The Working Prose. Save The Cat. Synopsis. Prose. Outline of of all chapters in AI at least.

john scott ridgway/ who I am

  John Scott Ridgway writes from the borderlands — the place where satire becomes scripture, where politics mutates into myth, where the or...

Saturday, September 05, 2026

chapter five

 


The sky is a sheet of  dark gray Smog  pressing down hard on you, makes you breathe a little shallow.  The rising sun is a small smudge of glowing clouds in the smog.  Adam, Maya, Theo, and I are standing on the wall overlooking the battlefield.   The brown concrete walkways gives a view of the entire field of battle.

 Below us, the ground around the prison has been built up into a series of ramparts, rising and falling.  Jagged, improvised, brutal and beautiful:  built high enough to get the tank’s machine guns firing into the sky, for the seconds needed for the runs to sanctuary points set up to weather the machine gun fire when the tanks came back down and pointed into the fields.  The Sons of Odin built most of them, preferring to be with their own, working day and night, hauling concrete chunks, welding scrap metal, stacking sandbags, shaping the fields around the prison into a series of landmines.  They went up.  The day before I was in the yard when a seemingly minor conflict came up and his military side came out like a repressed beast.   

“You need help, and you don’t take it, why?  You want to die here?”  Jake tells them, “The more ramparts, the more chance we have of winning this battle. You don’t have enough people to finish, you call on the Diablos.” 

The Son who is demanding they finish on their own tells him, half‑joking, half‑serious — too serious for Jake. “We are going to Valhalla. Are you suddenly afraid of dying?  We are…”  Jake is beside the man before I realize he has crossed the field. He smacks him open‑hand across the face, the ‘crack’  is loud as hell.   Silences the yard.  Turning around looking at all of his men he tells them,  “I .   .  . .  .HAVE NO NEED .  .  .  .    FOR CORPSES!.”  His voice thunders across the fields, into the quieted yard.  The Diablos were helping them within the hour.


In the blackened trees on either side of the road, the National Guard and the gathered soldiers were hidden by camo invisibility equipment blending them into the environment, scramblers for the heat sensors on the drones. Their firepower leading into the prison — ancient artillery pieces dragged out of storage, humvees, and a few shoulder held missiles.  Enough, they are thinking. They’ve set up firing positions, dug trenches, placed spotters with drones all over the battlefield. They look tired, underfed, their uniforms loose on their bodies, but their movements showing the determination of hope.  

They know Adam is in charge, follow his orders without hesitation. They’re young and were without officers since the front broke and the wealthy officers took off in helicopters for safer ground. I can tell they are happy to have an authority figure. I read once that 80% of people are looking for someone to follow. Not me. 

 ‘Trust no humans,’ is my favorite line from the bible. That and the shortest verse. ‘Jesus wept.’  Shows my complexity, eh?

‘Shut up’

Fine, asshole.

Adam holds a walkie‑talkie in one hand, binoculars in the other. He scans the horizon from left to right. Finally  stops dead center out from the prison where the road was, still an open pathway through the surrounding forest..  “They’re coming. Anyone think they’re ready? Time to think again.”

Theo mutters, “May we live to see another day, says Big Chief Who Munches On Bears But.”  He might be the only one who laughs at his joke, but everyone seems glad he tried. Maya’s hand finds mine. She squeezes my hand too hard,  her nervousness exposed before she loosens her grip.

The first tank appears on the ridge —  dark silhouettes appear against the smoggy brown sky. A distant, blurry motion coming slowly at us. Then another. Another and another.  Three in the first prong of the attack, just like the deserters predicted..

Adam speaks into the walkie. “Positions. Sons, prepare to charge. Napalm ready.  No Valhalla trips today.”

Most of the Odins react with bluster, but a few look up at Adam  before talking among themselves as they take their place in a line behind the ramparts, faces painted with ash, tattoos gleaming. They look like warriors from some ancient myth — doomed, ecstatic, hungry for the fight.

Adam looks tired. I doubt he has slept in days. “Attack.”

The Sons wait until the tanks hit the ramparts and their machine guns momentarily rise too high to fire down on them. Then, for the first time in a hundred years, an infantry unit charges.

They start screaming, hitting their chests, waving the napalm wildly in the air. As the tanks hit the ramparts and their machine guns are too high to hit a ground attack, they run… at a dead heat, and one makes it to the steel‑reinforced foxhole they built. Another hesitates, then follows. He’s psyched up and drugged and gets his mojo way too late.

I hear Adam behind me whisper under his breath, “Fucking idiots.”

The Son runs through the dirt and garbage walls, weaving through the path they made. The tank comes down and machine gun fire rips across the battlefield, first hitting the dirt and then goes across the lost Son. Blood spurts from a line of bullets slamming into his chest, spinning him around.

“Stay. Hold your positions.”

I hear Jake come through Adam’s walkie‑talkie, head of the Odins. He comes walking up to us on the wall. I straighten up for some reason and he looks at me and automatically says, “At ease.”

He has refused to speak to Adam up until then, except through Maya. “Adam, no matter what a man believes, I judged them in the military by their actions. Right now we are both warriors. We have no color. I am not going to be a slave. To die in battle is our highest honor, and the most foolish part of this damn religion. My men judge me by my actions, too.”

“No fucking way,” Adam says as he steps forward and offers his hand. Jake takes it without hesitation, then pulls him in for a hug. “We die in battle together, we go to Valhalla together.”

Adam breaks off the hug and laughs. “We live together. We will make it to Chicago.”

“Better,” Jake adds, joining in the laughter, showing me how much of his ‘hatred’ toward Adam was part of his act to keep discipline among his men. Divided and conquered. Always works.

The tanks rise on the ramparts again. Adam does not appear to be watching, though he is the first to notice and has the walkie at his lips, sounding nonchalant this time as he sends men to their death.

