the scent of light episode 1 the darkness

8/16/2019 The Scent of Light Episode 1 the Darkness

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THE SCENT OF LIGHT "EPISODE 1 - THE DARKNESS"

written by

Guy Goldstein

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THE SCENT OF LIGHT"EPISODE 1 - THE DARKNESS"

WRITTEN BY

CIARAN MAHONY

Ciaran Mahony

61 St David’s Park

Artane, Dublin 5

(555)555-5555

Email Address


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FADE IN:

A large, lonely hill standing still in bright green grass. Alarge ray of sunlight dawns over the hill. It is a normalSpring morning.

FADE TO:

A town, Ballina. The ray of sunlight dawns over the villagein the early morning. A small amount of cars passing through,a few people walking about through the streets, shopkeepersturning on the OPEN sign light. A man walks down a street, astack of posters in hand. He stops and sticks one up onto a

wall next to a small shop. “INTEGRITY IRELAND, Encouragingopenness, transparency and justice in the institutions of theIrish State, and serving as a support network for wrongedcitizens.”

FADE TO:

EXT. OLD, DIRTY TWO STORY HOUSE. MORNING

An old two story house, in rotting white paint. Sitting aloneand surrounded by towering trees over it. The windows haveblinds over them and no light. Until, the light in the lowerleft window suddenly shines on.

CUT TO:

INT. COMMISSIONER MCMANN'S OFFICE - DAY

CHRISTOPHER PETERS, 40's, well dressed, slick brown hair,clear cut suit, is sitting at a desk across from COMMISSIONERAUSTIN MCMANN, 50's, short grey hair, slightly plump.

PETERSLincoln? Well er, I've only knownhim for three months. He doesn'ttalk much but he strikes me as a,er..how should I put it. Strange

man. We don't talk much.

MCMANNHas he talked with you much aboutthe case of the Devil killer oranything?

PETERSEr, not really. He explained to mea bit when we first got together.

(MORE)


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PETERS (CONT’D)Said it was a serial killer, whoburns people. No connections, noprints or anything.

MCMANN

What's he like?

PETERSLincoln, he's er not how I'd saysocial but he seems like a goodDetective. Y'know, he could spot akiller out from the crowd. I'm notsure how he got it, but he's got italright.

MCMANNHave you got into any personalconversations with him yet?

PETERSNo, not really. He uh, he likes tokeep quiet on things. I stillhaven't gotten to see his placeyet. But uh, I did invite him to my

wedding two months back.

CUT TO:

INT. WEDDING ROOM - DAY

PETERS walks through a large crowd of people in a tuxedo,shaking their hands and thanking them. He slowly makes his

way through the crowd until he comes up to a table with a microphone on it. He taps it twice.

PETERSSorry everyone, sorry.

The room goes quiet. PETERS takes out a page and unfolds it.

PETERS (CONT’D)Sorry, needed to write words down.

Ask me to talk my mind about a wedding and I’ll end up going downinto talking about the history ofthe Peters family.

Everyone chuckles.

PETERS (CONT’D) Well, I’d have to say this isprobably the most happiest day of

my life.(MORE)


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PETERS (CONT’D)Ever since four years ago, when I

met Caitlin the love of my life, Iknew she was the one. The minute weconnected our eyes I knew I foundsomeone special. Someone who I

would spend the rest of my life with. Someone who could understand me. Honestly, every moment thingsget hard as a Garda, she’s alwaysthere to help me and comfort me no

matter what. She’s my light at theend of the tunnel. And now with ababy girl on the way, we soon won’tbe alone together.

The audience listens to PETERS and nods in agreement, smileson their faces. A table is then shown in close up, a table isfull except with one seat empty. A nametag infront of it,

“Michael Lincoln”.

CUT TO:

INT. DARK ROOM - NIGHT

LINCOLN, late 30’s, padded out suit, clean cut hair, issitting down on a chair in a dark room, barely lit by onesingle bulb. He is breathing roughly as he looks down at hishands, taking off his bloody brass knuckles.

LINCOLNYou….you have no idea what pain youhad caused me.

A man is on the ground, looking up at LINCOLN. His face isnot seen but blood can be seen around his head. LINCOLNstares down at him.

LINCOLN (CONT’D)Pain that you had caused me andeverything in my life, you...youcaused it all.

LINCOLN squeezes his fists as he looks down at his bloodyknuckles.

LINCOLN (CONT’D)But for the pain you caused me, yougave me an awakening. You showed me

who I really am and gave me asudden realisation. The idea of

what pain really is, what catharsisit can give you and that it is anever ending factor.

(MORE)


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LINCOLN (CONT’D)I never really thought about ituntil now to be honest. But you,you showed me the light of it all.For that, I thank you.

LINCOLN turns from the man.

LINCOLN (CONT’D)But for what you done, I can’tforgive.

LINCOLN turns back, gun raised. The man screams beforeLINCOLN fires a shot, point blank. The man falls to silence.LINCOLN lowers the gun and exhales lightly as he widens hiseyes, gulping. He turns and quickly vomits into a sink.

EXT. UNKNOWN - NIGHT

LINCOLN drags out a body, into a large black plastic bag to acar. The car is a Kia Rio. He pops open the trunk and beginsto get the body in quickly, he is panicking. He drops thebody inside, slamming shut the trunk. He walks forward to thefront door and opens it up, hopping inside. He turns on theengine, letting it roar before driving forward.

CUT TO:

EXT. OPEN ROAD, NEXT TO WATER - MORNING

LINCOLN, now looking to be in mid 40’s, bushier hair, bit ofhair growing on his chin, eyes heavy, is sitting in his car

with a window rolled down. The car is a chauffered sedan. Heis smoking on his cigarette as he looks out at the water.

PETERS (V.O.)I guess you could say he's a quiet

man, I'm not sure I'd call himdangerous but he's not your normalguy walking around the station.Couple of guys downstairs talk shitabout him on the daily. Saying he's

a drunk and an addict. Yeah, theycall him "Detective Sergeant LSD".

He then looks up and stares at a flock of birds, flyingfreely across the sky as he exhales his smoke and sighslightly. His eyes follow their movements to the water beforeLINCOLN suddenly sees something. A young girl, pale whitecomes out from behind a bush and stares at him. He staresback, his mouth open slightly. She waves at him slowly. Hecloses his mouth and gulps, shaking his head and looks down.He shuts his eyes tight, inhaling.


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He opens his eyes slowly and looks back up at where the girl was. She has vanished. He sighs slightly in relief.

LINCOLN leaves his cigarette in his mouth as he turns hishead back inside and looks down at his badge and gun on thepassenger seat. He stares hard at the gun before shaking his

head and looking back forward. The police radio in his carerupts.

RADIO (O.S)Detective Lincoln, DetectiveLincoln please respond.

LINCOLN removes his cigarette and sighs again, picking up theradio.

LINCOLNYeah, Detective Lincoln.

RADIO (O.S)Detective Lincoln, you are neededat 61 Keenagh Street for a crimescene. It is supposedly related tothe Devil case.

LINCOLN closes his eyes and nods.

LINCOLNRight, I’ll be over there.

LINCOLN lays down the radio and sighs lightly as he puts thecigarette back in his mouth, turning on the engine. He drivesforward.

BACK TO:

INT. COMMISSIONER MCMANN'S OFFICE - DAY

PETERS sits across from MCMANN who nods his head slowly andlooks around.

MCMANNSo you'd say he's stable?

Beat. PETERS hesitates before nodding slowly.

PETERSFrom what I've seen, yeah.

MCMANNRight well er, there's somethingI'd like you to meet.


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PETERS nods once. MCMANN puts his finger on a speaker button.

MCMANN (CONT’D)Anne, send in Judas Norman please.

MCMANN takes his finger off of the button. PETERS widens his

eyes and sits forward in his seat.

