1386 lines
67 KiB
HTML
1386 lines
67 KiB
HTML
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<h1>The Susie</h1>
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The Television Transcript Project </p>
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<p>Seinfeld</p>
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<p>Written by: David Mandel</p>
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<p>Episode #149 (8-15: season 8, episode 15), 13 Feb 1997.</p>
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<p>Directed by: Andy Ackerman.</p>
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<p>The Cast</p>
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<p>Character
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Actor</p>
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<p>Jerry Seinfeld Jerry Seinfeld </p>
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<p>George Costanza Jason Alexander
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</p>
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<p>Kramer
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Michael Richards </p>
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<p>Elaine Benes Julia
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Louis-Dreyfus </p>
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<p>Mike Moffit
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Lee Arenberg</p>
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<p>Peggy
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Megan Cole</p>
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<p>Allison
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Shannon Kenny</p>
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<p>J. Peterman
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John O'Hurley</p>
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<p>Wilhelm
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Richard Herd</p>
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<p> </p>
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<p>When I printed this, it took 26 pages.</p>
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<p>Notes: </p>
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<p>I had to get the first half minute of the first act (up to Mike
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saying ".. either of you guys wanna place a bet: I'm your guy")</p>
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<p>from a syndicated re-broadcast, but I think nothing was cut for
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that. I assume the syndication cut out the teaser (probably</p>
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<p>about a minute), so that's completely missing. :-( The rest is
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from a regular broadcast.</p>
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<p>Small, teal text is notes about camera movements, positions, and
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whether it was close-up (CU), medium-shot (MS), long</p>
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<p>shot (LS), two shot (2S), long-medium shot (L-MS), or full shot
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(see all of people's bodies). This is just intuitive</p>
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<p>terminology (CU meaning very close, MS as anything from that to
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seeing most of someone's body, LS as an establishing</p>
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<p>shot, the layout of the scene/place). It's a terminology we all
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can understand.</p>
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<p>They probably have only four cameras available at once, from what
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I hear.</p>
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<p>It is very probable that the non-facial close-ups, the establishing
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shots, some reaction shots, and especially shots without</p>
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<p>people visible in them, are done at a separate time (I label such
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likely cameras a, b, c, instead of 1, 2, etc.) And of course</p>
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<p>there's the issue of mixing shots from different takes and splitting
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one set of action into two scenes. (An example here is I</p>
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<p>think that when Kramer came into the ballroom divided that scene
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into two scenes, so they really didn't need seven</p>
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<p>cameras to do that scene). Again, these are only my deductions.
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Try it, sometime. It's interesting. :o) </p>
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<p>I put the total number of cameras in parentheses at the start of
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the notes. When there were extra cameras (those labeled</p>
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<p>a, b, c, etc.--see above), I add them. Example: "(4+1)"
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means four cameras plus one separate shot.</p>
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<p>"Over X's shoulder," at least here, means you can see
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part of the given person (X)--sometimes it's his/her head. Unless</p>
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<p>otherwise noted, the shoulder is the person's left shoulder.</p>
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<p>Unless otherwise noted, the cameras are stationary.</p>
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<p>Catch the daylight/night continuity errors. ;-)</p>
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<p>Braces {} enclose unclear speech.</p>
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<p>Transcript by: Suzanne via VCR tape and micro-cassette tape. </p>
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<p> </p>
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<p>(4) 1: high LS following Jerry and Kramer walking; 2: MS on J +
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K; 3: full shot on Mike at shop window; 2: MS on J + K; 4: MS on</p>
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<p>J + K (more in profile than cam. #2); 2: MS on J + K; 3: pans with
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M coming over; 2: MS on J + K, now over M's sh.; 3: MS on M;</p>
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<p>2; 3; 2: MS on J + K, over M's sh; 3: MS on M; 4: MS all three,
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J crosses right, leaving; 3: MS on M; 2: MS on K + M; 3: MS on</p>
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<p>M, over K's rt. sh; 2: MS on M; 4: K + M, M crosses left, leaving;
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2: K puts watch away, walks rt. </p>
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<p>[JERRY and KRAMER are walking down the street at dusk.]</p>
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<p>KRAMER</p>
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<p>Look how dark it's gettin' already.</p>
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<p>JERRY</p>
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<p>Well, it's not Daylight Savings Time yet.</p>
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<p>KRAMER</p>
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<p>When does it start?</p>
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<p>JERRY</p>
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<p>[pause] I don't know, they just tell you the night before.</p>
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<p>KRAMER</p>
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<p>Uh. Well, I'm sick o' waiting. [pulls out his pocket-watch (it
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has a chain, too)]</p>
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<p>I am springin' ahead riiight now.</p>
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<p>JERRY</p>
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<p>[under breath] Oh, I'm sure that won't cause any problems..</p>
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<p>[JERRY sees MIKE down the sidewalk. MIKE's peering into a shop
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window.]</p>
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<p>JERRY</p>
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<p>Oh, god, it's Mike Moffit..</p>
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<p>KRAMER</p>
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<p>Oh now, don't tell me you're still mad at him for calling you a
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phony. Jerry, that was five years ago!</p>
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<p>JERRY</p>
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<p>I'm not a phony an' I don't want anything to do with this guy.</p>
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<p>KRAMER</p>
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<p>Hey! Mike! </p>
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<p>MIKE</p>
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<p>[sees and is enthused, coming over] Kramer! Jerry! How's it goin'?!</p>
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<p>JERRY</p>
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<p>Fine. An' I'm not just sayin' that..</p>
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<p>MIKE</p>
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<p>Guess what? I just started my own business. I'm a bookie!</p>
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<p>JERRY</p>
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<p>No openings in arson?</p>
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<p>MIKE</p>
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<p>[pauses, struck by J's attitude] Either of you guys wanna place
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a bet: I'm your guy.</p>
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<p>KRAMER</p>
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<p>[quickly] Ah no no no. No bets for me, I uh, I got a disease.</p>
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<p>JERRY</p>
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<p>I'm feelin' a bit queasy myself. Maybe I'll see you in another
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five years. [casually leaves]</p>
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<p>MIKE</p>
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<p>Kramer. Jerry still mad about that "phony" thing?</p>
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<p>KRAMER</p>
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<p>You kidding? It's all water near a bridge.</p>
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<p>MIKE</p>
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<p>Hey, what time you got?</p>
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<p>KRAMER</p>
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<p>[pulling out his timepiece] Oh yes. Uh.. it's aaalmost six.</p>
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<p>MIKE</p>
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<p>Whoa--uh--I'm really late. [leaves] </p>
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<p> </p>
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<p>(3+1): a: daylight shot of office building, looking up at it; 1:
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L-MS of Peggy's office including doorway; 2: MS on Peggy; 3: MS
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on</p>
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<p>Elaine, cam. follows her; 2: (MS on P); 3: MS on E; 1: L-MS on
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both as P continues work and E reacts at doorway. </p>
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<p>[ELAINE's at work, with PEGGY at Peggy's drafting table, looking
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at Peggy's designs. (PEGGY is an older, thin woman.)]</p>
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<p>ELAINE</p>
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<p>Oh! These designs look great! Peggy, you really saved me.</p>
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<p>PEGGY</p>
