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STEVIE WALKER-WEBB: My brother 
has been in solitary confinement

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for 122 days.

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A six-by-nine-foot cell.

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He committed no crime.

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He's just having 
serious delusions right now.

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NATASHA DEL TORO:  Filmmaker  
Stevie Walker-Webb

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is fighting for his brother  
Waday's freedom.

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STEVIE: Because I just wanted 
to make it visual,

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the way that we treat

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the most vulnerable members 
of our community.

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DEL TORO:  
"Hundreds of Thousands,"

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on  America ReFramed.

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♪ ♪

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(car approaching)

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(car passes in distance)

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STEVIE: I'm a community 
organizer and I've told people

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a thousand times 
not to call the police,

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and...

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(inhales softly)

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I called the police.

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(car approaching)

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(people talking in background)

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- No, sir!

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All right, it's 1-1!

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(people talking in background)

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(men murmuring)

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All right, all right.

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(all talking indistinctly)

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STEVEN, SR.: You better play 
your hand, partner.

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- It's time for the 
next dude to get in.

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I'm waiting for the dime to go.

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- Hold him, Waday, hold him.

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You see, that's the only reason 
I said something.

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We gonna, gonna hold him 
on that dime, okay.

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♪ ♪

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STEVIE: My mom called me 
and was, like,

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your brother's having 
a massive attack.

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So I'm driving,

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I'm racing on the highway 
from Austin to Waco,

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and I'm calling MHMR 
the entire two hours.

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And I'm on the phone with them, 
I'm calling them,

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and they're telling me 
that there's nothing

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that they can do, 
that I need to call the police.

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And I'm saying, "Hey, 
my brother's not a criminal.

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"My brother's not doing 
anything violent.

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He's just having serious 
delusions right now."

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So finally, I get on the phone 
with MHMR again.

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It's, like, my third call 
in, like, two hours.

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I'm almost to Waco 
at this point.

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And she says, "No, no, no, 
just call the police,

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"and we'll send out,

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"we'll send out 
the emergency response team.

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They'll, they'll beat, 
they'll beat the police there."

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Can you, can you tell me 
if he's here or not?

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WOMAN: Uh, I can look and see-- 
what's the last name?

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STEVIE: His last name is 
Walker-Webb,

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his first name is Steven. 
WOMAN: Walker-Webb.

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Okay, give me just a second.

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- So I'm waiting, 
they're kind of...

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They, they said that they were 
bringing my brother here.

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They tased him, 
they pushed him down.

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One cop, uh, hit him several 
times in his back

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while my mother was screaming 
and asking them to stop.

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We called because he was having 
a mental health, uh, crisis.

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And now we're here at the 
hospital and I don't even know

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if my brother is okay or not.

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WOMAN: So I don't have that name 
in our computer.

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- I do not know 
where my brother is.

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I do not know what his state, 
um, is at this time.

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Um, and I, I'm going to do 
everything I can to get him, uh,

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justice and to get him, uh, care 
and to get him taken care of.

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And I'm going to need the 
support of my entire community,

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and, and that's gonna be, um, 
very necessary,

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um, in the coming days 
and weeks.

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Um, so, um...

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Um, I'm proud that, 
that we have a, a family that,

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uh, that prays, that fight,

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that love, 
and that stick together.

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Come on over here, don't 
stand, don't stand over there.

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Get over here-- 
ain't none of that.

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WOMAN: Let Waday go!

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- Right? (chuckles) 
WOMAN: Right? Let him go!

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- So, um, let's just have 
a moment of prayer.

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Mama, you the prayer warrior.

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You taught us all how to pray, 
so you want to,

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you want to keep this prayer up? 
MARY WALKER-WEBB: Okay.

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Father God, I ask you 
to forgive me of anything

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that I said or done 
that would hinder this prayer.

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And I thank you, 
God, for this day.

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I thank you for your grace 
and your mercy.

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I thank you for your divine 
hand of protection.

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I thank you for what 
the devil means for our bad,

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you are going to work it 
for our good.

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Thank you that when what we did 
not want to happen happened,

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but it could have 
been worse, God.

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Well, I'm trying to find 
the goodness in it.

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Not trying to, because it could 
have been worse, God.

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Instead of us trying to pray 
to get Waday out (inaudible),

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we could have been planning 
his funeral.

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And I thank you for that, 
that it did not happen.

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I thank you for it, God.

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I thank you 
how you have kept me, God.

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(voice cracks): How you've given 
me strength to endure, God.

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MAN: Thank you, Jesus, 
thank you, God.

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Thank you, Jesus.

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SHAY SHAY: Hey, Waday, 
this is Shay Shay.

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I love and I miss you,

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and I'm praying for you, 
and keep fighting,

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and we're going to keep fighting 
for you,

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and this battle will soon 
be over.

