STILLWATER
    Written by
    Tom McCarthy & Marcus Hinchey and Thomas Bidegain & Noé Debré

EXT. RUINS - DAY
    After the tornado. A row of devastated houses in what used to be a residential area. Some walls are pulverized, a shattered washing machine lies against a street lamp. The few houses still standing gape like some abandoned cardboard boxes. A CREW OF WORKERS, wearing HARDHATS, pick up the rubble. They throw the debris into large dump trucks. Among them, his face covered with a paper mask, is BILL BAKER (50): a tired, lean, strong man absorbed by his task. He stands in what must have been a kitchen. His gloved hands lift the rubble… Shing! He throws it into the dumpster… Psshh! Bill digs up a plastic children's highchair. He takes a look at it: one foot's missing… It ends up in the dumpster too.

INT. VAN - DUSK
    Exhausted WORKERS ride in a crowded van. Bill sits behind two MEXICANS (30's.)
    BASEBALL HAT
    (Spanish)
    That tornado fucked the town up.
    SHAVED HEAD
    (Spanish)
    Maybe it was fucked up before.
    BASEBALL HAT
    (Spanish)
    What happens with the town after we clean it up?
    SHAVED HEAD
    (Spanish)
    They rebuild it.
    BASEBALL HAT
    (Spanish)
    And the people, they all come back?
    SHAVED HEAD
    (Spanish)
    Some of them. But for the others, it's too much. They move on.
    BASEBALL HAT
    (Spanish)
    Maybe that's good. Change is good.
    SHAVED HEAD
    (Spanish)
    I don't think Americans like to change.
    BASEBALL HAT
    (Spanish)
    I don't think the tornado cares what Americans like.
    Bill continues staring out the window. Oblivious. His gaze lands on a massive OIL RIG lit up like a space station, towering above the endless stretch of plains.

EXT. SONIC DRIVE-IN - NIGHT
    Bill leans out the window, orders.
    BILL
    I'll have double cheeseburger. Tots. And a Cherry-Limeade.

EXT. BILL'S HOUSE - NIGHT
    Bill's Ford Taurus pulls into the driveway of a rundown, ranch-style house with a small, cluttered porch. Bill gets out, Sonic bag in one hand, GEAR BAG with his hard hat dangling off in the other.

INT. BILL'S HOUSE - LATER
    Bill walks inside, drops his bag. The walls are desperately bare. He puts down his jacket and turns on the TV, then the light. A loud commercial blurts out.

INT. BILL'S HOUSE, KITCHEN - LATER
    His bare feet on the stained linoleum floor. Freshly showered, Bill grabs a Mountain Dew out of the fridge and sits at the kitchen table. The TV blares. He mumbles grace, his hands clasped. He unpacks his cheeseburger.

INT. BILL'S HOUSE, DEN - LATER
    Bill's asleep on his couch. A rerun of 'Everybody Loves Raymond,' on the TV.

INT. CAR - DAY
    Bill is driving, smoking, baseball cap on. He pulls off the road and onto the LEASE ROAD.

EXT. DRILLING RIG, LOCATION - LATER
    Bill gets out of his car and walks toward the TOOL PUSHER'S SHACK, a trailer turned office/live space for Pushers. He glances up at the massive rig.
    TOOL PUSHER
    Where you from?
    BILL (V.O.)
    Stillwater.
    TOOL PUSHER (V.O.)
    You got reliable transportation?
    BILL (V.O.)
    Yes, sir.
    TOOL PUSHER (V.O.)
    Who's the last drilling company you worked for?
    ITA.:

INT. PUSHER'S SHACK - DAY
    Bill sits in the wood paneled office talking to TOOL PUSHER.
    TOOL PUSHER
    Why'd you quit?
    BILL
    Operator dropped our rig. We staked and I got laid off. Six months ago.
    TOOL PUSHER
    You gotta side job?
    BILL
    Yes, sir. I work construction. But that's been slow since the rigs went down. Spent last week doing clean up after that tornado by Shawnee. I've been getting after it.
    The Tool Pusher nods, satisfied that Bill has the "want to".
    TOOL PUSHER
    You work derricks?
    BILL
    Yes, sir.
    TOOL PUSHER
    How long?
    BILL
    Eight years.
    TOOL PUSHER
    What kind of mud systems you worked on?
    BILL
    Water and oil base.
    TOOL PUSHER
    What kind of pumps?
    BILL
    PZ's and HHF's.

INT. WALLS - DAY
    Bill stands in the WOMEN'S CLOTHING section, choosing between two pairs of socks. He's wearing a pair of READERS which age him by about ten years, carefully inspecting the tags.

11A EXT. WALLS - DAY 11A
    As Bill exits the store, a YOUNG ACTIVIST approaches him with a clipboard.
    YOUNG ACTIVIST
    Good afternoon, sir. Do you live here in Stillwater?
    BILL
    I do.
    YOUNG ACTIVIST
    Can you sign our petition calling for increased benefits for teachers?
    BILL
    No, sir.
    Bill keeps walking.
    YOUNG ACTIVIST
    Don't you think our teachers deserve better treatment?
    BILL
    We all do. Doesn't mean we get it.
    YOUNG ACTIVIST
    Well, maybe you'd like to hear about the issue so you can make an informed decision?
    Bill stops, turns.
    BILL
    I'd like you to leave me alone now.
    His directness is startling. He walks away.
    YOUNG ACTIVIST (O.S.)
    It never hurts to listen, sir. Have a nice day!
    Bill arrives at his truck, finds a LEAFLET tucked under the wiper. Teachers' Benefits. He turns, sees the YOUNG ACTIVIST watching him. He crumples up the flier and throws it on the ground.

EXT. SHARON'S HOUSE - DAY
    Bill parks his car in front of a small brick house. SHARON (70's) is sitting on her porch, oxygen tubes in her nose, walker close by. She's absorbed by a 400-page crime novel.
    BILL
    Hey Sharon.
    SHARON
    Let me finish this page.
    Bill waits. She flips a page, keeps reading.
    SHARON
    Oh. One more page.

INT. SHARON'S HOUSE, KITCHEN - DAY
    Bill's sitting at the table, eating a sandwich. Sharon pours two glasses of milk at the counter.
    SHARON
    I'm not halfway through the book and this detective has already slept with three girls. Including that little black reporter. And he is still investigating. You read the first one I gave you?
    She places the milk on the table. Fox news plays loudly from the other room.
    BILL
    Not yet. Been busy.
    SHARON
    Lucky you're not that detective. You'd be overwhelmed.
    BILL
    I'd stay focused on the girls though.
    SHARON
    I bet you would. That'd be a good day for serial killers.
    She sets a bowl of chips on the table, sits. They hold hands, say grace. Routine.
    SHARON
    Lord, thank you for this meal and all that is good in this world. Keep Allison in your watchful eye. Amen.
    BILL
    Amen.
    They start to eat.
    SHARON
    You get hired out yet?
    BILL
    Nope. Had an interview today. Pusher said he might have some rigs going up end of month.
    SHARON
    Where?
    BILL
    Didn't say.
    SHARON
    I got a call from your mother a few days ago. She moved to Tampa.
    BILL
    She ask for money or some shit?
    SHARON
    No. She asked about you. You should call her sometime.
    BILL
    I got enough shit to deal with here.
    SHARON
    Did you pick up the car registration?
    BILL
    I did. It's at home. Spent all day waiting for...
    She sets the REGISTRATION down in front of him. Busted.
    SHARON
    Got it online. Everything's online. Can't get a real human being if you tried. Didn't stop them from charging me twenty-three dollars.
    BILL
    I'll pay it.
    SHARON
    That's not what I meant.
    BILL
    I know.
    Bill keeps eating. There's obviously tension around finances.
    SHARON
    There's a bag of books by the front door for you to take. And an envelope of photos up on her bed.
    OK.:

INT. SHARON'S HOUSE, BEDROOM - LATER
    Bill enters a girl's room that is frozen in time. He takes it all in. Posters, photos, random keepsakes.
    SHARON (O.S.)
    (Yelling)
    It's on the bed! You see it?
    Bill picks up an ENVELOPE off the bed, he opens it and pulls out a stack of OLD PHOTOS. He flips through them, a few of them feature a YOUNGER BILL but he pauses on a photo of a FOUR YEAR OLD GIRL and HER MOTHER.

EXT. CHURCH - EVENING
    Bill's car pulls into a large church parking lot, nestled in a strip mall. "God Bless Stillwater".

INT. CHURCH - LATER
    Projected on a SCREEN behind is: "WHO DO I TURN TO WHEN I'M FEELING POWERLESS?'
    PASTOR
    2 Thessalonians 3:10 tells us, "If anyone is not willing to work, let him not eat."
    Bill sits alone in the audience, listening to a casually dressed MALE PASTOR (white, 64.) He is talking to about fifty members of the congregation. It's less of a service and more of an informal chat.
    PASTOR
    But many in our community rely on government assistance in one form or another. I'm sure some of us here tonight do. Sometimes we just don't have a choice, even when we are willing and able. I'm curious what do we, as good Christians think about this type of assistance?
    (Pointing)
    Monica?

INT. BILL'S HOUSE, BEDROOM - NIGHT
    Bill takes a handful of NEW BOOKS from a bag and packs them into a large, blue rollerboard SUITCASE sitting on his bed. The plastic WALLS BAG sits next to it.

EXT. BILL'S HOUSE - DAWN
    Bill, baseball cap on, drops his bag into the truck of his car, and slams it shut.

EXT. HIGHWAY - LATER
    Bill's car cruises down on the empty highway, headlights on. The plains of Oklahoma disappear into the half light.

INT. WILL ROGERS AIRPORT - LATER
    Bill stands at the counter. The CHECK-IN ATTENDANT prints the boarding pass and circles numbers with her pen.
    ATTENDANT
    You have two stop-overs, the first in Atlanta, the second in Paris. You are set to arrive at three pm local time.
    BILL
    Thank you.
    Bill nods, he lifts his bag to put it on the conveyor belt.
    ATTENDANT
    Drop-off only opens 3 hours ahead of boarding so you're still early, sir. Come back in 40 minutes.
    BILL
    Ok. Thank you, ma'am.

INT. WILL ROGERS AIRPORT, GIFT SHOP - DAY
    Bill holds up an orange OKLAHOMA STATE FOOTBALL SWEATSHIRT. Sweatshirt in hand, he turns toward the counter but is momentarily blocked by an OLD WOMAN shopping. He waits, noticing a JEWELRY display. He focuses on a series of GOLD NECKLACES with words in GOLD LETTERS: OKC. TULSA. STILLWATER.
    FEMALE SALESPERSON
    Can I help you, sir?
    The Old Woman is gone, a SALES PERSON in her place.
    BILL
    Yes, ma'am.
    He hands her the sweatshirt.

INT. PLANE - DAY
    Bill is awake. Looking out the window. It's bright outside.
    CAPTAIN (V.O.)
    Bonjour. Nous sommes sur le point de commencer notre descente vers l'aéroport de Marseille Provence.
    CAPTAIN (V.O.)
    Nous espérons que vous avez apprécié le vol.
    NOTE: AT TIMES THROUGHOUT THE SCREENPLAY, DIALOGUE WILL BE EITHER WRITTEN IN FRENCH AS ABOVE OR IN ENGLISH WITH ITALICS TO SIGNIFY THAT IT WILL BE SPOKEN FRENCH.

INT. MARSEILLE PROVENCE AIRPORT - DAY
    Bill pushes out through the crowds waiting for arrivals. Hat on, head down, he makes his way toward the exit.

INT. AIRPORT BUS - LATER
    Bill watches the sparkling French Riviera coast pass by.

EXT. MARSEILLE STREET - LATER
    Bill approaches a tram stop, rolling his suitcase. Le Gare de Marseille-Saint-Charles looms in the background. OMITTED

INT. TRAM, MARSEILLE - DAY
    Bill stands next to his suitcase.

EXT. MARSEILLE STREET - DAY
    The tram moves through the city. Bill walks up the street.

INT. HOTEL, FRONT DESK - DAY
    Bill stands at the front desk. A RECEPTIONIST assists him.
    RECEPTIONIST
    You are with us for two weeks?
    BILL
    Yes, ma'am.
    She gives Bill a form to sign.
    RECEPTIONIST
    Initial here... and sign here.
    Bill signs. She hands him his key as The MANAGER, an older man, emerges from the backroom.
    RECEPTIONIST
    Thank you. Here's your key. You are in room 204.
    MANAGER
    Welcome back, Mr Baker.
    Bill nods, walks away.
    MANAGER
    C'est lui dont je t'ai parlé. Le père de l'Américaine.
    The Receptionist reacts, cranes her head to watch Bill climb the stairs. Bill is apparently a person of interest.

INT. HOTEL CORRIDOR - DAY
    Bill moves down the hallway. A young girl, MAYA (8), wearing a bathing suit is kicking a soccer ball in the narrow hallway. Bill passes her by. He slides his key into the door and disappears into his room.

INT. BILL'S HOTEL ROOM - NIGHT
    Bill is sound asleep on top of his bed. He just crashed there, fully clothed. The room is dark and unassuming. Laughter and music from the room next door. Bill opens his eyes, switches on the light.

EXT. HOTEL ROOM, BALCONY - NIGHT
    Bill, a bit dazed, slides open his window. Two women smoke a joint and laugh on the neighboring balcony. They see Bill and stop. VIRGINIE (40's) is the older of the two.
    BILL
    Ladies. Can y'all please lower the music? I'm trying to sleep.
    VIRGINIE
    No speak English. Sorry.
    Bill insists. He gestures with his hands.
    BILL
    Mu-sic. Can you…? Si vous plait?
    VIRGINIE
    Quoi?
    Virginie pretends she doesn't understand. She imitates his gesture. Her younger friend, an ARAB WOMAN, bursts into laughter. They're stoned. Bill gets it.
    BILL
    Yeah. OK.
    He closes the window. The girls keep giggling.

INT. HOTEL, BREAKFAST ROOM - MORNING
    Bill sits alone eating his breakfast. He looks tired but is clean shaven, wearing a clean shirt.

33A INT. HOTEL, BILL'S ROOM - DAY 33A
    Bill packs items from his suitcase into the plastic Walls bag.

INT. PENITENTIARY, INTERIOR ENTRANCE - DAY
    A large Walls plastic bag slides on the conveyor belt, disappears into the X-ray tunnel. Bill goes through the metal detector. He is surrounded by men, women, and young children, mostly African and Arab. OMITTED

INT. PENITENTIARY, DROP OFF COUNTER - LATER
    A GUARD checks the contents of Bill's Walls Bag, pulling out the clothes and books. Bill watches, passively.

INT. PENITENTIARY, WAITING ROOM - LATER
    Bill sits among a crowd. He watches a few YOUNG CHILDREN squirm and play with toys. A GUARD calls out names and room numbers.
    GUARD
    Delbare. Huit. Moussa. Neuf. Salim. Dix. Baker. Onze. Mekideche. Douze.
    He stands up, makes his way toward the Guard. OMITTED

38A INT. PENITENTIARY, VISITING ROOM - LATER 38A
    A white box. One table, two chairs, and a fair amount of graffiti on the wall. Bill paces, waits. He watches as FEMALE PRISONERS, pass by the window of the opposite door. A few peek in at Bill. Finally the door opens and... ALLISON enters. She has fair skin, (26) and clearly stands out. She spots Bill, and a tired smile appears on her face.
    BILL
    Hey, baby girl!
    They hug. It's warm if a bit awkward.
    ALLISON
    Hi dad.
    BILL
    You look good.
    They sit on each side of the narrow table.
    ALLISON
    How was the flight?
    BILL
    OK. You doing alright?
    ALLISON
    I'm OK. Yeah.
    BILL
    Good. Good. You got laundry for me?
    ALLISON
    Yeah. Some.
    BILL
    I'll get it done.
    ALLISON
    You back to work?
    BILL
    Doing odds and ends. Lotta rigs still down.
    There is an awkward tension between these two.
    BILL
    They gave us two more visiting days. Next one is Friday. 2pm.
    ALLISON
    How's gram?
    BILL
    She's good. Still got the oxygen tank and still got plenty of opinions.
    Allison almost smiles.
    ALLISON
    I miss her.
    BILL
    I bought all the things you asked for. I got you some extra socks. And some good new sneakers.
    ALLISON
    Thanks. Oh, Gram said she gave you some photos for me?
    BILL
    Shit. I forgot 'em.
    ALLISON
    Just bring them next time.
    BILL
    I mean I forgot 'em back home. In Stillwater. I'm so sorry.
    ALLISON
    Doesn't matter.
    It does. But Allison is used to small disappointments.
    BILL
    Got you a Cowboys sweatshirt at the airport. They gonna be good this year. Got this big ol' back outta Guthrie, boy can run forever.
    Allison's face tells the story-- not so much a football fan.
    ALLISON
    Thanks.
    BILL
    And Sharon got you a lotta books. Let me know if you need anything else.
    Beat. Allison fidgets, looks around. Bill watches her.
    BILL
    You still working at the library?
    ALLISON
    No. I quit.
    BILL
    How come?
    ALLISON
    I just did.
    BILL
    Your mom was always into them science fiction books. You ever read those?
    ALLISON
    No. Not really.
    Allison gathers herself. Her demeanor shifts. She scans the room, lowers her voice.
    ALLISON
    Dad I need you to do something.
    She reaches inside her shirt, takes a rolled up ENVELOPE out of her bra and quickly hands it to Bill under the table. He cups it in his hand, concealing it, and then pockets it.
    ALLISON
    I need you to give this to Leparq. Make sure she reads it.
    BILL
    What is it?
    ALLISON
    Just... give it to her. Her address is on the envelope. OK?
    BILL
    Yeah. OK. But... you good?
    ALLISON
    Dad... please.
    Her tone is clear. Bill relents.
    BILL
    I'll go today, make sure she reads it.
    (Beat)
    Need anything else?
    ALLISON
    No. You already asked me that.
    BILL
    You're right. I did.
    (Beat)
    Mind if we pray a bit?
    Allison gives Bill her hand. He closes his eyes, starts to pray. Allison watches him, unengaged.

38B INT. PENITENTIARY, WAITING ROOM - LATER 38B
    Bill enters the waiting room. Picks up a BAG OF LAUNDRY marked, Baker.

EXT. PENITENTIARY - LATER
    Buzzing sound. Bill, carrying the laundry bag, and some other VISITORS exit through the wooden door inset in massive stone walls of the Les Baumettes. He reaches into his pocket, takes out the envelope and unfolds it.

INT. MAITRE LEPARQ'S OFFICE, RECEPTION - LATER
    Bill sits on a designer couch in a small reception area. He inspects Allison's letter as if searching for a clue. It's sealed. Leparq's name and address are written on the front.
    INTERN
    Mr. Baker? I'm sorry you had to wait but Maître Leparq is not coming back to the office today.
    BILL
    I'll come back tomorrow then.
    INTERN
    She's in court all week. Why don't you give me your letter and I'll make sure she gets it.
    BILL
    Can't do that. Thank you, Ma'am.
    He leaves.

INT. HOTEL CORRIDOR - DAY
    The elevator opens and Bill walks toward his room, carrying a SUBWAY SANDWICH bag. Maya is sitting on the floor, leaning against her door, her backpack next to her.
    MAYA
    Bonjour.
    BILL
    Hey.
    Bill disappears inside his room. Then he reemerges without his sandwich.
    BILL
    You locked out?
    She doesn't answer. Bill holds up his key.
    BILL
    You gotta key?
    MAYA
    Non. Je l'ai perdue.
    BILL
    Come on.
    He starts down the hallway, beckons her to follow.
    BILL
    Come on. Let's get you a new one.
    (holds up his key.)
    Come on. Let's get you a new key.
    Maya hesitates, then follows.

