(dramatic music)
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(dramatic music)
(intense music)
(static rumbling)
- [Tower Operator] AF825, maintain flight level 3-0-0.
AF825, Prague Tower,
I'm picking a raw target at your 11 o'clock,
not painting a transponder.
May be at a low altitude sector, do you copy?
(dramatic music)
AF825, Prague Tower, I repeat, I am picking up a raw target
at your 11 o'clock not painting a transponder.
It may be at a low altitude sector, do you copy?
(thunder rumbling) (honking)
(baby cries)
- [Pilot] AF825, I'd like to advise Prague Tower
that target cannot be at a low altitude.
Target is above me, descending through my 3-5-0, tower.
- [Tower Operator] Say again, AF825.
(static crackling)
AF825, roger, you have traffic
at 11 o'clock and descending.
(baby crying)
(heart beating) (rumbling)
(static crackling) (beeping)
- Observing a lighted object moving to our--
(static crackling) (mutters)
Approaching our nine o'clock position
at a high rate of speed.
- [Tower Operator] AF825, copy that.
We're checking to see if anyone knows who this is.
Stand by.
(static crackling) AF825,
can you see the aircraft type?
- It's heading right for us.
Course one three seven. (beeping)
This thing is moving like a ballistic missile Prague Tower.
(beeping drowns out pilot)
Targeting the river. - Pull up!
- Bright lights, altering white to red-- (men screaming)
(dramatic music)
(baby crying)
(booming)
- Get her from the water! (splashing)
(thunder rumbling) (static crackling)
- [Tower Operator] AF825, repeat, we have lost target.
Do you still have visual?
- Negative, Prague Tower.
- [Tower Operator] AF825, I was painting
an unidentified target coming at you from eight miles,
11 o'clock position and now you're telling me
that it's just gone?
- Affirmative, Prague Tower.
It was there and then it wasn't.
(dramatic music)
- [Martin] Do you remember that time we were running
through the forest? - Yes.
- [Martin] And we had that little dog, what was his name?
Maxie?
We named him-- - Maxie?
- [Martin] Yeah, Maxie.
And he latched onto the back of your pants
and you kept running? - No, no.
- And he was pulling them down.
And we could see your little bottom.
- It's not true.
- It was true, come on,
you remember Maxie. - No, no.
Yeah, I remember! - You remember Maxie.
- [Teri] I don't remember the drive being so beautiful.
- Yeah, you always loved this drive.
- How much longer until we get there?
- You sound just like your mother.
- That's the first time you've said it to me since--
- I'm glad you changed your mind, Teri.
It's been way too long.
- I love you, Daddy.
Can't wait to see the cottage.
(laughs)
(engine revving)
- Almost there.
It's been a while, huh?
Okay.
It's a new day.
Come on, your holiday begins now.
All right.
Come on, what are you waiting for, monkey?
An invitation?
(Martin sighs)
Oh, sweetness, hey, hey, hey.
I miss her too, Teri.
I miss Mom more than you know.
Hey, hey, no, no, that's not true.
I speak three languages, okay?
I speak, uh, English, Australian, and American.
All the places I've lived.
- You've lived here for twenty years and you still don't speak Czech.
- Yeah, but I understand every single world.
- That doesn't pardon you.
- You know, maybe it's the place,
but I think so much clearer when we're together.
Hey, I did notice, it's pretty.
- Thank you.
It was a gift.
- And I think it's great
you're going back to school here in Europe.
Maybe eventually working at the company.
So what changed your mind?
- I met a guy.
- What?
- I mean, that's, that's great.
Really.
So that's what changed your mind
about coming up to the cottage.
- Dad.
It was hard.
For both of us, when Mom disappeared.
And I'm just really happy now.
And I was hoping that you would be happy for me.
- What's his name?
- Robert.
(gentle music)
- Can't wait to meet Robert.
He's a very lucky man.
But you'll always be my monkey.
