Chapter Text
EXT. THE UPSIDE DOWN - SKY - NIGHT
FADE IN on a dark sky. Spores float through the air. We hear WIND, GORANING TREES, and a LOW GRUMBLE indicating thunder.
We TILT DOWN to see the BYERS HOUSE in the UPSIDE DOWN.
TITLE:
NOVEMBER 6TH, 1983
EXT. BYERS HOUSE - SHED - NIGHT (UPSIDE DOWN)
THUD! THUD! The shed door shakes, when suddenly --
THWAM! WILL BYERS, 12, BURSTS backward out of the shed door. He trips over his own two feet, fumbling with the SHOTGUN in his hands. It’s almost as big as he is, and as he tries to lift it up --
WHAM! Will hits the ground, the weight of his backpack knocking him off-balance. He quickly scrambles to sit up, hands grabbing at the shotgun.
He raises it frantically, aiming back through the shed door. He pulls the trigger and --
BLAM! AN UNSEEN CREATURE ROARS IN PAIN.
Will scrambles up, turns, and makes a run for his house. His FOOTSTEPS beat the ground as he crosses the yard. He throws open the back door, and --
INT. BYERS HOUSE - KITCHEN - NIGHT (UPSIDE DOWN)
SLAM! Will shuts the door behind him and fumbles with the lock. He finally turns it and takes a tiny step away from the back door.
From outside comes a LOUD SCREECH OF ANGER. The creature is still alive.
Will turns his head toward the living room. He knows exactly where to hide.
OUTSIDE, BIG FOOTSTEPS START TO GROW LOUDER... AND LOUDER...
Will stands, frozen in terror, when --
A SHADOW OF MOVEMENT FLICKERS OUTSIDE THE BACK DOOR CURTAINS. ANOTHER LOW GROWL FROM THE CREATURE, AND --
INT. BYERS HOUSE - LIVING ROOM - NIGHT (UPSIDE DOWN) - CONTINUOUS
Will runs! He heads into the LIVING ROOM. He races for a TALL SHELF on the far side of the wall.
He drops his shotgun to use both hands to push the shelf to one side.
TH-THUNK! A couple books fall off the shelf and --
THE CREATURE OUTSIDE SCREECHES, ALERTED BY THE NOISE.
But Will has already moved the shelf enough to reveal a SMALL DOOR. He frantically opens it and ducks into the CRAWL SPACE. He grabs his shotgun as he goes, and --
INT. BYERS HOUSE - LIVING ROOM - CRAWL SPACE - NIGHT (UPSIDE DOWN)
There are no handles on the inside of the door. Will tries his best to close it up with his fingertips. He only manages to get it down to a SLIVER OF LIGHT, but just as he does--
INT. BYERS HOUSE - KITCHEN - NIGHT (UPSIDE DOWN)
SLAM! A DEMOGORGON BURSTS THROUGH THE BACK DOOR, KNOCKING IT AGAINST THE WALL ON IT’S HINGES. IT STOMPS INSIDE, LETTING OUT A LOUD ROAR OF ANGER.
INT. BYERS HOUSE - LIVING ROOM - NIGHT (UPSIDE DOWN) - CONTINUOUS
IT SEARCHES FOR WILL, SWIVELING ITS HEAD BACK AND FORTH AS IT ENTERS. IT MOANS, LOW AND GUTTERAL.
INT. BYERS HOUSE - LIVING ROOM - CRAWL SPACE - NIGHT (UPSIDE DOWN)
Will closes his eyes and pulls his legs up to his chest. His breathing is fast. He’s terrified. He hugs his shotgun closer to him, when --
INT. CAVE - NIGHT (FLASHCUT)
WE SEE A FLASHCUT OF A YOUNG BOY, 8, HIDING IN A DARK CAVE. HE LOOKS THE SAME AS WILL. CURLED UP. TERRIFIED.
INSTEAD OF A GUN, HE CLUTCHES A SPYGLASS. HIS HAND IS BLEEDING. SOMETHING IS AFTER HIM, TOO.
WE PUSH IN ON THE STRANGE BOY, ABOUT TO GET A CLOSER LOOK, WHEN --
INT. WHEELER HOUSE - BASEMENT - DAY 1
WHOOM! WILL BYERS, 15, jolts awake with a GASP, sitting bolt upright.
He’s sweaty. Disoriented. The dream is still fresh.
We PULL BACK to see that he is lying on MIKE’S COUCH. Beside him, the game table has been littered with CANDY, SNACKS, PIZZA, and a forgotten D&D GAME.
The memory... It was only a nightmare.
Will looks around. On the floor beside him, we see LUCAS SINCLAIR, 15, and DUSTIN HENDERSON, 15, both asleep in their sleeping bags. They practically lie on top of one another.
Toward his feet, Will spots an EMPTY MATTRESS with a RUFFLED QUILT.
He takes a deep breath, relieved that no one saw him wake up from his dream.
CLOSE ON: Will, as he slowly closes his eyes, and --
MAIN TITLES
EXT. WHEELER HOUSE - DAY - ESTABLISHING
It’s an early autumn morning. Fallen leaves litter a brown lawn. A FAINT BREEZE makes them tumble across the yard.
TITLE:
NOVEMBER 6TH, 1986
MIKE (PRE-LAP)
So let me get this straight --
EXT. WHEELER HOUSE - GARAGE - DAY
MIKE WHEELER, 15, paces back and forth underneath the overhang of his garage. His hair is slightly unkempt, but freshly cut. He has a WALKIE-TALKIE in hand.
MIKE
You liked Obi-Wan, and Han Solo -- and even Princess Leia... but you had a problem with Luke Skywalker?
INT. CABIN - LIVING ROOM - DAY - INTERCUT
ELEVEN, 15, sits on her couch. Over the past few months, her hair has grown out into short curls.
She stares at the TV. The closing scene of A NEW HOPE plays. Princess Leia awards Luke Skywalker with a medal.
She eats M&Ms out of a bag, answering mid-chew:
ELEVEN
Mm-hm.
MIKE
That’s bullshit! Luke Skywalker is -- like -- one of the greatest protagonists in cinematic history! And you don’t like him?!
El laughs. Shakes her head. Baffled.
ELEVEN
No!
Mike shakes his head. Also baffled.
MIKE
I can’t believe this! You can both basically harness the force! You both take down crippling forces of evil! You both save the day all the time -- but you don’t like him?! Like -- at all?!
ELEVEN
Mike.
Her tone gives him a warning. Mike eases up.
MIKE
Yeah, okay -- alright.
(beat)
I’m glad you wanted to watch STAR WARS though. I mean, since the party has been talking about it ever since we met you. Did Hopper enjoy it, at least?
ELEVEN
He didn’t stay to watch the end.
MIKE
What?! He stopped watching in the middle -- ?!
ELEVEN
Mike.
It’s more serious this time. Mike gets the message.
MIKE
Yes, okay. I’ll shut up.
The silence drags for a second. Mike grows apprehensive. He sweeps the yard with his eyes. Worried.
Finally, he summons the courage --
MIKE (CONT’D)
How was your last trip in the bath? Was there... Did you see any sign of him?
ELEVEN
No. Nothing. I’ll look again today.
(beat)
Today will be day two-hundred.
Mike tenses. His apprehension grows.
MIKE
I know.
(beat)
Listen, El... I know you want to find One really badly. We all do. But just -- don’t forget to take care of yourself too, okay? Make sure you're eating well and -- and that you’re resting. I know you’ve been training, and that you’ve gotten really good, but we have time, okay? So don’t feel like you have to push yourself --
ELEVEN
Mike, I’m fine. I will be fine. Promise.
Mike stops pacing. He relaxes a little.
MIKE
Okay, good.
(beat)
Also... I know the last time we talked -- when we were talking -- I just wanted to make sure you still feel the same way?
ELEVEN
Yes, Mike. I still feel the same.
MIKE
Right but, I just wanted to make sure things aren’t -- like -- weird between us. Like we’re good, right? We’re still... friends?
ELEVEN
Still friends.
MIKE
Yeah, good. That’s good --
BEEP! BEEP! BEEP! We’re interrupted by an ALARM from Mike’s WRISTWATCH.
MIKE (CONT’D)
Shit, I have to run. I’ll talk to you later, okay? Good luck today.
Mike doesn’t wait for a reply. He SLAMS down on the antenna of his walkie and turns to head toward the BACKYARD, when suddenly --
VROOOOM! A MILITARY HUMVEE appears at the end of Mike’s cul-de-sac and make a fast U-TURN. Headed somewhere.
Mike ducks around the brick pillar of his garage overhang, peeking out to watch. As quickly as they come, they drive away.
Mike lingers for a moment, anxious, as --
INT. WHEELER HOUSE - BASEMENT - DAY
BEEP! BEEP! BEEP! An ALARM goes off, waking Lucas and Dustin with a start. Dustin sits up too fast, banging his head on the corner table. He returns to the ground instantly.
DUSTIN
(groggily)
Ow.
Lucas’s hand fails, trying and failing to shut off the alarm, before --
SLAM! He manages to succeed, successfully stopping the beeping.
Dustin lifts his head again, slowly this time.
DUSTIN
Ugh. Remind me again why we decided a sleepover would be a good idea on a school night?
LUCAS
Quit whining and get the hell off me!
Lucas shoves Dustin away from him and stands. He groggily starts toward the bathroom.
Dustin sits up in just enough time to grab his leg. He lands a hand on Lucas’s pajama pants and tugs him backward.
DUSTIN
No way you’re first. You take forever.
Lucas tries to shake him loose.
LUCAS
Man! Get the hell -- off -- !
Lucas kicks him off and starts for the bathroom again. Dustin scrambles up, ready to race him for it.
They stumble over each other in the process, their feet catching on their blankets as they body each other out of the way. They’re about to make it, when --
Will appears! He slips inside before either of them even reach the door. They never stood a chance.
DUSTIN
No. Will --
LUCAS
Aw, shit!
SLAM! The door snaps closed in their faces.
INT. WHEELER HOUSE - BASEMENT BATHROOM - DAY
Will spins to face the bathroom mirror. He closes his eyes and takes a DEEP BREATH. We hear the echo of a SHOTGUN BLAST.
FLASHCUT of Will falling out of the shed -- running toward his back door -- the SHADOW through the curtains --
Will inhales sharply, trying to calm down. He flicks the sink on to wash his face just as --
INT. WHEELER HOUSE - BASEMENT - DAY
Mike enters the basement through the back door. He swings it shut behind him and heads straight for his BACKPACK. It hangs off a CHAIR in the corner. He jams his WALKIE inside.
On the other side of the room, Dustin and Lucas get dressed. Lucas throws on a COAT before reaching down by his sleeping bag to grab his WALKMAN and a set of HEADPHONES. He pushes them into his bag as --
Dustin clips his own WALKMAN to the belt of his pants, slinging the HEADPHONES around his neck. He pulls on his baseball hat. Ready to go.
Lucas walks over to the STATIC FILLED TV and pops the RENTED VHS they watched last night out of the player.
He tosses it at Dustin.
LUCAS
Return this, would you?
Dustin catches it and glances down at the cover. It’s ALIENS. He’s far from thrilled.
DUSTIN
Great. Yeah. Thanks.
He stuffs it in his bag.
Mike glances over his shoulder. He notices that Dustin is wearing his old HELLFIRE CLUB shirt.
MIKE
I don’t know if you should wear that today, man. I just saw a few M.P.’s drive by.
DUSTIN
The M.P.’s can go to hell.
Lucas and Mike exchange a look before --
The bathroom door opens and Will comes out. Dustin leaps at the opportunity to escape.
DUSTIN (CONT’D)
Me, next.
SLAM! The door shuts behind him. LOUD. All boys stare after the sound in surprise.
Mike eyes Will.
MIKE
Did you sleep okay?
WILL
What? Oh, yeah. Fine.
(beat)
What about you?
MIKE
... Yeah. Same.
Mike looks away, stuffing the rest of his things back into his bag. For a moment, we see him wrestle with a pair of HEADPHONES. Will packs his own bag, sliding his own WALKMAN inside.
He steals a glance at Mike, worried, and --
INT. WHEELER HOUSE - KITCHEN - DAY
The boys climb out of the stairs and immediately head for the kitchen counter. It’s filled with breakfast food. A whole buffet!
On the other side, KAREN WHEELER, 45, holds a pan in one hand, filled with scrambled eggs. A spatula in the other. She appears a bit frazzled by the breakfast preparations.
KAREN
Oh, I was starting to think you boys would never come up! I would’ve called down but -- I was a little busy --
The boys start talking over one another as they reach for the food. They bump elbows, shoving and batting each other out of the way. Starving.
SIMULTANEOUS:
LUCAS
Hey, Mrs. Wheeler -- Oh my god this smells amazing -- It’s like heaven in here -- Move your elbow, Will! -- Is there extra butter anywhere -- ?
