Stranger Things
Executive Summary
Poster

Overview
Genres: Thriller, Mystery, Drama, Horror, Sci-Fi, Fantasy, Coming of Age, Adventure, Teen, Comedy, Romance, Family, Action
Setting: 1980, Montauk, New York
Overview: In the quaint town of Hawkins, Indiana, a group of friends embarks on a thrilling adventure when their friend Will goes missing. As they search for him, they encounter a sinister force that threatens their safety and unravels the secrets of a hidden world lurking beneath their town. Their journey is filled with suspense, danger, and the unbreakable bonds of friendship.
Themes: Supernatural and Unexplained Phenomena, Friendship and Loyalty, The Power of Imagination and Curiosity, The Dangers of Government Secrecy and Experimentation, The Importance of Family
Conflict and Stakes: The primary conflict revolves around the mysterious disappearance of a young boy, Will, and the supernatural events that follow. The stakes are high as the characters uncover dark secrets and face dangerous entities in their search for the truth.
Overall Mood: Suspenseful and eerie
Mood/Tone at Key Scenes:
- Scene 1: The opening scene sets a tone of horror and mystery with the discovery of the dead scientists and the destroyed laboratory.
Standout Features:
- Unique Hook: The integration of supernatural elements and government conspiracy into a coming-of-age story set in the 1980s.
- Plot Twist: The revelation of Eleven's true identity and powers, as well as the connection to the mysterious laboratory.
- Distinctive Setting: The atmospheric and nostalgic 1980s small town setting with a blend of sci-fi and horror elements.
- Innovative Characters: The diverse and complex characters, including a telekinetic girl and a determined mother, add depth to the story.
- Genre Blends: The seamless blending of sci-fi, horror, mystery, and coming-of-age genres creates a unique and engaging narrative.
- Compelling Storyline: The gripping mystery of the missing boy, the supernatural occurrences, and the characters' personal journeys make for a captivating narrative.
Comparable Scripts:
- Stranger Things
- E.T. the Extra-Terrestrial
- Super 8
- The Goonies
- Stand by Me
- It
- The X-Files
- Cloverfield
Writing Style:
The screenplay exhibits a diverse range of writing styles, blending elements of suspense, drama, horror, and mystery. The scenes often showcase strong characterization, emotional depth, and a focus on creating tension and atmosphere.
Style Similarities:
- Stephen King
- Aaron Sorkin
- Christopher Nolan
- Guillermo del Toro
Pass/Consider/Recommend
Recommend
Explanation: This Stranger Things TV pilot screenplay presents a compelling mystery/supernatural thriller with strong character development and world-building. The narrative effectively draws the audience into the high-stakes search for a missing boy, while hinting at a larger, more ominous threat lurking in the shadows. The screenplay's strengths lie in its pacing, tension-building, and coherent integration of multiple storylines. While minor pacing issues and a lack of clear overall stakes could be addressed, the screenplay's standout elements, such as the introduction of the mysterious girl and the unsettling climactic storm sequence, make it a strong candidate for further development and potential production.
USP: **Unique Selling Proposition (USP):** "Stranger Things: The Script" is a gripping and suspenseful tale that seamlessly blends elements of science fiction, horror, and mystery. With its distinct characters, innovative storytelling techniques, and atmospheric setting, this script stands out as a truly unique and compelling offering. Through the eyes of a group of friends facing the disappearance of their own, the script delves into the realm of the supernatural, exploring the depths of human fear, courage, and resilience. Its original and engaging approach to character development, with each individual boasting their distinct traits and motivations, ensures that the audience remains invested in the journey of each character. The script skillfully employs unexpected twists and turns, keeping the reader on the edge of their seat and eagerly anticipating what lies ahead. It masterfully weaves together suspenseful moments with heartfelt emotional scenes, creating a well-rounded and deeply affecting narrative. Furthermore, the script's unique voice shines through in its evocative descriptions and intense pacing, creating an immersive and captivating reading experience. The vivid imagery and atmospheric language transport the reader into the heart of the story, allowing them to fully engage with the characters and the unfolding events. With its captivating blend of genres, distinct characters, and innovative storytelling techniques, "Stranger Things: The Script" promises to captivate a wide audience, leaving a lasting impression and cementing its place as a truly exceptional work.
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Young adults and adults aged 18-49, fans of sci-fi, horror, and mystery genres
Marketability: The blend of sci-fi, horror, and mystery genres, along with compelling characters and a gripping storyline, make this screenplay highly marketable.
The nostalgic 1980s setting, supernatural elements, and strong emotional core appeal to a wide audience and create buzz.
The strong ensemble cast, intriguing plot twists, and suspenseful atmosphere contribute to the screenplay's marketability.
Profit Potential: High, due to the strong appeal to a wide audience, potential for franchise development, and merchandise opportunities.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by its vivid and intense descriptions, creating a sense of suspense and mystery. The writing style is filled with dramatic imagery and tension, drawing the reader into the plot and creating a captivating reading experience.
Best representation: Scene 1 - Dungeons and Dragons in the Basement. Scene 1 is the best representation of the writer's voice because it effectively sets the tone for the screenplay, introducing the sense of suspense and mystery that permeates throughout the narrative. The vivid descriptions of the horrific scene immediately captivate the audience and create a sense of unease and foreboding.
Memorable Lines:
- Mike: A shadow grows on the wall behind you... swallowing you in darkness... it is almost here... (Scene 2)
- Will: MOM?! JONATHAN?! MOM?! (Scene 7)
- Joyce: ...Mom... (Scene 42)
- Benny: ...All I know is, poor thing’s scared to death... confused... (Scene 25)
- Will: ...P-please -- (Scene 8)
Characters
Mike Wheeler:A 12-year-old boy who leads his friends in Dungeons and Dragons games and becomes involved in a mysterious disappearance.
Eleven:A young girl with telekinetic powers who escapes from a secretive laboratory and becomes entangled in the events surrounding the disappearance of a boy.
Joyce Byers:A mother desperately searching for her missing son and facing supernatural occurrences in her home.
Chief Hopper:The local police chief who becomes involved in the investigation of the missing boy and uncovers dark secrets in the town.
