Run Rabbit Run - Act 1

Summary

Table Read: "Run Rabbit Run" - Act 1 Summary

Introduction to "Run Rabbit Run"

"Run Rabbit Run," written by Jesse Carter and Thomas Baudoin Black, unfolds a gripping narrative set against the backdrop of late 1960s Hollywood. This episode masterfully intertwines elements of family drama, crime, and suspense, delivered through a dynamic cast of characters navigating complex relationships and hidden motives. The rich soundscape, complete with water sounds, ambient noise, and intense dialogue, immerses listeners in a cinematic experience.

---

1. The Cherry Family Dynamic

The story opens in the serene yet tense atmosphere of the Cherry family's mid-century home bathroom in 1969. Fiona Cherry, a 30-year-old mother grappling with inner conflicts, is introduced as she engages in a trance-like bathing ritual. Her young son, Killian Cherry, enters, embodying innocence and vulnerability.

• Fiona’s Emotional Struggle:

  • Timestamp [01:54-02:52]
    • Fiona Cherry: “I love you most of all.”
    • Killian Cherry: “Why are you crying?”

  Fiona’s tears and the confession of love reveal her deep emotional turmoil. She asks Killian to keep a secret and, in a heart-wrenching moment, attempts to commit suicide by cutting her wrist, leading to a tragic scene where her twin brother, Jameson, witnesses her collapse alongside Killian.

---

2. Police Station Interrogation

Transitioning to the present, the narrative shifts to the tense environment of a police station interrogation room. Detective Mo Ray and Lead Detective Newman interrogate Killian Cherry, who finds himself entangled in a complex investigation involving his family.

• Detective Mo Ray’s Intimidation:

  • Timestamp [04:39-05:14]
    • Detective Mo Ray: “You’re absolutely certain that was the last time you saw Roland?”
    • Killian Cherry: “Absolutely. I haven’t seen him since I got out.”

  Detective Ray's aggressive questioning aims to uncover Killian's connections to Roland, a man implicated in numerous crimes. Monty, a seasoned interrogator with a sharp tongue, engages in a confrontational exchange with Killian, highlighting the strained relationship and underlying tensions.

• Monty’s Sarcasm and Accusations:

  • Timestamp [05:02-05:36]
    • Monty: “Easy, wildcat. This ain’t a summer camp. We’re not here to collect friends.”

  Monty's derogatory remarks and casual demeanor intensify the interrogation, painting a picture of a man who brooks no nonsense.

---

3. Flashbacks and Character Backstories

The episode delves into pivotal flashbacks that provide depth to the characters, particularly focusing on Monty’s past and his relationship with Roland.

• Monty and Roland’s Youth:

  • Timestamp [05:50-06:42]
    • Monty: “Where’s the gas?”
    • Narrator: [Descriptive scene of a motorcycle accident]

  These flashbacks illustrate a close yet tumultuous friendship between Monty and Roland, marked by a significant motorcycle accident that leaves enduring scars on both characters.

• Roland’s Unfortunate Luck:

  • Timestamp [08:16-09:20]
    • Detective Mo Ray: “He’s already attached to over a dozen robberies in California alone, nearly 67 hits worldwide.”
    • Killian Cherry: “If a cat has nine lives, Roland borrowed the other eight.”

  The narrative emphasizes Roland's uncanny luck and his knack for escaping dire situations, adding a layer of intrigue and menace to his character.

---

4. Escalation at the Police Station

Tension escalates at the police station when a chaotic incident disrupts the interrogation proceedings.

• Hostage Situation:

  • Timestamp [11:23-13:42]
    • Detective Mo Ray: “You get over here.”
    • Killian Cherry: “Me?”
    • Monty: “What goes around comes around, motherfucker.”

  Armed intruders disguised as prominent figures hijack the station, leading to a violent confrontation. Monty's nonchalant yet defiant attitude during the hostage crisis underscores his fearless and volatile nature.

---

5. The Cherry Brothers Reunite

The narrative shifts focus to Jameson Cherry, Killian’s twin brother, highlighting his adherence to a strict moral code and his commitment to his family legacy.

• Jameson’s Dedication:

  • Timestamp [17:21-21:14]
    • Monty: “I killed her.”

  Jameson's meticulous efforts to honor their dying father by crafting a custom coffin reveal his deep sense of duty and the familial pressures he endures. His reunion with Killian is fraught with emotional complexity, hinting at underlying guilt and unresolved tensions.

• Father-Son Relationship:

  • Timestamp [21:02-21:12]
    • Jameson Cherry: “I have a brother. And it’s safe to say we’re built different.”

  Their strained interaction at the father's hospital scene sets the stage for future confrontations and alliances.

---

6. Entering the Crime World

Monty’s world intersects with the intended peace of the Cherry family, plunging all characters into a web of crime and deception.

• Victoria and Her Associates:

  • Timestamp [22:25-28:04]
    • Monty: “Have you gone mad? Relax.”
    • Fiona Cherry: “I need a thrill here.”

  The introduction of Victoria, a beautiful and enigmatic pastry chef, along with Roland and Chloe, adds layers to the narrative. Their involvement with Monty introduces new threats and complicates the existing dynamics.

• Roland’s Mission:

  • Timestamp [25:17-33:35]
    • Monty: “I see our situation as very similar in a lot of ways. I could be marshalled. So to answer your question, for now, I suppose the odds are better if you do.”

  Roland's mission to steal a personal item from Victoria signifies the deepening of the plot into criminal endeavors, setting up high-stakes tension and perilous alliances.

---

7. Climax and Action-Packed Sequences

Act 1 culminates in a series of high-octane scenes filled with betrayal, violence, and unexpected twists.

• Chase and Shootout:

  • Timestamp [40:42-44:35]
    • Monty: “Don’t fail me now. On three.”
    • Detective Mo Ray: “We just met it.”

  The intense pursuit sequences involving chases through condominiums and shooting exchanges heighten the suspense, showcasing the characters' desperation and survival instincts.

• Roland’s Narrow Escape:

  • Timestamp [44:05-44:58]
    • Monty: “I gotta find Monty.”

  Roland’s frantic attempts to escape capture, intertwined with chaotic interactions and unforeseen obstacles, leave listeners on the edge of their seats, eager for resolution.

---

8. Emotional Confrontations and Revelations

The episode delves deeper into the emotional landscapes of its characters, revealing vulnerabilities and hidden motives.

