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                                   GROUNDHOG DAY

          

                                    Written by

                                   Danny Rubin

          

          

          

          
           Second Revision by
           Harold Ramis
           January 7, 1992

          

          FADE IN

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

          ROLL CREDITS AND THEME MUSIC

           DISSOLVE TO:

          

          EXT. A FOREST CLEARING - EARLY MORNING

          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:

          

          INT. TV STUDIO - SAME TIME

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

           CUT TO:

          

          EXT. WESTERN PENNSYLVANIA - SAME TIME

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

           CUT TO:

          

          INT. TV STUDIO - SAME TIME

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

           CUT TO:

          

          EXT. NEAR PITTSBURGH - SAME TIME

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

          

           -2-

          
          We zoom into a tall building in the downtown area and

           DISSOLVE TO:

          

          INT. PHIL CONNORS' OFFICE - MORNING

          We don't see anyone at first but the office itself speaks
          volumes about it's inhabitant-- team pictures of the Steelers
          from the Franco Harris-Terry Bradshaw glory years, a framed
          memorial portrait of Roberto Clemente, a local Emmy award
          statue, an erasable weather map and mountains of personal junk
          on the desk, ^windowsill, and every other available surface.
          As the CREDITS END, we notice a sleeping figure on the small
          sofa, buried deep under a pile of coats and a stolen airline
          blanket.
          GIL HAWLEY, Executive Producer of the Action News, sticks his
          head in the door.

           HAWLEY
           Christ, what a pit. Phil"
          The sleeping figure rouses himself and looks out at Hawley.
          It's Phil, the .Channel 9 Action News weatherman.

           PHIL

           (SLEEPY)
           What?

           HAWLEY
           It's February first, Phil. You
           know what tomorrow is?
          Phil sits up and.thinks hard. He's in his mid-thirties, smart,
          rugged-looking, perhaps a little too full of himself, but
          clearly a guy with a lot of personality.

           PHIL
           (catching on)
           Oh, no! Not again.
          He jumps up and exits the office with Hawley right behind him.

           PHIL
           Forget it! I'm not going.

          

          INT. CORRIDOR - CONTINUOUS

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

          

           -3-

          

          

          INT. STUDIO - CONTINUOUS

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

           PHIL
           Get away from me. I'm working.

           HAWLEY
           So what's the outlook? We gonna
           get that blizzard?
          Phil shakes his head and points to the chart which is headed
          "Phil's Phorecast" with a cute caricature of himself drawn next
          to the title.

           PHIL
           No way. All that moisture coming
           up from the Gulf is going to miss
           us completely and take a dump on
           Harrisburg.

           HAWLEY
           (with authority)
           Good, 'cause you're going up to
           Punxsutawney to cover the
           groundhog story tomorrow morning
           and I want you back here in time
           to do the five.

           PHIL
           Jesus, Gil, give me a break, will
           you! I covered the goddamn
           groundhog last year and the year
           before that.

           HAWLEY
           And you'll do it :next year and
           the year after, too. When I
           worked in San Diego, I covered
           the swallows coming back to
           Capistrano for ten years in a
           row.

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

           HAWLEY
           I wanted to do it.

           PHIL
           Then you should've killed
           yourself. I don't want to get
           stuck with the groundhog for the
           rest of my life.

          

           -4-

          

           HAWLEY
           It's a cute story. He comes out,
           he looks around, he wrinkles up
           his little nose, he sniffs around
           a little, he sees his shadow, he
           d oesn't see his shadow-- it's
           nice. People like it.

           PHIL
           Many people are morons.

           HAWLEY
           Just do it.

           PHIL
           What'11 you give me?
          Hawley looks across the studio and sees RITA HANSON enter, a
          very attractive segment producer in her late twenties.

           HAWLEY
           (to Phil)
           I'll give you Rita.
           (calls her over)
           Rita, could you come here for a
           second? I got a little job for
           you.
          Rita is relatively new to the station, but very competent,
          personable, humorous, self-assured and very pretty-- in short,
          a genuine princess, though Phil is too self-absorbed at this
          point to realize it.

           PHIL

           (TEASING)
           You can't send Rita out on a
           story like this. She's just a
           cub, a pup, still wet behind the
           ears. Look at her. Her ears are
           sopping wet. This needs a
           Woodward or a Bernstein. It's a
           big story. People need to know.

           RITA

           (INTRIGUED)
           What's the story?

           HAWLEY
           The Punxsutawney Groundhog
           Festival.

           RITA
           Gil, if it's all right with you
           I ' d rather follow-up on the
           nurses' strike.

          

           -5-

          

           HAWLEY
           You can do the nurses when you
           get back. Just take the squeaky
           wheel here up to Punxsutawney and
           get him back in one piece. Okay?

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

           PHIL

           (PLEASANTLY)
           You know, this could be extremely
           interesting.

           RITA
           I've never done a weather story
           before. What's Punxsutawney
           like?

           PHIL
           Oh, it's an enchanted place. A
           magical world. It's the
           Constantinople of the whole
           Western Appalachian-Susquehanna
           Drainage system.

           RITA
           Do you always joke?

           PHIL
           About 70 to 80% of the time.
           Inside I'm actually a very shy
           and sensitive person.

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

           PHIL
           Tell me the names of these
           people.

           RITA
           I'll line up a crew and
           transportation. If you don't
           feel like driving, we can all go
           up in the van together.

           PHIL
           I think I'll take my own car.
           I ' m not that fond of my fellow
           man.

          

           -6-

          

          

           RITA

           (EXITING)
           Nice attitude.

           PHIL
           Nice face.
           (calls after her)
           Why don't you ride up with me?

           RITA
           No, thanks.
          STEPHANIE DECASTRO , an attractive, dark-eyed, dark-haired
          correspondent, glares at Phil from across the studio.

          

          INT. PHIL'S OFFICE - LATER

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

           PHIL
           (on the phone)
           They don't really think of me as
           a weatherman around here. More
           of a "personality," but with the
           credibility of a first-class
           broadcast journalist. Once you
           look at my tape I think you'll
           see what they mean.
          Stephanie enters and stands in the doorway looking at Phil for
          a long moment. There is something vaguely off-center about
          this woman, not quite FATAL ATTRACTION but still a little
          scary.

           STEPHANIE

           (BITTERLY)
           I just want to know one thing:
           did I do something wrong or are
           you just tired of me or what? I
           have to know.
          Phil sighs.

           PHIL
           (on the phone)
           Dan, can I call you back? I've
           just been handed something and I
           better get on it...
           (he picks up some
           papers and rustles
           them for effect)
           ...Okay, thanks.

          

           -7-

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

           PHIL

           (KINDLY)
           You didn't do anything wrong,
           Stephanie, and I ' m not tired of
           you. It's just that I don't have
           time for a real relationship
           right now. I told you that the
           first time we went out.

           STEPHANIE
           (getting close)
           Everybody says that at the
           beginning of a relationship.

           PHIL
           (gently pushing her

           AWAY)
           I'm different. I really meant
           it! Things are really starting
           to move for me now. I ' m not
           going to be doing the weather for
           the rest of my life. I was just
           talking to the CBS guy about a
           network job. I want that. This
           is just the beginning for me. I
           can't waste any more time.

           STEPHANIE
           Are you saying our relationship
           was a waste of time?

           PHIL
           Our relationship? We went out a
           total of four times! And only
           twice did anything happen. It
           was fun but I don't see that as
           a big commitment.

           STEPHANIE
           (closing in again)
           I had our charts done. My
           astrologer says we're extremely
           compatible. There may even be
           some past lives involvement here.

           PHIL
           See? So we've already done this.
           Let's move on. Next case.

           STEPHANIE
           You know what's wrong with you,
           Phil? You're selfish. You don't
           have time for anyone but
           yourself.

          

           -8-

          

           PHIL
           That's what I ' m trying to tell
           you. You don't want to be with
           me. You can do better. Look,
           Stephanie, if I ever said or did
           anything to mislead you I'm sorry
           for that, but right now I have to
           do this groundhog thing and I
           don't have a handle on it yet.
          He throws some papers and his datebook into a briefcase and
          puts on his jacket.

           PHIL (CONT.)
           I'll tell you what. I ' m going to
           do some serious thinking while
           I ' m in Punxsutawney, okay?
          He pats her on the shoulder and brushes past her, leaving her
          standing there with a malevolent look on her face.

           CUT TO:

          

          EXT. A HIGHWAY - AFTERNOON

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

           PHIL (V.O.)
           (on his earphone)
           I'm on my way to Punxsutawney...
           (forced to repeat it,
           a little embarrassed)
           Punx^su-taw-ney....Work or fun?
           I think that all depends on you.

          

          INT. THE LEXUS - CONTINUOUS

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

           PHIL
           . . . . I thought maybe you could
           meet me up there tonight and let
           me vulgarize you for about seven
           hours....So I ' m supposed to spend
           the night in Punxsutawney all
           alo ne? Thanks.

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

           CUT TO:

          A SIGN
          "Welcome to Punxsutawney - The Original Weather Capitol of the
          World Since 1887." Depicted on the sign is a large cartoon
          GROUNDHOG wearing a top hat and clutching an umbrella under his
          arm.
          The mini-convoy passes some fast food places on the outskirts
          of town.

          

          EXT. MAIN STREET - PUNXSUTAWNEY - LATER

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

          

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

           PHIL
           (calls out)
           Rita! I can't stay here.
          Rita is already helping Larry unload equipment from the van.

           LARRY

           (MUTTERING)
           Prima donnas.

           RITA
           It's okay. I'll handle it.
          She crosses to the Lexus where Phil is trying to make another
          call on his earphone.

           RITA
           What's the problem, Phil?

           PHIL
           I hate this place. I stayed here
           two years ago and I was
           miserable. It's like a minimum
           security prison. I'm not staying
           here.

          

           -10-

          

          

           RITA
           You're not staying here.

           PHIL

           (BRIGHTENING)
           I ' m not?

           RITA
           No, Larry and I don't care but I
           thought you might, so I booked
           you at a very nice bed and
           breakfast on Cherry Street.
           Here's the address.
          She hands him a card.

           PHIL

           (PLEASED)
           Great. That's great. That's the
           mark of a really good producer.
           Making the talent happy.

           RITA
           Whatever I can do.

           PHIL
           Really? Will you be my love
           slave?

           RITA
           Whatever I can do within reason.
           Would you like to have dinner
           with Larry and me?

           PHIL
           No thanks, I've seen Larry eat.
           Why don't you ditch Larry and let
           me take you someplace nice?

           RITA
           You mean like a date?

           PHIL
           Yeah.

           RITA
           Oh, no.

           PHIL
           Okay. I get it. You're a little
           intimidated by me, you're all
           excited about the shoot tomorrow,
           you want everything to go just
           perfect. I understand. You just
           get some sleep. Tomorrow will be
           great.

          

           -11-

          

           RITA
           Well, that's something to look
           forward to. I'll see you in the
           morning.
          He drives off, leaving her standing there shaking her head.

           LARRY
           Did he actually call himself "the
           talent?"
          Larry snorts and continues unloading their gear.

           CUT TO:

          

          EXT. CHERRY STREET - DAWN

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

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

          SUPER: FEBRUARY 2

          

          INT. PHIL'S ROOM - DAWN

          Phil sits up in bed and looks around the room. The decor is
          typical bed and breakfast, flocked wallpaper, framed prints,
          and an odd assortment of mismatched furniture. His suit is
          hanging neatly on the back of the closet door and his suitcase
          is open on a stand at the foot of the bed, still neatly packed.
          A iradio, DEEJAY and his SIDEKICK come on with hyped-up,
          drivetime Chappy talk." Phil stares at the radio and listens
          to them.

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

           TODAY1
          Phil grimaces and swings out of bed.

           SIDEK ICK
           It's cold out there everyday.
           W hat 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.

          

           -12-

          

           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 very special--

           SIDEKICK
           Es pec ia lly cold--

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

           SIDEKICK
           Ch ap pe d lips--

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

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

           DEEJAY
           That's right, rodent lovers!

           IT'S--

           BOTH DEEJAYS
           Groundhog Day1
          SOUND EFFECT of GRUNTING GROUNDHOGS.
          Phil grunts at his reflection in the mirror.

           PHIL
           (to himself)
           Never again.

           CUT TO:

          

           -13-

          

          INT. CORRIDOR - DAWN

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

           CHUBBY MAN
           Morning .

           PHIL
           Morning .

           CHUBBY MAN
           Think it'll be an early Spring?

           PHIL
           I ' m predicting March 21st.

           CUT TO:

          

          INT. BREAKFAST ROOM - CONTINUOUS

          Phil enters the old library of the house now set up with a
          breakfast buffet. An old spinet piano stands in the corner.
          One wall is lined with .bookcases filled with books. A handful
          of guests are seated around the room, eating.
          The matron of the house, MRS. LANCASTER, spots Phil as she
          comes out of the kitchen with a fresh pot of coffee.

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

           PHIL
           (with mock civility)
           Like a Roumanian orphan, Mrs.
           Lancaster.

           MRS. LANCASTER
           Would you like some coffee?

           PHIL
           I don't suppose it1 d be possible
           to get an espresso or a capuccino
           around here.

           MRS. LANCASTER

           (BLANKLY)
           I don't really know --

           PHIL
           Forget it. This '11 be fine.

          

           -14-

          

           MRS. LANCASTER
           ( as she pours)
           I wonder what the weather's going
           to be like for all the
           festivities.

           PHIL
           My guess is it'11 be cold and
           overcast, high today in the low
           30's, dropping to the low 20's
           tonight, but I'm predicting that
           all that moisture coming up from
           the Gulf is going to miss us and
           dump some locally heavy snow,
           possibly blizzard conditions with
           travel advisories in the
           Harrisburg area and maybe as far
           east as .Philadelphia.
           (off her surprised

           LOOK)
           You want to talk weather, you
           asked the right guy.
          He heads for the door.

           ;MRS. LANCASTER ·

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

           PHIL
           Unfortunately yes.
          Phil exits.

           CUT TO:

          

          EXT. BOARDING HOUSE - MOMENTS LATER

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

          

          EXT. MAIN STREET -KPUNXSUTAWNEY - CONTINUOUS

          There are a lot of people on the street for this hour. Traffic
          is so heavy in fact, the pedestrians are moving faster than the
          cars. Everyone seems to be going in the same direction, making
          the annual trek to see the groundhog.
          An OLD BUM is sitting on the sidewalk leaning against a
          storefront. Someone throws him a coin. Phil walks by without
          taking any notice.