Nancy Wheeler:Mike's older sister who gets caught up in a romantic relationship and the mysterious events unfolding in the town.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Descent into Darkness | Tense, Gothic, Ominous, Dramatic | 9 | 9 | 8 | 9 | 7 | 0 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 0 | 9 | 8 | 8 | 8 | |
2 - Dungeons and Dragons in the Basement | Suspense, Dramatic, Intense, Humorous | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
3 - Family Discord and Hidden Crush | Tension, Humor, Conflict | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 8 | 8 | 6 | 7 | 7 | 7 | 8 | 9 | 9 | 9 | 9 | |
4 - Nancy Knows Lucas's Name | Playful, Nostalgic, Light-hearted | 8 | 8 | 7 | 7 | 9 | 6 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
5 - Race to Dustin's House | Light-hearted, Playful, Competitive | 8 | 8 | 7 | 8 | 9 | 5 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 6 | 8 | 9 | 9 | 9 | 9 | |
6 - Encounter in the Forest | Suspenseful, Mysterious, Eerie, Intense | 9 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 7 | 6 | 9 | 8 | 8 | 8 | |
7 - Night Terror | Suspenseful, Eerie, Tense | 8 | 8 | 7 | 8 | 6 | 5 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 5 | 9 | 8 | 7 | 8 | |
8 - Panic in the Shed | Terror, Suspense, Desperation | 9 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 6 | 9 | 9 | 9 | 9 | |
9 - Morning Desolation | Gritty, Somber, Reflective | 7.5 | 8 | 6 | 9 | 8 | 2 | 8 | 6 | 4 | 7 | 2 | 3 | 6 | 7 | 4 | 7 | 8 | 8 | 8 | |
10 - Morning Routine | Tense, Anxious, Frantic, Dramatic | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
11 - Will's Disappearance | Tense, Anxious, Frustrated, Worried | 8 | 8 | 8 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 9 | 9 | |
12 - Morning Chaos | Tense, Anxious, Chaotic, Concerned, Frustrated | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
13 - Mounting Concerns and Schoolyard Antics | Suspenseful, Anxious, Mysterious, Tense | 8 | 8 | 8 | 7 | 7 | 6 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
14 - High School Anticipation | Anxious, Intriguing, Secretive | 8 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 9 | |
15 - Flirtatious Encounter | Tense, Flirtatious, Anxious | 8 | 8 | 7 | 7 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 6 | 8 | 8 | 8 | 8 | 9 | 9 | |
16 - Morning at the Montauk Police Station | Tense, Suspenseful, Mysterious, Serious | 8 | 8 | 8 | 7 | 7 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 6 | 7 | 8 | 9 | 8 | 8 | 8 | |
17 - A Mother's Plea | Tense, Anxious, Concerned, Intense, Serious | 9 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
18 - Eleven's Vanishing | Suspenseful, Intense, Mysterious, Foreboding | 9 | 9 | 9 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
19 - Surveillance Footage Revelation | Suspenseful, Mysterious, Dark, Tense | 9 | 9 | 9 | 9 | 8 | 6 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 7 | 7 | 9 | 8.5 | 8 | 8 | |
20 - The Young Girl and Benny's Fish 'N Fry | Suspenseful, Dark, Mysterious | 9 | 9 | 8 | 9 | 9 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
21 - Caught in the Act | Suspenseful, Tense, Mysterious, Dark | 9 | 8 | 9 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
22 - Science Class Interrupted | Suspenseful, Serious, Mysterious | 8 | 8 | 7 | 8 | 7 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 9 | 9 | |
23 - The Boys' Interrogation | Serious, Authoritative, Tense | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
24 - Benny Meets Eleven | Intense, Suspenseful, Mysterious, Intriguing | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | |
25 - A Stranger in the Restaurant | Anxious, Suspenseful, Mysterious, Intense | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | |
26 - Searching for Will | Suspenseful, Intense, Mysterious, Serious | 8 | 8 | 9 | 7 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 6 | 8 | 8 | 9 | 9 | |
27 - Lonnie's Avoidance and Hopper's Arrival | Tense, Angry, Suspenseful, Dramatic | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 9 | 9 | |
28 - Byers' House Investigation | Suspenseful, Tense, Mysterious, Dark | 8 | 8 | 7 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 7 | 6 | 9 | 9 | 9 | 9 | |
29 - Strange Happenings at the Byers' Shed | Suspenseful, Mysterious, Dark | 8 | 8 | 7 | 8 | 6 | 4 | 8 | 7.5 | 8 | 8 | 7 | 8 | 8 | 6 | 5 | 9 | 8.5 | 8 | 8 | |
30 - Family Conflict Amidst Missing Child | Tense, Emotional, Argumentative | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
31 - The Search Continues | Suspenseful, Melancholic, Reflective | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
32 - Mike's Concerns | Suspenseful, Mysterious, Intense | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
33 - Midnight Encounter | Suspenseful, Tense, Mysterious, Dramatic | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 7.5 | 8 | 7 | 7 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
34 - Bonds of Trust | Tension, Warmth, Surprise, Humor | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 5 | 7 | 6 | 5 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
35 - Benny's Demise | Suspenseful, Intense, Dark, Shocking | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
36 - Eleven's Escape | Suspense, Action, Emotional | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
37 - Beach Bonfire | Tense, Mysterious, Dramatic, Intense | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
38 - Aggression at Montauk Beach | Tense, Intense, Dark | 8 | 8 | 7 | 7.5 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 8 | 9 | 8 | 7 | 9 | 8.5 | 8 | 8 | |
39 - The Beach | Tense, Suspenseful, Dark, Mysterious | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | |
40 - Strange Phone Call | Suspenseful, Terrifying, Emotional, Intense | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
41 - Stranger Encounter | Suspenseful, Eerie, Tense, Mysterious | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
42 - Approaching Storm | Suspenseful, Eerie, Tense, Mysterious | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 8 | 8 | 9 | 7 | 9 | 8.5 | 8 | 8 |
Scene 1 - Descent into Darkness
We FADE UP on the night sky. Dark clouds swallow the stars.
We hear a LOW-END RUMBLE. It sounds almost like thunder, only
it is somehow more alive. Like the growl of an unseen beast.
We TILT DOWN to find...
CAMP HERO MILITARY BASE. It is an imposing cement building in
a dense forest. A LONG-RANGE SEARCH RADAR DISH rotates atop
its roof. Around and around.
Superimpose titles:
CAMP HERO. MONTAUK, NEW YORK.
OCTOBER 5. 1980.
TWO MONTHS BEFORE THE SHUTDOWN.
INT. CAMP HERO - TUNNEL SYSTEM - NIGHT
We move down a long windowless corridor.
There is a STEEL DOOR at the end.
We draw closer to this door...
And closer...
And...
WHOOM! THE DOOR SUDDENLY EXPLODES OPEN. THE HINGES SHRIEK.
A SCIENTIST staggers out into the corridor. He is gasping for
breath. A Hazmat suit melts off his body. We can see some
skin beneath; it is burned, shredded, bloody. His entire left
arm is missing. TV Calling - For educational purposes only
2.
He collapses to the floor. Twitches. Stills. Dead.
His eyes remain open. Frozen in a look of sheer terror.
We continue past him...
Moving into...
A LABORATORY.
A DOZEN MORE SCIENTISTS lie dead on the ground.
They too, are burned; many also missing limbs. Some, heads.
We survey the lab around them. There are BULKY COMPUTERS,
MYSTERIOUS ANALOG EQUIPMENT, and most striking of all:
An ISOLATION TANK, an upright metal cylinder filled with
water. A tangle of electrical wires connect this tank to...
A METAL DOOR FRAME. The door leads nowhere; there is just
empty white space behind it. The base of the door is on fire.
We watch as this fire begins to spread across the lab.
The flames grow hotter...
And hotter...
And...