• Monty’s Reflection:

  • Timestamp [33:35-35:48]
    • Monty: “I trusted that snake. Until I didn’t.”

  Monty’s poignant recounting of his relationship with his pet snake acts as a metaphor for trust and betrayal, mirroring the complex relationships unfolding within the story.

• Jameson and Killian’s Bond:

  • Timestamp [20:44-21:14]
    • Jameson Cherry: “I know you're a man who treasures your time. So I'm gonna ask you this just once before we go any further. Can I trust you?”

  The brothers’ heartfelt exchange underscores the fragile trust and underlying familial obligations that drive their actions.

---

Conclusion of Act 1

Act 1 of "Run Rabbit Run" sets a compelling foundation for a multi-layered drama filled with intricate character relationships, high-stakes action, and emotional depth. As the episode closes with Roland narrowly escaping yet another perilous situation, listeners are left anticipating the unfolding of the Cherry family saga and the escalating conflict with Monty and his associates.

Notable Quotes:

• Fiona Cherry at [02:00]: “I love you most of all.”
• Monty at [05:10]: “I need your help like I need a kidney stone.”
• Killian Cherry at [09:05]: “You shouldn’t believe everything you read.”
• Monty at [33:35]: “I trusted that snake. Until I didn’t.”
• Jameson Cherry at [21:02]: “I had everything to do with it.”
• Monty at [37:55]: “Run.”

---

Final Thoughts

"Run Rabbit Run" masterfully blends intense drama with intricate storytelling, making it a standout episode in the "Table Read" series. The seamless integration of character development, suspenseful action, and emotional resonance ensures that listeners are fully immersed in the narrative from start to finish. As Act 1 concludes, anticipation builds for the subsequent acts, promising an exhilarating continuation of this high-stakes tale.

For more insights, behind-the-scenes content, and to download scripts, visit Table Read Podcast or explore other productions by Manifest Media.

Transcript

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[Monty]

One two three table read yeah.

[Narrator]

Run Rabbit run. Written by Jesse Carter and Thomas Baudoin Black we hear water running in a bathtub. The faucet shuts off someone's bath. Super Rely on the rabbit's foot if you must, but remember, it didn't work for the rabbit. Interior Cherry's house bathroom afternoon 1969. A hazy sheen of vapor clouds the beautiful bathroom of a mid century home. Fiona Cherry, 30, mother, natural beauty, conflicted, washes herself in a trance like state, sliding the sponge in long strokes along her arms. After a moment of zen, the door opens and in comes Killian Cherry, six years old, innocent, shy boy. He goes to the sink and stands on his toes to wash his hands.

[Fiona Cherry]

Killian my love, would you come over here please?

[Narrator]

Killian turns and sees his mother. He walks over to the bathtub. Fiona takes his hand and kisses it.

[Fiona Cherry]

My sweet boy. You know how much I love you, don't you?

[Narrator]

Killian nods.

[Fiona Cherry]

More than anything in the whole world. Can you keep a secret?

[Narrator]

Killian nods again.

[Fiona Cherry]

I love you most of all.

[Narrator]

He smiles softly. Tears run down her cheek.

[Killian Cherry]

Why are you crying?

[Fiona Cherry]

Those are good tears, honey. Is your father and brother home?

[Narrator]

Killian shakes his head.

[Fiona Cherry]

Do you have your knife with you?

[Narrator]

He pulls his pocket knife out of a small sleeve secured to his belt and hands it to her.

[Fiona Cherry]

Thank you my love.

[Narrator]

Not thinking too much of it, Killian turns to leave but she holds onto his hand.

[Fiona Cherry]

I want you to stay with me.

[Narrator]

Killian turns back. Fiona squeezes his hand and stares into his eyes.

[Fiona Cherry]

Don't be scared.

[Narrator]

She proceeds to cut her wrist. Killian watches, confused as the blood flows down her arm. She squeezes his hand tighter, not allowing his release.

[Fiona Cherry]

Look at me Killian. It's okay. Everything is going to be fine from now on. I promise.

[Narrator]

They stare at one another as she slowly fades away.

[Fiona Cherry]

I love you. I always will.

[Narrator]

Killian stands in silence, holding his unconscious mother's hand. We hear the chime of a toy jack in the box, cranking louder from outside the bathroom. Killian's twin brother Jameson, six, spirited, outgoing, emerges in the doorway and sees the horror. He drops the jack in the box and the metal toy clangs hard on the floor. Killian's nose starts to bleed. His blood drips into the bathwater, mixing with his mother's blood. POLICE STATION BREAK ROOM PRESENT droplets of blood red grenadine fall into a glass of 7Up. A hand squeezes the bottle, accidentally popping the cap off, spilling the red syrup everywhere. Mo Ray, 40 to 45 clumsy detective tries to clean the counter, only making it worse.

[Monty]

God damn, I should just kill myself.

[Narrator]

He sees his reflection in the window and deflates.

[Monty]

Tomorrow.

[Narrator]

I'll do it tomorrow. He picks up his Shirley Temple and two coffees. We follow him through several corridors to interior POLICE STATION INTERROGATION ROOM continuous Mulray enters the drinks. The drink moans, squirts. Mulray enters with the drinks. Monty, 35, roguish, nobody's fool and Newman, 45 to 55, female lead detective, headstrong, turn to Mulray, who looks as though he survived a firing squad.

[Killian Cherry]

Gosh, hope it wasn't too much trouble.

[Narrator]

If Mulray could smack him, he would. Neumann flips through a folder and continues the interrogation.

[Detective Mo Ray]

You're absolutely certain that was the last time you saw Roland?

[Killian Cherry]

Absolutely. I haven't seen him since I got out.

[Narrator]

Mulrey removes the cigarette from Monty's mouth and drops it into Monty's untouched coffee.

[Killian Cherry]

Hey now that won't lead to a friendship.

[Monty]

Easy, wildcat. This ain't a summer camp. We're not here to collect friends. We're here to bring down dirt bags like yourself.

[Narrator]

Monty flips up another cigarette, catching it between his lips like a smart ass.

[Killian Cherry]

You got a little something on your shirt, John Wayne.

[Monty]

Thanks.

[Killian Cherry]

Cleanliness is next to godliness. Isn't that what they say? Our heroes can't be sloppy. You know I'm here to help.

[Monty]

I need your help like I need a kidney stone.

[Killian Cherry]

Well, I was gonna say Clint Eastwood.

[Detective Mo Ray]

But he's not fat Cork the Peace Dream boys.

