groundhog day
Executive Summary
Poster
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Overview
Genres: Drama, Comedy, Romance, Fantasy, Romantic Comedy, Action, Mystery
Setting: The Groundhog Day time loop, Punxsutawney, Pennsylvania
Overview: Phil Connors, a cynical weatherman, finds himself trapped in a time loop, forced to relive the same day repeatedly. Initially resistant to change, Phil gradually embraces the opportunity for self-discovery and redemption. Through his interactions with Rita Hanson, a producer for Channel 9 News, Phil learns the value of relationships and the importance of living each day to the fullest. In a poignant and thought-provoking story, Phil's journey culminates in a transformative experience that challenges the boundaries of time and reality.
Themes: Redemption and Transformation, The Importance of Relationships, The Nature of Time and Reality
Conflict and Stakes: Phil's struggle to break free from the time loop and find meaning in his life. Rita's struggle to find her place in the world and to connect with Phil.
Overall Mood: Comedic and Heartwarming
Mood/Tone at Key Scenes:
- Scene 19: The diner scene where Phil and Rita share their deepest fears and dreams.
Standout Features:
- Unique Hook: The story's unique time loop concept.
- Major Twist: The revelation that Phil is stuck in a time loop.
- Distinctive Setting: The small-town setting of Punxsutawney, Pennsylvania.
- Innovative Idea: The exploration of the philosophical and psychological implications of being stuck in a time loop.
- Unique Character: Phil Connors's character arc from cynical to selfless.
- Genre Blend: The blending of comedy and drama.
Comparable Scripts:
- Groundhog Day: The Video Game
- Edge of Tomorrow
- Russian Doll
- The Time Traveler's Wife
- Primer
- Memento
- Eternal Sunshine of the Spotless Mind
- Before I Fall
- The Dead Zone
- The Truman Show
Writing Style:
The screenplay displays a blend of comedic and dramatic elements, with a focus on character-driven storytelling and witty dialogue. It explores existential themes and philosophical questions, while maintaining a relatable and engaging tone.
Style Similarities:
- Richard Curtis
- Charlie Kaufman
Pass/Consider/Recommend
Recommend
Explanation: Groundhog Day is a highly original and entertaining screenplay with a unique premise and a strong character arc for the protagonist. The time loop concept offers ample opportunities for humor and drama, while the witty dialogue and well-paced plot keep the audience engaged. While the internal logic of the time loop and the development of supporting characters could be further explored, the screenplay's strengths far outweigh its weaknesses, making it a highly recommended project.
USP: Immerse yourself in an unforgettable cinematic experience with our thought-provoking script! Prepare for a rollercoaster ride of laughter, introspection, and the extraordinary as we present "Groundhog Day." Our script captivates with its unique blend of comedy, romance, and existential exploration, set against the backdrop of a picturesque small town. Witness the extraordinary journey of Phil Connors, a jaded weatherman trapped in a seemingly endless time loop. As he navigates the same day repeatedly, Phil grapples with personal growth, the pursuit of meaningful connections, and the profound question of what truly matters in life. Filled with memorable characters, witty dialogue, and a touch of the surreal, "Groundhog Day" promises an unforgettable cinematic experience that will linger in your thoughts long after the credits roll. Let our script transport you to a world of laughter, tears, and the timeless message that it's never too late for redemption and self-discovery.
Market Analysis
Budget Estimate:$30-40 million
Target Audience Demographics: Adults aged 18-49, fans of comedy, drama, and romance.
Marketability: It is a high-concept comedy with a strong emotional core and relatable characters. It has the potential to appeal to a wide audience and generate strong word-of-mouth.
It is set in a small town and may not have the same appeal to international audiences. The story is somewhat predictable.
However, its humor and heart could resonate with audiences worldwide.
Profit Potential: High, due to its strong appeal to a wide audience and potential for award nominations.
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by witty dialogue, vivid descriptions of settings, and a blend of humor and introspection. The scene transitions smoothly between different locations and characters, capturing the essence of both the natural world and urban life.
Best representation: Scene 1 - Phil Gets Assigned the Groundhog Festival. This scene serves as the encapsulation of the writer's unique voice in the screenplay due to its blend of humor, introspection, and vivid imagery, which sets the tone for the rest of the story.
Memorable Lines:
- Phil: I'm a god. (Scene 23)
- Phil: 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. (Scene 10)
- Rita: 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. (Scene 29)
- Phil: You've been my constant weapon against total despair, and just knowing you exist has kept me alive. (Scene 30)
- Phil: And so began my final lifetime, and ended the longest winter on record. (Scene 32)
Characters
Phil Connors:A cynical weatherman who is forced to relive Groundhog Day over and over again.
Rita Hanson:A producer for Channel 9 News who is assigned to cover the Groundhog Day festival.
Ned Ryerson:An old acquaintance of Phil's who is an insurance salesman.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Internal Goal | External Goal | Conflict | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | ||||
| 1 - February 1st | Humorous, Sarcastic, Cynical | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 8 | 8 | 5 | 8 | 9 | 8 | 8 | 8 | |
| 2 - Phil Gets Assigned the Groundhog Festival | Sarcastic, Humorous, Confrontational | 8 | 7 | 8 | 8 | 9 | 7 | 8 | 7.5 | 8 | 8 | 6 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 3 - Packing for Punxsutawney and Breaking Up | Humorous, Serious, Emotional | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 6 | 8 | 8 | 7 | 7 | 9 | 8 | 9 | 9 | |
| 4 - Phil's Groundhog Day Arrival | Humorous, Light-hearted, Sarcastic | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 5 - Breakfast at Mrs. Lancaster's | Sarcastic, Humorous, Resigned | 8 | 7 | 7 | 8 | 8 | 4 | 8 | 7 | 6 | 8 | 4 | 7 | 7 | 5 | 9 | 8 | 8 | 9 | 9 | |
| 6 - Punxsutawney Predicts More Winter | Sarcastic, Light-hearted, Cynical | 8 | 7 | 7 | 9 | 8 | 4 | 8 | 7.5 | 5 | 8 | 3 | 7 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 7 - Confrontation and Mishaps | Sarcastic, Defensive, Confrontational, Dismissive | 8 | 7 | 7 | 9 | 9 | 6 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 8 - Groundhog Day Repeating Ritual | Sarcastic, Whimsical, Confused | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 6 | 7 | 5 | 8 | 8 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 9 - The Groundhog Day Awakening | Sarcastic, Confused, Humorous | 8 | 9 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 8 | 5 | 8 | 9 | 8 | 8 | 8 | |
| 10 - Groundhog Day Deja Vu | Sarcastic, Desperate, Confused, Annoyed, Amused | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 11 - Phil's Destructive Rage | Humorous, Surreal, Quirky | 8 | 9 | 7 | 9 | 8 | 7 | 9 | 8 | 6 | 7 | 5 | 8 | 8 | 6 | 7 | 9 | 9 | 8 | 8 | |
| 12 - Groundhog Day Dilemma | Sarcastic, Skeptical, Humorous | 8 | 9 | 7 | 9 | 7 | 7 | 9 | 8 | 7 | 7 | 6 | 8 | 8 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 13 - Reckless Abandon | Sarcastic, Humorous, Rebellious | 8 | 7 | 7 | 9 | 8 | 5 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 14 - Phil's Time Loop Begins | Playful, Confused, Exhilarated, Baffled, Sarcastic | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 15 - Breakfast and Beyond | Sarcastic, Playful, Reflective | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 16 - Phil's Adventures | Sarcastic, Rebellious, Reflective | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 6 | 8 | 9 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 17 - Persistent Pursuit | Sarcastic, Reflective, Playful | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 18 - A Flirty Winter Romp | Romantic, Whimsical, Playful | 9 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 19 - Heartfelt Rejection | Romantic, Desperate, Regretful, Tense | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 20 - Groundhog Day: Phil's Unveiled Persona | Cynical, Sarcastic, Reflective, Introspective | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 21 - Groundhog Day Madness | Madness, Dark Humor, Surreal | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 7 | 6 | 9 | 8 | 8 | 8 | |
| 22 - Phil's Downward Spiral and Demise | Dark, Surreal, Intense | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 6 | 9 | 8 | 8 | 8 | |
| 23 - Phil's Revelation | Whimsical, Philosophical, Playful, Reflective | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 24 - A Day with Phil | Whimsical, Reflective, Playful | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 25 - Late Night Confessions | Reflective, Intimate, Playful | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 6 | 7 | 5 | 7 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 26 - Groundhog Day Preparations | Whimsical, Romantic, Playful | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 9 | 9 | |
| 27 - Philosophical Reflections in a Winter Cemetery | Philosophical, Reflective, Humorous | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 28 - The Good Samaritan | Whimsical, Sarcastic, Heartfelt | 8 | 7 | 8 | 9 | 9 | 9 | 8 | 7 | 6 | 7 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 29 - Nightly Vigil | Melancholic, Reflective, Introspective | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 30 - Wedding Reception Surprise | Heartfelt, Playful, Reflective | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 6 | 6 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 31 - A New Beginning | Romantic, Whimsical, Hopeful | 9 | 8 | 8 | 8 | 9 | 7 | 9 | 7 | 2 | 6 | 3 | 7 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | |
| 32 - Phil and Rita's Celebration on Main Street | Heartfelt, Reflective, Hopeful, Bittersweet | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 4 | 7 | 5 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | |
Scene 1 - February 1st
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 8
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-
Scene 2 - Phil Gets Assigned the Groundhog Festival
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 9
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.
Scene 3 - Packing for Punxsutawney and Breaking Up
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
Phil is in his cluttered cubicle talking on a headset phone
while he reviews cassettes of his groundhog spots from the past
two years on a small monitor. As he talks, he stuffs a number
of personal items in an overnight bag, all the time watching
himself on the TV monitor.
PHIL
(on the phone)
They don't really think of me as
a weatherman around here. More
of a "personality," but with the
credibility of a first-class
broadcast journalist. Once you
look at my tape I think you'll
see what they mean.
Stephanie enters and stands in the doorway looking at Phil for
a long moment. There is something vaguely off-center about
this woman, not quite FATAL ATTRACTION but still a little
scary.
STEPHANIE
(bitterly)
I just want to know one thing:
did I do something wrong or are
you just tired of me or what? I
have to know.
Phil sighs.
PHIL
(on the phone)
Dan, can I call you back? I've
just been handed something and I
better get on it...
(he picks up some
papers and rustles
them for effect)
...Okay, thanks.
-7-
He takes off the headset, gets up and closes the door for
privacy.
PHIL
(kindly)
You didn't do anything wrong,
Stephanie, and I ' m not tired of
you. It's just that I don't have
time for a real relationship
right now. I told you that the
first time we went out.
STEPHANIE
(getting close)
Everybody says that at the
beginning of a relationship.
PHIL
(gently pushing her
away)
I'm different. I really meant
it! Things are really starting
to move for me now. I ' m not
going to be doing the weather for
the rest of my life. I was just
talking to the CBS guy about a
network job. I want that. This
is just the beginning for me. I
can't waste any more time.
STEPHANIE
Are you saying our relationship
was a waste of time?
PHIL
Our relationship? We went out a
total of four times! And only
twice did anything happen. It
was fun but I don't see that as
a big commitment.
STEPHANIE
(closing in again)
I had our charts done. My
astrologer says we're extremely
compatible. There may even be
some past lives involvement here.
PHIL
See? So we've already done this.
Let's move on. Next case.
STEPHANIE
You know what's wrong with you,
Phil? You're selfish. You don't
have time for anyone but
yourself.
-8-
PHIL
That's what I ' m trying to tell
you. You don't want to be with
me. You can do better. Look,
Stephanie, if I ever said or did
anything to mislead you I'm sorry
for that, but right now I have to
do this groundhog thing and I
don't have a handle on it yet.
He throws some papers and his datebook into a briefcase and
puts on his jacket.
PHIL (CONT.)
I'll tell you what. I ' m going to
do some serious thinking while
I ' m in Punxsutawney, okay?
He pats her on the shoulder and brushes past her, leaving her
standing there with a malevolent look on her face.
CUT TO:
EXT. A HIGHWAY - AFTERNOON
A VAN marked ".Channel 9 Action News" speeds along a two-lane
highway through the winter landscape of West Central
Pennsylvania. Mounted atop the van is a microwave transmitter.
Rita is riding up front with LARRY, the union cameraman and
techie. Phil is following close behind the van in a new Lexus
coupe. His car has a bumper-sticker that reads "Weathermen
Like it Wet."
PHIL (V.O.)
(on his earphone)
I'm on my way to Punxsutawney...
(forced to repeat it,
a little embarrassed)
Punx^su-taw-ney....Work or fun?
I think that all depends on you.
INT. THE LEXUS - CONTINUOUS
Phil is talking to one of his girlfriends, sorting through a
stack of CD's, as usual, grabbing at the good life with both
hands.
PHIL
. . . . I thought maybe you could
meet me up there tonight and let
me vulgarize you for about seven
hours....So I ' m supposed to spend
the night in Punxsutawney all
alone? Thanks.
Phil loads a CD and a great, driving song kicks in.
CUT TO:
A SIGN
"Welcome to Punxsutawney - The Original Weather Capitol of the
World Since 1887." Depicted on the sign is a large cartoon
GROUNDHOG wearing a top hat and clutching an umbrella under his
arm.
The mini-convoy passes some fast food places on the outskirts
of town.
EXT. MAIN STREET - PUNXSUTAWNEY - LATER
The van drives along , the small-town main drag. There are
cartoon groundhogs everywhere you look and the whole town has
been gaily festooned with banners and bunting.
Scene 4 - Phil's Groundhog Day Arrival
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
The van pulls into the parking lot at a Quality Inn. The
announcement billboard in ;front of the motel reads: "Groundhog
Day Breakfast Special - Feb.2 - All You Can Eat - $5.99." The
parking area is already crowded with cars including a number of
other news vans. The Lexus pulls in behind the van and
everybody gets out.
Phil takes one look at the motel and shakes his head.
PHIL
(calls out)
Rita! I can't stay here.
Rita is already helping Larry unload equipment from the van.
LARRY
(muttering)
Prima donnas.
RITA
It's okay. I'll handle it.
She crosses to the Lexus where Phil is trying to make another
call on his earphone.
RITA
What's the problem, Phil?
