Chapter Text
EXT. HAWKINS - MAC-Z - NIGHT
We slowly pan down to the MAC-Z. It is imposing. Something is not right. There is now a gaping hole at the gate -- where there would normally be otherworldly flesh and vines weaving into themselves.
Despite this being a problem for the MILITIA, OUR GROUP'S plan to enter the UPSIDE DOWN has worked.
INT. THE UPSIDE DOWN - 'BRADLEY'S BIG GUY' TRUCK - NIGHT
We briefly cut to our group as they make their way further into the UPSIDE DOWN in MURRAY BAUMAN'S, 45, truck.
We pan across their faces. They are all very nervous. JIM HOPPER, 45, and JOYCE BYERS, 45, are holding hands as Hopper checks to see how many rounds he has left in his GUN. Joyce glances at her son -- she is proud of him, but so so scared for him too.
NANCY WHEELER, 20, and JONATHAN BYERS, 20; Jonathan is smiling at Nancy, finding himself truly impressed with how she handled herself just moments ago.
After their encounter in the EXOTIC MATTER ROOM, their future as a couple is unknown, but Jonathan can't find it in himself to care. He wants to talk to her, to connect.
JONATHAN
You know, Nance. Tonight you look a bit like Rambo or maybe… Ripley? From, uh, Alien.
(nervous)
NANCY
Do I?
She laughs into the phrase, amused at his antics. This is a surprise coming from a normally brooding Jonathan.
JONATHAN
It's really cool. You're amazing…
He pauses.
JONATHAN (CONT'D)
As always.
(he swallows)
Nancy almost looks away, bashfully, but Jonathan keeps his gaze on her steady. He wants her to know he really means it.
NANCY
Yeah, you too… Always.
She earnestly pats his shoulder twice, as a "thank you," gets up, and turns away to look at her GUN.
We cut to see her fingers sliding alongside the ribbed grip of the weapon. Her hands are shaky. She has just killed someone, a military soldier no less. Maybe more than one. Still riding the heat of the moment, she can't seem to remember the details. She just knows that she did so with almost no hesitation. Fearful, but it didn't matter.
The things you do for the people you love.
There is commotion outside of the truck.
EXT. HAWKINS - MAC-Z - NIGHT
Hell is breaking loose at the military camp. There are soldiers with their weapons running across the MAC-Z's open space, some are tending to their wounds from the encounter with our group, some packing up supplies to put back in their vehicles. Everyone scrambling.
They have spent the last 18 months trying to find Jane "El" Hopper, 011, their test subject. And she has just shown up at their doorstep, guns blazing.
There is a pan to DR KAY, 60, the head honcho. She's pissed. Beyond pissed. She grips her GUN and grunts, turning towards the now boarded up RADIO-SHACK STORE. Her regular go-to group of soldiers follow closely behind.
INT. HAWKINS - MAC-Z - RADIO-SHACK STORE - NIGHT
BANG! SOLDIER WOMAN #1 pushes another soldier, SOLDIER MAN #1, who was supposed to be watching the gate for any stragglers, onto a wall forcefully. A flashlight in her hand, now shining brightly in his face, as she stares him down.
SOLDIER MAN #1
I swear I didn't touch anything!
Dr. Kay watches the soldier intently, waiting to see him slip up if he isn't telling the truth. She can always call someone's bullshit.
SOLDIER WOMAN #1
Right. So the gate just opened up on its own? You expect me to believe that?
SOLDIER MAN #1
It must've -- must've been a malfunction! The timing was bad, I know. Please.
Dr. Kay begins to look around the room, the soldier seems to be too much of a wuss to actually betray her. No -- it has to be something else.
We cut to a nearby shelf. We hear commotion in the background of the soldier being interrogated. Dr. Kay moves around a few objects covered in layers of dust with the tip of her gun before her eyes land on a SMALL TARP. A tarp that seems to be suspiciously clean. Bingo.
She rips the tarp away and reveals a cheap brand of SHORT-WAVE RADIO KITS, opened, and clearly used to disrupt the MAC-Z GATE security system.
DR. KAY
It seems they're more crafty than I thought.
(she grumbles)
Silence washes over as Dr. Kay speaks. The soldier in question is let go from the other soldier's grip. Dr. Kay makes a sharp turn towards the door.
DR. KAY
Let's move out!
(yells, commanding)
Whoever stayed behind can't have gone too far.