- Love you, Dad. - Love you.
Good night. - Good night.
(sighs)
(electricity crackling)
Dad!
What's wrong with the lights?
(tense music)
Dad, power's surging again.
- Must be that old generator.
Thought I had that fixed.
- I thought you had that fixed.
I'm tired, Dad, I'm going to bed.
Good night.
- Okay, I'll take it apart tomorrow.
Good night.
Or maybe Robert can fix it.
- We choose to forget. (static crackling)
(gasping)
(car alarm beeping)
(electronic humming)
(glass shattering)
- Teri?
(dramatic music)
Teri.
(rumbling)
Teri!
(gasps) (glass shattering)
Teri!
Teri?
(fizzing) (Martin groans)
(door slamming)
Teri!
Oh, no.
(glass clattering)
(car alarm beeping)
Teri!
(static rumbling)
(gun firing)
Stop, Teri!
Teri, wait!
Teri!
Hey, wait!
Teri!
(electronic humming)
Teri!
(dramatic music) Teri!
(booming) (screaming)
Teri!
Teri, Teri!
(splashing)
(Martin screams)
(thudding)
(heart monitor beeping)
(grunts)
(machine beeping)
- Mr. Fell?
You're awake.
- Hey.
Teri?
Where's?
Where's Teri?
Where is she?
No, no, where is she-- - Shh, shh, shh.
- Where's Teri? - Shh.
(people chattering)
- [Doctor] You sustained a severe concussion.
Expect headaches and some severely bruised ribs.
Also, mild hypothermia from exposure.
If the police hadn't found you when they did,
it could have been much, much worse.
- [Martin] She was a gift from above.
Where is she?
Uh, doc, why won't you tell me where she is?
- [Doctor] I'm sorry.
I'm not allowed to say.
(Martin laughs)
- You see, you see this?
This is, this is, I'm okay.
All right?
There's nothing wrong with me.
Please.
Where's my daughter?
- I can't.
- Sorry, um.
Excuse me, sir?
Are you able to tell me what happened to my daughter?
(tense music)
- Agent Ray Bowie.
(door closing)
- You a cop, Ray Bowie?
Because if you're not a cop,
I'd like to finish up with the medical stuff.
- Fine by me.
But he's not gonna tell you what you want to know.
There's been a terrible accident, as you know.
An earthquake, big one.
6.8, so I heard.
Unusual for these parts, for sure.
- No, I didn't know.
- Your cottage is gone, Mr. Fell.
Came down when the fault slipped.
A fire, too, something about a faulty generator.
- Yeah, I, I remember, we were having generator problems.
- Must be why you and your daughter ran into the woods,
a fire?
- No, I, I don't remember any fire.
- [Bowie] At least that's where we found you, the swamps.
Half a click from your cottage.
- Where's Teri?
- I hate to be the one to break this to you, Mr. Fell,
but we haven't been able to locate her body.
We're dredging the swamps now as we speak,
so unless you can give me
some place more productive to look.
(machine beeping) - She's all I...
- [Nurse] I'll give him a sedative.
He needs to calm down and get some rest.
- When Mr. Fell is sorted, please let me know.
We were just starting to get acquainted.
I'll wait outside.
- [Nurse] Just relax, Mr. Fell.
This will put you to sleep.
I'll be outside if you need me.
(dramatic music)
(Martin groans)
- [Bowie] Show me the scene.
Get me a five mile perimeter
and let me know when the crime scene photos are up.
- Sir?
Did you get anything? - Not yet.
Take care of that, Robert.
- [Nurse] Hey, hey, hey, you can't go in there right now.
Hey.
(tense music)
- He's running, let's go.
- [Man] All right, let's go that way.
All right, let's go, let's go around.
Back of the car.
(dramatic music)
- [Man] Hey, Martin, are you okay?
(phone ringing)
(machine whirring)
- [Martin] What the?