HISS! FIRE SPRINKLERS kick on.
Ratings
Scene 2 - Dungeons and Dragons in the Basement
HISS! LAWN SPRINKLERS kick on.
We are now in a 1980s SUBURBAN CUL-DE-SAC. Quiet. Calm.
A row of uniform houses wind up the tree-lined street;
station wagons and other family cars fill driveways; TV
sets flicker behind drawn curtains; a few dogs bark.
We hear the VOICE OF A YOUNG BOY. Dramatic, intense.
MIKE (O.S.)
Do you hear that? Listen...
We focus on a TWO-STORY HOUSE at the end of the cul-de-sac.
The mailbox reads: THE WHEELERS.
MIKE (O.S.) (CONT’D)
Something is coming...TVsomething
Calling - For educational purposes only
hungry for blood...
3.
INT. WHEELER HOUSE - MIKE’S ROOM - NIGHT
A GROUP OF BOYS, 12 years old, play DUNGEONS AND DRAGONS.
They sit in a circle, their knobby knees buried in carpet. A
map is spread out between them, along with an empty pizza
box, canned cokes, and the all-important DUNGEONS AND DRAGONS
MONSTER MANUAL.
MIKE WHEELER, 12, is the “Dungeon Master.” He is a cute moppy
haired kid, classically good looking except for a BIRTHMARK
on his left cheek.
MIKE (CONT’D)
A shadow grows on the wall behind
you... swallowing you in
darkness... it is almost here...
The other boys lean forward. Riveted. We survey them:
LUCAS CONLEY, 12, playing as a knight. He is very small but
his loud mouth more than makes up for it.
DUSTIN HENDERSON, 12, playing as a dwarf. He wears glasses,
is overweight, not quite fat, but he’ll get there someday.
WILL BYERS, 12, playing as a wizard. Soft-spoken, gentle.
WILL
...What is it?
DUSTIN
The Demogorgon?
WILL
We’re screwed if it’s the
Demogorgon --
LUCAS
It’s not the Demogorgon --
Mike waits for them to settle down. Then:
MIKE
An army of Troglodytes charge into
the chamber!
He slams SIX WINGED MINIATURES onto the map.
MIKE (CONT’D)
Their tails drum the floor. Boom!
Boom! Boom!
DUSTIN TV Calling - For educational purposes only
Troglodytes?!
4.
LUCAS
Toldja!
DUSTIN
Easy.
Mike looks over his shoulder. His eyes grow wide.
MIKE
Wait... do you hear that? Boom!
Boom! BOOM! That sound... it didn’t
come from the Troglodytes. No. It
came from something behind them...
Mike slams a LARGE TWO-HEADED MONSTER MINIATURE onto the map.
MIKE (CONT’D)
THE DEMOGORGON.
The boys stare. Shit.
LUCAS
We’re all gonna die.
MIKE
Will, your action.
Will swallows. God, he wishes it wasn’t his turn.
WILL
I -- I don’t know --
LUCAS
Fireball him --
WILL
I’d have to roll thirteen or
higher --
DUSTIN
Too risky. Cast a protection spell--
LUCAS
Don’t be a pussy! Fireball him!
DUSTIN
Protection spell -- !
MIKE
The Demogorgon is tired of your
silly human bickering. It steps
toward you. BOOM!
LUCAS TV Calling - For educational purposes only
FIREBALL HIM Will!
5.
MIKE
Another step. BOOM!
DUSTIN
Cast protection!
MIKE
It roars in anger --
LUCAS DUSTIN
Fireball -- ! Protection --
MIKE (CONT’D)
And --
WILL
FIREBALL!
Will rolls the dice. Too hard. The dice scatters to the
other side of the room. It lands in front of the bedroom
door.
LUCAS
What is it?!
WILL
I don’t know!
DUSTIN
Is it a thirteen?
WILL
I DON’T KNOW!
The boys scramble to look at the dice when --
WHOOM! The bedroom door swings open.
The boys look up to find...
KAREN WHEELER, late 30s, Mike’s mom. Short blonde hair,
conservative blouse, blue jeans hiked high above her waist.
MIKE
Mom, we’re in the middle of a
campaign -- !
KAREN
You mean the end.
She taps her watch.
KAREN (CONT’D)
Fifteen after. TV Calling - For educational purposes only
6.
Ratings
Scene 3 - Family Discord and Hidden Crush
Mike chases his mom down the stairs.
MIKE
Just twenty more minutes --
KAREN
It’s a school night, Michael, and I
just put Holly to bed. You can
finish next weekend --
MIKE
That’ll ruin the flow --
KAREN
Michael --
MIKE
I’m serious, Mom! It took two weeks
to design. How was I supposed to
know it’d take seven hours -- ?
KAREN
You’ve been playing seven hours?!
They reach...
THE LIVING ROOM.
Mike’s dad, TED, 45, is watching “CHiPS.” Or trying to. The
signal is terrible; a snowstorm of static obscures the image.
He smacks the TV.
MIKE
Dad, don’t you think -- ?
TED
(not even listening)
I think you should listen to your
mother. DAGGUM PIECE OF JUNK!
He smacks the TV again. The static flares.
BACK UPSTAIRS IN MIKE’S ROOM,
Lucas, Dustin, and Will stuff belongings into backpacks.
WILL
Does the seven count?
LUCAS
It was a seven?! TV Calling - For educational purposes only
7.
Will nods.
LUCAS (CONT’D)
Did Mike see it?
Will shakes his head.
LUCAS (CONT’D)
Then it doesn’t count.
THE UPSTAIRS HALLWAY - MOMENTS LATER
Dustin and Will bound down the stairs.
Lucas doesn’t follow. He peers through a cracked door into...
NANCY WHEELER’S ROOM. This is Mike’s sister, 16, girl-next-
door pretty. She is on her bed in pajamas, a phone in hand,
fingers twisting its cord, slender legs kicked in the air.
Lucas angles himself in such a way that he can see Nancy in
the reflection of her vanity mirror.
NANCY
I know, I know, but -- I don’t
think so -- yeah, he’s cute, but --
Barb -- BARB! -- listen to me --
Nancy turns around on her bed. Spots Lucas in the mirror.
Her smile drops.
NANCY (CONT’D)
The HELL LUCAS! GET OUTTA MY ROOM!
She leaps out of bed and storms over to him.
LUCAS
I’m not in your room --
NANCY
(into phone)
One of Mike’s loser friends --
LUCAS
-- Not technically --
WHAM! Nancy slams the door.
Ratings
Scene 4 - Nancy Knows Lucas's Name
Lucas explodes into the garage. Excited.
LUCAS TV Calling - For educational purposes only
She knows my name!
8.
Dustin and Will are mounting bikes; Mike is seeing them off.
WILL
Who -- ?
LUCAS
NANCY!
MIKE
I’m not listening to this --
DUSTIN
She’s got a boyfriend now --
LUCAS
Does not --
DUSTIN
Does too --
Mike covers his ears.
