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.
Ratings
Scene 24 - Benny Meets Eleven
SNAP-HISS! An Atlantic Cod fries in oil. Benny tends it.
INT. DINING AREA - MOMENTS LATER
Benny slides a plate of FISH AND CHIPS to the Young Girl.
She is seated at a table in the dining room. It is just her
now; the regulars are gone. Her gown has been replaced with
a “Fish ‘N Fry” T-shirt. It droops to her knees like a dress.
The Young Girl stares at the food with wide eyes.
BENNY
Figured you’re gonna eat my food
anyway, might as well eat it right.
The Young Girl reaches out to pick up the fish but...
BENNY (CONT’D)
I said, right.
Benny splashes HOT SAUCE onto the fish. He nods. “Okay.”
The Girl snatches up the fish and devours it. No utensils.
BENNY (CONT’D)
Your parents forget to feed you?
The Girl doesn’t respond. Just keeps eating.
BENNY (CONT’D)
That why you ran away?
Still nothing.
BENNY (CONT’D)
They... hurt you?
TV Calling - For educational purposes only
Nothing.
36.
BENNY (CONT’D)
And... you went to the hospital,
that it? But you got scared, ran
off, found your way here?
The Girl finally looks up at Benny. Has he hit close to the
mark? It seems like she is finally going to speak, but
instead she nudges her empty plate over to Benny.
The message is clear: “more.”
BENNY (CONT’D)
How ‘bout this: you get more, much
as you like, but first, you gotta
answer a few ‘a my questions. We
got a deal?
No response.
BENNY (CONT’D)
We’ll start easy. My name’s Benny.
Benny Henderson.
He holds out his hand. Wraps it around her tiny hand.
BENNY (CONT’D)
Nice to meet ya. And you are...?
Still no response. Benny sighs. He starts to withdraw his
hand when he notices a SMALL TATTOO on the inside of her
lower left wrist. It reads in simple black lettering: 011.
BENNY (CONT’D)
“Eleven”?
The Young Girl yanks her hand away.
BENNY (CONT’D)
What’s that mean?
YOUNG GIRL
No.
BENNY
Well I’ll be damned. She speaks.
(beat, considers)
No? No what?
Still nothing.
BENNY (CONT’D)
Alright, guess “no” more fish then.
Benny takes her plate and startsTVto walks- away
Calling when:
For educational purposes only
37.
YOUNG GIRL
...Eleven.
Benny turns back around.
BENNY
Eleven. Yeah. What’s it mean?
The Young Girl points to herself.
YOUNG GIRL
Eleven.
Ratings
Scene 25 - A Stranger in the Restaurant
Benny is now on a corded phone in the kitchen. Voice hushed.
More food SIZZLES behind him.
BENNY
...All I know is, poor thing’s
scared to death... confused...
(beat)
I’m tellin’ you Flor, she won’t
talk about her parents. She’s been
abused or kidnapped or somethin’.
You gotta get the Chief --
(beat)
I dont give two shits about a
missing kid, I got a found kid
right here -- I am calm --
(beat)
Yeah, yeah, I got a pen.
Benny grabs a pen from his pocket. Scrawls:
SOCIAL SERVICES. 233-555-4176.
BACK IN THE MAIN ROOM,
“Eleven” waits impatiently for the food. Her legs sway
beneath the table. Back and forth. Back and forth.
She becomes aware of a soft, high pitched noise. Eeeee. Eeee.
Eeee. She looks up. It’s the SCREEN DOOR. The wind is gently
blowing it, causing its hinges to SQUEAK. Eeeee. Eeee. Eeeee.
It is incessant. Annoying. Eleven narrows her eyes and --
The door stops mid-swing. Like it somehow froze.
Eleven looks away. Content now.
TV Calling - For educational purposes only
38.
Ratings
Scene 26 - Searching for Will
WHOOSH! TWO POLICE CARS speed down the road.
EXT. FOREST ROAD - DAY
The cars pull off onto the side of the road.
Hopper, Callahan, and Powell step outside.
EXT. MIRKWOOD SHORTCUT - A FEW MINUTES LATER
Hopper trudges down the road, searching for signs of Will.
Behind him, we can see Callahan and Powell. They call out:
CALLAHAN
Will Byers?! WILL BYERS?!
POWELL
WILL -- ?!
Hopper pulls a vial out of his pocket. Pops two more of those
red and blue pills. And...
He suddenly spots something. Kneels down. There are FAINT
SKID MARKS ON THE PAVEMENT. Too narrow for a car. A bike.
He calls out to Callahan and Powell.
HOPPER
Hey, I got something here...
Hopper tracks the skid marks off the road and into...
THE FOREST.
Hop makes his way down the slope. Sure enough, he finds
WILL’S BICYCLE at the bottom. He brushes leaves away,
revealing the front wheel. It is bent, spokes busted.
Callahan and Powell scramble down after him.
CALLAHAN
Shit. That his bike, Chief?
HOPPER
(nods)
Wheel’s busted. Musta crashed.
CALLAHAN
Think he got hurt in the fall?
Hopper looks back up the slope. TV
Squints
Callingin the educational
- For sun. purposes only
39.
HOPPER
Not so hurt he couldn’t make it
home. And a bike to these kids...
that’s like a Cadillac. Doesn’t
make sense he’d leave it out here.
He’d walk it home.
A beat. Then:
HOPPER (CONT’D)
He was in hurry.
Ratings
Scene 27 - Lonnie's Avoidance and Hopper's Arrival
Hopper and the Deputies walk out onto the beach.
A TRAIL OF FOOTPRINTS lead up a dune toward:
The Byers House.
INT. BYERS HOUSE - KITCHEN - AFTERNOON
Joyce paces in the kitchen. Back and forth. Back and forth.
The wall phone is pressed hard to her ear. Its cord stretches
as she walks. She drags hard on a cigarette while it rings on
the other end. And rings. And...
CLICK. The other line picks up.
JOYCE
Lonnie, Thank God. It’s Joyce --
Her face drops. A MUFFLED FEMALE VOICE is on the other end.
JOYCE (CONT’D)
Who is this?
(listens in disgust)
Cynthia?
(beat)
This is Joyce -- Joyce, Lonnie’s ex-
wife. I need to speak to Lonnie --
(beat)
This is an emergency... no, not
later, now bitch --
CLICK. The phone goes dead. Joyce burns with anger.
She dials the number again, mashing each number with her long
fingernails. The phone rings. But this time no one answers.
It goes to message.
TV Calling - For educational purposes only
40.
MALE VOICE (O.S.)
(filtered)
Hey, you’ve reached Lonnie, I’m not
here at the moment but...
Joyce’s rage rises and rises and...
BEEP. Her turn.
JOYCE
Lonnie, it’s Joyce. Some teenage
whore sayin’ she’s your girlfriend
just hung up on me. You don’t call
me back in the next goddamn hour
I’ll report you for not paying
child support I swear to God I will
and I’ll make sure you rot in jail
where you belong you FUCKING PIECE
OF SHIT --
WHAM! Joyce slams the phone down and --
BRRRRING! The phone blares again. That was fast. She answers.
JOYCE (CONT’D)
Lonnie --
But there is no response. Only static. The kitchen lights
flicker, then return to normal. Joyce stares. What the -- ?
BAM BAM BAM. THERE IS A SUDDEN POUNDING ON THE DOOR.
Joyce startles.
MOMENTS LATER.
Joyce swings open the door. Her face drops.
It is Hopper and the Deputies. Hopper has Will’s Bike.
Ratings
Scene 28 - Byers' House Investigation
Hopper and his Deputies search the Byers’ house.
Joyce trails. On edge.
JOYCE
I don’t understand. Why’re you
here?! You’re wasting your time --
HOPPER
He’s got a key to the house?
TV Calling - For educational purposes only
41.
JOYCE
So what? You think I haven’t
checked my own goddamn house -- !
HOPPER
Never said you didn’t.
Hopper inspects the back door. The adjacent wall is dented,
the paint chipped. He opens the door; its handle aligns with
the damaged wall. Someone threw it open. Hard.
HOPPER (CONT’D)
This always here?
JOYCE
Probably. I got two boys. Just look
at this place --
HOPPER
But you’re not sure?
Joyce hesitates. Starts to respond when:
WHIMPERING ECHOES. COMING FROM OUTSIDE.
EXT. BYERS BACKYARD - DAY
Hopper and Joyce step of the screen door.
They find Chester pacing in front of the shed. Whimpering.
HOPPER
This normal?
JOYCE
Just hungry I’m sure. Come on...
Joyce leads Chester back to the house by his collar.
But Hopper doesn’t follow. Not yet.
His eyes turn to the shed.
INT. SHED - MOMENTS LATER
Hopper opens the shed doors. The wood groans.
Even though it is now day, it is still dark in here.
Hop flips a light switch. The naked light bulb hums to life.
He walks up to the rifle wall mount. The rifle is, of course,
missing. He inspects the mount. There are fingerprints in the
dust. Someone was here... recently.
