STRANGER TEENS - Screenplay (Stranger Things Parody) - Common Threads

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Written by Common Threads 2 TITLES OVER BLACK: CHAPTER ONE BLANK MAKES YOU CRAZY EXT. HAWKINS SKY – LATE AFTERNOON Super impose titles: OCTOBER 31st, 1985 HAWKINS, INDIANA TILT DOWN to reveal… THE WHEELER RESIDENCE with HALLOWEEN DECORATIONS. LUCAS (O.S) Gee thanks Mrs Wheeler. INT. WHEELER HOUSE – BASEMENT - LATE AFTERNOON LUCAS descends the BASEMENT STRAIRCASE. When he reaches the bottom we see that he’s dressed in a COSTUME, resembling Leroy Green’s first outfit from The Last Dragon. He’s also eating a COOKIE shaped like a tiny severed arm. LUCAS (Surprised) What the hell Mike! Why aren’t you dressed? PAN OVER to MIKE in a SHIRT and BOXERS, hunched over and playing an ATARI 7800. MIKE is in the zone and doesn’t react. LUCAS Hello earth to Mike. Treat or treat. Still no reaction from MIKE. LUCAS walks over to MIKE and looks at the game that’s got his attention. LUCAS Really? Millipede? Man that thing’s unbeatable. MIKE Not trying to win. Just beat personal best. LUCAS Uh, okay. So are you coming or - MIKE Stay here until El call at 8. Then we watch Splash over phone. 2 3 A DARK SILHOUETTE resembling the DEMOGORGON descends the STAIRS. LUCAS Well Dustin should be here soon, so I’ll head out if - The SILHOUETTED FIGURE reaches out and we hear a ROAR that sounds like the DEMOGORGON. LUCAS SCREAMS and he and MIKE turn towards the INTRUDER. The INTRUDER steps out of the shadows and in the low light it looks like a DEMOGORGON. MIKE falls out of his CHAIR, but LUCAS delivers a kung fu punch to the DEMOGORGON’S gut. The DEMOGORGON falters back hugging its stomach. DEMOGORGON Shit! Shit! Shit! LUCAS is surprised. Mike sits up from the ground similarly bemused. DEMOGORGON Son of a bitch! The DEMOGORGON reaches toward its head and removes something from the centre of its open maw, revealing the face of none other than DUSTIN. DUSTIN (Catching his breath) Why’d you hit me? LUCAS What do you mean? You - you snuck up on us. DUSTIN Well I guess we’re even now huh. LUCAS What? DUSTIN Last summer. The Farrah Fawcett Spray. LUCAS What? DUSTIN Forget about it. LUCAS Oh. Farrah Fawcett. Really? 3 4 DUSTIN I said forget it. (Rubs his stomach) Oh shit. LUCAS Look I’m sorry. Are you okay? DUSTIN Yeah. Yeah. It’s padded, so it didn’t hurt that much. LUCAS Really, I’m sorry Dustin. I thought - man how the hell did you put this together. DUSTIN Well you see it’s actually a lot simpler than you’d think. The suit is a cheap replica of the Xenomorph from Alien. I found it in a dumpster a few months ago. The real tricky part was figuring out the best way to connect the speakers to the head. DUSTIN shows LUCAS a SMALL CYLINDRICAL DEVICE with a BUTTON on top, attached to a WIRE running up along the right arm of his SUIT. DUSTIN presses the BUTTON and we hear the same ROAR we heard earlier. LUCAS Awesome. DUSTIN Right. LUCAS Hold on. Should you be going out like that? I mean isn’t it against the whole secrecy - DUSTIN Nah, it shouldn’t matter. I think the government is less concerned with us, then preventing another Russian invasion. I mean I was pretty instrumental in uncovering the first one and I didn’t even get a medal, not that I was expecting them to give me one, but they didn’t even offer so really what’s up with that. LUCAS But if they gave you a medal, you couldn’t show it to anybody so it’d be pointless. DUSTIN Well, I guess. Hey Mike why are you in your underwear? MIKE is back playing the ATARI, but he’s still sitting on the floor. MIKE You should go now. Miss all the candy. 4 5 DUSTIN Okay, but- MIKE El call soon. Need to get ready. DUSTIN (Whispers to LUCAS) Did he hit his head? LUCAS (Whispers to DUSTIN) Nah, I think it’s the video games. DUSTIN (Whispers to LUCAS) Or its cause he’s only been talking with El and now he sounds just like her. It’s like they’re one person now, like an old married couple. LUCAS Yeah right. DUSTIN Okay Mike, see ya. LUCAS Later Mike. LUCAS and DUSTIN make their way up the STAIRS, as we slowly DOLLY IN on MIKE. DUSTIN (O.S) Max still AWOL? LUCAS (O.S) Last time I checked. DUSTIN (O.S) Hmm, maybe we’ll see her. LUCAS (O.S) Yeah. Hey did you try some of these cookies, they’re pretty good. DUSTIN (O.S) Can’t. The hands have no grip. LUCAS (O.S) Oh, so how are you supposed to carry your bag? DUSTIN (O.S) Got that covered. Check it out. 5 6 LUCAS (O.S) Dude seriously. That’s just disturbing. DUSTIN (O.S) C’mon we never got that close to the Demogorgon. It could have a pouch. LUCAS (O.S) Yeah I guess, it’s just you could have asked me to carry your bag. DUSTIN (O.S) Well it’s too late now. Anyway the real reason I’m wearing this is for Dart. LUCAS (O.S) It ate your cat, you remember right? DUSTIN (O.S) Yeah well aside from that, this would have been our one-year anniversary. LUCAS (O.S) Yeah, you got to let that go. DUSTIN (O.S) Oh buddy, one day you will know love like that and it will change your life forever. LUCAS (O.S) What are you talking about? I thought Suzie was your one and only. DUSTIN (O.S) That’s different. What Suzie and I have is special, because we found each other at camp. The difference is I found Dart. I think I was meant to find him. LUCAS (O.S) What? That’s crazy. DUSTIN (O.S) I don’t know, is it? LUCAS (O.S) Yeah it is. There’s a short pause, and we get the idea that someone has walked in on them. NANCY (O.S) Seriously Dustin, that thing killed Barb. MIKE’S eyes begin to close, and then the TELEPHONE RINGS. 