STRANGER THINGS

EPISODE #102

"CHAPTER TWO: THE WEIRDO ON MAPLE STREET"

by

The Duffer Brothers

 ii.

Note:

When the text is in RED, it indicates that it is a past timeline.

 FADE IN:

EXT. MAPLE STREET - WHEELER HOME - NIGHT

THUNDER crashes. It’s pouring RAIN.

INT. WHEELER BASEMENT - SAME TIME

MIKE, LUCAS, DUSTIN are standing opposite EL, who is sitting

on the couch - out of breath. Frightened.

MIKE
Is there a number we can call? For
your parents?

DUSTIN
Where’s your hair? Do you have
cancer?

LUCAS
Did you run away?

MIKE
Are you in some kind of trouble?

LUCAS
Is that blood?

Lucas reaches for El, but Mike SLAPS his hand away.

MIKE
Stop it! You’re freaking her out!

LUCAS
She’s freaking me out!

DUSTIN
I bet she’s deaf.

Dustin CLAPS HIS HANDS in a surprise move. El FLINCHES.

DUSTIN (CONT'D)
Not deaf.

MIKE
All right, that’s enough, all
right? She’s just scared and cold.

Mike goes to the LAUNDRY ROOM. THUNDER makes El a little

jumpy.

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 2.

Moments later Mike comes back with clean CLOTHES for El. BLUE
JOGGERS and a SWETSHIRT.

MIKE (CONT'D)
Here, these are clean. Okay?

El cautiously accepts the clothing. She removes her jacket,

stands, then begins to take off the only other thing she is
wearing: the YELLOW SHIRT she got from Benny.

Lucas and Dustin are horrified; covering their eyes and

looking away as if they’ve witnessed something gross.

DUSTIN LUCAS
Oh, my God. Oh, my God. No, no, no, no!
Mike stops El, just in time.

MIKE
See over there?
(stammers)
That’s the bathroom. Privacy. Get
it?

Yes, but she says nothing. Still looking rather confused

about the whole situation. El gathers the clothes and heads
to the bathroom nearby.

BATHROOM

El walks in; looking around. Strange looking room. Mike

begins to close the door, but El stops him.

MIKE (CONT'D)
You don’t want it closed?

EL
No.

MIKE
Oh, so you can speak. Okay, well
... um, how about we just keep the
door ...
(closes until there is a
four-inch gap)
... just like this. Is that better?

EL
Yes.

Pleased with himself, Mike walks away.

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INT. WHEELER BATHROOM - BASEMENT - SAME TIME

El’s never seen anything like this before. Privacy. Her own
bathroom with no one watching.

INT. WHEELER BASEMENT - SAME TIME

At the bottom of the stairs, Mike, Lucas and Dustin.

DUSTIN
This is mental.

MIKE
At least she can talk.

LUCAS
(skeptical)
She said No and Yes. Your three-
year-old sister says more.

DUSTIN
She tried to get naked.

LUCAS
There’s something seriously wrong
with her. Like, wrong in the head.

DUSTIN
(still focused on the
naked thing)
She just went like --
(pantomime removing shirt)

LUCAS
I bet she escaped from Pennhurst.

MIKE
From where?

LUCAS
The nuthouse in Kerley County.

DUSTIN
You got a lot of family there?

LUCAS
Bite me.
(then to Mike)
Seriously though, think about it.
That would explain her shaved hair
and why she’s so crazy.

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DUSTIN
Why she went like --
(pantomime removing shirt)

LUCAS
She’s an escapee is the point.
She’s probably a psycho.

DUSTIN
Like Michael Myers.

LUCAS
Exactly!

Mike rolls his eyes.

LUCAS (CONT'D)
We should’ve never brought her
here.

MIKE
So you just wanted to leave her out
in that storm?

LUCAS
Yes! We went out to find Will, not
another problem.

DUSTIN
I think we should tell your mom.

LUCAS
I second that.

MIKE
Who’s crazy now?

LUCAS
How is that crazy?

MIKE
‘Cause, we weren’t supposed to be
out tonight, remember?

LUCAS
So.

MIKE
So, if I tell my mom, and she tells
your mom ...
(to Dustin)
... and your mom.

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DUSTIN
Oh man!

LUCAS
(resigned)
Our houses become Alcatraz.

MIKE
Exactly. We’ll never find Will.

BEAT

Then Dustin pantomimes removing shirt.

MIKE (CONT'D)
All right, so here’s the plan. She
sleeps here tonight.

DUSTIN MIKE (CONT'D)

You’re letting a girl -- Just listen!
MIKE (CONT'D)
In the morning, she sneaks around
my house, goes to the front door
and rings my doorbell. My mom will
answer and know exactly what to do.
She’ll send her back to Pennhurst,
or wherever she comes from, we’ll
be totally in the clear. And
tomorrow night, we go back out. And
this time, we find Will.

Dustin and Lucas seem hesitant, but it sounds like an idea.

CUT TO:

INT. WHEELER BASEMENT - LATER

FORT
The Boys have set up a MAKE-SHIFT FORT for El under the
TABLE. Sheets COVER THE TABLE, and DOUBLE AS WALLS AND DOORS
FOR THE FORT. Mike gives El some BLANKETS and PILLOWS.

STAIRS

Dustin and Lucas are standing on the stairs, HALFWAY UP.

DUSTIN
(quietly, to Lucas)
You really think she’s psycho?

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LUCAS
Wouldn’t want her in my house.

Lucas walks up the stairs. Dustin takes a final look at Mike

making El comfortable --

DUSTIN
Mental.

-- before following Lucas up the stairs.

FORT

MIKE
Hey, um, I never asked your name.

El pauses a moment, before lifting her sleeve. Tattooed on

her INSIDE LEFT FOREARM, INCHES ABOVE HER WRIST: 011.

MIKE (CONT'D)
Is that real?
(reaches to touch the
tattoo)

El pulls away, startled.

MIKE (CONT'D)
Sorry, I’ve just never seen a kid
with a tattoo before. What’s it
mean? Eleven?

Without speaking, El TAPS HER CHEST TWICE.

MIKE (CONT'D)
That’s your name?

EL NODS.

MIKE (CONT'D)
Eleven. Okay. Um, well, my name’s
Mike. Short for Michael.
(beat)
Maybe we can call you El. Short for
Eleven.

El seems to like the idea.

MIKE (CONT'D)
Um, well, okay. Night, El.

Mike stands.

EL
Night, Mike.

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 7.

Mike gives a SHY SMILE, before covering the fort’s entrance

with the sheet.

STAIRS

Mike walks to the bottom of the stairs; pausing a moment -

looking back at the fort. Then, he TURNS OFF THE LIGHT, and
walks upstairs.

FORT

El rests her head on her pillow. Her lower lip TREMBLES.

THUNDER crashes; LIGHTNING flashes.

CUT TO:

OPENING CREDITS

EFFECTS IN:

CHAPTER TWO

THE WEIRDO ON MAPLE STREET

EXT. BYERS’ HOME - DAY

At the end of the driveway, A UTILITY WORKER (male, 50s) is

using a BUCKET-TRUCK to inspect a nearby TELEPHONE POLE. TWO
VEHICLES are parked close to the house: JONATHAN’S and
JOYCE’S.

INT. BYERS' HOME - KITCHEN - DAY

JOYCE is sitting at the table, CHAIN SMOKING in between bouts

of CRYING. She hasn’t slept all night. JONATHAN is preparing
breakfast.

JONATHAN
All right, mom, breakfast is ready.

JOYCE
No, no, be careful of the posters.

Joyce moves the POSTERS out of the way, and Jonathan sets A
PLATE OF FOOD down on the table in front of her. He remains
standing.

JONATHAN
Yeah, okay. All right.

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JOYCE
I can’t eat.

JONATHAN
I just need you to eat, mom.

JOYCE JONATHAN (CONT'D)

Listen, listen, the Xerox Yeah.
place opens in, like, thirty
minutes.

JOYCE (CONT'D) JONATHAN (CONT'D)

And I don’t want you to go No, I know. I told you, I got
alone. it.
JOYCE (CONT'D)
So, I’m gonna have Karen take you,
‘cause I should be here.

JONATHAN
Okay.

JOYCE
We need to make, what, two-hundred,
three-hundred copies?

JOYCE (CONT'D) JONATHAN

How much is a copy, ten Okay. Mom, mom...
cents? If we ... ten cents
...
They talk over each other, until:

JONATHAN (CONT'D)
Mom...mom. You can’t get like this,
okay?

JOYCE
I’m sorry. I’m sorry.

JONATHAN
No, it’s okay.

There's a KNOCK on the front door. Joyce takes a drag from

her CIGARETTE, butts it out, then stands from the table.

INT. BYERS' HOME - FRONT DOOR - MOMENTS LATER

Joyce opens the door. It’s HOPPER.

JOYCE
We’ve been waiting six hours.

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Hopper steps in and closes the door behind him.

HOPPER
(remorseful)
Yeah, I know. I came as soon as I
could.

JOYCE
Six hours!

HOPPER
A little bit of trust here, all
right? We’ve been searching all
night. We went all the way to
Cartersville.

JOYCE
And?

HOPPER
Nothing.

JOYCE
God.
(begins to break down)

BEAT

HOPPER
Flo says you gotta phone call?

JOYCE
Oh, yeah.
(motions to the phone on
the wall)

LIVING ROOM (WALL PHONE)

Hopper takes the lead and begins investigating the phone.

HOPPER
Storm barbecued this pretty good.

JOYCE
The storm?

HOPPER
What else?

Joyce is standing beside Jonathan nearby.

JOYCE
You’re saying that that’s not
weird?

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HOPPER
No, it’s weird.
(hangs up the phone)

JONATHAN
Can we, like, trace who made the
call? Contact the --

HOPPER
No, it doesn’t work like that.

Hopper leans against the wall.

HOPPER (CONT'D)
Now, uh, you’re sure it was Will?
Because Flo said you just heard
some breathing.

