EXECUTIVE PRODUCERS Jeremy Carver Greg Berlanti Geoff Johns Sarah Schechter Chris Dingess PRODUCERS Tamara Becher Neil T. Reynolds Marcus Dalzine Dermott Downs ©2018 Warner Bros. Productions, LLC. DOOM PATROL Episode 101 “Pilot” Written by Jeremy Carver Directed by Glen Winter T50.10101 LIMITED STUDIO DRAFT Entertainment Inc. This script is the property of Olive Avenue Productions, LLC. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Olive Avenue 7/6/2018

Episode 101 “pilot” CAST LIST CLIFF STEELE JANE RITA FARR APRIL BOWLBY LARRY TRAINOR NILES CAULDER NARRATOR/MR . MORDEN/MR . NOBODY BUMP WEATHERS CLARA STEELE GISELLE JOHN BOWERS KATE STEELE SHERYL TRAINOR VON FUCHS ATIR CONTROL BARTENDER COP #1 DIRECTOR FIRST ASSISTANT DIRECTOR LITTLE KID MAN-ON-THE-STREET NEWS REPORTER TV TOM VALET WAITRESS

Episode 101 “Pilot” INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. INT. LOCATION REPORT VON FUCHS' LABORATORY - DAY (1948) TACKY MANSION - LIVINGROOM - DAY (1988) TACKY MANSION - DEN - DAY (1988) TACKY MANSION - KID'S ROOM - DAY (1988) GUESTHOUSE ~ DAY (1988) CLIFF'S CAR/EXT. RACETRACK - DAY (1988) STEELE TRAILER - DAY - FLASHBACK (1983) STEELE TRAILER - DAY - FLASHBACK (1986) DOOM MANOR - CHIEF'S LAB - NIGHT (1989) DOOM MANOR - CHIEF'S LAB - NIGHT (1992) DOOM MANOR - CHIEF'S LAB ~ NIGHT (1995) DOOM MANOR - CHIEF'S OFFICE -~ DAY (1995) DOOM MANOR - DAY (1995) X-15/C-22 - FLYING - DAY -~ FLASHBACK (1961) AIR SHED - DAY - FLASHBACK (1961) TRAINOR HOUSE - DAY - FLASHBACK (1961) DOOM MANOR - SOLARIUM - NIGHT (1995) DOOM MANOR - CHIEF'S OFFICE - DAY (1995) DOOM MANOR - SOLARIUM - DAY (1995) AFRICA - FILM SET #1-RITA'S TENT-FLASHBACK (1955) DOOM MANOR - HALLWAY - DAY - INTERCUT (1995) DOOM MANOR - CHIEF'S LAB - DAY (1995) HOTEL ROOM -~ NIGHT -~ FLASHBACK (1988) CLIFF/KATE'S CAR - NIGHT - FLASHBACK (1988) DOOM MANOR - CLIFF'S ROOM - DAY (1995) DOOM MANOR - CLIFF'S ROOM - PRESENT DAY (2018) LARRY'S BUS - HOURS LATER (2018) DOOM MANOR - VARIOUS - THE NEXT DAY (2018) DOOM BUS -~ DAY - DRIVING (2018) TOWN - DINER ~ DAY (2018) TOWN - BAR - DAY (2018) CHIEF'S CAR/TOWN - NIGHT (2018) DOOM MANOR - HALLWAY - SAME TIME DOOM MANOR - CHIEF'S LAB - NIGHT (2018) DOOM MANOR - CHIEF'S MAP ROOM — NIGHT (2018) DOOM BUS - MOVING - NIGHT (2018) W B o e L o v o v B B B B o v B v BV v v B v B v o o &) ) e oo NNN R B NN '~y 5] LS IS O O W

Episode 101 “Pilot” EXT. EXT. PARAGUAYAN TOWN — DAY (1948) P.1 EXT. PANAMA CITY, FL - TACKY MANSION - DAY (1988) P.4 EXT. GUESTHOUSE - DAY (1988) P.5 EXT. RACETRACK - DAY (1988) P.6 EXT. DOOM MANOR - DAY (1995) P.17 EXT. AIRFIELD -EDWARDS ATRFORCE BASE- FLASHBACK (1961) P.17 EXT. TRAINOR HOUSE - CONTINUOUS - FLASHBACK (1961) P.20 EXT. AFRICA - FILM SET #1 - DAY - FLASHBACK (1955) P.23 EXT. AFRICA - FILM SET #2 — FLASHBACK (1955) EXT. KATE'S FAMILY HOUSE - NIGHT - FLASHBACK (1988) P.30 EXT. DOOM MANOR - THE NEXT MORNING (2018) P.36 EXT. ROAD - DAY (2018) P.41 EXT. TOWN STREET — DAY (2018) P.41 EXT. TOWN - SIDEWALK - DAY (2018) P.42 EXT. DOOM BUS — DAY (2018) P.43 EXT. TOWN PARK - DAY (2018) P.44 EXT. CHIEF'S CAR/TOWN — NIGHT (2018) P.53 EXT. ROAD - NIGHT (2018) P.58 EXT. TOWN - NIGHT (2018) P.59

