THE SCENT OF LIGHT "EPISODE 6 - SILENCE"

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THE SCENT OF LIGHT

"EPISODE 6 - SILENCE"
WRITTEN BY
CIARAN MAHONY

Ciaran Mahony
61 St Davids Park
Artane, Dublin 5
(555)555-5555
Cccmahony@gmail.com

2.
EXT. HORIZON ACADEMY - MORNING
The doors to the school open wide, letting off a big bang. A
plump like man walks out into the school yard, many kids are
running around the yard and they glance up to the man,
waving. He waves back.
PLUMP MAN
Good morning, good morning.
He lowers his hand and lets off a devil-ish chuckle as he
strolls around. He walks up to a little boy, sitting on the
ground and playing with a ball. His shadow haunts over the
boy, who looks up to him. The sun shines over the plump man
and is barely seen.
PLUMP MAN (CONTD)
Now why are you all over here on
your lonesome?
The man bends down to the boy. He comes into view, it is
BALOR DANTE late 50s, plump, curly red hair and rotted
teeth. He is dressed up as a clown. He grins at the boy. His
right eye looks to be more different than his left, it is a
glass eye.
BOY
The other kids wont play with me,
they said that I cant play with
them because my family cant afford
me some new shoes.
The BOY kicks his shoes off the ground, they are dirty and
almost ripped up. They look to be old and passed down. BALOR
eyes his shoes and nods his head slowly, smiling. He puts his
hand on the BOYs shoulder.
BALOR
You never mind what them other kids
say, son. All of them, they dont
know what you been through. Those
shoes must be special, like you.
Yknow, I wore shoes like you once
and I was like you, getting told to
leave and I cant play their games.
BOY
What did you do?
BALOR
I went on to be my own man and
eventually, I found myself somebody
I could be. My own hero, I gave
myself a name.

3.
BALOR grins, showing his teeth.
BALOR (CONTD)
Balor Dante, a-heh. Now I feel much
better with myself and I can work
better. Now I have people who look
up to me, other kids like yourself
and friends of mine. We all work
together, keep friendly. Would you
like to join us? We have special
parties every other month. We enjoy
glorious feasts and meet cunning
men.
The BOY looks up, smiling lightly and he nods. BALOR
chuckles, patting the boy on the shoulder.
BALOR (CONTD)
Good boy, where do you live by? So
we can come pick you up whenever.
BOY
By St. Muirdichs right next to the
church.
BALOR
I know it, Ive been there lots of
my times. My dear boy, Ive lived
here through many, many years and
Ive met lots of people. Now cmon,
lets go play with the other
children!
BALOR laughs and grabs the BOYs hand, standing up. The BOY
grins and stands up with him, the two walk over to a group of
kids as they all cheer and approach the duo. They all laugh
together as the teachers watch and smile.
CUT TO:
EXT. DANTE HOUSEHOLD - MORNING
A pick up truck drives into the empty driveway of Moore Hall.
The house is old and is two stories, with rotting white
paint. Most of the windows are broken and boarded up while
some have moss growing up it. The house is stuck in the
middle of towering trees. BALOR steps out of the car, his
jacket over his shoulder. Some red, white and blue paint is
around his face. He takes out a tissue and wipes his face as
he walks to his house.

4.
INT. DANTE HOUSEHOLD - MORNING
The inside of the household is very dirty, flies and bees are
flying around everywhere. Some kids toys are on the floor,
covered in dust. Dirty dishes are in the sink. A sofa is old
and ripped up, an old TV is playing an old movie but the
screen is blurry. Loads of dirty diapers are in overfilled
trash bags. Some gascans are also stacked together.
IN THE KITCHEN
A boy MELLAN DANTE, 10 years old, short black hair stands at
a table and is pouring himself some cereal into a glass. He
picks up a plastic spoon. His lip hangs out and he breathes
through his mouth. He has no shirt on and wears cheap, ripped
trousers. He walks through to a chair and sits down at a
cheap, rotted wooden table. Gascans are on the floor around
him.
The front door to the house opens and in walks BALOR,
throwing his jacket to the floor. He smiles as he walks in.
Im home!

BALOR

He closes the door and walks around, smiling. He walks into

the kitchen. He smiles at MELLAN, who looks up to him and
grins. He jumps up and hugs BALOR instantly.
MELLAN
Youre home pappa, youre home!
BALOR
Indeed I am, how are you my son?
Have the dogs feasted?
MELLAN
Yes pappa, as soon as the sun rose.
I fed them.
BALOR
Good my son, good.
BALOR pats him on the head and rubs it.
BALOR (CONTD)
How was your morning?
MELLAN
It was great, I planted a few
plants for you outside. The flowers
should be fully grown by next
Autumn. What about you?

5.
BALOR
It was alluring. I met wonderful
people outside, and at the schools.
I have been looking around, I think
I might have found us a new dog to
take in.
MELLAN
Would we be able to go hunting
today?
BALOR
Not today, I have important work
with the puppies. I also have an
important meeting tonight. Maybe
another day my son.
MELLAN
We havent gone hunting in a while
pappa, Id really love to go.
Yknow Ive improved with the
stuffing, I really think I can do
it now.
BALOR
I know you can, we will do it soon.
But I have important work to
attend.
BALOR smiles and turns, looking out the window.
BALOR (CONTD)
My plan is escalating quite quickly
and clearly. Each time I sleep, my
dream becomes more clearer and
clearer. Soon enough, all the
sinners and treacherous deceivers
will be gone. And we shall begin
again, with a new age of our own
kind. Soon, Gods will retake this
earth. We just have to be patient.
BALOR chuckles and looks to the floor, before looking to
MELLAN.
BALOR (CONTD)
Some of my dreams, I can feel are
so real. And when I wake, it feels
hard to separate from it. I can
tell, the signs are closing in.
Soon, the fire will have risen so
far that it is up to their chins.
(MORE)

6.
BALOR (CONTD)
But the young warriors, er I have
heard of their awakening and local
presence in the area. They may come
here son..and if they do.
BALOR bends down to MELLAN, putting his hand on his shoulder.
BALOR (CONTD)
Will you be ready my son? Will you
be ready? If I must perish, you
shall take up the fire and spread
it for me..will you be ready,
Mellan?
MELLAN
Yes pappa, I will be. But they
wont get you, youre too strong
now. After all, they are nothing
more than mortal beings right?
BALOR
Oh precisely. They will not stop my
efforts. Even if Im physically
destroyed, my soul will still lurk
throughout the world. I will take
the sinners one by one.
MELLAN
Like the ones who took mother?
BALOR
Certainly, oh certainly yes..
MELLAN
Pappa, can you tell me what was
mother like?
BALOR
Oh she was...she was very alluring
and delicate. She was the
illumination in my childhood, when
everything else was under shadow.
My father, my mother, the people
around me...urgh they treated me
savagely. The beer they drained
down..but there was me and her when
I was young, nothing separating
us...and then we had you, we were
all together until she was taken by
the ferocious beasts of the
world...the men with their costumes
and suits...took her away from us.
(he sighs in anger)
(MORE)

7.
BALOR (CONTD)
But now, we have eachother and we
will do what we can to get
everything into the light..
BALOR looks out through the back window and rubs MELLANs
back.
BALOR (CONTD)
Im going to go out to our dogs
Mellan, you go on now and keep up
with the flowers. They are
beautiful.
MELLAN nods his head slowly and walks off towards a door, he
lollops and shakes lightly. BALOR inhales lightly and looks
down in anger, before he opens the back door. He storms out.
EXT. BACKGARDEN, DANTE HOUSEHOLD - MORNING
BALOR storms across the high grass. Little toy bikes are in
the grass and toppled over. As he walks through the garden,
there are the burnt metal figures standing on tree trunks and
ground. BALOR comes up to a small little shed, opening up the
door.
INT. SHED - MORNING
BALOR walks inside and looks around. The inside of the shed
is even dirtier than the house. There is a table with old and
new blood on it. An old grandfathers clock in the back of it
and a painting of stickmen in fire on the wall, with a
shining golden iris at the top. In the corner, is a dirty man
with ripped clothing and a gag in his mouth. He is chained to
a pipe. He is staring at the floor and hyperventilating, he
looks to BALOR in fear.
BALOR
Im sorry I havent been around
lately little doggy, I have family
matters to take care of. But now, I
have a free day so we have all the
time we need.
BALOR smirks and approaches the man, who screams in horror
behind his gag.
INT. DANTE HOUSEHOLD - NIGHT
MELLAN lays back on a cheap bed with no mattress in dirty
clothes. He is smiling and staring up at the ceiling, humming
an old song.

8.
Outside a window, the shed is seen with a light shining out
of it. Screaming is also heard in the background. MELLAN
kicks his legs up back in the bed as the screaming is heard.
MELLAN keeps staring and humming.
EXT. SHED - NIGHT
The screaming begins to lower and lower until nothing but
breathing is heard. A light shines out of the shed but
nothing is seen.
BALOR (O.S)
Thats right little man, just lay
down and calm. Forget all about you
ever heard, that is the old times
now...soon a new fire will come to
take over.
MAN (O.S)
Yes dear Lord, it has all ended.
BALOR (O.S)
We will give them what they seeked
to ignore over the years. The pain
they caused...mmmmm.to me We will
repeat it back to them, to all the
future siblings..We will give them,
what they deserve.
CUT TO:
EXT. HORIZON ACADEMY - NIGHT
The school lays alone and dark in the dead of the night. The
place looks to be closed, although a few cars are in the
carpark including BALORs pick up truck. Everything is silent
until groaning is heard again and again, some bits of
shouting. The groaning goes on for a couple of seconds as
breathing intensifies.
CUT TO:
INT. RICHARDS HOUSEHOLD - DAY
The front door the RICHARDS household opens and in walks
DET.BRIAN, in running gear. He is breathing quickly and he
takes a sip from his drink. He lays his keys down onto the
holder as he walks in. He sighs lightly before he walks
forward.
IN THE KITCHEN

9.
DET.BRIAN takes large gulps of water from his bottle as he
leans against the counter. The kettle is heating up behind
him. He lowers the bottle and looks down, licking his lips.
IN THE SITTING ROOM
DET.BRIAN opens the door to the sitting room and walks
inside, he looks up. He jumps a little bit. PETERS sits in a
chair at the other end of the room, in a black jacket and he
stares at BRIAN who shakes his head at him.
DET.BRIAN
Jesus fucking Christ, Chris. You
scared the shit outta me. Ho-how
the hell did you get in here?
PETERS
We need to talk Brian, big time.
What abou-

DET.BRIAN

LINCOLN steps out from behind a door and places his gun at
the side of BRIANs head. BRIAN jumps a little bit and turns
his eyes to his right, before back at PETERS>
DET.BRIAN (CONTD)
What the fuck Chris?
PETERS points to a sofa, across from a TV. He slips out his
gun from his waistband and holds it.
Sit down.

PETERS

BRIAN walks slowly towards the sofa and sits down onto it.
LINCOLN walks over to a seat next to the TV and sits down,
facing BRIAN. He lowers his gun down, still holding it. He
has black leather gloves on.
LINCOLN
Tell us, what happened at these
parties and all the bullshit cover
ups by Judas Norman and McMann.
DET.BRIAN
Tell you what?
(chuckling confusingly)
I-I dont know what youre on
about?