6 7 TITLES OVER BLACK: CHAPTER TWO YOU RULE, YOU SUCK CLOSE UP SHOT of a TELEVISION SCREEN. We watch a scene from the first act of the film 2001: A Space Odyssey, the part where the man-apes discover the Monolith. STEVE (O.S) Are you sure this isn’t that one with the talking monkeys. ROBIN (O.S) What? No, that’s an entirely different movie. Also they were apes, dingus. We gradually ZOOM OUT… STEVE (O.S) Okay geez. They’re apes not monkeys, got it. But are they like gonna do something or just keep looking at that thing. ROBIN (O.S) Do you want me to explain the entire film to you or are you going to actually let yourself experience this piece of art. STEVE (O.S) Oh, is that what that is? I thought it was like a spaceship. ROBIN (O.S) What are you talking about? STEVE (O.S) The thing - the rectangle thing. ROBIN (O.S) Yeah I see that. (Beat) Oh my god! I meant the film is art, not the Monolith. STEVE (O.S) Oh, okay. Monolith. Cool. So there are tiny aliens in there. ROBIN (O.S) (Sigh) Yeah, but the monkey’s don’t know that. They think it’s like their creator. STEVE (O.S) Whoa. Hey, you said they aren’t monkeys. ROBIN (O.S) Well look at that, you were paying attention and technically they’re man-apes. We finish ZOOMING OUT to reveal… 7 8 INT. FAMILY VIDEO RENTAL – SUNSET ROBIN and STEVE are seated behind the COUNTER watching a SMALL TV SET, while a CUSTOMER who we recognise as SCOTT CLARKE stands waiting to be served. STEVE Seriously Robin, what the hell is this movie? STEVE looks over his shoulder and is startled by SCOTT. STEVE Holy crap! STEVE knocks over a STACK OF VHS from the return pile. Robin turns around, seeing the commotion and gives STEVE a shameful look. SCOTT I didn’t mean to cause a ruckus. Are you okay there? STEVE (Picking up the videos) Yeah, I’m fine. Thanks. ROBIN Sorry it was a little slow earlier, so we thought why not take a break. I hope we didn’t keep you waiting too long. SCOTT Oh no, quite the opposite. I’ve been meaning to re-watch 2001. I was actually thinking of doing a Kubrick marathon. ROBIN That sounds totally awesome. SCOTT Yeah, I guess so. ROBIN Well I could check if those films are available. SCOTT Oh no, that’s okay. I think I’ll just maybe - SCOTT looks around like he’s a bit lost. STEVE Whoa, what’s up Mr Clarke? 8 9 ROBIN Don’t be a dweeb Steve. You can call him Scott. SCOTT (Beat) It’s just – this is the first Halloween without Jen. STEVE Oh. Oh! Did she- ROBIN (Smacks STEVE’S arm) Steve! STEVE What I was only asking? SCOTT No it’s alright. The breakup was mutual. I just didn’t consider how all the memories of us together could come back, especially during the holidays. ROBIN and STEVE aren’t sure what to say or do in this situation. SCOTT Seeing you two together is really- really nice. ROBIN What? Us? SCOTT Yes. STEVE Me and Robin? ROBIN Robin and I. STEVE What? ROBIN You were grammatically incorrect. STEVE Well he knows what I mean. 9 10 SCOTT I’m sorry, did I say the wrong thing. ROBIN No. Well kind of. We’re not together. STEVE Yeah. Just friends. Amigos. Compadres. ROBIN Employees. SCOTT Well, I apologise for the assumption. STEVE Ah don’t sweat it Mr Clarke – Scott. Look I’ve only had one serious relationship with a girl and we were able to kind of end it, in a way that was better for the both of us. I can totally understand where you’re coming from. SCOTT Thank you Steve, but I’m- ROBIN Yeah it’s not like you need to completely erase the past to move on. Those memories are a part of you, and you can find comfort in knowing that the relationship you had actually meant something. SCOTT Very true Robin. It’s like Newton’s Third Law. ROBIN Exactly. (To clueless STEVE) Every action has an equal and opposite reaction. STEVE Huh. You take the good with the bad and the bad with the good. SCOTT Yes, that too. ROBIN is slightly impressed with STEVE. SCOTT Well I won’t keep you any longer. I guess I’ll just grab some candy; I don’t think I got enough this year. 10 11 STEVE Sure. STEVE walks over to the candy bar and opens the JARS, while ROBIN ejects the VHS of 2001 and puts it into the appropriate CASE. SCOTT I’ll take a whole jar of them mixed, if that’s doable. STEVE Absolutely doable. ROBIN hands SCOTT the VHS of 2001. ROBIN We can always watch it another time. SCOTT Thank you Robin. STEVE comes over with a JAR OF MIXED CANDY and SCOTT pays with a generous tip. As SCOTT leaves he turns back to ROBIN and STEVE. SCOTT I meant what I said, it’s really good seeing you two together, as friends of course. SCOTT exits and we PUSH IN behind ROBIN and STEVE, looking out the STOREFRONT. STEVE What should we watch now? ROBIN Well it’s your turn, only nothing with Chevy Chase this time. Please! STEVE Fine, as long as you ease off with the Woody Allen movies. ROBIN Okay, okay. How about the Marx Brothers? STEVE Oh I love Bugs Bunny. ROBIN & STEVE’S conversation FADES OUT, as we FOCUS IN a FIGURE crossing the STREET outside the STORE. It’s MAX MAYFEILD, holding a SKATEBOARD and listening to a WALKMEN. MAX is entirely in her own world until she glances at the STORE. She then quickly hopes on her SKATEBOARD and exits out of frame. 11 12 TITLES OVER BLACK: CHAPTER THREE THERE’S MORE TO LIFE THAN STUPID BOYS INT. HAWKINS POLICE STATION – NIGHT The MAIN OFFICE SPACE has a few HALLOWEEN ITEMS sprawled about. FLORENCE is asleep at her DESK; at least that’s what it looks like. We can see that the CLOCK mounted on the WALL behind her says that it is a 19:45. We hear a CAR pull up outside and the ENGINE turn off, but FLORENCE is undisturbed. Seconds later DEPUTY CALLAHAN enters with MAX. He’s holding her SKATEBOARD and points to a CHAIR at his DESK. MAX takes a seat. CALLAHAN peeks inside the CHIEF’S OFFICE and sees that it is unoccupied. MAX checks out FLORENCE, who is oddly still. CALLAHAN also notices this, while not paying attention to where he’s going, and hits his knee on the corner of his DESK. CALLAHAN (Trying not to swear) Ffffff…uuuuu…. FLORENCE doesn’t react to the noise, so MAX stands up and heads over to her. CALLAHAN (To MAX) Hey - MAX gives CALLAHAN a look that sets him straight and he limps over to FLORENCE. CALLAHAN Hey Florence. Florence. Still no reaction from FLORENCE. MAX gently pats FLORENCE’S shoulder, but again nothing. CALLAHAN gives FLORENCE a nudge. There is a short second where MAX and CALLAHAN think that FLORENCE might be dead, and then FLORENCE’S eyes suddenly open and she grabs