However, the Expressionistic visual elements of the film are present not only in the main narrative, but also in the epilogue and prologue scenes of the frame story, which are supposed to be an objective account of reality. For example, the frame story scenes still have trees with tentacle-like branches and a high, foreboding wall in the background. Strange leaf and line patterns are seen on the bench Francis sits upon, flame-like geometric designs can be seen on the walls, and his asylum cell has the same distorted shape as in the main narrative. If the primary story were strictly the delusions of a madman, the frame story would be completely devoid of those elements, but the fact they are present makes it unclear whether that perspective can be taken as reliable either. Instead, the film offers no true or normal world to oppose to that of the twisted and nightmarish world as described by Francis. As a result, after the film's closing scene, it can be seen as ambiguous whether Francis or the asylum director is truly the insane one, or whether both are insane. Likewise, the final shot of the film, with an iris that fades to a close-up on the asylum director's face, further creates doubt over whether the character is actually sane and trustworthy. In Brockman's words, "In the end, the film is not just about one unfortunate madman; it is about an entire world that is possibly out of balance". Mike Budd notes that, during the scene in which asylum doctors restrain Francis, his movements closely mimic those of Caligari from a similar scene during the main story. Budd says this suggests a "dream logic of repetition" that throws further confusion on which perspective is reality.