Rotten Apple

Episode 1
Some Guys Have All the Luck.
By
Martin Mulrooney
Notes

The main character has several name changes throughout the

pilot episode.

He begins the episode as the HOODED FIGURE. He later

progresses to the NAKED MAN, then the BUSINESSMAN, before
choosing and settling on the name MR EKEROT (first name
Robert.)

Some people from the past also know him as Thanatos,

although in popular culture the viewer would know him as
the Grim Reaper. These name changes progress naturally and
will make sense within the context of the plot.

Also, the episodes are all named after Robert Palmer songs:

Episode 1: Some Guys Have All The Luck. (Pilot episode.)

Episode 2: Simply Irresistable.

Episode 3: Mercy Mercy Me.

Episode 4: Looking For Clues.

The reason for this will also become apparent in the pilot
episode.
 2.

EPISODE 1 SCENE 1 EXT. NEW YORK CITY -- EVENING

The distinctive opening chords of Murder by Numbers by The

Police warbles gently into the New York night air from a
small portable radio, distorted by the plumes of steam
emitting from a nearby manhole cover. Vocals soon follow
the chords as the pavement throbs with the passage of late
night shoppers, people wrapped against the cold on their
way home from work, and...him.

(O.S) 'Its murder by numbers, one, two, three. Its as easy

to learn as your ABC.'

He stands next to the radio, which is perched on a hotdog

vender's stand, finishing his meal-to-go. A thin scar runs
from his left eye almost down to the corner of his mouth,
but apart from that he could be any other businessman on
his way home. He wipes his mouth articulately with a napkin,
before rolling it into a small ball and disposing of it in
a nearby trashcan.

VENDER
Anything else I can getcha there
pal?

THE SCARRED MAN

No.

He then leans down to pick up his briefcase, before briskly

walking away through the bustling pedestrians.

The song emitting from the radio is now finally drawing to

a close, dimming.

'But you can reach the top of your profession. If you become
the leader of the land. For murder is the sport of the
elected. And you don't need to lift a finger of your hand.'

VENDER
Geez, what's his fucking problem?

EPISODE 1 SCENE 2 EXT. NEW YORK CITY -- MOMENTS LATER

The SCARRED MAN is now walking down an alleyway, his smart

shoes clipping the concrete with powerful slaps in the
minute puddles formed from recent rain. Suddenly, a crash
emits from around a corner.

The SCARRED MAN stops, his eyes darting left and then right,
before pulling a pistol from beneath his jacket. He slowly
inches around the corner, gun aimed, steady.

THE SCARRED MAN

Who's there?

As he rounds the corner, he sees an overturned trashcan

houses a rummaging black cat. His sudden appearance startles
the stray, sending it with a hiss into the forever blackness
of the alleyway.
 3.

He begins to holster his weapon when he suddenly hears

someone behind him. From a distance, if anybody were
present, they would now see his silhouette illuminated
upon the alley walls in bursts as he empties the whole of
the gun-clip fruitlessly. It is only when the shooting is
over that the attacker strikes from the shadows, a blur of
speed and agility culminating is a large scythe sweeping
down with murderous intent, severing the SCARRED MAN's
head.

As his severed head hits the ground, arterial blood spraying

crimson ink into thirsty crevices, its final expression is
one of recognition.

EPISODE 1 SCENE 3 EXT. THE INBETWEEN -- NIGHT

A huge mansion stands of the edge of a vast woodland. It

is immediately apparent that this is not our world. There
is a silence that seems impossible, winds raging without
sound. It is raining heavily, and everything is cast in a
perpetual twilight.

Suddenly, the door to the mansion is flung open, and a

HOODED FIGURE emerges. None of his body is visible due to
a cloak that reaches down to the ground. Black gloves cover
his hands. He glances left, then right, before running
straight towards the woodland.

EPISODE 1 SCENE 4 EXT. THE INBETWEEN -- NIGHT

The HOODED FIGURE runs through the woodland, a blur amidst

branches and bushes that claw at his cloak, slowing him
down. He seems desperate to escape from whoever is chasing
him, although oddly, he is not breathing heavily. It sounds
almost as if he is not breathing at all.

EPISODE 1 SCENE 5 EXT. THE INBETWEEN -- NIGHT

Several other HOODED PERSUERS are running through the

woodland now, carrying flaming torches that illuminate the
trees around them, flittering shadows into the constant
night.

A voice suddenly calls out from amongst them, cracking

through the silence like a scraped knife on a porcelain
dinner plate. It is unwavering even amidst all of the
running.

DIABLOS
This is fruitless! What do you
possibly hope to achieve by fleeing
in this way? I am in charge now.
You shall answer to I, Diablos
before the night is through! Now,
SHOW YOURSELF!

EPISODE 1 SCENE 6 EXT. THE INBETWEEN -- NIGHT

The HOODED FIGURE suddenly clears the woodland and finds

himself at the edge of a vast cliff.
 4.

He tries to stop his momentum and digs his heels into the
ground, yet it is too late and he finds himself hurtling
towards the sharp drop beyond. He balances precariously
on the edge before throwing himself backward and falling
into a heap on the dirt floor. As he picks himself up, he
realises that the HOODED PURSUERS are blocking the way
back, their torches casting the daunting congregation in
an ethereal glow. One of their number steps forwards.

DIABLOS
So, are you ready to turn yourself
in, murderer?

The HOODED FIGURE tilts his head slightly.

HOODED FIGURE
(Deeply)
AND WHY WOULD I DO THAT?

