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 Welcome to
BOOK OF

From supersonic jets and rocket-powered planes to massive

ocean liners and underwater cars, this book is packed with the
most incredible machines to roam the planet. Learn about the
amazing engineering behind some of the world’s fastest
vehicles, and how even the most powerful supercars
are now eco-friendly. Discover how a new generation of luxury
airliners, solar planes and submarines are changing the way
we travel, research the ocean floor and observe wildlife. Learn
how modern combat has been revolutionised by some truly
astonishing vehicles, and delve deep into the history of
engineering with the first cars and iconic planes that shaped
today’s transport. If you love power, speed and ground-
breaking technology, engineering and aerodynamics, then
you’ll love the How It Works Book of Amazing Vehicles.
 BOOK OF

Imagine Publishing Ltd

Richmond House
33 Richmond Hill
Bournemouth
Dorset BH2 6EZ
 +44 (0) 1202 586200
Website: www.imagine-publishing.co.uk
Twitter: @Books_Imagine
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Publishing Director
Aaron Asadi

Head of Design
Ross Andrews

Editor in Chief
Jon White

Edited by
Jasmin Snook & Fiona Hudson

Senior Art Editor

Greg Whitaker

Designer
Phil Martin

Photographer
James Sheppard

Additional cover images courtesy of

Bugatti, Kawasaki, Doer Marine, General Dynamics, Terry Pastor/The Art Agency, McLaren,
Virgin Oceanic, John Batchelor, E. Paul Oberlander: Woods Hole Oceanographic Institution

Printed by
William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT

Distributed in the UK, Eire & the Rest of the World by:
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Tel +61 2 9972 8800 www.gordongotch.com.au

Disclaimer
The publisher cannot accept responsibility for any unsolicited material lost or damaged in the
post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this bookazine may
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How It Works Book Of Amazing Vehicles Third Edition © 2016 Imagine Publishing Ltd

ISBN 978 1785 463 570

Part of the

bookazine series
 ing Vehicles
How It Works Book Of Amaz
124 Mikoyan Mig-29
Fastest vehicles 126 F-14 Tomcat
008 World’s fastest vehicles
128 AH-64D Apache Longbow
Take a look at some of the machines that
have a serious need for speed 130 Sikorsky MH-60 Black Hawk
132 Tanks: 100 years of warfare
Land 140 Stealth warships
016 Next-gen cars 144 The HMS Queen Elizabeth
Discover the transport of tomorrow 146 Next-gen battleships
024 Dragsters
026 Muscle cars evolved
Historic
152 Concorde
030 Real-life Bond cars
Inside the groundbreaking jet
038 Pit-Bull VX
154 Supermarine Spitfire © NASA; Lockheed Martin
040 Eco cars evolved
156 Lancaster bomber
042 Superbikes
158 Messerschmitt Me 262
046 Inside the ultimate RV
160 F-86 Sabre
048 Fastest trains in the world
162 The Model T
Air 164 The Flying Scotsman Locomotive
058 Super jets 166 The Mayflower
The incredible technology in the sky 168 HMS Victory
066 Boeing 787 Dreamliner 170 Cutty Sark
172 U-boats explained
070 Airbus 380
072 Solar planes 174 Bathyscaphe Trieste
30
074 On board Air Force One
076 The new Concorde
080 On board a cargo plane
082 VTOL aircraft

Sea
088 Ocean hunters
Meet the mechanic predators of the sea

096 XSR48 superboat

098 Hovercrafts
100 Supertankers explained
104 Extreme submarines
© Oscar Viñals
106 Amphibious machines

Military
112 Spies in the sky
Surveillance planes cruising the skies

120 Sea Harrier

122 Stealth Bomber

006
160
 122

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ock
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© Northrup Grumman

© Northrop Grumman

104 112

76 © Virgin Oceanic

88

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007
 FASTEST VEHICLES

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DID YOU KNOW? NASA’s unmanned X-43 reached Mach 9.8 in 2004 with a scramjet engine breathing supersonic air as an oxidiser

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009
 FASTEST VEHICLES

The bumps in the road

Drag is one of the greatest engineering
challenges to designing a supersonic land
vehicle capable of breaking speed records. Even
low-flying fighter jets have only reached 1,600
kilometres (994 miles) per hour and that’s
without the friction of wheels on the ground. Air
is much denser at ground level than at high
altitude, meaning cars have to be ultra-
aerodynamic (hence the rocket shape) and
produce insane amounts of thrust. The Aussie
Invader 5R, one of the land-speed contenders,
solved this problem by sitting its driver atop what
is essentially a 16-metre (52-foot) rocket engine
capable of producing 276 kilonewtons (62,000
pounds) of thrust. Wheels are another huge
challenge, as they need to rotate at unimaginable
speeds while sticking firmly to the ground. The
solution is tireless wheels machined from either
titanium or aluminium, which boast a very high
strength-to-weight ratio. The Aussie Invader’s
aluminium wheels are built for 10,000 rotations
per minute. When the Thrust SSC broke the
sound barrier, the shockwave ‘fluidised’ the
sandy soil beneath the vehicle, making it difficult
to steer. Next-gen rocket cars are using computer
modelling to muffle those vibrations.
Some have contested the Venom GT
is faster than the Veyron Super Sport
overall but this is yet to be confirmed
Other speed demons… on land
Fastest wind-powered car
Ecotricity Greenbird, 203km/h (126mph)
Fastest motorcycle
Ack Attack, 606km/h (377mph)
Fastest piston engine car
Speed Demon, 743.5km/h (462mph)
Speed vs
acceleration
In January 2013, a Hennessey Venom GT ripped
down an airport runway in Texas to break the world
acceleration record: 0-300km/h (186mph) in
13.63s. Acceleration is not the same as speed.
Acceleration is a product of the V8 engine’s
torque (force) divided by the Venom GT’s
mass (ie a = f/m). The Venom accelerates so
quickly because its lightweight 1,244kg
(2,743lb) frame is cranked by 160kg/m
(1,155lb/ft) of torque. The heavier Bugatti
Super Sport loses to the Venom GT in a sprint,
but can hold the road at higher maximum speeds.

WORLD’S FASTEST
PRODUCTION CAR
The first thing you notice about
the Bugatti Veyron Super Sport
isn’t its Lamborghini good
looks, but its Tyrannosaurus
roar. The Bugatti’s
16-cylinder engine delivers
over 1,200 horsepower,
ripping from 0-100
kilometres (60 miles) per
hour in a staggering 2.5
seconds. The only thing
Weight preventing the Bugatti
1,888kg (4,162lb)
from pushing over 431
Transmission kilometres (268 miles) per
7-speed
hour is the rubber tyres,
Price which would tear apart
£1.5mn ($2.5mn) from the force. And at
£26,000 ($42,000) for four
tyres, it’s better to be safe
than sorry! To deliver that
VEYRON much power, the eight-litre
SUPER SPORT Top speed (restricted)
415km/h (258mph) engine gulps down fuel; at full
Acceleration pelt, the Bugatti would drain its
0-97km/h (60mph) in 2.5 seconds entire tank in about 12 minutes.

Engine
16 cylinders, 895kW (1,200hp)
010
DID YOU KNOW? To simulate a missile flight, US Air Force researchers built a rocket sled that reached 10,325km/h (6,416mph)

Top altitude
107,960m (354,200ft)
Top speed
7,274km/h (4,520 mph)

WORLD’S FASTEST Rocket engine

NORTH
MANNED AIRCRAFT
The XLR99 engine was throttled, Mission flights
which meant thrust could be 199 AMERICAN
Short wings X-15
adjusted from half to full. Stubby wings create less air
The fastest-ever manned resistance to allow for greater speed,
aeroplane made its record- but make an aircraft harder to control.
setting flight 47 years ago. In the Fatalities
early days of the Space Race, the Outer fuselage 1
X-15 was designed to test the To cope with the extreme heat
of high-speed flight, the X-15 Climbing rate
limits of aeronautical had a chromium-nickel skin. 305m/s (1,000ft/s)
engineering at the edge of
space. Built like a short-winged Propulsion
fighter jet, the X-15 packed a Reaction Motors XLR99 rocket

rocket under its hood. To fly,

it would hitch a ride on a
massive B-52 up to 13,700 metres
(45,000 feet). Dropped from the
bomber, the X-15 lit its liquid Oxygen supply
propellant rocket capable of As there is so little oxygen at the
edge of space, the X-15 had to Drop-off tanks Nose wheel
500,000 horsepower. The X-15 take its own for burning fuel. When the second iteration of the X-15 The front wheel could not be
only carried enough fuel for 83 was damaged on landing, the fuel steered so the X-15 had to land on
seconds of powered flight – but tanks were redesigned to fall away. a lake bed rather than a runway.
it was enough to rocket its pilots
into the record books.

