SCP-1860

Description

SCP-1860 is an emaciated humanoid entity. It is 2.1 meters in height, and weighs 31 kilograms. SCP-1860's head is abnormally elongated, and it lacks all bodily organs besides its facial features. SCP-1860 is enclosed in an elastic material that, while similar to nylon/spandex fabric in structure, was shown to be composed of hundreds of extremely thin, flexible strands of paper. This weave of paper has shown increased durability and flexibility compared to average paper. Attempts to identify the type of wood used to create the material have been inconclusive, with the closest match being the Hellbrunner Allee. SCP-1860 remains in a kneeling position,¹ though it will not resist any attempts to move or transport it.

SCP-1860 constantly releases a stream of water-based black ink (SCP-1860-1). The source of SCP-1860-1 stems from hundreds of microscopic orifices below its waistline. Approximately 5 liters of SCP-1860-1 is produced in 24 hours; this ink has displayed no anomalous properties when not under manipulation by SCP-1860, and can be utilized normally.

SCP-1860 appears to be able to telekinetically manipulate SCP-1860-1 into various forms. This usually includes musical notation, such as notes, clefs, and accidentals. SCP-1860 will suspend these forms at 0.6 meters above ground and orbit them in a clockwise motion around itself. The musical notes and symbols created directly correlate with the rhythm of SCP-1860's vocal part during a performance.

SCP-1860 continuously sings various arias and overtures from operas, and will only take 5 second rests between each selection. SCP-1860 is capable of altering its voice to match the various vocal styles necessary to perform a song (soprano, alto, baritone, tenor). In the case of an overlying harmony and melody, it will simultaneously sing both roles, though subjects will only view it singing the melody. It is also capable of mimicking a female or adolescent voice, if called for in the music it is singing. No underlying relationships regarding the selection of music have been found, as all songs are chosen from various countries and eras.

SCP-1860 was recovered underneath a burnt shack at the edge of the █████ ████████ Fairgrounds. SCP-1860 was found humming quietly, with several minuscule instances of SCP-1860-1. Searches of the surrounding area has recovered several non-anomalous artifacts, bearing labels of "Herman Fuller's Circus of the Disquieting". Recovered materials from SCP-1860's vicinity include burned posters speaking of its "mystical singing ability, a retreat for the overwhelmed". Forensics Agents have determined the fire to have started approximately 5 hours prior to the arrival of Foundation personnel.

Below is various notable performances by SCP-1860, while in containment. See Document Ero-2M/1860 for possible references to GOI Herman-Fuller in SCP-1860's song choices.

Musical Piece	Date Performed	Additional Notes
Act I of Der Freischütz, by German composer Carl Maria von Weber	6/18/199█	SCP-1860 performs all singing roles. During rests, SCP-1860 looks toward the floor.
I Dreamt I Dwelt in Marble Halls, from The Bohemian Girl, by Michael William Balfe.	7/4/199█	SCP-1860 displays its ability to mimic a female human's voice, while in containment.
Nessun Dorma, an aria from the final act of Giacomo Puccini's Turandot	10/25/199█	Dr. Reich applauds shortly, in which SCP-1860 was noted to bow forward in response, despite being isolated in containment.

Incident 1860-A: On 8/10/199█, a 14 centimeter tear in the material surrounding SCP-1860 appeared. A collective sound of what is assumed to be hundreds of separate human voices was released, reaching 158 decibels. SCP-1860 was then seen to bend over and cover the tear from the view of personnel, and repaired it in approximately eight seconds. Two personnel suffered hearing loss, bringing about the addition of sound-cancelling material into SCP-1860's containment chamber. SCP-1860 was recorded to have stated, "I apologize for that. Serves me right, making my only listeners deaf." It then began to sing Va, pensiero, by Giuseppe Verdi.

Addendum 1860-B: Once SCP-1860 was proven to be able to respond to external stimuli, an attempt for further communication was attempted by overseeing researcher Dr. Montalvo. SCP-1860 appeared to ignore all questions, and continued to sing the following song:

Conservati fedele;
Pensa ch'io resto, e peno,
E qualche volta almeno
Ricordati di me.

Ch'io per virtù canzone,
Parlando col mio core
converserò con te.

La gente amava e sentiva,
la mia voce amorevole era necessaria,
come uno dei primi,
i segreti che ho sentito, che sanguinano.

Un giorno ti dirò de la mia
creazione, e la vita con il circo
nato dal direttore del circo, la sua razza

Mio Fuller, così saggio
e il suo amico con la faccia all'ingiù
hanno imparato molto di più
più di quanto pensi.

Upon later inspection, it was found that SCP-1860 had sung altered lyrics from Conservati fedele, a concert aria produced by Mozart. The following is a rough translation from Italian:

Stay and remain faithful;
Think how I grieve alone here,
And sometimes at the least
Remember me.

While I by power of song
Talking to my own heart,
Converse with thee.

People came and heard,
my loving voice was a need,
as one of the first,
the secrets I've heard, they bleed.

One day I'll tell you of
my creation, and life with the circus
born from the ringmaster, his breed

My Fuller, so wise
and his friend's upside down face
Have learned much more
than you think.

However, SCP-1860 has not responded to further questioning from personnel.

Incident 1860-B SCP-1860 stopped singing at █:██ am, on ██/██/200█, continuing to kneel while looking downwards. Upon showing no intent to continue singing, D-███ was ordered to inspect SCP-1860 for any physical changes or development of new properties. Upon entering the containment chamber, SCP-1860 began to sing the main chorus to Don't Forget Me, from the musical Smash. 8 liters of SCP-1860-1 was generated during this performance, mainly from SCP-1860's eyes. SCP-1860 altered several lines of "Don't forget me", and replaced them with variations of "He forgot me". No further deviations in behavior were recorded after the song.