DOOM PATROL “Pilot” EXT. PARAGUAYAN TOWN - DAY (1948) A YOUNG BOY holding the reins to an ALBINO DONKEY covers his head from the beating rain, watches an ancient bus wheeze to a stop across the muddy road. Super: San Bernadino, Paraguay, 1948. NARRATOR (V.O.) This is the story of four superheroes. (a tired sigh) Four more TV superheroces. Just what the world needs. (a beat) Be honest - have you hung yourself yet? A MAN in a suit and wide-brimmed hat steps from the bus, a satchel slung over his shoulder. This is MR. MORDEN - 40s, pale - clearly from away. Even the heavy rain can’t dampen his mile-wide smile of expectation. NARRATOR (V.O.) Our story begins with a man, not a good man, not one of our heroes, who simply wanted to become a better bad man. The Boy turns up the road with the Donkey (which wears a DISTINCTIVE BRIDLE), whistles for Mr. Morden to follow. EXT. PARAGUAYAN TOWN - VARTIQUS - DAY (1948) The Boy leads Mr. Morden through the town center, Morden greets each face with a smile, gets stony stares in return. NARRATOR (V.O.) And his story begins, as most bad mens’ stories do -- with a visit to a Nazi. (correcting himself) Cobbler. THEY EVENTUALLY ARRIVE at a foreboding home. An imposing VALET holds an umbrella over an older German man. This VON FUCHS - 60s8/70s, German, an ex-Nazi. VON FUCHS Mr. Morden. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 2. CONTINUED: MR. MORDEN Yes, yes! You must be Sturmbanhfuhrer Von Fuchs. VALET (re: Von Fuchs) Martinez. MR. MORDEN sorry? VALET Senor Martinez. MR. MORDEN Who? VALET The village cobbler. MR. MORDEN Oh? (now he gets it) Ohhh. Mr. Morden delights in their little secret. Von Fuchs and the vValet just stare. INT. VON FUCHS' LABORATORY -~ DAY (1948) Fuchs leads Mr. Morden in. There are a multiple baroque contraptions befitting a mad scientist of the era. Mr. Morden grins, steps forth-- the Valet stops him. Mr. Morden gets it -- they want to see payment. He opens his satchel, displays contents we never see. But - as Von Fuchs’ eyeballs widen - we know it’s more than enough. NARRATOR (V.0.) Von Fuchs was renowned for his theoretical experimentation, offering certain enhancements for a price - a price Mr. Morden was more than willing to pay. Mr. Morden moves to gawk at what looks like a standing isolation chamber, hooked up to various pumps and levers. VON FUCHS My finest invention. Designed according to the Fuhrer'’s most demanding specifications. (CONTINUED)

Limited Studio Draft 7/6/18 3. CONTINUED: MR. MORDEN (quietly awed) Herr Hitler himself used this? VON FUCHS Because I'd be hiding in this sixth world hellhole if he had? (then, a smile) The Fuhrer died before its completion. Meaning you could be, should be... (eyeing the satchel) ...the very first. INT. VON FUCHS’' LABORATORY - MOMENTS LATER (1948) Mr. Morden, wearing a specialized suit, steps into the chamber. Von Fuchs shuts him in, steps to a control panel where the satchel hangs. Von Fuchs dons a headset, pushes a few buttons, pulls a few levers, compression tubes wheeze ag—-— INSIDE THE CHAMBER ~ Mr. Morden is in a strange and wonderful space. Sound drops away, time slows, as Von Fuchs’ VOICE sounds tinny and echo-y over small speakers in the chamber. VON FUCHS Can you hear me, Mr. Morden? MR. MORDEN Yes! But his voice sounds funny. Like he sucked helium. MR. MORDEN oh. Which sounds different, too. He giggles. Which in itself sounds funny. Which leads him to hysterics. VON FUCHS Are you ready, Mr. Morden! MR. MORDEN Ready! VON FUCHS Repeat after me, please. The. MR. MORDEN The. As they speak, Von Fuchs pushes various levers and the chamber begins to glow a blinding white. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 4. CONTINUED: The voices grow trippier and slower as Mr. Morden is driven from hysterics to amazed euphoria. VON FUCHS Mind. MR. MORDEN Mind. VON FUCHS Is. MR. MORDEN Is. VON FUCHS The. MR. MORDEN The. VON FUCHS Limit. VON FUCHS Again. As Mr. Morden repeats the phrase, HIS LIPS SEEM TO DETACH FROM HIS FACE, float in the whiteness, speak to him: MR. MORDEN The mind ig the limit. The mind is the limit. The mind is the - oh. (hot damn...) Funky. As the LIPS SMILE and everything goes to WHITE and FUNKY, 60s- style, THEME MUSIC kicks in and we go to TITLES: DOOM PATROL EXT. PANAMA CITY, FL - TACKY MANSION — DAY (1988 Godawful tacky piece of property. New money lives here. Super: Panama City, Florida, 1988 NARRATOR (V.0.) And now, to the 1980s. Somewhere in this abomination of glass and blow is a pale white ass pumping up and down. Up and down. The ass of a hero.

"Pilot" Limited Studio Draft 7/6/18 5. INT. TACKY MANSION - LIVINGROOM - DAY (1988 KATE STEELE - 30s, attractive - does aerobics. We favor her butt. INT. TACKY MANSION — DEN — DAY (1988) A uniformed housekeeper vacuums. We favor her butt. INT. TACKY MANSION — KID'S ROOM — DAY (1988 A toddler girl cries in her crib. This is CLARA STEELE. We favor her butt. Kate hears her crying. KATE Giselle! The housekeeper vacuums. KATE Giselle! EXT. GUESTHQOUSE DAY (1988 Cutesy front porch. Little sign. “Giselle” INT. GUESTHOUSE — DAY (1988) Giselle - 20s, attractive - pounds away with CLIFF STEELE -~ 30s, ruggedly handsome, Kate’s husband. We favor his butt: it’s pale, it's white, it pumps up and down. NARRATOR (V.O.) There it is. Mmm, smells like hero to me. CLIFF Who's the fox? GISELLE You are. EXT. GUESTHOUSE - DAY (1988) Kate approaches the guesthouse. Growing suspicious. KATE Giselle?

"Pilot" Limited Studio Draft 7/6/18 6. INT. GUESTHOUSE -~ DAY (1988 Giselle and Cliff keep pounding. CLIFF Who's the fox? GISELLE (climaxing) Oh -~ my - god... EXT. GUESTHOUSE - DAY (1988) Kate walks to the door, raises an arm to knock when -— the door opens. Giselle, perfectly put together in her nanny uniform, exits. Kate stares daggers. It’s mutual. KATE The baby’s crying. GISELLE Really? Looks fine to me. Kate reacts -- huh? She whips around to see—- Cliff, dressed, with their now-calm daughter in his arms. CLIFF She’s fine, honey. You can’t be so scared of hexr. Giselle sashays past her to pluck the child from arms. And now they both face her, as if they’re the loving couple. But Kate stares only at Cliff, who does his very best to withstand her withering glare. NARRATOR (V.0.) Behold, the bottom rung of marriage: contempt. EXT. RACETRACK — DAY (1988) Cliff, in full racing attire, walks through the pit area where he is adored by fans and crew. He is joined by his crew chief, BUMP WEATHERS - 30s, Southern - on the way to his car. Bump wears a shit-eating grin. CLIFF What? BUMP How in the hell’d you get Kate to agree to her? (CONTINUED)

