EUREKA "Pilot" Written by Andrew Cosby & Jaime Paglia

THIRD DRAFT Oct. 20, 2003

TEASER FADE IN: 1 EXT. HIGHWAY - RAINING - NIGHT A remote two-lane highway winds through the unspoiled wilderness of the Pacific Northwest. Storm clouds rain steadily on the towering pines. A PAIR OF HEADLIGHTS slices through the dark as a car approaches. 2 INT. THE MOVING CAR - CONTINUOUS Behind the wheel, we find U.S. MARSHAL JACK CARTER (38), his handsome face pinched in frustration. CARTER Would it kill 'em to post a road sign once in a while? VOICE (O.S.) Remind me again why we didn't take a plane back to L.A.? Carter clicks on the DOME LIGHT to look at a map, illuminating his PRISONER in the back seat behind a Plexiglas screen. This is ZOE (15), a cute little Riot Grrl, complete with nosering, blue-tipped hair and attitude. Not your typical felon. ZOE Oh that's right. The big city Marshal's afraid to fly. CARTER (glaring in rear view) You really don't want to push me right now, kid. ZOE Sounds like somebody needs a nap. How 'bout I drive? CARTER How 'bout fat chance? ZOE Just trying to be helpful. CARTER Then sit back and be quiet. be a big help. That'd

(CONTINUED)

2. 2 CONTINUED: Fine. ZOE A beat...

Zoe sits back out of the light.

ZOE (CONT'D) But you gotta admit, it's pretty funny. Seriously. CARTER I'll pay you--

ZOE You track me across three states, find me in a city of half a million people, then get lost on the way home. (leans forward again) You gotta appreciate the irony. Carter turns and fixes Zoe with a piercing glare. ...or not. ZOE (CONT'D)

CARTER I'm not lost. I'm taking the scenic route. ZOE And it's been lovely, really. Lots of trees and... well, more trees. And you... you've been just a-Deer. CARTER Don't get cheeky. ZOE (pointing) No! DEER! SHOCK ANGLES: --Deer frozen in the headlights. --Carter hits the brakes, yanks the wheel hard. --Zoe SCREAMS! Covers her eyes.

--Tires SCREECH on the wet roadway as the car SWERVES wildly. --Carter turns into the skid, regains control. The car WHOOSHES past the deer, missing it by inches. (CONTINUED)

3. 2 CONTINUED: (2)

INSIDE THE CAR: They take a beat to let the adrenaline levels subside. watches the deer recede in the rear view mirror. CARTER I hate nature. ZOE (afraid to look) Is Bambi roadkill? No. CARTER Carter

ZOE Are you sure? CARTER Believe me, you'd have felt it. Now, please, just zip it for five minutes so I can concentrate on getting us back on the main-Suddenly, a NAKED MAN carrying a LIVE CHICKEN darts across the road. Carter swerves. Oh shi--?! THUD! FEATHERS FLY. CARTER (CONT'D) Zoe SCREAMS again.

The car fishtails wildly. Carter fights to control the skid as they careen toward a guard rail. HANG ON!! 3 CARTER (CONT'D)

EXT. HIGHWAY - CONTINUOUS CRASH!! From the bottom of an embankment, we see the car SMASH THROUGH THE GUARD RAIL ABOVE US and LAUNCH INTO THE AIR, ripping through branches as it flies into a stand of trees. We hear the CREAKING OF METAL. Then nothing. No movement. No sound except the rain on the roof of the crippled car. Then...

INT. CAR - CONTINUOUS ...Carter sits up painfully. There's a cut on his forehead. Other than that, he's intact. He turns concerned. Zoe? CARTER You okay? (CONTINUED)

4. 4 CONTINUED: She sits up from the floor of the back seat rubbing her head. ZOE I felt it that time. Was that a--?

CARTER Crazy naked guy with a chicken? Yeah. ZOE Good. It wasn't just me. (cringes) Did we--? CARTER I don't know. I don't think so. ZOE Told you to let me drive. He grabs his FLASHLIGHT from the glove box, reaches for the door. CARTER I'm gonna check. Stay here. ZOE Like I have a choice. Carter steps out of the car...and DROPS FROM SIGHT-CARTER (O.S.) --Aaaaaaugh!! --LANDS in a thick patch of shrubs with a loud CRUNCH. He lies there a moment, then finds his FLASHLIGHT--SHINES it around trying to figure out what just happened. Slowly it dawns. He shines the light above him--can't believe what he sees: FIFTEEN FEET UP, THE CAR IS SUSPENDED BETWEEN TWO TREES Zoe pops her head out the broken window, looks around. ZOE You call this protective custody? 5 EXT. HIGHWAY - MOMENTS LATER They scramble up the muddy embankment to the highway. There's no sign of the naked man. the road. Zoe picks one up. Look around.

But FEATHERS are strewn across

(CONTINUED)

5. 5 CONTINUED: ZOE What do you think he was doing? CARTER I have bigger concerns at the moment. Carter has his CELL PHONE out. No signal.

CARTER (CONT'D) Come on come on come on... That's when he spots something, just off-screen. Eureka. CARTER (CONT'D)

ZOE What? You get a signal? (follows his gaze; dejected) ...oh. Carter tugs her down the road. As they disappear into the early morning, we PULL BACK to reveal what he was looking at. A road sign. It reads: "WELCOME TO EUREKA." BLACK OUT. END OF TEASER

6.

ACT ONE 6 EXT. EUREKA - EARLY MORNING A quaint little burg nestled in the wilderness. Your quintessential small town. VICTORIAN HOMES. TREE-LINED STREETS. A central TOWN SQUARE. TRACKING through town, there's a MOVIE THEATER and HARDWARE STORE, the TOWN HALL and a DINER, a SCHOOL and CITY PARK. Even a BARBER SHOP with the classic peppermint-striped barber shop pole. A SHAGGY DOG wanders down the middle of the street as businesses open and NEIGHBORS wake to greet the new day. The rain has stopped. The clouds break. Birds sing. In a word, IDYLLIC. ANGLE ON - CARTER AND ZOE arriving in this little Northwestern Utopia, looking like a couple of drowned rats, drenched in rain and mud. ZOE ...What's a naked guy do with a chicken anyway? CARTER (final) I really don't want to think about it. ZOE Hey. You know the difference between erotic and kinky? CARTER You're fifteen. ZOE Erotic is a feather. whole bird. Carter stares at her a beat. Kinky's the

Sighs.

CARTER You're right. We should've flown. They stop to look around. CARTER (CONT'D) Civilization at last. ZOE By whose definition? (CONTINUED)

7. 6 CONTINUED: Zoe starts to wander. Carter pulls her back.

CARTER Not so fast. I want you where I can see you. ZOE Come on, look around. Where am I gonna go? We're in freakin' Mayberry. CARTER Less talkie, more walkie. (yelling) Hey, kid! A YOUNG BOY is loading up his bike bag with school books. and Zoe approach. CARTER (CONT'D) You got a sheriff around here? The boy looks at the bedraggled pair suspiciously. BOY I'm not supposed to talk to strangers. CARTER You're absolutely right. And normally that'd be a really great policy... Carter pulls out his Marshal's badge. CARTER (CONT'D) ...but in this case, I'm one of the good guys. As the boy inspects Carter's identification, Zoe notices the books in his open bike bag: ADVANCED CALCULUS, THEORETICAL PHYSICS, ORGANIC CHEMISTRY. The boy notes Zoe's interest and closes the bag. BOY Two-tenths of a mile straight ahead. Veer right about 45 degrees at the stand of deciduous trees. It'll be sixty meters down past the park. ZOE Deciduous trees? Carter

(CONTINUED)

8. 6 CONTINUED: (2) BOY It means they shed their leaves once a year. ZOE (defensive) Thanks, Einstein, I knew that. BOY I'm an Oppenheimer. (beat) The Einsteins live on Fourth. He swings a leg over his bike and pedals off. stare after him. CARTER Interesting kid. ZOE Bit of a freak, if you ask me. Carter gives Zoe a look. Shut up. The clothes, the hair, the nose-ring... Carter and Zoe

ZOE (CONT'D) CUT TO:

INT. SHERIFF'S OFFICE - LATER A quaint country office with knotty pine paneling, a single holding cell, and two large desks. Behind one of them sits DEPUTY JOSEPHINE "JO" LUPO (28), Hispanic, athletic, attractive without trying, sipping black coffee and reading an issue of "Soldier of Fortune" magazine. Over her shoulder, we see she's perusing the personals. her lips, intrigued. She circles one. Jo purses

A BELL on the front door DINGS as it swings open. Carter enters with Zoe, looking like a couple of drifters, still dripping water. Morning. CARTER

Jo puts the magazine down, scrutinizing them suspiciously. JO Can I help you? I hope so. CARTER Me and my-(MORE) (CONTINUED)

9. 7 CONTINUED: CARTER (CONT'D) (inhaling) --Is that coffee? Excuse me? JO

CARTER It's just we've been up all night and I could really use a fix. Jo stands, revealing the sculpted physique of an Olympic athlete. JO Does this look like Starbucks? ZOE (low) Damn, check out the guns on Barney. Jo turns her stone stare on Zoe. CARTER I'm sorry, Deputy...? JO (flat) Lupo. Jo Lupo. CARTER Maybe we got off on the wrong foot here, Deputy Lupo. (extends his hand) Name's Jack Carter. I'm with the-As Carter reaches forward, he inadvertently reveals his SHOULDERHOLSTER AND GUN. Jo zooms in on it. Carter follows her gaze. No, wait-CARTER (CONT'D)

Too late. Jo GRABS Carter's extended hand and TWISTS his wrist painfully, LOCKING HIS ARM behind his back. Then KICKS HIS LEGS out from under him and PLANTS HIS FACE in the floor. Knee to the back of his neck, she TAKES HIS GUN. All in about five seconds. JO Move, and you'll spend the rest of your days sucking meals through a straw. CARTER (kissing the floor) Mime uh you is mursel! (CONTINUED)

10. 7 CONTINUED: (2) JO (twisting harder) I said don't move. Talking is moving. Carter manages to turn his head to the side. CARTER ...I'm a U.S. Marshal! Right. JO

CARTER Check my coat pocket! Jo reaches into his pocket. Hmm. Pulls out a Marshal's badge and I.D.

JO Imagine that. Carter sucks in a lung-full of air.

She removes her knee.

JO (CONT'D) You should have said something. CARTER Before or after you stood on my neck? (realizing) Crap, where's Zoe? JO What's a Zoe? Just then, the BELL RINGS AGAIN. ANGLE ON - DOOR In walks SHERIFF WILLIAM COBB, 60, a big man in a brown Eureka sheriff's uniform. He's dragging Zoe behind him. SHERIFF COBB Someone lose this? Carter glares. ZOE What? I was just going for help, I swear. Jo helps Carter to his feet. He gruffly pulls himself together, then takes control of Zoe. Jo hands Carter's badge to Cobb.

(CONTINUED)

11. 7 CONTINUED: (3) JO (to Cobb) He's a U.S. Marshal. SHERIFF COBB Really? Don't get a lot of those around here. Then again, we don't get a lot of anybody. (extending hand) Bill Cobb, County Sheriff. Carter shakes Cobb's hand and retrieves his badge. CARTER Jack Carter. SHERIFF COBB And I see you're already acquainted with my deputy. CARTER (rubbing his neck) Intimately. She returns Carter's gun. Carter watches longingly as Cobb pours himself the last cup of coffee. To his happy surprise, Cobb hands it to him. SHERIFF COBB Looks like you need this more than I do. Bless you. CARTER

SHERIFF COBB So what can we do you for, Marshal? CARTER I've been tracking this one for three weeks. We were headed back to L.A. when we had a little-accident. That so? Zoe scoffs. SHERIFF COBB

Carter shoots her a look.

CARTER Yeah, something in the road. Hard to say what it was exactly...

(CONTINUED)

12. 7 CONTINUED: (4) ZOE It was a naked guy with a chicken. Jo and Cobb share a look. Carter flushes.

CARTER Yeah, you could say it that way. (beat) I know, it sounds crazy. SHERIFF COBB Believe me, Marshal, I've heard crazier. But don't worry. We'll get you back on your way in no time. (to Jo) Jo, call Henry, have him bring the tow truck around. Jo gives Cobb a questioning look. Right. JO He nods his okay.

SHERIFF COBB (to Carter) In the meantime, make yourself at home. CARTER Appreciate it. Carter escorts Zoe to the holding cell. Wait. ZOE You can't be serious.

CARTER Oh but I am. ZOE You're just gonna lock me up here? CLANG! Carter closes the cell door. Wow. CARTER I feel better already.

Carter turns to Jo, lifts his cup with an impish grin. CARTER (CONT'D) Good coffee.

(CONTINUED)

13. 7 CONTINUED: (5) Picks up the phone and dials. CUT TO: 8 EXT. GAS STATION - MORNING Establishing shot of HENRY'S CAR CLINIC, a service station on the edge of town. A TOW TRUCK sits outside the woodsy CONVENIENCE STORE near a WIDE GARAGE. The doors are closed. A PHONE RINGS from somewhere inside. 9 INT. HENRY'S SHOP - MORNING The RINGING PHONE is ignored by a lab-coated HENRY DEACON (70s). He stands in the dimly lit garage tinkering with a SOPHISTICATED DEVICE Two high-tech chambers connected through an impossibly complex array of hardware and cables to a bank of computers. Henry makes some adjustments. Takes a peek inside one of the chambers. INSIDE - A FLY BUZZES around, trying to escape. The PHONE keeps RINGING. Spencer! HENRY Can you grab that? Satisfied,

She's unamused.

Henry types in a last few numbers. Adjusts some dials. he pulls out a pair of WELDER'S GOGGLES--puts them on. HENRY (CONT'D) One small step for man...