PHIL
I hate this place. I stayed here
two years ago and I was
miserable. It's like a minimum
security prison. I'm not staying
here.
-10-
RITA
You're not staying here.
PHIL
(brightening)
I'm not?
RITA
No, Larry and I don't care but I
thought you might, so I booked
you at a very nice bed and
breakfast on Cherry Street.
Here's the address.
She hands him a card.
PHIL
(pleased)
Great. That's great. That's the
mark of a really good producer.
Making the talent happy.
RITA
Whatever I can do.
PHIL
Really? Will you be my love
slave?
RITA
Whatever I can do within reason.
Would you like to have dinner
with Larry and me?
PHIL
No thanks, I've seen Larry eat.
Why don't you ditch Larry and let
me take you someplace nice?
RITA
You mean like a date?
PHIL
Yeah.
RITA
Oh, no.
PHIL
Okay. I get it. You're a little
intimidated by me, you're all
excited about the shoot tomorrow,
you want everything to go just
perfect. I understand. You just
get some sleep. Tomorrow will be
great.
-11-
RITA
Well, that's something to look
forward to. I'll see you in the
morning.
He drives off, leaving her standing there shaking her head.
LARRY
Did he actually call himself "the
talent?"
Larry snorts and continues unloading their gear.
CUT TO:
EXT. CHERRY STREET - DAWN
The first light of morning colors the sky behind the Cherry
Street Inn, a rambling, white Victorian bed and breakfast.
CLOSE UP - CLOCK
A digital clock-radio changes from 5:59 to 6:00 AM. The radio
comes on, playing the end of the Sonny and Cher hit, "I Got
You, Babe."
SUPER: FEBRUARY 2
INT. PHIL'S ROOM - DAWN
Phil sits up in bed and looks around the room. The decor is
typical bed and breakfast, flocked wallpaper, framed prints,
and an odd assortment of mismatched furniture. His suit is
hanging neatly on the back of the closet door and his suitcase
is open on a stand at the foot of the bed, still neatly packed.
A iradio, DEEJAY and his SIDEKICK come on with hyped-up,
drivetime Chappy talk." Phil stares at the radio and listens
to them.
DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today1
Phil grimaces and swings out of bed.
SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
The deejay laughs. Phil shakes his head at the cheesy repartee
as he crosses to the sink and starts brushing his teeth.
-12-
DEEJAY
Not hardly. And you can expect
hazardous travel later today with
that, you know, blizzard thing—
SIDEKICK
That "blizzard thing?"
Phil splashes some water on his face and prepares to shave.
SIDEKICK (CONT.)
Oh, here's the report: the
National Weather Service is
calling for a big blizzard thing.
DEEJAY
Yes they are, but there's another
reason today is very special—
SIDEKICK
Especially cold—
DEEJAY
Especially cold, okay, but the
big question on everybody's lips—
SIDEKICK
Chapped lips—
DEEJAY
:—on their chapped lips, right—
Do you think Phil's going to come
out and see his shadow?
SIDEKICK
Punxsutawney Phil.
Phil looks up at himself in the mirror, admiring his own face.
DEEJAY
That's right, rodent lovers!
It's—
BOTH DEEJAYS
Groundhog Day1
SOUND EFFECT of GRUNTING GROUNDHOGS.
Phil grunts at his reflection in the mirror.
PHIL
(to himself)
Never again.
CUT TO:
-13-
INT. CORRIDOR - DAWN
Phil heads for the breakfast room of the inn, now well-dressed
in a suit and tie, a nice overcoat slung over his arm. A
CHUBBY MAN passes.
CHUBBY MAN
Morning .
PHIL
Morning .
CHUBBY MAN
Think it'll be an early Spring?
PHIL
I ' m predicting March 21st.
CUT TO:
Scene 5 - Breakfast at Mrs. Lancaster's
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 8
- Dialogue: 9
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:
Scene 6 - Punxsutawney Predicts More Winter
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 8
- Dialogue: 9
A big crowd is standing in a park-like clearing off a
residential street. They are gathered around a large mound of
dirt enclosed by a rail fence, waiting for the big moment. For
a cold gray dawn, there is the atmosphere of a festival here.
An area close to the mound is roped off for news reporters and
cameras. Rita stands there, a pocket of genuine beauty in this
sea of potbellied old union guys and blow-dried reporters.
-17-
Stomping her feet against the cold, Rita looks at her watch and
glances around. Larry, the cameraman, just looks bored.
RITA
How could he be late?
LARRY
Prima donnas.
RITA
It's just so— inconsiderate.
LARRY
What happens to some people?
They're born nice. They grow up
nice. You put 'em on TV and -
bam! Prima donnas.
Rita spots Phil heading into the crowd.
RITA
Here he comes. Phil! Hey, Phil.
Over here!
Phil joins them in the press area. Rita pulls him to his mark
near the rail fence.
RITA
Where've you been?
PHIL
I got hung up with some jerk I
went to high school with. So,
did you sleep okay without me?
You tossed and turned, didn't
you?
Rita holds up a slate for Larry to ID the tape.
RITA
You're incredible.
PHIL
Who told you?
RITA
Ready when you are.
Phil takes the microphone from Rita and positions himself
against the fence.
The Groundhog Club Officials in top hats, striped trousers and
cutaway coats parade out to the burrow that houses Punxsutawney
Phil.
RITA
Looks like they're starting.
Roll tape.
-18-
LARRY
Rolling.
Rita silently counts down from five and cues Phil who instantly
snaps into announce mode.
PHIL
(to camera)
Once a year, the eyes of the
nation turn here, to this tiny
hamlet in Pennsylvania, to watch
a master at work. The master?
Punxsutawney Phil, the world's
most famous weatherman, the
groundhog, who, as legend has it,
can predict the coming of an
early spring.
Rita turns to Larry. This is impressive— so far, so good.
A Groundhog Club Official kneels at the burrow and
ceremoniously knocks on the small wooden door, then opens it
and retreats.
PHIL
And here's the big moment we've
all been waiting for. Let's just
see what Mr. Groundhog has to
say.
The groundhog sticks his head out, looks around, steps out of
the hole, and runs over to the other side of the mound, about
as far away from the cameras as he can get.
PHIL
Hey! Over here, you little
weasel!
Larry zooms in as far as he can but the best he can manage is
a close-up of the groundhog's back. The groundhog stands there
a moment, his body casting a long shadow, then he lets out a
squeak and runs back into the hole.
PHIL
Great shot, huh, folks? Well,
that was certainly worth the
trip. Now we'll be hearing from
Mr. Buster Greene, President of
the Punxsutawney Groundhog Club,
the so-called Seer of Seers who
will interpret for us.
BUSTER GREENE, dressed up in his top hat and cutaway coat,
walks onto the mound and hushes the crowd.
-19-
B U ST E R
He came out, and he saw his
shadow. Sorry, ladies and
gentlemen, but it looks like it's
going to be a long winter.
The crowd lets out a good-natured "Awwwwww" in disappointment.
PHIL
(sarcastic, to camera)
Well, that's it. Sorry you
couldn't be here in person to
share the electric moment. This
is one event where televison
really fails to capture the
excitement of thousands of people
gathered to watch a large
squirrel predict the weather, and
I for one am deeply grateful to
have been a part of it.
Reporting for Channel 9, this is
Phil Connors.
Larry cuts the camera.
RITA
(to Phil)
You want to try one that's a
little sweeter?
PHIL
(to Rita)
That's as sweet as I get. I'm
outa here.
As he exits, Phil tosses the mike to Larry, who isn't expecting
the throw and bobbles it, dropping the mike on the ground.
LARRY
(mutters)
Prima donnas.
CUT TO:
Scene 7 - Confrontation and Mishaps
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 9
- Dialogue: 9
Phil is sitting alone having a cup of coffee in a busy, loud
and lively cafe. Rita enters, sees him sitting there, crosses
to his table and sits down across from him.
RITA
That was really lousy.
PHIL
Is it my fault the little rat
went south on us?
-20-
RITA
A real professional would have
handled it. You acted like it
was a personal insult. Who do
you think you are — Wolf Blitzer?
PHIL
God, you really take this stuff
seriously, don't you.
RITA
Yes, I do. As far as I ' m
concerned there are no little
stories, Phil. Only little
reporters with big egos who think
they're too good for the job they
have to do.
PHIL
(trying to look hurt)
You really don't know me very
well, do you. 'Cause if you did
you could never say something
like that about me. I care!
Call me a cockeyed optimist but
I happen to think there's more to
this job than just getting my
ugly mug on the boob tube every
night.
RITA
Is that so.
PHIL
Yes, that is so.
Rita is so irritated by him she can't even respond.
Phil looks at her evenly for a long moment.
PHIL
So as far as us getting together,
would you say the glass is half
empty or half full?
Larry pokes his head in the doorway, looks around, spots Rita
and makes his way over to their table.
LARRY
(to Rita)
You ready? We better get going
if we ' re going to stay ahead of
the weather.
PHIL
You don't have to rush off, you
know. That storm is 'going to
miss us completely.
-21-
RITA
Nice working with you, Phil. See
you around.
Rita walks away, leaving him sitting alone.
CUT TO:
«*
EXT. HIGHWAY - DAY
Phil's Lexus is driving down the highway. Light snow is just
starting to fall.
PHIL(V.O)
(on the earphone)
I'll call you after I see the
network guy. I should be back
there in a couple of
hours...What?...1 can't hear you—
you're breaking up...Hello?
Sabrina?
INT. THE CAR - CONTINUOUS
Phil is getting annoyed as the phone connection deteriorates.
The snow is getting heavier. Phil switches on the windshield
wipers.
PHIL
Sabrina? Can you hear me? Shit!
He slams the phone back into it's cradle, then looks up and
notices slow traffic up ahead. He honks his horn as the
traffic comes to a complete stop. He keeps honking but nothing
moves.
He rolls down the window and looks up ahead. The highway is a
parking lot.
PHIL
No. No!
EXT. THE CAR - CONTINUOUS
Phil jumps out and begins to walk down the highway, past the
parked cars, shivering in his light sweater and silk sport
shirt. The snowfall is getting heavier and the wind is pickin
up. The snow comes down unnaturally hard and fast. He walks
on, slipping and sliding in his expensive loafers until he
j comes to a police roadblock up ahead, manned by TWO HIGHWAY
"J PATROLMEN.
PHIL
What's going on, Officer?
-22-
PATROLMAN
Nothin's goin1 on. We're closin1
the road. Big accident up ahead.
Blizzard movin1 in.
PHIL
What blizzard? A couple of
flakes! An isolated phenomenon
of nature.
PATROLMAN
Are you nuts? We got a major
storm movin' in.
PHIL
No, no. All that moisture is
going to miss us and hit
Harrisburg.
PATROLMAN
Pal, you got that moisture on
your head.
PHIL
But I have to get to Pittsburgh
today!
PATROLMAN
Mister, the only place anybody's
goin' on this road is back to
Punxsutawney.
Phil glowers at him and shivers.
CUT TO:
INT. GAS STATION - LATER
Phil is on a pay phone. Snow is falling heavily outside.
GAS STATION ATTENDANT is shovelling around the pumps.
PHIL
So all the long distance lines
are down? What about the
satellite? Is it snowing in
space?...But I have to call
Pittsburgh...Isn't there some
special line you keep open for
emergencies or for
celebrities?...Well, I'm both
really. I'm a celebrity in an
emergency. Can you patch me
through on that line?
-23-
The door opens and Phil is blasted with frigid Arctic wind and
blowing snow. The GAS STATION ATTENDANT enters the tiny office
and in trying to squeeze past Phil accidentally bangs him on
the head with his snow shovel.
CUT TO:
Scene 8 - Groundhog Day Repeating Ritual
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 8
Phil is at the bar in Punxsutawney ' s oldest and best hotel , the
Pennsylvanian. He looks very bored, drinking a beer,
unsuccessfully hustling an attractive local girl named NANCY.
PHIL
You never saw me on TV-- on the
news?
NANCY
I don't think so. What part of
the news do you do?
PHIL
I ' m the White House correspondent
for NBC news.
NANCY
Oh , I ' m so sure .
PHIL
Ask me anything?
NANCY
Okay, how big is the White House?
PHIL
Three bedrooms, two and a half
baths. Looks much bigger than it
, is.
Nancy just stares at him, clearly not into his sense of humor.
Suddenly, a BRIDE in full white wedding gown and veil rushes
into the bar, crying and shouting. A gaggle of BRIDESMAIDS
flutters around her trying to coax her back to her own wedding
but she won't budge. Then the GROOM, wearing a bad rented tux,
comes storming in and tries to drag her back, until the BEST
MAN restrains him and the bridesmaids hustle the bride away.
Phil watches the whole drama play out, then turns back to
Nancy .
PHIL
Good start. I ' m sure they'll be
very happy. So what do you say?
You want to play doggie obedience
school with me?
-24-
NANCY
Thanks. I'll pass.
She gets up to leave.
PHIL
Sit! Stay!
He watches her go, then tosses a tip on the bar and exits
somewhat unsteadily.
CUT TO:
INSERT - A THICK BOOK
The cover reads "101 Curses, Spells and Enchantments You Can Do
at Home." A well-manicured feminine hand opens the book to a
marked page .
INT. CHERRY STREET INN - NIGHT - SAME TIME
Phil enters his room and drunkenly tosses his overcoat, scarf
and gloves on the floor in a heap.
INT. STEPHANIE'S BEDROOM - NIGHT
Stephanie Decastro, Phil ' s disaffected ex-lover, is sitting
cross-legged on the floor with the book of curses open in front
of her. Her hair is down, she's wearing a caftan with a Zodiac
print, there are candles everywhere and other vaguely occult
decorating touches.
INSERT
Phil's business card is dropped into a dish. Then the Tarot
card of the Hanged Man, a chicken bone, and a feather are
placed on top of it .
PHIL
He stands at the sink, looking at himself in the mirror,
flexing his muscles .
STEPHANIE
Reading from the book> she mutters incantations in a secret
language, then she sprinkles some powder on the plate, then a
few drops of oil. Then she makes a few passes over it with her
hands and, much to her surprise, the contents of the plate
spontaneously combust.
PHIL
As he crosses to the bed, he accidentally knocks over the
suitcase stand, spilling his clothes out onto the floor.
