
Rita and makes his way over to their table.
LARRY
(to Rita)
You ready? We better get going if
we're going to stay ahead of the
weather.
RITA
Yeah, I'm ready, Larry.
(exiting)
Good luck, Phil.
CUT TO:
INSERT
X-rays of Phil's skull are slapped up onto a light box.
45 INT. MEDICAL CLINIC - DAY 45
Phil is having his head examined by a NEUROLOGIST.
NEUROLOGIST
No spots, no tumors, no lesions, no
clots, no aneurisms. Everything
looks fine and dandy to me, Mr.
Connors. Have you considered
psychiatric help?
CUT TO:
46 INT. PSYCHOLOGIST'S OFFICE - DAY 46
Punxsutawney's only PSYCHOLOGIST is a marriage and family
counselor at the local Lutheran church. His appearance and
manner indicate he may have some serious problems of his
own.
PSYCHOLOGIST
(not too confident)
That's kind of an unusual problem,
Mr. Connors. Most of my work is
with couples and families.
Phil is lying on a couch. His head is completely shaved.
PHIL
46.
Yeah, but you're still a
psychologist. You must have had
some course in school that covered
this kind of thing.
PSYCHOLOGIST
Sort of, I guess. Abnormal
Psychology.
PHIL
So based on that what would you
say?
PSYCHOLOGIST
(hesitant)
I'd say that maybe you're -- I
don't know -- a little delusional.
PHIL
You're saying this thing is not
really happening to me?
PSYCHOLOGIST
Uh-huh.
PHIL
Then how do I know this
conversation is really happening?
PSYCHOLOGIST
I guess you don't.
PHIL
Then forget about me paying you.
A discreet little alarm sounds.
PSYCHOLOGIST
(relieved)
I'm afraid that's all the time we
have, Mr. Connors.
PHIL
Wait! Are you saying I'm crazy?
PSYCHOLOGIST
(humoring him)
Not necessarily. If it concerns you
we should schedule our next session
as soon as possible. How's tomorrow
for you?
Phil glowers at him.
47.
CUT TO:
INSERT - A MODEL OF THE SOLAR SYSTEM
A SCIENTIST in a white lab coat is holding up the model.
Phil looks on with interest.
SCIENTIST
(authoritatively)
Now if the moon exerts a
gravitational pull strong enough to
cause the tides, then it may be
theoretically possible for a Black
Hole or a Singularity of sufficient
magnitude to actually bend time
enough to cause it to fold back on
itself.
PHIL
You think that's a realistic
possibility?
A paper airplane sails past his head, accompanied by a
noisy outburst of juvenile laughter. We pull back to
REVEAL:
47 INT. CLASSROOM - DAY 47
Twenty-five eighth-graders running amok.
SCIENTIST
(sternly)
All right! I think someone may just
need a little visit to the
Assistant Principal's office! Get
back in your seats. The bell has
not rung yet.
The kids sit back down, but keep up their noisy chatter.
SCIENTIST
(to Phil)
Well, I'm speaking purely
hypothetically.
CUT TO:
48 INT. SCHOOL CORRIDOR - LATER 48
48.
Phil is walking toward the exit when he passes a first
grade classroom. The door is open and the TEACHER is
discussing a story with the class.
TEACHER
So the princess picked up the frog
and kissed him.
Phil stops outside the door to listen.
49 INT. CLASSROOM - CONTINUOUS 49
TEACHER
Now who can tell me what happened
when the princess kissed the frog.
LITTLE BOY
Her lips got slimed!
The whole class erupts in giggles and shrieks.
TEACHER
Okay, come on now. What happened
when she kissed the frog?
LITTLE GIRL
The princess kissed the frog and
the spell got broke and he turned
into a handsome prince and they got
married and lived happily ever
after.
TEACHER
That's right.
50 INT. THE CORRIDOR - SAME TIME 50
Phil is leaning against the wall listening. There is
something very arresting about the fairy tale, but finally
he just shakes his head and exits.
CUT TO:
51 INT. DEW DROP INN - LATER THAT NIGHT 51
Phil is at a bar getting drunk with two local blue-collar
workers, GUS and PHIL.
PHIL
49.
Gus, what would you do if there was
no tomorrow?
GUS
You mean like if the world was
gonna end?
PHIL
No, I mean like if it was never
going to end. If everyday was the
same and you were stuck here and
you couldn't get out and nothing
you did mattered?
GUS
You're right. Everyday is the same,
I can't get out of here and nothin'
I do matters.
V RALPH
No, he's askin1 you a question, ya
idiot.
GUS
What was the question?
RALPH
What if nothing mattered?! Jeez, I
know what I'd do. I'd just spend
all my time drivin' fast, gettin1
loaded and gettin' laid. That's it.
PHIL
That's it. It just doesn't get any
better than this, does it? Good
friends, good conversation and
quality brew. Drink up, boys.
They salute each other and drink.
CUT TO:
52 EXT. THE STREET - LATER 52
Phil, Gus and Ralph approach Ralph's big, black, old Buick
convertible parked outside the bar. They are even drunker
than they were before.
RALPH
(fumbling with his
carkeys)
50.
Where you stayin', Phil? We'll drop
you off.
PHIL
Hey, friends don't let friends
drive drunk. Give me your keys.
He's as wasted as they are, but Ralph hands over his keys
without a fight.
RALPH
Thanks, man.
PHIL
It's nothing. Get in.
They all pile into the front seat with Phil at the wheel.
PHIL
(starting the ear)
Seatbelts.
Ralph and Gus give him the thumbs up sign and start digging
around in the seat cracks for their seatbelts. Suddenly,
Phil floors the accelerator and peels away, sideswiping a
parked car as he screeches around the corner.
53 INT. THE BUICK - CONTINUOUS 53
Phil is having a great time. Gus and Ralph are whooping it
up like kids on a roller coaster.
PHIL
This is great, Ralph!
RALPH
Oh, hey, take a left!
Phil passes the intersection.
RALPH
You missed it!
PHIL
No problem --
54 EXT. MAIN STREET - CONTINUOUS 54
Phil throws the car into a high-speed, skidding U-turn,
goes up on the curb, across a couple of lawns, takes out a
mailbox and a STOP sign and bounces back onto the street.
51.
A POLICE CAR parked in front of the hardware store pulls
out and takes off after him.
55 INT. THE BUICK - CONTINUOUS 55
Phil swerves in and out of oncoming traffic. Gus is
starting to look a little green.
PHIL
So many rules --
RALPH
You can say that again.
PHIL
"Don't do this --"
56 EXT. THE STREET - CONTINUOUS 56
The Buick demolishes a parked car.
PHIL (V.O.)
"Don't do that -- "
He mows down a row of parking meters.
POLICE CAR
It comes screaming around a corner in hot pursuit of the
Buick
57 INT. THE BUICK - CONTINUOUS 57
Ralph hears the siren and looks back at the police car.
RALPH
All right! Try and stop us, you
mothers!
PHIL
No more rules!
RALPH
No more rules!
58 EXT. THE STREET - CONTINUOUS 58
A second police car joins the chase.
52.
RALPH
(looking back)
That's two!
PHIL
Having a good time?
RALPH
I'm having a great time!
Phil speeds up to a hundred miles and hour. Gus is looking
even worse from the liquor and the motion of the car.
GUS
Hey, uh --
PHIL
Phil.
GUS
Yeah, Phil -- like the groundhog.
PHIL
Right.
GUS
Hey, Phil? How're we going to get
out of this?
THEIR POV - THE INTERSECTION AHEAD
Two police cars with lights flashing are parked sideways,
completely blocking the road. Officers stand in the
roadway, motioning for Phil to stop.
PHIL
(calmly)
Gus, you're just going to have to
trust me on this one.
He tromps the gas pedal to the floor. Gus's eyes go wide
with terror.
The police dive out of the way.
PHIL AND RALPH
Yahooooo!
THEIR POV - THROUGH THE WINDSHIELD
The Buick crashes head on into one of the police cars.
53.
BLACK OUT:
CLOSE UP - CLOCK
The time changes from 5:59 to 6:00. The radio starts
playing "I Got You, Babe."
Phil sits up suddenly and looks around, completely amazed.
He is in his room at the bed and breakfast, everything
exactly the same as before. He hops out of bed and quickly
examines himself for signs of physical injury. Nothing. The
music ends and the two deej ays come on.
DEEJAY
Okay, campers, rise and shine, and
don't forget your booties because
it's COOOLD out there today.
Phil talks out loud along with them.
PHIL AND SIDEKICK
It's cold out there everyday. What
is this -- Miami Beach?
The deejays laughs. Phil laughs, too, exhilirated at having
survived the car wreck, still very confused and perplexed,
but just beginning to see the possibilities of his unique
situation. He starts dressing in a hurry.
CUT TO:
59 INT. BREAKFAST ROOM - CONTINUOUS 59
Phil rushes into the breakfast room just as Mrs. Lancaster
comes out of the kitchen with the coffee. Everything is
exactly the same as before.
MRS. LANCASTER
Would you --
Phil interrupts, answering all her questions before she
even asks them.
PHIL
(urgently)
Yes, I would like some coffee; the
weather is going to be cold and
overcast with blizzard conditions
moving in later today; and yes, I
will be staying an extra day.
MRS. LANCASTER
54.
(baffled)
Why thank you.
PHIL
Mrs. Lancaster, has anyone been
around here looking for me this
morning? Maybe a state official,
blue coat, hat, gun, nightstick,
badge, driving a late-model Ford br
Chevy, black and white with bubble
lights on top --
MRS. LANCASTER
(shocked)
No, no one like that -- I don't --
Will they be?
PHIL
(greatly relieved)
Apparently not.
Phil gooses her, grabs a sweet roll, and heads for the
door, starting to believe now that he can truly do anything
he wants to.
CUT TO:
60 EXT. BOARDING HOUSE - DAWN 60
Phil stops on the steps, puts on his coat and gloves and
again joins the traffic heading toward Gobbler's Knob.
61 EXT. MAIN STREET - MOMENTS LATER 61
Phil passes the old bum, ignoring him as usual.
NED (O.C.)
Hey, Phil!
Phil slips off his glove as Ned Ryerson lumbers toward him.
NED
Phil! Phil Connors!
PHIL
Ned! Ned Ryerson! Ned the Head!
Before Ned can say another word, Phil SLUGS HIM. Ned goes
down, Phil puts his glove back on and keeps walking.
55.
Phil deftly avoids the slushy pothole he stepped in before.
A PEDESTRIAN walking behind him steps right into it.
CUT TO:
62 EXT. GOBBLER'S KNOB - LATER 62
Phil is passing through the crowd on his way to the press
area when he notices NANCY, the girl he met at the hotel
bar, and stops to talk to her.
PHIL
You here to see the groundhog?
