Five Nights at Freddy’s

By
Mark Russell

Based on the video game series "Five Nights at Freddy’s"

created by Scott Cawthon. This script is fan-written and has
no association with Scott Cawthon or the actual movie in
development.

All characters and concepts

are copyrights of Scott
Cawthon, 2014-2017.
DARKNESS.
A music box version of "Les Toréadors" plays. Haunting.
Foreboding.

The music begins to go out of sync, becoming distorted.

INT. MANAGER’S OFFICE, PIZZERIA - DAY - NOVEMBER 8TH, 1993

ON A TELEVISION: Swirling lights and colours. Merry
fairground music plays. An outside shot of FREDDY FAZBEAR’S
PIZZA in its glory days. All clean and new.
A cheesy TV effect flashes on screen, revealing a jolly
faced man in a colourful suit: FRED FAZBERG (60s).

FRED FAZBERG
Hello! I’m Fred Fazberg, and
welcome to Freddy Fazbear’s Pizza!
He throws out his arms dramatically.

Various imagery from within the diner plays to the merry

music: An arcade, a happy family eating pizza, kids dancing.
FRED FAZBERG (CONT’D)
Enjoy games, music, great pizza,
and fun for the whole family! Meet
our animatronic characters, who are
beloved by children of all ages!
There is a brief, poorly filmed clip of ANIMATRONIC
CHARACTERS, playing an irritatingly catchy song on a stage,
in front of an audience of excited kids.

The video jumps briefly. Fred Fazberg stands with a group of

beaming kids for the camera.
FRED FAZBERG (CONT’D)
Come on down to Freddy Fazbear’s
Pizza. A magical place for kids and
grownups alike, where fantasy and
fun come to life!
The children with Fazberg cheer on cue. The video abruptly
ends in snow and loud static.
The TV is switched off. MIKE SCHMIDT (19) sits in a chair,
cringing slightly. He wears a name tag pinned to his jacket
reading: "Hi, I’m Mike! Job: Security Guard!"

(CONTINUED)
CONTINUED: 2.

Opposite him is the diner’s manager VERONICA MAXWELL (26),

youthful, pretty, but also looking tired of life. Her dark
hair hangs over dull-coloured clothes. A contrast to Mr.
Fazberg’s colourful outfit.

They sit in a cramped, dingy office with white walls covered

with old posters of the animatronics, food deals, and
children’s drawings.
VERONICA
That used to be longer, but the
videotape got chewed up a little.
MIKE
That looked dated.
VERONICA
Yeah. We were gonna film a new one
but recent circumstances prevented
that.
MIKE
Excuse me?

VERONICA
Never mind. Anyway, Mike, why did
you want this job?
MIKE
Well, Miss Maxwell--
VERONICA
Veronica.

MIKE
Veronica. I’m looking for my first
job. I’ve looked around town but no
one wants to hire a high school
grad to look after their goods.

VERONICA
That’s their loss. How much do you
know about our restaurant, Mike?
MIKE
I came here a lot as a kid.

VERONICA
(surprised)
Really? So, you have good memories?

(CONTINUED)
CONTINUED: 3.

MIKE
Sure. Had a couple of birthdays
here. When I was about six-ish.
Though, it looks like the place has
seen better days.

VERONICA
It has. Anyway, your job is pretty
simple. You keep an eye on things
here from midnight til morning.
Watch the security feed and make
sure nothing bad happens.
MIKE
Like a break in?
VERONICA
Sure. Any questions?
MIKE
How long have you been here?
VERONICA
A few years. My dad was night guard
for a little while and--
(pauses, laughs)
Okay, it’s not exactly the best job
in the world, but he did his best.

MIKE
Cool. So it runs in your family?
VERONICA
I got promoted. Better than waiting
tables. Right, let’s get down to
it.
Veronica opens a drawer on her desk, filing through it for
something. She produces a contract and places it before
Mike.

VERONICA
Just the usual paperwork you get in
this kind of jobs. Sign at the
bottom, and you’ll comply with all
of Fazbear Entertainment’s
policies, agreements, and
contingencies. Yatta-yatta-yatta.
Mike signs the contract. He looks up with an amused smile.

(CONTINUED)
CONTINUED: 4.

MIKE
Does that include any possible
injuries or dismemberment?
Veronica’s eyes widen. Visibly horrified.

MIKE
Sorry. That’s just what it said in
the ad. Your marketing guys have a
sick sense of humour.

VERONICA
(annoyed)
Yeah. I might have to give them a
call.

She stands, casting him a vague smile.

VERONICA
Well, Mike, welcome to the Fazbear
family.

Mike takes it as a cue to stand himself. He shakes her hand

firmly.
MIKE
Sure.

INT. WESTERN HALLWAY - PIZZERIA - DAY

Veronica walks briskly with Mike through the diner. The
floor is checkered in black and white squares. The walls
decorated with party banners and posters. A few adults and
children come and go through the diner.
Mike has to get out the way as a cute waitress zooms by on
rollerskates.
VERONICA
Right, I’ll give you a brief tour
and then you can meet Steve.
MIKE
Steve?

VERONICA
Your supervisor. He’s the guard
here during the day. He’ll give you
the rundown on the security system.

Mike looks around the hall. A light flickers above him as he

walks under it.

(CONTINUED)
CONTINUED: 5.

MIKE
Having trouble with the bills?
VERONICA
Yeah, we have some issues. The
company put all their money into
marketing rather than maintenance.
MIKE
How so?

VERONICA
We don’t have a backup generator so
if you use up all the power, then
lights out.
MIKE
Seriously?
VERONICA
Yep. I’ve sent more cold calls than
I care to remember. The reps just
told me to do my job. Bunch of
twats.

INT. DINING HALL - DAY

The two step into the mildly busy dining hall. Round tables
fill the large room, several occupied by diners.
Long birthday tables lines the room as indicated by party
hats and paper plates.
Loud music plays in the room, nearly drowned out by the
shouts of children in the room and elsewhere.
VERONICA
Here’s the dining area. On the
right over there are the toilets
and kitchen.

She gestures to the doors lining the right wall. Mike hears
the jamboree-like music is getting louder. He is drawn to a
large curtained stage where a small crowd of children dance
about. He pauses in nostalgic awe.

VERONICA
Here they are. The main attraction.
Standing on the stage are THREE ANIMATRONICS singing
together:

(CONTINUED)
CONTINUED: 6.

FREDDY FAZBEAR, a large brown-coloured bear, sings into a

microphone. He wears a black top hat and bow tie.

To his left is BONNIE, a purple-coloured rabbit playing an

electric guitar.
To Freddy’s right is CHICA, a butter-yellow chick. She wears
a white bib that reads "Let’s Eat!", and holds a plate in
her hand where an animated CUPCAKE sits.

The kids cheer in joy as the song ends. Several adults

applaud unenthusiastically. Mike finds himself clapping
quietly.
MIKE
Wow. They’re still here.
Freddy speaks to the diners in a grainy, staticky voice.
FREDDY FAZBEAR
Thank you, boys and girls! Let’s
have a cheer for my friends! Bonnie
and Chica!
Several children scream and cheer. Bonnie and Chica pose
like they are embarrassed. Bonnie taps Freddy on the
shoulder, also speaking in a grainy recorded voice with a
slightly southern twang.
BONNIE
Hold on, aren’t we forgetting
someone?

FREDDY FAZBEAR
Who, Bonnie?
Bonnie waves to Chica to go along with the name game. She
talks in a high-pitched girly voice.

CHICA
Oh, yeah. It’s someone we know.
FREDDY FAZBEAR
Really? Who is it?

BONNIE / CHICA
You! Let’s cheer for Freddy!
The children cheer.

FREDDY FAZBEAR
Of course. I’m a silly bear. Hey,
kids, are you ready for Freddy?

(CONTINUED)
CONTINUED: 7.

CHILDREN
(in unison)
Yes!
The animatronics break into another song. Veronica, whose
arms are folded, nudges Mike who watches with childlike
wonder.
VERONICA
Their routine rotates about six
times per day. We don’t need to
stand here for the whole show.
MIKE
Do they still play the Pizza Party
Song?

VERONICA
Sure. Would you also like to look
at the children’s menu?
Mike cringes. Slightly embarrassed.

The two walk on across the dining hall. Mike looks back at
the animatronics. As they go, he hears a LITTLE GIRL,
holding her nose, talking to her MOTHER.
LITTLE GIRL
Mummy, I don’t like the smell.

MOTHER
Me neither, sweetie.

INT. PIRATE COVE - DAY

Veronica and Mike walk through a small arcade lined with
video game booths, and pass by a busy play area. A poster on
the far wall reads "Prize Corner!" where an oversized
gift-wrapped box with a crank sits.

Another staff member gives a Freddy plushy to a young boy

over the prize counter.
They pass into a large room themed to a pirate’s lair. A
small stage is built like the bow of a ship, but large
purple star-patterned curtains cover it. An out of order
sign stands before the stage.
MIKE
I don’t remember this.

(CONTINUED)
CONTINUED: 8.

VERONICA
It’s Pirate Cove. There was another
animatronic show here but it was
scrapped.

Mike watches the stage. The curtains billow slightly.

INT. SUPPLY ROOM - DAY

Veronica opens a door into a dark room. Mike peers in. Eyes
wide. Within is a repair room, with shelves lined with spare
animatronic heads and endoskeletons.
Some have eyes in them. Staring into space.
VERONICA
This is the supply room. If
mascots, just drag them in here.
Mike cringes and covers his nose.
MIKE
What’s that stench?
VERONICA
Why we failed the health
inspection.

Veronica slams the door shut.

INT. THE OFFICE - DAY

Veronica approaches a metal blast door. On the door is a
sign that reads "Security". She bangs on the door.
VERONICA
Steve, open up.
STEVE (O.S.)
Just a second.
They wait. The door slides up, revealing the dingy, cramped,
dimly-lit security office.

Sitting in front of a desk is the day guard STEVE (mid 40s),

wearing a security uniform. He leans back in a wheelie
chair, drinking from a Freddy Fazbear drink carton.
He turns and beams as Veronica enters with Mike. Stacked on
the desk are several surveillance monitors, a telephone
answer machine, and a desk fan.

(CONTINUED)
CONTINUED: 9.

Behind Steve are two filing cabinets, a clothes rack, and a

chair where a Freddy Fazbear costume head sits.
STEVE
Hey, Veronica? Is this the new
meat?

VERONICA
Yep. Mike, this is Steve. He’s your
supervisor.

Steve places his drink on the desk and rises, shaking Mike’s
hand firmly.
STEVE
Nice to meet you, Mikey.

MIKE
Hi. And my name’s Mike.
STEVE
Sure thing, Mikey.

Steve gives Mike a hard smack on the shoulder.

STEVE
Welcome. This is where all the
magic happens. Are you ready for
tonight?

MIKE
Sure. What will I have to do?
VERONICA
Like I said, keep an eye on things
til morning. And don’t let the
power go out.
Steve drags Mike over to the desk, pointing out
the surveillance monitors. Each show a different part of
the diner.

STEVE
These show every major spot in the
restaurant. You’ve got to keep an
eye on things so no one tries to
creep up on you.
MIKE
What about that one?
Mike points to one monitor that is flickering.

(CONTINUED)
CONTINUED: 10.

STEVE
Oh, that’s the kitchen camera. That
one has always been on the blink.
Steve strikes the monitor. The feed jumps. Briefly showing
the kitchen’s interior. A passing CHEF glances at the camera
as it follows him, flipping it off. The feed dies.
STEVE
So, Mike, why did you want this
job? Not many people want to work
the graveyard shift. Particularly
here.
VERONICA
Not that it’ll matter soon.

Mike turns to Veronica. Confused. Steve sits, leaning

backwards to look at Veronica.
STEVE
Are you gonna tell him?

VERONICA
Might as well.
MIKE
What? Is something wrong?

VERONICA
The restaurant could be shut down
by the end of the week.
MIKE
Why?
VERONICA
Unless we pass another sanitation
inspection, then you’ll only be
here til Friday. If you’re lucky.

Steve coughs loudly. Deliberately. Mike glances at him but

only gets a goofy smile in return.
STEVE
Come on. Don’t be such a sourpuss.
Besides, Mikey here looks like a
tough guy. I’m sure he can handle
the night shift.
VERONICA
Like you did?

(CONTINUED)
CONTINUED: 11.

STEVE
Hey, I’m still here, aren’t I?
Veronica exits the room. Disgusted.
VERONICA
Not everyone is.
Mike stares in bewilderment. He looks to Steve.
MIKE
What was that all about?
STEVE
She’s touchy. Nothing to worry
about.

Steve gets to his feet and goes to the clothes rack. Picking
up a guard’s uniform, he waves it at Mike.
STEVE
Anyway, let’s get you suited up.

INT. DINER FOYER - NIGHT - 10PM

It’s closing time. The last members of staff are leaving for
the night. Mike, dressed in his new security uniform, walks
with Veronica to the front door.

Mike’s uniform consists of a blue shirt, black trousers and

tie, and a cap. He struggles to strap a torch and collection
of keys to his belt.
Veronica waits impatiently for him to finish.

VERONICA
Are you done?
MIKE
Yeah. Sorry.

VERONICA
Right. If you need help, Steve’s
number is in the office or you can
call the company if you are really
desperate. The power has to last
all the way to morning, so only
close the office doors if you have
to.

(CONTINUED)
CONTINUED: 12.

MIKE
Got it. Anything else?
VERONICA
Yeah. Be out at 6AM on the dot. And
don’t let anything in or out. Be
careful.
With that, Veronica exits the diner and disappears into the
night. Mike closes the front doors. Fumbling with his keys,
he finds the right one and locks the doors.

MIKE
I should probably label them.
He turns to stare down the dimly lit hallway. Alone.

INT. DINING HALL - NIGHT

Mike wanders into the dining hall. Scanning the room with
his torch. Freddy, Bonnie, and Chica are briefly
illuminated. They stand motionless on the stage.

MIKE
As you were, gents.
(glancing at Chica)
Sorry. Miss.

He walks away.

INT. THE OFFICE - NIGHT

Mike presses a button on the wall. A metal door slides down
in front of him. He presses the button again and the doors
goes back up. He nods approvingly.
He slides into the wheelie chair in front of the desk. A
panel with six buttons and a joystick sits on the desk. Mike
taps one button. A monitor’s feed switches from a hallway to
the stage, showing the animatronics.
He switches the feed again. Each monitor’s feed switches,
going in a cycle. The joystick controls the cameras.
MIKE
Okay, then. Watch the cameras.
Don’t let the power run out. How
hard could it be?
JUMP CUT: Mike is slumped in the chair snoring away loudly.

(CONTINUED)
CONTINUED: 13.

A digital clock on one of the monitors, observing the dark

western hall, clicks over from 11:59 to 12AM.
THE PHONE RINGS.
Mike awakes with a start. Falling out of the chair.

MIKE
I’m up, I’m up! What? Oh, you
idiot.

Looking about dazed, Mike looks to the phone. A red light

flashes as it rings. Seeing the receiver is missing, Mike
stands up and sees a button that reads "Speaker". He presses
it.
MIKE
(hesitating)
Hello?
STEVE
Hello? Hello, hello? Hey, Mikey.
It’s Steve. I thought I’d give you
a call to see if you are alright.
MIKE
Yeah, I’m fine. Good, good.
Everything’s good.

STEVE
Any movement yet?
MIKE
What do you mean?

STEVE
Oh, I’ll get to that in a minute.
How’s the power percentage?
Mike stares blankly, and glances at the monitors.

MIKE
I don’t know. How do I find out?
STEVE
There’s a box thingy on the desk
that shows how much power is left.
Mike looks about the desk, spotting a small box with tons of
wires in the back. A bright green "98%" is on the screen.

(CONTINUED)
CONTINUED: 14.

MIKE
Oh, there it is. Ninety-eight
percent.
STEVE
That’s great. You should get
through the night with no problems
then. And if you feel drowsy,
there’s the coffee machine behind
you.

Mike turns seeing an old coffee machine in a corner. He

walks over and starts making himself a cup of coffee as
Steve blabs on.
STEVE
Let’s see. First there is this
introductory spiel from the
company. It’s sort of a legal
thing.
(clears his throat)
Welcome to Freddy Fazbear’s Pizza,
a magical place for kids and family
alike. A place where fantasy and
adventure come to life. Fazbear
Entertainment is not responsible
for damage to property or personal
injury. Blah, blah, blah. You know
how it goes.
MIKE
Yeah, yeah.
Mike returns to the chair and sips from a paper cup. He
starts checking through the camera feeds:
--Eastern hallway, empty.
--Western hallway, empty.

--Pirate Cove, empty.

--Supply closet, empty.
--Toilets, empty.

--Kitchen, no visual, audio only.

--Dining area, empty.
Mike clicks onto the next camera. Sips from his cup. He
pauses. Noticing something. He leans forward.