           MAN (O.C.)
           Hey, Phil!

          

           -15-

          

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

           NED
           Phil! Phil Connors! I thought
           that was you!
          Phil looks at him vaguely.

           PHIL
           (at a loss)
           I 'm sorry. Have we-- uh--

           NED
           My oh my! Phil Connors. Don't
           say you don't remember me, 'cause
           I sure as heckrfire remember you.
           Well?
          Phil stares, trying to remember.

           NED
           Ned Ryerson? Needlenose Ned?
           Ned the Head. Come on, buddy.
           Case Western High?

           PHIL
           Ned?

           NED
           I see you clicking through that
           brain of yours. Click-click,
           c li ck- cli ck, click-click--Bing!
           Ned Ryerson, did the whistling
           trick with my belly button in the
           talent show. Bing! Ned Ryerson,
           got the shingles real bad senior
           ^year^ almost didn't graduate.
           Bing again! Ned Ryerson, went
           out with your sister Mary Pat a
           couple of times-- 'til you told
           me not to anymore. Well?

          

           PHIL

           (RESIGNED)
           Ned Ryerson.

           NED
           Bing!

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

           NED
           Phil, I sell insurance.

          

           -16-

          

           PHIL
           (sorry he asked)
           No kidding.

           NED
           Do you have life insurance, Phil?
           'Cause if you do, I bet you could
           u s e 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 heard
           of single .premium life? That
           could be the ticket for you,
           buddy. God, it's good to see
           you! Hey, what're you doing for
           dinner?

           PHIL
           Dinner? Umm, I don't think
           that's going to work for me.
          As they continue walking, Phil steps into what looks like a
          shallow puddle and ends up ankle deep in wet slush. Ned laughs
          like a donkey.

           NED
           Hey, look out for that first
           step! It's a doozy!
          Phil looks at him with murderous contempt.

           CUT TO:

          

          EXT. GOBBLER'S KNOB - DAWN

          A big crowd is standing in a park-like clearing off a
          residential street. They are gathered around a large mound of
          dirt enclosed by a rail fence, waiting for the big moment. For
          a cold gray dawn, there is the atmosphere of a festival here.
          An area close to the mound is roped off for news reporters and
          cameras. Rita stands there, a pocket of genuine beauty in this
          sea of potbellied old union guys and blow-dried reporters.

          

           -17-

          

          
          Stomping her feet against the cold, Rita looks at her watch and
          glances around. Larry, the cameraman, just looks bored.

           RITA
           How could he be late?

           LARRY
           Prima donnas.

           RITA
           It's just so-- inconsiderate.

           LARRY
           What happens to some people?
           They're born nice. They grow up
           nice. You put 'em on TV and -
           bam! Prima donnas.
          Rita spots Phil heading into the crowd.

           RITA
           Here he comes. Phil! Hey, Phil.
           Over here!
          Phil joins them in the press area. Rita pulls him to his mark
          near the rail fence.

           RITA
           Where've you been?

           PHIL
           I got hung up with some jerk I
           went to high school with. So,
           did you sleep okay without me?
           You tossed and turned, didn't
           you?
          Rita holds up a slate for Larry to ID the tape.

           RITA
           You're incredible.

           PHIL
           Who told you?

           RITA
           Ready when you are.
          Phil takes the microphone from Rita and positions himself
          against the fence.
          The Groundhog Club Officials in top hats, striped trousers and
          cutaway coats parade out to the burrow that houses Punxsutawney
          Phil.

           RITA
           Looks like they're starting.
           Roll tape.

          

           -18-

          

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

           PHIL
           (to camera)
           Once a year, the eyes of the
           nation turn here, to this tiny
           hamlet in Pennsylvania, to watch
           a master at work. The master?
           Punxsutawney Phil, the world's
           most famous weatherman, the
           groundhog, who, as legend has it,
           can predict the coming of an
           early spring.
          Rita turns to Larry. This is impressive-- so far, so good.
          A Groundhog Club Official kneels at the burrow and
          ceremoniously knocks on the small wooden door, then opens it
          and retreats.

           PHIL
           And here's the big moment we've
           all been waiting for. Let's just
           see what Mr. Groundhog has to
           say.
          The groundhog sticks his head out, looks around, steps out of
          the hole, and runs over to the other side of the mound, about
          as far away from the cameras as he can get.

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

           PHIL
           Great shot, huh, folks? Well,
           that was certainly worth the
           trip. Now we'll be hearing from
           Mr. Buster Greene, President of
           the Punxsutawney Groundhog Club,
           the so-called Seer of Seers who
           will interpret for us.
          BUSTER GREENE, dressed up in his top hat and cutaway coat,
          walks onto the mound and hushes the crowd.

          

           -19-

          

          

           B U ST E R
           He came out, and he saw his
           shadow. Sorry, ladies and
           gentlemen, but it looks like it's
           going to be a long winter.
          The crowd lets out a good-natured "Awwwwww" in disappointment.

           PHIL
           (sarcastic, to camera)
           Well, that's it. Sorry you
           couldn't be here in person to
           share the electric moment. This
           is one event where televison
           really fails to capture the
           excitement of thousands of people
           gathered to watch a large
           squirrel predict the weather, and
           I for one am deeply grateful to
           have been a part of it.
           Reporting for Channel 9, this is
           Phil Connors.
          Larry cuts the camera.

           RITA
           (to Phil)
           You want to try one that's a
           little sweeter?

           PHIL
           (to Rita)
           That's as sweet as I get. I'm
           outa here.
          As he exits, Phil tosses the mike to Larry, who isn't expecting
          the throw and bobbles it, dropping the mike on the ground.

           LARRY

           (MUTTERS)
           Prima donnas.

           CUT TO:

          

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

           RITA
           That was really lousy.

           PHIL
           Is it my fault the little rat
           went south on us?

          

           -20-

          

           RITA
           A real professional would have
           handled it. You acted like it
           was a personal insult. Who do
           you think you are -- Wolf Blitzer?

           PHIL
           God, you really take this stuff
           seriously, don't you.

           RITA
           Yes, I do. As far as I ' m
           concerned there are no little
           stories, Phil. Only little
           reporters with big egos who think
           they're too good for the job they
           have to do.

           PHIL
           (trying to look hurt)
           You really don't know me very
           well, do you. 'Cause if you did
           you could never say something
           like that about me. I care!
           Call me a cockeyed optimist but
           I happen to think there's more to
           this job than just getting my
           ugly mug on the boob tube every
           night.

           RITA
           Is that so.

           PHIL
           Yes, that is so.
          Rita is so irritated by him she can't even respond.
          Phil looks at her evenly for a long moment.

           PHIL
           So as far as us getting together,
           would you say the glass is half
           empty or half full?
          Larry pokes his head in the doorway, looks around, spots Rita
          and makes his way over to their table.

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

           PHIL
           You don't have to rush off, you
           know. That storm is 'going to
           miss us completely.

          

           -21-

          

           RITA
           Nice working with you, Phil. See
           you around.
           Rita walks away, leaving him sitting alone.

           CUT TO:

           « 

          

          

           EXT. HIGHWAY - DAY

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

           PHIL(V.O)
           (on the earphone)
           I'll call you after I see the
           network guy. I should be back
           there in a couple of
           hours...What?...1 can't hear you--
           you're breaking up...Hello?
           Sabrina?

          

           INT. THE CAR - CONTINUOUS

           Phil is getting annoyed as the phone connection deteriorates.
           The snow is getting heavier. Phil switches on the windshield
           wipers.

           PHIL
           Sabrina ? Can you hear me? Shit!
           He slams the phone back into it's cradle, then looks up and
           notices slow traffic up ahead. He honks his horn as the
           traffic comes to a complete stop. He keeps honking but nothing
           moves.
           He rolls down the window and looks up ahead. The highway is a
           parking lot.

           PHIL
           No. No!

          

           EXT. THE CAR - CONTINUOUS

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

          "J PATROLMEN.

           PHIL
           What's going on, Officer?

          

           -22-

          

           PATROLMAN
           Nothin's goin1 on. We're closin1
           the road. Big accident up ahead.
           Blizzard movin1 in.

           PHIL
           What blizzard? A couple of
           flakes! An isolated phenomenon
           of nature.

           PATROLMAN
           Are you nuts? We got a major
           storm movin' in.

           PHIL
           No, no. All that moisture is
           going to miss us and hit
           Harrisburg.

           PATROLMAN
           Pal, you got that moisture on
           your head.

           PHIL
           But I have to get to Pittsburgh
           today!

           PATROLMAN
           Mister, the only place anybody's
           goin' on this road is back to
           Punxsutawney.
          Phil glowers at him and shivers.

           CUT TO:

          

          INT. GAS STATION - LATER

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

           PHIL
           So all the long distance lines
           a re down? What about the
           sa tellite? Is it snowing in
           space?...But I have to call
           Pittsburgh...Isn't there some
           special line you keep open for
           emergencies or for
           celebrities?...Well, I'm both
           really. I'm a celebrity in an
           emergency. Can you patch me
           through on that line?

          

           -23-

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

           CUT TO:

          

          INT. HOTEL BAR - EVENING

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

           PHIL
           You never saw me on TV-- on the
           news?

           NANCY
           I don't think so. What part of
           the news do you do?

           PHIL
           I ' m the White House correspondent
           for NBC news.

           NANCY
           Oh , I ' m so sure .

           PHIL
           Ask me anything?

           NANCY
           Okay, how big is the White House?

           PHIL
           Three bedrooms, two and a half
           baths. Looks much bigger than it
           , is.
          Nancy just stares at him, clearly not into his sense of humor.
          Suddenly, a BRIDE in full white wedding gown and veil rushes
          into the bar, crying and shouting. A gaggle of BRIDESMAIDS
          flutters around her trying to coax her back to her own wedding
          but she won't budge. Then the GROOM, wearing a bad rented tux,
          comes storming in and tries to drag her back, until the BEST
          MAN restrains him and the bridesmaids hustle the bride away.
          Phil watches the whole drama play out, then turns back to
          Nancy .

           PHIL
           Good start. I ' m sure they'll be
           very happy. So what do you say?
           You want to play doggie obedience
           school with me?

          

           -24-

          

           NANCY
           Thanks. I'll pass.
          She gets up to leave.

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

           CUT TO:

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

          

          INT. CHERRY STREET INN - NIGHT - SAME TIME

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

          

          INT. STEPHANIE'S BEDROOM - NIGHT

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

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

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

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

          PHIL

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

          

           -25-

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

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

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

           DISSOLVE TO:

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

          

          INT. PHIL'S ROOM - DAWN

          Phil sits up in bed, quickly alert, and looks around the room.
          Something is wrong. He's wearing pajamas, his suit is once
          again hanging neatly on the closet door and his suitcase is
          back on its stand at the foot of the bed, again neatly packed.
          The song ends and the same radio deejay and his sidekick come
          on with the same manic energy. Phil stares at the radio and
          listens to them. A look of astonishment comes over his face as
          they banter.

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

           SIDEKICK
           It's cold out there everyday.
           What is this-- Miami Beach?
          The deejay laughs. Phil "mock" laughs at exactly the same
          time, recognizing the repartee from the previous morning.

           PHIL
           (to himself)
           Nice going guys. That's
           yesterday's tape.
          Phil crosses to the sink and gets a towel off the rack, only
          half-listening to the radio.

          

           -26-

          

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

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

           SIDEKICK (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 very special --

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

           SIDEKICK
           Punxsutawney Phil.
          Some vague doubt causes Phil to go to the window.

           DEEJAY
           That's right, rodent lovers!

           IT'S--

           BOTH DEEJAYS
           Groundhog Day!
          SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back the
          curtains and looks out.

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

          

           -27-

          

           PHIL

           (AGHAST)
           What the hell?

           CUT TO:

          

          INT. BED AND BREAKFAST - DAWN

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

           CHUBBY MAN
           Morning.

           PHIL
           Morning.

           CHUBBY MAN
           Think it'll be an early Spring?

           PHIL
           (stops, irritated)
           Didn't we do this yesterday?

           CHUBBY MAN

           (INTIMIDATED)
           I don't know what you mean.
          Phil grabs him by the front of his shirt and looks deep into
          his eyes.

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

           CHUBBY MAN

           (TERRIFIED)
           Febr uary second--Groundhog Day!
          Phil can see he's telling the truth and relaxes his grip on the
          poor man.

           PHIL
           Okay. Sorry. I'm having a bad
           day.
          Phil walks on, leaving the chubby man baffled and insulted.

           CHUBBY MAN
           (to himself)
           I'll say.

          

           -28-

          

          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)
           D i d I? I don't know--

           MRS. LANCASTER
           Would you like some coffee?

           PHIL
           Yes, thank you. I ' m feeling a
           little strange.

           MRS. LANCASTER
           ( as she pours)
           I wonder what the weather's going
           to be like for all the
           festivities.

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

           MRS. LANCASTER
           Is that the Italian dessert with
           the brandy and the chocolate
           mousse?

           PHIL
           No, that's spaghetti. Never
           mind.
          He heads for the door, still in a daze.

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

           PHIL

           (VAGUELY)
           I don't know. I don't think so.
           I'll tell you after I wake up.
          Phil exits.

           CUT TO:

          

           -29-

          

          EXT. BOARDING HOUSE - MOMENTS LATER

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

           PHIL
           Ma'am? Excuse me. Where's
           everybody going?

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

          

          EXT. MAIN STREET - PUNXSUTAWNEY - CONTINUOUS

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

           NED RYERSON (O.C.)
           Hey, Phil!
          Ned Ryerson approaches with the same obnoxious attitude.

           NED
           Phil! Phil Connors! I thought
           that was you!
          Phil just stares at him and keeps walking.

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

           PHIL
           Ned Ryerson?

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

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

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

          

           -30-

          

           PHIL
           (very distressed and
           desperate to get away
           from this guy)
           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
           (really annoyed now)
           Did I say "fuck off, " Ned? I
           can't talk to you right now.
          He backs away from Ned and steps right into the same deep,
          slushy puddle he stepped in the day before.

           NED

           (BRAYING)
           Hey, look .out for that first v
           step. It's a doozyi
          Phil looks down at his wet shoes and cuffs and stumbles off
          toward Gobbler's Knob.

