Plot
With Lucky and Luanne engaged, the couple have begun planning their wedding. Luanne believes that Lucky's lawsuit winnings mean that they can have a lavish wedding, despite Lucky telling her that he doesn't have much of his settlement money left. Willing to do what it takes to make Luanne's wedding dreams come true, Lucky seeks advice from Hank. Hank, despite objecting to Luanne's extravagant desires, refers Lucky to Dale, who with a citywide bedbug epidemic on his hands has more pest control calls than he alone can handle. When Dale gives Lucky a gas mask and goggles for his new job, he says that the equipment makes him look like a bug, and the two have a mock-swordfight with spray wands. However, Lucky sustains a fall as they do so and suffers a back injury, regretfully deciding that he'll have to sue Dale's Dead-Bug in order to afford Luanne's dream wedding. After Lucky's tort lawyer Edward Johnson determines that there's no money to be made in suing Dale, he convinces Lucky to instead sue Strickland Propane after using convoluted jargon to pin blame on Hank, as a Strickland employee, for having referred Lucky to Dale in the first place.
Luanne remains indifferent to Hank's disgust at the frivolous lawsuit; however, Lucky continues to regret the situation. After discussing things with Hank, Lucky goes back to Johnson and asks to drop the lawsuit, but Johnson guilts him out of dropping by saying that it would be malpractice to do so. Dismayed, Lucky relays Johnson's refusal to the guys, and Dale comes up with a plan: have Lucky fake not being injured so that there will appear to be no grounds to sue. Hank, Dale, and Lucky film a video of Lucky teeing off at the golf course (with Lucky barely suppressing his pain long enough to make it look convincing) and bring it to Johnson, who agrees that the footage is enough to destroy the case. However, Lucky drops a tire pressure gauge on the floor of the law office, and Johnson waits with a smirk for the 'man with the perfectly healthy back' to pick it up, watching as Lucky struggles to reach it. Thinking quickly, Lucky tells Dale that he looks like a bug, and Dale catches on, grabs a nearby umbrella, and knocks Lucky down. With Lucky in pain on the floor of the office, Hank tells Johnson that they could now sue him using the same jargon with which he had intended to sue Strickland Propane, since they have the video footage of Lucky appearing healthy prior to coming to his office. Furious, Johnson cuts Lucky a check for $53,000 on the spot.
Luanne's delight with the new settlement money quickly changes to indignance when Lucky proposes to instead use the money to buy a house and have a simpler, less expensive wedding. Her mind decidedly changes, however, when Lucky also shows her that they will have enough left over to buy baby clothes as well. On the day of the wedding, which is being held in the Hills' backyard, Hank goes to Luanne who seems a bit depressed over how basic the wedding is and apologizes for the simplicity of the ceremony, and she forgives him when he presents her with a wedding gift of two airline tickets and hotel fare to anywhere in the continental United States. Reverend Stroup arrives, and Luanne and Lucky are happily wed before a large audience of family and friends. Afterward, as Lucky's truck pulls into the driveway of the newlyweds' new home across the street, Hank and his friends contentedly sip beer in the alley.
Read more about this topic: Lucky's Wedding Suit
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)