She gives him a look. It's obvious she's never seen him
before.
NANCY
Can you think of another reason
anybody'd be out here at dawn on a
freezing day?
PHIL
What's your name?
NANCY
Nancy Taylor. And you are—
PHIL
Where'd you go to high school?
NANCY
What is this?
PHIL
(playful)
High school?
She really doesn't know what to make of Phil but she
decides to play along.
NANCY
Lincoln High school. In Pittsburgh.
Who are you?
PHIL
Who was your twelfth grade English
teacher?
NANCY
Are you kidding?
56.
PHIL
I'm waiting.
NANCY
.Mrs. Walsh.
PHIL
Walsh. Nancy, Lincoln, Walsh.
NANCY
Is this some kind of come-on?
PHIL
I'm not really sure. We'll have to
see.
Phil walks off and joins Rita at their camera position.
CUT TO:
63 INT. DINER - LATER THAT MORNING 63
Phil is sitting at his usual table, which is covered with
an incredible variety of rich foods, eggs, bacon, sausage,
pancakes, pies, cakes, eclairs, ice cream, puddings, etc.
Rita sits across from him, watching in amazement as he
stuffs himself with pastry.
RITA
Is this some new fad diet? Don't
you worry about cholesterol?
Phil scrapes a plate and takes a final bite of a chocolate
eclair.
PHIL
I don't worry about anything
anymore.
RITA
What makes you so special?
Everybody worries about something.
PHIL
That's exactly what makes me so
special.
He takes a big bite of cake. Rita shakes her head.
PHIL
(with his mouth full)
57.
What?
RITA
"The wretch, concentered all in
self, Living, shall forfeit fair
renown, And doubly dying, shall go
down to the vile dust from whence
he sprung, Unwept, unhonored, and
unsung." Sir Walter Scott.
PHIL
(stares at her for a long
moment)
"There was a young man from
Nantucket--"
RITA
That's really funny. When are you
going to grow up, Phil?
PHIL
At this rate -- never.
(he pulls out a pack of
cigarettes)
Okay if I smoke?
Rita shrugs. Phil lights up a cigarette.
RITA
You really do have a death wish,
don't you?
PHIL
Just the opposite, Rita. I have a
life wish. I'm just trying to enjoy
it. Taking pleasure in the little
things. Don't you ever just want to
cut loose and go wild?
RITA
I wouldn't even know what it means
to go wild.
PHIL
Yeah, well, that's where I come in.
Going wild is one of my
specialties. Last night I got
completely loaded and drove head-on
into a police car.
RITA
(disbelieving)
58.
Oh, really? You look pretty good
this morning.
PHIL
That's my point. I know you won't
believe me, but we could do
anything we want today and it
wouldn't matter one bit. Absolutely
no consequences. Complete and total
freedom.
RITA
And how do we manage that?
PHIL
You leave that to me. Why don't you
send Larry back and hang out with
me for the rest of the day? You
never make it through that blizzard
anyway.
Larry enters the diner and spots them.
RITA
I'll take my chances with the
weather. But you have a good time.
PHIL
Don't worry. I plan to.
CUT TO:
64 EXT. GOBBLER'S KNOB - NEXT MORNING 64
Phil comes through the crowd and finds Nancy in the same
spot she was in the day before.
PHIL
Nancy?
Nancy turns and looks at him quizzically.
PHIL
Nancy, right?
NANCY
I'm sorry, I—
PHIL
Nancy Taylor? Lincoln High? I sat
next to you in Mrs. Walsh's English
class.
59.
NANCY
That --
PHIL
Phil Connors.
NANCY
-- is amazing!
PHIL
You don't remember me, do you?
NANCY
I don't -- sure, I think --
PHIL
We used to shoot spit balls --
NANCY
Yeah, oh, God --
PHIL
I even asked you to the prom.
NANCY
Phil Connors.
PHIL
Yeah.
NANCY
How ARE you?!
PHIL
I'm great. Wow, you look terrific.
Hey, listen, I gotta do this report
--
NANCY
You're a reporter?
PHIL
Weatherman. Channel 9, Pittsburgh.
NANCY
Right, I should've known --
PHIL
But maybe after we could --
NANCY
Yeah, yeah, I'd like that --
60.
RITA (O.C.)
Phil!
Rita is calling from across the crowd. She looks at him
with disapproval.
CUT TO:
65 INT. PHIL'S ROOM - NIGHT 65
Phil is making passionate love to a WOMAN in the dark.
WOMAN
(moans)
Oh, Phil.
PHIL
Oh, Rita.
The woman suddenly freezes. There is a moment of silence,
then she snaps on the light. It's Nancy, not Rita. Phil is
as surprised as she is by his slip of the tongue.
NANCY
(cold)
Who's Rita?
PHIL
(caught)
No one. It's just something I say
when I make love. You know --
"Orita", "Orighta" -- it's like
"Oh, baby" or something.
NANCY
(not entirely convinced)
Oh.
PHIL
(corrects her)
O-rita.
Nancy laughs uncertainly. Phil switches off the light,
thinking now about Rita.
CUT TO:
66 INT. BREAKFAST ROOM - MORNING 66
61.
Some elderly GUESTS are sipping coffee and eating
breakfast, staring uncomfortably at something on the other
side of the room.
THEIR POV
Phil is standing at the bookcase, wearing only pajamas,
absently munching on a Danish as he reads from one of the
books.
Mrs. Lancaster approaches him.
MRS. LANCASTER
Isn't it a wonderful collection?
PHIL
(not looking up)
Yes, it is. You don't usually find
this many trashy novels in one
place.
MRS. LANCASTER
You can take a book up to your room
if you like.
PHIL
No, thank you. I've actually read
them all. I was just rereading some
of the dirty parts.
He finishes and puts the book back on the shelf.
MRS. LANCASTER
(worried)
How long will you be staying with
us, Mr. Connors?
PHIL
Indefinitely. I've already been
here for 211 days.
MRS. LANCASTER
(humoring him)
Really? That's quite a long time,
isn't it. I hope you're finding
things to do in our little town.
PHIL
(casually)
Yes, well, I'm getting a little
tired of casual sex so today I
thought I'd rob a bank and buy
myself a really expensive car.
62.
Phil kisses her on the lips and walks off.
CUT TO:
67 EXT. PENN BANK AND TRUST - DAY 67
Two harmless-looking old GUARDS are calmly loading bags of
cash into an armored car parked in front of a local bank.
Suddenly Phil appears, wielding a shotgun, wearing a Batman
style cape, his face completely hidden by a ski mask.
PHIL
(shouts)
All right, freeze!! Drop your guns
J!
The guards stand there frozen with terror.
PHIL
You guys ever been held up before?
(they shake their heads)
It's kind of exciting, isn't it?
FIRST GUARD
(frightened)
I guess so. Something to tell the
kids about.
PHIL
Yeah. By the way, I'm Phil.
He raises the mask and shows his face.
FIRST GUARD
Herman.
SECOND GUARD
Felix.
PHIL
(shaking their hands)
Herman and Felix. Okay. Take it
easy, boys. And thanks.
The frightened guards watch as Phil makes off with two
large satchels of cash.
CUT TO:
68 INT. USED CAR DEALERSHIP - DAY 68
63.
Phil pats the hood of a used BMW 850 sports car as a
SALESMAN stands by beaming. Phil is wearing a full Steelers
football uniform complete with shoulder pads.
SALESMAN
A real beauty, huh. We picked it up
at a --
PHIL
I'll take it. How much?
SALESMAN
Well, the sticker says $62,999 but
if you want—
PHIL
I'll tell you what. I'll give you
$70,000 if you just knock off the
car salesman stuff and let me get
out of here with my car.
The Salesman gawks as Phil opens his briefcase and starts
counting out stacks of bills.
CUT TO:
69 EXT. PUNXSUTAWNEY - DAY 69
From a high angle, we see the BMW tearing around the
streets of the town as if running a Grand Prix road race.
CUT TO:
70 EXT. MAIN STREET - DAY 70
The BMW comes screeching to a stop right in front of the
movie theater and the door opens.
A pair of really elaborate cowboy boots complete with
silver spurs hits the pavement first; then we PAN UP to see
Phil emerge from the car wearing a really gaudy; full
cowboy outfit with real six-guns on his hips. A very
trashy-looking girl, LARAINE, gets out on the passenger
side, dressed like a French maid.
LARAINE
(very self-conscious)
I thought we were going to a
costume party.
PHIL
64.
Yeah, we are, we are. But first I
have this movie theater fantasy I
want to talk to you about.
He escorts her into the theater.
CUT TO:
71 INT. TATTOO PARLOR - ANOTHER DAY 71
Phil is lying on the table, getting elaborately tattooed.
Rita walks by, looks in the window and is shocked to see
Phil there.
Phil waves at her and points to the colorful new heart
pierced by a bloody dagger being tattooed on his arm.
CUT TO:
72 INT. BIKER BAR - NIGHT 72
We pan down the line of ROUGH TRADE PATRONS to. Phil,
dressed all in black leathers, both arms heavily tattooed,
looking like Sid Viscious on crack. He takes off his hat to
reveal red, white and blue hair shaved almost down to his
skull. A slut named ANGIE and another overweight, not very
pretty MADONNA WANNA-BE, both in too-tight jeans and bullet
bras are coming on to him, practically licking his ears.
Angie pops a couple of mystery pills into his mouth. Phil
washes them down with a shot and a beer.
CUT TO:
73 INT. PHIL'S ROOM - NIGHT 73
It looks like outtakes from Fellini's "Satyricon." Heavy
metal is blaring from the radio, as several unsavory
looking men and women are partying down, a few already
passed out, sleeping off whatever hit them. Someone is
knocking loudly on the door, shouting complaints about the
music. A beer bottle smashes against the door.
Phil is sitting up on the bed with Angie. He has his arm
around her shoulder and a fifth of Wild Turkey in his hand.
PHIL
(more to himself than to
Angie)
65.
Yeah, but eventually you'd just get
tired of screwing around and then
you'd want a real relationship,
wouldn't you?
ANGIE
I don't know.
A big German Shepherd tries to jump up on the bed with
them.
PHIL
Get down, Brunoi
(continuing)
Someone decent, someone who you
respected, who respects you. -60-
ANGIE
I guess so.
The dog jumps up again.
PHIL
Down, Bruno!
(still musing)
It's tough to find a relationship
like that, especially if your time
is kind of limited. But you still
have to try, don't you?
(the dog again)
Bruno! I told you! Off the bed!
Phil looks over at Angle who's passed out with her mouth
open
PHIL
There's got to be more to it than
this.
CUT TO :
74 EXT. A SIDE STREET - THE NEXT MORNING 74
Rita is in the news van reviewing the tape of Phil's report
Phil hovers at the open side door.
