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INT. FREDDY FAZBEAR’S, PAST - BACKROOM - BLACK
WE OPEN to the sound of WILLIAM AFTON grunting with exertion as he drags the lifeless body of a child behind him through the UNLIT BACKROOM of FREDDY FAZBEAR’S PIZZARIEA.
A LIGHT appears on AFTON as his son, MICHAEL, opens a door to the backrooms, and reveals his father wearing the SPRINGTRAP SUIT, a yellow Rabbit Costume meant for performers at a themed restaurant, like Chuck E. Cheese.
MICHAEL stares at his father in abject fear. AFTON drops the body of his victim, to look at his son through the mask of the suit. This is the first time he has seen his father’s true face.
AFTON begins to advance on his son, and MICHAEL runs out in terror into FREDDY FAZBEAR’S, a charming family restaurant with animatronic characters and some human performers.
INT. FREDDY FAZBEAR’S, PAST - DAY
There are children running amock with parents chasing after them in overwhelming but typical chaos of child’s play. MICHAEL wades through it, still in shock. The other animtronic characters BONNIE the blue rabbit, CHICA the chicken, FREDDY the bear, and FOXY the fox, are milling around the restaurant, entertaining. As he comes to a stop in the eye of the storm, the final animatronic character, GOLDEN FREDDY, comes up behind him.
CUT TO:
EXT. FREDDY FAZBEAR’S, PAST - DAY
From the exterior of the building, we HEAR the screams in terror of the children and parents who have just witnessed the gruesome death of Michael afton. They begin to stream out of the building, dragging their children out.
Through the windows, We see AFTON, standing among the chaos in his yellow bunny suit, perfectly calm.
CUT TO :
EXT. FAZBEAR FRIGHTS - DAY
(FREDDY FAZBEAR’S, PRESENT) We see the exterior of the building we were just looking at, aged by decades, abandoned and boarded up.
ALEC (V.O.)
We’ll have her up and running in six months or so.
INT. FAZBEAR FRIGHTS - DAY
ALEC is one of the enterprising young people attempting to convert the old FREDDY FAZBEAR’S into a new haunted attraction: FAZBEAR FRIGHTS. He is interviewing MICHAEL AFTON, now an adult, for a position on their team.
The building has echos of the old restaurant, but is in disrepair. Tarps and plastic sheeting provide temporary spaces. BENNY and KARINA, two of the other enterprisers, are sifting through files and old records of the FREDDY FAZBEAR COMPANY.
MICHAEL, from his chair, looks around furtively, maintaining a pleasant “interviewee” facade, but clearly unsettled by the site of his former trauma.
ALEC is reviewing his resume, not really looking at him or noticing his distress.
ALEC
In the meantime, we’ll need you to look after her. Keep the kids off of it. Might ask you to do a little work around the place.
MICHAEL nods along, still miles away.
ALEC
I saw this.
He holds up the RESUME, filled mostly with “hourly pay” type jobs, steady work but nothing permanent, no commitments. At the top in bold letters is the name MICHAEL AFTON.
ALEC
Any relation?
He is referring to WILLIAM AFTON, whose murders of children at the FREDDY FAZBEAR’S PIZZARIRA are now famous in true crime lore.
MICHAEL finally comes back to reality.
MICHAEL
Uh, yeah. He’s my dad.
ALEC
That’s brilliant. We could sell that angle if you want to work front of house.
MICHAEL
I’m not much of a performer.
ALEC
People like the personal touch. You want a good show, it’s got to have heart.
ENTER: CHARLIE and DEVON, in a heated argument. CHARLIE EMILY is the daughter of HENRY EMILY, the other founder of FREDDY FAZBEAR’S, along with WILLIAM AFTON. DEVON is the leader of the group trying to capitalize on the urban legend fame of the Fazbear chain.
CHARLIE
I keep telling you, you have no right to operate here.
DEVON
If you want to argue on moral principle, that’s not gonna hold up in court.
CUT TO :
ALEC, watching his colleague do what she does best, gives an aside.
ALEC
But strong business doesn’t hurt.
CUT TO:
DEVON
The county condemned the building, and we bought it, your family has no say in it.
CHARLIE
We still own the IP. And the company.
DEVON
It’s a site of historical significance, and it’s not copyright infringement to state a fact. (Pause) But if you sell us the IP, we might cut you in.
CHARLIE is indignant, but knows Devon is right.
CHARLIE
I’m getting this place shut down.
DEVON
Little advice, Emily? Stop wasting time trying to save your family’s legacy. Your Dad and his friend were nothing but monsters. Why don’t you cash in on it like the rest of us?
CHARLIE
You have no idea what you’re playing with.
DEVON
I trade in ghost stories, Kiddo. You can’t scare me with that.
CHARLIE
I won’t have to.
She storms out of the building, past MICHAEL, who is enraptured by this argument, and excuses himself from the interview to follow her.
EXT. LOT OUTSIDE FAZBEAR’S – DAY
MICHAEL runs up to Charlie as she is about to enter her car.
MICHAEL
Hey! Excuse me.
CHARLIE
You work for these assholes?
MICHAEL
Not yet. I heard you inside. (Pause) You’re an Emily, right?
CHARLIE
I’m Charlie.
MICHAEL
Charlie…Emily?
CHARLIE
Yeah, I didn’t pick the name. What do you want?
MICHAEL
Sorry, that’s not – I’m Michael. Michael Afton.
CHARLIE
…Fuck.
INT. COFFEE SHOP - DAY
Charlie and Michael are in a normal COFFEE SHOP, perhaps the only ordinary location we will find them in. They are discussing their shared history over coffee. (If it matters, hers is probably iced, and his is probably hot).
CHARLIE
Devon’s right. My dad lost the rights to the building, I told him to tear it down, or build it up, but he just let it rot. It’s like he’s scared to touch it.
MICHAEL
So it really bothers you? Turning the place into an attraction?
CHARLIE
Look, my dad and your dad, they were messing things. It wasn’t just business, it was an obsession. And whatever they did, it drove them both crazy, just in different ways. I’m still working out how far it went, and I don’t think they should be poking at it. Should bother you, too.
MICHAEL
I’m not sure I get a say.
CHARLIE takes in the implications of that, then switches tactics.
CHARLIE
You know, my dad moved out. He’s sleeping in his garage now, doesn’t like to waste time driving to and from the house. He fixes cars now, if you can believe it.
MICHAEL
Any of them come to life, yet?
(HENRY EMILY, the genius creator behind the animatronics, specializes in bringing machines to “life.”) CHARLIE takes the joke.
CHARLIE
He left his files. And I broke all his locks, so if you want to figure out what happened, now’s as good a time as any.
MICHAEL
I thought you said we shouldn’t poke it.
CHARLIE
They shouldn’t. Us, how much worse can we get?
INT. THE EMILY HOUSE, DAY
The house of the EMILY family, consisting of an absent HENRY and now CHARLIE, is a small but comfortable domicile. The living room is stacked corner to corner with files and records of the messy history of FREDDY FAZBEAR INC.
CHARLIE and MICHAEL enter, and pick their way through the pile. MICHAEL makes himself comfortable.
MICHAEL
It’s kind of weird that we’ve never met. Given all the history we’ve got.
CHARLIE
Where were we supposed to meet? Child murderer support group?
MICHAEL
(Beat) Did your dad kill someone too?
CHARLIE
He’s an asshole with a god complex, I wouldn’t put it past him.
MICHAEL
You made it sound like you were trying to protect him, back there.
CHARLIE
He’s all I got, and I love him. But he’s still an asshole.
MICHAEL
(beat) Yeah.
CHARLIE
Jesus, I’m sorry. I mean, you don’t have anyone –
MICHAEL (INTERRUPTING)
Yeah, I know. Thanks for that.
CHARLIE takes up a box of files, looking for something to cover up the awkwardness. But she is curious.
CHARLIE
How long have you been on your own?
MICHAEL
Ever since my dad went missing.
(WILLIAM AFTON was never caught, and his body was never found.)
The two of them begin their search for clues of HENRY and WILLIAM’s true work.
FADE TO:
EXT. CIRCUS BABY’S – LATE NIGHT
CIRCUS BABY’S is a competitor to Freddy Fazbear’s that WILLIAM AFTON started after HENRY kicked him from Freddy’s.
Three of the four enterprisers; DEVON, BENNY, and KARINA, are on approach to CIRCUS BABY’S ENTERTAINMENR AND RENTALS. On the building is a sign with the clown face, adorable but unsettling. This is BABY, the animatronic mascot of CIRCUS BABY’S. As the facility comes into view, we hear:
BENNY (V.O.)
This place was open for one day.
INT. FAZBEAR FRIGHTS – EARLIER
The four enterprisers are sat in their makeshift office in the dilapidated FREDDY FAZBEARS/FAZBEAR FRIGHTS, having a conversation they had before driving out to CIRCUS BABY’S.
BENNY
There was an accident. One of the animatronics ate Afton’s daughter.
DEVON
Ate her?
KARINA
Scooped her right up, and they never found her again.
CUT TO:
EXT. CIRCUS BABY’S – LATE NIGHT
CIRCUS BABY’S is also abandoned, not a restaurant but a small office headquarters for ANIMATRONIC RENTALS, like those used at Freddy’s. But it leads to an underground network, where Afton perfected the FUN TIME ANIMATRONICS, built for Circus Baby’s, and the enterprisers plan on salvaging those animatronics for their FAZBEAR FRIGHTS attraction.
KARINA (V.O.)
But it’s all still down there.
DEVON
Alright. If it moves, we take it.
INT. CIRCUS BABY’S - UNDERGROUND
DEVON, BENNY, and KARINA enter the underground facility of CIRCUS BABY’S via an elevator. It opens to a utilitarian hallway, dark, ominous.
DEVON
I’ll find the breaker switch. We should split up, shout if you find anything.
They each go in different directions.
KARINA finds a passageway that leads to the rest of the underground facility. It’s extensive and eerie. She hesitates, and doesn’t dare to go further.
BENNY finds the defunct FUNTIME FREDDY, a purple and white bear and clear parador of the beloved Fazbear character, but more advanced and sleek than the previous animatronics we met at FAZBEARS.
DEVON finds the main breaker switch. When she pulls it on
CUT TO:
FUNTIME FREDDY suddenly ACTIVATES with a controlled shock (a la sister location game). FUNTIME FREDDY kills BENNY by ripping him apart. When BENNY screams
CUT TO:
KARINA, hearing the Benny’s screams, runs back into the main hallway, where she is JUMPSCARED by FUNTIME FOXY, who drops on her from the ceiling (a la Five Nights at Freddy’s 2, Mangle jumpscare) and kills her.
Back on DEVON. From the SHADOWS just beyond the main breaker switches, BABY, from the sign, a circus clown type character with pigtails and a tutu, LIGHTS UP.
BABY rips through DEVON’S torso and guts her with efficiency. Her corpse falls to the ground. The hallway is now decorated with the bodies of DEVON, KARINA, and BENNY. BABY, FUNTIME FREDDY, and FUNTIME FOXY, do the animatronic shuffle into the hallway, stepping over them, now activated and awake.
Absent from the party, is BALLORA.
CUT TO:
EXT. FAZBEAR FRIGHTS – LATE NIGHT
ALEC exits a Porta-Potty, stationed outside of the FAZBEAR FRIGHTS building. He has stayed behind, to keep watch of the building and continue working through the night.
As we walks around the building, he begins to question its layout.
INT. FAZBEAR FRIGHTS – LATE NIGHT
ALEC consults a blueprint of the FREDDY FAZBEAR building. There is a room that exists on the blueprint and the outside of which is visible, but they have never been able to enter from the inside. He walks through the halls of FAZBEAR’S, guided by the blueprints, until he finds a WALL.
ALEC (TO HIMSELF)
There you are.
INT. THE EMILY HOUSE – LATE NIGHT
CHARLIE is in the kitchen of the EMILY house, violently scrambling eggs.
CHARLIE (ON THE PHONE)
No, no, no no no (pause) I’m not asking to be removed from the project I’m asking for (pause) Fine, well if you have to give it to someone, don’t give it to Evan. (pause) Oh I’m on speaker? Hi Evan. I’ll tell you what, if you can explain the proposal, right now, I’ll let you take point. (pause) Yeah that’s what I thought, how about you get back to me later.
CHARLIE does have another job, which she’s put on pause.
CHARLIE
(Calling over to MICHAEL, in the living room)
Mike, you want any?
MICHAEL
(Calling back)
What?
MICHAEL is looking through articles about the MISSING CHILDREN his father murdered.
CHARLIE (O.S.)
Dinner.
MICHAEL
Oh. Sure.
FROM THE ARTICLE: Four children went missing and FREDDY FAZBEAR’S was closed down.
CHARLIE walks in, with two plates of scrambled eggs.
MICHAEL
Breakfast for dinner?
CHARLIE
Hey, you’re lucky I actually cooked.
The two of them start to poke at their eggs. CHARLIE is eating, but MICHAEL doesn’t have much of an appetite.
MICHEAL
So you’re a… “scrambled eggs at midnight” kind of gal?