He throws a lever. Nothing happens. He gives the contraption a swift kick. It starts right up, HUMMING like a JET ENGINE, building in intensity. Henry takes a few cautious steps back. A BLINDING LIGHT GLOWS from within the chamber as the HUM BUILDS...AND BUILDS...UNTIL-10 EXT. EUREKA - CONTINUOUS BOOM!! An EXPLOSION echoes in the distance as a SMOKE CLOUD rises on the horizon just outside of town. 11 INT. HENRY'S SHOP - CONTINUOUS A black-faced Henry stands in the middle of the charred remains of his workshop. A LARGE HOLE smolders in the ceiling. He waves smoke away, looks at his crippled device. Double-takes--

(CONTINUED)

14. 11 CONTINUED: HENRY Well I'll be damned... THE FLY IS NOW INSIDE THE OPPOSITE CHAMBER. The phone still RINGS. rubble. Finds it. Henry searches for it in the surrounding

HENRY (CONT'D) (into phone) Hello? (listening) Sure thing, Jo. I'm on my way... Hmmm? Explosion...? (looking at hole) No, I didn't hear anything... Okay. He hangs up the phone and calls out: Spencer! HENRY (CONT'D)

A dazed young man, SPENCER, sits up in the background, covered head-to-toe in ash and soot. HENRY (CONT'D) There you are. Mind the store, would you? I'll be back shortly. Spencer nods. Henry wipes his face, removes his smoldering labcoat, revealing a pair of GAS STATION COVERALLS underneath. 12 EXT. GAS STATION - MOMENTS LATER Henry pulls out in the tow truck, passing a gleaming AIRSTREAM MOTOR HOME that's just pulling in. He waves. HENRY Hey Walter, have a nice trip! me back a t-shirt! 13 INT. AIRSTEAM - CONTINUOUS WALTER PERKINS and wife SUSAN return Henry's wave. EVAN (6), plays in back. WALTER You know, honey, I was just thinking... SUSAN What's that? Their son Bring

(CONTINUED)

15. 13 CONTINUED: WALTER ...If we splice the introns of the Larsen Protein on Chromosome Eight-She places a finger on his mouth. Darling. SUSAN You promised.

WALTER But with the review next week-SUSAN We need the break. It's just the weekend. Two days. WALTER You're right. When you're right, you're right. (to Evan) Okay, who wants treats? I DO!! 14 EVAN I DO!!

INT. GAS STATION CONVENIENCE STORE - MOMENTS LATER Spencer stands behind the counter, still smoldering. Evan peruses the candy selection. Susan checks out the magazine stand--thumbs a copy of Popular Science. SUSAN (shakes her head) Who reads this trash? THE NEXT AISLE OVER Walter holds the same copy of Popular Science, reading an article on MAPPING THE HUMAN GENOME, complete with fold-out of the curvaceous DNA STRAND. He scans it like a Playboy centerfold. ...Nice... BACK WITH SUSAN Evan stares sullenly at a bag of sunflower seeds and celery sticks. EVAN Dad said treats. treats. Those aren't WALTER

(CONTINUED)

16. 14 CONTINUED: SUSAN Nonsense, they're tasty and nutritious. Now scoot. Evan slumps back to the camper with his food. 15 INT. AIRSTREAM - CONTINUOUS Inside, he tosses the seeds and celery aside and lifts his shirt, exposing a stash of chocolate bars. He smiles devilishly as he tears into the chocolate. In moments, his face and hands are covered in the stuff. THUMP!! A noise on the roof. Evan looks up.

Something SCAMPERS across the top of the camper. Evan gets up, follows the noise along the length of the Airsteam, all the way to the back, where he spots... A FLASH OF MOVEMENT Right outside the back window. He presses his chocolate-smeared face to the glass, scanning the tree line. Nothing. He turns away. REVERSE ANGLE A DARK FIGURE RISES BEHIND HIM outside the window. 16 INT. GAS STATION - CONTINUOUS Walter's still absorbed in his magazine, doesn't notice the camper ROCKING VIOLENTLY in the background. WALTER (scoffs) ...IF/Prolog infrastructure? so 2003... Ahem. SUSAN (O.S.) SLAM!

That's

He looks up to find Susan standing there. WALTER I was just looking at the pictures, I swear. Susan shakes her head. Walter reluctantly hands over the magazine. Together, they walk back to the camper. 17 INT. AIRSTREAM - CONTINUOUS Walter slides behind the wheel. Susan climbs in after him. (CONTINUED)

17. 17 CONTINUED: WALTER Okay, where to first? The Museum of Theoretical Physics, or that new super collider in Portland...? He looks in the REAR VIEW MIRROR. WALTER (CONT'D) (horrified) ...oh my... Susan turns to see what he sees. We PULL BACK from their shocked faces. The motor home's been RANSACKED, FOOD containers strewn everywhere. We PULL all the way out of the... THE BACK OF THE MOTOR HOME The REAR WINDOW's shattered. Evan? 18 SUSAN Door ajar. Evan is gone.

EXT. MOTOR HOME - CONTINUOUS WE PULL UP AND AWAY from the Airstream as they search frantically for the boy. SUSAN'S SCREAM ECHOES through the wilderness. EVAN!! SUSAN BLACK OUT. END ACT ONE

18.

ACT TWO 19 INT. SHERIFF'S OFFICE - MORNING Cobb and Jo at their desks. Cobb's on the phone, taking notes. Jo loads her own SHOTGUN CASINGS. Zoe watches from her cell. SHERIFF COBB (on phone) ...Ah, that's a shame. All of it?... Mmm, hmm... All right, we'll come check it out. He hangs up. SHERIFF COBB (CONT'D) Something tore through Osborne's garden last night. JO Mavis said Fluffy slipped his pen. Taggart's already on it. SHERIFF COBB We better give him a hand. JO Want me to go? SHERIFF COBB (standing) Naw. I can use the exercise. Cobb dons his hat, starts gathering his things. ZOE Fluffy, huh? Happening little burg you've got here. SHERIFF COBB We have our days. ZOE Yeah, I'm sure those Duke Boys can really give you a run for your money. Cobb ignores her. Zoe turns her attention to Jo.

ZOE (CONT'D) How 'bout you, G.I. Josephine? What's with all the fire power? Jo raises her right index finger.

(CONTINUED)

19. 19 CONTINUED: JO That's one. ZOE Right. Like that's supposed to scare me. JO (another finger) That's two. The PHONE RINGS. Jo answers.

Cobb sidles up to Zoe's cell on his way out. SHERIFF COBB I think she likes you. ZOE What gave you that idea? SHERIFF COBB Never seen her get as high as two before. JO (O.S.) (into phone) What? When?... Cobb and Zoe turn their attention to Jo. tell it's bad news. From her tone, we can

JO (CONT'D) ...Okay, just keep the witnesses there. We're on our way. (she hangs up) Fluffy's an herbivore, right? (wary) SHERIFF COBB

Why?

JO There's a... (eyeing Zoe) ...situation at Henry's. boy is missing. Cobb's face darkens.

The Perkins

He heads for a LOCKER.

SHERIFF COBB Radio Taggart from the car. And you better notify the mayor.

(CONTINUED)

20. 19 CONTINUED: (2)

Cobb throws the locker open to reveal a VAST ARRAY OF SOPHISTICATED LOOKING ORDNANCE. Very high-tech. Not what you'd expect to find in a small town--or any town for that matter. ZOE (eyes wide) Whoa... CUT TO: 20 INT. WARREN KING'S OFFICE - MOMENTS LATER Decorated in minimalist Asian style with modern touches. A Buddha fountain splashes. Traditional JAPANESE GAGAKU MUSIC plays. CLOSE ON - WARREN KING Standing in the center of the room, eyes closed in a meditative state, wearing a BLACK KARATE GI. He's a fit 42, handsome, charming, brilliant. He raises a BO STAFF to chin level. Begin. PULL BACK TO REVEAL THREE MEN in FULL KENDO ARMOR flank him, each with a wooden BOKKEN SWORD. They attack simultaneously. King WINDMILLS into fighting position, instantly knocking one of his opponents off his feet. As the other two strike, he defends and counters, SPINNING, BLOCKING, PARRYING--always moving with grace and precision. King ducks a slashing stroke, then follows up with a devastating ROUND HOUSE KICK, knocking his attacker clear across the room. He then SPINS, and is caught off-guard by THE THIRD MAN, who SWEEPS KING'S LEGS from beneath him. The Third Man stands victorious above him, his bokken at King's throat. Suddenly, he FLICKERS like a television set and DISAPPEARS. THREE HOLOGRAPHIC GEISHAS appear in his place, launching into a performance of The Mikado. GEISHAS (singing and dancing) Three little maids from school are we, Pert as a school-girl well can be... (CONTINUED) KING His eyes SNAP OPEN.

21. 20 CONTINUED: King stares. GEISHAS (CONT'D) ...Filled to the brim with girlish glee, Three little maids from school! KING (standing) Fargo! DOUGLAS FARGO, 28, King's mousy personal assistant rushes in, wearing a white lab coat. The holographic Geishas continue to sing. I know. FARGO

KING Something's wrong with the-FARGO I know. There's a glitch in the system. Zane's working on it. (seeing Geishas) Oooh, I love this part! GEISHAS Everything is a source of fun, Nobody's safe, for we care for none, Life is a joke that's just begun, Three little maids from school! As Fargo hums along with the Geishas... KING (explodes) Why are you still here?! FARGO But you... I just... Fargo does a slow burn, then stalks out of the room. dance around King. KING And no more Gilbert and Sullivan in my office after hours! He pushes a REMOTE CONTROL. The geishas FLICKER and DISAPPEAR. We see an array of HOLOGRAPH PROJECTORS retract into the walls. King removes his gi, revealing an array of VIRTUAL REALITY SENSORS beneath. His intercom BUZZES. The Geishas

(CONTINUED)

22. 20 CONTINUED: (2) What now? KING (CONT'D)

FARGO (O.S.) (on intercom, flat) Deputy Lupo, line one. King goes over to his desk, punches the speaker phone. KING Warren King here. JO LUPO'S VOICE is piped through the speakers. JO'S VOICE (filtered) Mr. Mayor, sorry to bother you... KING That's quite all right. taking a little break. I was just Fidgets with a COMPLEX

King towels off. Takes a seat at his desk. 3-D PUZZLE--his mind always working. KING (CONT'D) What can I do for you, Jo? JO'S VOICE We have a situation at Henry's station. Could be bad. Define bad. KING

JO'S VOICE We're just heading over now, but it looks like Fluffy got out again. And the Perkins boy is missing. He stops fidgeting. Puts the puzzle down, his mood soured.

KING Am I the only one who cares that we have a review coming up? JO'S VOICE There's something else... We've got a visitor. A U.S. Marshal. King bows his head in frustration.

(CONTINUED)

23. 20 CONTINUED: (3) Perfect. now? KING And where is this Marshal CUT TO: 21 EXT. HIGHWAY - FIVE MINUTES LATER A WINCH WHINES as Henry's TOW TRUCK drags Carter's car out of the woods and up the embankment. Henry shuts it down, then goes to inspect the damage. Carter tries his CELL PHONE again with no luck. HENRY You won't find a signal out here, Marshal. Eureka's a dead zone. Only hard lines get in or out. CARTER Great. (nodding toward car) So what's the damage? HENRY Let's see--busted axle, cracked radiator, maybe a bent frame. I can fix her all right, but it may take a few days. CARTER A few days? I'm supposed to be in L.A. tomorrow. Henry shrugs. Carter rubs his bloodshot eyes. and bone tired. HENRY On the bright side, you'll have plenty of time to see the sights. Carter looks around. Lucky me. 22 Nothing but trees. CARTER He's world weary

INT. TOW TRUCK - MOVING - AFTERNOON Henry hums to a PIANO CONCERTO on the radio. CARTER (yawns) So you live here long, Henry? Carter rides shotgun.

(CONTINUED)

24. 22 CONTINUED: HENRY Going on fifty years now. CARTER Wow. You must've towed a lot of cars in that time. HENRY (laughs) Oh no, I don't do this for a living, Marshal. I do it for fun. CARTER Come again. HENRY I just like fixing things. I was an engineer once upon a time. Really. CARTER As in trains?

HENRY As in space shuttles. Carter looks at him oddly. Henry sees something up ahead.

HENRY (CONT'D) What in blue blazes--?! 23 EXT. GAS STATION - AFTERNOON It's now a CRIME SCENE. POLICE LIGHTS from Jo and Cobb's vehicles strobe the area. A perimeter of FLARES and POLICE TAPE surrounds the motor home. PEOPLE everywhere. Jo talks with a frantic Walter and Susan. At the edge of the woods, Cobb organizes several dozen CITIZEN VOLUNTEERS into search parties, passing out RADIOS and WHISTLES. SHERIFF COBB Okay, I want teams behind Rupert, Bruney, and Baker, starting at the tree line-Cobb sees Carter climbing out of Henry's truck. SHERIFF COBB (CONT'D) (to himself) This is just what I need... Carter comes over, ready to assist. Cobb puts on his game face.

(CONTINUED)

25. 23 CONTINUED: CARTER Sheriff, what's happened? SHERIFF COBB We've got a missing boy. How long? CARTER

SHERIFF COBB About thirty minutes. Carter goes into Marshal mode, talking a mile a minute. CARTER Okay, call Highway Patrol. Post roadblocks on all main arteries 30 miles out. If they're on foot, we're looking at an average speed of four miles an hour, less in the woods. You'll want search parties fanning out from the tree line... Jo backs up her boss. JO Yeah, we all saw The Fugitive, Marshal. The sheriff has the situation under control. CARTER Listen, I'm not trying to any toes here, but I find for a living. I've got a experience with this kind That so? SHERIFF COBB step on people lot of of thing.

They usher Carter over to the back of the motor home--the shattered glass. Back door ajar. Food strewn everywhere. SHERIFF COBB (CONT'D) See a lot of grizzlies in L.A., do you? Grizzly? CARTER As in bear?

JO No, as in Adams. Dan Haggerty gets drunk now and then, likes to tear up motor homes. Carter looks at her, confused. (CONTINUED)

26. 23 CONTINUED: (2) SHERIFF COBB Look, no offense, Marshal, but you do your job, and let us do ours. They leave Carter staring at the gaping hole. CARTER (to himself) Who's Dan Haggerty? WOMAN'S VOICE (O.S.) That would be the actor. Carter turns to find ALLISON BLAKE (30s) attractive, standing behind him. She doesn't look like Eureka's other townsfolk. There's a polish to her appearance that belies something more. CARTER Still not ringing any bells. Carter kneels down to investigate more closely. ALLISON Can I help you with something? CARTER (dismissive) It's okay, miss. Really. ALLISON It's really not. You're disturbing an active crime scene. CARTER No, I'm investigating an active crime scene. (showing badge) Jack Carter. U.S. Marshal. Allison pulls a badge of her own. ALLISON Allison Blake. Department of Defense. Hmm. CARTER Didn't see that coming.

He continues looking around. CARTER (CONT'D) So this Haggerty guy, was he in anything I might've seen?

(CONTINUED)

27. 23 CONTINUED: (3) ALLISON Mr. Carter, I'm not-CARTER Actually, it's Marshal Carter. you can call me Jack. Carter swings up inside the camper. Hey! 24 ALLISON But

INT. AIRSTREAM - CONTINUOUS Carter continues his search. Allison climbs in behind him.

