In 2027 Oklahoma City, impeccably put-together John Jones looks like a high-functioning executive—until the clock hits 3 a.m. and his eyes say different. Plagued by a condition called The Bleed—violent temporal dislocations tied to a parasitic, ancient intelligence fused to his brain—John submits to a back-alley medical ritual with two fringe operators: Ray, a flat-affect savant, and Lee, a cheerful ghoul. They “anchor” John by literally killing and rebooting him with a copper cap and a generator, helping his green, bioluminescent Umbra cohere inside his skull. The fix holds—but the side effects are brutal. To dampen the risk of de-coalescence, Lee insists on “Slurry,” a stomach-churning organ smoothie tuned to John’s mitochondrial profile. It works. Sort of.

At home, John navigates the fragile peace with Beth, his sharp-tongued, 20-year-old daughter and rising metal guitarist. Their banter is layered with grief—for Sara, Beth’s mother—whose absence is a living wound. A sudden Bleed hurls John into 2011: in a modest living room, Sara is catatonic and slipping away. Ambrose—charismatic, chilling, and wearing a younger face—offers salvation with strings. To save Sara, John lets Ambrose’s men sedate and take her. Four-year-old Beth watches from the hallway. The choice defines them all.

Back in the present, we see John’s real game. Behind a hidden wall lies his war room: stacked rigs, satellite overlays, and a dark-net empire stamped by three cuneiform symbols. A glimpse of a catastrophic blue-energy event over Africa tells him the clock has started. He calls French, a brilliant, brittle scientist working in a snowbound mountain lab. Her experimental machine—the one John believes can end the gods’ long quiet war—has to be ready within a day. A jittery orangutan field test goes… not convincingly. John believes anyway. He wipes his systems, hides a levitating black pebble in a safe, and opens his digital doors wide, inviting enemies to come find him.

Deep under a mountain, Ambrose—in a new, youthful vessel—watches a holographic Earth unravel over and over, bored and godlike. Two pings light up his trackers: John, and a second “birdie” he’s also been waiting for. Orders go out. Capture Kemp Alburn. Kill the rest.

Across the Atlantic, Black-British operator Kemp Alburn and his son, Cade—knife poets with preternatural reflexes—accept a wet-work contract they think came from MI5. With their Welsh hacker Zaz (and his cat, Greedo), they dismantle a drone-runner cell with balletic, brutal efficiency. The SSD they rip reveals a supplier thread bearing John’s cuneiform banner. Kemp realizes the truth: the job was bait, the breadcrumb trail an invitation only he would follow. An address in Oklahoma City waits at the end of it. They book flights—and cowboy hats.

John collects an heirloom monster: Bashmu, a hand-built .50 revolver that’s more totem than weapon. Another Bleed slams him back to 2004 Northern Colorado, to a militia compound run by John’s twitchy father, Bill. A visitor named Tom arrives; moments later, Bashmu roars, Bill dies, and a green Umbra abandons Tom’s body for John’s. The possession is violent and final. In that instant, John becomes something older—Enki in a new human sleeve.

Kemp’s crew is ambushed at a dim rental garage by pallid clone-commandos with weird, boxy pistols—Atomizers, designed to kill Umbra. Kemp carves through them anyway. One dying clone hisses a name that rattles Kemp to his bones: Enlil. The old war is awake again. In their minivan: a black trunk John had arranged, stocked with hardware and a note—“See you soon”—signed in cuneiform. Game on.

John’s doorbell rings. Sara stands there—alive, un-aged, and empty-eyed. He tests her with a private code phrase—Fruity Pebbles—and the spell flickers. She is a clone, her original Umbra submerged or steered. Ambrose wants John to come quietly. John pleads to the part of Sara that remembers Beth, their life. For a breath, it works… until armored commandos descend on the house. Gunfire erupts. Kemp yanks John to cover; Zaz and Cade, still in their ridiculous hats, lay down fire. John dons a crinkly clear poncho French designed—Umbra Armor, if not bulletproof—and Bashmu’s thunder flips the fight. When a commando lines up Kemp for the kill, John dives, takes the bullet, and saves him. Bleeding out, John presses the mission forward: Sara is alive; meet at Big City Pawn; keep moving. Then he hands over Bashmu—and his Umbra unmoors, a green wisp lifting through the ceiling toward a new host.