           CUT TO:

          

          EXT . GOBBLER ' S KNOB - DAWN
          The crowd is gathered as before for the big moment.
          In the press area, Rita is having the same dialogue with Larry,
          when she spots Phil heading into the crowd.

           RITA
           Here he comes. Phill Hey, Phil!
           Over here!
          Phil waves to her and heads straight for an obscure corner of
          the Knob, gesturing for her to follow.
          Larry shakes his head as Rita charges through the crowd toward
          Phil. She catches up to him just as he is scratching a mark in
          the snow with his foot. She notices immediately that he is
          uncharacteristically dishevelled, his tie askew, his hair
          mussed.

           RITA
           Where ' ve you been?

          

           -31-

          

           PHIL
           (nervous, sweat ing)
           I've got to talk to you. I think
           I'm losing my mind.

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

           PHIL
           Slap me, Rita.

           RITA
           What is this?

           PHIL

           (INSISTENT)
           Just slap me-- hard.
          She gives up and taps him lightly on the cheek.

           PHIL
           I said hardl

          . . .. ... .RITA .
           I can't!

           PHIL
           Do it!
          Rita shrugs and slaps him very hard.

           PHIL
           (his cheek smarting)
           Better. Almost too hard, Rita.

           RITA
           Are you drunk?

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

           RITA
           I don't know. Can you?

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

           RITA
           What are you trying to say?

          

           -32-

          

           PHIL
           I'm trying to say that if I was
           having a problem, just
           hypothetical ly, I ' d like to know
           that you're someone I could count
           on in a crisis.

           RITA

           (WORRIED)
           What did you do last night?
          The crowd begins to hush.

           LARRY
           We better get started. We're
           going to miss it.

           PHIL
           Were not going to miss it.
           (indicating the other

           REPORTERS)
           They're going to miss it.

           RITA

           (EMPHATIC)
           Phil. We've been out here for an
           hour. We're cold and tired.
           Let's just get this and get out
           of here.

           PHIL
           Okay, put it here.

           RITA
           What?

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

           RITA
           Phil , there is no tomorrow on
           this one. It's Groundhog Day.

           PHIL
           We were in the wrong spot
           yesterday .

           RITA

           (IRKED)
           W ha t? Yesterday? What are you
           talking about?

           PHIL
           Just trust me. Put the camera
           here .

          

           -33-

          

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

           RITA
           Larry!
          She charges off toward the cameras.
          In the Press Area, several reporters are already talking to
          their cameras, dribbling on about how "He could appear any
          second now." Rita and Larry grab their gear and rush back to
          Phil.
          Larry hurriedly sets up the camera.

           LARRY
           You want me to roll tape?

           RITA
           (to Phil)
           Are you going to get on your
           mark?

           PHIL
           No hurry.
          Larry glances over at the other news reporters, all talking to
          their cameras and pointing towards the mound.

           LARRY

           (DESPERATELY)
           Everyone else is rolling!
          Rita looks helplessly at Phil.

           RITA
           I'm begging you, all right?
           Gould we please just do this?
          Phil glances down at his watch.

           PHIL
           Okay, let's do it.
          He crosses over to Larry and taps him on the shoulder.

           PHIL
           Roll tape.

           LARRY

           (MUMBLING)
           Prima donnas.
          Phil takes the microphone from Rita and positions himself
          against the fence.

           LARRY
           Rolling.

          

           -34-

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

           PHIL
           (to camera)
           We ll, it's Groundhog Day-- again--
           and you know what that means.
           Everybody's here on Gobbler's
           Knob waiting in the cold for the
           appearance of the most famous
           groundhog in the world,
           Punxsutawney Phil, who's going to
           tell us just how much more of
           this we can expect.
          The Groundhog Club Official knocks on the groundhog's door,
          then opens it and retreats.
          Phil takes a deep breath and makes his first experimental
          prediction, recalling the previous day.

           PHIL
           My forecast is we're going to see
           the groundhog peek its head out
           of its hole, look around a little
           bit, then he's going to come out,
           scamper over to this general
           area, look at the crowd for a
           second, make a little burping
           noise and run back into the
           ground.

           RITA
           (whispers to Larry)
           That's it. I'm going to kill
           him.
          Phil looks at his watch.

           PHIL
           O k ay ? And here we go--
          Phil points to the hole and Larry zooms in.
          The groundhog sticks his head out, looks left, looks right,
          steps out of the hole, and runs away from the press pool,
          directly over to Larry's camera. As he stands there, his body
          casts a long shadow. The groundhog looks right into the
          camera, lets out a squeak, and runs back into the hole.
          Rita and Larry are completely amazed as the crowd cheers the
          brief appearance of the groundhog. Larry pans back to Phil.
          Phil just stands there speechless, staring at the groundhog
          burrow.

          

           -35-

          

           RITA

           (HISSES)
           Phil!
          Buster Greene, the Groundhog club official, walks onto the
          mound and hushes the crowd, exactly as before.

           BUSTER
           He came out, and he saw his
           shadow. Sorry, ladies and
           gentlemen, but it looks like it's
           going to be a long winter.
          Again the crowd lets out a good-natured "Awwwwww" in
          disappointment.
          Larry pans back to Phil just in time to see him walking away in
          a fog, without signing off. Then he pans back to Rita.

           RITA
           (at a loss)
           For Channel 9 News, this is Rita
           Hanson in Punxsutawney.
          She holds for a moment then makes the cut sign, drawing her
          finger across her throat.

           CUT TO:

          

           - LATER

          INT; PHIL'S ROOM
          Phil is on the phone desperately trying to make a call.

           PHIL
           (on the phone)
           I know there's a blizzard, but I
           have to get a call through to my
           doctor in Pittsburgh. It's a
           medical emergency. . . .No, don't
           give me the Punxsutawney Fire
           Department. When do you think
           the long distance lines will be
           working again?. . . But what if we
           don't have a tomorrow? We didn't
           have one today, my friend...
           Hello...Hello?
          He hangs up and shakes his head which is now really starting to
          ache, then he pops a handful of Tylenol, lies down and pulls
          the covers up over his head. A moment later, he sits up, takes
          a pencil from the nightstand, breaks it in half and puts the
          pieces back on the nightstand. Then he lies back down and
          retreats back under the covers.

           CUT TO:

          

           -36-

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

          

          INT. PHIL'S ROOM - DAWN

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

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

           SIDEKICK
           It's cold out there everyday.
           What is this-- Miami Beach?
          Phil rushes out of the room.

           CUT TO:

          

          EXT. CHERRY STREET - LATER

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

          

          INT. BED AND BREAKFAST - CONTINUOUS

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

           MRS. LANCASTER
           Painting something, Mr. Connors?

           PHIL
           I ' m conducting an experiment.

          

          INT. PHIL'S ROOM - LATER

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

           CUT TO:

          

           -37-

          

          EXT. CORRIDOR - LATER

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

          

          INT. PHIL'S ROOM - CONTINUOUS

          Phil, has demolished just about all the furniture and woodwork
          in the room. He rips off the last of the wooden moldings with
          the crowbar, then crosses to the mirror over the demolished
          sink.
          Phil stands there, staring at his image in the mirror, trying
          to figure out what's happening to him. He starts breathing
          heavier, as if gathering courage, then, just when we think he's
          going to cut off his ear or something, he raises an electric
          barber clipper and shaves a bald stripe up the middle of his
          head. He studies his new look for a moment then smashes the
          mirror with his sledgehammer.
          Then he opens the cans of paint, dips the two big brushes into
          the cans and starts slapping bright red paint onto the walls,
          madly, feverishly, splashing himself and everything else in the
          room with it.
          As a final touch he grabs the bed pillows and rips them open,
          then shakes them all around the room creating a storm of
          feathers.
          Finally, Phil falls exhausted on the bed. From outside we can
          hear outraged hotel employees pounding on the door.
          We pan over to the clock radio, the only undamaged object in
          the room. Feathers drift down past the face of the clock which
          reads 5:59 AM. The time changes to 6:00, the radio clicks on
          and "I Got You, Babe" starts playing as we pan back to Phil
          sleeping on the bed.
          He opens his eyes, jumps out of bed and looks around. No
          paint, no feathers, no damage. Everything is as clean and tidy
          as the day he checked in.
          He races over to the unbroken mirror and looks at himself. His
          hair is completely restored, as if it had never been shaved.
          The song ends and the deejays come on. Phil says every word
          right along with them, shocked into a state of complete
          wonderment.

          

           -38-

          

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

           PHIL AND SIDEKICK
           It's cold out there everyday.
           What is this -- Miami Beach?
          The deejay laughs. Phil laughs insanely along with him.

           CUT TO:

          

          EXT . GOBBLER ' S KNOB - EARLY MORNING
          Phil is wrapping up another groundhog report, trying to be
          completely professional despite the circumstances.

           PHIL
           (with forced good

           HUMOR)
           . . . S o according to Mr. Groundhog
           I guess we can expect six more
           weeks of winter. It's not very
           scientific, but it sure is fun.
           Hey, wait a second. If he's
           right, I could be out of a job!
           (mock laugh)
           For Channel 9 News, this is Phil
           Connors in Punxsutawney .
          He holds until Larry stops tape, then approaches Rita.

           PHIL
           How was that?

           RITA

           (PLEASED)
           It was good. A little smarmy for
           my taste, but I guess that's what
           sells.

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

           RITA
           You never talk about work.

           PHIL
           Do you know what I did last
           night?

           RITA
           Do I want to know?

          

           -39-

          

           PHIL
           I destroyed my hotel room.

           RITA
           You whatl This is not some kind
           of rock and roll tour. We don't
           have the budget for that--

           PHIL
           No, it's okay. This morning it
           was all right again. That's what
           I have to talk to you about.

           RITA
           Phil, what are you doing?

           CUT TO:

          

          EXT. MAIN STREET - A BIT LATER

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

          

          INT. DINER.- CONTINUOUS

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

           RITA
           (to waiter)
           Could I have some coffee, please?
          The waiter pours her a cup.

           WAITER

           (EXITING)
           I'll be back to take your order.

           RITA
           Thanks.
           (to Phil)
           Okay, so tell me. How'd you know
           where to put the camera?

           PHIL
           Because I've done it before.

           RITA
           I know, but the groundhog doesn't
           do exactly the same thing every
           year, does he?

          

           -40-

          

           PHIL
           I ' m not talking about last year.
           I ' m talking about today. I lived
           it before.

           RITA
           You're having deja vu?

           PHIL
           Big time. Rita, I know it's nuts
           but I keep reliving the same day
           o ve r and over-- Groundhog Day--
           today. This is the third time.

           RITA
           (completely skeptical)
           Uh-huh. I'm waiting for the
           punchline.

           PHIL
           No, really. It's like today
           never happened. I shaved my head
           last night, today its all grown
           back. I could probably cut off
           my limbs, one by one, and - pop!
           They'd grow back. Just like a
           starfish. I probably don't even
           have to floss?

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

           PHIL
           'Cause I'm not making it up. I'm
           asking for your help.
          Rita looks at him for a long moment.

           RITA
           Okay, I'll bite. What do you
           want me to do?

           PHIL
           The truth? I'd 1ike you to spend
           the next 24 hours with me and
           don't leave my side for a second.

           RITA
           I see. You know, Phil, you can
           charm all the little P.A.'s at
           the station, all the secretaries,
           and even some of the weekend
           a nchors, but not me-- not in a
           thousand years.

          

           -41-

          

           PHIL
           Wa it a second--

           RITA
           Not if I was dying and your
           breath was the only cure; not if
           having your child was the only
           way to preserve the human race.
           Just get it out of your head
           because it is NOT GOING TO

           HAPPEN!

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

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

           RITA
           Yeah, , I ' m . ready, Larry.

           (EXITING)
           Good luck, Phil.

           CUT TO:

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

          

          INT. MEDICAL CLINIC - DAY

          Phil is having his head examined by a NEUROLOGIST.

           NEUROLOGIST
           No spots, no tumors, no lesions,
           no clots, no aneurisms.
           Everything looks fine and dandy
           to me, Mr. Connors. Have you
           considered psychiatric help?

           CUT TO:

          

          INT. PSYCHOLOGIST'S OFFICE - DAY

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

          

           -42-

          

           PSYCHOLOGIST
           (not too confident)
           That's kind of an unusual
           problem, Mr. Connors. Most of my
           work is with couples and
           families.
          Phil is lying on a couch. His head is completely shaved.

           PHIL
           Yeah, but you're still a
           psychologist. You must have had
           some course in school that
           covered this kind of thing.

           PSYCHOLOGIST
           Sort of, I guess. Abnormal
           Psychology.

           PHIL
           So based on that what would you
           say?

           PSYCHOLOGIST

           (HESITANT)
           I ' d say that maybe you're -- I
           don't know -- a little delusional.

           PHIL
           You're saying this thing is not
           really happening to me?

           PSYCHOLOGIST
           Uh-huh.

           PHIL
           Then how do I know this
           conversation is really happening?

           PSYCHOLOGIST
           I guess you don't.

           PHIL
           Then forget about me paying you.
          A discreet little alarm sounds.

           PSYCHOLOGIST

           (RELIEVED)
           I'm afraid that's all the time we
           have, Mr. Connors.

           PHIL
           Wait! Are you saying I'm crazy?

          

           -43-

          

           PSYCHOLOGIST
           (humoring him)
           Not necessarily. If it concerns
           you we should schedule our next
           session as soon as possible.
           How's tomorrow for you?
          Phil glowers at him.

           CUT TO:

          INSERT - A MODEL OF THE SOLAR SYSTEM
          A SCIENTIST in a white lab coat is holding up the model. Phil
          looks on with interest.

           SCIENTIST

           (AUTHORITATIVELY)
           Now if the moon exerts a
           gravitational pull strong enough
           to cause the tides, .then it may
           be theoretically possible for a
           Black Hole or a Singularity of
           sufficient magnitude to actually
           bend time enough to cause it to
           fold back ,on itself.

           PHIL
           You think that's a realistic
           possibility?
          A paper airplane sails past his head, accompanied by a noisy
          outburst of juvenile laughter. We pull back to REVEAL:

          

          INT. CLASSROOM - DAY

          Twenty-five eighth-graders running amok.

           SCIENTIST

           (STERNLY)
           All right! I think someone may
           just need a little visit to the
           Assistant Principal's office!
           Get back in your seats. The bell
           has not rung yet.
          The kids sit back down, but keep up their noisy chatter.

