Pancake Day 2: Splash Wednesday: Scene 28:

Hello, and welcome to scene 28 of Pancake Day 2. Notable for being one of the longer scenes I’ve written for this series. A lot of which is taken up by a fair amount of explanation of Porcelain’s character, where we learn a lot of her philosophy and what motivates her. It is interesting to see how her character has developed and become more fleshed out. I was recently looking over the first film, in order to put it on another site, and I can spot a few things which I would have done differently now I’ve developed her character more. Maybe one day I’ll do a remake, it’s what seems to have happened to all the big horror franchises.

The trap in this scene comes from watching a show called Release The Hounds, a horror themed action game show that sees contestants having to compete in various scary games. The trap here is very similar too one of the games that stuck out in my mind from that show, but obviously I’ve added a few messy twists. It’s not actually the first time I’ve drawn inspiration for that show, as the idea of having to catch something in your mouth and use it to fill up a container used in the penultimate scene of the first film came from that as well, and just off the top off my head I can think of a good idea for a trap to use in the future as well, but I won’t give away anything about that here.

Scene 28:

The camera fades to darkness, and stays that way. As the camera looks on we can make out a few more silhouettes around the room, it’s like wearing a pair of dark sunglasses in a poorly lit room. Directly in the middle of shot is the shape of a woman, who walks in a familiar way. As she moves closer we see she’s holding a bucket, and she throws the contents in the direction of the camera. A yelp of shock is heard as the camera suddenly pans downwards, looking at the floor. Shortly after that another loud yelp is heard, then a clunk is heard as a spotlight coming on at the top of the shot. The camera pans up to where the spotlight points where a familiar person stands.

Porcelain: Hello Christine. Hello Victoria. It’s playtime.

The camera first cuts to Christine. The lighting is dim but we see she’s wearing a figure hugging designer black dress, and black pointed stiletto shoes with gold straps. Of course much of her dress is currently covered in pancake batter, that also covers a lot of her face, but we can see her highly volumized brunette hair, sparkly earrings dangling from her ears, and bright red lipstick on her lips. Her eyes are currently obscured by a pair of swimming goggles with darkened lenses. The camera pans around her, and we see her hands are chained behind her back, and around her waist is a thick looking leather belt, attached to a long steel chord leading out behind her.
The camera cuts to Victoria. She wears a similar pair of goggles and is bound in the same way. She too is covered in batter, that has ruined what was once a highly stylised blonde bob. She wears a revealing stunning red dress, with her long legs leading down to a matching pair of red stilettos.
The camera cuts to an overview of the room. It’s a large rectangular room, with Christine tethered to one wall, Victoria the opposite. Porcelain stands in the middle of the two of them. In the dimness of the room it looks like there are two large pits, about five foot across, one behind Christine, the other behind Victoria. It looks like there’s something of interest at the end of the room too, but it’s not easy to tell in the darkness.

Christine: You! Your that Helen Mathews girl. I remember you stole a load of money, dropped out, and went all psycho.
Porcelain: I prefer the name Princess Porcelain now, but apart from that your just about right. Well done.
Victoria: What the fuck are you doing back here then?
Porcelain: Do you need to ask? Did you really think I’d forget about you two after you were so horrible to me while I was here. Thanks to you and your underlings, who I’ve already dealt with, I ended most days in tears, I’d end up making myself ill, just because I was to scared to attend lessons. You made my life a living hell.
Christine: Well you were hardly an angel.
Porcelain: And you think I should have just taken it. You could have stopped at any time and that would have been the end of it. Peaceful truce. You got me involved in your horrible games, whether I wanted to be or not. Well now it’s time for you to play one of my games. Do that successfully, and maybe you’ll get free of your chains. Fail though, and you’ll find that chord attached to you is going to get a lot shorter, pulling you into that pool behind you.

The camera cuts to one of the pools as a spotlight comes on over it. We see it’s mostly a white substance, the consistency of a thick cream with lots of lumps in it, but there are also a lot of other items like potato peelings, egg shells and other various lumps peaking out from the surface.

Victoria: What is that?
Porcelain: It’s mostly old cottage cheese, but I thought we could mix in a few other surprises, mostly old food scraps and rubbish from the canteen. I thought you two deserved an extra special play session.
Christine: Come on, there’s no need for this. We just wanted to toughen you up.
Porcelain: An interesting philosophy, but despite what some of the staff here seemed to believe a wrong one. Sure there are plenty of people who choose to live in a nasty bitter world, because when your bitter to other people, then they’re bitter back. There are plenty of good more forgiving people out there for you if that’s the path you ultimately choose. It seems that just because you chose a path of being bitchy and horrible too others, you expect others to do the same.
Victoria: Do you really think such a stupid naive attitude will work? Is your mind even living in the real world?
Porcelain: Oh it was remembering I was in the real world that made me who I am today. You see, despite what you may claim, you and everyone else who made my life a misery where just monsters. You can make all the twisted justifications you like, but ultimately you revelled in acting like a monster. I know all to well this is no fairy tale, this is the real world. In the real world there are no knights in shining armour, no prince charming, no square jawed superheroes or brooding anti-heroes. Do you know what you really want when you want to defeat a monster in the real world?
Victoria: What?
Porcelain: It’s another monster! I knew what I had to do if I wanted to get rid of the monsters that had always been around me, and by the looks of it this monster has almost won.
Victoria: You always were a twisted fuck!
Porcelain: Well, at least I always give my victims a free choice of what happens to them. All they have to do is play my games successfully to escape, although I admit in your case your fate isn’t totally up to you.
Christine: What?
Porcelain: I thought it was time you two learnt that not being nice to others can come back and bite you in the arse.

