D g Pilot J.H. Wyman Revised Network Draft: 1 7 2020 Legendary Television Frequency Films

ACT_ONE FADE IN: INT. NYC CAB [MOVING] - DAY The RADIO is playing. A PASSENGER, A MAN, 30s, is in the back seat, watching the c¢ity. He seems serious. ALERT. CABBIE I'm gonna take East 50th. Cool? Alert looks up to the CABBIE. ALERT Fine with me. INT. HOTEL, LOBBY - DAY POV THROUGH large, modern front windows. ALERT pays the cab at the curb. He collects his suitcase, entering the lobby. INT. HOTEL, HOTEL ROOM - DAY A KNOCK at the door. Alert checks the peep hole. Opens it, revealing TWO SEEDY BRITS, also 30s. The one in charge, a David Thewlis-type with tatted hands, calmly grins at him. He gives a small, gentle, five-inch wave that somehow feels unsettling. ALERT (unfazed) early. Alert walks to the bed as the men enter. The second SEEDY BRIT carries TWO LARGER SUITCASES. He sets them down on the floor, opening them, revealing STACKS OF WELL-WORN CASH. There might be two million dollars here. In turn, Alert pulls from his own suitcase a rolled up WHITE PLASTIC GROCERY BAG. He reaches in, removing a small case, about the size of a deck of cards. Seedy Brit opens it, looking at the contents for a beat or two, engrossed. We cannot see what’s inside. SEEDY BRIT #2 We happy? SEEDY BRIT Chuffed. Alert holds up his plastic bag. (CONTINUED)

ALERT I got one more. Beat. Seedy Brit looks to the bag, then to his compatriot, then back to Alert. SEEDY BRIT You didn’'t tell us. ATERT Just got my hands on this one. Alert goes to the suitcases of cash, starts counting. ALERT (CONT'D) Found on some roof on a farm in Wisconsin. Sometimes you get lucky. SEEDY BRIT We’ll take that one too. ALERT (nods to the cash) And when you bring more of this, it’s yours. You let me know when. EXT. HOTEL, STREET - SAME TIME A THIRD SEEDY MAN, this one EASTERN EUROPEAN, sits on a bench, shelling peanuts. PIGEONS flutter around his feet as he tosses them a few. EASTERN EURCPEAN (entertained, subtitled) [Don't kill each other. enough for everybody.] His easy-going expression suddenly changes as he SEES... A BLACK SEDAN pull up and idles not far from the HOTEL. Getting a bad feeling, he grabs a panicked glance down the street. A SECOND SEDAN takes position there now. A HELICOPTER passes overhead. The birds spook and flutter as he abruptly stands, CONCERNED. He begins to walk down the street, using a walkie talkie as he looks back EASTERN EUROPEAN (CONT'D) Leave. INT. HOTEL, HOTEL ROOM - CONTINUOUS A WALKIE in SEEDY BRIT’S coat BLEATS from the transmission. (CONTINUED)

EASTERN EUROPEAN (FILTERED) ... Leave now. seedy Brit goes to the window SEEING THE HELICOPTER banking in the distance as it turns around. SEEDY BRIT (eerily calm to Alert) Run. The Brits take off. CLOSE ON THE MONEY as Alert grabs stacks, stuffing what he can into the pockets of his jacket —- EXT. HOTEL, STREET - DAY The BLACK SEDANS swerve in front of the hotel. FEDERAL AGENTS pour out. Among them, two that really count: He is BRYAN BENEVENTI. Early 30s. Ballsy, headstrong. A golden boy type of guy that shit never seems to fall on. Right now, he’s FOCUSED. She is FINOLA JONES. Also early 30s, biracial, from London, English national. Bright and real. A classic rule-follower with a deceiving innocence. You can think of her as a British Tessa Thompson. We TRACK WITH THEM as they head into the —- INT. HOTEL, LOBBY, FRONT DESK - DAY Bryan and Finola approach, badging the FRONT DESK CLERK. Finola shows her A PHOTO of ALERT on her iPad. FINOLA Did this man check in this morning? A SECOND CLERK comes over. FRONT DESK CLERK #2 I checked him in a half hour ago. INT. HOTEL, STAIRWELL - DAY The Seedy Brits CHARGE DOWN THE STAIRS a flight at a time. INT. HOTEL, STAIRWELL, HIGHER UP - SAME TIME Alert enters the stairwell now, starting down. HEARS the echoes from the Seedy Brits ahead of him, descending below. He stumbles, falls. Picks himself up, heart pounding. He’s FUCKED and about to be caught, he hastily folds up his white plastic grocery bag, stashing it behind a fire hose cabinet —-

INT. HOTEL, LOBBY - CONTINUOQUS Bryan, Finola, move with purpose with a few Agents. A HOTEL MANAGER, 40, approaches with a hotel SECURITY GUARD. FINOLA HOTEL MANAGER (pointing) Two. North and South. BRYAN (to the agents) Go. INT. HOTEL, 2ND FIOQOR MEZZANINE, RESTAURANT -~ SAME TIME The Brits blast out the stairwell door. TRACK WITH THEM as they head into the restaurant, ignoring the HOSTESS. HOSTESS (calling after them) Excuse me ... Gentlemen? AT THE STAIRWELL DOOR -- Alert comes out now, SEEING the Hostess going after the Brits —- INT. HOTEL, RESTAURANT -~ SAME TIME The Brits continue through, head out the PATIO DOORS —- WITH ALERT. FURTHER BACK, trying to catch up. EXT. HOTEL, RESTAURANT PATIO TERRACE - SAME TIME ALERT comes out. The PATIO is not in use, there are no diners. And somehow, impossibly, THE BRITS are GONE. The CHOPPER PASSES OVERHEAD. Alert looks up, panicking. Bolts towards the back wall of the patio, and in one fluid motion -- steps on a chair, then steps up onto the table, and then hikes himself up onto the CONCRETE TERRACE. He looks down he’s one story up. The STREET AND PARKED CARS BELOW. Freedom. INT. HOTEL, LOBBY, ELEVATORS ~ CONTINUOUS DING. An ELEVATOR arrives. Bryan, Finola, and the agents are about to board. Bryan instructs the Manager —- BRYAN No one else up or down. (CONTINUED)

