After he has inched along another thirty feet, he sees that the cops riding herd on the traffic are Danny Tcheda and Pam Stevens, and his complacency wavers. A couple of days ago, both Tcheda and Stevens had responded to his request for information by telling him to go to hell. Pam Stevens is a know-it-all bitch anyhow, a professional ball-breaker. Why else would a reasonably okay-looking dame want to be a cop? Stevens would turn him away from the scene for the sheer hell of it — she'd enjoy it! Probably, Wendell realizes, he will have to sneak in somehow. He pictures himself crawling through the fields on his belly and shivers with distaste.
At least he can have the pleasure of watching the cops giving the finger to Beezer and crew. The bikers roar past another half-dozen cars without slowing down, so Wendell supposes they plan on going into a flashy, skidding turn, dodging right by those two dumbbells in blue, and zooming around the patrol car as if it didn't exist. What will the cops do then, Wendell wonders — drag out their guns and try to look fierce? Fire warning shots and hit each other in the foot?
Astonishingly, Beezer and his train of fellow bikers pay no attention to the cars attempting to move into the lane, to Tcheda and Stevens, or to anything else up there. They do not even turn their heads to gape up at the ruined shack, the chief's car, the pickup truck — which Wendell instantly recognizes — and the men standing on the beaten grass, two of whom are Dale Gilbertson and the pickup's owner, Hollywood Jack Sawyer, that snooty L.A. prick. (The third guy, who is wearing an ice-cream hat, sunglasses, and a spiffy vest, makes no sense at all, at least not to Wendell. He looks like he dropped in from some old Humphrey Bogart movie.) No, they blast on by the whole messy scene with their helmets pointed straight ahead, as if all they have in mind is cruising into Centralia and busting up the fixtures in the Sand Bar. On they go, all five of the bastards, indifferent as a pack of wild dogs. As soon as they hit open road again, the other four move into parallel formation behind Beezer and fan out across the highway. Then, as one, they veer off to the left, send up five great plumes of dust and gravel, and spin into five U-turns. Without breaking stride — without even appearing to slow down — they separate into their one-two-two pattern and come streaking back westward toward the crime scene and French Landing.
I'll be damned, Wendell thinks. Beezer turned tail and gave up. What a wimp. The knot of bikers grows larger and larger as it swoops toward him, and soon the amazed Wendell Green makes out Beezer St. Pierre's grim face, which beneath its helmet also gets larger and larger as it approaches. "I never figured you for a quitter," Wendell says, watching Beezer loom ever nearer. The wind has parted his beard into two equal sections that flare out behind him on both sides of his head. Behind his goggles, Beezer's eyes look as if he is aiming down the barrel of a rifle. The thought that Beezer might turn those hunter's eyes on him makes Wendell's bowels feel dangerously loose. "Loser," he says, not very loudly. With an ear-pounding roar, Beezer flashes past the dented Toyota. The rest of the Thunder Five hammer the air, then streak down the road.
This evidence of Beezer's cowardice brightens Wendell's heart as he watches the bikers diminish in his rearview mirror, but a thought he cannot ignore begins to worm its way upward through the synapses of his brain. Wendell may not be the Edward R. Murrow of the present day, but he has been a reporter for nearly thirty years, and he has developed a few instincts. The thought winding through his mental channels sets off a series of wavelike alarms that at last push it into consciousness. Wendell gets it — he sees the hidden design; he understands what's going down.
"Well, hot doggy," he says, and with a wide grin blasts his horn, cranks his wheel to the left, and jolts into a turn with only minimal damage to his fender and that of the car in front of him. "You sneaky bastard," he says, nearly chuckling with delight. The Toyota squeezes out of the line of vehicles pointed eastward and drifts over into the westbound lanes. Clanking and farting, it shoots away in pursuit of the crafty bikers.
There will be no crawling through cornfields for Wendell Green: that sneaky bastard Beezer St. Pierre knows a back way to Ed's Eats! All our star reporter has to do is hang back far enough to stay out of sight and he gets a free pass into the scene. Beautiful. Ah, the irony: Beezer gives the press a helpful hand — many thanks, you arrogant thug. Wendell hardly supposes that Dale Gilbertson will give him the run of the place, but it will be harder to throw him out than to turn him away. In the time he has, he can ask a few probing questions, snap a few telling photos, and — above all! — soak up enough atmosphere to produce one of his legendary "color" pieces.