Scene 32:

The camera cuts to a rather familiar location. As the camera cuts around the room it becomes apparent we're looking around the same unfinished part of Fort Redgrave Aquarium we were in earlier. It quickly becomes apparent there's a new area of focus, as the camera travels towards a giant model of a steam punk submarine. The camera zooms in towards a large window on a hatch on the front end of the submarine, and takes us inside.
Inside we see a giant steel cylinder, about nine foot in diameter and 14 foot long. At various points around the cylinder we see various flat plastic light fittings scattered around the wall that are providing the light. The most notable feature though is a pool of a large amount of greasily textured, black soy sauce, forming a two foot deep pool at the bottom of the cylinder. Floating in the pool are a large number of bright red water balloons. The camera cuts to the far wall, where we observe a woman sitting in the pool, against the wall, wiping chlorofoam off her face. As she stands up we can see she has a well toned body, reflected by the fact she is wearing high end active wear. She has long strait brunette hair, held back by a hair band, and tanned skin. We're interrupted by the sound of knocking on the entrance door. As the camera cuts to a shot looking out the window we see familiar faces.

Crystal: Hello Amy. It's time to play.
Amy: What's going on here.
Sapphire: Well we thought that seeing as your so fond of your treadmills and exercise bikes you'd like to try out our new exercise machine.

At this point the whole cylinder Amy is located in starts to slowly spin around. This causes Amy to fall down into the soy sauce in surprise. We see her clothes tightly clinging to her form, and stained black thanks to the Soy Sauce. She moves a lot more gingerly as she stands up to compensate for the movement of the cylinder. The camera zooms out and we see the soy sauce is sloshing about, and some of it is clinging on to the cylinder as it rotates, and is now dripping down on Amy from the ceiling.

Jade: Cool. It's like a giant fun house tunnel.

This gets Jade an annoyed look from Sapphire.

Jade: What?

Ignoring her two companions Crystal continues.

Crystal: If you look below me you'll see a special container.

The camera cuts to below the monitor where we see a clear Perspex panel forming part of the door. Behind it we see a rectangular box, six inches wide, two inches deep and 18 inches high. At the top of the panel a load of small round holes have been drilled in to the panel, forming a larger circle about three inches across. Just below that a red line has been drawn across the panel.

Crystal: All you have to do is fill this container up to the line before your time runs out, and the door will open. I should warn you though there is a purity detector in there, so you can only use water, not the Soy Sauce. Of course if you'd rather stick around and play you'll get out anyway when the time runs out, and a hole in the floor will open, taking you to the floor below, where we have a special surprise in store.

Amy: No! You can't do that!

Crystal, Jade and Sapphire ignore Amy as the stroll away, with Sapphire pausing to turn over an hourglass

Amy: Those bitches!

