THE SPIRITUAL PRISON

Written by Stephen Mitchell

2260 Cammie Wages Rd Dacula, Georgia 30019 678-776-8290

FADE IN: EXT. CITY BUILDING FRONT - NIGHT Heavy rain is falling. A bolt of lightning lights up the night sky followed by thunder. A sign is lit above the doorway reading WAMA CHANNEL 3 ATLANTA. BEHENDA exits the front door and opens an umbrella to shield herself from the rain. A gust of wind attempts to pull the umbrella from her grip as she holds it with one hand and her laptop case in the other. This is BEHENDA WALL, 38, white female, professionally dressed with an intellectual feel. She walks as if a queen in complete control of her surroundings. Behenda is employed as a breaking news reporter for a local Atlanta television station. EXT. CITY STREET VIEW - NIGHT Behenda searches for taxi cab 318 in the blinding rain. Behenda observes the taxi cab across the street and makes a run for it as cars travel in each direction. Horns blow as she avoids becoming another big city pedestrian versus motor vehicle accident victim. INT. INSIDE TAXI CAB - CONTINUOUS Behenda enters the taxi cab and is greeted by the cab driver MARCUS JACKSON MARCUS JACKSON is a middle-aged black male, heavy set and easy to talk to about anything. He wears an Atlanta Braves ball cap often and seems to know a great deal about local events and places of interest. MARCUS (He turns to look at Behenda in the back seat) Hello Behenda. It sure is raining hard tonight. Behenda shakes the water from her hair and removes her glasses to clean them. She places her laptop case in the empty seat beside her along with her umbrella.

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BEHENDA Thanks for being on time, as always Marcus. I can always depend on you. Marcus stares at Behenda through the rearview mirror. MARCUS Wheres it going to be Behenda? Are we going to the Peachtree Tavern or home? Behenda looks back at Marcus in the rearview mirror. BEHENDA (Behenda smiles at the question posed) Just take me home Marcus. I would probably just get drunk and be taken to some seedy motel room by another miserable and unsatisfied married man. Not that I wouldnt enjoy it you know. I enjoy being used up and spit out. Its the nature of my game. Marcus looks straight ahead as he navigates the city traffic. MARCUS Dont say that Behenda. Youre a good girl. Behenda removes a makeup pouch from her laptop case, which also serves as her purse. She opens the case and removes a compact mirror. She investigates her face to see how much damage the rain has caused to her makeup. BEHENDA (Looking in the mirror) If more men were just sweet like you Marcus, maybe I could find a decent man to settle down with some day. But then again, a relationship is going to do nothing for me but tie me down and keep me from reaching my highest goal. Behenda stares out of the window looking at the tall skyscrapers blocking the night sky. The rain is running down the window glass.

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EXT. OUTSIDE TAXI CAB - NIGHT The rain pouring down the glass almost gives the perception Behenda has tears running down her face. The image in the window also reflects the passing buildings lit up. INT. INSIDE TAXI CAB - NIGHT Marcus is staring in the rearview mirror as Behenda returns her compact and makeup case to the laptop bag. MARCUS (Staring intently at the rearview mirror) What exactly is your goal Behenda? Behenda continues to stare out of the window at the passing buildings. BEHENDA The Pulitzer Prize for Breaking News Reporting. Ill have it one day Marcus. One day that prize will be mine. Marcus looks straight ahead driving with his reflection visible in the rearview mirror. He turns left onto a one way street. MARCUS (Nodding his head as if in agreement and gently laughing) I know you will Behenda. I know you will. EXT. OUTSIDE APARTMENT BUILDING - NIGHT The cab pulls up to the street corner in front of Behendas apartment and comes to a stop with the brakes emitting a high pitch squeal from the constant stop and go of the vehicle. The rain is still falling with a flash of lightning followed by the sound of distant thunder. INT. INSIDE TAXI CAB - NIGHT Behenda grabs her umbrella and laptop case. She opens the side pouch on the case and removes three ten dollar bills. She hands them to Marcus whose right hand is extended over his right shoulder to accept the money. Marcus gazes into the rearview mirror at Behenda.

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Behenda hands Marcus the money and she smiles. BEHENDA You know Marcus. I probably do not say this much, but thank you. Marcus stares into the rearview mirror. This time the reflections of both Marcus and Behenda can be seen in the mirror with Marcus being the dominant image. MARCUS Thank you for what Behenda? I just pick you up when needed at night. Its my job. Behenda becomes the main image in the rearview reflection. BEHENDA (Places her right hand on the right shoulder of Marcus) Just for being a non-judgmental person and instance of reality in this jumbled up world we live. I have to be up early in the morning to be on assignment so I will call you around 5:30 AM. Will you still be working? The image of Marcus becomes dominant once again as he smiles at Behenda. MARCUS I will be here Behenda. Just give me a call. Have a good nights sleep and I will pray for you. THE REARVIEW MIRROR Supports a cross hanging attached to a rope. Behenda stares at the cross hanging from the rearview mirror. Her smile decreases as she shakes her head in disgust. She leans back in the seat and sighs. BEHENDA No need to pray to God for me Marcus. He left me a long time ago. Marcus looks somewhat stunned at Behendas response as he turns completely around in his seat to look at her.

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MARCUS I dont think God has forgot about you Behenda. God does not forget about us. We forget about God by building a wall of separation. Behenda throws up her right hand at Marcus and smiles. BEHENDA Forget I said anything Marcus. I did not mean to offend you. Have a safe night and Ill see you in the morning. EXT. LEFT SIDE OF CAB - NIGHT With the heavy rain falling, Behenda exits the left rear door and runs in the direction of her apartment building entrance. She enters her code into the security pad, opens the door and enters inside. INT. FOYER AND MAIL SLOTS - CONTINUOUS Behenda removes her keys from her laptop case and inserts the key into her mailbox. As she turns the key to open her box, she observes a middle aged white male wearing only a bath robe standing by a trash can in the corner of the foyer and throwing away junk mail. Behenda seems a little startled at first as she offers a partial smile. The resident begins to approach her with an agitated look on his face. He walks directly behind her as she pretends to be reading through her personal mail. He stops behind her and stares at the back of her neck. RESIDENT (Looking disgusted) Ruined any lives today investigative reporter Wall? You self righteous bitch. Behenda turns to look at the resident staring intently into his eyes. BEHENDA What did you just say? Who do you think you are to speak to me that way. The resident turns and begins walking toward the stairwell. He takes one step and turns to Behenda.

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RESIDENT Do you even know or care about the people you destroy just to increase your ratings? Youre a heartless bitch. Behenda remains in a state of shock as she watches the resident walk up the stairs. BEHENDA How dare you. I do my job and I do it well. You do not know anything about me. Behenda walks away from the mailboxes in the direction of the stairwell. Normally Behenda would walk up the stairs for exercise to end her long day but decides to take the elevator. Behenda selects the up button on the elevator. The doors open immediately and she enters. INT. APARTMENT FLOOR/LEVEL Behenda exits the elevator on the 6th floor of her apartment. She looks up and down the hall to see if anyone is outside their apartments. She walks slowly in the direction of her apartment with her keys in hand. THE KEYS Rattle and clank together loudly as she walks presenting the sound of large metal cell door keys striking against one another. THE FRONT DOOR Contains three separate locks and each one needs to be opened. Behenda opens each of the locks and enters her apartment. INT. INSIDE APARTMENT Behenda walks inside the apartment closing the heavy steel door behind her. The closing of the door echoes the sound of a slamming cell door.

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Behenda sets the laptop case down on her foyer table and hangs her keys on a key chain holder mounted above the table on the wall. Directly above the key chain holder is a mirror mounted at face level. Behenda gazes into the mirror. She is exhausted and hungry. BEHENDA (Speaking to herself) Who in the hell does that guy think he was to speak to me like that. Behenda smiles into the mirror. BEHENDA (CONTD) Good job Behenda. You can always upset your audience about something. Behenda walks into the living room area and passes through to the kitchen. IN THE KITCHEN Behenda opens the refrigerator door. INSIDE THE REFRIGERATOR Behenda removes a plate of leftovers and closes the refrigerator door. INSIDE THE LIVING ROOM Behenda sits down on the couch with her meal, picks up her remote sitting on the armrest of the couch and turns on the television. She is excited to watch her latest breaking news story that will lead the 11:00 PM edition of the news. The faint sound of her cell phone ringtone begins to chime. Behenda runs over to her laptop case and removes the cell phone. INT. - CELL PHONE CONVERSATION BEHENDA Hello. On the other end of the call is the only man Behenda has ever truly cared for since moving to Atlanta from college.

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The caller was her investigative reporter news director, TIM LONG, a passionate and gentle man who encourages Behenda to realize her dreams and pursue all of her goals. TIM (V.O.) Hello Behenda. Has anyone updated you on the recent turn of events on the middle school molestation story? BEHENDA No. What is the matter TIM (V.O.) It seems the teacher was cleared of all charges and wrong doings. I hate to tell you this Behenda, but you were wrong on this story. BEHENDA (Rubbing her forehead in disbelief) How can this be Tim. I reported what the children stated. Even the police were certain he was guilty. TIM (V.O.) Well, it seems the children were lying in an attempt to frame the teacher. Channel 10 just broke the story about 30 minutes ago clearing his name on their 10:00 PM edition. Behenda, with her back against the wall, drops slowly to the floor. BEHENDA This will ruin my career Tim. How could this happen? I just knew he was guilty of molesting those children. TIM (V.O.) Well Behenda. I have some more bad news. The teacher was found hanging inside his classroom late this evening about an hour before the breaking news story. Its going to be a rough night for you Behenda. I need you to get some sleep and be ready to expose that shady car dealer in the morning.

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Behenda appears to be in a state of shock as she ends the cell phone call and allows the phone to drop onto the floor. Behenda stands and walks back into the living room where a Channel 10 reporter is interviewing the teachers wife. THE TELEVISION Volume is turned up by Behenda as she listens to the breaking news report. TEACHERS WIFE (Extremely emotional and distraught) Jason was a decent man. A loving family man who wanted nothing more than to see his students become educated and succeed in life. Everyone involved in these allegations are guilty of his death. His blood is on their hands. CHANNEL 10 REPORTER (Staring into the camera and holding her microphone) An awful tragedy that should have never happened. You will remember the story broke just last week on another local network. While I am not laying judgement, as an investigative reporter myself, it is imperative that we investigate these kind of allegations to the fullest extent to avoid tragedies such as these. Live from the home of the Albright family. Im Tina Ray of WLCS Channel 10 News Atlanta. Behenda stares at the television set upset and with a scowling look on her face as she selects the off button on the remote. BEHENDA (Talking to herself) This woman is going to ruin me. Good one God. My punishment continues. Behenda stands up from the couch and returns her leftovers to the refrigerator.

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THE REFRIGERATOR Door is opened, plate of food set inside, a bottle of Chateau Margaux 1995 wine is removed and the door is closed. THE LIVING ROOM Is immaculate as Behenda walks through once again to enter the bedroom. IN THE BEDROOM Behenda places the bottle of wine on her night stand and begins to undress. Completely nude, Behenda picks up the bottle of wine, along with a glass stained from the night prior and enters the bathroom. IN THE BATHROOM Behenda turns on the water in her bathtub to soak before retiring for the evening. Behenda pours a glass of wine and sets the glass beside the tub. On the bathroom counter, Behenda turns on her Ipod connected to a radio and plays some classical piano music to unwind. IN THE BATHTUB Behenda sinks down into the hot water until her naked flesh is completely covered. She lifts the glass of wine, bypassing the socially correct sipping manner, and downs the entire glass in one swallow. Behenda decides to have just one more. However, this time no glass is needed as she takes a large gulp directly from the five hundred dollar wine bottle. Behenda breathes a sigh of frustration and closes her eyes. BEHENDA (Talking to herself) How could you screw this investigative report up so badly? Behenda begins to doze off in the bathtub recalling the events leading up to the investigative reports.

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FLASHBACK - INT. BEHENDAS OFFICE DESK - DAY Behenda is researching on her office desk computer when her cell phone rings. She looks at the phone and the caller id reads the name CAPTAIN DANIEL FIELDS Daniel Fields, a captain over criminal investigations for the Atlanta Police Department, was Behendas line of information for all breaking news stories on a criminal level. Behenda would secretly meet with him to provide what his wife would no longer and in turn, he would provide Behenda with all the information she needed to be the first reporter on the scene. Behenda answers the phone. INTERCUT - CELL PHONE CONVERSATION - DAY BEHENDA Hello Captain Fields Daniel is sitting at his office desk shielded from the noisy investigative division. Holding his office telephone in his right hand up to his right ear, his feet are propped up on the desk. He has a cigarette burning in the ashtray on his desk carefree as the no-smoking rules inside the city owned building mean absolutely nothing to this law enforcement veteran. DANIEL Hello sweetheart. I hope you are having a wonderful day. I sure enjoyed the other night. When do you want meet up again? Behenda continues searching the internet for another story. BEHENDA Is that why you called Captain Fields? I was kind of hoping you had a fresh story for me to break. Daniel drops his feet and leans forward to his desk to pick up his cigarette. He takes a draw and extinguishes it in the ashtray. DANIEL (Exhaling the smoke) We got a few homicides but nothing major. BEHENDA (V.O.) Nothing major? Homicide is nothing major?

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DANIEL (Smiling) You know what I mean Behenda. In this God forsaken jungle of criminals, you kind of grow used to the ongoing murders. There is one story you might find intriguing. Behenda stops what she is doing and picks up a pen positioned over a blank piece of copy paper. BEHENDA Go ahead. Im listening. Daniel walks over to his office window and stares at the city street below. DANIEL It seems several middle school children have brought forth allegations against one of their teachers, a Jason Albright, and accused him of child molestation. Behenda writes the information down. BEHENDA Really? What school and how many children are making the allegations? Daniel walks over to the glass separating his office from the rows of investigator cubicles and searches for anyone looking at him. DANIEL Behenda. As you know, if anyone finds out I am feeding you this information... Behenda interrupts Daniel and smiles while holding her cell phone. BEHENDA Would you quit worrying and just give me the information. Ill keep our communications in my special spot that only you are privileged to visit. Daniel delivers the needed information while his left hand massages his erect penis bulging beneath his dress slacks.

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DANIEL It was Carter Middle School on Flanagan Drive near the northeast county line. There are six separate allegations. Please be subtle in your approach Behenda. EXT. OUTSIDE SCHOOL Behenda pulls up in her vehicle and parks in the front of the school behind two police cars and one unmarked unit. She exits her vehicle and enters the school entrance. INT. INSIDE SCHOOL She locates the office and enters being greeted by the office secretary. The secretary is seated at her desk. SECRETARY (Smiling) How may I help you? BEHENDA I would like to speak with a teacher by the name of Jason Albright. As soon as Behenda ask for the teacher, a commotion catches the attention of both Behenda and the secretary. Several children begin hollering, Pervert, Pervert. Albrights a pervert. Behenda notices two police officers exiting the school with a white male in handcuffs and followed by a plain clothes investigator. Behenda runs outside to speak with the investigator. EXT. OUTSIDE SCHOOL Behenda approaches the investigator. BEHENDA (Holding a mini voice recorder in her right hand) Officer. My name is Behenda Wall and I am an investigative reporter for WAMA Channel 3. Can I ask you a few questions.