At the sound of the HOODED FIGURE's voice, several of the

HOODED PURSUERS take a step back. DIABLOS takes a step
forward.

DIABLOS
(Laughing)
You are a murderer! And I don't
mean all the ones that were on the
clock, oh no. This one was off the
books.

DIABLOS takes another step forward, at the same time taking

a small cylindrical object from his cloak.

DIABLOS (CONT'D)
Punishment is extermination. This
one is authorised. Are you ready?

The HOODED FIGURE looks at DIABLOS, then at the object in

his hand, and then across the array of HOODED FIGURES that
are providing an audience for this confrontation.

HOODED FIGURE
(Deeply)
NOT QUITE YET.

The HOODED FIGURE suddenly turns to face the drop beyond

the cliff's edge. DIABLOS is running now, the object in
his hand unfolding out of itself several times over to
reveal a scythe, the blade whistling through the air...

DIABLOS
GET BACK HERE!

The HOODED FIGURE leans forward and falls over the edge of
the cliff, muttering unheard incantations as he goes.
Beyond, there is only blackness. As DIABLOS cries out in
fury, he falls down and looks over the edge, his scythe
slicing and burying itself into the solid rock of the cliff.
The other HOODED PURSUERS rush to look over as well, just
in time to see the HOODED FIGURE suddenly evaporate into
thin air.
 5.

DIABLOS stands, his head hung, motionless. He suddenly

grabs one of the HOODED PURSUERS and throws them off the
edge of the cliff. He screams all the way down, forever.
He turns to face the rest of his men.

DIABLOS (CONT'D)
I want him found! NOW!

EPISODE 1 SCENE 7 EXT. NEW YORK CITY, TIMES SQUARE --

EVENING

A CAB DRIVER is sitting in his yellow-cab, listening to

the radio on low, reading a newspaper. He is pulled in at
the side of the road on West 49th Street, slightly backed
into an alley. All around, there is movement. Neon
illuminates the glass of the front windscreen, cast from
various billboards, yet the car itself is mostly in shadow.

The communications radio suddenly buzzes into life.

DISPATCHER
(Through electronic
crackling.)
Alright fellas, I hope you're all
working your asses off out-

The CAB DRIVER turns the communications radio off, and

turns the radio volume up.

Robert Palmer's Sneaking Sally Through the Alley fills the

cab, and the CAB DRIVER leans back.

CAB DRIVER
Goddamn dispatcher. If I need my
five minutes rest at 4 in the
freaking morning, I'll have it.

He closes his eyes and lets the music wash over him.

'Sneakin Sally through the alley. Trying to keep her out

of sight. Sneakin Sally through the alley. When up pops
the wife.'

EPISODE 1 SCENE 8 EXT. NEW YORK CITY, ABOVE TIMES SQUARE --

EVENING

The HOODED FIGURE suddenly appears in mid-air above an

alley on West 49th street, hanging for several seconds
before gravity realises he is there and pulls him back
down towards earth.

EPISODE 1 SCENE 9 EXT. NEW YORK CITY, TIMES SQUARE --

EVENING

Suddenly there is a loud crash and the whole cab shakes

from an impact on the roof. The CAB DRIVER's eyes fly open
and his newspaper explodes all over the passenger seat.
Then, a HOODED FIGURE rolls down the front window and off
the bonnet. The CAB DRIVER quickly exits from the driver's
door, approaching the HOODED FIGURE on the ground.
 6.

CAB DRIVER
What the HELL...hey Mr...MR! Are
you okay? Jesus, did you jump
from the roof of that building?
What, are you trying to kill
yourself?! And what's with the
cape-

The HOODED FIGURE picks himself up, walks past the wide-
eyed CAB DRIVER, and gets into the back seat of the yellow
cab, which now has a huge dent and a smashed advertisement
adorning its roof. The CAB DRIVER stands there speechless
for several seconds, before climbing back into the driver's
seat and turning around to face this peculiar passenger.

CAB DRIVER (CONT'D)

Look, I don't know what the hell
is going on, but I do know you
must be on drugs. So I am gonna to
give you till the counta three,
and then I'm gonna drag your ass
outta my cab and to the nearest
police officer.

HOODED FIGURE
(Deeply)
JUST DRIVE.

The CAB DRIVER looks shocked by the deeply powerful,

emanating voice. He hesitates before he replies, shakily.

CAB DRIVER
Screw that! Get out right now, I-

HOODED FIGURE
(Deeply)
TAKE ME TO MANHATTAN MINI STORAGE,
570 RIVERSIDE DRIVE.

The CAB DRIVER has turned a deep shade of red, furious

with anger.

CAB DRIVER
Fuck this! Get the hell outta-

The HOODED FIGURE pulls back the hood on his robe to reveal
a perfect skull. The sockets stare at the CAB DRIVER, deep,
black, empty voids, as the lower jaw moves up and down
with the words that follow.

HOODED FIGURE
(Deeply)
STEP ON IT... OR ELSE.

The cab roars from the alley, narrowly missing another

car, and speeds off into the night.
 7.

EPISODE 1 SCENE 10 EXT. NEW YORK CITY, MANHATTAN MINI

STORAGE -- LATER

The cab pulls over outside an isolated warehouse. Fine

raindrops spray in a mist over the landscape. It is
beginning to get lighter now. The HOODED FIGURE exits the
cab, which then speeds off, it's back door still open.

HOODED FIGURE
(Deeply)
KEEP THE CHANGE.