MIKE
Oh, it’s okay, mom. Did you make any bacon -- ? Oh wait I see it -- Hold on, I want the scrambled eggs -- Get your own damn plate! -- Yeah, okay I’ll give it to you -- One second --
DUSTIN
It looks delicious, Mrs. Wheeler -- Could I get a plate, Mike? -- No, Mike -- a plate. -- I don’t care about the damn scrambled eggs! -- Give me that -- !
WILL
Thanks for making all of this -- Wait Dustin, I want the french toast -- I need the syrup too, Mike -- when you’re done. -- Thank you --
As the boys continue to shove at one another --
INT. WHEELER HOUSE - DINING ROOM - DAY
TED WHEELER, 46, looks over the edge of his paper with an annoyed expression. A couple seats over, HOLLY WHEELER, 7, sits. Lost in a book. A Wrinkle In Time. Her own plate is already clean.
We jump ahead as --
INT. WHEELER HOUSE - KITCHEN - MOMENTS LATER - DAY
The boys set their plates on the edge of the kitchen counter, now dirtied with syrup and breakfast crumbs. They head toward the front door one by one.
Mike leads the charge, walking backward as he gives his mom a small wave.
MIKE
Bye, Mom!
WILL
See you tonight!
LUCAS
Thanks for the meal, Mrs. Wheeler!
DUSTIN
It was delicious, as always!
We PAN ACROSS to Karen, who is left on clean-up duty. She looks on as the boys leave. Drained.
KAREN
Of course! You boys ride safe, okay?! And don’t forget about the curfew!
MIKE
Sure thing, Mom! Later!
He swings the door shut behind him, just as --
JOYCE BYERS, 45, makes her way down the stairs. She stares at the closed door for a second. Turns to Karen.
JOYCE
Was that them?
KAREN
Early risers, this morning.
Joyce turns the corner. She heads for the dining room. Karen hands her a plate full of food on the way by.
JOYCE
(whispering)
Thank you, Karen.
TED (O.S.)
Aren’t they old enough to drive yet?!
INT. WHEELER HOUSE - DINING ROOM - DAY - CONTINUOUS
Ted lowers his newspaper just in time to see Joyce walk. As Joyce passes Holly, she gives her a tiny wave. Holly smiles back. She returns to her book.
TED (CONT’D)
What are they still doing on those bikes?
Joyce sits down at the table. Right next to Ted.
KAREN (O.S.)
(yelling)
They’re only 15, Ted! Or have you forgotten your son’s age, too?!
Ted swallows. Called out. He looks to his side.
We PAN OVER to Joyce, who has started to eat her breakfast. She gives Ted a forced smile.
Ted frowns at her.
TED
You are still working on finding a permanent place to stay, right?
JOYCE
Yep. Working on it.
Ted makes a disgruntled noise, flicking his paper in his hands.
Joyce is unfazed. She’s not apologetic for imposing in the slightest. She looks around the table. Frowns.
JOYCE
Karen? Have you seen Jonathan?
Off Joyce, as --
EXT. WHEELER HOUSE - GARAGE/DRIVEWAY - DAY
Mike, Will, Lucas, and Dustin all make a grab for their bikes, parked near the doorway of the garage. Lucas, Will and Mike climb on first. They begin to pedal up Mike’s driveway, as --
We PUSH IN on Dustin as he takes a moment to pull on his HEADPHONES from around his neck. Mike calls back at him from the seat of his bike.
MIKE
Man, come on! We’re going to be late!
DUSTIN
I’m coming! Jesus! As if you aren’t late all the time!!
The boys head off down the street, and we CUT TO --
EXT/INT. NANCY WHEELER’S CAR - HAWKINS STREET - DAY
THE MILITARY HUMVEE ZOOMS past a familiar Mercury Grand. In a hurry.
CLOSE ON: The rearview mirror of the Mercury. NANCY WHEELER, 19, glares into the glass. She watches the Humvees big treads kick up dust and leaves behind her.
Nancy shakes her head. She grips the steering wheel tighter. Angry. She glances over to the passenger’s seat.
NANCY
Well? Is it any good?
PAN OVER to see JONATHAN BYERS, 19, in the passenger seat. He’s gotten a haircut since California. He reads from a stack of LOOSE PAPER. Deep in thought.
Nancy glances over at him again. Impatient.
NANCY (CONT’D)
Jonathan.
JONATHAN
Um... yeah, no. It’s great.
NANCY
(beat)
Are you sure? Because --
JONATHAN
No, I’m sure. It sounds good, it’s just -- How exactly are you going to publish this? I mean, you can’t put this out at the shelter.
NANCY
(beat)
Why not?
JONATHAN
Why -- I don’t know. Maybe because you’ll get arrested on the spot?
Nancy cocks her head to the side. Annoyed.
JONATHAN (CONT’D)
I mean, as soon as one officer sees this --
NANCY
So, what -- you think I should just toss the whole story?
JONATHAN
Yes -- No --
NANCY
(annoyed)
Yes? Or no?
JONATHAN
It’s a good article Nancy, we just -- we can’t position ourselves against the Military Police --
NANCY
(scoffs)
Of course, you would say that --
JONATHAN
I’m not saying it’s ideal, or anything, but this is --
Jonathan lifts the paper he’s holding.
JONATHAN (CONT’D)
-- I mean --
NANCY
So you think -- these assholes, after everything they’ve done to this town -- we should just let them get away with it? And after everything that happened to you in California -- ?
JONATHAN
Jesus, I never said that -- !
NANCY
People in this town don’t have homes, Jonathan! They don’t have any place to go or stay, and now with the quarantine in place, they can’t even leave! Shipments, material goods, even letters -- letters from their loved ones -- are being blocked at the edge of town, and you think the best course of action is to stay quiet about it?!
JONATHAN
You’re not listening to me. I get it, okay? I get the frustration! Those misplaced people you’re talking about? I’m one of them. But this isn’t an article, Nancy. It’s a hit piece! You’re attacking them here! You sound angry, and pent-up --
Nancy slams a hand into the steering wheel. Angry.
NANCY
Well, maybe I am angry and pent-up! Maybe I’ve had enough of this -- this bullshit! Maybe I’m tired of lying and -- and being lied to --
JONATHAN
Are we still talking about the military right now?
NANCY
(exasperated)
Does that matter?! We’re trapped here, Jonathan!
JONATHAN
Trust me -- I know. And for what it’s worth, I’m not too thrilled about our situation either. But fighting it like this isn’t going to help us!
Jonathan flops back in his seat. He still holds on to Nancy’s article.
JONATHAN (CONT’D)
Sometimes, you just have to accept things are the way they are... Move on...
NANCY
(beat)
Now that’s bullshit.
Jonathan casts a glance at her, but she visibly ignores him. He looks defeated. Off Jonathan, we CUT TO --
EXT. DOWNTOWN HAWKINS – DAY
VARIOUS SHOTS of an eerily empty Downtown. Leaves blow around on the tarmac. Stores are closed. Not a person in sight.
Down the road, THREE HUMVEES appear. They slow down as they approach.
We PAN AROUND to see a MILITARY POLICE OFFICER. He smokes a cigarette. A gun on his arm. Behind him, a CHAIN LINK FENSE reads:
WARNING: RESTRICTED AREA
AUTHORIZED PERSONNEL ONLY
BY ORDER OF THE U.S. ARMY
He flicks his cigarette aside and slaps down on a mechanism to let the Humvees through.
The fence opens up. The Humvees drive through, and --
EXT. DOWNTOWN HAWKINS – MAIN STREET - DAY - CONTINUOUS
Inside the RESTRICTED AREA. LARGE METAL PLATES stretch in a line across the pavement. Soldiers loiter about. Smoke cigarettes. Play cards. Listen to a static-y radio broadcast.
The Humvees big treads roll to a halt. A door pops open, and --
BOOM! A boot hits the ground. We PAN UP to see LT. COLONEL SULLIVAN. He hasn’t changed. His aviators stay perched on his nose. He holds his hat in hand.
A SOLDIER walks up to him. Salutes.
MEYERS
Lieutenant Sullivan, Sir!
SULLIVAN
Fill me in, Meyers.
Sullivan begins to walk deeper into the Restricted Area. Meyers follows.
MEYERS
So far, sir, everything is holding.
SULLIVAN
So, the metal plates remain intact.
MEYERS
Yessir. No sign of structural instability.
SULLIVAN
Any leaks? Spreads? Am I still looking at a weed or has this thing finally stopped spewing out dandelion seeds.
MEYERS
Ever since we installed plates on the last sector, air pollution from the spores has been falling rapidly. From what we can tell, we’ve managed to seal the rift off completely. The only way in or out now is through that opening there, sir.
Meyers nods toward the LIBRARY ENTRANCE.
A LARGE RED GATE GLOWS ERRIELY IN THE DAYLIGHT. IT HAS CRACKED DIRECTLY THROUGH THE FRONT DOORS OF THE LIBRARY. IT STARTS AT THE FRONT STEPS AND STOPS AT THE FROZEN CLOCK TOWER ON THE ROOF.
Sullivan studies it. Grim.
SULLIVAN
And the town?
MEYERS
Everyone’s been keeping quiet, sir. Although we’re maintaining a close eye. Every street is being surveilled regularly.
SULLIVAN
Good. Let’s keep it that way.
Sullivan turns. He heads back toward his Humvee. Meyers calls out after him.
MEYERS
We are starting to get questions, though, sir!
(beat)
People are becoming restless. Soon enough, the quarantine won’t be enough to keep them here. They’ll want to know why we’re making them stay, even after closing off the rift.
Sullivan pauses. He takes off his glasses and turns to look Meyers.
SULLIVAN
Why do you think you’re here, Sergeant?
(beat)
This is not a rhetorical question.
MEYERS
To keep the situation contained, sir.
SULLIVAN
Then while I work on a solution to fix this town, I expect you to contain it. Is that understood?
Meyers swallows thickly. He salutes.
MEYERS
Yessir.
Sullivan takes one last glance at the GATE. He climbs into his Humvee, and --
EXT. FAMILY VIDEO – DAY – ESTABLSIHING
An empty parking lot guards a familiar STORE FRONT. FAMILY VIDEO still occupies the space next to the PALACE ARCADE. Posters in the windows are still for movie releases from EIGHT MONTHS AGO. The store looks just like it did last spring. It’s as if time hasn’t moved...
INT. FAMILY VIDEO – DAY
ROBIN BUCKLEY and STEVE HARRINGTON sit in a dead store. Robin sits at the front counter, HEADPHONES over one ear, humming along to Rick Springfield’s “Jessie’s Girl.” She doodles absently with a pen on a YELLOW LEGAL PAD. She’s writing hearts around the name VICKIE.
Steve leans over her shoulder to look.
STEVE
God -- And I thought you couldn’t be any more of a sap.
Robin jolts forward, slapping her hands over the doodle.
ROBIN
Could you -- kindly -- go to hell, Harrington? It’s not as though we have any business anyway. Not since the military decided to cut off our VHS shipments.
(beat)
Besides, I’ve never known the delights of being in love before, okay? Sue me --
Robin groans and drops her head into her hands. Her headphones fall down around her neck.
Steve leans against the counter to look at her.
STEVE
Yep. You are so screwed.
ROBIN
Utterly. Screwed. I mean, half the time -- around her? -- I don’t even know what to do with myself! I feel like I’m being a constant fool. And the other half? I don’t know! It’s like my heart keeps pounding out of my chest, and it just won’t stop --
STEVE
(smug)
And you thought you’d never fall in love.
Robin stands and begins to pace.
ROBIN
No, it’s not that I said I’d never fall in love. I said it would be statistically unlikely for me to fall in love, because this is a small town in rural America -- and the thought of someone as beautiful, and funny, and smart as Vickie also being someone like me was just --
STEVE
Not impossible?
ROBIN
Too good to be true!
(beat)
And now, there’s like all this pressure, because -- what if it is just a casual thing? Right? Because you do it all the time. I mean, you have a round robin of girls you get together with every month. So what if it’s like that -- and I’m just fooling myself into thinking that there’s something more to this than what there really is!
STEVE
Robin, Robin -- Look. You said you’re in love with her, right?
ROBIN
Yes --
STEVE
Well, then just tell her that you love her. And... that will show you if it's real, or if it’s just... bullshit.
ROBIN
Okay -- but when? Over a fancy dinner? Or like -- should we be on a date? Maybe a romantic movie night at my house? And then I just kiss her as the credits roll and I just say it -- like --
Steve spots something over Robin’s shoulder.
STEVE
How about right now?
ROBIN
What?!
DING! The door chime rings and in walks VICKIE. She wears a CANDY-STRIPER UNIFORM and carries a VHS tape in hand.
Robin makes a grab for the legal pad she was scribbling on. She stuffs it behind her back.
Vickie holds up the tape she’s carrying: BACK TO THE FUTURE. She leans up against the counter as she hands it over.
VICKIE
Gotta say, it wasn’t half bad.
ROBIN
Oh -- Really?
Robin takes the VHS from Vickie’s grasp. They brush hands.
