Groundhogfinal 150201121926 Conversion Gate01

GROUNDHOGDAY
by
Danny Rubln
Final Revision 3/5/92

by Hardd Ramls
Revlsed Blue 3i7/92
Revised Pink 3113/92
Revised Yellow 3/17/92
Revised Green 4/24/92
Revised Goldenrod 4/24/92
FADE IN
1 EXT. PITTSBURGH - DAY
We see the downtown skyline of Pittsburgh, the tall buildings
sprouting from a triangle formed by the three rivers, the
Allegheny, the Monongahela, and the Ohio.
ROLL CREDITS AND THEME MUSIC
A TV NEWS VAN marked 'WPBH Action News - . .
Pittsburgh' is leaving
the city. The van travels across a bridge and disappears into
a tunnel.
CUT TO:
2 EXT. INTERSTATE - LATER

The van cruises through the frozen countryside of Western
Pennsylvania.
PHIL (V.O.)
(on the carphone)
With me you don't just get a
weatherman. I give you a
personality with the credibility
of a first-class journalist.
3 INT. THE VAN - CONTINUOUS

PHIL CONNORS, the Action News weatherman is talking on the
phone. He's in his mid-thirties, smart, rugged-looking, perhaps
a little too full of himself, but clearly a guy with a lot of
personality.
PHIL
(on the phone)
Look at my tape, you'll get it.
LARRY & RITA
(together)
We've seen it.
PHIL
Strange, I got a very positive
response from another network.
LARRY, the union cameraman and techie, is driving. He snorts a:
Phil's bald-faced lie.
LARRY
Yeah, that would be the Home
Shopping Network.
(CONTINUED)
Revised Pink 3 / i 3 ; 9 2
i .. 3 CONTINUED:
PHIL
(on phone)
I'm getting some annoying static
here, Dan.. . I'm mobile.
Something's breaking ...I've got to
be there...Letls hook up
tomorrow. ..I'll call you.. ..
Whatever ...Bye-Bye.
He hangs up and glares at Larry.
PHIL
Larry, can you keep a secret? I'm
probably leaving PBH. Which means
this is the last time I do the
Groundhog.
LARRY
What's wrong with the groundhog
festival? When I worked in San
Diego, I covered the swallows
comlng back to Capistrano six
years in a row:
PHIL
You should've killed the guy who
made you do that.
LARRY
I wanted to do it.
PHIL
Then you should've killed
yourself. One of these days
someone's going to catch me
interviewing a groundhog and think
I don't have a future.
RITA, the producer, sits contentedly in the jump seat behind and
between Larry and Phil. She is competent, personable! humorous,
self-assured and very pretty-- in short, a genuine princess,
though Phil is too self-absorbed at this point to realize it.
RITA
(leaning in)
I think it's a cute story. He
comes out, he looks around, he
wrinkles up his little nose, he
sees his shadow, he doesn't see
his shadow-- it's nice. People
like it.
(CONTINUED)
Revised Pink 3 / 1 3 / 9 2
-3-
,. .. 3 CONTINUED:
. .
PHIL
You really are new, aren't you.
Wet behind the ears. People like
head cheese, too. People are
morons.
RITA
Nice attitude.
PHIL
DO you want a mirror so you can
see your face when you wrinkle up
your nose?
Rita smiles self-consciously and leans back in her seat.
4 EXT. HIGHWAY - LATER

The van swings off the interstate and onto a two-lane highway.
5 INT. THE VAN - SAME TIME

Larry is munching on a bag of Fritos. He offers one to Phil.
LARRY
Frito?
PHIL
So I can spend forty minutes on a
treadmill walking it off? Thanks,
no.
Rita is watching the passing landscape with interest.
RITA
It's orettv out here. isn't it?
it0 ~hil)
What's Punxsutawney like?
Phil looks up from the magazine he's reading.
PHIL
A magical, enchanted place. It's
the Constantinople of the entire
Western Appalachian-Susquehanna
Drainage.
She knows Phil mainly by his reputation and it isn't good.
Still, she finds him appealing in an odd way.
RITA
Do you always joke?
(CONTINUED)
Revised Pink 3/13/92
5 CONTINUED:
. .
PHIL
I'm shy and I'm sensitive so I
kid.
RITA
A lot of people around the station
think you're not very sincere.
PHIL
Well, I hope I've convinced you.
CUT TO:
6 EXT. HIGHWAY - LATER

The van starts passing small businesses and fast food places on
the outskirts of town.
A BILLBOARD
'Welcome to Punxsutawney - The Original Weather Capitol of the
world Since 1887.' Depicted on the sign is a large cartoon
GROUNDHOG wearing a top hat and clutching an umbrella under his
arm.
The van passes the billboard and enters htnxsutawney.
CUT TO:
7 EXT. MAIN SQUARE - PUNXSUTAWNEY - LATER

The van drives around the picturesque town square. There are
cartoon groundhogs everywhere you look and the whole town has
been gaily festooned with banners and bunting. The street is
already crowded with parked cars including a number of other
news vans.
m e van pulls up to the Pennsylvanian, the oldest and 'best'
hotel in town and they all get out.
Phil takes one look at the hotel and shakes his head.
PHIL
Rita! I can't stay here.
Rita is already helping Larry unload equipment from the van.
LARRY
(muttering)
Prima donnas.
(CONTINUED)
Revised P i n k 3/13/92
.
-. 7 CONTINUED:
RITA
It's okay. I'll handle it.
(crossing to him)
What's the problem, Phil?
PHIL
I hate this place. I stayed here
two years ago, I was miserable.
It's a fleabag. I'm not staying
here.
RITA
You're not staying here.
PHIL
(brightening)
I'm not?
RITA
No, I booked you at a very nice
bed and breakfast on Cherry
Street. Larry's just dropping me
off, then he'll take you over
there.
PHIL
(pleased)
Great. That's great. I think
that's the mark of a really good
producer. Keeping the talent
happy.
RITA
Whatever I can do.
PHIL
Really? Talent needs a foot
mas sage?
RITA
Within reason. Would you like to
have dinner with Larry and me?
PHIL
No thanks, I've seen Larry eat.
You want to ditch Larm and let me
take you someplace nice?
RITA
You mean like a date?
PHIL
Yeah.
(CONTINUED)
7 CONTINUED:
...... .. . .
RITA
Oh, no.
PHIL
Okay. I get it. You're a little
intimidated by me, you're all
excited about the shoot tomorrow.
You just get some sleep. 1'11 see
you in the morning.
RITA
Don't be late.
Phil starts to make another call on the carphone as she crosses
back to help Larry.
LARRY
Did he actually call himself 'the
talent. '
She nods and they both giggle.
m TO:
8 EXT. A FOREST CLEARING - EARLY MORNING 8

The crust of an old snowfall still covers the frozen ground, and
the bare, icy branches of the trees glisten dully in the early
morning light.
CUT TO:
9 HIBERNATING GROUNDHOGS
A family of groundhogs is nestled together in their burrow
sleeping off the end of a long winter.
END CREDITS AND THPIE MUSIC
- DISSOLVE TO:
10 INT. PHIL'S ROOM - DAWN

CLOSE UP - CLOCK
A clock-radio changes from 5 : 5 9 to 6:00 AM. The radio comes
on, playing the end of the Sonny and Cher hit, * I Got You,
Babe. '
(CONTINUED)
1G CONTINUED :
SUPE?.: FEBRUARY 2
Phil sits up in bed and looks around the room. The decor is
typical bed and breakfast, flocked wallpaper, framed prints, acf
an odd assortment of mismatched furniture. His suit is hanging
neatly on the back of the closet door and his suitcase is open
on a stand at the foot of the bed, stili neatly packed.
A radio DEEJAY and his SIDEKICK come on with hyped-up, drivetire
'happy talk.' Phil stares at the radio and listens to them.
DEEJAY
Okay, campers, rise and shine, and
don't forget your booties because
it's COOOLD out there today!
Phil grimaces and swings out of bed.
SIDEKICK
It's cold out there everyday. What
is this-- Miami Beach?
The deejay laughs. Phil shakes his head at the cheesy repartee
as he crosses to the sink and starts brushing his teeth.
DEEJAY
Not hardly. And you can expect
hazardous travel later today with
that, you know, blizzard thing--
SIDEKICK
That 'blizzard thing?"
Phil splashes some water on his face and prepares to shave.
SIDEKICK (CONT.)
Oh, here's the report: the National
Weather Service is calling for a big
blizzard thing.
DEEJAY
Yes they are, but there's another ,
reason today is especially exciting--
SIDEKICK
Especially cold--
DEEJAY
Especially cold, okay, but the big
question on everybody's lips--
SIDEKICK
Chapped lips--
(CONTINUED)
10 CONTINUED :
DEEJAY
--on their chapped lips, right-- Do
you think Phil's going to come out
and see his shadow?
SIDEKICK
Punxsutawney Phil.
Phil looks up at himself in the mirror, admiring his own face.
DEEJAY
That's right, woodchuck chuckers!
BOTH DEEJAYS
Groundhog Day !
SOUND EFFECT of GRUNTING GROUNDHOGS.
Phil crosses to the window and looks out.
11 HISPOV 11
The street is full of people heading toward the centel: of t o m .
CUT TO:
12 INT. CORRIDOR - EARLY MORNING 12

Phil heads for the breakfast room of the inn, now well-dressed
in a suit and tie, a nice overcoat slung over his arm. A CHUBBY
MAN passes.
CHUBBY MAN
Morning.
PHIL
Morning.
CHUBBY MAN
Think it'll be an early Spring?
PHIL
I don't know about the groundhog,
but I'm predicting March Zlst.
CUT TO:
13 INT. BREAKFAST ROOK - C3KTINUOUS .- --
Phil enters the old lib-ary of the house now set up with a
breakfast buffet. An sld spinet piano stands in the corner.
One wall is lined with bookcases filled with books. A handful
of guests are seated around the room, eating.
The matron of the house. MRS. LANCASTER, spots Phil as she comes
out of the kitchen with a fresh pot of coffee.
MRS. LANCASTER
Did you sleea well, Mr. Connors?
PHIL
(with msck civility)
I slept alone, Mrs. Lancaster.
.
MRS LANCASTER
Oh, I'm sorry. Would you like some
coffee?
PHIL
I don't suppse it'd be possible to
get an espresso or a cappucino
around here.
MRS. LANCASTER
(blankly)
I don't really know--
PHIL
(mutters)
--how to spell 'espresso. or
'cappucino: Forget it. This'll be
fine .
MRS. LANCASTER
(as she pours)
Hope you enjoy the festivities.
There's talk of a blizzard.
PHIL
No. The blizzard's landing due east
of here, missing us completely.
(gesturing as if on T )
This low pressure system is coming
down from the North, sucking all
this moisture up from the Gulf,
freezing it, pushing the disturbance
easterly, acd paralyzing Altoona.
That leaves Funxsutawney cold and
overcast, h i ~ htoday in the low
303s,dropp~r.3 to the low 20's
co-lght .
(r.=re)
(CONTINUED)
PHIL (Cont'd)
Chance of precipitation twenty--
percent.
(off her surprised look)
Did you want to talk weather, or did
you just want to chitchat?
MRS. LANCASTER
(at at loss)
Well, I--
He heads for the door.
MRS. LANCASTER
Oh, will you be checking out today,
Mr. Connors?
PHIL
Chance of departure-- one hundred
percent.
Phil exits.
CUT TO:
..
-
- 3
6
EX?. CHERRY STREET INN - MOENTS LATER 14
Sipping at the steaming coffee, Phil manages to put an his coat
and gloves as he descends the front steps of the rambling
Victorian house and joins the flow of pedestrian traffic on the
street.
15 EXT. TOWN SQUARE - PVNXSUTAWNEY - CONTINUOUS 1:

There are a lot of people on the street for this hour. Traffic
is sp heavy in fact, the pedestrians are moving faster than the
cars. Everyone seems to be going in the same direction, making
the annual trek to see the groundhog.
An extremely red-faced and weathered old bum, OLD JEMSEN, is
sitting on the sidewalk leaning against a storefront. Someone
presses a coin into his hand. Phil meets Old Jensen's tired
gaze. He self-consciously swats his supposedly empty pockets
and walks off with a shrug.
MAN 10.C.)
Hey, Phil!
A tall, sharp-faced man, NED RYERSON, comes huffing and puffin;
right up t o him. There is something about this guy that makes
us aisllke him on sight.
(CONTINUED)
NED
Phil! Phil Connors! I thought that
was you!
Phil assumes he's a fan.
PHIL
Good to see you. Thanks for
wa: ching.
NED
My oh my! Phil Connors. Don't say
you don't remember me, 'cause I sure
as heck-fire remember you. Well?
Phil stares, trying to remember.
NED
(prompting)
Ned Rverson? Needlenose Ned? Ned
the ~ e a d . Come on, buddy. Case
Western High?
PHIL
Ned?
NED
I see you clicking through that
brain of yours. Click-click, click-
click-- Bing! Ned Ryerson,
President, Loyal Order of Rowdy Band
Members? Bing! Ned Ryerson, got
the shingles real bad senior year,
almost didn't graduate. Bing again!
Ned Ryerson, went out with your
sister Mary Pat a couple of times--
'ti1 you told me not to anymore.
We1 1?
PHIL
(resigned)
Ned Ryerson.
NED
Bing !
PHIL
So what're you doing with yourself,
Ned?
NED
Phil, I sell insurance.
(CONTINUED)
PHIL
(sorry he asked)
No kidding.
NED
Do you have life insurance, Phil?
'Cause if you do, I bet you could
use more-- who couldn't?-- but I got
a feeling you don't have any. Am I
right?
PHIL
You know, Ned, I'd love to talk to
you but I really have to--
Phil starts to walk away, but Ned won't take the hint.
NED
That's okay. I'll walk with you.
When I see an opportunity, I charge
it, like a bull. Ned the Bull,
that's me now. .Some of my friends
live and die by actuarial tables,
but I think it's all just a crap
shoot anyhoo. Ever hear of single
premium life? That could be the
ticket for you, buddy. God, it's
good to see you! Hey, what're you
doing for dinner?
PHIL
Dinner? Sorry. I'm on a nine day
fast and if I break it now I lose my
room at the monastery.
As they continue walking, Phil steps off the curb into what
looks like a shallow puddle and ends up ankle deep in wet slush
Ned laughs like a donkey.
NED
Hey, look out for that first step!
It's a doozy!
Phil looks at him with murderous contempt.
CUT TO:
16 EXT. GOBBLER'S KNOB - DAWN 16

h b:g crowd is standing in the park on the main square. They
ere cazhered arocnd a large man-made rncund enclosed by a ral:
fence. Outside the central area, several flres are going, wlzh
- more people crowded around them.
(CONTINUED)
R e v i s e d Y e l 1 . o ~3 / 1 7 / 5 1
-13-
CONTINUED: it
For a cold gray dawn, there is the atmosphere of a festival

here. Music is blaring fromloudspeakers. The crowd is s i n g i ~
along.
The area directly in front of the mound is reserved for town
officials, dignitaries, and news reporters and cameras. Rita
stands there, a pocket of genuine beauty in this sea of
potbellied old union guys and blow-dried reporters.
The crowd has begun chanting:
CROWD
Phil! Phil! Phil! Phil!
Stomping her feet against the cold, Rita looks at her watch and
glances around. Larry, the cameraman, is shooting the crowd.
RITA
How could he be late? It's just
so-- inconsiderate.
LARRY
Prima donnas. What happens to
some people? They're born nice.
They grow up nice. You put 'ern on
TV and-- bam! Prima donnas.
Rita spots Phil heading into the crowd.
RITA
Here he comes. Phil! Hey, Phil.
Over here!
Phil joins them in the press area. Rita pulls him to his mark
near the rail fence.
RITA
Where've you been? You're missing
all the fun!
PHIL
It was horrible. A giant leech
got me.
Rita straightens his tie.
RITA
When, we got here at five there
was already a crowd. Some of them
have been partying all night.
LARRY
Okay.
She hands him a microphone.
16 CONTINUED :
RITA
. .
These people are great. They sing
songs 'ti1 they get too cold, then
they go warm up by the fires, then
they come back and sing some more.
PHIL
Yes. They're hicks, Rita.
He primps in the camera lens.
PHIL
So, did you sleep okay without me?
You tossed and turned, didn't you?
RITA
You're incredible.
PHIL
Who told you? No, I want to know
who told you. No one's supposed
to know.
The Groundhog Club Officials in top hats and overcoats parade
onto the stage at the front of the mound. Rita snaps to
attention.
RITA
Groundhog time. Larry?
LARRY
(behind the camera)
Getting it.
PHIL
On me. Let's go, I'm ready.
Larry looks at Rita. She shrugs. Larry mutters something and
turns the camera toward Phil.
Phil straightens up, takes a breath and snaps into announce
mode.
PHIL
(to camera)
Countdown 1, 2, 3
(pause)
Once a year, the eyes of the
nation turn here, to this tiny
hamlet in Pennsylvania, to watch
a master at work. The master?
(more)
(CONTINUED)
- 16 CONTINUED :
. .
PHIL (Cont'd)
Punxsutawney Phil, .the world's
most famous weatherman, the
groundhog, who, as legend has it,
can predict the coming of an early
spring. I know what you're
thinking--does Phil feel lucky
today?
On camera, Phil is professional, smooth, even charismatic. Rita
turns to Larry. This is impressive-- so far, so good.
On stage is a hollow tree stump with a little door in the front.
BUSTER GREEN, the Groundhog Club President, knocks on the little
door with his cane.
PHIL
(to Rita)
It's the same every year. They
knock on the stump, yank out the
hog, talk to it--
An Official pulls the groundhog from the hollow tree stump. The
crowd cheers.
Rita laughs, enjoying this imensely
RITA
This is a riot!
On stage, Buster Green pretends to talk to the groundhog. At
the end of their mock conversation, he unrolls a scroll and
reads from it.
BUSTER
This February Second, at seven
twenty and thirty seconds,
Punxsutawney Phil, the Seer of
Seers, Prognosticator of
Prognosticators--
Phil is bored, looks at his watch.
.
BUSTER (CONT )
--emerged reluctantly but alertly
in Punxsutawney, Pennsylvannia, to
wish the faithful followers a
happy Groundhog Day. Phil looked
skyward to the east, then behind
to the ground, and stated clearly
in groundhogese, .I definitely see
a shadow." Sorry folks, there you
have it, six more weeks of winter.
(CONTINUED)
.... 16 CONTINUED:
he good-natured crowd goes' :A
-' b t h e r men on t h e
podium hold up hand-lettered-signs reading 'Blizzard', ' S l e e t . '
Larry pans t h e camera back t o P h i l .
PHIL
( t o camera)
A disappointed b u t cheerful crowd.
Well, you heard i t . S i x more
weeks of w i n t e r .
S d d e n l y , t h e groundhog wriggles out of t h e O f f i c i a l ' s hands and
escapes from him. H e runs o f f t h e s t a g e and through t h e crowd.
WE can t r a c e h i s p a t h as t h e people p a r t t o avoid him.
RITA
(to Larry)
G e t this--this. Over t h e r e , over
there.
Larry swings t h e camera o f f P h i l toward t h e crowd, t r y i n g t o
follow the groundhog.
P h i l c a n ' t b e l i e v e he i s being upstaged l i k e this. Rita i s
amused.
RITA
You're missing t h e s t o r y , Phil.
I t ' s over t h e r e .
F i n a l l y , someone i n t h e crowd reaches down and picks up t h e
groundhog. The O f f i c i a l comes down t o r e t r i e v e him.
Larry pans back t o P h i l , who pretends t o have been amused by a l l
this.
PHIL
( t o camera)
Okay, i n 3.
(pause)
You know, t h i s i s one time where
t e l e v i s i o n r e a l l y f a i l s t o capture
t h e t r u e excitement of watching a
large squirrel predict the
weather, and I f o r one am g r a t e f u l
I could be h e r e today. From
Punxsutawney, t h i s is P h i l
Connors .
P h i l makes a c u t s i g n with h i s hand and hands t h e mike t o R i t a
(CONTINUED)
Revised P i n k 3 / 1 3 / 9 2
i.
16 CONTINUED :
RITA
. .
(to Phil)
want to do it again without the
sarcasm?
PHIL
I'm outta here.
LARRY
(mutters)
Prima donnas.
CUT TO:
17 INT. DINER - LATER 15
Phil is sitting at a table having a cup of coffee in is busy,

