((In order to experience this content IC'ly, a character must find themselves on the dark web, and be a paid subscriber to an anonymous but well known channel--The Vault of Scales--on the dark web. Paid subscribers are the only folks that can access this full content IC'ly without technical effort. However, the following clip of a scene has been IC'ly leaked and can be stumbled upon anywhere on the web. If your character wants to attempt to see this content without being an IC paid subscriber or you'd like to participate in an upcoming story as a victim, contact me, Camden Fabers (kurtissketch resident) in world to RP that out! Other than that? Enjoy the stories yet to come.))
*A black screen is seen. A large, rusty sliding metal door is heard being pulled open with great effort along a barn door's sliding track that fills the blackness with metallic scraping to set hair on edge for several seconds. A light switch off screen is audibly flicked on and the audible sounds of the old LED tube lighting fills the space as the room comes into full view of the camera's frame. It appears to be an old basement with spray painted cement interior walls, metal beam supports and a stone tile floor. It's a larger space than the camera can frame, but what IS in frame can be seen rather clearly. The camera system seems to be decent quality. An old style jail cell occupies the far corner; closed and shrouded mostly from the oppressive lighting above; but seemingly unoccupied this time. A kitchen's set is to the right of this. Something straight out of PBS' Julia Child's set, or so it would seem. Behind that, a desk with a modern looking desktop PC and monitor, but the screen is facing away.
But the camera then shifts to the left, and an old asylum restraint table with separate leg and arm extensions is framed. On the table an unknown white woman with ginger hair is restrained. She's moderately thin and wearing blue jean cut off shorts and a simple CU college tank top and black bra with white canvas tennis shoes. She looks about college aged. Her eyes are covered in a heavy blindfold and her mouth is stuffed with a red ball gag with black leather straps. She's drooled at some point, but she appears to be unconscious for the moment, head lolled to the side and her limbs still in their restraints. Surrounding the table, are several hip-height trays with all manner of tools on them. Most appear to be doctor/dentist based but there are a few that are clearly not. A hack saw, some pliers, a Cuisinart mandolin and a stainless steel zester and grater.
As the camera is positioned, a deep, masculine voice is heard. He speaks elegantly and with a cadence that is somehow familiar and yet foreign. There's a natural charm. An allure to the voice. But with every word, there's something more. Something unspoken, lurking. The calmer the man sounds, the more unnerving the scene grows. His voice is almost sing-song in tone, as he greets his audience for the day. *
"Welly well well well. What have we here hmm? Sit back and relax, my friends. It's time to sheer another sheep."
*Into the frame, walks a rather large man. Approximately 6ft5 in height, covered head to toe in black: vinyl gloves, form-fitting long-sleeved Underarmor top, leather pants and black combat boots with the buckles undone and black hood over head fitted with a golden skull and crown mask. His entire identity, even his skin tone, is concealed. The only visible trait of this man aside from his size and shape, would be the hazel hues peering out from behind the empty eye sockets of that golden skull mask. He strides through the shot and frames it so that he is facing the camera, and the woman on the medical restraint table is between him and the camera's view. He's a man that clearly knows how to make every shot count, as the view is unobstructed. He holds smelling salts under the nose of the woman and coo's down at her through the mask, which muffles his voice to an extent. "Rise and shine, little sheep. It's time to wake up from sleep." It's almost a sing-song still, but somehow quite natural sounding.
The woman jerks her head away, waking up in a start of limbs straining against the restraints. The table jostles audibly as she suddenly begins panicking. Muffled screams come from her gagged mouth and as she thrashes and exerts energy in excess, the King of Bones--as previous subscribers dubbed this masked man in the comments--chuckles and discards the smelling salts. He steps closer to the woman's head and brushes hair from her face with a gloved hand. She cringes at the touch and he coo's down at her "Now now, don't waste all that energy just yet baby girl. The people have paid for a show, and the show -must- go on. We're only in Act 1. Save it for the finale hmm? You're going to need your strength..." This obviously does not make the woman calmer but she does appear to be stricken silent and still by fear for the moment.
