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[ALARM RINGS]
♪ COULDN'T I HOLD YOU JUST A WHILE? ♪
♪ COULDN'T WE DECIDE TO WORK THIS OUT TOGETHER ♪
♪ AND FIND A WAY TO MAKE EACH OTHER SMILE? ♪
HIT THE SNOOZE.
[GRUNTS]
WYLEEN...
IT'S YOUR TURN. I DID IT YESTERDAY.
I'M AFRAID AT THIS POINT
I'M GOING TO HAVE TO CALL YOU A LIAR.
I'LL DO IT TOMORROW.
♪ COULDN'T WE TAKE A WALK ALONG THE SHORE? ♪
WYLEEN, GET UP, AND TURN OFF THIS ALARM.
SHUT UP. NO!
YOU HAVE A LITTLE JOB TO DO.
AAH.
WE MADE AN AGREEMENT.
NOW DO IT.
WAIT, WAIT, WAIT. I LOVE THIS SONG.
BOYD, I'M SO TIRED. I--
OH, THIS SONG MAKES ME CRY.
DON'T CRY, DARLIN', JUST SWAY.
♪ COULDN'T WE ♪
♪ COULDN'T WE ♪
♪ RIGHT NOW? ♪
♪ UNTIL WE... ♪♪
THAT WAS THE AUBREY McLEAN BAND,
FEATURING MISS WANDA JONES ON VOCALS.
DA
THIS FRIDAY AT THE GOLDEN SPUR,
ROUTE ONE IN SAUGUS, MASS.
YOU THINK I SING BETTER THAN WANDA JONES?
I THINK YOU SING BETTER THAN BARNABY JONES.
HEY!
CAPTIOADE POSSLEYN! STLE ROCK ENTERTAINMENT AND NATIONAL BROADCASTING COMPANY
OOH♪
♪ I CDLBEEVE IT♪
♪♪ OH, BUT NOW IW I CAN SEE ♪
♪ THIS IS MY PLACE TO GO ♪
♪ AND NOW I KNOW ♪♪
■
♪ I'M HOME ♪♪
THANYOU, BOS
[DOOR OPENS]
FORGET IT.
I DON'T THINK SO, YOU BIG TEASE.
GET IN HERE.
I HAD THIS DREAM LAST NIGHT.
OH, LEONARD, ALL YOG MAN HAVE THOSE DREAMS.
IT'S PERFECTLY NORMAL.
OUR LEONARD IS GROWING UP.
HE REALLY IS.
YOU SEE, I COME HERE TO OPEN UP,
AND YOU AMUSE YOURSELVES
WITH THIS LITTLE PUBERTY SHTICK OF YOURS,
AND YOU KNOW, IT'S...IT'S AT MY EXPENSE,
SO JUST...GOODBYE.
TOP?
NO MORE.
I HAD THIS INCREDIBLE DREAM ABOUT YOUR FRIEND LIZ.
DIDN'T YOU GUYS GO OUT ONCE ALREADY?
I THOUGHT SHE WEPT FOR THE ENTIRE EVENING.
I NEVER SAID THAT WAS A BAD THING.
IT WAS A VERY VIVID, REALTIC DREAM.
I NEVER HAVE DREAMS LIKE THAT.
MOST OF THME, I'M SITTING AROUND DOING NOTHING.
THE XT THING YOU KNOW, I'M A TROUT.
VERY SURRE.
LOTS OF MEANING.
LEONARD, DO YOU WANT SOME CO
YEAH, THANKS.
NICE BOUQUET.
THE DREAM?
OH, YEAH. THE ENTIRE DREAM KES PLACE
DURING THE REVOLUTIONARY WAR.
ALTHOUGH...
I WAS WEARING A SPLIT-TOED FOX BOOT,
WHICH DIDN'T EVEN EXIST UNTIL 1792.
ANYWAY, LIZ WAS STRANDED AMONG THE REDCOATS
WHEN I RODE UP, SCOOPED HER UP,
AND TOGETHER WE RODE OFF INTO SAFETY.
I KNOW IT SOUNDS LIKE DUDLEY DORIGHT,
BUT... AT THE TIME,
IT FELT REALLY HEROIC.
WHAT DID YOU USE TO SCOOP HER UP WITH?
AM
I THINK IT'S A SIGN.
IT IS A SIGN. ASK HER OUT AGAIN.
I SHOULD, IT'S JUST...
WHAT?
NOTHING. NOTHING. YOU DON'T WANT TO HEAR THIS.
FORGET I SAID ANYTHING.