PETERSJudas Norman? Judas Norman, theLord Mayor?

MCMANNIndeed yes, he’s here to talk toyou about a couple of things.

The door opens, in walks JUDAS NORMAN, 50’s, large grin, greyhair and clean cut suit. He closes the door and walks toPETERS, nodding and shaking his hand.

JUDAS NORMANGood to see you Detective Peters.

PETERSIt’s an honor to meet you sir,really an honor. The things you dofor this county, it’s quitefantastic I must say.

JUDAS NORMANAh stop, I just work to help thepeople as any man should doespecially those who he livesamong. Like you do, am I correct?

PETERSUh yeah, I guess you could say Itry to help out.

JUDAS NORMANYes, yes I seen you helped rebuilda part of that orphanage. Thank youfor that.

PETERSMy dad was an orphan so I guess youcould say I was inspired to buildit, to save others.

JUDAS NORMANYes, yes and I must alsocongratulate you on that Mullencase two months back.

(MORE)


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JUDAS NORMAN (CONT’D)I can’t count how many times he wasan embarrassment to our community.But anyway, to our main topic.

PETERS

Okay.

JUDAS NORMANDetective Peters, I’m going to behonest. Whether you see it or not,this Devil case is scaring theresidents of Ballina. It’s beenthree years now and not a singleconviction. It’s not looking goodDetective.

PETERSI understand sir, we’ve tried

running down every lead there isbut we can’t find anything. There’sno connections to any of the threevictims.

MCMANNFour now, body was just discoveredtoday. A Dennis Morgan orsomething. Your partner Lincoln ison scene.

PETERSChrist.

JUDAS NORMANIt’s going to be alright DetectivePeters, we’ve talked with a coupleother Commissioners and Lord Mayorsfrom other counties. Specifically

Waterford, they’re going to senddown a squad from their SpecialDetective Unit, under my control.

PETERSA squad?

JUDAS NORMANYes, the Fintan Squad, they’vegotten the highest crime solvingrecord in the country. They’re ontheir way down.

PETERSAlright, okay. Is that all?


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JUDAS NORMAN What about your partner, Detective?

PETERSLincoln? What about him?

JUDAS NORMAN Well..

JUDAS turns his head to MCMANN, tilting his head a bit.MCMANN looks to JUDAS before looking back at PETERS, leaningforward onto his desk.

MCMANNQuite frankly, we’re worried abouthim doing his job correctly and hisattitude. He hasn’t been the mostattentive lately and while you wereoff on your honeymoon, he was hit

with accusations.

PETERS What kind of accusations?

JUDAS NORMANAssault, trespassing. He supposedlybroke into a construction site atnight on the 1st of May, 2004 andassaulted a worker who was tellinghim he was trespassing. Nothingcame about it though, no physicalevidence connecting to Lincoln. But

we still believe that he did it.

MCMANNHe really didn’t seem so taken backby the accusations and honestly,acted like he didn’t give a shit.

PETERSThat’s Lincoln for you.

JUDAS NORMAN What’s your relationship like with

Detective Lincoln anyway Chris?

PETERSAin’t no real relationship yet tobe honest Mr.Norman. He doesn’ttalk much about himself or anythingat all really. I struggle to eventalk with him about the whole Devilcase. Haven’t even got him over to

my house yet for dinner.


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JUDAS NORMANRight well, Detective. We’re goingto need you to….watch him for us

while you two are investigating thecase now. We’re pretty worriedabout how he is going about but we

have no proof or anything to takehim off the case and if we try to,he’ll probably go screaming to theGSOC if we try anything. He done itbefore.

PETERSYou want me to spy on him?

JUDAS NORMANNot spy, just watch over him. Tryget to know him better and tell usabout any moves he’s making in the

case. We want to know more about what’s going on in the case. It’sbecoming more and more worrying forthe village as I said.

PETERSYeah, yeah I get what you mean.

MCMANNAlright, that’s all we have to sayPeters. Go on out to the crimescene and see what you can findout.

PETERSThank you sir.

PETERS stands up and straightens up his suit jacket, noddingto the duo and turns, walking to the door.

CUT TO:

EXT. MORGAN'S HOUSE - MORNING

DENNIS MORGAN’s house is a bright white bungalow in locatedon a lonely road with many side doors made of glass. ManyGarda officers, reporters, medics and coroners are outside,doing their work. Up pulls, PETERS onto the crime scene andhops out his car, approaching the scene sighing lightly. Heshows his badge to a Gard officer who holds up the tape forhim. PETERS walks inside and looks to his left, a Gard standsnext to another who has a bag open for him. The Gard vomitsinto the bag as the other pats him on the back. PETERS shakeshis head slowly.


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Another Gard officer approaches PETERS as he walks through.The duo walk together to the front door of the house.

GARDAlright Chris.

PETERSHeya Brian, what have we got?

GARDDennis Morgan, 42 years old. Ex-army ranger, stabbed once throughthe heart and y’know.

PETERSBurn marks yeah?

GARDYeah, body was found by a postman.

No witnesses or anything yet,Coroner said he’s been here deadabout four to five days.

PETERSAlright, thanks Brian. Lincolninside?

GARDUgh, yeah. What’s he got up hisass? Everytime he acts like acranky prick.

PETERSHe just is one Brian! I’ll talk toyou later.

INT. MORGAN'S HOUSE - DAY

PETERS walks inside the household and looks around as hedoes. The house doesn't appear to be damaged in anyway andlooks slightly normal. A cross hangs high on the wall as he

walks in. A Gard rushes past him towards the door, hand overhis mouth and coughing. PETERS glances at him before shaking

his head and walking into the sitting room.

IN THE SITTING ROOM

PETERS walks inside the sitting room and sniffs once, shakinghis head in disgust. He places his hand over his nose. DENNISMORGAN, 40's, muscular, built lays dead on the floor withburn marks on his legs and arms. A bloody knife near hishand. LINCOLN is kneeing down near him and writing in hisjournal.


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PETERSArgh, Lincoln. Nice to see you.

LINCOLNMhmm.

PETERS What've you got so far?

LINCOLNSituation is the same as always.Burn marks on the legs and arms.But there's something differentthis time.

PETERS What's that?

LINCOLN points forward to the right of PETERS. He turns his

head to his side and looks at the mantlepiece. A burnt metalfigure looking to be like a person stands on it's ownoverlooking the body. PETERS crosses his eyebrows and takesout his gloves, looking at it.

PETERS (CONT’D)The fuck?

LINCOLNNot sure what it is yet, coroner'sgotten prints for it. Needs to testit at the lab.

PETERS What you thinking?

LINCOLNI'm not sure. Possibly atoy...maybe he's toying with us.

PETERSAnd this knife here?

PETERS bends down and points towards the knife. LINCOLNslowly walks around the body.

LINCOLNI'd say he was stabbed after he hadbeen burned. An act of mercy maybe.

PETERSMercy? I wouldn't say our guy herehas any mercy.


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LINCOLNSomething's off about this one.

PETERSHm?

LINCOLNThe front door isn't kicked in, allthe windows are fine, the backdooris locked.....Dennis must have lethim in willingly.

LINCOLN knees down to DENNIS and stares down over him. PETERSpushes himself up, looking over at LINCOLN

LINCOLN (CONT’D)Our boy here knew Dennis. Friends,acquitances most likely.

LINCOLN rubs his chin for a second as he stares over thebody.

LINCOLN (CONT’D) We should canvass the neighbours.They must have seen something orsomeone over here.

PETERS nods his head slowly as he turns and walks over to atable, picking up a photo. The picture has DENNIS MORGAN in apriest uniform with other priests behind him at St.Muirdich's church.

PETERSSure uh, I can get a couple ofGard's to go door to door.

LINCOLNNah, we should do it ourselves thistime. Don't want any lazy, laidback Gard's doing our leg work.

