The Scent of Light Episode 4- 11 Years Later

8/16/2019 The Scent of Light Episode 4- 11 Years Later

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THE SCENT OF LIGHT "EPISODE 4 - 11 YEARS LATER"

written by

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THE SCENT OF LIGHT"EPISODE 4 - 11 Years Later"

WRITTEN BY

CIARAN MAHONY

Ciaran Mahony

61 St David’s Park

Artane, Dublin 5

(555)555-5555

[email protected]


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2.

FADE IN:

INT. MEETING ROOM, GSOC BUILDING - MORNING

PETERS is sitting at a wide desk, across from four men and women in suits who take notes of what he says. Some are

looking through his file. A camera is on the table, recordingthe confession.

PETERSAnd uh basically, when Henry went

missing his father sent in a policereport and spoke to a Garda officer

who set up a search party for fourdays.

GSOC OFFICER #1Okay, and then?

PETERSThe search party was abandoned, nosuspects or interviews were done.The case went cold, nothinghappened. There’s no record of anyarrests as far as I know. I foundthe casefile there in the closedcases section.

GSOC OFFICER #1Do you know who might have loggedit in?

PETERS gulps, he hesitates and raises his head, staring atthe camera recording him.

PETERSCommissioner McMann, under therequest of Judas Norman.

The GSOC group look up at eachother and widen their eyes abit, starting to whisper to eachother.

PETERS (CONT’D)It’s in the casefile there.

GSOC OFFICER #1Have you brought this up to McMannor Norman themselves? Does anyoneelse know about this?


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PETERSMcMann and Norman don’t know, yet.Uhm, as far as the file goes...no,I found that myself. In my own

work.

GSOC OFFICER #1Right, well let me be clear on thesituation. You’re sayingCommissioner McMann and JudasNorman, two highly liked activistsin the county covered up a child’sdisappearance?

PETERSYes. I am, the child, Henry, went

missing from Judas Norman’s schoolsand McMann was the head of theinvestigations, they pushed out theSpecial Detectives Unit on theborders of Ballina from the casestraight after they startedinvestigating. Talk with DetectiveHyde over there, he was the one whostarted it.

GSOC OFFICER #1 Well, uhm thank you for reporting

this Detective Peters but youshould know if you choose to goalong with this, your career andname will be in the news a lot and

many other officers in your station will dispise you. I don’t know how

long you will get teased for, areyou sure you don’t want to go downas a confidential informant?

PETERSI’m sure, it’s better to come outstraight and not hide behind a

wall.

The GSOC group nod lightly as they look up to PETERS.

CUT TO:


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4.

INT. NORMAN FOUNDATION - AFTERNOON

A large crowd stand outside the foundation, shouting andscreaming along with signs such as “Rapist helper”, “child

molestor”, “child killer” and “corrupt pig” above theirheads. Gardai struggle to hold back the crowd. A reporter

stands near the crowd, talking to a camera.REPORTER

We’re standing outside the Normanfoundation where you can clearlysee many people are shouting up atJudas Norman who was hit withaccusations of covering up thedisappearance of Henry Rollins, aeleven year old boy who went

missing last year.

CUT TO:

INT. LINCOLN'S HOME - AFTERNOON

LINCOLN stands at his desk, looking through many files as theTV plays in the background. He smokes his cigarette and keepshis eyes on the files.

REPORTER ON TV...disappearance of Henry Rollins,an eleven year old boy who went

missing last year.

LINCOLN raises his head up at the TV as he hears the nameHenry Rollins. He stands up straight and walks over to theTV.

REPORTER ON TV (CONT’D)Rollins went to one of Norman’sschools, Tranquility Elementary and

was a well liked student. He went missing in October of last year

after a party and was never seenagain.

LINCOLN widens his eyes and shakes his head as he watches theTV, he squeezes his fist in anger.

LINCOLNPeters...you motherfucker..

CUT TO:


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5.

INT. DETECTIVE OFFICES - AFTERNOON

PETERS stands at his desk and looks through many files, someGarda and Detectives are seen in the background talking,glancing at him and pointing at him. A look of disgust andanger on their faces.

REPORTER ON TV (O.S)The information was brought tolight by hero Detective ChristopherPeters from the Ballina Gardastation, from which CommissionerMcMann, a friend of Judas Norman

who covered up the disappearance ofRollins from the inside. Petersbrought the information to the GSOC

who are talking about taking heavy measures to sort out both the

cover-up and disappearance ofRollins.

PETERS looks up at the people talking about him and lookingat him, frowning slightly as they shake their heads at himand turn away. He lowers his eyes to the floor before lookingto his right, at McMann’s office. We can see from the windowof the office, two GSOC officers talking with MCMANN who isclearly angered. He eventually lowers his head and takes outhis badge and gun, laying them onto the desk. He walks to thedoor.

REPORTER ON TV (O.S) (CONT’D)Judas Norman has so far, not madeany comments on the accusations andhas not been seen. CommissionerMcMann has supposedly retired fromhis job as Commissioner afterthirty long years of hard work. Hehas also made no comment.

MCMANN walks out of the office and stares at PETERS, givinghim a dirty look. PETERS watches him as he walks past.

REPORTER ON TV (O.S) (CONT’D)Many parents are now taking their

kids away from Norman’s schools andchurches after the accusations.Some are even talking about goingto the Gardai with even moreaccusations. This is RTE News, we

will keep you updated on the case.

CUT TO:


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INT. PIER, BY THE SEA - AFTERNOON

PETERS stands on a pier, alongside CAITLIN. Many people passup and down the pier.

PETERS

Look, I’m sorry I didn’t tell youabout the case but like I said you wouldn’t believe me.

CAITLINIt’s not that.

PETERSIf it’s about McMann and Norman,those scumbags deserve what’scoming to them. What they did tokids, ugh it makes me furious. I

wanted to help out the kids.

CAITLINIt’s not that either, I’m annoyedthat you decided to do this, now.Chris, I’m almost two months awayfrom my due date and you do all ofthis now? Do you really think I candeal with reporters and familiesbugging me everyday?

PETERSI’m sorry Caitlin, I just...I hadto do it. Look, I’ll get thereporters to stay away. I’ll gettime off, I’ll get-.

CAITLINChris, just stop. It’s not just thepublicity, everyone I’ve seen atthe community centre has given me adirty look. Including Otto Scott, Ithink I’ll even be let go fromthere soon.

PETERS

You won’t, you won’t. I promise.CAITLIN

These are people I grew up withChris, real friends and now they

won’t even give me the time of day.Christ, I don’t know how we canstay here anymore.


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PETERS Well, we...we don’t have to. We can move off, towards Dublin like you

said before remember?

CAITLIN

Maybe...maybe I don’t know..PETERS

Caitlin, look...I’m sorry maybe I was wrong to do it-.

CAITLINNo. No, I’m glad you did it butChris, the fallout is going to hurtus love. We’re going to have peopleon our lawns, reporters clawing atus for stories. I don’t want poorJess to be born into that..

PETERS Well, what would you like to do? Whatever you want Caitlin, I’ll go with you. You’re my wife and I’ll

stick by your side, everywhere.

CAITLINI know Chris, I’ll be there for youaswell. But for know, I need timeto think. Just..just head back tothe station, I’ll head home..

PETERS Want me to bring you there?

CAITLINNo, no. I’ll take a taxi, I’ll begrand. I’ll see you tonight Chris..

