Talion (standard:drama, 8571 words)
Author: MikeK	Added: May 28 2010	Views/Reads: 3037/2537	Story vote: 0.00 (0 votes)
Written in play form for a change - this is a story about an organization gone wrong, and now the founder is on the run from the feds.

Click here to read the first 75 lines of the story


JESS 

It's Talion.  Do you see what it is?  What it's become?  Look here. 

(HE REACHES INTO HIS POCKET AND REMOVES A TATTERED PIECE OF NEWSPAPER
AND READS FROM IT) 

"A Neo-Nazi, white supremacist organization bent on the violent
overthrow of democratic government." 

MILES 

So what.  Since when did you pay any attention to what the papers said? 

JESS 

Since I found out it is true.  A month ago I wouldn't have believed it. 
But now. 

MILES 

Bull!  You started Talion.  You know what it's all about.  Remember; 
The lex talionis:  An eye for an eye.  Every time some poor farmer got 
raped by the Feds or the big bankers you would create such a furor that 
they would hear you on Capitol Hill.   You did that!  You made those 
bastards take notice.  You gave a voice to the little people.  You 
can't tell me that some newsprint crap about Nazis and skinheads has 
ruined what you did.  What Talion did. 

JESS 

Some voice!  Oh I was damn good at organizing.  So cock-sure of
everything as soon as I got a little notoriety.  I had no idea what the 
other groups were doing.  Not `till I saw them firsthand. 

MILES 

And what is it that you found?  That makes you want to disband the whole
thing? 

JESS 

I told you.  The newspapers are right.  The only people who would help
me dodge the Feds were those radical racist lunatics they write about.  
Picture this:  A week ago I'm at a small farm in Oklahoma, deep 
underground, or so I think.  My contact insists my presence and stature 
as founder of Talion be honored with a meeting to which I reluctantly 
agree.  The night of this soiree' there must have been a hundred people 
milling around drinking and playing loud music on those portable 
radios. By way of introduction, I am announced over a bull-horn to the 
assemblage as the founder of Talion and, and I quote, "the one who blew 
away that shit-head up in North Dakota." Following this sterling 
recommendation is a kind of Bund rally, or more accurately a litany of 
injustices perpetrated by all Negroes, Jews, Catholics and foreign 
sons-of-bitches upon white Oklahomans. 

MILES 

Sounds like a lovely evening. 

JESS 

It wasn't quite as bad as I made it sound.  Turns out that most of the
people came for the dog fights they had afterwards. 

MILES 

Thank God.  Still.  You can't condemn a whole movement on the basis of
one bad meeting. 

JESS 

No.  But that was but a vignette.  Repeated ad nauseam.  You see those
two guys that brought me in last night?  Pillars of the community, 
wouldn't you say?  I mean anyone with their expertise in cross-burning 
must be invaluable to the movement. Meatballs, Miles.  Grade A 
certified meatballs. 

MILES 

No movement of this kind is going to be without it's radical fringe. 
You knew that, or at least you should have.  When you started Talion 
you drew members from the Posse Comitatus and from the Order of Arms.   
And now you're disillusioned? I don't know what you wanted, or what you 
thought you were going to get. My God, man, you killed a Federal 
Marshal in a shoot out at a road block. Try and tell me that's not 
radical. 

JESS 

I. I never meant for that to happen.  Not that way. 

MILES 

Does it matter now?  You're the leader.  You get the glory, and the
responsibility. 

JESS 

I know.  I'm not making excuses. 

MILES 

Then Talion lives.  And you lead. 

JESS 

Goddamn Talion!  And Goddamn leaders!  And Goddamn all organizations
that are not cloisters or monasteries! 

MILES 

Goddamn you!  I've worked my ass off down here getting this thing
organized. 

JESS 

Fine.  Keep it.  Only find another name for it.  Talion is dead. 

MILES 

Bet me!  You think we'll disband that easily?  You haven't changed in
thirty years.  You remember that time outside that Vietnam village when 
you threw down your rifle, stripped off your uniform, and declared the 
war over. And who should happen along but Colonel Smith.  He points you 
north and says that about two miles that way are the VC Regulars and if 
you can sell them on the idea we'll all go home. You have to know that 
things with that kind of inertia don't end on one mans say so. 

JESS 

Then help me, Miles.  This is our baby.  We conceived it and nurtured
it. Help me rip it from the womb before it comes full term.  Have not 
our great leaders told us we can abort life itself?  Surely we can 
abort one little organization. 

MILES 

I don't believe this.  You organized these people, you gave them hope. 

JESS 

I gave them nothing.  A temporary euphoria, a little power and a few
headlines.  Better they should toke a little, or get drunk. Like we are 
now. 

MILES 

You're talking crazy. 

JESS 

Talking crazy?  Talking crazy?  I am crazy!!  Look at me, Miles.  I'm an
old man.  I should be sitting on a park bench feeding the pigeons.  I 
should be having grandchildren to bounce on my knee. But no. I'm 
leading a banana revolution against the land of OZ! (LONG PAUSE) I need 
to be in a home someplace where they'll bring me fuzzy slippers and 
five hundred milligrams of Thorazine. 

MILES 

I don't remember you being so cynical. 

JESS 

I was never being hunted down before. Like a rabid dog. 

MILES 

So now we're wrong?  We shouldn't stand up to someone because they're
the government? 

JESS 

I'm tired, Miles.  I don't care anymore.  This shit sounds good in an
editorial or a brochure.  Who in the hell has the right, let alone the 
ability, to lead anyone?  I was pissed because the government ripped me 
off, so I picked up a rifle and made some noise. 

MILES 

They have rifles.  And we've both seen what they do with them. 

JESS 

That's their business, Miles.  I don't give a damn what they do now. 
I've seen the other side.  Millions of us have surrendered initiative 
and responsibility for political correctness, and we won't get it back 
in my lifetime. 

MILES 

All the more reason to strengthen Talion, not disband it. 

JESS 

All the more reason to leave it the hell alone.  You want to make a
difference?  Stay home and take care of your people.  And never join an 
organization! 

MILES 

You're strung out.  Lets try and get some sleep.  It will soon be light.


JESS 

(TAKING A SMALL BOTTLE OF WHITE PILLS OUT OF HIS POCKET) Can't sleep.  I
don't think I've blinked since Fort Smith. 

(THEY SIT QUIET.  MILES STARTS TO DOZE OFF) 

What happened to us?  Where did we miss the boat?   We didn't protest or
run around smoking dope.  Didn't we fight for our country?  Didn't we 
pledge allegiance to every mother loving thing we could? 