PETERS glances to LINCOLN and shakes his head, sighing.LINCOLN looks over DENNIS' body and then looks to thefireplace next to him. Something peaks out from the coal.

LINCOLN crosses his eyebrows and reaches inside, picking upthe item gently. He looks down onto it. A burnt cross, prettyrecently burned.

LINCOLN (CONT’D)Hmm, get me an evidence bag wouldyou?


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PETERS looks over at LINCOLN and crosses his eyebrows as hetakes out a bag, unfolding it. He passes it to LINCOLN whocarefully places the cross into the bag.

PETERSIs that a cross?

LINCOLNLooks like it. And it's justbeneath the mantlepiece.

LINCOLN folds up the bag and stands up, looking at the metalfigure and mantlepiece next to PETERS.

CUT TO:

EXT. HOUSE 41, KEENAGH STREET - DAY

LINCOLN and PETERS stand in the doorway of a house. PETERShas his notepad and journal out. A female neighbour istalking with them.

LINCOLNDid you happen to see Mr DennisMorgan over there last night?

FEMALE NEIGHBOUREr, no no. I stayed in most of thenight. I heard some cars driving upand down the street, that's aboutit.

PETERSSee anybody go into his house?

She shakes her head. LINCOLN nods his head slowly.


LINCOLN stands outside a house, talking with a maleneighbour.

LINCOLN What about Dennis Morgan? You seeanything from him last night?

MAN Well, I think I saw him open thedoor to somebody last night. Notsure who, just remember somebodygoing into his home last night whenI took out the trash.


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LINCOLNDid they look like friends?

MANI'd say so, Dennis nodded to him Ithink. It was late last night, I

can't really remember it.


PETERS stands on a porch, talking with a woman.

PETERSDid you happen to hear anything outof the ordinary last night? AtDennis Morgan's home?

WOMAN

Er, I think I remember a flashcoming from the house although Ithink I was dreaming. It was like areally bright light.

PETERSBut anything different? Maybesomebody going into his house?

WOMANNope.


LINCOLN approaches a house, looking at it. A bouncey castleis seen in it's backyard. LINCOLN opens up a gate and walksinside, his journal in hand. Suddenly, out the side door abunch of kids rush out, laughing and screaming. A clownfollows them out, laughing himself. He is plump, has facepaint, red hair.

LINCOLN looks at them and crosses his eyebrows. The clownlooks up to LINCOLN and flicks his chin, crossing his

eyebrows.

CLOWNYes? Hello?

LINCOLNDo you live here sir?


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CLOWNHeh, no I eh I'm just over here forthe children's party. The owner issomewhere at work I think.

LINCOLN

Mhm right, listen were you hereyesterday or last night?

CLOWNYeah, I eh the son of the family

who lives here just made hiscommunion. So I'm coming across forthe parties, I got hired.

LINCOLNYou see anything out of theordinary at uh, the house down thestreet?

CLOWNMmm no sir, everything looked quitenormal to me.

LINCOLNHm, well did you see anybody gointo that house?

CLOWNNot that I can remember, I've justbeen here working as the clown likeI said. I'm mostly focused ongetting my money's worth, heh.

LINCOLNRight, well thanks for the helpanyway sir.

CLOWNNo problem. But wait listen, what'sthis all about?

LINCOLNOh just, something happened at the

house. We're looking into it.

CLOWN Well, I'll get in contact if I hearsomething.

LINCOLN nods his head slowly and walks out from the gardentowards the street. PETERS approaches him, flicking his chin.The clown goes back to play with the kids.


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PETERSYou get much?

LINCOLNNo, no real luck or hints. You?

PETERSNothing, some woman said she saw aflash at the house. Another guysaid that he works down at achurch.

LINCOLNProbably the fire for when he gotburned..

LINCOLN walks slowly towards a beige truck and leans onto it,looking around. PETERS looks around the street.

PETERSYou get some canvassing photo's?

LINCOLNI did earlier, yeah.

PETERSRight well, I think we mi-.

LINCOLNYou check that house over there?

LINCOLN nods to a house across the street, an older mancleans his porch with a brush. PETERS shakes his head slowly.LINCOLN nods and approaches the house, PETERS follows.


LINCOLN stands outside the garden, notepad in hand. PETERSstands next to him. The older man stands in his garden, handson his hips.

OLD MANDennis Morgan? Hmpf, I've heard ofhim. Never met the guy. What

happened to him?

LINCOLNA crime has been committed, he'sinvolved with it. We're makingenquiries.

OLD MANUh huh, well believe me this streetis cursed.


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PETERS What makes you say that?

OLD MANMeh, first there was that littleMartin girl up the street. Now

this, I'm thinking about movingout.

LINCOLN What happened with this Martingirl?

OLD MANYou didn't hear? I thought that wasbig news. Some daughter to theMartin family, went missing a few

months back. Never found again,funny thing though. I remember

Dennis Morgan had her go to hischurch. St Muirdich's I think.

LINCOLNMhm, was Dennis a very out of theordinary type of guy?

OLD MANI don't know, maybe. Like I said Inever talked with the guy.

LINCOLN nods his head slowly.

CUT TO:

INT. PETERS' CAR (MOVING) - DAY

PETERS drives his car while LINCOLN sits in the seat next tohim and stares out the window. PETERS shakes his head slowly.

PETERSThat crime scene, that murder.Shit, I don't think I've seenanything sicker in my entire life.

LINCOLNMmm, yeah.

PETERSI mean, how the fuck could you dosomething that bad? I'll neverunderstand that, ever.


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LINCOLNHmpf, well some advice Peters. Getused to it, start to understand it.That'll get you one step closer tothe killer.

PETERS glances over at LINCOLN, sighing and looks back to theroad.

PETERSYou got any ideas?

LINCOLNMmm, not much yet. I think maybeDennis knew the killer and he gotkilled by him. Makes sense to me.

PETERSHow's that?

LINCOLN Well...all the murder's have beenthe same thing, the same story. To

me, it seems like this ishis...creation, his vision...hisdream. And he wants it to be thesame each time. So, he befriendsDennis so his dream isn't ruined.It's like, playing with his foodbefore eatting it.

PETERSShit, that's some conclusions thereLincoln. Dreams, visions. Where'dyou learn all that?

LINCOLNI've read some books, psychology,serial killers, sex crimes even.

PETERS Well, you might be wrong this time. What about the metal figure?

LINCOLNI think it's a sign, his signatureat his crime scene. Like a nametagon a novel. Or maybe he's getting

more confident.

PETERSMaybe, maybe he is yeah...


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LINCOLN stares out the window as PETERS looks down, sighing.He glances to LINCOLN before looking back at the road.

PETERS (CONT’D)Hey uh, there probably isn't abetter time to ask this so I'm just

gonna ask. Will you come to dinnersoon enough?

LINCOLN sighs and lays his hand down in anger. PETERS nodshis head slowly.

PETERS (CONT’D)Yeah, yeah I know what you saidbefore but Caitlin really wants to

meet you. All we're asking for is aan hour tops dinner with us, makesome sort of conversation.

LINCOLNI already told you Peters, eventsaren't my thing. Not for a longtime.

PETERSI know but, argh I just can't holdher off anymore. Will you come?

LINCOLNI'll think about it.

PETERS shakes his head in frustration as he looks to theroad. LINCOLN stares out the window, not a care in the world.

PETERSY'know, it would help if I knew abit about you too.

LINCOLN What do you want to know?

PETERS Well, you worked Gang Intelligencebefore Homicide right?

LINCOLNMhm.

PETERS Well what was it like? What'd youdo there?


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LINCOLNShit that went on there, that's allclassified Peters.

PETERS looks to LINCOLN and shakes his head, exhaling inanger. He looks back to the road.

PETERSY'know what, nevermind.

LINCOLN stares out the window at the enviroment around him.