10.
LINCOLN
The little girl disappearance that
you covered up, the file. You ran
the case. Isabelle Brewer.
DET.BRIAN
Right, look listen you two little
shitheads. I dont know what youre
pulling here but Jesus Christ, is
this going to fuck you over after
you leave.
LINCOLN sighs lightly and looks to PETERS, who looks back at
him. PETERS nods slowly and steps up, walking to the TV. He
picks up a video in a plastic bag and opens it up, putting it
inside the video player. He turns on the TV and navigates to
the video. It plays. PETERS lays down the remote and walks to
the backdoor, opening it up. He takes out a cigarette from
his jacket. LINCOLN sits next to the TV but not looking at it
and he holds his gun firmly, watching DET.BRIAN who crosses
his eyebrows at the video and shakes his head a little bit.
DET.BRIAN (CONTD)
Christ...wha-..what the fuck is
this...why are you-..
EXT. BACKGARDEN, RICHARDS HOUSEHOLD - DAY
PETERS smokes his cigarette as he looks out the backgarden in
silence. Heavy breathing is heard from inside, by BRIAN.
DET.BRIAN (O.S)
No, Jesus Christ no...turn it off,
turn it off. Chris! Fucking
EXT. RICHARDS HOUSEHOLD - DAY
The front of the house is seen with a car in the front
driveway. The neighbourhood is full of other houses but looks
to be empty. Suddenly a large screaming noise is heard from
inside the house.
INT. SITTING ROOM, RICHARDS HOUSEHOLD - DAY
BRIAN sits forward at the sofa and has his hands together,
his eyes full of tears and he stares at the floor. PETERS
takes out the video from the player and puts it back into the
plastic bag. LINCOLN stares BRIAN down.

11.
LINCOLN
That was Emma Thomas, a young girl
who was found by Judas Norman
before and checked into one of his
hospitals under his care. Feel
like talking now?
BRIAN sits back in his seat as his eyes are red and full of
tears, he massages his head and nods slowly.
BRIAN
Couple of years back, a family came
in and reported their child being
missing after they went to school
LINCOLN stares at BRIAN, his head tilted. PETERS sits back in
his seat and watches BRIAN, his eyes crossed.
BRIAN (CONTD)
I took in the investigation, looked
into it for a while before
eventually a Gard came down and
talked to me about it. He was a
higher rank than me and he asked
about the case. I told him some
details or whatever, then he told
me to give the case to him. I
didnt mind so I handed the case
over, no problem..
BRIAN sighs lightly as he stares at the floor and lets out
occasional glances at the duo. He breathes heavily.
BRIAN (CONTD)
Couple of weeks later, I stumble
across the file again on the
computers and I see it was in an
error and my name was still on the
leading investigator...I went and
talked with the Gard about it, he
told me to nevermind it all and
just let it be, let him figure it
out. Soon enough then, I find
myself getting promoted under his
accord. I..I didnt know what was
happening, so I left it all! I
dont see whats wrong about it? I
was just following orders, what
they wanted me to do!
LINCOLN
Mhm and then?

12.
BRIAN
Then...then nothing! I was working
where I wanted to work, as a
Detective and everything was
great..until a year later.
PETERS
What happened a year later?
BRIAN
(gulps)
A woman came in, asked for me
personally to talk about the case.
All about the missing girl, she was
the mother, the blood mother. The
Brewer family t-t-they had adopted
Isabelle! She was asking about the
baby, where it gone, what happened.
She told me a story, about how she
got the baby..
LINCOLN
What was the story?
BRIAN
She said that the baby was hers,
that her brother raped her and she
gave birth to twins. A boy and a
girl, the boy was..I dunno taken by
the brother I think? And the girl
was given to an adoption centre,
taken by the Brewer family. She
came and told me that it was the
brother who took the little girl.
LINCOLN
What was the womans name?
BRIAN
I...I...Jesus, it was so long ago
but her first name was Denise I
know that much. I know this sounds
like bullshit, but please Im not
fucking lying here.
BRIAN holds his hands up with a desperate look on his face.
LINCOLN stares at BRIAN while PETERS shakes his head slowly
before gulping.
PETERS
Whatd you do after that?

13.
BRIAN
I started to investigate into it.
She said she had an address at
where she was raped. I went to get
a forensics team but the
Commissioner had gotten a hold of
what I was doing. He brought me in
and talked with me, him and the
Gard. He was telling me to give him
all I knew about the case. He
eventually told me that he knew who
the woman was and that she was a
druggie, spewing up stories to get
back a child she had given away
before. He said that he knew her,
her aunt or something.
LINCOLN
Which Commissioner was it?
BRIAN
Trevor Kelley. Hes a distant
relative to the Norman family,
second cousins or some shit.
PETERS lowers his head and widen his eyes, looking to LINCOLN
and back at BRIAN.
PETERS
Right, now youre making shit up.
BRIAN
Im not, Im not! Heath Norman,
he..he got Trevor up the ladder
with the help of Otto Scott or
something. Kelley was a good Gard
throughout the years so it made
sense he would! I swear, Im not
fucking lying here.
LINCOLN
Whatd the Commissioner do?
BRIAN
He told me that he knew the family,
the mothers one. Said it was a
lost relative or something. He told
me hed take care of it with the
help of the Gard. So I was left in
the dust, couple of weeks later
then the case was ended I think.
The Gard told me that they checked
out the address and it was bogus,
that the whole thing was a lie.
(MORE)

14.
BRIAN (CONTD)
I went to go find the woman but she
was gone, went to check the file
but it was classified. I guess
because, I wasnt apart of the
chain of command. But please,
thats all that happened. I had
gotten a new rank after it all, up
to Sergeant. Everything was great,
I had no reason to doubt anything!
LINCOLN
What was the address where the rape
happened?
BRIAN
House number 45 Commons, in Shrule.
I dont know what it looks like, I
never visited it but that Gard, he
said he went out to it.
PETERS
What was that Gards name?
BRIAN
Detective Inspector Joseph Kaplan.
PETERS rolls his eyes and sighs lightly, nodding his head.
LINCOLN screws up his face as he watches BRIAN
BRIAN (CONTD)
I dont know much about him, but
hes supposed to be one of the best
Detectives we have.
PETERS
And the most crooked.
BRIAN
Right l-look, Ive told you guys
all I know alright? Just, please
just let me fucking go. I dont
even know what you guys want!
LINCOLN
This little girl was taken Brian,
she was taken and raped by a bunch
of men, all in high power around
the country. And the woman you
ignored, that was the Devil
killers sister. You let him get
away.

15.
BRIAN
What?! The Devil killer? Wh-what
the fuck are you two on about?
LINCOLN
Thanks for the information Brian,
we appreciate it. Were going to
get going now but before we do, we
want to make sure that you dont go
out and start talking about this
shit. Just know were doing this
for the greater good but just so
were clear incase you cant follow
that. We have a file in our
possession which shows you closed
an unsolved disappearance case and
well say this video was found in
your household. Secondly, if we see
cruisers on our tails or even
killers, well have you down in a
cell before were even on trial.
Sound good?
BRIAN
Yeah...yeah, alright I got it. But
please, just tell me what did I
fucking do wrong here?
PETERS stands up, grabs the video tape off of the table and
walks to the door. LINCOLN stands up and approaches him,
shaking his head.
Your job.

LINCOLN

LINCOLN follows PETERS out the door as BRIAN watches them in

shock before lowering his head and putting it into his hands.
He shakes his head and mutters under his breath.
CUT TO:
INT. PETERS CAR (MOVING) - DAY
PETERS drives the car along a motorway as LINCOLN sits in the
passenger seat, looking over files.
LINCOLN
Yknow this house, its just down
near the camp, along the River next
to it. Hmpf, guess hes the closest
to home.

16.
PETERS
Hm, that is something. Out in the
woods?
LINCOLN
Yeah, its an area surrounded by
trees. You got your gun with you
right?
PETERS
My gun? Yeah.
LINCOLN
What you packing?
Colt .32.

PETERS

LINCOLN
Mmm, nice one.
PETERS
Never fired it before though.
LINCOLN
Hopefully you wont have to, aslong
as we play our cards right.
PETERS nods slowly as he looks out at the road. LINCOLN
shakes his shoulders a small bit and PETERS glances over at
him.
LINCOLN (CONTD)
Not gonna lie Chris, the closer we
get to this house the more I keep
getting this feeling. I dunno what
it is, just something. A sense
of..dread, anger..something.
PETERS
You still uh, have hallucinations
like before?
LINCOLN
Mmm no, no I dont. That was back
when I still blamed myself for what
I done, when I regretted my life
and everything that had come about.
Now I just accept it for what it
is. I done bad shit, and I paid the
price for it. Aint no other way
around that.

17.
PETERS
At least you can never blame
yourself for being a homicidal
maniac who rapes kids and burns up
dead people.
PETERS nervously chuckles, trying to light up the situation.
LINCOLN keeps a blank face and stares out the window. PETERS
glances at him and puts on a broad face again.
PETERS (CONTD)
Seriously though, this killer,
this..fiend. I never seen a sicker
fuck than this. Hes just a
fucking...bastard who gave birth to
bastard kids. Thats why we need to
bring him in.
LINCOLN
Mmm I dont think well be able to
bring him to the Gards Chris.
After all we done, we know what
hes like. Nah, he wont go down
easily. He might do but I doubt it.
PETERS
So what? We commit murder? Shoot
him down? I dont think that will
expose a lot Mike.
LINCOLN
No, but it will be justice. Chris,
my whole life through this case has
caused my life to just be nothing
but a.a circle of suffering,
violence and betrayal. Its time to
close it all off, once and for all.
LINCOLN gulps and stares out the window, exhaling heavily.
PETERS glances at him in confusion before looking back to the
road. He nods at a turn.
PETERS
This is it.
PETERS turns the wheel to the left and drives in through a
minor dirt road. He drives along the road for a little while
as he begins to come up towards the end of it.
EXT. DANTE HOUSEHOLD - DAY
PETERS car comes into the front garden of the DANTE
Household. BALORs pick up is still in the driveway.

18.
PETERS and LINCOLN look up at the house as they slowly get
out. LINCOLN turns and stares behind himself while PETERS
eyes up the house.
PETERS
Barely looks like anybody lives
here.
LINCOLN
This is it Chris, hes here. This
feeling I have, its practically
shouting in my ear
LINCOLN nods his head forward. PETERS turns from looking at
the house and looks to where LINCOLN is nodding. He sees on a
tree trunk, a metal burnt figure and in the old rusted truck,
another metal burnt figure. He gulps and looks to LINCOLN.
PETERS
What do we do?
LINCOLN
Lets see if anybody is home.
LINCOLN and PETERS slowly approach the front door of the
household.
INT. UPSTAIRS, DANTE HOUSEHOLD - DAY
A figure stares out the window down at the duo as they
approach the house. The figure breathes heavily and through
his mouth.
EXT. DANTE HOUSEHOLD - DAY
PETERS bangs onto the front door of the house. The knocking
echoes throughout the house and it sounds like the house was
about to topple over. LINCOLN stands to the side of the door
with his hand on his waistband. PETERS steps to the side and
waits. Silence as the echoes fade out. PETERS sighs and
turns, walking to a window. He tries to peak inside but the
cold dirt covers up the window, barely being able to see into
the house.
Suddenly, CRASH. A large smashing sound comes out of the
house. PETERS jumps back and looks to LINCOLN who has his gun
already out. He kicks the door in, smashing it to the side.
The door barely holds onto the hinges. He rushes inside, gun
raised. PETERS follows, equipping his gun.