[Monty]

It says here that for over 10 years you drove for Roland.

[Killian Cherry]

On occasion. So what? I also gave my grandmother a few rides to the grocery store. That doesn't make me her fucking chauffeur. I haven't driven anything in eons I've transferred to a whole new mode of transportation. It's called walking. You might want to look into it.

[Narrator]

Moray fumes. Newman looks to another pile of documents.

[Detective Mo Ray]

Under no circumstances should Roland ever be allowed to operate a motored vehicle of any kind or terrible things will happen. Enlighten me. What sort of terrible things?

[Narrator]

Monty smirks at his own words as he lights a cigarette. The cracking of the tobacco turns to rumbling of a motorcycle. FADE to EXTERIOR DRIVEWAY day flashback Roland, 16, black, ruggedly handsome with a scar, magnetic charisma, a motherfucking ease to him, sits on a motorcycle. Monty, 16, stands next to him, revving the throttle.

[Monty]

Where's the gas?

[Narrator]

Seriously? Roland smiles at him. Monty points to the throttle with a discouraging look.

[Killian Cherry]

Are you sure you've driven one of these?

[Narrator]

Monty gives the helmet to Roland. Roland inspects it.

[Monty]

Relax. If it's got handles, I can handle it.

[Killian Cherry]

How many times?

[Narrator]

Roland gives the helmet back to Monty all the time. Roland revs the engine. He winks at Monty and speeds off, riding out of the driveway when wham. He gets hit by a car throwing him in the air.

[Monty]

Oh God damn.

[Narrator]

He lands on his feet with a puzzled look on his face. Roland shrugs. Monti charges after Roland. A classic white Cadillac pulls up. FLASHBACK INTERIOR car day Roland, 16, sits at the wheel of the white Cadillac. Nervous, he inspects all the mirrors, watches for any unforeseen disaster. He notices a gorgeous woman in the car next to him. He smiles and winks at her when bam. A hot air balloon on fire crashes down on his car. The pilot, engulfed in flames, climbs out of the basket and runs around in a panic. Roland gets out of the car in shock. The smoke builds. BACK tube interior police station interrogation room Monty blows a cloud of smoke with a smirk on his face.

[Killian Cherry]

I guess you'll just have to use your imagination. Start with terrible things.

[Narrator]

Newman slides photos of evidence across the table that links Roland to the current investigation.

[Detective Mo Ray]

I have to admit, these guys are are clever. Like leafcutter ants. They never strip the tree bare. They harvest a little, just enough to leave them standing, allowing the wealth to grow back. Watered down heroes. But the only pockets they've been lining are their own.

[Narrator]

They're all photos of small white rabbit figurines with an R printed on its belly.

[Detective Mo Ray]

Tell me, how many more of these does he have left to hand out? He's already attached to over a dozen robberies in California alone, nearly 67 hits worldwide, not counting the five jewelry stores in Manhattan just in 2008.

[Narrator]

Mulray smirks and holds up a picture of what resembles Monty in the driver's seat of a car in front of a jewelry store.

[Detective Mo Ray]

And it appears, according to rumor, that if he so much as sits behind the wheel of anything, all hell breaks loose. You're a third generation race car driver, Monty and his lifelong friend. That's pretty convenient for a man whose kryptonite is driving.

[Narrator]

Photo montage monty9 driving a go kart monty16, on a dirt bike with a trophy in his arms Monty's 16, drifting in a normal car with Roland taking a Polaroid in the passenger seat, smiling with cop cars behind them.

[Killian Cherry]

What's your point?

[Detective Mo Ray]

Why did you quit racing?

[Killian Cherry]

I don't need to talk about it.

[Monty]

Did it have anything to do with your father's death?

[Narrator]

Monty gazes at Mulray. And if he could kill him, he would.

[Killian Cherry]

Is that why I'm here? To talk about my father?

[Narrator]

Mulray doesn't answer.

[Killian Cherry]

You shouldn't believe everything you read. Words in the paper will never amount to the whole truth. Whirlwind and I no longer speak haven't for quite some time. I don't know what else to tell you.

[Detective Mo Ray]

Was he always this lucky?

[Killian Cherry]

I'll put it this way. If a cat has nine lives, Roland borrowed the other eight.

[Narrator]

Flashback Interior Elementary School classroom day It's Valentine's Day. Roland nine, same scar, is at his school desk, smiling ear to ear while classmates place lavish cards and candy in front of him. It starts to pile up.

[Killian Cherry]

Roland grabbed Lady Luck by the tits and never let go. She took to him immediately. She rubbed her sweet paws all over him.

[Narrator]

Roland stares longingly at Amelia 9, strong willed Cindy Crawford mole sitting at her desk. One of the girls kisses Roland on the cheek. Unfazed, he continues to gaze in Amelia's direction. Monty9, watches it all unfold from his desk beside Roland.

[Killian Cherry]

That's what we love and hate about him, all at the same time.

[Narrator]

Amelia catches Roland's stare and offers him the subtlest smile. A large bully aggressively jumps up from his chair, charging Roland. And just before he can reach our hero, a fist punches the bully across the face, sending a tooth flying. FLASHBACK EXTERIOR ELEMENTARY SCHOOL ENTRANCE Continuous Roland, holding hands with Amelia and Monte burst out the front doors, followed by the enraged toothless bully and his gang. Monty shakes the pain from his hand. Freeze. Roland and Amelia have a big grin. Monty is annoyed.

[Killian Cherry]

He's always had this wonderful aura he just can't shake off. And everyone else gets to bask in it.

[Narrator]

Back to interior Police STATION Interrogation ROOM.

[Killian Cherry]

Day luck is about all he has left.

[Narrator]

Monty puts out his cigarette and his coffee before standing up.

[Killian Cherry]

This has been illuminating, but I have a life I'd like to continue.

[Narrator]

He heads for the door.

[Detective Mo Ray]

We may have further questions as this progresses.

[Killian Cherry]

As what progresses?

[Detective Mo Ray]

You guys are about to get your fingers clipped dipping in the wrong cookie jar. Monty. It's only a matter of time before someone applies pressure on the lid. Roland is slick, but he's hardly special. Just lucky, that's all.

[Killian Cherry]

I can't think of anything I'd rather be.

[Narrator]

He opens the door.

[Detective Mo Ray]

Monty.

[Narrator]

Monty stops in his tracks.

[Detective Mo Ray]

I'd hate to see you measure new drapes for another six by nine. If you catch a rabbit once, you can catch him again.