The camera cuts as another spotlight comes on, this time at the far end of the room. It shows what looks like a set of large electronic scales, and a plastic slide that leads down to them, but the camera zooms in to the main focus which is someone with their heads and wrists locked in a large wooden pillory. He’s wearing a pair of faded jeans, with an oriental dragon design stitched on to one leg, and a black t-shirt with a picture of a cobra marked out in white. His head is currently obscured by a black hood over it, but that changes as Porcelain steps over and pulls it off. This reveals the face underneath, his long black hair and dark eyes give him rock star good looks.

Christine: Jack! Jack! Tell your girlfriend to let us go right now!

Jack looks around, a little confused as his eyes adjust to the light. He does a double take as he recognises Porcelain.

Jack: Helen? What are you …..

Porcelain silences him by placing a finger over his lips.

Porcelain: Don’t worry. I wouldn’t ever do anything bad to you. I just need you to help these two in their little play session.

Porcelain pauses to playfully stroke her hand across Jack’s cheek, before the camera cuts to an overview of the room as she turns back to address Christine and Victoria.

Porcelain: The keys to freedom are contained within that electronic panel by the door. Of course currently none of you can reach it. However the latch holding Jack in place will release if enough weight is put on the scales in front of him. All you two need to do is send enough things down the slide to release the latch.
Christine: What are we supposed to place on there.

The camera cuts to a table on the opposite end of the room to Jack. A spotlight comes on revealing a large selection of gateaux’s and deserts placed on the table.

Porcelain: All you have to do is transport some of them from the table to the scales.

Suddenly a clunk is heard and all the brightly lit spotlights suddenly change colour to that of a dark blue, a similar shade of the goggles Christine and Victoria are wearing.

Victoria: Hey! How can we do that if we can’t see.
Porcelain: You’ll have to rely on someone else to be your eyes. I’ll see you later Jack.
Jack: Helen wait! Can’t we talk about this.
Victoria: Yeah! Don’t leave us here you bitch!

The camera cuts to Porcelain looking back with a wry smile as the door slides shut behind her.

Victoria: That cow! Jack! Why didn’t you stop her?
Jack: How? I don’t own her.
Victoria: You hardly tried you stupid waster.
Jack: You must have read about her online. I doubt there was anything I could do.
Christine: Guys your wasting time, and I don’t want to get seriously messed up because of your incompetence.
Victoria: Yeah Jack. Get us out of here now.
Jack: O.K. Christine turn right, Victoria turn left. Walk forward until I tell you.

The camera cuts to an overview of the room, we see Christine and Victoria make their way to the table, while Jack gives directions, the sound of which aren’t picked up from this distance. As Christine gets within a foot of the table the camera cuts to a shot of her. We see the steel cable is now taught.

Jack: Just a little closer Christine.
Christine: How you idiot? This is as far as I can go.
Jack: You’ll have to bend forward and find something that way. I can’t see the table that well from here.

The camera cuts to a close up of a large chocolate cake and whipped cream layered gateaux topped with strawberries as Christine feels around it, and then sticks her face in the top. She sinks her face deeper and deeper, before coming up, gasping, her face covered in a layer of cream and chocolate cake.

Christine: Victoria. There’s a wooden stick or something at the bottom of the cakes. Grab that with your teeth.

The camera cuts to Victoria who’s face is above a cake completely covered with gooey orangey icing, with orange slices decorating the top. The camera zooms in as Victoria feels for the top of the cake and pushes her face down. Some of the cake falls to the side of the plate as she digs deeper and deeper. She lifts her head revealing her face and much of her blonde hair now covered in a thick layer of orange icing and cake crumbs. The camera cuts to Christine who is holding on to the gateaux as best she can, although quite a bit has fallen down the front of her black dress.

Jack: Christine, take two steps to your right. Your almost there. Can you get any closer?
Christine: Mmpph!
Jack: O.K. The slides about a foot in front of you. You’ll have to throw it the rest of the way.

Christine weakly throws the gateaux, it hits the edge of the slide, meaning some of the gateaux slowly slides down, while some of it drops away.

Jack: Try throwing a bit harder next time. Quite a bit of that went on the floor.
Christine: Why don’t you try if you think this is so easy?