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<p>Oh, it was no problem.</p>
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<p>ELAINE</p>
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<p>[leaving with the drawings] Mr. Peterman is gonna love 'em.</p>
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<p>PEGGY</p>
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<p>[focusing on her work] Thanks, Susie.</p>
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<p>[At the door, ELAINE turns around, wondering if she heard right,
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and should she say anything. PEGGY looks up, pleasantly</p>
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<p>nods at her, and returns to her work. ELAINE wavers and decides
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to let it drop, and leaves.]</p>
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<p> </p>
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<p> </p>
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<p>(3+1): a: Monk's at night: the "RESTAURANT" sign; 1:
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MS on Elaine, over Jerry's rt. sh.; 2: on J over E's sh.; 3: (when
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George</p>
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<p>comes over) L-MS over J's rt. sh, cam. trucks left; 2: (briefly);
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3: (now a 3-shot); 1: 2S on G + E, over J's rt. sh.; then alt. 2
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and 1,</p>
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<p>only going to 2 (Jerry) briefly (alts 4 times). </p>
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<p>[That night at Monk's, JERRY and ELAINE are sitting in a booth.]</p>
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<p>ELAINE</p>
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<p>You won't believe this but, as I'm leaving, she calls me "Susie."</p>
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<p>JERRY</p>
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<p>I don't see you as a Susie. Sharon maybe.</p>
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<p>ELAINE</p>
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<p>What am I, a--a bulimic, chain-smoking, stenographer from Staten
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Island?</p>
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<p>JERRY</p>
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<p>Who are you describing?</p>
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<p>ELAINE</p>
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<p>Someone I know.</p>
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<p>JERRY</p>
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<p>Named Sharon?</p>
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<p>ELAINE</p>
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<p>I'd rather not say.</p>
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<p>[GEORGE has just come in and grabs a chair to put a garment bag
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on.]</p>
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<p>GEORGE</p>
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<p>Hey.</p>
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<p>ELAINE</p>
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<p>[to say hello] Mmm!</p>
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<p>What's in the bag?</p>
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<!-- BeginAd01 --><!-- EndAd -->
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<p>GEORGE</p>
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<p>[sitting] Newww tuxedo. For the Pinstripe Ball. Steinbrenner is
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throwing a huge party at Tavern on the Green, heh!</p>
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<p>JERRY</p>
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<p>Kind of a Yankee prom?</p>
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<p>GEORGE</p>
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<p>[resentfully dampened] It's not a prom. It's a Ball.</p>
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<p>JERRY</p>
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<p>You taking Allison?</p>
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<p>GEORGE</p>
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<p>Yes, of course I'm taking Allison. This woman is genetically engineered
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to go to a ball. Tall, blonde, lithe--</p>
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<p>JERRY</p>
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<p>Live?</p>
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<p>ELAINE</p>
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<p>Lithe.</p>
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<p>GEORGE</p>
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<p>Live?</p>
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<p>ELAINE</p>
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<p>[rolling her eyes] Lithe!</p>
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<p>JERRY</p>
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<p>Oh, lithe!</p>
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<p>ELAINE</p>
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<p>Well, you two'll have a great time there.</p>
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<p>JERRY</p>
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<p>It can't be worse than this.</p>
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<p>ELAINE</p>
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<p>Mmm!</p>
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<p>GEORGE</p>
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<p>An' wait'll you see the dress that she's got. It's backless! Uh?!
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I'm finally gonna make a Great Entrance!</p>
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<p>ELAINE</p>
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<p>Backless? Ya gonna back her in?</p>
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<p>GEORGE</p>
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<p>Elaine, when a woman makes a Ball Entrance.. she twirls.</p>
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<p>ELAINE</p>
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<p>She's not gonna twirl--</p>
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<p>GEORGE</p>
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<p>She'll Twirl.</p>
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<p> </p>
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<p> </p>
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<p>(2): 1: L-MS on George's apartment (livingroom and door) as George
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and Allison enter; 2: MS on G, pans with him; 3: MS on A; 2:</p>
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<p>(on G); 3: on A, pans and tilts as she sits; then alt #2 and #3
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(4[7] times). </p>
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<p>[GEORGE and ALLISON are coming into George's "house."]</p>
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<p>GEORGE</p>
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<p>That is what Mr. Steinbrenner wants. He wants, everyone, ta, twirl
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around.</p>
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<p>ALLISON</p>
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<p>[weary] All right.</p>
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<p>GEORGE</p>
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<p>Hey! Uh--listen--did you get your--uh--boss's Knick ticket, for
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Kramer?</p>
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<p>ALLISON</p>
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<p>[digging in purse] Yeah, uh--here. [hands him ticket]</p>
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<p>GEORGE</p>
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<p>Oh! Great!</p>
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<p>ALLISON</p>
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<p>Uh. Say, George--</p>
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<p>GEORGE</p>
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<p>Woo! Courtside!</p>
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<p>[mock-snide] Is that the best you could do? Ha ha!</p>
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<p>ALLISON</p>
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<p>[sitting] George. We need to talk.</p>
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<p>GEORGE</p>
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<p>What?</p>
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<p>ALLISON</p>
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<p>I really, think we need to talk.</p>
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<p>GEORGE</p>
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<p>[pause] Uh-oh.</p>
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<p> </p>
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<p> </p>
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<p>(4+1) a: LS on Jerry's bldg's entrance; 1: MS on George at door,
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over Jerry's sh; 2: MS on J; 3: L-MS on G + J, pans; 4: MS on G,</p>
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<p>zooms in; 2: (MS on J); 4; 2; 4: (MS on G, pans); 2; 1: (briefly,
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MS on G over J's sh); 3: G + J (cam. trucks and backs to follow
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G's</p>
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<p>movements) G crosses right, comes toward camera, then goes left
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(he's going to front of couch, J following); 4: (MS on G); 2: (MS</p>
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<p>on J); alt #4 with #2 a few times, then #4 pans with G as continues
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around couch to back (J is seated on couch arm), camera (and</p>
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<p>G) stop at MS on G, over J's sh; 3: (as Kramer enters) 3-shot,
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trucks rt. with Kramer as J gets up, goes rt.; 1: MS on G, over
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K's sh</p>
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<p>(tickets); 3: (3-shot); 2: MS on K; 4: 3-shot (K in profile); then
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alt #2 (MS on K) with 1: MS on J, over K's sh. </p>
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<p>[Jerry's "house." JERRY and GEORGE are just coming in.]</p>
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<p>JERRY</p>
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<p>She wants to talk.</p>
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<p>GEORGE</p>
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<p>She doesn't Want to talk, she needs to talk.</p>
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<p>JERRY</p>
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<p>Nobody needs to talk.</p>
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<p>GEORGE</p>
|
|
<p>Who would Want to.</p>
|
|
<p>She tried to end it with me, Jerry.</p>
|
|
<p>JERRY</p>
|
|
<p>What'd ya do?</p>
|
|
<p>GEORGE</p>
|
|
<p>I told her I was out o' soda, I went out to get some, an' I never
|
|
went back.</p>
|
|
<p>JERRY</p>
|
|
<p>[pause] All night?!</p>
|
|
<p>GEORGE</p>
|
|
<p>Yeah, I slept at my parents' house.</p>
|
|
<p>JERRY</p>
|
|
<p>And she wants to break up with you.. </p>
|
|
<p>GEORGE</p>
|
|
<p>Ha! [snort] Can you believe it? [amused] I'm supposed to be havin'
|
|
lunch with her right now at Pomodoro.</p>
|
|
<p>JERRY</p>
|
|
<p>Uh-oh. "Everybody breaks up at Pomodoro's."</p>
|
|
<p>GEORGE</p>
|
|
<p>So? What'm I gonna do?</p>
|
|
<p>JERRY</p>
|
|
<p>You really like this girl.</p>
|
|
<p>GEORGE</p>
|
|
<p>No. I like the ball! This is my One Chance to make a Great Entrance!
|
|
My whole life! I have never made a great entrance!</p>
|
|
<p>JERRY</p>
|
|
<p>You've made some Fine Exits.</p>
|
|
<p>GEORGE</p>
|
|
<p>[admitting] All right..</p>
|
|
<p>JERRY</p>
|
|
<p>So what do you do? You can't keep avoiding her.</p>
|
|
<p>GEORGE</p>
|
|
<p>[resolved] Why not.</p>
|
|
<p>[determined] If she can't find me, she can't break up with me.