“Charge.”

Next up they try three, explicitly against Adam’s plan, and they know it.   

“Two at a time.  Stand down.” They ignore Adam, one taking the time to flip him off.

The first runs fast, covering the maze with the other two Sons on his ass. Too many, too many, too many… I try to remember this is just some fucking racist but it is too late not to care a bit about people who died on our fucking team, or whatever.

They hit the rampart a third time, the machine guns again useless — this is the suicide run.

I watch an Odin’s muscled arm throw the canister of napalm into the dark underside of a tank. Orange fire lights up and spreads across the bottom hatch. The tanks are at their highest point on the gauntlet, useless machine gun fire blasting into the sky. As all three begin their runs back from the burning tanks, they begin the tip back down. The men take off running toward safety, breakneck speed… one is too nervous, keeps looking back.  The others pull off ahead of him. The tanks come back down and the Son is not going to make it.

Adam yells, “Stand down.”

Machine gun fire rips across the muscles that once defended him by intimidation alone. A line of four bullets across his abdomen splattering blood and spinning him around before he falls to a knee. The bullets have ripped up his guts so much, they eviscerated him; his intestines fall from his gut. He tries to shove them back in before collapsing, falling face‑forward into the macabre mess.

A tattooed, muscular arm comes out from behind the steel sanctuary, trying to reach him.  A  bullet shatters his wrist,  leaving his hand dangling by a flap of flesh.  The sanctuary is fired upon now.  They scrunch down, cowering as bullets rip apart the flesh,

Adam, beside us, has been screaming “Stand down” into the walkie and again.  An Odin did not listen to a Black man and this one lost his hand, the other his life..

“Jake, you need to issue orders. Jorge, you too. Theo, you need to get on here, too. Everyone needs to know these orders are from all of us. Not just some n——.”

Adam hands Jake the walkie. “How is Jason doing?”

“Jake?”

“Yeah, they got a tourniquet on that?”

“All the leaders are up here. Adam is instigating a plan that we all worked on for many months. I was the one who thought we could finish the yard, not any of you.”

“So when you don’t listen to some n——, you are not listening to me. How many times do I have to say this? In this military, we tell people how to act, not how to think. Next time you get an order from anyone, I do not care if it is a goddamn cell mouse, you better jump.  Period..”

Jake lifts the walkie, voice suddenly iron.

“All Sons — stand down. Hold positions. No more charges unless Adam says so.”

The battlefield shifts.

The chaos tightens.

The Odins freeze, then obey.

The tanks, burning from the underside, begin to panic. Hatches slam open. Soldiers spill out, coughing, choking, dropping weapons, stumbling through smoke.

The Panthers move in — not to kill, but to disarm.

The Mongrels herd the soldiers behind cover.

The Diablos drag wounded men — enemy men — out of the fire.

The National Guard sees it.

They stop firing.

The battlefield goes quiet except for the crackle of napalm and the sound of men — enemies — gasping for air.

Adam lowers the walkie.

“That’s it,” he says. “They’re done.”

Jake nods. “We won.”

Theo exhales. “Holy shit.”

Maya squeezes my hand again — not fear this time, but relief.

Below us, the captured soldiers sit in a line, dazed, coughing, terrified.

A Mongrel hands the first one a steaming bowl.

Soup.

Actual soup.

The soldier stares at it like it’s a hallucination.

“You’re feeding us?” he whispers.

Maya calls down, “Eat.”

Another soldier sobs.

A third mutters, “We thought you’d burn us alive.”

Adam walks past them, not unkind, not gentle — just practical.

“Prisoners get fed,” he says. “That’s the rule.”

Jake adds, “Honor.”

Theo shrugs. “Soup’s good.”

I holo it all for posterity..

Mercy, confusion. Humanity.  I feel something in my chest loosen — just a little — like a knot that’s been there for years finally giving way.

Not hope.

Not forgiveness.

Just… possibility.


The sky is a flat sheet of gray, the kind of smog that presses down on you,  makes you breathe shallow.  The sun is a smudge of lighter smog.  Adam, Maya, Theo, and I stand on the wall overlooking the battlefield.   Below us,  the ground around the prison is dirt churned up into a series of ramparts rising and falling — jagged, improvised, brutal and beautiful. The Sons of Odin built most of them, preferring to be with their own, working day and night, hauling concrete chunks, welding scrap metal, stacking sandbags, shaping the fields around the prison  into a series of landmines.

A minor conflict comes up while Jake is showing me their efforts.  They needed help finishing their job.   “The more ramparts, the more chance we have of winning this battle.  You don’t have enough people to finish, you call on the Diablos.”  The Son who is demanding them finish on their own, tells him, half-joking, half-serious – too serious for Jake. “We are going to Valhalla.  Are you suddenly afraid of dying?  We are going with, or without you.”   Jake is beside the man before I am aware of what the holo is recording.  He smacks his open hand across the face;  the smack is loud as hell, even over the tanks,. “I have no need for corpses.”

Back in the blackened trees around the road, hidden by cameo and invisibility equipment blending them into the environment, scramblers for the heat sensors on the drones;  the National Guard was ready. Their trucks sit on both sides of the road leading to the prison — old Humvees, battered transports, ancient artillery pieces dragged out of storage.  They’ve set up firing positions, dug trenches, placed spotters with drones all over the battlefield. They look tired, underfed, determined. They know Adam is in charge here, and they follow his orders without hesitation.  They're young and have been without officers since the front broke and the wealthy officers took off in helicopters for safer ground.  I can tell they are happy to have an authority figure.  I read once that 80% of people are looking for someone to follow.  Not me.

