752 lines
37 KiB
HTML
752 lines
37 KiB
HTML
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<h1>The Subway</h1>
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============================================================================</p>
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<p>Episode #313 </p>
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<p>Originally Aired: January 8 1992</p>
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<p>Transcribed by: Juha Auvinen from Finland</p>
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<p>============================================================================</p>
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<p>Production Credits:</p>
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<p>Producer............ ................. Larry Charles</p>
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<p>Supervising Producer ................. Tom Cherones</p>
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<p>Executive Producer ................... Andrew Sherman</p>
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<p>Created By ........................... Larry David and Jerry Seinfeld</p>
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<p>Written By ........................... Larry Charles</p>
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<p>Directed By .......................... Tom Cherones</p>
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<p>============================================================================</p>
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<p>Cast:</p>
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<p>Jerry Seinfeld ....................... Jerry Seinfeld</p>
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<p>George Costanza ...................... Jason Alexander</p>
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<p>Elaine Benes ......................... Julia Louis-Dreyfus</p>
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<p>Kramer ............................... Michael Richards</p>
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<p>With:</p>
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<p>Naked man............................. Ernie Sabella</p>
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<p>Scam woman.............................Barbara Stock</p>
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<p>Woman with Elaine..................... Rhoda Gemignani</p>
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<p>OTB Patron............................ Mark Boone Jr.</p>
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<p>Thug.... ............................. Christopher Collins</p>
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<p>Player #1 ............................ Barry Vigon</p>
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<p>Player #2 ............................ Joe Restivo</p>
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<p>Violinist/cop .........................Daryl Roach</p>
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<p>Kid ...................................Chet Nelson</p>
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<p>==============================================================================</p>
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<p>Monk's Caf, the whole gang at a booth.</p>
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<p>Kramer: All right, Coney Island. Ok, you can take the B or the
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F and switch</p>
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<p>for the N at Broadway Lafayette, or you can go over the bridge
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to DeKalb</p>
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<p>and catch the Q to Atlantic Avenue, then switch to the IRT 2, 3,
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4 or 5,</p>
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<p>but don't get on the G. See that's very tempting, but you wind
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up on Smith</p>
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<p>and 9th street, then you got to get on the R.</p>
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<p>Elaine: Couldn't he just take the D straight to Coney Island?</p>
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<p>Kramer: Well, yeah...</p>
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<p>Elaine: Ok, what time is your job interview George?</p>
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<p>George: 9:45</p>
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<p>Jerry: Remember, don't whistle on the elevator.</p>
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<p>George: Why not?</p>
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<p>Jerry: That's what Willie Loman told Biff before his interview,
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in 'Death of</p>
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<p>a salesman'.</p>
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<p>George: What, you are comparing me to Biff Loman, very encouraging.
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The</p>
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<p>biggest loser in history of American literature.</p>
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<p>Elaine: All right, I'm gonna go.</p>
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<p>Jerry: What time is the lesbian wedding?</p>
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<p>Elaine: 9:30</p>
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<p>George: Lesbian wedding. How do they work bride and groom out,
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what do they</p>
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<p>flip a coin?</p>
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<p>Elaine: Yeah, they flip a coin.</p>
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<p>George: What, was that not politically correct? It's a legitimate
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question.</p>
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<p>Jerry: I'm so tired. I'll fall asleep on that train (yawns)</p>
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<p>George: I get the feeling when lesbians are looking at me, they're</p>
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<p>thinking: "That's why I'm not heterosexual".</p>
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<p>Kramer: Jerry, come on let's go, pick up the check so we can go.</p>
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<p>Jerry: Oh, I'm paying for breakfast?</p>
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<p>Kramer: Yeah.</p>
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<p>Elaine: Yeah.</p>
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<p>George: Yeah.</p>
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<p>Jerry: Why do I always pay? What am I made of money? You bunch
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of</p>
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<p>deadbeats.</p>
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<p>****************************</p>
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<p>On the Subway.</p>
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<p>George: How many tickets are you paying today?</p>
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<p>Kramer: Well, let's see: speeding, running a red light, no license,
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no</p>
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<p>registration, no plates, no brake lights, no rear view mirror...yeah.
