Groundhog Day Page #3

Synopsis: A weather man is reluctantly sent to cover a story about a weather forecasting "rat" (as he calls it). This is his fourth year on the story, and he makes no effort to hide his frustration. On awaking the 'following' day he discovers that it's Groundhog Day again, and again, and again. First he uses this to his advantage, then comes the realisation that he is doomed to spend the rest of eternity in the same place, seeing the same people do the same thing EVERY day.
Director(s): Harold Ramis
Production: Columbia Pictures
  Won 1 BAFTA Film Award. Another 6 wins & 17 nominations.
 
IMDB:
8.0
Metacritic:
72
Rotten Tomatoes:
96%
PG
Year:
1993
101 min
3,300 Views


PHIL:

. . . . I thought maybe you could

meet me up there tonight and let

me vulgarize you for about seven

hours....So I ' m supposed to spend

the night in Punxsutawney all

alo ne? Thanks.

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

CUT TO:

A SIGN:

"Welcome to Punxsutawney - The Original Weather Capitol of the

World Since 1887." Depicted on the sign is a large cartoon

GROUNDHOG wearing a top hat and clutching an umbrella under his

arm.

The mini-convoy passes some fast food places on the outskirts

of town.

EXT. MAIN STREET - PUNXSUTAWNEY - LATER

The van drives along , the small-town main drag. There are

cartoon groundhogs everywhere you look and the whole town has

been gaily festooned with banners and bunting.

EXT . MOTEL - LATER

The van pulls into the parking lot at a Quality Inn. The

announcement billboard in ;front of the motel reads: "Groundhog

Day Breakfast Special - Feb.2 - All You Can Eat - $5.99." The

parking area is already crowded with cars including a number of

other news vans. The Lexus pulls in behind the van and

everybody gets out.

Phil takes one look at the motel and shakes his head.

PHIL:

(calls out)

Rita! I can't stay here.

Rita is already helping Larry unload equipment from the van.

LARRY:

(MUTTERING)

Prima donnas.

RITA:

It's okay. I'll handle it.

She crosses to the Lexus where Phil is trying to make another

call on his earphone.

RITA:

What's the problem, Phil?

PHIL:

I hate this place. I stayed here

two years ago and I was

miserable. It's like a minimum

security prison. I'm not staying

here.

-10-

RITA:

You're not staying here.

PHIL:

(BRIGHTENING)

I ' m not?

RITA:

No, Larry and I don't care but I

thought you might, so I booked

you at a very nice bed and

breakfast on Cherry Street.

Here's the address.

She hands him a card.

PHIL:

(PLEASED)

Great. That's great. That's the

mark of a really good producer.

Making the talent happy.

RITA:

Whatever I can do.

PHIL:

Really? Will you be my love

slave?

RITA:

Whatever I can do within reason.

Would you like to have dinner

with Larry and me?

PHIL:

No thanks, I've seen Larry eat.

Why don't you ditch Larry and let

me take you someplace nice?

RITA:

You mean like a date?

PHIL:

Yeah.

RITA:

Oh, no.

PHIL:

Okay. I get it. You're a little

intimidated by me, you're all

excited about the shoot tomorrow,

you want everything to go just

perfect. I understand. You just

get some sleep. Tomorrow will be

great.

-11-

RITA:

Well, that's something to look

forward to. I'll see you in the

morning.

He drives off, leaving her standing there shaking her head.

LARRY:

Did he actually call himself "the

talent?"

Larry snorts and continues unloading their gear.

CUT TO:

EXT. CHERRY STREET - DAWN

The first light of morning colors the sky behind the Cherry

Street Inn, a rambling, white Victorian bed and breakfast.

CLOSE UP - CLOCK

A digital clock-radio changes from 5:59 to 6:00 AM. The radio

comes on, playing the end of the Sonny and Cher hit, "I Got

You, Babe."

SUPER:
FEBRUARY 2

INT. PHIL'S ROOM - DAWN

Phil sits up in bed and looks around the room. The decor is

typical bed and breakfast, flocked wallpaper, framed prints,

and an odd assortment of mismatched furniture. His suit is

hanging neatly on the back of the closet door and his suitcase

is open on a stand at the foot of the bed, still neatly packed.

A iradio, DEEJAY and his SIDEKICK come on with hyped-up,

drivetime Chappy talk." Phil stares at the radio and listens

to them.

DEEJAY:

Okay, campers, rise and shine,

and don't forget your booties

because it's COOOLD out there

TODAY1

Phil grimaces and swings out of bed.

SIDEK ICK:

It's cold out there everyday.

W hat is this-- Miami Beach?

The deejay laughs. Phil shakes his head at the cheesy repartee

as he crosses to the sink and starts brushing his teeth.

-12-

DEEJAY:

Not hardly. And you can expect

hazardous travel later today with

that, you know, blizzard thing--

SIDEKICK:

That "blizzard thing?"

Phil splashes some water on his face and prepares to shave.

SIDEKICK (CONT.)

Oh, here's the report: the

National Weather Service is

calling for a big blizzard thing.

DEEJAY:

Yes they are, but there's another

reason today is very special--

SIDEKICK:

Es pec ia lly cold--

DEEJAY:

Especially cold, okay, but the

big question on everybody's lips--

SIDEKICK:

Ch ap pe d lips--

DEEJAY:

:--on their chapped lips, right--

Do you think Phil's going to come

out and see his shadow?

SIDEKICK:

Punxsutawney Phil.

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

DEEJAY:

That's right, rodent lovers!

IT'S--

BOTH DEEJAYS:

Groundhog Day1

SOUND EFFECT of GRUNTING GROUNDHOGS.

Phil grunts at his reflection in the mirror.

PHIL:

(to himself)

Never again.

CUT TO:

-13-

INT. CORRIDOR - DAWN

Phil heads for the breakfast room of the inn, now well-dressed

in a suit and tie, a nice overcoat slung over his arm. A

CHUBBY MAN passes.

CHUBBY MAN:

Morning .

Rate this script:5.0 / 2 votes

Danny Rubin

Danny Rubin (born 1957) is an American screenwriter, actor, lecturer, and celebrity blogger. He co-wrote with Harold Ramis the screenplay for the comedy film Groundhog Day (1993), for which the two received a BAFTA Film Award for Best Screenplay. Rubin received a B.A. in biology from Brown University and a M.A. in radio, television, and film from Northwestern University. He has taught screenwriting at numerous universities and lectured on the topic at academic conferences since 1995. He is currently a Briggs-Copeland Lecturer on English at Harvard University. more…

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Submitted on August 05, 2018

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