-25-
He contemplates picking them up for a moment, decides to leave
them there, and flops down on the bed. He lies there looking
u up at the ceiling until the room starts to spin around, then
he closes his eyes and quickly drops off to sleep, still fully
clothed.
STEPHANIE
To complete the spell, she picks up a broken wristwatch and
drops it into the fire.
INSERT
Phil's business card, the Hanged Man and the broken watch in
flames. The watch crystal is cracked and the hands are frozen
at 5:59.
DISSOLVE TO:
CLOSE UP - CLOCK
The digital clock-radio changes from 5:59 to 6:00 AM. The
radio comes on, playing the end of the Sonny and Cher hit, "I
Got You, Babe," just as it did the day before.
INT. PHIL'S ROOM - DAWN
Phil sits up in bed, quickly alert, and looks around the room.
Something is wrong. He's wearing pajamas, his suit is once
again hanging neatly on the closet door and his suitcase is
back on its stand at the foot of the bed, again neatly packed.
The song ends and the same radio deejay and his sidekick come
on with the same manic energy. Phil stares at the radio and
listens to them. A look of astonishment comes over his face as
they banter.
DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today!
SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
The deejay laughs. Phil "mock" laughs at exactly the same
time, recognizing the repartee from the previous morning.
PHIL
(to himself)
Nice going guys. That's
yesterday's tape.
Phil crosses to the sink and gets a towel off the rack, only
half-listening to the radio.
-26-
DEEJAY
Not hardly. Expect hazardous
travel later today with that, you
know, blizzard thing —
SIDEKICK
That "blizzard thing?"
Phil turns on the water and splashes some on his face as if
trying to wake himself up, vaguely disturbed by the repetition
of the broadcast.
SIDEKICK (CONT.)
Oh, here's the report: the
National Weather Service is
calling for a big blizzard
thing."
DEEJAY
Yes they are, but there's another
reason today is very special —
SIDEKICK
Especially cold —
DEEJAY
Especially cold, okay, but the
big question on everybody's lips —
Phil supplies the next line in unison with the radio.
SIDEKICK AND PHIL
Chapped lips —
DEEJAY
— on their chapped lips, right —
Do you think Phil's going to come
out and see his shadow?
SIDEKICK
Punxsutawney Phil.
Some vague doubt causes Phil to go to the window.
DEEJAY
That's right, rodent lovers!
It's—
BOTH DEEJAYS
Groundhog Day!
SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back the
curtains and looks out.
HIS POV
The street is full of people heading toward Gobbler's Knob,
exactly as they did the day before.
-27-
PHIL
(aghast)
What the hell?
CUT TO:
Scene 9 - The Groundhog Day Awakening
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 8
Phil rushes out into the corridor, hastily tying his tie, his
suit jacket and overcoat over his arm. As he heads for the
breakfast room, the same Chubby Man passes.
CHUBBY MAN
Morning.
PHIL
Morning.
CHUBBY MAN
Think it'll be an early Spring?
PHIL
(stops, irritated)
Didn't we do this yesterday?
CHUBBY MAN
(intimidated)
I don't know what you mean.
Phil grabs him by the front of his shirt and looks deep into
his eyes.
PHIL
Don't mess with me, pork chop.
What day is this?
CHUBBY MAN
(terrified)
February second—Groundhog Day!
Phil can see he's telling the truth and relaxes his grip on the
poor man.
PHIL
Okay. Sorry. I'm having a bad
day.
Phil walks on, leaving the chubby man baffled and insulted.
CHUBBY MAN
(to himself)
I'll say.
-28-
INT. BREAKFAST ROOM - CONTINUOUS
Phil enters the old library of the house and finds everything
exactly as it was the day before. Mrs. Lancaster spots Phil as
she comes out of the kitchen with the fresh pot of coffee.
MRS. LANCASTER
Did you sleep well, Mr. Connors?
PHIL
(completely confused)
Did I? I don't know—
MRS. LANCASTER
Would you like some coffee?
PHIL
Yes, thank you. I ' m feeling a
little strange.
MRS. LANCASTER
(as she pours)
I wonder what the weather's going
to be like for all the
festivities.
PHIL
Did you ever have deja vu, Mrs.
Lancaster?
MRS. LANCASTER
Is that the Italian dessert with
the brandy and the chocolate
mousse?
PHIL
No, that's spaghetti. Never
mind.
He heads for the door, still in a daze.
MRS. LANCASTER
Oh, will you be checking out
today, Mr. Connors?
PHIL
(vaguely)
I don't know. I don't think so.
I'll tell you after I wake up.
Phil exits.
CUT TO:
-29-
EXT. BOARDING HOUSE - MOMENTS LATER
Phil gulps down the steaming coffee, still trying to wake up
from what he assumes is a dream, and descends the front steps
of the house. He accosts a PASSERBY.
PHIL
Ma'am? Excuse me. Where's
everybody going?
PASSERBY
To Gobbler's Knob. It's
Groundhog Day!
The coffee cup drops from Phil's hand as he stands there open-
mouthed. Then he slaps his own face and shakes his head as if
trying to clear it and starts off down the street.
Scene 10 - Groundhog Day Deja Vu
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 8
Phil rushes down the street, again failing to notice the OLD
BUM sitting on the sidewalk leaning against a storefront.
NED RYERSON (O.C.)
Hey, Phil!
Ned Ryerson approaches with the same obnoxious attitude.
NED
Phil! Phil Connors! I thought
that was you!
Phil just stares at him and keeps walking.
NED
My oh my! Phil Connors. Don't
say you don't remember me, 'cause
I sure as heck-fire remember you.
Well?
PHIL
Ned Ryerson?
NED
Bing! First shot right out of
the box. So how's it going, ol'
buddy?
PHIL
To tell you the truth, Neddy, I ' m
not feeling real well. Could you
excuse me?
NED
Now it's funny you should mention
your health 'cause you'll never
guess what I do.
-30-
PHIL
(very distressed and
desperate to get away
from this guy)
Do you sell insurance, Ned?
NED
Bing again! You're sharp as a
tack today. Do you have life
insurance, Phil? 'Cause if you
do, I bet you could use more —
who couldn't?" — but I got a
feeling you don't have any. Am
I right?
PHIL
(really annoyed now)
Did I say "fuck off, " Ned? I
can't talk to you right now.
He backs away from Ned and steps right into the same deep,
slushy puddle he stepped in the day before.
NED
(braying)
Hey, look .out for that first v
step. It's a doozyi
Phil looks down at his wet shoes and cuffs and stumbles off
toward Gobbler's Knob.
CUT TO:
EXT . GOBBLER ' S KNOB - DAWN
The crowd is gathered as before for the big moment.
In the press area, Rita is having the same dialogue with Larry,
when she spots Phil heading into the crowd.
RITA
Here he comes. Phill Hey, Phil!
Over here!
Phil waves to her and heads straight for an obscure corner of
the Knob, gesturing for her to follow.
Larry shakes his head as Rita charges through the crowd toward
Phil. She catches up to him just as he is scratching a mark in
the snow with his foot. She notices immediately that he is
uncharacteristically dishevelled, his tie askew, his hair
mussed.
RITA
Where ' ve you been?
-31-
PHIL
(nervous, sweat ing)
I've got to talk to you. I think
I'm losing my mind.
. RITA
I know you're losing it. What
are you doing over here? The
camera's over there.
PHIL
Slap me, Rita.
RITA
What is this?
PHIL
(insistent)
Just slap me— hard.
She gives up and taps him lightly on the cheek.
PHIL
I said hardl
. . . . ... .RITA .
I can't!
PHIL
Do it!
Rita shrugs and slaps him very hard.
PHIL
(his cheek smarting)
Better. Almost too hard, Rita.
RITA
Are you drunk?
PHIL
No, drunk is more fun. Can I be
serious with you for a minute?
RITA
I don't know. Can you?
PHIL
Yes. I 'm being serious. I' m
having a problem— no, I may be
having a problem.
RITA
What are you trying to say?
-32-
PHIL
I'm trying to say that if I was
having a problem, just
hypothetical ly, I ' d like to know
that you're someone I could count
on in a crisis.
RITA
(worried)
What did you do last night?
The crowd begins to hush.
LARRY
We better get started. We're
going to miss it.
PHIL
Were not going to miss it.
(indicating the other
reporters)
They're going to miss it.
RITA
(emphatic)
Phil. We've been out here for an
hour. We're cold and tired.
Let's just get this and get out
of here.
PHIL
Okay, put it here.
RITA
What?
PHIL
Put the camera here .
Rita takes a forlorn glance towards the press area, where all
of the other cameras are set up .
RITA
Phil , there is no tomorrow on
this one. It's Groundhog Day.
PHIL
We were in the wrong spot
yesterday .
RITA
(irked)
What? Yesterday? What are you
talking about?
PHIL
Just trust me. Put the camera
here .
-33-
Rita looks at him like he's crazy, then looks at her watch and
gives up.
RITA
Larry!
She charges off toward the cameras.
In the Press Area, several reporters are already talking to
their cameras, dribbling on about how "He could appear any
second now." Rita and Larry grab their gear and rush back to
Phil.
Larry hurriedly sets up the camera.
LARRY
You want me to roll tape?
RITA
(to Phil)
Are you going to get on your
mark?
PHIL
No hurry.
Larry glances over at the other news reporters, all talking to
their cameras and pointing towards the mound.
LARRY
(desperately)
Everyone else is rolling!
Rita looks helplessly at Phil.
RITA
I'm begging you, all right?
Gould we please just do this?
Phil glances down at his watch.
PHIL
Okay, let's do it.
He crosses over to Larry and taps him on the shoulder.
PHIL
Roll tape.
LARRY
(mumbling)
Prima donnas.
Phil takes the microphone from Rita and positions himself
against the fence.
LARRY
Rolling.
-34-
Phil does a similar intro to the one he did before, though this
time it's a bit tentative.
PHIL
(to camera)
Well, it's Groundhog Day— again—
and you know what that means.
Everybody's here on Gobbler's
Knob waiting in the cold for the
appearance of the most famous
groundhog in the world,
Punxsutawney Phil, who's going to
tell us just how much more of
this we can expect.
The Groundhog Club Official knocks on the groundhog's door,
then opens it and retreats.
Phil takes a deep breath and makes his first experimental
prediction, recalling the previous day.
PHIL
My forecast is we're going to see
the groundhog peek its head out
of its hole, look around a little
bit, then he's going to come out,
scamper over to this general
area, look at the crowd for a
second, make a little burping
noise and run back into the
ground.
RITA
(whispers to Larry)
That's it. I'm going to kill
him.
Phil looks at his watch.
PHIL
Okay? And here we go—
Phil points to the hole and Larry zooms in.
The groundhog sticks his head out, looks left, looks right,
steps out of the hole, and runs away from the press pool,
directly over to Larry's camera. As he stands there, his body
casts a long shadow. The groundhog looks right into the
camera, lets out a squeak, and runs back into the hole.
Rita and Larry are completely amazed as the crowd cheers the
brief appearance of the groundhog. Larry pans back to Phil.
Phil just stands there speechless, staring at the groundhog
burrow.
-35-
RITA
(hisses)
Phil!
Buster Greene, the Groundhog club official, walks onto the
mound and hushes the crowd, exactly as before.
BUSTER
He came out, and he saw his
shadow. Sorry, ladies and
gentlemen, but it looks like it's
going to be a long winter.
Again the crowd lets out a good-natured "Awwwwww" in
disappointment.
Larry pans back to Phil just in time to see him walking away in
a fog, without signing off. Then he pans back to Rita.
RITA
(at a loss)
For Channel 9 News, this is Rita
Hanson in Punxsutawney.
She holds for a moment then makes the cut sign, drawing her
finger across her throat.
CUT TO:
INT; PHIL'S ROOM - LATER
Phil is on the phone desperately trying to make a call.
PHIL
(on the phone)
I know there's a blizzard, but I
have to get a call through to my
doctor in Pittsburgh. It's a
medical emergency. . . .No, don't
give me the Punxsutawney Fire
Department. When do you think
the long distance lines will be
working again?. . . But what if we
don't have a tomorrow? We didn't
have one today, my friend...
Hello...Hello?
He hangs up and shakes his head which is now really starting to
ache, then he pops a handful of Tylenol, lies down and pulls
the covers up over his head. A moment later, he sits up, takes
a pencil from the nightstand, breaks it in half and puts the
pieces back on the nightstand. Then he lies back down and
retreats back under the covers.
CUT TO:
-36-
CLOSE UP - CLOCK
The digital clock-radio changes from 5:59 to 6:00 AM. The
radio comes on, playing the end of the Sonny and Cher hit, "I
Got You, Babe," just as it did the day before.
Scene 11 - Phil's Destructive Rage
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 7
Phil sits up in bed fearing the worst and looks on the
nightstand. The pencil is whole again. Completely stunned by
the phenomenon, he jumps out of bed and starts dressing
hurriedly as the morning Deejays begin their now familiar rap.
DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today!
SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
Phil rushes out of the room.
CUT TO:
EXT. CHERRY STREET - LATER
Phil hurries toward the bed and breakfast carrying two gallon
buckets of paint, and a couple of big bags from a hardware
store.
INT. BED AND BREAKFAST - CONTINUOUS
Phil enters and passes Mrs. Lancaster in the breakfast room.
MRS. LANCASTER
Painting something, Mr. Connors?
PHIL
I ' m conducting an experiment.
INT. PHIL'S ROOM - LATER
Phil enters and dumps the bags on the bed. Out fall a couple
of big paintbrushes, a small sledgehammer, a handsaw, a
crowbar, plastic goggles and assorted other tools. He puts on
the goggles, grabs a hammer and some nails and starts nailing
the door shut.
CUT TO:
-37-
EXT. CORRIDOR - LATER
Mrs. Lancaster and several other guests are gathered in the
hall outside Phil's room, listening at the door and looking
very worried. Loud music is playing inside the room.
From inside the room, they hear the sound of loud hammering,
wood splintering and glass breaking.
INT. PHIL'S ROOM - CONTINUOUS
Phil, has demolished just about all the furniture and woodwork
in the room. He rips off the last of the wooden moldings with
the crowbar, then crosses to the mirror over the demolished
sink.