CARTER So what's a D.O.D. agent doing way out here in the middle of nowhere? ALLISON I'm really not at liberty to discuss that. Now please step out of the vehicle. CARTER Watch your step there, Ms. Blake. Wouldn't want to mess up those designer pumps. He indicates a couch cushion at Allison's feet. SMEAR on it. ALLISON (ashen) ...That's not Evan's is it? Carter lifts the cushion. Probably. CARTER Smells it. There's a DARK

ALLISON Oh my god... CARTER Relax, it's not what you think. It's chocolate. Carter hands Allison the cushion, then continues poking through the rubble. ALLISON Marshal, I really don't like to repeat myself. (CONTINUED)

28. 24 CONTINUED: CARTER And yet something tells me you're going to. ALLISON This isn't even in your jurisdiction. CARTER See, the thing is, I'm a U.S. Marshal...so technically, the United States is my jurisdiction. (spots something) Huh... There are SEVERAL MORE DARK SMEARS on the walls of the interior. Carter looks at each one closely. CARTER (CONT'D) Something's wrong with this picture. ALLISON Like the fact that you're in it? CARTER Cute. (indicates a smudge) See here? That's a hand print, a child's. He follows the hand prints along the interior of the camper, tracing the same path we saw Evan take earlier. CARTER (CONT'D) Now, kids are messy, especially when they're eating. ALLISON Gee. Kids are messy. You learn that at the Marshal Academy? CARTER (shoots her a look) You know what else makes a mess when it eats? A bear. Learned that from The Discovery Channel. ALLISON Your point? CARTER Well I'm no expert, but don't you think if a hungry grizzly tore in here to get its paws on little Willy Wonka, we'd find more than chocolate smeared on these walls? (CONTINUED)

29. 24 CONTINUED: (2)

Allison can't think of a quick response. CARTER (CONT'D) Right. So, my point, Ms. Blake, is I'm fairly certain our missing boy wasn't attacked by a bear. Carter has stooped under a fold out dining table. There's another smear on the edge. Below it, a CANDY WRAPPER jutting out from beneath a bench cushion. CARTER (CONT'D) In fact, I'm starting to think he isn't missing at all... Carter lifts the cushion. Allison is speechless.

CARTER (CONT'D) It's okay to be impressed. ANGLE - COUCH Six-year-old EVAN PERKINS staring up at us, hidden safely in a storage space beneath the cushions. He's terrified, but unharmed. CUT TO: 25 EXT. GAS STATION - MOMENTS LATER Up a small rise by the forest, the search parties get underway. SHERIFF COBB Okay, anyone finds anything, use your whistles and radios. And Charlie... no more rock samples! Come on, people, work with me-Carter's voice comes from behind. Sheriff! CARTER (O.S.)

SHERIFF COBB Not now, Carter, I'm trying to find-Cobb turns around. --Evan? Sees the boy cradled in Carter's arms. SHERIFF COBB (CONT'D)

Allison stands behind them. Cobb and Jo share a surprised glance as David and Susan rush in for a joyous reunion.

30.

26

EXT. GAS STATION - LATER The volunteers disband. and darts away. CHARLIE snatches up a few rock samples

Cobb and Allison talk to the side as Carter and Jo load the Perkins Family into Jo's 4x4. SHERIFF COBB Hiding in the camper the whole time. Can't believe I missed that. ALLISON Everybody missed it. SHERIFF COBB ...Not everybody. ON CARTER as he CLOSES HIS COAT in the car door--turns to walk away, nearly jerking himself off his feet. ALLISON (a small smile) Guess he's smarter than he looks. You told him it was a grizzly? SHERIFF COBB You'd prefer I said it was a fivehundred pound guinea pig? ALLISON Good point. (beat) Speaking of which... SHERIFF COBB Taggart's tracking. He'll have him home by nightfall. (re: Carter) How do you want to handle things from here? ALLISON What does he know? SHERIFF COBB About Eureka. Not much. But he strikes me as the inquisitive type. ALLISON Then let's get him on his way before the review committee arrives. (MORE) (CONTINUED)

31. 26 CONTINUED: ALLISON (CONT'D) We have enough stress around here as is. A VOICE comes over Cobb's radio. VOICE (filtered) Sheriff? SHERIFF COBB (into radio) Yeah, Roy. What's up? VOICE (filtered) I found something you're going to want to see. BACK ON CARTER Watching Allison and Cobb. Cobb heads back into the woods.

Allison holds Carter's gaze as she climbs into her car. HENRY PULLS ALONGSIDE Carter in his tow truck. HENRY That was some nice work, Marshal. Need a lift? CARTER Mostly I need a shower. HENRY No argument here. (off Carter's look) ...since you brought it up. CARTER Maybe you could recommend a hotel. HENRY I hear the Marriott's nice... Okay-CARTER

HENRY ...but we don't have one of those. Matter of fact, closest hotel's about sixty miles from here. Carter groans. (CONTINUED)

32. 26 CONTINUED: (2) HENRY (CONT'D) Say, you married? Divorced. CARTER Why?

Henry smiles knowingly. HENRY I know just the place. CUT TO: 27 EXT. WOODS - MEANWHILE Sheriff Cobb comes to the bottom of a low ridge in the woods. ROY BAKER, a big guy with a crewcut, waits for him. Over here. BAKER

Cobb crests the ridge, stops and stares in disbelief. SHERIFF COBB Oh my god... Hubble? REVERSE ANGLE The NAKED GUY we saw earlier squats with his chicken beneath a lean-to made from branches, stuffing his face with CHOCOLATE and FOOD stolen from the RV. He looks up at Cobb with frightened eyes. BLACK OUT. END ACT TWO

33.

ACT THREE 28 EXT. BARLOWE'S - AFTERNOON Henry drops Carter off in front of a sprawling Victorian mansion. A wood-carved sign hangs in front: "BARLOWE'S" CARTER So this is what, like a bed and breakfast? HENRY Let's just say Beverly's used to overnight guests. Good luck. 29 INT. BARLOWE'S PLACE - CONTINUOUS The door opens with a welcoming DING as Carter enters. Hello? CARTER Anybody--

He turns to face the parlor, stops cold. --home? THREE NUDE COUPLES Sit in the parlor playing CHARADES. A FAT NAKED MAN gesticulates wildly to his team. He makes a HOLE with one hand, urgently SHOVING AN INDEX FINGER in and out of it. Oh! Yes! TEAMMATE I've got it! "A HOLE IN ONE!!" FAT NAKED MAN Score! CARTER (CONT'D)

A NAKED WOMAN from the opposing team notices Carter. NAKED WOMAN Well hello there. Care to join us? They all turn to face him, naughty bits obscured by decorative sculptures and furnishings. Carter backs slowly out of the room. CARTER I...think I'm in the wrong house. BEVERLY (O.S.) Why don't you let me be the judge of that.

(CONTINUED)

34. 29 CONTINUED: BEVERLY BARLOWE, 40, a fiery redhead exuding sex appeal descends the stairs. For Beverly, sex isn't just a passion, it's a profession--in a manner of speaking. BEVERLY (CONT'D) You must be the Marshal I've heard so much about. (off Carter's look) Small town. Big mouths. I'm Beverly Barlowe. CARTER Jack Carter. You know there's a bunch of-BEVERLY --nudists playing charades in my parlor? CARTER So it's not just sleep deprivation. BEVERLY No, but don't worry, they're harmless. And fascinating to observe. CARTER Any chance one of 'em owns a chicken? What? BEVERLY

CARTER Never mind. 30 INT. BARLOWE'S PLACE - CARTER'S ROOM - MOMENTS LATER Beverly escorts Carter into a beautiful top floor suite. BEVERLY I think you'll be comfortable here... CARTER Does that happen often? charades, I mean? The naked

BEVERLY Oh no, hardly ever. They usually play "Twister." (bright) So will your wife be joining you?

(CONTINUED)

35. 30 CONTINUED: CARTER I think her boyfriend might have a problem with that. We split last year... I'm sorry. Pardon? BEVERLY Was it the sex? CARTER

BEVERLY From my experience, once the sex goes, the relationship is doomed. People just don't know how to communicate their needs. CARTER Okay...well, at the moment my needs are a hot shower and a long nap. BEVERLY Of course. But if you think of anything else... We are a full service establishment. (wink) Pleasant dreams, Jack Carter. She closes the door. Carter picks up the PHONE, dials...

CARTER (into phone) ...Yeah, it's me. We had a little delay and I can't get a signal out here... Some place called Eureka... Uh-huh, got her down at the local lock-up. I'll call you from the road. Yeah... okay. He hangs up. Catches a whiff of himself. Heads into the bathroom. CUT TO: 31 EXT. TOWN HALL - DAY Establishing shot of Eureka's Town Hall. RESIDENTS pouring in through the large double doors. The SHAGGY MUTT we saw earlier stands near the entrance, intrigued by the activity. 32 INT. TOWN HALL - CONTINUOUS Inside, Mayor Warren King has called a town meeting. SEVERAL HUNDRED of the city's residents crowd the ornate Town Hall. We recognize many of them from the search. (CONTINUED)

36. 32 CONTINUED: An inordinate number of them wear LAB COATS. Sheriff Cobb and Deputy Jo stand off to the side. KING ...Everyone, please. Let's get started. Settle down.

RUPERT LADD, a skinny guy in a leather cap and flight jacket, stands up in front. RUPERT Is it true? Did Hubble go off his nut? KING Thank you for putting it so colorfully, Rupert. He's under observation. We hope to know what happened soon. RUPERT I'll tell you what happened. He cracked under pressure. I'm not too far off myself. This review's got us all stressed. Roy Baker chimes in. BAKER He's right. People are exhausted and they're getting careless. (pointedly) Like forgetting to lock the cage on their giant rodents. An older woman, MAVIS HENDERSON, protests. MAVIS Fluffy is a guinea pig. And I didn't forget. The hormones increased his intelligence as well as his size. Roy's TWIN brother, RAY BAKER, scoffs. BAKER #2 Just what we need. Intelligent giant rodents. MAVIS I'd think you two would welcome the company. The Bakers start yelling. Mavis yells back. (CONTINUED)

37. 32 CONTINUED: (2)

Sheriff Cobb intervenes. SHERIFF COBB All right, people, that's enough! The crowd settles. SHERIFF COBB (CONT'D) Last time I checked, we were still a community, so let's try to be a little more considerate. Lord knows things don't always go smoothly, but the important thing is we ride out the bumpy spots together. (to Roy) Or have you forgotten about the temporal shift last summer, Roy? All eyes focus on Roy Baker, who looks down guiltily. SHERIFF COBB (CONT'D) Or that little anti-gravity episode in '98? Heads swivel back to Rupert. RUPERT I forgot to carry the seven. sue me. So

SHERIFF COBB The point is, we deal with the issue and move on. Now, I know everyone's anxious about the review, but like every year, we have to keep it together. So let's all stop pointing fingers and just try to be a little more careful, okay? Mumbles of assent. King steps forward again.

KING All right. Everyone stay focused on your work. And remember. This, too, shall pass. That's all. This seems to give them a little comfort. But just a little.

Cobb and Jo watch as everyone files out the doors. JO Think we can keep things quiet for a few more days?

(CONTINUED)

38. 32 CONTINUED: (3) SHERIFF COBB With this group? I wouldn't hold my breath. CUT TO: 33 INT. BATHROOM - DAY Standing beneath a cascade of steaming hot water, Carter washes the day away. ANGLE - DOORWAY It opens gently. From a LOW ANGLE, we see a pair of SEXY FEET WITH RED-PAINTED TOENAILS tip-toe into the room. HER POV - CARTER is silhouetted behind a steamy glass-walled shower. As she slinks toward the shower, we TRAVEL UP the slender legs and discover a short, silky black robe. A MANE OF RED HAIR hangs loose down her back. The ROBE DROPS to the floor. INSIDE THE SHOWER We see the blurry image of the woman behind Carter. The DOOR OPENS. Carter turns in surprise--but it's NOT BEVERLY BARLOWE. It's ALLISON BLAKE, now with fiery red hair. ALLISON (sultry) It's okay to be impressed. SMASH CUT TO: 34 INT. BEDROOM - LATE AFTERNOON Carter WAKES FROM HIS DREAM with a start. He slowly remembers where he is, sees it's almost sunset. He slept the day away. He begins to climb out of bed, then realizes that his little dream has left him a bit...at attention. Carter searches for his clothes, but they aren't there. BADGE and GUN lying on the bedside table. 35 INT. BARLOWE'S PLACE - CONTINUOUS Carter appears at the top of the stairs, a BED SHEET wrapped around his waist--a couple of times for good measure. (CONTINUED) Just his

39. 35 CONTINUED: Hello? CARTER Ms. Barlowe?

Self-consciously, he heads downstairs. CARTER (CONT'D) Okay, joke's over. The NAKED WOMAN from the parlor blithely passes. does his best not to stare. CARTER (CONT'D) (loosening bedsheet) Not helping. DOWNSTAIRS The naked guests are gone. Carter notices an array of BOOKS and MAGAZINES. Leather bound editions of the Kama Sutra and The Joy of Sex lie next to copies of Juggs and Playgirl. He looks around, then casually peeks at Juggs. A DING behind him as the DOOR OPENS. Carter turns to find ALLISON BLAKE standing there. at him with amusement. ALLISON Doing a little undercover work, Marshal? Carter's bedsheet falls to the floor. Allison tries not to look. She looks Carter

He flushes red as he gathers up his sheet, clutching it tightly. CARTER I don't have any clothes. ALLISON I can see that. Pretty fast, even for Beverly. CARTER What? No...I mean someone took my clothes. ALLISON Hey, it's really none of my business. I just came by to apologize for earlier. I'm usually not so-Obnoxious? CARTER

(CONTINUED)

40. 35 CONTINUED: (2) ALLISON I was going to say officious. ANOTHER DING. Beverly enters with Carter's CLOTHES WRAPPED IN DRY CLEANER'S PLASTIC. She takes in the scene. BEVERLY Am I too early or too late? Allison and Carter look at each other awkwardly. ALLISON Actually, you're right on time. was just leaving. (shaking head) Good luck, Marshal. I

CARTER Why does everyone keep saying that? Allison goes. Beverly hands Carter his clothes.