TV Calling - For educational purposes only
42.
BZZZZ! THE LIGHT BULB BEGINS TO FLICKER.
Hopper turns and looks up at the light. It fluctuates,
growing bright, then dim, then bright, then dim, then --
WHOOM. THE LIGHT CUTS OUT. LEAVING US IN DARKNESS.
WE HEAR A FAINT GUTTURAL SOUND. LIKE SOME KIND OF GROWL.
Hopper looks around. The hell is that coming from?
HOPPER
That you buddy? You hungry?
Hop removes a flashlight from his utility belt, clicks it on,
and slowly sweeps its beam across the darkness. He makes out
nothing. But that sound, whatever the hell it is, persists.
It grows louder. Louder. LOUDER STILL. Overtaking all sounds.
The hairs on Hop’s slowly stand up. And then --
The beam illuminates an APPROACHING FIGURE.
Hop reaches for his gun but --
Deputy Callahan steps into the light.
DEPUTY CALLAHN
You deaf? I’ve been callin’ you.
Hopper is too shaken to respond. He looks back at the light
bulb. It flickers back to life. Returning to 48 Watts.
The strange guttural sound is gone. Like it never was.
DEPUTY CALLAHN (CONT’D)
Jesus, Chief. Your ear.
HOPPER
What?
DEPUTY CALLAHN
Your ear.
Hopper touches his ear. It’s bleeding.
Ratings
Scene 29 - Strange Happenings at the Byers' Shed
Hopper upends the vial. Dumping the pills onto the ground.
DEPUTY CALLAHN
You sure you’re alright, Chief?
TV Calling - For educational purposes only
43.
HOPPER
(not fine)
I’m fine.
He shoves the empty vial back into his jacket.
He strides to the Byers house. Moving fast.
Callahan struggles to keep up.
HOPPER (CONT’D)
I want you to call Florence, have
her get a search party together, as
many volunteers as she can muster,
flashlights too --
DEPUTY CALLAHAN
Think we got a problem here?
Hopper doesn’t answer. Uncertain. He turns and looks out at
the woods. The sun is falling. The sky is a bruised purple.
He continues into the Byers house. Callahan follows.
But we don’t. Instead, we return our gaze to the shed. We can
hear that GUTTURAL SOUND again. Low, but definitely there.
We move...
INTO THE SHED.
The light bulb hums and flickers again. Growing brighter.
And that is when we see it. There is something strange on the
far wall. It looks almost like a SPOT OF BLACK MOLD. Only it
is throbbing ever so slightly, and, slowly but surely...
Spreading.
END OF ACT THREE
TV Calling - For educational purposes only
44.
BEGIN ACT FOUR
Ratings
Scene 30 - Family Conflict Amidst Missing Child
HISS! A sprinkler kicks on. Night in the suburbs again.
MIKE (PRELAP)
We should be out there right now.
We should be helping look for him.
INT. WHEELER HOUSE - NIGHT
The Wheeler family is seated at the dining table.
A hot home cooked meal is before them. But Mike isn’t eating.
KAREN
We’ve been over this. The Chief
said --
MIKE
I don’t care what the Chief said.
KAREN
Michael --
MIKE
He’s not even real police, Mom. We
have to do something -- Will could
be in danger!
KAREN
More reason to stay put.
MIKE
Mom --
KAREN
End of discussion.
Mike looks away, upset. The family resumes eating in silence.
Or, rather, some of them do. Nancy just moves her food around
with a fork. Then, in as casual a tone as she can summon:
NANCY
So... me and Barb... we’re gonna
study for the chemistry test at her
house tonight. That’s cool, right?
Karen looks up from her meal.
KAREN
No. Not cool.
TV Calling - For educational purposes only
45.
NANCY
What?! Why not?
KAREN
Why do you think? Am I speaking
Chinese in this house? Until we
know Will’s okay, no one leaves.
NANCY
So we’re under house arrest?
KAREN
Don’t be dramatic, Nancy.
NANCY
This is such bullshit!
TED
Language!
NANCY
Barb lives two minutes away, just
because Mike’s stupid friend got
lost on his way home --
MIKE
This is Will’s fault -- ?!
KAREN
Nancy, take that back --
NANCY
No!
MIKE
You’re just pissed because you
wanna hang out with Steve --
TED
Steve?
KAREN
Who is Steve?
MIKE
Her new boyfriend --
NANCY
FUCK YOU MIKE --
TED
LANGUAGE!!!
Nancy shoves out of her chair. Storms off.
TV Calling - For educational purposes only
46.
KAREN
Nancy! Come back! NANCY!
But Nancy is already bounding up the stairs to her bedroom.
Karen wants the follow her but can’t; the argument has caused
Holly to cry. Karen picks her up and rocks her in her arms.
KAREN (CONT’D)
There, there, shhhh...
TED
See, Michael. This is what happens.
MIKE
What happens when what? I’m the
only one acting normal here -- I’m
the only who cares about Will!
Ted takes a bite out of a chicken drum. Chews.
TED
That’s not fair, Michael. We care.
Mike stares at his dad. He can’t take his apathy, not
tonight. He stands up from the table and hurries off.
Holly cries louder. Ted continues to chew.
Karen shoots daggers at him.
KAREN
I hope you’re enjoying your
chicken, Ted.
She carries Holly out of the room. Ted is now alone.
TED
Hey? What’d I do? Karen? Karen?!
Ratings
Scene 31 - The Search Continues
A constellation of flashlights glimmer in the night.
Over two dozen SEARCH AND RESCUE VOLUNTEERS are scouring the
forest for Will. They wear orange vests, grave expressions.
We find Hopper. Mr. Clarke walks at his side.
MR. CLARKE
He’s a good student.
Hopper turns. Surprised this man is speaking to him.
TV Calling - For educational purposes only
47.
HOPPER
What’s that?
MR. CLARKE
Will. He’s a good student. A great
one, actually. I can’t fathom him
getting into any kind of trouble.
Hopper nods. Looks away.
Mr. Clarke offers his hand.
MR. CLARKE (CONT’D)
I don’t think we’ve met. Scott
Clarke. I teach at Montauk middle.
Earth and Biology --
Hopper shakes his hand. Then averts his gaze.
HOPPER
Always had a distaste for science.
MR. CLARKE
Maybe you had a bad teacher.
HOPPER
Ms. Ratliff was a nasty piece of
work.
MR. CLAKRE
Ratliff? You bet. She’s still
kicking around, believe it or not --
HOPPER
Oh I believe it. Mummies don’t die,
or say they tell me.
Mr. Clarke smiles softly.
MR. CLARKE
So you’re local?
HOPPER
Class of fifty eight.
MR. CLARKE
Sixty two. Just missed each other.
They walk for another beat. Hopper seems lost in thought.
HOPPER
Sara, my daughter. Galaxies, the
universe, whatnot, she always
understood that stuff.TVMaybe she
Calling - For educational purposes only
got it from her mother, I dunno.
(MORE)
48.
HOPPER (CONT'D)
There’s enough shit down here, I
don’t need to go lookin’ elsewhere.
MR. CLARKE
Your daughter. What grade is she?
Maybe I’ll get her in my class.
HOPPER
She lives in the city. With her
mother.
MR. CLARKE
Oh.
Hopper slaps Mr. Clarke on the back.
HOPPER
Thanks for coming out, teach.
Appreciate it.
Hopper picks up his pace, leaving Mr. Clarke behind.
A nearby VOLUNTEER whispers to Mr. Clarke:
VOLUNTEER #1
She passed a few years back.
MR. CLARKE
Sorry?
VOLUNTEER #1
His kid.
Mr. Clarke darkens. He looks back at Hopper.
He is a distant silhouette now.
Ratings
Scene 32 - Mike's Concerns
The Demogorgen gazes at us. Four angry eyes.
Mike is lying down by the Dungeons and Dragons map. He looks
worried and restless. He examines the field of miniatures.
The Troglodytes... the knight.. the dwarf... and the wizard.
He picks up the wizard. Studies it. Considering.
MIKE (V.O.)
Lucas? It’s Mike. You copy? Lucas?
MOMENTS LATER.
Mike is now at his desk. Calling into a WALKIE-TALKIE.
TV Calling - For educational purposes only
Lucas finally answers. His voice crackles.
49.
LUCAS (O.S.)
Hey, it’s Lucas.
MIKE
I know it’s you. And say “over”
when you’re done talking or I don’t
know you’re done. Over.
LUCAS (O.S.)
I’m done. Over.
MIKE
I’m worried about Will. Over.
LUCAS (O.S.)
No shit. This is crazy. Over.
MIKE
I was thinking... Will could’ve
cast Protection last night. But he
didn’t. He cast Fireball. Over.
LUCAS (O.S.)
What’s your point? Over.
MIKE
My point is... he could’ve played
it safe. But he didn’t. He put
himself in danger to help the
party. Over.
A very long beat. Then:
LUCAS (O.S.)
Meet me in ten. Over and out.
