La sceneggiatura originale di "RICOMIMCIO DA CAPO" - "GROUNDHOG DAY"

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3 febbraio, 2016 - 10:47
Nota di Redazione:
"Ricomincio da capo" (in originale "Groundhog Day") è una delle migliori commedie degli anni novanta. Merito soprattutto di una sceneggiatura spumeggiante e di grande qualità che proponiamo qui, nella sua versione originale in inglese, all'attenzione dei tanti lettori cinefili della rivista.

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
priivacy.
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.
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.
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 everyydayy. What is this— Miami Beach?
The deejay laughs. Phil shakes his head at the cheesy repartee as he crosses to the sink and starts brushing his teeth.
DEEJAY
Not hardly. And you can expect hazardous travel later today with that, you know, blizzard thing—
SIDEKICK That "blizzard thing?"
Phil splashes some water on his face and prepares to shave.
SIDEKICK (CONT.) Oh, here's the report: the National Weather Service is calling for a big blizzard thing.
DEEJAY Yes they are, but there's another reason today is 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 bigg 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
BUSTER He came out, and he saw his shadow. Sorry, ladies and gentlemen, but it looks like it's going to be a long winter.
The crowd lets out a good-natured "Awwwwww" in disappointment.
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 ggettinggannoyyed as the pphone 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?
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?
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.
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 openmouthed. 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)
v
Hey, look .out for that first 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.
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.
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 workingagain?... But whatifwe 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.
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) ...So according to Mr. Groundhog I guess we can expect six more weeks of winter. It's not very scientific, but it sure is fun. Hey, wait a second. If he's right, I could be out of a job!
(mock laugh) For Channel 9 News, this is Phil Connors in Punxsutawney .
He holds until Larry stops tape, then approaches Rita.
PHIL How was that?
RITA
(pleased) It was good. A little smarmy for my taste, but I guess that's what sells.
PHIL Could I talk to you about a matter that is not work related?
RITA You never talk about work.
PHIL Do you know what I did last night?
RITA Do I want to know?
-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.
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:
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?
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.
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.
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:
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?
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.
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?
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 headon 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.
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:
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.
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.
SECOND GUARD Felix.
PHIL
(shaking their hands) Herman and Felix. Okay. Take it easy, boys. And thanks.
The frightened guards watch as Phil makes off with two large satchels of cash.
CUT TO:
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 up at a—
PHIL I'll take it. How much?
SALESMAN Well, the sticker says $62,999 but if you want—
PHIL
I'll tell you what. I'll give you $70,000 if you just knock off the car salesman stuff and let me
get out of here with my car.
The Salesman gawks as Phil opens his briefcase and starts counting out stacks of bills.
CUT TO:
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
out 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 put the camera. What are you looking for, Phil— a date for the weekend?
She starts walking toward the center of town. Phil sticks right with her.
PHIL No, I just want to know you better. What do you like, what do you want, what do you think about, what kind of men are you interested in, what do you do for fun?
RITA
(she stops) 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 Oh, 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

RITA (glum) The van won't start. working on it. Larry's
PHIL Wouldn't you know it. drink? Buy you a
Okay. RITA  
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?
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 light 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?
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?
Larry and Rita look on, incredulous.
. CUT TO:
CLOSE UP -TV SET
The program JEOPARDY! is playing.
ALEX TREBECK
(on TV) Nobel prize-winning codiscoverers 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
seventy-one— (takes another step) two thousand six hundred and
seventy-two— (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
Six 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.
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,
stariing at hher. SShhe marchhes straiighht over to hhiim, ffuriious.
RITA Where were you this morning? How could you possibly miss the shoot?
PHIL
(at the end of his
rope)
I've come to the end of me, Rita.
There's only one way out now.
Just remember/we had a wonderful
day together once.
Phil kisses her gently on the cheek and walks off toward the back of the knob. Rita watches him, then follows at a discreet distance, very worried.
In a small clearing behind the man-made groundhog burrow, Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS are lifting a cage into the front seat of Buster's pickup.
BUSTER
(to the groundhog)
There you go, ol' buddy. Good
job. Hey! He smiled at me. See
that?
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. DRIVERS' POV He sees Phil through the windshield but doesn't even have time
to hit the brakes before he runs right over Phil.
CUT TO: A TV SCREEN A woman in some horror movie is screaming. REVEAL 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.
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, burned, and asphyxiated—
RITA Really?
The waiter looks at him like he's nuts.
PHIL —but I always wake up the next day without a scratch, without even a headache. I'm telling you, I'm immortal.
WAITER The special today is blueberry waffles.
RITA Why are you telling me this?
WAITER
(shrugs) Because some people like blueberry waffles.
RITA (to the waiter) Not you— him.
PHIL Because I want you to believe in me.
RITA You're not a god, Phil. Take my word for it. This is twelve years of Catholic school talking.
WAITER I could come back if you're not ready.
PHIL How do you know I'm not a god?
-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 believe me, listen—
RITA But, 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) "... stayaheadoftheweather. "
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 Uhhhh—
Phil pays him, takes the pizza and closes the door.
RITA
(opening the pizza box) MMMM. Pepperoni and olives. My favorite .
PHIL
Of course. I told you, I know
everything .
RITA (taking a bite of pizza) Idon 'tthinkI 'dwanttoknow 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 game, the pizza—
PHIL No, this is the first time.
RITA (excited) Well?
PHIL Well, what?
RITA Well how does it feel to be doing something completely new?
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 disappppear— 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.
CLOSE UP -THE CLOCK
The time changes from 5:59 to 6:00. The radio starts playing.
Phil wakes up alone in bed. He lies there for a moment then leaps out of bed like a man reborn and heads straight for the shower.
CUT TO:
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. / 'Descrizione: Macintosh HD:Users:francescobollorino:Desktop:immagini:groundhogday_img_0.jpg '•
:
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.
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 Comeon . Hangon. Hangon, 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!
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 Right, 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.
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 No, 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 Doctor Connors?
Rita 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 there.
Phil lifts the now larger chunk of packed snow and sets it on a mailbox. Then he looks at her, and starts to sculpt it.
DISSOLVE TO:
LATER
Phil is using a stick and the heat of his bare hands to model a delicate fold in the snow sculpture. Several bystanders look on with interest as Phil stands back from his work.
RITA Can I look?
PHIL Okay, look.
It is an excellent likeness of Rita, the snow white as alabaster, pure as marble, a beautiful and delicate homage.
RITA
(overwhelmed) Nobody's ever done this for me. Not even a drawing. It's beautiful.
-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!
RITA (g
(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.
SIDEKICK Yeah, the snow kind of cleaned everything up—
DEEJAY —except your mouth.
Phil kisses the radio.
PHIL
I love those guys.
RITA Are you always this jolly in the
morning?
Phil runs to the window and looks out.
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.
-119
PHIL Did I just dream it?
Phil opens the door and runs into the hallway wearing only pajama bottoms.
RITA Phil? Phil!
Rita sits up in bed and waits. Suddenly, from somewhere else in the inn comes the sound of Phil at the piano expertly playing a difficult classical piece. He stops after a few bars.
PHIL (O.C.) Yeah!!!!
Phil runs back into the room.
PHIL
It really happened! You're really here!
He pounces on Rita again.
PHIL You're really actually here.
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
 

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Grazie per questo anche a nome di tutti gli appassionati di questo film e della relativa tradizione.
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Quest'anno anche l'Ansa si è occupata di Phil: http://www.ansa.it/canale_ambiente/notizie/animali/2016/02/02/attesa-per...


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