BEVERLY They were a bit ripe, so I took the liberty. Hope you don't mind. He ducks around the corner to get dressed. CARTER (O.S.) Thanks. I thought I was being initiated. Beverly sneaks a peek, catches a glimpse of Carter's backside. I wish. BEVERLY

CARTER (O.S.) You wouldn't happen to know where I could find a car around here? BEVERLY Sure. There's one in the garage. Just leave the lights on when you're done. Carter comes back out buttoning his shirt, looking confused.

(CONTINUED)

41. 35 CONTINUED: (3) CARTER Why would I do that? CUT TO: 36 INT. GARAGE - MOMENTS LATER Parked in the garage is a TINY YELLOW SOLAR POWERED CAR, charging beneath a AN ARRAY OF SUN LAMPS. O-kay... CARTER

He stuffs himself into the driver's seat, somehow manages to shut the door. It WHIRS QUIETLY as he pulls out of the driveway and down the road where he passes COBB'S 4X4. WE STAY with Cobb as he gets out and looks up at... 37 EXT. DAVID HUBBLE'S HOUSE - MAGIC HOUR Cobb pulls a large steel case from the back seat and walks up to the house. He passes a mailbox. It reads: DAVID HUBBLE. 38 INT. HUBBLE'S HOUSE - CONTINUOUS We hear keys being tried in the door. Cobb fumbles for a light switch. Oh yeah. WIDE ANGLE The entire room is covered in ONES AND ZEROS. They're scribbled on note pads, tables, walls. Even the computer screen. SHERIFF COBB (CONT'D) I'm getting too old for this... He opens his case, pulls out a bunch of plastic EVIDENCE BAGS, and goes to work gathering clues. Among the items is a BLACK COMPUTER DISK in the disc drive. something else... BEHIND COBB He bags it. But he misses It finally opens. His eyes scan the room.

CLICK!

SHERIFF COBB This is where crazy lives.

(CONTINUED)

42. 38 CONTINUED: The BACK DOOR gently closes as an UNSEEN VISITOR slips away. CUT TO: 39 INT. SHERIFF'S OFFICE - MAGIC HOUR Zoe sleeps in her cell. Jo sits at her desk, a pile of random GUN PARTS lying in front of her. She stares at them a long beat. Picks up a stop watch. Takes a deep breath. Click. ANGLE - THE TABLE Jo's hands moving a mile a minute, assembling one part into the next. Her movements are fluid. Machine like. Perfect. CLOSE ON - JO'S FACE A mask of impenetrable concentration. determined. She stops abruptly. PULL BACK TO REVEAL Five fully assembled AUTOMATIC WEAPONS lying in front of her. Jo checks the stopwatch. 00:14. A dissatisfied expression, she begins to disassemble the weapons and start again. OUTSIDE HER WINDOW We can see Carter struggling to pry his body from the tiny car. Once he's free, he composes himself and enters. JO (without looking up) You got a call. From who? CARTER Her eyes searching, Click.

Grabs the stop watch.

JO Ringling Brothers. car back.

They want their

Before Carter can respond, Zoe jumps up in her cell. ZOE You're in big trouble, mister. Wait'll I tell the judge you left a minor in a public jail all day. CARTER What public? You've got the whole place to yourself. (CONTINUED)

43. 39 CONTINUED: ZOE Sure, now. But at any moment, I could be stuck in here with some crazed psychopath. Carter glances over at Jo. She's putting on a blindfold now, preparing to go at it again. CARTER As opposed to...? (to Jo) So, Deputy, you seen the Sheriff? JO Sure. Big guy. Moustache. gray around the temples. CARTER (sigh) Is he around? Frustrated, Jo removes the blind fold and glares at Carter. JO Can't you see I'm busy? CARTER Honestly...? Zoe starts to chuckle, but Jo cuts it short with a look. gets up to collect her coat and hat. JO You want to know where Cobb is? He's out on police business. Which is where I should be instead of baby-sitting Felon Spice here. Hey! ZOE She Little

JO Now, if you'll excuse me, I'm going to stop doing your job and start doing mine. She storms out. Carter takes a seat by Zoe's cell.

CARTER That girl has serious issues. ZOE No, Dad. You just have that effect on women. (CONTINUED)

44. 39 CONTINUED: (2)

An awkward beat. CARTER Dad, huh? You haven't called me that in a while. ZOE You haven't been that in a while. CARTER Come on, Zoe, you think I like this? Chasing my daughter cross-country, talking to her through bars? ZOE So this is what, tough love? You stand there all ivory clean while I stew in my own filth? CARTER I'm not the one with a record, Zoe. Impersonating a flight attendant is a felony. Please. ZOE How hard is it to do this?

She does the classic emergency exit gestures, two fingers extended. CARTER You can't keep pullin' this crap. And you sure as hell can't keep running away from your mom. Why not? ZOE You did. Carter retreats.

That one hits below the belt. CARTER I should go.

ZOE It's what you're good at. He hands her a sack. CARTER Here's your dinner. on you later. ZOE Don't bother. He pauses briefly at the door. (CONTINUED) I'll look in

45. 39 CONTINUED: (3) CARTER Listen. I know the divorce was hard on you, and I'm sorry. But it was hard on me, too. Zoe watches him go. And for a second, we see the little girl hiding behind all the teen angst and hair dye--still waiting for Daddy to come home. CUT TO: 40 EXT. HIGHWAY - NIGHT Carter's little solar car whirs along the dark road. CARTER Crap, this isn't right... He swings a U-turn, trying to get his bearings. Suddenly, the HEADLIGHTS DIM. The car BATTERY DIES, and it rolls to a stop. CARTER (CONT'D) No no no NO!! He punches a few buttons trying to start it again. CARTER (CONT'D) Brilliant. Solar-powered car in a state that gets rain two-hundredfifty-days a year. He looks up, sees a familiar ROAD SIGN... WELCOME TO EUREKA CARTER (CONT'D) This isn't happening... The RAIN begins to fall. 41 EXT. WOODS - RAINING - MOMENTS LATER Carter trudges down the highway, totally soaked again. A NOISE in the woods to his right. He shines his flashlight around. A FOUR-PANEL TRUCK is parked off the highway down a gravel road. Its cargo bay is open. Thank God. CARTER No luck. He's lost.

He starts toward the truck, stepping on something in the road. He shines his flashlight and finds... (CONTINUED)

46. 41 CONTINUED: A TRAIL OF VEGETABLES leading toward the truck. A NOISE IN THE WOODS grabs Carter's attention. CARTER (CONT'D) Hello? Somebody there? If you can hear me, I had a little car trouble. (to himself) Again. SOMETHING MOVES TO HIS LEFT A TWIG SNAPS! Carter stops in his tracks. Something moves in the underbrush. He draws his GUN. Takes a step forward-CARTER (CONT'D) All right. This is your only warning. I'm armed and-WHOOSH! He's SWEPT UP OUT OF FRAME. CARTER (CONT'D) Oh, shiiii---!! NEW ANGLE Carter rocking in and out of frame, an odd look on his face. SPIN 180 TO REVEAL he's dangling upside down, caught in an elaborate SNARE TRAP. Behind him, A LOW BUSH TILTS UP AND BACK. Like a sinister trap door spider, A DARK FIGURE rises from the ground. Panicked, Carter looks around. He spots his GUN, tries desperately to reach it through the chain-mail like netting. No dice. He tries in vain to free himself as the figure closes in, but it's hopeless. He prepares for the worst. A LIGHT SHINES directly in Carter's face, blinding him. DARK FIGURE (Australian accent) You must be Carter... He lowers the lantern, revealing the weathered face of JIM TAGGART (42), armed with a heavy-duty TRANQUILIZER RIFLE. TAGGART Cobb told me you might be hanging about. Name's Taggart.

(CONTINUED)

47. 41 CONTINUED: (2) CARTER (gritted teeth) Maybe we could save the pleasantries... Right. TAGGART

In one fluid motion, Taggart removes a knife and slices the rope, dropping Carter like a stone. Dammit! Shhhhh! CARTER I meant lower me-TAGGART Carter freezes, still

Taggart drops low, scanning the trees. tangled in the netting. CARTER (whispering) What? I can't see. ON THE ROAD

We hear the CHATTERING first. Then, the BIGGEST DAMN GUINEA PIG YOU'VE EVER SEEN moves toward Taggart's truck, devouring the trail of vegetables as it goes. Carter pops his head out of the sack. He just stares, amazed.

CARTER (CONT'D) What in god's name is that thing? TAGGART Just a little more... IT CLIMBS into the back of Taggart's truck, which GROANS under the weight. Taggart hits a remote and the back door DROPS SHUT. The UBER-PIG thrashes around inside, rocking the truck. Gotcha! TAGGART (CONT'D) Carter stares in disbelief.

He gets up to check on his catch.

(CONTINUED)

48. 41 CONTINUED: (3) CARTER There is something seriously wrong with this town. CUT TO: 42 INT. CAR - CONTINUOUS Warren King's mousy assistant, FARGO, sits behind the wheel of a Toyota Hybrid, nervously checking his mirrors to make sure he isn't being followed. Satisfied, he turns down a NARROW MOUNTAIN ROAD, continues to A SECURITY GATE where he shows his ID to an ARMED GUARD. The guard shines his flashlight in Fargo's face then waves him through. As the car crests the next hill, we reveal A SPRAWLING, ULTRA-MODERN COMPLEX Tucked away in the shadow of the surrounding mountains. A sign reads: GLOBAL DYNAMICS. ADVANCED SCIENTIFIC RESEARCH FACILITY. 43 INT. CORRIDOR - EVENING Fargo scurries down a long corridor with a large stack of files. A PAIR OF BURLY ARMED SOLDIERS guard a LOCKED VAULT that reads: LEVEL FIVE - AUTHORIZED PERSONNEL ONLY. Balancing the files, Fargo struggles to retrieve something from his back pocket. He offers the guards a sheepish smile. FARGO Excuse me. Could you reach into my back pocket and... Their withering glare is all the answer he needs. FARGO (CONT'D) Never mind. He manages to reach in, finds the KEYCARD and slides it into the reader. Then juggles to place his palm on the scanner: FARGO (CONT'D) Fargo, Douglas. The vault CRANKS OPEN. He shoots a look at the guards.

FARGO (CONT'D) Bang up job you're doing.

49.

44

INT. LEVEL FIVE LABORATORY - CONTINUOUS A SECOND PAIR OF DOORS opens, revealing a HIGH-TECH LAB inside. We find Warren King in a white lab coat seated at a SOPHISTICATED COMPUTER. He turns to Fargo. KING Did anyone see you? FARGO Nope. Aside from Frick and Frack, everyone's in their labs. Good. KING Bring it to me.

King starts sifting through the files. FARGO You were right about Hubble. You should've seen the place. He's definitely infected. KING It's his own fault. I warned him the program wasn't stable. (sifting) Where's is it? Hmmm? FARGO

KING It's not here. Uh oh. King's wrath begins to rise. FARGO Okay, before you go off on me, Cobb showed up. I grabbed what I could. KING But instead of the one thing that could make this go away, you took this? He holds up a magazine scribbled with ones and zeros. FARGO There may have been some panic involved. (CONTINUED)

50. 44 CONTINUED: KING Do you realize what could happen if this gets out? FARGO Yes. I graduated top of my class from MIT you know. KING That's no excuse. FARGO (simmering) What would you like me to do? King considers this a moment. Then, with conviction...

KING Destroy anything that connects me to this. As far as I'm concerned, the project never existed. BLACK OUT. END ACT THREE

51.

ACT FOUR 45 EXT. EUREKA - NIGHT A familiar FOUR-PANEL TRUCK glides past us. 46 INT. TAGGART'S TRUCK - MOVING - CONTINUOUS Carter's catching a ride with Taggart back into town. Taggart's catch SLAMS against the wall above Carter's head. CARTER You still haven't told me what that is back there. TAGGART Phoberomys pattersoni. CARTER In english? TAGGART I'm afraid I can't say, mate. Why not? CARTER

TAGGART Can't say that either. CARTER Can you at least tell me why you were after it? TAGGART It's my job. CARTER Which is...? Taggart gives him a look. CARTER (CONT'D) ...you can't say. Bingo. TAGGART

CARTER That's what I like about you, Taggart. You're easy to talk to. He gives Carter another look--SLAMS ON THE BRAKES. SCREECHES TO A STOP, bouncing Carter off the dash. The truck

(CONTINUED)

52. 46 CONTINUED: Hey! CARTER (CONT'D) It's a joke!

But Taggart isn't looking at Carter now--he's LOOKING PAST HIM, out the passenger side window. TAGGART (eyes narrow) ...Lowjack. TAGGART'S POV - A SHAGGY DOG digs through the trash in a back alley. This is LOWJACK, the same dog Carter saw when he first entered town. Lowjack finds a garbage can he likes. Tips it over. BACK ON TAGGART He slips into the cargo bay, returning with a HIGH-POWERED TRANQUILIZER RIFLE with NIGHT VISION SCOPE. TAGGART (CONT'D) Got you this time... He checks the load. Slowly rolls down the window. Takes aim.

CARTER (double-taking) Wait a second...you're a dogcatcher? TAGGART I prefer Biological Containment Specialist. TAGGART'S POV - THROUGH RIFLE SCOPE Cross-hairs slowly converging on the unsuspecting pooch. That's it. TAGGART (O.S.) (CONT'D) Come to papa. PAWS AT THE BACK DOOR.

Lowjack sees Taggart and BARKS loudly.

A COOK appears at the doorway just as Taggart fires. COOK I thought I told you-(thwack!) --Hey! The Cook reaches back, pulls a DART from his butt. in a heap. TAGGART (O.S.) You sneaky little bastard. (CONTINUED) Then collapses

53. 46 CONTINUED: (2)

Lowjack gives Taggart a look and takes off. BACK INSIDE THE TRUCK CARTER You just shot that guy! TAGGART Just a little thorazine. sleep it off. He'll

Taggart grabs some spare darts, throws open the door. CARTER Wait! Where're you going? It's just a dog for crying out loud! He turns on Carter, a wild look in his eye. TAGGART Now you listen to me, friend... I've tracked polar bears on the Arctic tundra, dived with great whites off the barrier reef, hunted with the prides of the Serengeti... And none of it even begins to compare with what this animal's put me through. (beat) That's not just a dog, Mr. Carter. That's the devil himself. With that, Taggart jumps out of the truck and disappears into the alley. A hunter stalking his prey. Carter watches him go. Oh, yeah. CARTER He's stable.

WHAM! The phoberomys pattersoni (Guinea Pig) puts a big dent right next to Carter's head. Carter jumps out of the truck and hoofs it back to Beverly's. As he disappears up the street LOJACK Pops back into the foreground. He checks that Taggart's gone, then runs off in the opposite direction. We FOLLOW him to... 47 EXT. SHERIFF COBB'S HOUSE - NIGHT Where Cobb pulls up to his quaint country cottage. Porch swing. Picket fence.

