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| - Mary Alice Young's face is shown, inside her cremation coffin. The lid of the coffin is moved, and it covers her face entirely. A label reads her name. Someone's hand turns on the incinerator. The pyre opens up and its fire is seen, flailing about. The coffin makes its way to the fire. Back on Wisteria Lane, smoke is coming out of some chimnee before the camera pans to reveal the idyllic neighborhood. The camera then focuses on the window of Bree Van de Kamp's bedroom, wherein some light is on. Bree is lying in bed, all alone, all awake.
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| abstract
| - Mary Alice Young's face is shown, inside her cremation coffin. The lid of the coffin is moved, and it covers her face entirely. A label reads her name. Someone's hand turns on the incinerator. The pyre opens up and its fire is seen, flailing about. The coffin makes its way to the fire. Back on Wisteria Lane, smoke is coming out of some chimnee before the camera pans to reveal the idyllic neighborhood. The camera then focuses on the window of Bree Van de Kamp's bedroom, wherein some light is on. Bree is lying in bed, all alone, all awake. Bree taps her fingers, rather anxiously. A flashback ensues, and we are treated to a normal dinner party night over at the Van de Kamp household, in which they have invited Paul and Mary Alice Young over. Mary Alice is engaging in a conversation when Bree shows up with a tray of exquisite appetizers. Later, Paul, Rex and Mary Alice are all sat at the dining table, and Bree, being the ever-perfect hostess, lights up a flambé with brandy, with confident dexterity. Once the lovely gathering is over with, and the Young couple bid farewell, Bree says "Bye", gently, and closes the door behind them. Bree turns to her husband, and starts to ask his opinion on the previous well-spent evening, but he is already headed off, seemingly ignoring her. The camera pans to Bree, who, as indicated, has fear reflected in her eyes. Once the flashback is over, Bree is still seen lying in her bed, tapping her fingers. Bree checks the clock on her nightstand and then gets out of bed. Shortly afterwards, she is seen coming down the stairs into the living room, where Rex is sleeping on the folded out sofa. Bree whispers his name and taps him, which wakes him up. Rex tells her it's not even light out, and Bree turns on a lamp, and then proceeds to remove the cover from him, telling him to hurry because if the kids see him down there they'll start asking questions. Rex tells her they can ask because he doesn't care anymore, and Bree lets him know that she does care, as she removes the pillow from under his head. Bree tells him the least they can is try to keep up appearances, and Rex, rather sarcastically, tells her he keeps forgetting about 'appearances'. Bree sits down next to him and tells him he looks so tired, and Rex reveals that he couldn't sleep, because the sofa bed is too uncomfortable. He gets up and so does she, suggesting in the meantime that he move back upstairs and sleep in their bed. Rex tells her he thinks that'd confuse things, since they're in marriage counseling. Bree comes out with the truth that she misses him, and Rex says he knows she does; he then says that if he doesn't get some sleep soon he'll be forced to move back upstairs out of sheer exhaustion. He then heads upstairs, and Bree reveals a rather wicked grin. Once Rex is surely gone, she reaches for a pair of pliers hidden in a drawer, lifts up the mattress from the sofa bed's frame, and we can see several metal springs have been cut and are jutting straight up, so as to provide discomfort to the person utilizing the mattress. Bree proceeds to cut one more spring and aim it up. She then taps the end with her finger to make sure it's really prickly. She then puts the mattress back down over the jutted up springs.
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