JOYCE
No! It was him. It was Will.
(she begins to cry)
And he was scared. And then
something --

HOPPER
It was probably just a prank call.
It was someone trying to scare you.

JONATHAN
Who would do that?

HOPPER
Well, this thing’s been on TV. It
brings out all the crazies, you
know. False leads, prank calls, uh -
-

JOYCE
No. Hopper, it was not a prank. It
was him.
HOPPER
Joyce.

JOYCE
Come on, how about a little trust
here? What, you think I’m ... I’m
making this up?

HOPPER
I’m not saying that you’re making
it up. All I’m saying is it’s an
emotional time for you.

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JOYCE
And you think I don’t know my own
son’s breathing?
(beat)
Wouldn’t you know your own
daughter’s?

Hopper says nothing. Joyce realizes what she just said.

Daughter. That’s a low blow. Hopper turns and walks to the
other side of the room.

HOPPER
You here from, uh, Lonnie yet?

JOYCE
No.

Hopper redirects his anger.

HOPPER
It’s been long enough. I’m having
him checked out.

Hopper storms out.

JOYCE
(sighs)
Oh, come on! You’re wasting your
time!

EXT. BYERS' HOME - DRIVEWAY - MOMENTS LATER

Hopper gets to his TRUCK. He stops before getting inside. He

POPS TWO PILLS from a PILL BOTTLE, and swallows them.
Jonathan is not too far behind.

JONATHAN
Hey, Hopper. Hopper.

Hopper turns to face Jonathan.

JONATHAN (CONT'D)
Hey, let me go.

HOPPER
I’m sorry?

Hopper takes out his CIGARETTES, preparing to light one up.

JONATHAN
To Lonnie’s. You know, if Will’s
there, it means he ran away.
(MORE)

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JONATHAN (CONT'D)
And if he sees the cops he’ll think
he’s in trouble. He’ll ... he’ll
hide. You know, he’s good at
hiding.

HOPPER
Yeah?
(approaches Jonathan, and
grasps his arms)
Well, cops are good at finding.
Okay? Stay here with your mom. She
needs you.

Hopper gets in his truck and drives away, leaving Jonathan

standing in the driveway.

INT. WHEELER HOME - KITCHEN - DAY

Mike is making EGGOS. THREE pop up from the TOASTER. Mike

puts one in his JACKET POCKET, and places the other two on a
plate.

INT. WHEELER HOME - DINING ROOM - MOMENTS LATER

Sitting around the table: NANCY, Mike, HOLLY, KAREN and TED.
Family breakfast. Mike is rushing, barely taking the time to
chew his food. Nancy looks on in disgust. Karen is slightly
amused and curious.

NANCY
Slow down, Mike. That’s disgusting.

MIKE
(sarcastic)
You do a lot of studying last
night?

NANCY
(almost a loss for words)
Yeah, actually, I did.

MIKE
What was your test on, again? Human
anatomy?

Nancy kicks Mike’s chair, and shoots him a look. Mike kicks
back.

KAREN
Hey, what’s going on?

Nancy and Mike, in unison, look at Karen.

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MIKE NANCY
Nothing. Nothing.

INT. WHEELER BASEMENT - LATER

El, still in the fort, is FLICKING THE SWITCHES ON A RADIO

SHACK WALKIE TALKIE. We can HEAR FOOTSTEPS APPROACH. The
sheet opens.

MIKE
(sitting down opposite El)
Hey, you found my supercomm. Pretty
cool, huh? I talk to my friends
with it. Mostly Lucas ‘cause he
lives so close. Signal’s pretty
weak.
(chuckles)

No response from El. Mike reaches into his pocket and pulls
out the Eggo.

MIKE (CONT'D)
Got you breakfast.

El accepts the Eggo and takes a bite.

MIKE (CONT'D)
So, listen, this is gonna sound a
little weird, I just need you to go
out there ...
(pointing to the window)
Then go to the front door and ring
the doorbell. My mom will answer
and you’ll tell her that you’re
lost and that you need help. But
whatever you do, you can’t tell her
about last night or that you know
me. Understand?

No response.
MIKE (CONT'D)
Really, it’s no big deal. We’ll
just pretend to meet each other
again. And my mom, she’ll know who
to call.

El stops chewing.

EL
No.

Mike wasn’t expecting that.

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MIKE
No?

EL
No.

El continues eating her Eggo.

MIKE
(trying to understand)
No ... you don’t want my mom to get
help?

El slightly shakes her head.

MIKE (CONT'D)
You’re in trouble, aren’t you?

El looks away momentarily. Her eyes are filling with tears.

MIKE (CONT'D)
Who -- who are you in trouble with?

EL
(softly)
Bad.

MIKE
Bad?
(beat)
Bad people?

Locking eyes with Mike, El nods before looking away again.

MIKE (CONT'D)
They want to hurt you? The bad
people?

El pantomimes a GUN TO HER HEAD. Then she POINTS THE GUN at

Mike.
EL
Understand?

Mike stares.

KAREN (O.S.)
Michael, where are you? We’re going
to be late. Let’s go!

MIKE
(to El)
All right, I’ll be back. Just stay
here, okay? Stay here.

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 15.

Mike stands and pulls the sheet back down, covering the
entrance to the fort.

INT. HAWKINS LAB - HALLWAY - DAY

DR. MARTIN BRENNER (50s), head of Hawkins Lab, hurriedly

rounds a corner putting on his suit jacket. He’s followed
closely by TWO STAFFERS; LEAD AGENT (male, 30s), and AGENT
CONNIE FRAZIER (female, 30s).

BRENNER
When was this?

FRAZIER
Last night. Less than two miles
away.

BRENNER
And the boy?
(checks his watch)

LEAD AGENT
Still missing.

INT. HAWKINS LAB - COMM ROOM - MINUTES LATER

HI-TECH COMMUNICATIONS EQIPMENT, mostly used for espionage,

fills the room. Brenner, using HEADPHONES, is listening to a
recent conversation secretly recorded last night. The Lead
Agent and Frazier are next to Brenner.

JOYCE (O.S.)
It was my son. I know it. And ...
and I heard something else.

FLO (O.S.)
Something else?

JOYCE (O.S.)
(stammering)
I don’t know, it was like, uh, some
kind of animal. I don’t know. Just
please tell Hop to hurry.

EXT. FORESTED AREA - DAY

A SEARCH PARTY (various ages, male, female) combs the forest

looking for clus. OFFICER POWELL and OFFICER CALLAHAN are
amongst the party. POLICE K-9 units are also involved with
the search.

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CALLAHAN
Will!

POWELL
Will Byers!

Hopper arrives on scene.

HOPPER
Hey! Anything?

Callahan shakes his head.

CALLAHAN
You?

HOPPER
No. Nothing but a dead phone.

CALLAHAN
Joyce?

HOPPER
About on step from falling off the
edge.

POWELL
She’s been a few steps for a while
now, hasn’t she?

HOPPER
Kid’s missing, man. Show a little
class.

Hopper walks away.

HOPPER (CONT'D)
(to the volunteers)
All right, come on let’s go! We
gotta lot a ground to cover.
CALLAHAN
(to Powell)
The chief and her, they’ve screwed
before, huh?

Powell gives a sly smile and joins the search party.

POWELL
Will!

CALLAHAN
Is that a yeah, or ... did they ...

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EXT. HAWKINS HIGH SCHOOL - DAY

SEVERAL DOZEN STUDENTS (various high school ages) are

arriving to start the school day.

INT. HAWKINS HIGH - HALLWAY - ON GOING

BARBARA HOLLAND (17) is walking with Nancy, quizzing her for

an upcoming test. Barb is reading from prepared CUE-CARDS.

BARB
When alpha particles go through
gold foil, they become ...?

NANCY
Unoccupied space.

Next CARD.

BARB
A molecule than can ...

HALLWAY INTERSECTION

STEVE HARRINGTON interrupts the pop-quiz, taking Barb’s cue-

cards.

NANCY
Hey!

With Steve are his friends, TOMMY H (17), and Tommy’s

GIRLFRIEND, CAROL (17).

STEVE
I don’t know, I think you’ve
studied enough, Nance.

NANCY
Steve ...

STEVE
I’m telling you, you know, you got
this. Don’t worry. Now, on to more
important matters.
(puts the cue-card in his
back pocket)
My dad has left town on a
conference and my mom’s gone with
him, ‘cause, you know, she doesn’t
trust him.

TOMMY H
Good call.

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STEVE
So are you in?

NANCY
(genuinely confused)
In for what?

CAROL
No parents? Big house?

NANCY
A party?

CAROL
Ding, ding, ding, ding!

NANCY
It’s Tuesday.

TOMMY H
(mocking, condescending)
It’s Tuesday! Oh my God --
(chuckling)

STEVE
Come on. It’ll be low key. It’ll be
just us. What do you? Are you in or
are you out?

Nancy is considering it. But before she can say anything:

CAROL
Oh, God. Look.

She, Tommy, Steve, Nancy and Barb all turn to see what Carol
is pointing out.

STEVE
(indifferent)
Oh, God. That’s depressing.

Jonathan is pinning POSTERS to the bulletin board.

NANCY
Should we say something?

CAROL
I don’t think he speaks.

TOMMY H
How much you wanna bet he killed
him?

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STEVE
Shut up.

Nancy decides to say something. She walks over to Jonathan.

BULLETIN BOARD NEARBY

Jonathan uses available PUSH PINS to finish attaching the

poster to the board.

Nancy cautiously approaches.

NANCY
Hey.

JONATHAN
Oh, hey.

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NANCY
I just ... I wanted to say, you
know, um ... I’m sorry about
everything.

Carol, Tommy, Steve and Barb are watching. They’re standing

about 20-feet away. Save for Barb, they all look bored and
uninterested. Jonathan looks over at the group with doubt of
their sincerity.

NANCY (CONT'D)
Everyone’s thinking about you.

Jonathan says nothing.

NANCY (CONT'D)
It sucks.

