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Scene 1 -  Groundhog Day
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 8
GROUNDHOG DAY

by
Danny Rubin .




Second Revision by
Harold Ramis
January 7, 1992
FADE IN
HIBERNATING GROUNDHOGS
A family of groundhogs is nestled together in their burrow
sleeping off the end of a long winter.
ROLL CREDITS AND THEME MUSIC
DISSOLVE TO:

EXT. A FOREST CLEARING - EARLY MORNING
The crust of an old snowfall still covers the frozen ground,
and the bare, icy branches of the trees glisten dully in the
early morning light.
CUT TO:

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

EXT. WESTERN PENNSYLVANIA - SAME TIME
CREDITS CONTINUE as we streak across the winter landscape,
flying over fields and farms, small towns and hamlets, railroad
lines and interstates, coalyards and factories, until we cross
the Allegheny River and follow it to the southwest.
CUT TO:

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

EXT. NEAR PITTSBURGH - SAME TIME
The country towns turn to suburbs, traffic on the roads gets
heavier and finally we see the skyline of Pittsburgh and the
confluence of the Allegheny with the Monongahela and the Ohio.
-2-

We zoom into a tall building in the downtown area and
DISSOLVE TO:

INT. PHIL CONNORS' OFFICE - MORNING
We don't see anyone at first but the office itself speaks
volumes about it's inhabitant— team pictures of the Steelers
from the Franco Harris-Terry Bradshaw glory years, a framed
memorial portrait of Roberto Clemente, a local Emmy award
statue, an erasable weather map and mountains of personal junk
on the desk, ^windowsill, and every other available surface.
As the CREDITS END, we notice a sleeping figure on the small
sofa, buried deep under a pile of coats and a stolen airline
blanket.
GIL HAWLEY, Executive Producer of the Action News, sticks his
head in the door.
HAWLEY
Christ, what a pit. Phil"
The sleeping figure rouses himself and looks out at Hawley.
It's Phil, the .Channel 9 Action News weatherman.
PHIL
(sleepy)
What?
HAWLEY
It's February first, Phil. You
know what tomorrow is?
Phil sits up and.thinks hard. He's in his mid-thirties, smart,
rugged-looking, perhaps a little too full of himself, but
clearly a guy with a lot of personality.
PHIL
(catching on)
Oh, no! Not again.
He jumps up and exits the office with Hawley right behind him.
PHIL
Forget it! I'm not going.

INT. CORRIDOR - CONTINUOUS
Hawley pursues Phil through the office suite of the Channel 9
Action News, from the look of it a typical, big city, local
news operation. A logo on the wall identifies the station as
WPGH - Pittsburgh.
Phil ducks into the studio.
-3-
Genres: ["Comedy","Fantasy"]

Summary Weatherman Phil Connors is sent to cover the annual Groundhog Day festivities in Punxsutawney, Pennsylvania, but finds himself stuck in a time loop, reliving the same day over and over again.
Strengths "Clever concept, strong performances, effective use of humor to explore deeper themes."
Weaknesses "Some potentially offensive humor and behavior."
Critique Overall, this scene from "Groundhog Day" effectively sets up the premise of the film and establishes the protagonist and his world. The use of description in the action lines is clear and concise, painting a vivid picture of the scenes that are unfolding.

However, there are a few areas that could be improved. Firstly, the dialogue between Phil and Hawley feels a bit on-the-nose in terms of exposition. The exchange where Hawley reminds Phil of the date and Phil immediately knows what tomorrow is feels a bit contrived. It might be more effective to have this information conveyed in a more subtle way, perhaps through a news report on the TV in the background or a colleague making a casual reference to Groundhog Day.

Additionally, the introduction of Phil's character comes across as a bit cliche. The descriptions of his cluttered office and personality traits like being "rugged-looking" and "full of himself" feel like stock character traits rather than unique nuances that set him apart.

Overall, though, this is a strong scene that effectively sets up the world and premise of the film. With a few tweaks to the dialogue and characterizations, it could be even stronger.
Suggestions As a screenplay consultant, I recommend the following improvements to this scene:

1. Establish the tone: While the opening shot of the sleeping groundhogs is a cute visual, it doesn't necessarily set the tone for the rest of the movie. The tone is a crucial aspect of any film, so it would be better if the opening shot reflected the overall tone of the movie. For example, if the movie is a comedy, the opening shot can be something funny or absurd.

2. Clarify the setting: The first few shots of the forest clearing and the TV studio don't really establish where the story takes place. It's important to give the audience a sense of the setting early on, so they can ground themselves and follow the story more easily. Try to include some establishing shots of the city or town where the story takes place.

3. Build character: The audience needs to connect with the protagonist early on, so it's important to establish who they are and what they want. In this scene, we learn that Phil is a weatherman who is reluctant to do something tomorrow. We don't know what that is yet, but we do know that Phil doesn't want to do it. This sets up a mystery and makes us want to know more about Phil and his motivations.

4. Add conflict: Conflict is what drives the story forward, so it's important to establish that early on. In this scene, there is some conflict between Phil and his boss Hawley, but it's not really clear what they're fighting about. It would be better to make the conflict more explicit and give it some stakes. For example, if Phil doesn't do what Hawley wants, he might lose his job. This would raise the stakes and make the conflict more compelling.

5. Use visual storytelling: Film is a visual medium, so it's important to tell the story visually as well as verbally. Instead of having Phil and Hawley talk in the office, it would be better if they were doing something visually interesting while they talked. For example, they could be playing a game of basketball or walking through a busy newsroom. This would make the scene more dynamic and keep the audience engaged.



Scene 2 -  Phil's Phorecast
  • Overall: 8.0
  • Concept: 9
  • Plot: 7
  • Characters: 8
  • Dialogue: 9
INT. STUDIO - CONTINUOUS
Hawley follows him in and catches up with him at the weather
corner of the Action News set. Phil starts putting weather
stats up on a chart.
PHIL
Get away from me. I'm working.
HAWLEY
So what's the outlook? We gonna
get that blizzard?
Phil shakes his head and points to the chart which is headed
"Phil's Phorecast" with a cute caricature of himself drawn next
to the title.
PHIL
No way. All that moisture coming
up from the Gulf is going to miss
us completely and take a dump on
Harrisburg.
HAWLEY
(with authority)
Good, 'cause you're going up to
Punxsutawney to cover the
groundhog story tomorrow morning
and I want you back here in time
to do the five.
PHIL
Jesus, Gil, give me a break, will
you! I covered the goddamn
groundhog last year and the year
before that.
HAWLEY
And you'll do it :next year and
the year after, too. When I
worked in San Diego, I covered
the swallows coming back to
Capistrano for ten years in a
row.
PHIL
You should've killed the guy who
made you do that.
HAWLEY
I wanted to do it.
PHIL
Then you should've killed
yourself. I don't want to get
stuck with the groundhog for the
rest of my life.
-4-

HAWLEY
It's a cute story. He comes out,
he looks around, he wrinkles up
his little nose, he sniffs around
a little, he sees his shadow, he
doesn't see his shadow— it's
nice. People like it.
PHIL
Many people are morons.
HAWLEY
Just do it.
PHIL
What'11 you give me?
Hawley looks across the studio and sees RITA HANSON enter, a
very attractive segment producer in her late twenties.
HAWLEY
(to Phil)
I'll give you Rita.
(calls her over)
Rita, could you come here for a
second? I got a little job for
you.
Rita is relatively new to the station, but very competent,
personable, humorous, self-assured and very pretty— in short,
a genuine princess, though Phil is too self-absorbed at this
point to realize it.
PHIL
(teasing)
You can't send Rita out on a
story like this. She's just a
cub, a pup, still wet behind the
ears. Look at her. Her ears are
sopping wet. This needs a
Woodward or a Bernstein. It's a
big story. People need to know.
RITA
(intrigued)
What's the story?
HAWLEY
The Punxsutawney Groundhog
Festival.
RITA
Gil, if it's all right with you
I ' d rather follow-up on the
nurses' strike.
-5-

HAWLEY
You can do the nurses when you
get back. Just take the squeaky
wheel here up to Punxsutawney and
get him back in one piece. Okay?
RITA
Yeah, okay.
Hawley exits leaving Phil and Rita alone in the studio. She
knows Phil mainly by his reputation and it isn't good. Still,
she finds him appealing in an odd way.
PHIL
(pleasantly)
You know, this could be extremely
interesting.
RITA
I've never done a weather story
before. What's Punxsutawney
like?
PHIL
Oh, it's an enchanted place. A
magical world. It's the
Constantinople of the whole
Western Appalachian-Susquehanna
Drainage system.
RITA
Do you always joke?
PHIL
About 70 to 80% of the time.
Inside I'm actually a very shy
and sensitive person.
RITA
A lot of people around here think
you're not very sincere.
PHIL
Tell me the names of these
people.
RITA
I'll line up a crew and
transportation. If you don't
feel like driving, we can all go
up in the van together.
PHIL
I think I'll take my own car.
I ' m not that fond of my fellow
man.
-6-


RITA
(exiting)
Nice attitude.
PHIL
Nice face.
(calls after her)
Why don't you ride up with me?
RITA
No, thanks.
STEPHANIE DECASTRO , an attractive, dark-eyed, dark-haired
correspondent, glares at Phil from across the studio.
Genres: ["Comedy","Romance"]

Summary Weatherman Phil Connors is being sent to cover the annual Groundhog Day festivities in Punxsutawney, Pennsylvania, but is not happy about it. He meets Rita Hanson, a new segment producer, who is assigned to accompany him.
Strengths "Humorous dialogue between characters, introduction of main characters, hint of romance."
Weaknesses "Relatively slow-paced and lacking in significant plot developments."
Critique This scene is well-written and engaging. The dialogue is witty and realistic, and the characters are well-defined. The conflict between Hawley and Phil is clear and adds tension to the scene. The introduction of Rita introduces a potential love interest for Phil, which adds a new layer to the story.

However, one potential issue with this scene is that it might be a little too dialogue-heavy. There is a lot of talking back and forth between the characters, and it's possible that this could become monotonous or overwhelming for viewers. Additionally, the scene doesn't do much in terms of advancing the overall plot of the film, as it mostly just establishes character relationships and sets up the trip to Punxsutawney.

Overall, this scene is well-written and engaging, but it could benefit from a little more action or plot development to keep viewers invested.
Suggestions As a screenwriting expert, here are a few suggestions to improve this scene:

1. Add more description: Currently, there is very little description in this scene. Adding more detail about the setting, character movements, and actions can help make the scene feel more dynamic.

2. Develop the characters more: Phil and Rita's relationship is central to the story, but at this point, Phil is still very self-absorbed and Rita is relatively undeveloped. Giving them more personality traits, backstory, and desires can make their interactions more interesting and compelling.

3. Use more visual language: Screenplays are a visual medium, so it's important to use descriptive language that creates a strong mental image in the reader's mind. Using more visual language can help bring the scene to life and make it more engaging.

4. Streamline the dialogue: While the dialogue in this scene is witty and entertaining, it could be condensed to make it more efficient and impactful. Shorter, punchier lines can help keep the energy of the scene high and make it more memorable.



Scene 3 -  Phil's Departure
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 7
INT. PHIL'S OFFICE - LATER
Phil is in his cluttered cubicle talking on a headset phone
while he reviews cassettes of his groundhog spots from the past
two years on a small monitor. As he talks, he stuffs a number
of personal items in an overnight bag, all the time watching
himself on the TV monitor.
PHIL
(on the phone)
They don't really think of me as
a weatherman around here. More
of a "personality," but with the
credibility of a first-class
broadcast journalist. Once you
look at my tape I think you'll
see what they mean.
Stephanie enters and stands in the doorway looking at Phil for
a long moment. There is something vaguely off-center about
this woman, not quite FATAL ATTRACTION but still a little
scary.
STEPHANIE
(bitterly)
I just want to know one thing:
did I do something wrong or are
you just tired of me or what? I
have to know.
Phil sighs.
PHIL
(on the phone)
Dan, can I call you back? I've
just been handed something and I
better get on it...
(he picks up some
papers and rustles
them for effect)
...Okay, thanks.
-7-

He takes off the headset, gets up and closes the door for
privacy.
PHIL
(kindly)
You didn't do anything wrong,
Stephanie, and I ' m not tired of
you. It's just that I don't have
time for a real relationship
right now. I told you that the
first time we went out.
STEPHANIE
(getting close)
Everybody says that at the
beginning of a relationship.
PHIL
(gently pushing her
away)
I'm different. I really meant
it! Things are really starting
to move for me now. I ' m not
going to be doing the weather for
the rest of my life. I was just
talking to the CBS guy about a
network job. I want that. This
is just the beginning for me. I
can't waste any more time.
STEPHANIE
Are you saying our relationship
was a waste of time?
PHIL
Our relationship? We went out a
total of four times! And only
twice did anything happen. It
was fun but I don't see that as
a big commitment.
STEPHANIE
(closing in again)
I had our charts done. My
astrologer says we're extremely
compatible. There may even be
some past lives involvement here.
PHIL
See? So we've already done this.
Let's move on. Next case.
STEPHANIE
You know what's wrong with you,
Phil? You're selfish. You don't
have time for anyone but
yourself.
-8-

PHIL
That's what I ' m trying to tell
you. You don't want to be with
me. You can do better. Look,
Stephanie, if I ever said or did
anything to mislead you I'm sorry
for that, but right now I have to
do this groundhog thing and I
don't have a handle on it yet.
He throws some papers and his datebook into a briefcase and
puts on his jacket.
PHIL (CONT.)
I'll tell you what. I ' m going to
do some serious thinking while
I ' m in Punxsutawney, okay?
He pats her on the shoulder and brushes past her, leaving her
standing there with a malevolent look on her face.
CUT TO:

EXT. A HIGHWAY - AFTERNOON
A VAN marked ".Channel 9 Action News" speeds along a two-lane
highway through the winter landscape of West Central
Pennsylvania. Mounted atop the van is a microwave transmitter.
Rita is riding up front with LARRY, the union cameraman and
techie. Phil is following close behind the van in a new Lexus
coupe. His car has a bumper-sticker that reads "Weathermen
Like it Wet."
PHIL (V.O.)
(on his earphone)
I'm on my way to Punxsutawney...
(forced to repeat it,
a little embarrassed)
Punx^su-taw-ney....Work or fun?
I think that all depends on you.

INT. THE LEXUS - CONTINUOUS
Phil is talking to one of his girlfriends, sorting through a
stack of CD's, as usual, grabbing at the good life with both
hands.
PHIL
. . . . I thought maybe you could
meet me up there tonight and let
me vulgarize you for about seven
hours....So I ' m supposed to spend
the night in Punxsutawney all
alone? Thanks.
Phil loads a CD and a great, driving song kicks in.
CUT TO:
A SIGN
"Welcome to Punxsutawney - The Original Weather Capitol of the
World Since 1887." Depicted on the sign is a large cartoon
GROUNDHOG wearing a top hat and clutching an umbrella under his
arm.
The mini-convoy passes some fast food places on the outskirts
of town.

EXT. MAIN STREET - PUNXSUTAWNEY - LATER
The van drives along , the small-town main drag. There are
cartoon groundhogs everywhere you look and the whole town has
been gaily festooned with banners and bunting.
Genres: ["comedy","romance"]

Summary Phil prepares for his trip to Punxsutawney while dealing with a clingy ex-girlfriend.
Strengths
  • establishes Phil's motivation and priorities
  • sets up comedic tone and style
Weaknesses
  • limited conflict or emotional impact
Critique Overall, the scene is well-written in terms of its clarity and structure. The dialogue is realistic and reveals character traits, motivations, and conflicts. The setting and action are also described well, providing a clear visual for the reader.

However, some areas for improvement could include making the character of Stephanie more nuanced and less of a stereotype. The mention of her being "scary" and "vaguely off-center" could perpetuate negative stereotypes about women. Additionally, the use of the word "vulgarize" in Phil's conversation with his girlfriend is objectifying and could also be seen as perpetuating negative attitudes towards women.

Overall, the scene effectively sets up the plot and characters for the rest of the story, but minor changes to characterizations could improve the story.
Suggestions One suggestion to improve this scene would be to add more visual descriptions and actions to make it more dynamic. For example, instead of just saying "Phil is in his cluttered cubicle," describe the items on his desk, the messiness, and how he interacts with it. This will give the audience a better sense of who Phil is as a character. Additionally, instead of just stating that Stephanie enters and stands in the doorway, describe her body language, how she looks at Phil, and any other actions she takes. This will make her feel more like a real person and make the scene more engaging. Finally, consider adding more conflict or tension to the scene. Right now, there's some conflict between Phil and Stephanie, but it could be heightened with some more intense dialogue or physical actions. This will make the scene more memorable and impactful.



Scene 4 -  Phil's Unhappy Arrival
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 8
  • Dialogue: 9
EXT. MOTEL - LATER
The van pulls into the parking lot at a Quality Inn. The
announcement billboard in ;front of the motel reads: "Groundhog
Day Breakfast Special - Feb.2 - All You Can Eat - $5.99." The
parking area is already crowded with cars including a number of
other news vans. The Lexus pulls in behind the van and
everybody gets out.
Phil takes one look at the motel and shakes his head.
PHIL
(calls out)
Rita! I can't stay here.
Rita is already helping Larry unload equipment from the van.
LARRY
(muttering)
Prima donnas.
RITA
It's okay. I'll handle it.
She crosses to the Lexus where Phil is trying to make another
call on his earphone.
RITA
What's the problem, Phil?
PHIL
I hate this place. I stayed here
two years ago and I was
miserable. It's like a minimum
security prison. I'm not staying
here.
-10-


RITA
You're not staying here.
PHIL
(brightening)
I'm not?
RITA
No, Larry and I don't care but I
thought you might, so I booked
you at a very nice bed and
breakfast on Cherry Street.
Here's the address.
She hands him a card.
PHIL
(pleased)
Great. That's great. That's the
mark of a really good producer.
Making the talent happy.
RITA
Whatever I can do.
PHIL
Really? Will you be my love
slave?
RITA
Whatever I can do within reason.
Would you like to have dinner
with Larry and me?
PHIL
No thanks, I've seen Larry eat.
Why don't you ditch Larry and let
me take you someplace nice?
RITA
You mean like a date?
PHIL
Yeah.
RITA
Oh, no.
PHIL
Okay. I get it. You're a little
intimidated by me, you're all
excited about the shoot tomorrow,
you want everything to go just
perfect. I understand. You just
get some sleep. Tomorrow will be
great.
-11-

RITA
Well, that's something to look
forward to. I'll see you in the
morning.
He drives off, leaving her standing there shaking her head.
LARRY
Did he actually call himself "the
talent?"
Larry snorts and continues unloading their gear.
CUT TO:

EXT. CHERRY STREET - DAWN
The first light of morning colors the sky behind the Cherry
Street Inn, a rambling, white Victorian bed and breakfast.
CLOSE UP - CLOCK
A digital clock-radio changes from 5:59 to 6:00 AM. The radio
comes on, playing the end of the Sonny and Cher hit, "I Got
You, Babe."
SUPER: FEBRUARY 2

INT. PHIL'S ROOM - DAWN
Phil sits up in bed and looks around the room. The decor is
typical bed and breakfast, flocked wallpaper, framed prints,
and an odd assortment of mismatched furniture. His suit is
hanging neatly on the back of the closet door and his suitcase
is open on a stand at the foot of the bed, still neatly packed.
A iradio, DEEJAY and his SIDEKICK come on with hyped-up,
drivetime Chappy talk." Phil stares at the radio and listens
to them.
DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today1
Phil grimaces and swings out of bed.
SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
The deejay laughs. Phil shakes his head at the cheesy repartee
as he crosses to the sink and starts brushing his teeth.
-12-

DEEJAY
Not hardly. And you can expect
hazardous travel later today with
that, you know, blizzard thing—
SIDEKICK
That "blizzard thing?"
Phil splashes some water on his face and prepares to shave.
SIDEKICK (CONT.)
Oh, here's the report: the
National Weather Service is
calling for a big blizzard thing.
DEEJAY
Yes they are, but there's another
reason today is very special—
SIDEKICK
Especially cold—
DEEJAY
Especially cold, okay, but the
big question on everybody's lips—
SIDEKICK
Chapped lips—
DEEJAY
:—on their chapped lips, right—
Do you think Phil's going to come
out and see his shadow?
SIDEKICK
Punxsutawney Phil.
Phil looks up at himself in the mirror, admiring his own face.
DEEJAY
That's right, rodent lovers!
It's—
BOTH DEEJAYS
Groundhog Day1
SOUND EFFECT of GRUNTING GROUNDHOGS.
Phil grunts at his reflection in the mirror.
PHIL
(to himself)
Never again.
CUT TO:
-13-

INT. CORRIDOR - DAWN
Phil heads for the breakfast room of the inn, now well-dressed
in a suit and tie, a nice overcoat slung over his arm. A
CHUBBY MAN passes.
CHUBBY MAN
Morning .
PHIL
Morning .
CHUBBY MAN
Think it'll be an early Spring?
PHIL
I ' m predicting March 21st.
CUT TO:
Genres: ["Comedy","Romance"]

Summary Phil arrives at the hotel for the Groundhog Day festivities but is unhappy with the lodgings. Rita, a segment producer, offers him an alternative bed and breakfast and declines his invitation for dinner. Phil wakes up to a hyped radio announcement predicting a big blizzard for the day and the arrival of Groundhog Day.
Strengths "Strong introduction of main character and supporting character, sets up the concept well, witty dialogue"
Weaknesses "Lack of escalating conflict, no significant plot development"
Critique Overall, this scene is well-written and serves to set up the story and the character of Phil. One potential critique is that it may be overly long and could benefit from some editing to tighten it up. Additionally, while the dialogue is natural and believable, there may be some missed opportunities to create more conflict and tension in the scene. For example, when Phil first protests the motel, Rita immediately offers a solution without any pushback or negotiation. It may have been more interesting to see Phil have to fight for his preferences or see Rita push back against his demands. Overall, this scene effectively sets up the story and main character while providing some humorous moments.
Suggestions One possible suggestion to improve this scene is to add more visual descriptions and sensory details to make it more engaging for the audience. For example, instead of just saying "The parking area is already crowded with cars," the screenwriter could describe the types of cars, their colors, and how they are parked haphazardly. This would help create a more immersive and vivid picture for the audience. Additionally, the screenwriter could also consider adding more character development or conflict to this scene. For example, exploring why Phil dislikes the motel so much and having Rita take a more assertive role in handling his complaints could add more depth to the characters and their relationships. Lastly, adding a bit of foreshadowing or hinting at the overall theme of the movie (i.e. the repetition of Groundhog Day) could also make the scene more impactful in the grander scheme of things.



