Pam searches for Kirk inside the house and finds a room that’s filled with discarded bones — both human and animal. She falls through drawn curtains onto a floor littered with feathers and remains, and we can hear chickens clucking (hanging in a cage). It’s a peculiar room that’s better suited for a barn than a furnished home, but makes sense with the hung-up hides elsewhere. Then she notices a furniture centerpiece, a bench made from people’s bones with decorative intent.
Pam’s still soaking in her surroundings from the floor, still in too much shock to rise. Dismantled skeletons and smashed turtle shells dangle from the ceiling like school art projects. The score begins to intensify, a clatter that sounds like a weed whacker whir behind constant clucking. The camera hovers over pelvic bones, the implements that were presumably used to break down bodies, and other gnarly images — being sure to splice in Pam’s face now and again.
After long enough, Pam finally gets up and stumbles back into the house’s vestibule. At the same time, a back door swings open and the same masked man who brutally killed Kirk appears. The ungentle giant chases Pam as she just gets past the front door, then snatches her back inside with a bear hug grip.
The brute — who we now know as Leatherface — carries Pam to his backroom workstation with tables, coolers, and meat hooks. As Pam continues to scream, he hoists her onto one of the curved silver spikes. Her horrified squeals turn to painful gasps, the sharp metal rod now stuck through her back. She grasps the rod behind her back but doesn’t have the strength to pull herself up. That’s when Leatherface revs his chainsaw and starts cutting into the fresh meat on his butcher’s table, as Pam can only watch from the hook, knowing she’s next.