JONATHAN
(no kidding)
Yeah.

There’s an awkward silence. Then:

NANCY
I’m sure he’s fine. He’s a smart
kid.

SCHOOL BELL RINGS

NANCY (CONT'D)
I have to go.
(chuckles)
Chemistry test.

JONATHAN
Yeah.

NANCY
(backing away)
Good luck.
JONATHAN
Thanks.

Nancy joins her friends. Jonathan continues at the bulletin

board, ensuring the poster is secured properly. Just then,
the school’s PA SYSTEM ENGAGES.

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PRINCIPAL (O.S.)
Attention, faculty and students. At
eight PM tonight, there will be an
assembly on the football field in
support of Will Byers and his
family.

Jonathan doesn’t stick around to hear it. He quickly leaves

the school.

PRINCIPAL (O.S.) (CONT'D)

All are encouraged to attend.
Volunteer sign-ups for search
parties are still available in the
office.

INT. HAWKINS MIDDLE SCHOOL - MR. CLARKE’S CLASS - DAY

Lucas and Dustin take their seat at the front of the class.
MR. CLARKE is going from desk to desk handing out today’s
ASSIGNMENT. STUDENTS (male, female, 12 to 13) are taking
their seats. Mike, though, is not there.

DUSTIN
Oh, this is weird. He’s never this
late.

LUCAS
I’m telling you, his stupid plan
failed.

DUSTIN
I though you liked his plan?

LUCAS
Yeah, but obviously it was stupid,
or he’d be here.

DUSTIN
If his mom found out a girl spent
the night --

LUCAS
He’s in deep shit right about now.

DUSTIN
(lowers his voice)
Hey! What if she slept naked?

LUCAS
(rolls eyes)
Oh, my God, she didn’t.

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DUSTIN
(oh crap!)
Oh, if Mrs. Wheeler tells my
parents ...

LUCAS
No way. Mike would never rat us
out.

DUSTIN
(not convinced)
I don’t know ...

LUCAS
All that matters is, after school,
the freak will be back in the loony
bin, and we can focus on what
really matters, finding Will.

EXT. WHEELER HOME - DRIVEWAY - DAY

MRS. WHEELER and HOLLY are in the WHEELER WAGON just driving
away. As the WAGON LEAVES FRAME, MIKE RIDING HIS BIKE ENTERS
FRAME.

INT. WHEELER HOME - LATER

HALLWAY

Mike and El come up from the basement. They’re walking to the

kitchen.

MIKE
You want anything to drink? We have
OJ, skim milk. What else?

LIVING ROOM

El stops at the living room; adjacent to the kitchen. The

first thing she sees is the TELEVISION. Mike joins her
standing at the TV.

MIKE (CONT'D)
Oh, this is my living room. It’s
mostly just for watching TV. Nice
right?
(really excited when
talking nerd)
It’s a twenty-two inch. That’s like
ten-times bigger than Dustin’s.

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Not so interested, El walks away and continues checking out

the rest of the living room. On the FIREPLACE MANTEL ARE
FAMILY PHOTOS.

FIREPLACE

El walks up the mantel to take a closer look. PHOTOS, various

sizes, FRAMED.

- Mike and Nancy’s school picture.

- Professionally taken photo of Holly; 6 months old.

- Family photo.

- Another of Holly; 1 year old.

EL
(smiling at Nancy’s
picture)
Pretty.

MIKE
(eww, gross)
I guess. That’s my sister, Nancy.

El continues to take a closer look at all the photos.

MIKE (CONT'D)
And that’s baby Holly. And those
are my parents. What are your
parents like?

No answer.

MIKE (CONT'D)
Do they live close?

El walks to the LA-Z-BOY.

LA-Z-BOY (NEAR THE FIREPLACE)

El takes a closer look. Feeling the fabric.

MIKE (CONT'D)
That’s our La-Z-Boy.
(chuckles)
That’s where my dad sleeps.

BEAT

MIKE (CONT'D)
You can try it if you want.

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El looks for encouragement as she slowly steps around to the

front of the chair.

MIKE (CONT'D)
Yeah.

She slowly sits down in the big comfy chair. Mike kneels
beside her.

MIKE (CONT'D)
It’s fun!

Mike reaches for the ARM on the side.

MIKE (CONT'D)
Just trust me, okay?
Cautiously, El nods, giving Mike the okay to...

FWHAP!

Mike pulls back the arm, and the La-Z-Boy engages it’s super-
comfortable position - FLAT. The SEAT BACK is on a 20-degree
angle, and the FOOT REST IS OUT. Mike CHUCKLES and El LAUGHS
NERVOUSLY.

MIKE (CONT'D)
See? Fun, right?

Mike sets the chair back to the SITTING position.

MIKE (CONT'D)
Now you try.

El reaches for the arm, and:

FWHAP!

The La-Z-Boy opens and rocks back and forth to the fully
extended position. The two kids share a laugh.

EXT. COUNTRY ROAD - DAY

Jonathan, driving his 1971 FORD GALAXIE 500.

INT. JONATHAN’S CAR - SAME TIME

Listening to HARD ROCK MUSIC. Jonathan is staring blankly at

the road ahead.

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The music changes to: ”SHOULD I STAY OR SHOULD I GO” by THE

CLASH. Jonathan’s attention is immediately drawn to the
RADIO. Memories come flooding back.

CUT TO:

INT. BYERS' HOME - JONATHAN’S ROOM - SOME TIME AGO

“SHOULD I STAY OR SHOULD I GO” continues to play. WILL and

Jonathan are listening to a CASSETTE TAPE of THE CLASH on
Jonathan’s STEREO. They’re sitting on the edge of the BED and
bopping their heads to the beat.

JONATHAN
Do you like it?

WILL
Yeah, it’s cool.

JONATHAN
All right, you can keep the mix if
you want.

WILL
Really?

JONATHAN
Yeah, really. All the best stuff’s
on there. Joy Division, Bowie,
Television, The Smiths. It’ll
totally change your life.

WILL
Yeah. Totally.

The MUSIC CONTINUES but the fun stops the moment Jonathan and
Will OVERHEAR Joyce in the other room on the telephone.

JOYCE (O.S.)
Where the hell are you, Lonnie?
(beat)
I don’t wanna hear it, I don’t
wanna hear it.

Will’s happiness quickly turns to concern.

JOYCE (O.S.) (CONT'D)

This is ridiculous! I’m so sick of
your excuses!

Jonathan goes over to the door and shuts it before returning

to Will’s side. Jonathan TURNS DOWN THE VOLUME on the stereo.

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WILL
He’s not coming, is he?

JONATHAN
Do you even like baseball?

WILL
No, but ... I don’t know. It’s fun
to go with him sometimes.

JONATHAN
Come on. Has he ever done anything
with you that you actually like?
You know, like the arcade or
something?

WILL
I don’t know.

Will’s too nice of a boy; too sensitive and kind to say

anything negative or bad about anyone.

JONATHAN
No, all right. He hasn’t. He’s
trying to force you to like normal
things. And you shouldn't like
things because people tell you
you’re supposed to. Okay?
Especially not him.

Will nods. Jonathan changes the atmosphere by going back to

talking music.

JONATHAN (CONT'D)
But you like The Clash? For real?

Will’s bright smile returns.

WILL
For real! Definitely.
Jonathan CRANKS THE VOLUME.

CUT TO:

EXT. COUNTRY ROAD - PRESENT DAY - DAY

We SEE JONATHAN’S CAR DRIVE PAST A SIGN: LEAVING HAWKINS.

COME AGAIN SOON.

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EXT. DOWNTOWN HAWKINS - DAY

A BELL TOLLS. We SEE JOYCE DRVING HER 1976 FORD PINTO. She
pulls into an empty parking space in front of MELVALD’S
GENERAL STORE. Her workplace.

INT. MELVALD’S GENERAL STORE - MOMENTS LATER

The store is BUSY WITH CHRISTMAS SHOPPERS. Joyce come in,

she’s rushing. DONALD MELVALD (60s), her boss, follows
closely behind.

AN AISLE BY THE FRONT DOOR

MR. MELVALD
Joyce? I wasn’t expecting you
today. I brought Jeffrey in to
cover.

JOYCE
(stammering)
I -- I’m not here to work. The --
the storm last night ...

She’s so pre-occupied, she doesn’t know where to look. She

stops and faces Mr. Melvald.

JOYCE (CONT'D)
I need a new phone.

INT. MELVALD'S GENERAL STORE - FRONT CASH - MOMENTS LATER

Mr. Melvald rings in Joyce’s purchase. He on one side of the

counter, Joyce on the other - like a real customer.

MR. MELVALD
Okay, that looks like twenty-two
dollars and fifty-six cents.
JOYCE
Uh, yeah, you know, uh ... I gave
Jonathan all my money for ... uh,
for the copies for the posters. Uh,
I need an advance.

Mr. Melvald is a softie.

MR. MELVALD
(empathetic)
Yes, of course.

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JOYCE
(softly)
Thank you.

Mr. Melvald takes out his CHECKBOOK and begins writing. Joyce
SHEEPISHLY takes a look.

JOYCE (CONT'D)
Uh, yeah, I was thinking, two
weeks?

Mr. Melvald and Joyce lock eyes for a moment. An awkward

moment.

MR. MELVALD
Yes, I understand, but, you know, I
have to pay Jeffrey for covering --

JOYCE
(with conviction)
Donald. I’ve been here ten years,
right? Have I ever called in sick,
or missed a shift once?

The guilt trip is working on Mr. Melvald. He hangs his head,

not wanting to make eye contact with Joyce.

JOYCE (CONT'D)
I’ve worked, uh, Christmas Eve and
Thanksgiving.
(voice breaking)
I don’t know where my boy is. I
don’t know if I’m gonna ever see
him again, if he’s hurt ...

Joyce composes herself before continuing.

JOYCE (CONT'D)
I, uh, need this phone, and two
weeks’ advance.
Mr. Melvald acquiesces, and writes a NEW PAYCHECK for Joyce.

