#leland has always been the light to his darkness and shadows

[gibbs88]

exposure therapy - (coyle/fem!oc)

short fic i wrote for my other OC who i never talk about because she has a ton of pre-trials lore i still haven’t physically written lol. no smut but it’s a bit suggestive. probably gonna vomit all these finished Coyle WIPs into a collection on ao3 soon.

Even in this Hell of stainless steel and fluorescent lights she can’t forget him. They shove experimental pharmaceuticals down her throat and lock her in a chamber full of nothing but one long sustained beeping noise and nothing changes.

Injections. Sensory deprivation. Electroshock therapy. 

Some days she wakes up forgetting her own face, her own name. Never him. He’s bigger than her own ego. 

Dr. Easterman visits her personally one day (over the television in her room, of course) and tells her that she’s ready for her first Trial. Exposure therapy, he says. It’s a special experience just for her, because he’s so invested in helping her get better.

She can barely sleep these days but that’s okay. They give her a drug for that, too.

She dreams so vividly that night that she can’t even remember closing her eyes.

“Mia.”

She jolts awake and she’s back home, back in her bed, muslin cloth sheets drawn up to her chin. It’s a humid summer night and she knows it’s raining before she even looks outside the window, because she remembers this exact night. The night when everything changed. 

Knock. Knock. Knock.

She doesn’t want to get out of bed because she knows what will happen, but she seemingly doesn’t have a choice. Her feet touch the hardwood floor and it’s so humid that they’re slightly sticky. Was this a dream at all? Maybe she had died and that sterile Hell was actually Purgatory. 

The cute little Oklahoma farmhouse she loved so much is empty as if she had never lived there at all. Maybe she’s already forgotten what the furniture looks like.

Thunder rumbles in the distance and she feels it vibrate in her bones like the throaty growl of some kind of animal. Maybe it's a warning. 

Don’t open the front door.

Knock. Knock. Knock.

Lightning illuminates his silhouette through the screen door and still she opens it, the scene playing out like a film reel. She’s dreaming and perfectly lucid at the same time.

“Mia.”

Her name, not a series of numbers. He’s soaked to the bone and seems possessed as he backs her into a wall, his hands greedy and rough as he hikes the hem of her nightgown up over her thighs. 

Their relationship had always been torrid—passionate—but on this night he seemed to want to forget something. Maybe himself.

Leland Coyle is a hulking shadow that leaves dark handprints on wherever he touches. He kisses her and it tastes like whiskey and blood and smoke. It chokes her and she wants to breathe nothing but him at the same time. 

She doesn’t understand. 

You liked feeling wanted, even if you were just a possession, not a person. 

Just like those war trophies of his. Dog tags, a Japanese katana…

Those gold-capped human teeth.

But maybe you’re special. You can walk and talk and fuck.

Did you think you wouldn’t end up like the others? That if you ignored it, it would all go away?

That you could just go away���?

—Nine-Tenths of the FUCKIN’ LAW—

Mia jerks awake to a high-pitched sound and hears someone cursing before she’s blinded by pain at her temples. Her instincts force her to vomit up a shriek and two people in white outfits have to hold her down while another injects her with something that makes her bones turn into jelly.

The next time she wakes up she’s being strapped to a chair and her head still really hurts. 

There’s a weight that wasn’t there before and she nearly screams again as she feels something metallic seemingly attached to her skull now. It reminds her of the visor that her father would wear at his welding job but also more complicated. 

She tries to think about her father to distract herself 

but it only makes her want to cry instead, so she stops. Her eyes are sore too. 

After a few minutes she realizes that she’s moving, or at least whatever she’s in is slowing down, and the restraints attached to her chair retract. She blinks a few times and just stares at the green light above the doors. Is it a trick?

Why does it say “Police Station”?

[genevievemd]

head scratches e and g

Confessions

Book: Open Heart: Third Year Pairing: Ethan Ramsey x F!MC (Genevieve McClure) Word Count: 1399 Rating: G Category: fluff, hurt/comfort Trope(s): and they were in the office

Summary: MC has been feeling unsteady, and Ethan has finally noticed. 

No Warnings

A/N: this turned into a post ch 4 (bk 3) fic. Because I’m a little disappointed that PB didn’t let us talk to Ethan about the weird shit he was doing with Harper. Also look at me, once again using a one word title, because I suck at titles and its 3 am and I’m too tired to try to come up with something better. 

The sun sets outside the floor to ceiling windows, casting the diagnostics office a dance of shadows and lights. Ethan gets up from the desk, walking over to shut off the fluorescent lights leaving the room in growing darkness. He rolls his neck as he returns to the desk, turning on the lamp on the wooden surface. 

He’s felt a migraine forming all afternoon, since Leland’s bombshell that Ethan’s rival would now be joining his team. The sense that all control is steadily slipping through his fingers, growing by the day, by the hour it seems. 

What was promised to be a democracy was now nothing but a dictatorship disguised in new equipment and pay raises. 

Ethan closes his eyes, leaning back in the chair, desperately trying to cling onto the thoughts of the one good and stable thing he has left. 

Genevieve. 

“How are you feeling?” 

A soft voice breaks through the silence, Ethan opening his eyes to see the very thing he was thinking of standing in the doorway. A pleasant warmth runs through him, he’s not a man that believes in fate, but there is something utterly divine in the way she appears at the very moment he needs her. 

Genevieve walks to the desk, every step that brings her closer settling the anxiety and rage boiling inside him. She smiles sweetly at him, perching herself on his desk.

“Like I’m slowly losing control.” Ethan sits up, a hand coming to rest on her knee, thumb tracing circles on her skin. “It’s bad enough we have to deal with Bloom, but now I have to contend with Tobias as his lapdog, as well.” 

“You have me, though,” Her green eyes fill with warmth as she leans forward, holding his cheek delicately in her hand. “And I’ll always be on your side.” 

“I know. I’m incredibly thankful for that, believe me.” 

They share a smile, that four letter word swirling around his head for the umpteenth time as they get lost in each other. Gen breaks the spell, hopping off the desk and settling in his lap. His arms come around her without a second thought, pulling her impossibly closer. 

“How can I help?” Her words are nothing more than a whisper as her fingers trace his jawline. 

“There’s nothing you can do, unfortunately.” 

“I can at least try and alleviate some stress. It’s what girlfriends are for, after all.” 

The word girlfriend sparks something inside him, setting his heart into a rapid beat. They haven’t discussed terms, which is mostly his fault. In the moments when he has Gen alone, he spends the time doing everything but talking. The need to make up for the months he had spent pushing her away taking precedence over defining what they are to each other. But he knows they need to have that talk soon, he can see her growing impatient and hesitant with each passing day. 

Gen takes off his glasses, tossing them onto the desk. She threads her fingers in his hair, scratching lightly as she goes. He closes his eyes again, forehead coming to rest on her shoulder as her fingers continue to weave through his hair.  

“I meant what I said at lunch, G. Just having you in the room makes me feel more at peace.” 

“Should I stop then?” 

“Absolutely not.” He kisses the side of her neck, nuzzling sweetly. “I will take any and all forms of affection from you.” 

“Quite the difference from last year, Doctor ‘We Need a Reset’.” 

“We all have a lapse in judgment from time to time.” 

“Mhm.” He can feel her giggle, his arms tightening around her. 

They settle into an easy quiet, drawing comfort from a shared space. 

As much as he wants to get lost in her touch, he can’t help but fall back to the thoughts of Gen’s newfound uncertainty. Ethan’s half sure it has something to do with him, but he hopes more than anything that it’s not. Praying instead that it all falls to the new easy comradery of the team and the ever growing changes their employer makes. 

He wants nothing more than for Genevieve to confide in him, lean on him in the same way he leans on her. 

“Are you going to tell me what’s been bothering you lately?” 

“It’s not important anymore.” 

“I beg to differ, Gen.” He presses a kiss to her shoulder before lifting his head to look at her. “You’ve been tossing and turning every night for a week. Something is wrong.” 

“I don’t want to ruin the moment or make you feel more stressed.” 

“So it’s me?” 

“I didn’t say that.” 

“You didn’t have to.” His brows furrow at her lack of honesty, she’s never been this closed off before. Its unnerving and so unlike her. Fear settles deep in his bones as their eyes meet, the need to find a solution growing with every second that passes. “I can’t fix it if you aren’t forthcoming.” 

“It’s already fixed, kind of.” She sighs, adverting her eyes from him again. “Harper more or less set things straight.” 

“Harper?” Ethan tilts his head, face scrunched in confusion. 

“I was... feeling unsteady, about my place on the team and with you.” 

“With me? The team I can understand, but I thought things were fine between us.” 

Her face drops, taking a breath. “You really have no idea?” 

Gen gets up from his lap, moving back to her previous spot on the desk. The distance she places between them is small, but enough to make his heart ache fiercely. 

“Let’s put it this way, if my ex joined the team and I spent more time reminiscing about our history - weddings and flamenco lessons and dates at some intimate bistro named after a freaking Disney character - and you had to sit here, constantly interrupted, looked over and forced to listen to every second of it, how would you feel?”

“I was doing that to you.” The pain he feels is instant, regret following quickly after. “I didn’t realize.” 

“Which, if I’m being honest, Ethan, makes it hurt ten times more. Because that says that you didn’t think of me or my feelings at all.” 

He wants to jump up and dispute her claims. She’s the only thing he thinks of on most days and it kills him that he’s somehow made her feel the opposite.

“I don’t care that you’re friends with your ex, Harper is wonderful. But when you sit here and talk about dates you went on and veer off topic to bring up some inside joke, it makes me feel like you don’t respect me or our relationship. Like this is a casual fling you could quickly let go off and not a committed relationship. Like I’m an afterthought and that isn’t fair to me.” 