The camera suddenly cuts to Victoria’s face covered in orange icing as she throws her cake. The camera quickly cuts to Christine sticking her head in a pile of profiteroles. Then the camera cuts to Victoria’s face covered in jam. Then to Christine throwing a trifle down the slide, revealing her face covered in whipped cream. Then it cuts to Victoria plunging her head into a custard filled pastry case. It then cuts to Christine as she accidentally drops a large New York cheesecake on the ground. The camera then cuts and stays on a close up of Jack in the pillory as he gives directions, with a look of annoyance on his face. The camera then cuts to Victoria throwing a lemon meringue pie down the slide, then to Christine throwing down a strawberry tart, then to Victoria throwing down a bowl of chocolate moose, and finally Christine throwing down a birthday cake with pink icing. The camera then stays on the cake as it slides down on the already large pile of cakes on the scales. When it lands a loud buzz is heard. The camera then cuts to Jack in the pillory as all the lights turn back from dark blue to normal lighting. Jack is now able to lift the upper half of the pillory and stand up.

Christine: What’s happening?
Jack: I’m free.

The camera cuts to Victoria as she drops the carrot cake she was holding. The cake falls down her front creating additional mess on her red dress. Her face and much of her hair is now covered in the various jams, icings and cream she’s stuck her face in to, plus cake crumbs and sprinkles also cling to her face. This includes the goggles that mean hers and Christine’s vision is still impaired.

Victoria: Thank Christ for that. Now hurry up and get us out of here.
Christine: Come on. Get a fucking move on.

The camera cuts to Jack looking at the panel by the door.

Jack: It’s a panel with two buttons and some writing on it.
Victoria: What the hell are you waiting for? Press the buttons.
Jack: Hang on. It says press the red buttons to release the keys to their chains. Press the blue one to open the door. Warning. Pressing one button disables the other.
Victoria: Well for fucks sake press the red button.
Jack: Then we’ll be trapped in here.
Christine: Who cares? We’ll be safer in here than out their with that psychopath about.
Victoria: Don’t be a dumb arse! Just press the red button.

The camera cuts to Jack as he looks into the room for a few seconds, then with a dismissive wave of the arm that makes his annoyance with the two girls clear he turns around and presses the blue button. Without even looking back he steps through the door as it slides open.

Victoria: Jack! Your dead! Do you hear me.

Suddenly the sound of a loud motor can be heard. The camera cuts to one of the steel chords as the slack is suddenly taken up, and it whips tight. The camera cuts to Christine as she runs backwards, pulled along by the chord.

Christine: No! No!

The camera cuts to Christine’s black stilettos as she reaches the lip around the edge of the pool. Her vision impaired and force to walk backwards at speed she is unprepared and trips, falling down on her back. The camera then cuts to Victoria as she falls backwards into the pool. She disappears completely under the mess for a number of seconds before remerging, sitting up, gasping. Her face, hair and cloths are completely saturated in a greasy layer, lumps of white cottage cheese, as well a few other bits of old kitchen scraps clinging to her hair. As she kicks her legs in frustration we see even her red stilettos didn’t go unscathed, covered in a particularly dense clump of white lumps. The camera cuts to Christine who is sitting in her own pool in a similar state, looking in a similar state, if anything she looks worse thanks to the contrast between the white liquid and her dark brunette hair. The camera focuses on her for several seconds as she tries to stand up, but in the end she is forced to shuffle along on her arse in order to get to the side of the pool and awkwardly climb out, tumbling over the side. The camera cuts back to Victoria, who herself has climbed out the pool, and is awkwardly getting to her feet, hindered by her hands being stuck behind her back and her choice of footwear. The camera cuts to a close up of her shoes, and pans up her body, all of which is now covered in cottage cheese, and has various lumps clinging to it, until the camera settles on her face, that is almost unrecognisable under all the cake and cottage cheese covering it in a thick layer.

Next in the Series
By the same Author


About Black Opera

A WAM lover living on the South coast of England. As well as WAM I also use a lot of master/sub style bondage in a lot of my stories.
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3 Responses to Pancake Day 2: Splash Wednesday: Scene 28:

  1. briff1es says:

    I felt I’ve not been paying too close attention to some of the stories on TG, so I’ve made a point to try and go back and reread. This series was one I did enjoy, I love the Saw films and the traps/games seem a natural fit for WAM. I picture Princess Porcelain as like Harley Quinn from the Batman Arkham games, but with a doll rather than a clown face, and I love that you’re trying to expand the universe with Porcelain’s back story.

    Liked by 1 person

    • Black Opera says:

      Your not the first person to point out similarities to Harley Quinn, although more closely to the version of her in the old Batman cartoon series. I wasn’t that familiar with her character before, only having had limited exposure to the games, and not having seen the cartoon, but having now seen a little of her on the cartoon I can see the similarities, in the colour scheme and some characteristics, particularly before I started to develop Porcelain a little more from how she started when the psychotic child like qualities were more prevalent.


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