#brother I am still holding onto that wheeler happy ending white knuckles n all | Explore Tumblr Posts and Blogs

wheelercore · 10 months

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The Wheeler family, "normalcy", what that means in stranger things, how that possibly explains subtext behind the shifting dynamics of the family- particularly Ted's favoritism of Holly over Mike and definitely Nancy, and how this all connects to the Wheeler family show of opulence- more specifically, toys. Just a stream of consciousness honestly.

This one is for the rosegate girlies ***crowd boos***

Now, the Wheeler family has been one of the two main families of the show since the very beginning. However, in my opinion, what's been going on with them behind the scenes have been kept pretty subtle. And by subtle, I mean hidden behind so many layers of symbolism its crazy. From objects in the Wheeler home being reminiscent of things that could be found in the Creel attic (the white wedding dress, the wheel chair, the piano) + the grandfather clock chimes to Mike being able to sense the void, it's kind of obvious at least to me that the Wheelers are plot relevant, its just obvious as to what it is about them.

Over all, they are defined as being the "normal" nuclear family. Their opulence is shown consistently in the show, from Mike's basement full of toys and games, to Karen and Nancy having new outfits/hair-dos almost every season, to Holly's new lite brite (and god we will be getting to this one), and to Jonathan pointing out to Nancy that his father doesn't make 6-figures. The funny thing being that the Wheelers aren't even the richest family in the show. We don't know how much the Sinclair's make- however it seems like Lucas' parents can also afford to get him the walkie talkies and toys also. The Harringtons are by far the richest family we know of. But yet, the Wheelers are the ones the most emphasized to have more than enough.

Now, season 4 was the season where the writers, via Dustin and Steve, proclaimed they were going to have to spell it out for us. And spell it out they did (mostly in Henry's monologue). There are several quotes I want to point out that specifically describe what Stranger Thing's message on "conformity" and "normalcy" is. To summarize? It doesn't exist. Normalcy isn't real, it's a set of arbitrary standards used to keep the average person afraid of being different.

"Humans are a unique type of pest, multiplying and poisoning our world, all while enforcing a structure of their own- a deeply unnatural structure..." - Henry

(cont.) "Where others saw order, I saw a straightjacket- an oppressive, cruel world dictated by made-up rules. Minutes, days, months, years, decades, every life faded, lesser copy of the one before. Wake up- work- eat- sleep-reproduce- die-" - Henry

(cont.) "Everyone is just waiting- waiting for it to all be over, distracting themselves while performing in a silly, terrible play, day after day... I couldn't pretend." - Henry

(Henry describing his parents) "I saw my parents as they truly were. To the world they presented themselves as normal people, good people. But like everything else in this world, it was all a lie- a terrible lie. They had done things- such awful things-"

"I thought I wanted to be like you. Popular. Normal. But it turns out, normal’s just a raging psychopath." - Lucas at Jason

"A lie designed to conceal the truth"- Jason, shot focusing on the Wheelers for a moment

So what does this mean when the Wheelers are considered to be the façade of an average "normal" main family of the show? We see Mike, Nancy, and Karen struggle with conformity and their unhappiness with their "place" in life, but how does this connect to the overall plot? Why are the Wheelers subtlety connected to the supernatural? What is going on "behind the curtain" and what truth is this "lie" concealing?

Well, we already see from Mike, Nancy, and Karen's POV, so lets talk about Ted's relationship with his children aka why I believe the answer can be partially found there.

Honestly you could ask anyone and they would probably give you a different interpretation of this. And to be honest I think they're all very wrong [*boos and hisses from the crowd*].

What I personally think is that Ted lets his children go when they stop "performing" in the lie, the "silly, terrible play" that is the Wheeler family. And that happens to be when they get older, when they start to become individuals (and children should). We see Ted's relationship with this children get worse and worse the older they are. He seems to dote on Holly, at least speaks to Mike, and just completely ignores Nancy's existence.

Hopper has a quote about this that perfectly explains it:

"I think it must be hardwired into us to reject our fathers. So we can grow and move on. Become something of our own."

This quote happens after Enzo talks about his son "Mikhail" (which is literally just "Michael" in Russian kill me the curtains are so fucking blue guys).

Hopper: I bet Mikhail (Michael) will be proud of his pops, at least. Enzo: Mikhail (Michael)? Mmm. No. I can't do nothing right with him anymore, it seems.

The writers of Stranger Things intentionally associated growing up, becoming your own person, with rejecting your father. As in, at some point you just don't need them anymore. Don't need them to support you financially, to protect you. Two things that are seen as the fathers traditional responsibilities: to be the breadwinner and to be the protector of the household. Thanks for spelling it out for us, Duffers.

An intentional parallel also related to fatherhood in the show is letting your children go when they eventually begin to reject you. In the first Wheeler dinner scene in S1, Ted tells Karen to "let [Mike] go" when he storms away from the dinner table, distraught by Will's disappearance. In S4 we see Karen hug Mike, joking promising not even to let him go to college, not letting him go. In the same s1 dinner scene, in contrast with Mike, whom Ted at least attempts to talk calmly to, Ted repeatedly shuts down Nancy ("Language!"). He's already "let her go" by S1, refusing to even listen to her. Ted pushes his children away the moment he feels that they are beginning to "reject" him, and this is symbolized by their toys (which in my opinion is a symbol of Ted attempted to "buy" his children's love and we see that with Holly) and I will get to that in a second.

However, that phase was used similarly in the context of Brenner and Henry. El telling Brenner that he "could not let [Henry] go".

El at "Papa": So many dead. And all because of you. Because you could not stop. You could not let him go.

However as we're shown, both letting your kids go prematurely (Ted) or holding onto them too tightly in a controlling sense (Brenner) both are damaging to your children.

Let's start looking at some photos:

When I talk about Ted's relationship with his children it's subtly portrayed in the Wheeler family photos we get. Notice how Ted stands in between Karen and Mike, Nancy out to the side- not within his arms. Ted holds Nancy at arms length, Mike has not yet been given the full cold shoulder by Ted. This looks to have been taken around S1. And what looks like roses on Nancy's shirt.

They do a similar thing with the Creels, where we see Victor, Virginia, and Alice as a Unit, with Victors arms around Alice and Virginia- Henry is only held by Virginia's hand. Visual storytelling and all that. Henry is being held at arms length in his family, he is the "odd one out". You can even tell by the colors, Henry is the only one not in blue.

