As I read the play, one image kept coming back to me: the mood, and atmosphere of a 1960s roadside motel late at night, lit only by its fading neon sign. The kind you see in classic films, quiet, slightly run-down, lit only by buzzing neon signage. Where everything looks normal at first, but something feels wrong just beneath the surface. These motels are often presented as “safe havens,” places designed to welcome travelers and offer rest, yet in many films they become the exact opposite: isolated pockets where danger hides behind thin walls and bright lights. Hitchcock’s Psycho is the clearest example. The Bates Motel appears ordinary, almost comforting, but it becomes the central landscape for the story’s horror. That is the exact feeling i get from Mushnik’s shop. For Seymour, the shop was a trap disguised as an opportunity. It represented his hope for stability, and even his chance at success and what looks like a failing business from the outside ultimately becomes the source of the unnatural power that leads to his destruction. The shop is an anomaly, hiding in plain sight, pretending to fit into the normal world of Skid Row while secretly pulling the characters into something darker. For my scenic design, I want to bring that roadside motel eeriness onto the stage. I imagine the shop and the street around it having the same energy as a deserted motel glowing under a neon sign at midnight- strangely bright, strangely empty, strangely wrong. While I will stay true to the show’s time period and urban setting, I plan to blend in visual cues inspired by mid-century American motels. The goal is to create a space that feels familiar yet untrustworthy- a place that promises safety, success, and escape, but ultimately leads to destruction.