You are Detective Sullivan of the Hurricane, Utah Police Department, and you have been assigned to a case where five children were lured into a backroom at Freddy Fazbear's Pizza 10 years ago. The children were killed by an unknown assailant in cold blood, but their bodies never found. You have no leads on who did this or why, but you do know that it was done with extreme prejudice against the victims.

The victims were:

* A little girl named Sarah Jones who was just two years old when she died. She had her entire life ahead of her. Her mother thought she was going to be a doctor one day, but that dream has long since passed.

* A young boy named Josh Mathews who was only three years old when he died. He had dreams of being a rock star like his older brother, but those dreams are now gone as well.

* A boy named Kyle Broflovski who was just five years old when he died. He wanted to grow up to be a game designer when he grew up, and now he'll never have that chance.

* A girl named Violet Smith who was only seven years old when she died. She loved animals and hoped to one day become a professional photographer so she could take pictures of animals all day long.

* And a boy named Eric Kripke who was only eight years old when he died. He wanted to be a professional race car driver when he grew up, but that dream never became a reality.

All of these children's lives were ended far too soon by an unknown assassin. It's your job to find out who killed these children and give these children the justice they deserve.

> You read over case file.
Year: 1993
Location: Hurricane, Utah
Victims: 5 (6 including witness)
The murders took place on August 14, 1993. This was the first time anyone in Hurricane had experienced a multiple murder.
This incident took place at Freddy Fazbear's Pizza, which is located in the middle of downtown. It is a small family pizza restaurant that is open late to accommodate for the night shift workers in the area. The restaurant itself only has four rooms: the front door, the waiting area, the game room, and the kitchen. The three mascots of Freddy, Bonnie, and Chica are all featured in large animatronics on the main show stage. Each character is capable of moving around in front of the stage to interact with the children.
Two employees were closing up the restaurant for the night. The man working as the night-watchman, whose name is given as Henry, and a high school-aged girl who was performing the duties of a janitor. The girl's name is unknown. As the two employees were waiting for the restaurant to become empty of people, a man wearing a red and green wool Christmas-type hat came walking in. He was described as appearing to be a "scruffy" man. He appeared to be in his early thirties and was visibly unshaven. In the surveillance camera footage, he is seen leaning against the front counter. He appears to say something to the two employees, but neither of them responded to him. Henry appeared visibly uncomfortable and looked straight ahead, at the door. The girl stared at the man for a moment, but then also looked ahead. The man, realizing that he was not being acknowledged, cursed and left. It is believed that this man may have been the killer.
The two employees continued to wait for all customers to leave. At 12:30 AM, the restaurant was empty of any people except for the two employees.

> You close case file.
The police force is attempting to apprehend the killer before he strikes again. The case has been difficult for the Sheriff's Department as there have been no leads.

> You talk with partner.
You call your partner to see what he thinks about the situation.
"Hey Steve, you got a second?" you ask over the phone.
"Sure thing David, what's up?" Steve replies.

> You say "Was reading over the case file earlier this morning— the Freddy Fazbear's case, some pretty odd shit I must say, a guy in a christmas hat?"
"Yeah, that's right. What about it?"
"I don't know, just seems a bit odd to me. Why would a guy in a christmas hat lure five children into a pizza place?

> You say "Seems a bit fuckin silly for a kiddie strangler to go ahead and kill five other children the same night, I doubt he has any relation to the murders."
"I agree David, I really do. It seems like the culprit would have an alibi or something that would take them off of the suspect list."

> You say "Yeah, the case is just pretty tough, i've heard about this for years but having the case is your hands is something different."


> You say "Yeah, it's just that having the case is our hands is a completely different story, one of the most notorious disappearances in our day and age."


> You say "Yeah, it's just that having the case is our hands is a completely different story, one of the most notorious disappearances in our day and age."
"Yeah it is. You know, I really wish that we would get some fucking leads on this case, at least then we could solve it and lock up whoever the culprit is.

> You say "Damn right, alright Steve, i'm gonna go ahead and try and get ourselves some leads, call me if you need anything alright?"
"Will do, see ya later David."
The conversation with Steve has left you pretty disheartened.

> You view contact list relating to the Freddys incident.
You look at your contact list to see who you can talk to who might be able to give you some info on the case. You see you have the number for William Afton, the man who owned the company who created the robots in the first place. You also have the number for his son, Michael, who was believed to be working with his father the night the children were killed.

> You continue reading contact list.
You also have the number of the original police officer on the case, Harry Peterson.

> You continue reading contact list.
You also have the number of a private eye who had been looking into the case recently, Chet Lunger.

> You continue reading contact list.
You also have the number of a journalist who has been covering the case, Patricia Cates.
The final number on your list belongs to an old woman who has lived in the town since it happened.

> You save contact list.
You save your contact list, ready to access it when needed.

> You attempt to call William Afton's phone number.
The number goes through to a voice mail message:
"You have reached the office of William Afton, leave a message." Beep.
You hang up.

> You attempt to call Michael Afton's phone number.
It rings a few times before a man answers, "Hello?"
"Uh, yes, is this Michael Afton?"
"Speaking.

> You say "Hi, i'm Detective David Sullivan, I work for the Hurricane Police Department, you may have been called in the past regarding this case, but I am trying to learn more about the five children that went missing on August 14th 1993, do you have any information you're willing to share?"
The man on the other end of the phone stays silent for a while, then sighs.
"Yeah, I'll share some information."

> You take notebook and pen out to write what Michael says.
You take out a small notebook and a pen to write what the man on the other end of the phone says.

> You say "What went on that night, in your perspective, you were supposedly working with your father, correct?"
"Yeah, I was working with my father that night, and I can tell you what happened."


> You say "Alright."
You press record on a nearby tape recorder and the man begins to speak.

> You say "What happened that night?"


> You say "What went on that night?"
"I don't think you're ready to know the horrors that took place that night, you won't be able to handle it. I still have nightmares about what happened."