VICKIE
I mean, maybe a few minor plot holes. Like, why does the Doc need the plutonium for the flux capacitor when the Delorean still runs on gasoline? Or -- how the hell did Marty’s parents not recognize him in 1985 even though he first met them in 1955? I mean, his mom seriously didn’t remember him? Like I’m supposed to believe that?
(beat)
But yeah -- no, it was good. It was really good.
ROBIN
I actually first watched that movie when I was high, so --
STEVE
Yeah, I’ll take that -- Thanks.
Steve leans over and takes the VHS from Robin’s hands. He also grabs the notepad she’s hiding behind her back and stealthily stuffs it in a drawer underneath the cash register.
VICKIE
So... do you have anything in the back? For me?
Robin breaks into a smile. Off Robin, into--
INT. FAMILY VIDEO - CLOSET - DAY
Robin and Vickie tumble over each other as they MAKE OUT in the back closet.
Robin bumps Vickie up against a SHELF full of VHS TAPES. The stack WOBBLES precariously, causing the girls to pause for a second. When the stack steadies, they giggle.
As they go back to kissing...
INT. FAMILY VIDEO - DAY
Steve hears the girls’ laughter from the front counter. He shakes his head. Fond.
Above his head, RADIERS OF THE LOST ARC plays on a TV. We PUSH IN on Indy, trekking through the woods. HARD CUT TO:
EXT. WOODS - HAWKINS LABS - DAY
JIM HOPPER, 46, walks through the woods. He has grown out his facial hair quite a bit, though it’s well-kempt. He blends into the environment with casual brown clothes and a brown FEDORA HAT.
He approaches a LARGE TREE and hides himself behind the trunk. He stuffs a hand in his pocket and draws out a pair of BINOCULARS.
Hopper presses them to his face, and --
We SLOWLY PULL OUT to reveal that he stands just beyond the FENCED-IN AREA of HAWKINS LABS.
A SERIES OF BINOCULAR POV SHOTS:
- We see SOLDIERS flanking the front entrance to the lab.
- A MILITARY TRUCK followed by a HUMVEE pulls through the front gate and park next to each other in the PARKING LOT.
- More soldiers spill out of the lab. They start unloading BOXES from the truck.
- Out of the HUMVEE: COLONEL SULLIVAN.
Hopper lowers his binoculars from his face. We PUSH IN on him, pensive.
CUT TO:
EXT. WOODS - LATER - DAY
Deeper in the woods now. Hopper walks over fallen leaves and bare underbrush.
We PAN DOWN to see a familiar WOODEN BOX. Hopper used to leave Eggos in here for El...
Hopper crouches down beside it and opens the box to reveal a PULL HANDLE screwed to the bottom. Hopper reaches in and yanks on it.
CRACK! Hopper lifts the entire box, along with the WOODEN PLANK it’s anchored to. It’s not a box at all, it’s --
A PASSAGEWAY leads into a DARK HOLE. Hopper sets the box aside and crawls in.
He disappears into the darkness. Then, we see his hands reach back up and pull the wooden box back into place. KA-CHUNK!
The wind blows a pile of leaves back over the secret passage, and --
INT. TUNNELS - DAY
Total darkness.
CLICK! A flashlight comes on. Hopper stands in the middle of the UNDERGROUND TUNNEL SYSTEM that stretches beneath Hawkins.
There are no spores. No vines. No signs that the Upside Down was ever here at all.
Hopper begins to walk...
EXT. CABIN - DAY
The path to Hopper’s cabin. A wooden plank sits on the ground between two trees.
BANG! The plank rattles. Leaves shake.
BANG! It pops open! Hopper climbs out, flashlight in his teeth. His feet find solid ground.
Hopper takes the flashlight out of his mouth and turns it off. He stuffs it in his pocket as he looks up at the CABIN. He is finally HOME.
Hopper walks up the front steps. He raises his hand and does his SECRET KNOCK. Two fast. One slow. Three fast.
SNAP! SNAP! SNAP! The locks open. He reaches for the handle, but it turns for him.
The door swings wide to let him in.
INT. CABIN - LIVING ROOM - DAY
Hopper enters the cabin and closes the door behind him. The locks snap back into place. Instant.
He shoulders off his coat and hangs it up. His focus remains on the center of the room.
We PAN ACROSS to see El standing in front of a STATIC-FILLED TV. Her back faces Hopper.
HOPPER
Hey kid.
El turns. Her finger is pressed into the REWIND button of the VHS PLAYER. She gives Hopper a look. Bored.
ELEVEN
Hi.
HOPPER
Did you finally finish that garbage?
ELEVEN
(shrugs)
It was alright. Passes the time.
Hopper pauses. Apologetic.
HOPPER
I’m sorry we have to keep you boxed up in here again. I know you hate that.
ELEVEN
Better here than somewhere else.
Hopper drops his hat on the kitchen table and moves toward the COFFEE MAKER. It’s still dripping. Freshly brewed. El was expecting him.
He takes an overturned mug out of the drying rack and lifts the COFFEE POT.
HOPPER
Cali couldn’t have been that bad.
ELEVEN
Better here. With you.
(beat)
How was the reckon?
HOPPER
Recon?
ELEVEN
Recon.
Hopper moves back across the room with his mug. He sits down in his GREEN RECLINER and takes a sip of his coffee. It burns. He takes a second sip anyway.
HOPPER
Fine. They’re still moving stuff back into the lab -- which can really only mean one thing...
ELEVEN
Do you think they will reopen it?
HOPPER
Oh, no -- No. There’s no doctors. No scientists. Most likely they’re just using it as a base -- a place to keep all their classified files and weapons. Stuff like that.
(beat)
Makes sense. The building is already closed off to the public. It’s fortified, fenced in -- well, for the most part.
ELEVEN
Do you think they might have information? To help your... research?
HOPPER.
Investigation. And -- to be honest, I got no clue. It’s possible they have something, but... I think the person who knows the most about our current situation is dead -- so.
ELEVEN
Papa.
HOPPER.
Yeah.
(beat)
And everything else -- all his research and resources, Sullivan took. God knows where. But he took it. So now we’re back to square one.
Eleven looks to her left, pensive.
We PAN AROUND landing on Hopper’s INVESTIGATION BOARD. Information is pinned all over the wall of the cabin. ARTICLES, PHOTOS, and NOTES are all overlapping each other. A YELLOW STRING connects several pins.
At the center of the board is a MAP OF HAWKINS. A large RED ‘X’ across its surface indicates the exact placement of VECNA’S FOUR GATES.
HOPPER (CONT’D)
I just want to know what exactly we’re up against -- or what the hell we’re even supposed to be fighting. Because right now? -- It feels like we’re just swinging in the dark and hoping to land a hit.
El looks back at Hopper. He doesn’t know how right he is.
ELEVEN
I want to try for longer today.
HOPPER
El, come on. You’ll fry your brain --
ELEVEN
Five more minutes.
Off Hop, conflicted, we CUT TO --
EXT. HAWKINS HIGH - DAY
FOUR BIKES lock into a BIKE RACK. Dustin, Lucas, Mike, and Will stand facing HAWKINS HIGH. They stare at the brick wall in front of them.
MIKE
Holy shit. What the f--
On the brick wall of Hawkins High reads, in fresh paint:
FREAKS BURN IN HELL
A JANITOR works on cleaning it. He has already wiped off a significant amount of the word FREAKS, but the message still reads.
We PUSH IN on Dustin. Pissed. Metallica, “For Whom the Bell Tolls,” blasts in his headphones.
MIKE (O.S.)
What the hell is wrong with people?
LUCAS (O.S.)
I’m telling you. Psychos. Every single one of them.
Metallica slowly gets LOUDER, and LOUDER, and --
INT. HAWKINS HIGH - HALLWAY - DAY
WHAM! The door slams open as the boys march through the front entrance and into the hallway. Dustin leads the charge, his headphones now pulled down around his neck.
Mike and Lucas follow close behind. Will behind them.
DUSTIN
I know it was Andy or one of those other brainless bucketheads again. I just know it.
LUCAS
Dustin, chill out, man. I get why you’re angry, okay? But it’s just some dumb paint --
DUSTIN
-- and putting it right in front of the bike rack like that? When they know we park there every day? They’re trying to provoke us --
MIKE
So don’t let them! Lucas is right. It’s just some dumb paint! It’s not worth starting something over --
DUSTIN
You guys don’t get it --
LUCAS
Trust me, we do. But it’s not like you’re going to change their minds by punching back.
(beat)
You think Eddie went flying off the handle every time someone said something shitty about him?
Dustin whirls on them.
DUSTIN
Eddie didn’t give a shit what those assholes thought. But now, just because he’s dead, they think they can just get away with making a joke out of his memory -- along with everything he stood for. Since when did we start being okay with that?
(beat)
When have we ever stopped sticking up for our friends?
Lucas shakes his head.
LUCAS
It’s not that simple, man.
DUSTIN
Yeah, well -- it seems pretty simple to me.
Dustin turns away. He starts down a separate hallway.
Mike throws his hands up in the air.
MIKE
Dustin, hold on! Where are you going?!
LUCAS
Dustin!
Dustin doesn’t reply. Off the remaining three boys, and --
INT. HAWKINS HIGH - AUDITORIUM STAGE - DAY
SLAM! Dustin bursts through the STAGE DOOR and into the auditorium. It’s dimly lit. The stage lights illuminate some props for an upcoming production. A few PAINT CANS lie on the ground next to some half-finished set pieces. Ropes hang at the edges of a PULLED BACK CURTAIN.
The center of the stage is empty. Dustin stares sadly at the hollow space, and --
FLASHBACK
EDDIE MUDSON as he gives his FINAL CAMPAIGN to the HELLFIRE CLUB.
EDDIE
(fade in, filtered)
... while I respect the passion, you’d be wise to take Gareth the Great’s concern to heart. There is no shame in running. Don’t try to be heroes. Not today.
BACK TO DUSTIN
CREEEAK! The STAGE DOOR swings open. The sound of sneakers squeak against the floorboards as a shadow appears behind Dustin. Dustin turns to see --
ANDY, 17. He lowers a CAN OF OPEN PAINT to the floor. Dustin’s eyes flicker toward it.
ANDY
Well, well. If it isn’t Henderson -- next freak in line for the throne.
DUSTIN
Nice mural outside. Was that bullshit meant to scare me?
ANDY
Scare? No, no. That shit was a warning. For you and your freak friends.
Dustin nods his head. The anger is coming back to him.
DUSTIN
You know that vandalizing school property can get you suspended, right?
(sing-songs)
I’m not so sure the basketball team will be thrilled about their new captain being stuck on the bench this coming season...
ANDY
And you know that wearing Satanic Propaganda can get you beat on, don’t you, freak?
Dustin looks down at his HELLFIRE CLUB shirt. He forces a laugh.
DUSTIN
You know what? You’re right. I guess -- technically -- any half-wit with the ability to spell could've painted that message on the side of the school.
(beat)
Unless, of course... they wet themselves in the process.
Andy suffers a beat of confusion, then --
Dustin lunges to grab on to one of the nearest CANS OF PAINT on the edge of the stage. He grabs one and pops open the cover just as Andy rushes him.
Dustin thrusts the can forward, chucking paint all over Andy. Andy barrels through it. He grabs Dustin, shoves him to the floor, and --
CRUNCH! Dustin lands on his back. Something inside his backpack gets crushed.
Dustin struggles, but Andy’s got him by the shoulders. He’s dripping paint all over Dustin. He looks down at his soaking LETTERMAN JACKET. His prized-possession.
Andy is PISSED.
ANDY (CONT’D)
You’re going to pay for this shit, freak!
Andy lifts a fist. About to punch Dustin in the face, when --
A hand grabs his collar and yanks him aside. Andy gets dragged off Dustin. He stumbles onto the stage floor, slipping in paint, and turns to face --
Mike. He places himself between Andy and Dustin. A shield.
Back on Andy. Still pissed. He glares, ready to make a lunge for Mike next, when --
SNEAKERS SKID. Lucas slides to a halt in front of Mike. He squares up a little. Reluctant.
LUCAS
Come on, man. We don’t want to fight you. Just walk it off.
Andy stares. His eyes dart between the three boys. He’s outnumbered. He shakes out some of the paint sopping from his sleeves. Grimaces.
ANDY
This isn’t over, Sinclair.
He turns away and heads for the STAGE DOOR. We PAN ACROSS to see Will is hovering by the exit. He stares openly at Andy.
ANDY (CONT'D)
The hell are you looking at, Zombie Boy.
BOOM! Andy bursts out of the auditorium.
Will quickly looks down at his shoes. Ashamed.
Mike’s face twists. He walks over to where he dropped his bag and scoops it up.
MIKE
Asshole.
LUCAS
Yeah, you can say that again.
(to Dustin)
You okay?
DUSTIN
Fine.
(beat)
Believe it or not, I didn’t actually know he was going to be in here.
MIKE
We know.
WILL
Yeah, we watched him walk in here after you.
DUSTIN
Yeah.
(beat)
About what I said --
MIKE
Oh, you mean about us not sticking up for our friends?
LUCAS
As if we’ve forgotten the rule of law.
