Plot
Oscar wants to throw Lucille a party to celebrate her wedding anniversary. He got the idea from Buster, who said that it would show how Oscar has been there for Lucille while George Sr. has been a fugitive. Upon hearing of the party, George Sr. concocts a plan to win back Lucille by renewing his vows. He enlists G.O.B. to abduct her and take her to Church of the Good Shepherd. Tobias continues to disguise himself as Mrs. Featherbottom, unaware that everyone knows that it is him. The others are taking advantage of this; Maeby is getting her ironing done, and Lucille uses him for catering. George Michael has decided to ask Ann if she will get pre-engaged to him. Michael is against the idea, and meets with Ann's parents, thinking that they will feel the same way. It turns out that they support the pre-engagement, so Michael invites the Veals to the party, thinking that they will see how dysfunctional the Bluths are.
However, at the party, the family is surprisingly normal, to Michael's annoyance. He convinces George Michael not to go through with the pre-engagement. However, after Ann's mother starts kissing Michael on the balcony and George Michael sees this, he goes ahead with it. G.O.B., Franklin and George Sr. abduct Lucille (knocking her out with ether put on G.O.B's puppet Franklin) and take her to the church in which Ann's father, a pastor, is presiding. The whole family arrives at the church, and two fights ensue — one between Oscar and George Sr. over Lucille and the other between Michael and Pastor Veal over Mrs. Veal. When the police arrive, George Sr. escapes wearing Tobias's Mrs. Featherbottom wig. George Michael talks Ann out of marrying him; however, Ann tries to convince George Michael to have sex together. Buster's hook hand gets confiscated by the police after a drug dog pounces on him (resulting in Buster using Franklin the puppet as a temporary substitute, despite Lucille's objection).
Read more about this topic: Meat The Veals
Famous quotes containing the word plot:
“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)
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—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)