INT. RECEPTION DESK - DAY
    RECEPTIONIST struggles to magnetize a blank key. Bill stands, waiting with Maya at the reception desk.
    MAYA
    Beel.
    BILL
    Bill.
    MAYA
    Bell.
    BILL
    Closer. What's your name?
    (Pointing)
    You?
    MAYA
    Maya.
    BILL
    Maya. That's nice.
    MAYA
    C'est quoi ça?
    BILL
    This. A tattoo.
    MAYA
    C'est un oiseau.
    BILL
    What's that?
    MAYA
    L'oiseau. Là.
    She points to the bird tattoo on Bill's arm.
    BILL
    This? That's an eagle.
    MAYA
    Eagle.
    BILL
    Yeah. Eagle. Bald eagle. America.
    MAYA
    Et là?
    BILL
    That's a skull. And that's a knife going through it.
    Receptionist hands her the key.
    RECEPTIONIST
    Here is your key.
    She hands it to Maya.
    BILL
    Thank you, ma'am.
    OMITTED

INT. MARSEILLE COURTHOUSE - DAY
    Bill wanders around the courthouse. A fish out-of-water, he walks among the lawyers, clients, cops, and prisoners.

INT. MARSEILLE COURTHOUSE - LATER
    Bill is sitting on a bench waiting, cup of coffee in his hand. He finally spots Maître Leparq (60's), a severe looking woman walking with STÉPANE, a young associate. He approaches.
    BILL
    Excuse me, Mrs. Leparq?
    She stops, recognizes Bill immediately.
    LEPARQ
    Mr. Baker.
    BILL
    Yes, ma'am. I just need a few minutes of your time.
    (taking out the letter.)
    It's a letter from my daughter.
    Leparq looks to her associate, she's trapped.

EXT. MARSEILLE COURTHOUSE - LATER
    A quiet bench along the reflecting pool of the courthouse. Bill waits as Leparq finishes the letter. Stéphane lingers near, checking his phone.
    LEPARQ
    I'm sorry, Mr. Baker but I cannot honor your daughter's request.
    Bill, knowing nothing about the contents of the letter, tries his best to navigate the conversation.
    BILL
    Why's that?
    LEPARQ
    Mr. Baker, a judge will not reopen this case based on hearsay. This is not possible.
    BILL
    OK.
    LEPARQ
    We have exhausted every possible legal action. This letter tells me that your daughter has not accepted her sentence. And she must. Do you understand?
    BILL
    Yes, ma'am.
    Leparq folds the letter and puts it back in the envelope.
    LEPARQ
    Allison will be eligible for a temporary parole soon. That will greatly improve her mood and provide her with real relief. That is what you want for your daughter, is it not?
    BILL
    It is. Yes, ma'am.
    LEPARQ
    I must go now. I have a full day.
    BILL
    Can I get that letter back?
    LEPARQ
    As you wish.
    She gives the letter to Bill who takes it and starts to go.
    LEPARQ
    Mr. Baker. There is a time for hope and there is a time for acceptance. The last thing you want to give your daughter is false hope. That could make her situation very dire. Do you understand?
    BILL
    Yes, ma'am.
    She turns and leaves. Bill considers the letter, takes it out and looks at it briefly before reacting and putting it away.

INT. HOTEL, BILL'S ROOM - NIGHT
    Bill walks back into his room. He drops his key and FAST FOOD BAG on the table followed by the letter. KNOCK. KNOCK. He opens the door. It's the NOISY NEIGHBOR from the night before.
    NOISY NEIGHBOR
    Hello.
    (Bill nods)
    Thank you for helping my daughter, Maya yesterday. I was late coming back. We're in between apartments and there is no electricity at our new place! At least Maya loves it here, there's a pool, she thinks we are on vacation.
    BILL
    (deadpan)
    Sorry. I don't speak English.
    Virginie, caught off guard, reacts. She laughs.
    NOISY NEIGHBOR
    Ah, yes. My English. It came back to me. I'm sorry for the loud noise. My girlfriend is a bad influence. My name is Virginie.
    BILL
    Bill.
    VIRGINIE
    (Beat)
    Hello, Bill. You are in Marseille for vacation?
    BILL
    I'm visiting my daughter.
    VIRGINIE
    She lives here?
    BILL
    Yes, ma'am.
    VIRGINIE
    Cool. Well hopefully we are only here for one or two more days but if you need anything, we are next door.
    BILL
    Thank you.
    VIRGINIE
    Thank you. Bye.
    Virginie leaves. Bill shuts his door and stops, thinking.

INT. VIRGINIE'S ROOM - NIGHT
    C/U on Allison's letter. Then...
    VIRGINIE (O.S.)
    (Reading/translating)
    Dear Maitre Leparq.
    Virginie is holding it, reading. Bill sits with her at the small kitchen table. The room is a happy, temporary mess. Maya is asleep in the other room.
    VIRGINIE
    (Reading/translating)
    I am writing to you because I was contacted by Patrick Okonedo, the chef... the chief of the Outreach program that I was involved with at University. Mister Okonedo was approached by a student who met a man named Akim at a party. She was told that he had stabbed a girl years ago and got away with it. This must be the same Akim that killed Lina.
    She pauses.
    VIRGINIE
    You're the father of the girl, the American student…
    BILL
    (Flatly, without emotion)
    Yes, ma'am.
    She returns to the letter.
    VIRGINIE
    We must check his DNA to the unknown DNA found at the crime scene. I ask...I urge you to investigate this matter, to talk to Mr. Okonedo and this student. I am innocent of this crime and I have no one else to assist...to advocate for me. My Grandmother can no longer make the trips to Marseille and you know my father...
    She glances at Bill, hesitating for a moment...
    VIRGINIE
    I would not trust him with this. He is not capable. You are my only hope.
    Virginie pauses, the weight of her words is painful. Bill remains stoic, listening.
    VIRGINIE
    (reading)
    Please do not abandon me in this horrible place. I have wasted five years of my life here with four more to go and I do not belong here. Respectfully, Allison Baker.
    There is an awkward silence.
    VIRGINIE
    I'm sorry...
    BILL
    Appreciate your help.
    Bill stands up, takes back the letter.
    BILL
    Please don't tell anyone about this.
    VIRGINIE
    Bien sûr.
    Bill leaves. Virginie exhales. Wow.
    MAYA (V.O.)
    Maman? C'etait qui?
    VIRGINIE
    C'était un voisin. Tu devrais être en train de dormir. Viens là!
    She hustles Maya back to bed.

48A INT. BILL'S ROOM - LATER 48A
    Bill kneels by the bed praying.

A49 EXT. MARSEILLE STREET - LATER A49
    Bill walks down the street with purpose.

INT. LEPARQ'S OFFICE - DAY
    Bill is waiting again, he's on edge. The Receptionist is on the phone. Finally, Stéphane, the young associate appears from the back office.
    STÉPHANE
    Mr. Baker? Follow me please.
    Bill follows him down a hall and into a conference room.

INT. CONFERENCE ROOM - LATER
    There are six chairs around the table.
    STÉPHANE
    Please have a seat. Do you want coffee?
    Bill sits.
    BILL
    No, thank you.
    STÉPHANE
    How can I help you?
    BILL
    I'd like to talk to Mrs. Leparq. About the case.
    STÉPHANE
    Maitre Leparq is not available today.
    Bill takes out the letter, refers to it.
    BILL
    But there's a new lead here. This guy was talking at a party. About the murder.
    STÉPHANE
    Mr. Baker…
    BILL
    Somebody should talk to this teacher, this... Patrick Okonedo. Hear what he has to say.
    STÉPHANE
    Mr. Baker. Maitre Leparq was very clear with you yesterday. She cannot pursue this case. If you wish to pursue a further investigation...
    He takes a piece of paper from his folder. Starts to circle names with a pen.
    STÉPHANE
    We can recommend this. It's a list of private detectives you can engage...
    BILL
    I don't want a detective...
    STÉPHANE
    We have worked with the people on this list.
    BILL
    I just want to talk to Leparq...
    STÉPHANE
    I'm afraid this is all I can offer you at this time. I will circle the names that...
    Bill snatches the pen from his hand and throws it. It's quick and violent. Stéphane jumps.
    BILL
    My daughter's in fucking jail and she doesn't belong there!
    FEMALE VOICE (V.O.)
    Oh!
    A FEMALE LAWYER is in the door.
    FEMALE LAWYER
    Ca va?
    STÉPHANE
    Oui.
    Bill walks out.
    BILL
    Fuck this.

50A INT. LAUNDROMAT - NIGHT 50A
    A washing machine spins. And so does Bill as he sits, waiting on Allison's laundry. Her LAUNDRY BAG sits on the floor. A CITY BUS passes by.

50B EXT. PENITENTIRAY, DAY 50B
    Bill walks toward the visitors building with the other VISITORS. He is carrying Allison's clean laundry.

50C INT. PENITENTIRAY, SECURITY DESK 50C
    Bill passes through the METAL DETECTOR. It buzzes and Bill is frisked by a waiting GUARD.

INT. PENITENTIARY, VISITING ROOM - DAY
    Bill is waiting, pensive, anxious. The door clicks open and inmates arrive. Allison approaches. Bill stands to hug her.
    BILL
    Let you out a bit late today. They shouldn't. Bet they'll call you back in on time.
    ALLISON
    It's OK. It happens.
    BILL
    I did your laundry.
    ALLISON
    Thanks. So did you give Leparq my letter?
    BILL
    Yeah. Of course.
    ALLISON
    And? What did she say?
    Bill sees signs of hope on his daughter's face.
    BILL
    Well she told me what you wrote. I mean about Akim and the girl at the party.
    ALLISON
    And what'd she say?
    BILL
    She said that, you know, she works on a lot of these cases...
    ALLISON
    Dad, is she gonna investigate it or not? Just tell me!
    Bill hesitates, he can see the desperation in his daughter's eyes. He hesitates, then...
    BILL
    Yeah. She's gonna look into it.
    Allison can barely contain her joy.
    ALLISON
    Really? She said that?
    BILL
    That's right. I told her how strongly you felt about it...
    ALLISON
    That's amazing. Does she want me to do anything?
    BILL
    No. She just needs some time and, you know, she did say that she can't make any promises. She didn't want to give you any false hope or nothing like that.
    Allison hangs onto his every word.
    ALLISON
    Of course not. But it's still great. Akim exists. He killed Lina! That's his fucking DNA they found in the apartment. I'm not crazy.
    BILL
    I know. I know you're not.
    ALLISON
    I knew Leparq wouldn't let me down! You don't know how many times I wrote and rewrote that letter.
    BILL
    Well, it worked. Maybe God answered our prayers.
    Allison smiles, she allows Bill this point.
    ALLISON
    Maybe he did.
    She hugs him. He hugs her back. Bill hasn't been hugged that way by his daughter in a long time.
    ALLISON
    Thank you, Dad.

A52 INT. LEPARQ'S OFFICE, FOYER - DAY A52
    Bill pushes through a big door into a stone lobby. He ascends the stairs.

B52 INT. LEPARQ'S OFFICE - LATER B52
    Bill is buzzed into the office. He approaches the RECEPTIONIST.
    BILL
    Excuse me, ma'am. I'm Bill Baker. I called about picking up a list.

EXT. STREETS OF MARSEILLE - DAY
    Bill walks down a narrow street, lined with old buildings.

EXT. BUILDING - LATER
    Bill arrives at the door, presses the buzzer.
    BILL (V.O.)
    I don't know how much you remember about the case but Allison came here for college.

INT. PRIVATE DETECTIVE OFFICE - DAY
    A narrow office cluttered with files. A SPRUCED UP DETECTIVE (45) examines Allison's letter closely.
    BILL
    And that's when she met this girl. Lina.
    A YOUNG SECRETARY approaches.
    YOUNG SECRETARY
    Would you take coffee or water?
    BILL
    No. Thank you, ma'am.
    Bill continues.
    BILL
    Allison and Lina, they were... together. And one night they had a big fight and Allison went to a bar where she met this Akim guy. She described him as tall, light skin. They had some drinks, and he stole her purse. When Allison got home she found Lina dead and called the police. But they could never find Akim. He's the one who killed Lina.
    The Detective looks at Bill, nods, turns back to the letter.
    BILL
    What'd you think?
    The Detective nods. Bill senses that something's not right.
    BILL
    You speak English, right?
    SPRUCED UP DETECTIVE
    (with a heavy accent)
    Yes. I am.
    "I am?" Bill sits back in his chair.
    BILL
    Fuck. Give back the letter.

A55 EXT. STREETS OF MARSEILLE - DAY A55
    Bill walks down a massive set of stairs, the Vieux Port in the distance. He checks a folded map.

EXT. STREETS OF MARSEILLE - DAY
    Bill walks down a quiet street just off the port. He arrives at a door, checks his list, searches for the name on the intercom.
    MALE VOICE (O.S.)
    Mr. Baker?
    Bill turns to DIROSA (60), a leathery face, open shirt and a golden button blazer on, standing just across the narrow street at the entrance of an old bar.

INT. BAR - DAY
    The letter takes centre stage on the table. Bill and Dirosa sit in the backroom of the café, alone.
    DIROSA
    I was in service at the time of this case. In the police. I didn't work on it but of course I remember it.
    Dirosa looks at the letter.
    DIROSA
    Have you talked to this Okonedo? The professor?
    BILL
    No, sir.
    DIROSA
    I see why your lawyer doesn't want to help. Some kid at a party hears gossip about a murder. Maybe she remembers this famous case. It was on the TV.
    BILL
    But... why now? Five years later. That's how long my kid's been in jail. Five years.
    DIROSA
    Does she know you are here? Your kid?
    BILL
    No, sir.
    Dirosa considers this, fair point. He puts down the letter.
    DIROSA
    Are you rich Mister Baker?
    BILL
    No, sir.
    DIROSA
    This is a DNA case. It means two steps: first, I look for the young man. That will not be easy. People will talk. He will try to disappear.
    Bill listens, nods.
    DIROSA
    Then, if I find this Akim, I have to get a sample of his DNA and use my connections in the police to test it against the DNA from the crime scene. This doesn't come for free.
    BILL
    How much?
    Dirosa tears a page from a small notebook and scribbles some sort of addition... A cost estimate. He slips the paper towards Bill who picks it up and reads it.
    BILL
    Twenty thousand dollars?
    DIROSA
    Euros.
    BILL
    Thanks for your time.
    Bill stands, takes the letter and leaves.
    DIROSA
    Mr. Baker? You believe your daughter is innocent?
    BILL
    I know she is.
    DIROSA
    Then maybe it's not so much to see her go free.
    It's clear Bill doesn't like being sold. He leaves.

INT. HOTEL, CORRIDOR - DAY
    Bill walks down the hallway, sees a MAID'S CART outside of Virginie's door. He squeezes past, the now empty room.

INT. BILL'S ROOM - SAME
    Bill opens his door, turns on the light. He finds A COLORED PAPER on the floor. It's a hand drawn picture of an eagle and a skull. Maya's rendition of Bill's tattoo. Written on the back of card is... Dear Bill. It was nice to meet you. Good luck in Marseille. Virginie and Maya. Bill drops the drawing on the table.

INT. HOTEL, BUSINESS OFFICE - NIGHT
    Working on an old computer, Bill, his readers on, does his best to navigate the internet. He turns to the RECEPTIONIST.
    BILL
    Excuse me, ma'am. Can I ask you a question, please?
    As she approaches, he holds up the pad.
    BILL
    I'm just too much of a dumbass to figure this out on my own. And I don't... parle any French.
    She smiles, crosses to the computer.

EXT. AIX-MARSEILLE UNIVERSITY - DAY
    Bill walks across the campus.

EXT. AIX-MARSEILLE UNIVERSITY - LATER
    Bill stands examining an INFORMATION BOARD. A FEMALE student walks past.
    BILL
    Excuse me, ma'am. Do you speak English.
    FEMALE STUDENT
    Yes. Of course. What can I do for you?

INT. AIX-MARSEILLE UNIVERSITY, AMPHITHEATRE - SAME
    A half full amphitheater classroom. PATRICK OKONEDO (37) of African descent, with a knitted tie, lectures.
    PATRICK
    C'est en 1998 que Paul Crutzen, prix Nobel de chimie atmosphérique, enflamme les milieux scientifiques avec ce nouveau concept selon lequel le monde est entré dans une nouvelle ère géologique, l'Anthropocène...
    Bill enters, freezes.
    PATRICK
    (Clocking Bill)
    Oui?
    He could not seem more out of place.
    BILL
    (Reading off the paper)
    Yeah… huh… sorry to interrupt. Do you speak English?
    Some laughter in the class room.
    PATRICK
    I do.
    BILL
    I'm looking for Patrick Okonedo.
    PATRICK
    Vous l'avez trouvé.
    (Bill doesn't respond)
    Have a seat, please.
    BILL
    I can wait outside if-
    PATRICK
    Please. Join the party.
    A few laughs from the students. Bill reluctantly sits.
    PATRICK
    Et cette nouvelle ère s'accompagne d'un appauvrissement des ressources, d'une forte instabilité climatique…

INT. AIX-MARSEILLE UNIVERSITY, PATRICK'S OFFICE - LATER
    A small office with fluorescent lights and peeling paint. Patrick turns off the electric kettle, prepares a cup of tea.
    PATRICK
    I know it's impressive.
    (Turns to Bill)
    It's the kind of office a PHD will get you.
    Bill nods, not really getting the joke.
    BILL
    I'd like to talk to the girl you told Allison about.
    PATRICK
    Yes, I assumed as much.
    Patrick sits at his desk, considers Bill. He takes his time, as if weighing his words:
    PATRICK
    To be honest, I've always felt guilty about what happened. I should have warned Allison.
    BILL
    Warned her? About what?
    PATRICK
    Well, I knew Allison and Lina were sleeping together but I had no idea Lina had moved in with her. I try not to be cynical about those types of relationships -- 'the poor girl from the ghetto and the rich American student'- but then I end up being guilty of naivety.
    BILL
    Allison grew up poor. She's not rich.
    PATRICK
    Educated. There is a lot of resentment toward the cultural elite. I'm sure you are aware of that.
    Bill is growing tired of the talk.
    BILL
    What about the girl from the party?
    PATRICK
    My student. Her name is Souad. She is from the same outreach program that Allison and Lina were involved with.
    BILL
    And she heard some guy talking about Lina's murder?
    PATRICK
    This is what she told me.
    BILL
    Could I talk to her?
    PATRICK
    She will talk to you, yes. I will give you her phone number.
    He jots down the number.
    PATRICK
    Souad does not speak English very well. You will need someone to translate.
    BILL
    Could you do it?
    PATRICK
    No. I'd rather not.
    He hands Bill a piece of paper.
    PATRICK
    I'm still running the outreach program, I can't be associated with you or your daughter after what happened. Whatever my personal opinion may be.
    Bill sits with this, deeply insulted.
    BILL
    My daughter's innocent.
    PATRICK
    I wish you good luck.

INT. LOCAL BAZAR - DUSK
    A small store packed with a random assortment of cheap electronic and household goods. Bill stands in front of shelf of cheap toys. He reaches for a TOY ROBOT, inspects it.

INT. HOTEL RECEPTION - NIGHT
    Bill approaches the desk. It's the same Receptionist that helped him earlier. He smiles, turns on the charm again.
    BILL
    Bonjour. I'm afraid I need some more help. I am supposed to attend a very special birthday party tomorrow...
    (Holding up the toy robot)
    And I lost the address. I don't want the party started without me.

EXT. APARTMENT BUILDING - DAY
    Bill walks down a quiet street, slip of paper in one hand, robot in the other. He pauses at an archway and enters. He reads the intercom, presses the button. Static erupts...
    VIRGINIE (O.S.)
    Bonjour.
    BILL
    Hi. It's Bill Baker.
    VIRGINIE (O.S.)
    Qui est là?
    BILL
    Bill. From the hotel.
    VIRGINIE (O.S.)
    Oh… Bill…?
    BILL
    That's right. Had a favor to ask if you don't...
    BUZZZ! He pushes his way in.