I HAVEN'T TOUCHED A WOMAN IN 16 MONTHS.
DING DING DING. WE HAVE A WINNER.
WE HAVE A WINNER.
COME ON, REALLY. WHAT SHOULD I DO?
IN THE WORDS OF ANOTHER GIANT IN THE FOOTWEAR FIELD,
JUST DO IT.
SO, HAVE Y TALK TO HEYET?
I HAVEN'T HAD THE OPPORTUNITY.
WHY NOT?
WELL, JOY'S BEEN VERY BUSY,
AND EVERY TIME SHCOMES INTO THE UNION,
I HIDE UNDER THE DESK.
BOYD, HERE'S WHAT YOU DO.
WHY DON'T WE TALK ABOUT YOU?
'CAUSE THAT'S NOT ON THE LIST OF THINGS TO DO.
LET'S SEE-- FIX GRANDFATHER CLOCK, FIX STUDENT STORE COMPUTER,
FIX BOYD'S FEEBLE LOVE LIFE.
NOTHING ABOUT ME ON HERE.
LOOK AT ME.
I'VE GOT TO FIX--
WHAT?
LET'S NOT FORGET THE REASON YOU MOVED TO BOSTON
WAS TO BE NEAR THAT MARZIPAN CONFECTION.
SHE KNOWS YOU WANT HER, BOYD.
GET YOUR LITTLE MAC DAVIS-LOOKING FACE
OUT FROM UNDERNEATH THAT DESK,
AND USE IT FORM THE WORDS,
"WILL YOU GO OUT WITH ME?"
WHAT ARE YOU TRYING TO SAY?
FORGET IT.
WAIT. WAIT.
WHERE WOULD WE GO?
TAKE HER TO THAT COUNTRY-WESTERN PLACE
YOU'RE ALWAYS TALKING ABOUT.
LET HER SEE YOU IN YOUR NATURAL HABITAT.
I DON'WANT IT LOOKING LIKE A DATE, SO YOU'RE COMING.
UH-UH. I DON'T THIN HONEY. NOPE,
'CAUSE I'LL STICK OUT LIKE A--LIKE A WHAT?
LIKE A BCK WOMAN AT A COUNTRY-WESTERN BAR.
COME ON, YOU'RE GOING.
I WENT TO SEE WAITING TO EXHALE WITH YOU.
YOU OWE ME.
FINE, BOYD. SO WHAT'S UP WITH THAT CLOCK?
I'M NOT SURE. IT NEEDS SOMETHING.
LIKE WHAT?
I DON'T KNOW-- LIKE A LITTLE LOVE.
SO DO I.
TH IS REALLY IMPORTANT.
I'M ASKING LIZ OUT LATER.
I'M GOING TO NEED UNLIMITED ACCESS TO THE BATHROOM.
I'M ASKING JOY OUT LATER,
AND THUS, AN EXTENSIVE GROOMI RITUAL
MUST COMMENCE IMMEDIATELY.
YOU HAVE NOTHING TO WORRY ABOUT.
YOU'VE GONE T WITH HER ALREADY.
THAT DOESN'T MAKE IT ANY EASIER.
DOES THIS LOOK STUPID?
NO, JUST LOOKS LEONARD.
YOU ALWAYS WEAR THAT KIND OF THING.
I ALWAYS LOOK STUPID?
NO, YOU LOOK FINE.
DO I LOOK STUPID?
NOT REALLY.
NOT REALLY? WHAT DOES THAT MEAN, NOT REALLY?
DO I LOOK ALL RIGHT OR NOT?
YOU'RE GORGEOUS. YOU'RE LIKE A YOUNG MAC DAVIS.
WAIT.
YOU'RE PUTTING A LOT OF PRESSURE ON MY ULNA.
I'LL CONTINUE TO UNTIL YOU HELP ME PRACTICE.
YOU'RE GETTING ME INTO SOME WEIRD ROLE-PLAYING THING.
JUST BE JOY FOR A SECOND.
THIS ISN'T GOING TO HAPPEN.
LEONARD, PLEASE.
WHY ARE YOU DOING THIS TO ME?
IF YOU HELP ME RIGHT NOW,
THE BATHROOM IS YOURS FOR THE REST OF THE AFTERNOON,
AND NO MORE TOWEL-SNAPPIES. I PROMISE.
ALL RIGHT. FINE.
GREAT. O.K., HERE WE GO.
JOY...
THERE'S NO POINT IN DODGING--
LEONARD, COULD YOU IR EARS?