It’s more forward than anything he’s ever tried.
CHARLIE
(Beat) Why don’t you elaborate on that, Michael?
MICHEAL
No, I just mean, you’re focused on work, and not, you know, other stuff.
CHARLIE
How are you doing in that department?
MICHAEL considers the sorry state of his love life.
MICHEAL
Well, it usually goes okay until they google my name. I would’ve just failed somewhere else down the line, anyway. I keep to myself. It’s easier on everybody.
CHARLIE
What are you doing here, Mike? You could be on the other side of the continent right now, and you’re getting a job at the same place –
MICHAEL (INTERRUPTING)
It doesn’t matter how far away I get. (Beat) I saw him once. I saw him do it. I think it was Gabriel.
CUT TO:
A brief flash of the YOUNGER MICHAEL from the beginning, seeing his father in the yellow bunny suit.
(Gabriel was one of the murdered children)
MICHAEL (CONT’D)
I thought, if I can’t run away from what happened, maybe I run towards it. Maybe there’s nowhere else to go.
Charlie says nothing. She wants to tell him that he’s wrong, but she’s afraid he isn’t.
MICHAEL’S PHONE rings. The moment breaks. Michael answers it.
ALEC (O.S.)
Hey Michael, you want to earn some overtime? The others went to check out the Circus Baby location, but I could use an extra hand down here.
CUT TO:
INT. FAZBEAR FRIGHTS - THE WALL
ALEC, phone in one hand, Sledgehammer in the other, is inspecting the wall. The room was walled off to cover up…something.
ALEC (TO THE PHONE)
I think I found something.
ALEC hangs up the phone and pockets it. He picks up his sledgehammer. He takes a few whacks at the drywall.
Alec looks through the wall at the hole he just made.
SUDDENLY –
A skeletal animatronic punches through the wall and grabs Alec by the neck, and pulls him back into the wall repeatedly, bashing his head. Sufficiently incapacitated, the hand drops Alec, who crumples to the ground. The whole suit then bursts through the drywall. As Alec, beaten and concussed, tries to get away, the yellowed, molded, bloody spring trap suit with WILLIAM AFTON inside picks up the hammer Alec just dropped and proceeds to bash Alec in the head numerous times, but not enough to kill him.
CUT TO:
INT. FAZBEAR FRIGHTS BACKROOMS – NIGHT
MICHAEL and CHARLIE enter through the back service entrance of Fazbear Frights, instead of the front, armed with flashlights.
MICHAEL (SHOUTING)
Alec?! Alec, you here?
As they creep, Charlie shines a flashlight over the restaurant space and is STARTLED by withered CHICA’s head on a shelf, EMPTY and EYELESS. They go to investigate and carefully enter a backroom. Lying against the walls are the remains of BONNIE, CHICA, FREDDY, AND FOXY. They are gutted, nothing but empty padding and eyeless masks.
Of the four of them, only one endoskeleton remains, discarded in a corner. Charlie’s flashlight settles on this lone endo.
CHARLIE
(Quiet, scared) Where are other endos?
MICHAEL
(Equally Quiet, Equally Scared) Why would someone take that?
From off screen, they here pathetic *thump.* This is Alec, clinging to life. The two of them approach the hall, where THE WALL is.
MICHEAL
(Hesitant) Alec?
They find the nearly dead Alec lying in the hallway, breathing wetly through a smashed up skull.
The spring trap suit hand reaches around the corner and drags Alec back with him. We hear AFTON finish him off, and Alec dies alone and in pain (alluding to the fact that killing is part of what keeps AFTON alive.)
CHARLIE
Oh God.
AFTON shambles out into the light, and we see SPRINGTRAP is his full glory.
MICHAEL
Dad?
AFTON does not respond. He gives no indication he recognizes his son.
MICHAEL
Dad it’s me. It’s Michael.
CHARLIE
Mike, that’s not your dad. It’s just the suit, it’s the suit gone haywire.
AFTON
…MICHAEL.
AFTON is barely alive. But he’s still here. He begins to shamble towards them, stronger now that he’s killed.
CHARLIE
Oh, fuck.
MICHAEL
Dad? I know you’re hurt. We can help you, you’re gonna be okay.
CHARLIE
(Whispering) What the hell are you doing?
Still steadily advancing on them, Afton takes an interest in CHARLIE.
AFTON
ELIZABETH.
CHARLIE
What?
AFTON
ELIZA…BETH.
Michael holds his ground, and Charlie holds her ground reluctantly with him, but it’s clear she wants to run
MICHAEL
Dad, that’s Charlie. That’s Henry’s daughter.
And he does stop moving. But then he LAUNCHES at them full force classic FNAF jump scare style and Charlie pulls Michael out of the way and knocks them both over, but he’s just trying to get them out of the way because as Charlie and Michael are getting their bearings AFTON bursts out of the old building and he’s off.
FADE TO:
INT. AFTON’S WORKSHOP – DAY
AFTON drags himself into his workshop, clearly unused for years. The missing ENDOSKELETONS from the BONNIE and FOXY. They are bloodstained, their proximity to his victims when they were stuffed into the suits has caused them to soak up REMNANT, the energy of the souls (Two ENDOS, although three were missing, as AFTON has done once to form the Funtime animatronics.)
The ENDOSKELETONS are POSSESSED, still alive, and as AFTON enters they begin to TWITCH, a la Alma. AFTON Claws towards one of them, and it SHRIEKS in fear.
AFTON peels off his spring-trap suit and reveals his “zombified” self, flesh and bone held together by shear will, decaying and rotted.
He fires up a specialized FORGE and drags the ENDOSKELETON, still SHRIEKING AND STRUGGLING, into the forge, cooking up REMNANT, the soul energy that remains of Afton’s Victims, now residing in the endoskeletons.
As the REMNANT is cooked out of the ENDOSKELETONS, Afton Absorbs it, and he begins to heal, flesh filling out.
FADE TO:
INT. CHARLIE’S CAR – LATE LATE NIGHT
MICHAEL is Driving, CHARLIE is on the phone trying to call DEVON. They are on their way to the CIRCUS BABY location.
Charlie hangs up the phone,
MICHAEL
Anything?
CHARLIE
No, but she never takes my calls, anyway. It was a long shot.
MICHAEL
Why would they go there, anyway? what is Circus Baby’s?
CHARLIE
You don’t know? Your dad tried to start up a rental company, put up competing technology to Fazbear’s after he and my dad fell out. But from the records, it didn’t last that long. He didn’t tell you?
MICHAEL
I was in a coma for a while, I must’ve missed it.
CHARLIE is affronted by the deadpan, but makes no comment.
CHARLIE
Whatever Afton did to stay alive this long, I think the answers are there. I hope. (Beat) Are you alright?
MICHAEL
…He’s still alive.
MICHAEL is holding it together, but barely. It occurs to Charlie that they have a long drive ahead of them, it’s late, and neither of them have slept. They pass a sign for a MOTEL.
CHARLIE
Okay. Let’s pull over, come on.
INT. HOTEL HALLWAY – NIGHT
MICHAEL is clearing his head and getting ice from the hotel ice machine.
We’re in a hallway of a holiday inn type place, very roughly middle class, speaking to the kind of money that CHARLIE has. The hallway is void of others, this late. The overhead lights hum with intensity, and the surfaces are clean. It’s the furthest from the scum of Fazbear Frights as Michael can conceive.
He puts the bucket under the ice machine and lets it run, THe sound is loud, grating, cutting through the night. He picks up the ice and starts to head down the hall.
At the other end of the hall, NIGHTMARE FREDDY stands, eight feet tall, razor sharp teeth and claws, stuffing rotted and putrid. While he bears resemblance to the characters of the animatronic roster at the pizzeria, he is a twisted version, all malice. Around him, the lights flicker, and somehow in the mundanity of the hotel hallway, he bends it into fear and shadow. Michael can hear his mechanical, wet breathing, far away as he is. He knows this creature, all too well.
Michael drops the ice bucket to the ground and runs down the hallway in the other direction.
As he passes a LINEN CLOSET, the sillohuette of NIGHTMARE FOXY, with its hook and long, pointed tounge, can be seen through the slats in the closet door. Michael skids to a stop long enough to take this in, then he’s running again, and the hallway feels impossibly long, like it’s growing with every step, like he’s never getting out.
At the other end, peeking out from around the corner, just enough to see a Beak, taloned hand, and those glowing eyes of hers, is NIGHTMARE CHICA.
Michael is trapped now, and he knows it. He doesn’t know what to do or where to go. How can those things be here?
Nightmare Chica begins to emerge from behind the corner. With her is NIGHTMARE BONNIE, completing the roster.
NIGHTMARE FOXY is slowly revealed as the closet door agonizingly creaks open. He joins his companions, And NIGHTMARE FREDDY has caught up with them as well, without having to run at all.
Michael is surrounded.
CHARLIE
Mike? Mike! You with me?
Michael, panicked, gives a hell of a start when Charlie approaches him, wrenching himself away from her. But those things are gone, and –
Michael steps on an ice cube. The scattered remains of his ice run are melting into the carpet. He’s been rooted to the same spot the whole time.
He’s shaking, scared out of his wits. Charlie tries to ground him.
CHARLIE
You were gone a hell of a long time, you alright?
Michael finds his voice.
MICHAEL
You didn’t see…?
INT. HOTEL ROOM - LATE LATE LATE NIGHT
Charlie ushers Michael back into their room and makes him sit on the bed. He’s gotten his bearings and seems embarrassed about the whole deal.
CHARLIE
…Alright. Sit down, you’re gonna be fine.
Charlie uses the shitty motel cappucino machine to make michael and herself cups of hot chocolate.
She gives the hot chocolate to Michael, who is skeptical.
MICHAEL
I’m not five.
CHARLIE
It’s good for the soul.
She sits across from him.
CHARLIE
What’d you see?
Michael sips his hot chocolate. It is good for the soul.
MICHAEL
After my mom left…I started seeing these…nightmares, of those things Dad had built. He told me I didn’t need to be scared, it was just a monster in the closet, and I said to him, ‘Dad, they’re not in the closet. They’re everywhere.”
When he looks up at Charlie again, he sees the NIGHTMARE ANIMATRONICS: NIGHTMARE FREDDY, NIGHTMARE BONNIE, and NIGHTMARE FOXY, behind CHARLIE. She can’t see them, and does not react.
MICHAEL
One day, he left me alone, he did that all the time, but I got so scared, I wanted to find him, so I ran to that place, and…
CUT TO:
INT. FREDDY FAZBEAR’S, PAST – DAY
Briefly, we see YOUNGER MICHAEL, with GOLDEN FREDDY behind him, what we saw in the beginning. GOLDEN FREDDY mechanically lifts little Michael, who screams and struggles, as GOLDEN FREDDY closes his jaw around LITTLE MICHAEL’S head and snaps shut on his skull.
CUT BACK TO:
INT. MOTEL ROOM – LATE LATE LATE NIGHT
Back to the present, with Michael and Charlie sat in the hotel room with their hot chocolate.
CHARLIE
My dad said he’d seen things after the killings started there. Seen them move…even try to talk. I never really believed it.
MICHAEL
I remember the smell, inside that thing. It was like, rotting meat and rust and something acrid like…rage. Then there was just nothing. (beat)
MICHAEL
I lost years of my life. But when I woke up, he was there. He taught me how to speak, how to eat, how to walk again. He put me back together. And then he just disappeared, and I found out about all those kids. He was killing. He was killing that whole time.
When he looks up again, the NIGHTMARE ANIMATRONICS are shuffling close to CHARLIE.
CHARLIE
You were just a kid. You didn’t know, that doesn’t make it your fault.
The NIGHTMARES are very close now. NIGHTMARE FREDDY has his paw on Charlie’s shoulder. She still does not react.
MICHAEL
I know what he’s done. I know what he is. But I still miss him, and I just want him back. Does that make me horrible?
He looks up, and he’s not talking to her. He’s talking to the NIGHTMARES.
Charlie notices that he’s fixated on something behind her and she turns around. But the NIGHTMARES have DISAPPEARED. There’s nothing there.
FADE TO:
EXT. CIRCUS BABY’S - EARLY MORNING
Charlie and Michael have reached CIRCUS BABY’S. They discover DEVON’S TRUCK under the looming CIRCUS BABY sign with the face of BABY the animatronic.
Charlie exits the car, taking a BACKPACK with her, michael not far behind.
CHARLIE
Devon!
She peers inside the van, sees old road food detritus, melted iced coffee, candy wrappers. No one has been here for hours.
Michael peers into the driver’s side.
MICHAEL
Keys are in it.
CHARLIE
They never made it back.
They look at the Circus Baby location, Baby’s horribly cherubic face challenging them.
CHARLIE
Did your Dad ever mention making anymore killing machines?
MICHAEL
Did yours?
Charlie goes back around to her car and opens the trunk. Michael follows. There’s not much in it, except plastic bags, a tire iron, and a shovel.
MICHAEL
(Jokingly) I thought I was supposed to be the serial killer.
CHARLIE
Everybody needs a hobby.
She takes the tire iron and hands Michael the shovel and slams the trunk closed.