PETERS is about to say something but CAITLIN has alreadyturned, she slowly walks off towards the road. PETERS gulpsand turns, leaning onto the pier and looks out at the sea, helowers his head and shakes it.

PETERSFuck..

CUT TO:


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INT. DETECTIVE OFFICES - MORNING

PETERS sits at his desk and types on his computer, theoffices are pretty empty with a few people inside and talkingamongst themselves. PETERS glances over at a couple of them

who look over at him before back at eachother. He crosses his

eyebrows and looks back to his computer. Suddenly his phonerings, BZZZ, BZZZ. He picks up the phone.

PETERS (ON PHONE)Yeah, Detective Peters.

Some inaudible talking goes from over the phone, PETERS nodshis head slowly as he leans the phone on his shoulder andpicks up his pen, writing something onto paper.

PETERS (CONT’D)Yeah, alright I’ll be there.

PETERS lays the phone down and rips the page off of thenotepad, standing up. He picks up his coat and walks off.

CUT TO:

EXT. OPEN ROAD, NEXT TO WATER - MORNING

A tow truck lifts up a black Kia Rio out of the water. ManyGarda cruisers surround the area and have blockades. Anambulance is also there. Some cars pass by, being directedaround the scene by the Gards. Up pulls PETERS’ car, parkingoff outside the blockade and on the grass. The engine to thecar cuts and out gets, PETERS. He approaches the blockade andshows a Gard his badge, he gets let into the scene. PETERSstrolls over to GARD BRIAN.

PETERSBrian, what do we have?

GARD BRIANOld Kia Rio, owned by a DustinBoyle. The car was seen by a coupleof kids, swimmers or whatever.There’s talks of there being a body

inside.PETERS

Right, yeah.

GARD BRIANHey eh, how’re you doing anyway?Y’know with the publicity and

whatever.


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PETERSAh, just the media bullshit as perusual. It doesn’t bother me too

much, affects Caitlin more to behonest.

GARD BRIANYeah, couple of guys at the stationare talking shit about you behindyour back and all.

PETERSI’m not surprised.

GARD BRIANMmm, what happened with Lincoln? Hehear about everything?

PETERSI tried to call him but he’s notanswering, he’s probably stone colddrunk after he got suspended.

GARD BRIANYeah, heh.

PETERSBut back to this scene, DustinBoyle, is there anything about him?

GARD BRIANI checked the plates and MDC, he’sbeen missing for a couple of yearsnow. Reported missing by hisparents. Nothing much on his recordexcept for drink-driving and aticket or two.

PETERSRight, I’ll go look into him moreback at the station. Have theCoroner send a report over to mydesk whenever he brings the bodyin.

GARD BRIANYou got it.

PETERS nods his head as he looks at the car being pulled outand turns, walking back to his car.

CUT TO:


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PETERS sits at his desk in the offices, he is laid back andsighs lightly as he picks up a file from his desk and flipsit open. He begins to read through it, a blank look on hisface. Until, he stops on a word. He crosses his eyebrows and

sits forward. He re-reads the word. “Grace Lincoln”. PETERSraises his head up and looks around before reading throughthe file. “Dustin was involved in a drink-driving incident

with his friends Jeremy Harmon and Grace Lincoln from school,they drove out together at night while drink and wereinvolved in a head on collision with another car. Dustin andJeremy returned from the crash with a few fractures andcracked ribs while Grace was killed instantly as she had noseatbelt.”

PETERS widens his eyes and gulps once as he reads through thefile. He sits back in his chair and his mouth is wide open,he looks around for a couple of seconds and puts his handsover his face. He lowers his hands and looks up to anotherfile, “Dustin Boyle Disappearance”. He picks up the file andflips it open quickly, reading through it.

PETERS (MUMBLING)Please no, please fucking no.

PETERS reads through it and eventually comes to the end ofthe page, he rolls his eyes and places his hand over hisface. “OFFICER IN CHARGE - DET. MICHAEL LINCOLN”.

PETERS (CONT’D)Christ Lincoln, fucking hell..

PETERS shakes his head and looks to the floor. Suddenly, thephone rings. PETERS looks over at the phone and picks it up.

PETERS (CONT’D)Yeah, Detective Peters.

Some inaudible speaking goes on over the phone and PETERSraises his head up, widening his eyes and mouth.

CUT TO:

EXT. BALLINA HOSPITAL - AFTERNOON

PETERS’ car spins into the car park and screeches into aparking spot. He quickly hops out of the car, slamming thedoor after him. He sprints towards the hospital door, past afew people.


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INT. 4TH FLOOR, BALLINA HOSPITAL - AFTERNOON

The elevator doors open, PETERS rushes out and passes manypeople. He walks to the nearest doctor.

PETERS

Caitlin Peters, where is she? Whatroom? I’m her husband.

DOCTORThe second last room at the end ofthe hall.

PETERS looks up and begins to rush down towards the door, heopens up the door and walks inside.

INT. HOSPITAL ROOM, BALLINA HOSPITAL - AFTERNOON

PETERS stands in the doorway and looks up at the hospitalbed, CAITLIN lays in the bed. A large bruise on her head anda few cuts on her face and arms. PETERS widens his eyes and

mouth, tears fill his eyes. He slowly approaches her, heshakes his head slowly and lowers his head.

PETERSOh Jesus Christ, no. No, no, no..

He pulls up a seat next to her and starts to cry, he sitsdown and lowers his head, grabbing her hand and putting theminto his. PETERS begins to cry.

CUT TO:


PETERS sits outside the hospital room, cup of coffee in hand.His eyes are red, still teary. His head is low and he is indeep thought. Up walks a doctor, PETERS stands up.

DOCTORMr Peters, sorry for keeping youfor so long.

PETERS What happened to her doctor?

DOCTORI’m afraid she was involved in acar crash, I’m sorry to say MrPeters.


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PETERS Wh...what’s her condition doctor?

DOCTOR Well, Caitlin is fine. She just has

a few bumps and cuts. Worst thing

she has is a dislocated arm.PETERS

What about her uhm...her…

The DOCTOR gulps and pulls a sad face, nodding his headlightly.

DOCTOR We’re doing the best we can at the moment Mr Peters, the child’s

condition is...critical. I’m afraid we’ll have to go with a C section.

PETERSBut...but she’ll be alright?

DOCTORI can’t say right now, her chancesare not the best. But we will doeverything we can. But if I wereyou, I’d head home. Try and getsome rest. We should have someresults soon. We’re getting theequipment for the C section now.

PETERS nods his head slowly as the DOCTOR walks away and backinto the hospital room. PETERS holds his hand on his hips, hebegins to blink fast and breath fast. He stands for a coupleof second and looks around, a look of anger on his face.

CUT TO:

INT. PETERS' HOME - NIGHT

The front door to PETERS’ home opens, in rushes PETERS and abag in his hand. He slams the door shut, his shirt is

untucked, his hair is unadjusted and his tie is untied. He walks into the sitting room, turning on the light. He sitsdown on the couch and slams down the bag, he throws off hisjacket. He opens up the bag and takes out a glass of whiskey,then a glass. He opens up the bottle and pours himself aglass of whiskey. He picks up the glass and drinks it down.

Then another.

Then another.


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Then another.

Then another.

CUT TO:


PETERS sits at his desk, his eyes are red and barely open,his shirt is rough and his tie is poorly tied. He sits at hisdesk and looks down at a file, the Dustin one. He stares downat it and looks up.