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The investigator, CHUCK DRAFT, fitting the clothing profile of a criminal investigator from head to toe, turns to look at Behenda. CHUCK (Looking stern) I know who you are and how did you know about this investigation? Behenda has to respond quickly and deceptively. BEHENDA I received an anonymous telephone call about one hour ago offering limited information about a teacher accused of several counts of child molestation at this middle school. Investigator Draft stares into the eyes of Behenda and then turns away. CHUCK (Begins to walk away) Then have your anonymous source give you the rest of the details. Behenda, appearing frustrated turns and walks back to her vehicle. A child by the name of EVAN FEW and around thirteen years of age approaches Behenda. EVAN Excuse me ma'am. Aren't you the lady from the news? Behenda, not wanting to get into a long discussion, continues to walk toward her vehicle as she responds. BEHENDA Yes I am but I do not have any time to talk right now. Evan runs in front of Behenda to block her movement. EVAN I know what happened to those boys accusing Mr. Albright of touching them. Behenda stops for a moments and places her recorder inside of her front pants pocket.

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BEHENDA What is your name? EVAN Evan Few. BEHENDA Alright Evan. Tell me what happened. EVAN Apparently, Mr. Albright had instructed students to remain after class who were failing. In return for passing the students, Mr. Albright would touch them inappropriately. Behenda stares at Evan with a questionable look. BEHENDA How do you know this Evan? Did he ever ask you to stay after class? Evan looks surprised at the question. EVAN Oh. No maam. Im a straight A student. BEHENDA Do you know any of the students making the allegations? Evan looks over at a student standing in front of the school doors and watching their conversation. EVAN (Points to ERIC HENLEY) Yes maam. ERIC is one of those students. Behenda walks over to Eric. EXT. OUTSIDE SCHOOL CONTINUOUS BEHENDA Are you Eric? ERIC Yes maam

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Behenda reaches into her pocket and presses the record button on her digital recorder. BEHENDA My name is Behenda Wall and I am an investigative reporter for WAMA Channel 3. I am concerned about the allegations brought against Mr. Albright. Is he one of your teachers? Eric looks toward the ground with an ashamed look on his face. BEHENDA (CONTD) You do not have to be ashamed of anything Eric. Do you want to tell me whats going on? ERIC I know who your are. My parents watch you all the time. They say you are ruthless in your reporting. Im not sure exactly what that means though. Behenda shakes her head and smiles. BEHENDA That just means I am driven by the truth Eric. I want to find out the truth at all cost and I am not concerned if I offend those people who take advantage of and hurt other people. Behenda squats down to be eye level with Eric. BEHENDA (CONTD) Did Mr. Albright touch you Eric? Did he make you do things you did not like or want to do? EXT. ENTRANCE TO SCHOOL PARKING LOT A car pulls into the school parking lot. The car is driven by Erics mother. The car parks in front of the main entrance to the school. Erics mother, DONNA HENLEY, exits her vehicle and begins to walk in the direction of Eric.

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EXT. OUTSIDE SCHOOL Behenda, seeing the mother approach, quickly hands her business card to Eric. BEHENDA Eric. I want to help you. Take this card and call me if you need to talk. Erics mother walks up to Behenda and Eric. She places her right arm around her son and pulls him close to her side. DONNA Who are you speaking with you Eric? Wait a minute. I know you dont I? BEHENDA My name is Behenda Wall and I am an investigative reporter with WAMA Channel 3. I am trying to find out what is going with Erics teacher Jason Albright. Donna pulls Eric even closer to her side. DONNA Eric is only twelve years old. He is not involved with this trash story in any way. Leave us alone. BEHENDA Yes maam. I am only trying to report a story maam. I have no intention of slandering your son in any way. Donna and Eric walk away and enter their vehicle. Behenda watches as they drive off. INT. BEHENDAS OFFICE - DAY Behenda is searching diligently for more information about Jason Albright and the allegations. Tim, Behendas news director, enters her cubicle to inform her she has a call. TIM Hey Behenda. You have a call on 5457. Tim leaves the cubicle and Behenda selects the appropriate telephone line.

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INT. TELEPHONE CONVERSATION BEHENDA Hello. This is Behenda Wall On the other end of the telephone is DAMON WRIGHT. Damon is one of the students bringing forth allegations against Jason Albright. DAMON (V.O.) My name is Damon. Is this Behenda Wall? BEHENDA Yes it is. DAMON (V.O.) I got your number from Eric at school. He thought I should call you. I was molested by Mr. Albright. He touched me were he should not be touching me. Behenda grabs a pen and positions a note pad in front of her. BEHENDA How old are you Damon? Do your parents know you are calling me? DAMON (V.O.) I am thirteen years old. do not know I am calling just want him to pay for has done. It is not fair us. My parents you. I what he to any of

BEHENDA What has he done to you Damon? DAMON (V.O.) He told me to stay after school to makeup a test I failed. I stayed after and I was all alone. He walked over to the door and locked it. He then placed a cover over the door window. I knew something was not right. He walked over to my desk and exposed himself. BEHENDA What happened next Damon? There is a brief pause of silence.

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DAMON (V.O.) He asked me to place his thing inside my mouth. BEHENDA Did you Damon? Did you do what he asked you to do. Another pause on the telephone line. DAMON (V.O.) Yes. I placed it inside my mouth. I want him fired Ms. Wall. I want him fired immediately. The phone line hangs up and Behenda only hears a dial tone. Behenda hangs the phone up with a blank stare at her computer. INT. TIMS OFFICE - DAY Behenda enters Tims office. Tim smiles at Behenda. TIM What is going on Behenda? BEHENDA I have a breaking story on a major child molestation case at Carter Middle School involving a teacher and several students. I want to go ahead and break the story before anyone else gets the information. I just talked to a student who told me he gave the teacher a blow job for Christ sake. There are several Tim. This is bad guy hurting innocent children. Tim stares at Behenda for a few seconds biting his lower lip. TIM Are you sure about the facts Behenda. This is a big story to break and if you do not have your facts together... Behenda interrupts Tim. BEHENDA (A stern look with pursed lips) (MORE)

20. BEHENDA (CONT'D) This is fact Tim. I believe it to my very core. This guy is guilty and I want to bring him to light in the media.

A pause as Tim sits quietly for a moment in deep thought. He reclines back in his office chair. TIM If you think it is true Behenda, I say go for it. I hope you have your shit together. If youre wrong, these are allegations that will not only destroy this man, but his entire family. BEHENDA (Smiling and nodding her head) I have my facts Tim. Pulitzer Prize. Pulitzer Prize! Im on my way. Behenda leaves Tims office. INT. MIDDLE SCHOOL FRONT - DAY Behenda is holding her microphone and standing in front of the entrance to Carter Middle school as she delivers her televised report. BEHENDA This is Behenda Wall and I am standing in front of Carter Middle School were numerous allegations of child molestation have been brought against a teacher, Jason Albright. Behenda begins to walk to her left with the camera following her report to highlight the name of the school written on the side of the building CARTER MIDDLE SCHOOL. She stops and faces the camera once again. BEHENDA (CONTD) While we have very limited information about the specific details of the alleged sexual assaults, we do know Jason Albright has been arrested and charged with six counts of child molestation.

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Behenda shakes her head as if in disgust realizing this could be her opportunity to emotionally connect with her audience. BEHENDA (CONTD) (Tearing up and trembling voice) These are our precious innocent children being taken advantage of and used by these sick perverts. How can these monsters justify their actions. I realize everyone is innocent until proven guilty, but to this reporter who has spoke to several children victimized, I for one am disgusted at the actions of this man. Behenda pauses for a couple of seconds to add to the dramatic delivery of the report. BEHENDA (CONTD) (Closes her eyes and wipes her eyes with a tissue she just happened to be holding in her left hand) When we have more information on these allegations, we will be the first to deliver them to you. Until then, remember you heard it here first, Im Behenda Wall, reporting for WAMA Channel 3 in Atlanta. As Behendas cameraman, DERRICK WHITLOW, lowers the camera, he looks at her with disgust. DERRICK How the hell could you just convict this guy Behenda? Im not saying he is innocent, because I cannot say he is innocent or guilty. Just like you cannot say it either. Behenda smiles at Derrick to calm him down. BEHENDA Easy Derrick. I know what I am doing. We have worked together for a long time. Have I got it wrong yet? DERRICK What happened to your tears Behenda? (MORE)

22. DERRICK (CONT'D) You look completely different than you just showed the audience. Was that just an act Behenda?

Derrick unplugs the microphone cord from the camera, throwing the end to the ground in disgust, and turns to walk in the direction of the news van. Behenda follows wrapping the microphone cord in a circle around her left hand. BEHENDA What is your problem Derrick. When I make it to the big leagues, Im going to need a camera operator I can trust. Trust me, I know what I am doing. I need you to be with me on this Derrick. Do you think these kids are lying? Derrick stops at the van and turns to look at Behenda after placing the camera inside the van. DERRICK Is that all you care about Behenda? Just making the big time? Give me a break and just report the facts you have. Leave your personal views out of the reporting. Derrick walks around the van to the drivers side, enters the driver seat and drives off. Behenda stands in disbelief as she watches the van drive off with her mouth partially open and still holding the microphone. BEHENDA (In a soft voice) Asshole. Behendas cell phone vibrates in her pants pocket alerting her to an incoming call. She looks at the caller id which reads TIM. EXT. TELEPHONE CONVERSATION BEHENDA (Places phone up to her right ear) Hello!

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TIM (V.O.) (Shouting loudly) What the hell are you thinking Behenda. My telephone is ringing off the hook with this mans friends and family. The freaking district attorneys office is calling saying you just blew any chance of an impartial jury trial. Get your ass to the office right now! Before Behenda has an opportunity to respond to Tim, he disconnects the call. Behenda places the phone inside her pocket and walks toward her vehicle. As she is walking toward her vehicle, the phone vibrates again. Behenda removes the cell phone and looks at the caller id which reads PRIVATE. BEHENDA (Talking to herself) I wonder who this is now? Behenda accepts the call. BEHENDA (CONTD) Hello. The caller is Evan Few. The straight A student she spoke to earlier regarding the allegations and who pointed her in the direction of accuser Eric Henley. EVAN (V.O.) Is this Behenda Wall. BEHENDA Yes it is. Who is this? EVAN (V.O.) My name is Evan, I spoke to you at the school and told you about Eric Henley. Do you remember? BEHENDA Yes. I remember you. EVAN (V.O.) I got your number from Eric. You gave him your business card. There is something you need to know. Mr. Albright is innocent. They are lying because Mr. Albright found out they were selling drugs. (MORE)

24. EVAN (V.O.) (CONT'D) Instead of turning them in to the school administration, he took their drugs and flushed them down the toilet. The ones accusing Mr. Albright became upset with him and decided to make up the molestation story to retaliate.

Behenda closes her eyes and places her left hand over her mouth. She looks absolutely in shock at Evans statement. She drops her left hand. BEHENDA Are you being serious Evan? Did someone threaten you? Why didnt you tell me this the other day? EVAN (V.O.) I was trying Ms. Wall but you walked away from me before I had a chance. Mr. Albright is a good person and would never hurt anyone. He does not deserve anything that is happening to him. Just please tell everyone the truth for his sake Ms. Wall. Please. Evan hangs up. Behenda falls to her knees and covers her face with her left hand once again. After a few seconds, she tilts her head back and looks toward the sky. BEHENDA (Talking to herself) Oh my God. What have I done? If I tell the truth about this story, I will be finished. My goal is finished. INT. TIMS OFFICE - DAY Behenda walks into Tims office. Tim is talking on the telephone. TIM She just walked in. Let me call you back. Tim hangs up the telephone. TIM (CONTD) (Looking highly agitated) Well Behenda, what do have to say about your actions?

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On the drive back to the television station, Behenda has decided to act as if she never received the latest information. BEHENDA (Visibly shaken) Im sorry Tim. I screwed up. I just got so emotional. Tim, I was molested when I was a child. Behenda begins to sob. Tim stands up to console her. TIM (Arms wrapped around Behenda) Why didn't you tell me this before? We are professionals. I would have never allowed you this close to a child molestation assignment. Behenda looks up at Tim with sorrowful eyes. BEHENDA I am so sorry Tim. I just really believe these children were molested. I saw it in his eyes Tim. I saw it in his eyes. Tim turns to walk over to his desk. TIM (Back turned to Behenda) Just take the rest of the day off and go home. I will figure something out. This guy has bonded out of jail and is apparently back home. The school has suspended him permanently based on the allegations. I just hope for your sake that he did it. If he is innocent, this will ruin your trust factor with the audience. Tim turns to look at Behenda. TIM (CONTD) I really like you Behenda. But if this guy is innocent, I might be forced to fire you. Just go home and let me sort this out. No more personal opinions. You got it? (MORE)

26. TIM (CONTD) Just stick to the facts as you know them only.

END OF FLASHBACK INT. BEHENDAS BATHROOM - NIGHT Behenda opens her eyes and stands up in the bathtub. She grabs a towel and begins to dry off. She hangs the towel on a rack. She reaches down and picks up her wine bottle and glass and walks into her bedroom. IN THE BEDROOM Behenda removes her pajamas from her dresser drawer and dresses. She pours one more glass of wine and places it on the night stand beside her bed. She pulls back her covers and lies down. She stares at the ceiling shaking her head at her personal disappointment. She closes her eyes and drifts off to sleep. DREAM - INT. LARGE WAREHOUSE - NIGHT Behenda finds herself walking into a large vacant warehouse that is dimly lit. The only light within the warehouse is shining upon a body lying face down as if to put it in the spotlight. Behenda looks around her surroundings and walks in the direction of the body cautiously. She is holding a microphone in her hand with the cord dragging the ground behind her as she walks. Behenda approaches the body and recognizes the large framed male is naked. A door slams behind Behenda and startles her. She turns to look in the direction of the sound but observes nothing. BEHENDA Who is in here? Im an investigative reporter. The police are on their way. An eerie silence engulfs the warehouse as Behenda continues to search her surroundings. A voice suddenly calls out to Behenda. WAREHOUSE VOICE (O.S.) (Slow and deep voice with minor reverb) (MORE)

27. WAREHOUSE VOICE (O.S.) (CONT'D) Behenda. Behenda. Why did you murder this man?

Behenda is visually shaken as the warehouse fills with an empty silence. BEHENDA I did not kill this man. Who is he? Where am I? Im an investigative reporter for WAMA Channel 3. Once Behenda ceases her speech, she begins to see a shadow cast on the warehouse wall of a person walking toward her. She peers into the darkness searching frantically for the person casting the shadow but is unsuccessful. BEHENDA (CONTD) Who are you? Did you kill this man? Who is this person? Please respond to me. Why am I... Behenda stops speaking when she feels a presence behind her. She slowly turns and sees a large angel towering over her, surrounded by a bright light and casting a dark shadow on the warehouse walls. ANGEL Why did you murder this innocent man? Behenda stands in fright as she responds to the angel. BEHENDA I have no idea who this man is and I have never murdered anyone. The angel appears to inhale a large breath. ANGEL (Shouting) Liar! You are a liar! The loud response causes Behenda to step backwards. Forgetting the body is lying behind her, she trips over the it and falls to the floor. As she lies on the floor, she looks at the head of the lifeless figure and observes no face. There is only flesh covering the facial area with no distinct features. Behenda begins to push herself away from the body. BEHENDA (Visibly shaken and a trembling voice) (MORE)

28. BEHENDA (CONT'D) Who is this? There is no face on this person.

The angel hovers over Behenda. ANGEL You murdered this man. You destroyed his life. BEHENDA How? How did I destroy this mans life? How did I murder him? ANGEL You murdered him with your weapon. BEHENDA I do not have a weapon. I have never owned any... The angel interrupts Behenda. ANGEL Why are you so shocked Behenda? You murdered this man with the weapon you hold in your hand. He represents the faceless many you have destroyed in pursuit of your earthly desires. Behenda looks at her right hand holding a microphone. With the events unfolding, she forgot she was holding the microphone. THE MICROHONE Is labeled WAMA as Behenda clutches it tightly in her right hand. END OF DREAM INT. IN THE BEDROOM - NIGHT Behenda opens her eyes and realizes the incident was nothing more than a dream. She stares at the digital clock on her night stand which reads 3:00 AM. Behenda breathes a sigh of relief that she is no longer involved with the dream. Behenda, frustrated with another night of visual punishments, reaches for the glass of wine on the night stand she poured earlier. She takes a sip of the wine and returns the glass to its former location.