loud and lively cafe.
In the background, an CL3 LADY is playing 'Seventy-six
Trombones" on a Hammond Organ.
Rita enters from outsi6e and rejoins Phil at their table. Phi;
is in the middle of a story, playing to an audience of bustlizg
waitresses, short order cooks, and half-interested patrons.
PHIL
At that time, the National Weather . .
Service predicted Hurricane
Guenivere would come ashore in
Georgia. I seid --
'Uh-uh. You're
not watching the Gulf Stream, boys.
She's gonna hit-- New York City:
PATRONS
Ohhhh .
Phil sits back, satisfied. Patrons nod politely.
PHIL
Mayor of New York wouldn't take my
call. City got creamed.
RITA
Larry's almost got the van packed
UP
An old waitress, DORIS, comes over with some coffee.
DORIS
More coffee, hon?
RITA
Just the check, please. These
sticky buns are just heaven.
DORIS
(pleased)
Aren't they?
PHIL
(sarcastic, to Rita)
Do we have to leave so soon?
DORIS
What's the rush? We just got handed
six more weeks of winter.
PHIL
That's just a rumor. The groundhog
heard i~ fro= he Easter bunny.
Phil gets his coat from the coat-tree.
(CONTINUED)
RITA
I don't think Phil's a believer.
DORIS
Phil?
An old GEEZER sitting at the counter behind them responds.
GUS
Like the groundhog.
VARIOUS VOICES
Hey, Phil! Shadow scare ya this
morning? (another) Have a good nap?
(another) Hollow log too small for
YOU?
Phil glowers at them, already sick of hearing this.
Larry pokes his head in the doorway and spots Rita.
LARRY
You ready? We better get going if
we're going to stay ahead of the
weather.
PHIL
That storm is going to miss us
completely, you know.
Phil leaves a ten dollar bill on the table as he leaves. As
they approach the door, Doris hands Rita a bag of sticky buns.
DORIS
Here you go, darlin'.
RITA
oh, my. Look, Phil! Sticky Buns.
Phil grins in mock excitement.
PHIL
I couldn't be happier.
DORIS
See you next year, same time.
RITA
Thank you so much.
(to Phil)
Isn't she swee:?
Phil and Rita exit.
'\../
(CONTINUED)
Revised Pink 3!l:f9;
.... 17 CONTINUED: i
Another waitress, ALICE, is already bussing Phil and Rita's
table. She notices the ten dollars and hands it over to Doris.
ALICE
Ten dollars for coffee and a
sticky bun?
DORIS
And for listening to him.
CUT TO:
18 EXT. HIGHWAY - DAY

The van is driving down the highway. Light snow is just
starting to fall. As they cross over a ridge, the biggest,
darkest, most ominous storm imaginable is gathering in the sky
just beyond.
19 INT. THE VAN - CONTINUOUS

The snow is getting heavier. Larry switches on the windshield
wipers. Finally, Rita breaks the silence.
PHIL
(on the phone)
Hello? Hello? Hello? Goodbye.
RITA
I have to say, that was pretty
lousy this morning.
PHIL
It was worse last year. The rat
bit somebody--
RITA
I'm not talking about the
groundhog. He was fine. I'm
talking about you. You call
yourself a professional?
PHIL
I'm a pro. That was right on the
money.
RITA
Okay, forget professional. 'How
about human? It's just a funny
little folk pageant. You acted
like it's a personal insult. Who
do you think you are?
(CONTINUED)
Revised. Pink 3/:2/92
19 CONTINUED :
. .
PHIL
oh my God, you take this stuff
seriously.
IxL A t %
Yes, I do. There are no little
stories, Phil. Only little
reporters with big egos who think
they're too good for the job.
PHIL
Oh, is that so?
RITA
Yes, that is so.
LARRY
(wipes window)
Oh boy, take a look at this.
He starts slowing down as the snowfall gets heavier.
PHIL
What's going on?
LARRY
I don't know, perhaps it's that
blizzard we're not going to get.
PHIL
What?
The traffic comes to a complete stop. Phil reaches out and
begins honking Larry's horn.
PHIL
(honking)
This isn't possible.
LARRY
(pushing his hand away)
Hey! No one honk's that horn but
me, pal.
Larry honks it once to assert his prerogative.
Phil rolls down the window and looks up ahead. The highway is
a parking lot.
PHIL
NO. NO!
R e v i s e d Pink 3/13!S:
.L.. .
- ?
L - EXT. THE CAR - CONTINUOUS iC

Phil jumps out and begins to walk down the'highway, past the
parked cars, shivering. As Phil passes the van, Larry honks his *
horn. Phil jumps and Larry gives him a little wave. Some cars t
are pulling away from the lineup and turning back. *
-- 20 CONTINUED :
The snowfall is getting heavier and the wind is picking up. The
snow comes down unnaturally hard and fast. He walks on,
slipping and sliding in his expensive loafers until he comes to
a police roadblock manned by TWO HIGHWAY PATROLMEN.
PHIL
What's going on, Connnander?
PATROLMAN
Nothin's goin' on. We're closin'
the road. Big accident up ahead.
Blizzard movin' in.
PHIL
What blizzard? A couple of
flakes!
PATROLMAN
Don't you listen to the weather?
We got a major storm here.
PHIL
No, no. I make the weather.
(gesturing as if at the
weather map)
All that moisture is going to push
east of us and hit Altoona.
PATROLMAN
Pal, you got that moisture on your
head.
Phil stomps off, but comes right back.
PHIL
Commander--
PATROLMAN
Mister, you can go back to
Punxsutawney, or you can go on
ahead and freeze to death. Your
choice.
(after a beat)
Well? What's it gonna be?
PHIL
I'm thinking.
CUT TO:
Revised Yellow 3 / 1 7 / 9 2
21 INT. GAS STATION - LATER

Phil is on a payaphone. Snow is falling heavily outside. Rita
and Larry are waiting in the van. A GAS STATION A?TENDANT is
shovelling around the pumps.
PHIL
(on phone)
All the long distance lines are
down? What about the satellite?
Is it snowing in space? ...
Isn't
there some special line you keep
open for emergencies or for
celebrities? ...
Both! I'm a
celebrity in an emergency. Can
you patch me through on that line?
The door opens and Phil is blasted with frigid Arctic wind and
blowing snow. The GAS STATION ATTENDANT enters the tiny office
and in trying to squeeze past Phil accidentally bangs him on the
head with his snow shovel.
CUT TO:
22 EXT. TOWN SQUARE - DAY

Rita and Larry are talking near a booth selling hot cider. The
sound of chainsaws is loud in the background. Rita takes two
cups of cider and walks to where Phil is standing.
Phil is staring blankly. Surrounding him are twenty-five ice
sculptures, many of groundhogs.
PHIL
My idea of hell. By Phil Connors.
The artists are working their sculptures with chain-saws.
Banners are up. It is a local competition. Many townspeople
and tourists cheer them on.
RITA
Some of these are great.
She hands him a cup and admires an elaborately carved ice angel.
PHIL
This town is a time capsule
somebody buried a hundred years
ago and no one's dug it up yet.
RITA
Cheer up, Phil. The day's what
you make of it, right? A couple
of hours ago this was just a block
of ice.
(CONTINUED)
Revised Yellow 3 / 1 ; . 5 :
-
.-
22 CONTINUED:
PHIL
And a couple of years ago it was
rain.
Phil dumps the cider from his cup, goes up to the statue and
scoops the ice shavings into his glass.
PHIL
Tell Larry to go get us some
bourbon.
LARRY
Hey, I'm not your guy. I don't
have to do that.
(he turns to Rita)
Would you like some bourbon Rita?
RITA
Thanks, Larry.
CUT TO:
23 INT. HOTEL BAR - EVENING 21

A dance band is playing somewhere in the hotel. Phil is at the
bar telling a story to an attractive GIRL (NANCY) and anybody
else within earshot. The girl listens politely.
PHIL
Over here I've got the satellite
photos, over here I've got the
temperature grades, and I think
'Aha! You know where she's gonna
hit?'
BARTENDER
New York City.
Phil pauses, bites the intrusion.
PHIL
It's a famous story, yes.
BARTENDER
(to others)
Mayor of New York wouldn't take
his call. City got creamed.
Everyone chuckles at Phil's expense.
(CONTINUED)
%
_._. 23 CONTINUED:
PHIL
(to the girl)
The science of meteorology is way
over their heads.
NANCY
(nervously)
I better get going.
PHIL
No, wait. Don't you want to see
the inside of the van? It's
really cool.
NANCY
I should get back to.the party.
Thanks for the drink, Frank. Good
night.
(CONTINUED)
-24-
23 CONTINUED:
Nancy heads for the lobby.
PHIL
(calling)
It's Phil!
BARTENDER
Phil? Like the groundhog.
PATRONS
Have a good nap, Phil? (another)
Let's hear some groundhogese.
(another) Any more predictions?
Rita and Larry enter, dressed for the evening.
RITA
Phil, aren't you going to the
Groundhog Dinner?
PHIL
No, thanks. I had groundhog for
lunch. It was good. Tastes like
chicken. You two run along.
RITA
What are you going to do?
PHIL
I think I'll just go back to my
hotel and have a nice hot shower.
CUT TO:
24 INT. SHOWER 24
Phil takes off his robe and steps into the shower. His eyes
open wide and he SCREAMS.
CUT TO:
25 INT. MAIN FLOOR HALLWAY

Phil encounters Mrs. Lancaster on her way to her room.
PHIL
Isn't there any hot water in this
place?
MRS. LANCASTER
Oh, not today. I'm sorry. Sweet
dreams !
t CONTINUED)
25 CONTINUED :
Phil nods, resigned, as she exits into her'room.
26 INT. PHIL'S ROOM - CONTINUOUS 26

Phil enters his room. His open suitcase is on his bed. He
throws it onto the floor, then tosses his shaving kit onto the
end table. The shaving kit knocks over a vase with flowers,
which falls and breaks.
Phil reacts. Perfect end to a perfect day. He flops down on
the bed.
DISSOLVE TO:
27 EXT. CHERRY STREET - DAWN , 27

The first light of morning colors the sky behind the Cherry
Street Inn.
CUT TO:
26 INT. PHIL'S ROOM - DAWN 2E
CLOSE UP - CLOCK
The clock-radio changes from 5:59 to 6 : 0 0 AM. The radio comes
on, playing the end of the Sonny and Cher hit, 'I Got You,
Babe,' just as it did the day before.
Phil sits up in bed. He's wearing pajamas, his suit is once
again hanging neatly on the closet door and his suitcase is back
on its stand at the foot of the bed, again neatly packed. The
flower vase is again set on the end table, unbroken. Phil takes
no notice.
The song ends and the same radio deejay and his sidekick come oc
with the same manic energy. Phil stares at the radio and
listens to them. A look of astonishment comes over his face as
they banter.
DEEJAY
(CONTINUED)
28 CONTINJED :
SIDEKICK
The deejay laughs. Phil 'mock' laughs at exactly the same time,
recognizing the repartee from the previous morning.
PHIL
(to himself)
Nice going guys. That's yesterday's
tape.
Phil crosses to the sink and gets a towel off the rack, only
half-listening to the radio.
DEEJAY
Not hardly. Expect hazardous travel
later today with that, you know,
blizzard thing--
SIDEKICK
That "blizzard thing?"
Phil turns on the water and splashes some on his face as if
trying to wake himself up, vaguely disturbed by the repetition
of he broadcast.
SIDEKICK (CONT.)
Oh, here's the report: the National
Weather Service is calling for a big
blizzard thing.
DEEJAY
Yes they are, but there's another
reason today is especially exciting--
SIDEKICK
Especially cold--
DEEJAY
Especially cold, okay, but the big
question on everybody ' s lips--
Phil supplies the next line in unison with the radio
SIDEKICK AND PHIL
Chapped lips--
DEEJAY
--or. their chapped lips, right-- Do
you think Phil's going to come out
and see his shadow?
(CONTINUED)
SIDEKICK
Punxsutawney Phil.
Some vague doubt causes Phil to go to the window.
DEEJAY
That's right, woodchuck chuckers!
It IS--
BOTH DEEJAYS
Groundhog Day!
SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back the
curtains and looks out.
29 HISPOV - 25
The street is full of people heading toward Gobbler's Knob,
exactly as they did the day before.
PHIL
(aghast)
What the hell?
CUT TO:
.
.. -
30 INT. CORRIDOR - CHERRY STREET INN - DAWN 3C

Phil rushes out of his room, hastily tying his tie, his suit
jacket and overcoat over his arm. As he heads for the breakfast
room, the same Chubby Man passes.
CHUBBY MAN
Morning.
PHIL
Morning.
CHUBBY MAN
Think it'll be an early Spring?
PHIL
(stops, irritated)
Didn't we do this yesterday?
CHUBBY MAN
(intimidated)
I don't know what you mean.
Fhil grabs him by the front of his shirt and looks deep into Zis
eyes.
(CONTINUED)
Revised Yellow 3 ! 1 7 1 9 :
PHIL
Don't mess with me, pork chop.
What day is this?
CHUBBY MAN
(terrified)
February second-- Groundhog Day!
Phil can see he's telling the truth and relaxes his grip on the
poor man.
PHIL
Okay. Sorry. Just checking
Phil walks on, leaving the chubby man baffled and insulted.
..
31 INT. BREAKFAST ROOM - CONTINUOUS
Phil enters the old library of the house and finds everything
exactly as it was the day before. Mrs. Lancaster spots Phil as
she comes out of the kitchen with the fresh pot of coffee.
MRS. LANCASTER
Did you sleep well, Mr. Connors?
PHIL
(completely confused)
Did I sleep well--?
MRS. LANCASTER
Would you like some coffee?
PHIL,
Yes, please. Better make it a
double.
MRS. LANCASTER
(pouring)
HOD^ vou eniov the festivities.
~h'ere's talk bf a blizzard.
PHIL
Do you ever have deja vu, Mrs.
Lancaster?
MRS. LANCASTER
I don't know, but I could check
with the kitchen.
(CONTINUED)
PHIL
Thank you .
He heads for the door, still in a daze.
MRS. LANCASTER
Oh, will you be checking out today,
Mr. Connors?
PHIL
(vaguely)
I'd say there's an eighty percent
chance.
He exits.
CUT TO:
32 EXT. CHERRY STREET INN - MOMENTS LATER 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
Excuse me. Where's everybody going?
PASSERBY
To Gobbler's Knob. It's Groundhog
Day !
PHIL
It's still just once a year, right?
Phil shakes his head as if trying to clear it and starts off
down the street.
33 EXT. TOWN SQUARE - CONTINUOUS 3:

Phil rushes down the street. Again his eyes catch those of OLD
JENSEN sitting on the sidewalk leaning against a storefront.
Again, without thinking, he swats his supposedly empty pockets
then realizes that he did this yesterday.
PHIL
This is some dream.
Hey, Phil!
NED RYERSON (0.C .)
Ned Fgerson approaches with the same obnoxious attitude
(CONTINUED)
NED
Phil! Phil Connors! - that
I thouaht
was you !
Phil just stares at him and keeps walking.
NED
My oh my! Phil Connors. Don't say
you don't remember me, 'cause I sure
as heck-fire remember you. Well?
PHIL
Ned Ryerson?
NED
Bing! First shot right out of the
box. So how's it going, 01 ' buddy?
'PHIL
To tell you the truth, Neddy, I'm
not feeling real well. Could you
excuse me?
NED
Now it's funny you should mention
your health 'cause you'll never
guess what I d3.
PHIL
Do you sell insurance, Ned?
NED
Bing again! You're sharp as a tack
today. Do you have life insurance,
Phil? 'Cause if you do, I bet you
could use more-- who couldn't?-- but
I got a feeling you don't have any.
Am I right?
PHIL
(desperate to get away)
I gotta go.
He backs away from Ned and steps right into the same deep slushy
puddle he stepped in the day before.
NED
Hey, look out for that first step.
It's a doozy!
Phil i ~ ~ k
down
s at his wet shoes and cuffs and stumbles off
toward Gsbbler ' s Knob.
Revised Pink 3/ 13/92
..j 34 EXT. GOBBLER'S KNOB - DAWN

The crowd is gathered as before for the big moment.
CROWD
(chanting)
Phil! Phil! Phil!
In the press area, Rita is having the same dialogue wi.th Larry,
when she spots Phil.
RITA
Here he comes. Phil! Hey, Phil!
Over here!
Phil makes it through the crowd to Rita.
RITA
all the fun.
PHIL
Rita, do me a favor. I've never
asked you for anything, I never
will again but this morning I need
a favor. I need someone to give
me a good hard slap on the face.
......
, Rita shrugs and slaps him very hard.
PHIL
(his cheek smarting)
Thank you. That was almost too
hard, Rita.
LARRY
If you need help with the other
cheek, just let me know. - t
Rita shoves the slate into Phil's hands. Larry shoulders the
camera to shoot the slate.
PHIL
Something's going on, Rita. I
don't know what to do.
RITA
Are you drunk or something?
PHIL
No, drunk is more fun. Can I be
serious with you for a minute?
RITA
I don't know. Can you?
(CONTINUED)
.- 34 CONTINUED:
PHIL
Yes. ~ ' mbeing serious. I'm
having a problem-- no, I may be
having a problem.
LARRY
(to Rita, getting her
attention)
Rita.
To the cheers of the crowd, the Groundhog Club Officials parade
onto the stage.
RITA
Okay! Groundhog Time!
PHIL
See? I knew you were going to say
that. I've got a chill down my
spine.
RITA
Yeah. My toes are numb.
LARRY
My snot froze.
PHIL
I mean it. I feel really weird.
RITA
Let's just do this, Phil. Then
we'll talk.
Larry trains the camera on Phil. This time it takes Phil a
moment to get up to speed.
PHIL
(to camera)
Well, it's Groundhog Day-- again--
and you know what that means.
Phil begins rolling up microphone cable, gathering the slack as
he talks. Rita, not understanding, starts feeding it out to
him.
PHIL (CONT.)
We're all here on Gobbler's Knob,
waiting for the forecast from the
world's most famous groundhog,
Punxsutawney Phil, who's just
about to t e l l u s j u s t how m u c h
more winter we can expect.
(CONTINUED)
34 CONTINUED:
Buster Green knocks on the door of the holiow tree stump with
his cane. Another Official pulls the groundhog from the stump,
and the crowd cheers.
AS the proceedings continue, Phil begins pushing into the crowd,
walking away from the camera, toward the spot where the
groundhog ran the day before.
BUSTER
(reading from scroll)
This February Second, at seven
twenty and thirty seconds (etc.)--
LARRY
(whispers to Rita)
Where's he going?! .
The microphone cord is playing out, beginning to tug at the
camera.
RITA
(urgently)
I don't know. Follow him! Let's
Larry and Rita are forced to pick up all their gear and follow
Phil into the crowd. Larry keeps shooting.
BUSTER (CONT,)
--and stated clearly in
groundhogese .I definitely see a
shadow.'
The crowd good-naturedly goes .Awwwww: Other men orn the stage
hold up the 'Blizzardm and 'Sleetg signs.
(CONTINUED)
::?en, suddenly, the groundhog again jumps out of the official's
?.ands and runs through the crowd as before.
;3V - LARRY'S T V CAMERA
-ushing
5
through the crowd. People slowly part as he presses
rorward, then through peoples' legs and finally totally in the
rlear, we see Phil, bent down face to face with the groundhog.
They stare at each other for a moment.
7 5 1 , realizing he is now on camera, tries to pull himself
rogether and create a one-on-one interview.
PHIL
Since I have you here, I gotta ask --
is this shadow thing legit, or did
you look at satellite photos like
the rest of us?
?he spectators laugh appreciatively. Rita and Larry watch in
amazement.
3ster
.r.-m.
.
Green walks over to Phil and takes the groundhog from
BUSTER
(to Phil)
Thank you, sir.
PHIL
(flustered, but still
professional)
And thank you, 'Punxsutawney Phil,
the Seer of Seers, and a real down-
to-earth guy. From Punxsutawney,
I'm Phil Connors.
Phil, realizing the implications of what just happened, drops
tne microphone and wanders off.
Larry shoots his strange exit then pans back to find Rita
vatching Phil, amazed.
CUT TO:
35 -ST. SHOWER - LATER

:hi1 screams as the cold water hits him.
CUT TO:
',.&... 36 1 PHIL'S ROOM - LATER
phi: is on the phone, wrapped in a blanket, desperately ;wing
to make a call.
PHIL
(on the phone)
I know there's a blizzard. When do
you think the long distance lines
will be working again? ...But what if
we don't have a tomorrow? We didn't
have one today ... Hello...Hello?
He hangs up and shakes his head which is now really starting to
ache, then he pops a handful of aspirin, lies down and pulls the
covers up over his head. A moment later, he sits up, takes a
pencil from the nightstand, breaks it in half and puts the
pieces back on the nightstand. Then he lies down again and
retreats back under the covers.
CUT TO:
37 INT. PHIL'S ROOM - DAWN 37

CLOSE UP - CLOCK
--
The clock-radio changes from 5 : 5 9 to 6:00 AM. The radio comes
,.., playing the end of the Sonny and Cher hit, "I Got You,
Babe," just as it did the day before.
Phil sits up in bed fearing the worst and looks on the
nightstand. The pencil is whole again. The morning deejays
begin their now familiar rap.
DEEJAY
SIDEKICK
Phil is almost shaking with intensity and fear. He listens for
a while, not moving, then throws the covers off.
CUT TO:
38 IN?'. COXRIDOR -
DAWN 3E
.,-,
p5:< k~rriedlydressed, bursts out of his room, just as the
,..-SD~
'I.-..
Kan passes.
(CONTINUED
Revised B l u e 3/7/91
..-
38 CONTINUED:
CHUBBY MAN
Morning. Think it'll be an early
spring?
Phil glares at him as if he's just seen a ghost, and keeps
moving.
CUT TO:
39 INT. BREAKFAST ROOM - CONTINIIOUS 3

Phil enters the room just as Mrs. Lancaster is coming out with
the coffee.
MRS. LANCASTER
Did you sleep well, Mr. Connors?
Phil continues past her and rushes out the door.
CUT TO:
40 EXT. CHERRY STREET INN - MOMENTS LATER

Phil bursts from the Inn. coat unbuttoned, and surveys the
street. Just as before, people are up and about, heading for
the Knob. He runs d o w the stairs.
CUT TO:
41 EXT. TOWN SQUARE - MOMENTS LATER 4

Phil veers around Old Jensen, then stops to catch his breath.
NED
Hey, Phil! Phil Connors! I thought
that was you!
Phil pushes him away, but Ned keeps on coming.
NED
Don't say you don't remember me,
'cause I sure as heck-fire remember
you.
Phil shoves him away again, and continues rushing toward the
Knob.
(CONTINUED)
-37-
. 45 CONTINUED:
PHIL
. .
Get away!
In his hasty retreat, Phil steps right into the slush puddle,
but keeps going.
CUT TO:
42
thtu
45
OMITTED (SEE: 49A - 49D)
46 EXT. GOBBLER'S KNOB - DAWN

Phil pushes through the crowd at the Knob.
CROWD
(chanting)
Phil! Phil! Phil!
To him, it's like a nightmare as he desperately shoves his way
through the crowd to Rita.
RITA
all the fun.
PHIL
(trvinq to contain his
-panici
Could I talk to you about a matter
that is not work related?
RITA
You never talk about work.
PHIL
Just come with me. We really have
to talk.
As he pulls her away he notices Larry eyeing them curiously
LARRY
Is he hurting you?
PHIL
(to Larxy)
Creative meeting. You'd be bored.
RITA
Wait a second, we've got work to
do.
PAIL
No, I've already done it. I'll be
at the diner.
(CONTINUED)
-.
46 CONTINUED:
He exits.
, .
CUT TO:
47 INT. DINER - COWl"1NUOUS 4:
They sit together at the same table they had previously. Doris
approaches.
DORIS
More coffee, hon?
(CONTINUED
Revised Blue 3/7/92
1. ~. 47 CONTINUED:
RITA
Just the check, please. These
sticky buns are just heaven.
DORIS
(pleased)
Aren't they?
Doris exits.
RITA
(to Phil)
Okay, now you tell me why you're too
sick to work and it better be good.
PHIL
Rita, I keep reliving the same day
over and over-- Groundhog Day--
today. It's uncanny.
RITA
Uh-huh. I'm waiting for the
punchline.
PHIL
No, really. This is the third time.
It's like yesterday never happened.
RITA
I'm wracking my brain, but I can't
even imagine why you'd make up
something like this.
PHIL
I'm not making it up! I'm asking
for your help!
RITA
What do you want me to do?
PHIL
I don't know! You're the producer.
You figure it out.
RITA
Okay, you want my advice? I think
you should have your head examined
if you expect me to believe a lame
story like that, Phil.
DORIS
(overhearing)
Phil?
(CONTINUED)
Revised Blue 3/7/92
-39- '
- 47 CONTINUED :
PHIL WITH GUS
Like the groundhog.
VARIOUS VOICES
Hey, Phil! Shadow scare ya this
morning? (another) Have a good nap?
(another) Hollow log too small for
you?
Phil shakes his head at the now familiar chorus of lame jokes.
PHIL
(mutters)
Morons.
Larry pokes his head in the doorway, looks around, spots Rita
and makes his way over to their table.
LARRY
weather.
Rita stands up. Phil remains seated.
RITA
Come on, Phil. We can talk about it
back in Pittsburgh.
PHIL
I 'm not going back to Pittsburgh--
RITA
You're not-- .
PHIL
--because of the blizzard.
RITA
I thouqht you said it was hitting
PHIL
(sharply
I KNOW that's what I said!
RITA
(calmly)
Phil, I think you need help.
CUT TO:
!.
-..._. 48 INT. MEDICAL CLINIC - DAY
. .
INSERT
X-rays of Phil's skull are slapped up onto a light bwx.
Phil is having his head examined by a NEUROLOGIST.
NEUROLOGIST
No spots, no clots, no tumors, no
lesions, no aneurisms. At least,
none that I can see. Of course,
if you want a CAT-scan or an MRI,
you have to go into Pittsburgh.
PHIL
I can't go into Pittsburgh.
NEUROLOGIST
Why can't you go to Pittsburgh?
PHIL
I told you. There's a blizzard.
NEUROLOGIST
(humoring him)
Oh, right, the blizzard. You
know what you may need, Mr.
Connors?
PHIL
A biopsy?
NEUROLOGIST
No. A psychiatrist.
CUT M:
49 INT. PSYCHOLOGIST'S OFFICE - DAY

Punxsutawney's only PSYCHOLOGIST is a marriage and family
counselor at the local Lutheran church. His appearaince and
manner indicate he may have some serious problems of his own.
PSYCHOLOGIST
(not too confident)
That's kind of an unusual problem,
Mr. Connors. Most of my work is
with couples, families, the
occasional alcholoic.
PHIL
Didn't you take a course about
this kind of stuff.
(CONTINUED)
1
.. 49 CONTINUED :
PSYCHOLOGIST
Sort of, I guess. Abnormal
Psychology.
PHIL
D m i t , I never wanted to be
abnormal. So I'm crazy.
PSYCHOLOGIST
(hesitant)
We never say crazy. You may be
just a little delusional.
PHIL
So I'm delusional. Then none of
this is happening.
PSYCHOLOGIST
(humoring him)
I wouldn't think so.
PHIL
So what do I do?
PSYCHOLOGIST
I think we should meet again. How
about tomorrow?
49A OMITTED 49.
49B EXT. CORRIDOR - LATER 49

Mrs. Lancaster and several other guests are gathered in the hall
outside Phil's room, listening at the door and looking very
worried. Loud music is playing, but from inside the room, they
can hear the sound of hammering, wood splintering and glass
breaking.
49C INT. PHIL'S ROOM - SAME TIME 49

t
Phil has demolished all the furniture and woodwork in the room
and splashed himself and everything else in the room with bright
red paint. As a final touch he drops a delicate crystal vase
and it shatters on the floor. He then crosses to the mirror t
over the demolished sink.
(CONTINUED
4 9C CONTINUED :
Phil stands at the sink, staring at his imige in the mirror,
trying to figure out what's happening to him. He starts
breathing heavier, as if gathering courage, then, just when we
think he's going to cut off his ear or something, he raises an
electric barber clipper and shaves a bald stripe up the middle
of his head.
He studies his new look for a moment then smashes the mirror
with a brass candlestick.
Then he falls exhausted on the bed and closes his eyes. He can
hear people pounding on the door outside.
We pan over to the clock radio, the only undamaged object in the *
room which reads 5:59 AM.
49D The time changes to 6:00, the radio clicks on and 'I Got You, 491
Babe' starts playing as we pan back to Phil sleeping on the bed.
t
He opens his eyes, jumps out of bed and races over to the sink.
The mirror is whole again and his hair is completely restored as
if it had never been shaved.
The song ends and the deejays come on. Phil says every word
right along with them, shocked into a state of complete
wonderment.
PHIL AND DEEJAY
it's CODOLD out there today.
PHIL AND SIDEKICK
It s cold out there everyday.
What is this-- Miami Beach?
The deejay laughs. Phil laughs dully along with him.
50 INSERT - A BACKLIT TRANSPARENCY OF THE SOLAR SYSTEM 5

A SCIENTIST in a white lab coat is pointing at the graphic.
Phil looks on with interest.
SCIENTIST
(with authority)
Now if the moon exerts a
gravitational pull strong enough
to cause the tides, then it may be
theoretically ~ossiblefor a Black
Hole or a singularity of
sufficient mamitude to actuallv
bend-time enough to cause it to-
fold back on itself.
(CONTINUED)
OMITTED
%-
. 50 CONTINUED:
PHIL
You think that's a realistic
possibility?
A paper airplane sails past his head, accompanied by a noisy
outburst of juvenile laughter.
PULL BACK TO REVEAL:
INT. CLASSROOM - DAY
Twenty-five eighth-graders running amok.
SCIENTIST
(sternly)
All right! I think someone m y just
need a little visit to the Assistant
Princi~al'soffice! Get back in
your seats. The bell has not rung
yet.
The kids sit back down, but keep up their noisy chatter.
SCIENTIST
(to Phil)
Of course, I'm speaking purely
hypothetically.
CUT TO:
51 INT. SCHOOL CORRIDOR/FIRST G m E CLASSROOM - LATER 5

Phil is walking toward the exit when he passes a first grade
classroom. The door is open and the TEACHER is narrating a
fairy tale while several of the children act it out for the rest
of the class.
PRINCESS
(stiffly)
Yes, little frog, because you
returned my golden ball I will grant
you one last wish.
Phil stops outside the door to watch.
52 INT. CLASSROOM - CONTINUOUS 1

A LITTLE BOY in a makeshift frog costume hops around unsteadily.
My wish is this.
FROG
That you give me
I
just one kiss.
(CONTINUED)
I
52 !CONTINUED: -- --
t
'The princess klsses the frog who clumsily tumbles over. The *
kids laugh.
TEACHER
Now who can tell me what happened
when the princess kissed the frog.
A BOY
Her lips got slimed!
The whole class erupts in giggles and shrieks.
TEACHER
Okay, come on now. What happened
when she kissed the frog?
LITTLE GIRL
The princess kissed the frog and
the spell got broke and he turned
into a handsome prince and they
got married and lived happily ever
a£ter.
TEACHER
That ' s right.
The frog-boy stands up and takes off his frog costume and dons
an aluminum foil crown. The other kids clap.
53 INT. THE CORRIDOR - SAME TIME