Ethan stands from his chair, unable to cope with the distance between them any longer. He steps in front of her, holding her face in his hands. “This isn’t causal, Gen. Far from it. And you’re not an afterthought, you never have been.” 

“Yeah, well actions speak louder than words and half of your actions lately say otherwise.”

“You’re right. I was being inconsiderate and tactless” He can see by the way she pulls away that his words aren’t enough. If he’s going to really set things back into place, Gen is going to need a real apology. 

Ethan lets out a breath, holding her gaze for a long moment. “It was wrong of me to do that to you, even worse that I did it without realizing. Your thoughts and feelings are important to me, they take precedence. I’m sorry, Genevieve. Truly. It won’t happen again.” 

“Thank you.” She reaches for his hand, interlacing their fingers. 

“Not that there’ll be a next time, but should I do something this imbecilic again, feel free to call me out on it sooner rather than later.”

“Trust me, I will.” 

Her smile returns, brighter than it was when she’d walked in ten minutes ago. Ethan leans forward, pressing his lips to hers in a bruising kiss. He gets bolder when she sighs, as she opens up to him and threads her fingers through his hair. 

“This is teetering towards a pg-13 rating.” Gen mutters against his lips, their foreheads pressed together as they catch their breaths. “Take me home.” 

“Whatever you want, Rookie.”

a/n: it took me all week to get this to a point where I liked it enough to post it. But we did it and I like it enough. 

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[terrm9]

Playing woth others hair e and c😊

thank you so much for this and I am sorry I am this late, I bet you forgot you sent this:D

all she wished to be was his (he called her a midnight sun)

This was not supposed to be Chapter 8 rewrite but it actually fits the events, so let’s consider it a canon-divergent version of, uh, the comfort scene in that chapter.

WC: 1.1k

Warnings: hurt/comfort but I think it’s harmless. Soft and very E & C like.

*** *** ***

Chiara has gotten to know Ethan.

She knows that. She doesn’t think so, she knows she knows Ethan.

She knows his silence, too.

And the ride home was silent. Watching Ethan from the corner of her eye, she recognized the mask he was wearing – seemingly stoic, concerned at most. There was a thunder in his eyes, though, blue irises a shade darker and screaming rage. He was angry – with himself, with Leland, with the situation he has found himself in or with life in general, she was not sure.

The dinner was silent, too. Heavy, serious silence only interrupted by the clinking of their cutlery – not uncomfortable, though. He needed the silence and she respected that and in that, they found comfort.

„Will you-„ he gulped after they finished the meal. „Could you stay the night?“

She nodded, of course, and Ethan didn’t say anything else, hugging her quickly (quickly, but oh so tightly. So tenderly) in a response.

Two years ago, Chiara would've called him grumpy. Rude, perhaps. But she has gotten to know Ethan.

They couldn’t be more different when it comes to dealing with difficult situations if they tried. Chiara needs to talk it through – talk and analyze, share her worries with someone. When Ethan is not there to listen, she talks to Bryce or she calls her mom. Ethan deals with his problems on his own, within the safety of his own mind and only when he comes to his own conlusion, he considers sharing them with someone.

The bedroom is poured in silence, too. The bedside table’s lamp flooding the room with warm light, shadows lazily dancing on a wall opposite of the bed Chiara is currently occupying. Back comfortably resting against the headboard, book in her hand and she looks so peaceful when Ethan steps into the room, dark grey pajama pants hanging low on his hips, few forgotten water drops hiding in his chest hair. He stops in his tracks and part of him hopes Chiara doesn’t notice him so that he can observe without being interrupted.

Of course she notices.

(Of course she does. She sees him even when he doesn’t want to be seen. She sees him always.)

A smile welcomes him. Smile warm, soft and brilliant (like Chiara herself) and she waves her hand lightly, beckoning him to join her in bed – and one could think that she is wordlessly telling him come here, you can talk to me; that she is convicing him to trust her and talk to her.

But Ethan has gotten to know Chiara, too.

He knows that she is wordlessly telling him come here, lay down, I am here.

I am here and that’s all we need for now.

She doesn’t persuade him to talk, because she respects him. Because if there is something they have both been feeling to each other for years now, it’s respect.

Chiara’s attention is back on the book in her hand by the time Ethan crosses the room and slumps on the bed next to her, but her arm stays stretched out, still beckoning him to come closer, to find his comfort with her.

And he does find it. The moment he puts his head on her stomach, one of his hands curling around her thigh, he feels some of the tension that has been building in his temples dissolve.

More silence, less heavy, less serious, but just as comfortable and Chiara tangles her free hand into Ethan’s hair, soft and still damp from the shower, delicate, silky curls forming at the nape of his neck-

(and God, how much does she love those curls, subtle and only there for a while; only seen by a few, soft curls like his soft side, precious and hers to love now)

-and she strokes them gently, massages his scalp occasionally. He keeps on caressing her thigh with his thumb, his hot breath (a little bit ragged still, she notices) tickling her skin in the most pleasant way possible.

There is still no talking, just more content silence, rustling of Chiara’s book and Ethan’s quick, shallow breaths getting deeper, slower, calmer.

„I don’t know what is going to happen, Chiara,“ he whispers after two chapters,

„None of us ever really does,“ she chuckles softly, closing the book. „That’s the magic of being alive, isn’t it? We never really know what happens next.“

„I don’t believe in magic, to be honest.“

That earns him a wholehearted laugh from Chiara, the first loud sound of all evening.

„Well then, you will have to believe in me and in what I am saying,“ she chrips and even though she cannot see Ethan’s face, she thinks he is smiling, too.

(He is.)

Taking a deep breath - not ragged anymore – Ethan feels the scent of Chiara –body lotion (white tea and citruses), faint remnants of her perfume and then her, her natural scent, sweet and oceanic and so Chiara-like – ground him, calm him down better than any whiskey he would be drinking now, hasn’t she been here.

(The secret smile never seen by anyone – only there when he thinks of Chiara and Chiara only. Hidden from the world, hidden from Chiara herself, only known by the inanimate objects that witness his intimate musing.)

By no means could he call himself an artist. A poet.

No, he is a man, an ordinary, always rational human with minimal care for poetry.

Yet, how could he only adress her as a woman?

(His woman, no less, but still a woman. No, no, she is more than that.)

As his partner or something juevinile as girlfriend? Even the love of his life is an understatement.

She is –

Everything.

All he ever longed for and never allowed himself to believe in.

Everything.

- the first ray of light creeping through the darkness the North Pole suffers through for those 179 days of polar night.

Not the blinding kind of light. Not the one he needs to cover his eyes from, not the one he needsto adjust to.

His life has been a polar night, the dark not dark enough to swallow him (to end him) rather the creeping dusk that makes his chest tighten, makes the lump in the throat bigger and bigger until it can be felt behind his ears and it suffocates him (not enough to end him, no), makes him choke-

-until the first ray of a midnight sun breaks through and there are 186 days of light and nothing but light, warm and welcoming and wondrous.

Chiara Ray is his very personal midnight sun.

And if almost four decades of his life were 179 days, then he could only hope those 186 days of light (warm and welcoming and wondrous) she could guarantee him would be enough to last until his own last breath.  

(And hope he did)

 *** *** ***

thank you so much for sending this and for reading! <333 love you all

 the last part was not originally planned as a part of something bigger, but here I am fitting it here because I like it

[anotherbeingsworld]

a step forward

pairing: bryce x f!mc (alessia lyxienne)

book: open heart: third year

rating: general

warning: a few curse words.

word count: 4163

summary: a rewrite of the final chapter of book 3 (3:16) as Alessia will be making a hard decision.

ps: tags and a/n will be at the end of the fic!

I love you…’

‘I love you too.’

Clinging to the profound happiness on the rooftop of Edenbrook, her eyes fall onto him. He’s smiling. Wider than any other smile she has ever seen, he was happy. He is happy, and she is too. It felt like an ending to a fairy tale where they lived happily ever after, but life is far from it. She lets out a sigh, before burying her head into his shoulder for the night – enjoying the bright lights below them. At this moment, she does not know what lies ahead – however, she knows that the feeling of being on top of the world is the best feeling one could felt.

-

“Have you told your friends about the offer?” The voice of Mr.s Lyxienne booms through the call – somewhat a tone of excitement in her voice of a proud mother.

She shakes her head, as an attempt to tidy up her room before the roommates' dinner to celebrate the board results in an intimate setting than before. The sigh escapes her lips, as she rereads the email.

…offer for a new position… head of the diagnostics team….Arizona. We are looking forward to hearing from you soon.

Regards,

Dr. Donald Reegan.

“Haven’t told them yet mom.” She replies, before minimizing the emails tab. Somehow, the email came a day after the party, after she receives her happily ever after. Its been days since then, as tomorrow is her final day as a resident – and her final chance to make a decision.

Her mom didn’t say a word, somehow knows how hard it was to make a decision.

“I know whatever you decide, they’ll be happy for you Alessia.” Her voice is calm, yet there is a hint of boldness in it.

“I know…”

“I’ll have to go now and whatever happens - we are very proud of you.”

“Thanks, mom, I’ll talk to you soon.” After saying our goodbyes, she immediately changed her outfit for their roomie dinner with the others.

-

She was wearing a suit, somehow, she feels much more comfortable in it along with her Vans slip-on. Her hair was tied into a ponytail, as she was met with the others along with Bryce, Kyra, and Rafael.

She took a seat beside Bryce, as he immediately greeted her with a peck on her cheek – she smiles, somehow it didn’t reach the eyes. He took a second, observing her for a moment before they began to order, with his hands around her giving a gentle squeeze. He knew there was something wrong, yet he didn’t wanna pressure her, and she knows it.