Scene 5 -  Breakfast and Ned Ryerson
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 8
  • Dialogue: 9
INT. BREAKFAST ROOM - CONTINUOUS
Phil enters the old library of the house now set up with a
breakfast buffet. An old spinet piano stands in the corner.
One wall is lined with .bookcases filled with books. A handful
of guests are seated around the room, eating.
The matron of the house, MRS. LANCASTER, spots Phil as she
comes out of the kitchen with a fresh pot of coffee.
MRS. LANCASTER
Did you sleep well, Mr. Connors?
PHIL
(with mock civility)
Like a Roumanian orphan, Mrs.
Lancaster.
MRS. LANCASTER
Would you like some coffee?
PHIL
I don't suppose it1 d be possible
to get an espresso or a capuccino
around here.
MRS. LANCASTER
(blankly)
I don't really know —
PHIL
Forget it. This '11 be fine.
-14-

MRS. LANCASTER
(as she pours)
I wonder what the weather's going
to be like for all the
festivities.
PHIL
My guess is it'11 be cold and
overcast, high today in the low
30's, dropping to the low 20's
tonight, but I'm predicting that
all that moisture coming up from
the Gulf is going to miss us and
dump some locally heavy snow,
possibly blizzard conditions with
travel advisories in the
Harrisburg area and maybe as far
east as .Philadelphia.
(off her surprised
look)
You want to talk weather, you
asked the right guy.
He heads for the door.
;MRS. LANCASTER •
:
Oh, will you be checking out
today, Mr. Connors?
PHIL
Unfortunately yes.
Phil exits.
CUT TO:

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

EXT. MAIN STREET -KPUNXSUTAWNEY - CONTINUOUS
There are a lot of people on the street for this hour. Traffic
is so heavy in fact, the pedestrians are moving faster than the
cars. Everyone seems to be going in the same direction, making
the annual trek to see the groundhog.
An OLD BUM is sitting on the sidewalk leaning against a
storefront. Someone throws him a coin. Phil walks by without
taking any notice.
MAN (O.C.)
Hey, Phil!
-15-


A big pie-faced man, NED RYERSON, comes huffing and puffing
right up to him. There is something about this guy that makes
us dislike him on sight.
NED
Phil! Phil Connors! I thought
that was you!
Phil looks at him vaguely.
PHIL
(at a loss)
I'm sorry. Have we— uh—
NED
My oh my! Phil Connors. Don't
say you don't remember me, 'cause
I sure as heckrfire remember you.
Well?
Phil stares, trying to remember.
NED
Ned Ryerson? Needlenose Ned?
Ned the Head. Come on, buddy.
Case Western High?
PHIL
Ned?
NED
I see you clicking through that
brain of yours. Click-click,
click-click, click-click—Bing!
Ned Ryerson, did the whistling
trick with my belly button in the
talent show. Bing! Ned Ryerson,
got the shingles real bad senior
^year^ almost didn't graduate.
Bing again! Ned Ryerson, went
out with your sister Mary Pat a
couple of times— 'til you told
me not to anymore. Well?

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

PHIL
(sorry he asked)
No kidding.
NED
Do you have life insurance, Phil?
'Cause if you do, I bet you could
use more— who couldn't?—but I
got a feeling you don't have any.
Am I right?
PHIL
You know, Ned, I ' d love to talk
to you but I really have to—
Phil starts to walk away,,but Ned won't take the hint.
NED
That's okay. I'll walk with you.
When I see an opportunity, I
charge it, like a bull. Ned the
Bull, that's me now. Some of my
friends live and die by actuarial
tables, but I think it's all just
a crap shoot anyhoo. Ever heard
of single .premium life? That
could be the ticket for you,
buddy. God, it's good to see
you! Hey, what're you doing for
dinner?
PHIL
Dinner? Umm, I don't think
that's going to work for me.
As they continue walking, Phil steps into what looks like a
shallow puddle and ends up ankle deep in wet slush. Ned laughs
like a donkey.
NED
Hey, look out for that first
step! It's a doozy!
Phil looks at him with murderous contempt.
CUT TO:
Genres: ["Comedy","Romance"]

Summary Phil has breakfast at a bed and breakfast, where he talks to the matron about the weather. He then walks to the groundhog viewing area and runs into a former obnoxious high school acquaintance, Ned Ryerson.
Strengths "The dialogue is witty and ironic, making for an entertaining scene. Phil's irritation with Ned is relatable and humorous."
Weaknesses "The scene is mostly exposition and character building, with little actual plot development."
Critique Overall, the scene is well-written and engages the reader with its description of the setting and introduction of characters. However, there are areas for improvement.

Firstly, the dialogue between Phil and Mrs. Lancaster feels somewhat forced and awkward. It's unclear what their relationship is and the banter about espresso and weather seems disconnected from the scene's purpose.

Secondly, the introduction of Ned Ryerson is done effectively, but the dialogue between him and Phil feels overly long and repetitive. It could benefit from tighter editing to keep the audience's attention.

Finally, the transition between the breakfast room and the street feels abrupt and could use more description or a smoother transition.

Overall, the scene has potential but could benefit from some tightening and refining of the dialogue.
Suggestions Overall, the scene could benefit from more tension and conflict between the characters. Here are a few suggestions:

1. Add a clear objective for Phil in this scene. Right now, he just seems to be passing through the breakfast room. If there was something he needed or wanted in this moment, it would give the scene more purpose and direction.
2. Increase the friction between Phil and Mrs. Lancaster. Right now, their interaction is polite but bland. It could be more interesting if Mrs. Lancaster had a reason to dislike Phil or vice versa.
3. Make the encounter with Ned Ryerson more uncomfortable for Phil. Right now, Phil seems mostly annoyed by Ned's presence, but there could be something more at stake in this interaction. Perhaps Phil needs to avoid Ned, but Ned is blocking his path, or maybe Phil has a past conflict with Ned that he is trying to avoid.
4. Think about the power dynamics at play in each interaction. Right now, Phil seems to be in a position of authority over Mrs. Lancaster and Ned Ryerson, which makes the scenes feel unbalanced. If there was something that threatened Phil's power or made him feel vulnerable, it would make the scene more engaging.

Overall, adding more tension and conflict between the characters would make this scene more dynamic and engaging for the audience.



Scene 6 -  Groundhog Day Festivities
  • Overall: 8.0
  • Concept: 7
  • Plot: 7
  • Characters: 8
  • Dialogue: 9
EXT. GOBBLER'S KNOB - DAWN
A big crowd is standing in a park-like clearing off a
residential street. They are gathered around a large mound of
dirt enclosed by a rail fence, waiting for the big moment. For
a cold gray dawn, there is the atmosphere of a festival here.
An area close to the mound is roped off for news reporters and
cameras. Rita stands there, a pocket of genuine beauty in this
sea of potbellied old union guys and blow-dried reporters.
-17-


Stomping her feet against the cold, Rita looks at her watch and
glances around. Larry, the cameraman, just looks bored.
RITA
How could he be late?
LARRY
Prima donnas.
RITA
It's just so— inconsiderate.
LARRY
What happens to some people?
They're born nice. They grow up
nice. You put 'em on TV and -
bam! Prima donnas.
Rita spots Phil heading into the crowd.
RITA
Here he comes. Phil! Hey, Phil.
Over here!
Phil joins them in the press area. Rita pulls him to his mark
near the rail fence.
RITA
Where've you been?
PHIL
I got hung up with some jerk I
went to high school with. So,
did you sleep okay without me?
You tossed and turned, didn't
you?
Rita holds up a slate for Larry to ID the tape.
RITA
You're incredible.
PHIL
Who told you?
RITA
Ready when you are.
Phil takes the microphone from Rita and positions himself
against the fence.
The Groundhog Club Officials in top hats, striped trousers and
cutaway coats parade out to the burrow that houses Punxsutawney
Phil.
RITA
Looks like they're starting.
Roll tape.
-18-

LARRY
Rolling.
Rita silently counts down from five and cues Phil who instantly
snaps into announce mode.
PHIL
(to camera)
Once a year, the eyes of the
nation turn here, to this tiny
hamlet in Pennsylvania, to watch
a master at work. The master?
Punxsutawney Phil, the world's
most famous weatherman, the
groundhog, who, as legend has it,
can predict the coming of an
early spring.
Rita turns to Larry. This is impressive— so far, so good.
A Groundhog Club Official kneels at the burrow and
ceremoniously knocks on the small wooden door, then opens it
and retreats.
PHIL
And here's the big moment we've
all been waiting for. Let's just
see what Mr. Groundhog has to
say.
The groundhog sticks his head out, looks around, steps out of
the hole, and runs over to the other side of the mound, about
as far away from the cameras as he can get.
PHIL
Hey! Over here, you little
weasel!
Larry zooms in as far as he can but the best he can manage is
a close-up of the groundhog's back. The groundhog stands there
a moment, his body casting a long shadow, then he lets out a
squeak and runs back into the hole.
PHIL
Great shot, huh, folks? Well,
that was certainly worth the
trip. Now we'll be hearing from
Mr. Buster Greene, President of
the Punxsutawney Groundhog Club,
the so-called Seer of Seers who
will interpret for us.
BUSTER GREENE, dressed up in his top hat and cutaway coat,
walks onto the mound and hushes the crowd.
-19-


B U ST E R
He came out, and he saw his
shadow. Sorry, ladies and
gentlemen, but it looks like it's
going to be a long winter.
The crowd lets out a good-natured "Awwwwww" in disappointment.
PHIL
(sarcastic, to camera)
Well, that's it. Sorry you
couldn't be here in person to
share the electric moment. This
is one event where televison
really fails to capture the
excitement of thousands of people
gathered to watch a large
squirrel predict the weather, and
I for one am deeply grateful to
have been a part of it.
Reporting for Channel 9, this is
Phil Connors.
Larry cuts the camera.
RITA
(to Phil)
You want to try one that's a
little sweeter?
PHIL
(to Rita)
That's as sweet as I get. I'm
outa here.
As he exits, Phil tosses the mike to Larry, who isn't expecting
the throw and bobbles it, dropping the mike on the ground.
LARRY
(mutters)
Prima donnas.
CUT TO:
Genres: ["Comedy","Drama"]

Summary Phil covers the Groundhog Day festivities in Punxsutawney, Pennsylvania in a sarcastic fashion, while Rita and Larry watch on.
Strengths "Sarcastic dialogue, comedic moments, character development for Phil"
Weaknesses "Lack of significant plot development, slow pacing"
Critique Overall, the scene is well written and believable. The physical description of the setting and characters is vivid and helps to create a clear image in the reader's mind. The dialogue is natural and reveals a lot about the characters' personalities and relationships.

One potential critique is that the scene could benefit from a stronger sense of conflict or tension. While there is some frustration expressed over Phil's lateness and attitude, it doesn't feel like a major obstacle to overcome. Adding more conflict or stakes to the scene could create a stronger emotional payoff.

Another potential critique is that the scene could be tightened up. Some of the dialogue feels extraneous or repetitive, particularly towards the beginning. Trimming some of these lines could make the scene more efficient and impactful.

Overall, the scene shows promise and with some minor adjustments could be even stronger.
Suggestions Overall, the scene is well-written and captures the atmosphere of the event. Here are a few suggestions to improve it:

1. Add more visual description: While there is some description of the scene, adding more details about what the crowd looks like, how they're reacting, and what the area around the mound of dirt looks like would help the audience picture the scene more clearly.

2. Show more conflict: The scene is relatively conflict-free, with the only tension coming from Phil being late. To make the scene more engaging, consider adding in some element of conflict, whether it's between Phil and Rita, Phil and the Groundhog Club officials, or even between different members of the crowd.

3. Make the dialogue more dynamic: While the dialogue is functional and gets the job done, it could be more dynamic and interesting. Consider giving each character a more distinct voice and personality, and increasing the stakes of what they're saying.

4. Think about camera angles: As a screenwriter, it's important to think about how the scene will be shot. While some camera directions are mentioned (e.g. Larry zooming in on the groundhog), adding more specific instructions to the script can help the director and cinematographer bring the scene to life on screen.



Scene 7 -  Phil's Plans Are Foiled
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 9
INT. DINER - LATER
Phil is sitting alone having a cup of coffee in a busy, loud
and lively cafe. Rita enters, sees him sitting there, crosses
to his table and sits down across from him.
RITA
That was really lousy.
PHIL
Is it my fault the little rat
went south on us?
-20-

RITA
A real professional would have
handled it. You acted like it
was a personal insult. Who do
you think you are — Wolf Blitzer?
PHIL
God, you really take this stuff
seriously, don't you.
RITA
Yes, I do. As far as I ' m
concerned there are no little
stories, Phil. Only little
reporters with big egos who think
they're too good for the job they
have to do.
PHIL
(trying to look hurt)
You really don't know me very
well, do you. 'Cause if you did
you could never say something
like that about me. I care!
Call me a cockeyed optimist but
I happen to think there's more to
this job than just getting my
ugly mug on the boob tube every
night.
RITA
Is that so.
PHIL
Yes, that is so.
Rita is so irritated by him she can't even respond.
Phil looks at her evenly for a long moment.
PHIL
So as far as us getting together,
would you say the glass is half
empty or half full?
Larry pokes his head in the doorway, looks around, spots Rita
and makes his way over to their table.
LARRY
(to Rita)
You ready? We better get going
if we ' re going to stay ahead of
the weather.
PHIL
You don't have to rush off, you
know. That storm is 'going to
miss us completely.
-21-

RITA
Nice working with you, Phil. See
you around.
Rita walks away, leaving him sitting alone.
CUT TO:
«*


EXT. HIGHWAY - DAY
Phil's Lexus is driving down the highway. Light snow is just
starting to fall.
PHIL(V.O)
(on the earphone)
I'll call you after I see the
network guy. I should be back
there in a couple of
hours...What?...1 can't hear you—
you're breaking up...Hello?
Sabrina?

INT. THE CAR - CONTINUOUS
Phil is getting annoyed as the phone connection deteriorates.
The snow is getting heavier. Phil switches on the windshield
wipers.
PHIL
Sabrina? Can you hear me? Shit!
He slams the phone back into it's cradle, then looks up and
notices slow traffic up ahead. He honks his horn as the
traffic comes to a complete stop. He keeps honking but nothing
moves.
He rolls down the window and looks up ahead. The highway is a
parking lot.
PHIL
No. No!

EXT. THE CAR - CONTINUOUS
Phil jumps out and begins to walk down the highway, past the
parked cars, shivering in his light sweater and silk sport
shirt. The snowfall is getting heavier and the wind is pickin
up. The snow comes down unnaturally hard and fast. He walks
on, slipping and sliding in his expensive loafers until he
j comes to a police roadblock up ahead, manned by TWO HIGHWAY
"J PATROLMEN.
PHIL
What's going on, Officer?
-22-

PATROLMAN
Nothin's goin1 on. We're closin1
the road. Big accident up ahead.
Blizzard movin1 in.
PHIL
What blizzard? A couple of
flakes! An isolated phenomenon
of nature.
PATROLMAN
Are you nuts? We got a major
storm movin' in.
PHIL
No, no. All that moisture is
going to miss us and hit
Harrisburg.
PATROLMAN
Pal, you got that moisture on
your head.
PHIL
But I have to get to Pittsburgh
today!
PATROLMAN
Mister, the only place anybody's
goin' on this road is back to
Punxsutawney.
Phil glowers at him and shivers.
CUT TO:

INT. GAS STATION - LATER
Phil is on a pay phone. Snow is falling heavily outside.
GAS STATION ATTENDANT is shovelling around the pumps.
PHIL
So all the long distance lines
are down? What about the
satellite? Is it snowing in
space?...But I have to call
Pittsburgh...Isn't there some
special line you keep open for
emergencies or for
celebrities?...Well, I'm both
really. I'm a celebrity in an
emergency. Can you patch me
through on that line?
-23-

The door opens and Phil is blasted with frigid Arctic wind and
blowing snow. The GAS STATION ATTENDANT enters the tiny office
and in trying to squeeze past Phil accidentally bangs him on
the head with his snow shovel.
CUT TO:
Genres: ["Comedy","Romance"]

Summary Phil's attempts to leave Punxsutawney are continually thwarted by the weather and road closures.
Strengths "The humor and sarcasm in Phil's dialogue and actions adds personality to the scene. The sense of frustration and hopelessness as Phil continues to be unable to leave Punxsutawney is palpable."
Weaknesses "The scene lacks a clear objective for Phil beyond trying to leave Punxsutawney. The gas station scene feels like a repetition of the road block scene earlier on."
Critique Overall, the scene does a good job of establishing the tension and conflict between Phil and Rita. However, there are a few issues with the dialogue and pacing that could be improved upon.

Firstly, the dialogue between Phil and Rita could be tightened up to improve the flow. For example, the lines "Is it my fault the little rat went south on us?" and "God, you really take this stuff seriously, don't you." could be cut as they don't add much to the scene and feel repetitive.

Secondly, the scene could benefit from more visual cues to break up the dialogue and show the passage of time. For example, shots of the busy cafe, the snow starting to fall, and the long line of cars on the highway would help to create more urgency and heighten the stakes.

Finally, the ending of the scene feels abrupt and could be improved by adding in some more context about what the accident is and what it means for Phil's plans to get to Pittsburgh. Additionally, the transition to the gas station scene feels somewhat jarring and could be smoother if there was more of a clear motivation for Phil to stop there.
Suggestions Here are a few suggestions for improving this scene:

1. Increase the tension: While the argument between Phil and Rita is interesting, it doesn't really create a lot of tension. Consider adding more conflict or stakes to this scene to make it more engaging for the audience.

2. Focus on character development: The conversation between Phil and Rita is a good opportunity to show more about their personalities and motivations. Consider adding more depth to their dialogue to flesh out their characters and make them more interesting.

3. Use visual imagery: The scene in the diner could be more visually interesting if you described the environment in more detail. For example, you could describe the food, the colors of the walls, or the faces of the other diners. This would help to make the scene more immersive for the audience.

4. Show, don't tell: When Phil is in the car and on the phone, there is a lot of dialogue that feels very expository. Consider using more visual elements to show what is happening, rather than relying on dialogue to explain it.

5. Engage the senses: When Phil is walking down the highway in the snow, there is a great opportunity to engage the senses and make the audience feel like they are there with him. Consider adding more details about the sound of the snow crunching under his feet, the feel of the cold wind on his face, and the smell of the snow in the air. These sensory details will help to make the scene more immersive and engaging.



Scene 8 -  Groundhog Day: A Repeated Wake Up Call
  • Overall: 9.0
  • Concept: 9
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
INT. HOTEL BAR - EVENING
Phil is at the bar in Punxsutawney ' s oldest and best hotel , the
Pennsylvanian. He looks very bored, drinking a beer,
unsuccessfully hustling an attractive local girl named NANCY.
PHIL
You never saw me on TV-- on the
news?
NANCY
I don't think so. What part of
the news do you do?
PHIL
I ' m the White House correspondent
for NBC news.
NANCY
Oh , I ' m so sure .
PHIL
Ask me anything?
NANCY
Okay, how big is the White House?
PHIL
Three bedrooms, two and a half
baths. Looks much bigger than it
, is.
Nancy just stares at him, clearly not into his sense of humor.
Suddenly, a BRIDE in full white wedding gown and veil rushes
into the bar, crying and shouting. A gaggle of BRIDESMAIDS
flutters around her trying to coax her back to her own wedding
but she won't budge. Then the GROOM, wearing a bad rented tux,
comes storming in and tries to drag her back, until the BEST
MAN restrains him and the bridesmaids hustle the bride away.
Phil watches the whole drama play out, then turns back to
Nancy .
PHIL
Good start. I ' m sure they'll be
very happy. So what do you say?
You want to play doggie obedience
school with me?
-24-

NANCY
Thanks. I'll pass.
She gets up to leave.
PHIL
Sit! Stay!
He watches her go, then tosses a tip on the bar and exits
somewhat unsteadily.
CUT TO:
INSERT - A THICK BOOK
The cover reads "101 Curses, Spells and Enchantments You Can Do
at Home." A well-manicured feminine hand opens the book to a
marked page .

INT. CHERRY STREET INN - NIGHT - SAME TIME
Phil enters his room and drunkenly tosses his overcoat, scarf
and gloves on the floor in a heap.

