GROUNDHOG DAY

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
doesn't see his shadow— it's
nice. People like it.
PHIL
Many people are morons.
HAWLEY
Just do it.
PHIL
What'11 you give me?
Hawley looks across the studio and sees RITA HANSON enter, a
very attractive segment producer in her late twenties.
HAWLEY
(to Phil)
I'll give you Rita.
(calls her over)
Rita, could you come here for a
second? I got a little job for
you.
Rita is relatively new to the station, but very competent,
personable, humorous, self-assured and very pretty— in short,
a genuine princess, though Phil is too self-absorbed at this
point to realize it.
PHIL
(teasing)
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
alone? Thanks.
Phil loads a CD and a great, driving song kicks in.
CUT TO:
A SIGN
"Welcome to Punxsutawney - The Original Weather Capitol of the
World Since 1887." Depicted on the sign is a large cartoon
GROUNDHOG wearing a top hat and clutching an umbrella under his
arm.
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.
SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
The deejay laughs. Phil shakes his head at the cheesy repartee
as he crosses to the sink and starts brushing his teeth.
 -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
Especially cold—
DEEJAY
Especially cold, okay, but the
big question on everybody's lips—
SIDEKICK
Chapped lips—
DEEJAY
:—on their chapped lips, right—
Do you think Phil's going to come
out and see his shadow?
SIDEKICK
Punxsutawney Phil.
Phil looks up at himself in the mirror, admiring his own face.
DEEJAY
That's right, rodent lovers!
It's—
BOTH DEEJAYS
Groundhog Day1
SOUND EFFECT of GRUNTING GROUNDHOGS.
Phil grunts at his reflection in the mirror.
PHIL
(to himself)
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,
click-click, click-click—Bing!
Ned Ryerson, did the whistling
trick with my belly button in the
talent show. Bing! Ned Ryerson,
got the shingles real bad senior
^year^ almost didn't graduate.
Bing again! Ned Ryerson, went
out with your sister Mary Pat a
couple of times— 'til you told
me not to anymore. Well?

PHIL
(resigned)
Ned Ryerson.
NED
Bing!
PHIL
So what're you doing with
yourself, Ned?
NED
Phil, I sell insurance.
 -16-

PHIL
(sorry he asked)
No kidding.
NED
Do you have life insurance, Phil?
'Cause if you do, I bet you could
use more— who couldn't?—but I
got a feeling you don't have any.
Am I right?
PHIL
You know, Ned, I ' d love to talk
to you but I really have to—
Phil starts to walk away,,but Ned won't take the hint.
NED
That's okay. I'll walk with you.
When I see an opportunity, I
charge it, like a bull. Ned the
Bull, that's me now. Some of my
friends live and die by actuarial
tables, but I think it's all just
a crap shoot anyhoo. Ever 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
are down? What about the
satellite? Is it snowing in
space?...But I have to call
Pittsburgh...Isn't there some
special line you keep open for
emergencies or for
celebrities?...Well, I'm both
really. I'm a celebrity in an
emergency. Can you patch me
through on that line?
 -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:
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, 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)
February second—Groundhog Day!
Phil can see he's telling the truth and relaxes his grip on the
poor man.
PHIL
Okay. Sorry. I'm having a bad
day.
Phil walks on, leaving the chubby man baffled and insulted.
CHUBBY MAN
(to himself)
I'll say.
 -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)
Did 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)
What? 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)
Well, it's Groundhog Day— again—
and you know what that means.
Everybody's here on Gobbler's
Knob waiting in the cold for the
appearance of the most famous
groundhog in the world,
Punxsutawney Phil, who's going to
tell us just how much more of
this we can expect.
The Groundhog Club Official knocks on the groundhog's door,
then opens it and retreats.
Phil takes a deep breath and makes his first experimental
prediction, recalling the previous day.
PHIL
My forecast is we're going to see
the groundhog peek its head out
of its hole, look around a little
bit, then he's going to come out,
scamper over to this general
area, look at the crowd for a
second, make a little burping
noise and run back into the
ground.
RITA
(whispers to Larry)
That's it. I'm going to kill
him.
Phil looks at his watch.
PHIL
Okay? And here we go—
Phil points to the hole and Larry zooms in.
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:

INT; PHIL'S ROOM - LATER
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
over 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
anchors, but not me— not in a
thousand years.
 -41-

PHIL
Wait a second—
RITA
Not if I was dying and your
breath was the only cure; not if
having your child was the only
way to preserve the human race.
Just get it out of your head
because it is NOT GOING TO
HAPPEN!
PHIL
So much for the truth.
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.
TEACHER
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.
TEACHER
Okay, come on now. What happened
when she kissed the frog?
LITTLE GIRL
The princess kissed the frog and
the spell got broke and he turned
into a handsome prince and they
got married and lived happily
ever after.
TEACHER
That's right.

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:
CLOSE UP - CLOCK
The time changes from 5:59 to 6:00. The radio starts playing
"I Got You, Babe."
Phil sits up suddenly and looks around, completely amazed. He
is in his room at the bed and breakfast, everything exactly the
same as before. He hops out of bed and quickly examines
himself for signs of physical injury. Nothing. The music ends
and the two deej ays come on.
DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today.
Phil talks out loud along with them.
PHIL AND SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
 -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
Would you—
Phil interrupts, answering all her questions before she even
asks them.
PHIL
(urgently)
Yes, I would like some coffee;
the weather is going to be cold
and overcast with blizzard
conditions moving in later today;
and yes, I will be staying an
extra day.
MRS. LANCASTER
(baffled)
Why thank you.
PHIL
Mrs. Lancaster, has anyone been
around here looking for me this
morning? Maybe a state official,
blue coat, hat, gun, nightstick,
badge, driving a late-model Ford
br Chevy, black and white with
bubble lights on top—
MRS. LANCASTER
(shocked)
No, no one like that-- I .don't—
Will they be?
PHIL
(greatly relieved)
Apparently not.
Phil gooses her, grabs a sweet roll, and heads for the door,
starting to believe now that he can truly do anything he wants
to.
CUT TO:
 -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
Nantucket—"
RITA
That's really funny. When are
you going to grow up, Phil?
PHIL
At this rate-- never.
(he pulls out a pack of
cigarettes)
Okay if I smoke?
Rita shrugs. Phil lights up a cigarette.
RITA
You really do have a death wish,
don't you?
PHIL
Just the opposite, Rita. I have
a life wish. I'm just trying to
enjoy it. Taking pleasure in the
little things. Don't you ever
just want to cut loose and go
wild?
 -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
That—
PHIL
Phil Connors.
NANCY
--is amazing!
PHIL
You don't remember me, do you?
NANCY
I don't— sure, I think—
PHIL
We used to shoot spit balls—
NANCY
Yeah, oh, God—
PHIL
I even asked you to the prom.
NANCY
Phil Connors.
PHIL
Yeah.
NANCY
How ARE you?!
PHIL
I ' m great. Wow, you look
terrific. Hey, listen, I gotta
do this report—
NANCY
You're a reporter?
PHIL
Weatherman. Channel 9,
Pittsburgh.
NANCY
Right, I should've known—
 -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-