CALLAHAN’S arm. CALLAHAN AHHH! FLORENCE (Letting go of CALLAHAN) What are you doing? CALLAHAN Ah, nothing. Well we thought - (looks at MAX) MAX shakes her head and CALLAHAN shuts up. 12 13 FLORENCE (Points to MAX) Who is this? CALLAHAN Ah, I don’t know. She won’t tell me her name. FLORENCE (Not surprised) What’s your name hon? MAX keeps tight-lipped and takes a seat. CALLAHAN I’m starting to think she might be a mute. MAX raises an eyebrow and crosses her arms. CALLAHAN Or maybe she’s you know Buddhist and this is like a vow of silence. FLORENCE Alright Deputy, easy there. Don’t wear yourself out. I think someone is taking their right to remain silent very seriously. What did she do? CALLAHAN Well for starters, I caught her trespassing at the Community Pool. She also has this skateboard, which might be stolen or was being used to vandalise the property. MAX smiles and shakes her head. CALLAHAN drops the SKATEBOARD on the DESK. CALLAHAN I’m sorry, is there something funny you’d like to share? MAX pretends to look like she’s thinking hard about something. FLORENCE Was there any damage? CALLAHAN What? Oh, well I didn’t have a good look around but no - FLORENCE Alright - CALLAHAN But I couldn’t just let her go. I need to contact he parent’s right, but she won’t tell me anything. You sure you don’t recognise her? 13 14 FLORENCE I’m a secretary, not Mother Teresa. MAX stares out of the window, opposite. FLORENCE gets a little closer to MAX. FLORENCE Look hon, we need an address or else we can’t legally let you go. MAX sighs and considers saying something, before shaking her head. CALLAHAN Where’s the chief? FLORENCE I thought he was out on patrol. Why didn’t you just call him? MAX smiles at CALLAHAN knowingly. CALLAHAN (Whispers to FLORENCE) I left my radio at home. FLORENCE shakes her head and walks over to a CABINET. She unlocks it, takes out a small HANDHELD RADIO and gives it to CALLAHAN. CALLAHAN Thank you. (On the radio) Hey chief, I’m at the station and could use your help with something. Over. There’s a few awkward seconds of RADIO SILENCE. CALLAHAN (On the radio) You there chief? I’m at the station now and need assistance. Over. More RADIO SILENCE. CALLAHAN looks at FLORENCE. MAX sits up a little. CALLAHAN (On the radio agitated) Hey chief if you’re there, Florence and I could use you so… DEAFENING RADIO SILENCE. CALLAHAN (On the radio desperate) Chief I got a random kid who I swear is messing with me, so can you please I don’t know, just tell me what to do here! NAUSEATING RADIO SILENCE, and then suddenly we hear the sound of MOVEMENT coming from the opposite end of the room. 14 15 CALLAHAN puts the RADIO down and instinctively reaches for his GUN, but FLORENCE gives him a disapproving look that makes him reconsider. CALLAHAN (To MAX and FLORENCE) Wait here. MAX and FLORENCE give CALLAHAN a look that says ‘obviously what else would we do’. CALLAHAN doesn’t catch it and limps off. MAX carefully takes her SKATEBOARD off the DESK without FLORENCE noticing. CALLAHAN is about to round the corner, when he turns back in the last second. CALLAHAN The radio - Just then CHIEF POWELL enters and sees CALLAHAN, but he’s unable to get out of the way. They collide and while POWELL is unfazed, CALLAHAN falls back and hits his other good knee into ANOTHER DESK. CALLAHAN AHHHH! Come on! POWELL Damn it Callahan, are you alright? CALLAHAN awkwardly props himself up on ANOTHER DESK. CALLAHAN Yeah chief all good, just banged up both of my knees is all. POWELL Well damn man you need to be careful, coming around like a loss bullet. CALLAHAN Right chief, I will make a note of that. POWELL looks over to MAX, and his eyes fall towards the SKATEBOARD in her hands. CALLAHAN Hey chief, were you in the station the whole time? POWELL Yeah, the lounge room has a better couch. CALLAHAN Seriously, am I the only one who isn’t allowed to sleep in here? 15 16 POWELL Yes. (To MAX) Ms Mayfield. MAX is a little confused, but nods politely. CALLAHAN You know her chief? POWELL Not personally, but I knew her stepbrother. Caught him speeding once and he tried to convince me to let him off, on account that he was late picking up his sister. Gave him the ticket off course, not like that made much of a difference though. MAX looks away before anyone can notice her remorse. POWELL Anyway, I shouldn’t speak ill of the dead. Not today especially. CALLAHAN Well chief, I’m not sure what you want to do. I found her at the pools and I’m still not sure what she was doing there. FLORENCE Not much of a talker this one. POWELL Well I’m going to guess judging by that, Ms Mayfield was skating. CALLAHAN Okay, but how do we know that board is hers. POWELL If someone reports it stolen we’ll find out, but for now I think we can just let Ms Mayfield off with a warning and expect that she has learnt her lesson. POWELL gives MAX a respectful nod that suggests his understanding of her situation. MAX graciously takes the queue and makes her way out. We follow MAX as she disappears around the corner and then we SWING BACK around to CALLAHAN, FLORENCE and POWELL. CALLAHAN (Sarcastically) Your welcome. POWELL Happy Halloween. 