The HOODED FIGURE turns to look out over the Hudson River.
Although the skull can show no real expression, the figure
seems lost in thought. Faint blurs of faraway seagulls
call out in the rapidly lightening morning. The HOODED
FIGURE turns and walks towards the warehouse.

An electronic panel is set within an alcove in the wall. A

gloved hand quickly enters a series of numbers, resulting
is a very distinct click, before the metal warehouse door
swings inwards. The HOODED FIGURE enters.

EPISODE 1 SCENE 11 INT. WAREHOUSE -- CONTINUOUS

The HOODED FIGURE flicks a switch near the doorframe several

times before seeming to realise that the lights are dead.
He makes his way between many highly stacked isles, full
of records, books and other treasures, towards the back of
the room. Early morning sunlight drifts in from high
windows, emphasised even further by the disturbed dust
floating and constantly shifting in the stuffy trapped
air.

The HOODED FIGURE reaches a large wooden box at the far

end of the room. He swings the lid open to reveal a
suitcase, a cylindrical item like the one DIABLOS had
wielded earlier and what appears to be a suit of skin
resting on top of a more conventional pile of clothes.

He steps out of view behind a shelf with this skinsuit.

The black robe worn so far is thrown back across the room
into the wooden box. Several stretching sounds can be heard,
along with further grunts of effort. Suddenly, the HOODED
FIGURE is now a NAKED MAN, visible from behind, approaching
the wooden box. He takes some clothes and begins to get
dressed.

EPISODE 1 SCENE 12 EXT. NEW YORK CITY, MANHATTAN MINI

STORAGE -- LATER

The morning sun is now almost fully risen, fighting against

the rain clouds that dare to dampen its mood. Out of the
warehouse exits what appears to be a BUSINESSMAN. He is
dressed in a smart striped blue suit, with a light blue
shirt and satin red tie. Black shoes are polished to a
sheen, and cufflinks of solid gold dangle from pristinely
pressed shirt-cuffs. The only thing missing are the
eyes...dark empty sockets still remain upon the man's face.
 8.

Realising this, the BUSINESSMAN reaches with both hands

into their respective pockets, pulling out a pair of
eyeballs. He presses these into his eye sockets, blinking
several times before they settle into place. He now looks
like a normal man, in his late 30's/ early 40's, who is in
good shape, and has startlingly blue eyes. The BUSINESSMAN
turns and enters a new code into the panel on the wall.
He then picks up a freshly packed suitcase, before walking
away into the gradually worsening rain.

He has barely walked for more than ten seconds before the
warehouse behind him explodes in a huge ball of flame,
reflecting brightly onto the Hudson River. He doesn't turn
back to watch the warehouse burn, flames flickering upwards,
as sirens start to wail in the distance.

EPISODE 1 SCENE 13 INT. CAB -- MORNING

The digital readout on the cab's dashboard reads 5.26am.

THE BUSINESSMAN is sitting in the back, staring out of the
window at Lower Manhattan. Several NYPD cruisers and fire-
engines zoom past, sirens wailing, lights flashing. The
CAB DRIVER has dreadlocks and is humming to a KC & the
Sunshine Band song on the radio.

CAB DRIVER
Hey man, how long ya been in da
big apple?

BUSINESSMAN
(Deeply)
NOT-

The BUSINESSMAN stops, realising his voice has made the

CAB DRIVER look into his rear view mirror. He clears his
throat.

BUSINESSMAN (CONT'D)
Not very long. I just decided to
drop in at the last minute.

The CAB DRIVER focuses his attention back onto the road.

CAB DRIVER
Ah man! I wish I could come and
go! Not much freedom when ya drive
one of these ya know! Ten thousand
up front jus for da privilege!

He waits for a reply, and when none is offered, seems

content to carry on the conversation by himself.

CAB DRIVER (CONT'D)

Of course it will be wirt it in da
end man! One day I will have a
whole fleet of dese here cabs
running all ova da city! Come to
think of it, were are ya even goin
to my friend?
 9.

BUSINESSMAN
I am not sure... yet. Just killing
time at the moment. Don't worry...
I have money.

CAB DRIVER
I am insulted man! I never doubted
that! Just curious! Crazy morning
so far I have ta say, goddamn
terrorists.

BUSINESSMAN
Terrorists?

CAB DRIVER
You ain't heard man?! Blew up a
warehouse not far from were you
were picked up man!

The BUSINESSMAN looks out of the window again, and notices

several cranes and other construction vehicles looming up
above a high steel fence.

BUSINESSMAN
Let me out here.

EPISODE 1 SCENE 14 EXT. NEW YORK CITY, GROUND ZERO --

MORNING

The BUSINESSMAN looks through gaps in the metal fence at

the constantly working men who are building the new Freedom
Tower. Concrete foundations are already in place. The
BUSINESSMAN looks almost sad, lost in thought as rain
patters on the shoulders of his expensive suit.

A STREET CLEANER comes and stands next to him, broom in

hand.

STREET CLEANER
What do you think?

BUSINESSMAN
Pardon?

STREET CLEANER
The new tower? What do you think?

BUSINESSMAN
Oh. I'm not sure.

STREET CLEANER
Me either. I guess some things
that are broken just can't be fixed.
Take that guy over there.

The STREET CLEANER points at a TROUBLED MAN standing on

the other side of the road, eyes fixed straight ahead at a
memorial plaque full of names of the dead.
 10.

STREET CLEANER (CONT'D)

Lost his brother on 9/11. He's
here same time every morning without
fail. It's a screwed up world.

The STREET CLEANER carries on down the street, shaking his

head.

