SERIES PREMIERE, PILOT EPISODE:

chapter zero: JIM HOPPER SEES A GHOST

x x x

alternatively . . . ❝THE DEMISE OF WENDY HOPPER.❞

x x x


x

x

x

CIRCA EARLY 1979 . . .

x

x

x

TRAGEDY SWARMED THE Hopper Family, quick and unyielding. No matter how much money or how much they prayed and begged, it was relentless. When Wendy Hopper was only nine years old, her younger sister, Sara, was diagnosed with cancer. And two agonisingly painful years later, just one day shy of Wendy's twelfth birthday, little Sara Hopper had succumbed to the cancer that plagued her tiny body and she was no more. Shortly therefore after, the happy Hopper family that stuck together through thick and thin, succumbed to the overwhelming grief that little Sara Hopper left behind, fell apart.

On most days, Diane Hopper lay in her bed, staring vacantly at the wall, almost as dead as her youngest daughter. Jim Hopper developed various bad habits, from alcohol to drugs, anything that left him numb to the searing pain of losing his daughter. And, young Wendy Hopper, fairly new to the concept of death, didn't quite understand everything going on around her but she knew all to well that she had lost her baby sister and best friend. And now, she was also losing her parents too.

Wendy Hopper remembers the night that her father decided to leave, the final act of tragedy for the Hopper family. Her mother didn't try to fight him, they had been fighting for hours about something else, and Wendy had been up in her room, listening to the Beatles and trying to block their screams out. After what seemed like forever, probably longer than her mum and dad had actually been fighting, her dad knocks on her door, the house silent finally silent.

"Hey, Wendy bird," Her dad says, stepping into her room. His hair is a mess and he hadn't shaved in days, his eyes are blood shot, he stumbles over to her and sits down. Wendy stops playing with her dollhouse, something that's a lot less fun now that Sara isn't around; everything is a lot less fun without Sara.

"Hi, daddy," Wendy says then pauses, "Wanna play with me?"

Jim Hopper hesitates to take the barbie doll that Wendy holds out, after a moment he takes it but he continues to sit on her bed with a deep frown "Wendy bird, listen —"

"Did I do something wrong," Wendy asks, he sounds like he's about to lecture her.

"No, no. Not at all, Wendy, you did nothing wrong," He says softly, "No, I need to talk to you, that's it. It's an important talk, Wendy, can you put the dolls away for a moment so you can listen to me?"

Wendy nods her head and pushes her dollhouse back into the corner of the room, her dad pats the spot on his lap and she eagerly climbs on. She's always been a daddy's girl, following him around like his shadow, always preferring her dad over her mother unless it came to french toast. For a moment, Wendy expects Sara to throw herself on their dad's back because she wants to be included and she can almost hear her little sister's joyous laughter. Tears sting her blue eyes when she realises that will never happen — her sister is gone, the permanent kind of gone and not the 'see you later' kind of gone.

He brushes Wendy's hair, trying to smooth it down while also trying to find the words to tell her that he was leaving. He thought he had him all figured out but then she looked at him with her large, imploring eyes and all the words died on his tongue. He smiles at her, a small one and says "Wendy bird, this important an I know that a lot has happened these last few months and it's been too much for you to handle . . . For all of us and this is not a easy decision for me but — but I'm sure that it will be for the best, I'm leaving, Wendy bird, I'm going back to Hawkins."

"What about mum and me," Wendy asks, quick to pick up on the fact that he hadn't said 'we'. She frowns and wonders if she had misheard him "We're going back to Hawkins, I was born there . . . Wasn't I?"

"Yes," Her dad says distractedly, still brushing at her blonde hair with his sweaty palms, "We moved a few months after you were born, Diane thought you'd be better better off in the city —"

"Why aren't we coming with you," Wendy asks impatiently, frowning up at her disheveled father there's a moment of silence and he takes too long to answer her, "Daddy, why are you going alone, I don't want you to leave!"

"Wendy, it's for the best —" He says tiredly.

"NO," She screams and she grabs on tightly to his shirt in an effort to anchor him down so he can't leave, "NO! You can't leave, daddy! We're a family and families stick together, you can't leave not now, not when Sara's gone! Daddy, please stay! You have to, I need you, daddy! Please, I love you, please don't leave us!"