INT. APARTMENT BUILDING, SECOND FLOOR HALLWAY - LATER
    Bill takes the final few stairs and is accosted by Maya.
    MAYA
    Hi Beel!
    BILL
    Hey Maya. This is for you. It's a robot.
    He hands her the toy.
    MAYA
    Un robot! Maman, Bill m'a apporté un robot! Je peux l'ouvrir?
    Maya takes the robot and Bill's hand. She leads him to the door where Virginie waits, a bit confused by Bill's arrival.
    BILL
    Hi. Sorry to intrude.
    VIRGINIE
    It's OK. I'm having some friends over...
    (realizing)
    How did you find us?
    BILL
    Oh... the lady at reception gave me your address. There's this girl I need to call and she don't speak English… It's kinda personal.
    VIRGINIE
    You want me to make a call for you, is that it?
    BILL
    Yes ma'am. But I can come back...
    VIRGINIE
    No. No. It's OK. Let me grab my phone. Come.
    Virginie leads Bill through the apartment which is large with high ceilings. There are unpacked boxes piled in the corner. There are stacks of books and art leaning up against the wall. It has an undeniable charm. There are SIX PEOPLE sitting in a circle in the living room in folding chairs.
    VIRGINIE
    Everyone... this is Bill. Bill this is the creme de la creme of the Marseille theater scene.
    The group responds with laughter and hello's. Bill awkwardly nods.
    VIRGINIE
    J'en ai pour cinq minutes, j'arrive.
    Virginie grabs her phone off her chair, leads Bill into...

INT. VIRGINIE'S APARTMENT, OFFICE - CONTINUOUS
    The office is small and jammed with stacks of books and a number of unpacked boxes. Virginie clears space off the small desk.
    VIRGINIE
    We're doing a reading of a new play.
    Virginie moves some items off a chair in the corner.
    VIRGINIE
    Excuse the mess. This is going to be my office but we are still moving in. Who am I calling?
    BILL
    It's the girl. From the letter...
    He hands her a slip of paper the Okonedo gave him.
    VIRGINIE
    Ah! It's about the case.
    BILL
    Yes ma'am. I wanna meet with her.
    VIRGINIE
    Is the lawyer not helping you?
    BILL
    I'm doing it myself for now.
    VIRGINIE
    Oh. Wow. OK. Can I have the number?
    (To Maya)
    Maya, allume la lumière.
    Maya throws the light switch but the light doesn't turn on.
    MAYA
    C'est encore cassé!
    VIRGINIE
    Encore?
    MAYA
    Oui. Regarde!
    Maya flips the switch a few more times, nothing. Virginie gets up to open the shutters in order to let in light.
    VIRGINIE
    We got a great deal on this place through this friend of mine. I fell in love with this view but it has a few defects.
    Bill clocks the great view of the city and ocean below. He hands Virginie the paper with Souad's number. She takes it, starts to dial.
    BILL
    Probably just the circuit breaker. I could take a look if want.
    VIRGINIE
    Really? You know how to do that?
    BILL
    Yes, ma'am
    VIRGINIE
    That would be great!
    (Into the phone)
    Oui, allo ? Je vous appelle de la part de Bill Baker. Oui.
    Virginie starts having a conversation on the phone. Bill doesn't understand any of it.
    MAYA
    Non! Le pied de mon robot est tombé! Regarde, Bill, le pied est tombé!
    Bill is trying to decipher Virginie's conversation.
    BILL
    Hold up, Maya.
    MAYA
    Maman, mon robot est déjà cassé, regarde!
    VIRGINIE
    Je suis au téléphone là!
    MAYA
    C'est nul un robot sans pied! Il tient même pas debout!
    BILL
    Here, Maya. Let me see it.
    Bill takes it, starts to fiddle with it. He can barely make out the tiny parts. He pushes a button and music starts to play... "Sexy Lady". Virginie looks over, what is that? Bill turns it off. Virginie ends the call, hangs up.
    VIRGINIE
    OK. She agrees to see you tomorrow at six.
    MAYA
    Maman, il a perdu un pied!
    VIRGINIE
    Quoi?
    MAYA
    Mon robot, il est déjà cassé. Il est pourri.
    VIRGINIE
    D'accord. D'accord. Deux secondes.
    She holds up his hand. Virginie is a bit embarrassed, she smiles and turns to Bill.
    VIRGINE
    She was nice. A bit shy. How are you going to talk with her if you don't speak French?
    Bill considers this.
    BILL
    That's a fair question. I'll figure it out.
    VIRGINIE
    (She smiles)
    I could come with you and translate if you need.
    BILL
    You sure?
    VIRGINIE
    Yes. It's OK. Maya has art class. You come here at 5:30, we'll take my car.
    BILL
    Appreciate that. If you know where your fuse box is I can try and fix that breaker for you.
    VIRGINIE
    No. No. You don't have to do this.
    MAYA
    L'autre pied est tombé aussi!
    BILL
    Here. Give me that damn thing. Maybe I'll get you another one.

EXT. VIRGINIE'S APARTMENT - LATER
    Bill exits the building, starts down the street.
    MAYA
    Beeel!
    Bill turns, Maya is in the window.
    MAYA
    Bye Bill!
    Bill waves, smiles.

A70 INT. SPAR - NIGHT A70
    Bill shops for a few grocery items.

EXT. QUIET STREET - NIGHT
    Bill walks down a quiet street, SPAR SHOPPING BAG in hand. Something catches his eye and he slows to a stop. A small FISHING BOAT sitting on a trailer sits burning. The flames grow.

A71 EXT. VIRGINIE'S CAR - DAY A71
    Virginie's car drives along the highway.
    VIRGINIE (V.O.)
    I have to confess. I went online and read about Allison's case.

INT. VIRGINIE'S CAR - DAY
    Virginie is driving, Bill is in the passenger seat.
    VIRGINIE (V.O.)
    It was a big story at the time, no? The press was ferocious. You say ferocious?
    BILL
    Yes, ma'am. You can say that.
    Virginie checks her phone for directions. A MOTORBIKE flies by, almost cuts her off.
    BILL
    Dumbass.
    VIRGINIE
    People don't know how to drive in this fucking town. It's a crazy place, Marseille. But I still prefer it to Paris. People talk to each other here. Plus it's cheaper.
    Bill just listens.
    VIRGINIE
    Why did Allison come here for school? I'm curious.
    BILL
    Don't know.
    VIRGINIE
    (Surprised)
    No?
    BILL
    She was going to Oklahoma State and then she called me one day and said, I'm going to France. To here.
    VIRGINIE
    She is independent.
    BILL
    Yes, ma'am. Always has been.
    VIRGINIE
    Are you close?
    BILL
    You read her letter.
    VIRGINIE
    Where is her mother?
    BILL
    She died. Killed herself.
    Bill's bluntness catches Virginie off guard.
    VIRGINIE
    Oh.
    BILL
    Allison was raised by her grandmother mostly. I wasn't around much.
    VIRGINIE
    Where were you?
    BILL
    Working on oil rigs. Being a fuck up when I wasn't.
    Virginie registers Bill's admission.
    VIRGINIE
    It's not easy being a single parent. I often work at night. Maya gets very upset.
    BILL
    What do you do?
    VIRGINIE
    I'm an actress.
    BILL
    On TV.
    VIRGINIE
    No. Theater. Do you go the theater?
    BILL
    No ma'am.
    VIRGINIE
    Never?
    BILL
    No ma'am.
    VIRGINIE
    Oh. Ok.

EXT. QUICK - DAY
    Bill and Virginie get out of their car. Head toward the entrance.
    BILL (V.O.)
    Thank y'all for talking to me.

INT. QUICK - LATER
    The restaurant is mostly empty except for a guy mopping the floor. Bill and Virginie are sitting with two SIXTEEN YEAR- OLD ARAB WOMEN wearing puffy jackets and drinking cokes.
    BILL
    The guy you met at the party. Akim? Can you tell us anything about him?
    SOUAD
    Rien. Il était normal. Sympa.
    VIRGINIE
    She said he was quiet. And nice.
    BILL
    Nice? Does she know where he lives?
    SOUAD
    C'est après quand il est parti, ma copine m'a dit qu'il avait tué une fille avec un couteau et que la police l'avait jamais attrapé.
    Souad's FRIEND is lazily surfing on Instagram, her phone lying on the table. Virginie takes glances at the screen. The girl notices and picks it up.
    SOUAD'S FRIEND
    C'est qui elle ? C'est sa femme ?
    VIRGINIE
    Non, je suis juste une am-
    SOUAD'S FRIEND
    Je t'ai pas parlé à toi.
    Virginie blinks, surprised by her directness.
    BILL
    Where does he live?
    Virginie translates. Souad answers.
    VIRGINIE
    Kallisté?
    Souad nods, yes.
    VIRGINIE
    She said he lives in a different project. It's called Kallisté.
    The door opens and THREE YOUNG MEN walk in. Souad's friend clocks them. She nudges Souad.
    SOUAD'S FRIEND
    Je vais avoir des problèmes à cause de toi.
    SOUAD
    Mais non.
    SOUAD'S FRIEND
    Je vis ici moi ! On les connait pas eux ! Alors tu ferme ta bouche !
    And Souad does. Her friend shakes her head, pissed.
    SOUAD'S FRIEND
    Comment tu sais qu'elle est pas flic elle déjà ?
    VIRGINIE
    Je suis pas flic. Je vous assure. J'essaye juste d'aider mon ami !
    SOUAD'S FRIEND
    Je t'ai dit je te parle pas à toi !
    BILL
    What's she saying?
    VIRGINIE
    Nothing helpful.
    Bill turns to Souad, looks at her.
    BILL
    I am... le père. Allison is my little girl... my fille.
    Souad looks embarrassed, doesn't know what to do. Her friend takes over, starts talking fast. Virginie translates:
    VIRGINIE
    She says that people in parties they talk a lot, they say all sort of things, doesn't mean any of it is true. It's just Marseille...
    (Aside to Bill)
    She doesn't want to help.
    Bill insists, looks right at Souad:
    BILL
    Can they tell us anything else? What does the guy look like?
    Virginie translates. Souad is really starting to squirm. She looks to her friend who's had enough. She gets up.
    SOUAD'S FRIEND
    Tu nous a pris pour des poucaves ou quoi ?!
    She grabs Souad's hand, pulls her toward the door.
    BILL
    Hold on!
    Bill stands grabs Souad by the arm. She pulls her arm away.
    SOUAD
    Me touche pas !
    VIRGINIE
    Bill!
    SOUAD'S FRIEND
    La touche pas elle a dit ! Lâchez nous là! On n'est pas des poucaves!
    Virginie grabs him by the arm.
    VIRGINIE
    Let them go! She's afraid.
    The girls scamper out.
    BILL
    Afraid of what? We're just talking.
    VIRGINIE
    That's not how it works here...
    BILL
    So tell me how it works! Cuz' no one here's doing shit for me!
    VIRGINIE
    I do shit for you.
    BILL
    I know but...
    VIRGINIE
    Come. Let's go.

EXT. MARSEILLE ROAD - DUSK
    Virginie's car pulls to the side of the road.
    VIRGINIE (O.S.)
    That is it. Kallisté. That's where she said Akim lives.

INT. VIRGINIE'S CAR - DUSK
    Virginie puts the car into park, points to the sprawling concrete projects in the distance.
    BILL
    Can we go look around?
    VIRGINIE
    No. Not at this time. It's not safe for us.
    BILL
    Because we're white?
    Virginie is almost caught off guard by Bill's question.
    VIRGINIE
    Because we are not from there... And there can be a lot of dealing at night.
    (Off Bills look)
    Drugs.
    BILL
    I gotta do something.
    VIRGINIE
    No one there will talk to you.
    Bill considers this, looks out.
    VIRGINIE
    Bill, what if there is no Akim?
    BILL
    There is.
    VIRGINIE
    OK but they never found this person during the investigation...
    BILL
    My daughter's not a liar.
    VIRGINIE
    I didn't say she was but everything I read about this case...
    BILL
    So you're some kind of expert now?
    His tone stops Virginie cold. Then...
    VIRGINE
    No. I'm not.
    Bill looks at her, he overreacted.
    BILL
    The press was against us. All they cared about was that Allison was sleeping with an Arab girl... bunch of fake news scumbags.
    VIRGINIE
    This is why you punched that English reporter?
    Bill looks at her, busted.
    BILL
    I was drinking then.
    Virginie watches Bill. He's sincere. She starts the car, puts it into reverse.
    VIRGINE
    I could use a drink now.

INT. LES BAUMETTES, SECURITY ROOM - DAY
    Bill stores his possessions in a locker.
    ALLISON (V.O.)
    Did you hear anything from Leparq?

76A INT. LES BAUMETTES, VISITING ROOM HALLWAY - LATER 76A
    A number of VISITORS, including Bill, amble down the hallway and into their assigned rooms.

INT. PRISON, VISITING ROOM - LATER
    Bill is sitting with Allison.
    BILL
    Not yet.
    ALLISON
    Did you tell Gram about this?
    BILL
    No. Don't want to get her hopes up 'til we know more. She's getting on, your grandmother.
    Allison seems content with this answer.
    ALLISON
    I miss her so much. It sucks that she can't come anymore.
    BILL
    She misses you too.
    ALLISON
    Oh...I had a meeting with the judge yesterday.
    Bill is instantly on alert.
    BILL
    Oh yeah. About what?
    ALLISON
    I have my parole review coming up in about three months. It's the thing where I get out of here one day a month.
    BILL
    Right. Right. So what'd he say?
    ALLISON
    She. She said, that as long as my behavior remained good, it shouldn't be a problem.
    ALLISON
    But I felt like saying fuck parole, my lawyer is working on getting me out of here for good.
    BILL
    We don't know that yet, Ally… We need to keep-
    ALLISON
    I know. I didn't say anything. I wanted to but... Oh! There was someone from Leparq's office there.
    Bill tries not to react
    ALLISON
    I never met him. But I asked him how the investigation was going…
    BILL
    Oh yeah? What'd he tell you?
    ALLISON
    He didn't know anything about it.
    Bill shrugs, covering.
    BILL
    Leparq's probably just taking care of it herself. It's pretty high level.
    ALLISON
    I told him I wanted to talk to Leparq. She should be keeping us informed.
    Allison's wheels are spinning.
    BILL
    I'll talk to her.
    A BELL rings. Time's up. Bill is relieved to escape any further questions.
    BILL
    OK. Well, I'll see you in a few days. You need anything?
    ALLISON
    No. I'm OK. Hey Dad, is there any way you could stay in Marseille a little longer? In case something comes up?
    Bill is rocked by this. Allison never relies on him this way.
    BILL
    Uh... yeah. I think I could do that. Gotta check in with work.
    The GUARD unlocks the door. Allison cuts through it.
    ALLISON
    I can ask Gram to wire you some money if you need...
    BILL
    Don't do that. I'll figure it out. I promise.
    ALLISON
    Thanks, Dad.
    Allison smiles, leaves.

A78 EXT. VIRGINIE'S APARTMENT, STOOP - DAY A78
    Bill and Maya sit on the stoop, waiting. Maya taps Bill and points to... MAX who is approaching.

INT. VIRGINIE'S BUILDING, FOYER - DAY
    Bill and Maya follow Max downstairs.

INT. VIRGINIE'S BUILDING, BASEMENT - DAY
    MAX lumbers down the stairs, followed by Bill and Maya. They walk along a dark hallway lined with old wooden doors. Marseille's version of storage units. Finally they arrive in a cluttered tool room, a dusty WORKBENCH in a corner. Tools, paint cans, and cleaning supplies are scattered around.
    MAX
    Tu peux utiliser les outils. Mais quand t'as fini, tu les rapportes.
    Bill doesn't understand but understands. He opens an OLD TOOLBOX on the workbench, peeks inside. Max picks up a FLASHLIGHT and unlatches a SECOND DOOR on the opposite wall. Bill and Maya follow him into the darkness.

INT. VIRGINIE'S BUILDING, BASEMENT, UNFINISHED ROOM - DAY
    They follow Max's light, winding through another endless maze of storage units. But these units have all been abandoned. The floor covered with left behind furniture and clothing. Max finally stops and shines a light on the FUSEBOX.
    MAX
    Le boîtier électrique.
    (Beat)
    D'accord?
    He looks to Bill who looks to Maya who looks to Max.
    MAYA
    D'accord.

INT. VIRGINIE'S APARTMENT, BATHROOM - LATER
    Maya sits on the old TOOL BOX listening to Bill who is installing a new float in the toilet.
    BILL
    And then the land man talks to the land owner and takes out a lease. Once you got the lease, you hire a drilling company. That's who I work for. Then you rig up and put all the shit together. And once the rig is up you start making hole. That's what a roughneck does. He makes hole. Go ahead test it. Flush.
    Maya looks confused. He gestures her to test the flush.
    BILL
    Flush! Go on.
    MAYA
    Ah. Flush. D'accord.
    BILL
    That's right. Clutch it. Get it!

INT. VIRGINIE'S APARTMENT, KITCHEN - DAY
    Bill and Maya enter to find, Virginie, sitting at the table in front of the computer with NEDJMA (25), the Young Woman Bill saw the first night on the balcony.
    NEDJMA
    Demande lui alors!
    VIRGINIE
    Non mais je suis sûre que non…
    NEDJMA
    Pourquoi tu lui demandes pas alors!
    VIRGINIE
    J'ai pas envie! Et puis ça nous regarde pas. On peut se concentrer sur les photos?
    MAYA
    C'est réparé, maman.
    VIRGINIE
    Yes? The toilet works?
    BILL
    It does. And your office light is working too.
    VIRGINIE
    Wow. Great. Thank you.
    MAYA
    (Looking out the window)
    Maman. Je peux aller jouer dans la cour avec les enfants?
    Virginie gets up, looks out the window. Sees a few kids playing.
    VIRGINIE
    D'accord, mais tu sors pas de la cour, ok?
    MAYA
    OK! Salut Nedjma. Au revoir Bill!
    Maya leaves.
    VIRGINIE
    Bill. Come. Come!
    Bill joins them, looks over her shoulder at the screen.
    VIRGINIE
    Nedjma is a technical genius.
    NEDJMA
    I'm not a genius. I'm just younger.
    VIRGINIE
    T'as trois ans de moins que moi!
    NEDJMA
    Ben ça compte.
    BILL
    These are online or some shit?
    PHOTOGRAPHS of teenagers at a party cover the screen.
    VIRGINIE
    They are all from Instagram accounts of Souad and her bitchy friend. These photos are from the party.
    Virginie scrolls through the photographs.
    BILL
    How'd ya'll get 'em?
    Bill looks over the photos.
    NEDJMA
    I set up a false instagram account, followed Souad and her lovely friend whose name is Samira and then geo-tagged the party Souad was at when she saw this guy.
    Virginie points to a picture of Souad.
    VIRGINIE
    There is Souad. So there's a chance Akim is in one of these photos.
    Bill's eyes wander on the screen.
    NEDJMA
    Il veut dire quoi quand il dit "light skin"? Hein? Light skin… Je suis quoi moi?
    VIRGINIE
    Toi t'es chiante. We are going to print them up. And then we can show them to Allison!
    BILL
    No. I don't want to do that.
    VIRGINIE
    Why? If Akim is here she will know.
    BILL
    I don't care. I'm not doing that.
    VIRGINIE
    I don't understand, why are you being so stubborn about Allison?
    BILL
    We should just go back to Souad. Now that we have the photos.
    VIRGINIE
    We stole these photos from her Instagram!
    Bill paces, crosses to the window, staring outside. Sees Maya playing with her new friends. Virginie shakes her head in frustration. Nedjma finally steps in.
    NEDJMA
    Can I say something or do you two want to just keep fighting?
    (Off Virginie's look)
    Did anyone else in Marseille see this Akim guy? Or just Allison?
    Virginie looks to Bill.
    BILL
    The bar owner. Where they met. He was at the trial.
    VIRGINE
    We should go there.
    NEDJMA
    We?
    Nedjma clocks Bill's tone. She doesn't like it.
    VIRGINIE
    What's it called? The bar?
    BILL
    I don't remember. It was near her apartment.
    VIRGINIE
    I can find it.
    She sits at her computer. Nedjma starts to pack up.
    NEDJMA
    (To Virginie)
    Alors c'est ta nouvelle cause, lui? T'as fait le zéro déchets, les réfugiés, et maintenant c'est lui.
    VIRGINIE
    Arrête un peu.
    NEDJMA
    Mais t'adores ça… L'humanitaire. C'est ton hobby.
    VIRGINIE
    Ça suffit.
    NEDJMA
    Demande-lui alors!
    VIRGINIE
    Arrête! C'est personnel je t'ai dis!
    NEDJMA
    T'as peur de la vérité ou quoi?
    VIRGINIE
    Bon. Bill, did you vote for Trump?
    BILL
    No.
    VIRGINIE
    (To Nedjma)
    Tu vois!
    BILL
    I didn't vote.
    VIRGINIE
    What? Why didn't you vote?
    BILL
    I have a record.
    (Off her look)
    I was arrested. You can't vote when that happens.
    NEDJMA
    Génial. C'est un taulard en plus. Moi j'y vais.
    She stands.
    NEDJMA
    (To Bill)
    Good bye. I wish you luck.
    (To Virginie)
    T'en auras besoin.
    BILL
    Thank you for your help.
    NEDJMA
    I am doing this for her.