(JESS STARTS TO NOD OFF BUT QUICKLY JERKS HIS HEAD UP) 

Why didn't they just leave us to hell alone?  All we ever wanted was to
be left alone.  (LONG PAUSE)  I'm over the edge, Miles.  I don't think 
I can get back. (HE STARTS TO NOD OFF AGAIN BUT JUMPS UP, PICKS UP HIS 
RIFLE FROM THE CORNER AND GOES TO THE FRONT DOOR WHERE HE KICKS THE 
SCREEN OPEN AND FIRES SEVERAL SHOTS) 

OK You sons-of-bitches, here I am!  Come and get me! 

(HE FIRES ANOTHER SHOT) 

A message from the emasculated sons of liberty! 

(MILES JUMPS UP AND GRABS JESS AS MARY COME IN) 

MARY 

What's all the shooting?  Is he hurt? 

MILES 

(TAKES JESS OVER TO A DAY-BED AND GETS HIM TO LIE DOWN.  HE TAKES THE
RIFLE AND STANDS IT BACK IN THE CORNER) 

He's OK.  A little drunk and a lot tired. 

MARY 

(PUTTING A BLANKET OVER JESS) 

Go on to bed.  I'll sit with him for a while. 

MILES 

OK.  I'll try and get in a nap. 

(GOES OUT)  (MARY PULLS A CHAIR OVER BY JESS) 

JESS 

(TRYING TO GET UP) 

Got to get up.  So much to do. 

MARY 

(HOLDING JESS LIGHTLY BY THE SHOULDERS) 

No.  No.  Lie back down, just for a moment.  You don't have to sleep,
just relax.   Maybe a little nap. 

JESS 

Ah, Mary, still a vision of loveliness. 

MARY 

And you're still full of the blarney.   I'm thirty pounds and almost as
many years the other side of loveliness.  Not that I mind the 
compliment. 

JESS 

I shouldn't be here.  In your house I mean. 

(HE TRIES TO GET UP) 

MARY 

(PUSHING HIM BACK DOWN) 

Shhh.  Shhh.  I have been wondering the same thing myself of late.  But
here we are.  Try and be quiet for a while. 

JESS 

(DRIFTING OFF) 

You understand.  How is it that you women understand so much?  So much
without being told.  I've been told so much BS lately.  I don't 
understand any of it anymore.  Not a goddamn bit.... 

/ / / / / / / / / / 

SCENE 2 

(IT'S EARLY MOURNING NOW AT THE FARMHOUSE.  MILES IS STANDING AT THE
FRONT DOOR LOOKING OUT ACROSS THE PORCH. THERE IS A NOISE FROM OUTSIDE 
AND JESS COMES IN FROM THE KITCHEN AND PICKS UP HIS RIFLE FROM THE 
CORNER) 

JESS 

What's all the commotion? 

MILES 

It's Stuart and Charlie back from town.  They've got someone with them. 

(ANIMATED VOICES FROM OUTSIDE.  A YOUNG MAN, MAYBE MID TO LATE TWENTIES
AND DRESSED IN A NOW DIRTY SUIT AND TIE, PULLS THE SCREEN DOOR OPEN AND 
IS VIOLENTLY SHOVED INTO THE ROOM FOLLOWED BY TWO MEN.  THE YOUNGER 
MAN, MILES' SON CHARLIE, IS EARLY TWENTIES AND THE OTHER MAN, STUART,  
IS LATE THIRTIES OR EARLY FOURTIES.) 

CHARLIE 

We got one, Jess.  Stuart found him stumbling around in the brush! 

(HE SHOVES THE MAN IN THE SUIT HARD ONTO THE DAY BED) 

MILES 

Damnit Charlie, take it easy!  No call for that. 

STUART 

(LETTING HIS RIFLE HANG BY THE SLING FROM HIS SHOULDER, ARMY STYLE) 

Thought I'd check that old logging road over east on our way back from
town.  I saw this sedan parked out in the open about half way up the 
hill and found him (POINTS TO THE AGENT ON THE DAY BED) hunkered down 
in the brush.  Had to bring him along.  He's FBI. 

(STUART TAKES A PAIR OF BINOCULARS OFF HIS BELT AND A WALLET OUT OF HIS
POCKET AND LAYS THEM ON THE TABLE.) 

JESS 

Are you sure he was alone? 

STUART 

Didn't see anyone else.  We took some time to look around. 

(HE TURNS TO CHARLIE WHO IS GLARING AT THE AGENT) 

You need to go get his car.  Maybe you can take Candy with you; she can
drive one of them. 

CHARLIE 

Probably have to wake her up. 

(GOES OVER TO THE STAIRS AND HOLLERS UP) 

Candy!  Candy!  Mel Gibson's here to see you. (GOES UP) 

MILES 

(TO STUART) What's it look like in town? 

STUART 

Not good.  I saw two cars at the café with government plates.  Word has
it that the sheriff is on his way over. 

JESS 

Damn!  I was afraid of this. 

MILES 

Everyone around here knows that old logging road.  If he's the only one
Stu saw they're not sure yet. 

JESS 

Maybe so, but it won't be long. (HE PICKS UP THE AGENT'S ID AND READS
ALOUD) Mark Younger,  special agent. (TO STUART) Did he have a weapon? 

STUART 

Yea.  (HE TAKES A SHORT BARRELED REVOLVER OUT OF HIS POCKET AND PUTS IT
ON THE TABLE WITH THE OTHER THINGS.) 

JESS 

(TO STUART)  Keep an eye on him.  (TO MILES)  Let's have a look around. 
(THEY GO OUT) 

CHARLIE 

(COMING BACK DOWN FROM UPSTAIRS) 

I knew it.  She could sleep through mortar fire. 

STUART 

You got those cuffs? 

CHARLIE 

Yea.  (HE TAKES A PAIR OF HANDCUFFS OUT OF HIS POCKET AND GIVES THEM TO
STUART) 

(CANDY COMES DOWN THE STAIRS.  SHE'S A PRETTY GIRL ABOUT EIGHTEEN OR
NINETEEN YEARS OLD) 

CANDY 

Hi Stu.  (NOTICING THE AGENT)  Oh, he's cute.  Can I have him? 

CHARLIE 

Damnit to hell, Candy.  Get your shoes on and let's go. 

CANDY 

(TO AGENT)  You'll have to excuse Charlie.  I tried to have Pa castrate
him when he did the rest of the hogs. 

