SKU: 1165107469

Mr. Gasket Cast Aluminum Valve Covers Pair - Polished - 6861G

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Description

Mr. Gasket Cast Aluminum Valve Covers Pair - Polished - 6861GOverview: These valve covers are constructed of high quality die cast aluminum for an excellent fit. Polished finish with as cast area between the fins. Allen head mounting bolts & washers included. Sold as a pair. Features: Top quality cast aluminum construction Finned retro style Thick gasket rail area for excellent sealing Pre punched breather openings with baffles Includes mounting hardware Sold as a pair Application: Year Make Model Submodel

Overview:

These valve covers are constructed of high quality die-cast aluminum for an excellent fit. Polished finish with as cast area between the fins. Allen head mounting bolts & washers included. Sold as a pair.

Features:

  • Top quality cast aluminum construction
  • Finned retro style
  • Thick gasket rail area for excellent sealing
  • Pre-punched breather openings with baffles
  • Includes mounting hardware
  • Sold as a pair

Application:

Year Make Model Submodel Engine Size
1975 - 1996 Ford E-150 Econoline Club Wagon 351/5.8 V8
1979 - 1996 Ford E-150 Econoline Club Wagon 302/5 V8
1975 - 1991 Ford E-250 Econoline 302/5 V8
1975 - 1996 Ford E-250 Econoline 351/5.8 V8
1975 - 1991 Ford E-250 Econoline Club Wagon 351/5.8 V8
1979 - 1980 Ford E-250 Econoline Club Wagon 302/5 V8
1975 - 1996 Ford E-350 Econoline 351/5.8 V8
1975 - 1982 Ford E-350 Econoline 302/5 V8
1969 - 1977 Ford Custom 500 351/5.8 V8
1968 - 1974 Ford Custom 500 302/5 V8
1969 - 1974 Ford Country Squire 351/5.8 V8
1969 - 1983 Ford E-100 Econoline 302/5 V8
1968 - 1974 Ford Country Squire 302/5 V8
1980 - 1982 Mercury Cougar 255/4.2 V8
1979 - 1985 Mercury Grand Marquis 302/5 V8
1981 - 1982 Mercury Grand Marquis 255/4.2 V8
1986 - 1991 Mercury Grand Marquis
1968 - 1977 Mercury Comet 302/5 V8
1968 - 1993 Mercury Cougar 302/5 V8
1978 - 1985 Mercury Grand Marquis 351/5.8 V8
1964 - 1967 Sunbeam Tiger
1975 - 1976 Bricklin SV-1 351/5.8 V8
1987 - 1991 Ford LTD Crown Victoria 302/5 V8
1987 - 1991 Ford LTD Crown Victoria 351/5.8 V8
1962 - 1963 Mercury Villager 221/3.6 V8
1964 - 1967 Mercury Villager 289/4.7 V8
1964 - 1967 Mercury Villager 427/7 V8
1964 - 1967 Ford Custom 500 289/4.7 V8
1963 - 1967 Ford Galaxie 500 289/4.7 V8
1962 - 1964 Ford Galaxie 500 260/4.3 V8
1963 - 1968 Ford Galaxie 500 427/7 V8
1981 - 1990 Lincoln Town Car
1964 Ford Custom 500 260/4.3 V8
1965 - 1968 Ford Custom 500 427/7 V8
1964 - 1969 Ford GT40 289/4.7 V8
1972 - 1974 TVR 3000M 302/5 V8
1972 - 1974 TVR 3000M 289/4.7 V8
1967 - 1970 TVR Tuscan 289/4.7 V8
1962 - 1963 Shelby Cobra
1964 - 1969 Ford GT40 427/7 V8
1964 - 1966 TVR Griffith
1968 - 1971 TVR Tuscan 302/5 V8
1964 - 1965 Griffith 200
1963 Ford 300 427/7 V8
1963 - 1967 Mercury Commuter 427/7 V8
1964 - 1967 Ford Custom 289/4.7 V8
1964 - 1968 Ford Custom 427/7 V8
1963 Ford 300 260/4.3 V8
1963 Ford 300 289/4.7 V8
1964 - 1965 Ford Custom 260/4.3 V8
1962 - 1966 AC Shelby Cobra
1967 - 1968 Omega Omega
1967 - 1968 AC Shelby Cobra 289/4.7 V8
1968 - 1972 Ford Custom 302/5 V8
1964 - 1968 Shelby Cobra 289/4.7 V8
1969 - 1972 Ford Custom 351/5.8 V8
1969 - 1983 Ford F-100 302/5 V8
1969 - 1996 Ford F-250 302/5 V8
1972 - 1980 Ford F-350 302/5 V8
1977 - 1996 Ford F-350 351/5.8 V8
1978 - 1979 Ford Fairmont 302/5 V8