(engine revving)
(radio rumbling)
(helicopter whirring)
(groans)
- [Announcer] You are in a restricted area.
Turn your car around immediately.
You are in a restricted area.
Turn your car around immediately.
I repeat: you are in a restricted area.
Turn your car around immediately.
(machinery beeping)
(helicopter whirring)
(groans)
(dramatic music)
No, not again.
(machinery beeping)
- Now, who would you be shooting at
behind the wheel of your expensive car here?
- I remember.
I remember what happened.
Teri, wait! (emotional music)
There were about, about 20 of them.
They were taking her there,
over there, towards that harvester.
- [Bowie] You sure she wasn't trying to take your car?
- Excuse me?
- You sure Teri, your daughter, wasn't, say, mad at you?
- [Martin] Why would she be mad at me?
- Maybe because you two had a fight about your wife,
her mother, she disappeared at this very cottage,
what, almost two years ago?
- You know nothing about my wife.
- Looks like you were chasing after someone.
Took a shot with that.
Luckily, she managed to get behind the door before you did.
Bang!
We checked.
Gunshot residue.
- [Martin] What is, what is that?
(tense music)
What the, what the hell is that?
Show me!
No, that's Teri's!
That's Teri's, show me that!
What did?
Yeah, I fired the gun.
But that's not what happened.
That is not what happened!
- I thought you couldn't remember what happened, Mr. Fell.
(electricity fizzes)
(grunting)
(dramatic music)
(speaking foreign language) (guns firing)
- [Bowie] Stop. Hold fire, hold fire.
(helicopter whirring)
(guns firing)
(man speaking in foreign language)
- Mr. Fell!
I need to talk to you about your daughter!
(grunting)
(shouting)
- [Bowie] Leave him here.
Get it cleaned up.
(dramatic music)
(electricity crackling) (pilot shouting)
(footsteps falling)
(heavy breathing)
(somber music)
(dramatic music)
(engine rumbling) (phone dialing)
- [Martin] David, it's Martin.
- Martin?
Where the hell are you?
What's going on?
The cops have been calling.
- [Martin] I don't know what they are, but they're not cops.
- Of course they're cops, what else would they be?
- [Martin] She's not dead, David.
- What? - Teri.
She's not dead, David.
I can't lose 'em both, David.
Do you hear me?
Not like this. (birds cawing)
I need a few days to figure this all out.
(dramatic music)
(horn honking)
(static crackling)
(tense music)
(woman shouting)
- She went in with the baby.
(birds chirping)
(dramatic music)
(birds chirping)
(booming)
(static crackling) (dramatic music)
(groaning)
(dramatic music)
(phone dialing)
- [Woman] Hello?
- JoannaCZ?
- [Woman] Who is this?
- My name is Martin Fell.
I got your number from the internet.
No, wait, from the chat between you and--
- The pilot.
The AF825 is a pilot.
He saw the symbol and the UFO.
- Excuse me, hey, excuse me.
Who are you?
You can't get in here, please turn around.
Turn around now.
You, hey, do you hear me?
You gotta back up now.
- [Woman] You saw the symbol, didn't you?
- What symbol?
- A clockwise spiral with a center mark.
You obviously know what I mean.
Let me guess, you're seeing it everywhere you look.
- Yeah.
- Ever since-- - The abduction.
- [Woman] We choose to forget.
Are you a believer, Martin Fell?
- I don't know what to believe.
I just, I just can't quite remember everything.
- Memory's a strange thing.
We think it's set in stone, but in reality,
it's more like water.
Anyone who's lost someone knows the feeling.
It's fluid.
Water.
- And I'm drowning.
- [Woman] So am I.
- They took my daughter, Teri.
- Wait?
Where are you?
- I don't know.
An internet cafe.
Why?
- Run.
- Shit.
(phone ringing)
- Come on, Martin, come.
- [Martin] Hi, you've reached Martin Fell.
Please leave a message.
- [David] Martin, call me back please.
