A few select members of the audience expect to witness something truly dark and degenerate that will unfold before them. Besides obvious priming, props on stage make very distinct and deliberate references to their use for torture. One man hangs by the neck, supporting himself on stage by the tips of his toes, while his dominator lifts him by jerks from slow turns of a crankshaft hooked to the hanged man's noose and upper limbs. The other, on the stage adjacent, seems to have a butterfly valve in his arm dispensing blood into a spinning vessel beside a saucepan upon a lit gas stove, under the supervision of a nurse dressed all in black.
Then the script changes dramatically as members of the cast and crew descend upon the spectators, showering them with confetti and rice. Some audience members appear indignant, frustrated by the violence done to their anticipation. These are swiftly located and escorted to the suface, supposedly to catch a train that would shuttle them back across the bridge, to mainland. Except, at the very moment that the single carriage arrives to ferry them all away, a bastion of wild dogs descends upon the dinky station to fill the train entirely.
At first, our frustrated audience members try to act generously surprised, letting the dogs go first because, of course, soon the shuttle would be back for them. So they waited, they waited all night long. It was days later until they realized that it was not just morning that would never come again.