Houseboy Who Cried Wolf
Devious Butlers 2x11
January 29, 2017
Running time
Production code
Flash sideways
Written by
Directed by
Also Starring
Special Guest Star(s)
Archive footage

"Houseboy Who Cried Wolf" is the 23rd episode of Devious Butlers.


The Littles' big secret is close to exposure, so Rochelle has Manny ensure that Joe can't cry out the truth to anyone... but the methods they employ don't exactly sit right with Aliza. Meanwhile, Josh finds himself being launched further forward in his rekindled relationship with Juan than he'd like, though he's not the only one discovering new things in the world of romance. Rena lands a date of sorts with Maria Solano, intent on making the most of his recent trauma by giving an exclusive interview, while Liz, following her exposure by Eli, heads down an unexpected path. Ben thinks he's seen the last of the bitch in sheep's clothing that is Val, but he'd be wrong, and Joanna begins to adjust to life now that her secrets are out.



The brakes on Rochelle's wheelchair remain fastened steady as she stares out the front window of the Little house, apparently disapproving of what it is she sees. Wanting a better look, she makes sure no one is around and pushes herself upward a little, using her fully functioning legs. The camera then pans around her grayed head as she grimaces.
We are shown a young Rochelle in a maid's uniform, on her hands and knees, grimacing as her employer's daughter - Silvia Applewhite - walks on past her while arm-in-arm with her friend, Lily DeWar. The both of them scuff the newly clean floors with their shoes without even noticing.
And then an older Rochelle, grimacing as her kids bicker in the other room over who should have to stay home and take care of Mama; she then has the genius idea to trick them both into staying by lying down on the floor and crying out to feign injury.
Finally, Rochelle grimaces as she stares down at something on the floor of her pre-Fanon Drive home. "Damn, child," she exclaims, "Let Mama take care o' dis bloody-ass mess."
Back in the present, we see that Rochelle is staring out at the multitude of police cars and policemen congregating around Fanon Drive's cul-de-sac, but she soon parks her butt back in her supposedly permanent seat when she hears the sound of footsteps nearing. It's Manny, who enters the room and asks his mother what's going on, and so she explains that it appears as though, following the whole shenanigan whereby that Portuguese butler was kidnapped by an insane Kappelletti, "that white bitch" a door down invoked the help of extra security just in case. "She brought extra cops to Fanon Drive?" Manny exclaims, horrified by the notion, "Just who the hell does she think she is?!"

"Emilie," Joe utters again, still sitting beside her as the other butlers sit opposite. "I prefer Joanna, honestly," she assures, "Emilie was just the name my parents tossed me at birth because they couldn't think of anything." "Very well, Joanna," Joe smiles, and an awkward silence looms as everyone continues to ponder her story. "So like... that Nadia chick is still blowing up churches in Wikerly Hills?" Rena clarifies, a tad worried, and Joanna shrugs and tells him, "I guess so. Don't worry, though, that extra police protection I ordered seems to have arrived. You don't have to worry about exploding." "Wait a second," Joe recalls, "you blew up the church I was abandoned at as a baby, which means... did you ever see my mother? Or the person who killed her?" "I'm sorry, no," Joanna admits.

"More smug than Silvia mofo Applewhite," Rochelle spits back in her kitchen as she stares at the cops, and Manny comments on just how much he'd love to take care of them. "Don't you go actin' like none o' those old friends o' yours now," Rochelle warns, turning her chair on its axis in order to face him, "'Fore we get in another jam and gotta leave in the middle of the damn night again."

"Well, sorry to leave you in the middle of the night," Joe tells Joanna as he ascends to his feet, "Really, it's just... I need to confront the Littles. Right away." His clothes are still a little doused in dust from the remains of the body in their attic. "What about?" Ben wonders, also getting to his feet, but Joe says that he'll explain it all later, eager to leave. "Wait," Ben stops him, "you said that if one of us knows something, then we all know it. Did you mean that?" "Yes, but--" "Val is Justine's sister!" Ben then suddenly exclaims, to the shock of all. "What?!" Rena barks getting to his feet. "The hell?!" Josh adds, getting up also. Ben breathes heavy, admitting that she came there to investigate Justine's death and that he couldn't tell them because she was blackmailing him with a piece of evidence, though now that seems to be over and she's finally gone... and he's sorry he never told them. "Well," Joe breathes, "Wow... um." "Wait, why would she wanna investigate Justine's death?" Joanna is curious to know, and Joe coughs, stating that they should all really catch up again soon. "Justine totally murdered Jose for having sex with your husband so Joe smashed his ashes over her head and sent her hurtling off a balcony," Rena blurts out, and Joe turns to him in shock, at which Rena goes, "What? She just admitted all her secrets!" Joanna's eyes are wide, and Joe would just like to take this brief moment to make clear that his actions were entirely defensive - for she was pointing a gun at his three besties - and then Josh says, "Brad and I broke up." They all turn to him and he awkwardly states, "I know it's not really as dramatic a confession as everyone else's but I've been itching to say it since we met up, so, um, yeah, that." "Okay!" Joe exclaims, "Josh, I am sorry. Ben, I... wanna know more. Rena, I still need to kinda make up for the whole not-noticing-you-were-kidnapped thing, but, I also really need to go see the Littles. So, I'll meet you all for lunch tomorrow, and we can all explain everything to each other. Okay?" "Okay," the butlers all sort of nod in agreement, and Joe nods, "Good," before bidding them all goodbye and beginning to head over to the Little house.

Inside the Little house, Aliza enters the room with Rochelle and Manny inside and points out, "Y'all know the attic's been trashed, right?" Their eyes widen at the same time, and then they look back out the window to see Joe, who awkwardly walks past his old colleagues like Officer Hall. Hall smirks at the fact that the former best detective is now on his way back to his job as a butler, and Joe tries his best to ignore how much this hurts. "Guess after all that... you don't need me anymore, huh?" Joanna-vision asks, and Joe just looks at her and watches as she fades away into nothingness, rather content with that. Then he gets his confrontation face on and Rochelle looks far from happy. "On second thought," she tells Manny, "Maybe it's time you actually call up those old friends o' yours. I'm thinkin' Joey-boy might need properly takin' care of like our upstairs guest, and you gonna need some help doin' the job proper." "Mama, you don't mean--" Aliza utters, but Manny is already getting his old contacts on speed dial, only too too happy to carry out his mother's wishes. Aliza gulps and follows him out the room, meaning both aren't present when Joe finally reenters the house. The first person he's faced with upon entry is Rochelle, who sees the ashes he's doused with and just sort of stares him down evilly. She knows he knows, and he knows she knows he knows. And so he tries it the simple way. "Tell me the truth," he orders, "All of it." Rochelle continues to stare, growing extremely intense before stating... "Naw." And then she casually wheels herself out of the room. "O... kay then," Joe mutters awkwardly.
"Great," Manny says meanwhile, seeming very sinister on the phone, "I'll see you all soon." Aliza appears continually worried.

Over at the Wikerly Hills train station, a group of thuggish-looking black men are seen stepping off onto the platform, each of them looking dangerous and a few of them even toting with them picket signs which reads things along the lines of, "Black Lives Matter!". The door to the train cart behind them opens just as they exit the station, and a pair of woman's shoes hit the platform, for yet another person has arrived in town. "Well," comments Silvia Applewhite - as we know her now to be - as she takes a brief look round with her big bag in tow, "I guess I'm back. Again." She makes her way off, swinging a pair of keys in order to go find the car she left behind.

The BLM supporters are soon seen approaching Fanon Drive at dawn, and the policemen who are there guarding the place know exactly what they are. There is an awful amount of tension as they cross each other's paths, and it takes less than a nosy neighbor pressed up against their window to know that war is brewing on this very street.


Act I

"I'll get you for this!" Kristi Kappelletti screeches as the footage of her being arrested is once again being replayed for audiences everywhere, "You white trash wh*BEELP*re! And you! You ungrateful brown little f*BLEEP*king c*BLEEP*k-sucker!" And then she's forced into the police van and Liz is sat on Ali's sofa marveled that her former butler has made it onto today's episode of Access Wikerly, for there he is in the background in his shock blanket. "Rena..." she utters, "Oh, my God, is he okay? I should give him a call." However, then the TV reveals that there are even more celebrity scandals ahead, and Liz finds herself at a loss. "Meh, I'll call him after AW." And she continues to sit there, fiddling with the remote. Ben, who's cleaning in proximity to her, rolls his eyes before leaving the room and immediately bumping into Ali. "Sorry," she states, but he says sorry in turn, pointing out that he's all over the place now that Val's fired because he suddenly has twice the workload again. "Say what you want about her, she could polish with the best of them," he recalls. "We'll hire someone new in time," Ali assures, and Ben nods. "Until then," she adds, "Just be happy that conniving puta is out of our home." Ben appears a little touched that his employer referred to her own mansion as being his home as well, but decides not to draw attention to it, instead coming back with, "If only we could get rid of the other one so easily," as he nods towards Liz. "Aw, don't be mean," Ali tells him, "I like having Liz about." "Really? Why?" Ben wonders, "I mean, I know you feel you owe her 'n' all, but--" "It's not just that," Ali reveals, "I just... I dunno. She's exciting to be around, I guess." Suddenly, Liz emanates a gigantic scream from the living room, and Ali tells her butler, "See what I mean?" The two then go rushing in and see Liz in the fetal position on the sofa, rocking back and forth as she stares at the TV screen. "What's wrong?" Ali wonders, immediately going to go comfort her, but Ben has already seen - footage of Liz in leather and a mask, whipping the crap out of some guy. All the naughty bits blurred out, of course. It's her old porno, being played for all of Wikerly Hills to see. "Oh dear," Ben utters, staring at it, and Liz lets out an inhuman whine of anguish.