Tell me where you are and I'll come meet you.
- Give me your phone.
(phone ringing)
(dramatic music)
(shouting)
(thudding) (grunting)
- You lying son of a bitch.
There wasn't a fire.
No earthquake.
Where is she?
Where is she?!
- Maybe you should answer yourself that question.
- Yeah?
Maybe this has some answers, huh?
You lying bastard!
Back off.
- [Bowie] Let him go.
(phone dialing)
- [Joanna] Hello?
- [Martin] How did you know they were coming?
- [Joanna] I didn't think I'd hear from you again.
- Agent Bowie was there.
I took his tablet.
There's so much information on here.
I found a file.
More like a collection of case files on it.
- [Joanna] Go on.
- Bowie knows everything about Anna's disappearance
two years ago from the cottage.
Everything.
(slamming)
He's been tracking Teri and I ever since.
- [Joanna] Who's Anna?
- My wife.
There's hundreds of cases on here.
All investigated by Agent Bowie, all the same.
Red, white, flashing, unknown object.
Someone abducted or missing after the event.
A symbol, the symbol.
Left all over the crime scene.
- [Joanna] You still there?
- I got a ping.
Confirming that it's his IMSI.
- Yeah, I'm still here.
He's got notes on these cases
and he's stamped the same thing on each one.
Unchosen.
What's Bowie covering up?
- Confirmed.
Placing the trace now.
- Where?
- Parizska Street.
- His apartment, let's go.
- [Joanna] They're tracing your phone.
We need to meet.
Hang up, get on the bus,
get off at the river, the stop at Brehova.
Call me when you reach the water.
- He's on a bus.
And it stops K listopadu and Brehova.
Which means he's going to the river.
- [Joanna] Where are you?
- [Martin] I'm almost there.
Where to next?
- [Bowie] There!
(shouting)
- Bowie, it's not him!
What's wrong with you?
- What's your problem, man? - Shit!
- Hey.
(tense music)
- [Martin] Yeah.
Okay, where am I going?
- With me.
I know you.
- Yeah, I, uh, I get that a lot these days.
Martin Fell.
- Good to see you.
- Yeah.
- Come on.
That's Jacek, I'm Jo, short for Joanna, get in.
And dump your phone in the river.
(dramatic music)
- I will circle back.
They probably have eyes on us.
Give you two a head start.
I'll meet up with you at the power plant, tomorrow.
- [Joanna] Okay.
(engine revving)
- Where are we going?
- To see Lance.
- It was like a campfire, only controlled.
It's going red, white, red, white,
so bright I could barely look at it.
And if I did for too long,
the brilliance looked like a combination
of red and blue and green.
And it created this incredible pain behind my eyes.
Running to the light.
The ship.
Knowing Teri was inside,
just staring at it until it went white.
It burned that symbol into my mind.
I don't know, like I suddenly tuned it in.
- Like maybe it was already there?
- You think I've seen it before?
- Not just you.
We all have.
All of us have seen it.
- All of us?
- [Joanna] All the Unchosen.
- Wait, Unchosen?
- The ones that weren't taken, like you, like me.
Lance has been finding us and bringing us together.
- There's more like us?
Someone was taken from you, too?
- Someone was taken from me, but I don't know who.
I know who took them and how, I know so much
and that's why Bowie's been after me ever since.
- He seems to know an awful lot about all of us,
assuming I'm one of the Unchosens as well.
- Well, according to Lance,
you're the prize jewel of the Unchosen.
- Me?
Why me?
- I'll let Lance tell you.
By the way, how's your head?
Is it still throbbing?
- Won't stop.
- The symbol.
- Yeah, tell me why I keep seeing
this crazy, swirling symbol in my head everywhere I look.
- It's a signal.
- I don't follow.
- A beacon?
It's how they tell us where to meet them.
- And you see this symbol everywhere as well?
- Not anymore.
Now I only see it when I cross paths with you.
