the fact that neurotypicals exist will always be baffling to me honestly like. they can just focus without struggling??? n don't think constantly??? n don't hyperfixate on things??? sounds fake-
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How i do stuff | Part 2
Okay so i'm kinda doing this backwards going from the shading back to the sketching but not like i did anything logically ever.
THIS IS NOT GOING TO BE A LINE FOR LINE PROCESS because i am not that insane. Yet.
To be honest the entire sketching process is very intuitive on my part so i don't think i can provide much insight here but i'll try to make it make sense.
It is really not as conscious as the shading.
So first: have an idea to work with
Find a concept i like and go from there.
I decided that i want Vessel to look upwards and a little bit to the side and add some other details (which you are not going to see here yet. We are talking about sketching people here not background or whatever.)
Next step: i try to find a reference image that is as close to the desired pose as possible. It could either be made by a posing tool or actual reference image. Whichever is at hand.
(For whatever mysterious reasons i have a small catalog of IV pics in my head rent free so i actually knew what i was looking for.)
I use reference pictures for a few reasons. For one, they make it so much easier to figure out poses and movements. But more importantly by looking at them i can figure out the flow of the body much more faster than just from memory. They also help with understanding how cloth is draping or the way light hits certain shapes and surfaces. There are a lot of benefits.
Anyway so we have our reference picture:
But i wanted Vessel to look the other way so flipped it. (Zoom in not mandatory but we don't need the rest of IV for this.)
Ye okay i can now kind of figure out where goes what in relation to one and other.
Okay okay okay i know: draw a circle than finish the fucking owl.. no bear with me. I need something on the page to talk about what i do. Lemme explain:
So first i'm starting with the traditional x or cross (blue on the pic below). I usually i orient it in my head that the meeting point of the line is the part of your nose dips right above the nosebridge. Because that is usually in the same level as the eyes. At least how i start, they could be moved up or down later.
So the horizontal line for me is the middle of the middle pair of eyes/eyeholes for Vessel or if there is only one set of eyes than it is the middle line for the eyes. I found it most comfortable in proportion wise for me to start with. (This horizontal line would be the tip of the ears as well if i had ears on here.)
Than i pick where the tip of the nose and the mouth is going to be roughly. Doesn't have to be more than a little dot or line, it is going to be changed later anyway.(pink lines below)
I also pick a comfortable spot on the vertical line where the point of the chin is going to be, where throat starts and pick a spot for the addam's apple.(pink lines below)
Than i make the whole head into somewhat head like shape (pink egg like shape below), because where that ends is basically what i'm connecting with the chin point to find the jawline. (green lines below)
Maybe even add to a line or two for where i imagine the hood to go just for funsies.
What else i do simultaniously with this is finding the flow of the face because where his adam's apple is, will tell me where the neck bends in the movement, the neck curving point will show where the shoulder connects, but also where the tendons are going towards the suprasternal hollow and then where the collarbones start and angle back up towards the shoulders etc. Everything connects to the next thing.
(I also do this for half or full body figures as well, only there i'm trying to find the flow of the entire body. Or more accurately the curve of the spine in a natural or close to natural shape first and then figure out the smaller parts.)
Look i'm not gonna lie, for this to be eyeballed off of even a pretty close reference picture in a way that looks close to natural or makes sense, you have to have a basic understanding of anatomy.
It doesn't have to be a conscious understanding but it has to be there. There are endless tutorials out there to help with this and i highly recommend looking up a few because i know not everyone can learn it just by looking at dancers and anatomy lab videos.
Next step: find a reference for the mask and preferably for the mouth because i'm bad at drawing mouths and i want to learn. If it is moving make it not moving, it helps a lot. Kill it with a screenshot, put it in Paint, bury it in a jpeg. Simple as that.
When i have my mask reference, i'm just trying to find a sweet spot that matches it in a way that feels good. First i'm going for the rough outline of it, details can be added later. It is not going to be a one-to-one to the reference because it is not the exact same angle, but it still helps.
And from here it is mostly just trial end error of putting lines and details in and than erasing them until i reach a state where i can say: yup this is look decent enough and can refine it into a lineart and start shading.
Not much else i could share here about this part of the process because as i've said most of it is pretty intuitive and based on a certain level of anatomical understanding.
(Hopefully you'll see the end result in a couple of days but we'll see how much time i'm going to have.)
Love you all and i'm sorry i can't provide more than this ♥
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Hi, I have EDS and use forearm crutches! I actually recommend the brand SmartCrutch because they are fully adjustable. If you haven't used forearm crutches before, it can be difficult to guess what angle is going to be the most comfortable/least strenuous. Being able to adjust the angle to the exact right spot is a huge advantage. I was actually lucky enough to borrow a pair to try them from a friend before I purchased them to see if it was comfortable. They even were kind enough to include a bag I can attach to my crutch free of charge. (Buy through their website, not through Amazon if at all possible!)
I have difficulty in all my joints but especially in my wrists, so anything that puts strain on my wrists was gonna be a no-go. I probably won't be able to do a self propelled wheelchair because of the severity, electric wheelchairs are way too expensive, but I needed something to help me when I have to leave the house. So, in comes the forearm crutches!
When set to the right height and angle I don't feel like it's putting any additional strain on any joints in particular, but it does make walking easier and less painful. If you ever lean against a railing (say, going on stairs or a long the edge of something) it's kinda of like having a railing to lean on wherever you go. I don't grip the handles very hard, I just have a loose grip or rest my palms against the handles. I do personally have mine set more horizontal, but my friend prefers hers slightly more vertical.
The only cons I've noticed are if I go out using both of them, I don't have an easily free hand to grab or hold things. I have a bag on one crutch that helps, but I've dropped a ton of things, like drinks. I often have to ask people who are with me to carry things for me.
The other con (sorta) is that while I'm not straining my joints, I am using a new set of muscles to walk. I did experience muscle fatigue in my arms at first, which got better with practice. I recommend treating them like a physical therapy exercise at first, where you have to train the muscles a little at a time until they figure out the whole walking thing. I don't notice the muscle fatigue in my arms anymore unless I'm up and active for an unusually long time.
I still haven't mastered staircases with crutches. I avoid them as much as possible, but when they're unavoidable I feel awkward using the crutches. It's uncomfortable having the crutches height change when it's up or down a step. Usually I just lift the crutches off the ground, brace against the built in stair railing, and slide up/down the stairs like that. One day maybe I'll figure out how you use the crutches on stairs.
Overall I adore my forearm crutches, they make my life a lot easier! I have them decorated with stickers, ribbons, flowers, and the bag has buttons on it. I think they look pretty cute now and I'm thrilled with them. SmartCrutch is a black base but can put decorative skins on the arm piece, but I got mine plain black because I always intended to decorate them myself and the skins didn't match my vision.
Thank you so much! I know that it will take a lot of adjusting since, like you said, it'll be a new set of muscles working much more for the actual walking and also keeping balance.
I've been looking at SmartCrutch brand for a long time, but never bought one because of the price. They're pretty expensive (I mean, all mobility aids unfortunately are). I would probably get a cheaper set from somewhere like Amazon/Norco and then paint them purple, and if it worked for me, or mostly worked and I felt like I needed more support than what the generic brands could offer, I would probably go for the SmartCrutch brand.
I'm so glad you were able to personalize yours! They sound so cute 🫶🏻 and I’m so glad to hear they help you!!
I really like the color range that SmartCrutch offers. I would probably either get the axolotl cove, or the sunflower fields!
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sketch vlog
penn station to bhstore to times square
times sq to columbus circle
union sq
columbus circe +bow bridge
times square
bklyn promenade
wtc
penn station
Bob: (excitedly) Oh, this selfie stick is the best invention ever! Wait till my friends see these!
Scene 2: Alice, a New Yorker, walks by and notices Bob's over-the-top selfies.
Alice: (sarcastically) Really going for that "tourist of the year" award, huh?
Bob: (proudly) You bet! Wanna join in? Selfies are a global language!
Bob: Uh-oh. I think I'm caught on something.
Officer Johnson: Remember, folks, Times Square is for everyone to enjoy, not just for your selfies.
Alice: (smirking) Lesson learned?
Bob: (laughs) Lesson learned. Let's just enjoy the city without causing a selfie stick catastrophe.
////////////
///
workplace mishaps grand central
Alice: (strictly) Bob, we have a crucial presentation in an hour. Don't mess this up.
Bob: (nervously) Yes, boss. I've got it under control.
Gary: (annoyed) Watch it, buddy! What's the rush?
Bob: (apologetic) Sorry! I'm in a bit of a hurry.
Scene 3: Bob picks up the papers in a hurry, but a gust of wind scatters them again.
Bob: Oh no, not again!
Alice: (sternly) Bob, you better retrieve those papers right now!
Scene 8: Bob climbs back up, disheveled but holding the papers.
Bob: (sheepishly) Got them, boss.
Gary: (grinning) You certainly know how to liven up Grand Central. Need a hand with those papers?
Bob: (laughing) Thanks, but I think I've had enough excitement for today.
////
Jamie: (chill) Ah, another day in the grand chaos of commuting.
Morgan: (frustrated) Why is it always a race to catch the train?
Morgan: (exasperated) We're on the wrong platform!
Scene 5: The train arrives on the opposite side.
Jamie: (grinning) Looks like we've got front-row seats for the show.
Morgan: (sarcastic) Fantastic.
Scene 9: They both head towards the correct platform, this time on the same side.
Jamie: Maybe Grand Central isn't so bad after all.
Morgan: (nodding) Maybe. See you around, coffee-spiller.
//////////
union sq
contrasting food preferences
Waiter: Our specials today include a three-cheese lasagna and… an experimental dish called "Cosmic Fusion Sushi."
Jamie: (grinning) I'll take the Cosmic Fusion Sushi!
Taylor: (raising an eyebrow) I'll stick to the lasagna.
Jamie: (admiring) Wow, it's like a galaxy on my plate!
Taylor: (looking concerned) Mine just looks like lasagna.
Jamie: (delighted) Mmm, tastes like a culinary journey through space!
Taylor: (unconvinced) My lasagna tastes like… lasagna.
Jamie: Come on, try it! It's an explosion of flavors!
Taylor: (reluctant) Fine, but just a tiny bite.
Taylor: (overacting) Oh, the cosmic explosion! I've never tasted anything so… otherworldly.
Jamie: (laughing) You're not fooling anyone.
Jamie: (excitedly) I love how each bite is a flavor adventure!
Taylor: (deadpan) I prefer my adventures in familiar territories.
Jamie: (enthusiastically) Spectacular! A gastronomic odyssey!
Taylor: (with a straight face) It's… lasagna.
Jamie: (surprised) This lasagna is actually amazing!
Taylor: (nodding) And the sushi is… out of this world.
/////////////
Instructor Steve: The rule of thirds is simple. Divide your frame into thirds both horizontally and vertically. Place your subject along these lines or at their intersections.
Emily: Got it! Easy enough.
Instructor Steve: Experiment with low angles, high angles, Dutch angles! Get creative with your perspective.
Bob: (sarcastically) Yeah, because nothing says "art" like photographing the ground.
Instructor Steve: Adjust your shutter speed to freeze or blur motion. It's like freezing time or letting it dance!
Emily: (enthusiastically) I want to capture the dance of life!
Bob: (mumbling) I just want to capture my lunch without it being a blur.
Instructor Steve: The right lighting can make or break a photo. Experiment with natural light, artificial light, candlelight, flashlight… any light!
Bob: (sarcastically) What about moonlight?
Instructor Steve: Yes! Moonlight is nature's built-in Instagram filter.
Bob: (mumbling) Why won't this camera cooperate? It's like it's allergic to my artistic vision.
Instructor Steve: Remember, photography is about expressing yourself. Even if your camera disagrees. Until next time, shutterbugs!
/////////////
Alex: Let's warm up those coding fingers! Write a function that prints the Fibonacci sequence.
Lisa: (typing) Alright, here we go. (types code) Done!
Alex: (impressed) Quick and clean. Now, if you were a programming language, which one would you be?
Lisa: (thinking) Python, because I'm flexible, easygoing, and occasionally a bit sneaky.
//////
Alex: (directing) Now, strike a pose that captures the essence of Brooklyn!
Taylor: (doing a dramatic pose) How about this? Brooklyn chic!
Scene 5: The Candid Attempt
Alex tries to capture a candid moment.
Alex: (whispering) Act natural. Pretend you're not being photographed.
Taylor: (awkwardly freezing) Like this?
Alex: (skeptical) Filters won't save you.
Taylor: (adding filters) Watch and learn, my friend. Brooklyn deserves a touch of whimsy.
////////
Emily: (smiling) Excuse me, are you lost?
Jack: (nervously) Uh, yeah. I'm looking for that famous bridge. You know, the one that's always in movies.
Emily: (holding back a laugh) The Brooklyn Bridge?
Jack: Yeah, that's the one!
//
Jamie is busy perfecting the art of the selfie.
Jamie: (posing) Every angle counts, right?
Terry: (cheerfully) Every angle, every expression! Capture the essence of you!
The real secret to enjoying the bridge? Embrace the calm chaos. Let the tourists twirl, and just enjoy the view.
Terry: Did you know, back in the day, people used to pay a toll to cross this bridge? It's like the OG E-ZPass.
Alex: (chuckles) The more you know.
Alex: (excitedly) This is the perfect spot! The symmetry, the lines… pure photographic gold!
Jamie: (rolling eyes) I just need good lighting for my selfie.
Terry: Let's immortalize this moment! Everyone, say "Brooklyn Bridge!"
Alex: (sarcastically) Wow, so original.
Alex: (setting up for a silhouette shot) This is it, the grand finale – the Brooklyn Bridge at sunset!
Jamie: (suddenly serious) Quick, I need a silhouette selfie!
///
Scene 2: The Price Tag Challenge
Sam picks up an item and examines the price tag.
Alex: A fine choice, my friend! A mere $50.
Sam: (raising an eyebrow) $50? I was thinking more like… $20.
Alex: (laughing) You drive a hard bargain. How about $40?
Scene 3: The Reluctant Counteroffer
Sam pretends to be torn, contemplating the counteroffer.
Sam: (feigning reluctance) Hmm, $35 is my final offer.
Alex: (smirking) Fine, fine! $35 it is. But only because I like your style.
Scene 4: Bulk Purchase Ploy
As Sam adds more items to the pile.
Sam: I'll take these too. What's the bulk discount?
Alex: (acting thoughtful) For you, my friend, let's say… $90 for everything.
Sam: (smirking) How about a smooth $75?
Scene 5: The Unpredictable Twist
Alex, attempting to outsmart Sam, changes the game.
Alex: Tell you what, add one more item, and I'll give you everything for $80.
Sam: (laughing) Nice try, but I'll stick with $75. Final offer.
Scene 6: The Closing Deal
After some more banter, they reach an agreement.
Alex: Alright, $75 it is. You drive a hard bargain, my friend.
Sam: Pleasure doing business with you.
Scene 7: The Surprise Bonus
As Sam walks away with the purchases, Alex throws in a small bonus.
Alex: (winking) And for your excellent haggling skills, a little extra for you.
Sam: (grinning) Now that's what I call a successful haggle.
[Closing shot: Sam walking away with a bag full of items, both parties satisfied.]
//////////
Amy: (excitedly) I heard this place serves dishes from around the world. I'm ready for a culinary adventure!
Jake: (smirking) Get ready to have your taste buds take a rollercoaster ride.
Scene 2: Meeting Chef Carlos
Chef Carlos emerges from the kitchen, wearing a colorful chef's hat.
Chef Carlos: ¡Hola, food adventurer! Welcome to the gastronomic wonderland. I am Chef Carlos, your guide to flavor euphoria!
Amy: (grinning) I'm ready for the ride, Chef!
Scene 3: Menu Mayhem
Chef Carlos presents an eccentric menu.
Chef Carlos: We have dishes that will dance on your taste buds – from Flaming Mango Salsa Tacos to Spicy Chocolate-covered Crickets.
Amy: (wide-eyed) Challenge accepted! Bring on the eclectic feast.
Scene 4: The Culinary Rollercoaster
The waiter brings out the first dish - Flaming Mango Salsa Tacos.
Amy: (taking a bite) Mmm, the fire and the sweetness! It's like a fiesta in my mouth.
Chef Carlos: (dancing) ¡Olé! But the real adventure is just beginning.
Scene 5: Spicy Chocolate-Covered Crickets Surprise
The waiter brings out a plate of Spicy Chocolate-Covered Crickets.
Amy: (hesitant) Well, here goes nothing.
Chef Carlos: (encouraging) ¡Vamos, amiga! Crunchy on the outside, gooey on the inside.
Scene 6: Amy's Surprising Reaction
To everyone's surprise, Amy enjoys the crickets.
Amy: (smiling) That's strangely delicious! What's next?
Chef Carlos: ¡Maravilloso! You're a true food explorer.
Scene 7: Dessert Delight
The waiter brings out a mysterious dessert.
Amy: (curious) What's this?
Chef Carlos: A secret recipe from my abuela – Caramelized Avocado Ice Cream with Chili Lime Drizzle.
Scene 8: Culinary Climax
As Amy tastes the dessert, her eyes widen in delight.
Amy: (excited) This is mind-blowing! Avocado in ice cream is genius.
Chef Carlos: (bowing) Gracias, amiga. It's an old family secret.
Scene 9: Amy's Foodie Epiphany
After the feast, Amy reflects on the experience.
Amy: (content) This was more than a meal; it was a foodie odyssey. Thanks, Chef Carlos!
Chef Carlos: (grinning) Pleasure is mine, food adventurer.
Scene 10: Foodie Bonding
As Amy leaves the restaurant, she thanks the waiter.
Jake: (smiling) Come back anytime, adventurous eater!
[Closing shot: Amy leaving with a satisfied grin, Chef Carlos dancing back to the kitchen, and Jake casually leaning against the counter.]
////////////
wtc to seaport + job interview
walking thru central park + pikachu
brooklyn promenade
public library bryant park to grand central
walking around 4th aven
walk across bklyn bridge
washington sq to union sq
high line tour
walking to faltiron
tribeca
walking hudson yards /vessel
walking in exchange place , mall, to train station
walking in industry city
walking fifth ave
empire state building top
walking to museusm of art
walking to fashion school
going to lincoln center
going to job interview
doctor
photography lessons
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Two of Us - Part 3
In which Peter Parker watches over you when a new threat to the avengers emerges. With just the two of you, who knows what could happen?
Pairing: Peter Parker x Reader
Wordcount: 2k
Warnings: Smut!!!!
Part 1 Part 2
________________________________
You wake up to the sound of pots and pans clanking in the kitchen. "Peter what's that?" You ask sitting up in bed, rubbing your eyes. "Shit! Where's Morgan?" he exclaims jumping up to go towards the noise. You bite your lip when you notice his length standing at attention. "Morning wood?" You laugh, standing up to stretch. "Haha very funny, go check on Morgan" he shoos you away. "I'm going, I'm going!" You giggle, making your way to the kitchen.
"Good morning Morgan, what are you doing?" You ask leaning against the island, looking down at her fiddling with a pot in her left hand a pan in her right. "I wanted to make you and Peter breakfast!" she smiled up at you. "It's not going to well though. I'm vertically challenged. I can't reach anything" she pouted. You burst out laughing. You were convinced Morgan was the smartest, funniest little girl alive. "It's the thought that counts" you reply, bending over to pick up the cookware.
You jump when you feel a smack on your ass, "good morning" Peter chirped, picking Morgan up. "Why'd you smack Y/N's butt? Was she a bad girl?" she furrowed her brow, looking back and forth between the two of you. "Oh she's been a very bad girl" he smirked, slapping your ass again. "Oooo Y/N's been a bad girl" she sang, poking your cheek. "Guess I need to be punished" you shrug, looking Peter in his eyes. You get on your hands and knees, to finish putting away what Morgan has pulled out. You slid against the floor, arching your back before looking over your shoulder at Peter. You can see his Adam's apple go up and down when he swallowed. A pained expression was painted on his pretty face.
Your little show was cut short by Peters phone ringing. All of you pause, you look at Peter and reach for the phone once he nods at you in approval. "Hello?" You ask into the receiver of the phone. "Y/N? It's Tony" You sigh before placing it on speaker phone. "Hey Tony" you and Peter reply in unison. "Daddy!" Morgan screams and you smile when Tony laughs into the phone.
"Hey Morgan, how're Peter and Y/N treating you? Did they lock you in the basement and only feed you bread crumbs?" He joked and you rolled your eyes. "No we baked a cake, then we watched Shrek! The compound is creepy when it's empty so Y/N and Peter let me sleep with them. Then Peter said Y/N was a bad girl and she needed to be punished but I've been good-" Peter snatched the phone from Morgan. "Everything is good Mr. Stark, see you soon!" He clicked the end button. "Hey!" Morgan protested, looking at Peter like he pulled her hair.
You were about to say something when you heard the ping of a text message notification.
'Why were you and Y/N in the same bed? I better not come home to any spider babies that can conjure up thunder storms. I called because Pepper is coming to get Morgan today. P.S I won't tell Thor about your little love affair...YET. Tell Morgan I love her 3000'
You both groan at content of the text. You were soooo busted. You knew now you were going to have to tell your dad at some point. Tony wouldn't keep your secret for long. What would you tell him? It wasn't like Peter was your boyfriend, you were literally fuck buddies. Well, almost fuck buddies. Which your father most definitely wouldn't approve of. You could say you were just all platonically sleeping together, but your dad was no fool. And Tony definitely wasn't. 'Y/N's been a bad girl that needed to be punished' yeah that wasn't gonna fly.
"Morgan lets go pack your bag, your mommy's coming to get you today!" You try to be enthusiastic but you were beyond anxious about having to explain yourself. You take Morgan to her room, pull out a small suitcase and sit down by her dresser. "Fuck, I don't know where you're going, how can we pack?" you laugh and so does Morgan. You cover your mouth and apologize for swearing, "It's okay, my daddy does all the time" and you laugh again. "Y/N I had so so much fun. Like fun bigger than the sun!" She exclaims and you're glad she enjoyed herself. You were a little upset about Tony finding out but how could you be mad at her?
"So did I Morgan, I think you're the most fun person I know" you tell her and she grins. Just then Peter pops his head into the the room. "Pepper is here" he spoke and you frown. "How do you know?" You ask him. You handnt heard the intercom or doorbell. "Spidey senses, remember?" He wriggles his eyebrows and you shake your head. "Go let her in!" You shoo him away and he goes.
You can hear Pepper greeting Peter, and so can Morgan from the way she jumped up and ran to the sound of her voice. You follow behind her, at a much slower pace of course. Morgan is hugging her moms legs when you finally make it to where they all were. "Hey Pepper" you hug her, Morgans little body smooshed between you. When you let go the tiny girl takes an exaggerated inhale. "I couldn't breathe!" she squeals and her mother rolls her eyes at her dramatics. "How was she?" Pepper asks, scooping her daughter up. "She was really good!" Peter tells her, giving Morgan a high five. "Yeah! Y/N and Peter are more fun then you and daddy" she informs her mom, & Pepper fakes offense. "That's because Peter and Y/N are twenty years younger than mommy and daddy miss thing, now lets finish getting your things together."
Once Pepper is upstairs Peter pulls you close to him. "Peter not yet!" you groan, but he ignores your reasoning and begins kissing down your neck. "I wanna fuck you now" he whispers, biting on the shell of your ear. You can feel yourself getting wetter with every word. His hands move down your back until he's gripping your ass. "Been waiting for days" he continues, thrusting against you. You can feel your composure breaking. "I'm going to make you cum so many times you forget how to say anything besides my name". You lick your lips, so close to giving in to him.
"Okay guys we're going to head out" Pepper's voice echoes down past you two. Her footsteps getting closer and the sound of the suitcase she's lugging rolling towards you. Peters goes to help her, and Morgan shoots by them and rushes to you. She hugs you and grins. "Bye Y/N, be good girl for Peter" she shakes her finger at you and you laugh nervously. Pepper reaches the door and takes back the suitcase. "Bye you guys, Morgan already has enough friends. You don't need to make her a new one" she winks before walking out the door. You and Peter both look at each other mortified. Of course Tony told Pepper.