"Wendy, I — Wendy, you and your mum mean so much to me and that's why I have to go."

"No, you can't," Wendy shrieks, tugging on her dad's button-up, "Daddy, what about — about —" she inhales sharply trying to think of reasons to make him stay if she and her mum weren't enough, "What about your work, what about Thumper, what about — about — dad, you can't leave!"

But, her dad keeps insisting that he has to leave, she slaps at him and screams and cries, he hold her tightly to him, his explanation turns into nothing more than whispered words that Wendy can't make out but eventually they start to lull her to sleep. The tears start to slow down and so does her breathing, she focuses on the Beatles which is still playing quietly on the record player. Wendy closes her eyes and loosens her grip on her dad, who remains holding her tightly as she drifts off to sleep.

When Wendy wakes up, her eyes crusted over from her tears and she's groggy because she was up late, she hopes that her dad had changed his mind and he would be in the kitchen making them some scrambled eggs. Her hope is quickly crushed when she opens her eyes and she's cuddling her Eeyore plushy, the house is silent. Her lower lip trembles as she searches every square inch of the house, finally coming to stop outside of her parents' room.

The room is dark and the door is closed firmly as it has been since Sara died. Wendy hesitates to enter it, she gathers the courage and lets out a deep breath before pushing the door open. As expected, her mother is lying in bed with her back turned to the door but her dad is not there. Wendy sulks back to her room, deciding not to ask her mum as she knows won't receive any response. Despite the bad feeling in her stomach, Wendy tells herself that her dad had just run to the store; he probably ran out of coffee again.

Eventually as the days go by, Wendy learns that her father had went back to Hawkins, leaving her and her mum without so much as a goodbye. It seems as though her mum stays in her room even longer, only leaving to give Wendy some money to order a pizza for dinner or to pack a box for her dad to come pick up. A week passes, Wendy had hid her stuffed Eeyore in on of the boxes just so her dad would have to come and bring it back but he doesn't come back. He doesn't even call her to tell her that he had found it and that he knew what she was trying to do.

It was like he was dead, just like Sara; and her mum was no better. Wendy feels neglected, going from being smothered with love and attention to it being like her parents didn't exist was not a change that Wendy liked especially not when she didn't have Sara. Of course, this was only happening because Sara had died, why did Sara have to die, it wasn't fair. How could Sara do that to them? How could she leave them.

So, she does what any rational twelve-year-old, deprived of attention would do, Wendy Hopper runs away. She doesn't pack much because she doesn't plan to runaway for long, just long enough for her mum to notice she's missing and then calls her dad, a policeman. That way her dad would have no choice but to come back home, her mum would finally pay attention to her again. Wendy had it all planned out, she knows how most runaways went from the stories she had heard her dad telling their mum after work, some of them were even a bit funny; no one ever got hurt. Only, Wendy doesn't account for three things: her mother had done something terrible when she was pregnant with Wendy and Sara as well when the Hopper family was in desperate need for some extra cash, the terrible things she had done had laid dormant for quite some time were now coming back to haunt them in the most unexpected ways, and Wendy Hopper was being watched. She was the fly caught in a spider's web of lies and things beyond her wildest nightmares.

Three days on the street and way past her bed time, Wendy is cold and hungry but, she doesn't go home and she won't go home until things have changed, until her family is a family again; it's what Sara would want. This is when a friendly young woman approaches her in a park that Wendy has been sleeping in. The young woman is clutching a child's hand and she introduces herself as well as the child "Hello there, dear, I'm Stephanie and this is my niece, Kali."

Now Wendy is a smart child, she's observant and a quick-thinker, that's what her mummy and daddy always said, and she knew a lot about 'Stranger Danger' she knew not to talk or trust strangers but like most kids her age, strangers are printed as a scary men who offers her a ride or candy, not a young woman with a kid of her own. And after three days of running away, no one has found her and she had stayed close to her house, Wendy is tired and cold. It's January and it's starting to snow a lot, her daddy hasn't found her yet and she was expecting him a whole day ago, her plan isn't going as well as she had hoped for. Stranger Danger is the last thing on her mind at the moment.

"Hi," Wendy replies after a moment of staring at the pair. She has her head resting her tear-soaked face on her little barbie backpack, Kali smiles at her and tells her that her backpack is rad, Wendy thanks her in a quiet voice.