RITA
You look good. I mean, it came out
all right. How'd you know where to
put the camera?
PHIL
66.
Psychic. So did you have a nice
evening?
RITA
(guarded)
I just had a sandwich, watched some
TV and went to bed.
PHIL
I got my whole body tattooed and
part ied all night with some
nymphomaniac biker chicks.
RITA
(skeptical)
Sounds wholesome. Were those the
new 24-hour disappearing tattoos or
can I see them?
PHIL
No, they're gone. Rita, if you only
had one day to live, what would you
do with it?
She switches off the videotape and steps out of the van.
RITA
I don't know, Phil. What are you
dying of?
PHIL
No, I mean like what if the entire
world was about to explode?
RITA
I'd just want to know where to put
the camera. What are you looking
for, Phil -- a date for the
weekend?
She starts walking toward the center of town. Phil sticks
right with her.
PHIL
No, I just want to know you better.
What do you like, what do you want,
what do you think about, what kind
of men are you interested in, what
do you do for fun?
RITA
(she stops)
67.
Is this real or are you just going
to make me feel like a fool?
PHIL
I'm just trying to talk to you like
a normal person. Isn't this how
normal people talk?
RITA
Close.
PHIL
Okay, so talk to me. C'mon, I'll
buy you a cup of coffee.
CUT TO:
75 INT. DINER - A LITTLE LATER 75
Phil and Rita are at their usual table, drinking coffee.
RITA
I guess I want what everybody wants
--you know, career, love, marriage,
children. So far I don't have any
of it.
PHIL
You have a career.
RITA
I have a job. Doing stories on the
Punxsutawney groundhog is not my
ultimate goal. No offense.
PHIL
How about the other stuff? You
seeing anybody?
RITA
This is getting too personal. I
don't think I ' m ready to discuss
these things with you. What about
you? What do you want?
PHIL
What I really want is someone like
you.
RITA
Oh, please --
68.
PHIL
Why not?
RITA
Phil, you know, you have so much
talent and ability. If you'd just
drop the attitude and act like a
decent human being, then maybe I'd
--
(she hesitates)
PHIL
You'd what?
RITA
I don't know what.
PHIL
Then maybe you'd like me?
She stares hard at him.
RITA
I don't know. It's sort of like the
way I feel about UFO's. I'd have to
see it to believe it.
Larry pokes his head in the doorway, looks around, spots
Rita and makes his way over to their table.
LARRY
(to Rita)
You ready? We better get going if
we're going to stay ahead of the
weather.
RITA
Yeah, I'll be right out, Larry.
Larry scowls at Phil and exits.
PHIL
(to Rita)
Why don't you stay for a while? The
road's going to be closed anyway.
Do you really want to be stuck in
the van with Larry for three hours?
RITA
I've got to get back. I'll see you
later.
Phil watches Rita exit.
69.
PHIL'S POV
Rita gets in the news van and drives off with Larry.
Phil stares out the window, more determined than ever to
win her over.
CUT TO:
76 EXT. GOBBLER'S KNOB - ANOTHER DAY 76
Phil is wrapping up his groundhog report.
PHIL
Well, you heard it right from the
groundhog's mouth. Bundle up good,
'cause it's going to be a long
winter -- at least in Punxsutawney.
Reporting for Channel 9, this is
Phil Connors.
Larry stops tape.
RITA
That was great. How did you know
the --
PHIL
(preoccupied)
I have to go now. There's something
I have to do.
Phil runs off without another word of explanation.
CUT TO:
77 EXT. THE NEWS VAN - LATER 77
Phil has the hood open and is doing something to the
engine.
CUT TO:
78 INT. THE BERGHOF RESTAURANT - LATER 78
Rita is sitting at the bar in the town's best restaurant, a
good chophouse with Black Forest decor and waitresses
dressed in dirndl skirts and aprons. Phil enters and sits
down next to her.
70.
PHIL
(acting surprised)
Oh, hi, Rita. You still here?
RITA
(glum)
The van won't start. Larry's
working on it.
PHIL
(innocent)
Wouldn't you know it. Buy you a
drink?
RITA
Okay.
PHIL
(to the bartender)
Jack Daniels.
BARTENDER
For you, miss?
RITA
Tequila,with lime. Gold, if you've
got it.
Phil nods to himself.
CUT TO:
SAME SCENE - ANOTHER DAY
Phil walks in and sits next to Rita.
PHIL
(acting surprised)
Oh, hi, Rita. You still here?
RITA
(glum)
The van won't start. Larry's
working on it.
PHIL
Wouldn't you know it. Buy you a
drink?
RITA
Okay.
PHIL
71.
(to the bartender)
Tequila with lime, gold if you've
got it.
Rita looks at Phil, surprised.
BARTENDER
For you miss?
RITA
Same for me, please.
The BARTENDER pours.
PHIL
(to Rita)
What should we toast to?
RITA
Your call.
PHIL
To the groundhog!
Rita stares for a moment.
RITA
I always drink to world peace.
CUT TO:
SAME SCENE - ANOTHER DAY
BARTENDER
Take your order?
PHIL
Tequila with lime, gold if you've
got it.
Rita looks at Phil.
BARTENDER
For you, miss?
RITA
Same for me, please.
The BARTENDER pours.
Phil lifts his glass.
72.
PHIL
To world peace.
Rita smiles, reevaluating him.
RITA
To world peace.
They clink glasses.
CUT TO:
79 INT. THE BAR - LATER 79
Rita and Phil are now sitting together at a table, a plate
of cheese and crackers and a bottle of white wine between
them.
PHIL
You like your job?
RITA
It's okay. I think it could be
really challenging. Of course it's
about a million miles from where I
started out in college.
PHIL
You weren't in broadcasting?
RITA
At Bryn Mawr? No, uh-uh. Believe it
or not, I studied Nineteenth
Century French Poetry.
PHIL
(laughs good-naturedly)
Really? What a waste of time.
Rita looks offended. Phil knows he made a mistake.
CUT TO:
SAME SCENE - ANOTHER DAY
PHIL
You weren't in broadcasting?
RITA
At Bryn Mawr? No, uh-uh. Believe it
or not, I studied Nineteenth
Century French Poetry.
73.
Phil leans in closer to her.
PHIL
La fille qui j'aimera Sera comme
bon vin Qui se bonifiera Un peut
chaque matin.
Rita smiles, entranced.
CUT TO:
80 INT. FUDGE SHOP - DAY 80
Phil and Rita are sitting at a table in a small
confectionery, tasting chunks of different flavored fudge.
Rita takes a bite
RITA
This is terrific.
PHIL
Best fudge in town.
RITA
How do you know so much about
Punxsutawney?
PHIL
I like small towns. I think they
engender real community more than
big cities.
RITA
That is so true! I've always
thought that, too.
PHIL
No kidding. Here -- try the white
chocolate.
RITA
Oh, yuk, don't make me sick.
PHIL
(making mental note)
No white chocolate.
RITA
There's something so familiar about
this. Do you ever have deja vu?
Phil smiles. Then Larry enters.
74.
LARRY
(irate, to Rita)
I don't believe it. Someone bought
every distributor cap in this town.
We're going to be stuck here all
night1
Over Phil's sympathetic look we hear the song, "I Can't Get
Started With You".
CUT TO:
81 INT. THE BERGHOF RESTAURANT - NIGHT 81
The music continues over Rita and Phil on the small dance
floor. They dance, close, dreamy, romantic.
CUT TO:
82 EXT. MAIN STREET - LATER THAT NIGHT 82
There is a light snow falling. Phil and Rita are making a
little snowman. Somehow the town looks magical tonight— old
fashioned, wholesome.
A snowball hits Phil in the back. He and Rita turn around
to see a giggling KID. Phil packs a snowball and tosses it.
The kid throws one back. Rita and Phil both get into it,
packing snowballs and getting into a war with this kid and
his little gang of friends.
A snowball catches Rita unaware, she slips and goes down in
a snowbank. Phil bends down to help her and slips. They are
no together, lying in the snow, laughing. Their eyes lock
for a long sweet moment, then Rita gets embarrassed and
stands up.
CUT TO:
83 EXT. CHERRY STREET INN - NIGHT 83
Phil and Rita are walking slowly, very close.
PHIL
What?
RITA
I'm just amazed. And I'm not easily
amazed.
75.
PHIL
About what?
RITA
How you can start a day with one
kind of expectation and end up so
completely different.
PHIL
Do you like how this day is turning
out?
RITA
Yes. I like it very much.
They stop dn front of Phil's hotel. She turns to him.
RITA
You could never have planned a day
like this, but it couldn't have
been more perfect.
PHIL
You're wrong. I've been planning
this day for weeks.
Rita ignores the remark and hugs him. Phil tries to kiss
her but she gently puts her fingers to his lips, stopping
him. They enter the bed and breakfast inn.
84 INT. VESTIBULE - CONTINUOUS 84
Rita hugs him again and starts to exit.
RITA
Thanks. See you tomorrow.
PHIL
Tomorrow? Wait, aren't you going to
come up to my room for a while?
RITA
(very reluctant)
I don't know, Phil --
PHIL
No reason to end a perfect day.
RITA
(deciding)
Well -- we better not.
76.
PHIL
No, you should. The, uh, the
poetry! I've got some books,
Rimbaud, Beaudelaire, we could
light a fire --
RITA
Thanks, but --
PHIL
(seeing it all slip away)
Please come, Rita. It'll be --
RITA
(definite)
Phil, I'm tired. We can be together
tomorrow.
PHIL
(getting desperate)
But there is no tomorrow for me!
RITA
(adamant)
Let's not ruin it, Phil. There's no
way I'm sleeping with you tonight.
PHIL
Why not? Rita, I love you!
RITA
You don't even know me!
PHIL
(grabs her hand)
Please! You have to!
Rita shakes loose from his grasp.
RITA
What's wrong with you!
There is a long moment of silent tension, then all her old
doubts about Phil come rushing back.
RITA
(shaking her head)
Oh, no. I can't believe I fell for
it. This whole day was just one
long set-up. And I ate fudge.
Yucchh! I hate fudge.
PHIL
77.
No, it was real. I love you.
RITA
Stop saying that! Do you really
expect me to trust you? The whole
secretarial pool is a Phil Connors
recovery group.
PHIL
But I can change! I really can --
Rita slaps him hard on the cheek.
RITA
That's for making me care about
you.
She turns and stomps off, leaving Phil standing there
hurting.
CUT TO:
85 EXT. MAIN STREET - ANOTHER NIGHT 85
The snowball fight with the kids is going on as before.
Phil falls into the snowbank with Rita and they almost
kiss.
CUT TO:
86 INT. QUALITY INN MOTEL - LATER 86
Phil is trying (MOS) to talk his way into Rita's room. She
^pushes him away and slams the door in his face.
