Plot Climax:
The townspeople come in droves to help McCormack build Ren’s New York Style Nightclub. Everyone is happy to assist McCormack and take advantage of the free dance lessons that he provides. Its an idyllic time, where everyone learns the running man, the robot, and other sweet moves only McCormack could dream up. Here, McCormack bonds with Penn’s son, who learns that its better to get coked up and stare at a disco ball instead of huffing paint. Dwayne, the only other man in down besides McCormack with any rhythm, assists in the dance lessons, observing time and time again that McCormack’s plan is just “wack” enough to succeed.
The construction of the club will be an hour-long musical montage, featuring music from such artists as, Al B. Sure, Daryll Hall (solo, NOT with Oates), J. Geils Band, Twisted Sister, and Level 42, not to mention the obligatory doses of Tiffany, Men at Work, and Kenny Loggins.

Don’t be fooled by his go-lucky smile.
Kenny Loggins doesn’t fuck around.

The climax of the film comes on the Club’s opening night. The whole town shows up, and drinks are half off until 10 pm. McCormack takes center stage, inducing a lively dance-along and, wetting many crotches in the process. The Reverend does a bunch of blow with hookers. For a moment, it seems the town’s faint flame of hope has been reunited by McCormacks hot ass, tight jeans, short leather jacket, and loose tie, worn askance in a style commensurate with McCormack’s ‘tude.
Then, Sanderson shows up. The townspeople scamper off the dance floor in fear.

Only Patrick Swayze has the acting and dancing chops
to match up with Kevin Bacon’s McCormack in Footloose II.

Climactic Scene:

Fade to Black.

A Note On Theme: While Footloose asked the question, “Why aren’t we dancing?”, Footloose II askes the question, “Wait, what are we dancing for?” In this way, it is a metaphor for life’s deeper questions about our existenstial purpose, and provides a more compelling cinematic experience.

All I can say is PURCHSE YOUR TICKETS IN ADVANCE. This thing is a foolproof box office smash. In addition to being a deep, meaningful vehicle for Kevin Bacon, it will sell like mad for one other reason: It borrows heavily from the two greatest movies ever made, Roadhouse, and Dirty Dancing.
After all, why should Hilary Swank get to win all the Oscars? Where’s Swayze’s Oscar? The fact that Swayze doesn’t have an Oscar is bullshit. Did nobody see Black Dog?

A deal is in the works with Nike to reissue the
rubber-toed canvas sneakers upon the release of Footloose II.

For an informative instructional video on how to execute “the lift”, contact cw@thedeckingcrew.com