The night goes on, as they reminiscing. Talked about everything from the good, the bad, and everything in between. Alessia smiled throughout it all, forgetting about the offer for a moment, as she was drowned by memories. It has become one of the reasons why she hasn’t made a decision yet, Edenbrook gave her the chance to fulfill her dream, yet – it traumatizes her. The senator’s incident suddenly made an appearance in her mind, letting out a shiver – as Jackie calls out her name.

“Hey, you okay? You zoned out there.” Jackie asked as she took a sip of the drink, all of the eyes fall onto her.

Alessia just shook her head, as a smile plastered on her face.

“I’m just, reminiscing. I just can't believe it's been three years, and our residency is almost done.”

Sienna nods in agreement,

“Hey, we did it. And, I’m happy to go through these adventures with all of you!” She lays her head on Jackie’s shoulder, as they all nod.

“Easy for you to say, I still have an extra year! But, then – I’ll be a big-shot surgeon.” Bryce stated as he smiles smugly before the others let out a laugh.

“So, have all of you thought on what the future after everything?” Rafael asked as both Bryce's and his eyes fall onto all five of them.

There was silence at the table, the thought is still processing. The future is coming very soon for all of them. The silence was drowned by the other diners, hush whispers as Alessia’s words got stuck on her throat, somewhat a feeling of confusion, dread, fear was mushed together into one.

“I think I’ll be leaving Edenbrook – somehow, maybe a new chance to start again without being in my aunt’s shadow again,” Aurora spoke, as the other nods and starts to congratulate her.

“Where will you be going?”

“Mass Kenmore, I feel like I got potential – and maybe lead the diagnostics team there; who knows.”

“Good for you, I think I’ll be staying here for a bit. The research team is quite a safe space for me, and I got Zaid and Baz on my side. I think it's definitely where I belong.” A satisfied smile on Elijah’s face can be seen, as Jackie spoke.

“I think I’ll stay, being chief resident – somehow feels just right. Did I get to boss the interns while doing a good job at it? Hell yes.” Jackie smiles excitedly as the others let out a laugh and a nod in agreement. Jackie was indeed a good chief resident – Sienna clears her throat to gain the other's attention.

“I’ll be staying too. I talked to Dr. Banerji earlier – about…” She paused, as she met Alessia’s eyes who nod supportively from the side.

“Changing my residency. There are times, I feel unhappy especially lately – maybe it’s the pressure but, after rethinking more than a dozen times. I’ll be taking the fast track of residency in peds and, hopefully, retake the board exam once more.” She smiles, proudly – a decision has been made as they all cheer in happiness for Sienna.

-

The table went silent once more, as Kyra shoots the final question her way. Alessia looks stiffened, somehow her tongue was tied, she was hesitant, somehow dreading the decision she has to make.

“I…honestly have no idea yet.” Before stuffing some salmon into her mouth, avoiding the stares at her way. She felt him staring at her as well, his eyes on her with a similar shock expression on his face before he jumps in to save the situation.

“Whatever you’ll be doing, it’ll be a great babe.” He says before placing a kiss on her temple, as the others drop the topic sensing the awkwardness that follows.

She was grateful for the save, as they spend the night away reminiscing again and again.

-

4:39 a.m.

The clock never stops ticking as she stood up from the bed. Bryce is still sound asleep beside her, as she smiles over the sight of him. How much happiness one human being can bring to this world, to her world. How much he lights up her world – the darkness suddenly was lit up by his smile, his encouraging words, his kisses, his hugs, and everything about one Bryce Lahela.

She examines him from afar, as the city of Boston was visible from his apartment window in the living room. A few cars were bustling around town, to begin an early start of the day. The sigh escaped her lips, the decision seems to haunt her once more. 2300 miles away from Edenbrook, from her friends, from…Bryce. It feels like a difficult decision – because she couldn’t imagine being away from him. What life would be like waking without his smile? What life would look like without the laughter of her roommates who have made her time at Edenbrook much worth it? How different it is to not be greeted with Bryce’s kisses at the peak of dawn? All of the thoughts swirling in her mind bring back to a conversation from her first day of the final year of residency.

“I know, we will never change. But, look what Leland did – this is where we are heading Alessia, our life is changing, medicine is changing and we can’t do anything about it. Life is about change – and like Edenbrook it changed alongside us.”

She lets out a breath she is holding upon the revelation from Bryce. It is the truth, and it’s gonna fall upon them anyways somewhere in the future. She wanted to deny but, she knows it’s the whole truth – as her head falls on his shoulders once more.

Bryce pulled her into his embrace, as he slowly strokes her hair – letting out a sigh along the way.

“But, tonight – the future can’t touch us and, we will always going to be us, Bryce and Alessia.” His words were soft and gentle, somewhat an attempt to calm her heart down.

“Tonight, it’s only us and that’s the only thing that I want to know.” Her lips met with his, as they enjoyed the night together talking about everything and nothing – as the feared was buried at the back of their minds. Somehow, it still leaves a bitter taste for them as the truth will come to face them very very soon; but for now… they have tonight.

She shivers at the memory, somehow the change had caught up to her. Change is going to follow them for the rest of their lives – and, if they were lucky; it will still be the same. Yet, she knows it's already different. The change has begun before her thoughts were interrupted by familiar footsteps letting out a yawn.

“Hey, it’s still early – c’mon, let’s get back to sleep.” His voice was hoarse, yet she smiles at the request pushing the thoughts once again as she finally got some sleep. A few hours at the least, before she has to be up for her final day as a resident.

-

Her steps lead her to Dr. Banerji’s office who smiles at her presence, somewhat surprise but content with her sudden arrival to his office.

“Dr. Banerji – I need some advice.”

-

The day went by quickly, as the final patient of the day was checked – and the cases have been handled throughout the day alongside the diagnostics team. She stayed behind, somehow admiring the diagnostics office, a feeling of nostalgia washes through her before her moment was ruined by the arrival of Ethan and Tobias himself – who looked surprised to see her.

“Alessia, good to see you here once again.”

She smiles,

“I know, I’m just admiring this office for the final time – I’m gonna miss this place.” She lets out a sigh, as Tobias smiles.

“Hey, you and me both. But, never be afraid to start again somewhere – because life does works in weird yet rewarding ways.” He winks as Ethan lets out a chuckle.

“You have gotten wiser over the years huh.” Tobias just smiles at the remark before they congratulate her once again – leaving her with the empty room again.

She whispers something to herself, before shutting the lights off in the room.

-

She stared at the offer that lies in front of her, a deep breath follows as she dialed the number. A decision has been made, like a pinch of pain filled her lungs, somehow pulling her to drown, yet she keeps on running.

-

She needed to tell them, needed to tell him. Alessia left her room with the feeling of dread, and fear swirling in her stomach – as she was met with them all laughing together as they were watching one of Elijah’s long list of movies. She took a seat beside Jackie, joining them in the fit of laughter. She is ready to let the truth roll out - well, ready as one will ever be.

“So…I have to tell you guys something.”

There it is – the truth all laid out. A series of ‘why's and clueless looks on their faces. Alessia remains calm for the whole demeanor, somewhat manage to rehearse the speech in her head as the movie plays in the background of her mind.

The room was silent, taking a moment to process it. She was immediately engulfed in a hug from her side, Sienna has her arms around Alessia.

“That’s why you were quiet at dinner right.” A knowing tone in Jackie’s voice, as Alessia nods in response.

“I needed to decide. This was an experience, but – I need to spread my wings. And, Arizona isn’t too far ahead guys. I can visit, maybe Edenbrook and The John Mayo Clinic can work together – and we will be together as always.” She attempted with a cheery tone.

“It wouldn’t be the same – and, that room of yours; will miss its owner.” Jackie points at her room, but she couldn’t help to smile at her.

“Hey, that room will always be yours. Well, as long as Farley allows us to keep it.” They all laugh before Sienna calls a group hug session – a familiar gesture for them all.

“Don’t forget us in the big leagues Alessia,” Aurora stated, as she shook her head. “Never – all of you are too hard to be forgotten” She smiles as they continue to discuss her new position with everything in between – before, the room went quiet once again. Everyone has fallen asleep, as she was wide awake; meeting Elijah who wheels in from the kitchen, somewhat startled at Alessia being awake at this hour.

“Want a cup of tea?” He gestures at the cup he is holding.

“Yes please.” She smiles, as they indulge upon the tea – a comforting silence follows.

“You are leaving soon huh.”

“I guess I am, I just…I feel like it's time.” The words felt painful on the tip of her tongue.

“I wanted to say I’m sorry for how I reacted before about the Dr. Ramsey thing – I shouldn’t have lashed out at you and, I’m sorry.” Elijah sounded genuine, as he smiles at her.

Alessia nods,

“I forgive you, but it still hurts you know.”

He lowers his head, somehow feeling ashamed about the reminder of it,

“Yeah, I feel bad afterward – and, my ego was quite huge at the time. And, I’m very very sorry.”

Alessia returns his smile, as they talked a bit.

“Does Bryce know?” He asked, somewhat with genuine concern.

She shakes her head, letting out a sigh.

“I wanted to tell him, but…we just got our happily ever after here. And, I just…I planned on leaving quietly but, I can’t do that to him.”

“Maybe you should go to him right now, I think he mentions a late shift earlier at the doctor’s lounge.” Elijah pointed out, as Alessia nods – finishing up her tea, and pulls Elijah into a hug.

“Thanks, Elijah.” She was about to leave before Elijah calls her out.

“Hey, Alessia, for what’s it worth - you’ll be okay out there.”