The BUSINESSMAN crosses the street to stand next to the

TROUBLED MAN.

BUSINESSMAN
Why are you here every morning?

The TROUBLED MAN looks momentarily stunned by the abruptness

of the question. He looks hard at the BUSINESSMAN, before
deciding his intentions are not mean spirited, and replying.

TROUBLED MAN
(Defensively)
I feel drawn to this place.
Everything changed here... why are
you here at 6 in the morning anyway?

BUSINESSMAN
I... felt drawn here also. You
have 22 years, 5 days, 4 hours and
34 minutes, 25 seconds left.

TROUBLED MAN
(Confused)
What? What does that even mean...
you're English, right? The accent
isn't very strong...

BUSINESSMAN
Sure. English.

TROUBLED MAN
So you haven't been here before?

BUSINESSMAN
I have been here many times. I was
here when this happened.

The BUSINESSMAN sweeps his hand across ground zero.

TROUBLED MAN
On business?

BUSINESSMAN
Always. It was a very busy day,
that day.

TROUBLED MAN
Did you help? A lot of people seemed
to want to help, however they could.
There has not been one day since
that I haven't come back here.
 11.

BUSINESSMAN
I helped the best way I knew how.
That day though...my job held no
pleasure for me.

TROUBLED MAN
Are you something to do with the
government?

BUSINESSMAN
Erm... no. Not really.

TROUBLED MAN
Oh, okay. But you don't wanna
tell me what you do, I can tell
that much. I'm Mason by the way.
Henry Mason.

HENRY extends his hand. The BUSINESSMAN accepts it with

his gloved hand.

HENRY
And you are?

BUSINESSMAN
I am... Mr Ekerot.

HENRY
Nice to meet you. They wouldn't
let me get his final message you
know. I was sure the wall safe
would protect his laptop. He said
before we got cut off that he had
left me a message on there. That
was just as the tower collapsed...
and I never got that laptop. The
government, all that red tape...

HENRY begins to cry, tears cascading down his cheeks, red

from the cold morning air.

HENRY (CONT'D)
All I want is to hear his final
words! It drives me insane! No
payoff, no cheque can substitute
that kind of closure!

BUSINESSMAN
You still mourn? It's been nearly
8 years...

HENRY
IT COULD BE A HUNDRED GODDAMN YEARS
AND I WON'T FORGET!

BUSINESSMAN
I am sorry.

HENRY
It's fine...I'm... I apologise.
 12.

BUSINESSMAN
Leave it with me. I'll see what I
can do.

HENRY looks confused, tears still fresh on his face, as MR

EKEROT walks away and hails another cab.

EPISODE 1 SCENE 15 INT. HOTEL DELMONICO -- MORNING

MR EKEROT walks to the front desk, ringing the bell once.

The hotel is bare and minimal, lit in dull yellow with low
wattage bulbs. A large, burly man comes from the back room.

MANAGER
Okay, okay. I'm here. What do you
want?

MR EKEROT
A room please.

MANAGER
Goddamn comedian here. What kinda
room?

MR EKEROT
Room for one, for one night.

MANAGER
Talk about stating the obvious.
Anything else with that?

MR EKEROT
I wouldn't smoke anymore.

MANAGER
WHAT?!

MR EKEROT
You have less than a week.

MANAGER
Listen pal, I do what I want, when
I want. No limey jerk is gonna
tell me otherwise either.

The MANAGER stretches back, cracking his back,

MANAGER (CONT'D)
Besides, I'm the picture of health.

He grabs a pen and a paper form.

MANAGER (CONT'D)
What name?

MR EKEROT
Ekerot

MANAGER
First name?
 13.

MR EKEROT looks up at a nearby television mounted on the

wall. Addicted To Love by Robert Palmer is playing, although
the sound is turned very low.

MR EKEROT
Hmm... he was playing in the cab
as well.

MANAGER
(Clicking his fingers)
Huh? Hey pal, over here! First
freaking name?

MR EKEROT
Robert.

MANAGER
Robert Ekerot. Figures.

The MANAGER turns and takes a key from the hook behind
him.

MANAGER (CONT'D)
Twenty dollars up-front.

He slams the room key down onto the front desk.

MANAGER (CONT'D)
And you can show yourself up.

EPISODE 1 SCENE 16 INT. HOTEL ROOM -- LATER

MR EKEROT sits on the bed, staring at the wall. He stays

this way for some time, the curtains drawn, the LCD clock
displaying the time: 8.02am.

He picks up the phone, goes to dial, then changes his mind.

Hanging up, he exits the hotel room.

EPISODE 1 SCENE 17 EXT. NEW YORK CITY -- DAY

MR EKEROT walks along a busy New York sidewalk. Above

everyone's heads, he can see glowing numbers counting
downwards. Deathclocks. MR EKEROT can see exactly how long
everybody has to live. The people also give off vivid auras
indicating their predisposition towards good or evil. He
consults a tourist map to check he has the right location.
Suddenly he sees a black BMW pull over to the side of the
road. A TALL MAN steps out in a suit and sunglasses. His
deathclock reads 0 years, 0 days, 0 hours, 0 minutes, 0
seconds. He also has an extremely dark aura. MR EKEROT
drops the map into a nearby trashcan and crosses the road.

EPISODE 1 SCENE 18 INT. APARTMENT BUILDING -- CONTINUOUS

The TALL MAN enters the apartment building, turning to

lock the door when he is swiftly punched in the face and
knocked onto his back by MR EKEROT, blood pouring from his
nose. MR EKEROT leans down to pick up the TALL MAN's dropped
room key.
 14.

