Attorney General present, Swagger clears his name by loading a rifle round (supplied by Memphis) into his rifle (which is there as evidence since it was supposedly used in the killing), aiming it at the Colonel and pulling the trigger, which fails to fire the round. Swagger explains that every time he leaves his house, he removes the firing pins from all his guns, replacing them with slightly shorter ones, thus rendering them unable to fire until he returns. Although Swagger is exonerated, Colonel Johnson cannot be charged with a crime as the Ethiopian genocide is outside American legal jurisdiction and he walks free. The attorney general approaches Swagger and states that, as a law enforcement official, he must abide by the law. Afterwards, the Colonel and the Senator plan their next move while at the Senator's vacation house--only to be interrupted by an attack by Swagger. He kills both conspirators,
(Rosenblum, Woldemar, 1984, p.25) Same misfortune happened to one general in France: "The legend was especially popular in the late eighteenth century, not only because of its dramatic ingredient of grim misfortune, but because it offered a historical counterpart to the contemporary scandal of a French general, the Count de Lally, who, after mismanaging a French expedition to India, was wrongly convicted of treason and executed in 1766, but then officially exonerated in 1781, the year of David's painting. It was the kind of parallel between contemporary events and distant history that David's art would evoke more and more as the Revolution approached."(Rosenblum, Woldemar, 1984, p.25) Although, the painting is not specifically created to represent the French Revolution, its theme borrowed from antiquity and classical style are both already representing David's style that continued to be his trademark for upcoming revolution years.
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