Plot
Homer, envious of Ned Flanders new motor home, goes to Bob's RV Round-up to buy one of his own, but because his poor credit rating, he only qualifies for a dilapidated one. Thrilled with the new RV, Homer takes his family on an excursion. Driving on remote back roads, the Simpsons find themselves teetering over a precipice. The family escapes the RV before it plummets over the cliff, only to find themselves stranded in the wilderness.
Homer and Bart set out for help, unaware that Maggie is tagging along, while Marge and Lisa stay behind. Separated from Homer and Bart, Maggie is soon adopted by a family of bears. Meanwhile, Homer and Bart are plunged into a raging river where they lose their clothes, forcing them to cover themselves with leaves and mud. Marge and Lisa make themselves comfortable by a campfire, while the boys freeze in the wilderness. The next day, Homer is attacked by bees and escapes them by jumping into a mud pit. A nature photographer takes a picture of Homer, mistaking him for Bigfoot, and soon the forest is inundated with Bigfoot enthusiasts and reward seekers.
Marge, having been rescued along with Lisa by park rangers, identifies the monster in question as her husband. Cold, hungry, and exhausted, Homer and Bart stumble upon the cave housing Maggie and the bears. Homer is soon captured and taken to a lab for testing. The authorities allow Homer to return home after determining he is either a below-average human being or a brilliant beast.
Read more about this topic: The Call Of The Simpsons
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)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“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)