Phil stands there, staring at his image in the mirror, trying
to figure out what's happening to him. He starts breathing
heavier, as if gathering courage, then, just when we think he's
going to cut off his ear or something, he raises an electric
barber clipper and shaves a bald stripe up the middle of his
head. He studies his new look for a moment then smashes the
mirror with his sledgehammer.
Then he opens the cans of paint, dips the two big brushes into
the cans and starts slapping bright red paint onto the walls,
madly, feverishly, splashing himself and everything else in the
room with it.
As a final touch he grabs the bed pillows and rips them open,
then shakes them all around the room creating a storm of
feathers.
Finally, Phil falls exhausted on the bed. From outside we can
hear outraged hotel employees pounding on the door.
We pan over to the clock radio, the only undamaged object in
the room. Feathers drift down past the face of the clock which
reads 5:59 AM. The time changes to 6:00, the radio clicks on
and "I Got You, Babe" starts playing as we pan back to Phil
sleeping on the bed.
He opens his eyes, jumps out of bed and looks around. No
paint, no feathers, no damage. Everything is as clean and tidy
as the day he checked in.
He races over to the unbroken mirror and looks at himself. His
hair is completely restored, as if it had never been shaved.
The song ends and the deejays come on. Phil says every word
right along with them, shocked into a state of complete
wonderment.
-38-
PHIL AND DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today.
PHIL AND SIDEKICK
It's cold out there everyday.
What is this — Miami Beach?
The deejay laughs. Phil laughs insanely along with him.
CUT TO:
EXT . GOBBLER ' S KNOB - EARLY MORNING
Phil is wrapping up another groundhog report, trying to be
completely professional despite the circumstances.
PHIL
(with forced good
humor)
. . . S o according to Mr. Groundhog
I guess we can expect six more
weeks of winter. It's not very
scientific, but it sure is fun.
Hey, wait a second. If he's
right, I could be out of a job!
(mock laugh)
For Channel 9 News, this is Phil
Connors in Punxsutawney .
He holds until Larry stops tape, then approaches Rita.
PHIL
How was that?
RITA
(pleased)
It was good. A little smarmy for
my taste, but I guess that's what
sells.
PHIL
Could I talk to you about a
matter that is not work related?
RITA
You never talk about work.
PHIL
Do you know what I did last
night?
RITA
Do I want to know?
-39-
PHIL
I destroyed my hotel room.
RITA
You whatl This is not some kind
of rock and roll tour. We don't
have the budget for that—
PHIL
No, it's okay. This morning it
was all right again. That's what
I have to talk to you about.
RITA
Phil, what are you doing?
CUT TO:
EXT. MAIN STREET - A BIT LATER
Phil and Rita cross the street and walk past a crowd of
concerned citizens gathered around what looks like a car
accident. As an ambulance arrives, Phil and Rita enter the
cozy looking diner on the corner.
Scene 12 - Groundhog Day Dilemma
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 7
- Dialogue: 8
Phil and Rita sit together at the same table they had
previously. The WAITER approaches.
RITA
(to waiter)
Could I have some coffee, please?
The waiter pours her a cup.
WAITER
(exiting)
I'll be back to take your order.
RITA
Thanks.
(to Phil)
Okay, so tell me. How'd you know
where to put the camera?
PHIL
Because I've done it before.
RITA
I know, but the groundhog doesn't
do exactly the same thing every
year, does he?
-40-
PHIL
I ' m not talking about last year.
I ' m talking about today. I lived
it before.
RITA
You're having deja vu?
PHIL
Big time. Rita, I know it's nuts
but I keep reliving the same day
over and over— Groundhog Day—
today. This is the third time.
RITA
(completely skeptical)
Uh-huh. I'm waiting for the
punchline.
PHIL
No, really. It's like today
never happened. I shaved my head
last night, today its all grown
back. I could probably cut off
my limbs, one by one, and - pop!
They'd grow back. Just like a
starfish. I probably don't even
have to floss?
RITA
I'm wracking my brain, but I
can't even begin to imagine why
you'd make up something like
this.
PHIL
'Cause I'm not making it up. I'm
asking for your help.
Rita looks at him for a long moment.
RITA
Okay, I'll bite. What do you
want me to do?
PHIL
The truth? I'd 1ike you to spend
the next 24 hours with me and
don't leave my side for a second.
RITA
I see. You know, Phil, you can
charm all the little P.A.'s at
the station, all the secretaries,
and even some of the weekend
anchors, but not me— not in a
thousand years.
-41-
PHIL
Wait a second—
RITA
Not if I was dying and your
breath was the only cure; not if
having your child was the only
way to preserve the human race.
Just get it out of your head
because it is NOT GOING TO
HAPPEN!
PHIL
So much for the truth.
Larry pokes his head in the doorway, looks around, spots Rita
and makes his way over to their table.
LARRY
(to Rita)
You ready? We better get going
if we're going to stay ahead of
the weather.
RITA
Yeah, , I ' m . ready, Larry.
(exiting)
Good luck, Phil.
CUT TO:
INSERT
X-rays of Phil's skull are slapped up onto a light box.
INT. MEDICAL CLINIC - DAY
Phil is having his head examined by a NEUROLOGIST.
NEUROLOGIST
No spots, no tumors, no lesions,
no clots, no aneurisms.
Everything looks fine and dandy
to me, Mr. Connors. Have you
considered psychiatric help?
CUT TO:
INT. PSYCHOLOGIST'S OFFICE - DAY
Punxsutawney's only PSYCHOLOGIST is a marriage and family
counselor at the local Lutheran church. His appearance and
manner indicate he may have some serious problems of his own.
-42-
PSYCHOLOGIST
(not too confident)
That's kind of an unusual
problem, Mr. Connors. Most of my
work is with couples and
families.
Phil is lying on a couch. His head is completely shaved.
PHIL
Yeah, but you're still a
psychologist. You must have had
some course in school that
covered this kind of thing.
PSYCHOLOGIST
Sort of, I guess. Abnormal
Psychology.
PHIL
So based on that what would you
say?
PSYCHOLOGIST
(hesitant)
I ' d say that maybe you're — I
don't know* — a little delusional.
PHIL
You're saying this thing is not
really happening to me?
PSYCHOLOGIST
Uh-huh.
PHIL
Then how do I know this
conversation is really happening?
PSYCHOLOGIST
I guess you don't.
PHIL
Then forget about me paying you.
A discreet little alarm sounds.
PSYCHOLOGIST
(relieved)
I'm afraid that's all the time we
have, Mr. Connors.
PHIL
Wait! Are you saying I'm crazy?
-43-
PSYCHOLOGIST
(humoring him)
Not necessarily. If it concerns
you we should schedule our next
session as soon as possible.
How's tomorrow for you?
Phil glowers at him.
CUT TO:
INSERT - A MODEL OF THE SOLAR SYSTEM
A SCIENTIST in a white lab coat is holding up the model. Phil
looks on with interest.
SCIENTIST
(authoritatively)
Now if the moon exerts a
gravitational pull strong enough
to cause the tides, .then it may
be theoretically possible for a
Black Hole or a Singularity of
sufficient magnitude to actually
bend time enough to cause it to
fold back ,on itself.
PHIL
You think that's a realistic
possibility?
A paper airplane sails past his head, accompanied by a noisy
outburst of juvenile laughter. We pull back to REVEAL:
Scene 13 - Reckless Abandon
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 8
- Dialogue: 7
Twenty-five eighth-graders running amok.
SCIENTIST
(sternly)
All right! I think someone may
just need a little visit to the
Assistant Principal's office!
Get back in your seats. The bell
has not rung yet.
The kids sit back down, but keep up their noisy chatter.
SCIENTIST
(to Phil)
Well, I ' m speaking purely
hypothetically.
CUT TO:
-44-
INT. SCHOOL CORRIDOR - LATER
Phil is walking toward the exit when he passes a first grade
classroom. The door is open and the TEACHER is discussing a
story with the class.
TEACHER
So the princess picked up the
frog and kissed him.
Phil stops outside the door to listen.
INT. CLASSROOM - CONTINUOUS
TEACHER
Now who can tell me what happened
when the princess kissed the
frog.
LITTLE BOY
Her lips got slimed!
The whole class erupts in giggles and shrieks.
TEACHER
Okay, come on now. What happened
when she kissed the frog?
LITTLE GIRL
The princess kissed the frog and
the spell got broke and he turned
into a handsome prince and they
got married and lived happily
ever after.
TEACHER
That's right.
INT. THE CORRIDOR - SAME TIME
Phil is leaning against the wall listening. There is something
very arresting about the fairy tale, but finally he just shakes
his head and exits.
CUT TO:
INT. DEW DROP INN - LATER THAT NIGHT
Phil is at a bar getting drunk with two local blue-collar
workers, GUS and PHIL.
PHIL
Gus, what would you do if there
was no tomorrow?
-45-
GUS
You mean like if the world was
gonna end?
PHIL
No, I mean like if it was never
going to end. If everyday was
the same and you were stuck here
and you couldn't get out and
nothing you did mattered?
GUS
You're right. Everyday is the
same, I can't get out of here and
nothin' I do matters.
V RALPH
No, he's askin1 you a question,
ya idiot.
GUS
What was the question?
RALPH
What if nothing mattered?! Jeez,
I know what I'd do. I ' d j ust
spend all my time drivin' fast,
gettin1 loaded and gettin' laid.
That's it.
PHIL
That's it. It just doesn't get
any better than this, does it?
Good friends, good conversation
and quality brew. Drink up,
boys.
They salute each other and drink.
CUT TO:
EXT. THE STREET - LATER
Phil, Gus and Ralph approach Ralph's big, black, old Buick
convertible parked outside the bar. They are even drunker than
they were before.
RALPH
(fumbling with his
carkeys)
Where you stayin', Phil? We'll
drop you off.
PHIL
Hey, friends don't let friends
drive drunk. Give me your keys.
-46-
He's as wasted as they are, but Ralph hands over his keys
without a fight.
RALPH
Thanks , man .
PHIL
It's nothing. Get in.
They all pile into the front seat with Phil at the wheel.
PHIL
(starting the ear)
Seatbelts.
Ralph and Gus give him the thumbs up sign and start digging
around in the seat cracks for their seatbelts. Suddenly, Phil
floors the accelerator and peels away, sideswiping a parked car
as he screeches around the corner.
INT. THE BUICK - CONTINUOUS
Phil is having a great time. Gus and Ralph are whooping it up
like kids on a roller coaster.
PHIL
This is great, Ralph!
RALPH
Oh, hey, take a left!
Phil passes the intersection.
RALPH
You missed it!
PHIL
No problem —
EXT . MAIN STREET - CONTINUOUS
Phil throws the car into a high-speed, skidding U-turn, goes up
on the curb, across a couple of lawns, takes out a mailbox and
a STOP sign and bounces back onto the street.
A POLICE CAR parked in front of the hardware store pulls out
and takes off after him.
INT. THE BUICK - CONTINUOUS
Phil swerves in and out of oncoming traffic. Gus is starting
to look a little green.
PHIL
So many rules —
-47-
RALPH
You can say that again.
PHIL
"Don't do this—"
EXT. THE STREET - CONTINUOUS
The Buick demolishes a parked car.
PHIL (V.O.)
"Don't do that — "
He mows down a row of parking meters.
POLICE CAR
It comes screaming around a corner in hot pursuit of the Buick
INT. THE BUICK - CONTINUOUS
Ralph hears the siren and looks back at the police car.
All right! Try and stop us, you
mothers !
PHIL
No more rules!
RALPH
No more rules!
Scene 14 - Phil's Time Loop Begins
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 7
A second police car joins the chase.
RALPH
(looking back)
That's two!
PHIL
Having a good time?
RALPH
I'm having a great time!
Phil speeds up to a hundred miles and hour. Gus is looking
even worse from the liquor and the motion of the car.
GUS
Hey, uh —
PHIL
Phil.
-48-
GUS
Yeah, Phil— like the groundhog.
PHIL
Right.
GUS
Hey, Phil? How're we going to
get out of this?
THEIR POV - THE INTERSECTION AHEAD
Two police cars with lights flashing are parked sideways,
completely blocking the road. Officers stand in the roadway,
motioning for Phil to stop.
PHIL
(calmly)
Gus, you're just going to have to
trust me on this one.
He tromps the gas pedal to the floor. Gus's eyes go wide with
terror.
The police dive out of the way.
PHIL AND RALPH
Yahooooo!
THEIR POV - THROUGH THE WINDSHIELD
The Buick crashes head on into one of the police cars.
BLACK OUT:
CLOSE UP - CLOCK
The time changes from 5:59 to 6:00. The radio starts playing
"I Got You, Babe."
Phil sits up suddenly and looks around, completely amazed. He
is in his room at the bed and breakfast, everything exactly the
same as before. He hops out of bed and quickly examines
himself for signs of physical injury. Nothing. The music ends
and the two deej ays come on.
DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today.
Phil talks out loud along with them.
PHIL AND SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
-49-
The deejays laughs. Phil laughs, too, exhilirated at having
survived the car wreck, still very confused and perplexed, but
just beginning to see the possibilities of his unique
situation. He starts dressing in a hurry.
CUT TO:
INT. BREAKFAST ROOM - CONTINUOUS
Phil rushes into the breakfast room just as Mrs. Lancaster
comes out of the kitchen with the coffee. Everything is
exactly the same as before.
MRS. LANCASTER
Would you—
Phil interrupts, answering all her questions before she even
asks them.
PHIL
(urgently)
Yes, I would like some coffee;
the weather is going to be cold
and overcast with blizzard
conditions moving in later today;
and yes, I will be staying an
extra day.
MRS. LANCASTER
(baffled)
Why thank you.
PHIL
Mrs. Lancaster, has anyone been
around here looking for me this
morning? Maybe a state official,
blue coat, hat, gun, nightstick,
badge, driving a late-model Ford
br Chevy, black and white with
bubble lights on top—
MRS. LANCASTER
(shocked)
No, no one like that-- I .don't—
Will they be?
PHIL
(greatly relieved)
Apparently not.
Phil gooses her, grabs a sweet roll, and heads for the door,
starting to believe now that he can truly do anything he wants
to.
CUT TO:
-50-
EXT. BOARDING HOUSE - DAWN
Phil stops on the steps, puts on his coat and gloves and again
joins the traffic heading toward Gobbler's Knob.
