Plot
After watching Jackass, Peter and his friends, Cleveland, Quagmire, and Joe are impressed into filming their own highly dangerous stunts. In one stunt, Peter attempts to jump a lake but instead crashes into a tree, causing him to fall into the lake and become incapacitated. Brian swims out to save him from drowning, but strains his back during the rescue and also ends up stranded in the water along with Peter, before being rescued by Joe. Lois berates Peter for his actions, since Brian is becoming old and has been smoking and drinking. Peter begins to grow upset about their dog's age, so he obtains another dog and names him New Brian. His positive attitude and desirable personality make Brian feel like an outcast, especially when the Griffins begin to ignore him. He ultimately decides to leave the residence, while his family begins to miss him.
Meanwhile, New Brian's constant cheerfulness begins to aggravate Stewie. Stewie pleads for Brian to return, but he informs him that as long as New Brian is there, he has no place in the Griffin household. Stewie reveals to New Brian that he does not like several of his traits, including how he humps the leg of one of their chairs, but New Brian replies by boasting about how he violated Rupert, Stewie's teddy bear. Stewie proceeds to kill New Brian and forges a suicide note. The Griffins then ultimately accept Brian back, while Stewie, traumatized by what happened to Rupert, frantically washes him in the shower while comforting him.
Read more about this topic: The Man With Two Brians
Famous quotes containing the word plot:
“The westward march has stopped, upon the final plains of the Pacific; and now the plot thickens ... with the change, the pause, the settlement, our people draw into closer groups, stand face to face, to know each other and be known.”
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“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
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“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)