You shut the door and you don't even get a chance to turn around before Peter has you pressed against the door. He ruts against your ass and you close your eyes at the feeling of him. His hands pin yours above your head. "You gonna finally be a good girl for me?" he asks, shoving down your shorts. You nod, pushing back so you could feel more of him. He pushes you so you're bent over and spread open for him. “Fuck Peter, hurry up” you whine, listening to the sound of him undressing. This moment had been almost all you could think about for the past few days and now it was finally here. You were so worked up, your chest heaved with each breathe and he’d barely touched you.
“You look so good” Peter hummed, running the tip of his cock along the length of your folds and you felt like crying. You wanted him so bad. “Please Peter!” You cry out and you choke on your own breathe when he finally obliges. He pushed into you fast and hard. “Oh my god” You hear Peter whisper to himself once he’s fully sheathed inside of you. You felt so full, you knew you’d never find a satisfaction like this again. You brace yourself when Peter starts to move, pulling out slowly before entering you again. The drag of how he felt inside of you was intoxicating. Both his hands held tight to your hips, holding you in place. You craned your neck to look back at him, the sight of him sending tingles through your body. You couldn’t believe such a beautiful man was inside of you, making you feel like this.
Peter caught you looking at him, the two of you maintaining eye contact while he spoke, “I’m gonna fuck the shit out of you”. You don’t break your stare until he slams into you. You nearly collapse at the pleasure that floods every inch of you. He keeps his pace and continues to fuck you hard and deep. Your legs quake and you feel like you could cum already. Each pump bringing you closer and closer to the edge. His strokes have your toes curling and your fingers scratching against the smooth surface of the door, desperate to grab onto something.
“Fuck, fuck, fuck” you chant, on the brink of your orgasm. “Don’t you fucking cum yet” Peter growls, landing a hard smack on your ass. You squeeze your eyes shut and focus on not coming but when Peter reaches down and starts rubbing your clit it’s a lost cause. You cum harder than you ever have. Your legs giving out and Peter literally has to catch you. “What did I say?” He asks before laying you on the ground. You can’t even respond, you just lay there staring up at his gorgeous frame, completely blissed out. He’s on top of you, his warmth encompassing you. His big hands move your legs over his shoulders before he leans down to kiss you. It’s a heated kiss, one you wish would last forever. It doesn’t though. Peter thrusts into you, and your mouth falls open breaking the kiss. You look at him and see the cocky smile on his face. You want to slap it off but lose your train of though when he starts to move again.
“Wish I could stay in this pussy for the rest of my life” he moans, his arms on either side of your head to hold himself up. Your eyes fall shut, just taking in this moment. He changes his angle, hitting a spot that has your back arching off the floor. His name falls from your lips over and over again as he hits that magical spot. Your pussy clenches around his length as you reach your second orgasm and Peter picks up his pace even more. He’s frantic, his thrusts are quick and sloppy, his body sliding against yours; pelvis rubbing your sensitive clit. He buries his face into your neck as he cums inside of you. Whispers of your name hit the skin of your neck and you’re completely wrecked.
Peter gently pulls out of you, and the emptiness feels so foreign to you now. He picks you up and carries you to the couch laying you down before curling up beside you. “That was...wow” he smiles at you, and you laugh. “I’m so happy right now” you admit, wrapping your arms around him. “You better put some clothes on unless you want it again” He groans, pinching your nipple and you squeal. Your chest flutters at his sultry words. You could feel yourself getting wet for him again.
“Oh; Don’t worry Peter, we’ve got a lot more work to do”
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Finally!! I was gonna make this one long thing but I cut it into two parts. The next chapter is pure smut so get ready😛 I hope you enjoyed this! Love you❤️
@vxidnik @satansbabe1 @professionalphangirluniverse @lexiauteur @lowkey-lokis-bitch @la-vie-en-amour1 @spideylovesyou3000 @friendlyneighbourhoodmercenary @igoldieloxi @linlou117 @mutuallynotmutual @bloominess @colored-confetti @ajl090 @hollywaterpls @cubedtriangle @georgialeighc13
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Aerodynamics
Note to self, figure out a way to open an article that does not include adding a note to self just to have something to start with.
That aside, welcome to your first lesson in aviation—aerodynamics! It's important that you understand this principle in order to grasp what exactly allows an aircraft to fly—and why some conditions can create an environment in which those factors no longer allow an aircraft to fly (and you fall out of the sky like a brick).
In this lesson, we'll cover the four forces of flight and how flight can affect the balance of those forces.
So take a look at this image:
It's pretty simple. There are two forces acting on the vertical axis of the aircraft, and two forces acting on the horizontal axis. These forces are always going to be such relative to the aircraft.
Lift and Weight
Lift: An upward force perpendicular to the chord line caused by air moving over the wing.
Weight: Gravity pulling downward on the aircraft.
Where does lift come from?
The first question to answer is where lift and weight come from.
Well, more like lift. If you don't know where the weight comes from, it's Fg=mg. It's gravity dragging our planet toward the sweet embrace of the cold, hard ground (fun fact we don't want to embrace the cold, hard ground of the Earth unless it's a very gentle touchdown like a landing).
As seen above, lift is the upward force caused by air flowing over the wing that enables a plane to defy gravity. It's a cool showcase of physics and engineering.
Lift comes from two things: Newton's 3rd Law, and Bernoulli's Principle (I think I spelled that wrong).
Newton's 3rd Law essentially specifies that for every force, there is an equal and opposite reaction force. Think about squeezing something between your hands. Your hands are applying a force onto the block, but the block applies an equal and opposite reaction force onto your hand.
Same goes for flying. All wings are not perfectly horizontal, and in flight, they tend to be pitched slightly up. This causes incoming air to hit the bottom of the wing and be deflected downward. The wing exerts a downward force on the incoming air, and thus the air exerts an equal and opposite force onto the wing—lift. You can also observe this cool trick by sticking your hand out the car window. Flatten your hand out and make it horizontal with the airflow. Then start tilting your hand back.
Your hand will be pushed up by the air. Call it magic. Or lift. I'd like to call it magic because that's honestly what it is but for the purposes of this course I feel it would be better to address things by the proper terminology.
Sorry, magical air.
Bernoulli's law is a neat little trick of fluid physics that enables an aerofoil to generate lift based on pressure gradients.
That sounds complicated. Let's dumb it down.
So a couple hundred years ago this guy Bernoulli decided to experiment with moving fluids. His experiments concluded that faster-moving air exerts a smaller pressure on its surrounding areas than stationary or slower moving air.
Ever left a window open and the blinds pulled toward it? That's probably because of a breeze blowing across the window (thus creating a low pressure area outside the window). The higher pressure inside the room then moved outside (nature loves equilibrium) and that's what pushed the blinds around. It's not a ghost. Sorry.
This happens on an aircraft wing too.
Take a look at the diagram above if you get lose anywhere in my explanation. I'll try my best to keep it simple.
So when an aerofoil moves through the atmosphere it splits the incoming air into two parts: the part that goes over and wing and the part that goes under the wing.
Here's the neat part.
The wing is shaped so that the distance from the leading edge, over the top of the wing, and to the trailing edge is longer than the distance from the leading edge, under the wing, and then to the trailing edge. In other words, the top of the wing is longer than the bottom, and so the air going over the top goes a longer distance.
This is why aircraft wings have a flat bottom and a curved top.
It just so happens that this longer distance will make the air going over the top of the wings speed up in order to meet the air going under at the same time.
So the air going over the wing is going zoom, creating a low pressure area, and the air going under is just plodding along, creating a high pressure area.
And the high pressure area wants to go to the low pressure area so it pushes against the wing and...
lift.
(it also creates something called wake turbulence and wingtip vortices but I'll address that later)
So we know two things contribute to lift. Lift is the sum of both the lift produced by Newton's 3rd Law and the lift produced by Bernoulli's Principle. This means at low airspeeds when Bernoulli's Principle isn't as relevant and therefore produces less lift, we can compensate by pitching up to increase the number of air molecules deflecting the wing upward. The opposite also applies.
One important thing to note (that's why I'm writing it in bold, so pay attention): It's not the aircraft's wing moving across the horizontal plane that produces lift, it's the aircraft's wing moving relative to the oncoming airflow. There's something called a chord line, which runs from the leading edge of the wing to the trailing edge, that when compared with the oncoming airflow, produces something called Angle of Attack. AoA is VERY critical to flight.
If we begin to increase the AoA such that the angle between the chord line and oncoming air gets bigger, we can eventually reach a point called the critical AoA. It's around 17 degrees of pitch and what happens is the air no longer flows smoothly over the wing. This destroys the airflow and subsequently, the lift.
That is called a stall. We'll cover that later.
Lift and weight is what makes the aircraft go up and down. Think of it as balancing a scale. In straight and level flight, the aircraft is not accelerating (or gaining speed) in any direction.
Think about it this way. Take an object (as I'm writing this I'm holding my phone up like an idiot to come up with this demonstration. But trust me, it works) like a phone and hold it vertically. Grasp the top with one hand.
You are carrying the weight of the phone. In other words, gravity is exerting a downward force on the phone, but your arm is exerting an upward force of the same magnitude in the opposite direction.
They cancel out. And so the phone doesn't move.
That's what happens in straight and level flight. Life and weight are balanced, cancel out, and so the aircraft doesn't go up or down. We can cruise along at the same altitude.
So what happens if that balance is disturbed? What happens if, for example, we increase the lift produced by the aircraft?
Well, how can we increase the lift?
We can pitch up. That will increase the amount of air hitting the underside of the wing, thus producing a bigger force (Newton's 3rd Law). This is also known as increasing our AoA. However, if we don't adjust our power setting, we'll start slowing down since the engine was originally configured just to be moving forward, not forward and upward. So we'll have to bump in a little power.
We can also just speed up without touching the pitch by increasing power. This will increase the amount of air flowing over the wings (Bernoulli's Principle).
So we can pitch up and we can speed up to increase our lift. Now the lift is greater than gravity. And we go up. Or, in the case of taking off, we rise from the ground majestically like a giant hunk of aluminum with wings.
Oh wait. That's us.
The reverse also applies. If we wanted to descend, we could decrease the lift by reducing power and slowing down or decreasing our AoA. Now the lift produced by the wings is less than the weight of gravity dragging us toward the Earth and we get dragged toward the Earth.
We'll talk about utilizing these techniques later.
Power and Drag
This section will be a lot shorter than the first because a) it's slightly less important than the thing that makes planes go up and b) it's pretty simple.
Power is the force produced by the propeller when it spins through the air and pulls the aircraft forward. Think about each individual propeller as a wing—except instead of being flat, they're vertical. This has the effect of producing a forward "lift" force.
Drag is only slightly more complicated.
Drag is the friction produced by the movement of air around the aircraft. It's the opposing force you feel whenever you hold a flat sheet of cardboard in front of you and try to run forward.
So there are two types of drag: Induced and parasite drag.
Induced drag is the drag caused by the aircraft producing lift.
Let's break that down.
So we have a wing that produces lift. We have to angle that wing in order to achieve lift. The air hitting the bottom of the wing gets deflected down, but something also has to stop it's forward motion relative to the wing.
And whaddaya know, there's a nice piece of wing to do that. So all that momentum gets transferred to the wing, and that's the drag it'll experience.
If that's too confusing think of it this way. Sticking your hand out the window and angling it back to produce "lift", you'll also feel a backwards pressure. That's induced drag.
Induced drag increases with AoA, so at low airspeeds that is the greatest. It is the least at high airspeeds.
Why? Well, that's because induced drag is proportional to the AoA since a higher AoA equates to more air molecules smacking into the wing and therefore more drag. At low airspeeds, AoA is greater in order to maintain lift (see above in the Lift and Gravity section). So that means more drag. At high airspeeds, Bernoulli's Principle contributes to most of the lift so we don't need to deflect as many air molecules downward. This means we can pitch down slightly, reducing induced drag.
Parasite drag is the drag produced by the forward motion of the aircraft. Parasite drag can be aggravated by skin friction drag, where non-smooth surfaces catch more air than smooth ones (rough paint job or dead bugs hanging out on the surface, for example). Another possible factor is when some laminar flow develops when the air flowing over two different parts of the aircraft meet. That's called interference drag.
Fun fact that's why aerodynamics hate right angles, as that's where the greatest interference drag is formed.
There's also something called form drag, but that's just the aircraft's ugly face butting aside air as it moves.
Parasite drag is greatest at high airspeeds since the aircraft has to move more air in the same given amount of time.
So let's think. Parasite drag is the drag produced by the aircraft moving through the air. That means at low speeds parasite drag is lower because there is less air molecules to move in the same given amount of time than at a higher speed. That's why it's greatest when going zoom.
So we know induced drag is greatest at low airspeeds, and parasite drag is greatest at high airspeeds. If we chart the two together and find the total amount of drag at all airspeeds, we find something like this:
You'll see a graph of the total drag takes an interesting shape. You'll also notice there's a point where the total drag is lowest that happens at a certain airspeed.
That particular airspeed is very convenient in the event of an engine failure in order to minimize drag and maximize the distance and time you can stay in the air. That's what we call best glide speed.
And... that's it. That's all you need to know on the four forces of flight (I'm double checking my notes just to make sure I really covered everything).
Boom. Your first lesson. Already on your way to becoming an aviator!
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Crawler sighting 175
Encounter in Wisconsin
Hello All,
"I want to share an experience I had while training with my NG Unit at Ft.McCoy, WI.
I have not ever been big into paranormal activity as a subject of interest. I originally got into these topics by gawking at some if the more outlandish things in r/Highstrangeness. But, the deeper I dug the more I found what seems to be genuine people sharing real experiences. This sub in particular strikes me as largely honest and earnest. In that spirit I wanted to share a story about one of the few unexplainable instances that have happened in my life. Certainly the most significant. Sorry for typos, I'm doing this on mobile.
I am a member of the NG in Wisconsin. I moved from enlisted to officer via ROTC, and was attached to a unit in my prospective MOS while in the program. I don't really want to give specifics on my service, as the community is small enough to identify me to peers in the unlikely circumstance they're on this subreddit.
In 2014 my platoon decided to conduct night time land navigation at Ft.McCoy from 2030 to 0030. While the Army is typically all about buddy pairs, night land nav is one of the few cases we can do things solo if we so choose. Having done night land nav plenty before I step off alone, compass, map, and headlamp in hand.
For those who do not know; land navigation involves seeking out markers on a course by plotting their coordinates on a map and moving there via terrain reference and compass. At night this is typically done without light as much as possible. When light is used it is red. This minimizes damage to night vision. Obstensibly, these methods also keep you concealed in a tactical environment when employed with noise discipline.
I bring this up so you can understand a few things about my circumstance. I was moving through the woods while making a token effort to be hard to spot/hear. The woodland I was in was part of a larger forest system, but was frequently traveled. That night we had some 15 ish soldiers clomping around. My illumination was a togglable headlamp, but was toggled to be red when turned on. To cycle to white light I have to turn it off twice (the cycle was off- solid white- off - flashing white - off -solid red - off - flashing red - off - solid white).
My assigned points will take me to the other side of the course and back. A good hour and a half of walking as the crow flies. They're more or less in a straight line so I estimate two and a half hours out and back. I know if I come back too early I might be given another set of points. So I resolve to walk out, take a break for an hour then mosey on back.
The first half of this goes as planned, I get my points without much trouble and wind up sitting on a hillside at around 10 at night. It's cloudy, but the moon is full. I can see well-ish when the sky is clear, poorly when it's not. Occasionally, I see a red light bobbing in the distance below me. Once a pair of platoon members pass down the hill from me, using white light to try to read their map. I startle them when I ask if they needed help.
At the end of my break there's no more motion in my area. Most people had likely already walked out and back, or they were too lost and took the handrailing road home. I'm feeling pretty at one with my surroundings, having sat in the same spot eating stale Skittles for a good long while. Owls hoot, trees sway, all is well.
I trot down my hill and step through some brush. I'm in a clearing where prairie intersects forest. There are some dead trees in the area, one of them is split half way up. At the top (~ 15 feet) I can make out a head and shoulders sillouhette against the clouds backlit by the moon. I walk up to ask how they got up there (and if they're stuck) when the shadow twitches and I get the impression it's turned toward me. I stand there looking at it, and it's maybe looking at me.
The situation feels off, but I'm not going to let a battle buddy punk me. I ask if they need a hand. Midsentence, the moonlight comes back. It's clear the thing on the tall stump is not a soldier.
This moonlight glimpse is the best look I get at the thing. It looks like a stretched out bald person. Its long arms are clutching the stump. I can't make out the face, but it looks pinched. By that I mean I couldn't see it's eyes or mouth, like they were small and in the middle of the head. It's skinny like it hasn't eaten, but it's tall and obviously strong to have made such a vertical climb.
It was definitely facing me, it probably was the whole time I was in the clearing. Maybe since I came down the hill. Maybe my speech startled it.
I swear loudly. It rapidly scurries down the trunk. I flick on my red light and catch it on all fours moving toward the brush line in the direction I'm heading. Automatically, I keep toggling the lamp to be in white light. That means it goes off, then to flashing red. In the flash I see the thing at the woodline, but I think it's flipped around and is backing in (probably to keep eyes in me). In the few seconds it takes for me to get to white light it's gone.
I scan the treeline which is silent. When it moved there was a scraping noise, plus the woodland brush is dense. If it was still running I would hear it. I reason that it must have stopped. It must still be watching me. I fumble out my knife and keep looking around the woods infront if me. After ages I start inching along a perpendicular path to my initial route of travel, an angle that will link me up with the hardball road that runs up and down the side of the course. Once in the road I can take it back to where my platoon is parked.
My major problem is that the road is ten minutes of walking away from my current position, mostly woodland. That can't be helped, I have to get out of the clearing first. My progress on that front is painfully slow. I'm fighting my natural urge to freeze in place like a deer in the headlights.
After side stepping a good 10 meters I hear a corresponding rustling and think I see movement. It's enough to get me to turn and bolt, right into a downed log which trips me. I scramble up to my feet and look back to the woodline where there is a audible commotion. I glimpse a leg and ass moving back into the woods. At this point I'm done with the whole situation, but don't want to run again. I start power walking to the road, turning to look as much as I can while seeing what the thing is doing.
Over the movement of my own kit I can hear it moving along side me, parallel. As I near the end of the clearing I think I hear it picking up pace as if to cut me off. I make the decision to sprint. When I enter the woods my path is clear, but I think I can hear it in my periphery. I don't stop, and run hard until I hit the paved road. I bite it hard a few times along the way, but recover with a frantic speed I cannot consciously replicate.
Once in the road I run perpendicular to the forest until I don't think I hear it anymore. I'm winded from my break out run. From the middle of the road have good visibility and decide to walk to catch my breath.
It's quiet for a while. Then I hear a branch move around thirty feet in the air from the woods I had just fled. I snap my gaze up, see a pale ovular face, half in shadow peeking at me from around a trunk. I take off again. After way too long I make it back to the headlights of our LMTVs. Its 1215.
"What happened cadet, did you get lost our there?" "You're covered in mud did you fall down?" "Why are you out of breath?"
"I got lost in my way back." "Yeah, I rolled down Pike's Peak." "I ran to get back in time."
"Lol Cadet was lost."
I knew better than to claim I saw a monster. Already my reaction had left me feeling foolish.
In the years since drilling at FMC I have never experienced anything like that again. McCoy does not have a history of disappearances, as far as I know neither do the two closest towns (Sparta and Tomah). I've done night land nav alone a few times since without issue. This is less from courage, and more from me deciding I must have misinterpreted a the situation. After diving into paranormal subreddits, I'm coming around to the idea I should trust my own account. Maybe the world is weirder than I thought.
If anyone has had similar experiences elsewhere, or (hopefully) an explanation please let me know. Thanks for making it this far."
