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Sans' basement, once a place of science and experimentation, has been long cleared of the useless machine and blueprints and tools he once toyed with in his designs to escape the Underground, and now holds all the memorabilia he retains of his deceased wife, framed pictures and old clothes and knick-knacks galore. In the drawers of the counter, there are countless photographs, and in one corner, clad in her wedding dress, stands a headless mannequin, lit by an overhead lamp and meticulously clean. Sans retreats to the basement, his shrine to his lost love, when he is most mentally unstable or upset by his life, and finds peace talking to the mannequin, in languishing in all that remains of his bride's presence.