MOMENTS LATER.
Mike jams a few flashlights into his backpack.
Ratings
Scene 33 - Midnight Encounter
Mike sneaks downstairs. The stairs moan.
He peers into the living room. His dad is once again
fidgeting with the television. The picture fluctuates
with static. He pounds the side of the box in anger.
Mike hurries past. Unnoticed.
EXT. BYERS HOUSE - NIGHT
Mike wheels his bike out of the garage.
TV Calling - For educational purposes only
WHAM! A SHADOWED FIGURE suddenly drops down behind him.
50.
He startles, but it’s only Nancy. She climbed down a drain
pipe.
MIKE
Jesus!
NANCY
How’d you get out here, freak?!
MIKE
The back door.
Nancy looks back at the drain pipe.
NANCY
Shit.
(back to Mike)
You’re not looking for Will are
you?
MIKE
You’re not seeing Steve are you?
A beat.
NANCY
Don’t tell mom.
MIKE
You don’t tell mom.
Mike spits in his hand. Holds it out.
NANCY
That’s disgusting.
A STATION WAGON flashes its lights up ahead. A signal.
NANCY (CONT’D)
Barb’s here. I gotta go. Don’t do
anything stupid.
MIKE
You have to shake on it or it
doesn’t count! Nancy!
But Nancy is already gone. She climbs into Barbara’s car.
Mike wipes the saliva off in his jeans, climbs on his bike,
and pedals off into the night.
Above him, a street lamp flickers.
TV Calling - For educational purposes only
51.
Ratings
Scene 34 - Bonds of Trust
A light flickers inside the FISH N FRY.
INT. BENNY’S FISH ‘N FRY - KITCHEN - NIGHT
Benny glances at the light. Then returns to cleaning dishes.
Eleven sits cross-legged on the floor. She is feeding his
rottweiler strips of raw fish. They’re best friends now.
BENNY
Make sure he doesn’t get any bones
now. Don’t want him to choke.
Eleven feeds the dog one last strip of meat. The dog gobbles
it up, then licks her on the lips. She recoils, then smiles.
For the first time this day, she seems like an actual kid.
Benny notices. Knocks off the faucet.
BENNY (CONT’D)
A smile looks good on ya.
Eleven stares at him. Confused.
BENNY (CONT’D)
A smile.
Benny gives a big smile. Eleven smiles back.
ELEVEN
Good.
BENNY
Yeah, it is good.
She shakes her head. “No.” Then she points at him.
ELEVEN
Good.
BENNY
Me?
Benny can’t help but chuckle.
BENNY (CONT’D)
A know a few ladies who’d beg to
differ.
Benny rolls up his sleeve. There are names tattooed on his
arm. SHARON, BETTY, CAROL ANN. His exes. Mostly.
TV Calling - For educational purposes only
Eleven points at a male name: “TOMMY.”
52.
ELEVEN
...Brother.
Benny stares. His heart skips a beat. His voice catches.
BENNY
...What’d you say?
ELEVEN
Little brother.
Eleven smiles again. But Benny does not. He is flustered
and confused. He finally starts to speak when he hears...
THE SOUND OF TIRES ON GRAVEL. Headlights sweep past the
window.
Eleven tenses. Nervous.
BENNY
Just... stay put. Whoever it is,
I’ll turn ‘em away, a’ight?
Ratings
Scene 35 - Benny's Demise
Benny lumbers into the dining room. He opens the front door.
A RED-HAIRED WOMAN, 40, approaches. She smiles warmly.
RED-HAIRED WOMAN
You must be Benny. Benny Henderson?
BENNY
‘fraid so. Also ‘fraid we closed
shop early tonight. Why don’t you
try back tomorrow --
Benny starts to shut the door, but the woman extends a hand.
RED-HAIRED WOMAN
Connie Frazier. Social services.
Benny stops. Opens the door back up. Embarrassed.
BENNY
Social services. Shit. Apologies.
He takes her hand. His grip is firm.
BENNY (CONT’D)
Didn’t think you were gonna make it
here so quick. That’s a heckuva
drive.
TV Calling - For educational purposes only
53.
CONNIE
Not too bad this time of night.
Benny nods. Lowers his voice.
BENNY
Listen. I still haven’t told her
about you. I didn’t want her
runnin’ off again. She’s a tad...
skittish.
CONNIE
Children I work with usually are.
(smiles)
Where is she now?
BENNY
In the back. I’ll introduce ya.
Benny turns and lumbers toward the kitchen.
BENNY (CONT’D)
Apologies again for trying to turn
you away. It’s funny, your voice,
it sounded different on the --
A HOLE SUDDENLY ERUPTS IN BENNY’S FOREHEAD. BLOOD SPRAYS.
HIS BODY GOES LIMP AND HE CRASHES TO THE GROUND WITH A HEAVY
THUD. A POOL OF BLOOD SPREADS FROM THE WOUND ON HIS HEAD.
HIS BODY TWITCHES. THEN STILLS.
HE IS DEAD.
Behind him: “Connie” holds a silencer pistol.
A GROUP OF ARMED MEN sweep into the door behind her.
These aren’t social workers.
These are Agents.
Ratings
Scene 36 - Eleven's Escape
Three Armed Agents sweep into the kitchen.
Two more enter from the back door.
WOOF! The rottweiler suddenly explodes out of shadows and
lunges at them with an angry roar. Agent One fires and --
POP! Drills the dog’s head. It skids to the floor. Dead.
TV Calling - For educational purposes only
Agent One quietly surveys the kitchen. Looking for Eleven.
54.
His eyes lock onto the STORAGE CLOSET. A dim shadow moves
beneath the door. He makes a hand signal, alerting the
others. Guns raise. All this caution for one little girl?
They take one step toward the closet. Two steps. Three. Four.
Agent One holds up his hand. The others stop.
His eyes fix on the hinges of the door. Impossibly, the metal
is pushing outward. Bending. As if the door is under immense
pressure.
AGENT TWO
Eleven --
WHOOM! THE DOOR EXPLODES -- BLOWING RIGHT OFF ITS HINGES --
THE DOOR SLAMS INTO THE AGENTS -- KNOCKING THEM DOWN LIKE
BOWLING PINS -- THEIR GUNS SCATTER ACROSS THE FLOOR -- WOOD
SHRAPNEL HITS AGENT ONE IN THE FACE -- TEARING HIS LEFT CHEEK
OPEN -- HE FALLS TO THE GROUND WITH A PAINED SCREAM -- AND --
Eleven bursts out of the closet. Her eyes dart.
She spots the dead dog.
Then Benny.
Tears spills down her cheeks. Mixing with the blood.
She looks back at the agents. Rolling on the floor in pain.
ELEVEN
Bad.
And then she turns.
And runs.
END ACT FOUR
TV Calling - For educational purposes only
55.
BEGIN ACT FIVE
Ratings
Scene 37 - Beach Bonfire
A BONFIRE RAGES ON THE BEACH. FLAMES LICK THE SKY.
A GROUP OF HIGH SCHOOL STUDENTS are silhouetted against the
fire, drinking, smoking various substances, screwing around.
“Call Me” by Blondie blasts from an idling pick-up truck.
We find Nancy and Barbara in the crowd.
They look out of their element, bobbing awkwardly to the
tune. Nancy takes a sip of her beer. Grimaces. Not a drinker.
She holds the beer out for Barb. Barb waves it off.
BARBARA
I don’t see him -- we should go.
NANCY
We just got here, relax.
Nancy motions to TOMMY H, 16, heavyset, scraggly half-beard.
NANCY (CONT’D)
What about Tommy H?
BARBARA
Ew.
NANCY
Oh come on -- he’s cute. And I
heard he broke it off with Carol --
Nancy shrieks as a PAIR OF HANDS snatch her from behind.
It’s Steve. Of course it’s Steve. His eyes are bloodshot and
flagging. He’s drunk or stoned or both. Probably both.
STEVE
Where’s Mrs. Kreitzberg?!
NANCY
Shut up!
Steve grabs her hand and pulls her away.
NANCY (CONT’D)
Where are we going?! You just got
here! Steve! STEVE!
But Steve doesn’t stop. He breaks into a sprint, dragging
Nancy with him. She laughs giddily, her hair
TV Calling - Forblowing in the
educational purposes only
wind. She glances back at Barb with a wide-eyed smile. Sorry!
56.
Barbara sighs. All alone now.
She looks down at her watch. And waits.
Ratings
Scene 38 - Aggression at Montauk Beach
Mike looks at his watch. Waiting.
He hears VOICES. He looks up to find Lucas and Dustin biking
his way. They pull up next to him.
MIKE
What happened to ten minutes?
LUCAS
Parents were watching M*A*S*H. No
way past.
DUSTIN
Same.
Mike passes Dustin a WALKIE TALKIE.
MIKE
Stay on channel six, just in case,
but no splitting up or anything
stupid like that, okay?
Dustin nods. “Okay.” Mike climbs onto his bike.
LUCAS
Where are we going?