           SCIENTIST
           (to Phil)
           Well, I ' m speaking purely
           hypothetically.

           CUT TO:

          

           -44-

          

          INT. SCHOOL CORRIDOR - LATER

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

           TEACH ER
           So the princess picked up the
           frog and kissed him.
          Phil stops outside the door to listen.

          

          INT. CLASSROOM - CONTINUOUS


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

           LITTLE BOY
           Her lips got slimed!
          The whole class erupts in giggles and shrieks.

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

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

           TEACHER
           That's right.

          

          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:

          

          INT. DEW DROP INN - LATER THAT NIGHT

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

           PHIL
           Gus, what would you do if there
           was no tomorrow?

          

           -45-

          

           GUS
           You mean like if the world was
           gonna end?

           PHIL
           No, I mean like if it was never
           going to end. If everyday was
           the same and you were stuck here
           and you couldn't get out and
           nothing you did mattered?

           GUS
           You're right. Everyday is the
           same, I can't get out of here and
           nothin' I do matters.

           V RALPH
           No, he's askin1 you a question,
           ya idiot.

           GUS
           What was the question?

           RALPH
           What if nothing mattered?! Jeez,
           I know what I'd do. I ' d j ust
           spend all my time drivin' fast,
           gettin1 loaded and gettin' laid.
           That's it.

           PHIL
           That's it. It just doesn't get
           any better than this, does it?
           Good friends, good conversation
           and quality brew. Drink up,
           boys.
          They salute each other and drink.

           CUT TO:

          

          EXT. THE STREET - LATER

          Phil, Gus and Ralph approach Ralph's big, black, old Buick
          convertible parked outside the bar. They are even drunker than
          they were before.

           RALPH
           (fumbling with his

           CARKEYS)
           Where you stayin', Phil? We'll
           drop you off.

           PHIL
           Hey, friends don't let friends
           drive drunk. Give me your keys.

          

           -46-

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

           RALPH
           Thanks , man .

           PHIL
           It's nothing. Get in.
          They all pile into the front seat with Phil at the wheel.

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

          

          INT. THE BUICK - CONTINUOUS

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

           PHIL
           This is great, Ralph!

           RALPH
           Oh, hey, take a left!
          Phil passes the intersection.

           RALPH
           You missed it!

           PHIL
           No problem --

          

          EXT . MAIN STREET - CONTINUOUS
          Phil throws the car into a high-speed, skidding U-turn, goes up
          on the curb, across a couple of lawns, takes out a mailbox and
          a STOP sign and bounces back onto the street.
          A POLICE CAR parked in front of the hardware store pulls out
          and takes off after him.

          

          INT. THE BUICK - CONTINUOUS

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

           PHIL
           So many rules --

          

           -47-

          

           RALPH
           You can say that again.

           PHIL
           "Don't do this--"

          

          EXT. THE STREET - CONTINUOUS

          The Buick demolishes a parked car.

           PHIL (V.O.)
           "Don't do that -- "
          He mows down a row of parking meters.

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

          

          INT. THE BUICK - CONTINUOUS

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

          
           All right! Try and stop us, you
           mothers !

           PHIL
           No more rules!

           RALPH
           No more rules!

          

          EXT. THE STREET - CONTINUOUS

          A second police car joins the chase.

           RALPH
           (looking back)
           That's two!

           PHIL
           Having a good time?

           RALPH
           I'm having a great time!
          Phil speeds up to a hundred miles and hour. Gus is looking
          even worse from the liquor and the motion of the car.

           GUS
           Hey, uh --

           PHIL
           Phil.

          

           -48-

          

           GUS
           Yeah, Phil-- like the groundhog.

           PHIL
           Right.

           GUS
           Hey, Phil? How're we going to
           get out of this?

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

           PHIL

           (CALMLY)
           Gus, you're just going to have to
           trust me on this one.
          He tromps the gas pedal to the floor. Gus's eyes go wide with
          terror.
          The police dive out of the way.

           PHIL AND RALPH
           Yahooooo!

          THEIR POV - THROUGH THE WINDSHIELD
          The Buick crashes head on into one of the police cars.

           BLACK OUT:

          C LOSE UP - CLOCK
          The time changes from 5:59 to 6:00. The radio starts playing
          "I Got You, Babe."
          Phil sits up suddenly and looks around, completely amazed. He
          is in his room at the bed and breakfast, everything exactly the
          same as before. He hops out of bed and quickly examines
          himself for signs of physical injury. Nothing. The music ends
          and the two deej ays come on.

           DEEJAY
           Okay, campers, rise and shine,
           and don't forget your booties
           because it's COOOLD out there
           today.
          Phil talks out loud along with them.

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

          

           -49-

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

           CUT TO:

          

          INT. BREAKFAST ROOM - CONTINUOUS

          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
           W o u l d you--
          Phil interrupts, answering all her questions before she even
          asks them.

           PHIL

           (URGENTLY)
           Yes, I would like some coffee;
           the weather is going to be cold
           and overcast with blizzard
           conditions moving in later today;
           and yes, I will be staying an
           extra day.

           MRS. LANCASTER

           (BAFFLED)
           Why thank you.

           PHIL
           Mrs. Lancaster, has anyone been
           around here looking for me this
           morning? Maybe a state official,
           blue coat, hat, gun, nightstick,
           badge, driving a late-model Ford
           br Chevy, black and white with
           bub ble lights on top--

           MRS. LANCASTER

           (SHOCKED)
           No, no one like that-- I .don't--
           Will they be?

           PHIL
           (greatly relieved)
           Apparently not.
          Phil gooses her, grabs a sweet roll, and heads for the door,
          starting to believe now that he can truly do anything he wants
          to.

           CUT TO:

          

           -50-

          

          EXT. BOARDING HOUSE - DAWN

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

          

          EXT. MAIN STREET - 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!

           PHIL
           Ned! Ned Ryerson! Ned the Head!
          Before Ned can say another word, Phil SLUGS HIM. Ned goes
          down, Phil puts his glove back on and keeps walking.
          Phil deftly avoids the slushy pothole he stepped in before. A
          PEDESTRIAN walking behind him steps right into it.

           CUT TO:

          

          EXT . GOBBLER'S KNOB - LATER
          Phil is passing through the crowd on his way to the press area
          when he notices NANCY, the girl he met at the hotel bar, and
          stops to talk to her.

           PHIL
           You here to see the groundhog?
          She gives him a look. It's obvious she's never seen him
          before.

           NANCY
           Can you think of another reason
           anybody'd be out here at dawn on
           a freezing day?

           PHIL
           What's your name?

           NANCY
           Nancy Taylor. And you are--

          

           PHIL
           Where'd you go to high school?

          

           -51-

          

           NANCY
           What is this?

           PHIL

           (PLAYFUL)
           High school?
          She really doesn't know what to make of Phil but she decides to
          play along.

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

           PHIL
           Who was your twelfth grade
           English teacher?

           NANCY
           Are you kidding?

           PHIL
           I'm waiting.

           NANCY
           .Mrs. Walsh.

           PHIL
           Walsh. Nancy, Lincoln, Walsh.

           NANCY
           Is this some kind of come-on?

           PHIL
           I'm not really sure. We'll have
           to see.
          Phil walks off and joins Rita at their camera position.

           CUT TO:

          

          INT. DINER - LATER THAT MORNING

          Phil is sitting at his usual table, which is covered with an
          incredible variety of rich foods-- eggs, bacon, sausage,
          pancakes, pies, cakes, eclairs, ice cream, puddings, etc.
          Rita sits across from him, watching in amazement as he stuffs
          himself with pastry.

           RITA
           Is this some new fad diet? Don't
           you worry about cholesterol?
          Phil scrapes a plate and takes a final bite of a chocolate
          eclair.

          

           -52-

          

           PHIL
           I don't worry about anything
           anymore.

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

           PHIL
           That's exactly what makes me so
           special.
          He takes a big bite of cake. Rita shakes her head.

           PHIL
           (with his mouth full)
           What?

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

           PHIL
           (stares at her for a
           long moment)
           "There was a young man from
           Na n t uc k e t-- "

           RITA
           That's really funny. When are
           you going to grow up, Phil?

           PHIL
           At this rate-- never.
           (he pulls out a pack of

           CIGARETTES)
           Okay if I smoke?
          Rita shrugs. Phil lights up a cigarette.

           RITA
           You really do have a death wish,
           don't you?

           PHIL
           Just the opposite, Rita. I have
           a life wish. I'm just trying to
           enjoy it. Taking pleasure in the
           little things. Don't you ever
           just want to cut loose and go
           wild?

          

           -53-

          

           RITA
           I wouldn't even know what it
           means to go wild.

           PHIL
           Yeah, well, that's where I come
           in. Going wild is one of my
           specialties. Last night I got
           completely loaded and drove head-
           on into a police car.

           RITA

           (DISBELIEVING)
           Oh, really? You look pretty good
           this morning.

           PHIL
           That's my point. I know you
           won't believe me, but we could do
           anything we want today and it
           wouldn't matter one bit.
           Absolutely no consequences.
           Complete and total freedom.

           RITA
           And how. . , do we manage that?

           PHIL
           You leave that to me. Why don't
           you send Larry back and hang out
           with me for the rest of the day?
           You never make it through that
           blizzard anyway.
          Larry enters the diner and spots them.

           RITA
           I'll take my chances with the
           -weather. But you have a good
           time.

           PHIL
           Don't worry. I plan to.

           CUT TO:

          

          EXT. GOBBLER'S KNOB - NEXT MORNING

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

           PHIL
           Nancy?
          Nancy turns and looks at him quizzically.

          

           -54-

          

           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
          T h at --

           PHIL
          Phil Connors.

           NANCY
          --is amazing!

           PHIL
          You don't remember me, do you?

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

           PHIL
          We used to shoot spit balls--

           NANCY
          Yeah, oh, God--

           PHIL
          I even asked you to the prom.

           NANCY
          Phil Connors.

           PHIL
          Yeah.

           NANCY
          How ARE you?!

           PHIL
          I ' m great. Wow, you look
          terrific. Hey, listen, I gotta
          d o this report--

           NANCY
          You're a reporter?

           PHIL
          Weatherman. Channel 9,
          Pittsburgh.

           NANCY
          Right, I should've known--

          

           -55-

          

           PHIL
           But maybe after we could --

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

           RITA (O.C.)
           Phil!
          Rita is calling from across the crowd. She looks at him with
          disapproval .

           CUT TO:

          

          INT. PHIL'S ROOM - NIGHT

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

           WOMAN

           (MOANS)
           Oh, Phil.

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

           NANCY

           (COLD)
           Who's Rita?

           PHIL

           (CAUGHT)
           No one. It's just something I
           say when I make love. You know --
           "Orita", "Orighta"-- it's like
           "Oh, baby" or something.

           NANCY
           (not entirely

           CONVINCED)
           Oh.

           PHIL
           (corrects her)
           O-rita.
          Nancy laughs uncertainly. Phil switches off the light,
          thinking now about Rita.

           CUT TO:

          

           -56-

          

          INT. BREAKFAST ROOM - MORNING

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

          THEIR POV
          Phil is standing at the bookcase, wearing only pajamas,
          absently munching on a Danish as he reads from one of the
          books.
          Mrs. Lancaster approaches him.

           MRS. LANCASTER
           Isn't it a wonderful collection?

           PHIL
           (not looking up)
           Yes, it is. You don't usually
           find this many trashy novels in
           one place.

           MRS. LANCASTER
           You can take a book up to your
           room if you like.

           PHIL
           No, thank you. I've actually
           read them all. I was just
           rereading some of the dirty
           parts.
          He finishes and puts the book back on the shelf.

           MRS. LANCASTER

           (WORRIED)
           How long will you be staying with
           us, Mr. Connors?

           PHIL
           Indefinitely. I've already been
           here for 211 days.

           MRS. LANCASTER
           (humoring him)
           Really? That's quite a long
           time, isn't it. I hope you're
           finding things to do in our
           little town.

           PHIL

           (CASUALLY)
           Yes, well, I'm getting a little
           tired of casual sex so today I
           thought I'd rob a bank and buy
           myself a really expensive car.

          

           -57-

          
          Phil kisses her on the lips and walks off.

           CUT TO:

          EXT. PENN BANK AND TRUST - DAY

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

           PHIL

           (SHOUTS)
           All right, freeze!! Drop your
           guns J!
          The guards stand there frozen with terror.

           PHIL
           You guys ever been held up
           before?
           (they shake their

           HEADS)
           It's kind of exciting, isn't it?

           FIRST GUARD

           (FRIGHTENED)
           I guess so. Something to tell
           the kids about.

           PHIL
           Yeah. By the way, I'm Phil.
          He raises the mask and shows his face.

           FIRST GUARD
           Herman.

           S E C O N D GUARD
           Felix.

           PHIL
           (shaking their hands)
           Herman and Felix. Okay. Take it
           easy, boys. And thanks.
          The frightened guards watch as Phil makes off with two large
          satchels of cash.

           CUT TO:

          INT. USED CAR DEALERSHIP - DAY

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

          

           -58-

          

           SALESMAN
           A real beauty, huh. We picked it
           u p at a--

           PHIL
           I'll take it. How much?

           SALESMAN
           Well, the sticker says $62,999
           bu t if you want--

           PHIL
           I'll tell you what. I'll give
           you $70,000 if you just knock off
           the car salesman stuff and let me
           get out of here with my car.
          The Salesman gawks as Phil opens his briefcase and starts
          counting out stacks of bills.

           CUT TO:

          

          EXT. PUNXSUTAWNEY - DAY

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

           CUT TO:

          

          EXT. MAIN STREET - DAY

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

           LARAINE
           (very self-conscious)
           I thought we were going to a
           costume party.

           PHIL
           Yeah, we are, we are. But first
           I have this movie theater fantasy
           I want to talk to you about.
          He escorts her into the theater.

           CUT TO:

          

           -59-

          

          INT. TATTOO PARLOR - ANOTHER DAY

          Phil is lying on the table, getting elaborately tattooed.
          Rita walks by, looks in the window and is shocked to see Phil
          there.
          Phil waves at her and points to the colorful new heart pierced
          by a bloody dagger being tattooed on his arm.