CHARLIE 

(TO SSUART)  Can you just imagine, women in the army.  By the time they
find their clothes and get their make-up on the battle will be over. 

(CANDY MAKES AN OBSCENE GESTURE TO CHARLIE AND THEY GO OUT) 

MARK 

Is that your girl? 

STUART 

No. 

MARK 

She's a beauty. 

STUART 

I guess. 

MARK 

I can work a deal with you.  We only want Kilgore. 

(STUART LOOKS AT HIM AND SHAKES HIS HEAD BUT DOESN'T REPLY)  (MARY COMES
IN FROM THE KITCHEN) 

MARY 

Hello, Stu.  (NOTICING THE AGENT)  Why hello.  Who are you? 

STUART 

Hi, Mary 

MARK 

Ma'am. 

MARY 

(TO STUART)  Have you eaten?  Oh, of course not.  You never do.  Let me
fix you something.   I'll get coffee first.  (TO AGENT)  How about you? 


MARK 

Coffee, Ma'am.  Thank you. 

(MARY GOES TO THE KITCHEN AND HE TURNS TO STUART) 

You look like you've been around.  There is no use in bringing trouble
down on these folks.  Let me go and I'll see we take Kilgore without 
any harm to the others.  There is a reward, you know.  A pretty good 
one. 

STUART 

Save it.  I'm not as dedicated as you might think;  one cause is as good
as another.  But I'll put a bullet between you eyes before I'll sell 
someone out to you. Keep that in mind. 

(JESS AND MILES RETURN) 

See anything? 

MILES 

No.  (TO JESS)  I do wish you'd consider hiding out here.  It's rough
country to the north.  No roads and Stu knows it better than any. 

JESS 

No, Miles.  They have dogs.  They'll bring in heat sensors, night-vision
and all that other stuff.  I'd be no match for them out there. 

STUART 

We can load up and head for Timberline. 

(THE AGENT PERKS UP AT THE MENTION OF TIMBERLINE) 

JESS 

No.  I'd be there now but some of those stupid bastards that hit that
armored car outside of Portland holed up there and the Feds found out 
about it. Last I heard they were under siege. 

MILES 

You sure? 

JESS 

I talked to Paul in Oklahoma.  He's sure, and that's good enough for me.


STUART 

Well, they haven't gone in yet.  We'd have heard about it by now.  It
will take a small army to pry them out. 

JESS 

They have an army, Stuart. 

MARY 

(OPENING THE KITCHEN DOOR) Come on and eat something, Stu. 

(TO MILES) Send the kids in to eat when they get back. 

STUART 

Coming. (HE TAKES HIS RIFLE AND STANDS IT IN THE CORNER.  HE PICKS UP
THE HANDCUFFS AND STARTS TOWARD THE AGENT) 

JESS 

Never mind, Stuart.  Go eat. 

(STUART GOES OUT TO THE KITCHEN.  JESS MOTIONS FOR THE AGENT TO TAKE A
SEAT AT THE TABLE OPPOSITE HIM) 

Sit down. 

(AS THE AGENT SITS DOWN HE EAGERLY EYES STUART'S RIFLE IN THE CORNER) 

Miles, move Stuart's rifle.  God knows I don't need to shoot another
one. Not a habit I need to cultivate. 

MARK 

You could let me take you in. 

JESS 

I suppose you know who I am? 

MARK 

Everyone in the country knows who you are.  You killed a Marshal up in
South Dakota. 

JESS 

(TOYING WITH THE AGENTS REVOLVER) 

Yea.  Things kind of got out of hand.  It was the deputies that started
shooting.  Next thing I knew there was glass and blood all over me and 
the wife. Then the Marshal is shooting at the car.  I don't guess it 
makes any difference now. 

MARK 

They'll go easier on you if you give yourself up. 

JESS 

Easier?  Easier than what?  Can you keep me out of jail? 

MARK 

What do you expect?  You killed a federal Marshal.  Even if there were
extenuating circumstances you would have to be in jail for some time. 

MILES 

I wouldn't listen to him much, Jess.  He's barely weaned. 

JESS 

I can't go back to jail.  Years ago I spent half a year.  No, I won't go
back. 

MARK 

(PUSHING) Some of these others could get hurt;  or do hard time. 

JESS 

I know.  I've got to get away from here.   I can't. 

MARK 

(MISTAKENLY SENSING WEAKNESS) You're famous now.  You could get one of
those high dollar attorneys to defend you.  If it was self defense you 
might get off altogether.  You would be surprised what those. 

JESS 

(TO MILES) Do you believe this?  He must be doing some of the drugs they
confiscate. 

MARK 

Hey!  I'm just doing my job. 

JESS 

(MORE AND MORE ANGRY) Doing your job!  Doing your job!!  All you federal
sons-of-bitches are just doing your job.  Look around you!  How in the 
hell do you think you get decent folks like this involved in such 
goings on. They took my equipment for back taxes, which meant I 
couldn't work my land.  And you want to know what was the worst part?  
The worst of all!  The indifference.  The complete government sponsored 
total lack of concern.  Not mean or malicious.  Just goddamn 
indifference!  They were stomping my ass into the ground I couldn't 
work and they didn't care.  They said they were sorry but they were 
just doing their jobs. 

MILES 

Take it easy, Jess. 

JESS 

Damn!! 

(HE JUMPS UP AND BANGS HIS FIST ON THE TABLE AND GETS IN THE AGENT'S
FACE) 

What's my job, federal man?  You tell me.  Where do I fit in now?  I'm a
terrorist, right?  What did that newspaper call me;  A Neo-Nazi 
anti-government terrorist! 

(HE TAKES THE REVOLVER AND POINTS IT RIGHT BETWEEN THE AGENT'S EYES AND
PULLS THE HAMMER BACK) 

Now I guess I'd just be doing my job if I splatter your young brains all
over that wall!! 

(THE AGENT STARTS TO FAINT) 

Just doing my job.  Nothing personal. 

MILES 

C'mon Jess, don't do that. 

MARK 

You're insane. 

JESS 

(LOWERS THE REVOLVER AND SITS DOWN) 

I'm an angry old man running out of room.  Whatever I am or have become,
I'm not a murderer.  And these folks here aren't murderers.  And that, 
government man, is why you're alive this minute. 

(NOISE FROM OUTSIDE.  MILES LOOKS OUT AND  THEN SITS BACK DOWN.  - 
ENTER CHARLIE AND CANDY) 

CHARLIE 

We got the cars.  No sign of anything else going on. 