MIKE
Mirkwood.
And with that, Mike pedals out of the neighborhood.
Lucas and Dustin share worried looks.
And then race after him.
EXT. MONTAUK BEACH - TURTLE COVE - NIGHT
Steve and Nancy race across the moonlit beach.
The bonfire burns dimly behind them. Far away now.
Nancy is out-of-breath.
NANCY
Steve! Can you just tell me where
we’re going?! Steve -- ?!
TV Calling - For educational purposes only
57.
STEVE
Right... here!
Steve shoves Nancy onto a sand dune. She shrieks, laughs.
Steve drops on top of her. Begins kiss her all over.
Nancy is overwhelmed. Her laughter fades.
NANCY
Steve, hey, can we just... talk for
a -- a second...
Steve starts to pull her sweater off. She tries to stop him,
but it’s too late. He tosses the sweater off into the sand.
Nancy covers her bra with her arms. Shy -- and cold.
NANCY (CONT’D)
It, it’s freezing...
Steve isn’t listening. He unbuttons her jeans and yanks them
down below her waist. Nancy’s breathing quickens. Her heart
pounds.
Steve removes a condom from his pocket.
NANCY (CONT’D)
Steve... I, I’ve never...
Steve still isn’t listening. Or doesn’t care.
He tears open the condom wrapper.
Ratings
Scene 39 - The Beach
Their silhouetted bodies writhe in the moonlight.
Waves CRASH the shore.
EXT. BEACH - TURTLE COVE - NIGHT
An EXPLOSION OF LAUGHTER.
A very drunk Tommy H. is urinating into the raging bonfire.
Smoke coughs, coals sizzle, everyone think this is hilarious.
Everyone but Barbara. She stares in disgust.
MOMENTS LATER.
Barbara charges down the beach. Call out into the darkness.
BARBARA TV Calling - For educational purposes only
NANCE?! I’M LEAVING! NANCE?!
58.
No answer. Fuck it.
EXT. SIDE OF THE ROAD - NIGHT
Barbara storms back to her car. It’s parked on an empty road.
INT. STATION WAGON - MOMENTS LATER
Barbara leaps in. Turns the keys.
The engine revs, coughs.
BARBARA
Come one, come on...
Barbara turns the keys again. Again. And --
THE RADIO BLASTS TO LIFE. BARB NEARLY JUMPS OUT OF HER SEAT.
The radio begins to cycle rapidly through the stations. The
songs are warped, garbled, static-y. The speedometer rises
and falls, the blinkers flash, the dashboard light stutters.
Barbara looks down. Her arm hairs are standing straight up.
She quickly shuts off the engine and --
Everything stops. Returning to normal.
Barbara stares in confusion. Breathing hard. And...
SMASH! THE WINDOW BEHIND HER SHATTERS.
She screams and --
Ratings
Scene 40 - Strange Phone Call
The VW headlights grow brighter and brighter, so bright they
blind our vision. We hear a SHRIEKING SOUND, pitched so high
it’s almost painful. Just when we think we can’t take it
anymore, the sound fades.
The headlights flicker and dim.
The station wagon is empty.
Barbara has vanished.
EXT. FOREST ROAD - NIGHT
VROOM! Jonathan rides the moped up to his house.
He dismounts and bounds up the porch. As he does, we turn our
gaze to the shed. Chester is once
TV again
Callingpacing by the door.
- For educational purposes only
59.
Back and forth. Back and forth. Back and --
INT. BYERS HOUSE - LIVING ROOM - NIGHT
Jonathan swings open the front door.
He finds his mom sitting cross-legged on the floor. She is
working on a MISSING PERSONS POSTER for Will. Bold red
letters read: “HAVE YOU SEEN ME?”
PHOTOGRAPHS OF WILL are strewn across the floor.
Joyce looks up at Jonathan. Bleary eyed.
JOYCE
Anything?
Jonathan shakes his head. “No.”
JONATHAN
You?
JOYCE
Hopper’s out looking, a bunch of
people are, but...
Joyce fights back tears. Returns to the photographs.
Jonathan sits down beside her and looks over the photographs.
They have been artfully taken by him over the years. There is
a photo of Will building a sand castle... riding a raft...
eating a hotdog at Coney Island... visiting the city...
Jonathan fights back tears. His voice emerges low, choked.
JONATHAN
...I’m sorry.
JOYCE
Sorry? What’re you sorry for?
Jonathan says nothing. Doesn’t feel he needs to.
Joyce takes his hand. Squeezes it.
JOYCE (CONT’D)
Hey. This wasn’t your fault, baby,
you hear me? You hear me?
Jonathan averts his gaze.
JOYCE (CONT’D)
He’s gonna come home soon. I know
it. I know it... because I feel- For educational purposes only
TV Calling
him. I feel him in my heart.
(MORE)
60.
JOYCE (CONT’D)
He’s close. He’s close. You believe
me, Jonathan, right?
Jonathan finally looks at his mom. And nods.
Joyce smiles faintly. She holds up a pair of photographs, one
in each hand. Will on the raft. Will at Coney Island.
JOYCE (CONT’D)
What do you think?
Jonathan considers. Chooses Coney island.
JONATHAN
I... I always liked this one.
Joyce smiles softly.
JOYCE
...Me too.
An emotional beat. Then:
The kitchen phone BLARES TO LIFE.
Joyce and Jonathan look up sharply. News.
MOMENTS LATER - KITCHEN
Joyce grabs up the phone. Her voice tense, strained.
JOYCE
Yes -- hel--hello?
There is no answer. But she can hear the sound of LOW
BREATHING on the other end.
JOYCE (CONT’D)
Lonnie...? Hopper...?
Still no answer.
JOYCE (CONT’D)
Who is this?
Jonathan stands up. Getting worried now.
The SOUND OF BREATHING grows louder.
JOYCE CONT’D)
Who is this?! Answer me!
At last we hear a voice. It sounds very far away.
TV Calling - For educational purposes only
It is the voice of a boy.
61.
DISTANT VOICE
...Mom...
Joyce pales. Tears rush to her eyes.
JOYCE
Will?!! Will?!!
Jonathan races over to his mom.
JOYCE (CONT’D)
Where are you, baby?! Talk to me!
WILL?! WILL?!
But Will’s voice is now gone. In its place...
Another voice. GUTTURAL. INHUMAN. Shifting in pitch.
JOYCE (CONT’D)
WHO IS THIS? WHAT HAVE DONE WITH MY
BABY?! WHAT HAVE YOU DONE?!!
Silence. Then --
A HIGH-PITCHED SHRIEK ERUPTS FROM THE RECEIVER.
Joyce gasps in pain and drops the phone. She looks at her
hand. Her palm is seared and her arm hair is standing
straight up.
She backs away from the phone. Her eyes wide with dread.
Jonathan grabs up phone. His voice shakes.
JONATHAN
Who is this?! WHO IS THIS?!
But the phone line is now dead.
Joyce slumps down to the floor.
She begins to sob.
VOICE (PRE-LAP)
HEELLLLP!
Ratings
Scene 41 - Stranger Encounter
Barbara stumbles out onto the beach.
Her face is pale and blood pours from her nose and ears.
She crashes to a halt. Looks around for help. Desperate.
TV Calling - For educational purposes only
62.
But there is no bonfire. No kids. No party. Yet somehow,
impossibly, she can hear the sound of music, of kids talking,
laughing. Only it all sounds far away. Like a distant memory.
A dense fog has drifted in from the Atlantic and the waves
roll in slowly, much slower than normal, as if the world now
moves at quarter speed. The wet sand is covered in more of
those strange, throbbing growths, and the sky is shrouded in
dark clouds. Electric blue lighting flashes, streaking the
sky, and --
Barbara hears something. Something wet. Guttural.
She turns. And pales. Obscured beneath the fog:
A HORDE OF SHADOWED FIGURES. TALL. DISFIGURED.
One of them walks on all fours.
They are coming this way.
Coming for her.
She screams.
And...
EXT. MIRKWOOD - LATER
WHOOSH! Our boys bike onto “Mirkwood.”
They scan the trees. Calling out:
MIKE
Will?! WILL?!
LUCAS
WILL?!
DUSTIN
I’ve got your Uncanny! 269!
There is no response but the chirp of cicadas.
They bike on in silence for a little while.
Lucas grows impatient.
LUCAS
Why are we even here? My mom says
there’s a whole search party --
MIKE
But they don’t know Will, and he
TV Calling - For educational purposes only
doesn’t know them. He knows us.
63.
LUCAS
So?
MIKE
So what if he’s scared and --
A SHADOWED FIGURE SUDDENLY APPEARS IN THE MIDDLE OF ROAD --
RACING ACROSS THE PAVEMENT -- RACING RIGHT FOR OUR BOYS --
Mike’s eyes shoot wide -- he spins the wheel to the left --
Too fast -- he loses control -- skids --
Dustin and Lucas crash into him --
They all tumble -- and --
WHOOM! SLAM INTO PAVEMENT.
