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[theme song]

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♪ Sometimes the world
looks perfect ♪

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♪ Nothing to rearrange ♪

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♪ Sometimes you just
get a feeling ♪

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♪ Like you need some
kind of change ♪

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♪ No matter what the odds
are this time ♪

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♪ Nothing’s going to stand
in my way ♪

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♪ This flame in my heart ♪

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♪ Like a long lost friend ♪

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♪ Gives every dark street
a light at the end ♪

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♪ Standing tall ♪
♪ Standing tall ♪

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♪ On the wings of my dream ♪
♪ Wings of my dream ♪

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♪ Rise and fall ♪
♪ Rise and fall ♪

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♪ On the wings of my dream ♪
♪ Wings of my dream ♪

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♪ The rain and thunder
the wind and haze ♪

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♪ I’m bound for better days ♪
♪ Ooh ooh ♪

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♪ It’s my life and my dream ♪

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♪ And nothing’s going
to stop me now ♪

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[instrumental music]

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Cousin, cousin, cousin.

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I’ve got some amazing news.
You’d better sit down.

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I am sitting.

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Well, then stand up.

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Alright, now sit down.

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I have been waiting
and waiting to find

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just the right time to tell you.

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Do you know how Ms. Lydia
is always wanting

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exciting new scripts
for her theater group?

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Mm‐hmm. Oh, don’t tell me
you gave Lydia my play!

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Okay, I won’t tell you, but
then I won’t have any news.

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You wanna make popcorn or...

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Balki, I can’t believe
you gave her my script

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without my permission.

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My play, "Wheat," is still
a work in progress.

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Oh, I’ll be humiliated!

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The theater group will hate it!

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I‐I’ll be a laughing stock!

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Cousin, um, it opens on Friday.

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They’ve been rehearsing
for weeks.

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Everyone loves it!

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Well, of course they love it.

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It’s a brilliant
piece of writing.

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Well, cousin,
I’ve never actually read it

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but as the author you’ll be
particularly pleased to know

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that the stage is brilliantly
managed by me.

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I’m the stage manager!

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They forgot my name!

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My‐my duties include opening
and closing the curtain.

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I’ve been practicing
in the shower all week.

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[upbeat music]

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Cousin, cousin, come on.

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I’m gonna give you...

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I’m gonna give you a complete
tour of the theater.

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Now this...is the stage.

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And, and these,
these are the chairs.

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And that’s...just about it.

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Oh, hi, Larry!
I love your play!

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I bet you were really excited

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when Balki told
you we’re doing it?

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I sure was.

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You know, the play is, uh,
somewhat autobiographical.

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I based the character
of Lawrence on, well...me.

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Well, despite that opening
night’s already sold out!

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Cousin! Cousin, cousin, look!
Look! See them two guys?

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The guy on the left, he’s
the director, Trevor McNeil.

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’And the guy on the right
is the star of the show’

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Brad Oliver.
You’ve seen him before!

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‐I have?
‐Yes!

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Last week
at Little Tony’s Pasta Palace.

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He was our waiter.

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Okay, in this scene
your brother, Billy

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erupts in a fit of anger.

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Now, Brad,
your character of Lawrence

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is‐is basically a buffoon.

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So your underlying
motivation is...

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Bu...buffoonery?

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Bravo, Brad! Yeah!

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Thanks, Trevor, I’m depending
on your guidance to help make

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this Lawrence character
a complete bonehead.

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Good, good. And look, don’t let
the words get in your way.

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We can always change
them later, huh?

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Ho...ho...whoa,
whoa, no!

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No, no, no, no, you‐you
can’t change the words.

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The words are sacred.

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‐Who are you?
‐I’m Larry Appleton.

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The author of "Wheat."

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And "Wheat" is perfect
as it is.

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Every word is in its
proper place.

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Oh, I see what’s going on here.

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This is your first play

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and you think you’ve
written a masterpiece.

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Well, I’ll tell you what, if you
work real hard, maybe someday

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you’ll have a career writing
game show questions, huh?

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Excuse me. Excuse me.
Just a minute.

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Cousin Larry happens
to be a published writer.

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He fills in the bubbles
for the cartoon

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"Dimitri’s World."

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Ooh, that’s very impressive.

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Now be a good little playwright
and get off my stage.

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You, sir, are theatrically
illiterate!

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I‐I‐I bet you thought
that "The King And I"

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was the story
of Elvis and Priscilla!

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You mean it’s not?

