For the STWG daily drabble prompt “accidental confessions” (I wrote this half in bed last night, half in bed this morning. Forgive some mistakes thanks) took it in a different direction.
It takes a full day for Steve to be released from hospital after they’ve confirmed he had broken ribs and a concussion amongst his other more minor injuries. Claudia is incredibly greatful she had the foresight to offer being the poor boys secondary emergency contact in the spring, seeing as Dustin had complained that Steve’s parents took a week to sign him out in November.
She got the call and was able to pick Dustin up and follow the ambulance to the hospital (Steve’s nervous friend had ridden with him, needing attention herself but refusing to let go of his hand). The smell of the smoke from the embers of Starcourt is something she doesn’t think she’ll forget, the stink sticking to Dustin’s hair and clothes. She’s sure it was the same for Steve.
He was under observation (and they did assist him in bathing, thank goodness) before being able to check himself out. She had swooped in and bundled him into her car as his friend’s parents ushered her away with the promise that the two could call, but needed to be home with family for a while to heal.
No one mentions that Claudia Henderson is not related to the Harringtons. If they had, she thinks she would have lost whatever composure she has been clinging to since she saw the sky burning red above the former mall and pulled up to be told her two boys had been caught in the chaos. Steve had been with Dustin when the Hargrove boy had threatened Lucas and protected them, had been coming around for dinner or to drive Dustin around, or to help him style his hair or countless other little things or no reason whatsoever. He has slotted into their lives easily, fitting into a place that neither Claudia nor Dustin realized they needed. He is her son in any way that mattered, and she needed him home. With her.
Finally pulled into the driveway, she opens the passenger door and holds her arms out, letting Steve grip her shoulders and securing a hand in his armpit. She hauls him out and supports him as he stumbles through the entryway.
“This way, sweetheart. You’re in the guest bedroom. Dusty helped air it out for you earlier, so everything’s fresh.” She says, nudging him towards the room. He nods and goes where she guides.
She helps him change into a matching pyjama set she had tucked away for him, as sometimes Dustin had horrible nightmares and could only be calmed by seeing Steve, awake and no longer visibly harmed, and he ended up sleeping on the chesterfield or Dustin’s floor. They were soft, and buttoned down the front, so everything was comfortable and he didn’t over exert or hurt himself trying to get the top over his head.
“I can do the pants myself, mrs. H.”
She smiles. “Of course. I’ll turn around and you let me know when you’re ready so I can help you get settled.”
“‘Kay.” There’s more shuffling than she would like, and more groans, but Steve gives her a “ready” before she gets too worried. He’s sitting on the edge of the bed, loose pants the hospital provided kicked into the corner, looking a bit lost. His eyes are drooping, eyebrows slightly creased, and his mouth gapes a little, like he’s trying to figure out if he should speak.
Gently, she tugs the quilt out from under him, helping him lay back and tuck his feet under the sheets. She pulls everything up to his chin and kisses his forehead.
He hums contentedly and she brushes his hair further out of the way.
“Would you like me to turn the lights out?”
Steve slowly blinks his eyes at her, fingers curling around the edge of the quilt. His answer is a soft “yes please” followed by, “don’t leave?”
It’s so small, so desperate and resigned, it breaks Claudia’s heart all over again. She steps away from the bed, flicks the switch and turns right back around to sit on the edge of the bed. She’ll get a glass of water for him later, but now she just runs her hand through his hair, petting him soothingly.
He sighs, his body losing some of the tension he’s been holding, and his eyes droop. Humming, he burrows dirtying into the blankets but whines when she moves her hand away. She returns to petting. “There, there, honey. You’ll feel better after you sleep more, alright. And you don’t need to worry about anything. I’m right here.”
He nods just slightly, smacking his lips together and pressing his forehead into her palm. “Mmm. That’s good. I wish you were my mom.”
The admission is followed by another sigh and Steve losing the battle to keep his eyes open. It strikes Claudia through the heart, all this time seeing Steve as her own, trying to make sure he doesn’t feel smothered by her need to…well. Smother. And she had rarely considered that Steve would admit to wanting or needing the kind of support and warmth she was restraining (very badly) from throwing at him.
He probably only said it because of the concussion and the various pain or antibiotic drugs the hospital had given him, but it must have been true. He has asked her to stay, and whines when she moved her hand away. Over the past months he’d gotten more and more comfortable in their house and told her more about his frequently absent and disappointed parents. Steve needed support, and steady and reliable presence he trusted. And he saw that in Claudia.
If Steve wishes she were his mother, then his mother she’ll be. She’s been that for him probably since that first night they officially met in November, a beat up boy clutching her son’s shoulder in the Byers house and assuring her he didn’t let the kids get hurt, regardless of his status of also being a kid.