INT. STEPHANIE'S BEDROOM - NIGHT
Stephanie Decastro, Phil ' s disaffected ex-lover, is sitting
cross-legged on the floor with the book of curses open in front
of her. Her hair is down, she's wearing a caftan with a Zodiac
print, there are candles everywhere and other vaguely occult
decorating touches.
INSERT
Phil's business card is dropped into a dish. Then the Tarot
card of the Hanged Man, a chicken bone, and a feather are
placed on top of it .
PHIL
He stands at the sink, looking at himself in the mirror,
flexing his muscles .
STEPHANIE
Reading from the book> she mutters incantations in a secret
language, then she sprinkles some powder on the plate, then a
few drops of oil. Then she makes a few passes over it with her
hands and, much to her surprise, the contents of the plate
spontaneously combust.
PHIL

As he crosses to the bed, he accidentally knocks over the
suitcase stand, spilling his clothes out onto the floor.
-25-

He contemplates picking them up for a moment, decides to leave
them there, and flops down on the bed. He lies there looking
u up at the ceiling until the room starts to spin around, then
he closes his eyes and quickly drops off to sleep, still fully
clothed.
STEPHANIE
To complete the spell, she picks up a broken wristwatch and
drops it into the fire.
INSERT
Phil's business card, the Hanged Man and the broken watch in
flames. The watch crystal is cracked and the hands are frozen
at 5:59.
DISSOLVE TO:
CLOSE UP - CLOCK
The digital clock-radio changes from 5:59 to 6:00 AM. The
radio comes on, playing the end of the Sonny and Cher hit, "I
Got You, Babe," just as it did the day before.

INT. PHIL'S ROOM - DAWN
Phil sits up in bed, quickly alert, and looks around the room.
Something is wrong. He's wearing pajamas, his suit is once
again hanging neatly on the closet door and his suitcase is
back on its stand at the foot of the bed, again neatly packed.
The song ends and the same radio deejay and his sidekick come
on with the same manic energy. Phil stares at the radio and
listens to them. A look of astonishment comes over his face as
they banter.
DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today!
SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
The deejay laughs. Phil "mock" laughs at exactly the same
time, recognizing the repartee from the previous morning.
PHIL
(to himself)
Nice going guys. That's
yesterday's tape.
Phil crosses to the sink and gets a towel off the rack, only
half-listening to the radio.
-26-

DEEJAY
Not hardly. Expect hazardous
travel later today with that, you
know, blizzard thing —
SIDEKICK
That "blizzard thing?"
Phil turns on the water and splashes some on his face as if
trying to wake himself up, vaguely disturbed by the repetition
of the broadcast.
SIDEKICK (CONT.)
Oh, here's the report: the
National Weather Service is
calling for a big blizzard
thing."
DEEJAY
Yes they are, but there's another
reason today is very special —
SIDEKICK
Especially cold —
DEEJAY
Especially cold, okay, but the
big question on everybody's lips —
Phil supplies the next line in unison with the radio.
SIDEKICK AND PHIL
Chapped lips —
DEEJAY
— on their chapped lips, right —
Do you think Phil's going to come
out and see his shadow?
SIDEKICK
Punxsutawney Phil.
Some vague doubt causes Phil to go to the window.
DEEJAY
That's right, rodent lovers!
It's—
BOTH DEEJAYS
Groundhog Day!
SOUND EFFECT of GRUNTING GROUNDHOGS as Phil pulls back the
curtains and looks out.
HIS POV
The street is full of people heading toward Gobbler's Knob,
exactly as they did the day before.
-27-

PHIL
(aghast)
What the hell?
CUT TO:
Genres: ["Comedy","Fantasy","Romance"]

Summary Phil wakes up to the same day on Groundhog Day, confused and disoriented. He tries to make sense of what's happening and finds odd things happening around him.
Strengths "The scene has a clear sense of humor and confusion, both of which are key to the film's tone. It also contains interesting character interactions that establish Phil's personality."
Weaknesses "The scene has a slower pace than some of the other scenes in the movie and doesn't have as significant plot developments."
Critique Overall, this scene seems well-written and engaging. However, there are a few areas for improvement.

First, the dialogue between Phil and Nancy feels a bit cliché and forced. It's not clear why Nancy would be so disinterested in Phil's job as a White House correspondent, and the "doggie obedience school" line at the end seems out of place and random.

Additionally, the introduction of the bride and groom feels a bit abrupt and unrelated to the rest of the scene. While their presence hints at the repetition that will occur in the rest of the film, their appearance could be smoother and more organic.

Finally, the scene ends with a strong hook as Phil realizes that he is experiencing a repeat of the previous day. However, the transition into this realization feels a bit abrupt and jarring. Perhaps some more foreshadowing or build-up could help ease the audience into this twist.

Overall, while this scene has its strengths, a bit of tweaking could make it even stronger.
Suggestions Overall, the scene could benefit from more action and higher stakes. One suggestion would be to make the interaction between Phil and Nancy more engaging, perhaps by adding some conflict or tension. Additionally, the bride's entrance could be played up more to add comedy or drama. To make the supernatural aspect of the story more clear, Stephanie's spell-casting could be visually emphasized, and the consequences of the spell could be more explicitly tied to Phil's time loop. Finally, the ending of the scene should leave the audience with a stronger sense of mystery and intrigue, such as by having Phil notice small but significant changes in the environment or people around him.



Scene 9 -  Groundhog Day Begins
  • Overall: 8.0
  • Concept: 9
  • Plot: 8
  • Characters: 7
  • Dialogue: 7
INT. BED AND BREAKFAST - DAWN
Phil rushes out into the corridor, hastily tying his tie, his
suit jacket and overcoat over his arm. As he heads for the
breakfast room, the same Chubby Man passes.
CHUBBY MAN
Morning.
PHIL
Morning.
CHUBBY MAN
Think it'll be an early Spring?
PHIL
(stops, irritated)
Didn't we do this yesterday?
CHUBBY MAN
(intimidated)
I don't know what you mean.
Phil grabs him by the front of his shirt and looks deep into
his eyes.
PHIL
Don't mess with me, pork chop.
What day is this?
CHUBBY MAN
(terrified)
February second—Groundhog Day!
Phil can see he's telling the truth and relaxes his grip on the
poor man.
PHIL
Okay. Sorry. I'm having a bad
day.
Phil walks on, leaving the chubby man baffled and insulted.
CHUBBY MAN
(to himself)
I'll say.
-28-

INT. BREAKFAST ROOM - CONTINUOUS
Phil enters the old library of the house and finds everything
exactly as it was the day before. Mrs. Lancaster spots Phil as
she comes out of the kitchen with the fresh pot of coffee.
MRS. LANCASTER
Did you sleep well, Mr. Connors?
PHIL
(completely confused)
Did I? I don't know—
MRS. LANCASTER
Would you like some coffee?
PHIL
Yes, thank you. I ' m feeling a
little strange.
MRS. LANCASTER
(as she pours)
I wonder what the weather's going
to be like for all the
festivities.
PHIL
Did you ever have deja vu, Mrs.
Lancaster?
MRS. LANCASTER
Is that the Italian dessert with
the brandy and the chocolate
mousse?
PHIL
No, that's spaghetti. Never
mind.
He heads for the door, still in a daze.
MRS. LANCASTER
Oh, will you be checking out
today, Mr. Connors?
PHIL
(vaguely)
I don't know. I don't think so.
I'll tell you after I wake up.
Phil exits.
CUT TO:
-29-

EXT. BOARDING HOUSE - MOMENTS LATER
Phil gulps down the steaming coffee, still trying to wake up
from what he assumes is a dream, and descends the front steps
of the house. He accosts a PASSERBY.
PHIL
Ma'am? Excuse me. Where's
everybody going?
PASSERBY
To Gobbler's Knob. It's
Groundhog Day!
The coffee cup drops from Phil's hand as he stands there open-
mouthed. Then he slaps his own face and shakes his head as if
trying to clear it and starts off down the street.
Genres: ["Comedy","Fantasy"]

Summary Phil wakes up to the same day on Groundhog Day, confused and disoriented. He tries to make sense of what's happening and finds odd things happening around him.
Strengths "The scene sets up the concept effectively and establishes Phil's character. The dialogue is witty and fits well with the tone. The pacing keeps the audience engaged."
Weaknesses "There are no significant weaknesses in this scene."
Critique Overall, this scene from Groundhog Day is well-written and effectively sets up the premise of the film. The conflict between Phil and the Chubby Man establishes early on that there is something strange happening in this world, while Phil's confusion and disorientation in the breakfast room reinforces the idea that he is living the same day over and over again.

However, there are a few areas where the scene could be improved. The dialogue between Phil and the Chubby Man feels a bit forced and heavy-handed, with Phil grabbing the man and calling him "pork chop" in order to establish Phil's frustration and anger. The scene might have been more effective if the conflict had arisen more naturally from the conversation.

Additionally, the dialogue between Phil and Mrs. Lancaster could use some tightening, with some of the jokes, such as the one about deja vu and spaghetti, feeling a bit labored. The scene might have benefited from a stronger sense of tension or urgency, as the repeated Groundhog Day cycle doesn't feel particularly threatening yet.

Overall, though, this scene effectively sets up the world of the film, establishes the main character's arc, and contains some witty and memorable dialogue. It could benefit from some tightening in places, but it is a solid example of screenwriting in service of a well-crafted story.
Suggestions One suggestion to improve this scene would be to add more clarity to what is happening to Phil. It's not immediately clear why he is experiencing deja vu or why he is so disoriented. Adding more information about his character and his situation would help the audience understand what is going on. Additionally, the dialogue between Phil and the Chubby Man could be refined to better emphasize the tension and Phil's growing frustration. Lastly, there could be more visual cues to show Phil's confusion and frustration, such as close-up shots of his face or quick cuts to different angles.



Scene 10 -  Groundhog Day Repeats Itself: Again and Again
  • Overall: 8.0
  • Concept: 9
  • Plot: 8
  • Characters: 7
  • Dialogue: 7
EXT. MAIN STREET - PUNXSUTAWNEY - CONTINUOUS
Phil rushes down the street, again failing to notice the OLD
BUM sitting on the sidewalk leaning against a storefront.
NED RYERSON (O.C.)
Hey, Phil!
Ned Ryerson approaches with the same obnoxious attitude.
NED
Phil! Phil Connors! I thought
that was you!
Phil just stares at him and keeps walking.
NED
My oh my! Phil Connors. Don't
say you don't remember me, 'cause
I sure as heck-fire remember you.
Well?
PHIL
Ned Ryerson?
NED
Bing! First shot right out of
the box. So how's it going, ol'
buddy?
PHIL
To tell you the truth, Neddy, I ' m
not feeling real well. Could you
excuse me?
NED
Now it's funny you should mention
your health 'cause you'll never
guess what I do.
-30-

PHIL
(very distressed and
desperate to get away
from this guy)
Do you sell insurance, Ned?
NED
Bing again! You're sharp as a
tack today. Do you have life
insurance, Phil? 'Cause if you
do, I bet you could use more —
who couldn't?" — but I got a
feeling you don't have any. Am
I right?
PHIL
(really annoyed now)
Did I say "fuck off, " Ned? I
can't talk to you right now.
He backs away from Ned and steps right into the same deep,
slushy puddle he stepped in the day before.
NED
(braying)
Hey, look .out for that first v
step. It's a doozyi
Phil looks down at his wet shoes and cuffs and stumbles off
toward Gobbler's Knob.
CUT TO:

EXT . GOBBLER ' S KNOB - DAWN
The crowd is gathered as before for the big moment.
In the press area, Rita is having the same dialogue with Larry,
when she spots Phil heading into the crowd.
RITA
Here he comes. Phill Hey, Phil!
Over here!
Phil waves to her and heads straight for an obscure corner of
the Knob, gesturing for her to follow.
Larry shakes his head as Rita charges through the crowd toward
Phil. She catches up to him just as he is scratching a mark in
the snow with his foot. She notices immediately that he is
uncharacteristically dishevelled, his tie askew, his hair
mussed.
RITA
Where ' ve you been?
-31-

PHIL
(nervous, sweat ing)
I've got to talk to you. I think
I'm losing my mind.
. RITA
I know you're losing it. What
are you doing over here? The
camera's over there.
PHIL
Slap me, Rita.
RITA
What is this?
PHIL
(insistent)
Just slap me— hard.
She gives up and taps him lightly on the cheek.
PHIL
I said hardl
. . . . ... .RITA .
I can't!
PHIL
Do it!
Rita shrugs and slaps him very hard.
PHIL
(his cheek smarting)
Better. Almost too hard, Rita.
RITA
Are you drunk?
PHIL
No, drunk is more fun. Can I be
serious with you for a minute?
RITA
I don't know. Can you?
PHIL
Yes. I 'm being serious. I' m
having a problem— no, I may be
having a problem.
RITA
What are you trying to say?
-32-

PHIL
I'm trying to say that if I was
having a problem, just
hypothetical ly, I ' d like to know
that you're someone I could count
on in a crisis.
RITA
(worried)
What did you do last night?
The crowd begins to hush.
LARRY
We better get started. We're
going to miss it.
PHIL
Were not going to miss it.
(indicating the other
reporters)
They're going to miss it.
RITA
(emphatic)
Phil. We've been out here for an
hour. We're cold and tired.
Let's just get this and get out
of here.
PHIL
Okay, put it here.
RITA
What?
PHIL
Put the camera here .
Rita takes a forlorn glance towards the press area, where all
of the other cameras are set up .
RITA
Phil , there is no tomorrow on
this one. It's Groundhog Day.
PHIL
We were in the wrong spot
yesterday .
RITA
(irked)
What? Yesterday? What are you
talking about?
PHIL
Just trust me. Put the camera
here .
-33-


Rita looks at him like he's crazy, then looks at her watch and
gives up.
RITA
Larry!
She charges off toward the cameras.
In the Press Area, several reporters are already talking to
their cameras, dribbling on about how "He could appear any
second now." Rita and Larry grab their gear and rush back to
Phil.
Larry hurriedly sets up the camera.
LARRY
You want me to roll tape?
RITA
(to Phil)
Are you going to get on your
mark?
PHIL
No hurry.
Larry glances over at the other news reporters, all talking to
their cameras and pointing towards the mound.
LARRY
(desperately)
Everyone else is rolling!
Rita looks helplessly at Phil.
RITA
I'm begging you, all right?
Gould we please just do this?
Phil glances down at his watch.
PHIL
Okay, let's do it.
He crosses over to Larry and taps him on the shoulder.
PHIL
Roll tape.
LARRY
(mumbling)
Prima donnas.
Phil takes the microphone from Rita and positions himself
against the fence.
LARRY
Rolling.
-34-

Phil does a similar intro to the one he did before, though this
time it's a bit tentative.
PHIL
(to camera)
Well, it's Groundhog Day— again—
and you know what that means.
Everybody's here on Gobbler's
Knob waiting in the cold for the
appearance of the most famous
groundhog in the world,
Punxsutawney Phil, who's going to
tell us just how much more of
this we can expect.
The Groundhog Club Official knocks on the groundhog's door,
then opens it and retreats.
Phil takes a deep breath and makes his first experimental
prediction, recalling the previous day.
PHIL
My forecast is we're going to see
the groundhog peek its head out
of its hole, look around a little
bit, then he's going to come out,
scamper over to this general
area, look at the crowd for a
second, make a little burping
noise and run back into the
ground.
RITA
(whispers to Larry)
That's it. I'm going to kill
him.
Phil looks at his watch.
PHIL
Okay? And here we go—
Phil points to the hole and Larry zooms in.
The groundhog sticks his head out, looks left, looks right,
steps out of the hole, and runs away from the press pool,
directly over to Larry's camera. As he stands there, his body
casts a long shadow. The groundhog looks right into the
camera, lets out a squeak, and runs back into the hole.
Rita and Larry are completely amazed as the crowd cheers the
brief appearance of the groundhog. Larry pans back to Phil.
Phil just stands there speechless, staring at the groundhog
burrow.
-35-

RITA
(hisses)
Phil!
Buster Greene, the Groundhog club official, walks onto the
mound and hushes the crowd, exactly as before.
BUSTER
He came out, and he saw his
shadow. Sorry, ladies and
gentlemen, but it looks like it's
going to be a long winter.
Again the crowd lets out a good-natured "Awwwwww" in
disappointment.
Larry pans back to Phil just in time to see him walking away in
a fog, without signing off. Then he pans back to Rita.
RITA
(at a loss)
For Channel 9 News, this is Rita
Hanson in Punxsutawney.
She holds for a moment then makes the cut sign, drawing her
finger across her throat.
CUT TO:

INT; PHIL'S ROOM - LATER
Phil is on the phone desperately trying to make a call.
PHIL
(on the phone)
I know there's a blizzard, but I
have to get a call through to my
doctor in Pittsburgh. It's a
medical emergency. . . .No, don't
give me the Punxsutawney Fire
Department. When do you think
the long distance lines will be
working again?. . . But what if we
don't have a tomorrow? We didn't
have one today, my friend...
Hello...Hello?
He hangs up and shakes his head which is now really starting to
ache, then he pops a handful of Tylenol, lies down and pulls
the covers up over his head. A moment later, he sits up, takes
a pencil from the nightstand, breaks it in half and puts the
pieces back on the nightstand. Then he lies back down and
retreats back under the covers.
CUT TO:
-36-
CLOSE UP - CLOCK
The digital clock-radio changes from 5:59 to 6:00 AM. The
radio comes on, playing the end of the Sonny and Cher hit, "I
Got You, Babe," just as it did the day before.
Genres: ["Comedy","Fantasy"]

Summary Phil wakes up to the same day on Groundhog Day and tries to make sense of what's happening. He meets an old acquaintance who tries to sell him insurance, steps into a puddle, and rushes to Gobbler's Knob where he makes a tentative prediction of Punxsutawney Phil's appearance. The groundhog briefly appears, sees its shadow and runs back into its burrow. Phil retreats back to his room where he experiences a severe headache and tries to call his doctor.
Strengths "The recurring, familiar elements of the story make it lighthearted and easy to follow, and the sarcastic tone adds humor to the scenes. The repetition emphasizes Phil's feelings of confusion and desperation."
Weaknesses "The scene lacks significant plot developments or character depth, and the dialogue is somewhat predictable."
Critique Overall, this scene is well written and effectively sets up the repetition of Phil's day in Punxsutawney. The dialogue is snappy and the characters are entertaining. However, there are a few areas that could be improved:

- The introduction of the Old Bum feels a bit random and doesn't quite serve a purpose in the scene. It may be better to either cut that moment or find a way to integrate it more effectively into the story.
- The transition from Phil stumbling into the slushy puddle to Ned's comment feels a bit jarring. Perhaps a smoother transition, like a camera angle change or a sound cue, could improve the flow of the scene.
- The moment where Phil asks Rita to slap him could be strengthened by adding more context or motivation for Phil's behavior. As it stands, it feels a bit odd and arbitrary.
- The ending of the scene, with Phil retreating to his room and taking medication, could be more visually interesting. As it is now, it feels like a bit of a letdown after the excitement of the Groundhog Day festivities. Finding a more dynamic or surprising way to end the scene could keep the audience engaged.

Overall, though, this scene effectively establishes the routine and repetition that Phil will experience in the coming days, and sets up the character dynamics and conflicts that will drive the story forward.
Suggestions One suggestion to improve this scene would be to add more urgency to Phil's desperation to talk to his doctor. Perhaps he could mention specific symptoms he is experiencing, making it clear that this is a serious medical emergency. This would raise the stakes and make the audience more invested in Phil's predicament. Additionally, the dialogue between Phil and Rita could be trimmed down to make it more concise and impactful. Finally, there could be some visual clues to show that Phil is experiencing some kind of time loop or Groundhog Day. This could be done through changes in the scenery or a sense of deja vu as Phil repeats events from the previous day.



Scene 11 -  Groundhog Day - Phil's Freak-Out
  • Overall: 8.0
  • Concept: 9
  • Plot: 7
  • Characters: 8
  • Dialogue: 7
INT. PHIL'S ROOM - DAWN
Phil sits up in bed fearing the worst and looks on the
nightstand. The pencil is whole again. Completely stunned by
the phenomenon, he jumps out of bed and starts dressing
hurriedly as the morning Deejays begin their now familiar rap.
DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today!
SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
Phil rushes out of the room.
CUT TO:

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

INT. BED AND BREAKFAST - CONTINUOUS
Phil enters and passes Mrs. Lancaster in the breakfast room.
MRS. LANCASTER
Painting something, Mr. Connors?
PHIL
I ' m conducting an experiment.