EXT. STREET - LATER
    Virginie and Bill are walking. Virginie checks the map on her phone.
    BILL
    Your friend... eh...Nedjma. She mad at you for helping me?
    VIRGINIE
    Don't worry about Nedjma. She's generally hostile. She's very protective for me but she's a good friend. And she helps me with Maya.
    BILL
    Where's Maya's father?
    VIRGINIE
    Corsica. Running a night club on a beach.
    (Off Bill's look)
    He was a... fling. You say fling?
    BILL
    Fling, yeah. Does he visit?
    VIRGINIE
    He used to but it's better when he doesn't. C'est comme ça.
    Bill stops.
    VIRGINIE
    What?
    BILL
    (Pointing)
    That's where she lived… Number 38.
    It's a random, run-down building with a red door.
    VIRGINIE
    That's where it happened?
    BILL
    Yeah.
    The two of them just stare at the anonymous building for a moment, life goes on. And with that so do they.

INT. CAFE DE LA PLACE - LATER
    Bill and Virginie enter. A few CUSTOMERS are following the horse races on a flat screen. They approach the bar. A YOUNG CHINESE MAN (28) is behind the counter. Virginie and the man talk in French.
    VIRGINIE
    (To Bill)
    He's the new owner. He wasn't here when the crime happened.
    BILL
    Does he know where we can find the old owner?
    OWNER
    Yes, I know.
    The Owner apparently speaks English. He points at an OLD MAN (60's) sitting at a corner table.
    OWNER
    He is right there. Drinking my profits.

INT. BAR - LATER
    Bill and Virginie sit with the former owner of the bar. He is looking at the photos.
    OLD MAN
    C'est quand même terrible ce qui est arrivé à ta gamine. Je comprends pas qu'ils aient pu envoyer une gentille petite comme ça en prison.
    The owner comes with three glasses of Pastis and a jug of water. The old man pushes the glasses to Virginie and Bill.
    OLD MAN
    Please.
    Virginie picks up hers.
    VIRGINIE
    Merci.
    The Old Man looks at Bill.
    VIRGINIE
    Il ne boit pas.
    The Old Man shrugs and sips his Pastis.
    OLD MAN
    Santé!
    He looks at the photos again.
    OLD MAN
    Regardez moi cette smala…
    Virginie blanches. She tries to play through it.
    VIRGINIE
    Est-ce que l'un d'entre eux vous rappelle quelque chose ?
    OLD MAN
    Pas facile à dire… Faut dire qu'ils se ressemblent tous…
    BILL
    Does he see anyone?
    OLD MAN
    Ils débarquent ici, ils font toujours des problèmes. Ils se croient chez eux maintenant.
    VIRGINIE
    (Getting pissed off)
    On peut rester concentrer sur les photos s'il vous plaît?
    The guy turns to Bill, talks to him as to an old friend.
    OLD MAN
    On est pareil toi et moi, non? Vous, vous avez les mêmes soucis avec vos Mexicains, non ? C'est l'invasion.
    Virginie doesn't translate.
    BILL
    What'd he say?
    OLD MAN
    Et puis là ça fait cinq ans aussi… Le mieux c'est que tu me montres celui que tu veux et moi je le reconnaitrai. Comme ça c'est réglé. Je ferai pareil au tribunal s'il faut.
    VIRGINIE
    Attendez, c'est sérieux là…
    OLD MAN
    (Shrugs)
    Regardez-les, ils sont tous coupables de quelque chose là- dedans…
    She stands, starts to collect the pages of photos.
    VIRGINIE
    Let's go!
    Bill puts his hand on the pages, preventing her.
    BILL
    What'd he say?
    VIRGINIE
    Nothing! He's useless.
    The Old Man watches their exchange.
    VIRGINIE
    (To the Old Man)
    Merci ducon!
    OLD MAN
    Au revoir, Madame.
    She storms out. Bill hesitates, follows.

EXT. STREET - LATER
    Bill catches up to Virginie on the sidewalk.
    BILL
    Hey! What happened?
    Virginie turns to him, trying to calm down.
    VIRGINIE
    Sorry… I can't talk to that guy anymore. He was saying horrible things.
    BILL
    Like what?
    VIRGINIE
    He just wants to put an Arab kid in jail. He said he doesn't care which one.
    BILL
    That's it?
    VIRGINIE
    "That's it?" What do you mean 'that's it'? He's a racist.
    Bill thinks, looks back toward the café. Beat.
    BILL
    OK. He's a racist. We still gotta talk to him.
    Virginie looks at him:
    VIRGINIE
    I'm not talking to him! No!
    BILL
    He might know something.
    VIRGINIE
    He doesn't know something. We can't send an innocent kid to jail!
    BILL
    (cuts her off)
    My daughter's innocent!
    Virginie stares at Bill, caught completely off guard by his logic.
    VIRGINIE
    I can't believe this conversation…
    BILL
    Then you live in some fancy ass world, lady. I ain't saying it's right but I work with hands like that all the time.
    VIRGINIE
    So what?
    BILL
    This ain't no game for me. I'm gonna get my little girl out of that jail, that's all I give a fuck about!
    Virginie is at a loss...
    VIRGINIE
    You sound very American right now.
    BILL
    I am!
    Virginie looks at him, almost with pity.
    VIRGINIE
    You're also a stranger here. You don't actually understand shit...
    She shoves the photos at him.
    VIRGINIE
    Prends ces trucs, fais ce que tu veux - mais sans moi!
    She spins, walks away. Bill just burned a bridge.

86A EXT. MARSEILLE, STREET - DAY 86A
    Bill is standing in front of the ticket vending machine by the tramway tracks, trying to buy a ticket. ERREUR. Tries again. ERREUR. He looks around but doesn't ask for help. Tries again.
    ERREUR. ERREUR. ERREUR.
    Bill punches the machine. Eyes turn to him. He walks away.

INT. HOTEL RECEPTION - DUSK
    Bill walks through the lobby.
    RECEPTIONIST
    Mr. Baker? You have a message.
    She holds a piece of paper.

INT. HOTEL, BILL'S ROOM - NIGHT
    Bill is in his room, the phone to his ear.
    BILL
    Sharon? What's up? Everything, OK?
    SHARON (ON PHONE)
    You tell me. What's going on, Bill?
    BILL
    What do you mean?
    SHARON (ON PHONE)
    I talked to Allison. She said you need more money because Leparq reopened the case?
    BILL
    I'm dealing with it Sharon.
    SHARON (ON PHONE)
    Dealing with what?
    BILL
    Nothing. I mean, Allison asked me to give her a letter. I did. And now Leparq is looking into it.
    SHARON (ON PHONE)
    Is she looking for Akim again?
    BILL
    Sharon, I said I'm dealing with it.
    SHARON (ON PHONE)
    Who is going to pay for this?
    BILL
    No one is asking for money, OK?!
    SHARON (ON PHONE)
    Bill. Have you been drinking?
    BILL
    No! Listen, Sharon, I'm her father!
    SHARON
    Oh my God… Bill, for Allison's sake. Don't mess with this. It's not fair to her.
    BILL
    You have to trust me, Sharon.
    SHARON (ON PHONE)
    That's it. I'm gonna call Leparq.
    BILL
    Don't do that Sharon! Sharon?!
    Sharon hangs up. Bill is left holding the receiver.
    BILL

INT. PENITENTIARY, PRISONERS SIDE
    Allison steps along in the line of prisoners, anxious.
    ALLISON (O.S.)
    Dad, what's going on?

INT. PRISON, VISITING ROOM - LATER
    Bill is waiting for Allison at the door, anxious. She steps into the room as it's shut and locked behind her.
    ALLISON
    I talked to gram, she said that you were acting weird...
    BILL
    Ally, you gotta trust me. I just need you to look at these photos...
    He takes out the printed pictures from Instagram.
    ALLISON
    Dad, are you drinking?
    Bill stops cold.
    BILL
    What? No. Never.
    ALLISON
    Are you using?
    BILL
    Hell no! Ally. I'm done with all that shit, you know that! Just look at these... please.
    ALLISON
    What are they?
    BILL
    Just look, Ally! I know it's not easy but it's important.
    ALLISON
    Dad... what are you... where's Leparq?
    BILL
    Tell me if you see Akim.
    Allison is rattled but she starts flipping through the photos. One page, then the next, then the next. Bill just watches, waits.
    ALLISON
    Dad... where is this...
    BILL
    Just a few more. Come on...
    ALLISON
    Holy shit.
    BILL
    You see him? Which one?
    Another page, Allison pauses, she looks up at Bill. Her face contorts. She starts to tremble. Bill leans in, looks down at the sheet of paper. Allison's finger slowly points to a MAN, 28. He's laughing, talking to a buddy.
    BILL
    Is that him? Is that Akim?
    Allison can barely nod yes. But she does. Bill grabs the sheet of paper, studies it.
    ALLISON
    That's him, Daddy. That's Akim.
    BILL
    Are you sure? It's the same guy you saw that night?
    She can barely speak. She's trembling. She nods; YES!

INT. TAXI - DUSK
    Bill sits in the back of the cab.
    DRIVER
    (Pointing)
    Kallisté?
    BILL
    Yes! Oui! In there!
    DRIVER
    C'est grand! Où à Kallisté? Where?

EXT. KALLISTÉ - DUSK
    Bill gets out of a taxi, walks into a few shops located in the heart of the projects. He approaches several shop owners, holding up Akim's photo.
    BILL
    Excuse me? I'm looking for this guy. Akim. Do you know him? Akim?
    He is summarily dismissed again and again. Somebody calls out, Bill spins. He sees a few YOUNG GUYS, staring at him as they walk away. Bill's been spotted. He lowers his head, keeps moving down an outdoor corridor.

92A EXT. DUSTY FIELD - CONTINUOUS 92A
    Bill emerges into the light, exposed between the massive apartment buildings. He looks up, spots a few RESIDENTS watching him from a window. He makes his way past a bunch of YOUNG KIDS playing soccer. And beyond that a number of OLD MEN, mostly pétanque. Bill approaches.
    BILL
    Excuse me. Do you know this guy? Have you seen him?
    OLD MAN
    Non. On sait rien, nous.

92B EXT. GARAGE AREA - LATER 92B
    Bill walks along a row of garages, passes two YOUNG KIDS learning how to ride a bike with their MOTHERS watching. He spots a group of YOUNG GUYS chilling, listening to music from a parked car and smoking a HOOKAH. He approaches.
    BILL
    Hey guys. Do you know this guy?
    The YOUNG GUYS want nothing to do with it. They start laughing and having fun with Bill. He moves on. A SCOOTER whizzes past Bill with two kids on it. They yell at Bill. Playing around or a threat.

EXT. KALLISTÉ - NIGHT
    The sun is going down. Scooters circle around. More CLIENTS flow in the drug spots. Bill starts down a cement ramp off the parking lot.
    VOICE (O.S.)
    Monsieur?
    He turns to see a MASSIVE AFRICAN MAN working under the hood of his car and smoking a cigarette. He stands.
    MASSIVE MAN
    Je peux vous aider Monsieur? Help you?
    Bill holds up his printed photos.
    BILL
    I'm looking for this guy. Akim? Do you know him.
    The guy interrupts him with a warm smile.
    MASSIVE MAN
    Ohlala. Je parle pas anglais moi. Mais faut pas rester ici Monsieur. Danger for you. Go Mister you go home for you.
    Bill pockets his photo, continues down the ramp, turns the corner.
    MASSIVE MAN
    Vas-y. Fais ce que tu veux.

93A EXT. KALLISTÉ - NIGHT 93A
    Bill proceeds down a set of stairs to a large open space. He starts to cross it when he hears the whine of scooters which seem to be closing in. He keeps moving.
    MALE VOICE (O.S.)
    Hey!
    Bill turns, spots SIX YOUNG MEN approaching on scooters. They circle Bill a bit, playing with him: "T'es perdu? Tu veux faire un tour? T'es un touriste?" Four of the men dismount. A few others keep circling.
    BEARDED GUY
    Tu vas où ?
    BILL
    Hey. I'm looking for someone. Akim?
    HAT GUY
    English?
    SKINNY GUY
    Suck my dick. English.
    The guys all laugh. Bill holds up the photo.
    BILL
    I'm looking for him. Akim.
    The Bearded Guy grabs the photo from Bill's hand.
    BEARDED GUY
    Ah c'est ton petit copain?
    BILL
    You know him? Akim?
    Bill reaches for the photo but the Bearded Guy pulls it away.
    BEARDED GUY
    Oh! Calme-toi!
    The Bearded Guy hands it to one of the passing GUYS ON A SCOOTER. A Skinny Guy puts his arm around Bill.
    SKINNY GUY
    I English! Me. You. We friend.
    Bill shrugs the guy off.
    SKINNY GUY
    Tranquille! Tranquille!
    He puts his arm around Bill again. This time Bill pushes him away with more force. The Skinny Kid goes flying.
    SKINNY GUY
    Hey!
    FAT GUY
    Fils de pute!
    Bill turns just at the Fat Guy slugs him. Bill falls, off balance, but manages to steady himself before another slugs him. And then another. Bill goes down. They all start kicking the shit out of him. Suddenly, there are more lights and more yelling. The beating stops. He's barely conscious now. Bill can't understand a word of what's being said. But then the crowd suddenly parts and Bill spots a figure on the back of a scooter. It's Akim. Bill and Akim lock eyes. Akim recognizes him. Bill instinctively lunges but he's easily held down. Akim looks unfazed. The kids all laugh.
    BEARDED GUY
    Ce gars là … Il a une photo de toi, Akim!
    He hands the photo to Akim who looks at it then checks out Bill without going down from the scooter.
    AKIM
    Je sais pas qui c'est.
    Akim looks at Bill for a moment more and then taps his DRIVING FRIEND who whisks him away on the scooter, disappearing into the night. Bill can only watch.

EXT. GAS STATION HIGHWAY - NIGHT
    A police cruiser pulls up. Two cops get out and approach Bill who's been dumped on the side of the road. OMITTED

INT. HOSPITAL, ROOM - LATER
    Bill is sitting on a bed as a NURSE takes his vitals. His face badly beaten and bruised. The door opens. Bill looks up. Virginie is standing there.
    BILL
    They asked if I knew anyone...
    VIRGINIE
    Are you OK?
    BILL
    I saw him. I saw Akim. In Kallisté.
    VIRGINIE
    Did you tell the police?
    BILL
    I did.
    VIRGINIE
    What did they say?
    Bill drifts off into his own despair.
    BILL
    That was my chance.
    VIRGINE
    You did everything you could.
    But Bill's not listening anymore.
    BILL
    That was my chance.

INT. VIRGINIE'S CAR - NIGHT
    Virginie drives. Bill stares out the window. Lost.

97A INT. VIRGINIE'S APARTMENT, FOYER - LATER 97A
    Nedjma slings her backpack over her shoulder, kisses a thankful Virginie goodnight. Virginie shuts the door, walks to Bill's room, peeks inside... Bill sits on The CLIC-CLAC, which has been converted into a bed for the night, staring into the abyss. OMITTED OMITTED

INT. PENITENTIARY, VISITING ROOM - DAY
    Bill sits waiting. The seconds tick by. His face still bears the marks of his fight. The door is unlocked, Allison steps inside, she doesn't wait for the door to shut behind her.
    ALLISON
    What the fuck did you do?
    BILL
    I was trying to help...
    ALLISON
    Tell me exactly what you did. Dad!
    BILL
    She wouldn't do it, Ally. Leparq wouldn't look into the case. So I went to see...
    The shoe drops for Allison. Leparq was never involved.
    ALLISON
    Oh my God. You fucking lied! About all of it. Of course you did. How did I ever believe you?!
    BILL
    I found him, Ally. I found Akim.
    ALLISON
    Why didn't you call the police?
    BILL
    I didn't have the time, I had to do something, Ally...
    ALLISON
    You did do something! You let him get away! He's fucking gone now! He's fucking gone...
    Tears well up in her eyes. She attempts to gain control.
    ALLISON
    I feel so stupid-- You've always lied to me, dad. Always. I hate myself so much for trusting you.
    She gets up and bangs on the door.
    ALLISON
    Garde! Garde! Je veux sortir!
    BILL
    Ally, listen to me… please…
    ALLISON
    No! No! You are done fucking up my life! Do you understand that?! Do you?!
    He looks at her, as her face morphs into cold anger.
    ALLISON
    Stay the hell away from me! Go home!
    She spins and walks away, disappearing into the prison. FADE TO BLACK:

EXT. CONSTRUCTION SITE - DAY
    JACK HAMMERS BLAST. The noise is deafening. A shovel lifts some heavy rubble, throws it in a dumpster. Bill is back among the ruins. Wearing a hardhat and shitty pair of OVERALLS, he is covered with sweat and dust as he shovels rubble into a wheelbarrow under an overwhelming sun. Around him, SOME WORKERS, mostly black, clear the cement blocks. A SKINNY WORKER, waves at Bill, shouts something but it's lost to jack hammers. Skinny Worker points to his watch. Suddenly noise ceases.
    SKINNY WORKER
    Il est cinq heures!

EXT. CONSTRUCTION SITE - LATER
    Bill passes through the entrance of the yard surrounded by other workers. MAX, the building manager, is standing by a shabby Mercedes, holding a bundle of ENVELOPES, handing out the weekly pay to workers. He hands one envelope to Bill. OMITTED

EXT. OUTSKIRTS OF MARSEILLE - LATER
    The van winds along a shitty industrial wasteland.

EXT. ILLEGAL DUMP - DAY
    Cars speed along the highway. Bill unloads the bags of rubble into the dump from his van which is parked below.

INT. BILL'S VAN - LATER
    Bill drives along the highway, sees Parc Kallisté in the distance.

106A EXT. KALLISTE - DAY 106A
    Bill drives through the project. He hasn't completely let go.

EXT. ELEMENTARY SCHOOL - DAY
    Bill, still in work clothes, stands on the sidewalk apart from a cluster of PARENTS. He's holding a SMALL BAG. Children's screams. Bill watches as parents greet their children. Maya comes out, spots Bill.

EXT. STREET - LATER
    Bill and Maya walk down the street, Maya eating her croissant. She hands a piece to Bill. They turn onto a long narrow set of street stairs.

EXT. COURTYARD VIRGINIE'S BUILDING - LATER.
    Bill takes his GEAR BAG, hardhat dangling off, out of the back of the truck. Maya slams the door.

INT. VIRGINIE'S BUILDING, FOYER - LATER
    Bill and Maya walk into the building. Maya opens the door leading to the basement. She's talking in French about her day. They walk downstairs.