|
|
And, if we're still goin' out, she has to gooo to the ballll.</p>
|
|
<p>KRAMER</p>
|
|
<p>[suddenly entering] Hey, oh--listen. Did you get my ticket from
|
|
Allison--</p>
|
|
<p>GEORGE</p>
|
|
<p>Yeah, yeah, right here. [hands it to him]</p>
|
|
<p>KRAMER</p>
|
|
<p>All right! Yeah.. Courtside.. Whoa! Don't let this girl get away..</p>
|
|
<p>GEORGE</p>
|
|
<p>[clipping on shades] Ha.. She'll have to find me first. [leaving]</p>
|
|
<p>KRAMER</p>
|
|
<p>{All right.} [to JERRY] Ah? Oh, by the way: you owe Mike a hundred
|
|
dollars.</p>
|
|
<p>JERRY</p>
|
|
<p>What for?</p>
|
|
<p>KRAMER</p>
|
|
<p>Well I put a bet down for ya on tonight's game. Yeah, if the Knicks
|
|
beat the Pacers by more than thirty-five? It pays ten to one.</p>
|
|
<p>Oo-oo! That's some sweet action!</p>
|
|
<p>JERRY</p>
|
|
<p>But I don't want any "sweet action."</p>
|
|
<p>KRAMER</p>
|
|
<p>Well, I couldn't do it: I got a gamblin' problem.</p>
|
|
<p>JERRY</p>
|
|
<p>So you put down my money?!</p>
|
|
<p>KRAMER</p>
|
|
<p>[impatient sigh] You don't have a problem.</p>
|
|
<p>JERRY</p>
|
|
<p>Not {with} that, no..</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(3+1) a: daylight shot of office building from several stories
|
|
up, looking down (bldg with "1325" banners); 1: L-MS on
|
|
Peggy's</p>
|
|
<p>office including door, as Elaine passes; 2: MS on P; 1: L-MS on
|
|
office (P turned in profile); 2: MS on P; 3: MS on E; alt #2 and
|
|
#3</p>
|
|
<p>(2[5] times); 1: (L-MS on office). </p>
|
|
<p>[ELAINE's at the office, walking past PEGGY's office. PEGGY's reading
|
|
a memo and notices her.]</p>
|
|
<p>PEGGY</p>
|
|
<p>Susie.</p>
|
|
<p>Susie!</p>
|
|
<p>ELAINE</p>
|
|
<p>[coming in] Uh.. Hi, Peggy. Um.. Look, I should have said this
|
|
yesterday, but--</p>
|
|
<p>PEGGY</p>
|
|
<p>Did you get this memo from Elaine Benes?</p>
|
|
<p>ELAINE</p>
|
|
<p>Yeah. See that--</p>
|
|
<p>PEGGY</p>
|
|
<p>[preoccupied] You know, it's amazing Peterman hasn't fired that
|
|
dolt.</p>
|
|
<p>She practically ran the company into the gro-ound.</p>
|
|
<p>ELAINE</p>
|
|
<p>Well. Well, I thought she did a pretty good Job..</p>
|
|
<p>PEGGY</p>
|
|
<p>I heard she was a disaster, Suze--</p>
|
|
<p>ELAINE</p>
|
|
<p>[testy, leans into Peggy's personal space] Look-it. It's not Suze.
|
|
All right? It's Su-zie. My name, is Su-zie!</p>
|
|
<p>[PEGGY feels quite threatened..]</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(4+1) a: day ext. George's apt. entrance (green "321"
|
|
awning); 1: full shot of George seated; 4: MS on Jerry, standing
|
|
by counter in</p>
|
|
<p>his apt. (cam. #4 from last scene); 2: MS on G; 4: (MS on J); 2;
|
|
4; 2; 3: MS from farther left; 2. </p>
|
|
<p>[GEORGE is in his living room, watching TV, eating popcorn. The
|
|
phone rings and he lets the machine pick it up as he munches</p>
|
|
<!-- BeginAd02 --><!-- EndAd -->
|
|
<p>and uses the remote. The machine tape is to the tune of the Greatest
|
|
American Hero theme song ("The Greatest American</p>
|
|
<p>Hero (Believe it or not)," written by Mike Post and Stephen
|
|
Geyer).]</p>
|
|
<p>GEORGE</p>
|
|
<p>[on tape, singing] "Believe it or not, George, isn't at home,
|
|
please leave a mes-saaage at the beep. I must be out or I'd pick
|
|
up</p>
|
|
<p>the pho-one. Where could I be? Believe it or not, I'm not hooome."
|
|
[beep]</p>
|
|
<p>(JERRY's on the other end, a little bored. But GEORGE likes the
|
|
song, bobbed his head with it.)</p>
|
|
<p>JERRY</p>
|
|
<p>George, pick up. I know you're screening for Allison.</p>
|
|
<p>GEORGE</p>
|
|
<p>[answers phone, good mood] Hey.</p>
|
|
<p>JERRY</p>
|
|
<p>So, coffee shop?</p>
|
|
<p>GEORGE</p>
|
|
<p>No, I can't. She knows I go there. It's not secure. [the call waiting
|
|
beeps]</p>
|
|
<p>Hey, I got another call comin' in. I gotta let the machine get
|
|
it. Bye. [hangs up]</p>
|
|
<p>GEORGE</p>
|
|
<p>[on tape, singing] "Believe it or not, George, isn't at home,
|
|
please leave a mes-saaage at the beep. I must be out or I'd pick
|
|
up</p>
|
|
<p>the pho-one. Where could I be? Believe it or not, I'm not hooome."
|
|
[beep]</p>
|
|
<p>(GEORGE was grooving to it, pantomime-shrugging during it, and
|
|
remoting to another station.)</p>
|
|
<p>ALLISON</p>
|
|
<p>[on phone machine, peeved] George? Are you there?</p>
|
|
<p>[muttering] I hate that stupid message.</p>
|
|
<p>[terse] I know you're avoiding me, I'm at the office, please call
|
|
me, I've gotta talk to you. [hangs up]</p>
|
|
<p>[GEORGE dials a number.]</p>
|
|
<p>GEORGE</p>
|
|
<p>[to phone] Hi, Allison? Oh, I guess you're not at home.. I probably
|
|
should 'ave tried you at the office. Anyway, good to hear</p>
|
|
<p>from ya, really looking forward to the ball.. [hangs up and happily
|
|
chuckles] Ha ha! </p>
|
|
<p> </p>
|
|
<p>(4+1) a: night apt. bldg (grey "737" awning); 3: MS on
|
|
Elaine and Jerry (they leave door open); 1: MS on E, over J's sh;
|
|
2: MS on J</p>
|
|
<p>("No Suze."); 1; 2; 3; 2; 4: MS on J + E (E has moved
|
|
to kitchen, J is in profile); 2: (MS on J reacting); 3: MS 3-shot
|
|
as Kramer</p>
|
|
<p>enters, pans rt. with K to fridge (E's looking at fruit), pans
|
|
left with K to door; 4: J follows K, shot becoming MS on K, over
|
|
J's sh;</p>
|
|
<p>1: MS on K; 3: 3-shot; 4 (MS on K, over J's sh); 3; 2: 2S on E
|
|
+ J, both in profile; 1 (on K); 4; 2; 1; 2; 1; 4: (trucks with J
|
|
shutting</p>
|
|
<p>door); 1: MS on J, pans; 2: MS on E, over J's rt. sh; 1: MS on
|
|
J, K came in and goes behind J, who turns, shot becoming MS on K,</p>
|
|
<p>over J's sh; 2: 2S on J + E, over K's rt. sh; 1: (MS on K, now
|
|
over J's and E's sh/head); 4: MS 3-shot, all in profile, E pats
|
|
J's</p>
|
|
<p>shoulder; 2: (2S on J + E); 1; 4.</p>
|
|
<p>[At JERRY's apartment, ELAINE's just arrived.]</p>
|
|
<p>ELAINE</p>
|
|
<p>Can you believe this woman?</p>
|
|
<p>JERRY</p>
|
|
<p>[ironic outrage] The nerve. Talkin' about ya behind your back--and
|
|
right to your face!</p>
|
|
<p>ELAINE</p>
|
|
<p>No. "Suze!" I mean, "Suzie!" "Suzanne!"
