From here the script leaps to the climactic ritual sequence, during which a bound and gagged Lucina is first surrounded by hooded weirdoes and then is offered to Satan by Martine. In the script dated 11/7/71, the dialogue reads exactly as it appears in the film.
Michael A. Aquino, the Church of Satan consultant brought in to advise (and spiff-up) the ritual sequence, offered up a comparison between an early scripted sequence penned by Girdler and Pat Kelly and his full re-write. Among other things, the first version lacks the rousing, "Ave Satanas! Rege Satanas! Hail, Satan!" The following dialogue, authored by Girdler and Kelly, is a text extract from The Church of Satan by M.A.A:
Appendix 50: Draft Script Extract from Asylum of Satan- by Studio One Productions
MARTINE: I conjure and command thee, Lucifuge Rofocale, by
all the names wherewith thou mayst be constrained and bound,
Satan, Rantan, Pallontre, Lucifer, and Coricacoem, as I command
thee. Thou who imposeth hatred and propagateth enmities,
I conjure thee by him who hath created thee for this ministry,
to fulfill my work.
Hear (pause) ... thou Lord of darkness, ruler of thy sacred lower
world ... Hear and see thy humble subjects.
All rites have been offered up to thee by this wretched host.
Sacrificial rites by acridian, fire, serpent, and dismemberment
have been accomplished.
Behold! ... Now thy ultimate gift has been prepared ... Arise, come to
us ... Come to us, O Master and receive ... thy new maiden ... an
unblemished gift to serve thee now and ever more.
Hear us, Master ... Hear and come to us ... Present thy most awesome
presence before us ...
After invoking the name of Satan, Martine reveals herself to be Dr. Specter in drag. Then, according to the script:
261: MED. ANGLE - JASON AND CREATURE (SPECIAL FX)
Suddenly, as though frozen in life, Jason stops laughing and stands completely still. Out of the crest of Satan (the inverted pentagram necklace) a small image appears and grows quickly until it matches Jason's body size. It is the creature of Satan. Red, scaly, and with a head of dragon features. The RUMBLING SOUND STOPS. The creature steps from the image of Jason. A HISSING SOUND is HEARD as smoke clings to his body.
Satan moves toward Lucina and inspects his 'virginal' offering. The script describes the creature's eyes as 'glowing with excitement.' Uhh, yeah.
Similar to the film version, the head aide pulls out some creepy surgical instruments as Lucina squirms and squeals in terror. Satan suddenly realizes his sacrifice is impure. Upon this realization, the hooded figures all turn to face Dr. Specter.
279: FULL ANGLE - CREATURE AND PATIENTS AND LUCINA
The patients take a step TOWARD the CAMERA position. The creature is in the center. Lucina lies on the table in the f.g.
PATIENTS' VOICES: (in unison, slowly, slight echo) You have deceived me. (beat) You have presented a sacrifice that is unsatisfactory ... you have deceived your master ... another must now be chosen.
280: CLOSE SHOT - JASON
Jason is drawn back, completely confused and shocked.
JASON: But, Master, I examined her myself. I have not deceived you!
281: MED ANGLE - HOODED PATIENTS
PATIENTS' VOICES: You have broken our sacred pact.
The patients clear a path for Satan, and the demon approaches Jason and Orderly Claude. Dr. Specter begs for another chance, but Satan won't hear of it.
The creature raises his webbed arms and there is fire, smoke, screams from Jason and the head aide, and as the smoke clears, all that is left of them is burned marks on the stone.
Outside, police cars surround the hospital. Chris Duncan, Walsh, and several officers enter the dilapidated asylum. Chris spots a red glow emanating from the basement door and draws attention to it. The men charge the basement, but find dusty boxes where the hooded patients stood only moments ago. Lucina lies on the floor unconscious and is roused by her lover. The police escort her to their waiting cars. Chris lingers behind for a moment.
From here, the script describes the closing moments of Asylum of Satan in a way that, well, actually sort of makes sense. And the positioning of the final scenes against the closing credits is far more ambitious as described by the script:
292: STAIRWAY -- MED. ANGLE -- CHRIS, LUCINA AND POLICEMEN
Suddenly, Chris turns his head as if hearing something. He then stops and turns TOWARDS the CAMERA which MOVES in CLOSER on him.
293: CHRIS' P.O.V.
The basement is once again the altar room. The hooded patients are walking toward CAMERA POSITION and in the CENTER. is the CREATURE.
294: CREATURE'S P.O.V. - CHRIS
Through a RED filter and SMOKE we see the horrified face of Chris. A HIGH WHINING SOUND is EXTREMELY LOUD. FREEZE FRAME.
295: EXT. HOSPITAL -- VARIOUS ANGLES - POLICEMAN, WALSH, LUCINA
Through VARIOUS ANGLES we see the police looking around as they get into their cars. Lucina is placed in the back seat of the police car. The men prepare to leave as the FINAL PRODUCTION CREDITS are SUPERIMPOSED over the SCENE. The BALLAD HEARD BEFORE is PLAYED AGAIN.
As the final CREDIT APPEARS and FADES OUT, Chris walks out of the house and over to the police car. His face is hidden in shadows.
295A: CLOSER ANGLE - CHRIS
As he reaches the car door he stops and looks back at the hospital.
295B: HOSPITAL (NEW) - CHRIS' P.O.V.
The hospital is now alive with activity. Through the open front door we see the brightly lit hallway. A nurse walks by.
296: INT. POLICE CAR - MED. ANGLE - LUCINA AND CHRIS - NIGHT
Chris opens the door and climbs in next to Lucina. She looks up at Chris and leans against his shoulder.
297: CLOSE SHOT - LUCINA
She squeezes his arm, then leans her head back against the seat. Her expression reveals her love and confidence in Chris.
298: EXT. POLICE CARS, HOSPITAL (OLD)
The police cars start to move around the circle and drive off. In the b.g. we see the dark, deserted hospital.
299: INT. CAR - CLOSE ANGLE - CHRIS
Chris sits in the back seat, looking straight ahead. His face is hidden by dark shadows. After a moment the lights from one of the turning cars pass over his face revealing his eyes which now glow red. The HIGH WHINING SOUND is HEARD AGAIN.
LONG FADE OUT.
Closing Thoughts and Queries
- I like how the script actually establishes the Asylum as an inter-dimensional entity; something that exists outside of reality. The space-and-time distortion works much better in the script than it does on film.
- Even with the famed 'lost' virgin examination scene, the outcome of the movie remains a puzzling affair. How the hell did Dr. Specter NOT realize Lucina wasn't a virgin after such up close and personal inspection?
- A point of personal speculation: Maybe Carla Borelli never actually slept with Nick. Maybe they only engaged in Monica Lewinsky/Bill Clinton-styled activities. In which case, Satan obviously doesn't split hairs over the meaning of "sexual relations."
- The ending infers without a shadow of a doubt that Nick Jolley IS the new Dr. Specter. He's the new incarnation of evil. In effect, Nick Jolley IS the Asylum of Satan. Does this mean that Nick Jolley was a virgin? (now THAT I could believe.) Was HE the sacrifice selected by Satan?
For additional information, analysis and commentary on Asylum of Satan, please see:
The Asylum of Satan Extended Summary
The Don Wrege Interview: Grip of Satan
The Asylum of Satan DVD (audio commentary featuring yours truly)