EXT. MAIN STREET - MOMENTS LATER
Phil passes the old bum, ignoring him as usual.
NED (O.C.)
Hey, Phil!
Phil slips off his glove as Ned Ryerson lumbers toward him.
NED
Phil! Phil Connors!
PHIL
Ned! Ned Ryerson! Ned the Head!
Before Ned can say another word, Phil SLUGS HIM. Ned goes
down, Phil puts his glove back on and keeps walking.
Phil deftly avoids the slushy pothole he stepped in before. A
PEDESTRIAN walking behind him steps right into it.
CUT TO:
EXT. GOBBLER'S KNOB - LATER
Phil is passing through the crowd on his way to the press area
when he notices NANCY, the girl he met at the hotel bar, and
stops to talk to her.
PHIL
You here to see the groundhog?
She gives him a look. It's obvious she's never seen him
before.
NANCY
Can you think of another reason
anybody'd be out here at dawn on
a freezing day?
PHIL
What's your name?
NANCY
Nancy Taylor. And you are—
PHIL
Where'd you go to high school?
-51-
NANCY
What is this?
PHIL
(playful)
High school?
She really doesn't know what to make of Phil but she decides to
play along.
NANCY
Lincoln High school. In
Pittsburgh. Who are you?
PHIL
Who was your twelfth grade
English teacher?
NANCY
Are you kidding?
PHIL
I'm waiting.
NANCY
.Mrs. Walsh.
PHIL
Walsh. Nancy, Lincoln, Walsh.
NANCY
Is this some kind of come-on?
PHIL
I'm not really sure. We'll have
to see.
Phil walks off and joins Rita at their camera position.
CUT TO:
Scene 15 - Breakfast and Beyond
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
Phil is sitting at his usual table, which is covered with an
incredible variety of rich foods— eggs, bacon, sausage,
pancakes, pies, cakes, eclairs, ice cream, puddings, etc.
Rita sits across from him, watching in amazement as he stuffs
himself with pastry.
RITA
Is this some new fad diet? Don't
you worry about cholesterol?
Phil scrapes a plate and takes a final bite of a chocolate
eclair.
-52-
PHIL
I don't worry about anything
anymore.
RITA
What makes you so special?
Everybody worries about
something.
PHIL
That's exactly what makes me so
special.
He takes a big bite of cake. Rita shakes her head.
PHIL
(with his mouth full)
What?
RITA
"The wretch, concentered all
in self,
Living, shall forfeit fair
renown,
And doubly dying, shall go
down to the vile dust from
whence he sprung,
Unwept, unhonored, and
unsung." Sir Walter Scott.
PHIL
(stares at her for a
long moment)
"There was a young man from
Nantucket—"
RITA
That's really funny. When are
you going to grow up, Phil?
PHIL
At this rate-- never.
(he pulls out a pack of
cigarettes)
Okay if I smoke?
Rita shrugs. Phil lights up a cigarette.
RITA
You really do have a death wish,
don't you?
PHIL
Just the opposite, Rita. I have
a life wish. I'm just trying to
enjoy it. Taking pleasure in the
little things. Don't you ever
just want to cut loose and go
wild?
-53-
RITA
I wouldn't even know what it
means to go wild.
PHIL
Yeah, well, that's where I come
in. Going wild is one of my
specialties. Last night I got
completely loaded and drove head-
on into a police car.
RITA
(disbelieving)
Oh, really? You look pretty good
this morning.
PHIL
That's my point. I know you
won't believe me, but we could do
anything we want today and it
wouldn't matter one bit.
Absolutely no consequences.
Complete and total freedom.
RITA
And how. .,do we manage that?
PHIL
You leave that to me. Why don't
you send Larry back and hang out
with me for the rest of the day?
You never make it through that
blizzard anyway.
Larry enters the diner and spots them.
RITA
I'll take my chances with the
-weather. But you have a good
time.
PHIL
Don't worry. I plan to.
CUT TO:
EXT. GOBBLER'S KNOB - NEXT MORNING
Phil comes through the crowd and finds Nancy in the same spot
she was in the day before.
PHIL
Nancy?
Nancy turns and looks at him quizzically.
-54-
PHIL
Nancy, right?
NANCY
I'm sorry, I—
PHIL
Nancy Taylor? Lincoln High? I
sat next to you in Mrs. Walsh's
English class.
NANCY
That—
PHIL
Phil Connors.
NANCY
--is amazing!
PHIL
You don't remember me, do you?
NANCY
I don't— sure, I think—
PHIL
We used to shoot spit balls—
NANCY
Yeah, oh, God—
PHIL
I even asked you to the prom.
NANCY
Phil Connors.
PHIL
Yeah.
NANCY
How ARE you?!
PHIL
I ' m great. Wow, you look
terrific. Hey, listen, I gotta
do this report—
NANCY
You're a reporter?
PHIL
Weatherman. Channel 9,
Pittsburgh.
NANCY
Right, I should've known—
-55-
PHIL
But maybe after we could —
NANCY
Yeah, yeah, I ' d like that —
RITA (O.C.)
Phil!
Rita is calling from across the crowd. She looks at him with
disapproval .
CUT TO:
INT. PHIL'S ROOM - NIGHT
Phil is making passionate love to a WOMAN in the dark.
WOMAN
(moans)
Oh, Phil.
PHIL
Oh , Rita .
The woman suddenly freezes. There is a moment of silence, then
she snaps on the light. It's Nancy, not Rita. Phil is as
surprised as she is by his slip of the tongue.
NANCY
(cold)
Who's Rita?
PHIL
(caught)
No one. It's just something I
say when I make love. You know —
"Orita", "Orighta"-- it's like
"Oh, baby" or something.
NANCY
(not entirely
convinced)
Oh.
PHIL
(corrects her)
O-rita.
Nancy laughs uncertainly. Phil switches off the light,
thinking now about Rita.
CUT TO:
-56-
Scene 16 - Phil's Adventures
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
Some elderly GUESTS are sipping coffee and eating breakfast,
staring uncomfortably at something on the other side of the
room.
THEIR POV
Phil is standing at the bookcase, wearing only pajamas,
absently munching on a Danish as he reads from one of the
books.
Mrs. Lancaster approaches him.
MRS. LANCASTER
Isn't it a wonderful collection?
PHIL
(not looking up)
Yes, it is. You don't usually
find this many trashy novels in
one place.
MRS. LANCASTER
You can take a book up to your
room if you like.
PHIL
No, thank you. I've actually
read them all. I was just
rereading some of the dirty
parts.
He finishes and puts the book back on the shelf.
MRS. LANCASTER
(worried)
How long will you be staying with
us, Mr. Connors?
PHIL
Indefinitely. I've already been
here for 211 days.
MRS. LANCASTER
(humoring him)
Really? That's quite a long
time, isn't it. I hope you're
finding things to do in our
little town.
PHIL
(casually)
Yes, well, I'm getting a little
tired of casual sex so today I
thought I'd rob a bank and buy
myself a really expensive car.
-57-
Phil kisses her on the lips and walks off.
CUT TO:
EXT. PENN BANK AND TRUST - DAY
Two harmless-looking old GUARDS are calmly loading bags of cash
into an armored car parked in front of a local bank. Suddenly
Phil appears, wielding a shotgun, wearing a Batman style cape,
his face completely hidden by a ski mask.
PHIL
(shouts)
All right, freeze!! Drop your
guns J!
The guards stand there frozen with terror.
PHIL
You guys ever been held up
before?
(they shake their
heads)
It's kind of exciting, isn't it?
FIRST GUARD
(frightened)
I guess so. Something to tell
the kids about.
PHIL
Yeah. By the way, I'm Phil.
He raises the mask and shows his face.
FIRST GUARD
Herman.
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 :
Scene 17 - Persistent Pursuit
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
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:
Scene 18 - A Flirty Winter Romp
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
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. Larry's
working on it.
PHIL
Wouldn't you know it. Buy you a
drink?
RITA
Okay.
PHIL
(to the bartender)
Tequila with lime, gold if you've
got it.
Rita looks at Phil, surprised.
BARTENDER
For you miss?
RITA
Same for me, please.
The BARTENDER pours.
PHIL
(to Rita)
What should we toast to?
RITA
Your call.
PHIL
To the groundhog!
Rita stares for a moment.
RITA
I always drink to world peace.
CUT TO:
SAME SCENE - ANOTHER DAY
BARTENDER
Take your order?
PHIL
Tequila with lime, gold if you've
got it.
Rita looks at Phil.
, BARTENDER
For you, miss?
-66-
RITA
Same for me, please.
The BARTENDER pours.
Phil lifts his glass.
PHIL
To world peace.
Rita smiles, reevaluating him.
RITA
To world peace.
They clink glasses.
CUT TO:
INT. THE BAR - LATER
Rita and Phil are now sitting together at a table, a plate of
cheese and crackers and a bottle of white wine between them.
PHIL
You like your job?
RITA
It's okay. I think it could be
really challenging. Of course
it's about a million miles from
where I started out in college.
PHIL
You weren't in broadcasting?
RITA
At Bryn Mawr? No, uh-uh.
"Believe it or not, I studied
Nineteenth Century French Poetry.
PHIL
(laughs good-naturedly)
Really? What a waste of time.
Rita looks offended. Phil knows he made a mistake.
CUT TO:
SAME SCENE - ANOTHER DAY
PHIL
You weren't in broadcasting?
-67-
RITA
At Bryn Mawr? No, uh-uh.
Believe it or not, I studied
Nineteenth Century French Poetry.
Phil leans in closer to her.
PHIL
La fille qui j'aimera
Sera comme bon vin
Qui se bonifiera
Un peut chaque matin.
Rita smiles, entranced.
CUT TO:
INT. FUDGE SHOP - DAY
Phil and Rita are sitting at a table in a small confectionery,
tasting chunks of different flavored fudge. Rita takes a bite
RITA
This is terrific.
PHIL
Best fudge in town.
RITA
How do you know so much about
Punxsutawney?
PHIL
I like small towns. I think they
engender real community more than
big cities.
RITA
That is so true! I've always
thought that, too.
PHIL
No kidding. Here— try the white
chocolate.
RITA
Oh, yuk, don't make me sick.
PHIL
(making mental note)
No white chocolate.
RITA
There's something so familiar
about this. Do you ever have
deja vu?
Phil smiles. Then Larry enters.
-68-
LARRY
(irate, to Rita)
I don't believe it. Someone
bought every distributor cap in
this town. We're going to be
stuck here all night1
Over Phil's sympathetic look we hear the song, "I Can't Get
Started With You".
CUT TO:
INT. THE BERGHOF RESTAURANT - NIGHT
The music continues over Rita and Phil on the small dance
floor. They dance, close, dreamy, romantic.
CUT TO:
EXT. MAIN STREET - LATER THAT NIGHT
There is a light snow falling. Phil and Rita are making a
little snowman. Somehow the town looks magical tonight— old
fashioned, wholesome.
A snowball hits Phil in the back. He and Rita turn around to
see a giggling KID. Phil packs a snowball and tosses it. The
kid throws one back. Rita and Phil both get into it, packing
snowballs and getting into a war with this kid and his little
gang of friends.
A snowball catches Rita unaware, she slips and goes down in a
snowbank. Phil bends down to help her and slips. They are no
together, lying in the snow, laughing. Their eyes lock for a
long sweet moment, then Rita gets embarrassed and stands up.
CUT TO:
Scene 19 - Heartfelt Rejection
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
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:
Scene 20 - Groundhog Day: Phil's Unveiled Persona
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Phil is walking through the crowd. He spots Nancy, walks up to
her and greets her half-heartedly .
PHIL
Hi, Nancy.
NANCY
(pleasantly)
Hi. Do I know you?
Phil can't manage enough enthusiasm to pursue her yet again.
PHIL
No, I guess not. I thought you
were someone else.
Phil wanders over to where Rita and Larry are setting up the
camera. Rita comes over to him.
RITA
Are you all right, Phil? You
look terrible.
Phil looks at her sadly, then turns away.
PHIL
(vacantly)
I'm fine.
CUT TO:
INT . BIKER BAR - NIGHT
The balls CRACK as the cue ball breaks the rack.
Phil is walking around the table, cue in hand, sinking ball
after ball, while several admiring HUSTLERS look on.
FIRST HUSTLER
Who is this guy?
-73-
SECOND HUSTLER
I don't know. Hey, mister—
(Phil doesn't stop
shooting)
Who are you, anyway?
Phil shoots, sinks a tough one.
PHIL
You don't know me? I've been
playing here every day for two
months.
FIRST HUSTLER
Oh, yeah? So how come I ain't
seen you?
PHIL
I don't know. I seen you.
SECOND HUSTLER
So what's your name?
PHIL
They call me— Punxsutawney Phil.
SECOND HUSTLER
Punxsutawney Phil? Like the
groundhog.
PHIL
Yeah, like the groundhog.
Phil sinks another one.
CUT TO:
EXT. GOBBLER'S KNOB - DAWN
The crowd is waiting expectantly for the groundhog to appear
Phil is a wreck, squatting unprofessionally in front of the
camera.
PHIL
(cynically)
This is one of the most pitiful
spectacles known to civilization.
With one nod from a filthy rodent
best known to pest control
agencies, a moribund old coal
mining hamlet turns magically
into the Lourdes of Pennsylvania,
Mecca to thousands of people who,
if they hated the winter so
damned much, why don't they move
to Florida, anyway?
-74-
Larry and Rita look on, incredulous.
. CUT TO:
CLOSE UP - TV SET
The program JEOPARDY! is playing.
ALEX TREBECK
(on TV)
Nobel prize-winning co-
discoverers of the DNA molecule.
PHIL (O.C.)
Who are Watson and Crick.
CONTESTANT
(on TV)
Who are Watson and Crick?
ALEX
(on TV)
Correct.
There is a cheering from a small group of people off-screen.
INT. PARLOR - CONTINUOUS
Phil is sitting in his bathrobe in a big lounge chair in the
parlor of his hotel. Mrs. Lancaster, and other guests watch
his performance, awed by his "intellect."
ALEX
(on TV)
Twin brother and sister Sebastian
and Olivia create confusion in
this Shakespearean comedy.
PHIL
What is "Twelfth Night."
CONTESTANT
(on TV)
What is "Twelfth Night?"
ALEX
(on TV)
Correct.