Phil is leaning against the wall listening. There is something
very arresting about the fairy tale. but finally he just shakes
his head and exits.
CUT TO:
54 CU CLOCK 54
The clock-radio changes from 5:59 to 6:00 AM. The radio comes
on, playing 'I Got You, Babe.'
Phil's hand swings around and swats the radio off.
CUT TO:
.., 55 CU CLOCK
on, playing 'I Got You, Babe..'
Phil's hand swings around and flips the radio upside down.
CUT TO:
56 CU CLOCK
on, playing 'I Got You, Babe:
phil's fist comes down and beats in the top of the radio.
CUT m:
57 CU CLOCK
The clock-radio changes from 5 : 5 9 to 6:00 AM. The radio comes
on, playing 'I Got You, Babe:
Phil sits up, grabs the radio with both hands, wrestles with it,
and hurls it against the wall. From the floor we hear:
DEEJAY
it Is coooold out there ,today!
CUT m:
58 I N T . BOWLING ALLEY - LATER THAT NIGHT
Phil is at the bar drinking coffee in hmxsutawney's little
eight-lane bowling alley. Sitting down the bar frcnn him are the
two young geezers, Gus and Ralph. They're drinking heavily,
Phil is sticking to coffee.
PHIL
I was in the Virgin islands, once.
I met a girl, we ate lobster,
drank pina coladas. At sunset, we
made love like sea otters. It was
a pretty good day. Why couldn't
I get that day over and over
again.
(CO~INUED)
1.
58 CONTINUED:
GUS
If you're not happyhere, why
don1t you try someplace else?
PHIL
Because if you take 36 east or 310
north-- you hit blizzard. If you
try riding a horse west over
Sutter's Arbor? Blizzard-- and a
sore butt. And when I hot-wired
a snowmobile and headed south--
WPH
Blizzard?
PHIL
Yeah, plus I got a barbed wire
body wrap and lost a great deal of
blood.
Gus holds up half a glass of beer.
GUS
Some people look at this glass and
say it's half empty; others say
it's half full. You're a .glass
is half empty' kind of .a guy,
aren ' t you?
PHIL
(exasperated)
How would you feel if you were
stuck in one place, if every day
was exactly the same and nothing
you did mattered?
Gus and Ralph realize he could be talking about their lives
RAtPH
That about sums it up for me.
PHIL
So how full is your glass?
GUS
(depressed)
I'm down to about a quarter tank
here.
Ralph finishes the last of his beer and regards his glass.
RAt PH
(even more depressed)
Runnin' on empty.
CUT M:
59 EX?. THE STREET - LATER --- "--
,..
Phil, Gus and Ralph approach Ralph's big, old red Cadillac
parked outside the bar. Gus and Ralph are very drunk.
RALPH
(fumbling with his car
keys)
Come on. I'll drop you guys off.
Ralph barely gets the key into the car lock. The momentum of
swinging the door open knocks him down to the ground.
GUS
(to Phil)
He's in no shaue.
(to ~alphj
Gimme those, Ralph. Friends don't
let friends drive drunk.
Gus takes the keys, gets in, starts the car, and begins to drive
off-- in reverse-- leaving Phil at the curb with Ralph. Phil
steps out into the street as Gus pulls back up.
GUS .
This isn't my car.
Phil opens the door and shoves Ralph in the driver's side.
,
...... . PHIL
(to Gus)
Here. Hold this
60 INT. THE CADILLAC - CONTINUOUS

Phil slides into the drivers seat and buckles up.
PHIL
Seatbelts.
He pulls the shoulder belt over both Ralph and Gus
GUS
What's your name again?
PHIL
Phil.
GUS
Phil.
PHIL WITH RALPH
Like the grounfiog .
- The car pulls away, unhurriedly, and cruises for a while. 6:
PHIL
Let me ask you guys a question.
What if there were no tomorrow?
RALPH
No tomorrow? Let's see. That'd
make today yesterday.
GUS
No tomorrow means no hangovers. No
consequences. Do whatever you want.
PHIL
That's true.
Phil casually turns the wheel to the right.
62 EXT. THE STREET - CONTINUOUS 62

The car bumps over the curb and up onto the sidewalk. A
passenger stepping out of his parked car has to jump back in to
avoid being hit as Phil continues driving down the sidewalk.
63 IN". THE CADILLAC - SAME TIME 63

PHIL
We could do whatever the hell we
want.
Ralph looks out the window.
RALPH
There's my house.
64 EXT. THE STREET - SAME TIME 64

Phil knocks over a mailbox at the end of the block, bounces back
onto the street and turns right onto the town square.
65 INT. POLICE CAR -SAME TIME 65

Two COPS parked on the square see Philwipeout the mailbox.
COP ONE
Party car.
COP TWO
Come on. Let's try to get 'em home
before they hurt somebody.
-.
\. 66 EXT. POLICE CAR - SAME TIME. 5?
It pulls out, lights flashing, in close pursuit of the Cadillac
67 INT. CADILLAC - SAME TIME --

0 .
Phil begins to accelerate, turning a fast lap around the square.

Gus looks back at the pollce car chasing them.
GUS
I think they want you to stop.
PHIL
Yeah, there's always someone trying
to tell you what to do.
RALPH
Ain't it the truth.
Phil hits the brakes. The car spins 180 degrees and skids.

The police car runs up onto the sidewalk to avoid a collision
with the Cadillac and runs into a trashcan with a groundhog on
l
...,.
it. Trash flies everywhere as the police car jams on it's
brakes.
The Caddy stops parallel to the police car, Phil waves at the
cops, then peels away in reverse.
69 INT. THE CADILLAC - SAME TIME

Ralph looks out the window.
RALPH
There's the back of my house.
PHIL
Your whole life it's the same thing.
Hang up your clothes, don't talk
with your mouth full, do your
homework, be home by midnight, get
a job, no smoking--
70 EXT. THE STREET - CONTINUOUS 7C

The car hits a patch of solid ice, skids around and comes to a
stop straddling the railroad tracks.
-
71 INT. THE CADILLAC - SAME. TIME
Phil looks down the track, exhilirated by the chase.
PHIL
(eyes,gleaming)
--don't drive on the railroad
tracks.
GUS
Well now, that's one I happen to
agree with.
Phil starts driving down the tracks. The fast bumping across
the railroad ties causes all their voices to vibrate.
PHIL
(jittery voice)
I don't know, GUS. Sometimes you
just have to take the big chance.
GUS
(jittery)
Yeah, that's what I used to think,
but I got the feelin' I woulda been
better off stayin' in the Navy.
72 EXT. THE RAILROAD TRACKS - SAME TIME

The police car is bumping along the tracks in pursuit of the
Caddy.
POLICE
(jittery on loudspeaker)
Pull over to the side! This is the
police.

Gus rolls down his window.
GUS
(jittery, yelling out
window)
Hey, we're talking, here!
Ralph looks out and points.
RALPH
(jittery)
~y house.
(CONTINUED)
73 CONTINTED: - --
Phil and Gus look up the track and see the headlight of an
oncoming train. Ralph is the last to notice. His eyes go wide
as the engine looms in front of them.
74 EXT. RAILROAD TRACKS - SAME TIME 74

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

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

PHIL
I don't want to live by their rules
anymore.
RALPH
I noticed that.
PHIL
(to Gus)
I mean, why should I, right, Gus?
GUS
(shrugs)
It isn't m y car.
77 INT. THE CADILLAC - PHIL'S POV - SAME TIME!

The two police cars with lights flashing are parked sideways,
completely blocking the road. Officers stand in the roadway,
motioning for Phil to stop. Phil sees the roadblock ahead.
PHIL
you make choices, you live with
them.
GUS
Q.E.D.
RALPH
Amen.
?hll tromps the gas pedal to the floor.
.
.--
E i ~ i s e dY e l l o w 3 / 1 7 : $ :
j
i...:
78 EXT. THE STREET - SAME TIME - e-
'Thepolice dive out of the way as the Cadillac crashes broadside
into one of the police cars.
Policemen race over to the wreckage of the Zadillac.
70 INT. THE CADILLAC - SAME TIME 79

Phil, Gus and Ralph are sitting there stunxsd, still belted in
and apparently not seriously hurt.
PHIL
Just let me do the talking.
CUT '73:
80 INT. A JAIL CELL - NIGHT

The cell door slams shut on Phil. He lies down on the small
bunk and closes his eyes.
81 INT. PHIL'S ROOM - DAWN

CLOSE UP - CLOCK
The time changes from 5 : 5 9 to 6:OO. The radio starts playing ':
Got You, Babe.'
Phil sits up suddenly and looks around, conpletely amazed. He a
is in his room at the bed and breakfast, everything exactly the *
same as before. He hops out of bed. The music ends and the twc
deejays come on.
DEEJAY
it's COOOLD out there today.
Phil talks out loud along with them.
PHIL AND SIDEKICK
It's cold out there everyday.
What is this-- Miami Beach?
The deejays laugh. Phil laughs, too, exhllirated at having
survived the car wreck, still very confuse6 and perplexed, but
just beginning to see the possibilities of his unique situation.
He starts dressing in a hurry.
82 INT. BREAKFAST ROOM - LATER -- -
Phil rushes into the breakfast room just as Mrs. Lancaster comes
out of the kitchen with the coffee. Everything is exactly the
same as before.
MRS. LANCASTER
Did you sleep --
Phil interrupts, answering all her questions before she even
asks them.
PHIL
Slept like a baby, thank you.
MRS. LANCASTER
Oh. Would you --
PHIL
Love some coffee.
MRS. LANCASTER
Good. I hope--
PHIL
Flurries moving in later, but the
blizzard hits just outside of town.
Mrs. Lancaster, has anyone been
around here looking for me this
morning? Maybe a state official,
blue coat, hat, gun, nightstick--
MRS. LANCASTER
(shocked)
No, no one like that. Will there
be?
PHIL
Apparently not.
He starts to exit.
MRS. LANCASTER
Oh, Mr. Connors, will you be--
PHIL
Staying an extra day-- absolutely!
Phil gooses her, grabs a sweet roll, and heads for the door,
starting to believe now that he can truly do anything he wants
to.
CUT TO:
'.-. E j EXT. TOWN SQUXP.E - MOMENTS LATER
Phil passes the old bum, ignoring him as usual.
NED (O.C.)
Hey, Phil!
Phil slips off his glove as Ned Ryerson lumbers toward him.
NED
Phil! Phil Connors!
Before Ned can say another word, Phil SLUGS HIM. Ned goes down,
Phil puts his glove back on and keeps walking.
Phil deftly avoids the slushy pothole he stepped in before. A
PEDESTRIAN walking behind him steps right into it.
CUT TO:
64 INT. DINER - LATER THAT MORNING 84

Phil is sitting at his usual table, which is covered with an
incredible variety of rich foods-- eggs, bacon, sausage,
pancakes, pies, cakes, eclairs, ice cream, puddings, etc.
PHIL
(mouth full)
Want one?
Rita sits across from him, watching in amazement as he stuffs
himself with pastry.
F.A A A
I like to see a man of advancing
years throwing caution to the wind.
It's inspiring in a way.
PHIL
My years are not advancing as fast
as you might think.
Phil pulls out a pack of cigarettes.
RITA
Don't you worry about cholesterol,
lung cancer-- love handles?
Phil chuckles and shakes his head at each of these suggestions.
He takes a cigarette and lights it.
PHIL
:don't worry about axything
anymore.
(CONTINUED)
CONTINUED: -.
3-
RITA
What makes you so special?
Everybody worries about something.
PHIL
That's exactly what makes me so
special. I don't even have to
floss.
He takes a big bite of cake. Rita shakes her head.
PHIL
(with his mouth full)
What?
RITA
'The wretch, concentered all in self,
- - shall forfeit fair
Livina.
renown,
And doubly dying, shall go
down
to the vile dust from whence
he sprung,
Unwept, unhonored, and
unsung.' Sir Walter Scott.
Phil looks at her a for a moment, then starts laughing.
RITA
You don't like poetry?
PHIL
You think I'm acting like this
because I'm egocentric?
RITA
Of course you are, Phil. That's
your defining characteristic.
Doris approaches with the coffee pot. Without looking up, Phil
reaches out and turns Rita's cup upside down. Doris shrugs and
continues on.
Larry enters and finds them.
LARRY
We'd better get going if we're
going to stay ahead of the
weather.
RITA
Thanks, Larry.
Rita looks at the pile of food.
(CONTINUED)
\.-' 82 CONTINUED:
RITA
(to Phil)
You want a doggie bag?
PHIL
NO, you go on ahead. I'm staying.
RITA
Why? I thought you hated this town.
PHIL
I did, but I'm just starting to
appreciate it.
85 INT. DINER - A LITTLE LATER 85

Phil is just leaving when he notices NANCY, the girl he tried to .
pick up at the hotel bar, and stops to talk to her.
PHIL
Hi. You see the groundhog this
morning?
NANCY
( sweetly i
Uh-huh. I never miss it.
PHIL
What ' s your name?
She gives him a look. It's obvious she's never seen him before.
NANCY
Nancy Taylor. And you are--?
PHIL
Where'd you go to high school?
NANCY
What?
PHIL
High school?
She really doesn't know what to make of Phil but she decides to
play along.
NANCY
Lincoln High school. In Pittsburgh.
Who are you?
PHIL
Who was your twelfth grade English
teacher?
NANCY
Are you kidding?
PHIL
I'm waiting.
NANCY
Mrs. Walsh.
PHIL
Okay. Nancy, Lincoln, Walsh. Thank
you very much.
Phil exits jauntily.
NANCY
Hey ! Wnat--
CUT TO:
. 86 EXT. GOBBLER'S M O B - NEXT MORNING 86

Phil comes through che crowd and finds Nancy waiting for the
ceremony to begin.
PHIL
Nancy?
Nancy turns and looks at him quizzically.
PHIL
Nancy, right?
NANCY
I'm sorry, I--
PHIL
Nancy Taylor? Lincoln High? I sat
next to you in Mrs. Walsh's English
class.
NANCY
That--
PHIL
Phil Conncrs.
NAKY
--is amazing!
PHIL
You don't remember me, do you?
NrnCY
I don't-- sure, I think--
PHIL
We used to shoot spit balls.
NANCY
Yeah, oh, God--
PHIL
I even asked you to the prom.
NWCY
Phil Connors.
PHIL
Yeah.
NANCY
How ARE you?!
PHIL
I'm great. Wow, you look terrific.
Hey, listen, I gotta do this rep~rt--
NANCY
You're a reporter?
PHIL
Weatherman. Channel 9, Pittsburgh.
NANCY
Right, I should've known--
PHIL
But maybe after we could--
NANCY
Yeah, yeah, I'd like that--
?'he crowd starts chanting: "Phil, Phil, Phil..:
CUT TO:
8- INT. PHIL'S ROOM - NIGH? 37

Tne rocr is dark. Two figures grope on the sofa, silhouetted
egel-s: :he flicker of + fake lighc-bulb and cellophane fire in
:he flrspiace.
(CONTINUED)
'L...
87 CONTINUED :
NANCY
(moans
Oh, Phil.
PHIL
oh, Rita.
Nancy suddenly freezes. There is a moment of silence, then she
snaps on the light. Her sweater is askew, half pulled up over
her head.
NANCY
Who's Rita? Hey-- is this just a
one night stand?
PHIL
One night stand! Just the opposite.
I love you, Nancy. I've always
loved you. I know this is kind of
sudden, but I want you to be my
wife.
NANCY
Oh, Phil!
. She throws her arms around him and kisses him passionately.
Phll reaches over behind her back and cllcks off the light.
CUT TO :
88 EXT. TOWN SQUARE - DAY 88

Phil is sitting on a low concrete fence, watching, his senses
alert.
PHIL
Gust of wind.
He looks at the branch of a tree blowing in a gust of wind.
PHIL
Dog barks.
A dog barks
PHIL
Okay, cue the truck.
An armored car pulls up to the bank across the street. Two
harmless-looking old GUARDS get out of the truck.
(CONTINUED)
PHIL
Okay, Heman Johannsen, into the
bank, Felix Langer waits outside.
:HERMAN goes into the bank. FELIX goes around to the back of the
truck, unlocks the door and opens it.
PHIL
Enter Doris. Bra strap.
Doris, the waitress, pushes up her bra strap and approaches
Felix. Phil quietly speaks their dialogue as their mouths move.
PHIL
(for Doris)
Felix!
(for Felix)
Hey,
- how you doin', Doris.
( for- ori is)
Trouble you for a roll of quarters?
(for himself)
~-
Cue Herman.
iHennan comes out carrylng two large satchels of cash. He nods
:his greetlng to Doris.
-. Phil begins slowly walking across the street toward them.
PHIL
(looking at his watch)
Ten, nine, eight, car--
,4t 'car" he pauses a split second without even looking up as a
car passes in front of him, then continues without missing a
l~eat.
PHIL
-- six, five, quarter --
;kt *quarter; Felix drops a quarter out of a sack full of
(change. Herman sets down the bags of cash on the tailgate of
the truck. Phil is still calmly counting and walking toward the
money.
PHIL
-- three, two --
Felix and Doris both follow the rolling quarter, and Herman
turns away for a split second to watch them. In one swift move,
Phil takes one final step towards them, snatches a bag of money,
and disappears behind the truck.
(CONTINUED)
Revises Pink 3/13/92
L..
€5 CONTINUED: 8t
~t that instant, Herman looks back to he'l;ft the moneybags and

slowly begins to realize that one is missing. He looks around
in confusion. Nobody in sight.
CUT TO:
E EXT. USED CAR DEALERSHIP - DAY

Phil pats the hood of a classic Mercedes sedan as a SALESMAN
stands by beaming.
SALESMAN
A real beauty, huh. We picked it
PHIL
I'll take it. How much?
SALESMAN
Well, the sticker says $22,999 but
if you want--
PHIL
I'll tell you what. 1'11 give you
$30,000 if you just knock off the
salesman stuff and let me get out
of here with my car.
The Salesman gawks as Phil opens a moneybag and starts counting
out stacks of bills.
CUT TO:
S! EXT. PUNXSUTAWNEY - DAY 9(

We see the Mercedes sedan tooling around the square. Phil calls
out greetings to the people he knows, none of whom seem to know
him.
PHIL
Hey, Nancy! How's it going?
Nancy can't figure out who he is
PHIL
My own fiance-- doesn't even
remember me.
He p a s s e s Ned Ryerson.
PHIL
Ned! Ned Ryerson! I thought
that was you!
(CONTINUED)
Revised Yellow 3 / 1 7 \ 9 2
.<.:
90 CONTINUED: 5;;
NED
Phil! Phil Connors!
PHIL
BING!
Phil continues cruising.
PHIL
Hey, Bruno!
We hear an off-camera 'Woof!'
CUT TO:
91 INT. PHIL'S ROOM - DAY 91