Stephanie frowns at her "Isn't it way past your bedtime, what are you doing out in the park all alone?"

Wendy shrugs, pouting as she looks at her dirty black shoes "I'm playing."

Stephanie gives a half-hearted smile "Are you now, what are you playing? Tell me, Kali, is this some sort of new game that you kids play?"

Kali doesn't reply, she just leans closer into her aunt's side and smiles again at Wendy.

"You're running away aren't you," Stephanie says knowingly, "I did that a lot too when I was a kid, I was always giving my poor parents a hard time. It's getting late out though, you're bound to be heading back aren't you? You must be missing that warm bed of yours."

"No," Wendy says firmly, "I'm not going back." then she shivers violently.

"Well, I can't just leave you out on the streets to freeze, well, I just wouldn't feel right. How about you join me and my niece for a nice warm cup of hot coco. I'll call your parents and maybe you can work things out with them over the phone, does that sound alright," Stephanie questions and it really did but Wendy hesitates, mulling her options over.

Wendy thinks and she thinks hard, how could she say no to hot coco and a chance to fix her family? It sounded like a great idea and Stephanie along with Kali seemed like they were good people, not at all like the strangers her parents had warned her about.

She nods her head, Wendy really can't stand another night in the cold, she thought she had planned this through but apparently not. Her plan isn't working so she's going to have to find a compromise of some sort, perhaps she can tell her mum that she won't come home until her dad does. Yeah, Wendy thinks, that sounds like a good plan.

"Okay," Wendy agrees and Stephanie swims warmly at her, reaching out with her free hand to take Wendy's hand.

"I just live over in that apartment building," Stephanie says, pointing at the apartment building across the street where a car and big van are parked, Wendy looks at it and she can feel the warmth already.

With that they start making their way out of the park, Kali is asking Stephanie if they'll actually get hot coco and if she can have marshmallows as well. Stephanie promises her that they will, patting the top of Kali's head which is something Wendy's mum used to do before Sara got sick. They were just about to cross the street when the back of the large van opens up and two large man pull her into the van, Wendy screams and fights against their grasp.

Stephanie and Kali jump in as well, Wendy comes to the horrifying realisation that they had tricked her, she continues to scream but the van is already driving away and then something sharp punctures her neck, within minutes everything becomes blurry and heavy. The last thing Wendy hears before she loses consciousness is Kali apologising profusely as she feebly pats down Wendy's blonde curls.

And when little Wendy Hopper wakes up, she knows something is wrong with her, the blood swimming through her veins feels wrong. She can't explain it but she doesn't think she's the same person anymore, her blue eyes struggle to adjust to the bright, white light filling the room. It takes her several moments to realise that she's not in someone's home but rather in some place that resembles a hospital room. The only thing missing is the sounds of a heart monitor. Sitting up in a panic, she's stopped by an unfamiliar voice who tells her to take it slow.

"It's alright," The deep voice says, "You're alright, Wendy."

Wendy frowns and she looks around the room for the voice and she finds it at the very opposite end of the room, standing behind a big glass window is a tan man with dark hair and a badly shaved face. He's wearing white robes and Wendy thinks that he might be a doctor but how did she end up in the hospital? The last thing she remembers is deciding to run away from home, everything after that is a blur.

"Where am I," Wendy asks and when she speaks her throat hurts, her voice sounds hoarse.

"You're new home, you see . . ." The man replies, his voice filling the room despite not standing in it, "Welcome to Neverland, Wendy Darling, this is your new home now."


BLACKBIRD SINGING IN THE DEAD OF NIGHT. . .


x

x

x

CIRCA LATE 1980 . . .

x

x

x

WENDY ISN'T SURE how long she's been in this place, she's not sure what it is, no one is telling her why she's there or when she can home but she's realised that it's not a hospital. The man who had greeted her when she first woke up, calls himself Dr. Estrada but Wendy doesn't think he can be a doctor because she's certain that he's crazy. He expects her to teleport into other dimensions, she can't teleport, she's never teleported before in her life. Dr. Estrada keeps telling her that she's special and insisting that she can do it.