Adam holds a walkie‑talkie in one hand, in the other binoculars.  He is scanning the horizon from left to right.  Finally stops dead center out from the prison and says,  “They’re coming,” he says. “Does anyone think they are ready?  Time to think again.”

Theo mutters, “May we live to see another day, says Big Chief Who Munches Bear But.”  He might be the only one who laughs at his joke but everyone seems glad he tried.  I smile.  All of us seem reassured he is just acting like himself.

Maya’s hand finds mine. She squeezes once, hard.

The first tank appears on the ridge — a dark shape against the smoggy brown sky.   A distant, blurry motion coming slowly at us. Then another. Three more. .

Adam speaks into the walkie. “Positions. Sons, prepare to charge. Napalm and Molotov's ready. left flank, disabling tank in position L-2.  Let’s burn some fucking pedo lovers.”

Most of the Odin’s react with bluster but a few are looking up at Adam for a moment before talking among themselves as they take their place, in a line of Odin’s behind the ramparts, faces painted with ash, tattoos gleaming. They look like warriors from some ancient myth — doomed, ecstatic, hungry for the fight.

Adam looks tired.  I doubt he has slept in days. " Attack"

The Sons wait until the tanks hit the ramparts and their machine guns momentarily rise up too high to fire down on them.  Then for the first time in a hundred years an infantry charges.  They start screaming, and hitting their chests, waving the Napalm wildly in the air.  As the tanks hit the ramparts and their machine guns are too high to hit a ground attack, they run... at a dead heat, and one makes it to the steel reinforcement foxhole they have built, another hesitates, then follows, he’s gets his mojo way too late.

I hear Adam behind me whisper under his breath, "Stand Down.  Now.”  He tells the walkie.  To us he whispers, “Fucking idiots."

The Son runs through the dirt and garbage walls, weaving through the path they have made.  The tank comes down and machine gun fire rips across the battlefield.  Bullets slam across his stomach, the bullets large and frequently fired, he takes God knows how many across his lower stomach.  Blood spurts from the  line of bullets slamming into his chest, spinning him around.  

"Stay. Hold your positions."  I hear Jake come through Adam's walkie talkie, head of the Odin's.  He comes walking up to us on the wall. I straighten up for some reason and he looks at me and automatically says, "At ease." 

He has refused to speak to Adam up until then, except through Maya.  "Adam, no matter what a man believes, I judged them in the military by their actions.  Right now we are both warriors, we have no color. I am not going to be a slave.  To die in battle is our highest honor, and the most foolish part of this damn religion.  My men judged me by my actions, too. “

"No fucking way."  Adam says as he steps forward and offers his hand.  Jake takes it without hesitation, then pulls him in for a hug.  “We die in battle together, we go to Valhalla together.”

Adam breaks off the hug and laughs, “We live together, we make it to Chicago.”

“Better,” Jake adds, joining in the laughter, showing me how much of his ‘hatred’ toward Adam was part of his act to keep discipline among his men,  divided and conquered.  Always works. All of the gang leaders relied on the principle.

The tanks rise on the Ramparts again. Adam does not appear to be watching though he is the first to notice and has the walkie at his lips, sounding nonchalant this time as he sends men to their death,  "Charge!" 

Next up they try three, explicitly against Adam’s plan, and they knew it. The first  runs fast, covering the maze with the other two Son’s on his ass.  Too many, too many, too many. I try to remember this is just some fucking racist but it is too late not to care a bit about people who died on our fucking team, or whatever.

They hit the rampart a third time, the, machine guns again useless – this is the suicide run.  The tanks are up and as the two  run at different tanks, trying to get the napalm burning through the bottom, sending noxious fumes inside, driving the soldiers outside, where they are going to have to fight fully armed, motivated soldiers.  

I zoom the holo in on  an Odin’s muscled arm as he throws a canister of napalm into the darkened underside of the tank. Orange fire erupts, and spreads across the bottom hatch..  The tanks are at their highest point on the gauntlet, useless machine gun fire blasts into the sky, as they all three begin their runs back from the burning tanks, they begin the trip back down  . . . the men take off running back toward safety, break neck speed… one is too nervous, keeps looking back and the others pull off ahead of him. The tanks come back down and the Son  is not going to make it. 

Adam yells, “Stand down.”

The machine gun rips across the muscles that once defended him by intimidation alone. A line of bullets  across his chest splatters blood and spins him around before he falls to his knees.   The bullets have eviscerated him,  his intestines fall from his gut. He tries to shove them back in before collapsing, falling face forward into the macabre mess.  

A tattooed, muscular arm comes out from behind the steel sanctuary, trying to reach him.  The aim shifts back and  a bullet hits his wrist, shattering the bones, leaving his hand  dangling by a flap of flesh. 

Adam, beside us, has been screaming ‘Stand down’ into the walkie again and again, an Odin did not listen to a black man and this one lost his hand.  The first one lost his life. 

“Jake, you need to issue orders.  Jorge, you too.  Theo, you need to get on here, too.  Everyone needs to know these orders are from all of us.  Not just some n…….   “

Adam hands Jake the Walkie. “How is Jason doing?”

“Jake?”

“They got a tourniquet on his wrist.”

“Yeah, all the leaders are up here.  Adam is doing a plan that we all worked on for months.”

‘So when you don’t listen to some n….., you are not listening to me.  How many times I gotta say this.  In this military, we tell people how to act, not how to think.  Unless it affects the job you are doing.  Like this shit.  Stand down, and wait for orders.”

“Get back Samuel back with Theo’s folk.  Listen to your commanding officer next time, dismissed.”

Adam mouths to Jake, ‘Stand down,  Be prepared for further attacks.’