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Spam
A sleek British sports car talks directly to us in a pixilated, garbled video. He's OUT OF BREATH. Crates are visible behind him. We're in the shadowy bowels of a steel room. LELAND TURBO This is Agent Leland Turbo. I have a flash transmission for Agent Finn McMissile. SUPERIMPOSE OVER BLACK: WALT DISNEY PICTURES PRESENTS LELAND TURBO Finn. My cover's been compromised. Everything's gone pear-shaped. SUPERIMPOSE OVER BLACK: A PIXAR ANIMATION STUDIOS FILM LELAND TURBO You won't believe what I've found out here. He angles our camera view, reveals a PORTHOLE through which we can see flames rising in the distance. LELAND TURBO This is bigger than anything we've ever seen. And no one even knows it exists. Finn, I need backup. But don't call the cavalry - it could blow the operation. And be careful. It's not safe out here! ANGRY VOICES O.S. Time for Turbo to go. LELAND TURBO Transmitting my grids now. Good luck! Coordinates appear: 40 6.80' N - 172 23.84' W TITLE CARD: CARS 2 EXT. SOMEWHERE IN THE NORTH PACIFIC - NIGHT A TINY CRAB BOAT (CRABBY) crests over massive swells. CRABBY Alright buddy, we're here. Right where you paid me to bring you. Question is, why? A metallic blue sports car, circa the `60s, emerges from the 2. shadows. Cagey, smooth, he'd turn heads driving through any intersection in the world. Meet FINN MCMISSILE. FINN I'm looking for a car. CRABBY A car? Hey pal, you can't get any further away from land than out here. FINN Exactly where I want to be. CRABBY Well I got news for you, buddy. There's nobody out here but us. Suddenly, a HORN -- a COMBAT SHIP, the size of most cruise ships. FINN quickly backs into the shadows, out of sight. COMBAT SHIP What are you doing out here? CRABBY What does it look like, genius? I'm crabbing! COMBAT SHIP Well turn around and go back where you came from. CRABBY Yeah? And who's gonna make me? A laser sight hits Crabby between the eyes. CRABBY Alright, alright! Don't get your prop in a twist. (as he turns to leave) What a jerk. Sorry, buddy. Looks like it's the end of the line. Buddy? ON CRABBY'S DECK: Finn is gone. CUT TO: FINN - He HANGS off the side of COMBAT SHIP, clandestine. We're with Finn as the ship continues on, cuts through the darkness with purpose. Suddenly small flames appear, perhaps a knot or so away. Then WHOOSH!!! A flame rises above Finn, the ship. It illuminates an OIL DERRICK. 3. THWAP! Finn fires a GRAPPLING HOOK to the derrick and SWINGS toward it. He's going to SLAM into the side with brute force WHEN --- --- HIS TIRES sprout a magnetic exoskeleton. He STICKS to the derrick and now DRIVES VERTICALLY UP UP UP... From this vantage point, hundreds of derricks appear. EXT. PLATFORM - OIL DERRICK - MOMENTS LATER Finn approaches a loading bay from above, hides. He watches as GREMLINS, PACERS and assorted other cars scurry about. FINN (INTO RADIO) Leland Turbo, this is Finn McMissile. I'm at the rally point. Over. No response. FINN (INTO RADIO) Leland, it's Finn. Please respond. Over. AN ACCESS DOOR OPENS LOUDLY below. A boxy, monacle-wearing German car enters. This is PROFESSOR OTTO ZUNDAPP. PROFESSOR ZUNDAPP (in German and English) Too many cars here. Out of my way! FINN Professor Zundapp? PACER (O.S.) Here it is, Professor. Zundapp approaches a NOSY PACER who idles next to a CRATE. NOSY PACER You wanted to see this before we load it? PROFESSOR ZUNDAPP Ah, yes. Very carefully... A forklift opens the crate -- inside is a TV CAMERA, packed carefully in foam. Finn SNAPS PHOTOS FURIOUSLY. NOSY PACER Oh. A TV camera. What does it actually do? 4. PROFESSOR ZUNDAPP This camera is extremely dangerous. FINN (TO HIMSELF) What are you up to now, Professor? Finn, angling for a better view, FIRES SUSPENSION WIRES --- --- which sail clear to the other side of the derrick --- --- THOK! They hook tightly onto a steel girder. Finn slides out ONTO THE WIRE like an acrobat, then expels another cross-wire for support. PROFESSOR ZUNDAPP This is valuable equipment. Make sure it is properly secured for the voyage. NOSY PACER You got it. Finn LOWERS HIMSELF. He snaps more pictures. GREM (O.S.) Hey, Professor Z! Zundapp turns as a CRANE LOWERS A CAR-SIZED CRATE. GREM and ACER, an orange Gremlin and a green Pacer, flank it. GREM This is one of those British spies we told you about. ACER Yeah. This one we caught sticking his bumper where it didn't belong. Finn PRODUCES SEMI-AUTOMATIC GUNS from his side, readies himself for a tag-team spy fight with his buddy Leland. PROFESSOR ZUNDAPP Agent Leland Turbo. The crate is lifted, revealing a CRUSHED, CUBED Leland Turbo. Finn's eyes go wide. Suddenly --- WHOOOSHHH! Another derrick flame rises behind him, casts a Finn-shaped SHADOW over the Professor. He looks up. 5. PROFESSOR ZUNDAPP It's Finn McMissile! He's seen the camera! Kill him!! Finn UNLOADS with bullets as he starts to retreat --- He STOPS: BAD GUY CARS are waiting for him on the catwalk where he just came from - BLOWTORCHES ready. Finn, stuck in midair, notices an angry CRANE. Finn GRINS, having just found his escape. THWAPTHWAPTHWAP!!! Finn releases three of his four cables, swinging, Indiana Jones-style on the last one TOWARD THE CRANE --- --- where he lands on its BOOM, drives UP and LAUNCHES OFF IT where he LANDS - MOVING - onto another deck! Finn now DRIVES, spraying oil and screeching around corners. A GREMLIN in pursuit hits the oil patch, loses control --- --- and PLUMMETS OFF the side of the rig! The Gremlin FALLS... it's like an eternity... He smashes into the water and breaks into a million pieces. ON FINN - Now set upon by 20 or 30 MORE pursuing cars. He has nowhere to go but UP UP UP a ramp toward the helipad. He spies some GASOLINE BARRELS, fires a SINGLE BULLET which cuts through its leather straps, sending barrels DOWN the ramp, PAST FINN --- --- PAST the pursuing CARS --- --- to the bottom where they EXPLODE in a CHAIN REACTION back UP THE RAMP, taking out at least 15 CARS! ON THE HELIPAD - Finn blasts into view, pulls to a stop. No more road. Nowhere else to go. The 20 BAD GUY CARS that are still in pursuit surround him, fire up their blowtorches. About to pounce. Finn GRINS. The second time we've seen this grin. It means he's got something cooking. Finn's REVERSE LIGHTS appear. He DRIVES BACKWARD off the edge of the helipad to the SHOCK of the other cars. Finn falls. He turns himself so he's grill first, cleanly cutting into the water. 6. He EMERGES, now sprouting HYDROFOIL and speeds away. GREM (NONPLUSSED) Get to the boats. THE BOATS - an army of combat ships quickly DROP into the sea and CHURN WATER with unprecedented fury as they quickly make up the distance between them and Finn, FIRING BULLETS as they do so. ACER He's getting away! COMBAT SHIP Not for long. The LEAD COMBAT SHIP quietly drops a TORPEDO into the water. It skips along, connecting with Finn in his rear and EXPLODING with such force that water skyrockets into the night clouds. UNDERWATER - McMissile SINKS. Then, he blinks. He GRINS. We're starting to like this grin and what follows it. He now CONVERTS into a submarine. From his trunk he releases four DECOY tires which float to the surface like body parts. ON THE DERRICK - Professor Zundapp watches it all from far away. GREM (OVER RADIO) He's dead, Professor. PROFESSOR ZUNDAPP Wunderbar. With Finn McMissile gone, who can stop us now? EXT. RADIATOR SPRINGS - DAY TOW MATER, a rusty tow truck, putters into view. MATER Mater. Tow Mater, that's who... is here to help you! He approaches a broken-down sedan on the side of the road. He drives around to the front, catching OTIS' face for the first time. MATER Hey, Otis! 7. OTIS Hey, Mater. Gosh, I'm so sorry. I thought I could make it this time, but... (he tries to start his engine, stalls) Smooth like pudding, huh? Ah, who am I kidding? I'll always be a lemon. Mater hooks his friend and starts towing him. MATER Well dadgum, you're leaking oil again. Must be your gaskets. Hey, look on the bright side: This is your tenth tow this month, so that means it's on the house. OTIS You're the only one that's nice to lemons like me, Mater. MATER Don't sweat it. These things happen to everybody, Otis. OTIS But you never leak oil. MATER Yeah, but I ain't perfect. Don't tell nobody, but I think my rust is starting to show through. Mater and Otis drive past THE RADIATOR SPRINGS WELCOME SIGN. It has been amended to say: "Home of Lightning McQueen." OTIS Hey, is Lightning McQueen back yet? MATER Not yet. OTIS He must be crazy-excited about winning his fourth Piston Cup. Four! Wow! 8. MATER Yeah, we're so dadgum proud of him. But I sure wish he'd hurry up and get back `cause we got a whole summer's worth of best friend fun to make up for. Just me and -- Ahead of them, a half-mile off, a RED RACE CAR is visible. MATER --- McQueen! Mater FLOORS IT, dragging poor Otis behind him. OTIS Uh, Mater? I'm in no hurry. You don't need to go so fast! Boom! They hit a bump. Otis catches air. EXT. RADIATOR SPRINGS - DAY Lightning McQueen is surrounded by his hometown friends. LUIGI Oh, Lightning. Welcome home. FLO Good to have you back, honey. FILLMORE Congratulations, man. SARGE Welcome home, soldier. SHERIFF The place wasn't the same without you, son. LIZZIE What? Did he go somewhere? MCQUEEN It's good to be home, everybody. MATER (O.S.) McQueen! They all turn around, see Mater speeding into town, with Otis swerving behind him. MCQUEEN Mater! 9. MATER McQueen! Mater skids into main street and in one swift motion, slingshots Otis forward --- OTIS Woaahhhhh! --- right through Ramone's front door --- INT. RAMONE'S - CONTINUOUS --- where he lands perfectly on the hydraulic lift. Ramone lifts him up, routine. RAMONE Hey. How far'd you make it this time, Otis? OTIS Halfway to the county line. RAMONE Not bad, man. OTIS I know, I can't believe it either! EXT. RADIATOR SPRINGS - CONTINUOUS MATER McQueen, welcome back! MCQUEEN Mater, it's so good to see you. MATER You too, buddy. Mater and McQueen do an ELABORATE TIRE BUMP (fist bump style). MATER Oh, man. You ain't gonna believe the things I got planned for us. Everyone watches as the tire bump continues. MACK (to Lizzie, an aside) These best friend greetings get longer every year. 10. MATER (TO MCQUEEN) You ready to have some serious fun? MCQUEEN Well, actually I've got something to show you first. INT. RADIATOR SPRINGS MUSEUM - DAY CLOSE ON THE PISTON CUP. It has now changed, been adorned with a small likeness of Doc. It says "Hudson Hornet Piston Cup." MATER Wow. I can't believe they renamed the Piston Cup after our very own Doc Hudson. McQueen and Mater are alone, the museum closed to the public. McQueen approaches a "Hudson Hornet" wall with Doc's three Piston cups, framed articles, other racing ephemera. MCQUEEN I know Doc said these things were just old cups, but to have someone else win it just didn't feel right, you know? MATER Well, Doc would've been real proud of you. That's for sure. McQueen takes this in. EXT. RADIATOR SPRINGS - LATER McQueen and Mater exit the Doc Hudson Museum. MCQUEEN Alright, pal. I've been waiting all summer for this. What've you got planned? MATER You sure you can handle it? MCQUEEN Come on, you know who you're talking to? This is Lightning McQueen. I can handle anything. 11. EXT. RADIATOR SPRINGS - DAY Mater and McQueen roll on an old train track, their tires off. They're on their rims. MCQUEEN Uh.... Mater?! MATER Just remember, your brakes ain't gonna work on these! As they head INTO A DARK TUNNEL --- MCQUEEN (O.S.) Mater! MATER (O.S.) Relax, these train tracks ain't been used in years! From inside the tunnel a loud TRAIN HORN. The two friends emerge, going as fast as they can on train tracks, uphill, with no tires. MCQUEEN Come on, come on! Faster, faster! Moments later a harmless GALLOPING GOOSE appears, oversized horn visible, cackling and laughing at his prank. EXT. FIELD - OUTSIDE RADIATOR SPRINGS - LATER An ENORMOUS EARTH MOVER sleeps. McQueen and Mater sneak up. MATER This is gonna be good! They blow their horns and he TIPS OVER, tractor-tipping style. They LAUGH at the gag, but soon realize the earth mover's GIANT EXHAUST PIPE is directly above them. MATER Uh-oh. This ain't gonna be good. The exhaust pipe BELCHES. McQueen and Mater are BLASTED out of view. INT. RADIATOR SPRINGS - DUSK The sun sets. McQueen and Mater roll into town. McQueen looks exhausted. Mater is still full of energy. 12. MATER Boy, this was the best day ever! And my favorite souvenir? Mater proudly shows off a dent. MATER This new dent! MCQUEEN Boy, Mater. Today was, uh... MATER Shoot, that was nothing. Wait til you see what I got planned for tonight. MCQUEEN Mater, Mater. Whoa. I was kind of thinking of just a quiet dinner. MATER That's exactly what I was thinking. MCQUEEN No, I... I meant with Sally, Mater. MATER Even better! You, me and Miss Sally going out for supper. McQueen pulls around in front of Mater, stops. MCQUEEN Mater, I meant it would be just me and Sally. MATER Oh. MCQUEEN It's just for tonight. We'll do whatever you want tomorrow. MATER (DISAPPOINTED) Okay. MCQUEEN Thanks for understanding. MATER Yeah, sure. Y'all go on and have fun now. 13. MCQUEEN Alright, then. See ya soon, amigo! McQueen drives off. Mater watches him go. EXT. THE WHEEL WELL - NIGHT It's been converted into a white-tablecloth restaurant, with cars dining al fresco and a hopping gastropub inside. MCQUEEN AND SALLY have a prime table with a view of Radiator Springs and the starry night sky. SALLY This is so nice. MCQUEEN I can't tell you how good it is to be here alone. Just the two of us. Finally, you and me --- MATER (O.S.) Good evening. Mater is at their table, dressed as a waiter. MATER My name is Mater and I'll be your waiter. (TO HIMSELF) Mater the waiter. That's funny right there. MCQUEEN Mater, you work here? MATER Well yeah I work here. What'd you think, I just snuck in here when nobody was looking and pretended to be your waiter, just so I could hang out with you? McQueen and Sally exchange a look. MCQUEEN Oh, yeah. How ridiculous would that be? MATER Now, can I start you two lovebirds off with a couple drinks? 14. MCQUEEN Yes. I'll have my usual. SALLY You know what? I'm going to have that too. Mater blinks. MATER Uh, right. Your usual. CUT TO: INSIDE AT THE BAR - Fillmore and Sarge watch as Guido mixes drinks, ala "Cocktail." Mater arrives. MATER Guido! What's McQueen's usual? GUIDO (in Italian, subtitled) How should I know? MATER Perfect! Give me two of `em. SARGE Quiet! My program's on. MEL DORADO (O.S.) Tonight on "The Mel Dorado Show"! ON THE BAR TV - "THE MEL DORADO SHOW," a cable talk show, begins with file footage of MILES AXLEROD, a sleek SUV. MEL DORADO (ON TV) His story gripped the world! Oil billionaire Miles Axlerod, in an attempt to become the first car to circumnavigate the globe without GPS, ironically ran out of gas and found himself trapped in the wild! We see images of newspaper headlines, search crews. MEL DORADO (ON TV) Feared dead, he emerged 36 days later, running on a fuel he'd distilled himself from the natural elements! Since then he's sold his oil fortune, converted himself from a gas-guzzler into an electric car, and has devoted his life to finding a renewable, clean-burning fuel! 15. Images of oil derricks torn down; Miles Axlerod getting converted to electric; lab scientists testing chemicals. MEL DORADO (ON TV) Now he claims to have done it with his Allinol. Images of fields, rivers, vegetables, and mountains all combining to form the Allinol logo. MEL DORADO (ON TV) And to show the world what his new superfuel can do, he's created a racing competition like no other, inviting the greatest champions from around the globe to battle in the first ever World Grand Prix. Welcome Sir Miles Axlerod. SIR MILES AXLEROD arrives, parks across from Mel's desk. MILES AXLEROD (ON TV) Thank you, Mel. It is very good to be here. Now listen to me: Big Oil. It costs a fortune. Pollution is getting worse. I mean, come on. It's a fossil fuel. Fossil. As in dead dinosaurs. And we all know what happened to them. Alternative energy is the future. Trust me, Mel, after seeing Allinol in action at the World Grand Prix, nobody will ever go back to gasoline again. MATER (TO FILLMORE) What happened to the dinosaurs, now? MEL DORADO (ON TV) And on satellite, a World Grand Prix competitor and one of the fastest cars in the world, Francesco Bernoulli. Across the screen: LIVE FROM ROME, ITALY. We meet Formula race car FRANCESCO BERNOULLI. FRANCESCO (ON TV) It is an honor, Signore Dorado. For you. 16. MEL DORADO (ON TV) Miles, why not invite Lightning McQueen? Mater, collecting his drinks, looks up, half-intrigued. MILES AXLEROD (ON TV) Of course we invited him. But apparently after a very long racing season he is taking some time off to rest. FRANCESCO (ON TV) Lightning McQueen would not have a chance against Francesco! Mater doesn't like this. FRANCESCO (ON TV) I can go over 300 kilometers an hour! In miles that is like, uh... way faster than McQueen. MEL DORADO (ON TV) Let's go to the phones. Baltimore, Maryland, you're on the air. CALLER (ON TV) Am I on? Hello? MEL DORADO (ON TV) You're on. Go ahead. CALLER (ON TV) Hello? MEL DORADO (ON TV) Go ahead, caller. Dial tone. MEL DORADO (ON TV) Let's go to Radiator Springs. You're on, caller. MATER'S VOICE (ON TV) Yeah, that Italian feller you got on there can't talk that way about Lightning McQueen. He's the bestest race car in the whole wide world. Fillmore and Sarge look around. Mater is visible in the back of the bar on an office phone. 17. SARGE Uh-oh... FRANCESCO (ON TV) If he is, how you say "the bestest race car," then why must he rest, eh? MATER'S VOICE (ON TV) Cause he knows what's important. Every now and then he prefers just to slow down, enjoy life. FRANCESCO (ON TV) Ah, you heard it! Lightning McQueen prefers to be slow! Of course, this is not news to Francesco. When I want to go to sleep I watch one of his races. After two laps I am out cold. Audible RXNS from the bar. A crowd has been forming ever since Mater started talking. MATER'S VOICE (ON TV) That ain't what I meant. CUT TO: MCQUEEN AND SALLY - They hear the commotion inside. MCQUEEN Hey, what's going on over there? CUT BACK TO: THE BAR - Sally and McQueen push through the crowd, see that they're watching Francesco on the television. MCQUEEN (TO SALLY) Oh, it's that Italian Formula car. His name is --- SALLY Francesco Bernoulli. No wonder there's a crowd. When Sally says his name, she enunciates each part, as if Italian were her mother's tongue. MCQUEEN Wait, why do you know his name? And don't say it like that. It's three syllables, not ten. 18. SALLY What? He's nice to look at. You know, open-wheeled and all. MCQUEEN What's wrong with fenders? I thought you like my fenders. MATER'S VOICE (ON TV) Well let me tell you something else there, Mr. San Francisco --- MCQUEEN Mater? MATER'S VOICE (ON TV) McQueen could drive circles around you. FRANCESCO (ON TV) Driving in circles is all he can do, no? MATER'S VOICE (ON TV) No! I mean yes. I mean he could beat you anywhere, anytime, any track. On McQueen - he looks at Guido who gives a nod over to --- --- Mater, turned away from the crowd, still on the phone. FRANCESCO (ON TV) Mel, can we move on? Francesco needs a caller who can provide a little more intellectual stimulation. Like a dump truck. ON MCQUEEN. He doesn't like this at all. MATER Ha ha! That shows what you know. Dump trucks is dumb. Suddenly, Mater is YANKED from the booth and replaced by McQueen. MCQUEEN (INTO PHONE) Yeah, hi, this is Lightning McQueen. Look, I don't appreciate my best friend being insulted like that. 19. FRANCESCO (ON TV) McQueen! That was your best friend? This is the difference between you and Francesco. Francesco knows how good he is. He does not need to surround himself with tow trucks to prove it. MCQUEEN Those are strong words from a car that is so fragile. FRANCESCO (ON TV) Fragilé!? He calls Francesco fragilé? Not so fast, McQueen! MCQUEEN "Not so fast." What is that, your new motto? Francesco goes ballistic in Italian. They cut his mic. MILES AXLEROD (ON TV) Well, this sounds like something that needs to be settled on the race course. What do you say, Lightning McQueen? We've still got room for one more racer. MCQUEEN Well, I would love to. The only thing is my crew's off for the season so --- A sound O.S. McQueen turns to see Fillmore, Sarge and Luigi flank a tablecloth which is hanging off the bar. Ramone backs away, having spray painted "TEAM LIGHTNING MCQUEEN" on it. Guido quickly uncorks three wine bottles. GUIDO Pit stop. McQueen turns back to the phone. MCQUEEN You know what? They just got back. Deal me in, baby. Ka-chow! The place ERUPTS IN CHEERS. MOMENTS LATER - General excitement as McQueen exits the phone booth where Sally waits. Off her look: 20. MCQUEEN I know, I know. I just got back. But we won't be long and --- SALLY Oh, no, don't worry about me. I've got enough to do here. Mater's going to have a blast though. (off McQueen's silence) You're bringing Mater, right? You never bring him to any of your races. McQueen turns to the bar where Mater privately tries their drinks, hates it, spits it back in the glass. SALLY Just let him sit in the pits, give him a headset. C'mon, it'll be a thrill of a lifetime for him. Mater arrives. MATER Your drinks, sir. MCQUEEN Mater. MATER I didn't taste it! MCQUEEN How'd you like to come and see the world with me? MATER You mean it? MCQUEEN You got me into this thing. You're coming along. BEGIN MONTAGE: - McQueen is given a new paint job and headlights by Ramone. Mater, now sporting a "Team McQueen" emblem, seems psyched as well. - An airport DEPARTURES SIGN advertises the next flight: Tokyo, Japan. - Mater waves goodbye with his hook alongside McQueen, Guido, Luigi, Fillmore and Sarge as --- 21. --- the rest of Radiator Springs watches them board a plane. Red bawls. - IN THE JET, LATER. McQueen and Mater are the only ones awake, watch an insane Japanese game show. - JAPAN AT NIGHT. A stylish Tokyo cityscape of neon, glamour, scrolling billboards, vending machines and high-tech skyscrapers. - INSIDE A SOUVENIR SHOP loaded with McQueen toys: Mater and McQueen enter. A tourist sees McQueen and faints. - A KABUKI THEATER. Team McQueen watches a methodical dance. Mater, dressed in Kabuki makeup, arrives. He looks insane. - A SUMO MATCH - Two SUZUKI SAMURAI CARS wrestle over a parking space. Mater, now in his element, cheers. The MONTAGE ENDS on this high note as we CUT TO --- EXT. MUSEUM - TOKYO - NIGHT ---- TEAM MCQUEEN, as they roll up the red carpet. Press is held at bay behind ropes. WORLD GRAND PRIX and ALLINOL logos are strategically placed for maximum press exposure. RACERS are interviewed by press behind the red-carpet ropes. INT. TOKYO MUSEUM - NIGHT Team McQueen enters via a second floor landing which overlooks a massive indoor party in a converted museum. As they roll down a ramp to the party, they are awed. LUIGI Guido, look! Ferraris and tires! Let's go! MCQUEEN (IMPRESSED) Hey, look at this. Okay now Mater, remember: best behavior. MATER You got it, buddy. Hey, what's that? He sees something, peels away. MCQUEEN Mater! LEWIS HAMILTON Hey, McQueen, over here! 22. It's fellow racers JEFF GORVETTE and LEWIS HAMILTON. McQueen now has no choice but to let Mater go. MCQUEEN Hey, Jeff. Lewis! CUT TO: MATER as he approaches a GLASS-ENCLOSED ROCK GARDEN where a pitty RAKES rocks with precision. He knocks on the glass with his hook. MATER Hey! You done good! You got all the leaves! People turn at the noise he's making. CUT BACK TO: MCQUEEN, JEFF and LEWIS. JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN Will you guys excuse me just for one little second? He zips over to Mater's side, quickly pulls him out of sight. MCQUEEN Mater, listen. This isn't Radiator Springs. MATER You're just realizing that? Boy, that jet-lag really done a number on you. MCQUEEN Mater, look -- things are different over here. Which means maybe you should, you know, act a little different too. MATER Different than what? MCQUEEN Well, just... help me out here, buddy. I --- 23. MATER You need help? Shoot, why didn't you just say so? That's what a tow truck does. Hey, looky there, it's Mr. San Francisco! FRANCESCO is visible across the room, holding court. MATER I'll introduce you. MCQUEEN Mater, no. MATER (already on his way) Look at me -- I'm helping you already! On FRANCESCO - MOMENTS LATER. Mater approaches, giddy. MATER Hey Mr. San Francisco, I'd like you to meet --- FRANCESCO Lightning McQueen! Buona sera. MCQUEEN Nice to meet you, Francesco. FRANCESCO Yeah, nice to meet you too. You are very good-looking. Not as good as I thought, but you're good. MATER (TO FRANCESCO) Excuse me. Can I get a picture with you? FRANCESCO Anything for McQueen's friend. As Mater poses for a photo with Francesco: MATER Miss Sally is gonna flip when she sees this. She's Lightning McQueen's girlfriend. FRANCESCO Oooh. 24. MATER She's a big fan of yours. FRANCESCO Hey, she has good taste. MCQUEEN Mater's prone to exaggeration. I wouldn't say she's a "big" fan. MATER You're right. She's a huge fan. She goes on and on about your open wheels here. MCQUEEN Mentioning it once doesn't qualify as going "on and on." FRANCESCO Francesco is familiar with this reaction to Francesco. Women respect a car that has nothing to hide. MCQUEEN Yeah, uh... FRANCESCO Let us have a toast. McQueen doesn't like where this is going, covers. MCQUEEN Let's. FRANCESCO (raising a drink) I dedicate my win tomorrow... to Miss Sally. MCQUEEN Oh, sorry. I already dedicated MY win tomorrow to her. So if we both do it, it's really not so special. Besides, I don't have a drink. MATER I'll go get you one. You mind if I borrow a few bucks for one of them drinks? 