TALL MAN
Shit! What the hell...

MR EKEROT
(Deeply)
SHUT UP AND TELL ME WHAT ROOM YOU
ARE IN.

TALL MAN
Oh no. Oh no oh no oh no... it's
you. Ohhh god oh god...

The TALL MAN starts to crawl away across wooden floorboards,

before the blade of a scythe embeds itself in the wood
next to his head.

MR EKEROT
(Deeply)
WHAT ROOM NUMBER.

TALL MAN
It's...oh god. It's room 101, floor
14...well it's 13 but they skip
that floor here because...well
it's just the top floor. The whole
top floor. It's a penthouse! Look...

MR EKEROT
(Deeply)
SHUT UP.

He grabs the TALL MAN's leg, who then begins to scream.

EPISODE 1 SCENE 19 INT. ROOM 101, FLOOR 14, PENTHOUSE --

LATER

The penthouse overlooks Times Square. Below, cars crawl

along, sounding their horns with reckless abandon at the
fearless pedestrians that dare to run into their paths. A
huge billboard advertising the Jersey Boys musical can be
seen on the building opposite. Huge windows surround the
entire room. The apartment is obviously worth millions. In
the middle, hung upside down with phone cord from the light
fixture, is the TALL MAN.

MR EKEROT is rummaging through a music CD collection on

one of the bookshelves.

MR EKEROT
Robert Palmer, you got anything by
him?

TALL MAN
Hey...what? Look, let me down and
I'll get you whatever you need,
please...

MR EKEROT plucks a CD case from the rack and opens it,

inserting the CD into a nearby sound system.
 15.

MR EKEROT
No matter. Found it.

The CD whirs into life. MR EKEROT skips several tracks

before coming to rest on the song Simply Irresistible.

MR EKEROT (CONT'D)
It's strange. I know I shouldn't...
but I seem to enjoy the music I
hear recently.

TALL MAN
What's going on? Please...

MR EKEROT
(Deeply)
DON'T INTERRUPT ME!

The TALL MAN whimpers as he gently sways from side to side

upside down.

MR EKEROT (CONT'D)
I don't know why, but I really
like this artist. Listen...

The lyrics pound out after an instrumental opening:

' She's a craze you'd endorse, she's a powerful force.

You're obliged to conform when there's no other course.
She used to look good to me, but now I find her... simply
irresistible... simply irresistible.'

MR EKEROT (CONT'D)
Now, I know that you know who I
am. I also know that I didn't kill
whoever they say I did. Talk.

TALL MAN
Look, I don't...

MR EKEROT swiftly extends his scythe with a speed so fast

it is terrifying, and suddenly the blade is at the TALL
MAN's throat.

MR EKEROT
(Deeply)
TALK!

TALL MAN
Okay! Look, I don't know how or
why they did it, but it's been
known by everyone that Diablos
wanted you gone!

MR EKEROT
Who is the scarred man?

TALL MAN
He's nobody, just some loose end,
a guy living on borrowed time...
(MORE)
 16.

TALL MAN (CONT'D)

that's the point! He was one mean
motherfucker, would have taken
someone extremly powerful to kill
him... like a reaper. He wasn't
fated to die for another 20 goddamn
years, he had work to do for the
guys upstairs, and-

MR EKEROT
Why isn't anybody higher up stepping
in then?

TALL MAN
You guys are supposed to be fate
itself! It is fate, for better or
worse, what is happening!
Besides... you can't deny that you
have broken the rules before! How
about that guy who was killing all
the women back in-

MR EKEROT
Shut up. Stop changing the subject.
This was not my fate. It IS not.
This... this is ABSURD.

TALL MAN
You can't survive on earth. You
don't belong, you will change.
You already like goddamn music for
crying out loud! You're the fucking
Grim Reaper man! You ain't supposed
to like music for a start!

MR EKEROT
Things are going to change.

TALL MAN
They already have, for the worst!
Diablos is in charge now, he has
your job, he's Head Reaper!
Everybody has to take orders off
him!

MR EKEROT
Not me.

TALL MAN
Yeh, and how long can you last?
They will be looking for you,
everybody will be. They are already!
His two henchmen? They have the
authority to kill you on sight.
And death for you means that you
cease to exist. Why don't you just
turn yourself in?

MR EKEROT
You are very... stupid.
(MORE)
 17.

MR EKEROT (CONT'D)
You say they will kill me. And
then you ask me to turn myself in?

TALL MAN
You aren't human! What does it
matter if you cease to exist? You're
a thing, a concept, a creation,
a...

MR EKEROT
(Deeply)
SHUT UP! SHUT YOUR MOUTH!

MR EKEROT leans down, his eyes looking directly into the

upside down eyes of the TALL MAN.

MR EKEROT (CONT'D)
For some time now... I have...lived.
Small amounts at a time. Visits to
earth... off the record. I don't
interact. I don't live like a human.
But I... read. I watch films...
I... I like it here.

TALL MAN
(In disbelief)
You...you can't.

MR EKEROT
I have. And I know that whatever I
am, I am alive, somehow. I... emote.
It isn't much, but it's growing.
And I want it to. I also want my
job back.

TALL MAN
Ain't gonna happen man. All the
evidence pointed to you! Your
scythe, heck it was even when you
were off duty! You have a history
of-

MR EKEROT stops, remembering something.

MR EKEROT
Make me a door. I want to speak to
Henry Mason's brother, he died
September 11th 2001 when the World
Trade Centre Collapsed.