           CUT TO:

          

          INT. BIKER BAR - NIGHT

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

           I

           CUT TO:

          

          INT. PHIL'S ROOM - NIGHT

          It looks like ;outtakes from Fellini's "Satyricon." Heavy metal
          is blaring from the radio, as several unsavory looking men and
          women are partying down, a few already passed out, sleeping off
          whatever hit them. Someone is knocking loudly on the door,
          shouting complaints about the music. A beer bottle smashes
          against the door.
          Phil is sitting up on the bed with Angie. He has his arm
          around her shoulder and a fifth of Wild Turkey in his hand.

           PHIL
           (more to himself than
           to Angie)
           Yeah, but eventually you' d just
           get tired of screwing around and
           then you'd want a real
           relationship, wouldn't you?

           ANGIE
           I don't know.
          A big German Shepherd tries to jump up on the bed with them.

           PHIL
           Get down, Brunoi

           (CONTINUING)
           Someone decent, someone who you
           respected, who respects you.

          

           -60-

          

          

           ANGIE
           I guess so.
          The dog jumps up again.

           PHIL
           Down , Bruno !
           (still musing)
           It's tough to find a relationship
           like that, especially if your
           time is kind of limited. But you
           still have to try, don't you?
           (the dog again)
           Bruno! I told you! Off the bed!
          Phil looks over at Angle who's passed out with her mouth open

           PHIL
           There ' s got to be more to it than
           this.

           CUT TO :

          

          EXT. A SIDE STREET - 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
           o ut all right. How'd you know
           where to put the camera?

           PHIL
           Psychic. So did you have a nice
           evening?

           RITA

           (GUARDED)
           I just had a sandwich, watched
           some TV and went to bed.

           PHIL
           I got my whole body tattooed and
           part ied all night with some
           nymphomaniac biker chicks.

           RITA

           (SKEPTICAL)
           Sounds wholesome. Were those the
           new 24-hour disappearing tattoos
           or can I see them?

           PHIL
           No, they're gone. Rita, if you
           only had one day to live, what
           would you do with it?

          

           -61-

          

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

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

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

           RITA
           I ' d just want to know where to
           p ut the camera. What are you
           looking for, Phil-- a date for
           the weekend?
          She starts walking toward the center of town. Phil sticks
          right with her.

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

           RITA
           (she stops)
           Is this real or are you just
           going to make me feel like a
           fool?

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

           RITA
           Close.

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

           CUT TO:

          

          INT. DINER - A LITTLE LATER

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

           RITA
           I guess I want what everybody
           wants-- you know, career, love,
           marriage, children. So far I
           don't have any of it.

          

           -62-

          

           PHIL
           You have a career.

           RITA
           I have a job. Doing stories on
           the Punxsutawney groundhog is not
           my ultimate goal. No offense.

           PHIL
           How about the other stuff? You
           seeing anybody?

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

           PHIL
           What I really want is someone
           like you.

           RITA
           O h , please--

           PHIL
           Why not?

           RITA
           Phil, you know, you have so much
           talent and ability. If you'd
           just drop the attitude and act
           like a decent human being, then
           maybe I ' d --
           (she hesitates)

           PHIL
           You'd what?

           RITA
           I don't know what.

           PHIL
           Then maybe you'd like me?
          She stares hard at him.

           RITA
           I don't know. It's sort of like
           the way I feel about UFO's. I'd
           have to see it to believe it.
          Larry pokes his head in the doorway, looks around, spots Rita
          and makes his way over to their table.

          

           -63-

          

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

           RITA
           Yeah, I'll be right out, Larry.
          Larry scowls at Phil and exits.

           PHIL
           (to Rita)
           Why don't you stay for a while?
           The road's going to be closed
           anyway. Do you really want to be
           stuck in the van with Larry for
           three hours?

           RITA
           I've got to get back. I'll see
           you later.
          Phil watches Rita exit.

          PHIL'S POV
          Rita gets in the news van and drives off with Larry.
          Phil stares out the window, more" determined than ever to win
          her over.

           CUT TO:

          

          EXT. GOBBLER·S KNOB - ANOTHER DAY

          Phil is wrapping up his groundhog report.

           PHIL
           Well, you heard it right from the
           groundhog's mouth. Bundle up
           good, 'cause it's going to be a
           long winter-- at least in
           Punxsutawney. Reporting for
           Channel 9, this is Phil Connors.
          Larry stops tape.

           RITA
           That was great. How did you know

           THE--

           PHIL

           (PREOCCUPIED)
           I have to go now. There's
           something I have to do.

          

           -64-

          
          Phil runs off without another word of explanation.

           CUT TO:

          

          EXT. THE NEWS VAN - LATER

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

           CUT TO:

          

          INT. THE BERGHOF RESTAURANT - LATER

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

           PHIL
           (acting surprised)
           Oh, hi, Rita. You still here?

           RITA

           (GLUM)
           The van won't start. Larry's
           working on it.

           PHIL

           (INNOCENT)
           Wouldn't you know it. Buy you a
           drink?

           RITA
           Okay.

           PHIL
           (to the bartender)
           Jack Daniels.

           BARTENDER
           For you, miss?

           RITA
           Tequila,with lime. Gold, if
           you've got it.
          Phil nods to himself.

           CUT TO:

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

           PHIL
           (acting surprised)
           Oh, hi, Rita. You still here?

          

           -65-

          

           R IT A

           (GLUM)
           The van won't start. Larry's
           working on it.

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

           RITA
           Okay.

           PHIL
           (to the bartender)
           Tequila with lime, gold if you've
           got it.
          Rita looks at Phil, surprised.

           BARTENDER
           For you miss?

           RITA
           Same for me, please.
          The BARTENDER pours.

           PHIL
           (to Rita)
           What should we toast to?

           RITA
           Your call.

           PHIL
           To the groundhog!
          Rita stares for a moment.

           RITA
           I always drink to world peace.

           CUT TO:

          SAME SCENE - ANOTHER DAY

           BARTENDER
           Take your order?

           PHIL
           Tequila with lime, gold if you've
           got it.
          Rita looks at Phil.

          , BARTENDER
           For you, miss?

          

           -66-

          

          

           RITA
           Same for me, please.
          The BARTENDER pours.
          Phil lifts his glass.

           PHIL
           To world peace.
          Rita smiles, reevaluating him.

           RITA
           To world peace.
          They clink glasses.

           CUT TO:

          

          INT. THE BAR - LATER

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

           PHIL
           You like your job?

           RITA
           It's okay. I think it could be
           really challenging. Of course
           it's about a million miles from
           where I started out in college.

           PHIL
           You weren't in broadcasting?

           RITA
           At Bryn Mawr? No, uh-uh.
           "Believe it or not, I studied
           Nineteenth Century French Poetry.

           PHIL
           (laughs good-naturedly)
           Really? What a waste of time.
          Rita looks offended. Phil knows he made a mistake.

           CUT TO:

          SAME SCENE - ANOTHER DAY

           PHIL
           You weren't in broadcasting?

          

           -67-

          

          

           RITA
           At Bryn Mawr? No, uh-uh.
           Believe it or not, I studied
           Nineteenth Century French Poetry.
          Phil leans in closer to her.

           PHIL
           La fille qui j'aimera
           Sera comme bon vin
           Qui se bonifiera
           Un peut chaque matin.
          Rita smiles, entranced.

           CUT TO:

          

          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.

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

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

           PHIL
           (making mental note)
           No white chocolate.

           RITA
           There's something so familiar
           about this. Do you ever have
           deja vu?
          Phil smiles. Then Larry enters.

          

           -68-

          

          

           LARRY
           (irate, to Rita)
           I don't believe it. Someone
           bought every distributor cap in
           this town. We're going to be
           stuck here all night1
          Over Phil's sympathetic look we hear the song, "I Can't Get
          Started With You".

           CUT TO:

          

          INT. THE BERGHOF RESTAURANT - NIGHT

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

           CUT TO:

          

          EXT. MAIN STREET - LATER THAT NIGHT

          There is a light snow falling. Phil and Rita are making a
          little snowman. Somehow the town looks magical tonight-- old
          fashioned, wholesome.
          A snowball hits Phil in the back. He and Rita turn around to
          see a giggling KID. Phil packs a snowball and tosses it. The
          kid throws one back. Rita and Phil both get into it, packing
          snowballs and getting into a war with this kid and his little
          gang of friends.
          A snowball catches Rita unaware, she slips and goes down in a
          snowbank. Phil bends down to help her and slips. They are no
          together, lying in the snow, laughing. Their eyes lock for a
          long sweet moment, then Rita gets embarrassed and stands up.

           CUT TO:

          

          EXT . CHERRY STREET 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?

          

           -69-

          

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

           PHIL
           Do you like how this day is
           turning out?

           RITA
           Yes. I like it very much.
           They stop dn front of Phil's hotel. She turns to him.

           RITA
           You could never have planned a
           day like this, but it couldn't
           have been more perfect.

           PHIL
           You're wrong. I've been planning
           this day for weeks.
           Rita ignores the remark and hugs him. Phil tries to kiss her
           but she gently puts her fingers to his lips, stopping him.
          \ They enter the bed and breakfast inn.

          

           INT. VESTIBULE - CONTINUOUS

           Rita hugs him again and starts to exit.

           RITA
           Thanks. See you tomorrow.

           PHIL
           Tomorrow? Wait, aren't you going
           to come up to my room for a
           while?

           RITA
           (very reluctant)
           I don't know, Phil--

           PHIL
           No·reason to end a perfect day.

           RITA

           (DECIDING)
           Well-- we better not.

           PHIL
           No, you should. The, uh, the
           poetry! I've got some books,
           Rimbaud, Beaudelaire, we could
           l ig ht a fire--

          

           -70-

          

           RITA
           Thanks, but --

           PHIL
           (seeing it all slip

           AWAY)
           Please come, Rita. It'll be --

           RITA

           (DEFINITE)
           Phil, I'm tired. We can be
           together tomorrow.

           PHIL
           (getting desperate)
           But there is no tomorrow for me!

           RITA

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

           PHIL
           Why not? Rita, I love you!

           RITA
           You don't even know me!

           PHIL
           (grabs her hand)
           Please! You have to!
          Rita shakes loose from his grasp.

           RITA
           What's wrong with you!
          There is a long moment of silent tension, then all her old
          doubts about Phil come rushing back.

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

           PHIL
           No, it was real. I love you.

           RITA
           Stop saying that! Do you really
           expect me to trust you? The
           whole secretarial pool is a Phil
           Connors recovery group.

          

           -71-

          

          

           PHIL
           But I can change! I really can--
          Rita slaps him hard on the cheek.

           RITA
           That's for making me care about
           you.
          She turns and stomps off, leaving Phil standing there hurting.

           CUT TO:

          

          EXT. MAIN STREET - ANOTHER NIGHT

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

           CUT TO:

          

          INT. QUALITY INN MOTEL - LATER

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

           CUT TO:

          

          EXT. MOTEL - NIGHT

          The streets are deserted except for Phil, staring up at Rita's
          window in the Quality Inn.
          Rita comes to her window and looks out. She sees Phil looking
          up at her and draws the curtains.

           CUT TO:

          

          INT. PHIL'S ROOM - DAWN

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

           PHIL

           (DULLY)
           Okay, campers, rise and shine,
           and don't forget your booties
           because it's cooooold out there
           today.
          Phil continues the radio report at his own pace, obviously
          fatigued.

          

           -72-

          

           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:

          

          EXT. GOBBLER'S KNOB - DAWN

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

           PHIL
           Hi, Nancy.

           NANCY

           (PLEASANTLY)
           Hi. Do I know you?
          Phil can't manage enough enthusiasm to pursue her yet again.

           PHIL
           No, I guess not. I thought you
           were someone else.
          Phil wanders over to where Rita and Larry are setting up the
          camera. Rita comes over to him.

           RITA
           Are you all right, Phil? You
           look terrible.
          Phil looks at her sadly, then turns away.

           PHIL

           (VACANTLY)
           I ' m fine.

           CUT TO:

          

          INT . BIKER BAR - NIGHT
          The balls CRACK as the cue ball breaks the rack.
          Phil is walking around the table, cue in hand, sinking ball
          after ball, while several admiring HUSTLERS look on.

           FIRST HUSTLER
           Who is this guy?

          

           -73-

          

           SECOND HUSTLER
           I don't know. Hey, mister--
           (Phil doesn't stop

           SHOOTING)
           Who are you, anyway?
          Phil shoots, sinks a tough one.

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

           FIRST HUSTLER
           Oh, yeah? So how come I ain't
           seen you?

           PHIL
           I don't know. I seen you.

           SECOND HUSTLER
           So what's your name?

           PHIL
           They call me-- Punxsutawney Phil.

           SECOND HUSTLER
           Punxsutawney Phil? Like the
           groundhog.

           PHIL
           Yeah, like the groundhog.
          Phil sinks another one.

           CUT TO:

          

          EXT. GOBBLER'S KNOB - DAWN

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

           PHIL

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

          

           -74-

          
          Larry and Rita look on, incredulous.

           . CUT TO:

          CLOSE UP - TV SET
          The program JEOPARDY! is playing.

           ALEX TREBECK
           (on TV)
           Nobel prize-winning co-
           discoverers of the DNA molecule.

           PHIL (O.C.)
           Who are Watson and Crick.

           CONTESTANT
           (on TV)
           Who are Watson and Crick?

           ALEX
           (on TV)
           Correct.
          There is a cheering from a small group of people off-screen.

          

          INT. PARLOR - CONTINUOUS

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

           ALEX
           (on TV)
           Twin brother and sister Sebastian
           and Olivia create confusion in
           this Shakespearean comedy.

           PHIL
           What is "Twelfth Night."

           CONTESTANT
           (on TV)
           What is "Twelfth Night?"

           ALEX
           (on TV)
           Correct.
          More cheering from the small group.

           CONTESTANT
           (on TV)
           I'll take New Jersey for eight
           hundred, Alex.

          

           -75-

          

           ALEX
           (on TV)
           And the answer is-- an audio
           daily double.

           PHIL
           Count Basie.

           CUT TO:

          

          EXT. STREET - DAY

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

           PHIL
           Two thousand six hundred and
           s e ve n ty -o n e--
           (takes another step)
           two thousand six hundred and
           se v en t y -t w o --
           (another step)
           two thousand six hundred and
           seventy-thr-ee-^-
          A woman passes walking her dog.

           PHIL
           Hey, pick up after your dog!

           DOG WALKER
           He hasn't done anything.

           PHIL
           He's going to!

           (POINTING)
           There and there. And there!
          Phil continues walking, counting the sidewalk cracks. THREE
          NEIGHBORHOOD KIDS notice Phil and walk along, matching him step
          for step.