PETERSFucking Lincoln..

PETERS picks up his coffee and takes a sip of it. He staresdown at the file for a couple of seconds before jumping up,picking up his jacket.

CUT TO:

EXT. LINCOLN'S HOME - MORNING

PETERS’ car pulls up to the curb and screeches to a halt. Thedoor opens and out gets PETERS who stares up at the house, inanger. He slams the door shut. LINCOLN’s car is missing.PETERS stamps his way up the steps to the door and slams hisfist onto it multiple times.

PETERS (SHOUTING)Lincoln! Open up! It’s Chris!

Silence, no movement. PETERS stands for a couple of secondsand waits. He chews his gums and bangs on the door again.

PETERS (SHOUTING) (CONT’D)Come on pal! Open up! It’s me!

Nothing.

PETERS (SHOUTING) (CONT’D)

Look buddy, open the fuckin’ doorbefore I have a team out here tobust it down yeah?!

No movement. PETERS waits and shakes his head, turning and walking down the steps. He goes to his car and opens up the

door, leaning in. He picks up the speaker.


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PETERS (ON RADIO) (CONT’D)This is Detective Peters, I need ateam down at 175 Sligo Road rightnow. Armed and ready. This is to do

with the Dustin Boyledisappearance, over.

PETERS lowers the speaker back onto the radio and stands up,slamming the door. He turns and stares up at LINCOLN’s home.

PETERS (SHOUTING) (CONT’D)They’re on their way! Last chanceLincoln!

The house stands still, no movement or sounds from inside.PETERS stares up at the house and looks around.

CUT TO:

INT. LINCOLN'S HOME - MORNING

The front door of the house bursts open, in rushes PETERS anda couple of other Gard’s, pistols raised. They rush throughthe room, it is empty with barely any future left. PETERSlooks around the room as he moves towards the bedroom. Hekicks the door in. Empty.

GARD #1 (SHOUTING)Clear!

GARD #2 (SHOUTING)Clear!

PETERS comes to the office door and raises his leg, kickingthe door in. He rushes inside, gun raised and ready forsomething. Empty, nothing but a desk, chair and bookshelf.

GARD #3It’s all empty, no one here.

PETERS lowers his gun in anger and shakes his head, lookingdown.

GARD #3 (CONT’D)Sorry boss.

PETERS turns and sends a hard punch into the wall, causing asmall hole in it. His hand is now red, the knuckles cut andeven bleeding.


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PETERSPut out a BOLO and search party forMichael Lincoln.

CUT TO:

INT. VISITING ROOM - MORNING

We pan through the visiting room, it is pretty much empty with no one around until we get to the end, a man sits in a

chair and has a cap on. A buzz sound occurs, the man turnshis head slightly. The door on the other side of the glassopens and a youngish man, late 20’s, black hair, small beard

walks out in a prison jumpsuit. He walks slowly towards theend of the room as the door behind him closes. He reaches theend and looks through the glass, crossing his eyebrows andsitting down. He stares across at the man, he picks up thephone.

YOUNG MANHello?

The MAN raises his head up at the YOUNG MAN, it is LINCOLN.He picks up the phone.

LINCOLNYou remember me?

YOUNG MANN- oh, oh Jesus. You’re...you’reGrace’s da-

LINCOLNShut the fuck up, don’t you say hername. Don’t even think about it.

YOUNG MANI’m sorry, really. I’m sorry aboutthe whole situation...I...I. Whatdo you want from me?

LINCOLNI’ve heard you’re making an appeal

to send to a judge. Try and get outtwo years early.

The YOUNG MAN gulps, he is scared for his life. He nodsslowly.

YOUNG MANYeah…


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LINCOLNI thought I told you...three yearsago, or near abouts. You don’t makean appeal and you serve your time.

YOUNG MAN

I...I thought maybe-.LINCOLN

Or else I’d get you myself and burnyour balls off with acid.

The YOUNG MAN raises his eyebrows and he starts to breathquicker. LINCOLN leans forward.

LINCOLN (CONT’D)But I realised, that’s toochildish. No, no. I’d get you, beatthe living shit out of you and thenburn your balls off. Then cut offyour fingers and burn out youreyes, cut off your lips.

The YOUNG MAN shakes his head as LINCOLN talks, heinterrupts.

YOUNG MANI’m sorry, the drinking wasn’t myidea! Dustin came up with it! Iswear!

LINCOLNShut the fuck up, I talked withDustin.

The YOUNG MAN widens his eyes and gulps, his breathing rateincreases.

LINCOLN (CONT’D)You got her drunk, him drunk andgot him to drive the car. Youcaused all the mess and got twoinnocent people killed.

YOUNG MANI...I..

LINCOLNIf you ever get out while I live,I’ll hunt you down and do just as Isaid. Word for word and make sureyou live. Think about it all eh?Before you send in that appeal.


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LINCOLN hangs up the phone and stares at the YOUNG MAN beforehe stands up, turning and pushing in his chair. The YOUNG MAN

watches him leave as he sits in the chair, breathing quicklyand holding onto the phone for his dear life.

CUT TO:


PETERS sits in a chair and is leaning down, hands together.His hand is still scarred and cut. He is praying and his eyesare shut.

PETERS (WHISPERING)Lead us not into temptation butdeliver us from evil, amen.

PETERS sits up and blesses himself. He looks around beforeseeing a DOCTOR walk up to him, the DOCTOR gulps and lowershis head.

PETERS (CONT’D)Doc? How did it go?

DOCTORJust...follow me to your wife’sroom Mr Peters..

The DOCTOR turns and walks towards CAITLIN’s room, PETERSexhales once and follows.

CUT TO:

INT. CAITLIN'S ROOM, BALLINA HOSPITAL - AFTERNOON

PETERS sits next to CAITLIN at her bed, hand in hand. Theyboth look up to the DOCTOR who stands and flips through afile book. He closes it and looks up.

DOCTORI’m sorry to have to tell you this,Mr and Mrs Peters but your child,

Jess could not survive the Csection.

PETERS places his hand over his face, CAITLIN opens her mouthand starts to cry, she shakes her head.

DOCTOR (CONT’D)I’m afraid the car crash was toostrong for her to handle.

(MORE)


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DOCTOR (CONT’D) We’ll hold her here until you want

to check out with her. Again, I’mreally sorry for your loss. Youhave my sympathies..

The DOCTOR gulps and turns around, opening the door and walking out. PETERS has his head down and his hands together,shaking. CAITLIN looks over at him.

CAITLINOh my God...my...my poor Jess.I...oh Jesus Christ.

PETERS squeezes his fists as he keeps his head down andcontinuing to shake, he raises his hands up through his hair.

CAITLIN (CONT’D) What are we going to do Chris?

I...I can’t. Oh Christ. What are wegoing to do?

CUT TO:


GARD BRIAN walks down the hall towards CAITLIN’s room. Hepaces quite fast. The door to CAITLIN’s room opens and out

walks, PETERS. A dark and blank look on his face, dried tearslay on his cheeks. GARD BRIAN flicks his chin up to him as he

walks out.

GARD BRIANOh Chris, bud. I heard whathappened to Caitlin, came straightaway. I’m so fucking sorry to hear

what happened man.

PETERSThanks Brian...thanks. Iuh...what’s happened with the Boylecase?