They, him and another man that Estrada calls Brenner, put her this tank of water and it's horrible because they cover the top an keep her in there for hours, telling her that they'll let her out only if she can get herself to teleport out of it. But no matter how hard she tries to focus like they tell her, she doesn't teleport and she never will. She can't teleport, nobody can, that stuff isn't real. It's only in stories, like the ones her dad used to read her.

"I want to go home," Wendy says to the woman who had taken her to this strange place.

"I know," Stephanie says as she dries Wendy's buzzcut way too thoroughly. She's the nicest person at this place although Wendy hates her for bringing her here but compared to Brenner and Estrada, Stephanie is the one who seems to genuinely care about her. She's always taking care of the other test subjects, she even gave Wendy the hot chocolate like she had promised before she had kidnapped her. Kali, when she was around ( she had disappeared some time ago and no one really knows where ) had called Stephanie her mum and clung to her whenever she was in the room, Dr. Brenner got the opposite although he was always encouraging them to call him their papa but neither Kali or Wendy called him that.

"I want my mum and dad."

"I know . . . I know, Wendy," Stephanie says softly, drying Wendy's face off gently. There's a bruise on her left cheek and a cut on lip and it leaves Stephanie wondering how she got into this mess "Who did this to you? Brenner, Estrada?"

"Why does it matter?"

"It does . . . It does Wendy, I'm not going to let them abuse you, I —"

The metal door behind them slams open, hitting the wall closest to it and causing a loud metallic screech that startles both Wendy and Stephanie. It's Estrada, and as usual, he's angry.

"Did you let her out again," Estrada demands, pointing a finger at Stephanie but he only receives a cool look and a curt nod, "What have I told you about that, she needs to open her mind, she needs to learn to harness the power she has. We do not need another repeat of what happened to the last 006 and 007, Stevie!"

"She's been in there for eight hours, it's not going to happen this time. And I would like to remind you again, what happened to 006 and 007 is not my fault. That's on you, Estrada, you didn't collect the proper data, you didn't look carefully and they got away under your watch to God knows where, we'll never see them again because of you," Stephanie snaps, holding Wendy close to her, in an attempt to keep her safe from Estrada but Wendy wasn't having it, she wanted to go home so badly.

Wendy pulls herself from Stephanie's grasp and starts screaming at Estrada "I want to go home! I want to go home! I want my mummy and daddy! I don't like it here, I want to go home —"

Estrada picks up the metal chair in the centre of the room, the one Wendy was supposed to 'teleport' to and he throws it at the wall to silence her "Don't you get it, Wendy, this is your home now! Keep up this behaviour and you won't remember a place outside of it," He points his finger at her, "Do you understand?!"

Wendy did not, so she continues on screaming and crying "I want my mummy! I want to go home, my daddy is a policeman, he'll put you in jail for this! You'll be in so much trouble, I want to go home! You're crazy! Crazy, I don't belong here, let me go! Let me go! Let me GO!"

Blood starts to drip down her nose as the chair that had been thrown at the wall disappears in a cloud of black smoke, the lights flicker and the chair reappears over top of Estrada "LET ME GO! LET ME GO!" and the chair drops right onto him.

Wendy falls silent as her brain scrambles for a logical reason for that to have happened, there's no way the chair went from one place to another, it's impossible. Stephanie holds her breath, hoping that Estrada's anger won't be too bad since Wendy's powers had finally shown, she pulls Wendy back into her grasp as Estrada shoves the chair off of him and climbs to him feet.

He starts laughing angrily "Erase 007's memories now, she needs to comply now, this is her home now!"

"Estrada, please be rational, look they're working now . . . You don't have to do anything —"

"No, Stevie, she needs to learn that she's never going home! She's stuck here, she's not a Hopper anymore, she's ours and in order for her to learn that, she's got to forget them!"

"Forget," Echoes Wendy, weakly as she looks up at Stephanie and hopes that she'll protect her this time because she doesn't want to forget her family, they're all she has left, "Please — please don't make me forget, I don't wanna forget."

"It's too late for that, little Wendy Darling, you've tried my patience for the last fucking time! Stevie, erase her memories now! You get Ray now or I'll do it my damn self!"