25. MCQUEEN (could kill him) They're free, Mater. MATER Free? Well, shoot, what am I doing here? Mater ZIPS OFF. MCQUEEN I should probably go keep an eye on him. See you at the race. McQueen starts to leave. FRANCESCO Yes, you will see Francesco. But not like this. Francesco does a 180, so his rear end now faces McQueen. FRANCESCO You will see him like this, as he drives away from you. Francesco wears a bumper sticker that says "Ciao, McQueen!" MCQUEEN That's cute. So you had one of those made up for all the racers? FRANCESCO No. MCQUEEN Okay. He rolls off. MCQUEEN He is so getting beat tomorrow. INT. PARTY - MOMENTS LATER Lights caress the main stage where a crowd has formed. VOICE Ladies and gentlecars... Sir Miles Axlerod! MILES AXLEROD drives through an infinity fountain, appears. 26. MILES AXLEROD It is my absolute honor to introduce to you the competitors in the first-ever World Grand Prix. From Brazil. Number eight... ON FINN MCMISSILE. He appears from the shadows, keeps a careful distance from the stage. He ZEROES HIS GAZE ON --- --- THE WORLD GRAND PRIX TV CAMERAS which roll, catching Miles Axlerod's speech for publicity and posterity. Finn's ONBOARD COMPUTER ANALYZES each one, compares to the photos we saw him snap on the oil platform. Each one is "NOT A MATCH." His view is suddenly disrupted by A BEAUTIFUL SPORTS CAR. She approaches Finn. Meet HOLLEY SHIFTWELL. HOLLEY A Volkswagen Karmann Ghia has no radiator. FINN That's because it's air-cooled. HOLLEY I'm Agent Shiftwell, Holley Shiftwell from the Tokyo Station. I have a message from London. FINN Not here. (LOUDLY) You must try the canapes on the mezzanine! He moves her onto an elevator. The doors close on them. IN THE ELEVATOR, GOING UP. FINN So the lab boys analyzed the photo I sent? What did they learn about the camera? HOLLEY It appears to be a standard television camera. They said if you could get closer photos next time, that would be great. FINN This was London's message? 27. HOLLEY Oh -- no, no. No sir. Um, the oil platforms you were on? Turns out they're sitting on the biggest oil reserve in the world. FINN How did we miss that? HOLLEY They'd been scrambling everyone's satellites. The Americans actually discovered it just before you did. They placed an agent on that platform, under deep cover. He was able to get a photo of the car who's running the entire operation. The doors OPEN and they exit onto the Mezzanine. FINN Who is it? Has anyone seen the photo yet? HOLLEY No, not yet. The American is here tonight to pass it to you. He'll signal you when he's ready. FINN GOOD --- Finn suddenly STOPS COLD. FINN Oh no. Professor Zundapp is visible below them. He talks with a few Pacers and Gremlins. Finn quickly retreats into the shadows. Holley follows suit. HOLLEY What is it? FINN Change of plan. You're meeting the American. HOLLEY What, me? 28. FINN Those thugs down there were on the oil platform. If they see me, the whole mission is compromised. HOLLEY No, no. I'm technical, you see. I'm in Diagnostics. I'm not a field agent. FINN You are now. CUT TO: MATER as he grabs a drink, keeps moving. MATER I'll take one of them. He snatches it, drops it in the back where we now see a large assortment of drinks balanced. �� MATER Never know which one McQueen'll have a hankering for. He approaches a sushi bar. MATER Hey, what you got here that's free? How about that pistachio ice cream? He refers to wasabi, of course. SUSHI CHEF No, no. Wasabi. MATER Oh, same ol', same ol'. What's up with you? That looks delicious. The chef starts to carve a small scoop aside for Mater. MATER Uh, a little more, please. It is free, right? (the chef adds more) Keep it coming. A little more. Come on, let's go, it's free! You're getting there... Scoop scoop! The chef gives in. Scoops a baseball-sized ball out. 29. MATER There you go. Now THAT's a scoop of ice cream. SUSHI CHEF (in Japanese, subtitles) My condolences. CUT BACK TO: MILES AXLEROD - He's now nearly done with his intros. MILES AXLEROD ... and now, our last competitor --- Number 95, Lightning McQueen! MCQUEEN approaches the microphone, flashes his headlights. MCQUEEN Thank you so much for having us, Sir Axlerod. I really look forward to racing. This is a great opportunity. MILES AXLEROD Oh, the pleasure is all ours, Lightning. You and your team bring excellence and professionalism to this competition. As if on cue, Mater arrives with a piercing scream of pain. Everyone turns as he charges head first toward the stage, making a bee-line for that FOUNTAIN. MATER Somebody get me water! He laps up water from the fountain like a diabetic cat. MATER (LAPPING WATER) Sweet relief... Miles Axlerod is shocked. The crowd can't believe it. Francesco cackles. Mater, now sated, approaches the mic. MATER (to the crowd) Whatever you do, do not eat the free pistachio ice cream. It has turned! MCQUEEN Sir Axlerod, I can explain. This is Mater. 30. MILES AXLEROD I know him. This is the bloke that called into the television show. (TO MATER) You're the one I have to thank. MATER No, thank you. This trip's been amazing. MILES AXLEROD (TO MCQUEEN) He's a little excited, isn't he? TILT DOWN to reveal a pool of oil beneath Mater. MCQUEEN Mater! MATER But wait, I... oh, shoot. McQueen quickly pulls Mater aside, out of earshot of Miles Axlerod and the others. McQueen is beside himself. MCQUEEN Mater, you have to get a hold of yourself. You're making a scene. MATER But I never leak oil. Never. MCQUEEN Go take care of yourself right now. Mater drives off. ON MATER - MOMENTS LATER He drives through the party, frantic. MATER Coming through! Excuse me, leakin' oil. Where's the bathroom? Thank you. I gotta go! Someone points Mater down a hallway. He whips around the CORNER --- --- and STOPS. Finds himself in front of TWO BATHROOM DOORS, neither of which clearly indicate MALE or FEMALE. 31. MATER (CONFUSED) What the... Mater chooses one, drives inside. A SHRIEK is heard and Mater zips out. MATER Sorry ladies! He heads into the other door --- CUT TO: INT. MEN'S ROOM - NIGHT Mater rolls in, still `holding it in' like a kid. MATER I never leak I never leak I never leak... He sees someone leaving a stall. He heads in. IN THE STALL - Mater enters, looks up. MATER Wowee... The stall is a complicated apparatus with buttons and lights. High-tech Japanese. It suddenly GRABS MATER, hoists him up as if he's going to get an oil change. MATER What in the--- A Japanese style cartoon CARICATURE appears on a TV MONITOR, followed by images of waterfalls and rivers. MATER (GIGGLING) Hey, that tickles. The caricature starts talking in Japanese. Suddenly WATER FIRES UP underneath Mater's undercarriage, goosing him. He freaks out. OUTSIDE THE STALL - With Mater's yells audible we see a GREMLIN enter, furtive. Suddenly, inexplicably, his frame BREAKS APART like an egg, revealing an AMERICAN MUSCLE CAR underneath. The pieces of the Gremlin disappear under him, clearly his disguise. This is ROD REDLINE - American Agent. 32. ROD REDLINE Okay, McMissile. I'm here. It's time for the drop. INT. PARTY - SAME HOLLEY, rolls along by herself. Nervous. DING! Her rearview monitor springs to life. HOLLEY (INTO RADIO) The American has activated his tracking beacon. FINN (OVER RADIO) Roger that. Move in. INT. BATHROOM - SAME Rod Redline, waiting at a sink, feels a presence behind him. GREM and ACER have entered, hesitate briefly when they see Rod Redline. Rod Redline, careful, slides a gun out of his tire. He is suddenly CHARGED by the AMCs --- Rod SPINS AROUND and gets a shot off but is SLAMMED HEAD FIRST. A TIGHT, CLOSE-QUARTERS FIGHT begins --- IN THE STALL - Mater, still TRAPPED, is now being SCRUBBED as if in a car wash. He is helpless. OUTSIDE THE STALL - Rod is being pulverized. Just when he scrambles away from one car, the other one takes over. IN THE STALL - Mater is mercifully released, but when he backs out --- --- Rod Redline is THROWN INTO MATER'S STALL DOOR, crunching it and sending Mater --- --- BACK INTO THE CLUTCHES of the insane toilet. INT. PARTY - SAME Holley isolates the tracking beacon's location in the party. HOLLEY Oh, you've got to be joking. FINN What's the problem, Shiftwell? HOLLEY He's in the loo. 33. FINN So go in! HOLLEY I can't just go into the men's loo. FINN Time is of the essence, Shiftwell. INT. BATHROOM - OUTSIDE THE STALL Rod Redline is in bad shape. He backs away, betrays a look of concern. He's in trouble here. ACER burns rubber, ready to finish him off. Just as he shifts into DRIVE --- --- MATER'S STALL DOOR KICKS OPEN, knocking ACER out. Mater jumps out, face-to-face GREM. MATER (out of breath) Whatever you do, I would not go in there. The door SWINGS shut, revealing the pulverized Acer. MATER A Gremlin and a Pacer! Rod Redline, now behind Mater and sensing an opportunity here, quickly produces A SMALL DEVICE. MATER (to Grem and Acer) No offense to your makes and models, but you guys break down harder than my cousin Betsy after she got left at the --- Rod Redline, surreptitiously attaches the device to Mater's undercarriage. MATER (as he's goosed) --- altar! He spins around, sees Rod Redline for the first time. MATER Are you okay? ROD REDLINE I'm fine. 34. GREM Hey. Tow truck. Mater turns back to Grem and Acer. GREM We'd like to get to our private business here, if you don't mind. MATER Oh, yeah. Don't let me get in the way of your "private business." Oh! A little advice: When you hear her giggle and see that waterfall, you best press that green button. GREM Thank you. MATER It's to adjust the temperature. ACER Got it. MATER Remember it's in Celsius, not Fahrenheit. GREM AND ACER Get outta here! MATER Alright then. Mater exits, leaving Rod Redline to a now even angrier Grem and Acer. EXT. BATHROOM - MOMENTS LATER Holley arrives at the door. She takes a breath, is about to enter when Mater EXITS. MATER Excuse me, ma'am. He passes her, expelling some exhaust in the process. Holley's rearview tracking confirms that the device is on him. MATER (TO HIMSELF) Dadgum pistachio ice cream. 35. HOLLEY (INTO RADIO) This cannot be him. FINN (OVER RADIO) Is he American? MATER (driving off, to himself) Look out, ladies. Mater's fittin' to get funky! HOLLEY (INTO RADIO) Extremely. FINN (OVER RADIO) Then it's him. It's settled. Holley takes one more nervous breath, quickly closes the distance between her and Mater, cuts him off. He is forced to STOP. HOLLEY Hello. MATER Well, hello. HOLLEY A Volkswagen Karmann Ghia has no radiator. MATER Well of course it doesn't. That's `cause it's air-cooled! HOLLEY (RELIEVED) Perfect. I'm from the Tokyo Station OF THE--- MATER Course, Karmann Ghia's weren't the only ones. Besides the Beetles you had your Type-3 Squarebacks, with the pancake motors... HOLLEY Yeah. Okay, I get it--- MATER ... And before both of them, there's the Type-2 buses - my buddy Fillmore's one of them. 36. HOLLEY Listen! We should find somewhere more private. MATER Uh, gee. Don't you think that's a little, uh --- HOLLEY (NERVOUS ENERGY) You're right. Impossible to know which areas here are compromised. So, when can I see you again? MATER Well, let's see. Tomorrow I'll be out there at the races. HOLLEY Got it. We'll rendezvous then. INT. PARTY - MOMENTS LATER Mater returns to his team, lost in thought. MCQUEEN There you are. Where have you been? MATER What's a rendezvous? LUIGI It's like a date. MATER A date?! MCQUEEN Mater, what's going on? MATER Well, what's going on is I've got me a date tomorrow. Guido makes a crack in Italian. LUIGI Guido don't believe you. MATER Well, believe it. My new girlfriend just said so. Hey, there she is. Mater points out Holley, who's within earshot. 37. MATER (YELLING) Hey! Hey lady! Holley, caught in plain view, DRIVES OFF. MATER See ya tomorrow! Guido makes another crack in Italian. LUIGI Guido still don't believe you. EXT. SHIPYARD - THE DOCKS - TOKYO NIGHT An industrial dock, outside of the city proper. INT. SHIPYARD - NIGHT Rod Redline dangles from a car magnet. He's been beaten up, clings to consciousness. GREM (O.S.) I gotta admit --- Grem, Acer, and a bunch of nasty looking troublemakers look up at Rod amidst crates and shipping containers. GREM --- you tricked us real good. ACER And we don't like being tricked. Rod Redline laughs to himself. ACER Hey, what's so funny? ROD REDLINE Well, you know, I was just wearing a disguise. You guys are stuck looking like that. This doesn't help him. They DROP HIM onto a TREADMILL, lock him down. A container is wheeled forward and Rod is plied with Allinol brand gasoline. ROD REDLINE Allinol? Thanks, fellas. I hear this stuff is good for you. 38. PROFESSOR ZUNDAPP (O.S.) So you think. The Professor emerges from the darkness, behind Rod. PROFESSOR ZUNDAPP Allinol by itself is good for you. Zundapp hits a button and the TREADMILL starts Rod's wheels spinning at a high rate of speed. PROFESSOR ZUNDAPP But after microscopic examination, I have found that it has one small weakness. When hit with an electromagnetic pulse, it becomes extremely dangerous. GREM SMILE --- Grem pushes a World Grand Prix CAMERA - the same one that was in the box back at the oil derrick. He points it at Rod Redline. GREM --- for the camera. ROD REDLINE Is that all you want? I got a whole act. PROFESSOR ZUNDAPP You were very interested in this camera on the oil platform. Now you will witness what it really does. ROD REDLINE Whatever you say, Professor. Acer pushes a TV MONITOR toward Rod. On it, surveillance footage from the party. Clearly, they were watching and recording him there. ACER You talked up a lot of cars last night. Which one's your associate? ROD REDLINE Your mother. Oh no, I'm sorry. It was your sister. You know, I can't tell them apart these days. 39. GREM (HAD ENOUGH) Could I start it now, Professor? PROFESSOR ZUNDAPP Fifty percent power. (to Rod Redline) This camera is actually an electromagnetic pulse emitter. ACER (re: a girl on the TV) What about her? Did you give it to her? PROFESSOR ZUNDAPP The Allinol is now heating to a boil, dramatically expanding, causing the engine block to crack under the stress, forcing oil into the combustion chamber. Rod Redline's engine starts to CRACK and BREAK. ACER (re: a guy on the TV) How about him? You talk to him? ROD REDLINE (to Professor Zundapp) What do I care? I can replace an engine block. PROFESSOR ZUNDAPP You may be able to, but after full impact of the pulse, unfortunately, there will be nothing to replace. ACER How about him? Does he have it? The monitor reveals MATER, rolling out of the bathroom and down the hall. Rod Redline, seeing this, does the world's most subtle double take. We caught it, but there's no way anyone else in the room could have --- PROFESSOR ZUNDAPP That's him. He's the one. GREM Roger that, Professor Z. 40. ROD REDLINE No! As Grem turns up the machine even MORE, the Professor makes a call. PROFESSOR ZUNDAPP (INTO PHONE) Yes sir. We believe the infiltrator has passed along sensitive information. (beat, listening) I will take care of it before any damage can be done. The Professor hangs up, turns to the room. PROFESSOR ZUNDAPP The project is still on schedule. You will find this second agent --- Zundapp kicks the camera's power into the RED. PROFESSOR ZUNDAPP --- and kill him. On the MONITOR - With Mater's frozen image on the screen we see Rod EXPLODE in the reflection. EXT. JAPAN - DAY Over television pre-roll of Japan: BRENT MUSTANGBURGER (V.O.) Japan. Land of the rising sun. Where ancient tradition meets modern technology. Welcome to the inaugural running of the World Grand Prix. ON OUR ANNOUNCERS as they introduce themselves: BRENT MUSTANGBURGER I'm Brent Mustangburger, here with racing legends Darrell Cartrip and David Hobbscap. There's never been a competition like this before. SHOTS OF THE PITS as the racers fuel up. BRENT MUSTANGBURGER (V.O.) First, Allinol, making its debut tonight as the required fuel for all these great champions. (MORE) 41. BRENT MUSTANGBURGER (V.O.) (CONT'D) Second, the course itself, and it's like nothing we've ever seen. David, how exactly does this competition work? DAVID HOBBSCAP (V.O.) Well, Brent, all three of these street courses are classic round- the-house racetracks. OUTLINES OF THREE RACE COURSES are shown. They're labeled Japan, Italy and England, and are different in shape and size. DAVID HOBBSCAP (V.O.) This means that the LMP and Formula cars should break out of the gate in spectacular fashion. SHOTS OF THE RACERS as they weave up the track, practicing. DAVID HOBBSCAP (V.O.) Look for Francesco Bernoulli in particular to lead early. SHOTS OF Francesco, featured in an inset. DAVID HOBBSCAP (V.O.) And with a series of technical turns throughout --- MORE SHOTS of the course, now highlighting the tech turns. DAVID HOBBSCAP (V.O.) GT and Touring cars like Spain's Miguel Camino should make up some ground but I doubt it'll be enough to stop Francesco from absolutely running away with it. DARRELL CARTRIP (V.O.) Woah, now just hold your horsepower. You're forgetting the most important factor here. That early dirt track section of the course! The dirt is supposed to be the great equalizer in this race. GRAPHICS OF THE COURSES now isolate a stretch after the first couple turns, label it "DIRT SECTIONS." 42. BRENT MUSTANGBURGER (V.O.) French Rally car Raoul ÇaRoule is counting on a big boost headed through there. DARRELL CARTRIP (V.O.) And don't forget Lightning McQueen! His mentor, the Hudson Hornet, was one of the greatest dirt track racers of all time. In my opinion, McQueen is the best all-around racer in this competition. BACK IN THE STUDIO DAVID HOBBSCAP Really, Darrell, I think you need to clean your windshield. You're clearly not seeing this for what it is: Francesco's race to lose. EXT. STARTING LINE - DAY BRENT MUSTANGBURGER (V.O.) It's time to find out. The racers are locking into the grid --- Engines rev as everyone gets ready to go. Everyone's bright eyed and alert except for McQueen who we find in the back of the grid. He CLOSES his eyes. MCQUEEN (TO HIMSELF) Speed. I am speed. A LAUGH O.S. McQueen opens his eyes. Francesco is next to him on the grid. FRANCESCO Really? You are "speed"? Then Francesco is triple speed. (closes his eyes) Francesco. Is. Triple speed. Francesco likes this, McQueen. It's really getting him into the zone! MCQUEEN He is so getting beat today. The starting lights click down from RED to YELLOW to GREEN. The race begins. Francesco quickly grabs the lead. He's pulling away within seconds. 43. ON PIT ROW - We TRACK PAST as the various Crew Chiefs on their crash carts bark orders to their racers. We end on Team McQueen. No Crew Chief, just a solid looking team. SARGE His suspension stats look good. LUIGI Tire pressure is excellent. FILLMORE He's got plenty of fuel. MATER And he's awesome! CUT TO: The same view of Mater but now THROUGH A TELESCOPIC DISPLAY. Reveal Finn and Holley watching from high above in a downtown office building, behind reflective glass. HOLLEY Why is he in the pits? He's so exposed. FINN It's his cover. One of the best I've seen, too. Look at the detail on that rust. It must have cost him a fortune. HOLLEY But why hasn't he contacted us yet? FINN There's probably heat on him. Be patient. HOLLEY Right, of course. He'll signal us when he can. FINN And then we find out who's behind all this. ON THE TRACK - VARIOUS SHOTS OF THE RACE through Tokyo as Francesco extends his lead and McQueen attempts to make up ground. 44. IN MCQUEEN'S PIT - Mater watches the monitors, sees them approaching the dirt section. MATER McQueen! It's time to make your move. Get on the outside and show 'em what Doc done taught you. MCQUEEN (OVER RADIO) Ten four, Mater. ON THE TRACK - Francesco hits the dirt section and loses all control. He SLAMS to a halt, his tires getting no traction. DAVID HOBBSCAP (V.O.) Francesco is brought to a screeching halt! MCQUEEN skids into view, turning right to go left, passing Francesco, followed by other cars --- BRENT MUSTANGBURGER (V.O.) Lightning McQueen is the first to take advantage. And just like that, folks, Francesco's lead is left in the dust. MCQUEEN Nice call, Mater. Keep it up! McQueen now leads the pack, zooming out of the dirt now starting to relax. DARRELL CARTRIP (V.O.) Who-hoo! Man, McQueen looks happier than a rollbar at a demolition derby! ON PAVED ROAD AGAIN - MOMENTS LATER The field of cars thunders into a tunnel. BRENT MUSTANGBURGER (V.O.) Everyone's jostling for position as we hit the asphalt again. Francesco crests the hill, in last place. He bites down, determined, then CHASES. BRENT MUSTANGBURGER (V.O.) Francesco lost a lot of momentum in the dirt. He's got some serious work ahead of him if he wants to get back in this race. 45. VARIOUS SHOTS OF TOKYO as the racers move through the Rainbow Bridge. Bit by bit, Francesco ekes his way toward the front, toward Lightning McQueen as we CUT TO --- --- A ROOFTOP, and a VIEW THROUGH THE WGP CAMERA LENS. Grem and Acer are manning this one. They focus it on the racers as they approach. PROFESSOR ZUNDAPP (OVER RADIO) It is time. GREM Roger that. ON THE TRACK - A racer (Miguel Camino) suddenly PLUMES WITH SMOKE and skids out. DARRELL CARTRIP (V.O.) Oh! Miguel Camino has blown an engine! BRENT MUSTANGBURGER (V.O.) Very unusual, Darrell. He's been so consistent all year. Camino quickly pits, passing McQueen's pit where Mater is visible. ON GREM AND ACER, watching from above. GREM You gotta be kidding me. ACER What is it? GREM It's that tow truck from the bathroom. ACER The one from the bathroom? GREM Yeah, the one the American Agent passed the device to. ACER What about him? GREM What about him? He's in the pits! 46. ACER Not for long. Acer exits, with purpose. ON FINN AND HOLLEY, still in their office hideaway. Holley's onboard computer flashes an ALERT. HOLLEY Hold on. I think I've got something. FINN What is it? HOLLEY The Pacer from the party last night. She's spotted Acer, moving swiftly forward. HOLLEY Cross-referencing with the photos from the oil derricks... Yep. His VIN numbers match. FINN Anyone with him? He won't be alone. HOLLEY Conducting analysis on the target. The computer finds more and more bad guy Pacers and Gremlins are in the crowd. HOLLEY He's not the only one here. Three... five... they're everywhere. And they're all closing in on... oh no. We PAN OVER to see it's MATER. HOLLEY Finn? Finn, where are you? She turns. He's GONE, leaving only an open window. FINN (OVER RADIO) Get him out of the pits now! IN MCQUEEN'S PIT. A car WHIPS BY O.S. 47. MATER Wow! Some of them fellers is really loud. HOLLEY (OVER MATER'S RADIO) Can you hear me? Over. MATER Uh, what? HOLLEY (OVER MATER'S RADIO) Get out of the pit now. Do you hear me? Mater realizes this girl has somehow broken into his radio. MATER (INTO RADIO) Hey, I know you. You're that girl from the party last night. You wanna do our date right now? ON THE TRACK - McQueen boxes out Francesco, holds his slim lead, but barely. MCQUEEN Guys, a little too much chatter. Let's keep this line clear. BOOM! A racer behind McQueen suddenly expels black smoke, skids out of control. ON GREM - laughing. That was clearly his handiwork. IN MCQUEEN'S PIT - SAME HOLLEY (ON MATER'S RADIO) There's no time for messing about. You've got to get out of the pits. MATER Is there gonna be cable where you is so I can watch the rest of the race? ON HOLLEY - Watching from the downtown building. HOLLEY (INTO RADIO) You're running out of time! FINN (OVER RADIO) They're coming, Shiftwell. HOLLEY (INTO RADIO) Yes, I know. 48. FINN (OVER RADIO) Get him out of there. HOLLEY (TO FINN) I'm trying. (TO MATER) Get out now! We CUT BACK TO --- --- MATER. He gives in, exits the pit. MATER Well, all right but I usually like to have a proper detailing done before I meet a lady friend. He moves toward the back PIT DOOR, is about to open it. OUTSIDE THE PITS - ACER and another Pacer approach McQueen's �� pit door on the other side. Ready to pounce. The doors OPEN, REVEALING --- --- Finn, holding a fire extinguisher. ACER Finn McMissile? But you're dead! FINN Then this shouldn't hurt at all. He empties the extinguisher in their eyes, speeds past. They try and follow, but have been blinded. One of them crashes right into a COP. ON FINN - Already on the move, along a side street. FINN Miss Shiftwell? ON HOLLEY - Tracking everything on a grid map. Mater looks like Pac Man, weaving through the streets as bad guys close in all around him. HOLLEY I've got him in the back alleys east of the garages. Multiple assailants are closing in quickly. FINN (OVER RADIO) Keep him moving. I'm on my way. ON MATER - He turns a corner, sees a flower shop. 49. MATER Hey, new lady friend? You like flowers? ON THE TRACK - McQueen, hearing this, is taken aback. MCQUEEN What? ON MATER - Slowing at the flower shop. HOLLEY (OVER RADIO) No! Don't go 'in' anywhere. Just keep moving. MATER Stay outside. Gotcha. ON THE TRACK MCQUEEN Outside? McQueen drifts outside allowing Francesco to slip past! FRANCESCO Grazie and arrivaderci! DARRELL CARTRIP (V.O.) I cannot believe what I just saw, Brent. That was a bonehead move. You don't open up the inside like that! IN THE BACK ALLEYS - As Mater moves on he's followed by Pacers and Gremlins. Suddenly --- --- CABLES whip in front of them, pulling over flower vending machines and sending the shop's owners into a frenzy. They direct their attention to the AMCs, who try and explain. ON FINN, admiring his handiwork as he appears. Just as he turns to leave he's BROADSIDED and pushed INTO A DARK ALLEY. IN THE ALLEY - Finn finds himself boxed by two Pacers and pushed toward --- --- ACER, who now holds a FLAME THROWER. ACER This time I'm gonna make sure you stay dead. He hits the flame. WHOOOSSSH!! 