the hotel (Delbert) and the part which is given the choice of whether to join the legacy of the hotel's murderous past (Charles), just as the man in the photo is not exactly Jack Torrance but nor is he someone different. Jack in the photo has 'always' been at the Overlook; Jack the caretaker chooses to become part of the hotel. The film's assistant editor Gordon Stainforth has commented on this issue, attempting to steer a course between the continuity-error explanation on one side and the hidden-meaning explanation on the other; "I don't think we'll ever quite unravel this. Was his full name Charles Delbert Grady? Perhaps Charles was a sort of nickname? Perhaps Ullman got the name wrong? But I also think that Stanley did NOT want the whole story to fit together too neatly, so [it is] absolutely correct, I think, to say that 'the sum of what we learn refuses to add up neatly'." Among Kubrick's other doubling/mirroring effects in the film: In the U.S. version, Jack's interview with Ullman, whose confident affability contrasts with Jack's seemingly forced nonchalance, is paired with Wendy's meeting with a female doctor, whose somber and professional manner contrasts with Wendy's nervousness. During the interview, Jack and Ullman are joined by a hotel employee named Bill Watson, who looks similar to Jack from behind, creating a pseudo–mirror image effect as they sit in chairs to the front-left and front-right of Ullman's desk. The Grady sisters look so similar that they appear to be twins, though they are different ages (Ullman states that he thinks that they were about eight and ten). On two occasions, Ullman says goodbye to two young female employees and in the second case, they closely resemble each other. The film contains two mazes, the hedges outside and, per Wendy's characterization, the Overlook. The hedge maze appears in two forms, the 13-foot-high version outside and the model inside the Overlook. In the overhead shot zooming down on Wendy and Danny in the center of the maze, the maze differs from the map outside and from the model having far more corridors, and the left and right sides are mirror images of each other. The Overlook significantly breaks down into two sections, one old and one remodeled; one past, one present. Two versions of the bathing woman inhabit Room 237. In Hallorann's Miami bedroom, two paintings showing similar nude black