GARD BRIANThe Boyle case? Well, erm his body was in the trunk, yeah. He’s been

dead a couple of years, it’sLincoln who we think killed himthough. He was the last person totalk with him and he brought himout for a ‘conversation’.


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PETERSYeah...yeah. Any luck on theBOLO’s?

GARD BRIANI haven’t checked but look, Chris I

really am sorry to hear whathappened. Is there anything I cando for you or Caitlin? Anything.

PETERSI uh...was anyone brought in forthe crash?

GARD BRIANThere was one guy at the scene, areporter. He uh basically wasfollowing her to try and get astory. About the whole thing youdid with the GSOC...he gave a storyat the station and paid bail, thengot out. His name was Leo Krueger Ithink.

PETERSHis address?

CUT TO:

EXT. THE GLEBE, CHURCH ROAD - NIGHT

We pan across the road from a house through a neighbourhood,some lights are on in houses but the area is generally coldand empty. We come to PETERS’ car, he is sitting in his carand staring over at a house. A look of anger on his face.

GARD BRIAN (V.O)894 The Glebe, Church Road. Butlook Chris, I know you’restruggling but don’t pull of anybad shit that could end your careerokay? You’re a good man, don’tthrow it al-

PETERS (V.O)Yeah, yeah I get it Brian. I..Idon’t think I’ll do anything.Thanks for coming here, it means alot to me and to Caitlin.

PETERS stares up at the house, raising up a bottle of beerand drinking from it.


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He sniffs as he stares through a window, a man, LEO KRUEGERlate 40’s, plump, curly black hair, is inside the house anddoing the laundry. PETERS exhales deeply and turns his head,looking over to the other seat. His gun lays there on it. Helowers his head and looks up before looking back across atthe house. He takes a couple of more swigs from his bottle.

INT. KRUEGER'S HOME - NIGHT

KRUEGER stands at an iron bench, he pushes his iron up anddown some clothes. It hisses as it does. He hums an old hymnas he does so. The TV plays in the background, next to an oldgrandfather’s clock. He glances up towards the TV sometimes.Suddenly a large banging is heard at the door. KRUEGERcontinues to hum the hymn and lays the iron down. He turnsand approaches the door, opening it up.

LEO KRUEGERYes, hello?

PETERSLeo Krueger?

LEO KRUEGERThat’s me, aha. Who are you? Whatcan I do for you?

PETERS raises up a picture, it is CAITLIN. LEO is smirkingand looks down at the picture, his smirk quickly vanishes. Helooks back up at PETERS.

LEO KRUEGER (CONT’D)Look mis-

PETERS sends a quick hard punch to LEO’s face. LEO falls backinto the house, regaining his balance. PETERS rushes insideand slams the door shut. LEO regains his stance before PETERSsends another punch to his face. LEO stumbles back and tripsto the floor, over a wire. PETERS slowly walks over to LEO.KRUEGER shakes his head slowly at PETERS, his nose bleeding.

LEO KRUEGER (CONT’D)Pl..please mister. I-I’m so-!

PETERS kicks LEO in the side multiple times.

PETERSShut the fuck up! You killed mydaughter, and my family. You fatlittle fuck!


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LEO groans in pain. PETERS continues to kick until he stopsand looks up at the iron, he reaches across and picks up theiron. He knees down beside LEO and grabs him by the neck, hepushes his face down. LEO starts to groan louder and struggleslightly. PETERS lowers the iron down onto LEO’s face andburns the left side of it. LEO shouts in pain.

LEO KRUEGERAGGHH!

PETERS holds the iron down for a couple of seconds beforelifting it up. He stands and lays the iron down onto the ironbed. He then slips out his gun from his waistband and raisesit up to LEO’s head. His hands are shaking. LEO shivers inpain and holds his hands up at PETERS, shaking them.

LEO KRUEGER (CONT’D)No, no! Please! I-I’m sorry! Ididn’t mean to do it, please don’tshoot me!

PETERS crosses his eyebrows as he holds the gun down to LEO,the gun is shaking. PETERS re-aims at LEO and attempts toshoot him. He can’t, he stands there and keeps shaking. Heeventually lets up his eyebrows and looks down to the gun,opening his mouth slightly. PETERS shakes his head.

PETERSN...no…

PETERS lowers the gun and looks around before placing the gunback into his waistband. He steps back in fear and looksaround the place. He rushes to the door, swinging it open andrushing out. We stay with LEO who curls up into a ball as hebegins to cry. Out the front window, we can see PETERSrunning over to his car. LEO keeps crying, although hiscrying almost sounds like it has bits of laughter. PETERS isseen opening the car door and getting inside.

CUT TO:

INT. PETERS’ CAR - NIGHT

PETERS closes the door of his car and breathes quickly,looking around. He quickly takes out his keys, placing theminto the keyhole. He turns on the engine and shakes his headonce as he presses his foot down onto the car pedal.

PETERS speeds through traffic as he places his hand throughhis hair, he is crying now. We see PETERS car speed onto a

motorway, a large revving sound is heard.

CUT TO:


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EXT. CONSTRUCTION SITE, NEXT TO MOTORWAY - AFTERNOON

A large revving sound is heard. A man stands at aconstruction site and appears to be building something. Wepan down towards the man, it is PETERS, 50’s, big hair with afringe on his forehead, growing bushy beard. He stares at the

motorway and the cars passing. He is stuck in deep thought,he lowers his head and turns it back to his building. Helifts up his screwdriver and screws something in.

EXT. CONSTRUCTION SITE, NEXT TO MOTORWAY - SUNDOWN

PETERS is now sitting at a table, all on his own. His toolkitnext to him. A cup on the table and a cigarette in his mouth,he stares off around the construction site. Many otherbuilders in the background. The sun begins to lower.

EXT. CONSTRUCTION SITE, NEXT TO MOTORWAY - EVENING

PETERS walks towards his car, an Opel Astra 2014 , his jacketover his shoulder and toolkit in hand. He opens up thebackseat and throws in his toolkit and jacket. He closes thedoor and looks around at the vast, empty construction sitebefore he hops into the front seat.

CUT TO:

INT. PETERS' CAR - EVENING

PETERS drives along an empty long road in silence, as theradio plays. “It ain’t over yet - The Allmann Brothers” playson the radio. He keeps his eyes fixed on the road as hecontinues to drive. Suddenly, he starts to hear a faintnoise, getting louder and louder. He raises his head up a bitand looks around for a couple of seconds. He turns off theradio. The sound is still going. The noise gets louder. HONKHONK HONK. PETERS looks up into the rear view mirror, a greyToyota Corolla speeds up behind him. A person is driving thecar, his face isn’t seen. But he is honking his horn and andflickering his car lights.

PETERS crosses his eyebrows as he looks into the mirror andlooks forward, gulping once before he moves the steering wheel to the right. He pulls over.He turns his head to his

left, expecting the Corolla to drive around. It doesn’t. Itpulls up behind him. PETERS looks into his mirror, thedriver’s door to the Corolla opens. PETERS turns his head tohis right and opens up the glove compartment, removing a coltModel .32. He slips it in between his seat and cup holder.


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23.

We see some legs marching towards PETERS’ car, cheap trousersand boots on the person’s legs. The man finally comes toPETERS’ car door, PETERS looks upto the man. It is LINCOLN,52, long hair, mustache, red glassy eyes. He leans down ontothe car window. He nods once to PETERS

LINCOLNPeters.

PETERSDo I know you?