16 17 TITLES OVER BLACK: CHAPTER FOUR WE’VE GOT SHARED TRAUMA EXT. CUTTERS BEACH – MIDDAY EXTRA WIDE SHOT of a gorgeous BEACHFRONT PAVILION facing out to SEA. Super impose titles: RESERVOIR, CALIFORNIA A YOUNG MAN walks into frame. Their back is turned, but we can see that they are dressed in CASUAL HIPSTER WEAR and appear to be taking photos of the BEACH. We PUSH IN slightly and they turn around, revealing JONATHAN. JONATHAN focuses his PANTAX MX CAMERA ahead and we change to the CAMERA’S POV. We see a strip of COMMERCIAL BUILDINGS and the camera ZOOMS IN on a triple storey theatre, painted black and dark green, called THE PUNK YARD. We hear a mechanical BUZZ and BEEP, and exit the POV. JONANTHAN removes something from his pants pocket and we CLOSE UP on the item, revealing a PAGER with a message that simply reads CODE RED 765 555 0113. JONATHAN checks both sides of the STREET, but we can’t see what he’s looking for. He waits for a CAR to pass, crosses the STREET and heads into THE PUNK YARD. INT. THE PUNK YARD – ENTRANCE HALL - MIDDAY There are no staff members in sight, which is expected since there wouldn’t be any bands playing at this time of day. JONATHAN walks down the HALL with urgency. INT. THE PUNK YARD – WAITING ROOM - MIDDAY LONG SHOT of JONATHAN in a large WAITING ROOM filled with band posters, graffiti and worn out couches. We hear MINOR THREATS SALAD DAYS playing from some speakers in another room. A TRIO OF PUNKS, some male, some female, exit out of a BATHROOM. They walk passed JONATHAN and recline on a COUCH. INT. THE PUNK YARD – HALLWAY - MIDDAY JONATHAN peaks around a corner and we see a long narrow HALLWAY, with a PAYPHONE and a DOOR at the end tagged OWNLY F UR HARDCOR. JONATHAN quickly slides up to a PAYPHONE and inserts some COINS. He picks up the RECEIVER, checks the PAGER and dials the phone number from the message. We hear the phone RING FIVE TIMES until it CLICKS. 17 18 JONATHAN Nancy! NANCY (O.S) Jonathan. JONATHAN Are you alright? Is everyone okay? NANCY (O.S) Yes. Yes. We’re fine. JONATHAN What is it? What’s happening? NANCY (O.S) Jonathan relax. Everything is okay. There’s nothing to worry about. JONATHAN Wha- what? But your message, I thought- NANCY (O.S) I’m sorry. I should have been more specific. I just really needed to talk. We hear what sounds like a LAWN MOWER coming from NANCY’S end. JONATHAN Okay. (Beat) Is that a fan? Where are you? The SCREEN SPLITS in two, revealing NANCY inside of a LAUNDRY MAT. NANCY I’m not at home, if that’s what you think? JONATHAN No, it’s just you really freaked me out Nancy? NANCY I know, I’m sorry. (Beat) Look it’s safe to talk, okay. JONATHAN Okay. NANCY Okay. (Sigh) How are you? How’s everyone? 18 19 JONATHAN (Uncertain) I’m good. We’re good. NANCY Has the place been approved? Are you set to move in soon? JONATHAN No, we’re still waiting to hear from them. Owens said it shouldn’t take more than a few weeks when we got here, but it’s been close to a month now so. NANCY Have you called Owens? JONATHAN No, I told you they’re- look Nancy is this what you wanted to talk about? NANCY (Abrupt) No. JONATHAN (Hurt) Okay. On JONATHAN’S side, MINOR THREATS STUMPED begins playing. NANCY I mean yes, sort of. I mean of course, it sucks that your family moved away and now are stuck somewhere, because these arseholes are paranoid you’ll leak something to Russian spies. (Sarcastically) Who could be anywhere and everywhere now? JONATHAN Yeah, like California really? What are they doing here, buying up beachfront property so it will be easier to invade by sea? NANCY Exactly. (Beat) And honestly Jonathan, it’s the labs fault those leaks got out. It had to have come from inside. But no, we’re still the ones who have to deal with the fallout of their mess. We have to let them decide how we go on living our lives. JONATHAN Your right it’s not fair, but we don’t have a choice. We did the best we could Nancy. We made them answer for their bullshit. It wasn’t the truth, but it was close enough. NANCY goes quiet and thinks about her next words carefully. JONATHAN Nancy? Are you still there? 19 20 NANCY Yes. We hear something BUMP against the WALL on JONATHAN’S side. JONATHAN tentatively glances at the DOOR tagged OWNLY F UR HARDCOR. Nothing happens. NANCY Do you really think we can trust them? JONATHAN (Sigh) I don’t think it will help us if we don’t appear like we do. Owens hasn’t given us a real reason to think he’s playing us or needs something more from us. NANCY What about El and Will? Do think he might want to study them and use them, now that they know that the Russians want to open another Gate. On JONATHAN’S side, MINOR THREATS GOOD GUYS (DON’T WEAR WHITE) begins. JONATHAN I don’t think so. El and Will are different now. They’re ordinary, for a lack of a better word. I’m not saying there was something wrong with them personally before. You know what I mean Nancy, they’re just kids now. NANCY I know. (Beat) If I’m not mistaken you kind of sound a little envious of them. JONATHAN What do you mean? NANCY Oh you know, like it would be fun to think about what you might do, if you were that age again; just a freshman with your whole high school social life ahead of you. JONATHAN Well if you remember, I wasn’t really part of all that. NANCY That’s what I mean. If you could have a do over, what would you do differently? JONATHAN But that’s it I don’t need to imagine it, because I wouldn’t want to change anything. NANCY Really? What about us? Would you have wanted to know me? Would you have talked to me sooner? 20 21 JONATHAN Well yeah of course, I just don’t see the point of thinking about that. Does it really matter what we could have done, and who we could have been? NANCY That’s not what I’m trying to say Jonathan. I just wanted to know… JONATHAN What? What Nancy? On NANCY’S side, we hear the LAUNDRY MACHINES become louder. NANCY (Pause) What if Will never disappeared and Barb never – What if none of those horrible things happened. Shouldn’t we want that? Should we wish for that? JONATHAN Yeah. Yes. NANCY Don’t you think it’s wrong that we got together, because of that? Would we have done so otherwise? JONATHAN Nancy what are you saying? Do you think our relationship is just based on the worst parts of our friends and families lives? NANCY No. I don’t know? I guess I wanted to ask you, if you thought that was true. JONATHAN Well I don’t and I think we are who we are, regardless of how things could have went. You know I love you Nancy, I’ve always loved you. NANCY Oh Jonathan I – The line goes dead and JONATHAN reaches in his pocket for more COINS. A large hand slams on the PAYPHONE and JONATHAN sees a TALL PUNK in front of him, who clenches a fist and gives JONATHAN a look that says ‘times up lover boy, beat it’. JONATHAN (Puts his hands up) All yours. The PUNK stares