Catching a train to anywhere else sounds pretty good these days.

Of course,??? ?????? ??????? ???????? that’s not an option for most of us. But thanks to HBO’s Run, premiering this Sunday, viewers can vicariously experience that thrill with a flirty, tense, and surprising trip starring Domnhall Gleeson and Merritt Wever.

A romantic comedy-turned-thriller told in seven acts (five of which were provided to Mashable for review), this meditation on shirking responsibilities offers engaging, multi-leveled characters perfect for keeping you company until it’s time to go back to the norm.

Playing Billy Johnson and Ruby Richardson, former college sweethearts whose lives aren’t going as planned, Gleeson and Wever are introduced through a charming premise. When Billy texts Ruby “Run” — just “Run” — she inexplicably texts him “Run” back, grabs the belongings she has on her, and rushes to catch an evening train. The pair reunite aboard a coach bound for Chicago, and engage in some remarkably horny catching up.

It’s the realization of a pact they made years ago: If it was time to bail, they’d do it together.

Yes, it’s the sort of set-up we’ve seen connect fictional couples before — Julianne and Michael in My Best Friend’s Wedding instantly come to mind. But Gleeson and Wever’s impeccable chemistry, the magnificence of which cannot be overstated, elevates the conceit beyond its clichéd beginnings. Combining these actors’ award-winning, scene-stealing capabilities with dialogue nestled at the intersection of hot and silly, this romance leaps off the screen.

The moment Ruby and Billy are together, you have no choice but to root for them. They’re witty, desperate, generally good, certainly attractive, and demonstrably enchanted with one another.

As a matter of casting, Gleeson and Wever are the perfect pairing, delivering on an unexpected chance to see two actors well-known for their supporting talents bathe in a narrative that’s all their own. One scene, involving a slinky dress and a large pile of money, made this reporter visibly sweat. (I will not be taking questions at this time.)

Unfortunately, Ruby and Billy’s responsibilities catch up with them fast, dragging us away from the bliss of their very sexy exit strategy and into the consequences that actually come with blowing up your life. Performances by The Good Wife’s Archie Panjabi and Mad Men’s Rich Sommer, as well as some well-placed flashbacks, introduce twists and turns that are captivating yet maddening.

Obviously, these leads have to face challenges to keep the story interesting. But these challenges are singularly daunting.

To avoid spoilers, I’ll simply dub Run narratively untidy. Episode to episode, the series jumps between genres at break-neck speeds, making an unpredictable ride veer towards jarring. For viewers like myself who delight in that sort of thing, it’s a fun unsteadiness that packs a punch. For others, it could present a discomforting pace that detracts rather than adds. YMMV.

Still, Gleeson and Wever make it a worthwhile journey that should prove gratifying for all who come aboard. Notably, television lord and savior Phoebe Waller-Bridge — who worked with creator Vicky Jones and others in executive producing the series — makes an appearance towards the end of episode 5. (I won't say much about her part other than fans of Kristen Arnett's Mostly Dead Things should be pleased.) So that's another excuse to tune in, if the storyline doesn't quite do it for you.

Left on a cliffhanger, I can't vouch for Run as a whole. But I've got high hopes that Season 1 will deliver a finale solid enough to merit more time with Ruby and Billy. Even in a messy world, they're exceptionally well-crafted characters sure to charm audiences into joining their journey.

If you're looking for an escape, this is a good one. Seriously. Run with it.

New episodes of Run air Sundays at 10:30 p.m. on HBO.