With a grunt of annoyance Amy wades through the Soy sauce, until she can bend down and grab a balloon in each hand, before wading across to the exit door as fast as she dares without risking falling over again. She takes the one in her right hand and angrily smashes it on the holes in the panel. It bursts open, splashing it's contents in several directions. She follows that with the one in her left hand, which results in a second splash. The camera cuts to the box, which now has a very shallow pool of water at the bottom.
Amy pauses, as she realizes how little water went in. With an annoyed grunt Amy turns away from the door, stumbling in her haste, and barely regaining her footing in order to prevent another tumble. She wades forward a few steps where luckily two water balloons can be found together for her to grab. The camera cuts to a close up of Amy's face as she blinks her eyes a few times to clear them, with soy sauce now dripping down her face, before cutting to a long shot of Amy wading back to the door again. This time she places a balloon on the holes in the panel, and squeezes it against them. It takes a few seconds for the balloon to burst, but it's with a less violent splash, and notably more goes through the holes and in to the box. As she squeezes the second balloon the camera cuts to a close up of the box, and we see it's about a quarter of the way to the line. The camera then cuts to the hourglass, and it looks like around half her time has gone. The camera cuts to Amy as she wipes out some of the soy sauce that's dripped down and soaked her hair, she lets out a grunt of exhaustion, thanks to the effort of having to wade everywhere, and having to keep moving constantly due to the room spinning.
Amy makes a desperate lunge forward, and ends up tripping and falling. She gets her arms up, but ends up rolling to the side, and falling into the soy sauce as she looses her balance on the moving floor. With a grunt of annoyance she get back up on her knees, and stays on them as she moves through the soy sauce, using her arms to help push her way through. She heads towards the back of the room, where the furthest balloon is located, and sweeps it back towards where the exit door is. She does this a number of times as she moves down the room. It takes her longer to move this way, but she soon has around a dozen balloons floating in the soy sauce as she reaches the door. The camera cuts to the hourglass, and we see about thirty percent of the time is left. Amy grabs a balloon and stays on her knees as she reaches up above her head where the holes are just about within arms length. She squeezes the balloon with both hands, and is able to direct a large proportion of the water through the holes and in to the box. As she steadies herself against the wall and pulls herself back up on to her feet the camera cuts to the hour glass, which is now less than twenty percent full. Desperately Amy grabs another pair of balloons, and squeezes both against the holes at the same time. This sees a fair amount of water leak out of her hands, and on to Amy, but thanks to the shear volume of it, but a large amount squirts through the holes, filling the box to about sixty percent of the way up. The camera cuts back to the hourglass which is almost empty. It cuts back to Amy with another pair of balloons that once again she squeezes against the holes once again. The camera cuts to the container as the water squirts in and the level of the water inside rises again, until it stops barely half an inch short of the red line. We hear Amy let out a loud scream of frustration as the camera cuts to the hour glass as the sand runs out, and a loud siren blares out.

Insert Scene 32B:

We cut to a long shot, showing a small industrial looking car park. We see three women, each holding a backpack, run out from a fire door, and hurriedly into a car parked nearby. Sadly the camera is positioned from too far away to observe much detail.
The camera zooms away, and then fades to a rear view shot of a man, standing next to a car, parked in a lay-by on a hill. He's looking through a pair of binoculars, which he lowers, and reaches for a remote control on the cars bonnet. This causes a large black drone to rise up from the ground, and fly up in to the air.

Scene 32C:

We cut to the interior of a large aquarium, where we see a large group of people looking at a huge shark tank. Suddenly a loud siren blares out, causing everyone by the shark tank to turn around.
The camera cuts to the interior of a glass fronted enclosure as the lights come on. In the middle we see a large pool, containing a thick black sludge. Piled on top of the sludge are several kilos of flour, spread across the surface. A loud scream is heard, as the camera looks down on the pool as Amy falls into it, until she ends up laying face down in it with a big splash. She lays there, stunned for several seconds, before she slowly raises her head, revealing her entire front is now coated in the sludge, along with huge amounts of flour, sticking to her face, hair and all over her dress. She slowly turns over until she's sitting in the sludge, a bedraggled completely covered mess.

Scene 33:

The camera cuts to an establishing shot of a police car driving at speed, over a bendy, hilly road. The camera cuts to a shot inside the car, where we see Briggs driving, and Louis and Porcelain sitting in the back seat.

Louis: Briggs! Could you slow down, or at least not read your text messages while driving?
Briggs: It's urgent news. There was another attack at the aquarium this afternoon.
Porcelain: Using the same location, just because it's an easy place to set up, two days in a row. That's the sort of mistake I'd expect an amateur to make.
Briggs: Are you still denying your involvement.
Porcelain: I'm not at all happy with someone potentially tarnishing my legacy as it happens. Anyway I've looked over the notes from the play sessions, and it looks like to me you should be concentrating on the differences between mine and these play sessions, not the similarities.
Louis: What do you mean Porcelain?
Porcelain: Well let me ask you Briggs. Who have you been focusing on with your questioning and investigations. I'm betting the local non conformists.
Briggs: Well duh. Goths, vamps, hipsters, you name it. No leads though.
Porcelain: Well that doesn't really make sense when you look at the first three victims. A nightclub bouncer, a parking officer and a youth leader. All minor figures of authority. Not the type of people I ever welcomed to my play sessions.
Briggs: What? You went after your university headmistress, Mrs Turnbull.
Porcelain: Not because she was in charge. I went after her and everyone else for trying to suppress my self expression, and force me to conform to their own philosophies. How is Mrs Turnbull by the way? Don't think a small bungalow is Seahaven was the retirement plan she had in mind.
Louis: What do you think the choice of victims means then?
Porcelain: Well think about it. Who has the time and resources to carry out this type of operation, and would get angry with minor figures in authority telling them what to do?
Briggs: Enough of your guessing games. Can you just please tell us?
Porcelain: Well since you ask so nicely, spoilt rich kids, that's who. Overly privileged young adults, with plenty of time and money to spare, used to always having their own way, so would get pissed off dealing with anyone telling them to behave in the real world.