           IPHIL
           Two thousand six hundred and
           seventy-four, two thousand six
           hundred and seventy-five, two

           THOUSAND'--

           JOEY
           Five million eight hundred--

           PHIL
           S i x hundred--

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

          

           -76-

          

           PHIL
           Two thousand, four hundred--

           JOEY, MIKE AND SUE
           Two, eight, nine, forty-six--
          Phil stops. He has lost count. His lip curls up like an
          animal as he turns slowly, growling at the kids. They run away
          screaming with glee. Phil starts after them but runs right
          into a COP.

           COP
           You got a problem, buddy?

           PHIL
           (out of control)
           Yeah, I got a problem, buddy! I
           can't stand this place anymore!
           I can't stand this street and I
           can't stand the fourteen bars and
           the five banks and the one star
           food and the bad weather and the
           "quaint" little shops and most of
           all, I can't stand anything--
           ANYTHING-- with a groundhog on
           it.
          He rips a groundhog patch off the cop's jacket sleeve.

           COP

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

           PHIL
           (eyes downcast)
           Phil.

           COP
           Phil. Like the groundhog!
          Phil turns to the cop like a rabid dog, ready to strike.

           PHIL
           Yeah, like the--
           (he stops as if struck)
           --groundhog.
          Some big new idea has formed in his mind.

           CUT TO:

          

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

          

           -77-

          

           LARRY
           (turning to Rita)
           The guy's nuts. He's out of his
           gourd.

           RITA
           Let him finish, then I'll call
           the station.
          They turn back to watch Phil's wrap-up.
          Phil is completely unkempt, still wearing only pajama bottoms
          and his overcoat, looking even more demented.

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

           CUT TO:

          

          EXT. GOBBLER'S KNOB - NIGHT

          Phil is walking around the mound, casing it out. He takes a
          rifle out from under his coat and sneaks up to the burrow. He
          pulls a smoke bomb from his pocket, lights it, and throws it
          into the hole, then scurries for the edge of the knob and hits
          the deck. He lifts his rifle and aims it.
          Smoke is now pouring from the mound. Lots of it.
          Phil waits, his trigger finger twitching.
          A WOMAN casually walks by, stops. She surveys the situation.

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

           WOMAN
           You can wait all night, but he
           ain't coming out. He don't live
           there. They keep him in the
           library.
          Phil's gun droops. The woman begins to walk off, then stops.

           WOMAN
           Plug him once for me.

          

           -78-

          
          She leaves.

           CUT TO:

          

          EXT. CIVIC CENTER - DAY

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

          

          INT. LIBRARY - CONTINUOUS

          Phil walks past the front desk looking very haggard and
          dangerous, and enters the children's section. No one is
          present except the CHILDREN'S LIBRARIAN, a young woman,
          reshelving books in the stacks. He looks around quickly and
          sees a window in the wall and over it a large sign which reads:
          "Punxsutawney Phil - The Great Prognosticates"
          Phil heads right for it.
          The groundhog scurries around his little temperature-controlled
          habitat, oblivious to the approaching danger.
          As Phil approaches the groundhog display, he reaches into his
          overcoat and pulls out a pump shotgun with a short pistol grip.
          The children's librarian sees the gun and freezes.
          Phil pumps a shell into the chamber as he walks right up to the
          case.

          PHIL'S POV
          The groundhog looks right into his sights.
          Philsqueezes the trigger. LOUD GUNSHOT.
          The glass window is still intact, not a scratch on it. The
          groundhog looks up playfully.
          Phil fires off four more rounds but, again, no results. Phil
          can't believe it. He charges the glass and pounds it with the
          rifle butt. He can't even chip it. Suddenly he is seized from
          behind by TWO STRONG MEN who take the rifle from him and
          wrestle him to floor.
          The librarian comes running up and looks at the groundhog.

           BYSTANDER
           Is he all right?

           LIBRARIAN
           He's just fine. That's two
           inches of bullet-proof glass
           there. You can't be too careful
           in this day and age.

          

           -79-

          

           CUT TO:

          

          EXT. GOBBLER'S KNOB - DAWN

          The groundhog is just poking his head out of the hole. He
          stands full height and looks around.
          Phil looks directly at the groundhog with hate and scheming
          madness.
          Suddenly, Phil whips out a big kitchen knife from under his
          icoat and dives at the groundhog. Town officials and police
          throw themselves on Phil as the groundhog scampers safely back
          into his hole.
          Rita and Larry videotape the incident, aghast at Phil's insane
          attack.

           CUT TO:

          

          EXT. GOBBLER'S KNOB - ANOTHER DAY

          Larry and Rita are loading their equipment back into the van.
          Rita spots Phil standing on the other side of the crowd,
          staring at her. She marches straight over to him, furious.

           RITA
           Where were you this morning? How
           could you possibly miss the
           shoot?

           PHIL
           (at the end of his

           ROPE)
           I've come to the end of me, Rita.
           There's only one way out now.
           Just remember/we had a wonderful
           day together once.
          Phil kisses her gently on the cheek and walks off toward the
          back of the knob. Rita watches him, then follows at a discreet
          distance, very worried.
          In a small clearing behind the man-made groundhog burrow,
          Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS are
          lifting a cage into the front seat of Buster's pickup.

           B USTER
           (to the groundhog)
           There you go, ol' buddy. Good
           job. Hey! He smiled at me. See
           that?

           FIRST OFFICIAL
           Right.

          

           -80-

          

           BUSTER
           (securing the cage)
           There, little fella.
          The other official looks up and sees Phil walking toward them
          like a zombie.

           OTHER OFFICIAL
           Hi, there, mister. Something I
           can do you for?
          Without a word, Phil jumps quickly into the cab of the pickup
          and starts it up .

           FIRST OFFICIAL
           Hey! What 're you -- !
          Phil drives off in Buster's truck.
          Rita witnesses the groundhog-napping and runs back toward the
          knob.

           RITA

           (SHOUTS)
           Larry!
          Buster and his aides race for another car parked nearby.

           BUSTER
           Jake! Call the police, and get
           the word out. Somebody kidnapped
           Phil. We're going after him.
           Come on, Tommy!
          They jump into a car, Buster guns the engine and takes off
          after the pickup.
          Rita runs up to Larry and grabs the camera on the fly.

           RITA
           Let's go! Phil just snatched the
           groundhog!
          Larry does a slow take and starts gathering up the rest of the
          gear.

           LARRY

           (MUTTERS)
           Probably some kind of gerbil
           deal. Pervert.

           CUT TO:

          

           -81-

          

          

          EXT. LOCAL ROAD - MINUTES LATER

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

          

          INT. PICKUP - CONTINUOUS

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

           PHIL
           Coming to the end of the trail,
           Phil. Then we're going out in a
           blaze of glory.

          

          INT. BUSTER'S CAR - SAME TIME

          Buster pursues Phil with relentless determination.

           BUSTER
           Nobody takes my groundhog and
           gets away with it.

           .. · .

          INT. THE NEWS VAN - SAME TIME

          Rita is driving. Larry is hooking up the camera.

           RITA
           (very upset)
           What is he doing? What can he be
           thinking? He must1 ve just --
           snapped.
          Larry squeezes into the passenger seat with the camera mounted
          on his shoulder .

           LARRY
           This oughta be good.

          

          EXT. MOUNTAIN ROAD - CONTINUOUS

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

          

          INT. BUSTER'S CAR - CONTINUOUS


           BUSTER
           Okay! I know this road. There's
           no way off ' cept the way we come
           up.

           FIRST OFFICIAL
           All right! We got him now.

          

           -82-

          

          EXT. LOGGER'S LEAP - CONTINUOUS

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

          

          INT. THE PICKUP - SAME TIME

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

           PHIL
           Okay, pal. It's showtime.
          Phil hits the gas.

          

          INT. THE NEWS VAN - SAME TIME

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

           RITA

           PHIL! NO!

          

          

          EXT. LOGGER'S LEAP - CONTINUOUS

          The pickup bursts through a retaining fence and rockets over
          the edge of the cliff.
          The pickup seems to hang in the air for a long time, then it
          begins its SLOW MOTION descent, falling ever so gracefully
          until it impacts on the granite rock face far below.
          BIG EXPLOSION. BIG FIREBALL. FLAMING WRECKAGE. Then a small
          click, followed by "I Got You, Babe."

           DISSOLVE TO:

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

           PHIL
           Ah, nuts!
          Phil throws off the covers and hurls himself out of bed.

           CUT TO:

          

           -83-

          

          INT. NED RYERSON'S OFFICE - DAY

          Ned and a client are huddled over his desk, looking at some
          papers. A BODY DROPS quickly past the window behind them.
          It's Phil.
          They rush to the window and look down at the sidewalk three
          stories below. Phil is sprawled there like a broken puppet,
          lifeless.

          

          INT. PHIL'S ROOM - DAWN

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

           CUT TO:

          

          EXT. STREET - DAY

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

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

           CUT TO:

          A TV SCREEN
          A woman in some horror movie is screaming.

          REVEAL
          Mrs. Lancaster is watching TV in the parlor of the hotel. In
          the corridor behind her, Phil walks by, dressed in a robe,
          carrying an electric toaster and a towel, heading for the
          bathroom.
          A few moments pass.
          We hear the zap of an electrocution, the lights and TV flicker
          and dim for a moment, then come back on again.

           CUT TO:

          

          EXT. THE BANK - DAY

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

          

           -84-

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

          

          INT. CORONER'S - DAY

          Rita stands by weeping while Phil's body is covered with a
          sheet.
          In the shadowy darkness under the sheet, a CLICK is heard and
          Phil's eyes pop open. "I Got You, Babe" plays.

          

          INT. PHIL'S ROOM - CONTINUOUS

          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:

          

          INT. DINER - DAY

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

           RITA
           I ' m sorry. What was that again?

           PHIL
           I'm a god.

           RITA
           You're God?

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

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

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

           RITA
           Because you survived a car wreck?

          

           -85-

          
          The waiter comes to the table.

           WAITER
           Are you ready to order?

           PHIL
           (to Rita, ignoring the

           WAITER)
           Not just the car wreck! I didn't
           just blow up yesterday, you know.
           I've been run over, drowned,
           crushed, stabbed, shot,
           electrocuted, poisoned, frozen,
           burn ed, and asphyxiated--

           RITA
           Really?
          The waiter looks at him like he's nuts.

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

           WAITER
           The special today is blueberry
           waffles.

           RITA
           Why are you telling me this?

           WAITER

           (SHRUGS)
           Because some people like
           blueberry waffles.

           RITA
           (to the waiter)
           No t you-- him.

           PHIL
           Because I want you to believe in
           me.

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

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

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

          

           -86-

          

           RITA
           Please.

           PHIL
           How do you know?

           RITA
           Because it's not possible.

           WAITER
           I'll come back.
          The /waiter turns to leave.

           PHIL
           Hey, Billy!
          The waiter turns back.

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

           WAITER
           I am notl
          Phil grabs an astonished Rita and pulls her over to the next
          table.

           RITA
           What are you doing?

           PHIL
           This is Doris Kleiser and her
           fiance Fred.

           DORIS
           Do I know you?

           PHIL
           They're supposed to get married
           tonight but Doris is having
           second thoughts.

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

           RITA
           Lovely ring.

           DORIS
           Thanks.

          

           -87-

          
          Phil drags Rita to the counter.

           PHIL
           This is Ralph. Say "Hi," Rita.
          Rita flashes a quick smile.

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

           PHIL
           Ralph hates his life here and
           wants to drive around town
           smashing into policemen.

           RALPH
           Well, who don't?

           RITA
           This is some kind of trick.

           PHIL
           Yes, it's a trick. But maybe the
           real God cheats, too. Maybe God
           isn't omnipotent-- he's just had
           a lot of practice.

           RITA
           How about that guy?

           PHIL
           Tom. Worked in the coal mine
           ·til they shut it down.

           RITA
           Her?

           PHIL '
           Nancy. Went to Lincoln High
           School in Pittsburgh. Takes
           herself out to lunch once a week.
          Rita is getting very bewildered. From their reactions she can
          see that Phil is right about each and every one of them.

           RITA
           How do you know these people!

           PHIL
           I told you the truth. In five
           seconds there's going to be a
           grease fire in the kitchen.
           Five, four--

           RITA
           This is nuts.

          

           -88-

          

           PHIL
           --three, two, one.
          Phil points to the kitchen as smoke starts pouring from the
          service window. Everyone in the diner is now staring at them

           RITA
           (trying to puzzle it

           OUT)
           Okay, enough. Let's just sit
           down and think for a second.
           (they sit)
           What do you know about me, Phil?
           Do you know me, too?
          Phil takes a long pause.

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

           RITA
           Everyone knows that.

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

          

           RITA
           How are you doing this?

           PHIL
           I told you! I wake up every day
           right here, right in
           Punxsutawney, and it's always
           February second and I can't turn
           it off. If you still don't
           bel iev e me, listen--

           RITA
           B u t , Phil--

          

           -89-

          

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

           RITA
           Larry?

           PHIL
           But you can't let him. Please
           believe me. You've got to
           believe me.

           RITA
           I don't --
          Larry pokes his head in the doorway, looks around and spots
          Rita.

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

           LARRY
           (to Rita)
           You ready? We better get going
           if we're going to stay ahead of
           the weather.
          Phil hands the paper to Rita. She reads it.

           RITA

           (READING)
           " . . . stay ahead of the weather. "
          Larry looks at the paper.

           LARRY
           What ' s that?
          Rita looks at Phil with new understanding and empathy.

           CUT TO:

          

          EXT. PUNXSUTAWNEY - DAY

          Phil and Rita are walking down the sidewalk.

           PHIL
           Afer I got over the shock, it was
           kind of fun for the first year or
           two. I had anything I wanted.
           Except you, of course.

          

           -90-

          

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

           RITA
           How did this start?

           PHIL
           I don't know. I just woke up.
           Just like always.
          NED RY-ERSON approaches.

           NED
           Hey, Phil! Phil Connors 1

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

           NED
           He remembers me!
          Phil and Rita keep walking. Rita looks back at Ned, perplexed

           PHIL
           Trust me on that one.

           CUT TO:

          

          EXT. FUDGE SHOP - DAY

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

           RITA
           This is great.

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

           . RITA
           Just how well do we know each
           other?

           PHIL
           I told you. I know everybody.
          Rita stops walking.