More cheering from the small group.
CONTESTANT
(on TV)
I'll take New Jersey for eight
hundred, Alex.
-75-
ALEX
(on TV)
And the answer is— an audio
daily double.
PHIL
Count Basie.
CUT TO:
Scene 21 - Groundhog Day Madness
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 6
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.
-78-
She leaves.
CUT TO:
EXT. CIVIC CENTER - DAY
Phil passes a pedestal bearing a life-size bronze statue of the
groundhog and enters the public library.
INT. LIBRARY - CONTINUOUS
Phil walks past the front desk looking very haggard and
dangerous, and enters the children's section. No one is
present except the CHILDREN'S LIBRARIAN, a young woman,
reshelving books in the stacks. He looks around quickly and
sees a window in the wall and over it a large sign which reads:
"Punxsutawney Phil - The Great Prognosticates"
Phil heads right for it.
The groundhog scurries around his little temperature-controlled
habitat, oblivious to the approaching danger.
As Phil approaches the groundhog display, he reaches into his
overcoat and pulls out a pump shotgun with a short pistol grip.
The children's librarian sees the gun and freezes.
Phil pumps a shell into the chamber as he walks right up to the
case.
PHIL'S POV
The groundhog looks right into his sights.
Philsqueezes the trigger. LOUD GUNSHOT.
The glass window is still intact, not a scratch on it. The
groundhog looks up playfully.
Phil fires off four more rounds but, again, no results. Phil
can't believe it. He charges the glass and pounds it with the
rifle butt. He can't even chip it. Suddenly he is seized from
behind by TWO STRONG MEN who take the rifle from him and
wrestle him to floor.
The librarian comes running up and looks at the groundhog.
BYSTANDER
Is he all right?
LIBRARIAN
He's just fine. That's two
inches of bullet-proof glass
there. You can't be too careful
in this day and age.
-79-
CUT TO:
EXT. GOBBLER'S KNOB - DAWN
The groundhog is just poking his head out of the hole. He
stands full height and looks around.
Phil looks directly at the groundhog with hate and scheming
madness.
Suddenly, Phil whips out a big kitchen knife from under his
icoat and dives at the groundhog. Town officials and police
throw themselves on Phil as the groundhog scampers safely back
into his hole.
Rita and Larry videotape the incident, aghast at Phil's insane
attack.
CUT TO:
Scene 22 - Phil's Downward Spiral and Demise
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 6
Larry and Rita are loading their equipment back into the van.
Rita spots Phil standing on the other side of the crowd,
staring at her. She marches straight over to him, furious.
RITA
Where were you this morning? How
could you possibly miss the
shoot?
PHIL
(at the end of his
rope)
I've come to the end of me, Rita.
There's only one way out now.
Just remember/we had a wonderful
day together once.
Phil kisses her gently on the cheek and walks off toward the
back of the knob. Rita watches him, then follows at a discreet
distance, very worried.
In a small clearing behind the man-made groundhog burrow,
Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS are
lifting a cage into the front seat of Buster's pickup.
BUSTER
(to the groundhog)
There you go, ol' buddy. Good
job. Hey! He smiled at me. See
that?
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.
-84-
Suddenly, the doors burst open and Phil comes running out of
the bank screaming, dressed in camouflage fatigues and armed to
the teeth with an assault rifle in one hand, an Uzi in the
other and a couple of handguns stuck in his belt. He doesn't
get three feet before he is shot down in an incredible hail of
gunfire.
Rita stands beside the camera gaping in horror while Larry
records the grisly massacre.
Scene 23 - Phil's Revelation
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
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)
" . . . stay ahead of the weather. "
Larry looks at the paper.
LARRY
What ' s that?
Rita looks at Phil with new understanding and empathy.
CUT TO:
Scene 24 - A Day with Phil
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 7
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:
Scene 25 - Late Night Confessions
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
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)
I don ' t think I ' d want to know
everything that ' s going to
happen. I like to be surprised.
PHIL
That's not the worst part.
RITA
What's the worst part?
PHIL
The worst part is starting over
everyday. Tomorrow you won't
remember any of this. You'll go
back to treating me like a
complete jerk —
RITA
No —
PHIL
It's not your fault. I am a
jerk.
-94-
RITA
No, you're not.
PHIL
Okay, I ' m not. It really doesn't
make a lot of difference. I've
killed myself so many times, I
don't even exist anymore. I'm
just completely empty.
RITA
Or completely clean.
PHIL
If you're going to be this
positive all the time I may have
to rough you up a little.
RITA
Wait! Have we done this before?
PHIL
Which part?
RITA
You getting me up here, the card
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
disappear— or I was or
something.
PHIL
Not 'til six.
RITA
You rat!
-96-
She is mad in a playful way.
PHIL
I never said midnight—
RITA
You knew I was waiting for
midnight!
PHIL
But I never said it.
RITA
Oh, I can't believe you!
(she slugs him with a
pillow)
I didn't know this was going to
take all night!
PHIL
Does that mean you're going?
RITA
No.
Phil takes Rita's hand. She doesn't resist.
DISSOLVE TO:
LATER
Rita is now sitting right next to Phil on the bed, her head
resting on his shoulder. She nods off then catches herself.
RITA
I'm sorry.
PHIL
It's okay to go to sleep you
know. I promise I won't touch
you— much.
RITA
No, it's all right. I'm not
tired. What were you saying?
Her eyes start to close again.
PHIL
I was saying that the cow was
eventually returned to it's
rightful owner.
RITA
(drifting off)
Really?
-97-
PHIL
That's right.
He looks at her, sees she's truly asleep, and gently maneuvers
her into a comfortable reclining position on the bed. Then he
carefully puts a pillow under her head and settles down next to
her.
PHIL
What I was going to say was, I
think you're the kindest,
sweetest, prettiest, most
wonderful girl I ever met in my
life.
She starts to stir but he gently kisses her back to sleep.
PHIL
Shhhh. That's good.
(satisfied she's still
asleep)
I could never tell you this, but
from the first minute I looked at
you I wanted to just hold you
close and be with you forever.
iEverytime I -saw you around the
station, I thought my heart was
going to explode. I used to
dream about us being together.
In my dream you loved me as much
as I loved you and we didn't have
to say anything but I knew you
understood everything.
She stirs again but he kisses her until she returns to deep
sleep.
PHIL
I know a guy like me could never
deserve to have someone like you,
but if I did, I swear I would
love you for the rest of my life.
Rita opens her eyes.
RITA
(half-asleep)
Did you say something?
PHIL
Good-night, Rita.
He kisses her gently on the forehead.
RITA
Good-night, Phil.
-98-
C LOSE UP - THE CLOCK
The time changes from 5:59 to 6:00. The radio starts playing.
Phil wakes up alone in bed. He lies there for a moment then
leaps out of bed like a man reborn and heads straight for the
shower.
CUT TO:
Scene 26 - Groundhog Day Preparations
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
Rita and Larry are in the packed press area, beginning to set
up the equipment.
Phil arrives, carrying two cups of coffee.
PHIL
Rita?
She looks at him without a trace of the rapport they shared the
night before.
RITA
Oh, hi, Phil.
PHIL
Thought you might like some—
He hands her the coffee.
RITA
Thanks!
PHIL
Careful, it's hot. Larry?
He hands Larry a cup.
LARRY
(surprised, mutters)
Yeah, great.
RITA
We're just setting up.
PHIL
You know, I bumped into Buster
Greene, he kind of runs this
thing, and he tipped me off that
we might get a better shot over
there.
RITA
Really?
-99-
PHIL
I mean, maybe we should go for
it. What do you think?
RITA
Sounds good to me. Larry?
LARRY
Sure, why not?
RITA
All right. Thanks, Phil. Good
work.
She reaches for an equipment case.
PHIL
I'll get that.
Phil helps Larry carry the camera gear.
PHIL
(to Larry)
You and I never talk, Larry. You
got kids?
Larry looks suspicious. Rita looks on, reevaluating Phil.
CUT TO:
INT. LIBRARY - DAY
Phil enters the library, approaches the Librarian.
PHIL
Where would I find the Philosophy
section?
LIBRARIAN
Down and to the left, 600's.
Phil walks through the stacks, past the groundhog window.
CUT TO:
EXT. A HOUSE - DAY
Phil rings the doorbell. A kindly young woman, MARY, answers
MARY
Yes?
PHIL
I ' d like a piano lesson, please.
-100-
MARY
Oh. Okay, I ' m with a student
now, but —
PHIL
I'll give you a thousand dollars.
Mary hesitates only a moment, then ushers Phil into the house
and closes the door.
A moment later the door opens and a LITTLE GIRL with an armloa
of music books exits as if pushed. The door closes behind her.
CUT TO:
INT. HALLWAY - DAWN
Phil walks happily down the hallway. He passes the chubby man.
CHUBBY MAN
Morning.
PHIL
Buon Giorno, signore.
/ : '.. '•-
CHUBBY MAN
Think it ' 11 be an early Spring?
PHIL
"Winter slumbering in the open
air wears on his smiling face a
dream of Spring."
CHUBBY MAN
Oh.
CUT TO :
INT. MARY'S HOUSE - DAY
Phil and Mary are sitting together at the piano. Phil is
playing, poorly.
MARY
Not bad, Mr. Connors. You say
this is your first lesson?
PHIL
Technically, yes.
Phil plays on, definitely improving.
CUT TO:
-101-
INT. LIBRARY - DAY
We see several cuts of Phil studying at the library.
SUPERED over these cuts is a calendar with the pages flipping
by. They all read "February 2 . "
CUT TO:
EXT. GOBBLER'S KNOB - DAWN
Phil stands in front of the camera, giving his report.
PHIL
In fact, the groundhog's
legendary ability to predict the
weather may be more than just the
German folklore of the region.
Higher temperatures trigger
hormonal changes in the
testosterone levels of male
groundhogs, which may in fact
wake them from hibernation and
send them out to battle with
other males ;for mating rights.
So, the truth is they're not
looking for their shadows,
they're looking for groundhog
chicks.
Rita looks on, clearly delighted with the report.
CUT TO:
INT. MARY'S HOUSE - DAY
Phil is playing the piano with ever increasing skill as more
February 2 calendar pages flip by.
CUT TO:
EXT. GOBBLER'S KNOB - DAWN
Phil is delivering another report.
-102-
PHIL
Groundhog Day, February second,
also known as Candlemas Day or
the Feast of the Purification of
the Virgin Mary, the day Mary
first came to the temple for
ritual blessings following the
birth of the infant Jesus, and
celebrated since the Middle Ages
by the sacramental lighting of
candles. Hence the old Scottish
couplet which long predates the
.American groundhog tradition: "If
Candlemas dawns bright and clear,
there'll be two winters in the
year."
Larry whispers an aside to Rita.
LARRY
Is he making this stuff up?
RITA
(riveted)
Shhhhh.
CUT TO:
Scene 27 - Philosophical Reflections in a Winter Cemetery
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 7
Beyond the graveyard is a work shed with various tombstones
scattered about. Old TUCKER, the town stonecarver, is at work
chiseling a name into a gravemarker.
Behind him, Phil is chipping away at a small hunk of marble,
sculpting a very lovely cherub.
Rita sits on a stool eating an apple and sipping hot tea
watching him with amazed interest.
PHIL
But what if the rules changed?
What if none of your actions had
consequences?
RITA
There would still be an absolute
morality. There has to be an
absolute good, regardless of the
circumstances.
PHIL
Oh, is that so, Miss Plato? Then
let me ask you this. Where does
this "absolute good" come from?
From the sky?
-103-
Rita shrugs.
RITA
I don't know. From my freshman
Philosophy course, I guess.
They both laugh. Then she looks at him for a long moment and
grins.
PHIL
What?
RITA
Nothing. I just can't believe
you're such a fine sculptor.
Phil takes a bite of her apple and gets up.
PHIL
I gotta go.
RITA
Where do you have to go in
Punxsutawney?
PHIL
I got piano and then drums.
RITA
Here?
PHIL
Come on, I'll drop you off.
They exit.
CUT TO:
EXT. MAIN STREET '••-.. LATER
Phil drops Rita off and watches as she crosses the street to
Larry who is waiting on the other side.
Across the street, Rita takes a wistful glance toward Phil,
then gets in the news van and drives off.
Phil gets out of the car and starts walking, but finds himself
face to face with Ned Ryerson.
NED
Phil! Phil Connors! I thought
that was you!
PHIL
Ned? Ned Ryerson! I don't
believe it. I've missed you so
much.
-104-
Phil gives Ned a big hug and keeps holding on for an
uncomfortably long time, actually giving Ned a hickey on the
neck. Ned goes into homophobic shock.
NED
Uh, I gotta get going. Nice to
see you, Phil.
He hurries off.
CUT TO:
INT. MARY'S HOUSE - DAY
Phil is sitting on the piano bench with Mary, playing pretty
well. Mary is astonished.
MARY
How long have you been studying,
Mr. Connors?
PHIL
One day. I'm gifted.
CUT TO:
EXT. STREET - DAY
Phil is walking down the street. He glances down the alley as
he passes, stops, walks back and enters the alley. The OLD BUM
that Phil never noticed before is lying there, huddled against
a wall. Phil goes to help him.
PHIL
Hey, mister. Hey. Come on,
let's get you somewhere warm.
The old bum turns to look at Phil, then closes his eyes.
PHIL
(helps the old man to
his feet)
There you go.
Phil practically carries him out of the alley.
CUT TO:
INT. HOSPITAL EMERGENCY ROOM - NIGHT
A nurse approaches Phil.
NURSE
You the one brought in the old
man?
-105-
PHIL
How is he?
NURSE
He passed away just now.
Phil pauses for a long moment.
PHIL
What'd he die of?
NURSE
(shrugs)
He was just old. It was his
time.
PHIL
I want to see his chart. Excuse
me.
Phil brushes past her and makes for the big double doors
leading to triage.
NURSE
Sir, you can't —
(hurrying after him)
Look! Some people just die!
PHIL
Not on my watch.
CUT TO:
INT. DINER - MORNING
Phil is propping up the old man at a table, trying to feed him
hot soup.
CUT TO:
INT. HOSPITAL - DAY
Phil is furiously looking over X-rays, flipping through medical
journals and making notes.
CUT TO:
EXT. ALLEY - NIGHT
Phil is in the alley, shaking the old man, trying to rouse him.