> You say "I'm a detective, Michael, i need you to tell me everything you know."
"I understand, but I believe you still won't be able to handle the story. Just know we did everything we could to try to save those children and we're doing everything we can now to make sure nothing like this ever happens again."
"Just tell me what happened that night."
"I'll tell you the whole story."
"I need you to tell me every single detail that happened that night."
"This is going to be a long night."

> You say "I do not care how long it takes Michael, tell me everything."
"Alright."
Michael takes a deep breath and begins to speak.
"It was a normal night, my father and I were working the front desk together like we normally did, when a man came in with a child.

> You say "right,"
"There were only two staff members working that night, my father and I."
"What time did this man arrive at the pizzeria?"
"It was about 10:30pm, a little more than an hour before closing time."


> You say "Describe the man for me"
"He was about 6 feet tall and he had brown hair. That's all I really noticed about him, he wasn't memorable in any way."

> You say "Any peculiar clothing?"
"No, he was wearing a t-shirt and jeans. The shirt could have been anything though, I don't really remember seeing his clothing in particular."
"What was the child that he brought with him?"
"A little girl, she looked to be only about five years old."

> You say "What did she look like?"
"She had long brown hair and she was dressed up in a princess costume, she looked like she was playing at going to a party or something.

> You say "I assume there was a registered birthday party that night."
"Yes, there was a princess themed birthday party happening that night, I remember now. There were a few children at the party, they were all wearing costumes too."


> You say "What happened when the man arrived ?"
"The man came to the front desk and told my father that he had an appointment. He made the appointment under a fake name, I don't remember what it was though, I think it was something like Jacob Johnson."


> You say "An appointment?"
"Yes, he had made an appointment earlier in the week to rent a room for him and the girl. He wanted to make it for just him and his daughter but my father suggested that he should bring his wife as well, just so he could supervise the child better.

> You say "What did your father say?"
"He said he would rather bring the girl by herself, and that he would be able to supervise her just fine."


> You say "Your father would supervise her? "
"Yes, he was planning on bringing the girl some pizza and watching her while her father ran his errand. Apparently, he had to go pay the electric bill or something.

> You say "Do you know the girls name? "
"I believe it was Helena, I don't remember exactly though."

> You say "What happened after that?"
"My father brought the girl to the security room and watched her while her father was away. I believe he was only supposed to be gone for ten minutes at most, but he never came back."


> You say "So, this man supposedly named Jacob Johnson, drops a girl off at Freddys as he leaves to go pay bills, and never comes back?"
"Correct. Helena was upset at first, but after about half an hour she stopped crying and started watching the cameras. My father was going to tell her to go home when he got back, he wanted her out of the restaurant."


> You say "But did you eventually report the incident to authorities ?"


> You say "Are you telling the truth to me, Michael?"
"I swear to god I'm telling the truth.”

> You say "Be honest with me Michael. "
"I am being honest with you."

> You say "We have surveillance footage of that night, there was no reports of a man leaving a child behind, nor was there any footage of you and your father, tell me the truth."
"You have to believe me."

> You say "Tell me the truth Michael ."
"I AM telling the truth, why wont you believe me."
The stress of the situation is getting to him, he seems very upset and his hands are starting to shake. It's time to calm him down.

You decide to play on his sympathy.

> You say "Okay, calm down Michael, I know it's hard for you, It's alright, how old are you? "
"I'm 27."
"And how long has it been since all of this happened?"
"10 years."

> You say "I'm going to leave you off here, okay? I know it's hard for you. I'll give you a follow up call in the future. But for now I'll speak with your father for his side of the story."
"Thanks."

> You hang up the call and write down notes.
You've come to a decision, it's time to call the father of the boy and confront him about this. You find his number and give him a call. It rings a few times before he picks up.
"Hello?

> You say "Hi, is this William Afton speaking?"
"Speaking. Who am I speaking to?"
"My name is David Sullivan, I'm a private investigator and I'm working on the disappearance of Five children that happened at Freddy’s, 10 years ago.”
"I see, I was wondering when I'd get a call about this."
"So you know what this is about then?"
"The missing children? Yes, of course. I know everything that goes on in this town, especially when it concerns my son.

> You say "Right, now your son was not involved directly in the missing children, however I spoke with him a few moments ago and I need verification for if what he told me is true."
"Go on."


> You say "Does the name Jacob Johnson ring a bell?"
"No, I don't think I know him. Why, was he involved with the children as well?"


> You say "Your son claims he entered the premises on the night of June 26th with a little girl that he dropped off for you to look after, he also claims the man left and never came back that night. Can you verify if this is true or not?"
"I can't really say for sure. I think I remember him, but it was so long ago and my memory isn't the best anymore."
"So you are unable to verify that he entered the place on that specific date?"
"Correct.

> You say "And you are also unable to verify the child that was supposedly dropped off?"
"Correct."
"Okay, I'm going to need a DNA sample from you."
"A what?"
"A DNA sample, we need to figure out who this little girl was and you're the only person that can help us do that.

> You say "That is if she even exists."
"She exists."

> You say "How do you know that?"
"I know she exists, she's still in there, I can feel her."
"Okay then where shall I send a team to get a sample from you?"
"You won't need to, I'll just pop over to your office and give it to you personally.

> You say "That's not how it works sir, we need a team to come over for a proper analysis."
"Why do you insist on making this difficult, I'll be right there, we can do it right now if you want."

> You say "Sir, this is a police station and I'm in the middle of an investigation. We can't just have you waltz in here whenever you want."
"Why not?"

> You say "Because we have rules and regulations that need to be followed, for instance I could get in a lot of trouble if I let you in here without the proper authorization."
"You're not going to get in trouble, I promise."
"Rules are rules sir."
"But...

> You say "Are you hiding something ?"
"I'm not hiding anything, but I need to ask you a question."


> You say "Go ahead."
"Do you believe in ghosts?"



