The camera cuts to what looks like a small room in a gallery. The walls have several old oil paintings on them, and several white marble statues are organised around it. Most strikingly are four green marble columns creating a diamond shape at the 4 points of the compass. In the center of them is a large sarcophagus like structure, currently the lid is down to one side, leaving the inside open. Before we get to see what's inside the structure the camera cuts to the rooms doorway. Coming through it are 2 figures, dressed in a black jump suit, and their face obscured by black balaclavas. They are carrying someone else, between them, who has a hood over her head, and several leather straps around different points of her body. The two figures in black approach the sarcophagus and lay the girl down inside, and both bend down to adjust something, until both stand strait, and with a nod to each other walk away.
The camera cuts to a view looking down into the sarcophagus. We see a girl wearing a red designer dress, currently with around a dozen or so black leather straps wrapped around her body, starting at her ankles, going all the way to her neck. Several of the straps have also been clipped to loops on the inside of the sarcophagus to keep her in place. Her hands are now free though, so she uses them to pull the hood off her head. This reveals her face. She appears to be in her early twenties, has long blonde hair, and brown eyes. She wears a smoke effect brown eye shadow, with long massacred lashes, and a subtle pink lipstick on her lips. She violently struggles in the straps, but before she can do anything she is joined by the sound of familiar footsteps.

Porcelain: Hello Rachel. It's playtime!
Rachel: What's happening? This was supposed to be my path to safety.
Porcelain: You are safe. You're here to play with me, and I always take such good care of my playmates.
Rachel: Well this isn't fun. Untie me now.
Porcelain: It appears your not quite aware of your situation. I'm not surprised, you've been living in a fantasy world for so long. Lets start with the basic's this is my play room and I'm in charge, and fan that I am of a beautiful female form, your looks won't manipulate me into doing what you want.
Rachel: What are you talking about?
Porcelain: I may have been living abroad the last few years, but I'm not unaware of the way things work. The men are told to be lads, which as far as I can tell means acting like a bellend so you fit in with the other bellends. The women are told to be divas. Make yourself look pretty and you can expect lots in return. Prostitution may be frowned upon by those who think their holier than though, but sex is still a currency, men are told they have to earn it with gifts or whatever, women are slut shamed for giving it out to easily.
Rachel: That's not true. I sleep with my husband because I love him.
Porcelain: I'm sure you do love him. Tell me though, would you have so readily fallen in love if he was a builder or plumber, rather than a rich footballer. Would he have so readily fallen in love if his first impression wasn't a perfect 10 blonde, in a revealing dress.
Rachel: That's not fair.
Porcelain: One thing I do know for certain is you've happily adopted the diva lifestyle. Your always out at the places to be seen in the latest designer dresses, happy to stroll the red carpets in order to make the celebrity pages, and now you've chosen to participate in a celebrity reality show, and look where that's got you.
Rachel: How on earth did you set all this up anyway? I was promised a full security team to protect me. How come they didn't stop you?
Porcelain: Oh I have my methods. If I was you though I'd think about our upcoming play date. You'll be pleased to know I plan to maintain the life of luxury you enjoy, but I can't make any promises about your red carpet image.

The camera cuts to a shot looking up from where Rachel is lying as a spotlight clunks on, and lights up the ceiling. Above the sarcophagus there is an open hatch in the ceiling, on opposite sides of the hatch, lined up along the length of the sarcophagus are the ends of two large conveyor belts, about 5 foot wide. We can't see what's on the belts, but it's clear that whatever drops off the end will fall down on to the sarcophagus.

Porcelain: Especially for you I've arranged for a huge collection of some of the most gorgeous and decadent cakes and gateaux's available, along with a few of my favorite pies, because why shouldn't I think of myself occasionally. There all lined up on the two conveyor belts above, so when they get turned on you'll get to enjoy all of them. Won't that be wonderful?
Rachel: Not while I'm stuck here.
Porcelain: Oh I don't know about that, and even if you don't like that I've got another nice surprise for you. Once the cakes run out that box your lying in is going to fill with my thick gooey pancake batter, and your going to get completely covered in it. Won't that be yummy.
Rachel: No.
Porcelain: Really. Well I suppose you want to get out. It's simple really, the straps keeping you held down are held in place by electromagnets. All you've got to do is trip the switch that turns them off. If you look to your left you'll see.