CUT TO:
87 EXT. MOTEL - NIGHT 87
The streets are deserted except for Phil, staring up at
Rita's window in the Quality Inn.
Rita comes to her window and looks out. She sees Phil
looking up at her and draws the curtains.
CUT TO:
88 INT. PHIL'S ROOM - DAWN 88
78.
"I Got You, Babe" is playing. Phil hits the clock radio to
turn it off. He lies there for a moment, then hefts himself
heavily out of bed, not eager to repeat the day yet another
time. With the radio off, Phil does the deejays' morning
routine himself, seemingly for the millionth time.
PHIL
(dully)
Okay, campers, rise and shine, and
don't forget your booties because
it's cooooold out there today.
Phil continues the radio report at his own pace, obviously
fatigued.
PHIL
It's cold out there everyday. What
is this -- Miami Beach? Haw. Not
hardly. And you can expect
hazardous travel later today with
that, you know, blizzard thing.
CUT TO:
89 EXT. GOBBLER'S KNOB - DAWN 89
Phil is walking through the crowd. He spots Nancy, walks up
to her and greets her half-heartedly.
PHIL
Hi, Nancy.
NANCY
(pleasantly)
Hi. Do I know you?
Phil can't manage enough enthusiasm to pursue her yet
again.
PHIL
No, I guess not. I thought you were
someone else.
Phil wanders over to where Rita and Larry are setting up
the camera. Rita comes over to him.
RITA
Are you all right, Phil? You look
terrible.
Phil looks at her sadly, then turns away.
79.
PHIL
(vacantly)
I'm fine.
CUT TO:
90 INT. BIKER BAR - NIGHT 90
The balls CRACK as the cue ball breaks the rack.
Phil is walking around the table, cue in hand, sinking ball
after ball, while several admiring HUSTLERS look on.
FIRST HUSTLER
Who is this guy?
SECOND HUSTLER
I don't know. Hey, mister --
(Phil doesn't stop
shooting)
Who are you, anyway?
Phil shoots, sinks a tough one.
PHIL
You don't know me? I've been
playing here every day for two
months.
FIRST HUSTLER
Oh, yeah? So how come I ain't seen
you?
PHIL
I don't know. I seen you.
SECOND HUSTLER
So what's your name?
PHIL
They call me— Punxsutawney Phil.
SECOND HUSTLER
Punxsutawney Phil? Like the
groundhog.
PHIL
Yeah, like the groundhog.
Phil sinks another one.
CUT TO:
80.
91 EXT. GOBBLER'S KNOB - DAWN 91
The crowd is waiting expectantly for the groundhog to
appear Phil is a wreck, squatting unprofessionally in front
of the camera.
PHIL
(cynically)
This is one of the most pitiful
spectacles known to civilization.
With one nod from a filthy rodent
best known to pest control
agencies, a moribund old coal
mining hamlet turns magically into
the Lourdes of Pennsylvania, Mecca
to thousands of people who, if they
hated the winter so damned much,
why don't they move to Florida,
anyway? -74-
Larry and Rita look on, incredulous.
CUT TO:
CLOSE UP - TV SET
The program JEOPARDY! is playing.
ALEX TREBECK
(on TV)
Nobel prize-winning co-discoverers
of the DNA molecule.
PHIL (O.C.)
Who are Watson and Crick.
CONTESTANT
(on TV)
Who are Watson and Crick?
ALEX
(on TV)
Correct.
There is a cheering from a small group of people off-
screen.
92 INT. PARLOR - CONTINUOUS 92
Phil is sitting in his bathrobe in a big lounge chair in
the parlor of his hotel. Mrs. Lancaster, and other guests
watch his performance, awed by his "intellect."
81.
ALEX
(on TV)
Twin brother and sister Sebastian
and Olivia create confusion in this
Shakespearean comedy.
PHIL
What is "Twelfth Night."
CONTESTANT
(on TV)
What is "Twelfth Night?"
ALEX
(on TV)
Correct.
More cheering from the small group.
CONTESTANT
(on TV)
I'll take New Jersey for eight
hundred, Alex.
ALEX
(on TV)
And the answer is -- an audio daily
double.
PHIL
Count Basie.
CUT TO:
93 EXT. STREET - DAY 93
Phil is walking through town, still dressed only in his
pajamas and overcoat, counting the sidewalk cracks, taking
giants steps from one to the next. He looks crazy.
PHIL
Two thousand six hundred and
seventy-one --
(takes another step)
two thousand six hundred and
seventy-two --
(another step)
two thousand six hundred and
seventy-three --
A woman passes walking her dog.
82.
PHIL
Hey, pick up after your dog!
DOG WALKER
He hasn't done anything.
PHIL
He's going to!
(pointing)
There and there. And there!
Phil continues walking, counting the sidewalk cracks. THREE
NEIGHBORHOOD KIDS notice Phil and walk along, matching him
step for step.
IPHIL
Two thousand six hundred and
seventy-four, two thousand six
hundred and seventy-five, two
thousand --
JOEY
Five million eight hundred --
PHIL
Six hundred --
MIKE AND SUE
Ninety, twenty, four, six, fifty --
PHIL
Two thousand, four hundred --
JOEY, MIKE AND SUE
Two, eight, nine, forty-six --
Phil stops. He has lost count. His lip curls up like an
animal as he turns slowly, growling at the kids. They run
away screaming with glee. Phil starts after them but runs
right into a COP.
COP
You got a problem, buddy?
PHIL
(out of control)
83.
Yeah, I got a problem, buddy! I
can't stand this place anymore! I
can't stand this street and I can't
stand the fourteen bars and the
five banks and the one star food
and the bad weather and the
"quaint" little shops and most of
all, I can't stand anything --
ANYTHING -- with a groundhog on it.
He rips a groundhog patch off the cop's jacket sleeve.
COP
(calmly)
Okay. Then let's see what we can do
about getting you out of here. You
got a name?
PHIL
(eyes downcast)
Phil.
COP
Phil. Like the groundhog!
Phil turns to the cop like a rabid dog, ready to strike.
PHIL
Yeah, like the --
(he stops as if struck)
-- groundhog.
Some big new idea has formed in his mind.
CUT TO:
94 EXT. GOBBLER'S KNOB - EARLY MORNING 94
Rita is looking at Phil as Larry videotapes his report.
LARRY
(turning to Rita)
The guy's nuts. He's out of his
gourd.
RITA
Let him finish, then I'll call the
station.
They turn back to watch Phil's wrap-up.
84.
Phil is completely unkempt, still wearing only pajama
bottoms and his overcoat, looking even more demented.
PHIL
(to camera)
There is no way this winter is ever
going to end as long as that
groundhog keeps seeing his shadow
everyday. I don't see any other way
out. He's got to be stopped and
I've got to stop him. For Channel 9
news, this is Phil Connors.
CUT TO:
95 EXT. GOBBLER'S KNOB - NIGHT 95
Phil is walking around the mound, casing it out. He takes a
rifle out from under his coat and sneaks up to the burrow.
He pulls a smoke bomb from his pocket, lights it, and
throws it into the hole, then scurries for the edge of the
knob and hits the deck. He lifts his rifle and aims it.
Smoke is now pouring from the mound. Lots of it.
Phil waits, his trigger finger twitching.
A WOMAN casually walks by, stops. She surveys the
situation.
WOMAN
He ain't there.
Phil doesn't move. He-doesn't care that she sees him.
WOMAN
You can wait all night, but he
ain't coming out. He don't live
there. They keep him in the
library.
Phil's gun droops. The woman begins to walk off, then
stops.
WOMAN
Plug him once for me.
She leaves.
CUT TO:
85.
96 EXT. CIVIC CENTER - DAY 96
Phil passes a pedestal bearing a life-size bronze statue of
the groundhog and enters the public library.
97 INT. LIBRARY - CONTINUOUS 97
Phil walks past the front desk looking very haggard and
dangerous, and enters the children's section. No one is
present except the CHILDREN'S LIBRARIAN, a young woman,
reshelving books in the stacks. He looks around quickly and
sees a window in the wall and over it a large sign which
reads: "Punxsutawney Phil -- The Great Prognosticates" Phil
heads right for it.
The groundhog scurries around his little temperature-
controlled habitat, oblivious to the approaching danger.
As Phil approaches the groundhog display, he reaches into
his overcoat and pulls out a pump shotgun with a short
pistol grip.
The children's librarian sees the gun and freezes.
Phil pumps a shell into the chamber as he walks right up to
the case.
PHIL'S POV
The groundhog looks right into his sights.
Philsqueezes the trigger. LOUD GUNSHOT.
The glass window is still intact, not a scratch on it. The
groundhog looks up playfully.
Phil fires off four more rounds but, again, no results.
Phil can't believe it. He charges the glass and pounds it
with the rifle butt. He can't even chip it. Suddenly he is
seized from behind by TWO STRONG MEN who take the rifle
from him and wrestle him to floor.
The librarian comes running up and looks at the groundhog.
BYSTANDER
Is he all right?
LIBRARIAN
He's just fine. That's two inches
of bullet-proof glass there. You
can't be too careful in this day
and age.
86.
CUT TO:
98 EXT. GOBBLER'S KNOB - DAWN 98
The groundhog is just poking his head out of the hole. He
stands full height and looks around.
Phil looks directly at the groundhog with hate and scheming
madness.
Suddenly, Phil whips out a big kitchen knife from under his
icoat and dives at the groundhog. Town officials and police
throw themselves on Phil as the groundhog scampers safely
back into his hole.
Rita and Larry videotape the incident, aghast at Phil's
insane attack.
CUT TO:
99 EXT. GOBBLER'S KNOB - ANOTHER DAY 99
Larry and Rita are loading their equipment back into the
van. Rita spots Phil standing on the other side of the
crowd, staring at her. She marches straight over to him,
furious.
RITA
Where were you this morning? How
could you possibly miss the shoot?
PHIL
(at the end of his rope)
I've come to the end of me, Rita.
There's only one way out now. Just
remember, we had a wonderful day
together once.
Phil kisses her gently on the cheek and walks off toward
the back of the knob. Rita watches him, then follows at a
discreet distance, very worried.
In a small clearing behind the man-made groundhog burrow,
Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS are
lifting a cage into the front seat of Buster's pickup.
BUSTER
(to the groundhog)
There you go, ol' buddy. Good job.
Hey! He smiled at me. See that?
87.
FIRST OFFICIAL
Right.
BUSTER
(securing the cage)
There, little fella.
The other official looks up and sees Phil walking toward
them like a zombie.
OTHER OFFICIAL
Hi, there, mister. Something I can
do you for?
Without a word, Phil jumps quickly into the cab of the
pickup and starts it up.
FIRST OFFICIAL
Hey! What're you--!
Phil drives off in Buster's truck.