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Love you.

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BOY: I love you, Uncle Waday.

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I hope you keep your head up,

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and have determination 
and stay strong.

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KK: To my nephew Waday, 
we love you so much.

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We miss you.

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We miss your smile.

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I miss you telling me 
how beautiful I am

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every time you see me.

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Can't wait till you get out 
and come home.

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We love you, Your Aunt KK.

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STEVIE: Now, y'all make sure, 
all y'all,

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all y'all nephews, nieces that's 
trying to run back in the house

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to the games, 
whatever you're doing,

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make sure that you are drawing 
a picture that is bright,

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that is colorful, right?

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The words are beautiful, right?

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But we don't know what state 
Waday's mind is going to be in

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when he get this letter.

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But, so if he sees something, 
a bright yellow piece of paper

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or a bright pink piece of paper,

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he going to connect that with 
a feeling of love, right?

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Color, color has power, right?

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And so make sure 
that you're writing something

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bright and beautiful, 
something to make him laugh.

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If you know a funny joke, 
put a joke in there.

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If you know something that, 
that,

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that you, he used to laugh at, 
or he used to draw...

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Like, he like  Naruto-- 
put that in there, right?

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Whatever you know about Waday

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that would make 
a smile come to his face,

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put that in the letter, because 
we want to send him love, right?

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We want to make him feel 
the love of this moment.

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And we not going to be, 
we not going to be down,

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'cause we going to fight.

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They brought the fight to us...

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(dialogue fading)

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(talking in background)

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JOHNNIE WALKER: 
This is my oldest daughter,

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Debra Louise Hilliard.

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Now, why make them suffer

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into mess like this? 
STEVIE: Yes, ma'am.

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Mm-hmm.

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- That's, that's suffering.

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You know, it, it's not enough

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that Black people have been 
picked on all their lives.

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It ain't over-- 
we still being picked on!

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- Yeah. 
- We still...

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Some of them think 
will try to walk on us.

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It's only thing it is different,

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it's just not like it was back 
in my great-grandma days,

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and it'll never be like that. 
- Hm.

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- The world will come to the end 
before that.

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- Hm. 
- No, no.

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No.

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And to sit in something 
like this

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23 hours a day,

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my mind will start running 
all kind of ways.

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And yours would, too.

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STEVIE: Right, anybody would, 
especially after 120 days

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in a... 
- In this thing.

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- That's the size of a parking, 
a parking spot.

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- Is it, is it a parking spot? 
- It's small.

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- Can I open my door?

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- Probably can't even 
open your doors.

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- Hm.

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And then you got to sit there 
all day, all night,

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all day, all night, all day, 
all night,

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all day, all night.

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Mm-hmm.

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(people talking in background)

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STEVIE: Hey, Bubba.

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Yeah, I can hear you, what's up?

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No, no, um.

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So, uh, we're out here, 
we're out here building a, um,

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building a cell that, that, that 
is the same size of the cell

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that you're in right now,

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and so it's going to take us 
a little bit of,

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a little bit of time 
to build it, but I can talk.

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- Perfect, okay.

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- So you want, you want me to, 
you want me to pull up, um,

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my, pull up the internet 
and look,

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and look for the songs 
at the same time.

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Tupac?

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Moneybagg Yo?

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(laughs): That's the name of 
the, the artist,

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is Moneybagg Yo?

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All right.

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All right, I'm, 
I'm gonna have those for you.

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And as soon as you get out, 
your,

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everything will be ready to go.

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I love you-- hey, Waday!

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Waday, before you go, question:

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when, when you go to sleep 
at night,

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do they turn off all the lights?

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They leave the lights on?

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(kid screeching)

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- He does this thing 
where, like,

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he keeps making me plan 
all this stuff

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that he wants me to do, 
like, when he gets out.

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Like, the movies he wants 
to watch,

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the albums that he has, 
that he, that, like...

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MAN: Just to have it ready?

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- Just, like, he wants 
everything ready...

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(woman calling to child) 
And, like, um...

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Yeah, it's just, like, it's, 
it's beautiful,

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'cause it's, like, it's... 
WOMAN: Let's not swing 'em.

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- Like, I guess it's just, 
like, him trying

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to hold on to things, you know?

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Um, have you ever heard 
of Y.M. Melly?

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00:10:01,466 --> 00:10:02,866
MAN: At minimum, your, 
your tent stakes, at minimum,

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00:10:02,866 --> 00:10:04,800
if you don't do your, your... 
WOMAN: The cross.

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MAN: Your, your crosses.

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00:10:06,100 --> 00:10:08,100
(people talking in background)

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WOMAN: Right, because if you do 
that,

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the tension on either end, 
it'll at least balance it.