She nods in appreciation, as her foot was set out of the apartment.

-

“Alessia – hey, what’s up!” He greeted her, as she sat waiting for him at the hospital lobby.

“Hey.” She replies as she hugs him, clinging to him – as Bryce lets out a laugh at the sudden gesture which he didn’t push her away.

“Someone’s eager.” He teased her, earning a nudge from Alessia followed by laughter as they walked out of the hospital together.

Their steps fall into a rhythm, as they stopped by a 24-hour bistro; ordering themselves a box of loaded fries – a moment of déjà vu again; as she smiled at the memory. Bryce caught her smiling, as he took a bit of the fries.

“How’s your day been?”

“Nothing much I guess….oh - oh! I scored a major surgery today with Dr. Tanaka earlier – and the patient survives.”

She smiles at his enthusiasm even if it's at 4 in the morning; he managed to make even the saddest of souls smile, that was his power.

“So…what’s up? I mean, I’m not opposed to you visiting me at work or anything – but, this is the time where one should be asleep.” He raised an eyebrow at her, and she took a deep breath.

“We need to talk.” Her friendly tone has become serious, as the four-word which every human dread of hearing somehow become a wake-up call for him, as he sat up straight – the carefree expression has been wiped away with a look of concern, nervousness, and dread in between. She places her hand in his from across the table, giving it a gentle squeeze – calming him down before the truth was set free.

-

He blinked once, twice. As Alessia finished telling him – he was speechless, literally. The silence follows a few moments, somehow he is still searching for the words to say. Yet, all of the words in his mind have vanished. Zip, blink, nada.

She met his eyes, she looked worried, the expression of guilt was written all over her face. He manages a small smile, somehow – he didn’t say a thing. A part of him; still grasping upon the truth.

‘I accepted an offer from the Mayo Clinic at Arizona.’

His throat somehow went dry, as he took a sip of the remaining milkshake. Pulling himself together – and wished he has a guide upon facing these types of situations.

‘Oh..’ Was all that came out of his mouth, somehow…dumbfounded on how to respond to this sudden revelation.

After a moment of silence that follows – the sound of the instrumentals drowns the thoughts along with his hesitations upon the situation. He smiles, he smiles – which didn’t reach the eyes as much as he tries his best to. There was a mix of pride – of course, there was, he was proud of her. He wants her to be the best doctor she could be because she indeed is, it was one of the mantras from their first year.

He remembers the doubt in her voice, as they cling to one another at the on-call room. He looks at her and sees much more than what she sees in herself. And, this…its an opportunity for her. Yet, the sorrow in his heart began to grow; he wants her by his side – to be with him at Edenbrook. He wants to be with her every day, but; life never really gave him what he wants. But, one thing he knows – he is damn proud of her, as the sorrow has vanished in a second; as he stood– opening his arms wide for her, as she immediately sinks into his arms. No words were exchanged, as he kissed on top of her head; he was proud of her; he is – always.

But…

He shakes the thought away, as he holds her there. It felt like home, and he wonders – if she goes away, what would home feel like anymore?

-

He has suddenly been busier, life pulled them apart – excuses were made. She knew he was deflecting, she stopped going to the hospital after her final day ended, as the moving process began.

All of her stuff has been packed, as some were already transported the day her parents came down to Boston. There was a bittersweet feeling upon the situation, as she struggles to get a hold of Bryce. They haven’t seen one another in weeks, as the last day – she left his apartment as he went into work. They didn’t talk, it was a silent night; no words were spoken, as they lay side-by-side. He dreaded the silence, but it felt like the future that will occur to them very soon, he sighs – better get used to it now.

And, that’s the time he last saw her. He has been busying himself with surgeries, requesting extra work to the point where he could be living in the hospital. It was hard for him to face her, the decision was only a few words – yet, the power that came with it. It’s unbearable.

He checked his phone once again, there was a new message from Alessia. He sighs before shoving the phone in his pocket – repeating his whole routine for the rest of the day.

Unfortunately, he has to change and get home every once and a while, and he did after his shift was over. He paused upon his footsteps, as he found Alessia waiting inside. The sad, gloomy expression is obvious – as he remembers, he gave her a spare key if she ever wanted to stay over for the night.

‘Hi.’

-

She stood up from the couch, keys in hand at the sound of the door opening. He looked like he hasn’t slept, as he saw her. It was an unexpected visit for her, as she was supposed to clear her final pile of stuff before it is shipped the next day.

His mouth open, as if to say something – which resulted in an exhausted ‘hi’ towards her way. She nods appreciatively upon the greeting.

‘Bryce, please – why have you been avoiding me?” She blurted out suddenly, the silence is killing her inside.

He didn’t reply, as he took a seat on the couch as she stood in front of him.

“I don’t know - I was busy with the surgeries…” He didn’t continue as Alessia feels a part of her was betrayed.

“Then, it wouldn’t even bother for you to reply to my texts? Or even text me, saying ‘hey, I need to take off some steam’… It's not hard Bryce!” He meets her eyes, somehow a pang of regret over his actions.

“I don’t know okay, it feels like everything is happening so fucking fast, and the fact that you’re leaving soon – I need to breathe. I need to clear my head, I…I can’t face you after that day.” His eyes fall upon his hands, somehow avoiding her eyes.

“Then face me now, tell me everything. Stop running away from me Bryce – as much as I am ready to begin the new journey; I’m dreading till the moment that we have to say goodbye.” She took a seat beside him on the couch, as he finally sees her. He finally meets her eyes, his brown one meeting her green ones. The wave of sadness in his eyes, mirrored with hers. Somehow they both have to say something – and they can't avoid it anymore.

“I…I was scared.” He lets out a light laugh, as she curled her fingers with his squeezing it.

“I never knew this would happen, I met somebody and that person made me feel terrified for once in a while. You made me scared of being without you – it felt like a norm, waking up with you beside me and our nighttime adventures. I…as cheesy as it is…” He laughs, as Alessia laughs along with him – the familiar air started to fill in the room.

“I was scared of not being able to wake up next to you again. My whole life; I have always been my own person – and then I met you. I was scared the shit out of myself on how much a person can mean a lot to me, how one person can change your life in a split second – and change it once more in a snap of a finger; and…I thought about it….” He paused meeting her eyes fully, somehow he was prepared. Weeks without her, made him think – made him wonder, made him realize, and everything in between.

He continues, “I want you to go, I don’t want to stop you cause you deserve the position Alessia. You are one of the best people I know, hence – the best damn doctor I ever know.” His hands land on her cheek, as she felt a tear shed, he smiles sadly over the sentiment wiping the tears away.

Alessia was about to reply before he silences her with a kiss. His forehead meeting hers, somehow – the words that follow, it made her heart happy.

“You deserve to be your person and be where you want to. I’ll always have your back, always have, and always will. I love you Alessia.” She smiles over the affection before she wraps her arms around him – relieved washed in her heart.

“I love you too Bryce…so so much.” She whispers to him, overwhelmed as she smiles again and again until the day she has to leave. She knew Bryce will be there for her always, and she will be there for him. Their story - it was a story for the ages of all ages - and it doesn’t have to stop as the universe was doing their thing; because in the end – if the universe allows them to be together, they will be together, because distance can be damned.

It won’t stop the story of Alessia Lyxienne and Bryce Lahela, because they both are too stubborn to let it go. There will be a pause – but never a stop button, and she is grateful for that, before she leaves Boston, into her new place. It wasn’t home, because home is a heartbeat with two eyes that lives 2300 miles away from her.

‘We got this.’ She whispers, gazing into her new place – as a new chapter begins for one Alessia Lyxienne.

THE END.

a/n: okay, so I'm finally writing something which is to be fair quite late for an open heart tribute - but, hey; despite how shitty it has become, this book will have a special place in my heart. I mean, it started my writing, and well, the rest are history. Bryce Lahela is one of the characters I loved to write and writing his journey with Alessia, is one of the most unexpected things I have ever done, and, well. Their journey is over now in the game, however - deep down I know they are living their lives in a different universe. I also wanna dedicate this to all who have been supporting me from the start even, and a special mention to my gurl nikka, who actually made me not stop writing again, and well, this fic happened! I love everything about this and the whole experience, and I think I won't stop just yet...but, the future is always uncertain. But, I know I have a good time for the last year of doing this. Thank you <3

tags:

@bitchloveskcbaseball , @mvalentine , @storyofmychoices , @princess-geek , @lahellacute ,   @annekebbphotography , @dcbbw , @choicessa , @fantasyoverreality98 , @baltersome , @ofpixelsandscribbles , @thundergom @starrystarrytrouble  @kelseaaa, @choicesficwriterscreations, @lalizah, @drethanramslay, @eleanorbloom, @openheartfanfics , @brycesgirl,  @freckles-spangledvampire, @agentnolastname, @adriansbiss , @appiomofchoice, @ariondevereux, @natureblooms24 , @robintora (comment if you want to be tagged or removed 💜💜)

[jammyjess]

Hey friends!

I found King Falls AM at a time in my life where I felt scared, hopeless and alone. I didn’t want to be here at all, and I thought for the most part I’d never be happy again. I’m still most of those things, but every day in King Falls makes that a little easier to be okay with. I thought long and hard about what I could manage for this, but most of all, I just wanted to say thank you. So. Here goes.