(CONTINUED)
CONTINUED: 15.

On the stage, Freddy and Chica stand where they are supposed
to be.

BONNIE IS MISSING.
MIKE
What the--
Mike stares with his hands open. He pans the camera around
but there is no sign of the rabbit.
STEVE
Now, the animatronics tend to get a
little quirky at night, but do I
blame them? No. If I had to sing
those say stupid songs for years
and never got a bath, I’d be a bit
irritable at night too. So remember
that these characters hold a
special place in the hearts of
children, so show them a little
respect--
MIKE
Steve, where has Bonnie gone?
STEVE
What? Already? That’s early for
him. Check the other cameras. I’m
sure he’s around there somewhere.
MIKE
I thought they were bolted to the
stage’s floor?
STEVE
In the day they are. But at night,
they wander a bit. It’s to stop
their servos from locking up.
Mike flicks through the cameras. He stops. A tall, dark
figure with distinctive long ears stands in the supply
closet.

MIKE
There you are.
He stands.
MIKE (CONT’D)
Hey, Steve. I’ll be back in a
minute.
Mike strides out of the office.

(CONTINUED)
CONTINUED: 16.

STEVE
No, wait, Mike. Come back. If they
catch you--

INT. WESTERN HALLWAY - NIGHT

Mike walks quickly down the now dark hall, letting his torch
guide the way. Distant eerie noises can be heard all around.
A light flickers above Mike as he walks under it.

INT. DINING HALL - NIGHT

He enters the large dining hall. He pauses, passing his
torch over the stage. Freddy and Chica are still there.

Breathing a sigh of relief, Mike moves on.

INT. PIRATE COVE - NIGHT

Mike flashes the curtained stage. No movement. He approaches
the door to the supply closet.

INT. SUPPLY ROOM - NIGHT

Mike cautiously shines his torch into the room. All of the
spare animatronic heads lie on shelves or on a work table in
the middle of the room.
He rotates his torch and jumps. Bonnie stands in the corner
with his back to Mike, staring up into the security camera.

MIKE
H-hey, bunny boy. What do you think
you are doing?
Bonnie slowly turns around with loud whirring noises. As the
animatronic fully turns, Mike lowers his torch in alarm.

Bonnie’s eyes are completely black with white pin pricks for
pupils.
MIKE
Bonnie?
BONNIE SHRIEKS AT MIKE. AN INHUMAN, MECHANIZED SCREAM.
He raises his arms, reaching out to grab Mike. Not waiting
another second, Mike bolts out.
 17.

INT. DINING HALL - NIGHT

Mike rushes out into the dining hall. He hears mechanical
movements to his left. He shines his torch up to the stage.
Freddy and Chica are still there. But staring at him.

MIKE
Oh, my God!
Chica starts to move. Mike backs off, glancing back to see
Bonnie approaching. He dashes away.

INT. WESTERN HALLWAY - NIGHT

Mike runs down the hall as fast as he can go. Dashing past
the office and straight to the front doors. He pulls out the
keys and fumbles with them. Trying one on the lock. It
doesn’t work.
He tries another. The same result.
MIKE
Come on! Which one is it!
He struggles to get a third key into the lock. His hands are
shaking too frantically to get it in. Another shriek comes
from down the hall.

Mike turns, shining his torch down the hall. Bonnie is

entering from the other end.
Mike abandons the front door and runs into the office.

INT. THE OFFICE - NIGHT

Mike jams the door shut. He back off from the door, and
hurries to eastern door. Shutting it to.
STEVE
Mike? What’s going on?
MIKE
The animatronics are trying to get
me!

STEVE
You did leave in a hurry. I was
going to tell you that if they find
you, they’ll probably mistake you
for an endoskeleton.

(CONTINUED)
CONTINUED: 18.

MIKE
What!?
STEVE
They’ll think you are an
endoskeleton without a costume on.
So, they might try to shove you
into an animatronic suit.
Mike jumps as someone KNOCKS on the door. He raises the
torch to a small window beside the door. Bonnie is staring
through it, smiling creepily.
MIKE
Go away! I’m not letting you in!
STEVE
Mike, calm down. It’s not that bad.
MIKE
How can this not be bad? You didn’t
tell me about this!

STEVE
It’s not exactly promoted by the
company.
MIKE
Gee, I wonder why.

STEVE
Look, as long as you check the
cameras and keep the power in mind,
you should be fine. If you make it
through the night, I’ll talk to you
tomorrow. Goodnight.
The call ends. Mike gapes at the phone.
MIKE
What do you mean "goodnight"!?

He tosses his cap at the phone. Mike turns back to the door.
He flashes his torch at the window. Bonnie is gone.
Checking the cameras, Mike switches to the western hall. It
is empty. He flicks through them. Bonnie is wandering around
the dining hall. Cautiously, he moves to the west door and
raises it. Then to the east.
Mike switches to the stage camera. Freddy is there, staring
up at the camera. Chica is missing.

(CONTINUED)
CONTINUED: 19.

MIKE
Where the hell has she gone?
Mike flicks through the camera feeds. Eyes alert.
On the monitor, Chica stands in the shadows near the
restrooms. Her jaw hanging loosely open, showing huge teeth
within. Her eyes are wide, staring into the camera.
MIKE
There you are.

He checks back to the dining hall. Bonnie has gone.

Mike flicks through the feed:
--Western hall, clear.

--Eastern hall, clear.

--Toilets, Chica still stands staring into the camera.
Mike clicks on the next camera.

MIKE
Holy hell!
He jumps away from the monitors. Bonnie is in the supply
closet. Standing right up close to the camera with his black
eyes.
MIKE
Nope, nope, nope!
He switches the feed to the stage. Freddy hasn’t moved.

MIKE
Good, you’re still there. Don’t
move or I’ll shove a beehive up
your ass.

The camera switches to the toilets. Chica has gone now.

The feed switches to the eastern hall. Chica isn’t there
either.

Mike tenses and slowly turns his head to glance towards the
east door. Chica is watching him from the window. Her mouth
open, revealing two sets of teeth - one row is human-like,
the other mechanical.
Chica glances to her left - to the open door. She makes a
move.

(CONTINUED)
CONTINUED: 20.

Mike dives for the door. He scrambles to his feet and slams
on the button. Chica toothed beak gnashes at Mike’s face
moments before the door slams down.
Mike sits against the door, panting in terror.

He glances up at the office window. Chica is staring back

again, her mouth opening and closing.
MIKE
(panting)
No-you-don’t.
He watches as Chica continues the biting motion at him. He
looks away towards the open western door. No one there.
MIKE
(sarcastic)
Six hours. How bad could it be?

INT. THE OFFICE - NIGHT

Freddy remains motionless on stage, but still stares up into

the camera.
Mike drains his coffee cup. Dumps it into a bin that is
filling up.

He flicks through the feeds in an endless loop. Bonnie

hovers in the shadows of the western hall.
On the faulty kitchen feed, the screen flickers. Strange
munching noises filter out of the monitor. Possibly Chica.

Mike looks to the power level: 62%.

Both doors are open.
MIKE
Okay. Freddy is chilling out on
stage. Good. Stay there. Chica is
in the kitchen. I think. And
Bonnie--
Mike hears approaching footsteps. He rolls the chair over to
the door button and slams down the west door. Bonnie’s tall
ears are visible through the office window. He pauses,
seeing the door closed to him.
The rabbit turns to glance into the office. Mike waves
teasingly at him.

(CONTINUED)
CONTINUED: 21.

MIKE
Silly rabbit.
Mike checks the cameras:
--Toilets, clear.

--Kitchen, on the blink but silent.

--Eastern hall - Chica is back. Standing with a lop-sided
head, mouth open and eyes wide.

MIKE
Stay there.
He glances back to the other side. Bonnie has gone. Mike
checks the feed. The rabbit is wandering off down the hall.

Mike flicks back to the eastern hall. Chica has gone.

A MECHANIZED SCREAM MAKES HIM JUMP.
At neck-breaking speed, Mike launches himself off the chair
to the eastern door. Chica’s smiling face vanishes as the
door comes down. She steps back before the door crushes her
feet.
MIKE
Damnit! That was too close!

Mike backs away from the door. Then, the sound of a

DISTURBINGLY UPBEAT CHILDREN’S SONG begins to play. Mike
looks around the room for the source.
Both doors are closed. Mike checks the back of the room.
Nothing. The music is loudest behind him.
He spins. Shining his torch over the desk and monitors. Then
he sees the source - sitting on a monitor: THE CUPCAKE.
It is pink and orange, with two eyes, and a candle sticking
out of the top. Mike cautiously approaches it. He leans it
as it plays the music.
The cupcake opens up like a clam, revealing miniature metal
teeth.

MIKE
No way!
The cupcake springs off the table, SHRIEKING like the
others. Mike leaps away as the cupcake rolls across the
floor after him. Screeching all the way.

(CONTINUED)
CONTINUED: 22.

Backing up against the closed western door, Mike glares at

the approaching cupcake. With a swift hard kick, Mike
launches the mini-animatronic across the room. It hits the
opposite door hard.

Mike dashes for the cupcake. Picks it up and opens the

eastern door. Mike pokes his head out.

INT. EASTERN HALLWAY - NIGHT

Chica is half way down the hall. She turns around.

MIKE
You forgot something.
Mike tosses the cupcake out the office and down the hall.
Its battered body lands at her feet. He shuts the door.

INT. THE OFFICE - NIGHT

Mike collapses back in the chair. He checks the camera on
the eastern hall.
Chica bends down out of sight. She rises up, holding her
cupcake in her arms.
She looks up into the camera. Her expression turns into a
furious one.
Mike stares in horror.
He eyes the time: 3:55 AM.

INT. THE OFFICE - NIGHT

The clock changes -- 5:45 AM.
Mike stands before the desk, flicking through the feeds. His
eyes are red. Both doors are down. ON THE MONITORS:
--Western hallway, Bonnie stands outside the door. Staring
up at the camera.

--Eastern hallway, Chica is doing the same thing. Her face

is cast in shadows, but her open beak is visible.
--Stage area, Freddy is still there.
Mike glances at the power limit -- 13%.

(CONTINUED)
CONTINUED: 23.

MIKE
Come on, come on, come on. Nearly
there.
Mike returns to the feed. Bonnie is still there. So is
Chica.
MIKE
A magical place for family and
kids, my ass.

Another round through the cameras. No one has moved. Mike

pauses on Pirate Cove to take a breather. The "Out of Order"
sign is illuminated by the glittering stars patterned on the
curtain.
Mike blinks. Notices something.

The sign has something new on it -- "It’s Me!"

Mike stares at the monitor. He batters the side of the
monitor. The feed jumps. The sign now reads "Out of Order".

Mike sighs. Runs his hands down his face.

MIKE
Great, Mike. Now you’re going nuts.
He checks the clock again: 5:47 AM.

TIME SPEEDS UP. The power drops to 9%.

MONTAGE:
The western door goes up.

ON THE POWER MONITOR: 8%

The eastern door goes down on Chica.
ON THE POWER MONITOR: 7%

The torch illuminates Bonnie’s shadow. The western door

drops.
ON THE POWER MONITOR: 6%

Mike holds the joystick with whitening knuckles. The camera

turns, revealing Bonnie staring into it.
ON THE POWER MONITOR: 5%

Freddy continues staring from the stage.

(CONTINUED)
CONTINUED: 24.

ON THE POWER MONITOR: 4%

Mike’s free hand taps constantly on the desk. His eyes glued
to the camera feed.
ON THE POWER MONITOR: 3%
The lights flicker. One monitor starts to jump a lot.

ON THE POWER MONITOR: 2%

Freddy’s face vanishes from the second monitor as it turns
to snow.
END OF MONTAGE.

Mike slowly stands, backing away from the monitors. He looks

at both closed doors. Then around for a weapon. All he has
it the chair.
ON THE POWER MONITOR: 1%

Mike swallows hard. His fists shaking.

The power goes out. Lights. Monitors. The doors shoot up.
Instincts kicking in, Mike grabs the chair. Ready to be
ambushed from either side. He breathes heavily.
Nothing.
Mike blinks. Still on edge. It is deathly silent.

INT. WESTERN HALLWAY - NIGHT

Mike cautiously steps out into the long, dark hallway. He
wheels the chair out after him. He draws his torch and
shines it down the corridor.

No sign of the animatronics.

He walks on, dragging the chair behind him with one hand.
The torchlight leading the way.

INT. DINING HALL - NIGHT

Mike slowly steps into the dining hall. He pauses in
disbelief.

The animatronics stand motionless onstage. As if they never

moved. Smiling away. The battered cupcake on Chica’s plate.
Mike shines his torch on their faces to get a reaction.

(CONTINUED)
CONTINUED: 25.

A TICKING CLOCK reaches his ears. He shines a light on the

wall, revealing the clock. It is 6 AM.
Mike turns tail and dashes out of the room as fast as he
can. Straight for the exit. The office chair is left
spinning in the dining room.

EXT. FREDDY FAZBEAR’S PIZZA - DAYBREAK

Mike bursts out of the doors. He hastily locks them and
hurries away across the car park. He pauses. He is exhausted
on all counts.
As if daring to, Mike turns, looking back at the diner.
Above the doors is the logo of Freddy and co. Smiling
happily.

Enough is enough. Mike dashes for his car.

FADE OUT.

INT. CHILD’S BEDROOM - NIGHT

DARKNESS. A CHILD PANTS IN TERROR.
A TORCH is turned on illuminating a child’s bedroom.

From the bed, we see through THE CHILD’S POV.

The child sits on a bed. The torch illuminates a door on the
left side of the room. Then a two-door closet that is
closed. And a door on the right.

We move off the bed. Across the floor. To the door on the
left.
The child’s hand reaches for the door. Opening it a crack.
Darkness pours in. Something with pinprick eyes lurks down
the hall and disappears.

Silence, then--
BONNIE SPRINGS OUT OF THE BLACKNESS. He is extremely worn
and falling apart. Nightmarish. His mouth full of razor
sharp fangs. He scream and shrieks.

We leap back as Bonnie tries to get back into the room. The
child’s hands fight back, trying to close the door on
Bonnie’s head. With some effort, the door is slammed shut.

The child whimpers in fear. Crying.

(CONTINUED)
CONTINUED: 26.

A loud THUD comes from our right. We turn. Shining the light
on the other door. It is being struck against from the other
side. It shudders violently in each frame. The door is
forced open.
Chica’s arm comes into view, followed by a glimpse of her
equally deformed head.
We run towards the closet. Throwing the doors open and
ducking inside. We close the doors. Gaps in-between the bars
show the bedroom doors opening in unison. Bonnie and Chica
enter.
We back away. Clothes hanging on a rail block the bedroom
and closet doors from view.

AN INHUMAN CHUCKLE LAUGHS BEHIND US.

We turn around, revealing--

INT. DINER HALLWAY - NIGHT

The checkered-floor of the diner. We slowly walk down the
hallway. Mechanical noises come from behind.
We turn around. Two pair of pinprick eyes are following us.

Breaking into a run down the hall, we turn back to look down
the hall. It is endless. The child is panting and sobbing as
he goes.
Suddenly we trip. Hitting the floor hard. The child groans
in pain. Heavy footsteps approach. A monstrous reflection
appears on the floor.
Our POV looks up. FREDDY STANDS OVER US. He too is in
disrepair. In a mocking gesture, he tips his top hat to us.
Then he pounces. SCREAMING.

INT. MIKE’S BEDROOM - DAY - NOVEMBER 9TH

Mike awakens with a start in a bed. He looks about,
sweating, and alert. The bedroom from the nightmare is the
same, but now home to a high school graduate.
He calms himself down. Rubbing his face in exhaustion.
MIKE
Too bad last night wasn’t a dream.
Mike turns in his bed, opening the curtains. It is cloudy
outside.

(CONTINUED)
CONTINUED: 27.

Repositioning himself, looking up to the discarded pile of

security clothes on a desk next to the right-hand door.

He takes a deep, tense breath.

MIKE
Okay.
He gets up. Grabbing the uniform.

INT. WESTERN HALLWAY - DAY

Mike marches into the diner in his uniform. He adjusts his
hat. A familiar kids’ song is playing down in the dining
hall.
Mike walks to an open door on his right. He hovers in the
doorway.

INT. THE OFFICE - DAY

Steve sits in the retrieved chair, watching the monitors.
The room has been cleaned, looking like it is brand new.
Steve turns in the chair. He smiles with nervous relief.

STEVE
Hey, Mikey! You came back. I was
worried you didn’t survive the
night.

Mike stomps forward and PUNCHES Steve hard. Knocking him to

the floor. Mike is fuming.
MIKE
Why didn’t you tell me!?

Steve sits up and rubs his face. He is clearly shocked. He

pulls up his shirt collar, hiding a visible scar on his
neck. Mike notices.
A YOUNG MOTHER and her four-year old son walk by. The mum
briefly pauses, seeing Steve on the floor. Steve waves at
them.
STEVE
Never had rhythm in my feet. Go
right on in, Miss.