LINCOLNHeh, you don’t remember me?Partner?

PETERS raises his head and nods slowly, looking down.

PETERSLincoln..

LINCOLNLong time no see, hm?

PETERS What do you need Lincoln, why you

pulled me over here?

LINCOLN We need a talk.

PETERSA talk? Hm, nah I don’t haveanything to say to you Lincoln.

LINCOLNI’ll buy you a beer, c’mon follow

me.

PETERSBut what do yo-

LINCOLN doesn’t even stop, he turns and marches back towardshis car. PETERS watches him go and sighs in frustration. He

turns his head back down. He slips his hand in between hisseat and the cup holder, removing his colt. He slips it intohis waistband, he looks into the rear view mirror with anangered look. He turns on the engine. The Corolla drives upthe road. PETERS presses his foot down onto the pedal.

CUT TO:


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24.

EXT. MERRY MONK - LATE EVENING

The Merry Monk is pretty much deserted and much older lookingthan it was before, less cars, aged design etc. PETERS’ andLINCOLN’s car are one of the only few cars in the parkinglot.

CUT TO:

INT. MERRY MONK - LATE EVENING

The interior of the bar is even more deserted and bare withcheap, old seats and tables around the bar. Some patrons sitaround in the seats. LINCOLN and PETERS sit at a table, abeer each between them. LINCOLN is lighting himself acigarette, PETERS stares at him with anger.

LINCOLNYou look like you’re having a goodretirement.

PETERSMmm, you look like complete shit.

LINCOLN puffs on his cigarette and tilts his head a bit.

LINCOLNTrust me, it’s better than being inthe old suits and uniforms.

PETERS Why’d you bring me here?

LINCOLN We need to talk.

PETERSAbout what? I don’t have nothing totalk with you about, y’know Ishould be bringing your ass down tothe station right now.

LINCOLN

We need to finish off something, wegot unfinished business.

PETERSUnfinished business? Er, no all mydebts are paid off. You sure looklike you got some unpaid debtsthough.


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25.

LINCOLNThe Devil killer.

LINCOLN stares at PETERS as he lowers his hand. PETERS looksback at LINCOLN and chuckles, shaking his head.

PETERSOh, I should have known.

LINCOLNIt ain’t over yet Peters, it’sstill going on. We never fini-

PETERSY’know Lincoln, it was uh a nicetrip down memory lane seeing youagain but I’m gonna head home. I’mtired enough as it is.

PETERS starts to get up. LINCOLN sits back and shakes hishead at PETERS.

LINCOLNGive me a few minutes Chris, a few

minutes is all I ask. I know youdon’t have anything going on oranything to get home to, nah allyou got is a construction job.Stay, if you want to help me findthe real killer. It’s bigger than Ithought.

PETERS looks at LINCOLN and bites his gums in anger, he sitsdown and exhales, looking off to the side.

PETERS What you got?

LINCOLNRight, the uh the Normanfoundation, the churches, the

missing kids, the Devil killer. It wasn’t just the one thing, nah it was something bigger. The whole

thing had all certain types ofsides.

PETERS Why are you still going on about

all this? It’s all over, Norman’sdead, McMann retired-.

LINCOLNOtto Scott’s still in power.


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26.

PETERSFor a small little while, until heretires. Besides there was no proofhe was involved in the situation.

LINCOLN

He was in their circle jerk, lookChris I need you to come see what Ihave. I’ve uncovered some big shit.

PETERS shakes his head, smirking in disbelief. LINCOLN’shands start to shake, a sense of desperation in his voice.

LINCOLN (CONT’D)There’s big things, big people.Politicians, reverends, Gardai,developers. All involved.

PETERSAll in that one thing? All involvedin the cover-ups? Ha.

LINCOLNYou have to see what I got. I needyou to help me.

PETERSLook Lincoln, I’ll uh I’ll give yousome friendly advice before I hitthe road. Get some sleep, get somehelp and get some friends, you looklike you haven’t seen the inside ofa bed for a whole year and haveonly seen the inside of a bottle.This whole story you’re on about,pure gibberish. It’s like you’vebeen drunken so much you made upthis story to make your life worthliving or something you need to do.

LINCOLNI haven’t seen the inside of a bedno, neither have I had a personalconversation with somebody except

for you in the last few years. LookChris, just come see what I got.

PETERSNo, y’know what I think I’ll go. Idon’t want my life to end up in theshitter like yours Lincoln. I’vebeen pretty clear here, I don’t

want to help you.(MORE)


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27.

PETERS (CONT’D)Until we meet again in hellLincoln, don’t talk with me.

PETERS stands up and picks up his jacket, throwing it overhis shoulder. He lays down some cash on the table and turns,

walking for the door. LINCOLN shakes his head in frustration,he lowers his head.

LINCOLNThis is not what Jess would wantChris, not at all.

PETERS stops, his eyes widen in anger and his lips twitch. Heturns around and looks back at LINCOLN, slowly approachinghim.

PETERSDon’t you dare use her fuckingname, don’t even think about myfucking daughter you drunk littleshit.

LINCOLNLook I’m sorry for bringing upyour-....her. But we have a debtbuddy, yes “we”. This is all on youtoo. After everything went down in‘04, that was you too.

PETERS stares LINCOLN down in anger, his fists squeezed.

LINCOLN (CONT’D)I wouldn’t have called after you ifthis wasn’t important or necessaryChris. I, really, need your help.

PETERS slowly lets up and starts to breath heavier, heglances down at the floor before back at LINCOLN.

PETERS What is it you have?

CUT TO:

INT. LINCOLN'S CARAVAN - NIGHT

The door to the caravan opens up, in walks LINCOLN with hisbeer in hand and PETERS follows, his beer in hand. LINCOLNswitches on the light to the caravan. He closes the doorbehind PETERS.


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28.

LINCOLNThe place ain’t much, I don’t have

much money to begin with so this isthe best place I could get.

PETERS

Hmpf, well it suits you.LINCOLN walks further into the caravan, PETERS slowlyfollows. He walks through a small kitchen and lays his beerdown onto the counter. He crosses his eyebrows and lays hishand onto his waistband. A light switches on, PETERS reflexesand tilts his head to his side before looking back up. In theend of the caravan, there is many boxes with different datesand words written on them, there is pictures on the wall, a

map with points on it. LINCOLN places his jacket onto a cheapchair and lays his beer down.

LINCOLNNow, the first thing I think Ishould mention about the wholeBeasley/Devil killer arrest is thatthere was no DNA or physicalevidence of Beasley’s connecting toMorgan’s home or Morgan himself, noconnections or nothing. Funnilyenough no one came to bring that up

PETERS Which we know, Devil killer with no

connections.

LINCOLNNah, I’ll get to that in a second.But secondly.

LINCOLN approaches the map and places his hand onto it,pointing at the marked places.

LINCOLN (CONT’D)Ever since the late 80’s, youngchildren have all gone missingunder mysterious circumstances. All

with some connections to schools or

churches funded by Judas Norman andhis foundation. Or they went missing in a close area to a school

or church. Case in point, HenryRollins, Emma Thomas. Now if youlook here, each of the kids who

went missing were all apart of someJudas Norman building.

(MORE)


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29.

LINCOLN (CONT’D) Whether he owned it, built it,

funded it, whatever. Orphanages,schools, churches, hostels.

PETERS

Right, so you’re linking this tothe Devil killer right? Get aconnection somewhere in it. Unlessyou’re saying the Devil killer issome sort of school teacher orpriest involved in the Normanfunded buildings?