There's a brief pause as the detectives think it over.

Louis: That actually makes sense. Briggs, when we get back to the station get some officers on the ground to look in to it.
Briggs: Investigate the kids of the local rich and privileged. That will be fun.
Louis: Wait a minute Porcelain, I just thought of something. You just mentioned Mrs Turnbull has moved to Seahaven. That was only a few months ago. How could you know that if you've been cut off from the world these last few years?

There's an awkward pause.

Briggs: Ha. I knew we'd catch you out eventually.
Porcelain: Well I guess you were going to work everything out sooner or later.
Briggs: So these attacks are because of you then.
Porcelain: I can honestly say no. I told you I wasn't happy when I heard about them. They did create a much needed opportunity though.
Briggs: What opportunity?
Porcelain: Well we thought I'd be questioned almost strait away, but apparently you were reluctant to do that. We decided we needed to speed things up so I planted my mobile phone where it would be found to draw you to me.
Louis: Wait. Why did you have a phone then?
Porcelain: We bribed a few people, smuggled it in, so I could still keep in contact with the outside world, plus it was a useful source of entertainment.
Louis: So why did you want us coming after you for questioning then?

Porcelain pauses, briefly looking up at the rear view mirror and smiling.

Porcelain: To get me out of that rather difficult to escape asylum.

The camera cuts to an exterior shot of the police car. A large pick up truck suddenly rams the back corner of the car, causing it to spin off the road, in to a ditch on the side of the road.
The camera cuts to inside the police car, as Briggs turns around, and is sprayed in the face with a heavy blast of chlorofoam. The camera then cuts to Louis as she is lightly sprayed with chlorofoam.

Insert flashback to scene 26:

The camera cuts to a black and white shot of when Sandy "attacked" Porcelain with her shoe at the police station. This time though the camera focuses on what Porcelain is doing, and we see her take a can of chlorofoam hidden in a secret compartment in the heel of Sandy's shoe, and hide it down her bra.

Scene 33B:

The camera cuts to a slightly out of focus shot from Detective Louis's point of view as she looks at Porcelain.

Porcelain: I'm genuinely sorry about this. You know it would have been fun to have solved this mystery together. Trouble is that would have meant being stuck in that asylum for another decade or so. We've been demanding a physiological re-evaluation, by someone less obviously biased, for ages, but with the people in charge wanting me out the way it's been an impossible struggle.

With that a heavy spray of chlorofoam is sprayed towards the camera, causing Louis to loose conscience.
The camera cuts to outside the car. We see Porcelain's friend Sandy with her girlfriend Davina getting out the pick up truck. Davina is holding a crowbar which she uses to break open a window of the police car to let Porcelain climb out.

Porcelain: Davina, great to see you again. Great acting at the police station Sandy. Thanks for helping me out.
Davina: Great to see you too. What should we do about the two cops?
Porcelain: I think we can just leave them. Disable the car, and their communications equipment though, that might buy as some extra time when they come around.
Sandy: Garry called earlier, says he has some information on these rogue play sessions.
Porcelain: Well lets see if we can put a stop to them before we catch our flight. Please tell me I can get changed first though. Three years in hospital regulation clothes is almost enough to really drive me insane.