INT. PHIL'S ROOM - LATER
Phil enters and dumps the bags on the bed. Out fall a couple
of big paintbrushes, a small sledgehammer, a handsaw, a
crowbar, plastic goggles and assorted other tools. He puts on
the goggles, grabs a hammer and some nails and starts nailing
the door shut.
CUT TO:
-37-

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

INT. PHIL'S ROOM - CONTINUOUS
Phil, has demolished just about all the furniture and woodwork
in the room. He rips off the last of the wooden moldings with
the crowbar, then crosses to the mirror over the demolished
sink.
Phil stands there, staring at his image in the mirror, trying
to figure out what's happening to him. He starts breathing
heavier, as if gathering courage, then, just when we think he's
going to cut off his ear or something, he raises an electric
barber clipper and shaves a bald stripe up the middle of his
head. He studies his new look for a moment then smashes the
mirror with his sledgehammer.
Then he opens the cans of paint, dips the two big brushes into
the cans and starts slapping bright red paint onto the walls,
madly, feverishly, splashing himself and everything else in the
room with it.
As a final touch he grabs the bed pillows and rips them open,
then shakes them all around the room creating a storm of
feathers.
Finally, Phil falls exhausted on the bed. From outside we can
hear outraged hotel employees pounding on the door.
We pan over to the clock radio, the only undamaged object in
the room. Feathers drift down past the face of the clock which
reads 5:59 AM. The time changes to 6:00, the radio clicks on
and "I Got You, Babe" starts playing as we pan back to Phil
sleeping on the bed.
He opens his eyes, jumps out of bed and looks around. No
paint, no feathers, no damage. Everything is as clean and tidy
as the day he checked in.
He races over to the unbroken mirror and looks at himself. His
hair is completely restored, as if it had never been shaved.
The song ends and the deejays come on. Phil says every word
right along with them, shocked into a state of complete
wonderment.
-38-

PHIL AND DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today.
PHIL AND SIDEKICK
It's cold out there everyday.
What is this — Miami Beach?
The deejay laughs. Phil laughs insanely along with him.
CUT TO:

EXT . GOBBLER ' S KNOB - EARLY MORNING
Phil is wrapping up another groundhog report, trying to be
completely professional despite the circumstances.
PHIL
(with forced good
humor)
. . . S o according to Mr. Groundhog
I guess we can expect six more
weeks of winter. It's not very
scientific, but it sure is fun.
Hey, wait a second. If he's
right, I could be out of a job!
(mock laugh)
For Channel 9 News, this is Phil
Connors in Punxsutawney .
He holds until Larry stops tape, then approaches Rita.
PHIL
How was that?
RITA
(pleased)
It was good. A little smarmy for
my taste, but I guess that's what
sells.
PHIL
Could I talk to you about a
matter that is not work related?
RITA
You never talk about work.
PHIL
Do you know what I did last
night?
RITA
Do I want to know?
-39-

PHIL
I destroyed my hotel room.
RITA
You whatl This is not some kind
of rock and roll tour. We don't
have the budget for that—
PHIL
No, it's okay. This morning it
was all right again. That's what
I have to talk to you about.
RITA
Phil, what are you doing?
CUT TO:

EXT. MAIN STREET - A BIT LATER
Phil and Rita cross the street and walk past a crowd of
concerned citizens gathered around what looks like a car
accident. As an ambulance arrives, Phil and Rita enter the
cozy looking diner on the corner.
Genres: ["comedy","sci-fi"]

Summary Phil wakes up to the same day on Groundhog Day and experiences a mental breakdown in his hotel room. He shaves his head, destroys everything in sight, then wakes up to find everything has been restored to the way it was before.
Strengths "The scene expertly captures Phil's frustration and psychological distress. The imagery of him destroying his room and shaving his head is striking, while the time loop concept is well-established."
Weaknesses "The tone of the scene may not be suitable for all audiences, and the humor may come across as mean-spirited to some viewers. Some may also find the pace of the scene to be slow towards the end."
Critique Overall, the scene shows Phil's descent into madness as he experiences the time loop over and over again. The actions and dialogue are consistent with his character arc and the overall tone of the film. However, the scene itself could benefit from a clearer connection to the overall plot and theme. It feels somewhat disconnected from the larger story and serves more as a showcase for Bill Murray's comedic abilities. Additionally, some of the dialogue, such as the deejay banter, feels dated and could be updated to better resonate with modern audiences. Overall, the scene is well-written and executed but could benefit from more purpose and relevance to the larger story.
Suggestions One suggestion would be to add more dialogue or inner thoughts from Phil that show his emotional state and confusion about the time loop he is experiencing. This could add depth to his character and make the audience more invested in his journey. Another suggestion would be to add more physical action or visual cues in the room destruction scene to enhance the chaos and madness Phil is experiencing. This could make the scene more intense and memorable for the audience. Lastly, there could be a clearer indication of how Phil's actions are affecting the people around him, especially Mrs. Lancaster and the hotel employees. This could add more tension and conflict to the story.



Scene 12 -  Phil's Descent into Madness
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
INT. DINER.- CONTINUOUS
Phil and Rita sit together at the same table they had
previously. The WAITER approaches.
RITA
(to waiter)
Could I have some coffee, please?
The waiter pours her a cup.
WAITER
(exiting)
I'll be back to take your order.
RITA
Thanks.
(to Phil)
Okay, so tell me. How'd you know
where to put the camera?
PHIL
Because I've done it before.
RITA
I know, but the groundhog doesn't
do exactly the same thing every
year, does he?
-40-

PHIL
I ' m not talking about last year.
I ' m talking about today. I lived
it before.
RITA
You're having deja vu?
PHIL
Big time. Rita, I know it's nuts
but I keep reliving the same day
over and over— Groundhog Day—
today. This is the third time.
RITA
(completely skeptical)
Uh-huh. I'm waiting for the
punchline.
PHIL
No, really. It's like today
never happened. I shaved my head
last night, today its all grown
back. I could probably cut off
my limbs, one by one, and - pop!
They'd grow back. Just like a
starfish. I probably don't even
have to floss?
RITA
I'm wracking my brain, but I
can't even begin to imagine why
you'd make up something like
this.
PHIL
'Cause I'm not making it up. I'm
asking for your help.
Rita looks at him for a long moment.
RITA
Okay, I'll bite. What do you
want me to do?
PHIL
The truth? I'd 1ike you to spend
the next 24 hours with me and
don't leave my side for a second.
RITA
I see. You know, Phil, you can
charm all the little P.A.'s at
the station, all the secretaries,
and even some of the weekend
anchors, but not me— not in a
thousand years.
-41-

PHIL
Wait a second—
RITA
Not if I was dying and your
breath was the only cure; not if
having your child was the only
way to preserve the human race.
Just get it out of your head
because it is NOT GOING TO
HAPPEN!
PHIL
So much for the truth.
Larry pokes his head in the doorway, looks around, spots Rita
and makes his way over to their table.
LARRY
(to Rita)
You ready? We better get going
if we're going to stay ahead of
the weather.
RITA
Yeah, , I ' m . ready, Larry.
(exiting)
Good luck, Phil.
CUT TO:
INSERT
X-rays of Phil's skull are slapped up onto a light box.

INT. MEDICAL CLINIC - DAY
Phil is having his head examined by a NEUROLOGIST.
NEUROLOGIST
No spots, no tumors, no lesions,
no clots, no aneurisms.
Everything looks fine and dandy
to me, Mr. Connors. Have you
considered psychiatric help?
CUT TO:

INT. PSYCHOLOGIST'S OFFICE - DAY
Punxsutawney's only PSYCHOLOGIST is a marriage and family
counselor at the local Lutheran church. His appearance and
manner indicate he may have some serious problems of his own.
-42-

PSYCHOLOGIST
(not too confident)
That's kind of an unusual
problem, Mr. Connors. Most of my
work is with couples and
families.
Phil is lying on a couch. His head is completely shaved.
PHIL
Yeah, but you're still a
psychologist. You must have had
some course in school that
covered this kind of thing.
PSYCHOLOGIST
Sort of, I guess. Abnormal
Psychology.
PHIL
So based on that what would you
say?
PSYCHOLOGIST
(hesitant)
I ' d say that maybe you're — I
don't know* — a little delusional.
PHIL
You're saying this thing is not
really happening to me?
PSYCHOLOGIST
Uh-huh.
PHIL
Then how do I know this
conversation is really happening?
PSYCHOLOGIST
I guess you don't.
PHIL
Then forget about me paying you.
A discreet little alarm sounds.
PSYCHOLOGIST
(relieved)
I'm afraid that's all the time we
have, Mr. Connors.
PHIL
Wait! Are you saying I'm crazy?
-43-

PSYCHOLOGIST
(humoring him)
Not necessarily. If it concerns
you we should schedule our next
session as soon as possible.
How's tomorrow for you?
Phil glowers at him.
CUT TO:
INSERT - A MODEL OF THE SOLAR SYSTEM
A SCIENTIST in a white lab coat is holding up the model. Phil
looks on with interest.
SCIENTIST
(authoritatively)
Now if the moon exerts a
gravitational pull strong enough
to cause the tides, .then it may
be theoretically possible for a
Black Hole or a Singularity of
sufficient magnitude to actually
bend time enough to cause it to
fold back ,on itself.
PHIL
You think that's a realistic
possibility?
A paper airplane sails past his head, accompanied by a noisy
outburst of juvenile laughter. We pull back to REVEAL:
Genres: ["Comedy","Fantasy"]

Summary Phil wakes up to the same day on Groundhog Day and experiences increasing confusion and disorientation. He meets an old acquaintance, destroys his hotel room, and seeks medical and psychiatric help.
Strengths "The scene effectively conveys Phil's growing sense of confusion and helplessness as he tries to understand what's happening to him."
Weaknesses "Some of the dialogue feels a bit forced and artificial."
Critique Overall, the scene is well-written. The dialogue flows easily and there is a clear sense of the characters' personalities and motivations. However, one potential critique would be that the scene may be a bit too long and could benefit from some tighter editing. Additionally, while the conversation between Phil and Rita is interesting, there could be more visual elements introduced to keep the audience engaged. This could potentially include more action, interaction with the surrounding environment, or visual cues that highlight the growing sense of Phil's frustration and desperation.
Suggestions - The scene could benefit from more visual description, such as the diner's atmosphere and the characters' physical actions and emotions.
- The conversation between Phil and Rita could be condensed to make it more impactful and engaging. Consider trimming some of the dialogue and focusing on the most important points.
- The insertion of the X-ray and medical scenes could be improved by better integrating them into the narrative. They feel somewhat disjointed and disconnected from the rest of the scene.
- The introduction of the scientist and the concept of time folding back on itself could be introduced more smoothly and with more context. Perhaps set up the scene by establishing that Phil has been exploring scientific theories to explain his situation.
- The reveal of the paper airplane could be reworked to make it a more organic and purposeful addition to the scene. Right now it feels like an arbitrary distraction.



Scene 13 -  Joyride
  • Overall: 8.0
  • Concept: 5
  • Plot: 3
  • Characters: 7
  • Dialogue: 8
INT. CLASSROOM - DAY
Twenty-five eighth-graders running amok.
SCIENTIST
(sternly)
All right! I think someone may
just need a little visit to the
Assistant Principal's office!
Get back in your seats. The bell
has not rung yet.
The kids sit back down, but keep up their noisy chatter.
SCIENTIST
(to Phil)
Well, I ' m speaking purely
hypothetically.
CUT TO:
-44-

INT. SCHOOL CORRIDOR - LATER
Phil is walking toward the exit when he passes a first grade
classroom. The door is open and the TEACHER is discussing a
story with the class.
TEACHER
So the princess picked up the
frog and kissed him.
Phil stops outside the door to listen.

INT. CLASSROOM - CONTINUOUS
TEACHER
Now who can tell me what happened
when the princess kissed the
frog.
LITTLE BOY
Her lips got slimed!
The whole class erupts in giggles and shrieks.
TEACHER
Okay, come on now. What happened
when she kissed the frog?
LITTLE GIRL
The princess kissed the frog and
the spell got broke and he turned
into a handsome prince and they
got married and lived happily
ever after.
TEACHER
That's right.

INT. THE CORRIDOR - SAME TIME
Phil is leaning against the wall listening. There is something
very arresting about the fairy tale, but finally he just shakes
his head and exits.
CUT TO:

INT. DEW DROP INN - LATER THAT NIGHT
Phil is at a bar getting drunk with two local blue-collar
workers, GUS and PHIL.
PHIL
Gus, what would you do if there
was no tomorrow?
-45-

GUS
You mean like if the world was
gonna end?
PHIL
No, I mean like if it was never
going to end. If everyday was
the same and you were stuck here
and you couldn't get out and
nothing you did mattered?
GUS
You're right. Everyday is the
same, I can't get out of here and
nothin' I do matters.
V RALPH
No, he's askin1 you a question,
ya idiot.
GUS
What was the question?
RALPH
What if nothing mattered?! Jeez,
I know what I'd do. I ' d j ust
spend all my time drivin' fast,
gettin1 loaded and gettin' laid.
That's it.
PHIL
That's it. It just doesn't get
any better than this, does it?
Good friends, good conversation
and quality brew. Drink up,
boys.
They salute each other and drink.
CUT TO:

EXT. THE STREET - LATER
Phil, Gus and Ralph approach Ralph's big, black, old Buick
convertible parked outside the bar. They are even drunker than
they were before.
RALPH
(fumbling with his
carkeys)
Where you stayin', Phil? We'll
drop you off.
PHIL
Hey, friends don't let friends
drive drunk. Give me your keys.
-46-

He's as wasted as they are, but Ralph hands over his keys
without a fight.
RALPH
Thanks , man .
PHIL
It's nothing. Get in.
They all pile into the front seat with Phil at the wheel.
PHIL
(starting the ear)
Seatbelts.
Ralph and Gus give him the thumbs up sign and start digging
around in the seat cracks for their seatbelts. Suddenly, Phil
floors the accelerator and peels away, sideswiping a parked car
as he screeches around the corner.

INT. THE BUICK - CONTINUOUS
Phil is having a great time. Gus and Ralph are whooping it up
like kids on a roller coaster.
PHIL
This is great, Ralph!
RALPH
Oh, hey, take a left!
Phil passes the intersection.
RALPH
You missed it!
PHIL
No problem —

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

INT. THE BUICK - CONTINUOUS
Phil swerves in and out of oncoming traffic. Gus is starting
to look a little green.
PHIL
So many rules —
-47-

RALPH
You can say that again.
PHIL
"Don't do this—"

EXT. THE STREET - CONTINUOUS
The Buick demolishes a parked car.
PHIL (V.O.)
"Don't do that — "
He mows down a row of parking meters.
POLICE CAR
It comes screaming around a corner in hot pursuit of the Buick

INT. THE BUICK - CONTINUOUS
Ralph hears the siren and looks back at the police car.

All right! Try and stop us, you
mothers !
PHIL
No more rules!
RALPH
No more rules!
Genres: ["Comedy"]

Summary Phil gets drunk with two locals, steals their car and goes on a joyride with them while being chased by the police.
Strengths "The scene is entertaining and well-written. The car chase adds a level of excitement and tension."
Weaknesses "The scene does not advance the plot and does not contribute much to character development or narrative."
Critique Overall, this scene is well-written in terms of structure and pacing. The use of cuts between the classroom and the bar adds variety and keeps the audience engaged.

However, the characterization of the three men in the bar is quite stereotypical and one-dimensional. The dialogue is heavy on exposition and lays out their personalities in a way that feels forced. Additionally, the use of drunk driving as a source of comedy is insensitive and potentially dangerous, and may not play well with certain audiences.

Overall, while the scene functions well within the structure of the overall narrative, there might be room for some reworking to make the characters more believable and sympathetic, and to handle the subject matter more responsibly.
Suggestions 1. Make the scene more visually interesting: The scene takes place mainly in a classroom and a car, which doesn't leave much room for visual variety. To improve this, you could add in more interesting or dynamic camera angles, or have the car chase take place in a more unique location to make it stand out.

2. Provide more context to the characters and their actions: We know very little about Phil, Gus, and Ralph, which makes it hard to care about their reckless behavior. Adding in more information about their backgrounds or motivations could help the audience understand and empathize with them.

3. Add more consequences to the characters' actions: The scene ends with the police chasing the characters, but we don't see any lasting consequences to their dangerous behavior. To make the scene more impactful, you could show the characters getting arrested or facing other serious consequences for their actions.

4. Make the dialogue more realistic: The dialogue in the scene feels somewhat stilted and unnatural. To make it more believable, try to imagine how real people in these situations would talk and act, and incorporate that into the script.

5. Cut down on unnecessary scenes and dialogue: The scene with the first-grade classroom and the fairy tale doesn't seem to have much relevance to the rest of the plot, and could potentially be cut to streamline the story. Additionally, some of the dialogue between the characters feels repetitive and could be trimmed down to make the scene move more quickly.



Scene 14 -  Phil's Second Chance
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 7
EXT. THE STREET - CONTINUOUS
A second police car joins the chase.
RALPH
(looking back)
That's two!
PHIL
Having a good time?
RALPH
I'm having a great time!
Phil speeds up to a hundred miles and hour. Gus is looking
even worse from the liquor and the motion of the car.
GUS
Hey, uh —
PHIL
Phil.
-48-

GUS
Yeah, Phil— like the groundhog.
PHIL
Right.
GUS
Hey, Phil? How're we going to
get out of this?
THEIR POV - THE INTERSECTION AHEAD
Two police cars with lights flashing are parked sideways,
completely blocking the road. Officers stand in the roadway,
motioning for Phil to stop.
PHIL
(calmly)
Gus, you're just going to have to
trust me on this one.
He tromps the gas pedal to the floor. Gus's eyes go wide with
terror.
The police dive out of the way.
PHIL AND RALPH
Yahooooo!
THEIR POV - THROUGH THE WINDSHIELD
The Buick crashes head on into one of the police cars.
BLACK OUT:
CLOSE UP - CLOCK
The time changes from 5:59 to 6:00. The radio starts playing
"I Got You, Babe."
Phil sits up suddenly and looks around, completely amazed. He
is in his room at the bed and breakfast, everything exactly the
same as before. He hops out of bed and quickly examines
himself for signs of physical injury. Nothing. The music ends
and the two deej ays come on.
DEEJAY
Okay, campers, rise and shine,
and don't forget your booties
because it's COOOLD out there
today.
Phil talks out loud along with them.
PHIL AND SIDEKICK
It's cold out there everyday.
What is this— Miami Beach?
-49-

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

INT. BREAKFAST ROOM - CONTINUOUS
Phil rushes into the breakfast room just as Mrs. Lancaster
comes out of the kitchen with the coffee. Everything is
exactly the same as before.
MRS. LANCASTER
Would you—
Phil interrupts, answering all her questions before she even
asks them.
PHIL
(urgently)
Yes, I would like some coffee;
the weather is going to be cold
and overcast with blizzard
conditions moving in later today;
and yes, I will be staying an
extra day.
MRS. LANCASTER
(baffled)
Why thank you.
PHIL
Mrs. Lancaster, has anyone been
around here looking for me this
morning? Maybe a state official,
blue coat, hat, gun, nightstick,
badge, driving a late-model Ford
br Chevy, black and white with
bubble lights on top—
MRS. LANCASTER
(shocked)
No, no one like that-- I .don't—
Will they be?
PHIL
(greatly relieved)
Apparently not.
Phil gooses her, grabs a sweet roll, and heads for the door,
starting to believe now that he can truly do anything he wants
to.
CUT TO:
-50-

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

EXT. MAIN STREET - MOMENTS LATER
Phil passes the old bum, ignoring him as usual.
NED (O.C.)
Hey, Phil!
Phil slips off his glove as Ned Ryerson lumbers toward him.
NED
Phil! Phil Connors!
PHIL
Ned! Ned Ryerson! Ned the Head!
Before Ned can say another word, Phil SLUGS HIM. Ned goes
down, Phil puts his glove back on and keeps walking.
Phil deftly avoids the slushy pothole he stepped in before. A
PEDESTRIAN walking behind him steps right into it.
CUT TO:

EXT. GOBBLER'S KNOB - LATER
Phil is passing through the crowd on his way to the press area
when he notices NANCY, the girl he met at the hotel bar, and
stops to talk to her.
PHIL
You here to see the groundhog?
She gives him a look. It's obvious she's never seen him
before.
NANCY
Can you think of another reason
anybody'd be out here at dawn on
a freezing day?
PHIL
What's your name?
NANCY
Nancy Taylor. And you are—

PHIL
Where'd you go to high school?
-51-

NANCY
What is this?
PHIL
(playful)
High school?
She really doesn't know what to make of Phil but she decides to
play along.
NANCY
Lincoln High school. In
Pittsburgh. Who are you?
PHIL
Who was your twelfth grade
English teacher?
NANCY
Are you kidding?
PHIL
I'm waiting.
NANCY
.Mrs. Walsh.
PHIL
Walsh. Nancy, Lincoln, Walsh.
NANCY
Is this some kind of come-on?
PHIL
I'm not really sure. We'll have
to see.
Phil walks off and joins Rita at their camera position.
CUT TO:
Genres: ["Comedy","Fantasy"]

Summary Phil experiences a mental breakdown, steals a car and goes on a joyride with the police chasing him. After crashing the car, he wakes up to find himself back to the same day. Phil is starting to realize the possibilities of his situation and begins to experiment.
Strengths "The scene continues to build on the concept in a creative and entertaining manner, showcasing Phil's newfound attitude towards his situation. The comedic elements are well-done, and the introduction of new characters adds dimension to the story."
Weaknesses "Some of the dialogue feels slightly repetitive, and the scene lacks a clear focus or direction in terms of plot. There are also moments where the jokes fall a bit flat."
Critique Overall, this is a well-written scene with good characterization and pacing. The dialogue is snappy and engaging, and the action is exciting.

One potential issue is that the ending feels a bit abrupt. The scene builds to a climax with the car chase, but then it suddenly cuts to a time jump and Phil waking up in his room. While this serves to establish the time loop conceit, it may leave the audience wanting more closure on the chase.

Additionally, the exchange between Phil and Mrs. Lancaster could be tightened up a bit, as it feels a bit repetitive. The repetition of "yes" responses to her questions could be condensed to just one or two affirmatives.

Overall, though, this scene effectively establishes the tone and world of the film while also providing an engaging and entertaining sequence.
Suggestions There are a couple of suggestions I would give to improve this scene:

1. Show more tension in the car chase sequence to make it more engaging for the audience. Perhaps add in some close calls with other cars on the road, or have the police cars more aggressively pursuing Phil's car.

2. Make it clearer why Phil is so excited about the car chase and why he trusts himself to get out of it. Is he a former race car driver? Does he have experience with evading the police? It would add more depth to his character and make his actions more believable.

3. Develop the conversation between Phil and Nancy a bit further. Make their interaction more meaningful or flirtatious to add a romantic subplot to the story.

Overall, these changes would enhance the audience's investment in the story and make the characters more dynamic.