5. SUDDENLY, BEHIND THEM, THROUGH THE MASSIVE GLASS WINDOWS, we SEE ALERT LAND ON A PARKED CAR’S ROOF, SLAMMING HARD on his ass!!! ... BANG!!! WINDOWS SHATTER! The ALARM goes off. Bryan and Finola react, REALIZING it’s ALERT. FINOLA (into walkie as she runs) He’s on the north side of the building, street level. EXT. HOTEL, SIDE OF THE BUILDING - SAME TIME Alert jumps down off the car’s roof, only to see THROUGH THE GLASS WINDOW OF THE HOTEL that he has the WORST fucking timing in the world. Bryan and Finola run toward the glass doors... towards HIM! Alert takes off EXT. MANHATTAN INTERSECTION - DAY HONKING CARS. ALERT runs, zlgzagging traffic and we’re MOVING FAST, INTERCUTTING between Bryan, Finola and Alert. The SOUND of a SUBWAY ARRIVING emanates from the SUBWAY STATION STAIRS ahead of Alert. He darts down, weaving through commuters -- INT. SUBWAY STATION, ENTRANCE KIOSK ~ DAY —— HOPPING the turnstile, Alert looks back, taking out a gun: FIRES ROUNDS into the ceiling, sending the CROWDS into PANIC. FURTHER BACK WITH BRYAN and FINOLA, pushing through FLEEING COMMUTERS —- Bryan fights through -- heads after ALERT down to the PLATFORM. WITH FINOLA. Also breaking free of the THRONG, coming face to face with -- A very freaked out TRANSIT COP, weapon drawn —-— TRANSIT COP PUT IT DOWN! PUT IT DOWN, I‘LL BLOW YOU AWAY! FINOLA Federal agent. You don't understand what we’re dealing with here. He's not sure -- Finola shows her badge around her neck. FINOLA (CONT'D) It’s a matter of national security. Something in her eyes tells him she’s telling the truth --

INT. SUBWAY STATION, PLATFORM - DAY The subway's DOORS CLOSE. Alert arrives as the subway gathers gpeed, leaving the station. ALERT No... No! Alert continues down the platform towards the dark tunnel. Looks back as BRYAN APPEARS -— ALERT FIRES at him. BRYAN UNLOADS —-- Alert scrambles off the platform, onte the tracks, crossing electric rails, hopping the subway median, heading toward the DARK TUNNEL of the next track over. Finola arrives, SEEING this. She slows... Alert’s actions cause her to realize something -- FINOLA (screaming after Bryan) He doesn’t have them! He would have used them! And 1f we’'re wondering what that means, we should be. Bryan enters THE TUNNEL after ATLERT. Finola turns, running back from where she came. CUT TO: INT. HOTEL, STAIRWELL - SAME TIME We pick up A MAID in the very same stairwell Alert fled through, wrapping up a conversation on her cell phone. MAID Okay. Bye. Bye... I love you. She ends the call, about to step back into the hallway -- but notices ALERT’S PLASTIC BAG stuffed behind the fire hose box. Thinking it‘’s garbage, she takes 1t —- INT. HOTEL, HALLWAY - SAME TIME ~~ Returning to her cart, the Maid looks INSIDE THE BAG. There is another smaller BLACK CLOTH BAG -— she feels with her fingers that there is SOMETHING inside the black bag. Turning the bag upside down over her cart, whatever is INSIDE falls ocut... but seems to SOMEHOW PASS THROUGH her trash can landing on the floor. Weird. Perplexed, she moves the cart, getting a look at what fell -- A THIN, SLIGHTLY BENT, DORITO- SIZED PIECE of what looks like SCORCHED METAL. The Maid bends down to look at it, intrigued, reaching out to pick it up... and just as she touches it, we suddenly CUT TO:

INT. HOTEL, LARGE BALLROOM - SAME TIME The Maid SLAMS TO THE BALLROOM FLOOR with a sickening THUD. It’s ag if she fell THROUGH the ceiling from five gtories up, with no damage to_the ceiling at all! TWO HOTEL STAFFERS setting up tables turn, WIDE-EYED, freaked out. HOLY SHIT! Where the HELL did she come from? They rush to her, but she’s clearly dead. WTF?! CUT TO: INT. SUBWAY TUNNEL - CONTINUOUS A SUBWAY RIPS PAST US in the dark. THE NOISE IS THUNDEROUS. It’s terrifying. ON BRYAN. Traveling the tunnel ledge after Alert -- the SUBWAY JUST A FOOT FROM HIM! As he continues, he SPOTS ATLERT'S GUN lying on the ledge. Bryan holds up his cellphone light to better see what's ahead. No SIGN OF HIM —— THE SUBWAY FINALLY PASSES, rendering the tunnel much darker and eerily quiet. Bryan steps further... SEEING MORE BLOOD on the ledge. He must have struck Alert with one of his rounds. But, another few steps reveal something else... Bryan’s LIGHT finds ALERT'S severed arm on the tracks! BLOOD IS EVERYWHERE. The flashlight beam now discovers the rest of ALERT’S TORN APART BODY. ON BRYAN. Realizing ALERT was violently sucked under the subway. All that running for nothing. CUT TO: INT. HOTEL, LARGE BALLROOM - CONTINUOQUS FEDERAL AGENTS take control of the scene, dealing with the aftermath. Finola arrives at the doors, stepping through agents blocking entry. The shaken hotel staff talk to other AGENTS. AS FINOLA APPROACHES THE MAID, one of the agents we saw earlier, MCGUIRE, comes up. AGENT MCGUIRE (re: workers) They heard a crash, and when they turned around they saw her. Instinctively, Finola looks up... scanning the ceiling. FINOLA Did you find the piece? The Agent points out the tiny scrap of mysterious metal that The Maid found, now innocently EMBEDDED INTO THE FLOOR ABOUT THREE INCHES DEEP. (CONTINUED)

