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.

Script-of-the-Week: The Practice “Part I”

by David E. Kelley (52 pages)

Writing Awards: None that I could find

Points of Interest:

• Pacing: Tight pacing with minimal dialogue but maximum punch.

• Screen Visibility: Minimal description of locations and sparse but adequate description of some characters.

• Formatting: Starting with FADE IN, and then REVEAL to show the location.  (voice of reason) (give me a break) in parentheses to describe the characters tone.  WHIP PAN’s used from one scene to another. Single space action and dialogue.

• Dialogue: There are quite a few scenes where two characters speak -- and more than a few words -- at the same time, or at least that’s how it’s represented in the script.

• Action: Some action lines are quite sparse. Example as a line introducing a new scene, “Eugene there with Rebecca” that’s it.

• Act Structure: Part I, Act I, Act II, Act III, Act IV.

Script-of-the-Week: Coach - Pilot

by Barry Kemp (51 pages)

Writing Awards: None that I could find.

Points of Interest:

• Pacing: Teaser sets a tone that is not necessarily funny, but with potential to be so.  First laugh seems to appear at the end of the monologue on 3 and then another laugh of page 7.  Presumably most of the humor is in Nelson’s gestures and expressions.

• Screen Visibility: Longer than usual description of locations.  Likely due to the fact that it’s the pilot episode.  Characters are describe by mannerisms rather than appearance.

• Formatting: Capitalized action and double-spaced lower-case dialogue.

• Dialogue: Long monologue on the first 3 pages.

• Action: Minimal action is described.

• Act Structure: Teaser. Act One, Scene A, B.  Act Two, Scene C, D, E.

Script-of-the-Week: Caroline in the City - Pilot

by Fred Barron, Marco Pennette, Dottie Dartland (57 pages)

Writing Awards: None that I could find.

Points of Interest:

• Pacing: Good speed with introduction of many of the characters.  Act One ends with Caroline needing to come up with a date to introduce to her ex-boyfriend.
• Screen Visibility: A description of the main sets is found at the beginning of the script and repeated in the body of the script.  Significant detail in explaining some of the characters.
• Formatting: Standard formatting.  Double-spaced dialogue and Capitalized single spaced action.
• Dialogue: Witty comments.  Believable dialogue. 
• Action: Somewhat minimal. A few scene that require more action have more detail.
• Act Structure: Cold Opening. Act One, Scene A, B, C, D, E, H, (no I) Act Two, Scene J, K, L, M, (No N or O), P, (No Q or R), S, T. Short “Caroline” animation at the beginning of each act and at the end of the script. Just under 1.5 jokes per page.

Script-of-the-Week: Veronica’s Closet - Pilot

by David Crane and Marta Kauffman (58 pages)

Writing Awards: None that I could find

Points of Interest:

• Pacing: In the teaser -- in only 3 pages -- the direction of the series is revealed.  Tension in the two acts is quite standard -- “What will happen between Ronnie, her husband and her company”. Second Act finish the script and ends quite abruptly leaving a need to watch the next episode.  Approximately  1.5 - 2 jokes per page.

• Screen Visibility: Short yet descriptive.

• Formatting: Action is capitalized and single spaced.  Characters are underlined.  Standard formatying.

• Dialogue: Tight.  Parentheses used for addressing two actions.  Example: (ignoring her; to Ronnie)  In this case “her” is Dina.  Much of what Ronnie says feels more honest and real than other sitcoms. 

• Action: Some characterization done by comparison to another character on a different show -- except a little different.  Subordinate characters have less descriptive characterization.

• Act Structure: Only Two Acts.  TEASER, SCENE A. ACT ONE, SCENE B, C, D, E, (no F or G).  ACT TWO, SCENE H, (no I), J, K, (no L), M, (no N or O), P, (no Q), R, (No S), T, (no U or V), W, X. 

Script-of-the-Week: The Addams Family - Mother Lurch Visits the Addams Family

by Jameson Brewer (36 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Quick with about a joke and a half per page. Act One ends with the arrival of an expected guest. Act Two covers all the shenanigans with the guest.  The Tag is a simple scene showing everything back to normal -- almost.