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(gives</p>
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<p>George a ticket)</p>
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<p>George: No doors?</p>
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<p>Kramer: I'm fighting that one. You know, this is gonna cost me
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over six</p>
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<p>hundred bucks.</p>
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<p>*Blind violinist comes playing, with mug for the money. Everybody
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else gets</p>
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<p>some change, except George.*</p>
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<p>George: I can't carry any changes in these pants, it falls out.</p>
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<p>Violin player: Thank you.</p>
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<p>George: That guy is not blind.</p>
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<p>Jerry: So, can I convince anybody to come down to Coney Island
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with me? I</p>
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<p>got to pick up my car at the pound. George?</p>
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<p>George: I can't believe they actually found your stolen car.</p>
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<p>Jerry: Not only that they found it. It was simonized and the front
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end was</p>
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<p>aligned.</p>
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<p>George: That's amazing.</p>
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<p>Jerry: So what do you say? Run in the cyclone. Hotdogs on Nathan's
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is on</p>
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<p>me.</p>
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<p>George: What are you? Satan? I'm close to a job here. It's my second</p>
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<p>interview with them.</p>
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<p>Jerry: All right, biff. Elaine, merry-go-round?</p>
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<p>Elaine: I can't. I'm the best man.</p>
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<p>Jerry: Kramer, bumper-cars?</p>
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<p>Kramer: I've gotta go to court, I'll get in trouble. What's the
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matter with</p>
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<p>you?</p>
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<p>Jerry: Could be years before I get back to Coney Island. I can't
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go to</p>
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<p>rides alone.</p>
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<p>*Subway announcement: 42th street. Change to D,N,RR,2,3,4,5,7,C,E,F
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train.*</p>
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<p>*They all get off and go to different directions.*</p>
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<p>Elaine: See'ya.</p>
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<p>*************************************</p>
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<p>Another subway. Jerry comes in and sits down. Fat man across him
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gives a</p>
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<p>look.</p>
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<p>George gets on another subway. Sits next to a beautiful woman.
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They smile to</p>
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<p>another.</p>
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<p>Kramer rushes to yet another subway and tries to find a seat. Stumbles</p>
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<p>around as all seats get filled right before him.</p>
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<p>He squeezes himself to same seat with obese young man.</p>
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<p>Jerry is falling asleep and leans towards the next guy who leaves
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and Jerry</p>
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<p>falls in his seat.</p>
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<p>*************************************</p>
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<p>Woman next to George rubs her leg and George looks at her.</p>
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<p>Woman: You looking for a job?</p>
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<p>George: Me, why?</p>
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<p>Woman: Well, you're reading the classifieds.</p>
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<p>George: Oh, no no no. I was just looking for stock-pages. Here
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it is.</p>
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<p>Looking for the quotes. Gotta check to quotes. Love a good quote.
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Oh, IBM</p>
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<p>up a quarter.</p>
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<p>Women: You didn't look like someone who needed a job.</p>
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<p>George: Me? No, no, I don't, I don't. Doing very well, very well,
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yep.</p>
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<p>Women: So, you're in 'the market'?</p>
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<p>George: Yeah I'm, eh, in 'the market'.</p>
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<p>Women: Which market?</p>
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<p>George: Which market, the, eh, big one, the big market, the big
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board.</p>
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<p>Bull market, bear market, you name the market, I'm there.</p>
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<p>Women: So, do you work for one of those big broker-houses?</p>
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<p>George: They wish. I hate the big broker-houses. Hate them with
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a passion.</p>
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<p>Big broker-houses killed my father.</p>
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<p>Woman: Really?</p>
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<p>George: Well, they hurt him bad. Really hurt his feelings. It's
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a long</p>
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<p>story. I- I don't like to talk about it, but I swore then that
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I would</p>
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<p>never work for big broker-houses. See, all they care about is money.