FINOLA (CONT'D) How far out is the situation team? AGENT MCGUIRE Pulling up. EXT. HOTEL, STREET -~ SAME TIME A serious-looking GOVERNMENT UTILITY TRUCK surges in. THREE SITUATION TEAM AGENTS get out, start suiting up in HAZMATS-- INT. HOTEL, LARGE BALLROOM DAY -— TRACKING WITH the HAZMATS and their tools, heading towards Finola and the piece of metal in the floor. They set up privacy screens and begin to work inside of them. SITUATION TEAM AGENT (to Finola) That the only one? FINOLA So far. We’'re combing the hotel for any more. QUICK SHOTS as THE HAZMATS inspect the tiny logic-defying object, treating it with the care one would handle an explosive. FINOLA (CONT'D) Seems to have the same properties as the pieces that fell in debris field 707 in Manchester. OTHER HAZMAT'S take measurements as they collect particle samples of the air. FINOLA (CONT'D) Much stronger. Sucked her through twelve stories. He looks up to the undisturbed ceiling... from where the maid fell. The Situation Team Agent takes a reading of the piece with a handheld device, like a Geiger counter. It’s really moving the needle. She’s right. He removes the piece from the floor with a tool unlike anything we’ve seen before. It’s TENSE. SITUATION TEAM AGENT It's a different color. (CONTINUED)

FINOLA Could be atmospheric drag, scorched from entry. Finola watches as they proceed to place the piece in a smallish lead box where it’s safe and sound. ON BRYAN as he strolls into the ballroom. He takes in the situation: The Hazmat team gathered around the piece. Others taking air samples. The dead Maid on the floor. He looks to Finola —-- making a Jjoke: BRYAN ... What the hell did you do, Jones? And off this, the reasons behind this insane event still an absolute mystery, we CUT TO: Absolute darkness, deep space... As an approaching mass drifts towards us. Something huge. Wreckage? ...We pull back to reveal we are looking at the enormous mirrored lens of the Hubble telescope in deep space. The mass passes the telescope CONTINUING ON...CUT TO: We’re looking at EARTH AT NIGHT... we're Jjust outside its atmosphere. HUGE. CINEMATIC. And we realize that whatever it iz, on its way to us. In the earth’s night sky, OUT OF FOCUS LIGHTS in darkness that look like glittering, sparkling stars —- crystal orbs eerily revealing themselves to be spectacular falling bursts of fire from the mass burning up on entry. They light up the night sky, multiplying from entry breakdown. We travel INSIDE the plunging storm now... streaking down with it... as LETTERS begin to appear and form on screen -- and as our haunting THEME PLAYS, the LETTERS come together to form one single word: “D B B R I 8" FADE IN: INT. HOTEL, LOWER LEVEL - DAY An elevator door opens, and Finola and Bryan step out with the Hotel Manager, who escorts them down the hall. Bryan carries a gear bag. INT. HOTEL, SECURITY OFFICE - SAME TIME They enter... The Manager nods to A HEAD OF SECURITY, standing at a bank of CCTV SCREENS. (CONTINUED)

10. FINOLA If you would give us a minute? The Head Of Security looks to the Hotel Manager, who nods. They both leave the room. Finola takes off her jacket, sitting down at the CCTV scoreens, accessing the surveillance archive. She starts to go through CCTV FOOTAGE -- ON SCREEN: from the 2nd floor MEZZANINE. The SEEDY BRITS exit the stairwell, heading into the restaurant. A FEW MOMENTS LATER, Alert comes out heading in after them. She REWINDS, watching the SEEDY BRITS... freezing frame as they exit the stairwell. FINOLA (CONT'D) You ever seen them before? BRYAN No. Finocla calls up NEW FOOTAGE from the LOBBY. ON SCREEN: The BRITS enter the front doors carrying the suitcases of cash, heading past camera on their way to the elevators. ANOTHER FREEZE FRAME. ON FINOLA, riveted. She points to the BAGS ON SCREEN. FINOLA Came in with the money, left without it. Must have got what they came for. (re: the image) Send me that, will ya? BRYAN On its way. We HEAR the telltale sound of EMAIL soar from Bryan’s phone. We now realize Bryan has tech on his phone that enables him to pull the footage from their CCTV. It’s as if he’s INSTANTLY downloaded all the footage and he’s taking snaps of THE BRITS THAT HE WANTS from it -- ON BRYAN'S IPHONE SCREEN: He brings up the BALLROCOM footage now: WE SEE THE MATD suddenly plummet from above, hitting the floor. He SLOWS DOWN HER FALL AND IMPACT, seeing if he can learn anything. SLOWING it down further, he now watches as she MIRACULOUSLY PASSES THROUGH the ceiling. ON BRYAN, calm. They've seen a lot of weird shit. (CONTINUED)

11. FINOLA You get it all? BRYAN (checking his phone files) good. Finola REMOVES A SMALL, SIMPLE METALIC DEVICE, like a speaker magnet made of rough aluminum from the gear bag —— She places it on the SECURITY HARD DRIVE, and initiates it. The SECURITY SCREENS go black, erasing everything. CUT TO: INT. HOTEL, HALLWAY OUTSIDE SECURITY ROOM - SAME TIME The Hotel Manager is on the phone, waiting with the Head of Security —-- His PHONE BLIPS OUT, then reboots. They look up as all the lights in the hall DIM for a second. They trade a look, confused. Bryan and Finola exit the office, passing them, leaving as if they were never even here. FINOLA (to the Manager) Thanks for your help. BRYAN (adding) Take it easy. (to Finola) I'm going to update Maddox. INT. CAR [MOVING] -~ DAY POV THROUGH the windshield. We’re outside Langley, It's raining here. Wipers groan back and forth. The driver is CRAIG MADDOX, 50s, Bryan's handler. His delivery is smooth. Confident. Not easily phased. He knows where all the bodies are buried and not sweating it. His CELL PHONE RINGS. MADDOX (answering) He'’s dead? INT. HOTEL, LOBBY - DAY Bryan heads across the lobby. BRYAN (into his phone) Yeah. (CONTINUED)