INT. BASEMENT - DAY
    Bill drops his bag and starts to wash his hands in an old WASHBASIN. Maya picks a HAMMER up off the tool bench.
    MAYA
    Bill.
    Bill looks.
    BILL
    Uh... marteau.
    MAYA
    Oui. Marteau. Hammer.
    She holds up a CHISEL.
    BILL
    Un...Ciseau... shit. What?
    MAYA
    Ciseau à bois.
    BILL
    Ciseau à bois. That's a lotta words for a chisel.
    MAYA
    Chisel.
    She hangs the tool.

INT. VIRGINIE'S APARTMENT - DAY
    The TV is on. Maya does her homework slumped in front of the TV. A French dubbed episode of the STORAGE WARS. The apartment has been repainted. A few unpacked boxes still lie about but it is far more homey and lived in now. Bill is cooking hamburgers on the stove. He empties a can of beans on top of them.
    BILL
    Maya? Supper.
    (No response)
    Maya?
    MAYA
    Une minute! Ils vont l'ouvrir là!
    Bill watches.
    BILL
    That bald guy's gonna lose his shit on this one.
    A COMMERCIAL plays. Maya groans.
    BILL
    Yep. They always go to commercial before the big reveal. Let's eat.
    Maya joins him. The TV stays on.
    BILL
    You do your homework?
    MAYA
    No.
    BILL
    Appreciate the honesty. I hated homework too. I hated school for that matter. Dropped outta high school and worked a rig like my daddy. You wanna do that? Make hole?
    MAYA
    Oui. I make hole.
    Bill laughs.
    BILL
    Is that right? OK, well you gotta start out a worm you know. That's the low of the low.
    MAYA
    No! Pas un worm. Je veux travailler sur le derrick! Like you!
    BILL
    You wanna be a derrick hand, you better have the want to. You got that? The want to.
    MAYA
    Oui.
    She picks up her fork.
    BILL
    Eh...
    Bill stretches out his hands to Maya. She puts her hands on his open palms, closes her eyes.
    BILL
    Lord, make us truly thankful for these and all other blessings. Keep a close eye on Ally. We ask this in Jesus' name. Amen.
    He points to her.
    MAYA
    Dig in.
    Virginie enters, sees them praying at the table. Maya opens her eyes, shrugs. Bill keeps on praying, eyes closed. Virginie turns off the TV.
    MAYA
    Bonsoir, maman.
    BILL
    Hey.
    VIRGINIE
    Bonsoir.
    Virginie grabs a tomato in the fridge. She spots some cash on the counter.
    VIRGINIE
    For me?
    BILL
    Yes, ma'am. Rent.
    VIRGINIE
    Oh. Thanks.
    (She sits)
    T'as fait tes devoirs?
    MAYA
    Non.
    She sits with Bill and Maya at the table, watches them eat.
    VIRGINIE
    Juste après le diner alors.
    (To Bill)
    She has to do her homework.
    BILL
    I agree. One hundred percent. Maya, do your homework.
    Bill winks at Maya who smiles, amused by Bill's act.
    VIRGINIE
    When I see what you guys eat, I understand why you pray beforehand…
    BILL
    How was your play practice?
    VIRGINIE
    Rehearsal. It was shit... we're doing a lot of stage writing and it's really messy. The director is very young and... provincial.
    BILL
    What's stage writing?
    VIRGINIE
    We don't know what we're doing so we make it up instead.
    Bill nods, looks to Maya who nods also.
    BILL
    Cool.
    MAYA
    Cool Raoul.

INT. VIRGINIE'S APARTMENT, BILL'S BEDROOM - NIGHT
    Bill is lying in his bed. A few of MAYA'S DRAWINGS are taped to the wall. He's flipping through Maya's iPad, watching Sunday Football's best plays on ESPN. The door cracks, Bill looks up, Maya peers through the door.
    BILL
    Back to bed.
    MAYA
    I look with you.
    BILL
    No way. Bed.
    MAYA
    My tablet!
    BILL
    I'm using. Bed. Now!
    Maya frowns, goes. Bill smiles, he loves this kid.

INT. CONSTRUCTION SITE - DAY
    Bill is loading the van with bags of rubble. His phone rings. He takes off his gloves, retrieves, answers it.
    BILL
    Hello? Yeah, this is him.
    Bill straightens up.
    BILL
    Yes, ma'am, of course. Absolutely.

INT. LAWYER'S OFFICE - DAY
    Bill, dressed nicely with his readers on, sits opposite Leparq, signing a document.
    LEPARQ
    (Pointing)
    And there also.
    Bill signs one more time. Leparq takes the documents.
    LEPARQ
    It's a one day leave. She goes out in the morning, comes back to the prison at night. Then, if it goes well, she'll get another day the following month. The idea is for inmates to acclimate to the outside world again. Understand?
    BILL
    I do. Yes, ma'am.
    LEPARQ
    The judge requires a chaperone outside, someone who's going to vouch for her.
    BILL
    Did she ask for me?
    LEPARQ
    No but you are the only option.
    BILL
    OK. But Allison hasn't talked to me in over four months.
    LEPARQ
    I am aware. Do not take any initiative this time. Understand?
    BILL
    Yes ma'am. I do.

EXT. BAZAAR - DAY
    Maya and Bill hover over a table of NAIL POLISH, checking colors.
    LATER -
    Maya skims through a rack of dresses, pulls a blue one. She shows it to Bill, who nods as if to say "meh". She puts the dress back on the rack.
    MAYA
    C'est quoi sa couleur préférée?
    BILL
    What?
    MAYA
    Color she love.
    BILL
    Oh. Her favorite color.
    MAYA
    Oui. Favorite.
    It dawns on Bill he should know.
    BILL
    Not sure.
    MAYA
    Non?
    BILL
    No. I don't know. Probably should.
    MAYA
    (Maya spots something)
    Oh! Regarde, je sais!
    Maya hurries over to a rack of colorful JERSEYS of Marseille's coveted soccer team, OM.
    MAYA
    Elle habite à Marseille, elle aime le foot!
    BILL
    Soccer? No way. She likes real football. OSU. Oklahoma State, baby.
    MAYA
    This is football! Favorite football.
    BILL
    All they do is cry and pretend to be hurt. Like babies! You know babies!
    Maya is indignant, stomps her foot.
    MAYA
    Non, c'est pas des bébés! L'OM c'est la meilleure équipe du monde! Ils ont des super joueurs. Y a Payet! Rami! Thauvin!
    BILL
    OK. Ok. Damn. Y'all wound up like an eight day clock.

INT. APARTMENT - DAY
    Bill arrives home with Maya who is proudly sporting an OM jersey of her own now.
    MAYA
    Maman! Regarde! Bill ma offert maillot.
    VIRGINE
    Waou, super! Tu lui as dit merci?
    MAYA
    Non.
    VIRGINE
    Maya.
    MAYA
    Merci, Bill.
    She runs inside and shows it to Virginie who is in the kitchen with RENAUD (30), carefully unkempt, pretty face.
    VIRGINIE
    Maya, tu te souviens de Renaud ?
    Yes, she does.
    RENAUD
    Bonjour Maya. Hi. You must be Bill.
    BILL
    Yes, sir. Hi.
    RENAUD
    Good to meet you, man. Virginie told me you're from Oklahoma. That's very cool.
    OK.: Virginie can't help but smile at the awkward exchange.
    VIRGINIE
    Renaud is our rising star director.
    RENAUD
    That's me.
    BILL
    Right. You're the guy who does the stage writing.
    Virginie clocks this. Uh oh.
    RENAUD
    You know about stage writing? Yeah man, I really love working like this. It's real, you know? It's truth.
    BILL
    Yeah, yeah. Virginie was telling me about it.
    VIRGINIE
    Dinner is almost ready. Can you help set the table, please.
    She hands Bill a stack of plates, eyeballs him. Stop!

INT. KITCHEN - NIGHT
    The end of a wonderful and wine-full dinner for Virginie and Renaud. Bill is having a Coke. Maya is asleep on the couch.
    RENAUD
    Seriously! For me it makes total sense that people should be able to carry guns.
    VIRGINIE
    N'importe quoi!
    Renaud has had a few glasses too many.
    RENAUD
    It's freedom! Basic freedom. I would love to have a gun! I bet you have a gun, don't you Bill?
    BILL
    Yes, I do.
    VIRGINIE
    You do not?!
    BILL
    Why wouldn't I? Two. Shot gun and a glock.
    Renaud and Virginie look at each other and then bust out laughing.
    RENAUD
    Two guns! It's perfect.
    VIRGINIE
    It's OK. It's OK.
    RENAUD
    Of course... it's his...
    VIRGINIE
    Culture.
    They bust out laughing again.
    RENAUD
    Culture is a broad concept right. Putain de concept!
    BILL
    I'm gonna call it a night, y'all.
    Bill stands up.
    RENAUD
    Bill. Come on, man! It's early. I'm trying to understand. Let's talk about abortion!
    BILL
    I'm gonna put Maya to bed.
    VIRGINIE
    It's OK. I can do it.
    BILL
    I got it.
    Bill scoops up Maya, heads to the bedroom. He hears them laughing more.

INT. APARTMENT, MAYA'S ROOM - NIGHT
    Bill puts Maya in her bed. Behind them, echoes of the conversation and laughter of Renaud and Virginie in the living room. She grabs him around the neck, pulls him close.
    MAYA
    You my favorite.
    BILL
    Favorite what?
    MAYA
    Favorite American.
    Touché. Bill pulls the covers up the chin of the little girl.
    BILL
    Sweet dreams, little girl.
    He closes the bedroom door, sees Virginie kissing Renaud in the kitchen. He turns away, heads to his bedroom.

INT. APARTMENT, BATHROOM - DAY
    Bill raises an 80-pound looking sink to fix it to the wall. A delicate but noisy operation. Virginie appears in the door: in her nightgown, half awake.
    VIRGINIE
    You know it's Sunday morning right?
    BILL
    There's some coffee if you want.
    She raises an eyebrow, heads to the kitchen. One last effort… Bill pushes the sink and manages to insert it correctly.

INT. APARTMENT, KITCHEN - DAY
    Bill joins Virginie in the kitchen. He washes his hands.
    BILL
    Where's your friend?
    VIRGINIE
    He left early this morning. We had a bit too much to drink.
    BILL
    Ain't no shit.
    VIRGINIE
    What's that mean?
    BILL
    It means you did.
    Virginie smiles while drinking her coffee.
    VIRGINIE
    That was a bad idea.
    Bill shrugs, pours some more coffee.
    BILL
    I was thinking, I'd like to bring Allison by the house.
    VIRGINIE
    Won't it be too much for her?
    BILL
    I'd like her to see where I live if you're OK with it.
    VIRGINIE
    Why wouldn't I be?
    BILL
    Not everybody is.
    VIRGINIE
    She is your daughter. I would like to meet her. So would Maya.
    Bill nods, almost disarmed by her frankness.

EXT. CARWASH - DAY
    Bill spray washes his truck.

122A INT. BARBER SHOP - DAY 122A
    Bill gets his hair cut.

EXT. PENITENTIARY'S PARKING LOT - DAY
    A grey sky. The door of the prison opens and Allison walks out. She's wearing an oversized t-shirt and shapeless jeans.
    BILL
    Hey.
    ALLISON
    Hey…
    Bill doesn't know if he's supposed to take her in his arms. She doesn't make a move - so neither does he.
    ALLISON
    This your van?
    BILL
    It's from work.
    ALLISON
    What work?
    BILL
    Construction. I told you about it in my letters. You didn't get them?
    ALLISON
    I did. I didn't read them.
    BILL
    What do you want to do?

A124 EXT. ROADSIDE, FLORAL SHOP - LATER A124
    A SALESWOMAN hands Allison a FLOWERED PLANT. Bill pays.

EXT. CEMETERY MARSEILLE - LATER
    Bill and Allison walk in parallel paths through the MUSLIM SECTION of the graveyard, searching for Lina's grave. Bill is half looking, half watching Allison. She is holding the POTTED FLOWERS. She stops, staring at the simple gravesite, adorned with only a small commemorative plaque. She sets down the flowers. Bill watches and then, sensing the intimacy of the moment, turns and walks off.

EXT. CEMETERY, PARKING - DAY
    Bill sits in the van waiting. Allison climbs inside.
    ALLISON
    Life is brutal.
    Bill waits. That's it. Then...
    ALLISON
    Can I drive?
    BILL
    You know how to drive a stick?
    ALLISON
    Yeah, Dad. You taught me.
    They get out and switch sides.

INT. VAN - DAY
    Allison is driving the van. Some country music plays from the OLD IPOD plugged into the stereo. Red Dirt music plays.
    ALLISON
    Haven't heard this song in a long time.
    BILL
    (He picks up the iPod)
    Special playlist for today.
    ALLISON
    How old is this thing?
    BILL
    Still works.
    ALLISON
    So you never went home?
    BILL
    Nope.
    ALLISON
    How come?
    Bill doesn't answer. Allison pulls to the side of the road.
    BILL
    Sure we can park here?
    ALLISON
    What are they gonna do? Arrest me?

EXT. LES CALANQUES - DAY
    They walk on the rocks, silhouetted by the turquoise sea. The sun has finally burned through the grey sky. Allison stops, savors the view. It's stunning.

EXT. LES CALANQUES - LATER
    Bill sits, perched on a rock. He pulls a bottle of water from his backpack, drinks. In the distance, Allison strips down to her underwear, wades into the water. She swims, disappearing under the water before reappearing again. The sunlight dances on her face, a new lease on life.

EXT. LES CALANQUES - LATER
    Bill and Allison sit silently on the rocks. Allison smokes and watches a group of YOUNG PEOPLE, a little further off. Friends spending the day at the beach. She turns her attention to the water. Bill takes out a little gift pack he hands over to his daughter. Intrigued, she opens it: an OM jersey.
    ALLISON
    OM. You really are a local now.
    BILL
    Maya sold me on it. It's her favorite team.
    ALLISON
    Does this kid have a father?
    BILL
    He's not around. He lives on a beach or some shit.
    ALLISON
    Groovy. So is this woman your girlfriend?
    BILL
    It's not like that. I just live with them. Like roommates.
    ALLISON
    What does she do?
    BILL
    She's sort of an actress.
    ALLISON
    'Sort of an actress'? Is she a stripper?
    BILL
    No! She's just not doing TV acting or anything. She does theater.
    Allison almost laughs.
    ALLISON
    Theater? Have you seen her act?
    BILL
    What am I gonna do in a fucking theater?
    Allison laughs. She can't help herself. Bill watchers her. It's been a long time.
    BILL
    You wanna meet them?
    ALLISON
    Today?
    Bill shrugs, why not? Allison finishes her cigarette, puts it out.
    ALLISON
    I never had the chance to mourn Lina.
    (Beat)
    She was so mean to me.
    (Beat)
    It was so intense when we met. She was funny and cool and beautiful. Then she moved in and everything got fucked up. She started sleeping with other people… like it didn't matter. Like she was using me or something. I felt so humiliated. But the really fucked up thing is, I just want to see her. To be with her. So much...
    (beat)
    She was my first love... and everybody thinks I killed her.

EXT. VIRGINIE'S BUILDING - DAY
    Allison gets out of the van, looks up at the apartment building. Not bad. She follows Bill up the stairs.

INT. VIRGINIE'S APARTMENT - DAY
    Bill and Allison walk into the apartment, Virginie greets them.
    VIRGINE
    Come in, please.
    ALLISON
    Merci. Bonjour.
    VIRGINIE
    Viens dire bonjour, Maya!
    Allison walks into the main room, looking around. The place has been cleaned and straightened for her visit. Bill spots Maya hiding behind the sofa.
    BILL
    Hey. Get out here.
    ALLISON
    Attendez! Attendez!
    Allison walks in the middle of the room, sniffing.
    ALLISON
    Je sens quelque chose…
    She spins, searching the room.
    ALLISON
    Il y a un petit animal qui se cache quelque part par ici, non? Un petit chat?
    Maya's head pops up.
    MAYA
    Tu parles français?
    ALLISON
    Bien sûr que je parle français. Alors c'est toi la fameuse Maya?
    MAYA
    C'est quoi ta couleur préférée?
    ALLISON
    Ma couleur préférée... Bleu ciel et blanc!
    MAYA
    Les couleurs de l'OM!
    ALLISON
    En force!
    MAYA
    En force!

EXT. VIRGINIE'S APARTMENT, BACKYARD - DAY
    Bill kicks a soccer ball with Maya in the courtyard. Virginie sits with Allison who's now wearing her OM jersey. They smoke together, speaking French.
    ALLISON
    Il a l'air heureux…
    VIRGINIE
    C'est pas facile tout le temps, mais ils se sont trouvés ces deux 9là…
    ALLISON
    Vraiment?
    VIRGINIE
    Oui. Il va la chercher tous les jours à l'école. Il lui parle en anglais, et elle, elle fait semblant de comprendre… C'est mignon.
    Allison considers this. Then...
    ALLISOSN
    Tu sais, quand ma mère est morte, il a mis toutes ses affaires dans un storage. Plus tard, quand j'ai grandi, je voulais avoir un souvenir d'elle. Il m'a donné la clé. Mais quand j'y suis allée, il n'y avait plus rien. C'était vide. Il avait arrêté de payer alors ils avaient jeté toutes les affaires de ma mère. Il ne restait plus rien d'elle.
    VIRGINIE
    Mais il est là maintenant. Il est resté pour être près de toi.
    ALLISON
    (Skeptical)
    Tu crois ?
    VIRGINIE
    Oui bien sûr. Il a laissé toute sa vie derrière lui pour ça.
    ALLISON
    Je sais pas ce qu'il t'a raconté mais il n'y avait pas grand chose à laisser derrière.
    Now it's Virginie's turn not to respond.
    ALLISON
    Te fais pas trop d'idées avec mon père. He's a fuck-up. Always has been. C'est en lui.
    They watch Bill and Maya playing.
    ALLISON
    Je le sais parce que je suis pareille.
    Allison didn't say that to be mean. Just a fact.

INT. VIRGINIE'S APARTMENT, BILL'S BEDROOM - DAY
    Allison sits on Bill's bed, talking on his phone.
    ALLISON
    Yeah. It feels really good. I went swimming. It was so nice. How's your foot Gram? Your foot. Yeah. Good. Take care of it.
    She looks at a set of Virginie's books in Bill's room. Some of Maya's drawings hung on the wall by his bed.

INT. LIVING ROOM - LATER
    Allison sits on the floor applying NAIL POLISH to Maya's nails.
    MAYA
    Quand t'as fini, je veux faire tes ongles!
    ALLISON
    Les miens?
    MAYA
    Oui! Comme ça, ce sera jolie quand tu rentreras à la prison.
    She smiles, looks over to Virginie and Bill who are busy preparing dinner. She takes it all in. A new life...
    BILL
    Le dîner is served.
    LATER - Allison and Maya are seated. Bill sets down the food, sits. Virginie sits also.
    ALLISON
    Ça a l'air delicieux.
    BILL
    Let's pray.
    Bill, bows his head. Virginie and Allison share a look.
    BILL
    Lord, we are truly thankful for this meal and all other blessings. And for this special day with Ally. In Jesus's name we pray. Amen.
    Bill finishes, opens his eyes and smiles.
    BILL
    Maya?
    MAYA
    Dig in!
    Maya does just that, reaching for the chicken. Bill pours Virginie some wine. Allison clocks this.
    ALLISON
    So you two really aren't fucking?
    BILL
    Allison Baker!
    Virginie has a good laugh. Maya too for that matter.
    ALLISON
    What? You're so French now, I thought we could talk about sex at the dinner table.
    Embarrassed, Bill shakes his head.
    VIRGINIE
    It's OK? The food?
    ALLISON
    It's honestly the best meal I've had in a long time.
    VIRGINIE
    Good.
    (Then..)
    And no. We don't have sex.
    BILL
    Jesus...
    MAYA
    Je peux avoir des tomates?
    Allison laughs. Bill continues to shake his head.
    ALLISON
    (to Maya)
    Tu aimes les tomates?
    MAYA
    Oui! Et toi?
    ALLISON
    J'adore.
    VIRGINIE
    Where did you go for lunch?
    BILL
    Pizza.
    ALLISON
    My favorite place. Chez Sauveur.
    VIRGINIE
    Chez Sauveur? Where is it?
    ALLISON
    Noailles. Rue D'Aubagne.
    VIRGINIE
    I don't know it.
    ALLISON
    It's so good.
    VIRGINIE
    I'm curious. Why did you come to Marseille to study?
    ALLISON
    It was far away. And completely different. And the pizza.
    MAYA
    J'adore la pizza.
    BILL
    I like it too.