..."And that's how you take care of that," Eli exclaims, flipping off his TV and having a sip of his scotch. Grinning, he turns his attention to his guest, Maria Solano, who can't bear to taste any of her drink. "What the hell was that?" she asks, and Eli states that that's him setting things right. "Now the world will know Liz isn't this victim, and I can finally have a job again." "Yeah, perhaps waiting tables or handing out movie tickets." Eli's confused, as Mary puts her drink down and stands up, grabbing her bag to leave. "What's wrong?" he asks, "Is this not what you wanted?" "Eli, you just destroyed her! Perhaps she wasn't as innocent as the media depicted her, but she doesn't have a chance now because of you!" Eli is taken aback by his friend's reaction to all of this, having expected Liz's exposure to have been a good thing. "So you're not gonna work with me now?!" he questions, and she shakes her head, "Not in a million years. On a moral highground, I really just can't." And with that, she sees fit to leave.
Rena, meanwhile, is doing some dusting at the Winters' mansion while on the house, Joanna's, and his own phone taking calls from numerous reporters calling about his kidnapping by Kristi Kappelletti. "Uh, I don't know, if CNN couldn't convince people to elect Clinton over Trump then I'm not sure how if they're a good enough outlet to express my traumatic tale," he says, then taking a call on one of the other lines, "A spot on Ellen? Hell yeah!" Joanna, meanwhile, is lying on the couch, holding out her glass for a refill. Not wanting to put any of the phones down, or the feather duster, Rena tries his best to pick up the wine bottle to help his boss out; however, another call comes in, causing him to forget her all together. "I'll only be on The View if Raven is there," he says, and Joanna finally gets approaching the butler and taking the three phones from him. "He'll call you back," she shouts into all of them before hanging them up. "Rude," he comments, but she rolls her eyes, picking up the wine bottle and filling her own glass. "Right, sorry," he remembers, as she takes the bottle back to her seat. "So things are really going well for you, huh?" she questions, and Rena nods, abandoning the feather duster and sitting down with his boss. "I really lucked out having a freakin' Kappelletti as my kidnapper. The whole world wants to talk to me now." Joanna smiles, glad to see Rena is making the best out of such a horrifying event. "And thank you, again," he says to her, "Without you, I wouldn't even be alive right now." Joanna assures the butler that it's no big deal, but he shakes his head, stating that she really did save his life. "And you didn't just call me a monster and turn me in to the police after finding out everything I've done in the past." "Right..." he remembers, "But I understand why you did the things that you did... we all do. And I forgive you." "Yeah... and I just hope the others can too." "They will," Rena promises, then taking his boss' hand, "I'm sure of it." There's a moment of silence before the Winters' mansion landline starts to ring again, and the two both roll their eyes; Rena clicks to cut off the call, and Joanna wonders how much longer this will be going. "I just... when I finally sit down and share the story, I want it to be with someone big, yunno? I wanna really put it out there." Downing her wine, Joanna understands this; she suggests that perhaps Rena take a walk in order to clear his mind, and maybe then he'll come up with a solution so that they can put an end to all of these callers to her house. Rena chuckles, sensing that Jo is somewhat frustrated by this, and so he decides to follow her suggestion. "See you in a bit," he says, grabbing his coat, and Joanna nods, drinking from the wine bottle.
Outside, Rena exits crosses outside of the Winters' property line, starting to make his way down the sidewalk when he notices someone in the distance. It's Maria Solano, exiting Eli's home and making her way to her parked car. "Oh, my God," he utters, instantly recognizing her from her work. He begins power-walking his way over to the Davis property, though making sure to look first to see if Eli is watching him: he'd rather not have an encounter with his former employer. Seeing the coast is clear though, Rena is able to get to Mary in time just as she's opening her car door. "It's you!" he greets, like a loser, "Maria Solano!" Before looking up, Mary rolls her eyes, not in the mood to chat with any fans; however, when she finally faces Rena, her eyes widen in shock. "And you're Kappelletti hostage!" Rena confirms this before telling Mary how big of a fan he is of her work. "Yeah, I figured as much," she replies, "but wow, you're all anyone is talking about right now. Like, even more than they're talking about me." Rena blushes, flattered by perhaps his number one idol of all time. "And you've not really had any interviews yet either," Mary recalls, and Rena confirms this too, stating that he's just been waiting for the right outlet. Mary nods, considering this for a minute. "Okay, look," she says, sticking out her hand for Rena's phone. As the butler hands it over, she goes into his contacts and begins typing out her number, "If you'd like, feel free to give me a call and perhaps we can set something up. A dinner of sorts." "Like a date?" "Er... a dinner for now, okay?" she says, "Now this number is to my agent. I have a few openings in the next week, so if you're running out of outlets to check out then, well, here's one that will be worth your time." "I... wow, thank you," Rena says, and Mary nods in turn, proceeding to tell him that she has to be on her way now. "Elijah Davis just put me in a moo mood so I'm gonna treat myself to a spa day. Toodles!" she says, getting into her car. "Toodles!" Rena inadvertently says in turn. As Mary drives away, the butler just stares down at his phone, at the new contact, amazed by what just happened.

A knock is heard, and Juan goes to the front door of his apartment, opening it up to see that none other than Josh has arrived. "I broke up with Brad," he says, inviting himself in. "Uh, hey," Juan greets, but Josh asks if that's it. "I broke up with Brad, and all you have to say is 'hey'? You're not jumping for joy or reveling in the fact that my relationship failed because of you?" "Well I am, just I thought showing it would be offensive." "Whatever," Josh says, taking a seat on Juan's couch, "because of you, I'm a conflicted mess right now." Juan smirks, closing his apartment door and takes a seat next to the butler. "So you left Brad because you still have feelings for me, is that right?" "Please don't make me say it out loud..." Juan puts his arm around Josh though, trying to comfort him in these trying times. "I know this isn't how you wanted things to turn out," he admits, and Josh confirms this, stating that he just wanted a nice, peaceful life. "I was so happy with Brad. So content... Then you show up and ruin everything." Again, Juan smirks. He asks Josh if all he wished to do by coming over was to condemn him for stirring up old feelings, but Josh shakes his head. Letting out a sigh, the butler admits that he's there for more. "I... I wanted to ask you out on a date," he says, to Juan's actual surprise. "Oh?" He mumbles to himself that that was easier than he thought it would be. "Yeah, if there really is something between us then I think it best we just figure it out now. If it turns out to be a disaster then perhaps I can go begging on my knees for Brad's forgiveness, but at the very least it'll put my mind at rest." "That sounds fair enough," Juan accepts, and Josh stands up, nodding. "Good," he says in turn, "well I'm gonna go now." "You want me to walk you out?" Juan offers, but Josh shakes his head, stating that he'll be fine on his own. With that, he leaves, and Juan grins at how well things are turning out in his favor.