|
|
"Suzanna." Fine! But there is no, way, I'm gonna be a
|
|
Suze.</p>
|
|
<p>JERRY</p>
|
|
<p>No. No Suze.</p>
|
|
<p>ELAINE</p>
|
|
<p>[tense] I mean--what am I--some pom-pom-wavin' Backseat Bimbo?!</p>
|
|
<p>JERRY</p>
|
|
<p>Who are you describin'?</p>
|
|
<p>ELAINE</p>
|
|
<p>Someone I know!</p>
|
|
<p>JERRY</p>
|
|
<p>Named Suze?</p>
|
|
<p>ELAINE</p>
|
|
<p>No, still Sharon!</p>
|
|
<p>KRAMER</p>
|
|
<p>[comes in, subdued] Hey. [grabs a water from refrigerator]</p>
|
|
<p>JERRY</p>
|
|
<p>Hey, I thought you went to the game.</p>
|
|
<p>KRAMER</p>
|
|
<p>No. I was kicked out for fightin' with one of the players. [leaving]</p>
|
|
<p>JERRY</p>
|
|
<p>Wait. Way--way--way--way--way--way--wait! Who?!</p>
|
|
<p>KRAMER</p>
|
|
<p>[stops] W--Reggie Miller.</p>
|
|
<p>ELAINE</p>
|
|
<p>Cheryl Miller's brother?</p>
|
|
<p>KRAMER</p>
|
|
<p>Yeah. [leaving]</p>
|
|
<p>JERRY</p>
|
|
<p>Hey--hey--hey--wait, wait, wait, wait! What happened!</p>
|
|
<p>KRAMER</p>
|
|
<p>[stops again] Well, first of all, for some reason, they started
|
|
the game an hour Late. And uh, I was sittin' next to Spike Lee an'</p>
|
|
<p>he an' Reggie were jawin' at each other, so I guess I got involved.
|
|
[leaving]</p>
|
|
<p>ELAINE</p>
|
|
<p>[same time as JERRY] --Wait, whoa--whoa--whoa--whoa!--</p>
|
|
<p>JERRY</p>
|
|
<p>Well--wait--wait--wait--wait! What do you mean "involved"?!</p>
|
|
<p>KRAMER</p>
|
|
<p>[stops again] Well I.. ran out onto the court an' threw a hotdog
|
|
at Reggie Miller. "Involved."</p>
|
|
<p>An' they threw meee, an' Reggie, an' Spike out o' the game. </p>
|
|
<p>ELAINE</p>
|
|
<p>So that's it?</p>
|
|
<p>KRAMER</p>
|
|
<p>Well I, well I, felt, pretty bad about everything an' uh, then
|
|
the three of us, we went to a strip club. [leaves]</p>
|
|
<p>JERRY</p>
|
|
<p>Can you believe that?</p>
|
|
<p>ELAINE</p>
|
|
<p>I didn't know Cheryl Miller's brother played basketball.</p>
|
|
<p>KRAMER</p>
|
|
<p>[suddenly comes back, excited] The Knicks killed 'em a hundred
|
|
an' ten to seventy three!</p>
|
|
<p>JERRY</p>
|
|
<p>What--of course, without Reggie Miller, it's a blowout!</p>
|
|
<p>KRAMER</p>
|
|
<p>No, Jerry--that's thirty-seven points! The Knicks covered! You
|
|
won! See, that's a cooool-G, Daddy-O--now you gotta let it</p>
|
|
<p>riiiide! </p>
|
|
<p>JERRY</p>
|
|
<p>On what?!</p>
|
|
<p>KRAMER</p>
|
|
<p>[real addict] Ah, come-on, Jerry--I don't wanna lose this feeling.
|
|
Hey--let's go down to the O.T.B. We'll put some money on</p>
|
|
<p>the ponies. [getting out pocket-watch]</p>
|
|
<p>JERRY</p>
|
|
<p>Yeah, all right.</p>
|
|
<p>KRAMER</p>
|
|
<p>[looking at watch] Ssssh--ah! They just closed!</p>
|
|
<p>JERRY</p>
|
|
<p>[not] Oh. Too Bad.</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(3+1) a: daylight LS looking up at office building; 1: full shot
|
|
of office; 2: MS on E; 3: MS on J. Peterman; 2; 3; 2. </p>
|
|
<p>[PETERMAN's office. ELAINE comes to the door.]</p>
|
|
<p>ELAINE</p>
|
|
<p>Mr. Peterman? You wanted to see me?</p>
|
|
<p>PETERMAN</p>
|
|
<p>Apparently Peggy--down in Design?--got into a liiiittle bit of
|
|
a Tiff yesterday with somebody named, "Susie"?</p>
|
|
<p>ELAINE</p>
|
|
<p>Su-sie?</p>
|
|
<p>PETERMAN</p>
|
|
<p>Yes. Between you, me and the lamppost. And the desk.</p>
|
|
<p>Peggy says this "Suze" isn't much of a Worker.</p>
|
|
<p>ELAINE</p>
|
|
<p>[nit] It's Susie.</p>
|
|
<p>PETERMAN</p>
|
|
<p>Nevertheless, Elaine. The House, of Peterman is in Disorder. First
|
|
thing tomorrow morning I want to see you, Peggy, and, Susie</p>
|
|
<p>right here, in my office.</p>
|
|
<p>ELAINE</p>
|
|
<p>[dismayed] Ah, all o'--all of us? </p>
|
|
<p> </p>
|
|
<p>(3+1) a: day ext. of apt. bldg. (red awning); 1: L-MS on Kramer
|
|
in hallway at door; 2: MS on K, over Allison's sh; 3: 2S on K +
|
|
A,</p>
|
|
<p>favoring A; 2; 3. </p>
|
|
<p>[ALLISON's apartment. Someone's knocking on the door and she gets
|
|
it. It's KRAMER.]</p>
|
|
<p>KRAMER</p>
|
|
<p>Allison. Hi. Uh--listen: I'm really sorry about what happened at
|
|
the game last night. Listen--could I have a ticket tonight--'cause</p>
|
|
<p>the Rockets are in town an' that, Hakeem Olajuwon? Ohhh--he's got
|
|
a real attitude.</p>
|
|
<p>ALLISON</p>
|
|
<p>Kramer? Have you seen George, around? I can't get a hold of him.</p>
|
|
<p>KRAMER</p>
|
|
<p>Oh, yeah, yeah. Well, he--uh--visits the guy across the hall from
|
|
me like every ten minutes.</p>
|
|
<p>ALLISON</p>
|
|
<p>Oh yeah?</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(4+1) 1: L-MS on Jerry at trunk with grocs; 2: MS on J, over Mike's
|
|
sh; 3: 2S on J + M, favoring M; then alts #2 and #3 (3[6]</p>
|
|
<p>times); 1: L-MS on both and car; 4: L-MS on J + M (M coming right,
|
|
into view); a: MS on M reacting. </p>
|
|
<p>[On the street, JERRY is leisurely unloading his groceries from
|
|
the back of his car.]</p>
|
|
<p>JERRY</p>
|
|
<p>[singing] Believe it or not, Geooorge isn't at home.</p>
|
|
<p>MIKE</p>
|
|
<p>[comes up] Hey. Jerry.</p>
|
|
<p>JERRY</p>
|
|
<p>Hey Mike.. How 'bout those Knicks?</p>
|
|
<p>MIKE</p>
|
|
<p>[a little anxious] Yeah! How 'bout 'em? Ha ha. Look, Jerry. I can't
|
|
<!-- BeginAd03 --><!-- EndAd -->
|
|
pay you.</p>
|
|
<p>JERRY</p>
|
|
<p>Why not?</p>
|
|
<p>MIKE</p>
|
|
<p>'Cause I don't have the money.. </p>
|
|
<p>JERRY</p>
|
|
<p>Mike. You say you're a bookie? You take a bet an' then you can't
|
|
pay? I don't know, Mike, to me it sounds a little, how you say..