MIKE
NOT listening --
WILL
Dustin’s right. I’ve seen her
hanging around that Steve guy --
MIKE
NOT LISTENING --
LUCAS
Steve Harrington? He’s cool --
DUSTIN
She’s cool. You lost your chance.
Should’ve gone for her when she had
braces and no boobs.
LUCAS
I’m playing the long game.
DUSTIN
Oh, yeah, I’m sure a growth spurt
will really do it for you, Lucas...
The boys bike out of the garage, arguing as they go. Mike
takes his hands off his ears. He can’t help but smile. Then:
BZZZZZ. The light above him begins to flicker. Strange.
Mike switches it off and heads back inside.
TV Calling - For educational purposes only
We return our gaze to the light.
9.
It sputters back on. And...
Ratings
Scene 5 - Race to Dustin's House
WHOOSH! The boys bike home.
Their handlebar lights wink in the night. And good thing,
because it’s dark out here, as in, very dark. Montauk is
coastal, but it’s more akin to living out in the country.
Lucas peels off from the group.
LUCAS
See ya, ladies.
DUSTIN
Kiss your mom ‘night for me.
Lucas flips him the bird and bikes up a driveway towards his
TWO-STORY HOUSE. Almost identical to Mike’s, a little larger.
Will and Dustin bike on in silence for a beat, then:
DUSTIN (CONT’D)
Race to my place? Loser gets a
comic?
WILL
Any comic?
DUSTIN
Yeah --
Will has heard enough. He starts pedaling. Fast.
DUSTIN (CONT’D)
Shit!
Dustin pedals in pursuit. But he’s already behind. And...
A FEW MINUTES LATER.
Will whizzes past a house at the far end of neighborhood.
He waves at Dustin. Now fifty yards back.
WILL
I’ll take your X-Men Uncanny two-
six-nine!
Dustin stops. Out-of-breath.
DUSTIN
(really bummed) TV Calling - For educational purposes only
...Man.
10.
Ratings
Scene 6 - Encounter in the Forest
Will is now biking along an empty forest road. All alone.
He lives much further out than the rest of his friends. It is
even darker out here and quiet; unnervingly so. Only the
sound of cicadas and a gentle breeze to keep him company.
He bikes past a LARGE METAL FENCE. A warning sign reads:
AUTHORIZED VEHICLES ONLY. NO TRESPASSING.
We’re near Camp Hero.
Will suddenly notices something strange: the hair on the back
of his arms is standing straight up. It’s like he’s in the
middle of a massive electrical storm. And perhaps he is...
A LOW-END RUMBLE reverberates above him. He looks up.
Sees nothing but darkness. Clouds over the moon.
He looks back down. His eyes shoot wide.
A TALL FIGURE STANDS IN THE MIDDLE OF THE ROAD.
Will spins the wheel -- loses control --
He veers off the road --
And explodes into --
THE FOREST.
The bike flies down a steep hill and --
CRASHES. Will flies off the bike. He skids, rolls, eats dirt.
As he lies there on the ground, gasping for air, he hears:
STRANGE GUTTURAL SOUNDS. COMING FROM BEHIND HIM.
He pushes to his feet and turns to the sound.
Foliage shudders. The sounds grow. Something is coming.
Will abandons his bike --
And runs.
Ratings
Scene 7 - Night Terror
Will bursts out onto the beach.
The wind whips his clothes. Waves
TV crash
Callingthe shore.
- For Roaring.
educational purposes only
11.
MOMENTS LATER.
He races up a dune toward a house. His house.
It is small, lower class, and falling apart after decades of
abuse from the battering ocean winds. But it offers safety.
INT. THE BYERS HOUSE -- NIGHT
Will slams the door shut behind him and bolts the lock.
A shaggy mutt, CHESTER, races to greet him.
Will ignores him, calls for his family.
WILL
MOM?! JONATHAN?! MOM?!
There is no answer.
He checks his MOM’S BEDROOM. His BROTHER’S BEDROOM.
No one is home. He is all alone.
INT. THE BYERS HOUSE - LIVING ROOM
Will scrambles back to the living room window.
He cups his hands to the glass and peers out into the yard.
It is dark. Murky. Quiet. A gust of wind blows and...
Day-old laundry flutters on a clothes line to reveal...
THAT FIGURE AGAIN. JUST STANDING THERE AMONGST THE BILLOWING
LAUNDRY. WE CAN’T MAKE OUT ANY FEATURES, BUT ITS PROPORTIONS
SEEM... OFF. ITS HEAD IS TOO LARGE. ITS ARMS TOO LONG. ITS
BODY SWOLEN AND BENT IN A STRANGE, TWISTED SHAPE.
Another gust of wind. The clothes flutters again and...
The Figure is gone.
Will pales. His heart in his throat.
Ratings
Scene 8 - Panic in the Shed
Will rips a phone off the kitchen wall. Dials 911. But --
It does not ring. Just hums with LOW-END STATIC.
WILL
Hello?! HELLO -- ?!
TV Calling - For educational purposes only
12.
Will pauses. He hears something on the other line. But not a
voice... it is that GUTTURAL SOUND he heard in the forest.
The pitch rises and falls, making a series of strange sounds.
Words? It is as if the figure... whoever... whatever it is...
is somehow speaking to him through the phone receiver.
Behind him, Chester begins to GROWL at the front door.
Will lowers the phone. And looks back at the door.
A SHADOW fills the crack at the base of the door.
And then somehow, impossibly, the chain bolt begins to slide
open, as if drawn by an invisible hand. The metal SHRIEKS.
Will drops the phone and --
EXT. BYERS HOUSE - NIGHT
WHOOM! Will explodes out the back screen door.
He sprints into an OLD WOODEN SHED and --
INT. SHED - MOMENTS LATER
WHAM! He slams the shed doors behind him. Breathing hard.
His eyes dart. Searching for something.
The shed is cluttered and dark, lit only by a NAKED LIGHT
BULB, hanging from the ceiling. The bulb buzzes, flickers.
At last he spots it:
AN OLD REMINGTON RIFLE. DUSTY. HANGING ON A WALL MOUNT.
Will yanks it down, retrieves a few AMMO SHELLS from a work
bench, and loads the rifle as fast as he can, which isn’t
very fast at all; he is so scared his hands sweat and shake.
THUD. THUD. THUD. HEAVY FOOTSTEPS ECHO. THEN GUTTURAL NOISES.
Will looks back to the shed doors. They shudder and moan.
And then, slowly... ever slowly... they begin to yawn open.
Will finishes loading the rifle. He snaps the chamber shut
and aims it at the door. The rifle trembles in his hands.
The shed doors slowly yawn open the rest of way.
It... whatever it is... enters the shed.
We still do not show it in full,TVbut we catch
Calling - For glimpses
educationalofpurposes
it only
in the flickering light. Misshapen, withered, pale, slick.
13.
Will doesn’t fire. He just stares. Paralyzed by fear.
The hairs on his arms stand up again.
His ears begin to drip blood.
And then his nose.
He fights tears.