Stephanie frowns but reaches for her two-way radio, she feels her heart sink as Wendy lets out another scream, begging them to let her keep her memories. The lights flicker and the two-way radio disappears from Stephanie's hand as black envelopes it. Only this time the two-way radio doesn't reappear in the room, it's gone and probably lost in another dimension.

Wendy grasps at Stephanie's white coat and begs "Please don't make me forget them! I don't want to forget them! Please, please! I promise that I'll be good this time!"

But, there's no changing Estrada's mind and he calls upon two guards to drag her down to lab, she screams and begs for them to let her keep her memories. As Wendy disappears from sight, Dr. Brenner enters the room and asks what's going on.

"We're erasing 007's memories," Estrada says flatly as he wipes a trickle of blood from his forehead, "She finally showed signs of the serum taking to her, she didn't teleport herself but she teleported the chair and Stevie's walkie-talkie. It's not much but I believe that her memories of her family are holding her back, so I'm having them erased."

Dr. Brenner nods his head, he obviously likes Estrada's decision, which is why Estrada is his right hand man, Estrada is no doubt Brenner's favourite. Of course, Stephanie had given up a long time ago when it came to fighting for her father's attention, it was a lost cause.

"What are you going to do if erasing her memories doesn't work," Stephanie hesitates to ask, looking between Brenner and Estrada with a concerned expression. She feared their answers, especially Estrada's, for some reason like the other 007 had, poor Wendy had gotten underneath his skin and every failed test she had made him angrier and angrier and she feared for Wendy's life.

"Well, if she doesn't show anymore signs of taking to the serum, she'll have to be disposed of," Brenner answers calmly, not even bothering to look at the young woman; how typical.

Stephanie's mouth runs dry and she prays that it doesn't come down to it, she nods her head and looks away from them.

"Estrada, get the new 011 ready for her next test and Stephanie go in there introduce yourself to the new and hopefully improved 007," Brenner instructs, "I've noticed that 007 liked you best, she'll more dispositioned to like you, I believe . . . And, handle her carefully, this might be the key to unlocking her powers once and for all."

"Of course, sir," Stephanie says.

"And try not to be too soft on her," Estrada says, "We don't want yet another 007 to go to waste."


BLACKBIRD SINGING IN THE DEAD OF NIGHT. . .


x

x

x

OCTOBER 31ˢᵗ 1980
in the morning . . .

x

x

x

WENDY HOPPER NO longer remembers the night her dad left, she cannot recall the pain and grief of her sister's death although she does recall she has a sister named Sara but that's pretty much it. Wendy Hopper doesn't remember being Wendy Hopper at all, she only knows herself as 007 or Little Wendy Darling as the white-coat Estrada calls her. Her childhood before the age of twelve is a blur and she's told that she was born and raised in the lab, she believes it but a part of her feels weird when she tries to think of her time in the lab before. It feels off because she can remember her sister's laughter and a warmth both of which are now absent in the lab.

Wendy Hopper had changed and not for the better but she didn't get worse either. Her powers still lay subdued in her genes, she can't teleport herself yet no matter what papa and his white-coats try — the tub, electrocution, beatings, nothing works. On some occasions, Wendy manages to teleport a small object or two but she can never bring the object back. Every once and awhile, Stephanie would come in with some ice cream and tell her that the object she had teleported had reappeared in the rainbow room but for the most part the objects were never found again.

Little Wendy Darling is running, running through long green grass and it's nothing like she expects grass to feel like. She doesn't remember how she got here, she never see anything like this in lab, a cold breeze blows against her skin and her heart is hammering in her chest. Is this a test? — in the distance she sees a weirdly shaped house and the only reason she knows it's a house is because of the roof, she had seen the older 006 draw a house before but his was taller and thinner, this one was short and long — is she failing this test or is she winning? What is going on, where are the white-coats, where's Papa and Stephanie? And why does this strange house seem oddly familiar, she can't remember seeing it but perhaps papa had shown her a picture of it before during a previous test.

There's a bright flash of lights and a roaring sound that makes her pause, the sound scares her, she's never heard a sound like that. There's a crunching sound and in the distance she sees a weird thing roll up to the weird-looking house, it comes to a stop and seconds later the lights go out. And then there's the sound of people talking — the white-coats! They have to be, only Wendy can't see it. It appears the people are wearing dark clothes which makes it even harder to see them in the darkness that surrounds her. Out of all the tests that Wendy has been subjected too, she hates this one the most but she's determined to pass this one. So, she keeps running.