TALL MAN
Grim Reaper sir, I can't, you
know...

MR EKEROT
(Deeply)
JUST DO IT.

The TALL MAN closes his eyes, concentrating hard, when

suddenly a wooden door appears in one of the huge glass
 18.

windows. MR EKEROT walks to the door, turns the handle,

opens it and enters.

EPISODE 1 SCENE 20 INT. VISITING ROOM -- CONTINUOUS

MR EKEROT looks around the room. It is sparse and

windowless. In the middle of the room is a metal table.
Either side of the table are two chairs. In one of the
chairs sits HENRY's BROTHER.

MR EKEROT sits in the other chair.

MR EKEROT
Hello.

HENRY'S BROTHER
Hi.

MR EKEROT
Heaven or hell?

HENRY'S BROTHER
Well it isn't hell. I can't say
it's heaven though either.

MR EKEROT
Never as black and white as people
think.

HENRY'S BROTHER
To be honest, I think if your final
moments alive are in a burning
building as it collapses, anything
after doesn't seem so bad. Mind if
I smoke?

MR EKEROT
No.

HENRY's BROTHER lights a cigarette from a pack of Camel

Lights, inhaling deeply with his eyes closed.

HENRY'S BROTHER
I won't ask who you are.

MR EKEROT
I am the Grim Reaper. I met your
brother today.

HENRY's BROTHER opens his eyes, suddenly afraid.

HENRY'S BROTHER
You mean...I mean...is he...?

MR EKEROT
Oh. No. Nothing like that.

HENRY's BROTHER breathes a sigh of relief.

 19.

HENRY'S BROTHER
You had me worried there a second.
Is he okay?

MR EKEROT
He... misses you.

HENRY'S BROTHER
You aren't very good at this.

MR EKEROT
Pardon?

HENRY'S BROTHER
You don't express yourself very
well. Of course he misses me, I'm
dead.

MR EKEROT
Well... he hasn't let go. He said
he is being driven mad.

HENRY'S BROTHER
My message.

MR EKEROT
He never got it. Red tape, or
something.

HENRY'S BROTHER
Well, I hope you have a good
memory...

EPISODE 1 SCENE 21 INT. THE INBETWEEN, MANSION -- NIGHT

DIABLOS sits in a high chair next to a roaring fire as his

TWO HENCHMEN enter the room.

HENCHMAN #1
Somebody has made an illegal doorway
sir.

HENCHMAN #2
It wasn't him, but that doesn't
mean he isn't involved.

DIABLOS stands up, his body covered in his own skinsuit.

He looks like a wealthy, retired banker, albeit a dead one
in a long black cloak holding a sythe. The new Head Reaper.
His HENCHMEN are still in their skeletal forms.

DIABLOS
Where?

HENCHMAN #1
New York.

HENCHMAN #2
Near Times Square.

DIABLOS looks surprised.

 20.

DIABLOS
Such an... obvious place. But why
risk making a door so soon? He
has only just left. Can we find
the room?

HENCHMAN #1
No sir.

HENCHMAN #2
It must be an illegal room. We
will have to approach from the
location where the door was created.

DIABLOS
Very well. One question first.

HENCHMAN #1 & #2
(In unison)
Boss?

DIABLOS
WHY THE HELL ARE YOU HERE TALKING
ABOUT IT INSTEAD OF BEING ON THE
WAY THERE NOW?! GET YOUR SKINSUITS
ON AND CATCH THIS BASTARD!

EPISODE 1 SCENE 22 INT. VISITING ROOM -- LATER

MR EKEROT smokes a cigarette, letting the smoke rise from

his mouth when it is good and ready.

HENRY'S BROTHER
You got all of that? You understand
what it means?

MR EKEROT
Yes. I am familiar with it actually.
Come to think of it...am I the
joker, or the thief?

HENRY'S BROTHER
(Laughing)
Both! I'm surprised that you grasp
popular culture so well.

MR EKEROT leans back, at ease.

MR EKEROT
I like smoking... it is relaxing.

HENRY'S BROTHER
It'll kill you in the end
apparently... not that we have to
worry about that.

They laugh briefly. HENRY'S BROTHER stands and offers his

hand.

MR EKEROT
I can't... it would...
 21.

HENRY'S BROTHER
I'm dead already, remember? I
insist.

MR EKEROT takes the offered hand, relaxing when he realises

his own hand bears no ill effect.

HENRY'S BROTHER (CONT'D)

Thank you for doing this.

MR EKEROT
No problem. It is a... curious
message.

HENRY'S BROTHER
He will understand it.

MR EKEROT stands, after which HENRY'S BROTHER also stands.

MR EKEROT
I had best go.

HENRY'S BROTHER
Goodbye, Mr Ekerot.

EPISODE 1 SCENE 23 INT. ROOM 101, FLOOR 14, PENTHOUSE --

AFTERNOON

The door to the penthouse is loudly impacted several times

before the TWO HENCHMEN kick it down and enter.

The TALL MAN is still dangling from the ceiling.

TALL MAN
Erm... hi.

The HENCHMEN walk towards the TALL MAN. They have their
skinsuits on and looks like a pair of experienced doormen
that work for a busy nightclub. They wear matching bomber
jackets, reflective sunglasses and have shaven heads.

HENCHMAN #1
Where is he?

The TALL MAN tries to spin around more as HENCHMAN #2 walks

behind him.

TALL MAN
He left! He's crazy! He likes music
now, and to fucking read and stuff!

HENCHMAN #2
Music?