"For Christ's sake, I wanted to get rid of that abortion of a girl years ago!" Kathryn spouts to her husband and his brothers, "But 'nooo, she's family,'" she says in a mocking tone. Pacing back and forth, Mrs. Kappelletti has about gone hysterical, spending the last day screaming at the family she's married into. "That psychotic brat has destroyed our reputations! Do you people not care about that at all?!" But the Kappelletti brothers look at one another, with Kevin standing up to console his wife. "She was troubled, Kathryn... and we didn't know. But it's our fault for closing her off from the world." Kathryn breaks away though, shoving her husband some. "Just shut up," she demands, "shut the hell up!" Kevin turns back to Killian and Kerwin, both of whom look at each other, having no clue what to say, but Kathryn chuckles. "You guys were nothing until I showed up. Hell, when I met you, you were wanting to become a freakin' boy band. I'm what attracted the fans! I'm what attracted the fame! Everything I did, I did for a reason. For a purpose. I told you to ditch that stupid girl, but you all refused. And look at things now - she was your downfall." "Maybe if you didn't turn her into a prisoner," Killian speaks up, but Kathryn simply blinks, proceeding to approach and subsequently smack him across the face... and then again... and then one last time just for the hell of it. "Okay, back off!" Kerwin demands, stepping between his second oldest brother and sister-in-law, and just as Kathryn goes to strike him, Kevin grabs her and carries her off to the other side of him. "Quit it," he says, sternly, only driving her further over the edge. She spits in his face, and starts to walk away. Wiping the saliva off, Kevin questions where his wife thinks she's going, but she turns back, looking ever-so-done with all of them. "I'm leaving," she states, proceeding to slide off her wedding ring. Putting it down on an end table, she gives them a nod before continuing out the door, slamming it behind her.
Sometime later, we see Eli open up his front door to find Kathryn standing before him. "You're black, you're single, you're not a Kappelletti... and you're black, so wanna invite me in?" she asks, then not even giving him the chance to respond before letting herself in. "Uh, hey?" Eli says to his estranged wife's arch nemesis, who makes her way to the kitchen and begins rummaging through Eli's wine cabinet, eventually finding a good enough looking bottle. "Drinks?" she suggests, getting down some glasses and pouring the red liquid. "Kathryn, what are you doing?" he asks, really not in the mood to deal with whatever it is she's there to pester him about. Taking a light sip of her drink, something Joanna Winters would be absolutely ashamed of, she puts the glass down and pulls Eli in for a hard, long, passionate kiss. Eventually Eli breaks away, which Kathryn accepts because they're both in need of air, and she takes another sip of her drink. "Oh, daddy..." she utters, at which point Eli becomes even more uncomfortable. "What was that?" he asks her, and she rolls her eyes, asking him how stupid he could possibly be. "I'm trying to seduce you," she makes clear, then taking his hand. "Come on, we can even do it in your wife's dungeon if you want; I don't care. My reputation is on the line, and you might be able to help me out." "Kathryn, no... and doesn't the world hate me because of Liz?" "Nah, they're over that. Now she's seen as some freaky sadist no one wants anything to do with. Willing to bet she kills herself by the end of the week." "Mary had mentioned this might be hard on her..." "Oh, honey, check out her Snapchat story; she's having a freakin' meltdown, crying and ranting and going all defensive. It's so pathetic." "I see..." "But yeah, screw her," Kathryn says, pulling Eli in, "Why don't you and I take the world by storm instead?" Eli feigns a smile, taking Kathryn's hands, "As great as that sounds to you," he says, then shoving her back, "I've never been more repulsed in my life." Kathryn takes offense to this, questioning how he dare talk to her like that. "You need to leave," he says, directing her to the door, "And I want you to lay off of my wife." Kathryn is appalled, but even more so by that last comment. Nonetheless, she does as told and leaves the Davis house, humiliated. Meanwhile, Eli loads up the Snapchat app and looks at Liz's story. He sees her sobbing into the camera... and he starts to feel bad for her. Did he do the right thing, exposing her to the world?

Joe is wiping down the dining room table at the Little house, saying to himself, "Okay, I guess I'm doing this right now. I mean I found human remains in the attic like yesterday but what the hell I'm just wipe-wipe-wiping away..." "Hey Joe," Aliza says as she awkwardly enters the room, and Joe is a little startled by her at first. "It's only me," she assures, giving a nervous wave, and he wonders what's wrong. "There's something I need to tell..." she begins tearing up, worried for his safety, and Joe looks worried now too, needing to know why his employer's daughter is crying. "Oh what the hell!" she exclaims, "One last time!" And then she grabs him and kisses him hard, even though he clearly isn't interested at this moment. In fact, he has to fight to push her off, then saying, "I'm sorry, Aliza, I'm not... I'm not available anymore." "You're not?" Aliza asks, merely confused, and then Joe realizes, "I don't know..." Aliza furrows her brow, going on to say, "Anyway, look--" "No," Joe tells her, "Sorry, I um... I have to be somewhere." And then he drops his rag and dashes out of the room, out of the house, leaving Aliza deeply confused. "Don't get shanked on your way out," she prays, beginning to follow, and she watches from the stoop as he heads on over to the Winters' mansion. "Hey there, DeWar," Officer Hall cries over, "Picking up extra shifts scrubbing toilets, are we?" "Shouldn't you be off eating a donut or something?" Joe retorts, "It's all you did back when I worked the precinct." "As a matter of fact," Hall says, checking his watch, "It is time for a break. Come on, men!" And then the other cops begin to follow him to the nearest food establishment. Joe then knocks on Joanna's door, expecting Rena to answer, but, to his surprise, it is Joanna herself, toting her usual glass of wine. "Oh," he utters, "No Rena?" "He's off for a walk," Joanna tells him, "But you can come in. Though I was actually about to head out." "Oh? Where?" "To see Josh," she explains, "He seemed the least... thrilled, shall we say, with what I had to come forward with. So I just thought I'd pay him a personal visit, try and smooth things over a little more." Joe smiles, telling her that he thinks that's a fine idea, and she smiles back, and there's an awkward silence. "I'm so glad, by the way," Joanna finally breaks it, "That you were able to forgive me." "That's actually why I'm here," Joe tells her, "In part. I was, um... I was wondering... What exactly are we now?" "You and your talks," Joanna mutters awkwardly, and then she admits, "To be honest... I'm not sure. We're pretty screwed up, aren't we?" "I'll say," Joe chuckles, "But, um..." "Yeah," Joanna nods, looking into his eyes. She steps closer a little. So does he. "We should have a good long talk," he states, and Joanna nods again, "Yes, we should." "Get together... hash everything out... discuss every little detail... and just..." And neither of them can help it. They're drawn together by the lips, trapped in a long, passionate kiss. It's not savage as it has been in the past though. It's tender. Romantic. Almost sweet. And when, at last, they pull apart, both are beaming in one another's presence, still intimate; still staring. "I guess that's where we are," Joe grins. "I guess so," Jo grins in turn. Another, briefer kiss. "So," Joanna says, "I should go see Josh." "And I should go prepare what I'm gonna say to the guys at lunch," Joe responds, then, "I'll... see you later?" "Yes, you will," she assures, and one last kiss before they bid each other goodbye, and Joe is out the door. Suddenly the sun shines brighter, nature looks more fruitful, everything appears happy, most of all him. He takes a few jaunty steps away from the Winters' mansion as its owner gets ready inside... and then a hood is shoved over his head by the group of BLM supporters invited to Wikerly Hills by Manny. Manny himself is in the driver's seat of the car Joe is then shoved into, and he smirks as the door is slammed and he begins to drive his butler away. "Time to die, houseboy."

Act II

Josh comes down the stairs of the Washington house, ready for his date with Juan, when he sees both his date and employer whispering in the other room. "What's going on here?" he wonders, then realizing that Juan is talking to Selena. Sighing, Josh begs that Selena not go to the police since they were on their way out. "Nonsense," she says, "he's a real upgrade from that white straight male you were with before." "Brad wasn't straight..." "Don't attack me!" Juan motions that Selena calm down, approaching his date to reveal what the two were discussing. "Selena just informed me that I've got the job of being her new live-in gardener... and my bedroom will be right next to yours." "Really?" Josh questions, turning to Selena, unsure if he can truly believe she'd allow two men to work and live in her home. "I found it questionable at first," Selena admits, "but I feel as though Goddess has put me on this Earth to fix as many men as I can. If I have to allow them into my home to do so then, well, so be it... Ooh, that'd make a good social media post. Gonna get on that before I forget!" And with that, Selena runs upstairs, leaving the gays alone. Once she's gone, Josh suggests that he and Juan get going before their crazy employer returns, and so they do. Making their way to the front door, they open it up, but to their surprise they find none other than Joanna Winters standing there, having been about to knock. "Oh, hey..." Josh utters, and Juan stands by, intrigued. "Hi," Jo says, holding a bottle of wine, wrapped up with a pretty bow. There's a moment of awkward silence before Joanna holds it up, exclaiming, "I brought this for you... I don't know, I remember you once saying you liked this brand." Josh turns to Juan, before turning back to Joanna and taking the bottle. "Thanks," he replies, and Jo nods. There's more silence before Mrs. Winters looks and notices Juan standing by. "You're back in town?" she questions, and Juan nods, revealing that he and Josh are seeing each other again. "It's just a date," Josh corrects to his former employer, and Mrs. Winters realizes she's kind of intruding right now. "Maybe I can stop by later?" she suggests, "And we can... talk." Josh nods, believing that to be a good idea, and Joanna nods in turn, proceeding to walk back to her own mansion. As the two guys watch Jo, Juan steps forward, commenting that Josh didn't tell him they were friends again. "We're not," he states, "Well... not yet, at least."
We next see Josh and Juan sat at a table in a fancy restaurant, the hostess having left them with a set of menus to look through. "This place is pretty nice," Juan comments, at which Josh reveals it took about two months worth of savings from Selena's. "I guess Brad normally paid for dates then?" But Josh doesn't respond, instead takes a look at what to order. Meanwhile, however, by the door of the restaurant, none other than Brad walks in with Gregory Keating, the two of which have decided to get lunch together. A hostess meets them and guides them to a seat, and Josh looks up just as the hostess arrives to sit Brad and Greg at the next table over. "Oh, no..." Josh utters, seeing his ex; he tries to shield his face, but it's Greg who spots him rather than Brad. "Josh?" he calls out, and then Brad looks to see his ex and Juan. "Oh, hey..." Josh says, lowering his hand, and Juan looks at Josh and then to Brad and Greg. "Juan," Brad acknowledges, increasing the awkwardness, then turning to Josh, "I see you had no problem moving on." "I'm just seeing where things go..." "Right, right..." "And you two are together?" Josh questions of Brad and Greg, who look at each other. Greg goes to confirm this, but Brad speaks up that it's not a date, just them getting lunch like before. "Well it can be a date if you want," Juan says, "You shouldn't wait up for Josh." Josh glares at Juan for choosing now to speak up, and Brad takes some offense to this comment. "Maybe stop trying to make up something that just isn't true," he says, then muttering, "like yours and Josh's chemistry." Josh now glares at Brad for having the audacity to say that, and even Greg is a little taken aback. "I was just trying to take my boyfriend out on a nice date. Maybe you should just find somewhere else to eat." "Well, actually I'm paying," Josh speaks up, but Juan asks that he be quiet. The butler takes some offense to this, but then Brad tells Juan that he's pathetic for making Josh handle the bill, "Considering that he works a mediocre job with hardly any pay." And now Josh takes some offense to Brad's comment. "Hmm, I think I'll order the veal," Greg comments, hoping to change the subject, but he goes totally ignored. "You're such a privileged ass," Juan says, "I bet you've had everything in life just handed to you, right? Haven't had to work for anything. You just wanted Josh as some sort of arm candy to show off at all the holiday parties, huh?" "Careful," Brad retaliates, "Josh told me about how you entered the country last time. I'm willing to bet this time around wasn't all that different. Sure would be a shame to have to climb that wall, huh?" It's then that Juan stands up from his seat, and Brad does too. Juan proceeds to shove the lawyer back some, and Brad then does the same to the illegal. "Guys, cut it out!" Josh demands, looking around to see that people from other tables are starting to look at them. "No, Josh, I'm sick of this dirtbag keeping on getting in our way." "That's it," Brad says, proceeding to punch Juan hard in the face, causing a gasp from everyone in the establishment. "Brad!" Josh cries out, but then Juan wipes the blood away from his nose, and charges at the lawyer, the two eventually crashing onto someone's table. It's a full on fight as Josh stands by, not knowing what to do. Greg stands up, along with a few male customers, and they all rush to pull Brad and Juan apart, whose faces are both now bruised and bloodied up. Josh can't bear to look at this though, and so he just storms out of the restaurant. Both Brad and Juan call after him, but to no avail.