JOYCE (CONT'D)
And a pack of Camels!

EXT. BYERS’ HOME - FRONT DOOR - DAY

A MAN (30s) dressed as a REPAIRMAN from HAWKINS POWER AND

LIGHT knocks on the front door. He’s carrying a CLIPBOARD.
There’s no answer at the door, so the Man looks through the
window. No movement. He raises a WALKIE TALKIE to his mouth:

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AGENT REPAIRMAN
We’re all clear.

AGENT #2 (O.S.)
Copy that.

CAMERA PANS to reveal a WHITE SERVICE VAN belonging to

HAWKINS POWER AND LIGHT parked in the driveway. The utility’s
logo on the side of the van, adding to its authenticity.

NEAR THE VAN

The SIDE DOOR SLIDES OPEN. AN AGENT (male, 30s) WEARING WHITE
BOOTS AND A WHITE CHEMSUIT hops out. We ONLY SEE THE AGENT’S
FEET AND LEGS. A SECOND AGENT (same specs.) hops out; then a
THIRD AGENT. They, too, are DRESSED IN WHITE BOOTS AND
CHEMSUITS.

AND THEN, a FOURTH MAN steps out of the van. CAMERA TILTS UP
TO REVEAL: Dr. Brenner. He, too, is dressed in WHITE BOOTS
AND CHEMSUIT. Brenner is carrying a BLACK EQUIPMENT CASE.

EXT. BYERS' HOME - BACK YARD - MOMENTS LATER

Three Agents are carefully walking through the yard;

following the SIGNAL FROM THEIR ELECTRONIC SCANNERS. An agent
moves closer to the SHED. He cautiously OPENS THE DOOR and
steps in.

INT. BYERS’ SHED - MOMENTS LATER

As the agent makes his way deeper into the shed, we can HEAR
THE SCANNER’S BEEPING BETTING LOUDER. He turns to his RIGHT.
The SIGNAL GETS EVEN LOUDER.

WALKING TOWARD THE CAMERA we SEE that the agent is actually

Dr. Brenner. And he’s found something -- it’s OOZING DOWN THE
WALL of the shed. Another agent stands behind Brenner.

BRENNER
Extraordinary.

INT. WHEELER HOME - MIKE’S ROOM - DAY

Mike and El are kneeled in front of a table FULL OF TOYS.

Mike slams downs a 2-INCH YODA FIGURINE.

MIKE
(Yoda’s voice)
Ready are you? What knows you of
ready?

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El, of course, is mildly amused and confused.

MIKE (CONT'D)
(normal voice)
His name’s Yoda. He can use the
Force to move things with his mind,
like this.
(pushes all the toys off
the table)

El stands and walks over to a nearby BOOKSHELF. Mike stays

behind at the table.

MIKE (CONT'D)
(picks up Rory)
Oh, this is my dinosaur, Rory.
Look, he has a speaker in his mouth
so he can roar.

AT THE BOOKSHELF

RORY ROARS. El isn’t interested. She’s more focused on the

bookshelf - and Mike’s TROPHIES. Mike puts Rory down and
joins El at the bookshelf.

MIKE (CONT'D)
Oh, these are all my science fair
trophies. We got first every year.
Except for last year, when we got
third.

CAMERA PANS to a TROPHIE: HAWKINS MIDDLE SCHOOL TEAM PROBLEM

SOLVING CHAMPIONS.

MIKE (CONT'D)
Mr. Clarke said it was totally
political.

CAMERA PANS to a PHOTOGRAPH taken at a SCIENCE FAIR: Mike,

Will, Lucas and Dustin HOLDING A LARGE FIRST PLACE TROPHY for
their project VOLCANIC ERUPTION.
El’s entire demeanor changes when she sees Will. Her lower
lip trembles. She stares through the picture. Mike senses
something is wrong. El POINTS TO WILL in the picture.

MIKE (CONT'D)
You know Will? Did you see him?
Last night? On the road?

Rapid-fire questions; not giving El a chance to answer. Not

that she could, anyway. Her GAZE still locked on the photo.

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The SOUND OF A VEHICLE PULLING IN THE DRIVEWAY draws their

attention away. Mike rushes over to the WINDOW.

AT THE WINDOW

Karen’s back. She’s pulling into the driveway in the WHEELER

WAGON.

MIKE (CONT'D)
We gotta go.

Mike grabs El by the wrist, and they quickly rush out of the
room.

INT. WHEELER HOME - LIVING ROOM - BOTTOM OF STAIRS - ON GOING

Mike and El rush down the stairs. Too late. Karen is already
coming through the front door carrying Holly in her right
arm, and a PAPER BAG OF GROCERIES in the other. Karen
skillfully closes the door behind her without dropping her
cargo.

KAREN
(to Holly)
I bought pizza and macaroni.

HOLLY
Okay.

KAREN
Okay.

Mike and El turn and run back up the stairs. Karen HEARS THE
STOMPING.

KAREN (CONT'D)
Ted? Is that you?

No one is supposed to be home; not even Ted.

TOP OF THE STAIRS

Still ‘dragging’ El by the wrist, and rushing back to his

room, Mike answers.

MIKE
Just me, mom.

KAREN (O.S.)
Mike? What are you doing home?

MIKE
One second!

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INT. WHEELER HOME - MIKE'S ROOM - ON GOING

He and El rush through the door. Mike quickly closes the door
behind him. El is expressionless, but clearly scared. Mike
opens the CLOSET door.

MIKE
In here. I’ll be right back, okay?

El doesn’t budge.

MIKE (CONT'D)
(pleading)
Please, you have to get in, or my
mom, she’ll find you. Do you
understand?
El stares blankly.

MIKE (CONT'D)
I won’t tell her about you. I
promise.

EL
(doesn’t know the word)
Promise?

MIKE
It means something that you can’t
break. Ever.

KAREN (O.S.)
Michael?

MIKE
Please.

Nervously looking to Mike, then to the closet space, El gives

in. She steps into the closet.

IN THE CLOSET
The door closes. It’s DARK. El’s breathing becomes RAPID and
SHALLOW. She takes a step back; looking around. She closes
her eyes.

CUT TO:

INT. HAWKINS LAB - BASEMENT HALLWAY - SOME TIME AGO

TWO ORDERLIES (male, 30s) are forcefully carrying El, one on

each arm, to an ISOLATION CELL. Punishment.

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El, wearing only a HOSPITAL GOWN, is struggling, but she is

no match for Brenner’s enforcers. Her feet aren’t even
touching the ground.

EL
Papa!

She cries out to Dr. Brenner. But on his very own order is
why she is going to lock up. From a distance, Brenner
supervises the incarceration, but neither says nor anything.

EL (CONT'D)
(screaming, sobbing)
Papa!

The Orderlies do their job without emotion.

EL (CONT'D)
No! Papa!

CELL CORRIDOR

The two Orderlies literally THROW El inside the ISOLATION

CELL.

INT. HAWKINS LAB - ISOLATION CELL - ON GOING

The cell is similar to that of a JAIL CELL. Except, this cell

is smaller. 6-SQUARE-FEET. NO WINDOWS, NO TOILET, NO BED. The
SOLID STEEL door doesn’t have a window. The WALLS ARE PAINTED
MUD BROWN.

El falls to the ground as she is tossed inside like a piece

of garbage. The door SLAMS. LOCKS. There is no handle on the
inside; no way to even try to unlock the door. El rushes to
the door, BANGING ON IT WITH AN OPEN PALM.

EL
Papa!
Two hands, BANGING.

EL (CONT'D)
(sobbing, screaming)
Papa!

It’s no use. El walks to the back of the small room and

cowers in the corner. Sobbing. It’s DARK.

CUT TO:

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INT. WHEELER HOME - LIVING ROOM - PRESENT DAY

Mike’s sitting on the couch along with Karen. Her arms are
crossed.

MIKE
I just ... I don’t feel good. I
woke up and my head, it really hurt
bad, and my throat was all
scratchy, and I wanted to tell you,
but the last time I told you I was
sick you made me go to school
anyway, and --

KAREN
Michael.

MIKE
Yeah?

KAREN
I’m not mad at you.

MIKE
(surprised)
No?

KAREN
No, of course not.
(sighs, sits closer to
Mike)
All this that’s been going on with
Will, I can’t imagine what it’s
been like for you.

BEAT

KAREN (CONT'D)
I just ... I want you to feel like
you can talk to me. I never want
you to feel like you have to hide
anything from me. I’m here for you.
Okay?

Mike nods.

THUD! It’s coming from upstairs.

KAREN (CONT'D)
(to Mike)
Is there someone else here?

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MIKE
(calm, oblivious)
No.

INT. WHEELER HOME - MIKE'S ROOM - MOMENTS LATER

Mike quickly opens the door, comes in, then closes the door
behind him and LOCKS IT.

MIKE
Eleven? Is everything okay.

He rushes over to the closet.

MIKE (CONT'D)
El?

He opens the door. El is cowering; crying.

EL
Mike.

MIKE
Is everything okay?

Clearly not. But she NODS anyway.

MIKE (CONT'D)
Are you sure?

El puts on a BRAVE FACE, and with a slight smile:

EL
Promise.

INT. BYERS' HOME - DINING ROOM - DAY

Joyce is at the dining room table opening the BOX WITH THE
NEW PHONE. It’s not a wall phone like the other one. It’s a
TABLE-TOP PHONE. BEIGE.

INT. LIVING ROOM - MOMENTS LATER

WALL (PHONE OUTLET)

Joyce plugs the PHONE CORD in. She checks to make sure it
works. DIAL TONE. She walks to the living room with the
phone, but the cord is too short. Not enough slack. She
reaches for the EASY CHAIR, PULLS IT CLOSER, SITS, then
skootches closer (while still sitting) toward the wall. The
phone is on her lap.

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Now, she waits.