(HE LOOKS AT THE AGENT SITTING AT THE TABLE) 

What's he doing at the table?  We ought to take him out and shoot him
like they did your boy, Jess. 

MILES 

Knock it off.  Your mother has something for you to eat in the kitchen. 

CANDY 

Oh good, I'm starving. (LOOKING AT THE AGENT) 

You don't look so good.  Are you all right? 

MARK 

Yes.  I'm fine. 

CANDY 

Don't pay any attention to Charlie.  He thinks cows piss well water. 

(GOES OUT TO THE KITCHEN) 

CHARLIE 

Well, he don't have to sit at the table like he was company or
something. 

MILES 

(HANDS CHARLIE THE HANDCUFFS) 

Here, put him on the day-bed and go eat. 

(CHARLIE THROWS THE AGENT ON THE BED, CUFFS HIM TO IT, AND GOES OUT TO
THE KITCHEN) 

(SCENE 2) 

(EVERYONE IS SITTING OR STANDING AROUND THE TABLE DRINKING COFFEE EXCEPT
THE AGENT WHO IS SITTING ON THE FLOOR WITH HIS HANDS CUFFED TO THE RAIL 
OF THE BED.  HE HAS HIS HEAD SLUMPED OVER ONE ARM, ASLEEP.  CANDY COMES 
IN FROM THE KITCHEN WITH HER COFFEE AND GOES OVER TO THE AGENT) 

CHARLIE 

Damn it, Candy, get away from him. 

CANDY 

What's the matter with him?  He couldn't have just gone to sleep like
that, is he hurt? 

STUART 

I gave him a little something extra in his coffee.  He'll be OK. 

CHARLIE 

You get away from him all the same! (TO THE OTHERS) I think she's come
in heat. 

MARY 

Charles!  That's no way to talk about your sister.  I declare, there
ought to be something you could give these kids so they wouldn't grow 
up so fast. 

CANDY 

(SITTING DOWN BY THE AGENT) 

There is Ma.  Some of the girls at school take a pill they say keeps `em
from growing at all. 

MARY 

Young lady!  You're not so old I couldn't give you a wallop. 

CHARLIE 

Let me do it, Ma.  Make us both feel better. 

CANDY 

Try it!  But you had better hurry, Charlie.  I think I hear cars coming,
and helicopters and tanks and whatever else the FBI brings when some 
ignorant bastard kidnaps one of their agents. 

CHARLIE 

Bitch. 

MILES 

OK, you two.  That's enough.  Jess? 

JESS 

We don't have much time.  Just a short meeting. 

CHARLIE 

We don't need a meeting, Jess.  You stay right here and if those Feds
show up we'll give them a fine reception. 

(HE GOES TO A CHEST ALONG THE WALL AND TAKES OUT A SHORT BARRELED RIFLE
WITH A LONG CURVED CLIP.) 

CANDY 

Oh for the love of.  Pa!  Make him put that thing away. 

MARY 

Miles? 

CHARLIE 

An AK-47.  She's a beauty, huh?  Saved a whole year for it.  This one's
imported from Finland. (HE PUTS THE CLIP IN IT AND POINTS IT AT THE 
AGENT) Rattattat! 

CANDY 

Pa! 

MILES 

Charlie!  Put it away. 

CHARLIE 

I am. (PUTS IT AWAY) Just wanted Jess to know we're ready. 

CANDY 

Ready?  You're ready for a cross-bar suite. 

CHARLIE 

Shut up, Sis.  Just shut up.  You don't give a damn about anything
except filling up what you're most often sitting on!  This is serious 
business. 

CANDY 

Go screw a post!  I ain't part of your goddamn revolution. 

MILES 

That's enough.  Both of you! 

CANDY 

You're damn right, this is serious business.  You think I don't care?  I
care enough not to want my ass shot off by some Fed looking for him. 
(POINTS TO JESS) 

He's the one killed a Marshall.  You saw those pictures on the TV.  You
think this is some kind of game?  They got half the lawmen in the 
county looking for him and here he sits, in our house! 

CHARLIE 

Why don't you scream a little louder?  They can barely hear you in town.


CANDY 

(SCREAMING) Calm down!!  You listen to me, all of you.  I've sat here in
this house and heard enough bull-shit to fill in the valley.  Look what 
you've done!  Just think about what you've done,  All of you!  You've 
kidnapped an FBI agent and my sweet shit-for-brains brother wants to 
shoot it out with them right here in his own house. 

MILES 

Candy!!  Get a grip. 

CANDY 

No, Pa.  (SOBBING)  Don't let it happen.  We'll be just like him.
(POINTING AT JESS)  There won't be anywhere in the country we can hide. 


CHARLIE 

I knew she couldn't handle it. 

MARY 

(TAKES CANDY TO THE KITCHEN) Now, now.  Come with me. 

JESS 

(TO STUART) Get my gear and load it in the car, would you? 

(STUART STARTS GATHERING UP HIS GEAR) 

(TO MILES) She's right, Miles.  I'm not doing any of us any good staying
here. 

CHARLIE 

Woa.  Wait just a minute.  You're not going to turn tail and run are
you? They all talk about you like you are really something.  A real 
leader.  You're running scared. 

JESS 

Back off, kid! 

CHARLIE 

Hell I will.  You old men, you talk big, but that's mostly all you do is
talk. Ha!  Talking and crapping.  It all come to the same end. 

MILES 

Boy!  You mind your mouth. 

CHARLIE 

I don't believe this.  What did we join Talion for?  Like you told me a
thousand times, Pa, the white man that built this country  is getting 
ripped off by the blacks and Jews and all those Wall street greedy 
sons-of-bitches all screwing this country right down the tubes.  We got 
nothing.  And what little we do get the tax man or one of these Feds 
comes to take it away.  And now our great leader wants to have a 
meeting and then run away!! No more!  I'm not running and I'm not 
afraid of them.  And I don't need a meeting to know what to do. 

MILES 

Sometimes you have to retreat. 

CHARLIE 

Sometimes you have to stand.  All we've done is retreat.  No more!  I'm
not running, and I'm not afraid of them.  And I don't need a meeting to 
know what to do.  I'll just blow a couple of them away if they come 
around here with any of their government bullshit! 

JESS 

(TO CHARLIE) Sit down! 

CHARLIE 

I'm not going to. 

JESS 

(SHOVES CHARLIE DOWN) Sit down, I said.  Of all the brainless ignorant
stupid things.  You're sister's right.  You'd like to start a war right 
here in your own yard.  You shouldn't breathe the same air we do.  
You're diseased. Is this what you joined Talion for?  Or, God forbid, 
did Talion do this to you?  Can you not see a difference between 
defending a way of life, with arms if necessary, and cold blooded 
killing?  If you can't see the difference, Charlie, then the government 
ought to come and get you and put you away. 