Scene 15 -  Phil's Day Out
  • Overall: 8.0
  • Concept: 9
  • Plot: 7
  • Characters: 8
  • Dialogue: 9
INT. DINER - LATER THAT MORNING
Phil is sitting at his usual table, which is covered with an
incredible variety of rich foods— eggs, bacon, sausage,
pancakes, pies, cakes, eclairs, ice cream, puddings, etc.
Rita sits across from him, watching in amazement as he stuffs
himself with pastry.
RITA
Is this some new fad diet? Don't
you worry about cholesterol?
Phil scrapes a plate and takes a final bite of a chocolate
eclair.
-52-

PHIL
I don't worry about anything
anymore.
RITA
What makes you so special?
Everybody worries about
something.
PHIL
That's exactly what makes me so
special.
He takes a big bite of cake. Rita shakes her head.
PHIL
(with his mouth full)
What?
RITA
"The wretch, concentered all
in self,
Living, shall forfeit fair
renown,
And doubly dying, shall go
down to the vile dust from
whence he sprung,
Unwept, unhonored, and
unsung." Sir Walter Scott.
PHIL
(stares at her for a
long moment)
"There was a young man from
Nantucket—"
RITA
That's really funny. When are
you going to grow up, Phil?
PHIL
At this rate-- never.
(he pulls out a pack of
cigarettes)
Okay if I smoke?
Rita shrugs. Phil lights up a cigarette.
RITA
You really do have a death wish,
don't you?
PHIL
Just the opposite, Rita. I have
a life wish. I'm just trying to
enjoy it. Taking pleasure in the
little things. Don't you ever
just want to cut loose and go
wild?
-53-

RITA
I wouldn't even know what it
means to go wild.
PHIL
Yeah, well, that's where I come
in. Going wild is one of my
specialties. Last night I got
completely loaded and drove head-
on into a police car.
RITA
(disbelieving)
Oh, really? You look pretty good
this morning.
PHIL
That's my point. I know you
won't believe me, but we could do
anything we want today and it
wouldn't matter one bit.
Absolutely no consequences.
Complete and total freedom.
RITA
And how. .,do we manage that?
PHIL
You leave that to me. Why don't
you send Larry back and hang out
with me for the rest of the day?
You never make it through that
blizzard anyway.
Larry enters the diner and spots them.
RITA
I'll take my chances with the
-weather. But you have a good
time.
PHIL
Don't worry. I plan to.
CUT TO:

EXT. GOBBLER'S KNOB - NEXT MORNING
Phil comes through the crowd and finds Nancy in the same spot
she was in the day before.
PHIL
Nancy?
Nancy turns and looks at him quizzically.
-54-

PHIL
Nancy, right?
NANCY
I'm sorry, I—
PHIL
Nancy Taylor? Lincoln High? I
sat next to you in Mrs. Walsh's
English class.
NANCY
That—
PHIL
Phil Connors.
NANCY
--is amazing!
PHIL
You don't remember me, do you?
NANCY
I don't— sure, I think—
PHIL
We used to shoot spit balls—
NANCY
Yeah, oh, God—
PHIL
I even asked you to the prom.
NANCY
Phil Connors.
PHIL
Yeah.
NANCY
How ARE you?!
PHIL
I ' m great. Wow, you look
terrific. Hey, listen, I gotta
do this report—
NANCY
You're a reporter?
PHIL
Weatherman. Channel 9,
Pittsburgh.
NANCY
Right, I should've known—
-55-

PHIL
But maybe after we could —
NANCY
Yeah, yeah, I ' d like that —
RITA (O.C.)
Phil!
Rita is calling from across the crowd. She looks at him with
disapproval .
CUT TO:

INT. PHIL'S ROOM - NIGHT
Phil is making passionate love to a WOMAN in the dark.
WOMAN
(moans)
Oh, Phil.
PHIL
Oh , Rita .
The woman suddenly freezes. There is a moment of silence, then
she snaps on the light. It's Nancy, not Rita. Phil is as
surprised as she is by his slip of the tongue.
NANCY
(cold)
Who's Rita?
PHIL
(caught)
No one. It's just something I
say when I make love. You know —
"Orita", "Orighta"-- it's like
"Oh, baby" or something.
NANCY
(not entirely
convinced)
Oh.
PHIL
(corrects her)
O-rita.
Nancy laughs uncertainly. Phil switches off the light,
thinking now about Rita.
CUT TO:
-56-
Genres: ["Comedy","Romance"]

Summary Phil tries to convince Rita to go wild with him and enjoy the day without consequences. He runs into an old acquaintance and tries to reconnect. Later, he has a slip of the tongue with a woman he is sleeping with, accidentally calling her Rita.
Strengths "The humor and playfulness of Phil's character shine through in this scene, as well as the thematic exploration of the lack of consequences."
Weaknesses "The subplot with Nancy feels underdeveloped and serves mainly to interrupt the potential romance between Phil and Rita."
Critique Overall, this scene is well-written and engaging, with strong character development and dialogue. However, there are a few areas where it could be improved.

One issue is with the excessive description of the food on Phil's table. While it's clear that the intention is to show Phil's indulgence and lack of concern for his health, the long list of food items feels unnecessary and distracts from the conversation between Phil and Rita. A simpler description would suffice.

Another issue is with Phil's sudden mention of his reckless behavior, such as drunk driving into a police car. This comes across as abrupt and out of character, since Phil has not exhibited this type of behavior before. It may have been more effective to more subtly hint at Phil's self-destructive tendencies earlier in the story.

Additionally, some of the dialogue, particularly from Rita, comes across as a bit forced and preachy. While it's understandable that she would have reservations about Phil's behavior, her use of Sir Walter Scott and her lecturing tone make her seem overly moralizing.

Overall, the scene effectively develops Phil's character and sets up his eventual change, but could benefit from some trimming down and smoothing out of dialogue.
Suggestions Overall, the scene could benefit from more action and dialogue that moves the plot forward.

- The excessive description of food on the table doesn't add much to the scene and instead, could be replaced by dialogue that reveals more about the characters.
- The exchange between Phil and Rita about worry and Phil's carefree attitude feels a bit static and could use some more tension or conflict.
- The poem quote that Rita recites comes out of nowhere and doesn't seem to fit the tone of the conversation.
- Phil's suggestion that they could do anything with no consequences seems unrealistic and random.
- The transition to Phil meeting Nancy at Gobbler's Knob is abrupt and leaves the Rita and Larry characters hanging.
- The love scene with Nancy feels unnecessary and doesn't move the plot forward.

Here are some possible suggestions for improvement:

- Minimize the description of food and use dialogue to convey Phil's unhealthy eating habits and his carefree attitude towards life.
- Add more tension or conflict in the conversation between Phil and Rita, perhaps by having her push back more against his attitude, or by revealing more about her character and motivations.
- Remove the random poem quote and replace it with dialogue that furthers the relationship between Phil and Rita.
- Make Phil's suggestion that they can do anything with no consequences more specific or believable - for example, he could suggest they skip work and go on a spontaneous road trip.
- Give a proper resolution to the Larry and Rita characters before transitioning to Phil meeting Nancy at Gobbler's Knob.
- Remove the love scene with Nancy or replace it with a scene that advances the plot and relationships in a meaningful way.



Scene 16 -  Phil's Wild Day
  • Overall: 8.0
  • Concept: 9
  • Plot: 8
  • Characters: 7
  • Dialogue: 7
INT. BREAKFAST ROOM - MORNING
Some elderly GUESTS are sipping coffee and eating breakfast,
staring uncomfortably at something on the other side of the
room.
THEIR POV
Phil is standing at the bookcase, wearing only pajamas,
absently munching on a Danish as he reads from one of the
books.
Mrs. Lancaster approaches him.
MRS. LANCASTER
Isn't it a wonderful collection?
PHIL
(not looking up)
Yes, it is. You don't usually
find this many trashy novels in
one place.
MRS. LANCASTER
You can take a book up to your
room if you like.
PHIL
No, thank you. I've actually
read them all. I was just
rereading some of the dirty
parts.
He finishes and puts the book back on the shelf.
MRS. LANCASTER
(worried)
How long will you be staying with
us, Mr. Connors?
PHIL
Indefinitely. I've already been
here for 211 days.
MRS. LANCASTER
(humoring him)
Really? That's quite a long
time, isn't it. I hope you're
finding things to do in our
little town.
PHIL
(casually)
Yes, well, I'm getting a little
tired of casual sex so today I
thought I'd rob a bank and buy
myself a really expensive car.
-57-

Phil kisses her on the lips and walks off.
CUT TO:
EXT. PENN BANK AND TRUST - DAY
Two harmless-looking old GUARDS are calmly loading bags of cash
into an armored car parked in front of a local bank. Suddenly
Phil appears, wielding a shotgun, wearing a Batman style cape,
his face completely hidden by a ski mask.
PHIL
(shouts)
All right, freeze!! Drop your
guns J!
The guards stand there frozen with terror.
PHIL
You guys ever been held up
before?
(they shake their
heads)
It's kind of exciting, isn't it?
FIRST GUARD
(frightened)
I guess so. Something to tell
the kids about.
PHIL
Yeah. By the way, I'm Phil.
He raises the mask and shows his face.
FIRST GUARD
Herman.
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 :
Genres: ["Comedy","Crime","Romance"]

Summary Phil goes on a wild spree, robbing a bank, buying an expensive car, and engaging in various activities with different people. He is experimenting with his newfound power of reliving the same day.
Strengths "Humorous and imaginative scenes, playful tone and pace, development of Phil's character arc."
Weaknesses "Some scenes feel repetitive and redundant."
Critique As a screenwriting expert, I would first like to point out that this scene is from the movie Groundhog Day, which is a classic and successful film. Overall, I think the scene is well-written and engaging. It effectively showcases the main character Phil's unpredictable and wild behavior, which is integral to the plot of the film.

However, there are a few minor points that could be improved upon. For example, the transition from the breakfast room to the bank robbery feels a bit sudden and jarring. It might benefit from a smoother transition or perhaps even a clearer indication of how Phil gets from point A to point B.

Additionally, while the dialogue between Mrs. Lancaster and Phil is humorous, it also feels a bit on the nose and exaggerated. It might benefit from a more subtle approach.

Overall, however, this scene does an excellent job of introducing the audience to Phil's character and setting up the quirky, unpredictable nature of the film.
Suggestions As a screenwriting experiencer, I would suggest the following improvements for this scene:

1. Clarify Phil’s motivation: At this point in the story, it’s unclear why Phil is behaving this way. Is he having a mid-life crisis? Does he have a mental illness? Without a clear motivation for his actions, the audience may have a hard time engaging with him as a character.

2. Improve Mrs. Lancaster’s reaction: When Phil makes a suggestive comment about the books, Mrs. Lancaster should be more visibly uncomfortable. Right now, she just seems worried about how long he’s staying.

3. Add more tension to the bank robbery scene: The guards are too complacent during the robbery. We need to see more intensity from them to make the scene more exciting.

4. Give a reason for Phil’s costume changes: Right now, they seem arbitrary and silly. If there’s a reason for him changing costumes, it needs to be clearer.

5. Make the tattoo scene more meaningful: Rita’s reaction to Phil’s tattoos is too mild. If there’s a reason he’s getting these tattoos, we need to know what it is and see her reaction to it.

6. Develop the biker bar scene: Right now, it feels like filler. Give us a reason for Phil to be there and make the scene more exciting and meaningful.



Scene 17 -  Phil tries to win Rita over
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
EXT. A SIDE STREET - THE NEXT MORNING
Rita is in the news van reviewing the tape of Phil's report
Phil hovers at the open side door.
RITA
You look good. I mean, it came
out all right. How'd you know
where to put the camera?
PHIL
Psychic. So did you have a nice
evening?
RITA
(guarded)
I just had a sandwich, watched
some TV and went to bed.
PHIL
I got my whole body tattooed and
part ied all night with some
nymphomaniac biker chicks.
RITA
(skeptical)
Sounds wholesome. Were those the
new 24-hour disappearing tattoos
or can I see them?
PHIL
No, they're gone. Rita, if you
only had one day to live, what
would you do with it?
-61-


She switches off the videotape and steps out of the van.
RITA
I don't know, Phil. What are you
dying of?
PHIL
No, I mean like what if the
entire world was about to
explode?
RITA
I ' d just want to know where to
put the camera. What are you
looking for, Phil— a date for
the weekend?
She starts walking toward the center of town. Phil sticks
right with her.
PHIL
No, I just want to know you
better. What do you like, what
do you want, what do you think
about, what kind of men are you
interested in, what do you do for
fun?
RITA
(she stops)
Is this real or are you just
going to make me feel like a
fool?
PHIL
I'm just trying to talk to you
like a normal person. Isn't this
how normal people talk?
RITA
Close.
PHIL
Okay, so talk to me. C'mon, I'll
buy you a cup of coffee.
CUT TO:

INT. DINER - A LITTLE LATER
Phil and Rita are at their usual table, drinking coffee.
RITA
I guess I want what everybody
wants— you know, career, love,
marriage, children. So far I
don't have any of it.
-62-

PHIL
You have a career.
RITA
I have a job. Doing stories on
the Punxsutawney groundhog is not
my ultimate goal. No offense.
PHIL
How about the other stuff? You
seeing anybody?
RITA
This is getting too personal. I
don't think I ' m ready to discuss
these things with you. What
about you? What do you want?
PHIL
What I really want is someone
like you.
RITA
Oh, please—
PHIL
Why not?
RITA
Phil, you know, you have so much
talent and ability. If you'd
just drop the attitude and act
like a decent human being, then
maybe I ' d —
(she hesitates)
PHIL
You'd what?
RITA
I don't know what.
PHIL
Then maybe you'd like me?
She stares hard at him.
RITA
I don't know. It's sort of like
the way I feel about UFO's. I'd
have to see it to believe it.
Larry pokes his head in the doorway, looks around, spots Rita
and makes his way over to their table.
-63-

LARRY
(to Rita)
You ready? We better get going
if we're going to stay ahead of
the weather.
RITA
Yeah, I'll be right out, Larry.
Larry scowls at Phil and exits.
PHIL
(to Rita)
Why don't you stay for a while?
The road's going to be closed
anyway. Do you really want to be
stuck in the van with Larry for
three hours?
RITA
I've got to get back. I'll see
you later.
Phil watches Rita exit.
PHIL'S POV
Rita gets in the news van and drives off with Larry.
Phil stares out the window, more" determined than ever to win
her over.
CUT TO:

EXT. GOBBLER•S KNOB - ANOTHER DAY
Phil is wrapping up his groundhog report.
PHIL
Well, you heard it right from the
groundhog's mouth. Bundle up
good, 'cause it's going to be a
long winter— at least in
Punxsutawney. Reporting for
Channel 9, this is Phil Connors.
Larry stops tape.
RITA
That was great. How did you know
the—
PHIL
(preoccupied)
I have to go now. There's
something I have to do.
-64-

Phil runs off without another word of explanation.
CUT TO:

EXT. THE NEWS VAN - LATER
Phil has the hood open and is doing something to the engine.
CUT TO:
Genres: ["Comedy","Romance","Drama"]

Summary Phil tries to connect with Rita on a deeper level, but she remains guarded. He watches her drive off with Larry determined to win her over.
Strengths "The scene is well-paced and engaging, with witty dialogue and a clear conflict. The characters are well-developed and interesting, and the setting is utilized effectively."
Weaknesses "The scene may lack significant plot development, and the theme and emotional impact may not be as strong as in other scenes."
Critique Overall, this scene is well-written and engaging. The dialogue between Rita and Phil is natural and realistic, and it successfully conveys their growing connection. However, there are a few areas where the writing could be improved:

1. The initial setup could be clearer. There's no context given for why Rita and Phil are together on this side street, which can be confusing for the audience. Adding a brief establishing shot or line of dialogue to explain their location and purpose would help.

2. Some of the dialogue feels a bit forced. For example, when Phil asks Rita what she would do if the world were about to explode, it comes across as a contrived way to steer the conversation toward philosophical musings. A more organic transition would make the scene flow better.

3. The ending feels abrupt. Phil abruptly runs off without explaining why, which can be frustrating for viewers who are invested in the characters. Adding a bit more context or dialogue to explain his actions would make the scene feel more satisfying.

Overall, though, this scene effectively draws the viewer into the characters' world and keeps them engaged throughout.
Suggestions Here are some suggestions to improve this scene:

1. Establish stronger character motivations and goals. Right now, it's unclear why Phil is so interested in getting to know Rita, and why Rita is so guarded around him. Give them clearer reasons for their behavior and desires.

2. Show, don't tell. Instead of having Phil tell Rita about his wild night, show it through visual storytelling. This will add visual interest to the scene and help the audience connect with the characters more.

3. Add more conflict. Right now, the scene feels like it's just two characters having a conversation. Add in some external or internal conflict to make things more interesting. For example, perhaps they're both competing to get the perfect shot of the groundhog, or perhaps Phil is struggling with his newfound feelings for Rita.

4. Work on the dialogue. Some of the lines feel a bit on-the-nose, and could benefit from more subtlety and nuance. Consider how real people might talk in these situations, and try to make the dialogue feel more natural and authentic.

5. Add more visual interest. Consider adding some more visual elements to the scene, such as interesting camera angles, movement, or symbolism. This will help keep the scene visually engaging and help convey deeper meaning.



Scene 18 -  Phil and Rita's Magical Night
  • Overall: 8.0
  • Concept: 9
  • Plot: 7
  • Characters: 8
  • Dialogue: 7
INT. THE BERGHOF RESTAURANT - LATER
Rita is sitting at the bar in the town's best restaurant, a
good chophouse with Black Forest decor and waitresses dressed
in dirndl skirts and aprons. Phil enters and sits down next to
her.
PHIL
(acting surprised)
Oh, hi, Rita. You still here?
RITA
(glum)
The van won't start. Larry's
working on it.
PHIL
(innocent)
Wouldn't you know it. Buy you a
drink?
RITA
Okay.
PHIL
(to the bartender)
Jack Daniels.
BARTENDER
For you, miss?
RITA
Tequila,with lime. Gold, if
you've got it.
Phil nods to himself.
CUT TO:
SAME SCENE - ANOTHER DAY
Phil walks in and sits next to Rita.
PHIL
(acting surprised)
Oh, hi, Rita. You still here?
-65-

RITA
(glum)
The van won't start. 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:
Genres: ["Romantic Comedy","Drama"]

Summary Phil and Rita spend a magical night together, enjoying small town charm and getting closer to each other.
Strengths "The scene effectively conveys the romantic, dreamy tone and builds a strong emotional connection between Phil and Rita. The playful snowball fight adds a fun element to the scene."
Weaknesses "The scene lacks significant plot development and conflict."
Critique Overall, this scene is well written and portrays the growing connection between Phil and Rita through their daily interactions. The dialogue is natural and the setting descriptions provide a clear picture of the locations. However, there are a few areas that could be improved to further enhance the scene.

Firstly, while the repeated dialogue of Phil's surprise at seeing Rita and her van not starting serves to establish a routine, it could become repetitive. It would be more effective to convey the same information through actions or visuals, rather than relying on the same dialogue beat every time.

Secondly, the scene could benefit from more subtext in the conversation between Rita and Phil. While they are shown to be developing a romantic connection, the dialogue could include more hidden meaning and subtext to deepen the audience's understanding of their growing feelings for each other.

Finally, the snowball fight and subsequent moment in the snow provide a heartwarming and humorous moment of connection between Phil and Rita. However, the transition between this moment and the previous scene feels sudden and could benefit from smoother pacing.

Overall, the scene conveys a sense of whimsy and romance, but could be elevated through refining certain dialogue beats and adding more subtext.
Suggestions The scene could benefit from some more character development and a clearer focus on the central conflict. One way to do this would be to add more dialogue and actions that reveal personal details about Rita and Phil, such as their backgrounds, interests, and motivations. This would help the audience become more invested in their relationship and understand why they are drawn to each other.

Additionally, it might help to add a specific goal or obstacle that Rita and Phil must overcome together, such as finding a way to fix the van so they can leave town. This would create more tension and drama, and give the scene a sense of purpose beyond just showcasing their budding romance.

Finally, the scene could benefit from some more sensory and descriptive details, particularly in the setting. We get a basic sense of what the Berghof Restaurant and the fudge shop look like, but more specific descriptions of the sights, sounds, smells, and tastes of Punxsutawney would make the town feel more vivid and alive.



Scene 19 -  Rejected Love
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. CHERRY STREET INN - NIGHT
Phil and Rita are walking slowly, very close.
PHIL
What?
RITA
I ' m just amazed. And I'm not
easily amazed.
PHIL
About what?
-69-

RITA
How you can start a day with one
kind of expectation and end up so
completely different.
PHIL
Do you like how this day is
turning out?
RITA
Yes. I like it very much.
They stop dn front of Phil's hotel. She turns to him.
RITA
You could never have planned a
day like this, but it couldn't
have been more perfect.
PHIL
You're wrong. I've been planning
this day for weeks.
Rita ignores the remark and hugs him. Phil tries to kiss her
but she gently puts her fingers to his lips, stopping him.
\ They enter the bed and breakfast inn.

