The Weirdo on Maple Street

STRANGER THINGS
EPISODE #102
" CHAPTER TWO: THE WEIRDO ON MAPLE STREET "
by
The Duffer Brothers

ii. 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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

2. 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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

3. 3.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

4. 4.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

5. 5.
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?
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

6. 6.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

7. 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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

8. 8.
JOYCE
I can’t eat.
JONATHAN
I just need you to eat, mom.
JOYCE JONATHAN (CONT'D)
Yeah. Listen, listen, the Xerox 
place opens in, like, thirty 
minutes.
JOYCE JONATHAN (CONT'D) (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 JONATHAN (CONT'D)
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

9. 9.
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?
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

10. 10.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

11. 11.
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) (MORE)
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

12. 12.
JONATHAN (CONT'D) 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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

13. 13.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

14. 14.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

15. 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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

16. 16.
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 ...
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

17. 17.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

18. 18.
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?
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

19. 19.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

20. 20.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

21. 21.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

22. 22.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

23. 23.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

24. 24.
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. 
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

25. 25.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

26. 26.
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 .
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

27. 27.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

28. 28.
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:
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

29. 29.
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?
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

30. 30.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

31. 31.
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!
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

32. 32.
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 . 
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

33. 33.
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:
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

34. 34.
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?
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

35. 35.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

36. 36.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

37. 37.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

38. 38.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

39. 39.
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?
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

40. 40.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

41. 41.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

42. 42.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

43. 43.
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 .
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

44. 44.
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) (MORE)
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

45. 45.
EARL (CONT'D) 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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

46. 46.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

47. 47.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

48. 48.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

49. 49.
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?
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

50. 50.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

51. 51.
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 MIKE (CONT'D)
Is someone that you’d do  Um, a friend is someone ...
anything for.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

52. 52.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

53. 53.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

54. 54.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

55. 55.
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. 
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

56. 56.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

57. 57.
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?
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

58. 58.
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 TOMMY H/CAROL (CONT'D)
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

59. 59.
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.
8FLiX.com SCREENPLAY DATABASE 
FOR EDUCATIONAL USE ONLY

60. 60.
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.
8FLiX.com  SCREENPLAY  DATABASE 
FOR  EDUCATIONAL  USE  ONLY

61. 61.
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)
8FLiX.com  SCREENPLAY  DATABASE 
FOR  EDUCATIONAL  USE  ONLY

62. 62.
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?
8FLiX.com  SCREENPLAY  DATABASE 
FOR  EDUCATIONAL  USE  ONLY

63. 63.
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
8FLiX.com  SCREENPLAY  DATABASE 
FOR  EDUCATIONAL  USE  ONLY

64. 64.
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?
8FLiX.com  SCREENPLAY  DATABASE 
FOR  EDUCATIONAL  USE  ONLY

65. 65.
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.
8FLiX.com  SCREENPLAY  DATABASE 
FOR  EDUCATIONAL  USE  ONLY

66. 66.
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.
8FLiX.com  SCREENPLAY  DATABASE 
FOR  EDUCATIONAL  USE  ONLY

67. 67.
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.
8FLiX.com  SCREENPLAY  DATABASE 
FOR  EDUCATIONAL  USE  ONLY