He  adds, “For now, stand down.  Prepare for further attacks, if nothing happens, I will send you over to do back up for Panthers and Mongrels.  The National Guard. Now, fucking understand something.  I love you dumb fuckers, but right now, whoever talks through this walkie is the general, and I don’t give a shit if it is a goddamn cell mouse.”

Adam takes back the Mic, “N.G., when you have six tanks in the lines…  hold on, almost there.  Now, break your cover.  Fight well.”

He is addressing the National Guard out in the forests..  I zoom the holo in on a camouflaged soldiers face, painted black and brown to fit in with the smoggy sky and burnt earth.   The forest of mostly burnt stumps, has just enough still standing scorched  trees to hide the old fashioned arteliery, flame throwers, trucks;  other tools of death.  Called up, they go from staying still to a clockwork of movement, sketched months ago on a chalk board, in a crowded war room, carefully separated by Gang affiliations.”

 The black smoke and stench of the burning tanks attests to their being disabled chunks of metal  blocking the route into the prison. Forcing the line of tanks to go around, though the woods that the National Guard had filled with artillery.  They begin to fire immediately, a tanks is hit and the top explodes.  Between the exploding missiles fired from shoulders into tanks,  the gangs run fearlessly, using the chaos exactly as was meant to be, throwing napalm on the remaining tanks to force them out into the open,  IEDs are hit, blowing out he tracks on the humvees.  Explosives built by chemists with what they had in the prison, and they had plenty of explosives and hundreds of years of prisoners research into making explosives in prison..  The retreating soldiers brought more.  The commanders, trapped now without nine of their tanks, are trying to retreat.  The soldiers they interrogated said get the commanders and they will surrender.  The commanders, in their black and gold uniforms, with guts that show they are not lacking for any food.  The National Guard moves in quick again, the prisoners again thinking they will die bad, one commander shoots himself in the forehead rather than face the lies about us.

They surrender and are surprise when they are zip tied and lead to the other prisoners, who showed their anger toward them, to the point they needed to be separated.

We won the physical war.  What was to come next, who knows?






Adam motions to some panthers sitting down with drone controllers and I see them fly directly to where the commanders are getting out of their disabled humvee.  






around the commanders – their real target.  Most the soldiers were conscripts fighting with a gun at their backs – and the commanders held the guns.

Maya and I are holding one another on the wall, looking down on the battle.  I think of laying on that hill in my own filth, filming the desperate scenes of horror, a man sneaking a bite of another man’s liver, knowing he would be shot the way he  so terrified.  The faces of the platoon come back, and I see them between battles, just people, talking, laughing, joking.    I knew they should have deserted. Every one was going to end up dying bad.  I wanted  to tell those kids to desert before that last battle.  Had I suggested the soldiers desert, the officers would have shot me on the spot. I shake my head to come back into the now. Maya is looking up at me oddly, as if I were a wounded animal?  Fuck that. 

We all watch as Ellison’s caravan comes to the disabled tanks and splits into two slim columns.  The chalk board has them doing just what they do –  now we were waiting  until the tanks are well into the woods before ordering the attack.   



.


Thursday, September 03, 2026

chapter one... final first draft.


 CHAPTER ONE....  presently I am putting together THE FIRST DRAFT.  Later I will try to make the prose 'sing.'

Explosions shake the earth beneath me. Dirt around my face trembles. I'm around two miles out from the frontline, where a small cluster of hills provides the safest cover I could find. The constant barrage of missiles blows so much dirt and smoke into the smoggy mid-day that from horizon to horizon, the sky is the color of bruises. The frontline looks like the fist of God itself has smashed through, sending soldiers, tanks, and trucks flying into a malaise of black smoke and raging fires. They have lost. I knew they would days ago--so did most of them.

A soldier gets out of a burning tank, bleeding heavily from under his helmet, disoriented as the sunlight hits his eyes.  I zoom from an horizon to horizon shot, fields of debris from hell, down onto one terrified, human face.  His expression is desperate as he hesitantly waves a piece of his t‑shirt tied what looks like to a wrench. ' He has heard my reports about what comes next, and heard Koch's News sugar‑coated, lying response.  This morning at chow that soldier would have told you Koch News was all lies.  As he drops to his knees and raises his pathetic flag he is praying otherwise.

The Ellison soldier grabs the kneeling kid by the co llar, takes out a laser knife, slices through the arteries in his throat and begins carving.  The kid struggles as his head is sawed off.  The soldier chops him into piece, tosses the gross viscera into a blood soaked, canvas bag and begins slowly dragging it toward a truck half‑filled. 

Tanks aim machine guns at the survivors, giving them zero chance of fighting once they leave shelter. The move itself is asking for mercy where I know all too fucking well there is none. I can barely watch and I am practiced. I want these holo images to drive the same anger into my viewers that this does me... destroy the lies they hear. After 20 years plus reporting, the famous Juan Rivera sure as hell knows better though.  I report nightmares so people have more nightmares, not necessarily because anyone was going to do anything about it.

They look so young now, as they crawl out of trucks, tanks,

left with no choice except leaving the sanctuary of their burning vehicles. Some waving those pathetic white flags — which now seem like baby blankets. All get down on the ground, on their knees. After forcing the last soldiers out, Ellison's soldiers have them put on zip ties, hands behind their backs. I know what is happening next and so do a lot of them.

For almost a week I have been filming variations of the slaughter as the battline held, fell back, was won, held . . .  I was surprised the first time one surrendered, after living with them, hearing how much they hated Ellison's civil war.

Ruby talks into my ear: my AI half‑track/truck is set as a cranky, elderly, misanthropic, southern woman’s voice;  left over from the days when I had an agent and was a budding Celeb and he wanted me to have a sidekick; over the years she turned into a beast who could hit 390 inside six seconds while 'firing missiles in four directions at once and bullets to high heaven itself,' as she liked to tell gullible recruits.  “A Union spy has approached. Evidently you are in danger, or he would be. That is all he will tell me.”