[Narrator]

He closes the door behind him. Cut to black Super. Run, rabbit, run. Interior, police station lobby. Moments later, Monte exits the men's room. Adjusting his belt. He passes by Amelia, 27, cunning eyes. Cindy Crawford mull at the reception desk. He stops and looks back, wondering why she looks so familiar. Suddenly, two women charge through the front doors disguised with ultra realistic Hillary Clinton and Jackie O masks, both wearing dresses. Both are armed with guns, holding dirty bums as hostage. The police officers draw their pistols.

[Detective Mo Ray]

Easy, easy, easy. Now where the bum paints the floor. No one wants a mess, especially that guy.

[Narrator]

Hillary Clinton points her gun at the janitor, who looks nervous gripping his mop.

[Monty]

See?

[Detective Mo Ray]

So let's keep it clean, boys. Guns on the floor now. Don't test my patience. I lost the presidency twice. You know we can't do that.

[Monty]

Technically, I'm not a bum. I.

[Narrator]

Shut up. The police officers hold their aim. Hillary Clinton points her gun at Monty.

[Detective Mo Ray]

You get over here.

[Killian Cherry]

Me?

[Narrator]

I.

[Detective Mo Ray]

Hey, do you like having kneecaps?

[Narrator]

Monty instantly walks over. Jackie O releases her bum and grabs Monty, pressing the gun against his cheek.

[Detective Mo Ray]

If anyone follows us, we're going to blow up the school bus. Around the corner, both of them.

[Narrator]

Hillary Clinton gives a scolding look at Jackie O. The two of them make their way out, holding their hostages. Exterior police station Alleyway continuous. Hillary Clinton places a large board, securing the doors from the outside and then shoves Jackie O. Both of them.

[Detective Mo Ray]

What the fuck? I said the. Which implies singular. Only one, not two. That's dark.

[Narrator]

Yeah, yeah, yeah.

[Fiona Cherry]

My bad. It was in the moment and the nerves. I thought it would be more impactful.

[Detective Mo Ray]

I just.

[Fiona Cherry]

I went for it.

[Detective Mo Ray]

Oh, oh, she went for it. Keep moving.

[Narrator]

Hillary Clinton hands a $20 bill to the bum.

[Monty]

Bullshit. I didn't take time out of my.

[Killian Cherry]

Schedule for 20 bucks.

[Detective Mo Ray]

Schedule?

[Monty]

You said 50.

[Detective Mo Ray]

I'm a Democrat. I'll mail the rest.

[Monty]

Yeah, sure. Just send it to my house in Tahoe. Fuck you. Does it look like I have a residence?

[Narrator]

Angered, the bum swings hard and misses, falling to the ground. Hillary Clinton hurries away with Jackie O and Monty.

[Monty]

What goes around comes around, motherfucker. Hell is hot and there's always room.

[Narrator]

Interior, POLICE STATION VIDEO ROOM DAY A small group of cops sit in front of a TV monitor. They watch closely a surveillance video where a man gets hit by a convertible Camaro. Newman enters with Mulray behind, sandwich in hand.

[Detective Mo Ray]

Where did you get this?

[Monty]

It was brought in a few minutes ago.

[Narrator]

Newman watches the video again. She sees a shiny object slide across the ground.

[Detective Mo Ray]

Rewind. That.

[Narrator]

A rookie cop obeys.

[Detective Mo Ray]

Pause it right there. Zoom in.

[Narrator]

Newman points at the object on the screen. Mulray and the other cops lean in closer.

[Monty]

What the fuck is that?

[Narrator]

Instantly, Gasser, 30, overweight cop, bursts in. He struggles to speak, overcome with panic.

[Monty]

Captain 2 Women.

[Narrator]

Gasser tries to collect his breath as he plops down in a chair, removing an inhaler.

[Detective Mo Ray]

Well, go on and spill it, Gasser. Two women what?

[Narrator]

Gasser holds a finger up and takes a deep pull from the inhaler. Everyone waits for him.

[Monty]

Two women dressed as Hillary Clinton and some other lady just kidnapped the man you were questioning in the lobby.

[Narrator]

Arm to the teeth, Newman, Mulrey and all the other cops scramble for the door. Gasser notices the sandwich, rolls his chair to it and takes a bite. He notices the monitor and moves closer to inspect the image. Confused WHITE van Alleyway DAY Sitting at the wheel, Francois, 27, charming, doughy Frenchman, enjoys the sweet aroma of his coffee as French music plays on the radio.

[Monty]

The small things.

[Narrator]

A serene Folger's moment until Jackie O. Violently swings the back door open and pushes Monty inside. Startled, Francois spills his coffee on his crown.

[Monty]

Fuck.

[Narrator]

I'm sorry. I said crouch.

[Fiona Cherry]

Not his crouch.

[Narrator]

Startled, Francois spills his coffee on his crotch. Fuck.

[Monty]

My dick.

[Narrator]

Go, go, go. Francois hits the gas as the white van peels away. Monty with his hands up.

[Killian Cherry]

Ladies, listen. Time out, time out. There's some sort of mistake. You have the wrong guy. Just let me go. I haven't seen any of your faces. I couldn't possibly tell anyone anything. Really. I would rather just be on my way. Anywhere is fine.

[Narrator]

Hillary Clinton aims her gun at Monty's head.

[Monty]

Wait, wait. Whoa, whoa.

[Killian Cherry]

You don't have to do this. For Christ's sake, tomorrow's my birthday.

[Narrator]

Hillary Clinton peels away her mask with a voice device stuck in her throat. Revealing Roland, 35 I thought you were a Pisces, Roland. Roland squeezes the trigger and sprays water in Monty's face.

[Monty]

What?

[Narrator]

Monty punches Roland, sending him on his ass.

[Monty]

Ow.

[Narrator]

Jackie O struggles to remove her mask, revealing Tyler, 29. Laid Back Stoner Tyler kisses his lucky gold amulet before pulling Monty off of Roland.

[Monty]

TYLER Really?

[Killian Cherry]

After everything? What did he promise you this time?

[Monty]

Shit, Monty, you gotta cover my mortgage. That's a fine way of showing gratitude. Monty Gratitude?

[Killian Cherry]

I was free to go. Roland if you had just waited 30.

[Monty]

Seconds I would have walked out the fucking door.

