Plot
In Palermo, Italy in 1979, Fabbrizio Disguisey, the latest in a long line of Italian secret agents known as "Masters of Disguise," barely avoids getting caught while breaking up a smuggling ring run by the evil Devlin Bowman while disguised as Bo Derek. Bowman goes to jail and Fabbrizio decides it best to keep his family's identity a secret from his infant son, Pistachio.
23 years later, Fabbrizio runs an Italian restaurant in America with his unnamed wife and Pistachio working as, respectively, the cook and a waiter. Thanks to his yet-untold family heritage, Pistachio has a tendency to mock people at random, doing perfect but annoying and badly timed impersonations. He's also looking for a wife, but his nerdy demeanor makes him unlikeable to women, as well as a target for bullies, like fellow waiter Rex.
One night, Devlin Bowman, fresh out of jail, kidnaps Fabbrizio and "Mama", forcing the former to use his Disguisey powers to steal legendary artifacts like the U.S. Constitution. Meanwhile, Pistachio is visited by his unnamed grandfather, who reveals Pistachio's heritage and begins training him in the ways of becoming a Master of Disguise.
Eventually, Pistachio gets the basics of the Disguisey way down and his grandfather gets him an assistant, the gorgeous Jennifer Baker, who is a little confused about what the job entails. The two search the area where Fabbrizio was kidnapped and find one of Bowman's cigars, which is emblazoned with the symbol of the "Turtle Club". Pistachio disguises himself as a man who dresses and acts like a turtle. They manage to learn Bowman's name and scheme, as well as that he'll be at an antiques fair the next day.
Pistachio and Jennifer go to the fair, the former disguised as an elderly woman named Gammy Num-Nums. They meet Bowman, who invites Jennifer to a party at his house. Pistachio goes to the party disguised as Tony Montana and distracts Bowman while Jennifer looks for clues. Though she gets it, Pistachio causes so much trouble that he's forced to abandon Jennifer when Bowman sends his men after him. Pistachio loses the henchmen by disguising himself as shark-hunter Quint. He uses other disguises, like Bavarian tax agent Constable Mueller and British secret agent Terry Suave, to get Jennifer to safety.
That night, Pistachio and Jennifer look through the clues at a local restaurant, and they deduce that Bowman has forced Fabbrizio to go back to his disguising ways to steal the treasures for Bowman. While there, they find Jennifer's boyfriend out on a date with Pistachio's old flame, Sophia. Pistachio then ends up slapping him into submission, then leaving with the love-struck Jennifer.
Bowman's men kidnap Jennifer as soon as they arrive back at her home. Her son, Barney, whom Pistachio has befriended, finds him talking with his grandfather via hologram and a plan is formed. Pistachio, disguised as a cherry pie, breaks into Bowman's house and stops the auction. But even after defeating Bowman's ninja army, Bowman has one final trick up his sleeve. He has attached a mask of his own face to Fabbrizio's head, making him appear to be Bowman. While the real Bowman escapes, Pistachio is forced to fight his father.
In the end, Pistachio helps his father snap out of it, they free "Mama", return the artifacts, Pistachio marries Jennifer, and becomes an official Master of Disguise. However, there is one final thing to deal with -- Bowman still has the Constitution. Luckily, the Disguiseys find him in Costa Rica. Disguised as George W. Bush, he, along with Fabbrizio and his grandfather, defeat Bowman once and for all.
Read more about this topic: The Master Of Disguise
Famous quotes containing the word plot:
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)