The masked man smiles behind the mask as he sees her still and quiet down. He wriggles his gloved fingers together and says aloud "Excellent. Good girl." And then several moments pass in a silent, pregnant pause. The masked man breaks this pause with the flat of his gloved palm slamming harshly down upon the woman's bare midriff. She yelps behind the gag and moans in pain, her hands curling into fists in the restraints as she tugs and twists slowly. The masked man doesn't seem bothered at all. He begins to rip the woman's clothing from her form in a somewhat impressive show of strength. The CU campus tank rips easily enough, and the cut off blue jean shorts tear audibly with a satisfying sound. The bra is grabbed with both hands. One on either lace-adorned cup. As he rips that, the woman screams against the gag, thrashing uselessly. Her breasts are ample but not offensively large. They're natural and sway and jostle with the violent effort of shredding her attire. The nipples are darker. Puffy and large. They stiffen in the chilly air of the room she finds herself in. Black gloves trail down her pale, soft flesh, and fingers hook into the sides of her matching black panties. With the bra and panty set matching--did that mean this poor girl knew her attacker and thought she was going to get laid? The question goes unanswered in the comments that spill forth during the first hours of this video being live.
The man rips the panties easily from the poor girl's form. With her body fully exposed, it's clear to see she has a well-groomed mound. A triangular tuft of ginger pubic hair at the top of her mound, with a freshly waxed slit. The masked man moves out of camera for a moment and an audible button click is heard. Moments later, a song begins playing but not too loudly that the man and the woman can't be heard. ((ref: https://youtu.be/iZ8VsRgj550 )). The man slides back into frame in a literal slide step back behind the table, arms extended. He plucks up the first tool of the evening: a scalpel. He then leans in over her chest and coo's toward the woman "This is going to hurt quite a lot. In case you were wondering..." And then he begins carefully carving her right nipple off by tracing the scalpel all around the areola. The woman thrashes and screams and blood begins to pour down the mound of her breast. Bright red rivulets streak down the swell of that breast and within moments, the masked man is peeling off the entirety of her areola and nipple. Severing the ducts underneath with a clean sweeping motion of the scalpel and holding up the nipple like it's a pepperoni. A grin forms behind the mask and he wiggles it on camera, watching some blood drip down off and land spattering on the woman's bare form as she writhes and screams against the gag. "And this my friends, is how you get purely organic pepperoni for the pizza we'll be making later this week." The masked man then places that severed piece of human flesh into a metal bowl on one of the trays nearby and begins carving the other nipple and areola off as well. By the time the masked man is done, there's a copious amount of blood coating the woman's chest and dripping down onto the restraint table. It hasn't quite started to run off the table itself yet, however.
The masked man continues despite the woman's thrashing and muffled screams. He glides the scalpel down the woman's nearest arm, from her shoulder, down the bicep, and criss cross against the elbow and down the forearm. It becomes clear rather quickly that he's partially flaying the woman alive. Foreigner continues to belt out and in the midst of this flaying, the man stops and raises the blood-coated scalpel toward the mask's mouth and he uses it as if it were a microphone, gesturing like he was singing the song dramatically for a set of seconds before continuing to work on expertly peeling this woman's entire arm like it was a grape. He avoids major arteries which speaks volumes of his knowledge of anatomy, and by the time he gets that arm properly flayed and exposed to the air, with its gore-smeared muscular structure angry at the world...the woman has passed the fuck out from shock. Blood pours freely from her arm, dribbling down from the arm extension of the table, and onto the tile floor below. The man leaves the woman's arm-skin hanging around her wrist, and doesn't seem to bother to try to de-glove her hand for now. He discards the scalpel and reaches out of frame to grab a secondary overhead mounted camera and flick on the second view for the video. The video is now split-screened and the second view is top down, and frames around the woman's lower half rather well. The man pushes the two leg extensions of the table apart, forcefully spreading the woman's legs on camera, and he hmm's audibly behind the mask, singing loudly behind the mask "I wanna know what love is! I want you to show me! I wanna feel..what love is...I know you can show me!"
At this point, the man reaches to pick up the Cuisinart mandolin with its clear plastic containment attachment. He moves to the woman's feet and the top down camera frames how he stabs the woman's toe with the top of the mandolin's hand guard, and then presses the bottom of her foot against the top of the mandolin, like he was measuring her foot. He then proceeds to forcefully glide the woman's foot and toes back and forth on the mandolin. The woman remains unconscious at first but once the sharp blades of that mandolin bite into the muscle mass of her appendage, she screams to life and the man has to use force to hold her foot still enough to control its movements against the sharp vegetable slicer. Inside the clear plastic container attachment, blood is soon joined with thinly sliced cross sections of this poor woman's toe pads and the sole of her foot.