[Narrator]

Silence. Sheet Francois suddenly jerks the wheel and the van rolls black. An acapella Irish lament fades in Cherry's barn EVENING the same Irish lament plays from a record player. An exquisitely detailed wooden coffin carved from a single tree sits in the center. Jamison Cherry, 50 to 60, poised piercing eyes. Lives by a strict code. Sweats profusely whittling the coffin with a knife. A coffin dedicated to his dying father.

[Monty]

Blood is a bond.

[Narrator]

Make him understand. Jameson slips, cuts his hand as blood splatters. His black Great Dane looks up with concern. Jameson walks over to the counter. He grabs a rag and applies pressure as blood soaks through. He exits, followed by his dog. Interior Cherry's house kitchen continuous. Jameson enters with his dog close behind, passing by wood sculptures decorating the rooms. He goes to the kitchen to clean his injured hand in the sink as he stares at an old picture of his mother Fiona with her arms around him. At five years old, a torn piece of the picture is missing. Jameson sees his own reflection in the picture and notices a few drops of blood on his face. He quickly wipes it off as blood runs into the black void of the drain. His gaze lost in thought. The doorbell rings. Jameson removes the torn piece of the picture from behind the frame and sets it where it once was, revealing his twin brother Killian standing on the other side of Fiona. Interior Cherry's house entrance Continuous. Jameson opens the front door to find his twin brother Killian. Cherry, 50 to 60, vile. His piercing eyes denote a dangerous instability.

[Monty]

You're late.

[Narrator]

Killian looks down at Jameson's injured hand.

[Jameson Cherry]

You're bleeding.

[Narrator]

Jameson tightens the soaked up bandage on.

[Jameson Cherry]

His hand, still playing with knives.

[Monty]

You should be more careful.

[Jameson Cherry]

You wouldn't want to trip and fall on one.

[Monty]

How long has it been?

[Jameson Cherry]

I haven't been logging the days too long.

[Narrator]

They stare for a moment in silence.

[Jameson Cherry]

What do you want? Jameson?

[Monty]

Follow me.

[Narrator]

Jamison turns and leaves Killian on the porch with the door open. Killian removes a pair of very dark sunglasses and puts them on before stepping inside. He reluctantly looks down the hall and sees the bathroom where their mother died all those years ago.

[Monty]

You coming?

[Narrator]

This breaks Killian from his trance. Interior Cherry's barn Continuous. Jameson enters, followed by Killian. Killian approaches the coffin in awe as Jameson walks past it.

[Monty]

It's taken me nearly a year to finish it.

[Narrator]

Killian studies all the details and craftsmanship, sliding his hand slowly along the edges to inspect it closely.

[Monty]

Is this. I wasn't sure you'd remember.

[Jameson Cherry]

Of course I do. He loved that tree. It's what he would have wanted.

[Narrator]

Killian pulls his hand away. The brothers stare at each other with the casket between them.

[Monty]

It's what he deserves. The doctors are saying. Any day now. I'm thinking hours. He wants to see you, Killian. He loves you out of pity.

[Jameson Cherry]

Why are you showing me this?

[Monty]

I want you to be by my side when I put him in the ground. Together as he wishes.

[Narrator]

Killian goes to exit.

[Monty]

We're all he has.

[Narrator]

Killian stops.

[Jameson Cherry]

I suppose that's my fault.

[Narrator]

Jameson approaches his brother.

[Monty]

She was sick. She put you in a horrible situation. You had nothing to do with it.

[Jameson Cherry]

I had everything to do with it.

[Narrator]

Jameson hugs Killian. Killian allows it awkwardly. A tear rolls down from behind his dark sunglasses.

[Monty]

I killed her.

[Narrator]

Interior HOSPITAL room An hour later an IV drop. A heart monitor beeps. William Cherry, 90, crime lord, dying, lays unconscious in bed, eyes closed. Reveal of Killian standing by his father. After a moment, Killian leans down to gently touch forehead to forehead with his father. Feeling the touch of his long lost son, William opens his eyes. Killian sits back as they both stare at each other. After a moment, Killian discreetly pulls the plug to the respiratory machine. William slowly fades away. The heart monitor flatlines, which fades into the sound of someone heavily urinating in a toilet. Interior Victoria's bathroom morning super 48 hours before the First Wives kidnap Monte from the police station, a Beautiful woman Victoria, 30, stunningly beautiful transsexual pastry chef Roland and Monty's former accomplice stands brushing her teeth. A distinct buzzer goes off.

[Detective Mo Ray]

Oh yum.

[Narrator]

She looks down, does a little shake and quickly zips up. She spits the toothpaste into the toilet, flushes and exits in a hurry. Interior Victoria's house continues. Victoria makes her way through the house. As the buzzer gets louder, she rushes into the kitchen and pulls out a tray of snickerdoodle cookies out of the oven. She places the cookies on a plate and pours A glass of milk before exiting with both while humming a tune. Interior, Victoria's large bedroom, continuous. Victoria enters. Roland is on the bed, attempting to knot his tie. She sets the cookies and milk on the nightstand. Roland immediately picks it up and takes a sip, holding his knot with the other hand. Next to him is Chloe, 27, sexy wild child, painting her toenails. She sticks her foot in Roland's face.

[Fiona Cherry]

Bruise blue. What do you think?

[Narrator]

She nearly knocks the glass away from Roland's mouth. A single drop of milk falls into the white fabric of Roland's dress shirt.

[Monty]

Can't you see I'm currently involved? Christ, you needy.

[Narrator]

He places the glass back down on the nightstand.

[Fiona Cherry]

You're tying a tie, not solving a Rubik's cube. You know, you should be embarrassed. You're still at it. I mean, are you stupid or retarded?

[Monty]

That's a fucked up question. Promise me you'll never say some shit like that in public or I'll pretend I don't know you.

[Narrator]

Victoria scans the channels on the tv. Roland gets the knot right on his tie, but the length is short. Chloe air dries her feet, making the bed shake.

[Fiona Cherry]

Is it true dolphins and humans are the only two species that have sex for pleasure?

[Monty]

Can you be still?

[Fiona Cherry]

Wait, is it true?

[Monty]

Is what true?

[Fiona Cherry]

Dolphins are really the only animal that like to fuck just to fuck?

[Narrator]

Roland leans in close to her face.

[Monty]

I know we're the only animal that fucks face to face. Now would you kindly keep the fuck still?

[Fiona Cherry]

That hardly answers my question.

[Narrator]

A loud explosion from the TV causes Roland to look up and see Bugs Bunny in a precarious situation about to meet his demise. Roland's cell phone rings. He springs up.