19.
INT. DANTE HOUSEHOLD - DAY
LINCOLN rushes throughout the rooms with the gun raised, he
peaks into the sitting room and sees nothing. He hugs onto
the edges of the walls and rushes to another wall, peaking
inside. Nothing.
LINCOLN
Search the house Chris, search the
house.
LINCOLN moves into a room with his gun raised up, he holds
onto it with his dear life. He slowly approaches an old door.
Scratch marks run up it. He shoves the door open and rushes
inside.
IN THE KITCHEN
LINCOLN holds the gun up and looks around the kitchen. It is
pretty much empty with some drawers open and empty along with
smashed cupboard doors and some without doors. He raises his
eyebrows and looks around the room, looking to the floor.
Half a dozen gascans, filled with liquid stand packed
together. LINCOLN eyes it and moves his head up as he slowly
marches through the room. A glass of dry cereal remains on
the table.
LINCOLN eyes it and raises his head up, looking out a broken
window into the back garden. A figure, rushes in through a
little cave. LINCOLN doesnt even second guess it, he rushes
to the backdoor and kicks it open. He rushes out after the
figure towards the cave. He passes by metal figures on the
ground. As LINCOLN rushes out, a sound begins to play through
a cheaply made old sound system. An old grandfathers clock.
LINCOLN barely gives the sound a second and keeps on the
chase after the figure. He rushes into the darkness of the
cave
IN THE SITTING ROOM
PETERS rushes around the sitting room with his gun in hand.
He jumps back to a wall at the sound from the sound system.
He crosses his eyebrows. He looks around the room. The TV is
still playing with an old movie with blurry quality. The
couch across from it is ripped up and many toys are around
the scratched floor, covered in dust and ash. PETERS walks
slowly through an open door and ends back up in the hall. He
sniffs and shakes his head in disgust, he moves towards the
stairs and begins to walk up them.
UPSTAIRS
PETERS marches up the stairs and keeps his aim above his
head, his body is turned to the side.

20.
He breathes slowly through his mouth which is open. He comes
to the first door and swings it open, looking inside.
Nothing. He quickly moves along to the next door and swings
it open. He aims inside, before slowly lowering his aim and
cocking his eyebrow.
He gulps and sees the masters bedroom, which has an old bed
with a dirty mattress and covers. Across from it, at the
window is a desk with notes on it. On the wall is multiple
pictures of PETERS AND LINCOLN from different years. Some
notes attached under them Christopher Peters, MIchael
Lincoln, Grace Lincoln, CAITLIN FAHEY/ PETERS. Some
record files would be attached to their names. Suddenly a
noise comes from another room and PETERS steps back, gun
raised. He marches down the hall and comes to a door, kicking
it open. He aims inside before he widens his eyes and lowers
his aim. MELLAN DANTE sits on his bed, laughing at PETERS and
pointing at him. PETERS looks in horror at his conditions and
walks inside, towards MELLAN.
PETERS
Jesus Christ, your poor fucking
thing. L- look, wheres the guy who
lives here? Balor Dante?
MELLAN
My father? Hes here with us, and
hes not happy with your presence.
You should leave now before he gets
angry. Believe me, he does
extraordinary things when he gets
angry.
PETERS
Where did he go son? Huh? Hes a
dangerous man, hes going to huMELLAN
He will come for you next, dont
worry. Hes going after Lincoln
first. Hes worse than anything.
MELLAN raises up his blanket over his face as he grins
deviously, staring into PETERS horrified face.
CUT TO:
INT. OPEN CAVE IN TRENCHES - DAY
LINCOLN rushes through the cave with his gun raised, he
passes many metal figures on the wall as he walks through.
Sounds of stamping are inside the cave, echoing about. The
sound of the grandfathers old clock is faintly heard.

21.
BALOR (O.S)
Follow me through here mortal man,
Ill come and show you my dream!
LINCOLN raises his head a bit at the sound of the voice and
keeps moving. He comes into different parts of the cave and
eventually comes to a selection of doors, all open. He aims
around.
BALOR (O.S) (CONTD)
Too late to turn back now, youre a
part of here now. I see you and
youre here with me.
LINCOLN looks around the cave and tries to figure out where
the voice is coming from. It echoes throughout each door. He
shakes his head and goes in through the middle one, gun
raised.
CUT TO:
EXT. BACKGARDEN, DANTE HOUSEHOLD - DAY
PETERS rushes out the backdoor of the house and sprints
towards the entrance to the cave, his gun in hand. His hair
bounces up and down above his head, sweat growing on his
face. He comes up towards the entrance to the cave but looks
up to the shed and he looks at it for a second. He
contemplates as he breathes heavily before shaking his head.
He rushes into the cave.
Lincoln!

PETERS
CUT TO:

INT. CAVE - DAY

LINCOLN aims his gun up as he moves through the cave. Many
burnt metal figures stand on the rocks as he passes through.
He glances at some of them as he edges around corners. Some
faint breathing is heard in the background. Suddenly sounds
of kicking are heard and LINCOLN turns instantly, aiming his
gun up. The sounds echo around him and he keeps turning.
BALOR (O.S)
Welcome to my dream mortal man,
here all the souls gaze on us.
Gerry, Lord Judas, my previous
costumes...all. Can you feel them?

22.
LINCOLN grits his teeth and tries to block out BALORs words,
looking around for where the sound is strongest. He slowly
makes his way in through a hole. On the wall is an old
smiling doll, held up by twigs. LINCOLN glances at it and
keeps moving forward.
BALOR (O.S) (CONTD)
Its not too late to join me little
man, you are a strong warrior. I
commend your strength. You
beatified my proponents Gerry,
Father Todd with your mind. You
arent tenacious to your own life,
that is admirable
LINCOLN walks through a cave and looks up at a small bit of
light shining through, he walks forward and aims up as he
comes to a corner. LINCOLN doesnt answer BALOR and he keeps
moving, he peaks his head around the corner. Nothing. He
moves around and starts walking.
BALOR (O.S) (CONTD)
Is your reticence a no then? Mmmm,
your compliance to being
susceptible is asinine. But since
you choose so, my dream here is
your doom..
INT. CAVE - DAY
PETERS rushes throughout the maze in fear, he is visibly
shaking and his gun is raised. He breathes quickly and rushes
carelessly around corners, aiming his gun up. The sound of
the old grandfathers clock is faintly heard in the
background. PETERS hears the voice in the cave but it is
pretty faint, inaudible. He gulps and makes his way
throughout the different doors. He comes to a corner and
lowers his gun, counting to himself before rushing around the
corner with his gun raised.
Empty, but a large stack of childrens clothes from the past
and present is stacked up. Little stickmen paintings over it.
He crosses his eyebrows in disgust and turns to another door,
eying the clothes before moving forward. He steps in through
a hole and lands onto the floor, looking up. A small light
shining down through a hole. Up forward is a bunch of
branches and parts of trees, crashed together with thorns
sticking out. PETERS gulps and stands up, moving slowly
throughout the thorns.
Skulls and burnt metal figures are strapped to the branches
by twigs. PETERS gulps and knees down, slowly edging his way
through the branches.

23.
INT. CAVE - DAY
LINCOLN jumps around a corner, gun raised and his eyes
widened. He exhales in relief and lets up, lowering his gun a
bit. He keeps moving forward.
BALOR (O.S)
You know why I do this little man?
Hmmm? Ive been called to be the
sanitizer of the universe, of
sinful and meagre men. Why? Because
of what they did to us. Hmmmm, what
they did to us will happen to them.
Have you welcomed that?
LINCOLN turns around and holds his gun down, looking up. He
moves his head around before turning and walking to the next
hole, he peaks inside. An old door, leans down over
something. A small room. A golden eye is painted on the wall.
BALOR (O.S) (CONTD)
Come see my cosmos meagre man.
LINCOLN steps slowly into the hole and aims his gun up,
slowly approaching the door. He reaches out with one hand,
aiming with the other and pulls back the door. The door
swings back and falls onto the floor, letting off a big bang.
LINCOLN aims inside and looks around. Nobody in the room,
except there is torches around with a table in the middle.
Many big books are stacked together. On the wall infront of
it is a large painting of many people on their knees and
praying to a giant with a golden eye wide open.
BALOR (O.S) (CONTD)
This is the universe after your
debacle. Soon, very soon...it will
come.
LINCOLN aims inside and looks around, making sure nobody is
inside. He moves back and steps back out of the hole.
BALOR (O.S) (CONTD)
You think executing me will stop my
plan? Will stop the subsequent
disaster? You are erroneous...my
vitality will live on, through
different hosts..youll see..youll
see.
INT. CAVE - DAY
PETERS breathes quickly in fear and his eyebrows raised up as
he checks around himself, hands locked on his gun.

24.
He walks up a couple of cheap wooden steps and goes into a
hole. The voice begins to get clearer. He raises his head up
and starts to move a bit quicker before he stops, moving up
towards something. A skeleton chained to a wall, long dead.
PETERS looks at it in fear and walks past it before looking
forward, moving towards the voice.
INT. CAVE - DAY
LINCOLN side steps to his left and looks up at a long row of
stairs up towards the light. He looks around himself and sees
nowhere else to go into. He moves up the steps and begins to
let up a quick jog up the stairs, still holding onto his gun.
His clothes are much more dirtier now but he doesnt even
acknowledge it.
EXT. CAVE - DAY
LINCOLN moves up the stairs and out the cave as he looks
around. Lots of leaves and branches are around the ground as
he walks around. Even some childrens clothes and toys lay on
the floor. LINCOLN looks at them in fear before looking up.
He raises his gun as he approaches an old destroyed Celtic
church, covered in moss. On the side of the church is a man
with a yellow eye design and two burnt metal figures stand
infront of it. LINCOLN walks in slowly to the church with his
gun raised. Empty, all the seats are pushed to the side.
The grey sky is flying over the world. LINCOLN glances up as
faint thunder is heard and he slowly moves towards the altar.
Another side door is next to the altar. A metal figure and a
book lay on the altar. He steps up to it and looks down. The
book is open and the pages swish around through the breeze.
LINCOLN raises his head up and he turns around, gun raised.
A little girl and a woman stand hand in hand, in clear cut
clothes stare at LINCOLN. Their faces pale white. LINCOLN
widens his eyes at them and lowers his gun a bit, stepping
closer. The little girl raises her hand.
LITTLE GIRL
Come join us Daddy, dont leave us
alone like before.
LINCOLN stares in shock and fear at the two as his gun is
lowered. Suddenly, behind him at the side door in rushes
BALOR, ready to strike LINCOLN with a sword. LINCOLN is quick
and turns, getting a shot off at BALORs shoulder. BALOR
shrieks in pain and tosses the sword back to the altar. He
smacks LINCOLN down to the ground with his arm.

25.
LINCOLN falls back flat onto the floor, hitting his head off
the ground with a small crack. BALOR stands, holding his
shoulder in pain. It is a small flesh wound. He curses under
his breath.
LINCOLN looks around, his vision blurry and he looks up to
BALOR. He breathes quickly and looks up. His gun, far up from
him lays there. He looks around for the little girl and woman
but they have disappeared. He shakes his head in anger and he
begins to crawl up to the gun, blood dripping down his
forehead. BALOR looks up to him in anger. LINCOLN is just in
arms reach of the gun, he reaches out. BALOR shakes his head
and grits his teeth, rushing to LINCOLN.

NO!

BALOR
(shouting)

BALOR stamps onto LINCOLNs back, stopping him. LINCOLN

coughs roughly in pain and spits out some blood. His strength
goes dead. BALOR flips him over onto his back and LINCOLN
stares up at the grey sky as BALOR steps over him in anger.
BALOR screams and starts throwing wild, hard punches at
LINCOLNs face again and again. LINCOLN takes every hit but
keeps putting his head back up at the sky, a distant white
light appears in the sky. His face begins to swell up and
redden, blood pouring from his nose and mouth. BALOR keeps
punching until he begins to slow down and run out of breath.
He grabs onto his bloody shoulder and glances back at it
before looking down at LINCOLN. He reaches forward and grabs
him by the collar. He pulls him up to BALORs face.
LINCOLN stares up at BALOR into his golden eye. He struggles
to try and move his head away but he cant. His eyes are
locked. BALOR grits his teeth and keeps a firm hold on him as
he stares down.
FREEZE!