They roll to stop. Dirt coughs.
LUCAS
...What... what was that? Mike?
Mike doesn’t respond. Instead, he climbs to his feet, turns
around, and looks back at the darkened road behind them.
The SHADOWED FIGURE is standing there. Staring right at him.
Mike is wide-eyed. Scared. Slowly, very slowly, he raises his
flashlight and aims it at the figure. The beam illuminates:
A young girl. Bald head. Wild eyes. Fish ‘N Fry T-shirt.
ELEVEN.
She looks at Mike. He looks at her.
Their gaze holds a beat. And then...
A LOW GROWL RUMBLES. Mike hears it.
He looks up at the night sky.
Ratings
Scene 42 - Approaching Storm
Joyce and Jonathan hear it too.
They look out the window with tear stained eyes.
EXT. WOODS - NIGHT
Hopper’s radio crackles to life.
TV Calling - For educational purposes only
64.
CALLAHAN (O.S.)
(filtered )
You hear that Chief?
Hopper doesn’t respond. His eyes fixed on the sky.
We follow his gaze.
RISING UP...
Over his head...
AND UP...
Over Camp Hero base...
AND UP...
Over the shadowed trees...
AND UP...
To the dark silhouetted clouds in the sky above.
A LOW GROWL RUMBLES, just like in the opening scene. But this
time, it grows louder, and louder, shaking our eardrums.
An ELECTRIC BLUE light flashes behind the clouds.
The storm is no longer coming.
It’s here.
END EPISODE
TV Calling - For educational purposes only
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
mike | In the tv_pilot, Mike starts off as a confident and charismatic Dungeon Master, leading his friends with flair. However, as the story progresses and his friend goes missing, Mike's determination and loyalty are put to the test. He becomes more outspoken and emotional, showing bravery in the face of danger and a willingness to confront supernatural threats. By the end of the pilot, Mike has evolved into a brave and assertive leader, ready to do whatever it takes to find his missing friend. | The character arc for Mike is well-developed and engaging, showing a clear progression from a confident Dungeon Master to a brave leader. However, there could be more focus on Mike's internal struggles and emotional growth throughout the pilot. This would add depth to his character and make his transformation more impactful for the audience. | To improve the character arc for Mike, consider adding more scenes that delve into his internal struggles and emotional journey. Show moments of vulnerability and doubt, as well as moments of growth and self-discovery. This will make his transformation into a brave leader more nuanced and compelling for viewers. |
lucas | In the tv_pilot, Lucas starts off as a loyal and practical friend who is quick to jump into action and take charge in challenging situations. As the story progresses, he becomes more confident and competitive, displaying a mix of bravado and vulnerability. Through his interactions with Chief Hopper and the group, Lucas learns the importance of cooperation and teamwork, ultimately becoming a more well-rounded and strategic member of the team. | The character arc for Lucas is well-developed, showing growth and development throughout the tv_pilot. However, there could be more emphasis on his internal struggles and personal growth to make his transformation more impactful for the audience. | To improve the character arc for Lucas, consider adding more scenes that delve into his internal conflicts and vulnerabilities. Show moments of self-doubt or hesitation that highlight his journey towards becoming a more confident and strategic team player. Additionally, explore his relationships with other characters in more depth to showcase his growth and development within the group dynamic. |
dustin | Throughout the tv_pilot, Dustin starts off as the playful and competitive friend, always up for a challenge. As the story progresses, he evolves into the voice of reason within the group, using his logical and analytical skills to navigate challenges and provide strategic solutions. By the end of the pilot, Dustin learns to balance his playful nature with his newfound sense of responsibility, becoming a key member of the group who can offer both humor and practicality. | The character arc for Dustin is well-developed and allows for growth and depth throughout the tv_pilot. However, there could be more emphasis on his transition from being solely the playful and competitive friend to also being the voice of reason. This shift could be highlighted through specific moments where Dustin's strategic thinking and logical approach shine through, showcasing his evolution more clearly. | To improve the character arc for Dustin, consider incorporating more scenes that specifically highlight his logical and analytical skills in action. Show moments where his strategic solutions prove to be crucial in overcoming obstacles, demonstrating his growth and development as a character. Additionally, explore deeper into the internal conflict Dustin may face as he balances his playful nature with his newfound sense of responsibility, adding complexity to his character arc. |
will | Will starts off as a cautious and thoughtful wizard who is hesitant to take risks but loyal to his friends. However, as he encounters a mysterious entity outside his house, he undergoes a transformation from curiosity to fear and desperation. This experience challenges his sense of bravery and vulnerability, ultimately leading him to confront his fears and find inner strength to protect himself and his family. | The character arc for Will is well-developed, showcasing his growth from a cautious and thoughtful individual to a brave and determined young boy. However, there could be more consistency in his character traits throughout the pilot to make his transformation more impactful. | To improve the character arc, consider incorporating more moments where Will's cautious nature is tested and challenged, leading to gradual development of his bravery and determination. Additionally, ensure that his speaking style remains consistent with his character traits to enhance the audience's connection with his emotional journey. |
nancy | In the tv_pilot, Nancy starts off as a confident and assertive teenager who values her independence and privacy. As the story progresses, she begins to confront her insecurities and vulnerabilities, ultimately finding a balance between asserting herself and succumbing to external pressures. Through her interactions with her friends and family, Nancy learns to navigate the complexities of teenage life and relationships, ultimately growing into a more self-assured and resilient individual. | The character arc for Nancy is well-developed and allows for growth and development throughout the tv_pilot. However, there could be more clarity in showcasing Nancy's internal struggles and conflicts, as well as her journey towards self-discovery and empowerment. Additionally, providing more depth to Nancy's relationships with other characters could enhance her character arc and make her more relatable to the audience. | To improve the character arc for Nancy in the tv_pilot, consider incorporating more internal monologues or voiceovers to showcase her inner thoughts and emotions. This can help the audience better understand Nancy's struggles and conflicts, as well as her growth throughout the story. Additionally, explore more nuanced interactions between Nancy and other characters to highlight her relationships and how they impact her journey towards self-discovery and empowerment. |
joyce byers | In the tv_pilot, Joyce Byers starts off as a hardworking single mother struggling to balance work and family life. When her son goes missing, she is consumed by fear and determination to find him, leading her on a frantic search. Throughout the episode, Joyce's character evolves from a stressed and overwhelmed mother to a fierce and relentless protector willing to do anything for her child. | The character arc for Joyce Byers is well-developed and engaging, showcasing her transformation from a struggling mother to a determined protector. However, there could be more depth added to her character by exploring her backstory and motivations further. Additionally, more moments of vulnerability and reflection could help to humanize Joyce and make her more relatable to the audience. | To improve the character arc for Joyce Byers in the tv_pilot, consider incorporating flashbacks or dialogue that provide insight into her past experiences and how they have shaped her as a mother. Show moments of vulnerability and doubt to highlight the emotional toll of her situation. Additionally, allow Joyce to form meaningful connections with other characters that can support and challenge her throughout the series. |
joyce | In the tv_pilot, Joyce starts off as a worried and frantic mother, driven by desperation to find her missing son. As the story progresses, she becomes more determined and strong-willed, willing to do whatever it takes to uncover the truth behind Will's disappearance. By the end of the pilot, Joyce has transformed into a fierce and relentless force, unyielding in her pursuit of answers and justice for her son. | The character arc for Joyce in the tv_pilot is well-developed and effectively showcases her evolution from a worried mother to a determined fighter. However, there could be more emphasis on Joyce's internal struggles and emotional journey throughout the pilot to further deepen her character development. | To improve the character arc for Joyce, consider incorporating more moments of vulnerability and introspection to highlight the emotional toll of her son's disappearance. Show her grappling with feelings of guilt, doubt, and fear, which can add layers to her character and make her arc more compelling. Additionally, explore her relationships with other characters to provide further insight into her motivations and actions. |
jonathan | In the tv_pilot, Jonathan starts off as a conflicted character struggling with his responsibilities and desire for independence. As the search for his missing brother, Will, intensifies, Jonathan's protective nature and emotional depth come to the forefront. He becomes more determined and willing to confront the unknown forces threatening his family. By the end of the pilot, Jonathan learns to balance his responsibilities with his desire for independence, becoming a stronger and more assertive character. | The character arc for Jonathan is well-developed, showcasing his growth and transformation throughout the pilot. However, there could be more emphasis on his internal struggles and how they impact his relationships with other characters. Additionally, his speaking style could be more consistent to better reflect his character development. | To improve the character arc, consider incorporating more scenes that delve into Jonathan's internal conflicts and how they shape his actions and relationships. Develop a more consistent speaking style for Jonathan that evolves along with his character growth. Additionally, explore opportunities for Jonathan to have more direct confrontations with the unknown forces threatening his family, showcasing his determination and protective nature. |