12. BRYAN (CONT'D) He left a at the scene, but we retrieved it. The Buyers got away. I sent video. No idea who they are. Finola’s running it through MI6 and Interpol. INTERCUT THE CALLERS: MADDOX Okay, I’ll take a look. I’m just pulling in. MADDOX pulls up to a KIOSK of what we will come to know as the ORBITAL COMPOUND. Sleek. Modern. Covert. He badges the GUARD, heading into the parking complex. MADDOX (CONT'D) They couldn’t have been working for the Russians, or the Chinese, we have eyes on their agents. BRYAN We‘re trying to track the bills, see what we can get. Let’s see if we can grab a print. MADDOX No, no. I need you back in the field. Let me try and track down the buyers while you focus on the next case. (then) How is it working out with Finola? BRYAN She’s really settling in. EXT. LONDON, ENGLAND - NIGHT We drift above the sleeping city. DAVIES (PRELAP) Have the Americans seen these men before? INT. MI6 BUILDING, OFFICE - NIGHT It's very late here. Rows of MI6 analyst desks empty. FINOLA (FILTERED) No. (CONTINUED)

13. IN A GLASS-WALLED OFFICE, Finola’s handler, DAVIES, 40, is on the phone. She doesn't understand the concept of “0Off the clock” and never will. INT. HOTEL, HALLWAY - DAY Finola is on the phone, debriefing her. DAVIES (FILTERED) (skeptical) At least that’s what they said. INTERCUT THE CALLERS: DAVIES (CONT'D) They'’'re supposed to be transparent. I know for a fact they aren’t. (then) Don’t underestimate Bryan. Despite the coalition, I expect the Americans have been instructed to put their interests first. Just 1like we have. FINOLA a good partner. DAVIES He may be. Remember, Maddox pulled him out of an MP prison in Afghanistan. He’s had his own troubles. ON FINOLA, absorbing this. DAVIES (CONT'D) I'1ll let you know if we get anything back on the buyers. EXT. HOTEL, LOBBY - MOMENTS LATER Finola comes from the hall, Bryan is waiting for her. She says nothing of her conversation with Davies. BRYAN You ready? FINOLA Yeah. EXT. WICHITA KANSAS, TWO-LANE HIGHWAY - DAY A gray Subaru travels past camera at speed.

14. INT. SUBARU [MOVING] - DAY We pick up A BOY, 6, in a car with A WOMAN, 35. The Boy plays with a tiny plastic version of one of those little wind-up monkeys that slam the cymbals together. CLINK CLINK CLINK CLINK... THE BOY I saw on the internet there were these men at the circus who walk on tightropes... and they don’t have any nets. They’'re very brave. The Woman looks at him in her rearview mirror. WOMAN IN CAR Yeah, well listen, I wouldn’t try that. It’s pretty dangerous. By the way, these guys practice for that their whole lives and you really, really have to know what you're doing with that stuff if -- But, suddenly, she stops talking, realizing that there is something in her eye. She rubs it, looking at her hand, seeing BLOOD. The blood is coming from her eye socket. With growing alarm, she pulls over to the side of the roadway. The boy hasn’t noticed yet. THE BOY Can you put on music? The Woman starts to COUGH a little... more blood comes from her eye. The boy is now watching her. And after a beat or two, it looks like she just dies with her eyes open. The boy sits there, watching her for a few beats more. He undoes his seatbelt and gets out of the car, walks around to the driver’s side and opens her door, unbuckles her seatbelt, and gently pulls her the best he can out of the seat and onto the pavement. But when he lays her down, we can see that she is suddenly incredibly light. Almost as if she is weightless. He straightens her out, and oddly, as the wind picks up, the body begins to effortlessly drift away from him. Her body slides across the roadway, carried into an adjacent field... like a windswept plastic garbage bag. It is at once, macabre, and bizarre. The boy watches from the road as she gets further and further away... off this, we CUT TO BLACK: END ACT ONE

15. ACT TWO EXT. ORBITAL PLANE - EARLY MORNING A private plane traverses towards the sunrise. INT. ORBITAL PLANE - DAWN A government plane with vast arrays of technology. be a home set and serves as their mobile command, so they go from place to place on it.) And while this “office” is normal to them, it‘’s phenomenal to us. The entire Western Hemisphere is being monitored by state-of- the-art SAT SCREENS, RADARS, ETC. COMPUTER 3D MODELING captures debris field projections and a vast array of info as well as real-time feeds of the Earth’s orbit. ON FINOLA. In a seat, doing data entry at a terminal. All files she accesses have the name ORBITAL on them. Just then, an ORBITAL INCIDENT REPORT comes up on her screen. She opens it, begins reading -- INT. ORBITAL PLANE, COCKPIT - NIGHT Finola knocks. The CO-PILOT, 40s, lets her in. FINOLA So, just a heads up, we’ve just had an incident report. CO-PILOT Yes, redirecting to Kansas. FINOLA Okay, I just wanted to make sure you got it. CO-PILOT Yeah... By the way, we didn’t get to talk when you boarded. But, I flew your father a few times. FINOLA Oh. Wow. Really? In London? CO-PILOT Yes. Summer last year. I'm really sorry. I heard about his passing. FINOLA Aw. Thank you. I appreciate that. (CONTINUED)

