I don't even know what, what is supposed to be attractive about fur? Why does a man want to see a woman in a fur? Men want women to shave their legs, shave their armpits, pluck their eyebrows and then before we go out, we dress them up like a bear. To me the only reason to wear fur, would be if you were trying to sneak up on another animal. Did you ever see those tribal hunters where they wear the fur and then they had the other animals, head on top of their head? You know I'm sure there's a moose looking at that going, "Yeah, that looks real good. Yeah, I'm gonna turn my back on this goof ball with the extra head. Because there's nothing fishy going on there. I'll just keep drinking from the stream. I've seen a lot of two-headed tigers with knees."
EXTERIOR OF A DRY CLEANERS -- THEN INSIDE WHERE JERRY AND GEORGE ARE TALKING, JERRY IS HOLDING A FEW ITEMS, WAITING TO DROP THEM OFF TO BE DRY CLEANED.
(George & Jerry turn and move closer to the counter as a few customers leave the store.)
(Jerry turns and walks up to the counter. George wonders about the lobby area)
(Donna smiles and walks away)
DAYLIGHT EXTERIOR SHOT OF YANKEE STADIUM, THEN TO GEORGE COSTANZA'S OFFICE WHERE HE IS INTERVIEWING AN ATTRACTIVE APPLICANT FOR HIS SECRETARY JOB.
(The camera is now back on the applicant's seat, but another even more attractive woman is seated there)
(A very plain looking applicant now sits across from George)
(George Enters)
(Elaine walks back into the living room, modeling the dress, arms extended straight out from her sides, elbows bent, with the look on her face that says, huh ... what do you think? -- She walks towards George and Jerry)
(Elaine heads for the bedroom to change out of the dress, turns and looks at Jerry)
(Elaine walks back in, still in the dress)
(Kramer enters, seeing Elaine -- his head and upper body lurches backwards)
DAYLIGHT EXTERIOR SHOT OF YANKEE STADIUM, THEN TO GEORGE COSTANZA'S OFFICE, HE STANDS IN FRONT OF A WALL CALENDAR, AS ADE, HIS NEW SECRETARY TAKES DOWN NOTES AS TO WHAT GEORGE IS SAYING.
(Ade throws her note pad and pencil in to the air, along with her glasses. George grabs his glasses and takes them from his face and throws them on the couch as he and Ade embrace in a frantic kiss and slither down to the floor between the desk and the couch -- the camera cannot see them on the floor)
OUTSIDE A MOVIE THEATER (THE PARAGON) JERRY AND ELAINE HAVE EXITED THE THEATER AND ARE WALKING SLOWLY AND THEN STOP TO TALK, AS OTHER MOVIE GOERS LEAVE THE THEATER BEHIND THEM - IN THE BACKGROUND, THERE IS A LINE OF PEOPLE WAITING TO BUY TICKETS FOR THE NEXT SHOW.
(Kramer rushes up to Elaine and Jerry)
(Kramer walks up, smiling gleefully)
EXTERIOR SHOT OF YANKEE STADIUM AT DUSK AND THEN TO GEORGE COSTANZA'S OFFICE. (MOANING) GEORGE AND ADE ARE STRUGGLING TO KNEEL AND UNDRESS WHILE KISSING.
(as he unbuttons her jacket, they fall to the floor again -- the camera cannot see them between the desk and the couch -- we see over George's desk, keyboard, manila folders and then we see Ade's shoe in the air above the desk)
(we see George's head and arm above the desk ridge, he grabs a pillow from the couch and hands it to Ade. Her arm pulls him back down to her on the ground)
(they stand up from their seats at the booth)
(Jerry picks up several items of clothing from the booth, in their dry-cleaning bags -- He is wearing his Hounds-Tooth jacket. George and Jerry walk over to the cash register to pay for lunch. At the register, Jerry reaches into his Hounds-Tooth jacket pocket, he pulls out a movie stub)
EXTERIOR SHOT OF BARNEY'S DEPARTMENT STORE, STREET SCENE WITH STORE WINDOWS. THEN INSIDE TO ELAINE, KRAMER AND THE BARNEY'S SALES ASSOCIATE -- THEY STAND IN THE WOMEN'S CLOTHING DEPT. (ZELDA IS THE NAME OF THE CLOTHING LINE ON THE WALL), OUTSIDE OF THE DRESSING ROOM AREA. ELAINE IS WEARING THE DRESS SHE PLANS ON RETURNING.
(Kramer opens the moisturizer and squeezes some onto his palm)
(Elaine walks away into the dressing from area. Kenny Bania enters the clothing dept.)
DAYLIGHT EXTERIOR SHOT OF YANKEE STADIUM (LOUISVILLE SLUGGER) THEN TO GEORGE STEINBRENNER'S OFFICE. THE CAMERA IS BEHIND STEINBRENNER, LOOKING TOWARDS THE DOOR.
(Telephone rings -- Steinbrenner reaches for the receiver)
DAYLIGHT EXTERIOR SHOT OF BARNEY'S DEPARTMENT STORE WINDOWS, WITH TRAFFIC DRIVING BY -- THEN TO ELAINE IN THE DRESSING ROOM -- SHE IS ALMOST DONE DRESSING IN THE CALVIN KLEIN DRESS. KRAMER CLIMBS UP THE WALL OF HIS DRESSING ROOM ADJACENT TO ELAINE'S -- WE SEE HIS HEAD, TOP OF HIS BARE CHEST, ARM AND BOTH HANDS OVER THE TOP OF ELAINE'S' DRESSING ROOM WALL -- HE IS LOOKING DOWN AT HER.