Rita witnesses the groundhog-napping and runs back toward
the knob.
RITA
(shouts)
Larry!
Buster and his aides race for another car parked nearby.
BUSTER
Jake! Call the police, and get the
word out. Somebody kidnapped Phil.
We're going after him. Come on,
Tommy!
They jump into a car, Buster guns the engine and takes off
after the pickup.
Rita runs up to Larry and grabs the camera on the fly.
RITA
Let's go! Phil just snatched the
groundhog!
Larry does a slow take and starts gathering up the rest of
the gear.
LARRY
(mutters)
Probably some kind of gerbil deal.
Pervert.
88.
CUT TO:
100 EXT. LOCAL ROAD - MINUTES LATER 100
Phil comes tearing around a slippery curve, followed by
Buster in his car, and close behind him, a contingent of
police cars and the Channel 9 news van.
101 INT. PICKUP - CONTINUOUS 101
Phil looks at the groundhog on the seat next to him, then
punches the gas as he turns up a mountain drive.
PHIL
Coming to the end of the trail,
Phil. Then we're going out in a
blaze of glory.
102 INT. BUSTER'S CAR - SAME TIME 102
Buster pursues Phil with relentless determination.
BUSTER
Nobody takes my groundhog and gets
away with it.
103 INT. THE NEWS VAN - SAME TIME 103
Rita is driving. Larry is hooking up the camera.
RITA
(very upset)
What is he doing? What can he be
thinking? He must'v just snapped.
Larry squeezes into the passenger seat with the camera
mounted on his shoulder.
LARRY
This oughta be good.
104 EXT. MOUNTAIN ROAD - CONTINUOUS 104
The cars chase the pickup to the top of the mountain.
105 INT. BUSTER'S CAR - CONTINUOUS 105
89.
BUSTER
Okay! I know this road. There's no
way off 'cept the way we come up.
FIRST OFFICIAL
All right! We got him now.
106 EXT. LOGGER'S LEAP - CONTINUOUS 106
The pickup is losing its lead over the pursuers as it nears
the sharp mountain cliff.
107 INT. THE PICKUP - SAME TIME 107
Phil looks in his rearview mirror at the cars chasing him.
He glances down at the groundhog. He takes a breath.
PHIL
Okay, pal. It's showtime.
Phil hits the gas.
108 INT. THE NEWS VAN - SAME TIME 108
Larry is taping as Rita comes around the curve just in time
to see the pickup truck speeding toward the cliff. Rita
hits the brakes and watches in horror.
RITA
PHIL! NO!
109 EXT. LOGGER'S LEAP - CONTINUOUS 109
The pickup bursts through a retaining fence and rockets
over the edge of the cliff.
The pickup seems to hang in the air for a long time, then
it begins its SLOW MOTION descent, falling ever so
gracefully until it impacts on the granite rock face far
below.
BIG EXPLOSION. BIG FIREBALL. FLAMING WRECKAGE. Then a small
click, followed by "I Got You, Babe."
DISSOLVE TO:
PHIL
90.
He slowly opens his eyes and blinks. He looks around and
realizes he's back in his room at the bed and breakfast.
PHIL
Ah, nuts!
Phil throws off the covers and hurls himself out of bed.
CUT TO:
110 INT. NED RYERSON'S OFFICE - DAY 110
Ned and a client are huddled over his desk, looking at some
papers. A BODY DROPS quickly past the window behind them.
It's Phil.
They rush to the window and look down at the sidewalk three
stories below. Phil is sprawled there like a broken puppet,
lifeless.
111 INT. PHIL'S ROOM - DAWN 111
"I Got You, Babe" is playing. Phil wakes up and smashes the
radio.
CUT TO:
112 EXT. STREET - DAY 112
Rita and Larry are walking down the street when a GREYHOUND
BUS pulls out of the bus station and accelerates down Main
Street. Suddenly, Phil, dressed in pajamas and overcoat,
leaps out in front of the speeding bus. Rita witnesses the
whole incident.
DRIVERS' POV
He sees Phil through the windshield but doesn't even have
time to hit the brakes before he runs right over Phil.
CUT TO:
A TV SCREEN
A woman in some horror movie is screaming.
REVEAL
91.
Mrs. Lancaster is watching TV in the parlor of the hotel.
In the corridor behind her, Phil walks by, dressed in a
robe, carrying an electric toaster and a towel, heading for
the bathroom.
A few moments pass.
We hear the zap of an electrocution, the lights and TV
flicker and dim for a moment, then come back on again.
CUT TO:
113 EXT. THE BANK - DAY 113
The building is surrounded by police, all crouched behind
their cars with guns and rifles trained on the doors.
Suddenly, the doors burst open and Phil comes running out
of the bank screaming, dressed in camouflage fatigues and
armed to the teeth with an assault rifle in one hand, an
Uzi in the other and a couple of handguns stuck in his
belt. He doesn't get three feet before he is shot down in
an incredible hail of gunfire.
Rita stands beside the camera gaping in horror while Larry
records the grisly massacre.
114 INT. CORONER'S - DAY 114
Rita stands by weeping while Phil's body is covered with a
sheet.
In the shadowy darkness under the sheet, a CLICK is heard
and Phil's eyes pop open. "I Got You, Babe" plays.
115 INT. PHIL'S ROOM - CONTINUOUS 115
Phil pulls the sheet off his face and finds himself back in
his bed in his room. A tear falls from his eye.
CUT TO:
116 INT. DINER - DAY 116
Phil and Rita are sitting in the diner at their regular
table.
RITA
I'm sorry. What was that again?
92.
PHIL
I'm a god.
RITA
You're God?
PHIL
No, I'm A god. Not THE God -- at
least I don't think I am.
RITA
That's reassuring. For a mintute
there I thought you might be crazy.
PHIL
No, it's true. It's the only
possible explanation. I'm a
supernatural being.
RITA
Because you survived a car wreck?
The waiter comes to the table.
WAITER
Are you ready to order?
PHIL
(to Rita, ignoring the
waiter)
Not just the car wreck! I didn't
just blow up yesterday, you know.
I've been run over, drowned,
crushed, stabbed, shot,
electrocuted, poisoned, frozen,
burned, and asphyxiated --
RITA
Really?
The waiter looks at him like he's nuts.
PHIL
-- but I always wake up the next
day without a scratch, without even
a headache. I'm telling you, I'm
immortal.
WAITER
The special today is blueberry
waffles.
RITA
93.
Why are you telling me this?
WAITER
(shrugs)
Because some people like blueberry
waffles.
RITA
(to the waiter)
Not you -- him.
PHIL
Because I want you to believe in
me.
RITA
You're not a god, Phil. Take my
word for it. This is twelve years
of Catholic school talking.
WAITER
I could come back if you're not
ready.
PHIL
How do you know I'm not a god?
RITA
Please.
PHIL
How do you know?
RITA
Because it's not possible.
WAITER
I'll come back.
The waiter turns to leave.
PHIL
Hey, Billy!
The waiter turns back.
PHIL
This is Bill. He's been a waiter
for three years because he left
Penn State and had to find work. He
likes the town, he paints toy
soldiers, and he's gay.
94.
WAITER
I am not!
Phil grabs an astonished Rita and pulls her over to the
next table.
RITA
What are you doing?
PHIL
This is Doris Kleiser and her
fiance Fred.
DORIS
Do I know you?
PHIL
They're supposed to get married
tonight but Doris is having second
thoughts.
FRED
What!
Doris touces her engagement ring, dumbfounded. Rita is a
little embarrassed.
RITA
Lovely ring.
DORIS
Thanks.
Phil drags Rita to the counter.
PHIL
This is Ralph. Say "Hi," Rita.
Rita flashes a quick smile.
RALPH
Don't believe I've had the --
PHIL
Ralph hates his life here and wants
to drive around town smashing into
policemen.
RALPH
Well, who don't?
RITA
This is some kind of trick.
95.
PHIL
Yes, it's a trick. But maybe the
real God cheats, too. Maybe God
isn't omnipotent -- he's just had a
lot of practice.
RITA
How about that guy?
PHIL
Tom. Worked in the coal mine 'til
they shut it down.
RITA
Her?
PHIL
Nancy. Went to Lincoln High School
in Pittsburgh. Takes herself out to
lunch once a week.
Rita is getting very bewildered. From their reactions she
can see that Phil is right about each and every one of
them.
RITA
How do you know these people!
PHIL
I told you the truth. In five
seconds there's going to be a
grease fire in the kitchen. Five,
four --
RITA
This is nuts.
PHIL
-- three, two, one.
Phil points to the kitchen as smoke starts pouring from the
service window. Everyone in the diner is now staring at
them
RITA
(trying to puzzle it out)
Okay, enough. Let's just sit down
and think for a second.
(they sit)
What do you know about me, Phil? Do
you know me, too?
Phil takes a long pause.
96.
PHIL
I know all about you, Rita. I know
you like producing, but hope for
better than Channel 9, Pittsburgh.
RITA
Everyone knows that.
PHIL
You like boats but not the ocean.
There's a lake you go to in the
summer with your family, up in the
mountains, with an old wooden dock
and a boathouse with boards missing
in the roof, and a place you used
to crawl underneath to be alone,
and at night you'd look up and see
the stars. You're a sucker for
Rocky Road, Marlon Brando, and
French poetry. You're wonderfully
generous; you're kind to strangers,
and children; and when you stand in
the snow, you look like an angel.
RITA
How are you doing this?
PHIL
I told you! I wake up every day
right here, right in Punxsutawney,
and it's always February second and
I can't turn it off. If you still
don't believe me, listen --
RITA
But, Phil --
PHIL
Listen! In ten seconds Larry is
going to walk through that door and
take you away from me.
RITA
Larry?
PHIL
But you can't let him. Please
believe me. You've got to believe
me.
RITA
I don't --
97.
Larry pokes his head in the doorway, looks around and spots
Rita.
PHIL
Look.
As Rita turns around to see Larry, Phil grabs a pen and pad
from a passing waitress and quickly writes something down
as Larry makes his way to their table. Phil finishes
writing.
LARRY
(to Rita)
You ready? We better get going if
we're going to stay ahead of the
weather.
Phil hands the paper to Rita. She reads it.
RITA
(reading)
" -- stay ahead of the weather. "
Larry looks at the paper.
LARRY
What's that?
Rita looks at Phil with new understanding and empathy.
CUT TO:
117 EXT. PUNXSUTAWNEY - DAY 117
Phil and Rita are walking down the sidewalk.
PHIL
Afer I got over the shock, it was
kind of fun for the first year or
two. I had anything I wanted.
Except you, of course.
Phil abruptly pulls Rita aside. A big pile of snow slides
off a roof and onto the sidewalk where they would have
walked. Phil doesn't even look up. Rita looks, as if she's
seeing a miracle.
RITA
How did this start?