16. CO-PILOT This was early days of Orbital. Even with all that, he was... so generoug with his time. FINOLA That's wery sweet. He certainly made an impression on people. (then...) It was nice meeting you... CO-PILOT John. FINOLA Nice meeting you, John. She leaves, shutting the door. She stands there a moment... We can tell the mention of her father really affected her. The plane starts to gently bank. ON BRYAN. Further down, asleep in his seat. He wakes, lifting his sleep mask -- FINOLA (CONT'D) (going to him) We're diverting to Kansas. We've got something there. BRYAN (sarcastic) Outstanding. She shows him a file on her tablet. BRYAN (CONT'D) (as he reads) Ok. At least it’s not a black hole opening over a school. (handing it back, noticing her files) Why are you still working? been a sixteen hour day. FINOLA How do you think our reports get done, Bryan? BRYAN Someone else does ‘em. ON FINOLA, waiting for Bryan to realize she is the “someone else”. And he finally does. (CONTINUED)

17. BRYAN (CONT'D) Oh. Well... keep up the good work. He pulls his sleep mask down over his eyes again and rolls towards the window. OFF FINOLA, shaking her head and walking back to her seat. EXT. WICHITA TWO-LANE HIGHWAY - MORNING Middle of nowhere. A govt-issue SUV FLIES through frame. INT. SUV [MOVING}] - MORNING Finola is driving. Bryan takes out a bag of M&Ms from his pocket, tearing them open with his teeth. FINOLA (realizing) Did you take those from the hotel? BRYAN From the mini bar. So what? She nods, entertained. This Bryan’s world, we’re just living in it. FINOLA Why do you do this, Bryan? BRYAN Why do I do this... In the grand scheme of things? I want the good guys to get this technology before anyone else. She’s fishing... he plays things so close to the vest. - FINOLA No. Why do you really do this? Grander scheme. Bryan casually kicks his shoeless feet up onto the dash, pops a few more M&Ms. BRYAN (mouthful, chewing) I came back from Afghanistan, where would I go? Become an accountant? Sell Jeeps? Install water heaters? I'm not going to be a CEO, IL‘m not going to cure cancer. This is how I contribute. Besides... Can you imagine James Bond working at a Starbucks? (CONTINUED)

18. FINOLA (amused) You’re like James Bond? You’'re both men, you mean? BRYAN He started out doing it because he was sort’ve like driven by duty, right? And then, basically his job took everything from him. And he can’'t stop. It‘s clear that he doesn’t always want to do this, but, he can’t get away from it. FINOLA What has it taken from you? BRYAN You can’t unsee what we’ve seen. FINOLA I understand what you mean. BRYAN Yeah, sure you do. Big shoes to £111, with your Dad. FINOLA When they lied about the Hubble going offline, in 927 BRYAN Yeah. FINOLA I was six. My father was the first Astrophysicist to be told the truth. Washington sent for him, he was gone before sunrise. And when he saw what they had, all those shots of the wreckage... of that ship ~~ well you know what it must have been like, you saw the photos. BRYAN Never seen those photos. They're still classified for us. FINOLA They were spectacular. They're burned in my brain. It was huge, like, colossal... it was still on fire. Burning solar flares all around it. (CONTINUED)

19. ON FINOLA as she recounts the memory, taking in the orange rising sun on the horizon ahead of them. The massive fiery star helps remind us how small mankind is in the cosmos. Finola weighs up her words: FINOLA (CONT'D) That was the last time I had my father the same way. Irony is, it took almost 30 years for that debris to make it here. And he's not. And here I am, Jjust as obsessed. Chasing the same thing. (beat, she looks at Bryan) Last year, when the first pieces started to enter our atmosphere and fall, my first reaction was to pick up my phone and call my father. Bryan wasn‘t expecting this much emotional detail. He lets the moment settle. ON FINOLA. Realizing this cascaded into something more personal than she expected. She tries to lighten it up. FINOLA (CONT'D) (re: the M&Ms) Okay. Give me one. BRYAN They’'re stolen. I don‘t want to bring you to the dark side. He eats the last one. She reacts He starts laughing. BRYAN (CONT'D} Don’'t worry, I got stacks of ‘em. Bryan pulls out more bags of M&Ms, a MARS bar, and some crackers. He's raided the ENTIRE mini bar. He tosses her a pack. She opens it. POV THROUGH THE WINDSHIELD -- Bryan sees they’re about to arrive at their destination, approaching a CRIME SCENE on the highway. EMERGENCY VEHICLES line the shoulder. Federal Agents contain the scene. BRYAN (CONT'D) (re: the road) Heads up. We’re here. EXT. WICHITA TWO-LANE HIGHWAY, CRIME SCENE - MORNING Morning light is cresting. The SUV pulls up. Trees line the highway with FIELDS beyond. (CONTINUED)

20. Bryan and Finola get out of the SUV. Bryan opens the trunk, REVEALING SEVERAL LARGE ROAD CASES of equipment. He pulls one case out as The federal agent in charge, AGENT TOM, 30s, approaches. BRYAN Hey. You Tom? AGENT TOM Yeah. FINOLA (shakes all around) Finola Jones. This is Bryan Beneventi. They head towards the CRIME SCENE, which is off the highway in a field. AGENT TOM Local PD found her. Called the FBI. She matches the description of a missing person here in Wichita, Amy Morrison. Finola clocks some WICHITA COPS, standing back, watching them. They seem spooked. BRYAN What’d you tell ‘em? AGENT TOM Nothing I have to. FINOLA Let them go. We have it from here. Tom nods, heading off to the cops. Bryan and Finola walk into the field, CRIME SCENE TAPE is fluttering in the wind. MOVING WITH THEM as they come upon the body of the WEIGHTLESS WOMAN we saw with the Boy in the car. Her eyes are still open. She is pressed eerily against an old steel fence, as if the wind carried her this far and the fence is preventing her from drifting any further, Finola and Bryan take in the phenomena, seeing that SOMEHOW she is hovering a few inches off the ground. BRYAN That’s new. ON FINOLA, also intrigued. (CONTINUED)