On the road, Clone Sara remembers: a kitchen, a cereal box, a kiss and a laugh. A tear falls. But Ambrose’s last order still owns her: retrieve John intact. In Ambrose’s bunker, rows of incubators glow. Some hold Ambrose copies, each with a cranial implant. Others cradle something stranger—radiant, perfect beings not of Earth. This is a production line for gods.

Meanwhile French preps an incubator bearing John’s new body. She’s confident. She shouldn’t be. Far away, John’s Umbra slips into a hospital, into Jack Spencer, an 18-year-old baseball phenom ravaged by leukemia. The possession is a fistfight in a phone booth—adrenaline, slammed doors, and a mirror-cracking loss of control—until Enki makes Jack an offer with teeth: get me to a bar called The Hammer, and I’ll keep your cancer gone. Jack, terrified but hooked by the promise of answers, agrees. He needs pants first.

Above them all, on the dark side of the Moon, a hidden Eden hums inside a megastructure: forests, oceans, and long-faced mustangs under an artificial sky. From a pulsing green chrysalis steps UTU, a jade-skinned being with glowing eyes, answering a chorus of ancient voices. Then a voice he knows cuts through: Enki, calling from far away. The gods are waking.

By the end of the pilot, the board is set: John/Enki is disembodied but alive inside a new, reluctant ally; Kemp, Cade, and Zaz are now enforcers-turned-partners; French races to finish an impossible machine; Beth tunes her guitar for a set at The Hammer that will pull everyone into the same room; Ambrose and his clone legions advance a plan to crack the planet. Love, faith, and an old war between Enki and Enlil collide in parking garages, pawn shops, and laboratories—where death is a door and bodies are just vessels for very old storms.

