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I’m bolting through a set of swinging double doors,

searching out the feeble sound, fighting to focus on the

tiniest details. I strain my ears and hear it again.

Heavy, labored breathing.

The closer I get, the more clearly I can hear him. It has to

be him. My gun is up and aimed to fire, my eyes careful

now, anticipating attackers. My legs move swiftly, easily,

silently. I nearly shoot a shadow the boxes have cast on the

floor. I take a steadying breath. Round another corner.

And nearly collapse.

Adam is hanging from bound wrists, shirtless, bloodied and

bruised everywhere. His head is bent, his neck limp, his left

leg drenched in blood despite the tourniquet wrapped

around his thigh. I don’t know how long the weight of his

entire body has been hanging from his wrists. I’m surprised

he hasn’t dislocated his shoulders. He must still be fighting

to hold on.

The rope wrapped around his wrists is attached to some

kind of metal rod running across the ceiling. I look more

closely and realize the rod is a part of a conveyor belt. That

Adam is on a conveyor belt.

That this isn’t just a factory.

It’s a slaughterhouse.

I’m too poor to afford the luxury of hysteria right now.

I need to find a way to get him down, but I’m afraid to

approach. My eyes search the space, certain that there are

guards around here somewhere, soldiers prepared for this

kind of ambush. But then it occurs to me that perhaps I was

never really considered a threat. Not if Warner managed to

drag me away.

No one would expect to find me here.

I climb onto the conveyor belt and Adam tries to lift his

head. I have to be careful not to look too closely at his

wounds, not to let my imagination cripple me. Not here. Not

now.

“Adam . . . ?”

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