29.

BEHENDA (Talking to herself and feeling frustrated) I need some sleep. Hey God? Can you stop the punishment for one night and let me sleep? Maybe Ill do a better job in my faceless reporting with a good nights sleep. Behenda closes her eyes and begins to drift off asleep once again. DREAM - INT. BEDROOM - NIGHT (DREAM A) Note: The audience is unaware she is dreaming. There are several dreams and flashbacks within this dream. THE TELEPHONE On the same night stand with the clock and wine glass, rings, flashing a bright orange light throughout the dimly lit room. Behenda raises from her sleep and gazes at the clock. THE CLOCK Reads 3:37 A.M. BEHENDA Who in the hell is calling me at 3:37 in the morning? IN THE BEDROOM Behenda reaches for the phone and knocks the wine glass off the night stand. THE WINE GLASS Falls to the floor. IN THE BEDROOM Behenda looks down at the carpet shaking her head. BEHENDA Shit! Behenda answers the phone which has no caller id.

30.

BEHENDA (CONTD) (Speaking with an agitated voice) Hello? The voice of her news director, Tim, is on the other end. TIM (V.O.) Behenda. This is Tim. I am sorry to call you this early but I need you for assignment. I received a call around 10:30 last night from a United States government agent. They need someone strong-willed and intelligent to break a news story for them. Behenda rubs her eyes trying to gain her composure. TIM (V.O.) Get up and get dressed. Once you are ready, call me back and I will tell you what you need to do. This might just be an opportunity for you to take the heat away from the Carter Middle story. Hurry up! Tim hangs up and Behenda sets the receiver back on the hook. As she stands from bed, her left foot steps in a puddle of spilled wine. Behenda walks into her bathroom. IN THE BATHROOM Behenda stares into the mirror as she puts on her lipstick. IN THE BEDROOM Behenda is sitting on her foot stool and putting on her shoes. IN THE FOYER Behenda retrieves her cell phone which is sitting on the foyer table. Behenda also keeps a notebook and pen on the table for quick notes. Behenda telephones Tim for further instructions about the assignment.

31.

TIM (V.O.) Hello. BEHENDA Tim. I have only slept for about two hours. Talk slowly. TIM (V.O.) Alright Behenda. Now listen closely and I know this is going to sound weird. As I stated, a federal government agent called me last night in need of a local reporter to visit a highly classified prison located somewhere in middle Georgia. I have no idea where the prison is located but you are supposed to travel to the following address. Are you ready? Behenda positions the pen over the notebook. BEHENDA (Leaning over to write) Go ahead Tim. Im ready. TIM (V.O.) The address is 456 Dalton Street which is only three miles from you. There is supposed to be a vacant warehouse at this address. Take a cab over and a government agent will meet you there. Apparently , this agent will then drive you to the prison. IN THE MIRROR Behenda is staring as she flashbacks to her dream of being inside of the vacant warehouse FLASHBACK - INT. LARGE WAREHOUSE - NIGHT Behenda is standing inside the vacant warehouse looking around her. This time there is no body or angel. She is standing inside the warehouse all alone. TIM (O.S.) Behenda. Are you there? END OF FLASHBACK

32.

IN THE FOYER Behenda is holding her cell phone and looking into the mirror. BEHENDA Im here Tim. TIM (V.O.) I need you alert Behenda. This is a big deal. Can you handle this assignment? Do I need to find someone else? BEHENDA I can do it Tim. Im on my way. TIM (V.O.) Call me if you need anything. Anything at all. Behenda disconnects the telephone call. THE CELL PHONE Is being searched by Behenda for Marcus Jackson, Behendas trusted cab driver and friend. She selects his name from her directory. IN THE FOYER Behenda stands in front of the foyer table and tears the paper containing the address from her notebook. Marcus answers the phone. INT. INSIDE TAXI CAB - NIGHT Marcus is parked in the parking lot of a Waffle House drinking a cup of coffee. His cell phone rings. Marcus answers the call without staring at the caller id. The rain has finally ended and the sky is now clear. The parking lot contains puddles from the earlier heavy rain. MARCUS Hello. This is Marcus Jackson. Cab number 318. How can I help you?

33.

IN THE FOYER BEHENDA Hello Marcus. This is Behenda. I was just given a breaking news assignment and I need you to take me to 456 Dalton Street. Do you know this location? THE TAXI CAB Marcus takes another sip of his coffee. MARCUS Hey Behenda. Yeah. I know where that place is at. Just an empty warehouse. Whats going on there? BEHENDA (V.O.) I cannot disclose any information right now Marcus. Can you pick me up right away? MARCUS Ill be there in about five minutes. Be waiting out front. BEHENDA (V.O) Is it still raining Marcus? MARCUS No Behenda. Its clear outside. Turned out to be a nice starry night. Im on my way. IN THE FOYER Behenda picks up her laptop case and puts her cell phone inside the side pocket. She places the laptop strap over her right shoulder and removes her keys from the key holder. She exits the front door. INT. SIXTH FLOOR HALLWAY - NIGHT Behenda closes the door and locks all three deadbolts. She walks over to the elevator and selects the down button.

34.

EXT. APARTMENT BUILDING ENTRANCE - NIGHT Behenda walks outside the apartment building and stares up at the night sky. She breathes in the warm night air in hopes of becoming more alert. THE CITY STREET Is vacant of moving motor vehicles and walking pedestrians as she waits for Marcus to arrive. Marcus arrives in the cab stopping directly in front of Behendas apartment building. She walks briskly in the direction of the cab and enters the left rear passenger seat. INT. INSIDE TAXI CAB - NIGHT Behenda sits in the backseat staring at the reflection of Marcus in the rearview mirror as he stares back at her. MARCUS Good morning Behenda. You look tired. BEHENDA I am Marcus and I appreciate you picking me up. MARCUS What do you have to do at the old warehouse? There aint been nothing there in quite awhile. BEHENDA Im supposed to meet someone there who is driving me to another location. The story is not actually at this building. Its just a meeting point. EXT. TAXI CAB - NIGHT Marcus drives in the direction of the warehouse. EXT. WAREHOUSE - NIGHT The cab pulls up to the front of the warehouse and parks directly behind a black suv. The driver of the suv exits the driver side and walks back toward the cab.

35.

EXT. TAXI CAB - NIGHT The driver of the suv walks to the left rear passenger door and opens the door for Behenda to exit. As Behenda exits the cab, the driver, a tall black male dressed in a black suit and wearing an earpiece, hands Marcus some money for the fare. As Behenda passes the driver side of the cab carrying her laptop, she looks at Marcus. BEHENDA Thank you Marcus. I will call you later. Be safe. Marcus stares back at Behenda and the driver of the suv. MARCUS (With a worried look on his face) You sure you going to be alright Behenda? BEHENDA Yes Marcus. Im a big girl. MARCUS You be careful. Call me anytime if you need anything. The suv driver responds to the concern of Marcus. FEDERAL AGENT I am a federal agent sir. She will be in good care. EXT. WAREHOUSE - NIGHT Behenda follows the federal agent to the right side passenger seat of the suv so he can open the door for her. THE SUV Has dark tinted windows, which allows no visual of the vehicles interior from the outside. INT. SUV - NIGHT Behenda is cautious as she enters the rear passenger side looking all around the interior of the vehicle.

36.

Nothing seems out of the ordinary to Behenda as the agent closes the passenger door. Behenda watches as the agent walks around the rear of the vehicle and enters the drivers seat. The agent turns around and looks at Behenda. FEDERAL AGENT We have quite a drive to the prison Ms. Wall. Why dont you take a nap. With my driving skills, you will be as restful as if you're sleeping at the Hyatt Regency. BEHENDA Where are we going anyway? Where is this prison exactly? FEDERAL AGENT I cannot disclose anything at the present. The closer we get, I will tell you as much as I know myself about your assignment. Just be excited. Your country has called on you for something important. Now get some rest. You are going to need it. EXT. OUTSIDE SUV - NIGHT The suv drives away from the warehouse in the direction of the prison. INT. INSIDE SUV - NIGHT Behenda leans back in the seat staring out the window. While she is both excited and nervous about the little known assignment, she chooses to sleep in order to be rested. Leaving the bright lights of the city, the interior of the vehicle grows even darker. Behenda begins to think back to her childhood before drifting off to sleep. FLASHBACK - EXT. RURAL HOME - DAY A rural inner city house, the house were Behenda lived as a child, is brightly lit by the sunny day. Children are playing on the main, but isolated, street that runs in front of the home located in Levee, Georgia, population 900. The home, like most homes on the street, was built around the turn of the century and all were constructed in Victorian architecture.

37.

INT. BEHENDAS BEDROOM - DAY Behenda is playing with her dolls inside her room. The room is immaculately clean for a 12 year old girl because she viewed the room as more than just a place to sleep. This was her world away from everything. Each of her dolls has an individual identity and Behenda serves as their breath of life. Behenda would play with her dolls for hours and create different incidents between the dolls that she could report and deliver her personal commentary. Behenda sets one doll, Katie, to her left and another doll, Johnny, to her right. Both dolls are facing away from Behenda and staring at another doll. This third doll, the honorable Betty, is sitting directly in front and in the middle of Katie and Johnny. Sitting behind Katie, the defense attorney, is Richard. Sitting behind Johnny, the prosecution, is Frank, the owner of a local supermarket. Behenda has created a judicial court hearing. Behenda provides the voices for all characters in addition to the court room reporter and commentator. BEHENDA (In the voice of Judge Betty) All rise and swear to tell the whole truth so help you God. Behenda raises her right hand for everyone present. BEHENDA (CONTD) (Answering for all) We do your honor. Behenda stands Johnny up. BEHENDA (CONTD) (In the voice of Johnny) Your honor. We have reason to bring charges against Richard for stealing grocery items from Franks store. Behenda release Johnny and moves Bettys head as if she is talking BEHENDA (CONTD) (In the voice of Judge Betty) Mrs. Katie? How does your client plead?

38.

Behenda releases Betty and makes Katie stand up. BEHENDA (CONTD) (In the voice of Katie) Not guilty your honor. Behenda releases Katie and walks Johnny over to the center of the make believe courtroom. BEHENDA (CONTD) (In the voice of Johnny) Your honor. The police caught Richard red handed with several items in his pocket that he never paid for or intended to purchase. Holding both Johnny and Katie, Behenda stands them side by side facing Judge Betty. BEHENDA (CONTD) (In the voice of Katie) Thats just not true your honor. My clients mother was outside in the parking lot and it was terribly hot that day. Richard merely left the store for a few minutes to check on his... Behenda is interrupted as she hears her father, JAMES WALL, yelling at someone he is talking with on the phone. The yelling startles Behenda as she walks over to the door to listen. She peers through a crack in her door to see her father standing in the upstairs hallway clutching the phone in his right hand. His face was bright red from being upset. INT. UPSTAIRS HALLWAY - DAY JAMES (Screaming loudly) I dont give a damn what you say. I wish you would try to hurt me and my family you son of a... Behendas father slams the phone down and walks into his bedroom where Behendas mother, MARY WALL, is sitting on the bed monitoring the commotion. MARY Just calm down James before you give yourself a heart attack.

39.

INT. BEHENDAS BEDROOM - DAY James sits down on the bed beside Mary and places his right arm around her. Behenda continues to stare through the crack in her door, down the hallway and into her parents bedroom. JAMES (Consoling Mary) Im sorry Mary. I believe this guy is legit and he might actually try to harm us. I think Ill call Martin up and have him stop by. EXT. OUTSIDE HOME - NIGHT A police car pulls up in front of the Levee chief of police, MARTIN ALFORD, friend of her father. Both spend time activities, such as golf and fishing, church deacons together. home driven by the who is a close personal engaged in outdoor and also serve as

Martin exits his vehicle and approaches the front door. He knocks loudly on the front door. INT. HOME FOYER James looks from the living room window to see who is knocking on the door. He views Martins patrol car parked out front. James opens the door and invites Martin to come inside. Mary enters the foyer and greets Martin as well. MARY (Holding a drying towel and glass) Would you like a glass of sweet tea Martin? MARTIN (Removing his hat) No maam. I m fine Mary. I really cant stay but a second. It seems an inmate escaped from that prison over in Walker County several hours ago and they are requesting some help. I have to go over and help them search. Martin looks up the stairway leading to the second floor and sees Behenda standing at the top of the stairs.

40.

MARTIN (CONTD) How are you doing young lady? You look more beautiful every time I see you. James looks at Behenda. JAMES Behenda honey. I have to talk some business to Chief Alford. Would you mind playing in your room till he is gone? INT. UPSTAIRS HALLWAY Behenda turns and walks in the direction of her room. She partially opens her doors and looks at all of her dolls strategically placed and awaiting her commentary on the current situation. BEHENDA (Acting as if she is holding a microphone and speaking in a soft voice) This is Behenda Wall reporting live from my home on Main Street. The chief of police has just arrived. Stay tuned and I will update you as events unfold. Behenda eases back over to the stairway and crouches down to listen to the conversation. INT. LIVING ROOM James, Martin and Mary walk into the living room and sit down. Mary and James on one couch with Martin on the other. JAMES Martin. I have been working with this guy, Roger Mathis, out of Macon, who was searching for some local real estate to invest some money. After searching several available properties, I sold him the old Turner place out in Sohop. Come to find out, the Turners had been illegally burying old tires, oil and so-on throughout the property. (MORE)

41. JAMES (CONT'D) About a month after the closing, the EPA showed up on the doorstep of Rogers house and seized his property. He is pissed off Martin. Bad!