WILL
...P-please --
A HIGH-PITCHED SHRIEKING SOUND SUDDENLY FILLS THE SHED.
WE DON’T SEE WHAT HAPPENS TO WILL; WE JUST WATCH THAT NAKED
DANGLING LIGHT BULB. IT GLOWS BRIGHTER AND BRIGHTER AND
BRIGHTER, FILLING THE SHED WITH OVERWHELMING WHITE LIGHT. WE
THINK THE GLASS OF THE BULB IS GOING TO SHATTER BUT THEN --
The TERRIBLE SHRIEKING sound abruptly stops.
The bulb dims. Returning to normal wattage.
We pull away from the light.
The shed is empty.
Will has vanished.
END ACT ONE
TV Calling - For educational purposes only
14.
ACT TWO
Ratings
Scene 9 - Morning Desolation
BEEEEEEEE! An ALARM CLOCK blasts.
A hand smashes it, shutting it up. The hand belongs to:
JIM HOPPER, or “HOP,” early 40s. He is sprawled on a sofa,
shirtless, wearing only a pair of worn Levi jeans. His house
is a mess, cluttered with beer bottles, cigarette butts, and
plastic vials.
A LOCAL NEWSMAN drones on a dusty eight-inch TV:
NEWS ANCHORMAN
...reports of surges and outages
across the county... we reached out
to Public Service and Gas and...
Hop sits up. A RAY OF SUN slices through blinds. Strikes him.
He squints. Grimaces. Hungover.
EXT. HOPPER’S HOUSE - MORNING
Hopper steps out onto a decrepit porch. Drags on a cigarette.
His shack-like house is perched on the shore of the beach.
The beach is deserted now; tourist season has come and gone.
It’s a bit lonely out here. But damn if it isn’t beautiful.
Hop rubs his arms. Getting cold now. Enough beauty for now.
He flicks his cigarette to the sand.
INT. HOPPER’S HOUSE - BATHROOM - A LITTLE LATER
Hopper studies his stubble in the mirror.
Considers shaving. Doesn’t.
MOMENTS LATER
Hopper pops open a PLASTIC VIAL labeled TUINAL.
He shakes out two capsules. Red and blue.
Scoops a mouthful of water. Washes them down.
Ratings
Scene 10 - Morning Routine
Hopper showers. Water pours down his weary face.
TV Calling - For educational purposes only
15.
INT. HOPPER’S HOUSE - BEDROOM - A LITTLE LATER
Hopper dresses.
He yanks on a pair of brown pants... A matching brown
collared shirt... A belt with a holster... A 9MM GLOCK...
And lastly, he clips on a GOLD BADGE. It reads:
MONTAUK POLICE. CHIEF.
MOMENTS LATER.
Hopper heads out the door. We watch through the smudged
window as he climbs into CHEVY BLAZER POLICE CAR. Mustard
sides. Square sirens.
As he peels away, we DOLLY TOWARD a FRAMED PHOTOGRAPH hanging
on the wall. In it, a young Hopper stands with a PRETTY WIFE.
He cradles a LITTLE GIRL in his arms.
He looks like a different man.
He looks happy.
EXT. BYERS HOUSE - MORNING
Silence outside the Byers house.
The wind has died down. The laundry no longer flutters.
The shed is quiet.
INT. BYERS HOUSE - KITCHEN - MORNING
JONATHAN BYERS, 16, Will’s older brother, cooks breakfast.
He is lanky with dark hair to his shoulders. He’s quietly
handsome... but he wouldn’t believe it if you told him.
JOYCE (O.S.)
Where the fuck are they?!
His mom, JOYCE BYERS, late 30s, races past. She wears a peach
waitress uniform and too much make-up. She has a Long Island
accent, which comes out even stronger when she curses.
JOYCE (CONT’D)
Fuckfuckfuck --
JONATHAN
Check the couch.
TV Calling - For educational purposes only
Joyce does. She finds her keys under a cushion. Thank God.
16.
She snatches them up, gives Jonathan a quick peck on the
cheek, and races for the door, only to pause at the last
second. She turns back to Jonathan.
JOYCE
-- Will? Where’s Will?
JONATHAN
Sleeping I guess.
JOYCE
You gotta make sure he’s up,
Jonathan, how many times -- ?!
JONATHAN
I’m making breakfast --
JOYCE
And I work two jobs. Only one if
I’m late again.
Joyce storms to Will’s room. Ranting as she goes.
JOYCE (CONT’D)
Then how will we pay the bills?!
You think you can feed this family
working two nights a week at a
movie house? We’ll be out on the
goddamn street--
Ratings
Scene 11 - Will's Disappearance
Joyce throws open the door to Will’s room. Silences.
INT. KITCHEN - MOMENTS LATER
She strides back over to Jonathan. Worried now.
JOYCE
Will came home last night, right?
JONATHAN
He’s not in his room?
JOYCE
He come home or not?
JONATHAN
I don’t know --
JOYCE
You don’t know?
TV Calling - For educational purposes only
17.
JONATHAN
I was at the dark room late. I...
I guess I lost track of time --
JOYCE
I told you to wait up for him,
Jonathan, I specifically told you --
JONATHAN
He was over at the Wheelers’ all
day. I’m sure he just stayed over.
JOYCE
Seriously Jonathan? Seriously?
JONATHAN
I’m sorry --
JOYCE
Fuck!
Joyce grabs the kitchen wall phone. Mashes a number.
INTERCUT WITH:
Ratings
Scene 12 - Morning Chaos
A WALL PHONE RINGS at the Wheelers. It is chaos over here.
Mike is grabbing SYRUP from a cabinet; Nancy is eating
scrambled eggs, HOLLY, 3, is crying; Ted is watching the
morning news; and now the phone is ringing. The fucking
phone.
Karen answers. Holly squirms in her arms.
KAREN
Hello?
JOYCE
Karen -- it’s Joyce.
KAREN
Joyce, hi --
Behind her, Mike pours syrup onto his scrambles eggs.
NANCY
That’s disgusting.
MIKE
It’s good, swear.
Mike squeezes some onto Nancy’s TV
eggs.
Calling - For educational purposes only
18.
NANCY
WHAT THE FUCK MIKE?!
TED
HEY! LANGUAGE!!
Karen puts the phone on her shoulder. She can’t hear Joyce.
KAREN
QUIET!
(back to Joyce)
I’m sorry, one of those mornings --
JOYCE
Was that Will I heard back there?
KAREN
Will? No, no -- just Michael.
JOYCE
Will didn’t spend the night?
KAREN
...No. He, he left here a little
after eight.
(worried now)
He’s not home?
Ratings
Scene 13 - Mounting Concerns and Schoolyard Antics
Joyce tries to hide her panic.
JOYCE
I -- I was working late last night.
I’m sure he just left early for
school. Thanks... thanks Karen --
Joyce hangs up the phone.
She looks scared. And so does Jonathan.
He races for the door. Throws on a dark coat.
JOYCE (CONT’D)
Where are you going?
JONATHAN
To look for Will.