at the COIN in JONATHAN’S hand. JONATHAN knows there is no getting passed them otherwise and hands them the COIN. 21 22 TITLES OVER BLACK: CHAPTER FIVE I CAN FIGHT EXT. SUNFIELD APARTMENTS – LATE AFTERNOON We open outside the front of an APARTMENT COMPLEX, which looks very similar to The South Seas Apartments featured in The Karate Kid, except that there’s a LARGE ADVERTISMENT painted to the façade that reads SUNFIELD APARTMENTS, LIVIN IT EAZY ON THE EAST COAST, 805-926-7431. In a CONTINUOUS SHOT, we head into the COURTYARD. There’s a few RESIDENTS swimming and lounging in the POOL AREA, but we continue passed them UPSTAIRS to the SECOND FLOOR APARTMENTS and PAN IN on a DOOR numbered 11. The WINDOW beside it has the CURTAINS partly drawn and we enter through to… INT. APARTMENT ELEVEN – MAIN ROOM - LATE AFTERNOON An open plan LIVING/DINING ROOM AND KITCHEN, which apart from a few PERSONAL ITEMS here and there, appears to have come pre-furnished. ELEVEN, wearing a CARDIGAN, SHIRT and SWEAT PANTS, and holding a COMIC BOOK, enters through a HALLWAY ON THE RIGHT. She crosses the LIVING ROOM and we follow her to another HALLWAY, located on the opposite side of the room, which ends at a DOOR with a HAND DRAWN SIGN displayed along the top. The SIGN is written in the Elvish language of J.R.R. Tolkien’s epic fantasy series. ELEVEN knocks on the DOOR THREE TIMES. ELEVEN Mellon. (Subtitled: Friend) WILL (O.S) Enter. INT. APARTMENT ELEVEN – WILL & JONATHAN’S ROOM - LATE AFTERNOON ELEVEN opens the DOOR and we PAN OVER to WILL, who is quietly sitting and drawing away at a DESK. ELEVEN takes a seat opposite him and watches him draw. We tentatively CLOSE UP on the DRAWING and see a male figure sprawled out in the centre, gripping their head in agony, with various scenes of people in different emotional states, laid out in a web like pattern around him. The PENCIL in WILL’S hand stops and ELEVEN looks up at WILL, but he isn’t looking at her; his attention is on the COMIC in her hand, UNCANNY X-MEN #134 HEROES AND HELLFIRE. ELEVEN lays the COMIC down on the DESK. 22 23 WILL Well, what did you think? ELEVEN It was good. WILL Really? Just good? ELEVEN Well, some parts were better. I thought there was too much explaining. WILL Yeah, I see what you mean, but the action makes up for it. ELEVEN Yes, but I could see what was happening in the pictures, so some of the words weren’t needed. WILL Uh huh. ELEVEN I liked that they used their minds and strengths to beat the Bad Men. WILL Yeah, like when Cyclops blasted the floor beneath Shaw. ELEVEN Yes and when Storm made him weak with her freeze spell. WILL Right, but Storm isn’t a magic user, if you want to get technical. ELEVEN Doesn’t she have magic powers? WILL Well she’s a mutant like the rest of the X-men, so her abilities are from her mutation. They were passed on from her parents. ELEVEN Like me, like mama. WILL Yes. A spell caster on the other hand, like in D&D, obtains their power through the study of arcane magics or through a connection with a deity. 23 24 WILL stares at his DRAWING and ELEVEN doesn’t have to guess what he’s thinking about, it could only be one thing. WILL Like me and The Mind Flayer. ELEVEN (Beat) We don’t have to worry about them anymore. WILL (Sincerely) Yeah, everything is normal now. ELEVEN’S eyes are drawn to a FRAMED PHOTO on the DESK, of THE PARTY (including JOYCE, JONATHAN and NANCY), that was taken on the day that she and THE BYERS left Hawkins to move to California. WILL You wouldn’t know it by looking at that picture, that we all started crying right after it was taken. ELEVEN (Laughs) I think I hugged everyone at least fifty times. WILL stands up and flops himself on his BED. WILL What are we doing here? Why did we have to move so far away? ELEVEN (Sighs) Will, your mom - WILL I know. I know. We needed a new start. I just wish - I don’t know. ELEVEN picks up WILL’S DRAWING and finds a folder with more DRAWINGS of the same character. Each DRAWING looks like they tell a different part of a single story. ELEVEN Is this you? WILL (Sits up) Oh, no. That’s just a character I’m working on. ELEVEN Oh, who are all the other people? Are they friends? 24 25 WILL No, they’re uh. (Thinks) ELEVEN Are they bad? WILL No. Well maybe some of them or maybe they’re not all bad. I mean everybody has good parts and bad parts, and maybe some have more of the other. ELEVEN Okay, but it looks like they are hurting the man. WILL Well, it’s because he can see and feel what everyone is going through, but he can’t control it. He doesn’t know why it happens, at least he doesn’t know yet. ELEVEN He needs to focus. WILL What? ELEVEN closes her eyes and WILL watches her as if she is about to use her abilities. WILL El? ELEVEN He needs to find something. WILL Find something? Where? ELEVEN No. Inside. In him. WILL In his memories. ELEVEN Yes. Something real. Something that reminds him of the truth. WILL But what if it’s too painful to remember. 25 26 ELEVEN He has to feel, so he can learn. WILL But how? How does he know he’s learnt the right thing? How does he know it will work, when he tries to use it again? ELEVEN He has to trust. He has to understand. WILL repositions himself so that he is sitting cross-legged, and closes his eyes. ELEVEN Breath. WILL takes a few deep breaths in and out, and we slowly ZOOM IN on him and ELEVEN, building anticipation that something incredible will occur. ELEVEN What does he see? WILL Nothing. It’s just empty. ELEVEN Look deeper. What does he remember? WILL His home. (Beat) His family. His friends. ELEVEN What else? WILL His. (Beat) His dog. Chester. He died. WILL opens his eyes, and is surprised to see ELEVEN staring back at him shocked. WILL’S nose is bleeding like a faucet and he quickly grabs some TISSUES to stop it. ELEVEN Ah Will- WILL It’s nothing, just a normal nosebleed. I get these sometimes when I’m stressed. JOYCE (O.S) Hey guys, you want to order pizza? 