• Screen Visibility: Minimal visibility with some minor descriptions props pertaining to jokes.

• Formatting: Single spacing for Action and Dialogue.    Feature length script formatting.

• Dialogue: Clear, simple and tight. 

• Action: Action is quite lively with a lot of physical humor. Camera direction is also indicated.

• Act Structure: ACT ONE, ACT TWO, TAG. 35 Scenes.

Note: This episode is from the 1964 series.

Script-of-the-Week: Suddenly Susan “Oh, How They Danced”

by Gary Dontzig and Steven Peterman (104 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Teaser starts with a standard gag.  Not over the top funny, but introduces the characters well.  A bit slow in Act One but essential for setting up the tone of the show.  Tension builds in the subsequent acts as Vicki fights with her mother  refusing to attend the wedding and Luis learns to put his head under water.  It’s not unique but pacing is tight.

• Screen Visibility: Minimal.

• Formatting: Generous spacing with double spaced dialogue and single spaced capitalized action.  Character action is underlined.  Appearing actors  are in parentheses at the beginning of each scene.

• Dialogue: Jokes are a bit standard if not lame.  Someone named Nectarine complaining about fruit jokes and threatening to change her name to carrot. Strip search in Tucson made me laugh but then additional dialogue after the joke was unnecessary.   “Scary bastard in the red suit” is funny. Maddy has some good lines as the “frenemy” but then disappears until the end of the episode.  The scene with Bob as a former Special Forces guy with some strange abilities is quite cute.  His “skull getting 6 HBO’s got a laugh from me.  Edie, Vicki’s mom also has some funny lines in Act Two and Three.  Luis’s line in Act Five about Maddy and her former lover is priceless.  Some of the dialogue is rather non-essential, like “hellos” and “good-byes” in various scenes.

• Action: Minimal. Capitalized and underlined.  Some minimal actor direction is offered.  “Pete shakes his head. Jack takes a deep breath”.  

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

Note: Edie is played by Joan Rivers.  Shooting draft dated April 7, 1998.  Length of script would imply a two or three part episode.

Script-of-the-Week: Spin City “Pilot”

by Gary David Goldberg and Bill Lawrence (62 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Funny from the start.  Exchange with the ever cheerful Karen in the First Act made me laugh.  Act One ends with good momentum but not a cliff hanger.  Act Two ends with settling all conflict.

• Screen Visibility: Nice touch with the Mayor referenced as having “Patrician good looks”.  A couple of scenes go into greater descriptive detail like Michael’s Lower West Side apartment and the Laura Ashley style room.

• Formatting: Single-spaced capitalized action.  Double spaced dialogue.

• Dialogue: Characters engage in “small talk” but no actual dialogue is included -- likely inaudible.  There is a scene where the mayor says “You’ve got to be shitting me” in response to a question about attending a Gay Pride parade. I don’t believe that kind of language has been used before in a prime time comedy.

• Action: Script moves through different locations in the office, creating a lot of movement.  Most action is quite minimal.

• Act Structure: Cold Open. Act One, Scene A, B, C, D, E, (No F), Scene G, H, (No I).  Act Two, Scene J, K, L, M, (No N or O), Scene P, (No Q or R), Scene S, T. TAG.  Two acts with a cold open and final Tag.

Script-of-the-Week: My Name is Earl “Joy’s Wedding”

by Greg Garcia (27 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: The script moves quickly with multiple locations and flashbacks.

• Screen Visibility: Basic introduction to rudimentary locations

• Formatting: Single spaced dialogue. Shorter script.

• Dialogue: Quick witted dialogue. Phonetic spelling with some words to indicate accent.

• Action: Lots of action through out that is clearly described yet some action is only alluded to as “montage sequence”.

• Act Structure: Act One, Act Two, Act Three.

Script-of-the-Week: Men Behaving Badly “Got Milk?”

by Stacie Lipp (46 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Joke every few lines.

