Script-of-the-week: Seinfeld “The Sponge"

by Peter Mehlman (64 Pages)

Writing Awards: Nominated for for WGA award in 1997.

Points of Interest:

• Pacing: The two scenes move rather quickly.

• Screen Visibility: Zero description of locations.

• Formatting: Scene L is made up of a montage sequence cover four different locations. Usually each new scene is a location change.

• Action: Minimal description. Reference to Kramer making a funny sound as part of his trademark mannerisms but nothing specific.

• Act structure: ACT ONE, SCENE A, B, C, D, E, (No F), G, H, (No I), J, K, L, M, N, (No 0), P, (No Q), R, S, T, (No U).  ACT TWO, SCENE V, W, (No X), Y, Z, AA, BB, CC, DD, EE, (No FF).  SHOW CLOSE, SCENE GG.

Script-of-the-Week: Seinfeld “The Rye”

by Carol Leifer (72 pages)

Writing Awards: None that I could find.

Points of Interest:

• Pacing: Quick. Jokes start in the first few lines of dialogue and are spread closely and evenly throughout.

• Screen Visibility: Standard minimal description for a sit-com.

• Formatting: Same as previous Seinfeld episodes. 

• Dialogue: Sharp and witty dialogue. 

• Action: Minimal action described.

• Act Structure: ACT ONE, SCENE A, B, C, D, E, (No F), G, H, (No I), J, K, L, M, N, (No O), P, (No Q), R, S, T, (No U), V. ACT TWO, SCENE W, (No X), Y, Z, AA, BB, CC, DD, EE, (No FF), GG, HH, (No II), JJ, KK, LL, (No MM), NN, (No OO), PP, (No QQ), RR, SS, TT, (No UU), VV.

Script-of-the-Week: Seinfeld “The Note”

by Larry David (53 pages)

Writing Awards: None that I could find.

Points of Interest:

• Pacing: Episode starts immediately with jokes.

• Screen Visibility: Stark. Again, humorous bits with Kramer’s signature moves are not described.

• Formatting: Some scenes are only a line or two.  Each location is a new scene and location changes are consistent with set changes. (ie reception area is one location and the examination room would be another location) “SFX” used when sounds are heard in the scene.

• Dialogue:Sharp dialogue however I did not understand all of the jokes.

• Action: Action lines are kept to a minimum.

• Act Structure: SHOW OPEN. ACT ONE, SCENE A, B, C, D, E, F, G, H, (No I), ACT TWO, SCENE J, L, M, N, (no O), P.  SHOW CLOSE. 

Note: Seinfeld’s show opening and closing stand up routine is written into this episode.

Script-of-the-Week: Seinfeld “The Summer of George”

by Alec Berg and Jeff Schaffer (71 pages)

Writing Awards: None that I could find.

Points of Interest:

• Pacing: Quick set ups and punch lines.  Many scenes enter late and end early.

• Screen Visibility: Minimal to nothing.

• Formatting: Minimal description.  Days/Nights are numbered. In parenthesis (LIGHTBULB) when George comes up with an idea.  Dialogue is double-spaced.

• Dialogue: Witty.  Strong Seinfeld episode displaying the epitome of the show’s humor and banter.  Seinfeld at its best.

• Action: Minimal action described. Note that Kramer’s signature entrances are not indicated.

• Act Structure: ACT ONE, Scene A, B, C, D, E, (no F), G, H, (No I), J, K, L, (M omitted), N, (no O).  ACT TWO, P, (no Q), R, S, T, (no U), V, W, (no X), Y, Z, AA, BB, CC, CC-A, CC-B, CC-C, DD, EE, (no FF), SHOW CLOSE GG.

Script-of-the-Week: Seinfeld “Soup Nazi”

by Spike Feresten (67 pages)

Writing Awards: Nominated for an Emmy in writing and a WGA award.

Points of Interest:

• Pacing: Quick.  Jokes start immediately.

• Screen Visibility: Absolute minimum.

• Formatting: Capitalized action with double-spaced dialogue (makes for a longer script). Entrances and Exits are underlined.

• Dialogue: Sharp, witty, Seinfeld.

• Action: Sparse description of characters coming and going.

• Act Structure: Act ONE, Scene A, B, C, D, E, (no F), G, H, (No I), J, K, L, M. Act TWO, Scene N, (No O), P, (No Q), R, S, T, (No U), V, W, (No X), Y, Z, AA, BB, CC.