"Okay, you're all just a bunch of stupid whores and it's sad. A bunch of basic ass bitches here to try and bring me down. Well guess what, sweeties, you're all failing. Haaaa!" Liz screams into the Snapchat camera, just as the video ends at its ten second limit. She's past making any attempt to un-associate herself with the BDSM films, and is now just calling out all of the people sending her hate over it. "Liz?" a voice then calls out as the actress is about to record another message to her audience. She turns and sees Ali in the doorway of her bedroom, looking distraught over Liz's current state. "I had Ben make tea," she exclaims, holding up the tray, approaching her friend. "Look, I'm fine," Liz lies, as Ali puts the tray on the table and sits next to her on the bed, "I'm just trying to put all of these know-it-all sluts in their place." But Ali shakes her head, not really believing this. "I know this is rough on you right now. Why don't you just get off social media for a while and we talk about it?" "Honey, I'm just trying to do damage control, and talking to you isn't gonna solve anything." "I just wanna be there for you, Liz." "Look, I don't need you right now!" she snaps, "Thank you for taking me in and trying to be my friend after Eli threw me out, but there's nothing you can do to help me this time. Just... mind your own! And take your damn tea with you..." Ali is taken aback by this, both offended and upset by the way Liz is speaking to her. Deciding to say nothing else, she sees fit to leave; however, upon making her way out of the room, she has a change of heart. She proceeds to march back into the room as Liz is unlocking her phone to film another Snap, and from there Ms. Del Barrio yanks the phone out of Mrs. Davis' hand. "I'm not gonna sit here and let you embarrass yourself any further. That is something helpful I can do... as your friend." "Um, bitch?!" Liz retaliates, trying to grab her phone back, but Ali holds it away, stating that she's not getting it back until she starts talking. "What the hell do you wanna know?!" Liz questions, "Why I made the films? Because I was broke. Why I hid the films? Because my husband was a kink-shamer. There's not really more to tell." "I just want you to talk to me!" Ali says, "Back when I was in the hospital, you were there for me when I had to make one of the toughest decisions of my life. In return I gave you a home and a friend, and while you've certainly used my home, you've not used me - your friend." "I did borrow your credit card a couple of times..." "I don't mean like that, Liz! And yes, I noticed... but that's not the point. The point is I know you're going through a really rough time in your life, but you never talk to anyone about it. You've lived here for weeks now, and I still know like nothing about you. I don't know about any of your passions, anything about your family, not even why Eli threw you out. I just... I wanna know you, Liz." There's a moment of silence before Liz finally turns to Ali, "You really wanna know me?" she questions, and Ali nods. "Okay then," she says, "I'm Elizabeth Vaala Davis. My passions include shopping, trips to the spa, and dressing up in leather and having men get on their hands and knees so I can flog them and walk on their backs in a pair of sharp heels. I don't talk to my family anymore because they wouldn't get behind my dreams of becoming a star. Turns out they were right, considering the closest I got to becoming one was marrying one. And as for why my marriage ended, it was because I had an affair with my butler, Renato Duarte. He's the ethnic one of Bert's friend group." "You mean Ben?" "Whatever. Anyways, it wasn't just a regular affair. I was his... Mistress. And he was my slave, basically. It had been going on since a little bit after Jose Sanchez died, who was also my slave for a while. Eli never found out about him though." Ali is especially shocked about this last bit of information, considering her once close friendship with the deceased butler; however, she decides not to speak about it, and instead allow Liz to continue. "As a person, I'm very hard to please. I'm very judgmental, hypocritical, and downright nasty and ungrateful to everyone who crosses my path. Men have never been able to please me sexually unless I physically hurt them. The thought of seeing a man powerless while I just abuse the crap out of him, well, nothing has ever satisfied me more. And the funny thing is, I'm not a feminist. I've also actually begun feeling comfortable openly opposing trans rights ever since that mutation moved to Fanon Drive. But yeah, pretty much everything everyone has already assumed of me is true. I mean, you probably knew most of this already. The only thing is that I'm actually self-aware... I just don't care. I was a little in shock when I found myself working as a maid, but like that's over now so meh." Ali shakes her head though, exclaiming, "I think you're being too hard on yourself." "Honey, have you met me? I'm a pretty awful person. Throwback to when I got you maternity clothes as a joke for Christmas." "No, Liz," Ali says, "you might act like this cold, shallow, self-centered person, and while you may be to some degree, I know there's more to you than that." "Mkay, sweetie." But Ali puts her hand on Liz's shoulder, "That day in the hospital when you came to me. You genuinely cared about me and was there for me." "I was traumatized." "No, you were caring. You cared about me." "I just wanted you to give me a home." "There's no way you could've known I'd offer you a place to stay." "Well--" "You cared. You felt. You're not this self-centered bitch everyone thinks you are. And I just don't understand why you would think it's a bad thing not to be." And we then see a tear fall from Liz's eye. "Because then I don't get hurt. No one can hurt me if I just don't care." "Well that's stupid," Ali says, rather bluntly, "You still got hurt by Eli when he threw you out. And now when your films are exposed." "But my heart wasn't shattered over it. Sure, it was a massive inconvenience, but any emotional pain or regret I felt over it was purely superficial." "So you're afraid to love?" "No! Well... yes. But no. I just--" Ali takes Liz's hand, and the redhead starts to calm down some. There's a moment of silence, and Ali looks down and realizes she's holding her roommate's hand, while Liz realizes the same. She doesn't try to retract it though, and so they just sit for a minute with their hands together, looking down at them. And then they look up, and into each other's eyes... and kiss. It's very gentle, but at the same time passionate. The two then stop and look at each other, realizing what they've just done. But then they do it again…

"So how's Liz?" Rena inquires, as he and Ben are gathered at the Winters' mansion, "I saw the news... Ouch, really." "She's..." "And I've seen her social media posts." "Okay, then you know she's doing awful." "Yeah, I just figured it was a good place to start conversation. Hope this blows over for her soon though... and that my name isn't leaked. Can't have people knowing about that once I'm a star." Ben decides not to comment, and instead have a sip of his coffee. A knock is then heard at the kitchen side door, and Rena opens it up for Josh to come inside. "Joanna wouldn't mind you coming in around the front," the butler says, but Josh admits that he's not really in the mood to talk to her yet. "I... I still need time." Rena and Ben understand this, and Ben comments that Josh seems a little skittish right now. "Yeah, well, I just got back from my date with Juan." "You're dating Juan?!" Rena and Ben both question, in unison, and Josh reveals that part of why he broke up with Brad was because of old feelings. "Anyways, we decided to give things a shot today, and we wound up running into Brad." "Oh, no," Ben exclaims, realizing this story must not be taking a good turn, and Josh nods. "They wound up getting into a full-on fist fight. Things just escalated so fast, and I stormed out and called an Uber to take me home. Also I think I lost my watch which, yunno, just extra ugh." Rena and Ben both give their condolences, and Josh thanks them, but states that he'd rather just talk about something else to get his mind off things. "So what's going on in your lives?" he wonders, and Rena and Ben look at one another, before Rena quickly jumps to chat first. "I have a date with Maria freakin' Solano!" he exclaims, to the other butlers' shock. "I ran into her as she was leaving Eli's earlier and she had seen me on the news regarding the whole hostage fiasco. She wants to talk about the experience with me, isn't it great?" But Josh and Ben don't seem as enthused as their friend. "Are you sure you're gonna be alright doing that?" Ben wonders, and Rena wonders why he wouldn't be. "It's just... that's a pretty traumatic experience, no? Are you sure you wanna just exploit it like this?" But Rena simply blinks, as if the answer's obvious. "I wanna be a star," the butler says, "and Maria Solano can make that happen." "Then we support you," Josh speaks up, glaring at Ben, and Rena smiles, ever-so-grateful. "I'm just glad we're all friends again," he says, and Josh and Ben nod in agreement, and Rena proceeds to shift focus over to Ben. "By the way, what's this about Val being Justine's sister and a potential threat to all of us since we're all kind of responsible for her being blinded and falling off a balcony?" "Oh, right," Ben remembers, "well I was gonna discuss that once Joe arrived, but..." And Josh proceeds to wonder, "Where is Joe?"
"Where indeed...?" Silvia asks while parked outside, using Joe's own spy equipment to stalk him once more only she can't do that because she doesn't know where he is.