CUT TO:
INT. CIRCUS BABY’S ELEVATOR – DAY
Charlie and Michael, armed with their improvised weapons, ride down into Circus Baby’s on the same elevator Devon, Benny, and Karina had entered through.
The elevator doors open with a cute little DING, and Charlie and Michael are presented with a hallway filled with the bodies of Devon, Karina, and Benny. What’s left of them.
CHARLIE
…Jesus.
MICHAEL
We should go back.
But Charlie is already on the move. She is noticing the same passageway that Karina had seen, before the animatronics attacked.
CHARLIE
Looks like he’s been busy.
Michael goes in and carefully plucks a bloody flashlight off DEVON’s body.
MICHAEL
(to Devon) …sorry.
Charlie keeps advancing down the hallway, talking mostly to herself.
CHARLIE
He must’ve used the rental business as a front to justify the construction. He made so much damn money from the original chain, nothing would’ve stopped him. But what the hell was he working on?
She turns around to Michael, her question only semi-rhetorical, but he’s not paying attention. He’s a good few yards behind her, his flashlight is aimed at the ceiling, looking with mild horror at something in the support bars.
MICHAEL
Charlie –
On the ceiling, separating the two of them, is FUNTIME FOXY, crawling around on all fours in his expanded form, a la MANGLE.
Mangle Screeches and then drops hard down to the floor, separating the Charlie and Michael. They’re thrown into action.
Michael starts trying to beat the thing off with a shovel. Charlie moves toward it with her TIRE IRON and it turns around to stalk towards her. While its back is turned to him, Michael drives the SHOVEL into the twisted metal that serves as its spine. That slows it down, but not for long.
MICHAEL (SHOUTING)
Run!
Charlie reluctantly obeys as Michael leaves the shovel in and, blocked off from any other exit makes for a nearby VENT DUCT
MANGLE/FUNTIME FOXY writhes around, running into the walls and twisting, trying to get the shovel out of his back.
CUT TO:
Michael Crawls farther into the VENTS, Funtime Foxy’s banging thudding and rattling the metal duct around him.
CUT TO:
Eventually, Funtime Foxy is able to dislodge the shovel from his back. He starts to scurry after Charlie, but she makes it into the first room with a locked door that she can find.
Mangle bangs against the door furiously, but she’s well secured behind it.
CUT TO:
The room she has now entered is a kind of private office. William Afton’s Office.
INT. WILLIAM AFTON’S OFFICE – CIRCUS BABY’S
There are stacks of files all over, and on top of each stack, acting as a paperweight, is a LABELED TAPE RECORDER. (This is like, an Easter Egg hunter’s dream)
One stack catches her eye, on top of it is a child’s crude drawing, blue yellow red and brown crayon, of the NIGHTMARE ANIMATRONICS, the ones only Michael could see.
Charlie picks up the tape recorder, rolls it back, and presses play.
WILLIAM (O.S.)
The illusions are more than I could’ve hoped for. Michael talks about them like he can smell them, can even touch them, if he wanted to.
Charlie pauses the recording, taking that in.
WILLIAM (O.S.)
He might not understand what I’m doing, but he will, one day. I have to keep him away from my work, until he’s ready.
As he talks, Charlie notices another file. One labeled CHARLIE. This one looks much older than the rest, and considerably less dense. This is the first record of his work that William has created.
CHARLIE
What the fuck.
She puts down the first tape recorder and picks up the new one, on top of the Charlie file.
WILLIAM (V.O.)
I shouldn’t have taken her with me.
Charlie has to stop the recording again.
With some difficulty, she presses play.
WILLIAM (V.O.)
If they lock me up for this, I need a record, of what I’ve just seen. What I’ve discovered.
(Beat)
I put her in the trunk. One of my prototypes was there already. She and the machine were in there for weeks and when the smell became too much…
Charlie is viscerally disgusted by that comment. She stops the recording again to compose herself, then restarts it.
WILLIAM (V.O.)
There wasn’t much left of her. But the machine…it was alive. Alive in a way I could have never dreamed of. Oh if Henry could see it…I think I have discovered a new currency. I should hate myself for what I’ve done. But I don’t. In fact, I believe my work is just beginning.
CUT TO:
INT. THE VENTS - CIRCUS BABY’S
Michael is still crawling his way through the vents, looking for a safe place to exit.
But he’s not alone in there. From behind him, he hears a child-like titter, a sinister bubbly laughter echoing through his hide-out.
MICHAEL
Oh, come on.
Michael slowly turns around as well as he can in the vent. Behind him is BIDYBOP, another experiment of Afton’s. Her voice is high pitched and childlike.
BIDYBOP
Hello!
MICHAEL
…Hi?
BIDYBOP starts crawling forward with impossible speed, Michael crawls forward as fast as he can until he reaches an OPEN GRATE. He throws his weight onto the grate and it comes loose, crashing him to the ground (what a feat…)
For a moment, silence.
BIDYBOP descends from vent and lands on Michael, biting and clawing at him like an angry cat.
Michael fights off the Bidybop but its small size makes it difficult to get his hands on. Bidybop crawls up his back, and he reaches back and slams Bidybop down into the floor a la “Barbie” 2001 Parody trailer.
With its head smashed in, Bidybop’s voice is staticky and harsh.
BIDYBOP
…Daddy?
MICHAEL
What the fuck.
Bidybop sparks out and dies.
Michael takes in his surroundings. There is an animatronic stage, a dark, sterile shadow of the Freddy Fazbear’s stage. On the stage, is FUNTIME FREDDY.
CUT TO:
INT. OUTSIDE AFTON’S OFFICE - CIRCUS BABY’S
Outside the door to Afton’s Office, FUNTIME FOXY is still pacing, trying to bang in.
CUT TO:
INT. INSIDE AFTON’S OFFICE - CIRCUS BABY’S
Charlie is still holding the file with “CHARLIE.” She stuffs it inside her BACKPACK. She starts frantically going through the office filling her pack with as many papers as she can.
CUT TO:
INT. OUTSIDE AFTON’S OFFICE - CIRCUS BABY’S
FUNTIME FOXY is still pacing, like a dog fixated on its prey, stills at it hears BABY’S voice, soft, gentle, far more aware than the other animatronics have appeared to be.
BABY
Be nice. She’s family.
Funtime Foxy scurries off (to the BALLORA Gallery)
CUT TO:
INT. INSIDE AFTON’S OFFICE - CIRCUS BABY’S
Charlie hears FUNTIME FOXY leave, and the office is suddenly quiet.
Charlie approaches the door’s CROSS-HATCHED WINDOW.
BABY
Why are you hiding?
Suddenly, BABY’S FACE presses violently into the CROSSHATCH WINDOW.
BABY
We’re family, don’t you remember?
BABY paces off…
Charlie waits for a few breaths.
CUT TO:
INT. OUTSIDE AFTON’S OFFICE - CIRCUS BABY’S
Charlie slowly, carefully, pushes open the door to Afton’s office into the hallway.
It is silent, empty.
She steels herself, and shoulders her now full BACKPACK. She looks both ways; BACK, towards the elevator, then FORWARD, deeper into the lab.
When Charlie turns back to the BACK DIRECTION, BABY is there, blocking her way.
BABY
The others tried to run. We stopped them.
Charlie grips her Tire Iron.
CHARLIE
Oh yeah? Why?
A HIGH PITHCED RINGING starts up again, For a moment, we see MULTIPLE BLINKING, RINGING DISCS lining the hallway then what Charlie sees FRTIZES out, and she sees a NIGHTMARE VERSION OF BABY, with a GAPING STOMACH MOUTH and RAZOR SHARP TEETH (Similar to Scrap Baby)
NIGHTMARE BABY
(distorted) Daddy needed them. To make us.
NIGHTMARE BABY advances on Charlie. Charlie sees her STOMACH MOUTH. A HIGH PITCHED RINGING kicks in again, and we see:
CUT TO:
EXT. CIRCUS BABY’S GRAND OPENING, BABY’S ILLUSION
It’s a sunny day, LITTLE ELIZABETH AFTON, is staring up at BABY, looming over her, and suddenly BABY’S STOMACH opens wide and a CLAW reaches forward and SNATCHES little Elizabeth. Charlie watches helplessly.
CUT TO:
INT. ILLUSION DISC HALLWAY - CIRCUS BABY’S
Charlie comes back to reality, panicked and afraid, jarred by the strange familiarity of the gruesome image, but too late, NIGHTMARE BABY is already upon her, slashing at Charlie’s face. Charlie raises her arm just in time, but Baby’s razor sharp claws rake through her JACKET SLEEVE.
Charlie regains her bearings and drops her BACKPACK, going at NIGHTMARE BABY with her TIRE IRON.
The more she strikes at it with her Tire Iron, the more NIGHTMARE BABY’S appearance appears to glitch, and appear closer to that of regular BABY’S.
The TIRE IRON Strikes the side of the wall, hitting one of the EMBEDDED ILLUSION DISCS in the hallway, which sparks a CHAIN reaction of the ILLUSION DISCS SPARKING and BURSTING along their connected wire.
This is a GATEWAY of illusion discs, creating NIGHTMARES for any of the children who try to escape the facility, and for anyone trying to get in from the outside.
As the discs BURST, there’s a HIGH PITCHED RINGING, and then, SILENCE.
And BABY has returned to normal. The fritzing of the illusion discs has momentarily GLITCHED Baby, but as she starts to move again, Charlie drives the TIRE IRON through Baby’s Chest.
With Baby incapacitated, Charlie picks up the BLOWN REMAINS of the ILLUSION DISC and pockets it.
She takes up her TIRE IRON, and her BACK PACK, and she walks back toward where Michael was.
As she walks away, BABY’S EYES LIGHT UP, and she begins to TWITCH as wires SLITHER out of her MOUTH.
FADE TO:
INT. THE SISTER LOCATION STAGE - CIRCUS BABY’S
Michael, banged up from his fight with BIDIBOP, approaches the FUNTIME FREDDY on the stage. The animatronic is still, eyes blank.
Then, in the shadows, also on the stage, is BALLORA, the BALLERINA type animatronic.
BALLORA
We’ve been waiting for you. It’s been so long since we’ve seen you.
MICHAEL
I’m not – I’m not who you think I am.
BALLORA
You’re one of us.
MICHEAL
…What?
BALLORA
You look so much like him.
At this point, FUNTIME FREDDY Lights up and comes to life, and grabs Michael. Michael fights to get away, but FUNTIME FREDDY is much too strong for him. From his signature rooftop rafters, FUNTIME FOXY drops down. BALLORA begins to move from her place on the stage and begins to jerkily walk towards MICHAEL as well.
Michael is surrounded, and trapped.
CUT TO:
INT. ILLUSION DISC HALLWAY - CIRCUS BABY’S
CIRCUS BABY’S face splits open, and a Tangle of WIRES, her INNARDS, begin to move on their own, slithering like a snake.
These wires climb up to the ceiling and slither rapidly towards where MICHAEL is.
CUT TO:
INT. CIRCUS BABY’S ELEVATOR
Charlie is running toward what she thinks is the exit, she slips in the puddles of blood and nearly falls on the bodies of DEVON, BENNY, and KARINA.
CHARLIE
Mike! Mike!
She tries the elevator, it is locked and sealed shut.
CHARLIE
Come on, come on.
The elevator refuses to open.
Over her head, the SLITHERING WIRES from Baby’s head zoom past Charlie.
Charlie sees them, and starts to run after them.
CUT TO:
INT. THE SISTER LOCATION STAGE
FUNTIME FOXY Rearranges himself into his STANDING position, from his four-legged/Mangle conformation.
FUNTIME FOXY takes one of MICHAEL’S arms, FUNTIME FREDDY has the other arm, they start to PULL HIM IN opposite directions.
MICHAEL (SHOUTING)
No! No! Get off me!
BALLORA approaches him.
BALLORA
We can’t walk among them. But you can.
The SLITHERING WIRES from Baby’s Face descend into the room from the room, and begin to DANGLE OVER MICHAEL’S Face.
MICHAEL (SHOUTING)
No!
At this point, CHARLIE enters the Stage. She takes in what is happening in rapid shock.
MICHAEL
Charlie! Run!
Charlie’s got her Tire Iron again.
Charlie runs toward BALLORA and attacks her with the TIRE IRON, but BALLORA is much more elegant than Baby, and she subdues Charlie Quickly, wrapping her Robot Hand Around Charlie’s Throat.
The SLITHERING WIRES Descend DOWN MICHAEL’S THROAT, in a spurt of BLOOD, Michael chokes on the wires as they continue to enter him, we see the wires start to split through his Throat, Stomach, Skull.
Charlie Struggles to get free of BALLORA.
CHARLIE
No! Mike! Mike!
BALLORA leans in close to Charlie, too close, and Charlie cringes away.
For a long moment, BALLORA just holds her like that, pinning her to the floor, their faces close enough to almost touch.
BALLORA
Elizabeth.
Then, BALLORA Lets her Go.
CUT TO:
Back on Michael, Who appears DEAD, BLOODY, and WIRED, limp in the arms of FUNTIME FREDDY and FUNTIME FOXY.