EXT. SATTLER QUARRY - DAY

The search party is at SATTLER QUARRY. While Powell leads the

VOLUNTEERS, Hopper and Callahan are close to the edge of the
cliff talking. Callahan creeps closer to the edge and looks
down.

HOPPER
Whoa, whoa. I need you alive for
the next few days, at least.

We can HEAR VOLUNTEERS calling Will’s name.

CALLAHAN
Oh, hell. I can survive that.

Hopper gives a “yeah, whatever” laugh.

CALLAHAN (CONT'D)
What? George Burness made the jump.
And he was drunk as a skunk. He did
it on a ten-dollar bet.

HOPPER
George is a liar. You make that
jump from his height, that water
turns into cement.
(slaps hands together)
Hit’s you like a ton of bricks.
Break every damn bone in your body.

Callahan thinks about it for a moment.

CALLAHAN
Nah.

HOPPER’S WALKIE TALKIE COMES ALIVE.

FLO (O.S.)
Chief, you copy?

Hopper grabs his WALKIE from his UTILITY BELT.

HOPPER
Yeah, Flo, talk to me.

FLO (O.S.)
Hey, Chief, we got a call from over
at Benny’s. I think you need to get
there right away.

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EXT. BENNY’S BURGERS - DAY

Powell steps out if his SQUAD CAR and heads to the entrance
of Benny’s. The scene is BUSY with PARAMEDICS, FIREFIGHTERS
AND POLICE. Hopper arrives and steps out of his TRUCK. He,
Powell and Callahan head for the door.

INT. BENNY'S BURGERS - ON GOING

DINING AREA

Hopper ENTERS first. Followed by Callahan then Powell. They

immediately see BENNY’s body at a table. He is HUNCHED OVER;
head resting on the table, DRIED BLOOD coming from a BULLET
WOUND IN HIS RIGHT TEMPLE. Benny’s RIGHT HAND RESTS ON A
BLACK REVOLVER; HIS INDEX FINGER ON THE TRIGGER. FLIES are
buzzing around his corpse.

CALLAHAN
Ugh, Jesus!
(the smell)

Hopper walks around to the other side of the table, but keeps
his distance. He knows it’s his good friend, Benny. He stares
in disbelieve and anger.

POWELL
Suicide?

HOPPER
Mmm-hmm.

Hopper is skeptical, but murmurs just for the sake of it.

CALLAHAN
Missing kid, suicide ... You must
feel like a big city cop again,
huh, Chief?

HOPPER
(still staring at the
body)
Well, I mostly dealt with strangers
back then.
(beat)
Benny was my friend.

EXT. INDIANAPOLIS SUBURBAN STREET - DAY

A residential street in the suburbs of Indianapolis. We SEE

JONATHAN’S ‘71 FORD SLOWLY DRIVING TOWARD THE CAMERA.

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INT. JONATHAN'S CAR - ON GOING

Jonathan is looking for Lonnie’s place.

EXT. LONNIE’S HOME - MOMENTS LATER

Jonathan’s car comes to a stop. He steps out and makes his

way to the house.

PORCH

Jonathan takes a look through the WINDOW IN THE DOOR. We can

HEAR THE TELEVISION. We can SEE LIGHTS ARE ON in the living
room. Jonathan POUNDS on the door.

JONATHAN
Hello!?

INT. LONNIE'S HOME - SAME TIME

FRONT DOOR

Jonathan POUNDS ON THE DOOR a second time.

EXT. LONNIE'S HOME - PORCH - SAME TIME

THROUGH THE WINDOW WE CAN SEE CYNTHIA (early 20s), Lonnie’s

hot girlfriend, storm out of the kitchen. And she’s not too
pleased to have company. She opens the door.

CYNTHIA
(rudely)
Can I help you.

JONATHAN
Yeah, is Lonnie around?

CYNTHIA
Yeah, he’s out back, what do you
want?

JONATHAN
(walks in, past Cynthia)
To look around.

INT. LONNIE'S HOME - LIVING ROOM

Jonathan brushes past Cynthia, and continues through the

living room.

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CYNTHIA
Hey! What do you think you’re
doing?

JONATHAN
I’ll be fast.

Jonathan heads down the hallway to the bedrooms.

JONATHAN (CONT'D)
Hey, Will?

HALLWAY

He goes from ROOM TO ROOM.

JONATHAN (CONT'D)
Hey, Will? Will, you here?

He gets to a locked door.

JONATHAN (CONT'D)
(bangs on the door)
Will?

Jonathan checks a different room. The door is open.

INT. LONNIE'S HOME - SPARE BEDROOM

Standing at the door, Jonathan visually scans the room. The

BED ISN’T MADE. Someone has recently slept there. Jonathan
turns and walks away.

INT. LONNIE'S HOME - HALLWAY

Jonathan walks down the hallway back toward the living room.
JUST THEN, LONNIE BYERS (40s) SHOVES JONATHAN INTO THE WALL.
Jonathan easily PUSHES LONNIE off.
JONATHAN
Get off!

They’re facing each other; three-feet apart.

LONNIE
Damn! You’ve gotten stronger.

Standing nearby, closer to the kitchen, is Cynthia.

CYNTHIA
Would someone please explain what
the hell is going on?

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LONNIE
Jonathan, Cynthia. Cynthia, this is
Jonathan. My oldest.

Cynthia’s look softens.

LONNIE (CONT'D)
Come here.
(Lonnie hugs Jonathan)

JONATHAN
Get off me, man!

EXT. WHEELER HOME - DRIVEWAY - DAY

Lucas and Dustin, on their bicycle, roll up to Mike’s place.
They drive by -- without even seeing -- A MAN (30s) WEARING A
HAWKINS POWER AND LIGHT UNIFORM LOOKING INSIDE THE WHEELER’S
MAILBOX at the end of the driveway.

INT. WHEELER HOME - MIKE'S ROOM - ON GOING

Lucas and Dustin shut the door behind them. They stare at El,
who is sitting, CROSS-LEGGED, on Mike’s bed.

LUCAS
(to Mike)
Are you out of your mind?

MIKE
Just listen to me.

LUCAS
You are out of your mind!

MIKE
She knows about Will.

DUSTIN
What do you mean she knows about
Will?

Mike walks to the bookshelf and picks up the SCIENCE FAIR

PHOTO.

MIKE
(holding up the picture)
She pointed at him, at this
picture. She knew he was missing. I
could tell.

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LUCAS
You could tell?

MIKE
Just think about it. Do you really
think it was a coincidence that we
found her on Mirkwood, the same
place where Will disappeared?

DUSTIN
(to Lucas)
That is weird.

MIKE
And she said bad people are after
her. I think maybe these bad people
are the same ones that took Will. I
think she knows what happened to
him.

Lucas is still skeptical.

LUCAS
Then why doesn’t she tell us?

Frustrated, Lucas confronts El.

LUCAS (CONT'D)
(to El)
Do you know where he is?

Lucas grabs El by the shoulders; they’re only inches apart.

LUCAS (CONT'D)
DO YOU KNOW WHERE WILL IS?

MIKE
Stop it, you’re scaring her!

LUCAS
She should be scared!
(to El)
If you know where he is, tell us!

El is starting to cry. Lucas walks to Mike

LUCAS (CONT'D)
This is nuts! We have to take her
to your mom.

MIKE
No! Eleven said telling any adult
would put us in danger.

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DUSTIN
What kind of danger?

LUCAS
(mocking)
Her name is Eleven?

MIKE
El for short.

DUSTIN
(raising voice)
Mike, what kind of danger?

MIKE
DANGER danger.

Mike points a FINGER PISTOL between Dustin’s eyes. Then does

the same to Lucas. Lucas BATS MIKE’S HAND AWAY.

LUCAS
No, no, no! We’re going back to
Plan A. We’re telling your mom.

Lucas rushes for the door.

IT SLAMS SHUT.

Lucas opens it --

IT SLAMS SHUT. THE LOCK ENGAGES.

The boys turn, in unison, and look at El.

She’s standing. BLOOD drips from her LEFT NOSTRIL.

EL
(serious, with conviction)
No.

EXT. LONNIE'S HOME - BACKYARD - ON GOING

Lonnie is showing off his OLDS 442 MUSCLE CAR to Jonathan.

It’s parked on the grass.

LONNIE
Take a look at this beaut.
Should’ve seen it when I got it.
Took me a year, but it’s almost
done.

Jonathan’s more interested in what’s in the trunk. He checks.

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LONNIE (CONT'D)
Really? You wanna check up my ass,
too?

Jonathan closes the trunk.

LONNIE (CONT'D)
I told you the same thing as I told
those cops, he’s not here and he
never has been.

Jonathan approaches Lonnie.

JONATHAN
Then why didn’t you call mom back?
LONNIE
(indifferent)
I don’t know, I just ... I assumed
she just forgot where he was. You
know, he was lost or something.
(beat)
That boy was never very good at
taking care of himself.

JONATHAN
This isn’t some joke, all right?
There are search parties, reporters
...

LONNIE
Hopper’s not still Chief, is he?

Jonathan says nothing. Lonnie shakes his head in disgust.

LONNIE (CONT'D)
Tell your mother she’s gotta get
you out of that hellhole. Come out
here to the city. People are more
real here, you know?
(beat)
Then I can see you more.

Yeah right. Jonathan shakes his head.

LONNIE (CONT'D)
What, you think I don’t want to see
you?

JONATHAN
I know you don’t.

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LONNIE
See, that’s your mother talkin’
right there. She even know you’re
here?

No response.

LONNIE (CONT'D)
Oh great. So one kid goes missing
and the other one runs wild? Some
real fine parenting right there.
(beat)
Look, all I’m saying is, maybe I’m
not the asshole, all right.

Jonathan takes a POSTER out from his SATCHEL and presses it

to Lonnie’s chest.

JONATHAN
(walking away)
In case you forgot what he looks
like.

Lonnie looks at the poster. IT’S FOLDED, THE PHOTOS OF WILL

ARE FACING UP. Cynthia walks up behind Lonnie. She puts her
arms around him.