Mike turns to warn the mother, but she is gone. He spins

back to confront Steve as he gets up, rubbing his face.

(CONTINUED)
CONTINUED: 28.

MIKE
Maybe you should tell them Freddy
and friends want them dead.
STEVE
Calm down, Mikey. The characters
don’t harm the kids. Well, apart
from the bite--
MIKE
The bite? What bite?

Steve fumbles with his hands. A long beat. His reaction is a

saddened, ashamed one.
STEVE
The Bite of ’87.
MIKE
You mean a kid got hurt?
Steve moves past Mike. Bringing down the security door.

STEVE
It was terrible. The poor kid had
their frontal lobe bitten off. The
lawsuits were unbelievable.

MIKE
That long ago, and those things are
still being allowed around kids?
STEVE
No, no. We won’t let them go near
the guests. That’s why we let them
wander at night.
MIKE
Yeah, and they try to murder the
guard.

STEVE
Look, it really isn’t that bad. You
made it through the night.

MIKE
Barely. Look, I don’t know if
everyone here is nuts, but those
monsters are dangerous and people
shouldn’t be allowed anywhere near
them.

Mike raises the door and leaves the room.

(CONTINUED)
CONTINUED: 29.

STEVE
Where are you going?
MIKE
To do my job.

Mike storms away down the hall. Steve is left stunned. He

grabs a walkie talkie and speaks into it.
STEVE
Veronica, Mike’s back. He is not
happy.

INT. DINING HALL - DAY

Mike marches into the dining hall. It is surprisingly busy
with at least seven children’s parties going on
simultaneously.
Freddy, Bonnie, and Chica perform a catchy song on stage
which a small group of children are jumping about to.

Mike glares at the animatronics. He walks through the

decorated tables, towards a pair of MEN quietly discussing
sports. One wears a baseball cap, the other a little
heavyset. One turns with a grin as Mike approaches.
BASEBALL CAP FATHER
Hey, pal. Do you serve any beer
here?
MIKE
(pretending to know)
Afraid not. Mr. Fazberg was very
discouraging of it.
HEAVYSET FATHER
Yeah, but the old coot has been
dead for a few years now. Maybe you
could put in a good word with the
manager.
MIKE
I’ll pass it on. Listen, make sure
you keep your kids away from the
animatronics.
BASEBALL CAP FATHER
Why?

(CONTINUED)
CONTINUED: 30.

MIKE
It’s for their own safety.
(beat)
And company policy.

HEAVYSET FATHER
Is there something wrong with them?
MIKE
You could say that.

The young mother from before approaches. Concerned.

YOUNG MOTHER
Excuse me, did you say the robots
are dangerous?

MIKE
Well--
VERONICA (O.S.)
Mike!

He turns as Veronica storms over. Her face a painting of

contained anger.
VERONICA
Don’t frighten the guests.
(to the parents, kinder)
My apologies. Mike here is very
dutiful in his job. Likes to keep
things shipshape.
HEAVYSET FATHER
Good on you, son. Nice to see
you’re taking care of our kids.
Before Mike can reply, Veronica grabs his arm and drags him
away.

INT. PIRATE COVE - DAY

Veronica sits down on a chair, smoothing down her suit. Mike
slumps in the chair opposite. He is furious.

Pirate’s Cove is empty, but the arcade just outside the room
is noisy and crowded. Enough to muffle their chat from
intrusive ears.
VERONICA
I don’t need you starting a panic.

(CONTINUED)
CONTINUED: 31.

MIKE
Oh, yes, we don’t need to tell them
about the killer mascots. Are you
insane?

VERONICA
Our reputation is already garbage
as it is. I don’t want to add more
fuel to the tyre fire.
MIKE
Do your superiors know about this?
Veronica sighs deeply. On edge.
VERONICA
Yep. We report the stuff to
management but they sweep it under
the rug. Given everything that’s
happened, I’m not surprised.
MIKE
Have they done it to other guards?

Veronica shifts uncomfortably.

VERONICA
Occasionally. We have to follow
company protocol in dealing with
such finds. As dreadful as they
are.
Mike shakes his head in disgust.

MIKE
That’s sick. How can anyone go
along with it?
VERONICA
The mascots weren’t always like
this.
MIKE
Has it got to do with the bite that
Steve mentioned?

Veronica leans back in the chair. She lets out an irritated

sigh. Grabs her walkie talkie.
VERONICA
Steve to Pirate Cove. Now!

(CONTINUED)
CONTINUED: 32.

STEVE (O.S.)
(through the walkie talkie)
Okay.
Veronica massages her face.

VERONICA
Mike, what did he tell you?
MIKE
Some poor kid got their brain
chewed out. Which one did it?
Chica?
VERONICA
No. The culprit is long gone.

MIKE
I thought you couldn’t do anything
with the animatronics.
VERONICA
You can’t sweep something as like
that under the rug. Management took
precautions to make sure it didn’t
happen again.
MIKE
Yeah. Letting them target the night
guards instead.
VERONICA
Your ass isn’t the only one on the
line. I dread the news that another
body will be found.
MIKE
Then why stay?
VERONICA
I have my reasons.
Veronica folds her arms. A far off look in her gaze. Mike
watches her in concern. He sits back in the chair.
Something catches his eye -- the curtain on Pirate Cove’s
stage moves.
Mike slowly stands.
VERONICA
Something wrong?

(CONTINUED)
CONTINUED: 33.

MIKE
There’s something behind that ruddy
curtain.
Mike walks towards the stage. He pauses by the "Out of
Order" sign. He spins it around, seeing the other side is
blank. He shakes his head, walking up onto the pirate-themed
stage.
Mike cautiously brushes the curtain aside.

Standing backstage is a red FOX ANIMATRONIC. Dressed like a

pirate. Ripped trousers, a hook for a hand, a visible
eyepatch. He is in a state of disrepair with visible holes
in his body and fur missing from his muzzle.
Mike stares at the new animatronic. A sense of familiarity.

MIKE
Foxy?
STEVE (O.S.)
He was always my favourite.

Mike turns around. Steve has arrived. Smiling fondly at the

fox pirate. Steve walks up onto the stage to join Mike. He
walks over to Foxy, patting him on the head.
STEVE
Foxy started malfunctioning shortly
after the Bite. Shame really.
Foxy’s show was more diverse
compared to Freddy’s.

MIKE
And now there are four of them to
worry about.
STEVE
Foxy is harmless.

MIKE
Steve, you’ve been the night guard,
right?
STEVE
On and off. I cover whenever it is
needed.
MIKE
Then how have you survived this
long?

(CONTINUED)
CONTINUED: 34.

STEVE
(thinking about it)
Just lucky I guess. I’ve been
working here since opening day. And
I do know a lot about the place.
Veronica stands.
VERONICA
Mike, listen. If you want to quit,
I won’t blame you.
Mike looks from her to Steve. Then briefly glaring at Foxy.
He thinks over his options.

MIKE
They don’t attack children right?
STEVE
Nope.

MIKE
The parents?
VERONICA
We’ve caught them just staring at
them. Like they can’t be trusted.

STEVE
But mostly at the guards. I wonder
if its the uniforms, rather than
the people wearing them.

MIKE
Why the guards?
VERONICA
The Bite. No one was keeping an eye
on the animatronics when it
happened. I guess the mascots
somehow see the guards as threats
to the children.
Veronica is visibly troubled, casting an accusing eye at
Steve. Mike notices. Worried himself.
MIKE
Are you okay?
VERONICA
Yeah, sure. I hate doing this, but
we need a guard to keep an eye on
the animatronics. Who knows what
they’d do if no one was here?

(CONTINUED)
CONTINUED: 35.

Mike looks to Steve. His usual smile is missing. He is

looking at Foxy sadly.
Mike takes a deep breath. His face grim. The decision is
made.

INT. THE OFFICE - NIGHT

Mike sits at the desk. Ready for action. But terrified out
of his mind.

He chugs down an energy drink straight out of the can. He

cringes at the bitter taste.
MIKE
Urgh. Grose.

STEVE
(on the phone)
I won’t talk so much tonight.
Freddy and his pals become more
active each night. Though Freddy
doesn’t normally come off the
stage.
MIKE
What about Foxy?

STEVE
Like I said, he’s harmless. Doesn’t
even move. But if you get nervous
then check Pirate Cove.
MIKE
Sure. Okay. Anything else?
STEVE
Nope. Not really. Preserve power as
best as you can. Use the doors only
if necessary. And stay alive.
Alright, goodnight.
Steve’s call ends. Mike sighs.
MIKE
Thanks for the vote of confidence.
Mike moves to the monitors. He immediately goes to stage
camera. His eyes widen.
Bonnie and Chica are already gone.

(CONTINUED)
CONTINUED: 36.

MIKE
Oh, God!
He flickers through the cameras:
--Western hall, Bonnie is coming down the hall.

--Eastern hall, Chica stares into the camera menacingly.

Mike looks to the western door. Catching a glimpse of
Bonnie’s ears passing by the office window.

He dives for the door. Bonnie walks into view. He SHRIEKS at

Mike.
Mike slams the door button. The door slides down. Bonnie
shrieks angrily behind the door. HE HAMMERS ON IT. Demanding
to be let in.
Mike spins to the other door. He bolts across the office and
slams that one down too. Chica’s face appears in the office
window. Her beak gnashing open and close.

MIKE
I wasn’t ready!
Chica just stands there. Staring. Or possibly glaring at
Mike.

MIKE
Go away, Chica!
She doesn’t. Mike shakes his head and collapses into the
chair. He glances at the monitors. Freddy is looking at him
from the stage.

MIKE
It’s going to be a long night.
MONTAGE:

--Both doors go up.

--ON CAMERA: Bonnie wanders the dining hall.
--Mikes slams the door shut on Chica. He is quickly being
worn down. Eyes bloodshot.
--Time speeds up. The power percentage drops rapidly.
--The western door goes up.

END OF MONTAGE.

(CONTINUED)
CONTINUED: 37.

Mike is standing. On full alert. Cycling through the cameras

in a neverending pattern. Freddy hasn’t moved. Bonnie is in
the supply closet. Chica by the toilets.
He pauses on Pirate Cove. Catching his breath.

MIKE
I can’t keep going like this.
He looks around. Spies the set of drawers on the desk. He
tries to open the top drawer. It is locked.

MIKE
Damn.
Then he realises. Looks down. He has the keys.

He glances to the camera feed. Bonnie is still in the supply

closet. Chica has moved from the toilets to the eastern
hallway.
Mike moves to the door. Closing it.

He goes back to the desk, fiddling with the keys. He changes

the camera to the western hall. He tries one. It doesn’t
work. He tries another.
MIKE
Come on.

The key makes noise in the lock. Turning all the way.
Unlocking the drawer.
MIKE
Yes!
He pulls out the drawer. Inside are a pair of SHOCK STICKS.
MIKE
Jackpot.

Mike picks up the two sticks. He tests one. The tip sparks
with electricity. He then tries the same with the second.
Smiling in relief, he nods to himself.

He peers down into the drawer. Pulling out paperwork.

A NEWSPAPER CLIPPING slips out onto the floor. Mike sets
down one of the shock sticks on the desk and picks up the
clipping.

(CONTINUED)
CONTINUED: 38.

MIKE
What’s this?
ON THE CLIPPING: "Kids Vanish At Local Pizzeria - Bodies Not
Found".

MIKE
(reading)
Local children were reported
missing after visiting a family
diner Freddy Fazbear’s Pizza.
Authorities suspect they may have
been murdered.
Mike pauses and goes to continue reading. Ignoring the
monitors.

ON THE MONITOR: The camera nearest to Mike flickers. Showing

the western hall. A SHADOW moves out of sight. Towards the
office.
MIKE (CONT’D)
(reading)
This most recent disappearance may
be related to three other missing
children who were reported to the
police last week. No suspects have
been publicly announced yet.

THE LIGHTS FLICKER. Mike looks up from the clipping. To the

ceiling. Then pauses. He is being watched.
Mike snaps his head to the left.

SKRRREEEEEEEEE! BONNIE LUNGES FOR MIKE. Mike stumbles

backwards. Tripping over the chair. Bonnie, arms
outstretched, comes for Mike.
Scrambling for the shock stick, Mike backs away towards the
closed eastern door. He gets to his feet. Noticing Chica at
the office window.
Mike activates the shock stick. And RAMS it into Bonnie’s
chest. The animatronic is startled, stumbling back a couple
of steps.

MIKE
Employees only! Get out!
Mike nabs the other shock stick from the desk. Ramming both
together directly into Bonnie’s eyes. The rabbit stumbles
back.

(CONTINUED)
CONTINUED: 39.

Bonnie covers his eyes. In pain. He lets out GRUNTS OF PAIN.

ALMOST SOUNDING CHILDLIKE. Mike lowers the shock sticks
slightly. He freezes.
Bonnie lowers his hands. His eyes are black with pinprick
white dots for pupils.
He shrieks again and moves to grab Mike again. Powering up
the shock sticks, Mike backs away. Kicking the chair in
Bonnie’s path. Bonnie swats it aside. The chair rolls away.

Mike rolls across the floor as Bonnie reaches him. He

pauses. Bonnie isn’t facing him. Looking at Chica.
He moves for the door button. Mike makes a move. Striking
Bonnie in the back with the shock sticks. Bonnie slams
against the eastern door. He turns. Sparks shooting from his
neck. He shrieks. Lunging at Mike.
Bonnie slams into Mike. Knocking him against the desk.
The two wrestle as Bonnie’s huge arms try to wrap around
Mike’s wrists to remove the shock sticks. Mike rams the
sticks against Bonnie’s torso. Trying to shock the rabbit
off him.
Behind Mike, the camera feed showing the western hall
flickers.

ON THE CAMERA: SOMETHING COMES RACING DOWN THE HALL.

Bonnie squeezes Mike’s wrists hard. Mike yells in pain.
Dropping the shock sticks.
A PIRATE’S HOOK stabs Bonnie in the right shoulder. Bonnie
reacts, releasing Mike.
Mike watches as FOXY appears. He drags Bonnie away. He
speaks in a scratchy pirate accent.

FOXY
Avast, matey. Ye can’t catch the
vagabond when he be so armed!
Mike watches in astonishment, breathing heavily, as Foxy
drags Bonnie right out the office.

Adrenaline kicking in, Mike throws himself at the door

button and slams it. The door shuts.
Mike collapses onto the floor, panting heavily. Frightened
out of his mind. He puts his head in his hands. Trying not
to sob.
 40.

FADE OUT.

INT. THE OFFICE - DAWN

The office is a mess. Mike sits propped up in the chair,
staring miserably at the cameras. Armed with the shock
sticks. Both doors are closed. Unaware his shift has ended.
THE DIGITAL CLOCK REACHES 6AM.

Mike jumps at the clock’s beeps. He looks to the monitors.

There is no movement. The animatronics are back on the
stage.
He leans back in the chair. Breathing a long withheld sigh
of relief. He drops the shock sticks.

He massages one of his shoulders lightly and begins to rise.

Something catches his eye in one of the monitors.
FOXY’S HEAD IS POKING OUT OF PIRATE COVE. WATCHING HIM.

Mike blinks but does not react. He completely rises. Too

exhausted to care. But smiles thankfully at Foxy.
MIKE
Thanks, Cap’n.

He turns to leave. Stops. Noticing the discarded newspaper

clipping on the floor. He picks it up. Examining it. He has
found a new lead.

EXT. TOWN SQUARE - MIDDAY - NOVEMBER 10TH

A sunny day in town. But it is not a good morning for

Veronica. She walks down the high street, a mobile phone to
her ear. Carrying a heavy satchel under her arm.

VERONICA
(on phone)
Yes, sir. No, he wasn’t there
according to Steve. I am well aware
of the protocols. But you must
realise how horrible they are. Sir,
it would be easier to just scrap or
repair the mascots--
Veronica is cut off by the unheard executive. Her face turns
grim and angry. Submissive. Whatever she is hearing, she has
heard before.

(CONTINUED)
CONTINUED: 41.

VERONICA (CONT’D)
Yes. I know. Alright, bye.
She hangs up and stuffs her phone into her unbuttoned jacket
pocket angrily. Her wallet tumbles out onto the floor.
Spilling money and credit cards.

VERONICA
Damnit.
She kneels down and picks up her valuables. She pauses.
Seeing a PHOTO among the scattered change. She picks it up
and examines it fondly.
The photo is of a teenager Veronica hugging an OLDER MAN.
Late thirties. Handsome. Has a distinctive 70s moustache.

VERONICA
I promise you. Soon.
She stuffs the wallet back into her jacket. Looking up, she
spots something. Across the street, Mike is marching across
the square. A man on a mission.

Veronica breathes a sigh of relief. Then notices he is going

to the library. She follows.