JUST ACTUALLY ONE SIDE. JUST ONE SIDE.
BOYD.
LISTEN, THE MORE YOU'RE INTO THIS, THE FASTER IT'LL GO.
O.K., THAT'S GOOD. THAT'S GOOD.
O.K. ALL RIGHT.
SUCK IN YOUR CHEEKS A LITTLE.
O.K. RIGHT.
YOU LOOK SO MUCH LIKE HER, IT'S EERIE.
O.K., I'M KIDDING.
ALL RIGHT. HERE WE GO. JOY...
WHAT?
THERE'S NO POINT IN DODGING THE ISSUE ANY LONGER.
I MEAN, WE BOTH KNOW WHAT'S GOING ON HERE.
I HAVE STRONG FEELINGS FOR YOU, JOY.
I HAVE STRONG FEELINGS FOR YOU, BOYD.
WHAT IS GOON OUT HERE?
LEONARD'S HITTING ON ME AGAIN.
STOP CRUISING THIS HALLWAY.
[BOYD] YOU READY?
I THINK SO. WHERE'S JOY?
SHE SHOULD BE HERE ANY MINUTE,
BUT LIZ IS ON THE COUCH.
SHE IS A RARE JEWEL.
NOW, GO FORTH AND ROMANCE THAT STONE.
HEY, YOU.
OH!
I DIDN'T MEAN TO SCARE YOU.
I'M NOT AFRAID.
I THINK WE NEED TO TALK, DON'T YOU?
OH, REALLY? ABOUT WHAT?
YOU KNOW THAT I KNOW. I KNOW YOU KNOW THAT I KNOW.
I KNOW. I KNOW, BUT...
I DON'T KNOW, YOU KNOW?
HI, LIZ.
HELLO, LEONARD.
HI, LIZ.
WELL...
I GOT TO GET UPSTAIRS.
YEAH, YEAH. SURE.
[CLEARS THROAT]
UM, JOY...
I WAS WONDERING... NOW THAT EVERYTHING'S
KIND OF OUT IN THE OPEN...
MAYBE YOU'D LET ME TAKE YOU LINE DANCING AT THE GOLDEN SPUR.
WE HAVE TO BE JUST FRIENDS, BOYD.
WE--WE DO?
YEAH.
I LIVE WITH SOMEONE.
I KNOW PEOPLE. I CAN HAVE HIM KILLED.
BOYD.
JOY, DO YOU LOVE HIM?
YEAH.
YOU CAN STILL COME. YOU KNOW YOU'D HAVE A GREAT TIME.
I'M SURE I WOULD,
BUT MY BOYFRIEND AND I HAVE PLANS ALREADY.
YEAH, WELL, O.K.
YOU KNOW...
I THINK YOU'RE GREAT.
I KNOW. I KNOW YOU THINK THAT.
I GOT TO GO.
SO LIZ, UH--
I'D LOVE TO.
I GOT TO GO TO THIS LAME BOSTON POPS THING.
I LOVE IT. THE BOSTON POPS-- THE ONE ACTIVITY
THAT'S WHITER THAN WHAT I'M DOING TONIGHT.
YOU NEVER HAD EASTER BRUNCH AT MY PARENTS'.
WHAT ARE YOU DOING TONIGHT?
WELL, BOYD'S TAKING A GROUP OF US LINE DANCING,
AND WHATEVER ELSE YOU DO AT THOSE PLACES. I DON'T KNOW--
DRINK MOONSHINE, COMMIT HATE CRIMES.
OH, THAT SOUNDS SO FUN--
NOT THE HATE CRIMES PART, BUT EVERYTHING ELSE.
WHY AREN'T YOU COMING?
I GOT TO GO TO THIS BOSTON POPS THING WITH JACK.
WHICH BEGS THE QUESTION, WHY AREN'T YOU COMING?■
IT'S COMPLICATED. I JUST--
[HUMMING THE 1812 OVERTURE]
WHO'S READY FOR...
THE POPS?
DOESN'T SEEM THAT COMPLICATED TO ME.
WHAT?
HOW ABOUT WE FORGET ABOUT THE POPS
AND DO SOMETHING TOTALLY DIFFERENT?
BOYD'S TAKING A GROUP TO THE GOLDEN SPUR.
MAYBE WE COULD JUST, YOU KN--
THINK ABOUT WHAT YOU'VE JUST PROSED.
YOU WANT ME TO GO TO A SMOKE-FILLED CLUB,
SURROUNDED BY MEN IN BIG HATS,
AND DANCE WHILE TRYING TO AVOID
SLICKS OF VOMIT AND WILD TURKEY.