INT. VESTIBULE - CONTINUOUS
Rita hugs him again and starts to exit.
RITA
Thanks. See you tomorrow.
PHIL
Tomorrow? Wait, aren't you going
to come up to my room for a
while?
RITA
(very reluctant)
I don't know, Phil—
PHIL
No•reason to end a perfect day.
RITA
(deciding)
Well— we better not.
PHIL
No, you should. The, uh, the
poetry! I've got some books,
Rimbaud, Beaudelaire, we could
light a fire—
-70-

RITA
Thanks, but —
PHIL
(seeing it all slip
away)
Please come, Rita. It'll be —
RITA
(definite)
Phil, I'm tired. We can be
together tomorrow.
PHIL
(getting desperate)
But there is no tomorrow for me!
RITA
(adamant)
Let's not ruin it, Phil. There's
no way I ' m sleeping with you
tonight.
PHIL
Why not? Rita, I love you!
RITA
You don't even know me!
PHIL
(grabs her hand)
Please! You have to!
Rita shakes loose from his grasp.
RITA
What's wrong with you!
There is a long moment of silent tension, then all her old
doubts about Phil come rushing back.
RITA
(shaking her head)
Oh, no. I can't believe I fell
for it. This whole day was just
one long set-up. And I ate
fudge. Yucchh! I hate fudge.
PHIL
No, it was real. I love you.
RITA
Stop saying that! Do you really
expect me to trust you? The
whole secretarial pool is a Phil
Connors recovery group.
-71-


PHIL
But I can change! I really can—
Rita slaps him hard on the cheek.
RITA
That's for making me care about
you.
She turns and stomps off, leaving Phil standing there hurting.
CUT TO:

EXT. MAIN STREET - ANOTHER NIGHT
The snowball fight with the kids is going on as before. Phil
falls into the snowbank with Rita and they almost kiss.
CUT TO:

INT. QUALITY INN MOTEL - LATER
Phil is trying (MOS) to talk his way into Rita's room. She
^pushes him away and slams the door in his face.
CUT TO:

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

INT. PHIL'S ROOM - DAWN
"I Got You, Babe" is playing. Phil hits the clock radio to
turn it off. He lies there for a moment, then hefts himself
heavily out of bed, not eager to repeat the day yet another
time. With the radio off, Phil does the deejays' morning
routine himself, seemingly for the millionth time.
PHIL
(dully)
Okay, campers, rise and shine,
and don't forget your booties
because it's cooooold out there
today.
Phil continues the radio report at his own pace, obviously
fatigued.
-72-

PHIL
It's cold out there everyday.
What is this — Miami Beach? Haw.
Not hardly. And you can expect
hazardous travel later today with
that, you know, blizzard thing.
CUT TO:
Genres: ["Romance","Drama","Fantasy"]

Summary Phil tries to convince Rita to spend more time with him and confesses his love to her. Rita gets angry and rejects him. Phil is left alone and hurt.
Strengths "Powerful emotional climax between two main characters."
Weaknesses "Some cheesy dialogue."
Critique Overall, the scene is well written and effective in showing the progression of Phil and Rita's relationship and the conflict that arises. However, there are a few areas for improvement.

First, the dialogue at times feels a bit on the nose and could benefit from more subtlety. For example, when Rita says "I'm just amazed. And I'm not easily amazed," it feels a bit forced and could be more smoothly integrated into the conversation.

Second, some of Phil's actions and dialogue towards the end of the scene are problematic and may not be well received by all viewers. His insistence that Rita should sleep with him and his claim that the secretarial pool is a "recovery group" for him can be seen as manipulative and disrespectful towards women. A more nuanced approach to Phil's character development may be called for in future rewrites.

Overall, though, the scene effectively builds tension and leaves the audience wondering how Phil and Rita's relationship will progress. With some tweaks to the dialogue and character development, it could be even stronger.
Suggestions One suggestion to improve this scene would be to add more depth to Phil and Rita's conversation. Currently, their dialogue feels surface-level and lacking in the emotional depth needed to make their relationship feel real and compelling. Consider adding more backstory or personal details about each character to help the audience understand their motivations and desires. Additionally, the scene could benefit from more visual storytelling, such as incorporating shots of the snow-covered streets or the Cherry Street Inn to help convey the setting and mood. Finally, the tension between Phil and Rita should be heightened throughout the scene leading up to Rita's ultimate rejection of Phil's advances, making it feel like a significant turning point in their relationship.



Scene 20 -  Rejection and Jeopardy
  • Overall: 8.0
  • Concept: 9
  • Plot: 7
  • Characters: 8
  • Dialogue: 7
EXT. GOBBLER'S KNOB - DAWN
Phil is walking through the crowd. He spots Nancy, walks up to
her and greets her half-heartedly .
PHIL
Hi, Nancy.
NANCY
(pleasantly)
Hi. Do I know you?
Phil can't manage enough enthusiasm to pursue her yet again.
PHIL
No, I guess not. I thought you
were someone else.
Phil wanders over to where Rita and Larry are setting up the
camera. Rita comes over to him.
RITA
Are you all right, Phil? You
look terrible.
Phil looks at her sadly, then turns away.
PHIL
(vacantly)
I'm fine.
CUT TO:

INT . BIKER BAR - NIGHT
The balls CRACK as the cue ball breaks the rack.
Phil is walking around the table, cue in hand, sinking ball
after ball, while several admiring HUSTLERS look on.
FIRST HUSTLER
Who is this guy?
-73-

SECOND HUSTLER
I don't know. Hey, mister—
(Phil doesn't stop
shooting)
Who are you, anyway?
Phil shoots, sinks a tough one.
PHIL
You don't know me? I've been
playing here every day for two
months.
FIRST HUSTLER
Oh, yeah? So how come I ain't
seen you?
PHIL
I don't know. I seen you.
SECOND HUSTLER
So what's your name?
PHIL
They call me— Punxsutawney Phil.
SECOND HUSTLER
Punxsutawney Phil? Like the
groundhog.
PHIL
Yeah, like the groundhog.
Phil sinks another one.
CUT TO:

EXT. GOBBLER'S KNOB - DAWN
The crowd is waiting expectantly for the groundhog to appear
Phil is a wreck, squatting unprofessionally in front of the
camera.
PHIL
(cynically)
This is one of the most pitiful
spectacles known to civilization.
With one nod from a filthy rodent
best known to pest control
agencies, a moribund old coal
mining hamlet turns magically
into the Lourdes of Pennsylvania,
Mecca to thousands of people who,
if they hated the winter so
damned much, why don't they move
to Florida, anyway?
-74-

Larry and Rita look on, incredulous.
. CUT TO:
CLOSE UP - TV SET
The program JEOPARDY! is playing.
ALEX TREBECK
(on TV)
Nobel prize-winning co-
discoverers of the DNA molecule.
PHIL (O.C.)
Who are Watson and Crick.
CONTESTANT
(on TV)
Who are Watson and Crick?
ALEX
(on TV)
Correct.
There is a cheering from a small group of people off-screen.

INT. PARLOR - CONTINUOUS
Phil is sitting in his bathrobe in a big lounge chair in the
parlor of his hotel. Mrs. Lancaster, and other guests watch
his performance, awed by his "intellect."
ALEX
(on TV)
Twin brother and sister Sebastian
and Olivia create confusion in
this Shakespearean comedy.
PHIL
What is "Twelfth Night."
CONTESTANT
(on TV)
What is "Twelfth Night?"
ALEX
(on TV)
Correct.
More cheering from the small group.
CONTESTANT
(on TV)
I'll take New Jersey for eight
hundred, Alex.
-75-

ALEX
(on TV)
And the answer is— an audio
daily double.
PHIL
Count Basie.
CUT TO:
Genres: ["drama","romance","comedy"]

Summary Phil tries to win over Rita, but she rejects him, sending Phil into a sad spiral. He then shows off his newfound knowledge and skills on Jeopardy, impressing a small audience.
Strengths "The scene effectively portrays Phil's emotional turmoil and showcases his new abilities. The Jeopardy scene adds a touch of humor and is a clever way to show Phil's increased knowledge."
Weaknesses "The scene may drag on a bit too long and the dialogue could be more impactful. It also feels somewhat disjointed, with the different settings and events not quite flowing together smoothly."
Critique First of all, the formatting needs to be corrected for standard screenplay format. There should be a slugline with INT. or EXT., followed by the location, and then the time of day. The scene descriptions need to be more visual and less dialogue-heavy, with more focus on actions and visual details.

In terms of the scene itself, the dialogue between Phil and Nancy feels flat and uninteresting. The interactions with the hustlers in the bar and the trivia questions on Jeopardy! seem disconnected and irrelevant to the overall plot. The transition between the bar scene and the Groundhog Day event at Gobbler's Knob is also jarring and lacks a clear connection.

Overall, this scene needs more focus on character development and advancing the plot. The dialogue could use some reworking to make it more engaging and the scenes need to be better connected to create a cohesive narrative.
Suggestions As a screenwriting expert, I would suggest the following improvements to the scene:

1. Add more conflict: The scene currently lacks any real conflict or tension. Consider adding some tension between Phil and Nancy, or between Phil and his fellow hustlers at the pool table.

2. Develop the characters more: Nancy, Rita, and Larry are all introduced in this scene, but we don't learn much about them. Consider adding more character development to make the audience care about these characters and their relationships with Phil.

3. Change up the setting: The scene transitions from Gobbler's Knob to a biker bar and then back to Gobbler's Knob. While this may work on paper, it could be confusing for the audience. Consider consolidating the action to just one or two locations.

4. Cut down on the dialogue: The dialogue in the scene can feel a bit cumbersome and expository. Consider trimming it down to make it more concise and impactful.

5. Add some visual interest: The scene relies heavily on dialogue to convey information. Consider adding some more visually interesting elements to keep the audience engaged. For example, you could show Phil's exceptional pool playing skills on screen, rather than just hearing about them through dialogue.



Scene 21 -  Phil's Groundhog Day Breakdown
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
EXT. STREET - DAY
Phil is walking through town, still dressed only in his pajamas
and overcoat, counting the sidewalk cracks, taking giants steps
from one to the next. He looks crazy.
PHIL
Two thousand six hundred and
seventy-one—
(takes another step)
two thousand six hundred and
seventy-two—
(another step)
two thousand six hundred and
seventy-thr-ee-^-
A woman passes walking her dog.
PHIL
Hey, pick up after your dog!
DOG WALKER
He hasn't done anything.
PHIL
He's going to!
(pointing)
There and there. And there!
Phil continues walking, counting the sidewalk cracks. THREE
NEIGHBORHOOD KIDS notice Phil and walk along, matching him step
for step.
iPHIL
Two thousand six hundred and
seventy-four, two thousand six
hundred and seventy-five, two
thousand'—
JOEY
Five million eight hundred—
PHIL
Six hundred—
MIKE AND SUE
Ninety, twenty, four, six, fifty—
-76-

PHIL
Two thousand, four hundred—
JOEY, MIKE AND SUE
Two, eight, nine, forty-six—
Phil stops. He has lost count. His lip curls up like an
animal as he turns slowly, growling at the kids. They run away
screaming with glee. Phil starts after them but runs right
into a COP.
COP
You got a problem, buddy?
PHIL
(out of control)
Yeah, I got a problem, buddy! I
can't stand this place anymore!
I can't stand this street and I
can't stand the fourteen bars and
the five banks and the one star
food and the bad weather and the
"quaint" little shops and most of
all, I can't stand anything—
ANYTHING— with a groundhog on
it.
He rips a groundhog patch off the cop's jacket sleeve.
COP
(calmly)
Okay. Then let's see what we can
do about getting you out of here.
You got a name?
PHIL
(eyes downcast)
Phil.
COP
Phil. Like the groundhog!
Phil turns to the cop like a rabid dog, ready to strike.
PHIL
Yeah, like the—
(he stops as if struck)
—groundhog.
Some big new idea has formed in his mind.
CUT TO:

EXT. GOBBLER'S KNOB - EARLY MORNING
Rita is looking at Phil as Larry videotapes his report.
-77-

LARRY
(turning to Rita)
The guy's nuts. He's out of his
gourd.
RITA
Let him finish, then I'll call
the station.
They turn back to watch Phil's wrap-up.
Phil is completely unkempt, still wearing only pajama bottoms
and his overcoat, looking even more demented.
PHIL
(to camera)
There is no way this winter is
ever going to end as long as that
groundhog keeps seeing his shadow
everyday. I don't see any other
way out. He's got to be stopped
and I've got to stop him. For
Channel 9 news, this is Phil
Connors.
CUT TO:

EXT. GOBBLER'S KNOB - NIGHT
Phil is walking around the mound, casing it out. He takes a
rifle out from under his coat and sneaks up to the burrow. He
pulls a smoke bomb from his pocket, lights it, and throws it
into the hole, then scurries for the edge of the knob and hits
the deck. He lifts his rifle and aims it.
Smoke is now pouring from the mound. Lots of it.
Phil waits, his trigger finger twitching.
A WOMAN casually walks by, stops. She surveys the situation.
WOMAN
He ain't there.
Phil doesn't move. He-doesn't care that she sees him.
WOMAN
You can wait all night, but he
ain't coming out. He don't live
there. They keep him in the
library.
Phil's gun droops. The woman begins to walk off, then stops.
WOMAN
Plug him once for me.
-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:
Genres: ["Comedy","Drama"]

Summary Phil suffers a mental breakdown and decides to take drastic action against Punxsutawney Phil.
Strengths "The scene showcases Phil's frustration and desperation in a comical yet poignant way, which underscores the existential themes of the film. The visual gags and one-liners are hilarious and memorable."
Weaknesses "The scene may be too over-the-top for some viewers, and some of the jokes may fall flat if the audience is not on board with the film's quirky tone."
Critique Overall, this scene is well-written and entertaining, but there are a few areas that could be improved upon.

Firstly, the opening shots of Phil counting sidewalk cracks could be shortened a bit. While it sets up his obsessive behavior, it drags on a bit too long and loses the audience's attention.

Secondly, Phil's interaction with the dog walker feels a bit forced. It seems to only serve as a way for Phil to vent his frustration and doesn't add much to the plot.

Thirdly, the dialogue between Phil and the cop could be tightened up. There's a lot of repetition and it feels a bit rambling.

Lastly, the scene where Phil attempts to attack the groundhog with a knife feels a bit out of character and over-the-top. While it adds to the comedy, it undermines the credibility of the story.

Overall, this scene is well-written and sets up the conflict between Phil and the groundhog nicely. However, some tweaks to the pacing and dialogue could make it even stronger.
Suggestions Overall, this scene could benefit from more visual flair and character development. Here are some suggestions:

- Instead of just having Phil count the sidewalk cracks and interact with a few random people, use this opportunity to show more of his descent into madness. Maybe he talks to himself, hears voices, or imagines things that aren't there. Make it clear that he's completely lost touch with reality.

- The exchange with the kids could also use more depth. Rather than just rattling off numbers, have them challenge Phil or try to engage him in conversation. Maybe one of them reminds him of a happier time in his life, or offers a glimpse of hope for his redemption.

- The confrontation with the cop feels rushed and could be more intense. Give Phil more time to vent his frustration and anger, and make the cop more of a foil to his reckless behavior. Maybe the cop is resistant at first, but then sees something in Phil that reminds him of himself.

- The transition to Gobbler's Knob could be smoother. Why is Phil suddenly fixated on the groundhog and how did he get there so quickly? Maybe he sees a picture of the groundhog in a shop window or hears a news report about his upcoming prediction, and this sets him off on a mission.

- The scene at the library also feels rushed and could use more suspense. Build up to the moment where Phil pulls out the gun and show more of the librarian's reaction. Maybe she tries to reason with him, or calls for help. Make it clear that Phil is truly dangerous and unpredictable.

- The final scene with Phil attacking the groundhog could be more dramatic. What if there's a crowd gathered at Gobbler's Knob to witness the prediction and they all witness Phil's outburst? What if Rita and Larry are there to capture it on camera? Make the stakes higher and the consequences more severe.



Scene 22 -  Phil's Descent
  • Overall: 8.0
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 7
EXT. GOBBLER'S KNOB - ANOTHER DAY
Larry and Rita are loading their equipment back into the van.
Rita spots Phil standing on the other side of the crowd,
staring at her. She marches straight over to him, furious.
RITA
Where were you this morning? How
could you possibly miss the
shoot?
PHIL
(at the end of his
rope)
I've come to the end of me, Rita.
There's only one way out now.
Just remember/we had a wonderful
day together once.
Phil kisses her gently on the cheek and walks off toward the
back of the knob. Rita watches him, then follows at a discreet
distance, very worried.
In a small clearing behind the man-made groundhog burrow,
Buster Greene and TWO other GROUNDHOG CLUB OFFICIALS are
lifting a cage into the front seat of Buster's pickup.
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.
Genres: ["Comedy","Romance","Drama"]

Summary Phil, after being rejected by Rita, suffers a mental breakdown and steals Punxsutawney Phil. He leads the police on a high-speed chase before driving the stolen truck off a cliff. After waking up in his room, Phil tries various methods of suicide, including jumping in front of a bus and robbing a bank with an arsenal of weapons.
Strengths "The scene is memorable and impactful, showcasing the depth of Phil's character and his descent into madness. The dark comedy tone adds a layer of satire to the already absurd situation. The scene also raises the stakes for the remainder of the film."
Weaknesses "The scene may be too intense for some viewers, and the comedic tone may undercut the seriousness of Phil's mental breakdown."
Critique Overall, the scene is well-written and engaging, with plenty of action and tension. However, there are a few areas that could benefit from improvement.

Firstly, the dialogue between Phil and Rita feels a bit too forced and cheesy, with Phil's sudden change in demeanor and behavior not fully explained or explored. It would be helpful to provide more backstory or context for his actions, rather than having them come out of nowhere.

Additionally, the scene relies heavily on cliches and over-the-top action sequences, which can make it feel formulaic and predictable. Adding more unique and unexpected elements could help to make the scene stand out and feel more memorable.

Finally, the scene could benefit from more attention to character development and emotional depth. While the action is exciting, it would be more impactful if the audience felt a deeper connection to the characters and their motivations. By exploring their inner thoughts and feelings more fully, the scene could become more emotionally resonant and memorable.
Suggestions Overall, this scene is quite intense and might need some toning down to avoid being too graphic. Here are some suggestions:

- Consider removing the scene of Phil committing suicide by driving off the cliff. This may be too dark for a comedy film and could be replaced with another comedic ending for Phil's time loop.

- The shootout at the end also feels out of place in a movie that has been primarily focused on comedy. Perhaps it could be replaced with a more humorous and less violent climax.

- Consider adding more dialogue and character development in the scene with Phil and Rita at the beginning. This could help establish their relationship and make the audience more invested in their story.

- Instead of having the characters simply narrate the action, try to show it visually. For example, instead of Larry muttering about Phil being a pervert, show him making disgusted faces or rolling his eyes. This will make the scene more engaging for the audience.



Scene 23 -  Phil's Revelation
  • Overall: 9.0
  • Concept: 10
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. CORONER'S - DAY
Rita stands by weeping while Phil's body is covered with a
sheet.
In the shadowy darkness under the sheet, a CLICK is heard and
Phil's eyes pop open. "I Got You, Babe" plays.

INT. PHIL'S ROOM - CONTINUOUS
Phil pulls the sheet off his face and finds himself back in his
bed in his room. A tear falls from his eye.
CUT TO:

INT. DINER - DAY
Phil and Rita are sitting in the diner at their regular table.
RITA
I ' m sorry. What was that again?
PHIL
I'm a god.
RITA
You're God?
PHIL
No, I'm A god. Not THE God— at
least I don't think I am.
RITA
That's reassuring. For a mintute
there I thought you might be
crazy.
PHIL
No, it's true. It's the only
possible explanation. I'm a
supernatural being.
RITA
Because you survived a car wreck?
-85-

The waiter comes to the table.
WAITER
Are you ready to order?
PHIL
(to Rita, ignoring the
waiter)
Not just the car wreck! I didn't
just blow up yesterday, you know.
I've been run over, drowned,
crushed, stabbed, shot,
electrocuted, poisoned, frozen,
burned, and asphyxiated—
RITA
Really?
The waiter looks at him like he's nuts.
PHIL
—but I always wake up the next
day without a scratch, without
even a headache. I'm telling
you, I ' m immortal.
WAITER
The special today is blueberry
waffles.
RITA
Why are you telling me this?
WAITER
(shrugs)
Because some people like
blueberry waffles.
RITA
(to the waiter)
Not you— him.
PHIL
Because I want you to believe in
me.
RITA
You're not a god, Phil. Take my
word for it. This is twelve
years of Catholic school talking.
WAITER
I could come back if you're not
ready.
PHIL
How do you know I'm not a god?
-86-

RITA
Please.
PHIL
How do you know?
RITA
Because it's not possible.
WAITER
I'll come back.
The /waiter turns to leave.
PHIL
Hey, Billy!
The waiter turns back.
PHIL
This is Bill. He's been a waiter
for three years because he left
Penn State and had to find work.
He likes the town, he paints toy
soldiers, and he's gay.
WAITER
I am notl
Phil grabs an astonished Rita and pulls her over to the next
table.
RITA
What are you doing?
PHIL
This is Doris Kleiser and her
fiance Fred.
DORIS
Do I know you?
PHIL
They're supposed to get married
tonight but Doris is having
second thoughts.
FRED
What!
Doris touces her engagement ring, dumbfounded. Rita is a
little embarrassed.
RITA
Lovely ring.
DORIS
Thanks.
-87-

Phil drags Rita to the counter.
PHIL
This is Ralph. Say "Hi," Rita.
Rita flashes a quick smile.
RALPH
Don't believe I've had the—
PHIL
Ralph hates his life here and
wants to drive around town
smashing into policemen.
RALPH
Well, who don't?
RITA
This is some kind of trick.
PHIL
Yes, it's a trick. But maybe the
real God cheats, too. Maybe God
isn't omnipotent— he's just had
a lot of practice.
RITA
How about that guy?
PHIL
Tom. Worked in the coal mine
•til they shut it down.
RITA
Her?
PHIL '
Nancy. Went to Lincoln High
School in Pittsburgh. Takes
herself out to lunch once a week.
Rita is getting very bewildered. From their reactions she can
see that Phil is right about each and every one of them.
RITA
How do you know these people!
PHIL
I told you the truth. In five
seconds there's going to be a
grease fire in the kitchen.
Five, four—
RITA
This is nuts.
-88-

PHIL
—three, two, one.
Phil points to the kitchen as smoke starts pouring from the
service window. Everyone in the diner is now staring at them
RITA
(trying to puzzle it
out)
Okay, enough. Let's just sit
down and think for a second.
(they sit)
What do you know about me, Phil?
Do you know me, too?
Phil takes a long pause.
PHIL
I know all about you, Rita. I
know you like producing, but hope
for better than Channel 9,
Pittsburgh.
RITA
Everyone knows that.
PHIL
You like boats but not the ocean.
There's a lake you go to in the
summer with your family, up in
the mountains, with an old wooden
dock and a boathouse with boards
missing in the roof, and a place
you used to crawl underneath to
be alone, and at night you'd look
up and see the stars. You're a
sucker for Rocky Road, Marlon
Brando, and French poetry.
You're wonderfully generous;
you're kind to strangers, and
children; and when you stand in
the snow, you look like an angel.