CUT TO:

EXT. 44 GARDEN STREET - MORNING

PETERS car pulls up onto the curb, outside the house. PETERSand LINCOLN begin to get out. They approach the door, banging

on it.

INT. LIVING ROOM, 44 GARDEN STREET - MORNING

SARAH MORGAN, 78, long grey hair is sitting on a sofa, nextto JAKE MORGAN, 25, spiked blonde hair, is sitting next toher. His arm around her shoulder. PETERS is sitting on achair across from them. LINCOLN is standing up, resting hisarm on the fireplace.

PETERSI’m sorry to say Mrs. Morgan butyour son, Dennis has passed awayearlier this week.

JAKE raises his head, shocked. SARAH squints her eyebrows andlooks to JAKE, confused.

SARAHMy son?

JAKEYes, your other son. My brother.

JAKE looks back to PETERS.

JAKE (CONT’D)She has alzheimers Detective.

PETERSOh I’m sorry to hear that. Uhmlisten uh, Jake was it?

(MORE)


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PETERS (CONT’D)Do you know where your brother

might have been last week or who he might have been with?

JAKE

Well, he might have been doing atthat church. He’s been practicingreligion and planning to become apriest. He was working with thispriest, uh Harold Byrne who he metat a help centre for soldiers. Thechurch is in the centre of thevillage I think.

PETERSDo you know who might have killedyour brother, Jake? I know this ishard.

JAKENo, my brother was a good man. Heserved his country, gave his lifefor it, was nice to everyone he

met. He helped children and all.Fucking hell, it takes a creatureto want to harm him.

PETERS nods his head lightly, a sad look on his face.

CUT TO:

EXT. ST. MUIRDICH'S CHURCH - AFTERNOON

PETERS’ car pulls up into the carpark of the church as manypeople are seen walking in and out of the church. LINCOLN andPETERS approach the door of the church, many people walk pastthem. One man, late 40’s, black hair, slightly plump bumpsinto PETERS. He falls back slightly, dropping his folder ontothe floor. Pictures and notes of the crime scene fall ontothe floor, including close up pictures of DENNIS’ corpse. The

man turns and throws his arms up.

MANOh, crap sorry man. Really I’msorry.

PETERS and the MAN bend down, picking up the pictures.

PETERSIt’s grand, it’s grand. Accidentshappen.


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The MAN glances at the pictures, smirking before he handssome of the pictures to PETERS who takes them from the manand puts them onto his stack. He sighs and turns, walkingback into the church.

INT. ST. MUIRDICH’S CHURCH - AFTERNOON

LINCOLN and PETERS walk inside the church and look around,PETERS turns and dips his two fingers into the holy water,blessing himself. LINCOLN keeps on walking. A priest, 60’s,pretty skinny, short hair approaches the duo as he holds hisshaking hands.

PRIESTNow how may I help you brothers?

PETERSGood afternoon Father. Detectives

Peters and Lincoln, we’reinvestigating the murder of aDennis Morgan.

The PRIEST pulls a horrified look.

PRIESTDennis? Oh dear Lord, please no.

The PRIEST removes his cross and begins to pray quietly, muttering under his breath.

PETERSUhm, Father are you Brother HaroldByrne?

The PRIEST lowers his cross and looks upto PETERS, his eyesslightly teary. He nods.

PETERS (CONT’D)Can we talk some place else? Wehave a couple of questions.

HAROLD sighs lightly as he turns and walks off, LINCOLN andPETERS follow.

IN DENNIS' BARRACKS

HAROLD flips through a picture book, consisting of picturesof DENNIS, HAROLD and a few others.


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HAROLD BYRNEHe was such a good lad, he wastraining to be a priest, helped outaround the church, took onceremonies! I can’t believe anyone

would hurt him.

PETERSSo you have no idea who might havehurt Dennis?

HAROLD BYRNENot a single person, everyonearound the church appreciatedDennis and everything he done.

LINCOLN stares HAROLD down, looking him up and down. HAROLDglances at him from time to time and itches his armsconstantly.

PETERS What about his personal life? Ihave a picture, erm.

PETERS flips through his file of notes, slipping out apicture of DENNIS and a woman. He shows it to HAROLD, whoshakes his head in disgust.

HAROLDUgh, yes that is his ex-lover,Hazel Meduza, that he fell in love

with after his return from the war.Horrible woman, she used him and

was a wh- prostitute.

PETERSProstitute eh? Would you know where

we could find her?

HAROLDNo, uhm no. She was a privateprostitute or something like that,Dennis broke up with her soon afterfinding out her profession and

wanted to become a son of God.Poor, poor Dennis…

HAROLD lowers his head, placing his hand over it as PETERSgive him a sympathetic look and looks back up to Lincoln.

CUT TO:


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25.

EXT. ST MUIRDICH'S CHURCH - CLOSE TO EVENING

LINCOLN and PETERS walk outside, PETERS has his file underhis arm. They walk to PETERS’ car.

PETERS

Could have been Hazel that done the murder, maybe she had a newboyfriend or something?

LINCOLNYou would think that at first, but

what about all the other things? What about the metal toy? Whatabout the self inflicted wounds?Don’t think Hazel would haveanything to do with that, nah Ithink this is our boy.

PETERS Well Meduza seems like a goodperson to question at least,private prostitutes….you know where

we could find something like that?

LINCOLN stumbles.

LINCOLNNo, no.

PETERS nods his head slightly as he looks up at the sky as hehops into his car.

PETERSIt’s getting dark..well, I’d say

we’ve done enough for today. Want me to drop you home Lincoln?

LINCOLNSure, go on.

The duo hop into PETERS’ car. The engine roars as the twodrive away, out of the church carpark.

CUT TO:

EXT. LINCOLNS HOME - EVENING

PETERS’ car pulls up outside LINCOLN’s home. The home is asmall-ish detached house in a row of other houses. LINCOLNhops out of the car and closes the door, walking inside.


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26.

INT. LINCOLNS HOME - EVENING

LINCOLN walks around his home and into his bedroom, takingoff his suit jacket and tie, tossing them onto the bed. He

walks out of the room and walks around his house, towards thekitchen. His house looks to be very mild with no unique,

clean or colorful decorating, blinds that seem very old anddated, old chairs etc.

IN THE KITCHEN

LINCOLN walks into his kitchen and opens up a drawer, takingout a half full bottle of whiskey and pours himself a drink.Other bottles of the same brand would be empty, sitting onthe kitchen tables and empty. LINCOLN walks out to hisoffice.

IN THE OFFICE

LINCOLN sits in a cheap wooden chair in the middle of hisempty room, the desk and chair is the only piece of furniturein the interior. Although a mattress and cheap sheets is seenon the ground infront of the wall next to the door. LINCOLNholds his glass of whiskey in hand, a lit cigarette inbetween his fingers. He stares down at the floor, lots ofpictures, files, reports, records cover bits of the floor ashe stares down onto it. He takes a sip of his whiskey beforeleaving the cigarette in his mouth.

LINCOLN sighs once as he looks up onto the wall across fromhim, a frame sits on the wall completely alone and the onlyother bit of furniture in the entire room. The picture insideis a simple white sheet with a large oval-shape in the middleof it, painted completely black. The name, “Grace Lincoln -29/7/02” in the bottom right corner. LINCOLN looks down backat the pictures, specifically the pictures of dead bodies ashe sips his drink, his hand slightly shaking. He begins toroll his cigarette before standing up quickly, even his chairtopples over and he rushes out, grabbing his suit jacket andcar keys.

CUT TO:

INT. PETERS' HOME - NIGHT

IN BEDROOM

PETERS is wearing a vest and cheap jeans, he has his toolkitnext to him and lots of wood, tools, paint and materialsaround him. He has his hammer in hand and is finishing offbuilding a crib. The room’s walls are also just freshlycleaned pink.


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27.