Then we see a completely different arrangement here. Now they are in a line. Ted has his arm around Karen (who is holding Holly), while Nancy and Mike are out the furthest away from him, Nancy being the farthest- as usual. Mike is also no longer within Ted's arm length. Notice Holly has one solitary red flower on her dress? Nancy no longer has roses on her shirt? This photo seems to either be taken before or after S2 (I'm not sure? Lol)

As we can see, by S1, Nancy has already been iced out and Mike is on his way by S2. This has a negative effect on the Wheeler siblings, as we see that they struggle with understanding close relationships, especially romantic relationships. Insecure attachments can become transgenerational, as a parent perpetuates it on their child in the same way it was perpetuated onto them:

Just like any other form of trauma or distress, an insecure attachment style can be passed down through generations.

Consequently, as children typically learn by example, a child picks up on this detachment from emotions and mirrors how their caregiver deals with unpleasant feelings ...

We see hints of this in Mike, who expressed his insecurity in his relationship with El:

Mike: Yeah, I know. I… I know she is. But… But what if after all this is over, she- sh- she doesn't need me anymore? Will: No, o- of course she'll still need you. She'll always need you, Mike. Mike: I keep telling myself that, but I… I don't believe it. I mean, she's special. She was born special. Maybe I was one of the first people to realize that. But the truth is, when I stumbled on her in the woods, she just needed someone. It's not fate. It's… It's not destiny. It's just simple dumb luck. And one day she's gonna realize I'm just some random nerd that got lucky that Superman landed on his doorstep. I mean, at least Lois Lane is an ace reporter for the Daily Planet, right? But…

We also see how Ted treats Karen mirrored in their children also.

We see Karen feel neglected by Ted in S2 and her restlessness/unhappiness leading her to fantasize via middle aged woman erotica. However, she is convinced not to cheat when she sees Ted cuddling with Holly on his la z boy. The song of choice of these scene, (I Just) Died In Your Arms, is very telling because its clearly from Karen's perspective about Ted. A few lyrics of note:

I keep lookin' for somethin' I can't get Broken hearts lie all around me And I don't see an easy way to get out of this Her diary, it sits by the bedside table The curtains are closed, the cats in the cradle Who would've thought that a boy like me could come to this Is there any just cause for feelin' like this? On the surface, I'm a name on a list I try to be discreet, but then blow it again I've lost and found, it's my final mistake She's loving by proxy, no give and all take 'Cause I've been thrilled to fantasy one too many times

While the song itself is about a one night stand with an ex, fundamentally its about someone who feels used by a partner but can't stop going back to them. Karen feels like "just a name on a list" and that her experience with Ted is "no give and all take" and love by "proxy" (ie not being loved by someone as they really are, but as who they pretend to be). Which, as we will get into, is a reoccurring thing with Ted and not just Karen but Nancy, Mike, and Holly too. Being used and then pushed out- like as I explained before is portrayed with Mike and Nancy, not only directly, but indirectly with their struggles with romantic relationships- ie not really knowing what love is or just generally not being very good romantic partners.

Now lets talk about Holly because this is fascinating to me at least. I see people say that Ted dotes on Holly, which is true in s3 & s4, but in s1 & s2 we hardly ever see him interact with her. In fact, Holly, in proximity, is more often associated with/near Karen than ever Ted in the first two season. At the dinner/breakfast table the arrangement is usually Ted -> Karen -> Holly. I don't think Ted pays any mind to Holly in the first two seasons in all honesty, unless I'm missing something.

However in s3 something shifts. Whereas before it was Karen and Holly, now its Karen, Holly, and Ted as the new family unit (to the exclusion of Mike and Nancy- who are being pushed out).

Holly is now associated with Ted. We see her cuddling with him on his lay z boy, they all go together at to the fair and Ted adjusts her shirt on the ferris wheel (and at some point Ted hands her the blue teddy bear), and in s4 Holly is constantly playing with her new lite brite in the wheeler den (which is the area of the home most associated with Ted) in pink/white. And as I mentioned before, in the second Wheeler family photo she has one solitary red flower on her dress.

And now we get a new seating arrangement in the church scene, Ted now in between Holly and Karen, again this new unit but with Ted in the middle now ("a lie designed to conceal the truth").

But what about toys? Well, as I mentioned before, its all about the Wheeler's show of opulence, which is directly associated with Ted- as Jonathan points out to Nancy, his father doesn't make 6 figures. When Ted begins to dote on Holly we see immediately in the next season she's got a new toy that she's constantly with. I mean constantly. Building her white rabbit, which in the theme surrounding predator and prey in ST, is a prey animal. Which makes it so much more interesting that the lite brite is used to connect to the UD, the representation of the "shadows" aka someone's fears/guilt/secrets/etc that they refuse to acknowledge. At least to me the toys in the Wheeler home that keep on getting brought up have thematic significance.

Compared to Nancy in the end of S4, who donates her rabbit toy, mentioning that she doesn't need it anymore. In fact all throughout S4 we have moments where Nancy mentioned having grown out of things: when they visit her room frozen in time in the UD and also when she mentions her room poster after Robin brings attention to it.

We also see Holly in pink-white color scheme, a color scheme that Nancy was often associated with in S1 & S2:

Stole these images from @/boysdontcryboycry. you know. like a thief

(also notice her ballerina necklace early on? It's all a "performance".)

Also comparing this to Mikes basement, which is filled to the brim with toys and games. Mike is absolutely spoiled in this aspect from his very introduction in S1E1. And again, the Wheelers are not the richest family in ST, but yet its their status of having more than enough that we see over and over again. Where is Lucas' basement full of toys? It's not like his family seems to be short on money either. But with the Wheelers it's the classic contrast between riches and lack of intimacy, usually signified by the misconception that love can be bought with gifts rather than genuine emotional intimacy. And as we see when the Wheeler children grow up and start requiring that emotional intimacy rather than just being satisfied with toys, like say a child Holly's age, they are pushed out and forced to "grow up" too quickly (as symbolized by Mike being pressured to donate his toys).

When Ted calls Mike's toys "husks of junk" (or something to that effect I don't remember the exact quote), its not just him being rude, its subtextual. Ted is devaluing the affection he gave Mike previously when Mike got those toys to begin with, just as 6 year old Holly got her lite brite when Ted began to dote on her sometime between S2 and S3. Except now Mike is older, and according to Hopper, every child is destined to "reject" their father as they grow, so now those toys are meaningless to Ted who's gearing up to "let him go"- but Mike doesn't want to let go of them. He is only twelve, not yet ready to grow up.

