Plot
Woody asks Winnie if she would like to go to the sock hop with him. She accepts, and Woody goes off to prepare for their date. Meanwhile, Buzz calls Winnie up to ask her to the sock hop, only to find she is already going with Woody. However, Winnie agrees that if Woody does not show up, she will go with Buzz. Buzz gets himself ready for the date, and beats Woody to Winnie's house. As Buzz and Winnie dance, Woody comes through the door and gets into a fight with Buzz. Winnie tells them to stop or she will not go with either one of them. She then suggest that all three of them go together, but once the trio gets outside Woody takes Winnie himself and ditches Buzz.
Woody and Winnie make it to the sock hop, where they hear a singer sing. Winnie likes the guy's singing, but Woody does not care for it. As Woody and Winnie dance, Buzz shows up and succeeds in disposing of Woody. The buzzard then takes Winnie to a drive-in restaurant to buy her a soda and a banana split for himself. Woody, dressed as a waitress, gives Buzz an explosive banana split. The two begin to fight once again, only to find Winnie riding away with the singer from the sock hop.
Read more about this topic: Real Gone Woody
Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“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)
“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)