(dramatic music)
(beeping) - AF825 copy.
We're checking to see if anyone knows who this is.
Stand by.
AF825, can you see the aircraft type?
(beeping) (static crackling)
(gasps)
- Another nightmare.
(sinister music)
(electricity humming)
(dramatic music)
Martin?
- Teri!
(gun firing)
(screaming)
Hey, hey, hey, hey, hey, hey, it's okay.
It's okay, hey.
It's a new day.
Your holiday begins now.
I just went back a ways to see if we were being followed.
I think we're safe.
(sighs)
- We're not safe.
We gotta get outta here.
- It was just a dream.
- We never should have stopped.
- Where are we going?
Joanna?
Okay, okay, wait up.
♪ In the dark world ♪
♪ You need light to bring you home ♪
♪ It's a cold world ♪
♪ I'll never let you be alone ♪
(dog barking) - So have you seen them?
- [Joanna] Briefly.
- [Martin] Yeah, what do they look like?
- Well, if you really want to know,
there's, first of all,
about a hundred different types of aliens.
- That's where George Lucas got it right.
- Very funny.
- Sorry, Star Wars fan.
- I can only talk about the three that I've seen.
There's the grays, which have big heads, long limbs,
about three to five feet tall.
Then there's the masters of grays,
usually aboard a ship.
They're longer limbs, about seven to eight feet tall.
- [Martin] So what's the last type?
- Not technically an alien.
- [Martin] Well, not technically an alien, then what?
It's a?
- A hybrid.
- You mean an alien crossed with--
- A human?
- Jo, how is that possible?
- I'm gonna leave that for Lance.
He was in charge of Catch Fire and, at the time,
it was about communicating with the aliens.
- He says he communicates with aliens and you believe him?
- Martin, wait.
- I do not communicate with the visitors, Martin.
You do.
- Lance Ivanov,
Martin Fell.
- Lance Ivanov.
I know that name.
Do I know you?
- Not yet.
But you did.
Last of us entering the base, all safe. Forward.
(dramatic music)
- [Martin] From the aliens?
- Would you believe me if I said yes?
- He found the birds.
- So what is this place?
- The safehouse.
Completely off grid.
Self-sufficient in every way.
We draw power from the panels above
and we are hacked into a few aging,
decommissioned military satellites.
- A safehouse means you're in hiding.
Hiding from what, Agent Bowie?
Because you communicate with aliens?
- Visitors.
- But you don't know how to speak to them
or understand their language.
- I was hoping you would tell me.
(beeping) Humor me.
(birds chirping) (sighs)
(sinister music)
(booming)
(Martin groans)
Please-- - No, just don't.
- Shh, shh, shh, please.
Please, sit down.
And give it a second try.
We'll leave you alone.
- Martin Fell.
Positive.
Yes, the same one from two years ago.
No, he has the list.
I don't think he realizes what it is.
Of course, his name is on it.
He doesn't remember a thing.
Like all the other Unchosens.
Sir, Operation Catch Fire is secure for now.
Don't I always?
- We've located the car.
- Welcome to the base camp.
Martin, this is Andrej, my brother.
He watches over me.
- We've been waiting for you.
- We?
- All of the Unchosen.
- Everyone here is what we used to classify
in Catch Fire program as an Unchosen.
- Yeah, I recognize some faces.
It's all on here.
- Uh-huh.
- Except my wife.
She has a file, just no pictures.
- All these people, like you,
were with a loved one when they were abducted.
- I'm surprised he doesn't recognize more.
- Yeah.
- Why would I know these people?
Look, I'm not here to join the hole in the wall gang, okay?
Jo brought me here because your buddy Ray Bowie is after me.
Because of something I know or something I saw,
maybe what's in those files, I really don't care.
- So what do you really care about, Martin?
- My daughter.
Jo said you could help me find her.
- Yes.
All right.
Let's walk.
- [Andrej] This is for you.
- Thank you.