Thank you for Sammy Stevens, who is my favourite kind of character. He’s sassy and pretty and humble and full of love.Thank you for his cynicism and snark, but also for his ability to push aside his own beliefs and ideas and wants when it matters. Also, for letting him Suplex Grisham, because that was pretty neat! Thank you for the way he relates to the people around him, but especially to Lily. For a character who makes mistakes and actually tries to learn from them - he doesn’t always get it right, but he tries, and that’s so important. He’s made me laugh, he’s made me cry, he’s made me want to scream. I adore his backstory, it means more to me than I can say, but also thank you for the way you handled the events around 75. It was so meaningful. I love him with everything I have, which is why it hurts me to thank you for his pain, which is so unbelievably relatable to my own. For my own hurt that comes out of his mouth. The kind of hurt that transcends circumstances. I was in a dark place before this show, and parts of me are still there, but watching Sammy grow, and change and heal has meant everything to me. It gives me hope for better days. For Sammy, and for me too. Thank you for giving him the courage to stick around, and for giving him hope. Thank you for Benny Arnold. Who I can’t write about coherently without bursting into tears. He’s messy and flawed and just absolutely gorgeous. Seeing him grow through the years has been an absolute joy, but most of all, I love his ability to remain untainted by the horrors he’s been through. He’s still got the same heart, and it’s the best heart there is. I love his passion, his hope, his resilience. His belief in everybody around him. He remains unapologetically himself through everything, and I adore him. He is The Good, and I’m so glad we have him. Noah brings such complexity to him too, and I can listen a thousand times to a single episode and continue to feel all the things. 

Thank you for Emily. For making a strong, intelligent, badass women who’s also soft and desirable and loving. For letting her write her own story and for letting her be more than a prize to be won. She’s so good natured and considerate and thoughtful, and even in her worst moments she never loses that. Every moment she appears is wonderful and Jess KILLS IT every time! I’ve especially enjoyed phase two Emily, as her relationships with other characters become more integral to the story. Thank you for speaking out against the Frickards of the world through her, because it hurts and it’s hard but it’s so important. Using your audience for good means so much. Thank you for the thoughtfulness and care with which you consistently apply to sensitive subjects. For day-to-day happiness, for happy places and for months of quiet kindness without ever being asked. 

Thank you for Jack Wright. For the reminder to choose love (even when it’s hard. Maybe especially when it’s hard.) For the reminder that we’re all worthy of love, in all its forms. The affirmation that nobody corners the market on sadness, but also that we don’t always have to go it alone. That grief is universal, and that’s not always a bad thing. For quiet moments of humanity in the midst of absolute tragedy. For vulnerability, for heartbreak and moving forward together. For forgiveness and acceptance, and humility. 

Thank you for Dwayne Libbydale, who’s a special kind of chaos. I am again lost for words, but I love him, I love him, I love him. 

Thank you for Pete Escobar Ed Edwards Yardboy Myers and his funyuns and disdain and snark (even if me saying I love him means he’ll never listen to this show again.) Thank you for PHENOMENAL journalist Lily Wright, who is an absolute delight! She feels like the personification of grief, loss and trauma, but at the same time so, so real. Her reluctant acceptance of King Falls as home is beautiful, and I hope she gets ALL THE HUGS really soon. She’s not afraid to speak her mind, even if it means alienating the people she loves. Her shaky vulnerability with Sammy, Ben and Emily is so good, and I’m so excited to see where the future of Lily Wright lays. King Falls Chronicles was some KILLER story telling, and Candace was the icing on the cake. The acting chemistry she has with everybody is absolutely on point. I’m so glad we get to keep Lily. That she’s found home. Thank you for #DeputyDead. His unwavering optimism and willingness to see the good in everything and everybody is absolutely wonderful. 

Thank you for Debbie and RoboTim, who I still believe in, despite all evidence pointing to ‘don’t do that.’ Thank you for Maggie Masterson, an Actual Icon. And for our Man’s Man’s Man and his lil Kingsie Bab. For Regan who is a sweetheart and Chet who I hate to love.

Thank you for villains that fill me with white hot rage. Who’s actions are explained, but never excused. For Frickards and Gundersons and ShadowFUCKS and HFB3’s and Leland Hills and Ernies and Grishams. They’re different levels of despicable, and I adore hate them all. 

Thank you for ridiculous caricatures ; the Gwendolyns and the Cynthias and the Jacob Williams. Thank you for SPORTSBALL (CHOP. DAT. WOOD.) and WALL CRABS and GARBAGE BEARS and DANGER NOODLES  and every other ridiculous Benism. 

Thank you for Teareal and serendipity and redrum roses and for the inability to see the word ‘ghost’ and not correcting it to APPARITION. Thank you for Dan & Larry and boy band battles and Doyle’s Conspiracy Cavern and Devon Hamptonframptonshire. For Golden Owl, Finn and Gator Jack and Alvin and every other ridiculously loveable character you’ve created. Some of them barely last longer than an episode, but their chaos will fuel me for a lifetime. 

Thank you for Mary Jensen, who is the mom I wish I had. All moms are champs, but Mary is perfect. Thank you for Betty and Nancy and Loretta and Marigold. All who I expect deserve the praise they’re given. 

Thank you for Herschel and Cecil, who are cranky old bastards and who probably shouldn’t fit together, but they do so effortlessly. The care and compassion they have for each other is inspiring, and I too hope to have a friend like that someday. Trent is wickedly skilled, and I’m sure he hears it so often but!!!! 

Thank you for BE WELL BUDDIES and silly puns in the titles, and short jokes and RoboTim mixups and Science Institute break-ins with vigilante superheroes and mysterious callers. Thank you for love through overnight oats and moustache talk and non-binary pals. For a willingness to grow and change and learn and laugh. For the electrolocaust and my favourite threesome and for sammiversarys. For Ben posting Sammy’s bail, and heart-to-hearts in jail cells. For stupid bets and bensplosions and the fucking kickball story. For creepy dreams and technical terms, for badly timed BEEPS for awkward flirting and on-air confessions. For idiots who can’t keep secrets, let alone not talk about them on air for more than five minutes. For missing hikers and weird shadow tornados and notebooks and shooting down UFOs and death by damnation. For the SECOND BEST small town in American Celebration, for Christmas Gifts for Ben’s Mom and Jupiter Jaundice. For Ben’s monopoly tactics and Sammy’s audible eye rolls, for prophecies and ‘legend-has-it’s and for love and love and love.

Thank you for the mysteries, and for the constant need for MORE. You do cliffhangers so wonderfully, and I feel like I’ve never anticipated anything so keenly in my life. Tim Jensen, The Dark, Merv, Death by Damnation, The Rainbow Lights, The Zombies. 

Thank you for Cameron Chambers??? How does he do it?? I have no idea, but I hope he keeps doing it. Especially all them Christmas BOPS. Legendary. Jazz-Hands worthy! 

Thank you for making Zombies the F- plot. 

Thank you for the Eagle Screech in the DALE’S DOLLAR TREE ad. And all the other ads too, I guess. I don’t understand The Fucky List, but thanks for that too! Thank you for JACK IN THE BOX JESUS which has caused my internet to constantly recommend me eat at Jack in the Box, despite the closest one being literal continents away.

Thank you for continuing to choose this. For being open to sharing so much of yourselves with us. Thank you for fan interactions and live listens, Q&As and twitter replies and twitch streams and retweets and Beyond the Falls. Thank you for the love and care you show us all, which above all feels genuine. 

Thank you for being the catalyst for a community where I finally feel like I belong. Like I’m important. Like I matter. Thank you for being the reason for hours and days and weeks and months of in-jokes and teasing and theories and head canons and screaming and food talk and love. For so much kindness. And acceptance. For a space to be myself without fear. For people I feel like I’ve known lifetimes, and for whom I hope I can love for lifetimes more. For people to cheer on, and cry with, and poke fun at. For stupid nickname changes, and memes and words in reactions. For making me feel like i’m part of something much bigger than me. For a place to be passionate without judgement. For a place to just be. For friends. For family.

Thank you for the push I’ve needed to create again. And for all the others you’ve inspired too. 

Every moment inside King Falls have been an absolute blessing, but the impact it’s had on my life outside of it is absolutely everything.

Congratulations on (almost) 100 episodes. What an adventure it’s been. I’m so excited for everything the future of King Falls holds, but most of all; Thank you for making this fuckin’ mean something.

[starfleetisapromise]

Section 31 - a few thoughts

I’ve been wanting to talk about Section 31 for a while, because it ties into some work I did a couple of years ago on Star Trek and geopolitical hegemony – these are just a few random thoughts generated from this week’s episode. It’s long so tl;dr - many of the current “hater” fans don’t like the grittier, darker Trek because it forces them to recognize that the US may not be the flawless beacon of freedom and democracy that they like to think it is.

There’s been some interesting fan reaction to the appearance of Section 31 in Discovery and, at least outside of Tumblr, a lot of it has been largely negative. Negative along the lines of “the Federation would never be involved in anything that shady”. When it’s pointed out that Section 31 is obviously based on the CIA, the reaction is to double down and claim that, because the CIA is a US organization and subject to congressional oversight, they aren’t shady either.  Which is, frankly, fucking hilarious – or it would be if so many people hadn’t died as a result of the CIA being shady as fuck.

It’s no coincidence that Section 31 first appears in the latter half of DS9. By the early 1990s the Cold War was over and we were finally allowed to acknowledge all the shit that the West, and the US in particular, had pulled in the interests of “defeating communism” or, as it turned out, “making the world safe for American corporations”.  