26 27 TITLES OVER BLACK: CHAPTER SIX IT’S ALL A BIT SHAKESPEAREAN EXT. HENDERSON RESIDENCE – FRONT YARD - NIGHT CLOSE UP on a PORCH LIGHT. A few seconds pass as we take in the ambience and then the LIGHT suddenly turns on. We dramatically PULL BACK revealing the front of the HENDERSON’S HOUSE. CLAUDIA HENDERSON and STEVE exit from the FRONT DOOR and we follow them out to the STORM CELLAR. There is plenty of SNOW in the yard, and STEVE almost slips on a patch of ice. CLAUDIA Oh careful there hon. STEVE (Steadying himself) All good Mrs Henderson. Ninja reflexes. CLAUDIA Oh. That’s nice. Super impose titles: DECEMBER 23rd, 1985 STEVE AND CLAUDIA stop outside the STORM CELLAR, which is shut. STEVE Should I? CLAUDIA Oh, he locked it from the inside. STEVE Really? You have a spare key? CLAUDIA gives STEVE a look of both regret and helplessness. STEVE All good. I’ve got this. STEVE stamps on the CELLAR DOORS four times and CLAUDIA instinctively puts her hands over her ears. They both wait, but there is no reaction from below. 27 28 STEVE Hey Henderson. It’s me. Steve. Still nothing. CLAUDIA ushers STEVE to try a little harder. STEVE Hey buddy, your mom called me down here. She’s worried about you, said you won’t come out. Can you at least tell her what’s going on? Silence. STEVE and CLAUDIA have a moment of panic and then we hear FOOTSTEPS, followed by the sound of the CELLAR DOORS being UNLOCKED. STEVE steps back as the DOORS fling outwards and DUSTIN peaks out. DUSTIN Alright. (Looks as CLAUDIA) Sorry mom, this is men’s business. CLAUDIA Okay sweaty. I’ll just be inside. Waiting. CLAUDIA leaves and DUSTIN gestures to STEVE, to come into the CELLAR. STEVE You sure we can’t talk someplace else. I mean it’s got to be at least 10 times colder in there then it is out here. DUSTIN Suit yourself. STEVE Whoa, whoa. Fine. I’m okay with freezing my ass off. I’m just thinking of you pal. DUSTIN I appreciate your concern for my ass. STEVE enters the CELLAR and DUSTIN locks it after him. INT. STORM CELLAR – STAIRCASE - NIGHT STEVE Well what are bros for? (Indicating to the locked door) Is that necessary? DUSTIN Just a precautionary measure. DUSTIN and STEVE descend the STAIRS and reach the FLOOR of the CELLAR. 28 29 INT. STORM CELLAR – FLOOR - NIGHT It looks ordinary, except for that DUSTIN has set up a FOLD UP BED and HEATER. STEVE Okay. This is a little weird. I mean not that weird, it is a bunker I guess. What’s with the bed? Is there like something wrong with your room? Oh shit did you find out something bad? Is this like an end of the world type thing? Crap Henderson is this the Russians! It is isn’t it! Goddamn Russians! Are we being nuked? DUSTIN Steve! STEVE We need to – we need to call somebody. We need to call everybody. Geez Hen – Dustin (Grabs a hold of Steve) Steve! It’s not the goddamn Russians okay! Okay! DUSTIN lets go of STEVE and walks to a corner of the room, his back turned to STEVE. STEVE Well that’s a relief. Nobody’s dying. Few. DUSTIN Not true. (Beat) I’m dead. STEVE What the hell are you talking about? You’re alive, I’m like talking to you right now. DUSTIN Not dead dead. Figuratively dead, and if I don’t stay in here I’ll be for real dead. STEVE All right back it up Henderson. Does this have to do with the Russians or not? DUSTIN (Turns around) I told you it’s not the stupid ass Russians! STEVE Well I did tell them your name, so I thought you know, they might try and come after you. But remember I was drugged okay, so it wasn’t my fault. DUSTIN Steve! Can you just shut up for a second so I can explain? This is really serious. 29 30 STEVE abides and gives DUSTIN some space to get comfortable. DUSTIN It’s Suzie’s parents. They think I’m Mormon. STEVE Are you? DUSTIN What? No. No look, that’s not the point. They think I am and they want to meet me. STEVE Hold up. I’m confused, how do Suzie’s parents even know about you. Weren’t you and Suzie keeping your relationship all hush hush, on account of her parents? DUSTIN Yeah well that was the case for the last couple of months, until her mom happened to overhear us last week and figured out we were dating. STEVE Whoa, sorry bud. (Beat) How are you two actually dating though? Like you’re talking over computers, but it’s not a real date if you’re not physically in the same space. DUSTIN That’s your issue here. Don’t you see how I’m screwed? I told Suzie’s mom that I was Mormon, so she wouldn’t think I was some Satanist and make us break up. STEVE Come on that’s a bit much. Cut Suzie’s mom some slack. DUSTIN Really? Do you know any actual Mormons? STEVE Yeah, I see them every month. They’re super friendly. DUSTIN shrieks with frustration and storms about the ROOM. STEVE Whoa, relax buddy. Your getting all worked up for no reason. DUSTIN I can’t relax! I can’t, because they’ll be here soon. I told you they want to meet me, so that’s why I’m down here. 30 31 STEVE Geez Henderson, you didn’t tell your mom? What did you expect was going to happen when they showed up at her door? DUSTIN I don’t know. I told Suzie that mom didn’t mind having people over for Christmas, but I didn’t think her folks would actually drive all this way. And now that they have I thought maybe they‘d leave when they realised I wasn’t one of them. Suzie and I weren’t meant to be. Our worlds could never meet. STEVE Well what about Suzie? You don’t think it’ll hurt her feelings if you don’t show up. DUSTIN It’s better this way if we don’t see each other, when we’re forced to break up. STEVE I don’t get you Henderson. I thought you and Suzie were hopeless romantics. DUSTIN We are - were. She was my Juliet and I was her Romeo. STEVE I don’t get the reference. DUSTIN Star crossed lovers from warring families, who meet a tragic death. STEVE Sounds like West Side Story, except the girl makes it. Anyway you can’t just give up Henderson. If that movie has taught me anything it’s that you should face the truth, even if you think it’ll kill you, because there’s a good chance it won’t. DUSTIN looks at the area that Dart tunnelled out from, which