Aerodynamic challenges
The engineering challenges for high-speed
aircraft are surprisingly similar to building the
world’s fastest cars. Drag is still public enemy
number one. As an aircraft approaches the speed
of sound, the gas flowing around the plane grows
more viscous, ‘sticking’ to the surface and altering
the aerodynamic shape of the craft. Any friction
with that high-velocity stream of gases will cause
bone-rattling turbulence, incredible heat and
shockwaves. To achieve the best aerodynamic
profile, supersonic planes have swept-back wings
that stay safely inside the cone of a supersonic
shockwave. The F-14 fighter jet can pull its wings
in tight for maximum speed and stretch them out
for greater control at lower speeds. Supersonic The HTV-2 test flight lasted about
nine minutes, before heat damage
craft are also made from lightweight materials forced the mission to be terminated
like aluminium to further reduce drag.
Of course, you’ll never reach supersonic speeds
without serious engine power. X-1, the first plane Other speed demons… in the air
to break the sound barrier in 1947, was propelled
by a rocket, but modern turbojet engines like the Fastest space plane
Concorde’s four Rolls-Royce turbofans, are also Virgin Galactic’s SpaceShipTwo, 1,752km/h (1,089mph)
capable of supersonic flight. Hypersonic flight – ie
greater than Mach 5 – has its own unique set of Fastest jet aircraft
challenges because gas molecules begin to break
Blackbird SR-71, 3,185km/h+ (1,979mph+)
apart and create multiple overlapping
shockwaves. Experimental hypersonic designs Fastest unmanned plane
such as the Falcon HTV look more like wingless
sci-fi vehicles than traditional planes. Falcon HTV-2, 20,921km/h (13,000mph)

011
 FASTEST VEHICLES

Slicing through the water Other speed demons… in water

Just like air and land, the greatest obstacle to
record-breaking speeds on the water is drag. Fastest warship
Water is about 1,000 times denser than air, so
the best way to increase speed on water, US Navy Independence, 83km/h (52mph)
ironically, is to make as little contact as possible
Fastest hovercraft
with the water itself. If you watch a speedboat
race, most of the boat lifts out of the water at top Universal UH19P: Jenny II, 137.4km/h (85.4mph)
speeds – an aerodynamic engineering feat
called ‘foiling’. The twin hulls of America’s Cup Fastest hydrofoil
catamarans lift entirely out of the water, riding US Navy Fresh-1, 155.6km/h (96.7mph)
only on razor-thin hydrofoil blades. The
catamaran design increases overall stability
without the necessity of a single hull sitting
deep in the water.

Spirit of
Australia
Since childhood, Australian speedboater Ken
Warby dreamed of breaking the world speed
record. His hero, British daredevil Donald
WORLD’S FASTEST
Campbell, died trying. In the Seventies, without
a sponsor, Warby built the Spirit of Australia in
PASSENGER FERRY
his Sydney backyard, buying three clunky jet
engines in a RAAF surplus auction. Warby used It’s one thing to see a tiny
years of speedboat experience to draft the speedboat race across the ocean
three-point hydroplane design, in which only Top speed
107.4km/h (66.7mph) surface, but it’s downright
three parts of the underside of the boat touch
the water at high speeds, greatly reducing drag.
Length mind-blowing to watch a
With help from a university wind tunnel and the 99m (325ft) 99-metre (295-foot) ferry hit
RAAF, Warby reached a death-defying
511.1km/h (317.6mph) in 1978 – a record that Deadweight speeds of more than 50 knots (93
still stands to this day. 450 tons kilometres/58 miles per hour)
Passengers while carrying up to 1,000
1,000
INCAT passengers and 150 cars. The
FRANCISCO Francisco is Australian
Cars
150 shipmaker Incat’s latest
breakthrough; a twin-hulled
catamaran powered by two
massive turbine engines
LM2500 marine gas turbine running on liquefied natural gas
A closer look at the Francisco’s power source
(LNG). The turbines force water
Compressor through two enormous waterjets
Rotating fan blades draw in air that’s compressed at that propel and steer the craft,
an 18:1 ratio through a series of compression blades.
which cuts through the waves
Combustor like a warm knife through butter.
Liquid natural gas is injected into the The Francisco will ferry
compressed air chamber and ignited to
release tremendous energy. passengers in style and speed
from Buenos Aires in Argentina,
Turbine to Montevideo in Uruguay.
The flow of hot exhaust spins a series
of turbines connected to a waterjet.

On the clock:
London to
New York
How long would it take the
world’s quickest vehicles to hop
across the Atlantic at maximum Scorpion FV101 tank VeloX3 bicycle Bugatti Veyron Super Sport
speed (if there was a bridge)? 76.8 hours 41.7 hours 12.7 hours

012
DID YOU KNOW? According to Einstein’s theories, no spacecraft will ever reach the speed of light as it would need infinite mass

Speed on the rails

The future of high-speed trains is without a doubt
The new L0 maglev train being
tested in Japan has already
clocked 500km/h (311mph)
magnetic. The principle of magnetic levitation (maglev)
allows trains to reduce drag by floating on a one to
ten-centimetre (0.4 to four-inch) cushion of air created by
opposing electromagnetic fields in the track and car. The Fast and
Shanghai Maglev Train in China became the first
commercial maglev in 2003 and still holds the operational curious…
speed record for a commercial train: 431km/h (268mph).
However, Japan is developing its own maglev line between
Tokyo and Nagoya, with trials hitting the 500km/h
(310mph) mark. Tech entrepreneur Elon Musk (founder of
1 Milk float
By swapping the milk
delivery truck’s electric motor
SpaceX) plans to take maglev to the next level. His with a V8 engine, British
Hyperloop design propels train cars through a sealed,
low-pressure tube on cushions of air at speeds Touring Car Championship
approaching 1,300km/h (800mph). Today, conventional driver Tom Onslow-Cole
high-speed lines in Spain, France, Italy, South Korea and reached 124.8km/h (77.5mph)
elsewhere reach speeds exceeding 300km/h (186mph),
using a combination of streamlined aerodynamics, in the not-so-aerodynamic
lightweight plastics and electric-powered locomotives. buggy as part of the eBay
Motors Mechanics Challenge.

FASTEST VEHICLE
Weaponry
The 76mm (3in) main 2 Lawnmower
Honda UK’s ‘Mean Mower’

ON TRACKS
gun isn’t a tank killer, goes from 0-97km/h (60mph)
since the Scorpion was in four seconds and claims to
designed for recon
rather than fighting. reach top speeds (on the
The lightweight and agile Scorpion
FV101 boasts a perfect combination of track, not the lawn) of
speed and toughness for warzones 209km/h (130mph). Makes
quick work of cutting the
grass, but the 1,000cc
Engine
The original Jaguar motorcycle engine might
petrol engines have bother the neighbours!
been swapped out
for more powerful
Cummins BTA 5.9
diesel models.
3 Police fleet
Only in Dubai… In 2013,
the city of unrepentant excess
made some additions to its
public safety patrol: a
£275,000 ($450,000)
Lamborghini Aventador and a
Lightweight Ferrari FF. Criminals have no
Weighing in at only eight chance of making a getaway!
tons, the fast and
manoeuvrable Scorpion
4 Bicycle

© NASA; DARPA; GE; Incat; Getty; SSC Programme; Bloodhound SSC; Terry Pastor/The Art Agency; Alex Pang
runs circles around more The VeloX3, built by a
battle-focused tanks like
the 62-ton Challenger. team of Dutch university
students, looks like an
elongated egg. The recumbent
bicycle is covered in a
hyper-aerodynamic shell that
Drive sprocket Road wheels enabled it to reach record
The forward sprocket Five wheels on either side of speeds of 133.8km/h (83.1mph)
receives power from the Scorpion use hydraulic in 2013.
the engine to drive the suspension to smooth the
caterpillar track. ride at high speeds.

5 Skateboard
Mischo Erban is king of
the daredevil maniacs who
practise the competitive sport
of downhill skateboarding.
Erban set a new world record
in 2012, reaching 130km/h
(80.7mph) on a mountain road
in Québec, Canada.
Spirit of Australia Thrust SSC rocket car X-15 rocket plane
10.9 hours 4.5 hours 46 minutes

013
 LAND
High-speed wonders and am
azing machines

© Renault
40 © Yamaha

16 Next-gen cars
Get inside the cars of the future, 38 Pit-Bull VX
See how this armoured
46 Get inside the
ultimate RV
and see the tech within response unit can stop An incredible camper van
criminals in their tracks that brings a new meaning to

24 DragstersThe sprint kings that can reach

travelling in style

300mph in just four seconds 40 Eco cars

evolved 48 The world’s
fastest trains
The modern cars that are
26 Muscle cars
evolved trying to save the environment,
and look good doing it
They can’t guarantee these
arrival times yet, but this could
Discover what is inside the cars be the future of trains
that ooze cool
42 Discover the
world’s superbikes
30 Real Bond cars
Take a look at the suave and The two-wheeled machines “Dragsters are the
undisputed king of
tricked-out toys of the world’s that satisfy speed demons’
favourite secret agent need for speed race cars”
014
 LAND
26

© Ford Motor Company

42
38 © Alpine Armoring Inc

30

24
015
 LAND

DISCOVER THE UNBELIEVABLE NEW TECH

TRANSFORMING THE AUTOMOBILE INDUSTRY
Toyota FT-1 Ford C-Max Solar Energi
This sports car model captures Ford’s baby people carrier is the first of
the energy we can expect from its kind to get energy straight from the
Toyota’s future designs. Sun, thanks to roof-mounted solar cells
that gather and store energy.

Rimac Concept One

This pure electric vehicle boasts a
sensational 1,088hp, making it one of
the world’s fastest-accelerating
electric automobiles.