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I don’t need this aggravation,
huh?

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I don’t need this play! I quit!

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Well, good! Who needs him?

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I do! He’s my ride!

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I quit!

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Well, well, you still want to
put on this play, don’t you?

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Boy, I’m guessing
Trevor has a van.

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Larry, I just ran into
Trevor in the hall!

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I cannot believe that
you made him quit!

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Well, then, so, you’ll get
another director.

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And then some more actors.

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You can open in a couple months.

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You know, that‐that would
really help me out a lot.

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It‐it would give me time
to perfect my curtain‐closing.

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Every time I practice
in the shower, someone’s in it

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and they scream
and ruin my timing.

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Well, I suppose we could
postpone, but I‐I don’t know

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if Clive Rich will be available
in two months.

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Clive Ric... Cli...
Clive Rich?

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The Clive Rich was going
to review my play?

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He was going to be here
on opening night

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but now I’ll just have to call
him and tell him it’s off.

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No, wait, Lydia!
Don’t‐don’t call anyone.

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You‐you know the old show
business saying?

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Feed a cold, starve an actor?

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No, it’s, "The show must go on."

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And it will.

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I will be the director
and I, Larry Appleton

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will star in "Wheat."

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[upbeat music]

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Alright! Alright, everybody!

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People! People! Gather around!
Here we go. Okay.

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I know it’s only a few
days until we open

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but I’ve been up all
night rewriting "Wheat."

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So that the five of us
can handle it, alright?

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Now, I will play Lawrence,
the lead role and narrator.

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Balki, you will be
my brother, Billy.

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Jennifer...Lois.

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Mary Anne...Bobbi Sue.

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And Lydia...the Apple Lady.

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Larry, we have never acted.

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We’re gonna make
fools of ourselves.

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The only thing I ever acted
in was the sixth grade

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hygiene pageant.

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I played Little Miss Gingivitis.

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There is nothing to worry about.
I will guide you through.

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I know everything there
is to know about the theater.

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In college,
I was the head ticket taker.

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So that’s why
they called you Stubby.

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Larry, I just read the
description of Lois.

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And when we get through this,
we’re going to have a nice

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long discussion about
why you think your wife

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should play your mother.

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What about...
W‐w‐we’ll talk about it later.

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Why don’t you go
with Lydia and Mary Anne

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learn the lines
for the wheatfield scene

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and Balki and I will start
rehearsal on stage.

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At least in this play
I won’t be washed off

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the stage by a giant Waterpik.

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Cousin, um,
I have two small problems.

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I’ll give you the big one first.

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If I play your brother, Billy

166
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how am I gonna still
be able to pull the curtain?

167
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I’ve got a lot of time
invested in that.

168
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You can still pull the curtain.

169
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‐Really? Okay.
‐Yes.

170
00:09:00,674 --> 00:09:01,875
Now, what’s your
second problem?

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I don’t think I can play
your brother, Billy.

172
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Why not?

173
00:09:05,679 --> 00:09:07,047
Well, because Billy
in the script

174
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is a mean, angry person

175
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and I don’t think I can
be someone mean and angry.

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It’s too different
from what I am.

177
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So, um, I was thinking

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maybe if Billy
was an immigrant mail boy

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who now draws a cartoon...

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‐I think I could get that.
‐Okay.

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00:09:27,100 --> 00:09:30,971
Balki, you don’t have
to be a mean person

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to act a mean character
in a play.

183
00:09:34,307 --> 00:09:36,042
See, you just, you just
have to think of a mean person

184
00:09:36,076 --> 00:09:37,243
and then you become that person.

185
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You think of a mean person,
and you become that person.

186
00:09:40,280 --> 00:09:43,684
So just, just think of somebody
who is really mean.

187
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I don’t know anyone really mean.

188
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Sure you do.
Uh, uh, wait, oh, wait.

189
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You were always telling
me back on Mypos

190
00:09:52,793 --> 00:09:53,927
there‐there was a bully.

191
00:09:53,960 --> 00:09:55,195
He used to always
steal your lunch

192
00:09:55,228 --> 00:09:57,698
when you were going over Goat
Water Bridge to get to school?

193
00:09:57,731 --> 00:09:59,099
Uh, Brunos.

194
00:09:59,132 --> 00:10:00,366
I can’t talk about that, cousin.

195
00:10:00,400 --> 00:10:03,369
‐I‐I‐I‐I still get nightmares.
‐No, it’s alright, alright.