Regardless, this is all to say that Ted prematurely lets go of his children when they start to develop as individuals, not just stuck in a state of being children who are only satisfied with receiving toys. He refuses to engage with his children in an emotional level as they grow, letting them go when they stop being cute, quiet, and easy to extract emotional validation and comfort from. And there is where we see an underlying emotional immaturity to Ted's behavior. While other fathers in the show (like Hopper and Enzo) express their feelings about their children growing up, they are still able to acknowledge that its normal, that they had done the same when they were young. Hopper himself behaved... unpleasantly when El had Mike over constantly in S3 but understands El is growing up and he was just too afraid to lose her. Ted however, seems insistent on rejecting his children before they can reject him- which reveals an inability to handle rejection/abandonment or a sensitivity to it. He would rather hold his own children at arms length and just move onto the next child.

The second part of this post would be to explain why he is like this, and that would require going back all the way to the quotes from earlier in this post. Particularly what The Duffers' mouthpiece Henry's monologue has to say about conformity being a distraction.

"Where others saw order, I saw a straightjacket- an oppressive, cruel world dictated by made-up rules. Minutes, days, months, years, decades, every life faded, lesser copy of the one before. Wake up- work- eat- sleep-reproduce- die- Everyone is just waiting- waiting for it to all be over, distracting themselves while performing in a silly, terrible play, day after day... I couldn't pretend."

Literally what have we seen Ted do throughout the show that isn't waking up, working, eating, sleeping, and reproducing. Its intentional. And these actions are not characterized as things that are healthy, but as distractions. Playing pretend. Distractions one takes while performing in a "silly, terrible play" i.e. the Wheeler family.

The thing is though, the play gets disrupted when Mike and Nancy act out. When they don't play their part, which is only natural as they grow up and become individuals. Then this "silly, terrible play" becomes Karen, Holly, and Ted- that is, up until Holly grows up. The Wheeler family is a "lie designed to conceal a truth" because it isn't a family born out of commitment and love (Nancy saying she doesn't believe her parents ever loved each other), but out of the need for a distraction- for Ted specifically. Which is why while we don't get his POV, we see the horrible effects it has on the rest of the family. Karen's disillusionment and unhappiness with her place in life (getting married young to an older man) and Mike and Nancy being unable to discern what love and commitment actually looks like. They've lived their whole lives in something entirely fake built to serve someone else's need for normalcy, which is partially why we see Nancy end up in an unhappy loveless relationship with Steve, or why Mike struggles in a ""normal"" relationship with El afraid that she won't need him anymore.

Its all neatly symbolized in this one shot from the end of S4:

One source of distraction paired with another- Ted's TV and the Wheeler family photo right under it, the earliest one where Nancy is still prim and proper, Mike is smiling widely, and Karen is still a brunette. With Karen and Holly right there next to it.

(and then Ted turns off the TV. Bad or good omen? You decide :D)

But the "truth" can be found with Holly. The red flower that can be seen on Holly's dress in the second Wheeler family photo and the white-pink color scheme she is in for the majority of S4 is associated with other characters.

The red flower (rose) in particular is repeatedly associated with mothers, for example Billy's mom who also had one clearly stamped onto the front of her shirt.

Or just in general roses all over the Creel home, including the glass door, Karen at many points, all the fake urns all over the Wheeler home, the real urn (which has pink flowers on it and straight up changes during the earthquake dont ask why oooh its just a production error), the Byers wallpaper- particularly the one Will was stuck behind, etc etc man just check out my rosegate masterpost.

The pink and white (and sometimes blue) color scheme also being often seen not only with Nancy but also with other characters, particularly mothers but not limited to that. Karen being one, Mrs. Cunningham, Tammy Thompson (described as a muppet), Virginia, El, and most importantly to me "Rose Weaver" Robin (whos hairstyle is literally just a mix of Karen's S2/S3 bangs and Virginias bob).

Holly... Holly is the last "distraction" left. And she'd dressed like Rosemary for a good portion of s4 and she's also the only blonde Wheeler sibling. Just a symbolistic representation of creating a family and using your kids to soothe and distract yourself. Holly is dressed like Rosemary because Ted seeks the emotional validation he never received (to what extent? We do not know) from this "silly, little play", in which now Holly is the only sibling left because Nancy and Mike have been "pushed out" due to well... being individuals that don't solely exist to provide a "distraction" and Ted's seeming sensitivity to his kids growing up and rejecting him (because Rosemary totally didn't reject him right? right? That can't be what this is all about lol. lmao even.)

And to see that Holly's lite brite was used as the connection between the RSU and the UD- the "light"/the good and the darkness that people don't want to acknowledge about themselves.

On the bright side (pun intended) I'm pretty sure this means that they are Ted's "light". However still fucked up. 1000 years in therapy for you. Your family arent solely just your "light" they are real human beings.

Anyways the lesson here is that people who shouldn't have kids shouldn't be expected to conform and forced to start a family lmao.

TDLR:

Wheeler s5 sweep

#brother I am still holding onto that wheeler happy ending white knuckles n all #rosegate #anyways this is my nuclear ted take. take it or leave it. rosegate be upon ye! Delusion be upon ye!

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yurtletheturtlehenderson · 4 years

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S.T. REWRITE - S2:E9; Chapter Nine, The Gate- [Pt. 5]

A Will Byers x Reader Series

The survivors turn up the heat on the monstrous force that's holding Will hostage, and Y/n's powers are put to the ultimate test in the process. Eleven makes plans to finish what she started.

A/n:.... yall ready for this???? + For some reason, the link isn't working but I looked all over and found this really bitchin [😉] synth score for your guys' scene. You of course don't have to listen to it or anything but it's REALLY cool and fits the scene well I think. It's called

Sorcerer by S U R V I V E

I recommend it! I understand though, if you don't 🥰Either way, happy reading! And yay, snowball next!!

Warnings: suffocation, noticeable amount of violence, more blood. Baddassery. Edit: a slightly tweaked sad endgame quote my subconscious slipped in there

||3rd Person POV||

Steve and the four party members now sit at the entrance of the tunnel that had brought them to the hub, all canisters now completely empty. The hub reeked of gasoline that manages to sting their throats despite their masks.

"You ready?" Steve asks, glancing back at the kids.

A chorus of muffled agreements ring out, and only then does he pull the lighter from his breast pocket.

Dustin looks up at Steve, sending him a curt and reassigned nod.

"Light her up,"

Steve sighs, taking one last look at their work. The tension in the air now palpable.

"I am in such deep shit,"

He flicks the lighter open, and in one swift click, it comes to life with a sharp and threatening hiss.

⊹ ⊹ ⊹

The flames in the fireplace grow brighter and far more intense as it reaches and swallows the bigger pieces of firewood. Will's screams have turned to violent grunts has his grip grows tighter around his mother's neck. Jonathan is already at her aid, trying with all his might to release her but Will's grip is unnaturally strong and unwavering.