LINCOLNThat’s what I’m thinking, yeah. Butthere’s other things. I found somesort of connection.

LINCOLN goes towards a box and opens it up, taking out twofiles. He turns and passes them to PETERS.

LINCOLN (CONT’D)Two of the Devil killers victims,Jason Myers and Julie Barnes. Myers

was a plumber remember? One of hislast jobs was at a school, ElkCreek Charter School, a schoolfunded by the Norman foundation.

PETERSShit.

LINCOLNAnd Julie Barnes was a teacher atTranquility Elementary, where HenryRollins and Meghan Bloom went.

PETERS Well...you’ve got something there

Lincoln, but if you plan to bringit to court you’ll need somethingstronger.

LINCOLNI have something here, uh..

LINCOLN goes over towards a box and opens it up. He begins toroot through it.

LINCOLN (CONT’D)Some of the children who went

missing, I got some pictures ofthem from when they were last seenand some crime scene photo’s.


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30.

He pulls out a set of photo’s and approaches PETERS, he looksthrough them. PETERS lays down the files after he stopsreading them. He passes them to PETERS.

LINCOLN (CONT’D)I’ve looked through all of them,

not all have it in common but agood few do. The first few thereare the one’s that are similar. Yousee that truck in the back?

PETERS begins to look through the photo’s, the pictures wouldbe of children smiling, parties in the background and some

would be of open streets. LINCOLN points onto some of thepictures, sometimes up close or in the background would be abeige Landrover Defender 90 TD5 - 2004, with it’s licenseplate seen in some photo’s.

PETERSUh huh. Well that is something.

LINCOLNI think maybe he had a job as aplumber, painter, builder or maybehe is a teacher, but one who comesto houses. A home school teacher,I’ve been looking into stuff likethat but I’ve come up with nothing.

PETERSYou think this is the Devil killer?

LINCOLNMaybe, to me it is. Why was Normanso quick to shut the whole Devilcase down hm? Before there was evena proper investigation intoMorgan’s death, there was already asquad from out of town packed andready.

PETERSAnd you think that maybe others areinvolved? That this goes higher

than it already is?LINCOLN

That’s right.

PETERSchuckles Christ, what turned youinto this, man?

(MORE)


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31.

PETERS (CONT’D)You were a prick before, but you atleast could be a good detective.Now you’re talking politiciansbeing involved.

LINCOLNYou seen the business that JudasNorman was involved in hm?Construction, land deals, churchdeals, business deals. All withbusinesses and private limitedcompanies from out of the county.His whole, foundation that he setup all had backings andshareholders from big people. Forexample.

LINCOLN turns to a table and flicks through old articles,pulling out one and handing it to PETERS.

LINCOLN (CONT’D)Right after the kids started going

missing in 89, Judas Norman and arising construction company, EuroConstruction shake hands and joinforces. Euro Construction joins theNorman foundation fund. And

wouldn’t you know it? You rememberBeasley? How all the evidence wasconveniently found by the FintanSquad in his shed?

PETERS reads through the article “HERO BALLINA ACTIVIST ANDEURO CONSTRUCTION LEADER, JOIN FORCES”. JUDAS NORMAN and aMAN IN A SUIT are seen grinning and shaking hands. PETERSlooks upto LINCOLN as he talks.

LINCOLN (CONT’D)Beasley’s shed was made by EuroConstruction, they had justfinished a couple of hours at thatbefore the Fintan Squad camerolling down.

PETERSChrist Lincoln, you’re..you’regiving me a lot to absorb here. But

what makes you think that the Devilkiller actually works with Normanon all of this? I mean, have youruled out the possibility that it’stwo different things?


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32.

LINCOLNNo I haven’t, look I uh there’s anarticle around here somewhere. Notsure where, but back in 2001, aclass from one of Norman’s schools

went on a class trip to Boyle. On

that same trip, one of the children went missing.

PETERS holds out his hands, nodding slightly.

PETERSSo, it must be a teacher then? Thechildren were in their care.

LINCOLNNot exactly, but on the same

weekend this happened, apolitician, Brent Lee was stayingin Boyle with his family on avacation. And he died, stabbed inhis hotel room late at night. Lee

was a fighter against Norman in apolitical election.

PETERSThe Taoiseach.

LINCOLNExactly, now I checked up with someDetectives at Boyle on theirinvestigations. They had found someevidence to the killer, they foundout where he was staying. A room ata B&B, they checked it out and hesaid he came across some metalfigurines as he called them. Remindyou of something?

LINCOLN picks up some pictures and shows them to PETERS wholooks down on them, pictures of the metal burnt stickmen in aroom all on it’s own.

LINCOLN (CONT’D)

Now, that school shut down wayafter that disappearance happened.Accusations of child mistreatmentand molestation, partially stemmedfrom that child disappearance.

(MORE)


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33.

LINCOLN (CONT’D)Anyway, I looked into the wholething and a couple of things stuckout to me, one of which being thevice principal Larry Shield.

CUT TO:

INT. HOUSE PARTY - NIGHT

We pan through a house on the first floor, the place iscrawling with people all dressed in different tight clothes.Some men and women are kissing, women dancing and half naked.The place is mostly dark except for disco lights shiningaround it. We finally come towards LINCOLN, walking throughthe crowd. He sticks out like a sore thumb, he wears a cheapblue shirt with a vest underneath and he has his long hair.He marches throughout the party and comes into a room, where

we see LARRY SHIELD, 40’s, slick black hair, drunk, goodlooking with some girls and guys, laughing. A beer in hishand. LINCOLN approaches.

LINCOLN (V.O)He’s some sort of party animal,frequently attends hush hush one’s

with prosts whatever.

LINCOLN (CONT’D)Larry Shield.

LARRY SHIELDThat’s me buddy, but if you’relooking for friends it ain’t here.

LINCOLNI’m not looking for friends, I’mlooking for information.

LARRY SHIELDOh yeah? On what?

LINCOLNThe Norman Foundation and his

schools.LARRY SHIELD stops, he turns and looks to LINCOLN, a look offear and discomfort on his face. He nods his head lightly.

LARRY SHIELDYeah...how about you give me a

minute and let me get a refill eh?I’ll see you in a sec.


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34.

LARRY nods his head lightly and pats LINCOLN on the shoulder,he turns and walks off.

CUT TO:

EXT. HOUSE PARTY - NIGHTLARRY SHIELD stands at his car door, he flicks through hiskeys and is visibly shaking. He shakes his head as he looksthrough it.

LARRY SHIELDC’mon, c’mon…

LINCOLN (O.S)They say the stupid flee and thesmart lie. I find that line full ofshit but sometimes, people like youprove it to be true.

LARRY SHIELD turns his head around quickly out of fear anddrops his keys. LINCOLN stands there infront of him, noddinghis head slowly. LARRY gulps and begins to breath heavily.

LARRY SHIELDYeah...uh..yeah, I just want touhm..ge-get something out of my-.

LARRY attempts to throw a punch at LINCOLN but he is quickand not drunk, he blocks the punch and grabs LARRY’s arm,twisting it and shoves him against the car. LARRY slightlyscreams in pain.

LARRY SHIELD (CONT’D)Ah, argh fuck. Arg, alright,alright I get it!

LINCOLNGoing to try and throw a shit punchlike that again? Go ahead, butremember after that nothing’s goingto stop me from beating you.