196
00:10:03,403 --> 00:10:05,005
You, you, you don’t
have to think about

197
00:10:05,038 --> 00:10:06,840
what he did to you.

198
00:10:06,873 --> 00:10:10,343
Just‐just think about
who he was.

199
00:10:10,376 --> 00:10:13,146
Just‐just describe him. Hmm?

200
00:10:13,179 --> 00:10:14,881
Well...

201
00:10:16,683 --> 00:10:19,953
‐He was as big as an ox.
‐Mm‐hmm.

202
00:10:22,122 --> 00:10:24,257
‐He was as strong as an ox.
‐Mm‐hmm.

203
00:10:26,893 --> 00:10:29,796
‐He smelled like an ox.
‐Mm‐hmm.

204
00:10:32,966 --> 00:10:34,400
W‐wait a minute.

205
00:10:34,434 --> 00:10:37,237
He was an Ox. I’m thinking
of the family Ox, Mikey.

206
00:10:42,142 --> 00:10:44,911
Brunos. Think of Brunos.
Think of Brunos.

207
00:10:47,881 --> 00:10:50,817
Oh! Yeah.

208
00:10:50,851 --> 00:10:52,418
‐I got him. I got him.
‐Okay, alright, alright.

209
00:10:52,452 --> 00:10:53,820
Alright. Just‐just describe him.

210
00:10:53,854 --> 00:10:55,989
What‐what‐what
did he sound like?

211
00:10:56,022 --> 00:10:59,726
When he talked,
it was like thunder.

212
00:10:59,760 --> 00:11:01,227
Mm‐hmm, okay, okay.
How did he move?

213
00:11:04,030 --> 00:11:07,067
When he walked,
the whole island shook.

214
00:11:09,269 --> 00:11:11,204
He wasn’t invited out
very often.

215
00:11:11,237 --> 00:11:13,206
He wasn’t invited out
very often?

216
00:11:13,239 --> 00:11:14,775
‐No.
‐Why not?

217
00:11:14,808 --> 00:11:17,377
Because he was big
and smelly and scary.

218
00:11:19,479 --> 00:11:21,414
And have you ever thought
how that made him feel?

219
00:11:24,818 --> 00:11:27,353
‐Angry!
‐Mm‐hmm.

220
00:11:27,387 --> 00:11:29,122
‐Angry!
‐Alright. Good! Good!

221
00:11:29,155 --> 00:11:31,925
‐Become Brunos!
‐Ah!

222
00:11:34,895 --> 00:11:36,963
It’s Friday night
and I’m all alone.

223
00:11:37,898 --> 00:11:40,934
And I smell bad!

224
00:11:40,967 --> 00:11:43,003
Great! Great!
You’re doing great!

225
00:11:43,036 --> 00:11:45,171
You’re doing great! Oh!

226
00:11:45,205 --> 00:11:46,907
Alright, alright. Now, come on,
let’s just, let’s just

227
00:11:46,940 --> 00:11:49,042
try it with the lines, okay?

228
00:11:49,075 --> 00:11:50,143
‐Okay.
‐Alright, alright. Here we go.

229
00:11:50,176 --> 00:11:51,277
‐Yeah. Okay.
‐Here we go. Alright.

230
00:11:51,311 --> 00:11:53,479
‐Angry, angry.
‐Angry!

231
00:11:53,514 --> 00:11:54,681
‐Good! Okay, okay. Alright.
‐Yeah.

232
00:11:54,715 --> 00:12:00,453
"Billy, who parked the thresher
down by Old Creek Road?"

233
00:12:00,486 --> 00:12:04,024
"I did. What are you
going to do about it?"

234
00:12:09,495 --> 00:12:12,498
No, no, no.
You lost the anger.

235
00:12:12,533 --> 00:12:14,434
You lost the anger. It all
went right out the window.

236
00:12:14,467 --> 00:12:17,370
Alright, what you have to do...

237
00:12:17,403 --> 00:12:20,941
You have to retain the anger
when you say the lines.

238
00:12:20,974 --> 00:12:23,343
Alright, alright,
what we need is a word...

239
00:12:23,376 --> 00:12:25,812
...that will help you
to become Brunos.

240
00:12:25,846 --> 00:12:28,949
A key word that will set off
your memory of Brunos

241
00:12:28,982 --> 00:12:30,250
when he was at his meanest.

242
00:12:30,283 --> 00:12:32,819
Alright, alright.
Where would you see Brunos?