INT. LIBRARY RESOURCE ROOM - DAY

Several FOLDERS OF NEWSPAPERS are dropped onto a table. Mike

begins filing through them, giving a brief thankful glance
up at a LIBRARIAN.
MIKE
Thanks.
LIBRARIAN
And here.
She hands him another folder tucked under her arm.

LIBRARIAN
Why are you looking up this stuff
for?

MIKE
Morbid curiosity.
Mike smiles at the librarian. She departs. Disturbed.
 42.

INT. LIBRARY RESOURCE ROOM - DAY

Mike is busy. Researching everything he can on the diner.
A folder is opened. Regional news issues bound together.
Mike flickers through several pages. Jotting down notes.

One article from 1979 reads "Come On Down To Freddy

Fazbear’s Pizza!". A photo shows a smiling, younger Mr.
Fazberg standing outside the brand new diner with open
welcoming arms.

Standing on opposite sides of Fazberg are the MASCOTS posing

with waving children. Freddy, Bonnie, Chica, and Foxy. But
also two others. A GOLDEN FREDDY and GOLDEN BONNIE.
MIKE
Fredbear and Spring Bonnie.
He taps the photo with two fingers. Remembering them.
Another folder, labelled "1983". Mike flicks through pages.

He finds a colourful advertisement of the diner featuring

Freddy, Bonnie, and Chica. Looking so welcoming. Innocent.
A small article reads "Fazbear Entertainment Opens Sister
Locations".

Mike leans back in his chair. Rubs his face. He hasn’t

slept. Reaching into his jacket pocket, he retrieves the
newspaper clipping from the office. He looks at the date:
1987.
MIKE
Same year as the Bite.
Putting the clipping aside, Mike looks about and spots the
folder he is looking for, marked "1987".

He drags it over and begins searching the newspapers within.

UNKNOWN POV: We slowly walk past an aisle of books. Pausing
as Mike comes into view. We watch him.
It is Veronica. Watching him with worried eyes. She remains
silent. Unseen.
Mike jots down information from an article titled "Child In
Coma After Incident At Local Diner". His writing is
scribbles.

(CONTINUED)
CONTINUED: 43.

MIKE
(reading)
The victim was forcefully shoved
into the mouth of one of the
mascots, which crushed the boy’s
frontal lobe. Witnesses said the
boy’s brother and his friends were
responsible. The victim is not
expected to survive.
Mike pauses. Looking disgusted. He keeps going. He has to.

Further on -- another article: "Security Guard Convicted For

Child Murders".
Mike skims the article. Certain phrases standing out: "Two
to five children confirmed missing...culprit used mascot
costume to lure his victims...guard worked the night
shift...bodies remain missing..."
As Mike reaches the end of the article, he pauses, noticing
something. The name of the guard: "NORMAN MAXWELL".

Mike re-reads it. Taken aback.

MIKE
Norman Maxwell?
He looks up. Putting two-and-two together. The noise of
something brushing against a bookshelf behind Mike causes
him to turn. Nobody is there.

EXT. FREDDY FAZBEAR’S PIZZA - LATE AFTERNOON

Steve steps out of the diner to catch some air. He

straightens his cap and stretches.
He looks across the car park. Veronica sits with her back to
him on a bench, bent over.

Steve walks towards her.

Veronica puffs on a cigarette, waggling it in her mouth.
STEVE (O.S.)
I thought we were promoting the
diner as a healthy place.
Veronica looks up. Steve stands behind the bench, arms
behind him.

(CONTINUED)
CONTINUED: 44.

VERONICA
I’m off site. Besides, it helps me
feel better.
STEVE
Those things can kill, you know.
VERONICA
Yeah, and so can our mascots.
Steve sits beside Veronica. They watch the traffic go by.

STEVE
When Fredbear and Spring Bonnie
were first introduced, the kids
went nuts for them.

VERONICA
How long ago was that?
STEVE
Twenty years. Things were a lot
better then.

VERONICA
You’ve been here since opening day,
Steve. Why didn’t you become
manager?

STEVE
It occurred to me.
Veronica turns on the bench.
VERONICA
So why didn’t you?
STEVE
I never really saw myself as a
leader. Plus, all that paperwork. I
like being the guard.
Veronica slowly stands. Takes a huge puff on her cigarette,
blowing the smoke out her nose bitterly. Then turns to
Steve. She is mad.

VERONICA
If you had grown a pair, then maybe
none of this would’ve happened.
Stifling her words, she chucks her cigarette away and walks
off towards the diner. Steve doesn’t move. His face
unreadable.
 45.

INT. PIRATE COVE - DAY

The curtain to the stage is pushed aside by Mike. He is in
normal wear. He ventures through the curtain. Cautiously
approaching Foxy from behind.

MIKE
Hey, there Foxy. Thanks for saving
me. But I’d like to know why.
Foxy doesn’t respond. Mike rounds Foxy to look at his face.
His eyes are dark. Staring into space.
MIKE
(mockingly)
Sure, Steve. Doesn’t move at all.
He’s done the night shift for how
long?
Mike shakes his head. Stares at Foxy.
MIKE
Not gonna say anything, eh?
Figures.
He goes to leave. Then trips over something sticking out
from under the stage’s back curtain.
Mike falls flat on his face. Cringing in pain. He rolls over
onto his back, clutching his right knee. It hurts a little.
Rolling up his trouser leg reveals a bad graze on his knee.
MIKE
What the hell did I fall over?
There’s nothing--
Mike looks down to the curtain. A GOLDEN-COLOURED FOOT
sticks out from under the curtain.

Mike slowly stands. Cringing in pain from his wound. Moves

the curtain aside, REVEALING --
A GOLDEN FREDDY FAZBEAR COSTUME. The costume is empty and
lifeless. Its colours faded from neglect. Eyes empty black
sockets. A purple top hat on its head.

Mike crouches down before the abandoned costume. Recognising

it.
MIKE
Fredbear?

(CONTINUED)
CONTINUED: 46.

He raises a hand to touch it. Then notices the SHADOW OF A

HOOK moving across the curtain above him. Rising upwards.

Mike spins around. FOXY HAS MOVED. STANDING BEHIND HIM. HOOK
RAISED.
Adrenaline kicking it, Mike leaps up and away from Foxy.
The animatronic slowly turns. Staring at Mike. Mike watches
as Foxy reaches out with his hook, closing the curtain.
Hiding Fredbear from view.
Mike doesn’t say a word. He backs away, out onto the stage.
VERONICA (O.S.)
Mike?
Mike turns. Veronica walks into the room.
VERONICA
You’re in early. What were you
doing?
Mike glances backstage and closes the curtains sharply.
MIKE
I was just investigating things.

Veronica is unconvinced. Her gaze steely.

VERONICA
What do you know?

MIKE
Only what I read. And that--
VERONICA
(grimly)
My dad was involved.

INT. MANAGER’S OFFICE - DAY

Veronica hands Mike the photo from before. He examines it
then looks to his manager. Sympathetic.
MIKE
He was arrested.
VERONICA
My dad was a nightguard at the
time. He was a real scaredy cat
though, so I never got why he did
the night shift.

(CONTINUED)
CONTINUED: 47.

Mike hands her back the photo. She smiles at it fondly.

MIKE
What happened?
VERONICA
They said he lured children into
the supply closet dressed as one a
mascot and then murdered them.
There wasn’t enough proper
evidence, but they jailed him
anyway. I think the company just
wanted things to be over.
MIKE
I’m sorry, Veronica. How long has
he been in there?

VERONICA
He’s not They let him out after
eighteen months due to insufficient
evidence. But, he wasn’t the same
when he came out.
(pauses to inhale, starts to
well up)
He started drinking. Then, one
night he went for a drive. And
didn’t come back.

Veronica stops. Giving Mike a mournful look. He says

nothing, but understands. Clutching her hand.
MIKE
And they never caught the real
culprit?

VERONICA
Nope. They interrogated the other
guards but nothing turned up. It’s
all Steve’s fault.

MIKE
Wait, are you saying he--
VERONICA
He was on duty that day that the
Bite happened, but he was too busy
fawning over the mascots that he
didn’t stop that poor kid’s head
being crushed!
She thumps the desk in anger.

(CONTINUED)
CONTINUED: 48.

VERONICA (CONT’D)
Everything else that happened is
because of Steve.
MIKE
Veronica...
Veronica wipes her face, glaring away at the walls and
innocent hand-drawn pictures made by children.
VERONICA
I’ll be glad to let this place rot.
There’s been too much misery here.
MIKE
It seemed so innocent when I was a
kid.

VERONICA
It was meant to be. And the worst
thing is that no one ever found
where the children’s bodies were
stashed.

Mike slumps back in his chair. He frowns. Getting a thought.

LITTLE GIRL (V.O.)
Mummy, I don’t like the smell.

CUT TO: The animatronics play on stage to children.

MIKE (V.O.)
What’s that stench?
CUT TO: The supply closet. Rows of spare mascot heads and
costumes.
VERONICA (V.O.)
Why we failed the health
inspection.

CUT BACK TO THE OFFICE. Mike eyes widen in realisation.

MIKE
How many children went missing?

VERONICA
Around five. Why do you ask?
MIKE
(alarmed)
I think I know why the mascots
smell so bad.
 49.

Veronica blinks in confusion. Then she gets it.

INT. THE OFFICE - NIGHT

Night three. Mike sits in the chair before the monitors.
Ready for action. On the desk are the torch, shock sticks,
and multiple cups of coffee.
Mike runs a hand over his face. He checks the clock:
11:57PM.

A FAMILIAR VOICE speaks up.

STEVE
You’re doing great, Mikey. Most
people don’t usually last this
long.
MIKE
Why am I not surprised.
STEVE
I meant they move on to other
things. I’m not implying what you
think I am. Things might start
getting real tonight.
MIKE
Compared to the past two nights?
You said Foxy didn’t move. He’s a
lot more active than you think.
STEVE
He saved you, right? You don’t need
to be so jumpy. He’s perfectly
safe.
Mike immediately switches to Pirate Cove. The curtain are
closed. No signs of Foxy.

He switches to the stage. The others are right where they

should be.
STEVE
Listen, I’ve got an idea. If things
get too tense, perhaps disguise
yourself with the Freddy head in
there.
Mike spins in the chair. The empty eyeless Freddy Fazbear
head lies on the floor.

(CONTINUED)
CONTINUED: 50.

STEVE (CONT’D)
If you play dead, maybe they’ll
think you are an empty costume.
Then again, they might try to stuff
an endoskeleton into you.

MIKE
Steve!
STEVE
(laughs nervously)
Okay, okay. Scratch that idea. Just
follow the routine, watch the
cameras, shut the doors when
necessary. You know the drill.
MIKE
Listen, Steve.
STEVE
Yeah?
Mike hesitates. Unsure to tell him the truth about the
mascots. His clock beeps. It’s is midnight.
MIKE
You know what, I’ll tell you
tomorrow. If I survive the night.

STEVE
Oh, okay. If you’re sure. Take
care, Mike. See you on the flip
side.

The call ends. Mike exhales deeply.

MIKE
How do you tell someone like him
that the mascots might be haunted?

Mike glances at the monitor. His jaw drops. Bonnie and Chica
are both gone.
MIKE
Oh, come on! I’m not even ready
yet! Goddammit!

He jumps through the different camera feeds. Searching for

his would-be hunters:
--Western hall, nothing.

--Eastern hall, nothing.

(CONTINUED)
CONTINUED: 51.

Mike leans back. He glances left and right. Grabs his torch.
He shines it on the western office window. He glimpses the
shadow of a long pair of ears passing by the window.
Mike bolts from the chair. Slams the door button. BONNIE
SHRIEKS just as the door comes down.
MIKE
Not today, Bon-Bon!

Thinking, Mike spins around. Slams down the eastern door. He

backs off, spotting Chica peering in through the office
window.
MIKE
Go eat pizza or something!

Mike turns away. A LOUD BANGING puts him on edge. He glances

back to the western door.
It continue for a moment. Then falls silent. Hearing
movement outside, Mike shines his light on the window.
Bonnie’s face appears behind the glass. He taps on the
glass.
Mike cautiously shuffles towards Bonnie. Staring down the
red-eyed rabbit.

MIKE
I know what happened. I know who
you are. What you are. What you’ve
done. But I’m going to make myself
clear to you.

He turns around, shining his torch on Chica who watches from

the other office window.
MIKE (CONT’D)
You’re not going to get me. Three
more nights and that’s it. No one
else dies. They’re going to shut
this place down. It’s over. And you
are not going to stuff me into any
costumes!

Mike turns back and forth between Bonnie and Chica.

Expecting a reaction. But all they do is stare.
A HAUNTING, DISSONANT CHUCKLE echoes through the room.
Mike shines his light around the room looking for the
source. Then back to the windows. Bonnie and Chica are gone.

(CONTINUED)
CONTINUED: 52.

Breathing a hard sigh, Mike slowly sits down in the chair.

He checks the cameras. The kitchen camera is on the fritz as
usual.
In Pirate Cove, Foxy’s mismatched eyes are visible through
the curtains. Watching the camera.
On the stage, Freddy is staring into the camera with his
smile. Mike glares right back. Afraid but determined to
survive the night.

MIKE
Okay, Freddy. Your move.
ON THE CLOCK: It is 12:03 AM. TIME SPEEDS UP. To 05:22 AM.
Mike’s resolve has all but gone. He sits up tight and close
to the desk, staring into the monitors. Flicking through
them in a routine cycle. A row of paper cups sit before him.
Both of the doors are closed. The power is down to 9%.
His left hand taps the desk constantly. His eyes fixed to
the cameras:
--Western hallway, Bonnie is visible in frame. Staring up at
the camera.
--Eastern hallway, Chica is doing exactly the same. Her beak
open, revealing her bottomless maw.
--Pirate Cove, Foxy is out of sight.
--On the stage, Freddy is grinning at the camera. His
sinister chuckle echoing through the diner.

Mike groans in exhaustion. Glaring death at Freddy.

MIKE
Shut up, Freddy!

He angrily bats the cups away. Scattering them across the

floor.
Mike rubs his face, looking up at the wall. On it are a
large poster of the animatronics on the stage titled with
"Celebrate!" at the top. Children’s drawings have been
pinned to a notice board.
Mike looks up at the drawings. Contemplating on his
situation. He blinks. Something catches his eye.

(CONTINUED)
CONTINUED: 53.

One of the drawings stands out. Several children are reeling

in surprise as a strange DOLL creature leaps out of a
present, marked with "Surprise!". The doll is slim, black
with white stripes on its arms, and wears a white mask.
Mike rises from the chair. Leaning it to get a closer look
at the strange doll.
A LOUD ELECTRONIC BUZZ draws him back to the monitors.

One monitor is on the stage area. But something is missing.

Freddy has gone.
Mike’s eyes boggle. He leans back gasping in terror.

MIKE
Oh, shit!
Then, as if it could get any worse - the room goes dark.

Mike looks up in alarm. The monitors turn black. Even the

fan stops. Then the DOORS SHOOT UP.
Mike leaps up. Grabbing his torch. He shines it left and
right in alarm. Expecting Bonnie and Chica to ambush him.

The west doorway is empty. Mike turns to the right. So is

the east. Making up his mind, Mike grabs one of the shock
sticks for defence.
Silence follows. And then--

THUMP. THUMP. THUMP.

Mike backs away towards the far wall. The thumping footsteps
get louder and louder. Coming towards the office.

Looking for a way out, Mike looks to the open western door.
Then to the keys dangling from his belt.
MIKE
That would take too long.

He notices the FREDDY FAZBEAR HEAD lying in the corner.

INT. EASTERN HALLWAY - NIGHT

AN UNKNOWN P.O.V. strides down the hall. Loud mechanical
whirring accompanies loud footsteps.
The open office door comes into view. We hover in the
darkness of the hall. Peering into the office.
 54.

INT. THE OFFICE - NIGHT

MIKE’S P.O.V.: Through a pair of cut out eyes, the eastern
door is in sight. Mike is breathing heavily out of his
mouth.

A MUSIC BOX MELODY PLAYS. FREDDY’S ILLUMINATED FACE APPEARS

IN THE DOORWAY.
Mike’s breathing intensifies. He tries to control himself.

Freddy slowly steps into the room. His eyes like headlights
searching for Mike.
Mike sits on the floor like a rag doll. The Fazbear mask
hiding his face. Freddy walks by.

MIKE’S P.O.V.: Without moving his head, Mike watches Freddy

scan the desk. Freddy moves to the western door. He peers
out, looking both ways.
Freddy leaves our sight. Glancing at the shock stick beside
him. Mike cautiously, slowly, reaches out a hand. Sliding
the weapon towards him.
It makes a slight scraping noise on the floor. Our gaze
darts back up to Freddy. He has heard the sound. The bear
turns around. Staring straight at Mike.

Mike doesn’t move an inch. Trying to stay as lifeless as

possible.
Freddy walks over to Mike. Examining his fellow
"animatronic".