Joe finds himself fully regaining consciousness as his hood is finally removed, though it's of little relief for he only awakes to realize that he's been strung up to the ceiling by his wrists, dangling there via rope and looking like a cow in a meat locker. "Where..." he manages to utter. "Are you?" Manny finishes for him, standing there with a gun in tow, "Just a storage locker my Mama rented out for me. It was where I was gonna move my art supplies, considering the attic isn't exactly a safe place, but here we gun dun needed it for your white ass." "What's going on?" Joe demands to know, struggling a little, but this only causes him to swing from side to side, to Manny's annoyance. Manny presses the cold barrel of the gun against Joe's cheek in order to steady him and, once he's satisfied that his hostage is still, he explains, "My friends from back home helped with the handywork. I wanted a nice, remote locale in which to kill you, and to have you in a position where you cou'n't fight back. Now, though, it jus' you 'n' me." "Why... why are you doing this?" Joe needs to know, and Manny shrugs, "Mama asked. You found summit you shouldn't'a. Now you gots ta' die. Sorry not sorry but daz how it is." "P-please..." Joe utters, but Manny just decides, "Enough talk. I only waited 'til you woke up so I could look you in the eyes as it happens. A black boy shootin' a cop fo' once? I wanna remember this moment forever." With that, he raises his gun, prepared to shoot Joe between the eyes. Joe closes said eyes in anticipation for what's to come, and then, as Manny's finger bears down on the trigger... WHACK. Joe opens his eyes, and Manny is no longer standing there. Instead, he's on the floor, and Aliza is in his place - toting her trusty baseball bat. "Lock up before committing a murder, dumbass," she comments at her passed out brother, rolling her eyes as she rests the bat against her shoulder, and then she smiles towards Joe, who remains in a state of utter shock. She enjoys the sight of him dangling there for a while, before eventually sighing and saying, "A'ight, I guess I best get yo' bony white self down from there." And then she begins working on untying his wrists. "How did you know to find me here?" Joe wonders as she frees one, and she reveals that she watched him walk across the street and ditch her for that "skinny rich hoe", and from there she witnessed the whole kidnapping thing and was able to follow - "Discretion ain't one o' Manny's strong suits." Finally, Joe is free, and he cradles his wrists while Aliza cradles her bat, then looking back to her brother and wondering if she should carry him home or "nah". "Aliza..." Joe then utters, "Please..." "Please what?" she asks in confusion. "Please tell me the truth," Joe begs, "About the body in the attic. About why you moved back to Wikerly Hills. What... happened?" He is still breathing heavy, and Aliza just looks at him, a little shook. "I'm sorry," she tells him eventually, "I can't betray my Mama like dat. My family." "Look at what your family is trying to do," Joe points out, gesturing the whole insane situation, and Aliza begins to tear up, "I know. I just... I just... I can't. Okay? I can't. I'm gonna go home now. To my Mama. And I suggest you get the hell on outta here, and don't ever come back. 'Cause they's jus' gon' keep tryin'." Tearfully and with her bat hanging sad by her side, she begins to walk out of the storage unit, only for Joe, panicking that he might be missing his chance to finally learn the truth about another of the mysteries he's been grappling with these past months, to yell out, "Your mother can walk, Aliza!" Aliza stops dead at this. "She made it up that she had an accident. She's been able to walk this whole time. All that taking care of her you've done, anything you've sacrificed: she could walk the whole time! She's been lying to you everyday! Over, and over!" She turns back around to him. "Why would you wanna protect a woman like that?" he asks, and she just bends down, and swipes Manny's car keys from his pocket. "Come with me," she states coldly. "What?" "Back to the house," she adds. "You... what?" "I'm not gonna tell you the truth, Joe," Aliza maintains, exuding a sense of eerie calm, and then she raises her bat again, "But Mama is. To both of us." And with that, she leads Joe out of the unit. Manny, meanwhile, remains on the floor; unable to move for the moment, but semi-conscious; his eyes are spazzing out of control, but he's been able to hear everything that's been going on. And, injury aside, he is not happy. And his gun still rests nearby…

"Ali?" Ben calls out upon returning home, unable to find his employer, and then, at a loss, "Liz?" He begins to worry, considering what happened the last time he wandered through this mansion in search of Ali, calling out her name (see "The Aristocatfish"), but soon grows both distracted and incredibly startled by the ring of the doorbell. After taking a moment to recompose himself from skittishness, he backtracks through the entrance hall and eventually opens the place's front door to none other than Valentina Cortez. It's been a while, if ever, since we've seen her out of a maid's uniform, and even longer since she's had what seems to be a genuine smile on her face. What takes Ben the most aback, however, is the dish she's propping up with her left hand - a scrumptious-looking chocolate pie rests on top, a dollop of whipped cream to cap it off. "What the hell are you doing back here?" Ben decides to sternly address, but Val just continues to flash her smile, moving the pie forward as she suggests, "Peace offering?" Her ex-coworker stares her up and down.
Ben is next seen having nervously scoffed a good two slices of the pie, as he and Valentina sit opposite one another in the dining room. "So you want to apologize? Seriously?" he asks, shoveling in that last mouthful, and Val says, "Look. I know we don't like each other." "That's an understatement," Ben assures. "But," she continues, "I'm willing to overlook the whole you killing my sister thing." "I didn't kill your--" "Whatever, whatever," she barks, "The point is... finding out the truth is important to me. But not as important as, say, food and shelter, and such luxuries aren't exactly offered up without a job." "Aren't you working for Eli?" Ben seems to recall, but Val shrugs, pointing out that his career is so up-and-down of late that no one can really say for how long he'll be retaining his wealth. "Riiight," Ben responds, then looking to the pie she brought with her and asking, "Aren't you having any?" "Oh, God no," Val responds, "Calories." "Uh oh," Ben utters, "What've you done to it?" Val smiles at this, but this time more sadistically. "Have you ever seen the movie The Help?" "Yes..." Ben whispers, and then, "No!" as he stares down at the pie, thinking he's just eaten feces as part of some insane revenge, because he has seen The Help. "Yes, dear," Val tells him, "Eat," Ben appears disgusted, "my," he stands up, spitting and enraged, ready to throw Val out, "drugs." And then he collapses, thanks to the effects of whatever Val laced that pie with finally kicking in. "Aaaaand onto phase deux," Val states calmly, very casually taking a syringe from out of her purse and plunging its contents into her own thigh before disposing of it, then getting up and beginning to drag off Ben's unconscious body.


Rochelle sits in her wheelchair, staring up at the clock on the mantel of her living room, waiting for Manny to return and give her news of Joe's demise. Soon, she hears a car pull up outside, and upon veering over to the window she is relieved to see that it's her son's... only, he doesn't step out of it. Rochelle doesn't see this, for she is too busy trying to make her way to the front door - not that she's there by the time Aliza comes busting on through it, baseball bat still in tow, followed by Joe. "Mama?!" she exclaims, then spotting those wheels poking out the living room door and approaches. Joe continues to follow while Rochelle reverses in shock. "Aliza? Where've you been?" Rochelle asks innocently, then seeing her daughter's bat and seeming afraid. "Yeah, you better run!" Aliza yells, "I know that you can, so you might as well do it!" "What are you talking about?!" Rochelle yells in turn, and then Joe appears in the door frame. Rochelle's expression turns cold. "What's he doing here?" She is disappointed, because she expected him to be dead by now, and Aliza explains, "He told me duh truth! About you! About your lies! So come on, Mama! Get up, now! Get on up!" "You're crazy!" "No, you're crazy! Havin' Joe killed? After that bull honkey back home?!" "I don't know what you're talkin' 'bout," Rochelle maintains, at which Joe finally chimes in - "It's time to tell the truth, Rochelle." "You," Rochelle hisses, upon turning to him, "I never shoulda hired your white ass. I smelled trouble the minute you walked in my door and now look where we are." "Enough chatter!" Aliza demands, raising her bat, "Stand the hell up, Mama! Show me the truth!" Rochelle doesn't move, and so Aliza goes to swing, at which her mother finally raises her arms in defense and screeches, "ALRIGHT!" Aliza freezes, lowering her weapon, and then watches in both awe and disgust as Rochelle applies her wheelchair's brakes and slowly, but surely, rises from it. Standing on her own two feet, right there in the middle of the living room. "Oh, my God," Aliza utters, dropping the bat, beginning to tear up. She doesn't quite know how to feel right now, but anger is certainly a high-up emotion. "Now tell Joe the truth," she then says, "About what happened. About why we moved here." "Well for that," Rochelle sighs, finally just giving up, "We should really be upstairs." And so she moves, walking right past Joe, and beginning to ascend the staircase. Aliza remains entirely taken aback that her mother is even able to do such a thing, after all this time, and then Rochelle yells, "You comin' or what?!" Joe and Aliza then follow, all the way up to the attic, the door to which Rochelle pushes open and then holds for her butler and her daughter to enter on through. The place is still a mess from when Joe tore it apart for clues, including the open floorboard with the ashes buried within. Human remains. The charred bit of skull glistens slightly off the light coming through the dusty curtains. It's the first thing Joe notices upon being back there. "So..." the former detective utters. "Right," Rochelle nods, "you probably wanna know about the dead body we got up in here." "Kinda, yeah," Joe nods in turn, and Rochelle says, "Mhm." And then it begins...