016
DID YOU KNOW? You can experience what driving and controlling a Toyota FV2 is like with the FV2 app, available on iTunes
he world of the motor vehicle is fast evolving. In
T fact, ever since the very first patent for a
passenger vehicle with an internal
combustion engine was filed by Karl Benz in 1886,
cars have never stopped developing, often in
unexpected ways.
Early breakthroughs in the industry have helped
shape what we conceive a passenger vehicle to be
today: just take the invention of pneumatic tyres on
vehicles in 1895, the automatic gearbox in 1904 and
the aerodynamics-enhancing rear spoiler in 1973 as
notable cases in point.
However, in our digital age, the rate of automotive
innovation has never been more rapid, with
manufacturers constantly lavishing their vehicles
with cool new technologies to make them faster,
safer, more economical and more interactive than
ever before. Much of this is down to computer
technology being integrated into the vehicle.
A computerised ECU (Engine Control Unit) was first
introduced on a vehicle in the 1970s to better match
the amount of fuel mixing with air to ignite in the
engine and power the car along the road. In the 40
years since, these have evolved enormously – despite
getting smaller in size – and are now very much the
all-seeing eye of a car.
A modern ECU controls various parameters on the
vehicle, including different performance maps for
the engine, traction control, fuel efficiency, and even
when to deploy aerodynamic aids such as spoilers or
to automatically turn on night-driving lights and rain
wipers in some cases. With a car’s ECU now taking
care of more and more tasks and actions, driving a car
has never been easier or safer, with the presence of
advanced computers reducing the risk of human
error at the wheel.
The car industry’s habit of cramming technology
onto a car using even smaller space simply means
BMW i8 concept and
production vehicle
there’s no end to the possibilities of the evolution of
the motor vehicle. With this in mind, it’s almost
impossible for anybody to predict what vehicles will
look like, sound like and even drive like by the turn of
the 22nd century. However, thanks to the exciting
array of technologies introduced on manufacturers’
contemporary vehicles and concept cars, we can at
least have some sort of idea of what’s in store for cars
of tomorrow.
The obvious change for vehicles of the future is a
forced one: with Earth’s supply of fossil fuels quickly
diminishing, vehicles will no longer be able to rely on
gasoline as a fuel source. Therefore, finding
alternative means of power is a common goal for all
manufacturers, with hybrid engines and even fully
electric-powered vehicles now a common sight on
the road. But fuel is just the start of this age of
innovation – and the beginning of the excitement for
prospective consumers…
This car can be connected to
your smartphone
BMW’s i Remote app
This app for iOS and Android shows
you current information about the
status of your BMW i8, including
charging status of its battery, as
well as efficiency.
017
 LAND

Concept
1
The basic proportional
design for how a vehicle

designs
While international motor shows are famed for
will look is drawn by
hand by an artist.

providing a platform for manufacturers to

reveal new and updated vehicles to the public

3
In the design room, the
for the first time, concept cars are usually bodywork is sculpted by hand
flaunted too. Often wacky and overtly where small revisions and
outlandish in their design, concept cars are adjustments can easily be made.

examples of one-off project ideas used to

2
A detailed 3D
showcase the creative and technological rendering is then
made by a team of
capabilities of a manufacturer. Concept cars are digital designers.
largely inoperable to the capacity of a
conventional road-going vehicle, and can
appear incomplete, by having no interior, for
example. As mere primitive creations, the vast
majority of concept cars never make it to mass
production, though some aspects of their
design and technologies can find their way onto
future iterations of mass-produced vehicles. As
such, while whole concept cars shouldn’t be
taken too seriously by the public, their tech
should: these cars are often clad with early
renditions of futuristic tech that
manufacturers intend to refine further for
mainstream use. The Chevrolet Volt is perhaps
the most famous example of this: debuting at
a 2007 show as GM’s first interpretation of a
plug-in vehicle powered by an alternative fuel

4
After several prototype cars are
source, a much-revised Volt survived full tested and final engineering
tweaks made, the finished
preproduction testing and made it to product is released.
showrooms worldwide by 2012.

A ride in the Virtual

assistant
Toyota Fun-Vii Lost? Allow your
assistant to plot a
A concept vehicle designed to
virtual path for
change inside and out
you to follow.

Three-seater
There’s room for
three people inside
this electric-powered
concept car.

Recognition
The car will
recognise you
when you walk up
to it, greeting you
with a message
on the door.

Smartphone on wheels LED-screen

It’s more like a smartphone than a car, The LED-screen
enabling you to surf the internet. This exterior lets you create
could be helpful if you’re broken down! personalised displays.

018
DID YOU KNOW? Some insurers in the UK now offer reduced premiums on cars with predictive emergency braking

Connectivity features
In our contemporary age of ever-increasing
interaction with digital technologies, the car
industry is leading the way with clever
connectivity features to enhance our
entertainment and even safety in a vehicle.
Until recently, connectivity features in a car
meant being able to link up your smartphone’s
phone book to your on-board communication
system via a Bluetooth connection, which then
enabled you to make hands-free calls while on
the move, but little else.
However, technological innovations now
mean connectivity takes care of far more than
that. Contemporary car connectivity enables
you to continue to perform multiple daily tasks,
usually performed by your smartphone, simply
repackaging it into a safer and more user-
friendly experience befitting the environment monitor your heartbeat and stress levels while
in a car. For example, now texts, tweets and you’re at the wheel.
Facebook messages received by your This all contributes to a revolutionary new
smartphone can be read aloud to the driver environment where the driver can have access
through the vehicle’s automated voice system, to a wealth of live information while being able
and even streaming your favourite playlists to constantly communicate with others and
through your car’s speakers is the norm while even indulge in music and podcasts without
actively monitoring traffic behaviour or having to take their eyes off the road.
checking the weather. Not all apps are purely
for entertainment purposes either: further
iterations of the connectivity technology
mean you can even start your car remotely
– perhaps allowing the car to warm up before
you leave the house on frosty mornings – and
track your vehicle via smartphone apps (ideal
for parents who lend their car to their teenage
children), while driver-based apps can

Vehicle-to-vehicle
communication
This clever wireless technology could soon help
reduce traffic accidents and help combat congestion
Designing the
future
Design chief Michael
Mauer discusses
the design process
at Porsche
How long does it take
to design a car?
4 Mauer: It varies from project to project, and there are
lots of factors to consider: is it a completely new car with
new technology integrated into it, or is it a revision of a
current model?
3
Is the design process rewarding?
5 Mauer: Everyone who designs a car feels great
responsibility, as it is the first part of a new vehicle that

2 people see, and helps form that first impression. In the

case of the 911, we know we are dealing with something
very special as the car has such a great history. There’s a
great desire to design the perfect package each time, to

1 optimise. It’s not uncommon for designers to argue over

one kilogram of weight here, or mounting something
one centimetre lower there.

How important is the engineering

side of new cars?
Mauer: Very important, particularly as there’s an
environmental aspect to be very cautious of today. This
is undoubtedly the future so the challenge at Porsche is
to build cars that are not only environmentally friendly,
but also do not lose their performance edge.

How crucial is branding?

1 The scene
Both vehicles
in question are
2 Hazard
perception
As the stop sign has
3 Vehicle
communication
With this innovative new
4 Notification
If another vehicle
is notified as a
5 Action
If one
vehicle gets
Mauer: Very. With Porsche, whatever we do with the
911, you have to consider how it will affect the rest of the
products in terms of technology and design. Iconic cars
travelling toward been knocked down, a technology, each car emits significant potential too close to such as the 911 must have signature elements to it, but it
an intersection, human may not realise a signal, which is picked hazard, the driver is another, the must also evolve to stay interesting and keep up with
completely they are required to up by the other vehicle, alerted via an brakes are competitors. However, you shouldn’t change for the
unaware that stop at the junction, and ensuring both cars’ automated message, automatically sake of changing; you should change for the sake of
another vehicle is so an accident could drivers are aware of each making them aware applied by getting better.
also approaching. possibly happen. other’s presence. of the danger. the system.

019
 LAND

Safety tech
As well as innovative technologies helping to make
our experience with cars easier and more
comfortable, there is constant research and
development going in to making our cars safer too.
Now a long way away from the humble air bag, car
safety has developed to more intricate systems
including traction control, ABS (anti-lock braking
system) and even predictive emergency braking. To
help with vision, cameras are replacing mirrors to
reduce blind spots, and new laser headlamp
technology is being piloted by German giants Audi
and BMW, which offers twice the illumination range
of LEDs for night driving. However, current schemes
being implemented inside a vehicle for increased
safety are even more finite then that: think seat belts
that have sensors embedded in them to monitor
breathing for signs of stress at the wheel, for example.
And, far from being a distant technology melded to
a wild concept car, these safety features are being
brought into mass production. As a case in point, the
US motor company Ford has released details of active
seats that can monitor your heart rate or blood sugar
levels, which can then call for medical help if the
readings become hazardous.
Of course, the pinnacle of car safety tech is being
piloted not by a car manufacturer, but a technology
giant: Google has long been experimenting with
autonomous systems, even testing its very own fully
autonomous vehicle on the roads of California., and
now even more places around the world.
Autonomous cars use an array of car-mounted
lasers, radars and cameras to successfully travel
along a road, seen by some as more consistently
reliable than a human that can become distracted for
fatigued and make errors. All in all, there are many
safety benefits to autonomous cars.

Evolving driver safety technology

Vehicle technology currently in testing monitors your health as well as your safety 7 Detects
breathing
Sensors in the seat belt can
monitor breathing rates for
sign of stress or tiredness.
6Brain waves
Sensors in the headrest
of a seat can record the
electrical activity of the
brain of the driver.

1 Drowsiness
A camera mounted on
the steering-wheel column
Q HARKEN SEATBELT TECH Q NOT YET ON MARKET

uses facial recognition

software to scan for
possible drowsiness.
Q LEXUS GS

8Smartphone
cutoff
If the driver health
technology senses the
driver is becoming too
stressed, the system can
block access to a
smartphone, to ensure the
driver remains in a state of
concentration on the road.
Q NOT YET ON MARKET

5 Sweat
Pads in the seat and
steering wheel keep an eye
on body temperature.
Q NOT YET ON MARKET

3Glucose level
monitoring
An integrated app can keep
an eye on glucose levels,
alerting diabetics to
significant changes in their
bloodsugar levels.
Q FORD FOCUS S-MAX
4 Heart rate
monitoring
Electrodes in the seat can
monitor your heart and
trigger car safety systems in
the event of an emergency.
Q FORD FOCUS S-MAX
2 Seat air bags
Additional air bags are
mounted in seats, offering
greater protection in the
event of a collision from a
variety of angles.
Q MERCEDES S-CLASS

020
DID YOU KNOW? Nine manufacturers are testing energy-storing body panels for increased electric-car range

Toyota FV2 The statistics…

The FV2 features some Toyota FV2
innovative technology Available from: Concept only
Power source: Electric
Height Passengers: None
When the canopy is Connectivity: Facial recognition
down, the FV2 is just Interaction offers the ability to detect mood
99cm (39in) tall. In The vehicle can interact to illuminate the vehicle.
driving mode, it with the driver by Safety: Vehicle-to-vehicle
measures 178cm suggesting alternative communication.
(70in) tall. routes and even
destinations to match
the driver’s mood. Power
Powered by an electric motor, though
Canopy Toyota says the car can be adapted in
Acts as a lid when future to suit alternative energy sources.
closed, or a
windshield to Power
protect the The FV2 is currently powered by
standing driver an electric motor, though
when raised. Toyota says the car can
be adapted in future to
suit alternative
energy sources.