has been patch up. DUSTIN You’re right! I’m such an ass! I can’t let Suzie face this on her own. DUSTIN pats Steve’s shoulder and strides up the STAIRS. STEVE Okay buddy. You go get her! Oh and watch out for the patch of ice near the – We hear a LOUD THUD from outside. DUSTIN (O.S) Ahh! Shit! 31 32 TITLES OVER BLACK: CHAPTER SEVEN HAVE I DESPAIRED? INT. SINCLAIR HOUSE – KITCHEN – AFTERNOON MRS SINCLAIR picks up a TRAY filled with slices of Christmas pudding and coffee. MRS SINCLAIR You play nice now Erica. Make our guests feel welcome. MRS SINCLAIR exits through a DOOR and we hear the sound of ADULTS LAUGHING from the OTHER ROOM, before the DOOR closes. We PAN OVER to the DINING AREA and CLOSE UP on ERICA, who’s sitting at the DINING TABLE. ERICA takes a sip from her MUG OF HOT COCO. We then CUT individually to LUCAS, ROBIN and SUZIE, who are also at the DINING TABLE and are staring uncertainly at ERICA. There is a WALKIE TALKIE between ERICA and SUZIE. WALKIE TALKIE (CAT) Meow! (DUSTIN) Ow! Mews Two?! (CLAUDIA) Oh honey, I’m sorry. (CAT) Meow! (DUSTIN) Mom! Get her off the leg! (CLAUDIA) Sorry! Okay now Mewsy, come here. Dusty needs his space. SUZIE Dusty Bun, are you okay? WALKIE TALKIE (DUSTIN) It’s all right Suzie Poo. Mews Two just climbed up on the gurney. SUZIE Oh that’s good. You know I really wish you could be here Dusty Bun. WALKIE TALKIE (DUSTIN) Me too Suzie Poo, I real- ERICA Ahem. A short moment of awkward silence and then… WALKIE TALKIE (DUSTIN) So I was thinking we should- ERICA switches off the WALKIE TALKIE. 32 33 LUCAS Erica! ERICA What? Look it was obvious them two were gonna keep interrupting. And it’s not my fault Dustin is in the hospital, because has two left feet. LUCAS Erica! ERICA I was trying to be nice, but honestly we don’t need the extra player. ERICA holds out THREE D&D CHARACTER SHEETS. LUCAS Who says I want to play. ERICA What are you afraid of Lukey? ROBIN takes a SHEET before LUCAS can answer. ROBIN (Reads her sheet) Sir Hunk of He-mania. Okay. ERICA shakes the other TWO SHEETS at SUZIE, who takes one. SUZIE Sheena the Spring Sprite. Oh, she’s a fairy! ERICA chuckles to herself, and hands LUCAS the LAST SHEET. LUCAS Farty? Farty! Is this a joke? ERICA No. Just bad luck. LUCAS Where’s the other sheet? Where’s Dustin’s? ERICA rips up the FOURTH SHEET. LUCAS Well I’m not going by that. 33 34 ERICA Too bad Farty, the games started. ERICA places a SQUARE GRID LINED BOARD in the middle of the DINING TABLE, with a colourful drawing of what looks like the top view of a Palace Great Hall. She then sets down THREE TOY FIGURINES on the BOARD, a TROLL DOLL, a LEGO KNIGHT and STRAWBERRY SHORTCAKE. ROBIN reaches out to grab the LEGO KNIGHT, but ERICA points a TOY WAND at her, which startles ROBIN back in her seat. ERICA Sir Hunk, Sheena and Farty. You have been summoned to the Palace of Magerica, by the most beautiful and gracious Princess Starpony. LUCAS What the- ERICA sets down a MY LITTLE PONY STARSHINE FIGURE on the BOARD. ERICA Ahem! Aren’t you going to bow? ROBIN and SUZIE bow their heads, while LUCAS just stares at the BOARD with disbelief. ERICA has managed to ruin his beloved game without even trying. ERICA moves STARSHINE around as if she is speaking. ERICA (Regally) I take it that since trolls do not possess a backbone they cannot bow, so I will not take offence Farty. However you may kneel as a show of respect. LUCAS does not budge, so ROBIN gives him a kind look of support that says ‘just see the humour and play along’. LUCAS reluctantly motions the TROLL DOLL sideways, to represent them kneeling. ERICA Good enough. Now, why are you so late? ROBIN (Thinks quickly) Excuse us my liege. We came as fast as the winds could carry us. What be the urgency for your summons? ERICA Oh Sir Hunk, I am in great need of heroes. You see the Royal Ball is set to take place in this here hall tonight, but I fear I may have to cancel it. 34 35 SUZIE (Sincere) Oh no. How dreadful? ERICA (Also sincere) Yes Sheena, it would be. I’ve kept the guests from entering the palace for their own safety, but also for they can not be trusted. See here? ERICA hands SUZIE a NOTE. SUZIE (Reads the note) When the day is through, so shall you and all who tend to greet you, as within your hall their lies a fraud, that will verily unseat you. Try as you must, but you won’t find the curse until it is too late, for it arrived upon request and so you’re doomed to fate. ROBIN When the day is through; so sunset. ERICA Yes, which will be in about one minute’s time. SUZIE So we are here to protect you from this thing, this curse. Is the curse literal? ROBIN Maybe. LUCAS Why not just send the guests away, you know and just cancel the Ball. ERICA Ha and give into these cowards. This Ball was to be the finest in the land, and many have come far a wide to be here. I will not disappoint them. LUCAS But this is insane! You’re going to risk their lives! ERICA Of course not, they are well protected by the palace guards, and the real the danger is with me. ROBIN She’s right. The note says that she is doomed, not them, and that the curse is found in the hall. LUCAS So leave. 