MARTIN Did you know about the illegal dumping? JAMES No Martin, I swear. You know how the Turners were and how they lived? MARTIN I know. What is this guy wanting James? JAMES He said he wants me to return his money as if I have $150,000. He thinks I knew about the illegal burying and failed to disclose it. I promise you Martin, I had no idea. Mr. Turner asked me to find a buyer for his place and that's all I did. MARTIN Has he threatened you at all? You seem a little nervous. JAMES He told me he was going to kill my family in front of me if I did not have the money soon. I lost it when he said that and I told him to bring it on. MARTIN Do you have a weapon James for protection? JAMES Yes. I have a pistol upstairs in my night stand. MARTIN Well. Keep it beside you and do not be afraid to use it if this guy were to break in to your house. (MORE)

42. MARTIN (CONT'D) Id leave it with Mary during the day in case he comes by while you are not here. I will be by first thing in the morning to follow up and personally speak to this guy. Alright?

Martin stands up and walks toward the foyer followed by James and Mary. INT. FOYER OF HOME Martin puts on his hat and turns to look at James. MARTIN (Pointing his finger at James chest) I mean it James. Use it if you have to defend yourself. Martin leaves and James shuts the door. INT. UPSTAIRS HALLWAY Behenda rushes back to her bedroom and enters. INT. BEHENDAS BEDROOM Behenda stands tall in front of her audience holding the imaginary microphone. BEHENDA Well. It looks like trouble in paradise as my father, James Wall, has really upset the wrong person. Threats have been made and emotions are running high. Will a violent showdown happen in the near future. Remember, you heard it right here first. Im Behenda Wall, your local reporter. Behenda walks over to her door to find out her parents next move. She stares through the crack in her door and watches both of her parents walk up the stairs and enter their bedroom. She hears her father state what Behenda feels to be the most frightening words in her individual world. JAMES (O.S.) Im going out for a walk around the block to clear my head Mary. (MORE)

43. JAMES (O.S.) (CONT'D) Keep the gun close by and Ill be back in just a few.

Behenda makes a run for her bedroom closet grabbing the doll she loves more than all the others, Cindy. She opens the door and ducks down underneath her hanging clothes. INT. BEHENDAS CLOSET Inside the closet, Behenda has located an escape route to flee the molesting nature of her father. A small hole was cut out in the wood paneling that must have been made by the previous occupants of the home. Behenda removes the wood panel and enters the narrow passage behind her bedroom wall. A small handle has been constructed on the rear of the cut out to make it easier to return the panel to its original place from the other side. INT. BEHIND THE WALL Behenda listens intently with her ear against the wall holding Cindy tightly against her. She hears the squeaking of her bedroom door and her father walking gently in her bedroom. JAMES (O.S.) (Speaking softly) Behenda. Behenda. Where are you at girl? James knows Behenda has found a hiding spot somewhere in the house but he is unable to search for her because of his lie to Mary. He searches the room thoroughly. INT. BEHENDAS BEDROOM James is searching the room. He looks under the bed and walks over to the her closet door. He opens the door and drops to his knees looking back at the bedroom door for any sign of Mary. INT. BEHENDAS CLOSET James searches through the hanging clothes feeling for any sign of Behenda hiding.

44.

INT. BEHIND THE WALL Behenda freezes her breathing. She closes her eyes and quietly prays that her father is unsuccessful in his search. JAMES (O.S.) (Speaking softly) Where are you girl? When I find you, Im going to tear your little fanny up. You better hope I dont find you tonight. Behenda remains quiet as she hears her mother call out to father. MARY (O.S.) James. Are you still here? INT. BEHENDAS BEDROOM James gives one final look around the bedroom and answers Mary as he walks out of her bedroom. INT. BEHIND THE WALL Behenda hears her father respond. JAMES (O.S.) Yeah Mary. I aint left yet. What do you need? MARY (O.S.) A car just pulled up out front. You might want to get your gun. Behendas heart begins to pound heavier as she hears her father yell at her mother. JAMES (O.S.) Mary. Get the gun. Its that son of a bitch and I forgot to lock the front door. Behenda jumps back as she hears the screen door slam as if someone entered the front door and let the screen door freely close behind them. JAMES (O.S.) (CONTD) (Shouting loudly) Who the hell are you and what the hell are you doing in my home?

45.

Behenda hears the intruder respond but the voice seemed to be muffled as if someone was speaking into a piece of cloth. BEHENDA (Talking to doll) Cindy. Oh my God. What are we going to do? We need to be extremely quiet. Okay Cindy? Suddenly, two gunshots erupt followed by a loud thump on the floor below. Behenda places her ear to the wall and hears footsteps walking up the stairs. The footsteps draw closer until she hears the creaking of her bedroom door. BEHENDA (CONTD) (Quietly whispers to doll) I wonder if thats mom and dad? What if its not? What if its the intruder Cindy? Behenda hears the closet door open and the sound of heavy breathing. INTRUDER (O.S.) (Muffled voice because of a mask covering face) Come out little girl. I got a present to give you. I know your hiding somewhere in this house. Ive been watching you. Behenda closes her mouth so the sound of her breathing would not be detected. Behenda listens as the sound of the intruders footsteps walk out of her room. Behenda is unwilling to chance being detected so she decides to stay put behind the wall. BEHENDA (Quietly whispers to doll) We are going to stay here until the coast is clear Cindy. INT. LIVING ROOM - NIGHT - SEVERAL HOURS LATER The bodies of James and Mary Wall lay lifeless on the floor of the living room. Both have suffered bullet wounds to their chest and they lie covered in blood.

46.

THE CLOCK On the wall reads 4:35 AM and the clicking of the moving clock hands fills echo throughout the room. THE CEILING FAN Is set to high and the pull switches clank together. THE FRONT DOOR Is open and the screen door is closed. INT. BEHIND THE WALL Behenda decides to chance leaving her hiding place and removes the wood panel. She slides out, holding her doll Cindy, and walks outside the closet. INT. BEHENDAS BEDROOM Behenda walks through her bedroom cautiously in search of any sign of the intruder or her parents. Fearing the intruder might still be in the house and not sure how long she was in hiding, she decides not to call out for her parents. INT. UPSTAIRS HALLWAY Behenda walks down the hallway and looks down the stairway. She notices the front door is open. She walks further and looks inside her parents room. The night stand drawer is open, but the bed has not been slept in that night. She opens the door leading to her parents bathroom from the hallway. There remains no sign of anyone. INT. STAIRWAY Behenda walks down the stairs listening. She continues down into the Living room. Behenda side on the living room floor INT. LIVING ROOM Behenda drops Cindy and runs over to her parents. She falls to her knees wrapping both of her arms around them as she sobs. She faints from all the excitement. quietly taking a step and then the stairs until she can see sees her parents laying side by in a pool of blood.

47.

Several hours pass and Behenda wakes up to find herself lying face down between her parents. She sits up and looks at her hands covered in blood. She looks over at her mother and sees her fathers gun lying on the floor next to her right hand. Behenda faints and does not awake until the sun rises. INT. LIVING ROOM - DAY Behenda walks calmly over to the telephone in the living room and dials 911. BEHENDA (Holding the phone up to her right ear and obviously shaken) This is Behenda Wall at 622 Main Street. My parents have been shot by someone who broke in our house. Please send Chief Alford. Behenda drops the phone and stares at her doll Cindy, which she dropped earlier on the stairway. Behenda begins to cry, holding her blood stained hands against her face. Sirens can be heard approaching the residence as several police cars and an ambulance arrive. INT. FOYER OF HOME The first officer through the door is Chief Martin Alford. MARTIN (Panic stricken voice) Behenda. Where are you Behenda? Martin looks into the living room and observes Behenda sitting by the telephone covered in blood. He scans the remaining living room area to find James and Mary Wall lifeless on the living room floor. MARTIN (CONTD) (Removes his hat) Oh dear Lord. Please be with me father as I hunt down this evil. Give me the strength to find them Lord.

48.

INT. LIVING ROOM Martin walks over to Behenda and squats down to comfort her. The paramedics check for any sign of life from James or Mary. No sign is found. Martin begins to direct his officers. MARTIN I want this house sealed off and no one walks through here. No one! Martin looks at Behenda. MARTIN (CONTD) Did you see who did this Behenda? Did you get a look at them? Behenda is visibly shaken as she responds. BEHENDA No sir. I was hiding in my closet. I did not see anyone. I just heard the gunshots last night. I came down later to find out what happened and passed out on my momma and daddy. Why Mr. Alford? Why did he kill them? What am I going to do? Martin hugs Behenda tightly. MARTIN Dont you worry none Behenda. Don't you worry. Im going to take good care of you. You are going to live with us honey. END OF FLASHBACK INT. BACKSEAT OF SUV Behenda drifts off to sleep and is awakened several hours later by the federal agent that was driving her to the prison. He is looking in at her with the suv rear passenger door open. FEDERAL AGENT Ms. Wall. We are here maam. I need you to wake up. By the way, you cannot take your laptop with you or anything for that matter.

49.

Behenda opens her eyes and sees the agent standing over her. FEDERAL AGENT (CONTD) Ms. Wall! Do you hear me maam? We have arrived. Behenda grabs her laptop case and starts to exit the vehicle. FEDERAL AGENT (CONTD) Ms. Wall. I told you. You cannot take anything with you. As a matter of fact, I have to pat you down to make sure you have nothing in your possession other than yourself. You can leave the laptop inside the vehicle along with any other personal possessions. BEHENDA (Looking confused) How am I supposed to take notes? I always carry my laptop. FEDERAL AGENT You will be provided with everything you need. That digital recorder you have hid in your pants pocket, I need that also please. Now step out of the car. BEHENDA How did you know I had a recorder in my pocket? Behenda exits the vehicle. EXT. DIRT ROAD - DAY The federal agent places his left hand on the right shoulder of Behenda. FEDERAL AGENT Ms. Wall. I need you to place your hands against the vehicle and spread your legs. Im just going to perform an outer pat down of your exterior clothing to search for any contraband not allowed within the prison. I will go ahead and answer your question even before you ask. Everything is contraband.

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Behenda appears agitated but follows the instructions of the federal agent. BEHENDA Do you mind if I call Tim? He is my news director? I need to let him know I have arrived safely. FEDERAL AGENT There is no cell phone coverage way out here Ms. Wall. Ill call Tim when I get coverage and let him know you are okay. I know you are confused and a little nervous. However, you are going to be just fine as long as you follow the rules. Behenda turns around and looks at the agent. BEHENDA What are the rules agent? What was your name again? Behenda pauses in hopes the agent would tell her his name. The agent does not respond to the name request. FEDERAL AGENT The rules will be defined to you by the prison warden. We have to drive a little further down the road and we will be at the prison. EXT. OUTSIDE PRISON - DAY The suv pulls up to the entrance of The Spiritual Prison, isolated and appearing as if an abandoned concrete castle surrounded by an outer moat of bricks, fence and barbwire. Outside the prison entrance stands several guards wearing neatly pressed prison guard type uniforms lined up side by side in a row. In the center of these guards and out front stands a tall and thin built character. They watch intently as the suv pulls up to the entrance and parks. INT. INSIDE SUV Behenda is looking through the dark tinted glass that covers the rear passenger seat window. She appears shocked to see the individual out front wearing what appeared to be clown makeup covering his face as she squints for a better look.

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BEHENDA (Talking to the Federal Agent) Is that guy wearing clown makeup on his face? What the hell is this place? Something does not seem right here. The agent turns around from the driver seat to speak to Behenda. FEDERAL AGENT Ms. Wall. Just calm down. This is completely normal. That guy is the prison warden and he has to disguise his true identity from the inmates. He cannot walk around all day wearing a mask so he decided to cover his face in makeup. I guess he figures it is killing two birds with one stone. He hides his true identity and he entertains the inmates as a clown entertains a child. BEHENDA (Look at the agent) Well. He does not look like any clown I have ever seen before. As a matter of fact, he looks downright evil. Look at him agent. Look at the stern look upon his face. Who is he supposed to be entertaining looking like Adolf the Clown? The agent shakes his head with a partial grin. FEDERAL AGENT Alright Behenda. Its comments like that one to make this entire assignment turn bad. Just try to follow the rules. Please. Just follow the rules. BEHENDA (Looking back at the warden and guards) The rules. I am a free women. How many of those rules in there actually apply to the innocent? You act like Im being incarcerated. Behenda stops for a moment and turns to look at the agent. The agent is looking Behenda directly in the eyes.

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BEHENDA (CONTD) Am I? FEDERAL AGENT Am I what Ms. Wall? BEHENDA Am I being incarcerated? FEDERAL AGENT (Reduces the partial grin from earlier to no expression) No Ms. Wall. You are here on assignment. Ms. Wall? Behenda interrupts the agent. BEHENDA Please. Call me Behenda whatever your name is agent. FEDERAL AGENT (Staring emotionless) Ms. Wall. Ever since the start of humanity. The very first person created. People have always broken the rules. It seems to be a natural thing for people to violate whatever law is mandated. The excuse is always the same. The devil made me do it. Have you ever said that Ms. Wall? Has the devil ever made you do anything? BEHENDA (Trying to recall) I guess I have said that before. Ive done things I knew were wrong in my life. FEDERAL AGENT You see Ms. Wall. I dont believe in no one devil. I believe we are all devils and each one of us devils were created by a higher power. We just do what comes naturally to any old devil. Are you a devil? BEHENDA (Taken back by the words of the agent) (MORE)

53. BEHENDA (CONT'D) Reportedly, the devil lives in hell. I gave up believing in heaven and hell a long time ago agent. Im not a perfect person, but I cannot be something I do not believe in.

The agent turns to face out the front window glass. FEDERAL AGENT Thats the problem Ms. Wall. It doesnt matter if you believe in the devil. The devil believes in you. Good luck on your assignment and follow the... Behenda interrupts the agent once again. BEHENDA (Opening her car door) I know! Just follow the rules. I get it. As Behenda exits the vehicle, the agent turns to watch her close the door. The agent turns back around. EXT. OUTSIDE PRISON - DAY The agent drives away kicking up dirt and gravel causing a cloud of dusk to minimize Behendas vision of the warden and his guards. Behenda waits until the cloud of dust is cleared and then approaches the prison faculty. Behenda has nothing in her possession but her clothing. The warden raises both his arms as if he was standing before her crucified. WARDEN (In a clown like entertaining and poetic voice) Welcome to The Spiritual Prison; come on inside to find what your seeking. I am the warden and I didn't say guide, but you may call me whatever, any ole name is fine. The warden runs up to Behenda and enters her personal safety zone causing her to jump back startled. He continues to bring his face close to hers and staring directly into her eyes.

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WARDEN (CONTD) I know you'll have fun once we enter this place. So keep love in your heart and a smile on your face. And if you open your ears, I believe you will hear, the words of these inmates are all too sincere. And if you open your eyes, I know you will find, a similar story, as they all testify. The warden turns to look at the prison with his back to Behenda. He spreads his arms as if he is crucified. WARDEN (CONTD) Behenda Wall. You have been chosen to enter my house. The warden drops his arms and turns around to look at Behenda. WARDEN (CONTD) (With a devilish grin) Are you ready to go inside my home? The warden ceases any animated acts and stands erect before Behenda. WARDEN (CONTD) Well? Behenda has a look of complete confusion and utter shock on her face. BEHENDA Are you people out of your mind? What is this place? WARDEN (In a stern voice and stamping his right foot) I said are you ready to enter my home Behenda Wall? Behenda stares at the warden as a moment of silence is observed. BEHENDA (With an agitated look upon her face) Yes! I am ready to enter your home. The warden walks over to Behenda and arches his lower back as if looking down on her.