Her lungs feel like they're on fire as she desperately tries to reach for the house, assuming that must be the goal of the test. The grass is rough on her feet but the ground is wet as she feels herself sinking into it with every step but she's getting closer and she can tell that there are two males up near the weird-looking house.

"Jim, seriously, stop —" One man says loudly, in the same exasperated tone that many of the white-coats use on her when she fails a test.

"ShutupPowell," The other man says, his words are jumbled together and Wendy cannot quite understand what he's trying to say. She can only hope that whatever he said is not important.

Wendy's vision starts smoking, black tendrils start eating up the house and the men in the distance. Her heart beats faster and she tries to scream out: "Wait, I'm not done! I can do it!" but her voice is stuck in her throat like honey. The hard grass because soft underneath her feet as it's swallowed up by the inky black tendrils.

"No," She manages to cry out, the men still up ahead in her line of vision the only thing standing out in the darkness. She inhales sharply and tries to run faster but it feels as though her legs are too stuck in honey, "Papa, please — almost done!"

Both the men look up but within seconds they are swallowed by the black tendrils and Wendy is bolting upwards, the scratchy sheets falling down to her waist and she realises that it had all been a dream. It's not the first time that she's had dreams like that, she never realises that they're dreams until she wakes up, they always feel so real, like some kind of test.

( Meanwhile in the outside world, two men stare out at a wheat field from a stone driveway, one sober and the other absolute smashed but both certain that they had seen a pale child out in the field. The drunk one, grieving father, Jim Hopper is convinced he has just seen a ghost or perhaps a wish — one of his little girls was out in that field, it sounded just like them, he was too drunk to distinguish if that was Sara or if that was Wendy who he heard. The ghost of his youngest daughter who had died a year prior or wish of his eldest daughter who he had abandoned to protect; either way he'd forget about it by morning )

Wendy exhales loudly and wipes the sweat off her brow. She sits up, deciding not to go back to sleep and untangles herself from her white sheets. Wendy is quite certain that she has a test later today and she thinks that it's supposed to be a big test from what she's heard Estrada and Stephanie whisper when they take her to the lunch hall.

She hopes that she does well on the test today because then papa might let her visit the others, she misses playing with the #003 twins and the male #008 but she's aiming to do extra good on this test because then papa might let her play with #011. But, Wendy never does that well on tests and #011 is more special than anyone else, papa very rarely lets anyone interact with her. In fact, Wendy is the only one who has met #011, the #003s and #008 had only heard of her. Despite being a failure, Wendy likes to think that she is lucky, she was able to do things that the others were not. Even with her shortcomings, she was still a great help to #011 and her gifts, that's what papa says and he always says it with affection so that means Wendy was a least good at something.

Getting off the bed, Wendy makes it and then sits back on it and waits for Stephanie to come in with her 'secret' breakfast. She doesn't have to wait much longer, Stephanie comes in with a tray full of foods that they rarely have in the breakfast hall, the dark-haired woman smiles softly at Wendy and says good morning.

"Good morning," Wendy says quietly, "I had another dream tonight, I still didn't realise it was a dream, I thought it was a test but it lasted longer and it was more clear than usual . . . I am getting better."

Stephanie gives her an interested look and nods her head "Of course, Wendy Bird, you're getting much better. Where did you go to this night, was it in this dimension?"

"I . . . I think so, I did see a house but it looked weird an so did the grass . . . It was hard, I thought grass was soft and it was tall, it hurt my feet," Wendy says with frown as she lifts up her feet and Stephanie looks at them, she frowns as well.

"You . . . You were in a wheat field . . . What did the house look like?"

"A wheat field?"

"What did the house look like?"

Wendy flinches at Stephanie's surprisingly sharp tone but nevertheless she describes the house to her and the older woman grows pale, a mortified expression usually reserved for anything that Estrada does, takes over her face. At this Wendy grows nervous, she can't help but wonder if she's in trouble and what kind of punishment she might receive for knowing about the weird-looking house.

Stephanie curses under her breath, Wendy flinches and expects her to radio in someone to punish her like Estrada or papa would do but she doesn't. She plasters a smile on her face and hands Wendy the tray "You should eat, sweetheart, you have a big day ahead of you."