MIKE
As if we didn’t come running after you despite the fact that now we’re going to be late to class --
DUSTIN
Yeah, yeah, I hear you. Never split up whilst facing an enemy. I’ll try and remember that...
LUCAS
Try. As if he didn’t make us write that one down.
MIKE
Wait, that’s right. What party rules did you come up with again...?
Mike and Lucas continue to talk as they start for the STAGE DOOR.
Will lingers. He looks around the stage. Lifts his head up.
His eyes land on the CATWALK. He frowns and turns to follow Mike and Lucas.
Dustin starts to follow too, when --
We PUSH IN as his eyes widen with realization. He scrambles to get his backpack off his shoulders, unzipping the top pocket before reaching inside and pulling out --
The plastic frame of the ALIENS tape is cracked. Damaged mid-battle. Dustin groans.
DUSTIN
Shit.
Off Dustin, we CUT TO --
EXT. FAMILY VIDEO - DAY - ESTABLISHING
The Mercury Grand pulls up to park in the empty lot of FAMILY VIDEO.
POP! The driver’s side door opens and Nancy climbs out. She slings her bag over her shoulder and heads for the front door. Jonathan watches her head inside...
INT. FAMILY VIDEO - DAY
Steve’s eyes are glued to RADIERS when the doorbell suddenly chimes. He whirls around to see --
Nancy walks in, a forced smile on her face. She still seems irritated from her conversation with Jonathan earlier. Steve instantly clocks her mood.
She digs into her bag as she approaches the counter and pulls out a VHS.
NANCY
Here you go. Returned rewound, as requested.
Steve reaches for the tape and stares down at the cover for a second. We see him hold it up. It’s THE GOONIES.
STEVE
Mikey and Bran, right? Did the kids like One-Eyed Willy?
Nancy raises an eyebrow, pleasantly surprised. Her mood eases.
NANCY
You’ve seen it?
STEVE
Oh, yeah. Robin put it on last month. She said I’d like it which... She was right. Naturally. She said I remind her of Bran.
NANCY
The babysitter. Naturally.
STEVE
No no no, that’s not why. It’s because Bran is, like, a total lady killer. I mean, Andy’s head over heels for him the entire time.
NANCY
Right. You keep telling yourself that.
Steve pulls a face, then glances over her shoulder. Through the glass windows he can see Jonathan waiting in the car.
STEVE
How’s Jonathan?
(beat)
He knows he can come inside and say hi, right?
NANCY
(irritated)
Oh, you know. Anti-social as ever.
STEVE
Right.
(beat)
I mean, I kind of get it. Can't be easy, sharing a house with seven other people. Not when you’re used to it being kind of quiet around.
Nancy considers. She hadn’t thought about it like that.
NANCY
How would you know?
STEVE
Perks of being an only child living in an empty house, I guess. In my case though, I prefer the noise.
NANCY
Is that why you and Robin get along so well?
STEVE
(chuckles)
Ah. Yeah. That’s probably why.
Nancy peers around Steve. She looks around the store.
NANCY
Speaking of, where is Robin?
STEVE
Oh, she’s just -- she’s in the back --
We hear a series of CLATTERING NOISES from the back closet. Steve purses his lips.
STEVE (CONT’D)
We had a shelf that -- broke. She’s fixing it.
NANCY
Does she need help? Maybe I can --
Nancy starts to round the counter toward the back closet to help. Steve quickly darts out in front of her and holds up his hands to stop her. Nancy halts in her tracks.
STEVE
Nope -- no, she’s good. She wanted to fix it by herself because...
Steve flails for an excuse.
NANCY
(beat)
Because?
STEVE
Because... she’s the one that broke it! -- and she was determined to try to fix it by herself so --
Nancy’s not convinced, but she lets it go.
NANCY
Alright, then.
(beat)
Well, I should grab something new before heading over to the shelter. God knows the kids want their movie night. I’ll take...
She turns in place, taking a few steps back toward the entrance before stopping in front of a NEW RELEASES display. It’s practically empty, but a few tapes remain. She grabs RETURN FROM WITCH MOUNTAIN.
NANCY
This one.
She steps forward to check out. Steve shakes his head.
STEVE
Just take it. No charge.
NANCY
You sure?
STEVE
It’s for the kids, right? Besides, I know you’ll return it rewound, so --
NANCY
(beat)
Right.
Nancy turns on her heel, hiding a smile as she heads for the front door. Steve calls after her.
STEVE
I’ll see you later, Nance!
Nancy raises the VHS in gesture of good-bye. She heads back toward her car.
Off Steve, smiling, and --
INT. NANCY’S CAR - DAY
Jonathan watches as Nancy opens the door and climbs back inside the car. He immediately notices that her mood has lightened.
He looks through the glass windows of FAMILY VIDEO. Eyes Steve.
JONATHAN
Did you find a new movie?
NANCY
Yep. All set.
Nancy buckles herself in, turns the key in the console, and starts the car.
JONATHAN
(flat)
How’s Steve?
Nancy shoots him a look. Her sour mood returns.
NANCY
He’s fine.
(beat)
And not that you care -- but he actually asked about you too. He wanted to know why you never come in and say hi.
JONATHAN
(scoffs)
Gee, I wonder why.
Nancy’s face pinches. Angry again. She throws the car into reverse and pulls out of FAMILY VIDEO.
As they pull onto the road...
HOPPER (PRE-LAP)
Ready for your trip, kid?
INT. CABIN - EL’S ROOM - DAY
El stands in the center of her room. She ties the string of a pair of baggy BORROWED SWIMTRUNKS. Her shirt is the opposite: a tight fitting LONG-SLEEVE.
She turns to face Hopper. He is leaning against the doorway. A SACK OF SALT is tossed over his shoulder.
HOPPER (CONT’D)
You know, I could try to find something a little more your size if you want. Maybe the eldest Wheeler has some old hand-me-downs lying around -- if she didn’t donate them already.
ELEVEN
This is fine. I’m comfortable.
HOPPER
Alright, then.
Hopper straightens, wrapping his knuckles on the doorway before turning back toward the living room.
HOPPER (CONT’D)
Saving the world in Will Byers' old swim trunks, it is.
El smiles, and --
INT. CABIN - LIVING ROOM - DAY - MOMENTS LATER
WHAM! Hopper slams a kitchen timer down on the coffee table.
El stands to the side of him as he walks over to a new, HAND-MADE SENSORY DEPRIVATION TANK, installed on the left-hand side of the living room.
He offers a hand to El. She takes it and climbs over the WOODEN SIDES of the tank to step into the bath. She sits down, testing the water, before giving Hopper a nod of approval.
HOPPER
Still want five more minutes on the timer?
ELEVEN
(nods)
Yes.
HOPPER
Alright. But if you need me --
El raises a hand. She knocks LOUD and SLOW on the door of the tank.
HOPPER
Good.
He reaches out a hand and ruffles her curls before shoving her backward slightly.
HOPPER (CONT’D)
Now get in there, kid.
El smiles. She reaches up and grabs the handle of the door, pulling it down on herself.
Hopper cranks the timer to 35 MINUTES. He places it back down on the coffee table.
INT. CABIN - VARIOUS - DAY
VARIOUS SHOTS INSIDE THE CABIN AS:
- Hopper drags one of the kitchen chairs over to the side of the bath and faces it toward the front door.
- Hopper heads into his bedroom to grab some CARDBOARD BOXES off his bed.
- The boxes are set down beside the timer on the coffee table.
- Hopper heads toward the front door retrieve his REVOLVER from where it hangs in its HOLSTER.
SLAM! He sets the REVOLVER down on the coffee table. Everything he needs has been acquired.
Hopper takes a seat in his chair. He opens on of the cardboard boxes and begins to leaf through the contents.
WIDEN: As Hopper gives El’s bath one last glance...
MRS. HONEY (PRE-LAP)
At this point in the story, we see that Holden is truly lost...
INT. HAWKINS HIGH - MRS. HONEY’S ENGLISH CLASS - DAY
A high-school classroom. Sun streams in from the side windows. Mike sits at his desk. His head is prop up on his hand. He looks tired.
MRS. HONEY, early-30s, academic but warm, paces the front of the room. In her hand she holds a copy of THE CATCHER IN THE RYE.
MRS. HONEY (CONT’D)
He’s not sure where to go or who to turn to for help. He’s depressed and lonely, and he thinks he’s going mad...
Mike’s eyes begin to slide shut. He tries to pull himself awake, but it’s a struggle.
MRS. HONEY (CONT’D)
... but there is one thing that he clings too that makes him feel hopeful. Can anybody tell me what that is?
Mrs. Honey spots Mike on the verge of dozing off.
MRS. HONEY (CONT’D)
What about you, Michael?
Mike jerks in seat. He blinks. Tries to remember the question.
MIKE
I’m... not sure.
MRS. HONEY
Alright. Maybe someone else then -- ?
Mike retreats into himself. Embarrassed. His eyes dart around to his classmates, anxious, before --
AFTER CLASS
We watch as students rise from their seats and begin to leave the classroom. Mike is toward the back of the room, carrying his BOOKS. As he heads up to make his exit, Mrs. Honey raises a hand.
MRS. HONEY
Um -- Michael? Just a moment.
Mike slows to a stop in front of her desk.
MIKE
Hey, Mrs. Honey.
Mrs. Honey looks down at a series of stapled PAPERS on her desk, before slowly lifting the top one into the air.
MRS. HONEY
I started reading your creative story assignment from last week.
(beat)
It’s very good so far.
Mike clutches his books a little closer.
MIKE
Thank you. I -- had fun writing it.
MRS. HONEY
I can tell.
(beat)
I also wanted to ask if you’ve been feeling alright? I couldn’t help but notice that you’ve been dozing off quite a bit through first period this week --
MIKE
Oh, sorry. I didn’t have my coffee --
Mrs. Honey frowns a little. Concerned. Mike scrambles to fix it.
MIKE (CONT’D)
It’s just -- the time of year?
(beat)
It’s hard to explain.
MRS. HONEY
A very Holden thing to say.
(beat)
In the last chapter I assigned -- do you remember what Holden talks about with Phoebe? About... where he gets his dream from?
MIKE
(beat)
A song?
Mrs. Honey nods.
MRS. HONEY
You see -- I think when Holden says that he sounds crazy, he’s actually making a lot of sense. Sometimes it’s the things that keep us awake at night...
Mrs. Honey hands Mike his creative story assignment. A bright, RED CIRCLED ‘A’ is at the top.
MRS. HONEY (CONT’D)
...that are actually the things that make us great.
Mike tries hard not to smile.
MRS. HONEY (CONT’D)
I’ll see you tomorrow, Michael. Awake, I hope.
MIKE
See you tomorrow.
Mike turns to head out the door, into --
INT. HAWKINS HIGH - HALLWAY - DAY
Mike exits Mrs. Honey’s room. He walks, staring down at the grade on his paper. Proud.
At the same moment --
INT. HAWKINS HIGH - FURTHER DOWN THE HALLWAY - DAY
Will walks through the hallway, in a different world. His hands are tight over his backpack straps. He appears anxious and separated from everyone else. Isolated.
Will scans the hallway cautiously, although no one bothers to glance his way. He slowly begins to space out, and --
FLASHCUT of Will’s NIGHTMARE. The Demogorgon bursting through his back door. Holding himself close in the CRAWL SPACE, AND --
THE BOY IN THE CAVE. HIDING FROM SOMETHING.
Will’s head starts to spin. He feels like he might be sick, when --
LUCAS
Hey! Will! Wait up!
Lucas dodges his way through the crowd. He steps into the empty spot next to Will.
Will quickly tries to compose himself. Lucas doesn’t notice.
LUCAS (CONT’D)
Hey man. So I was thinking -- maybe this Saturday? -- it would be super fun if we all went to the arcade. I mean -- you and Mike could swing by my place first. We could make lunch and then head over there on our bikes --
Will slows down in the middle of the hallway. His feet are unsteady.
Lucas pauses. He turns to look back. His eyes widen.
LUCAS
Whoa -- Will. Is something wrong?
Will hesitates, taking a deep breath, and --
EXT. HAWKINS HIGH - ALLEY - DAY
Will sits alone against the brick wall of the ALLEY. He has his head in one hand and an elbow propped up on his knee. His backpack sits idly beside him.
Lucas turns the corner, carrying a soda in his hand. He holds it out for Will to take.
Will looks up at him.
LUCAS
Here you go. Got it from the vending machine.
WILL
(quiet)
Thanks.
Will takes the soda. Lucas sits down next to him, crossing his legs. He watches carefully as Will cracks the can open and takes a small sip.
LUCAS
Did... something happen? You know -- kind of like Andy and Dustin earlier? Because if someone is messing with you --
Will lets out a soft laugh and shakes his head. If only.
WILL
No, nothing like that.
(beat)
I -- I just... I had a dream last night? Or -- a nightmare? Or... maybe it was a memory...
Will takes another sip of his soda.
Lucas considers this.
LUCAS
Did you tell Mike about it?
Will almost chokes.