CHARLIE 

Like you did that Marshal?  Did you tell him you were defending a way of
life before you blew his brains out? You see?  That's what I mean.  You 
old men want to justify everything.  I say enough.  I say you get right 
up in the Man's face and say `get out of my shit or I'll kill you!' (HE 
LOOKS AT THE AGENT) And if he don't, (HE MAKES A GUN WITH HIS FINGERS) 
pow!! 

JESS 

No use talking to you, kid.  You've got no future. 

CHARLIE 

I've got a future.  Better'n yours. 

JESS 

Yes, Charlie.  Know what your future is?  You'll piss down your leg when
some Fed blows a hole in you.  Or maybe you'll get by that and they'll 
throw you into prison `till you're an old man. You don't understand any 
of it yet because you're young and bullet proof, but without those 
meetings and all that talk you might as well stuff that rifle up your 
nose and pull the trigger.  Save yourself and us a lot of grief. Have 
lots of meetings, kid.  Talk it over real good `till you know exactly 
what you're doing. (HE GETS RIGHT IN CHARLIE'S FACE) Because when you 
pull back the bolt on that new rifle of yours there is no road back. 
(LOUDLY) Look at me, boy!  I'm over fifty years old and what have I got 
to show for it?  A hero?  Your ass!  A pigheaded old fool who took a 
smattering of independence and courage and molded it into something 
ludicrous. I don't have a home I can go to.  My wife is a good woman in 
spite of me not because of me, and my son.  Well, he's an idiot.  Much 
like yourself. And I'm an item on the evening news.  Someone folks hear 
about on the radio on their way to work. 

CHARLIE 

I'm not your boy.  Don't take it out on me. 

JESS 

You are my boy, Charlie.  You and a hundred like you I've seen from the
Dakotas to the Gulf. You can use a rifle, but you probably can't spell 
it. You hate things you don't know anything about.  Action.  That's all 
you want.  You'll lead a revolution or a parade.  It is all the same to 
you. 

CHARLIE 

Pa, make him quit.  I ain't going. 

MILES 

All right, go on outside and have a look around. 

(TO JESS) Take it easy, he's just a kid. 

JESS 

I know.  Like my boy, Miles.  All he wanted to do was shoot that damn
rifle.  Bea and I saw it coming, the way he would swagger around with 
that gun. He didn't want to learn anything, or be anything.  He didn't 
want a job or a family. 

MILES 

Some kids just go their own way, Jess. 

JESS 

He's going to be tried for murder, Miles, and goddamn us; goddamn Talion
for whatever part of that we caused.  Pray for mercy, Miles, or for 
forgiveness, but never for justice. 

MARY 

(COMING IN FROM THE KITCHEN WITH CANDY FOLLOWING) What can we do now? 

MILES 

How about you and Candy fix some food for Jess and Stuart to take. 

JESS 

No.  No.  Just me.  Don't go to a lot of trouble. 

(STUART COMES IN FROM OUTSIDE) 

STUART 

Everything's ready.  We'll have to scout the road back as far as the
highway.  It's the only way in or out by car. 

JESS 

(TAKING CHARGE AGAIN) Good thinking, Stuart.  I don't know where my mind
is.  Mary, just a couple of sandwiches will be fine.  Miles, you and I 
and Stuart will check the road out to the highway.  Charlie can keep an 
eye on the agent. (THEY ALL LEAVE) 

SCENE 3 

(MAIN ROOM OF THE FARMHOUSE  -  THE AGENT IS ASLEEP SITTING ON THE FLOOR
AND HANDCUFFED TO THE DAY BED -  CANDY IS NEXT TO HIM AND CHARLIE IS 
PACING BACK AND FORTH) 

CHARLIE 

Son-of-a-bitch!  Just when something is going to happen they run off and
leave me to baby sit! (HE GOES TO THE CHEST AND TAKES OUT HIS AK-47 AND 
A CLIP) 

CANDY 

What are you doing?  They told you to stay here and watch him. 

(CHARLIE PAYS NO ATTENTION TO CANDY BUT STARES AT THE AGENT - AFTER A
SECOND HE WALKS OVER TO THE AGENT AND RAISES THE BUTT OF THE RIFLE TO 
STRIKE HIM  -  CANDY SCREAMS AND THROWS HERSELF ON THE AGENT TO PROTECT 
HIM) 

CHARLIE 

Damn you girl!! (HE LOWERS THE RIFLE) You're so damned attached to him
you can stay and watch him!  If he tries anything give a holler. 

(HE GRABS HER BY THE ARM AND SHOVES HER ONTO THE FLOOR BY THE AGENT) 

(MARY HEARS THE COMMOTION AND COMES IN FROM THE KITCHEN) 

MARY 

Charles!  You let her go this instant. 

CHARLIE 

(IGNORING MARY -  TO CANDY) Don't even think about doing anything stupid
like letting him go.  I won't be far and if I see him outside I'll kill 
him. (HE GOES OUT SLAMMING THE SCREEN) 

MARY 

Are you all right? 

CANDY 

Yes, Ma. (MARY GOES BACK TO THE KITCHEN -  THE AGENT SHAKES HIMSELF
AWAKE) Some day that Charlie is going to go to sleep and not wake up. 

MARK 

I can't believe I went to sleep.  Did someone jump on me? 

CANDY 

That was me.  You OK? 

MARK 

I think so.  But why did.? 

CANDY 

Because my shit-head brother was about to mush your brains with  the
butt of his rifle. 

MARK 

God, what a zoo.  I don't suppose you'd consider taking these cuffs off?


CANDY 

No.  If it were up to me I'd let you go.  Hell, I'd go with you. (SHE
LOOKS AROUND AND THEN SETTLES DOWN) I'd like to travel.  I bet you 
travel a lot. 

MARK 

Quite a bit lately. 

CANDY 

Some day I'm going to visit different places.  Places where people lead
normal lives. Places where they don't spend all their time at meetings 
talking about how rotten the government is and how the Jews have all 
the money and the Blacks all the welfare. 

MARK 

Have you been to a lot of meetings? 

CANDY 

Not when I can help it.  I'd never go to those things except sometimes
they have them here.  One time I bet there were fifty guys running all 
over the yard and the pasture,  all carrying guns and wearing those 
camouflage outfits.  What a pain.  Poor Ma trying to take care of 
things, cooking and cleaning. To hear them tell it there's a revolution 
coming,  but I never got  that from the other kids when I was in 
school.  My last year we had a girl transfer from Kansas City and she 
said she had never heard of such a thing. 