INT. BILL'S VAN - SUNSET
    Bill drives in silence. Allison watches the city pass by in the sunset. Country music plays in the car radio.

EXT. LES BAUMETTES, PARKING - DUSK
    They get out of the van. Allison looks at the sky.
    ALLISON
    It's more beautiful on this side of the wall.
    She looks at Bill.
    ALLISON
    I like them. Virginie and Maya. It's good, what you have.
    BILL
    I'm just trying to do it right.
    A slight smile on her face. She hugs him. Very hard.
    ALLISON
    I'm happy for you, Dad.
    She smiles one last time, leaves. Bill watches her ring the door of the jail. And disappear inside.

INT. VIRGINIE'S APARTMENT, BATHROOM - NIGHT
    Bill and Maya brush their teeth. Maya, standing on her little stool, leans on the sink.
    MAYA
    Regarde, j'ai une dent qui bouge…
    --Crack! The sink dislocates and tilts.
    MAYA
    Je suis désolée!
    Bill props the sink up, drops to his knees to support it.
    BILL
    C'est OK. C'est OK. I can fix it.

INT. VIRGINIE'S APARTMENT - NIGHT
    Virginie carefully closes Maya's bedroom door, she enters the living room to find Bill sitting in an arm chair.
    VIRGINIE
    How are you doing?
    Bill doesn't exactly know how to deal with the question.
    BILL
    Pretty good.
    VIRGINIE
    The day was nice?
    BILL
    Flew by.
    (Beat)
    Merci.
    VIRGINIE
    Pour quoi?
    BILL
    Everything, I guess.
    Virginie gently smiles.
    VIRGINIE
    Bonne nuit.
    She disappears into her room. Bill sits, thinking.

A139 EXT. VIRGINIE'S APARTMENT, NIGHT A139
    Virginie's apartment is dark. The neighborhood, quiet. A PHONE rings.

INT. VIRGINIE'S APARTMENT, KITCHEN - NIGHT
    Bill hurries from his bedroom wearing only his boxers, searching for the phone. He finds it, answers.
    BILL
    Hello? Sorry, sorry… Uh...Do you... parlez Anglais?

INT. HOSPITAL - NIGHT
    Bill exits the elevator into the corridor of intensive care unit. He catches sight of a FEMALE PRISON OFFICER and two POLICEMEN.
    BILL
    Hey! Excuse-moi.
    The cops turn around.
    BILL
    My daughter, my uh... my fille is here. Allison Baker. From Baumettes.
    The Female Officer nods to the ATTENDING NURSE at the station. Bill moves to the desk.
    BILL
    Hi ma'am. I'm Bill Baker. Allison Baker... Can I see her? Please.
    The Attending Nurse looks at her computer, talks with the OTHER NURSE. Bill waits, frantic.
    ATTENDING NURSE
    Ok. Vous pouvez aller la voir. Venez.
    LATER -
    Bill follows the Attending Nurse along the corridor. They are followed by two COPS. They arrive in front of the window of an intensive-care room.
    Bill stops dead.
    Allison is lying in a hospital bed, hooked up to a ventilator. Unconscious.
    BILL
    What happened? Qoui? Quoi?
    ATTENDING NURSE
    Elle s'est pendue.
    BILL
    What?!
    The Nurse looks to the cops. Do you know how to say it? The Older Cop gently touches his neck. Allison hung herself.
    OLDER COP
    Elle s'est pendue.
    Bill presses his hands against the window, his eyes on his daughter. Allison's neck is bandaged.
    ATTENDING NURSE
    Ok. Il faut y aller maintenant.
    Bill ignores her. She looks to the Cops. The Older Cop puts a hand on Bill's shoulder, Bill pushes him away. The Young Cop reacts and they grab him firmly. Bill struggles.

INT. HOSPITAL, WAITING AREA - NIGHT
    The two policemen escort Bill firmly, drop him in the mostly empty waiting area. Bill paces, lost. He looks like he's about to punch someone or something. Instead, he takes a knee next to a bank of chairs, closes his eyes and prays.

INT. VIRGINIE'S APARTMENT, FRONT DOOR - NIGHT
    Bill enters, shuts the door. Locks it. Virginie arrives. She hugs him.

INT. VIRGINIE'S APARTMENT - DAY
    It's early morning. Maya leaves her room in pajamas. She walks barefoot through the living room to Bill's room, cracks the door. She sees Bill and Virginie sleeping in the arms of one another, still dressed.

INT. CONSTRUCTION SITE - DAY
    Boom! A section of a wall vibrates. Boom! It vibrates again and starts cracking… Boom! Another blow tears apart the wall and through the hole, Bill's face appears, in a cloud of dust. He strikes again with all his strength. And again. And again. BOOM!

144A INT. BILL'S VAN - LATER 144A
    Bill is driving. He notices Parc Kallisté looming in the distance.

EXT. MAYA'S SCHOOL - LATER
    Kids emerge from the school. Maya emerges talking to a FRIEND. They approach Bill and share an animated story with him.
    BILL (O.S.)
    You look good baby girl.

INT. PENITENTIARY, VISITING ROOM - DAY
    Bill is standing at the window waiting for Allison to arrive. Finally he sees her. She manages a smile.
    BILL (O.S.)
    What'cha got going on?
    LATER -
    They are both sitting. Allison's face is pale, her eyes glassy. She moves slowly knocked out by drugs.
    BILL
    I talked to Sharon. She was worried she couldn't reach you. I told her you were alright.
    Allison blinks as if to nod - but doesn't say a word.
    BILL
    And I didn't tell you, but Virginie tried out for some TV show. I even helped her get ready for her interview. You should've seen me doing acting… it was something.
    Allison smiles mechanically. So does he. Silence. Again.

A147 INT. CONSTRUCTION SITE - DAY A147
    Bill eats with the other workers.

B147 EXT. MARSEILLE STREET - DAY B147
    Bill and Maya ascend the stairs and walk down the street.

EXT. LES CALANQUES - LATER
    Bill swims.

INT. THEATER - EVENING
    A dress/tech rehearsal of a new play is in process. Bill sits in the house with a few other invited guests. The entire stage is dark except for a shaft of light on Virginie's face. She is dressed in a dark blue pant suit with a white blouse.
    VIRGINIE
    Vous cherchez des explications ? Vous voulez des réponses ? Mathilde n'est plus là pour vous les donner. Il n'y a pas de vérité. Il y a des histoires à raconter.
    Stage right; another light reveals a YOUNG WOMAN near a window.
    VIRGINIE
    Mathilde seule dans cette maison. Et vous, le lendemain de l'accident assis dans la cuisine. Vous qui n'osiez plus...
    Stage left, another light reveals a KITCHEN with TWO MEN seated and a THIRD MAN, heavy, standing behind rummaging through a closet.
    RENAUD (ON MICROPHONE)
    On va marquer une pause.
    Bill looks to Renaud and the STAGE MANAGER sitting in the house at a table lit by red LED lights.
    RENAUD
    Virgine, c'est bien. Garde bien en tête le tempo des lumières.
    She nods, OK.
    HEAVY MAN
    Renaud! Je sais pas ce que je fais avec le placard.
    RENAUD
    Tu préfères t'asseoir avec les autres?
    HEAVY MAN
    Non, je prèfère avoir un truc à faire mais là ça rime à rien. Je ne sais même pas ce que je suis censé chercher!
    Renaud rubs his eyes, tries to remain calm. Bill watches.
    VIRGINIE (O.S.)
    So.. What did you think?

EXT. RESTAURANT TERRACE - NIGHT
    A former industrial wasteland is now littered with outdoor cafés. Bill and Virginie are sitting at a table.
    BILL
    What'd I think?
    VIRGINIE
    Yes. Of the play? What did you think?
    BILL
    It was good. Yeah.
    VIRGINIE
    What was good?
    BILL
    Well...
    (Bill thinks really hard)
    I don't fucking know. I don't know shit about plays. Plus it's in French.
    VIRGINIE
    Come on, Bill. One thing!
    BILL
    No one stands like real people.
    VIRGINIE
    What?!
    BILL
    It just looks weird. I'm sure it's great. Don't ask me, I'm an idiot.
    She takes off his baseball cap and messes up his hair.
    VIRGINIE
    No, you're not. And it's not great!
    BILL
    I'll say one thing, the fat guy took up a lot of oxygen.
    VIRGINIE
    Paul! Yes! He's so annoying. It's like the whole play is about him!
    BILL
    I hope it's not.
    Virginie laughs, enjoying Bill's insights. The WAITER arrives, places a glass of rosé in front of Virginie and a coke for Bill.
    VIRGINIE
    Merci.
    WAITER
    Je vous en prie.
    BILL
    I will say... you were very good. The best thing in it. Cheers.
    They toast. Virgine smiles, accepting the compliment.
    VIRGINIE
    So I have some exciting news!
    (Off Bill's look)
    I got the part.
    BILL
    On the TV show?
    VIRGINIE
    Oui. And I said I would do it.
    BILL
    Holy shit. That's great.
    VIRGINIE
    I hope so. Who knows. It's more money but it's also more hours.
    VIRGINIE
    I'll have to pay for a babysitter and I'll be away from Maya more.
    BILL
    I can help watch Maya too.
    VIRGINIE
    You help enough. And you have a job. You are busy.
    BILL
    I don't care. I want to.
    Virginie sits back, considers him.
    VIRGINIE
    Why?
    BILL
    Why?
    (Off her look)
    I like spending time with her.
    VIRGINIE
    And with me too?
    Virginie is enjoying the game. Bill goes with it.
    BILL
    Yeah. And you too.
    VIRGINIE
    How much do you enjoy it?
    This is getting real now.
    BILL
    A lot. I would say a lot.
    Virginie plays impressed. She doesn't take her eyes off Bill.
    VIRGINIE
    OK. This would be a serious change for us.
    Bill has never had a conversation like this in his life.
    BILL
    Guess it would.
    VIRGINIE
    You guess?
    BILL
    I mean... I know.
    VIRGINIE
    You know what?

INT. VIRGINIE'S BUILDING, STAIRCASE - NIGHT
    Bill and Virginie kiss on the stairs. Passionately. They climb a few steps and kiss again. They arrive on the landing. She gestures him not to make any noise. He kisses her again. She puts her key in the lock.

INT. VIRGINIE'S APARTMENT - NIGHT
    They enter, trying to regain their composure. A 16-YEAR-OLD BABYSITTER is slumped on the couch, absorbed in her phone.
    BILL
    I'll take care of her.
    Bill pulls some cash out of his pocket as the babysitter gets up, already gathering her things.

INT. VIRGINIE'S APARTMENT, LIVING ROOM - LATER
    Virginie sets his iPod up. Music plays. Bill returns to the living room having dispatched the babysitter.
    VIRGINIE
    This is good, no? It's your music.
    BILL
    It's very good. Loretta Lynn. You can dance to it, you know.
    Bill comes closer and stretches his arms to Virginie to invite her for a dance. They dance together in the middle of the living room. 1,2,3 small steps… 1,2,3 small steps… The door of Maya's room cracks opens. Bill clocks it.
    BILL
    We got eyes on us.
    Virginie looks confused, Bill nods to Maya. Virginie reaches out her hand, Maya hurries to join them. Bill picks her up. Virginie, Bill and Maya dance to Loretta Lynne.

INT. VIRGINIE'S APARTMENT, BEDROOM - NIGHT
    Bill and Virginie make love in Virginie's bed. Bill struggles unbuttoning her dress. She takes Bill's face in her hands.
    VIRGINIE
    Hey. I have to ask you a question.
    (Off Bill's look)
    Do you really own a gun? Because that's fucked up.
    Bill dumps her on the bed. She laughs.

INT. VIRGINIE'S APARTMENT - MORNING
    Bill, Virginie and Maya sit at the table quietly eating breakfast. Maya, sensing something, looks at Bill and then Virgine before returning to her food. Bill looks at Virginie and smiles, kids don't miss a trick.

154A INT. VIRGINIE'S APARTMENT, BASEMENT - DAY 154A
    Bill is washing his hands. He turns to Maya who is sitting on the step ladder.
    BILL
    Hey Maya. Hand me my casque.
    MAYA
    Qoui?
    BILL
    My casque. My hardhat.
    Maya lifts the hardhat off the tool bench revealing two TICKETS.
    MAYA
    Des billets por aller voir le match de L'OM? Au velodrome?
    BILL
    Yes ma'am.
    Maya explodes with joy.

A155 EXT. MARSEILLE - DAY A155
    The Velodrome looms over the red tiled rooftops of the city.

EXT. "VELODROME" SOCCER STADIUM, STAIRS - EVENING
    A GROUP of OM fans are celebrating.

EXT. "VELODROME" SOCCER STADIUM, STANDS - EVENING
    Chants of exhilarated OM fans supporting their team. Maya and Bill are sitting in the stands, watching the game.
    MAYA
    Lui, le numéro 10! C'est Dimitri Payet. Il est trop fort! Il a pas fait la Coupe du Monde parce qu'il était blessé.
    Bill follows about half of what she's saying. OM is on the attack. The OM supporters rise in anticipation. A well framed center... a stunning volley... but the shot bounces on the crossbar. GROANS from the Marseille fans. Maya reacts. Bill is half watching the game, half watching Maya. She is adorable in her commitment to the game.
    LATER -
    A ball falls at the feet of a striker who rockets a shot from the 18-meter line and... GOAL!
    PURE jubilation. The fans jump for joy. Maya jumps into Bill's arms! They are both laughing and cheering.
    Drums and flares erupt from the South Curve, the section for the true fans separated from Bill's section by a fence. Bill watches the chaos from a safe distance when he spots a familiar silhouette. A man in his 20's with short hair.
    It's Akim.
    Bill freezes. Holy shit.
    He may be a section away but there's no doubt it's Akim. Bill keeps staring, stunned.

EXT. MARSEILLE "VELODROME" SOCCER STADIUM, STANDS - LATER
    On the field, final whistle from the referee. End of the game. OM wins! Maya is thrilled, standing on her seat cheering with the euphoric crowd.
    MAYA
    On a gagné! On a gagné!
    But Bill is solely focused on Akim now whom he spots climbing the stairs with his friend. Bill starts walking parallel to him, pulling Maya along. He elbows his way through the crowd, keeping an eye on Akim. He watches as Akim ducks into the tunnel toward the exit. Bill enters his corresponding tunnel.

EXT. "VELODROME" SOCCER STADIUM, STAIRS - LATER
    Bill jostles some spectators…having temporarily lost sight of Akim but then spots him again. He continues to track/follow him as they are herded down a labyrinth of stairs. Maya speaks to him but he doesn't answer, absorbed by his task. Bill finds himself descending a staircase that intersects with Akim's staircase. He could almost reach across and touch him.

EXT. MARSEILLE " VÉLODROME " SOCCER STADIUM - NIGHT
    Bill walks briskly through the exit, dragging Maya by the hand, still on Akim's tail.

159A EXT. MARSEILLE STREET - NIGHT 159A
    Bill pulls Maya along, crossing the street, the Velodrome lurks in the background.
    MAYA
    On va où ?
    BILL
    I uh... saw a friend from work. I wanna see if it's him.
    MAYA
    Un ami?
    BILL
    Yeah. Oui. Un ami.

159B EXT. KEBAB JOINT - LATER 159B
    Akim and his friend walk into a KEBAB JOINT. Bill watches from across the street, his mind racing.
    BILL
    OK, let's go get the van.
    MAYA
    Is it your friend?
    Bill's phone rings. He checks it.
    BILL
    No. It wasn't him.
    BILL
    (Into the phone)
    Hey.
    VIRGINIE (ON PHONE)
    Hey! How's it going?
    BILL
    Good. Game just ended. Coming home soon.
    MAYA
    C'est maman ?
    Bill nods, yes.
    VIRGINIE (ON PHONE)
    Take your time, it's your night!
    BILL
    Yeah, OK....I uh... I think I...
    VIRGINIE (ON PHONE)
    Yes? What?
    BILL
    Nothing. See you in a bit.
    VIRGINIE (ON PHONE)
    Absolutely! Kiss Maya for me!

INT. BILL'S VAN - LATER
    Bill sits in the van. The Kebab joint is across the street. Maya is already passed out, the day's excitement having caught up with her. Akim and his friend are now sitting outside, meal finished. Bill watches intently as Akim and his friend stand and say goodbye. Suddenly, Akim turns his head in Bill's direction. He seems to be staring right at Bill who flattens against his seat, doing his best to disappear. Akim turns back to his friend, bids him goodbye before walking away alone. Bill glances at Maya, still asleep. OMITTED OMITTED

EXT. MARSEILLE STREET - LATER
    Akim turns onto a quiet, narrow street. Bill's van turns onto the street and passes him. It stops up the street.

INT. VAN - SAME
    Bill turns the van off. Gives Maya one last look, gets out.

EXT. STREET - SAME
    Bill crosses the street, starts walking down the narrow sidewalk toward an unsuspecting Akim. Closer. Closer... Finally he passes Akim but leans into him, bumping him with his shoulder. Akim reacts and turns to protest but when he does, Bill drops him with one punch.

INT. BILL'S VAN - NIGHT
    Maya opens her eyes. No Bill. She sits up a bit alarmed and looks out her side window just as the driver's side door opens, startling her.
    BILL
    Go back to sleep. We'll soon be home. À la maison.
    He gets in, starts the van. Maya's sleepy eyes close again.

INT. VIRGINIE'S APARTMENT, BEDROOM - MORNING
    Virginie wakes up, stretches her arms (to Bill's side)… Only to realize she is alone in the bed. The apartment is silent.

INT. VIRGINIE'S APARTMENT, LIVING ROOM - DAY
    Virginie walks into to the living room. Breakfast is ready on the kitchen table. Orange juice and toast laid out. Bill is frying eggs on the stove.
    BILL
    Hey.
    Still half asleep, Virginie points out the table.
    VIRGINIE
    What's this?
    BILL
    First day at work!
    VIRGINIE
    Oh. Wow.
    (She sits, watches him)
    I could get used to it, you know.
    Maya appears, sleepy. Virginie takes her in her arms.
    VIRGINIE
    La voilà! Alors, c'était comment le match?
    Maya rubs her eyes. Bill, on edge, listens for her answer. But Maya, too tired, doesn't say anything. She just buries her head into her mother's neck.
    VIRGINIE
    Ooooh… Ma petite chérie qui s'est couchée trop tard. Tu t'es amusée avec Bill?
    Bill waits, Maya doesn't reply. He jumps in.
    BILL
    Ready for some eggs? Mom's starting her new job today, Maya. We have to be very nice to her. Très gentil.
    He starts serving the scrambled eggs.