JOYCE
Jonathan wait --
JONATHAN
Call the school. TV Calling - For educational purposes only
19.
The door slams shut.
EXT. MONTAUK MIDDLE SCHOOL - MORNING
EEEEEEEEE! AN ELECTRONIC BELL BLARES.
We are outside MONTAUK PUBLIC SCHOOL, a quaint one-story
brick building. An American flag waves in the breeze.
Mike pulls up on his bike. He slots it into a bike rack.
VOICE (O.S.)
Holy shit Wheeler!
Mike looks up to find two older kids, JAMES and TROY, 14,
striding over to him. They’re staring at his birthmark.
TROY
I think it grew over the weekend!
JAMES
You really gotta get that looked
at, Wheeler! Might be cancer or
some shit!
They laugh. Mike simply ignores them. This is a regular
occurrence and this is how he handles it: with passivity.
Today, at least, it works: James and Troy shove past him.
Lucas pulls up on his bike. Glares at the bullies.
LUCAS
Assholes.
Mike shrugs it off like it’s no big deal, even though it
clearly is. But his mood brightens when he spots...
JENNIFER HAYES. Freckled, cute, with a gaggle of POPULAR
FRIENDS.
Lucas punches Mike in the arm.
LUCAS (CONT’D)
Jesus, Mike! Reflections!
MIKE
What?
LUCAS
Reflections. Use them, remember?
You can’t just stare like some
creeper.
TV Calling - For educational purposes only
20.
MIKE
I wasn’t staring.
The boys begin to walk toward school.
MIKE (CONT’D)
You seen Will around?
LUCAS
No -- why?
MIKE
I don’t know -- his mom called this
morning, looking for him.
LUCAS
I’m sure he’s just in class.
MIKE
Yeah...
Mike’s gaze drifts back over Jennifer.
Lucas punches him again.
LUCAS
REFLECTIONS!
Ratings
Scene 14 - High School Anticipation
Nancy gauges her reflection in the rearview mirror.
She is in the driver’s seat of a HAND-ME-DOWN 1972 STATION
WAGON. “Crazy Little Thing Called Love” by Queen plays on the
radio. She fusses over herself, carefully applying her
mascara and blush, but she is unhappy with everything.
The song begins to skip. The radio signal stutters.
Nancy looks down at in confusion. What the hell?
A WARNING BELL BLARES. Out of time. Fuck.
EXT. LONG ISLAND HIGH SCHOOL - A FEW MINUTES LATER
Nancy exits the station wagon and hurries toward school.
INT. MONTAUK HIGH SCHOOL - MORNING - LATER
Nancy wades through a bustling hallway.
BARBARA, 16, her best friend, braces, catches up.
BARBARA TV Calling - For educational purposes only
So? Did he call?
21.
NANCY
Keep your voice down --
BARBARA
Did he?!
Nancy shakes her head. Walks up to her locker.
NANCY
I told you, he doesn’t like me.
Barbara shoots her a look.
NANCY (CONT’D)
Okay, I mean, yes, fine, he likes
me, you know, but not like that --
Nancy silences. There is a FOLDED NOTE taped to the inside
her locker. It is addressed “NANCY.” She opens it. It reads:
MEET ME. GIRLS BATHROOM. STEVE.
Nancy looks up at Barbara. Speechless.
BARBARA
You were saying, Nance?
Ratings
Scene 15 - Flirtatious Encounter
Nancy slips into the girl’s bathroom. It looks vacant.
WHOOM! Someone grabs her and spins her around. It is...
STEVE HARRINGTON, 17, wealthy, athletic, charm to spare.
NANCY
Steve! SHIT. You scared me.
She playfully shoves him back, but Steve just moves closer.
He puts his hands on her waist and kisses her on the mouth.
NANCY (CONT’D)
Steve -- What are you doing...?
He kisses her again. Nancy blushes and shrinks away.
NANCY (CONT’D)
...Have you been drinking? Steve?
Steve doesn’t answer. He just kisses her some more. Body
pressing up against hers. Nancy gives in, consumed by
hormonal lust, when...
THE BELL RINGS AGAIN. FINAL WARNING.
TV Calling - For educational purposes only
22.
Nancy crashes back to reality. She quickly pulls away from
Steve and hurries toward the door. Completely flustered.
NANCY (CONT’D)
I -- I have to go --
But Steve grabs her hand, holding her back.
STEVE
Five more minutes --
NANCY
I can’t -- I have Mrs. Kreitzberg
first period, she always gives a
pop quiz --
STEVE
What about tonight?
NANCY
What -- ?
STEVE
There’s gonna be bonfire at Turtle
Cove. Chrissy’ll be there, Donna,
so will Tommy L. and Tommy H. --
NANCY
I... I have a chemistry test
tomorrow --
STEVE
What’s your GPA again? Three point
ninenineineninenine-- ?
NANCY
Shut up!
STEVE
Come on. It’ll be good times.
She hesitates. Wavering.
NANCY
Can I bring Barb?
STEVE
Bring Mrs. Kreitzberg for all I
care.
NANCY
(laughs)
Maybe.
TV Calling - For educational purposes only
23.
STEVE
Maybe you’ll bring Mrs. Kreitzberg?
Or maybe you’ll come?
NANCY
Just... Maybe.
Nancy hurries out of the bathroom. Trying to hide her smile.
Steve grins. He knows he got her. Hook, line, and sinker.
Ratings
Scene 16 - Morning at the Montauk Police Station
An American flag flutters in the wind. High on a flagpole.
We are outside the MONTAUK POLICE STATION. It is quaint. As
in, really quaint. If the sign out front didn’t read
POLICE, you’d probably mistake it for a gift shop.
A CHEVY BLAZER POLICE CAR squeals into the lot.
Hopper exits. Dragging on another cigarette.
Still hungover.
EXT. MONTAUK POLICE STATION - MORNING
Hopper lumbers inside. Beelines for the coffee machine.
DEPUTIES CALLAHAN and DEPUTY POWELL look up from a game of
five card draw, their cowboy boots kicked up on their desks.
The mood here is casual, to say the least.
DEPUTY CALLAHAN
You look like shit, Chief.
HOPPER
Your wife looked worse when I left
her.
Hopper begins to make himself a cup of coffee.
His secretary, FLORENCE, 61, approaches. Pad and pen in hand.
FLORENCE
Tell your boys to get their feet
off the desk. This in’t a barn.
Hopper snaps his fingers. The Deputies roll their eyes but
oblige.
Florence adjusts her glasses and consults a note pad.
TV Calling - For educational purposes only
24.
FLORENCE (CONT’D)
While you were sleeping or drinking
or whatever it is you deem so
important on Monday mornings, Carl
Blackburn came by the office, says
he saw Earl and his boys
spearfishing --
HOPPER
(won’t look into it)
Tell him I’ll look into it --
FLORENCE
-- And Terry Ives called again,
yammering on about some more
activity last night at Camp Hero --
HOPPER
Tell him I’ve seen that Twilight
Zone. No, scratch that, don’t
encourage him. If he calls again,
cite him for wasting my time.