PETERS (O.S)

In rushes, PETERS with his gun raised to BALOR and his arms
shaking. He marches in through a door and into the middle of
the church. BALOR looks quickly up to PETERS and snarls in
anger.
PETERS (CONTD)
Let him go! Then get onto your
fucking knees!
BALORs angry face slowly turns to a devilish grin as he lets
go of LINCOLN, letting him carelessly fall to the floor.
LINCOLN groans in pain and stares up at the sky lifelessly.
BALOR steps away from LINCOLN and raises his hands up, taking
a step closer to PETERS who raises his gun up a bit.

26.
PETERS (CONTD)
Get on your knees.
PETERS talks broadly, trying to mask his fear. His hands are
still slightly shaking but he does his best to hide it. BALOR
glances at the gun and shakes his head.
BALOR
You dont want to do that. You
dont want to disfigure anyone here
meer man.
PETERS hands begin to shake a little more, the gun slowly
lowering. BALOR takes a step closer with a grin on his face.
PETERS
On your knees, now.
BALOR
You think you can leave here, hm?
No Chris, youre a part of here now
with me and all my hallowed sons
and daughters..
PETERS gun is now lowered, nearly pointing at the floor
beyond his control. PETERS begins to shake as he looks down
at his arms and then back at BALOR who is in arms reach of
him.
BALOR (CONTD)
Let me show you the world, let me
show you Jess again.
BALOR grins as he is about to reach out to PETERS who shakes
his head and looks up at the word Jess, he lifts his gun up
quickly as BALOR is about to strike. BANG BANG BANG. PETERS
fires at BALOR, sending him back with each shot. BALOR falls
back and eventually topples onto the altar, falling onto his
back. His golden eye flying out from his socket and onto the
floor. BALOR begins to bleed out as his eyes close. PETERS
breaks down and falls to the floor on his knees, he breathes
quickly and heavily as he looks up to BALOR who lays still.
He moves his head to LINCOLN and raises it up in shock.
Mike!

PETERS

PETERS rushes to his aid, looking down at him. He widens his

eyes in shock and rubs his chin. LINCOLNs face is cherry red
and is all swelled up, he has a black eye. He stares up at
the sky and whispers something. PETERS shakes his head and
leans closer.

27.

Huh?

PETERS (CONTD)

LINCOLN
(muttering)
The stars
PETERS looks up at the grey sky, seeing nothing but
occasional bits of lightning. He shakes his head and looks
back down to LINCOLN, helping him up.
PETERS
Lets get you outta here buddy..
LINCOLN groans in pain as PETERS puts his arm over his
shoulder and begins to start walking towards the door slowly.
BALOR lays back on the altar, his arms spread out and eyes
closed. His blood spilled out onto the altar and book.
CUT TO:
EXT. DANTE HOUSEHOLD - DAY
PETERS lays LINCOLN down into the backseat of his car and
sighs sadly as he looks over him. LINCOLN stares up at the
roof, slightly crying. PETERS slams the door shut behind him.
He turns and looks over the DANTE household, breathing
quickly. He rushes up to the front door of the house. He
slips inside.
INT. DANTE HOUSEHOLD - DAY
PETERS slams open the front door of the house and looks
around. He rushes up the stairs.
INT. UPSTAIRS, DANTE HOUSEHOLD - DAY
PETERS steps up the last stair and rushes down to the end
door. He shoves it open and looks inside.
Kid?!

PETERS

Empty, nobody inside the room. The boy and the blanket is
gone. PETERS crosses his eyebrows and looks around before
stopping his eyes at the window. It is wide open and the wind
swishes in through it. PETERS widens his eyes and rushes
forward towards the window, looking out.

28.
The side of the house looks normal, no sign of the boy at
all. PETERS looks up and around the forest, shaking his head.
He lowers his head in shame.
EXT. DANTE HOUSEHOLD - DAY
PETERS paces towards the drivers door and swings it open,
taking one final look around the place. He sighs lightly and
waits for a second, listening. Silence. He shakes his head
and gets into his car, slamming the door shut. The engine to
the car switches on and the car revs up, driving forward
towards the dirt road.
Suddenly, there is a shaking in a bush and something peaks
out, MELLAN peaks out and watches the car drive off. His face
is full of tears and anger. He stares with a very deathly
look.
PETERS (V.O)
You alright buddy? Feeling better?
CUT TO:
INT. BACKROOM, THE LUGH INN - NIGHT
PETERS sits on a bed, staring off into space as he holds a
lit cigarette. LINCOLN sits up in his bed, his long hair
hanging down. His face is less red now but he still has a
black eye and some cuts and bruises.
LINCOLN
Argh, yeah a bit better I
guess...how long have I been out?
PETERS
Two days, you woke up a couple of
times but you didnt say much and
you fell back asleep later on. You
should lay back a bit, dont want
to hurt yourself anymore.
LINCOLN sits up straight and groans in anger. PETERS watches
him and sighs lightly.
LINCOLN
Give me a cigarette, would you?
PETERS chuckles, shaking his head. He pulls out his packet of
cigarettes and lighter. He passes LINCOLN a cigarette, before
lighting it in his mouth.

29.
PETERS
Wakes up, first thing you ask for
is a cigarette. Do me a favor and
dont switch to your better self,
would you?
LINCOLN
Mmm, wait a minute. (pause) Were
you sitting here the whole time
while I slept?
PETERS
(scoffs, slighting chuckling).
No actually, Ive been having lots
of shits and having a drink,
alright?
LINCOLN
Look, I uh...I just want to uh..say
sorry..for everything.
PETERS
Save your breath Mike, dont
apologise. Youre not an apology
person so dont bother. I dont
want to hear your unhuman attempt
of an apology.
PETERS sighs and stands up, beginning to walk off to a table.
LINCOLN smokes his cigarette and looks around.
LINCOLN
Argh, cant believe Im still in
this fucking place Chris.
PETERS
Yeah, you and me both. I cant
believe you worked in this shithole
for all these years. No offence.
LINCOLN
Im not talking about the fucking
pub Chris. Im talking about...all
this, all this nothingness.
PETERS turns to LINCOLN, giving him a confused yet
sympathetic look. He pulls up a seat infront of LINCOLNs
bed, tilting his hands.
PETERS
Whats your problem huh? What are
you beating yourself down on?
LINCOLN hesitates. He gulps and looks around.

30.
LINCOLN
The...the parties. We didnt get
the people at them parties, God
Damnit we could have gotten Balor
to tell us..
PETERS
After all that happened, thats
what youre beating yourself up on?
Look, we got what we looked for. We
got Balor, hes gone. We wont get
the others, at least not now. Its
not a justifiable world Mike, I
thought youd have learned that
now.
PETERS shakes his head and stands up, beginning to leave.
LINCOLN looks down and shakes his head.
LINCOLN
It wasnt the parties Chris, it
was...it was something different.
PETERS
Then tell me then. Get it off your
chest. I wont listen but it will
at least help you. Whats such a
big problem for you?
LINCOLN looks to PETERS and then to the chair infront of him.
PETERS glances to the chair and scoffs, walking to the chair
and he sits down. LINCOLN gulps and takes a drag of his
cigarette, looking to the right.
LINCOLN
Yknow there was a feeling I got
when I entered that cave, when I
could hear Balor and everything
going on around me. A feeling that
I got from the dark.
PETERS stares at LINCOLN, exhaling roughly through his nose.
LINCOLN is hesitating and looking around the room, he
struggles to fight off the tears.
LINCOLN (CONTD)
It was a feeling, a nice one. I was
wondering what it was, until it
finally hit me. It was...it was my
daughter..she was with me
again.and Chris, heh it felt
great.
(MORE)

31.
LINCOLN (CONTD)
Yknow, I could feel the times
where we went to the circus again.
I could hear her smile, everything.
PETERS face turns from broad to slightly sad and he adjusts
himself in his seat, watching LINCOLN who is starting to cry
now.
LINCOLN (CONTD)
I knew...that my time was coming to
an end, I could feel it. And yknow
I always thought that I would be
scared, alone when I died but...but
that felt like such a satisfying
end to my chapter. My death was
there...I could see her yknow?
LINCOLN looks to PETERS, throwing out a smile through his
tears. PETERS smiles sympathetically, nodding.
LINCOLN (CONTD)
I could see my little Grace, she
was waiting for me. I dont know
where, heaven, hell but it felt
like a home...a new home..and
yknow I saw everything there,
I...I think I saw my uncle too and
my old pup, Frankie..All waiting
for me..And all I had to do was
walk to them, just...just let go of
the chain and grab another..a new
thing..
LINCOLNs fake smile begins to fade as he stares off to the
left. PETERS stares at LINCOLN in sadness, listening.
LINCOLN (CONTD)
It was a place where everything I
knew, it..it made sense. It-. it
occured to me that it was the part
of me that I had lost a long time
ago. A place of love, family,
togetherness and I was on its
edge. All I had to do was join
them, thats all I had to do...but,
I-I couldnt..I was a fat old pig
stuck in the mud and I watched...as
they all began to fade...to nothing
but a bright star in the night
sky..
LINCOLN turns his head and stares out the window at the night
sky, he sniffs once. PETERS glances out the window.

32.
LINCOLN (CONTD)
And its gone now..I dont know if
it was God playing tricks or the
Devil but it was something. I
understand the message that I was
getting. The message that,...that
my life was nothing...nothing
without love. And now, all I can
feel is her disappointment
yknow...that I couldnt let go,
that I let her get into that
accident..thats all I can feel now
Chris...just her disappointment. No
more love, the thing that I latched
on to for years
LINCOLN shakes his head, putting his hand over his face and
crying into it. PETERS looks down sadly before looking back
up to LINCOLN.
PETERS
Mike, I know you wont believe me
when I say this but...that wasnt
Grace man. That was Balor, getting
inside your head. Remember his mind
control? That was it...dont fight
yourself over it. Thats what he
wants you to do..
LINCOLN
No Chris, no no. I pondered that
thought myself for a while but
this..this was real. I know it, I
could feel it...it was real.
Everytime I close my eyes, I see
her. Ive been having dreams, of my
own death...shes showed me yknow?
Myself, dying at home. Shes said
its faith and I should embrace
what happens...and Im ready man,
Im ready for whatever fate brings.
Ill take whatever it throws at me.
PETERS
Youre not going to die Mike. You
might not see Grace now but later
on, you will..when you die. But
right now, youve got to
concentrate on living. You have to
move on, otherwise youll be put
into a bigger depression than you
are now. Look at me Mike.

33.
LINCOLN turns his head to the floor and looks up to PETERS,
sniffing.
PETERS (CONTD)
Look, while we might not be the
same men..were in the same
situation. We will be there for
eachother, not as friends but
partners. Like it or not but were
in this together Mike, you brought
me to this.
LINCOLN
Thats what annoys me Chris, I
brought you to this. I was a
selfish fuck, you had a chance to
move, write your Detective novPETERS shakes his head at LINCOLN, rolling his eyes.
PETERS
No Mike, I couldnt move on from
the past. Everyday I woke up, I had
to think of a good reason not to
put a bullet in my own head. But
all this, this whole case...its
given me something to live for. And
now, I know that there is more to
life than drinking my soul away in
a dead end bar. In the end, dreams
are dreams. Nothing but things our
minds make up to either give us
false hope or false judgement.
Right now, youre the latter.
LINCOLN
Maybe there is Chris, maybe there
is. Thing with dreams is that
whether or not its real, it still
can define who you are. And right
now, I know who I am..
LINCOLN nods his head slowly, looking up at the ceiling with
dry tears. PETERS looks at him, nodding slowly.
EXT. THE LUGH INN - DAY
The side door to the Lugh Inn opens and out walks LINCOLN
with some garbage in his hand. He opens up the bin and tosses
it inside. He has a cigarette in his mouth and he looks
around. Over by the water is the pale little girl, waving at
him. He looks over at her before lowering his head, walking
back to the door.