HMM.
IT COULD BE FUN.
FOR YOU. YOU GET TO BASK IN THE WARMTH
OF BOYD'S ADORATION.
THE OLD EGO ABOUT A QUART LOW, HONEY?
YOU DON'T KNOW WHAT YOU'RE TALKING ABOUT.
PLEASE, JOY. I AM NO STRANGER
TO THE FAWNING GAZE OF THE LOVELORN.
THAT'S WHAT I SEE WHEN BOYD LOOKS AT YOU.
IT'S NOT ABOUT THAT. IT'S JUST...
SOMETHING DIFFERENT. THAT'S ALL.
FORGET I SAID ANYTHING.
LET'S GO.
YOU'RE SURE? BECAUSE IF--
YEAH. I'M SURE. I WANT TO GO WITH YOU.
O.K.
[CONTINUES HUMMING THE 1812 OVERTURE]
ISN'T THIS TERRIFIC?
OH, UH, YEAH.
DO YOU HAVE THE FEELING THAT WE'RE MOMENTS AWAY
FROM GETTING HIT BY AOTTLE?
WHAT THE HELL ARE YOU LOOKING AT, MR. NERVOUS?
OH, I'M SORRY. WAS I STARING?
UH-HUH.
I GO TO HARRINGTON. DON'T YOU RECOGNIZE ME?
I DON'T KNOW. TO ME, ALL YOU STUDENTS
T.
YOU'
OH, RIGHT.
YEAH, AND SAME RULES APPLY--
MOVE YOUR BONY *** TO THE END OF THE BAR.
THANK YOU, BABY. TH WAS SET.
KR
YOU KNOW WHAT'S WRONG.
I'M HAVING JACK PROBLEMS.
YOU KNOW, YOU'RE GOING TO GO BLIND.
TASHA, I DON'T KNOW WHAT I WAS THINKING.
I NEVER STOOD A CHANCE WITH HER.
IT'S TIME TO GO BACK TO VIRGINIA, I GUESS.
I GOT AN IDEA. YOU SHOULD FEEL SORRY FOR YOURSELF.
OOH, NO. WAIT... YOU'RE ALREADY DOING THAT.
YOU DON'T UNDERSTAND. THIS IS--
LOOK, THIS IS THE ONLY TIME I'M DOING THIS,
SO LISTEN UP.
YOU'RE THE BOMB, BABY.
YOU'VE GOT TO KNOW THAT, BOYD.
EVERYBODY AT SCHOOL LOVES YOU,
AND YOU'VE GOT YOURSELF A LIFE UP HERE.
IF YOU GO HOME NOW,
YOU'LL TURN INTO THAT LOSER ON GREEN ACRES
WHO HANGS OUT WITH THE PIG.
THAT'S NOT YOU ANYMORE.
COME ON, LET'S DANCE.
TO THIS? I DON'T THINK SO.
NO, NO. IT'S EASY. I'LL TEACH YOU.
ALL RIGHT.
WHERE'S MY SISTER?
LOOK FOR A CROWD OF MEN.
I'M SURE SHE'S RIGHT IN THE MIDDLE OF IT.
EXCUSE ME, MA'AM. MIND IF I SIT DOWN?
SURE.
YOU GET CARDED, TOO?
NO, I'M JUST WAITING ON SOMEBODY
BLY
HA HA HA. WHO'D THAT BE?
GODOT?
THAT'S A PLAY WE'RE READING--
HI, I'M WYLEEN.
I'M AUBREY McLEAN.
WAIT. AS IN THE AUBREY McLEAN BAND?
THAT'S ME.
AREN'T YOU SUPPOSED TO BE IN THERE PLAYING?
DON'T SEEM RIGHT,
MAKING MUSIC WHEN MY HEART'S BREAKING.
THAT'S A SONG RIGHT THERE.
[WHISTLING AND HOLLERING]
EVEN THOUGH SPLIT-TOED FOX BOOTS
DIDN'T EXIST UNTIL 1792.
ANYWAY, I SCOOPED YOU UP,
AND TOGETHER WE RODE MY HORSE OFF TO SAFETY.
THAT'S QUITE A DREAM.
YOU ARE SO BRAVE.
HEY, YOU WERE IN DANGER.
I HAD TO TAKE ACTION.
DIDN'T IT LOOK LIKE
HE WAS GOING TO HIT ME WITH THAT BOTTLE?