• Screen Visibility: Minimal.

• Formatting: Double spaced dialogue with capitalized action.  Cold opening is really two cold openings dissected by the main titles.

• Dialogue: Somewhat raunchy humor in the same vein as Married With Children. The “Buttermilk” scene is quite funny.

• Action: Date between Steve and Katie represented by a four sequence montage.

• Act Structure: Cold Open, Act One, Scene A, B, C, D, E, (no F or G), H, J.  Act Two, Scene K, L, M, (no N or O), P, Q, R.  Credit Tag. Tag.

Script-of-the-Week: 3rd Rock From the Sun: Life As We Know It - Pilot

by Bonnie Turner and Terry Turner (62 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Introduction to main characters is somewhat seamless and done within a few lines of dialogue.

• Screen Visibility: Minimal but enough to get a feel for the normalcy of the set.

• Formatting: Action is capitalized and all dialogue is double spaced.

• Dialogue: Even though individual characters have several sentences of dialogue at once, it goes quickly.

• Action: The action is not directed on the page.

• Act Structure: Cold Opening, Scene 2. Act One, Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6. Act 2, Scene 1, Scene 2, Scene 3. Tag.

Script-of-the-Week: Dharma & Greg

by Dottie Dartland and Chuck Lorre (55 pages)

Awards: Nominated for a Writer’s Guild of America award for episodic comedy.

Points of Interest:

• Pacing: Quick without any dialogue for the first 5 pages.

• Screen Visibility: Some props are described by name brand or manufacturer (e.g. Ericson yacht or S.O.M.A. loft)

• Formatting: Standard formatting. Sound Effects (SFX) used for various scenes.

• Dialogue: Quite sparse in the beginning with likely more physical humor than written jokes. As more characters are introduced more jokes are set up.

• Action: All in CAPS with characters underlined when first appearing in the episode.

• Act Structure: Cold Opening, Scene A. Cold Opening, Scene B.

Act One: Scene A, Scene B, Scene C, Scene D, Scene E, (No F or G), Scene H, (No I), Scene J, Scene K, Scene L, Scene M, (No N or O), Scene P.

Act Two: Scene Q, Scene R, Scene S, Scene T, Scene U, Scene V, Scene W.

Note: This script did not have a title for the episode on the title page but presumably from the Cold Opening, it is the pilot for the series.

Script-of-the-Week: Just Shoot Me “Old Boyfriends”

by Steve Levitan (50 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Average in the beginning with relatively short scenes. Strong one-liners keep it fresh. Act One ends without a strong finish.

• Screen Visibility: Minimal.

• Formatting: Character’s present in each scene are listed in parentheses at the top of the scene. Action lines are CAPITALIZED and character’s first appearances are UNDERLINED. Day numbers are represented on the slug line of each new day.

• Dialogue: David Spade’s jokes are biting and hilarious. Exchange between Nina and Elliot regarding a window washer falling from his station is very funny. Some jokes have become dated, like the the “Seagram’s joke. Some jokes didn’t make sense and seemed to pertain to some visuals that had not been described in the script like the last joke referring to dirty windows needing to be cleaned.

• Action: Described action is quite minimal. Basically a simple set up at the beginning of each scene.

• Act Structure: TEASER, ACT ONE, A, B, C, D, ACT TWO, E, (F & G omitted) H, (I omitted), J, K, L, M.

Script-of-the-Week: Married With Children “For Whom The Bell Tolls”

by Richard Gurman and Katherine Green (45 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Quick. Jokes in the first lines of dialogue get right to the “Bundy sensibility”. The story in the middle of the script slows down but the gags are continuous. Ending is abrupt.

• Screen Visibility: Besides minimal character actions the visibility of the set absent.

• Formatting: Lines are double spaced. Action is capitalized in parenthesis. Characters’ names and entries/exits are underlined.

• Dialogue: Sharp, biting and relatively short.

• Action: Moderate descriptions directing some of the character’s movements and physical humor.