WILL
What? No. Why?
LUCAS
I just figured, you know? Since you were both up before the alarm?
WILL
Oh. No, I -- I don’t want to bother him about this.
(beat)
It’s probably nothing anyway.
Lucas stares at Will for a beat. He turns away to look out the opening of the alley. No one is around. He turns back to Will.
LUCAS
(low)
I hate to be the one to say this, but... when was the last time you had a strange vision and it didn’t mean something. And today? Of all days?
(beat)
You really believe that’s just some crazy coincidence? Because I sure as hell don’t.
Will lets out a sigh. He’s been thinking the same thing. Still...
WILL
I don’t know, Lucas. It didn’t feel the same. Not like before. Whatever this was felt... different.
LUCAS
(shrugs)
Maybe you should talk to El about it.
Will shakes his head, adamant.
WILL
If I tell El, then El will tell Hopper, and Hopper will tell my mom -- and then she won’t let me out of the house for a week -- and we can forget about going to the arcade.
(beat)
She’ll probably ground me to Mike’s basement, or ship me off to Hopper’s cabin.
LUCAS
Well, I’d talk to someone about it.
Will blinks. He looks over at Lucas.
WILL
I mean... you’re someone.
Lucas laughs.
LUCAS
That’s not really what I meant, but... yeah. I’m here. Whenever.
WILL
Yeah. Me too.
Lucas and Will share a smile. He taps Will lightly in the shoulder with his knuckles. Will ducks his head. Bashful.
LUCAS
Well, if you change your mind about Mike -- you know he’s good for a secret.
WILL
Yeah, I know.
LUCAS
You're still coming with us later, though -- right? To see Max?
WILL
Wouldn’t miss it.
The boys sit there for another minute. A comfortable silence rests between them, until --
Will takes another sip of his soda as we PRE-LAP with the sound of a ticking clock, and CUT TO --
INT. CABIN - LIVING ROOM - DAY
The KITCHEN TIMER is now at 5 MINUTES. Hopper stares at it, anxious, when --
KNOCK! KNOCK! KNOCK!
Hopper startles at the sound. His head whips toward the bath. Only, the sound wasn’t coming from there. It was coming from --
KNOCK! KNOCK!
Hopper’s eyes jerk to the FRONT DOOR. He immediately grabs his REVOLVER and stands. He starts to creep toward the door. Cautious.
CLA-CLICK. He loads a bullet into the chamber of his revolver.
Hopper approaches the front window. He takes a peek through the curtain, and --
Hopper relaxes, clicking the gun back into place. He unlocks the locks on the front door one by one and opens it up for --
Joyce stands in the doorway. She has her arms wrapped around herself to keep warm. Her hair is windswept from the fall breeze. In one hand, she holds a FLASHLIGHT.
She squeezes past Hopper as soon as the door is open wide enough for her to step inside.
JOYCE
God, it’s freezing out there! And underground -- in those tunnels?! It feels like escaping Russia all over again!
Hopper quietly closes the door behind her. When he doesn’t respond, Joyce turns to face him.
She notices the revolver in his hand. She gestures at it silently, concerned.
HOPPER
(low)
Everything’s okay, just -- keep your voice down. El is in the bath.
Joyce turns to look at the closed door to the bath. She looks behind her. The timer is now at 3 MINUTES. Hopper’s research is strewn about.
Joyce points a finger at the pile of documents.
JOYCE
(low)
Did you go back there today?
HOPPER
(beat)
Yeah.
Hopper walks back over to his chair. He places his revolver down on the coffee table and sits down heavily.
He reaches into his pocket for a pack of cigarettes only to draw out a lighter. He rolls his eyes. He forgot he quit.
JOYCE
And? Are they opening the lab back up? Did you see anything suspicious -- ?
Hopper stuffs his lighter back into his pocket and sighs.
HOPPER
They aren’t opening the lab back up, Joyce. It’s just -- From what I can tell, they’re using it as a base of operations. It’s convenient for them.
JOYCE
(scoffs)
Yeah, for them.
Joyce throws her arms up in the air, frustrated. She sits down heavily on the couch, bringing a hand to her mouth, stressed.
JOYCE (CONT’D)
We should’ve burned that place to the ground when we had the chance.
Hopper recognizes her nerves. He leans forward in his chair, closing some of the distance.
HOPPER
Hey. We’ll figure it out, okay?
Joyce gives him an unconvinced look.
HOPPER
We’ll figure it out.
Joyce takes a deep breath, considering. Her eyes move over Hopper’s shoulder, toward his INVESTIGATION BOARD.
JOYCE
Have you made any progress, at least?
Hopper leans back in his chair. He turns toward the board too.
They keep their voices low as they talk.
HOPPER
A little bit, but -- none of it makes sense, of course. Just bits and pieces of an incomplete puzzle -- and I’m driving myself crazy just trying to find the pieces, nevertheless put the damn thing together.
JOYCE
So nothing on where Sullivan might’ve put Brenner’s research? -- Shouldn’t Owens’ people know something? Shouldn’t he have copies of everything stashed somewhere, or someone who’s read them --
HOPPER
Owens' people went dark on us the second they brought us home. They did their part. If they tried to reach us now, it would be a death sentence.
JOYCE
Well, there has to be something. Something we haven’t uncovered yet. Some kind of reason this all started. An origin or -- or a --
HOPPER
A source.
JOYCE
I mean -- Brenner had to have some kind of motive, right? And we know he wasn’t doing it for the U.S. Government.
HOPPER
... So what the hell was he doing it for?
BRRRRRRRRING! The kitchen timer goes off! Hopper leaps up from his chair and heads over to the side of El’s bath. Joyce heads for the BATHROOM to retrieve a TOWEL.
Hopper gets a hand on the door and immediately pulls it open. He looks down inside. Relieved.
El sits up slowly. Drenched. She’s breathless. Her NOSE BLEEDS. Hopper reaches down to place a hand on her shoulder.
HOPPER
Hey kid. You okay? You good?
El nods.
HOPPER
Okay. Let’s get you out of here...
Hopper helps El stand and climb out of the tub. Her feet hit the floor at the same time Joyce throws the towel around her shoulders.
El takes a second to focus on her. Joyce pulls the towel tighter around her shoulders, then uses the edge to help wipe the blood from her nose.
El reaches out and grabs Joyce’s shoulders. Happy to see her. Joyce smiles back at her.
ELEVEN
Joyce.
JOYCE
Hi, sweetheart.
Off El, smiling, and --
INT. CABIN - LIVING ROOM - DAY - LATER
El sits in Hopper’s green recliner. She’s changed out of her wet clothes, into a PINK KNITTED SWEATER. Blankets have been tucked around her to keep her warm. Her hair is still damp.
Joyce and Hopper have retaken their seats around the coffee table. They listen carefully as El speaks.
ELEVEN
When I reach for him -- for One -- I only feel the cold.
INT. VOID (FLASHBACK)
We see El in her bath clothes, standing in nothingness. She turns in place, searching. We see her walk through the dark, aimless.
ELEVEN (PRE-LAP)
There’s nothing there. No sign of him. Somehow --
INT. CABIN - LIVING ROOM - DAY
El, back in her blankets. Tense.
ELEVEN
-- he is hiding from me.
HOPPER
Do you think it’s part of his powers? That he can -- cloak himself somehow?
ELEVEN
I do not know.
Hopper exhales, dissatisfied. He glances over at Joyce.
HOPPER
What about Will?
Joyce immediately gets defensive.
JOYCE
What about Will?
HOPPER
Has he felt anything? Any strange visions or -- goosebumps on the back of his neck -- ?
JOYCE
You think I wouldn’t let you know right away if that happened?! I told you, he hasn’t felt anything since last spring.
(beat)
I mean -- maybe he’s been a little off lately, but --
HOPPER
Off?
JOYCE
-- it’s always been like that this time of year. For everyone. Not just Will. I mean... you remember what it was like, Hop! And I’m not talking about the Mind Flayer.
Hopper considers this, thinking back. His eyebrows knit together. We PUSH IN on him as realization begins to strike.
JOYCE (O.S.)
That first year... Will was back, but --
HOPPER
Hold on.
Hopper pushes himself out of his seat, heading for his BEDROOM.
JOYCE
Hop --
Hopper disappears around the edge of his doorframe.
El worries her lips through her teeth. She looks over at Joyce.
ELEVEN
Will... are you sure he is okay?
JOYCE
Oh, sweetheart --
Joyce scoots over on the couch, closing some of the distance between them. She offers El a hand. El reaches out from underneath the blankets. Takes it.
JOYCE (CONT’D)
He’s okay. Will’s a strong kid.
(beat)
Just like his sister.
Joyce squeezes El’s hand. El smiles and looks away. Bashful.
JOYCE (CONT’D)
That doesn’t mean I don’t worry about the both of you, though -- and Jonathan.
El frowns, concerned.
ELEVEN
What is wrong with Jonathan?
Joyce hesitates. It’s not her place to say. But then --
Hopper walks back in, carrying a YELLOW SLIP OF PAPER in his hand. Joyce stands.
HOPPER
It’s a shot in the dark, but --
He holds the slip of paper out to Joyce.
HOPPER (CONT’D)
Think you could bring this to our inside man for me, Detective Byers?
Joyce takes the slip of paper and gives Hop a nod, determined. Off Joyce --
EXT. COMMUNITY CENTER - DAY - ESTABLISHING
We TILT DOWN to reveal a LARGE BRICK BUILDING with the signage HAWKINS COMMUNITY CENTER. Nancy’s car appears on the road nearby. We PUSH IN on a sign she drives by, stationed by the road. It reads:
SHELTER FOR THOSE MISPLACED BY THE EARTHQUAKE. ALL ARE WELCOME.
Nancy’s car turns into the decently filled PARKING LOT. Near the entrance of the center, we can see TWO MILITARY HUMVEES parked up, and --
INT. NANCY’S CAR - DAY
Nancy pulls up right alongside them. She whips her head around to stare at the vehicles and shakes her head in disgust.
She takes a glance outside, and --
EXT. COMMUNITY CENTER - FRONT ENTRANCE - DAY - MOMENTS LATER
A SOLDIER lights a cigarette outside the front doors just as two young children race past him, laughing.
SOLDIER 1
Hey! Slow the hell down!
(muttering)
Brats.
INT. COMMUNITY CENTER - FRONT ENTRANCE - DAY - CONTINUOUS
Nancy casts a sideways glare at the solider as she catches the front door. Jonathan follows her inside.
NANCY
Asshole.
Nancy approaches the reception counter of the Community Center. She looks toward the interior doors as she does, taking a peek inside to see...
INT. COMMUNITY CENTER - DAY - ESTABLISHING
A bustle of people roam about a large, wide room. What once used to be a community gymnasium has now been transformed into a storm shelter. Rows of cots have been set up for people to sleep on. A makeshift lounge area has been arranged in one corner.
The people in here range from very old to extremely young. There is a lack of kids and teens present with school still in session. Volunteers drift around in BLUE VESTS, handing out water bottles and snacks. Armed Soldiers loiter around the edges of the room, as --
INT. COMMUNITY CENTER - RECEPTION COUNTER - DAY - CONTINUOUS
Nancy casts another glare at the soldiers before she steps up to the reception counter, where the SHELTER COORDINATOR sits. MARIE, 60s, friendly but business-like, sits at the counter with a pile of papers. She jots down a few things with a pen, a pair of glasses perched precariously on her nose.
Nancy pulls out the VHS she brought. She forces a smile to her lips and tries her best to appear upbeat.
NANCY
Hi there, Marie!
Marie glances up from her stack of papers. She smiles back.
MARIE
Why hello, Nancy! I was wondering when you’d be back. I haven’t seen you in a couple days.
NANCY
We wanted to come yesterday, but our siblings were keeping us busy --
Nancy looks back at Jonathan for back up. He immediately jumps in.
JONATHAN
Yeah, super -- super busy --
NANCY
-- but I did manage to swing by the video store and grab another tape! There’s not much left in there the kids haven’t already seen, but --
Marie stands and takes the VHS from Nancy. She sets in on a shelf behind the counter.
MARIE
That’s alright, hon. Thank you for bringing it. Everyone will be excited.
(beat)
By the way, I did have one of our residents ask about the flyer you handed out last month? The one about the schools reopening? Apparently, they liked your writing -- wondered if you’d be making another.
Behind her, Jonathan eyes Nancy anxiously.
NANCY
Oh, I -- I’m in the middle of one, actually. It just needs some reworking before I send it to print.
Jonathan relaxes. Marie hums, impressed.
NANCY (CONT’D)
But -- while we’re here, is there anything else we can do? I know you have plenty of help already, but we’d love to lend a hand.
Marie thinks, raising an eyebrow, and --
INT. COMMUNITY CENTER - DONATION ROOM - DAY
Marie scoops up a big CARDBOARD BOX and places it on one of the FOLDING TABLES spread out across the room. There’s lots of junk in here. Piles of unfolded clothes, coats for winter, random kids toys and stuffies, and even lamps and furniture.