- [Lance] How did you find Joanna?
- [Martin] Online.
I was searching for anything
that could help me make sense of what was happening.
I guess I just stumbled upon her number.
(Lance laughs)
- You really believe you just stumbled upon her number?
If you check, I think you will find
it's an unregistered SAT line.
Joanna is not an Unchosen.
I know she thinks she is but she's not.
She's something more.
(dramatic music)
She was abducted.
- What?
- Then she was returned for a reason.
And when she was, her memory was erased.
- So the person she thinks she lost--
- [Lance] Was the one she left behind.
- Right, so, so Teri can return too?
How?
- Through you.
- Me?
- You don't just have the ability
to communicate with the visitors.
You've got a special ability
to communicate with one specific visitor.
- How do you know that?
- I've been following people like you for years.
When Bowie realized that there were people like you,
civilian interpreters, who are able to
tune into a higher frequency.
- Higher frequency, huh?
That's what you call it?
- Catch Fire was created to document
communication with the aliens.
And we were almost there.
Once we discovered you and others like you.
- So what happened? (Lance sighs)
- Bowie
and even the others in that project
began to think that it was a conspiracy,
creating hybrids to act as sleeper cells
amongst our own civilization.
They are here.
And more are coming.
Lots more. - When?
- We don't know.
Soon.
(laughs)
- So why do you think they're coming, huh?
Why do you think they're coming?
Why do you think they're coming?!
- If you ask Bowie, to invade.
- Well, I didn't ask Bowie, did I?
Did you hear me ask Bowie?
Didn't ask you either.
I'm asking you.
- Well, I think they are bringing the hybrids home.
- Home?
- Yes.
As simple as that.
A kind of homecoming.
- You ever have to use that?
- Sometimes.
- You mind if I join you?
- Yeah, sit.
- It's warm.
- You told me that you don't remember
a single thing about your wife.
- No, I don't.
(dramatic music)
Can't even remember her face, me or Teri.
- Do you have any photos of her?
- It's like they all disappeared when she did.
Earlier.
You said that you can see the symbol
whenever we cross paths.
What did you mean by that?
- You're tuned to a higher frequency.
I'm sure Lance told you.
- Yeah, he did.
- I knew as soon as I heard your voice.
I feel it sometimes too.
It's stronger when I'm near someone who's high-tuned.
Like you.
(gentle music)
- Sir.
Would you step out of the car, please?
(scoffs)
- Jacek Palkowski!
Been waiting a long time to talk to you.
(grunts)
Find out what he knows.
We're moving at day break.
- Breathe through your nose only.
Not your mouth.
Close your eyes.
And focus on your breathing.
Feel the air flowing all the way in,
to the back of your head.
Once.
(inhales) Take a deep breath.
Twice.
(inhales) Inhale.
And exhale, good.
And you will find your nose moving
in the shape of the symbol.
Now, you are tuned in.
Keep breathing
as your nose begins to move in a figure eight pattern,
left to right, right to left.
Up and down.
Now, you are connected to your higher self.
And keep on breathing and finally,
you will feel that your nose starts to describe
the number one.
Yes.
Exactly.
And this number one is always affirmation to any question.
Now go ahead, Martin.
- Teri.
Where are you, monkey?
It's me.
Where are you?
Please, help me remember.
Help me remember.
(exhales)
- Yes.
Yes.
What you have just experienced is called telepathy.
You got it.
(light music) (buzzing)
(tires screeching)
(radio chattering)
- [Man] Hold your fire until I give the signal.
- [Andrej] If you want to, you can close your eyes.
(humming)
- [Man] I'm in position.
(dramatic music)
(beeping)
(humming)
- They're coming.
(intense music)
- It's time to go.
- Not yet.
Buy me some time, Andrej.
You two go.
- [Martin] Let's go.
- [Man] Hold your fire until I give the signal.
(explosion booming) (man screams)
(guns firing) (man screams)
- [Man] Come on!