1980 - 1982 Ford Fairmont 255/4.2 V8
1975 - 1977 Ford Granada 351/5.8 V8
1975 - 1980 Ford Granada 302/5 V8
1972 - 1976 Ford Gran Torino 351/5.8 V8
1977 - 1996 Ford E-350 Econoline Club Wagon 351/5.8 V8
1979 - 1980 Ford E-350 Econoline Club Wagon 302/5 V8
1975 - 1976 Ford Elite 351/5.8 V8
1996 Ford Explorer 302/5 V8
1977 - 1979 Ford F-100 351/5.8 V8
1968 - 1974 Ford Ranch Wagon 302/5 V8
1969 - 1974 Ford Ranch Wagon 351/5.8 V8
1968 - 1979 Ford Ranchero 302/5 V8
1969 - 1979 Ford Ranchero 351/5.8 V8
1963 Ford Sprint 221/3.6 V8
1964 Ford Sprint 289/4.7 V8
1963 - 1967 Ford Thunderbird 427/7 V8
1962 - 1964 Ford Ranchero 260/4.3 V8
1968 Ford Torino 427/7 V8
1968 - 1974 Ford Torino 302/5 V8
1969 - 1976 Ford Torino 351/5.8 V8
1963 - 1964 Ford Sprint 260/4.3 V8
1967 Mercury Brougham 427/7 V8
1964 - 1967 Mercury Caliente 289/4.7 V8
1964 - 1967 Mercury Caliente 427/7 V8
1964 - 1965 Mercury Caliente 260/4.3 V8
1966 - 1967 Mercury Capri 427/7 V8
1963 - 1967 Mercury Colony Park 427/7 V8
1969 - 1974 Mercury Colony Park 351/5.8 V8
1962 - 1963 Mercury Comet 221/3.6 V8
1964 - 1968 Mercury Comet 289/4.7 V8
1964 - 1969 Mercury Comet 427/7 V8
1966 - 1967 Mercury Capri 289/4.7 V8
1967 Mercury Commuter 289/4.7 V8
1967 - 1968 Mercury Cougar 289/4.7 V8
1968 Mercury Cougar 427/7 V8
1969 - 1979 Mercury Cougar 351/5.8 V8
1962 - 1965 Mercury Comet 260/4.3 V8
1969 Mercury Comet 351/5.8 V8
1969 - 1974 Ford E-200 Econoline 302/5 V8
1969 - 1974 Ford E-300 Econoline 302/5 V8
1962 - 1964 Ford Fairlane 260/4.3 V8
1963 - 1967 Ford Fairlane 289/4.7 V8
1962 - 1963 Ford Fairlane 221/3.6 V8
1964 - 1969 Ford Fairlane 427/7 V8
1969 - 1970 Ford Fairlane 351/5.8 V8
1962 - 1963 Ford Falcon 221/3.6 V8
1962 - 1965 Ford Falcon 260/4.3 V8
1964 - 1968 Ford Falcon 289/4.7 V8
1968 - 1970 Ford Falcon 302/5 V8
1969 - 1970 Ford Falcon 351/5.8 V8
1962 - 1964 Ford Falcon Sedan Delivery 260/4.3 V8
1963 - 1964 Ford Galaxie 260/4.3 V8
1963 - 1967 Ford Galaxie 289/4.7 V8
1963 - 1967 Ford Galaxie 427/7 V8
1968 - 1970 Ford Fairlane 302/5 V8
1968 - 1974 Ford Galaxie 500 302/5 V8
1969 - 1974 Ford Galaxie 500 351/5.8 V8
1964 - 1965 Ford Falcon Sedan Delivery 289/4.7 V8
1972 - 1974 Ford Gran Torino 302/5 V8
1979 - 1982 Mercury Marquis 302/5 V8
1975 - 1977 Mercury Monarch 351/5.8 V8
1975 - 1980 Mercury Monarch 302/5 V8
1980 Mercury Monarch 255/4.2 V8
1971 - 1981 Mercury Marquis 351/5.8 V8
1981 - 1982 Mercury Marquis 255/4.2 V8
1978 - 1979 Mercury Zephyr 302/5 V8
1980 - 1982 Mercury Zephyr 255/4.2 V8
1971 - 1989 DeTomaso Pantera 351/5.8 V8
1969 - 1976 Mercury Montego 351/5.8 V8
1980 - 1982 Ford Mustang 255/4.2 V8
1968 - 1995 Ford Mustang 302/5 V8
1969 DeTomaso Mangusta 302/5 V8
1970 - 1971 DeTomaso Mangusta
1966 - 1968 Ford Bronco 289/4.7 V8
1968 - 1992 Ford Bronco 302/5 V8
1962 - 1963 Ford Country Sedan 221/3.6 V8
1963 - 1967 Ford Country Sedan 289/4.7 V8
1963 - 1968 Ford Country Sedan 427/7 V8
1962 - 1965 Ford Country Sedan 260/4.3 V8
1969 - 1974 Ford Country Sedan 351/5.8 V8
1968 - 1974 Ford Country Sedan 302/5 V8
1962 - 1963 Ford Country Squire 221/3.6 V8
1963 - 1967 Ford Country Squire 289/4.7 V8
1963 - 1968 Ford Country Squire 427/7 V8
1962 - 1965 Ford Country Squire 260/4.3 V8
1981 - 1982 Ford LTD 255/4.2 V8
1969 - 1984 Ford LTD 351/5.8 V8
1977 - 1979 Ford LTD II 351/5.8 V8
1968 - 1986 Ford LTD 302/5 V8
1977 - 1979 Ford LTD II 302/5 V8
1971 - 1977 Ford Maverick 302/5 V8
1969 - 1995 Ford Mustang 351/5.8 V8