(Elaine is startled and tries to cover her top, which is mostly covered from the dress she is putting on)
EXTERIOR SHOT OF THE DRY CLEANERS STORE FRONT, THEN TO THE INTERIOR -- JERRY ENTERS AS A FEMALE CUSTOMER IS LEAVING THE COUNTER WITH HER DRY-CLEANING.
(Shot of Donna wearing the fur coat, standing at a hot dog stand, eating a hot dog)
ELAINE INSIDE BARNEY'S, SHE STANDS IN FRONT OF A FULL LENGTH MIRROR. THE SALES ASSOCIATE BEHIND HER, GIVING ADVICE ON THE DRESS.
(Elaine looks around, like she is trying not to be noticed and walks out of the clothing dept.)
ELAINE, IN THE CALVIN KLEIN DRESS, IS WALKING OUTSIDE ALONG THE SIDEWALK, SNOW ALONG THE CURB AND STORE FRONTS -- IT'S OBVIOUS SHE IS COLD WITHOUT A COAT. SHE CHECKS OUT HER REFLECTION IN A FLORIST'S WINDOW, THEN STOPS AT THE LOVE, HEALTH & BEAUTY AIDS STORE, WHERE THE REFLECTION IS MORE LIKE A MIRROR IN THE ALCOVE OF THE STORE.
(a man exits the store)
BARNEY'S DEPARTMENT STORE, INSIDE THE DRESSING ROOM AREA, A CUSTOMER KNOCKS ON THE DOOR WHERE KRAMER IS WAITING FOR JERRY.
(Jerry enters the women's clothing dept.)
(Female customer walks up to the Barney's sales associate that Jerry was just talking to)
(The Barney's sales associate walks into the dressing room area and up to the dressing room door where Kramer is waiting for Jerry)
(Jerry hears Kramer and walks into the dressing room door)
(Kramer opens the door, Jerry goes in the dressing room. Kramer is standing there in his white boxer shorts and no shirt)
ELAINE REENTERS THE BARNEY'S CLOTHING DEPT., RUBBING HER ARMS BECAUSE HE IS COLD. THE SALES ASSOCIATE IS ALSO COMING BACK FROM THE DRESSING ROOMS. ELAINE SEES HER, AND QUICKLY STANDS NEXT TO THE REGISTER COUNTER AND TRIES TO ACT LIKE SHE HAS BEEN THERE FOR A WHILE.
(Elaine looks down and gathers the dress at the salt stain)
(Bania enters the dressing room area)
EXTERIOR OF YANKEE STADIUM (LOUISVILLE SLUGGER) THEN TO GEORGE STEINBRENNER'S OFFICE. GEORGE COSTANZA STANDS PLEADING HIS CASE.
(George starts to back away from the desk)
(George turning around, nodding and making hand gestures, walking slowly towards the door, his hand gestures get progressively wider eventually to full arms extended upwards)
JERRY STANDS OUTSIDE THE BARNEY'S DRESSING ROOM DOOR THAT KRAMER IS WAITING IN. JERRY QUICKLY KNOCKS ON THE DOOR.
(Jerry Opens the door and walks into the clothing dept., while Bania is walking towards the exit of the clothing dept.)
(Jerry makes a smudged up face -- he knows he cannot get out of the deal. Bania turns and walks quickly out of the clothing department. Jerry sees a woman from the back walking into the dressing room area. She has a fur coat on and is carrying a few items over her arm to try on)
(Elaine stands at the register counter, now she wears her own clothes. The Calvin Klein dress rests across the counter -- she watches as Jerry follows the woman into the dressing room area. Jerry stands in front of the door where she went into, listens for a half second and then pushes the door open, as she has not had an opportunity to latch it yet -- It is Donna, the dry-cleaners wife -- she is stunned, startled and taken aback ...)
(The camera pans down to the bottom of the dressing room door, so all you see is Jerry and Donna's scuffling feet and lower legs, as Jerry takes the coat from her.)
(Donna opens the door -- the camera pans back up to eye level as she walks out, kind of indignant. She places her long purse strap over her Left shoulder)
(Donna walks over to where Elaine is still standing at the register counter)
** Continuity Error -- as she walks up to Elaine, Donna is now holding her long purse strap in her right hand only, then switches it to her left hand and puts the strap over her left shoulder. The purse hangs below her left hip. She just had placed the long purse strap over her shoulder as she left the dressing room area walking away from Jerry. **
(Holding the bottom of the Calvin Klein dress out)
in. (Holding the dress up by the hanger) What size is it?
Donna's question)
THE CAMERA FADES FROM THE PREVIOUS SCENE TO THE WINTER SIDEWALK OUTSIDE.
L-R Kramer, Elaine and Jerry walk silently in the cold. Above their heads in the background is a sign that reads "KalSigns" -- I believe this is an homage to Jerry's (real life) father that owned a sign company.
Kramer is wearing Jerry's mother's fur coat. It is obviously too small for his large frame -- the arms are way too short. The coat comes down to his mid thigh. He has no pants on. He wears shoes and white socks. He looks ridiculous, uncomfortable and cold.
Elaine is wearing a long winter overcoat, carrying her Calvin Klein dress in a garment bag over her left arm. Jerry has both hands in the pockets of his winter jacket he is wearing a scarf that he had on earlier in the store.
Kramer looks around as he walks along. He tries to button or close up the coat to the best of his ability, but nothing changes. As the scene ends, the fur coat opens slightly at the bottom and you can see his white boxer shorts (actually they look like jockey shorts, but earlier he had on boxers in the dressing room)
THE CAMERA FADES FROM THE PREVIOUS SCENE TO AN EXTERIOR SHOT OF MENDY'S RESTAURANT AT DUSK, THEN INSIDE TO BANIA AND JERRY DINING AT A TABLE.