"Pilot"” Limited Studio Draft 7/6/18 7. CONTINUED: Bump’s talking about Giselle, who tends to Clara. CLIFF You're a dirty old man, Bump. (then) It’s called trust. Thought you woulda learned that by wife number three. They come to his race car, where Kate - playing the smoking hot race car driver’'s wife - awaits. Cliff leans in for a perfunctory kiss, more for the crowd than anything, as Kate whispers into his ear: KATE Crash and die, babe. CLIFF Love you too, honey. Cliff waves to the adoring crowd, slips into his car and-- INT. CLIFF’S CAR/EXT. RACETRACK ~ DAY (1988) We’re racing! Cliff whips expertly around the track. Maneuvers through a tight pack of other drivers. BUMP (V.O0.) (through the comms) Get to center, big fella. CLIFF Little snug getting there. BUMP (V.O.) How ‘bout you cry about it back in the box? Cliff smiles. Jerks the car center. Narrowly misses a guy as he passes him. CLIFF Whoo! You see that! God-damn! BUMP (V.0.) (not talking to him) Whoaaa. Hey, there... CLIFF What? BUMP (V.O.) Uh, nothing, Cliff. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 8. CONTINUED: CLIFF Are we racing here? BUMP Hell, yes. (then, another aside) My god, sugar, don’'t do that-- CLIFF Bump? Cliff tears into the straightaway, passes his pit crew and he turns to check out what the hell is going on as-- TIME SLOWS. CLIFF’'S POV - Kate has draped herself around Bump, her hand down his pants, stares directly at Cliff. ON CLIFF. Time still slowed. CLIFF (CONT’D) What the fuck! As TIME SPEEDS UP, Cliff whips his attention back to the track but he’s furious—- CLIFF (CONT'D) You’re fucking my wife! BUMP (V.O.) Cliff, I swear to god no-- KATE (cuts in, loving it) --oh, yes he is, guess what I never have to say when I'm banging big ol’ Bump? CLIFF Don't. KATE Is it in, yet? Cliff SCREAMS. Distracted, his front end taps the back of car in front of him, sets oZf a chain reaction -~ Whoa. Whoa! results in another car riding up on the side wall and FLIPPING SPECTACULARLY END OVER END, BACK OUT ONTO THE TRACK-- (CONTINUED)

Limited Studio Draft 7/6/18 9. CONTINUED: (2) FOR CLIFF STEELE’S WINDSHIELD, as we-- CUT TO BLACK! OVER BLACK - An ANSWERING MACHINE BEEP. WE HEAR CLIFF’S TIRED VOICE and the same message, a few times. Except we hear it in different pitches, as if someone were playing with getting it just right. CLIFF (V.O.) (on tape) I don’t know what happened to us. I'm going to be better. A GLIMPSE - OF A SHEHATTERED, BLOOD-SPECKED WINDSEIELD. HAZY SUNLIGHT FILTERS THROUGH. LIKE COLORED-GLASS. CLIFF (V.0.) (on tape) I don’t know what happened to us. going to be better. There’s an incongruous sound running beneath this image: THE SQUND OF A BLOWTORCH. INT. STEELE TRAILER - DAY - FLASHBACK (1983) Cliff and Kate, younger, poorer, happier, in thelr single- wide. 80s ROCK BLARES, Kate dances around with a beer, Cliff mixes Mac n Cheese, sliced hot dogs and barbecue sauce on the stove. It’s all a little frantic: CLIFF TRAINWRECKS READY! KATE Wooooo! Beneath all of it, that sound: THE BLOWTORCH. INT. STEELE TRAILER — DAY - FLASHBACK (1986) Cliff and Kate on the sofa, newborn CLARA sleeps on his stomach, Kate’s head on his shoulder. They’re exhausted. CLIFF Do you think she has any idea who we are? (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 10. CONTINUED: KATE Baby Clara, your Daddy’s gonna be a big-time race car driver. CLIFF Naw, I mean the important things. (then, to Kate) Do you think she knows how much T love you? Weary chuckles. Which, after a beat, begin to SOUND like a BLOWTORCH... as IMAGES OF A MAN IN A WELDING HELMET BEGIN TO JARRINGLY CUT INTO THE MEMORY and we’re in-- INT. DOOM MANOR — CHIEF'S TAB - NIGHT (1989) AN UNKNOWN POV(CLIFF’S): A laboratory/machine shop. Vintage machinery. Hand-tools. MUSIC BLARES, SPARKS FLY as a MAN wearing a FLAME-DECALLED WELDING HELMET holds a BLOWTORCH and makes a weld... somewhere around what would be Cliff’s chin? [A NOTE HERE: The POV is not crystal clear. It is grainy, staticky, an imperfect video screen.] The Man stops abruptly. Flips up his mask, we see his face for the first time. A bit wild-eyed, sweat-streaked, dirty, he’s been at this for awhile. He stares in slight horror at his mistake. This is DR. NILES CAULDER aka THE CHIEF. NILES Fudge. CUT TO BLACK. INT. DOOM MANOR - CHIEF’S TLAB -~ NIGHT (1989) CLIFF'S POV: Niles, in a wheelchair, eats a bowl of chocolate ice cream, watches a How-To Video on Welding. CUT TO BLACK. INT. DOOM MANOR ~ CHIEF'S TAB — NIGHT (1992) CLIFF'S POV: What appears to be a MAN wrapped fully in bandages sits slumped in chair in the corner of Cliff’s field of vision. he drunk? Dead? A moment later, something else creeps into Cliff’s POV, a black, electrical mass that kinda sorta appears to be in the rough shape of a human... and it’s definitely checking Cliff out... CUT TO BLACK.