Now is the time to strike. Mike reacts -- ramming the shock

stick straight into Freddy’s face.
Sparks fly as Freddy thrashes about. Electricity runs
through Freddy’s eyes and mouth. Taking the advantage, Mike
forces the bear backwards. He hits the desk. Knocking over
one of the monitors.
MIKE
Take that!

Mike throws off the Fazbear head. Tossing it aside. Freddy

crumples to the floor, tiny sparks of electricity dancing
around his body.
MIKE
(nervously)
Heh. Who’s laughing now, Freddy?

(CONTINUED)
CONTINUED: 55.

Mike removes the keys from his belt, moving towards the
western door.
MIKE
Screw this. I’m out of here.

He peers out into the dark hall, shining his torch down it.
No sign of the other animatronics.
FREDDY FAZBEAR (O.S.)
(grainy recorded voice)
That’s not very nice. We should all
be friends.
Mike freezes. He turns around. Freddy is standing up. The
bear turns his head, revealing his creepy child-friendly
grin.

Mike doesn’t wait around. He runs out the door.

INT. WESTERN HALLWAY - NIGHT

Running as fast he can, Mike dashes down the hallway. He

glances back. Freddy emerges from the office. His eyes
gleaming at Mike with ill-intent.
Mike hurries on. The hallway seems to be endless.

Ahead is nothing but darkness. Mike looks back. Freddy has

gone. It is an endless dark corridor in both directions.
Mike starts to slow his pace. He flashes his light down the
hall. Nothing.

MIKE
Okay, Freddy. If this is some kind
of trick, it’s a good one. Or do
you just like messing with your
victims before you shove them in a
suit?
No one answers. A tense Mike comes to a stop. He walks in a
circle, shining his torch across the walls and checkered
floor.

He turns. Sensing something. Bracing himself, Mike spins

around. Expecting an animatronic. Instead, he finds a red
BALLOON. It hovers in front of him.
Mike takes the balloon in hand. Turns it around. On it are
the words "Celebrate Your Birthday With Fredbear!"

(CONTINUED)
CONTINUED: 56.

Sudden sunlight fills the hall. Mike shields his eyes for a
moment, confused by the light. He looks down to his watch.
It has stopped on 5:47.
The laughter of children and fairground music play from down
the hall. Confused, Mike switches off his light. He walks
towards the doorway.

INT. DINING HALL - DAY

Mike steps into the dining hall. The place is packed with
families and children. The golden age of the diner. Every
table has a family at it. Multiple birthdays going on at
once. The animatronics, brand spanking new, roam the aisles,
taking hugs and pausing for photos.

Mike cautiously steps further into the room. He looks to the

stage. Singing onstage are Fredbear and Spring Bonnie.
FOUR TEENAGERS WEARING MASKS of Freddy, Bonnie, Chica, and
Foxy walk by from the Prize Corner.

FREDDY MASK KID

Where is he hiding?
FOXY MASK KID
Around here somewhere. He is such a
wuss.

BONNIE MASK KID

Even on his own birthday?
CHICA
He freaked out when you told him
about Fredbear. Why is he afraid of
the mascots?
FOXY MASK KID
Not a clue. But it’s great fun
jumping him at home. Maybe he’ll
finally grow a spine.
Mike wanders towards the doorway leading to Pirate’s Cove.
He pauses. Almost grinning.

Visible is the stage where a working Foxy is entertaining

children.
 57.

INT. PRIZE CORNER - DAY

Stepping into the small area, Mike watches a small group of
kids gather before the prize desk where a VENDOR stands.
PRIZE CORNER VENDOR
Okay, children. Ready for one last
surprise?
CHILDREN
(cheering)
Yeah!
PRIZE CORNER VENDOR
Someone crank up that box.
The vendor points to the prize box on the table. A little
boy walks over to the crank and slowly turns it. With some
effort.
Mike watches as the boy steps away. The crank slowly turns
the other way. A simple merry-go-round version of "Pop Goes
the Weasel" plays.

The lid is launched into the air as something springs out of

the box. Mike’s eyes widen in alarm.
Standing in the box is the PUPPET. The doll from the picture
Mike saw. Tall, thin, human-like, coloured pitch black with
long arms and legs. It wears a white pierrot mask with a
carved smile and purple stripes running from its eyeholes
like tears.
A couple of the children recoil in fear. Mike stares.
Disturbed by the Puppet. It sways back and forth on a small
spring it is attached to. Staring right back.
PRIZE CORNER VENDOR
Don’t worry kids. It is perfectly
harmless. Puppet, it is Prize Time.

The Puppet doesn’t move for a moment. Its long arms extend
down into the box and pulls out toys of Freddy and co. The
children realise what is going on and break into excited
cheers.

The Puppet hands out gifts to the children. Then glances

Mike’s way. Its black eye sockets empty. A pair of PINPRICK
EYES BLINK in the sockets. They vanish.
Mike has seen enough. He makes a hasty exit back to the
dining hall.
 58.

INT. DINING HALL - DAY

Mike walks back into the dining hall. A CHILD’S SOBS catch
his attention.
The four masked teenagers stand around a LITTLE BOY around
the age of six or seven. He is on his knees, crying
hysterically. Mike approaches.

MIKE
Hey, is he alright?
The teenagers ignore him. The Foxy Mask Kid playfully shoves
the little boy.

BONNIE MASK KID

Wow, your brother is kind of a baby
isn’t he.
The crying boy looks up to his older brother who wears the
Foxy mask. He is desperate.

THE CHILD
Please, I want to go home. I hate
it here! You know that!
The teenage girl wearing the Chica mask, puts her hands on
her hips. Looks up to Foxy Mask.
CHICA MASK KID
Poor kid. Who could be afraid of
these lame robots?

FOXY MASK KID

Tell me about it. It’s hilarious.
Hey, bro, why don’t we help you get
a better look at Fredbear? You’ll
love it.

THE CHILD
No, no, no! Daddy will get mad at
you if you--
FOXY MASK KID
Dad is doing his job. And he thinks
you are a big baby too. Everyone
does!
The boy bursts into tears. His brother shakes his head.

FOXY MASK KID

Come on, guys, let’s give my
brother a lift so he can get a
better look at Fredbear.

(CONTINUED)
CONTINUED: 59.

The boy whimpers and screams in protest as the four

teenagers pick him up. Carrying him towards Fredbear.
Mike follows. Increasingly alarmed. He looks about. None of
the adults present are watching and no sign of any security
guards.

MIKE
Let him go! Put him down!
Mike rushes after the children. He tries to grab Freddy Mask
Kid by the shoulder - his hand PASSES RIGHT THROUGH. Mike
recoils in alarm.
The teenagers approach the stage. Fredbear turns onstage.
THE CHILD
No! I don’t want to go!
FOXY MASK KID
Look, bro, they aren’t real. I’ll
show you.

The boy’s brother lifts him right up. SHOVING HIM INTO
FREDBEAR’S OPEN MOUTH. The boy screams in terror.
Mike watches open mouthed. He can’t believe what he is
seeing.

CHICA MASK KID

I think that’s enough.
FOXY MASK KID
He’s fine.

FREDDY MASK KID

Dude, come on.
FOXY MASK KID
Shut up. It’s about time he learnt
not to be such a wuss--

CHOMP! Someone screams. Mike stares, holding back vomit. The

four teenagers gape in stunned silence.
The young boy’s body hangs limp from Fredbear’s mouth.
Covered in blood.
Mike races out of the room. Straight for the toilets. Around
him, the day turns back into night.
 60.

INT. TOILETS - NIGHT

Mike hurls inside a closed cubicle. Then flushes the chain.
A moment later, he steps out. Wiping his mouth and fans his
face with his security cap.

He walks to a sink and turns on the tap. He splashes water

over his face, wiping it down with his hands.
Taking a deep breath, Mike slowly rises to look in the
mirror. Stares at his own face long and hard.
He tenses when he notices a pair of pinprick eyes watching
him in the mirror.
Mike spins around. The Fredbear costume sits in a corner.
Head slumped over. His beady eyes are staring up at him.
Mike backs away in a hurry. Suddenly slipping on a puddle
and falls onto his back. He doesn’t have time to react as
Fredbear leaps on him. They stare at each other. Mike
holding his breath.

Fredbear’s head tilts forward and opens his mouth. Speaking

in a whispering, childlike voice.
FREDBEAR
It’s me. Save us.

Mike’s eyes widen in alarm. Instincts kick in. He tosses

Fredbear away into the shadows.
Leaping up, Mike heading out of the toilets. Pauses to brace
himself.

INT. EASTERN HALL - NIGHT

Mike steps out into the dark hall. It is dead silent.

He reaches down to remove his torch. A PAIR OF FAMILIAR

HEADLIGHT-LIKE EYES burst to life to his left. Mike jumps
back in fright.
It is Chica. Beak wide open. Eyes staring at Mike hungrily.

Mike dashes into the dining hall. Chica follows.

 61.

INT. DINING HALL - NIGHT

Mike races into the room. Vaults over a dining table,
spilling the party hats and plates onto the floor. Chica
rounds the tables after him.
Trying to jump over a second table, Mike trips and falls
forward in-between two tables. Mike cringes in pain. Looks
up, seeing Bonnie’s long ears approaching ahead. He ducks
under the table.
Mike stays still. Breathing through his mouth. He watches as
Bonnie’s large feet approach the table. To his left, Chica
has stopped. Watching from a distance.

Bonnie flips the table over. Mike scurries out like a rat.
Flees straight for the western hall. A clock on the wall
ticks to 6 AM.

INT. WESTERN HALLWAY - NIGHT

Mike hurtles down the hall towards the exit. Panting.

MIKE
Make it, make it, make it!

He keeps going. Ahead of him, standing like a final

roadblock, is Freddy Fazbear. Arms outstretched.
Mike charges down the hall. Screaming in both terror and
determination.

Freddie throws out his arms to grab Mike. Mike makes his own
move. Throws himself to the floor. Sliding right under
Freddy’s body.
He tries to get up, but slips on the waxed floor. Freddy
grabs his legs, dragging him backwards.
Mike scrapes at the floor in panic trying to escape. He
spots a fire extinguisher on the wall. He grabs it with both
hands.

He twists his body around and wallops Freddy hard across the
face. Freddy stumbles back. Freeing Mike.
The security guard is up in a minute. Races for the
entrance. He fumbles with the keys, trying to find the right
one. He dares to look back.

Freddy kicks aside the fire extinguisher. His face is

slightly damaged with a visible crack in it and twisted in
an angry glare. He shrieks and runs at Mike.

(CONTINUED)
CONTINUED: 62.

Mike rams the door, trying to open it. Shoves a random key
into the lock. Freddy is on him--
Until FOXY leaps through the office door. Tackling Freddy to
the ground. The two animatronics wrestle on the floor. Foxy
glances up at Mike. Points a hand towards the door.

Mike takes it as his cue. He unlocks the door and flings it

open. Fleeing the building.

EXT. PARKING LOT - DAWN - 6AM

Mike races across the empty parking lot. He doesn’t stop or
look back.

INT. BEDROOM, STEVE’S HOUSE - DAY - NOVEMBER 11TH

Steve walks to a mirror, buttoning up his uniform shirt and
then begins to work on his tie. He cheerfully hums Freddy’s
theme tune.

STEVE
That looks nice and tidy. Time for
breakfast.

INT. KITCHEN, STEVE’S HOUSE - MORNING

Steve fiddles with fried eggs in a pan. He continues to hum

the diner theme. The PHONE, mounted on the wall, rings.
Steve smiles slightly. He walks over to the phone and picks
up the receiver.

STEVE
This is rare. Someone calling me.
(into the phone)
Yello?

INT. WESTERN HALLWAY, THE DINER - MORNING

Veronica is on the end of the line. She looks stressed and
angered. Staring down at the damaged, motionless body of
Foxy in the hall. He has been battered pretty good.
VERONICA
I think Mike is done. The place is
a mess. I need you here as soon as
you can.

(CONTINUED)
CONTINUED: 63.

STEVE (O.S.)
Is he...?
VERONICA
No, the front doors were unlocked.
I’m guessing he ran off. I’ll check
his address and then do a sweep.
He’s around. Look, Steve, they’re
in a bad way. I can’t afford to
hire a replacement for the night
shift.

STEVE (O.S.)
(in surrender)
I’ll do it.
Veronica falls silent. Clutching the phone with both hands.

INT. KITCHEN, STEVE’S HOUSE - MORNING

Steve grips the phone tight. He sits down on a stool within
range of the phone’s cable. He smiles submissively. He looks
over to a counter, where a framed photo sits of Steve with
TWO BOYS. They look very familiar.
INTERCUTTING BETWEEN THE TWO OF THEM:
VERONICA
You don’t have to.
STEVE
We don’t know what they’ll do if
left alone at night.

VERONICA
They’ll roam. That’s what they are
supposed to do.
STEVE
And what if some dumb schmuck
breaks in and runs into them?
Someone needs to keep an eye on
things. Plus, I’ll get paid
overtime.

Steve hangs up. Hovers on the stool in thought. His face a

mask.
STEVE
(under his breath)
Time to pay the ferryman.

(CONTINUED)
CONTINUED: 64.

The sizzling of his fried egg brings him back to reality. He

hops off the stool. Back to his cheery self.
STEVE
That must be done by now.

INT. MIKE’S BEDROOM - DAY

Mike lies on his bed and stares into space. His uniform is
dumped on the floor.

There is a knock on the door. Mike cranes his head as his

foster mother JULIE (40s) walks in. She has a kind face and
wears a cooking apron.
JULIE
Mike, are you okay?
MIKE
Yeah, Julie. But I don’t think I’ll
be going to work tonight.

Julie nods. Hovering in the door. Looking relieved. Mike

waits for her to speak her mind.
JULIE
You know, son, some things aren’t
just meant to be. I didn’t want to
say anything to deter or upset you.
She walks into the room, glancing briefly towards the wall
chart.
MIKE
Go on.
JULIE
I admit I wasn’t thrilled with you
taking the job at that dreadful
place after everything that
happened there. But you wanted it
badly. I still think you should go
to college like your friends.
Mike shrugs likely and looks pensively towards the window.

MIKE
Maybe.
Julie smiles warmly. The DOOR BELL rings.

(CONTINUED)
CONTINUED: 65.

JULIE
I wonder who that could be?
She disappears. Going downstairs. Mike sits up on the bed
and rubs his face down.

JULIE (O.S.)
Mike, it’s for you!
Mike turns. Confused.

INT. HALL, MIKE’S HOUSE - DAY

Mike descends down the stairs. He pauses. Julie steps aside,
revealing Veronica. She greets him a tiny smile.

EXT. BACK GARDEN, MIKE’S HOUSE - DAY

Mike and Veronica sit on a bench overlooking a small fish
pond. Veronica looks about at the flourishing garden.

VERONICA
Your mum has a green thumb. I envy
her. She could come over to my
house and do some pottering,
MIKE
You wish. Are you here to fire me?
VERONICA
I’m guessing I don’t have to.
Mike doesn’t look her way. But his disturbed expression says
it all.
MIKE
This whole thing is FUBAR.
VERONICA
Come Friday, it will all be over.
MIKE
Really? Would the company allow
that?

VERONICA
We’ll fail the health check and
Freddy will be put out to pasture.
At last.

(CONTINUED)
CONTINUED: 66.

MIKE
But what about the children?
VERONICA
If they are in the mascots, then
there can’t be much left of them.
The company wouldn’t allow us to
take them apart.
MIKE
Screw the company. Call the cops.
It’s the right thing to do.
He glances at Veronica hopefully. She folds her arms
uncomfortably.
VERONICA
Some things are better left where
they are.
Mike stands. Clearly upset.
MIKE
How can you say that after what
happened to those kids? To your
Dad?
VERONICA
Because I’m never going to get
justice. I could smash those robots
up, scream at the company till I’m
blue in the face, but it won’t
bring him back!

MIKE
Did the cops even have another
suspect?
VERONICA
If they did, they kept it hidden.
Knowing the company, they likely
kept a lid on it. You made the
smart decision, Mike. You got out
before you joined the body count.
Steve will cover the rest of the
week.

MIKE
What? Is he crazy?
VERONICA
Steve has done it before. He’s
sussed out their behavioural
(MORE)
(CONTINUED)
CONTINUED: 67.

VERONICA (cont’d)
patterns or something like that.
It’s not your concern anymore.

MIKE
Veronica, you can’t leave it like
this.
VERONICA
It’ll be out of my hands soon
enough.
Veronica walks away. Mike stands. Watching her go. She
pauses. Sighing in frustration.

VERONICA
Maybe if Fazberg had stayed in New
Brightmore, this might’ve all been
avoided.
Mike cocks his head. Intrigued.

MIKE
Where?
VERONICA
New Brightmore. Where the first
diner was built.
Mike’s stunned silence is all that is left as Veronica
leaves.