Steering
The FV2 is
controlled in a
Segway-like
manner, with the
driver using
weight transfer to
control the
vehicle with ease.

Illumination
Wheels The outer shell can
The FV2 comes with illuminate itself to
four wheels mounted match the perceived
in a ‘diamond’ layout. mood of its driver.

Safety at the driving wheel

Volvo XC90’s new safety tech is integrated into every level of driving

AUTO BRAKE AIR SUSPENSION QUEUE ASSIST

The 2015 XC90 features automatic brake technology,
which is applied when radars detect a collision is
imminent. Volvo states the technology is particularly
useful at busy city intersections. The car will
automatically apply the brakes in order to avoid a
collision, without the driver having to even initiate a stop.
The new XC90 will offer air suspension as an
optional extra. This is electronically controlled,
meaning the driver can adjust the settings from their
seat. The air suspension has a choice of five settings,
allowing all occupants of the vehicle to be
transported in ultimate comfort.
Crawling along in traffic is an infuriating task for any
driver, but Volvo’s XC90 seeks to eliminate the
monotony with its new Adaptive Cruise Control with
Queue Assist. Using radars to slowly follow the vehicle
in front, braking and steering is automatically
controlled to keep directly behind the leading car.

021
 LAND

City The Renault

KWID concept
The French manufacturer’s new concept

cars
is as wacky in design as it is in layout

Doors
These open
electrically, similar to
the flashy items found
With the planet’s cities continuing to swell, space is on a Rolls Royce!
understandably at a premium – and that includes the
roads. What’s more, government legislation dictates
cars must meet ever-lower emissions outputs in a bid
to make Earth greener, with some large cities around
the world, such as London, now implementing an
added tax for driving cars in ‘low-emission zones’.
Vehicles will therefore have to adapt to a new life in
the city of the future.
Fortunately, vehicle manufacturers are already
well placed to meet these new demands for the city
car, with the emerging breed of small, hybrid city
cars marking the start of the transition.
Not only are these cars – such as the VW up! and
Skoda Citigo – small and compact to save on space,
they’re also extremely environmentally friendly,
meaning drivers won’t be blighted by increasingly
stringent inner-city emissions regulations.
As cities are heavily populated and often traffic-
laden, big powerful engines in cars are superfluous Interior
for such a slow-moving environment. Therefore, Inspired by a bird’s
these new city cars are fitted with small engines, nest in design,
Renault says the
such as the 1.0-litre unit fitted to the VW up!. The
white hue of the
advantage of this is two-fold: first, the engines will be seats inspires
greener, meaning they will fall on the right side of tax connotations
and emissions legislation, plus they’ll use less fuel of lightness.
(due to the small capacity of the engine), making
these vehicles very cheap to run – another reason for
the sector’s popularity in the overall vehicle market.
And if the Toyota FV2 concept car is anything to go by,
these city cars are going to get even smaller in future.
Size
The small nature of the
KWID, with little
Renault Twizy overhang either side of
This clever city car from Renault is a compact each axle, makes it an
two-seater powered only by electricity, and is ideal city vehicle.
on the road now.

Dashboard
The dashboard of the car acts as
an integrated tablet device,
allowing for first-hand control of
the Flying Companion and other
connectivity features.

022
DID YOU KNOW? The smallest car ever made was the three-wheel Peel P50, which measured 54 inches long by 39 inches wide

‘Flying
Companion’
The KWID comes
with a remote-
controlled drone that
can be sent into the
HOW
air to monitor traffic
or take pictures.
HYBRIDS
WORK
STARTING

NORMAL DRIVING

ACCELERATION

Engine
The KWID is
powered by a
turbocharged
1.2-litre engine,
keeping emissions
down but power up. DECELERATION

STOPPING

The statistics…
Renault KWID
STARTING
Available from: Concept only
Power source: Turbocharged
gasoline engine; can adapt to
electric power in future.
Alternative energy
© Renault; Toyota; Ford; Rimac; BMW

Passengers: Five
Seating Driver position
This five-seater The steering wheel is The KWID can switch to pure Connectivity: ‘Flying
breaks convention mounted in the middle electric energy if the Companion’ drone controlled
by having a of the dashboard, so the technology becomes from dash-mounted tablet.
three-person driver sits in the middle mainstream, with space set Safety: Central-mounted ELECTRIC MOTOR IN
bench in front of of the front bench rather aside to add batteries to the car steering wheel, so neither left USE THROUGHOUT
two seats. than the right or left. in the future. nor right-hand drive
Q PETROL ENGINE USED
Q BATTERY POWER USED
Q BATTERY RECHARGING

023
 LAND
The top-fuel
dragster
Body
An important part of the
aerodynamics, the body is made of
magnesium or carbon fibre, which
makes it light, flexible and strong.
Chassis
Constructed from 90 metres of
chrome moly steel, the chassis is
very flexible and strong. The driver
is encased in a cage for safety.
Dragsters
T
he most exhilarating, ferocious
and spectacular vehicles on the
planet, top-fuel dragsters really
are the king of all race cars. Drag racing
itself is a standing-start acceleration
contest between two vehicles over a
measured quarter-mile track.
The most striking thing about the
sport’s quickest car – the top fuel
dragster – is its massive ten-metre
length. They are designed for perfect
weight transfer when the driver hits the
throttle. Static, 66 per cent of the weight
is on the rear and 34 per cent on the
front. Within 0.1 of a second as the car
launches, 98 per cent is on the rear. This
is perfect weight transfer, which means
more grip and traction, no wasted
motion and a 0-100mph time of 0.8
seconds. The acceleration is so great
that it only takes twice its length in
distance to get there. The 300mph mark
024
Driver safety
A seven-layer fire suit, arm Tyres
restraints, seven-point harness, Skinny front tyres don’t do much
neck restraint and safety helmet but steer. Rear tyres are 48cm
keep the pilot safe. wide and only have four to five
psi so they grow during the race.
8,000bhp, 0-300mph in four
seconds, we take a look at the
kings of the sprint
and spins the rear tyres to heat them for As the driver hits the throttle on the
is reached in just four seconds with the
average quarter-mile run finishing in the race. This leaves a fresh track of green, they experience up to seven Gs
around 4.6 seconds at over 320mph. rubber from which to ‘launch’. The crew of acceleration. The car accelerates all
Then the driver will use twin put the car exactly in the new tracks, and the way through the quarter-mile
parachutes to slow down from these then the driver concentrates on the racetrack until at the finish line, with
speeds at the finish line. ‘Christmas tree’ starting light system. both parachutes deployed the driver will
The racetrack is specially prepared
with rubber and glue, and rear tyres are
basically massive slicks that need to be
warmed by spinning them in a ‘burn 100m sprinter 43.18 seconds at 18mph
out’. The vehicles are powered by V8
engines that run on Nitromethane fuel.
This is the explosive stuff that is four Scooter 15.9 seconds at 83mph
times more powerful than regular
petrol. The cars are hand-built from Mini 15.44 seconds at 92mph
chrome moly steel and have huge
aerofoils or ‘wings’ both front and rear
that produce tons of downforce to keep Bugatti Veyron 10.8 seconds at 140mph
it stuck to the ground.
Sitting behind the starting line, the
car is ‘fired up’ by using an external
Top fuel dragster 4.6 seconds at 320mph
starter motor. The driver rolls forwards
 DID YOU KNOW? The Nitromethane used to fuel the dragster costs £40 per gallon and one run uses 18 gallons

Engine
The eight-litre supercharged and Timeline of a 1. Lights
Light beams across the
injected V8 aluminium race
engine runs on Nitromethane drag race starting line are broken
when the front wheels
and produces 8,000bhp. A lot can happen in are in position.
just 4.6 seconds 2. Pre-
Wings staged
Front and rear wings keep the car
on the ground. Rear produces
0-1 seconds Two bulbs atop
Launch the Christmas 3. Staged
over eight tons of downforce with When both drivers have
Throttle mashed, rear tyres tree are lit up.
two tons at the front. both bulbs lit they are in
squat, front wheels lift, 100mph
in 0.8s, clutch slipping seven Gs. ‘stage’ and ready to go.

1-2 seconds

x2 © Sharon Dawes
Hunch
Tyres growing, front wheels settle down,
clutch locks up, now doing 180mph, five Gs.
4. Countdown
2-3 seconds The starter flicks a
switch and the lights
Starting to fly count down in 0.4 of a
Tyres almost fully grown, clutch second before the
now almost ‘locked’, one gallon green comes on.
of fuel a second is used, now up to
250mph, four Gs, aerofoils (wings) 5. False start
producing eight tons of downforce. Go too quick and you get a red
light, which means you left

3-4 seconds too soon and you’re out.