"Pilot" Limited Studio Draft 7/6/18 11. INT. DOOM MANOR CHIEF’S TAB — NIGHT (1995 CLIFF’S POV: A BOWL OF POPCORN rests on... his stomach? He can’t tell. The man who wore the welding mask - Niles - sits on one side of him while a woman - elegant, a bit haunted - sits on the other. This is RITA FARR. They face away from him, watch a 1950s black and white melodrama on the TV which appears to star... Rita Farr? Niles and Rita are like an old married couple, acting out this movie they’ve watched a million times. RITA/TV RITA I'm not sure you ever loved me, Tom. NILES/TV TOM Of course I loved you. But I was just never any damn good at showing it. RITA/TV RITA You know what my father used to say about smooth talkers like you? Everything before the “but” is baloney. Dramatic music swells from the TV as TV Tom gives TV Rita one last look and leaves. Niles pats Rita’s hand, knows watching herself is always bittersweet. CUT TO BLACK. NILES (PRE-LAP) Cliff. Cliff Steele. INT. DOOM MANOR CHIEF’'S TAB — NIGHT (1995) CLIFF’'S POV: Niles studies Cliff with gentle concern. NILES My name is Dr. Niles Caulder. Would you please nod your head if you understand me. Nothing happens. Cliff’s head doesn’t move NILES (kind) I want you to remember what it felt like to nod your head, picture it in your mind... (CONTINUED)

"Pilot" CONTINUED: Limited Studio Draft 7/6/18 12. QUICK POP. Cliff cocks his head, makes a silly face at his laughing daughter. ...now I want you to nod your head. A beat. OUR POV nods up and down. 1988. NILES (CONT’'D) massive accomplishment for Niles. NILES (CONT'D) Good man. (a bit overcome) Very good. (gathering himself) I'm certain you have lots of and I promise you I'm working on restoring your voice capabilities as soon as humanly possible. accident, Cliff. was rendered beyond repair. we're getting there. you, we' re close. (a kind smile) Rest. INT. DOOM MANOR - CHIEF'S LAB —~ NIGHT You were in a terrible Much of your body But I promise 1995 Which represents a CLIFF’S POV: Niles holds CUE CARDS with simple words for Cliff to read. Cliff’s voice is still weak here, imperfect and slow. As they practice, Cliff in on a WALL CALENDAR behind Niles. It says “1995”. NILES The buh-buh-bird. CLIFF Bird. NILES Fla - fla - flew. CLIFF Fu - ck. NILES Flew. CLIFF Fuck. (then) Nineteen-ninety-five. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 13. CONTINUED: Niles realizes Cliff’s talking about the calendar. NILES Yes. CLIFF Nineteen-ninety-fucking-five. NILES (back to the cards) Up-uh. CLIFF My - wife. Where’'s - my - wife? NILES Cliff - this is might be difficult to process. The world thinks you died in 1988. I'm sorry. CLIFF I'm - not - dead. NILES (false cheer) And getting stronger every day! CLIFF You - mother - fucker. What - did - you - do - to - me? NILES How about - we take a break. Niles reaches past CLiff to turn off a switch. CLIFF No—— CUT TO BLACK. INT. DOOM MANOR - CHIEF'S LAB ~ NIGHT (1995) CLIFF'S POV: Rita sits by the side of the bed. A cocktail in hand. Coolly appraises him. RITA The Chief’s a good man. Big heart. A little odd, maybe a little vague, but it comes from a good place. Me? always tell you the truth. (then) (MORE) (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 14. CONTINUED: RITA (CONT'D) The Chief told you the world assumes you’re dead. (CLiff nods) Did he tell you that’s because the only part of you he was able to save was your brain? CLIFF (a quiet beat) No. RITA Which means we need to talk about expectations. What you really, really want. CLIFF I want to go home. RITA And then we need to take those expectations, we need to give them a gentle pat... and flush them into the ocean. Rita takes a mirror. Turns it on Cliff. For the first time, he sees his whole self. His new self. He is no longer human. He is a ROBOT. CLIFF What is that? (growing emotional) Stop... please... (then, screaming) What is that--! Rita switches him off. there a moment. NILES (0.S.) I told you he wasn’'t ready. Niles sits in the doorway, disappointed. He wheels away. RITA Everyone deserves the truth. INT. DOOM MANOR — DAY (1995) WE ARE TRACKING through Doom Manor in an UNKNOWN POV. A vast place that could have once been a period estate or a high end sanitorium. It feels grand and faded and re-purposed all at once. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 15. CONTINUED: NILES (PRE-LAP) You don’t look like the person you used to be, there’s no getting around that. INT. DOOM MANOR — CHIEF'S OFFICE — DAY (1995) Niles and Cliff. NILES But you're still very much you. Cliff. Upright but immobile. Strapped to a hand-truck. CLIFF Sure. (then) What is this place? NILES My home. A safe place for you, others like you. To heal. CLIFF Where’s my wife? NILES (a beat) What do you remember, Cliff? CLIFF I remember asking where’s my wife. NILES I'm sorry. I don’t have any answers that you can’t answer for yourself. CLIFF What does that mean? Niles doesn’t say. Cliff searches for answers. QUICK POP: He and Kate. Fighting. The bad times. QUICK POP: That race car hurtling for his windshield. RESUME CLIFF. Working it out. CLIFF (CONT'D) Just tell me if she’s moved on. It’s been seven years, she thinks I’m dead, she’s moved on. (MORE) (CONTINUED)