|
|
"Phony"?</p>
|
|
<p>MIKE</p>
|
|
<p>Just give me 'til Friday. Please. Please!</p>
|
|
<p>JERRY</p>
|
|
<p>You know, you're supposed to be the Bookie. Act like one.</p>
|
|
<p>MIKE</p>
|
|
<p>I'm sorry. Uh--oh here--let me give you a hand with that.</p>
|
|
<p>[MIKE gets some groceries out.]</p>
|
|
<p>JERRY</p>
|
|
<p>[trying to shut the trunk hood] Something wrong with this trunk.</p>
|
|
<p>MIKE</p>
|
|
<p>Oh. Let me see.</p>
|
|
<p>[As MIKE puts his hands there, JERRY, unaware, shuts the trunk
|
|
again! It happens very fast--MIKE's hands are slammed and he screams
|
|
out in pain!] </p>
|
|
<p> </p>
|
|
<p>(3+1) a: night ext. rest.; 1: MS on George, over Kramer's sh (woman
|
|
is in distance behind G); 2: M-CU on K, over G's rt. sh; 3:</p>
|
|
<p>M-CU on G, over K's sh; then alt #2 and #3 for convo.; at end is
|
|
1: K just having crossed left (G dismayed, at table, the jilted</p>
|
|
<p>woman is no longer there either). </p>
|
|
<p>[The Pomodoro Restaurant is a dark romantic place, roses at the
|
|
tables. GEORGE is sitting at a table with KRAMER.]</p>
|
|
<p>GEORGE</p>
|
|
<p>So--ah, Kramer. Why'd you ask me out to dinner?</p>
|
|
<p>[amused] An' why Pomodoro?</p>
|
|
<p>[Just now, at one table in the background, a WOMAN is sad and dismayed,
|
|
says, "How could you say that to me?" She</p>
|
|
<p>cries..]</p>
|
|
<p>KRAMER</p>
|
|
<p>[quiet, delicately] Allison spoke to me, and um. She wanted me
|
|
to speak to you.</p>
|
|
<p>GEORGE</p>
|
|
<p>[quiet] Uh-oh.</p>
|
|
<p>KRAMER</p>
|
|
<p>We all know that this relationship isn't working. So Allison an'
|
|
I think that the best thing to do is just.. make a, clean break.</p>
|
|
<p>GEORGE</p>
|
|
<p>Can't we discuss this?</p>
|
|
<p>KRAMER</p>
|
|
<p>[reasoning] We just don't think you're ready for a serious relationship!</p>
|
|
<p>GEORGE</p>
|
|
<p>[dismayed] I didn't even know you wanted to get serious!</p>
|
|
<p>KRAMER</p>
|
|
<p>[dismayed] So what am I in this for?</p>
|
|
<p>You know, I'm getting to a point in my life where I need something
|
|
more than just.. a good time. [is tearing up]</p>
|
|
<p>GEORGE</p>
|
|
<p>[pause] Are you?</p>
|
|
<p>KRAMER</p>
|
|
<p>Wha--me? No! No. But she is.</p>
|
|
<p>GEORGE</p>
|
|
<p>I, I can't believe this is happening!</p>
|
|
<p>KRAMER</p>
|
|
<p>George, we're sorry.</p>
|
|
<p>[breathes in, pause] We're through..</p>
|
|
<p>GEORGE</p>
|
|
<p>Krama. Please.</p>
|
|
<p>KRAMER</p>
|
|
<p>[leaves, upset] Waaa-aa--aa! I'm sorry-- </p>
|
|
<p>[time: 11:13]</p>
|
|
<p>[Commercial Break] </p>
|
|
<p> </p>
|
|
<p>(5+1) a: day ext. of office bldg, at ground level ("1325"
|
|
is engraved on the smooth stones); 1: full shot of office, trucks/pans
|
|
with</p>
|
|
<p>Elaine entering; 2: MS on E; 3: MS on Peggy; 2: (MS on E); 4: L-MS
|
|
on P and J. Peterman (JP); 2; 1; 2; 4; 5: L-MS on E and empty</p>
|
|
<p>chair; 4: MS on JP; 2; 4; 2; 3; 2; 3: (P looks pleased with being
|
|
huge part of problem); 2; 3; 4; 2; 4; 2; 4: MS on P + JP; 2; 1:
|
|
L-MS</p>
|
|
<p>of office, pans with E rushing out; 4: MS on P + JP. </p>
|
|
<p>[PETERMAN and PEGGY are sitting in his office. There are two empy
|
|
chairs. The window overlooks central park.]</p>
|
|
<p>ELAINE</p>
|
|
<p>[entering, uneasy] Mr. Peterman, Peggy, I.. guess we, should just
|
|
get this over with. [sits]</p>
|
|
<p>PETERMAN</p>
|
|
<p>Just Hold On a minute. Still One Short.</p>
|
|
<p>ELAINE</p>
|
|
<p>Oh.</p>
|
|
<p>No, we're not--</p>
|
|
<p>PEGGY</p>
|
|
<p>Susie has been very rude to me.</p>
|
|
<p>PETERMAN</p>
|
|
<p>Well, Elaine, has nothing but Good things to say about Susie.</p>
|
|
<p>ELAINE</p>
|
|
<p>Look.</p>
|
|
<p>[engaging smile] We don't have to name names, or, point fingers,
|
|
or..</p>
|
|
<p>[breathes in] name names!</p>
|
|
<p>[indicating empty chair] Me and her, have had our problems. She
|
|
and I have had our problems! You and I, and she and you--</p>
|
|
<p>PETERMAN</p>
|
|
<p>Don't you drag me into this! This is between you and her, and her.
|
|
[indicating empty chair]</p>
|
|
<p>ELAINE</p>
|
|
<p>Yes! And I am convinced that if she were here with us today, she
|
|
would agree with me, too.</p>
|
|
<p>PETERMAN</p>
|
|
<p>Who.</p>
|
|
<p>ELAINE</p>
|
|
<p>[uh-oh] Her?</p>
|
|
<p>PETERMAN</p>
|
|
<p>Where is she?!</p>
|
|
<p>ELAINE</p>
|
|
<p>Ah--this is part of the problem!</p>
|
|
<p>PEGGY</p>
|
|
<p>Iiii thought I was, part of this problem.</p>
|
|
<p>ELAINE</p>
|
|
<p>[smiling, convincing] You're a, huuge part of the problem. But,
|
|
I think that at it's core, this is a Susie-and-Elaine problem that</p>
|
|
<p>requires, a Susie-and-Elaine solution! And, who better to do that
|
|
than.. Elaine and Susie! Susie and Elaine! </p>
|
|
<p>PETERMAN</p>
|
|
<p>Well, now that we have that cleared up.. why don't the three of
|
|
us have lunch.</p>
|
|
<p>ELAINE</p>
|
|
<p>[feigning hearing something] What?! Oh! Oh, I'm, coming! I--I gotta
|
|
go. [rushes out!]</p>
|
|
<p>PETERMAN</p>
|
|
<p>She is The Best.</p>
|
|
<p>What was your name again.</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(4+1) a: day, street level shot of J's bldg (grey "737"
|
|
awning); 3: L-MS on apt. Jerry crosses right with glass, cam zooms
|
|
in; 2: MS</p>
|
|
<p>on J turning to Kramer; 3: L-MS on apt. (K opens door revealing
|
|
Mike, J is pouring juice); 4: MS on K + M; 2: MS on J; 4; 2; 4;
|
|
2;</p>
|
|
<p>4; 2; 3: L-MS on apt, J crosses left cam pans/tracks with them
|
|
to table, cam backs up; 2: MS on K; 1: MS on J, tilts with him</p>
|
|
<p>sitting; 3: MS on K going to door, but George is standing there;
|
|
1: (MS on J, puzzled); 2: MS on G; then alt #3 and #2 (but with</p>
|
|
<p>one look at J [cam 1] during a long silent pause), ending with
|
|
#2 (MS on G). </p>
|
|
<p>[Jerry's. KRAMER and JERRY are talking. JERRY's eating lunch at
|
|
his table.]</p>
|
|
<p>KRAMER</p>
|
|
<p>Mike's outside. He wants to talk to you.</p>
|
|
<p>JERRY</p>
|
|
<p>Well why doesn't he just come in?</p>
|
|
<p>KRAMER</p>
|
|
<p>Because he's scared, Jerry.</p>
|
|
<p>JERRY</p>
|
|
<p>Why is he scared.</p>
|
|
<p>KRAMER</p>
|
|
<p>[sighs, opens door] Come on in.</p>
|
|
<p>Did you do this? [MIKE has two hand casts on]</p>
|
|
<p>JERRY</p>
|
|
<p>Yeah, but--</p>
|
|
<p>KRAMER</p>
|
|
<p>Uh--ah--ah! You broke his thumbs.</p>
|
|
<p>JERRY</p>
|
|
<p>It was an accident.</p>
|
|
<p>KRAMER</p>
|
|
<p>Oh, is that what you call it when, Somebody doesn't Pay Up?</p>
|
|
<p>MIKE</p>
|
|
<p>[desperate] I'll get you the money, Jerry. I got a hundred dollars
|
|
in my front pocket if you want to, reach in an' take it!</p>
|
|
<p>JERRY</p>
|
|
<p>[hands up] I don't want it that way.</p>
|
|
<p>KRAMER</p>
|
|
<p>Nuh! Okay Jerry, how about if Mike fixes your truuunk, we call
|
|
it even, an' this way, nobody has to get hurt.</p>
|
|
<p>JERRY</p>
|
|
<p>[whatever] Fine..</p>
|
|
<p>MIKE</p>
|
|
<p>Oh--uh--thank you, Jerry, thank you! I won't forget this, I'm gonna
|
|
fix your trunk good--real good!</p>
|
|
<p>[MIKE's very grateful, and leaves with a two thumbs-up gesture.