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I'm</p>
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<p>about more than money, I'm about people, always gone my own way
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and I've</p>
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<p>never looked back.</p>
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<p>*Train horn blows and George looks back*</p>
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<p>*************************************</p>
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<p>*Elaine's train. She's carrying a wedding present. A older woman
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approaches</p>
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<p>her*</p>
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<p>Woman: I started riding these trains in the forties. Those days
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a man would</p>
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<p>give up their seat for a woman. Now we're liberated and we have
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to stand.</p>
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<p>Elaine: It's ironic.</p>
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<p>Women: What's ironic?</p>
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<p>Elaine: This, that we've come all this way, we have made all this
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progress,</p>
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<p>but you know we've lost the little things, the niceties.</p>
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<p>Woman: No, I mean what does 'ironic' mean?</p>
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<p>Elaine: Oh...</p>
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<p>Woman: Where are you up to, with such a nice present, birthday
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<!-- BeginAd01 --><!-- EndAd -->
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party?</p>
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<p>Elaine: A wedding.</p>
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<p>Women: A wedding?</p>
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<p>Elaine: Yeah</p>
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<p>Woman: Hah, I didn't know people still get married. It's hard today
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with</p>
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<p>men and women.</p>
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<p>Elaine: You're telling me.</p>
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<p>Woman: So, are they a nice couple?</p>
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<p>Elaine: Oh, very nice.</p>
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<p>Woman: What does he do, if you don't mind me asking?</p>
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<p>Elaine: She.</p>
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<p>Women: She? She works, he doesn't. He sounds like my son.</p>
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<p>Elaine: There is no he.</p>
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<p>Women: There is no he. So, who's getting married?</p>
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<p>Elaine: Em, two women. It's, eh...lesbian wedding.</p>
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<p>Women: Lesbian wedding.</p>
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<p>Elaine: Aha, yep. I'm the...eh...bes tman.</p>
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<p>Women (talks to man next to her): My luck. I don't talk to a soul
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in the</p>
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<p>subway for 35 years. I get a best man at a lesbian wedding. (leaves)</p>
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<p>Elaine: No, no, no, you don't understand! I'm not a lesbian! I
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hate men,</p>
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<p>but I'm not a lesbian!</p>
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<p>*************************************</p>
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<p>Kramer's train. A man leaves and lefts a newspaper to his seat.</p>
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<p>Kramer and another guy glance each other and rush to get the paper.
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The</p>
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<p>other man gets to it first and Kramer gets only little piece of
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one page.</p>
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<p>*************************************</p>
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<p>Jerry's train. He is still sleeping and trying not to fall to the
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floor.</p>
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<p>Man across gives him a look.</p>
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<p>*************************************</p>
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<p>*Elaine's train. Train is full packed.*</p>
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<p>Elaine's voice: I'm really looking forward to this. I love weddings.