She leans down and kisses his forehead again, and says “well, that’s good, because you are my son.” Even if he can’t hear it. If he wants, she’ll say it everyday until he believes it. For now, she let’s him sleep as she pets his hair gently.
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Fun fact: In the original pitch for Stranger Things, El had a little brother.
After being rejected by almost 20 studios for the Montauk pilot, the Duffers were finally green-lit by Netflix. It was at this time that they began casting and then writing the first season officially, which included reworking a lot of that first episode.
This led to the removal of the brother reference, and with it, removing any sort of arc El could have had about her apparent brother.
But the thing about this moment, is that it might not have been scrapped entirely...
Going into the final season, no one can explain why or how El recognized Will back in 1x02. And while there are plenty of things on the show that are left unexplained, with a small portion likely left that way with the intention to uncover it later, what sets this moment apart from the rest is that there are very few possibilities here.
Because for starters, the story presents El's ability to see people in the void in s1 as requiring either a picture of that person for reference, or having met that person before.
But when El see's this picture of Will, she's never met him before. Or maybe she has, but we wouldn't know because they never showed us. They could have just not done this scene at all, given that it's clearly a copy/paste/edit of something scrapped from the pitch. Or they could have even still included it, but explained it.
One explanation could be that the lab had shown El a picture of Will before, similar to what they did with the Russian agent they wanted to spy on. But then that begs to question, why would the lab show El a picture of Will? Why would they want to see what he was doing? That alone is incriminating in and of itself, implying that Will is more connected to the lab than we realize.
The only other, and frankly most likely explanation, would be that El stumbled across Will at some point on her journey between escaping the lab and Will going missing. This is actually something that happens in The Other Side comic, which explores all the things Will may have experienced during his time in the Upside Down.
Though it’s worth noting the comics aren’t technically canon, and I highly doubt they would outright spoil everything in relation to Will’s time there, years before it was intended to be revealed. But still, let's humor this for a moment given that I do think Will's time in the UD is going to be very relevant in s5, which means it's highly likely they will finally address how exactly El saw him.
Basically, in the comic, Will see’s El walking through the woods, almost apparition like, glowing as she passes by, while also sporting the Benny’s burgers shirt. This means they would have crossed passed within a short span of time, between when El escaped Benny’s when the agents arrived, but before she was found by the boys.
Though it’s worth noting that we’re seeing this all from Will’s perspective. This means from the UD, Will was capable of seeing El on the other side, despite them being on different sides. And not only that, but she also looks back at him.
What confuses me about this, is that it doesn’t make sense for El to be in the woods, only to randomly decide to pop in to the void for a moment. She was trying to escape the lab and everything that came with it. I doubt she had any desire to lurk back there for some reason, not until someone encouraged her to. Not to mention, it would make no sense for her to go there and see Will if she wasn't even looking for him in the first place. And so this would mean Will and El could see each other, with Will being in the UD, and El being on the other side.
While it does seem pretty far off, given that you would think Will and El wouldn't be able to see each other from different sides, it is true in the story that El not only recognizes Will, but knows that he is in danger. She mentions that he is hiding specifically.
Which means she has likely seen him within the last 24 hours regardless.
This, in combination with Will being able to respond to El in the void at the end of the season in Castle Byers, when no one else outside of Terry and flayed-Billy have been able to, seems to imply that there is indeed something special about Will that makes him capable of communicating with El from the UD. Not only that, but El also seems to have an ability to be in this constant knowing state of how Will is doing, without even checking again to confirm. She's just certain of it. And she seems terrified about it.
Going forward, El never uses a picture of Will to find him. She never did. And more often than not, they don’t show us what she see’s either, not until the very end. And that’s the moment they reveal that he was able to communicate with her.
Again, there was really no reason to have El recognize Will. If anything it complicates things. But the fact that they chose to introduce this concept, with a scene from the original pitch that was related to El’s younger brother, with her pointing at his name cryptically, startling Benny, only to revamp it and have El not say anything at all while pointing at the picture of Will, startling Mike… It just really makes you stop and think.
Which brings me to the other aspect of this that might have people doubting, which is that El’s brother was originally younger than her.
We know Will is not younger than El, so how could this apply to him?
Well, it might be helpful to consider that in the original script, El was actually 10 years old, while the boys were always 12. Meaning that for some reason, they decided to age her up to the age of the boys, aka the same age as Will…
Ever since @erikiara80 shared this brother discovery with me, I have been sort of reeling. It then led to other little discoveries of changes they made between Montauk and Stranger Things.
It’s important to understand that the Montauk bible and the original script precedes what we ended up with in the final product, with it finally changing and evolving months, maybe even a year since that original vision. Even casting occurred before writing started for the first season. We know this because casting announcements were made in June and August of 2015, with writing not starting until August going into early 2016, simultaneously while they were filming.