21. BRYAN (CONT'D) She’'s defying gravity? FINOLA Maybe manipulating the Earth’s electric field. Some sort of magnetic levitation. Bryan opens his case, PULLS OUT gloves and a small, well- used, aluminum device. He scans her body, getting “pings”. BRYAN (Looking at the device) she’s clicking in at 4.4. And we don’t know how long she’'s been dead. Could have been higher. Finola gets on her tablet, SEARCHING. FINOLA We're at the north east tip of debris field 718. BRYAN When was the date of the last atmospheric entry? FINOLA (blinks back at him, realizing) You didn‘t read the file. Beat. Busted. BRYAN It’s on the top of my stack. FINOLA We had some activity August 9th. Two weeks ago. (looking around) ... The field spreads over sixty miles Southwest. Spans the county. Finola bends down beside the woman, looking at her. BRYAN Let’s request a sat scan, see 1f it picks up any signatures. call the boys to get her to a lab. They watch The Woman lying there... it’s CREEPY, as she just keeps gently bumping into the fence by the wind. But FINOLA realizes something... (CONTINUED)

22. FINOLA It’s not blowing in that direction. (off his look) The wind. not blowing in the direction she’s moving. Look at the tall grass. Bryan looks over. The grass is blowing in a different direction. EERIE. ON THE WOMAN, as she continues to persistently bump against the fence, as if trying to get past it. BRYAN (nodding to the fence) Grab this... Bryan and Finola wrench the rusted fence open, freeing the woman. She continues to slowly drift away... And they REALIZE AT THIS MOMENT that she's moving on her own volition. ON BRYAN and FINOLA, observing this, these experienced agents realizing this is like nothing they’ve ever seen. BRYAN (CONT'D) We‘re gonna need a bigger beat. Bryan, Finola, and the agents walk after the welghtless woman as she drifts... It’'s as if there is some invisible force, summoning her, as she leads them across the field. EXT. WICHITA FIELD, FURTHER DOWN They follow her to a depression in the field. She disappears over the rise. WHEN THEY ARRIVE THERE, we reveal what they gee: THREE OTHER WEIGHTLESS DRIFTING BODIES in the same condition as the first woman, swirling lazily in a Kansas dust devil (a slow, vertical, rotating column of wind). TWO WOMEN and ONE MAN. The woman’s body they just found now drifts into it, getting swept up, joining the rest. And off FINOLA and BRYAN, taking this in, this mystery growing deeper by the second... we CUT TO: INT. WICHITA HOSPITAL - DAY They have quarantined a ward of the hospital. Several agents on guard at the entrance. A WOMAN, 40s, we will come to know as DR. SHARON BHANDARI who looks like she’s never loved anything, ever, in her entire life -- walks down the hall towards Bryan and Finola. Bryan starts CLAPPING, slowly, with a huge grin on his face. (CONTTNUED)

23. SHARON BHANDARI (no time for any shit) Why are you smirking at me, Bryan? BRYAN Because I missed you, Sharon. FINOLA Hi Sharon. Finola Jones. We met three weeks ago when I —— SHARON BHANDART (I couldn’'t care less) —— Where are the victims? BRYAN (pushing her buttons) Oh, they just stepped out to grab lunch. SHARON BHANDART (not amused) Bryan. INT. WICHITA HOSPITAL, COMA ROOM ~ DAY All the victims are strapped to gurneys, set around the room in a semicircle. Sharon is already examining them. Taking medical data INT. WICHITA HOSPITAL, ADJACENT VIEWING ROOM - SAME TIME Through the glass, Finola and Bryan watch her. FINOLA (whispering) You know... I don’t want to, like, say anything... but every time Sharon shows up, it’'s like... like irritated to be here. You know? She acts like we're not in charge. I mean, we’'re out there risking our lives and -- SHARON BHANDARI (OVER THE INTERCOM) (cuts her off without looking up) -~ The mic is on. ON FINOLA. Closing her eyes. Shit. She slowly reaches over and hits the MUTE button. Bryan grins at her. They smile, like kids caught passing a note in a classroom. (CONTINUED)

24, WITH SHARON IN THE ROOM. She hovers over the MALE CORPSE, plunging a needle device into his shoulder, looking at the reading. As this is going on, we INTERCUT WITH: FINOLA AND BRYAN, as a DING comes from Finola’s tablet. FINOLA (picking it up, reading) Police reports. They’ve all been reported missing in the past week. BRYAN So, what connects them? FINOLA Nothing connects them. No mutual friends. Don’t work together. Only thing is, they all live in Wichita. IN THE ROOM WITH SHARON -- She moves to the WOMAN from the field now, Amy Morrison, searching her eyes with a PENLIGHT. Suddenly, AMY BLINKS. Holy Shit! But, as WE JUST JUMPED out of our skin, Sharon is unaffected. She just straightens up. Not only has she never loved anything —- it’s like she’s never been scared of anything in her entire life. She has ice in her veins. She retrieves ANOTHER DEVICE. CACHUNK. She takes a sub-dermal sample from Amy’s arm. She looks at it, walks to the glass where Finola and Bryan are. SHARON BHANDART (deadpan) They're alive. INT. WICHITA HOPITAL, HALLWAY - DAY Sharon takes Finola and Bryan through what she’s learned. Finola is looking at a sample slide under a microscope. SHARON BHANDARI They're in some sort of stasis. They have no vital signs but there is molecular energy. FINOLA (swaps to another slide) No pulse. No heartbeat. SHARON BHANDARI (nods, hands her a file) Their cells are functioning. (MORE) (CONTINUED)

25, SHARON BHANDARI (CONT'D) There’s brain activity, highly synchronized, even after the cessation of cerebral flow. There are electrical signatures of that exceed levels of humans in an awakened state. They're still processing, but they've basically been drained. she looks at Bryan, like the kid who can’t keep up in class —- SHARON BHANDARI (CONT'D) BRYAN Imagine you have a battery -- I got it. Are they aware? for a toy car that has enough power to keep a small LED on but not enough to hold a signal —- SHARON BHANDARI (CONT'D) {looking at the victims) If they are... either they can’t communicate... or, they don’t want to. (to Finola) As far as the levitation, your theory could be correct. Could have something to do with the Earth's electrical field. (then) We know for sure until you find the debris. INT. WICHITA MALL - DAY In a clothing store, A MAN is at checkout. He gives his WIFE, who’s waiting for him in the mall, the “one sec” sign. She smiles and nods. She turns, watching passersby... NOTICING A LITTLE BOY, sitting scared and alone on a bench looking back at her. And she can tell right away that there is SOMETHING WRONG. And when we see it’s the same Boy from earlier, we can too. WOMAN FROM MALL Are you ok? THE BOY No. WOMAN FROM MALL Where'’s your mom? Are you lost? She extends her hand to him. CUT TO: (CONTINUED)