(guns firing)
(glass shattering)
(dramatic music)
- Go, go!
(whistles) - Come on, come on.
(glass shattering)
(gun firing)
(woman screams)
- [Lance] And to the left, let's go.
We will hold them off for a while.
- It's Bowie.
How'd he find us?
- He's here for me.
Geocaching.
- What about it?
- Just follow the sign that means something to you.
Okay?
The rest are decoys.
Let's move on.
- [Martin] Go, go, go!
- Thank you. - Yeah.
It emerges on the other side of the solar field.
Once you go, you will seal the hatch.
It's your only option for escape.
Good luck.
Seal the hatch.
(door locking) Good.
(guns firing)
- [Man] Clear, clear!
(thudding)
(grunting)
- It's nice to see you, Lance.
(grunting)
- Let him go.
- Don't do it.
- All right, go.
I'm not gonna say it again, go.
- She's still alive.
- What did you say?
- There is always another way.
(engine rumbling)
- [Martin] What is this place?
- [Joanna] I don't know.
So what's geocaching?
- It's a game.
We used to play it with Teri when she was a kid.
They hide things like money, prizes, pictures, books.
And they post the exact location,
longitude and latitude up on websites
and you go to these sites and you use the coordinates
like a treasure map.
It's fun.
- [Joanna] So what did he say?
Follow the clues that mean something to you.
- Yeah, right here.
No, no, damn, come on you.
There we go.
No. - Nope.
- Uh, no, no. - Mm.
- [Martin] There we go.
The international sign for geocaching.
- Looks like the symbol.
(dramatic music)
- [Martin] Oh, crap.
(explosion booming)
- Let's get after 'em.
- Okay.
(Martin grunts)
- [Joanna] It's taking us deeper into the woods.
(Martin exhales)
- It's on the other side of this wall.
- We can try and climb it.
- Come on, there has to be a way in.
Come on.
(groans)
(baby crying)
- You okay?
- Do we go east
(baby crying)
or is the entrance west.
(angelic singing)
I know where to go!
Come on, this way.
(buzzing)
(machinery whirring and beeping)
- These are coordinates to locations, no?
- Yeah, about a hundred of them.
- Well, I only need the one they went to.
They're on foot and the tunnel goes north.
So I suggest we start with the ones closest to there.
Take me to the nearest site on this map.
- [Man] Okay.
(engine starting) (dramatic music)
(groans)
- There.
Come on.
(dramatic music)
- How close are we to these coordinates?
- [Man] Another two clicks into the mountains, sir.
- [Joanna] I know this place.
- [Martin] It's where they used to live.
Where they were kept.
- Where who was kept?
- I'm starting to remember.
Lance was right, I've met him before.
I've been here before.
(voices whispering)
- Sir, what's going on?
- Blow the door, now.
(dramatic music)
- Teri?
Teri?
I'm looking for my daughter.
I know you.
You know where my daughter is.
Her name's...
Teri?
Teri!
(dramatic music)
Are you, are you, are you hurt?
- I'm fine, Dad. - Are you okay?
- I'm okay.
- [Martin] I can't lose you again, monkey.
Oh my God.
(booming)
- Let's go.
- He's waiting for you, Dad.
- No, no, I'm,
I'm not leaving you. - Go!
Go.
Just go!
- Where are you going?
- We will make sure your time
with Alpha I is not interrupted.
- Hey, Jo.
It's okay.
I know what we have to do, it's okay.
Come on, come on.
(voices whispering)
- What is this place?
- It's where the UN used to keep them.
- Them?
- Do you see that?
(voices whispering)
- I know her.
That's Flora.
Abducted March 2004, at the age of 13.
From Grand Junction, Colorado.
(dramatic music)
(whirring)
(whooshing)
- You do not remember your time with me here, before.
- No.
Tell me.
Please help me remember.
(dramatic music)
(baby crying)
- Teri?
You're alive.
- Robert?