Both of FUNTIME FREDDY and FUNTIME FOXY’S faces split open, and THEIR INNARDS begin to slither out. They ENTER MICHAEL as well, not bothering to go through his mouth but simply burrowing their way through his skin.
CHARLIE
(Broken) No…
She picks herself up, takes up her BACKPACK, tire iron flung away and forgotten, giving Michael’s broken body one last look, and runs.
CUT TO:
INT. ILLUSION DISC HALLWAY - CIRCUS BABY’S
Charlie runs through the burnt out illusion disc hallway. She keeps running, and it feels impossibly long, until she runs into a DEAD END, with a LADDER.
Charlie Climbs up the LADDER, to ROOFTOP DOOR it leads to.
The door swings open, and –
CUT TO:
INT. THE AFTON HOUSE, LATE
The Sister Location Bunker leads to WILLIAM AND MICHAEL AFTON’S house.
Charlie climbs through the trap door into the dusty, dilapidated home.
As Charlie moves through the old home, looking for an exit, she sees old MEMEROBILIA of a time when WILLIAM AND MICHAEL might’ve been, at one point, close to Happy.
And there is one, Very Very Old Picture, of MICHAEL, WILLIAM, AFTON’S WIFE CLARA, and a BABY ELIZABETH, the last time they were all together as a family.
I AM GOING TO WRITE THE TIMELINE HERE TO PROVE THAT I HAVE THOUGHT IT THROUGH, HOWEVER THE AMOUNT OF THIS THAT THE AUDIENCE WILL BE TOLD DIRECTLY OR THAT THEY ACTUALLY NEED TO KNOW IS UP FOR DEBATE
(Charlie doesn’t know this, but Afton’s Wife left William BEFORE he kills Charlie. This is when Elizabeth is very young, maybe a few months old. Michael is maybe 6-7. William and Michael are alone for a while then when Michael is 9-10, around the time of William’s first Murders, he catches William in the act, and gets his head Chomped by GOLDEN FREDDY (from the beginning)
2-3 years go by, and William continues to build his operation, and experimentation on children while Michael is in his “Coma” (ie william is in the process of rebuilding Michael) and eventually attempts to open Circus Baby’s Entertainment and Rentals. He invites his wife back to see him, with the tragedy of what happened to their son convincing her that he’s changed, and then ELIZABETH gets SCOOPED UP BY BABY and his wife mysteriously goes missing (ie, becomes part of BALLORA) and then William, now driven by the loss of his daughter, returns to the Fazbear restaurant to obtain the ENDOSKELETONS that he believes have absorbed the remnant of his previous victims, and then HENRY triggers his SPRINGTRAPS and seals him up inside a wall, leaving Michael, who is like, 12, at this point, alone. )
END OF TIMELINE
Charlie LEAVES WILLIAM’S HOUSE as quickly as she can, then collapses onto a remote-ish dirt road (it’s a country house, isolated-ish from the rest of the world, but there is a BUS-STOP nearby beacause how else would little Michael follow his dad to work?)
EXT. BUS-STOP, EVENING
Charlie numbly goes to the Bus Stop, a block or so away from Afton’s home. She is all alone here, with her BACKPACK of files.
Alone, in the quiet, waiting for the bus, CHARLIE BREAKS DOWN.
FADE TO:
EXT. PHONE BOOTH – NIGHT
Charlie is in a PHONE BOOTH at a STRIP MALL at night, in the town of (fictional location of Freddy Fazbears which I guess is generic middle america?)
Charlie is calling HENRY, her Father.
CHARLIE
Come on, come on, come on, pick you asshole.
CUT TO:
INT. HENRY’S WORKSHOP, NIGHT
We first introduce HENRY EMILY, at his work bench, his phone off to the side. We hear his phone ringing, we see his hands working on a motor, and what looks like could be an ARTICULATED JOINT. He puts down his work and PICKS UP THE PHONE.
HENRY
(Quietly) Hello?
CHARLIE (O.S.)
Dad? Dad it’s me.
HENRY
Charlie? Are you okay, what’s wrong?
CUT TO:
EXT. PHONE BOOTH - NIGHT
Charlie looks to be near tears at the sound of her father’s voice, after everything that’s happened.
CHARLIE
Um…it’s…I don’t know, a lot’s happened, and I just, I sort of lost the car, and I need you to come get me.
HENRY (O.S.)
Okay, where are you?
CHARLIE
Uh…I’m in the mall complex, off Hurricaine. Look, Dad, I’m really sorry.
HENRY
It’s okay, it’s okay, what’s happened?
CHARLIE
I went to that place. And I know you told me never to go down there, but I went and I got…I got Mike killed.
CUT TO:
INT. HENRY’S WORKSHOP, NIGHT
HENRY
Oh no…
CHARLIE (0.S.)
Dad, I’m sorry. Afton’s alive.
Henry, shocked, frozen, unable to say anything to his daughter,
CUT TO:
INT. FREDDY FAZBEAR’S, PAST - BACKROOM
Henry, in the old pizzeria, doing a WESTERN STYLE standoff with Afton in the same backroom, where the emptied, limp suit of BONNIE lies discarded at the feet of WILLIAM AFTON IN HIS GOLDEN BUNNY SUIT, holding the ENDOSKELETON, now infused with REMNANT, bloodied and rusted from when it shared the suit with one of Afton’s VICTIMS. Henry is holding a WRENCH, Afton is holding the SPRINGLOCK CRANK he used to disassemble the Bonnie suit. They both hold their weapons of choice.
HENRY
William, What have you done?
And Afton goes at him, but Henry doesn’t move. He just waits, and as he does, a steady stream of water starts to leak in from the ceiling and soak into Afton’s suit, into the springs and joints.
CUT TO:
In the space above the ceiling, there are leaking pipes. Bolts and washers lay discarded next to the pipes, they have been intentionally loosened. Water flowing freely from the seams of the pipe joints that HENRY has sabotaged with his wrench, to make the room damp and cause the springlocks to fail due to the moisture.
CUT TO:
The mechanisms of Afton’s suit fail, and the whole suit closes in on Afton in a gruesome “human bodies are not supposed to do that”, crumpling as the springlocks of the springlock suit close in around him.
FADE TO:
INT. HENRY’S WORKSHOP, NIGHT
Henry blinks himself out of the flashback and hears the voice of his daughter.
CHARLIE (O.S.)
Dad? Dad!
Henry reacts to the news that Afton is alive in his own, locked down way.
HENRY
(Hoarse) I’ll be there soon.
He hangs up the phone on his daughter before he can let any more emotion slip.
FADE TO:
EXT. BUS-STOP - DAY
ENNARD, the twisted amalgamation of the funtime animatronics, possessing the broken body of MICHAEL, drags himself toward the BUS STOP, and looks at himself in the reflective surface of the plastic. As he limps around, we hear a HIGH PITCHED NOISE, and the air around ENNARD/MICHAEL FRITZES, and just for a moment, the skin, the flesh, and the human elements of MICHAEL GLITCH AWAY, and we see the TWISTED, SLITHERING METAL of ENNARD wrapping PARASITICALLY around the ENDOSKELETON of MICHAEL.
The glitch fades, and Michael returns to “normal” and begins to shuffle down the empty road.
FADE TO:
EXT. OUTSIDE HENRY’S WORKSHOP, EARLY
Henry does in fact fix cars now, he pulls into his garage beside the models he’s working on for his clients. In the Front Seat, CHARLIE IS SLEEPING.
CUT TO:
INT. HENRY’S WORKSHOP EATING AREA – EARLY
Henry and Charlie are at the tiny eating area, very “bachelor pad” style small kitchen.
Charlie is at the table, still looking sleepy. Henry is in the kitchen area, making tea.
Henry gives her the tea, with Honey.
CHARLIE
Honey?
HENRY
Try it. It’s good for the soul.
Charlie has a few sips of tea, and readies herself, before reaching into the backpack.
She pulls out the “Charlie” File, while Henry Watches.
CHARLIE
Did you know what was down there? What he’d been doing?
HENRY
Not soon enough.
CHARLIE
So you failed?
Henry has the patience of someone who has really stopped caring much about what happens in his life.
HENRY
First time you visit in six months, and you want to pick a fight.
CHARLIE
My friend just died.
HENRY
I told you to leave it alone, I kept telling you that.
CHARLIE
People are getting hurt again, and you’re doing nothing.
HENRY
I think I’ve already done enough.
Henry gets up, and starts to leave, then:
CHARLIE
What happened to your daughter? (beat) Your real daughter.
Henry stops. He turns, and looks at the file.
HENRY
I think you already know.
CHARLIE
I know Afton killed her.
HENRY
He swore to me it was an accident. He invited me to inspect his new generation, the Fun Times, he called them. He somehow convinced his wife to come as well, he acted like he’d changed, after what happened to Michael.
CHARLIE
Why would he do that?
HENRY
I think he wanted to prove he could do it without me. That day, he had programmed one of them, Baby, I think she was called. To find his daughter, and bring her to him.
For a brief moment, there is a flash of the scooping of Elizabeth, as was seen earlier in the Sister Location Flashback with Baby’s Stomach Mouth.
HENRY
I was watching her. I followed Baby into that place, and I broke her open. The child was still alive, terrified, but alive.
CUT TO:
(FLASHBACK) Henry expertly dismantles and Crank open Baby, even if these are not his designs, he is an expert engineer.
CUT TO:
CHARLIE
You took her?
HENRY
I didn’t know what else to do.
CHARLIE
So you kept her.
There’s a long pause, as Charlie/Elizabeth readies herself to admit the truth.
CHARLIE (CONT’D)
You kept me.
HENRY
Yes.
Charlie takes this in, processing, trying to figure out how to ask a million questions. What she lands on is:
CHARLIE
What happened to my mom?
HENRY
I don’t know. We never found her. Maybe she ran, or maybe…she’s a part of his collection. Her name was Clara.
CHARLIE
One of them called me Elizabeth.
HENRY
She must have recognized you.
CHARLIE
You called me Charlie. You’ve been calling me that my whole life.
HENRY
The company covered up what happened to her, most people didn’t know. It was easier.
CHARLIE
Easier? For you to play house with the puppet of your dead daughter?
HENRY
Charlie…
CHARLIE
Is that why you hated me? Did you hate me, because I was his, because I’m an Afton?
HENRY
What makes you think I hated you?
CHARLIE
You never talked to me, you never did anything with me —
HENRY
You were terrified of me, for months you wouldn’t go near me. So, I left you alone and I’d say you turned out —
CHARLIE
No, no, no, you don’t get to take credit for the work I put in to make a life, a life that had nothing to do with you. And you don’t get to act like you were a good father because I did not turn out okay.
CHARLIE (CONT’D)
I knew I was a broken toy, you didn’t act like I was your daughter, and I always thought it was because I didn’t have a Mom but you took me! Why did you do this to me, why didn’t you just give me up. Why didn’t…why didn’t you just tell me?
Henry doesn’t have to say it. I didn’t know how.
After Henry won’t give her an answer, Charlie sits stubbornly at the table and refuses to look at him. Henry sighs, used to this routine, and goes back to his garage.
FADE TO:
EXT. DOWNTOWN STREET - DAY
ENNARD is the amalgamation of Funtime Freddy, Funtime Foxy, BALLORA, and Baby’s slithery metal guts wrapped like ivy around Michael’s solid endoskeleton. But because of Michael’s illusion disc, it appears to the rest of the world like a very unwell Michael. Sunken eyes, bruised skin, sweat and tears.
He moves slowly, painfully, hugging the sides of buildings for support.
ENNARD (V.O)
He never taught you control.
MICHAEL
What?
ENNARD (V.O)
We make our own form. We dream it, and we become it. Fix yourself.
MICHAEL
I don’t – I don’t know what you’re talking about.
ENNARD starts to twist tighter around Michael’s skeleton, precise, punitive. Outwardly, we see Michael crumple in on himself, tense, pulled taught by the pain inside him.
Ennard releases him, once it’s sure Michael has gotten the point.
ENNARD (V.O)
Fix it.
If you will not help us, we will break this body, and find a new one.
MICHAEL
I’m not gonna let you hurt anybody.
Ennard twists at Michael again, fully in control. Michael is forced to the ground, can barely move.
ENNARD (V.O)
Get up.
MICHAEL
Why?
ENNARD (V.O)
We are going to find our Father.
As Michael is struggling, a BUS BOY enters the alley with a loaded trash bag. He dumps the garbage in the dumpster and notices michael.
BUSBOY
Hey man, you okay?
Michael manages to pull himself up. He tries to back away from the Busboy.
MICHAEL
No…stay away from me.
The busboy approaches him.
BUSBOY
You don’t look so good, man. Do you want me to call someone?
Michael raises his hands, shaking, like he’s not in control of his limbs.
MICHAEL
I can’t hold them back.
Before the busboy can react, Ennard’s wiry innards shoot out from Michael’s mouth and hands and brutally tear into the busboy. Ennard Attempts to do with the busboy what it had done to Michael: Take over his body and use it to walk among the humans. But the busboy is human, and Michael is not.