DS9 is also the first iteration of Star Trek to come out from under the shadow of Roddenberry’s idealist vision of the world – idealism that is rooted very firmly in his belief in an early 20thcentury Wilsonian world order where the US was the shining beacon on the hill, a light for other nations to emulate. Both TOS and TNG are firmly entrenched in the idea that the Federation is some kind of benign hegemon (an oxymoron if ever there was one) and that’s one reason those captains are always relatively comfortable trashing General Order One. If your morality is superior to everyone else’s then it’s no great tragedy to set a lesser civilization on the right path. Roddenberry isn’t even subtle about it with his whole “wagon train to the stars” mentality. But the dark side of that hegemony is really nicely explored in DS9 – we even get this fabulous quote from Edington in Season Four:

Everybody should want to be in the Federation. Nobody leaves paradise. In some ways, you’re even worse than the Borg. At least they tell you about their plans for assimilation. You assimilate people and they don’t even know it. Edington ST:DS9 4:21

With DS9 and the appearance of Section 31 we get the first acknowledgement of what lurks in the shadows of that shining beacon on the hill. That there is a reality where ideals are often a cover for a much darker agenda. In the case of the US and the 20th century, that agenda was promoting and protecting American capital.

This is my favorite picture of Kennedy. He was determined to support the Congo’s Patrice Lumumba’s government, but the CIA covertly undermined him. In this photo he received the news that Lumumba had been assassinated.  

In the process the CIA was directly responsible for hundreds of acts of subterfuge and deception, ranging from assassination (Che Guevara, Salvador Allende, Patrice Lumumba, Ngô Đình Diệm, among others) to medical experiments (MKULTRA and the Cameron experiments at McGill) the training of death squads and torture teams (at the various Schools of the Americas in the US and Panama); and the overthrow of governments deemed unfriendly to US interests (Iran, Guatemala, Chile, Panama, the Congo…etc. etc.) Hell, they even got peripherally involved in the French army plot to overthrow De Gaulle in 1961 and maintained “stay behind” operations in European countries that armed and funded right wing paramilitaries to “fight” communism. 

Section 31 has the potential to be all of that; and certainly the books that accompany ST:Enterprise talk a lot about Section 31’s “nation building” and interference in multiple non-Federation political systems. And this seems to be pissing people off in exactly the same way that DS9, ST:Enterprise and the reboot movies – all of which acknowledged that there was a dark side to the Federation – and by extension, since the Federation is just an alter ego for the US, a dark side to American foreign relations. 

These fans (and they aren’t all old white guys, a lot of them seem to be young white guys) who complain about the new Trek not being “real” Trek because it’s darker and grittier; who prefer the juvenile humor and bright shiny colors of “The Orville”; who long for the nostalgia of TOS and TNG, and complain about the direction ST has taken, simply don’t like the way in which their conception of themselves, and their conception of the US, is challenged by this darker reality. Of course, they also don’t like not being able to see themselves as central to the narrative, in a cast that is much more diverse than anything seen in any other Star Trek series – but that’s a whole other discussion.   

Which brings us to this week’s episode and Pike’s encounter with Leland. Clearly, they were friends, possibly still are friends, but Pike firmly believes that Section 31 crosses lines that shouldn’t be crossed (and he probably doesn’t know the half of what they do). While it’s possible that Leland is still one of the good guys (there certainly were and are, good moral people in the CIA) Georgiou’s comment about cover ups and things happening to the wrong ambassador, indicate that he’s personally crossed some of those lines somewhere along the way. He’s right that Section 31 does what they do so that the rest of Starfleet can do what they do; but Pike is right too, there are lines that shouldn’t be crossed, no matter the stakes. Which circles back nicely to the end of Season One and Burnham’s speech about principles being all that matter. And gives us a nice point of congruence between Pike and his new crew. Personally, I like this more complex Federation, I’ve liked it since DS9; no country is exceptional, they are all flawed and our media needs to illuminate that so we can reflect on it, not bury it under false rhetoric.

Further reading:

Owning the Future: Manifest Destiny and the Vision of American Hegemony in Star Trek 

https://gammathetaupsilon.org/the-geographical-bulletin/2010s/volume58-1/article2.pdf

Naomi Klein The Shock Doctrine

Stephen Kinzer Overthrow

David Talbot The Devil’s Chessboard

[lfthinkerwrites]

Monsters and a Man

Title: From the Case Files of Edward Nigma, PI

Fandom: Batman

Rating: M, for violence and murder.

Summary: Penelope’s testimony inspires some different reactions from some very different men.

Author’s Note: There is a murder and some ableist language in this chapter.

AO3 Link

1:30 pm

Edward had decided to stay with Penelope for a while that afternoon. It had been a week since he'd seen her last after all, he reasoned. And it wasn't as if they didn't have quite a bit to talk about. For her part, Penelope did not seem in a rush to shoo him out either, working away at her paperwork while he chattered on in the seat in front of her desk. "...So then, the girls decided that just telling Ellen stories about our exploits wasn't enough, they had to show her pictures as well! So there I am, having to explain to my fifteen-year-old daughter why I decided to rob the First National Bank dressed in a green jacket with light up questions marks!"

Penelope smiled slightly and continued writing. Edward was beginning to slowly, but surely be able to read her body language. This was genuine amusement. He smiled a bit himself, then continued on. "Nina and Deirdre then proceeded to tell her that when Batman arrived, he foiled our getaway by aiming a Batarang at the emergency sprinkler system. When my jacket got soaked, the lights short-circuited and I had to throw it off because it started to smoke!"

Then Penelope did something Edward didn't expect. She laughed. A short laugh that she immediately covered up with a hand over her mouth. She looked up at him and her face flushed a bit. She cleared her throat. "I'm sorry, I didn't mean to laugh at the thought of you catching on fire."

Edward shook his head. "It's not that," he said. "I just...I don't think I've ever heard you laugh before." He liked it. "Besides," he said with a smooth wave of his hand. "I've learned to recognize some of the absurdity of my former life. I wouldn't hold it against anyone if they laughed at it every now and then." Within reason. Briefly.

Penelope smiled again and shook her head. "How magnanimous of you." She turned her attention back to her paperwork, then paused. Her smile fell and her expression became almost blank. She put her pen down and rubbed the back of her head. Edward frowned.

"What's on your mind?" he asked.

Penelope sighed. "This morning. This whole week. I just...I keep going over everything that happened in my head and I wonder. Did I do enough? Is there something else I could have said?"

Edward let out a sigh himself. "Well, speaking as a member of the gallery, I'm not sure that there's anything more you could have done. Well, legally at least." If Strange and the Commission members were hellbent on running Gordon and the rest of GCPD out, then there wasn't anything Penelope could do or say to change that, not unless she was willing to resort to drastic measures. Looking at how uncertain she was though, Edward stayed his tongue. That wasn't what she needed to hear now. "You don't seem the type to worry about what-ifs anyway."

"I'm not usually," she admitted. "I've always thought of myself as being in complete control, of always knowing exactly what to do in any situation, but..." she sighed again. "I have to know that I did everything I could. If I didn't, I don't think I could ever forgive myself."

Nearly two years on and the shadow of Arkham Asylum and TITAN hung over her still. You and I are alike I think. We've both lost a part of ourselves, haven't we? "There was something I've been wanting to ask you," he said cautiously. "At the end of your testimony, you said something about how thinking of the denizens of Arkham as monsters can cause a person to justify committing crimes against them. I couldn't help but notice that you were directly addressing Ward." Penelope's face settled into a blank expression and she looked down at her pad of paper. Edward took this as a sign that he was on point. "That was about TITAN, wasn't it? He was involved?"

Penelope slowly nodded. "Ward transferred Bane to Arkham Asylum so that I could-" her voice hitched slightly. "So that I could begin the process of extracting venom from his body, for the formula."

Edward nodded. "You threatened to expose his involvement in that affair to undermine the Commission."

Penelope's voice came out in barely more than a whisper. "Yes."

"Even if that means destroying your career and reputation?"

Penelope looked back up at him, her eyes icy and a determined expression on her face. "It wouldn't be an effective threat if I wasn't willing to go through with it, now would it?"

"No, it wouldn't," Edward admitted. He couldn't approve of her willingness to sacrifice herself for an institution like GCPD, but this determination, this internal fire...he greatly preferred this to the hesitant, almost fragile woman he'd seen minutes earlier. "If he calls your bluff, give me warning at least before you do anything. Exposing sensitive information about prominent city officials is something of a specialty of mine."

"I can handle Ward. You don't have to get involved-"

"I want to. I've never liked Ward." Edward tapped his finger on the armrest of his chair. He could never get back what he lost, but Penelope could find herself again. She just needed a push. "It's not a question of your abilities. I'd just prefer not to see you lose everything. You deserve better than to become a martyr for GCPD."

Penelope looked almost taken aback by Edward's statement, which perturbed him somewhat. What's harder to believe, he wondered. That you deserve better, or that I care enough about you to say it?

"I'm not trying to make myself a martyr," she said finally, her voice low. She wasn't angry, or put out. She seemed more resigned. "I just...if something goes wrong, you have a lot more to lose than I do."

Edward blinked. So her going solo for the Commission wasn't just about her proving a point. She was, in her own way, trying to protect him. He felt a surge of fondness for this brave, stubborn woman. He wagged a finger at her. "Really now, dear doctor, have you forgotten who you're speaking with? Edward Nigma, formerly known as the Riddler? I was risking life, limb, and livelihood on the streets of Gotham back when you were choosing what classes to take your freshman year of college. I'm a resource."

"Your condescension is not appreciated, Edward," Penelope huffed. Her serious expression gave way to a small smile. A smile that didn't quite reach her eyes, but a smile still. "But thank you."

Edward smiled back. He liked her so much better when she let herself be happy. "Think nothing of it. Besides, worst case scenario, you could always join me on Vicki Vale's show and do a tell-all interview."

This quip had the desired effect and she let out a small laugh again. "God no," she said. "I don't know how you can stand being as much in the public spotlight as you are."

"I consider it my due," Edward said, leaning back. A return to their usual banter would be welcome after everything they'd experienced the last week. "After all, what good is a dazzling intellect and persona without an audience?"