PHIL
98.
I don't know. I just woke up. Just
like always.
NED RY-ERSON approaches.
NED
Hey, Phil! Phil Connors!
PHIL
Rita, this is Ned Ryerson. He's an
asshole.
NED
He remembers me!
Phil and Rita keep walking. Rita looks back at Ned,
perplexed
PHIL
Trust me on that one.
CUT TO:
118 EXT. FUDGE SHOP - DAY 118
Phil and Rita come out of the shop, sharing pieces of
fudge.
RITA
This is great.
PHIL
No, it isn't. You hate fudge.
RITA
Just how well do we know each
other?
PHIL
I told you. I know everybody.
Rita stops walking.
RITA
Did we ever -- you know?
PHIL
(teasing)
Did we ever! You were an animal.
RITA
99.
Come on.
PHIL
You're European trained, aren't
you.
Phil continues walking.
RITA
(blushing)
Phil! It's not funny.
She catches up to him. Phil turns to her.
PHIL
You weren't interested.
RITA
(relieved)
Okay.
She begins walking again.
RITA
Not that it would've been so awful.
PHIL
I understand.
RITA
I just had to know whether to smack
you or not.
PHIL
You did.
RITA
Good.
CUT TO:
119 EXT. PARK - DAY 119
Phil and Rita are sitting on a park bench.
PHIL
So do you believe any of this?
RITA
100.
I don't know. I don't know how else
you could know so much. Maybe it is
really happening.
PHIL
I used to try to stay up all night
sometimes. I thought if I could
stay conscious I could figure out
what was going on, or at least hang
onto something from the day before.
But I gave up on that a long time
ago.
Rita looks at him with compassion.
RITA
It sounds so -- lonely.
PHIL
(trying to shrug it off)
It's not that bad. You get used to
it.
Rita comes to a decision.
RITA
Maybe I should spend the rest of
the day with you -- as an objective
witness. Just to see what happens.
Okay?
PHIL
Yeah, sure. That'd be okay.
CUT TO:
120 INT. PHIL'S ROOM - NIGHT 120
A hat is lying on Phil's bed. A playing card flies past. A
second playing card sails right into the hat. Another
playing card sails past, missing. Another playing card
sails right in Phil and Rita are tossing cards. Rita is
missing. Phil is hitting.
PHIL
It's not in the wrist so much as
the fingers. Be the hat.
RITA
It would take me a year to get good
at this.
101.
PHIL
Uh-uh. Six months. Four, five hours
a day.
RITA
Is this what you do with eternity?
PHIL
Now you know. It's like waiting for
a bus that never comes. You should
see me play pool -- and bowling,
juggling, hacky sack. I can ride a
unicycle.
There's a knock on the door.
PHIL
I'll get it!
Phil jumps for the door and opens it. The PIZZA GUY is
there.
PHIL
Hi, Marty. $11.75 including the
delivery charge, right?
PIZZA GUY
Uhhhh --
Phil pays him, takes the pizza and closes the door.
RITA
(opening the pizza box)
MMMM. Pepperoni and olives. My
favorite.
PHIL
Of course. I told you, I know
everything.
RITA
(taking a bite of pizza)
I don't think I'd want to know
everything that's going to happen.
I like to be surprised.
PHIL
That's not the worst part.
RITA
What's the worst part?
PHIL
102.
The worst part is starting over
everyday. Tomorrow you won't
remember any of this. You'll go
back to treating me like a complete
jerk --
RITA
No --
PHIL
It's not your fault. I am a jerk.
RITA
No, you're not.
PHIL
Okay, I'm not. It really doesn't
make a lot of difference. I've
killed myself so many times, I
don't even exist anymore. I'm just
completely empty.
RITA
Or completely clean.
PHIL
If you're going to be this positive
all the time I may have to rough
you up a little.
RITA
Wait! Have we done this before?
PHIL
Which part?
RITA
You getting me up here, the card
game, the pizza --
PHIL
No, this is the first time.
RITA
(excited)
Well?
PHIL
Well, what?
RITA
Well how does it feel to be doing
something completely new?
103.
Phil looks at her with tremendous affection and gratitude.
PHIL
Good. Really good.
He takes a slice of pizza and starts eating with gusto.
DISSOLVE TO:
121 EXT. PHIL'S ROOM - THE PIZZA BOX - LATER 121
There's only one slice left.
Phil and Rita are sitting together on the bed, close but
not touching. Soft music is playing on the radio.
RITA
Sometimes I wish I had a thousand
lifetimes. One to be a great
journalist. One to, I don't know,
go back to school, study art, or
auto mechanics. One just to take
care of all the busywork, you know,
pay the bills, get my car tuned up.
One to be the wild woman of Borneo.
One to be Mother Theresa. Maybe
it's not a curse, Phil. It all just
depends on how you look at it.
Phil stares at her for a long time letting this sink in.
Then he belches really loud. Rita stares at him, then burps
surprisingly loud herself.
RITA
I want you to know, it's been a
really nice day for me.
PHIL
Me, too.
RITA
Maybe, if it's not too boring for
you, we could do it again.
PHIL
I hope so.
The clock reads 11:59. Rita grabs Phil's hand. He puts his
arm around her.
104.
They look into each others' eyes. Rita gives Phil a
reassuring smile. She squeezes his hand. Their eyes turn to
the clock.
11;59 turns to 12:00.
Rita looks up at Phil as if expecting some magical event.
RITA
You're still here!
PHIL
I know.
RITA
I thought you were supposed to
disappear -- or I was or something.
PHIL
Not 'til six.
RITA
You rat!
She is mad in a playful way.
PHIL
I never said midnight --
RITA
You knew I was waiting for
midnight!
PHIL
But I never said it.
RITA
Oh, I can't believe you!
(she slugs him with a
pillow)
I didn't know this was going to
take all night!
PHIL
Does that mean you're going?
RITA
No.
Phil takes Rita's hand. She doesn't resist.
DISSOLVE TO:
105.
LATER
Rita is now sitting right next to Phil on the bed, her head
resting on his shoulder. She nods off then catches herself.
RITA
I'm sorry.
PHIL
It's okay to go to sleep you know.
I promise I won't touch you --
much.
RITA
No, it's all right. I'm not tired.
What were you saying?
Her eyes start to close again.
PHIL
I was saying that the cow was
eventually returned to it's
rightful owner.
RITA
(drifting off)
Really?
PHIL
That's right.
He looks at her, sees she's truly asleep, and gently
maneuvers her into a comfortable reclining position on the
bed. Then he carefully puts a pillow under her head and
settles down next to her.
PHIL
What I was going to say was, I
think you're the kindest, sweetest,
prettiest, most wonderful girl I
ever met in my life.
She starts to stir but he gently kisses her back to sleep.
PHIL
Shhhh. That's good.
(satisfied she's still
asleep)
106.
I could never tell you this, but
from the first minute I looked at
you I wanted to just hold you close
and be with you forever. Everytime
I saw you around the station, I
thought my heart was going to
explode. I used to dream about us
being together. In my dream you
loved me as much as I loved you and
we didn't have to say anything but
I knew you understood everything.
She stirs again but he kisses her until she returns to deep
sleep.
PHIL
I know a guy like me could never
deserve to have someone like you,
but if I did, I swear I would love
you for the rest of my life.
Rita opens her eyes.
RITA
(half-asleep)
Did you say something?
PHIL
Good-night, Rita.
He kisses her gently on the forehead.
RITA
Good-night, Phil.
CLOSE UP - THE CLOCK
The time changes from 5:59 to 6:00. The radio starts
playing.
Phil wakes up alone in bed. He lies there for a moment then
leaps out of bed like a man reborn and heads straight for
the shower.
CUT TO:
122 EXT. GOBBLER'S KNOB - DAWN 122
Rita and Larry are in the packed press area, beginning to
set up the equipment.
Phil arrives, carrying two cups of coffee.
107.
PHIL
Rita?
She looks at him without a trace of the rapport they shared
the night before.
RITA
Oh, hi, Phil.
PHIL
Thought you might like some --
He hands her the coffee.
RITA
Thanks!
PHIL
Careful, it's hot. Larry?
He hands Larry a cup.
LARRY
(surprised, mutters)
Yeah, great.
RITA
We're just setting up.
PHIL
You know, I bumped into Buster
Greene, he kind of runs this thing,
and he tipped me off that we might
get a better shot over there.
RITA
Really?
PHIL
I mean, maybe we should go for it.
What do you think?
RITA
Sounds good to me. Larry?
LARRY
Sure, why not?
RITA
All right. Thanks, Phil. Good work.
She reaches for an equipment case.
108.
PHIL
I'll get that.
Phil helps Larry carry the camera gear.
PHIL
(to Larry)
You and I never talk, Larry. You
got kids?
Larry looks suspicious. Rita looks on, reevaluating Phil.
CUT TO:
123 INT. LIBRARY - DAY 123
Phil enters the library, approaches the Librarian.
PHIL
Where would I find the Philosophy
section?
LIBRARIAN
Down and to the left, 600's.
Phil walks through the stacks, past the groundhog window.
CUT TO:
124 EXT. A HOUSE - DAY 124
Phil rings the doorbell. A kindly young woman, MARY,
answers
MARY
Yes?
PHIL
I'd like a piano lesson, please.
MARY
Oh. Okay, I'm with a student now,
but --
PHIL
I'll give you a thousand dollars.
Mary hesitates only a moment, then ushers Phil into the
house and closes the door.
109.
A moment later the door opens and a LITTLE GIRL with an
armloa of music books exits as if pushed. The door closes
behind her.
CUT TO:
125 INT. HALLWAY - DAWN 125
Phil walks happily down the hallway. He passes the chubby
man.
CHUBBY MAN
Morning.
PHIL
Buon Giorno, signore.
CHUBBY MAN
Think it'11 be an early Spring?
PHIL
"Winter slumbering in the open air
wears on his smiling face a dream
of Spring."
CHUBBY MAN
Oh.
CUT TO:
126 INT. MARY'S HOUSE - DAY 126
Phil and Mary are sitting together at the piano. Phil is
playing, poorly.
MARY
Not bad, Mr. Connors. You say this
is your first lesson?
PHIL
Technically, yes.
Phil plays on, definitely improving.
CUT TO:
127 INT. LIBRARY - DAY 127
We see several cuts of Phil studying at the library.
110.
SUPERED over these cuts is a calendar with the pages
flipping by. They all read "February 2."
CUT TO:
128 EXT. GOBBLER'S KNOB - DAWN 128
Phil stands in front of the camera, giving his report.
PHIL
In fact, the groundhog's legendary
ability to predict the weather may
be more than just the German
folklore of the region. Higher
temperatures trigger hormonal
changes in the testosterone levels
of male groundhogs, which may in
fact wake them from hibernation and
send them out to battle with other
males ;for mating rights. So, the
truth is they're not looking for
their shadows, they're looking for
groundhog chicks.