PETERS finishes off building the crib and sighs once, layingthe hammer down. He stretches before standing up and leavingthe room.

IN KITCHEN

PETERS walks into the kitchen, his wife CAITLIN is sittingdown watching TV in the sitting room next to the kitchen. Sheis visibly starting to get pregnant. She has her laptop onher legs and is scrolling through it.

PETERSThe crib’s finished, so are the

walls. Just got to let them drybefore we can put in the shelvesand furniture.

CAITLINAwh, you’re the best Chris. Little

Jess is going to love it, I cantell.

PETERSHeh, you know I was thinking aboutgetting a small dog after we haveher. Couple of the lads at worksaid it helps the kids grow up orsomething like that.

PETERS is taking out a bottle of wine, pouring himself aglass.

CAITLINMaybe yeah, I don’t mind. AlthoughI’d prefer a bichon, they’resupposed to stay small and not getbigger.

PETERS Whatever works best for you hon.

CAITLINHey, did you hear Otto Scott isplanning on building up one of the

old churches in Ballina? I thinkit’s the one on the edge of thevillage, that burnt down a fewyears back.

PETERSOtto Scott? Community Leader OttoScott?


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28.

CAITLINYeah, at the meeting in thecommunity centre he was talkingabout it. They’re planning to do apublic speaking for it at thefestival next week. You want to

take part in it? I told Otto aboutyou and he said they could use yourskills, particularly on thebuilding.

PETERS takes his glass, taking a sip as he walks into thesitting room

IN SITTING ROOM

PETERSYeah why not, I’d love to help out.Hey, y’know I met Judas Norman

today.

CAITLINNo way, you’re lying.

PETERSNo really, I’m not. CommissionerMcMann introduced us, he came totalk about the Devil case.Something about a new squad cominginto Ballina to help in the case.

CAITLINJesus, that Devil killer. Scares

me, y’know Chris. I sometimes amscared getting up in the morning,scared to have Jess. How can Iraise her in a world like this?

PETERS puts his arm around CAITLIN

PETERSDon’t worry Caitlin, we’ll catchhim. We always do, they always slipup anyway. I’ll protect you, I’ll

be there for you always.

CAITLINAnd you know, you still haven’tbrought your partner over fordinner yet.


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PETERSI’ve tried Caitlin, time and timeagain I try to get him over but hedoesn’t want to, I don’t think hegets out much.

CAITLINAll the more reason to bring him,the poor guy has been through alot. People are always talkingabout some accident with him.

PETERS What accident?

CAITLINI don’t know, a family thing orsomething. But anyways, he’s yourpartner. He has to meet us Chris.

PETERSsighs Alright, I’ll keep trying butreally Caitlin, heh I don’t know ifyou really want to meet him. He’s areal crazy bastard if you ask me.

CUT TO:

EXT. DOWNHILL INN - NIGHT

LINCOLN's car pulls up into the motel. The lights in theplace flicker on and off. Shouting and dogs barking is heardin the background. LINCOLN gets out of his car and looksaround the place, a look of disgust on his face. He slowly

walks towards some stairs.

LINCOLN (V.O.)I'm looking for a working girlaround Ballina, her name's HazelMeduza. You know her right? You'reJenny Rider?

INT. JENNY'S APARTMENT – NIGHT

LINCOLN stands up against a wall, leaning on it as he staresdown at JENNY RIDER, 20's, blonde, dirty, small bruises. Theapartment is full of cheap plastic bags, some toys and thebed is disfigured. The wall's are dirty and have some smallholes.


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JENNY RIDER(sighing)

Urgh, i'm not sure I'm in the beststate for sex right now..

LINCOLN

Well luckily I'm not here for that

LINCOLN offers her a cigarette. She looks up to him for asecond before she takes one out of the box, slipping it intoher mouth. LINCOLN pulls back the top of the lighter andlights it up, lighting her cigarette. LINCOLN then takes outa cigarette from the box and puts it into his mouth,beginning to light it. JENNY takes a big puff of hercigarette and looks up to LINCOLN.

JENNY RIDERSo what do you want then?

LINCOLN slips the lighter and pack of cigs into his coatpocket, then eventually removes a badge. He shows it toJenny. She looks down onto it and groans quietly lookingaround.

JENNY RIDER (CONT’D)Of course...look Detective, I canunderstand you're doing your jobbut-

LINCOLN (INTERRUPTING)I'm not here for an arrest or shakedown. I'm here for information.

JENNY RIDER (COCKING HER EYEBROW)On what?

LINCOLNHazel Meduza, your roommate.

JENNY RIDERHazel? What about her?

LINCOLNI'm looking for her, she's involved

in one of my murder cases.

JENNY widens her eyes a small bit and pulls a shocked face,about to speak but LINCOLN raises his hand.

LINCOLN (CONT’D)No, she's not the victim but sheknows the victim.

(MORE)


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LINCOLN (CONT’D) Was just looking to know if she was with them or knew who was with themin the last few weeks.

JENNY RIDER

Well, I haven't seen her for two orthree weeks. Last I heard from her,she said she had some job to do.

LINCOLNAnd what was that?

JENNY stares up at LINCOLN for a second and he stares back,he begins to nod. LINCOLN pulls out his wallet and opens itup, taking out a few euro notes. He passes them to JENNY. Shetakes them and begins to count them, nodding slowly.

JENNY RIDER

Some prostitute job, large money,large privacy. Her and a couple ofother girls got involved with it, Ididn’t though.

LINCOLN Why’s that?

JENNY RIDERI’ve heard about all them privateprostitute jobs at parties. Theyain’t good places for a girl to bearound, you either end up dead orshipped off into slavery orsomething. I told Hazel but shedidn’t listen, it was all money forher.

LINCOLNAnd who runs these parties?

JENNY RIDERThat’s the thing, nobody knows.Hell nobody even knows where it’sheld. Like I said, it’s all very

private so the only way you couldfind out about a party is to speak with someone who was there.

LINCOLNYou know any girls who have been tothem?

JENNY looks down, raising her eyebrows up once and shakes herhead.


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JENNY RIDERNot any who are alive.

LINCOLNYou know a couple of the otherprivate girls around the county

right?

JENNY RIDERMhm, sure.

LINCOLNAny of them have any roughcustomers lately? Angry, hurtfulanything like that?

JENNY RIDER We get lots of weird, rough guysaround here. It comes with the

territory. I'm not sure there's alot I can give you.

LINCOLNMaybe you heard stories orsomething?

JENNY RIDERLoads, too many to count. You'dhave to be more specific.

LINCOLNMaybe a guy who's interested infire, burning. That type of stuff?

JENNY RIDERAh, we get a lot of those types ofguys. But, I remember one girl downat a pub was talking drunk and saidsomething about some fat guy, apoet or something who tried to burnher with a stick.

LINCOLNOh yeah? When was this?

JENNY RIDERCouple of weeks back, you won'tfind her now though. She skippedtown with a boyfriend of hers.

LINCOLNMhm, you ever meet her boyfriendDennis?


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JENNY RIDERDennis? Pfft, that fag? Of course Idid. They dated for a couple of

months but overtime he was more inlove with God and that religioncrap so she left him. I met him

once and he seemed really jumpy, Ithink he secretly hated prostitutesor whatever.

LINCOLNHe ever mention friends or anyonehe hung out with?

JENNY RIDERNah, he was pretty quiet and justliked to talk about religion. Onlyfriend besides Hazel that he had

must of been God or whatever.

LINCOLNSo I heard that Hazel lived withher sister? She ever talk about whyshe left?

JENNY RIDERHeh, yeah she lived with "PerfectSally" as she called her. She lived

with Sally for a while but she wasalways trying to push her intodoing something with her life andall that, trying to get her to bejust another doctor or nurse. Sheleft Sally as soon as me and herbecame good friends.

LINCOLN nods as he takes out his cigarette and places it downonto a table, squishing it. He pushes himself off of thedesk.