|
|
But he also can't help giving a thumbs-up--that's the position the
|
|
casts hold his thumbs in. It's odd!]</p>
|
|
<p>KRAMER</p>
|
|
<p>See that was nice, Jerry. [under breath] Oh, by the way, I'm the
|
|
one who broke your trunk.</p>
|
|
<p>JERRY</p>
|
|
<p>Ah, it's just a car.</p>
|
|
<p>[GEORGE comes up (the door's still open) and when he and KRAMER
|
|
see each other, there's an awkward, long pause. During the following,
|
|
JERRY sits at the table silently watching, intrigued.]</p>
|
|
<p>GEORGE</p>
|
|
<p>Hi.</p>
|
|
<p>KRAMER</p>
|
|
<p>[looking down, nodding] Hi.</p>
|
|
<p>[Another pause. It's like they broke up--well they did, but they
|
|
didn't.]</p>
|
|
<p>GEORGE</p>
|
|
<p>It's, funny runnin' into you here.</p>
|
|
<p>KRAMER</p>
|
|
<p>Yeah, yeah..</p>
|
|
<!-- BeginAd04 --><!-- EndAd -->
|
|
<p>It's funny.</p>
|
|
<p>You look good..</p>
|
|
<p>GEORGE</p>
|
|
<p>[embarrassed/self-conscious about his gut] Do I? Thanks.. You too..</p>
|
|
<p>KRAMER</p>
|
|
<p>Ooo, yeah.. [indicating his face, embarrassed] {Heh, right.}</p>
|
|
<p>You know, it's gettin' kind of late, I, I really have to be going,
|
|
so, uh, it's nice seeing you again, all right--</p>
|
|
<p>GEORGE</p>
|
|
<p>[sad] Yeah! Yeah. Hey--hey you, you know.. Maybe I'll call you
|
|
sometime.</p>
|
|
<p>KRAMER</p>
|
|
<p>George, it's over. It's just.. It's Over. [leaves]</p>
|
|
<p>GEORGE</p>
|
|
<p>[pause] What do you think, Jerry.</p>
|
|
<p>JERRY</p>
|
|
<p>[wistful] I don't know, I just see you guys together.</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(4+3) 1: L-MS on Mike at trunk; 2: LS on Kramer getting into his
|
|
car (in front of "Wines and Liquors," and "Stationers"
|
|
stores); 3:</p>
|
|
<p>MS on M getting in trunk; 4: L-MS on K (in profile, starting car);
|
|
a: MS on bumpers bumping (K's car's back bumper + J's front</p>
|
|
<p>bumper); b: MS on J's trunk slamming shut; c: CU on M reacting
|
|
in dark (some light through slit is on face). </p>
|
|
<p>[Outside it's raining. MIKE is working on Jerry's trunk, trying
|
|
to get at the locking mechanism but it's hard with those casts on.]</p>
|
|
<p>MIKE</p>
|
|
<p>Thumbs!</p>
|
|
<p>[He gets into the trunk for better access. But it turns out KRAMER
|
|
is getting into his car, parked just ahead of Jerry's, and he bumps
|
|
Jerry's car while backing up and the trunk slams shut. It locked
|
|
this time!]</p>
|
|
<p>MIKE</p>
|
|
<p>[from inside the trunk] Oh!</p>
|
|
<p>Help!</p>
|
|
<p>Somebody, help! Help! </p>
|
|
<p> </p>
|
|
<p>(4+1) a: night city traffic, from street level; 1: 2S of Elaine
|
|
and Jerry in car; 2: CU on Mike in dark, except for slit of light;
|
|
3: CU on</p>
|
|
<p>E; 4: CU on J; 2; 1; 3; 4; 2: CU on M reacting during their conv.
|
|
(slit of light is passing over and over his face from passing street</p>
|
|
<p>lights); 1; 2. </p>
|
|
<p>[That night, ELAINE and JERRY are in the car, talking. He's driving.]</p>
|
|
<p>JERRY</p>
|
|
<p>So Peterman bought it? I can't believe you got away with that!</p>
|
|
<p>ELAINE</p>
|
|
<p>Well, I'm very fortunate to be surrounded by such stupidity.</p>
|
|
<p>JERRY</p>
|
|
<p>Yeah, I know how you feel.</p>
|
|
<p>(Meanwhile, MIKE's yelping and banging in the trunk!)</p>
|
|
<p>ELAINE</p>
|
|
<p>Do you hear something?</p>
|
|
<p>JERRY</p>
|
|
<p>What?</p>
|
|
<p>(Meanwhile, MIKE, in a now-hoarse voice is shouting, "Jerry?!
