SKU: 2552678216

Witter Solid Fixed Flange Towbar For Chevrolet Captiva SUV 2011-Onwards and Universal 13 Pin Wiring

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Description

Witter Solid Fixed Flange Towbar For Chevrolet Captiva SUV 2011-Onwards and Universal 13 Pin WiringWitter Towbar brands With almost 70 years of experience in designing and developing towbars, we provide high quality products which are great value for money. We know that you want whats best for your vehicle, so we only stock premium towbars from Witter Towbars and Westfalia Automotive. All of our towbars are developed and tested to regulation 55 and are put through a number of rigorous safety tests to keep you and your cargo safe on the road. We

Witter Towbar brands
With almost 70 years of experience in designing and developing towbars, we provide high-quality products which are great value for money. We know that you want what’s best for your vehicle, so we only stock premium towbars from Witter Towbars and Westfalia Automotive. All of our towbars are developed and tested to regulation 55 and are put through a number of rigorous safety tests to keep you and your cargo safe on the road.

We have over 5,000 towbars for sale. All Witter and Westfalia towbars are designed to be compatible with individual vehicle specifications. No matter what your budget is, you can be sure that your new towbar will be of high quality and excellent value for money. Whether you want to tow a small trailer or a large horse box, we can help you to find the right towbar for you.

 

Please note: Images are for illustration purposes only

 

What is a Fixed Flange Towbar?
A fixed flange towbar is probably the least expensive option when it comes to installing a towbar, which is why it is a popular choice. It attaches to the flange plate on your vehicle with 2 or 4 bolts. As it remains permanently attached, it is ideal for those who tow frequently. A fixed flange towbar is versatile and can also be used with tow ball mounted accessories, including bicycle carriers, bumper protectors and different types of stabilisers. These can all be mounted between the tow bar and ball.

What are the Benefits of a Fixed Flange Towbar?
It’s cost-effectiveIt is capable of towing and carry bikes at the same timeIt is compatible with a wide range of towing couplings and accessoriesThe tow ball can be upgraded to an AL-KO one (can be used with an AL-KO stabiliser)You can achieve different towing heights and clearances by using height-adjustable couplings, drop plates and spacers

Should I Buy a Fixed Flange Towbar?
The look of a fixed flange towbar is considered to be less aesthetically pleasing than other styles as the bolts are visible. A fixed flange towbar can also interfere with vehicle parking sensors as the towbar may be mistaken for an obstacle when in reverse. Another consideration you need to make is the likelihood of banging your legs on the towbar when using your boot or walking around your vehicle.

However, these are all minor disadvantages.

A fixed flange towbar is a perfect choice if you’re looking for a cost-effective towbar that is versatile. If you’re going to use your towbar regularly, a fixed towbar is much more convenient for you.

Universal wiring kit

Our universal wiring kits can be installed in nearly every vehicle. The kits can transmit signals related to the tail lights. Because these are analogue signals, a universal wiring kit cannot be programmed and can therefore not connect to the on-board computer that controls the car electronics. We offer standard 7-pin and 13-pin universal wiring kits.

Disclaimer: All towbars and electrics or accessories for bundle offers are sent separately!

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
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Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
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SKU: 2552678216

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4.0 ★★★★★
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Product Reviews
J
Verified Purchase
jk Smiles
Massapequa, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Louisville, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Omaha, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Charlottesville, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Omaha, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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