50. ON ANOTHER STREET - Mater clicks along, still looking for Holley. Just as he passes the alley entrance where Finn stares down death: HOLLEY (OVER RADIO) You're doing brilliantly. Now just stay focused. MATER What's that? You want me to head toward that ruckus? Mater turns INTO the alley. HOLLEY (OVER RADIO) No! Don't go down that street! IN THE ALLEY - Finn, now nearly pushed completely into the flame thrower, leaps into the air. He FIGHTS BACK, using his wheels, axle, indeed his entire car frame as if he were human, kicking and tossing and shooting his enemies. Mater witnesses the whole thing. MATER Wow! A live karate demonstration! ON THE TRACK - McQueen, now playing catch-up again, scowls. MCQUEEN Stop it, Mater. Just sign off. IN THE BACK ALLEY - Finn polishes off the AMCs by firing a bullet into a gas main line, causing an EXPLOSION that tosses Acer through the air where he lands in a NOODLE SHOP'S SIGN. ON THE TRACK - The end of the race is nigh --- BRENT MUSTANGBURGER (V.O.) They're bumper to bumper as they approach the finish line! The Formula car gets there first. BRENT MUSTANGBURGER (V.O.) Francesco's the winner, McQueen's number two! IN THE ALLEY - Finn heaves breaths, surveys his damage. MATER That was cool! Hey, can I get your autograph? 51. Mater approaches when a MASS OF RACE FANS burst out a door, momentarily blocking Mater's view of Finn. Once the fans have past, Finn has disappeared. MATER Hey, where'd he go? HOLLEY (OVER RADIO) Our rendezvous has been jeopardized. Keep the device safe. We'll be in touch. MATER Dadgum, did I miss our date? EXT. PRESS STAGE - LATER Post race press conference. Francesco is center stage. DARRELL CARTRIP Francesco, over here! Hey, what was your strategy today? FRANCESCO Strategia? Francesco needs no strategy, it's very simple. You start the race, wait for Lightning McQueen to choke, pass him, then win. Francesco always wins. It's boring. McQueen, waiting in the wings, rolls his eyes. He suddenly notices something O.S. McQueen's P.O.V. - It's MATER, appearing from a side street, moving toward the pits, oblivious of the press conference. DARRELL CARTRIP (TO FRANCESCO) I gotta tell you, dude. You were in trouble for awhile. That dirt track section had you crawling! As McQueen SNEAKS AWAY --- FRANCESCO To truly crush one's dream, you must first raise their hopes very high. IN MCQUEEN'S PIT GARAGE - Mater looks around for everyone as McQueen approaches. 52. MCQUEEN Mater. MATER Hey McQueen! What happened? Is the race over? You won, right? MCQUEEN Mater, why were you yelling things at me while I was racing? MATER Yelling? Oh, you thought... that's funny right there. Nah, see that's `cause I seen these two fellers doing some sort of karate street performance. It was nutso. One of them even had a flamethrower --- MCQUEEN A flamethrower? What are you talking about? I don't understand. Where were you? MATER Going to meet my date. MCQUEEN Your date? MATER She started talking to me as a voice in my head, telling me where to go --- MCQUEEN What? MATER Wait a minute -- I didn't screw you up, did I? MCQUEEN I lost the race because of you! MATER Well, I'm sorry. I didn't mean --- MCQUEEN An imaginary girlfriend, flamethrowers. This is exactly why I don't bring you along to these things. 53. MATER Maybe if I, I don't know, talked to somebody and explained what happened I could help. MCQUEEN I don't need your help. I don't want your help. PRESS (O.S.) Hey, there he is!! The press finds McQueen, swarms him. Mater is pushed backwards as the questions fly again. PRESS - McQueen, you had it in the bag! - Yeah, what happened? MCQUEEN I made a mistake. But I can assure you, it won't happen again. On Mater. He takes this badly. MCQUEEN Look, guys. We know what the problem is and we've taken care of it. SMASH TO: OVER FOOTAGE OF FRANCESCO and various other highlights: BRENT MUSTANGBURGER Lightning McQueen loses in the last lap to Francesco Bernoulli in the first race of the World Grand Prix and three, count em, three cars flamed out leading some to suggest that their fuel, Allinol, might be to blame. FOOTAGE OF MILES AXLEROD, speaking to an aggressive press. He must SHOUT over the press. MILES AXLEROD Allinol is safe! Alternative fuel is safe! There is no way my fuel caused these cars to flame out! 54. IN THE TV STUDIO - Darrell, Brent and David talk to camera. DARRELL CARTRIP Well the jury may still be out on whether Allinol caused these accidents, but one thing's for sure: Lightning McQueen blew this race. Off a FROZEN IMAGE of McQueen crossing the finish line, a look of severe consternation across his face --- BRENT MUSTANGBURGER Team McQueen can't be happy right now. --- MATCH CUT TO --- INT. AIRPORT - JAPAN - DAY --- McQueen's SMILING FACE, on a Team McQueen poster. REVERSE to reveal Mater looking at it, sadly. He drives on, passing (but not noticing) --- --- GREM and ACER. AT THE SECURITY CHECK - MOMENTS LATER. Cars take off their tires, move through the metal detector. Mater waits in line. A SECURITY CAR approaches Mater. SECURITY CAR (in Japanese and English) Come with me please, sir. MATER But I'm gonna miss my plane. IN THE ADMIRAL'S LOUNGE - MOMENTS LATER. The Security Car leads Mater inside. SECURITY CAR Right this way. As they move past us the Security Car covertly drops a BALL BEARING which rolls into a corner. The ball bearing then sprouts MECHANICAL LEGS, tripods itself and IRISES out, revealing itself to be a tiny CAMERA. �� IN THE MAIN ROOM - ADMIRAL'S LOUNGE - CONTINUOUS Mater follows the Security Car in, nervous. 55. MATER Doggone it. This is about my hook, isn't it? I know I should've checked it, but I can't really, look -- it's attached to me. ZWAPPPPPP!! The Security Car suddenly DECLOAKS himself, reveals himself to be Finn McMissile! MATER Hey, I know you. You're that feller from the karate demonstration. FINN I never properly introduced myself. Finn McMissile. British Intelligence. MATER Tow Mater. Average intelligence. FINN Who are you with? FBI, CIA? MATER Let's just say I'm triple-A affiliated. You know, I know some karate. I don't wanna brag or nothing, but I've got me a black fan belt. BEEP! Finn's rearview alarms. His camera has picked up Grem and Acer. They've just entered the lounge, are right around the corner. MATER Hey, you wanna see some moves I made up? FINN You're being followed. Finn quickly turns, fires a tiny GLASS CUTTING BEETLE at the window. As Mater talks, oblivious, the beetle cuts out a round hole. MATER This first one I can reach into a car's hood, pull out his battery, and show it to him before he stalls. I call it, "What I accidentally did to my friend Luigi once." 56. Mater does his best (worst) karate moves as Acer and Grem turn the corner. GREM There he is! The glass drops away, leaving a car-sized hole. MATER (eyes the clock) Look, I probably ought to go. I'm about to miss my flight. FINN Don't worry. Finn HOOKS Mater from behind. He YANKS HIM forward --- FINN I've taken care of that. Hang on. --- and LEAPS OUT THE WINDOW! EXT. TARMAC - AIRPORT - JAPAN Finn pulls Mater down HARD onto the tarmac, towing him away from the terminal. MATER This is First Class service. You don't even have to go through the terminal. ACER and GREM appear, chasing them. Mater, who is facing backward as he is being pulled along, faces them. They're about a hundred yards back. MATER (TO FINN) Your karate partners are back here. They kinda look like they're trying to catch up! FINN Drive forward. Whatever you do, don't stop. Finn SKIDS around, whipping Mater in a 180 so that Mater is now towing Finn. Grem produces a ROCKET, lines up Finn as his target. 57. Finn, without hesitation, fires a MINI ROLLING-JACK. The jack DRIVES ITSELF toward Grem, anchors itself under his frame and flips him like a turtle but not before Grem gets the rocket OFF --- THE ROCKET - it flies toward Mater and Finn. FINN aims and launches a MISSILE back. THE ROCKET AND MISSILE COLLIDE IN MID-AIR, EXPLODE. MATER (only hearing this) Is everything okay back there? SIDDELEY (O.S.) Finn, it's Sid. I'm on approach. A GULFSTREAM JET wings into view overhead. This is SIDDELEY. FINN Roger that. Mater looks up: ACER screeches into view up ahead, dragging a long row of luggage carts in Mater's path, attempting to create an accident. MATER (TO FINN) You remember that whole thing about me not stopping no matter what? Just as it looks dire --- RATATATATATATAT!!! SIDDELEY descends, hawklike, fires bullets and blows the luggage carts sky-high. Mater and Finn burst through them, luggage now raining down from above. MATER I knew I should've done carry-on! FINN (TO SIDDELEY) Thanks, old boy! Siddeley LANDS HARD on the tarmac ahead of them. No time to stop, he DROPS his back open, revealing HOLLEY. MATER Hey, doggone it. It's my imaginary girlfriend! HOLLEY Come on! Get in here! 58. Mater SPEEDS UP toward Siddeley's ramp, Holley. MATER (TO HOLLEY) Boy I tell you what, you really do want this first date, don't ya? That's a no-quit attitude right there. Just as Mater's wheels touch the ramp, BULLETS PING around him in a spray. Siddeley is HIT, a tire BLOWN. He yells in pain. FINN Hold on, Sid! Siddeley peels off the runway onto the grass. A gunfight ensues between Finn and Acer. Finn SHOOTS ACER'S TIRE, blowing it and throwing him off-course. Acer CAREENS out of control, drives up and THROUGH A JET --- --- OUT THE OTHER SIDE where he lands in an oil tanker. ON SIDDELEY - He's headed toward the edge of the tarmac, where the grass and runway meet WATER. He HITS THE GAS, his only hope. SIDDELEY Finn, it's now or never! Finn BRAKES, 180s and grabs the ramp just as Siddeley gets air. SIDDELEY Hold on! Mater, the only thing not in the jet, dangles and recedes from our view as Siddeley climbs toward the clouds. As he's PULLED in through the back hatch: MATER (V.O.) By the time you read this, I will be safely on an airplane, flying home. INT. LOBBY - HOTEL - TOKYO - DAY CLOSE ON a handwritten (er, tire-written?) NOTE in childish scrawl. We don't see all of it, only a bit. Mater's voice O.S. begins the note with the first sentence, but we DISSOLVE into McQueen's voice. 59. MCQUEEN "I'm so sorry for what I did. I don't want to be the cause of you losing any more races. I want you to go prove to the world what I already know - that you are the greatest race car in the whole wide world. Your best friend, Mater." McQueen takes this in. MCQUEEN I didn't really want him to leave. LUIGI Wait, there's more here. (READS) "P.S. Please tell the hotel I didn't mean to order that movie. I thought it was just a preview and I didn't realize I was paying for it. P.P.S... That's funny right there -- PP." (to the others) There's a few more pages of P.S.'s here. MCQUEEN (TURNING BACK) Well, at least I know if he's at home he'll be safe. EXT. SKY - DAY SIDDELEY breaks through some cloud cover, flies with purpose. INT. JET - DAY A well-appointed spy jet. Various computers line the walls. FINN Now that's how I like to start the day! You never feel more alive than when you're almost dead. HOLLEY (SCANNING MATER) I hope that device didn't fall off. MATER That's the closest I ever been to missing my flight! That was --- 60. With a ROBOTIC ARM, Holley grabs the THE DEVICE that Rod Redline hid under Mater. She yanks it out with a GOOSE. MATER (JUMPS) Yow! HOLLEY Still in one piece, great. Holley drops the device into a mainframe computer. It starts "ANALYZING." MATER I gotta go to a doctor. I keep getting these sharp pains in my undercarriage. HOLLEY Downloading the photo now. MATER Hey, lemme introduce you two. (TO HOLLEY) This here is Finn McSomething-or- other. He's a First Class VIP airport whatchamacallit. And Finn, this here's my date. (TO HOLLEY) I never did get your name. HOLLEY Oh yes, sorry. It's Shiftwell. Holley Shiftwell. MATER (TO FINN) It's Shiftwell. Holley --- DING! The computer is done analyzing. The cabin lights dim. FINN Finally. Time to see who's behind all this. AN IMAGE is blasted between the three of them. It's of a photograph, a complicated melange of metallic parts stuck together. HOLLEY (to Mater, expectantly) What is this? 61. MATER Well, that's one of the worst engines ever made. It's an old aluminum V8 with a Lucas electrical system and Whitworth bolts. Shoot, them Whitworth bolts is a pain, tell you what. Them ain't metric, they ain't inches... HOLLEY Yes, OK, right. But who's engine is this, Mater? MATER Well, it's kinda hard to tell from this picture, ain't it? HOLLEY But you're the one who took it. FINN Holley. HOLLEY Oh, right. Yes, of course. "A good agent gets what he can, then gets out before he's killed." Sorry. MATER Agent? You mean like insurance agent, like, (SINGS) `Like a good neighbor, Mater is there'? Wait, you mean secret agents. You guys is spies! FINN Holley, in how many makes and models did this type of engine appear? Holley has these stats in seconds. Kid's play. HOLLEY It was standard in seven models over a 12-year period. At least 35,000 cars were made with this engine. Mater MOVES HIS SEAT FORWARD, through one part of the hologram so he's face-to-face with Holley. MATER You're pretty. 62. HOLLEY (ANNOYED) Yes, alright. Thank you. MATER And so nice. HOLLEY Just pay attention. She moves the engine photo so it's now blocking Mater again. FINN This seems like a dead end. If there were something in the photo that could narrow this down a bit I'd be a lot happier. MATER You might not be happy, but I bet this feller is. See how he's had most of his parts replaced? And see all them boxes over there? Them's all original parts. They ain't easy to come by. HOLLEY Rare parts. FINN That's something we can track. HOLLEY Exactly! Holley drops her screen down. FINN Well done, Mater! I would never have seen that. (TO HOLLEY) I know of a black-market parts dealer in Paris, a treacherous lowlife. But, he's the only car in the world who can tell us whose engine this is. Mater, what would you say to setting up an informal task force on this one? MATER Wait, what? 63. FINN You obviously have plenty of experience in the field. MATER Well yeah I live right next to one. (thinks about it) I don't know, Finn. I ain't exactly been much help to anybody recently. FINN You're helping me. Please, Mater. MATER Well, okay. But you know I'm just a tow truck, right? FINN Right. And I'm just in the import/export business. Siddeley? SIDDELEY Yes, Finn? FINN Paris. Tout de suite. MATER Yeah, two of them sweets for me too, Sid! (TO HOLLEY) You know, I always wanted to be a spy. HOLLEY (SMILING SWEETLY) Really? Me too. SIDDELEY Afterburners, sir? FINN Is there any other way? EXT. JET - MOVING Siddeley HITS THE JUICE, they kick forward like a mule as we CUT TO --- A MONTAGE OF PARIS: Mater attempts to merge into roundabout traffic; mimes annoy tourists at the Eiffel Tower; a painter works his magic on an unattractive couple; a couple kisses on the most romantic spot in the world; we might even catch GASTOW'S RESTAURANT. 64. The charming, low-key introduction ends with a SWEEPING VISTA of Paris's center from far away as we CRANE DOWN INTO --- EXT. STREET - DAY --- a dirty street in the 1st Arrondissement. Finn and Holley drive along together as Mater, playing "spy," darts back and forth behind them from doorway to dumpster, "hiding out." He's having a ball. FINN (TO HOLLEY) Once we're inside, stay close. Don't bother checking VIN numbers for criminal records, they're all dodgy here. HOLLEY No VIN scans. Got it. FINN Don't talk to anyone. Don't look at anyone. And absolutely, positively no idling. Are we clear? HOLLEY Yes, right. No idling. Yes, sir. FINN Mater? MATER Yeah, Finn? FINN We're not here to go shopping. As Finn and Holley and Mater turn the corner... MATER Shopping? What do you mean? Why would I --- Mater turns the corner and enters a massive Les Halles- inspired Parisian market filled with car parts. A tow truck's dream. MATER Dadgum. MERCHANTS - Parts for sale, Monsieur! - Monsieur! Parts for sale! 65. IN THE MARKET - MOMENTS LATER Mater rolls along, impressed by the goods for sale. MATER You gotta be kidding me - they've got everything here. Look at them hoods! I could use a hood. Mater continues on though, heeding Finn's advice. MATER Sorry fellers, I gotta go. INT. ENCLOSED MARKETPLACE - DAY Mater, now out of sight of Finn and Holley, passes a darkened stall. He STOPS, peers in. There's someone in there. MATER Excuse me. What are you selling? It suddenly OPENS its headlights revealing... EYES!! In French, the mutant car pitches his wares to Mater. Mater FREAKS OUT, speeds off, TERRIFIED. AROUND THE CORNER - FINN AND HOLLEY A few car lengths ahead of Mater. They roll along, looking for... Aha! Finn and Holley recede into the shadows. In FINN'S SIDE MIRROR: TOMBER, a three-wheeled parts dealer, argues with a French customer. FINN There you are. Mater suddenly turns the corner, sees Finn and Holley. MATER Man, there are some great --- FINN Mater, get back! Too late. Tomber sees Mater, then notices FINN, reflected in a hubcap. He BOLTS. Finn and Holley give chase. MATER Hey, wait for me! Tomber, skidding away, kicks a tent in Finn's way. Holley quickly pivots RIGHT and disappears. Where did she go? 66. Finn, hot in pursuit, leaps another obstacle and loses ground TO --- --- Tomber who turns a corner and finds himself grill to grill with HOLLEY. He whips to the left but TURNS OVER, rolling sideways and CRASHING to a stop. Holley ZAPS him with ELECTROSHOCKERS. Finn suddenly arrives, stops her. FINN (TO HOLLEY) Have you lost your mind?! HOLLEY But I thought --- FINN Mater! This chap needs a tow. Hook him up. MATER Sure thing. CUT TO: MOMENTS LATER - Mater tows Tomber, following Finn and Holley. TOMBER You rusty piece of junk, get your dirty hook off me! INT. A SMALL GARAGE - MOMENTS LATER Finn throws open a door. Cars scatter like cockroaches. FINN (to the cars) Allez! Maintenant - vite! Mater unhooks an angry Tomber who spits in French. Finn pulls the door down. As it LATCHES TIGHT --- TOMBER (TO FINN) Electroshock! Are you kidding me?? FINN Easy, Tomber. This is her first field assignment - she didn't know you were my informant. HOLLEY Informant? 67. TOMBER A rookie, eh? I never liked new car- smell. Holley FUMES with anger. FINN Tomber was doing 20 to life in a Moroccan impound the first time I saved him, if I recall correctly. TOMBER Speaking of recalls, you're getting up there in mileage aren't you, Finn? HOLLEY Alright, we get it. You both know each other, you're both old. So. Holley shoots a HOLOGRAPHIC PHOTO of the engine in front of Tomber. HOLLEY There you go, informant. Inform us. Tomber eyes the photo. He recoils, unimpressed. TOMBER That is the worst motor ever made. Suddenly, Tomber narrows his gaze. TOMBER Wait. That oil filter... those wheel bearings. FINN Do those parts look familiar, Tomber? TOMBER They should. I sold them. HOLLEY To whom? TOMBER No idea. He's my best customer, but he always does his business over the phone. I was always wondering why he needs so many parts. Now I know. 68. MATER Well, a lemon needs parts. Ain't nothing truer than that. FINN "Lemon?" MATER Yeah, you know. Cars that don't ever work right. Lemons is a tow truck's bread and butter. Like them Gremlins and Pacers we run into at the party and the race and the airport. FINN Holley, pull up the pictures from the oil platform. I want to know what other type of cars were out there. Holley complies and suddenly PHOTOS OF CARS FROM THE OIL PLATFORM hang suspended in the air in front of them. HOLLEY Right. Let's see. There were Hugos. And Trunkovs. FINN Mater, are these cars considered lemons? MATER Is the Popemobile Catholic? HOLLEY Finn. Everyone involved in this plot is one of history's biggest loser cars. Holley refers to the ENGINE PHOTO, which now rises forward as the prominent picture, perhaps the only one in view. FINN And they're all taking their orders from the car behind this engine. TOMBER This explains it! FINN What, Tomber? 