As the body of the young woman is lifted and carried away, attention shifts upstage to the familiar image of Becci suspended upside down by her feet, with Danny lying beneath her head. This is where the story began. We seem to have travelled back in time, but now we are back in the present. The music and sounds are the same and a film replays the footage of the playground, the waterfall; the family photographs; a frog?
Her opening movement is the same as before but this time when she reaches for Danny, she manages to ruffle his hair and, he reaches up and catches her hand. He doesn’t let go and instead, with great effort, swirls around and hauls himself up her body. His weight brings her upright and for a moment they are facing each other. She wraps her legs around him and both extend their arms in a back-bend movement reminiscent of the opening scene. He curls himself around her body in a foetal position so she is supporting his weight. It is intimate but desperate. He seems to be trying to use his body as a weight to anchor her to the ground but the strop will not allow that to happen and he walks away. They are still just as disconnected and remote as before.
A lightbulb has lowered into the space and Danny cups his hands around it. Whatever it represents, it is quickly raised to just beyond his reach. He walks away, dejected. Meanwhile Becci has freed herself from the strop and follows, floating – like the women in the earlier scene and with the same arm gesture. All is dark except for the light emanating from the bulb and from the film projection behind her which shows a group of faces in a family photograph. The lightbulb is now within her reach and, as she cradles it sadly, there is a huge sense of loss. In the same way that lightbulbs were associated with anxiety in the earlier scene, this lightbulb torments the couple.
