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You hotwire death, get in, and drive away like a flag made from a thousand burning funeral parlors.

You have stolen death because you're bored. There's nothing good playing at the movies in San Francisco.

You joyride around for a while listening to the radio, and then abandon death, walk away, and leave death for the police to find.

Still weak and in a sag of wondering which way his body was going to go next, Emmett decided it was time to document what they had all tried to accomplish together as the Free City Collective. They held what turned out to be their last formal meeting as a family and planned the one-shot review magazine for which a young, stand-up Los Angeles man handed Emmett forty-hundreddollar-bills-cash energy to help get it compiled. The collective chose a slick detective-magazine format to say what they had to say, but since the cost of such a glossy, highly stylized review was beyond their limits, they had to settle for simple newsprint and go along with seeing it distributed and sold for thirty-five cents in exchange for forty thousand "Free" copies which were theirs to give away.

The cover of the document was titled "The Digger Papers," and none of the contents therein were copyrighted, so that anyone might reprint anything without permission. On the outside back cover was what many people who knew him thought was the Hun's most brilliant and poignant statement in art. It was a black-and-white reproduction of a six-by-three-foot, blue-and-white poster of two Tong assassins, calmly biding their time, leaning against the corner of a brick building. Above them hung a sign with the Chinese character from the I Ching that spelled revolution, and written below their feet in black letters was the slogan I/~ FREE. The Hun designed the original poster with a friend called Red-Cock Don and with several others posted them on walls throughout Chinatown and all over the city, to the consternation of the Chinese and the wonderment of everyone.

Most of the information and news that was broadcast between the front and back covers of the Digger Papers was written in poetry, except for what became the most important piece of the collection [end page 469]