34.
INT. THE LUGH INN - DAY
LINCOLN stands behind the bar while PETERS sits at the other
side with BILLY LEACH beside him. BILLY has glasses on and is
pointing down at some documents.
BILLY
Christ, what happened to you?
LINCOLN
Er, its a long story. But with
respect Billy, Id like to not
discuss it. Just run us through the
ship things.
BILLY
Sure I understand. But anyways, the
ship will be in here by about 5pm
Id say. Its set to leave the
docks at 7:30, Ive got you two
into the bottom part of the ship
through an old buddy of mine whos
on it. Hell meet you by the far
right of the docks at 6:45, no
later, no earlier sound good?
Sure.

PETERS

LINCOLN
Sounds great Billy, thanks for your
help.
BILLY
Ah no problem Mike pal, its the
least I could do after what youve
done for this place. Ill sure miss
you looking tough on my side at my
weed deals.
LINCOLN
What are you planning to do with
the old pub then anyways?
BILLY
Meh, sell it for what its worth.
Maybe move on with my life then,
become a sculpture. Its been my
dream.
LINCOLN
Youll make it there buddy, talk to
you at another time.

35.
LINCOLN nods his head slowly at BILLY who waves at the two
before walking to the front door and leaving. PETERS watches
him leave and looks back to LINCOLN, grinning.
PETERS
Weed deals huh?
LINCOLN
A man has to make friends somehow.
But cmon Chris, lets gather all
we got in the back. Thats gonna
take all night at this rate.
LINCOLN tilts his head to the back and walks out towards the
door. PETERS nods his head slowly and stands up, following
LINCOLN.
INT. BACKROOM, THE LUGH INN - NIGHT
LINCOLN finishes up packing files and documents into a box.
PETERS sits at a table on the computer, searching through it.
He types onto it before raising his head.
PETERS
Hey uh, I got this journalist from
London here. His name is eh Henry
Pratt. Er, hes got some
experience. A PHD in media studies,
wrote a piece back in 2013 about a
corrupt district. Seemed to be
popular enough.
LINCOLN bends down to the box, writing on the side of it.
Missing kids 1990-1999, he nods his head slowly.
LINCOLN
Got an address? Phone number?
PETERS
Mmm yeah, a phone number here. Also
says here that he uncovered a
sexual assault case made by an
officer back in the early 2000s,
was covered up by its head
officers. Got two arrests because
of it.
LINCOLN
Mhm, he sounds like our man. Write
out the phone number there and
well have a talk with him in
London.

36.
LINCOLN stands up and throws the marker down, pulling up a
seat. He picks up a bottle of whiskey and begins to pour
himself a drink slowly. PETERS writes down the number onto a
notepad.
LINCOLN (CONTD)
Oh yeah, forgot to mention. Get rid
of your phone, dump it out
somewhere. Billy called me up and
said that Balors body was found,
theres an investigation now and
theyll be looking into us.
PETERS
Us? Howd they know about us?
LINCOLN
Well, we were hardly ninjas in the
investigation. I dont doubt that a
few people at the station saw you
and raised some eyebrows, itd make
sense to them. And even if were
not, its better to do it for
safekeeping.
PETERS
If you say so..
LINCOLN
I do, yeah. Throw it in the bin out
back, take out the sim card and
break it. Cant take any chances
with this..
PETERS
Right, yeah..
PETERS stands up slowly and walks towards the door. LINCOLN
picks up his drink and takes out his packet of cigarettes.
CUT TO:
EXT. THE LUGH INN - NIGHT
PETERS walks up to the dumpster next to the Inn and takes out
his phone, looking down on it. Hes about to take out the sim
card when he stops and raises his head a bit. He gulps and
turns on his phone, going to the recent calls section. A
whole page fills the section, Caitlin, 17:38. 19/9/15. He
looks down at it, sadly and lowers his head a bit. He shuts
his eyes and shakes his head slowly before raising it up.

37.
PETERS looks in at the side window to the Lugh Inn and turns
back, walking a good distance away from the Inn, towards the
road.
PETERS looks down at his phone and clicks on Caitlins name,
and the call button. He raises the phone up to his ear and
turns his head around, looking at the Lugh Inn as the phone
dials. It picks up.
CAITLIN (O.S)
Hey, this is Caitlin Fahey. Im
sorry I couldnt get to your call
right now but leave your name and
number so I can call you back
later. If the call is urgent, call
my boyfriend Donald Gallagher at
094-563821. Thanks! Bye, bye.
PETERS bites his gums and looks down as he waits for the
beep. He raises the phone back up.
PETERS (ON PHONE)
Hey Caitlin, its eh...its
Chris...Peters, Chris Peters. Ehm,
yeah Im just calling you up
because well...erm, Im
leaving...Ballina, tomorrow. Id
tell you where but eh, Id like to
keep it private. No offence, its a
long story heh. But ehm...I just
wanted to call you up to say, a
last...a last goodbye I guess. I
dont think Ill be coming back,
youll probably see why soon. When
you do, please...please dont judge
me for it. I uhm...just did what I
thought was right. I did what I
thought a hero would do. Although,
I can see now though that Im not
really a hero. It was a mistake to
think so.
PETERS rubs his hand through his hair and looks up, then
around the place before clearing his throat.
PETERS (ON PHONE) (CONTD)
I guess, I should eh get going now.
But, I..Ill, Ill ta-..
PETERS shakes his head and sighs lightly.
PETERS (ON PHONE) (CONTD)
I love you Caitlin, I always have.
Not a day goes by when I dont.
(MORE)

38.
PETERS (ON PHONE) (CONTD)
I wish things could have been
different, I wish..that maybe we
could have stayed together. Ill
miss you the most. Maybe one day,
we can see eachother again.
PETERS gulps and hesitates on the phone before he lowers it,
clicking the end call button. He lowers his phone and
breathes heavily before he turns off his phone. He shoves it
deep into his pocket before turning back and walking to the
Lugh Inn.
CUT TO:
INT. BACKROOM, THE LUGH INN - NIGHT
LINCOLN and PETERS sit across eachother at a table, the room
full of cigarette smoke. PETERS sits back in his chair,
cigarette in hand and playing with his drink with the other.
LINCOLN stares up into space, smoking his cigarette.
LINCOLN
Let me ask you something Chris.
Hm?

PETERS

PETERS stops playing with his drink and looks up to LINCOLN

who looks back at him, exhaling some smoke.
LINCOLN
Whats the real reason you quit the
Gardai for?
PETERS crosses his eyebrows and tilts his head, shaking it
slightly. LINCOLN rolls his eyes.
LINCOLN (CONTD)
Oh cmon, dont give me that fake
reason bullshit. Something made you
leave, what was it?
PETERS
I dont know what you mean man?
LINCOLN
Look, if were going on the run
that means any day that comes now
could be our last. At least do the
courtesy of letting me know.
PETERS sits forward in his seat, sighing heavily. LINCOLN
throws up his hand.

39.
LINCOLN (CONTD)
So I can rest in peace.
PETERS cant help but chuckle. He stares down at the table,
raising his cigarette up as he stares. His smile slowly
begins to fade, he hesitates.
PETERS
The reasons I gave before, they
werent lies. They were some of the
main reasons.
PETERS sighs as he takes a sip of his drink, looking to the
side. LINCOLN stares at him, waiting.
PETERS (CONTD)
I had uh, a body at some farm in
Foxford. Some kid, wasnt much
older than ten years old.
PETERS shakes his head, staring off to the side as he slowly
exhales smoke.
PETERS (CONTD)
Crushed by a fucking tractor in an
agricultural accident. Turns out
that the mother did it because she
couldnt feed the two of them.
PETERS sits back in his chair, staring off into space with a
blank face. He gulps once in fear.
PETERS (CONTD)
We spent half the day, waiting for
the medical examiner to clean off
all the blood and organs. While we
waited for our time to collect
evidence, we just watched.
PETERS shakes his head slowly and shakes his hands. LINCOLN
stares at him, taking a drag of his cigarette.
PETERS (CONTD)
I just said no, no no no. I had
seen enough of that shit on the job
for once, not anymore. I could see
just, human nature in it all. And I
just knew that I couldnt face it
anymore, never again. And with
everything else happening and
crumbling around me, I decided
yeah, theres nothing left for me
in this life anymore.

40.
PETERS shakes his head as he slams his glass down onto the
table, pushing it forward and lipping his lips in anger.
LINCOLN looks at him and takes a drag of his cigarette.
PETERS stares down at his drink before raising his head up,
letting his eyebrows up. He looks to LINCOLN.
PETERS (CONTD)
Yknow, after you went back in 04.
We saw that you went and visited
Jeremy Harmon in prison, talked
with him before you went.
PETERS exhales some smoke. LINCOLN looks up to him.
LINCOLN
Your point being?
PETERS
Why didnt you kill him? I mean,
youre not stupid. You must have
known what them three got up to
before they drove out. Me, thinking
about guys doing things to my
daughter. Id fucking have them
face down in a grave before the end
of the week.
PETERS shakes his head in disgust at the thought and looks
back at LINCOLN who lowers his eyes, before looking to the
right.
LINCOLN
Well, youre right I did know about
what they did. Dustin confessed it
to me. (pause) He said the whole
thing was Jeremys idea.
PETERS crosses his eyebrows in confusion and throws up his
hands a bit. LINCOLN leans forward a bit, thinking.
LINCOLN (CONTD)
I had thought about killing Jeremy,
right after I killed Dustin. But
the whole thing with Dustin,
it...it gave me a sign that my life
was soon going to turn into the
neverending fuck up that it now is.
And I was pretty much expecting me
to lose my own mind. But, when I
saw Jeremy and everything came
through my mind. I knew that it
wasnt the proper thing to do.

41.
PETERS nods his head slowly, understanding. LINCOLN stares to
the floor.
PETERS
Ah, so you realised what you were
doing was completely insane and let
the normal justice system take the
lead? Smart.
LINCOLN hesitates before he slowly shakes his head, his eyes
not moving. He blinks once.
LINCOLN
No, I knew that what was happening
was too frail. (pause) It needed to
be a bit more, relentless. I paid
off a couple of the guards and
inmates inside..
PETERS looks to LINCOLN, widening his eyes a bit in surprise.
LINCOLN doesnt even take notice and avoids eye contact with
PETERS. He slowly stands up, putting his cigarette in his
mouth.
LINCOLN (CONTD)
My whole life, like this whole
world, has been nothing but a
circle of hate, cruelty and anger.
I know it might not sound like a
pleasant lifestyle but...but I
embrace it. And the darkness which
comes with it.
LINCOLN picks up his glass, twisting it before he shoves in
his chair. PETERS looks down to the floor, gulping a bit.
LINCOLN slowly walks off to the door.
LINCOLN (CONTD)
You should get some sleep, were
going to be getting out of here
fast tomorrow.
LINCOLN pushes the door open, walking out.
CUT TO:
INT. THE LUGH INN - MORNING
PETERS sits in the bar at a seat all on his own as the sun
shines in through the window. His eyes are slightly blood
shot as he stares at the floor and smokes his cigarette,
slowing exhaling afterwards. He itches his face and looks up
at the sunlight, squinting slightly.

