Sorry for the cliché, but I’m in a hurry this morning.
Well, even a bird’s eye view (which appears to be some kind of a parrot drawn in some weird perspective) cannot save us from the dreaded déjà vu of another car chase. But I don’t follow. If the concern here is “catching Trail on camera”, why the chase? Perhaps the answer—such as it is—lies in panel 4, where Daggers illogically, and without reason, threatens to make good on her earlier threat to pound Trail if he so much as touches Professor Bee Sharp. The lady has some issues. I mean, this would make some sense if she was angry at another woman she perceived as a threat to her relationship with the Professor.
Now, this is a rather ridiculous position to take, given the earlier session in the boxing ring. And as I recall, Diana was a fairly quiet and reserved observer. She certainly didn’t blow her top in homicidal rage when Trail got in a few licks of his own. And why wouldn’t she have gotten mad at the very idea of a boxing match?
Perhaps we have some unrealized and unsolvable story conflicts here that Rivera is going to have to resolve by having an enraged Daggers make one too many power turns and overshoot a dangerous hairpin turn on the equivalent of Deadman’s Curve. If we include that earlier image of a rat (presumably more) eating network cables and somehow ruining the security cameras, then an unfortunate crash saves Mark from likely jail time and helps Rivera find a convenient ending to this story.
But, if they do catch up with Mark, would he hit a woman, even in self defense? Would he have done so in his former incarnation? I could not find an example, but it certainly goes against the old-fashioned morals of Mark and our mythic heroes of stage, screen, and print. Yet, our neo-Mark Trail is a deliberate 180, a kind of anti-hero more in the “Man with No Name” mold. Speaking of which, John Wick did not shy from fighting women; but it might be poor optics in a family comic strip for Mark to cross that line. Better that the muscle car cross a warning line on the highway and meet a tragic, if romantic, end.