FLORENCE
It is precious.
HOPPER
Damn straight.
Hopper carries his coffee to his office. Florence trails.
FLORENCE
Another thing. Joyce Byers, she
can’t find her son this mornin’ --
HOPPER
(won’t look into it)
I’ll look into it.
Hopper walks into his office. He crashes to a stop.
Joyce is already in his office.
And she doesn’t look happy.
Ratings
Scene 17 - A Mother's Plea
WHAP! WHAP! WHAP! Type hammers slam ink onto a police report.
A single, ominous word forms one letter at a time: “MISSING.”
Hopper looks up from the typewriter. He now has on a pair of
reading glasses, which lend him a more earnest look. His
desk, however, shatters the illusion; it’s
TV Calling cluttered
- For withpurposes only
educational
PAPERS and MUGS and CANDY WRAPPERS, like the desk of a child.
25.
Joyce paces. Dragging on cigarette. She’s on edge. So far out
she might just fall right off.
JOYCE
I’ve been waiting an hour --
HOPPER
And I apologize again --
JOYCE
A GODDAMN HOUR --
HOPPER
I understand. But a boy his age,
most likely he’s playing hookie --
JOYCE
Not my Will, no. He wouldn’t do
that. He’s not like that --
HOPPER
You never know. My mother thought I
was on the debate team, when really
I was screwing Chrissy Carpenter in
the back of my dad’s boat --
JOYCE
Will’s not like you. He’s not like
me. He’s not like most.
She’s takes another drag on her cigarette. Fights tears.
JOYCE (CONT’D)
He’s got a couple of friends. But
everyone else, they -- they make
fun of him. Call him names, laugh
at him, his clothes --
HOPPER
His clothes? What’s wrong with his
clothes?
JOYCE
Too... too colorful -- I, I don’t
know. Does it fucking matter?
HOPPER
Maybe.
Joyce takes another drag.
JOYCE
He’s just... different, alright?
Lonnie... Lonnie always said he- was
TV Calling For educational purposes only
queer -- called him a fag.
26.
HOPPER
Is he?
JOYCE
What?
HOPPER
A fag.
JOYCE
He’s missing. That’s what he is.
Hopper scratches his stubble.
HOPPER
You hear from Lonnie lately?
Joyce hesitates. This is an uncomfortable subject.
JOYCE
He was in Philly last I heard. That
was ‘bout a year ago. But he’s got
nothing to do with this. He doesn’t
give two shits about that boy.
Hopper rummages around his desk. Unearths a pen and a pad.
HOPPER
What’s his number?
JOYCE
I told you, Lonnie’s got nothin to
do with this --
HOPPER
Kid goes missing, ninety-nine times
outta a hundred the kid’s with a
parent or relative --
JOYCE
What about the other time?
HOPPER
What?
JOYCE
You said ninety-nine outta hundred.
What about the other time? The one.
Hopper removes his reading glasses. Leans forward.
HOPPER
This is Montauk, Joyce. In four
years, you know the worst thing- For educational purposes only
TV Calling
I’ve seen? You know what it was?
(MORE)
27.
HOPPER (CONT'D)
(beat)
When that seagull attacked Eleanor
Gillepsie. Thought her hair was a
nest. Was about five seconds from
shittin’ an egg when we showed.
Hopper chuckles at the memory. Trying to lighten the mood.
Joyce begins to relax a little. But only a little.
JOYCE
I’ll call Lonnie. He’ll talk to me
before he talks to a --
HOPPER
Pig?
JOYCE
Cop.
Joyce sits down. She snuffs her cigarette in an ashtray. Then
she looks back up at Hopper. Her eyes are bloodshot. Glassy.
JOYCE (CONT’D)
You find my son, Hop. Find him.
Hopper takes this in. All at once he feels burdened with a
responsibility he doesn’t want. He finds his composure,
nudges his glasses back on his nose, and resumes typing.
WHAP! WHAP! WHAP! Hammer type SLAMS paper.
Ratings
Scene 18 - Eleven's Vanishing
WHAP! WHAP! WHAP! Shoes SLAM tile.
THREE AGENTS stride briskly down Camp Hero’s underground
tunnel. They wear gloves, gas masks, plastic overshoes.
INT. CAMP HERO - LABORATORY - DAY
The Agents enter the laboratory. Or what still remains of it.
MEDICAL OFFICERS IN HAZMAT SUITS place bloody body parts into
plastic bags, mop up blood, and remove charred equipment.
AGENT ONE removes his gas mask.
He has slicked back hair. Piercing green eyes.
AGENT TWO
Sir, your mask --
Agent One ignores him. He walks TV
over to the
Calling ISOLATION
- For TANK.
educational purposes only
28.
He opens its cylindrical roof. A ladder slithers down into
water. A TANGLE OF WIRES and ELECTRODES float on the surface.
This tank once held someone. Something?
He turns back to the others.
AGENT ONE
Where is Eleven?
AGENT THREE
We don’t know.
Agent One considers.
His gaze shifts to a SURVEILLANCE CAMERA on the ceiling.
Ratings
Scene 19 - Surveillance Footage Revelation
An ENGINEER toggles through SURVEILLANCE FOOTAGE.
The Agents stand behind him. Making him nervous.
ENGINEER
Okay, this is it...
The Engineer hits play.
Low definition video shows us the LABORATORY from last night,
only now we are back in time; the scientists are still very
much alive, huddled around that strange metal door frame.
There is a confusion of activity, shouting, followed by a
VIOLENT BURST OF A LIGHT. It looks like an explosion. Then...
HISS! Static engulfs the surveillance image.
Beneath this static, we glimpse SHADOWED MOVEMENT. But just
for a few frames. And then the static dissipates to reveal...
The scientists dead on the ground. Blood everywhere.
One of the scientists climbs to his feet. Still alive.
He staggers out the door and into the corridor.
We are back to the beginning of our story.
The video snaps to BLACK.
ENGINEER (CONT’D)
There’s nothing else. All the
cameras -- they just... cut out.
TV Calling - For educational purposes only
29.
AGENT ONE
Go back. Ten seconds.
The Engineer wipes sweat from his forehead. Rewinds.
AGENT ONE (CONT’D)
There.
The Engineer pauses the tape.
AGENT ONE (CONT’D)
Go forward. Four frames.
The Engineer complies. One frame... Two... Three... Four.
There is someone... SOMETHING... captured on the video. It is
obscured beneath static, but we see enough to know that this
is the Figure that Will saw last night. For the first time,
we glimpse its small black eyes, buried in pockets of pale,
withered flesh.
AGENT TWO
(low)
...What the hell is that...?
A beat.
AGENT ONE
Eleven will know.
(beat)
Find her.
Agent One strides away. The door slams shut behind him.
Agents two and three return their gaze to the monitor.
Frightened. The frozen video waves and undulates.
Making the figure appear to bend, stutter.
Making it seem almost...
Alive.
END ACT TWO
TV Calling - For educational purposes only
30.