Phil takes out a suit and holds it up. He's been wearing this
suit almost every day. He pulls the second suit out of the bag.
He's been wearing this one every other day. He looks from one
suit to the next and shakes his head.
CUT TO:
. ..~
. 92 EXT. MAIN STREET - NIGHT 9;
The Mercedes sedan comes to a stop right in front of the movie
theater and the door opens.
A pair of really elaborate cowboy boots complete with silver
spurs hits the pavement first, then we PAN UP to see Phil emerge
from the car wearing a really gaudy, full cowboy outfit with
real six-guns on his hips. A very trashy-looking girl, LARAINE,
gets out on the passenger side, dressed like a French maid.
LARAINE
(very self-conscious)
I thought we were going to a
costume party.
PHIL
No, let's go to the movies.
You'll love it. I've seen it a
hundred times .
LARAINE
(protests)
Phil !
PHIL
I told you-- call me 'Bronco.'
Revised Buff 4130192
92 CONTINUED:
He escorts her into the theater.
CUT TO:
93 OMITTED
CUT M:
94 OMITTED
CUT TO:
95 INT. PHIL'S ROOM - NIGHT

There is a very wild party in progress. The revelers include
everyone from college kids and bikers to farmers.
Bruno the German shepherd runs into the scene, barking at the
activity. Then Bruno runs over to Phil who's just sitting on
the sofa staring at the fake fire. He's wearing a really loud
sportshirt, a number of gold neck chains and rings on every
finger. On his lap is a whole chocolate cake which he is
absently eating with his fingers. A very trashy looking girl
named ANGIE in too-tight jeans and halter top is coming on to
him, practically licking his ears.
PHIL
(more to himself than to
Angie)
Eventually you'd just get tired of
screwing around and then you'd
want a real relationship, wouldn't
you?
ANGIE
I don't know.
PHIL
Someone decent, right? Someone
you respect, who respects you.
ANGIE
I guess so.
PHIL
(still musing)
It's tough to find a relationship
like that, especially if your time
is kind of limited. But you still
have to try, don't you?
(CONTINUED)
Revised B u f f 4/30!92
L
95 CONTINUED :
Phil looks over at Angie who's passed out on the sofa with her
mouth open.
The science teacher Phil consulted earlier comes up to him with
Nancy and Laraine in tow.
SCIENCE TEACHER
Nancy, Laraine? Have you met Phil
Connors ?
NANCY
No, I don't think so.
LARAINE
Hi, nice to meet you.
Phil sighs! too tired to even go through the motions. Bruno
starts eatlng the chocolate cake in his lap.
CUT TO:
96 EXT. TOWN SQUARE - THE NEXT MORNING

Rita is in the news van reviewing the tape of Phil's report.
Phil hovers at the open side door.
RITA
You look good. I mean, it came
out all right. How'd you know
where the groundhog was going?
PHIL
Just a hunch. R+a, if you only
had one day to llve, what would
you do with it?
She switches off the videotape and steps out of the van.
RITA
I don't know, Phil. What are you
dying of?
PHIL
No, I mean like what if the entire
world was about to explode?
RITA
~ ' just
d want to know where to put
the camera. What are you looking
for. Phil-- a date for the
weekend?
She starts walking toward the diner. Phil sticks right with
her.
Revised Y e l l o w 3/li/92
'L..
96 CONTINUED : .. -.
+
PHIL
No, I just want to know you
better. What do you like, what do
you want, what do you think about,
what kind of men are you
interested in, what do you do for
fun?
RITA
(she stops)
Is this real or are you just going
to make a fool out of me?
PHIL
I'm just trying to talk to you
like a normal person. Isn't this
how normal people talk?
RITA
Close.
PHIL
Okay, so talk to me. C'mon, I'll
buy you a cup of coffee.
CUT TO:
97 INT. DINER - A LITTLE LATER

Phil and Rita are at their usual table, drinking coffee.
RITA
I guess I want what everybody
wants-- vou know. career. love.
marriage; children.
PHIL
You seeing anybody?
RITA
This is getting too personal. I
don't think I'm ready to discuss
these things with you. What about
you? What do you want?
PHIL
What I really want is someone like
you.
RITA
oh, please--
(CONTINUED)
Revised Yellow ? i 1 7 / 9 :
.- 97 CONTINUED:
.-
'. r
PHIL
Why not? Whatare you looking
for? Who's your perfect guy?
RITA
Well. First of all, he's too
humble to know he's perfect.
PHIL
That's me.
RITA
He's intelligent, Supportive,
funny.
PHIL
Intelligent, supportive, funny.
Me, me, me.
RITA
(thinkina)
He ' s romantic-and courageous.
PHIL
Me, me also.
K A In
He has a good body but he doesn't
have to look
- -~ - - - -
in the mirror everv
two minutes.
P-
-H.
I-
L ~
I have a great body and I never

look at it.
nAIa
He's kind and sensitive and gentle
and considerate. And he's not
afraid to cry in front of me.
PHIL
This is a man we're talking about,
right?
RITA
He likes animals and children and
he doesn't mind changing poopy
diapers.
PHIL
Okay, but does he have to say
'poopy? =
(CONTINUED)
97 CONTINUED :
-:,-
RITA
Oh, and he plays an instrument and
loves his mother.
PHIL
I hate this guy.
CUT TO:
R e v i s e d Blue 3/7/92
--_ 98 EXT. THE NEWS VAN - ANOTHER DAY

Phil has the hood open and is doing something to the engine.
CUT TO:
99 INT. HOTEL BAR - LATER

Rita is sitting at the bar in the Pennsylvanian Hotel. Phil
enters and sits down next to her.
PHIL
So what are the chances of getting
out of here today?
RITA
(glum).
The van st111 won't start.
Larry's working on it.
PHIL
(innocent)
Wouldn't you know it. Buy you a
drink?
RITA
Okay.
PHIL
(to the bartender)
Jack Daniels.
BARTENDER
For you, miss?
RITA
Campari and soda, please, with a
slice of orange.
Phil nods to himself.
CUT TO:
100 SAME SCENE - ANOTHER DAY

Phil walks in and sits next to Rita.
PHIL
So what are the chances of getting
out of here today?
RITA
(glum).
The van st111 won't start
Larry's working on it.
(CONTINUED)
I...
100 CONTINUED :
PHIL
wouldn't you know it. Buy you a
drink?
RITA
Okay.
PHIL
(to the bartender)
Campari and soda, with a slice of
orange, please.
Rita looks at Phil, surprised.
BARTENDER
For you miss?
RITA
Same for me, please.
The BARTENDSR pours.
RITA
That's my favorite drink?
PHIL
MLne, too.
RITA
What should we toast to?
PHIL
To the groundhog!
Rita stares for a moment
RITA
I always drink to world peace.
CUT TO:
101 SAME SCENE - ANOTHER DAY

BARTENDER
Take your order?
PHIL
Campari and soda with a slice of
orange, please.
R i z a looks at Phil.
(CONTINUED
I
-- 101 CONTINUED :
BARTENDER
For you, miss?
RITA
Same for me, please.
The BARTENDER pours.
RITA
That's my favorite drink.
PHIL
Mine, too.
(he lifts his glass)
Would you mind drinking to world
peace?
Rita smiles, re-evaluating him.
RITA
To world peace.
They clink glasses.
PHIL
To world peace.
CUT TO:
102 INT. FUDGE SHOP - DAY

Phil and Rita are sitting at a table in a small confectionery.
tasting chunks of different flavored fudge. Rita takes a bite.
RITA
This is terrific.
PHIL
Best fudge in town.
RITA
How do you know so much about
Punxsutawney?
PHIL
I like small towns. I think they
engender real community more than
big cities.
RITA
That is so true! I've always
thought that, too.
(CONTINUED)
Revised Y e l l o w 3 / 1 7 / 9 2
..
102 CONTINUED :
PHIL
No kidding. Here-- try the white
chocolate.
RITA
Oh, yuk, don't make me sick.
PHIL
(making mental note)
No white chocolate.
RITA
There's something so familiar
about this. Do you ever have deja
vu?
PHIL
All the time.
Larry enters.
LARRY
(irate)
I don't believe it. Some horse's
-
ass bouaht e v e n distributor caD
-
in this town. h e n r e going to be

stuck here all night! I'm going
down the street to try and steal
one. Wish me luck.
Phil shrugs resignedly.
CUT TO:
103 INT. BERGHOF RESTAURANT - NIGHT 103

Rita and Phil are now sitting together at a table in the town's
best restaurant, a good chophouse with Black Forest decor and
waitresses in dirndl skirts and aprons. They're sharing a good
dinner and a bottle of white wine.
PHIL
I think people worry too much
about their careers.
RITA
I agree. I just try to go with
the flow-- see where it leads me.
PHIL
And it led you here.
(CONTINUED)
R e v i s e d Yellow 3 / 1 7 / 9 2
'.-..
1C CONTINUED :
RITA
Urn-hm. Of course it's about a
million miles from where I started
out in college.
PHIL
You weren't in broadcasting?
(CONTINUED)
RITA
A: B-yn Mawr? No, uh-uh. Believe
it or not, I studied Nineteenth
Century French Poetry.
PHIL
(laughs good-naturedly)
Really? What a waste of time.
Pita looks offended. Phil knows he made a mistake..
CvT TO:
I04 SP2E SCSNE - ANOTHER DAY

PHIL
You weren't in broadcasting?
RITA
At Bryn Mawr? No: uh-uh. Believe
i: or not, I studled Nineteenth
Century French Poetry.
Phil leans in closer to her.
PXIL
La fille qui j'ainera
Sera come bon vin
Qui se bonifiera
Un peut chaque matin.
It's Belgian, not French, of course,
but I like it.
Rita smiles, entranced. Over her romantic look we hear the
song, "I Can't Get Started With You9.
CUT TO:
105 EXT. THE BANDSTAND - NIGHT

The music continues over Rita and Phil dancing close.
CUT TO:
106 EXT. T O m SQUARE - LATER THAT NIGHT 1[

There is a light snow falling. Phil and Rita are making a
e
li--- a n Somehow the town looks magical tonight-- old
, whzdesore.
( COhTINUED)
A snowball hits Phil in the back. Phil turns to see a laughinp
KID.
PHIL
(angry)
Hey, you little shit!
?.i:a is aghast.
CUT TO:
107 SAME SCENE - ANOTHER NIGHT

Phil and Rita are making the snowman again. The snowball hits
Phil in the back.
This time Phil turns to see the giggling kid and laughs, as if
enj,oying the impertinence of youth. Phil packs a snowball and
tosses it. The kid throws one back. Rita and Phil both get
in:o it, packing snowballs and getting into a war with this kid
and his little gang of friends.
A snowball catches Rita off balance, she slips and goes down in
a snowbank. Phil bends down to help her and slips. They are
now together, lying in the snow, laughing. Their eyes lock for
a lor.; slr7ee: moment, then Rita gets embarrassed and stands up.
CUT TO:
108 EX?. CHERXY STXEET INN - NIGHT

Phil and Rita are walking slowly, very close.
PHIL
What?
RITA
I'm just amazed. And I'm not easily
amazed.
PHIL
About what ?
RITA
How you can start a day with one
kind of expectation and end up so
corrpletely different.
PHIL
30 you like how this day
- is turnins
out?
(CONTINUED)
R e v i s e d Yellow 3 / 1 7 : 9 2
..... 10 8 CONTINUED :
RITA
Yes. I like it very much.
They stop at the front door of the hotel. She turns to him.
RITA
~ u tit couldn't have been more
perfect, you could never have
planned a day like this.
PHIL
Maybe, come on in. I Want you to
see my room.
He takes her by the hand and leads her into the bed and
breakfast.
109 INT. CHERRY STREET INN - CONTINUOUS 1(

Phil and Rita enter and walk past the parlor and the breakfast
room.
RITA
What a lovely place!
PHIL
It's given me a lot of really good
decorating ideas.
110 INT. PHIL'S ROOM - CONTINUOUS 1:

Phil has prepared the room, anticipating Rita's visit. The
lighting is subdued and romantic, the fake fire is on in the
fireplace, and books are strategically placed around the room as
if he reads constantly.
Phil pretends to warm his hands over the fake fire.
PHIL
So what do you think?
(CONTINUED)
RITA
This is a wonderfa1 room.
PIiIL
It is now.
He takes her inhis arms and kisses her. She kisses back, the=
he gciaes her down onto the bed and gently pushes her back
against the pillows. Phil starts to kiss her again but Rita
seems to catch herself.
RITA
1 don' t know, Phil. I don' t think
we should do this.
PIiIL
No, we should. This is the perfect
end to a .perfect day.
AL A n
Well-- it's e li:=le fast for me.
we betzer not. 1:aybe I should go.
She stands up and starts to straighten her clothes.
rr.Au
Kinere? h?.y? I've got some poetry
bsoks , F.i;r5a.;B , Ieauaelaire. We
have this nice fire, I've got ice
cream our there on the window sill--
Phil opens the window, pulls a carton of ice cream inside.
PHIL '
Rocky road.
It's her favorite.
RITA
How did you ... ?
PHIL
Please stay, Rita. We can--
RITA
(definite)
No, really, Phil. I'm tired. We can
be together tomorrow.
PSZL
(seeing it cll slip
away
31s: a little 1cz;er..
RITA
I said *no:
PHIL
(getting desperate)
But tomorrow is so far away!
RITA
(adamant)
Let's not ruin it, Phil. There's no
way I'm sleeping with you tonight.
PHIL
Why not, Rita, I love you!
RITA
You don't even know me!
There is a moment of silent tension, then all her old doubts
abou: Phil come rushing back.
RITA
Oh, no. I can't believe I fell for
it. This whole day was just one
long set-up. And I ate fudge.
Yucchh! I hate fudge.
PHIL
(making mental note)
No white chocolate, no fudge.
RITA
What are you doing-- keeping some
kind of list? Did you call up my
friends and ask what I like and
don't like? Is that what love is to
YOU?
PHIL
No, this is real. I love you.
RITA
Stop saying that! Do you get off on
manipulating people? Did you have
some problem in your childhood?
PHIL
(ingenuously)
I had a terrible childhood.
(CONTINUED)
Revised Yellow 3 : i 7 / 9 2
RITA
Well, stop taking it out on
everyone else! I could never love
someone like vou. because vou'll
never love anyone but yourself.
PHIL
But I can change! Just give me a
chance. I can be sensitive and
supportive and considerate--
RITA
You had your chance.
PHIL
-
(cheerfullv mumblina) ~
I love my mothe?--
She gives him a hard slap on the cheek.
RITA
That's for making me care about
you.
She turns and exits, leaving Phil standing there hurting.
.-.. CUT TO:
112 EXT. TOWN SQUARE - ANOTHER NIGHT 112

The snowball fight with the kids is going on as before. Phil
falls into the snowbank with Rita and they almost kiss.
CUT TO:
113 EXT: CHERRY STREET INN - ANOTHER NIGHT 113

Phil and Rita are at the front door, but this time he can't even
seem to get her to come inside. She shoves him away and leaves
him standing there alone.
CUT TO:
113A EXT. CHERRY STREET INN - OTHER NIGHTS

In quick cuts we see Rita slap Phil and leave him.
CUT TO:
R e v i s e d Yellow 3 ; ; 7 , ! 9 :
1,. <
"- 113B EXT. PENNSYLVANIAN HOTEL - ANOTHER NIGHT

Rita slaps Phil and enters the hotel, again l e a v i n g him out i n
t h e cold.
cm TO:
114 OMITTED
R e v i s e d Pink 3 / 1 3 / 9 2
',,_~. , 1 1 5 EXT. HOTEL - NIGHT

. .
The streets are deserted except for Phil, staring up at Rita's
window.
Rita comes to her window and looks out. She sees Phil looking
up at her and draws the curtains.
CUT TO: t
115A EXT. I C E SCULPTURE AREA 115A

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

'I Got You, BabeD is playing. Phil hits the clock radio to turn.
it off. He lies there for a moment, then hefts himself heavily
out of bed, not eager to repeat the day yet another time. With
the radio off, Phil does the deejays' morning routine himself,
seemingly for the millionth time.
PHIL
(dully
don't foraet vour booties because
it 's cooooold-out there today.
Phil continues the radio report at his own pace, obviously
fatigued.
PHIL
It's cold out there everyday.
What is this-- Miami Beach? Haw.
Not hardly. And you can expect
hazardous travel later today with
that, you know, blizzard thing.
CUT TO:

Phil wanders over to where Rita and Larry are setting up the
camera. Rita comes over to him.
RITA
You look terrible, Phil. What
happened? Rough night?
PHIL
(sadly)
Yeah.
CUT TO:
L..
-.-
--a 1):. POOL HALL - NIGET
The balls CRACK as the Cue ball breaks the rack.
phi1 is walking around the table, cue in hand, sinking b e l l
after ball, while a couple of tough young POOL PLAYERS l=sk or.
FIRST PLAYER
Who is this guy?
SECOND PLAYER
I don't know. Hey, mister! Who are
you, anyway?
Phil shoots, sinks a tough one.
PHIL
You don't know me? I've been
playing here every day for months.
FIRST PLAYER
Oh, yeah? So how come I cin't seen
YOU?
PHIL
I don't know. I seen you.
SECOND PLAYER
So what's your name?
PHIL
They call me Punxsutawney Phil.
SECOND PLAYER
Punxsutawney Phil? Like the
groundhog.
PHIL
Yeah, like the groundhog.
The $001 shark laughs derisively then stops when Phil makes a
particularly difficult shot.
SECOND PLAYER
Lucky.
PHIL
Oh, I'm real lucky. You looking for
some action?
SECOND PLAYER
(lying)
- ..
do- *,bet pool.
#
P:-:;L
So what do you bet, Gertrude?
On the 7 set above the bar, a 76ers basketball game is ir:
progress.
SECOhD PLAYER
Basketball.
Phil rins the rest of the table as he talks.
PHIL
Okay, I'll take the Sixers over the
Celts by 7--
(sinks a ball)
Knicks over Washington by 11--
(sinks another)
Bulls by 5 over the Pistons--
(slnks another)
and the Sonics over the Blazers by
8.
Xe ficishes with a very hard two rail bank shot and turns to
face :% pool sharks.
FIRST PLAYER
(dawning realization)
Hey, mister. You some kind of
hustler?
CUT TO:
-15 m T . GC33LER1S KNOB - DAWN