At full tilt x1 © Dave Jones, 2009

Tyres at maximum growth, clutch
locked 1-1 with the engine, now up
to 300mph and settled to three Gs. Christmas tree
The starting system at a drag strip
4.6-5 seconds

© Sharon Dawes
© Sharon Dawes

Ouch
320mph, moving at 120 metres per
second, parachutes out, minus
seven Gs and 100mph deceleration

experience seven negative Gs. The Nitromethane fuel

The drivers are encased in a steel used to power the V8
cage, with full fire safety engines is highly explosive
protection.
Because it is so powerful, the
engine takes a hammering every
run. This means the crew have to
take the whole thing apart, check
for breakages and replace
© Sharon Dawes

anything and rebuild it normally

within one and a half hours for
the next round of racing. Drag racing is a dangerous
yet thrilling extreme sport

Top
speed:
18mph Top
speed:
How It Works
© Khaosaming
85mph fantasy drag race
Top We pit five different
speed:
105mph
contenders head-to-head in a
Top drag race to 400 metres
speed:
254mph Top
speed:
© Bugatti
330mph

© Sharon Dawes

025
 LAND

Muscle cars
evolved
We explore how the latest generation of North American
muscle cars is obliterating years of European engineering
with a bevy of sophisticated technology
or decades, despite their prestige and beauty, North dealerships and then leaving their current offerings in the

F American muscle cars were dismissed by automotive

pundits as nothing more than straight-line dragsters.
Machines that, while delivering bucketloads of raw power,
time and again fell short of the all-round performance and
engineering delivered by their European counterparts.
Critics would joke to boredom about the inability to turn,
brake or even survive for more than a few hours in
Mustangs and the like, ignoring these vehicles’ craft and
many strengths.
Of course, there was an element of truth to the critics’
claims – turning certainly hasn’t been a strong capability of
muscle cars in the past – however, as of 2012, things have
radically changed. A new generation of muscle cars is
smashing through the walls of European supercar
dust, out-accelerating, out-manoeuvring and out-gunning
prestige marques in every way that matters. Far from dumb
brutes, today’s muscle cars are some of the most
technologically refined and advanced vehicles on the
planet, not just giving big players like Ferraris, Porsches and
Jaguars a run for their money, but leaving them in the
scorched remains of a horizon-busting burnout.
Letting this new breed of automotive beast take the
spotlight in this feature, we examine three of the most
iconic muscle cars currently in production. We reveal their
power, performance and – most importantly of all – the
technology that’s transforming them into some of the best
cars on Earth. So you might want to strap yourself in, as
you’re in store for one heck of a wild ride…

Be afraid, be very afraid…

The Shelby GT500 can even
outpace a Ferrari California

026
DID YOU KNOW? The Shelby GT500 is manufactured in Flat Rock, Michigan, USA

Shelby GT500 Engine

The supercharged, intercooled
The ultimate Mustang, the Shelby GT500 is obscenely fast 5.8l (1.5ga), 32-valve V8 petrol
and likely to give you an adrenaline rush like no other engine outputs 485kW (650bhp),
which enables the GT500 to
Let’s get the unsurprising facts out of the way first. The 2013 accelerate from 0-97km/h
Shelby GT500 is equipped with the most powerful production (0-60mph) in just 3.5 seconds.
V8 engine in the world and also the most efficient one in
America, producing more than 485 kilowatts (650 brake
horsepower). These two achievements are made possible by an
all-aluminium block, 2.3-litre (0.6-gallon) supercharger,
upgraded cooling system, larger engine fan, redesigned air
cooler, higher-flow intercooler pump and a 36 per cent increase
in the capacity of the intercooler’s heat exchanger. That’s
impressive – 325 kilometres (202 miles) per hour impressive –
but not something that is particularly shocking for arguably Brakes
one of the most iconic muscle cars ever. 35.6cm (14in) Brembo vented rotors Electronics
with six-piston callipers in the front A four-profile traction control
What is surprising is the way the GT500 converts that and 30cm (11.8in) vented rotors with setup along with a Bilstein
immense power into refined performance. After all, strapping a single-piston calliper at the rear electronically adjustable damper
650 horses to a chassis raises myriad problems, none more so help the GT500 stop rapidly. system delivers excellent
than that of ensuring solid traction and handling. The GT500 handling on both road and track.
deals with these issues through a launch control system – an
electronic configurator that enables drivers to set specific rpm
launch points – along with a Torsen limited-slip differential
and AdvanceTrac steering-assist. Combined, all this advanced
tech allows this modern Mustang to maximise the amount of
raw power put down, as well as control it while cornering.
Further, the Shelby GT500 complements its all-round
performance by the inclusion of a top-of-the-range braking
system. Accompanying the 48-centimetre (19-inch) front and
51-centimetre (20-inch) rear forged-aluminium alloys is a new
Brembo-made system of rotors and callipers (with six pistons at
the front), as well as a series of composite brake pads oriented
towards sharp acceleration and deceleration manoeuvres.
These, along with a four-profile traction control setup plus an
SVT-designed set of Bilstein shock absorbers, ensure excellent
handling on the road as well as on the track.

The statistics…

Shelby GT500
Length: 4,780mm (188.2in)
4x © Ford Motor Company

Height: 1,400mm (55.1in)

Weight: 1,746kg (3,850lb)
Engine: 5.8l (1.5ga) V8
Transmission: Tremec
six-speed manual
0-100km/h (0-62mph): 3.5sec
Power: 485kW (650bhp)
Efficiency: 8.5km/l (24mpg)

027
 LAND

Chevrolet Camaro The Camaro specialises in pouncing on European supercars

and taking out their performance stats with lethal efficiency
The statistics…

As you’d expect from one of the biggest names in muscle car
production, the Chevrolet Camaro is pretty fast. Achieving
0-97 kilometres (0-60 miles) per hour in 5.2 seconds, it could
keep up with a Jaguar XK with ease, but unlike Camaros of
old, today’s models boast tech that make it not just a pacy
machine, but one that can handle most terrains – and
without consuming vast quantities of hydrocarbons to boot.
Critical to this is the StabiliTrak electronic control system.
This consists of four speed sensors on each wheel, a rotation
rate sensor on the wheelbase, a steering angle sensor on the
steering wheel, a brake-operating hydraulic unit and a
master control unit in the engine bay. Combined, these
components monitor every manoeuvre and make instant
adjustments to maintain maximum traction.
How this works is best explained with a theoretical
manoeuvre. If a driver has to corner sharply to the left and
then immediately right at high speed, the steering angle
sensor detects the initial input and transmits it to the master
control unit. At the same time, the Camaro’s rotation rate
sensor – which measures the car’s lateral speed and rotation
around its centre line – determines its projected potential
for straight-line drift and also communicates this to the
control unit. The brains of the system act upon the feedback,
adjusting the car’s rear-left hydraulic brake, slowing its
rotation and aiding a smooth cornering manoeuvre. To
avoid oversteer, when the car’s steering wheel is turned
back to the right to take the next bend, StabiliTrak gauges
the rotation speed of the front-left wheel and repeats the
process, this time reducing the right-hand turning force and
preventing the vehicle’s back-end from spinning out. Chevrolet Camaro
The other notable engineering feat on the reborn Camaro
Length: 4,837mm (190.4in)
is GM’s Active Fuel Management (AFM) technology. This
Height: 1,360mm (53.5in)
electronic system automatically deactivates four out of the
Weight: 1,769kg (3,900lb)
vehicle’s eight cylinders when cruising at speed to conserve
Engine: 6.2l (1.6ga) V8
fuel and boost miles-per-gallon economy. This is a lot more
complex than it sounds, as the engine control module (ECM) Transmission: Six-speed manual
has to automatically reprogram the cylinders’ firing pattern 0-97km/h (0-60mph): 5.2sec
each time a deactivation takes place. Power: 318kW (426bhp)
For example, if a Camaro is sustaining a cruise speed with Efficiency: 9.77km/l (27.6mpg)
light throttle response, the ECM will – ideally – deactivate
cylinders one and seven on the engine’s left bank, plus four Engine
and six on the right, creating a four-cylinder firing order of The 6.2l (1.6ga) V8 engine in the
eight, two, five and three. However, if cylinder one is Camaro is quite something.
undertaking a combustion event when the AFM is called on, Thanks to improvements such
as an enlarged cylinder bore of
then the ECM automatically detects this and, rather than 10.3cm (4in) and a stroke length
forcing deactivation, bumps the deactivation on to the next of 9.2cm (3.6in), the block can
cylinder (ie cylinder eight), which in turn rearranges the output up to 318kW (426bhp).
deactivation pattern for optimum efficiency.

Anatomy of a Camaro Chassis Transmission

Check out our illustrative cutaway of this famous Chevy,
which highlights just some of its advanced features The body is made from
aluminium and measures in at
483cm (190in) in length. Due to its
lightweight construction
materials, the Camaro only
weighs 1,769kg (3,900lb).
A six-speed transmission comes in
two flavours – manual and
automatic – with the former more
suited to track driving. The
automatic variant reduces the
horsepower to 298kW (400bhp) but
also improves fuel economy.

Electronics
GM’s StabiliTrak electronic
stability control system
automatically analyses the
driver’s steering input
compared to the car’s response
and makes adjustments to Suspension
prevent over- or understeer. Independent four-link
4x © GM Company

suspension, a 52/48 front-to-rear

weight ratio and 50.8cm (20in)
front and rear wheels ensure
both a smooth ride and great
grip while turning at speed.

028
DID YOU KNOW? A 1977-era Chevrolet Camaro featured in the 2007 film Transformers, with modern variants in the two sequels

Dodge Challenger The statistics…

The Camaro hits
97km/h (60mph) in an
impressive 5.2 seconds
The Dodge SRT8 sends out a challenge not just to other
muscle cars, but any vehicle that dares to take it on
Where the new Shelby GT500 and Chevrolet Camaro partner
their raw power with unseen and subtle advanced
technologies, the Dodge Challenger struggles more to shake off
its muscle car heritage than perhaps any other. Dodge Challenger
Indeed, aside from the cart-breaking frenzy of the giant SRT8
6.4-litre (1.7-gallon) V8 engine – a block capable of outputting Length: 5,021mm (197.7in)
more torque than a Lamborghini Gallardo – the on-road Height: 1,450mm (57.1in)
stability granted by automatic electronic rain brakes, tyre Weight: 1,886kg (4,160lb)
pressure monitors, antilock vented brake discs and a steering Engine: 6.4l (1.7ga) V8 SRT HEMI
assist computer is second to none. With added responsiveness Transmission: Six-speed manual
delivered by independent front and multi-link rear suspension, 0-97km/h (0-60mph): 3.9sec
the Challenger specialises in providing the user with critical Power: 350kW (470bhp)
information to help maximise the driving experience. Efficiency: 8.14km/l (23mpg)
Central to this is the Challenger’s Electronic Vehicle
Information Center (EVIC). The EVIC consists of a trip computer,
G-force indicator, two speed timers, 0.2-kilometre (eighth-mile)
and 0.4-kilometre (quarter-mile) automatic log, and a
multimedia information centre. This, partnered with Dodge’s
trapezoidal systems gauges – which includes a digital compass
The Challenger comes with a
and temperature sensor, allows for the vehicle’s performance G-force indicator as well as
to be closely monitored and then tailored dependent on driving 0-97km/h (0-60mph) and
conditions, the terrain and the driver’s skill level. 97-0km/h (60-0mph) timers