The camera cuts to a shot of the side of the sarcophagus. It's a section made of a clear Perspex, with a small circular hole, about an inch across in it. Through the hole we see a set of scales, with a large brass tray as the weighing pan. Behind it is a vertical dial, with an arrow at the bottom, and a red line about eight inches above the arrow.

Porcelain: All you have to do is put enough weight on the scales, and you'll be free, and thanks to all the cakes I've so nicely provided you'll have lots to weigh them down with. Have fun.

With that Porcelain walks away, pausing only to turn over an hour glass as she leaves.

The camera cuts to Rachel as she violently struggles in the leather straps, trying to loosen them with her hands. The camera then cuts to a shot looking up at the hatch as two pies fall over the edge of each of the two conveyer belts, and all four pies fall towards the camera. Before they hit the camera cuts to a shot of Rachel. A large cream pie falls on her face, and the other three cakes fall on different parts of her restrained body. The camera cuts to a close up of Rachel's face, now covered in a thick white cream, and crumbs of pastry, as she gasps and wipes some of the cream away from her eyes.

Rachel: Somebody help me!

There's no response as the camera cuts to a shot of a luxurious black forest gateaux, topped with cream and cherries as it edges it's way over the edge of a conveyor belt. The camera cuts to Rachel, as she continues to struggle with the straps as the black forest gateaux hits her in the chest, disintegrating with the force of the impact, spreading the cream, jam and cake crumbs everywhere. Rachel lets out an annoyed grunt as she grabs a handful of cake from down by her side and squashes it up against the hole. The camera cuts to the other side to show some of the cake slowly seeping through the hole with some of it dropping down to the scales. We here a thud as another cakes falls down as the camera cuts to the hour glass, and we see about a third of the time has gone.
The camera cuts back to Rachel as a pastry encased pie splatters on her legs, revealing a thick red cherry filling that cascades in all directions. Rachel stops to struggle in the straps holding her, but wriggles around to no avail. A pastry base with a thick chocolate mouse topping falls down onto the side of her head, leaving a chocolate colored layer on her hair, along with the various substances that now coat much of her body.
The camera cuts to the hour glass and we see only forty percent of the time is left. The camera cuts back to Rachel as she grabs another handful of cake and squeezes it against the hole. Once again the cake seeps through slowly.

Rachel: Why didn't they make this hole bigger?

The camera cuts to a close up of the hole as Rachel uses her free hand to break up the cake, and push the cake through more firmly. The camera cuts to the other side to reveal the cake is coming through notably faster, with some large lumps falling on the scales. The camera cuts to the dial as it raises to about fifteen percent, then to the hour glass that shows only twenty-five percent of the time is remaining. We hear a yelp as the camera cuts to Rachel who is now wiping off a coating of thick yellow custard from the pie that just fell on her face.
The camera cuts to the dial as it slowly starts to rise in reaching twenty percent, then twenty-five then thirty. The camera then cuts to the hourglass as the last of the sand runs out. A loud siren blares out as the camera cuts to a shot of the lip around the top edge of the sarcophagus. We see a heavy stream of pancake batter pumping out of an unseen source, falling down in to the sarcophagus. As the camera zooms out we see that batter is now pumping in from several sources around the lid, and that Rachel is already lying in about three inches of batter. We see Rachel desperately struggle to get free as the level of the batter continues to rise, until it completely coats her, and then covers her. The batter rises to the top of the sarcophagus until it stops, where the camera stays focused on the pale colored surface of the batter for several seconds, before Rachel suddenly bursts out, sitting up, and grabbing hold of the edge of the sarcophagus. The camera cuts to a close up of her face as she wipes her eyes, before zooming out as Rachel tentatively climbs out, revealing her entire body now coated in a thick layer of white batter.