Panic!

He is seventeen and very drunk. He and some of his friends are drinking beer in the prewar Ford which his father has bought him, road-racing in an abandoned development known as Happy Acres north of town. The radio is playing Presley and Jerry Lee Lewis and Fats Domino, and empty bottles fly periodically out of the open windows, and scrawny little Pete Tamazzi is telling this story about how he got into Nancy Collins the week before, Nancy Collins being a very proper Catholic girl and president of the Student Body and obviously a virgin and obviously intending to stay that way, Pete being full of bullshit as usual and as usual the others urging him on to more and more graphic lies.

He sends the Ford into a sliding curve, and over his shoulder he shouts to Hal Younger, “Crack me another one, bartender.”

Hal opens a bottle and starts to pass it forward, and suddenly the interior of the car is filled with eerily fiashing red light. He looks up at the rear-view mirror, and laughter dies on his lips and the beer turns sour in his stomach. “Oh Christ!” he says.

The others are looking out through the rear window, and Pete says “Cops” and begins to hiccup.

“Well,” Hal says, “we’re screwed, guys.”

He knows he should stop. The police car is not far behind them, coming fast, the red light swirling hellish shadows over the black weed-tossed development, turning the faces of the boys in the car into demonic caricatures, visions in a nightmare.

He knows he should stop—and yet his beer-numbed thoughts are those of blue uniforms with shiny brass buttons, and small barred cells, and his mother crying and his father shouting. His hands grip the wheel and his foot bears down on the accelerator. The Ford has been modified, bored and stroked, three jugs, Mallory ignition, but it is no match for the new Chryslers the local police are using and he knows it. Still, he can’t stop himself, he can’t slow down, and now there is the sound of a siren to splinter the night around them, feeding his need to escape, to be free of these sudden pursuers.

He fights the wheel into a turn, gearing down, switching off the headlights. There is a pale moon, but it does not shed enough light by which to see sufficiently. But he knows the crosshatched roads in Happy Acres, he has been here many times with Cassy Sunderland and Karen Akers and with Hal and Pete and the others ...

“Jack, what are you doing, for God’s sake!” Hal shouts.

And Gene Turner’s voice: “You can’t outrun them, you’ll kill us all!”