"pPilot" Limited Studio Draft 7/6/18 16. CONTINUED: CLIFF (CONT'D) (then) I would’ve. QUICK POP. More fighting. Their daughter, Clara, crying. CLIFF (CONT’D) I can’t -- I can’t hold a memory. Everything’s fractured. Everything’s bad. NILES You’re experiencing something called dissociative memory. After a severe trauma, your brain only lets you remember what it wants you to remember. It’s a coping mechanism. CLIFF Which makes nc sense. Why would I only remember the bad? NILES (a gentle smile) It will all come back. The bad and the good. We’ll get you on your feet. You'll start feeling like yourself soon enough. CLIFF (after a beat) Why didn’t you let me die? NILES If you had wanted to die, you would have died. The door opens. The mysterious BANDAGED MAN is there. This is LARRY TRAINOR - 30s, erudite, slyly humorous. NILES (CONT’D) Cliff Steele, Larry Trainor. I thought he might help with your recovery. INT. DOOM MANOR - DAY (1995) CLIFF’S POV: Floating through Doom Manor. This is the Unknown POV we saw before. ON CLIFF. Strapped to the hand truck. Larry pushes him. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 17. CONTINUED: WIDE: They move through some of the vast spaces of this place -- the solarium, the library, etc. NARRATOR (V.O.) And Larry gave Cliff the grand tour, wheeling him like a coupla pony kegs through this home we’ll come to know as, Doom Manor. EXT. DOOM MANOR - DAY (1995) Larry pushes Cliff outside, to a veranda. The trees and flowers groan under summer foliage, the air is full. LARRY I thought you might like some air. Cliff takes it in. His first time outside in years. CLIFF I can’t feel the air. LARRY (after a beat) Sucks to be you. Cliff turns, takes in Larry, really, for the first time. This man, wrapped in bandages head to toe, like a mummy. CLIFF What was it like getting buried in a pyramid with your cat? LARRY A sense of humor helps here. So you’ll work on that. CLIFF What'’s your story? LARRY (after a beat) I flew airplanes. EXT. AIRFIELD — EDWARDS AIRFORCE BASE — FLASHBACK (1961} CLOSE ON: AVIATOR BOOTS crossing a tarmac. SUPER: Edwards Airforce Base, California, 1961 NARRATOR (V.O.) “Flew airplanes”. Please. Larry Trainor was an American god. (MORE ) (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 18. CONTINUED: NARRATOR (V.0.) (CONT'D) Air Force naviator. Test pilot. Shortlisted for the Mercury Space program. .. WIDEN: Larry Trainor strides across the airfield in full, sub- orbital-appropriate, test pilot gear. Heads for... NARRATOR (V.O.) ...an Atomic Age sex machine. ...THE X-15, an experimental ROCKET PLANE attached to the underbelly of a NASA B-52 mothership. His Ground Crew Chief, JOHN BOWERS, falls in next to him as they do a sight inspect the X-15. LARRY How’s my X-157? JOHN Fifty-seven thousand pounds-force of thrust, Mach 6, like riding a rocket ship between your thighs. She’s a beast. INT, X-15/C-22 — FLYING - DAY FLASHBACK (1961) Larry sits in the rumbling cockpit of the X-15, still attached to the mothership. Aloft. AIR CONTROL (V.0.) Five seconds, zero-zero-eight. LARRY Roger, two, one, launch. The X-15 is drop launched, its rocket engine ignites, Larry shoots into the heavens. AIR CONTROL (V.O.) Roger, we got a good light here, Larry. Check your alpha and your heading. MOMENTS LATER. WITH LARRY. His plane hurtles upwards at Mach 6. Approaches 130,000 feet above the Earth... AIR CONTROL (V.O0.) Count at twelve now... got twelve- six... and thirteen... LARRY Very sensitive. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 19. CONTINUED: AIR CONTROL (V.0.) Mach still good. The sky behind him darkens as he approaches sub-orbital atmosphere and sees, laid out in front of him: the curvature of the Earth. LARRY Sweet mother of God. His reverie 1s broken by a looming, shimmering mass (think Aurora Borealis)... His plane flies right through it... but now the shimmery lights are inside his cockpit... LARRY (CONT’D) Hold on. Matter strike. (off the dials) Everything seems to be fine. The X-15 suddenly starts to spin. Larry remains calm. LARRY (CONT’D) Gone squirrelly. I‘m in a spin. INT., ATR SHED - DAY - FLASHBACK (1961) John and the other members of the ground crew listen to the ground-to-air crosstalk. ©Oh, shit... AIR CONTROL (V.0.) Let’s watch your theta, Larry. LARRY I'm in a spin. INT, TRAINOR HQUSE DAY -~ FLASHBACK (1961) A woman, SHERYL TRAINOR serves breakfast to two kids. A FAMILY PICTURE includes Larry. Husband, Dad. WITH LARRY IN THE X-15 Larry blacks out! As the rocket plane spins to Earth. AIR CONTROL (V.O0.) pull it up... Put some g on it, Larry... ON THE AIRFIELD JOHN slams out of the shed, races for the motor pool. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 20. CONTINUED: AIR CONTROL (V.O.) Do you read, Larry? WITH LARRY IN THE X-15 Larry, still unconscious. The plane hurtles down. When, inexplicably - Larry’s chest begins to glow from within. As SOMETHING - that BLACK, ELECTRICAL MASS we recognize from earlier -- springs from his torso, like another life force exiting him. Just as-- The X-15 STAMS into the desert floor. EXT. TRATNOR HQUSE - CONTINUQUS - FLASHBACK (1961 Sheryl steps outside the screen door to the front yard, where neighbors in the street are looking off, to the airfield, where a plume of smoke rises in the air. THE BURNING WRECKAGE Through the flames we see Larry’s body. Dead. As now, that black electrical mass, almost humanoid in shape -~ call it THE NEGATIVE SPIRIT - floats down to the ~-and re-enters Larry’s body as we—-— RISE UP, through the smoke, to see ARMY VEHICLES racing at them from across the field. WITH JOHN in the lead jeep as they arrive at the wreckage. But there’s no way. No way Larry could have survived... Until-- Larry shuffles out from the burning wreckage, fully aflame, charred, grotesque. But alive. NARRATOR (V.0.) Kill me, but I sort of like Larry Trainor’s origin tale. All stare. Stunned. INT. DOOM MANOR - SOLARIUM -~ NIGHT (1995) Cliff stands in front REHAB STAIRS. Three steps up, three down. Handrails. Larry watches. Cliff lifts a foot - CLANK! It bangs against the bottom step. Across the room, Rita knits. Another cocktail beside her. Flinches at every grating CLANK! (CONTINUED)

"Pilot" CONTINUED: Rita holds Limited Studio Draft 7/6/18 RITA It is so important what you’re doing, Cliff. (please stop) But you know, there’s always tomorrow! CLIFF (to Larry) What's Drinky’s deal? LARRY Rita? She was an actress. She prefers the light here in the afternoon. (to Rita) Looking terrific today, Rital! up her drink in droll thanks. She knows. CLANK! Cliff just can’t do it. CLIFF Fuck me. LARRY Where are you going, Cliff? Sometimes it helps to picture a place you'd like to go. CLIFF How ‘bout up the freakin’ steps? LARRY (a quiet challenge) Why go up the steps at all? CLIFF I can't walk. I can’'t fly, I can’t feel. I can’'t eat, I can’t smell, I can’t shit, I can’t fuck and I’'d like to be able to do one fucking thing for myself when I kiss you and the other Munster here the sweet fuck goodbye. Rita and Larry react. Oh. Cliff whips his head toward the stairs... CLARA (0.8.) Daddy? sits on the lowest step. She waves. (CONTINUED) 21. HIS DAUGHTER CLARA