We had a good damn life back in the city. A privileged life. The kinda life I would never wanna have to throw away...

We see the Littles lounging around their beautiful penthouse, overlooking the city at night. They seem like such a happy family - happier than we've ever seen them, at least.

But everything ain't good for some folks. Manny, as you know, got himself a temper, so he ended up wrapped up in all the wrong kinda business.

"Hey, Mama, I want you to meet some friends o' mine," Manny introduces as he stands between his mother and the group who, in the present, recently arrived in Wikerly Hills. Rochelle stares up at them and it looks as though she's about to shake their hands; in fact, she just hides some silver.

These new friends o' his got it all in his head that all white folks is jus' naturally racist, and that every damn thing that ever happened was 'cause o' crackers tryna bring us down. Every. Damn. Thing.

"What do you mean they didn't win any Oscars?!" Manny is heard yelling down the phone to one of his friends as Rochelle listens in, rolling her eyes almost loudly.

All a bunch o' cryin'-wolf bull hickey. But Manny's always been a malleable boy. It's why it was so easy to convince him my accident was real. Aliza, meanwhile, was distracted by... other things.

"What do you mean you knocked up that slut from Burbank again?! Dammit, Antwon!" Aliza is yelling down the phone at the same time.

I thought it was just a phase. That Manny would cool off eventually, like any of his other childish obsessions. But naw. Things only got worse. They started takin' him on protests and the like.

Manny is seen toting a sign which reads, "#BLACKLIVESMATTER!!" while on a demonstration through the streets, amid dozens of other people who are yelling things in similar vain.

I dread to think the kinda shenanigans my boy was involvin' himself in.

We see Manny and his friends throwing bricks through the windows of white police officers' homes, then running away screaming, "Pigs in a blanket! Fry 'em like bacon! Pigs in a blanket!"

They thought they were fightin' back against some sort of establishment or whatever. I guess they never thought someone would then come fightin' back against them.

While on a protest, as her usual, slinging their general chants, the BLM supporters notice fire in the distance. Thinking their fellows have incited some sort of riot, they rush to join in... only to then realize that the fire is directed at them. In fact, it is coming from the torches held by a certain group of people dressed in white robes and hoods. The Ku Klux Klan.

I knew things were bad when I heard the KKK was gettin' involved. I tried gettin' Manny to stop. To have him see reason.

"Boy, this stuff's gettin' dangerous now!" she yells, "You need to check yoself before you wreck yoself, not to mention your sister and me!" "What are you gonna do to stop me, Mama?" Manny asks, "Chase me?" Rochelle, offended, does indeed think about it.

But that dumbass kept on keepin' on. And eventually... he brought devastation to our door.

Manny can be seen walking home after a protest one night, sign still in tow; he heads on into the building on top of which he lives, and a figure can be seen following him. It's one of the KKK members. And, while Manny takes the elevator, the white-hooded villain heads up the stairs, managing to catch the penthouse door before it has the chance to close and lock. Manny then goes to pour himself a cup of Kool Aid while the rest of his family sleep, only to grow startled when he hears a blade being drawn. He turns, startled, to see the Klan man wielding a small ax. Not knowing what else to do, Manny throws the Kool Aid into his face, shocking him enough to cause the ax to fall to the ground. Shaking, Manny then bends to pick it up, only to be pounced upon. It isn't long before the littlest Little hurtles the blade into his attacker's gut.

One of those white ass bastards ended up dyin' on ma kitchen floor. And guess who had to finish the damn job!

Rochelle comes rushing out of her bedroom, whizzing on her chair, in order to inquire about all the damn noise. However, she slows when she notices a trail of blood pouring from the kitchen, and eventually she finds Manny rocking back and forth in the corner, ax lying nearby, dying KKK member lying even nearer. "I'm in trouble, Mama," Rochelle's son utters, and she exclaims, "Damn child," before telling him, "Let Mama take care o' dis bloody-ass mess. You go to your room and you don't come out until I say, a'ight?" "A'ight..." Manny blubbers. When he's gone, Rochelle stands up from out of her wheelchair and picks up the ax, then staring down at the dying man on the floor and yelling, "Here goes nuffin'," before striking down into his neck, making sure he's well and truly dead.

I was a great maid, you recall. The best in Wikerly Hills. So I cleaned up after my boy...

We next see Rochelle on her hands and knees, bleaching away all the bloodstains on the floor of her lovely penthouse.

...and remembered that I had a place to return to. With my fortune this time. We couldn't very well stay where we were, so... we left. And we took the body with us.

Aliza is made to help load the KKK member's dead, wrapped-up corpse into the trunk of the family car along with Manny, annoyed because it makes her chip one of her fake nails. "Why do I gotta get myself involved?!" "'Cause you's family! And family always helps out, m'kay?" Rochelle makes clear.

We were practically run outta town by that whack job's buddies anyway. And when we arrived at our new home...

Rochelle sits in her wheelchair, outside the car, staring at the Little house in the middle of the night. It's been bought sight unseen, and Manny and Aliza stand beside her. "Could do with a fresh coat o' paint," the old woman decides. "I'll paint it," Manny offers, "I think it'll be good for me to get back in touch with my artsy side." "And outta touch with your murder side, damn," Aliza comments, and Rochelle orders that she shush her mouth.

...we continued to dispose of the body. In this very room.

Manny can be seen dressed in a leather apron, hacking the body up with the very same ax used for murder. Blood goes flying onto the floor, leaving what will go on to be a stain (see "The Little Spy Maid"). A scrap of white cloth from the KKK robes, now covered in blood, gets stuck to his apron, and he fails to notice.

It was hacked and burnt. And that li'l bitch Josh almost caught us the F out.

A safety mask is seen being drawn over Manny's dark face as he switches on a blowtorch in the attic and begins getting to work on something - charring the corpse of the man whose death he caused. Josh is downstairs, perturbed by the noise, and decides to go up the rickety wooden staircase in order to knock on the attic door. "Mr. Little?" he questions, and we hear Manny sigh as he removes his mask and switches off his blowtorch, abandoning the murder cover-up but maintaining the leather apron he's wearing. "Yes?" he questions, opening the attic door a crack, and Josh says, "Oh… I was just wondering what you were doing. There was a lot of noise, is all." "And that's hardly any of your concern, is it?" Manny questions (see "Tedious Maids").

It's when I knew we needed to be a bit more careful.

Josh notices the thing that fell from Manny's apron - the strip of white cloth, splattered in a dried substance. Intrigued, Josh picks it up, quietly asking himself, "Is that… blood?" "Joshua!" Aliza exclaims, at the bottom of the attic stairs, "What are you doin' up there?" "Nothing," Josh assures, hurrying down the steps. We soon cut to Rochelle burning that same piece of cloth in the fireplace (see "Tedious Maids").

So Josh was fired, and the body soon... hidden.

Manny coughs as he sifts the ashy remains down under the attic floorboards. Bits of charred bone fall with it.

And then of course we had you sniffin' around. Learnin' all our secrets like some... some... cop.
Rochelle Little

"Thanks?" Joe utters awkwardly, back in the present, Rochelle continuing to stare him down with her full height. Aliza remains standing next to him. "So," the latter comments, "now you know." "Now I know..." Joe nods, "but, um..." "Bitch, was you expectin' more?!" Rochelle exclaims, having just divulged her big black family secret, and Joe admits, "There are still some things I need to know. About my mother, Lily DeWar. About Silvia Applewhite. I could forgive all that you've told me so far, if it really was self defense. I've forgiven a lot worse recently. But what can you tell me about them?" After a pause, Rochelle tells him, "Nothing. Not a damn thing." "I can't believe you, Mama..." Aliza breathes, still unable to comprehend the fact that her mother can walk. "Yeah," Rochelle nods, looking down to her legs. She gives them a good ol' shake before saying, "Do me a favor. Don't tell your brother."
But it's too late. Back in the storage unit, across town, Manny has already heard everything, and finally he's in a fit enough state to stand up. He searches for his keys but soon recalls that they're missing, and so he just grabs his gun from off the floor instead. "Mama... can walk?" he says to thin air, "Mama... lied!" And then, clutching his gun tightly, he leaves.