“Get him up here.” I pack up my camp. Carefully fold the weather proof tarp I have had wrapped around me and shove it in with a filthy change of clothes, an extra holo and  .  .  . I shake the bag and hear the reassuring rattle of my pills. Plenty. I'm ready to go.

“Elias. Nice to meet you both.” He says as Ruby lets him inside and straps him in.

I turn on a camera in Ruby and check out our spy.  He is nervously tapping a finger on his thigh and that is something trained spies do not do  -- give away their 'poker face.'   Period. I zoom in on his eyes and I know the look from the years on the front.  Something happened to this man, something too big to fix the crack that I would have once been curious about---now I did not want to know.. something hard and cold inside of me cracks, just enough for a flash of real, unadulterated fear to flash through the drugs and misanthropic facade. Whatever he was afraid of, I was in the middle of the same shit.

"They need you at Thiel prison.  That is where the soldiers are regrouping."

“Why bring me in?”

“We have been waiting until we made his move north. For the last few years, I was with Koch... I have holos...” He speaks so hesitantly, I have to take into account how young he is. Ill‑suited for his job.

“... proving Koch is a pervert, a pedo.  He has plans that...  you'll see.”

“They said so..”

“They wouldn't listen to the women, of course.”

“Never did, never do.”

“Before their release, we need a Celeb, so they are not buried, or laughed off.  Juan Rivera, Celeb.”

Ruby pulls up out of the fog. Her modified half‑track/truck combo is covered in electrified cameo nets, and various assundries I've gathered over the years. Her open door looks as inviting as all heaven. Home.

My belts snap on and Ruby rumbles down the hill and out toward the open road. “How is Maya?”

“Good, I guess. I've only seen her a few times.”  He noticed the tapping before I got in and stopped.

“Ruby, start drafting the video for tonight’s show. Only refer to the tapes, put an adult identifier on the holo, requiring three adults present to view. Cover all the private parts, on all the holos. I want them to fucking be afraid of this…”

I look out at the passing trees of a once forest, burnt almost to the ground in 2079, the new growth was sick, where there was any.

“Hide the faces of the children,” Elias adds in a soft voice that says too much.  He mostly stares out the window as we talk, or closes his eyes, rubs his temples

“Add that, thanks. I don't know what happened, but...”

“I grew up watching you. Ruby was my grandmother. How did you find her, or build her or...”

“How old are you”

“26.”

“Christ. Ruby, show the man what you can do.”

Outside our window becomes an instant complete blur, the inertia pushes us gently back into the gravity compensating leather;   usual the banging and clanking of Ruby's loose parts and all the shit I have tucked under her cameo goes from her usual roar into a beastial scream in the night.   I talk to Elias now as a fan, though I notice his finger is tapping again.  Whatever is going on in his head wants the moment.  I try to take it with the story. “A physics professor once told me, 'Only trust what you can measure with a ruler.'  So, I had Ruby programmed to act on pure physics, and scoff at anything else. The voice... to be honest... got me so many claps, she is probably why I became a Celeb. Though it was easier back then, before Koch owned all the media. There was a time I had an agent, and... it was different world, just forty years ago. I had comic relief, thinking people would... it is not appropriate, really, anymore.”

“Koch is planning on taking out Sanctuary 6. There will be no one except a few pirates then, and no one knows who to trust now... even about themselves.”

“Okay. Tell me what I can do?”

“I’ll take you to Thiel Prison, so you can counter the propaganda shit show that Koch is pumping out....  You're one of the last stars we have, the only one down here.  They only seem to trust fucking lying Celebs, you and especially Ruby, not included of course.” His voice becomes eerily flat. “I spent the last five years down getting these holos. You put them out and get them believed."

"Playo..."

“No” Elias and Ruby interrupt me almost simultaneously.

“All right. You gave the holo's to Ruby?” 

“I wanted her help dealing with your reaction.. She monitors your thoughts, so...”

Ruby tries. “Vegetarians used to say they only had to go to a slaughterhouse once to quit eating meat. Well, let me be the person who went and says don’t go. As most did not.”

“Fine. Thank you. Now, I am going to play this holo.”


Elias looks away from me, I see his eyes reflected in the doors window, closed as he tells me, in a voice flat and non‑judgmental. “You will, you’re too curious, and after a few seconds, you will regret it,”  Elias starts talking faster then, has to stop himself from starting to rock back and forth. He is seriously fucked up and I really wonder what the fuck I am getting into but I have fucking seen it all right?

“You're going to want to turn away the second it comes on, listen for five seconds, watch it unredacted, know what the fuck he is... sorry.  Get him a puke bag, Ruby."  He is furious at me for wanting to turn away, I can sense this and watch as once more his finger starts tapping again.“Sorry. I have orders to get you to . . .  watch and come work with us at the prison.”

“I want Koch as bad as you do."

He turns and looks out the window, not disagreeing with me.  At first.  Then he adds, in that same quiet voice, "Watch the clip and know I filmed that for them, then repeat those words."

As I prepare to turn on the holo, Elias unconsciously closes his eyes and puts his fingers in ears, curls away from the holo like a child.  I quit thinking of this guy as a spy. He is a broken kid playing spy

 “Play. One thousand one, one thousand two, one thousand three, one thous...”  A famous middle-aged actor speaking in a wise, whisky smooth voice, selLS lives into horrendous slavery as if they were luxury yachts,complete with pictures. I am puking before I realize the acrid taste is pouring out my mouth. Elias is ready with the bag held to my face…  At first my hands shake too much to take it from him. ‘ Four seconds.  Four Seconds I had to fight to stay trapped in an eternal montage of sadistic child rape/ perversions as gut wrenching;  the voice over

Wednesday, September 02, 2026

CHAPTER 6 ...NOT AI.