"Pilot" Limited Studio Draft 7/6/18 22. CONTINUED: (2) And now she’s gone. Cliff reacts —-- what the--? NILES (PRE-LAP) Seeing your daughter, that’s good! INT. DOOM MANOR — CHIEF'S OFFICE — DAY (1995) Cliff and Niles. Niles tests bending Cliff’s legs and ankles with a remote control. NILES That means the memories are coming back. Maybe she’s just the inspiration you need. Whirr. Whirr. Up, back. Up, back... CLIFF Has anyone ever left this place? NILES Some have. Some come and go. Others, like Larry and Rita, prefer to stay. Rita has her knitting, Larry, his horticulture. To be perfectly honest with you, those who leave find it’s often more difficult for the world out there to accept who they’ve become than they do. (then, re: the tests) In better news, I can see no mechanical reason you shouldn’t be able to walk. (then) Keep going, ClLiff. You’'re almost there. ON CLIFF. The THRUM OF RACE CAR ENGINES consumes him INT. DOOM MANOR — SOLARIUM DAY (1995) Cliff watches NASCAR on TV. Planted on the sofa like a bookend. QUICK POP: Cliff in his race car, in the thick of RESUME CLIFF. Rita enters, carrying her drink and a roasted chicken. Afternoon snack. RITA Aren’t you supposed to be not- walking? (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 23. CONTINUED: CLIFF Yeah. RITA And? CLIFF I'm remembering. A beat. Rita sits down. Stares at the TV. RITA You used to do this? CLIFF Yeah. RITA Around and around... that’s it? CLIFF Yeah. (after a beat) You were in the movies? RITA Pictures. EXT. AFRICA — FILM SET #1 - DAY - FLASHBACK (1955) Super: Africa, 1955. Moving through a 1950s movie set - a bush camp (think “King Solomon’s Mines”) - shooting on location in Africa. NARRATOR (V.O.) Lovely, Rita. Queen of 50s cinema. Some critics called her the poor man’s Deborah Kerr, some critics called her the rich man’s Yvette Vickers. (another tired sigh) Critics. What do they know? gonna hate this show. And landing on our star, Rita, in early-50s explorer garb with pith helmet. The cameras are rolling, she writes a letter at a campalgn table. RITA (as she writes) Dearest Mother. Today was a fine hunt in the bush. (CONTINUED)

Limited Studio Draft 7/6/18 24. CONTINUED: Rita’s attention is slowly diverted to the FOCUS PULLER, who is missing one arm. She can’t unsee it. RITA (CONT'D) Tom took down a kudu, whose horns will look magnificent in the-- (breaking character) Sorry. (composes herself) --whose horns will look-- She freezes, unable to take her eyes off of that arm. EXT, FILM SET #1 — DAY - FLASHBACK (1955) Rita, puffed up now, walks through the production with the FIRST ASSISTANT DIRECTOR. FIRST AD Rita, please. the best focus puller in Africa. RITA He’s an eyesore, Charles, a real liability. FIRST AD What 1f we covered up the arm. A different set of clothes. RITA of him. FIRST AD (weakly) But - the crew. They adore him. RITA So put his name on the margquee. Rita enters her tent. The First AD sighs. Turns to face many of the crew, who heard it all. INT. FILM SET #1 - RITA’S TENT - FLASHBACK (1955) Rita brushes her hair in front of her mirror. There’s a commotion outside. Yelling. Shouts of disapproval. Rita does her best to ignore them. EXT., FILM SET #2 — FLASHBACK (1955) The First AD leads Rita through the crew to her marks by a roaring river. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 25. CONTINUED: This is the big caravan scene —- Rita and her caravan of explorers will cross the river. As she passes through the crew, she is met with unmistakable coldness. FIRST AD Now, Rita, you’ll step out onto these rocks here, the crocodile will turn up there, you’ll scream bloody murder and Joe’ll blast ‘er to Betsy. Think you can handle 1t? Rita glances at the camera crew, staring bullets at her. There’s a strapping new FOCUS PULLER. Shiny and whole. RITA Of course. It’s fine, it’s totally fine. EXT. FILM SET #2 - FLASHBACK Moments later. The scene rolls. The caravan crosses. Rita tentatively steps out on the rocks, a CREWMAN readies the fake crocodile just out of frame... DIRECTOR Now just one more rock, Rita, there you go, like it’s a lovely day and-- ...but as Rita steps on the last rock, it sinks! Rita goes under water! UNDERWATER WITH RITA She sinks into a deeper sinkhole, flails to get her bearings. Claws at rocks on either side of her... THE FILM CREW Watches the bubbling water. Nobody moves a muscle. FIRST AD Why are you standing there? Help her! Help her! As crew members reluctantly spring into action—- UNDERWATER WITH RITA She pulls at the rocks... one loosens from the pile, a MURKY- COLORED DYE, like octopus ink, shoots into her face, her eyes widen in fear as the dye consumes her, clouds the entire sinkhole, obscures her from view... (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 26. CONTINUED: THE FILM CREW Has poles and such in the water, trying to give her anything to grab onto, as Rita bursts above water, gasps for air. The crew pulls her out of the water, she stands there, shaken and drenched. Her back is to us. RITA I’'m fine. I'm totally fine. Towel. For a beat, nobody moves. The crew stares at her, agog. RITA (CONT'D) What’s wrong with you? Never gone for a swim? Towel. The Wardrobe Gal approaches with a towel. Freaked. RITA What are you staring at! The Wardrobe Gal meekly produces a compact mirror. Shows Rita her face... we just see a small piece, the side of her eye seems to... droop? Rita takes the girl‘s arm, directs the mirror for a better look. As WE ARM AROUND TO SEE-- Rita. Half her face, collapsed, like some monstrous candle- dripping. It’s horrible. The Wardrobe Gal begins to sob. The new Focus Puller begins to retch... Rita, mortified, looks for escape... only to realize her foot has swollen to grotesque proportions. Still, she walks off, an ungainly shuffle, tears running down her cheeks. Away from them all. NARRATOR (V.0.) And away she ran. Monstrous Rita. INT. DOOM MANOR — SOLARIUM - DAY (1995) Rita gits there for a moment, in reverie. NARRATOR (V.0.) Eventually finding her way to the only place she would ever feel safe and unjudged. Sitting next to a brain... WE WIDEN to include Cliff, as she lifts the entire roast chicken sitting in front of her, takes a huge bite. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 27. CONTINUED: NARRATOR (V.O.) Consuming the first of what would be three rotisserie chickens. They watch TV. INT. DOOM MANOR — SOLARIUM — DAY (1995) Rita sits with a drink, her knitting project nearly complete. Larry wheels Cliff in, sets him upright by the foot of the stairs. CLliff takes the handrails. Stands there. Rita puts down her knitting. Enough is enough. RITA One step. So I don’t gut myself. CLiff throws her a look. But -- a LITTLE GIRL’S LAUGH swings his attention back to the steps. But-- where is she...? LARRY What is it, CLiff? CLIFF (after a beat) I used to hold my daughter’s hands when she was learning to walk, she’d always want to go to the steps, always wanted to go up. And then she’d just stand there, and I'd get so frustrated, you know? Just walk up the steps. the most normal goddamn thing in the world. LARRY So walk up the goddamn steps. Cliff looks down at the steps, but now: they’re the steps from home, and he sees his daughter CLARA between his legs, arms outstretched, awaiting his help. Stunned, he pulls his hands from the guardrails, gingerly takes hers, her fingers on his robot fingers. Cliff raises his left foot as she raises hers. Success. And now the right... as she raises hers... yes... Cliff can’t believe this is happening. He gives in to it-- CLIFF (to Clara) There ya go, baby girl. (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 28. CONTINUED: And now they land on step #2. CLARA One more, Daddy... They step up together to the final step. They did it. CLARA (CONT'D) You did it, Daddy! Cliff does that things dads do -- pretends like he’s a cheering crowd - the crowd roars! - as Clara giggles. We WIDEN, Larry and Rita share a satisfied look as Cliff does his little celebration. INT. DOOM MANOR — ~ DAY — INTERCUT CLOSE ON - Cliff’s feet. He'’'s walking. And now, his face. Head held high. INT. DOOM MANOR - CHTEF’'S LAB — DAY (1995) Niles works. Hears a FAMILIAR WHIRR, looks up as CLliff enters. Niles smiles, deeply happy for him. CLIFF My family thinks I died in a car crash seven years ago. My daughter’s grown up without a father. My wife’s probably moved on. But they deserve to know. And then they can decide what to do with it. (then) Thank you for everything you’ve done. But this isn’t me. NILES I am thrilled beyond belief for you that you are walking, that you finally feel like you. All I've wanted was to give you a gentle place to land, a second chance. CLIFF And I appreciate that. Niles gestures to a TAPE RECORDER. NILES I think you’re ready to listen to this. (MORE ) (CONTINUED)