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Maybe</p>
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<p>I'll meet somebody, umm maybe not.</p>
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<p>*Train suddenly stops*</p>
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<p>Elaine's voice: Oh, man. We're stopping?</p>
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<p>*************************************</p>
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<p>*George's train.*</p>
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<p>Woman: Well, this is where I get off.</p>
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<p>George: Oh, you do?</p>
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<p>Woman: Eh, hey why don't you...oh nothing.</p>
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<p>George: No, no, what, what?</p>
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<p>Woman: Well, I was going to say: why don't you get off with me,
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but you're</p>
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<p>obviously very busy on your way to some important meeting or something.</p>
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<p>George: Yeah, well....</p>
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<p>Woman: Yeah I knew it was a bad idea.</p>
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<p>*George is in agony thinking if he should go or stay. Then runs
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after her*</p>
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<p>George: Hey, what's another million, give or take. I get off where
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and when</p>
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<p>I wanna get off.</p>
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<p>*He gets stuck between closing doors.*</p>
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<p>George: I'm stuck. Pull a little, just a second. Don't start the
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train!</p>
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<p>Don't start the train!!</p>
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<p>*************************************</p>
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<p>*Kramer is reading a newspaper. Couple of men behind him are talking.*</p>
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<p>Man1: This, it's the fourth horse of the first race, Pappanick.</p>
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<p>Man2: How do you know it's going to win?</p>
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<p>Man1: My UPS-guy tells. Guys who own the horses are regular customers.</p>
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<p>Every horse he has ever given me has won.</p>
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<p>See, they've been sandbagging and looking for a good spot. He's
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been</p>
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<p>getting it light cause they've been using bug boy and the workout
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hasn't</p>
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<p>been published. Now they are ready to run with it. They are gonna
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break his</p>
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<p>maiden. It's going to go to great price, maybe 30:1. I'm telling
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you ,it's</p>
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<p>a lock.</p>
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<p>Man2: But it rained last night.</p>
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<p>Man1: Exactly, this horse loves the slop. It's in his bloodlines.
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His</p>
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<p>father was a mudda', his mother was a mudda'.</p>
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<p>Man2: His mudda' was a mudda'?</p>
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<p>Man1: What did I just say? Come on, let's go to the office, I'm
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going to</p>
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<p>call my bookie. Hey, don't tell anybody.</p>
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<p>*Kramer quickly turns away*</p>
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<p>*************************************</p>
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<p>*Jerry wakes up and looks to guy opposite to him. The fat guy is
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naked and</p>
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<p>reading a paper.*</p>
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<p>Jerry: O-K. You realize of course, you're naked?</p>
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<p>Naked man: Naked, dressed. I don't see any difference.</p>
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<p>Jerry: You oughta' sit here. There is a difference.</p>
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<p>Naked man: You got something against naked body?</p>
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<p>Jerry: I got something against yours. How about a couple of deep
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knee bends,</p>
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<p>maybe a squat thrust?</p>
|
|
<p>Naked man: Who's got time for squat thrusts?</p>
|
|
<p>Jerry: All right, how about skipping breakfast. I'm guessing you're
|
|
not a</p>
|
|
<p>'half-grapefruit and black coffee' guy.</p>
|
|
<p>Naked man: I like a good breakfast.</p>
|
|
<p>Jerry: I understand, I like good breakfast. Long as you don't wind
|
|
up</p>
|
|
<p>trapped in a room with bimbo broals(?) and pigtails, been counseled
|
|
by Dick</p>
|
|
<p>Gregory.</p>
|
|
<p>Naked man: I'm not ashamed of my body.</p>
|
|
<p>Jerry: That's your problem, you should be.</p>
|
|
<p>*Naked man drops half of his newspaper*</p>
|
|
<p>Jerry: Don't get up, please, allow me.</p>
|
|
<p>*Jerry picks up the paper*</p>
|
|
<p>*************************************</p>
|
|
<p>*Elaine is still trapped in a stopped train.*</p>
|
|
<p>Elaine's voice: Oh, this is great. This is what I need, just what
|
|
I need.</p>
|
|
<p>Ok, take it easy I'm sure it's nothing. Probably rats on the track,
|
|
we're</p>
|
|
<p>stopping for rats. God, it's so crowded. How can there be so many
|
|
people?</p>
|
|
<p>This guy really smells, doesn't anyone use deodorant in the city?
|
|
What is</p>
|
|
<p>so hard, you take the cap off, you roll it on. What's that? I feel</p>
|
|
<p>something rubbing against me. Disgusting animals, these people
|
|
should be in</p>
|
|
<p>a gage. We are in a gage. What if I miss the wedding? I got the
|
|
ring.</p>
|
|
<p>What'll they do? You can't get married without the ring. Oh, I
|
|
can't</p>
|
|
<p>breath, I feel faint. Take it easy, it'll start moving soon. Think
|
|
about</p>
|
|
<p>the people on the concentration camps, what they went through.