69. TOMBER Gremlin, Pacer, Hugo and Trunkovs never get together. But they're having a secret meeting in two days. FINN Where's this meeting taking place? TOMBER Porto Corsa, Italy. MATER That's where the next race is! FINN Then there's a good chance our mystery engine will be there too. TOMBER Your chances are more than good. I just sent him a new clutch assembly yesterday... to Porto Corsa. FINN Holley, contact Stephenson and have him meet us at Gare de Lyon. Good work. EXT. FRENCH ALPS - NIGHT STEPHENSON, a THREE-CAR LUXURY BULLET TRAIN speeds along a snow-covered mountain in the dead of night, its halogen headlight cutting through the darkness. It DIPS into a TUNNEL --- MATER (O.S.) Boy, I'll tell you what. That three- wheeled feller had to be right about a big meeting. INT. SPY CAR - MOVING - NIGHT Mater, Finn and Holley scroll through surveillance-style photos of TRAFFIC on an Italian street. They're in the front train car, which doubles as a luxury seating area and intelligence command center. MATER You never see this many lemons in one town. Unless there's a swap meet, or something. (TO HOLLEY) (MORE) 70. MATER (CONT'D) Hey, how'd you get all them pictures? HOLLEY Well, I remotely reprogrammed Porto Corsa's red light cameras to do recognition scans. MATER Wow, not only is you the prettiest car I ever met, but you the smartest too. HOLLEY Thank you. I think. MATER That's a familiar sight. Mater refers to a photo of VICTOR HUGO, the HUGO Lemonhead, being towed by an EASTERN EUROPEAN TOW TRUCK. MATER A Hugo being towed. But he looks absolutely perfect. FINN Of course. They must be the heads of the lemon families. MATER Makes sense. If I was rich and broke down every day, I'd hire me to tow me around all the time too. FINN We've got to infiltrate that meeting. It's the only way to find out who's behind all this. HOLLEY (EYEING MATER) Hang on a minute. MATER What? HOLLEY Hold still. Holley SNAPS Mater's picture, temporarily blinding him. MATER Ahh! 71. Holley turns back to her monitor. Mater's face appears on screen. She quickly GRAFTS it over the Hugo's tow truck's. FINN Good job, Miss Shiftwell. Holley isn't sure what surprises her more: the compliment or how pleased it makes her. HOLLEY Thank you, Finn. MATER Boy, I sure wish my friends could see me now. EXT. SMALL TOWN - ITALY - OUTSIDE PORTO CORSA - DAY A quaint Italian piazza. A pristine MASERATI FOUNTAIN, complete with ancient trident, looms in our view. Luigi and Guido roll into view. LUIGI Guido, your eyes do not deceive you. We are in Italy. We are home! Sarge, Fillmore and McQueen exit a WGP transport truck. FILLMORE Hey, Luigi. Which way to the hotel, man? LUIGI What? No friends of mine will stay in a hotel in my village. You will stay with my --- Uncle Topolino! UNCLE TOPOLINO, a distinguished 1937 Fiat Topolino, rolls forward. He greets them warmly with affectionate Italian salutations as word of Guido and Luigi's arrival spreads. The square FILLS with family and friends. EXT. PIAZZA - DUSK A festive homecoming party. Lights strung across the square. Music and dancing. Fillmore and Sarge are at a dining table. SARGE How do they do it? These are the same ingredients as back home, but it tastes so good. 72. FILLMORE It's organic, man. SARGE Tree hugger. LIGHTNING MCQUEEN rolls along the periphery of the square, seems lost in thought. UNCLE TOPOLINO (O.S.) Race car. Uncle Topolino beckons McQueen over. UNCLE TOPOLINO You look so down, so low. Is like you have flat tires. MAMA TOPOLINO, a hefty Italian grandmother pipes up, a mile a minute then drives off, now a car on a mission. UNCLE TOPOLINO She said you look like you're starving. That she's going to make you a big meal, and fatten you up. MCQUEEN No, Mama Topolino, please. You don't need to make a fuss! Too late. She's disappeared inside her kitchen. UNCLE TOPOLINO Capisco. I understand. Is a problem, yes? Between you and a friend? MCQUEEN How'd you know that? UNCLE TOPOLINO A wise car hears one word and understands two. McQueen takes this in, impressed. UNCLE TOPOLINO That, and Luigi told me. While Mama cooks, come and take a stroll with me. They amble forward, Uncle Topolino setting the pace. 73. MCQUEEN I brought my friend Mater along on the trip. And I told him he needed to act different, that we weren't in Radiator Springs. UNCLE TOPOLINO This Mater. He's a close friend? MCQUEEN He's my best friend. UNCLE TOPOLINO Then why would you ask him to be someone else? McQueen considers this - a realization. MCQUEEN What did I do? I said some things during our fight... UNCLE TOPOLINO You know, back when Guido and Luigi used to work for me, they would fight over everything. IN THE SQUARE - Guido dances with a girl. Luigi suddenly CUTS IN. They begin to ARGUE. UNCLE TOPOLINO They fight over what Ferrari was the best Ferrari; which one of them look more like a Ferrari... There were even some non-Ferrari fights. Guido now LIFTS Luigi, cuts BACK in. UNCLE TOPOLINO So I tell them, va bene. It's okay to fight. Everybody fights now and then, especially best friends. McQueen takes this in. Seems to take some small comfort. UNCLE TOPOLINO But you gotta make up fast. McQueen's comfort quickly evaporates. UNCLE TOPOLINO No fight more important than friendship. 74. Guido and Luigi now dance together with the girl and her friend who has just arrived. All having a great time. They dance past us, crossing in front of MCQUEEN AND UNCLE TOPOLINO. We STAY WITH them. UNCLE TOPOLINO Chi trova un'amico, trova un tesoro. MCQUEEN What does that mean? MAMA TOPOLINO (ARRIVING) Whoever find a friend, find a treasure. Mama Topolino drops a tray of food in front of McQueen. MAMA TOPOLINO Now, mangia! Eat! ON MCQUEEN, distant, taking all of this in, lost in thought as, in the background, Uncle Topolino and Mama Topolino talk, then argue, then make up (all in Italian) all while we stay on McQueen's pensive face --- INT. TRAIN TUNNEL - LATER Stephenson glides along, all business. STEPHENSON Finn, one hour to Porto Corsa. INT. TRAIN - MOVING - LATER FINN Thank you, Stephenson. Finn watches as HOLLEY attaches a new EMERGENCY LIGHT on Mater's roof. It looks exactly like his old one. HOLLEY That should just about do it. FINN Perfect. HOLLEY So Mater, it's voice-activated. But you know, everything's voice- activated these days. 75. MATER What? I thought you was supposed to be making me a disguise. MATER'S COMPUTER Voice recognized. Disguise Program Initiated. ZWWWWAT! A HOLOGRAPHIC disguise suddenly umbrellas out, emitted from Mater's roof. It drops a clean cloaking image of the EASTERN EUROPEAN TOW TRUCK over Mater. MATER Cool! Hey, computer. Make me a German truck! MATER'S COMPUTER Request acknowledged. ZWATTTT! Mater suddenly wears lederhosen and a German hat. MATER Check it out. I'm wearing Materhosen. Make me a monster truck! MATER'S COMPUTER Request acknowledged. He's transformed into Dracula, complete with fangs. MATER (ALA DRACULA) I vant to siphon your gas. Now make me a taco truck! MATER'S COMPUTER Request acknowledged. MATER A funny car! MATER'S COMPUTER Request acknowledged. Finn suddenly pushes a button, stops the madness. FINN The idea is to keep a low profile, Mater. Mater, chastened, moves on. 76. MATER So I just go in, pretend to be this truck. FINN And leave the rest to us. HOLLEY Now hold still. Holley turns back to her work. The disguise's cloaking is larger than Mater. As a result, Holley must dial it back to fit his body. As she carefully calibrates the hologram: HOLLEY I have to do the final fitting on your disguise. Holley STOPS. The 3D disguise is now flush with his frame, but dents SHOW THROUGH. HOLLEY Oh dear. That's no good. She deploys A BONDO SPRAYER on a robotic arm, moves it toward one of Mater's DENTS. Mater pulls away. MATER Hey, what are you doing? HOLLEY The disguise won't calibrate effectively without a smooth surface to graft onto. MATER Oh. For a second there I thought you was trying to fix my dents. HOLLEY I was. MATER Well then no thank you. I don't get them dents buffed, pulled, filled or painted by nobody. They're way too valuable. HOLLEY Your dents are valuable? MATER I come by each one of them with my best friend Lightning McQueen. (MORE) 77. MATER (CONT'D) I don't fix these. I want to remember these dents forever. HOLLEY So you were being serious in Paris? McQueen isn't just part of your cover? FINN Friendships can be dangerous in our line of work, Mater. MATER But my line of work is towing and salvage. FINN Right. And Miss Shiftwell's is designing iPhone apps. MATER No, I meant for real. I --- HOLLEY It's okay. Say no more. I'll work around the dent. FINN In the meantime... Finn hits a button. The walls transform into a MASSIVE WEAPONS CACHE. FINN You look a little light on weapons. Off Mater's RXN --- EXT. ALPS - DAWN --- STEPHENSON EMERGES LOUDLY from a tunnel. He powers forward, starts his descent into Italy --- BRENT MUSTANGBURGER (V.O.) You are looking live at beautiful Porto Corsa, Italy, on the Italian Riviera. What a magnificent setting for the second race of the World Grand Prix. EXT. PORTO CORSA, ITALY - DAY Over sweeping helicopter BEAUTY SHOTS: 78. DAVID HOBBSCAP (V.O.) Well Brent, they call this place "The Gem of the Riviera," and it's easy to see why. A local fishing boat chugs through an idyllic waterway, beneath bridges that connect hillside villas. DAVID HOBBSCAP (V.O.) With its secluded beaches and opulent casinos, Porto Corsa truly is a playground for the wealthy. A long line of RICH-LOOKING YACHTS in the harbor. DAVID HOBBSCAP (V.O.) And everyone who's anyone is here today. Rich SPORTS CARS drive past pricey shops. DAVID HOBBSCAP (V.O.) From the ultra-rich and super- famous, to world leaders and important dignitaries. THE POPEMOBILE, visible in a crowd, drives through town. DARRELL CARTRIP (V.O.) You aren't kidding, David. You can't do a three-point turn around here without bumping into some celebrity! HELICOPTER SHOT of the Casino. BRENT MUSTANGBURGER (V.O.) Welcome everyone to the second race of the World Grand Prix! CUT TO: MUSTANGBURGER, HOBBSCAP and CARTRIP in the control booth. BRENT MUSTANGBURGER The big news continues to be Allinol. Sir Miles Axlerod spoke to the press earlier today to answer questions about its safety. FOOTAGE OF THE PRESS CONFERENCE - Miles Axlerod, at a podium, addresses the press throng. He looks a bit exasperated. 79. MILES AXLEROD An independent panel of scientists has determined that Allinol is completely safe. Okay? Safe! There it is. BRENT MUSTANGBURGER So the race will go on, folks. RACE GRAPHICS show Francesco with 10 points at the top of the race standings. DARRELL CARTRIP But the question everyone is asking: Will the real Lightning McQueen show up today? ON THE TRACK - As the racers begin to get into position on the grid. BRENT MUSTANGBURGER (V.O.) Well, he better. Talk about a home- track advantage. Francesco Bernoulli grew up racing on this course. ITALIAN TRACK ANNOUNCER (V.O.) Signore e signori, in the pole position, numero uno... The crowd is cheering already, knows who this is. ITALIAN TRACK ANNOUNCER (V.O.) ... Francescoooooo! The Italian crowd roars and chants for their hometown hero. FRANCESCO (to the crowd) Bellissima! Thank you for your support. (TO MCQUEEN) And your big mistake, McQueen! McQueen missed this comment. He approaches his grid position, lost in thought. ITALIAN TRACK ANNOUNCER (V.O.) In the secondo position. Numero novantacinque. Lightning McQueen! Cheers (not so thunderous, obviously) from the crowd. McQueen doesn't seem to notice. 80. IN MCQUEEN'S PIT - His team exchanges looks, worried. LUIGI McQueen? Is everything okay? FILLMORE If you're worried about your fuel, man, don't. It's perfectly safe. BACK ON THE STARTING GRID MCQUEEN No, guys, I just really wish Mater were here. FRANCESCO (O.S.) Francesco understands, McQueen. Francesco parks next to him, grinning. MCQUEEN Oh, great. Here it comes. What've you got, Francesco? FRANCESCO For famous race cars like Francesco and well... you, to be far away from home is not easy. MCQUEEN I think you forgot the insulting part of that insult. FRANCESCO Is no insult. When Francesco is away from home, he misses his mama just like you miss your tow truck amico. MCQUEEN Gee, I maybe misjudged you, because that's exactly how I --- FRANCESCO Of course, I am at home. And my mama is right here. Francesco refers to his MAMA who sits in a special box in the crowd, cheering him on, blowing him kisses. FRANCESCO (YELLS) Mama! Don't worry, Mama! (MORE) 81. FRANCESCO (CONT'D) McQueen is very sad! I will beat his cry-baby bottom today! MCQUEEN And there's the insult we were missing. Grazie! THE LIGHTS - CLICK FROM RED TO GREEN --- THE RACERS TAKE OFF! EXT. PORTO CORSA - DAY SHOTS of the racers making the first few turns through the city streets. We PAN to the CASINO DI PORTO CORSA. The Beaux Arts-style architecture towers atop a hill, overlooks the course. EXT. THE CASINO - MOMENTS LATER A group of thuggish HUGOS - ugly Eastern European cars - wait impatiently at the front. A LIMOUSINE-STYLE car carrier rolls up to the roundabout. An esteemed, elderly GREMLIN rolls past with a group of GREMLIN THUGS who usher him into the casino. ALEXANDER HUGO Gremlins. Man, those are some ugly cars. Look like someone stole their trunks. The THUGS all SNICKER. HOLLEY Scusatemi, tutti! Signori! Holley arrives, sporting a decent Italian accent. HOLLEY Mio nonno, my grandfather, has broken down. If one of you would help I would be so thankful. IVAN, AN EASTERN EUROPEAN TOW TRUCK (the one Holley and Finn prepped Mater to impersonate), drives forward. IVAN THE TOW TRUCK Sounds like you need some "roadside assistance". ANOTHER HUGO She was talking to me, Ivan. 82. IVAN THE TOW TRUCK Oh really? Prove it. HOLLEY No, no, don't fight over me. Holley directs her interest toward Ivan. HOLLEY Signore Tow Truck, per favore? CUT TO: MATER - He watches this from a safe hiding spot around a corner. FINN (V.O.) Get ready, Mater. CUT TO: FINN, at an outdoor cafe on the casino grounds. FINN You're on any moment now. CUT BACK TO: MATER, now looking a bit nervous. He backs out of sight. MATER I don't know about this, Finn. What if I screw things up? FINN (OVER RADIO) Impossible. Just apply the same level of dedication you've been using to play the "idiot tow truck" and you'll be fine. MATER It's just that them guys look pretty tough and --- Wait, did you say "idiot"? Is that how you see me? FINN (OVER RADIO) That's how everyone sees you. Isn't that the idea? I tell you, that's the genius of it. No one realizes they're being fooled because they're too busy laughing at the fool. Brilliant. While Finn talks, Mater takes this in. He catches his own reflection in a nearby window. Seems to be seeing himself with new eyes. 83. ZZZZATTT! Mater jumps at the sound, turns in time to see Ivan SHOCKED UNCONSCIOUS by Holley's ZAPPERS. HOLLEY Why aren't you in disguise? MATER I, uh--- HOLLEY Come on, there's no time. Go! MATER Okay, okay. Computer: disguise. MATER'S COMPUTER Request acknowledged. EXT. AROUND THE NEXT CORNER - CONTINUOUS Mater, now disguised as Ivan the Tow Truck, approaches the Hugos. Another LIMO CAR CARRIER arrives. ALEXANDER HUGO It's the boss! He is coming! The carrier parks and the back opens. VICTOR HUGO waits. VICTOR HUGO Ivan! Mater realizes Victor is talking to him. He hops to it. VICTOR HUGO Ivan, why do you insult me so by making me wait? Mater, now with Victor hooked, tows him in the front doors of the casino. ON FINN - now joined in the cafe by Holley who monitors everything and SEES EVERYTHING MATER SEES on her display. HOLLEY He's in. EXT. RACE COURSE - PORTO CORSA - DAY McQueen and Francesco battle for first place --- BRENT MUSTANGBURGER (V.O.) The racers are now making their way around the hairpin, and headed downhill toward the casino bridge. 84. INT. CASINO - DAY Cars play craps with FUZZY DICE; slot machines with odometers for jackpot numbers; cigarette girls sell car items. CIGARETTE GIRL CAR Air Freshener, antenna balls, sparkplugs... ON MATER - He tows VICTOR. They are flanked on all four corners by Hugo thugs, ala a presidential motorcade. The largess of the interior design seems to finally snap Mater out of his funk. MATER (WIDE-EYED) Wow, this place looks like it's made out of gold. The Hugos on either side of Mater exchange a look. HOLLEY (OVER RADIO) That's because it is, Mater. Now, be careful what you say. MATER Why is that? What do you mean don't talk to you? (more talking from Holley which we cannot hear) So you want me to stop talking to you. Right now? ALEXANDER HUGO You are acting strange today, Ivan. MATER I have no idea what you're talking about... MATER'S P.O.V. - A digital readout isolates the Hugo and starts to scroll reams of information alongside. MATER ...Alexander Hugo, aka "Chop Shop Alex." IN A WIDER SHOT we realize this display is invisible to all but Mater. Some of Alex's other alias' include "Alexander Hu- Don't Go" and "Alexander the Not-So Great." 85. MATER Hey, you got a lot of aka's, Alex. But I guess that makes sense seeings how you's wanted in France, Germany, the Czech Republic... HOLLEY (cutting in to his DISPLAY) Mater! Stop it! Alexander Hugo, unaware of Holley's interruption, whispers to Mater as they turn a corner. ALEXANDER HUGO Okay, okay. Keep your voice down. You're gonna make me arrested. (to the other Hugos) Don't mess with Ivan today. He's in a bad mood. EXT. CASINO - DAY Holley, hearing this, can't believe it. FINN He's so good. INT. CASINO - DAY Mater tows Victor inside a private room, where inside are the WORLD'S WORST CARS including VLADMIR TRUNKOV, TUBBS PACER and J. CURBY GREMLIN. VLADIMIR TRUNKOV Victor! TUBBS PACER Hey, Victor! J. CURBY GREMLIN There you are. VLADIMIR TRUNKOV Come in, come in. J. CURBY GREMLIN Victor Hugo. I'm J. Curby Gremlin, from Detroit. It's good to see you. Now we can start. VICTOR HUGO Is the big boss here yet? 86. VLADIMIR TRUNKOV No, not yet. TUBBS PACER He's supposed to be here any minute. WHAM! A DOOR is thrown open O.S. Everyone turns, now silent. ON THE DOOR - It sits open. No one enters. The room of Lemons watch, nervous. ON MATER - Nervously watching too. EXT. CASINO - CONTINUOUS FINN Here we go. INT. PRIVATE ROOM - CASINO - CONTINUOUS A car finally appears. It's Zundapp. PROFESSOR ZUNDAPP Guten Tag! Everyone looks disappointed. TUBBS PACER It's just the Professor. VICTOR HUGO Zundapp, when is he coming? PROFESSOR ZUNDAPP He's already here. MONITORS descend from the ceiling. On them, an image of AN ENGINE - the same bloody engine from the photo. But this is a LIVE image. The car is being worked on. VOICE Welcome, everyone. The VOICE is garbled, scrambled. No way to determine who. ENGINE VOICE I wish I could be with you on this very special day but... my clutch assembly broke. You know how it is. The Lemons all nod in understanding. 87. TUBBS PACER Been there. J. CURBY GREMLIN Forget about it. VLADIMIR TRUNKOV We know how you feel. EXT. CASINO FINN Descramble that voice! HOLLEY (already on it) I'm trying... It's too sophisticated! INT. PRIVATE ROOM - CASINO - CONTINUOUS ENGINE VOICE We are here to celebrate. Today all your hard work pays off. The world turned their backs on cars like us. They stopped manufacturing us, stopped making our parts. The only thing they haven't stopped doing is laughing at us. They've called us terrible names... On VICTOR HUGO. ENGINE VOICE Jalopy. Rustbucket. On TUBBS PACER. ENGINE VOICE Heap. Clunker. On J. CURBY GREMLIN: ENGINE VOICE Junker, beater, wreck. On ZUNDAPP. ENGINE VOICE Rattletrap. And finally back on the monitor. The ENGINE. 88. ENGINE VOICE Lemon. But their insults just give us strength. Because today, my friends... The monitors switch to LIVE RACE FOOTAGE. ENGINE VOICE ...that all ends. On the VIDEO SCREENS - CARLA VELOSO'S ENGINE BLOWS --- EXT. RACE COURSE - CONTINUOUS Veloso swerves, attempts to mitigate a crash --- DARRELL CARTRIP (V.O.) There's smoke! On the casino bridge! DAVID HOBBSCAP (V.O.) Oh no. BRENT MUSTANGBURGER (V.O.) It's Carla Veloso, the Brazilian race car. She skids into a wall, hard. EXT. CASINO - CONTINUOUS FINN What just happened? HOLLEY (analyzing the data) I'm working on it. INT. PRIVATE ROOM - CASINO - CONTINUOUS The lemons are CHEERING. Mater is freaked out. ENGINE VOICE They laughed at us. But now it's our turn to laugh back. BOOM! Another racer blows an engine. Mater JUMPS again. EXT. RACE COURSE - SAME As the racer smashes into the railing --- 89. DAVID HOBBSCAP (V.O.) Another crash! It's number nine, Nigel Gearsley. ENGINE VOICE (V.O.) Embrace your inner lemon! Let it drive you! EXT. CASINO FINN Holley? HOLLEY I'm detecting an extremely strong electromagnetic pulse. Holley replays that last crash. The OUTLINE OF THE BEAM is seen hitting the racer. Holley TRACES THIS to its source --- --- a WGP CAMERA, which Grem and Acer have pointed at the racers from a tower position. HOLLEY Finn, it's the camera! FINN Where? HOLLEY On the tower. Finn TAKES OFF, speeding toward Grem and Acer --- ENGINE VOICE (V.O.) This was meant to be alternative fuel's greatest moment. EXT. GRANDSTANDS - RACE COURSE - CONTINUOUS Angry fans knock over cans of Allinol. One drives over an Allinol sign. They're fed up with it. ENGINE VOICE (V.O.) After today everyone will race back to gasoline. We RACK FOCUS to reveal another fan as he RIPS an Allinol banner down angrily. INT. PRIVATE ROOM - CASINO - CONTINUOUS The video screens are now filled with ONE IMAGE - of the OIL PLATFORMS in the Pacific from the beginning of the movie. 90. ENGINE VOICE And we, the owners of the world's largest untapped oil reserve, will become the most powerful cars in the world! EXT. STREETS OF PORTO CORSA - CONTINUOUS Finn ducks, weaves, speeds, and pushes his way through BYSTANDERS --- FINN Get out of the way! Andate! He speeds furiously through town. EXT. RACE COURSE - PORTO CORSA - CONTINUOUS McQueen and Francesco FLY PAST US. INT. PRIVATE ROOM - CASINO ENGINE VOICE They will come to us and they will have no choice, `cause they will need us. ON FINN - He SPEEDS up a road, Grem and Acer visible ahead of him. He LEAPS over the crevasse toward the AMC cousins --- Suddenly, FINN FREEZES. He's immobilized in mid-air! He looks up. A CHOPPER with a LARGE MAGNET hovers over him. ACER (TO FINN) We figured you might stop by. ENGINE VOICE (V.O.) And they will finally respect us. So hold your hoods high. After today you will never again be ashamed of who you are! Grem and Acer turn back to the camera. They line up Shu Todoroki, who's a bit further along now. FINN No! INT. PRIVATE ROOM - CASINO - CONTINUOUS ENGINE VOICE Long live Lemons! 91. EXT. RACE COURSE Grem ZAPS THE RACER. Flames burst from Todoroki. He loses control. BRENT MUSTANGBURGER (V.O.) Number seven is loose! Shu Todoroki! Shu takes down three more cars with him and others follow suit. It's a nightmare pileup. EXT. CASINO - SAME Holley sees Finn being flown away by the chopper. HOLLEY Finn. EXT. FINISH LINE - PORTO CORSA - CONTINUOUS BRENT MUSTANGBURGER (V.O.) Bumper to bumper as they approach the finish line. McQueen NOSES out Francesco for a win, both oblivious to what's just happened. BRENT MUSTANGBURGER (V.O.) McQueen's the winner, Francesco's second. And they have no idea what happened behind them. MCQUEEN Yeah! FRANCESCO Dah! This is impossible! MCQUEEN That's what I'm talking about. Kachow! Hey, where are all the other cars? FRANCESCO What is going on? They see the pile-up from an overhead monitor. Sirens blare as a MEDIC CHOPPER flies to the scene of the pile-up. 92. MCQUEEN (REALIZES) Oh no. CUT TO: MILES AXLEROD - LATER. He's near the casino. He's completely surrounded, 360 degrees, by press. He's drowned out by a blizzard of questions. BRENT MUSTANGBURGER Sir Axlerod! Is the final race in London still going to take place? PULL BACK to reveal we are watching this on monitors in the PRIVATE CASINO ROOM with the Lemonheads, Zundapp and Mater. MILES AXLEROD (ON TV) I suppose that... Look, "the show must go on" as they say. But now is not the time to talk about... J. CURBY GREMLIN I can't believe this is really happening. VLADIMIR TRUNKOV Shh, quiet! BRENT MUSTANGBURGER (ON TV) And Allinol? Will you require all the racers to still run on Allinol? VLADIMIR TRUNKOV Here it comes. On Miles Axlerod: He's devastated. MILES AXLEROD (ON TV) I cannot in good conscience continue to risk the lives of any more race cars. The final race will not be run on Allinol. WILD WHOOPING CHEERS fill the room. Lemonade corks are popped. BRENT MUSTANGBURGER (ON TV) There you have it. A clearly devastated Sir Miles Axlerod announcing that he will not require the cars to use Allinol for the final race. 93. PROFESSOR ZUNDAPP A toast! To the death of Allinol and alternative fuel forever! EXT. CASINO - CONTINUOUS Holley is already on the run. Speeding away. HOLLEY Mater. Abort the mission. They've got Finn. Get out of there. Get out of there right now! She turns a corner and STOPS. Her escape is now blocked by the same HUGO THUGS she tricked before. Another vehicle appears BEHIND HER, LOOMS. IVAN THE TOW TRUCK How is your grandfather? INT. PRIVATE ROOM - CASINO - CONTINUOUS The Lemonheads celebrate, chant "Long live lemons!" Mater, scared, turns to leave. He's stopped by ALEXANDER HUGO. ALEXANDER HUGO Isn't this a great party, Ivan? MATER Oh yeah, it's unbelievable. ALEXANDER HUGO You are not leaving, are you? MATER Uh, of course I ain't leavin'. MCQUEEN (O.S.) I'm just in shock like everybody... MATER McQueen? He turns, sees that McQueen is being interviewed on the monitors. MCQUEEN (ON TV) Crashes are part of racing, I know. But something like that shouldn't ever happen. 