           RITA
           Did we ever...you know?

           PHIL

           (TEASING)
           Did we ever! You were an animal.

          

           -91-

          

          

           RITA
           Come on.

           PHIL
           You're European trained, aren't
           you.
          Phil continues walking.

           RITA

           (BLUSHING)
           Phil! It's not funny.
          She catches up to him. Phil turns to her.

           PHIL
           You weren't interested.

           RITA

           (RELIEVED)
           Okay.
          She begins walking again.

           RITA
           Not that it would've been so
           awful.

           PHIL
           I understand.

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

           PHIL
           You did.

           RITA
           Good.

           CUT TO:

          

          EXT. PARK - DAY

          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.

          

           -92-

          

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

           RITA
           It sounds so-- lonely.

           PHIL
           (trying to shrug it

           OFF)
           It's not that bad. You get used
           to it.
          Rita comes to a decision.

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

           PHIL
           Yeah, sure. That'd be okay.

           CUT TO:

          

          INT. PHIL'S ROOM - NIGHT

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

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

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

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

           RITA
           Is this what you do with
           eternity?

          

           -93-

          

          

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

           PHIL
           I'll get it!
          Phil jumps for the door and opens it. The PIZZA GUY is there.

           PHIL
           Hi, Marty. $11.75 including the
           delivery charge, right?

           PIZZA GUY
           U h hh h --
          Phil pays him, takes the pizza and closes the door.

           RITA
           (opening the pizza box)
           MMMM. Pepperoni and olives. My
           favorite .

           PHIL
           Of course. I told you, I know
           everything .

           RITA
           (taking a bite of

           PIZZA)
           I don ' t think I ' d want to know
           everything that ' s going to
           happen. I like to be surprised.

           PHIL
           That's not the worst part.

           RITA
           What's the worst part?

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

           RITA
           No --

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

          

           -94-

          

          

           RITA
           No, you're not.

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

           RITA
           Or completely clean.

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

           RITA
           Wait! Have we done this before?

           PHIL
           Which part?

           RITA
           You getting me up here, the card
           gam e, the pizza--

           PHIL
           No, this is the first time.

           RITA

           (EXCITED)
           Well?

           PHIL
           Well, what?

           RITA
           Well how does it feel to be doing
           something completely new?
          Phil looks at her with tremendous affection and gratitude.

           PHIL
           Good. Really good.
          He takes a slice of pizza and starts eating with gusto.

           DISSOLVE TO:

          THE PIZZA BOX - LATER
          There's only one slice left.
          Phil and Rita are sitting together on the bed, close but not
          touching. Soft music is playing on the radio.

          

           -95-

          

          

           RITA
           Sometimes I wish I had a thousand
           lifetimes. One to be a great
           journalist. One to, I don't
           know, go back to school, study
           art, or auto mechanics. One just
           to take care of all the busywork,
           you know, pay the bills, get my
           car tuned up. One to be the wild
           woman of Borneo. One to be
           Mother Theresa. Maybe it's not
           a curse, Phil. It all just
           depends on how you look at it.
          Phil stares at her for a long time letting this sink in. Then
          he belches really loud. Rita stares at him, then burps
          surprisingly loud herself.

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

           PHIL
           Me, too.

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

           PHIL
           I hope so.
          The clock reads 11:59. Rita grabs Phil's hand. He puts his
          arm around her.
          They look into each others' eyes. Rita gives Phil a reassuring
          smile. She squeezes his hand. Their eyes turn to the clock.
          11:;59 turns to 12:00.
          Rita looks up at Phil as if expecting some magical event.

           RITA
           You're still here!

           PHIL
           I know.

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

           PHIL
           Not 'til six.

           RITA
           You rat!

          

           -96-

          

          
          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:

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

           RITA
           I'm sorry.

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

           RITA
           No, it's all right. I'm not
           tired. What were you saying?
          Her eyes start to close again.

           PHIL
           I was saying that the cow was
           eventually returned to it's
           rightful owner.

           RITA
           (drifting off)
           Really?

          

           -97-

          

          

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

           PHIL
           What I was going to say was, I
           think you're the kindest,
           sweetest, prettiest, most
           wonderful girl I ever met in my
           life.
          She starts to stir but he gently kisses her back to sleep.

           PHIL
           Shhhh. That's good.
           (satisfied she's still

           ASLEEP)
           I could never tell you this, but
           from the first minute I looked at
           you I wanted to just hold you
           close and be with you forever.
           iEverytime I -saw you around the
           station, I thought my heart was
           going to explode. I used to
           dream about us being together.
           In my dream you loved me as much
           as I loved you and we didn't have
           to say anything but I knew you
           understood everything.
          She stirs again but he kisses her until she returns to deep
          sleep.

           PHIL
           I know a guy like me could never
           deserve to have someone like you,
           but if I did, I swear I would
           love you for the rest of my life.
          Rita opens her eyes.

           RITA

           (HALF-ASLEEP)
           Did you say something?

           PHIL
           Good-night, Rita.
          He kisses her gently on the forehead.

           RITA
           Good-night, Phil.

          

           -98-

          

          C LOSE UP - THE CLOCK
          The time changes from 5:59 to 6:00. The radio starts playing.
          Phil wakes up alone in bed. He lies there for a moment then
          leaps out of bed like a man reborn and heads straight for the
          shower.

           CUT TO:

          

          EXT. GOBBLER'S KNOB - DAWN

          Rita and Larry are in the packed press area, beginning to set
          up the equipment.
          Phil arrives, carrying two cups of coffee.

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

           RITA
           Oh, hi, Phil.

           PHIL
           Thought you might like some--
          He hands her the coffee.

           RITA
           Thanks!

           PHIL
           Careful, it's hot. Larry?
          He hands Larry a cup.

           LARRY
           (surprised, mutters)
           Yeah, great.

           RITA
           We're just setting up.

           PHIL
           You know, I bumped into Buster
           Greene, he kind of runs this
           thing, and he tipped me off that
           we might get a better shot over
           there.

           RITA
           Really?

          

           -99-

          

           PHIL
           I mean, maybe we should go for
           it. What do you think?

           RITA
           Sounds good to me. Larry?

           LARRY
           Sure, why not?

           RITA
           All right. Thanks, Phil. Good
           work.
          She reaches for an equipment case.

           PHIL
           I'll get that.
          Phil helps Larry carry the camera gear.

           PHIL
           (to Larry)
           You and I never talk, Larry. You
           got kids?
          Larry looks suspicious. Rita looks on, reevaluating Phil.

           CUT TO:

          

          INT. LIBRARY - DAY

          Phil enters the library, approaches the Librarian.

           PHIL
           Where would I find the Philosophy
           section?

           LIBRARIAN
           Down and to the left, 600's.
          Phil walks through the stacks, past the groundhog window.

           CUT TO:

          

          EXT. A HOUSE - DAY

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

           MARY
           Yes?

           PHIL
           I ' d like a piano lesson, please.

          

           -100-

          

           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 armloa
          of music books exits as if pushed. The door closes behind her.

           CUT TO:

          

          INT. HALLWAY - DAWN

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

           CHUBBY MAN
           Morning.

           PHIL
           Buon Giorno, signore.

           / '.

           . '

           ·

           -

           :

           CHUBBY MAN
           Think it ' 11 be an early Spring?

           PHIL
           "Winter slumbering in the open
           air wears on his smiling face a
           dream of Spring."

           CHUBBY MAN
           Oh.

           CUT TO :

          

          INT. MARY'S HOUSE - DAY

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

           MARY
           Not bad, Mr. Connors. You say
           this is your first lesson?

           PHIL
           Technically, yes.
          Phil plays on, definitely improving.

           CUT TO:

          

           -101-

          

          

          INT. LIBRARY - DAY

          We see several cuts of Phil studying at the library.
          SUPERED over these cuts is a calendar with the pages flipping
          by. They all read "February 2 . "

           CUT TO:

          

          EXT. GOBBLER'S KNOB - DAWN

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

           PHIL
           In fact, the groundhog's
           legendary ability to predict the
           weather may be more than just the
           German folklore of the region.
           Higher temperatures trigger
           hormonal changes in the
           testosterone levels of male
           groundhogs, which may in fact
           wake them from hibernation and
           send them out to battle with
           other males ;for mating rights.
           So, the truth is they're not
           looking for their shadows,
           they're looking for groundhog
           chicks.
          Rita looks on, clearly delighted with the report.

           CUT TO:

          

          INT. MARY'S HOUSE - DAY

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

           CUT TO:

          

          EXT. GOBBLER'S KNOB - DAWN

          Phil is delivering another report.

          

           -102-

          

           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. Hence the old Scottish
           couplet which long predates the
           .American groundhog tradition: "If
           Candlemas dawns bright and clear,
           there'll be two winters in the
           year."
          Larry whispers an aside to Rita.

           LARRY
           Is he making this stuff up?

           RITA

           (RIVETED)
           Shhhhh.

           CUT TO:

          

          EXT. CEMETERY - DAY

          Beyond the graveyard is a work shed with various tombstones
          scattered about. Old TUCKER, the town stonecarver, is at work
          chiseling a name into a gravemarker.
          Behind him, Phil is chipping away at a small hunk of marble,
          sculpting a very lovely cherub.
          Rita sits on a stool eating an apple and sipping hot tea
          watching him with amazed interest.

           PHIL
           But what if the rules changed?
           What if none of your actions had
           consequences?

           RITA
           There would still be an absolute
           morality. There has to be an
           absolute good, regardless of the
           circumstances.

           PHIL
           Oh, is that so, Miss Plato? Then
           let me ask you this. Where does
           this "absolute good" come from?
           From the sky?

          

           -103-

          
          Rita shrugs.

           RITA
           I don't know. From my freshman
           Philosophy course, I guess.
          They both laugh. Then she looks at him for a long moment and
          grins.

           PHIL
           What?

           RITA
           Nothing. I just can't believe
           you're such a fine sculptor.
          Phil takes a bite of her apple and gets up.

           PHIL
           I gotta go.

           RITA
           Where do you have to go in
           Punxsutawney?

           PHIL
           I got piano and then drums.

           RITA
           Here?

           PHIL
           Come on, I'll drop you off.
          They exit.

           CUT TO:

          

          EXT. MAIN STREET '··-.. LATER

          Phil drops Rita off and watches as she crosses the street to
          Larry who is waiting on the other side.
          Across the street, Rita takes a wistful glance toward Phil,
          then gets in the news van and drives off.
          Phil gets out of the car and starts walking, but finds himself
          face to face with Ned Ryerson.

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

           PHIL
           Ned? Ned Ryerson! I don't
           believe it. I've missed you so
           much.

          

           -104-

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

           NED
           Uh, I gotta get going. Nice to
           see you, Phil.
          He hurries off.

           CUT TO:

          

          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
           One day. I'm gifted.

           CUT TO:

          

          EXT. STREET - DAY

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

           PHIL
           Hey, mister. Hey. Come on,
           let's get you somewhere warm.
          The old bum turns to look at Phil, then closes his eyes.

           PHIL
           (helps the old man to
           his feet)
           There you go.
          Phil practically carries him out of the alley.

           CUT TO:

          

          INT. HOSPITAL EMERGENCY ROOM - NIGHT

          A nurse approaches Phil.

           NURSE
           You the one brought in the old
           man?

          

           -105-

          

           PHIL
           How is he?

           NURSE
           He passed away just now.
          Phil pauses for a long moment.

           PHIL
           What'd he die of?

           NURSE

           (SHRUGS)
           He was just old. It was his
           time.

           PHIL
           I want to see his chart. Excuse
           me.
          Phil brushes past her and makes for the big double doors
          leading to triage.

           NURSE
           Sir, you can't --
           (hurrying after him)
           Look! Some people just die!

           PHIL
           Not on my watch.

           CUT TO:

          

          INT. DINER - MORNING

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

           CUT TO:

          

          INT. HOSPITAL - DAY

          Phil is furiously looking over X-rays, flipping through medical
          journals and making notes.

           CUT TO:

          

          EXT. ALLEY - NIGHT

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

           PHIL
           Come on . Hang on . Hang on ,
           there . Breathe .

          

           -106-

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

           CUT TO:

          

          EXT. GOBBLER'S KNOB - DAWN

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

           PHIL
           ...When Chekhov saw the long
           winter, it was a winter bleak and
           dark and bereft of hope; and yet,
           we know winter's only one more
           step in the cycle. 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 hands the microphone to Rita.

           RITA

           PHIL--

           PHIL
           Sorry. I'm gonna be late.
          Phil rushes off.

           RITA
           Late for what? Phil?
           (To Larry)
           Could you break it down and wrap
           out of here by yourself, Larry?

           LARRY
           Sure .

           RITA
           Thanks .

          

           -107-

          
          Rita rushes off after Phil.

           CUT TO:

          

          EXT. STREET CORNER - DAY

          Phil walks briskly toward an intersection, glancing nervously
          at his watch. Rita follows him at a distance, hurrying to keep
          up.
          MARIE, a little nine-year-old girl, approaches the intersection
          shielding her brand new puppy under her winter coat. She isn't
          paying attention to traffic and fails to notice a big truck
          bearing down on her.
          As she steps off the curb, Phil arrives and, with split-second
          timing, nonchalantly but firmly grabs her coat to hold her
          back, just as the big truck rushes past in the street, narrowly
          missing her.

           PHIL
           Hey! Did you forget to look both
           ways? You didn't even look one
           way.

           MARIE
           My doggie was cold.

           PHIL
           Yeah, well, my doggies are
           freezing, but I ' m still gonna
           watch out for cars. See you
           around, kid.
          Phil looks at his watch and rushes off.
          Rita looks on amazed and follows him at a distance.

           CUT TO:

          

          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 toward a commotion in the back of the
          restaurant.
          TWO BUSINESSMEN are leaning over a THIRD.

           BUSINESSMAN
           Oh, my God! He's having a heart
           attack!

           SECOND BUSINESSMAN
           Lay him down!

          

           -108-

          

           BUSINESSMAN
           What do I do? He's not

           BREATHING1

           SECOND BUSINESSMAN
           He's turning blue! Help!
          Phil walks straight up to the BLUE-FACED MAN, grabs him from
          behind, gets him in the Heimlich grip and squeezes sharply.
          A bolus of food flies across the room. The victim coughs and
          sputters, then starts breathing again.

           FIRST BUSINESSMAN
           Jerry, you okay?