MARK 

Probable not. 

CANDY 

Well, you're a Fed.  You know some of the government people in
Washington, don't you? 

MARK 

(LAUGHING) I've been there.  I wouldn't say I know any of them. 

CANDY 

Well, the one's that sent you down here, are they scared of a
revolution? 

MARK 

No, Candy, there is no revolution.  I came down here looking for Jess
because he killed that Marshal. 

CANDY 

Maybe so.  At any rate you're the one that got looked for and found. 
You guys ought to hire Stuart. 

MARK 

Is he your boy friend? 

CANDY 

No.  I like him but Pa would never stand for that.  Stu's a little
crazy. 

MARK 

Well you're a very attractive young lady. 

CANDY 

Really?  You're not just saying that `cause you're chained to the couch?


MARK 

It can't hurt. 

CANDY 

(LOOKS AT HIS LEFT HAND) I don't see a ring.  Are you chained to
anything else? 

MARK 

I'm not married, if that's what you mean. 

CANDY 

Wonderful.  You're not so bad looking;  I'll have Ma call the preacher. 
If you marry me they might not kill you. 

MARK 

You do know how to hold a man's interest.  And the preacher?  He won't
mind that I'm chained to the bed? 

CANDY 

Are you kidding?  For a small fee and a couple of stiff belts our
preacher would marry me to a giraffe. 

MARK 

I don't think I would care to live like this, though.  Chained to our
bed. 

CANDY 

I was counting on that. 

(THEY SIT QUIETLY FOR A MOMENT) 

MARK 

What's his last name? 

CANDY 

Who? 

MARK 

Stuart. 

CANDY 

Benning. 

MARK 

Is he from around here? 

CANDY 

You sure ask a lot of questions. 

MARK 

I know.  It's a habit you get into working the way I do. 

CANDY 

Boy, I'll say.  (SHE PAUSES) 

He was a soldier. 

MARK 

Stuart? 

CANDY 

Yes.  He fought in that Viet Nam war with some rangers or special
people. 

MARK 

Special Forces. 

CANDY 

Whatever.  Charlie says he's got all kind of medals. 

MARK 

A real war hero? 

CANDY 

I guess.  He won't talk about it but I heard Pa and Charlie talking one
day.  He grew up on a small farm north of here,  across the Missouri 
line, and before he came back from the war they said his wife had taken 
up with one of the local sheriff deputies. They said it wasn't long 
after he got back that he got arrested by this same deputy on a drug 
charge.  He made bail and wasn't out of jail a week before the deputy 
that arrested him is murdered.  They found him hung upside down in a 
tree with his throat cut just like you'd bleed a hog.  Everyone figured 
Stuart did it but I guess they couldn't prove anything. 

MARK 

And it doesn't frighten you?  Having him around? 

CANDY 

He worked for Pa off and on quite a bit before I ever found out about
it.  He's different, but not scary.  At least not to me.  The only 
thing I could ever tell he was interested in is soldiering.  If you 
watch him when they have those meetings he doesn't seem to care what 
they talk about.  He usually goes out and guards the road. 

MARK 

People like Stuart and Jess are very dangerous.  The ideas that they
profess, and their willingness to act on them threaten all of us. 

CANDY 

Maybe so.  But while you're chained up to this bed Charlie is the one
I'd be looking out for. 

(NOISE FROM OUTSIDE - CANDY GETS UP AND LOOKS OUT THE DOOR) It's
Charlie. 

(SHE TAKES THE AGENT'S REVOLVER OFF THE TABLE AND SITS BACK DOWN BESIDE
THE AGENT) 

CHARLIE 

(COMING IN) They are all coming back in a hurry.  Must have seen
something. 

(LOOKING AT THE AGENT) He give you any trouble? 

CANDY 

No. 

(CHARLIE GOES INTO THE KITCHEN AS THE OTHERS COME IN) 

MILES 

(TO JESS AS THEY COME IN) No.  Stuart knows his way around here as well
as anyone.  If he says you can't make it I'd believe him. 

JESS 

I'm sure you're right.  I'm reaching. 

STUART 

(POSTING HIMSELF BY THE FRONT WINDOW) They'll bring the dogs.  O'dell
would volunteer them even if they didn't ask.  And they'll have a 
chopper. 

(NOISE FROM OUTSIDE) Incoming.  Looks like Sheriff McKinney. 

JESS 

Everybody down!  Stay away from the windows. 

MILES 

(TO JESS) Hold on. 

(TO STUART) Is he alone? 

STUART 

Looks like it. 

MILES 

(TO JESS) He's OK.  Probably wants to talk. 

(CHARLIE COMES IN FROM THE KITCHEN) 

CHARLIE 

What the. 

MILES 

(TO CHARLIE) Tell your mother to stay in the kitchen, and you stay with
her. 

(TO CANDY) You too. 

McKINNEY 

(FROM OUTSIDE) Miles, you in there? 

MILES 

Yea. (HE MOTIONS TO CHARLIE AND CANDY TO GET INTO THE KITCHEN - CHARLIE
GOES IN BUT CANDY DOESN'T MOVE) 

Be right out. 

McKINNEY 

(ALREADY AT THE DOOR) That's OK.  I'll come in. (HE OPENS THE SCREEN
DOOR AND COMES ON IN) I don't mind. 

(EVERYONE STARES AT THE DOOR EXCEPT STUART -  IN ONE CONTINUOUS MOTION
HE RELEASES THE SAFETY AND BRINGS HIS RIFLE UP LEVEL WITH THE SHERIFF'S 
CHEST) Oh, excuse me.  I wondered if you didn't have company. 

(HE CASUALLY LOOKS STUART IN THE EYE) How are you, Stuart? 

STUART 

OK. 

McKINNEY 

(LOOKING AT JESS) You must be Kilgore? 

(TO MILES) I see you found the FBI agent.  They told me they lost one. 

MILES 

I'm sorry about this, Jack. 

McKINNEY 

(SITTING DOWN) Mind if I sit for a minute.  I'm dog tired what with all
the goings on. 

JESS 

(PICKS UP HIS RIFLE AND AIMS IT AT THE SHERIFF -  TO STUART) Take his
pistol and toss it on the porch. 

McKINNEY 

(GIVING UP HIS GUN) Oh, yes, sorry about that.  I don't even notice it
anymore.  Probably shouldn't even carry the damn thing. 