LINCOLNThanks for letting me check out theplace, it will really help in myinvestigation. If I need to mention

you at all in my case notes, I'llput you down as a CI.

JENNYYou’re leaving already? I mean, Ithought you might have stayed. Oh

well..


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34.

JENNY bites her lip, smiling trying her luck. LINCOLN staresat her for a moment, a blank look on his face. He shakes hishead slowly.

LINCOLNNo, I lost the will to love a long

time ago.

JENNY's face quickly turns to confusion as LINCOLN turns and walks to the door. He opens the door and turns his head.

LINCOLN (CONT’D)You have a nice life Jenny.

LINCOLN leaves, closing the door behind him.

CUT TO:

INT. PETERS HOME - MORNING

PETERS is lying in his bed alongside his wife CAITLIN, hisarm around her as he lays back, relaxed. The sun shines inthrough the window.

INT. LINCOLN'S HOME - MORNING

LINCOLN is sitting on his small mattress as he sits up,smoking a cigarette. He plays with his lighter and looks outthe window, the sun shining in on him.

PETERS (V.O)Dennis Morgan was known to havebeen seeing a private prostitute, aHazel Meduza for a while beingbefore he went to study as a priestat St. Muirdich’s church.

CUT TO:

INT. GARDAI STATION - MORNING

PETERS is standing up at a stage in the conference room andis speaking to a bunch of Garda men and women. LINCOLNstanding near him.

PETERSApparently, he had joined a marinehelp group after he left the war.Uh, I’d like you and you. (CONT)

PETERS points to two Garda members.


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35.

PETERS (CONT’D)To head down to where he signed upand ask about Dennis, how hefought, what he was like, enemies,friends whatever. Let’s see, youand you.

PETERS points at two other Gard’s.

PETERS (CONT’D)To run down leads of privateprostitutes, I know it might soundunheard of but there shouldhopefully be something, start with

well known people with sexualcrimes backgrounds maybe. Alrightthat’s a wrap everyone, me andLincoln can take care of the rest.

Everyone begins to pack up their stuff and leave the room,LINCOLN and PETERS stand up, leaving.

INT.MORGUE, GARDA STATION - MORNING

LINCOLN and PETERS are standing next to a gurney as theCORONER walks around, talking.

CORONERI’d say he probably died at around7pm or 8pm on maybe the 5th of May,2004. Somewhere in between thattimeframe. It appears that the burn

marks are the same as always, withsome sort of weapon from a furnace.Maybe, a sword or something likethat?

PETERSA sword? You’re sure?

CORONERIt’s the closest thing I could cometo, too big to be a knife. Now here

is where it gets reallyinteresting.

The CORONER pulls back the sheet from DENNIS, showing off hischest. A stab wound is seen on his heart.

CORONER (CONT’D)This stab wound, it looks like it

was the first move the killer maderight?


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PETERSYou’re going to argue different?

CORONERNo, I’m telling you. The wound onthe heart was the latter of all the

wounds. Maybe the killer did it outof mercy or something like that.

PETERSI’d be surprised if this guy feltanything at all really.

LINCOLN What about the cuts on the legs?They’re confirmed to be selfinflicted?

CORONER

Absolutely, the only prints on thatknife were his. None else, same

with the blood. This man cuthimself on the legs Detectives.

PETERSSelf inflicted, hm. It could bepossible the killer was holding himdown and forced him to do it…

LINCOLNAre there any rope burns or maybecuff shapes on his wrists?

CORONERNone, the only wounds I could find

were the knife wounds and theburns. Nothing else that seemed outof the ordinary. The autopsy alsoreports no drugs or alcohol in hissystem neither. But this.

The CORONER walks to his desk and picks up the metal figure,bringing it back to the duo.

CORONER (CONT’D)This, this I don’t even know whatto call it. People around the houseare calling it a toy. So I’ll callit a toy. This “toy” has nofingerprints, although on one sideit has one print from an indexfinger, Dennis’. I’d say Dennis didnothing more than touch it though.


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37.

PETERS nods his head, looking down on the body. LINCOLN is writing in his journal, a small decent drawing of DENNIS’body, labelled with the wounds on his body and small bits ofinformation to the side.

INT. DETECTIVE OFFICES, GARDA STATION - MORNING

LINCOLN is sitting at his desk, hunched back in his seat ashe stares at the metal man figure on his desk. He is staringintently at it. PETERS is in the background, talking with afew other detectives.

GARD BRIANJesus, is it like a toy or someshit? Some of the lads are sayingit’s a message or some shit.

GARD

Nah, it’s too shittily made to be atoy. It must be like an arts andcrafts thing or something.

GARD #2I think it’s a signature, or someshit like that.

LINCOLNIt’s for a ritual.

The group look towards LINCOLN.

GARDA what?

LINCOLNA ritual, to pray to. It’s hiscross, what he leaves. It’s forthem to pray to.

GARD BRIANAnd what makes you say that?

LINCOLN throws up his hands, shrugging.

LINCOLNGod.

A couple of Gards laugh, some shaking their heads. The frontdoor opens and in walks COMMISSIONER MCMANN and four other

men, following him. The Fintan Squad.

LINCOLN (CONT’D) Who are they?


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38.

PETERS turns to face the group as they approach. MCMANNflicks his chin up to PETERS as he approaches.

MCMANNDetective Peters, DetectiveLincoln. I’d like you to meet the

Fintan Squad.

LINCOLNFintan Squad?

LINCOLN looks over each of the members of the squad, he showsa face of disgust.

MCMANNYes Lincoln, they’ve come from

Waterford. To help in the Devilcase, under Judas Normans control.

LINCOLNThe Lord Mayor brought in his owntask force? Well, well.

MCMANNsighs This is Detective Miles,Detective Wayne and DetectiveO’Brian.

MCMANN points to each individual member as he names them off.PETERS leans in and gives each of them a handshake.

PETERSNice to meet you all, we appreciateyour help on this. We really do.

DET. O'BRIANHey thanks Detective Peters, we’renot trying to step on any of yourtoes on this. We just want to help.

PETERSYeah, yeah I understand O’Brian.

DET. O'BRIAN

Would it be possible for us to maybe see your notes on the case?Get us upto speed?

PETERSUh yeah sure, why not. I think wehave a file room with some notesand all that.


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39.

DET. O'BRIANThanks, we really appreciate it.

MCMANN What about you guys, did you getanything today?

LINCOLNNot much sir, bits and pieces.

MCMANN Well, hopefully the Fintan Squadcan give some help. Now, follow methis way fellas. I believe JudasNorman is waiting for us in myoffice. Right this way.

MCMANN leaves and the Fintan Squad follows. LINCOLN turns inhis seat, watching them leave as does PETERS. The Squad

approach MCMANN’s office, JUDAS NORMAN and an older man greetthe group, nodding and smiling.

PETERSThat’s not Otto Scott is it?

LINCOLNI don’t fucking believe it.

PETERS What’s a community leader got to do with a murder investigation?

LINCOLNComplete horse shit it all is, LordMayor’s task force. Pfft, justcoming in and taking the case offof us.

PETERSThey seem alright, doesn’t matterif they take the case from us. Justaslong as they help out and try tosolve it.

LINCOLNLooks to me like they’re coming inso they can get the badges when thecase is over, if it ever is.

PETERS We’ll catch him one day Lincoln,one day.


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LINCOLN doesn’t answer and sits back into his desk, PETERSsighs and shakes his head before standing up.

PETERS (CONT’D)Y’know what? I’m going to head outto the village, somebody must know

Morgan, someone. You coming?

LINCOLNNo, I think I’ll stay here. Lookover case files.

PETERSRight, talk to you later Lincoln.Call me if you come up withanything.

LINCOLN nods lightly as PETERS picks up his coat, throwing itover himself. He marches out of the office, LINCOLN sits in

silence before he gets up and opens up his desk drawer,taking out some keys.