PHIL
Come on . Hang on . Hang on ,
there . Breathe .
-106-
Phil stops. The body lies, unmoving. Phil sits back,
breathing heavily.
CUT TO:
EXT. GOBBLER'S KNOB - DAWN
Phil is delivering his report. Everyone there is silent and
listening to Phil. Even the other reporters have turned their
cameras on him.
PHIL
...When Chekhov saw the long
winter, it was a winter bleak and
dark and bereft of hope; and yet,
we know winter's only one more
step in the cycle. And standing
among the people of Punxsutawney —
(Phil looks directly at
Rita)
— basking in the warmth of their
hearths and hearts, I couldn't
imagine a better fate than a long
and lustrous winter.
Phil smiles. Rita smiles, too.
PHIL
For Channel 9 news, I ' m Phil
Connors.
There is much applause. Even Larry brushes away a tear.
Phil hands the microphone to Rita.
RITA
Phil—
PHIL
Sorry. I'm gonna be late.
Phil rushes off.
RITA
Late for what? Phil?
(To Larry)
Could you break it down and wrap
out of here by yourself, Larry?
LARRY
Sure .
RITA
Thanks .
-107-
Rita rushes off after Phil.
CUT TO:
Scene 28 - The Good Samaritan
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Phil walks briskly toward an intersection, glancing nervously
at his watch. Rita follows him at a distance, hurrying to keep
up.
MARIE, a little nine-year-old girl, approaches the intersection
shielding her brand new puppy under her winter coat. She isn't
paying attention to traffic and fails to notice a big truck
bearing down on her.
As she steps off the curb, Phil arrives and, with split-second
timing, nonchalantly but firmly grabs her coat to hold her
back, just as the big truck rushes past in the street, narrowly
missing her.
PHIL
Hey! Did you forget to look both
ways? You didn't even look one
way.
MARIE
My doggie was cold.
PHIL
Yeah, well, my doggies are
freezing, but I ' m still gonna
watch out for cars. See you
around, kid.
Phil looks at his watch and rushes off.
Rita looks on amazed and follows him at a distance.
CUT TO:
INT. BERGHOF RESTAURANT - DAY
Phil enters the crowded restaurant and pushes past all the
people waiting to be seated. He walks casually but quickly and
purposefully around the tables, squeezing past busy waitresses
and seated patrons toward a commotion in the back of the
restaurant.
TWO BUSINESSMEN are leaning over a THIRD.
BUSINESSMAN
Oh, my God! He's having a heart
attack!
SECOND BUSINESSMAN
Lay him down!
-108-
BUSINESSMAN
What do I do? He's not
breathing1
SECOND BUSINESSMAN
He's turning blue! Help!
Phil walks straight up to the BLUE-FACED MAN, grabs him from
behind, gets him in the Heimlich grip and squeezes sharply.
A bolus of food flies across the room. The victim coughs and
sputters, then starts breathing again.
FIRST BUSINESSMAN
Jerry, you okay?
SECOND BUSINESSMAN
I think that did it.
Phil lets go of the grateful victim.
PHIL
If you're going to eat steak, get
better teeth, will you? Enjoy
the rest of your lunch, gents.
He exits.
JERRY
Wow. Who was that guy?
Phil gets to the door and finds Rita standing there, looking at
him in awe.
PHIL
Rita!
.RITA
(confronting)
-Okay, hold it right there. I
want to know what' s going on and
I want to know right now.
PHIL
I'm sorry, I'm really pressed
right now. Meet me outside the
hospital about 5:00 and we'll
talk about it.
RITA
The hospital?
Phil looks at his watch and rushes away.
PHIL
Try the curlycue fries. Killer.
CUT TO:
-109-
INT. HOSPITAL CORRIDOR - LATER
A gurney bursts through the double doors, paramedics and nurses
in attendance. The patient is a teenage girl, JANEY, totally
unconscious.
INT. EMERGENCY ROOM - CONTINUOUS
The gurney is wheeled into the surgery.
NURSE
Looks like insulin shock. She's
probably diabetic.
Phil enters wearing a doctor's scrub suit and begins barking
orders.
PHIL
She's not diabetic. It's an
overdose. Let's get her up here
and pump her stomach, then I want
a complete blood work-up, STAT.
NURSE
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.
-111-
PHIL
Yeah, you and me both. Come on,
We're almost done.
CUT TO:
Scene 29 - Nightly Vigil
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
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:
Scene 30 - Wedding Reception Surprise
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
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:
Scene 31 - A New Beginning
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
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!
-118-
RITA
(stretching
luxuriously)
Mmmm. Morning.
Phil pounces on Rita, showering her with kisses.
PHIL
You're here! My god! I can't
believe you're here!
RITA
Glad to see you, too.
PHIL
No! It's happened. Don't you
get it? It's tomorrow! It's —
Phil turns on the radio.
DEEJAY
. . . still shoveling put the
highways, but if you're walking,
it's a beautiful day.
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.
-1 1 9 -
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.
Scene 32 - Phil and Rita's Celebration on Main Street
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
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
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| phil connors | Phil Connors starts off as a self-absorbed and detached weatherman who is resistant to change. However, as he navigates the time loop, he undergoes significant character growth and personal reflection. He transitions from being cynical and sarcastic to embracing the opportunities for self-discovery and growth. Through his journey, he learns to form meaningful connections and break free from societal expectations, ultimately finding freedom and fulfillment. | The character arc for Phil Connors is well-developed and engaging, showcasing a clear transformation from cynicism to self-discovery. However, there could be more emphasis on the internal struggles and emotional depth that Phil experiences throughout the screenplay. Additionally, the transition from resistance to acceptance could be further explored to add more depth to his character development. | To improve the character arc, consider incorporating more internal monologues or moments of introspection for Phil to showcase his emotional journey. Explore his vulnerabilities and fears in greater detail to add complexity to his character. Additionally, focus on the gradual shift in his attitude towards the time loop and highlight the pivotal moments that lead to his transformation. This will enhance the audience's connection to Phil and make his character arc more impactful. |
| rita hanson | Rita starts off as a skeptical and practical producer who challenges Phil's carefree attitude. However, as she gets to know him better, she becomes more open-minded and understanding of his situation. Through their interactions, Rita learns to value honesty and authenticity more, leading to a shift in her perspective and a deeper connection with Phil. | The character arc for Rita is well-developed, but it could benefit from more internal conflict and growth. Adding moments of self-reflection or personal struggles could make her transformation more impactful and relatable to the audience. | To improve the character arc, consider incorporating scenes where Rita grapples with her own beliefs and values, leading to a deeper understanding of herself and her relationships. Show her confronting her own vulnerabilities and insecurities, which ultimately contribute to her growth and change throughout the screenplay. |
| phil | Phil's character arc follows his journey from a cynical and selfish weatherman to a compassionate and selfless individual. Through the time loop, he learns the value of time and redemption, ultimately realizing the importance of genuine connection and meaning in his life. His transformation is marked by introspection, growth, and a deep longing for a meaningful relationship with Rita. | The character arc for Phil is well-developed and engaging, showcasing his evolution from a self-centered individual to someone who values empathy and connection. However, to enhance the arc, it could be beneficial to further explore the internal struggles and conflicts that Phil faces as he navigates the time loop. This could add depth to his character development and provide more insight into his emotional journey. | To improve the character arc, consider incorporating more moments of internal conflict and self-reflection for Phil. Showcasing his vulnerabilities and insecurities in a more nuanced way can help the audience empathize with his journey and root for his growth. Additionally, exploring the impact of his actions on those around him, particularly Rita, can add layers to his transformation and highlight the importance of genuine connection in his life. |
| rita | Rita starts off as a professional and grounded individual who is initially skeptical of Phil but gradually warms up to him as she witnesses his growth and sincerity. She challenges Phil's beliefs and behavior, ultimately helping him confront his flaws and grow as a person. Rita learns to trust and love again, opening her heart to new experiences and connections. | The character arc for Rita is well-developed, showing her evolution from skepticism to trust and love. However, there could be more depth added to her internal struggles and conflicts, especially in relation to her past experiences that make her hesitant to trust Phil. Additionally, more emphasis could be placed on Rita's personal growth and how her interactions with Phil impact her own beliefs and values. | To improve the character arc for Rita, consider delving deeper into her backstory and past experiences that shape her skepticism and reluctance to trust Phil. Show more internal conflict and emotional turmoil as she navigates her feelings for Phil and confronts her own vulnerabilities. Additionally, explore how Rita's growth and development parallel Phil's journey, highlighting the interconnectedness of their character arcs. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| High Emotional Impact Scenes Often Move the Story Forward | |
| Scenes with High Stakes Also Receive High Scores for Conflict. | |
| Scenes with a High Overall Grade Are Likely to Score Well Across Most Categories | |
| Dialogue is Often a Strength in Scenes with a High Overall Grade | |
| Scenes 10 and 14 Received High Character Change Scores | |
| Scenes with Whimsical Tone are Often Highly Imaginative and Creative |
Writer's Craft Overall Analysis
The screenplay showcases a strong foundation in storytelling, with engaging dialogue, well-developed characters, and a unique voice. The writer effectively blends humor, emotion, and introspection, creating memorable and engaging scenes. However, there are opportunities to further enhance the craft in areas such as structure, pacing, and thematic depth.
Key Improvement Areas
Scene Structure and Pacing
Some scenes lack a clear narrative structure and pacing, leading to inconsistencies in the flow and impact.
Character Development and Motivation
While the characters are well-introduced, deeper exploration of their motivations and emotional journeys can add complexity and resonance.
Thematic Exploration
The screenplay touches upon interesting themes, but further development and integration throughout the narrative can elevate the overall impact and depth.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Screenplay | Read 'Save the Cat!' by Blake Snyder for insights on story structure and character development. | This book provides practical guidance on building a strong narrative foundation and crafting compelling characters. |
| Book | Study 'The Writer's Journey' by Christopher Vogler to enhance thematic exploration and mythological storytelling techniques. | This book offers a deeper understanding of the archetypes, themes, and structures that drive compelling narratives. |
| Exercise | Practice writing character profiles that explore motivations, backstories, and emotional conflicts.Practice In SceneProv | These exercises will help develop the depth and complexity of characters, making them more relatable and compelling. |
| Exercise | Engage in scene-writing drills where you focus on creating clear goals, stakes, and conflicts within each scene.Practice In SceneProv | This practice will improve the structure and pacing of scenes, ensuring they drive the narrative forward effectively. |
| Exercise | Conduct a thematic analysis of your screenplay, identifying key themes and exploring how they are woven into the narrative.Practice In SceneProv | This exercise will help refine the thematic focus and ensure it resonates throughout the screenplay, adding depth and meaning. |
Additional Notes: The writer's unique voice and ability to create engaging moments are evident throughout the screenplay. With continued development in storytelling techniques and thematic exploration, the writer has the potential to craft even more compelling and impactful screenplays.
Stories Similar to this one
| Story | Explanation |
|---|---|
| Groundhog Day: The Video Game | A video game adaptation of the film, where the player controls Phil Connors as he relives the same day over and over again, interacting with characters and solving puzzles in order to escape the time loop. |
| Edge of Tomorrow | A science fiction film where a soldier relives the same day over and over again during an alien invasion, using his knowledge of the events to improve his chances of victory. |
| Russian Doll | A comedy-drama television series where a woman relives the same day over and over again and explores the consequences of her choices and the nature of her relationships. |
| The Time Traveler's Wife | A novel and film adaptation where a man has a genetic disorder that causes him to involuntarily travel through time, leading to complications in his personal and romantic relationships. |
| Primer | A low-budget science fiction film where two engineers invent a device that allows them to travel through time, but must grapple with the ethical and paradoxical consequences. |
| Memento | A psychological thriller where a man with anterograde amnesia must use clues and tattoos on his body to uncover the truth about his wife's murder, living each day with no memory of the previous. |
| Eternal Sunshine of the Spotless Mind | A romantic science fiction film where a couple undergoes a procedure to erase each other from their memories, but must confront the consequences of their decision. |
| Before I Fall | A young adult novel and film where a high school student relives the same day over and over again following a tragic car accident, trying to change the events leading up to her death. |
| The Dead Zone | A novel and television series where a man wakes up from a coma with the ability to see visions of the future, which he uses to prevent disasters and help others, but also faces the consequences of his knowledge. |
| The Truman Show | A satirical comedy-drama film where a man lives his entire life in a fabricated reality television show, unaware that he is being observed and manipulated by the outside world. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Time Loop | Phil Connors, a weatherman, finds himself reliving Groundhog Day in Punxsutawney. | A character is trapped in a time loop, repeating the same day over and over again, often with the ability to retain their memories from previous iterations. (Groundhog Day, Edge of Tomorrow) |
| Groundhog Day | The film's plot revolves around the celebration of Groundhog Day in Punxsutawney, Pennsylvania. | A specific day is repeated over and over again, often with the opportunity for the characters to learn and grow. (Groundhog Day, Palm Springs) |
| Love Interest | Phil Connors falls in love with Rita Hanson, a producer for Channel 9 News. | A character falls in love with another character, often as a way to explore themes of love, relationships, and personal growth. (When Harry Met Sally, The Notebook) |
| Character Development | Phil Connors undergoes significant character development throughout the film, learning to become a better person. | A character undergoes a significant change or growth over the course of a story, often as a result of facing challenges or overcoming obstacles. (The Shawshank Redemption, Forrest Gump) |
| Life Lessons | Phil Connors learns important life lessons through his experiences in the time loop, such as the importance of kindness, empathy, and selflessness. | A character learns valuable lessons about life, often through difficult experiences or challenges. (It's a Wonderful Life, The Matrix) |
| Redemption | Phil Connors is given the opportunity to redeem himself for his past mistakes through his experiences in the time loop. | A character is given a second chance to make things right after making a mistake or causing harm. (The Count of Monte Cristo, The Godfather) |
| Sacrifice | Phil Connors sacrifices his own happiness to save the life of a little girl. | A character gives up something of value for the greater good. (The Lord of the Rings, The Hunger Games) |
| Happy Ending | Phil Connors and Rita Hanson end up together in the end. | The story ends with the main characters achieving their goals and finding happiness. (The Shawshank Redemption, Casablanca) |
| Immortality | Phil Connors is immortal and has been reliving the same day, February 2nd, repeatedly. | A character is immortal and has lived for an extended period of time, often with special abilities or knowledge. (The Vampire Diaries, The Witcher) |
| Superpowers | Phil Connors demonstrates his powers by revealing personal information about strangers in the diner, including the waiter, a couple, and a man named Tom. | A character has special abilities or powers beyond the normal scope of human capabilities. (Spider-Man, Harry Potter) |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Redemption and Transformation | Phil Connors begins the screenplay as a self-centered, arrogant weatherman but gradually transforms into a compassionate and selfless individual through his experiences in the time loop. | The theme of redemption and transformation is central to the screenplay, as Phil must confront his flaws and learn to care for others in order to break free from the time loop. | ||||||||||||
Strengthening Redemption and Transformation:
| ||||||||||||||
| The Importance of Relationships | Throughout the screenplay, Phil's relationships with Rita Hanson and other townspeople help him to grow and change. | The film explores the importance of human connection and the ways in which relationships can help us to become better people. | ||||||||||||
| The Nature of Time and Reality | The screenplay raises questions about the nature of time and reality, as Phil experiences the same day over and over again. | The film explores the philosophical implications of time loops and the ways in which our perception of time can shape our experiences. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by witty dialogue, vivid descriptions of settings, and a blend of humor and introspection. The scene transitions smoothly between different locations and characters, capturing the essence of both the natural world and urban life. |
| Voice Contribution | The writer's voice contributes to the script by infusing it with a sense of whimsy and depth, enhancing the mood of uncertainty and self-discovery. |
| Best Representation Scene | 1 - February 1st |
| Best Scene Explanation | This scene serves as the encapsulation of the writer's unique voice in the screenplay due to its blend of humor, introspection, and vivid imagery, which sets the tone for the rest of the story. |
Originality
- Overall originality score: 9
- Overall originality explanation: The screenplay for Groundhog Day is considered highly original, earning a score of 9 out of 10. This originality stems from several factors: * **Unique concept:** The film explores the concept of a time loop, where a cynical weatherman is forced to relive the same day over and over again. This concept is rarely seen in film and is executed in a clever and engaging way. * **Fresh take on familiar tropes:** The film subverts several comedy and romance tropes. For example, instead of the protagonist using the time loop to indulge in hedonism and personal gain, he uses it for personal growth and redemption. * **Unexpected character dynamics:** The relationship between Phil and Rita is complex and unpredictable. Phil's initial hostility and sarcasm gradually transform into genuine affection and care, while Rita's skepticism and reluctance give way to curiosity and compassion. * **Thought-provoking themes:** The film explores themes such as the nature of time, the importance of personal growth, and the power of love. These themes are woven into the story in a subtle and nuanced way, leaving the audience with a lot to ponder. Overall, the originality of Groundhog Day lies in its unique concept, fresh take on familiar tropes, unexpected character dynamics, and thought-provoking themes. These elements combine to create a truly original and memorable film.
