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The piece begins with 36 dancers arranged in three equal rows, standing in profile to the audience and staring at a light while rocking in packed rows.<ref name=Monahan /><ref name=Jennings /><ref name="OBrien">{{Cite news |last=O'Brien |first=Roisin |date=2020-11-30 |title=Review: Crystal Pite taps into current questions of connection, understanding and culpability in Flight Pattern |work=The Globe and Mail |url=https://www.theglobeandmail.com/arts/theatre-and-performance/reviews/article-crystal-pite-taps-into-current-questions-of-connection-understanding/ |access-date=2023-04-10 |archive-date=24 July 2021 |archive-url=https://web.archive.org/web/20210724020648/https://www.theglobeandmail.com/arts/theatre-and-performance/reviews/article-crystal-pite-taps-into-current-questions-of-connection-understanding/ |url-status=live }}</ref> The dancers then move in [[Canon (music)|canon]], their spines extending and rotating to cause their heads to look back, then forward in a bow.{{sfn|Golomb|2023|pp=310-311}} Vignettes of choreography are then performed by various dancers who break away from the ensemble to perform solos, duets, or small group choreography.<ref name="Mackrell">{{Cite news |last=Mackrell |first=Judith |date=2017-03-17 |title=Royal Ballet triple bill review – gripping vision of the refugee crisis |work=The Guardian |url=https://www.theguardian.com/stage/2017/mar/17/royal-ballet-triple-bill-review-refugee-crisis-crystal-pite-christopher-wheeldon-david-dawson |access-date=2023-04-09 |archive-date=7 November 2022 |archive-url=https://web.archive.org/web/20221107054755/https://www.theguardian.com/stage/2017/mar/17/royal-ballet-triple-bill-review-refugee-crisis-crystal-pite-christopher-wheeldon-david-dawson |url-status=live }}</ref><ref name="Schabas 2017" /> These include dancers who fight with each other and perform frantically in couples,<ref name=Jennings /> a body that is left on the ground as the other dancers move forward, a man that frantically moves over the other dancers,<ref name="Winship Review 2017">{{Cite news |last=Winship |first=Lyndsey |date=2017-03-20 |title=Flight Pattern, dance review: Crystal Pite's extraordinary talent shines in Royal Ballet triple bill |url=https://www.standard.co.uk/culture/flight-pattern-dance-review-crystal-pite-s-extraordinary-talent-shines-in-royal-ballet-triple-bill-a3493816.html |work=Evening Standard |access-date=2023-04-09 |archive-date=9 April 2023 |archive-url=https://web.archive.org/web/20230409204120/https://www.standard.co.uk/culture/flight-pattern-dance-review-crystal-pite-s-extraordinary-talent-shines-in-royal-ballet-triple-bill-a3493816.html |url-status=live }}</ref> an energetic duet with two men, and the reunion of a romantic couple.<ref name="Mackrell" /> Contrasting the vignettes are the rest of the dancers, who are performing different choreography at other parts of the stage.{{sfn|Piquero Álvarez|2021|pp=463-464}} The set then opens at the back of the stage, mimicking the entrance to a holding area in a migration centre or transportation . The dancers enter the holding area and try to find a place to sleep.<ref name=Monahan />
[[Image:Marcelino Sambé at USAIBC2010.jpg|thumb|upright|left|alt=See caption|[[Marcelino Sambé]],
The dance transitions to a ''[[pas de deux]]'' originated by [[Marcelino Sambé]] and [[Kristen McNally]].<ref name=Watts /><ref name=Monahan /> The choreography is broken up with moments of each dancer performing solo choreography, then returning to a duet.{{sfn|Piquero Álvarez|2021|p=464}} The choreography suggests that the couple have lost a child.<ref name=Watts /><ref name=Monahan /> During the couple's dance, the other performers place their coats on the female dancer, causing her to collapse. The performers enter a doorway, but the weight of the jackets prevents the female dancer from joining them and she remains on the ground, shivering. The male performer stays with her, dancing in frustration.<ref name=Jennings /> The ballet ends with the two dancers performing together<ref name="Sulcas" /> and the male soloist turning away from a closing door as the other dancers are seen darting through the opening.<ref name="OBrien" /> The final movement is of the male principal dancer placing a hand on the shoulder of the female principal dancer,{{sfn|Piquero Álvarez|2021|p=464}} with the dancer's fate left ambiguous.{{sfn|Abdo|Attia|Amin|2023|p=85}}
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