JESS 

What do you want? 

McKINNEY 

Well.  We got us a situation here.  What I want is to settle it the best
way possible. The least amount of injury to life and limb.  If you know 
what I mean? 

JESS 

That's fine, sheriff.  Seems like we both want the same thing, so if
you'll just get back in your car. 

McKINNEY 

(LOOKS HARD AT JESS BUT HIS VOICE IS SOFT) I can do that.  Unfortunately
that won't solve our problem.  Out yonder I have all five of my 
deputies trying to slow down the fifty or so Federal people, Marshals, 
FBI agents and what not converging on this farm.  Not to mention the 
assorted news people and bystanders that these kind of things generate. 


CHARLIE 

(COMING IN FROM THE KITCHEN) You go back and tell them we're ready,
sheriff.  First one of them that shows up here gets blasted! 

MILES 

(TO CHARLIE) Get back in the kitchen and watch the back! 

(CHARLIE DOESN'T MOVE) Now, damnit! 

(CHARLIE LEAVES MUMBLING TO HIMSELF) 

(TO McKINNEY) Sorry, Jack.  How much time do we have? 

STUART 

(LOOKING OUT THE WINDOW) None.  There are at least four guys with rifles
out there now.  (PAUSES)  Make that five. 

McKINNEY 

Let me be honest with you,  the Fed in charge seems like a real hard
case.  He's after Kilgore with a vengeance.  So far he's tried to run 
over everyone he's come in contact with and as you know those boys do 
swing a heavy stick. At any rate he's coming in here with a small army 
and I think he means to end it here in whatever fashion it takes. 

MARK 

It's a guy named Billings, isn't it? 

McKINNEY 

You know him? 

MARK 

Only by reputation.  Ex Marine, real spit and polish.  Always looking
for a way to put another notch in his resume.  So they say. 

STUART 

(STILL LOOKING OUT THE WINDOW) I think we're going to hear from him any
minute now. 

BILLINGS 

(FROM OUTSIDE USING A BULL HORN) You there!  In the house.  This is the
FBI.  All of you come out with your hands over your head.  Do not 
attempt.  I repeat, do not attempt to leave the house except by the 
front door with your hands up! 

McKINNEY 

Give me something, Miles.  Let me take the woman and the kids out.
(LOOKS AT JESS) How about it, Kilgore?  You come out with me and it's 
all over.  No one gets hurt. 

JESS 

I need time.  OK, take the woman and the kids out. 

Come out now!  You're surrounded.  There is no escape! 

(FROM THE REAR OF THE HOUSE COMES THE SOUND OF AUTOMATIC RIFLE FIRE
FOLLOWED BY SEVERAL ANSWERING SHOTS INTO THE HOUSE) 

MILES 

(RUSHING INTO THE KITCHEN) Charlie!  Damnit Charlie, stop firing! 

McKINNEY 

(OPENS THE FRONT SCREEN AND STANDS IN THE DOORWAY) This is Sheriff
McKinney!  Hold your fire! 

(CRIES FROM OUTSIDE OF HOLD FIRE -  MILES BRINGS CHARLIE INTO THE MAIN
ROOM AND SITS HIM DOWN ON THE FLOOR AS HE TAKES HIS RIFLE AWAY) 

JESS 

OK, Sheriff.  Tell them if they'll negotiate I'll release the family and
just keep their agent. 

McKINNEY 

I'll try. (LOOKS AT CHARLIE) For God's sake no more shooting. 

(HE TURNS BACK TO THE FRONT) I'm coming out!  Hold your fire! 

CHARLIE 

(STANDING UP) I ain't going anywhere. (HE REACHES FOR HIS RIFLE) 

JESS 

(HE POINTS HIS RIFLE AT CHARLIE AND FLICKS OFF THE SAFETY) Leave it! 

CHARLIE 

What? 

JESS 

If you touch that gun I'll drop you. 

CHARLIE 

Pa!  I don't have. 

MILES 

Leave it, boy!  He means it. 

JESS 

(TO STUART) Pick that up, will you? 

(STUART PICKS UP CHARLIE'S RIFLE AND STANDS IT IN THE CORNER NEXT TO
HIM) 

(JESS GOES OVER BY THE KITCHEN) Mary.  Come on out.   Miles, Mary, I
don't know what to say.  I'm so sorry for what I've put you through.  
There is no point in you going any further with this.  You take the 
kids and go.  Tell them I held you hostage.  It won't make any 
difference to me and they might go a little easier on you. 

McKINNEY 

(ON BULL HORN) This is Sheriff McKinney.  We're coming in.  We're
unarmed. 

JESS 

Go ahead, Miles.  You and Mary and the kids. (MILES NUDGES MARY AHEAD OF
HIM - HE GRABS CHARLIE BY THE ARM) 

(TO CHARLIE) Good-bye Charlie.  Try and grow up without killing anybody.


CHARLIE 

You bastard! 

(MILES PUSHES CHARLIE OUT BEHIND MARY AND TURNS TO CANDY) 

CANDY 

I'm not going without him.  (SHE LOOKS TO THE AGENT) 

MILES 

Don't be silly, girl.  Let's go! (HE MOVES TO GRAB HER) 

CANDY 

(TAKES THE AGENT'S PISTOL FROM BEHIND HER BACK AND POINTS ITAT JESS) No!
I'll kill him myself before I leave this man here to die. 

MARK 

Do like your father says.  This is my job. 

CANDY 

(SHE COCKS THE PISTOL) No!  I mean it. 

JESS 

(TO MILES) Damn!  They're here.  Go ahead, I'll get her out. 

(MILES, MARY AND CHARLIE GO OUT -  CANDY PUTS THE PISTOL BACK BEHIND HER
-  SHERIFF McKINNEY AND BILLINGS COME IN AND STUART KEEPS HIS RIFLE ON 
THEM) 

BILLINGS 

(TO MARK) You OK? 

MARK 

So far. 

BILLINGS 

(TO JESS) What about the girl? 

JESS 

She stays; for the moment. 

BILLINGS 

That's not our deal. 

JESS 

OK, take her. 

BILLINGS 

(TO CANDY) Go on.  It's all right, your family's waiting. 

CANDY 

(POINTING TO MARK) Not without him. 

BILLINGS 

What the hell?. 

JESS 

Beats all, don't it. 

McKINNEY Come on, Candy. 

CANDY 

No. 