42.
INT. THE LUGH INN - MORNING
PETERS opens up the backdoor slightly, peaking inside.
LINCOLN lays back on his bed, fast asleep. All of the boxes
stand together in the corner of the room. PETERS slowly
closes the door.
INT. THE LUGH INN - MORNING
PETERS sits at the bar with a cigarette holder next to him,
full of burnt out cigarettes. He stares down at the bar as he
twists his glass slowly for a few seconds. He slowly raises
his head up and puts his hand into his back pocket, taking
out his wallet. He opens it up and looks down at a picture in
a compartment in the wallet. He slowly takes the picture out
and stares down at it.
The picture is a young PETERS with a young CAITLIN standing
together, smiling with fireworks in the background. He holds
the picture tightly and is slightly shaking, he stares down
at it and lowers his head slowly. His hands begin to shake
more and more until he finally drops it onto the bar, he
raises his hands up to his face and rubs them up his face to
his hair. PETERS sighs.
EXT. THE LUGH INN - MORNING
PETERS walks outside the pub slowly and looks around the
place as the sun rises up. He strolls towards the water
across the way. He stands over the water and gulps, watching
the sun slowly rise. He exhales slowly as the beautiful,
orange glow lights over the terrain. PETERS takes in the view
before he lowers his eyes, closing them slowly. Until he
finally lowers his head and rubs it. He drops his hands to
his sides and sighs in frustration until he takes out his
phone from his back pocket.
PETERS looks down at the phone for a couple of seconds and
types onto it. A small little bing comes from the phone,
PETERS eyebrows raise as he looks down at the phone. One
New Message - Caitlin. PETERS doesnt even hesitate, he taps
twice onto the message and waits for it to load up. Hey
Chris, Im sorry for not returning your calls. I couldnt
find the courage to call you back but now I do. Can we meet
up? How does the Castlebar shopping centre sound? Ill be
upstairs, at the large row of seats, be at the far right
seat. Meet me there at 2:30pm? We can get some coffee, if not
call me back.
PETERS grins and slightly coughs with laughter. His eyes
start to turn glassy as he looks up at the water and the sun
rising. He gulps as he wipes his eyes and he chuckles.

43.
He lowers his head, the grin still on his face and he turns,
walking back to the pub.
EXT. CARPARK, CASTLEBAR SHOPPING CENTRE - AFTERNOON
The shopping centre carpark is packed with many shoppers
rushing in and out with trolleys and shopping bags. Some
people are honking at eachother and shouting. PETERS car
stays parked in the centre, the engine off.
INT. PETERS CAR - AFTERNOON
PETERS sits in his car, hood up and sunglasses on. He stares
across at the centre, looking at everybody walking by. He
looks down at his watch, 2:19pm. He lowers his arm and
sighs lightly, re-adjusting himself in his seat. He looks
around agitated and thinks for a couple of seconds. He shakes
his head and finally opens up the door, hopping out.
INT. CASTLEBAR SHOPPING CENTRE - AFTERNOON
The automatic doors to the shopping centre open, many people
walk inside and some on their phones. PETERS walks in behind
them, pulling his hood down. He keeps his head lowered as he
walks through the crowd, loud talking and noises going on
around him. He turns his head to the left slightly as he
walks. His eyes look up, a couple of guards stand together
deep in a conversation. PETERS walks past them, raising his
right hand up and itching his hair. They take very little
notice of him as he walks past. He exhales slowly as he makes
it past them and he lowers his arm. He steps up onto the
escalator, shoving his hands into his black jacket. His head
stays down. Many people conversate around him as the
escalator slowly rises.
UPSTAIRS.
PETERS raises his head up a bit as the escalator reaches the
upstairs. He steps off and makes his way through the crowd,
looking around. PETERS looks towards a large row of seats,
some people already sitting down. He tries to find CAITLIN,
no such luck. He exhales in disappointment under his breath
and slowly approaches the seat on the far right. He sits
himself down at it and adjusts himself slightly, clearing his
throat. He looks around the shopping centre, slightly on
edge. He lowers his head a bit, holding it up with his arm.
A man at a couple of seats behind him with a hat and
sunglasses on, turns his head slightly in PETERS direction.
He stares at him for a couple of seconds, PETERS doesnt take
notice.

44.
The man looks back forward and folds up his newspaper,
standing up. He walks towards the left and walks around the
seats slowly, approaching the seat next to PETERS. He slowly
sits down and looks forward, sighing. PETERS moves his head
slightly to the man before looking back forward, adjusting
himself. He gulps once. The man smiles as he looks around the
shopping centre.
MAN
Nice day aint it?
PETERS glances to him, raising his eyebrows in confusion.
PETERS
Huh? Uh, yeah I guess it is.
MAN
Nice day to catch some fishes..
PETERS looks back forward, taking dis-interest in the
conversation. The MAN turns his head slightly to PETERS.
MAN (CONTD)
I might even take a boat at the
docks.
PETERS crosses his eyebrows, looking slowly to the MAN. The
MAN grins and nods slowly.
MAN (CONTD)
Hello Chris, long time no see.
PETERS adjusts himself in his seat, looking around. The MAN
takes off his glasses. It is MULLEN, late 50s, bald head,
wrinkled skin. He has a large grin on his face as he stares
at PETERS. His newspaper lays on his lap. PETERS gulps at him
and looks around. He attempts to stand up but MULLEN makes a
whistling noise, shaking his head. He raises the newspaper up
at an angle. PETERS looks down. A gun lays beneath the
newspaper on MULLENs lap, he nods slowly at PETERS who sits
himself back into position in his seat. He gulps in fear.
PETERS
Rich, I dont know what yo-.
MULLEN
Dont fucking call me that, you
dont have any right to use my
first name, rat fuck. You call me
Mr Mullen.
PETERS
I thought youd still be in jail or
dead.

45.
MULLEN
(chuckles)
And that is why you fail to
understand anything of what goes on
in this county. Youre eh, youre
like the small fish in the big pond
full of sharks and youre trying to
ask to be a shark. Nobody takes you
seriously.
PETERS looks around with a look of anger and fear. He raises
his head up as something comes to mind, he looks to MULLEN in
anger.
PETERS
Wheres Caitlin? Did you do
anything to her? I swear to fucking
God if you-.
MULLEN
Relax yourself there Chrissy boy,
relax. We dont have Caitlin at
all, but we can get her. Its
amazing what a few computer freaks
can do with computers these days
isnt it eh?
PETERS
What do you want?
MULLEN
Dont play the stupid, little boy
scout. You know what we want.
Everything you have on the Judas
Norman thing, the Devil Killer.
Hell whatever fucking files you
have.
PETERS slightly scoffs and looks around the shopping centre.
MULLEN shakes his head slightly in disgust.
MULLEN (CONTD)
And Mike Lincoln too, give us his
location or whatever. Right now, no
bullshit.
No.

PETERS

MULLEN
No? (contd)
MULLEN turns in his seat, looking to PETERS who glances back
at him.

46.
MULLEN (CONTD)
The fuck do you mean no? Heh, I
thought you at least had common
sense but I guess not.
MULLEN sits back in his seat, looking forward. He sighs
lightly.
MULLEN (CONTD)
If you dont fucking help us, well
have you arrested and killed before
sundown, then go kill Caitlin and
her whatever, new boyfriend. Then
get Lincoln and the evidence
ourselves. Quite frankly, its
possible for us to do that now. But
wed prefer less bloodshed.
PETERS
Whos we? You keep mentioning a
we.
MULLEN
The big boys in the county, the
people who actually matter and keep
everything afloat. Thats the
closest youll get to knowing
anything.
PETERS
Big people eh? Politicians? Gardai?
Community people?
MULLEN keeps silent, looking around. PETERS shakes his head
and scoffs, looking around.
PETERS (CONTD)
You know what they all fucking do
right? What happens with the
schools and churches from the
Norman foundation? Child rape,
murder, even sacrifices. Its
fucking disgusting, you know about
that bullshit right Mullen?
Hmmm.

MULLEN

PETERS
They even covered up the Devil
Killer, a fucking serial killer.
Innocent people had to die and for
what? Nothing, thats fucking what.
(MORE)

47.
PETERS (CONTD)
Nothing but...disgusting mens
tastes and urges.
MULLEN
Chris, cut all the bullshit. You
cant, wont and never will
understand what goes on behind all
the closed doors, everything thats
happened. Christ, I can hardly
figure it out myself but I know
better than to think about what
ifs and possibilities.
PETERS shakes his head in disagreement and looks around.
MULLEN glances to him.
MULLEN (CONTD)
And the Devil killer, Balor Dante.
If you had only fucking known what
happened to him through his
childhood. Youd take back shooting
him down within a second.
PETERS looks to MULLEN, his eyes widened behind his glasses.
MULLEN shakes his head in disgust as he talks.
MULLEN (CONTD)
He was inbred, you know that? His
fucking mam and dad were cousins,
fucked him up before he was even
able to walk. And everything they
did after that, it disgusts me. So
dont try and act like the fucking
superhero because you shot him
down. Matter of fact, I think he is
ten times more innocent than any of
the victims he killed. They were
all guilty of something.
PETERS
Hmpf, sounds like something Lincoln
would say.
MULLEN
Fuck that old drunk cunt. And dont
think that youre any better too,
we know what you fucking did with
Balor and the iron, then you killed
him. All points to you, so dont
even try to play the hero card
cause youre far from it.
PETERS
Yeah, no shit.

48.
MULLEN
Now last chance here, where are the
files and where is Lincoln? I
promise, if you give us them you
can walk away clean aslong as you
keep your mouth shut and leave the
county. Go to wherever youre
going, but keep your mouth shut.
PETERS
Hmm, no. Nah, I wont betray
Lincoln. Matter of fact is, youll
arrest and kill me straight after I
give you the location. Like what
you did with Father Todd, Balors
friend Ger.
MULLEN
Why are you trying to protect him
eh? Hes done nothing but fuck up
your life. He fucked your career
and respect, hell Id say even self
respect. And he killed a kid,
barely even twenty one.
PETERS
Who killed his daughter. You
havent gotten to know him like I
have, to me hes the only fucking
honest and cleanest person in this
whole county. Which says a lot.
MULLEN
Right, youre not going to give it
up then?
MULLEN slips his hand under the newspaper, grabbing onto
something. PETERS glances down at it and scoffs, looking to
MULLEN.
PETERS
What? Youre going to shoot me?
Dead in a public shopping centre,
piss off. Hundreds of witnesses,
hundreds of cameras.
MULLEN
I got out of a jam early before
didnt I? Who says I cant do it
again? Cameras are erasable you
know.
MULLEN smiles as he stares at PETERS who shakes his head
slowly. MULLENs smile quickly turns to a look of disgust.

49.
MULLEN (CONTD)
Plus, look around yourself Chris.
Look at everyone around you.
MULLEN flicks his chin up at the crowds and busy people in
the shopping centre. PETERS looks up at them, watching some
of them walking around.
MULLEN (CONTD)
Walking around, shopping in their
boring melo-dramatic lives...You
think theyre going to risk theirs
to a nobody like you? Fuck that, I
wouldnt even have to silence many
witnesses if I was to cover this
up. Nah, fact is people dont get
involved in business thats not
theirs. And those who do, like you,
get whats coming to them. Its the
circle and factual fate Chris,
accept it.
MULLEN shakes his head in disgust as he looks at the crowds.
PETERS looks at them in fear. MULLEN slowly turns his head
back to PETERS, flicking his chin.
MULLEN (CONTD)
Now stand up, cmon. Last time Im
going to ask.
PETERS stares around himself, breathing heavily and quickly.
He pauses for a couple of seconds, clutching his seat. He
slowly stands up, stepping forward a bit. MULLEN stands up
slowly and walks a bit behind PETERS, gun in hand but covered
by the newspaper.
MULLEN (CONTD)
Go on, walk. Out the back way.
PETERS gulps and takes a step forward, walking slowly. MULLEN
follows close behind, glancing around himself.
PETERS
If Im going to die, could you at
least tell me what happened with
everything? Balor, the Norman
foundation? Help me understand.
PETERS turns his head slightly to the left, waiting for an
answer. Beat. MULLEN shakes his head.
No.