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WARDEN Well good then dear, Im glad you are here, do not shed a tear, and whatever your hear, dont give in to the fear. The warden turns and begins walking in the direction of the entrance gate. WARDEN (CONTD) (With his right index finger over his right shoulder motioning Behenda to follow him) Now follow me dear. Do you hear them all cheer? The muffled sound of the inmates behind the prison walls begin softly but escalate louder as Behenda follows the warden closer to the gate. WARDEN (CONTD) They are cheering for you and it grows as you near. We are almost inside so let me make the rules clear. The warden turns around and looks at Behenda as they stand in front of the prison walls. WARDEN (CONTD) Please do not ask these prisoners much, for theyve been here awhile and there so out of touch. Your assignment is simple so let me make myself clear, Just record what they say and write down what you hear. And you must not judge these inmates inside, for this could be you in the plank of an eye. The warden looks at a large piece of wood lying on the ground against the exterior prison wall. He looks back at Behenda and removes what appears to be a small matchstick from his right eye. The warden drops the matchstick to the ground and smiles at Behenda. WARDEN (CONTD) Remember Behenda. Im a warden. I just play the role of a clown so well.

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The warden gets close to Behenda once again and hunches over to be eye level with her with his hands behind his back. He brings his right arm back in front and he is holding an expandable asp baton in his right hand. He expands the baton in a downward motion and points the tip at Behenda. WARDEN (CONTD) Back to the rules my reporter of news, you see these inmates inside are paying their dues. They would love nothing more than try to escape, thats why we keep them alone inside of their cage. In each of their cells, no light will exist; youll hear their voice in the dark as you sit in their midst. I hope you understand your assignment consists, of listening only, so not even a hiss. The warden places the baton horizontal against his lips in the symbol of silence. He gives the guards an order as he continues to stare into the eyes of Behenda. WARDEN (CONTD) Side by side and two by two, enter the gate as we follow with you. The warden does an about face by pivoting on his left foot. Behenda looks down at the matchstick lying on the ground. She reaches down to pick the matchstick up while no one is looking. The warden quickly turns to see Behenda on her way back to stand erect. WARDEN (CONTD) (In an investigative and serious tone) Did you drop something Ms. Wall? The agent was supposed to search you. Did you hide something from him? What could you have possibly dropped? Behenda, clutching the matchstick between her right index and middle finger tightly responds to the allegation. BEHENDA (Acting as if she is brushing dirt from her lower pant legs) I just tripped over the dirt. Im alright though. Thanks for asking. By the way, if you want to search me, feel free.

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The warden looks Behenda up and down and turns to finish the walk through the gate. Behenda places the matchstick in her front pocket. WARDEN I trust you Ms. Wall. I trust you. EXT. PRISON YARD - DAY Behenda walks through the large metal doors serving as the one way entrance and turns to watch the doors slam closed. The sound reminds Behenda of her large metal apartment door slamming. Behenda is now standing in the prison courtyard as an eerie feeling causes her to have miniature raised bumps and erect tiny hairs covering her arms and legs. Behenda continues to follow the warden in the direction of the actual prison entrance. The guard, who secured the outer prison wall door, is walking directly behind Behenda. The guard is a large framed white male and neatly dressed in his uniform. The guard closes in behind Behenda and begins speaking softly as they continue walking across the prison yard toward the entrance. GUARD 1 Behenda? May I call you Behenda? Behenda glances over her left shoulder at the guard as they walk. BEHENDA (Smiling) You may. GUARD 1 What kind of a name is Behenda? It is so unusual. BEHENDA (Talking as she continues her walk) My delivery doctor gave my parents the idea for the name right after I was born. When I was delivered, the doctor was wearing a stethoscope. When he pulled me from the womb, I reached up and grabbed the instrument with one of my hands and would not let it go. (MORE)

58. BEHENDA (CONT'D) The doctor commented how unusual for a newborn to reach out and grab something so tightly. He told my parents to watch out for me because I would probably be in to everything. My mother later told me it sounded like the doctor said behinda everything so the name kind of stuck.

Behenda stops and turns to look at the guard as they all stop and wait for the prison door entrance to open. BEHENDA (CONTD) You know what? The doctor gave my parents that stethoscope as a gift and I still have it to this day. The guard smiles at Behenda as they listen to the large metal door electronically slide open sounding an audible alarm. The alarm is so loud Behenda has to cover her ears with her hands and tightly close her eyes. The warden approaches Behenda and stands completely straight in front of her with his arms by his side as if at attention. Behenda notices the warden is now holding a pen in his left hand and a notebook in his right hand. The alarm ceases and silence fills the air. WARDEN (Stern but animated) Well Ms. Wall. We have finally arrived. The time has come to walk on inside. But once youre inside, there is no turning back, so take this pen and this paper and go write down the facts. Once you are finished, please report back to me, and I will walk you outside where you will be free to leave. The warden jumps up on a metal bench just outside the prison entrance holding the expandable baton in his right hand as if the baton were a microhone. The same guard Behenda had been talking to during their walk sprints over and stands in front of the warden acting like he is holding a large video camera. WARDEN (CONTD) (Acting as if he is reporting the news in front of a camera) (MORE)

59. WARDEN (CONTD) Then you can report, what these prisoners state, and say you heard it here first, Im Behenda Wall, Channel 3 WAMA.

As soon as the warden finishes speaking, he places his feet together and stretches both of his arms out to his side with the palms of his hand facing Behenda. The warden closes his eyes and bows his head to the right. THE GUARD Places the imaginary camera on the ground and looks at Behenda who projects a look of confusion and fright. THE WARDEN Remains standing in the crucified posture but is now holding the pen in his right hand and the notebook in his left hand. The guard reaches up and removes the pen and notebook. He hands them both to Behenda. As Behenda and the guard stare at one another, the warden opens his right eye to look down upon them. WARDEN (In a soft but stern voice) Time to go inside. INT. INSIDE PRISON - CONTINUOUS Behenda enters the dimly lit prison that reminds her of a sunken concrete dungeon. The air inside smells musty and her skin quivers in the cold damp atmosphere. The sound of dripping water fills the long narrow halls along with the sound of muffled chatter that seems to be coming from the other end. The warden and guards enter as well. IN THE HALLWAY The Warden walks directly to the left of Behenda as they walk down the narrow corridor. They are followed by two guards that almost appear as twins. Behenda looks around her nervously searching for anything that made sense. They reach the end of the hallway. Behenda is amazed at the size and number of prison cells spanning the multiple tiers as she stares slowly up toward the ceiling.

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The warden is looking up with Behenda. WARDEN (Smiling) There are seven tiers my dear with cells each eight feet wide, we have the worst of them all locked away deep inside. You must be careful as you walk through this place for your freshness they smell and your fear they can taste. UNKNOWN VOICE (O.S.) (A voice cries out from the top of the tiers of an adult male voice) Send me that bitch! INT. GROUND FLOOR The warden runs to stand in the center of the floor where a stage light appears to shine directly on him. With his arms spread wide, he makes several circles standing in one place as he stares toward the ceiling. He clutches the expandable baton in his right hand as he speaks to all the inmates. WARDEN Prisoners! How rude will you be? You must shut your mouth or deal directly with me. This reporter is here to write down your words so show her respect you incorrigible herd. The warden stops spinning and turns to look at Behenda. He places the baton in his left hand and motions for Behenda to join with him in the center. WARDEN (CONTD) (Motioning for Behenda to come to him with his right index finger) Come hither my child and look up into the heavens with me. Behenda leaves the presence of the two guards and joins the warden. They both stare up toward the ceiling.

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LOOKING UP Behenda sees nothing except a dark abyss. Directly in the center of the darkness, a small white light appears as if a 60 watt light bulb is the light in the entire prison. THE WARDEN Leans into Behendas left ear and whispers. There is just enough light to outline Behenda and the warden. WARDEN (Whispering with his left hand covering his mouth) Do you see the white light in the distance that's bright? It is that one tiny light that can make everything right. The prisoners here could see it shine too, but their to busy up there looking down upon you. Now walk slowly to the stairs and work your way to the top where a chair does exist, it is there you will stop. You will listen intently to what the inmates will say, then proceed to the next and do this the whole way. The last cell you visit will provide what we need, then we will walk you outside and youll be free to leave. But I promise you this, if you break any rules, youll be arrested on spot and labeled the fool. The warden steps back from Behenda and bows to her. WARDEN (CONTD) Now proceed on ahead and speak to no one. I wish you the best so our task can be done. Behenda looks over at the stairwell and proceeds in its direction. She is carrying a notebook and a pen. When she reaches the rusted metal stairway, she cautiously takes her first step. Her hands grip the metal rails which are damp with moisture. She continues up the stairs until she reaches the first tier.

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INT. THE FIRST TIER A guard is standing at the end of the staircase. He nods his head at Behenda and points down the tier in the direction of a chair placed in front of one of the numerous dark cells that lines the walkway. Behenda begins to walk down the tier staying as close to the outer rail as possible. She looks in the first cell eager to see what these inmates and cells look like. She peers into the cell but sees nothing at all. The cell is to dark. Behenda does not stop walking but continues to look into each cell. All cells are identical in darkness; however, Behinda can hear the sound of water flowing from within each cell. THE CHAIR Sits isolated awaiting Behenda. Behenda sits down in the plastic chair and prepares the notebook for taking notes. Behenda squirms as if she is uncomfortable with the chair. THE FIRST CELL Behenda gazes intently into the cell hoping to see something other than darkness. About a minute passes and silence continues to mount. BEHENDA Hello. Behenda hears the sound of footsteps running down the walkway. She observes the warden running in her direction and stands to take a defensive posture. The warden stops about one foot away from Behenda, leaning over and staring into her eyes. WARDEN (Stern voice) I said no talking Behenda Wall! BEHENDA I just said hello. No one was talking. WARDEN Quiet! This is my prison and in my prison the rules are followed. Do you understand me Ms. Wall.

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BEHENDA (Looking humbled) I meant no disrespect, sir. WARDEN These inmates will speak when they have something to say, but until they do you patiently wait. Do we have an understanding? BEHENDA Yes warden. I understand. The warden turns around and begins to walk back toward the stairwell. He looks inside each cell as he passes. WARDEN Very well Behenda Wall. Carry on. Behenda sits back down and patiently waits for someone to speak. A soft laughter is heard within the cell. Behenda can see no one but the sound of the voice assures her there is someone inside. INT. THE CHAIR INMATE ONE (O.S.) (In a soft and smooth adult male voice) We are all born staring at an open sky, free to walk and free to fly. With all the love and protection that surrounds as you grow, like a leaf on a river, unobstructed you flow. DAYDREAM - EXT. RIVER - DAY Note: As with all the daydreams/flashbacks that accompany the inmates testimonies, Behenda is daydreaming a sequence of shots with the testimonies of the narrating as a voice over. There are a total of seven testimonies. Behenda is floating down a river on a raft. INMATE ONE (O.S.) But something seems wrong as you flow on ahead; the water once clear is now turning red. Water once tranquil and perfectly calm; now mimics a battlefield with the pounding of drums.

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Behenda notices the water is no longer clear. She looks ahead and sees rapids that threaten to toss her from the raft. INMATE ONE (O.S.) (CONTD) When the ripples grow closer and chaos comes near, the voices of doubt encourage your fear. For selfpreservation you must build a dam; a wall to divide so you remain safe and sound. Without even thinking you begin on the wall; hoping for help so you send out a call. Many arrive to offer their aid; but as the wall is built higher their faces soon fade. Behenda jumps from the raft and begins placing river rocks on top of each other. She motions for help from the people standing on the banks of the river. The people enter the river to assist her with the dam. The dam becomes higher and Behenda can only see their hands from the other side stacking the last few rocks. INMATE ONE (O.S.) (CONTD) When the last brick is laid and the mortar is dried; alone in this pond you soon start to die. Behenda is floating in a lake surrounded by tall mountains. The eerie feeling of loneliness begins to close in on her. She searches frantically for a way to escape as the sun sets and the daylight becomes extinguished. Behenda sees a man dressed like a shepherd standing in a shallow part of the lake and he motions her to follow him. Behenda jumps from the raft and swims in his direction. INMATE ONE (O.S.) (CONTD) Where is that breath that once gave me life; who kept pushing me forward and who kept me from strife. Why did I ever construct this old dam; it just made me a prisoner to be lost and not found. But all of a sudden like a flash in the sky; I was chosen by the way, the truth and the life. What should I do just lay here and die; or accept this as truth and once again fly. Cause the world says its fake and all just a dream; for faith's an illusion and hope never frees. As darkness grows closer and my last breath seems near; (MORE)

65. INMATE ONE (O.S.) (CONTD) I choose faith in that voice which is now all too clear.

Behenda reaches the man who is now turned and staring at the dam surrounding them. He points to a small crack in the dam and motions Behenda to push. She runs in the direction of the crack and starts to push. She is unable to break through. Behenda looks back to plead with the man to help her but he is not present. She looks down in the water and sees only her reflection. INMATE ONE (O.S.) (CONTD) How nice if those others would now set me free; but as I gaze in the water I only see me. To hell with this dying and relying on others; for I was pushed through the womb by only my mother. I will push through this dam with the cross of my savior; and be freed from this lake on my own good behavior. Because of my love I will warn those below; when this dam is destroyed living water will flow. Behenda looks at the crack and closes her eyes to pray. She begins to push the crack with her hands using all of her might. The crack begins to weaken and the water begins to pour out of the lake. Behenda jumps on her raft and rides the gushing stream of water outside the dam. INMATE ONE (O.S.) (CONTD) And on top of the ripples the ones I once feared, stands a new man delivered and whose record is cleared. Free I AM and ashamed no more; for Ill rule my world with the spirit as my sword. And with this spiritual armor from my head to my toe, I will relish my freedom as I continue life's flow. Behenda continues floating down the river. END OF DAYDREAM INT. THE CHAIR Behenda finishes writing the final words and reclines in the chair staring into the dark cell. She appears to be astonished at the beautiful words delivered by the unknown inmate.

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INSERT - THE NOTEBOOK Behenda labels the top of the paper RIVER OF REFLECTION followed by INMATE ONE. INT. THE CHAIR The tier guard approaches Behenda. TIER ONE GUARD Time to move on Ms. Wall. INT. THE FIRST TIER Behenda stands up and begins walking in the direction of the second stairway. The entire walk is narrated by sounds of heavy breathing inside the dark cells as she gazes in each one hoping to see some image within. Behinda arrives at the stairwell and begins taking slow steps towards the second tier. INT. THE SECOND TIER Behenda arrives at the second tier and is greeted by the second tier guard. She notices that he looks familiar but is unable to recognize him. BEHENDA Do I know you from somewhere? The guard gives Behenda a partial smile. He moves in extremely close to Behendas face and gazes into her eyes. THE GUARDS EYE Is dark with no pupil easily seen. THE GUARDS FACE Is wrinkled and covered with deep pits. TIER TWO GUARD Have you ever been incarcerated here before?