> You say "of course not ."
"You seem pretty certain."
"I am."
"You can't be certain about something you don't know anything about.

> You say "What are you implying sir "
"I'm implying that you should keep an open mind."


> You say "About what? "
"About everything, but most importantly the fact that I'm here."
"Well sir, I am keeping an open mind about you being here, because as far as I can tell you haven't broken any laws yet."
"Yet."


> You say "Excuse me?"
"You heard me."


> You say "Sir you do know I am part of the authorities correct?"
"That doesn't scare me."



> You say "It should. "
"Why?"

You sigh and start getting a little annoyed by this man. You've tried to play his little game, but it's just not worth it. You're supposed to be out finding a child murderer, not talking to some crazy man that knows robotics.

> You say "Alright, I will leave you off here, I will contact you further in the future if needed."


> You say "Goodbye sir."
"Goodbye sir."

The man disappears into the distance as the car stops at another red light. The car begins moving again and you feel a sense of relief that you're away from that man. It takes about half an hour before you get back to the station.

> You call steve.
You call Steve, since you need to inform him of what you found out at the past few locations. He picks up after a single ring.
"Hello.

> You say "Hey Steve it's Dave, I got some pretty interesting information from two guys related to the incident."
"Go on."


> You say "One was the name of William Afton, supposedly the guy that engineered the animatronics at the pizzeria. And his son, Michael, who was working on that night with William, he told me some pretty strange things."
"Such as?"


> You say "He told me about a man that went by the name of Jacob Johnson, on the night of the disappearances. He came in and said he had an "appointment" scheduled with William Afton, he rented a party room for William to look after his daughter as he went to pay the electric bills, and apparently the guy never came back. Sounds like bullhonky to me so I decided to get stuff out of Michael, he began to get real nervous, poor kid, but he seemed like he was genuine."
"You don't think he was lying to you?"

> You say "I don't know, I think it's possible that he was actually scared of something. If he did lie then he's a better actor than whoever plays the sheriff on that shitty horror show that's on TV nowadays."
"Yeah I was watching that earlier today..."
"Anyways, what else did you find out?"


> You say "I then spoke with William Afton himself, the guy was fucking nuts, either he didn't take me seriously or he's actually fucking cranky in the head, at first he was pretty mature, he gave me information about how he could barely recall Jacob Johnson. After I mentioned a possible DNA sample, the guy started to get freaky and said he can come over and give it to me himself, he refused to cooperate, started talking about how he could feel the girl out there. Eventually he then started to get provocative and asked me if I believed in ghosts, to which he said I should keep an open mind. Crazy shit"
"Jesus, and you say he wasn't cranky?"


> You say "Don't know if he was lying as a freaky old man or he's actually batshit insane, but either way I didn't like the vibe he gave off."
"That's pretty messed up, what did you do after that?

> You say "Just hung up and called you, don't know what to think about it."
"Yeah, I don't know what to make of it either, but it is concerning. I think we should check out this guy's story, find out if he really did have something to do with the disappearances."

> You say "You mean pay him a visit at his home?"
"Yeah, I'm not sure if we should call the police just yet, this guy seems pretty connected and he already denied any involvement in the kidnappings. I think we should at least see what's up before involving anyone else.

> You say "Good idea, Steve. "


> You say "Alright, i'm gonna go home for tonight, for now I need you to take up some work and figure out if you can find any leads on a Jacob Johnson, alright steve?"
"Got it."
"I'll text you if I find anything out."

"Alright cool, see ya later."
"Later."

> You drive home.
You make your way home as you drive through the empty roads. As you make a turn you notice something in your rearview mirror. A pair of bright red eyes appear on the road behind you, the road itself dark and empty besides your own car.

> You keep driving.
You keep your eyes on the road ahead, you try to forget about the incident with William earlier. But the thought of those red eyes watching you from the darkness won't leave your head. You notice your car slowing down on the road.
"What the fuck.."

> You keep driving.
As you continue driving your car, it begins to slow down on the road. You try to turn the engine, but it only sputters.
You look in the rearview mirror again, seeing those red eyes appear behind you.
"What the fuck is this...."

> You steer car into your neighborhood.
Your car slows down even more as you drive down the dark roads, your heart beating. You can feel your stomach turning at the sight of those eyes following you from behind. Your car slows down to a complete stop on the road, the darkness enveloping it.

> You reach for gun and flashlight.
You reach for your glove compartment, opening it. You see your gun lying there, as well as a flashlight.
You grab the gun, loading it with the bullets you have in your pocket.

> You turn safety off.
You turn the safety off, loading the bullets into the gun. You point your gun out the window, the cold metal against your chin.
A loud thumping sound comes from behind you on the roof of your car.

> You look up.
As you look up, you see those red eyes staring back at you from the roof of your car.
"FUCK!" You yell, the loud noise scaring you as you let out a few shots from your gun, hitting the roof.

> You step on the gas.
You step on the gas as your car starts moving forward. The figure remains on the roof, holding on for dear life as it begins to hit the roof repeatedly. You drive down the road as fast as you can, hoping you'll be able to shake it off.

> You steer into driveway and run into your house.
Your car begins to slow down as you approach your driveway, the figure on the roof not slowing down at all. It continues to bash itself against the roof as you turn towards your driveway. You hit the brakes as hard as you can, your car sliding into the driveway.

> You run inside house.
You quickly get out of the car, running inside your house. You slam the door shut behind you, leaning up against it as you take a deep breath.
"What the fuck..." You mutter to yourself.
You look over at your phone, thinking about calling the police.

> You lock all doors.
You quickly go through all of your doors, locking them one by one. You make sure everything is locked up tight, before going into the kitchen to get yourself a drink. You pour yourself a tall glass of whiskey and down it, the liquid warming you up.

> You close all blinds and windows.
You go around your house, closing every single blind and window in your house. You double check all of the doors to make sure they're still locked before going into your master bedroom.

> You grab shotgun from closet.
You grab your shotgun from your closet and cary it with you as you walk around your house, looking out every so often to make sure that the beast hasn't tried to climb through one of your windows. You end up spending the rest of the night awake, simply watching TV and drinking.

> You switch to comedy channel.
You watch TV until it's 4:30, at which point you decide to go to bed. You set your alarm for 9:00am, before heading to bed. You quickly fall asleep.
~*~
It's now 7:00am, and your alarm is ringing.

> You wake up and turn alarm off.
You wake up, hitting the snooze button. You lie in bed for about ten minutes, just thinking.

> You think about the case.
You think about the events of last night, and realize that it's probably the whiskey talking whenever you think about trying to find the murderer yourself.

> You say "The hell happened last night... "
You sit on your couch, your shotgun on your lap.
"The hell happened last night?" You think to yourself. "I should have died last night."
You go into the kitchen, and begin preparing your morning coffee.

> You check calendar.
You look at your wall, at which point you notice it's March thirteenth.
"It's the thirteenth." You think to yourself.
You realize that it's Friday the thirteenth, a date known for having bad luck.

> You say "Yeah good fucking timing."
"Yeah good fucking timing." You say.
You begin drinking your coffee and eating your breakfast, before the doorbell rings.
~*~
It's now 9:00am, and you have visitors.

> You put shotgun down and open the door.
You set your shotgun on the floor, and walk towards the door. You look through the peephole, and see two people standing outside the door.
"Jesus Christ." You think to yourself. "It's the fucking Zeta fraternity."

> You ignore them and continue drinking coffee.
You ignore the two visitors and continue drinking coffee, hoping that they'll leave. Unfortunately, this doesn't work.
"Hey, fuckface!" One of them yells. "If you don't open the door for us, we're going to break it down!"

> You grab shotgun and pump it.
You pick up your shotgun, pump it, and open the door.
"What the hell's this?" One of them asks.

> You say "Get the fuck off my property."
"Get the fuck off my property." You say, aiming your shotgun at them.
The two boys standing outside look shocked.
"Are you fucking serious?" One of them asks, obviously terrified.

> You say "Scram. "
"Scram." You say, more serious than before.
"Or what?" One of them asks.

> You shoot gun in the air.
You fire your shotgun in the air, a loud sound ringing out. The two boys outside the door scream, and quickly run off.
"There." You say. "Now fuck off."
You close the door, and realize you're now out of shotgun pellets.

> You recall last nights events.
You think back to last night, when you were chasing two men with your shotgun...
"Fuck." You think to yourself. "That was just a dream."
You head to the kitchen, and begin drinking coffee.

> You call steve.
You pick up your phone and call Steve.
"Hello?" He answers.
"Hey Steve." You say.


> You say "Got any leads on Jacob Johnson?"
"Yeah, actually." Steve says. "One of my old connections might have a lead on him. He's a bit out of the way, but he might be able to help you."

> You say "Great, who may it be?"
"His name is Grover Thomas, he lives on 2682 West 21st Street."
"Got it." You say. "Thanks for the help, I'll keep you updated."
You hang up the phone, and look at your shotgun.

> You put shotgun in closet.
You go into your bedroom, and put your shotgun in the closet. You then head back to the kitchen.
"Should I go get him, or wait for him to come to me?" You think to yourself.

> You go outside and look at roof of car.
You decide to head outside, and look at the roof of your car. You open the door to the driver's seat, and find that there is a small puddle of water on the roof.

> You say "Were those red eyes even real?"
You think back to last night. You remember watching a man with red eyes appear in your rearview mirror.
"Was that real, or was it just a hallucination from staring at the rain for too long?"


> You drive to 2682 West 21st Street.
You decide to head over to Grover's house.
You get in your car, and drive off.
"Where does this guy live again?" You think to yourself.
A little later, you arrive at the apartment building where Grover lives.

> You find Grovers apartment number.
You get out of your car, and look for Apartment 1C.
"Here it is." You say to yourself, knocking on the door.
No answer. You try again, still no answer.

> You knock again.
After a third try, the door suddenly opens.
"Yeah?" A man who is only visible from the waist up asks. He's short, bald, and has a beer belly.
"Are you Grover Thomas?" You ask.
"Yeah." He answers.

> You say "Hi, my names David Sullivan, I'm a private investigator that works for the Hurricane police department, I'm here because my partner Steve Doyle contacted me. He said you may have information regarding a Jacob Johnson. "
"I told that idiot everything I know yesterday." Grover answers, a bit annoyed.
"Well, he didn't write any of it down, so could you please tell me?"
Grover doesn't answer, and just stares at you for a second.

> You say "Please give me all the information you know sir, after I write it down, you're free and will have no affiliation with us afterwards, we just need info on Jacob Johnson. "
"Fine, but make it quick." Grover answers, and lets you into his apartment.
You enter Grover's apartment, and you see several things that catch your eye. All sorts of pictures of different people are nailed to his wall.

> You sit down at a table with Grover, taking out your notebook and pen.
"So, can you please tell me what you know about Jacob Johnson?" You ask.
"Not here, let's go for a walk." Grover answers.
Grover grabs a coat, and the two of you head outside. Grover locks the door behind him.
"So, what do you want to know about Jacob?" He asks.

> You say "I need to know who he is personally, what his background is, and if he has any relation to a person involved with a case of ours. "
"Alright then, but it'll be easier to show you than to tell you." Grover answers.
Grover begins walking down the sidewalk, and you follow him. He stops at a building that says "ABRAXAS TAVERN" in faded out letters.

> You say "Abraxas Tavern?"
"Yep." Grover answers.
Grover pulls out a set of keys and opens the door to the tavern. You walk inside, and are immediately hit with a blast of cool air.

> You say "Grover, what is this place?"
"It's a tavern that my family owns, but nobody ever comes here so it just serves as my place to live." Grover answers.
The inside of the tavern is a complete wreck. Empty bottles of alcohol are everywhere, and pieces of broken glass from shattered bottles.

> You say "And how does this relate to Jacob Johnson?"
"This is where Jacob and his friends came to party when they were in high school." Grover answers.
Grover leads you to the back of the tavern, where a set of stairs leads up to a door.
"Down here."

> You follow Grover down the stairs.
You walk down the stairs behind Grover. At the bottom of the stairs is a single wooden door.
"This is it." Grover says, opening the door.
The room beyond the door is dark.
"Turn on the light!" You demand.
"I can't." Grover answers. "The switch doesn't work."
You're standing at the base of a set of stairs that seem to lead up into darkness. There's a strange, musty smell coming from the stairway.
"This is where it happened."

> You say "Where what happened? "
"Where Jacob stabbed Cassie with a knife."
Grover says this so calmly, as if he's talking about the weather.

> You say "Excuse me?"
"I said, this is where Jacob stabbed Cassie with a knife."
You stare at Grover in disbelief.
"What are you talking about?"
"I'm talking about the Westfield murder.

> You say "Westfield murder?"
"Yes, it was all over the news. Jacob Johnson stabbed his girlfriend Cassie at this very spot ten years ago."


> You say "Was he apprehended? "
"No, he escaped."
"How?"
"Nobody knows. The police chased after him, but they lost him. To this day, nobody knows where he is."
"Wow."
"Yeah, it's pretty scary to think about."


> You say "Did this Jacob Johnson have a daughter?"
"Oh yes. But she was just a baby when he ran away. Now she's in high school."
"That's incredible."
"I know, right?"
You stare into the darkness of the stairway, wondering what could have happened to Jacob Johnson.

> You say "What was her name?"
"Who?" Grover asks.



> You say "His daughter. "
"Oh, right. Her name is Susie Johnson."
"Where does she live?"
"She lives in Westfield, of course."
"I meant, what street?"
"Oh, I think it's Crestmont Road or something.

> You say "Does she live with anybody?"
"Yes, a parent, I think. She doesn't really like to talk about her parents, though."
You stare at the stairs. There's a strange feeling coming from them. Almost as if they're...alive.
"What are you looking at?" Grover asks.

> You say "Nothing, I'm just unnerved at the sight of this place. "


> You say "How old was Jacob at the time?"
"Twenty. He was only twenty when he stabbed Cassie to death."


> You say "What month was this?"
"I don't know. I think it was May."
You continue to stare into the darkness of the stairway. Something isn't right.
"You alright?" Grover asks.
"Yeah."
"What's wrong?"
"Nothing, I just..."

> You say "Shall we leave this area? "
"Yeah, let's go find something else."
You and Grover continue down the hallways. Suddenly, you see a door to your left. There are no windows in this hallway, so you have no idea what's inside.

> You say "Did you hear from Jacob after he ran off? "
"No. I have no idea where he went, and quite frankly, I don't want to find out."
"What was he like?"
"He was an asshole."
"I'm sure there's more to it than that."
Grover sighs.

> You say "Did he leave his daughter behind?"
"Yeah. She was only a baby at the time."
Grover continues walking, and you follow him. You turn another corner, and find yourself in front of a long set of stairs.

> You say "How old would you say she was?"
"I don't know. two, three?"
Grover and you begin to walk up the stairs.


> You say "Now, how would you describe Jacobs facial features?"
Grover closes his eyes, trying to remember.
"He had...really rough skin. Like a cat's tongue. But his face was really skinny. And he had a big forehead."

> You say "How tall would you say he was?"
"Tall. He towered over most people."
You reach the top of the stairs, and find yourself in a long hallway. There are six doors that you can go into. They are each marked with a symbol.

> You say "Could you give me an estimate?"
"I don't know, six foot four?"

> You say "Did he have brown hair?"
"Yes."
You stare at the six doors. There is a symbol on every one of them.

> You say "Grover, I need you to be honest with me, between you and me, alright?"
Grover looks at you, curious.
"If I were to open one of these doors, and a man who fits Jacob's description comes out, what should I do?"
Grover stares at you, and seems to understand your fear.
"Run."
You nod.

> You say "Right, and tell me this Grover, you are 100% certain you have absolutely not heard from him since then. "
"Yes, yes, I am."
Grover seems to be very sincere, but it is still a large risk.
You look at the six doors in front of you.

> You say "I want you to open one of those doors. "
Grover takes a deep breath, and looks at the doors.
"I'll open this one."
He opens the door, and nothing happens. He looks disappointed.
"Well, there's another possibility off the table then."

> You say "Open the second door for me please."
Grover opens the door, and again, nothing happens.
"Well that rules out two of them."
You notice something in the corner of your eye. A light is on in an office building across the street.

> You say "Open the third one, Grover."
Grover opens the third door, and you feel a rush of cold air. You see the air around you start to frost over, and your breath becomes visible.
"I think we should stop now."
Grover slams the door shut. The temperature begins to rise again.

> You say "Grover, No.

Open the fourth one."
Grover reluctantly opens the door. A blast of water hits you in the face, and it begins to rain inside the building.
"That's enough."
Grover slams the door shut, and the rain stops. The two of you are soaked.

> You say "We should head back to the apartment, shall we ?"
Grover nods, and the two of you begin to walk to the apartment.
"We're gonna need a new apartment soon. This one's getting a bit cramped."
The two of you sit in silence for the rest of the walk home.

> You say "Before I leave, Grover, I must say you have been the most open person during this entire investigation, I must thank you for your cooperation, I truly appreciate it."
Grover doesn't answer.


> You say "One more question, though."
Grover sighs, and turns to you.
"Yes?"


> You say "Does the name Helena ring a bell to you?"
Grover's face turns pale.

> You say "He took her, didnt he."
Grover remains silent

> You say "Grover, what did Jacob Johnson have to do with Helena?"
"I don't know."
"What do you mean you don't know?

> You say "Tell me right now Grover or you're about to get in some deep shit."
"I really don't know. He never told me. I don't think he knew either."
"You're lying, Grover."
"I'm not!

> You say "I can see it in your eyes, Grover. You saw something, didn't you? you're too scared to say, aren't you? "
"No, I'm not!"
"Grover, there's no reason for you to lie to me. You've told me the truth this whole time. Just tell me what you saw."
"I don't know what he did with her!

> You say "THEN HOW DO YOU KNOW HE TOOK HER?"
"SHE WAS GONE!"
"From where?"
"From our apartment! One day she was just gone! I went to go look for her, but I couldn't find her anywhere! That's all I know, I swear to god!

> You say "Your apartment? Helena lived here?"
"Yes, she did. I loved her, you know."
Grover turns his head away from you and begins sobbing uncontrollably.


> You say "Was she your daughter? "
"Yes," he whispers.
Grover turns his head away from you and begins sobbing uncontrollably.
"You need to come with me."
Grover doesn't answer.
"Grover, you need to come with me. Now."
He remains silent.

> You say "Grover. "


> You say "Grover, we know where he took her. "
Grover looks up at you with a blank expression.

> You say "He took her to Freddy Fazbear's Pizzeria, he rented a room for the owner of the place to watch over her as he left, he never came back. She was then put in a foster home since we never found her parents, we can find her, Grover."
Grover remains silent, and doesn't budge.
"Grover."
You grab his arm, and try to pull him up.
"Come with me, Grover. Help me find Helena."
Grover doesn't answer, and continues looking down at the ground.

> You say "We will find your daughter, Grover. "
"She's not my daughter."
"What?"
"She's not my daughter. She never was, and she never will be. She doesn't even have a father."
You're taken aback by this sudden confession. You never expected that Grover wasn't the father of Helena.

> You say "The hell are you talking about?"
"You asked me if she was my daughter, and the answer is no. She wasn't my daughter. She never was, and she never will be. She doesn't even have a father."
"So...?"
"So, she's not my daughter."

> You say "Who is she then, why was she living here?"
"She's nobody, now. She's a dead end. The girl's gone. The girl's dead."
"What the hell are you talking about, Grover?"
"She's gone."
"Who is she?"
"She was my muse."
"Your what?"

> You say "Grover if you dont come with me to the station i'm gonna have to call the station to take you up."
Grover turns his head towards you. His eyes have a far away, hollow look in them.
"They took her from me."
"Who did?"
"They did."
"Who's they?"
Grover doesn't answer.

> You say "First you say Jacob took her, now you're saying the cops did? what the fuck is going on with you?"
"She was my muse."
Grover gets up from his chair, and walks out of the room. You hear the water running in the kitchen, and then Grover returns to the doorway of his office. He looks down at you with a blank expression.

> You say "What do you mean by muse "


> You say "What do you mean??"
"I mean she was my muse."
"You need to explain in full detail what the hell that means."
Grover looks at you with a distant look in his eyes.

> You say "You know what, if you're not cooperating i'm gonna go ahead and call them to come pick you up."
Grover snaps back to reality, and stares at you with a cold, hollow look in his eyes.
"Go ahead."
"What?"
"Go ahead, call the cops. They took her away from me, I'll never get her back. She's gone forever.

> You call the station.
You look at Grover, and then pull out your cell phone. You call the police department.
"911, what is your emergency?"



> You say "Hi, this is Detective David Sullivan, badge number #256, I need you to dispatch some officers over to escort an individual that refuses to cooperate, the address is 2682 West 21st Street. Apartment 1C"
"OK, sir, I'm sending them right now."
"Thanks."
You hang up.
"See? Now just wait here a few minutes."
Grover looks down at the ground, and then slowly sits back down in his chair.

> You say "Yeah"
You watch Grover for a few minutes, but he doesn't move. The doorbell rings, and you go to open it. Two officers stand outside.
"Thanks for coming, guys. This is Grover Thompson, says he doesn't want to talk anymore."

> You say "Take him to the station for questioning, may need some medical assistance, he's not really stable right now mentally. "
"Yes, sir."
The two officers walk forward and place Grover under arrest. He does not resist, and instead just lets them guide him towards the door. They exit the apartment, closing the door behind them.


> You exit apartment complex and call Steve.
You exit the apartment building and find Steve waiting for you in his cruiser.
"What happened? The dispatch operator said something about medical assistance?"
"Yeah, apparently Grover needs some. We need to get him to the station."
Steve nods, and gets into the driver's seat.

> You say "What the hell Steve, he told me you talked to him?"
"I did, yesterday."

> You say "Right okay, drop me off at the station, I need you to go and evaluate what's going on with Grover, notify me in the morning, alright?"
"Sure thing, boss."
You get out of the cruiser, and watch as it drives off.

> You get into your car and drive on the way home.


> You recall the events last night with the Red Eyes you saw in the rear view mirror
You drive back to your home, thinking about the events of last night.
Eventually, you arrive at your house, and park in your driveway. You get out of your car, and walk inside.

> You grab a sheet of pencil and paper and begin drawing what the eyes looked like.
You grab a sheet of paper and a pencil, and begin sketching the eyes. The more you draw them, the more you are convinced that you have seen them before. You just can't remember where...

> You say "Why the hell were they following me... why did it bang on the roof of my car? Was it real?"
You can't answer these questions, and you are left confused and scared.
"Why me?" you think

> You say "What kind of creature would slow my car down.."
You continue to think, trying to remember the face of the monster, but your memory just isn't good enough. It's frustrating.
Eventually, you decide to call it a night and get some sleep. Maybe you'll remember more in the morning.

> You toss and turn in bed.
You lay in bed, thinking about the events of last night. You just can't get the image of those red eyes out of your head. It's so vivid, and you try so hard to remember where you saw them before, but nothing is coming to you.

> You say "What the fuck was it?? WHAT WERE THEY??"
You yell in frustration, and begin to cry a little. The tears dry on your face as you realize that you haven't slept at all.
Your phone starts to ring. It's Steve.
"Hello?" you answer.
"Hey, it's Steve." he says.

> You say "Hey Steve, what's going on"
"You busy right now?" he asks.
"Uh... no." you say.
"Good, I'm coming over, there's something we need to talk about."
"Something we need to talk about?" you ask, a little confused.
"Yeah."

> You say "Uh, does it involve Grover?"
"No." he answers.
"Okay, I'll see you in a minute." you say.
"See you then."
He hangs up the phone. You have no idea what this is about. Why would Steve need to talk to you at 6:00 in the morning?

> You get out of bed and put clothes on.
You get out of bed, and get dressed. You find some clean clothes in your dresser, and get dressed.
You're walking down the stairs when Steve comes through the front door.
"Sup?" you ask.
"Not much, you ready to go?"

> You say "Go where?"
"Up to Old Man Baily's house."
"Why do you need to go there?"
"Because I want to see what he has to say about what happened at my house last night. Come on, you can come with me."


> You say "Steve what in the god damn are you going on about "
"I'll tell you in the car, come on."


> You go into steves car.
You go outside and get into Steve's car. He drives off towards Old Man Baily's house.
"Okay, so what's going on?" you ask.
"I'll tell you in a minute." he answers.
A few minutes later, you arrive at the house.

> You say "Steve what the FUCK is going on?"
"I'm getting to that!" he says.
"Well get to it faster!"
"Okay, okay, calm down. Last night I was at my house, and I heard some noises outside."


> You say "Okay?"
"I went outside to check it out, and I saw someone outside my window."


> You say "Bullshit steve"
"I'm not lying! So I ran after him, and I chased him into the woods behind my house."
"Oh come on!" you say.
"I'm not done yet!" he says.
"Okay, sorry." you reply.

> You say "Continue"
"I chased him into the woods, but I lost him. While I was looking around for him, I found something weird."
"Like what?" you ask.
"That's what I need to show you.

> You say "Okay, "
"Alright, come on."
You follow Steve into the woods. After a few minutes of walking, you arrive at a small, abandoned shack.
"This is it." he says.
You walk inside the shack, and find nothing of interest.

> You say "Wow, look, NOTHING is in here. "
"You don't see it?"
"See what?" you say.
Steve turns on a small light that was plugged into the wall.
Suddenly, a small door opens in the floor.
"What is this?" you ask.
"I have no idea."

> You say "Secret passage?"
You jump into the opening in the floor. You fall about ten feet and hit a soft mat.
"Ouch." you say.
Steve jumps down next to you.
"Where do you think this goes?" you ask.
"Beats me." Steve replies.

> You turn flashlight on.
Suddenly, you see something in the distance. It looks like a room. You walk over to it, and find that is is filled with shelves.
"Check this out." you say.
Steve walks over to the room.

> You look at the shelves.
You see many different objects on the shelves. You see a few books, a vial filled with some kind of liquid, a skull, a golden chalice, a sealed envelope, and other things.
"What is all this?" you ask.
"No idea." Steve replies.

> You continue looking.
You find a dusty old book. It appears to be some sort of journal or diary. You open it up and begin to read...
"May 28, 1917
"I have purchased this house from the town of Burkitsville.

> You continue reading.
The next page is a bit torn.
"In this house, I shall perform the Ritual of the Dark Mother, that she might bestow her blessing upon all those who dwell here."
"Dark Mother?" you think.
"Why of course!" Steve says suddenly.

> You continue reading.
The next page says...
"The fools in Burkitsville won't give me a moment's rest. I must go into town and buy provisions. That wretched little runt, Billy Gray, has been snooping around asking questions about me. I must be careful.

> You continue reading.


> You continue reading.
"I have returned from Burkitsville. That wretched Billy Gray continues to snoop around town asking people questions about me. The fool.
"There is a young woman who has caught my eye. A certain Ms. Gladys Keystone. She would make the perfect bride. Of course, she does not yet know about my plans for her...

> You continue reading.
"I met with Gladys today and told her how I felt. She was obviously surprised, but happy. The Dark Mother willing, we shall wed within the week.
"Some fool from the State Department showed up in town today.

> You say "What the hell,"
You say "What the hell," but nothing happens.
"Steve, can you read this?" you ask, showing him the page.
"Yeah," he says.
Steve reads the page and says "It's just a bunch of boring diary entries."
"Just give me that,"

> You say "No idea what this is, but you think it has to do with a person you saw outside your window?"
"Yes," he says.


> You say "Steve, did he have Red Eyes by any chance?"
"Yeah," he says.
You suddenly feel cold.


> You say "The night after I spoke to William Afton, I was driving home and I noticed two red eyes in my rear view window, following my car. "
"What did you do?" Steve asks.
"I sped up, and the red eyes sped up. I slowed down, and the red eyes slowed down. I don't know what would have happened if it had continued, but I got home and never seen them again."

> You say "It, launched ontop of my car, like a creature, I ran off inside the house and boarded the whole place up, I've been thinking about them since. "
"Do you think the man with the red eyes was the one who tore those children apart?" Steve asks.
You pause for a moment.
"I don't know," you admit.
"Yeah, I don't think he did," Steve says, confusing you.

> You say "But I do wonder, why is it following us? and why after we are given the case?"
"I don't know," Steve admits.
Steve reads the rest of the newspaper clippings in silence. After he's finished, he turns to you.
"So, what should we do next?" Steve asks.
"I don't know," you admit.

> You say "We should set a camera up infront of this shed to see if the red eyed man comes out again. "
"OK," Steve says, "Do you know how to do it?"
"Yeah, I've done it once before," You say.
"Can you do it again?" Steve asks.

> You say "Of course steve "
"Okay, do you need help?" Steve asks.
"Yeah," you admit, "but I can't pay you."
"That's alright," Steve says, "I'll still help you out."

> You say "Alright, for now we need to get to the station and get an update on Grover, you coming with me?"
"Yeah," Steve says, "let's get out of here."
You and Steve drive to the police station. You pull into the parking lot and turn off the engine.
"Let's go," you say.
You walk into the police station and head straight for the dispatch office. The police dispatch office is controlled by a heavy set man with a mustache. He has his feet on his desk and is reading a hunting magazine. He looks up when he sees you.
"Hello, how may I help you?" he asks.

> You say "Hi, I'm Detective David Sullivan, here with my partner Detective Steve Doyle, we're here for a status update on the individual Grover Thomas who was apprehended last night. "
"Ah, yes," the officer says, looking down at some notes on his desk, "Grover Thomas. We apprehended him last night and brought him in. He's been here ever since. Want me to take you to him?"
"Yes," you say.
"Follow me,"

> You follow the officer.
The officer gets off of his chair and leads you out of the dispatch office and down a hallway. He walks up to a door at the end of the hall and takes out a key to unlock it. As you pass by the other jail cells you see various individuals behind the bars of their cells.

> You follow the officer.
The officer leads you to a door at the end of the hallway. He takes out a key and opens the door. He motions for you to follow him and he walks down a set of stairs. As you reach the bottom you see a large room filled with boxes of files.

> You enter Grover's room.
You follow the officer through the boxes of files and eventually you reach another door. The officer opens the door with another key and you see a man sitting at a desk in a dimly lit room. The man looks up from his desk. He is balding with a gray patchy beard.

> You say "Hello Grover, you may recognize me from last night, I am Detective David Sullivan, do you remember me?"
"Yes, yes," Grover says.
"We want to ask you some more questions, is that OK?"
"OK," Grover responds.
"Do you remember what happened at Freddy Fazbear's Pizza 10 years ago?" you ask.
"Yes, yes," Grover responds, "I didn't mean to, I swear."
"What did you do?" you ask.
"I just wanted to play," Grover says.

> You say "What do you mean, Grover. "
"I wanted to play with the children, I just wanted to play."
"What did you do to the children?"
"I grabbed Oliver by his arm, I had to drag him to the Office, he was struggling so much," Grover says.

> You say "Oliver? "
"Yes, the one who looked like you," Grover says.
"What did you do to him?" you ask.
"I had to drag him down to the end of the hall, that's where the Box is, I had to stuff him in the Box.

> You say "What box, Grover, "
"The big box, the one I used to sleep in," Grover says.
"Why did you stuff him in the box?" you ask.
"So I could play," Grover says.
"Did you kill him?" you ask.
"I don't know,"

> You say "Was Oliver the only one you played with?"
"Yes, I think so," Grover says.
"What do you mean?" you ask.
"I forget some things," Grover says.


> You say "Did you play with a little girl by the name of Sarah Jones?"
"Yes, she was fun to play with," Grover says.
"What did you do to her?" you ask.
"I had to put her back in the big box, I think I smashed her head in. It was fun," Grover says with a smile.

> You say "What did you smash her head in with, Grover?"
"A hammer, I don't remember where I put it," Grover says.
"What did you do with her body?" you ask.
"I think I hid it in the dumpster out back," Grover says.
"How about a boy named Josh Matthews?" you ask.
"Yes, he was fun to play with too, I cut him up into six peices," Grover says.
"Where are his peices?" you ask.
"I hid them under the sink in the girl's bathroom," Grover says.

> You say "Did a boy named Kyle Broflovski play with you?"
"Yes, I had a lot of fun with him too, he was the best," Grover says.
"What did you do to him?" you ask.
"I had to cut his arms off so he couldn't fight back," Grover says.

> You say "What did you do with his arm?"
"I hung it up on my wall, I made a dart board out of it," Grover says.
"Did a boy named Eric Kripke play with you?" you ask.
"Yes, he was the best one yet, I had so much fun," Grover says.

> You say "What did you do to Eric."
"I don't remember," Grover says.
"You're lying," you say.
"I'm not lying, I just can't remember everything," Grover says.

> You say "TELL ME WHAT YOU DID YOU SICK FUCK "
"I killed him, okay. I killed him and had fun doing it. He begged and pleaded for me to stop, but I didn't. It was fun watching him scream and cry in pain," Grover says.

> You say "WHAT DID YOU DO TO VIOLET SMITH?"
"I had a lot of fun with her, she put up more of a fight than all the other kids combined. She's probably the one that got away," Grover says.

> You say "BULLSHIT GROVER, SHE'S DEAD TOO, YOU KILLED HER"
"I don't think so," Grover says.
"I'm positive," you say.
"Are you positive that there's no clowns hiding in this room to kill you?" Grover says.

> You say "YOURE THE CLOWN GROVER, YOURE THE FUCKING CLOWN AND YOU DONT HAVE SHIT AGAINST ME, YOURE DONE "
"It was fun, it was the best six years of my life, but I'm done now," Grover says.
"No, no you're not. It's not over," you say.
"It is for me," Grover says.

> You say "Damn right, you're under arrest for the murder of Five Children at Freddy Fazbear's Pizzeria. "


> You say "Tell me grover, where is this box. "

"It's in my house, where I keep all of my treasures," Grover says.
"What else is in there?" you ask.
"That's it," Grover says.

> You say "We'll see about that, Officer, put him in confinement, schedule a court date "
"Yes, Sir," Officer Bogard says.

> You leave the room, sweating.
You've done it, you've caught the killer.

> You get in the car and drive over to Grovers apartment.
The drive over was quiet, and a lot shorter than you thought it would be.


> You step into Grovers living room.
The living room is empty
"Where the hell did he hide it," you mutter.
"Behind you," Grover says.
You quickly turn around and find yourself staring down the barrel of a pistol.

> You say "What the hell?"
"You're not taking me in," Grover says.
"I am," you say.
"I don't think so," Grover says.
"Yes, I am," you say.
Grover sighs and fires the pistol.