2x © Death Writer

Flexing their muscles… HIW pits the Shelby GT500 against a Citroën C5 and Ferrari
California to see which car makes the best all-round ride
Key 1st 2nd 3rd
Citroën C5 Shelby GT500 Ferrari California
Weight: 1,670kg (3,682lb) Weight: 1,746kg (3,850lb) Weight: 1,731kg (3,817lb)
Efficiency: 14.9km/l (42.2mpg) Efficiency: 8.5km/l (24mpg) Efficiency: 6.7km/l (19mpg)
Engine size: 1.6l (0.4ga) Engine size: 5.8l (1.5ga) Engine size: 4.2l (1.1ga)
Power: 115kW (154bhp) Power: 410kW (650bhp) Power: 360kW (483bhp)
Max torque: 240Nm (177lbf/ft) Max torque: 600Nm (443lbf/ft) Max torque: 505Nm (372lbf/ft)
0-100km/h (0-62mph): 8.2sec 0-100km/h (0-62mph): 3.5sec 0-100km/h (0-62mph): 3.8sec
Top speed: 209km/h (130mph) Top speed: 325km/h (202mph) Top speed: 312km/h (194mph)
Cost: £19,895 ($N/A) Cost: $54,995 (£N/A) Cost: £142,865 ($223,055)

029
Another random document with
no related content on Scribd:
particulièrement à vous être agréable et m’a recommandé de vous
faire un long article d’avant-première.
L’Auteur. — Excusez-moi, je suis en pleine répétition.
Édouard Audoir. — J’attendrai, maître, j’attendrai.
L’Auteur, revenu à l’avant-scène, aux artistes, d’une voix un peu
étranglée. — Alors reprenons. (A Omer.) Joue la scène comme tu la
sens.
Omer. — Ah ! maintenant, je ne la sens plus du tout. (Sans
s’adresser à l’auteur.) C’est vrai qu’on a besoin de tout son sang-
froid. C’est tout de même nous qui paraissons en scène et qui
payons de notre personne. On devrait bien ne pas nous troubler
quelques heures avant la générale.
L’Auteur, avec un grand effort de bonhomie. — Allons, allons,
que tout soit oublié, reprenons.

Omer et sa partenaire reprennent la scène, d’abord avec une

fatigue volontaire ; peu à peu, ils se laissent gagner par le jeu et ils
recommencent à « en mettre ». Tout a l’air de s’arranger quand le
directeur revient brusquement à l’avant-scène.

Le Directeur, vif. — Tout ça n’est pas du travail. Nous perdons

notre temps. (Autoritaire.) On ne répétera plus. La pièce passera
demain telle qu’elle est.
L’Auteur. — Il faut pourtant revoir cette scène qui n’est pas sue.
Le Directeur. — J’ai dit qu’on ne répétait plus.
L’Auteur, sentant la nécessité d’un sacrifice humain. — Je m’en
vais. Travaillez tout seul. On ne me reprochera plus de gêner le
travail. (Il va dans le fond et tombe sur Édouard Audoir qu’il ne
reconnaît pas.)
Édouard Audoir. — Édouard Audoir, rédacteur à l’Espoir.
Maître, pourrais-je vous interroger ?
L’Auteur. — Je vous en prie, après la répétition.
 Édouard Audoir. — C’est que la copie du courrier doit être
donnée avant sept heures à l’imprimerie…
(L’Auteur se résigne et Édouard Audoir tire son carnet.)
Le Directeur, à l’Auteur. — Est-ce que vous leur avez donné le
mot de sortie pour Claire ?
L’Auteur, redescendant à l’avant-scène en essayant de mettre
le plus de dignité possible dans son oubli des injures. — Je l’ai
donné hier à Madorec.
Madorec, le régisseur, apportant le manuscrit. — Voilà.
Le Directeur. — C’est ça le mot de sortie ?
L’Auteur. — Eh bien ! il est suffisant. Et je crois que ce sera un
effet.
Le Directeur. — Bon, bon, si vous le croyez c’est déjà quelque
chose. Et d’ailleurs nous n’avons plus le temps d’en trouver un autre
pour demain. Enchaînons pour la sortie et dites votre mot.

(Claire dit son mot de sortie. L’auteur fait entendre un petit

grognement d’approbation.)

Le Directeur, d’une voix profonde. — Il vaut mieux qu’elle sorte

sans rien dire.
L’Auteur. — C’est vous qui avez demandé un mot de sortie ?
Le Directeur. — Je n’ai pas demandé celui-là. Mes enfants,
répétons, répétons. La scène des deux hommes… Est-ce qu’on a
fait des coupures ?
L’Auteur. — J’ai pensé, je crois qu’il serait dangereux de faire
des coupures franches.
Le Directeur, avec une résignation bien ostensible. — Bon,
bon, disons tout le texte, tout le texte.
L’Auteur. — Il vaut mieux qu’il y ait une petite longueur et ne
pas risquer d’être obscur.
Le Directeur. — Voulez-vous être bien gentil, laissez-nous
donc travailler.
 L’Auteur, se rebiffant. — Que je vous laisse travailler !
Le Directeur. — Eh bien ! oui, nous passons demain. Vas-y
Omer, vas-y Sénéchal. Toute votre scène, toute votre scène, sans
en perdre un mot…
L’Auteur. — C’est intolérable, je m’en vais…
Le Directeur. — Adieu.

L’auteur irrité passe dans la salle sans savoir exactement où il

veut aller. Il suit un couloir, monte un étage, puis deux étages, puis
arrive dans le foyer des deuxièmes galeries, et, en se retournant,
aperçoit Édouard Audoir.

L’Auteur, au sortir d’un rêve. — Qu’est-ce que c’est ?

Édouard Audoir. — Édouard Audoir, rédacteur à l’Espoir.
Maître, si vous avez un moment…
L’Auteur, de guerre lasse. — Asseyez-vous là, sur cette
banquette… Qu’est-ce que vous voulez savoir ?

Il commence à dicter, les yeux clos, d’une voix de revenant. Il

faut parler de sa pièce mais il ne veut pas en déflorer le sujet. Alors il
insiste sur ses intentions et sur ses principes de théâtre qu’il
découvre d’ailleurs au fur et à mesure qu’il dicte. Il dit aussi que la
pièce a été reçue d’enthousiasme et que tout s’est bien passé aux
répétitions, dans la cordialité et la belle humeur.
 Le régisseur et les doubles

Le régisseur est d’ordinaire un acteur, remarquable surtout par

ses qualités d’ordre et de sérieux et qui manque peut-être de la
séduction frivole que les brillantes vedettes exercent sur le public.
Parmi ses fonctions, la plus honorifique est de mettre en scène
aux premières répétitions, quand le metteur en scène attitré n’est
pas encore arrivé à son poste. On appelle cela débrouiller. C’est un
travail très utile sans doute, mais dont rien ne subsistera aussitôt
que le seigneur de ces lieux aura pris l’affaire à son compte. Tel
personnage qui, selon les premières indications, entrait lentement au
premier plan à gauche, fait maintenant irruption par la porte du fond.
Le régisseur assiste avec une inconscience apparente à cette faillite
de ses conceptions. Son emploi a changé maintenant : il consistera
à remplacer, le manuscrit en mains, tous les artistes qui manquent à
la répétition, à soupirer les plaintes de l’ingénue encore en
déplacement sur la Côte d’Azur ou à hurler les grossièretés du
hobereau, pour qui on n’a pas encore trouvé l’interprète idéal ou
simplement convenable.
Il a encore d’autres fonctions délicates. Le matin, à 8 heures, il se
met en campagne pour s’occuper de tous les meubles que le
magasin du théâtre n’est pas en état de fournir. C’est lui également
qui découvre les phénomènes : l’homme qui doit, en coulisse, imiter
le rossignol, le montreur d’ours et son ours pour la fête villageoise du
« un ». Il s’occupe en général du recrutement des artistes de second
plan.
Ce pouvoir souverain que, dans les premières répétitions, il avait
à l’avant-scène, il le retrouvera quelques jours après le succès,
quand il dirigera, cette fois en maître absolu, les répétitions des
doubles.
Souvent, pas toujours, ces répétitions se font un peu à la flan,
comme le maniement d’armes dans la cour du quartier, quand c’est
un gradé modeste qui surveille l’exercice et que l’officier de semaine
n’est pas en vue.
Les doubles, c’est un certain nombre de personnages
secondaires qu’une angine subite des protagonistes appellera un
soir à un rôle capital. Honneur éphémère et surtout obscur, car les
notes de presse, pendant tout le temps que durera le remplacement,
resteront singulièrement muettes sur cette substitution. C’est
seulement quand le titulaire aura repris son rôle que l’on rendra un
tardif hommage à « M. Troupanel qui, pendant la maladie de son
camarade, etc. ». L’important est que les spectateurs soient
désormais assurés de trouver la vedette à son poste et ne soient
plus exposés à y rencontrer M. Troupanel.
M. Troupanel sait tout cela et témoigne de peu d’ardeur à
apprendre le rôle de son glorieux camarade. Parfois, pour doubler la
prima donna, on est obligé d’engager une artiste en dehors du
théâtre. Celle-là, si elle est jolie et si elle a une bonne réputation de
talent, ne s’y met pas non plus avec beaucoup de fougue. Elle sait
très bien que si le bruit se répand qu’elle fera de l’effet dans le grand
rôle, la vedette la plus fragile de santé est capable de retrouver une
robustesse à toute épreuve et ne manquera pas une représentation.
 L’accessoiriste