35 36 ERICA Well Farty, if you want to ‘relieve’ yourself go head, but I will make sure this thing is dealt with, for the good of my kingdom. LUCAS thinks about saying something, but keeps quiet. ERICA then grins wickedly. ERICA (As herself) The hour is upon you. The sun has set and suddenly out of the corner of your eyes you see things begin to move and draw towards you. You gather by the entrance of the hall and watch the ornaments and furniture that the hall is decorated in for the Ball, assemble together in a monstrous form… From underneath the DINING TABLE, ERICA pulls out a FIGURE that’s the size of a soccer ball, and slams it onto the BOARD. The FIGURE looks like a MYTHICAL DRAGON, except that it’s been made from an assortment of DOLL HOUSE FURNITURE, that’s been held together with PLAY-DOH. ERICA A Furnocious Dragon! LUCAS Uh? ERICA rolls some dice. ERICA You are all stunned by the dragons mighty presence, and unable to defend their attack of Furnocious Breath. Tables and chairs hurl towards you and clobber you to the ground. You each take ten damage, as the dragon rears for another attack. LUCAS (Checks his character sheet) I strike with my battle-axe. (Rolls dice) Nine. ERICA (Rolls dice) Your axe becomes wedged in the dragon’s right leg and you find yourself unable to move. You realise that the magic that holds the dragon together is pulling you towards it. It then picks you up and swallows you whole. You are dead. LUCAS What?! ROBIN Oh no. SUZIE Does that mean the game is over? 36 37 TITLES OVER BLACK: CHAPTER EIGHT YOU DON’T KNOW WHAT IT’S LIKE EXT. THE HIDEAWAY PUB – NIGHT – SNOWING LONG SHOT of the front of a SMALL BUILDING, with a NEON SIGN in the window that says HIDEAWAY. A STATION WAGON pulls up and a MIDDLE AGED COUPLE exit and walk into THE HIDEAWAY PUB. INT. THE HIDEAWAY PUB – NIGHT – SNOWING TRACKING SHOT as we follow the COUPLE inside, who take a seat at THE BAR. SOMEONE is singing SURVIOR’S EYE OF THE TIGER on a KARAOKE MACHINE at the end of the room. We continue to a STAGE and the singer is revealed to be KEITH. KEITH It’s the eye of the tiger - KEITH points out to someone in the audience and we PAN OVER to a BOOTH seating THE WHEELER FAMILY. It’s obvious that KEITH was pointing to NANCY, who is seemingly weirded out by this. Her mother KAREN notices the exchange and gives NANCY a look of concern, which NANCY quickly dismisses by shaking her head. KEITH finishes the song and walks off THE STAGE, and over to a YOUNG WOMAN, who smacks and pushes him. The YOUNG WOMAN glares as NANCY, and NANCY tries to seem like she’s not watching them and KEITH argue. The YOUNG WOMAN then storms out, leaving an embarrassed KEITH to follow after her. KAREN Hey Ted, why don’t we go up? TED is cleaning his teeth with a TOOTHPICK and is clueless to what KAREN’S asking. KAREN How about it? We could do a duet like we used to. Remember Johnny and June? NANCY What, you and dad used to sing together? KAREN Well this was before we got married, but yes. HOLLY I want to heew a song. MIKE is staring at the FRONT DOOR, expecting someone to show up at any minute. 37 38 TED I’m pretty full sweety. (Rubs his stomach) I should have skipped dessert. Before KAREN can insist any further, TOMMY and CAROL hop onto THE STAGE and begin singing A-HA’S TAKE ON ME. NANCY gives KAREN a supportive look, but KAREN smiles back as if to say ‘it’s fine’. The FRONT DOOR opens and MIKE is excited for a moment, and then confused when MAX enters with her mother SUSAN MAYFEILD. MAX and SUSAN walk over to THE BOOTHS, upon which KAREN sees and waves them over. KAREN Oh my goodness Susan, and Max. It’s been a while. Merry Christmas. SUSAN (Timid) Merry Christmas. (To EVERYONE) Merry Christmas. NANCY AND TED Merry Christmas. MAX and MIKE remain silent and avoid making eye contact. SUSAN gives MAX a gentle nudge, but MAX just nods her head politely. HOLLY Mewy Cwistmas. SUSAN Merry Christmas sweetheart. SUSAN looks for an empty BOOTH, but they’re all taken. KAREN We’re finished, if you wanted to sit down. SUSAN Oh no please. We mainly came for Max. I didn’t have time to cook with work and… MAX begins to say something in defence, but thinks otherwise. KAREN Well how about we go to the bar then and Max can order something here. SUSAN Oh no I can’t. KAREN Please, let me get you a round and we can leave the young people to chat. 38 39 KAREN and SUSAN make their way to the BAR, while TED awkwardly excuses himself to the POOL TABLE. MAX slides into the seat next to HOLLY. HOLLY (Smiling at Max) Your hew is pwity. MAX So’s yours. (Indicating to HOLLY’S PLATS) Did you do it yourself? HOLLY No Nancy hewped me. NANCY smiles at MAX, but MAX isn’t able to smile back. MAX (To HOLLY) Well that’s nice that you have an older sister who can do that for you. NANCY isn’t sure how to take that, but she eases in a little closer to MAX. NANCY How’s school? Are you getting through the semester okay? MAX Yeah sure. NANCY Well you’ve almost made it through your first year, so the rest should be pretty easy. MAX simply nods her head, and looks over to TOMMY and CAROL. NANCY Trust me if I can put up with them, you can survive anything. MAX stares back at NANCY, as her words have hit a sensitive spot. NANCY I am so sorry. I didn’t mean it like that. MAX is uncomfortable and tries to leave, but a WAITRESS comes over and starts taking the plates off the table. NANCY (To MAX) Did you want to order something? MAX quickly stands up and goes into the WOMENS BATHROOM. The WAITRESS is a little confused, but NANCY gestures that it’s fine and the WAITRESS leaves. MIKE is still watching the FRONT DOOR expectantly. 39 40 NANCY Really Mike you’re just going to do that all night. Your friend was here and you didn’t say a thing. I had to carry the conversation on my own, and now I’ve messed it up. MIKE How’s that my fault? NANCY Finally he speaks and can put together a proper sentence. TOMMY and CAROL finish their song and return to their seats. MIKE Just because you’re too afraid to break up with your boyfriend, doesn’t mean you can make fun of how El and I talk to each other. NANCY What? I don’t want to break up with Jonathan. Why would you think that? MIKE Come on. You don’t care if he makes it or not. You’re happy with not seeing him. NANCY That’s just not true. I understand what you and El have, but I’m not obsessed. They said their flight was delayed, so there’s no point in putting your life on pause waiting for them to get here. You want them to be safe right? MIKE Well yeah, but what’s that got to do with anything? NANCY It’s a storm Mike, what do you expect? MIKE You don’t know. It could be over. They could be on their way right now. NANCY Now you’re being ridiculous. MIKE Or they got a car. NANCY Mike, that’s still dangerous. MIKE They can make it. They’ve been through worse. We all have. 40