26. THE STORE FRONT -~ A FEW MOMENTS LATER. The man comes out with his shopping bag, now looking for his wife. But there is no sign of her. She’s gone. And so is the boy. CUT TO: EXT. WICHITA MALL, PARKING LOT - DAY The Woman gets into her car with The Boy. And we should be wondering “What the hell would compel this woman to leave her husband behind like it’s the most normal thing in the world?” IN THE BACK SEAT She buckles him in... He begins to wind his toy and let the monkey BANG THE CYMBALS. THE BOY (as she gets in) Mom. .. WOMAN FROM MALL Yeah, Honey? Somehow, INSANELY, the Woman From The Mall now believes she is the Boy’s mother. THE BOY I saw on the internet there were these men... at the circus whe walk on tightropes. She throws her arm over the back seat, looking behind her as she reverses the car. WOMAN FROM MALL Wow. That’s scary stuff. THE BOY And they don’t have any nets. ... They're very brave. And off this creepiness, we SLAM TO BLACK. END ACT TWO

27. ACT THREE EXT. WICHITA TWO-LANE HIGHWAY - DAY A COP CAR is pulled over on the road. A UNIFORMED COP is standing near the GRAY SUBARU that we saw Amy Morrison (the woman from the field) in with the Boy. It's in the same spot on the highway as when we last saw it. The COP looks to the road as ANOTHER COP CAR does a U-TURN, along with Bryan and Finola in their SUV. They get out with their equipment, HEADING TO THE SUBARU. WITH FINOLA as she looks in the car through the driver’'s side door. She sees the BLOOD SMEAR on the steering wheel from when Amy’s eye was bleeding. Bryan opens the passenger door, sticks his “Pinging” device in, checks the reading -- BRYAN Nothing. He checks the glove box. Nothing of note. Bryan straightens, searching the terrain with his eyes. He calls to the COP. BRYAN (CONT'D) (pointing) What's past those fields there? WICHITA COP More fields. BRYAN And what’s past those fields? WICHITA COP Well, there’s a mall. Closest thing. ON FINOLA. Looking at a map on her tablet. FINOLA (pointing) We found the bodies three miles that way. Bleep. She gets a text. FINOLA (CONT'D) (reading it, intrigued) Huh. I asked for a list of all the emergency contacts, the male, Vandeberg, he’s the only one whose family hasn‘t responded. (CONTINUED)

28, Just then, Agent Tom, who we met when we first found Amy’s body, pulls up. He gets out, approaching -—- AGENT TOM We got CCTV footage from a 7- Eleven, six miles back. He hands Bryan his tablet, and they watch as SURVEILLANCE FOOTAGE PLAYS OUT ON SCREEN: Amy Morrison walks up to the counter, talks to the CLERK. He nods, points to the front of the counter. Amy reaches for what he’s pointing at -- a packet of candy. She pays for it. THE CAMERA FOOTAGE SWITCHES TO EXTERIOR, as Amy walks to the Boy, the Subaru’s window is DOWN and she hands him the candy. BRYAN Is that her son? FINOLA (checks her file) She has no children. BRYAN Well, who is that? on the silent footage, Amy reaches out, caresses his face, gets in the car and they drive off. BRYAN (CONT'D) Tom, let's get an APB out. Do what you gotta do to find that kid. (to Finola) Let’s go to the Vandeberg’s house. EXT. VANDEBERG HOUSE - DAY The SUV pulls up the long rural driveway. It’s a nice simple home, backing onto the woods. A car is in out front. They RING THE BELL. Nothing... FINOLA (shouts through the door) Mrs. Vandeberg? Bryan cups his hands, looks in a window. EXT. VANDEBERG HOUSE, REAR - DAY Bryan and Finola come around the back of the house. The BACK DOOR IS WIDE OPEN. As Bryan considers this... (CONTINUED)

29. FINOLA Bryan. Bryan turns, seeing what Finola is looking at. There is an ENTRY TO A PATH INTO THE WOODS. A LITTLE WAYS UP THE PATH ... they see A FIGURE, CAUGHT in the limbs of an old downed tree. They approach... the body of MRS. VANDEBERG, 40s, also in a weightless coma like the others. Finola makes a call. FINOLA (CONT'D) Sharon. It’s me. I'm going to need a medical team... We found Mary Vandeberg, she’s in the same state as her husband. EXT. WOODED PATH/DEBRIS SITE - DAY AS BRYAN CONTINUES FURTHER IN ON THE PATH... he comes upon a child’s WHITE BIKE lying on its side... THERE ARE SNAILS SWARMING ALL OVER IT. Strange. Bryan continues further -- until he stops cold... looking at what we CANNOT SEE. REVERSE REVEAL —- a crater in the ground with a piece of huge charred debris, the wreckage is the size of a VW Beetle. It’s obviously not of this world. There seem to be dandelion puffs suspended in mid-alr around it. And the air has a shimmer, as if diffusing light. Flies enter the shimmering area and disappear, not coming out. And for the first time, we see Bryan react. There real danger here. Like he’'s just come upon a grizzly bear who is looking at him. Bryan hesitates, terrified to move. FINOLA (0.8) Bryan? BRYAN Stop! ON FINOLA. Doing exactly that on her way down the path towards him. Bryan very carefully takes out his ping device and holds it up shakily... It pings. He checks the reading, shocked. It's off the charts. He backs up -- EXT. VANDEBERG HOUSE, REAR - DAY Finola and Bryan walk to the house. Bryan is on the phone. (CONTINUED)