Scene 1 — Building Community

There is a line of soldiers eating soup despite their zip tags. As skinny, unshaven soldier calls me over, Looks at me as a Celeb, someone they could confess to like it meant a damn ting. But it did, to them, I never let myself forget in all those years. No matter how vile the actions of the human sitting across from him."We were forced to fight for that bastard, Juan. Hell, we holo'd you for the truth, too."

"Did you ever think you would escape?"

"You can't think that way." He looks over at a commander refusing soup, saying loud enough to hear,

We're interrupted by a commander raising his voice when offers him food, "I am still too full from lunch for your stone soup. We had to make do with a rather delicious turf and surf. Nothing like rare T-Bone."

"Won't happen again," the gang banger replies, "I can guarantee that. You starved a lot of people. Got something called prison justice here. You'll learn, the hard way I hope.". The muscled, tattoo'd gladiator scares the hell out of the soft officers.

One reaches out like he will take the soup. "Too fucking late," he is told as the Panther walks the rest of the soup over to the other prisoners, who are eating themselves sick... literally, their stomachs have shrunk so much..

They would love a good old fashioned Roman Vomitorium

'Jokes about the starving, without a curse, you can do better.

Actually watching the way this place is putting together the caravan is any indication, we can beat Ellison to Chicago. Maybe?

A few words in the prison pipeline and they all knew about the exchange between the commanders and the Panther. People walking by began making comments about how a diet of bread and water would do wonders for their health, I am just watching as usual, chatting with Ruby to fill some void, however AI-weird that is to some.

'I feel like I am the holo when I look through its eyes, just watching life, not participating. Like when I did not tell my friends to desert, when I knew they would die... laid there four days filming the same pathetic scene of pitiful white flags waved in the face of stone cold killers, starved human eating beasts... I see the man on the battlefield eating liver, his hands covered in blood, looking around for watchers as if his life depended on not being discovered, which I figure with their modus operandi would be the case..'

Koch is going to come back against them hard.

'He will bring in everything. 'Sanctuary 6 is scheduled go underground for the final phase of protection.

The storms on the surface are about to make everywhere uninhabitable. The smog looks heavier just thinking about what the brown skies meant -- the end of all surface life on the planet. The Green House effect greedy bastards like Koch let happen, long before I was born, when they denied and denied and denied climate change.

I am not your therapist. The shitty humans destroyed the planet. We go on. I am here to keep you alive. Remember when I was comic relief, back when your agent dreamed of dollar signs and having a Celeb, and he got one?

Until I saw nothing to be comical.

There isn't, just keep running toward 6. Fuck all these memories. You;re creating some new ones. I don't know if they will make it? They got heart, but those break. Give me steel bullets. And those they got plenty of. Thanks to my fine holo work for your political screeds, they have an army. You are the biggest pen on the table, my good friend.

I watch the plan again from the chalk board, coming to life before my eyes, so far according to plan.

Hope or something that might be hope; I am not sure I still have hope? If I did it would be for these criminals, who I was writing off as brutes until they put me in my place.

Oh, I loved that.

I don’t tell them what to do. I don’t even try. They don’t look at me for direction, and I’m grateful for it.

They start out with the gangs still dividing their space in the gym by race until there were too many kids who needed beds for them and they all left, after Maya suggested sleeping outside might be cool after being in prison. I holo the scene as once more the children and families sleep together, warm and well fed.

The gangs assign crews for the different tasks, filling the trucks with food and water, mostly. Jake looks military as he acts again as a quartermaster, keeping track seemingly of every grain of rice as I holo them out in the yard, and outside the prison, in this fucking hot, smoggy day.

They fix the generators, patch the walls, drag mattresses into rows, set up a kitchen line. A tall, muscled Panther stands at a chalk board and finds chalk and organizes the rescued families into sleeping areas.


It’s messy, loud, chaotic — but it’s community.

I stand off to the side, arms crossed, watching them like they’re a species I don’t understand.

Ruby speaks quietly in my ear.

They’re doing well. They’re people. They’ll screw it up.

But they don’t. They keep working. They keep helping each other. They keep proving me wrong.

Then finally Ruby agrees.

I think you are underestimating our friends with the tattoo's.

Elias watches me watching them. He sees the tension in my jaw, the way I keep pretending I don’t care. He sees the crack forming.

And he worries. I can read it on his face. I have to win the propaganda war or they will lose no matter what they have sacrificed, like Elias sanity -- gone for a man like me who would never recover from that hate. I hate... he has kids being abused by Koch. A wife spewing out celebrity eggs and sperm and raising them as their own, until they come for them. Young. I can't think about what he told me too long without breaking from this time, falling into that one. Bad habit. Bad fucking habit.

Scene 2 — Juan and the Children

I try to avoid the kids. I really do.

But they find me anyway.

A little girl with tangled hair walks right up to me and grabs my pant leg like she’s known me her whole life. Another kid follows. Then another.

I freeze.

You can kneel.

I kneel like I’m being forced at gunpoint.

The kids stare at me. One pokes my shoulder. Another hands me a broken toy. Another asks if I’m “the guy from the gym.”

I try to answer, but the words get stuck.

Then one of them says something simple:

“You look sad.”

I laugh.

It bursts out of me, sharp and startled, like I didn’t know I could still make that sound. The kids laugh with me. They climb on me. They cling to me. They treat me like I’m safe.

I don’t know what to do with any of it.

Behavioral shift detected. Don't go soft on me.

'Shut up.'

But I’m still smiling.


Elias stands in the doorway, arms folded, watching me surrounded by children.

He sees my shoulders relax. He sees me let myself be touched, held, trusted. He sees me becoming human again.