BLACKBIRD SINGING IN THE DEAD OF NIGHT. . .


x

x

x

OCTOBER 31ˢᵗ 1980

in the afternoon . . .

x

x

x

"HEAR ME OUT, father, please just listen to me for once," Stephanie pleads quietly, "We should let her go, Wendy Hopper, I mean . . . I don't think this environment is good for her — for her powers, I mean . . . She's like her sister — I believe she would thrive in a more . . . Domestic environment."

Brenner did not look impressed with her idea, not unusual but he had yet to interrupt so she continued, wringing her hands in front of her "Perhaps, we let her go to her father's, he's in Hawkins and we can keep an eye on her — I can keep an eye on her. We wipe her memories again, so that she won't say anything about the Lab and we tell her father that she was in a car accident that resulted in amnesia —"

"Alright," Brenner says evenly which shocks Stephanie to her core.

"Alright?"

"Yes, I think you're right . . . You were correct about this with 003 but I do not want them having any connection with each other — it's too risky. She is to go straight to her father, no pitstops to Fort Wayne, you hear me, Stephanie. And you are to watch her as closely as you can — if anything —"

" — Goes wrong, it is my responsibility," Stephanie finishes solemnly, "I know, father. I know what I'm doing. I should know how to grow these abilities better than anyone one. After all, I am the blueprint, am I not?"

Brenner smiles faintly as he nods, eyes darting to the exposed '011' on his daughter's arm "Indeed, you are."

In all honesty, Stephanie Brenner had not expected her plan to work. Her father rarely listens to her, so this could either be a really good thing or a really bad thing. For the sake of Wendy, she hopes that it's a good thing. Stephanie quickly leaves Brenner's office and heads straight to the room where Wendy is, she knows that Wendy will not be happy to have her time with the newest '011' cut short but Stephanie had to get Wendy away from the lab as quickly as possible; before her father changed his mind.

It takes Stephanie twenty minutes to get Wendy out of the room, it would've been quicker if '011' had not slammed the door of her three times. Wendy is just as displeased with the disturbance but since she didn't have the same abilities, there was little she could do about the situation.

"Where are we going," Wendy asks, "I thought tests were done today, I thought I did good today."

"You did," Stephanie replies, "This isn't a test, Wendy Bird, it's something better."

"Better," Wendy questions and disbelief laces her tone, "What would be better — oh, is it a snack, am I going to get a hot chocolate, did I do that good?"

Stephanie shakes her head and flashes Wendy a small smile "Where you're going, you'll get lots of hot chocolate."

Wendy's eyes widen as she asks "Where am I going?"

"You're going home, Wendy Bird."


x

BLACKBIRD SINGING IN THE DEAD OF NIGHT. . .

ooo. AUTHOR'S NOTES

x


x

x

x

Okay, so David Harbour ( Jim Hopper ) has apparently hinted that there's more to Sara's death than they've revealed so far. And since they haven't revealed anything yet, I'm putting my own theory, which is inspired the popular theory of Hawkins Lab having something to do with it, to use to fit my story. There's a bit more to my theory but I don't want to give away too much, you'll have to read and find out the whole thing. Of course, watch them finally address what really happened to Sara in the fourth season. Just WATCH! So, if you're reading this during season four and they've brought up more about Sara's death and it's nothing like this, keep in mind this was written before that!

ALSO:

1.) I do have a reason for the Lab/Brenner not taking Wendy & Sara immediately after birth like he did for El and it will be explained/explored later on in the story

2.) There isn't much known about the Lab so I'm making up a lot of it until they give us more and the one thing that I've made up is a number system. I will explain it better in the story but so you're not confused until then, I'll give you a little run down — The #'s on the subjects wrist is not the order of how many there are but rather what kind of abilities they have. So there are many children/adults that are experimented on by the lab and they're categorised by their abilities, for example: Wendy is a #007 which means her ability is teleportation, she's not an #007 because she's the seventh kid they've taken. The numbers are a power scale for the lab! This will be explained in more depth in the story!

Anyways, thanks for reading, I hope you enjoyed the chapter. Please let me know what you thought of it, it would mean a lot to hear from you guys