243
00:12:32,853 --> 00:12:35,789
Uh...well, uh, when I
was on my way to school.

244
00:12:35,822 --> 00:12:37,190
And you’d be on your
way to school.

245
00:12:37,223 --> 00:12:38,525
‐Yeah, I‐I‐I‐I would have‐‐
‐You’d have your lunch.

246
00:12:38,559 --> 00:12:41,394
I’d have my lunch, and‐and I’d
be crossing over the‐the bridge.

247
00:12:41,427 --> 00:12:43,163
Path to school. Okay, alright.

248
00:12:43,196 --> 00:12:47,000
[snaps fingers]
I’ve got it. Lunch.

249
00:12:47,033 --> 00:12:48,468
Bridge.

250
00:12:48,502 --> 00:12:51,938
Alright... Uh, uh, school.

251
00:12:51,972 --> 00:12:53,173
Bridge.

252
00:12:55,008 --> 00:12:56,943
Alright, alright. Path.

253
00:12:56,977 --> 00:12:58,244
Bridge!

254
00:12:58,278 --> 00:13:01,147
Bridge! Bridge!

255
00:13:01,181 --> 00:13:03,183
I’ve got it. Bridge!

256
00:13:03,216 --> 00:13:05,886
[screaming]

257
00:13:05,919 --> 00:13:07,487
Great! Great!
You’re doing great!

258
00:13:07,521 --> 00:13:09,556
Yes! Yes! Yes!
Alright! Alright!

259
00:13:09,590 --> 00:13:13,126
Every time you hear that word
you will become Brunos!

260
00:13:13,159 --> 00:13:15,061
Now, we can put that word
anywhere in the script!

261
00:13:15,095 --> 00:13:16,530
Alright, come on.
Let’s try it with the lines.

262
00:13:16,563 --> 00:13:17,731
‐Okay.
‐Here we go. Here we go.

263
00:13:17,764 --> 00:13:19,533
Come on, come on. One more time.
Here we go. Alright, ready?

264
00:13:19,566 --> 00:13:20,801
‐Yeah. Okay.
‐Alright, here we go.

265
00:13:20,834 --> 00:13:27,941
"Billy, who parked the thresher
down by Old Creek...Bridge?"

266
00:13:27,974 --> 00:13:31,311
"I did! What are you
gonna do about it?"

267
00:13:33,413 --> 00:13:35,148
[instrumental music]

268
00:13:41,487 --> 00:13:43,056
[instrumental music]

269
00:13:55,936 --> 00:13:57,437
"Wheat."

270
00:14:00,073 --> 00:14:02,509
Miles and miles of wheat.

271
00:14:04,978 --> 00:14:09,883
In an era of depression
and hardship

272
00:14:09,916 --> 00:14:14,988
there emerged a young man
struggling to save his family

273
00:14:15,021 --> 00:14:18,124
from a failed wheat crop
and economic decline.

274
00:14:19,526 --> 00:14:23,897
All while trying to realize
his dream of becoming an author.

275
00:14:31,004 --> 00:14:33,940
I’m Lawrence,
and this is my story...

276
00:14:36,109 --> 00:14:37,277
"...Wheat."

277
00:14:44,084 --> 00:14:45,619
This is my mother. Ma.

278
00:14:51,124 --> 00:14:53,326
Ma was a hard‐working woman

279
00:14:53,359 --> 00:14:57,263
who paid the price
of pioneer life.

280
00:14:57,297 --> 00:15:01,668
Her face was as dry and cracked
as the drought‐ridden earth.

281
00:15:06,540 --> 00:15:09,075
She was 40, but looked 60.

282
00:15:13,113 --> 00:15:16,349
Every afternoon,
Ma summoned me to supper

283
00:15:16,382 --> 00:15:19,119
with her pleasant,
almost melodic voice.

284
00:15:19,986 --> 00:15:21,387
Come and get it, Lawrence.

285
00:15:29,095 --> 00:15:30,597
But she wasn’t
feeling well today.

286
00:15:33,233 --> 00:15:36,469
Bu‐but no matter how she felt

287
00:15:36,503 --> 00:15:39,272
Ma was always waiting
there to greet me with a hug.

288
00:15:43,376 --> 00:15:44,578
Except Tuesday.

289
00:15:47,681 --> 00:15:50,316
There was no hugging
on Tuesdays.

290
00:15:52,252 --> 00:15:53,687
‐We always used to enjoy‐‐
‐Hello, Lawrence.