The crmd is waiting expectantly for the groundhog to appear.
Phil is a wreck, squatting unprofessionally in front of the
camera.
PHIL
(cynically)
This is one of the most pitiful
spectacles known to civilization.
With one nod from a filthy rodent
best known to pest control agencies,
a moribund old coal mining hamlet
turns magically into the Lourdes of
Pennsylvania, Mecca to thousands of
people who, if they hate the winter
so damned much, why don't they move
to Florida, anyway?
Larry 6nd Pita look on, incredulous.
CUT TO:
\_..
120 INT. BOPLING ALLEY - NIGHT
A crowd is gathered at one of the alleys. The overhead
projector shows two completed games of 284 and 290. The third
game shows eleven consecutive strikes.
Phil bowls, the ball hooks right into the pocket and all the
pins go flying. Perfect game. The crowd cheers. Phil nods in
acknowledgement but just looks bored by it all.
CUT TO:
121 INT. PARLOUR

CLOSE UP - TV SET
The program JEOPARDY! is playing.
ALEX TREBECK
(on TV)
Nobel prize-winning co-discoverers
of the DNA molecule.
PHIL (O.C,)
Who are Watson and Crick.
CONTESTANT
(on TV)
h%o are Watson and Crick?
ALEX
(on TV)
Correct.
We pull back to reveal Phil sitting in his bathrobe in a big
lounge chair in the parlor of his hotel. Mrs. Lancaster, and
other guests watch his performance, awed by his 'intellect.'
ALEX
(on TV)
W i n brother and sister Sebastian
and Olivia create confusion in this
Shakespearean comedy.
PHIL
What is 'Welfth Night.'
CONTESTANT
(on TV)
What 1 s .Twelfth Night?'
ALEX
(or! TV)
Correct.
More cheering from the small group.
MRS. LANCASTER
(to Phil)
How do you know all the answers?
PHIL
Rerun.
CONTESTANT
(on m )
I'll take New Jersey for eight
hundred, Alex.
ALEX
(on TV)
-
k?d the answer is-- an audio dailv
double.
PHIL
Count Basie.
CUT TO:
122
i.....
EXT. STREET - DAY 12;
Phil is waiking through town, still dressed only in his pajamas
and overcoat, counting the sidewalk cracks, taking giants steps
from one to the next. He looks crazy.
PHIL
Two thousand six hundred and seventy-
one--
(takes another step)
two thousand six hundred and seventy-
two--
(another step)
two thousand six hundred and seventy-
three--
A woman passes walking her dog.
PHIL
Hey, pick up after your dog!
DOG WALKER
But he hasn't done anything.
PHIL
He's going to!
(poin=ing)
Tnere and there. And there!
( CONTINUED)
R e v i s e d Yellow 3/17/92
,....- 122 CONTINUED :

Phil continues walking, counting the sidewalk cracks. THREE
NEIGHBORHOOD KIDS notice Phil and walk along, matching him step
for step.
PHIL
Two thousand six hundred seventy-
four, two thousand six hundred
seventy-five, two thousand--
JOEY
Five million eight hundred--
PHIL
Six hundred--
MIKE AND SUE
Ninety, twenty, four, six, fifty-
seven--
PHIL
Two thousand, four--
JOEY, ' MIKE AND SUE
Two, eight, nine, forty-six--
Phil stops. He has lost count. His lip curls up like an animal
as he turns slowly, growling at the kids. They run away
screaming with glee as Phil starts after them but a COP pulls up
in a cruiser and gets out.
COP
You got a problem, buddy?
PHIL
(out of control)
Yeah, I got a problem, buddy! I
can't stand this town and I can't
stand this street and I can't
stand the fourteen bars and the
five banks and the one star food
and the bad weather and the quaint
little shops and most of all, I
can't stand anything-- ANYTHING--
with a groundhog on it.
COP
(calmly)
Okay. Then let's see what we can
do about getting you out of here.
You got a name?
R e v i s e d Yellow 3 / 1 7 / 9 2
.\.. 122 CONTINUED :
PHIL
Phil.
COP
Phil. Like the groundhog!
Phil turns to the cop like a rabid dog, ready to strike
PHIL
Yeah, like the--
(he rips the groundhog
patch off the cop's
Some big new idea has formed in his mind.

CUT M:
122A EXT. TOWN SQUARE - NIGHT X2A

t
The sound of a chain saw fills the air. Phil, dressed crazily ,
in his pajamas and robe, is sawing the heads off all the t
groundhog statues.
CUT TO:
123 EXT. GOBBLER'S KNOB - EARLY MORNING

Rita is looking at Phil as Larry videotapes his report.
Phil is completely unkempt, still wearing only pajama bottoms
and his overcoat, looking even more demented.
PHIL
(to camera)
There is no way this winter is
ever going to end as long as that
groundhog keeps seeing his shadow
every day. I don't see any other
way out. He's got to be stopped
and I've got to stop him. For
Channel 9 news, this is Phil
Connors .
Larry looks at Rita as he finishes taping Phil.
LARRY
He's out of his gourd.
CUT TO:
Revised Y e l l o w 3 / 1 7 / 9 2
<.-. 124 OMITTED
Larry and Rita are loading their equipment back into the van.
Phil approaches, demented.
PHIL
(at the end of his rope)
I've come to the end of me. Rita.
There's only one way out now.
Just remember, we had a wonderful
day together once.
Phil kisses her gently on the cheek and walks off.
Buster Green and TWO other GROUNDHOG CLUB OFFICIALS are lifting
a cage into the front seat of Buster's pickup.
BUSTER
(to the groundhog)
There you go. 01' buddy. Good
job. Hey! He smiled at me. See
that?
FIRST OFFICIAL
Right.
BUSTER
(securing the cage)
Okay, little fella.
The other official looks up and sees Phil walking toward them
like a zombie.
FIRST OFFICIAL
Hi there, mister. Something I can
do you for?
Without a word, Phil jumps quickly into the cab of the pickup
and starts it up.
FIRST OFFICIAL
Hey! What're you--!
Phil drives off in Buster's truck.
Rita witnesses the groundhog-napping and runs back toward the
knob.
Buster and his aides race for another car parked nearby.
(CONTINUED)
--
12 5 CONTINUED :
BUSTER
. .
Jake! Get the word out. Somebody
kidnapped Phil. We're going after
him. Come on, T o w !
They jump into a car, Buster guns the engine and takes off after
the pickup.
Rita runs up to Larry and grabs the camera on thefly.
RITA
Let's go! Phil just snatched the
groundhog !
They jump into the van.
RITA
Why would anybody steal a
groundhog?
LARRY
(mutters)
I could think of a couple of
reasons. Pervert.
CUT TO:
126 EXT. LOCAL ROAD - MINUTES LATER 12f

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

Phil looks at the groundhog on the seat next to him, then
punches the gas as he turns onto a back road.
PHIL
You know who I am, don't YOU?
Look in the mirror. It's me.
We're Phil. I knew vou'd
understand. This is-the winter
that's never gonna end. You
predicted it. You called the
storm, I didn't.
128 IN'l'. BUSTER'S CAR - SAME TIME
\-
Buster pursues Phil with relentless determination.
(CONTINUEDI
CONTINUED: li 6
BUSTER
Nobody takes ny groundhog and gets
away with it.
INT. THE NEWS VAN - SAME TIME

Larry is driving.
RITA
(very upset)
What is he doing? He must've just--
snapped.
LARRY
This oughta be good.
RITA
What can he be thinking?
OMITTED
INT. PICKUP - SAME TIME

PHIL
Coming to the end of the trail,
Phil. Then we're going-out in a
blaze of glory. What? You wanna
drive? Sure, pal. Whatever you
say.
Phil holds the groundhog up to the steering wheel.
EXT. OLD QUARRY ROAD - CONTINUOUS

The cars chase the pickup onto a narrow access road.
OMITTED 132
EXT. OLD QUARRY ROAD - SAME TIME 133

The pickup is losing its lead over the pursuers as it nears the
old limestone quarry and breaks through the security gate.
INT. THE PICKUP - SAME TIME 134

Phil looks in his rearview mirror at the cars chasing him. The
groundhog is driving.
(CONTINUED)
134
I__.
CONTINUED :
PHIL
Not bad for a quadruped. Remember
to check your mirrors. Okay, pal.
135 EXT. THE QUARRY - CONTINUOUS 135

The pickup truck races into the quarry past big piles of crushed
rock and gravel and disappears behind a huge mound.
Buster and the police arrive a moment later and skid to a stop
blocking the only means of escape. Buster and the cops jump out
of their cars as the news van arrives.
BUSTER
Hot dog! There's no way out 'cept
the way we came. We've got him
now.
Rita and Larry jump out. Everyone looks in the direction Phil
disappeared and waits.
A moment later, the pickup rolls slowly into view from behind
the huge rock pile and stops.
BUSTER
If you've gotta shoot, aim high.
I don't want to kill the
groundhog.
136 INT. THE PICKUP - SAME TIME

Phil surveys the scene and takes a breath.
PHIL
Okay, Phil, it's show time.
Phil hits the gas.
137 EXT. THE QUARRY - SAME TIME

The pickup speeds toward the other vehicles but instead of
heading for the way out, veers toward the edge of the limestone
quarry, passing Buster, the police, Larry, who's shooting the
whole thing, and finally Rita.
They all watch in amazement as the pickup bursts through a low
retaining fence and rockets over the edge of the cliff.
The pickup seems to hang in the air for a long time, then it
begins its SLOW MOTION descent, falling ever so gracefully until
it impacts on the granite rock face far below.
(CONTINUED)
. 13B RITA AN3 LARRY
look down at the wreckage, stunned.
LARRY
(optimistically)
He may be all right.
Then the truck explodes.
139 BIG FIREBALL. FLAMING WRECKAGE. Then a small click, 139

followed by "I Got You, Babe.'
DISSOLVE TO:

Phil slowly opens his eyes and blinks. He looks around and
realizes he's back in his room at the bed and breakfast.
PHIL
Ah, nuts!
He throws off the covers and hurls himself out of bed.
CUT TO:
.
'
. .
:
141 INT. BREAKFAST ROOM - A LITTLE LATER 141

Phil enters in his pajamas, nods to Mrs. Lancaster and grabs a
toaster off the buffet table.
142 INT. BATHROOM - MOMENTS LATER 142

Phil enters, plugs in the toaster and steps into the tub with
it.
143 INT. BREAKFAST ROOM - SAME TIME 143

Mrs. Lancaster and the other guests hear the zap of an
electrocution, the lights flicker and dim for a moment, then
come back on again.
CUT TO:
R e v i s e d Yellow 3 / 1 7 / 9 2
143h EXT. STREET- DAY .

--2r
-.
A truck accelerates down Main Street. Suddenly, Phil, dressed
in pajamas and overcoat, leaps out in front of it.
DRIVERS' POV
*
He sees Phil through the windshield but doesn't have time to hit
the brakes before he runs right over him. t
CUT TO:
143B INT. PHIL'S ROOM - DAWN

'I Got You, Babe' is playing. Phil wakes up and smashes the
radio.
CUT TO:
144 EXT. CLOSE UP - PHIL- ANOTHER DAY 144

He's standing outside somewhere with the wind blowing through
his hair.
PULL BACK TO REVEAL:
. Phil stands atop the Gothic bell tower of the Pennsylvanian
Hotel, the highest point in town, looking off into the distance.
Then he jumps off in a pretty well-executed swan dive.
145 ON THE GROUND 145

Somebody screams, and a crowd immediately forms around a spot on
the sidewalk.
Ned Ryerson pushes through to the front
NED
Phil! Phil Connors! I thought
that was him! Gee, I wonder if he
had life insurance.
CUT TO:
146 OMITTED
147 OMITTED
14s INT. MORGUE - DAY

Rita weeps while Larry stands by comforting her.
(CONTINUED)
R e v i s e d Y e l l o w 3 / 1 7 ;5 2
\- 148 CONTINUED:
148
LARRY
(obligatory)
He was really a great guy. I
really, really liked him.
is.- 140 CONTINUED:
Phil's body is covered with a sheet.
In the shadowy darkness under the sheet, a CLICK is heard.
149 INT. PHIL'S ROOM - CONTINUOUS

Phil's eyes pop open. 'I Got You, Babe* plays.
Phil pulls the sheet off his face and finds himself back in his
bed in his room. A tear falls from his eye.
CUT TO:
150 INT. CHURCH - DAY 150

Phil enters, sits wearily in one of the pews and bows his head
to,pray. Behind him, light is pouring through a beautiful
stained glass window. Desperate and with no place left to turn,
Phil prays for help. Suddenly he hears celestial music. It
builds and swells, filling him with hope, inspiring him with
faith. Then just as he's about to reach some kind of true
epiphany, the music seems to stick on one off-key note, which
just keeps sounding over and over.
\,... Phil looks around and sees an organ tuner up in the loft working
on the church's old pipe organ.
PHIL
f shouts)
Hey! D O you'mind? I'm praying
here !
The organ tuner starts to apologize, but Phil just shakes his
head and exits.
CUT TO:
151 INT. DINER - MORNING 151

Phil and Rita are sitting in the diner at their regular table
The morning hubbub is going on as usual.
RITA
I'm sorry. What was that again?
PHIL
I'm a god.
RITA
.You'reGod?
(CONTINUED)
PHIL
No, I'm A god. Not THE God-- at
least I don't think I am.
RITA
That's reassuring. For a minute
there I thought you might be crazy.
PHIL
No, it's true. It's the only
possible explanation. I'm a
supernatural being.
RITA
Because you survived a car wreck?
Doris comes to the table.
DORIS
You ready to order, folks?
PHIL '
(to Rita, ignoring her)
Not just the car wreck! I didn't
just blow up yesterday, you know.
I've been run over, drowned,
crushed, stabbed. shot,
electrocuted, poisoned, frozen,
burned, and asphyxiated--
RITA
Really?
Doris looks at him like he's nuts.
PHIL
--but I always wake up the next day
without a scratch, without even a
headache. I'm telling you, I'm
imortal.
DORIS
The special today is blueberry
waffles.
RITA
Why are you telling me this?
DORIS
(shrugs
Because some people like blueberry
waffles.
(CONTINUED)
R e v i s e d Yellow 3 / 1 7 / 3 1
151
l... CONTINUED :
RITA
(to Doris)
Not you, him.
PHIL
Because I want you to believe in
me.
RITA
You're not a god, Phil. Take my
word for it. This is twelve years
of Catholic school talking.
DORIS
I could come back if you're not
ready.
PHIL
How do you know I'm not a god?
RITA
Please.
PHIL
How do you know?
RITA
Because it's not possible.
DORIS
I'll come back.
Doris turns to leave.
PHIL
Hey, Doris!
She turns back.
PHIL
This is Doris. Her brother-in-law
Carl owns the diner, she's worked
here since she was seventeen and
she'd give anything to visit Paris
once before she dies.
DORIS
(amazed)
Boy, would I! Hey! How did--
Phil grabs a passing waiter.
(CONTINUED)
-- 151 CONTINUED :
PHIL
This is Bill. He's been a waiter
for three years because he left Penn
State and had to find work. He
likes the town, he paints toy
soldiers, and he's gay.
WAITER
I am not!
Phil grabs an astonished Rita and pulls her over to the next
table.
RITA
What are you doing?
PHIL
This is Debbie Kleiser and her
fiance Fred.
DEBBIE
Do I know you?
PHIL
They're supposed to get married this
afternoon but Debbie is having
second thoughts.
FRED
What !
Debbie touches her engagement ring, dumbfounded. Rita is a
little embarrassed.
RITA
Lovely ring.
DEBBIE
Thanks.
Phil drags Rita to the counter.
PHIL
This is Gus. Say 'Hi; Rita.
Rita flashes a quick smile.
GUS
Don't believe I've had the--
PHIL
Gus hates his life here and wishes
he'd stayed in the Navy.
(CONTINUED)
F.cvised Yellow 3/17/92
k....
151 CONTINUED:
GUS
Well, I coulda retired at half pay
after twenty years.
RITA
This is some kind of trick.
PHIL
Yes, it's a trick. But maybe the
real God cheats. too. Mavbe God
~~
isn't omnipotent. He's j h t had

a lot of practice.
RITA
How about that guy?
PHIL
Tom. Worked in the coal mine 'ti1
they shut it down.
RITA
Her?
PHIL
Alice, came from Ireland when she
was a babv and lived in Erie most
of her li?e.
Rita is getting very bewildered. From their reactions she can
see that Phil is right about each and every one of them.
RITA
How do you know these people!
PHIL
I told you the truth. In five
seconds a busboy's going to drop
a whole tray of dishes. Five,
RITA
This is nuts.
PHIL
--three, two, one.
Phil points to the kitchen as a busboy trips and drops a fully
loaded bussing tray. Everyone in the diner is now staring at
them.
RITA
(astounded
Okay, enough.
She pulls hin into a booth.
. 151 CONTZlFJZD :
RITA (Cont'd)
(they sit)
What do you know about me, Phil? Do
you know me, too?
PHIL
I know all about you, Rita. I know
you like producing, but hope for
better than Channel 9, Pittsburgh.
RITA
Everyone knows that.
PHIL
You like boats but not the ocean.
There's a lake you g o t o in the
summer with your family, up in the
mountains, with an old wooden dock
and a boathouse with boards missing
in the roof, and a place you used to
crawl underneath to be alone, and at
night you'd look up and see the
stars. You're a sucker for Rocky
Road, Marlon Brando, and French
poetry. You're wonderfully
generous; you're kind to strangers,
and children: and when you stand in
the snow, you look like an angel.
RITA
How are you doing this?
PHIL
I told you! I wake up every day
right here, right in Punxsutawney,
and it's alwavs Februarv second and
I can't turn it off. I? you still
don't believe me, listen--
RITA
But, Phil--
PHIL
Listen! In ten seconds Larry is
going to walk through that door and
take you away from me.
RITA
Larry?
PHIL
Bu: voz can't let hin. ?lease
believe me. You've got to believe
me.
(CONTINUED)
151 C:31:TIlC:ZD:
RITA
I don't--
Larry pokes his head in the doorway, looks around and spots
Rlta.
PHIL
Look.
A s Rita turns around to see Larry, Phil grabs a pen and pad from
i3 passing waitress and quickly writes something down as Larry
makes his way to their table. Phil finishes writing.
LARRY
(to ~ i t a )
weather.
Phil hands the paper to Rita. She reads it.
RITA .
(reading)
*... stay ahead of the weather.'
>'.
L...' Larry looks at the paper.
LARRY
What's that?
Rica looks at Phil with new understanding and empathy.
CUT TO:
152 EXT. FUDGE SHOP - DAY --