Seeing this, Nancy jumps into action and quickly maneuvers around the bed to the fireplace. She can't bring herself to leave the poor injured girl passed out against the wall without sending several silent apologies to her. I'm sorry, Y/n! She makes it to the fireplace and pulls the tong loose from the fire where it had been cooking and shook a few logs loose.

The end was a bright and glowing shade of yellow, and Nancy fought a deep breath and the hesitation creeping up, but she had to do something! Her grip around the firepoker tightens until her knuckles turn white.

Behind her, the fire begins to pop as the loosened logs begin to shift, and several embers are sent flying. Several of them land on Will, angering him further. It's almost enough to make him let go, but he does not relent. The firepoker is already in his side, burning right through his shirt with a horrible sizzle, and the boy howls in pain, Joyce now set free.

His back arches in horrible pain, the stick plunging further into his side and another screech is let loose.

⊹ ⊹ ⊹

This was it. It was now or never. The dogs weren't going anywhere, and he had to get El to the gate. Hopper's eyes flutter closed, and he counts to three under his breath, the cry of each beast echoing in his skull and beating against his chest.

One...

Two...

Three...

He throws himself through the door, gun first, and his finger on the trigger.

⊹ ⊹ ⊹

Joyce now towers over her son, spit flying and her voice strained from injury. Nancy had helped her to her feet and was now aiding the rest in restraining Will.

Joyce takes a deep breath as strained screams bellow from her.

"GET THE HELL OUT OF MY SON!"

⊹ ⊹ ⊹

The lighter in Steve's gloved hand cast out into the fume soaked air, it's small but greedy flame swallows the entire room in seconds. The vines once woven into the dirt come alive in seconds, and they reach the ceilings, writhing and squealing as the flames engulf them.

⊹ ⊹ ⊹

A strong and booming roar erupts from deep within Will's chest, the deep voice of the Mind Flayer they had caught a glimpse of in the shed, returns at full force. His back arches once more, the back his head digging deep into the pillow. He is shaking violently now, as he had the night the lab had set the tunnels on fire.

Joyce stumbles back as his shaking grows more violent. His head arches back even further against all odds, and that's when they spot it.

"His neck!" Nancy cries, pointing feverishly as she returns to Jonathan's side. "Look at his neck!"

Several thick and dark veins began protruding through his skin as it crawled up his neck, and it looked as if they were full of dark sludge.

"The Mind Flayer's losing," Jonathan mumbles.

Will's head shoots up at the words, the veins have already spread to his face and even stretch across his arms now. They all jump back as his head whips off the bed, his eyes completely black. The Mind Flayer's grip on the boy tightens, his rage stronger than his pain at their audacity to tempt his strength with Henderson's presence.

"AND HE'LL DIE WITH ME!"

⊹ ⊹ ⊹

The end of Hopper's gun finds its first target, but before he can pull the trigger he sees them writhe and hiss. Their slender bodies begin to shake violently in pain and for a moment he hopes...

⊹ ⊹ ⊹

"Go, go, go!"

The party does not hesitate, they are already on their feet and begin their sprint for the exit.

⊹ ⊹ ⊹

The bed begins to shake with him, every muscle in his body tensed with his fists clenched at his sides and shaking. They all watch in horror, his deep screams turn to grunts, not realizing what he is truly doing until it is too late. His left leg bursts free, the rope still dangling around his bleeding ankle and the others scramble to restrain him. His leg reels back before barreling into his mother's ribcage.

With his unnaturally given strength, she is sent flying a couple of feet, landing just in front of the bookshelf. His rage burns as hot as the fire that fuels it.

⊹ ⊹ ⊹

The fire in the hub spreads, already flames rain down from the ceiling as every inch is consumed.

⊹ ⊹ ⊹

The Demodogs shrill howls climb even higher, as they twitch. But their attention never leaves Hopper. They crawl and stalk towards him, heads bowed and hissing. They weren't weakened.

They were pissed.

⊹ ⊹ ⊹

Jonathan rushes to his brother, pinning his one free arm back down.

"You're... gonna lose... him!" The words are spit from Will's mouth, a struggle through the growing pain.

Just as the monster had hoped, Jonathan hesitates, his tearful eyes widening and his whole jaw quivers fighting back a sob. Will's fist breaks loose from his grip and before Jonathan can catch it, it meets his nose sending the older boy flying back into the couch, knocking his breath loose.

Another painful scream erupted as the fire beneath Hawkins spread, but he fights it as much as he can. He was almost free. But most importantly, he couldn't let them win. Not with her on their side.

His black eyes meet with the one they called Nancy, who had been kneeling over Joyce on the floor. Her wide eyes locked onto Will's, and she froze. Her eyes darted to the spike she had left near the pit and she made a run for it.

But he was too quick and had been expecting it. Just as he had with the mother, his heel collided with her jaw and sent her to the floor as he let out a painful scream. Every movement was pure agony, but he knew he could take them now.

⊹ ⊹ ⊹

Hopper's bullets are sent into several Demodogs, but he only manages to bring down two. The swarm was advancing on him, they had nearly crossed the glass when suddenly they stopped altogether.

In a matter of seconds, each of their screams blended into one and they began to writhe and shake, one of them even collapsed. Its body was still crying out in pain, but it was as if it could hold it's self no longer. One by one they began to mimic their sibling, their twitching growing ever violent. They were rooted in place, they couldn't walk.

That's when Hopper felt it. The ground beneath his feet had begun to rumble, the steady stream of cold air that had drifted in from the gate began to dwindle. He lowered his gun, his attention pulling him all around the room as it began to shake.

⊹ ⊹ ⊹

"Let's go, let's go!"

Steve calls back to the group of kids, unable to run without checking behind him every few moments assuring everyone was with him.

"Oh, my god. Oh, my god. Oh, my god," Dustin pants as he runs.

A screech leaves his throat as he finds himself on the ground once more, but it was no vine or root that tripped him. Everyone felt it, a great rumble that shook their very bones. They all stop and Max helps Dustin up to his feet.

"What is that?" Lucas calls over the booming rumbles.

By now, the vibrations were so intense, the dirt was being shaken loose from the vines and rained down from above.

"I think it's an earthquake!" Mike cries.

A light breeze picks up in the tunnel from where they're headed, carrying with it a warm toasty wave of heat that answered their question.

"No, not an earthquake!" Dustin's eyes went wide from behind his goggles as he looked to others excitedly. "It's Y/n!"

⊹ ⊹ ⊹

The Henderson child had managed to pull herself from unconsciousness, and she now stood across the bed. Her arms were stretched out before her and a blazing fire resided in her eyes, a grunt pulled from deep within her throat. Three bloody lines where his nails had caught her ran diagonally down her vein covered face. Each vein protruded from her skin as blood poured from her nose and ears.