- Most unique situations: Some of the most unique situations in the screenplay include: * Phil being forced to relive the same day over and over again. * Phil using the time loop to learn new skills and improve himself. * Phil's relationship with Rita, which develops over the course of the same day. * Phil's interactions with other townsfolk, who are unaware of his predicament. * Phil's attempts to escape the time loop, which all ultimately fail. * Phil's eventual realization that the time loop is an opportunity for personal growth.
- Overall unpredictability score: 9
- Overall unpredictability explanation: The screenplay for Groundhog Day is considered highly unpredictable, earning a score of 9 out of 10. This unpredictability is due to several factors: * **The nature of the time loop:** The fact that Phil is forced to relive the same day over and over again creates an inherent sense of unpredictability. The audience is never sure what will happen next, as Phil's actions and interactions with others can have unintended consequences. * **Phil's character development:** Phil's character undergoes a significant transformation over the course of the film. He begins as a cynical and self-centered weatherman, but gradually becomes more compassionate and selfless. This character development leads to unexpected choices and actions on Phil's part. * **The evolving relationship between Phil and Rita:** The relationship between Phil and Rita is complex and unpredictable. It begins with mutual dislike and skepticism, but gradually develops into genuine affection and care. The audience is never sure how their relationship will progress, as it is constantly evolving. * **The film's ending:** The ending of Groundhog Day is both satisfying and unpredictable. The audience is left wondering how Phil will use his newfound freedom and what the future holds for him and Rita. Overall, the unpredictability of Groundhog Day lies in the nature of the time loop, Phil's character development, the evolving relationship between Phil and Rita, and the film's ending. These elements combine to create a film that keeps the audience guessing until the very end.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist, Phil Connors, evolves from seeking to avoid routine and monotony to desiring change, excitement, and purpose |
| External Goals | Phil's external goals evolve from resisting obligations to navigating the time loop and finding a way out |
| Philosophical Conflict | The overarching philosophical conflict revolves around fate versus free will, existential exploration, and the search for meaning |
Character Development Contribution: The evolving internal and external goals showcase Phil's growth, self-discovery, and change in perspective over time
Narrative Structure Contribution: The goals and conflict drive the plot forward, creating tension, intrigue, and character development throughout the screenplay
Thematic Depth Contribution: The exploration of fate, free will, and existential themes deepen the narrative, offering insights into the nature of life, purpose, and personal growth
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: 1. Winter setting in Western Pennsylvania, with a family of hibernating groundhogs, frozen ground, icy branches, and snow-covered landscapes. 2. Pittsburgh setting, with references to the Steelers football team and Roberto Clemente. 3. Small-town setting, with a quirky atmosphere and local traditions, such as the Groundhog Day celebration. 4. Bed and breakfast setting, with a cozy and nostalgic atmosphere. 5. Restaurant setting, with a casual and familiar atmosphere.
- Culture: 1. Local news culture, with references to TV shows, reporters, and the Groundhog Day celebration. 2. Small-town culture, with a sense of familiarity and routine. 3. Tradition of Groundhog Day, with its festivities and rituals. 4. American culture, with references to sports, movies, and popular music.
- Society: 1. News team hierarchy, with producers, reporters, and technicians. 2. Small-town community, with close-knit relationships and local businesses. 3. Family values, with emphasis on relationships and personal growth.
- Technology: 1. TV studio setting, with green screens, weather maps, and cameras. 2. Digital technology, such as digital clocks, video cameras, and smartphones. 3. Automotive technology, such as cars, trucks, and motorcycles.
- Characters influence: 1. The physical environment influences the characters' actions and experiences by creating a sense of isolation and routine. 2. The culture influences the characters' beliefs, behaviors, and relationships. 3. The society influences the characters' interactions and social dynamics. 4. The technology influences the characters' ability to communicate, travel, and access information.
- Narrative contribution: 1. The physical environment creates a backdrop for the characters' experiences and shapes the plot. 2. The culture provides a context for the characters' motivations and conflicts. 3. The society creates a framework for the characters' interactions and relationships. 4. The technology enhances the characters' abilities and creates opportunities for conflict and resolution.
- Thematic depth contribution: 1. The physical environment contributes to the theme of isolation and the search for meaning. 2. The culture contributes to the theme of tradition and the importance of community. 3. The society contributes to the theme of conformity and the desire for change. 4. The technology contributes to the theme of progress and the consequences of innovation.
Story Engine Analysis
central conflict
Phil Connors, an arrogant weatherman, is trapped in a time loop and must relive Groundhog Day until he learns to be a better person.
primary motivations
- Phil's desire to escape the time loop and return to his normal life.
- Phil's evolving desire to become a better person and find love.
catalysts
- Phil's initial reluctance to accept his situation.
- Phil's encounters with Rita Hanson, a producer who helps him to see his flaws.
- Phil's experiences in Punxsutawney, which teach him the importance of community and kindness.
barriers
- Phil's initial selfishness and arrogance.
- The time loop itself, which prevents Phil from making permanent changes to his life.
- The townspeople of Punxsutawney, who are initially resistant to Phil's attempts to change.
themes
- The importance of personal growth and redemption.
- The power of love and community.
- The cyclical nature of time.
stakes
Phil's own life and happiness are at stake, as well as the lives of the people in Punxsutawney.
uniqueness factor
The film's unique premise of a time loop that forces the protagonist to confront his own flaws and grow as a person.
audience hook
The film's relatable characters and humorous exploration of human nature.
paradoxical engine or bisociation
The paradoxical situation of Phil being trapped in a time loop, which both punishes him for his past behavior and gives him the opportunity to redeem himself.
paradoxical engine or bisociation 2
The film's exploration of the tension between the desire for personal growth and the fear of change.
Engine: Gemini
Screenplay Rating:
Recommend
Executive Summary
Groundhog Day is a highly original and entertaining screenplay with a unique premise and a strong character arc for the protagonist. The time loop concept offers ample opportunities for humor and drama, while the witty dialogue and well-paced plot keep the audience engaged. While the internal logic of the time loop and the development of supporting characters could be further explored, the screenplay's strengths far outweigh its weaknesses, making it a highly recommended project.
Strengths
- Original and engaging premise with the time loop concept offering endless comedic and dramatic possibilities. high
- Strong character development for Phil Connors, whose journey from cynicism to selflessness is both humorous and heartwarming. high
- Clever and witty dialogue filled with humor and memorable lines. high
- Rita's character provides a grounding force and moral compass, offering a compelling counterpoint to Phil's antics. medium ( Scene 12 Scene 22 Scene 29 Scene 30 )
- The pacing of the screenplay is generally well-balanced, with a good mix of comedic scenes, character development moments, and plot progression. medium
Areas of Improvement
- The internal logic of the time loop could be further explored and explained, leaving some questions unanswered. medium
- The supporting characters, while memorable, could be further developed to add depth to the story. low
- The ending, while satisfying, could be more impactful by exploring the long-term consequences of Phil's transformation. low
MissingElements
- Exploration of the emotional and psychological toll of being trapped in a time loop on Phil's mental health. medium
- Deeper exploration of the thematic implications of the time loop, such as the nature of free will and the meaning of life. medium
NotablePoints
- Phil's descent into nihilism and self-destruction provides a dark counterpoint to the comedic elements. medium ( Scene 15 Scene 17 Scene 20 )
- Phil's gradual transformation and acts of kindness showcase the power of personal growth and redemption. high ( Scene 25 Scene 26 Scene 27 Scene 28 Scene 29 )
Engine: Claude
Screenplay Rating:
Highly Recommend
Executive Summary
The screenplay for 'Groundhog Day' is a highly compelling and well-crafted piece of storytelling. The unique premise of a protagonist reliving the same day over and over again allows for effective character development and exploration of themes such as the meaning of life and personal growth. The dialogue is sharp and witty, and the screenplay effectively blends comedic and dramatic elements to create a well-rounded and emotionally resonant story. The characterization of the protagonist, Phil, is particularly strong, and the chemistry and development of his relationship with Rita is a standout aspect of the screenplay. Overall, 'Groundhog Day' is a highly recommended and engaging read that would make for a compelling and commercially viable film.
Strengths
- The screenplay has a compelling narrative structure, with the protagonist Phil reliving the same day over and over again. This unique premise allows for effective character development and exploration of themes such as the meaning of life and the pursuit of personal growth. high
- The dialogue is sharp, witty, and often humorous, which helps to balance the more contemplative aspects of the story. The banter between Phil and Rita is particularly engaging and drives the narrative forward. high
- The screenplay effectively blends comedic and dramatic elements, creating a well-rounded and emotionally resonant story. The tone shifts seamlessly from lighthearted moments to more poignant and introspective scenes. high
- The characterization of Phil is excellent, with the writer effectively conveying his transformation from a self-absorbed and cynical individual to a more empathetic and thoughtful person over the course of the story. high
- The setting of Punxsutawney is well-established and serves as a unique and engaging backdrop for the story, contributing to the overall charm and whimsical nature of the screenplay. medium
Areas of Improvement
- While the overall narrative is strong, there are a few instances where the pacing could be tightened or certain plot points could be further developed to enhance the storytelling. medium
MissingElements
- No significant missing elements were identified. The screenplay is well-rounded and comprehensive in its storytelling. low
NotablePoints
- The creative and imaginative way in which the writer explores the concept of time loops and the philosophical questions that arise from it is a notable strength of the screenplay. high
- The chemistry and development of the relationship between Phil and Rita is a standout aspect of the screenplay, with their interactions feeling genuine and emotionally resonant. high
- The screenplay's ability to balance humor, drama, and introspection is a commendable achievement, making it a well-rounded and engaging read. high
Engine: GPT4
Screenplay Rating:
Recommend
Executive Summary
Groundhog Day is a compelling screenplay that combines humor with existential themes through a unique narrative structure. The character development is strong, particularly for the protagonist, Phil, whose transformation is both believable and satisfying. The screenplay makes excellent use of its setting and supports the narrative with sharp dialogue. While improvements could be made in pacing and character depth, the screenplay stands out for its originality and entertaining approach.
Strengths
- The screenplay effectively uses a unique narrative structure that keeps the audience engaged through the repetitive looping of Groundhog Day, allowing for creative variations and character development. high
- Character development, especially of Phil, is well-executed, showing a clear transformation from a self-centered to a more altruistic individual, which is satisfying and believable. high
- The screenplay skillfully blends humor with deeper existential themes, making it both entertaining and thought-provoking. high
- The setting of Punxsutawney during the Groundhog Day celebration is used to great effect, providing a charming and quirky backdrop that enhances the story. medium
- Dialogue is sharp and often humorous, contributing well to character development and the overall entertainment value of the screenplay. medium
Areas of Improvement
- Some scenes may benefit from a tighter pacing to enhance the narrative flow and maintain audience engagement throughout the repetitive sequences. medium
- The emotional depth of some supporting characters could be further developed to enhance their relationships with the protagonist and enrich the story. medium
MissingElements
- The screenplay could explore more varied interactions in the time loop to deepen the exploration of themes such as loneliness and connection. medium
NotablePoints
- The innovative use of a time loop in a comedic context sets this screenplay apart from typical romantic comedies. high
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 23 | Phil: I'm a god. |
| 10 | Phil: 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. |
| 29 | Rita: 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. |
| 30 | Phil: You've been my constant weapon against total despair, and just knowing you exist has kept me alive. |
| 32 | Phil: And so began my final lifetime, and ended the longest winter on record. |