Just then, across the safety island in the opposing lane, there was a crash.
The very brief flash of vision Ross was allowed told him, incredibly, that a vehicle had attempted to enter the lane going the wrong way, with the consequences you’d expect. He watched, goggle-eyed, as the effects of the crash rippled down the line of oncoming traffic. The squeal of brakes and rending of metal was audible even above the thumping music: “Is this your car?” “NO!”
Thereafter, as they drove, the opposing lane was motionless, but not silent. The piercing blasts of strings and trumpets rose to the heavens from each vehicle, as did the brilliant pyrotechnic jets. A call for help, Ross theorized. The music was beginning to make his head ache. It had been going on for at least ten minutes. Suddenly, blessedly, it changed. There was a great fanfare of trombones in major thirds that seemed to go on forever, but didn’t quite. At the end of forever, the same tenor chanted: “You got a Roadmeister?” and the chorus roared: “YES!”
Ross realized forlornly that the music must contain values and subtleties which his coarser senses and undeveloped esthetic background could not grasp. But he wished it would stop. It was making him miss all the scenery. After perhaps the fifteenth repetition of the Roadmeister motif, it ended; the driver, with a look of deep satisfaction, did something to the control board that turned off a subsequent voice before it could get out more than a syllable.
He turned to Ross and yelled above the suddenly-noticeable rush of air, “Talk-talk-talk,” and gave a whimsical shrug.
During the moment his attention wandered from the road, his vehicle rammed the one ahead, decelerated sharply and was rammed by the one behind, accelerated and rammed the one ahead again and then fell back into place.
Ross suddenly realized that he knew what had caused those crumples and crinkles around the periphery of the car.
“Subtle,” the driver yelled. “Indirection. Sneak it in.”
“What?” Ross screamed.
“The commersh,” the driver yelled.