(CONTINUED)

54. 47 CONTINUED: Lojack watches Cobb get out and walk inside with his box. 48 INT. SHERIFF COBB'S HOUSE - NIGHT Cobb sets the box down, pours himself a drink His place is pure country bachelor. A no frills kitchen opens onto the living room. Big easy chair. Fireplace. Lots of books. LOJACK comes bounding through an open window. An immediate understanding. Taggart? SHERIFF COBB Cobb looks at him.

He barks affirmatively. SHERIFF COBB (CONT'D) Well there's food in the fridge if you're hungry. Lojack zips over to the antique 50s refrigerator, steps on the pedal. The door opens. SHERIFF COBB (O.S.) (CONT'D) But lay off my sandwich, I'm saving that for later. He bypasses Cobb's SANDWICH for a leftover LAMB CHOP. door and settles into Cobb's chair to feast. Shuts the

Cobb puts on some MUSIC. The soundtrack to TITANIC begins to play. Lojack whines. Cobb shoots him a look. SHERIFF COBB (CONT'D) If you tell anybody... Lojack quiets down. Cobb pulls items out of the box, looking for anything to help explain Hubble's condition. He finds the... COMPUTER DISC ...slides it into a desktop computer. The screen becomes scrambled. SHERIFF COBB (CONT'D) What is this all about? Cobb stares at the screen as COMPUTER CODE starts scrolling down. PUSH IN ON COBB'S EYES reflecting the ONES and ZEROS flashing by, faster and faster. (CONTINUED) Takes a sip of his drink.

55. 48 CONTINUED: ON LOWJACK He growls low. ON COBB'S HAND The glass of scotch slips from his grasp and shatters on the floor. ON LOJACK He starts barking madly then jumps back out the window. ON THE BROKEN GLASS WE SLOWLY PAN up from the shards of glass and spilled scotch to find the computer is now black. The front door, ajar. Cobb is GONE. CUT TO: 49 INT. BARLOWE'S PLACE - CARTER'S ROOM - MORNING Something's got him spooked.

Carter's asleep in bed when a SHADOW passes by his window, the change in light rousing him from his slumber. He wakes. The shadow passes again. Then one more time, drawing Carter to the window to see what's going on. As he approaches, a FLYING MAN (Rupert Ladd) suddenly appears, wearing GOGGLES, his LEATHER FLYING CAP and JACKET. Pardon. RUPERT

The Flying Man rises up and out of frame. Carter peeks his head out the window just in time to see him disappear over the roof. 50 EXT. BARLOWE'S PLACE - MORNING Carter exits the front door, shirt unbuttoned, still hopping into his shoes. He catches sight of the Flying Man and gives chase. 51 EXT. TOWN SQUARE - CONTINUOUS Still following the Flying Man, Carter arrives at a park in the center of town. A sign designates the area as E=MC SQUARE. He loses sight of him and finally gives up the chase. (CONTINUED)

56. 51 CONTINUED: Looking around to get his bearings, Carter finds himself standing before a STATUE of ALBERT EINSTEIN. The plaque below reads: "Our Founding Father." On the opposite side is a massive BRONZE PLAQUE of a BEARDED MAN IN A TUB. Carter just stares, trying to make sense of it all. VOICE (O.S.) Hydrostatics. Carter spins, but no one's there. Then, a tug at his pant leg reveals BRIAN, an odd little 7-year-old boy, staring up at him. CARTER Did you say something? BRIAN (pointing to the engraving) That's Archimedes, a Greek Mathematician. While taking a bath one day, he stepped into an overflowing tub and realized that an object surrounded by a fluid is buoyed up by a force equal to the weight of the fluid which it displaces. This became Archimedes' Law of Hydrostatics. Carter, a blank expression. BRIAN (CONT'D) He got so excited, he jumped out of the tub and ran naked through town, shouting "Eureka! Eureka!" (beat) What's your name? CARTER (stunned) Jack... I'm Brian. BRIAN

CARTER You learn all that in kindergarten, Brian? BRIAN (matter of fact) Yeah. KID #1 Hey, Brian, we need you! (CONTINUED)

57. 51 CONTINUED: (2) BRIAN I have to go now, Jack. With that, Brian heads off, joining some other KIDS making CHALK DRAWINGS on the sidewalk. Curious, Carter follows, peeks over their shoulders to discover that they aren't drawings at all-ANGLE - CHALK DRAWINGS They're actually ELABORATE MATHEMATICAL PROOFS. Brian makes corrections to one of the equations. The others NOD IN CONCURRENCE as the corrected proof begins to take shape. Of course. KID #1

KID #2 It was staring us right in the face. Finished with the equation, Brian turns back to find Carter staring-all the color drained from his face. KID #1 Hey, Mister. You okay? He isn't. The other kids turn at once. It's an eerie effect.

Like a man in shock, Carter staggers off. 52 EXT. EUREKA - CONTINUOUS A car swerves to miss him as he lumbers away from Town Square. But Carter barely notices--he's too absorbed in all the little details which had previously escaped his attention. CARTER'S POV -- VARIOUS ANGLES -- The car's bumper sticker reads: MATHEMATICIANS DO IT EXPONENTIALLY. -- The theater marquee displays a midnight showing of A BRIEF HISTORY OF THERMAL DYNAMICS. -- The hardware store advertises a special on SPECTROPHOTOMETERS. Carter stops in front of the BARBER SHOP, where Roy Baker and his twin brother Ray Baker sit on the porch playing CHESS. A THIRD BAKER walks out reading a newspaper. Carter catches his breath, still reeling. (CONTINUED)

58. 52 CONTINUED: A SHADOW PASSES OVERHEAD Carter looks up just as the FLYING MAN DROPS FROM THE SKY, landing in a shrubbery across the street. He steps from the bushes moments later, brushes himself off and makes some notes on a note pad. Then walks away casually. Carter turns to the triplets. CARTER Tell me you just saw that. VOICE (O.S.) You mean Rupert? A FOURTH BAKER steps out of the barber shop brushing hair off his shoulders. BAKER #4 He does that sometimes. That's it. Carter's had it. CARTER (as calmly as possible) Which way's the Sheriff's office. All four point in unison. Carter runs off. The Bakers watch him go.

BAKER #4 Ten bucks says he trips rounding the corner. You're on. ANGLE - CARTER He stumbles on the curb as he rounds the corner. BACK ON THE BAKER BROTHERS Money already changing hands. BAKERS #1 #2 & #3

(CONTINUED)

59. 52 CONTINUED: (2) BAKER #2 Damn you and your Chaos Theory. CUT TO: 53 INT. SHERIFF'S OFFICE - DAY Zoe and Jo sit at her desk enjoying a basket of delicious looking home made muffins, fresh-squeezed O.J. and coffee. The CIRCLED PERSONAL ADS in the "Soldier of Fortune" magazine are open before them. ZOE ...No, he's totally wrong for you. JO You think? I kinda liked the part about looking for a strong, dominant woman. ZOE That's just code for: You bring the chips, I'll bring the whips. Trust me, I know the type. JO Oh... What about this one? ZOE (reading) "Confident law enforcement professional seeks same." (shakes her head) Uh-uh. Maybe you haven't noticed, but John Law types tend to be selfcentered control freaks. SLAM! Carter storms into the office. CARTER I want to know what the hell's going on around here! ZOE (aside to Jo) See what I mean... CARTER I've had it with you people and your crazy town. (to Zoe) Why are you out of your cell?

(CONTINUED)

60. 53 CONTINUED: ZOE It's called communicating. A concept that's foreign to you, I know. But Jo and I got to talking and realized we had a lot in common. Like what? CARTER

ZOE Like fighting an oppressive patriarchal society in order to express our feminine power. Carter looks to Jo. JO What she said. CARTER Look, I don't have time for this. Where's Cobb? ALLISON (O.S.) He's not here? They turn to find Allison at the door. Not yet. JO Why? Jo sees Allison's concern.

ALLISON I think you'd both better come with me. CUT TO: 54 INT. COBB'S HOUSE - LATER Allison, Carter and Jo look around Cobb's place. ALLISON We were supposed to meet here at eight. This is how I found it. Jo and Carter survey the landscape. Carter sees Cobb's car keys on the desk. CARTER Cobb a big drinker? JO (bristling) What are you implying? (CONTINUED) The GLASS on the floor.

61. 54 CONTINUED: CARTER Judging by the spill, that drink was untouched. Now the question is whether he had three glasses before this one and just wandered off in a stupor. JO Not likely. CARTER Right. Then it's safe to assume the sheriff doesn't take scotch with his cornflakes, so it's probably been there a while. Add that to the fact that it's forty degrees in here with that door open tells me he probably left sometime last night. ALLISON How do you know he wasn't forced? CARTER Right now, I don't. They all consider this. Carter sees the box of evidence next to the computer. CARTER (CONT'D) What's all this? JO Evidence from an ongoing case. Carter checks out the computer while Jo and Allison look around the cabin. He EJECTS the BLACK COMPUTER DISK. CARTER What kind of case? No answer. Carter turns to Jo. Jo looks at Allison. QUIETLY PALMS IT.

CARTER (CONT'D) Okay, the little glances? Getting old. If you want my help, you're gonna have to talk to me. Jo still looks unconvinced.

(CONTINUED)

62. 54 CONTINUED: (2) ALLISON (to Jo) I don't think we have a choice. CUT TO: 55 INT. ALLISON'S 4-RUNNER - MOVING - DAY Allison drives through Eureka with Carter. ALLISON First things first... She pulls out an IMPOSSIBLY THICK CONTRACT. CARTER What's this? ALLISON A non-disclosure agreement. CARTER Looks more like a phone book. to give me the Cliff's Notes? Want Carter takes it.

ALLISON It says you'll be charged with treason if you tell anyone about what you see here. CARTER You're joking, right? ALLISON I'm with the Department of Defense. We don't joke. (pointing) Sign here. Carter shakes his head. Scribbles his signature.

CARTER You'd think this was Area 51... Allison turns up a gravel road through the woods. ALLISON Don't be silly. Their security's not nearly as tight. As they crest the next hill, the GLOBAL DYNAMICS COMPLEX sprawls out beneath them. Carter's jaw drops.

63.

56

INT. GLOBAL DYNAMICS - MOMENTS LATER HERMETICALLY SEALED DOORS read: GLOBAL DYNAMICS They WHOOSH open, ushering Allison and Carter into the most STATEOF-THE-ART SCIENTIFIC RESEARCH FACILITY known to man. A gargantuan complex filled with the next generation of science and technology. --GOVERNMENT PERSONNEL whiz by on two-wheeled SEGWAYS. --Mail is delivered through an ELABORATE PNEUMATIC TUBE system. --Remote-controlled SMART CARTS transport equipment. The whole place is alive with activity. SCIENTISTS and TECHNICIANS everywhere, working on an endless variety of projects. They're not just splitting atoms here, they're building them from the ground up. ANGLE ON - CARTER Utterly speechless. ALLISON Welcome to Eureka. BLACK OUT. END ACT FOUR

64.

ACT FIVE 57 INT. GLOBAL DYNAMICS - MORNING Allison and Carter tour the incredible research facility through a SECURITY CORRIDOR separated by OBSERVATION WINDOWS. CARTER How is this here? ALLISON World War II taught us an important lesson. The key to the future rests in the hands of scientists, not soldiers. Carter marvels as they pass one HIGH-TECH LAB after another, each more advanced than the next. ALLISON (CONT'D) In '46, Einstein urged Truman to create a haven, a place where the world's greatest thinkers could live and work. He was convinced that science was the new frontier. Eureka became the first settlement. CARTER Our tax dollars hard at work. ALLISON Considering most of the major scientific breakthroughs in the last half-century happened right here, I think it's money well spent. Don't you? Okay. this? CARTER Where do you fit into all

ALLISON I'm the government liaison. It's my job to make sure the research they're doing here is-CARTER Profitable? ALLISON I was going to say productive, but yes... Building a better tomorrow doesn't come cheap.

65.

58

INT. ARTIFICIAL INTELLIGENCE LAB - CONTINUOUS ALLISON This is the Artificial Intelligence Lab. TECHNICIANS monitor ROBOTS of various sizes and configurations performing a multitude of tasks within a MOCK HOUSEHOLD SETTING: -- A CLEANING BOT with vacuum and buffer cleans a mock bathroom. -- A SPIDER-LIKE ROBOT dismantles random KITCHEN APPLIANCES, welding and soldering their parts to add to its own. -- TWO ARTICULATED DROIDS play speed chess at a blistering pace. CARTER I'm no expert, but is the demand for chess-playing robots really that high? ALLISON We're not teaching them to play chess, we're testing their emotions while they play. As they turn the corner, we stay on the CHESS-PLAYING ROBOTS. Checkmate. EMOTION MONITORS go off-scale. The loser FLINGS THE BOARD aside, then ATTACKS his opponent. TECHNICIANS RUSH IN to separate them.

59

INT. ENGINEERING LAB - CONTINUOUS A vehicle CRASH TEST is underway. THE CAR hurtles toward a concrete barrier. But instead of smashing into pieces, the body ABSORBS THE IMPACT LIKE CLAY. Carter goggles as the car UNFOLDS TO NEARLY ITS ORIGINAL FORM. ALLISON It's a new micropolymer plastic. Still too expensive to mass-produce, but promising.

60

INT. OBSERVATION CORRIDOR - CONTINUOUS Allison and Carter arrive at a GIANT BLUE ROOM. ALLISON ...One of our aquariums. Completely empty.

(CONTINUED)

66. 60 CONTINUED: CARTER You're kidding. You've got fish in there? ALLISON Not fish... A DEEP MOAN reverberates as a huge BLUE WHALE rises into frame. It passes like the Hindenberg, WHALE-SONG echoing in its wake. ALLISON (CONT'D) We're working to decipher how they communicate. So far, we've isolated over three-hundred distinct words and phrases. CARTER (awed) You speak whale? Well, no. ALLISON Not me, personally.

Carter looks past Allison down the opposite corridor. CARTER What's with Fort Knox? ANGLE - THE VAULT The TWO GUARDS stand sentry in front of that HUGE STEEL VAULT that reads LEVEL FIVE - AUTHORIZED PERSONNEL ONLY. ALLISON Level Five is reserved for military projects only. Military. CARTER You mean weapons.