MARIE
Most people bring their stuff here thinking that -- just because they don’t want it anymore, we’re going to use it. But the truth is, most people are just pawning off their garbage because it makes them feel better about throwing their stuff away.
(beat)
I mean... look at all this shit.
Nancy and Jonathan, now wearing the same BLUE VESTS as the volunteers, look around with wide eyes. It’s a mess.
MARIE (CONT’D)
Truth is, it needs to be sorted.
She grabs the cardboard box she placed on the counter and turns it, revealing the word JUNK scrawled on the side in big black marker.
MARIE (CONT’D)
Junk goes in here --
Marie points toward another cardboard box. This one says KEEP.
MARIE (CONT’D)
-- and the good stuff goes in there.
(to Jonathan)
You can start with those boxes by your feet.
Jonathan looks down and sees a LARGE STACK of cardboard boxes, some of them overflowing with more junk.
Marie makes her exit, heading out the door.
MARIE (CONT’D)
Just do what you can! Don’t think you have to finish. And you might want to put some gloves on! God knows what’s in there...
The door swings shut behind her. Jonathan gives Nancy an incredulous look, wondering what she just got them into. Nancy sighs, and --
MOMENTS LATER
Nancy and Jonathan stand back-to-back in between two folding tables, now armed with latex gloves. They each have their own box and are sorting through the contents. Beside them on the floor are the JUNK and KEEP boxes.
They don’t speak to one another. It’s eerily quiet.
We watch as Jonathan pulls a half-melted pan out of his box. He makes a face and turns to throw it in the JUNK box.
Nancy sifts through the contents of her own box. There are toys and games in here, clearly the contents of a child’s room. After a moment, she carefully pulls out a BURNT TEDDY BEAR with a MISSING LEFT EYE.
Nancy holds it gently, pitying the teddy's condition, before she tosses it in the JUNK box without a second glance.
Behind her, Jonathan spots the teddy bear. He gives it a sympathetic look.
JONATHAN
Don’t you think you can save that one?
NANCY
It’s burnt to a crisp. There’s nothing to save.
JONATHAN
He’s still got one eye.
NANCY
He’s a mess, Jonathan.
Nancy starts aggressively pulling more stuff out of her box. We get the impression that she’s not really talking about the Teddy Bear...
Jonathan takes a deep breath, bracing himself for the oncoming conversation.
JONATHAN
Look, I know -- I know it was wrong of me to lie to you, okay?
Nancy lets out a noise of exasperation. She can’t believe he’s bringing this up right now.
NANCY
Seriously, Jonathan?!
JONATHAN
I know I messed up, okay?! I admit it! I already admitted it! But I thought I was doing the right thing by letting you know --
Nancy whirls on him.
NANCY
-- The right thing?! You lied to me, Jonathan! You lied. You said that you wanted to come to school with me! You said that you would let me know when -- when your application letter came? -- when you never even sent one in -- ??!!
JONATHAN
I know! I know! I don’t know what I was thinking -- I just -- I didn’t want to mess things up between us --
NANCY
Well, great job on that.
(beat)
Like there was even an us to mess things up between.
JONATHAN
What the hell is that supposed to mean?
NANCY
I don’t know, Jonathan -- You tell me! You’re the one who moved away! You barely ever called -- and now I learn that you were planning to slow-motion break up with me?!
JONATHAN
I wasn’t planning anything! I just didn’t know what to do! That’s why I told you --
NANCY
Yeah, telling me you lied about our plans for months -- now?! -- When we’re stuck in this shitty town, with the world burning around us, living under the same goddamn roof?!
(beat)
How did that make any sense to you, Jonathan?!
JONATHAN
I don’t know, Nancy -- okay?! I don’t know!
Nancy stares at him. Disappointed.
NANCY
Yeah, well -- I don’t know either.
Nancy turns back around. Jonathan watches her for a long moment, contemplating, before he also turns away.
After a long second, Nancy looks over her shoulder again, only to see Jonathan’s back facing her.
She turns back to her box again and something catches her eye. She stares at it for a beat. Her eyes go wide.
She reaches down into the box and draws out --
A VHS TAPE, CLOSE ENCOUNTERS, WITH A DARK BLACK LINE MELDING IT TOGETHER. IT HAD BEEN BROKEN IN HALF, BUT HAS NOW RE-FUSED.
Nancy blinks at it, trying to make sense of the VHS. She glances nervously toward the door, lowering the tape from view. She spots something at the top left corner of the tape.
A sticker reads: FAMILY VIDEO RENTAL.
Off Nancy, eyes widening, we CUT TO --
INT. FAMILY VIDEO - DAY
Robin and Steve stand at the counter. They both give a little wave to --
Vickie, who stands at the door. She’s smiling brightly, and she waves enthusiastically at Robin before she turns to leave. The door chime jingles as it shuts behind her.
Robin is giddy as she watches her go. She tries to fight an uncontainable smile.
Steve turns his head. He gives her a look, asking an unspoken question. Robin looks back at him. Clueless.
ROBIN
What.
STEVE
So?
(beat)
Did you tell her or what?
Robin lets out a painful groan.
ROBIN
Steve.
STEVE
Robin.
(beat)
You chickened out!
ROBIN
I didn’t chicken out! You sprung your advice on me at the most impromptu moment. I have to prepare! I have to --
STEVE
Prepare for what?! It’s not like you’re going to war! You’re just telling her the truth!
ROBIN
Yes -- the truth! Which could potentially crush me under the weight of its undeniability!
STEVE
Robin --
ROBIN
You don’t get it, Steve, I --
(beat)
I don’t want to lose --
DING! The door chime suddenly rings and Robin and Steve jump at the sound. They whirl toward the door, expecting a customer. Instead --
Dustin walks in, VHS in hand and no time to waste. Steve stares, shocked to see him. He notices the DRIED PAINT that’s splattered all over Dustin’s clothes.
Dustin steps up to the counter, dropping off ALIENS.
DUSTIN
Returning this.
He immediately turns to leave. Steve looks down at the VHS.
STEVE
Whoa, wait -- Henderson! Hold on!
DUSTIN
It’s rewound -- Jesus.
Steve leaps out from his spot behind the counter, carrying the broken VHS tape in hand. He snaps --
STEVE
You can’t return it like this! You have to pay a fee! Dustin!
Dustin lets out an annoyed breath. He turns to face Steve.
DUSTIN
I don’t have any cash on me.
STEVE
I don’t --
(beat)
What are you even doing here right now?
ROBIN
Yeah, aren’t you supposed to be in school?
STEVE
And what happened to your clothes? Did someone --
(serious)
Did someone throw paint on you?
DUSTIN
I got to go.
Dustin turns his back on Steve and starts heading back the way he came in. Steve rushes after him. He grabs the sleeve of his coat and drags him backward.
STEVE
Whoa whoa -- hold on, man! You can’t just walk out of here! Tell me what the hell happened!
Dustin smacks Steve’s hand away.
DUSTIN
Nothing happened, okay? I’ll pay the fee tomorrow. Right now, I got somewhere to be.
ROBIN
I hope you mean class!
Dustin rolls his eyes and heads back through the front door.
STEVE
Dustin! Wait a second! Dus --
WHAM! The door swings shut behind him.
Steve turns to give Robin an exasperated look. He heads back toward the counter. He looks down at the cracked VHS and thumbs at the corner.
STEVE (CONT’D)
What the hell is his problem lately? I mean -- cutting class? What is he thinking?
ROBIN
Wow. I didn’t realize you were such a champion of public education, Steve. Considering your own academic record.
STEVE
Can it, Buckley. You know what I mean. That kid has a serious attitude problem lately. And -- wearing his Hellfire shirt around? I mean, I wouldn’t be surprised if someone did toss paint on him. He’s basically asking for it.
ROBIN
Can’t imagine why.
Steve fidgets a little. He swallows thickly. Uncomfortable. Robin gives him a look. Sympathetic.
ROBIN (CONT’D)
Eddie was his friend, Steve. I mean, we only knew him for a few days maybe, and it still sucks. I can’t imagine... for him...
STEVE
Yeah, I know. I get it. But still --
WHOOSH! The door bursts open again. We PUSH IN on Nancy and Jonathan as they step into the store. Nancy looks determined. Jonathan looks like he’d rather be anywhere else.
Steve and Robin both look up. Confused.
STEVE
Back already?
(beat)
Was the tape no good?
Off Nancy, we CUT TO --
INT. CABIN - KITCHEN - DAY
El sits at the tiny dining table, still wrapped in one of her blankets. She looks up as someone approaches.
HOPPER (O.S.)
Nothing like a few Eggos to get your strength back.
Hopper places a plate of EGGO WAFFLES down in front of El. El smiles. Grateful.
Hopper sits down across from her with his own stack. They pick up their utensils and begin to eat.
After a few bites, El looks across at Hopper. Getting ready to tell him something. After a long moment --
ELEVEN
Do you know how long I’ve been searching? For One?
Hopper looks across at El. He hesitates, unsure where this is going.
HOPPER
Since April. Since... I finished the tub.
ELEVEN
It’s been two-hundred days.
(beat)
Two-hundred days I’ve searched for One, and still I’ve found nothing.
HOPPER
I know, El, but -- we’ll get there. You know I’m working on trying to figure this out, too, right? But we will figure it out.
(beat)
Just give it some more time.
El stares at Hopper for a moment.
ELEVEN
Have you thought about... my idea?
HOPPER
El.
ELEVEN
I cannot find him, but maybe --
HOPPER
No. It’s too risky. With the Military here -- blocking every entrance to this place, roaming around town, intercepting any communication to the outside world... we’d get caught. And that is not a risk I am willing to take. Not with you.
ELEVEN
What if it’s the only way?
HOPPER
It can’t be the only way, okay? And I am working on it. But I just need you to have a little patience.
(beat)
Can you just... give me a little more time? Please?
El nods. Reluctant. Hopper lets out a sigh of relief. They work on the rest of their Eggos...
MOMENTS LATER
Hopper carries their empty plates to the sink. El glances across the room, her eyes landing on her BOOMBOX. She stands from the table and --
INT. CABIN - LIVING ROOM - DAY - CONTINUOUS
El grabs the boombox, taking it in one hand, and turns to open the GAME CABINET. Inside, we see a REVOLVING CASSETTE HOLDER FILLED WITH TAPES. She spins it around for a second before finding the one she’s looking for.
We watch her pull out Kate Bush, HOUNDS OF LOVE.
HOPPER
Are you going to look for her again?
El looks up from the tape. Hopper is looking at her while he wipes down his coffee mug.
EL
Just for a couple minutes.
Hopper nods and turns away. El moves toward her bedroom door and --
INT. CABIN - EL’S ROOM - DAY
El enters her room. She closes the door with a swing of her hand, leaving it open 3 INCHES.
We PAN ACROSS as El crosses the room. She grabs a BLINDFOLD from where it’s draped over her VANITY MIRROR and sits down on her BED.
El inserts HOUNDS OF LOVE into the boombox. She places the boombox on her BEDSIDE TABLE.
El ties the blindfold around her eyes. She tilts her head to one side.
THE FAST-FORWARD BUTTON CLICKS DOWN ON THE BOOMBOX. THE TAPE BEGINS TO SKIP AHEAD BEFORE --
THE PLAY BUTTON CLICKS. THE FAST-FORWARD BUTTON POPS AND WE HEAR --
KATE BUSH. “Cloudbusting.”
We ZOOM IN on El with her blindfold. PRE-LAP with the BEEPING of a HEART MONITOR and --
INT. HAWKINS GENERAL HOSPITAL - MAX’S ROOM - DAY
ECU: A HEART MONITOR makes steady blips.
We PAN ACROSS to MAX MAYFIELD, 15, asleep in her HOSPITAL BED. Her limbs are UNCASTED. A NASAL CANNULA sits over her ears and nose. She appears FULLY HEALED aside from her COMA.
On the wall above her hangs a DRAWING: her and Lucas at the movies.
The door opens and Lucas walks into the room. He closes it behind him and heads to Max’s beside.
Lucas sits down in a chair and takes Max’s hand. He squeezes it tightly.
LUCAS
Hey, Max. I’m here... I’m here.
(beat)
I... um... I brought something. Actually, I’ve been meaning to ask you this for a while now...
Lucas hesitates before letting go of Max’s hand and reaching into his pocket. We watch him draw out a ENVELOPE.
LUCAS (CONT’D)
I know you’re still here. And I know you told us not to open these unless... unless something went wrong. But the thing is...
Lucas gets misty eyed. He grits out the last few words.
LUCAS (CONT’D)
I miss you like hell. So, would it be okay if I opened this? If you don’t want me to read it, then -- you’ll just have to wake up and stop me yourself. Or give me a sign a something. Okay?
Lucas stares at Max for a few long moments, waiting for something. A miracle, maybe.
Max stays still. Silent.
Lucas stares down at the envelope in his hands. He thumbs at the opening, hesitant, and...