INT. CAFE - DAY
    Dirosa enters his local cafe, wearing a tracksuit. He greets the bartender and another LOCAL as Bill watches. Finally Dirosa sits.
    DIROSA
    Mr. Baker. Nice to see you again.
    BILL
    You're late.
    Dirosa can tell this is a different Bill.
    DIROSA
    I'm very sorry. What can I do for you Mister Baker?
    BILL
    I need you to run that DNA test we talked about.
    Dirosa stares at him, suspicious.
    DIROSA
    First, I will need the DNA sample.
    Bill sets a small plastic bag on the table. It contains a CLUMP OF HAIR. Dirosa stares at him, dumbfounded. It's enough hair to raise immediate suspicion. He covers it with a newspaper.
    DIROSA
    Can I ask how you got...
    BILL
    Can you do it or not?
    DIROSA
    Yes, I can. But I am an ex-cop. So let me tell you it would be a serious mistake to commit a crime to prove your daughter innocent. It will not get her out of jail and it will send you in. Do you understand?
    BILL
    How fast can you get the result?
    DIROSA
    It's hard to say… a week at least. But it will cost you--
    BILL
    I'll give you three thousand now. Three thousand when you get the result.
    Dirosa studies Bill, he pivots.
    DIROSA
    I still have to find him.
    Bill picks his words carefully.
    BILL
    No you don't.
    DIROSA
    So you know where he is.
    (Bill remains stone faced)
    He could still disappear before the results come back?
    BILL
    He won't.
    But before Dirosa can pursue it any further, Bill slaps an envelope of cash on the table.
    BILL
    Call me as soon as you know.
    Bill gets up and leaves. Dirosa watches him go.

EXT. ILLEGAL DUMP - LATER
    Bill is dumping bags of dirt.

INT. VIRGINIE'S BUILDING, LOBBY - LATER
    Maya and Bill enter the lobby, Bill starts up the stairs.
    MAYA
    On descend pas à la cave ?
    BILL
    Non, pas aujourd'hui. I'm going to clean up in the apartment. Come!
    She follows Bill up the stairs.

INT. VIRGINIE'S APARTMENT, BATHROOM - DAY
    Bill steps out of the shower, grabs a towel. It's quiet.
    BILL
    Maya?

INT. VIRGINIE'S APARTMENT - DAY
    The apartment seems empty. Bill calls her in her room:
    BILL
    Maya?
    Bill is starting to get concerned. He moves toward the front door... and it suddenly opens: Virginie stands there, arms full with groceries.
    VIRGINIE
    Wow. This is quite a greeting.
    BILL
    You seen Maya? I was in the shower…
    VIRGINIE
    She's playing soccer in the courtyard.
    Bill crosses to the window as Virginie puts her bags down.
    VIRGINIE
    Don't you want to ask me about my first day of work?
    BILL
    Oh yeah, sorry. How was it?
    Bill looks out the window: Maya's in the playground playing ball. Bill's paranoia getting the best of him.
    VIRGINIE
    Good. It was a lot of sitting around. The director is nice. But it's very different...
    BILL
    (distracted)
    Oh yeah?
    Virginie wraps her arms around him. She pulls him by the arm.
    VIRGINIE
    Come. We only have a few minutes.
    She drags him to the room, and pulls him down on the bed.

INT. VIRGINIE'S APARTMENT - DAY
    Bill is sitting on the couch, watching NFL highlights on the iPad. Maya is cuddled up next to him.
    MAYA
    Bill?
    (Off Bill's look)
    Who is the man in the cave?
    Bill goes white.
    BILL
    The cave?
    MAYA
    With the tools.
    He turns to check that Virginie is on the phone and looking at her computer. He turns back to Maya, speaks very softly.
    BILL
    I'm gonna need your help, ok? It's a secret. You can't tell anyone. Even your mom. OK?
    He puts his hand on her mouth… Shh! Maya stares at him.
    BILL
    He's a bad man. I'm trying to help Allison get out of prison. He'll be gone soon. It's our secret, ok?
    Maya nods.
    BILL
    That's my girl.
    He takes her under his arm again. They watch more of the highlights but Bill's head is spinning.

INT. VIRGINIE'S APARTMENT, BEDROOM - NIGHT
    Virginie sleeps soundly in her bed. Bill sits up, leaves.

INT. VIRGINIE'S APARTMENT, KITCHEN - NIGHT
    Bill opens the refrigerator door. He takes out some leftovers and places them in a Tupperware container.

INT. VIRGINIE'S BUILDING, BASEMENT - NIGHT
    Bill descends the basement stairs, opens the door and walks into the tool room. He crosses to the SECOND DOOR and opens that door. He grabs the flashlight and walks inside, passing rows of abandoned storage units, doors ajar. He finally arrives at one that is closed. He unfastens the old metal latch, opens the door and enters.

177A INT. STORAGE ROOM - CONTINUOUS 177A
    Bill shuts the door behind him and turns to see... Akim gagged and tied to a chair with duct tape. The chair is tied to pipe on the wall. He tries to speak. Mmmm… Mmm… Bill ignores him, crosses to the slat window which looks out onto the courtyard. It has been covered with cardboard but there is clearly a sliver of light poking through which explains how Maya glimpsed Akim. He readjusts the CARDBOARD blocking out the window. The damaged face of Akim bears the marks of Bill's attack, including a swollen left eye which has been bandaged. Bill removes the lid of the Tupperware, takes off the gag.
    AKIM
    J'ai rien fait! Please.
    Bill ignores him.
    AKIM
    It's not me! Please. Me go.
    BILL
    Can't do that. Can't risk you disappearing again.
    AKIM
    Please… I do nothing...
    BILL
    We'll know that soon enough. Ain't nobody gonna hurt you. Come on, eat.
    Bill takes a spoonful of food, holds it up. Akim eats.

INT. 24-HOUR CHINESE RESTAURANT - NIGHT
    A group of seven or eight REGULARS drink and talk at a round dining table in the garish room. Dirosa is among them. Their manners, their authority… Everything about them shouts "cops". And that's exactly what they are: retired and active. "Les journeaux ils l'ont pas ratée. La pauvre petite, il l'ont vraiment faite passer pour un monstre. "La veuve noire américaine…" "Attends, Bartoli, c'était le premier sur les lieux. Bartoli, tu sais le petit là. C'était un bain de sang. Et c'état pas les journalistes…" "Elle se l'ait faite. Elle se sont battues. La petite arabe elle lui avait mis les cornes. Un moment, quand ça ressemble à de la merde et que ça sent la merde…" "On a jamais trouvé l'arme. Le couteau…." "Son téléphone il a borné dans tous les sens. Qu'est ce que tu veux d'autre ?" "Et l'ADN qu'on n'a pas identifié. Elle a dit que c'était un gamin, un arabe…?" "Y'en a toujours de l'ADN non identifié. On te livre une pizza et ça y'est, t'as de l'ADN non identifié chez toi." "Je sais pas ce qu'il fait avec son livreur de pizza lui…" Laughter. "Moi, je suis pas contre coffrer des arabes mais là franchement… Le gamin, il lui fauche les clé, d'accord, ensuite il trouve l'appartement - comment il fait? - et là il plante la copine et il disparait sans rien voler? C'est pas du travail ça, même pour un arabe." "La gamine, elle est coupable. Elle peut dire que c'est la faute aux immigrés, elle peut dire que c'est la faute à Gaudin, elle peut dire ce qu'elle veut mais c'est elle qu'a fait le coup. Elle a planté sa copine. C'est comme ça, c'est tout, c'est l'amour. Demande à ma femme." The table agrees on this. Allison is guilty. Dirosa finishes his Scotch, sits back, lost in his thoughts.
    ALLISON (V.O.)
    I have a new roommate.

INT. PENITENTIARY, VISITING ROOMS - DAY
    Allison's face. Calm and somber.
    ALLISON
    She arrived a few days ago. She's young and scared. She reminds me of myself when I arrived. Except her French is better...
    She smiles. Bill doesn't. He looks tired, distracted.
    ALLISON
    Are you OK?
    BILL
    Don't worry about me. Just take care of yourself.
    Allison considers that comment and Bill. Then...
    ALLISON
    I've learnt something new actually. It's helped me a lot.
    (Off Bill's look)
    It's something called "Mektub". A nurse told me about it. It's about acceptance.
    BILL
    Acceptance. Of what?
    ALLISON
    Your fate. It's helping me to stop struggling, to stop questioning everything. You just embrace your fate and learn to live in peace with it. It's a Muslim idea.
    Even in her current state this is hard for Bill to accept.
    BILL
    So you're becoming a Muslim now?
    Bill is unexpectedly sharp. Allison remains calm.
    ALLISON
    Dad, it's not about religion, it's about figuring out a way for me to survive.
    Her directness disarms Bill and allows him to hear her.
    ALLISON
    It's about letting go of the shame and guilt that push you down and keep you down and make you feel so powerless. That's how I've felt for a long time-- powerless and forgotten. And that makes living hard. You know what I mean?
    Bill does. Very much so.
    ALLISON
    It helps me to look at it this way.
    BILL
    OK. But… you're innocent, we gotta continue to fight so that…
    ALLISON
    It doesn't matter that I'm innocent. It's not about justice, dad. It's about finding peace.
    BILL
    Maybe so... But I'm not ready to give up. I can't.
    Allison almost smiles. She can't tell Bill is rattled.
    ALLISON
    Dad. You don't have to prove yourself. Not to me.
    Bill hears this. Too late. He's deep in it.
    ALLISON
    (Calmly)
    You wanna pray?
    He's caught by surprise. She holds his hand and closes her eyes. His stay open.

INT. VIRGINIE'S BUILDING, BASEMENT - DAY
    Bill is letting Akim pee in the wash basin. Akim finishes and he escorts him back to his chair. Akim tries to speak so Bill removes his gag and starts to refasten him to the chair. Akim speaks with a calm but very intentional tone.
    AKIM
    Ecoute moi. Juste écoute. S'il-te- plaît. Je suis pas un méchant moi. Laisse moi partir. Je veux pas de problèmes, c'était pas ma faute!
    Bill finishes tying him and moves to the sink.
    BILL
    I don't know what you're saying but you're wasting your breath. I told you, we wait for the DNA test. Then we know.
    AKIM
    She ask me! She pay me!
    BILL
    You want more water?
    AKIM
    Allison. She say go! You put Lina out! Money for you.
    BILL
    That's enough now.
    AKIM
    She tell me take it. She give me a collier. You take it. Money after.
    BILL
    Come on! Drink!
    Akim does. Quickly.
    AKIM
    Un collier! You take it for you.
    Akim tries to gesture to his neck. Lowering his chin to his gold-chain.
    AKIM
    Collier! Gold… Like this…! Like this!
    He finally has Bill's attention.
    BILL
    … A necklace ? I don't want that.
    AKIM
    No. She give me! She say go, you put Lina out! Money after!
    BILL
    OK. It's time to shut the fuck up now. You're not making any...
    He takes the duct tape to put it back on Akim's mouth-
    AKIM
    Stillwater!
    Bill stops, stunned.
    BILL
    What'd you say?
    AKIM
    The collier, he say: Stillwater. Gold.
    Bill's face registers the shock. Akim can see that he's struck a chord. Maybe pierced is more appropriate.
    AKIM
    Elle m'a dit: do it! Make her go!
    Bill tapes his mouth shut!

INT. CELLAR - LATER
    Bill shuts the basement door and then stops for a second. Trying to process what he just heard.

INT. VIRGINIE'S APARTMENT - LATER
    Bill enters the apartment. He's intercepted by Virginie.
    VIRGINIE
    T'etais ou?
    BILL
    What?
    Virginie has her coat on.
    VIRGINIE
    We have to go and see Isabelle. We'll be late if we don't leave now.
    BILL
    I walked back from the Baumettes.
    VIRGINIE
    It's OK mais... Allez, on y va!
    BILL
    Do uh... do I have to go...?
    VIRGINIE
    Yes. Of course. I told her you were coming. Just hurry up please!

EXT./INT. CAR - DAY
    Virginie's car climbs up the stunning streets of Roucas- Blanc, Marseille's version of Beverly Hills. Impressive villas line the road, each with gorgeous views of the sea. Music on the radio. Bill is lost in his thoughts.
    VIRGINE
    So Isabelle, is sort of like a Godmother to us. We don't see her that often and I don't always agree with her but Maya loves her. She is the closest thing she has to a Grandmother. Hello? Bill?
    Bill looks, covers.
    BILL
    Sorry. Enjoying the ride.
    VIRGINIE
    You'll see, this really is the other side of Marseille.
    Bill looks to the back seat. Maya just stares at him.

EXT. ISABELLE'S VILLA - DAY
    The car pulls up to a lovely stone and stucco house with yet another staggering view of the sea. A group of people are chatting, having a drink in the garden. ISABELLE (60's), understated elegance, approaches the car. Virginie gets out of the car, puts on a smile. Maya runs toward her grandmother.
    MAYA
    Marraine!
    ISABELLE
    Bienvenue.

EXT. ISABELLE'S VILLA, GARDEN - LATE AFTERNOON
    A large farm table decorated with flowers, candles, and a traditional embroidered tablecloth. Ten people - wealthy retired baby boomers - are sitting around it. Bill sits, lost in his thoughts.
    SILVER HAIR
    New York has changed so much!
    BALD MAN
    I don't care. I still love that city. It's like Marseille.
    SMILING WIFE
    Dirty?
    BALD MAN
    No! People go and they are new. There is no memory.
    RALPH LAUREN
    My son tells me Brooklyn is where everything's happening now.
    SMILING WIFE
    Soon it'll be the Bronx.
    BALD MAN
    Or New Jersey.
    The group laughs.
    RALPH LAUREN
    You've been to Brooklyn, Mr. Baker?
    BILL
    No, sir.
    RALPH LAUREN
    You should go, next time you are in New York. It's very surprising!
    BALD MAN
    And young!
    ISABELLE
    That's what's great about America, it's constantly reinventing itself.
    A man with a RALPH LAUREN shirt takes over. Bill is no longer listening.
    BALD MAN
    We need to do the same here!
    RALPH LAUREN
    (Raising a glass)
    Make France great again!
    The group laughs, the conversation goes on. Bill gets up.
    BILL
    (To Virginie)
    I'll check on Maya.
    Virginie nods. Isabelle leans it.
    ISABELLE
    To copain, il n'est pas très bavard…
    ISABELLE
    (Virginie doesn't bite)
    Il est sympathique. Il vient de quel genre de milieu ?
    VIRGINIE
    Du genre pauvre.
    They watch as Bill walks toward the house.
    ISABELLE
    Et vous parlez de quoi tous les deux ?
    VIRGINIE
    De rien. Mais on se comprend. Il a besoin de moi. Je crois qu'il a plus besoin de moi que moi de lui. C'est pas désagréable.

EXT. GARDEN, ISABELLE'S VILLA - DUSK
    Bill paces, oblivious to the amazing view of the sea.
    SHARON (ON PHONE)
    I don't know what you're talking about.
    BILL
    The gold necklace that I gave her… the day she left. It said Stillwater on it.
    SHARON (ON PHONE)
    Yeah… I remember it. What about it?
    BILL
    You remember her wearing it at the trial? She still have it?
    SHARON (ON PHONE)
    What are you getting into Bill?
    BILL
    Or how 'bout when we collected her things. Did you see it?
    SHARON
    I don't know. I don't remember. Why?!
    BILL
    I'll call you later, Sharon. Bye.
    He hangs up, stares out at the sea.
    VIRGINIE (O.S.)
    Ça va?
    Bill turns. Virginie is standing here.
    BILL
    Yeah. Ça va. It was Sharon.
    VIRGINIE
    She is OK?
    BILL
    Yeah. Yeah. She's fine.
    VIRGINIE
    (Direct)
    Are you?
    BILL
    What do you mean?
    VIRGINE
    You just seem...distrait.
    He looks at her. She's right.
    BILL
    I am. I'm sorry.
    She approaches Bill, puts her arms around him.
    VIRGINIE
    I'm happy that you're here.
    BILL
    Me too.
    Virginie pulls back, smiles, sensing his distraction.
    VIRGINIE
    You too? You are happy you're here?
    Bill smiles, he knows she's toying with him.
    BILL
    Yeah. I am. Really.
    She smiles.
    VIRGINIE
    Me too. I like you Bill Baker.
    She leans in and gently kisses him.

INT. CONSTRUCTION SITE - LATER
    Bill is framing out a new wall.
    DIROSA (RECORDED MESSAGE)
    C'est le répondeur de Dirosa, laissez un message.
    CUT TO: Bill is walking around the framed out room which is missing a back wall.
    BILL (INTO PHONE)
    Mr. Dirosa, Bill Baker. Just wondering if there's anything we can do to get that result quicker. It's kinda urgent. Call me back. Thanks.
    He snaps the phone shut. Fuck.

A188 INT. VIRGINIE'S APARTMENT - DAY A188
    Virginie hangs her LAUNDRY on the line out the window. She notices a MAN walking along the side of the building as if he's looking for something. Virginie keeps hanging. She hears a loud BANG from the other room. Bang. Bang. Bang.

B188 INT. VIRGINIE'S APARTMENT, BILL'S ROOM - DAY B188
    Virginie hurries into Bill's room to close the window, the source of the banging. She rearranges some items on the window sill so she can close it. Something falls on the floor. She reaches down and picks up a set of PADLOCK KEYS. She drops them in a dish on the sill.

INT. VIRGINIE'S APARTMENT - LATE MORNING
    Virginie descends the stairs, carrying the day's garbage.

INT./EXT. VIRGINIE'S BUILDING, COURTYARD ENTRANCE - DAY
    Virginie exits the building and crosses to the LARGE BRWON TRASH CANS. She lifts the lid, deposits her trash. She turns to head back inside.
    MAN (O.S.)
    Excusez-moi.
    She turns, Dirosa is standing there.
    VIRGINIE
    Oui?
    She throws away the garbage, shuts the lid.
    DIROSA
    Bonjour. Je travaille pour la voierie. On nous a appelé à propos d'une fissure sur la facade. Je me demandais si ça ne viendrait pas du sous-sol. Vous n'avez rien remarqué d'inhabituel récemment ?
    VIRGINIE
    D'inhabituel?
    DIROSA
    Je ne sais pas. Du bruit. Une odeur…
    VIRGINIE
    Oh non… Encore ? Je devrais m'inquiéter ?
    DIROSA
    Non, non. C'est juste un contrôle de routine. Vous utilisez les caves?
    VIRGINIE
    Moi ? Non.
    DIROSA
    Quelqu'un d'autre dans l'immeuble les utilise ?
    Virginie hesitates, something's up.
    VIRGINIE
    Si vous voulez, je peux me renseigner et vous appeler?
    Dirosa smiles.
    DIROSA
    Ce sera pas nécessaire. Vous avez été bien aimable. Bonne journée madame.
    Virginie watches him walk away. Odd.

INT. VIRGINIE'S BUILDING, LOBBY - LATER
    Virginie walks inside the building, pauses at the stairs. She crosses to the basement door, tries the handle, it's locked. She looks down and notices something, flecks of BROWN on the door jam? Paint? She considers this, leaves.

EXT. MAYA'S SCHOOL - DAY
    Children screech exiting the school. He sees Maya coming out sheepishly, holding the hand of TEACHER (50's) with a stern look. Maya points to Bill. Every parent knows that look. Something went wrong.

EXT. STREET - DAY
    Bill and Maya walk together.
    BILL
    I used to fight a lot at school when I was a kid too.
    He starts mimicking a fight so that she understands.
    BILL
    You know? Fight? But it's not good. C'est pas bien.
    Maya listens, processing. Then...
    MAYA
    The man in the cave, you will kill?
    BILL
    What? No! Of course not.
    Bill is shaken, he tries to composes himself. He stops. Gets down to her level.
    BILL
    Maya. Ecoute-moi. I would never do anything to hurt you or your mother. Never. Jamais. Because I love you both. So much. I do. You have to trust me, OK?
    MAYA
    (Simply)
    OK.: Bill stands, takes her hand, they walk.