• In a mysterious and eerie opening scene set in the depths of space, a black hole churns ominously as a megastructure resembling a truncated icosidodecahedron approaches Earth, shimmering with light. A woman's voiceover calls out to John, urging him to wake up, setting the stage for the unfolding narrative. The scene concludes with a cut to black, leaving a sense of sci-fi wonder and impending revelation.
• In a dark, upscale bedroom, John Jones, a well-dressed man in his 40s, struggles with insomnia and frustration as he checks the time at 3:00am. He engages in a detached and clinical routine of drug use in the bathroom, reflecting his internal conflict and isolation. The scene captures his weary state and the mechanical nature of his actions, emphasizing a sense of personal struggle without resolution.
• In a dimly lit storage unit, John undergoes a life-threatening electrical procedure performed by Ray Kind, who revives him after electrocuting him to death. The procedure is meant to stop 'The Bleed,' but Ray warns John that the next few days will be strange. The scene shifts to John's luxurious home, where he shares a tense yet loving moment with his daughter Beth, who is oblivious to the dark events surrounding her father. As John grapples with his disorientation and the aftermath of the procedure, the scene ends with his chaotic POV, filled with flashes of his recent experiences.
• In a tense and heartbreaking scene set in a middle-class living room 16 years ago, John struggles to connect with his mentally unstable wife, Sara, while pleading for help from Ambrose. As Sara reacts violently to Ambrose's presence, especially concerning their daughter Beth, John is forced to make a painful decision. Ambrose arranges for Sara's removal for treatment, leading to a chaotic and emotional moment where Sara is sedated despite John's tears and protests. The scene culminates with a tearful Beth witnessing the turmoil before retreating to her room, leaving John in despair.
• In a tense and urgent scene, John reacts to a recent electrical incident and swiftly transitions to his high-tech CENTCOM command center. He discovers a looming threat involving a $100 million crypto transaction linked to Drammad Hassar and prepares for a critical mission, giving his ally French a one-day deadline to get ready. As he engages in a video call with her, they discuss the urgency of the situation and the erratic behavior of an orangutan named Louie in her lab. The scene culminates with John triggering a security warning on his terminal, defiantly challenging the impending danger.
• In an underground bunker, Ambrose, a British Indian man, reclines on a couch while observing a holographic Earth. A technician informs him of two signals from Will Rogers Airport in Oklahoma. Ambrose, intrigued, orders a team to capture one individual, Kemp, and eliminate the others, while hinting at a special plan for John Jones. The scene conveys a tone of calm authority mixed with menace, concluding the first act.
• In a gritty Birmingham home, Kemp Alburn wakes his son Cade for a covert MI5 mission. They share a quick breakfast, discussing the job's nature while expressing skepticism about MI5's effectiveness. The scene transitions to a high-energy montage where they arm themselves with weapons, showcasing their synchronized and rapid preparation. The intense atmosphere is amplified by heavy metal music, culminating in a rhythmic assembly of their firearms.
• In a tense scene set inside a black van, operatives Kemp and Cade prepare for a mission while Zaz, a tech-savvy Welshman, monitors heat signatures on a console. They identify their target, William Cornchester, a radicalized drone runner planning to attack a school. Cade mocks the target's name but ultimately agrees to the mission after Kemp emphasizes the threat. The scene concludes with the duo equipping night vision goggles and exiting the van, ready to confront the danger.
• In a foggy night, father-son assassins Kemp and Cade infiltrate an abandoned tenement, swiftly taking out armed goons with brutal efficiency. They confront the antagonist Drammad, who threatens to detonate a bomb. Mocking him, Cade disarms the situation by throwing Drammad out a window with explosives, resulting in a violent explosion. The duo shares dark humor about the incident before leaving with crucial intel.
• In a tense moment inside a Range Rover van, Kemp, Cade, and Zaz uncover that the C4 supplier information they obtained is a trap set by their adversary, who manipulated MI5. As they realize they are being outmaneuvered, Zaz identifies the location of the bait in Oklahoma City. Despite the serious implications, the mood lightens as Cade excitedly suggests cowboy hats, leading to a humorous negotiation about Zaz's cat and a thirty percent cut. The scene ends with Kemp accelerating towards their next destination.
• John, frustrated after multiple attempts to reach Beth by phone, steps out of his SUV outside a pawn shop. Meanwhile, Beth is deeply immersed in an intense guitar solo at The Hammer Bar, completely unaware of John's calls. The scene contrasts John's urgent frustration with Beth's passionate performance, ending with a focus on her phone displaying five missed calls.
• In a tense pawn shop, John retrieves a unique revolver named Bashmu from Carl, who submissively presents the weapon. John lovingly examines the gun before holstering it and leaving the shop. As he loads a trunk into his SUV, he suddenly experiences intense vibrations and disorientation, culminating in a painful outburst. The scene marks the transition from Act II to Act III.
• In a dimly lit storage unit, John struggles with disorientation and a migraine as Lee drags two bodies wrapped in sheets, explaining the need for a Slurry to prevent John from getting lost. As they navigate through the unit, John becomes fixated on blood streaks on the concrete. Lee's dark humor contrasts with the unsettling atmosphere, and he questions John's presence. The scene intensifies when they enter a green-lit area with an autopsy table, where John recognizes the face of one of the dead men, leading to a disorienting visual conflict as their faces flicker and almost merge, accompanied by an electrical pull that leaves John reeling.