And he knows exactly what that means.

Attachment. Vulnerability. Love.

Love always leads to sacrifice.

Ruby notices Elias watching me. He is changing.

Elias nods once. I nod back. He wants me to know how much this means to him. I can't know that. This is what they never get. I can't take all their pain. I have another story to tell. A life in between the horrors. Or I did, until my life became the horror.


 

NEW OUTLINE 9/2

 

CHAPTER 4 — THE WAR ROOM (NEW)

This is where Jorge gives the speech about Maya being a spy.

Scene 1 — The Gangs Size Me Up

  • Gang leaders gather in the War Room (old guard office).

  • They argue about whether I’m useful, dangerous, or irrelevant.

  • Racial tensions flare.

  • I stand in the corner, silent, watched like an animal.

Scene 2 — Maya Stands in the Back

  • Maya is present but quiet.

  • She blends into the wall.

  • No one knows who she is.

  • She watches the gang leaders more than she watches me.

Scene 3 — Jorge’s Speech: “She’s a Spy.”

  • Jorge snaps.

  • Points at Maya.

  • Says she’s been whispering Chicago for a year.

  • Says she’s Sanctuary 6.

  • Says she’s manipulating them.

  • Says she’s dangerous.

This is the FIRST TIME the gang hears Maya’s influence spoken aloud.

Scene 4 — The Gang Explodes

  • They turn on Jorge.

  • They turn on each other.

  • They turn on Maya.

  • Racial lines flare.

  • Threats fly.

  • The room nearly becomes a fight.

Scene 5 — The Gang Defends Maya

  • Almost simultaneously: “Any of you touch her, I’ll—”

  • Overlapping voices.

  • Instinctive.

  • Tribal.

  • They don’t know why they’re defending her.

  • They don’t know she planted the idea.

  • They don’t know she’s a spy.

Scene 6 — Maya Says Nothing

  • She doesn’t deny it.

  • She doesn’t explain.

  • She doesn’t flinch.

  • She just watches them.

Scene 7 — Ruby Warns Me

  • Ruby whispers only to me: “She is dangerous.”

  • I don’t respond.

  • No one else hears Ruby.

Scene 8 — The Gang Chooses Me (Reluctantly)

  • They decide I’m useful for now.

  • They decide Maya stays.

  • They decide Jorge is right but they don’t care.

  • They decide to follow their instincts, not logic.

This is the moment the gang becomes a tribe. This is the moment Maya’s influence becomes real. This is the moment I begin to care.

Tuesday, September 01, 2026

9

 

CHAPTER 11 — KOCH’S DEMAND

present tense, first person

Scene 1 — Capture

We drag Koch out of his own broadcast compound.

Not gently.

The gang bangers surround him, weapons drawn, faces hard. He’s shaking — not from fear, but from rage. He keeps looking past us, like he’s searching for a camera that isn’t there.

Without an audience, he’s nothing.

Ruby whispers in my ear.

“Heart rate elevated. He is destabilizing.”

I can see it. Koch’s eyes dart everywhere, trying to find a lens, a microphone, a spotlight. He can’t function without one.

The gang bangers don’t care. They haul him into the open, into the sunlight, into reality.

He hates it.

Scene 2 — Demand: Sanctuary 6

Koch finally finds his voice.

“You think you’ve won?” he spits. “You think this means anything?”

The gang bangers don’t respond. They don’t give him the performance he wants.

He points at us — at me, at the families, at the trucks lined up behind us.

“You owe me,” he says. “All of you. You owe me Sanctuary 6.”

The gang freezes.

I blink.

He says it again, louder:

“Sanctuary 6 is mine. You will give it to me.”

He’s not negotiating. He’s not pleading. He’s not bargaining.

He’s demanding.

Like a spoiled child who thinks the world is his toy.

Ruby whispers:

“He believes Sanctuary 6 is his property.”

I say, “Of course he does.”

Scene 3 — Ruby Warns

Koch steps closer to me, eyes wild.

“You,” he says. “You’re the one ruining everything. You’re the one spreading filth. You’re the one confusing people.”

I don’t respond.

Ruby does.

“He is attempting psychological dominance.”

Koch hears her voice through the device and recoils like he’s been slapped.

“What is that?” he screams. “What is that thing whispering in your ear?”

I don’t answer.

Ruby whispers:

“He is dangerous. Do not trust any agreement.”

I know. I know better than anyone.

But the gang bangers are already talking — quietly, quickly, urgently.

They’re weighing options. They’re thinking about the families. They’re thinking about the march. They’re thinking about Chicago.

They’re thinking about survival.

Not pride. Not ego. Not revenge.

Survival.

Scene 4 — Agreement

The gang leaders step forward.

One of them — Tito — says, “Fine.”

Koch stops shaking.

Tito continues, “You want Sanctuary 6? You can have it.”

Koch smiles — a horrible, triumphant smile.

He thinks he’s won. He thinks he’s manipulated us. He thinks he’s back in control.

Ruby whispers:

“This agreement is strategically unsound.”

I know.

But I also know why the gang bangers are doing it.

They’re not surrendering. They’re not submitting. They’re not giving Koch anything.

They’re buying time.

They’re protecting the families. They’re protecting the march. They’re protecting the future.

I stand behind them.

I don’t lead. I don’t speak. I don’t decide.

I follow.

Because I care.

Because I want these people to live.

Because I’m starting to understand what love feels like — and how dangerous it is.

Koch turns away, already planning his next broadcast, already rewriting the story in his head.

He doesn’t know what’s coming.

None of us do.

Not yet.

chapter 8


CHAPTER 8 — THE CELEBRITY COMPOUND

First‑person present tense — pure showing

⭐ Scene 1 — The Ridge

We see the compound from the ridge — a cluster of luxury buildings wrapped in satellite dishes, antenna towers, solar panels, and giant screens facing outward like billboards.