Like a broken dam, all that raw power trapped inside her burst free. Y/n was a supernova, a sight to behold as everything inside her exploded all around her. She allowed the weight of all that she had endured to shoot to the surface and engulf her completely. It awakened every cell in her body and touched every nerve in her system.

She didn't have to close her eyes to relive the painful memories as she did on the side of the road. The vast and seemingly neverending pool of dark thoughts and feelings swallows her whole and it all washes over her in angry red flashes.

《•••》

Like her friends, she had mounted her bike ready to flee the Wheeler house and away from the bad men who had found them. She paused in fear, looking over her shoulder at the man who stood before his fleet of vans.

He had stark white hair and his slightly wrinkled face and surrounding him was an aura of menace.

It was him. Martin Brenner, the power-hungry man responsible for the threat that had reached Hawkins. And the man obsessed with Eleven. And herself as she would soon discover.

It was the same man who struck fear into her very soul only minutes ago through the window.

His cold eyes bore into El, but then he turned his attention to her. Something about him and the way his eyes were fixed on herself... it made the hairs on the back of her neck stand on end. Her blood ran cold.

It was the day he had caught her scent.

•••

"Dustin? Dustin!" She shrieks.

Her brother's desperate calls for her break her heart, but it turns to fire when she hears the man's voice.

"Y/n, don't fight it. You belong with us. We are your true home. Come home to us, Nine"

•••

The intense and raw ache of her heart as she choked on every moment of silence El was in the bath. Everyone surrounds her as she floats silently amongst the saltwater, everyone including Y/n watching with bated breath. When her voice breaks the silence it is a soft whimper, a plea for life as she says the boy's name.

"Will?"

Y/n's hands grip the edge of the pool so tight she fears the skin of her knuckles will tear. Every moment of silence is devastating but the small snivel of Will over the walkie and what he says, deliver the final dagger to her heart.

"Y/n?"

《•••》

Y/n can feel the dagger even now, the devastating weight of all the strain and heartbreak flooding her lungs and escaping in an ear-piercing scream that moved the earth.

⊹ ⊹ ⊹

El joined Hopper's side in cautious steps as she traveled through the tremors, her hand coming to wrap around his elbow to steady herself. Her widened brown eyes were surveying the shaking world around them, and she could see rubble breaking loose and raining down from the ceilings around them. The warm burst of heat hit her face and neck, and that is when her eyes meet with Hopper when it finally clicked.

Simultaneously their attention is pulled to the gate where the entire army of Demodogs begins collapsing into the dark abyss one by one. The darkness swallows their bodies and their many lingering wails of agony as they fall.

⊹ ⊹ ⊹

The underground team looked at one another in astonishment as the reality settled in, their hands still clinging to the grimy walls around them for balance. Steve broke from his temporary stupor and began waving the kids out.

"Come on, team, keep it moving! Keep it movin'!"

They fell into action, clambering back into line as they tried to make a break for the exit. They were close, but still had several turns to make. Steve helped the children through, catching them as they fell and sending them on their way with his eyes above their heads watching carefully. All the while in his sprint, Dustin cries out proudly into the air, a beaming smile hidden behind his bandana.

"Yeah, that's my fucking sister!"

⊹ ⊹ ⊹

The world bent at Y/n's will, everything not screwed to the walls or floors broke loose as the cabin moved around all inside it. It was a movement so forceful and demanding, it moved all of Hawkins. A guttural battle cry pierced the air as her powers exploded into an unstoppable force that had awakened her full potential.

《•••》

"She disappeared... Bang," El said slowly, a saddened frown forming on her face. "Gone."

"So, my mom? She's...?" Y/n took a deep breath and swallowed the lump in her throat and El nodded.

•••

"Jane, let me put it this way. Does it not bother you that not only did your friend get a better life than us, but our lives were made worse because of it?"

•••

"This could be your home, you said it yourself, we're sisters[...] We'll look after each other. We understand each other. Y/n will never understand you. But I do. Would you like that, Jane?"

•••

"That pesky tag-along friend of hers, what about her?"

"I have no use for her. She's not to be trusted, I want her gone by morning."

《•••》

The heartbreak that fills her up inside no longer slows her down but instead fuels the fire in her chest. Not the Mind Flayer's hatred for her, but the fact it was using her best friend as a puppet. The awful things he was doing to Will, not only to hurt him but the ones he cared about.

《•••》

"Get out!" She winces, but this time she doesn't listen to him. "GO AWAY!"

"No. Not until I talk to Will."

"GO AWAY! GO AWAY! GO AWAY!"

"-Will," Joyce tries.

Will's small frame starts to move again, fighting as hard as he can against the restraints under the harsh light in the shed. His teeth are bared and his usual warm and kind eyes are dark and cold as they burn holes into her skull. Hopper has to pin him back again, but the hatred bottled up inside him for her is undeniable.

•••

"NO! NO! GO AWAY! NO! GET THE HELL OUT!" He screams. "GET OUT! GET AWAY! GET AWAY! GET AWAY!"

•••

Y/n watched tearfully as Joyce began to choke on her words at the pride of her son as she listened intently from the corner with a simultaneous swelling, and breaking of her heart. "You said she should have it because she was sad. She's sad, Mom, and I want to make that go away."

"I love you so much," Joyce tearfully coos. "So, so much."

The heartbreak evident in Joyce's voice brings a whole new level of pain to her heart, unable to imagine the position Joyce was in as his mother. The thought of watching your son endure such a horrific thing, not knowing if he'll even survive. It pissed her off even more.

•••

"...I asked you why you were being so nice to me, why you wanted me to be apart of your group,"

A small sob came out in the form of a chuckle, and she wiped a tear off her cheek.

"And you told me it was because..." her lip quivers as the words tumble out. "because that was your birthday wish."

A tear slips down Will's cheek, but his expression remains as still as stone. She can practically hear the breaking of her heart as she sees Will losing his battle before her very eyes. His body shakes violently in an attempt to regain control but the Mind Flayer quickly pulls him back down, swallowing him in darkness as he tries to silence him.

《•••》

Each of these moments are enough to send her over the edge, but the words she had yet to shake from her mind were the ones to do the trick. The words still bouncing violently around her skull, taunting her and reminding her that they were all moments away from losing Will forever.

As the storm inside her reaches its peak, swirling around her head and heart in a violent mass closing in on her, all she can hear are the last words she had heard from her best friend before he had attacked her.

"KILL HER, DAMMIT! KILL HER! KILL HER!"

The room grew from dim to blinding in a matter of astonish-filled moments.

Her s/c skin began to glow like a star, the cosmic force at work pumping hard through her veins. Nancy, Jonathan, and Joyce watched in awe as she comes alive, all the while Will's small and trembling frame twisting and kicking as he is engulfed in searing pain.