INT. LIBRARY RESOURCE ROOM - DAY

Mike is back in the library, searching through the rolls of
archive newspapers. He dumps a folder aside and moves on to
another, titled "1974".

He flicks through the papers. He pauses, noticing something.

He retraces what he saw, going back a couple of pages.
A newspaper article, dated June 26th, 1974. A photo shows
Mr. Fazberg and a YOUNGER MAN standing outside a restaurant.
A different, smaller establishment than Freddy’s.
The younger man is in a business suit, sports a ’70s
handlebar moustache, and stands more composed compared to
the beaming Fazbear.

Mike reads the small headline: "Fazberg Brothers Open Family

Diner."
Mike sits back. Confused.

(CONTINUED)
CONTINUED: 68.

MIKE
Fazberg Brothers? There were two?

Mike looks again. Jotting down the diner’s address.

EXT. COUNTRY ROAD - DAY

Mike drives his pickup down a road. Heading for New
Brightmore. He is perplexed. Like to trying to unwrap an
enigma inside a puzzle.
He approaches a level crossing. The barriers are down but
there is no sign of a train. Mike taps the steering wheel
impatiently, and glances down at the passenger seat. A pile
of newspapers from the library sit there.
As he waits for the train to come, Mike leans across the
cabin and wades through the paper. Reading another 1974
article again.

MIKE
(reading)
Fred and Gerald Fazberg opened
"Fredbear’s Family Diner" featuring
home made pizza and
state-of-the-art animatronic
characters. Since the diner’s
opening, the town’s economy and
tourism has been boosted through
its success.

He watches as a large freighter train rolls on by. Mike gets

ready to go, glancing back at the newspapers. Something
catches his eye.
A word visible in-between two pieces of paper: "Child".

Mike moves the paper aside and picks up the new article. It
is tiny on the page. The headline reads "Tragic Child Murder
Outside Popular Diner".
The covertly-taken photo shows police standing in an alley
behind the diner. A sheet covers a small body.

MIKE
(reading)
The body of a young child was found
behind Fredbear’s Family Diner in
the early hours. Witnesses said a
car was seen leaving the alley mere
hours before the victim was
discovered. She had been fatally
stabbed and left to die.

(CONTINUED)
CONTINUED: 69.

Mike peers closely at the photo. Lying on the ground, marked

as evidence, is the Puppet.

The departure of the train and the ringing of the crossing’s

rising barriers bring Mike back to reality. He drives on.

EXT. OLD RAILROAD, NEW BRIGHTMORE - DAY

Now on foot, Mike follows an abandoned railway track through

an overgrown field towards a cluster of trees.
He moves off the old rails. Through the trees. He slow down
as an old building comes into view. An abandoned diner.

EXT. ABANDONED DINER - DAY

He walks towards the building. It is small, with
weather-worn walls and peeling paint, but still imposing.

Mike steps on something hard. He looks down, picking up a

faded metal sign. It reads "Fredbear’s Family Diner".
Mike smiles slightly. A little excited.
The sound of an approaching car causes Mike to turn. A
shiny, more modern car drives into view amongst the trees.
Mike drops the sign and gets ready to run. A MAN (GERALD)
gets out of the car and walks through the trees.
GERALD
Mike Schmidt?

Mike recognises him.

MIKE
You’re--

The man smiles and offers a warm hand.

GERALD
Gerald Fazberg. How do you do?

MIKE
Oh, hi.
Mike shakes Gerald’s hand cautiously. Gerald smiles
innocently.

GERALD
Don’t be alarmed. Veronica called
me. Told me you’d likely come out
here.

(CONTINUED)
CONTINUED: 70.

MIKE
She told you?
GERALD
Yes. She said something about
looking for clues. Uncovering the
dark past of my brother’s legacy.
MIKE
Those weren’t her exact words, were
they?

GERALD
(laugh)
No, no. I’m just mirroring Fred. He
had a taste for theatrics. But if I
may ask, Mike, why are you here?

MIKE
To look for the truth. Find a
connection between everything
that’s happened.

Gerald looks up at the diner with a sad gaze.

GERALD
Come on. I’ll give you a tour.

INT. ABANDONED DINER - DAY

Gerald leads Mike into the empty Fredbear diner. A long
service counter, an open window to the kitchen, and a small
wooden stage are all that remain. A broken fan hangs from
the ceiling.

Mike looks around with slight fear. Gerald sighs, hands in

his pockets.
GERALD
I haven’t been here in years. This
place was something else.
MIKE
I bet it was.

GERALD
But when a place gets a bad rep,
people avoid it.
Mike pulls out a newspaper from his pocket. The alley
murder.

(CONTINUED)
CONTINUED: 71.

MIKE
Because of this?

Gerald eyes the article. He looks away sadly and walks

towards the stage.
GERALD
We had Fredbear and Spring Bonnie
up here to sing songs. Fred treated
them like rockstars. The kids went
nuts. But then one day, a little
girl was found dead out back. She
had been murdered. No one was
prosecuted, but we were blamed.

MIKE
Why?
GERALD
People needed someone to blame.

MIKE
So you closed down and moved away?
Gerald sits down on the edge of the stage.
GERALD
Fred did. We opened this place
together. A close family, good
food, great fun. Fred was the front
man, and I handled the money.
(pauses)
But after the incident, Fred wanted
to continue. Start over and do
bigger things. That’s when Fazbear
Entertainment was born. He built
his empire, and I stayed behind.
I’m technically a shareholder in
the company but I washed my hands
of it all.
Mike walks through the diner, stopping in front of Gerald.
MIKE
Maybe it’s a good thing you did,
considering everything that’s
happened.
GERALD
Tell that to the parents of that
child. And it was only made worse
by the company wanting to cover it
up.

(CONTINUED)
CONTINUED: 72.

MIKE
Excuse me?
GERALD
The other members of the board
tried to hide it when they opened
Freddy’s. And the accidents with
the character costumes was another
matter.
MIKE
Wait, costumes? I thought the
mascots were animatronics.
GERALD
Fredbear and Spring Bonnie were
unique. The endoskeletons were
removable, so staff members could
wear the suits. Unfortunately, the
spring mechanisms on them were
lethal. One poor lad got hurt
pretty bad.

MIKE
Who?
GERALD
His name was Dave Afton. His dad
runs Afton Robotics. The big tech
company. Dave joined as a repairman
and guard. He was an okay guy, but
a bit of an odd duck. He never
really fitted in with the staff.
But he loved the mascots. Always
took special care of them.
MIKE
Is he dead?
GERALD
No, no. But, he was badly injured
by Spring Bonnie’s suit, and he
quit shortly after. I never knew
what happened to him.
Mike doesn’t need to ask any more. He understands. He
collapses onto the stage, rubbing his face down.
MIKE
This whole thing is one big
nightmare.

(CONTINUED)
CONTINUED: 73.

GERALD
It was like someone had a grudge
against my brother and his
characters. Fred’s heart couldn’t
take it, not after the child
murders.
Mike places a comforting hand on Gerald’s shoulder. He looks
about. Frowning in thought.

MIKE
Mr. Fazberg, you said the culprit
who killed that girl was never
found right?

GERALD
Correct.
MIKE
What if it was the same guy who
committed those murders in ’87?
History repeating itself.
Gerald shakes his head gravely.
GERALD
That’s a nice theory, son, but
there’s no proof behind it. It
would bring closure for the
families.
MIKE
But, if the restaurant shuts down
tomorrow, it will never be
resolved.
GERALD
I know. But, I think for most
people, they’d like to forget it
all happened. I’d like to as well.
The two men sit in silence. Looking about at the empty
diner.

Gerald starts humming a jaunty tune. Mike recognises it.

MIKE
Hey, that’s the Pizza Party Song.
GERALD
(chuckles)
Yes, it is.
Together, the two hum the old theme song of the diner.
 74.

INT. OUTSIDE THE SUPPLY ROOM - SUNDOWN

Steve stands in the door way of the dark supply room. Steve
sighs sadly. His face a painting of submission.
Veronica walks up behind him. Concerned.

VERONICA
(clearing her throat)
Steve?

Steve spins around. Beaming as usual.

STEVE
Hey, boss. Did Mike give back his
uniform yet?

VERONICA
No, not yet.
STEVE
Tomorrow is a big day. We’ll have
to do a big clean up before the
diner opens.
Veronica forms a fake smile.
STEVE
You were right, you know. I
should’ve been paying attention.
This is my fault. All of it.
VERONICA
No one was going to know that the
Bite would happen.

STEVE
And it cost everyone dearly. You
and me. But it’ll be over by
tonight. Well, best get too it.

Straightening his cap, Steve walks away, whistling as he

goes. Veronica watches him go. She glances into the supply
room. Angry.
VERONICA
You’re not getting him.
She slams the door shut.
 75.

INT. LIVING ROOM, MIKE’S HOUSE - NIGHT

Mike sleeps heavily on the couch. It is pitch black with the
only light coming from a digital clock in the corner. It
reads "02:59". It clicks onto "03:00".

A TELEPHONE RINGS. Mike stirs in his sleep. The phone

continues to ring, causing Mike to grumble and sit up from
the couch.
He looks about in a daze, then notices the ringing. He
groans and flops back onto the couch.
MIKE
Julie, the phone!
(beat)
Julie? No, wait, she’s pulling an
all-nighter.
(to the phone)
Go away and call tomorrow.
The phone’s ringing stops. The answer machine begins to
record.

MIKE (RECORDED)
Hi, you’ve reached the Schmidt
residence. Leave a message after
the beep.

A loud beep follows. Mike lifts his head, waiting for

someone to speak. Silence. Mike sighs and drops his head.
MIKE
Dumb crank call.

STEVE
Hello, hello? Mikey, it’s Steve.
Mike sits bolt upright. Alarmed.

MIKE
Steve?
STEVE
Hey, Mikey. I hope you get this. I
don’t think I’ll be around to talk
to you tomorrow. It’s been a bad
night here.
A LOUD THUMPING against a metal door begins muffling Steve’s
words. Mike stares in horror. He knows those noises.

(CONTINUED)
CONTINUED: 76.

STEVE
Listen, do me a favour. Maybe
sometime you could check the suits
in the backroom? I’ll try to hold
out until someone finds me.

The hammering continues. Growing louder and aggressive.

STEVE
Maybe it’ll be alright. I always
wondered what was in all those
empty heads.
The hammering stops. Steve’s heavy breathing is all that can
be heard. Mike slowly stands. Walking towards the phone.
STEVE
Huh. That’s weird. It’s gone quiet.
It’s not morning yet. I wonder
where they--
A GARBLED NOISE OF RADIO STATIC FILLS THE PHONE. SOUNDING
LIKE A SCREAM.

The line goes dead. A second beep ends the message.

Mike stands frozen. Holding his breath.

EXT. FREDDY FAZBEAR’S PIZZA - NIGHT - 3:45AM

Mike’s pickup truck drives off the road into the empty car
park of the diner. Parking the pickup with little care, Mike
leaps out and charges towards the front doors. He is dressed
in a hoodie and tracksuit bottoms.

He tries the doors. They are locked. He shouts through the

glass.
MIKE
Steve!
He peers through the doors. The inside is pitch black aside
from a dim light coming from the office’s doorway. Mike
pulls hard on the doors but they won’t budge. He runs back
to the pickup.
 77.

INT. WESTERN HALLWAY - NIGHT

The front doors’ window shatters as a baseball bat is
smashed through it. Mike clumsily clambers his way through
the window, avoiding the broken glass, and peers down the
dark hallway.

MIKE
Steve?
No one replies. No sign of the animatronics. Wielding the
bat as a weapon, Mike sneaks down the hall and peers into
the office.

INT. THE OFFICE - NIGHT

The office is empty but the security monitors are still on.
The chair lies toppled on the floor beside a discarded
security guard’s cap. Both doors are open. Mike cautiously
steps into the room.
He immediately moves to the monitors. Flicks through them.

Freddy, Bonnie, and Chica stand innocently on the stage.

The curtains to Pirate’s Cove are closed.
Mike frowns. Not fooled. He looks down, seeing the security
cap. He kneels and picks it up, placing it on his head. He
notices a torch on the desk and picks it up.
Eyes blazing, Mike with torch and bat in hand, strides out
of the room and down the hall.

INT. DINING HALL - NIGHT

Mike steps into the dining hall. The animatronics are
motionless, staring into space. Freddy has visible damage on
his face and upper body.

Mike keeps his eyes on the animatronics as he walks towards

the supply closet.
He walks to the closed door. Hand poised above the handle.
Gulping nervously, he opens the door. And immediately has to
cover his nose and mouth from the stench. The stench of
death.
 78.

INT. SUPPLY ROOM - NIGHT

Mike ventures into the dark supply room. A fully dressed
Freddy animatronic sits on the table with its back to Mike.
Mike puts the bat down, scanning the room with his torch.
Nothing.

Mike slowly rounds the table, facing the Freddy animatronic.

It doesn’t move. Sitting and propped forwards. Mike shines
his torch on it. He peers, glancing into the head.

The animatronic’s EYES ARE HUMAN. Dead and lifeless. He

muffles a scream and backs off. He wretches, vomiting onto
the floor.
Coughing to clear his throat, Mike stands. Staring
mournfully at the costume.

MIKE
I’m sorry, Steve.
He shines his light up at the mascot heads lining the room’s
shelves. He dares not check. He closes the door.

INT. PRIZE CORNER - NIGHT

Mike slowly wanders into the Prize Corner. He leans on the
counter. Gripping the bat.

In an angry rage, he swings his bat. Smashing the toys on

display off the counter. Sending a box of sweets scattering
to the floor. He knocks the cash register away.
MIKE
Enough. I’ve had enough. How many
more people are going to die?
Mike grips his bat, heading out to face the animatronics.
The large gift box behind him starts playing "Pop Goes the
Weasel". Mike slowly turns around, seeing the box’s cranks
slowly rotating.
The melody reaches its end. The lid pops off, and out
springs the Puppet. It leaps through the air, tackling Mike
to the floor.
Mike looks up in fear and confusion as the Puppet looms over
him. Practically floating off the ground.

(CONTINUED)
CONTINUED: 79.

MIKE
What do you want?

The Puppet places it hand on Mike’s head. It’s eyes flash.

Mike’s eyes wide as he sees:
A FLASHBACK: Night in the diner. The four animatronics lie
on the stage. A scene of murder. The shadow of the Puppet
moves across the floor, passing over tables.

The Puppet comes into view, coming to Freddy’s eye level. It

raises a handle, placing it on the bear’s face. Freddy
springs to life, as if breathing his first breath.
END OF FLASHBACK.

Mike gasps in horror. He sits up, crawling away a little as

the Puppet backs off.
MIKE
You brought them back. Why? To get
justice?
The Puppet replies with a vague nod.
MIKE
How?

The Puppet points in the direction of the stage. Mike cranes

his head, barely able to see it from his position. He looks
back. The Puppet has gone.
Mike sits up. Frightened, but curious.

INT. DINING HALL - NIGHT

Mike steps back into the dining room. Staring at the still
animatronics onstage. He slowly approaches, setting the
baseball bat down on a table.
MIKE
I know you guys have suffered. More
than any person should. Your
innocence stolen. Your lives
stolen. Shoved into those suits,
and denied justice. Or revenge.
Whatever it is you want. Tomorrow,
I’ll tell the cops where he put
you. Hopefully, they’ll be able to
remove whatever is left and help
your families find some peace.
He walks over to the stage. The animatronics don’t react.

(CONTINUED)
CONTINUED: 80.

MIKE (CONT’D)
But, how are you any different from
the monster that hurt you? Killing
innocent people blindly, or are you
just aiming your anger at anyone
who wears the uniform? It has to
stop. And it will stop now!
He steps up onto the stage. Confronting Freddy, who doesn’t
react. Mike cringes slightly from the smell.

He glances past Freddy, noticing the curtain behind him

billow slightly. A draft.
Eyeing the animatronics, Mike walks cautiously through them
to the curtain.

INT. BACKSTAGE - NIGHT

He brushes the curtain aside, revealing a cramped space
behind. In the middle of the floor is a TRAP DOOR.

Mike walks over to it. It has a latch and a visible padlock.

He tries the door. It is locked up tight. He examines the
padlock. Mike looks up, getting an idea.

INT. DINING HALL - NIGHT

Mike slips out the side of the curtain, dashing across the
dining hall. He runs off down the hall.
Behind him, Freddy’s head slightly turns to watch him.

INT. THE OFFICE - NIGHT

Mike scans the floor of the office. He spots what he is
looking for: the security keys. He picks them up, examining
them one by one.
Mike picks up the chair and collapses in it, rubbing his
nose. He glances down at the keys. Making a decision.
MIKE
First things first.
 81.

EXT. FREDDY FAZBEAR’S PIZZA - NIGHT - 3:45AM

Red flashing lights illuminate the exterior of the diner.
Police cars have swamped the parking lot. Cops, paramedics,
firemen, and forensics officers come and go. Across the
street, civilians have gathered to watch.