Ali and Liz sit beside one another in the former's bed, both naked and covered by the sheets. "So..." Liz is the first to speak, "that happened." "Indeed," Ali nods, unable to process it herself. "Obviously, we have a lot to discuss," she goes on to add. "Indeed," Ali nods again. "Then again..." "Then again," Ali nods a third time, but this one leads into another kiss. "We really owe it to ourselves to make the most of this moment," Ali assures between further kisses, "After all, it's been a long time since anyone got laid in this house. At least with consent."
And then we cut to two other people in the Del Barrio mansion, also naked and under sheets together. Only one is unconscious, and the other's not. Finally, however, Ben comes to, and Val cheerily greets him with, "Oh, good, you're up. As it very much were." "What the hell..." Ben utters, only for Val to giggle and remind him, "Remember when we first met and I gave you that li'l insta-boner? And now here we are, months later, and I had to use crushed pills and pastry just to get your blood pumping. Ain't life funny?" Sitting up in shock, only just coming to realize what's even occurred, Ben demands to know exactly what happened, to which she says, "I think you know." "Oh, my God!" "That's meant to be my line," she jokes, "I mean, it wasn't, but it's meant to be. You can't really be blamed, though, I mean you were passed out." "You raped me?!" Ben cries, grabbing the sheets in order to keep himself covered, dashing out of the bed and as far away from Valentina Cortez as he can get. Val, at the same time, casually begins applying her clothes. "Don't act like you've never thought about this," she tells him, not long before she's fully dressed. "So... what?" Ben asks, "This is your big revenge? This is how you claim supposed justice for your sister? By violating me?!" "Oh, Benny-boy," Val says softly, "this was only the beginning." And with that, she struts away, going on to exit the mansion entirely. Ben is just left standing there, trying to hide his shame, left to contemplate both what's just happened and what's to come. He begins to stew in the shame of his assault.

"So you might recall my episodic appearance on The Passions of Falta," Rena exclaims, having drinks with Maria Solano at Chez Wikerly, the most expensive and hard-to-get-into of restaurants in all of Wikerly Hills. "I'm afraid I don't," Mary admits, which isn't much of a surprise, but still disappointing to Rena nonetheless. He has a sip of his drink, and Mary proceeds to press on the topic of his kidnapping. "So what was it like being trapped down there with that insane girl?" "Oh, well, it was pretty rough, yeah," Rena says, "I mean it seemed as though I'd never get out. And of course there was the sleeping pills she made me swallow..." "And were you ever afraid?" she wonders, and Rena contemplates how to answer that before merely shrugging his shoulders. "I think it could've been worse," he says, trying to appear strong, "Like I said, it was rough, but that's life, amirite?" This is a little off-putting to Mary though, who turns to one of her assistants - Jackson Deering - that she has had come join them for drinks to take notes. "Uh," she says, and Rena continues, "Then of course my boss rescued me, and while I'm very grateful, I'm not entirely sure she was all that necessary. I mean, I think I had things well under control before she got there." "Wasn't the Kappelletti girl planning a murder-suicide?" "Was she? I hardly remember," Rena says, and Mary just blinks. "Jack, get my bag," she says, "I think I've had enough." "Yes, ma'am," the assistant says, and Rena starts to panic. "Wait, where are you going?" he asks, and Mary states that she's done for the night. "I wanted you to be real with me," she says, "not just put on this mask and blow off the whole situation as if you're just this macho Latino guy." "But--" "Which clearly you're not. But fine by me if you wanna be delusional. I'll just check out your story whenever an interview is out... whatever version you decide to tell, anyway." And then Mary proceeds to stand, having Jack push in her chair behind her. She starts to make her way out, but all of a sudden she begins hearing the sounds of whimpering. "What the...?" she utters, turning back around, and we see Rena sitting at the table, alone, tears flowing out of his eyes. Mary and Jack turn to one another, not really knowing how to react, and they look around to make sure no one else in the establishment is paying Rena any attention. Luckily, they're not, and Mary makes her way back to the table, pulling her chair back out and sitting down. She motions that Jack go wait at the car, and then she looks at the butler, wondering what he's blubbering about. "It was horrible..." he utters, "She... she abused me. She violated me. She did unspeakable things to me. She humiliated, tormented, and frightened me in far more ways than one." "Rena..." "I thought I could handle it. I thought once I got out of there, once I was saved, that everything would be okay. All of this attention from the press, I thought now would be the chance to finally become a star. I thought I could use this story to get my name on the maps, but I just... I can't." He's now shaking, trying not to cry anymore than he already has. He doesn't want to attract any attention, as well as ruin his eye makeup, and Mary starts to feel for him. She reaches across the table and takes his hand, helping calm him down. "Hey," she says, "listen to me. I... I was hard on you before, okay? I can't begin to imagine the pain you just went through, and for that I'm sorry." Rena nods, understanding this, and he continues to try and console himself. "I... I thought I was gonna die," he says, and Mary nods, clenching the butler's hand. "But you didn't," she proceeds to exclaim, and Rena nods in turn, uttering, "But I didn't..." "You're strong, Rena. Incredibly strong to have gotten through this... It's gonna be okay." "It's gonna be okay..." he repeats, finally having been able to calm down. Now he just sits there, looking across the table at Mary, and she looks at him too. There's a moment of silence before Rena clenches Mary's hands too, and finally a light smile forms on both of their faces.

Still upset over his date, Josh drowns himself in endless cleaning to make himself forget, currently vacuuming every room of Selena's house. This soon goes interrupted, however, when the cord is yanked out of the wall, and Josh turns to see that the culprit is none other than Juan, who has finally returned home. He has a black eye and some stitches, but besides that he seems alright. "I don't wanna talk right now," Josh makes clear, abandoning the vacuum and heading into another room, but Juan follows him, pleading that he give him a chance. "No, Juan, I just... this isn't going to work, okay?" Josh says, "I tried to push you away and make things work with Brad, but that failed. I tried to push Brad away and make things work with you, but that also failed. None of this is going to work out." The butler tries to leave again, but this time Juan grabs his hand. "You love me, Josh," he says, "I know you do. That's why I was able to get in the way of what you had with Brad. I mean something to you, and there's no denying that." "But all you've done is bring me heartbreak!" "But you keep coming back to me. You can't get me out of your head because you know what we have is real." "What we have is sick! And I'm seeing now that I made a mistake giving in to it. There was a time I could've seen myself being happy with you, but that has long since changed. I know that now." Josh then yanks his hand back, "I think you need to leave. I think you need to tell Selena that you won't be taking this job, and then you need to get out of my life." Josh proceeds to walk away, hoping to resume his tasks, but Juan then calls out to him: "I'm gonna be deported, Josh." And so the butler stops in his tracks, taking in what Juan just said. "After you left the restaurant, the police came. They know I'm not documented, but I... I told them... I was getting married to a U.S. citizen. I guess all the non-liberal officers are busy guarding Joanna's place, so, they let me go, but if I'm not married by the end of the month then I'm done for." Josh turns to his old lover. "And what am I supposed to do about that?" he questions, though having a good idea as to where Juan is going with this. The illegal proceeds to approach Josh, getting down on one knee. He thinks for a minute, then reaches into his pocket and pulls out a keyring. He holds it up, and says, "Joshua Lawrence Gibbons, will you do me the honor of becoming my husband?" But Josh backs away. "You're crazy," he says, to which Juan responds, "Crazy for you." Standing up, he continues that, "I know this is a bit unconventional." "A bit?" "But I know that I love you. I know that you love me. And regardless of how you might feel about me right now, do you really wanna see me thrown out of the country... again?" "...Again, you're crazy." Josh tries to leave again, but to his surprise, Selena is now standing in the doorway. "No, no, hunni," she says, "Hear my foreigner friend out." Ms. Washington currently holds three glasses and a bottle of champagne, and she states that she's optimistic that Josh will make the "right" choice. He turns back to Juan, who begs, "We don't have to be like a normal married couple. Just be my husband, legally, and maybe... maybe we can even continue seeing each other. Josh, one bad date shouldn't be enough to write me off yet." "Yes, Joshua, give our immigrant friend the chance he deserves," Selena speaks up, but Josh just glares at her, wanting her to be quiet already. "I promise to be the man that you deserve," Juan exclaims, "And I'll make you just as happy, if not happier, than you were with Brad." Josh just blinks, taking in how insane this whole idea is. He looks at Juan, and then at Selena, and then back at Juan again. "I..." and then he finds himself uttering, "Okay...?" "Yes?" Juan questions, and again Josh says, "Okay...?" "He said yes," Juan exclaims, ecstatically to Selena, who cheers while popping open the champagne bottle. Juan then pounces on Josh, giving him a very unwanted kiss. "You won't regret this," he says, but Josh certainly knows otherwise.

