Pile of ash
As the first few moments happen in darkness, the play effectively begins with the image of the pile of ash in the middle of the floor, and it remains the most important image of the play. The pile of ash drives home the idea that he is truly gone, that he has been smited by God, that Loureen reduced him to nothing when she knocked him off his seat of power—in a way, it's more powerful than if he were a dead body or if were gone completely.
The ringing phone
The ringing phone is the only sign of the outside world—that is, outside the world of Loureen and Florence—that we actually see in the play. The image of it ringing off the hook, and the women wondering if it's someone looking for Samuel, gives a sense of anxiety to the scene. Within the space of their friendship, they are safe; anyone else could be a threat.
Saint Loureen
Loureen's creates a panicked vision of herself as “Saint Loureen” due to Samuel's deus ex machina death by spontaneous combustion. The freak occurrence makes Loureen briefly entertain the idea she has miraculous powers and she is also to blame for Samuel's death. Loureen jokes she is the one blessed to save all abused housewives. She renders this saintly image of herself through Biblical metaphor akin to the description of Jesus Christ. She suffered under Samuel so she can save all other housewives. Only Loureen can turn the abusive husbands of the world to dust (in her fantasy).
Samuel's jacket
When Florence grabs Samuel's jacket, Loureen immediately tells her to stop, that he'll be upset if it wrinkles. Of course, he's not here anymore, but the jacket is enough to serve as a reminder of his ways. Sifting through his pockets, Loureen finds various items, including a ticket that he lied to her about. The image of her throwing the jacket in the trash works in tandem with her blowing Samuel up—she is ready to be rid of him.
Florence's pot of rice
More than once, Florence refers to the pot of rice that she must get back to. The image of the rice bubbling away on the stove, and no one else tending to it, perfectly captures the loneliness and the frustration of her domestic life. The rice, like her marriage and her family, are anchoring her to a place she doesn't want to be anymore.