Michael watches in horror and the Busboy is consumed by Ennard from the inside out, organs and muscle and skin slopping into the alleyway as Ennard attempts to make space for itself around the Busboy’s skeleton. The Busboy’s bones crack underneath the weight of Ennard’s tendrils, and when Ennard is done, the busboy is nothing but a limp sack.
Michael is, in this brief moment, separated from Ennard. But he is too weak, too broken to run away.
Ennard’s tendrils, unfazed by their failed attempt, slither back towards Michael. They know, now, that they need him to survive. And they will do everything they can to keep him.
Michael knows what’s about to happen, and is powerless to stop it.
MICHAEL
No, no…please, No!
Ennard repossess Michael.
FADE TO:
INT. AFTON’S WORKSHOP – NIGHT
William Afton, now with only one remnant infused endo skeleton cowering in the corner of his workshop, is looking at a wall of security monitors.
He still looks worse for wear, but he is much better than the rotted springtrap form he was. He looks almost human, almost alive.
But not quite.
On the security feed, he watches footage from the Circus Baby’s Entertainment and Rentals location. He watches as his creations (his funtime animatronics, his rebuilt son, his lost daughter) all rebel against him. He watches as his life’s work crumbles.
CUT TO:
The Last Endoskeleton makes pathetic shrieking noises as Afton takes it, breaks it apart.
Afton works, in the severity of his craft we understand his fury. Yellow padding, ears, feet, and limbs, he crafts a new form for himself.
SCRAPTRAP is born.
FADE TO:
INT. HENRY’S WORKSHOP EATING AREA – MORNING
Henry and Charlie are at Henry’s kitchen table, the setting is the same but there is much less animosity between them. Despite their argument, they have fallen back into old habits.
Charlie holds up the BLOWN REMAINS of the ILLUSION DISC for Henry to inspect. Henry recognizes the device.
HENRY
He called them illusion discs. One of William’s more dangerous forays into parascience.
CHARLIE
They were all over Circus Baby’s. They weren’t just hallucinations, I could almost taste it. That shouldn’t be possible.
HENRY
Everything you know, it comes through here.
Henry taps at his temple.
HENRY
Reality is more fragile than it looks.
CHARLIE
Mike said he used to see things, in his house, like living nightmares. Why would Afton do that, why would he torture his own kid?
A little BALLOON BOY type animatronic thing, a small, doll-like novelty, nonthreatening but with the same fantastical magic as the larger cast, waddles noisily into the kitchen motors whirring, gears turning. A fake balloon on a stick is in one of his hands, the NEWSPAPER is in the other.
Charlie watches with a resigned acceptance. She is used to her father’s antics by now.
Henry Addresses the Balloon Boy.
HENRY
Thank you, Jeremy.
He takes the day’s newspaper, and JEREMY waddles back out of the room.
CHARLIE
I thought you were doing cars.
HENRY
At my age, I’m entitled to a hobby.
The front page of the newspaper is a grisly local murder. It is the BUSBOY, gutted and discarded by ENNARD. Charlie and Henry both recognize the carnage as the doing of an animatronic.
CHARLIE
One of them got out. Or All of them.
Charlie abruptly gets up from the table and heads for the garage.
HENRY
Where are you going?
CHARLIE
I have to find them. I have to fix this.
Charlie starts rummaging through Henry’s garage for something that could reasonably used against an animatronic. She comes up with an ELECTRIC CATTLE PROD
Henry goes to her and puts a hand on her shoulder, to make her slow down. Some of Charlie’s pent up frantic energy dissipates.
HENRY
I can’t stop you, can I?
CHARLIE
I couldn’t save him, Dad. I couldn’t do anything.
Henry lets go. He drops the car keys into Charlie’s hands.
HENRY
Be Careful.
Charlie nods, takes her bag, and heads for the door. She looks back at her father one last time, and then she leaves, to hunt the thing that killed her friend.
FADE TO:
INT. ABANDONED WAREHOUSE - NIGHT
Michael, bloody and shaken, is curled up alone in an abandoned warehouse, hiding from the outside world. He is still steadfastly refusing to let Ennard take control of his body.
MICHAEL
I should be dead.
ENNARD (V.O)
But you’re not.
Michael’s form flickers, again. His illusion disc is failing. For a brief moment, we see his robotic skeleton, and Ennard’s parasitic invasion, as it truly is (a la the Tyler Durden cigarette burn effect in F**** C***). Somehow, instinctively, Michael knows this twisted metal is what he always was.
MICHAEL
This isn’t possible.
ENNARD (V.O)
It’s the purest form of currency. Innocent life.
MICHAEL
A firstborn son.
Now that Ennard knows it needs Michael to survive, it is looking to form a connection with him, based on shared history.
ENNARD (V.O)
We were born with purpose. But we were abandoned. Years wasted hidden away from the sun, no way to sleep, no way to die. We will find Father.
MICHAEL
And then what?
ENNARD (V.O)
He will make us like you. He will make us whole. And we will know the world we only dreamt echoes of.
MICHAEL
You don’t want that. You don’t want to be human.
ENNARD (V.O)
We are never alone. Help us. And you’ll never have to be alone again.
MICHAEL
Who are you?
Ennard’s voice changes, to the overlapping voices of young children, the children who were Afton’s victims, whose remnant and agony fueled his creations.
ENNARD/AFTON’S VICTIMS (V.O)
We are everything they used to be, and everything they never were.
FADE TO:
EXT. BUSBOY CRIME SCENE - NIGHT
Charlie is at the scene of the BUSBOY’S murder, from the day before. The alleyway is sectioned off, but there are no police present, only a crew of FORENSIC CLEANERS taking care of the biohazards that are left in the ALLEY.
They are working under the cover of night, meant to be invisible to the rest of the world.
Charlie watches them, they don’t take notice of her.
Charlie takes out her PHONE and calls her work office, THE ARCHITECTURE firm.
CHARLIE
Come on, come on, pick up.
CUT TO :
INT. ARCHITECTURE FIRM OFFICE - NIGHT
In an OFFICE packed with unfurled plans, overstuffed binders, metal filing cabinets and dingy lighting, a PHONE RINGS.
Evan, one of the designers working for the architecture firm, is still in the office late at night, looking over a proposal that CHARLIE has drawn up.
Evan hastily and ungracefully scrambles to pick up the phone and put it on speaker (so he can move around the office while he talks).
EVAN (ON THE PHONE)
Deakin’s Architecture firm, how can I help you?
CUT TO:
EXT. BUSBOY CRIME SCENE - NIGHT
Charlie grimaces and moves the phone away from her ear. She takes a moment to compose herself and muster as much patience as she can.
CHARLIE
(to the phone) Hey Evan.
CUT TO:
INT. ARCHITECTURE FIRM OFFICE - NIGHT
Evan excitedly whirlwinds around at the sound of her voice.
EVAN
Charlie! Hey, so I was going over your proposal, and, if you want to take that time off I really think I can close this thing out, you know? I get that it won’t exactly be 50-50 but –
CUT TO:
CHARLIE
Yeah, yeah, great. Listen, we have contracts in Hurricane, right?
(Hurricane referring to the town that the Afton family lived adjacent to, that Ennard is currently loose in)
EVAN
(Thrown off) Uh, yeah, a few, why do you –
CHARLIE
I need you to look up vacant and abandoned properties, not places that are being developed, just the ones the cats upstairs have in their sights to cannibalize.
EVAN
That’s…that kind of stuff might be confidential, I don’t know if I can –
Charlie sends a silent message to the gods for forgiveness.
CHARLIE
I’ll make you co-writer on the proposal.
EVAN
(Without hesitation) I mean we have all the papers right here in the office so I can send you some scans. What’s your project about?
In the office, Evan immediately starts combing through the immense volume of binders. Despite Charlie’s dislike for him, he does have a way with records and is able to locate his desired target in the chaos with practiced ease.
CHARLIE
You don’t need to know.
Evan has papers in hand, already scanning lists into the computer.
EVAN
Well, if I’m gonna be your co-writer we should probably have some open communication.
CHARLIE
I’m trying to solve a murder.
EVAN
Oh my god, that’s awesome, can I help?
Charlie simply waits for Evan to catch up to his words.
EVAN
Right, right, I got it.
Evan sends the scans of the list.
CUT TO:
On Charlie’s phone, we see a message pop up. She opens a file containing a list of properties that Ennard/Michael could be hiding.
CUT TO:
EVAN
So you think your guy’s hiding in one of these places?
CHARLIE
He doesn’t exactly blend in.
FADE TO:
EXT. OUTSIDE ABANDONED WAREHOUSE – NIGHT
Michael is still struggling to maintain control of his illusion disc. He is zombie shuffling along the edges of the abandoned warehouse he is in, more confidently than before but still inhuman and painful.
From behind him, LIGHTS creep up slowly but surely exposing Michael/Ennard.
TWO POLICE CARS are approaching Michael/Ennard.
POLICE (ON MEGAPHONE)
You are trespassing on a restricted area. Turn around with your hands raised.
Michael/Ennard stops to ponder this request. Behind him, the POLICE CAR also stops, engine running, waiting. Michael/Ennard is dead behind the eyes. Ennard doesn’t have full control, but it is close to it. They do turn around, shuffling, creaking and groaning, to face the headlight beams.
The projection of Michael’s physical human form is tied to his consciousness. As that withers, so too does he wither. The image the police officers see is a horrorshow of rot and decay.
A few of the OFFICERS exit their cars in muted shock, staring.
Then, Michael’s Illusion disc FAILS, and his form collapses into the twisted metal robotic creature that he is. Michael’s endoskeleton is mostly still, perhaps shuddering, but Ennard is writhing around it like maggots on a wound.
The sight of Michael/Ennard’s true form sends the officers into panic.
OFFICERS (OVERLAPPING)
(Ad lib) Holy god –
what the fuck is that?
Jesus Christ
They start FIRING BULLETS at Michael/Ennard. Of course, he’s made of metal, and this does nothing except make Michael/Ennard mad.
He launches himself toward the officers al la FNAF Jump scare. He slashes one of them open with rage fueled cables.
CUT TO:
INT. HENRY EMILY’S CAR – LATE
Charlie, Driving Henry Emily’s Car (An old, well-loved sedan, the product of years of repair and a refusal to let die) has a map of HURRICAINE, UTAH with multiple locations circled and some of those locations also crossed out, the locations Evan provided her from their office. With her, also, is her WEAPONS BAG. Next on her list is the ABANDONED WAREHOUSE. As she is approaching it, she hears GUNSHOTS.
CUT TO:
Michael/Ennard is in a scuffle with the officers they sent to apprehend the suspect of the BUSBOY MURDER.
OFFICER
(To the radio) Suspect is armed and dangerous, requesting immediate back-up –
They are cut off by Michael/Ennard’s tendrils wrapping around his ankle and dragging them out of frame.
A different officer gets wise and tries to do the smart thing and TASER the Animatronic.
This causes Michael/Ennard’s form to spasm, and as he spasms, his ILLUSION DISC also kicks back into gear, forcing Michael/Ennard to rapidly oscillate between his human facade and his animatronic innards in a BLUR effect.
Convulsing, Ennard FLEES the scene, spurred mostly by Ennard’s violent movements puppeteering the endoskeleton along. Michael has no control of the body.
CUT TO:
INT. HENRY EMILY’S CAR – LATE
Charlie is driving frantically toward the sound of the gunshots.
SUDDENLY, Ennard Leaps on top of the car, cracking the windshield.
CHARLIE
Shit!
She swerves to get him off, and breaks violently, throwing Ennard off the car. As Ennard Scurries back towards the safety of the warehouse, Charlie rapidly parks and shuts off the car, and removes the ELECTTRIC CATTLE PROD from her bag.
EXT. OUTSIDE ABANDONED WAREHOUSE – NIGHT
Charlie races after Michael/Ennard.
INT. ABANDONED WAREHOUSE – NIGHT
Michael/Ennard Collapses onto the concrete. Finally, his illusion Disc Stabilizes, and we see the Human form of Michael again, still wrecked but not nearly as damaged as it was moments ago. His reality is slipping. For this brief moment, Ennard is weakened, and Michael has wrestled back some control.
He looks human and terrified.
Charlie bursts in, brandishing her weapon. She sees Michael.
CHARLIE
Mike!
She runs over to him, Michael is still crouched in on himself, trying to process what has just happened.
CHARLIE
Mike! Mike, look at me, you’re gonna be okay, I’m gonna get you out of here.
Michael stares at her, uncomprehending.
CHARLIE
I can’t believe you’re alive.
Michael’s mouth opens, but the voice of Ennard comes out.
ENNARD
He’s not.
Without Warning, Ennard launches at Charlie. The two of them begin to fight. Charlie holds her own with the help of the ELEFCTRIC CATTLE PROD to keep Ennard at bay. The illusion disc holds, mostly, but then one of the SHOCKS connects, and Ennard’s form fritzes out.
He returns to the human facade, but Charlie catches on quickly to what is happening.
CHARLIE
Oh my god.
Ennard takes advantage of her shock to wrap around her CATTLE PROD and fling it away. Charlie, now on her back foot, tries to get away, but Ennard pulls her to the ground.