|
|
Jerry?!")</p>
|
|
<p>JERRY</p>
|
|
<p>Oh, the trunk's broken, it's rattling.</p>
|
|
<p>ELAINE</p>
|
|
<p>Jerry, I don't know how much longer I can keep this up. They're
|
|
starting to give Susie assignments now!</p>
|
|
<p>JERRY</p>
|
|
<p>Well, there's only one thing to do. Eliminate her.</p>
|
|
<p>ELAINE</p>
|
|
<p>What?</p>
|
|
<p>JERRY</p>
|
|
<p>[firmly matter-of-fact] Get Rid of Susie. Make her disappear.</p>
|
|
<p>ELAINE</p>
|
|
<p>I kinda like her.</p>
|
|
<p>JERRY</p>
|
|
<p>She's Gooone.</p>
|
|
<p>ELAINE</p>
|
|
<p>Jerry--</p>
|
|
<p>JERRY</p>
|
|
<p>[impatient] Gone! [starts maniacally laughing]</p>
|
|
<p>[briefly stops to point and explain] That bumper sticker.</p>
|
|
<p>[They BOTH scream, laughing! In the trunk, MIKE has heard most
|
|
of the conversation! The laughing continues!]</p>
|
|
<p>MIKE</p>
|
|
<p>[desperately anxious] Oh God, I'm in trouble.. </p>
|
|
<p> </p>
|
|
<p>(4+1) a: night ext. shot of Jerry's bldg, upper floors (a light
|
|
goes on during George's first line); 1: MS on G (profile) and K
|
|
(opens</p>
|
|
<p>door); 2: MS on G, over K's sh; 3: MS on K, over G's rt. sh; then
|
|
alts #2 and #3 (3[6] times); 4: L-MS of hall, G rushes toward and</p>
|
|
<p>past cam in glee. </p>
|
|
<p>[At night, GEORGE is upset and knocking on Kramer's door.]</p>
|
|
<p>GEORGE</p>
|
|
<p>Krama. Open up! I--I know you're in there!</p>
|
|
<p>KRAMER</p>
|
|
<p>[opens door] Uh--George, uh--uh--it's five o'clock in the morning,
|
|
what's the matter with you..</p>
|
|
<p>GEORGE</p>
|
|
<p>[sad] It's only four..</p>
|
|
<p>KRAMER</p>
|
|
<p>Huh?</p>
|
|
<p>GEORGE</p>
|
|
<p>I--I've been, walkin' around all night.. I've been thinkin' about
|
|
Allison and me.. an' you--</p>
|
|
<p>KRAMER</p>
|
|
<p>Oh. Oh, George.</p>
|
|
<p>GEORGE</p>
|
|
<p>Please. Give me another chance.</p>
|
|
<p>KRAMER</p>
|
|
<p>[regretfully] Uh.. I know I'm gonna regret this.</p>
|
|
<p>[sigh] All right.</p>
|
|
<p>GEORGE</p>
|
|
<p>[grateful, relieved] Thank you!</p>
|
|
<p>I'm gonna make you both so happy!</p>
|
|
<p>KRAMER</p>
|
|
<p>All right, all right, I'll see ya later. [shuts door]</p>
|
|
<p>GEORGE</p>
|
|
<p>[delighted!] Woooo! </p>
|
|
<p> </p>
|
|
<p>(4+1) a: day ext. of office bldg, looking up from street level;
|
|
1: L-MS on J.Peterman and Elaine; 2: MS on E; 3: MS on JP; 2; 3;
|
|
2; 4:</p>
|
|
<p>L-MS on both (JP in profile), zooming in for his reaction and her
|
|
patting his back. </p>
|
|
<p>[The next day, ELAINE's passing by the door of PETERMAN's office.]</p>
|
|
<p>PETERMAN</p>
|
|
<p>Elaine! Where's Susie? I want her to head up our new Fingerless
|
|
Glove Division.</p>
|
|
<p>ELAINE</p>
|
|
<p>[quiet] Oh, but I thought I was in line for that assignment.</p>
|
|
<p>PETERMAN</p>
|
|
<p>Mmmmm--nah.</p>
|
|
<p>ELAINE</p>
|
|
<p>All right, then, I was gonna wait, to tell ya this, but.. last
|
|
night, Susie..</p>
|
|
<p>[difficult subject, quiet] she took her own Life..</p>
|
|
<p>[PETERMAN grasps this, weepy in disappointment, "Oh!".
|
|
ELAINE comforts him.]</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(3+1) a: ext day apt. bldg. (red "305" awning); 1: MS
|
|
on K knocking on door; 2: MS on K + Allison (A crossing as she opens</p>
|
|
<p>door); 3: MS on A, over K's rt. sh; 2: MS on K, over A's sh; 3.
|
|
</p>
|
|
<p>[Allison's apartment. KRAMER knocks and ALLISON gets it.]</p>
|
|
<p>KRAMER</p>
|
|
<p>[happy, enthused] We're takin' George back--</p>
|
|
<p>ALLISON</p>
|
|
<p>What?!</p>
|
|
<p>KRAMER</p>
|
|
<p>He's gonna make us very happy.</p>
|
|
<p>[ALLISON looks doubtful/disappointed.] </p>
|
|
<p> </p>
|
|
<p>(1) a: ext, post-rain parking lot, ppl entering community-type
|
|
bldg. </p>
|
|
<p>[The Memorial service. Cars are packed into a small parking lot,
|
|
end to end.] </p>
|
|
<p> </p>
|
|
<p>(5) 1: LS in packed room, Elaine and Jerry looking for seats, cam
|
|
trucks; 2: MS on E + J, trucking back + left with them; 3: MS on</p>
|
|
<p>Peggy with E in fg; 4: MS on P (in profile), E turns to face her;
|
|
3; 5: L-MS on all three; 3; 4: (now J turns to face P); 3; 4; 3;
|
|
5; 1:</p>
|
|
<p>MS on E. </p>
|
|
<p>[Inside, there are chairs lined up in rows, most are filled. There's
|
|
a podium on a riser, flowers everywhere.]</p>
|
|
<p>ELAINE</p>
|
|
<p>[quiet] Look at this turnout.</p>
|
|
<p>JERRY</p>
|
|
<p>[quiet] Where did Susie find the time to meet all these people..</p>
|
|
<p>ELAINE</p>
|
|
<p>[irritated] Your funeral's not gonna come close to this.</p>
|
|
<p>[They've found seats together in the row in front of PEGGY, who
|
|
looks like she's seeing a ghost!]</p>
|
|
<p>PEGGY</p>
|
|
<p>[to herself] Oh my god!</p>
|
|
<p>[quiet] Susie?</p>
|
|
<p>ELAINE</p>
|
|
<p>[quiet] Oh, oh--ho--I'm not Susie.. I'm Elaine.</p>
|
|
<p>PEGGY</p>
|
|
<p>But I've been calling you Susie.</p>
|
|
<p>ELAINE</p>
|
|
<p>Oh! Hadn't noticed!</p>
|
|
<p>Excuse me. [she's going to the podium]</p>
|
|
<p>PEGGY</p>
|
|
<p>I guess I never met Susie.</p>
|
|
<p>JERRY</p>
|
|
<p>[privately amused] Suze? I actually had a little thing with her
|
|
for a while.</p>
|
|
<p>[indicating ELAINE] Her too. </p>
|
|
<p>[ELAINE's now at the podium.]</p>
|
|
<p>ELAINE</p>
|
|
<p>What can you say about a girl like Susie? [she doesn't know..]</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(3+3) a: ext. small wet parking lot, red convertible is parking;
|
|
1: MS on JP pulling up; b: MS on bumpers bumping (hood pops up);</p>
|
|
<p>2: MS on JP getting out, tilts and pans with him, but stops to
|
|
tilt and focus on the hood; 3: MS on M getting out, pans rt. with</p>
|
|
<p>him (sign in bg); c: MS on sign; 3: (M reacts). </p>
|
|
<p>[Meanwhile, out in the parking lot, PETERMAN arrives in his little
|
|
<!-- BeginAd05 --><!-- EndAd -->
|
|
red convertible (top down), distracted with</p>
|
|
<p>disappointment/sadness. He parks behind Jerry's car and bumps it.
|
|
Jerry's trunk has unlatched but not popped open big.</p>
|
|
<p>PETERMAN doesn't notice anything and goes in. Shortly after he
|
|
passes, MIKE comes out of the trunk, squinting in the</p>
|
|
<p>daylight, his body is sore, he shuts the trunk.</p>
|
|
<p>Nearby, there's a small announcement sign (with stick-in white
|
|
letters):</p>
|
|
<p>TODAY'S</p>
|
|
<p>SCHEDULE</p>
|
|
<p>LIEBERMAN BARMITZVAH </p>
|
|
<p><--</p>
|
|
<p> </p>
|
|
<p>SUSIE'S MEMORIAL</p>
|
|
<p>--></p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(approximation)</p>
|
|
<p> </p>
|
|
<p>MIKE sees it and is alarmed! He's still disoriented but hobbles
|
|
away with determination!] </p>
|
|
<p> </p>
|
|
<p>(7+1) a: Tavern on the Green at dusk (roof lines and bare tree
|
|
are lit up); 1: full shot of G + K; 2: MS on K; 3: MS on G, over
|
|
K's</p>
|
|
<p>sh; 2: MS on K, over G's rt. sh; then alts #3 and #2; 4: 2S as
|
|
K passes G; 2: now MS on K, over G's sh; 3: MS on G (he's pulling
|
|
K</p>
|
|
<p>back); 2; 3; 4; 5: full shot in ballroom as K spins in, pans with
|
|
him to Wilhelm and group; 6: MS on W; 7: 2S on K + G, over W's rt.</p>
|
|
<p>sh; 6; 7. </p>
|
|
<p>[Tavern on the Green, at dusk. The Pinstripe Ball is starting.