|
|
And</p>
|
|
<p>hostages, what would you do if you were a hostage? Think about
|
|
that. This</p>
|
|
<p>is nothing. No, it's not nothing, it's something. It's a nightmare!
|
|
Help</p>
|
|
<p>me! Move it! Com'on move this fu(beep) thing!! Why isn't it moving?!?
|
|
What</p>
|
|
<p>can go wrong with a train!?! It's on tracks, there's no traffic!
|
|
How can a</p>
|
|
<p>train get stuck. Step on the gas!! What could it be? You'de think
|
|
the</p>
|
|
<p>conductor would explain it to us? 'I'm sorry there's a delay we'll
|
|
be</p>
|
|
<p>moving in 5 minutes'!! I wanna hear a voice. What's that on my
|
|
leg?!!</p>
|
|
<p>*Lights in the train go off*</p>
|
|
<p>*************************************</p>
|
|
<p>*George and the woman step in to a hotel room.*</p>
|
|
<p>George: Are you often on business trip? Nice...oh, hey nice ice-bucket.</p>
|
|
<p>Woman: Make your-self comfortable.</p>
|
|
<p>*She steps in to bathroom.*</p>
|
|
<p>George's voice: Make myself comfortable. What does that mean? Does
|
|
she want</p>
|
|
<p>me to take my clothes off? Is she taking her clothes off? What
|
|
if I take my</p>
|
|
<p>clothes off and she still has hers' on? Then I really look like
|
|
an idiot.</p>
|
|
<p>She could get offended and leave. So maybe I should leave them
|
|
on, but what</p>
|
|
<p>then if she takes her off? Then she'll feel humiliated. 'Make yourself</p>
|
|
<p>comfortable'. I got this unbelievable woman and this 'comfortable'-thing</p>
|
|
<p>can ruin me. I got it! I take my shoes off and sit on the bed.
|
|
There,</p>
|
|
<p>that's comfortable. She can't accuse me being unconvertible.</p>
|
|
<p>*She comes out from the bathroom, wearing a nightie.*</p>
|
|
<p>George: Gotta tell you I'm pretty comfortable.</p>
|
|
<p>*************************************</p>
|
|
<p>*Kramer is in the "Off-track betting" office. He is talking
|
|
with a guy</p>
|
|
<p>behind in the line.*</p>
|
|
<p>Kramer: Oh yeah, it's all set. They got the bug boy on him.</p>
|
|
<p>Guy: The bug boy.</p>
|
|
<p>Kramer: Yeah, the little father has run his hard out. They're gonna
|
|
break</p>
|
|
<p>his maiden.</p>
|
|
<p>Guy: Really? But, it's a little bit slow out there it rained last
|
|
night.</p>
|
|
<p>Kramer: Oh, this baby loves the slob, loves it, eats it up. Eats
|
|
the slob.</p>
|
|
<p>Born in the slob. His father was a mudda'.</p>
|
|
<p>Guy: His father was a mudda'?</p>
|
|
<p>Kramer: His mother was a mudda'.</p>
|
|
<p>Guy: His mother was a mudda'?</p>
|
|
<p>Kramer: What did I just say?</p>
|
|
<p>*Kramer gets to the cashier*</p>
|
|
<p>Kramer: Hey,all right, 600 Pappanick to win.</p>
|
|
<p>*************************************</p>
|
|
<p>*Jerry's train*</p>
|
|
<p>FG: They still have no pitching. Goodin's a question mahk. ...You
|
|
don't recover from those rotator cuffs so fast.</p>
|
|
<p>JS: I'm not worried about their best pitching. They got pitching.