• Act Structure: Act One, Scene One. Act One, Scene Two. Act One, Scene Three. Act Two, Scene One. Act Two, Scene Two. Act Two, Scene Three. Act Two, Scene Four. Act Two, Scene Five. Act Two, Scene Six. Act Two, Scene Seven. (10 Scenes).

Script-of-the-Week: Married...With Children “The Stepford Bundy”

by Michael J. Prescott (48 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Quick in the beginning but slows down near the end.

• Screen Visibility: Minimal as is normal for TV scripts.

• Formatting: Quite standard with generous double spacing for characters and dialogue and single space ALL CAPS for action. Specific screen direction in parentheses.

• Dialogue: Euphemistic dirty jokes in the first couple of lines that continue throughout.

• Action: Action lines contain only the minimal amount of information required for the scene.

• Act Structure: Act One, Scene One. Act Two(typo), Scene Two. Act One, Scene Three. Act One, Scene Four. Act Two, Scene One. Act Two, Scene Two. Act Two, Scene Three.

Script-of-the-Week: Arrested Development “Pilot”

by Mitchell Hurwitz (34 pages)

Awards: 2004 won an Emmy for Outstanding Writing for a Comedy Series

Points of Interest:

• Pacing: Very Quick. Lots of short scenes.

• Screen Visibility: Minimal.

• Formatting: Traditional formatting. Subtitle or “Chyron” is used to indicate flashbacks.

• Dialogue: Extremely well crafted and well timed.

• Action: Description of character movement in accordance with the timing of many jokes.

• Act Structure: Act One, Act Two, Tag. 52 Scenes.

Note: Only a two act episode with a follow up Tag comprised of short “false prelude” to a potential future episode which never happened (or was never aired as part of the series).

Script-of-the-Week: Simpsons “Dacin’ Homer”

by Kevin Levine & David Isaacs(53 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Good. Episode starts with arriving at a baseball game, preliminaries of standard games and then the game itself. Act One ends with Homer being offered the job as team mascot.

• Screen Visibility: Minimal description of surroundings except when specifically linked to jokes.

• Formatting: A fair amount of description is used to direct the camera.

• Dialogue: Original and funny. There is a fair amount of Ad Lib dialogue peppered in the action category.

• Action: Extended montage sequence from A - Q.

• Act Structure: Act One, Act Two, Act Three. Approximately 60 scenes.

Note: The episode that aired had quite a few differences from the written script. It seems most of the changes were made for brevity.

Script-of-the-Week: Simpsons “Bart Vs. Thanksgiving”

by George Meyer (54 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Tight, with Bart ruining Thanksgiving by the end of Act One.

• Screen Visibility: Actual look of the cartoon is not evident but there is a lot of additional description pertaining to the characters actions.

• Formatting: Spacing between the end of a scene and a slug line is quite tight.

• Dialogue: Marge’s distinctive grumble, is described as an “annoyed murmur”. Some lines are just written as Ad Lib, in the action.

• Action: Use of Camera direction. Occasional ad Lib dialogue for some characters. Montage sequence laid out alphabetically.

• Act Structure: Act One, Act Two, Act Three. Approximately 70 scenes.

Note: Nothing additional to note.

Script-of-the-Week: Simpsons “Bart The Dare Devil”

by Jay Kogen and Wallace Wolodarsky (42 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Quick. Pages fly by. Act One ends with a strong cliffhanger. Act Two ends with anticipation of a cliffhanger -- Bart jumping a gorge on his skateboard.

• Screen Visibility: More description than in live action, but still not overly specific.

• Formatting: Generous spacing. Double for dialogue and characters. Single for Action. Parenthetical comments are in the dialogue tab.

• Dialogue: Mainly comprised of witty one liners.

• Action: Heavier than other live action shows previous reviewed. In one extreme example there are 16 lines of descriptive action. Camera angles and shot descriptions are also common.

• Act Structure: Act One, Act Two, Act Three. Approx. 38 scenes.

