Jerry sees Mike down the sidewalk. Mike's peering into a shop window.
ELAINE'S AT WORK, WITH PEGGY AT PEGGY'S DRAFTING TABLE, LOOKING AT PEGGY'S DESIGNS. (PEGGY IS AN OLDER, THIN WOMAN.)
At the door, Elaine turns around, wondering if she heard right, and should she say anything. Peggy looks up, pleasantly nods at her, and returns to her work. Elaine wavers and decides to let it drop, and leaves.
THAT NIGHT AT MONK'S, JERRY AND ELAINE ARE SITTING IN A BOOTH.
George has just come in and grabs a chair to put a garment bag on.
ELAINE'S AT THE OFFICE, WALKING PAST PEGGY'S OFFICE. PEGGY'S READING A MEMO AND NOTICES HER.
Peggy feels quite threatened..
GEORGE IS IN HIS LIVING ROOM, WATCHING TV, EATING POPCORN. THE PHONE RINGS AND HE LETS THE MACHINE PICK IT UP AS HE MUNCHES AND USES THE REMOTE. THE MACHINE TAPE IS TO THE TUNE OF THE GREATEST AMERICAN HERO THEME SONG ("THE GREATEST AMERICAN HERO (BELIEVE IT OR NOT)," WRITTEN BY MIKE POST AND STEPHEN GEYER).
Jerry's on the other end, a little bored. But George likes the song, bobbed his head with it.
George was grooving to it, pantomime-shrugging during it, and remoting to another station.
George dials a number.
ALLISON'S APARTMENT. SOMEONE'S KNOCKING ON THE DOOR AND SHE GETS IT. IT'S KRAMER.
ON THE STREET, JERRY IS LEISURELY UNLOADING HIS GROCERIES FROM THE BACK OF HIS CAR.
Mike gets some groceries out.
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!
THE POMODORO RESTAURANT IS A DARK ROMANTIC PLACE, ROSES AT THE TABLES. GEORGE IS SITTING AT A TABLE WITH KRAMER.
Just now, at one table in the background, a Woman is sad and dismayed, says, "How could you say that to me?" She cries..
(breathes in, pause) We're through..
PETERMAN AND PEGGY ARE SITTING IN HIS OFFICE. THERE ARE TWO EMPY CHAIRS. THE WINDOW OVERLOOKS CENTRAL PARK.
JERRY'S. KRAMER AND JERRY ARE TALKING. JERRY'S EATING LUNCH AT HIS TABLE.
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!
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.
Another pause. It's like they broke up--well they did, but they didn't.
It's funny.
You look good..
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.
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!
THAT NIGHT, ELAINE AND JERRY ARE IN THE CAR, TALKING. HE'S DRIVING.
Meanwhile, Mike's yelping and banging in the trunk!
Meanwhile, Mike, in a now-hoarse voice is shouting, "Jerry?! Jerry?!"
They Both scream, laughing! In the trunk, Mike has heard most of the conversation! The laughing continues!
([At night, George is upset and knocking on Kramer's door.]
THE NEXT DAY, ELAINE'S PASSING BY THE DOOR OF PETERMAN'S OFFICE.
Peterman grasps this, weepy in disappointment, "Oh!". Elaine comforts him.
Allison looks doubtful/disappointed.
THE MEMORIAL SERVICE. CARS ARE PACKED INTO A SMALL PARKING LOT, END TO END. INSIDE, THERE ARE CHAIRS LINED UP IN ROWS, MOST ARE FILLED. THERE'S A PODIUM ON A RISER, FLOWERS EVERYWHERE.
They've found seats together in the row in front of Peggy, who looks like she's seeing a ghost!
Elaine's now at the podium.
MEANWHILE, OUT IN THE PARKING LOT, PETERMAN ARRIVES IN HIS LITTLE RED CONVERTIBLE (TOP DOWN), DISTRACTED WITH DISAPPOINTMENT/SADNESS. HE PARKS BEHIND JERRY'S CAR AND BUMPS IT. JERRY'S TRUNK HAS UNLATCHED BUT NOT POPPED OPEN BIG. PETERMAN DOESN'T NOTICE ANYTHING AND GOES IN. SHORTLY AFTER HE PASSES, MIKE COMES OUT OF THE TRUNK, SQUINTING IN THE DAYLIGHT, HIS BODY IS SORE, HE SHUTS THE TRUNK
TAVERN ON THE GREEN, AT DUSK. THE PINSTRIPE BALL IS STARTING. THE WALLS THERE ARE MAHOGANY, AND THERE ARE SHORT, DECORATIVE COLUMNS WITH FLOWERS ON TOP OF THEM. EVERYONE IS IN TUXEDOS AND GOWNS, AND THE MUSIC IS MELLOW AND QUIET. GEORGE IS WAITING IN A TUX FOR ALLISON, BUT KRAMER ARRIVES IN HIS RATHER TIGHT TUX. THEY TALK QUIETLY.
They start struggling quietly, Kramer's trying to just walk by, and George is trying to restrain him without attracting too much attention.
George had Kramer in a slightly spinning hold--by holding the back of Kramer's tux--but the material tore away, and this sent Kramer spinning into the room with the back torn off his tux! Strangely, this is well-received by Wilhelm!
MEANWHILE AT THE MEMORIAL, ELAINE IS STILL AT THE PODIUM. SHE HAS HER CHIN IN HER HAND WHILE TALKING, WEARY OF MAKING UP THINGS AND OF ACTING MOURNFUL.
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.
While Mike's pointing at Jerry and everyone's looking, Jerry looks back at Peggy again.
Peggy and Elaine look at him strangely as he grins during such an inappropriate moment.
AFTER DARK, PETERMAN AND ELAINE ARE SITTING AND TALKING IN HIS OFFICE.
During her screaming up to the air, the camera was over her, looking down, and turning around and around, just like it had when George found out that he was going to be running a foundation in honor of Susan!