INT. HOSPITAL - WAITING AREA - DAY
Will sits in a small WAITING AREA near the nurses RECEPTION COUNTER. It’s eerily quiet aside from the BUZZ of the LIGHT FIXTURES.
The noise becomes LOUDER as one of the lights above Will’s head starts to FLICKER. He glances up at it. Grows tense, before --
Mike sits down beside him, holding a CUP of vending-machine COFFEE. Will jerks his head toward him.
Mike glances back at him. He points to his cup.
MIKE
You sure you don’t want one? I could grab another --
WILL
I’m okay. I had a soda earlier.
MIKE
Okay. Cool.
WILL
Cool.
There’s a stretch of silence. Mike and Will sit awkwardly next to each other.
Will steals a glance at Mike. He watches him take another sip of coffee.
WILL
I guess maybe a sleepover on a school night wasn’t the best idea, huh?
MIKE
Yeah. Probably not.
Silence again. Mike looks down at his coffee. He hesitates.
MIKE (CONT’D)
Actually -– the sleepover has nothing to do with it.
(beat)
I... I haven’t really been able to sleep lately? Like at all. I mean -- I didn’t even go to bed last night. I just stayed up and planned our next D&D campaign -- and it’s not even that good...
Will lets out a small laugh.
WILL
That can’t possibly be true.
MIKE
No, it’s complete crap. I swear.
They both laugh. The awkwardness dissipates.
Will hesitates to push it. He rubs his hands along his thighs. Anxious. He pushes anyway.
WILL
Is... there a reason? That you can’t sleep?
Mike visibly closes up. He shakes his head. He doesn’t want to say.
MIKE
It’s nothing, really.
(beat)
It’s just... lately, I have this really bad feeling? Like there’s something out there. Something coming. But I talked to El and... she said there’s still no sign of Vecna. I mean... it’s been months since the gates opened and yet -- there’s been no power outages, no Demogorgon attacks, no signs of the Mind Flayer...
(beat)
Not that I -- Not that I would know anything about that stuff, but...
WILL
That’s not true. I mean... you’ve been through all this too. You know what it’s like.
Mike shakes his head. “No.”
MIKE
Not nearly as much as you.
Mike stares at Will. His gaze soft.
Will inhales sharply. He feels seen.
Will opens his mouth to add something, when --
DUSTIN
What are you guys doing out here?
The boys startle. Mike turns to see Dustin come to a halt beside them. He frowns.
MIKE
Dude, where the hell were you? Your bike was gone off the rack when we left.
DUSTIN
I went to return the VHS.
WILL
You cut class?
Dustin sighs. He unshoulders his backpack. Takes a seat beside them.
DUSTIN
Some of the basketball team is in my eighth period. Sue me if I didn’t want to see them after assaulting their team captain... and possibly getting him suspended.
(beat)
So? What’s going on?
MIKE
Lucas just wanted a minute. He asked us to wait until he --
DUSTIN
(low)
Oh, shitshitshit.
Dustin jerks his head toward the floor. He sinks lower in his chair, trying hard not to be seen.
TWO M.P.’s walk by, led by a NURSE. Their boots click down the hallway.
One of them casts a glance in their direction. Mike lifts his head and glares back at him. Bitter.
Will’s hands curl against his thighs. He quickly looks away. Anxious once more.
The M.P. looking at them slows to a halt. Under the brim of his baseball hat, Dustin closes his eyes. He’s so screwed.
SOLDIER 2
Hey. Kid.
DUSTIN
(mouths)
Shit.
Dustin lifts his head. His paint-splattered HELLFIRE SHIRT is clear as day. He forces a friendly smile.
SOLDIER 2
Cover that shit up. You’re in a hospital, for Christ’s sakes.
DUSTIN
(scoffs)
“Shit?” This is --
Mike reaches out and grabs the edge of Dustin’s coat, pulling it over his shirt.
DUSTIN (CONT’D)
-- Mike!
MIKE
He will. Thank you, Officer.
The M.P. gives them a skeptical look, but lets it go. He doesn’t have time for them. He turns the corner after his comrade.
Mike redirects his glare at Dustin.
MIKE (CONT’D)
(low)
What did I tell you about wearing that this morning --
DUSTIN
(low)
Yeah, well, I didn’t think we were going to run into any M.P.’s today, Mike. Not here, at least.
(beat)
What the hell are they doing here anyway?
MIKE
How the hell should I know?
DUSTIN
I’m not saying you should know. I’m just saying...
Will stares after the soldiers. Pensive. Mike and Dustin’s voices fade. We hear something else. Creeping in...
THE CLICK OF BOOTS AGAINST TILE... THE SOUND OF AN ELECTRIC TASER... MUFFLES SCREAMS OF PAIN...
MIKE
Will.
Will blinks. Disoriented. Both Mike and Dustin are standing now. Their backpacks slung over their shoulders.
A ways off, Lucas stands in the doorway of Max’s room. He must’ve called for them. Time seems to have skipped ahead.
MIKE (CONT’D)
Are you okay?
WILL
Yeah, sorry. Coming.
Will picks up his bag and follows after the other boys. They head inside Max’s room, and --
INT. HAWKINS GENERAL HOSPITAL - MAX’S ROOM - DAY
The four boys cross the room. They gather in the corner, taking a seat in a few hospital chairs.
DUSTIN
Alright. Who wants the good stuff?
Dustin rips open his backpack. He begins pulling out a plethora of SNACKS. He tosses a bag at Mike. It almost hits him in the face.
MIKE
Dude –- what the hell? Doritos?
(beat)
Are these from my house?
DUSTIN
So what if they are?
We PULL OUT on the boys arguing, as -–
INT. VOID
THE BOYS SUDDENLY SIT IN DARKNESS. They continue their antics, unaware that they’re now being watched by –-
We PULL OUT to see El, standing beside Max’s bed. She stares at her sleeping friend. Solemn. But --
MIKE
They’re my damn chips, that’s what!
WILL
Oh, come on, Mike. You can share.
LUCAS
We were eating half this crap at your house last night anyway.
MIKE
It’s still my food --
Dustin chucks another bag at Mike. It hits him in the face.
DUSTIN
Shut up and eat.
El laughs. Smiles. She misses them.
SPLISH! An echo suddenly ricochets through the void. El turns and begins to walk toward the sound. Behind her, the boys vanish into darkness.
ACROSS THE VOID, El sees something. A shadow. A figure’s back facing toward her. She creeps closer.
The figure has DARK HAIR with a STREAK OF RED. A BLACK LEATHER COAT. LACED UP BOOTS.
El squints. Is it...?
INT. CABIN – EL’S ROOM – DAY
POP! THE BOOMBOX CLICKS OFF. HOUNDS OF LOVE, SIDE 1 ENDS.
El tugs off her blindfold off with a gasp. Her nose is bleeding. She gathers herself for a moment, as -–
INT. FAMILY VIDEO – DUSK 1
ECU: The CLOSE ENCOUNTERS VHS. Steve spins it in his hands, trying to make sense of what happened to it. It’s weird.
NANCY
... and it was just in the box along with all this other junk. When I first saw it, I thought maybe it had just caught fire like some of the other stuff in there, but...
STEVE
Yeah, no. I don’t think a fire did this.
Nancy and Jonathan stand at the counter, opposite Steve and Robin. Nancy and Steve eagerly study the tape. Robin peers over Steve’s elbow to look on.
Jonathan hangs back. Arms crossed over his chest.
JONATHAN
Right, because you’re such an expert on what fire damage looks like now?
Nancy rolls her eyes. Steve glances over at Jonathan. Robin doesn’t seem to hear the sarcasm.
ROBIN
No, I agree with Steve. It looks like the tapes been chopped in half and then melted back together. It goes through the entire thing. A fire would just melt it. This is...
NANCY
It’s weird, right?
SIMULTANEOUS:
ROBIN
One-hundred percent.
STEVE
Oh, absolutely.
Jonathan sighs loudly. Impatient.
JONATHAN
So, what does this prove exactly? More screwed up shit going on in our already screwed up town? This isn’t exactly ground breaking stuff.
Nancy grabs the tape from Steve’s hands and whirls on Jonathan.
NANCY
What does this look like to you, Jonathan?
Jonathan shrugs. He has no idea.
NANCY (CONT’D)
The woods? Where we first went monster hunting?
FLASHCUT of Nancy and Jonathan in the woods, where they first encountered the DEMOGORGON. Nancy reaches her hand out through the GATE in the TREE TRUNK. Jonathan grabs her hand and pulls her back through.
NANCY (CONT’D)
That tree closed up after the Demogorgon went back through. It was like it was never even there. But sometimes, when a gate is big enough --
FLASHCUT of the GATE in HAWKINS LAB -- closing. Then the GATE the RUSSIANS OPENED in STARCOURT MALL -- also closing.
NANCY (CONT’D)
-- it leaves a scar.
WHAM! Nancy slams the VHS tape down on the counter.
NANCY (CONT’D)
Wherever this came from, it means a gate’s been closed.
STEVE
Well... how does that make any sense. I thought Vecna’s whole plan was to keep the gates open. Let monsters into our world.
ROBIN
Maybe he’s been gone for too long? Maybe the gates are finally closing back up on their own?
NANCY
Or maybe it’s a different gate.
JONATHAN
I still don’t see how any of this changes anything.
Everyone turns to look at Jonathan. No one seems to agree.
JONATHAN (CONT’D)
I mean -- whether it’s the main gate or another gate -- if Vecna is still out there, one way or another he’ll just find a way to come back again. And we’ll all be screwed.
(beat)
I say we just let the military do their jobs. They’re here to help us anyway --
NANCY
Help us? Don’t you see what they’re doing to this town, Jonathan?! Do you really think they’re going to be able to fix all this?!
STEVE
Yeah, like they even know how?
ROBIN
(low)
And we do?
STEVE
(low)
Hey --
JONATHAN
We have tried to put an end to this time and time again, and every time we get nowhere, more people get hurt, and the end of the world starts all over again!
(beat)
So, yeah. I don’t think we should be going on some wild goose-chase, asking everyone around town if they know who the last person to rent CLOSE ENCOUNTERS was before the ground opened up and swallowed everything whole, just for the whole thing to lead to another dead end!
(beat)
It’s a waste of time.
STEVE
Why, Byers? Got somewhere you need to be?
JONATHAN
I’d tell you, but I honestly don’t think you’d understand in the slightest.
STEVE
Why don’t you try me --
ROBIN
I hate to interrupt, but we really don’t need that much time to figure out where this came from.
Robin grabs the tape off the counter and slings herself toward the computer in her rolling chair. She begins to type into the computer’s search bar.
ROBIN (CONT’D)
All we have to do is find out who never returned it.
Steve turns to look on over her shoulder. Nancy rounds the counter to join him. Jonathan rolls his eyes. After a beat he reluctantly follows.
They all hover around the monitor as Robin pulls up a name --
ROBIN (CONT’D)
There. Mr. Jones. Now all we have to do is see where he lives, and...
CLICK! Robin clicks on the details of the rental. An address pops up on the monitor.
Steve and Nancy blink. They recognize the address immediately. Slowly they turn around.
We PUSH IN on Jonathan. His eyes widen as he realizes the address is for the BYERS OLD HOUSE. The tape was rented by the NEW OWNERS.
STEVE
So -- Still think it’s waste of time, Byers?
Off Jonathan, we CUT TO:
EXT. HAWKINS POLICE STATION - DUSK
A familiar Ford Pinto pulls up to the police station.
Joyce climbs out carrying a BOX OF DONUTS. A MILITARY CAR and a few M.P.’s loiter outside. She avoids making eye contact with them. Ducks her head low.
Joyce slips into the station. Unnoticed.
INT. HAWKINS POLICE STATION - FOYER - DUSK
Joyce heads up to the reception desk. FLORENCE sits there on the phone, penning something in on a notepad.
JOYCE
(low)
Hi, Florence. I brought the --
She waves Joyce through, distracted.
FLORENCE
(into phone)
Uh-huh... Yes, I know it’s been tough, Diane. I’ll let them know... Yes, we’ll see if there’s anything we can do.
JOYCE
(mouths)
Thank you.
INT. HAWKINS POLICE STATION - BULLPEN - DUSK - CONTIUOUS
Joyce steps into the bullpen. She hovers for a second. The room is dead. A TV plays on the SHELF in the corner. OFFICER CALLAHAN is dozing off at his desk.
VOICE (O.S.)
More donuts? Our lucky day.
Joyce turns on her heel to see OFFICER POWELL standing in the door to his OFFICE. He beckons for her.
Joyce ditches the donuts on the nearest table and follows him.
INT. HAWKINS POLICE STATION - CHIEF’S OFFICE - DUSK
Joyce closes the door firmly behind her. Powell takes a seat in his chair. He swivels around to close the blinds.
Joyce takes an anxious step forward.
JOYCE
Are you still sure this is the best place to meet, because there are Military Police right outside --
POWELL
Only place in Hawkins that isn’t currently being surveilled. Trust me. It’s better to meet here than anywhere else. We’re safe.
Joyce exhales deeply to steady her nerves.