Note: Early scripts of the Simpsons had Homer’s
“D’Oh” written as a moan in parenthesis. Upon viewing the actual episode, various lines of dialogue were omitted or replaced along with action sequences that don’t appear in the script. Finally, I feel some of the changes did not make the story stronger but rather detracted or didn’t create noticeable change.

Script-of-the-Week: Buffy the Vampire Slayer “School Hard”

by Joss Whedon and David Greenwalt (58 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Act one pacing is adequate ending in threat of death for Buffy. Act two ends on another cliffhanger with Buffy’s angry mom waiting in the car while Spike has shown up early to kill Buffy. Act three is action heavy but ends on a strong cliffhanger with someone about the hit Buffy in the back of the head with an ax.

• Screen Visibility: Minimal, except for scenes described as scenes from other movies or events.

• Formatting: Good use of visual direction. “[Spike is] closer and closer....and suddenly gone.” As in previous scripts, Whedon writes action and offers asides to the reader for more information.

• Dialogue: Distinct for most characters by using dialogue/vocabulary that is distinct for that personality type.

• Action: Threatening comment made by Principal Snyder “registers” with Buffy. This is a good way to relay understanding with the character for whom the comment is intended. The comment can also “register less so/more so” with other characters. References to other movies (Gross Point Blank and Thelma & Louise) help to create a strong visual when telling the story.

• Act Structure: TEASER, ACT ONE, ACT TWO, ACT THREE, ACT FOUR. Approximately 86 Scenes (give or take additions and omissions)

Note: Nothing additional this week.

Script-of-the-Week: Buffy the Vampire Slayer “Phases”

by Rob DesHotel & Dean Batali (58 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Long 6 page teaser. Act I ends on a good cliffhanger. Act II feels long as well, but ends with a twist identifying Oz as the werewolf and not Larry as we were mislead to believe. By the end of Act III we learn Oz is the werewolf, but the amount of time the characters spend thinking about who the wolfman is (and Oz acting oddly), one would think his name would have already come up.

• Screen Visibility: In one scene, Giles assembles a high-tech rifle. Considering his old-school sensibilities I think an “antique werewolf rifle” would have been more appropriate. In the script Giles doesn’t seem like a high-tech kind of guy.

• Formatting: Writing with some “attitude” directed towards the reader. “There’s a werewolf SNARLING at Willow, remember?” This creates an inclusive “live” storytelling feel to the script.

• Dialogue: Great line from Willow when she comments on Cordelia being the “girl next door” if you lived next to a brothel.

• Act Structure: Teaser, Act I, Act II, Act III, Act IV. Around 43 scenes.

Note: “PRELAP” is used as a transition. I don’t know what this means. Good twist with Larry being gay instead of being “outed” as a werewolf and then making a serious comment about homophobia that should be heard and understood by people experiences conflicted emotions.

Script-of-the-Week: Buffy the Vampire Slayer “The Harvest”

by Joss Whedon (53 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: A bit slow after the teaser ends but Act 2 ends on a cliffhanger to move the story forward. Pace quickens with acts 3 and 4 ending with a big finish and suggestion of future episodes dealing with more than just vampires.

• Screen Visibility:

• Formatting: Good transitions between action and character dialogue.

• Dialogue: Consisting of strong one-liners like, “You are like a shadow to me now”.

• Act Structure: Teaser, Act I, Act 2, Act 3, Act 4. 54 Scenes.

Note: This is part 2 of a two part episode however part 1 is called “Hellmouth”. Hellmouth ends on a cliffhanger so the end of Act 4 (Hellmouth) is the teaser at the beginning of this episode (The Harvest).

Page 14 is missing.

Script-of-the-Week: Buffy the Vampire Slayer “Hellmouth”

by Joss Whedon (56 pages)

Awards: None that I could find

Points of Interest:

• Pacing: Quick opening with strong character development. Each act ends on a cliffhanger including the end of the episode -- To Be Continued.

• Screen Visibility: Character description is lithe but visual.

• Formatting: Sharp formatting that flows seamlessly from scene to scene.