TALL MAN
Exactly! He is less like you and
more like me! It doesn't make sense,
he-

HENCHMAN #1
Who did he visit through the door?
 22.

TALL MAN
He never said, he-

HENCHMAN #2 grabs the TALL MAN by the throat.

HENCHMAN #2
WHO DID HE SEE!

TALL MAN
(Struggling to
breathe)
He...didn't...say!

HENCHMAN #1
I can see that your time is up.

TALL MAN
Huh, oh...

The tall man glances up at the numbers above his head, all
of which rest on zero.

TALL MAN (CONT'D)

I think that was a mistake... right
fellas?

HENCHMAN #1 begins to laugh.

HENCHMAN #1
Well, we would hate to leave ya
hanging...

The TALL MAN begins to scream loudly as, out of his view
from behind him, HENCHMAN #2 gets out his scythe...

EPISODE 1 SCENE 24 INT. HENRY'S (TROUBLED MAN'S) APARTMENT --

EVENING

HENRY sits in a large, padded chair. Tears slowly flow

from his eyes and down the contours of his face, before
making the short drop down on to the pages he holds before
him. They contain cut-outs from several New York newspapers,
pasted carefully onto thick card and then laminated. The
New York Times, The New York Post, The New York Observer.

All of the sources may be different, but the story is the

same. Pictures of rubble spread out like discarded
children's toys, ashen figures emerging from clouds of
smoke. Bright orange fireballs erupting from the North
Twin Tower in direct contrast to the steady stream of thick
black smoke flowing away from the carnage, carried upon
the wind's breath.

Suddenly, the phone begins to ring. HENRY blinks his eyes

several times, watery lids clearing, before finally settling
back into the room, into the present. He stands, making
his way to the handset. He pauses momentarily, letting it
continue to ring for several seconds while he clears his
throat, before answering.
 23.

HENRY
Hello?

MR EKEROT
Hello Henry.

HENRY furrows his brow in faint recognition.

HENRY
Who is this?

MR EKEROT
We met this morning.

HENRY
The guy in the business suit?
Mr...Mr Ekerot, right?

MR EKEROT
Yes, Mr Ekerot.

There is an uncomfortable silence on both ends of the line.

HENRY
Sooo... what can I do for ya?

EPISODE 1 SCENE 25 EXT. PHONE BOX -- CONTINUOUS

MR EKEROT's lips part slightly to allow the insertion of a

cigarette. The click of a metal lighter can be heard,
followed by a warm glow as the cigarette takes to the flame
greedily. Smoke slowly rises past alert, determined eyes.

MR EKEROT
I have what you asked for.

EPISODE 1 SCENE 26 INT. HENRY'S (TROUBLED MAN'S) APARTMENT --

CONTINUOUS

HENRY pauses. When he speaks again, his voice contains

undertones of impatience and anger.

HENRY
Look, I don't even know how you
got this number, but this is one
helluva dirty trick to play, phoning
an-

MR EKEROT
He said he loved you. He said by
the time the phone cut off, he
didn't have enough time to get to
the laptop, to finish his message
like he promised. The tower
collapsed Henry.

HENRY kicks a nearby table, the glass vase poised on top

falling to the floor in a natural ark, exploding into tiny
crystals upon impact with the wooden surface.
 24.

HENRY
YOU DON'T KNOW THIS! YOU CAN'T
KNOW THIS! HE SAID HE WOULD LEAVE
ME THE MESSAGE IN HIS SAFE! HE
SAID...he said...

HENRY, with the phone still in his hand, starts to breathe

heavily, overcome with grief and shock, leaning his back
against the wall. MR EKEROT still sounds calm on the other
end of the line, his voice unwavering.

MR EKEROT
He said to send his love to the
family. He said the last thing he
did, the thing he wanted to record
on the laptop, was to put All Along
the Watchtower by Hendrix on in
his office full blast and sing
along, to feel human for one final
time before it was over, like when
you were kids in '69 at Downing
Stadium.

HENRY, his back still against the wall, slumps down until
he is in a sitting position.

HENRY
We... we loved that song so much.
The summer of 1969, who knew 30
years later we would be where we
are now, right? But... if he didn't
manage to get to his laptop, how
do you know all this? How could
you possibly know?

MR EKEROT
I hope this information gives you
some closure Henry.

A Police patrol blares past outside, it's siren blasting

out an all too familiar warning. HENRY's mouth drops open
suddenly, realising that the siren's noise had
simultaneously came out of the tiny telephone speaker at
the same time as the patrol car went past.

HENRY
Where are you right now?

MR EKEROT
Goodbye, Henry.

The line clicks dead as Henry drops the phone to the ground.
He is already on his feet and headed for the door,
desperate. He blasts outside into the slight chill of an
approaching night, evening light fading. The whole world
seems to spin as HENRY crosses the road to a nearby
payphone, sprinting now. When he reaches the phone, he
immediately realises that he is too late. The phone is
dangling off the hook, swaying gently in the wind.
 25.

HENRY is about to walk back home when he notices a pack of

cigarettes on top of the phone box. He stares in wonderment
at them, speechless. Camel Lights, his brother's brand.
HENRY picks up the packet, turning it over several times,
before exiting the phone box. As he crosses the road back
to his apartment building, he is smiling. After he
disappears through the front door, the street is silent
save for the gentle whistling of the wind. Yet it is only
moments later that words and music can be heard emanating
faintly from an upstairs window, accompanied with the sound
of a man singing badly, yet without regret. A once TROUBLED
MAN whose mind is finally at ease.

(O.S) 'Outside in the cold distance, a wild cat did growl.