[Fiona Cherry]

Is it true sex has a smell?

[Monty]

Hey, where's my phone?

[Fiona Cherry]

If sex was a candle, I'd buy three for each room.

[Monty]

You might want to talk to somebody about that.

[Narrator]

Roland scrambles to locate his phone.

[Monty]

Can we focus here? Are you sitting on it?

[Narrator]

Roland rolls. Chloe falls off the bed as he shuffles through the clothes on the floor.

[Monty]

Where is it? Hey, hey, hey. Look alive, ladies. The ringing device. Let's locate it, please.

[Narrator]

The girls make no attempt to help him.

[Monty]

Oh my God.

[Narrator]

Anxious, Roland shuffles through clothes and finally finds his phone.

[Monty]

Hey, Roland here. High noon. Got it, got it, got it.

[Narrator]

Roland listens carefully. He snatches Chloe's lipstick and scribbles an address on the bed headboard before hanging up.

[Monty]

Which one of y'all still has a valid driver's license?

[Narrator]

Interior, 1969 Camaro. One hour later, the convertible Camaro with red interior pulls up and parks in front of a luxurious condo building. Roland is in the passenger seat, straightening his tie in the mirror.

[Monty]

Fuck ties.

[Fiona Cherry]

God damn ties are sexy. It pulls everything together just like a bow.

[Narrator]

She lights a joint.

[Monty]

Have you gone mad? Relax.

[Fiona Cherry]

I rolled down the window.

[Narrator]

Roland stares at her. He grabs the joint and smashes it out in the ashtray.

[Fiona Cherry]

Hey, that's not necessary.

[Monty]

Hey, hey. I can't have you getting high in the parking lot. I need your wits about you. I can't emphasize how important how important this meeting is. I need this to go well. It's my first job in months without Monty and I'm broke. So please, just stick to the format, will you, Please?

[Fiona Cherry]

You didn't have to murder it. I mean, perfectly fine for later.

[Narrator]

Asshole. Roland looks around for anything unusual.

[Monty]

All right, I'll be back in 20 minutes. Ish. If anyone asks you any questions, you're waiting for your boyfriend. Or better yet, your fiance. Aw, yeah. Whatever you do, don't wander off. I can't drive. Under any circumstances. I can't be allowed to drive.

[Fiona Cherry]

Why is that?

[Monty]

Just terrible things.

[Narrator]

Feeling sorry for him, Chloe kisses him hard, leaving a red print on his lips.

[Fiona Cherry]

Maybe you should take this with you.

[Narrator]

Chloe whips out a chrome Desert Eagle. Roland grabs the gun and quickly hides it from view.

[Monty]

Where did you get that?

[Fiona Cherry]

From under my seat, silly.

[Monty]

Before that.

[Narrator]

Chloe slides over onto the driver's seat.

[Fiona Cherry]

My father. Jesus, don't be a set of balls, Roland. I've been shooting since I was 6.

[Monty]

I don't care if you're a goddamn spy. Guns are the quickest way to spoil your luck.

[Narrator]

Roland pops out the clip and sees a full cartridge of bullets.

[Monty]

Especially loaded ones.

[Narrator]

Roland slides the gun under the seat.

[Monty]

I'm begging you. No more surprises.

[Narrator]

Roland places the clip of bullets in his jacket pocket.

[Monty]

Okay. Just keep it simple for me, all right? Like you promised.

[Fiona Cherry]

Simple as a pimple, I promise.

[Narrator]

Roland gets out of the car.

[Fiona Cherry]

Just bring back a souvenir.

[Monty]

You want me to take something for you?

[Fiona Cherry]

No, I want you to steal something from me. But it has to be special. Not something generic like a salt shaker or a TV remote. That's just too easy. It has to be something personal.

[Monty]

Is that what does it for you?

[Fiona Cherry]

Yep. I need a thrill here. Statue in my purse.

[Narrator]

Roland puts the purse over his shoulder and turns to face the impressive building. He sees window cleaners high above. A cable snaps, tilting their platform as they struggle to keep their balance. Taking it as an omen, Roland quickly looks away. Nervously walking to the entrance. Behind him, Chloe loads another clip in the gun and relights her smashed joint. Interior, luxurious condo building, lobby. Continuous. Roland heads through the lobby to the elevator where a UPS woman, 22, fit, beautiful tomboy stands waiting. They glance at each other.

[Monty]

Rain, hail, sleet or fire.

[Jameson Cherry]

What's that?

[Monty]

The mail?

[Fiona Cherry]

I believe it's snow, but yes.

[Narrator]

Through the extreme ding, the elevator opens. Roland steps inside and holds the door for the UPS woman going up.

[Fiona Cherry]

I'll get the next one.

[Narrator]

The elevator door closes shut. He notices the red lipstick in his reflection of the door.

[Monty]

Oh.

[Narrator]

He wipes it off. Interior, luxurious building, penthouse, Hallway, continuous. Roland exits the elevator facing A door numbered P13. A buildup of Roland searching for PH3 from casually to a frantic run through the maze of corridors. Exasperated, Roland exits the elevator once again staring at P13. He notices the missing piece of the lying on the floor. He picks it up and holds it up, completing the pH3 door number in disbelief when the door swings open, revealing Bonham, 36, big South Pacific man. Roland hands over the broken piece.

[Monty]

You might want to fix that. I'm working on it.

[Narrator]

Bonham aggressively frisks Roland. Roland notices a tattoo on Bonham which reads does not play well with others. Bonham finds the clip of bullets that.

[Monty]

Belongs to my girlfriend's gun.

[Narrator]

Bonham couldn't give a shit.

[Monty]

I have to hide the bullets from her when we fight. She can be vicious. You know how it is.

[Narrator]

Bonham ushers Roland into the apartment. Interior, Killian's penthouse. Entryway, continuous. Roland walks down a hallway with rooms on each side. He's entered a modern brothel, plucked right out of the red light district.

[Monty]

Oh, shit.

[Narrator]

Tempted, tempted. Roland wants to stop and peek, but is urged along by Bonham. Interior, Killian's penthouse, Kitchen continuous. Roland finds Killian cutting fruit at the counter. Wrapped around his hand is a long leather leash attached to the back of a falconry hood covering the eyes of Falcon Brute, 30s Herculean in a Tom Ford suit, standing motionless, armed with brass knuckles, just waiting to be unleashed. Sensing Roland's stare, Killian picks up a book and recites from it like a Shakespearean play.