INT. FILE ROOM - MORNING

The room is dark and empty. Until, the door opens and thelight flickers on. LINCOLN, walks in and shuts the door,locking it again. He’s there again, peace and quiet. He walksto a desk next to the door and flips open a log book. Heplaces his finger down and brings it down through thealphabetical words, until he comes to the “R” section andslows down a bit before stopping at a word and taps hisfinger on it, “Ritual - Isle 15”. LINCOLN steps up and walksto the ISLES, counting under his breath. He stops at 15 and

withdraws a large box of files, “2003” written on the side.

He slams them down onto a desk, before sitting at it himself.He opens it up, taking out the files one by one. The box issmall with little to no files in it.

He flips open the files, digging through them. LINCOLN comesto the first page and is greeted with a close up of a body, acrucifix scarred across their head. LINCOLN reads through thenotes, shaking his head lightly. He flips over pages, trying

to find something. He shakes his head as nothing new comes upand slams it shut in anger. He stands up.

--

LINCOLN comes back with another box, “2002” written on theside. He begins to look through the files, more writing, moreimages of bodies. Nothing new.


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He picks up another box, “2001”. The box opens, more files, more pictures, more notes.

LINCOLN keeps picking, box after box and still comes outempty handed. The time begins to change as LINCOLN sits back,stretching. He throws his hands over his face.

CUT TO:

EXT. SPAR, BALLINA VILLAGE - AFTERNOON

PETERS is standing outside Spar, alone and speaking with asmall group of people talking.

PETERSYou ever see this man? DennisMorgan, training to be a priest?

The group shakes their heads.

EXT. MARKETS, BALLINA VILLAGE - AFTERNOON

PETERS is talking with the owner of a food stand in a busy market.

PETERS What about him? Know him at all?

FOOD STAND OWNERNope.

EXT. BUSY ROAD, BALLINA VILLAGE - AFTERNOON

PETERS is talking with a passer-byer.

PASSER-BYERI mean, he looks familiar but nah Idon’t think I ever met him.

EXT. PARK, BALLINA VILLAGE - AFTERNOON

PETERS is talking with an older woman outside of her home.His tone of voice is clearly stressed and bland

PETERSDennis Morgan? You see him?

The woman squints at it and moves her head closer, noddinglightly.


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OLD WOMANYes, I believe so. He doneconfession before at St.Muirdich’s! He’s a nice young lad.

PETERS raises his eyebrows and stands up straighter, nodding

lightly.

PETERSOh really? You know him personally?

OLD WOMANNot really no, but I saw him loadsof times at the community centre.That’s where he stayed mostly, hefought there for more religioussystems in Ballina.

PETERS nods, smirking as he closes up his file.

CUT TO:

EXT. BALLINA COMMUNITY CENTRE - AFTERNOON

The community centre looks to be very popular, herds ofpeople stand outside and talk. PETERS passes by them, walkinginside.

INT. BALLINA COMMUNITY CENTRE - AFTERNOON

PETERS paces up through the centre, greeting many peopleinformally.

MANChris.

PETERSJohn.

He finally arrives upto the main desk, he nods to the worker.

PETERS (CONT’D)

Good afternoon Jane, how’s thekids?

JANEGreat Chris, thanks for asking. AndCaitlin?

PETERSShe’s fine, six months time and

we’ll be having little old Jess.


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JANEAwh, you have a name already?That’s great, how can I help youanyway?

PETERS

I’m looking for Otto Scott,speaking to him about aninvestigation. The victim workedhere, is he in?

JANEYeah, he’s in. At his office Ithink, c’mon I’ll bring you to him.

PETERS nods as JANE steps up. He follows her.

INT. FILE ROOM - AFTERNOON

LINCOLN sits in his chair, lit cigarette in hand. The room issilent, the floor is decorated with multiple files andpictures. It goes in order, from 1995 to 2002. LINCOLN staresdown at the photographs, as the smoke from the cigarettepuffs up into the air.

He stares for a couple of other seconds before he moves on to“1994”, he removes the head of the box and takes out thefiles, putting them onto the desk. He reads over it quickly,taking a drag of his cig. His face is blank until he squintsonce, staring down at the picture. It is a little girl, noolder than 10. Her face is pale white. LINCOLN shakes hishead lightly as he looks over the notes, reading throughthem.

LINCOLN places his cigarette into a cup as he reads throughit. His eyes stick to the page.

CUT TO:

INT. OTTO SCOTT'S OFFICE, BALLINA COMMUNITY CENTRE -AFTERNOON

OTTO SCOTT, 50’s, plump, almost bald, sits in his chair. Manyawards and medals fill the walls around him. “Community ofthe Year”, “Community Leader of the Year: Otto Scott”,Pictures of Otto taking a medal from other people, a grin onhis face and finally a picture on the wall: JUDAS NORMAN,MCMANN and OTTO SCOTT huddled together, shoulder to shoulderand arms wrapped around eachother smiling.

The door swings open and in walks, PETERS and JANE. OTTOlooks up, grinning. He nods to PETERS.


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JANEMr. Scott, Detective Peters wouldlike to speak with you.

OTTO SCOTTThank you Jane.

JANE leaves, closing the door behind PETERS.

PETERSGood to see you Otto, really great.

OTTO SCOTTSame with you Chris! C’mon sitdown, sit sit.

PETERS shakes hands with OTTO, sitting himself down.

OTTO SCOTT (CONT’D)

So what’s up Chris? Is there acommunity call or a police one?

PETERSA police one I’m afraid, I’ve got a

murder Otto.

OTTO SCOTTDennis Morgan, the Devil caseright?

PETERSYeah, how’d you know?

OTTO SCOTTAh, Judas Norman introduced metoday to the Fintan Squad. I’m sureyou’ve heard of them yeah? (CONT’D)

PETERS nods.

OTTO SCOTT (CONT’D)He told me to tell the communityheads not to panic about the squadand that everything will work out

perfectly. But anyway, you weresaying?

PETERSRight, Dennis Morgan. I’ve heard he

worked out here on religious termsyes?


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OTTO SCOTTYes indeed, he was apart of thereligious department here.

PETERSI just want to know, was there

anyone out here who maybe dislikedhim in some way or had a problem with him?

OTTO SCOTTAh I see, you’re looking for a listof suspects right?

PETERSPretty much yeah, I’ve got a coupleof Gard’s looking into his warbackground, his time atSt.Muirdich’s seems okay. So I’m

checking here.

OTTO SCOTTRight, well yeah there are a fewpeople here and there that over theyears have been a bit...round thebend. But if you give me a coupleof hours or a day or two. I couldhave my office send you a copy ofnames and addresses?

PETERSYeah, that’d be great yeah. Sendthem over to my desk at the station

whenever you get them.

OTTO SCOTTOf course, you’re still on forhelping us at the festival next

week correct?

PETERSYep, still on. I can bring my owntools for building anyway.

OTTO SCOTTPerfect, Caitlin will be thereaswell?

PETERSMhmm.

OTTO SCOTTRight, well unless there’s anythingelse you’d like to know?


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PETERSNo, that’s it thanks. I’ll talk toyou later.

OTTO SCOTTYes, indeed. I’ll see you later.

We’ll talk soon.

PETERS nods his head once and stands up, adjusting his suitbefore walking out the door.

CUT TO:

INT. PETERS' HOME - NIGHT

The front door opens, the house is pretty quiet and some dimlights are still on. PETERS walks in, his clothes a bitadjusted. He’s exhausted. He closes the door and locks up for

the night. He walks into the kitchen.

He pours himself a nice, small glass of whiskey before walking to his bedroom.

PETERS stands at the door and grins lightly, staring in athis sleeping wife as he takes a sip of his drink. He turnshis head forward and looks at a door, “Jess’ Room” a pinksign on the door.