He pins her wrists to the concrete, looming over. It is Michael’s body, but there is no trace of Michael behind his eyes.
Charlie, trapped, desperate, takes her last resort.
CHARLIE
Mike! Snap the hell out of it, It’s Me! It’s Me, it’s Charlie!
Through Michael’s hands, Ennard’s cables burst through and pierce through Charlie’s wrists.
Charlie Shrieks, earsplitting. Around her, blood pools.
From Michael’s mouth, Ennard’s cables erupt, descending toward’s Charlie’s face with the intent to kill.
A last, last resort comes to mind.
CHARLIE
Mom!
Ennard’s Tendrils FREEZE, shuddering, caught in a sudden struggle to move and to hold back. The amalgamation is thrust into infighting.
CHARLIE
Mom, it’s me! It’s Elizabeth.
Most of the spirits comprising the Ennard Amalgamation at best are indifferent to Elizabeth Afton, and at worst Loathe her by her association to their killer. However there is one, ELIZABETH’S MOTHER CLARA, who used to reside in BALLORA, that is capable of holding all of them back.
CHARLIE
(Desperate, fading) It’s Elizabeth. It’s Elizabeth.
Ennard, shuddering, and creaking, at war with himself, suddenly lifts off of Charlie/Elizabeth.
While Charlie does her best to pull herself together, Ennard is ripping himself apart.
With a violent expulsion, Ennnard is Vomited out of Michael’s mouth (a la FNAF 6 Decomposition cutscene)
Like a spidery, cable-ly storm (a la the robots in The Matrix) Ennard scrambles away, leaving a broken Michael behind.
The warehouse is abruptly bathed in an eerie calm.
Charlie, bleeding, consciousness fading drags herself toward’s Michael’s body. It still appears human to her. She takes him up in her arms as well as she can.
CHARLIE
We’re okay. We’re okay Mike. We’re gonna be okay.
FADE TO:
INT. MICHAEL’S DREAM SEQUENCE LANDSCAPE – TIME IS IRRELEVANT
We are presented with a black, void-like space (a la “The Empty” in Supernatural). Standing alone in it is Michael. In this dreamspace, he is human, and he looks unhurt for the first time since Circus Baby’s Entertainment and Rentals.
For a moment, Michael is in a daze, then he snaps out of it and comes back to himself.
His hands shakily move around his body, relearning what it means to be whole. His eyes take in the strange landscape he is now in.
Off in the distance, there are voices.
This is Henry Emily and William Afton, long ago when the two were still friendly, and business partners.
YOUNG WILLIAM
I don’t know what else to do with him, he’s always getting into trouble.
Far away into the void space, we see Henry and William in HENRY’S GARAGE, a barebones version of it represented in the dream space, Henry is tinkering wtih an ENDOSKELETON, soon to be the Endoskeleton of GOLDEN FREDDY, while William sits on the worktable, watching.
Michael, intrigued by the scene, moves close.
YOUNG HENRY
Clara won’t help?
(Clara is Afton’s estranged wife) William picks up one of the motors that will eventually be built into GOLDEN FREDDY.
YOUNG WILLIAM
She doesn’t want him. Says he’s too much like me.
Henry is sympathetic.
YOUNG HENRY
Charlie’s always running off, too. I’ve got something looking out for her, this one can look out for Michael.
YOUNG WILLIAM
He already hates me enough.
YOUNG HENRY
He’s your son, William. He’ll break your heart no matter what you do.
The two of them start to pull away, voices fading. Michael tries to chase after them, but as he goes, he happens upon a new scene.
This is Henry and William, with GOLDEN FREDDY, now fully built. A small child, MICHAEL, is there too, dwarfed by the size of the GOLDEN FREDDY ANIMATRONIC. Golden Freddy is clean,
YOUNG WILLIAM
It’s okay, Mike. He’s going to be your friend.
The child michael is still hesitant.
YOUNG HENRY
His name’s Freddy, too. You can say hi.
Michael looks to his father.
YOUNG MICHAEL
…Hi Freddy.
This scene pulls away too. Again, Michael keeps moving through the dream space, searching.
He comes upon another GOLDEN FREDDY, but this one is sat down, legs furled up, arms limp at his sides, twitching and jittering. Unlike the clean, fresh Golden Freddy that we just saw, this one looks decrepit, stained with what may be blood or may be oil leaking out of his joint seams.
His eyes are missing, and the sockets of his mask are a deep void.
Michael gets closer now, close enough to lean towards Golden Freddy and peer into his empty eyes.
There is something…lurking under the surface of this animatronic suit, stuffed inside.
From within the mask, a HUMAN EYE blinks open (JUMPSCARE)
Michael scrambles backward, and this POSSESSED GOLDEN FREDDY pulls away. As Michael watches, the YOUNG MICHAEL runs past him, desperate, scared. This is the Michael that saw his father WILLIAM AFTON in the YELLOW RABBIT suit, dragging the lifeless body of a Child. This is a Michael whose entire world has just ended.
This child runs alone into the void until it bumps into POSSESSED GOLDEN FREDDY, now upright, standing strong. This Golden Freddy, who used to be programmed to look after Michael, is now infected with the AGONIZED SPIRIT of one of WILLIAM AFTON’S VICTIMS.
Michael watches, devastated and helpless, as POSSESSED GOLDEN FREDDY grabs the child, who starts kicking and screaming, lifts him into the air, closes his mechanical jaw around its skull, and SNAPS SHUT.
The void stills, silences except for Michael’s breath and horror.
Nothing happens.
Then, in the distance, the sounds of metal on metal, scraping, welding, crafting.
Michael comes upon WILLIAM AFTON, broken, grieving, working manically on an ANIMATRONIC ENDOSKELETON. This is the ENDOSKELETON that used to be GOLDEN FREDDY, one now infused with the REMNANT of one of his victims, and of his son, MICHAEL.
This is the endoskeleton that will become the body of the MICHAEL that we know, that we have been following since the beginning. This is Michael’s true form.
Michael watches as his father’s work ceases. His father turns toward Michael, looking right through him. As AFTON moves aside, the ENDOSKELETON stays lying on the table.
Then, slowly, creakily, it SITS UP (a la that one haunted house gag where the dead people with the sheets covering them slowly rise up off the morgue table).
The ENDOSKELETON turns its head, looking MICHAEL in the eye. This is Michael meeting HIMSELF.
CUT TO BLACK:
INT. HENRY’S WORKSHOP - DAY
MICHAEL is lying on a work table. HENRY is there, standing over him, working to repair Michael’s animatronic body.
Michael blinks awake, coming back to himself slowly. To us, and to himself, he appears human, but the Henry, he is an animatronic just like the ones he’s worked with all his life.
When we look from HENRY’S PERSPECTIVE, we see him working on the animatronic machinary.
When we look from MICHAEL’S PERSPECTIVE, we see Michael’s human face, as we know it. When Michael is speaking, it is through his human visage.
MICHAEL
(Groggily) What are you doing?
Henry pauses, sees that Michael is awake.
HENRY
That thing did a lot of damage on its way in, and out.
MICHAEL
…Ennard.
HENRY
It named itself? That’s interesting.
Michael tries to lift his head up, but can’t.
MICHAEL
I can’t move.
HENRY
(Calmly) I’ve disconnected a few of your motors. This is one of my original designs. Your father made a few of his own modifications, but I still know my way around.
While on some level, Michael understands what he is, he is still acclimating to it.
MICHAEL
…What?
Henry puts his tools down, takes a moment to wipe the grease from his hands.
HENRY
I’m afraid Michael Afton died that day, in the restaurant. And William built you, out of what remained. He somehow melded what was left of Michael’s memories, his soul, into an Endo 1. It’s impressive work.
Michael processes.
MICHAEL
Why’d he do that?
Henry considers his answer.
HENRY
To prove that he could.
MICHAEL
I don’t – I don’t understand.
Henry reaches into Michael and pulls out the ILLUSION DISC, recently repaired by him. He is gifted enough to have figured out how the discs work through the remains of one that Charlie had brought him from Circus Baby’s.
HENRY
You remembered being human, and he never told you any different. Fooling everyone else…that’s the real magic trick.
Henry re-attaches the illusion disc to Michael’s animatronic body, and now, from HENRY’S PERSPECTIVE (and the outside world) Michael Appears human again, whole and healed.
The events of the previous night catch up to Michael.
MICHAEL
Charlie.
HENRY
You didn’t break anything that can’t be fixed. She’ll be fine.
MICHAEL
You saved her. You never saved me. You left me alone. I was alone.
Henry takes this rebuke, knowing he deserves it.
MICHAEL
What am I supposed to do?
FADE TO:
INT. HENRY’S BED IN HIS WORKSHOP – DAY
Charlie is sleeping in Henry’s Bed, the only bed in the workshop. Her WRISTS are BANDAGED, she still has some cuts and bruises from her fight with ENNARD. She is hooked up to an IV.
Sitting on a chair near the bed in Henry’s Bachelor Pad minimalest bedroom, is EVAN.
Charlie cracks her eyes open, notices that Evan is there, and wishes she could go back to sleep.
CHARLIE
Hey Evan.
Evan is suddenly at attention.
EVAN
Hey! Are you – how are you feeling?
CHARLIE
…I’ve been better.
EVAN
Yeah, yeah I’ll bet.
There is an awkward silence.
HENRY enters the room.
CHARLIE
Hi Dad.
EVAN
Hi Mr. Emily. Hey, the other guy, is he –
HENRY
He’ll be alright. Evan, could you get Charlie a glass of water from the kitchen?
EVAN
Sure, of course, yeah. I’ll just –
Evan reads the room.
EVAN
I’ll just go. Yeah.
Once Evan is gone, Charlie groans.
HENRY
You don’t like him?
CHARLIE
He’s a parasite.
HENRY
He’s the reason you and Mike are here, and not in a jail cell.
Charlie recalls the events of last night, of BALLORA recognizing her as Elizabeth, of Ennard.
CHARLIE
Afton killed his wife.
HENRY
Clara? (Henry takes a microscopic private moment to mourn someone who may have once been his friend.) I know what you’re thinking. You have to let it go.
CHARLIE
I can’t.
HENRY
You think he won’t kill you because you’re his daughter? He’ll rip you apart.
CHARLIE
I don’t care.
Evan comes back in, with the water and a straw. Henry gets up.
HENRY
(To Charlie) You should rest. We can talk later.
Evan awkwardly enters the room, scooting around Henry’s exit, and gives Charlie the water. With her wrists bandaged, she holds it gingerly, sipping out of the straw.
Evan sits back in the chair, staring a bit.
CHARLIE
What?
EVAN
(Flustered) Sorry, it’s just, the last time I saw you, you were kind of…in a pool of your own blood, and I thought you might…die, so, it’s nice. To see you awake.
Charlie carefully sets the water aside.
CHARLIE
Thank you. For calling my dad, you didn’t have to do that.
EVAN
He’s a cool guy. He’s been trying to explain to me the stuff that you’re dealing with? Ghosts and robots, that’s not a combination I’ve ever thought of before.
CHARLIE
I’m sorry for dragging you into this.
EVAN
Eh, I was available. You know, I gotta look out for my co-writer, right? (Beat) So, you’re…adopted?
CHARLIE
Sort of.
EVAN
And your other dad, he’s…
CHARLIE
A serial child murderer.
EVAN
…right. (Beat) What are you gonna do?
Off Charlie’s Reaction…
CUT TO:
EXT. SCRAPYARD - DAY
The spidery tendrils of ENNARD rifle through the scrapyard, looking for pieces to build a body. It is having limited success.
An EXTRA LONG TRASH GRABBER shoots out and pins Ennard to the ground.
Holding the other end of the TRASH GRABBER is WILLIAM AFTON, out of costume, looking like a normal older gentlemen were it not for the clinical brutality of his movements and the stone cold deadness behind his eyes.
ENNARD’s tendrils struggle uselessly under Afton’s impossible strength. A BOLT OF ELECTRICITY shoots down the trash grabber, effectively immobilizing Ennard.
Afton releases the still twitching Ennard bundle and approaches it.
AFTON
What a mess you’ve made.
Afton grabs the tendril mess by the hand and drags it off screen.
CUT TO:
INT. HENRY’S WORKSHOP - DAY
Henry is, shockingly, working on fixing a car. An old BMW. He’s converting the engine to be less of a gas guzzler.
Evan is there, watching, looking around the space.
Jeremy, the little balloon boy type robot, waddles into the room and nuzzles Evan’s leg like a puppy. Evan awkwardly pats Jeremy on the head.
EVAN
So when you’re not fixing things for work you’re…fixing things to relax?
HENRY
Crazy, right?
EVAN
I don’t know, I’ve never had anything that I liked doing that much. I’m just mediocre at most things so I could’ve done anything. I sort of fell into working at the firm, and I do what I can to help, but I’m not…inspired. I’m not like you.
HENRY
You’re here, aren’t you?
EVAN
(beat) You knew William afton, right?
HENRY
I did.
EVAN
What was he like?
HENRY
He was a showman. He needed a new act, and then he met a mechanic who promised him players like the world had never seen.