POWELL
(reluctant)
So? What is the retired chief putting me up to this time?
Joyce gives Powell an apologetic look.
JOYCE
Listen, I know you were pretty... shocked, when you found out about Hop...
EXT. WOODS - DAY (FLASHBACK)
SUMMER, 1986. Powell walks through some thick, green underbrush. He searches through the trees for... something.
Powell sees a hint of fabric poking out from around a tree trunk. He slowly draws his gun from his holster. He raises it as he turns the corner, and --
Hopper stands there. ALIVE! He gives Powell a half-hearted smile.
Powell stares in utter disbelief. He slowly lowers his gun...
JOYCE (PRE-LAP)
... but he’s grateful for all your help.
INT. HAWKINS POLICE STATION - CHIEF’S OFFICE - DUSK
Back in the office. Joyce gives Powell an appreciative look.
JOYCE (CONT’D)
We both are. And the whole town will be, too.
POWELL
I’m not going to lie. It was all a little hard to believe at first... but after everything that happened last spring...
(shakes head)
What can I do?
Joyce digs into her pocket, pulling out the slip of paper Hop gave her. She hands it over to Powell.
JOYCE
Careful. I think it might be a pretty tall order, this time around.
Powell frowns. Slowly, he opens the paper. We ZOOM IN on the words scrawled across it:
PHILADELPHIA EXPERIMENT
Off Powell, we CUT TO --
INT. HAWKINS LABS - MAIN FLOOR HALLWAY - NIGHT 1
SOLIDIERS tear down the boarded-up rooms of HAWKINS LABS. Furniture is being MOVED. SPACE is being made. BOXES are being carried. The hallway is being CLEANED and CLEARED.
A pair of MILITARY BOOTS moves down the TILED HALL of the hallway. We PAN UP to see the shoulders of Sullivan. A couple soldiers salute him as he passes.
He turns the hallway, and into --
INT. HAWKINS LABS - FILE ROOM - NIGHT - CONTINUOUS
Sullivan enters a large room bustling with activity. Filing cabinets line the walls. Several SOLDIERS arrange more BOXES on a long table already piled with boxes.
MORE SOLDIERS are unloading the files from each box and organizing them into the cabinets. Another works on pinning some research to a cork-board on the far side of the room. They’re setting up it for something.
Sullivan comes to a halt at the center of it all. He watches the activity with a close eye. He nods slowly.
SULLIVAN
This will do.
Sullivan turns over his shoulder.
SULLIVAN
How do you feel about your new office, Doctor?
We PAN AROUND to see DOCTOR SAM OWENS. He looks more run down since the NINA PROJECT and he’s being escorted on either side by two MILITARY POLICE GUARDS.
Lost is the doctor’s coat and his friendly-looking sweaters. Owens now wears a camouflage uniform, just like the rest of the soldiers. He glares at Sullivan. There against his will.
Off Owens, looking less than thrilled by his new quarters, we CUT TO --
INT. STEVE’S BEAMER - NIGHT
Steve, Robin, Nancy, and Jonathan are packed into Steve’s Beamer. In the back seat, Nancy holds her REVOLVER and a FLASHLIGHT.
Jonathan glances over at her.
JONATHAN
Was it really necessary to drop by your house to grab that?
NANCY
I could’ve grabbed the sawed-off instead.
Jonathan rolls his eyes and turns to look out the car window.
ROBIN
I, for one, am glad for the extra protection. Not that I don’t think Steve isn’t a heavy hitter with his bat, or anything, but --
NANCY
You mean my bat?
STEVE
Hey -- remind me. When’s the last time you hit a Demo with that thing? Oh, that’s right. Never.
NANCY
Still my bat.
STEVE
Fine, we’ll trade then. You can have your bat back, and I’ll take your revolver.
JONATHAN
It’s my revolver, actually.
STEVE
I’ll take Jonathan’s revolver --
NANCY
Not a chance, Steve.
STEVE
Then I guess it’s still my bat. Isn’t it, Nance.
Nancy raises an eyebrow. Her eyes slide over to Robin.
NANCY
Hey -- by the way, Robin. Did you fix your shelf?
ROBIN
What? What shelf --
STEVE
Yes, we -- She did, yes. Right, Robin?
Robin stares at Steve.
ROBIN
Yes??
Steve nods. Desperate.
ROBIN (CONT’D)
Yes. Definitely yes. All fixed.
Nancy rolls her eyes. Amused. Jonathan shakes his head. Annoyed.
Steve turns the steering wheel. His eyes widen at what he sees out the front windshield. The car slows down.
STEVE
... Holy shit.
EXT. BYERS HOUSE - NIGHT - ESTABLISHING
Steve’s Beamer rolls up the drive to the Byer’s house. It rolls to a halt right in front of the house. Our young adults climb out, staring at the structure standing before them. Only --
We PULL OUT to see THE BYERS HOUSE HAS BEEN DIVIDED IN HALF. A HUGE CHUNK OF THE HOUSE IS MISSING. STRAIGHT DOWN THE MIDDLE, METAL SHEETS COVER THE FOUNDATION. ONE OF THE FOUR GATES HAS CUT DIRECTLY THROUGH THE HOUSE.
EXT. BYERS HOUSE - NIGHT - MOMENTS LATER
The group stands in collective astonishment.
ROBIN
Jesus... this is your house, Byers?
STEVE
Was his house. Now it’s just...
Jonathan takes a couple staggering steps forward. His whole life spent here. His entire childhood. Gone.
NANCY (O.S.)
I mean, we heard it got messed up in the earthquake, but this...
Jonathan swallows. Heart in his throat.
CLICK! He turns on his flashlight and heads toward the huge gap where the front door used to be.
Nancy and Steve share a concerned look. Steve arms himself with his bat. The group heads after Jonathan.
Meanwhile...
INT. WHEELERS HOUSE - BASEMENT - NIGHT
Mike sits on the couch. He’s in his pajamas. He has HEADPHONES on over his ears, plugged into his WALKMAN. On his lap sits his copy of THE CATCHER IN THE RYE.
WILL (O.S.)
Hey.
Mike looks up from his reading. Will sits down at the other end of the couch. He’s also in his pajamas.
Mike pulls his headphones off.
MIKE
Hey.
WILL
Mom came back with a box of doughnuts again, if you want one. I think she’s trying to use them as compensation for over staying our welcome.
MIKE
Come on, you’re not over staying. You basically lived here before we started middle school, anyway.
(beat)
Are Jonathan and Nancy back too?
WILL
Not yet, but they still have an hour before the curfew.
Will glances down at the book in Mike’s lap.
WILL (CONT’D)
Is that any good?
MIKE
Yeah. Yeah, it’s really good. I mean the main character is a total asshole, but --
Will laughs. Mike smiles. They stare at each other for a beat too long. Will clears his throat. Looks away.
WILL
If you can’t sleep again... do you want me to stay up with you? We can rework that campaign you wrote last night.
MIKE
(shakes head)
No. No, you should sleep. We already stayed up way too late last night. And the night before that. And the night before that --
WILL
Yeah, okay. Alright.
Mike stands. He grabs the pillow he was leaning against and chucks it at Will. Will catches it with his face.
MIKE
Sleep well, Will the Wise.
Mike retreats to his mattress. He flops down on it and pulls the quilt over his head.
Will lays down on the couch. He pulls a blanket over himself and reaches for the lamp.
CLICK! He turns off the light. A second later, a light comes on underneath Mike’s quilt. The glow of a flashlight.
Will smiles to himself. He makes himself comfortable and closes his eyes, as...
INT. BYERS HOUSE - LIVING ROOM - NIGHT
Robin, Steve, Nancy, and Jonathan step through the GIANT GAP in the wall and into the BYERS OLD LIVING ROOM. Everything is different than how we remember it. There’s new furniture. New wallpaper. It’s been redone. Evidence of someone else’s home, but also --
Everything is destroyed. Water damage. Fire damage. Anything unsalvageable has been left behind. The metal plates replace a good chunk of the floorboards.
Jonathan looks around. The flashlight sweeps across the room. He lifts the light toward the far wall, landing on something. His eyes go wide.
The rest of the group assembles behind him. Matching expressions of horror on their faces.
STEVE
What the...
A TV SET SITS AGAINST THE WALL, BLOCKING THE DOOR TO THE CRAWL SPACE. SCATTERED VHS TAPES ON THE CARPET BELOW. A LARGE, DARK SCAR SPLITS ITS CENTER. IT GOES FROM THE CEILING ALL THE WAY TO THE FLOOR. NEAR ITS CORE, IT STILL GLOWS RED.
We ZOOM IN on the VHS PLAYER. ALSO CUT IN HALF. CLOSE ENCOUNTERS must’ve been inside when the gate opened.
Off the group, staring at the CLOSED RIFT, we CUT TO --
INT. WHEELERS HOUSE - BASEMENT - NIGHT
Will is fast asleep on the couch. A yellow light shines on him from the glow of Mike’s flashlight from underneath the quilt.
We SLOWLY PUSH IN on Will.
His eyelids are rapidly moving back and forth. His breathing quickens. The sound of his HEARTBEAT starts to SPEED UP.
THUMP THUMP THUMP --
Meanwhile --
INT. BYERS HOUSE - LIVING ROOM - NIGHT
The young adults crowd around the RIFT. Staring.
STEVE
How old do you think that is?
NANCY
I don’t know...
(beat)
Assuming the Jones’s dropped off their donation at the shelter after the gate had already opened... a day? Maybe two? But this... doesn’t make sense.
ROBIN
Yeah. I mean, why would Vecna open a gate here.
(to Jonathan)
No offense, but this place is a total wreck.
NANCY
Unless... Unless he didn’t know that it had been abandoned. Maybe he was expecting something to be here.
STEVE
Yeah, or someone.
ROBIN
Alright, but who?
Realization suddenly strikes Nancy’s face. She turns to look at Jonathan.
Jonathan’s gone as white as a sheet. He takes a staggering step backward. He looks around the edges of the room. Tears start to spring to his eyes.
Dread pools in his stomach. It can’t be...
JONATHAN
Will.
HARD CUT TO --
INT. WHEELERS HOUSE - BASEMENT - NIGHT
Will is still asleep on the couch. His eyelids continue to move back and forth. We ZOOM IN on his LEFT EYE and --
INT. CASTLE BYERS - NIGHT (UPSIDE DOWN) (DREAM)
We PULL OUT on a 12-year-old Will. He lies on the floor. We hear him singing the lyrics of a familiar song...
WILL
IF I GO THERE WILL BE TROUBLE... AN’ IF I STAY IT WILL BE DOUBLE... SO COME ON AND LET ME KNOW --
A GUTTERAL ROAR EHOES FROM OUTSIDE. Will jolts up. He stares through the gaps of his fortress as the FOOTSTEPS GROW LOUDER. CLOSER.
We see MOVEMENT. THEN --
INT. CAVE - NIGHT (FLASHCUT)
WE SEE A FLASHCUT OF THE YOUNG BOY AGAIN. HE’S PRESSING HIMSELF AGAINST THE WALL OF THE CAVE. HIDING FROM SOMETHING. HE’S ROCKS BACK AND FORTH, ARMS WRAPPED AOUND HIS KNEES. WE HEAR THE SAME FOOTSTEPS GROWING LOUDER... AND LOUDER... AND --
INT. CASTLE BYERS - NIGHT (UPSIDE DOWN) (DREAM)
BOOM! The wall of Will’s fortress EXPLODES. Wood SPLINTERS and --
INT. WHEELERS HOUSE - BASEMENT - NIGHT
WILL SITS BOLT UPRIGHT. GOOSEBUMPS RISE ON THE BACK OF HIS NECK. HE’S SUDDENLY FREEZING COLD. HE KNOWS.
Mike unburies himself from his quilt. He tugs off his headphones. His FLAHSLIGHT illuminates the room.
Mike stares at Will. Wide-eyed.
MIKE
Will?! What happened? What’s wrong?
Will’s heart is racing. His breathing is quick. The frozen feeling of fear is crushing him.
Tears spring to his eyes. His voice shakes.
WILL
He’s back.
(beat)
Something’s coming.
Mike’s eyes widen, just as --
CR-CRACK! A LOUD SOUND ECHOES THROUGH THE BASEMENT. We PUSH IN on Mike and Will as they whip their heads toward the sound.
IN THE SAME PLACE ELEVEN’S TENT USED TO BE, THE WALL BEGINS TO CRACK OPEN. A RED RIFT BEGINS TO SPREAD TO BOTH THE FLOOR AND THE CEILING. A ROAR ECHOES FROM THE OTHER SIDE. WE SEE SOMETHING MOVE JUST BEYOND THE GATE. THEN --
TWO CLAWED HANDS BURSTS FROM THE OPENING. IT DIGS INTO THE WALLS, PULLING ITSELF THROUGH. A DEMOGORGONS HEAD SLOWLY SLIDES THROUGH.
Mike and Will remain frozen in place. Staring as --
THE DEMOGORGON FACE OPENS UP. IT ROARS, and --
CUT TO BLACK
END EPISODE