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MAN: I think you're right. 
WOMAN: Because we're not gonna

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lean up against any walls 
or anything. (laughing)

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MAN: Yeah, you definitely 
don't want it to come apart.

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That, that would ruin 
your whole thing.

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So we want to make sure 
that you're secured for sure.

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WOMAN: Absolutely.

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STEVIE: So we want to do-- 
what's the order of operations?

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You want to zip tie,

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and then tent stakes?

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♪ ♪

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He's the kind of person, like, 
he was able to do everything.

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He played varsity football

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and was also a theater, 
a theater geek.

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Like, he got into theater 
when, um...

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I opened the Jubilee Theatre.

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It's, like, ten blocks 
from here.

243
00:10:50,700 --> 00:10:52,366
Like, right adjacent 
to the projects.

244
00:10:52,366 --> 00:10:53,800
People were, like,

245
00:10:53,800 --> 00:10:56,366
"There's no way art can happen 
in that neighborhood."

246
00:10:56,366 --> 00:10:59,966
And, um, when everybody in 
the city was doubting that,

247
00:10:59,966 --> 00:11:02,100
my brother was, like, riding 
shotgun with me in my hooptie.

248
00:11:02,100 --> 00:11:05,333
He was there, just there, 
you know?

249
00:11:05,333 --> 00:11:07,233
Um, he was just that way.

250
00:11:07,233 --> 00:11:09,600
WADAY (as Gabriel): Hey, Troy!

251
00:11:09,600 --> 00:11:10,900
(audience laughs)

252
00:11:10,900 --> 00:11:12,133
ROSE: What you got there?

253
00:11:12,133 --> 00:11:13,933
- You know what I got, 
Rose?

254
00:11:13,933 --> 00:11:15,533
I got fruits and vegetables.

255
00:11:15,533 --> 00:11:17,833
- Well, where's all our plums 
you was talking about?

256
00:11:17,833 --> 00:11:19,700
- Oh, I ain't got no plums, 
Rose.

257
00:11:19,700 --> 00:11:21,766
(audience laughs) 
I was just singing that.

258
00:11:21,766 --> 00:11:24,600
MAN: Mr. Gabe! 
You blew me in, didn't you?

259
00:11:24,600 --> 00:11:27,066
All right, what did you like 
the most

260
00:11:27,066 --> 00:11:30,900
about the character 
that you played, Mr. Gabe?

261
00:11:30,900 --> 00:11:33,133
- I liked everything 
about my character.

262
00:11:33,133 --> 00:11:34,700
- You liked everything 
about the character?

263
00:11:34,700 --> 00:11:37,400
What'd you like about the play 
and, and, the play in general?

264
00:11:37,400 --> 00:11:38,666
Was there any sad parts in it?

265
00:11:38,666 --> 00:11:40,533
There were some sad parts 
in the play.

266
00:11:40,533 --> 00:11:43,033
- Well, the sad part of the play 
was, he's stealing my money.

267
00:11:43,033 --> 00:11:47,866
(people laughing)

268
00:11:47,866 --> 00:11:51,133
- Did you like the character 
you played right now?

269
00:11:51,133 --> 00:11:54,633
STEVIE: My brother has been 
in solitary confinement

270
00:11:54,633 --> 00:11:56,866
for 122 days.

271
00:11:56,866 --> 00:11:58,533
A six-by-nine-foot cell.

272
00:11:58,533 --> 00:12:01,566
He committed no crime, but he's 
being treated like a criminal.

273
00:12:01,566 --> 00:12:04,966
Um, he's one 
of hundreds of thousands.

274
00:12:04,966 --> 00:12:07,066
And so I'm here because

275
00:12:07,066 --> 00:12:09,633
I just wanted to make it visual, 
um,

276
00:12:09,633 --> 00:12:10,933
the way that we treat

277
00:12:10,933 --> 00:12:13,966
the most vulnerable members 
of our community.

278
00:12:13,966 --> 00:12:19,000
♪ ♪

279
00:12:25,966 --> 00:12:31,000
♪ ♪

280
00:12:36,200 --> 00:12:38,633
(people talking in background)

281
00:12:53,966 --> 00:12:55,466
STEVIE: 
We're gonna get him out of here.

282
00:12:55,466 --> 00:12:57,000
MARY: All right. 
- I love you, Mom.

283
00:12:57,000 --> 00:12:58,833
- Love you.

284
00:13:02,300 --> 00:13:05,700
(people talking in background)

285
00:13:05,700 --> 00:13:07,666
- Starting now.