1975 - 1978 Ford Mustang II 302/5 V8
1976 - 1977 Ford P-500 302/5 V8
1972 - 1976 Ford P-350 302/5 V8
1976 Ford P-400 302/5 V8
1977 - 1993 Ford Thunderbird 302/5 V8
1977 - 1979 Ford Thunderbird 351/5.8 V8
1980 - 1982 Ford Thunderbird 255/4.2 V8
1980 - 1985 Lincoln Continental 302/5 V8
1980 Lincoln Continental 351/5.8 V8
1983 - 1987 Lincoln Continental
1980 Lincoln Mark VI 351/5.8 V8
1981 - 1983 Lincoln Mark VI
1984 - 1985 Lincoln Mark VII 302/5 V8
1986 - 1992 Lincoln Mark VII
1980 Lincoln Mark VI 302/5 V8
1978 - 1980 Lincoln Versailles
1979 - 1986 Mercury Capri 302/5 V8
1987 - 1991 Mercury Colony Park
1977 Lincoln Versailles 302/5 V8
1977 Lincoln Versailles 351/5.8 V8
1980 - 1982 Mercury Capri 255/4.2 V8
1963 Mercury Country Cruiser 221/3.6 V8
1964 - 1965 Mercury Cyclone 260/4.3 V8
1964 - 1969 Mercury Cyclone 427/7 V8
1968 - 1971 Mercury Cyclone 302/5 V8
1964 - 1968 Mercury Cyclone 289/4.7 V8
1969 - 1971 Mercury Cyclone 351/5.8 V8
1963 - 1967 Mercury Marauder 427/7 V8
1963 Mercury Country Cruiser 260/4.3 V8
1963 Mercury Country Cruiser 289/4.7 V8
1962 - 1963 Mercury Meteor 260/4.3 V8
1968 - 1974 Mercury Montego 302/5 V8
1968 - 1969 Mercury Montego 427/7 V8
1967 Mercury Marquis 427/7 V8
1962 - 1963 Mercury Meteor 221/3.6 V8
1963 Mercury Meteor 289/4.7 V8
1964 - 1967 Mercury Montclair 427/7 V8
1963 - 1967 Mercury Monterey 427/7 V8
1968 Mercury Montego 289/4.7 V8
1970 - 1974 Mercury Monterey 351/5.8 V8
1964 - 1967 Mercury Park Lane 427/7 V8
1966 - 1967 Mercury Voyager 289/4.7 V8
1966 - 1967 Mercury Voyager 427/7 V8
1964 Shelby Cobra 260/4.3 V8
1962 - 1965 Mercury Villager 260/4.3 V8
1980 - 1981 Ford Granada 255/4.2 V8
1975 - 1996 Ford E-150 Econoline 302/5 V8
1975 - 1996 Ford E-150 Econoline 351/5.8 V8
1965 - 1967 Ford LTD 289/4.7 V8
1965 - 1968 Ford LTD 427/7 V8
1964 - 1968 Ford Mustang 289/4.7 V8
1962 - 1965 Ford Ranch Wagon 260/4.3 V8
1964 - 1965 Ford Mustang 260/4.3 V8
1963 - 1968 Ford Ranch Wagon 427/7 V8
1963 - 1967 Ford Ranch Wagon 289/4.7 V8
1968 Ford Mustang 427/7 V8
1965 - 1967 Ford Ranchero 289/4.7 V8
1962 - 1963 Ford Ranch Wagon 221/3.6 V8
1975 - 1996 Ford Bronco
1978 - 1992 Ford Bronco 351/5.8 V8
1987 - 1991 Ford Country Squire
1996 Ford Econoline Super Duty 351/5.8 V8
1975 - 1983 Ford E-100 Econoline 351/5.8 V8
1979 - 1983 Ford E-100 Econoline Club Wagon 302/5 V8
1975 - 1983 Ford E-100 Econoline Club Wagon 351/5.8 V8
1981 - 1982 Ford F-100 255/4.2 V8
1977 - 1996 Ford F-150 351/5.8 V8
1975 - 1996 Ford F-150 302/5 V8
1977 - 1996 Ford F-250 351/5.8 V8

Specs:

Application Small Block Ford
Brand Mr. Gasket
Construction Cast
Emission Code 5
Finish Polished
Height Standard
Logo Finned, No Logo
Material Aluminum
Oil Fill Yes
Product Type Valve Cover
Style Cast SBF
Warranty Limited 90 Day
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SKU: 1165107469

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4.3 ★★★★★
Based on 13 reviews
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Product Reviews
B
Verified Purchase
Bookworm
San Leandro, US
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 21, 2016
J
Verified Purchase
jk Smiles
Port Orchard, 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
Fort Morgan, 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Waukegan, 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
Whiting, 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017

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