Then the script outlines the famed lost Virgin examination test. Surprisingly, this segment doesn't provide any insight into the film's conclusion of mistaken virginity.
98: CLOSE SHOT - LUCINA
The SCENE opens on a WHITE FRAME. Suddenly, Lucia's head appears REVEALING that the white was the hospital gown.
THE CAMERA MOVES BACK and AROUND as she walks over to the table and sits on it. The door opens and Jason, accompanied by a nurse, enters. For just a second we see the room from which he came. A red glow shrouds the dust-covered room.
99: CLOSE SHOT - LUCINA
She also sees the room and looks confused, but passes it off.
100: MED. ANGLE - LUCINA - JASON - NURSE.
Jason walks up to Lucina, the nurse at his side.
JASON: This won't take long.
Breathe deeply please. Again, un hum. All right, now let's have a look at your throat.
(as he works)
Miss Martin, I know you're nervous and you are understandably upset.
(shines light into one eye, then the other)
But, I'm sure you have nothing to worry about.
(writing on chart)
Now, what about some of these strange things you've seen?
LUCINA: It's just that one minute I seem to be one place, and the next minute, some place else, like another time, another world, a frightening world.
Jason looks at her in deep thought for a moment, then smiles.
JASON: Illusions, my dear, they'll pass away.
Please lay back.
101: ANOTHER ANGLE -- LUCINA AND JASON
The ANGLE shows nothing of what is happening in the examination.
LUCINA: Doctor, I don't think it's necessary for you to be this thorough.
JASON: Just relax.
Lucina tries to smile but it is of little use. The nurse watches on with a look of interest.
LUCINA (cautiously): Who are the hooded patients I have --
JASON: I'm sorry.
102: MED ANGLE - JASON, LUCINA AND NURSE
Jason takes off his plastic gloves and walks over to the sink to wash his hands.
JASON: There. That does it. You may dress now. I'll see you in my office.
(He starts for the door to his office.)
Nurse! Would you help Miss Martin?
LUCINA: Am I alright?
103: CLOSE SHOT - JASON
He looks at Lucina O.S., smiles, almost cynical.
The tests are followed by another sequence in Dr. Specter's office during which he dictates Lucina's prescribed remedy. "I've outlined your treatment for Martine. She'll be in charge of your therapy. I've recommended you take three hot baths daily."
Lucina balks at the suggestion, but upon realizing she has no way to leave she lets the head aide guide her to the bathroom.
The bath scene is pretty much the same. This notice appears on the script: "The amount of nudity is left to the discretion of the director, depending on the rating recommended." An interesting point in the script that doesn't quite come across in the film reads as follows:
The CAMERA MOVES IN slowly on Martine, who seems to be greatly enjoying being with Lucina.
Like the film, the script cuts to a nearby airport to introduce NICK JOLLEY!! (AKA Chris Duncan, Lucina's boyfriend.)
The CAMERA MOVES ALONG with CHRISTOPHER DUNCAN as he rides down the escalator in the airport. He is a handsome man, tall, in his early thirties. We HEAR a DEPARTURE ANNOUNCED over the P.A. System.
As seen in the movie, Christopher drives to Pleasant Hill and fights with Orderly Claude and Dr. Specter, who promptly send Chris away.
The sequence in which Lucina calls to Chris from her window is different in the script. Now, during the DVD Commentary, I poke fun at some camera angle hijinks -- a car that faces one direction is suddenly driving away in the opposite direction without any cues. However, it seems as if this snafu is the result of the following excised sequence:
125 LUCINA'S P.O.V.
Chris is starting to get into his car.
LUCINA'S VOICE: Chris! Up here ... up here ... Chris!
Suddenly the shutters on the outside slam shut, almost BLOCKING out the FRAME.
126: EXT. HOSPITAL - MED. SHOT - CHRIS - DAY
Chris, almost in the car, stops and looks up toward the window O.S.
127: CHRIS' P.O.V.
We see the shutters of Lucia's windows. There is no life at the window, just a flapping shutter.
128: CLOSE SHOT - CHRIS
Chris looks O.S. for a moment until his hair starts to blow, as though a sudden wind had come up. He turns up his collar, then gets into the car.
129: WIDE SHOT -- CHRIS AND LUCINA - ZOOM SHOT
Chris closes the door to the car, starts the car, and drives around the circle TOWARDS the CAMERA. As he almost exits the FRAME the CAMERA PANS UP and ZOOMS IN on the shuttered window.
After Lucina confronts Specter about why Chris was sent away, Dr. Specter has a private moment with the head aide, during which he muses, "That Duncan could cause some complications." The head aide asks, "Is there anything I should do?" Dr. Specter replies, "Not now ... not quite yet."
Chris goes to 'General Hospital" to talk to Dr. Nolan. The dialogue and action is the same as what's seen in the film. The scene ends with a close-up on the wheel of Dr. Nolan's wheelchair, which artfully dissolves into the "crippled woman's" wheelchair back at the asylum.
This brings us to the famous "death by rubber bugs and fire extinguisher" segment. The cripple is led to a "steamroom" to complete her treatment which will hopefully allow her to walk again.
As the crippled woman realizes there are no "fancy machines" in the room to make her well, the script states, "from one corner of the room, steam is starting to enter, filling the room rapidly." The steam becomes a thick fog that hinders the woman's vision.
152: EXTREME CLOSE ANGLE - ROACHES
Coming towards the CAMERA partially obscured by the fog is a large mass of black roaches. They move steadily, greatly agitated.
The woman falls out of her wheelchair. She tries to move herself by her hands, but the floor is slippery from the steam. Black roaches crawl up her paralyzed legs.
157: ANOTHER ANGLE - CRIPPLE - ZOOM SHOT
The fog moves away slightly and we see on the floor the girl covered by roaches. The CAMERA quickly ZOOMS IN on her face, now covered by the roaches and blood. Several roaches are on her tongue as the SCENE goes OUT OF FOCUS.
The next portion takes place in Lieutenant Walsh's office and involves the first confrontation between Walsh and Chris Duncan. The dialogue is identical, except that Walsh actually cools down and politely escorts Chris back to the hospital. The rather apropos line, "I want you to realize how ridiculous you really look," is not present in the script -- perhaps it was a witty ad-lib from Lou Bandy?
Duncan and Walsh arrive at Pleasant Hill hospital. Their banter is the same. They hike to the front door and find that the building looks abandoned.
Suddenly Jason, dressed in old hunting-type clothes and holding a shotgun at the ready, comes around the corner."
You read that right -- gone is the image of the kindly groundskeeper holding a rake. The rest of the scene plays out the same -- Chris recognizes the caretaker as Dr. Specter and tries to beat the old man up (Specter drops his shotgun in the confusion -- pretty ballsy of Chris to attack an armed man, though). Walsh subdues Duncan and the caretaker tells the officer to arrest Chris.
Then we jump to the scene of the Mute's death, which is much cooler in the script than the movie segment. The mute dies via an offscreen outdoor roasting at the hands of a gaggle of hooded figures in the actual film. Without a doubt it's the weakest death in the movie. Girdler's original death scene in the script seems far more interesting (if impossible to execute on a shoestring budget).
171: INT. PHYSICAL THERAPY ROOM -- CLOSE ANGLE - JASON - MUTE AND AIDE - ZOOM SHOT
Jason looks O.S. (gives the impression that he is watching Chris from the last shot) for a moment until the CAMERA PULLS BACK revealing him watching an aide help the deaf-mute into a shower stall. Jason turns and walks out of the room. The aide closes the door to the shower, then turns and walks O.S. as the CAMERA slowly DOLLIES IN TOWARDS the shower. We see the steam coming from the shower stall.
172: CLOSE SHOT - DEAF MUTE
The deaf-mute stands under the hot water of the shower.
173: EXTREME CLOSE ANGLE - SHOWER HEAD - (SPECIAL FX)
Suddenly the water coming out of the showerhead turns to green fire.
174: MED. ANGLE - SHOWER STALL
Through the glass we can see the deaf-mute trying to escape the burning flames. There is NO SOUND.
175: CLOSE ANGLE - DEAF MUTE
The green flames surround him as he tries to scream, but there is still NO SOUND. He slowly slips OUT OF FRAME.