ACT THREE
Ratings
Scene 20 - The Young Girl and Benny's Fish 'N Fry
A YOUNG GIRL, 10, emerges out of the woods.
She makes an immediate impression on us: Her hair is buzzed
close to the scalp. Her feet are bare. Her skin is pale. She
wears a tattered white hospital gown spattered with BLOOD.
She is more like a wild animal than a child.
EXT. EMPTY ROAD - DAY
The Young Girl pads barefoot down an empty road.
She sees a RUN-DOWN RESTAURANT in the distance.
A rusted sign reads: “BENNY’S FISH ‘N FRY.”
EXT. BENNY’S FISH ‘N FRY - DAY
The Young Girl approaches the restaurant.
She stands on her tiptoes and peers into a smudged window.
BENNY HAMMOND, late 40s, lumbers past the window carrying
THREE PLATES OF FISH AND CHIPS. He has leathery skin, sleeve
tattoos, and a greasy apron wrapped around his waist.
He drops the plates off at a table of ELDERLY REGULARS.
They chain-smoke, speak with thick islander accents.
REGULAR #1
Benny, you hear ‘bout Earl and the
chickens?
BENNY
The chickens? What chickens?
REGULAR #2
Earl, see, he wanted to bring a
crate of chickens ‘board Mundo’s
boat, thought it’d be a fine idea
to feed ‘em to the great whites --
Benny guffaws as Regular #2 continues his yarn.
But the Young Girl is only interested in their food.
She’s starving.
TV Calling - For educational purposes only
31.
Ratings
Scene 21 - Caught in the Act
The Girl sneaks around the back of the restaurant.
There is a GIANT ROTTWEILER lying out front of the back door.
Its fat belly rises and falls. Rises and falls. It’s asleep.
The Girl watches it for a moment. Makes sure it doesn’t wake.
And then sneaks inside.
INT. FISH ‘N FRY - KITCHEN - MOMENTS LATER
The Young Girl finds herself in a greasy kitchen. FRENCH
FRIES sizzle in a deep fryer. Oil SPITS. She startles.
She hurries past and pushes through a door into...
A STORAGE ROOM.
A RUSTY FREEZER hums against the back wall.
The Girl yanks back on the handle. It yawns open.
Her eyes shoot wide. The shelves are packed with FRESH FISH.
She snatches up a DEEPWATER COD. So big that she can hardly
hold it in her tiny hands. She turns it over onto its side,
studies it, smells it. Has she never seen fish before?
She bites its fat glistening belly and --
Freezes again. Listening.
BENNY (O.S.)
Sticking with Narragansett, Earl?
REGULAR #2 (O.S.)
Ya gotta ask?
She hears LUMBERING FOOTSTEPS. Someone is coming this way.
She grabs up as many fish as she can carry and --
INT. FISH ‘N FRY - KITCHEN
The Girl charges back into the kitchen. Fish in arms.
Benny spots her. Shouts:
BENNY
HEY -- !
The Girl bolts for the back door.
TV She knocks
Calling - Forover the DEEP
educational purposes only
FRYER and sends a RAIN OF HOT OIL splashing onto the floor.
32.
Benny leaps away. Narrowly avoiding the oil.
BENNY (CONT’D)
SONOFA -- !
EXT. BACK OF BENNY’S RESTAURANT - MOMENTS LATER
WHOOM! The Girl explodes out the screen door and --
Crashes to a halt. THE ROTTWEILER stands in her path. Awake.
It bares its teeth and snarls angrily and --
WHAM! Benny grabs the Girl by the shoulders.
BENNY
Think you can steal from me, boy!
Benny whirls her around. His expression promptly softens as
he realizes that this is no boy at all. It’s also not a girl
either, not exactly, at least not like any he has ever seen.
Regulars #2, drawn by the commotion, steps outside.
REGULAR #2
What’d you catch there, Benny?
Benny looks back at the Young Girl. She writhes in his arms.
He notices her hospital gown. Spattered in BLOOD.
BENNY
...I got no idea.
Ratings
Scene 22 - Science Class Interrupted
MR. CLARKE, 30s, paces in front of a middle school class.
He is magnetic, smart. Handsome too. The girls ogle.
MR. CLARKE
Who here enjoys mysteries?
All of the girls immediately shoot up their hands. Most of
the boys do too, including Mike, Lucas, and Dustin.
MR. CLARKE (CONT’D)
Good, good. Because I want you to
start thinking of this class as an
investigation into the greatest
mysteries known to man. You’ll need
to learn to think beyond your own
senses. This means using your
imagination. TV Calling - For educational purposes only
(MORE)
33.
MR. CLARKE (CONT’D)
I don’t know how many of you
watched Cosmos like I asked...
(more hands)
...You may remember something Carl
Sagan said: ”Imagination will often
carry us to worlds that never were,
but without it... we go nowhere-- “
A SHARP KNOCKING SOUND interrupts. Mr. Clarke turns.
The VICE PRINCIPAL is standing in the doorway.
VICE PRINCIPAL
Sorry to interrupt... may I borrow
Michael, Lucas, and Dustin?
Chief Hopper and Deputy Callahan now step into view.
The stunned class looks from the cops to our kids.
Mike, Lucas, and Dustin stare.
HOPPER (PRE-LAP)
...So you were...racing?
Ratings
Scene 23 - The Boys' Interrogation
Our three boys are now scrunched together on a couch.
Hopper and Callahan sit opposite.
DUSTIN
It was me and him, actually --
LUCAS
My house is the first up -
MIKE
He takes Mirkwood home --
DUSTIN
We were racing on a bet and --
HOPPER
Whoa, whoa, WHOA. One at a time.
(points at Mike)
You. You said he takes... what?
MIKE
Mirkwood --
HOPPER
Mirkwood?
(to Callahan) TV Calling - For educational purposes only
You ever hear of a Mirkwood?
34.
CALLAHAN
Sounds made up.
LUCAS
It’s from Lord of the Rings --
DUSTIN
The Hobbit --
LUCAS
It doesn’t matter -- !
DUSTIN
He asked -- !
HOPPER
Hey! What’d I just say? One at a
goddamn time.
He points at Mike.
HOPPER (CONT’D)
You.
MIKE
Mirkwood. It’s a real road. It’s
just the name that’s made-up --
HOPPER
What’s it’s real name?
MIKE
I don’t know. It’s by Camp Hero.
Where Crook’s Cove and Kerley meet.
Hop jots this information down onto his pad.
HOPPER
Yeah, I think I know it.
MIKE
We can show you --
HOOPER
I said I know it.
MIKE
We could help look --
Hopper looks up at Mike sharply.
HOPPER
No -- after school, you go straight
home. All of you. TV Calling - For educational purposes only
35.
He looks at the other boys. Making eye contact with each.
HOPPER (CONT’D)
That means no biking around looking
for your friend, no investigating,
no nonsense. This isn’t some Hobbit
book. I make myself clear?
(the boys share looks)
I make myself clear?
The boys share looks. Worried. Shaken by his tone.
They nod.