Rita looks on, clearly delighted with the report.
CUT TO:
129 INT. MARY'S HOUSE - DAY 129
Phil is playing the piano with ever increasing skill as
more February 2 calendar pages flip by.
CUT TO:
130 EXT. GOBBLER'S KNOB - DAWN 130
Phil is delivering another report.
PHIL
111.
Groundhog Day, February second,
also known as Candlemas Day or the
Feast of the Purification of the
Virgin Mary, the day Mary first
came to the temple for ritual
blessings following the birth of
the infant Jesus, and celebrated
since the Middle Ages by the
sacramental lighting of candles.
Hence the old Scottish couplet
which long predates the American
groundhog tradition: "If Candlemas
dawns bright and clear, there'll be
two winters in the year."
Larry whispers an aside to Rita.
LARRY
Is he making this stuff up?
RITA
(riveted)
Shhhhh.
CUT TO:
131 EXT. CEMETERY - DAY 131
Beyond the graveyard is a work shed with various tombstones
scattered about. Old TUCKER, the town stonecarver, is at
work chiseling a name into a gravemarker.
Behind him, Phil is chipping away at a small hunk of
marble, sculpting a very lovely cherub.
Rita sits on a stool eating an apple and sipping hot tea
watching him with amazed interest.
PHIL
But what if the rules changed? What
if none of your actions had
consequences?
RITA
There would still be an absolute
morality. There has to be an
absolute good, regardless of the
circumstances.
PHIL
112.
Oh, is that so, Miss Plato? Then
let me ask you this. Where does
this "absolute good" come from?
From the sky?
Rita shrugs.
RITA
I don't know. From my freshman
Philosophy course, I guess.
They both laugh. Then she looks at him for a long moment
and grins.
PHIL
What?
RITA
Nothing. I just can't believe
you're such a fine sculptor.
Phil takes a bite of her apple and gets up.
PHIL
I gotta go.
RITA
Where do you have to go in
Punxsutawney?
PHIL
I got piano and then drums.
RITA
Here?
PHIL
Come on, I'll drop you off.
They exit.
CUT TO:
132 EXT. MAIN STREET - LATER 132
Phil drops Rita off and watches as she crosses the street
to Larry who is waiting on the other side.
Across the street, Rita takes a wistful glance toward Phil,
then gets in the news van and drives off.
113.
Phil gets out of the car and starts walking, but finds
himself face to face with Ned Ryerson.
NED
Phil! Phil Connors! I thought that
was you!
PHIL
Ned? Ned Ryerson! I don't believe
it. I've missed you so much.
Phil gives Ned a big hug and keeps holding on for an
uncomfortably long time, actually giving Ned a hickey on
the neck. Ned goes into homophobic shock.
NED
Uh, I gotta get going. Nice to see
you, Phil.
He hurries off.
CUT TO:
133 INT. MARY'S HOUSE - DAY 133
Phil is sitting on the piano bench with Mary, playing
pretty well. Mary is astonished.
MARY
How long have you been studying,
Mr. Connors?
PHIL
One day. I'm gifted.
CUT TO:
134 EXT. STREET - DAY 134
Phil is walking down the street. He glances down the alley
as he passes, stops, walks back and enters the alley. The
OLD BUM that Phil never noticed before is lying there,
huddled against a wall. Phil goes to help him.
PHIL
Hey, mister. Hey. Come on, let's
get you somewhere warm.
The old bum turns to look at Phil, then closes his eyes.
PHIL
114.
(helps the old man to his
feet)
There you go.
Phil practically carries him out of the alley.
CUT TO:
135 INT. HOSPITAL EMERGENCY ROOM - NIGHT 135
A nurse approaches Phil.
NURSE
You the one brought in the old man?
PHIL
How is he?
NURSE
He passed away just now.
Phil pauses for a long moment.
PHIL
What'd he die of?
NURSE
(shrugs)
He was just old. It was his time.
PHIL
I want to see his chart. Excuse me.
Phil brushes past her and makes for the big double doors
leading to triage.
NURSE
Sir, you can't --
(hurrying after him)
Look! Some people just die!
PHIL
Not on my watch.
CUT TO:
136 INT. DINER - MORNING 136
Phil is propping up the old man at a table, trying to feed
him hot soup.
115.
CUT TO:
137 INT. HOSPITAL - DAY 137
Phil is furiously looking over X-rays, flipping through
medical journals and making notes.
CUT TO:
138 EXT. ALLEY - NIGHT 138
Phil is in the alley, shaking the old man, trying to rouse
him.
PHIL
Come on. Hang on. Hang on, there.
Breathe.
Phil stops. The body lies, unmoving. Phil sits back,
breathing heavily.
CUT TO:
139 EXT. GOBBLER'S KNOB - DAWN 139
Phil is delivering his report. Everyone there is silent and
listening to Phil. Even the other reporters have turned
their cameras on him.
PHIL
When Chekhov saw the long winter,
it was a winter bleak and dark and
bereft of hope; and yet, we know
winter's only one more step in the
cycle. And standing among the
people of Punxsutawney --
(Phil looks directly at
Rita)
-- basking in the warmth of their
hearths and hearts, I couldn't
imagine a better fate than a long
and lustrous winter.
Phil smiles. Rita smiles, too.
PHIL
For Channel 9 news, I'm Phil
Connors.
There is much applause. Even Larry brushes away a tear.
116.
Phil hands the microphone to Rita.
RITA
Phil --
PHIL
Sorry. I'm gonna be late.
Phil rushes off.
RITA
Late for what? Phil?
(To Larry)
Could you break it down and wrap
out of here by yourself, Larry?
LARRY
Sure.
RITA
Thanks.
Rita rushes off after Phil.
CUT TO:
140 EXT. STREET CORNER - DAY 140
Phil walks briskly toward an intersection, glancing
nervously at his watch. Rita follows him at a distance,
hurrying to keep up.
MARIE, a little nine-year-old girl, approaches the
intersection shielding her brand new puppy under her winter
coat. She isn't paying attention to traffic and fails to
notice a big truck bearing down on her.
As she steps off the curb, Phil arrives and, with split-
second timing, nonchalantly but firmly grabs her coat to
hold her back, just as the big truck rushes past in the
street, narrowly missing her.
PHIL
Hey! Did you forget to look both
ways? You didn't even look one way.
MARIE
My doggie was cold.
PHIL
117.
Yeah, well, my doggies are
freezing, but I ' m still gonna
watch out for cars. See you around,
kid.
Phil looks at his watch and rushes off.
Rita looks on amazed and follows him at a distance.
CUT TO:
141 INT. BERGHOF RESTAURANT - DAY 141
Phil enters the crowded restaurant and pushes past all the
people waiting to be seated. He walks casually but quickly
and purposefully around the tables, squeezing past busy
waitresses and seated patrons toward a commotion in the
back of the restaurant.
TWO BUSINESSMEN are leaning over a THIRD.
BUSINESSMAN
Oh, my God! He's having a heart
attack!
SECOND BUSINESSMAN
Lay him down!
BUSINESSMAN
What do I do? He's not breathing1
SECOND BUSINESSMAN
He's turning blue! Help!
Phil walks straight up to the BLUE-FACED MAN, grabs him
from behind, gets him in the Heimlich grip and squeezes
sharply.
A bolus of food flies across the room. The victim coughs
and sputters, then starts breathing again.
FIRST BUSINESSMAN
Jerry, you okay?
SECOND BUSINESSMAN
I think that did it.
Phil lets go of the grateful victim.
PHIL
118.
If you're going to eat steak, get
better teeth, will you? Enjoy the
rest of your lunch, gents.
He exits.
JERRY
Wow. Who was that guy?
Phil gets to the door and finds Rita standing there,
looking at him in awe.
PHIL
Rita!
RITA
(confronting)
-- Okay, hold it right there. I
want to know what' s going on and I
want to know right now.
PHIL
I'm sorry, I'm really pressed right
now. Meet me outside the hospital
about 5:00 and we'll talk about it.
RITA
The hospital?
Phil looks at his watch and rushes away.
PHIL
Try the curlycue fries. Killer.
CUT TO:
142 INT. HOSPITAL CORRIDOR - LATER 142
A gurney bursts through the double doors, paramedics and
nurses in attendance. The patient is a teenage girl, JANEY,
totally unconscious.
143 INT. EMERGENCY ROOM - CONTINUOUS 143
The gurney is wheeled into the surgery.
NURSE
Looks like insulin shock. She's
probably diabetic.
119.
Phil enters wearing a doctor's scrub suit and begins
barking orders.
PHIL
She's not diabetic. It's an
overdose. Let's get her up here and
pump her stomach, then I want a
complete blood work-up, STAT.
NURSE
Right, Doctor -- uh --
She realizes she's never seen him before.
PHIL
Call me Phil.
NURSE
Phil. Like the groundhog?
PHIL
Exactly.
CUT TO:
144 INT. CHILDREN'S WARD - LATE AFTERNOON 144
Sick CHILDREN in hospital gowns are gathered around Phil,
laughing and squealing. Phil is. making balloon animals.
KID
Make a giraffe!
PHIL
A giraffe? Let's see. It's just
like a dog with a biiiiig -- what
was it?
ALL THE KIDS
Neck!
PHIL
A big tail? Okay, a big tail.
KIDS
Neck! A big neck!
Phil makes an animal really quickly.
Rita watches from the doorway, unseen by Phil.
120.
PHIL
There. A dog with long legs.
KIDS
Nooo! Long neck!
PHIL
Oh! Right! A dog with a big head.
KIDS
Noooo!
The kids attack Phil. Lots of rolling around on the bed.
Rita watches, completely enthralled.
Finally, Phil extricates himself and exits to find Rita
waiting.
RITA
All right, now what's going on?
PHIL
(taking her arm)
Come on. We have to hurry.
CUT TO:
145 EXT. RESIDENTIAL STREET - A LITTLE LATER 145
Phil rushes down the sidewalk with Rita close behind him.
He stops under a tree and puts his arms out just as a YOUNG
BOY falls out of the tree and into his arms, knocking him
to the ground. The kid runs off unhurt as Phil gets back to
his feet and brushes himself off.
PHIL
(to Rita)
That little bastard has never
thanked me once. I ought to just
let him fall. Teach him a lesson.
RITA
Phil, this is too -- I must be
dreaming.
PHIL
Yeah, you and me both. Come on,
We're almost done.
CUT TO:
121.
146 EXT. ALLEY - NIGHT 146
Phil kneels on the cold ground beside the old bum who lies
huddled against the wall, immobile.
Rita is standing by at the end of the alley, watching as
Phil examines him.