• Tom Maxwell arrives at a rundown militia compound, meeting the jittery Bill Jones and his son John. Despite the cold and uncomfortable atmosphere, Tom prioritizes business over casual drinks, leading to a tense interaction marked by Bill's erratic behavior and his attempts to instill respect in John. The scene concludes with them boarding a golf cart, driving into the sunset.
• Under a full moon, Bill and Tom arrive at a run-down trailer where Bill shares a bizarre story about Florida's one-legged hookers, the G-Gators, using exaggerated gestures. Tom responds with sarcastic enthusiasm, humorously encouraging Bill to continue. Bill, pleased with the interaction, invites Tom into his 'office' with a wide, toothy grin, setting a humorous and awkward tone for their encounter.
• In Bill's pristine meth lab, tension escalates as Tom, a supernatural figure, confronts Bill with eerie dialogue and a menacing presence. After a chilling exchange, Tom shoots Bill, causing chaos as a ghostly entity exits Tom and possesses John. As John convulses and transforms, he deceives Dave, who bursts in with a shotgun, setting the stage for further conflict.
• In a grotesque storage unit, John experiences a time jump while Lee performs an autopsy on a disemboweled body, explaining the mechanics of time travel and mitochondria. As Lee blends the extracted organs into a gray slurry, John, numb and detached, ultimately drinks it, triggering a violent time shift. The scene shifts to John's SUV in a parking garage, where he grapples with the aftermath of his unsettling experience.
• The scene follows Kemp, Cade, and Zaz as they prepare for a trip, starting at Kemp's house in Birmingham. A montage captures their travel preparations, including packing, returning weapons, and a cab ride showcasing Birmingham's heavy metal landmarks. At Heathrow, humorous moments unfold, such as Cade's body scanner mishap and flirtation with a woman. After a flight filled with light-hearted antics, they arrive at the quiet Will Rogers World Airport in Oklahoma, where they try on cowboy hats, ending with Kemp towering over Cade and Zaz in their new hats.
• In a dimly lit underground parking garage, Kemp and his companions Cade and Zaz find themselves ambushed by three assassins. Sensing danger, Kemp leads the group in a swift and brutal counterattack, using a hidden blade and gunfire to eliminate the attackers. After the fight, they discover the assassins are clones, and a dying man reveals a cryptic message from 'Enlil,' leaving Kemp shocked and urging the group to leave as the stakes have escalated.
• Inside a moving caravan, Kemp drives while Zaz and Cade react in shock to a note found in John’s black trunk, which hints at a looming threat. Zaz excitedly shoves the note in Kemp's face, causing a brief conflict as Kemp swerves and pushes Zaz away. Cade explores the trunk's weapons, discovering a Beretta handgun and a mysterious Atomizer with a glowing magazine. Zaz humorously explains the weapon's deadly effect in a cowboy accent, adding levity to the tense situation. The scene concludes with Kemp accelerating the caravan.
• In a tense scene at John's CENTCOM, he connects with French about a chimp experiment, revealing his emotional turmoil. When his wife Sara arrives, he discovers she is a clone sent by Ambrose the Divine. As John tries to reach the real Sara, commandos attack, leading to a chaotic shootout. John fights alongside his team, ultimately sacrificing himself to save Kemp by taking a bullet. As he dies, his green umbra phases out, leaving Kemp with the weapon Bashmu, marking a poignant end to the act.
• Clone Sara drives a van, haunted by a nostalgic memory of her past with John, where they share a playful moment in their kitchen. As she fights back tears, she checks her phone and sees a social media post about Beth's performance at The Hammer. The scene transitions to Beth on stage, confidently interacting with the band as they prepare, contrasting Clone Sara's emotional turmoil.
• In a black van, Clone Sara sheds tears before transitioning to an underground bunker where Ambrose, indifferent and engrossed in his phone, assigns her the task of retrieving John Jones, emphasizing his irreplaceability. As Clone Sara silently accepts the mission, Ambrose reflects ominously on the holographic Earth, muttering 'Ira dei. Wrath of God.' The scene concludes with Sara determinedly wiping her tears and driving away to fulfill her mission.
• In a dimly lit underground bunker, the camera navigates through a maze of granite corridors before entering a vast dark room filled with incubators. The first two incubators contain clones of Ambrose, each marked by a cylindrical implant. The third incubator showcases a strikingly perfect figure with golden skin and topaz eyes, exuding an ancient, otherworldly presence. The scene culminates in a bird's-eye view of the massive room, revealing hundreds of pods, all awaiting animation, evoking a mysterious and eerie atmosphere.
• In a high-tech lab, French monitors brain activity while Jack, an unconscious patient, is possessed by an ancient entity named Enki after the Umbra enters his body. As Jack awakens, he experiences a violent internal struggle for control, battling Enki's influence while trying to maintain his identity. Enki threatens Jack with dire consequences if he resists, but ultimately offers him knowledge of the universe in exchange for cooperation. Jack, realizing Enki has healed his cancer, reluctantly agrees to help him reach The Hammer bar, setting the stage for a tense alliance.
• In a futuristic scene set on the Moon, Utu, a green muscular alien, emerges from a living pod within a vast megastructure that houses an arboretum. As he navigates through a bright corridor to a control room, he activates a console that triggers haunting voices from the past, pleading for help over thousands of years. The atmosphere shifts from awe-inspiring to eerie as Utu grapples with the weight of these calls, culminating in a nostalgic voice-over from his old friend John, marking a poignant reconnection.