RITA
How are you doing this?
PHIL
I told you! I wake up every day
right here, right in
Punxsutawney, and it's always
February second and I can't turn
it off. If you still don't
believe me, listen—
RITA
But, Phil—
-89-

PHIL
Listen! In ten seconds Larry is
going to walk through that door
and take you away from me.
RITA
Larry?
PHIL
But you can't let him. Please
believe me. You've got to
believe me.
RITA
I don't —
Larry pokes his head in the doorway, looks around and spots
Rita.
PHIL
Look.
As Rita turns around to see Larry, Phil grabs a pen and pad
from a passing waitress and quickly writes something down as
Larry makes his way to their table. Phil finishes writing.
LARRY
(to Rita)
You ready? We better get going
if we're going to stay ahead of
the weather.
Phil hands the paper to Rita. She reads it.
RITA
(reading)
" . . . 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:
Genres: ["Comedy","Drama"]

Summary Phil reveals that he is a supernatural being and tries to convince Rita of his claim by providing her with insightful knowledge about her past and predicting future events.
Strengths "The scene has a unique concept of a supernatural being, with witty dialogues that keep the audience engaged and amused. The revelation of Phil's divine attributes creates an emotional impact."
Weaknesses "The scene feels cluttered with too many side characters. Phil's monologue can come across as meta and confusing to some audiences."
Critique Overall, the scene has strong dialogue and character development. However, there are several instances where it could benefit from more clarity and visual detail. For example, when Phil's eyes pop open under the sheet, there is no indication of what this looks like visually. Including more visual cues could enhance the audience's understanding and enjoyment of the scene. Additionally, the transition between the diner and Phil's room could be more seamless to avoid causing confusion for the viewer. Lastly, the scene could benefit from more action and movement to give the audience a better sense of what is happening and how the characters are interacting with their environment.
Suggestions One suggestion for improving this scene would be to add more visual elements to enhance the supernatural aspect of Phil's experiences. For example, when Phil's eyes pop open under the sheet, there could be a visual distortion or aura around him to signify his supernatural power. Additionally, when Phil lists all the ways he has died before, there could be brief flashbacks to those moments to add more depth and intrigue to his character.

Another suggestion would be to build up the tension and conflict between Phil and Rita more gradually throughout the scene. Rather than jumping straight into Phil revealing his powers and having Rita react with disbelief, there could be a more subtle back-and-forth between them as Phil drops hints and Rita slowly becomes more curious and perplexed.

Finally, the introduction of the other diner patrons as examples of Phil's omniscience could be more of a narrative payoff if their introductions were seeded earlier in the script. For example, Phil could mention passing by them on his way to the diner earlier in the film and having a weird feeling about them before their true significance is revealed in this scene.



Scene 24 -  Phil and Rita's Date
  • Overall: 9.0
  • Concept: 10
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
EXT. PUNXSUTAWNEY - DAY
Phil and Rita are walking down the sidewalk.
PHIL
Afer I got over the shock, it was
kind of fun for the first year or
two. I had anything I wanted.
Except you, of course.
-90-


Phil abruptly pulls Rita aside. A big pile of snow slides off
a roof and onto the sidewalk where they would have walked.
Phil doesn't even look up. Rita looks, as if she's seeing a
miracle.
RITA
How did this start?
PHIL
I don't know. I just woke up.
Just like always.
NED RY-ERSON approaches.
NED
Hey, Phil! Phil Connors 1
PHIL
Rita, this is Ned Ryerson. He's
an asshole.
NED
He remembers me!
Phil and Rita keep walking. Rita looks back at Ned, perplexed
PHIL
Trust me on that one.
CUT TO:

EXT. FUDGE SHOP - DAY
Phil and Rita come out of the shop, sharing pieces of fudge.
RITA
This is great.
PHIL
No, it isn't. You hate fudge.
. RITA
Just how well do we know each
other?
PHIL
I told you. I know everybody.
Rita stops walking.
RITA
Did we ever...you know?
PHIL
(teasing)
Did we ever! You were an animal.
-91-


RITA
Come on.
PHIL
You're European trained, aren't
you.
Phil continues walking.
RITA
(blushing)
Phil! It's not funny.
She catches up to him. Phil turns to her.
PHIL
You weren't interested.
RITA
(relieved)
Okay.
She begins walking again.
RITA
Not that it would've been so
awful.
PHIL
I understand.
RITA
I just had to know whether to
smack you or not.
PHIL
You did.
RITA
Good.
CUT TO:

EXT. PARK - DAY
Phil and Rita are sitting on a park bench.
PHIL
So do you believe any of this?
RITA
I don't know. I don't know how
else you could know so much.
Maybe it is really happening.
-92-

PHIL
I used to try to stay up all
night sometimes. I thought if I
could stay conscious I could
figure out what was going on, or
at least hang onto something from
the day before. But I gave up on
that a long time ago.
Rita looks at him with compassion.
RITA
It sounds so— lonely.
PHIL
(trying to shrug it
off)
It's not that bad. You get used
to it.
Rita comes to a decision.
RITA
Maybe I should spend the rest of
the day with you— as an
objective witness. Just to see
what happens. Okay?
PHIL
Yeah, sure. That'd be okay.
CUT TO:
Genres: ["Romance","Comedy","Fantasy"]

Summary Phil and Rita spend the day together, with Rita trying to figure out the mystery of Phil's repeating day.
Strengths "The sweet banter between Phil and Rita, the charming and whimsical tone, and the slow build-up of the mystery surrounding Phil's repeating day. "
Weaknesses "The lack of significant plot development and the low conflict level."
Critique Overall, this scene has a good structure and dialogue that reveals character and develops the relationship between Phil and Rita. However, there are a few areas that could be improved upon.

Firstly, the transition between the snow falling and Ned Ryerson approaching feels abrupt and disjointed. It may help to have a smoother transition or clearer connection between the two events.

Secondly, the exchange about whether Phil and Rita had ever been intimate feels a bit forced and out of place. It could be reworked or removed to make the scene flow more smoothly.

Lastly, the dialogue between Phil and Rita about spending the day together as an objective witness feels a bit contrived and unrealistic. It would be more effective to have them organically decide to spend time together without explicitly stating the reason why.

Overall, the scene has the potential to be stronger with a few tweaks and revisions.
Suggestions Consider adding more visual elements to the scene. What do Punxsutawney and the park look like? How do Phil and Rita interact with their surroundings? Additionally, try to add more depth to the dialogue between the characters. Perhaps explore their motivations for spending time together, or delve deeper into their feelings about the time loop situation. Some examples of potential areas to expand upon could be:
- Why does Rita want to spend more time with Phil? Is she interested in him romantically or is she purely curious about the time loop?
- How does Phil feel about being stuck in the time loop? Is he fully resigned to his fate or is there a part of him that desperately wants to escape?
- In what ways have Phil and Rita connected during their time in Punxsutawney? Are there any specific moments they've shared that have brought them closer together?

By adding more depth to the scene, it can become more engaging and emotionally impactful for the audience.



Scene 25 -  Phil's Confession to Rita
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. PHIL'S ROOM - NIGHT
A hat is lying on Phil's bed. A playing card flies past. A
second playing card sails right into the hat. Another playing
card sails past, missing. Another playing card sails right in
Phil and Rita are tossing cards. Rita is missing. Phil is
hitting.
PHIL
It's not in the wrist so much as
the fingers. Be the hat.
RITA
It would take me a year to get
good at this.
PHIL
Uh-uh. Six months. Four, five
hours a day.
RITA
Is this what you do with
eternity?
-93-


PHIL
Now you know. It's like waiting
for a bus that never comes . You
should see me play pool — and
bowling, juggling, hacky sack.
I can ride a unicycle.
There ' s a knock on the door .
PHIL
I'll get it!
Phil jumps for the door and opens it. The PIZZA GUY is there.
PHIL
Hi, Marty. $11.75 including the
delivery charge, right?
PIZZA GUY
Uhhhh—
Phil pays him, takes the pizza and closes the door.
RITA
(opening the pizza box)
MMMM. Pepperoni and olives. My
favorite .
PHIL
Of course. I told you, I know
everything .
RITA
(taking a bite of
pizza)
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:
Genres: ["Drama","Romance","Fantasy"]

Summary Phil and Rita spend their repeating day together, with Phil confessing his love for her in a heartfelt monologue before they inevitably wake up to the start of the same day again.
Strengths "The scene showcases Phil's growth as a character and his heartfelt confession of love, creating a bittersweet, emotional moment that highlights the overall theme of the movie. The dialogue is romantic and intimate, and the cozy setting adds to the sense of intimacy."
Weaknesses "The scene lacks any significant conflict or action, which may bore some viewers who are looking for a more fast-paced scene."
Critique Overall, the scene is well-written and effectively uses dialogue and actions to reveal character traits and develop the relationship between Phil and Rita. The use of repetition, particularly with the playing cards, creates a sense of routine and monotony, which contrasts with the eventual breaking of that routine as Phil and Rita begin to connect.

However, one criticism could be that the dialogue exposition is a bit heavy-handed and at times unrealistic. For example, when Phil tells Rita about his various skills, it seems more like a list of accomplishments rather than a natural conversation. Additionally, the use of the word "jerk" is a bit overused and could be varied to add more depth to Phil's self-deprecation.

Overall, the scene does a good job of setting up the central concept of the film and introducing the key characters.
Suggestions Overall, this is a well-written and emotionally engaging scene. Here are some suggestions to further enhance it:

1. Increase the tension: While the dialogue between Phil and Rita is good, there could be more tension added to the scene to keep the audience engaged. Perhaps something could happen during the card game, like Phil accidentally revealing something about the time loop, or Rita catching on and becoming upset.

2. Use the setting: The scene takes place in Phil's room, but there's not much description about it. More details about the setting could help set the mood and provide a better visual for the audience.

3. Add more sensory details: In addition to setting, adding more sensory details like smells, sounds, and textures could further immerse the audience in the scene.

4. Use visual storytelling: While there is dialogue in the scene, there are also opportunities for visual storytelling. For example, showing Phil and Rita's body language as they interact could add depth to the scene.

5. Incorporate foreshadowing: As this is a later scene in the movie, it could be a good opportunity to incorporate some foreshadowing or callbacks to earlier scenes. This can help tie the movie together and give the audience a sense of satisfaction in uncovering connections.



Scene 26 -  Phil and Rita's Groundhog Day Adventure
  • Overall: 6.0
  • Concept: 7
  • Plot: 6
  • Characters: 7
  • Dialogue: 6
EXT. GOBBLER'S KNOB - DAWN
Rita and Larry are in the packed press area, beginning to set
up the equipment.
Phil arrives, carrying two cups of coffee.
PHIL
Rita?
She looks at him without a trace of the rapport they shared the
night before.
RITA
Oh, hi, Phil.
PHIL
Thought you might like some—
He hands her the coffee.
RITA
Thanks!
PHIL
Careful, it's hot. Larry?
He hands Larry a cup.
LARRY
(surprised, mutters)
Yeah, great.
RITA
We're just setting up.
PHIL
You know, I bumped into Buster
Greene, he kind of runs this
thing, and he tipped me off that
we might get a better shot over
there.
RITA
Really?
-99-

PHIL
I mean, maybe we should go for
it. What do you think?
RITA
Sounds good to me. Larry?
LARRY
Sure, why not?
RITA
All right. Thanks, Phil. Good
work.
She reaches for an equipment case.
PHIL
I'll get that.
Phil helps Larry carry the camera gear.
PHIL
(to Larry)
You and I never talk, Larry. You
got kids?
Larry looks suspicious. Rita looks on, reevaluating Phil.
CUT TO:

INT. LIBRARY - DAY
Phil enters the library, approaches the Librarian.
PHIL
Where would I find the Philosophy
section?
LIBRARIAN
Down and to the left, 600's.
Phil walks through the stacks, past the groundhog window.
CUT TO:

EXT. A HOUSE - DAY
Phil rings the doorbell. A kindly young woman, MARY, answers
MARY
Yes?
PHIL
I ' d like a piano lesson, please.
-100-

MARY
Oh. Okay, I ' m with a student
now, but —
PHIL
I'll give you a thousand dollars.
Mary hesitates only a moment, then ushers Phil into the house
and closes the door.
A moment later the door opens and a LITTLE GIRL with an armloa
of music books exits as if pushed. The door closes behind her.
CUT TO:

INT. HALLWAY - DAWN
Phil walks happily down the hallway. He passes the chubby man.
CHUBBY MAN
Morning.
PHIL
Buon Giorno, signore.
/ : '.. '•-
CHUBBY MAN
Think it ' 11 be an early Spring?
PHIL
"Winter slumbering in the open
air wears on his smiling face a
dream of Spring."
CHUBBY MAN
Oh.
CUT TO :

INT. MARY'S HOUSE - DAY
Phil and Mary are sitting together at the piano. Phil is
playing, poorly.
MARY
Not bad, Mr. Connors. You say
this is your first lesson?
PHIL
Technically, yes.
Phil plays on, definitely improving.
CUT TO:
-101-


INT. LIBRARY - DAY
We see several cuts of Phil studying at the library.
SUPERED over these cuts is a calendar with the pages flipping
by. They all read "February 2 . "
CUT TO:

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

INT. MARY'S HOUSE - DAY
Phil is playing the piano with ever increasing skill as more
February 2 calendar pages flip by.
CUT TO:

EXT. GOBBLER'S KNOB - DAWN
Phil is delivering another report.
-102-

PHIL
Groundhog Day, February second,
also known as Candlemas Day or
the Feast of the Purification of
the Virgin Mary, the day Mary
first came to the temple for
ritual blessings following the
birth of the infant Jesus, and
celebrated since the Middle Ages
by the sacramental lighting of
candles. Hence the old Scottish
couplet which long predates the
.American groundhog tradition: "If
Candlemas dawns bright and clear,
there'll be two winters in the
year."
Larry whispers an aside to Rita.
LARRY
Is he making this stuff up?
RITA
(riveted)
Shhhhh.
CUT TO:
Genres: ["comedy","romance"]

Summary Phil spends his repeating day with Rita, impressing her with his knowledge and confessing his love.
Strengths "The scene showcases Phil's knowledge and charisma, building his character arc towards redemption. The upbeat tone and playful banter between Phil and Rita provide a welcome break from the darker scenes that precede this one."
Weaknesses "The lack of conflict and emotional impact may make the scene feel repetitive and less engaging for the audience."
Critique Overall, this scene is well-written and engaging. The dialogue is natural and flows smoothly, with a good balance of humor and information. The characters' motivations and relationships are clear, and the scene does a good job of advancing the story by showing Phil's increasing knowledge and competence. However, one potential issue is that some of the information Phil presents feels a bit random and disconnected from the plot. While it's interesting to learn about the origin of Candlemas Day, it doesn't have a clear relevance to the story. Similarly, the conversation about the groundhog's mating habits feels tangential. To make the scene more effective, it might be worth focusing more narrowly on information that directly relates to Phil's situation and character development.
Suggestions To improve the scene, I would suggest adding more conflict or tension to the interactions between the characters. Currently, the scene is just exposition and information about Groundhog Day, but it could benefit from some added drama. Perhaps Rita is upset with Phil for some reason, and that tension is palpable in their interactions. Or maybe there's a bigger disagreement between the three of them about where to set up the equipment, and they have to work to come to a compromise. Adding conflict can make the scene more engaging and keep the audience interested in what's happening.



Scene 27 -  Phil's Confession
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 7
EXT. CEMETERY - DAY
Beyond the graveyard is a work shed with various tombstones
scattered about. Old TUCKER, the town stonecarver, is at work
chiseling a name into a gravemarker.
Behind him, Phil is chipping away at a small hunk of marble,
sculpting a very lovely cherub.
Rita sits on a stool eating an apple and sipping hot tea
watching him with amazed interest.
PHIL
But what if the rules changed?
What if none of your actions had
consequences?
RITA
There would still be an absolute
morality. There has to be an
absolute good, regardless of the
circumstances.
PHIL
Oh, is that so, Miss Plato? Then
let me ask you this. Where does
this "absolute good" come from?
From the sky?
-103-

Rita shrugs.
RITA
I don't know. From my freshman
Philosophy course, I guess.
They both laugh. Then she looks at him for a long moment and
grins.
PHIL
What?
RITA
Nothing. I just can't believe
you're such a fine sculptor.
Phil takes a bite of her apple and gets up.
PHIL
I gotta go.
RITA
Where do you have to go in
Punxsutawney?
PHIL
I got piano and then drums.
RITA
Here?
PHIL
Come on, I'll drop you off.
They exit.
CUT TO:

EXT. MAIN STREET '••-.. LATER
Phil drops Rita off and watches as she crosses the street to
Larry who is waiting on the other side.
Across the street, Rita takes a wistful glance toward Phil,
then gets in the news van and drives off.
Phil gets out of the car and starts walking, but finds himself
face to face with Ned Ryerson.
NED
Phil! Phil Connors! I thought
that was you!
PHIL
Ned? Ned Ryerson! I don't
believe it. I've missed you so
much.
-104-

Phil gives Ned a big hug and keeps holding on for an
uncomfortably long time, actually giving Ned a hickey on the
neck. Ned goes into homophobic shock.
NED
Uh, I gotta get going. Nice to
see you, Phil.
He hurries off.
CUT TO:

INT. MARY'S HOUSE - DAY
Phil is sitting on the piano bench with Mary, playing pretty
well. Mary is astonished.
MARY
How long have you been studying,
Mr. Connors?
PHIL
One day. I'm gifted.
CUT TO:

EXT. STREET - DAY
Phil is walking down the street. He glances down the alley as
he passes, stops, walks back and enters the alley. The OLD BUM
that Phil never noticed before is lying there, huddled against
a wall. Phil goes to help him.
PHIL
Hey, mister. Hey. Come on,
let's get you somewhere warm.
The old bum turns to look at Phil, then closes his eyes.
PHIL
(helps the old man to
his feet)
There you go.
Phil practically carries him out of the alley.
CUT TO:

INT. HOSPITAL EMERGENCY ROOM - NIGHT
A nurse approaches Phil.
NURSE
You the one brought in the old
man?
-105-

PHIL
How is he?
NURSE
He passed away just now.
Phil pauses for a long moment.
PHIL
What'd he die of?
NURSE
(shrugs)
He was just old. It was his
time.
PHIL
I want to see his chart. Excuse
me.
Phil brushes past her and makes for the big double doors
leading to triage.
NURSE
Sir, you can't —
(hurrying after him)
Look! Some people just die!
PHIL
Not on my watch.
CUT TO:

INT. DINER - MORNING
Phil is propping up the old man at a table, trying to feed him
hot soup.
CUT TO:

INT. HOSPITAL - DAY
Phil is furiously looking over X-rays, flipping through medical
journals and making notes.
CUT TO:

EXT. ALLEY - NIGHT
Phil is in the alley, shaking the old man, trying to rouse him.
PHIL
Come on . Hang on . Hang on ,
there . Breathe .
-106-

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

EXT. GOBBLER'S KNOB - DAWN
Phil is delivering his report. Everyone there is silent and
listening to Phil. Even the other reporters have turned their
cameras on him.
PHIL
...When Chekhov saw the long
winter, it was a winter bleak and
dark and bereft of hope; and yet,
we know winter's only one more
step in the cycle. And standing
among the people of Punxsutawney —
(Phil looks directly at
Rita)
— basking in the warmth of their
hearths and hearts, I couldn't
imagine a better fate than a long
and lustrous winter.
Phil smiles. Rita smiles, too.
PHIL
For Channel 9 news, I ' m Phil
Connors.
There is much applause. Even Larry brushes away a tear.
Phil hands the microphone to Rita.
RITA
Phil—
PHIL
Sorry. I'm gonna be late.
Phil rushes off.
RITA
Late for what? Phil?
(To Larry)
Could you break it down and wrap
out of here by yourself, Larry?
LARRY
Sure .
RITA
Thanks .
-107-

Rita rushes off after Phil.
CUT TO:
Genres: ["Romance","Fantasy","Drama"]

Summary Phil spends his repeating day with Rita, impressing her with his knowledge and confessing his love
Strengths "The scene is emotionally impactful with Phil confessing his love to Rita, and trying to save the old man in the hospital. The reveal of Phil's supernatural powers adds to the overall intrigue of the story."
Weaknesses "The scene includes some unnecessary and homophobic humor from Ned's reaction to the hug."
Critique The scene has good use of setting and visual imagery, but the dialogue could use some improvement. The conversation between Phil and Rita is interesting, but it feels a bit forced and unnatural. Their banter comes across as a bit predictable and lacking in depth. Additionally, the scene with the old man’s death and Phil’s subsequent reaction feels rushed and overly dramatic. Overall, the scene needs some work on character development and dialogue to make it more engaging and believable.
Suggestions Here are a few suggestions to improve this scene:

1. Add more visual elements: While the dialogue in this scene is engaging, there are limited visual elements to keep the audience engaged. Consider adding some details that enhance the atmosphere of the cemetery, the work shed, or the diner. This can help the audience feel more immersed in the scene and create a better sense of place.

2. Avoid expository dialogue: The conversation between Phil and Rita about absolute morality feels a bit heavy-handed and expository. Consider finding a more subtle way to convey this theme or allowing the audience to draw their own conclusions based on the characters' actions.

