Ballard spends little time convalescing in the hospital.  On his doctors advice he is soon back on his feet, moving around as best he can.  It is on one of his journeys down the corridors of the empty hospital that he first meets Remington and Vaughan. 

It is never made completely clear at which point Remington and Vaughan met.  Perhaps it was in the hospital, in much the same way as they are introduced to Ballard.  On the other hand it might have been earlier, perhaps Remington had known the power of the impact before it had happened?  Why wasn't her husband wearing a seatbelt?  Were they already engaged in a journey of eroticism?  Cronenberg leaves many of these questions tantalizingly unanswered.  The curious must tap into the source material (JG Ballard’s novel) to find the answers.  In the context of the film we are spared superfluous detail that might detract from the Crash influence. 

The opening shot is interesting because it seems to go on for a long time.  It's a shot of Ballard's wounds as he moves along, with particular attention paid to his leg brace and healing scars. 

Remington and Vaughan walk around a corner.  Remington is moving with her head twisted awkwardly to the right.  It's not a natural pose, but rather seems to exist only so she can better display the seatbelt wounds on her shoulder. 

Ballard addresses her, saying her name.  At this point she turns her head and they look into each others eyes, just as they had in the immediate aftermath of the accident.  Remington takes a sharp intake of breath, and has to hold on tightly to her walking stick in order to keep her balance.  It's as though the relationship she only suspected existed, is now confirmed.  We might have anticipated anger, sadness, or mourning.  Instead we see affirmation of her strong emotional tie with Ballard.  This severely questions any pre-supposed notion we might have of grief and blame.  As an audience we have, once again, our expectations subverted. 

Remington does not acknowledge Ballard further, and in fact she begins her journey beyond him and down the corridor, leaving Vaughan behind.

The suspicions that Remington and Vaughan already knew each other is supported here.  Obviously they have already been together by the time they meet Ballard.  In later scenes it is Remington who takes Ballard to the crash re-enactments and Seagraves apartment.  It is Remington who answers Ballard's questions about Vaughan.  Either Remington and Vaughan knew each other before, or Remington and Vaughan are on an accelerated introduction and journey.

Vaughan is performing a ruse.  In effect, he has no purpose in being at the hospital.  Though he has many injuries, none of them are getting treatment.  When we see him here for the first time he is dressed in a doctors coat, and is carrying an array of injury pictures.  It's an elaborate drama, perhaps to ensure he gets access to remote parts of the facility, or to ease his intended partners into their new roles.

Vaughan performs an impromptu examination of Ballard's wounds, and the elaborate apparatus that is holding his leg together.  He is barely able to stop himself from touching Ballard's scarred skin, at this point a step too far. 

Looking back at the pictures in his hand he quips:  "We'll deal with these later."  Which indeed they do, in Vaughan's workshop. 

It is the final exchange between the men that is perhaps the most telling.  Vaughan looks straight into Ballard's eyes, and they stare at each other for a moment. This echoes the initial meeting between Ballard and Remington.  Vaughan is seeking out some truth, looking into Ballard's soul to see is he's ready for the next evolution.  Ballard looks shocked, as Vaughan leaves him to follow Remington.