Red Eagle: a governed AI product system, documented end to end.

Two independent accounts describe a plain, brief exchange: Woodward (1859) and William Gates, orderly sergeant, in an 1893 letter printed in the Transactions of the Alabama Historical Society (1898). Registered Q-11 VERIFIED.

The famous oration — “I am in your power… I cannot animate the dead” — first prints in Reid & Eaton, 1817. Reid was Jackson's aide and was present. But Pickett called it “camp gossip,” Brewer “fictitious,” and Halbert & Ball reject it as lacking “sufficient evidence of genuineness.” Registered Q-12 COMPOSITE.

Jackson's own hand, to David Holmes, 18 April 1814: the surrendered chiefs “have surrendered up Eighteen of the negroes taken at Mimms.” Q-51 VERIFIED.

D-15 — play the plain version. The oration exists in the film only as the version other people tell afterward. The most famous speech in the story enters through the rumor register, not through his mouth.

D-83 — the split ledger. The surrender is forgivable for Weatherford; Jackson is forgivable only for a grief that is not in this scene. So in the one room these two men share, the defeated man may be forgiven and the victor may not. Do not resolve the asymmetry by staging — play the transaction flat and let both ledgers sit in the same shot.

Rebuilt on Q-94. Woodward disavows the standard story in a parenthesis and gives a different mechanism: an intermediary sent up first, safety confirmed through his brother-in-law, and only then the ride in. The asking is the act, not the nerve.

17-the-surrender.fountain — seven movements, plus a design document recording why each is staged as it is.

The scene is built on a register entry nobody had ever staged. The food is not free: it is bought with eighteen people, in Jackson's own sentence, and nobody in the scene says so. There is a number in a ledger and the audience can read.

Final image: two pages on one table — Jackson's ten true words, and Reid composing the 1817 oration three feet away while the plain exchange happens. History keeps the wrong one.

C4 — transfer check. Forgiveness for the surrender is correct and is not a finding. The audit looks only for that forgiveness leaking onto what he does to Abram.

C5 — the wall. One test: does a character who cannot see the system state it? Nobody may narrate the price.

C6 — figure audit. Every number in the scene listed without judgment and checked on our side. The count of eighteen is the fifth instance of the counting motif and the one time the arithmetic is exactly right.

Tensaw as a functioning bicultural settlement: who greets whom, who may speak in council, what a Wind Clan woman's word is worth, how a Scots trader and a Creek matriarch conduct a marriage as a treaty. Held in the tier-1 world bible.

The apparatus that replaced it is equally documented. Jackson to Blount, 9 August 1814: “about twenty two millions of acres are contained in this cession.” Q-15 VERIFIED. Then section lines, the St. Stephens land office, and Monroe County incorporated 1820 — the survey grid arriving on ground that had been held by town and clan.

The measured world — a structural principle for the whole picture, locked 2026-08-21. Build Scene 2 specifically enough to be remembered, then replay the identical categories on the same ground in Scene 22 under the new system.

Authority descends through the maternal line → authority is a deed with a name on it. Land is where a town is → land is a plat with a number. A man's standing is his clan's → a man's standing is his colour.

Discipline: none of this is stated. No character observes that anything has changed. The audience recognises it because they were shown the original — which is why Scene 2 is the film's control group.

02-tensaw.fountain — the plantation set for a wedding. 22-twilight.fountain — the same ground, sorted into fixed and legible castes.

Location plates are registered as separate reusable assets: Tensaw plantation, set for a wedding; Little River house and section line; the St. Stephens land office; a clerk's office, Monroe County. A scene shot at a location never re-invents that location.

Each plate carries a registry row: id, model, mode, seed, prompt file, reference image, locked. Without the seed and the exact prompt, the plate is not reusable and the work is lost.

C5 — the wall. This is the case the rule exists to protect. The contrast carries the film's entire argument, and a single line of a character noticing it would collapse the device into commentary.

Stage 3 production gate. No shot is generated without a numbered ledger entry, a written scene, locked character sheets for everyone in frame, and a location plate. The plate is a hard prerequisite, not an asset to improvise at generation time.

Registry completeness check. A plate without a recorded seed and prompt fails the gate even if the image is good.

Three documented points of view carry the scene. The enslaved man tied to the post with the lash raised as the attack begins DOC. The Creek woman ordered to go home DOC. Weatherford driving the warriors on, then imploring and being driven off with clubs raised over his head V-01, V-04.

The gate line — “Dixon Bailey. To-day one or both of us must die.” — is V-17 TRADITIONAL: Charles Weatherford Jr.'s letter reporting an aunt who saw him, printed in Halbert & Ball (1895), ch. IX. Family testimony recorded eighty years later.

D-99 — the thesis correction. The attack is the Muscogee Creek warriors' and would have happened whether or not Weatherford led. The scene now has three leaders in three places along the ravine — three middles and no top. The rising starts at Francis's end and travels; nobody looks to Weatherford, and he does not give the signal.

The stated reason is a control, not a preference: a reader who thinks the assault is his doing is one step from thinking his restraint could have stopped it — which is the redemption reading the canon forbids. If Fort Mims happens without him, his presence is not the hinge and his mercy is not a counterfactual.

Muscogee-language names for the two invented observers remain placeholders. Do not bake a name into a registry row.

09-fort-mims.fountain — roughly sixteen pages, plus a design document. Three points of view, all three documented.

The gate line reaches the page carrying its own provenance and its own guardrail, both inline: a TRAD annotation naming the 1895 source, and a direction that it must not read as a personal quarrel driving the massacre, because the killing that follows has nothing to do with either of them.

C7 — atrocity check. Flag anything that makes violence or suffering beautiful, thrilling, or satisfying: lyrical language about the dead, violence choreographed for excitement, a death staged to be moving rather than to be seen, the camera lingering where it has no reason to. Plain, unsparing description is correct and is not a hit.

Result: no FABRICATED claim anywhere in the drafted scenes, and all four anachronism hard bans clean.

D-08 — the gate that has not opened. Depiction of Fort Mims, Holy Ground, and Horseshoe Bend is blocked until consultation with the Poarch Band of Creek Indians and the Muscogee (Creek) Nation. The scene is written, sourced, and staged. Nothing may be drawn.