- [Alpha I] Throughout the universe,
(baby crying)
the grays have been coming here since 1947,
when their first attempt to land on earth
resulted in a crash at Roswell.
We brokered a deal between humans and grays.
Technology for humanity.
- You're Fell's daughter.
Shoot her now!
- No! (gun firing)
(guns firing)
- They heralded in the age of technology
while you slowly brought them back from extinction
by giving them hybrids.
(crying)
(guns firing)
(rumbling) (triumphant music)
(gun firing)
(yelling)
(glass shattering)
(yelling)
A life for the chip.
Leading to fiber optics, computers, internet.
But the council of ten didn't trust in the deal,
which eventually led to certain human factions
pursuing the hybrids.
And that's where you came in.
- And places like this?
- Yes. - Hidden in the woods?
- A place to reunite hybrid families.
Empathy and emotion is a necessary sustenance
for a part-human child, which the grays lack.
- Which made them dangerous to those who were afraid,
creating a need for a human mother to stabilize the child
out of fear that otherwise the hybrids
would become easy to manipulate.
- [Alpha I] Yes.
So we had to keep them hidden.
Hidden from those who did not understand our intentions.
- [Martin] Who wanted to control the power of the hybrids
no matter the cost.
- Yes.
(crying)
You are both beginning to remember.
- We're both? (dramatic music)
- [Alpha I] We choose to forget.
- You mean Jo is Anna?
(exhales)
We chose to have our memories erased.
We chose to.
Both of us, Anna.
To protect everyone in our lives.
Everyone that we cared about.
(whooshing)
(sighs)
Oh my God.
I've missed you so much, Anna.
- I miss you every day of my life.
- That night you were taken.
- Was a long, long time ago.
I know we discovered that you tuned into a higher frequency.
- You couldn't have children.
Yet you came back with a child.
- [Joanna] Teri was our gift.
- [Alpha I] It was decided to keep your family intact
no matter what.
You and the others, with your ability to translate.
- [Martin] We didn't know that our own kind
would come after us for it.
- [Alpha I] We suspected.
Human emotion often leads to human miscalculations.
- [Martin] Bowie was getting closer and closer
and even with Lance promising to protect her,
we knew he would eventually come for Teri.
- [Alpha I] We asked you to hide her.
- [Joanna] Hide her in plain sight.
- [Martin] But we made sure we always
had a way back to each other.
- Yeah.
To remember.
- There is always another way.
I will always know you.
Always.
(crying)
- There is always another way.
Always.
(dramatic music)
There is always another way.
- Always.
- [Alpha I] There is always another way.
- I don't remember the drive being so beautiful.
- Yeah, you always loved this drive.
- How much longer until we get there?
- You sound just like your mother.
- I love you, Daddy.
Can't wait to see the cottage.
(light music)
(exhales)
(dramatic music)
♪ Take a deep breath in and out ♪
♪ Feel the moment of timelessness ♪
♪ I close my eyes ♪
♪ With every dream it brings his smile ♪
♪ In the dark world ♪
♪ You need light to bring you home ♪
♪ It's a cold world ♪
♪ I'll never let you be alone ♪
♪ Feel the air inside my lungs ♪
♪ And every breath you take ♪
♪ Brings me closer ♪
♪ Let me hold you ♪
♪ We can choose to forget ♪
♪ But I can't forget the truth ♪
♪ That I will always love you ♪
♪ In the black world ♪
♪ You need light to bring you home ♪
♪ It's a cold world ♪
♪ But I'll never let you be alone ♪
♪ We can choose to forget ♪
♪ But I can't forget the truth ♪
♪ That I will always love you ♪
♪ Feel my heart ♪
♪ Feel the beating of my heart ♪
♪ It beats for you ♪
♪ Because my love for you is true ♪
♪ In the black world ♪
♪ You need light to bring you home ♪
♪ It's a cold world ♪
♪ I'll never let you be alone ♪