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BEHENDA Stares back at the guard. BEHENDA No sir. Ive never been here before. I can assure you this my first and last visit to this place. THE GUARD Smiles back at Behenda. INT. THE SECOND TIER Behenda and the guard continue their conversation. TIER GUARD TWO Thats funny. I could have swore I recognized you as someone in here from many years ago. BEHENDA I was not aware you housed females inside this facility. I thought this was strictly a prison for men. The guard begins to laugh. TIER GUARD TWO Inside this prison Ms. Wall, there is no separation. Tell me something. How many cells have you passed thus far? Have you seen a man or woman within these cells? BEHENDA I have been unable to see anyone inside of these cells. It is too dark. The guard points in the direction of a sign hanging on the wall just prior to the first cell on the second tier. INSERT - SIGN The sign reads NO JUDGING ALLOWED.

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INT. THE SECOND TIER Behenda turns to walk down the second tier walkway. She notices another chair. As Behenda walks down the tier, the heavy breathing from within the cells she encountered below are now sounds of faint crying and the muffled spoken words of HELP ME. INT. THE CHAIR Behenda sits down in the chair and prepares the notebook as she patiently awaits the next testimony. INMATE TWO (Soft spoken and shaken voice of female) Are you my shepherd? shepherd? (O.S.) with a a young Are you my

Behenda begins to respond but does not answer as she remembers the rules of the warden. INMATE TWO (O.S.) (CONTD) I was walking with my Shepherd, through a pasture all so green, the breeze was blowing gently; the water so serene. My soul was filled with love, with every step I made, my heart embraced the righteousness, as I gazed upon his face. DAYDREAM - EXT. PASTURE - DAY Behenda is walking in a green pasture as a young girl around 10 years old. There are ninety nine other children in the pasture and each are wearing a shirt with a specific number 1100. Behenda notices her shirt has the number ONE and that she is also following her father. As Behenda is walking through the tall grass, she falls down an abandoned well. INMATE TWO (O.S.) Then suddenly the light turned out, as the Shepherd went away, for the writing in the hole I fell, said welcome to your grave. I cried out to the Shepherd; why are you leaving me, then I remembered it was the Sabbath, and a law had been decreed. (MORE)

69. INMATE TWO (O.S.) (CONT'D) I felt a sinking in my stomach, as I gazed up from the hole, accepting I had met my fate and my life would be no more.

Behenda looks up toward the top of the well and sees her mother looking down at her. She then notices her father shaking his head no at her mother as they both gaze down into the hole. Behenda lies in the bottom of the well crying. END OF DAYDREAM THE CHAIR Behenda stairs at the dark cell as she continues to write the testimony. INMATE TWO (O.S.) It's funny how the walk that day, with my Shepherd very near, could end in so much tragedy and lead me down in here. I wish there was an answer, a savior I could call, sometimes I hear some knocking, but assume theyre working on my walls. For once I tried to answer, and I screamed, "Guards let him in, but the guards said I was crazy, as they preached about my sin. But before the knocking went away, a voice spoke right to me, He said these folks who hold my word, they'll never set you free. Cause you have something that they need, to keep the prison built, it's something you were taught from birth, they gave the gift of guilt. Behenda reclines back slowly as she finishes the final words. A small tear runs down her right cheek. INSERT - THE NOTEBOOK Behenda labels the top of the paper WALKING WITH MY SHEPHERD followed by INMATE TWO. Behenda also notates THE VOICE OF A YOUNG GIRL.

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INT. THE CHAIR Behenda wipes the tear from her right cheek with her right palm. She gazes intently into the cell silently pleading to see the image of the prisoner who delivered the testimony. Behenda looks to her right in the direction of the stairwell to see if the guard is looking. She begins to open her mouth to speak but hears footsteps coming in the opposite direction on the walkway. She looks to her left and the tier two guard is standing beside her. Behenda is staring directly into his pelvic area. Behenda looks up at the guard. BEHENDA Her voice. She sounds so young and innocent. I want to see her. Please let me see her. How can you keep a young girl locked away in this dungeon? What could she have possibly done? Behenda feels a presence directly behind her. As she turns, she finds herself face to face with the warden. WARDEN Well Ms. Wall. You seem to be quite the judge in here. Without knowing any of the facts, you say shes just a sweet young dear. The warden stands and acts as if he is holding a baby in his arms. WARDEN (CONTD) Now move on ahead and judge no more; keep your emotions in check cause theres still six more floors. INT. THE SECOND TIER The guard places his right hand out to Behenda to help her stand up. She takes his hand and rises. TIER TWO GUARD Time to move on Ms. Wall. The next tier awaits. Behenda releases the guards hand and begins to walk in the direction of the next set of stairs leading to the third tier. As she passes the dark cells, she hears the faint cries of lambs. She turns around to see if the warden is in sight but she is unable to locate him.

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Behenda reaches the stairway and climbs them at a faster pace. INT. THE THIRD TIER Behenda reaches the top and is met by a short and stocky guard. The guard speaks with a French accent. He is bald and reeks of cheap dollar store cologne. He licks his lips as he stares at Behenda lustfully. TIER THREE GUARD (Sliding his tongue around his lips to moisten them) Welcome to the third tier Ms. Wall. The great thing about this tier is the fact we are not easily seen by the warden, other guards or the inmates. We can do whatever we want. What do you say Ms. Wall? Do you want to do whatever you want? Behenda smiles at the flirtatious but borderline perverted demeanor of the guard. BEHENDA Thank you for the compliment, but I dont intend on breaking the wardens rules. The guard looks down in disappointment. TIER THREE GUARD Very well then. Your seat awaits you. Behenda begins walking in the direction of the chair in the walkway. The cells remain dark with sounds of chipping and scratching at the cell walls within. INT. THE CHAIR Behenda arrives at the chair and sits down. The noise coming from within the cell directly in front of her mimics the scratching, chipping and clawing from the other cells. She waits longer for the prisoner to respond. After a minute of listening to the noise, Behenda decides to clear her throat as she readies the notebook. The noise ceases but is followed by heavy breathing. After a few seconds, the breathing begins to calm.

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INMATE THREE (O.S.) (A tired adult male voice) Each night I lay down, I dreamed an escape. Free from this cell, somewhere far away. I plotted and schemed, for nearly thirty two years, but only to realize, I was anchored in fear. Not only in fear, but also in doubt, with the walls getting closer, would I ever get out. Could this be the end; is this the end of the road; is there anyone out there or am I here all alone. FLASHBACK - EXT. BEHIND THE WALL Behenda finds herself as a ten year old girl crouching behind the bedroom wall where she would hide. She is holding her doll and shaking in fear. Something catches Behendas eyes laying between the wall studs and covered in dust. She recognizes the item as a book and retrieves it. She blows the dust from the cover and reads the inscription. INSERT - THE BIBLE The inscription in gold lettering reads THE HOLY BIBLE. BACK TO BEHENDA Behenda open the Bible and begins to flip through the pages. INMATE TWO (O.S.) Then one day, as my sorrows grew near, I was given a book, when my teacher appeared. While most saw just pages, I saw a tool to be free, so I read night and day, to seek the great mystery. I was hoping the answer would appear very soon, but it took several years, before I knew what to do. Then one day when I was alone in my cell, I found a small tiny hole that would lead me from hell. I chipped and picked night after night, til that small little hole let in a bright light. I continued to dig until I broke through the wall, I left the old cell but started to fall.

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Behenda is now in her bedroom putting some of her clothes in a tiny suitcase. She sees her parents sleeping in their bedroom and silently exits her house to run away. Once she exits the house, she begins running frantically. She notices car headlights approaching her from behind on the road she is traveling. A bright spotlight from the vehicle illuminates Behenda. The car is being driven by Chief Martin Alford. He exits the vehicle and approaches Behenda. INMATE TWO (O.S.) (CONTD) Soon the prison I left, kept calling to me, it promised me safety and free from disease. Just come on back now before it's too late, you can finish your time and we'll forget the escape. I got on my knees and prayed once again, guide me my Savior as I returned to the pen. END OF FLASHBACK THE CHAIR Behenda is she closes heard. She scratching awestruck at the words of each these inmates as her eyes to ponder the testimony she had just opens her eyes to the sound of clawing and once again within the cell.

INSERT - THE NOTEBOOK Behenda labels the top of the paper ESCAPED, ONLY TO RETURN followed by INMATE THREE. INT. THE THIRD TIER Behenda stands up and begins to walk to the next set of stairs leading to the fourth tier. She hears scratching within the cells as she walks briskly past each. Behenda reaches the stairwell and sprints up the stairs as the voices seem too much for Behenda to experience. INT. THE FOURTH TIER Behenda takes her last step and stops for a moment to regain her composure. A guard approaches Behenda carrying a Bible in his right hand.

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The white male guard is clean cut and reminds Behenda of a priest. His uniform is buttoned all the way to the top and he is wearing a white neck collar. TIER FOUR GUARD (Gentle speech and consoling voice) Welcome to the fourth tier Ms. Wall. You are such a beautiful child. I would love to spend some time talking to you about the good news. Would you like to hear it Ms. Wall - the good news? Behenda notices the guard looking lustfully at her partially exposed breast as he is speaking. Behenda covers any flesh exposed around her chest area with her hands. She looks at the guard with disgust. TIER FOUR GUARD (CONTD) (In a consoling voice) I did not mean to make you feel uncomfortable Ms. Wall. Are you trying to excite me by standing partially nude in front of me? BEHENDA (Agitated) I am not partially nude. Are you crazy? THE GUARDS PELVIC AREA Is stared at by Behenda as if to mimic his perverted stare at her. She notices the guard is fully erect. INT. THE FOURTH TIER Behenda looks back at the guard with disgust. TIER FOUR GUARD (Looking back at her chest area again) Keep walking Ms. Wall. As Behenda passes the cells, she hears the faint sound of choir boys singing. The chair is now within her view as she rubs her arms in disgust at the actions of the perverted fourth tier guard.

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INT. THE CHAIR Behenda sits down in the chair. She notices this cell looks different than the others. THE CELL Appears to be decorated like the inside of a Catholic church confessional. There is a faint light inside the cell that shines just enough to outline an image on the other side of confessional screen. Behenda tries to make out some sort of identity but is unsuccessful. The shadow behind the screen looks in the direction of Behenda. The head appears to be a young child. INMATE FOUR (O.S.) (The voice of a prepubescent boy) Put in prison at such an early age, these prison guards controlling my stage. They tell me what to think, how to feel and when to walk; I'm reminded every day that everything is my fault. How could someone who is brought to this earth, be subject to slavery for some others curse. I'm not saying it's false or been misconstrued, for as it written makes the thought all too true. FLASHBACK - INT. BEHENDAS CHILDHOOD BEDROOM - NIGHT Behenda is reading the Bible she found and lying on her bed in her pajamas. Her father enters the room and shuts the bedroom door behind him. He begins to remove his belt and unbutton his blue jeans. INMATE FOUR (O.S.) The power of written is this where it starts, I'll just write myself free and soon set apart. Alone in my cell I pick up a pen, on a wrinkled piece of paper the words soon begin. To my advocate, the truth and the life, I need me a shepherd to lead me back to the light. I need a defender for this crime I'm accused, do away with this law so I'm free to see you. (MORE)

76. INMATE FOUR (O.S.) (CONT'D) I'm in need of salvation my spirits in chains, I know I look healthy, but I'm really in pain. I'll end my letter with this final plea, if it's my life that you want, I'll give willfully. I folded the letter and sealed it with tears; I stamped it with faith but mailed it with fear. The doubt starts to build as the guard laughs at me, you're out of your mind and youll never be free.

Behendas father stands up from her bed his underwear. Behenda is crying as she her pajamas. Her father kisses her good as he redresses. He leaves her bedroom. her bed and kneels down to pray.

wearing nothing but lies on the bed in night on her forehead Behenda stands from

INMATE FOUR (O.S (CONTD) You were born an old sinner, a slave to the law, even though I preach grace, there is always the fall. For as long as youre flesh, you can never be free so stop worrying about freedom cause you belong now to me. You're fooling yourself and wasting your time, just sit in your cell and wait till you die. Behenda walks into her mothers bedroom and blood is covering her pajama bottoms. Her mother looks down the front of Behendas pants to investigate. Her mother begins to cry when she realizes Behenda has been molested but motions for her to go back to bed. As Behenda is leaving the bedroom, her father walks in and notices the blood on Behenda. Behenda leaves the bedroom and her mother slams the bedroom door shut as she fights with her husband. INMATE FOUR (O.S.) (CONTD) Then one day, a response I received. A letter delivered and addressed straight to me. Stand up for yourself and demand yourself free, don't worry about the guards as they don't work for me. They may carry my word, but their hearts I don't know; they appear gentle as lambs, but thats not what's below. Behenda is now inside of her church as her father is walking down the aisle passing a collection plate down the pews to the sound of the choir singing a hymnal.

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Behenda sees Chief Alford standing at the front of the aisles. Behenda closes her eyes and imagines the chief placing her father in handcuffs after she informs him what has been happening. INMATE FOUR (O.S.) (CONTD) They claim to be lawmen and representing the truth, while some may have been chosen, the chosen are few. For freedom in me can be found within you, it's your heart I desire and that is the truth. You hold the key, but fear and doubt must not reign, so open the cell and walk out of this place. If you listen to me and stand tall as you move, I believe you will see it was all just a ruse. What you thought to be real and led to confusion, that cell you were in was just an illusion. So as it is written, I'm no longer bound, for I transformed my thought and my savior was found. Behenda stands up in the church and begins walking in the direction of Chief Alford. He looks into her eyes with concern as Behenda approaches. A hand suddenly grabs her shoulder to cease her movement. The preacher shakes his head at Behenda and motions her to sit back down using his Bible to point. INMATE FOUR (O.S.) (CONTD) I started to leave like my savior had said, but the guard approached me and hit me over my head. He threw me back in my cell and closed up the gate, his final words spoken, How little your faith. END OF FLASHBACK INSERT - THE NOTEBOOK Behenda labels the top of the paper AS IT IS WRITTEN followed by INMATE FOUR. Behenda also makes a small notation labeled ALTER BOY. INT. THE CHAIR Behenda looks up and down the tier walkway and is unable to see any guards. The muffled sound of choir boys singing begins to fill the cell area.

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Behenda sees an image of an adult enter behind the confessional screen. The shadow cast by the adult image places an arm around the shadow of the young boy who had just testified. The dim light causing the shadows to be cast is removed and the cell fills with darkness. Behenda motions for the tier guard to come to her location but he does not respond. Behenda stands up and walks toward the stairway leading to the fifth tier. INT. THE FOURTH TIER Behenda walks down the walkway and the only noise is her footsteps. Complete silence fills the prison. As Behenda arrives at the last cell on the tier, she hears moans coming from within the dark cells. She hears a male experience an orgasm. She turns to seek the tier guard but the darkness only allows a limited vision. Behenda turns to continue her walk toward the stairway and is shocked to see the guard standing in her path. THE FOURTH TIER GUARD Is holding his Bible and breathing in the perfume of Behenda. TIER FOUR GUARD (With a look of satisfaction on his face) Did you enjoy the testimony of the chosen inmate? BEHENDA How could you touch that child you sick perverted man? TIER FOUR GUARD (Confused look) What are you speaking of Ms. Wall? I have been right here the entire time. Perhaps you should keep your judgments to yourself or perhaps I should call on the warden. I think it would be best if you moved on along. INT. THE FOURTH TIER Behenda continues walking in the direction of the stairway.