Two riders were approachin, and the wind began to howl...'

EPISODE 1 SCENE 27 INT. HOTEL DELMONICO -- NIGHT

MR EKEROT walks past the reception desk, slightly damp

from the light rain that has just began outside. The MANAGER
is asleep, slumped on the front desk, snoring lazily. He
makes his way to the lift. Realising it is out of order,
he walks up the stairs to the second floor. The hallway
light flickers as MR EKEROT produces his room key and lets
himself into his room.

EPISODE 1 SCENE 28 INT. THE INBETWEEN, MANSION -- NIGHT

DIABLOS stands in his skinsuit by the fireplace, sipping a

dark brown liquid from a whiskey glass, his back turned.
Behind him, his two HENCHMEN stand, still in their
skinsuits, looking worried. After a moment of awkward
silence, HENCHMAN #1 attempts to speak.

HENCHMAN #1
Boss, we-

DIABLOS
Don't.

HENCHMAN #1 stops speaking, looking worriedly at HENCHMAN

#2, who is suddenly very interested in the ceiling.

DIABLOS (CONT'D)
As the newly appointed Head Reaper,
I have to see to the day-to-day
running of this organisation. What
do you think that entails?

The silence after this statement is unbearable. HENCHMAN

#2 gives in.

HENCHMAN #2
Boss...

DIABLOS
WHAT DOES IT ENTAIL!

DIABLOS throws his glass into the open fire, causing flames
to jump up, illuminating him in a hellish orange glare as
he turns to face them.
 26.

HENCHMAN #1
You oversee the other Reapers.
You oversee the names that are
chosen for the people on Earth,
the people who die. When they die.
Where. You hold the key to fate.

DIABLOS smiles, like a shark about to kiss a baby.

DIABLOS
Exactaly. I essentially control
the fates of everyone on earth.

DIABLOS steps forward. The HENCHMEN fight the urge to step

back. Their faces twitch as they fight natural instinct.
They are rooted to the spot in fear, even though every
atom of their beings is telling them to jump out of the
nearest window, regardless of it being the top floor. To
get away from this madman.

DIABLOS (CONT'D)
So, in that case... what makes you
both think you aren't as...AS
EXPENDABLE, AS EVERYONE ELSE!

DIABLOS suddenly grabs both of his HENCHMEN by the throats.

Their feet dangle from the ground as their eyes bulge.
DIABLOS is still smiling, making the anger present in his
voice even more terrifying.

DIABLOS (CONT'D)
Thanatos has long been a bane in
my life. Just because he puts on a
skinsuit and calls himself something
else does not make him human! He
can read all the books he wants,
listen to all the music he desires,
but he cannot evade me! I WILL NOT
ALLOW HIM EVEN THE MISERABLE
EXISTANCE OF A WRECTHED HUMAN BEING
FOR ONE MORE SECOND! DO YOU
UNDERSTAND?

HENCHMAN #1 & #2
(Gasping for air)
Yes...boss. But... we think our
guy Larry from the Times Square
penthouse told him... he may know
he was set up...

DIABLOS drops the HENCHMEN back down to the ground, who

start to greedily gasp for air, massaging their throats.

HENCHMAN #1
What I wanna know is, why do we
even need to breathe in the first
place?

HENCHMAN #2 kicks HENCHMAN #1.

 27.

HENCHMAN #2
(Still recovering
from being strangled)
Shut...up...

DIABLOS stands over them, still smiling, looking down with

a mixture of disgust and pity.

DIABLOS
Don't let me down again. Actually...
I'm glad he knows. Now things can
get... interesting.

DIABLOS laughs evilly, tears streaming from his eyes. As

they drip down, they burn small holes in the carpet. The
HENCHMEN look at each other, their eyes locking. They both
look worried and terrified.

EPISODE 1 SCENE 29 INT. HOTEL ROOM -- NIGHT

MR EKEROT sits on his HOTEL ROOM bed. The only light is

cast by the muted television. He sits like this for some
time, before picking up the telephone and dialling a number.
It rings several times before an older man's voice answers,
groggy from being woken at this late hour.

MR SCHAFER
Hell... hello?

MR EKEROT
Listen carefully. I know you have
lived here in New York for many
years, long after you were supposed
to have been reaped Mr Schafer. I
know this because I arranged for
this to happen. In such a situation
as I now find myself, this is
invaluable, because I need your
help.

MR SCHAFER
Wha... what is going on?

MR EKEROT
I have been framed for a murder I
didn't commit. Naturally, by default
I look guilty. I need money,
somewhere to stay and a new
identity.

MR EKEROT pauses, waiting for a reply. When none is

forthcoming, he continues.

MR EKEROT (CONT'D)
I have done... many bad things.
Some necessary, others... debatable.
But I didn't do this. Not this
time.
 28.

The other end of the telephone line is silent, save for

some heavy, scared breathing, before a reply is uttered,
an almost inaudible whisper.

MR SCHAFER
Is... is this...?

MR EKEROT
This is who the Hindus call Yama,
the Greeks refer to as Thanatos,
the Jews as the Angel of Death.
This is the Grim Reaper baby, and
I need to start a new life. I'm a
little rusty on the specifics of
living amidst the living as I am
sure you can imagine, so you will
need to help me, do whatever it
takes. The alternative is eternal
damnation. Meet me at Starbucks
between between 6th and 7th in
five hours. Make mine a latte.

With that, MR EKEROT hangs up the phone, lies back (still

fully dressed) on the bed, and clicks off the light.