|
|
The walls there are mahogany, and there are short, decorative</p>
|
|
<p>columns with flowers on top of them. Everyone is in tuxedos and
|
|
gowns, and the music is mellow and quiet. GEORGE is</p>
|
|
<p>waiting in a tux for Allison, but KRAMER arrives in his rather
|
|
tight tux. They talk quietly.]</p>
|
|
<p>KRAMER</p>
|
|
<p>Hey.</p>
|
|
<p>GEORGE</p>
|
|
<p>Where's uh, where's Allison..</p>
|
|
<p>KRAMER</p>
|
|
<p>Oh, Allison, she didn't want to come.</p>
|
|
<p>GEORGE</p>
|
|
<p>But you took me back.</p>
|
|
<p>KRAMER</p>
|
|
<p>Well, yeah, I did, but she's a tough nut.</p>
|
|
<p>How d'ya like the tuxedo. It's a rental but I've had it for fifteen
|
|
years.</p>
|
|
<p>All right, eh. [heading in]</p>
|
|
<p>GEORGE</p>
|
|
<p>Where are you goin'..</p>
|
|
<p>KRAMER</p>
|
|
<p>The Ball, silly.</p>
|
|
<p>GEORGE</p>
|
|
<p>[afraid not] No no, no no no. You're not goin' in there.</p>
|
|
<p>KRAMER</p>
|
|
<p>George. I thought you were gonna Change.</p>
|
|
<p>GEORGE</p>
|
|
<p>[impatient] For her. Not for you.</p>
|
|
<p>KRAMER</p>
|
|
<p>[light admonishing, under breath] Let's just try, an' have a nice
|
|
time for once, an' we'll talk about this when we get home..</p>
|
|
<p>[They start struggling quietly, KRAMER's trying to just walk by,
|
|
and GEORGE is trying to restrain him without attracting too</p>
|
|
<p>much attention.]</p>
|
|
<p>GEORGE</p>
|
|
<p>All right, look--wait--wait--Krama--wait, wait a minute, you are
|
|
not. You are not goin' in. Ah-ahhh!</p>
|
|
<p>[GEORGE had KRAMER in a slightly spinning hold--by holding the
|
|
back of KRAMER's tux--but the material tore away, and</p>
|
|
<p>this sent KRAMER spinning into the room with the back torn off
|
|
his tux! Strangely, this is well-received by WILHELM!]</p>
|
|
<p>WILHELM</p>
|
|
<p>Wow! What an, Entrance!</p>
|
|
<p>[friendly, to GEORGE] And eh, who might this be?</p>
|
|
<p>KRAMER</p>
|
|
<p>Oh, I'm with him.</p>
|
|
<p>WILHELM</p>
|
|
<p>Oh. Ah-ha..</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p>(7) 1: MS on E at podium; 2: L-MS (E in profile), pans with JP
|
|
coming up; 3: full shot of E going to seat (toward cam); 4: 2S on
|
|
E +</p>
|
|
<p>J (as she sits); 1: MS on JP at podium; 4; 1; 4; 1; 5: MS on P
|
|
+ J turning to her; 6: MS on J, over E's rt. sh; 7: (brief 2S on
|
|
E + J); 6;</p>
|
|
<p>1; 2: (as M enters); 3; 1: MS on M; 4; 5: (J turned to P again);
|
|
7: 3-shot and credits start. </p>
|
|
<p>[Meanwhile at the Memorial, ELAINE is still at the podium. She
|
|
has her chin in her hand while talking, weary of making up</p>
|
|
<p>things and of acting mournful.]</p>
|
|
<p>ELAINE</p>
|
|
<p>And.. also, much like me, Susie hated going to the, Market.</p>
|
|
<p>PETERMAN</p>
|
|
<p>Elaine! May I say a few words.</p>
|
|
<p>ELAINE</p>
|
|
<p>Oh, god, yes, Mr. Peterman. [steps down]</p>
|
|
<p>PETERMAN</p>
|
|
<p>[steps up to the podium, refreshed] Ahhh.</p>
|
|
<p>I don't think I'll ever be able to forget Susie--ahhh. And most
|
|
of all, I will never, forget that one night. Working late on the</p>
|
|
<p>catalogue. Juuust the two of us. And we surrendered to temptation.</p>
|
|
<p>And it was Pretty Good.</p>
|
|
<p>JERRY</p>
|
|
<p>[proud to PEGGY, under his breath] Yeah, but he didn't sleep with
|
|
both of 'em. [winks]</p>
|
|
<p>[ELAINE (who has returned to her seat) catches JERRY's eye. Though
|
|
we don't see her face, his drops and he sobers it up.]</p>
|
|
<p>PETERMAN</p>
|
|
<p>But Iiii never heard her Cries for Help. [sighs]</p>
|
|
<p>An' nowww.. Susie is gone.</p>
|
|
<p>MIKE</p>
|
|
<p>[running in, still hoarse, desperate!] Hold on! Hol--on!</p>
|
|
<p>Susie didn't commit suicide!</p>
|
|
<p>[rushes up to podium!] She was Murdered, by Jerry, Sein-feld!</p>
|
|
<p>[While MIKE's pointing at JERRY and everyone's looking, JERRY looks
|
|
back at PEGGY again.]</p>
|
|
<p>JERRY</p>
|
|
<p>[smugly, under-his-breath] Not only that, I broke his thumbs. </p>
|
|
<p>[PEGGY and ELAINE look at him strangely as he grins during such
|
|
an inappropriate moment.]</p>
|
|
<p> </p>
|
|
<p>[time: 09:27]</p>
|
|
<p>[Commercial Break] </p>
|
|
<p> </p>
|
|
<p>(4+2) a: day ext. of office bldg, looking up at it from street
|
|
level; 1: MS on JP and E seated (JP in profile); 2: MS on JP (dark</p>
|
|
<p>window in bg); 3: MS on E; 2: (pan with his leaning forward, becomes
|
|
over her sh); 3: MS on E, over JP's rt. sh; 4: full shot on JP</p>
|
|
<p>+ E, tilts up and pans with him leaving, but stops, tilts down
|
|
to E; b: directly overhead shot of E, spins CCW and backing up.
|
|
</p>
|
|
<p>[After dark, PETERMAN and ELAINE are sitting and talking in his
|
|
office.]</p>
|
|
<p>PETERMAN</p>
|
|
<p>Elaine? Guess what. I've decided to Form a Charitable Foundation,
|
|
in Susie's honor. And as Susie's best friend, I want you to</p>
|
|
<p>be involved.</p>
|
|
<p>ELAINE</p>
|
|
<p>Mr. Peterman..</p>
|
|
<p>[leaning forward, whispering] I'm Susie.. She's me..</p>
|
|
<p>PETERMAN</p>
|
|
<p>[leans forward, whispers carefully] I feel the same way.</p>
|
|
<p>[announcing] And that's why this foundation will meet around Your
|
|
Schedule. Nights! Weekends! Every, Free Moment you</p>
|
|
<p>have. [leaving, pats her shoulders confidently]</p>
|
|
<p>ELAINE</p>
|
|
<p>[looks up, screaming in frustration!] Suuuuuuuuuuze!</p>
|
|
<p>[(During her screaming up to the air, the camera was over her,
|
|
looking down, and turning around and around, just like it had</p>
|
|
<p>when GEORGE found out that he was going to be running a foundation
|
|
in honor of Susan!)]</p>
|
|
<p> </p>
|
|
<p>[time: 00:42; total taped: 21:22] </p>
|
|
<p>[The End] </p>
|
|
<p>Return to The Television Transcript Project</p>
|
|
<p>Comments to smorine@nyx.net</p>
|
|
<p>Last Updated: 20 May 1998</p>
|
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<p> </p>
|
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<p>==========================================================</p>
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<p><Spell checked and reformatted by Mike "The News Guy">
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