Penelope rolled her eyes, but in a good-natured way. "You're impossible."

Edward chuckled a bit. Any further talk about the Commission, about Strange, about Harley, about regrets could wait. For now, for just one afternoon, he simply wanted to enjoy her company. "I know it."

6:00 pm

The elevator stopped on the third floor of City Hall. The doors opened almost immediately, but Ward hesitated before stepping out. He'd dreaded having this conversation since the end of Young's testimony but it couldn't be helped. He sighed, stepped out of the elevator and walked down the hall to the Mayor's office. Most of the staff had left already, leaving only the security personnel and an odd staffer or two finishing up on work. As he thought back on the day's events, Ward ground his teeth. He'd anticipated Leland being a threat, but Young? Who could have seen that coming? The insufferable bitch would ruin everything. She needed to be dealt with quickly. He reached the end of the hall and was now standing in front of the solid wooden door of the Mayor's office. Ward let out a long breath and brought his hand to the door. "Quincy? It's me."

"Come in," a deep voice sounded from the other side. Ward frowned. This wasn't Sharp. He opened the door to find Dr. Hugo Strange standing with his back turned towards him, looking out of a window that overlooked Downtown Gotham. "Good evening, Warden," Strange greeted without looking behind him. "Shut the door."

Ward closed the door behind him. "Where is Quincy?"

"He is running an errand at the moment. He won't be in tonight." Strange slowly turned around, his dark brown eyes peering intently through his glasses at Ward. He'd worked in corrections for most of his adult life, seen every type of scum and monster Gotham City had to offer, but something about Strange's sheer presence made him shiver. "He will be informed as to what we discuss tonight."

Ward gulped a bit. "Fine," he said. "We need to talk about Penelope Young."

"I heard that she made an impression at the proceedings today," Strange said without any trace of amusement. "It seems that she was not quite content with playing the role of aggrieved damsel in distress."

"It's worse than that. She's a threat, Hugo."

Strange gave a small incline of his head. He didn't seem to be surprised, a fact that worried Ward. "Go on."

"She approached me after her testimony. She all but stated that if we continue our attacks on Gordon, she'll publicly expose the TITAN Project." Ward wet his lip. "We need to deal with her."

"She certainly has proved to be more meddlesome than I had originally anticipated," Strange admitted. "However, we cannot move on her. Not yet."

"Not yet?" Ward repeated. "Hugo, if she goes public-"

"It would be damaging, yes. You would have to resign. We would have to put one of our contingencies into effect to ensure that Mayor Sharp would get out relatively unscathed. But the alternative could be costly. We have to consider what it would look like if she were to have an unfortunate accident so soon after her testimony."

"I understand that. I wasn't suggesting we do it right away. But-"

"There is something else to keep in mind as well," Strange interrupted. "Who was it that saved her from an unfortunate fate, and what might he do if she were to meet one?"

Understanding dawned on Ward. "Nigma. You don't think-"

"Nigma is not now nor has he ever been capable of loving anyone," Strange responded. "He is capable of some degree of sentiment, however. And I believe that she is useful to him in some capacity. He wouldn't have lifted a finger for her otherwise. We've been able to keep the man at bay for the time being, but he will perceive an attack on her as an attack on him. We cannot move on her until we have a sound plan to contain him."

Ward wanted nothing more for Young than to have her car brakes fail, or to meet a random mugger in a dark alley, but he could see Strange's point. Nigma had been one of the most formidable criminals in Gotham history for a damn good reason. Ward had seen that for himself in person more than once. If the man wasn't a complete lunatic he'd have had the city in the palm of his hand years ago. "We need to tell Quincy at least."

"And we will," Strange assured him. "He is going to need more...convincing in order to fully turn on her though. He still sees himself as almost a father to her. I told you, he tried to offer her employment at the asylum again."

"I remember," Ward answered. He shook his head. "She should have died that night. Or stayed in hiding. Why the Hell is she starting up trouble now?"

"Her motives are immaterial. We can wait to deal the death blow to Gordon. Her testimony, as unexpected as it was, can't take back the damage done to Bullock and Montoya. As long as even one of them resigns, it leaves Gordon vulnerable. Do not let your anger at Young's presumptuousness distract you from the greater goal."

Ward nodded. "You're right. Of course. Greene and Roberts are still on board with some of Quincy's suggestions. Young undermined their credibility in front of most of Gotham's press corp though. They're going to be reluctant to approve all of them, especially the harsher ones."

"That was to be expected. Even if Greene and Roberts prove to be useless cowards, we have other means to ensure changes are made. Was there anything else?"

Ward shuffled a bit. "Where exactly is Quincy?"

A smile came to Strange's face. "About an hour before you arrived, he received a call from Bolton that made him quite agitated. He said he had an unfinished matter at the Asylum he wanted to personally see to."

Ward furrowed his brow. An unfinished matter at Arkham? What could Sharp possibly need to do-Victor Goodman was at Arkham. "Oh, God."

7:00 pm

After winning the Mayoral election, Sharp honestly hoped that he would never have to set foot through the doors of Arkham Asylum again. That he'd never have to walk through the dark, cramped halls, that he'd never have to listen to the moaning, the shrieking, the laughter, the pleading from the wretches that resided in them. It was blissfully quiet tonight though, the only sound the echoes of the steps he and Lyle Bolton made down the hall. "It's quieter than usual tonight," he said.

Beside him, Bolton grinned. "Yeah. Curfew's at 6:30. They know better than to act up after that." He chuckled. "Amazin' what electrified bars and floor panels can do."

"Quite. And the Rogues?"

"They're still in the Isolation Ward. What's left of it anyway." The pair came to a stop right in front of the last room at the end of the hall. "Here we are. You sure you want to do this, Mayor?"

Sharp's grip on his cane tightened when he thought of the animal that lay on the other side. "Yes."

Bolton opened the door to the Arkham Infirmary, or rather, what passed for it. The official infirmary had been destroyed during the Joker's takeover almost two years ago. Now it was a repurposed recreation room, with six cots and three medical machines. The Asylum had received a grant to rebuild and update the infirmary, but Sharp had ordered the funds to be allocated to Hugo for his own research needs. What point was there to rebuild it if the animals were just going to destroy it anyway? The room itself was empty, save for one patient lying in a cot in the far left side of the room, and one young male orderly standing over him. As Bolton and Sharp entered, the orderly spun around, his eyes widening in shock. "Mr. Mayor!? What are you-"

Sharp held a hand out. "Good evening, Mr..." his eyes peered at the man's nametag. "Mr. Sanchez, is it? I wonder if you would be good enough to give us the room?"

Sanchez looked from Sharp to the patient to Sharp again, almost bug-eyed. "The room? Why-"

Bolton stepped forward, jerking his thumb to the door. "You heard him hombre! Clear out of here!"

Sanchez's face flushed, but he did as he was told, leaving the room with a final backward glance at the pair.

Sharp looked at the patient lying in the cot with disdain. "You may leave, Lyle."

"Mayor, I don't think that's-"

"I can more than handle this degenerate," Sharp insisted. "Make sure that Sanchez finds himself occupied with something else. If I need you, I'll call you."

Sharp didn't look up but heard Bolton's steps out of the room and the sound of the door shutting behind him. Now, for the first time, he was face to face with Victor Goodman.

Goodman's health had deteriorated since being brought back to Arkham. His skin was deathly pale, his face sunken in, his chest nearly concave. Lying in the cot as still as he was, wearing only a thin hospital gown and covered with a single white sheet, he already looked like a corpse. It was only the rhythmic beeping sound of the medical machine that informed Sharp that he was even still alive. He looked at Goodman without a trace of pity. It was the least the filth deserved, he thought, after all that he'd done. "Victor Goodman," he commanded. "Wake up."

Goodman made no movement or sound. Sharp frowned, then poked at his body with the end of his cane. Both of Goodman's wrists were securely cuffed to the sides of the cot, not that Goodman was in any kind of shape to offer resistance. "Goodman!" Sharp barked again. "Wake up!"

Goodman let out a soft groan and slowly opened his eyes. It took a moment for them to focus, and when they did, they narrowed. "Sharp," he muttered, his voice a hoarse croak barely above a whisper.

"That's Mayor Sharp to you, scum!" Sharp huffed. "I have a question for you about your actions last December. You will answer me, do you understand?"

Goodman's eyes shut again. "I've said all that I need to say. Let me live out my last remaining days in peace."

"It's about Penelope Young."

Goodman's eyes opened again. "Penelope...Odysseus' wife and the mother of his son. She waited for him faithfully for twenty years, keeping other suitors at bay through trickery, never losing faith that he would come through his trials and return to her. What do you want to know about her?"

Sharp rubbed the head of his cane. "When I was told that you had abducted her," he said in a low tone. "I believed at first that it was a crime of opportunity. That you simply needed a human shield and that she was the easiest to take. Bolton, however, informed me today that that was not the case. That you specifically targeted her. Why?"

Goodman let out a wheezing noise that might have been laughter once. Sharp's eyebrow twitched. The filth actually had the nerve to laugh at him. "A suitor? She has her Odysseus and it isn't you."

Sharp slammed the end of his cane onto the ground. "Don't be puerile! And if I wanted to talk about dratted Greek mythology, I'd speak to Zeus! Tell me!"

Goodman let out a sigh. "After our meeting at the old nightclub, I was disappointed with who Riddler had become. I had my Ankhesenamun follow him, to see if we could find anything to use against him." His voice turned almost plaintive. "Where is my Ankhesenamun"? I haven't seen her in so long-"

"She's in a Women's Correctional Facility. You'll never see her again. Go on."