L’accessoiriste, comme son nom l’indique, est chargé du service

des accessoires. C’est lui qui s’occupe des verres, des assiettes,
des filets de sole en banane, du blanc de poulet en biscuit, du
champagne en eau gazeuse, du cognac en eau teintée, des lettres,
des télégrammes, des poignards, des revolvers.
Il ne se manifeste pas dès les premières répétitions. Les artistes
boivent encore dans des verres absents et savourent avec délices
des mets impondérables. Le vicomte, au moment où il doit exhiber le
document révélateur, a plongé la main dans une des poches
intérieures de sa jaquette, en a sorti rien du tout, qu’il a tendu
fièrement à la comtesse. Celle-ci a lu la lettre fatale dans la paume
de sa main ouverte, comme une femme pour qui la chiromancie a
des secrets imprévus.
Peu à peu des accessoires provisoires ont fait leur apparition. La
table du souper, que doit recouvrir un jour une nappe somptueuse,
est pour le moment un pauvre meuble en bois blanc. On sable un
champagne invisible dans des gobelets cabossés.
L’accessoiriste a dans son tiroir des billets de la Sainte-Farce,
auxquels il tient comme à des vrais billets. Quand, à la
représentation, Serge tendra au vicomte une liasse des fausses
banknotes, celui-ci les mettra à l’abri dans son pardessus boutonné.
Mais il ne les possédera pas longtemps. Car, à peine sorti de scène,
il verra se dresser devant lui l’accessoiriste, qui lui dira simplement :
« Mes billets ». Et le vicomte, sans piper, lui remettra le produit de
son chantage.
Le vicomte, depuis les répétitions, a beaucoup changé. Il s’est
vieilli, ou plutôt il a cru se vieillir. Il a étendu sur ses cheveux une
sorte de confiserie argentée. Ainsi, il paraît à peine l’âge qu’il a
vraiment dans la vie.
Pour garantir les personnages de la pièce contre un froid
imaginaire, on a allumé une lampe à verre rouge dans la cheminée,
derrière un solide feu de bois en tôle. C’est là que la comtesse
jettera le paquet de lettres, que l’accessoiriste recueillera
pieusement de l’autre côté du décor, pour la représentation suivante.
Il y a des accessoires qui ne peuvent resservir, tels que les
enveloppes à cinq cachets rouges, que l’on décachète violemment.
Ces enveloppes, c’est l’orgueil de l’accessoiriste, qui les prépare
chaque soir avec amour. Et pourtant, il est bien rare qu’on le félicite
de son zèle. Mais sa satisfaction intime lui suffit. Il aime son métier
et serait très heureux s’il n’avait pas un souci cruel : les armes à feu,
dont il a la garde et dont il doit assurer le bon fonctionnement.
Quand le revolver, qui devait abattre le traître, rate sinistrement,
à la joie indécente du public, il y a quelqu’un, en coulisse, qui blêmit
et qui chancelle, atteint au plus profond de son honneur.
 Brec

Dans ce théâtre où l’on répétait ma pièce, Brec était depuis

trente-cinq ans un employé minuscule, par la taille et par la fonction.
Employé à quoi ? Aux accessoires, peut-être ; mais il n’était pas
accessoiriste en pied. C’était lui qui faisait les commissions de tout le
monde, quand le groom de la direction était absent ou trop
nonchalant. Brec allait chercher une voiture pour l’auteur, un petit
pain pour la comédienne affamée, ou, sur l’injonction du régisseur,
apportait un crayon presque toujours sans mine. Cinq ou six fois
dans sa vie, à des changements de directeur, on l’avait essayé
comme souffleur aux répétitions, mais son registre vocal se
composait de deux voix, une imperceptible et l’autre formidable,
capable de couvrir l’artillerie d’une armée en pleine préparation
d’attaque. Quand on l’avait entendue, cette voix étrange, on
regardait Brec avec une telle stupeur qu’il n’osait plus la sortir.
Le groom de la direction, la femme de ménage du concierge, le
chasseur de la poste étaient tous, et de très haut, les supérieurs de
Brec sur qui, de tous les degrés de la hiérarchie, des injures
tombaient sans relâche, mais elles ne lui arrachaient même pas un
sourire. Il attendait la fin du chapelet, puis faisait un signe de tête,
comme pour dire à l’insulteur : « Vous pouvez disposer ».
Brec était le plus indifférent des martyrs. C’est à peine si parfois,
de la plus petite de ses deux voix, il disait au chasseur : « Ferme ! »
ou : « Ça va ! » au groom de la direction. Des artistes et des auteurs
il recevait parfois un petit pourboire qu’il accueillait sans grâce et
sans hostilité, d’un simple hochement de tête approbateur.
Les légendes les plus romanesques et les plus contradictoires
circulaient sur sa vie privée. Personne ne les avait contrôlées, car il
habitait dix minutes plus loin que le point terminus de son métro. On
prétendait qu’il était de noble famille et d’autres racontaient qu’il
avait une femme énorme et onze enfants perpétuellement en bas
âge.
Les auteurs nouveaux de la maison ne manquaient pas, le soir
de la générale, de demander à Brec : « C’est un succès ? » De
mémoire d’homme, il avait toujours répondu : « Pour sûr », ayant
remarqué d’instinct qu’il n’y avait pas pour lui de réponse plus
profitable.
Brec aimait-il le spectacle ? On ne l’a jamais su. Entré dans la
maison à l’âge de onze ans, Brec, qui avait entendu aux répétitions
les bribes de cent vingt pièces inédites, vu périr ou prospérer douze
directeurs, monter et décliner autant de gloires d’artistes, Brec n’était
jamais allé au théâtre.
 Le prix de Diane en matinée

Le marquis de Hottebrède, ses cheveux noirs cachés sous d’épais

cheveux blancs, le visage soigneusement ridé, est sur le point
d’entrer en scène, pour sa grande scène du troisième acte. A ce
moment le traître Fourval, qui vient de poser ses conditions à la
marquise, sort de scène, laissant Claire de Hottebrède effondrée
sur un beau canapé ancien, prêté au théâtre par un grand
tapissier.

Le Marquis, au traître. — Ça doit être couru à cette heure-ci. Il

est quatre heures dix… Puisque tu n’es pas de la fin du trois, tu
devrais faire un saut jusque chez le bistro, où les résultats sont
affichés…
Le Traître, timidement. — Oh ! mon vieux, maquillé comme
ça…
Le Marquis. — Ça n’a aucune importance. Il n’y a personne
dans les rues… Tout Paris est à Chantilly ou à la campagne. Non,
mon vieux, vas-y. J’ai six louis d’engagés dans la course, tu
donneras le résultat à Fauvel. Il me l’apportera avant mon agonie.
Le Traître. — Oh ! tu fais de moi ce que tu veux ! (Il sort,
pendant que le marquis, après s’être fortement voûté, entre avec
trente années de plus pour la grande scène qui a fait le succès de la
pièce (déjà 234 représentations), et s’avance jusqu’au canapé.)
 La Marquise, levant la tête, et suffoquée de surprise pour la
deux cent trente-cinquième fois. — Renaud !
Le Marquis. — Je vois que vous ne m’attendiez pas. (Elle se
lève. Il s’approche du canapé et s’y assied. Elle est en face de lui. Ils
se regardent en silence.)
La Marquise, bas. — T’as l’résultat ?
Le Marquis, entre ses dents. — On va l’apporter. (Haut.) Je ne
suis pas seul, madame… Notre fils me suit à quelques pas. L’heure
des explications a sonné.
La Marquise. — Gérald, Gérald va m’être rendu !… Ah ! quoi
que vous fassiez de moi, je serai trop heureuse !… Il me semble
entendre son pas… Ah ! quelle émotion !
Le Marquis, bas. — Je comprends. (Entre Gérald (Fauvel). Il se
jette dans les bras de sa mère, qui l’embrasse avec frénésie.)
Gérald, bas, dans le cou de sa mère. — Pellsie première.
La Marquise, bas. — Et Frisky ?
Gérald, de même. — Nulle part.
La Marquise, de même. — Crotte !
Le Marquis a suivi anxieusement cette scène. Il est un peu loin
d’eux. Il se lève et, changeant pour ce jour-là la mise en scène,
s’avance jusqu’au couple. (Noblement.) — Quels que soient vos
torts et vos fautes, je n’ai pas voulu mourir sans vous avoir réunis. (Il
perd la respiration. Dans un souffle)… Eh bien ?
La Marquise, bas. — Pellsie.
Le Marquis, de même. — Pellsie ! (Haut, mais faiblement.) Il y a
des châtiments trop inhumains pour qu’une créature humaine les
prononce… (Bas.) Et je l’avais l’autre jour à Saint-Cloud. (Haut.) Je
suis soulagé parce que mes forces m’ont porté jusqu’ici. Mais…
mais… (Il s’abat lourdement et adroitement sur le sol. Gérald et la
marquise se précipitent sur son corps.)
Gérald. — Mon père !
La Marquise. — Pardonne-moi, Renaud !
 Gérald. — Son cœur a cessé de battre.
Le Marquis, bas. — Où est Esmée ?
Gérald. — Troisième.
Le Marquis. — Chouette. Je l’avais en couverture… Ça va faire
du six contre un au moins… (Il meurt heureux.)
 Loisirs

J’ai reçu la lettre suivante que je tiens à transcrire fidèlement :