291
00:15:53,720 --> 00:15:55,622
‐It is I, your brother, Billy!
‐Not now! Not now!

292
00:15:55,656 --> 00:15:59,526
Get off the stage! Not now! Go,
go, go, go! Go away! Go away!

293
00:16:03,530 --> 00:16:05,465
We always used
to enjoy a visit‐‐

294
00:16:05,498 --> 00:16:07,200
[blabbering]

295
00:16:09,803 --> 00:16:12,706
We always used
to enjoy...a visit from...

296
00:16:14,440 --> 00:16:15,642
...from the Apple Lady.

297
00:16:24,217 --> 00:16:27,654
One of the Apple Lady’s favorite
activities was to gossip.

298
00:16:29,489 --> 00:16:32,659
Once she started talking
there was no stopping her.

299
00:16:32,693 --> 00:16:35,361
So, Apple Lady, what’s new?

300
00:16:37,831 --> 00:16:39,165
Well...

301
00:16:45,171 --> 00:16:47,674
So, Apple Lady...what’s new?

302
00:16:51,545 --> 00:16:53,146
Lydia. Lydia.

303
00:16:56,783 --> 00:17:00,120
One of the Apple Lady’s second
favorite activities

304
00:17:00,153 --> 00:17:03,423
was to come into a room
and stand there like a stone.

305
00:17:07,293 --> 00:17:09,530
Mary Anne?

306
00:17:09,563 --> 00:17:11,131
Hello, Lawrence!
It is I, your brother, Billy!

307
00:17:11,164 --> 00:17:13,567
Not now, not yet!
No! Get Mary Anne!

308
00:17:17,704 --> 00:17:22,676
Some of my fondest memories
were of my sweetheart love

309
00:17:22,709 --> 00:17:25,045
Bobbi Sue. Hi, Bobbi Sue!

310
00:17:28,682 --> 00:17:30,050
Hi, Lawrence!

311
00:17:31,718 --> 00:17:34,320
Bobbi Sue was very considerate.

312
00:17:34,354 --> 00:17:37,524
She always brought over a bottle
of fresh milk from her cow

313
00:17:37,558 --> 00:17:38,659
Bessie.

314
00:17:41,562 --> 00:17:44,264
I couldn’t find the milk.

315
00:17:44,297 --> 00:17:47,601
Lawrence, may I pour you a tall,
cold glass of...

316
00:17:50,236 --> 00:17:51,838
Oh, now that doesn’t
work at all, does it?

317
00:17:53,473 --> 00:17:57,544
And so Bobbi Sue and Ma

318
00:17:57,578 --> 00:17:59,646
moved to the big city.

319
00:17:59,680 --> 00:18:02,616
And they took the Apple Lady
with them

320
00:18:02,649 --> 00:18:04,785
to use as a doorstop.

321
00:18:07,654 --> 00:18:12,659
And‐and with Ma and the,
and the rest of them gone

322
00:18:12,693 --> 00:18:16,462
I was able to spend time alone
with my brother, Billy.

323
00:18:23,604 --> 00:18:25,138
My brother, Billy!

324
00:18:29,810 --> 00:18:32,746
Hello, Lawrence, it is I,
your brother, Billy!

325
00:18:36,382 --> 00:18:38,652
On the surface,
Billy was a... Oh, God!

326
00:18:40,654 --> 00:18:42,455
On the surface, Billy was a...

327
00:18:48,194 --> 00:18:50,931
On the surface,
Billy was a good kid

328
00:18:50,964 --> 00:18:53,499
but underneath there
lurked a time bomb

329
00:18:53,534 --> 00:18:54,801
waiting to explode.

330
00:18:54,835 --> 00:18:57,337
So, Billy

331
00:18:57,370 --> 00:19:01,775
who parked the thresher
down by Old Creek Bridge?

332
00:19:01,808 --> 00:19:05,211
I did! What are you gonna
do about it, huh?

333
00:19:05,245 --> 00:19:07,948
Nothing! Nothing!
I’m sorry I asked!

334
00:19:07,981 --> 00:19:09,516
‐You’re doing great!
‐Oh, thank you.

335
00:19:09,550 --> 00:19:10,884
I‐I’ve been practicing.

336
00:19:13,754 --> 00:19:16,690
Sure, Billy had his problems.

337
00:19:16,723 --> 00:19:19,793
Heck, we all had our problems

338
00:19:19,826 --> 00:19:21,895
but he was able
to bridge that gap.