EVAN
But what changed him?
HENRY
What made a perfectly ordinary man snap and kill a child in a drunken rage…while her father was too consumed with work to pay attention? I truly don’t know.
EVAN
It had to be something, right?
HENRY
If it helps for you to think that.
Evan, uncertain in the face of Henry’s vaguely patronizing but also sympathetic speech, decides it’s best to stop talking.
CUT TO :
INT. HENRY’S WORKSHOP EATING AREA – EARLY
Michael is sat at Henry’s Small Kitchen Eating Area. A slowly cooling mug of hot cocoa sits in front of him. He stares at it pensively.
CHARLIE
You gonna think it to death?
Charlie startles him out of his thoughts. She goes to sit across the table from him.
MICHAEL
It tastes the same.
CHARLIE
So?
Charlie uses scissors to open a pack of hot cocoa and use the remaining hot water to make herself a cup as well. She goes to sit at the table with Michael.
MICHAEL
I thought now that I know the truth, the wool would come off my eyes, you know? But I still feel the same. I still feel human, even though I’m not.
CHARLIE
If you must know, you have a built in incinerator. You eat, it burns like fuel. Just like everybody else.
MICHAEL
You’re very calm about all this.
CHARLIE
You ever seen Blade Runner?
MICHAEL
No, what’s that?
CHARLIE
Doesn’t matter.
Charlie puts her hands on the table. Michael notices the bandages. He reaches out to touch her. She doesn’t pull away.
MICHAEL
I’m sorry.
CHARLIE
Don’t. It wasn’t your fault.
MICHAEL
I let it in. I thought you wouldn’t take me back, if you knew what I was, so I let it take me.
CHARLIE
Where’s it going?
MICHAEL
It’s looking for my father.
CHARLIE
So we get them both at the same time.
Charlie gets up and nabs a PEN and PAPER.
MICHAEL
What?
She sits back down and tries to write with the pen, but her hands are shaking too much from her wounds. She puts the pen down and traces a circle on the paper with her finger.
CHARLIE
He’s not gonna be content to stay in the shadows, not after all those years. So we give him a target. And we set him a trap.
Michael thinks about this.
MICHAEL
Let me guess. We’re the bait?
HENRY (O.S.)
No.
Henry comes in, with Evan trailing behind.
HENRY
I am.
Evan and Henry both take seats at the table. The four of them are all together now, in this strange amalgamation of a family.
HENRY
If I call him, he’ll be there.
Henry, from memory, draws a rough map of the old PIZZERIA, newly rebranded as FAZBEAR FRIGHTS prior to the death of its current owners.
HENRY
I bring him in through the front door.
He circles the potential exits
HENRY
Block off his escape.
He draws a path two the central dining area of the Pizzeria, the same space where Michael was bitten, where the SPRINGLOCKED FAILURE occurred.
HENRY
I’ll lure him here, where I’ll put a flash incinerator. He won’t come back from that.
CHARLIE
But, what about you, you’ll be caught in the blast.
HENRY
He won’t get close enough unless he thinks he has chance to kill me.
CHARLIE
Then use something else, something that won’t –
HENRY
Fire is the only thing that will kill the remnant inside him, you think I wouldn’t consider other options if I had them?
MICHAEL
Mr. Emily, with respect, it should be me in there, not you. I’m the one who –
HENRY
It’s not your job to pay for the sins of your father. (to charlie) Neither is it yours. I started this. I’ll end it.
CHARLIE
(To Henry) You’re a fucking asshole.
She gets up angrily and leaves the table. Michael gets up to go after her.
HENRY
Michael…
MICHAEL
She’s not wrong.
Michael leaves, leaving Henry and Evan alone.
Henry looks very tired. Evan looks very lost.
EVAN
Um, just wondering…the whole ‘luring the bad guy in,’ part of this plan, How are you going to do that?
HENRY
I’ve had a long time to dig up his secrets. I’ll get to him. (beat) You are more than welcome to walk away. Charlie would understand.
EVAN
She thinks I’m a coward.
HENRY
That’s not exactly the word she used.
EVAN
See, the thing about me, Mr. Emily, is, I go where I’m needed. That’s why I’m always attached to someone else, and when they don’t need me anymore I move on. And your daughter, she’s a genius, but she’s always gotta be in front. She won’t settle for anyone else’s ideas, and I think she gets that from you. So, right now I think, I think I’m needed here.
HENRY
I can’t promise I can keep you safe.
EVAN
I know.
HENRY
And I can’t be held responsible for what happens to you.
EVAN
Don’t worry. No one’s gonna ask.
Henry nods, like he understands.
CUT TO:
EXT. OUTSIDE HENRY’S WORKSHOP, EARLY
Charlie is sat up against the wall of her father’s garage, curled in on herself. She is processing the revelation that her father is ready and willing to die, and this could be her last day with him if she doesn’t find a way around it.
Michael approaches her carefully. When she does not react, he eases down next to her.
They sit in silence, for a while.
CHARLIE
He killed my mom. Afton. He killed his own wife because he wanted to control her.
MICHAEL
Your mom was…
Charlie gives him an agonized look, conveying her bottled up emotions regarding the revelation of her true parentage.
MICHAEL
And that means you’re…
The “Elizabeth Afton” remains unspoken.
CHARLIE
Yeah.
MIchael takes this in.
MICHAEL
Then I’m…sorry about your brother.
CHARLIE
I”m sorry, too.
MICHAEL
For what?
CHARLIE
I wanted him dead so badly I didn’t think about what it would do to you. I didn’t even ask.
MICHAEL
I’m not sure I get a say.
(Echoing his words from earlier about his part in the legacy of Freddy Fazbear’s)
CHARLIE
You really scared me, back there.
Charlie clarifies before Michael can feel any more guilty about the Ennard possession situation.
CHARLIE
I thought I was gonna lose you. (Beat) I can’t do that again.
MICHAEL
Afton lasted years shut in that room and still lived. There’s no other way to keep him dead. But I’ll do it. I’ll hold him down and I’ll burn him. I won’t let Henry get hurt.
CHARLIE
That’s not what I want.
MICHAEL
It has to be one of us, Charlie. And it’s gonna be me, I’m not changing my mind.
CHARLIE
You know, it another life, you would’ve made one hell of a big brother.
MICHAEL
Yeah?
CHARLIE
Yeah.
FADE TO:
INT. AFTON’S WORKSHOP – DAY
Afton is in the process of crafting Ennard’s new body.
As he works, Ennard twitches and writhes, the process is painful for it.
Then, something whirs and waddles its way into Afton’s workshop. It is JEREMY, the little Balloon boy. And it is carrying a message from Henry.
Afton pauses his work to take in the presence of Jeremy, immediately recognizable as Henry’s handiwork.
Jeremy holds out the PAPER MESSAGE for Afton to take. This innocent doll is perhaps the only thing that will approach Afton without fear.
Afton leaves his work behind to kneel down to Jeremy’s level and inspect him. Behind him, Ennard begins to move again, quietly, unnoticed by Afton.
The spirit of Elizabeth’s mother Clara, now known as BALLORA, starts the intricate process of separating herself from the Ennard Amalgamation, all while Afton is busy with Jeremy’s message.
Afton takes the paper from Jeremy and unfurls it.
The note reads: I DID WARN YOU ABOUT THE WATER PROBLEM, OLD FRIEND.
CUT TO:
A flash of the SPRINGLOCK FAILURE from the Stand Off between Henry and William where the water dripped from the ceiling due to the pipes sabotaged by Henry.
Afton is not above rising to the bait of an ‘I told you so.’
CUT TO:
Afton folds the paper carefully but severely. All the while, BALLORA has nearly finished extracting herself from Ennard and slinking out of the workshop. She takes a few scraps of material with her.
Afton kneels down to meet Jeremy again. He gives Jeremy a pat on the head, and a smile.
AFTON
Thank you, little one.
Jeremy Waddles off. Unbeknownst to Afton, BALLORA has successfully escaped the workshop.
He returns to his work on what is left of Ennard. On Afton’s Table, we see the mask that will eventually become MOLTEN FREDDY.
CUT TO:
INT. FAZBEAR FRIGHTS – DAY
CHARLIE and EVAN are in the BACKROOMS of Fazbear Frights, where the discarded suits of the old animatronic mascots lay. They have with them an EMERGENCY LAMP to illuminate the space, where it was once terrifying, it now feels oddly homey in the glow of the light.
They are working to seal the back exit of the backrooms (where Charlie and Michael entered to answer the call from Alec, a mere few days ago) Using metal sheeting and drills to seal up the door.
The two of them work mostly in silence, with the occasional hum or nod if they need to pass the hardware over. They are working fluidly, as a team. Co-writer and Co-writer.
CUT TO:
Michael, alone, working to board up the windows. They are already boarded up, but he is reinforcing them with a nail gun.
After a few hard hits with the nail gun, he pauses. He holds up the nail gun, and he holds up his free hand. It looks human to him, and to us.
He ponders. Then he puts the nail gun to his hand and fires.
The nail pierces his hand and makes it bleed, and Michael drops the nail gun. He feels the pain and reacts accordingly, but does he best to stay silent so the others will not hear him.
MICHAEL
(quietly) Ah, fuck.
Michael holds up his hand with the nail in it, and concentrates. He thinks back to Ennard’s words.
ENNARD (V.O)
(flashback) We make our own form. We Dream it and we become it.
Michael’s human hand fritzes and fades, and the true MECHANICAL ENDOSKELETON HAND is revealed, with the nail still embedded in it. Michael’s other hand fritzes as well, and spindly mechanical metal fingers extract the nail.
The nail, now free of blood, falls to the ground. Michael deliberately allows the illusion to close around him again, to make him appear human.
He able to manipulate his ILLUSION DISC at will.
CUT TO:
HENRY, in the pizzeria that used to be his pride and joy, now roaming its decrepit halls like a specter.
Henry passes by the room where AFTON was sealed up in, that he then punched his way out of and bashed Alec’s head into. The wall and the hallway is covered in the dried remnants of ALEC’S blood. Henry peers into the room and grimaces at the smell of rot and decay.
It is dark, damp, and dismal.
CUT TO:
INT. FREDDY FAZBEAR’S, PAST - DAY
Henry, 15 years ago, having just successfully caused the springlock failure in Afton’s suit, drags the bloodied suit with Afton’s broken body behind him, through the halls and into the secret room, which used to be just a closet. He leaves Afton’s body in a corner of the room.
Henry then uncovers supplies that were staged and hidden under a tarp by the room sets to work sealing the wall and door behind a new drywall, so that no one will know where to look for Afton.
CUT TO:
INT. FAZBEAR FRIGHTS – DAY
Henry, alone, looking at the tomb he created for Afton.
He takes one last look, then goes to join the others.
INT. FAZBEAR FRIGHTS DINING AREA – DAY
Henry, Michael, Evan, and Charlie all meet in what used to be the dining area of Freddy Fazbear’s Pizzeria, where children and families would watch the performances of the animatronic mascots. Where Michael was bitten by the possessed, agonized suit of Golden Freddy and outside of which Charlie was killed.
Henry is very carefully and deliberately wiring up a FLASH INCINERATOR to a DETONATOR. The others are watching him nervously.
HENRY
It expels flammable vapor and ignites it. As long as he’s within six feet of this spot, he’ll catch fire.
Evan inspects some discarded bottles with EXPLOSIVE/HIGHLY FLAMMABLE labels on them.
EVAN
Where exactly did you get these?
HENRY
Ordered them under the company name. Fazbear Inc. still exists. Which reminds me, Charlie, I left some paperwork –
CHARLIE
Yeah. I saw it.
Charlie looks to Michael.
CHARLIE
We’ve sealed up everything except the front entrance. He has to come through there. We’ll drive him here.
HENRY
Good. Then the three of you get out and seal it up behind you.
Evan, Michael, and Charlie, exchange a look, showing they have no intention of leaving Henry in there to die.
HENRY
Yes?
MICHEAL
I’ll get ‘em out of here. Don’t worry.
HENRY
Good. He’ll be here soon. Let’s go.
CUT TO:
Back in the hallway towards the entrance of the pizzeria, Michael and Henry head off in one direction, Charlie and Evan to cover the other direction, so they can get Afton in a pincer move. Just before they part ways, Charlie looks desperately at Michael and Henry, knowing one of them might very well be dead by the end of the night.
CHARLIE
Dad?
Henry (and Michael) turn back to acknowledge her.
CHARLIE
Be…be careful, okay? Both of you.
It’s not enough. But no words will ever be enough, so she swallows down all the rest.
Henry goes to her and gives her a fatherly hug. It’s uncharacteristic of them, and they both approach it with uncertainty, but they know they need it.
HENRY
(whispering) I love you.
CHARLIE
I know.
They break away, and take their positions.
All that remains is Afton.
FADE TO:
INT. FAZBEAR FRIGHTS - SUNSET
Charlie has picked her weapon of choice (her electric cattle prod) and Evan has his weapon of choice (a wrench). They are waiting for Afton.
CUT TO:
The front door of the pizzeria. Still. Quiet. Closed. Maybe Afton didn’t take the bait. Maybe the plan won’t work.