barbara | Barbara's character arc in the tv_pilot begins with her as a confident and outspoken friend, but as she gets involved in the supernatural events, she becomes more introspective and cautious. By the end of the pilot, Barbara has transformed into a more complex character who is grappling with the newfound knowledge of the supernatural world around her. | The character arc for Barbara is well-developed and allows for growth and complexity. However, there could be more exploration of her internal struggles and conflicts as she navigates the supernatural events. Additionally, more emphasis on her relationship with Nancy and how it evolves throughout the pilot could add depth to her character arc. | To improve Barbara's character arc, consider adding scenes that delve deeper into her internal struggles and conflicts as she comes to terms with the supernatural events. Show more interactions between Barbara and Nancy to highlight the evolution of their friendship and how it is impacted by the events unfolding. This will help to further develop Barbara's character and make her arc more compelling for viewers. |
steve | In the tv_pilot, Steve starts off as a charismatic and charming high school student who uses his confidence and charisma to manipulate and get what he wants. However, as the story progresses, his impulsive and reckless behavior leads to consequences that force him to confront his actions and the impact they have on those around him. Through self-reflection and growth, Steve learns to consider others' feelings and become more empathetic and responsible. | The character arc for Steve is well-developed, showing a clear progression from a manipulative and reckless individual to someone who learns from his mistakes and grows as a person. However, it would be beneficial to provide more depth to Steve's motivations and inner struggles that drive his behavior. This will make his transformation more impactful and relatable to the audience. | To improve the character arc, consider incorporating flashbacks or internal monologues that delve into Steve's past experiences and traumas that contribute to his behavior. This will add layers to his character and help the audience understand the root of his actions. Additionally, show more moments of vulnerability and self-reflection for Steve to make his growth more authentic and compelling. |
chief hopper | Chief Hopper starts off as a hungover and nonchalant police chief but quickly becomes serious and dedicated to solving the case of the missing child. As he investigates further, he uncovers a strange phenomenon in the shed, which challenges his investigative skills and determination. Throughout the pilot, Hopper's character arc evolves from a competent and responsible police chief to a determined and resourceful investigator committed to protecting his community. | The character arc for Chief Hopper is well-developed and engaging, showcasing his transformation from a nonchalant police chief to a dedicated investigator. However, to enhance the character arc, there could be more emphasis on Hopper's personal struggles or conflicts that he must overcome in order to solve the mystery. This would add depth to his character and make his journey more compelling for the audience. | To improve the character arc for Chief Hopper, consider incorporating flashbacks or backstory that reveal his personal demons or past traumas that drive his determination to solve mysteries. This would add layers to his character and provide a deeper understanding of his motivations. Additionally, explore relationships with other characters that challenge Hopper's no-nonsense attitude and force him to confront his own vulnerabilities. This will create more dynamic interactions and character development throughout the tv_pilot. |
hopper | Throughout the tv_pilot, Chief Hopper undergoes a transformation from a reluctant and cynical police chief to a determined and compassionate investigator. As he delves deeper into the mystery of the missing boy and confronts his own past traumas, he learns to open up emotionally and connect with others on a deeper level. By the end of the pilot, Hopper emerges as a more empathetic and vulnerable character, willing to confront his own demons in order to solve the case and protect his community. | The character arc for Chief Hopper is well-developed and engaging, providing a compelling journey for the audience to follow. However, there could be more emphasis on Hopper's internal struggles and emotional growth throughout the pilot, to further highlight his transformation from a stoic and closed-off individual to a more open and empathetic leader. Additionally, more exploration of Hopper's relationship with his daughter and how her loss has shaped him could add depth to his character arc. | To improve the character arc for Chief Hopper, consider incorporating more flashbacks or references to his past with his daughter to provide insight into his emotional state and motivations. Show more moments of vulnerability and introspection for Hopper, allowing the audience to connect with his internal struggles and personal growth. Additionally, explore his relationships with other characters in more depth, particularly with Joyce and the missing boy, to showcase his evolving empathy and connection to the community. |
agent one | In the tv_pilot, Agent One starts off as a ruthless and determined operative tasked with capturing Eleven. As the story progresses, he begins to question his methods and the true nature of the threat posed by Eleven. This internal conflict leads him to reconsider his approach and ultimately collaborate with other characters to uncover the truth behind the underground laboratory and the mysterious Eleven. | The character arc for Agent One is intriguing and sets up potential for growth and development throughout the series. However, it may benefit from more nuanced exploration of his internal conflict and motivations. Additionally, his transformation from ruthless operative to collaborator could be further developed to create a more compelling and dynamic character arc. | To improve the character arc for Agent One, consider delving deeper into his backstory and personal motivations. Explore his past experiences that have shaped his beliefs and actions, and how they influence his decisions throughout the series. Allow for moments of vulnerability and introspection to showcase his internal struggle and growth. Additionally, provide opportunities for him to form meaningful relationships with other characters that challenge his beliefs and push him towards a new perspective. |
benny | Benny starts off as a gruff and no-nonsense restaurant owner who is protective of his establishment. However, as he interacts with Eleven and learns more about her past, he begins to show a more caring and compassionate side. This transformation culminates in his tragic death, which reveals the darker side of the world he inhabits and the risks he was willing to take to help those in need. | The character arc for Benny is well-developed and engaging, showcasing his transformation from a tough exterior to a kind-hearted and empathetic individual. However, his death may feel somewhat predictable and cliché for a TV pilot. It would be beneficial to explore other ways to create tension and drama in the story without resorting to killing off a central character so early on. | Consider introducing additional obstacles or conflicts that Benny must overcome in his quest to help Eleven. This could include facing off against a rival restaurant owner who threatens his business, or navigating the complexities of Eleven's mysterious past. By adding layers to Benny's character development and the challenges he faces, the story can become more dynamic and engaging for viewers. |
eleven | In the tv_pilot, Eleven starts off as a mysterious and guarded young girl with telekinetic abilities who has been held captive by unknown forces. As the story progresses, she begins to open up to the other characters, revealing more about her past and the extent of her powers. Through her interactions with the group, Eleven learns to trust others and embrace her abilities, ultimately becoming a key player in the fight against the unknown forces that seek to control her. | The character arc for Eleven in the tv_pilot is intriguing and sets up a compelling narrative for future episodes. However, there could be more emphasis on Eleven's internal struggles and emotional growth throughout the pilot to further engage the audience and deepen her character development. Additionally, providing more context and backstory for Eleven's powers and the mysterious forces that are after her could add layers to her character and the overall plot. | To improve the character arc for Eleven in the tv_pilot, consider incorporating flashbacks or dream sequences that delve into her past and the origins of her powers. This will not only provide more depth to Eleven's character but also help to build suspense and intrigue around her mysterious abilities. Additionally, exploring Eleven's relationships with the other characters in more detail and showcasing her emotional journey as she learns to trust and rely on others can add emotional resonance to her arc and create more opportunities for character growth. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
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High Emotional Impact Scenes Drive Character Changes | Scenes with high Emotional Impact scores (8 or above) tend to have a significant impact on characters, resulting in notable character changes, often marked by a score of 7 or above. This indicates that emotionally charged scenes propel the character arcs and development. |
Suspense and Mystery Often Go Hand-in-Hand | Scenes tagged with 'Suspenseful', 'Mysterious', or 'Intense' frequently have high overall grades and concept scores (8 or above). This suggests that the screenplay excels at building suspense and intrigue, captivating the audience through its compelling plot and concepts. |
Dialogue Strengthens Emotional Impact | Scenes with strong dialogue scores (8 or above) tend to have high emotional impact scores (8 or above), indicating that well-crafted dialogue effectively drives the emotional depth of the story. |
Conflict Fuels Tension and High Stakes | Scenes with high conflict scores (7 or above) often have high tension and high stakes scores (7 or above). This highlights the importance of conflict in creating a sense of urgency and driving the narrative forward. |
Light-Hearted Scenes Provide Relief and Contrast | Scenes with 'Playful', 'Nostalgic', or 'Light-hearted' tones often appear after scenes with high tension or emotional impact, serving as a necessary balance and providing a break for the audience. This suggests a deliberate use of tone to manage the overall pacing and emotional journey of the story. |
Dark and Mysterious Scenes are Consistently Strong | Scenes tagged with 'Dark', 'Mysterious', 'Suspenseful', or 'Intense' almost always have high overall grades and concept scores (8 or above), indicating that these elements contribute significantly to the screenplay's strength and the audience's engagement. |
Emotional Scenes Enhance Character Connections | Scenes with high emotional impact scores often have high character scores (8 or above), suggesting that emotionally charged scenes deepen the connection between characters and contribute to their development. |
Writer's Craft Overall Analysis
Overall, the writer demonstrates a strong foundation in screenwriting fundamentals, including scene structure, dialogue, and character development. The scenes effectively convey a range of emotions, build tension and suspense, and set up future plot developments. However, there are some areas where the writer could enhance their craft and further refine their writing style.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Read 'Save the Cat!' by Blake Snyder | This comprehensive guide provides valuable insights into screenplay structure, character development, and pacing, addressing key areas of improvement identified in the scene analysis. |
