That faith faltered when he first saw the result. "My first impression? I hated it," Woolery says. "It was just overwhelming, all the sparkly stuff everywhere," he says, waving his hands and wiggling his fingers. "I wasn't sure we'd made the right choice or not.

"But then I walked out of the garage," he says. "The door was open and you could see through the windows (windows that Dave Sechrist installed, by the way). Then it hit me; it really fits the car well. It was definitely over the top but it was exactly what we asked for. When I stood back and looked at the car as an entire package, with the white engine and the Scott tops, it hit me. It's right on the money. [McNeely] nailed exactly the feel we were going for. He tied the car together."

Summarizing the car, Dick says: "If you're going to go partway you might as well go all the way." It offers a little insight into how he slid headlong into show car excess with his '36.

But as his coupe illustrates, that sword has another edge. The car is, without a doubt, all the way. But that philosophy does more than make it flashy; it affirms the theme. To tone down any one part of the car would make the package fall apart in a frosty pink heap of chrome-plated excess. "It's a metallic pink cartoon," Woolery says. "For that car to look right it really has to be overboard."