ALLISON I couldn't say. You need NSA clearance to enter. Carter ponders the destructive powers lurking behind the door before following Allison. CARTER So much for building a better tomorrow. ALLISON Everything has trade-offs, Marshal. (MORE) (CONTINUED)

67. 60 CONTINUED: (2) ALLISON (CONT'D) Eureka has the best schools, the best housing, the best social supports imaginable. It's a privilege to work here. But it's all DOD funded. Sometimes progress demands compromise. CARTER And results, no doubt. ALLISON That's why everyone's on edge. Our annual funding review is this weekend. Careers are on the line and some folks can't take the pressure. Like David Hubble. CARTER That's who Cobb was investigating? ALLISON (nodding) Three days ago, Hubble didn't show up at his lab. We thought he was just working at home until we found him this morning near Henry's station, completely out of his head. CARTER Don't tell me. Naked? Correct. ALLISON Chicken?

CARTER And you think he just snapped? ALLISON I did until Cobb went missing. I'm not so sure. Now

As they round the corner, Allison sees something. Great. 61 ALLISON (CONT'D) Now what?

INT. COMPUTER LAB - CONTINUOUS A frenzy of activity. In the midst of which, a hyperactive young computer tech, EDWARD ZANE, oversees a half-dozen PROGRAMMERS who busy themselves overhauling an impressive bank of computers. Allison walks over to Zane. He sees Carter behind her. (CONTINUED)

68. 61 CONTINUED: ZANE He cleared? ALLISON Would he be here otherwise? CARTER (offering hand) Jack Carter. ZANE Zane. Sorry, but I can't risk the static charge, not with all these exposed motherboards. ALLISON Yeah, about that... ZANE Hey, don't talk to me. This was King's idea. He's got me debugging the entire system. Defrags, viral scans, system checks, the whole enchilada. ALLISON Didn't we just do that a few months ago. ZANE Like I said, talk to the man upstairs. I plan to. ALLISON

CARTER Before we do... Carter takes out the disk he got from Cobb's computer. ALLISON What's that? CARTER The last thing Cobb was working on. ALLISON You tampered with evidence again? CARTER Yes, but in my defense, I didn't trust you at the time.

(CONTINUED)

69. 61 CONTINUED: (2) ALLISON How reassuring. CARTER (to Zane) Can you tell me what this is? ZANE Well it's just an educated guess, but I'd say it's a computer disk. CARTER I know that. What I don't know is what's on it. Zane starts to protest. He looks to Allison for help.

ALLISON I'll owe you one. Zane reluctantly takes the disk. ZANE Sure. It's not like I'm busy debugging a multi-billion dollar network or anything. Carter turns back to Allison, gestures: After you. CARTER CUT TO: 62 INT. WARREN KING'S LAB - MOMENTS LATER PLEXIGLAS HABITATS house a dozen CHIMPANZEES and ORANGUTANS. In each habitat TELEVISIONS play serene images. sunsets, wind blowing through wheat fields. Ocean waves,

Fargo monitors a BANK OF COMPUTERS which in turn monitor the animals' vital signs. ALLISON I need to see him, is he here? Ms. Blake. FARGO Let me check.

Fargo picks up a phone. Allison walks over to an orangutan habitat, lays her hand on the glass. ALLISON Hey, Miranda. How's my girl? (CONTINUED)

70. 62 CONTINUED: Miranda approaches cautiously, eyeing Carter with interest. ALLISON (CONT'D) (to Carter) She's a little shy around new people. To Allison's surprise, Miranda walks past her and OVER TO CARTER. She looks at him and sits, leaning against the glass. Warren King appears at the top of the stairs above them. KING I think she likes you. Carter inadvertently looks to Allison before realizing King's talking about Miranda. CARTER Couldn't be worse than my last relationship. ALLISON Marshal Jack Carter, this is Dr. Warren King. King comes down and they shake hands. KING To what do I owe the pleasure? ALLISON Sheriff Cobb is missing. King shoots Fargo a quick glance. KING You're sure? When? CARTER Some time last night. He was investigating what happened to one of your researchers. KING Yes, Dr. Hubble. We're all hoping he recovers from his ordeal. CARTER Do you know what he was working on? KING I'm afraid his research is classified. It was a Level Five project. (MORE) (CONTINUED) Carter registers it.

71. 62 CONTINUED: (2) KING (CONT'D) (beat) You don't think that has anything to do with the sheriff's disappearance. CARTER I don't think anything, I'm just following up on a lead. So what kind of work do you do, Professor? The subtle slight is not lost on King, nor Allison. ALLISON Dr. King's lab has produced some of the greatest scientific advances of the past twenty years. KING Allison's exaggerating, of course. But these subjects may be our next great leap. King walks over to Miranda, happy to change the subject. KING (CONT'D) Miranda and her friends were rescued from a cancer research facility. Our treatments have drastically reduced their tumors. Miranda moves away, leaving King hanging. Carter gestures to the TVs. CARTER Nice set up. Cable or satellite? KING The images are a placebo. We're subliminally stimulating areas of the brain that promote healing. CARTER Television therapy. medicine. My kind of

KING The brain is a powerful tool, Marshal. We're only beginning to learn how to master its capabilities. CARTER How to control them, you mean.

(CONTINUED)

72. 62 CONTINUED: (3) KING I wouldn't know. My research is focused on healing, not harming. CARTER So you don't think there's a link between Hubble and Cobb? KING If there is, I can't imagine what it would be. A tense moment as King and Carter size each other up. ALLISON We should go see if Jo's found anything. Allison. posted. KING Marshal. Please keep me

CARTER Count on it. As they start to exit, Allison turns back to King. ALLISON I saw Zane overhauling the mainframe. Is there a problem I'm not aware of? KING Just a precautionary measure before the committee arrives. Nothing to be concerned about. King offers a reassuring smile. Allison leaves. BACK ON KING He watches Miranda. Thoughtful. Concerned. Carter follows her out.

Fargo scoots up behind him. FARGO You think she knows? KING If Allison suspected anything, she would have told me. King stares at Miranda. Sighs. (CONTINUED)

73. 62 CONTINUED: (4) KING (CONT'D) The real question is whether I should have told her. FARGO She doesn't have clearance. KING Neither did I. FARGO The program had important military applications. It's not your fault that Hubble got careless. KING I gave him the technology. Cobb may be infected. And now

FARGO Sometimes progress demands compromise, Dr. King. You said so yourself. King's expression is unreadable. KING So I did... CUT TO: 63 EXT. EUREKA - DRIVING - DAY Allison and Carter argue on the drive back into town. doesn't look happy. ALLISON I didn't take you in there to make accusations. CARTER He knows more than he's saying. ALLISON Dr. King's been a pillar of this community for two decades. And you've been here what, two days? CARTER Hey, you asked for my help, remember? ALLISON It's just... you're barking up the wrong tree with Warren. Allison

(CONTINUED)

74. 63 CONTINUED: CARTER Warren, huh? Sounds like someone's got a crush on the teacher. Allison SLAMS on the brakes, bouncing Carter off the dashboard. CARTER (CONT'D) (rubbing his head) ...I've really gotta start wearing my seat belt. ALLISON Are you questioning my professionalism? No. CARTER Just your judgment.

ALLISON I'll have you know I execute my duties without preference or prejudice. CARTER All right, relax. It's just a hunch. Maybe whatever's on that disk will prove me wrong. CUT TO: 64 INT. ZANE'S LAB - MEANWHILE Zane sits in front of a sophisticated computer array. Carter's disk in. Punches a few keys. Hits enter. VIRUS ALERTS pop up all over the screen. ZANE Hey! Little ambush, eh? You don't know who you're messin' with. He punches more keys to cancel the program. overrides his commands. ZANE (CONT'D) Ho ho! Feisty! Changing on me, huh? I don't think so. You wanna play? Let's play! He types furiously. The virus quickly regains control. But the virus He pops

ZANE (CONT'D) Oh no you don't. This is my system, punk! Take that. And some of that. Damn it, let go! (CONTINUED)

75. 64 CONTINUED: His system freezes. Then...

Little CODE STREAMS trickle down, MATRIX style--ones and zeros. ZANE (CONT'D) What the--? Whoa... PUSH IN on ZANE'S EYES. SCROLLING CODE reflected in his RAPIDLY DILATING PUPILS. BLACKOUT. END OF ACT FIVE

76.

ACT SIX FADE IN: 65 EXT. SHERIFF'S STATION - AFTERNOON Allison and Carter arrive just as Jo is rushing out. ALLISON Hey, any news on Cobb? JO Funny you should ask... CUT TO: 66 EXT. DOWNTOWN - DAY CLOSE ON - ALLISON, JO & CARTER Staring up at the sky, mouths open. ALLISON This isn't good. PULL QUICKLY UP AND BACK to find SHERIFF COBB SHERIFF COBB (arms outstretched) I'M KING OF THE WORLD!!! He's standing on the top branch of a two-hundred foot tall redwood tree in the center of town. A small CROWD has gathered below. BACK ON THE GROUND CARTER You're sure he isn't drunk? Cobb starts SINGING Celine Dion at the top of his lungs. SHERIFF COBB Near. Far. Wherever you are... My heart will always go on...! JO As difficult as that is to believe... Okay. CARTER We've found him. Now what? (CONTINUED)

77. 66 CONTINUED: JO What do you think? We go get him.

CARTER We? No, no, no. See, I kind of have this thing. About heights. Mostly airplanes, but giant redwoods definitely fall under the same umbrella. Jo smirks. Pulls lumberjack climbing spikes, rope and harness out of her truck. JO I'll take care of it. CARTER Good. Okay. I'll be right here if you need me. JO I can't tell you how reassuring that is. Allison stares at Carter with amusement. CARTER No offense, but she can be really irritating. ALLISON I've got news for you, Marshal. You're no walk in the park. This gets a small smile from Carter. They watch Jo gear up and begin scaling the tree. CARTER How'd you wind up here anyway? You don't strike me as the science type. Oh really? ALLISON What type am I? Cobb sings.

CARTER (considering) Practical. (reconsidering) That was one of those questions women ask that I'm not supposed to answer, wasn't it? Bingo. ALLISON (CONTINUED)

78. 66 CONTINUED: (2) CARTER All I meant was I don't know how you deal with these people every day. Sure they're bright, but they have the common sense God gave a-ALLISON Guinea pig? CARTER That was funny. I didn't know you were funny. ALLISON Trust me, Carter, the amount of information you don't know about me could fill volumes. There's a charged energy in the air. A new flirtation. the first time she's called him Carter and he likes it. The CROWD CHEERS. IN THE TREE Jo reaches Cobb. CARTER ...But how's she gonna get him down? Jo whips a harness around his chest, attaches it to hers. Then shoves him out of the tree. He falls a few feet before the rope snaps taut. Jo starts climbing back down with Cobb dangling below her. CARTER (CONT'D) (impressed) That'll work. 67 EXT. DOWNTOWN - LATER Cobb is strapped to a gurney and put into an ambulance. Jo walks over to Carter and Allison. JO I'm gonna follow them to the hospital. ALLISON I'll stop by later. CARTER I can go with you. (CONTINUED) It's

79. 67 CONTINUED: ALLISON Thanks, but we can take it from here. CARTER So what, that's it? ALLISON We found him. Now go eat. See your daughter. If anything comes up, I know where to reach you. Allison goes. Carter looks around, suddenly at a loss for what to do with himself. CUT TO: 68 INT. EUREKA DINER - EVENING A 50s-style restaurant with lots of retro touches. Tables and booths covered in well-worn red vinyl. A half-dozen stools line the counter. Carter sits on one of them, staring at THE WALL BEHIND THE COUNTER FRAMED BLACK AND WHITE PHOTOS hang haphazardly. Candid shots of famous scientists. ALBERT EINSTEIN, ENRICO FERMI, WERNER HEISENBERG, MAX BORN. There's even one of WARREN KING. The cook, VINCENT, adjusts one of the crooked photos. CARTER Not exactly the Hard Rock Cafe. VINCENT No. But I'm sure there's a geologist in there somewhere. Vincent has Jersey Shore written all over him, including the shiner under his eye. VINCENT (CONT'D) Hey, you're that marshal. CARTER I am. (re: eye) How'd you get that? VINCENT Weirdest thing...I blacked out in the alley last night. Went down like a ton of bricks. (CONTINUED)

80. 68 CONTINUED: CARTER (evasive) ...Yeah...that is weird. VINCENT I'm Vincent. What can I get you? CARTER A couple of dinners to go. Got a little fence mending to do with my daughter. You have a menu? No menus. it. VINCENT You ask for it. I make

CARTER You're kidding. Try me. VINCENT

CARTER Long as it's hot, I'm happy. VINCENT Two Chef's Specials coming up. FIFTEEN MINUTES LATER Vincent returns with a pair of TO GO bags. VINCENT (CONT'D) Sirloin sauteed in truffle oil, rosemary garlic potatoes, and roasted asparagus tips. Even threw in the local marionberry cobbler. CARTER Don't tell me, picked fresh this morning. VINCENT Well, not so much picked as engineered in our hydroponics lab, but yeah. Carter stares warily at the bags. CARTER But the steaks come from real cows, right?

(CONTINUED)

81. 68 CONTINUED: (2) VINCENT (evasive) ...Bon appetite. Carter gives Vincent a look as he rings him up. back to the wall of photos behind him. VINCENT (CONT'D) That'll be $37.50. Carter hands him a fifty. CARTER (nods) Quick question. What do you have to do to get on that wall? VINCENT Oh, just win a Nobel Prize. Carter focuses on a picture of WARREN KING with a CLEAN CUT MAN. CARTER Wait a second. The guy in the picture with King. Is that--? VINCENT David Hubble? Looks different, huh? One minute he's sharing the Nobel in Physics with Warren King, the next he's tying his shoes with licorice whips. CARTER What'd they win for? VINCENT Let's see. Something for the military. Fission properties of boron, I think. CARTER They do a lot of military research together? Sure. VINCENT They're Fivers. CARTER His eye strays

Fivers?

VINCENT That's what we call the select few with Level Five clearance. (MORE) (CONTINUED)

82. 68 CONTINUED: (3) VINCENT (CONT'D) It's a short list, and Hubble's right at the top, just beneath our illustrious mayor. Carter's mind kicks into high gear. Thanks. CARTER

Carter takes the food and heads off, a determined stride. VINCENT Hey, your change! Keep it. it. CARTER Believe me, you earned CUT TO: 69 EXT. EUREKA - LATER Carter KNOCKS on the door of a stately home. A small boy answers. It's BRIAN, the kid from the park.