[Jameson Cherry]

Where is the lightning to lick you with its tongue? Where is the madness with which you should be cleansed? Behold, I show you the superman. He is this lightning. He is this madness.

[Narrator]

Killian tosses the book over the shoulder and smiles at Roland.

[Jameson Cherry]

And in the flesh. Sweet Jesus, the myth is true. You're a difficult man to find, Roland.

[Monty]

Well, in my line of work, I find that to be A good thing.

[Jameson Cherry]

Or a very bad thing?

[Monty]

You're probably just looking in the wrong places.

[Jameson Cherry]

And where might the right place be?

[Monty]

The corners. Always the corners. The view is better and nothing can crawl up your back.

[Jameson Cherry]

Let me guess. Monty is waiting in the car.

[Monty]

Ooh, you're good.

[Narrator]

Killian motions to Bonham with his knife. Roland turns as Bonham sets down a chair for him.

[Jameson Cherry]

We're all friends. You have no enemies here. Please excuse my guests. It was a very last minute effort. They have a way of doing things. No judgments.

[Monty]

Oh, I hadn't noticed.

[Narrator]

Bonham raises his eyebrow.

[Jameson Cherry]

The golden boy who never ties his shoelaces while chasing all the fun and yet manages to never fall on his ass. That's what they say about you.

[Monty]

Who's they?

[Jameson Cherry]

Wouldn't you like to know? All that matters is they say you're lucky.

[Narrator]

Killian tosses the cut up fruit into a blender.

[Monty]

They say a lot, don't they? I've got nothing to complain about. I'd say that makes me lucky enough.

[Jameson Cherry]

I know you're a man who treasures his time. So I'm gonna ask you this just once before we go any further. Stir it around. Think long and hard before you answer.

[Monty]

Go on.

[Jameson Cherry]

Can I trust you?

[Monty]

Let's get something straight. You came to me.

[Narrator]

Killian tightens his grip on the leash. The sound of leather squeezing reverberates through the room. He slowly tightens the slack on the leash, tugging the ring behind Falcon Brute's mask like a pin on a grenade. Roland senses the danger, yet maintains his composure. Killian turns on the blender as he stares at Roland. He shuts it off. Roland smirks.

[Monty]

I had a pet snake growing up. An African boa. I was about five years old. The only thing my dad left me. Named him Marshall, after him. I loved every second of it. Before I knew it, he had grown from 5 inches to 4ft long. He'd even sleep in the bed with me and I'd fall asleep hugging him like he was my life raft. He'd curl up under my arms and stay warm through the night. At some point around 8 years old or so, I started waking up in the middle of the night and I couldn't find him. He was getting bigger and so was I. Heavier too. I was concerned I had rolled on him without noticing and accidentally killed him. But every time I find Marshall stretched out on top of the covers as straight as an arrow, his tail would be at my feet and his head would be just below my chin. It went on like that for a While I didn't know why he was acting like that. So I looked into it. Read a few books, you see, all of them, whatever the age or length, would size themselves next to their prey. You see, Marshall was sizing me up, just buying time until he could make a meal out of me. Now, I ain't take it personal. A snake is a snake, just as a man is a man. It didn't matter how much I loved Marshall or cherish his company. He only knows how to be a snake. It wasn't malicious, but it was calculated. So is nature. I was torn. But it was only a matter of time before he turned on me. I knew that. So when I got home, I elected not to push my luck any further. I carried Marshall myself, turned him over to the zoo, said my goodbyes, and left. With a heavy heart. I trusted that snake. Until I didn't. I see our situation as very similar in a lot of ways. I could be marshalled. So to answer your question, for now, I suppose the odds are better if you do.

[Narrator]

On the table, Roland places a white rabbit figurine with an R printed on its belly. In celebration, Killian throws his knife into a dartboard on the wall behind Roland, nailing the bullseye. Bonham tosses something and Roland catches it. He opens his hand and discovers a car key attached to a white rabbit's foot.

[Jameson Cherry]

Downstairs, in the parking lot, third row from the back, you will find a 68 Jaguar, deep purple. Beautiful car. But the Jaguar is of little importance to me. It's what's inside the trunk I treasure.

[Narrator]

Flashback Killian enters his living room dancing with a glass of scotch and winter and a shiny urn in the other.

[Jameson Cherry]

I won't bore you with the details. What I can tell you is that time is of the utmost importance.

[Narrator]

Killian sets the urn on the mantel above the fireplace like a trophy. He admires it.

[Jameson Cherry]

I had a brother. Or rather, I have a brother. And it's safe to say we're built different. When our father recently passed, God rest his soul, my brother's plans didn't pan out with mine.

[Narrator]

Back to interior. Killian's penthouse. Kitchen. Killian walks toward Roland, leaving Falconbrook behind.

[Jameson Cherry]

Keep it for a couple days, that's all I ask. Enough time for the oven to drop a few degrees so I can touch the plate. I'll come for it when the time is right. Easy breezy? Nearly. Fuck off. Proof.

[Monty]

Wait. Did you say brother?

[Narrator]

Roland's panic sets in as Killian's expression expressive story fades to silence.

[Monty]

Mmm. Sounds Fishy. Why me, Wyatt? Because it's pie. And I know how much you like pie. All you have to do is hold a package for him. That's it. You need the dough. I know a baker.

[Narrator]

He's harmless, gentle as a baby squirrel.

[Monty]

But listen to me. No matter how much he offers you, whatever he promises or claims, don't do a God fucking damn thing if his brother is involved. But run. Just run.

[Narrator]

Run. Killian laughs maniacally and slaps Roland's knee, breaking him from his date.

[Monty]

Drink.

[Jameson Cherry]

Do you know what the best part of winning is, Roland? Besides winning, of course. The look on the other man's face when. When you take his trophy. That's what it's all about. Oh. Especially in the end. Especially in the end. A man always wears defeat right here. You can't hide it. If his spirit is broken, it always.

[Monty]

Shows you're losing some blood.

[Narrator]

Killian touches his nose.

[Jameson Cherry]

Used to get them as a kid. My mother hated it.

[Narrator]

Killian stares at the blood, lost for a moment.

[Jameson Cherry]

Where are my manners? Would you care for a smoothie?

[Monty]

I have to go to the bathroom. Is that all right? Mmm.

[Jameson Cherry]

Did someone plant a revolver on the toilet seat for you?

[Narrator]

Killian grabs Roland's face and kisses him hard.