94. DARRELL CARTRIP (ON TV) They're letting you choose your fuel for the final race. Do you have any idea what it's going to be? MCQUEEN (ON TV) Allinol. The excitement suddenly DRAINS from the room. LEMONHEADS - What?! - Did he just say Allinol? After today? MCQUEEN (ON TV) My friend Fillmore says the fuel's safe. That's good enough for me. I didn't stand by a friend of mine recently. I'm not gonna make the same mistake twice. On Mater. He takes this in. BRENT MUSTANGBURGER (ON TV) So a surprising revelation from Lightning McQueen... Zundapp is already on the phone with their Big Boss who, based on his angry O.S. voice, sounds ticked off. PROFESSOR ZUNDAPP Yes, sir. Of course. Zundapp hangs up, turns to the room. PROFESSOR ZUNDAPP Allinol must be finished for good. McQueen cannot win the last race. Lightning McQueen must be killed. Mater's eyes open wide. MATER No! Mater backs up, KNOCKING his emergency light against one of the monitors. ZZZZZAT! His holographic disguise flickers away then quickly SCROLLS THROUGH all of his previous disguises, finally revealing rusty old Mater. PROFESSOR ZUNDAPP It's the American spy! 95. The thugs DRAW TERRIFYING WEAPONS. MATER Dadgum. MATER'S COMPUTER "Gatling gun" request acknowledged. WHIRRRRR! GUNS roll out of Mater on each side. MATER Shoot. I didn't mean --- MATER'S COMPUTER Request acknowledged. Mater SPRAYS BULLETS into the crowd. VLADIMIR TRUNKOV Get down! MATER Whoa!! The Lemons and Lemonheads hit the deck and RETURN FIRE --- Mater is THROWN BACKWARD by the force of the guns, back through some double doors and onto a BALCONY. MATER Wait wait! I didn't mean that kind of shoot! MATER'S COMPUTER Correction acknowledged. Deploying chute. WHOOM! A PARACHUTE BURSTS out of the back of Mater, he catches air and is YANKED INTO THE SKY! The Lemonheads watch him float away, amazed. ON MATER, out of the frying pan but still toasty. He looks around, notices: LIGHTNING MCQUEEN, far away, leaving the press podium. MATER McQueen! Mater looks down at the harbor, over which he flies. He spots a MOTORBOAT. Mater WHIPS his hook down, steals a ride behind the boat TOWARD MCQUEEN. 96. ITALIAN MOTORBOAT Aspetti! The motorboat isn't happy about this, tries to shake him. Mater is THROWN INTO A "HOTEL" sign, then SMASHES down through a Francesco souvenir stand. As he CRASHES onto the ground hard, we SMASH CUT TO --- EXT. SECURITY CHECKPOINT - WINNERS CIRCLE --- a barricade. Separating the press from the public, ITALIAN SECURITY TRUCKS stand guard. MATER Lemme through! Lemme through! MATER barrels around a corner. He's now covered in Francesco memorabilia and palm leaves. The word `HOT' now dangles off him like the world's biggest bling. He looks INSANE. MATER (TO SECURITY) You gotta let me in! I gotta get through to warn McQueen! Security eyes one another. This is serious. ITALIAN SECURITY #1 You cannot come through here. Back up, signore. ITALIAN SECURITY #2 (into a walkie-talkie) We have a lunatic at Gate Nove. MATER No, listen! I was disguised as a tow truck to infiltrate this Lemonhead meeting and my weapons system misinterperated what I was SAYING --- ITALIAN SECURITY #2 I repeat. Lunatic at Gate Nove. Mater spots McQueen far off in the distance. MATER McQueen! McQueen! JUST OFF THE PRESS STAGE - McQueen is led toward the exit. PRESS LIAISON Right this way, signore. 97. MATER (O.S.) (DISTANT) McQueen! MCQUEEN Mater? McQueen looks up but can only see A SEA OF VEHICLES, flashbulbs, cameras, TV trucks with those tall satellite antennae things that spindle toward the sky... BACK AT THE SECURITY BARRICADE - Mater, like a nimble running back, dances around to avoid capture by security. MATER McQueen! ITALIAN SECURITY #1 Back up, sir. Stop moving! Stop! Mater head fakes them and pushes through, into the crowd --- ITALIAN SECURITY #1 Oy! Stop! Ferma li! IN THE CROWD - Mater shoves his way through. He's still far in the back. MATER McQueen! ON MCQUEEN MCQUEEN That really sounded like Mater. Mater? PRESS LIAISON (TO MCQUEEN) Signore... ON MATER, getting CLOSER... MATER McQueen, they're gonna kill you!! ON MCQUEEN - Okay, he's positive that was his friend, but where is he? MCQUEEN Mater?! McQueen spots a TOW HOOK, moving through the crowd toward him, "Jaws"-like. 98. MCQUEEN Excuse me. McQueen disappears into the press crowd. PRESS LIAISON No, no, where are you going? Please, Mr. McQueen! McQueen pushes through the press. MCQUEEN Scusi. Mater! Scusi... McQueen tracks the tow hook, gets closer. He pushes through the last few vehicles --- MCQUEEN Mater, I'm so glad to see you. I'm so sorr --- It's NOT MATER. It's IVAN, the Hugo Thug's tow truck. IVAN THE TOW TRUCK Lightning McQueen! I am a huge fan. MCQUEEN (CONFUSED) Oh, I'm sorry. I thought I heard--- IVAN THE TOW TRUCK Yes, but that was me. I said, "You killed out there today." You're the best. MCQUEEN What? Oh. I mean, thanks. PRESS LIAISON Right this way, signore --- Now the Press Liaison and his assistants are pushing McQueen back in the other direction --- MCQUEEN (as he's pulled away) I really thought I heard my friend. As he's pulled away, press and onlookers start to come between him and Ivan, who hasn't moved. 99. IVAN THE TOW TRUCK (TO MCQUEEN) In England you'll be finished. At the finish line. Ivan is now obscured again. MCQUEEN Wait, what? The ITALIAN PRESS being to swarm. PRESS LIAISON Please, the world press is waiting. You come with me, please. McQueen is pulled back --- EXT. STREET - PORTO CORSA - MOMENTS LATER --- just as Mater, now BOUND and with HIS MOUTH TAPED, is pulled away and thrown into the back of a transport vehicle. He lands hard on his side, spits out his TAPE. MATER Let me go! PROFESSOR ZUNDAPP You actually care about that race car. A pity you didn't warn him in time. As the doors close on Mater --- PHHHHHSSSSSSTTTTTTT! A thick, noxious gas starts to fill the truck. On MATER as the knockout gas works its magic. HIS EYES CLOSE. CUT TO: BLACK SCREEN. MATER (V.O.) Idiot? Is that how you see me? FINN (V.O.) That's how everyone sees you. I tell you, that's the genius of it. FADE IN on Mater, back at the Casino, eyeing his reflection in the glass window. It's the same moment from before except now we are watching it from a DETACHED, FLOATING PERSPECTIVE. 100. FINN (OVER RADIO) No one realizes they're being fooled because they're too busy laughing at the fool. - IN THE KABUKI THEATER IN JAPAN - Again, from before. Mater makes a spectacle of himself, WHOOPING AND HOLLERING in the stands with the face paint on. MATER Domo arigato! McQueen, Fillmore, Guido, Luigi, Sarge and patrons eye Mater, embarrassed and angry. - IN THE JAPANESE MUSEUM - The moment of Mater banging on the Zen rock garden's glass. Except that now we see all sorts of disappointed and eyebrow raising reactions. MATER You done good! You got all the leaves! JEFF GORVETTE Check out that tow truck. LEWIS HAMILTON I wonder who that guy's with? MCQUEEN (HUMILIATED) Will you guys excuse me just for one little second? We now REVEAL that this FLOATING, THIRD PERSON PERSPECTIVE is MATER. He's INSIDE his past, watching it from others' points of view. He doesn't like what he sees. - ON MATER, now at the sushi bar. MATER Now that's a scoop of ice cream! Mater swallows the wasabi with one big bite. He SCREAMS! The sushi bar patrons blanch with revulsion at his wail. - ON THE FOUNTAIN, as Mater peels into full view of everyone else at the party. As Mater laps up water from a fountain: MCQUEEN (EMBARRASSED) Mater?! 101. ALL THE RACERS, with FRANCESCO front and center, guffaw at Mater. - On MCQUEEN, now scolding Mater moments later. MATER I never leak oil. Never. MCQUEEN Mater, you have to get a hold of yourself. You're making a scene! - IN MCQUEEN'S PIT GARAGE, after the Japanese race. MATER Wait a minute. I didn't screw you up, did I? MCQUEEN I lost the race because of you! MATER Maybe if I talked to somebody, or--- MCQUEEN I don't need your help. I don't want your help! - Now BACK AT THE PARTY, a moment we didn't see before but which presumably happened. Mater is BANGING a ceremonial GONG, to the horror of Japanese guests. MATER Bang a gong, get it on! GONNNNNNG!!! --- On the PARTYGOERS, RACE CARS, PARTY STAFF - they're all laughing at Mater as McQueen's final words blend in, making a DISSATISFIED CACOPHONY MCQUEEN Listen, this isn't Radiator Springs. This is exactly why I don't bring you along to these things! Off the GONG at the party --- INT. BIG BENTLEY - DAY --- to the GONG of a CLOCK. CLOSE ON MATER as he OPENS HIS EYES. 102. All around him, all he sees are GIANT PIECES OF MECHANIZED CLOCKWORK. HOLLEY and FINN are here too, strapped bumper to bumper in the divots of large clock movements. MATER Holley! Finn! Where are we? FINN We're in London, Mater. Inside Big Bentley. EXT. BIG BENTLEY - CONTINUOUS The BIG HAND finishes ADVANCING one minute. It's 3 PM. INT. BIG BENTLEY - CONTINUOUS Suddenly Mater DROPS QUICKLY down toward --- --- whirring, scary machinery. MATER Woaaaah! --- WHAP! The chain yanks to a STOP. Mater, instead of being 30 feet from death, is now 20. Finn and Holley are only a few clicks closer to being crushed themselves. The clock ticks to 3:01. MATER This... this is all my fault. FINN Don't be a fool, Mater. MATER But I am, remember? You said so. FINN When did I... Oh. Mater, I was complimenting you on what a good spy you are. MATER I'm not a spy! This echoes throughout the clock. 103. MATER I've been trying to tell you that the whole time. I really am just a tow truck. Finn and Holley take this in. HOLLEY Finn, he's not joking. FINN I know. MATER You were right, Finn. I'm a fool. And what's happened to McQueen is `cause I'm such a big one. This is all my fault. GREM and ACER arrive on a lift, roll into view on a catwalk. GREM Good, you're up! ACER And just in time! GREM Professor Z wanted you to have a front row seat for the death of Lightning McQueen. MATER (HOPEFUL) He's still alive? Acer whips a sheet away, revealing the WGP CAMERA, turns it toward the clock face. ACER Not for much longer. He pushes the camera through an open small window, turns it toward the course. Mater DROPS down again --- FINN and HOLLEY CLICK FORWARD. EXT. LONDON - DAY Big Bentley's big hand CLICKS ahead another minute. But we're a bit farther away from it than before. SALLY (O.S.) We came as soon as you called. 104. INT. MCQUEEN'S PIT - LONDON Sally, flanked by Red, Flo and Ramone, are in front of ---- --- McQueen and the rest of the team. MCQUEEN I called to talk to Mater. It never occurred to me that he wouldn't be there. RAMONE Sheriff is talking to Scotland Yard right now. FLO And Sarge is in touch with his friends in the British military. SALLY You just need to focus on the race. MCQUEEN I know, but Sal, with everything going on I'm not sure I should--- A HORN O.S. Someone's entering the pit. Everyone parts, revealing MILES AXLEROD. MCQUEEN Sir Axlerod. MILES AXLEROD I'm sorry to interrupt. MCQUEEN No, no, it's all right. MILES AXLEROD I just wanted to come down here and personally thank you. Because after Italy, I was finished. And then you gave me one last shot. MCQUEEN Listen, I --- MILES AXLEROD And I probably shouldn't be saying this at all but... I hope you win today. Show the world that they've been wrong about Allinol. McQueen takes this in. He looks at Sally. 105. SALLY Mater would want you to race. MCQUEEN All right. For Mater. EXT. THE STARTING GRID - MOMENTS LATER TIRES SQUEAL --- MCQUEEN, FRANCESCO and the other racers PEEL OUT --- We PAN UP to reveal the LEMONHEADS watching from a VIP box. EXT. RACE COURSE - LONDON - DAY McQueen leads Francesco as they approach Big Bentley... INT. BIG BENTLEY - LONDON - CONTINUOUS GREM Here he comes! Grem turns up the juice to the HIGHEST, DEATH-INDUCING LEVEL. Holley and Finn watch, helpless. Mater closes his eyes. Grem ZAPS MCQUEEN. EXT. RACE COURSE - LONDON McQueen SPEEDS PAST Big Bentley, unharmed. Oblivious to what was supposed to have just happened. INT. BIG BENTLEY - LONDON Zundapp suddenly SQUAWKS over the radio. PROFESSOR ZUNDAPP (OVER RADIO) What happened!? GREM I don't know, Professor. ACER What did you do? GREM (TO ACER) I didn't do nothin'. Shh! I'm talking to the Professor--- They're all talking at once and for a moment we cannot understand what is being said. 106. ACER You broke it. GREM Quiet! (INTO RADIO) I understand, sir. Yes. Grem hangs up. ACER What'd he say? GREM We go to the backup plan. MATER Backup plan?? GREM We snuck a bomb in McQueen's pit! ACER The next time he makes a stop, instead of saying "ka-chow," he's gonna go "ka-boom"! They LAUGH. Mater shudders, upset. GREM Don't feel bad, tow truck. You couldn't have saved him. ACER Oh, wait. You could have! Grem and Acer laugh. As they board the elevator: MATER Dadgum lemons. MATER'S COMPUTER Request acknowledged. Suddenly, Mater's GATLING GUNS rotate out again - a surprise to Mater. But they SPIN IN PLACE, empty. Grem and Acer just laugh more. GREM What, you didn't think we'd take your bullets? Mater NOTICES SOMETHING. 107. CLOSE ON WHAT MATER SEES: A small piece of his ropes have been shaved away by the Gatling. He carefully rotates his guns BACK IN, pretending like he's seen nothing. ACER That's right! You got nothin'. GREM (as the elevator descends) Who's the lemon now, huh? They're GONE. FINN Nice try, Mater. MATER Dadgum! MATER'S COMPUTER REQUEST ACK- The guns ROTATE OUT AGAIN, SPIN. Mater watches as the spinning barrels SLICE INTO the ropes, do some damage. MATER Dadgum! Dadgum! Dadgum! The COMPUTER responds with each "dadgum." The barrels continue to SPIN, CUTTING THROUGH the ropes. MATER DADGUMDADGUMDADGUMDADGUM --- PING! The ropes BREAK AWAY and Mater FALLS --- right toward the whirring machinery! HOLLEY Mater! Mater QUICKLY WHIPS his tow cable around, hooks a pipe and tosses himself to the ramp with a heavy THUD. He doesn't HESITATE: MATER I gotta get you all out of there! FINN There's no time. McQueen needs your help, Mater. 108. MATER But I can't, I'm just a tow truck. FINN It's up to you. Go to the pits and get everyone out. You can do that. MATER What about you guys? FINN We'll be okay. HOLLEY Go and get some more dents, Mater. EXT. BIG BENTLEY - LONDON Mater SPEEDS out the front door, a bat out of hell --- INT. BIG BENTLEY - LONDON - SAME On Finn and Holley, now closer to death. HOLLEY So we'll be "okay"? Really? FINN He wouldn't have left if I'd told him the truth. (re: his death trap) Being killed by a clock. Gives a whole new meaning to "your time has come." At this mention Holley seems to perk up, gets an idea. HOLLEY Time. That's it! She spies a GEARBOX below them, at least 20 feet down. Holley FIRES HER ELECTROSHOCKERS --- --- but they miss their target. She recoils them back. FINN What are you doing? HOLLEY Trying to turn back time. If I can just reverse the polarity... She FIRES them again. Direct hit! 109. Holley JUICES the gearbox with HIGH VOLTAGE. The CLOCK STOPS. It reverses itself. Finn and Holley's wheel now rotates AWAY from danger. FINN Good job! Quick thinking, Holley! EXT. LONDON - CONTINUOUS BIG BENTLEY, visible from street level, now moves BACKWARDS. Fast. CRANE DOWN TO --- --- Mater, speeding toward the track, unaware. MATER What's everybody on the wrong side of the road for?! INT. BIG BENTLEY - CONTINUOUS Finn and Holley are now moving in the opposite direction, toward ANOTHER GEAR! And it's going MUCH FASTER. They're seconds from a crushing death... HOLLEY Oh no! FINN Drive! They both DRIVE, fast as they can with FULL FORCE --- FINN Burn rubber!! They drive HARDER, separating bumpers with just enough room for the descending gear to SNAP THEIR ROPES! Their tires spinning, they both LAUNCH off in opposite directions, LAND HARD on opposing platforms. As Finn squeals around to Holley's side of the clock: FINN We've got to get to the course. Calculate the fastest way to --- Holley pops WINGS out of her side. HOLLEY Done. 110. FINN (IMPRESSED) Miss Shiftwell. HOLLEY They're standard issue now. FINN You kids get all the good hardware. They turn to leave when they STOP, see SOMETHING. It's an AIR FILTER on the ground. HOLLEY Oh no. That's Mater's. FINN I knew his escape was too easy. EXT. BIG BENTLEY - LONDON Finn BURSTS out the front doors of Big Bentley, speeds off as HOLLEY SMASHES through the clock face, careens into view flying over the traffic --- INT. PIT ROW - TRACK SIDE - DAY Mater bursts through the security gate with aplomb, tears through the pits and stops at MCQUEEN'S. LUIGI Mater! MATER Everybody get out! Get out now! Y'all gotta get out the pits! The ENTIRE RADIATOR SPRINGS GANG is here. MATER Hey, what are you guys doing here? SALLY We're here because of you, Mater. FLO Is everything okay? MATER No! Everything's not okay! There's a bomb in here! Y'all gotta get out! Now! 111. EVERYONE - A bomb? - Huh? - Woah. FINN (OVER RADIO) Mater! MATER (INTO RADIO) Finn! You're okay! EXT. LONDON STREETS - CONTINUOUS FINN Mater, listen to me. The bomb is on you. ON HIS REARVIEW DISPLAY: We can see that a BOMB has been detected, anchored to Mater's air filter. FINN They knew you'd try to help McQueen. When we were knocked out they planted it in your air filter. INT. MCQUEEN'S PIT - CONTINUOUS Mater SNORTS, blowing his air filter cover off. Cross-eyed, Mater sees the explosive device attached to him. He looks up: An ALLINOL CONTAINER hangs ominously over his head. MATER Uh-oh. MCQUEEN Mater! There you are! Mater turns. McQueen enters Pit Row, 100 yards away and closing in FAST. MATER Stop right there! MCQUEEN Oh man, I've been so worried about you! CUT TO: The view of this scene through the window of a luxury box. Reveal Zundapp in the window's reflection. He's watching from inside. He's poised to push a DETONATOR BUTTON. As Zundapp's front tire approaches the detonator --- 112. INT. MCQUEEN'S PIT - CONTINUOUS MATER Don't come any closer! MCQUEEN Are you okay? MATER No, I'm not okay. Stay away from me!! Mater PEELS OUT BACKWARDS, out onto the track. MCQUEEN No, wait. Wait! CUT TO: PROFESSOR ZUNDAPP - He hesitates, can't believe it. TV FOOTAGE OF MCQUEEN CHASING MATER BRENT MUSTANGBURGER (V.O.) Hold everything. A tow truck has just raced onto the track. And he's driving backwards! IN MCQUEEN'S PIT MCQUEEN Mater, wait! He breezes right through his pit, goes after Mater. DAVID HOBBSCAP (V.O.) Normally an emergency vehicle on the track means there's been an accident. BRENT MUSTANGBURGER (V.O.) Wait, wait. Lightning McQueen is chasing him! EXT. TRACK - DAY Mater drives up the track. McQueen gains, fast. Because Mater's going backwards, they're face-to-face (but still with some distance between them). MCQUEEN Mater, wait! 113. MATER Stay back! If you get close to me, you gonna get hurt real bad! MCQUEEN I know I made you feel that way before, but none of that matters because we're best friends! CUT TO: TV FOOTAGE OF MCQUEEN CHASING MATER BRENT MUSTANGBURGER (V.O.) And McQueen seems to be having a conversation with the tow truck! DARRELL CARTRIP (V.O.) I don't know who that truck is, Brent. But I'll tell you what, he's gotta be the world's best backwards driver. REVEAL ZUNDAPP is watching this footage from his luxury box. The closer McQueen gets to Mater the farther his tire ROLLS onto the detonator. But he holds back ever so slightly so as not to jump the gun. ON THE TRACK - McQueen gains on Mater. MATER McQueen, you don't get it. I'm the bomb! MCQUEEN Yes, Mater! You are the bomb! That's what I'm trying to say here. You've always been the bomb! And you'll always be the bomb. MATER Stay away! MCQUEEN No! Never! ON ZUNDAPP. He watches as McQueen SPEEDS UP. PROFESSOR ZUNDAPP Almost there... ON MCQUEEN. He's had enough screwing around. Here he comes. MCQUEEN I'm not...letting you... 114. He's going to catch him now. MCQUEEN ...get away again! McQueen JUMPS FORWARD, in an attempt to grab Mater's HOOK --- MATER (TO HIMSELF) Gotta keep away from McQueen. McQueen hooks Mater with his bumper JUST AS --- MATER'S COMPUTER Request acknowledged. TURBINE ROCKETS slide out of Mater. MCQUEEN Oh my gosh! BAWHOOOOOOM!!!!! Mater JOLTS forward with a rocket blast and disappears, taking McQueen with him. ON ZUNDAPP. He now freely PUSHES the detonator, but it says "OUT OF RANGE." Zundapp can't believe it. He FLIPS OUT. FARTHER UP THE TRACK - Francesco speeds along. ZHWAAAAAP!!! Mater and McQueen ZING PAST HIM with a RED BLUR. FRANCESCO What is happening? It's a bad dream. NOW EVEN FARTHER UP THE TRACK - Mater takes a turn, SMASHES THROUGH A FENCE and skids around a corner out of sight. A white, smoky JET TRAIL is all that remains. IN MCQUEEN'S PIT - All of Radiator Springs watches the television monitors, dumbfounded. BRENT MUSTANGBURGER (V.O.) And Lightning McQueen just blasted away, hooked to the now rocket- propelled tow truck. CUT TO: EXT. STREETS OF LONDON - DAY Overhead P.O.V.: Mater and McQueen swerve through the streets. 115. INT. LUXURY BOX - CONTINUOUS Zundapp is still furiously hitting the button as Holley drops into view just beyond the glass. Freaked, Zundapp does a 180 and SMASHES out a plate glass window, lands on a ridiculously large balloon tethered to the ground, and speeds off --- INT. ADJACENT LUXURY BOX - CONTINUOUS The LEMONHEADS watch, baffled, as Zundapp drives away. J. CURBY GREMLIN The Professor's on the run. TUBBS PACER Someone's gotta get McQueen. VLADIMIR TRUNKOV Get McQueen!! Grem and Acer are already out the door --- EXT. SIDE STREET - SAME Finn speeds into view, in time to see Zundapp turn a corner out of sight. FINN Holley. I'll get Zundapp, you help Mater. EXT. TRACK - SAME Holley, still in the air, turns --- HOLLEY Got it! FARTHER UP THE TRACK - Holley THUNDERS past Francesco and out of sight. FRANCESCO What is happening?! EXT. STREETS OF LONDON - SAME Finn screams around a corner, sees --- --- Professor Zundapp, speeding toward docks along the Thames where a COMBAT SHIP waits. 116. COMBAT SHIP Hurry, Professor! ON ZUNDAPP - With Finn gaining fast, he accelerates. Suddenly --- WHAP! He's been TETHERED by Finn with tensile cables now attached to his rear end. Zundapp SCREAMS like a little girl. FINN Do you really think I'm going to let you float away, Professor? Finn reels him in. Zundapp spins his wheels, caught. Suddenly Zundapp miraculously, inconceivably, GAINS TRACTION! Now it's FINN'S WHEELS that are spinning. ON THE COMBAT SHIP - the ELECTROMAGNET has been turned outward and switched on. He's PULLING ZUNDAPP AND FINN IN with the magnetic force. He pulls out a laser, TARGETS it at Finn's windshield. CUT TO: EXT. LONDON STREETS - SAME Mater, still towing McQueen, rockets around a corner, zips down another street --- MATER McQueen, let go! MCQUEEN Never! They pass a Gremlin with a headset. ON GREM AND ACER - Down another side street. They get this message, take off in the opposite direction. CUT BACK TO: EXT. DOCKS NEAR THE THAMES - CONTINUOUS FINN, tires squealing, loses more and more ground to the boat. Zundapp, the "rope" in this tug-of-war, buckles under the tension. PROFESSOR ZUNDAPP Give it up, McMissile! Finn releases a mess of bullets, grenades, and other weaponry into the air --- 117. THE MAGNET SUCKS it in quickly like a black hole --- THUNK! It all sticks to the magnet, right next to Finn's bullets. They're BOMBS, GRENADES, ROCKETS and one little detonator with a flashing, beeping light. Off the boat's RXN --- CUT TO: ANOTHER PART OF LONDON, AT STREET LEVEL KA-BOOOOOOM! A distant explosion (miles away) festoons into the air, visible over the rooftops. Holley suddenly WINGS into view. She sees --- Mater and McQueen, speeding up the street. HOLLEY Mater, stop! MATER No way! You could get hurt! Then she looks over, catches a glimpse of GREM AND ACER, bearing down on them from a side street. They're going to broadside Mater and McQueen. HOLLEY Oh no. ON MATER AND MCQUEEN - They're not aware of the impending impact. Holley DROPS FROM THE SKY, hits the pavement, SKIDS into the path of the AMCs and DEFLECTS THEM. They FLIP OVER Holley, Finn and McQueen and sail --- --- INTO A PUB --- --- where they skid across the room and SLAM into the bar, knocking a ROW OF BEER MUGS to the ground. IN THE PUB - MOMENTS LATER Grem and Acer are pulverized by the bar patrons. EXT. LONDON STREET - MOMENTS LATER Holley, McQueen and Mater are now stopped. HOLLEY Mater, we've got to get that bomb off you. 118. She's already SCANNING the bomb, working away. MCQUEEN Bomb? MATER Yeah, they strapped it to me to kill you as a back-up plan. MCQUEEN Back-up plan? Mater, who put a bomb on you? PROFESSOR ZUNDAPP (O.S.) Ahhhhh! Professor Zundapp suddenly ROLLS to a stop next to (a now totally freaked) McQueen, entangled in grappling hooks care OF --- --- Finn, who has him leashed. PROFESSOR ZUNDAPP (TO MCQUEEN) You. Why didn't my death ray kill you? MCQUEEN Death ray? FINN Turn off the bomb, Zundapp! PROFESSOR ZUNDAPP Are you all so dense? It's voice- activated. Everything is voice- activated these days. MATER Deactivate! Deactivate! BOMB'S COMPUTER VOICE Voice denied. The BOMB suddenly TRANSFORMS into a TIME BOMB, now complete with a countdown mechanism from 4:59... 