CARTER Oh, sorry little man, I must have-(recognizing him) Hey. Archimedes. How's it going? ALLISON (O.S.) Brian, honey, who is it? Allison appears behind Brian. She sees Carter.

ALLISON (CONT'D) It's okay sweetie, go back inside. Brian smiles at Carter then goes. Allison seems flustered.

CARTER That's some kid you got there. We chatted in the park earlier today. ALLISON Is that supposed to be funny? CARTER (taken aback) No...

(CONTINUED)

83. 69 CONTINUED: ALLISON My son has a rare form of autism. He hardly talks to the people he knows. CARTER I'm sorry, I could've sworn-there any word on Cobb? Is

ALLISON Not yet, but he's under observation. CARTER Like Hubble. Yes. ALLISON

CARTER What about the disk? ALLISON Zane left early but I'll check with him tomorrow. Now I really should get back-CARTER King lied to us, Allison. Allison steps out, closes the door behind her. ALLISON Keep your voice down. CARTER I saw the picture of him with Hubble in the restaurant. They were partners. There's no way King doesn't know what he was doing. ALLISON He didn't say he didn't know. said it was classified. He

CARTER I saw the look on his face when you told him about Cobb. You know what it was? Fear. The reason he's not talking is because he's involved. ALLISON If he was he would have told me.

(CONTINUED)

84. 69 CONTINUED: (2) CARTER Why? You said yourself, you don't have Level Five clearance. Allison looks uncomfortable but doesn't answer. CARTER (CONT'D) It's the only thing that makes sense and you know it. That's why you asked him about the computers. ALLISON I asked him because it's my job. CARTER You wanted to see his reaction. ALLISON Why are you so fixated on him? CARTER Why are you defending him? The question hangs in the air. MALE VOICE (O.S.) Allie, who is it? Carter gets his answer as WARREN KING appears in the doorway behind Allison. candles can be seen within. A dinner table set with

KING Mr. Carter. Still following up on that lead? The tension is palpable. Carter looks at Allison.

CARTER As a matter of fact... KING We were just about to have dessert. You're welcome to join us. CARTER Thanks... (eyeing Allison) ...but I've been fed about all I can handle. Sorry for the intrusion. Carter goes. Allison watches him. And King watches Allison. (CONTINUED)

85. 69 CONTINUED: (3)

ANGLE ON - CARTER walking away from Allison's house. over him... ...Zoe! CARTER (CONT'D) A sudden realization washes

He checks his watch and takes off running. CUT TO: 70 EXT. SHERIFF'S STATION - NIGHT Carter races up to the door, but it's locked. He peeks in the window, spots Zoe in her cell, getting ready to turn in. He TAPS on the glass, holds up the two TO-GO BAGS with a sheepish grin. Zoe looks at him with disgust, then turns out the light. CUT TO: 71 EXT. BARLOWE'S PLACE - NIGHT A dejected Carter finds Lowjack sleeping on the front porch. The dog's tail wags as Carter approaches. Carter tosses him the food. CARTER Knock yourself out. 72 INT. BARLOWE'S PLACE - CONTINUOUS Carter starts to walk up the stairs. MOANS AND SQUEALS OF ECSTASY stop him in his tracks. He turns toward the parlor. A DIM LIGHT FLICKERS from the half-open door. 73 INT. PARLOR - CONTINUOUS The MOANS are LOUDER now. Carter peeks his head around the door.

Beverly Barlowe sits in an overstuffed loveseat looking incredibly sexy in a silk night shirt and glasses. CASE FILES and ACADEMIC JOURNALS are spread out before her. STACK OF VIDEOS at her side. A PORN FLICK plays on the TV. Beverly jots down notes on a pad. BEVERLY Marshal, perfect timing. (CONTINUED) She notices Carter. A

86. 73 CONTINUED: Really? CARTER 'Cause that'd be a first.

BEVERLY Just come in here. A WOMAN SQUEALS in delight off-screen. Carter reacts.

BEVERLY (CONT'D) Now tell me. What turns you on about this? CARTER You know what's disturbing? This is probably going to be the most normal conversation I've had today. BEVERLY Be specific. Is it the over-acting? The acrobatics? The costumes? He tilts his head to the side, considering. CARTER Mostly, it's the naked. Beverly tosses her note pad aside. BEVERLY The naked. It's really that simple for men, isn't it? CARTER Pretty much. She turns off the video. BEVERLY I keep giving you more credit than that, but you keep proving me wrong. I need a drink. Want one? Beverly goes to the bar, her bare legs sculpted to perfection. Carter tries not to stare, but this woman is stunning. CARTER Sure. Why are you watching... (checking out video jacket) ..."Gang Bangs of New York?" BEVERLY (handing him glass) I'm a sexologist. I study sex. (MORE) (CONTINUED)

87. 73 CONTINUED: (2) BEVERLY (CONT'D) All kinds of sex. What turns people on, why relationships last, what do women, and men, want... These are the questions that keep me up at night. Carter sees a TWISTER MAT still out on the floor. CARTER That explains a lot. BEVERLY Take courtship. A man can go through endless rituals--dating, gifts, flowers--and never get to first base. But a woman can get any man into bed within two minutes if she wants to. CARTER Now you're exaggerating. Am I? BEVERLY

Beverly removes her glasses, shakes out her hair and puts one perfect leg up on the arm chair. BEVERLY (CONT'D) Care to wager on that? ANGLE ON - CARTER framed underneath like Dustin Hoffman in "The Graduate." CARTER Ms. Barlowe, you're trying to seduce me. She slinks over to his chair. Straddles his lap.

BEVERLY One benefit of owning the place... You can make all the noise you want. Beverly leans in to kiss him, her long hair falling seductively around his face. Carter's like a deer caught in the headlights. She stops at the last moment, leaving him hanging. BEVERLY (CONT'D) (smiles) I win... (CONTINUED)

88. 73 CONTINUED: CRASH!! A huge noise outside the house. Carter slips away. (3)

CARTER Like I said, bad timing. 74 EXT. BARLOWE'S PLACE - MOMENTS LATER Carter creeps outside, peering into the shadows. He moves around the side of the house. A TRASH CAN has been toppled. A trail of debris leads around back. CLANG! Another noise from the back yard. A TOOL SHED stands in the far corner of the rose garden. The DOOR IS AJAR. Carter moves in. Closer. Takes a deep breath. Reaches for the door. THROWS IT OPEN revealing LOWJACK, crouched behind some bags of soil. Carter exhales. CARTER You really are the devil. The HAIR on Lowjack's neck STANDS UP and he GROWLS low. CARTER (CONT'D) Take it easy. I'm not gonna hurt you. BEHIND CARTER We see what Lowjack sees. A DARK FIGURE rising from the shadows. Lowjack BARKS. Carter spins, but he's too late. CLANG! The figure nails him with a SHOVEL. Carter topples, tries to defend himself against the attack, but he's dazed from the blow. The figure looms above him, raises the shovel high... FWEET! TAGGART steps into the light holding a tranquilizer gun. ZANE slumps unconscious to the floor next to Carter, the offending shovel still clasped in his hand. Carter barely has time to register his surprise before slipping into unconsciousness. BLACK OUT. END OF ACT SIX We hear a soft WHISTLE as

89.

ACT SEVEN FADE IN: Carter? 75 VOICE (O.S.) Son, can you hear me?

INT. DOCTOR'S OFFICE - AFTERNOON CARTER'S POV Images blurry and nondescript. Two figures hovering. them leans in close, shines a LIGHT in his eyes. HENRY'S VOICE Try to follow the light. TAGGART'S VOICE You might want to rephrase that. HENRY'S VOICE Huh? Oh, right. Don't go into the light. Follow it with your eyes. Carter stirs. Opens his eyes to find Henry standing over him in a doctor's coat, waving a penlight. CARTER (fuzzy) Henry... Where am I? dressed like that? One of

Why are you

Carter looks behind Henry, where a dozen DOCTORAL DEGREES in various disciplines hang in frames on the wall. CARTER (CONT'D) You're a doctor? HENRY I told you, I like fixing things. Now, you're going to be fine. Just a mild concussion and some bruised ribs. Taggart leans into frame-TAGGART Not like that time in the Amazon when a nasty croc gave me this... --rolls up his sleeve to show Carter the scar. Taggart. there-CARTER Man, if you hadn't been (MORE) (CONTINUED)

90. 75 CONTINUED: CARTER (CONT'D) (a thought occurs) How did you know that Zane-a minute... TAGGART (evasive) I should really be going-CARTER (realizing) ...You weren't after him. after that damn dog. Taggart looks down.

Wait

You were

Guilty as charged.

CARTER (CONT'D) Don't worry, your secret's safe with me. Where is Zane, anyway? CUT TO: 76 INT. OBSERVATION ROOM - MOMENTS LATER CLOSE ON - ZANE Pacing and mumbling inside a PADDED OBSERVATION ROOM. PULL BACK to Carter and Henry watching through TWO-WAY GLASS. There are TWO ADJACENT ROOMS. Cobb rests groggily in one, humming quietly to himself. HUBBLE crouches in the other, drawing imaginary ones and zeros in the air with his finger. CARTER What's wrong with them? the obvious. Besides

HENRY Near as I can tell, it's some kind of virus. Disrupts the neural pathways, wreaks havoc on brain function. CARTER Is there a cure? HENRY That's the rub. Medically speaking, I can't find anything wrong with them. All their tests came back normal, but the symptoms are still progressing. Their mental systems are slowly shutting down. (CONTINUED)

91. 76 CONTINUED: CARTER So unless we find a treatment... HENRY The degeneration could become permanent. They're all at different stages of the same infection, but what infected them, I have no idea. A realization hits Carter. CARTER As much as it disturbs me to admit this, I think I might. CUT TO: 77 INT. GLOBAL DYNAMICS - LATER Carter, Henry and Allison stride toward the computer lab. CARTER It's the only thing that makes sense. ALLISON You think people catching a computer virus makes sense? CARTER Well, not when you put it that way. ALLISON Okay, suppose it is possible, why would Hubble create it? HENRY Think about it. Computer viruses are designed to damage programs, erase memory, alter normal functioning... What if you could do that to humans instead of hard drives? CARTER Sounds like something the military could use, don't you think? Allison's sold. Then realizes.

ALLISON Oh no. If Zane left that disk in his computer... It's connected to the entire network.

92.

78

INT. COMPUTER LAB - MOMENTS LATER ONES and ZEROS streaming on EVERY COMPUTER SCREEN in the lab. The infection has definitely spread. CARTER I take it that's not normal. ALLISON Wait, should we even be looking at this? CARTER Too late now. They take a beat. Look at themselves, then each other.

CARTER (CONT'D) I don't feel crazy. Do you feel crazy? ALLISON No, but maybe there's an incubation period. Henry, how long does it take--? They turn. Henry's gone. ...CRAP! CARTER CUT TO: 79 INT. AQUARIUM - MOMENTS LATER They stand in front of the aquarium tank observation window. HENRY IS SWIMMING WITH THE WHALES. ALLISON I don't get it. If the code is contagious, how come nothing's happened to us? They consider this a moment. Something occurs to Carter.

CARTER Oh, that is so depressing... What? ALLISON

CARTER Do you know anything about computers? (CONTINUED)

93. 79 CONTINUED: ALLISON Frankly, to me they're glorified typewriters. CARTER Me, too. That's why we're fine. We're too dumb to catch it. ALLISON That actually makes sense. Our brains can't process the code. We're Mac. The virus is PC. (turns on her heel) Try to get him out of there. CARTER Where are you going? ALLISON To fix this mess. CUT TO: 80 INT. WARREN KING'S OFFICE - MOMENTS LATER King sits at his desk. door behind her. Allison storms in, furious, SLAMMING the

ALLISON You lied to me! KING Allie, what are you-ALLISON You lied about Hubble. about the virus. KING Please calm down-ALLISON And what's worse, I believed you. I defended you! KING Listen to me, Allison. What happened to Hubble and Cobb has nothing to do with me. ALLISON Even if that's true, you knew about it. You put me and everyone else in this town at risk by deliberately withholding information-(CONTINUED) You lied

94. 80 CONTINUED: KING Classified information. ALLISON Please. Are you really going to sit there and pretend this is about security clearance? KING Safeguards exist for a reason, Allison. ALLISON Well I'd say we've had a pretty significant breach. People are sick and you're hiding behind a technicality. KING It's not a technicality, it's the law. I'm sorry, but if Hubble was working on something that could have caused this, and I'm not saying that he was, I couldn't tell you about it even if I wanted to. Fine. ALLISON

She heads for the door. KING Where are you going? She stops. Shakes her head. ALLISON You've done a lot for me and Brian. We wouldn't be here if it weren't for you. And he... he needs this place. I'll always be grateful for that. But honesty's the most important thing to me, Warren. KING Allie, don't do this. I didn't. 81 ALLISON You did.

INT. WARREN KING'S LAB - CONTINUOUS Allison slams the door and stomps down the stairs. With each step, her tough facade crumbles. She pauses at the bottom, fighting tears, struggling to maintain her composure. Then goes. (CONTINUED)

95. 81 CONTINUED: ANGLE ON - WARREN KING King comes down the stairs, walks over to Miranda's habitat. The orangutan watches a TV monitor. CARTER (O.S.) So is it worth it? Carter stands SOAKING WET in the doorway behind King. KING You're dripping on my floor. CARTER Is protecting your reputation worth all this? Worth losing her? KING You have no idea the politics involved. CARTER But I can see the damage they're causing. So we've got two options. I can remind you that behind this badge, I'm a tired angry man with a gun... KING (unimpressed) Marshal, please. CARTER Which leaves option two. I appeal to your honor and integrity as a doctor. "First do no harm," right, Doc? This will only get worse. Carter tosses him the BLACK COMPUTER DISK and walks out. Off King's look, we... CUT TO: 82 INT. SHERIFF'S OFFICE - LATE AFTERNOON The place is a madhouse. Phones are RINGING off the hook. RESIDENTS shout complaints while Zoe and Jo juggle calls. JO (to resident) Tap dancing on your roof, got it... (into phone) ...Okay, you were saying he stole all of your shoes... Only the left ones? (CONTINUED)

96. 82 CONTINUED: ZOE (into phone) I realize they're not your kids, but as long as they're there, you might as well feed them. Hold on. (she clicks over) ... Uh-huh... Uh-huh... No, ma'am, we didn't shoot your husband... Oh, you want us to shoot your husband. I'll have to get back to you on that. She hangs up, spots Carter and Allison. ZOE (CONT'D) Welcome to the Cracker Factory. CARTER Glad to see you're on top of things. Allison absorbs the chaos. ALLISON This is out of control. The review committee arrives in the morning. (to Jo) We have to call it in. JO Forget it. They'll shut the whole place down. ALLISON Look around, Jo, we're already shut down! What if this spreads beyond the town? You want that on your resume? CARTER All right. First things first. We need to round everybody up so they don't hurt themselves. ALLISON Okay, and then what? KING (O.S.) Then you bring them to me. Warren King stands behind them. Allison masks her surprise.