PETERS smirks as he lowers his head, walking into thebedroom.

INT. BEDROOM, PETERS’ HOME - NIGHT

Darkness, a very dim blue light shines in through the window.Everything is quiet until. BZZZ. A phone on the table next tothe bed rings. BZZZ BZZZ, it continues to ring. PETERS raiseshis head up slowly and picks up the phone, sighing.

PETERS (HALF ASLEEP)Hello?

MAN ON PHONE

Peters?

PETERSYeah? Who’s this?

DET. O'BRIAN (O.S)Detective O’Brian, from the FintanSquad?


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47.

PETERSO’Brian, yeah..Yeah right, what canI do for you?

DET. O'BRIAN (O.S)Not really what you can do for me,

but what you can do for yourpartner. He’s down here at theMerry Monk and he’s pissed. It’salmost closing time and he’srefusing to leave, he keepsblabbering on about the Devil caseand some ‘Grace’, I don’t know.

PETERSRight, yeah I get it. I’ll be downthere soon.

DET. O'BRIAN (O.S)

Thanks, yeah.

PETERS lowers his phone and shakes his head, sighing as hestands up.

CUT TO:

EXT. MERRY MONK’S - NIGHT

PETERS hops out of his car in cheap clothes, barely evenadjusted. He shakes his head as he marches over to the bar.He pushes the door open.

INT. MERRY MONK’S - NIGHT

PETERS walks inside and looks around the bar, LINCOLN issitting at the bar a glass in hand and a cigarette betweenhis fingers. A couple of other guys standing at the pooltable, watch over him. The bartender, Ray stands at the bar,clearly angered. He has a plaster on his temple. O’BRIANapproaches PETERS.

O'BRIAN

Hey thanks for coming.

PETERSYeah, yeah it’s the best I can do.He’s my partner.


49/53

48.

O'BRIANYeah he’s been just blabbing offthe last few minutes, most of thecustomers are gone. It’s just himcausing everything.

PETERSDid he make any scenes?

O'BRIANThankfully not no, but he scared acouple of people out with the filesfrom the Devil’s case. Reallythough I think you should get himhome.

PETERSYeah I will, you can tell the ownerto pack everything up. Thanks for

the call again.

O’BRIAN nods and turns, walking back to his pool table wherethe other Squad members are. PETERS exhales deeply andapproaches LINCOLN, blinking roughly.

PETERS (CONT’D)Lincoln, hey man.

LINCOLNHey.

PETERSYou alright? Long night?

LINCOLNEvery night’s a long night Peters,every night.

PETERSYeah, you’re telling me. Uh, listenthe Monk’s closing up now. Can Iget you home? Really, it’s almostthree in the morning.

LINCOLNThis isn’t the first ritual murderPeters.

PETERSYeah, I know. Ballina hasexperienced some ritual murders inthe past.


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49.

LINCOLNI mean the Devil case, it’s beendone before.

PETERS

What are you on about? Look, you’reprobably past a dozen drinks now.You’re causing a lot of shitinfront of the Fintan Squad, theycould rat you out to McMann. Ifthat happens, we could get takenoff the case. And I know you don’t

want that.

LINCOLN exhales, glancing back at the Squad before getting upfrom his seat and dropping his cigarette into the half emptyglass of beer. He picks up his files and leaves, PETERS tailsafter him.

INT. LINCOLN’S HOME - NIGHT

The front door swings open, in walks LINCOLN and PETERS.LINCOLN’s hair is all messed up and his shirt is untucked. Heholds his file in hand and turns, closing the door. He nodshis head once as he paces to the kitchen.

LINCOLNFinally, alright listen. In Spring1994, a little girl called BarbaraDwyer was found killed in her homeby her own dad.

PETERSLincoln…

LINCOLNShe was found in a ritual state,

with her wrists and throat slit.

PETERSLincoln.

LINCOLNShe lived alone with her father, hehad no priors or anything bad onhis record. He seemed to be a greatperson and dad, hell he was ahumanist. In his statement, he feltlike he didn’t do it and wascontrolled.

IN THE KITCHEN


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50.

LINCOLN opens up a pantry and takes out a glass of whiskey.PETERS walks in behind him and looks around at the table, itis still filled with empty bottles. He shakes his head andgives LINCOLN a sympathetic look. LINCOLN picks up a glass,ready to pour himself a drink. PETERS steps in and takes abottle from him.

PETERSLincoln just...stop you’ve had yourfair share of drinks tonight. This

whole thing you’re talking about,it’s just the drink talking.

LINCOLNNo, no there’s something here. Aconnection.

PETERSTo the devil case? How, where?

There’s no burn marks, the killer was caught. The only thing you haveis some statement from a dad thatsaid he was mind controlled.

LINCOLNC’mon, there has to be..there hasto be something.

LINCOLN breaks down, shaking his head as he repeats thesentence as mutter under his breath.

PETERSLincoln look, you’re drunk andtired. The case is hard yeah, wehave no leads right now but we’llget there alright? We will findsomething somewhere but here?You’re reaching Lincoln, you’rereaching.

LINCOLN lowers his head and sighs once.

PETERS (CONT’D)Look, just head to bed. Take a sick

day tomorrow, I’ll tell McMann you weren’t feeling so good. I’ll pickyou up on Saturday, at 12 alright?I’ll get you a glass of water, justhead into bed.

PETERS nods to LINCOLN, patting him on the back. LINCOLNkeeps silent and turns, walking to his bedroom. PETERS sighsand picks up the empty glass, turning on the tap and fillingit up with water.


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51.

He looks over at the bottles on the table, gulping once as helooks back down. He steps back and walks to LINCOLN’s bedroom

with the glass in hand. He pushes open the door and looksinside, empty. A bed, softly made but it looks untouched likeit hasn’t been touched in years.

PETERS crosses his eyebrows as he looks inside. A door behindhim opens.

LINCOLNIn here.

LINCOLN turns and walks away from the door. PETERS walks intothe office.

IN THE OFFICE

PETERS walks inside and widens his eyes a bit as he looksaround, a mattress on the ground. LINCOLN removes his jacket

and shirt, tossing them to the ground carelessly. PETERSstares around the room and notices a couple of boxes marked“Devil case” with each year marked on them from 2001 to 2004and a large stacks of books next to the mattress. Psychologybooks, books on the human mind, serial killer books. PETERSsteps up to LINCOLN and passes him the glass. LINCOLN grabsit and takes a quick sip, leaving it on the ground next tohim. PETERS steps back up and turns around, looking to the

wall behind him. He sees the picture of the large black ovalshape. PETERS crosses his eyebrows at it before turning back.

PETERSHey uh it’s pretty late so I’mgoing to head home. You take careof yourself alright? Get some goodsleep, you need it. I’ll pick youup on Saturday.

LINCOLNYeah, alright. Thanks Peters.

PETERSHey, no problem. We’re partnersright?

PETERS turns and walks out, LINCOLN follows. He’s about toclose the office door before PETERS turns.

PETERS (CONT’D)Hey, what’s with that picture inthere of the black oval?

LINCOLN gulps once, squinting a bit. He hesitates.


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52.

LINCOLNReflection.

PETERS can’t even answer, LINCOLN shuts the door just aftersaying the word. PETERS exhales and turns, walking to thedoor.

CUT TO:

EXT. OLD, DIRTY TWO STORY HOUSE. - NIGHT

The dirty old white house is seen again, everything is silentuntil the a large sound is heard. TICK TOCK, TICK TOCK. Anold grandfather’s clock goes off, it ticks away as a sound ofstruggling is heard. We pull back slowly as an old rustedpick up truck comes into frame, along with a log from a cutdown tree. On the log, the metal burned stickman is seenstanding. In the pick-up, another metal burned stickman is

seen on the dash.

FADE TO BLACK.

the scent of light episode 1 the darkness

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