CYNTHIA
(referring to Jonathan)
He’s kinda cute, huh? Maybe I’ll
trade you in for the younger model.

INT. HAWKINS POLICE - OFFICER’S DESK - DAY

Hopper and Callahan are chatting with EARL (50s). Callahan is

sitting, casually-like, on the edge of a nearby DESK. Hopper
is sitting in a CHAIR opposite Earl, who is sitting on a
PADDED BENCH ALONG THE WALL. Earl struggles to LIGHT A
CIGARETTE.
EARL
Just doesn’t make and sense, Chief.

Hopper USES HIS OWN LIGHTER to light Earl’s smoke.

HOPPER
You, uh, notice anything odd about
him in the last few weeks?

EARL
No, we were fixin’ to go fishing
down the Etowah next Sunday.
(MORE)

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EARL (CONT'D)
I mean, he was looking forward to
it. I know that.

HOPPER
He got any enemies you might know
about? I mean people who might not
want him around?

EARL
(sighs)
The exes didn’t like him much.
That’s for sure, but ... nah.

HOPPER
When was the last time you saw him?

EARL
Yesterday. Lunch, same as always.

HOPPER
Just you and the boys?

EARL
Yep. Me and Henry and ...
(sighs)
Well, there’s this kid -- no kid
did this.

HOPPER
Kid?
(beat)
What are you talking about?

EARL
Yeah, at lunch. There was this boy
that, uh ... I mean he was trying
to steal food out of Benny’s
kitchen. Can you imagine that?

Hopper looks to Callahan. Callahan stands from the desk and

WALKS OVER TO HIS OWN DESK.

HOPPER
This kid? What’d he look like?

Still sitting on the bench, Earl raises his arm about eye-
level.

EARL
Well, he’s about yea high. You
know, tiny like.
(lowers arm, faces Hopper)
I didn’t get a good look at him,
though. He was back in the kitchen.

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Callahan returns with a MISSING PERSON POSTER OF WILL BYERS.

CALLAHAN
(showing Earl the poster)
Did he look like this?

EARL
(accepting the poster)
No, no. That’s Lonnie’s missin’
kid.
(returns the poster)
This one had really short hair. I
mean, it was buzzed nearly down to
the scalp.

HOPPER
Yeah, well, let’s ... you know,
let’s forget about the haircut. I
mean, if
(Hopper stands, holding
the poster)
I mean, if this kid had a buzz cut,
could it be Lonnie’s kid?

EARL
(looking at the poster
again)
Well, I didn’t get a good look at
him. About the right height,
though. I mean, could’ve been.
(stammers)
Yeah, that’s ... could’ve been.

Hopper nods, but more for the sake of nodding rather than
agreeing with Earl. Neither man is convinced.

INT. WHEELER HOME - NANCY’S BEDROOM - NIGHT

Nancy is on her BED lying on her back, playing with her hair,
and TALKING ON THE TELEPHONE to Barb. MUSIC is playing ON THE
RADIO.

NANCY
Because I don’t want to go by
myself.
(beat, she sits up)
Barb ... Barb, it’s not rocket
science. You just tell your parents
you’re gonna stay at my place
afterwards.
(beat)
No, tell them we’re ... studying.

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KAREN (O.S.)
(from the kitchen)
Nancy! Dinner!

NANCY
Coming! Look, I gotta go. I’ll see
you in an hour.

With a smile, Nancy hangs up.

INT. WHEELER HOME - DINING ROOM - LATER

Sitting around the dining room table, CLOCKWISE FROM SIX:

Karen (currently BACK TO CAMERA), Holly in a HIGH CHAIR,
Nancy, Mike, Dustin, Lucas, TED WHEELER.

Dinner conversation is null. Mike, Dustin and Lucas seem pre-

occupied - lost in thought. Lucas, with a FORK STUCK IN A
PIECE OF MEATLOAF ON HIS PLATE, looks disinterested.

KAREN
Something wrong with the meatloaf?

DUSTIN
Ah, no, I had two bologna
sandwiches for lunch...
(beat)
I don’t know why.

LUCAS
(shyly, fake smile)
Me too.

Nancy, trying to score bonus points:

NANCY
It’s delicious, Mommy.

KAREN
Thank you, sweetie.

NANCY
So there’s this special assembly
thing tonight for Will at the
school field. Barb’s driving.

KAREN
Why am I just hearing about this?

NANCY
I thought you knew.

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KAREN
I told you, I don’t want you out
after dark until Will is found.

NANCY
I know, I know, but it’d be super
weird if I’m not there. I mean,
everyone’s going.

Karen sighs, and relents.

KAREN
Just ... be back by ten.
(beat)
Why don’t you take the boys, too

MIKE/LUCAS/DUSTIN
No!

Mike casually takes a sip from his GLASS OF MILK.

KAREN
(to Mike)
Don’t you think you should be
there? For Will?

JUST THEN, behind Karen, WALKING DOWN THE STAIRS, IS EL.

Mike sees El, THEN SPITS OUT HIS MILK.

Karen TURNS TO SEE WHAT’S BEHIND HER --

DUSTIN POUNDS ON THE TABLE TWICE. Dishes CLATTER, FORKS AND

KNIVES COME ALIVE in a cacophony of racket.

Startled, KAREN TURNS BACK TO DUSTIN.

DUSTIN
Sorry. Spasm.

Mike looks at the mess he’s made. Lucas looks to Mike and
Dustin. What do we do now?

Holly is spooked, she slouches in her chair and is about to

cry.

KAREN
It’s okay Holly. It’s just a loud
noise.

NANCY
(scolding the boys)
Nice.

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EXT. BENNY'S BURGERS - NIGHT

The SEARCH PARTY has moved to the immediate FORESTED AREA

around Benny’s Burgers. POLICE and VOLUNTEERS with
FLASHLIGHTS CALL OUT WILL’S NAME. K-9 UNITS and VOLUNTEERS
WITH DOGS join the search.

EXT. FORESTED AREA - LATER

Hopper, Callahan and Powell are, FLASHLIGHTS IN HAND, combing

the forest and discussing theories.

CALLAHAN
Hey, you think Earl really saw
Will? I mean, what’s he doin’ with
a shaved head? And stealing food
from Benny?

They stop walking.

HOPPER
Tell you what, when we find him,
we’ll ask.

POWELL
You can’t ask a corpse a question.

Hopper and Callahan shoot Powell a look.

Just then A MARINE WHISTLE BLOWS.

VOLUNTEER (O.S.)
Hold up!

WHISTLE BLOWS again.

HOPPER
You got something?

EXT. FORESTED AREA - DRAINAGE PIPE - ON GOING

Mr. Clark is crouching BESIDE A DRAINAGE PIPE, buried, but

running PARALLEL WITH THE GROUND and with no gate covering
the opening. Mr. Clarke’s FLASHLIGHT pointing to a PIECE OF
WHITE TORN CLOTH IN HIS HAND. Hopper arrives and crouches
down beside Mr. Clarke.

HOPPER
Hey, what do you got?

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MR. CLARKE
Not sure. Maybe nothing. I found
this in there.
(motions to the drain
pipe)

Mr. Clarke hands hopper the evidence.

POV: INSIDE DRAINAGE PIPE - LOOKING OUT

The pipe has a DIAMETER OF 12-INCHES. Hopper shines his

light. The pipe leads somewhere, but Hopper cannot see the
end.

POWELL
No way a kid crawls through there.

HOPPER
I don’t know. Scared enough one
might.

ON HOPPER

HOPPER (CONT'D)
His brother said he was good at
hiding.

EXT. FORESTED AREA - FOLLOWING THE BURIED PIPE - ON GOING

With Hopper leading the way, Callahan, Powell, and the SEARCH
PARTY follow the buried pipe.

EXT. HAWKINS LAB - PERIMETER FENCE - MOMENTS LATER

The team comes to a full stop, about 50-yards from where Mr.
Clarke found the clue. They can’t go any farther. Blocked by
a TEN-FOOT HIGH CHAINLINK FENCE; BARBED WIRE RUNS ALONG THE
TOP. A SIGN attached to the fence indicates the property
belongs to: HAWKINS NATIONAL LABORATORY - U.S. DEPARTMENT OF
ENERGY. Under that sign, another: RESTRICTED AREA - NO
TRESPASSING.

INT. WHEELER HOME - BASEMENT - NIGHT

FORT

El is sitting comfortably in the make-shift bedroom. She is

FLICKING SWITCHES on the RADIO SHACK WALKIE TALKIE. Mike
comes down the stairs carrying A TRAY OF FOOD.

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MIKE
El?

Dustin and Lucas are behind him. Mike walks over to El and
sits down in front of her with the tray.

MIKE (CONT'D)
No adults. Just us and some
meatloaf.

El saying nothing, but looks up at Lucas and Dustin. She’s

wary of them. But mike tries to reassure El.

MIKE (CONT'D)
Don’t worry. They won’t tell anyone
about you. They promise. Right?
DUSTIN
We never would have upset you if we
knew you had superpowers.

Mike smacks Dustin.

DUSTIN (CONT'D)
Ow!

MIKE
What Dustin is trying to say is
that they were just scared ...
earlier. That’s all.

LUCAS
We just wanted to find our friend.

EL
Friend?

LUCAS
Yeah, friend. Will?

EL
What is friend?

LUCAS
Is she serious?

Dustin shrugs.

LUCAS (CONT'D) MIKE

Um, a friend is someone ... Is someone that you’d do
anything for.

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DUSTIN
You lend them your cool stuff, like
comic books and trading cards.

MIKE
And they never break a promise.

LUCAS
Especially when there’s spit.

EL
Spit?

LUCAS
A spit swear means ...
(spits in his hand)
... you never break your word.
(shakes Dustin’s hand)
It’s a bond.

Dustin looks at his hand; grossed out.

MIKE
That’s super important, because
friends ... they tell each other
things. Things that parents don’t
know.

El says nothing, but seems suspicious about this whole

friends thing.