ALLISON And why should we do that?

(CONTINUED)

97. 82 CONTINUED: (2) KING Because Hubble's virus is classified... (looking at Carter) My cure isn't. CUT TO: 83 EXT. EUREKA - TOWN SQUARE - DAY

CLOSE ON - TAGGART A hungry look in his eye. TAGGART I thought this day would never come. PULL BACK TO REVEAL he's standing in the middle of Town Square, TRANQUILIZER GUNS loaded. BANDOLIERS OF DARTS crisscrossing his chest. IN THE BACKGROUND Total chaos. It looks like Eureka's entire population has succumbed to the virus. Taggart cracks his knuckles. TAGGART (CONT'D) Let's dance. A SHADOW PASSES OVERHEAD He quick-draws, FIRES up in the air. off-screen. WE STAY BEHIND. SPLASH! A beat later... Then casually walks

RUPERT falls from the sky and into the fountain.

BEGIN MONTAGE: -- THE PET STORE. A wild-eyed MAVIS HENDERSON (Fluffy's owner) stares with manic glee at the dozens of GUINEA PIGS in the window display. She reaches into her pocket. Removes a vial of what we can only assume to be her EXPERIMENTAL GROWTH HORMONE. FWEET! Taggart hits her with a tranquilizer dart.

-- CHARLIE'S HOUSE. The lawn pocked with deep holes and trenches. A dirty shovel leans against the front door. Taggart approaches, yanks the door open.

(CONTINUED)

98. 83 CONTINUED: CHARLIE spills out atop a tidal wave of ROCK SAMPLES. frantically begins stuffing them back in his pockets. FWEET! Charlie gets a dart. He

-- GROCERY STORE. Where ROY BAKER eats can after can of various processed meats. FWEET! -- POST OFFICE. RAY BAKER covers himself in mailing labels, tries to stuff himself into the OUT OF TOWN SLOT. FWEET! -- BARBER SHOP. An indefinite number of BAKER BROTHERS in an all-out brawl. FWEET! FWEET! FWEET! FWEET! FWEET!

END MONTAGE ON: 84 EXT. PERKINS HOUSE - EVENING Taggart's truck pulls up outside. out. 85 INT. BATHROOM - MOMENTS LATER Taggart bursts in to find WALTER PERKINS lying in a tub literally overflowing with Popular Science magazines. Walter joyfully rubs them all over his naked body. Sees his wife, Susan, hovering in the doorway behind Taggart... WALTER What? That's right! science! FWEET! CUT TO: 86 EXT. PERKINS HOUSE - MOMENTS LATER Daddy like the An exhausted Taggart steps

Carter and Allison help load Walter into the back of Taggart's truck. As they open the cargo doors, we can see a DOZEN OTHERS lying unconscious within. ALLISON I think that's the last of them.

(CONTINUED)

99. 86 CONTINUED: TAGGART (spent) God, I hope so. CARTER This better work. CUT TO: 87 INT. WARREN KING'S LAB - NIGHT CLOSE ON -- WALTER PERKINS strapped to a chair inside one of King's Plexiglas monkey chambers. A STEEL CLAMP holds his head in place, forcing him to stay focused on the TELEVISION SCREEN directly in front of him. ON THE TV we see the same serene images as before. Ocean waves, sunsets, wind blowing through wheat fields. Only this time, STREAMS OF COMPUTER CODE appear at random intervals. BACK ON WALTER The new code reflected in his eyes. Scrolling. Stops struggling. Then looks around, confused. WALTER ...Where am I? The chamber opens. Walter is escorted out by Jo. We'll explain He calms.

JO Just follow me. everything.

Another LAB TECH hustles a GROGGY, HALF-CRAZED EUREKAN (who looks an awful lot like Dan Haggerty) into Walter's chamber. Closes the door. Starts the process all over again. PULL BACK TO REVEAL The same process repeated throughout King's vast laboratory. PEOPLE being escorted to and from TELEVISION CHAMBERS. The whole operation running like a well-oiled machine. Fargo continues monitoring everything on a BANK OF COMPUTERS. Warren King monitors Fargo. PULL FURTHER BACK (CONTINUED)

100. 87 CONTINUED: to find Allison watching King. busy room. Allison mouths... ALLISON (silently) Thank you. Carter sees the exchange. Allison walks over to him. Their eyes meet across the

ALLISON (CONT'D) Well...as much as I hate to admit it, we owe you one, Carter. CARTER What happens now? ALLISON I'll have to smooth some ruffled feathers with the review committee. But in a few days... everything will be back to normal. CARTER Trust me. There's nothing about this town that's normal. (beat) What about King? ALLISON You were right about him. But he'll get his funding. He always does. CARTER I was talking about you. ...I know. ALLISON

Allison smiles. A charged moment. Carter watches her go, then notices Zoe flirting with a Zane. She comes over. ZOE Is he watching me? Carter looks. Zane is staring at Zoe with interest. glares. Zane awkwardly looks away. No. CARTER C'mon. It's time to go home. Carter

Carter wraps his arm around Zoe and they walk out. BLACKOUT. END ACT SEVEN

101.

ACT EIGHT FADE IN: 88 EXT. EUREKA - EARLY MORNING

Big WIDE SHOT of Eureka. The sun is shining. Birds are singing. Somewhere, a 500-pound guinea pig ROARS to greet the new day. In other words, everything's back to normal. CUT TO: 89 INT. HENRY'S GARAGE - MORNING Henry stands behind Carter, his hands covering Carter's eyes. HENRY No peeking now. CARTER Can we just get this over with, please? Henry removes his hands. of their sockets. Carter's eyes practically pop out

CARTER (CONT'D) Holy mother of... REVERSE ANGLE Slow reveal of Carter's car, caressing every black lacquered curve, every piece of shining chrome. It looks brand new. Better. Carter circles it, amazed. CARTER (CONT'D) You're sure this is the same car? HENRY Yes and no... (tosses him the keys) Hop in. 90 INT. CARTER'S CAR - CONTINUOUS Carter climbs behind the wheel, discovers it's just as cherry on the inside. Custom leather interior. State-of-the-art sound system. GPS guidance built into the dash.

(CONTINUED)

102. 90 CONTINUED: HENRY (leans in) I added a few extras. don't mind. CARTER Are you kidding? Wow! HENRY Turn her over. Carter keys the ignition. The turbine engine ROARS TO LIFE. whole garage reverberates with power. Too much power. Carter gives Henry a look. CARTER Space shuttles, huh? Henry smiles proudly. CARTER (CONT'D) I don't know what to say, Henry. couldn't possibly-- Thanks. HENRY Don't be a stranger. (a beat) Now git. I hate long good-byes. Henry walks back into the garage. Spencer! Grabs his welding goggles. I The

Hope you

It's... I mean...

HENRY (CONT'D) Let's give it another go! Then drives off. CUT TO:

Carter stares after him, smiles.

91

EXT. CARTER'S CAR - MOVING Carter cruises through town, enjoying his new and improved ride. FAMILIAR FACES wave to him as he passes. In spite of himself, Carter waves back. He pulls up outside Barlowe's place.

92

INT. BARLOWE'S PLACE - CARTER'S ROOM - MOMENTS LATER Beverly waits by the doorway while Carter packs the last of his things.

(CONTINUED)

103. 92 CONTINUED: CARTER Ms. Barlowe, it has been... well... interesting. Likewise. BEVERLY

CARTER What do I owe you? A favor. BEVERLY

CARTER (cautiously) Okay... BEVERLY Next time you're with a woman... don't be all about the naked. CARTER That may be awhile. BEVERLY Come on, Marshal. You don't have to be an expert on human sexuality to see that you two have chemistry. CARTER Yeah, well chemistry was never my best subject. Besides, she's spoken for. BEVERLY Honey, no one's spoken for. We all have to speak for ourselves. CARTER Someone should tell her that. BEVERLY You're right...someone should. Carter considers this as we... CUT TO: 93 INT. SHERIFF'S OFFICE - LATE AFTERNOON Zoe's cell door is wide open. In addition to a comfy-looking bed spread, Jo's set her up with a rocking chair and TV. Her drycleaned clothes hang in plastic. Jo sits at her desk reading a copy of TEEN PEOPLE MAGAZINE. (CONTINUED)

104. 93 CONTINUED: CARTER ENTERS just as Zoe comes out of the bathroom wearing a FLUFFY PINK ROBE and head towel. ZOE Thanks, Jo. That apricot bath scrub was killer. (sees her dad) Morning. Zoe picks up her clothes and goes back into the bathroom. hear a HAIR DRYER. Carter turns to Jo, eyebrows raised. JO Don't say a word. CUT TO: 94 EXT. SHERIFF'S OFFICE - LATER Outside Carter and Zoe say their good-byes to Sheriff Cobb and Jo ZOE Remember, games are okay. Just don't play by their rules. JO (to Carter) You know, she's really very insightful. Carter rolls his eyes, shakes Cobb's hand. respect. CARTER I won't say it's been fun, but... SHERIFF COBB Thanks for the help, Marshal. have a safe trip back. You Two lawmen with mutual We

CARTER And you, take a vacation before you go nuts for real. SHERIFF COBB (grins) I just might do that. Try to stay out of trouble. JO Speaking of which...

(CONTINUED)

105. 94 CONTINUED: She points to A CONVOY OF GOVERNMENT SEDANS arriving in town, stopping randomly, dispensing DOD BEAN-COUNTERS. Lots of dark suits and clipboards. They spread like a plague. CARTER The review committee? SHERIFF COBB Never a dull moment. He gives Carter a pat on the back. SHERIFF COBB (CONT'D) Give our regards to the Big City. Carter and Zoe climb into his car. This time she rides in the front. He FIRES UP the engine. Cobb smiles knowingly. Henry? Henry. SHERIFF COBB (CONT'D) CARTER

SHERIFF COBB Try to keep it on the ground. As Carter pulls away, Cobb turns to Jo. SHERIFF COBB (CONT'D) So, what do you think? JO I think you should reconsider. CUT TO: 95 INT. CARTER'S CAR - MOVING - SUNSET Wind in her hair, Zoe enjoys the ride. ZOE Much better view from up here. She clicks on the stereo, surfs the stations. MUSIC. She turns it off. ZOE (CONT'D) But we are definitely going to need some Cds. CARTER Listen, Zoe... I shouldn't have left you there so long. (CONTINUED) It's all CLASSICAL

106. 95 CONTINUED: ZOE (shrugging) It wasn't so bad. Turns out this place really isn't that Mayberry after all. Carter catches sight of Rupert STUCK UP IN A TREE. CARTER Tell me about it. They round a corner, coming up on ALLISON'S HOUSE King's car is parked in the driveway. King stands on the front stoop making amends with Allison. She lets him inside just as Carter drives by. ZOE Don't get me wrong. It's not like I'm gonna miss it or anything. Allison and Carter lock eyes as he passes. smile. CARTER Yeah...me neither. Carter picks up speed. ZOE What was that all about? Carter watches in the rear-view mirror as Allison follows King inside. CARTER Nothing apparently. A couple drops of rain hit the windshield. CARTER (CONT'D) Better roll up your window. like it's gonna come down. 96 EXT. HIGHWAY - CONTINUOUS As Zoe rolls up her window, the car speeds away from us. They round the bend. Pass a SIGN. Looks An almost sad He waves.

(CONTINUED)

107. 96 CONTINUED: It reads: YOU ARE NOW LEAVING EUREKA. TIME CUT TO: 97 EXT. DOWNTOWN LOS ANGELES - DAY Establishing shot of the U.S. MARSHALS SERVICE. smog-laden L.A. SKYLINE in the background. 98 The impressive,

INT. CARTER'S OFFICE - U.S. MARSHALS SERVICE - CONTINUOUS Carter looks up to find his boss, LT. JACKSON, and two GOVERNMENT TYPES, Agents HICKS and MILLER, standing there. LT. JACKSON Carter, this is Special Agents Hicks and Miller, Department of Defense. Carter rises. CARTER Look. If this is about that thing I signed, I only told my daughter. I swear. AGENT HICKS ...Uh...actually, we're here to give you your transfer orders. The Colonel was pretty impressed-Colonel? CARTER What Colonel? He

AGENT MILLER Col. William Cobb, Special Ops. said you two worked together recently.

CARTER Are we talking about the same Cobb? AGENT MILLER Big guy? Mustache? Little grey around the temples? Hicks hands Carter some papers. AGENT HICKS With his recommendation, the U.S. Marshals Service has agreed to have you reassigned to Washington. Your security classification and pay will be raised effective immediately.

(CONTINUED)

108. 98 CONTINUED: What? CARTER

LT. JACKSON Relax Carter. It's a promotion. Congratulations. The three men exit, leaving Carter standing there, thoroughly confused. CARTER ...Washington? TIME CUT TO: 99 EXT. EUREKA - DAY We TRACK THROUGH TOWN, past tree-lined streets, the square, children playing, residents heading to work. We arrive at SHERIFF COBB'S HOUSE We pass his Police Bronco, up the walkway, into... 100 INT. COBB'S HOUSE - CONTINUOUS We continue TRACKING into THE KITCHEN, where we stop in front of the FRIDGE and reveal we've seen all of this through the eyes of LOWJACK He steps on the door pedal, GRABS A SANDWICH and takes off. Somewhere, WE HEAR a SINK RUNNING. 101 INT. BATHROOM - CONTINUOUS Dressed in his tell-tale BROWN UNIFORM, the sheriff's bent over the sink, rinsing his RAZOR with STEAMING HOT WATER. He shuts off the faucet, stands, wipes the steam from the mirror to reveal-JACK CARTER Freshly shaved, wearing a SHINY NEW BADGE with his name on it. He stares in the mirror, a blank expression. CARTER ...Okay... not the Washington you were expecting... No big deal... You can do this, Jack... You can make this work...

(CONTINUED)

109. 101 CONTINUED: BOOM!! A thunderous EXPLOSION rattles the entire house. Through the bathroom window, we see a huge SMOKE CLOUD form on the horizon. Carter doesn't react, doesn't even flinch. He just bows his head...and sighs. FADE TO BLACK. THE END