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INT. THE FIFTH TIER Behenda arrives at the fifth tier but is unable to step onto the walkway. A large metal chain is draped between the two stairway handles blocking Behendas movement. The fifth tier guard, a medium built white male approaches her. She observes his uniform to be unkept and wrinkled. His face is unshaven and his dark wavy hair is shoulder length. His face almost mimics the pictures of Jesus that would hang on the walls of her childhood church. The guard stands before Behenda with his hands on the chain. TIER FIVE GUARD (In a sorrowful voice) Can I help you? BEHENDA My name is Behenda Wall. I am the reporter chosen by the warden to record some of the prisoners testimonies. The guard looks confused and nervous about Behendas presence. He also appears to be emotionally distraught and depressed. BEHENDA (CONTD) (Presenting her notebook to the guard) You see. I have been taking notes. Im legit. TIER FIVE GUARD You may enter. Please do not tell the warden I stopped you. BEHENDA I wont. Are you alright? Do you want to talk to me about anything? The guard turns and walks away from Behenda. He walks down the walkway looking in at each cell. Behenda follows at a short distance and not surprised at the darkness within each cell. As she walks, she hears the muffled cries of several different voices. The muffled voices sound as if they are saying, PLEASE FORGIVE ME. Behenda approaches the chair positioned in front of her next testimony. Behenda notices the chair is turned facing the walkway rails with the back toward the cell. Behenda begins to turn the chair to face the cell.

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A voice cries out from within the cell. INMATE FIVE (O.S.) (In the voice of an adult male) Do not face me as I am not worthy of your presence. Behenda pauses and places the chair in its former position. She sits down facing the rusted rail. INT. THE CHAIR Behenda readies the notebook as she listens to the voice within the cell sobbing. INMATE FIVE (O.S.) (Lightly sobbing) I do not choose to testify or plead myself set free, I only want to speak about the inmate who once lived next to me. I only heard his cries at night, I never knew his name; I would always try to comfort him and say hes not to blame. FLASHBACK - INT. BEHENDAS CHILDHOOD BEDROOM - NIGHT Behenda is playing with her dolls in the bedroom. She begins to cry and feel sorry for herself. INMATE FIVE (O.S.) He cried for all to listen and he would always plead his case; he said that hes not guilty and does not belong inside this place. But the guards would never listen as they made their nightly rounds; they would only spit upon his face and throw his food upon the ground. Behenda is inside her mothers bedroom crying at the foot of her bed. Her mother, who is also crying, picks Behenda up to a standing position and walks her outside the bedroom. She shuts the door on Behenda. INMATE FIVE (O.S.) (CONTD) Then one day the crying stopped and his voice had turned to rage; he demanded that he bet set free for them to open up his cage. (MORE)

81. INMATE FIVE (O.S.) (CONTD) He encouraged us to stand up and demand ourselves be free; but the guards grew mad and took him out to be beat him viciously.

Behenda begins walking along the upstairs hallway towards her room and finds her father looking at her upset. He is holding his belt. He begins to whip Behenda across her back and legs. INMATE FIVE (O.S.) (CONTD) The tier five guard responded and made the others stop, as the inmate lay unconscious, the guard said you all are cops. Youre supposed to be defenders and protectors of the weak, but you act as if youre judges as you beat the very meek. Now leave this prisoner all alone or Ill expose your heinous crimes; then maybe you will end up here, within these cells youll serve your time. Behenda crawls back to her bedroom after her mother intervenes to make her husband stop the beating. Behenda enters the bedroom and shuts the bedroom door with her bruised foot. INMATE FIVE (O.S.) (CONTD) The guard then drug, the man to his pad; he shut the cell door and walked away feeling sad. Several days passed, then the warden had called; for saving the inmate, he seemed so appalled. He ordered the prisoner to be beat by the guard; and he encouraged the beating to be very hard. The guard stepped onto the tier he patrolled; he thought of his power and all his control. Behenda is standing in a cemetery before two headstones. The headstones are labeled with the names of both her parents. She is wearing a beautiful dress and holding two flowers. INMATE FIVE (O.S.) (CONTD) He approached the prisoners cell and ordered him out; he looked at the guard with no worry or doubt. He gave him a shank he had made in his cell; with this you will free me, so Ill ascend from this hell. He plead with the guard to set him free from this place; (MORE)

82. INMATE FIVE (O.S.) (CONTD) the guard refused and turned away with disgrace. The prisoner spoke and said I am who I am; now take up that shank and you kill me right now. The guard took the blade and thrust it deep in his throat; and from the prisoners pocket was delivered a note. The note read my son, you did the right thing; you laid down your life to provide others the way. The guard read the note as he looked up above, and out of the cell ascended a dove. The guard fell to his knees and forgiveness he sought; but he was punished to stay and watch over us all.

END OF FLASHBACK INT. THE CHAIR Behenda bows her head, closes her eyes and prays for the first time since she was a young child. BEHENDA Dear Lord, if you do exist, guide me on this journey. Behenda opens her eyes and stairs at the notebook opened in her hands. INSERT - THE NOTEBOOK Behenda labels the top of the paper THE CRYING INMATE followed by INMATE FIVE. She also makes a small notation THE SACRIFICE. INT. THE FIFTH TIER Behenda stands and regains her composure. She turns to look at the dark cell. BEHENDA (In a quiet voice) Thank you. Behenda walks in the direction of the stairway leading to the sixth tier. She is emotionally drained from recording the testimonies and her walk becomes slower.

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THE FIFTH TIER GUARD The fifth tier guard passes Behenda without acknowledging her as if she did not exist. Behenda stares at his face and notices a tear flowing from under his left eye. The tear falls from his face. THE WALKWAY FLOOR Catches the falling tear as it makes a splattering sound. INT. THE FIFTH TIER Behenda looks down at the wet spot on the concrete floor and continues her walk. She arrives at the stairway leading up. INT. THE SIXTH TIER Behenda reaches the sixth tier and is shocked to see a light illuminating the walkway. Believing this was her opportunity to look inside a cell, she swiftly ran to the first one on the tier and gazed within. THE CELL Was lit up but it was completely empty with the exception of the sixth tier guard patching a hole in the wall. The guard, a large framed black male, turns to look at Behenda. TIER SIX GUARD (An evil grin) Hello Ms. Wall. We have been expecting you. Behenda steps back until she is stopped by the railing. She looks down into the dark abyss below. INT. THE SIXTH TIER She turns to look at the guard in the cell as he exits. The lights turn out. TIER SIX GUARD (Concerned look) Are you all right Ms. Wall?

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THE GUARDS FACE Becomes distorted as if Behenda is under the influence of a psychedelic drug. After a few seconds of distortion, his face returns to normal. TIER SIX GUARD Ms. Wall. Can you hear me maam? Are you all right? You better let me help you move away from that old rusty railing. I would hate for you to fall six floors. The guard Hesitant, she takes and looks extends his right hand for Behenda to take. she takes his hand with her right hand. As soon as the hand of the guard, she quickly pulls it back at her own hand. TIER SIX GUARD (CONTD) Whats wrong with you maam? BEHENDA (Shaken voice) Its your hand. I felt scales. THE GUARDS HANDS Are shown to Behenda and nothing appears unusual. TIER SIX GUARD I dont know about scales Ms. Wall. They might be a little calloused, but I aint got no scales. INT. THE SIXTH TIER Behenda looks down the walkway in search of the chair, which is sitting in front of the connecting cell. INT. THE CHAIR Behenda sits down in the chair and opens the notebook. The guard bends over to whisper something in her ear. TIER SIX GUARD Ms. Wall. Your assignment is almost over. You need to calm down. (MORE)

85. TIER SIX GUARD (CONT'D) By the way, these inmates you are listening to, well, I would not put to much thought into what they are saying. A lot of crazy folks up in here.

The guard walks away laughing. Behenda readies herself for the voice to be projected from the dark cell. INMATE SIX (O.S.) (In the inmates regular voice) One night I was peering through a hole in my wall, in the cell next to me stood an image so tall. Who is that prisoner in the cell next to mine; he rarely seems to talk and I've been told he is blind? FLASHBACK - INT. BEHIND THE WALL Behenda is sitting behind the wall of her bedroom as she listens to her father search for her. INMATE SIX (O.S.) (In the inmates regular voice) A guard once had told me, do not mess with this man; as his name is the devil and his future is grim. But he carries no fork and does not possess a long tail; as a matter of fact, he looks healthy and well. And they're telling me, he's the father of sin; he looks really harmless, all alone in his pen. Why is he trapped in a cell next to me; if he has all the power to set himself free? Then in a soft spoken voice and covered with laughter; this prisoner spoke and it was more than just chatter. Behendas father begins tearing her room apart looking for her hiding place. He is extremely upset and growing enraged. INMATE SIX (O.S.) (CONTD) (In a devilish voice) You spend night and day, I hear you reading his book; you say you believe, but around just look. (MORE)

86. INMATE SIX (O.S.) (CONTD) Four walls you attend that keeps you enslaved; like sheep for the slaughter, my wolves lead you astray. And I look like no serpent the devil had said; I look more like you do and our skin is not red. I've walked beside you ever since you were born; we've had some good times now haven't we son?

Behenda continues to squat tighter behind the wall as her face turns to panic when her father opens her closet door. He pulls the cord attached to her closet light but the light bulb is blown. He begins pulling her clothes off the hangers and throws them onto the floor. He removes shoes and toys that line her closet floor. INMATE SIX (O.S.) (CONTD) (In the inmates regular voice) I said don't call me son, I'm no relation to you; and those good times you speak, I was really a fool. Behendas father falls to his knees on the closet floor in search of anything out of the ordinary. He runs his hands across the wood paneling and feels a line of separation. He starts to pry at the paneling while Behenda pulls the handle tight that secures the panel back to its original location. INMATE SIX (O.S.) (CONTD) (In a devilish voice) So you try to separate yourself from me now, and you always blame me when they put you on trial. The devil made me do it is your cry to the judge, and to be really honest I might have gave you a nudge. As the hatred within so enormously grew; that wall that you wanted, I helped see it through. I told you don't worry and maybe one day; if you keep feeding the hate we'll make them all go away. Behenda hears her mothers voice calling out for her father. The prying at the wood panel ceases. She hears her fathers footsteps as he exits the bedroom and begins speaking with her mother. INMATE SIX (O.S.) (CONTD) (In the inmates regular voice) (MORE)

87. INMATE SIX (O.S.) (CONTD) The prisoner got quiet toward the end of the night and he suddenly vanished when they turned on the light. A guard soon approached me, scratching his beard; with whom were you talking last night on this pier? I said the prisoner inside of the cell next to me, he said youre +

++ alone on this level, that was all just a dream. If that was true, what this guard had just said, then the one I was speaking to just took place in my head. END OF FLASHBACK THE NOTEBOOK Behenda makes a notation on top of this inmates testimonial page. The notation reads THE INMATE IN THE CELL NEXT TO ME and followed by INMATE SIX. Behenda grows more inquisitive about the inmates identity within the cell. BEHENDA (Whispering) What is your name? Please, tell me your name. Behenda feels the presence of warm breath upon her right ear. TIER SIX GUARD (A quiet voice spoken into Behendas right ear) I am the tier six guard. A former inmate myself. Behenda is startled by the voice so close to her ear and jumps up from the chair. Her reflexes to separate herself from the perceived danger causes the chair to fall over. INT. THE SIXTH TIER The guard begins laughing as he reaches down to set the chair upright. Behenda starts to walk away briskly down the walkway. The guard continues his laughter.

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TIER SIX GUARD (Loud and obnoxious) I used to be an inmate here Behenda, but I have been rehabilitated. I have been set free. I am freedom Ms. Wall! As Behenda walks in the direction of the seventh tier stairway, the lights begin to come on beside Behenda in each of the cells. The cells are empty but a shed snake skin hangs from the light fixture within each cell. TIER SIX GUARD (O.S.) (CONTD) (Shouting) Remember Ms. Wall. I am freedom! Behenda does not bother to look back as she reaches and begins climbing the seventh tier stairway. INT. THE SEVENTH TIER Behenda arrives on the final floor of the prison. She stands patiently on the dimly lit walkway waiting for the tier guard. Behenda hears a voice coming from a single cell in the center of the walkway. INMATE SEVEN (O.S.) Ms. Wall. Come on down here. There is no guard. Im here all alone and ready to testify. Behenda begins to walk down the walkway. The rail is on her left and the cells, which used to align the walkway, are on her right. Behenda hears the singing of old Negro spirituals muffled behind the concrete walls erected to close in the former cells. Behenda approaches the cell of the seventh inmate. As she approaches, she hears the sound of bricks being laid on top of one another. Behenda notices the outside of this inmates cell is partially bricked up. She sits down in the chair. THE CHAIR Is facing the cell and feels to be more flimsy than the others.

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THE CELL Other than the partially bricked wall covering the entrance to the cell, there remains no difference than the others. The cell is dark and Behenda can see nothing inside. INT. THE SEVENTH TIER Behenda opens the notebook and cracks her fingers. She is physically and mentally exhausted from the assignment. She awaits the prisoners testimony. She reaches into her pocket to retrieve the pen and feels the matchstick she hid earlier from the warden. THE MATCHSTICK Behenda removes the matchstick from her pocket. She gazes at it for a brief moment and returns it to her pocket. INT. THE SEVENTH TIER INMATE SEVEN (O.S.) (In the voice of a tired and weary adult male) I welcome you here to tier number seven; all alone at the top, I'm the closest to heaven. Now I know you are thinking, how come I'm up here alone; well I'm the inmate of hate and it's here I belong. FLASHBACK - INT. BEHENDAS CHILDHOOD BEDROOM Behenda is laying on her bed playing with her dolls. She is around twelve years old and she has grown more attached to her imaginary world. INMATE SEVEN (O.S.) He keeps me close by, looking down from above; he tries to teach me to care and he hopes I will love. But love's just a word; it means nothing at all; an emotion for weaklings, which helps build these walls. When you hate in your heart, then you truly are free, just look around lovely, everybody fears me.

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Behenda acts as if her favorite doll Cindy is carrying a knife. She makes the doll approach another doll whose back is turned away. INMATE SEVEN (O.S.) (CONTD) Now let us continue with the answers you seek, for they are given to the thinker and not to the meek. I heard your interview with the prisoner below. The one who spoke to the devil but was there all alone? You must keep in mind that insanity's here, and no one's immune do I make myself clear? Behenda takes Cindys hand and acts as if she is stabbing the other doll in the back. INMATE SEVEN (O.S.) (CONTD) They say I'm the craziest one of them all, up here on the top with the strongest of walls. And what should I fear as the image of hate; since Ive hardened my heart, I know this cell is my fate. Or maybe I'm here cause I'm afraid of this world, is it safety I crave, are these four walls my cure? END OF FLASHBACK DAYDREAM - INT. HALLWAY Behenda has learned to keep location checks on her father so she walks over to her bedroom door to peer out into the hallway. Her mother and father are standing in the hallway and notice Behenda looking at them. He motions for Behenda to join them as both of her parents wrap their arms around her and squeeze her tightly. Both of her parents smile as if they are happy to have the most wonderful family unit. INMATE SEVEN (O.S.) There is a thought that it's all been a lie; am I really the fool, just sent here to die? Now what have you brought me just sitting right here; I was free in mind till you shined light on my fear. While Behenda is enjoying the warmth of the hug, her father slides his hand down her back and massages Behendas butt. She looks up at her father, who is laughing with a devilish grin.