Officer Hall begins tucking into a box of donuts as he and his cop buddies return to proximity of the Winters' mansion after another break, meaning Silvia sees fit to hit the gas on casually reverse, then turning around and heading off down the street. Being the poor cops that they are, no attention is really paid. Silvia's car goes past the Littles' place in its route where, up in the attic, Joe continues to process all that he's been told. "Are you going to go to the cops?" Aliza wonders, "Because they won't exactly go easy on us." "I don't know," Joe tells her, "Just let me think." "If you think the likes of you is gonna send me away, so help me--" Rochelle starts, but Aliza beg that her mother relax - "Take a seat. You're good at that." Rochelle's lips part in reaction to her child's sass.
Meanwhile, Manny is, forced by circumstance, running towards Fanon Drive. "Mama lied! Mama lied!" he keeps yelling to himself, casually toting the gun with which he intends to threaten her. Wanting to get to the Little house as fast as he can, he enters the street from the end where the Winters' mansion is situation. "Gonna getchu, Mama! Mama lied!" he roars a final time, because all Officer Hall is able to see is a black man running at sundown with a gun in tow, while this neighborhood is already swarming with BLM supporters. "Mama--" Then Hall draws his own gun.
BANG. Rochelle, Aliza and Joe all hear it from up in the attic. "What the hell...?" utters the latter, and then they decide that they should probably go out and investigate. When they make it outside, all filing down the very unnecessary ramp, they are shocked to be greeted by the sight of Manny with a bullet hole in his chest, collapsed on the pavement. Hall continues to stand there with his smoking gun. People begin to come out. To notice. Josh, Juan and Selena all exit the Washington house. Ben, still walking slow and glumly, exits the Del Barrio mansion alongside Ali and Liz. Joanna exits her own home in shock at what her requested police protection has accomplished, and Rena and Mary are horrified from down the street as they are just returning from their date. It is then that Rochelle drops to her knees, letting out an unholy wail at the sight of her dead son. Aliza too is tearful, leaning against Joe for comfort. Save for Rochelle's screams, the rest of the street is silent. Staring. And then. "That cop shot Manny!" "Get him!" Manny's friends emerge, having seen what happened, and they've taken this time to swap their picket signs for sports equipment. Hall appears frightened as they all begin running towards him, en masse, and even tries to fire again, but his gun is lacking bullets now. It appears there are more of Manny's friends than there were earlier, and they're not just after the cops, who begin heading to their vehicles in an attempt to pick up any riot gear they have. "This whole rich white neighborhood deserves to burn!" one of them yells. "Yeah!" Selena agrees, pumping her fist into the air, until one of the rioters smashes the back window of her car with a golf club. She shrieks and pushes Juan over in panic, allowing him to fall into the mud while she runs inside and bolts all the doors. Some more rioters are staring Josh down now, and he backs away, towards the door, and begs to be let inside. He begins slamming for Selena to please help him... but she doesn't. She just watches him briefly through the window, before drawing the curtains. "Now, guys," Juan, who's gotten up, attempts to step in, "What's this really about, huh?" Three husky black man are converging now. "You don't gotta worry, Mex," one says, pushing him back down, and they continue to menacingly approach Josh. Juan can't do a thing to stop them, worried for his husband-to-be, and then... whack. The three menaces are knocked out almost simultaneously as their own dropped golf club is drawn across the backs of their heads. Brad is the one to be wielding it, casually having just saved his ex's life, and then, even more casually, he tosses Josh his watch. "You left this at the restaurant," he says, before dropping the golf club and just sort of walking off, trying his best to avoid the riot currently raging all around them. Josh stands there in shock. Juan sits there in annoyance. At the same time, Hall and his colleagues have succeeded in grabbing riot gear, wielding their batons against baseball bats like some sort of insane battle. "What the damn hell?!" Aliza yells as she watches the incredible, bizarre sight, still crying over her brother's death. Rochelle has thrown herself over Manny's body by this point, unable to move away from him. "Should I go back inside and get my bat?" she wonders, but Joe tells her, "No. Don't add to this chaos. Go inside, but stay there. Okay? I'll try getting your mom to follow." Aliza nods, heading on in, while Joe crouches beside his employer. "Ms. Little," he tries, and then, "Rochelle. It's not safe out here." "I'm... not... leaving... him!" Rochelle roars, and Joe looks about in worry as toilet paper and rotten fruit are thrown all around, trash cans being kicked over as the neighborhood gets totally trashed. One such trash can is kicked over right in front of Rena and Mary, who were trying their best to avoid all of this. Garbage gets all over Rena's shoes and he squeals, while Mary, who's looking around frantically, grabs his hand and tells him, "Here." She finds a decent bush to hide behind, and the two get very intimate as they conceal themselves there together, hoping for this madness to end soon. Across the street, Liz asks if her husband is anywhere to be seen, considering this seems to be a racially motivated affair, and she pokes her head out of the driveway in order to have a look. Immediately she finds herself floored by a croquet mallet to the knee, and she screams while Ali calls out, "Liz!" Ben begs for her to stay back, even trying to hold her, but she pushes him away, flooring him in order to rush out and protect her new lover. However, Liz's attacker intimidates her with ease, and Ali finds herself stepping backwards as he towers over her. He roars in her face and she falls back, then rolling under her own car for safety. It's not entirely safe, though, for the menace's hands are now reaching through, attempting to grab her. She cries meekly in fear. Ben is unable to help, still on the floor outside the door, winded from Ali's push. The man trying to get her manages to reach under the car and grab her hair, yelling that it's real pretty. Ali cries even harder at this, but then the guy gives up. "Thank God," she whispers, until there's a massive crash on top of her. The rioter has jumped on top of the car and is now stomping all over it in an attempt to force her to come out from under there. However, as he goes to impound the roof with his croquet mallet, his ankle is grabbed by none other than Liz, who gives it a good yank and makes it so that he falls from the vehicle and slams his head on the pavement. As he passes out, Liz then crouches down - painful as it may be on that knee of hers - and helps escort Ali out from under the car. Down near the police battalion, one guy breaks through and tries to use a cricket bat to attack Joanna's mansion, only for her to do some insane street fighting move and end up so that he's on the floor, weapon dropped, with her crouching on his back and tugging on his ear. He screams. Fanon Drive is in utter, utter crises. Fences are torn down. Hedges are wrecked. Lawns are filled with trash and cars are being destroyed, all the while people are beating one another up in the middle of the streets. Blood and teeth go flying, Rena even being splattered with some that isn't his own as he continues to hide. He flinches, but Mary holds his hand tightly, keeping him from crying out and giving away their position. "Rochelle," Joe exclaims yet again as some guy's tooth hits him in the eye, "Rochelle, come on." It's really getting very dangerous out here, and Joe's desperation is increasing. More police are on their way, but their sirens are still in the distance. And now... "That's him!" one of the rioters yells, "That's the cop Manny wanted us to take care of!" "He caused this!" another randomly deduces, "He's tryna wreck the corpse! Fry 'im like bacon!" "Oh, crap," Joe utters, now getting to his feet and backtracking his way across the Littles' lawn. But he trips, falling backwards over their MLK lawn gnome, and the rioters have free reign to do as they wish. And so, they beat him. They lean down, throwing punches. Giving kicks. It isn't long before Joe is bloody and injured all over. He coughs blood when his stomach is given a good rattle, spitting more after his jaw is properly wolloped. He cries out, needing help because he very well might die at the hands of these people, and then. BANG. Another gunshot is fired up into the air, and the BLM supporters all stop what they're doing and turn around to see Silvia Applewhite standing there, sniper rifle at the ready. "Leave him alone," she orders, aiming the rifle at them all and, hearing that the police backup is now arriving, the lot of them decide to scram. They flee the street as best they can, likely heading back to the city if they manage to avoid being caught and sent to jail. The cops cease their battling. Fanon Drive is in an absolute state. Its residents are entirely shook. While Rochelle keeps on cradling her dead son, Silvia can't help but stare at her, her finger hovering over the trigger of the sniper. Joe just sits there, too injured to properly move, and stares up at the woman who just saved his life. "Wait," he begs of her, forcing her to turn her attention back to him. And then he needs to know: "Who are you?" Allowing the rifle to drop to her side, Silvia tears up a little as she stares into the butler's eyes. Finally, she admits the truth. "I'm your mother," she utters, and Joe's eyes widen in complete and utter astonishment as, before he's even aware, Silvia has abandoned her ulterior goal and fled off down the street with the rest of the rioters.

Unanswered Questions

  • What didn't the Littles want Josh to find out, relating to the blood-spattered white cloth?
  • Why was Silvia chasing Lily and why was she dead-set on killing the baby?
  • What is Silvia's history with Jorgio and why did she kill and frame him?
  • Why did Lily disappear a year prior to her death? Why did Silvia disappear also?
  • What is Rochelle's history with both Lily and Silvia?
  • Where did the blood stain in the Littles' attic floor come from?
  • Why did Silvia feel as though she had to push Ali down the stairs?
  • Why did Manny's zealousness mean the Littles had to leave their old home?
  • In what sense were the Littles run out of town and by whom?
  • Whose remains are hidden in the Littles' attic?
  • What became of the real Joanna's body after Nadia took it away?
Community content is available under CC-BY-SA unless otherwise noted.