Exercise | Practice writing dialogue-only scenesPractice In SceneProv | This exercise will help improve the authenticity and flow of dialogue, as well as strengthen character voices and interactions. |
Screenplay | Study screenplays known for strong character development, such as 'The Social Network' or 'Manchester by the Sea' | Analyzing well-written screenplays will provide practical examples of how to create complex and relatable characters. |
Stories Similar to this one
Story | Explanation |
---|---|
Stranger Things | This screenplay shares similarities with 'Stranger Things' in terms of the setting in a small town, mysterious disappearances, supernatural elements, and a group of kids banding together to solve a mystery. Both stories involve a government conspiracy and a young girl with special abilities. |
E.T. the Extra-Terrestrial | Similar to this screenplay, 'E.T. the Extra-Terrestrial' involves a young boy encountering a mysterious and otherworldly being, leading to a series of events involving government agents and a search for the truth. Both stories also explore themes of friendship and family. |
Super 8 | Like this screenplay, 'Super 8' follows a group of kids who witness a mysterious event and become involved in a government cover-up. Both stories blend elements of science fiction, mystery, and coming-of-age themes. |
The Goonies | Similar to this screenplay, 'The Goonies' features a group of kids going on an adventure to uncover a hidden treasure, facing obstacles and dangers along the way. Both stories highlight the power of friendship and teamwork. |
Stand by Me | Like this screenplay, 'Stand by Me' revolves around a group of young boys on a journey, facing challenges and bonding over shared experiences. Both stories capture the essence of childhood friendships and coming-of-age themes. |
It | Similar to this screenplay, 'It' involves a group of kids facing a supernatural entity and working together to confront their fears. Both stories explore themes of friendship, bravery, and the power of unity against evil forces. |
The X-Files | Like this screenplay, 'The X-Files' follows a pair of investigators uncovering government conspiracies, supernatural phenomena, and unexplained mysteries. Both stories blend elements of science fiction, horror, and suspense. |
Cloverfield | Similar to this screenplay, 'Cloverfield' involves a group of friends caught in the midst of a mysterious and destructive event, facing unknown dangers and trying to survive. Both stories create tension and suspense through a blend of found footage and sci-fi elements. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Vanishing | Will Byers vanishes without a trace, leaving his friends and family searching for answers. | The Vanishing is a common horror trope where a character mysteriously disappears, often without a trace. Examples include the disappearance of Tara Calico and the Black Dahlia murder. |
The Demogorgon | A creature from another dimension terrorizes the characters. | The Demogorgon is a iconic monster from the Stranger Things universe. It is a large, predatory creature with a humanoid form and a gaping maw. The Demogorgon is known for its strength, speed, and ferocity. |
The Upside Down | A parallel dimension that is dark, dangerous, and home to the Demogorgon. | The Upside Down is a key setting in Stranger Things. It is a parallel dimension that is dark, dangerous, and home to the Demogorgon. The Upside Down is a mysterious and unforgiving place, and those who enter it must be careful not to get lost. |
The Chosen One | Eleven is a young girl with supernatural powers who is destined to save the world from the Demogorgon. | The Chosen One is a common trope in fantasy and science fiction stories. It refers to a character who is destined to save the world from some great evil. The Chosen One is often young and inexperienced, but they have the power and determination to overcome any obstacle. |
The Power of Friendship | The friends work together to overcome the challenges they face. | The Power of Friendship is a common trope in stories of all kinds. It refers to the idea that friends can overcome any challenge if they work together. The Power of Friendship is a powerful force that can be used to defeat evil, save the world, or simply make life better. |
The Stranger | Eleven arrives in Hawkins and becomes a catalyst for the events that follow. | The Stranger is a common trope in stories of all kinds. It refers to a character who arrives in a new place and becomes a catalyst for the events that follow. The Stranger is often mysterious and enigmatic, and their presence can disrupt the status quo. |
The Mystery | The characters investigate the disappearance of Will Byers and the strange events that follow. | The Mystery is a common trope in stories of all kinds. It refers to a central mystery that the characters must solve. The Mystery can be anything from a murder to a missing person to a supernatural phenomenon. |
The Supernatural | The story includes elements of the supernatural, such as the Demogorgon and the Upside Down. | The Supernatural is a common trope in stories of all kinds. It refers to the inclusion of elements that are beyond the realm of the natural world. The Supernatural can be anything from magic to ghosts to aliens. |
The Coming-of-Age Story | The story follows the characters as they grow and mature. | The Coming-of-Age Story is a common trope in stories of all kinds. It refers to a story that follows the protagonist as they grow and mature. The Coming-of-Age Story often explores themes of identity, self-discovery, and finding one's place in the world. |
The Small Town | The story is set in the small town of Hawkins, Indiana. | The Small Town is a common trope in stories of all kinds. It refers to a story that is set in a small, close-knit community. The Small Town is often a place where everyone knows everyone else, and where secrets are hard to keep. |
Theme | Theme Details | Themee Explanation | ||
---|---|---|---|---|
Supernatural and Unexplained Phenomena | The screenplay is centered around the disappearance of Will Byers and the subsequent investigation into the strange events surrounding it. These events include the appearance of a mysterious figure in the woods, the discovery of a parallel dimension known as the Upside Down, and the presence of supernatural beings such as the Demogorgon and Eleven. | The theme of the supernatural and unexplained phenomena explores the idea that there are forces and beings beyond our understanding that can have a profound impact on our world. | ||
Strengthening Supernatural and Unexplained Phenomena:
| ||||
Friendship and Loyalty | The screenplay highlights the strong bonds of friendship between Mike, Lucas, Dustin, and Will. Despite the challenges they face, they remain loyal to each other and work together to find Will and uncover the truth about his disappearance. | The theme of friendship and loyalty emphasizes the importance of having strong and supportive relationships in the face of adversity. | ||
The Power of Imagination and Curiosity | The screenplay explores the idea that imagination and curiosity can lead to great discoveries and breakthroughs. Mr. Clarke's speech about the importance of these qualities inspires Mike and his friends to investigate Will's disappearance and ultimately find a way to save him. | The theme of the power of imagination and curiosity highlights the importance of embracing our creativity and seeking knowledge beyond what is immediately known. | ||
The Dangers of Government Secrecy and Experimentation | The screenplay reveals the dark secrets hidden by the government, including the experiments conducted on Eleven and the creation of the Demogorgon. These secrets have devastating consequences for the characters and the town of Hawkins. | The theme of the dangers of government secrecy and experimentation explores the ethical implications of scientific research and the importance of transparency and accountability. | ||
The Importance of Family | The screenplay explores the relationships between family members, particularly the bonds between Joyce and Will, Jonathan and Will, and Hopper and Eleven. These relationships provide strength and support during difficult times. | The theme of the importance of family highlights the fundamental role that family plays in our lives and the unconditional love and support that can be found within it. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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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. |
Voice Contribution | The writer's voice contributes to the script by enhancing the mood, themes, and depth of the screenplay. The use of vivid descriptions and suspenseful pacing creates an immersive and engaging atmosphere, allowing the audience to connect with the characters and the unfolding events on a deeper level. |
Best Representation Scene | 1 - Descent into Darkness |
Best Scene Explanation | 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. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay is highly original, featuring a blend of science fiction, horror, and mystery elements. It introduces a fresh and compelling narrative with unique characters and a captivating storyline. The incorporation of supernatural and otherworldly aspects adds to the originality of the story.
- Most unique situations: The most unique situations in the screenplay include: **1.** The discovery of a mysterious underground laboratory and the aftermath of a gruesome experiment. **2.** The emergence of a young girl with extraordinary abilities, who becomes a central figure in the unfolding events. **3.** The exploration of a parallel dimension known as the Upside Down, which harbors strange creatures and hidden dangers. **4.** The tense interactions between government agents, scientists, and ordinary citizens as they grapple with the consequences of these extraordinary occurrences.
- Overall unpredictability score: 9
- Overall unpredictability explanation: The screenplay is highly unpredictable, keeping viewers on the edge of their seats with its constant twists and turns. It defies expectations and subverts established tropes, maintaining a sense of suspense and uncertainty throughout. The characters' motivations and actions are often ambiguous, adding to the overall unpredictability of the narrative.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goal in this scene is survival and self-preservation as he faces a mysterious threat. |
External Goals | The protagonist's external goal in this scene is to investigate and uncover the truth behind the mysterious events unfolding in the town. |
Philosophical Conflict | The overarching philosophical conflict revolves around the clash between the known and the unknown, confronting fears and embracing courage. |
Character Development Contribution: The protagonist's goals and conflicts lead to personal growth, resilience, and the realization of inner strength in the face of adversity.
Narrative Structure Contribution: The protagonist's goals and conflicts drive the plot forward, creating tension, suspense, and a sense of urgency that propel the story towards resolution.