Goodman let out a small groan but continued. "She followed him to a coffee shop in Downtown. That was where he met his Penelope."

Sharp growled. "She is not his Penelope." Inwardly, he was confused. Penelope had met with Nigma? Why? What could she possibly have to say to that thing?

"Isn't she?" Goodman mocked. He actually had the audacity to mock him. Him, the Mayor of Gotham, the Savior of this City. Sharp resisted the growing urge to throttle him. He needed to hear what he had to say. "I saw the photographs my Ankhesenamun took of them together. I saw the look in his eyes when she left him. He desires her. He may not acknowledge it, but I know desire when I see it in a man."

Sharp wanted to wretch. How dare he. How dare that preening, self-important, arrogant, maniacal degenerate have the gall to have designs on an innocent girl so far above him? "That was why you kidnapped her? Because you believe he wants her? Sharp would kill him first.

"I don't believe it. I know it. I saw how furious he was when I had her in my grasp, when I took her. And do you know what else?" Goodman smirked a bit as if he knew the words he'd say would harm Sharp. "She desires him as well."

Sharp barely heard the sound his cane made when it slipped from his grasp and fell to the tiled floor. Penelope wanting Nigma? He couldn't believe it. He wouldn't believe it. She was too smart, too driven, too sane to follow in Quinzel's footsteps. "She doesn't-she wouldn't-"

"She does. Even when she was bound and helpless, she tried so hard to protect Riddler from my final trap. I saw the tears almost fall from her eyes when she thought he was dead. I saw the look in her eyes when he came for her. She wants him as much as he wants her. He is her Odysseus, and she will wait for him no matter how long it takes."

Sharp's fists clenched. He remembered Penelope as she was when she had started her internship in Arkham, how bright she had been, how she had been the only one of that group to have real ambition and a vision for what Arkham could be. How quickly she had taken to the place, how he could see her coming around to his line of thinking. How she was everything he had hoped his daughter would be if he had ever had one. The idea of that girl giving herself to Nigma...he wouldn't let it happen. He would save her from him, being her back to where she belonged, part of the new order he would create.

Goodman wheezed again. "Do you know what I regret the most? That I didn't kill her when I took her from GCPD. Riddler's reaction to making it through the trials of the Underworld, only to find her mummified body? It would have been glorious."

Something inside of Sharp snapped at that. With one sudden movement, he wrapped his large hands around Goodman's throat and squeezed. He dimly heard the sound of Goodman's cuffs rattling as he tried in vain to lift his arms to defend himself. His grip tightened. Goodman was making no sound now, his mouth hung open, his dark eyes wide, almost bulging out of his head, just like the others when Sharp had delivered his divine justice. Sharp didn't acknowledge the smell coming from the sheets, nor the fact that his eyes were rolling back. He didn't see Goodman anymore, but another Rogue, one with a tacky suit, a green suit, and a smirk on his face. "You will never have her," Sharp fumed. "I will protect her from you! Do you hear me, Nigma? I won't let you take her from me!" Nigma said nothing, Goodman said nothing. Hours seemed to pass, but Sharp's grip did not loosen. Finally, he heard a long continuous beep coming from the machine. Goodman was dead. He removed his hands from around his throat and surveyed his handiwork. Another wretched soul, cleansed from this City. Soon, Nigma would join them.

When Ward and Goodman arrived, Bolton and Sharp were both in the ramshackle infirmary. Bolton at least had the decency to look slightly embarrassed at the scene. Ward took one look at the body that lay in the cot and nearly vomited. "Jesus!" he hissed. "Quincy you can't start this again! You're the Mayor, for god's sake!"

"Yes," Sharp answered as if he was in a daze. "I am. I am the protector of this City. I will cleanse it of the filth that inhabits it."

"Of course you will," Strange said patting him on the shoulder. "You've had quite the exciting evening, haven't you? Come, let's go to my office and have some tea."

"Alright," Sharp answered. "Thank you, Hugo. Yes, I have had quite a day..." Strange gave Ward a sharp look before he led Sharp out of the room.

As soon as they were gone, Ward turned on Bolton. "And just where were you when this was happening!?"

"Right outside," Bolton shrugged. 'I didn't think he'd actually kill the guy. So, what do you wanna do? Make it look like a suicide?"

Ward sighed, then nodded slowly. "Yes. Help me get his body in a noose by the window. Then strong-arm one of the doctors to sign off on it. Then cremate him. I don't want this coming back to haunt us, understand? What about that orderly that was here?"

"He was on the other side of the building when Goodman died. He doesn't know jack."

"Good. And Bolton? The next time Quincy gets one of these urges, call me immediately. Understand?"

Bolton huffed but nodded. Ward took a breath. He'd lived in Gotham all his life. He'd seen first hand what criminals had done to it. What were a few dead freaks against finally restoring peace and order to this town? "Good. Now help me with the body."

[lynchgirl90]

Last Night's Terrifying #TwinPeaks Will Be Remembered as One of the Best Episodes of Television Ever

David Lynch offers an origin story for the evil that lurks underneath the surface BY COREY ATAD JUN 26, 2017

I awoke in the early morning to the sound of my own voice crying out, "no, no, no," into the darkness. Paralyzed from fear and convinced the spectre of a personified evil hovered over me, I couldn't escape. I turned my head to look at whatever it was and the face of BOB struck me. "No," I cried out again, but just barely, my voice creaking as though I was suffocating in air. Again I tried to move but could not. And then it was over. Tears streamed down my face, and I was sweating, but the evil was gone. I looked over at my dog, who lifted his little head from slumber, stared at me confused for a moment and went right back to sleep.

In all my life, I can't recall any work of art giving me nightmares. I've had them, of course—nightmares. I remember once when I was about 9 or 10, sick, and dreaming a giant machine climbing the stairs of my childhood home, coming for me, slamming with unbelievable force on each step until it reached landing. I remember when I was maybe 13 and I dreamt I'd been trapped inside a giant metal box full of gears and other mechanical contraptions grinding me into pieces while the sound of metal slamming against metal boomed from outside. Truthfully, it wasn't just at 9 and 13. These dreams have followed me through my life, but neither came as a result of reading a book or watching a movie.

David Lynch has unearthed something—unlocked it. He's devoted his entire career to exploring the roots of evil in men, in both the real world and the unreal. His films are often terrifying. Twin Peaks has been terrifying. Still, I've never witnessed anything quite like what Lynch gave us in "Part 8" of The Return.

An easy reading of "Part 8" is that Twin Peaks has finally given us its origin story: the beginnings of evil; the creation of BOB; the nuclear cause of mankind's suffering.

Were it so simple, Lynch wouldn't need to enter so surreal a space in order to tell it. In fact, he'd have undercut his own ideas in the process—something I might charge Terrence Malick with doing in his similarly Brakhage-y sequence of creation in The Tree of Life. Rather than simplify by abstraction, Lynch's abstracted vision of creation has no beginning or end, no clear cause and effect. Images of the bomb set to Krzysztof Penderecki's "Therondy to the Victims of Hiroshima" cannot within themselves contain the root of anything. It is a point in history. One of many, though more singularly catastrophic than most.

THE EVIL THAT MEN DO IS AT ONCE SPIRITUAL AND TECHNOLOGICAL, AND IN THE MELDING OF THE TWO EMERGES A RIFT ALLOWING THE FORCES OF ONE TO INFECT THE OTHER.

Rather, what Lynch shows us is a confluence. The evil that men do is at once spiritual and technological, and in the melding of the two emerges a rift allowing the forces of one to infect the other. The creation—or the seeding?—of BOB occurs in a fit of light and shadow and color, in a convenience store, in space, but not outer space, some other space, flung at us in the burning storm of an atomic explosion. "Fire walk with me."

From its long drive through the night, to its cascade of blotches and sparkles and flames, to its flickering store lights, to its silent expressionism, to its 1950s utopian hellscape of crushed skulls, cigarette-toting vagrants, and bug-frogs, "Part 8" brought to television screens a work of art that escapes narrative confines. Where other shows—and films, too—have used the weird and surreal as window dressing for straightforward storytelling, The Return brings the true avant-garde to bear on a story where clarity is beside the point, and perhaps impossible.

David Lynch, ever-obsessed with reproducing and tearing apart a 1950s Americana aesthetic, sets a firm marker on the degradation of the American spirit. July 16, 1945, 5:29 am (MWT). The cracking open of the quiet New Mexico desert haunts the American dreamscape. Technological prowess turned into destruction, poisoning the world, the result of poisoned souls. An alien-like creature—a mother—spews eggs from her mouth toward the screen. Evil multiplied, genetically conceived, technologically disseminated, rotting the very core of the species and infecting any semblance of innocence.

In the ninth episode of Twin Peaks Season Two, after Leland Palmer is killed, Albert says BOB is simply "the evil that men do." There is no distance, in the end between Leland and BOB. Their reign of terror is shared, inextricably. BOB was molesting Laura for years in the form of Leland. At the same time, through Laura's eyes it was always Leland in BOB's form. Both are true. The reality of suffering is circular, feeding on itself, inevitable.

It's strange then to ponder those two kids in 1956, a budding relationship forming. They may be the future Leland and Sarah Palmer. The ages seem to fit. But whether meaningful or not, the point is apart from any narrative cohesion. The image of these children is Lynch's imagined American innocence. That innocence is not a lie. It's real. It's clear. But it's only one facet, and it cannot exist without its opposite. In one spectacular hour of television, Lynch brings together his entire body of work from Eraserhead to Inland Empire—and even a crazy cigarette ad—into one nightmarish vision of innocence inevitably corrupted, without conceivable explanation. "The horse is the white of the eyes, and dark within."

Link (TP)

[creepersx35-blog]

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.