Mike sits on the hood of his pickup, watching the commotion.

Across the lot, Veronica speaks to an officer before
approaching Mike. They stand in silence, watching the
commotion.

VERONICA
They will keep the animatronics
inside, and have technicians take
them apart. I guess it is all over
then.

MIKE
No. It isn’t.
VERONICA
How so? The children can finally be
laid to rest.
MIKE
But I don’t think their spirits
will.

VERONICA
Oh, come on, Mike. It’s a load of
rubbish.
MIKE
And how would you explain it all?
They only attacked the guards. A
guard killed them. The same guy who
caused all this was at Fredbear’s.
VERONICA
Whoever was behind it is likely
long gone.
MIKE
Don’t you want justice for your
dad?

VERONICA
Of course I do.
(falls silent, folds her arms)
What are you planning?

(CONTINUED)
CONTINUED: 82.

MIKE
That trapdoor behind the stage is
hiding something. A final piece to
the puzzle.
VERONICA
They’ll corner this off. Are you
going to break in?

Mike flashes her a smile. He pulls the key partway out of

his pocket. Veronica feigns anger.
VERONICA
That’s company property.

MIKE
I think the bigwigs will be a
little too preoccupied trying to
keep their reputation in tact to
worry about the keys. I’ll go back
in tomorrow night. Finish my shift.

Veronica falls silent as police escort a gurney with a body

bag on it out of the diner and across the lot to a waiting
ambulance.
VERONICA
I’ll come with you. I owe enough
for not acting. Poor Steve. At
least his family are together now.
MIKE
What do you mean?
VERONICA
I never told you. The kid who got
bitten was his youngest son, and
his oldest disappeared shortly
after. I can guess where.
Mike’s jaw drops. The gurney is placed in the back of the
ambulance.
VERONICA
Steve was on duty when the Bite
happened, but was backstage
inspecting Foxy at the time. Then
his oldest kid vanished. I guess he
stuck around out of guilt. But,
they got him in the end. Their own
father. If they are haunting the
mascots, then why attack all the
guards?

(CONTINUED)
CONTINUED: 83.

MIKE
They were children. They see the
world differently from grown ups.

INT. DINING HALL - NIGHT

Police and firemen set up the diner as a crime scene. Two
cops carefully drag Foxy out of Pirate’s Cove into the
dining room. He is sat down at the base of the stage, where
Freddy, Bonnie, and Chica are surrounded by police tape.

SHERIFF BURKE (40s) observes the animatronics with a scowl.

A TECHNICIAN hurries into the room.
TECHNICIAN
Chief!
SHERIFF BURKE
They were here this whole time.
Unbelievable.

TECHNICIAN
Clay, we may have a problem.
SHERIFF BURKE
What is it, Paul?

TECHNICIAN
I checked the generators. They are
badly damaged. I think if they were
turned back on, they could do some
serious damage.

SHERIFF BURKE
This whole place is a death trap.
The sooner we get this place
condemned, the better. In the
meantime, start trying to take
these damn robots apart.
Burke walks off to speak with a cop. Paul steps up onto the
stage, inspecting Bonnie. He places down a toolbox and picks
out a screwdriver.

TECHNICIAN
Sorry, pal, but your play days are
over.
 84.

EXT. CEMETERY - DAY - NOVEMBER 12TH

Veronica sets down a bouquet of flowers before her father’s
gravestone.
VERONICA
I miss you, Dad. But I promise that
by tonight, I’ll stop carrying this
burden. I’ll do something with my
life like you wanted.

She plants a kiss atop the stone.

EXT. BACK GARDEN, MIKE’S HOUSE - DAY

Julie waters her well-attended garden with a hose. Mike
steps out through the back door, a little awkward.
MIKE
Julie?
JULIE
Hey, sweetie, did you have a good
sleep? You must be exhausted from
all that’s happened.
MIKE
Yeah, I’m good. Julie, I have
things to do tonight.
JULIE
What sort of things?
MIKE
Well, things you might not approve
of.
Mike hovers behind her. Julie turns in concern.

JULIE
Mike Schmidt, are you going to do
something stupid again?
MIKE
Not exactly, but it may help some
people.
(beat)
Listen, I know I’ve not been the
best son. Done some dumb things. I
thought I had all the time in the
world, but I’ve realised you never
know when time’s up. I just want to
(MORE)
(CONTINUED)
CONTINUED: 85.

MIKE (cont’d)
let you know that I am glad to have
you for a mum.
Julie drops the hose, marches across the garden, and pulls
Mike into a hug.
JULIE
I am very proud to have you as my
son. Do what you have to, Mike.

Julie breaks the hug and holds up a stern finger.

JULIE (CONT’D)
But this is the last time.
MIKE
(in a squeak)
Okay.

EXT. PARKING LOT, FREDDY FAZBEAR’S - NIGHT

Mike walks across the empty lot towards the diner. He wears
his guard uniform. A police banner has been placed over the
front doors.
Drawing out the keys, Mike sneaks under the banners and
unlocks the doors.

INT. WESTERN HALLWAY - NIGHT

Mike wanders down the hall, hovering by the door to the
office. It is pitch black, the power turned off. No sign of
any movement.

INT. THE OFFICE - NIGHT

A desk drawer is opened as Mike searches through it. He

finds a torch and clicks it on. The monitors are off. The
diner is silent.
MIKE
Right, first things first.

VERONICA (O.S.)
You aren’t planning to turn the
power on, are you?

Mike jumps as Veronica steps into the room. She wears

all-black save a dark red overcoat.

(CONTINUED)
CONTINUED: 86.

MIKE
Are you trying to give me a heart
attack? Why are you dressed like
that?

VERONICA
These clothes are incognito. So,
what’s your brilliant scheme?
MIKE
Well, I actually was planning on
turning the power back on. Only for
in here, and keep an eye on Freddy.
VERONICA
They may be out of commission.

MIKE
Or not. I’ll go to the power room.
You wait here.
VERONICA
You don’t even know where the on
switch is. You stay here. It’s what
you’re being paid for.
Veronica snatches the torch from Mike and disappears out of
the east door. Mike goes after her, but stops. He moves to
the chair and sits patiently.

INT. DINING HALL - NIGHT

Veronica cautiously sneaks out into the dining hall, edging
along the wall. She reaches the corner and peers around.
Freddy, Bonnie, and Chica, in various states of disrepair,
stand on the stage. Foxy lies on the floor before them, even
more worse for wear.

Veronica draws out a shock stick. The animatronics don’t

move. Waiting for a moment, she dashes along the room to a
door marked with an electronic symbol. Ducking inside.

INT. GENERATOR ROOM - NIGHT

Veronica searches the dark room with the torch. Through a

small window, the moon illuminates a small patch of the
floor.

(CONTINUED)
CONTINUED: 87.

VERONICA
Where is it? Where is it?
Her light shines on a series of switches hidden in a corner
of the room. She walks towards them, running a finger down
the switches til she finds the one labelled "Office".

She first flicks up another switch named "Main Power". A

loud groaning racket comes from the rusty generators. She
turns, hearing the groan.

Undeterred, Veronica flicks the "Office" switch.

INT. THE OFFICE - NIGHT

The monitors flicker to life in the office. Mike focuses on
them, immediately flicking through them to the stage.
ON THE MONITOR: Freddy, Bonnie, and Chica all spring to
life. Freddy glances up at the camera. Bonnie’s face and eye
are missing, leaving only red flickering lights beneath.
Chica’s beak hangs loose. Foxy twitches on the floor.

MIKE
Here we go again.
Bonnie and Chica both vanish off the stage. Mike changes
cameras.

--Dining hall, Bonnie wanders through the tables, bumping

into one.
--Eastern hallway, Chica walks into view. However, she
pauses. Turning back.

Mike leans in for a closer look. Then, spots something in

another camera:
--Western hallway, Foxy is charging down the hall towards
the office. He is coming for him.

Mike leaps off the chair, practically throwing himself at

the button. The door flies down just as Foxy arrives. He
KNOCKS on the door loudly.

MIKE
Did you do it, Foxy? Did you kill
Steve?
The knocking continues. A little louder. Angrier.

(CONTINUED)
CONTINUED: 88.

MIKE
The hell I’m letting you in!
Mike returns to the monitors as the aggressive banging
continues. Chica is moving towards the generator room.

MIKE
Veronica!
Mike hurries out of the eastern door.

INT. GENERATOR ROOM - NIGHT

Veronica steps back from the generator. It is rumbling
loudly.

VERONICA
That can’t be good.
The door swings open. Chica steps inside. Veronica backs
away as the animatronic observes her.

VERONICA
Holy hell!
Veronica raises the shock stick defensively. Chica
approaches, shrieking at her. Lashes out with her hands.
Veronica plows the shock stick right into Chica’s exposed
mouth. Frying the circuitry inside.
Chica tumbles backwards, her mouth smouldering. She crashes
into the generators. Electrocuted.
Mike bursts in.

MIKE
Veronica!
Veronica rounds Chica and dashes out the door with Mike.

INT. DINING HALL - NIGHT

The two exit the room into the dining hall. Freddy
immediately spots them. He shrieks, alerting Bonnie.

VERONICA
I didn’t think they’d be so
terrifying!

(CONTINUED)
CONTINUED: 89.

MIKE
We need to get backstage.
Veronica chucks Mike the shock stick. She grabs a chair,
hauling it at Bonnie. It hits him in the chest, but barely
stops him. Foxy appears from the western hall.

MIKE
We don’t have time for this. I’ll
distract them. You get that door
open.

VERONICA
But, Mike--
Mike chucks her the keys and dashes across the dining hall.
Freddy, Bonnie, and Foxy watch him. Mike dashes past Foxy,
dancing around him. The fox swipes at him with his hook.
MIKE
Hey, guys, follow me!
Foxy gives chase. Bonnie follows after him, bumping into
another table. Obviously damaged.
Veronica eyes Freddy and makes a beeline for the stage. He
turns his head, seeing her approach. But, he does not react
as she leaps past him onto the stage and scrambles through
the curtain.

INT. BACKSTAGE - NIGHT

She finds the trapdoor and kneels before it. She checks
through the various keys to find the right one.

A sinister laugh comes from the other side of the curtain.

Freddy’s shadow appears. Veronica hurries up. She finds the
key matching the padlock.
VERONICA
There you are.
She unlocks and opens the door. Below is a wooden staircase
leading down into a dark basement.

Freddy’s paw grasps at the curtain. Veronica ventures down

into the basement, closing the door behind her.
 90.

INT. PIRATE COVE - NIGHT

Mike charges into the arcade corner. He ducks into a small
corner between two games, finding a crawlspace tangled with
cords.
A sharp hook slashes the air in front of Mike. Foxy’s
glowing eyes glare down at him, trying to get between the
machines to reach him. Mike ducks as low as he can.

He sees the small, cramped crawlspace. Takes a chance.

Mike crawls slowly through the crawlspace, clambering over
wires and cables. He pauses, hearing Foxy shriek. His face
appears through a gap in-between two arcade games.

Foxy strikes one of the machines with his hook. Breaking the
screen. With both hands, Foxy lifts the machine up. Ripping
out the cable. One lashes Mike’s face.
Foxy tosses the machine away. Mike crawls on as fast he can.
He falls forward. His foot caught in a loose cable. He tries
to yank it free. Foxy starts trying to rip out the arcade
machine in front of him.
Mike hastily tries to free his foot.

MIKE
Come on! Come on, damnit!
The machine is hoisted up into the air. Foxy glares down at
Mike. He tosses the machine away. Raising his hook
threateningly.

Mike kicks out, freeing his foot. He drags himself away as

Foxy’s hook comes down on the floor.
Reaching the other end of the crawlspace, Mike squeezes
himself out and gets to his feet. He turns to face Foxy, who
realises where has gone.
Mike takes a couple of steps back.
MIKE
Sorry.
He runs forward, slamming into the arcade machine on the
end. It tilts sideways, banging into the next, causing a
domino effect. The weight of the machines knocks Foxy down,
pinning him under one of the booths.

Foxy tries to lift up the machine on top of him, but pauses,

realising one of his hands is trapped. He struggles,
thrashing out at Mike.

(CONTINUED)
CONTINUED: 91.

Mike backs off. Taking a breath. He lifts his head,

remembering something.
He spins. Bonnie is on him in an instant.
The rabbit grabs Mike, throwing him across the room. Foxy
shrieks for Bonnie, who moves to help free him.
Mike spots Bonnie’s guitar lying on the floor. He leaps up
and grabs it. Walking up behind Bonnie.

MIKE
Bonnie!
Bonnie turns around. Mike smashes the guitar over his head
and exposed electronics. Sparks fly. Bonnie’s eats are
smashed off. The rabbit tumbles over, landing on top of the
machine pinning Foxy. Motionless. Foxy lets out a horrified
screech.
Mike hurries out, back to the dining hall.

INT. DINING HALL - NIGHT

Mike runs back in. Freddy is nowhere in sight.
MIKE
Freddy?

The bear emerges through the stage curtain. Mike glares.

MIKE
Where’s Veronica? If you have hurt
her!

Freddy raises his microphone to his mouth.

FREDDY FAZBEAR
Hey, kids. Are you ready for
Freddy?

Freddy drops the mike. His blinks. His eyes turn black. He
shrieks at Mike. Charging across the room, smashing apart
tables and chairs.
Mike holds the guitar like a baseball bat. He swings just as
Freddy reaches him. It smashes apart against his head.
Freddy strikes Mike hard. Knocking him backwards. He hits a
wall hard. Something cracks. Mike yells in pain. Holding his
shoulder.

(CONTINUED)
CONTINUED: 92.

Freddy towers over him. Punching his fist through a wall,

reaching in, and pulls out some electrical wires.

Mike tries to scramble away. Realising Freddy’s intent.

Freddy grabs him by the leg. Dragging him back. Laughs.
WHAM! Something heavy and metal strikes the back of Freddy’s
head. The bear slams into the wall, still holding the wires.

Veronica wields a piece of pipe. Furious.

She advances on Freddy. Striking him again and again with
the pipe. Mike gets up, stopping her.

MIKE
You’re alright.
VERONICA
Freddy can’t handle stairs.

MIKE
Did you find anything down there?
VERONICA
Junk. And something else.

Mike heads for the stage. Veronica glares down at the moving
Freddy. She yanks the wires out of his hand.
VERONICA
Read the rules: Don’t play with any
exposed wires!

INT. BACKSTAGE - NIGHT

Veronica joins Mike at the open trapdoor. They peer into the
darkness below.

VERONICA
Ladies, first.
Mike frowns at the remark. He takes a step down.

INT. THE BASEMENT - NIGHT

Mike and Veronica slowly descend the steps. The basement is
not that large, and is crammed with junk.

The torch illuminates piles of tables and chairs. A couple

of broken endoskeletons. One wall lined with shelves
containing boxes, bits and pieces.

(CONTINUED)
CONTINUED: 93.

VERONICA
What exactly are you hoping to look
for here?
MIKE
To help identify the monster behind
all this.
VERONICA
The cops couldn’t find anything.
What makes you think you can?

MIKE
Just a hunch.
Mike moves to the shelves. Checking a dusty box. Veronica
moves further into the basement.

Mike pulls out an old cassette player. He searches the box,

finding a tape. The label reads "Costume Safety Instructions
’74".
Veronica approaches a large dust sheet. Something vaguely
shaped like a human is hidden beneath. Veronica peaks under.
VERONICA
Mike?
Mike turns. Veronica yanks off the dust sheet, revealing
what is hidden beneath.
The worse-for-wear, discarded, forgotten body of SPRING
BONNIE (or SPRINGTRAP). Golden fur turning green. Full of
holes. Head bowed.

Mike walks over and stands over Springtrap. A little tense.

MIKE
Spring Bonnie. So, this is where
you went.

VERONICA
We chucked him down here after the
Bite. Never dumped the costume.
Mike leans in for a closer look at Springtrap. There are
visible SCRATCHES on his body. Nails marks. The size of a
child’s.
Mike backs off. Horrified.

(CONTINUED)
CONTINUED: 94.

MIKE
He used this to kill the children.
VERONICA
What?

MIKE
The papers said that the culprit
dressed up in a mascot costume to
kill the children. He must’ve used
Spring Bonnie to do it.

Veronica takes an alarmed step back.

MIKE
But what is it doing here?

VERONICA
The board.
MIKE
They were able to confiscate
evidence from the police? How
corrupt are they?
VERONICA
They won’t be able to come back
from this. With any luck, they’ll
file for bankruptcy.

MIKE
You’d think they would have found
DNA on it.
VERONICA
They did. They found my dad’s.
Veronica angrily kicks Springtrap. It jolts against the
impact. She goes to the other side of the basement to
search.