[Jameson Cherry]

I know it was you, Fredo. You broke my heart.

[Narrator]

Roland is awkwardly confused, not making the Godfather connection.

[Monty]

Of course.

[Jameson Cherry]

It's all right. Right down the hall, second door on the left.

[Narrator]

Interior, exterior. Killian's penthouse bathroom. Continuous. Weary by the situation, Roland leaves the door cracked open to spy on Killian as he makes a call on his cell phone.

[Monty]

You didn't drive off, did you?

[Narrator]

Roland sees Killian kicking the air, fighting his own shadow.

[Monty]

Jesus. Thank God. Elephants are gonna fly out of my ass before I take this job. This guy's a few eggs short of a carton. And by the looks of it, he checked out years ago.

[Narrator]

Roland closes the door.

[Monty]

Ooh. Goodbye, marbles.

[Narrator]

He spots the toy jack in the box. Same as the opening scene, sitting on a shelf. He smiles.

[Monty]

I'm on my way down.

[Narrator]

He hangs up. He grabs the toy and places it in Chloe's purse. Bang. Gunshots are heard from the kitchen. Terrified, Roland freezes. He scrambles to climb out of the window onto the balcony. He dusts himself off and sees Killian through the patio door, lying on the floor, bleeding. Falcon Brute is standing next to him, motionless. He notices Bonham flat on his stomach, out cold. Roland sees the UPS woman in the living room pulling a knife out of her shoulder. Roland and UPS woman lock eyes. Bang. Bang. She fires two shots, shattering the glass, sending Roland stumbling back as he disappears off the balcony.

[Detective Mo Ray]

Really?

[Narrator]

EXTERIOR LUXURIOUS CONDO building Continuous Hanging tightly onto the purse caught on a flag pole a few floors below, Roland sees his cell phone fall from his pocket into a swimming pool.

[Monty]

Shit.

[Narrator]

Louder.

[Monty]

Bigger shit. Okay, Shit.

[Narrator]

I like how you like. Looked at the script again to see that Roland swings side to side when UPS woman appears on Killian's balcony above. Roland launches and makes a miraculously lucky catch onto a terrace in display. She fires at him. Roland smashes through the patio door into interior luxurious condo building communal area CONTINUOUS Roland gets tangled in the curtain and falls into a hot tub occupied by a family.

[Monty]

Oh my God.

[Narrator]

Roland springs up from the water resembling a wet ghost, gasping for air. Mortified, the parents grab the children and hurry away.

[Jameson Cherry]

Mommy, I'm scared.

[Narrator]

Roland runs off through door one, struggling to remove the wet curtain just as two men in speedos enter from door two and step into the hot tub. UPS woman emerges from the terrace in pursuit of Roland before exiting through door two. Roland re enters and dives headfirst back into the hot tub. He pops up with Killian's set of keys. Unknowingly, Roland bolts out the same door as UPS woman. EXTERIOR PARKING LOT CONTINUOUS Roland arrives where Chloe should be waiting with the car.

[Monty]

Chloe. Chloe.

[Narrator]

Bang. Bang. Bullets ricochet near him. Roland ducks between two vehicles. He notices two bullet holes in his jacket. He pokes a finger through the hole.

[Monty]

Just go home. Leave it alone.

[Narrator]

Roland spots the purple 68 Jaguar. Roland kisses the white rabbit's foot attached to Killian's keys.

[Monty]

Don't fail me now. On three. Bang.

[Narrator]

Roland takes off running towards the Jaguar. He attempts to open the trunk but drops the keys. He quickly reaches for them as the back window of the Jaguar shatters. He opens the trunk and finds a shiny urn. Not sure what he's looking at, he quickly grabs the urn and bolts toward a tree line next to the parking lot as UPS woman continues to fire at him. EXTERIOR STREET CONTINUOUS Roland dashes through the tree line, emerging onto a street where Chloe's Camaro screeches to a halt, sending Roland onto the hood as the urn slides across the pavement. The same footage from the police station. With his face pressed against the windshield, Roland sees Chloe sitting in the passenger seat with an unknown man, 30 behind the wheel with a smashed joint in his mouth.

[Monty]

ROLAND get in the bag, Chloe. Now.

[Narrator]

Roland hurries to grab the urn and jumps inside. Inside the car.

[Monty]

Hit the gas.

[Narrator]

The Camaro speeds off as UPS woman runs out from the tree line. Interior 1969 Camaro. Continuous.

[Monty]

Who the is he so random?

[Detective Mo Ray]

We just met it.

[Monty]

We hit it off. Why are you soaking wet?

[Narrator]

Pop. A bullet shoots to the unknown man's throat, flattering blood across Roland and Chloe. The car swerves as the unknown man chokes on Chloe. Freaks out. Roland grabs the steering wheel to control the car. It stops short of smashing into a fire hydrant. Roland struggles to roll him over on the front seat.

[Detective Mo Ray]

He's dead.

[Monty]

He's fucking dead, Roland. I know he's dead. We're not going to leave him here.

[Narrator]

Roland manages to flip the unknown man over as he disappears onto the back seat. UPS woman runs down the street towards Roland. She fires a shot. Chloe returns fire. UPS woman takes cover. Reluctant, Roland jumps in the driver's seat. The Camaro speeds off as UPS woman fires upon them.

[Monty]

What's happening?

[Fiona Cherry]

What the is happening?

[Monty]

That lunatic came out of nowhere. I. I had nothing to do with that. I'm on the balcony and everything was great. Next thing I know, I'm in a goddamn hot tub. One more time.

[Narrator]

Bang. Chloe gets a clean shot right through her chest. In a tranquil state of shock, she quickly starts to fade out, unaware she's been shot.

[Fiona Cherry]

Hot tub? What are you blabbing about?

[Narrator]

Roland notices her wound. Chloe acknowledges she's bleeding.

[Fiona Cherry]

I'm bleeding. Is that an urn?

[Monty]

I think so.

[Fiona Cherry]

Did you steal that from me?

[Narrator]

Wham. A pie hits Roland in the face, sending the car swerving onto a streetlight pole. Roland climbs out of the car, removing pie from his eyes. He hears commotion on the balcony of a building close by. An Italian couple screams at each other as the husband throws fresh pies onto the street. Down below, another man in his underwear hangs from their balcony.

[Monty]

I gotta find Monty.

[Narrator]

Black Super. A man often meets his destiny on the road he took to avoid it. End of first episode.