INT. THE UPSIDE DOWN - 'BRADLEY'S BIG GUY' TRUCK - NIGHT
We then cut to KALI PRASAD, 20, our enigma; she is watching JANE "EL" HOPPER, 17, very closely. Trying to figure out what her younger sister is thinking. Jane is silent, which is normal for her, but this silence feels… off. Kali decides she'll pull her aside soon.
Next to Jane is MIKE WHEELER, 17, and WILL BYERS, 17. We cut to Mike sitting between both Will and Jane, it's awkward. Mike is silent too, and in deep thought, replaying Will's voice from back at the WSQK RADIO TOWER earlier that evening.
WILL (V.O)
I just -- I just -- I -- I don't like girls.
Mike winces.
FLASH CUT - HAWKINS - INT. WSQK RADIO TOWER - MAIN ROOM - DAY
We cut back to Will's speech. His coming out. But something feels… wrong.
WILL
We like playing D&D late into the night and we like that old person smell in Mike's basement, and we like biking to Melvald's for malted milkshakes, and we like getting lost in the woods and --
BACK TO MIKE
We cut back to Mike's face, he is now looking much less haunted and more so… lost? He thinks, Melvald's? Like the general store that Ms. Byers worked at? The Melvald's that hasn't sold milkshakes since the 50's? That can't be right.
Mike slowly turns to look at Will's face. We cut to a close up shot of Will. He doesn't look well. He's almost keeling over on his makeshift seat -- also just a random crate Murray picked up -- and his hands are sandwiching his ears. Like there's a piercing, awful sound that only Will can hear.
MIKE
Will. Are you okay?
No response.
MIKE (CONT'D)
Will.
Jane and Kali are also looking at Will with concern. Brows furrowed. We cut to them making eye contact with each other.
Will is now shaking, his eyes turning white. Sorcerer white. He contorts and twists in his seat, bumping into Jane and worrying her even more. Her eyes widen as she makes a grab for his shoulder before he falls to the truck's hard metal floor. Mike drops to his knees to try his best to help catch the fall. Kali lingers.
INT. THE UPSIDE DOWN - VECNA'S MIND-SCAPE
Will is back in VECNA, one of our main villain's, mind-scape. We cut to a small room that looks like it is in the Upside Down.
It is dark, cold, there are flesh like, moving vines covering every possible inch of the space. Will is trapped in these vines, once again. He tugs as much as he can to try to give himself wiggle room as the vines entrap him even more, until he sees him.
We cut to the bottom of Vecna's feet and slowly pan up the rest of his body as he walks closer and closer to Will. He is menacing. He is… smiling?
Will is frozen in fear.
VECNA
Do you really think I can't see what you're doing? You think a few guns and some grenades can stop me? Stop my plan? I've spared you once. I won't do it again.
Vecna looks at his hand and suddenly closes it into a fist, the vines slowly wrapping around Will's neck and arms tighten. Will whimpers. Tears start to flow out of his eyes, not just in pain but in anger. He's had enough of being out of control.
We cut to a close up of Will's hand, he writhes around the vines before closing his own hand into a fist. His grip being so tight that it is sure to leave moon shaped bruises in the aftermath. He doesn't care. The vines let out a HISS! Vecna winces, pausing his approach towards the boy. The vines begin to retract, it gives Will just enough wiggle room to speak.
WILL
You have no idea what's coming. I'll kill you myself if I have to.
VECNA
But don't you get it, William? You can't exist without me. If I'm gone, you are too. I know how powerless you feel, how stuck you are, wishing someone saw you. For who you really are. Wishing someone loved you back, even.
Will grimaces at the mention of love, he looks away in shame, embarrassment. We know exactly who he's thinking of. Mike Wheeler. His best friend. The only person he's ever been in love with. The person he can't possibly be in love with now. He thinks, it's too late now… isn't it?
VECNA (CONT'D)
I can make it so that you never have to feel that way again. Let me show you.
WILL
I don't care. I'm nothing like you! Just -- LET. ME. GO.
Vecna looks taken aback before his resolve returns to a grin as he tilts his head slowly. He reaches his hand out to Will, ignoring Will's screams of protest. He makes contact with Will's temple.
VECNA
Let me show you -- that you and I are one in the same.
We then cut to Will in Vecna's mind-scape and a close up of just his eyes. His eyes are closed, moving back and forth rapidly, just like when he built those tunnels connected to the Upside Down all those years ago. Vecna's hand is still on his face. He's in another one of Vecna's visions.
