“(PAGE 138): WENDY’S P.O.V. Shooting along landing into open doorway of bedroom. MAN, dressed in Dog’s costume, kneeling at foot of bed.”
This sequence from The Shining (dir: Stanley Kubrick, 1980) became famous for it’s obliqueness, but I’ve always admired Kubrick’s unexplained inclusion of The Dogman, who’s presence in the hotel is articulated through Jack’s flashbacks and Danny’s visions in Stephen King’s book. I prefer seeing The Dogman (and that other dude) filtered through Wendy’s point-of-view: a chilling, incomprehensible tableau, albeit perfectly contextualized within the madness of the Overlook Hotel.