"pilot" Limited Studio Draft 7/6/18 29. CONTINUED: NILES (CONT'D) It’'s the phone message I used to re- create your voice. I think it will help you understand how your brain has been altering your memories to help you cope. (then) Unless. Maybe you’re not ready. A beat. Cliff pushes PLAY. That BEEP SOUNDS. CLIFF (V.O.) (on the tape) I don’t know what happened to us. I’'m going to be better. CLOSE ON THE TAPE RECORDER - Cliff pushes STOP. Then REWIND. His robot finger hovers over the PLAY button. Do I really want to hear this? And then he pushes PLAY again. As he EXT, RACETRACK — DAY - FIASHBACK (1988) That RACE CAR flies end over end toward Cliff’s windshield-- BUT: Cliff jerks the wheel at the last moment, narrowly avoids being hit! Emerges from the pile-up untouched! MOMENTS LATER. Cliff roars past the finish line in first! He slows the car to a stop. Pops his helmet visor open, sits there for a moment, shaken. He’s yanked out of the car by his adoring pit crew. A MAGNUM OF CHAMPAGNE is thrust into his hands as he spins to come face to face with an also-shaken Kate. For a brief moment we wonder 1f his near—death experience will bring them together... but then he raises the magnum... and proceeds to wallop the living shit out of Bump Weathers, as the crowd falls into a stunned silence. Cliff rears up, his face speckled with Bump’s blood, pops the cork and sprays the shocked crowd while letting out a totally incongruous victory whoop. CLIFF Yeahhhhh! INT. HOTEL ROOM - NIGHT - FLASHBACK (1988) Cliff fucks Giselle again. It’s stylized, alcohol-fueled, but, as we move closer to him, we see it for what it really rote, meaningless. The racing trophy sits on a chair.

"Pilot" Limited Studio Draft 7/6/18 30. INT. HOTEL ROOM - LATER THAT NIGHT — FLASHBACK (1988) Cliff sits on the edge of the bed, Giselle naked and sleeping next to him. He'’s full of regret, tired, holds the phone to his ear. A RECORDING MACHINE BEEPS. CLIFF (into phone) I don’t know what happened to us. I’'m going to be better. (then) I know it’s late—- KATE (V.0.) --Hello? CLIFF Hey. Hi. (then) I don’t know if you even care how sorry I am. KATE (V.O.) (after a beat) Go on. EXT, KATE'S FAMILY HOUSE - NIGHT — FLASHBACK It’s early morning, pre-dawn. CIliff waits at the front door of Kate’s family home. Chastened. The door opens, Kate carries a sleeping Clara past him to the car. INT. CLIFF/KATE’S CAR - NIGHT - FLASHBACK (1988) It’s a quiet ride, just a few long haul truckers on the road. Kate stares out at the rising sun. Cliff looks at Clara in the backseat, Kate next to him. This is worth fighting for. CLIFF Who wants pancakes? KATE (screaming) Cliff turns —— a SEMI looms in front of them! Cliff slams the breaks but it’s too late as-- CLIFF’S CAR CARFEENS UNDER THE BACKSIDE OF THE SEMI-TRAILER (which has no under-ride bar) AS—- THE TRAILER RIPS THROUGH THE INSIDE OF THE CAR WITH HORRIFYINGLY DESTRUCTIVE IMPACT AS WE INTERCUT - (CONTINUED)