30. BRYAN Remember the piece in Missouri, that cloned all those cows? It’s roughly the same size, it’s got some of the same attributes. But I don’t know what it’s doing yet. some sort of energy field around it. What’s the containment team’s ETA? INT. VANDEBERG HOUSE - DAY Bryan and Finola enter the open back door, MOVING cautiously. FINOLA (calls out) Federal agents. Is anyone home? They take out their guns. It’s eerily vacant. It’s as if life here has just... paused. The TV is on. A TON of mail has been stuffed through the door slot. WITH BRYAN as he MOVES THOUGH, he stops, SEEING A FAMILY PICTURE hanging on the wall above the fireplace. Mr. and Mrs. Vandeberg with their TWO CHILDREN. AN OLDER DAUGHTER, and the YOUNG BOY. This is HIS house. HIS family. Bryan turns to Finola, who'’s also looking at it. CUT TO: FUTHER IN, FINOLA and BRYAN clear the rest of the house, checking the master bedroom and the boy’s room. They look down the hall, seeing a shut BEDROOM DOOR at the end with a placard with the name TISLA on it. They slowly move towards it —- and as they do, we should worry Isla is dead in there -- and they do too. They open the door... revealing the room is empty. There is furniture, but nothing personal. CUT TO: INT. VANDEBERG HQUSE, LIVING ROOM - DAY Finola is on the phone. FINOLA —— Yeah. She would be a fifteen year old girl, I believe her name is Isla. Isla Vandeberg. She looks to Bryan who is going through mail at the KITCHEN ISLAND. He reads something in the mail that gets him excited. BRYAN Found her. Maurhill Boarding School. She deoesn’t live here. why her room’s cleared out. (CONTINUED)

31. Bryan gets on his phone, searching. He furrows his brow. BRYAN (CONT'D) It’s an hour away. FINOLA Why would she board at a school only an hour away? INT. MAURHILL BOARDING SCHOOL, CLASS ROOM - DAY CLOSE ON ISLA VANDEBERG, 16, in her full classroom taking a test. She looks up as the PRINCIPAL enters, interrupting... He has a word with the TEACHER. Then: PRINCIPAL Isla? INT. MAURHILL BOARDING SCHOOL, PRINCIPAL’'S OFFICE - DAY Isla is shaken up, on the phone with Finola. The Principal stands by. She looks gut punched. ISLA I don‘t understand. What happened to them? INT. VANDEBERG HOUSE, LIVING ROOM - CONTINUQUS Finola tries to tread as gently as she can. FINOLA We're not sure yet. But we have some of our best people looking after them. We’re desperately trying to locate your little brother as well. Can you give us some information on him? ... His friends, or friends of your parents, anyone he might —- ISLA -~ Is this some kind of joke? (beat, then) My brother died seven months ago in a car accident. And off Finola, her mind twisting into a pretzel. END ACT THREE

32. ACT FOUR INT. VANDEBERG HQUSE - DUSK ON BRYAN as he appears at the lip of the Boy’s room. He stands at the door, solemnly. The bands of retreating daylight streak through the window as the sun begins to slip below the horizon. The room seems like a shrine, drenched in loss. It hasn’t been touched. ON THE DESK. Bryan sees a small box from the toy monkey we saw the boy with. There is a sticky note on it -- It says: “I love you Little Monkey. Isla. Xx” FINOLA (V.0) March 19th. They were t-boned at an intersection by an impaired driver. INT. VANDEBERG HOUSE, LIVING ROOM - DUSK Finola goes through records on her tablet... Bryan is now seated on the couch with his arms crossed listening. FINOLA The mother was taken to Ransas City General, head injuries, broken ribs and internal bleeding. ON HER TABLET: We SEE the police report, with PHOTOS of the accldent scene and the WRECKED, TWISTED CARS. It’s brutal -- so violent, the car is upside down in a field. FINOLA (CONT'D) He was pronounced dead at the scene. ... Hig name was Kieran. She looks up at Bryan. Beat. She walks to the window, looking towards where the debris is in the back woods —-— FINOLA (CONT'D) (more fascinated than frightened) It manifested him. ON BRYAN. Thinking about this... BRYAN So are we saying now the debris somehow just pulled him out of the ground, put meat on his bones? FINOLA No. Not that. (CONTINUED)

33. BRYAN How do you know? FINOLA He was cremated. They HEAR large trucks PULLING UP OUT FRONT. BRYAN The team’s here. Bryan leaves to greet them. Finola turns back to the window, intrigued. EXT. VANDEBERG HOUSE, DRIVEWAY - DUSK Bryan watches as another SITUATION TEAM unloads. Many TRUCKS and PERSONNEL. The scope is like a Spielberg film. Think E.T. BRYAN It’s out there boys... Can’t miss it. EXT. WOODED PATH/DEBRIS SITE - DUSK Finola walks towards the debris. She stands there, locking at it. EXAMINING the DANDELION FLUFFS floating in MID AIR near the shimmer. She delicately takes one between her fingers ... Then allows it to drift back towards the shimmer. Inexplicable things like this never cease to amaze her. She begins taking readings with her own instruments. But as she does, she suddenly begins to SEE FLASHES, silent images of A WOMAN, 60. They are VIVID. INTENSE. Startled, Finola DROPS her device. She picks it up... backing up slowly... staring at the debris, UNSETTLED. She turns, walking back to the house. EXT. VANDEBERG HOUSE, DRIVEWAY - CONTINUQUS Bryan watches as agents now pull up with Isla Vandeberg in their car. Isla gets out, confused at the activity. BRYAN Hello, Isla. I'm Bryan. INT. VANDEBERG HOUSE, LIVING ROOM - NIGHT Finola and Bryan sit opposite Isla. ISLA A few days ago my mom and dad wanted me to come home. (MORE ) (CONTINUED)