EXT. FORESTED STREET - NIGHT

Barb and Nancy are on their way to Steve’s party. Barb is

driving.

INT. BARB’S CAR - ON GOING

NANCY
Barbara, pull over.

BARBARA
What?

NANCY
Pull over!

She does, and puts the car in PARK.

BARBARA
What are we doing here? His house
is three blocks away.

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NANCY
We can’t park in the driveway.

BARBARA
Are you serious?

NANCY
Yeah, the neighbors might see.

BARBARA
This is so stupid. I’m just going
to drop you off.

NANCY
Calm down, Barb, come on! You
promised that you’d go. You’re
coming. We’re going to have a great
time.

BARBARA
He just wants to get in your pants.

NANCY
(chuckling)
No he doesn’t.

BARBARA
Nance. Seriously. He invited you to
his house. His parents aren’t home.
Come on, you are not this stupid.

Nancy starts taking off her SWEATER. She’s changing.

NANCY
Tommy H. and Carol are gonna be
there.

BARBARA
Tommy and Carol have been having
sex since, like, the seventh grade.
It’ll probably be just, like, a big
orgy.

NANCY
Gross.

BARBARA
I’m serious!

NANCY
All right, well, you can be like my
guardian. All right? Make sure I
don’t get drunk and do anything
stupid.

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Nancy is topless, except for her BRA.

BARBARA
Is that a new bra?

Yes. She wore it for Steve.

NANCY
No.

EXT. HARRINGTON HOME - LATER

Nancy and Barb walk up to the front door. We can HEAR MUSIC
BLASTING from the END OF THE DRIVEWAY. Nancy RINGS THE
DOORBELL.

FRONT DOOR

Barb looks nervous.

NANCY
Barb, chill.

Nancy, however, is as chill as a cucumber.

BARBARA
I’m chill.

The DOUBLE DOORS SWING OPEN. The song ”RAISE A LITTLE HELL”
by TROOPER plays loudly.

STEVE
Hello, ladies.

INT. HOPPER’S CABIN - BEDROOM - NIGHT

Hopper is lying awake in BED. Beside him, SANDRA (late 20s),

his GIRLFRIEND. She’s sound asleep. Hopper sits up on the
edge of the bed, and puts his pants on.

EXT. HOPPER'S CABIN - BACK DECK - LATER

It’s peaceful. CRICKETS CHURP, a LOON CALLS. Hopper is

standing on his deck with a CAN OF BEER. Staring off into the
distance. Deep in thought. Moments later, Sandra joins him.
She’s wearing one of Hopper’s FLANEL SHIRTS.

SANDRA
What are you doing? It’s freezing.

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HOPPER
You ever feel cursed? You know, the
last person to go missing here was
in, uh, the summer of ‘23. The last
suicide was the fall of ‘61.

BEAT

SANDRA
When’d the last person freeze to
death?
(realizes he’s serious)
Hey, come back inside. Warm me up.

HOPPER
Just give me a minute out here.

Sandra sighs, but leaves Hopper be.

INT. WHEELER BASEMENT - NIGHT

El sits down at the TABLE where the D&D BOARD is. It’s not
game-ready, but there are SIX MINIATURES on the board’s
surface. El’s focus is on those.

LUCAS
What’s the weirdo doing?

El places the PALMS OF HER HANDS on the board. She closes her
eyes. Mike, Dustin and Lucas move closer.

MIKE
El?

After a BEAT, El opens her eyes. She reaches down and PICKS
UP THE WIZARD MINIATURE. She holds it close to her face,
inspecting it.

EL
Will.

DUSTIN
Superpowers.

Lucas rolls his eyes. Mike sits down in the CHAIR next to El.

MIKE
Did you see him? On Mirkwood? Do
you know where he is?

Using her arm, El SWEEPS THE BOARD CLEAR OF THE MINIATURES.

They fall to the floor. She flips the board UPSIDE DOWN.

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It’s SURFACE IS BLACK. El takes the Wizard -- representing

Will -- and puts it CENTER of the UPSIDE DOWN BOARD.

MIKE (CONT'D)
I don’t understand.

EL
Hiding.

MIKE
Will is hiding?

El nods.

MIKE (CONT'D)
From the bad men?
El shakes her head.

MIKE (CONT'D)
Then from who?

El places a DIFFERENT MINIATURE ON THE BOARD: THE DEMOGORGON.

EXT. MIRKWOOD - NIGHT

POLICE TAPE AND BARRICADES remain in place. But the scene is

abandoned. Jonathan’s CAR pulls up. He gets out, opens the
TRUNK, and TAKES OUT HIS 35MM CAMERA. He closes the trunk and
the crosses the barricades onto Mirkwood.

EXT. MIRKWOOD - FORESTED AREA - ON GOING

Like a FORENSIC PHOTOGRAPHER, Jonathan starts taking PICTURES

around the area where Will went missing.

The FLASH fires.

JONATHAN
(quietly)
Where are you?

Another PHOTO. The FLASH fires.

Jonathan takes a FEW STEPS IN ANOTHER DIRECTION, crouches,

SNAPS ANOTHER PICTURE. The FLASH fires.

SUDDENLY, a FEMALE’S SCREAM. It’s close by. Jonathan RUNS

TOWARDS THE SOUND.

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EXT. FORESTED AREA - BEHIND STEVE’S HOUSE - ON GOING

Jonathan stops just short of the THRESHOLD. The scream

belongs to Carol, Tommy H’s girlfriend. He’s trying to throw
Carol in the POOL.

EXT. HARRINGTON HOME - BACKYARD - ON GOING

MUSIC is playing. The backyard is massive. There’s LARGE IN-

GROUND POOL. Upon the surrounding POOL DECK ARE LAWN CHAIRS
and other PATIO FURNITURE. Tommy is trying to throw Carol
into the pool. He’s got her in his arms. He’s laughing.

CAROL
No, Tommy, stop it!

Tommy puts her down.

CAROL (CONT'D)
You’re such an asshole, Tommy.

Barb is sitting in a LAWN CHAIR, away from the action. Nancy

is sitting, too, but closer to Steve than she is to Barb.
Steve grabs a CAN OF BEER FROM THE COOLER. USING A KNIFE, HE
PUNCHES A HOLE IN THE SIDE OF THE CAN, then SHOTGUNS it.
Nancy watches, amused. Steve flops down on a LAWN CHAIR.
Drunk. He prepares to LIGHT A CIGARETTE.

NANCY
That supposed to impress me?

STEVE
You’re not?

NANCY
You are a cliché, you do realize
that?

STEVE
You are a cliché. What, with your
grades and your band practice.
(lights the cigarette)

NANCY
(laughs)
I’m so not in band.

STEVE
Okay, party girl.
(hands her the knife)
Why don’t you just show us how it’s
done, then?

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NANCY
Okay.

She takes the knife from Steve.

EXT. FORESTED AREA - BEHIND STEVE’S HOUSE - ON GOING

Jonathan is watching what’s going on. From his vantage point,

he can see most of the backyard.

EXT. HARRINGTON HOME - BACKYARD - ON GOING

Nancy is preparing the BEER CAN.

STEVE
You gotta make a hole right in the -
-

NANCY
I got it.

TOMMY H
Yeah, she’s smart, you douche!

Tommy crushes an empty beer can against his head and drops it
on the pool deck.

Nancy starts CHUGGING THE BEER. SHOTGUNNING.

STEVE
Chug! Chug! Chug!

Tommy and Carol join Steve’s chants of encouragement.

STEVE (CONT'D) TOMMY H/CAROL

Chug, chug, chug, chug ... Chug, chug, chug, chug.
The chants get LOUDER as Nancy nears the end. Then finally --
Nancy DROPS THE EMPTY CAN on the deck. They all CHEER! Except
for Barb.

NANCY
Barb, you wanna try

BARBARA
What? No.

Nancy grabs a BEER for Barb.

BARBARA (CONT'D)
No, I don’t want to, thanks.

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NANCY
Come on!

Nancy approaches Barb with the beer.

STEVE
Yeah!

BARBARA
Nance, I don’t want to!

NANCY
It’s fun! Just give it a ...

BARBARA
Nance!

NANCY
Just ... just give it a shot.

Nancy gives Barb the beer and the knife.

BARBARA
(unenthusiastic)
Okay.

With the knife in one hand, and the beer in the other, Barb
tries cutting a whole in the side of the can. The knife
SLIPS. Barb CUTS A DEEP GASH IN HER RIGHT THUMB. It’s
BLEEDING. BARB gasps.

TOMMY H
Gnarly!

NANCY
Are you okay?

BARBARA
Yeah.

NANCY
Barb, you’re bleeding!

BARBARA
I’m fine.
(to Steve)
Where’s your bathroom?

STEVE
Oh, it’s, uh, down past the
kitchen, to the left.

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EXT. FORESTED AREA - BEHIND STEVE’S HOUSE - ON GOING

Jonathan snaps PICTURES. WITHOUT THE FLASH. Carol is having a

chuckle. And Tommy takes this opportunity to push an
unsuspecting Carol, fully clothed, into the pool.

EXT. HARRINGTON HOME - BACKYARD - ON GOING

SPLASHDOWN! Carol SCREAMS! Tommy, feeling very proud of

himself, takes a few more DRAGS FROM HIS CIGARETTE. He throws
the BUTT to the ground and JUMPS IN THE POOL.

Steve comes up to Nancy from behind and PUSHES HER INTO THE
POOL. Then Steve JUMPS INTO THE POOL! The couples playfully
ROUGHHOUSE in the water.

EXT. FORESTED AREA - BEHIND STEVE’S HOUSE - ON GOING

With a hint of jealousy, Jonathan continues to SNAP PICTURES.

EXT. BYERS' HOME - ESTABLISHING SHOT - NIGHT

INT. BYERS' HOME - DINING ROOM - NIGHT

Joyce has fallen asleep on the CHAIR; PHONE still in her lap.
The HOUSE IS DARK.