4:58... Mater GASPS. PROFESSOR ZUNDAPP Oops. Did I forget to mention that it can only be disarmed by the one who activated it? Holley immediately shoves a GUN in Zundapp's grill. 119. HOLLEY Say it! PROFESSOR ZUNDAPP Deactivate. BOMB'S COMPUTER VOICE Voice denied. THE BOMB'S TIMER: It loses a full minute! Goes from 4:48 to 3:48 to 3:47... Mater GASPS. PROFESSOR ZUNDAPP (GRINNING) I am not the one who activated it. Would anyone else like to try? ZZZZZZATTT! Holley shocks him unconscious. FINN (TO HOLLEY) You read my mind. HOLLEY He was getting on my nerves. MCQUEEN What do we do? VICTOR HUGO (O.S.) It's very simple. VICTOR HUGO blocks the entrance to a side street. He's surrounded by Hugo relatives. VICTOR HUGO You blow up. The four streets surrounding them are now blocked by each of the Lemonheads and their families. MCQUEEN (TO MATER) I'm gonna go out on a limb here. These are the guys that want me dead, correct? VLADIMIR TRUNKOV It's nothing personal. MATER (to the Lemons) Fellers, listen. (MORE) 120. MATER (CONT'D) I know what you're going through. Everybody's been laughing at me my whole life too --- McQueen turns to Mater - he wasn't expecting that. The Lemons all eye each other, considering Mater's words. MATER --- but becoming powerful and rich beyond your wildest dreams ain't gonna make you feel better. J. CURBY GREMLIN Yeah, but it's worth a shot. WHOOM!!! He's BROADSIDED by a blast of water from O.S. It's Red! He's sitting outside an underground entrance, followed by Sally and the rest of the Radiator Springs gang. ALL OUT WAR ensues between the LEMONS, RADIATOR SPRINGS along with FINN and HOLLEY. FINN attaches his four-way cable hooks to the thugs and springs high in the air, crushing the four of them together. HOLLEY SPROUTS her wings, and knocks out two cars on her side. VARIOUS SHOTS OF RADIATOR SPRINGS KICKING BUTT: Guido pulls some LEMON tires off with his air gun. In seconds he has a stack of lugnuts next to him. GUIDO Pit stop. The two Pacers' tires all FALL OFF. Flo hits VLADIMIR TRUNKOV with her high-beams, BLINDING HIM. Sheriff BOOTS him. SHERIFF Not today, boys! Guido pushes away his tireless thug, YELLING AT HIM IN ITALIAN. Mater KARATE CHOPS lemons, three and four at a time. Ramone SPRAY PAINTS a lemon's windshield. 121. TUBBS PACER Retreat! A few Lemons turn back the way they came. BLOCKING THEIR PATH are a line of BRITISH MILITARY VEHICLES clad in digital camo, led by SARGE. SARGE Thanks for the help, Corporal. BRITISH CORPORAL Anything for one of pop's mates. And in the middle of all of this craziness we CUT TO --- --- MATER. WRENCH BITS are strewn all around him as Guido tries wrench after wrench to take the bolts off. No dice. Guido gestures wildly, spits Italian a mile a minute. MCQUEEN What's he saying?! What's wrong!? LUIGI None of his wrenches fit the bolts! This is a light bulb moment for Mater. He eyes the bolts. MATER I get it. I get it! I know what needs to be done. MCQUEEN Then do it! MATER What? No, I can't do it. Look, nobody takes me seriously. I know that now. This ain't Radiator Springs. MCQUEEN Yes it is. Mater looks at McQueen. It is? MCQUEEN You're yourself in Radiator Springs. Be yourself here. And if people aren't taking you seriously, then they need to change. Not you. I know that, because I was wrong before. Now you can do this. You're the bomb. 122. MATER Thanks, buddy. MCQUEEN No no no, you're the actual bomb. Now let's go! MATER Oh, right! Hang on! Mater HOOKS McQueen and they're off. They SHOOT PAST FINN, who's in the middle of battling lemons. FINN Where's he going? ON MATER AND MCQUEEN - Flying down a side street. MATER Computer! MATER'S COMPUTER Yes, Agent Mater. MATER I need that thing you done before to get me away from McQueen! MATER'S COMPUTER Request acknowledged. The ROCKET THRUSTERS kick in. They head right for a WALL. MCQUEEN Mater... MATER Now I need you to do the chute, the second kind not the first! MATER'S COMPUTER Deploying chute. Mater's chute POPS OPEN, catching air and sending Mater and McQueen SAILING INTO THE AIR. Mater starts to steer them the direction he wants. He and McQueen are FLYING OVER LONDON. EXT. BALCONY - BUCKINGHAM PALACE - DAY The QUEEN, her attendants, assorted dignitaries are here. 123. QUEEN Who's winning the race? Mater and McQueen drop from the sky. They land and skid to a halt just before the Queen's guards who DRAW THEIR WEAPONS. QUEEN'S GUARD Back up! Back away! QUEEN (STAR-STRUCK) It's Lightning McQueen! QUEEN'S GUARDS Get back! MCQUEEN No, no, it's okay! Tell them, Mater. Explain. MATER Okay! Somebody's been sabotaging the racers and hurting the cars and I know who. Oh wait... Your Majesty. Mater BOWS to the Queen. In doing so, the TICKING TIME BOMB angles into view. The clock's at T-minus 1:53. QUEEN'S GUARDS - Bomb! - It's a bomb! - Everybody down! - Look out! FINN (O.S.) Hold your fire! He can't disarm it! Finn dives onto the platform and rolls between the Queen and Mater. FINN Mater, I don't know what you're doing but stand down now! MATER (aside, to McQueen) This ain't nothing at all like Radiator Springs. MCQUEEN Mater, just cut to the chase! MATER Okay. 124. He turns to Miles Axlerod. MATER It's him. MILES AXLEROD What? Me? You've got to be crazy. Everyone exchanges confused looks, including Finn and Holley. MATER I figured it out when I realized you all attached this ticking time bomb with Whitworth bolts. The same bolts that hold together that old British engine from the photograph. Holley! Show that picture. HOLLEY O-kay... Holley projects the much discussed PHOTO OF THE ENGINE. MATER And then I remembered what they say about old British engines - "If there ain't no oil under `em, there ain't no oil in `em." MILES AXLEROD What is he talking about? MATER It was you leaking oil at the party in Japan. You just blamed it on me. MILES AXLEROD Electric cars don't use oil, you twit. MATER Then you're faking it. You didn't convert to no electric. We pop that hood we gonna see that engine from that picture right there. Mater moves toward Miles Axlerod to pop his hood. MILES AXLEROD This lorry's crazy. He's going to kill us all! Miles Axlerod BACKS UP to the edge of the stage. 125. MILES AXLEROD Stay away! HOLLEY But Sir Axlerod created the race, Mater. Why would he want to hurt anyone? MATER To make Allinol look bad so everybody'd go back to using oil. I mean, he said it himself with that disguised voice. MILES AXLEROD "Dee-sguised voice?" What are you talking about? You're nuts, you are! The QUEEN'S GUARDS have had ENOUGH. As has the PRINCE. PRINCE WHEELIAM This is going nowhere fast. We really should go, Grandmother. QUEEN One moment. I'd like to see where this is going. FINN Mater, he created Allinol. MATER Yeah, but what if he found that huge oil field just as the world was trying to find something else? Mater sticks his ticking bomb-nose into Miles Axlerod's grill. MATER What if he came up with Allinol just to make alternative fuel look bad? MILES AXLEROD "What if?" You're basing this on a "What if"?! GUARD Okay, that's it. And the QUEEN'S GUARDS spirit the Queen and Prince Wheeliam out of there FAST --- 126. MILES AXLEROD Wait! Somebody save me! The lorry's crazy! Now it's just Miles Axlerod, Mater, McQueen, Finn and Holley. Miles Axlerod's back tires slip on the edge of the podium as he is cornered by Mater. MILES AXLEROD Keep away, you idiot! 00:00:08... FINN Mater! HOLLEY Mater! 00:03...00:02... MILES AXLEROD Someone do something! Everyone FLINCHES, DUCKS or DIVES FOR COVER except McQueen, Mater and Axlerod --- MILES AXLEROD You're insane, you are! Deactivate!! The bomb FREEZES at 00:01. THE BOMB'S COMPUTER VOICE Bomb deactivated. Have a nice day, Sir Axlerod. General shock all around. Miles Axlerod realizes what he's done, looks terrified. Police surround him. Mater FLINGS Miles Axlerod's hood open with his hook, revealing AN INTERNAL COMBUSTION ENGINE, oil dripping from all sides. It MATCHES the photo. FINN The engine from the photo. HOLLEY It's a perfect match! MILES AXLEROD How did the tow truck figure it out? 127. MCQUEEN (TO MATER) It's official. You're coming to all my races from now on. MATER Now you're talking! Tire bump. EXT. BUCKINGHAM PALACE - DAY A massive crowd packs the adjacent streets and parks. INT. BUCKINGHAM PALACE - DAY Mater does the requisite "silly faces" in an attempt to break the composure of a Buckingham Palace Guard. It isn't working. McQueen approaches. MCQUEEN Mater, let's go. You're on. INT. QUEEN'S CHAMBER - BUCKINGHAM PALACE - DAY The Queen sits in attention at the front of the Main Ballroom. As Mater and McQueen approach: LORD STEWARD Your Majesty. May I present for the investiture of honorary Knighthood of the British Realm. Tow Mater of Radiator Springs. MCQUEEN Go get `em, buddy. McQueen joins his friends from Radiator Springs. Mater rolls forward. He bows, as if he's practiced it all day. QUEEN I hereby dub thee "Sir Tow Mater." Applause from all around. MATER (LOOKS UP) "Sir?" Shoot, you can just call me Mater, Your Majesty. I don't wanna hear none of this "Sir" business. By the way, have y'all met each other? Queen? McQueen. McQueen, Queen. McQueen? McMissile. (MORE) 128. MATER (CONT'D) McMissile, McQueen. Queen? McMissile. He continues introducing everyone as we CUT TO --- EXT. RADIATOR SPRINGS - DAY The town sign now reads "WELCOME TO RADIATOR SPRINGS - HOME OF LIGHTNING MCQUEEN AND SIR TOW MATER." EXT. FLO'S - DAY Cars surround Mater and McQueen. The rest of the Radiator Springs gang is here too, watches. VAN and MINNY are front and center. MATER So there I was: rocket jets going full blast, McQueen hanging on for dear life when suddenly them two nasty lemons come out of nowhere, guns drawed. We was goners. But then out of nowhere, this beautiful spy car swoops in from the sky to save us! MINNY That's a very entertaining story, young man. VAN Oh, Minny, please. Come on, none of this happened. Rocket jets? Flying spy cars? HOLLEY No, you're quite right. It does sound a bit far-fetched. The crowd turns, sees HOLLEY, wings out, swooping in. FINN is right below her, driving up the street. MATER Holley! Finn! HOLLEY Hello, Mater. It's so nice to see you again. MATER What're you doing here? 129. FINN Our satellites picked up an urgent communique. LUIGI So you got my e-mail. MATER Oh, man. Y'all is gonna have a great time. Everybody! This here's Finn McMissile. He's a secret agent. (WHISPERS) Don't tell nobody. And this is Holley Shiftwell. She's --- HOLLEY I'm Mater's girlfriend. It's so nice to meet you all. Everyone is shocked. Including Mater. Guido's jaw drops. LUIGI (TO MATER) Guido believe you now. FLO (TO HOLLEY) Whoa, honey. You got a nasty dent there. Indeed, Holley still wears the dent from when she saved Mater from Grem and Acer. VAN (already crushing on her) Was that from when you swooped in and saved them in London? MINNY Van! VAN What? I'm just asking. FLO (TO HOLLEY) Don't you worry, sweet pea. My baby Ramone can get that fixed up for you in no time. RAMONE Yeah, sure thing. No problemo. Just let me go get my tools. 130. HOLLEY Oh no no. I'm keeping that dent. It's way too valuable. Mater takes this in. LIZZIE A "valuable" dent? Oh, she's as crazy as Mater. MACK Those two are perfect for each other. MCQUEEN You know, there's one thing I still don't get. The bad guys hit me with the beam from the camera, right? So why didn't I, you know... MATER Explode in a fiery inferno? MCQUEEN Yeah. FINN We couldn't figure that one out either. HOLLEY Our investigation proved that Allinol was actually gasoline. And Miles Axlerod engineered it so that when it got hit by the beam it would explode. MCQUEEN Wait a second. Fillmore, you said my fuel was safe. McQueen turns to Fillmore. Everyone does. FILLMORE If you're implying that I switched out that rotgut excuse for alternative fuel with my all- natural, sustainable, organic biofuel just because I never trusted Axlerod, you're dead wrong, man. (RE: SARGE) It was him. 131. SARGE Once Big Oil, always Big Oil. Man. FILLMORE Tree hugger. EXT. MAIN STREET - LATER A banner says "Radiator Springs Grand Prix." SHERIFF rolls up the street. SHERIFF The Radiator Springs Grand Prix is about to begin! All spectators clear the starting line! MCQUEEN heads up Main Street, other racers following. LEWIS HAMILTON Man, I can't wait to get rockin'. This is gonna be wicked. JEFF GORVETTE Yeah, we should do this every year. MCQUEEN I just figured, we never found out who the world's fastest car is. Plus: no press, no trophy. Just racing - the way I like it. FRANCESCO Francesco likes it like this too. McQueen SEES Sally. He and Francesco approach her. MCQUEEN Francesco. I'd like you to meet --- FRANCESCO Signorina Sally. It is official: Lightning McQueen is the luckiest car in the world. SALLY (SWOONING) Why, thank you --- FRANCESCO Which he will have to be to have a chance against Francesco today. Francesco turns to leave. As he's moving away: 132. FRANCESCO See you at the finish line, Mc--- Francesco STOPS. FRANCESCO What is that? McQueen has a new bumper sticker: "Ka-ciao, Francesco." MCQUEEN It's just something I had made up for the occasion. FRANCESCO Is good, McQueen. Very funny. It was funnier when I did it, but it's very funny. What are you going to do next? Are you going to take off your fenders? Try it. You'll like it. Francesco leaves. We stay with McQueen and Sally. SALLY So he's not so good-looking. MCQUEEN Yeah. Nice try. SALLY I'm serious. MCQUEEN That's why I love you, Sally. (as he leaves) Wish me luck. SALLY You don't need it! He drives off. Flo approaches Sally. FLO Mmm-mmm. That Francesco is fine- looking. SALLY And those open wheels. FLO I'm gonna have to go get myself some coolant. 133. EXT. MAIN STREET - LATER The racers at the starting grid. ON THE TRAFFIC LIGHT in the center of town. It goes from RED to GREEN! The RACERS SPEED OFF, tearing up main street and out of town, blazing past tourists --- EXT. WILLY'S BUTTE - DAY As the racers, led by McQueen and Francesco, take the wide, sweeping turn around Willy's Butte we CRANE UP to see MATER, FINN, HOLLEY, and the Radiator Springs gang watching. Everyone CHEERS. MATER Go McQueen!! Whoo-hoo!!! Holley gets an alert. HOLLEY Finn, time to go. Siddeley's gassed, geared and ready to fly. Finn starts to back up. MATER You're leaving already? FINN We've got another mission, Mater. Just stopped by here to "pick something up." They both eye Mater, expectantly. MATER Something tells me you're not talking about souvenir bumper stickers. FINN Her Majesty asked for you personally, Mater. MATER But I told you all before. I'm not a spy. HOLLEY We know. 134. FINN Spy or not, you're still the smartest, most honest chap we've ever met. HOLLEY Don't forget massively charming. Mater looks over at Holley. He looks touched. MATER Well, thanks. But as much fun as it was hanging with y'all, this... He looks over to his friends who watch the race, CHEER MCQUEEN ON. MATER This is home. HOLLEY That's alright, we understand. But I'll be back. You still owe me that first date. FINN If there's ever anything I can do for you, just let me know. MATER Well, I sure appreciate that, thank you. (THINKS) Actually... there is one thing. CUT TO: EXT. RADIATOR SPRINGS - MOMENTS LATER MATER, blazing forward fast. MATER Whoo-hoo!!! He ROCKETS FORWARD, through the whole town. In doing so he GRABS A BROKEN DOWN OTIS, hooking him --- OTIS Whoa!!! --- and TOSSING him right into Ramone's. OTIS (O.S.) Thanks, Mater! 135. ON THE "RACE TRACK" - Mater flies past ALL the racers, including Francesco --- FRANCESCO Impossible! --- until he approaches MCQUEEN. MCQUEEN Mater!? MATER (KEEPING PACE) Check it out. They let me keep the rockets! MCQUEEN I'll see you at the finish line, buddy! MATER Not if I see you first! McQueen and Mater peel away from the rest of the racers, lead them off the road and into the dirt for another lap. The two friends are side by side when we FADE OUT.
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Artist’s Commentary
Rather than a new page this week, I will instead be reviewing and providing commentary for the previous 10 pages published. For the most part I will be going over my own mistakes, as well as explaining some of the choices made, and whether or not they worked. Before we start however, I would like to note these pages are not complete, but more of a rough draft. There are several reasons for this. One major reason, is that it has been several years since I have drawn with any regularity. Producing a page each week will, I hope, shake off the rust. Additionally, neither my or my brother's hardware is up to the task of rendering RFO. One day, RFO may see an updated version that better fits our mutual vision of this project. And so, the commentary begins. RFO 1 -Jude Anderson lives in a poor neighborhood; identical row houses with unkempt lawns and no decoration outside. -My first mistake was leaving the sky blank. Its meant to be near midnight, but the bright sky and lack of shading imply otherwise. -Jude's front door and the paneling on it will change in scale just about every panel. Partly, this is because there was no consistent model. -Jude's house -interior and exterior- were modeled in Lego Digital Designer. -Jude's house number is 616, a less popular interpretation of the number of the beast. -My original attempt at this was painted in photoshop. The foreshortened fences were an absolute nightmare. I'm still not too happy about them as drawn now, but its still better than it was. -I forgot to shade the first floor window shutters. Oops. RFO 2 -Jude is whistling the ever popular 'Happy Birthday'. I’m not totally certain about the notation here, because I haven't had to read music since middle school. (side note: This song recently entered the public domain) -Jude's outfit was inspired by Back to the Future's Marty McFly. -I forgot to put a candle in the birthday apple pie. -You may notice Jude has no visible fridge in his kitchen. Jude cant afford a full fridge, or fit it in his kitchen. Instead, anything he needs cold is kept in a basement mini-fridge. -Jude’s facial features and hair take inspiration from Norville 'Shaggy' Rogers of Scooby Doo. -You may notice the quality of characters hands changing. Hands are still difficult for me, but I'm hoping to improve. -My brother pointed out that the carpet in Jude's living room looks like grass. I'm not really certain how one draws carpet. -The leftmost painting depicts two figures with an arm around the others shoulder. A third figure appears later, but there is no story significance, I just forgot what it was supposed to be. RFO 3 -The overly enthusiastic individual at Jude's door is meant to be androgynous. I feel I made them a little too masculine -The design on the handbag clearly denotes a christian denomination, although not any specific one. I wanted it to be generic, but evocative of several things. (a cross, a sword, an angel, a shooting star, etc) -While it was done primarily to help them stand out, the white outline around the stranger nicely implies a holy glow. -I'm most proud of this page, and how uncomfortable and annoyed Jude is by this stranger interrupting his birthday and asking about religion at midnight. -Several of these pages were first sketched in faint colored pencil. Its not meant to show up when scanned, but clearly that didn't work quite as advertised. -You may notice proportions are inconsistent, especially regarding head size. Like most of my mistakes, I did not notice until it was already too late to fix without starting the whole page over. -The handbag is unshaded in the last panel. RFO 4 -I'm not sure how I feel about these sound effects in retrospect. I'm still toying with how they work. -One habit I need to break is placing speech bubbles too close to the papers edge. The scanner sometimes cuts them! -As Jude gets more confused and frustrated by strangers popping up at or in his house, his hair gets wilder. -Jude's house layout is similar to several I personally have been in. RFO 5 -I'm not happy at all with the posing of the officer; they're so stiff and lifeless. While I could try to pass it off as part of the stranger's idea of how a police officer asks, the truth is that even when my skills weren't rusty; posing was never my strong suit. -Some panels have blank backgrounds partly due to laziness on my part, and partly so the paper could be held without smearing -The officer's nametag reads 'GATES'.This, along with his unusual badge and emblems, indicate that this is still the same person who was at Jude's door only a minute before. RFO 6 -I don't have much to say about this page, except that the officers uniform is visibly becoming simpler by the panel. This is because drawing those details was hurting my wrist. In the future I will try to be more economical with character design. RFO 7 -If the past ten weeks have taught me anything, its that I should plan out what I'm going to do more thoroughly. Jude's speech balloon was drawn first, and ended up over the other man's crotch. Now it looks stupid. -The officer (stranger) tends to be to Jude left, while the other man tends to the right. -The middle left panel is another I'm proud of, not for any major thing, but because tilting the head is difficult for me to do on purpose; especially when the part of the head where the jaw meets the neck is visible, but I think I did okay here. -The hard angles and edges of the final speech balloon show the officer is stern and serious. It is also shaped like a stop sign. RFO 8 -While the officer is still left of Jude (to the viewer), he is now right of the other man. Left positioning in RFO signifies benevolence, right signifies malice. It could have been the opposite just as easily, but sometimes you have to make an arbitrary choice for theming purposes. -The other man's hair forms horns on the sides and a tail in the back whereas the officer's (stranger's) hair is more flowing and wing-like. -Jude only owns one other jacket, as seen in his barren closet. -The officer's proportions in the bottom left are so off, I'm not sure why I thought it looked okay. -The other man's outfit and personality are meant to evoke a stereotypical used car salesman. Also Rodney Dangerfield! RFO 9 -Not much to say here. I will continue to simplify the style until an equilibrium is met between making things look good versus not destroying my wrist. -Also, the other man's sleeve in the first panel is missing its vertical stripes. RFO 10 -Jude's face in the last panel seems off to me. I don't quite know why, and I'm the one who drew it. -When I originally planned this page out, there was too much vertical space. It would have left me either having to draw their legs (which would been difficult with the furniture in the scene at leg height) or leaving a terrible amount of dead air above their heads. Instead, I tried to do something more visually interesting with that negative space, by making the last two panels more diagonal than horizontal. Jacob Birmingham
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