MULLEN

50.
PETERS sighs in frustration and continues to walk towards the
back entrance. The duo slowly pass a stand with a guy with
lots of books on the table and a tub of money, J.R.R TOLKIEN
BOOK SALES! in bold written on a sign infront of it. A young
man steps forward to MULLEN who stops, turning his attention
to the kid.
YOUNG MAN
Cmon sir, would you be at least
interested in buying some of our
books? Theyre not cheap, but
theyre fantastic reads.
PETERS turns his head to the right and looks back at the two
talking. MULLEN shakes his head in frustration.
MULLEN
Beat it, kid. Get lost.
PETERS quickly reaches forward and picks up a large book from
the table. He turns and smacks MULLEN across the face with
the book. MULLEN falls back, spitting small bits of blood to
the floor. His gun flies out of his hand and hits the floor.
BANG. A shot fires as it hits the floor. Everything suddenly
turns to a panic, people start screaming and rushing away in
fear. Its complete chaos. The YOUNG MAN quickly runs off
from the stand. PETERS gulps and rushes forward, quickly
sending a quick to MULLENs head as he begins to get up.
MULLEN falls back to the floor, holding his face as he
screams.
PETERS turns and rushes towards the escalators in a panic.
The whole crowd struggles down them, still screaming. Some
guards struggle up the escalators. PETERS looks down at the
bottom floor in shock. Some security guards and normal Gardai
members rush towards the escalators, even some random men.
PETERS gulps and shakes his head, turning. He rushes towards
the back entrance.
EXT. BACKWAY, CASTLEBAR SHOPPING CENTRE - AFTERNOON
PETERS rushes out the backway with a large crowd, some of
them screaming and sprinting down the stairs and escalators
to the busy streets. PETERS sprints down through the crowd
towards another floor. He edges his way towards the next set
of stairs in a hurry. He peaks over the wall and looks down
at the street. Some more Gards and men rush towards the
stairs, trying to get up. PETERS turns and looks back up at
the top, more Gards and security are rushing down the
stairs.
PETERS gulps and looks around himself in fear. He looks
towards a small wall to the right and sprints over to it.

51.
He looks the over the wall. An open dumpster lays against the
wall, it is about 16 feet down from PETERS. He gulps and
looks around himself before he closes his eyes, shaking his
head. He hops over the wall slowly and falls down towards the
dumpster, swinging his arms.
EXT. CASTLEBAR ROAD - AFTERNOON
IN THE ALLEY
PETERS falls straight into the dumpster with a large crack
noise heard. He yelps a bit in pain. He slowly sits himself
up as he climbs out of the dumpster, falling onto his body.
He slowly crawls up against the dumpster and grabs onto it,
pulling himself up onto his feet. He breathes heavily in pain
and he looks down to his right leg. It is slightly bleeding.
PETERS
(muttering)
Fuck
PETERS attempts to start walking forward but his right leg
gives way and he stops in pain, holding the dumpster. He
looks up outside the alley. Many people are rushing by and
some still screaming. He lowers his head and shakes it as he
makes his way to the wall, he leans onto it and slowly makes
his way to the outside. PETERS bites his lip in pain as he
slowly limps.
IN THE STREET
PETERS peaks his head out from the wall and looks around.
Many Gards and men are talking, not looking in his
direction. They are pointing all around the shopping centre.
PETERS gulps and pushes himself off the wall. He slowly limps
his way out of the alley and starts to walk up the path. He
constantly glances behind himself in fear. PETERS shakes his
head as he walks and he goes to cross the street. He throws
up his hood and lowers his head. He starts to limp a bit more
faster.
PETERS makes it to the other street and looks behind himself,
the Gardai still havent taken notice. PETERS walks past a
large row of cars and takes some cover behind it. Many people
run up past him and some even stand, staring at the shopping
centre, talking amongst themselves. He goes up the path and
sees a Gardai cruiser speeding down it, sirens roaring.
PETERS quickly makes a small little jog and gets behind a
large van. He stands behind it in fear and peaks around,
waiting for the cruiser to pass. It skids up next to the
other Gardai.

52.
PETERS gulps and pushes himself off of the van and keeps on
limping up towards the path and looks behind himself as he
walks. He then turns his head back quickly and lowers it, he
begins to pace forward more quicker and breathes quickly,
both in pain and fear.
CUT TO:
INT. PETERS CAR - AFTERNOON
The door to PETERS car flings open. PETERS edges his way
into his car and yells quietly in pain, he sits down into his
seat and breathes quickly as he pulls his right leg into the
car before moving the other. He sighs and leans out, pulling
his door shut. He sits in silence and shakes his head slowly.
He smacks his hand off of the wheel before shouting in pain.
PETERS
(shouting)
FUCK!
PETERS shakes his head and leans down, putting his hands over
his face and he rubs it. He is visibly shaking. PETERS lowers
his hands and places them together as he thinks. He gulps and
shakes his head, putting his hand into his pocket and takes
out his keys. He puts them into the hole and turns them. The
car starts up, the engine roaring. He reverses the car,
peaking his head around before looking back forward and
revving out of the car park. He curses in anger as he drives.
A black Land Rover LR3 HSE pulls up behind him and follows
him. PETERS takes little notice and mutters under his breath
as he drives.
INT. PETERS CAR, MOTORWAY - AFTERNOON
PETERS speeds down a motorway in his car and is breathing
heavily as he drives. Music plays on the radio and he listens
to it, cursing under his breath in anger. He shakes his head
and slams his hand out, turning the radio off in a fit of
rage. He sits back in his seat in silence and keeps driving.
He grips onto the steering wheel and glances up at the
rearview mirror. He crosses his eyebrows and looks back up at
the mirror. The Land Rover drives close behind him, some men
sit in all the seats in the car. The Land Rover pulls over to
the right of the motorway but stays behind PETERS.
PETERS looks up at the mirror in shock and lowers his eyes
slowly. His breathing rate begins to increase. He turns his
head around and looks out the side window at the Land Rover.
There are people in the car, unseen but looking at PETERS
car. He turns his head back forward in fear and shock. His
eyes widened.

53.
PETERS
(muttering)
Shit.
PETERS holds onto the steering wheel and can barely look
forward, he keeps on glancing up into the rearview mirror.
His breathing rate keeps getting higher and higher, his hands
starting to shake. He shakes his head in fear.
CUT TO:
INT. THE LUGH INN - AFTERNOON
LINCOLN places a box down onto a table in the pub and sighs
lightly, rubbing his head. The other boxes are on the ground
surrounding it. He looks around and walks to the bar, picking
up his drink and taking a sip from it. He sits in silence and
breathes silently, staring forward at his reflection in the
mirror. Suddenly the old phone at the bar rings. LINCOLN
snaps out of his thoughts and glances down at it, lowering
his eyebrows. He waits a couple of seconds before reaching
out and picking up the phone slowly. He raises it to his ear.
Hello?

LINCOLN (ON PHONE)

INTERCUT BETWEEN PETERS AND LINCOLN

PETERS (ON PHONE)
Mike! Oh Christ, Mike. I...I fucked
up man. I fucked up real bad.
LINCOLN (ON PHONE)
Chris? Wh-whats wrong? What did
you do?
PETERS (ON PHONE)
I...I, fucking hell. I fucked up
man, I...I went out to go meet
Caitlin but..it was a set up by the
fucking Gards and the people from
the foundation. Ive got a tail on
me.
LINCOLN rubs his head in anger and puts his through his hair.
He looks down, sighing and stuttering.
LINCOLN (ON PHONE)
Fuck sake Chris, can you...can you
lose them? Or..fuck, I dont
know..ditch the car, put it in an
alley or some shit...fuck I dont-.

54.
PETERS (ON PHONE)
I cant. My legs fucked aswell
Mike, its dislocated or something.
And I wont risk it, if theyre
following me then its possible I
could lead them to you.
LINCOLN stares off to the ground, licking his lips. He shakes
his head slowly as he thinks.
PETERS (ON PHONE) (CONTD)
Look Mike, I know we...had our
differences both past and present
but I just want you to know, I
always did respect you..most of the
time. Just, get to the docks and
get to London, expose all this
shit...for me. Ill be fine, dont
worry about me. You dont need me
either. But do something for me,
will you? Sometime in the future,
tell Caitlin, I dont know how, but
just tell her that Im sorry and
Ill always love her. And that
maybe if I had of stayed the same,
maybe things would be different.
Can you do that Mike?
LINCOLN (ON PHONE)
Fucking hell. No Chris, youre not
going to die. Look...just..meet me
out at that old warehouse in
Drummindoo, at Westport alright?
Just drive out there, now.
PETERS (ON PHONE)
No, Mike just-.
LINCOLN (ON PHONE)
Just go there Chris! Ill be there.
LINCOLN slams the phone down in anger and shakes his head,
pushing himself off of the bar in anger. He looks over at the
boxes and sighs, walking towards them.
PETERS hangs up his phone and sighs lightly, turning the
steering wheel. He glances up at the rearview mirror in fear
and gulps once.
CUT TO:

55.
EXT. WAREHOUSE - LATE AFTERNOON
PETERS car pulls up through an open, gloomy road. He slows
down and begins to turn towards a small warehouse. He peaks
his head back down the way he came. The Land Rover slows down
and parks down the street. PETERS shakes his head and drives
inside the warehouse. LINCOLNs car is outside of it. PETERS
car turns off and he gets out, holding the door. He struggles
but starts to limp off towards the warehouse.
INT. WAREHOUSE - LATE AFTERNOON
PETERS walks inside the warehouse and looks around, the room
is dark with small bits of light coming from the outside.
LINCOLN sits down on a seat and looks up to PETERS,
approaching him. PETERS shakes his hands, sighing in
frustration.
PETERS
God damnit Mike, why did you bring
me here? Just let me go, get outta
here while you still can.
LINCOLN
No, Chris. Heres whats going to
happen, Ill take your car and lead
them fuckers away. You take my car,
it has all the files and drive to
the port, the boats going to leave
in less than fourty minutes so go
on, now. We dont have time.
PETERS
What? You cant be serious, no
youre not fighting my own battles
for me. I brought this on myself, I
wish I didnt but I did. Let me
take responsibility.
LINCOLN
I brought this on you Chris, I got
you involved in this whole
shitstorm investigation and it got
you here. All of this, is because
of me.
PETERS
I got into this myself, because I
wanted to. Because I believed you
when you talked about it all. Dont
blame yourself, just let me go.
This is my problem, mine only.

