The Lost Client - Screenplay
Included below is the full screenplay for The Lost Client. The identifiers in square brackets in the scene headings refer to the iClone project files that make up the movie.
FADE IN:
EXT. PINHEAD'S HOME - FRONT YARD - NIGHT [PRE]
It's dusk in the peaceful suburb. It's quiet but for the
cheerful chirping of the evening birds. Pinhead's single
family home is seated in a pleasant front yard.
A dog runs by and briefly glances at the dark-clad figure of
BOB GARRETT, in gloves and hat, who is squatted near an
contraption placed at the edge of the front yard.
Garrett engages a counter and the stillness is disturbed by a
beep every second to accompany the steady countdown. Garrett
rises while the relentless countdown continues.
INT. PINHEAD'S HOME - VESTIBULE - NIGHT [S00]
WALTER PINHEAD is standing in the vestibule of his home,
drawn there by a beeping noise.
PINHEAD
Thought I heard something!
A sudden explosion blasts the front door open.
EXT. PINHEAD'S HOME - FRONT YARD - NIGHT [S00]
Fire erupts throughout the house, as more explosions follow.
Soon the whole structure is ablaze. The garage doors are
blown from their hinges and hurled onto the driveway.
Pinhead is projected from the front door, swirling like a
bowling pin after a major impact. His T-shirt is full of
smudges.
The force of the bursts flip open the mailbox, revealing a
cell phone. With the inferno raging, the phone lights up and
starts ringing.
Pinhead as bowling pin slowly comes to rest with his back to
the house. After a few rings of the phone, a dazed Pinhead
turns towards the mailbox.
EXT. PINHEAD'S HOME - SIDE OF HOUSE - NIGHT [S00b]
Ringing phone in hand, Pinhead walks slowly along the side of
his house towards a shed in the backyard.
He brings the phone to his ear. The sinister voice of BOB
GARRETT growls from the earpiece.
GARRETT (V.O.)
I thought that might get you
moving!
EXT. PINHEAD'S HOME - BACK YARD - NIGHT [S01]
With the fire blazing, a cacophony of sirens heralds the
steady advance of an army of rescue vehicles.
Pinhead, holding the phone, continues strolling towards the
shed.
PINHEAD
(in phone, staccato)
Oh. It's. You.
GARRETT (V.O.)
We got Alura. You better hang on
to this phone if you want to help
her. I'll contact you again, in
exactly one hour. Make sure you
pick up. And, be alone. No,
authorities.
A busy signal marks the end of the call. Pinhead stands
forlorn and in shock.
He then pulls himself together, walks the last few steps
towards the shed, and opens its front door.
INT. GARDEN SHED - NIGHT [S02]
The shed is a wooden structure with a front door and a back
door. Most remarkable are a flight of stairs to a
subterranean room. On the side away from the doors stand two
tables, filled with various gardening paraphernalia.
Pinhead closes the front door and lets out a deep sigh. He
then perks up and descends the stairs.
INT. GARDEN SHED - SUBTERRANEAN ROOM - NIGHT [S03a]
The room's walls are built out of large Durox blocks and are
decorated with film-noir posters. The concrete floor is
painted. Off the room is a small hallway towards the back,
leading to a beaten-up metal exit door.
Opposite the stairs is a large wall-mounted video screen,
showing the images of four rotating security cameras, labeled
as: "Front Door", "Back Patio", "Garage", and "Sewer Tunnel".
In the corner to the left of the screen, is an old-fashioned
secretaire. It is open and holds a laptop and a telephone.
In front of the desk is an aged wooden office chair.
Pinhead halts at the bottom of the stairs and gazes at the
devastation unfolding on the wall screen.
INT. CSA FIELD OFFICE - OPERATIONS ROOM - NIGHT [OC-A]
SUPER: "CLANDESTINE SURVEILLANCE AGENCY, OPERATIONS ROOM"
The huge room has a transparent wall, flanking a hallway.
Across the hallway are enormous video screens, showing
episodes of Pinhead's past adventures. Personnel walks by.
Inside the room are three workstations with LCD screens on a
wide desk. Young operators study footage featuring Pinhead.
On the left, female OPERATOR #1 stares intently at the LCD.
In the middle, executive Commander ROBERT SIMMONS instructs
female OPERATOR #2.
SIMMONS
Look at this file again and see
what you can make of it. We are
interested in his fears, his
phobias.
OPERATOR #2
Yes, Commander Simmons!
On the right, male OPERATOR #3 watches a recording from
Pinhead's cell phone, showing the back of the burning house.
The PROGRAM DIRECTOR, an elegant grey-haired woman, stands at
his side and looks with him at the screen.
PROGRAM DIRECTOR
What's footage like?
The operator looks glum.
OPERATOR #3
It breaks off!
Meanwhile, from a back hallway, a senior analyst walks to the
front of the room.
The Director studies the screen and then nods.
PROGRAM DIRECTOR
That's OK. We know the phone
transmits. Pinhead will need to
switch it on again in one hour. We
just wait.
INT. GARDEN SHED - SUBTERRANEAN ROOM - NIGHT [S03b]
Pinhead walks to the desk and switches the phone to speaker.
At the dial tone, he pushes a speed-dial button. The number
is dialed, and the phone rings in short double beeps. At the
second ring, FRANCISKA, late twenties, answers.
FRANCISKA (V.O.)
Yes?
PINHEAD
Franciska, I need code 25.
FRANCISKA (V.O.)
Fifteen minutes.
PINHEAD
P - H out.
Pinhead ends the call.
INT. GARDEN SHED - SUBTERRANEAN ROOM - NIGHT [S04]
Determined, Pinhead walks to the other side of the room. A
section has been walled off, with a curtained opening in the
middle.
Pinhead slides the curtain to the side. He briefly looks
over his shoulder, then enters.
When he reemerges he is all smiles and dressed in a long
leather trench coat and a hat, mimicking the attire of a
private eye from the forties or fifties.
He walks over to the wall screen and gives a voice command.
PINHEAD
Tunnel!
The screen changes to show just the video from the camera
that monitors the sewer tunnel. Fog rises up from a slow
stream of soiled water.
PINHEAD (CONT'D)
Sound!
The sound of flowing water fills the room, mixed with a faint
roar that becomes loader and louder.
On the video screen, the shape of a fast approaching jeep
emerges from the fog and then stops.
Pinhead's face lights up.
PINHEAD (CONT'D)
Ah! Franciska!
Then, a final voice command.
PINHEAD (CONT'D)
Engage alarm!
The screen shows the four security cameras again and informs:
"Security Engaged".
Satisfied, Pinhead turns away from the screen and walks
towards the metal exit door.
INT. SEWER TUNNEL - NIGHT [S05]
Soiled water streams slowly through a canal in the middle of
the tunnel. There are raised platforms on either side.
Yellow-orange lighting establishes an eerie atmosphere,
enhanced by the fog that rises up from the water.
Pinhead emerges from a metal door in the left-hand side wall.
Franciska is waiting in the jeep. She turns to Pinhead.
FRANCISKA
Hop in.
Pinhead lowers himself into the seat next to Franciska.
PINHEAD
Thanks for coming.
Franciska nods and they drive off.
INT. SEWER TUNNEL WITH MOVING JEEP - NIGHT [S05; S06]
Franciska studies Pinhead.
FRANCISKA
It's that latest case, right?
PINHEAD
My house was blown up, and my
client was kidnapped. To contact
me, the kidnappers left me a
mobile. They will call in about
forty minutes. I've switched it
off.
FRANCISKA
Good. They will not be able to
trace you. But, I'll try to trace
those guys instead.
PINHEAD
Franciska, you're a marvel.
Franciska smiles, briefly.
FRANCISKA
I know. Now you rest. It will be
a long night.
Pinhead smiles back, then closes his eyes.
EXT. SEVILLE ROAD - NIGHT [S07]
Seville Road is lined with devastated architecture. Its four
lanes attest of past grandeur, long forgotten. Somewhere
among the structures is an old office with glass entrance
doors that have miraculously survived.
The street has a sewer manhole right in front of the office
building. A police SUV is parked along the curb, and OFFICER
ANDERSON is studying the manhole cover, attracted by the
sound of car engine coming from it. Then a human voice adds
to the mystery, muffled by reverberation.
FRANCISKA (V.O.)
Pinhead, Pinhead, wake up!
A yawn follows, and a miffed Anderson stares at the manhole.
INT. SEWER TUNNEL - NIGHT [S08]
Pinhead and Franciska are standing on the platform next to
the jeep. In the wall is a metal exit door. Next to the
door are a small video screen and an intercom.
Franciska activates the screen, which shows the street with
the manhole and the investigating Officer Anderson.
FRANCISKA
Damn!
She switches on the intercom.
FRANCISKA (CONT'D)
Gregory!
Some shuffling comes through the tiny speaker, then the wary
voice of GREGORY JONES.
GREGORY (V.O.)
Huh, who's this?
FRANCISKA
This is Franciska. I need a
diversion near the Seville Road
manhole.
GREGORY (V.O.)
Now?
FRANCISKA
Yes, now! Stop complaining!
GREGORY (V.O.)
(mutters)
Women...
EXT. SEVILLE ROAD - NIGHT [S09]
Gregory an older man with grey hair and a grey beard walks
down the pavement towards the manhole.
GREGORY
(grunting)
Uh - ah - aw - eh ouch!
He suddenly collapses and slumps to the pavement.
GREGORY (CONT'D)
Officer, over here!
Officer Anderson turns and rushes towards Gregory, then
kneels besides him, his back to the manhole.
OFFICER ANDERSON
Hey, Gregory, it's you? What ye
doing out so late?
GREGORY
Just getting some libation,
officer. I was thirsty...
OFFICER ANDERSON
Let me check your leg.
Officer Anderson feels Gregory's ankle.
GREGORY
Ouch, that hurts! Officer, you
think it's broken?
Behind Anderson, the manhole cover is slid open. Pinhead's
head appears. He moves aside to peek along the parked SUV.
Gregory ever so slightly looks past Officer Anderson and
meets Pinhead's gaze.
EXT. SEVILLE ROAD - NIGHT [S10]
While Pinhead slides the cover back in place, Franciska walks
up to Gregory and Anderson,.
FRANCISKA
Hi Gregory! What's up?
Anderson turns to face Franciska, a wailful look in his eyes.
OFFICER ANDERSON
Good evening, do you know this man?
Pinhead joins the company.
FRANCISKA
Yes we do. We will see what he
needs.
(to Gregory)
Can you try to stand?
Slowly Gregory gets up, accompanied by a few more grimaces
and moans.
OFFICER ANDERSON
All right. I'll be on my way.
Franciska smiles at him sweetly.
FRANCISKA
Thank you for assisting, officer.
Gregory is an old friend...
GREGORY
I'm not that old!
Meanwhile, the police car drives away.
PINHEAD
Thanks for your help, Gregory.
GREGORY
Anytime. Well, I'll be off!
Gregory slowly shuffles away.
FRANCISKA
Bye!
A distant clock strikes nine. Pinhead turns to Franciska.
PINHEAD
Twenty more minutes. We better get
cracking, uh, hacking...
EXT. SEVILLE ROAD - NIGHT [S11]
Pinhead and Franciska enter the office building. Gregory
limps away along the sidewalk, shrouded in fog.
INT. OFFICE BUILDING - LOBBY [S11]
Franciska and Pinhead walk towards the elevator. Pinhead
presses the "UP" button. A moaning ensues, announcing the
descend of a tired elevator.
INT. OFFICE BUILDING - TOP FLOOR HALLWAY - NIGHT [S12]
The hallway provides access to the two top-floor offices. To
the right is a door with a frosted glass window. Elegant
lettering on the window reads: "Walter Phineas Pinhead /
Private Investigator".
A door at the end of the hallway has the silhouette of an
angry cat shown on a binary pattern and a "Private / Keep
Out" sign.
This door leads to the domain of Franciska. She opens it,
and she and Pinhead both enter.
INT. FRANCISKA'S PLACE - NIGHT [S13]
Franciska's place serves as her living quarters and her
hacking workshop. On two worktables four monitors are set
up. To the right of the tables is a large server rack.
Franciska is busy typing, and all kinds of data flashes on
the screens.
FRANCISKA
This phone comes from the C - S -
A.
PINHEAD
What is the C - S - A?
FRANCISKA
The Clandestine Surveillance
Agency.
PINHEAD
I see. Why?
FRANCISKA
I think it has to do with your
client. What is her last name?
PINHEAD
Simmons. I am to investigate her
husband Robert.
Franciska nods.
FRANCISKA
Robert Simmons is the top-honcho at
the C - S - A. But why the
kidnapping?
PINHEAD
I have no idea.
Pinhead checks the wall clock.
PINHEAD (CONT'D)
Almost nine-twenty. Are we ready
for the call?
FRANCISKA
Yup. All set. It's on speaker.
INT. FRANCISKA'S PLACE - NIGHT [S14]
The phone rings. Franciska presses a few keys to connect.
PINHEAD
Well?
The gruff voice of Bob Garrett fills the room.
GARRETT (V.O.)
Where are you? You messed with the
phone?
PINHEAD
Far from it. Now what do you want?
GARRETT (V.O.)
We want you to stop working on the
case and hand over everything.
PINHEAD
How do I know Alura is OK?
GARRETT (V.O.)
I can let her talk.
PINHEAD
I want her on screen, and have her
read something I tell her.
GARRETT (V.O.)
Wait...
Franciska turns to Pinhead, then mutes the phone.
FRANCISKA
Clever!
PINHEAD
What about the trace?
FRANCISKA
I'll be done before the call is
over.
Garrett reappears on the phone. Franciska unmutes.
GARRETT (V.O.)
Here. Make it brief. No funny
stuff.
The phone switches to video. ALURA SIMMONS appears.
Pinhead looks at the wall clock. It shows 9:21.
PINHEAD
Alura, what's the date and time on
the phone.
GARRETT (V.O.)
Go ahead.
ALURA (V.O.)
(on screen)
April 12, nine-twenty-one, P.M.
(scared)
Pinhead!
The screen goes blank.
GARRETT (V.O.)
That's enough. Now about your case
notes...
INT. CSA EXECUTIVE COMMANDER OFFICE - NIGHT [S15]
A lavishly appointed office with a large desk. A picture
window reveals the city's skyscrapers. On the desk, a photo
of Alura. Behind the desk, Executive Commander Robert
Simmons glares up at his visitor: the Program Director.
SIMMONS
What do you mean you lost him? You
used our tracer phone, right?
PROGRAM DIRECTOR
Pinhead must know someone who
neutralized it. He couldn't do it
himself.
SIMMONS
Well, find him!
PROGRAM DIRECTOR
Yes, sir!
The Director leaves.
Simmons smiles faintly and presses the intercom button on his
phone.
SIMMONS
Odette! Please come. I need you.
ODETTE DURAND enters. She's a young woman in an outfit that
is quite daring for a secretary.
SIMMONS (CONT'D)
Did you finish the Pinhead files?
ODETTE
(French accent)
Yes, Monsieur Simmons.
She walks up to him and hugs him from behind. Simmons slowly
shakes his head.
SIMMONS
Darling, I'm SO sorry, our dream is
turning into a nightmare.
Odette looks puzzled and kisses the top of his head.
ODETTE
Monsieur?
INT. FRANCISKA'S PLACE - NIGHT [S16]
Franciska is busy with the keyboard. Pinhead watches in awe.
FRANCISKA
(to herself)
OK, this is the account it came
from. This is the closest tower.
Now a bit of triangulation...
Pinhead shakes his head.
PINHEAD
Gobbledygook to me... Better leave
her to it.
Pinhead turns to the camera.
PINHEAD (CONT'D)
You know, this was going to be such
an easy case, like I have done many
times... About a week ago, Alura
Simmons hired me to check on her
husband, Robert, who'd started to
come home later and later.
In the background, a window with a complicated network
diagram is displayed on Franciska's LCD screen. On another
window lines with numbers flash by.
PINHEAD (CONT'D)
I began my surveillance. Simmons
went to work in the morning, stayed
all day and worked late. When he
left, I tailed him; he went
straight home.
Pinhead shakes his head.
PINHEAD (CONT'D)
It was boring... Then one night,
same thing at first, but then
Simmons took another route. I
followed...
INT/EXT. PINHEAD'S CAR - NIGHT [FLASHBACK] [S17]
Pinhead drives down a woodsy and bumpy country road in his
old Ford pickup. He's in pursuit of a white Bentley. He
keeps his distance but follows the Bentley at every turn.
INT/EXT. BENTLEY - NIGHT [FLASHBACK CONT'D] [S17]
Simmons is behind the wheel. In his rearview mirror, the
Ford is just visible. He uses his Bluetooth phone.
SIMMONS
He's here again. Don't use
violence. Just scare him off.
GARRETT (V.O.)
Yes, boss!
EXT. COUNTRY ROAD - NIGHT [FLASHBACK CONT'D] [S17]
The Bentley goes through a crossing, where a large red pickup
truck is waiting. When Pinhead passes, the truck emerges
from the side road, cutting off the Ford.
Pinhead steps on the brakes and the Ford comes screeching to
a halt.
INT/EXT. BENTLEY - NIGHT [FLASHBACK CONT'D] [S17]
Simmons sees only the blocking truck in the rearview mirror.
He smiles.
The Bentley moves on, leaving the Ford and the truck behind.
EXT. COUNTRY ROAD - NIGHT [FLASHBACK CONT'D] [S17]
Garrett gets out of the truck and approaches the Ford.
Pinhead has rolled down the window.
PINHEAD
What's the problem?
Garrett glares at Pinhead through the open window.
GARRETT
It's you. Lay off of Mr. Simmons,
or else...
PINHEAD
Is that a threat?
GARRETT
Yes. And I won't warn you again!
INT. FRANCISKA'S PLACE - NIGHT [S18]
An excited Franciska shakes a dozing Pinhead by the shoulder.
FRANCISKA
Pinhead, Pinhead, wake up!
Pinhead slowly opens his eyes.
PINHEAD
(groggy)
Uh, what?
FRANCISKA
I found the place!
PINHEAD
What place?
Franciska looks frustrated.
FRANCISKA
Oh dummy, where the call came from,
of course!
Pinhead perks up.
PINHEAD
Franciska, you're a genius! How
did you do it? On second thought,
don't tell... So, where?
FRANCISKA
It's a few buildings down the
street, at the corner of Seville
and Third!
Pinhead is astonished.
PINHEAD
What?
FRANCISKA
Right. I wasn't sure at first. I
needed to double-check. Anyway,
what's next?
PINHEAD
I do have an idea, but we will need
some help. Do you still see Carl
sometimes?
Franciska nods.
FRANCISKA
He owes me. I'll give him a call.
INT. KIDNAPPER'S ROOM - NIGHT [S20]
SUPER: "KIDNAPPER'S LAIR"
Alura sits on a couch. Garrett sits at a desk staring at the
smart phone he's holding. The sound of a Popeye cartoon
fills the room.
Alura slowly turns her head to glance at Garrett, to quickly
look straight ahead again when he glares back at her.
Garrett returns his attention to his cartoon, grimacing in
various ways to show his reaction to the story.
EXT. CORNER OF SEVILLE ROAD AND THIRD STREET - NIGHT [S19]
CARL is surveying Third Street. He's wearing dark clothes
that contrast with the fog that surrounds him. At the
opposite corner, Pinhead is checking out Seville Road.
He nods at Franciska, who speaks into a Bluetooth phone.
FRANCISKA
Hey, Carl!
Carl has a Bluetooth phone as well.
CARL
Yo, Fran!
FRANCISKA (V.O.)
(through phone)
Go, now!
Carl runs towards a large red pickup truck and skillfully
opens the door. Immediately an alarm goes off with flashing
headlights and a honking horn.
INT. KIDNAPPER'S ROOM - NIGHT [S21]
Garrett's answers his ringing smart phone.
GARRETT
Who's this?
FRANCISKA (V.O.)
(through phone)
Never mind that.
EXT. CORNER OF SEVILLE ROAD AND THIRD STREET - NIGHT [S19]
Franciska speaks in her Bluetooth phone.
FRANCISKA
Someone is nipping your car.
GARRETT (V.O.)
(through phone)
Oh, no! Shit!
Moments later Garrett sprints out of the corner building,
leaving the front door open.
Meanwhile, Carl is busy inside the truck. Suddenly the alarm
stops, and Carl manages to start the car.
Garrett dashes around the corner and runs towards the still
stationary truck. Just then, Carl drives off. Garrett
chases after the truck and both disappear into the fog.
EXT. SEVILLE ROAD - NIGHT [S22]
A clock strikes one. Franciska and Pinhead stand in front of
the corner building. They give each other a fist bump.
PINHEAD
Good work! I'll fetch Alura. I'll
see you downstairs.
Franciska nods and walks off towards the manhole cover.
Pinhead gazes after her admiringly, then turns to the open
front door of the building.
INT. SEWER TUNNEL - NIGHT [S23]
Franciska is behind the wheel of the parked jeep, with Alura
next to her. Pinhead sits on the steps leading to the upper
platform. He turns to Alura.
PINHEAD
You'll get a full report, but I
know that your husband was behind
it all.
Alura looks angry.
ALURA
The bastard. Why?
PINHEAD
He tried to jeopardize the case.
Which was puzzling, because I
couldn't find anything, and would
have given up.
Alura shows surprise.
ALURA
Why didn't you?
PINHEAD
Well, he then set a trap and had
Garrett, your kidnapper, threaten
me. That made me think that he
didn't want me to look where I
hadn't looked before.
FRANCISKA
Which was inside, where Pinhead had
no access. Simmons then realized
he had made a mistake and needed to
take drastic measures.
PINHEAD
I thought it might be an affair,
and it was, but inside, an internal
affair...
ALURA
I've been so blind! It's that
French tart, Odette! She once was
at a party at our home. I remember
her revealing dress and "Midnight
Heat" perfume... That's what I
smelled on Robert's suit the other
day!
Alura bends her head and shakes it slowly. Franciska looks
on in sympathy.
FRANCISKA
Let's go. I'll take you somewhere
safe. Pinhead, what about you?
Pinhead shakes his head.
PINHEAD
I'll sleep in my office. Have a
good night.
Franciska and Alura drive off. Pinhead checks the Seville
Road exit monitor. Officer Anderson stares at the manhole,
which is not covered.
PINHEAD (CONT'D)
Oh, I'm so stupid.
He presses the intercom.
PINHEAD (CONT'D)
Gregory? You there?
A load snoring emits from the intercom speaker.
PINHEAD (CONT'D)
Bloody hell, well too late. Better
try an other exit.
He slowly walks down the platform surrounded by the dampness
rising up from the water.
INT. PINHEAD'S OFFICE - DAY [S24]
SUPERIMPOSE: "WALTER PINHEAD'S OFFICE - ONE WEEK LATER"
Pinhead's office is decorated like that of a fifties private
eye. The desk is old, with an old typewriter and telephone.
There is an old radio, and on the ancient file cabinet sits
an old fan that tries to keep the place cool. The only
recent commodity is a flat screen TV mounted on the wall.
Pinhead sits behind the desk, and Franciska is stretched out
on the couch. They watch a newscast that's playing on the
flat screen.
FLAT SCREEN TV - NEWSCAST
A FEMALE NEWS ANCHOR sits behind a large desk on the newscast
set. She is in her late twenties and formally dressed in
blazer and skirt.
ANCHOR
Now the rest of the news. The
Clandestine Surveillance Agency has
announced that Executive Commander
Robert Simmons will step down.
On the studio screen behind the announcer, images of Robert
Simmons in his office appear.
ANCHOR (CONT'D)
No official reason was given, other
than that Mr. Simmons is leaving
the C - S - A for personal reasons.
The announcer smiles.
ANCHOR (CONT'D)
So much is certain, though: his
departure is not a case of: "I want
to spend more time with the
family".
Alura appears on the screen.
ANCHOR (CONT'D)
Yesterday, his wife Alura Simmons
filed for divorce, and she has even
accused her husband of kidnapping
her. These allegations have been
substantiated by Walter Pinhead, a
private investigator hired by Ms.
Simmons.
A shot of Pinhead appears, in private-eye attire.
PINHEAD
Mr. Pinhead and his assistant were
also instrumental in the rescue of
Ms. Simmons about a week ago.
Pinhead is shown, gesticulating in the kidnapper's room.
PINHEAD'S OFFICE
Franciska glances at Pinhead.
FRANCISKA
Assistant?
Pinhead looks at her sheepishly.
PINHEAD
Well, uh...
FLAT SCREEN TV - NEWSCAST
ANCHOR
Mr. Pinhead is working with the
authorities, as there is more to
this case than meets the eye, even
the private eye.
Franciska turns to Pinhead, who shrugs dismissively.
ANCHOR (CONT'D)
Mr. Pinhead has kindly agreed to
appear in a special presentation on
this channel, titled "The Lost
Client".
An announcement appears on the screen for "The Lost Client".
ANCHOR (CONT'D)
In this exclusive, which will air
next Saturday, all will be
revealed. That was the news. Over
to Christine for the weather.
PINHEAD'S OFFICE
Pinhead switches the TV off. He turns to Franciska.
PINHEAD
Franciska?
Franciska looks up.
FRANCISKA
Aha?
PINHEAD
I would like to take you out to
dinner.
Franciska shows surprise.
FRANCISKA
Oh, really? I thought you'd never
ask...
She smiles cutely at Pinhead.
FADE OUT:
THE END