His screams vibrate with his body before his small frame shrinks in on itself like a dead spider. He straightens in seconds, his head, hands, and feet now glued to the bed as he bends in one final arc, his chest rising to the heavens. Will's mouth opens in another scream and a billowing cloud of inky black smoke escapes. It twists and unravels out from between his lips like a pitch-black tornado.

It grows larger and larger, circling over the boy and looms over the entire room as it had the last few days. Will's body goes limp, falling back onto the mattress as the dark mass zips across the room and through the front door breaking it open.

Nancy quickly recovers her footing and chases it out of the door to assure it's leaving for good. Sure enough, when she reaches the porch she spots the black dust circle the trees before disappearing into the sky.

The first thing that stops is the light, all that illuminates the room now is the dim lamps they had flipped on and light of the flames. Everything in the room begins to settle, the rattling of dishes and furniture, and dust rained down from the ceiling from where it had broken loose.

⊹ ⊹ ⊹

By now, their trek back to the exit is halfway through, their gloves now completely damp from grasping the walls as they navigate through the tremors. But they find themselves slowing, meeting each other's eye excitedly when the earth gradually steadies again.

They picked up speed immediately, eager not only to escape the tunnels but to see their friend - and sister - again.

⊹ ⊹ ⊹

A thud breaks the shocked silence as Y/n collapses to her hands and knees, coughing and panting for breath. The room is blurry and she only catches every other word. Her arms feel just as weak and strained and she allows herself to collapse against the wall nearby.

The scuffling of shoes enters her subconscious as she fights to understand what's going on. Y/n can barely register what is happening when she feels a hand lightly touch her shoulder. She nods either way and the figure scurries away.

It had been Joyce, who had pulled herself up from the ground and came to check on Y/n when she gave the all-clear. Her eyelids weighed a thousand pounds and she could feel herself falling asleep against the wall. She tried to stay awake, to know if Will was okay but again she found herself catching every few moments.

All heaters now unplugged, the door left open to let in the cold autumn air.

Jonathan had helped untie the rest of his restraints, and Joyce now sat at his bedside as he lay unconscious. His eyes were sunken, his eyelids dark. He was still awfully pale but already he looked more himself. Will's limp body shifts around as his mother lightly tries to shake him awake, her chest sore and her throat strained but she doesn't care. She just wants her baby.

"Will," she sobs. "Will. Please, Will. Will."

Through sobs of his own, Jonathan places one trembling hand onto his brother's head, brushing away the stray hairs as pleas leave his lips. "Come on, buddy. Come on."

"Please," Joyce wails. "Can you hear me?"

"Come on,"

"Will?"

With great struggle, his eyelids finally flutter open. When Will sees who is in front of him, he feels relief overwhelm him. His lips tug into a weak smile, eliciting an excited gasp from his mother.

"Mom?"

Will feels his limp and drained body being pulled into his mother's embrace, he happily welcomes it. His sobs of relief are buried in her hair and he can feel his shoulder dampening further with her own tears. His eyes are squeezed shut, and despite his lack of strength, he squeezes with all his might, never wanting to let go. He was all too afraid none of it was real, and he doesn't realize it to be possible but his happiness grows when he feels his brother join the hug. Jonathan locks his long arms around his family, like them, not ever wanting to let go.

Nancy has already returned, and when she found the Byers in a tearful embrace, she was happy to know the youngest was now okay. But worry remained and quickly she maneuvered through the now cluttered cabin floor to Y/n's side and knelt to her knees to check on the poor girl.

Y/n's head was propped up against the wall, her chest moved up and down in shallow breaths but the blood seemed to have stopped flowing. Nancy lays a gentle hand on the girl's shoulder, pulling her from sleep. Y/n looks up around the room, trying to see through her foggy vision who was with her now.

Nancy whispered to her softly, her thumb subconsciously running soothing circles into her shoulder as her mother always did for her when she was unwell. "Y/n, are you okay?"

"I..."

She tries to speak, but her mouth is too dry. Her dry tongue meets her dried and cracked lips as she tries to find her voice and that is when she notes the taste of salty copper on her tongue. Her blood had mixed with tears, she hadn't even realized she had been crying. When her vision clears, it lands on Will's trembling form as he clings to his mother and brother in relief.

Her eyes begin to sting, and she looks at Nancy, trying to form words but none seem to come. It feels as if a rock sits in her throat, and she can feel more tears streak down her cheeks stinging the scratches on her face. She should be happy that Will was alright! She was, but what she had just done...

It was all too much for her at that moment, and sobs choked her airways. Y/n's limbs were growing heavier by the second and she felt herself collapse into Nancy's shoulder. Nancy pulled Y/n in, her eyebrows knitting together in a sorrowful frown. Y/n's tears and blood soaked her neck and shirt further, and like Joyce, she couldn't care less. Her arms wrapped around the girl's shaking form and began rubbing her back soothingly.

"You did it, Y/n," she whispers, eyes closed, holding back tears of her own. "You were so great..."

The words coax another sob out of the Henderson girl as all her emotions come flooding out, no longer held back. The words Nancy speaks to her are the words she hadn't known she had needed to hear.

"It's okay," she mutters. "It's over, now. You can rest."

⊹ ⊹ ⊹

The rest of the pack had disappeared down into the abyss, Hopper's right arm still secured tightly around El's shoulders in a protective manner. The warm wind gusting through the broken glass separating them from the abyss gingerly fades away, allowing the cold atmosphere leaking in from the gate to return.

The earth had stilled completely, leaving behind an eery silence that rose the hair on the back of their necks. They didn't have to say anything, but when their eyes met, they knew then and there that Will was safe.

Y/n had done it.

As if reading their thoughts, the walkie Hopper holsters crackle loudly disrupting the deafening silence, and Jonathan's voice booms over the other side.

"Chief, are you there? Chief, do you copy?"

Hopper hastily draws the walkie from his pocket and up to his lips, his breath shaky. "Yeah, I copy."

"..."

Both pairs of eyes land on the gate before them as Jonathan speaks, dread soaks them to the very bone and the icy chill returns to the stale air.

"Close it."

||Reader's POV||

"Close it,"

It takes about all the energy I have but I manage to peel my eyes open at the sound of Jonathan's voice. He's speaking into a ham radio attached to the wall, and his face is hardened in a frown.

The room shakes once very suddenly, or at least it feels like it does as my head throbs. I groan, my eyes screwing shut. I hear more footsteps, and the low steady creak of the bedsprings dipping as Jonathan takes a seat next to his brother.

It all washes over me again, the intensity of it all. My chest tightens and I feel more tears brimming. It hurts to breathe, to move my chest since my entire body is aching, every muscle.

