- After Woody's Uncle Fergie has a mugging filled trip to Boston. Woody's father thinks that Boston is too dangerous a place for his son. And he wants him to return back home to Indiana. The gang at the bar thinks that introducing Woody's friends through the making of a home movie, would settle Woody's father's concerns. The first attempt has Diane as writer, director and cinematographer. Her "cast" rebels at the unnatural, for them dialog in Diane's script. They fire her, and she then separates herself from the project. The final product of the second attempt has Woody shown individually with each of his friends. Each, against their own natural settings: Sam in his office. Carla at a backyard BBQ, with her rambunctious kids. Cliff on his postal route. Norm at the Hungry Heifer, and Frasier at his psychiatry practice's office. After watching it. They each agrees that they all come off as boobs. Except for Diane. She sees this version as the start of something great. To her, all it needs are a few Chamber's touches. Will Diane's Jean-Luc Godard inspired version, which she sent to Woody's parents, do the trick?—Huggo
- After his Uncle is mugged during a trip to Boston, Woody's parents want him to return to Indiana. In hopes to show the Boyds that Boston is not as dangerous as they think, the Cheers gang decide to make a video showing how well acclimated Woody has grown to his new hometown.
Diane spearheads the first iteration, but everyone soon grows irritated by her over-the-top scriptwriting. Diane then turns the project over to the others, and exits her role on the film.
The second iteration is more like a home movie, with Woody introducing almost everyone he knows. Filming also takes place at Carla's house, along Cliff's postal route, and at Norm's favorite restaurant: The Hungry Heifer. However, in the end, almost noone likes the way they turned out on film.
Diane then offers to re-edit the film, splicing in stock footage and classical music to make it appear grander and more artistic in tone. Even though noone is willing to admit that they don't like the film, Diane takes the initiative and sends a copy to Woody's parents, sure that they will see it and understand his need to stay.
The scene then cuts to an indeterminate amount of time afterward, where Woody is saying goodbye to his friends at the bar. Diane wonders if it was her film that influenced the decision, but Woody claims it didn't have any influence on his parent's decision.
As Woody is about to leave the bar, the phone rings, and the caller asks to speak to him. It turns out to be his parents, who claim they are willing to let him stay in Boston. Diane happily thinks that her film was the cause of this decision, but Woody tells her his Dad threw her film in the thresher.
What finally swayed his parents to change their mind, was an unsigned note telling them to let their son make his own decisions. Woody asks each of his friends, but noone claims to have done it. Woody wishes he could thank whoever sent the note, when a voice near the door says: "Don't mention it, kid."
The voice belongs to Al, an old man who is one of the bar's regulars.
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