EXT. VIRGINIE'S APARTMENT BUILDING, STREET - LATER
    Bill and Maya walk into the pass-through leading from the street to the courtyard. As they emerge into the courtyard, Bill sees TWO DETECTIVES standing next to an UNDERCOVER CAR parked next to his van. Bill stops. Shit.
    CAPTAIN
    Mr. Baker. A word please.
    He flashes his BADGE. He was with Dirosa at the Chinese restaurant.
    CAPTAIN
    Police.
    Suddenly two more DETECTIVES have come up behind him. One MALE and one FEMALE.
    CAPTAIN
    Can I see your identification please?
    Bill shows it.
    CAPTAIN
    Merci. My colleague will stay with your daughter.
    The FEMALE DETECTIVE takes Maya by the hand, quickly escorts her to the building. Maya turns, she looks confused.
    MAYA
    Bill?
    CAPTAIN
    T'inquietes pas. On en a pour quelques minutes.
    BILL
    It's OK. It's OK.

INT. VIRGINIE'S BUILDING, LOBBY - LATER
    Bill is escorted by the two detectives and the Captain into the lobby.
    CAPTAIN
    The basement, please.
    They get to a door. The Detective checks it. Locked.
    CAPTAIN
    Key?
    BILL
    (Pointing to key chain)
    He has it. The little one.
    The Detective opens the door, walks in. And then:
    COP
    C'est bon!
    They follow.

INT. VIRGINIE'S BUILDING, BASEMENT - CONTINUOUS
    They descend the stairs and walk down the hall passing a number of empty rooms.
    CAPTAIN
    Vous me vérifiez tout!
    The detectives start searching as the Captain leads Bill to the tool room.
    CAPTAIN
    Sit.
    Bill sits on and old stool as the detectives continue their search.
    DETECTIVE #1
    Rien ici!
    Detective #2 looks around, opens the second door.
    DETECTIVE #2
    Regarde par là.
    Bill looks like he might explode. He's fucked. The detectives quickly start checking each room. Most of the doors are open. Bill can see their progress as they move down the hall and toward Akim's cell. The Captain watches Bill who remains stoic. Is that sweat on his brow? A twitch? Three more doors. Bill can only watch, wait. Two more doors. The final door. Bill looks away. He can't... Then...
    DETECTIVE #1
    Celui-ci a un cadenas.
    CAPTAIN
    Do you have a key?
    Bill doesn't answer. Detective #1 checks the key chain. Tries a key. It opens the door - he steps inside. Silence. Bill waits, dying inside. Then...
    DETECTIVE #1
    Rien!
    Bill almost gasps. Almost. The Detective returns, looks at the Captain, who gives Bill a hard look. They talk in French. Any other rooms? No.
    CAPTAIN
    On va aller en haut. Tu me l'emmènes.
    He leaves a dumbfounded Bill behind.
    CAPTAIN
    Allez!
    Detectives #2 pulls Bill back upstairs.

A196 INT. LANDING - DAY A196
    Bill is standing, eyes glued to the floor, confused. He looks off and sees Maya, staring at him, sitting on the little bench by the door. One of the Detectives is standing behind them. The door opens on:
    DETECTIVE #2
    Ok, rentrez.
    Maya hurries in. Bill follows.

INT. VIRGINIE'S APARTMENT - DAY
    Virginie is sitting on the couch, with Maya in her arms. Bill walks in, surrounded by the detectives. Virginie is sitting on the couch, with Maya in her arms. They connect. In that moment Bill knows, she set Akim free.
    CAPTAIN
    Alors?
    FEMALE DETECTIVE
    Rien ici.
    CAPTAIN
    Et la femme?
    FEMALE DETECTIVE
    Elle dit qu'elle sait rien.
    The Captain glances around the apartment, zeroes in on Virginie and Maya.
    CAPTAIN
    Ça vous ennuie si je pose quelques questions à votre fille?
    VIRGINE
    Oui, ça m'ennuie. Elle a 9 ans.
    CAPTAIN
    Vous préférez qu'on aille tous au commissariat?
    Virginie, doesn't answer. The Captain, squats down.
    CAPTAIN
    Bill, il vit ici avec toi et ta maman.
    MAYA
    Oui.
    CAPTAIN
    Il est gentil avec vous?
    MAYA
    Oui.
    CAPTAIN
    Vous descendez à la cave parfois?
    MAYA
    Oui.
    CAPTAIN
    Et vous faites quoi là-bas?
    MAYA
    On range les outils. Et j'apprends des mots en français à Bill.
    CAPTAIN
    C'est quand la dernière fois que vous y êtes allés à la cave?
    MAYA
    Hier.
    CAPTAIN
    Hier? Et tout était normal?
    She nods.
    CAPTAIN
    Tu la connais Allison, la fille de Bill?
    MAYA
    Oui. Elle est en prison.
    CAPTAIN
    Et Bill, t'as pas envie qu'il aille en prison, si?
    MAYA
    Non.
    CAPTAIN
    Parce que tu l'aimes bien?
    MAYA
    Oui.
    CAPTAIN
    Alors écoute moi bien. Si tu me mens, je vais le savoir et je devrai mettre Bill en prison. Tu comprends?
    She nods.
    CAPTAIN
    Dis moi la vérité maintenant. C'est quand la dernière fois que vous êtes allés à la cave?
    Maya looks him in the face.
    MAYA
    Hier.
    He looks to Virginie who remains stone-faced. The tension is palpable. Finally, he stands up straight, sighing. He gives Bill a hard look. Bill doesn't flinch.
    CAPTAIN
    D'accord. Allez, on y va.
    The police move to the door and leave. The door shuts. The room is silent save the sounds of the detectives going down the stairs. Virginie, Bill and Maya are alone.
    MAYA
    J'ai bien répondu, maman?
    VIRGINIE
    Va dans ta chambre!
    Maya hesitates, confused.
    VIRGINIE
    File!
    Maya obeys, leaves.
    BILL
    Virginie, I didn't want to…
    VIRGINIE
    How did you find him?
    BILL
    Pure chance. At the soccer game.
    VIRGINIE
    With Maya?
    Bill nods, yes.
    VIRGINIE
    Did you ask her to lie?
    Bill hesitates, he looks to Maya's room.
    BILL
    I never meant to involve you and Maya. I know...
    VIRGINIE
    (Cold anger)
    You have to leave.
    Bill looks at her, doesn't move. She crosses to Bill and hands him the PADLOCK KEYS.
    VIRGINIE
    Pack your things. And leave.
    Bill gets up, leaves.

INT. VIRGINIE'S APARTMENT, MAYA'S ROOM - DAY
    Maya watches a video on the tablet. Cartoons music playing loudly. Bill knocks.
    BILL
    Can I come in?
    Maya keeps her eyes on the screen. Bill enters.
    BILL
    I have to go, Maya.
    Bill gently puts his hand on Maya's arm. She pulls away.
    BILL
    You don't want to talk to me?
    Maya turns her back on Bill.
    BILL
    Alright. I'm sorry. I love you.
    No reaction from Maya. Bill takes his bag and walks past Virginie. She lowers her eyes in order not to catch his eye.

EXT. VIRGINIE'S BUILDING, COURTYARD - DAY
    Bill throws his bag in the van. He opens his door.
    VIRGINIE (O.S.)
    Bill!
    She's holding Maya by the hand.
    VIRGINIE
    (to Maya)
    Dis au revoir à Bill maintenant!
    Maya doesn't budge. Virginie becomes firmer:
    VIRGINIE
    Maya!
    Maya hesitates… But lets go of her mother's hand. She reluctantly takes a few steps towards Bill. He squats to be at her height... And takes her in his arms. She lets herself go. Without moving... And finally, Maya's little arms hold him. Tight. As strong as they can. Maya buries her head into Bill's neck. She's crying. So is Bill.

A199 EXT. CEMENTARY - DAY A199
    Bill stands in front of Lina's grave.

EXT. HOTEL - DAY
    The pool is quiet. The day is windy and a bit overcast. Fall. A stack of Maya's art on the desk.

INT. HOTEL ROOM, BILL'S ROOM - DAY
    Bill stands at the window staring at the pool. A football match plays on the TV. Another anonymous room. The phone rings. Bill doesn't react.
    MAÎTRE LEPARQ (V.O.)
    I went to the address you gave me.

INT. HOTEL, DINING ROOM - LATER
    Bill sits opposite Leparq. She has a glass of wine in front of her. Bill has coffee.
    MAÎTRE LEPARQ
    The woman there told me you moved out last month.
    BILL
    Yes, ma'am.
    MAÎTRE LEPARQ
    I've come with some extraordinary news, Mr. Baker. The judge in your daughter's case called me this morning. New evidence has surfaced. Apparently, a retired cop came up with a DNA match on the unknown sample from the original crime scene.
    Bill listens, stone-faced.
    MAÎTRE LEPARQ
    It also matched a sample the police collected on a burglary case four years ago. After the trial.
    BILL
    Did they catch him?
    MAÎTRE LEPARQ
    No. Not yet. But for Allison this does not matter. All we need to prove is sufficient doubt. So even if they can't find the suspect there is a real chance they will release Allison. In fact, the judge has already agreed to reopen the investigation which is almost unheard of. I think this could only happen in Marseille.
    Bill nods, considers this.
    BILL
    Thank you for coming to tell me, Ma'am.
    Bill stands. Leparq looks at him, stunned.
    MAÎTRE LEPARQ
    Mr. Baker. This is the best possible outcome for your family. Do you understand?
    BILL
    I do.
    He leaves.

EXT. MAYA'S SHOOL - AFTERNOON
    It's Fall. Mothers are waiting outside the school. Amongst them, Virginie is talking to a YOUNG MOTHER. Her hair is longer now.
    TITLE: NINE MONTHS LATER
    The children squeak as they come out in clusters. Maya looks around and spots her mother. Virginie takes her hand and says goodbye to her friend as they move away.
    Across the street, Bill watches, motionless, his face half hidden by a bus shelter as their two silhouettes disappear at the corner of the street.

INT. LES BAUMETTES, PRISON CELL - DAY
    Allison's face. Feeling the pain. She is sitting on a bed in her cell. Another INMATE dips a needle in a little ink cartridge and slowly inks a tattoo on the inside of Allison's wrist. The SOUND of a MARCHING BAND.

INT. WILL ROGERS AIRPORT - DAY
    Bill and Allison are ushered through the airport. Flashbulbs and crowds. Allison is greeted by Sharon. They hug long and hard. A SENATOR with a million dollar smile greets them with a handshake. The band stops playing. The senator is at the microphone.
    SENATOR
    I told you we were gonna bring our girl home! And that is exactly what we did. We promised justice and when we make a promise in Oklahoma we keep it, don't we?!
    Claps of the crowd. Sharon looks to Bill, rolls her eyes...fucking politicians. Bill smiles, continues listening.
    SENATOR
    And I promise you this, Allison. You are coming home to a stronger Oklahoma with plenty of jobs and opportunities for young people like yourself. Welcome home, Allison! Welcome back to Oklahoma! Welcome back to America!
    Allison steps to the mic, silence falls on the crowd.
    ALLISON
    I'm so happy to be back. I have to thank God for his love and kindness. I would not be here today if it wasn't for my Grandmother, Sharon and my dad, Bill. I love you both.
    The crowd cheers. Sharon takes Bill's hand but Bill barely reacts. He just watches.
    ALLISON
    They never gave up on me and they never stopped believing in me. I love this country more than ever.

INT. PRIVATE SUV - LATER
    A STILLWATER SIGN on the overpass. Bill and Allison sit in the back. Sharon is in the front seat, asleep. Allison stares out the window. Bill watches her. He notices a fresh homemade TATTOO on the inside of her wrist.

205A EXT. SHARON'S HOUSE - DAY 205A
    Two or three PRESS TRUCKS are camped out in front of Sharon's house. A few reporters mingle, held back by local police.

EXT./INT. SHARON'S HOUSE - DAY
    A smattering of friends and neighbors mingle and talk in the backyard. Inside, some folks pick at makeshift buffet on the kitchen table. A few kids run through the living room. Sharon sits in her chair holding court. Allison is talking to some friends and parents. She's very animated, clearly happy to be home.

INT. SHARON'S HOUSE, ALLISON'S BEDROOM - DUSK
    Bill stands by the window, watching the press, alone with his thoughts.
    ALLISON (V.O.)
    You're being anti-social?
    Bill turns, Allison is in the doorway. He smiles.
    ALLISON
    You alright?
    Bill considers this. Is he? Then...
    BILL
    The day you left for Marseille, Sharon and I drove you to the airport. When we got there, I was embarrassed I didn't have a present or nothing so I went to the gift shop. I thought I'd buy you a book or a key chain...But then I saw this necklace.
    He finally looks at her. Allison returns her father's gaze. She knows where this is leading.
    BILL
    I thought it was a little piece of home to take with you. It was gold, said Stillwater on it.
    She continues to stare at him. No words. But then her expression changes, a well of emotion starts to bubble up. She speaks very deliberately, trying to hold it together.
    ALLISON
    I didn't want it to happen...
    A tear rolls down her cheek. Bill doesn't move.
    ALLISON
    He told me he would help me get her out of the apartment... that's all... I didn't want her to die...I swear. I loved her..
    BILL
    I know you did.
    ALLISON
    You think I'm a monster?
    BILL
    You're my daughter. I could never think that.
    ALLISON
    What is wrong with us?
    Her simple question cuts Bill to core.
    BILL
    I don't know, baby girl. I don't know what's wrong with us.
    The dam breaks-- years of shame and guilt released through her sobs.
    ALLISON
    I'm sorry. I'm just so sorry.
    Bill crosses to her, hugs her.
    BILL
    Me too.
    They hold each other for a long moment. And in that moment Bill is the father he has never been before.
    SHARON (O.S.)
    Allison! Allison?!
    ALLISON
    Yeah, Gram.
    SHARON (O.S.)
    Come out here and show your face. Everyone's waiting.
    She pulls away, looks at Bill. He smiles reassuringly, gently wipes away her tears. She breathes. He nods and she goes.

INT. BILL HOUSE, KITCHEN - MORNING
    Bill starts the coffee machine. He picks up his old iPod, scrolls through the songs. Selects one, presses play, sets it in an old speaker. Loretta Lynn. He picks up the ENVELOPE OF PHOTOS that he left behind. He looks at the pictures inside: Allison as a child, at Maya's age, and Bill and Allison's mother. He sets down the photos, and leans against the counter. His attention drifts out the front window where something catches his eye. Through faded sheer drapes, he can see Allison, sitting on the front porch.

EXT. BILL'S HOUSE, FRONT PORCH - DAWN
    Bill opens the front door, steps out onto the porch. Allison is sitting on one of the two lawn chairs.
    BILL
    Morning.
    ALLISON
    Hey.
    He sits.
    ALLISON
    I couldn't sleep. I went for a walk, ended up here.
    BILL
    I'm glad you did.
    Allison takes a moment then...
    ALLISON
    You miss them?
    BILL
    I do.
    ALLISON
    Can you go back?
    BILL
    No. I can't. But it was good. That don't change.
    ALLISON
    I'm sorry.
    BILL
    Life is brutal.
    She clocks this. He was listening. He looks to her. They sit together, listening to the sound of a distant train.
    ALLISON
    Everything looks the same here. Nothing's changed.
    Bill listens. Allison looks at him.
    ALLISON
    Don't you think?
    BILL
    No, Ally, I don't. It all looks different to me. I barely recognize it anymore.
    Bill looks at her. He smiles. Maybe she does too. And there they sit, father and daughter, in the quiet of a new day.

Summary: Laid-off oil rig worker Bill Baker from Stillwater, Oklahoma is scraping by working odd construction jobs. After finishing a disaster recovery cleanup job in Shawnee, Oklahoma, Bill heads back to Stillwater looking for an oil rig position with no luck. Bill later meets with Sharon –Allison's grandmother– at her home, where they plan Bill's travel to Marseille in France to visit his daughter Allison, who is five years into serving a nine-year prison sentence. While attending university in Marseille, Allison was convicted of killing her roommate and unfaithful lover, Lina.During Bill's first meeting with Allison, she asks him to pass a letter written in French to her defense lawyer, Leparq. Bill agrees and meets with Leparq, who informs him about the content of the letter, indicating that Allison heard from one of her former professors, Patrick Okonedo about a man who claimed to be Lina's killer. Leparq says that no judge will reopen the case because the new information is just hearsay. Bill lies to Allison, telling her that Leparq will petition the judge to reopen the case. Bill helps a little girl who is staying at the same hotel, Maya get a key to her room. Later Maya's mother Virginie helps Bill by translating Allison's letter, where he learns not only about his daughter's desperation at the sentence, but also about how little faith she has in her father's ability to help with the situation. Bill visits the Patrick Okonedo, professor mentioned in the letter, who gives him the phone number of Souad, a student who claims to know Lina's killer. Virginie calls Souad and they meet at a Quick restaurant, where she names the killer as Akim, who lives in Kalliste, a slum of Marseille located on the north area of the city. The meeting does not go very well, as the girl that is accompanying Souad grows wary of Bill's questions and believes Virginie could be a cop. Bill and Virginie are at odds as Souad and her friend walk out on them and decide not to cooperate with them. Combing through social media, Virginie and her girlfriend, Nedjma, print photos of people in the social circles of Souad. Bill brings the photos to Allison, who identifies Akim. Bill then uses the photo to track down Akim in Kalliste. After sunset, a group of thugs beat Bill, as a different group approaches the area. They turn out to be Akim and other friends. After showing Akim his photo and asking him what is this about, he denies ever seeing Bill and escapes. Akim's group get Bill into a car and drop him in a safe area outside Kalliste, as they don't know who he is. The next time that he meets Allison, Bill confesses that he lied about Leparq agreeing to help and that he found Akim but didn't tell the police. Enraged that Bill squandered her one chance for exoneration, Allison tells him to never return to see her in prison. Four months later, Bill has remained in Marseille, renting a room in Virginie's apartment and working on a construction crew. During Allison's one free day out of prison that year, Bill reconnects with her, but that evening as she goes back to prison, she attempts suicide by trying to hang herself. Bill is devastated but he continues to visit her and as their regular visits continue, the relationship grows stronger. Bill and Virginie also establish a closer relationship, and Bill finally seems to have his life is back on track. A few months later, one night, Bill surprises Maya with tickets for an Olympique de Marseille football game at the Stade Vélodrome. While watching the game, Bill spots Akim in the tribunes. After the game, Bill follows him on his truck. Once Akim separates from his friends, Bill takes advantage of Maya sleeping and approaches Akim, knocking him out and locking him in the basement of their apartment building where Virginie, Maya and Bill live. Maya finds Akim next day and Bill implores Maya to keep the secret, she agrees. Bill pays a private investigator to have a lock of Akim's hair tested against the crime scene's DNA evidence. Akim tells Bill that Allison had hired him to kill Lina and that she paid him with a gold necklace bearing the word "Stillwater". Bill begins to doubt Allison's innocence. The private investigator suspects that Bill is keeping Akim in the basement, so he poses as a building inspector and asks Virginie if she has noticed any smells or noises from the basement, which she denies, but her suspicions are aroused. Policemen find and detain Bill, but after a fruitless search of the basement, the policemen question Maya, who lies about having seen anything unusual in the basement. The policemen leave, since Akim cannot be found, Virginie kicks Bill out of the apartment for having put Maya at risk during Akim's abduction and forcing her to lie about Akim. Virginie never tells Bill if she was involved with Akim leaving the basement or where Akim is now but it is suspected she was the one that let him go. Afterward, Bill hugs a tearful Maya goodbye, and moves back to his hotel. Leparq meets with Bill to tell him that the new DNA evidence will allow the case to be reopened by the judge, which eventually leads to the DNA test exonerating Allison. After Allison and Bill return to Oklahoma to a hero's welcome, Bill asks Allison about the Stillwater necklace that he gave her when she had departed for Marseille. Allison breaks down and admits she hired Akim to evict Lina from their house after they had broken up but claims that she did not intend for Lina to be killed, as Akim misunderstood her intentions to "put her out" of the apartment. The next morning as they sit on the porch, Allison says everything looks the same in Stillwater while Bill admits everything looks different to him, almost to the point of him not recognizing it anymore.