But I also feel... Really good. Finally confronting all of my pain, and letting it all out... In a way, it felt like fresh air and natural light streaming in after years of living in a dark and stale room. The change felt good.

It's an intense and bizarre cocktail of emotions that barred my thinking and made it hard to function. But over it all, I know one thing for sure. I need to rest.

I'm not sure I could do anything else if I tried, but I'm just thankful it's over. And above all, that Will is safe. Still, I can't quite wrap my head around what I had just accomplished, everything that still sits on the surface.

I feel more tears squeeze past my eyelids as the grief washes over me in its usual steady waves. They streak down the sides of my face and disappear through my scalp, tickling my cheeks as they glide across my skin. It finally clicks that I'm no longer on the floor, but the others must have moved me to the couch where I now lay on my back, head propped against a woolen pillow. The searing hot tears diverge in many paths in a new batch and now soak into the creases of my ears.

My joints scream at me in protest as I reach limply to swipe away as many tears as I can, my eyes still closed and my lip screwed in a quiver. On instinct, my palms travel across my face as I try to rub away the tears, and the blood from my nose and ears but I surprise myself with a whimper.

I barely register a small and gentle gasp and the scuffle of footsteps heading towards me as I try to understand why my face is stinging. I feel the couch dip slightly, and a pair of soft hands touch my wrists urging me to pull away. Soft shushing captures my attention and I recognize it to be Joyce. I fight against the pain of the soft light illuminating the cabin that sears my throbbing head to look at her, and it takes a moment to adjust but for the first time since I opened my eyes I can see clearly now.

Joyce sits next to me, her eyes are swimming in tears as looks at me and her lips are stretched across her face in a beaming smile, though her bottom lip still quivers. I feel more tears escape as I try to find words, but none come and that seems to break her more.

She shakes her head with the same expression still fixed on her face and sniffles. When she speaks her voice is still hoarse and raspy but I can still make out the pride in it.

"I know, honey. I'm so, so sorry." I feel her hand intertwine with mine and give it a reassuring squeeze. "I'm so sorry,"

Through my blurry vision I make out Nancy's figure approach us from behind me, and she hands something to Joyce who mutters a thank you. Her hand releases mine as she unfolds what Nancy had brought her, and I realize now that it's a wet cloth. She bunches it up and meets my eyes with a soft motherly gaze.

"This might sting a little, but it'll help, okay?"

I nod, my eyes fluttering closed again as a shakey sigh escapes. I feel the cool cloth meet my skin, stinging the three prominent streaks across my face. I bite back a hiss, feeling soothed just ever so as I hear her muttering softly to me.

"Sorry, sweetheart. Almost done,"

The worst of the pain begins to fade and my eyes flutter back open. She pulls the cloth away to turn it over, and I spot the dark smears of blood already soaked inside. She brings it back to my face, dabbing away the dried up streaks that had tightened my skin under my nose and the streaks under my ears.

Joyce pulls away, bunching up the cloth dropping it in her lap forgotten, her eyes back on me. It hurts to swallow, so I can feel the uncomfortable build up in my mouth as more tears seem to brim. I catch Joyce's hands gently reaching for mine and I let her take it, both her calloused but soft hands sandwich my own and it forces me to meet her eyes.

"You are so, so brave," she chokes, tears spilling from her eyes. "and so strong..."

Her head shakes back and forth slightly as if trying to will the tears away but she can't. She can only try to compose herself long enough to get the words out. Her right-hand breaks free and her thumb gently wipes away one of many stray tears on my cheek and comes to stroke my chin in one gentle swipe.

"I'll never be able to thank you properly for what you just did..." her lip quivers violently now, but the large smile returns, breaking out on her face as she speaks with absolute certainty. "I am so proud of you,"

An audible sob shakes my body, and with some struggle - and help from her - I pull myself up and into Joyce's arms. She gladly pulls me in, sobs leaving her lips as well and I feel a different kind of warmth spread through my chest, all the way to my fingertips and toes. It wasn't a hostile warmth, but a comforting one, and I realize for the first time why both her and Nancy's embrace and words meant so much to me.

It was the warm motherly reassurance I hadn't realized I'd been missing. My own mother had no knowledge of my powers, my past, anything that had truly happened in the past year. And therefore knew nothing of the enormous weight the Upside Down, my powers, Will, all of it, had on me. And to have the acceptance and reassurance of Joyce - even Nancy - after going so long without it, felt almost intoxicating in the moment.

I burrowed my head in the crook of her shoulder, and as Nancy did, her palms rubbed soothing circles into my back as she let me cry into her hair. I kept hearing her mutter the words softly in my ears, assuring the words stuck inside my brain so I wouldn't ever forget it.

"I'm so proud, baby, so proud," her voice was low and soothing and she cradled me. "You did so good."

My heartbeat had already slowed significantly in her embrace, and it felt as if I had melted into her shoulder. She never broke the hug, showing me she was here for me as long as I needed her which I greatly appreciated. Finally, my eyes fluttered open and I slowly pull away.

For the first time since waking, I am getting a good look around the cabin, and my mouth parts slightly in shock. It looked as if it had been ransacked, so many things had fallen to the floor and I looked at her worriedly. She smiled, shaking her head.

"It's okay hon, it's fixable," she assured, she then picks up the bloodied cloth from her lap and sends me a reassuring smile. "I'll be right back,"

I nod silently, still fighting back a wince as I look behind me at the fallen stools at the breakfast bar and the many things littering the floor that had once been on shelves. The lamp on the table had fallen over and several shards of glass from the bulb were sprinkled across the table and floor.

My eyes wander back to the living room and my breath catches in my throat when I see Will. Jonathan and Nancy sat on either side of him talking to one another as well as him. But he was looking at me, and I felt my heartbeat spike significantly. His face was full of guilt as he had been examining my face, most likely where he must have scratched me. He didn't break away when I met his gaze, and for a moment we shared silent apologies.

I offered him a weak smile, telling him it was okay and he seemed to melt. And yet, the sight was enough to make my insides melt as well. It was such a wonderful sight to see after the past few days, knowing and seeing him okay. My stomach begins to flutter when I see a blush creep up on his cheeks. It wasn't hard to spot given his still paled skin, but I felt the heat rising in my cheeks as well.

But just as soon our attention was pulled to the lights around the cabin. It drew everyone's attention, including Joyce who paused at the kitchen sink as the lights grew brighter and brighter. The cabin grew blindingly bright for the second time that night, and halfheartedly my palms raised off my lap to silently say 'it isn't me this time.'