           SECOND BUSINESSMAN
           I think that did it.
          Phil lets go of the grateful victim.

           PHIL
           If you're going to eat steak, get
           better teeth, will you? Enjoy
           the rest of your lunch, gents.
          He exits.

           JERRY
           Wow. Who was that guy?
          Phil gets to the door and finds Rita standing there, looking at
          him in awe.

           PHIL
           Rita!

           .RITA

           (CONFRONTING)
           -Okay, hold it right there. I
           want to know what' s going on and
           I want to know right now.

           PHIL
           I'm sorry, I'm really pressed
           right now. Meet me outside the
           hospital about 5:00 and we'll
           talk about it.

           RITA
           The hospital?
          Phil looks at his watch and rushes away.

           PHIL
           Try the curlycue fries. Killer.

           CUT TO:

          

           -109-

          

          INT. HOSPITAL CORRIDOR - LATER

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

          

          INT. EMERGENCY ROOM - CONTINUOUS

          The gurney is wheeled into the surgery.

           NURSE
           Looks like insulin shock. She's
           probably diabetic.
          Phil enters wearing a doctor's scrub suit and begins barking
          orders.

           PHIL
           She's not diabetic. It's an
           overdose. Let's get her up here
           and pump her stomach, then I want
           a complete blood work-up, STAT.

           NURSE
           R i g h t , Doctor--uh--
          She realizes she's never seen him before.

           PHIL
           Call me Phil.

           NURSE
           Phil. Like the groundhog?

           PHIL
           Exactly.

           CUT TO:

          

          INT. CHILDREN'S WARD - LATE AFTERNOON

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

           KID
           Make a giraffe!

           PHIL
           A giraffe? Let's see. It's just
           like a dog with a biiiiig-- what
           was it?

           ALL THE KIDS
           Neck!

          

           -110-

          

           PHIL
           A big tail? Okay, a big tail.

           KIDS
           Neck! A big neck!
          Phil makes an animal really quickly.
          Rita watches from the doorway, unseen by Phil.

           PHIL
           There. A dog with long legs.

           KIDS
           Nooo ! Long neck !

           PHIL
           Oh! Right! A dog with a big
           head.

           KIDS
           Noooo!
          The kids attack Phil. Lots of rolling around on the bed. Rita
          watches, completely enthralled.
          Finally, Phil extricates himself and exits to find Rita
          waiting.

           RITA
           All right, now what's going on?

           PHIL
           (taking her arm)
           Come on. We have to hurry.

           CUT TO:

          

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

           PHIL
           (to Rita)
           That little bastard has never
           thanked me once . I ought to j ust
           let him fall. Teach him a
           lesson.

           RITA
           Phil, this is too -- I must be
           dreaming.

          

           -1 1-

           1

          

           PHIL
           Yeah, you and me both. Come on,
           We're almost done.

           CUT TO:

          

          EXT. ALLEY - NIGHT

          Phil kneels on the cold ground beside the old bum who lies
          huddled against the wall, immobile.
          Rita is standing by at the end of the alley, watching as Phil
          examines him.
          Phil writes something down on a small pad. He finishes, and
          sets it down by the old man. Then he takes his coat and uses
          it to cover the man up. A siren is heard.
          Phil stands and walks away, as an ambulance pulls into the
          alley.

           RITA
           Is he -- ?

           . 'PHIL
           Yeah. Let's go.

           RITA
           In a minute.
          She waits and watches.
          The paramedics, BUD and ANDY, get out of the ambulance and
          inspect the scene.

           BUD
           It's ol1 Really.

           ANDY
           That's a shame.

           BUD
           Look here .
          Bud picks up the note Phil left.
          Rita steps closer.

           RITA
           May I see that?
           (reading aloud)
           "Every night, by cold bricks

           GLOW
           I watch the shadow rising
           from this old man in the snow.
           At 8:02 we let it go."

          

           -112-

          

           ANDY

           (REPEATING)
           "At 8:02 we let it go."

           BUD
           Wow, that's nice.
          Rita hands him the note and quickly walks away.

           ANDY
           Suppose he wrote it?

           BUD

           (DOUBTFUL)
           Are you kidding?

           CUT TO:

          

          EXT. MAIN STREET - NIGHT

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

           RITA
           Now what?

           PHIL
           Come on. You'll see.
          They enter.

           CUT TO :

          

          INT. HOTEL LOBBY - CONTINUOUS

          As Phil and Rita enter there is music coming from a side room.
          The black velvet announcement board proclaims: KLEISER-SCOTT

          WEDDING.

           CUT TO:

          

          INT. PARTY ROOM - CONTINUOUS

          Phil and Rita walk into a banquet room decorated with
          streamers, balloons and flowers. There is a long buffet table
          and a punch bowl. Another long table is loaded with wedding
          gifts. A small band is playing.
          People are dancing. The wedding party is dressed in rented
          tuxedos and appropriately pouffy bridesmaid dresses.

           RITA
           This is incredible. Who's
           wedding is this?

          

           -113-

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

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

           DORIS
           Hi, Mr. Connors! Come ON,
           Freddy.

           FRED
           Hi.

           DORIS
           This is the guy I told you about.

           FRED
           No way!

           PHIL
           How's it going, Fred?

           FRED
           Hey, I ' d like to thank you for
           making Doris go through with
           this.

           PHIL
           Are you kidding? Don't buy that
           playing hard to get stuff. She's
           crazy about you, you stud.

           DORIS
           I ' m really glad you could come.

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

           DORIS
           What is this? Oh, no way! No
           way! Ahhh!
          Doris throws herself on Fred and jumps up and down. Fred grabs
          the tickets.

           FRED
           Wrestlemania! No way! No way!
          Doris throws herself on Phil.

           DORIS
           How did you know?

          

           -114-

          

           FRED
           We're like going to be in
           Pittsburgh anyway.

           PHIL
           I don't know. I just thought
           about you two, tried to picture
           what you ' d want more than
           anything in the world and it came
           to me. Bing! Wrestlemania.

           FRED
           Thanks, Mr. Connors. You're a
           real pal.

           DORIS
           This is the best!
          Doris gives Phil a kiss. She and Fred move on.

           RITA
           I don ' t understand . You rush
           from one person to the next in a
           town you only visit once a year,
           you know everything before it
           happens , and you -- - I don ' t know ,
           you seem to be Punxsutawney ' s
           leading citizen.
          The band finishes a set. The guests stop dancing and head for
          the refreshments. Phil and Rita are left alone for the moment

           PHIL
           What do you want to know?

           RITA
           Who are you?

           PHIL
           I really don't know.

           RITA
           No, there's something going on
           with you.

           PHIL
           Okay, I wake up in Punxsutawney
           on February second -- every day.
           It's supernatural. I don't even
           try to explain it anymore. So,
           I live each day as if it's the
           only day I've got.
          Rita stares into his eyes for a very long time, but sees only
          good, true things.

           RITA
           That's pretty amazing. "

          

           -115-

          

           PHIL
           You want to know what's really
           amazing? I've been waiting for
           you every day for ten thousand
           years. I dream of you every
           night of my life. You've been my
           constant weapon against total
           despair, and just knowing you
           exist has kept me alive. How's
           that?
          Rita can't even speak. This is clearly the nicest thing
          anybody has ever said to anybody.
          Mary the piano teacher notices Phil.

           MARY
           Phil!
           (to her friend)
           This is the guy.

           PHIL
           Hello, Mary. Rita, this is one
           of Punxsey's finest musicians.

           ·MARY
           Give me a break. You should
           talk. Why don't you play
           something?

           PHIL
           N o , I--

           MARY
           Please.

           FRED
           Hey, Mr. Connors. Go for it.
          Phil looks at Rita. She nods and shrugs.
          Phil walks up to the platform and sits at the piano. He begins
          to play a slow, serious, classical piece. Everyone falls
          silent. It's so beautiful, Rita is almost in tears.
          Then, after a pause to let the serious notes sink in, Phil
          transforms the piece into a fast, lively, upbeat jazz romp.
          Everyone is delighted, and as the rest of the band kicks in,
          everyone grabs a partner and begins to dance.
          An old coot, UNCLE LEO, grabs Rita and the two of them dance up
          a storm.

           LEO
           That's a great guy you've got
           there. Doctor Connors fixed my
           back, you know.

          

           - -116-

          

          

           RITA
           Do ctor Connors?

          
          Rit a looks over at Phil, joyously playing the piano.

          

           CUT TO:

          

          

          EXT . STREET - NIGHT

          
          It is snowing lightly. Phil and Rita are walking slowly, arm
          in arm, close. They stop and embrace. Phil looks at Rita.
          She looks like an angel.

          

           PHIL
           Wait! Don't move!

          
          Phil scoops up some snow and begins packing it down, furiously,
          joyously, then rolling it into a large ball.

          

           RITA
           Making a snow man? I'll help.

          

           PHIL
           No, stay there. Stand right
           th ere.

          
          Ph il lifts the now larger chunk of packed snow and sets it on
          a mailbox. Then he looks at her, and starts to sculpt it.

          

           DISSOLVE TO:

          

          LATER

          
          Phil is using a stick and the heat of his bare hands to model
          a delicate fold in the snow sculpture. Several bystanders look
          o n with interest as Phil stands back from his work.

          

           RITA
           Can I look?

          

           PHIL
           O kay, look.

          
          It is an excellent likeness of Rita, the snow white as
          alabaster, pure as marble, a beautiful and delicate homage.

          

           RITA

           (OVERWHELMED)
           Nobody's ever done this for me.
           Not even a drawing. It's
           beautiful.

          

           -117-

          

           PHIL
           This is how I see you. When it
           all gets too much, I just close
           my eyes and there you are-- just
           like this. Take it home and keep
           it in the freezer.
          Rita embraces Phil. They are about to kiss, looking deep into
          each others eyes.

           PHIL
           This one's for the Frog Prince.

           RITA
           What?

           PHIL
           Nothing.
          They kiss-- a long, deep, soul-stirring kiss.

           PHIL
           Will you come with me?
          Rita nods. They continue standing there, embracing, warming
          each other in the cold night air.

           RITA
           (looks back at the ice

           SCULPTURE)
           We're just going to leave her?

           PHIL
           It doesn't matter. Really, it
           doesn't.
          They kiss again.

           CUT TO:

          CLOSE UP - THE CLOCK
          The digital clock-radio changes from 5:59 to 6:00. Silence.
          No Sonny and Cher, no deejays-- nothing.
          Phil sits up in bed. He looks around the room. Things are
          different, messier. Then he sees the covers move. Wide-eyed
          now, he looks over and sees Rita waking up, snuggling deep
          under the covers.

           PHIL

           (DISBELIEVING)
           It's not true. It's not. It
           can't be true. Rita? Rita!

          

           -118-

          

           RITA

           (STRETCHING

           LUXURIOUSLY)
           Mmmm. Morning.
          Phil pounces on Rita, showering her with kisses.

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

           RITA
           Glad to see you, too.

           PHIL
           No! It's happened. Don't you
           get it? It's tomorrow! It's --
          Phil turns on the radio.

           DEEJAY
           . . . still shoveling put the
           highways, but if you're walking,
           it's a beautiful day.

           S IDEKICK
           Yeah, the snow kind of cleaned
           e ve r yt h in g up--

           DEEJAY
           --except your mouth.
          Phil kisses the radio.

           PHIL
           I love those guys.

           RITA
           Are you always this jolly in the
           morning?
          Phil runs to the window and looks out.

          HIS POV - THE STREET
          The street ;is virtually empty, the town just waking up. Kids
          are throwing snowballs.

           PHIL
           No groundhog! Rita! They're all
           gone!

           RITA
           You must've had some dream.
          Phil stops, thinks.

          

           -1 1 9 -

          

           PHIL
           Did I just dream it?
          Phil opens the door and runs into the hallway wearing only
          pajama bottoms.

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

           PHIL (O.C.)
           Yeah!!!!
          Phil runs back into the room.

           PHIL
           It really happened! You're
           really here!
          He pounces on Rita again.

           PHIL
           You're really actually here.

           RITA

           (LAUGHING)
           I'm here, I'm here!
          They kiss, passionately, hungrily.

           PHIL
           Let's go!
          He scoops her up in his arms.

           RITA
           Where're we going?

           PHIL
           Anywhere! Everywhere!

           CUT TO:

          

          INT. BREAKFAST ROOM - LATER

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

           MRS. LANCASTER
           Oh, my!

          

           -120-

          

           PHIL
           Florence! Say hello to Rita.
           She loves me.

           MRS. LANCASTER
           I'm not surprised.
          He kisses her on the cheek and rushes out with Rita.

          

          EXT. THE STREET - DAY

          Phil and Rita walk down Main Street hand in hand.

           A MAN
           Phil! Good morning!

           A LADY
           Mr. Connors. I wanted to thank
           you.

           PHIL
           That's all right. I--
          A FLORIST steps out of the flower shop with a bouquet.

           FLORIST
           Phil, here. I want you to have
           these.

           PHIL
           Thanks, Carl.
          Phil smells the flowers, and hands the bouquet to Rita.

           PHIL (V.O.)
           And so began my final lifetime,
           and ended the longest winter on
           record. I would find myself no
           longer able to affect the chain
           of events in this town, but I did
           learn something about time. You
           can waste time, you can kill
           time, you can do time, but if you
           use it wisely, there's never
           enough of it. So you'd better
           make the most of the time you've
           got.
          A car skids on the ice and smashes into a tree. Phil and Rita
          rush over to help, but the driver waves that he's okay. Rita
          and Phil continue their walk.

          

           -121-

          

           PHIL (V.O.)
           Larry never got through the
           blizzard, so none of my groundhog
           reports ever made it on the air.
           But Rita and I-- we lived happily
           ever after.
          Phil and Rita walk off together.
          Across the street, Larry is trying to get rid of Ned Ryerson
          who is doggedly trying to sell him insurance.

           NED
           But Phil told me you were his
           accountant!

           LARRY
           Look, I told you! He's nuts!
          Larry keeps trying to walk away, but Ned won't leave him alone.

           NED
           Let me just tell you about single
           premium life--
          Finally, Larry slugs Ned and storms off, leaving Ned
          floundering in a snowbank.
          Phil and Rita walk on as we pull up and away from Main Street
          revealing the whole of Punxsutawney and the snowy countryside
          that embraces it.

           THE END

          
 

Groundhog Day



Writers :   Danny Rubin
Genres :   Comedy  Fantasy  Romance


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