339
00:19:23,697 --> 00:19:28,268
’Sometimes...Billy could
be an understanding’

340
00:19:28,301 --> 00:19:33,373
kind, thoughtful
and filled with compassion.

341
00:19:33,406 --> 00:19:35,241
A caring brother.

342
00:19:35,275 --> 00:19:38,879
Whose only thought was
the happiness of his family.

343
00:19:40,380 --> 00:19:44,518
Wherever Billy went
there was only love.

344
00:19:44,551 --> 00:19:46,620
Shut up and give me your lunch!

345
00:19:46,653 --> 00:19:48,188
[screaming]

346
00:19:59,933 --> 00:20:02,969
I guess today’s the day
that Billy goes off to college!

347
00:20:04,437 --> 00:20:07,373
Bye, Billy! Write!
He never will.

348
00:20:08,775 --> 00:20:11,845
Oh...so, where, where was I?
Oh, um...

349
00:20:14,014 --> 00:20:15,415
Wheat.

350
00:20:16,950 --> 00:20:19,686
Aha!

351
00:20:19,720 --> 00:20:20,821
Spring break already?

352
00:20:23,590 --> 00:20:24,958
Calm down, Balki.

353
00:20:26,993 --> 00:20:29,763
Billy had trouble
adjusting to college.

354
00:20:35,301 --> 00:20:37,871
And like many
struggling freshman

355
00:20:37,904 --> 00:20:41,441
he developed a bizarre
furniture throwing disorder.

356
00:20:42,075 --> 00:20:44,277
Ah!

357
00:20:44,310 --> 00:20:46,412
Sure, sure, there
were barriers between us.

358
00:20:47,948 --> 00:20:51,051
But Billy was always
able to tear ’em down. Oh, God.

359
00:20:51,084 --> 00:20:52,986
Now you’re going
off the bridge!

360
00:20:53,019 --> 00:20:54,420
[screaming]

361
00:20:57,558 --> 00:20:58,892
(female #1)
’Curtain!’

362
00:20:58,925 --> 00:20:59,993
Curtain? That’s my job!

363
00:21:01,762 --> 00:21:02,929
[upbeat music]

364
00:21:12,973 --> 00:21:15,509
Now let’s get you comfortable.

365
00:21:15,542 --> 00:21:18,912
Cousin, I’m... Cousin, I‐I’m
sorry I threw you off the stage.

366
00:21:18,945 --> 00:21:21,381
I’ll never forgive myself
for causing you to black out

367
00:21:21,414 --> 00:21:22,983
and miss my curtain closing.

368
00:21:25,118 --> 00:21:26,486
Oh, no, no, no,
Mary Anne, Mary Anne

369
00:21:26,520 --> 00:21:27,521
that‐that’s gonna be too high.

370
00:21:28,655 --> 00:21:31,658
Oh!

371
00:21:31,692 --> 00:21:33,694
No, Mary Anne, Mary Anne, that’s
the good cushion, don’t do that.

372
00:21:34,861 --> 00:21:35,896
Here, let’s try this one, okay?

373
00:21:35,929 --> 00:21:37,497
Okay. Oh!

374
00:21:42,969 --> 00:21:46,973
Oh...I know, I know.
I did it again.

375
00:21:47,007 --> 00:21:49,610
I couldn’t leave
well enough alone.

376
00:21:49,643 --> 00:21:51,377
If I hadn’t taken
over the play

377
00:21:51,411 --> 00:21:54,480
and insisted on doing it my way,
everything would have been fine.

378
00:21:54,515 --> 00:21:58,451
Oh, now, come on, cousin.
Don’t be so hard on yourself.

379
00:21:59,119 --> 00:22:00,053
‐Larry?
‐’Uh‐huh.’

380
00:22:00,086 --> 00:22:02,589
Are, are you ready
to read the review yet?

381
00:22:02,623 --> 00:22:03,890
Oh, no, no, please.

382
00:22:03,924 --> 00:22:08,795
I‐I don’t want to hear anything
that‐that reminds me of "Wheat."

383
00:22:08,829 --> 00:22:14,500
I‐I mean, I’m‐I’m just glad the
whole thing is‐is over and done.

384
00:22:14,535 --> 00:22:18,038
As far as I’m concerned it’s
just all water under the bridge.

385
00:22:20,741 --> 00:22:22,008
[screaming]

386
00:22:23,476 --> 00:22:25,011
[theme music]

387
00:22:32,018 --> 00:22:34,855
[theme music]