LARRY nods his head slowly as he quietly squeals in pain,LINCOLN waits a second and let’s go of him. He steps back.LARRY shakes his hand around and glances to LINCOLN.

LARRY SHIELD What do you want to know?

LINCOLNYour old school, the Normanfoundation. What happened in it?


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35.

LARRY SHIELDI don’t know much to tell you,Judas Norman set up the schools aspart of his foundation.

LINCOLN steps closer to LARRY, raising up his hand a bit.

LARRY backs off and raises his hands.LARRY SHIELD (CONT’D)

Okay, okay. There was someallegations, thrown at the schoolabout child mistreatment or

whatever. We shut down after that,nobody was attending.

LINCOLN Were the allegations true?

LARRY SHIELDThey...they were..they were-.

LINCOLN Were they true?!

LARRY SHIELDYes...yes they were true, but lookI never took part in it okay? That

was all the Brothers who owned it,not me alright?

LINCOLN What happened there hm? What

happened?

LARRY SHIELDThere was, oh my Jesus...children,taken down and oh fuck, no I can’tsay..I fucking can’t…

LARRY begins to break down, tears comes to his eyes and heplaces his hand over his face.

LARRY SHIELD (CONT’D)Children were taken by some priests

down somewhere and they did theirthings. But...but like I said Inever took part in it, I never doneshit like that.

LINCOLN sighs and looks around, shaking his head. LARRYraises his hands up.

LARRY SHIELD (CONT’D)All I took part in was the parties.


37/48


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37.

INT. LINCOLN’S CARAVAN - NIGHT

LINCOLNNow, Shield mentioned parties withprivate prostitutes, held by someunknown guy but I think, it all

leads back to Judas Norman.LINCOLN walks to a picture on the wall of JUDAS and points atit. PETERS crosses his eyebrows.

PETERSHow’s that?

LINCOLNThink about it, he was looking torise through the government right?Remember when Oliver Todd said thathe saw Balor, at big parties? Ithink that was big alarm bells forNorman, that’s why he had to getrid of Todd quick. Well this washis way of cutting corners, prostparties, make friends, get dirtanything he can find to help him.And now I think that maybe Heath ispicking up these old files andusing them for himself. He’salready on his way to getting LordMayor status and he’s not even 35years old yet.

PETERSTodd’s death, from him being at theparties? How would Norman find outabout that though?

LINCOLNFrom his man on the inside.

LINCOLN turns and picks up a file from a table, he opens itup and shows PETERS. The file has a name in it, “JOSEPHKAPLAN - BACKGROUND HISTORY”

LINCOLN (CONT’D)Joe Kaplan, you remember him asthat guard on duty at Todd’s death?Yeah, well he was also on duty whenGerry Williams took his tongue downhis own throat. Joe also got apromotion once, on recommendationof Judas Norman.


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PETERSChrist. But what about the missingkids? What’s with all of them?

LINCOLNI think they’re at the parties

aswell. Todd was arrested for child molestation right? Well I thinkthat makes it more likely that’s

what he got at the parties, that’s why the children go missing. Now I

have a source here I went to, TaraMorton, she went to one of Norman’sschools back in the early to mid90’s and her family, accused theschool of sexual behaviour. Andshe’s now living out in Clare.

CUT TO:

INT. DINER - DAY

The diner is very busy, coffee is brewing and many peoplestanding at the counter, waiting for their food. We pantowards the front door and in walks, LINCOLN in his cheapclothes. He looks around the diner.

LINCOLN (V.O)Her family called out a priest atthe school for harassing Tara andeventually the rape and torture ofher, even getting her pregnant atthe age of 14.

PETERS (V.O)Christ..

LINCOLN looks towards a booth and sees the back of a woman’shead, sitting all on her own. He slowly walks towards it.

INT. DINER - FEW MINUTES LATER

LINCOLN and TARA MORTON, brunette, dirty, late 20’s aresitting across eachother at a booth, already in aconversation. LINCOLN leans on the table.

TARAI don’t know too much about theschool, who ran it, when it was setup or whatever. Never cared either.


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40.

TARAHe had a weird eye but it wasn’tgolden. He had curly hair orsomething.

LINCOLN

Like this?LINCOLN takes out a page and slides it across the table. TARAlooks down onto it. It is the sketch of the man from earlier.TARA shakes her head.

TARANo, I don’t know what that is butit don’t look like him. He had anormal-ish face.

LINCOLNYou ever see Judas Norman aroundthe schools? Maybe in the basement?

TARAMaybe...I don’t-. I don’t know. Itried to forget all about thatplace. But I think I remembersomething about him coming over.Taking on classes, I have memoriesbut they’re very faint.

LINCOLNThe basement, that happen more thanonce?

TARASomething like that. I think there

was one time, the memory is faintbut I remember some men came andtook pictures. One girl got putinto a small room, never heardlouder scratching in my entirelife. I can still hear it in mydreams.

LINCOLN

One girl? More kids were taken downthere? I never heard anything aboutthat.

TARAYeah, we all got brought down thereonce. About a dozen of us orsomething. I can always rememberthat one man though, the one I saw.

We all were scared of him.(MORE)


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41.

TARA (CONT’D)He had us down there once, forcedsome kids to paint something on the

wall. Can’t remember what. Healways had an old clock, ticking inthe background. And when he came to

us...we could never move.LINCOLN

Was he a school teacher? Janitor?

TARANo, I don’t remember him beinganyone special. I only saw him inthe basement.

TARA leans forward and taps her cigarette, letting some ashfall into an ash tray.

TARA (CONT’D)Couple of weeks into what washappening, we were all scared and

we could never tell anybody. He hada great bit of power over usy’know? And he knew it. One day,some girl went on the run from thebasement while he wasn’t looking.The sounds of anger he made when hefound out, he almost killed us. Hescratched us all. That’s how my Ma’found out. I can’t remember thegirl’s name but she turned up inthe newspapers a little whilelater. She was found, sent to ahospital. I think.

LINCOLN crosses his eyebrows and looks to his left beforelooking back at TARA.

LINCOLNEmma Thomas?

TARAMaybe.

LINCOLNThat all you remember?

TARAPretty much...so many weeks and

months in a therapist’s office.Trying to convince me all it was adream. Tried to have me committedalongside that other girl.

(MORE)


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42.

TARA (CONT’D)And sometimes, with how horriblethat man was. I thought maybe it

was all a dream.

LINCOLN

I’m afraid that ain’t so.TARA

I’ve come to that realisation now.After all, what am I now hm? I’m a24 year old lonely cigarettesmoking woman living with a child Ishouldn’t even have. Only somethingyou could come up with in a dream.

LINCOLN Worst part about dreams is.

Beat. LINCOLN looks up to TARA.

LINCOLN (CONT’D)One day, you might never wake up.

LINCOLN stares at TARA for a moment, she stares back beforelowering her head and she exhales once before she looksaround. She picks up her walking stick and stands up, sheshakes slightly as she gains her balance. LINCOLN stares downat the table. TARA limps slightly to the door, with the helpof her walking stick.

LINCOLN (V.O) (CONT’D)Now, I looked into this ‘man’ whichI believe is Balor.

CUT TO:


LINCOLN stands infront of PETERS, his hands on his hips asPETERS looks through files.

LINCOLN

Nearly everyone of the kids at thatschool were quiet about him and thebasement. I talked with one of them

who went into an anyphylactic shock when I asked about the man.