WILL (V.O)
We like playing D&D late into the night --
FLASH CUT - INT. THE SINCLAIR HOUSE - DINING ROOM - THREE YEARS AGO - DAY
A younger Mike, Will, LUCAS SINCLAIR, 14, DUSTIN HENDERSON, 14, and MAX MAYFIELD, 14, are all sitting around Lucas's dining room table, playing a game of DND. The room is cozy with warm toned walls and furniture. The Sinclairs are a well to do family, and they take pride in making their home look presentable and feel welcoming.
Everyone has glasses of milk and cheap paper plates with half-eaten pizza on them. They are all laughing, like someone just told them the funniest joke they've ever heard. Clearly, they have been sitting there for hours. But they look so… happy.
FLASH CUT - INT. THE WHEELER HOUSE - BASEMENT - FIVE MONTHS AGO - NIGHT
WILL (V.O)
-- and we like that old person smell in Mike's basement --
We see Mike, Will, Lucas, Dustin, and Jane in various areas of the basement.
Mike and Lucas are digging around in some old storage boxes, looking for supplies for one of the next "crawls" that Hopper will undergo in the Upside Down -- in their effort to search for any traces of Vecna.
Will is sitting on the sofa, smiling, and pinning back Jane's hair with a purple colored clip. It's growing out very fast from when it was last buzzed off, she's been struggling with styling it. And this gives Will and Jane the perfect opportunity to spend some time together, as a family.
WILL (V.O)
-- and we like biking to Melvald's for malted milkshakes --
FLASH CUT - HAWKINS - MELVALD'S GENERAL STORE - THREE YEARS AGO - DAY
A younger Joyce Byers is sat on a stool in one of the aisles, restocking, waiting for customers to file in on a Sunday morning. A younger, and much smaller, Will, comes barreling from behind the 'Employees Only' area and into the aisle, giving his mom a tight hug and smiling up at her. Showing off a toothy grin. She hugs him back and ruffles his hair, smiling back.
It's confusing. There's nothing exactly… wrong with any of these memories. What could Vecna be trying to show him?
We pan out of the store slowly to show the exterior of the storefront.
FLASH CUT - HAWKINS - MELVALD'S MILKSHAKES - 1959 - NIGHT
We cut to the outside of a diner, it's the same building layout as the general store we know today… except, the outside of the building doesn't say 'Melvald's General Store'. It says 'Mevald's Milkshakes'.
We push in closer, slowly. There are several cars parked out front; we can see a '41 Chevrolet Stylemaster, a '47 Cadillac Series, and a '51 Mercury Eight. People on the sidewalk are walking by with bright colored shirtwaist dresses and high waisted trousers.
We're in the Hawkins, Indiana we know… but in the past.
We push past the diner's glass door and make it inside. A melody rings out on a dusty jukebox.
HOUND DOG BY BIG MAMA THORNTON, PERFORMED BY ELVIS PRESLEY.
'You ain't nothin', but a hound dog'
'Crockin' all the time'
'Well, you ain't never caught a rabbit'
'And you ain't no friend of mine'
We pan across the room to see that it's a fully packed night. This is clearly a popular hangout spot for teens wanting to blow off some steam after school. We see high school students wearing letterman jackets with the old version of the HAWKINS HIGH SCHOOL logo.
Behind a counter, a man in a white diner hat, DON MELVALD, 64, is handing a frizzy brown-haired girl a strawberry milkshake. We follow as the girl takes her milkshake across the floor and over towards a group of two boys. One very tall and rugged, a leather bomber jacket on. The other, short, with a seemingly cozy sweater. Both seem to be very interested in whatever she's doing.
TALL MAN
Joyce, care to gimme a sip?
(he smirks, leaning in for the glass in her hand)
The girl, a 18 year-old Joyce Byers, rolls her eyes before pulling back.
YOUNG JOYCE BYERS
Has anyone ever told you how insufferable you are, Jim?
(putting a mocking emphasis on his name)
YOUNG JIM HOPPER
Yeah, yeah… You want me.
The trio busts out laughing as we pan away towards the rest of the crowd, there are groups of teens dancing together to the music as they nurse their drinks and diner snacks.