56.
LINCOLN
Look at me Chris, look at me. What
do I have to live on for huh? Im a
fucking disaster, that kills
anything that comes near me. You,
my wife, my daughter. You have more
to live for than I do. Please, just
let me do it Chris. You have more
reason for me to live and youre
the guy who brought all of this out
into the open, youre the guy whos
supposed to bring the light to
this. Not me, I...Ive got to
go...see my daughter maybe. Ive
got the feeling again Chris and I
wont let it go again.
PETERS
You really do?
LINCOLN
Yeah, Im starting to see her again
and hear her faintly. Shes waiting
for me now. But look, Chris, this
isnt about me. This is your life,
dont give it away when you still
have some good left in you. Me? Im
done for, my life is over. Theres
still hope for yours.
PETERS looks down to the floor, a sad look on his face.
LINCOLN pats him on the shoulder.
LINCOLN (CONTD)
Just wait till Im gone alright
buddy? Ill go now and thatll be
it, Ill lead them somewhere quiet.
You just get out of town. You
deserve a better death than this
bullshit.
LINCOLN slams his keys down onto the table and begins to walk
to the door, PETERS stands there frozen, thinking.
Mike.

PETERS

LINCOLN stops and turns to PETERS, tilting his head.

PETERS (CONTD)
If you see my Jess, tell her I love
her will you? Take her in, maybe we
can see eachother again.

57.
LINCOLN
Hmm, to be honest Chris. Id say
Jess is in a better place than
where Im going.
PETERS looks up to LINCOLN, his eyebrows raised. LINCOLN
lowers his head slowly and marches off towards the door.
PETERS sits back and lays his head down, putting his hand
over his head, sighing sadly. He begins to slowly cry.
EXT. WAREHOUSE - LATE AFTERNOON
LINCOLN marches off towards PETERS car, breathing heavily
and inhaling deeply. His breathing is a bit fast and he opens
up the car door, getting inside.
INT. PETERS CAR - LATE AFTERNOON
LINCOLN sits himself down in the drivers seat and gulps,
looking around the place. He stares for a couple of seconds,
thinking before he closes his eyes and reaches out, turning
the keys. The engine roars on and the car shakes a little
bit. LINCOLN raises his head up and grips the steering wheel,
he stares forward. He glances to the rear view mirror. The
pale little girl runs off from the warehouse and down the
road. He sighs lightly and nods his head. LINCOLN reverses
the car around and drives out from the warehouse onto the
main road.
He looks both ways and sees the Land Rover, parked still. He
kisses his teeth and looks back to his right, he puts his
foot down onto the pedal slowly and starts to drive out. He
stares forward, still breathing fast and his hands almost
shaking as he grasps the steering wheel. Behind the car, the
Land Rover pulls out onto the road and begins to drive up
fast towards the car. LINCOLN takes no notice.
EXT. LINCOLNS HOME - LATE AFTERNOON
LINCOLNs home stands alone with the blinds pulled and the
house old, dirty looking. The whole front garden is empty.
Suddenly the sound of a car speeding up is heard. PETERS car
speeds up outside the house and the engine cuts suddenly. A
couple of seconds after, LINCOLN steps out and looks up at
the house. He slams the door shut and places the keys onto
the car hood. He lets them go and walks up the steps to his
home, still staring. He approaches the front door and grabs
the handle, he shoves the door open with his shoulder. The
door busts open, the lock and bolts falling to the floor with
a crash. LINCOLN takes no notice and walks inside.

58.
The Land Rover pulls up down the street, its engine turning
off. The door to the house slams shut.
INT. LINCOLNS HOME - LATE AFTERNOON
LINCOLN looks around his home slowly and silently, the place
is empty with nearly all of the furniture gone or covered up.
He takes no notice to the emptyness. He stands still for a
couple of seconds before he takes one step forward and
continues to look around the room, he looks over at the
sitting room. His breathing is now at a more normal rate and
his thoughts have gone.
LINCOLN moves slowly into the sitting room and stares down to
the floor, in deep thought. Outside the window, a car pulls
up and many men get out, staring up at the home. A couple of
others approach them. LINCOLN doesnt notice and turns his
head to his right. He slowly marches forward.
LINCOLN opens up his bedroom door and looks inside at the
vast, empty interior. He stares in silence for a couple of
seconds as he takes in the view until he lowers his hand and
turns his head to the office door, opening it up. He walks
inside.
IN THE OFFICE
LINCOLN steps into his office and looks around slowly. A
white light shines in through the top window, it lights up
the seemingly grey room. The hole from PETERS punch still
stands on the wall. LINCOLN doesnt even notice it and he
closes the door behind him.
The office is more empty now, the bookcase and table are
gone. The only thing remaining being a cheap chair in the
middle of the room. LINCOLN stands and looks around for a
couple of seconds. He stares forward at the ground and blinks
slowly in silence. He breathes in deeply and steps forward
towards the seat, sitting himself down on it. He adjusts
himself in the seat and looks around the floor.
LINCOLN looks around carelessly and gulps as he takes out a
picture from his shirt, looking down on it. It is an old,
creased picture with a young LINCOLN, a young woman and a
little girl, the one he always sees. LINCOLN rubs his thumb
over the picture as he stares down at it, half grinning. He
closes his eyes as he folds the picture again and places it
into his front jacket shirt, over his heart. He then takes
out a pistol from his waistband and holds it on his lap. He
raises his head up, eyes shut and he slowly opens them.
LINCOLN crosses his eyebrows a bit and looks over at the hole
in the wall. He stares at it for a small bit in confusion.

59.
He slowly lets his eyebrows up and raises his head up a bit,
nodding once. Suddenly a large bang is heard outside from the
door banging open. LINCOLN takes no notice to the noise and
turns his head to his right, looking up to the little girl
who looks back at him, smiling. He gives her a little smile
and looks back at the door. The sound of shouting and
footsteps get closer to the door as we pan away from LINCOLN.
Suddenly, the door to the office bursts open, the handle
flying to the floor. In rushes, multiple armed men in
uniforms with MP5s and pistols. They aim up as they move
in. A shot fires at them carelessly and hits one of the men
in the leg, he falls down to the floor screaming in pain. The
other men move in and fire in LINCOLNs direction. They stop
but keep aiming and the sound of heavy tumbling is heard. The
men move away while some stay with the man and take out some
sheets, placing them over his wound. The man yelps in pain.
We slowly pan over towards the hole in the wall and zoom in
to it as the men in the background talk and move around. The
hole slowly takes over the screen.
FADE TO:
INT. BOAT - DAY
PETERS sits on the boat next to a large stack of boxes in a
room. He sits up slowly against a wall on a cheap bed and
stares down at some pictures, he slowly moves through them
and takes a good look at each of the images.
The pictures would be of a young PETERS and LINCOLN, standing
side by side in the Gardai station. LINCOLN has a broad voice
while PETERS is smiling. PETERS looks down at them sadly as
he changes the picture. The next picture would be LINCOLN and
PETERS side by side, with PETERS holding up a medal and
LINCOLN kind of smiling. PETERS looks at the picture and
slightly smiles, chuckling a little bit as he thinks.
PETERS (V.O)
There was eh, a small bit of news
coverage of his death on the news
as you probably researched. There
wasnt much details or coverage,
you probably know why...er, they
said that an anonymous tip was
given about him turning back up in
town, that they went and followed
him to his house..raided it..
PETERS pulls out another picture and looks down on it. It is
a young PETERS with a young CAITLIN and young LINCOLN, all
together with drinks in hands.

60.
PETERS (V.O) (CONTD)
I know he doesnt sound like a hero
or a good man, I dont even think
he thought he was anyway. Yknow,
he once told me that the truth to
all justice and judgements is that,
we get the punishments we deserve.
I cant say I disagree. So this is
why Im giving the story to you, so
you can do that for him.
PETERS takes out another picture and looks down onto it. It
is a picture of a crowd, young PETERS and JUDAS NORMAN all at
the orphanage, mostly painted in fresh white paint. They are
all smiling in it. PETERS looks in disgust at the picture.
PETERS (V.O) (CONTD)
We paid for all this with our
lives. So if you cant respect us,
at least respect what we have. Not
just for us, but to make our world
a bit better than it is.
CUT TO:
INT. PRATT HOUSEHOLD - MIDDAY
PETERS stands in the kitchen, arms crossed with HENRY PRATT,
late 30s, slick hair, clean white shirt. In the background,
through an open door is two little kids and their mother
playing next to the TV. HENRY looks through the files,
glasses on.
PETERS
I owe him this, for what he done
for me and hell...to be honest, the
whole of Ballina owes him.
HENRY looks through the files, exhaling lightly. PETERS looks
at him and flicks his chin up.
PETERS (CONTD)
Thats all of our evidence. You got
child disappearances, records,
pictures, tax records, whatever.
You think theres enough?
HENRY
I think I have too much but yeah, I
think I could make it all work.

61.
PETERS nods his head slowly and turns his head, looking at
the kids in the next room. He smiles lightly and looks back
at HENRY.
PETERS
You got kids then eh?
HENRY
Yeah, two daughters. Six and eight
years.
PETERS
Good, you hang onto them two you
hear me Henry? Hang onto them with
your dear life, dont let go...God
knows how much I regret not hanging
onto mine.
HENRY stops and looks up to PETERS, gulping once. Hes about
to say something but stops and looks back down.
PETERS (CONTD)
Stay on your toes, so youll...be
aware of when something is coming
before it reaches the door.
HENRY looks through a box and takes out the video tape,
looking down onto it in confusion. PETERS raises his head up
and breathes heavily, shaking his head.
PETERS (CONTD)
Dont watch that around your kids,
never, ever. Its...its evidence,
important. But Jesus Christ, dont
play that around anyone...Yknow
what, dont even watch it
yourself..its too much. If any
police officers come by, show it to
them instead but warn them.
HENRY
Why? Whats on it?
PETERS
The Devils work.
HENRY crosses his eyebrows and places the video tape back
into the box and he sits back in his seat, sighing. He looks
up to PETERS.
HENRY
Come with me, confess the story and
get it out to the public. Bring the
justice like you said.

62.
PETERS
Its not my story, its yours now.
I gave it to you and told you it.
You think of it how you want. You
have the truth, just know that.
HENRY
Tell me the story of how it all
happened, when it happened, how it
started so its more clear.
PETERS
I dont know how it started or
when. But that doesnt matter, its
what happened is the basis of the
story. Write up the article, spread
the facts.
HENRY sighs in frustration, biting his lip. PETERS picks up
his coat and throws it on. He adjusts himself.
PETERS (CONTD)
You can use my name or whatever.
But just know, people will come
knocking at your door. But no
matter how hard it gets, stay
strong. You have all the aces and
youre the holder of the truth.
Thats a bigger bulletproof vest
than anything you will find in your
life. Hold onto it, protect your
family. One day, one situation can
end your whole life before it even
begins.
PETERS nods slowly as he stares at the floor. He sighs and
walks towards the front door. HENRY looks around.
HENRY
What are you going to do now?
PETERS
Go live the rest of my life I
guess, find something new, travel.
Maybe try and find the meaning of
life, somehow, somewhere. No such
luck yet. But take care Henry and
good luck, youre a good man.
Youre the guy who will shine the
light on all of this.
PETERS grabs onto the door handle and opens up the door,
about to step out. He stops and turns to HENRY.

63.
PETERS (CONTD)
You want to know the greatest
answer Ive come up with while
searching for the meaning of life?
HENRY turns in his seat to PETERS, raising his head up.
PETERS glances to the floor before looking back up at HENRY.
Silence.

PETERS (CONTD)

HENRY stares over at PETERS, lowering his head a bit. PETERS

moves his eyes to the floor and exhales through his nose,
walking out the door and closing it.
CUT TO:
EXT. WESTMINSTER, LONDON - MIDDAY
PETERS closes the door to a house and walks down the steps
slowly. He walks in through a large crowd and places his
hands into his pockets as he slowly walks up the path. The
sky is orange with the sun going down. PETERS slowly walks
off through a crowd up the street towards Big Ben. The sun
slowly goes down.
FADE OUT: