190: LUCINA'S P.O.V. (BODY) - ZOOM SHOT (SOUND CRESCENDO)
Sitting in an old rocking chair in the middle of the empty room sits the half decayed body of a man. The body is dressed in old ripped clothing. The whole scene has a total grotesque and shocking feel to it.

191: INT. 3RD FLOOR HALLWAY - MED. ANGLE - LUCINA - NIGHT
She reels from the room, holding her mouth to muffle or choke her terrified scream. She leans against the wall, eyes closed, breathing deeply, petrified.

192: CLOSE SHOT - BODY - DOLLY SHOT
Slowly the body stands from the chair and begins a deadly walk TOWARDS the CAMERA position. The CAMERA slowly DOLLIES BACK picking up speed through the door into the hallway and HOLDING on Lucina who is trying to control her panic. The body walks steadily towards us. As it slowly appears in the doorway it reaches out and grabs for Lucina. She sees the body, turns and starts to run, her gown ripping under the hand of the body. She runs down the hall, the body following. She runs to the end of the hall into a room, closing the door.

Similar to the filmed version, Lucina locks herself inside Dr. Specter's quarters. She tries to phone out but can't. She sees Specter' medical certificate on the wall dated from 1802. In the script, the organ begins to play by itself (this is not clear in the film; in the script, the keys actually are seen moving as if played by an invisible force).

Jason Specter appears dressed in black with "red eyes." The pentagram necklace he wears glows. He backs Lucina into a corner, but the inexplicable "vampire bite" in the film does not appear in the script.

The scene dissolves back to Lucina's room. She stares at the rain as Martine assures her the whole thing was just a dream. Lucina then remembers loving moments with Chris, including their sex sessions. The depiction of this sequence in the script is almost identical to the movie, except there are even MORE tender Nick Jolley moments.

The next few segments are virtually the same as what's in the movie: the blind girl is killed by snakes in the swimming pool; Walsh releases Chris Duncan (though in the script, we don't see Walsh placing a friendly phonecall to research Chris' story); and Dr. Specter tells Lucina that she'll be released after one final treatment. The segment in which Chris investigates the Asylum greenhouse is mostly similar, except Duncan spies a blood-spattered rock that was used to lop off the blind girl's head. As with the film, Chris brings the severed head (described as being bloody and riddled with bitemarks) to Walsh's office and convinces the lieutenant to return to Pleasant Hill to search the joint.

The sequence that follows is completely different from the film version. In the movie, Dr. Specter is seen playing the organ. A voiceover (Specter's internal thoughts) announces, "We are about to meet again Master. I've kept our pact these many years. The mute was burnt. The blind girl was given to the reptiles and beheaded. The cripple was fed to the insects. Now Master, you will soon have your sacrifice." His organ rhapsody is interrupted by Orderly Claude, who informs Specter that Lucina is prepared. The orderly also describes an ugly confrontation with Lucina during which she bit the orderly. Specter says he must Fetch Martine and the pair exits. (I joke in the DVD commentary how I wish I could have seen Lucina bite Claude ... as opposed to simply hearing about it).

The voiceover in the film serves to explain the deaths of the other patients. Without it, those deaths make little sense. The dialogue is not present in the script. In fact, we never see Specter again in the script until the ceremony scene.

Here's how the sequence unfolds in the screenplay:

247: LUCINA'S ROOM - CLOSE ANGLE - LUCINA - NIGHT
Lucina lies half asleep on her bed, dressed in a robe. After a short moment the SOUND of the DOOR OPENING is HEARD. She opens her eyes and looks O.S.

248: MED ANGLE - MARTINE, HEAD AIDE, AND AIDE
Standing at the open door is Martine, now dressed in a black cape. The sign of Satan hangs on her chest. Behind her stands the head aide with his assistant. They are now dressed in white robes, with the hoods dropped behind their heads.

MARTINE: It's time now, Lucina. We must prepare you for him.

The CAMERA MOVES AROUND as they enter the room. Lucina stands up, looking at them terrified.

LUCINA: Who ... Dr. Specter? (beat) Where is Dr. Specter?

The head aide now moves around Lucina. In his hand is a white clear garment.

249: VARIOUS ANGLES - LUCINA, MARTINE, HEAD AIDE, AND AIDE
As they talk, the head aide's assistant holds Lucina while the head aide changes her clothing. Lucina struggles but to no avail. The garment the head aide puts on her is a sheer white gown, doing little to hide her well formed body.

MARTINE: He's expecting you shortly with the others.

LUCINA: (panic stricken) What do you mean, others? ... Dr. Specter didn't say anything about anyone else.

MARTINE: Oh ... there is only you, my dear ... You are the only one.

LUCINA: Let me go! (beat) I want to see Dr. Specter!

249A: CLOSE ANGLE - HEAD AIDE, LUCINA, AND MARTINE
Lucina grabs the head aide's hand and bites firmly into it. The aide screams in pain releasing his grip. Lucina pulls away and runs towards the door.

MARTINE: (to head aide - mad) Grab her you fools!

249B: FULL ANGLE - MARTINE, HEAD AIDE, AND LUCINA
The aide rushes over to Lucina and grabs her pulling her back towards Martine.

LUCINA: (crying - mad) No!! No!! Let me go. You're not going to touch me ... stop touching me ... I can't stand it.

MARTINE: (firmly) Gag her!!

They obey silently.

LUCINA: (yelling) No ... please don't ...

She is cut short by the gag placed in her mouth.

HEAD AIDE: (to Lucina) It won't help to fight.

MARTINE: Hurry!!

250: NEW ANGLE
They finish preparing Lucina and walk out of the door, struggling as she fights for her freedom. They disappear around the corner.

251: INT. BASEMENT STEPS -- ESTABLISHING ANGLE -- LUCINA, MARTINE, HEAD AIDE, AND ASSISTANT - NIGHT
The door to the basement swings open and Lucina, accompanied by the aides enter with Martine in the back. The CHANT HEARD before is HEARD ONCE AGAIN only louder.