Phil writes something down on a small pad. He finishes, and
sets it down by the old man. Then he takes his coat and
uses it to cover the man up. A siren is heard.
Phil stands and walks away, as an ambulance pulls into the
alley.
RITA
Is he -- ?
PHIL
Yeah. Let's go.
RITA
In a minute.
She waits and watches.
The paramedics, BUD and ANDY, get out of the ambulance and
inspect the scene.
BUD
It's ol' Really.
ANDY
That's a shame.
BUD
Look here.
Bud picks up the note Phil left.
Rita steps closer.
RITA
May I see that?
(reading aloud)
"Every night, by cold bricks glow I
watch the shadow rising from this
old man in the snow. At 8:02 we let
it go."
ANDY
(repeating)
"At 8:02 we let it go."
122.
BUD
Wow, that's nice.
Rita hands him the note and quickly walks away.
ANDY
Suppose he wrote it?
BUD
(doubtful)
Are you kidding?
CUT TO:
147 EXT. MAIN STREET - NIGHT 147
Rita catches up with Phil outside the Pennsylvanian, the
town's oldest and best hotel.
RITA
Now what?
PHIL
Come on. You'll see.
They enter.
CUT TO:
148 INT. HOTEL LOBBY - CONTINUOUS 148
As Phil and Rita enter there is music coming from a side
room.
The black velvet announcement board proclaims: KLEISER-
SCOTT WEDDING.
CUT TO:
149 INT. PARTY ROOM - CONTINUOUS 149
Phil and Rita walk into a banquet room decorated with
streamers, balloons and flowers. There is a long buffet
table and a punch bowl. Another long table is loaded with
wedding gifts. A small band is playing.
People are dancing. The wedding party is dressed in rented
tuxedos and appropriately pouffy bridesmaid dresses.
123.
RITA
This is incredible. Who's wedding
is this?
Phil grabs two glasses of champagne and hands one to Rita.
PHIL
Just some friends. Doris!
The bride, DORIS, young and cheery, is on her way to see
Phil. She is dragging FRED, her groom, with her.
DORIS
Hi, Mr. Connors! Come ON, Freddy.
FRED
Hi.
DORIS
This is the guy I told you about.
FRED
No way!
PHIL
How's it going, Fred?
FRED
Hey, I'd like to thank you for
making Doris go through with this.
PHIL
Are you kidding? Don't buy that
playing hard to get stuff. She's
crazy about you, you stud.
DORIS
I'm really glad you could come.
PHIL
Congratulations.
Phil reaches into his pocket, pulls out two tickets and
hands them to Doris.
DORIS
What is this? Oh, no way! No way!
Ahhh!
Doris throws herself on Fred and jumps up and down. Fred
grabs the tickets.
FRED
124.
Wrestlemania! No way! No way!
Doris throws herself on Phil.
DORIS
How did you know?
FRED
We're like going to be in
Pittsburgh anyway.
PHIL
I don't know. I just thought about
you two, tried to picture what
you'd want more than anything in
the world and it came to me. Bing!
Wrestlemania.
FRED
Thanks, Mr. Connors. You're a real
pal.
DORIS
This is the best!
Doris gives Phil a kiss. She and Fred move on.
RITA
I don't understand. You rush from
one person to the next in a town
you only visit once a year, you
know everything before it happens,
and you -- I don't know, you seem
to be Punxsutawney's leading
citizen.
The band finishes a set. The guests stop dancing and head
for the refreshments. Phil and Rita are left alone for the
moment
PHIL
What do you want to know?
RITA
Who are you?
PHIL
I really don't know.
RITA
No, there's something going on with
you.
125.
PHIL
Okay, I wake up in Punxsutawney on
February second -- every day. It's
supernatural. I don't even try to
explain it anymore. So, I live each
day as if it's the only day I've
got.
Rita stares into his eyes for a very long time, but sees
only good, true things.
RITA
That's pretty amazing.
PHIL
You want to know what's really
amazing? I've been waiting for you
every day for ten thousand years. I
dream of you every night of my
life. You've been my constant
weapon against total despair, and
just knowing you exist has kept me
alive. How's that?
Rita can't even speak. This is clearly the nicest thing
anybody has ever said to anybody.
Mary the piano teacher notices Phil.
MARY
Phil!
(to her friend)
This is the guy.
PHIL
Hello, Mary. Rita, this is one of
Punxsey's finest musicians.
MARY
Give me a break. You should talk.
Why don't you play something?
PHIL
No, I --
MARY
Please.
FRED
Hey, Mr. Connors. Go for it.
Phil looks at Rita. She nods and shrugs.
126.
Phil walks up to the platform and sits at the piano. He
begins to play a slow, serious, classical piece. Everyone
falls silent. It's so beautiful, Rita is almost in tears.
Then, after a pause to let the serious notes sink in, Phil
transforms the piece into a fast, lively, upbeat jazz romp.
Everyone is delighted, and as the rest of the band kicks
in, everyone grabs a partner and begins to dance.
An old coot, UNCLE LEO, grabs Rita and the two of them
dance up a storm.
LEO
That's a great guy you've got
there. Doctor Connors fixed my
back, you know.
RITA
Doctor Connors?
Rita looks over at Phil, joyously playing the piano.
CUT TO:
150 EXT. STREET - NIGHT 150
It is snowing lightly. Phil and Rita are walking slowly,
arm in arm, close. They stop and embrace. Phil looks at
Rita. She looks like an angel.
PHIL
Wait! Don't move!
Phil scoops up some snow and begins packing it down,
furiously, joyously, then rolling it into a large ball.
RITA
Making a snow man? I'll help.
PHIL
No, stay there. Stand right there.
Phil lifts the now larger chunk of packed snow and sets it
on a mailbox. Then he looks at her and starts to sculpt it.
DISSOLVE TO:
LATER
127.
Phil is using a stick and the heat of his bare hands to
model a delicate fold in the snow sculpture. Several
bystanders look on with interest as Phil stands back from
his work.
RITA
Can I look?
PHIL
Okay, look.
It is an excellent likeness of Rita, the snow white as
alabaster, pure as marble, a beautiful and delicate homage.
RITA
(overwhelmed)
Nobody's ever done this for me. Not
even a drawing. It's beautiful.
PHIL
This is how I see you. When it all
gets too much, I just close my eyes
and there you are just like this.
Take it home and keep it in the
freezer.
Rita embraces Phil. They are about to kiss, looking deep
into each others eyes.
PHIL
This one's for the Frog Prince.
RITA
What?
PHIL
Nothing.
They kiss -- a long, deep, soul-stirring kiss.
PHIL
Will you come with me?
Rita nods. They continue standing there, embracing, warming
each other in the cold night air.
RITA
(looks back at the ice
sculpture)
We're just going to leave her?
PHIL
128.
It doesn't matter. Really, it
doesn't.
They kiss again.
CUT TO:
CLOSE UP - THE CLOCK
The digital clock-radio changes from 5:59 to 6:00. Silence.
No Sonny and Cher, no deejays -- nothing.
Phil sits up in bed. He looks around the room. Things are
different, messier. Then he sees the covers move. Wide-eyed
now, he looks over and sees Rita waking up, snuggling deep
under the covers.
PHIL
(disbelieving)
It's not true. It's not. It can't
be true. Rita? Rita!
RITA
(stretching luxuriously)
Mmmm. Morning.
Phil pounces on Rita, showering her with kisses.
PHIL
You're here! My god! I can't
believe you're here!
RITA
Glad to see you, too.
PHIL
No! It's happened. Don't you get
it? It's tomorrow! It's tomorrow!
It's
Phil turns on the radio.
DEEJAY
-- still shoveling put the
highways, but if you're walking,
it's a beautiful day.
SIDEKICK
Yeah, the snow kind of cleaned
everything up --
DEEJAY
-- except your mouth.
129.
Phil kisses the radio.
PHIL
I love those guys.
RITA
Are you always this jolly in the
morning?
Phil runs to the window and looks out.
HIS POV - THE STREET
The street ;is virtually empty, the town just waking up.
Kids are throwing snowballs.
PHIL
No groundhog! Rita! They're all
gone!
RITA
You must've had some dream.
Phil stops, thinks.
PHIL
Did I just dream it?
Phil opens the door and runs into the hallway wearing only
pajama bottoms.
RITA
Phil? Phil!
Rita sits up in bed and waits. Suddenly, from somewhere
else in the inn comes the sound of Phil at the piano
expertly playing a difficult classical piece. He stops
after a few bars.
PHIL (O.C.)
Yeah!!!!
Phil runs back into the room.
PHIL
It really happened! You're really
here!
He pounces on Rita again.
PHIL
You're really actually here.
130.
RITA
(laughing)
I'm here, I'm here!
They kiss, passionately, hungrily.
PHIL
Let's go!
He scoops her up in his arms.
RITA
Where're we going?
PHIL
Anywhere! Everywhere!
CUT TO:
151 INT. BREAKFAST ROOM - LATER 151
Phil and Rita, dressed now, enter and encounter Mrs.
Lancaster Phil hugs her.
MRS. LANCASTER
Oh, my!
PHIL
Florence! Say hello to Rita. She
loves me.
MRS. LANCASTER
I'm not surprised.
He kisses her on the cheek and rushes out with Rita.
152 EXT. THE STREET - DAY 152
Phil and Rita walk down Main Street hand in hand.
A MAN
Phil! Good morning!
A LADY
Mr. Connors. I wanted to thank you.
PHIL
That's all right. I --
A FLORIST steps out of the flower shop with a bouquet.
131.
FLORIST
Phil, here. I want you to have
these.
PHIL
Thanks, Carl.
Phil smells the flowers, and hands the bouquet to Rita.
PHIL (V.O.)
And so began my final lifetime, and
ended the longest winter on record.
I would find myself no longer able
to affect the chain of events in
this town, but I did learn
something about time. You can waste
time, you can kill time, you can do
time, but if you use it wisely,
there's never enough of it. So
you'd better make the most of the
time you've got.
A car skids on the ice and smashes into a tree. Phil and
Rita rush over to help, but the driver waves that he's
okay. Rita and Phil continue their walk.
PHIL (V.O.)
Larry never got through the
blizzard, so none of my groundhog
reports ever made it on the air.
But Rita and I -- we lived happily
ever after.
Phil and Rita walk off together.
Across the street, Larry is trying to get rid of Ned
Ryerson who is doggedly trying to sell him insurance.
NED
But Phil told me you were his
accountant!
LARRY
Look, I told you! He's nuts!
Larry keeps trying to walk away, but Ned won't leave him
alone.
NED
Let me just tell you about single
premium life- -
132.
Finally, Larry slugs Ned and storms off, leaving Ned
floundering in a snowbank.
Phil and Rita walk on as we pull up and away from Main
Street revealing the whole of Punxsutawney and the snowy
countryside that embraces it.
THE END