The man laughs as if he were frolicking in a field of flowers, and is having a great time. The woman's screams cause her to choke and gag on her own saliva and she gets rather loud at one point. The man grows irritated and drops the mandolin with a loud crash of breaking plastic and audibly spilling blood and gore which is caught by the overhead camera rather well but is off camera on the side view. He steps up between the woman's parted legs and punches her squarely in the stomach. "You missed your fucking cue, bitch. You want to scream? I'll give you something to scream about baby girl..." The man begins violently beating the restrained woman on the table. Blow after bloody blow of smeared gloved fists land on stomach, abdomen and rib cage alike. Eventually the woman quiets down and seems to give up, whimpering and crying in pain quietly behind her blindfold. The masked man sighs in contentment once she quiets "There now, that wasn't so hard was it? Shall we continue?" He speaks to her like she was going to answer him, and then reaches across the woman's battered form to grab up the metal zester and grater. He crouches down to get a nice close up of her exposed, spread pussy. The overhead camera is really doing a lot of the work there, for the shot. He spreads her lips with his right hand. The gloved fingers splaying those puffy pussy lips that are already slick with heavy bodily arousal for some reason. He calls out to her from his position "Just say when" He states as if he's a waiter offering fresh Parmesan on her pasta at an Olive Garden. He then begins to use the zester to drag along that sensitive bud of flesh, literally zesting her clitoral hood right off her body in a bloody, pulpy display that the overhead camera picks up in graphic detail. The woman obviously shrieks and bucks her hips with each second, but it's to no avail. The man continues until there's nothing but a quarter-sized bloodied raw wound where the button of the clitoral structure once resided. Streaks of blood run like a river between her folds, pooling underneath her with her heightened bodily arousal, mingling with her own sticky fluids.
Fluids that soon devolve into the only lubrication the woman would know, as the man drops the zester and pulls his cock free of the black leather pants he wears. It's obvious at that stage, that the man is white. His cock is no monster, but it's a respectable above average size of 7 inches, and quite thick. No condom. The man aligns himself up briefly and drags the head of his uncut cock down along her bloodied, mangled slit. But he doesn't penetrate her cunt. No. Hips dip lower and he takes the less traveled path, as seems to be habit of the masked man in these videos. He favors ass, no matter the gender of torture. Sinking harshly into unprepared ass, the woman lets out a guttural muffled scream of agony. Bloodied black gloves grip her thighs and hips and he rapes her ass bloody for quite a long while before drawing out a gold plated hunting knife from his pocket. He opens it up and as he thrusts deeply into her, he stabs the woman cleanly in the stomach and begins carving open her abdomen in a precisely horizontal fashion. The woman's screams are her death moans at this point, and blood pours in excess audibly from the table in deep red, almost black, streams and pools on the tiled floor getting into the grout. The man pulls out, cock slick with her blood already, and he abruptly turns a knob on the table's underside, tilting the woman toward him, on the table itself. Blood follows the flow of gravity and continues to pour audibly in the background amongst the Foreigner that keeps playing quietly. The masked man lines himself up again and begins to fuck the woman's open abdominal wound just as violently and deeply as he had been fucking her asshole moments prior. He tips up his masked face, looking with those hazel hues behind the mask, up into the overhead camera. He makes solid eye contact and groans in pleasure as he climaxes. Cum floods the woman's fresh abdominal wound, and soon enough he's pulling out and backing away, tucking his blood covered cock back into his pants. He pulls fully away from the woman and out of camera shot on both cameras. He pulls the woman's gag and blindfold off with just his hands on camera, and adjusts the top down camera to frame the woman's head and face. Once there, he steps back into frame briefly, and curls his gloved, sticky fingers into the ginger mane of the woman as she stares at the camera. Her green eyes full of a mortal fear most never see. She's gasping for air, gaping like a fish out of water, confused and scared, and obviously dying. The masked man smooths her hair away from her face with his other hand, and takes that gold plated knife, smeared with blood as it is, and slowly slits the woman's throat on camera. She gapes for air worthlessly as blood runs down her bare body like a macabre waterfall. And then she's gone, and her stare looks beyond where any living mortal can reach. The music gets cut off and the only sounds for a little while are the thrumming of the overhead lighting, and the continued running and drips of blood. The masked man finally speaks in a low rumbled tone behind the mask "In the end, the only thing left, is bones."
The video clip ends with a black screen and an image of a golden set of scales, dripping with blood.*
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