Utilizing the latest in DrewCam! technology, the viewer is invited to walk a mile in Drew Baylor's shoes. Fortunately, much less than a mile is needed to establish that although Elizabethtown's no-longer-resident saint is lying in a box at the funeral home, the true landmark event taking place for these townspeople is the return of "grown-up Drew Baylor."

WARNING: Audiences are to review this POV shot at their own risk, as identifying this closely with Drew may result in an increased amount of undeserved adulation and/or a gradual, overall dumbening much like that experienced by Charlie in Flowers For Algernon.

It is during this sequence that we are introduced to Connie, Mitch's first girlfriend; Charlie, a young admirer of Drew's work; and countless other individuals who gasp and cling to Drew as if they had not just received his awkward condolences at the funeral home. The blatant discord between the townspeople's poker-faced silence and the Lynchian revision we see here raises the possibility that Elizabethtown is nothing more than a large outdoor playground for the clinically insane; indeed, the unsettling jollity on display here suggests that the whole town may have conspired to kill Mitch just so they could have a party.

Through it all, Drew maintains utter passivity, offering no visible reaction to the him-centered commotion abound. Even when Aunt Dora leads Drew to an upstairs chamber containing photographs and artifacts from his father's life in Elizabethtown, Drew's behavior seems consistent with that of a narcoleptic who has painted eyeballs on his eyelids. On the other hand, Drew's conflicted sense of belonging to his own family tree would certainly be understandable considering the underwhelming nature of the Baylors and Connellys, beginning with a man named Dickie whom Aunt Dora describes as "an alcoholic. He had a drinking problem. And he also had three nipples."

This clip contains our first introduction to Samson, Jessie's son who is clearly up to no good, as noted by Jessie with the line, "That's Samson, my son, clearly up to no good." In case of any leftover ambiguity regarding Samson's character, we cut to a shot of the young boy standing with his arms crossed, clearly a body language major from the Dennis the Menace Institute of Authority Subversion. Noticeably absent is an actual graphic of the scale denoting Samson as a "scamp" on a scale of "handful" to "rascal."

Samson's behavior in this clip is crucial in setting up Jessie as the irresponsible father, the topic of which must be addressed with speed and cogency, considering how quickly the entire subplot ia subsequently abandoned. Samson's behavior is virtually unrecognizable as boyish hijinks, particularly the scene in which he backs a car out of the driveway. While it is possible that Samson was compelled to look for 60B, perhaps he was only trying to flee the endless, overlapping gab of "ruzzah ruzzah," "peas and carrots," and "elephant shoes" echoing through the house.