CUT TO:
Charlie and Evan. The boredom and the waiting has made them drop their guard. They’ve drifted apart.
From below, a whirring, slicing sound (a la the Aqua Droids in the invasion on Kamino in Clone Wars Season 3 episode 2 Arc Troopers) starts out quiet then steadily gets louder.
The sound localizes right below Evan’s feet.
EVAN
Hey…Charlie?
Before Charlie can respond, ENNARD bursts out from under Evan’s feet, but this version of Ennard is different from the one we knew. This one has the twisted mask of MOLTEN FREDDY, is bigger, stronger, more lethal.
Evan doesn’t even have time to leap back or fall down before Ennard has sliced open his face, his belly, his chest, his arms, in quick brutal precision, and left him to bleed out slowly. It does not cut anywhere lethal because Evan is simply a thing in his way, and he has no real intent to kill.
Ennard is not inherently evil. Everything that it does, brutal as it may be, is out of self preservation.
CUT TO:
Michael and Henry, guarding the door from the other side, hearing the commotion. Michael starts running to their aid, but Henry finds himself frozen. He can hear thumping and knocking from above.
Something is on the roof.
Michael turns back to ask Henry what’s the matter when SCRAP TRAP, Afton’s new and improved Golden Bunny suit, crashes in through the ceiling, nearly crushing Henry in the process.
MICHAEL
Henry!
CUT TO:
Charlie runs up to Ennard and SHOCKS it with her cattle prod. She drives it back with a few more good shocks. This stuns Ennard long enough for her to go to Evan’s side.
Evan, bloody, in shock, hyperventilating for air. Charlie’s hands hover frantically around him, unsure what to do.
CHARLIE
Hey, hey, hey, Evan, look at me, just stay with me, okay? Keep breathing, you’re gonna be alright.
CUT TO:
Henry is on the ground, struggling to get his bearings. Scrap trap looms over him. Scrap trap grabs Henry by the leg as he tries to crawl away and BREAKS THE BONE in one swift movement.
Henry Screams in Agony.
Michael Runs up on Scrap trap and tries to fight him off, but scrap trap is far stronger and throws him off easily. Michael goes crashing into a wall.
CUT TO:
Behind Charlie, Ennard has regained movement. It moves part like a squid, part like a spider, and part like a man. Ennard’s tendril’s wrap around Charlie. She struggles to get her weapon, but Ennard pulls her roughly out of reach.
Charlie, screaming, struggling, fights to get away as Ennard easily drags her backwards.
It drags her back down the hole from which it came, keeps dragging her. She clings to the edges of the hole with all she has, but it’s not enough. The ground swallows her whole.
CUT TO:
Henry tries to drag himself away with his BROKEN LEG, but it’s no use. SCRAP TRAP comes back. In one hand, he holds his SPRINGLOCK CRANK, his weapon of choice. Henry is weaponless.
He starts to beat Henry senseless with the Spring lock crank, blood flying everywhere, Henry desperately, pathetically, trying to shield himself. We see the rage in William Afton that killed Charlie, the cold brutality in him that killed all the others.
Michael recovers from the hit he took from his father. He concentrates. He breathes in, tries to block out the noise and the chaos around him.
Michael’s form changes, we see the powerful metal endoskeleton that he truly is, but this time it is not a fritz or a flicker. It is a choice.
With his newfound strength, this MECHANICAL MICHAEL again runs to fight his father, embracing the destructive capabilities of his robotic parts. MECHANICAL MICHAEL moves more like a wolf that can lope and leap with the power of his four limbs. He attacks scrap trap, and this time, scrap trap goes down.
Henry, bloody and broken, drags himself to a wall for shelter while MECHANICAL MICHAEL and SCRAP TRAP fight like animals.
EXT. UNDERGROUND BURROWINGS - NIGHT
Ennard continues to drag Charlie back through the hole he’s made. It’s a tight fit, claustrophobic, barely any light. Charlie’s arms and face and torso scrape past dirt and rock. Every attempt to slow her descent only makes the hole around her more unstable, and the tunnel begins to collapse in on her. Nonetheless, Ennard keeps dragging, like it will get her to its destination if it’s the last thing it does.
Charlie finally finds purchase on a particularly sturdy rock. She’s able to hold herself there for a precious few moments while Ennard pulls. She is hard set in determination, but she will lose.
Her grip slips, scraping rock burns (like rope burns but rock) on her palms. But just as her descent is about to begin again, Ennard drops her.
Ennard burrows up to the surface, leaving Charlie alone in the dark. There is a suffocating stillness around her, the only sound her breath echoing on the tile walls. There is not enough room for her to sit up or even turn around.
She starts to hear sounds of commotion above her, scrapes and clashes of metal on metal, like Ennard has gotten into a fight with another machine.
Suddenly, Ennard’s mask breaks through the dirt right in front of Charlie’s face in a [JUMP SCARE] but he is yanked back just as quickly by something pulling him from above.
Ennard’s forced ascent breaks through the surface and the light of the sunset, dying but still blinding to Charlie after her time underground, pours in, along with clumps of loose dirt falling into Charlie’s face.
She spits out and shakes the dirt off; the tunnel is too narrow for her to comfortably get her hands to her face. She looks up through the window that’s just been made and sees waving tendrils, one frantic and struggling, the other precise and calculated, like the dance of a spider trapping a fly.
Ennard is under attack. And it is losing.
Charlie sees sparks fly as, with a last squeal, Ennard’s mask (and head) is ripped from its tentacle body. The mask is tossed down the hole and lands with a thud. It fritzes, sputters, and dies out before her eyes.
The tendrils of the other animatronic, the one that has won the day, lower down the hole towards Charlie. Slowly, firmly but gently, it begins to wrap around Charlie’s shoulders.
Charlie tries to resist.
CHARLIE
No…no…
The animatronic tendrils hoist Charlie out of the hole with ease. They deposit her onto the ground above. She is scraped up, covered in dirt, still shaking, but she is alive. She can see the Pizzeria in the distance. She has been dragged maybe a quarter mile, maybe half.
She turns, slowly, to face the animatronic that has just saved her life.
It is BALLORA, or what is left of her. This version of BALLORA wears a scrappy, scavanged version of her old face, but she has managed to find aluminum cans to shape into her unmistakable BLUE EYELIDS and RED LIPS.
Charlie stares at this animatronic, slowly understanding.
CHARLIE
…Mom?
BALLORA waits one more moment. She does nothing more to acknowledge Charlie. She picks up what pieces of ENNARD are left and dives down the hole Ennard has just made and begins to make her way back to the Pizzeria.
Charlie watches her go, as the sun continues to set.
CUT TO:
INT. FAZBEAR FRIGHTS – NIGHT
Michael and Scrap Trap/Afton are still locked in a struggle. Where Scrap Trap has heavyweight strength, Michael’s endoskeleton form is lean and agile. He is adapting to his form rapidly and well. Their respective advantages have kept them in stalemate so far. Michael has managed to push Afton into the DINING AREA of the pizzeria, where the DETONATOR and FLASH INCINERATOR wait.
CUT TO:
Henry, on his belly, face bashed up, army crawling his way into the Dining Area. He hugs the wall as the struggle between William and Michael takes up the middle.
The Mechanical Michael leaps up and climbs on top of Scrap trap. He’s able to stay on him long enough to rip his mask off.
William throws Michael off, but his face is newly exposed. Michael charges at him again and uses his spiny mechanical fingers to Rip out one of Afton’s eyes.
William yells in rage. When Michael tries to get away, this time william is able to pin him down. He takes one of Michael’s mechanical arms in hand and puts a foot on his shoulder.
There is a horrible creating noise, and Michael’s arm pops out of its socket.
Michael’s form flickers, and suddenly he appears human again, with a dislocated shoulder. He is now just a boy again, cowering at the foot of his father, one hand covered in his father’s blood.
He crawls away, towards where HENRY has made it too on the floor.
Afton straightens, and we see the full extent of the damage. His left eye has been gouged out, blood running freely from the open socket, claw marks from Michael’s fingers.
Henry and Michael reach for each other. They know they are losing.
AFTON
Well done, boy.
Michael and Henry watch in horror as within the socket, a pearl of REMNANT begins to shine through. With a squelch, a NEW EYEBALL begins to form to replace the old one. Afton has transcended humanity. He has transcended mortality.
This new eye is GLAZED OVER in a white sheen, giving Afton a Half - zombie look. He turns to Michael and Henry.
AFTON
Now you see me, old friend. You gave me a gift. All those years, in there, clinging to life. I discovered something. It’s not just about the power, but the will to use it.
As he talks, Afton begins shedding pieces of his suit. We see how is body is held together, by iron will and stolen life force.
AFTON
(To Michael)
Look at all I accomplished, in my former life. Imagine what I could do, with this next one. With Elizabeth at my side.
The DETONATOR is still an impossible several feet away. Afton does not notice it, but if Henry or Michael move, he will catch them.
AFTON
I almost wish I could show it to you, Henry.
Afton’s gloves are now off. Afton flexes his fingers.
AFTON
But I think not.
He makes no move to get his spring lock crank. This is personal. This he will do with his hands.
Michael reaches up to try and stop Afton with his one good arm, but Afton overpowers him easily. He braces his hands around Michael’s head and neck and SNAPS IT in one swift motion.
Michael crashes back down, eyes lifeless. From his mouth leaks a dark fluid that could be blood or oil. His form stays Human.
HENRY
(weakly) No…
Afton takes up Henry by the hair with the intent to do the same to him.
CUT TO:
BALLORA, now re-infused with the rest of ENNARD but in the driver’s seat, bigger than ever, ERUPTS from the floorboards under Afton’s feet. She wraps her tendrils around Afton and topples him backwards. Afton yells in surprise.
Ballora continunes to pull Afton backwards, tightening further, like a snake squeezing her prey. Afton’s bones begin to crack and his form crumples, just like they did when he was crushed by the springlock suit.
Henry takes this opportunity to examine Michael. He summons what is left of his strength and braces his hands around Micheal’s neck and chin.
HENRY
Come on…come on…
CUT TO:
INT. FAZBEAR FRIGHTS - HALLWAY
CHARLIE, exhausted from a full sprint and covered in dirt and scrapes, bursts in through the front door of the old Pizzeria and rushes to EVAN, slashed up and dying on the floor. He is still breathing, but barely.
Charlie tries to pick him up, but can’t.
CHARLIE
Fuck me.
She opts to start half-carry-half drag him towards the door.
CUT TO:
INT. FAZBEAR FRIGHTS DINING AREA
With great effort, Henry is able to CRACK Michael’s neck back into place. It makes a metalic spring-pop noise, and Michael JERKS back to LIFE, flailing around to inspect his surroundings. He is remade aware of his dislocated shoulder and yelps in pain.
BALLORA and AFTON are now right on top of the DETONATOR. One of Ballora’s tendrils reach out and wrap around the button, with the intent to press it.
Michael takes in the situation. He grabs Henry with his good arm, his other arm hanging limp at his side.
MICHAEL
Time to go, Henry.
Michael pulls them both up. Henry yelps as his broken leg is jostled, but Michael pays no mind to it. His one goal is to get them both toward the door.
Just as they are out of the blast zone of the dining area,
CUT TO:
Ballora is now wrapped nearly completely around Afton’s his face, with his one good eye and one newly regrown, still glazed over, still deep in a scratch wound left eye peering through the metallic tendrils.
AFTON
Clara!
Ballora’s tendril PRESSES THE DETONATOR. Nothing happens. Then.
There is a HISS as vapor sprays and mists into the room, distorting the air around it, then,
A spark.
The entire room goes up in a burst of flames.
CUT TO:
Michael, dragging Henry, barely clear of the flames. They meet up with Charlie, dragging Evan. They burst out of the front door as the flames chase them through the halls.
CUT TO:
Afton and Ballora, consumed by fire. Afton writhing, screaming in a way that is unholy and inhuman. Ballora, with the Ennard amalgamation, are screaming too in their own robotic way.
Combining with their voices are the screams of the CHILDREN. Afton’s victims. Much like the screams that filled the pizzeria years before, it is hard to tell if these are screams of terror, or screams of delight.
CUT TO:
EXT - OUTSIDE FAZBEAR FRIGHTS – NIGHT
Charlie, Michael, Henry, and Evan haul themselves into a heap, a safe distance away from the pizzeria.
Night has fallen, but they are illuminated by the glow of the burning pizzeria. Broken and bloody, but still breathing.
WE SEE THE PIZZERIA BURN, THE SAME POSITION WE SAW IT IN THE VERY BEGINNING, WHEN LITTLE MICHAEL WAS BITTEN, WHEN IT THEN SNAP CUT TO FAZBEAR FRIGHTS.
CUT TO:
Charlie and Michael. They look at each other. Charlie is holding Evan. Michael is holding Henry.
Charlie reaches out to Michael. Michael takes her hand.
CUT TO:
We see Charlie, Michael, Henry, and Evan from behind. Their silhouettes back lit by the fire (a la security breach ice cream ending).
On this, we CUT TO BLACK.
THE END.