And believe it or not, what I've discovered is that a lot of the changes they made between their original plans and what we see in the final product, have to do with not only Willel, but also Byler.
If you've read the original script for Montauk, you'll know that Mike's crush on Jennifer Hayes was focused on right from the jump, along with the birthmark on his face being focused on, which was the main cause of the bullying he experienced.
This has actually been talked about recently, and some of the claims people make do fit with what I am genuinely starting to consider here, which is that the initial plan for what makes Mike an outcast shifted.
I think when they completed casting, and started actually deep diving into what they wanted this world to look like, both from a short-term and long-term standpoint, they were presented with some pretty interesting discoveries, arguably already hiding in their initial plans without realizing it.
And this is where it sort of becomes a 'chicken or the egg' situation. Because which one came first? Byler or Willel?
I can't say for certain, because obviously this is all just speculation. But in the case that Willel came first, I think Byler would come very naturally after that.
The Duffers themselves are twins. Then they hire Noah, who is a twin. Then they're thinking and planning for El's past and how her family all fits into this, and they're thinking... wait a damn minute... We could totally Star Wars this bitch!
And then when they think it couldn't get any better, they uncover another layer that they hadn't planned or really considered in their initial plans.
While Will was always going to have sexual identity issues according to the Montauk bible, meaning that the writing process for him likely involved sitting down imagining scenarios that encapsulated this arc for Will from the beginning, they were simultaneously now finding very interesting aspects of Mike's character that made it hard not to at least consider the possiblity that Mike is not exactly straight.
Just think about it. The Byers and Wheelers are basically polar opposites on the spectrum of what a family looks like. While Will's discovery and acceptance of his queerness is interesting to explore because he comes from a low-income, single-mom household, all while having been bullied for years based on his perceived queerness, he also has a mother and brother constantly reinforcing that they will accept him no matter what. They've been sort of hitting us over the head with it for years, and so it wouldn't be very satisfying for his entire arc to merely lead up to something we've known all along. It's pretty much a given at this point.
On the other side of the spectrum, Mike comes from a more upper-middle class family at the end of a cul-de-sac, more aligned with what a nuclear family looks like. Mike's family is also presented as being more conservative, and while Karen does give that very queer-coded speech to Mike in s1 (I'm convinced they only wrote this after deciding to explore queer-coding more heavily with Mike), it also comes with comments from Ted and even still Karen that hint that they are probably not as open-minded and accepting as Will's family is to him. Which means Mike's arc would be a lot more about acceptance around him from his loved ones who we have been led to believe might not be as accepting of his queerness in contrast to Will.
And so as they're putting this story together, and they're being presented with something very interesting. Two similar experiences that play out in different ways because of the characters circumstances.
Will goes missing, and his twin sister with a buzzcut pops up and has the ability to help them find Will.
This leads to several moments where El is being compared to as not only a boy, but Will as well.
Now suddenly, their initial plans to have Mike's arc be about having a girl be interested in him and to hopefully have his first kiss and feel like less of a loser, starts to look a lot like what the experience a queer kid in his position might encounter growing up in the environment that he did.
And if you don't want to take my word for it, just hear the Duffer's themselves hinting at what they initially planned for Mike and the fact that it changed.
The changes don't stop there.
Believe it or not, 'It was a seven', did not exist in the initial pitch. When the boys went outside bickering over Nancy, they leave right after that.
Another thing that changed from the first script, was Scott Clarke's introduction:
And so you might be thinking, who cares? What does that have to do with anything?
Well, it's interesting because the line we end up with on the show is arguably one of the most on the nose Twelvegate proofs to date. Mind you, this is from the first episode:
Why chuck the original version, which was arguably more interesting and fascinating in terms of it hinting at the mysteriousness surrounding this story, only to replace it with him listing off tips about their upcoming test?
Well, I think it's the irony of it all. Here Mr. Clarke is practically telling us where to look to figure stuff out for ourselves what is going on, with all the kids filing out and ignoring him...
I relate to Scott a litttle too much in this shot here, any time I try to drop Willel evidence.
And the changes go on, as they obviously would.
Things like Terry Ives not even being El's mom, but actually a man who more so aligns with the characterization of Murray.
And one very interesting one I almost overlooked was in Hopper's introduction, where instead of a kids drawing done by who we assume to be Sarah, we actually see a picture on the wall of him and his wife and daughter... Interesting that they decided to switch it something that is a lot less definitive in presenting what Hopper's past looked like...
If you've made it this far, congratulations.
If you still think I'm out of my mind, just remember that El was going to have a brother in the original script, but they scrapped the scene and gave a near identical one to introduce her connection to Will instead 😘
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