WHAT'S UP? WHAT'S UP?
WAIT TILL YOUR HOMIES HEAR ABOUT THIS.
IT WAS A LOT OF FUN.
DO YOU SEE ME GO OFF?
WHAT IS IT, THE ***-PUSH?
I WAS WORKING IT-- HEY, HEY.
TASH, THANKS FOR COMING WITH ME TONIGHT.
I'M REALLY GLAD YOU'RE HERE.
YOU HELPED TAKE MY MIND OFF...HER.
SHE WAS ONLY 15 YEARS OLD WHEN I MET HER.
MM-MM-MMM.
HOW LONG YOU GUYS BEEN TOGETHER?
ABOUT SIX MONTHS.
YOU KNOW WHAT THEY SAY, AUBREY--
15 WILL GET YOU 20.
MY ATTRACTION TO HER WAS STRICTLY VOCAL.
NOW SHE'S GONE.
"I HAVE TOINISH HIGH SCHOOL."
I CANNOT BELIEVE WANDA JONES
PASSED UP THE OPPORTUNITY TO SING IN A BAND.
WHEN I WAS 15,
I WOULD'VE KILLED TO BE IN A BAND.
ALL I WANTED TO BE WAS THE NEXT REBA McENTIRE.
NOW THERE'S SOMETHING ELSE.
WANDA'S OUTFIT WAS MADE
RE'S ER'S FIRST COUSIN.
P!
MY HAND TO GOD.
SO YOU WANTED TO BE THE NEXT REBA, HUH?
HA HA. YEAH.
WYLEEN, I PERSONALLY BELIEVE
LIFE ISN'T WORTH LIVING UNLESS YOU TAKE UP YOUR DREAMS
AND TRY TO MAKE THEM REAL.
WAIT A MINUTE.
OH, GOD!
OH, GOD!
PLEASE STOP THIS THING.
SOMEBODY PLEASE STOP THIS THING.
SO WHAT ARE YOU DOING HERE?
OH, JACK AND I GOT INTO A LITTLE THING.
WE'LL BE FINE.
OH, GREAT.
YOU KNOW, HE'S A GREAT GUY. IT'S JUST, UH...
WELL, SOMETIMES OUR INTERESTS DIVERGE.
HE'S PROBABLY RESPONDING
TO THAT ANNOYING DESIRE OF YOURS TO HAVE FUN.
YOU DON'T UNDERSTAND, BOYD.
MY RELATIONSHIP
I UNDERSTAND.
MY FEELINGS FOR HIM ARE SO LAYERED.
IT'S NOT ONLY AFFECTION AND ATTRACTION,
BUT--BUT GRATITUDE AND RESPECT.
HE'S TAUGHT ME SO MUCH.
HE'S BEEN VERY GOOD FOR ME. MY PERSPECTIVE--
JOY.
YES?
DID YOU COME HERE TO TELL ME
HOW GREAT THINGS ARE BETWEEN YOU AND JACK?
NO.
I KNOW.
LET'S PUT YOUR HANDS TOGETHER FOR
MISS WYLEEN PRITCHETT.
[APPLAUSE]
I THINK YOUR SISTER'S ABOUT TO SIN
I THINK YOU AND I ARE ABOUT TO DANCE.
♪ I COULD CRY ♪♪
♪ SALTY TEARS ♪
♪ WHERE HAVE I BEEN ♪
♪ ALL THESE YEARS? ♪
CAN YOU MOVE YOUR PEANUTHEAD OVER?
YOU'RE BLOCKG MY SIGHTLINES.
♪ LISTEN, SWEET, I REPEAT ♪
♪ HOW LONHAS IS BEEN GNG ON? ♪
JOY...
THERE'S SOMETHING YOU SHOULD KNOW.
OH, GOD. YOU'RE ABOUT TO KISS ME.
NO, I'M NOT.
■
ENCY TO FIB.
♪♪ HOW LONG HAS THIS BEEN GOING ON? ♪
■■
♪ THAT I COULD MELT ♪
♪NTO HEAVEN I'M HURLED... ♪♪
CAPTIONING MADE POSSIBLE BY CASTLE ROCK ENTERTAINMENAND NATIONAL BROADCASTING COMPANY
ONS ON OF
, .
THIS PLACE DOESN'T GET MY BUSINESS ANYMORE.
AAH!
THIS IS, UH, RATHER UNPLEASANT.
YEE-HAH!
YEOW!
BOYD, BOYD, BOYD, BOYD.
BOYD, BOYD, BOYD, BOYD.