|
|
...They got no hitting. </p>
|
|
<p>FG: No hitting? They got hitting! Bonilla, Murry. ...They got no
|
|
defence.</p>
|
|
<p>JS: Defence? Please. ...They need speed.</p>
|
|
<p>FG: Speed? They got Coleman. ...They need a bullpen.</p>
|
|
<p>JS: Franco's no good? ...They got no team leaders. </p>
|
|
<p>FG: They got Franco! ...What they need is a front office.</p>
|
|
<p>JS: But you gotta like their chances.</p>
|
|
<!-- BeginAd02 --><!-- EndAd -->
|
|
<p>FG: I LUV their chances.</p>
|
|
<p>JS: Tell you what. If they win the penant I'll sit naked with you
|
|
at the World Series.</p>
|
|
<p>FG: It's a deal!</p>
|
|
<p>*************************************</p>
|
|
<p>*Elaine is in a stopped train with no lights.*</p>
|
|
<p>Elaine's voice: Why couldn't I take a cab. For 6 dollars my whole
|
|
life</p>
|
|
<p>could've changed. What is that on my leg? I'll never get out of
|
|
here. What</p>
|
|
<p>if I'm here for the rest of my life? Maybe I'll get out in 5 seconds.
|
|
1</p>
|
|
<p>banana, 2 banana, 3 banana, 4 banana, 5 banana...no, I'm still
|
|
here! Still</p>
|
|
<p>here! Why don't they start moving? Move! Move!! Move!!! *Train
|
|
starts</p>
|
|
<p>moving, lights get back on* It's moving! It's moving! Yes! Yes!!
|
|
*Train</p>
|
|
<p>stops again and lights go off* Motherf(beep-beep)!!!</p>
|
|
<p>*************************************</p>
|
|
|
|
<p>*George and the beautiful woman are still in the hotel room. The
|
|
woman is</p>
|
|
<p>putting handcuffs on George and the other end to the backboard
|
|
of the bed.*</p>
|
|
<p>George: Eh, gee, I hope you have the key for these things.</p>
|
|
<p>Woman: Oh, don't worry. I do.</p>
|
|
<p>*She steps in to the bathroom*</p>
|
|
<p>George: You know, my mother used to walk around on our apartment
|
|
just in</p>
|
|
<p>her bra and panties. She didn't look anything like you, she was
|
|
really</p>
|
|
<p>disgusting, really bad body. If you could imagine uglier and fatter
|
|
version</p>
|
|
<p>of Shirley Booth. Remember Shirley Booth from Hazel. Really embarrassing,</p>
|
|
<p>cause you know I had only mother in the whole neighborhood who
|
|
was worse</p>
|
|
<p>looking than Hazel. Imagine the taunts I would hear.</p>
|
|
<p>Woman: Like what?</p>
|
|
<p>George: Like a "Hey your mother is uglier than Hazel. Hazel
|
|
really puts</p>
|
|
<p>your mother to shame"</p>
|
|
<p>*She comes out of the bathroom fully clothed*</p>
|
|
<p>George: What's going on?</p>
|
|
<p>Woman: It was a pleasure doing business with you George, but I'm
|
|
afraid I</p>
|
|
<p>have to get going.</p>
|
|
<p>George: Get going? But we haven't really, you know....</p>
|
|
<p>Woman: Eight dollars? Eight dollars?</p>
|
|
<p>George: What are you doing? You're robbing me?</p>
|
|
<p>Women: I wasted my whole morning with you for eight dollars?</p>
|
|
<p>George: Wait, wait a second, what are you doing?</p>
|
|
<p>Woman: I'm taking your clothes.</p>
|
|
<p>George: No, that's my only suit. It cost me 350 dollars. I got
|
|
it at Moe Ginsburg .</p>
|
|
<p>Woman: Bye George.</p>
|
|
<p>George: No wait, you can't just leave me here! Will I see you again?</p>
|
|
|
|
<p>*************************************</p>
|
|
<p>*Kramer is in the "Off-track betting" office. The race
|
|
is on and Pappanick</p>
|
|
<p>is slowly making ground*</p>
|
|
<p>*Kramer is pounding himself imitating the jockey and shouts: Yes,
|
|
yes,</p>
|
|
<p>yes...</p>
|
|
<p>*The winner is Pappanick*</p>
|
|
<p>Kramer: Yes! Yes! I won, hey (shouts to cashier)</p>
|
|
<p>*Kramer collects the winnings. A big pile of cash. Shows the money
|
|
around.</p>
|
|
<p>There is a big thug looking at the money.*</p>
|
|
<p>*Kramer goes into the subway and sees that the thug followed him.