286
00:13:19,066 --> 00:13:21,100
(sighs)

287
00:13:31,533 --> 00:13:33,666
(object clatters in distance)

288
00:13:33,666 --> 00:13:35,666
(cars passing)

289
00:13:41,333 --> 00:13:43,633
(people talking in background)

290
00:14:49,366 --> 00:14:54,866
(cars passing)

291
00:15:11,200 --> 00:15:16,766
(airplane passing overhead)

292
00:15:16,766 --> 00:15:22,000
(reverse signal beeping 
in distance)

293
00:15:31,600 --> 00:15:36,633
(airplane passing overhead)

294
00:15:53,066 --> 00:15:55,033
STEVIE: 
I'm only suffering for one day.

295
00:15:55,033 --> 00:15:59,133
My brother has been suffering 
for 122 days.

296
00:15:59,133 --> 00:16:01,100
I think the most difficult 
part is,

297
00:16:01,100 --> 00:16:03,100
is this right here, 
to be honest.

298
00:16:03,100 --> 00:16:06,333
Is having sat somewhere 
to represent my brother,

299
00:16:06,333 --> 00:16:08,433
to represent hundreds 
of thousands of folks

300
00:16:08,433 --> 00:16:10,933
who are in, who are 
incarcerated wrongfully,

301
00:16:10,933 --> 00:16:15,966
and to, like, feel a kind of, 
a fear, a cynicism that,

302
00:16:15,966 --> 00:16:18,766
that this will be a moment 
that will pass

303
00:16:18,766 --> 00:16:21,366
and that no legislative action 
will be taken.

304
00:16:21,366 --> 00:16:23,833
This is something that affects 
people of all races,

305
00:16:23,833 --> 00:16:26,866
of all sexual orientations, 
of all genders,

306
00:16:26,866 --> 00:16:28,733
of all socioeconomic levels.

307
00:16:28,733 --> 00:16:30,433
I feel a deep responsibility

308
00:16:30,433 --> 00:16:32,333
to make sure that this moment 
doesn't pass,

309
00:16:32,333 --> 00:16:33,700
and that we all don't 
just look at it

310
00:16:33,700 --> 00:16:35,300
as something 
that's sensationalized.

311
00:16:35,300 --> 00:16:36,433
That's the hardest thing,

312
00:16:36,433 --> 00:16:38,633
is to feel like nothing's 
going to change.

313
00:16:53,033 --> 00:16:57,166
WOMAN: 
♪ ...yet wave ♪

314
00:16:57,166 --> 00:17:01,733
♪ O'er the land of the free ♪

315
00:17:01,733 --> 00:17:07,266
♪ And the home of the brave ♪

316
00:17:09,566 --> 00:17:11,100
(audience applauds)

317
00:17:11,100 --> 00:17:12,333
PHOTOGRAPHER: 
And three, two, one...

318
00:17:12,333 --> 00:17:15,433
(shutter snapping)

319
00:17:15,433 --> 00:17:21,033
(people talking in background)

320
00:17:21,033 --> 00:17:23,000
STEVIE: He's down there, 
he's just hanging out, he okay.

321
00:17:23,000 --> 00:17:26,233
MAN: Thank y'all very much! 
- He's fine.

322
00:17:26,233 --> 00:17:28,033
Lookit, he's feeding the ducks.

323
00:17:28,033 --> 00:17:29,233
- Who? 
- Uncle Waday is.

324
00:17:29,233 --> 00:17:31,100
He cool.

325
00:17:32,500 --> 00:17:37,533
(people talking in background, 
child crying)

326
00:17:48,333 --> 00:17:53,366
(people talking in background)

327
00:17:56,133 --> 00:17:59,866
MAN: Hey, five dollars 
to whoever

328
00:17:59,866 --> 00:18:01,466
pick up the most balloons.

329
00:18:01,466 --> 00:18:05,666
(people talking in background)

330
00:18:05,666 --> 00:18:07,533
- Come on in!

331
00:18:07,533 --> 00:18:08,833
- Move the balloons. 
- Move the balloons.

332
00:18:08,833 --> 00:18:10,400
- Get the balloons out the way, 
little boy!

333
00:18:10,400 --> 00:18:12,800
- I don't know 
where to put them!

334
00:18:12,800 --> 00:18:14,066
MAN: Here, give them to me.

335
00:18:14,066 --> 00:18:17,400
I got them. 
(people talking in background)

336
00:18:17,400 --> 00:18:19,933
- Y'all are leaving our daddy 
out, he trying to...

337
00:18:19,933 --> 00:18:23,833
- Look at them babies, though, 
they having a nice field day.

338
00:18:23,833 --> 00:18:25,700
MAN: Scoot up there 
with Stanley and Uncle Stevie.

339
00:18:25,700 --> 00:18:29,466
(dialogue fades)

340
00:18:29,466 --> 00:18:34,500
♪ ♪

341
00:19:27,600 --> 00:19:32,633
♪ ♪