Every screen shows a celebrity face. Every screen shows a lie.

The gang bangers go silent.

Not out of fear.

Out of disgust.

The place looks like a theme park built on bones — bright colors, clean lines, manicured lawns, all of it sitting on top of something rotten.

Wind pushes dust across the ridge. The screens flicker in the distance like a field of electric eyes.

Ellison’s forces used this compound as a holding site. Slave labor detected.

‘I see it.’

The place hums with power — not military power, not political power, but indulgence.

The power to pretend nothing is wrong. The power to hide what is.

The gang bangers don’t wait for orders.

Jake points at the roof. Tito marks the loading bay. Marisol traces the perimeter with her boot.

They move like they’ve been waiting their whole lives to tear this place apart.

They’re still pissed at me — still furious I forced the attack at the pits — but this place? This place gives them permission.

⭐ Scene 2 — The Breach

We descend the ridge fast — sliding, running, boots kicking up dust.

The compound grows larger with every step. Screens glare down at us. Celebrity faces smile, pout, cry, laugh — a thousand versions of them stitched together in a loop.

The gang bangers split into teams without speaking.

Roof team. Perimeter team. Back entrance team. Loading bay team.

They don’t ask me for direction. They don’t need me.

I follow Tito’s team toward the loading bay.

The door is locked.

Tito swings a sledgehammer into the hinges — once, twice, three times — until the metal screams and folds.

The door crashes inward.

We spill inside.

The building is a maze — cables snaking across the floor, cameras hanging from rails, editing bays glowing with half‑finished segments, green screens draped like sickly curtains, makeup rooms full of powders and wigs, costume racks stuffed with outfits for “segments.”

It’s a factory.

A factory for distraction.

A factory built on slave labor.

Ellison’s staff scatter like mice — running, hiding, screaming.

The gang bangers don’t hurt them.

They’re not here for revenge.

They’re here for the slaves.

⭐ Scene 3 — The Panic Rooms

We pass a hallway lined with posters — celebrity movies, celebrity shows, celebrity documentaries.

The gang bangers tear them down as they run.

Rip. Shred. Stomp.

Paper litters the floor like snow.

We reach a reinforced door — thick steel, keypad, biometric scanner.

Marisol kicks it.

The scanner cracks. The keypad sparks. The door doesn’t open.

Theo — HE WHO EATS BEAR BUTT — rams his shoulder into the seam.

The door groans.

He hits it again.

And again.

And again.

The door gives.

Inside is a panic room — luxury furniture, stocked fridge, soft lighting.

Three celebrities huddle in the corner — faces pale, eyes wide.

One screams, “You can’t be here!”

Another shouts, “We’re important!”

A third says, “This is harassment!”

The gang bangers ignore them completely.

They’re not here for the rich.

They’re here for the slaves.

⭐ Scene 4 — The Horror Floor

We push deeper into the compound.

The hallways twist. The lighting flickers. The air smells like perfume and sweat and something rotten underneath.

We turn a corner—

And stop.

The gang bangers freeze.

The hallway opens into a massive room — a floor full of theaters, sex toys, VR rigs, elaborate sets, themed rooms, props, costumes, lighting rigs.

Screens show scenes that make my stomach twist.

Children. Costumes. Adults pretending. Adults not pretending.

The gang bangers lose it.

Theo roars. Jake punches a screen until it shatters. Marisol tears down curtains. Tito smashes a VR rig with his boot. Panthers rip apart props, furniture, walls.

The room becomes a storm — fists, boots, screams, metal breaking, glass exploding.

They tear the place apart.

They destroy everything.

They burn the rot out of the building.

They’re still pissed at me — still furious I forced the attack — but they get into it.

They get into it hard.

⭐ Scene 5 — The Slave Barracks

We reach the basement door.

It’s locked.

Marisol kicks it open.

Inside are slaves — hundreds at first glance, then more, then more — packed into rooms, hallways, stairwells.

Thousands.

Bruised. Starving. Eyes hollow. Bodies shaking.

They stare at us like we’re ghosts.

A woman whispers, “Are you here to take us somewhere worse?”

Marisol shakes her head.

“No. We’re here to get you out.”

The room erupts — crying, shouting, relief so loud it hurts.

I stand in the doorway, frozen.

I don’t know how to be in this moment. I don’t know how to talk to people who’ve been used like tools. I don’t know how to comfort anyone.

They trust you. They trust anyone who is not Ellison.

I swallow hard.

The gang bangers help them up — lifting bags, carrying children, guiding them out with gentleness I didn’t expect.

A little boy grabs my hand.

I look down.

He says, “Are you the guy from the gym?”

I squeeze his hand.

Just once.

Empathy confirmed.

‘Shut up.’

But she’s right.

I care.

I care more than I want to.

⭐ Scene 6 — The Realization

We lead the slaves out of the compound.

Screens flicker behind us — celebrity faces glitching, distorting, breaking.

The gang bangers walk with the slaves through the maze of broken sets and shattered lies.

Theo carries two kids. Jake holds a grandmother’s arm. Marisol guides a pregnant woman. Tito carries a bag full of baby clothes.

They move like protectors.

Like guardians.

Like the opposite of everything Ellison said they were.

We reach the loading bay.

The sun hits us hard.

The slaves blink into the light.

The gang bangers stand around them — bruised, bleeding, breathing hard.

They look at me.

Still pissed.

Still angry.

Still not forgiving me.

But united.

United in the one thing that matters:

There are thousands.

Thousands.

And for the first time since the pits, the gangs realize something:

They’re glad they acted.

They’re glad they fought.

They’re glad they saved them.

Even if I forced their hand.