SEVERAL SECONDS OF SILENCE is SUDDENLY BROKEN --

PHONE RINGS

Joyce JOLTS AWAKE and answers.

JOYCE
Hello?

There’s no response. Joyce STANDS; grabbing the RECEIVER WITH

BOTH HANDS.

JOYCE (CONT'D)
(optimistic)
Hello?

MUFFLED BREATHING. Then STATIC.

JOYCE (CONT'D)
Who is this?

WHIMPERING.

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JOYCE (CONT'D)
(gasps)
Will?

STATIC. More WHIMPERING.

JOYCE (CONT'D)
(starting to cry)
Will...

The VOICE is barely audible. STATIC. STRAINED BREATHING.

JOYCE (CONT'D)
Will, it’s me. Talk to me. I’m
here.
(sobbing)
Just tell me where you are, honey.
I can hear you. Please.

STATIC. Then:

WILL
Mom?

The LIGHTS FLICKER then come alive.

The VOICE IS DISTORTED. But it is Will. Joyce GASPS.

JOYCE
(sobbing)
Will! Yes it’s me. It’s me.

ELECTRICITY SPIKING. CRACKLING. BUZZING. A CREATURE MAKING

CLICKING SOUNDS.

JOYCE (CONT'D)
Where are you? Where are you? Just
talk to me --

The LIGHTS GET BRIGHTER; then DIM. BOLTS OF ELECTRIC CURRENT

SHOOT OUT OF THE RECEIVER. It SHOCKS Joyce (literally and
figuratively). She SCREAMS and DROPS the RECEIVER.

JOYCE (CONT'D)
Oh, no, no, no!

She bends down and picks up the phone. It’s DEAD. The
RECEIVER - BLACKEND by the ELECTRICAL CURRENT.

JOYCE (CONT'D)
No, no, no!
(sobbing)

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Joyce picks up the phone and throws it to the ground in a

MOMENTARY FIT OF RAGE. She CRUMBLES into her arms - then:

JOYCE (CONT'D)
(screaming, no holding
back)
NO!
(sobbing, then, again,
screaming)
NO!

The LIGHTS flicker. Then go off. The LIGHTS FLICKER, TWICE.

Then stay ON.

HALLWAY
Joyce walks down the hall heading to Jonathan’s room. The
LIGHTS FLICKER again.

JOYCE (CONT'D)
Jonathan!

Joyce stops, noticing a PATTERN TO THE FLICKERING LIGHTS.

JOYCE (CONT'D)
(softly)
What?

RAPIDLY, FLICKERING OFF, THEN ON, THEN STEADY ON. THEN STEADY
OFF. Like MORSE CODE.

Unsure of what exactly is happening, Joyce stays close to the

wall as she makes her way to Jonathan’s room.

A BLAST OF MUSIC and Joyce GASPS. The MUSIC is coming from

WILL’s BEDROOM. Will’s favorite song: ”SHOULD I STAY OR
SHOULD I GO” by THE CLASH. The DOOR IS CLOSED. But through
the CRACKS, WE CAN SEE LIGHTS FLICKERING. We can HEAR
ELECTICITY BUZZING with each FLICKER. The MUSIC continues.
It’s SO LOUD. Joyce is FRIGHTENED; SOBBING.
She MUSTERS THE COURAGE and approaches the door. She turns
the knob, opens the door.

INT. BYERS' HOME - WILL'S ROOM - ON GOING

Joyce slowly walks in.

JOYCE
(whispers)
Will?

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There’s a BOOM BOX on Will’s DESK. A DESK LAMP lights the

immediate area. The MIX TAPE Jonathan made for Will is
PLAYING ON THE BOOM BOX. The RED LEDs of the BOM BOX’S VU
METER are FLASHING IN TIME WITH THE MUSIC.

Joyce looks over to a BEDSIDE TABLE. A LAMP is on; it’s

FLICKERING INTERMITTENTLY. Joyce approaches the lamp.

JOYCE (CONT'D)
(whispers)
Will?
(sobbing)
Is that you?

With that question, THE ANSWER: The LIGHT BRIGHTENS, BRIGHTER

THAN IT’S EVER BEEN, BRIGHTER THAN IT SHOULD EVER BE! The
whole room is lit. BRIGHT. Then, WITH A FIZZLE:

LIGHTS OUT. MUSIC STOPS. QUIET. The silence lasts but a FEW
MOMENTS. Then:

The WALL beside the lamp. It’s STRETCHING OUT - LIKE RUBBER.
A FACE, THEN HANDS, TRYING TO REACH OUT AND BREAK THROUGH THE
“RUBBER WALL.”

A GROWL.

Joyce SCREAMS and runs out of the room.

EXT. BYERS' HOME - ON GOING

Joyce dashes out of the front door, never looking back. She
jumps in her CAR.

CAR

She fumbles with the KEYS. The car STARTS. At that very
moment, THE MUSIC RESUMES. Joyce looks to Will’s bedroom. She
can see through the window. The LIGHTS ARE FLICKERING.
ELECTRICITY CRACKLES.
JOYCE
(softly)
Will.

She’s unsure about what to do. Should I stay or should I go?

BEAT

She KILLS THE ENGINE, takes a deep breath, and gets out of
the car.

DRIVEWAY

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Joyce slowly makes her way to the front door. Walking, almost
in a ZOMBIE-LIKE STATE as the MUSIC CONTINUES. The LIGHTS IN
WILL’S BEDROOM FLICKER. ONLY the LIGHT’S IN WILL’S BEDROOM.
She makes it to the door, opens it, steps inside.

INT. HARRINGTON HOME - LIVING ROOM - NIGHT

Carol, Steve, Tommy and Nancy have wrapped themselves in

TOWELS. They’re DRIPPING WET.

CAROL
I’m freezing.

Tommy, the class-act that he is:

TOMMY H
Well, I hear his mom’s room has a
fireplace.

STEVE
Are you kidding me?

Carol and Tommy make their way up the stairs, ignoring Steve.

STEVE (CONT'D)
Okay, well, you know you are
cleaning the sheets.

Steve walks over to Nancy.

STEVE (CONT'D)
You all right?

NANCY
Yeah.

STEVE
Yeah? Come on, let’s get you some
dry clothes.
Nancy pauses a moment, then follows Steve out of the room.

FOYER

Steve makes his way up the stairs. Nancy is a few steps

behind. Barb comes out of the bathroom. Nancy stops half-way
up.

BARBARA
Nance. Nancy? Were are you going?

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NANCY
No where. Just ... upstairs. To
change.
(opens her towel)
I ... fell in the pool
(chuckles, wraps herself
again)

Barb shakes her head - part disgust, part disbelief.

NANCY (CONT'D)
Why don’t you go ahead and go home.
I’ll just ... I’ll get a ride or
something.

BARBARA
Nance?

No matter how angry Barb may be right now, she doesn’t want
to leave Nancy alone with Steve.

NANCY
(smiling)
Barb ... I’m fine.

BARBARA
This isn’t you.

NANCY
(serious)
I’m fine. Just ... go ahead and go
home, okay?

Not waiting for an answer, Nancy turns and walks up the

stairs. Barb stands at the bottom of the steps. She SCOFFS.

EXT. FORESTED AREA - BEHIND STEVE’S HOUSE - ON GOING

POV: JONATHAN’S CAMERA. We can see Nancy through the BLINDS

OF AN UPSTAIRS BEDROOM. Shutter CLICKS. She’s staring out the
window, at nothing in particular.

ON JONATHAN

Behind the camera. SNAPS a picture.

INT. HARRINGTON HOME - BEDROOM - ON GOING

Nancy is staring out the window. She’s still dressed in WET

CLOTHES. Steve comes in the room and hands Nancy some DRY
CLOTHES.

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NANCY
Thanks.

They smile at each other. Steve is almost in a trance-like

state. Love. Steve is actually being a gentleman. Or so he
thinks.

NANCY (CONT'D)
Um ... some privacy, maybe?

STEVE
(snaps out of it)
Uh, yeah, right. Sorry.
(chuckles)

Steve walks away.

NANCY
Steve?

He turns. Nancy takes off her WET SHIRT.

STEVE
(impressed)
Damn.

NANCY
(chuckles)
Shut up.

They embrace, and KISS.

EXT. FORESTED AREA - BEHIND STEVE’S HOUSE - ON GOING

Jonathan lowers the camera. He saw everything. For just a

moment he considers leaving, but he spots Barb sitting on the
edge of the DIVING BOARD in the backyard. Her FEET ARE IN THE
POOL. He SNAPS A PICTURE. Then ANOTHER.

END OF ROLL. Jonathan winds the film back and prepares to

load another roll of film.

EXT. HARRINGTON HOME - BACKYARD

Barb didn’t leave. She’s sitting on the edge of the DIVING

BOARD; her FEET DANGLING IN THE WATER. She’s lost in thought.
Her thumb is BANDAGED, but not well enough. A SINGLE DROP OF
BLOOD drips into the pool. Barb looks at her BLODDY BANDAGE.

THEN, the POOL LIGHTS FLICKER. Then DARKNESS.

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Just THEN, WE SEE A LARGE SHADOW COVER BARB IN COMPLETE

DARKNESS. She quickly turns her head --

GROWL

EXT. FORESTED AREA - BEHIND STEVE’S HOUSE - ON GOING

We can HEAR BARB’S DISTANT SCREAM. Jonathan looks up from his

camera.

POV: JONATHAN. We see the backyard, but no Barb.

ON JONATHAN

He takes a final look at his surroundings from where he is

standing, then walks in the opposite direction, heading back
down Mirkwood to his car.

INT. HARRINGTON HOME - BEDROOM - ON GOING

Steve and Nancy are making out, standing by the window. They
move to the BED. The kissing is tender.

EXT. HARRINGTON HOME - BACKYARD

The POOL LIGHTS FLICKER ON. No sign of Barb. No trace of

blood. Nothing left behind.

CUT TO:

BLACK.

END CREDITS.

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