Mike glances down at the cassette in his hand. He walks over

to the tape player, inserting the cassette inside.
With slight hesitation, he hits play. At first there is
silence.

A MAN’S VOICE clears his throat and speaks. It is very

familiar.
STEVE
(on tape)

(MORE)
(CONTINUED)
CONTINUED: 95.

STEVE (cont’d)
Hello, there. If you’re hearing
this, chances are you have made a
very poor career choice.

Veronica turns in alarm. Mike stares at the player.

MIKE
Steve?
STEVE
(on tape)
Just kidding. Welcome to Fredbear’s
Family Diner as a new performer
slash entertainer. Uh, these tapes
are to provide information or how
to safely handle the mascot
costumes--
The tape goes on in the background. Mike turns to Veronica.
MIKE
Steve worked at Fredbear’s?

VERONICA
Possibly. I never asked him. He did
love the animatronics.
STEVE
(on tape)
To change the animatronics to suit
mode, insert and turn the hand
crank. It will recoil and compress
the animatronic parts around the
sides of the suit, allowing you to
climb inside. Please make sure all
spring locks are fastened tight to
ensure your own safety, or severe
injuries may occur.

That strikes a cord with Mike as the tape stops.

MIKE
There was a guy who worked at
Fredbear’s who was injured by the
spring locks. I think his name was
Afton.
VERONICA
Afton? A member of the robotics
company?

(CONTINUED)
CONTINUED: 96.

MIKE
What if he was the killer? He was
injured while wearing that thing.
(pointing to Springtrap)
He wanted payback and make Fazberg
suffer. He killed the kid outside
and Fredbear’s closed from the
scandal.
VERONICA
And then for some reason he went
and murdered the others years
later? That’s a little thin. If it
were Afton, he’d have to have full
knowledge of the diner’s layout.
MIKE
Yeah. Like you father did. What if
Afton was here as a security guard?
VERONICA
If there was a guy named Afton
working here, I would’ve known.
Unless he was using an alias.
Mike puts a hand to his chin in thought. He looks up,
getting an idea. He checks the shelves, then runs past
Veronica to check a pile of boxes in a corner.

VERONICA
What are you doing?
MIKE
Guesswork. Would you keep old
photos and stuff?
VERONICA
Sure. We took staff photos at the
end of each year.

MIKE
Great!
He chucks a box aside and opens another. He grins. Inside
are a row of framed photos.

He takes them out in a pile and starts searching through

them. He finds one titled "Family Photo of 1987". The staff
of Freddy Fazbear’s stand outside with the animatronics.
Fred Fazberg stands in the middle, still smiling but a
little tired. Steve is on the far right, in his uniform,
giving a jolly wave to the camera.

(CONTINUED)
CONTINUED: 97.

Mike sets it to one side and searches through the others.

Veronica walks over and kneels beside him.
She picks up another photo, marked 1986. She smiles at the
image of her father. Her younger self, in a waitress uniform
and on roller skates, clings to his arm.

Mike glances over and nods approvingly.

MIKE
That looks good on you.

VERONICA
(embarrassed)
Shut it.
Mike returns to his search, finding a dusty old photo at the
bottom of the pile, marked "1974".
He scans the faces in the photo, standing outside
Fredbear’s. He stops. Recognising the young but distinctive
face of Steve.

He glances to the names under the photo. Running a finger

along them to reaches one, placed under Steve: "DAVE AFTON".
MIKE
Holy hell.

Veronica leans in. Eyes wide.

VERONICA
It can’t be.
She grabs the photo from Mike.

VERONICA
Steve was so nice. Always upbeat.
How could he--
MIKE
Guess it was a mask all along. It
makes sense when you think about
it. Steve had scars on his neck.
SMASH CUT TO: Steve, three days earlier, hiding his scars
behind his shirt collar.
MIKE (CONT’D)
He killed the child at Fredbear’s
to get revenge on the diner. Guess
he changed his name to work here.

(CONTINUED)
CONTINUED: 98.

VERONICA
And he framed my dad. Lying all
this time!
The two examine the staff photo in angry silence. Behind
them, something groans mechanically.
Mike and Veronica tense, hearing the noise. They turn their
heads. SPRINGTRAP IS STARING AT THEM. WITH HUMAN EYES.
MIKE
Oh, my God!
He drops the photo. It shatters on the floor.
Springtrap raises a hand towards them menacingly. Almost as
if in pain. Then, he slowly heaves himself to his feet.

MIKE
Run! Run!
Mike and Veronica dart for the stairs. Springtrap lurches
after them. He trips as he reaches the steps, falling
forwards onto them. Springtrap glances up as Mike and
Veronica flee up the stairs.
He starts heaving himself up the steps. Blood seeping out of
his mouth.

INT. DINING HALL - NIGHT

Mike and Veronica burst through the stage curtains into the
dining hall. They freeze.

The power room IS ON FIRE. Chica lies in the door frame, her
yellow frame burnt black. Smoke fills the room.
Veronica starts coughing. Through the smoke, a figure
lurches into view. Freddy Fazbear. Badly damaged. Eyes red.

Mike grabs Veronica, backing away.

MIKE
Back off. We’re not the ones to
blame.

A harsh raspy cry comes from behind the curtains. Springtrap

emerges. Mike and Veronica round a table as Freddy advances
on the new arrival. Recognising him.
He screeches in rage.

(CONTINUED)
CONTINUED: 99.

Freddy charges at Springtrap. Veronica takes Mike by the

arm, dragging him out of harm’s way.
Freddy and Springtrap struggle. Smashing each other apart.
Springtrap gets behind Freddy. Grabbing something within
Freddy’s neck.

There is a flash of sparks. Freddy goes limp. Springtrap

shoves him away. The bear crashes through a table.
Veronica grabs a fire extinguisher from the wall. Instead of
going to put out the blaze, she dashes at Springtrap.
Bashing him over the head.
Springtrap’s head tumbles off onto the floor. Veronica
raises the extinguisher to strike again. Mike grabs her by
the wrists, yanking her bank. Chucking the extinguisher
away.
MIKE
Wait.
They watch as Springtrap crawls after his misplaced mascot
head. Mike picks it up. Springtrap pauses, and slowly turns
around -- revealing the bleeding, sweaty face of Steve.
He looks completely different from before, wild-eyed,
visible scars on his neck. He eyes Springtrap’s head.

MIKE
You want this?
He offers it to Steve, who snatches it. Tries putting it on
his head. It ends up lopsided. He looks up at Mike and
Veronica.

MIKE
Steve? Or should I call you Dave?
Who was that in the supply room?
Steve wheezes heavily, spitting out blood.

STEVE
Gerald.

INT. THE OFFICE - NIGHT

FLASHBACK.
The night before. Steve hides under the desk with both doors
closed. He glances up, seeing Bonnie visible through the
window.

(CONTINUED)
CONTINUED: 100.

Bonnie turns his head, hearing a noise. He vanishes from

sight.
Steve slowly crawls out from under the desk and stands.
Someone walks by. Steve peers out the window as they go by.

INT. WESTERN HALLWAY - NIGHT

We follow the intruder down the hall. Steve comes up behind,
and strikes him hard over the back of the head with a baton.

The man drops to the floor unconscious. Steve rolls him

over, revealing an unconscious Gerald.
STEVE (V.O.)
He was snooping around where he
shouldn’t have. I let my friends
take care of him.
Steve reacts in shock. He looks up, hearing the roaming
animatronics. He grabs Gerald by the legs and drags him
across the floor back towards the office.

INT. THE OFFICE - NIGHT

Gerald lies in the chair, dressed in Steve’s uniform.
Bonnie’s shadow slinks over him.

INT. DINING HALL - NIGHT

Steve, in dark clothes, watches from the shadows as Bonnie,
Chica, and Freddy drag Gerald into the supply closet. He
then ducks behind the stage curtain.
STEVE (V.O.)
I had to hide. My old costume was a
good idea at a time. But, I forgot
how deadly the workings can be.

END OF FLASHBACK.

INT. DINER HALLWAY - NIGHT

Mike stares in horror. Veronica goes down on her knees,

eye-to-eye with Steve.
VERONICA
You lying filth. We trusted you.
How many people have you hurt? My
(MORE)
(CONTINUED)
CONTINUED: 101.

VERONICA (cont’d)
dad. Those poor children. Your
children!
STEVE
I lost my son to this place. I
didn’t want him to be lonely. So I
gave him friends. And I stayed too.
MIKE
By killing them. Covering your
tracks and pretending to be an
innocent. Why?
STEVE
I wanted my boys to be happy, and
I’ve given them that. Grown ups are
cruel and careless. The guards get
in the way, so they had to be
punished.
MIKE
You’re a guard.

STEVE
They wouldn’t attack me.
MIKE
(pointing to Freddy)
I say otherwise. Besides, tomorrow
they will be set free. And you’ll
be in custody.
Steve breaks into a smile and laughs. Veronica leaps up,
taking a step back.
STEVE
No, I won’t. By morning, you two
will be dead and I’ll be long gone.

VERONICA
What about the children?
STEVE
I’ve done all I can for them. You
two put an end to the fun.

MIKE
What makes you think they won’t
kill you?
Steve shifts on the floor, cocking his head and smiling.

(CONTINUED)
CONTINUED: 102.

STEVE
(gesturing to his costume)
Because I am one of them.
Steve suddenly lunges at Mike, knocking Veronica over. He
chokes Mike, pinning him to the floor.
STEVE
You can be an animatronic too. Join
Freddy’s happy family forever. Even
if they are taken apart, they will
never rest.
MIKE
(choking)
Because of you!

STEVE
Because of this place!
Veronica rises.
VERONICA
You should’ve been watching. Not
fawning over the animatronics like
the freak that you are. Your kids
would have still been a live. It’s
all your fault, Steve!

STEVE
Steve’s not here. I’ll make sure he
gets the message.
Steve frees Mike and stands. Going for Veronica. Mike grabs
him from behind.
MIKE
No one else is going to die, Steve.
Time for you to face those who
you’ve wronged.

Mike twirls Steve around. Perched on a table is Golden

Freddy. Two tiny white pinpricks for eyes staring at
Springtrap.
Steve freezes, beginning to shake in fear.

STEVE
Son?
Fredbear doesn’t react. Just stares. A faint CHILD’S GIGGLE
echoes across the room.
 103.

INT. PRIZE CORNER - NIGHT

Bonnie and Foxy lie where they fell. The Puppet’s hand
appears over Foxy. With a wave of its hand, Foxy flinches. A
WHITE, WHISPERY GHOST rises from his body.

The same happens to Bonnie, who shudders on the floor.

Two child-sized spirits rise from the animatronics. The
Puppet, hovering in midair, slowly turns and raises a hand
in the direction of the dining hall.

INT. DINING HALL - NIGHT

Chica makes a loud screech and shudders. Mike and Veronica
both turn to the noise. Steve slowly cranes his head. Eyes
wide.
A third spirit rises from Chica. And finally, a fourth
spirit rises from Freddy Fazbear.
The other two spirits float through the wall. Steve backs
away, looking about for an exit.
STEVE
No, no, no. I did this all for you.
Don’t you understand?

The spirits advance on him.

MIKE
You don’t get it. They never wanted
this.

Golden Berry goes limp as the fifth ghost rises from the
costume. The ghosts swarm Steve. He screams, tumbling to the
floor.
There is a loud SNAP. Springtrap’s suit clamps around
Steve’s body, piercing his body with the spring locks.
Bloods spurts out of the costume, out of every hole.
Steve lets out a pained squeak, throwing back his head in
agony. Then, falls forwards onto the floor. Motionless.

Mike and Veronica step forward. Steve bleeds out on the

floor, the five ghosts hovering over him.
THE POWER ROOM EXPLODES. Bringing down part of the ceiling.
Mike ducks as debris crashes down onto a table. Veronica
coughs up smoke, covering her mouth and nose.

(CONTINUED)
CONTINUED: 104.

Mike looks about, contemplating whether or not to remove

Steve’s body. He pauses. The Puppet hovers in the doorway to
Pirate Cove. It gestures with an outstretched to the
hallway. The exit.

Mike understands.
MIKE
(to Veronica)
We have to go.

With a glance back at Springtrap, Mike and Veronica race

down the hall.
The Puppet watches them go. It floats over to Springtrap,
getting in close.

FROM INSIDE SPRINGTRAP’S HEAD: The Puppet’s beady eyes stare

in through into the darkness, filled with nightmarish
intent.

EXT. FREDDY FAZBEAR’S PIZZA - NIGHT

Mike and Veronica burst out of the doors out into the car
park. They keep running, out onto the pavement. Another
explosion rips through the building, the fire consuming it.
Veronica coughs heavily, collapsing onto her knees. Mike
follows, sitting on the sidewalk. They both watch the flames
in silence.
Veronica lets out a heavy, heartfelt sigh.

VERONICA
It’s over.
Mike nods. Still a little on edge.
MIKE
I guess this means I’m out of a job
then, huh.
Veronica slowly looks at him, as if in bewilderment. She
breaks into a smile. She stares into the fire. Her gaze
resolute.

Mike removes his security hat and dumps it in his lap. Both
watch the flames burn bright in the night sky. The sound of
sirens fills the night.
FADE TO BLACK.
 105.

EXT. CEMETERY - DAY - SEVERAL DAYS LATER

FADE IN on a sunny, clear, yet cold day. A large gathering
of mourners stand in the cemetery. The families of the
children, friends, and just normal citizens.
Mike and Veronica are both amongst the crowd. Silent and
respectful.

VERONICA (PRE-CUT)
A new broom sweeps clean. The
entire company is having a clear
out. They fired most of the board
of directors and replaced them.

EXT. CEMETERY - DAY - HOURS LATER

Mike and Veronica sit on a bench overlooking the cemetery.
MIKE
What’s going to happen now?
VERONICA
The diner is history. The official
press release said the Freddy and
the gang would "forever live in the
hearts of children". The families
are suing them, as is Gerald’s
family for the murders.
MIKE
What about you?
VERONICA
I’m staying. As crazy as it sounds.
MIKE
Why?
VERONICA
I don’t know. I suppose out of
guilt for not doing anything to
help those kids til now. Oh, by the
way.
She reaches into a handbag, producing a paycheck. Handing it
to Mike.
MIKE
Cheers.
The final salary is $120.50. Mike blinks at the pay, and the
writing on the slip reading "Employee of the Month".

(CONTINUED)
CONTINUED: 106.

MIKE
That’s it?
VERONICA
You were only there five days.
Technically only three. And, yeah,
you are out of a job.
MIKE
Figured as much.

VERONICA
What are you going to do now? I’ve
been offered a job elsewhere. I
could use a trusty security guard
to do the night shift.

MIKE
Not a chance!
VERONICA
So what then?

MIKE
Go on a really long vacation
somewhere, and start college. I
haven’t really thought it through.
Veronica stands, brushing down her skirt.

VERONICA
Well, at least you’ll have time to
think it over. Not everyone is so
lucky.

She begins to walk away. Mike rises and follows.

They walk down the hill together.
MIKE
What about Steve?
VERONICA
What about him? The company are
pretending he never existed. But I
suppose you can’t sweep murder
under the rug. I heard rumours that
Afton Robotics are actually
planning to buy out Fazbear.
MIKE
Did they find his body yet?

(CONTINUED)
CONTINUED: 107.

VERONICA
No, not yet. Not there would much
of it.
MIKE
You may find this hard to believe,
but despite everything he did, I
felt sorry for him. I think the
incident at Fredbear’s broke his
mind, and he killed the child.
Afterward, he couldn’t cope and
created the Steve persona to
compensate. But, Dave came back
when the Bite happened, and he
killed the others.
Veronica doesn’t respond. Unsure of how to react.

VERONICA
I knew him as Steve. A nice but
weird guy who really loved the
mascots and loved Freddy’s. That’s
enough for me.

Mike glances at Veronica.

MIKE
It’s over isn’t it?

Veronica remains silent, smiling in uncertainty.

EXT. FREDDY FAZBEAR’S PIZZA - DAY

A construction vehicle drives past -- revealing the burnt
out remains of Freddy Fazbear’s. The roof caved in and
crushed the interior.
Sheriff Burke surveys the scene.

SHERIFF BURKE
Let’s get the rest of the rubble
dug out.
An OFFICER calls from across the site.

OFFICER
Hey, Burke, we found something.
Burke hurries across the lot, treading carefully over the
diner. The officer kneels before a hole, shining a light.

(CONTINUED)
CONTINUED: 108.

SHERIFF BURKE
What did you find?
OFFICER
Look.

He shines the light into the hole. Sitting against a wall is

Springtrap, covered in dried blood and barely held together.
Lying in his lap is Fredbear’s costume.
SHERIFF BURKE
Let’s get him out of there.
Burke and the officer disappear from sight. We stay with
Springtrap. He TWITCHES suddenly. Then, slightly lifts his
head.

Somewhere in the darkness, a familiar music box melody

plays.
CUT TO BLACK.