PETERSSo wait, Balor. He worked at theschool?


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43.

LINCOLNSomething like that, I think soyeah. I got the word out on Balor’sdescription through some people,found some old files. Turns outthere was one girl, said she saw a

man with a golden eye come in andkill her mother right in herhospital bed. The another saw himarguing with a priest. And then allthem kids from the basement.

LINCOLN points his index finger at the sketch of the man onthe wall.

LINCOLN (CONT’D)I’m not sure who he is, what’s hisgame, where he works but he’s thecentre at all of this. The childdisappearances, the Devil killer.

PETERSThe school Tara mentioned, youchecked it out right?

LINCOLNYeah, it was located somewhere outEast. I checked it out two yearsago or something, can’t rememberthe exact location. The place waslong abandoned though.

CUT TO:

INT. BASEMENT, OLD NORMAN SCHOOL - DAY

The basement is very old, looks to have not been in use sincetwo decades ago. There is a faint light shining in from somerectangular windows at the top but are barred up. The door tothe basement is gone but a plastic cover is over it, it blowsslightly in the wind. Everything is silent until, the coveris pulled up and in walks LINCOLN, flashlight in hand andlatex gloves on. He walks inside and lowers the cover. He

looks around and stands still, taking in the location.The room is pretty big and some desk are in the room, theyare covered in cobwebs. LINCOLN raises up the flashlight andturns it on. He shines the light around the room and looks atall the tables and cobwebs. He slowly walks forward as hekeeps his eyes on the floor. He stops and tilts his head,shining the light over to a table on his right. Something issticking out.


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44.

LINCOLN slowly approaches it and turns around the table, heshines the flashlight down onto a metal burnt figure. It iscovered in cobwebs also. He raises his head up a bit andlooks around. He takes out his camera from his pocket andraises it up, taking a quick picture. He lowers the cameraand turns, he continues to walk.

There is lots of janitor equipment, old boxes and brokenchairs in the basement, packed into corners. LINCOLN looks atit all before he sees something at the end of the room. A

mattress. He approaches it slowly and shines his light downonto it. The mattress is old and has faint bloodstains on it.It is infront of a radiator, old knots and rope is tied tothe radiator. LINCOLN knees down as he looks over the bed, helooks towards the rope and squints, raising the flashlight upat it. Faint blood is on it. He lowers his head once andgulps, looking back around.

He snaps another picture as he slowly stands up, he turns hisflashlight around before he comes to a door to the right ofthe bed. A wooden one, old and with cracks on it. LINCOLNcrosses his eyebrows and slowly approaches it. He puts hishand onto the handle and opens it slowly, a high creak soundas he opens. He holds the door open wide and shines the lightinside, it is empty although there is lots of dirt and morebits of blood on the floor and walls. At the back of thesmall room, there is small paintings of stickmen and flames.Some words painted on the wall, even in blood. LINCOLN shakeshis head and lowers it down, he sees something in the cornerof his eye and looks at the back of the door.

LINCOLN shines the light onto the back of the door, multiplescratch marks digging into the wood along with faint bits ofdried blood on the back of the door. There are even some

words like, “help me”, “he’s coming”, “he’s with me, even when I sleep”. LINCOLN has the light on the door before he

takes out his camera and takes a picture.

LINCOLN steps back and closes the door. He steps back. Aswooshing sound is heard. LINCOLN turns around quickly andshines his light behind him, nothing. But as he shines thelight, it hits the wall across from him and he sees on the

wall, a really big eye on the wall with a golden iris. Poorlypainted orange flames underneath it and some more stickmen.

LINCOLN slowly approaches it and keeps the light on it. Hestops at it and looks over the drawing, his breathing changesslightly. He stares into the golden iris.

LINCOLN (V.O)I checked out Tara’s old school,

where this supposedly all tookplace alright?

CUT TO:


46/48

45.


PETERS leans back onto a table and watches LINCOLN who is ata box, rooting through it for something. He pulls out a setof pictures.

LINCOLNIt ain’t been in use since the 90’sbut it was still there, unowned. Itook a look inside and came down tothe basement where I saw all ofthis.

LINCOLN passes the pictures to PETERS who crosses hiseyebrows and a look of disgust and fear on his face, heroutes through the photo’s.

PETERSOh Jesus Christ.

LINCOLNI don’t think this is the onlyschool either, all the otherallegations, the connections. Nah,this ain’t a once off. And thatschool, it shut down in 93 after itreceived multiple complaints, allof which were silenced one way oranother after taken on by theGardai. The school shut down andopened up again in 97 but this timeunder a new name, Pinewood Collegein Foxford with the same priestsand bishops from the old school andbuilt, funded and owned by theNorman foundation.

PETERSAnd what happened with that school?

LINCOLNIt’s still open today, taking inalmost 200 students a year. So farthere haven’t been allegations but

I have my doubts.PETERS sighs in disgust as he looks down at the pictures andlays them down onto a table, LINCOLN shakes his head slowlyas he looks to PETERS.

LINCOLN (CONT’D)I won’t ignore all this Peters, I’mnot letting this go again. I won’tjoin the sheep in the flock.

(MORE)


47/48

46.

LINCOLN (CONT’D)I’m telling you, there’s somethinghere that we have. We can reallyget some more evidence on it, ifyou help me.

PETERSBut like I said earlier Lincoln,everything is over. McMann isliving in some bungalow out inDonegal, Norman’s dead from astroke and Otto Scott’s on the wayout.

LINCOLNThe Devil killer is still out thereChris, and it ain’t over yet. JudasNorman’s fuckin’ son, Heath Normanis taking over the family business.He’s trying to get back where hisdad left off. And those childdisappearances? They’re starting upagain, it’s all happening all overagain, like a never ending cycle.

PETERSsighs Well, what do you want mefor? What help you need?

LINCOLNYou’ve got some old friends in thevillage, the station, hell thecommunity centre. I need records,crimes, stats, missing personsreports. Anything I can findlinking to the Devil killer or theNorman foundation.

PETERSI haven’t talked with any of thosepeople in years Lincoln, fuck I’mprobably a ghost to them now.

LINCOLN

Well you’re more of a people’s guycompared to me. And I don’t haveany friends to turn to, never hadany to begin with.

PETERSExcept me? You’re wanting to turnto me after what happened before?


48/48

47.

LINCOLNNo, if I could do it all on my ownI would. Quite frankly, it stillpains me a bit that I have to talk

with you but here we are, this is where fate has brought us again.

PETERSI never thought you’d be quite abeliever in fate, Linc.

LINCOLNI don’t. Anyway, I’ve got a listhere of name’s and records to run.The most important, that licenseplate on the pick-up truck.

PETERSRight, well first things first. If

we’re starting up something likethis. We need a place to expand. Ialready feel like I’m in a sauna inhere.

LINCOLNI’ll work something out. You justget going on them files. Here’s thelist that I want you to look into.

LINCOLN turns and walks to a table, picking up some pagesbefore taking one out. He turns and walks to PETERS, handinghim the page. PETERS takes it and looks through it.

LINCOLN (CONT’D)Keep an eye out for any patterns,re-occuring name’s, addresses

whatever.

PETERS nods as he reads through the list and looks up toLINCOLN.

FADE TO BLACK

The Scent of Light Episode 4- 11 Years Later

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Transcript of The Scent of Light Episode 4- 11 Years Later