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Her mother pushes herself away from the family hug and runs into the bedroom. There are members of the church standing on both sides of the hallway as her mother runs between them. The church members are shaking their heads in disgust and gossiping amongst one another. INMATE SEVEN (O.S.) (CONTD) I have spent my whole life in hiding this fact, and in the blink of an eye you brought it all back. So in turn for my bondage and my safety secured; I was given this cell, but you have one too. It's a place you call home, away from it all, where no one can see you behind those four walls. Behenda pushes herself away from her father and runs back into her bedroom. The preacher is trying to keep her from entering by blocking the doorway. Behenda reaches into her pocket, pulls out a coin and drops a quarter on the floor. The preacher looks at everyone standing in the hallway as greed fills his face. He dives on top of the coin leaving the bedroom door unobstructed. She enters the room and slams it shut. END OF DAYDREAM THE CELL As Behenda is writing down the testimony, a hand from the other side of the partially bricked up wall is seen laying another brick. INMATE SEVEN (O.S.) The wall is almost finished Behenda. Soon it will all be over. Help me Behenda. Help me finish the wall. INT. THE SEVENTH TIER Behenda realizes the hand is the closest she has come to seeing one of these inmates. Since no guards are present, she is on the top floor and the assignment is almost finished, Behenda decides to take a closer look at the cell. She remembers the matchstick in her pocket and decides to strike the match on the concrete floor to illuminate the cell.

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THE MATCHSTICK Behenda scrapes the matchstick across the floor. The sound of the striking match seems to echo throughout the prison. THE CELL Behenda holds the match above her head and looks into the cell. Behenda sees herself kneeling down, covered in mortar, and holding a brick. Her image looks up at her and laughs. INMATE SEVEN (Eerie laugh in a devilish voice) Whats wrong Behenda? Help me build this wall. INT. THE WARDENS OFFICE The warden is sitting in a chair smoking a long cigar. He is holding a newspaper open and on the front page, in large bold print, BREAKING NEWS REPORT. He sniffs the air and smells the burning match. He throws the paper down and runs out of his office to the center of the prison. He looks up toward the top tiers. WARDEN (Screaming loudly and grabbing the side of his face with his hands) Oh Ms. Wall! What have you done? INT. THE SEVENTH TIER Behenda drops the matchstick as she is shocked to see herself in the cell. She turns to run away forgetting she is on the walkway and runs into the rail almost falling over the railing. As Behenda starts to fall she closes her eyes. BEHENDA (Shouting) Save me father! HALLUCINATION - EXT. DESERT AND MOUNTAINS - DAY Behenda opens her eyes and the prison suddenly vanishes as Behenda stands on the edge of a mountain cliff overlooking a desert. She tries to regain her balance so she does not fall from the cliff.

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A hawk screeches and flies off in the distance. The sun is beating down and the sand reflects the light as crystals. A bush appears to be burning in the distance. Three crosses are atop a mountain above the burning bush. She notices an image of a person, illuminated by a bright light, ascending into the heavens. She notices the image of Buddha, sitting in the lotus position, watching the image ascend. The sky begins to turn dark as the image ascending becomes a distant light within the dark sky. The sky begins to rotate and turns into the symbol of the Yin Yang. Everything turns completely dark. END OF HALLUCINATION INT. CENTER OF PRISON GROUND FLOOR The warden is looking up toward the top of the tiers. WARDEN (Yelling and waving a green flag attached to a handle) Ms. Wall. Run bitch, run! INT. THE SEVENTH TIER Behenda turns around and finds herself back on the seventh floor walkway. The wall being built by Behendas reflection to cover the cell entrance is almost complete. Behenda starts to run in the direction of the stairway leading back down to the other tiers. She begins to run down the stairs. INT. THE SIXTH TIER Behenda runs down the sixth tier, which is lit and all cell doors are open. She notices numerous shed snake skins laying on the floor. THE CELL She passes the cell where she was interviewing the sixth inmate to see herself inside the cell holding onto the metal bars of the door. The image of Behenda is dressed in a prison uniform and she is covered in blood. INMATE SIX (Jumping up and down and screaming wildly) Let me out Behenda! Take me with you. Get me out of here!

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INT. THE SIXTH TIER Behenda continues toward the fifth tier stairway. The sixth tier guard partially blocks her path as he mops the floor. TIER SIX GUARD You better slow it down Ms. Wall. Whats the matter? You seen a ghost? Behenda continues to run past the guard and takes the stairs leading to the fifth tier. INT. THE FIFTH TIER Behenda runs down the walkway and stares into the lit cells. Each inmate is her reflection carrying a cross and wearing a crown of thorns. She passes the fifth tier guard, who is on his knees praying and asking for forgiveness. She continues to run past him and reaches the stairway leading to the fourth tier. Behenda finds herself having a difficult time catching her breath but she does not stop running. She runs down the flight of stairs reaching the fourth tier. INT. THE FOURTH TIER Behenda steps onto the fourth tier walkway, she slips on something wet on the floor and falls to the ground. A cell door is open and she sees a young boy knelt down and praying within the cell. Behenda looks at the floor to see what caused her to slip. The substance is milky and covers her exposed flesh and clothing. Behenda starts to dry heave as the smell is recognized to be semen. Behenda stands up and runs even faster down the walkway. The fourth tier guard is standing inside the cell Behenda recognized as a confessional. The guard is zipping up his pants. Behenda reaches the stairway leading to the third tier and proceeds down the stairs. TIER FOUR GUARD (O.S.) I will be praying for you Behenda Wall.

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INT. THE THIRD TIER Behenda arrives at the third tier but is unable to see where she is going because the entire tier is completely dark. She finds the railing and uses this to guide her down the walkway. Behenda stops her movement when she recognizes the railing is now the hairy arm of the third tier guard. The guard begins to smell the fragrance of the semen on her clothes and body. TIER THREE GUARD (Sniffing Behenda and moaning) You smell lovely Ms. Wall. Behenda pushes the guard out of her way and falls down the stairs leading to the second tier. When she reaches the second tier, she is dazed and confused from the fall. INT. THE SECOND TIER Behenda lies still on the floor still clutching the notebook in her left hand. The tier is dark as Behenda crawls and searches for the railing. She is obviously hurt from the fall. SECOND TIER VOICES (O.S.) (The voice of small children speaking quietly) Just keep searching Behenda. You will find the way. Behenda locates the railing and pulls herself up. She limps down the walkway until she reaches the stairs leading to the first tier. She carefully walks down the stairs. INT. THE FIRST TIER Behenda arrives on the first tier and finds herself standing in knee deep water. The cells have all been evacuated as the water appears to be rising. She holds the notebook high above her head and walks down the walkway toward the final set of stairs. As she reaches the stairs leading to the ground floor, a loud buzzer chimes sounding as if a dam warning blows to warn of water being released. Behenda turns and notices a large wave of water heading in her direction.

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She starts to run in the direction of the stairs but is unsuccessful as the wave completely submerges her and knocks her down the stairwell and renders her unconscious. FLASHBACK THE LIVING ROOM - NIGHT Behenda finds herself standing inside the living room of her parents home. She is holding her fathers gun and smoke drifts from the end of the barrel. Behenda is twelve years old and she just murdered her parents because of her fathers sexual abuse and her mothers inability to stop the abuse from occurring. Both of her parents life lifeless and covered in blood. Behenda walks over to her mother and places the firearm in her mothers right hand as if she was holding the weapon. Behenda picks her mothers hand up and fires the weapon twice into the living room wall. She removes the clip, places two live rounds inside the magazine and reinserts it back inside the weapon. Behenda lays in between her parents and coats her clothing in the their blood. She lies there staring up at the living room ceiling. END OF FLASHBACK INT. THE GROUND FLOOR Behenda lies lifeless on the ground floor of the prison. She is encircled by several guards. In her left hand, she still clutches the notebook. The warden walks between the wall of guards and is holding a vase of water. The warden pours the vase of water on Behenda. Behenda opens her eyes to see the warden and guards surrounding her. The warden kneels down and stares Behenda directly into her eyes. WARDEN I knew it. Sooner or later I would have you back in this prison. I need you out of Ms. Wall right now. Behenda stares back in the face of the warden confused as to his statement. BEHENDA What do you want from me?

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WARDEN Well you see Ms. Wall. When you were at the ripe young age of 12 years old, an inmate escaped over these prison walls. We searched and we searched, all night and all day, but he had picked him a vessel from the flesh gallery. We never stopped searching and finally we won; and we thank you Behenda for bringing this one back home. BEHENDA What spirit? I have no spirit... The warden interrupts Behenda. WARDEN Your flesh was the vessel he used to escape and hes been living in you always guiding your way. Now we need him back in the cell he had left, so kindly return him, by exhaling your breath. But before you commit to release your last breath, you must tell the truth of your parents grim death. Once the truth has been told, then well let you be, youll be returned to your spot in the flesh gallery. For the truth will set you free! The warden stands and the guards start to dance in a circle around Behenda. THE GUARDS (In a hypnotic and psychopathic chant) The truth will set you free! The truth will set you free! The guards repeat the statement several times causing Behenda to feel as if she is losing her mind. The voices become louder until Behenda shouts out. BEHENDA (Screams the admission) Yes! I did it! I killed them both. I killed my parents! Im guilty! After admitting to killing her parents, Behenda closes her eyes as she is rendered unconscious.

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An image is seen leaving Behendas body and the guards quickly apprehend the ghostly image. The ghostly image turns to look at Behenda lying lifeless on the floor. BEHENDAS EX-SPIRIT (Shaking his head and looking in disgust) You weak little soul. How dare you not listen to me as I tried to warn you about coming to this place. You always listened to me. Always! Now look at us. We have been divided by the sword of this warden and without me, you shall be returned to the dust of the earth. But I will live on to find another vessel one day. The warden is holding a sword and comically hides it behind his back looking as if he is completely lost about the spirits allegations. WARDEN You will never escape me again, you father of sin; Now take him away and cast him back in his lake. The guards walk the spirit in the direction of the tiers. THE STAGE The warden is standing on top of a stage in the center of the prison with Behenda lying at the base of the stage on the floor. He is dressed in a tuxedo and holding an award. He is standing behind a podium with a microhone attached. WARDEN And now! Please welcome if you will. The award winning investigative breaking news reporter and winner of the Pulitzer Prize for Breaking News. Ms. Behenda Wall. Come on down Ms. Wall and receive your award. Behenda lies unconscious on the floor. WARDEN (CONTD) Ms. Wall? Your award awaits you. The warden laughs in embarrassment as Behenda fails to respond. He covers the microphone on the podium as he motions for the guards toward Behenda.

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WARDEN (CONTD) (Covering the microphone and speaking softly to the guards) Will you get her out of here. She is an embarrassment. The warden smiles at the imaginary audience. WARDEN (CONTD) Oh well. I guess the award will have to go to me anyway because I broke the story of Behendas parents. Thats right! You heard it here first folks. INT. THE GROUND FLOOR The guards pick up the lifeless body of Behenda and begin to walk her outside the prison. EXT. OUTSIDE PRISON - DAY The guards carry Behenda outside the outer prison gate and set her down on the ground. One of the guards gives an order to another guard. GUARD 2 Strip her of her clothes and let us take the material and throw it in the garbage. The guard receiving the order, removes the clothing as instructed, folds the pieces of clothing and carrys them back inside the prison. The guard orders the remainder of the guards to return inside. BEHENDA LAYING ON GROUND - DAY Behenda slowly opens her eyes moments later to gain one last look of her surroundings before returning back to the dust. A tear runs down her cheek leaving a trail of water resembling a flowing stream. THE TEAR DROP Exits Behendas face and falls to the ground mixing with the red clay dirt. Behendas eyes begin to close as she takes the final breath from the former spiritual prisoner.

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BEHENDAS FACE Is turning pale as her brain dies from lack of oxygen. Just before exhaling the final breath, a hand covers her mouth causing her to hold in the last breath of air. Behenda looks up to investigate the source of the hand but only sees a miniature white light shining dimly in the dark abyss. FLASHBACK THE PRISON GROUND FLOOR Behenda flashbacks to the warden motioning his right index finger for her to come over and stare at the heavens. END OF FLASHBACK INT. OUTSIDE PRISON The light becomes brighter and closer as Behenda continues her intense stare. The light eventually becomes so bright, Behenda has to squint her eyes. Squinting her eyes, she makes out the figure of a man standing naked before her. Behenda immediately feels the presence of love, safety and security as she stares at the transfiguration of the man. The bright figure moves in closer to Behenda and lies on top of her naked body. A calm comes over her as she feels his warm embrace. The man whispers in Behendas ear. BEHENDAS NEW SPIRIT (In a soft voice) I am here for you now, I am the way; beside still waters youll walk and in green pastures youll lay. The valley of death no longer exists, so you should fear no evil, now feel my breath in your chest. The spirit places his mouth on Behendas mouth and exhales a long breath. Her chest expands with the breath. She fully opens her eyes and finds herself laying naked on the ground. She exhales a long breath and smiles. Behenda is once again filled with the breath of life. END OF DREAM INT. BEHENDAS BEDROOM - DAY Behenda opens her eyes and stares up at her apartment bedroom ceiling. A rested look and calm projects from her face. She looks over at the clock on her night stand and the clock reads 9:37 AM.

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She is confused as to why her alarm clock did not sound at 5:00 AM. She notices the alarm was never turned on before she went to sleep. She looks at the cordless phone, which also is laying on the night stand, and finds the battery on the phone is completely dead. Remembering her early morning assignment, she gets out of bed and exits the bedroom. THE LIVING ROOM Is lit up from the light of the sun shining through the balcony sliding doors. THE FOYER Behenda enters the foyer and locates her cell phone on the foyer table. The phone is completely dead because she forgot to place the phone on the charger. She plugs the phone into the charger and powers up the phone. INTERCUT - THE CELL PHONE Behenda begins strolling through her contact list and arrives at the name of TIM. There is a picture of Tim displayed with the contact. BEHENDA (O.S.) (Talking to her self) There is no need to call Tim. Behenda continues to scroll through her phone till she reaches the contact DAD 2. The picture is that of an older Chief Martin Alford, who had raised Behenda since her parents death. INT. THE FOYER She inhales a deep breath and selects his contact. The phone is answered after three rings. MARTIN (O.S.) Hello. BEHENDA (Behenda looks in the foyer mirror and smiles as if a burden has been lifted from her shoulders) Hello Dad. There is something I have to tell you.

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INT. THE SEVENTH TIER The warden is walking down the lit seventh tier walkway. He looks in at the escaped prisoner now back in custody. He smiles at the inmate and continues walking to the end of pier. He reaches up and grabs the handle of a large light switch labeled TIER SEVEN. He looks into the camera and smiles at the audience. WARDEN (Pulling the light switch downward) Lights out children! FADE OUT