Episode 1 · The contract call
Seventy-two hours, one instruction, zero witnesses expected — the job that moves in next door. The frame shows a man and a phone; the dread does the rest.
ep 01
Family · 30 episodes · SagaBox
One contract. Seventy-two hours. And the neighbor who was hired to kill her.
Playback happens in SagaBox's official player, in the browser. We link to nothing else.
The premise is right there in the frames: a man takes a phone call and moves in next door; the target's son walks in carrying a broken robot from his dead father; and the killer who took the call is the one caught rebuilding the toy at a bedside. The awakening lands in a single half-in-tears line at that bedside — no contract survives it.
Underneath runs the conspiracy: Emma's face in a suspect file, a man with glasses on the street, a blown tire that is not bad luck — background stakes, the paperwork and sabotage of someone else's plan. The protection and the front-porch exchange are where protector and target start sharing a frame. The show keeps the violence as background: phone calls, paperwork, a blown tire. What holds it together is the hitman's one rule — the professional line the whole story bends around.
Series facts checked against the SagaBox listing. Notes cover the opening episodes only; nothing here reveals the ending.
Adrian Cross and Emma Carter carry the opening arc.
Black shirt, stubble, a quiet moving-in — and a contract on the woman next door with a seventy-two-hour clock. The rule he wrote for himself survives exactly one encounter with her son. The serpent tattoo and the dive watch are the only résumé he carries.
Deep-brown hair, a kitchen, a routine — and a neighbor she does not know is counting down. Her name is already in the system, her tire is already flat, and her weapons are a mother's instincts. The alliance that forms around her is the show's slow engine.
Moments from the opening run that set up the rest.
Seventy-two hours, one instruction, zero witnesses expected — the job that moves in next door. The frame shows a man and a phone; the dread does the rest.
A toy from a dead father, rebuilt at a bedside by the last person anyone expected — the frame that turns a contract into a story about a son.
Half in tears, a few words long — the surrogate-father moment the whole premise hangs on. No contract survives it.
Emma's own ID photo in the system, flagged across the screen — the conspiracy's paperwork showing up early.
Bad luck that isn't — sabotage as a plot device, the quietest menace in the show.
Two lines at the door — your back door was open — and the whole show exhales. The comedy the countdown needed.
Captured from the opening episodes — not promotional art.








Written from the opening arc. These are editorial impressions, not audience scores.
A hitman with seventy-two hours to finish a contract, and the target's son wandering into his house with a broken robot. The show runs two engines — the countdown doing the thriller work, and the surrogate-father thread doing the emotional work.
It keeps the violence as background stakes: phone calls, paperwork, a blown tire. What holds it together is the hitman's one rule — the professional line the whole story bends around.
Best for viewers who like countdown thrillers where the heart is a surrogate-father bond rather than romance; if you need a love story, this one pivots on a son calling a hitman Dad. Compared with most contract-killer shorts, the menace stays off-screen — that restraint is both its strength and its limit.
More family shorts, or browse the whole shelf.