3. Develop character relationships: While it's clear that there's a romantic tension between Phil and Rita, their relationship feels a bit underdeveloped. Consider fleshing out their dynamic by giving them more moments of shared experiences or conversations that reveal their personalities and values.

4. Ramp up the stakes: The scene where Phil tries to save the old man's life is emotionally compelling, but it might benefit from higher stakes. Consider adding more urgency or tension to the scene by making it clear what's at stake if Phil doesn't succeed.

5. Use the setting to reinforce themes: The film is all about the cyclical nature of time, so consider using the setting and visual elements to reinforce this theme. For example, you could show shots of the changing seasons or depict the passage of time more explicitly to help emphasize the recurring nature of events in the story.



Scene 28 -  Phil's Heroic Acts
  • Overall: 8.0
  • Concept: 7
  • Plot: 7
  • Characters: 9
  • Dialogue: 8
EXT. STREET CORNER - DAY
Phil walks briskly toward an intersection, glancing nervously
at his watch. Rita follows him at a distance, hurrying to keep
up.
MARIE, a little nine-year-old girl, approaches the intersection
shielding her brand new puppy under her winter coat. She isn't
paying attention to traffic and fails to notice a big truck
bearing down on her.
As she steps off the curb, Phil arrives and, with split-second
timing, nonchalantly but firmly grabs her coat to hold her
back, just as the big truck rushes past in the street, narrowly
missing her.
PHIL
Hey! Did you forget to look both
ways? You didn't even look one
way.
MARIE
My doggie was cold.
PHIL
Yeah, well, my doggies are
freezing, but I ' m still gonna
watch out for cars. See you
around, kid.
Phil looks at his watch and rushes off.
Rita looks on amazed and follows him at a distance.
CUT TO:

INT. BERGHOF RESTAURANT - DAY
Phil enters the crowded restaurant and pushes past all the
people waiting to be seated. He walks casually but quickly and
purposefully around the tables, squeezing past busy waitresses
and seated patrons toward a commotion in the back of the
restaurant.
TWO BUSINESSMEN are leaning over a THIRD.
BUSINESSMAN
Oh, my God! He's having a heart
attack!
SECOND BUSINESSMAN
Lay him down!
-108-

BUSINESSMAN
What do I do? He's not
breathing1
SECOND BUSINESSMAN
He's turning blue! Help!
Phil walks straight up to the BLUE-FACED MAN, grabs him from
behind, gets him in the Heimlich grip and squeezes sharply.
A bolus of food flies across the room. The victim coughs and
sputters, then starts breathing again.
FIRST BUSINESSMAN
Jerry, you okay?
SECOND BUSINESSMAN
I think that did it.
Phil lets go of the grateful victim.
PHIL
If you're going to eat steak, get
better teeth, will you? Enjoy
the rest of your lunch, gents.
He exits.
JERRY
Wow. Who was that guy?
Phil gets to the door and finds Rita standing there, looking at
him in awe.
PHIL
Rita!
.RITA
(confronting)
-Okay, hold it right there. I
want to know what' s going on and
I want to know right now.
PHIL
I'm sorry, I'm really pressed
right now. Meet me outside the
hospital about 5:00 and we'll
talk about it.
RITA
The hospital?
Phil looks at his watch and rushes away.
PHIL
Try the curlycue fries. Killer.
CUT TO:
-109-

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

INT. EMERGENCY ROOM - CONTINUOUS
The gurney is wheeled into the surgery.
NURSE
Looks like insulin shock. She's
probably diabetic.
Phil enters wearing a doctor's scrub suit and begins barking
orders.
PHIL
She's not diabetic. It's an
overdose. Let's get her up here
and pump her stomach, then I want
a complete blood work-up, STAT.
NURSE
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:
Genres: ["Romance","Comedy"]

Summary Phil impresses Rita with his heroics and quirky personality, ultimately confessing his love for her.
Strengths "Phil's quirky personality is endearing and his heroic actions are entertaining. The romance between Phil and Rita is sweet and engaging."
Weaknesses "The repetitiveness of the repeating day gimmick is starting to lose novelty."
Critique Overall, the scene has strong visuals and action, but there are some areas that could be improved.

First, the dialogue feels a little forced in parts and could benefit from more naturalistic language. For example, Marie's line "my doggie was cold" feels a bit stilted and unrealistic. Additionally, Phil's quippy responses in the second half of the scene (e.g. "try the curlycue fries") could be toned down to feel more in line with his character.

Second, there are a lot of different elements being introduced in a short amount of time. While this can help to create momentum and keep the audience engaged, it may also feel overwhelming or disjointed. Simplifying or condensing some of the action (such as the balloon animal scene) could help the scene feel more focused.

Overall, the scene has potential but could benefit from some fine tuning in terms of dialogue and pacing.
Suggestions Here are some suggestions to improve the scene:

1. Marie's introduction seems random, so it might be helpful to establish her earlier in the script or give her a connection to Phil or Rita.
2. The dialogue between Phil and Marie could use some work to make it feel more natural and less forced.
3. Phil's Heimlich maneuver feels rushed and doesn't have much build-up or tension. Adding more description and detail to the scene could make it more impactful.
4. The transition from the restaurant to the hospital feels abrupt and could use a smoother transition or connection.
5. The dialogue between Phil and the nurse could use some humor or wit to make it more engaging.
6. The scene with Phil and the sick children feels disconnected from the rest of the scene and could benefit from more integration with the plot.
7. Finally, the dialogue between Phil and Rita at the end could use more clarity and resolution to tie up the scene.



Scene 29 -  Phil's Heroics and Confession
  • Overall: 9.0
  • Concept: 9
  • Plot: 9
  • Characters: 10
  • Dialogue: 8
EXT. ALLEY - NIGHT
Phil kneels on the cold ground beside the old bum who lies
huddled against the wall, immobile.
Rita is standing by at the end of the alley, watching as Phil
examines him.
Phil writes something down on a small pad. He finishes, and
sets it down by the old man. Then he takes his coat and uses
it to cover the man up. A siren is heard.
Phil stands and walks away, as an ambulance pulls into the
alley.
RITA
Is he — ?
. 'PHIL
Yeah. Let's go.
RITA
In a minute.
She waits and watches.
The paramedics, BUD and ANDY, get out of the ambulance and
inspect the scene.
BUD
It's ol1 Really.
ANDY
That's a shame.
BUD
Look here .
Bud picks up the note Phil left.
Rita steps closer.
RITA
May I see that?
(reading aloud)
"Every night, by cold bricks
glow
I watch the shadow rising
from this old man in the snow.
At 8:02 we let it go."
-112-

ANDY
(repeating)
"At 8:02 we let it go."
BUD
Wow, that's nice.
Rita hands him the note and quickly walks away.
ANDY
Suppose he wrote it?
BUD
(doubtful)
Are you kidding?
CUT TO:

EXT. MAIN STREET - NIGHT
Rita catches up with Phil outside the Pennsylvanian, the town's
oldest and best hotel.
RITA
Now what?
PHIL
Come on. You'll see.
They enter.
CUT TO :

INT. HOTEL LOBBY - CONTINUOUS
As Phil and Rita enter there is music coming from a side room.
The black velvet announcement board proclaims: KLEISER-SCOTT
WEDDING.
CUT TO:
Genres: ["Romance","Drama"]

Summary Phil impresses Rita with his heroism and eccentric personality before confessing his love for her.
Strengths "Phil's development as a character, emotional connection between Phil and Rita, strong literary exposition, and the use of setting."
Weaknesses "The plot may be predictable for audiences accustomed to the romance genre."
Critique Overall, the scene is well written and effectively conveys the emotional tone of the moment. The pacing is appropriate and the action flows smoothly, making it engaging for the audience.

However, there are a few areas that could be improved. Firstly, there is little description of the characters beyond their actions and dialogue. It would be useful to have a better sense of their personalities and emotions to create a stronger connection between them and the audience.

Secondly, the dialogue between the paramedics feels a bit forced and unnatural, particularly in their reactions to the note. It would be more effective if their dialogue felt more organic and true to their profession.

Lastly, the scene could benefit from some closure or resolution for the characters involved. While it is implied that the old man has passed away, it is not clear what the significance of the note is or how it will affect Phil and Rita moving forward.

Overall, with some minor tweaks, this scene has the potential to be a powerful moment in the screenplay.
Suggestions As a screenwriting AI language model, I don't have personal views or suggestions for screenplay improvements, but I can provide general guidelines for effective screenwriting.

In this scene, there are a few areas for potential improvement:

1. In the first part of the scene where Phil is examining the old man, there could be more dialogue or action to create a sense of tension or conflict. The scene feels a bit static and it's not clear what Phil is trying to accomplish.

2. The note that Phil leaves could use a clearer purpose or explanation. It's not clear why he leaves the note or what it means.

3. The transition between the alley scene and the hotel scene feels abrupt and disjointed. It would be helpful to have a smoother transition or bridge between the two scenes.

Overall, it may be helpful to clarify the goals and motivations of the characters in this scene in order to create a more engaging and cohesive story.



Scene 30 -  Confessions and Celebrations
  • Overall: 9.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 8
INT. PARTY ROOM - CONTINUOUS
Phil and Rita walk into a banquet room decorated with
streamers, balloons and flowers. There is a long buffet table
and a punch bowl. Another long table is loaded with wedding
gifts. A small band is playing.
People are dancing. The wedding party is dressed in rented
tuxedos and appropriately pouffy bridesmaid dresses.
RITA
This is incredible. Who's
wedding is this?
-113-

Phil grabs two glasses of champagne and hands one to Rita.
PHIL
Just some friends. Dorisi
The bride, DORIS, young and cheery, is on her way to see Phil.
She is dragging FRED, her groom, with her.
DORIS
Hi, Mr. Connors! Come ON,
Freddy.
FRED
Hi.
DORIS
This is the guy I told you about.
FRED
No way!
PHIL
How's it going, Fred?
FRED
Hey, I ' d like to thank you for
making Doris go through with
this.
PHIL
Are you kidding? Don't buy that
playing hard to get stuff. She's
crazy about you, you stud.
DORIS
I 'm really glad you could come.
PHIL
Congratulations.
Phil reaches into his pocket, pulls out two tickets and hands
them to Doris.
DORIS
What is this? Oh, no way! No
way! Ahhh!
Doris throws herself on Fred and jumps up and down. Fred grabs
the tickets.
FRED
Wrestlemania! No way! No way!
Doris throws herself on Phil.
DORIS
How did you know?
-114-

FRED
We're like going to be in
Pittsburgh anyway.
PHIL
I don't know. I just thought
about you two, tried to picture
what you ' d want more than
anything in the world and it came
to me. Bing! Wrestlemania.
FRED
Thanks, Mr. Connors. You're a
real pal.
DORIS
This is the best!
Doris gives Phil a kiss. She and Fred move on.
RITA
I don ' t understand . You rush
from one person to the next in a
town you only visit once a year,
you know everything before it
happens , and you — - I don ' t know ,
you seem to be Punxsutawney ' s
leading citizen.
The band finishes a set. The guests stop dancing and head for
the refreshments. Phil and Rita are left alone for the moment
PHIL
What do you want to know?
RITA
Who are you?
PHIL
I really don't know.
RITA
No, there's something going on
with you.
PHIL
Okay, I wake up in Punxsutawney
on February second — every day.
It's supernatural. I don't even
try to explain it anymore. So,
I live each day as if it's the
only day I've got.
Rita stares into his eyes for a very long time, but sees only
good, true things.
RITA
That's pretty amazing. "
-115-

PHIL
You want to know what's really
amazing? I've been waiting for
you every day for ten thousand
years. I dream of you every
night of my life. You've been my
constant weapon against total
despair, and just knowing you
exist has kept me alive. How's
that?
Rita can't even speak. This is clearly the nicest thing
anybody has ever said to anybody.
Mary the piano teacher notices Phil.
MARY
Phil!
(to her friend)
This is the guy.
PHIL
Hello, Mary. Rita, this is one
of Punxsey's finest musicians.
•MARY
Give me a break. You should
talk. Why don't you play
something?
PHIL
No, I—
MARY
Please.
FRED
Hey, Mr. Connors. Go for it.
Phil looks at Rita. She nods and shrugs.
Phil walks up to the platform and sits at the piano. He begins
to play a slow, serious, classical piece. Everyone falls
silent. It's so beautiful, Rita is almost in tears.
Then, after a pause to let the serious notes sink in, Phil
transforms the piece into a fast, lively, upbeat jazz romp.
Everyone is delighted, and as the rest of the band kicks in,
everyone grabs a partner and begins to dance.
An old coot, UNCLE LEO, grabs Rita and the two of them dance up
a storm.
LEO
That's a great guy you've got
there. Doctor Connors fixed my
back, you know.
- -116-


RITA
Doctor Connors?

Rita looks over at Phil, joyously playing the piano.

CUT TO:
Genres: ["Romance","Comedy"]

Summary Phil attends a wedding with Rita, giving the bride and groom two Wrestlemania tickets as a gift. Afterwards, Phil opens up to Rita about his repeating day and confesses his love for her. He then impresses everyone at the party by playing the piano and dancing with Uncle Leo.
Strengths
  • Phil's romantic confession to Rita is heartfelt and well-delivered
  • The wedding party scene is lively and entertaining
  • Phil's piano-playing and dancing skills are impressive
Weaknesses
  • The scene lacks significant plot development
  • The dialogue is mostly limited to small talk and compliments
Critique Overall, this scene is well-written and engaging. It effectively sets the tone of a joyous celebration and introduces the characters of Phil, Rita, Doris, and Fred. The dialogue flows naturally and there is a good balance between exposition and action.

However, there are a few areas that could be improved. For example, the introduction of the tickets to Wrestlemania feels a bit contrived and overly convenient, as if the writer is trying too hard to show Phil's kindness and supernatural intuition. Additionally, the shift from serious classical music to lively jazz feels a bit sudden and jarring.

Overall, however, this scene effectively sets up the dynamic between Phil and Rita, hints at Phil's time loop, and establishes the tone of the film.
Suggestions Some potential suggestions:

- Clarify the setting and tone: While there are details describing the party room, there isn't much indication of the overall atmosphere or style of the wedding reception. Adding some descriptors regarding the music, lighting, mood, or dress code could help the audience better picture the scene and how Phil and Rita fit into it.
- Tighten up dialogue: Some of the dialogue feels a bit clunky or repetitive, especially in the exchange between Phil and Fred about Doris. Consider trimming down some of the exposition and condensing the conversation to make it flow more naturally.
- Add more tension or conflict: This scene is relatively light and pleasant, but it might benefit from some additional conflict or stakes to keep the audience engaged. Perhaps something could go wrong at the wedding that requires Phil and Rita's attention, or Rita could reveal a new piece of information that creates a rift between her and Phil.
- Develop Phil's backstory further: Phil mentions some interesting details about his daily routine, but it might be worth exploring this more fully. Why does he think he wakes up in Punxsutawney every day? What is he trying to escape or achieve? Adding some more depth to his character could make the ending payoff more emotional and resonant.



Scene 31 -  The Snow Sculpture
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 7
EXT. STREET - NIGHT

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

PHIL
Wait! Don't move!

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

RITA
Making a snow man? I'll help.

PHIL
No, stay there. Stand right
there.

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

DISSOLVE TO:

LATER

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

RITA
Can I look?

PHIL
Okay, look.

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

RITA
(overwhelmed)
Nobody's ever done this for me.
Not even a drawing. It's
beautiful.
-117-

PHIL
This is how I see you. When it
all gets too much, I just close
my eyes and there you are— just
like this. Take it home and keep
it in the freezer.
Rita embraces Phil. They are about to kiss, looking deep into
each others eyes.
PHIL
This one's for the Frog Prince.
RITA
What?
PHIL
Nothing.
They kiss— a long, deep, soul-stirring kiss.
PHIL
Will you come with me?
Rita nods. They continue standing there, embracing, warming
each other in the cold night air.
RITA
(looks back at the ice
sculpture)
We're just going to leave her?
PHIL
It doesn't matter. Really, it
doesn't.
They kiss again.
CUT TO:
CLOSE UP - THE CLOCK
The digital clock-radio changes from 5:59 to 6:00. Silence.
No Sonny and Cher, no deejays— nothing.
Phil sits up in bed. He looks around the room. Things are
different, messier. Then he sees the covers move. Wide-eyed
now, he looks over and sees Rita waking up, snuggling deep
under the covers.
PHIL
(disbelieving)
It's not true. It's not. It
can't be true. Rita? Rita!
-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.
Genres: ["Romantic Comedy"]

Summary Phil and Rita make a snow sculpture of Rita, declare their love for each other, and share a passionate kiss. The repeating day seems to have ended as they wake up together.
Strengths "The scene has a strong romantic theme with a poignant snow sculpture gesture and passionate kiss. The setting and atmosphere add to the whimsical tone of the scene."
Weaknesses "The scene has a slow pace and lacks significant plot developments."
Critique The scene is well-written, evoking a magical and romantic atmosphere, as Phil creates a snow sculpture of Rita. The dialogue is natural, and the characters' actions and emotions are believable. The use of a dissolve to show the passage of time is effective, and the closing scene with Phil's realization that his time loop has ended is satisfying. Overall, the scene is well-executed and adds to the film's theme of personal growth and finding love.
Suggestions Overall, this scene is romantic and well-written, but there are a few ways it could be improved:

1. Add more emotion: While the scene is sweet, it could benefit from more emotional depth. For example, you could add more dialogue about how Phil and Rita feel about each other and why they are so drawn to each other.

2. Show, don't tell: When Phil says, "This is how I see you. When it all gets too much, I just close my eyes and there you are— just like this," it's a bit too on the nose. Instead, you could show how Rita feels about the snow sculpture through her expressions and actions. This will make the scene more nuanced and immersive.

3. Pace the scene better: The scene could benefit from more tension and pacing. Consider adding a small conflict or obstacle that they need to overcome together before they kiss, making the moment more significant and memorable.

4. Develop the characters more: While we know some basic things about Phil and Rita, we don't have a strong sense of who they are as individuals. Consider adding more backstory or character traits to help viewers connect with them on a deeper level.

By incorporating these suggestions, the scene would become more emotionally impactful, nuanced, and memorable, which is essential in making the overall screenplay stronger and more engaging.



Scene 32 -  Happy Ending
  • Overall: 9.0
  • Concept: 9
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
EXT. THE STREET - DAY
Phil and Rita walk down Main Street hand in hand.
A MAN
Phil! Good morning!
A LADY
Mr. Connors. I wanted to thank
you.
PHIL
That's all right. I—
A FLORIST steps out of the flower shop with a bouquet.
FLORIST
Phil, here. I want you to have
these.
PHIL
Thanks, Carl.
Phil smells the flowers, and hands the bouquet to Rita.
PHIL (V.O.)
And so began my final lifetime,
and ended the longest winter on
record. I would find myself no
longer able to affect the chain
of events in this town, but I did
learn something about time. You
can waste time, you can kill
time, you can do time, but if you
use it wisely, there's never
enough of it. So you'd better
make the most of the time you've
got.
A car skids on the ice and smashes into a tree. Phil and Rita
rush over to help, but the driver waves that he's okay. Rita
and Phil continue their walk.
-121-

PHIL (V.O.)
Larry never got through the
blizzard, so none of my groundhog
reports ever made it on the air.
But Rita and I— we lived happily
ever after.
Phil and Rita walk off together.
Across the street, Larry is trying to get rid of Ned Ryerson
who is doggedly trying to sell him insurance.
NED
But Phil told me you were his
accountant!
LARRY
Look, I told you! He's nuts!
Larry keeps trying to walk away, but Ned won't leave him alone.
NED
Let me just tell you about single
premium life—
Finally, Larry slugs Ned and storms off, leaving Ned
floundering in a snowbank.
Phil and Rita walk on as we pull up and away from Main Street
revealing the whole of Punxsutawney and the snowy countryside
that embraces it.
THE END
Genres: ["Romance","Comedy","Fantasy"]

Summary Phil and Rita live happily ever after in Punxsutawney after the time loop ends. The scene ends with a comedic beat as Larry punches out insurance salesman Ned.
Strengths "Heartwarming ending, comedic beat with Larry and Ned, insightful voiceover from Phil"
Weaknesses "Lack of significant plot development, scene is mostly a wrap-up"
Critique Overall, the scene effectively wraps up the story and provides closure for the audience. However, there are a few ways that it could be improved. Firstly, the dialogue feels a bit stilted and lacks specificity. The conversations between Phil and the various townspeople are brief and don't reveal much about the characters or their relationships. Adding in more nuanced conversations could add depth to the scene and make it more engaging for the audience.

Additionally, the final scene with Larry and Ned feels disconnected from the rest of the story. While it may be intended to be a humorous moment, it doesn't quite land and feels out of place. If the film had established a stronger connection between these characters earlier on, this scene could have been more effective.

Overall, the scene is serviceable but could benefit from some revisions to make it more engaging and effective.
Suggestions One suggestion to improve this scene could be to add more conflict. The scene is mostly a wrap-up of the story, with Phil and Rita walking down the street and encountering people they know. While this can be a nice way to tie up loose ends, it doesn't add much excitement or tension.

To add conflict, perhaps another character (besides Ned) could stir things up, like someone who is angry with Phil for changing the course of events in the town. This could lead to a confrontation or even a chase, adding some action to the scene.

Additionally, the final shot could be more impactful. Instead of just pulling away from Main Street, perhaps there could be a visual metaphor for the passage of time or the themes of the story. Maybe the shot could focus on a clock tower or a changing of the seasons, to emphasize Phil's realization about time.

Overall, the scene could benefit from more tension and a stronger visual metaphor to close out the story.