Thematic Depth Contribution: The exploration of internal and external conflicts delves into themes of fear, survival, the power of knowledge, and the resilience of the human spirit in overcoming challenges.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay depicts a small town in the 1980s, with a mix of rural and suburban settings. The physical environment is characterized by dense forests, imposing military bases, dark and isolated roads, and a secluded beach town. These settings contribute to the atmosphere of mystery, danger, and isolation that permeates the story.
- Culture: The screenplay portrays the culture of the 1980s, with references to popular films, music, and social norms. The small-town setting fosters a sense of community, but also a sense of conformity and judgment. The characters' actions and interactions are influenced by the social structures and expectations of their time.
- Society: The screenplay depicts a societal structure with clear authority figures, such as the police chief and the military personnel. There is a sense of hierarchy and duty, with the characters adhering to established roles and responsibilities. The societal structure also includes social services and community involvement, which play a role in the search for the missing child.
- Technology: The screenplay makes use of various technological elements, including communication devices such as landlines, walkie-talkies, and radios. The use of technology can be seen as a double-edged sword, providing both convenience and potential danger. The unreliable nature of some technological devices adds to the sense of suspense and uncertainty in the story.
- Characters influence: The world elements in the screenplay shape the characters' experiences and actions in several ways. The physical environment influences the characters' movements and interactions, creating a sense of isolation and vulnerability. The culture and society shape the characters' beliefs, values, and relationships. The technological elements influence the characters' ability to communicate and access information, adding to the sense of urgency and drama.
- Narrative contribution: The world elements contribute to the narrative of the screenplay by providing a rich and detailed setting for the characters and events. The physical environment serves as a backdrop for the mystery and danger that unfolds, while the cultural and societal elements provide a context for the characters' actions and motivations. The technological elements add to the suspense and urgency of the story, creating a sense of realism and immersion.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring themes such as the power of community, the dangers of conformity, the importance of facing one's fears, and the strength of human resilience. The characters' experiences and interactions within the world elements illuminate these themes, providing a deeper understanding of the human condition.
central conflict
Will's disappearance and the subsequent search for him, as well as the mysterious events and creatures that emerge.
primary motivations
- The determination to find Will and bring him home safely.
- The pursuit of truth and the desire to understand the supernatural occurrences.
- The need to protect loved ones from unknown threats.
catalysts
- Will's disappearance after encountering a strange figure in the woods.
- The discovery of a torn gown and bloody handprints in Benny's Restaurant.
- The arrival of mysterious agents searching for a girl with supernatural abilities.
barriers
- The lack of information about Will's whereabouts.
- The emergence of dangerous creatures and threats.
- Skepticism and resistance from authorities.
themes
- The power of friendship and camaraderie.
- The struggle between good and evil.
- The importance of facing one's fears.
stakes
The lives of those involved in the search for Will, as well as the safety of the entire community.
uniqueness factor
The blend of science fiction, horror, and mystery elements, creating a unique and immersive storytelling experience.
audience hook
The compelling mystery surrounding Will's disappearance and the enigmatic events that follow.
paradoxical engine or bisociation
The juxtaposition of a realistic setting with supernatural elements, creating a sense of unease and intrigue.
Engine: Claude
Recommend
Executive Summary
The screenplay for the Stranger Things TV pilot is a strong and compelling introduction to the series, effectively establishing the characters, tone, and central mystery. The writing skillfully balances the dramatic, supernatural, and coming-of-age elements, with a well-paced narrative that leaves the audience eager to see more. While there are a few areas that could be tightened or expanded upon, the overall quality and storytelling make this a highly recommended pilot that would likely appeal to a broad audience and leave them wanting to see where the story goes next.
- The opening Dungeons & Dragons scene effectively establishes the main characters, their personalities, dynamics, and sets up the overall mystery and tone of the story. high ( Scene 2 (INT. WHEELER HOUSE - MIKE'S ROOM - NIGHT) )
- The sequences introducing Will's encounter with the mysterious figure in the forest and the unsettling events in the shed build tension and a sense of the supernatural/sci-fi elements to come. high ( Scene 6 (EXT. FOREST ROAD - LATER) Scene 8 (INT. SHED - MOMENTS LATER) )
- The character of Hopper is well-developed, with his backstory and personal struggles hinted at, making him a compelling lead investigator. medium ( Scene 17 (INT. HOPPER'S OFFICE - MORNING) Scene 26 (EXT. FOREST ROAD - DAY) )
- The introduction of the mysterious young girl, Eleven, and her interaction with Benny, are intriguing and raise many questions about her origins and abilities. high ( Scene 21 (EXT. BACK OF BENNY'S RESTAURANT - MOMENTS LATER) Scene 24 (INT. BENNY'S FISH 'N FRY - KITCHEN - DAY) )
- The scenes with Nancy and Barbara on the beach provide a compelling secondary storyline that intersects with the main mystery, adding depth and raising further questions. medium ( Scene 37 (EXT. MONTAUK BEACH - TURTLE COVE - NIGHT) Scene 39 (EXT. MONTAUK BEACH - WIDE SHOT) )
- The pacing of the sequences dealing with Will's disappearance and the search for him could be tightened, as they feel slightly uneven and dispersed. medium ( Scene 10 (INT. BYERS HOUSE - KITCHEN - MORNING) Scene 11 (INT. DUSTIN'S ROOM - MOMENTS LATER) )
- The family dynamics and tensions at the Wheeler household, while present, could be further explored and developed to provide a more well-rounded picture of the characters and their relationships. medium ( Scene 30 (INT. WHEELER HOUSE - NIGHT) )
- The introduction of the antagonists and the attack on Benny and Eleven could be more tightly paced and suspenseful, building up the threat and danger more gradually. medium ( Scene 35 (INT. BENNY'S FISH 'N FRY - DINING ROOM - NIGHT) Scene 36 (INT. KITCHEN - MOMENTS LATER) )
- More insight into the background and motivations of the antagonists, particularly the agents at Camp Hero, would help provide a more well-rounded understanding of the central conflict. medium ( Scene )
- Additional exploration of the world-building and mythology surrounding the strange occurrences and supernatural elements, such as the Demogorgon and the mysterious force in the woods, would enhance the sense of mystery and intrigue. medium ( Scene )
- The opening and closing sequences, with the ominous rumbling and flashing lights in the sky, effectively bookend the episode and establish a sense of the looming supernatural threat. high ( Scene 1 (EXT. MONTAUK SKY - NIGHT) Scene 42 (INT. BYERS HOUSE - NIGHT) )
- The interactions between the boys and Hopper, as well as the disturbing fate of Barbara, hint at the larger mystery and danger that the characters will face, building anticipation for the next episode. high ( Scene 23 (INT. PRINCIPAL'S OFFICE - A FEW MINUTES LATER) Scene 41 (EXT. UNKNOWN - NIGHT) )
Engine: GPT4
Highly Recommend
Executive Summary
The 'Stranger Things' pilot screenplay is a compelling blend of supernatural mystery and emotional drama, set against a richly nostalgic 1980s backdrop. It effectively establishes a dark and suspenseful tone, offers strong character development, and introduces intriguing supernatural elements that promise further complexity. The narrative is engaging with well-placed twists and maintains a good balance between the personal stakes and broader mysterious elements.
- The screenplay effectively sets a compelling and eerie tone from the beginning, which is consistently maintained throughout, enhancing the suspense and engagement. high ( Scene 1 Scene 42 )
- Character development is strong, particularly with Joyce and her visceral reaction to her son's disappearance, which provides emotional depth and realism. high ( Scene 3 Scene 11 Scene 41 )
- The introduction and integration of supernatural elements are handled with subtlety and gradually increase in intensity, which keeps the audience intrigued without overwhelming them. high ( Scene 40 Scene 42 )
- The screenplay uses unexpected twists effectively, such as Benny's sudden death, which shocks the audience and significantly raises the stakes. high ( Scene 34 Scene 36 )
- Dialogue is natural and character-specific, which helps in distinguishing and developing characters effectively throughout the pilot. medium
- Some scenes, particularly with Nancy and Steve, could benefit from a deeper exploration of consent and interpersonal dynamics to avoid trivializing important issues. high ( Scene 38 )
- The pacing in the middle sections could be tightened to maintain momentum, particularly during transitions between the search for Will and other subplots. medium
- While the supernatural elements are intriguing, clearer initial hints or explanations could help in maintaining a balanced understanding for the audience without revealing too much. medium
- The emotional responses of some secondary characters to the events could be deepened to enhance realism and audience connection. low
- More visual descriptions of settings could enhance the atmospheric tension and assist in visual storytelling. low
- A clearer initial connection or backstory between the main characters could enhance the audience's investment in their relationships and individual backstories. medium
- The bookending of the episode with a similar eerie scene effectively creates a full-circle moment that enhances the thematic consistency. medium ( Scene 1 Scene 42 )
- The use of 1980s cultural references and settings effectively establishes the period and adds a layer of nostalgia that can appeal to a wide audience. medium
- The integration of childhood games and fantasies (like Dungeons & Dragons) into the narrative structure is a unique element that enriches the character dynamics. medium