"Pilot" Limited Studio Draft 7/6/18 31, CONTINUED: --CLIFF/ROBOTMAN. PRESENT DAY. Still in Niles’ lab. We're on the back of his head. PUSHING CLOSER... --THAT SHATTERED GLASS WINDSHIELD. Realize the hazy sunlight filtering through was actually the flashlight beams of first responders. PUSHING IN on his face... CLIFF No. --INSIDE THE WRECKED CAR - CLIFF'’S PQOV: Kate. Bloodied, dead. CLIFF (CONT'D) Kate... --INSIDE THE WRECKED CAR. CLIFF’S POV - Turning to look for Clara, sees her bloodied arm... CLIFF (CONT'D) Oh, god, no. Clara. What happened to Claral NILES I'm afraid you were the only survivor. CLIFF NO! And now WE'RE SPIRALING AROUND CLIFF as he’s overtaken by emotion... which guickly rises to anger as he PUNCHES the first thing he sees, a MASSIVE METAL PLATE -- WHAM! And the plate buckles where his fist hit it -- and we’re unexpectedly getting a glimpse of Cliff’s raw robotic power -- as he lashes out at the metal plate - WHAM! WHAM! WHAM! - rendering it to a cauliflowered heap as we- GO TO RITA. Knitting. Hearing Cliff’s screams. GO TO LARRY. Tending to his orchidsg inside a converted school bus. Hearing Cliff’s screams. BACK ON CLIFF/ROBOTMAN. Lost. Standing there amongst the broken shards, as ALL SOUNDS DROPS OUT. Staring down —- there’s Clara again, holding his robot fingers as they walk up the steps, except now she lets go, keeps walking up the steps, into the light, the bright light. And she’s gone.

"Pilot" Limited Studio Draft 7/6/18 32. INT. DOOM MANOR — SOLARIUM - NTGHT (1995) Cliff slumps on the floor, bangs his head against the rehab steps every few seconds. He stops when Niles arrives. CLIFF I can’'t feel pain. No matter how hard I hit, where I hit, what T hit, I can’t feel pain. (then) That’s mighty shitty of you, Doc. And they =it there. INT. DOOM MANOR — HALLWAY - DAY (1995) Cliff walks down the hallway. INT. DOOM MANOR — CLTIFF’'S ROOM — DAY (1995) Cliff enters, closes the door. Stands at the window. Utterly defeated. The spark gone out. And the years pass. A CHYRON in the corner of the screen ticks off each year: 1996, 1997, 1998... NARRATOR (V.O.) And the years passed. And it’s all so depressing I just... can’t. ...1999, 2000, 2001... Larry enters with a cardboard box, places it in a corner. ...2002, 2003, 2004... Cliff opens the box. Pulls out a slot car. Looks off. ...2005, 2006, 2007... Cliff looks again at the glot car. ...2008, 2009, 2010... Cliff builds crazily. Plywood tables, etc. ...2011, 2012, 2013... We're riding with a slot c¢ar on a track... but as the car moves along, the scenery grows more elaborate -- watching the creation of a fantastical slot car wonderland happening over the years-- until, finally, we hit 2018.

"Pilot" Limited Studio Draft 7/6/18 INT. DOOM MANOR -~ CLIFF’'S ROOM - PRESENT DAY (2018 Cliff works his controller, proudly watches the cars run 33. round the tracks. Rita knits. carefully plants real miniature shrubs on the town’s Main Street. RITA That’s a new building. Next to the police station. What’s it say? CLIFF Library. RITA Your handwriting is an abomination. Cliff meekly holds up his hands. CLIFF Robot fingers. They fall into silence. The cars go ‘round. Out in the hall, a COMMOTION. A VOICE, irate. shares a knowing look with Larry. Here we go... RITA Oh, goody. back. LARRY Rita. RITA Comes and goes as she pleases. Like she owns the place. CLIFF Who? But Rita zips it. Cliff goes to the door. Opens it. NARRATOR (V.O.) Who, indeed. There’s lots of “who” with this one. DOWN THE HALL - Niles reasons with a LOUD WOMAN. Dark, Rita tangled locks, dark clothes -- she spent the last week crowd-surfing a youth hostel. This is JANE, aka CRAZY JANE. NARRATOR (V.O.) Meet Jane. Some people call her Crazy Jane. (MORE) (CONTINUED)

CONTINUED: Limited Studio Draft NARRATOR (V.O.) (CONT'D) One woman, 64 personas, each with its own special power. Put it this way -- Jane makes Sybil look like a piker. 7/6/18 34. At the moment, Jane is HAMMERHEAD, a tough-talking brute. NILES ——of course you're welcome here, but if you’re going to stay, you have to rest-- JANE /HAMMERHEAD --My god, Chief, you’re such a narc- NARRATOR (V.0.) For example, meet Hammerhead. This one’s kind of an asshole. NILES No... no. (then) I'd like to speak to Jane. JANE/HAMMERHEAD Okay. Except Jane'’'s not here you sissy little bitch-- ON CLIFF/RITA/LARRY. Watching. CLIFF She’s in a mood. LARRY Which one of her is in a mood? And now Jane/Hammerhead notices CLiff. Stares. JANE /HAMMERHEAD The fuck is that? NILES Hammerhead, this is CLLiff. JANE /HAMMERHEAD Is he a toy? NILES Hammerhead. .. JANE /HAMMERHEAD (to CLiff) Are you a toy? (CONTINUED)

"Pilot™" Limited Studio Draft 7/6/18 35. CONTINUED: (2) CLIFF Yeah, heard you the first time. (a beat) Are you a raving douche? Niles sighs. Wrong answer. Jane/Hammerhead smiles, marches right up Cliff. Behind him, Rita dutifully waves at her, as in, let’s get this over with: RITA Hello, Hammerhead! Good to see you! But Jane/Hammerhead keeps her focus on Cliff. JANE Fuck off and die, Rita. (to This your pad, big guy? Your “man- cave”? Where the magic happens? Come on, show me what you got. Ooh, what kind of man-stuff you got in here? CLIFF (a beat, fuck me) Cars. JANE /HAMMERHEAD Yeah. Little toy cars for a little toy man. I bet it gets wild in here in the wee, wee hours, huh? When you think no one’s watching... CLIFF Anyone ever tell you to shut your fucking hole? JANE /HAMMERHEAD Or what? CLANG! Jane/Hammerhead slams her multi-ringed hand right where Cliff’s loins would be... if he had any. She holds her hand there, making her point. VYou’re no man at all. JANE/HAMMERHEAD Little toybot does what? SLAM! The door closes between them. Shut by Rita, who gives Cliff a look -- see what I mean? But Cliff stands there a moment longer quietly intrigued.