My brain races to connect the dots as my eyes squint through the blinding light of the bulbs when it finally clicks. Jonathan and Nancy seem to have made the same connection when I meet their wide-eyed stare, the word tumbling out of my mouth in a whisper.

"Eleven."

||3rd Person POV||

༄ 𝐎𝐍𝐄 𝐌𝐎𝐍𝐓𝐇 𝐋𝐀𝐓𝐄𝐑 ༄

The final lock is secured with a defined click, signifying the end of Hawkins Laboratory. One of the final many guards to lock up steps away from one of many chained up entrances revealing the large signs plastered over the wall behind him.

WARNING RESTRICTED AREA

The man climbs aboard the jeep and no sooner does it take off down the main exit of the now-abandoned lot, bleeding into line with the rest of the troops.

Thanks to Nancy and Jonathan and the help of an eccentric conspiracist, Murray Bauman during the unfolding events of the prior month, the three had concocted a plan to take down Hawkins Lab. With enough proof - a secret audio tape of Sam Owens discussing the cover-up of Barb's death - were able to fabricate a smaller conspiracy big enough to take down the lab.

A conspiracy that was now being broadcasted nationwide.

"Since the release of the incendiary tape, the once quiet town of Hawkins, Indiana, has spent time in a place it never expected."

One by one the line of military troops file out of the main entrance to the lab for good. Sat comfortably in a lawn chair outside his parked van was none other than Murray Bauman, who watched the parade of troops merrily with a smug grin on his bespeckled face.

"The national spotlight."

The man giggled happily, one hand leaving his pocket and waving an exaggerated salute at the man in the jeep. Glaring as the car carried him by, he sent the smug man the finger without breaking contact from the road. Murray's giggles only grow more mischievous, and he sends a very kiddish wave to the rest, his cheeks sore from smiling.

"Under mounting pressure, several high-ranking members from the U.S Department of Energy have admitted involvement in the death and cover-up,"

Several sullen figures dressed all in black surround the polished coffin being lowered into the ground. Three of these figures, Nancy Wheeler, Jonathan Byers, and Steve Harrington.

"of Hawkins resident Barbara Holland who died due to exposure to an experimental chemical asphyxiant, which had leaked from the grounds of the lab."

Mr. And Mrs. Holland stand in each other's embrace at their daughters grave in tears, grasping tightly to one another. The long search for their daughter over in the most devastating conclusion.

"We send our own April Kline to Hawkins to speak to residents,"

The news anchor's voice echoes throughout the Hideaway bar from the small television set sat high on the shelf. The walls and shelves are decorated with many chunky Christmas lights for the upcoming holiday. The bar is filled with small chatter that fades out over the TV and the occasional clinking of glasses.

"residents who told us they thought they lived in a safe town. A kind of town where, they say, nothing ever happens."

The entrance to the Hideaway is pulled open with little strain, the warm air trapped inside is swept out with the demanding winter breeze that quickly takes its place. Wrapped up in a thick winter coat, Hopper steps inside and takes a quick look around. It hadn't changed much since his last visit over a year ago during his investigation of the lab and Will's "death". Funny enough, he used to frequent the place often, but since El had entered his life, he had quickly lost interest.

His eyes find the man he had come here to meet across the bar, sat at one of several booths enjoying a ham and turkey sandwich. Making his way across the bar, Hopper discards his heavy jacket, folding it up against his chest and tossing it in the corner of the booth before taking a seat across from Dr. Sam Owens.

"Cheif-o," the man pipes with a smile.

"How's the leg?" Hopper questions with a small smile.

Owens nods, swallowing the last of his bite and gestures to his right leg.

"Better," he chips. "Pretty sure my football career is over."

The two men share a small chuckle. Owens picks up the half of his sandwich he had touched and pushed the plate full of chips and the rest of the sandwich across the table in offering.

"Want some of this? No way I'm gonna finish it."

A tight, polite smile plasters over Hopper's face as he waves it off and gives him a shake of the head.

"No. I'm, uh... on a diet." He admits, thinking of El.

He had done a lot of thinking, and he knew now that he wanted this kid in his life for good. And that meant taking good care of himself so she had someone looking out for her.

It was also the very reason for this visit, and why he had been so anxious to talk to Owens. He stared at the man across from him as he spoke. Not bothered to try and hide the intimidation in his eyes as he prepared to reap the threat that was sown back in Hawkins Lab all those nights ago.

"Well, you're a better man than me," Owens says, immediately perking as he turns to his discarded jacket pocket. "Hey, got a little something for you."

Hopper sighs, leaning further back in his seat a bit taken aback. He watches curiously as Owens pulls a sealed white envelope out, places it on the table, and slides it across into his hand.

With a furrowed brow, Hopper picks it up and the envelope opens with a small crinkle. A somewhat thick piece of parchment lays inside that makes his heart skip a beat, all previous intimidations he was prepared to throw at the doctor vanish completely. He tucks the ends out of the envelope to get a better look, also being cautious of any possible prying eyes but no matter how many times he reads the words it doesn't seem real.

STATE OF INDIANA Certificate of Birth

This Certifies that according to records if the State of Indiana

Name 𝙹𝙰𝙽𝙴 𝙷𝙾𝙿𝙿𝙴𝚁 Was born in 𝙷𝙰𝚆𝙺𝙸𝙽𝚂 Child of 𝚃𝙴𝚁𝙴𝚂𝙰 𝙸𝚅𝙴𝚂

"Congratulations, Pops," Owens smirks.

Hopper's wide eyes dart to across the table to the man watching his reaction. "I thought--"

Owens shrugged. "Sometimes I impress even myself."

Hopper slips the parchment back into the sleeve, and folds up the envelope before slipping it into his jacket pocket where he wouldn't lose it. His defenses creep back up at what the man says next, though not as bad given the progress.

"Still, I'd let things cool off for a while, if I were you."

Hopper subconsciously squares his shoulders, his long and bulky arms coming to stretch across the table in an intimidating manner. His brows bunch together in a creased frown, tilting his head.

"How long is a while?"

He tries to remain patient with the man, but it proves more difficult than anticipated considering the heavy weight of his guilt. Hopper couldn't deny he played just a big of a part in El's captivity in the cabin, even if it was out of good intentions. All the more reason he was now determined to make it right.

"Want to be safe? Give it a year," Owens answers.

Hopper's brows shoot up. "A year?"

Shit.

His chest deflates in a sigh and snatches the untouched sandwich off the plate, taking a rather large bite out of the side. He thinks for a moment, an idea forming in his head.

"What about one night out?"

"One night?"

"Yeah," he hardens, quickly attaching himself to the idea, knowing how important it was to El. "How risky would that be?"

"What's so important about one night?"

· · ─────── ·𖥸· ─────── · ·

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