• Act Structure: Teaser, Act I, Act II, Act III, Act IV. Approximately 45 Scenes.

Note: Pilot episode for the TV show based on the movie of the same name.

Script-of-the-Week: Ally McBeal “These Are The Days”

by David E. Kelley (53 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: This story is a bit slow until Ally is made Judge in one of the cases. Her decision is a good curve ball.

• Screen Visibility: Minimal.

• Formatting: Standard except for a flashback at the end where there are 22 scenes (A-V) from previous episodes.

• Act Structure: Act I, Act II, Act III, Act IV.

Note: Page 37 of the script was missing. This page revealed the ending of a major character’s speech.

Script-of-the-Week: Ally McBeal “Theme of life”

by David E. Kelley (52 pages)

Awards: 1999 Banff Rockie Award - Best Comedy

1998 Nominated for an Emmy - Outstanding Writing for a Comedy Series

Points of Interest:

• Pacing: Steady through three story-lines.

• Screen Visibility: Minimal.

• Formatting: Standard.

• Act Structure: Act I, Act II, Act III, Act IV. 43 Scenes.

Note: Episode with Janet Reno playing herself in a minor character role.

Script-of-the-Week: Ally McBeal “The Promise”

by David E. Kelley (51 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Quick. Characters get to the main idea in one or two lines of dialogue.

• Screen Visibility: Description mainly in log line

• Formatting: Standard for Ally McBeal

• Act Structure: Act I, Act II, Act II, Act IV.

38 Scenes

Note: Script basically tells three stories about sexual behavior between men and women. One in court, one in the office and one in both.

Script-of-the-week: Ally McBeal “The Affair”

by David E. Kelley (52 Pages)

Awards: None that I could find.

Points of Interest:

• Pacing: First two acts fly by with a great moment of suspense at the end of the second act.

• Screen Visibility: Minimal.

• Formatting: Standard formatting for this program.

• Structure: IV Acts & 38 Scenes.

Notes: For writers who want to focus on hour long comedy with dramatic flair.

Script-of-the-Week: Ally McBeal “Ally McBeal” Pilot Episode

by David E. Kelley (46 pages)

Awards: None that I could find

Points of Interest:

• Pacing: Quick.

• Screen Visibility: Minimal, which is standard for a TV series.

• Formatting: Somewhat standard formatting with some action lines describing Ally’s thinking.

• Act Structure: Act I, Act II, Act III, Act IV

Note: For a pilot episode, the initial character development is quite sparse demonstrating an effective lack of need for lengthy development.

Script-of-the-Week: Ally McBeal “The Attitude”

by David E. Kelley (54 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: Quick passing jumping from one storyline to another with approximately three stories.

• Screen Visibility: Minimal.

• Formatting: Traditional with action lines describing character thought.

• Act Structure: Act I, Act II, Act III, Act IV.

Note: For Screenwriters who want to master well structured dramatic comedy with an emphasis on dialogue.

Script-of-the-Week: Ally McBeal “Compromising Positions”

by David E. Kelley (56 pages)

Awards: None that I could find.

Points of Interest:

• Pacing: A bit longer than the previous script.

• Screen Visibility: Minimal and in a few instances it was hard to “see” what was on the page.

• Formatting: Traditional and economic. Fast moving.

• Act Structure: Act I, Act II, Act III, Act IV.

Note: For Screenwriters who want to focus on IV Act structures. Also I laughed out loud a few times while I was reading.

Script-of-the-Week: Ally McBeal “The Blame Game”

by David E. Kelley (51 pages)

Awards: None that I could find.

Points of Interest: Well written piece that addresses the issue of blame in two virtually separately told stories.

• Pacing: A quick and fluid read.

• Screen Visibility: Minimal like many T.V. series. However some of the description (Dancing Baby, etc) is hard to picture.

• Formatting: Somewhat traditional with a generous use of parenthetical comments.

• Act Structure: Act I, Act II, Act III, Act IV.

Note: In one scene, Kelley apologizes to Flockhart (Ally McBeal) for a long monologue.