BILLINGS 

Suit yourself.  Kilgore, you can leave here under arrest or in a bag. 
Either way suits me just fine but time is running out.  The news people 
will be here soon and I want this over before they turn it into a 
circus. 

JESS 

I know.  All I want is to see my family.  I would like a reasonable
assurance that I can make bail.  I feel like if I could explain what. 

BILLINGS 

Cut the crap, Kilgore.  You shot a Marshal to death in cold blood and as
far as I am concerned you gave up any consideration you had coming at 
that point.  You and your backwoods running buddies ought to all be 
hung in the town square. 

McKINNEY 

(NOTICING JESS TURN RED AND FINGERING HIS RIFLE) And what about us
backwoods sheriffs? 

JESS 

I've got hostages.  Don't I get to make some demands? 

BILLINGS 

You want to walk out of this or not?  You can't use the agent as a
hostage; he knows that. The girl doesn't want to leave, fine.  That's 
on her. 

McKINNEY 

Now wait just a minute.  You and Kilgore settle this however you want
among yourselves but you better see that that girl doesn't get hurt.  
She's got nothing to do with any of it. 

JESS 

(TO BILLINGS) You federal baboon.  You don't give a damn about these
people at all. 

(JESS PUTS THE BARREL OF HIS RIFLE UP UNDER THE CHIN OF BILLINGS) 

BILLINGS 

No more than you, Kilgore. 

MARK 

Billings, for heaven's sake!  Talk to the man.  Work this thing out. 
Don't walk away from this now.  People will be killed. (HE PULLS AT THE 
CUFFS) Jess!  Let me take you in.  I'll stay with you, all the way back 
if you want.  You can see your wife and your boy.  I promise! 

BILLINGS 

(LOOKING AT HIS WATCH) Time's up. (TO McKINNEY) Let's go. (HE TURNS AND
GOES OUT) 

McKINNEY 

(AS HE FOLLOWS BILLINGS OUT) Billings!  For heaven's sake!  Give it a
little more time. 

MARK 

(SCREAMING) Billings!  You son-of-a-bitch!  Come back here!.  Don't do
this. (TO McKINNEY) McKinney, Shoot the bastard! 

JESS 

Save it, kid.  I've been screaming at assholes like that for years. 
Won't do any good.  The one's that give you a drivers license are just 
a nuisance but the ones that make the laws or the ones that sit on the 
bench.  Luck of the draw I guess. (TO STUART) You got the key to those 
cuffs? 

STUART 

Yea. 

JESS 

(POINTING TO THE AGENT) Let him go. 

(STUART UNLOCKS THE CUFFS) (TO THE AGENT) You take the girl and get out
of here. 

MARK 

Come with us.  I meant what I said; I'll go with you.  All the way back.


JESS 

No good, kid.  Not now.  Thanks just the same. 

(MARK GRABS THE PISTOL AWAY FROM CANDY AND POINTS IT AT JESS) 

MARK 

You're coming with me, Jess.  One way or another.   Don't move that
rifle. 

(CANDY JUMPS IN FRONT OF THE PISTOL) 

Candy!  My God, girl, what are you doing? 

CANDY 

(SLOWLY TAKES THE PISTOL OUT OF MARK'S HAND AND GIVES IT TO JESS -  SHE
TURNS TO STUART WHO IS POINTING HIS RIFLE AT THE AGENT'S HEAD) Thanks 
Stu. 

MARK 

What the. 

CANDY 

What kept Stuart from killing you I'll never know.  C'mon. (SHE PULLS
THE AGENT WITH HER AS SHE GOES OUT THE DOOR) Don't shoot.   We're 
coming out. 

MARK 

(TO JESS AS HE LEAVES) I'll talk to them.  Try and work something out. 

JESS 

(SITS DOWN ON THE FLOOR OPPOSITE THE DOOR AND CHECKS HIS RIFLE) Go on
Stuart.  No use you being here now. 

(NO RESPONSE  -  STUART SETTLES IN ON THE FLOOR AND PEAKS OUT THE
WINDOW) Come on Stuart.  Get going.  You know what's coming. 

STUART 

Yeah.  I know.   But I can deal with that. It's day to day living that
terrifies me.  I must have been born under the wrong sign or something. 
I know I'm a little crazy. 

JESS 

A man ought to be a little crazy.  Else he'll start believing all the
things he tells other folks he believes. 

BILLINGS 

(ON THE BULL HORN) In the house!  You have two minutes to come out with
your hands up.  I repeat, two minutes.  Throw down your weapons and 
come out.  This is your last warning. 

STUART 

(MATTER-OF-FACTLY PICKING UP CHARLIE'S RIFLE AND CHECKING IT) You know
what I'd really like to be?  Robin Hood.  Can you believe that?  I'd 
like to rob rich people, the ones that have so much more than they 
could ever use.  Catch them hunkered down over their stuff like a 
mother bird over her nest and just take it away from them and give it 
to some poor bastard sleeping on a park bench. (HE INSIRTS A CLIP, 
PULLS THE BOLT BACK AND CHECKS THE SAFETY) And just every once and a 
while have someone come by and say `Nice job, Stuart,' or maybe `You 
helped some folks get by and we appreciate it.' (HE GETS UP ON ONE KNEE 
AND AIMS OUT THE WINDOW) But I know that's a fairy tale.  So I might 
just as well sweat it out here. 

JESS 

I'm not worth dying for.  Already screwed up too many lives.  Go on and
get out. 

STUART 

To what, Jess?  To where?  What's out there for me?  I'm a damn good
soldier without a war.  Was a time when what I did made a difference.  
A hell of a difference.   And I was proud. Now I hear voices.  
Especially in the quiet times. Sometimes in the forest I shake my fist 
at God and tell Him to come and get me if He can.  I ain't afraid of 
dying and He knows it.  And I cuss Him too.  For leaving me like this.  
I don't want to end up in some airport shooting people. 

JESS 

I don't want to do anything but go home.  To my wife. To tell my boy.
I'm so frightened. 

BILLINGS 

(ON THE BULL HORN) Come out now or. 

(THE ROOM EXPLODES WITH THE SOUND OF STUART'S RIFLE AND THE BULL HORN IS
SILENCED) 

STUART 

(QUIETLY) And so the sheriff of Nottingham departed and all the kingdom
rejoiced. Maybe they'll find a place for him at Arlington. 

(SHOTS FROM ALL SIDES -  TEAR GAS THROUGH THE WINDOWS AND SMOKE AND FIRE
AND FINALLY QUIET) 

VOICE 

They're dead.  Let's get out of here.  This place is going up like a
match book. 

THE END 

48 


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