The song begins to end. It fades out quietly. The next song begins to play. The crowd calms, people start grabbing onto their partners and begin slow dancing. Swaying to:
I ONLY HAVE EYES FOR YOU BY THE FLAMINGOS.
'My love must be a kind of blind love'
We slowly pan to the back of the diner, little by little.
'I can't see anyone but you'
We then see two people from behind. Not able to see their faces, just the back of their heads, sitting on a striped bench closely together.
'(Sha bop sha bop)'
Presumably, a white teenage boy with brown hair and a white shirt with a blue and yellow stripe, and a black girl with brown straightened hair and a blue dress with a plaid shirt underneath.
'(Sha bop sha bop)'
They begin to lean in closer to each other, both at once.
'(Sha bop sha bop)'
Who are they? Before we can find out, we cut away.
BACK TO WILL
Will is writhing in pain against the vines' grasp. His skin now blisters red from the pressure. His eyes still shut tight, he would open them if he could, but he has no choice. We cut to Vecna, he is watching this happen maniacally. This is bringing him enjoyment. To see this struggle, to see Will break down by his doing.
WILL (V.O)
-- and we like getting lost in the woods and --
EXT. HAWKINS - FOREST ROAD - FOUR YEARS AGO - NOVEMBER 6TH, 1983 - NIGHT
A 12 year-old Will Byers is biking down a dark forest road at a steady pace. An overhead shot shows that he bikes past two signs that read:
HAWKINS NATIONAL LABORATORY
U.S DEPARTMENT OF ENERGY
RESTRICTED AREA
NO TRESPASSING
U.S GOVERNMENT PROPERTY
FLASH CUT - FOREST ROAD - CONTINUOUS
A GUTTURAL ROAR RINGS OUT! A tall, back-lit DEMOGORGON is now in the middle of the street. Will loses control of his bike, he veers off into --
EXT. WOODS - CONTINUOUS
Will crashes his bike -- ditches it, but then trips and falls to the ground. As he looks back up, the demogorgon is standing in the woods with him, inching closer and closer while cloaked in the darkness.
He BOLTS! Leaving his bike behind, the wheels are still spinning. Another loud ROARRRR rings out as we see Will run further and further into the forest. Away from our view.
We cut to black.
VECNA (V.O)
Don't you feel it?
(an extended pause)
Our minds. Converging.
END OF SEQUENCE
INT. THE UPSIDE DOWN - 'BRADLEY'S BIG GUY' TRUCK - NIGHT
Everyone now, except for Murray, is now circling around Will who is still writhing around on the floor, in a trance. We can no longer see what is happening to him. Just that he's in pain. His eyes welling up with tears as Jane tries to hold onto his hand the best she can. She's trying to see if she can pull him out by going into his mind. It's not working.
AGHH! Will lets out a scream of agony. Joyce is now in a panic, scrambling to take off her jacket to use as a cushion for his head. Surely him contorting in this way on the metal truck floor is a recipe for a concussion.
Mike is still kneeling down next to Will. He isn't sure what to do. He's scared. The last time he truly saw Will like this was almost 4 years ago now, when all he could do was cover his ears and just hope that the doctors would fix him, fix his best friend, his Will. As the group scrambles around trying to figure out what to do, Mike notices a tear -- just one -- falling down Will's cheek.
Mike decides to stop thinking.
He reaches his hand out for Will before he can fully process that he's doing it.
MIKE
Will -- please, come back to us.
Now cupping his cheek desperately, trying to hold on to him as Will continues writhing, he makes contact with the tear that trails down his face. He begins to swipe it away with his thumb.
Almost like magic, Will stops moving, his body going limp. His eyes shoot open, now bloodshot. The group exclaims in relief that he's okay. Mike moves to hug Will tightly. Jane, Jonathan, and Joyce all try their best to move closer to hold him too.
HOPPER
Alright, guys. Give him some space, okay? You alright, kid?
Everyone lets go of their embrace, now just awaiting his response. Assessing Will's state. Will's eyes are now no longer white, they have returned to their nature hue. But something is still off, Will looks extremely… calm? Too calm for someone who was just screaming in agony.
JOYCE
Baby?
Will doesn't respond, he just sits up slowly and looks at Mike, then at his mom. At first he looks at his mom puzzled, then, like the memory had just hit him again, he stares at her wide eyed. Like he's seen a ghost.
JOYCE
Will?
MUSIC CUE: STRANGER THINGS BY KYLE DIXON & MICHAEL STEIN.
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