« Monsieur,

« Vous avez publié, il y a quelques semaines, un petit article,

intitulé : Le Prix de Diane en matinée, où vous montriez des artistes
dramatiques qui, pendant qu’ils interprétaient un drame des plus
austères, demeuraient préoccupés par les paris qu’ils avaient faits
aux courses. L’inconvénient de ces fantaisies est de laisser croire
qu’il n’y a place dans l’esprit de certains comédiens que pour des
soucis aussi frivoles. Je tiens à protester au nom de ceux qui,
comme moi, ne parient jamais aux courses, et consacrent le meilleur
de leur soirée à jouer au poker.
« Ma protestation, si vous le voulez bien, restera anonyme…
Aussi bien, hélas ! garderait-elle ce caractère, vis-à-vis de vos
lecteurs, même si je signais de mon nom… Je suis peu connu, mon
rôle se bornant la plupart du temps à faire part à des personnages
de la pièce, titrés ou riches, de l’arrivée, dans une antichambre
supposée, d’autres personnages importants, et de quitter la scène
sur la réplique : « Faites entrer. »
« Je suis parfois en habit noir, d’autres fois en livrée à boutons de
cuivre. Depuis quelques semaines, sans doute parce que mes
maîtres sont de nouveaux riches (je ne connais pas exactement la
pièce) ou bien parce que mon auteur a des idées un peu
conventionnelles sur la tenue des domestiques du grand monde, je
porte une culotte et une chaude perruque blanche, qui ne reste
heureusement sur ma tête que pendant les courts instants de ma
présence en scène.
« Le reste du temps — et il en reste — je suis installé dans la
loge somptueuse d’une jeune fille ruinée et persécutée, en
compagnie d’un vieux duc qui, lui non plus, n’est ni du « deux » ni du
« trois ». Nous jouons au poker.
« Là, les différences de classe, établies arbitrairement par
l’auteur, disparaissent tout à fait, et chacun reprend le rang qu’il
mérite… L’humble serviteur que je suis domine de cent coudées le
vieux duc (qui n’a d’ailleurs que 22 ans). J’ai l’habit d’un valet, mais
j’ai l’âme d’un bluffeur de premier ordre…
« Ci-joint mon nom et celui de mon théâtre, que vous voudrez
bien ne pas publier. Mais venez nous voir un soir, vers 9 h. 1/2. Vous
ferez le quatrième.
« Mes sentiments les meilleurs. X… »

Oui, monsieur X…, j’irai certainement vous voir un soir. Et je vous

rappellerai le souvenir glorieux de Joliet, de la Comédie-Française,
qui, lorsqu’il n’était pas d’un acte, n’hésitait pas à quitter rapidement
son costume, à reprendre pour une demi-heure ses habits de ville
pour aller continuer une partie d’échecs au café de la Régence. Les
vrais joueurs ont ainsi de ces traits magnifiques, dont les âmes
mesquines de ceux qui ne jouent pas ne peuvent comprendre la
beauté.
 Le feu sacré

Ce grand garçon est toujours bien habillé. Donnons-lui vingt-cinq,

trente ou trente-cinq ans, sans préciser, car il n’est pas seul de son
espèce.
Il a certainement la vocation du théâtre, et c’est d’autant plus
méritoire qu’il n’a aucune espèce de dons… Il est en bois et met une
voix sourde et monotone au service d’une intelligence médiocre.
Mais sa taille avantageuse, l’élégance de ses costumes
permettent de l’utiliser et de lui confier le rôle de monsieur en
smoking qui, au début d’un acte, écoute, le cigare à la bouche, un
autre fumeur visiblement plus important. Ou bien encore, il est le
jeune homme, en pantalon et chemise blancs, qui passe au fond du
théâtre, une raquette à la main. Parfois il a la gloire d’être censé
faire la cour, à la cantonade, à l’héroïne, et sera même honoré, dans
la pièce, des soupçons d’un jeune premier à 10.000 francs par mois.
Mais, d’une façon générale, ce qui lui arrive se passe en
coulisse. Il case donc assez vite son rôle dans sa mémoire et peut
employer ses loisirs à écrire des lettres sans nombre aux auteurs
qui, bien entendu, sont toujours des « maîtres ».
Au nouvel an, la première carte que ces écrivains reçoivent est
celle de ce fidèle.
Il s’éloigne passablement de l’ancienne conception des acteurs
errants, compagnons sans souci, méprisés par les marchands
drapiers. C’est un garçon sobre, réservé d’allures, mesuré dans ses
propos. Il n’aime ni l’aventure, ni la fantaisie, ni même le théâtre. Il
lui plaît seulement d’exercer la profession d’artiste dramatique. Voilà
en quoi consiste son feu sacré.
Flamme point négligeable, certes, puisqu’elle le stimule sans
cesse et le pousse à écrire ses lettres inlassables aux auteurs, à leur
faire, à des intervalles courts et réguliers, de persévérantes visites.
« Maître, ce n’est pas mon genre de me mettre en avant et de
venir parler de moi. Il faut que je me force… »
C’est qu’il est sincère. Il faut qu’il se force. Mais il se force bien.
 Les Attributs du pouvoir

On s’illusionne souvent sur la puissance des gens, sous prétexte

qu’ils semblent occuper un emploi d’une haute importance, et qu’ils
sont vêtus d’un costume impressionnant.
Il y a une quinzaine d’années, un dimanche, je passais, vers
deux heures, devant un grand théâtre du Boulevard. On y jouait le
Bossu, une pièce que je ne me lasserai jamais de revoir… J’y
retrouve, à chaque représentation, ma haine fidèle du tortueux
Gonzague et mon éternelle sympathie pour Cocardasse et
Passepoil… Je suis les péripéties du drame avec angoisse, comme
si ce qui est écrit et que je sais par cœur n’était pas définitif, et
comme si le traître allait échapper, ce jour-là, à la fatalité du texte.
J’entrai par l’escalier des artistes, salué par un geste amical du
concierge qui me connaît très bien (pas sous mon nom d’ailleurs, car
il m’a donné un jour le nom d’un de mes confrères ; mais ceci n’est
qu’un détail, et l’important est d’être connu).
La lumière du jour pénètre rarement dans les coulisses des
théâtres, même en matinée. Je me dirigeai vers la Régie, où un
artiste d’un certain âge était assis devant un petit bureau. Il jouait
dans la pièce et se trouvait tout habillé et tout maquillé pour entrer
en scène.
— Bonjour, comment ça va ? Y a-t-il moyen d’assister à la
matinée ?
 — Oh ! monsieur… je suis désolé… J’ai les ordres les plus
sévères. En l’absence du directeur et du secrétaire, on me défend
de donner des entrées à qui que ce soit… Je vous prie de ne pas
m’en vouloir. Mais je n’ai aucun pouvoir pour cela, et c’est une
consigne formelle à laquelle je suis forcé d’obéir…
Celui qui parlait ainsi n’était autre que le Régent de France, vêtu
d’un habit somptueux, magnifique, couvert de pierreries, orné par
surcroît d’un large cordon bleu clair qui ne se donnait pas à tout le
monde.
 Le texte de Mme de Juxanges

La personne qui, dans la pièce précédente, avait répété —

jusqu’au troisième jour avant la générale — le rôle de la concierge
du deux avait reçu cette fois la mission d’incarner, dans la pièce
nouvelle, une femme du grand monde, Mme de Juxanges.
La liste des personnages féminins comprenait d’abord l’héroïne,
puis la mère de l’héroïne, puis la rivale d’amour de l’héroïne, puis
toutes les bonnes, puis Mme de Livrac, puis Mme de Juxanges.
Il n’y avait pas, entre ces derniers noms, la petite conjonction
« et » qui eût donné à l’interprète de Mme de Juxanges une
apparence de « vedette américaine ».
Mme de Livrac, elle, était chargée de deux phrases : « Je le crois
galant homme », et, plus loin : « Vous verrez qu’il fera sa
soumission. » Mme de Juxanges n’avait rien à dire. Le jour de la
lecture, on lui remit une feuille de papier, qui portait dans le coin, en
grosses lettres de ronde : Mme de Juxanges. On indiquait
simplement sur quelles répliques de ses camarades elle devait
entrer, puis sortir.
Le directeur avait dit à l’auteur : « Il faudra lui donner une petite
phrase. » Puis il avait dit à sa pensionnaire : « On vous piquera
quelques mots. »
Chaque jour, à midi trois quarts pour une heure, Mme de
Juxanges arrivait la première à la répétition dans une longue six-
cylindres, don de M. Roibourg, grand brasseur d’affaires, et
commanditaire de la maison. L’automobile stationnait devant l’entrée
des artistes jusqu’à cinq heures. Pendant ce temps, Mme de
Juxanges, assise sur une chaise rustique dans l’ombre du plateau,
entretenait une conversation un peu stagnante avec la cuisinière du
trois et le facteur du deux.
D’ordinaire, M. Roibourg arrivait, ses affaires brassées, vers cinq
heures, et prenait livraison de Mme de Juxanges.
Le directeur, à deux ou trois reprises au cours des répétitions,
avait dit à l’auteur : « Lui avez-vous mis sa phrase ? » L’auteur
répondait toujours : « Demain. » A vrai dire, il éprouvait une difficulté
singulière à prêter la moindre réflexion ou remarque à un
personnage aussi peu défini.
Pourtant il dit de lui-même, quelques jours avant la générale, en
voyant répéter Mme de Juxanges : « Il faut que je lui donne sa
phrase. » Mais le directeur, par esprit de contradiction, avait dit à mi-
voix : « Il y a des choses plus pressées. Établissez-moi d’abord votre
baisser de rideau du deux, qui n’y est pas du tout. »
Ce qui ne l’avait pas empêché de demander sévèrement, le
lendemain :
— Et la phrase de cette petite ?
Enfin, visité par l’inspiration, l’auteur trouva : Mme de Juxanges
dirait à Mme de Livrac :
— Je ne suis pas très tranquille sur le destin de ce petit ménage.
Le jour de la générale, ce propos de mondaine avertie fut proféré
très au-dessous du ton par une personne étranglée d’épouvante. On
entendit cependant ceci :
— Je ne suis pras tès tancrille sur le dessin de ce petit mén…
La finale age, ce serait pour une autre fois.
Il y eut simplement aux fauteuils un petit : Oh ! oh !… isolé, qui, si
discret qu’il fût, fut perçu de la salle entière.
A l’entr’acte, dans un coin obscur du plateau, le directeur passait
quelque chose de sérieux à M. Roibourg.