-22
Phil and Rita come out of the shop, sharing pieces of fudge.
RITA
This is great.
PHIL
No, it isn't. You hate fudge.
RITA
Just how well do we know each other?
PHIL
I told you. I know everybody.
X E ?.yersoc
~ approaches.
(CONTINUED)
...
.- -.
, -- C3NTINUE3:
NED
Hey, Phil! Phil Connors!
PHIL
Rita, this is Ned Ryerson. He's an
asshole.
NED
He remembers me!
Phil and Rita keep walking.
RITA
Did we ever-- you know?
PHIL
(teasing)
Did we ever! You were an animal.
RITA
(stops)
Come on.
PHIL
you're European trained, aren't you.
RITA
(blushing)
Phil! It's not funny.
PHIL
You weren't interested.
RITA
(relieved)
Okay.
She begins walking again.
RITA
Not that it would've been so awful.
PHIL
I understand.
RITA
I just had to know whether to smack
you or not.
PHIL
You did.
(CONTINUED)
RITA
Good.
CUT TO:
153 'EXT. PARK - A LITTLE LATER

Phil and Rita are sitting on a park bench.
PHIL
So do you believe any of this?
RITA
I don't know. I don't know how else
you could know so much. Maybe it is
really happening.
PHIL
I used to try to stay up all night
sometimes. I thouoht if I could
stay conscious I could figure out
what was going on, or at least hang
onto something from the day before.
But I gave up on that a long time
ago.
Rita looks at him with compassion.
RITA
It sounds so-- lonely.
PHIL
(trying to shrug it off)
It's not that bad. You get used to
it.
RITA
Maybe I should spend the rest of the
day with you-- as an objective
witness. Just to see what happens.
PHIL
Yeah, sure. That'd be very
scientific.
CUT TO:
154 INT. PHIL'S ROOM - NIGHT

A hat is lying on Phil's bed. A laying card flies pas:. A
second playing card sails right ir.=o the hat. Another playing
card sails past, missing.
(CONTINUED)
''i-.. 154 CONTINUED :

Another playing card sails right in. Phil and Rita are tossing
cards. Rita is missing. Phil is hitting.
PHIL
It's not in the wrist so much as
the fingers. Be the hat.
RITA
It would take me a year to get
good at.this.
PHIL
Uh-uh. Six months. Four, five
hours a day.
RITA
Is this what you do with eternity?
PHIL
Now you know. It's like waiting
for a bus that never comes. You
should see me play pool-- and
bowling, juggling, hacky sack. I
can ride a unicycle.
Rita takes a slice of pizza from the box on the table.
RITA
UMMM. Pepperoni and olives. Y.
favorite, of course. Doesn't
knowing everything kind of take
the fun out of things?
PHIL
That's not the worst part.
RITA
What's the worst part?
PHIL
The worst part is that tomorrow
you won't remember any of this.
You'll go back to treating me like
a complete jerk--
RITA
PHIL
It's not your fault. I am a jerk.
RITA
No, you ' re not.
PHIL
Okay, I'm not. It really doesn't
make a lot of difference. I've
killed myself so many times, I don't
even exist anymore. I'm just
completely empty.
RITA
Sometimes I wish I had a thousand
lifetimes. One to be a great
~ournalist. One to, I don't know,
go back to school, study art. or
physics or something. One just to
take care of all the busywork, you
know, pay the bills, get my car
tuned up. One to be the wild woman
of Borneo. One to be Mother
Theresa. Maybe it's not a curse,
Phll. It all just depends on how
you look at it.
PHIL
If you're going to be this positive
all the time I may have to rough you
up a little.
Phil stares at her for a long time then he belches really loud.
Rlta stares at hlm, then burps surprisingly loud herself.
RITA
I want you to know, it's been a
really nice day for me.
PHIL
Me, too.
RITA
Maybe, if it's not too boring for
you, we could do it again.
PHIL
I hope so.
The clock reads 11:59. Rita grabs Phil's hand. He puts his a-?n
around her.
(CONTINUED
-. , ' 154 CONTINUED:
.-
-2;
They look into each others' eyes. Rita gives Phil a reassuring
smile. She squeezes his hand. Their eyes turn to the clock.
11:59 turns to 12:OO.
Rita looks up at Phil as if expecting some magical event.
RITA
You're still here!
PHIL
I know.
RITA
I thought.you were supposed to
disappear-- or I was or something.
PHIL
Not 'ti1 six.
RITA
You rat!
She is mad in a playful way.
PHIL
I never said midnight.
RITA
You knew I was waiting for midnight!
PHIL
But I never said it
RITA
Oh, I can't believe you!
(she slugs him with a
pillow)
I didn't know this was going to take
all night!
PHIL
Does that mean you're going?
RITA
NO.
Phil takes Rita's hand. She doesn't resist.
DISSOLVE TO:
,. 155 LATER -. --- ---
p.i:ais now sitting ricnt next to Phil on the bed, her head
resting on his shoulder. She nods off then catches herself.
RITA
I 'm sorry.
PHIL
It's okay to go to sleep you know.
I promise I won't touch you-- much.
RITA
NO, it's all right. I'm not tired.
What were yoc saying?
Her eyes start to close again.
PHIL
I was saying that the cow was
eventually returned to its rightful
owner.
RITA
(drifting off)
Really?
PHI;
That's right.
He looks at her, sees she's truly asleep, and gently maneuvers
her into a comfortable reclining position on the bed. Then he
carefully puts a pillow under her head and settles down next to
her.
PHIL .
What I was going to say was, I think
you're the kindest, sweetest,
prettiest, most wonderful girl I
ever met in rry life.
She starts to stir but he gently kisses her back to sleep
PHIL
Shhhh. That's good.
(satisfied she's still
asleep)
I could never tell you this, but
from the first minute I looked at
you I just wanted to hold you close
and be with y3u forever.
She srirs again but he kisses her until she retnrns to deep
sleea.
(CONTINUED)
PHIL
I know I could never deserve someone
like you, but if ever I could, I
swear I would love you for the rest
of my life.
Rita opens her eyes.
RITA
(half-asleep)
Did you say something?
PHIL
Yeah. Good-night, Rita.
He kisses her gently on the forehead.
RITA
Good-night, Phil.
l56 CLOSE UP - THE CLOCK 156

The time changes from 5:59 to 6:OO. The radio starts playing.
Phil wakes up alone in bed. He lies there for a moment then
leaas out of bed like a man reborn and heads straight for rhe
shower.
CUT TO:
157 EXT. TOWN SQUARE - A BIT LATER 157

Phil enters the square heading for the Knob and sees Old Jensen
in his usual place. This time Phil stops and hands him all the
money in his pocket.
NED (0.C.)
Hey, Phil! Phil Connors!
As Ned approaches Phil turns and automatically slugs him. He
starts to walk away but some better impulse comes over him and
he turns back to Ned.
PHIL
(helping him to his
feet)
I'm sorry. Are you all right? I
thought you were this horrible guy
I went to hiah school with-- Ned
(CONTINUED
Revised P i n k 3 / 1 3 / 9 2
L..
157 CONTINUED:
NED
(feeling his jaw)
No, never heard of him.
Ned e x i t s i n a hurry a s P h i l continues t o t h e Knob.
CUT TO:

R i t a and Larry a r e i n t h e packed press a r e a , beginning t o s e t up
t h e equipment.
P h i l a r r i v e s on t i m e , c a r r y i n g two cups of c o f f e e .
PHIL
Rita?
She looks a t him without a t r a c e of t h e rapport they shared t h e
night before.
RITA
Oh, h i , P h i l .
PHIL
Thought you might l i k e some--
H e hands h e r t h e coffee.
RITA
Thanks !
PHIL
Careful, i t ' s h o t . Larry?
H e hands Larry a cup.
PHIL
Larry, skimmed milk--two sugars.
LARRY
( s u r p r i s e d , mutters)
Yeah, g r e a t . Thank you.
RITA
We're j u s t s e t t i n g up.
PHIL
You know, I bumped i n t o Buster
Green, he kind of runs t h i s t h i n g ,
and he tipped me off t h a t w e might
g e t a b e t t e r shot over t h e r e .
(CONTINUED)
PHIL
I mean, maybe we should go for it.
What do you think?
RITA
Sounds good to me.
PHIL
Larry?
LARRY
Sure, why not?
RITA
All right. Thanks, Phil. Good
work.
She reaches for an equipment case.
PHIL
I'll get that.
Phil helps Larry carry the camera gear.
PHIL
(to Larry)
We never talk. You got kids,
Larry?
LARRY
No I have a cat. Alfie.
PHIL
Is it male or female?
LARRY
He's male.
Larry looks suspicious. Rita looks on, re-evaluating Phil.
CUT TO:
159 INT. LIBRARY - DAY

Phil enters the library, approaches the Librarian.
PHIL
Where would I find the Philosophy
section?
(CONTINUED)
-106A-
' -.. .: 159 CONTINUED:

LIBRARIAN
. -
Down and to the left, 6 0 0 ' s .
Phil disappears into the stacks.
160 1NT.LIBRARY - ANOTHER DAY 16C

Phil is reading one of a huge pile of books on the table in
front of him.
..
161 CU - LIBRARY CLOCK
The hands start spinning faster and faster.
CUT TO:
162 INT. DINER - DAY 15;

Phil is at his usual table, his nose in a book. The organ lady
is playing a particularly obnoxious version of 'Raindrops Keep
Falling On My Head.' Phil looks up from his book an3 winces.
CUT TO:
163 EXT. A HOUSE - DAY 163

Phil rings the doorbell. A kindly young woman, MARY, answers.
MARY
Yes?
PHIL
I'd like a piano lesson, please.
MARY
oh. Okay, I'm with a student now.
but --
PHIL
I'll give you a thousand dollars
Mary hesitates only a moment, then ushers Phil into the house
and closes the door.
A moment later the door opens and a LITTLE GIRL with an armload
of music books exits as if pushed. The door closes behind her.
CUT TO:
164 INT. HALLWAY - DAWN 164

Phil walks happily down the hallway. He passes the chubby man.
CHUBBY MAN
Morning.
PHIL
Buon Giorno, signore.
(CONTINUED)
CHUBBY MAN
(loudly over-
articulating, as if to
a foreigner)
THINK IT'LL BE AN EARLY SPRING?
PHIL
"Winter slumbering in the open air
wears on his smiling face a dream of
Spring. "
CHUBBY MAN
Oh.
CUT TO:
165 IKT. MARY'S HOUSE - DAY

Phil and Mary are sitting together at the piano. Phil is
playing, poorly.
m y
Not bad, Mr. Connors. You say this
is your first lesson?
PHIL
Technically, yes.
Phil plays on, definitely improving.
CUT TO:
166 ILT. LIBRARY - DAY

We see several cuts of Phil studying at the library.
167 SUPERED over these cuts is a calendar with the pages

flipping by. They all read 'February :2
CUT TO:

Phil stands in front of the camera, giving his report.
PHIL
In fact, the groundhog's legendary
ability to predict'the weather may
be more than just German folklore.
(more)
(CONTINUED)
i-
168.CONTINUED:
PHIL
Higher temperatures trigger
hormonal changes in male
groundhogs, which wakes them from
hibernation and sends them out to
battle with other males for mating
rights. So, the truth is they're
not looking for their shadows,
they're looking for groundhog
babes.
Rita looks on, clearly delighted with the report
CUT TO:
169 INT. MARY'S HOUSE - DAY 169

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

Phil is delivering another report.
PHIL
Groundhog Day, February second,
also known as Candlemas Day or the
Feast of the Purification of the
Virgin Mary, the day Mary first
came to the temple for ritual
blessings following the birth of
the infant Jesus, and celebrated
since the Middle Ages by the
sacramental lighting of
candles....
Larry whispers to Rita.
LARRY
Is he making this stuff up?
RITA
(riveted)
Shhhhh .
171 EXT. TOWN SQUARE - DAY
Larry and Rita are at the cider stand talking, when tho sound of
a chain saw attracts their attention. Rita turns with surprise
to see Phil working on a very elaborate statue, ice chi25 flyinp
into his face. He is concentrating very hard, trying t3 get it
right. Rita doesn't know what to think.
CUT TO:
. .
172 EXT. MAIN STREET - LATER 17;
Phil is heading for his piano lesson when he finds himself face
to face with Ned Ryerson.
NED
Phil! Phil Connors! - I thought that
was you !
PHIL
Red? Ned Ryerson! I don't believe
it. I've missed you so much.
Phil gives Ned a big hug and keeps holding on for an
uncomfortably long time. Ned goes into homophobic shoc~.
NED
Uh. I gotta get going. Nice to see
you, Phil.
He hurries off.
CUT TO:
173 INT. MARY'S HOUSE - DAY

Phil is sitting on the piano bench with Mary, playing pretty
well. Mary is astonished.
MARY
How long have you been studying, Mr.
Connors?
PHIL
Just today.
CUT TO:
174 EXT. STREET - DAY

Phil is walking down the street. He glances d o w n the cliey as
he passes, stops, walks back and enters tne ailey.
(CONTINUED1
t l d Jensen, the homeless man that Phil never noticed before is
lying there, huddled against a wall. Phil goes to help him.
PHIL
Hey, mister. Hey. Come on. let's
get you somewhere warm.
'Ihe old bum turns to look at Phil, then closes his eyes
PHIL
(helps the old man to
his feet)
There you go.
P?.il practically carries him out of the alley.
CUT TO:
175 I::?. HOSPITAL EMERGENCY ROOM - NIGHT

.; nurse approaches Phil. .
NURSE
You the one brought in the old man?
PHIL
How is he?
NURSE
He passed away just now.
Phil pauses for a long moment.
PHIL
What'd he die of?
NURSE
(shrugs
He was just old. It was his time.
PHIL
I want Lo see his chart. Excuse me.
Phil brushes past her and makes for the big double doors leading
to triage.
NURSE
Sir, you can't--
(hurrying after him)
Look! Some people just die!
'..
\--
175 CONTINUED:
PHIL
Not on my watch.
CUT TO:
176 INT. DINER -AFTERNOON 176

Phil is propping up the old m n at a table, trying to feed him
hot soup.
CUT TO:
177 INT. HOSPITAL LIBRARY - DAY 177

Phil is furiously looking over X-rays, flipping through medical
journals and making notes.
CUT TO:
178 EXT. ALLEY - NIGHT 178

Phil is in the alley, shaking the old man, trying to rouse him.
. Come on.
PHIL
Hang on. Hang on, there.
Breathe.
Phil stops. The body lies, unmoving. Phil sits back, breathing
heavily.
CUT TO:

Phil is delivering his report. Everyone there is silent and
listening to Phil. Even the other reporters have turned their
cameras on him.
PHIL
...When
Chekhov saw the long winter,
it was a winter bleak and dark and
bereft of hope; and yet, we know
winter's only one more step in the
cycle.
(more)
(CONTINUED
I
'.-... 17 9 CONTINUED:
And standing among the people of'
Punxsutawney--
(Phil looks directly at
Rita)
--basking in the warmth of their
hearths and hearts, I couldn't
imagine a better fate than a long
and lustrous winter.
Phil smiles. Rita smiles, too.
PHIL
For Channel 9 news, I'm Phil
Connors .
There is much applause. Even Larry brushes away a tear.
PHIL
Okay for you two?
RITA
Yeah.
LARRY
Phil, you touched me man. Thanks.
PHIL
Gotta go.
Phil hands the microphone t o Rita and walks away.
RITA
Phil! Wait!
She catches up to him still carrying the microphone.
RITA
That was kind of-- surprising. I
didn't know vou were so--
versatile. -
PHIL
I surprise myself sometimes.
She runs out of microphone cable and is jerked back. She
quickly unplugs the mike and continues walking with him.
RITA
Where're you going now? Maybe we
could get a cup of coffee or
something.
PHIL
I'd love that, maybe later. I've
got some errands to run.
(CONTINUED)
-113A-
- . 17 9 CONTINUED:
Phil rushes off .
RITA
( c a l l s a f t e r him)
Errands? Here? What errands?
Aren't we going back?
CUT TO:
i
L... 180 EXT. STREET CORNER - DAY .
.- --
Phil walks briskly toward an intersection, glancing nervously a:
his watch.
MARIE, a little nine-year-Old girl, approaches the intersection
shielding her brand new puppy under her winter coat. She isn't
paying attention to traffic and fails to notice a big truck
bearing down on her.
As she steps off the curb, Phil arrives and, with split-second
timing, nonchalantly but firmly grabs her coat to hold her back,
just as the big truck rushes past in the street, narrowly
missing her.
PHIL
Hey! Did you forget t o look both
ways? You didn't even look one way.
MARIE
My doggie was cold.
PHIL
Yeah, well, my doggies are freezing,
but I'm still gonna watch out for
cars. See you around, kid.
.. .
Phil looks at his watch and rushes off.
CUT TO:
181 EXT. STREET - DAY 18:

A car carrying three OLD LADIES runs over a board in the road
and pops a tire. The driver, GERTIE, reacts.
GERTIE
Oh, m y .
RUBY
You've totalled it.
SARA
It's just a flat tire.
GERTIE
I better call someone.
As Gertie begins to get out, the car starts bouncing, already
being hoisted up into the air on a jack.
She looks down to s e e Phil happily changing her tire.
CUT TO:
182 INT. BERGHOF RESTAURANT - DAY -- --- --
....
Phil enters the crowded restaurant and pushes past all the
people waiting to be seated. He walks casually, but quickly and
:purposefully around the tables, squeezing past busy waitresses
and seated patrons. Without missing a beat or losing a step, he
automatically lights someone's cigarette, helps someone on with
their coat and brings water to a table, all the time heading
toward some commotion in the back of the restaurant.
A WOMAN and her two grown children, a SON and a DAUGHTER, are
leaning over her husband w h o i s prostrate on the floor. It's
Buster Green, the groundhog official, still wearing his
tailcoat.
WOMAN
Oh, my God! He's having a heart
attack!
DAUGHTER
Somebody please help us!
SON
What do I do? He's not breathing!
WOMAN
He's turning blue! Help!
--,... . Phil walks straight up to the scene, pulls Buster up to a
sitting position, grabs him from behind in the Heimlich grip an5
squeezes sharply.
A bolus of food flies across the room. Buster coughs and
sputters, then starts breathing again.
DAUGHTER
You okay, Daddy?
SON
I think that did it.
Phil'lets go of the grateful victim.
PHIL
If you're going to eat steak, get
better teeth, will you? Enjoy the
rest of your lunch, folks.
He exits.
CUT TO:
i
.. 183 EXT. RESIDENTIAL STREET - A LITTLE LATER -
.- -
Phil runs down the sidewalk right up to an old house and puts
his arms out just as a YOUNG BOY falls off the garage roof and
right into Phil's arms, knocking him to the ground. The kid
runs off unhurt as Phil gets back to his feet and brushes
himself off.
PHIL
(to himself)
That little bastard has never
thanked me once.
(shouts)
Next time I'm letting you fall!
CUT TO:
184 CLOSE-UP - A PACKAGE 181

Someone is shakily gift-wrapping a package with ribbon and
having considerable trouble doing it until a hand reaches in and
holds the knot with an index finger.
CUT TO:
185 EXT. ALLEY - NIGHT 181

Phil kneels on the cold ground beside Old Jensen who lies
huddled against the wall, immobile. He finishes writing
something down on a small pad and sets it down by the old man.
Then he covers him with a blanket and walks away as an
ambulance pulls into the alley.
The paramedics, BUD and ANDY, get out of the ambulance and
inspect the scene.
BUD
It's 01' Jensen.
ANDY
That's a shame.
BUD
Look here.
Bud picks up the note Phil left.
(CONTINUED)
-117-
\.. 185 CONTINUED :

BUD
(reading aloud)
'Every night, by cold bricks
glow.
I watch the shadow rising
from this old man in the
snow.
At 8:02 we let it go.'
ANDY
(repeating)
'At 8:02 we let it go.'
BUD
Wow, that's nice.
m TO:
186 INT. PENNSYLVANIAN HOTEL BAR - NIGHT

Larry is at the bar trying to hustle Nancy.
LARRY
...A lot of people think you just
hold the camera and -~ointit at
stuff.
(snorts)
There's a heck of a lot mare to it
than that. Hey, would you like to
see the inside of the van?
NANCY
I really should get back to the
party.
LARRY
I'll go with you.
Larry and Nancy encounter Rita on their way back into the bar.
LARRY
Hi, Rita. You corning to the
party?
RITA
Sure. Sounds like a lot of fun.
Maybe we should call Phil and see
if he wants to come.
NANCY
Phil Connors? I think he's
already in there.
They all exit together.
R e v i s e d Cherry 5/12/92
-118-
-..._. 187 OMITTED 18
188 INT. BANQUET ROOM - CONTINUOUS

A wild groundhog party is going on. People of all ages, just
about everybody we have seen previously in huursutawney is here
tonight. The room is gaily decorated with banners and groundhog
signs. The band is really kicked up and everybody is dancing.
Larry and Nancy go off to get some punch.
. .
A crowd is gathered around the bandstand listening to an
unusually wild piano solo. Rita presses forward to look and is
amazed to see that the piano player is Phil.
Phil is playing very well, going nuts like Jerry Lee Lewis.
Rita is standing next to Mary, Phil's piano teacher.
MARY
Isn't he good?
RITA
He's great.
MARY
(proudly)
He's my student.
Phil finishes with a flourish. Everybody applauds. Phil
modestly bows out and Mary resumes her place with the band.
The band starts up again, a slow piece. Phil spots Rita and
comes down to her.
PHIL
Hey! Welcome to the party!
RITA
Phil, I didn't know you could play
like that.
PHIL
I'm versatile.
She laughs. He takes her hand and they start dancing.
PHIL
Did you have a good day?
lee CONTINUED :
I_".
RITA
Yeah, sure. I mean, it's a little
strange being stuck here, and all --
Phil laughs and swings her around on the dance floor.
Gertie and Sara, the two old ladies with the flat tire, are
dancing together.
GERTIE
Mr. Connors! Thanks again for your
help.
PHIL
M y pleasure, ladies.
SARA
He's got the fastest jack in
Jefferson county.
Phil and Rita dance on.
RITA
What was that all about?
PHIL
Oh, I don't know. They've been
hitting on me all night.
Phil is interrupted by Mrs. Green, Buster's wife.
MRS. GREEN
There you are!
She grabs him and gives him a big kiss.
MRS. GREEN
I never thanked you properly for
what you did for Buster. He
would've choked for sure.
PHIL
Well, the guy was trying to swallow
an entire cow.
MRS. GREEN
(to Rita)
Hang onto him, dear. He's a real
find.
Mrs. Green moves on. Rita looks at Phil.
(CONTINUED)
RITA
(really confused)
What did you do today?
Phil is now accosted by Fred and Debbie Kleiser, very young
newlyweds.
FRED
Mr. Connors. Excuse me.
PHIL
Fred! How was the wedding?
FRED
I just wanted to thank you for
making Debbie go though with it and
everything --
PHIL
Hey, don't buy that playing hard to
get stuff. She's crazy about you.
DEBBIE'
You are the best.
PHIL
Rita, Fred and Debbie --
RITA
Hi.
Phil reaches into his pocket, pulls out two tickets and hands
them to Debbie.
PHIL
Congratulations.
DEBBIE
What is this? Oh, no way! No way!
Ahhh !
Debbie throws herself on Fred and jumps up and down. Fred grabs
the tickets.
FRED
Wrestlemania! No way! No way!
Debbie throws herself on Phil.
DEBBIE
How did you know? We're like going
to be in Pittsburgh anyway.
(CONTINUED)
'"- 18 i; CONTINUED :
FRED
Thanks, Mr. Connors. You're a real
pal.
DEBBIE
This is the best!
Debbie gives Phil a kiss. She and Fred move on. Phil grabs
Rita to continue dancing, but Rita stops.
RITA
I don't understand.
PHIL
I know.
RITA
How does everybody know you? I
mean, you only visit here once a
year but you seem to be the most
popular person in town.
i4 MAN leans into the conversation.
MAN
Thank you, Doctor Connors. You
really fixed my back.
Ne ducks out again.
RITA
Doctor Connors?
PHIL
It's like an honorary title.
Rita stares at Phil.
The band finishes a set. The guests stop dancing and hiead for
the refreshments. Phil and Rita are left alone for the moment.
RITA
What's going on?
PHIL
I really don't know.
RITA
No, there's something going on with
you.
PHIL
Okay, you want the long version or
the short one.
(CONTINUED)
Revised Cherry 5 / 1 2 / 9 2
RITA .
Try the short one and we'll go
from there.
Buster Green mounts the stage to emcee the Bachelor Auction.
BUSTER
Okay, folks. Attention! Time for . ~
the big Bachelor Auction. You all

know the rules now. All the
eligible bachelors come up to the
front. Ladies, you bid on 'em,
you get to do whatever you want
with 'em, no questions asked.
(winks broadly)
So get out your pocketbooks and
remember, it's all for charity.
Come on now. Any more bachelors
out there?
Doris accosts Phil.
DORIS
What are you doing down here.
Phil?
PHIL
Hi, Doris.
DORIS
Get up there. Go on. I got ten
dollars that says you're mine.
(to Buster)
Hey, Buster! I got your first
victim!
BUSTER
Phil Connors! Get on up here!
Phil smiles at Rita as he gets pushed up to the stage by the
crowd.
A precocious TEEN GIRL turns to her FATHER.
TEEN GIRL
That's the man I want, Daddy.
Rita is totally confused as Buster opens the bidding on Phil.
BUSTER
Now what do I hear for this fine
specimine?
Green Revised 4 /24/ 9 2
. 188 CONTINUED:
GERTIE
Five dollars.
BUSTER
The bidding has begun at five
dollars.
WRIS
Ten dollars.
BUSTER
Ten dollars, for Phil Connors?
Why, my necktie cost more than
that.
Rita pulls out her checkbook and thumbs through it.
Larry is watching with Nancy, trying to look suave.
NANCY
(calls out)
Fifteen!
Larry frowns.
WRIS
Twenty!
Buster waits a moment then starts to close the bidding.
BUSTER
I have twenty dollars bid. Do I
hear more?
RITA
Three hundred sixty-five dollars
and eighty-eight cents!
Everybody laughs and applauds her boldness. From the stage,
Phil smiles at her.
BUSTER
Okay, bachelors. Who ' s next ?
Larry bounds up on stage and tries his best to look appealing.
CUT TO:
189 EXT. PARK - NIGHT 189

Rita is sitting on a stone pedestal while Phil carves her image *
out of packed snow, using only a sharp stick and the heat of his '
t
- hands to model the delicate contours of her features.
(CONTINUED)
Green Revised 4/24/92
'.-
189 CONTINUED:
RITA
I'm getting cold. Do I have to
sit here much longer?
PHIL
I'm just trying to give you your
money's worth. You paid top
dollar.
RITA
I think you were a bargain. Can
I look now?
PHIL
Almost. I just have to pour some
cherry syrup on it then we can eat
it.
RITA
I'm freezing. Come on. I want to
see it.
PHIL
Okay. Let me get it into the
light.
He turns it.
RITA
Oh, Phil. It's beautiful. It's
just amazing. How did you do
that?
PHIL
I know your face so well I
could've done it with my eyes
closed.
RITA
I don't know what to say.
PHIL
I do. No matter what happens
tormorrow or for the rest of my
life, I'm happy now because I love
you.
They kiss.
RITA
Phil, I think I'm happy, too.
They kiss again and exit
CUT TO:
190 OMITTED
CUT TO:
. 190 CONTINJED:
RITA
What ?
PHIL
Nothing.
They kiss-- a long, deep, soul-stirring kiss.
CUT TO:
191 CLOSE UP - THE CLOCK 19

The digital clock-radio changes from 5:59 to 6:OO. .I Got You,
Babe" starts playing.
Phil opens his eyes feeling more bereft than ever.
DEEJAY
(interrupting the song)
Not again.
SIDEKICK
can't get enough of Cher.
DEEJAY
Yeah, but that's way too much of
Sonny.
Phil sits up in bed as the deejays continue this new banter. He
looks around the room. Things are different, messier. Then he
sees the covers move. Wide-eyed now, he looks over and sees
Rita waking up, snuggling deep under the covers.
PHIL
(disbelieving)
It's not true. It's not. It can't
be true. Rita? Rita!
RITA
(stretching luxuriously)
Mmm. Morning.
Phil pounces on Rita, showering her with kisses.
PHIL
You're here! My god! I can't
believe you're here!
RITA
Glad to see you, too.
(CONTINUED)
PHIL
No! It's happened. Don't you get
it? It's tomorrow! Listen!
DEEJAY
... still shoveling out the
highways, but if you're walking,
it's a beautiful day.
SIDEKICK
Yeah, the snow kind of cleaned
everything up--
DEEJAY
--except your mouth.
Phil kisses the radio.
PHIL
I love those guys.
RITA
Are you always this jolly in the
morning?
Phil runs to the window and looks out.
192 HIS POV - THE STREET 19i

The street is virtually empty, the town just waking up. Kids
are throwing snowballs.
193 INT. PHIL'S ROOM - CONTINUOUS

PHIL
No groundhog! Rita! They're all
gone !
RITA
You must've had some dream.
Phil stops, thinks.
PHIL
Did I just dream it?
Phil opens the door and runs into the hallway wearing only
pa jama bottoms .
RITA
Phil? Phil!
(CONTINUED)
L..
193 CONTINUED : - "- -.
- a -
Rita sits up in bed and waits. Suddenly, from somewhere else ir.
the inn comes the sound of Phil at the piano expertly playing a
difficult classical piece. He stops after a few bars.
PHIL (0.C.)
Yeah! ! ! !
Phil runs back into the room.
PHIL
It really happened! You're really
here !
(he Dounces on Rita
&
: ~ -
again)
You're really actually here.
RITA
(laughing)
I'm here, I'm here!
They kiss.
PHIL
Let's go!
-. He scoops her up in his arms.
CUT TO:
194 INT. BREAKFAST ROOM - LATER

Phil and Rita, dressed now, enter and encounter Mrs. Lancaster.
Phil hugs her.
MRS. LANCASTER
Oh, my!
PHIL
Florence! Say hello to Rita. She
stayed with me last night.
MRS. LANCASTER
That's all right. No extra charge.
He kisses her on the cheek and rushes out with Rita.
CUT TO:
. la5 EXT. CHERRY STREET - DAY -. -- ---
b
From the vantage point of Phil's bedroom window, we see Phil and
Rita walk off down the beautiful, snow-covered streets cf
~unxsutawiey.
THE END

Groundhogfinal 150201121926 Conversion Gate01

Uploaded by

Copyright:

Available Formats

You might also like

Groundhogfinal 150201121926 Conversion Gate01

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Groundhogfinal 150201121926 Conversion Gate01

Uploaded by

Copyright:

Available Formats

GROUNDHOGDAY

Final Revision 3/5/92

2 EXT. INTERSTATE - LATER

3 INT. THE VAN - CONTINUOUS

4 EXT. HIGHWAY - LATER

5 INT. THE VAN - SAME TIME

6 EXT. HIGHWAY - LATER

7 EXT. MAIN SQUARE - PUNXSUTAWNEY - LATER

8 EXT. A FOREST CLEARING - EARLY MORNING 8

10 INT. PHIL'S ROOM - DAWN

12 INT. CORRIDOR - EARLY MORNING 12

15 EXT. TOWN SQUARE - PVNXSUTAWNEY - CONTINUOUS 1:

16 EXT. GOBBLER'S KNOB - DAWN 16

For a cold gray dawn, there is the atmosphere of a festival

17 INT. DINER - LATER 15

Phil is sitting at a table having a cup of coffee in is busy,

18 EXT. HIGHWAY - DAY

19 INT. THE VAN - CONTINUOUS

L - EXT. THE CAR - CONTINUOUS iC

21 INT. GAS STATION - LATER

22 EXT. TOWN SQUARE - DAY

23 INT. HOTEL BAR - EVENING 21

25 INT. MAIN FLOOR HALLWAY

26 INT. PHIL'S ROOM - CONTINUOUS 26

27 EXT. CHERRY STREET - DAWN , 27

26 INT. PHIL'S ROOM - DAWN 2E

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

32 EXT. CHERRY STREET INN - MOMENTS LATER 32

33 EXT. TOWN SQUARE - CONTINUOUS 3:

..j 34 EXT. GOBBLER'S KNOB - DAWN

35 -ST. SHOWER - LATER

37 INT. PHIL'S ROOM - DAWN 37

39 INT. BREAKFAST ROOM - CONTINIIOUS 3

40 EXT. CHERRY STREET INN - MOMENTS LATER

41 EXT. TOWN SQUARE - MOMENTS LATER 4

46 EXT. GOBBLER'S KNOB - DAWN

47 INT. DINER - COWl"1NUOUS 4:

49 INT. PSYCHOLOGIST'S OFFICE - DAY

49A OMITTED 49.

49B EXT. CORRIDOR - LATER 49

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

50 INSERT - A BACKLIT TRANSPARENCY OF THE SOLAR SYSTEM 5

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

52 INT. CLASSROOM - CONTINUOUS 1

53 INT. THE CORRIDOR - SAME TIME

60 INT. THE CADILLAC - CONTINUOUS

62 EXT. THE STREET - CONTINUOUS 62

63 IN". THE CADILLAC - SAME TIME 63

64 EXT. THE STREET - SAME TIME 64

65 INT. POLICE CAR -SAME TIME 65

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

67 INT. CADILLAC - SAME TIME --

Phil begins to accelerate, turning a fast lap around the square.

68 EXT. THE STREET - SAME TIME 60

69 INT. THE CADILLAC - SAME TIME

70 EXT. THE STREET - CONTINUOUS 7C

72 EXT. THE RAILROAD TRACKS - SAME TIME

73 INT. THE CADILLAC - SAME TIME

74 EXT. RAILROAD TRACKS - SAME TIME 74