When a character in TV or film stumbles into a Town with a Dark Secret… or Cleveland… they do so one of two ways: by relocating to make a fresh start, usually following a tragedy, (Secret Circle, Manhattan, AZ, Locke and Key) or by getting stranded there (Lost, Hot in Cleveland). Eureka‘s Jack Carter (Colin Ferguson) falls into the latter category.
The show opens, however, with a wife calling her husband to bed. We pan down to the basement to find the husband tinkering with a large mechanical device reminiscent of the launchpad from the movie Contact. As its concentric circles spin the nerdy-looking man exclaims, “Susan, it works!” The sinister score lets us know that, whatever the gadget is doing isn’t good.
We meet Jack, a U.S. Marshall, as he is driving along an otherwise deserted road in his police car, with a mouthy young girl riding in back. Zoe (Jordan Hinson) and Jack are presented as prisoner and arresting officer, but bicker more like smartass teenager and protective but frustrated father. So it’s not really a big reveal when we later learn that he is, in fact her father.
They run off the road trying to avoid a dog, But not before Zoe witnesses a supernatural sight: She sees a duplicate of Jack’s car, with duplicate passengers inside, passing them on the road. Jack doesn’t believe her.
While he sets off to get the car repaired, Jack hands Zoe over to the local police station for incarceration. There, we meet Sheriff Bill Cobb and Deputy Jo Lupo (Erica Cerra), a bitter overgrown tomboy. Up to this point the characters seem relatively normal if slightly standoffish. The only major hint that something is unusual in this picturesque Oregon town is a boy of no more than nine, carrying a book on theoretical physics, gives oddly articulate directions.
As tends to happen in these situations, the car cannot be repaired right away. Local mechanic Henry Deacon (Joe Morton) informs an exasperated Jack that the job will take a few days. So, in the meantime, Jack winds up helping solve a local mystery of national interest. A big hole has been blown in the back of an RV belonging to Walter, the nerdy man from the opening scene. While he is clearly hiding something, he seems well liked by the townspeople.
Next Jack meets Allison Blake (Salli Richardson-Whitfield) who trumps his U.S. Marshall status by announcing she represents the Department of Defense. The RV isn’t the only thing blown apart–there has been mysterious damage to other locales and some cows. We find that whatever can of worms Walter has opened is causing a lot of trouble, and that representatives from a local research agency are trying to cover it up.
Each scene takes us a little deeper into WTF territory. This town is definitely hiding something. As Jack and Allison enter a secured area he askis, “Where are you taking me, Area 51?” She replies, “Please, they wish they had our security.” At the midpoint, we finally get some explanation: Eureka was founded by President Truman, at the request of Albert Einstein, to house the greatest scientific minds in the country. We’re still not sure just what they’re up to at the moment or why explosions from Henry’s garage are treated as commonplace. The town has an isolationist nature that begins to get creepy; it reminds me of the corporate-run communities in Margaret Atwood’s Oryx and Crake.
As Jack delves deeper into the mystery–he has nothing else to do–we get to know him a little better. He is recently separated from his wife. From Zoe’s snarky remarks we glean that he is a workaholic who hasn’t made time for his wife and child.
…And some other stuff happens. This pilot is little rambly and long (2 hours) as the writers attempt to introduce–it seems–the whole freaking town. And on top of setting up characters and conventions, the episode still basically follows a mystery-of-the-week formula. The problem is solved, the world is saved, and Jack and Zoe seem to be on their way out. But just as we reach end, we witness a murder. And it turns out Jack has been appointed Sheriff of Eureka and will be hanging around for a while.
Pingback: Pilot-Finale Symmetry | Anatomy of a Pilot