|
|
He makes</p>
|
|
<p>a run for it. Thug follows. Kramer steps out of the train and so
|
|
does the</p>
|
|
<p>thug. Kramer tries to jump back on the train, but door closes.*</p>
|
|
<p>*************************************</p>
|
|
<p>*The naked man has put his clothes back on and he and Jerry are
|
|
getting of</p>
|
|
<p>the train.*</p>
|
|
<p>(Naked) man: I haven't had a hotdog at Nathan's for 20 years.</p>
|
|
<p>Jerry: First we ride the cyclone.</p>
|
|
<p>(Naked) man: Chilly out.</p>
|
|
<p>*Jerry takes a deep breath*</p>
|
|
<p>Jerry: Aah, French fries.</p>
|
|
<p>*************************************</p>
|
|
<p>Kramer is running away from the thug and enters the train where
|
|
the blind</p>
|
|
<p>violinist is playing. Kramer knocks down the violin player and
|
|
the thug</p>
|
|
<p>picks Kramer up and looks for the money.*</p>
|
|
<p>Thug: Give me the money. Give me the money!</p>
|
|
<p>Blind violin player puts a gun to the thug's head and says: "Freeze,</p>
|
|
<p>Police!"</p>
|
|
<p>*************************************</p>
|
|
<p>Back to the Monk's caf. Jerry, Kramer and Elaine are sitting in
|
|
a booth.</p>
|
|
<p>Jerry: No, I never got the car. We were having such a good time,
|
|
by the</p>
|
|
<p>time I got to the police garage, it was closed.</p>
|
|
<p>Elaine: Too bad.</p>
|
|
<p>Jerry: You wouldn't believe what this guy put away at Nathan's.
|
|
Look at</p>
|
|
<p>what we won!</p>
|
|
<p>*Waves around a stuffed monkey*</p>
|
|
<p>Jerry: You want him?</p>
|
|
<p>Elaine: Get that out of my face.</p>
|
|
<p>Jerry: So, you missed the wedding. You'll catch the bris!</p>
|
|
<p>*George enters wearing a sheet.*</p>
|
|
<p>A young man at the counter yells: Hare Krishna, Hare Krishna!</p>
|
|
<p>George: How would you like a 'Hare Krishna' fist on your throat,
|
|
you little</p>
|
|
<p>punk?</p>
|
|
<p>Elaine: George?</p>
|
|
<p>Jerry: Biff, what did you whistle on the elevator?</p>
|
|
<p>George: You have my spare-key in your apartment, right?</p>
|
|
<p>Jerry: Yeah, it's in the kitchen drawer.</p>
|
|
<p>George: Give me your key, I gotta get it.</p>
|
|
<p>Kramer: What happened?</p>
|
|
<p>George: Never mind what happened, just give me the key.</p>
|
|
<p>Jerry: Come on, I'll go with you.</p>
|
|
<p>Elaine: Here, pay. (Gives the check to Jerry)</p>
|
|
<p>Kramer: Wait, wait, wait...</p>
|
|
<p>*Kramer gets the check, looks at it and gets pile of cash and pays.
|
|
Jerry</p>
|
|
<p>and Elaine look amazed.*</p>
|
|
<p>******************************************</p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p> </p>
|
|
<p> </p>
|
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<p> </p>
|
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