Item #: SCP-021-PT
Threat Level: Orange ●くろまる
Object Class: Keter
Special Containment Procedures: Due to SCP-021-PT's geographical characteristics it cannot be transported to any of the Foundation's secure facilities. The hydric extension preceding the entrance of its containment zone must be guarded by the Foundation-owned Hydroceanographic Research Ship "Dama das Neves".
The area has been defined as a zone for scientific exploration under the care of a private initiative. Schedules for maintenance and supplies (including human resources) are cited in the attachment to the relevant documentation pertaining to Operation: Antarctica.
The operation of equipment capable of causing structural damage must be performed cautiously; explosive substances, or any material with explosive capacity that is not essential for the maintenance of SCP-021-PT's custody, must be kept stocked outside the object's exclusion zone.
In the event of any recessions, caused by natural phenomena or human influence, that may compromise the object's infrastructure, Protocol Igloo must be enacted, with the scope of building a facade around SCP-021-PT to maintain its structural coverage.
Personnel pertaining to the containment team of SCP-021-PT must avoid partaking, actively or passively, in the performances of SCP-021-PT-1 instances. Visualization by individuals inside the object's interior is strictly prohibited and should be conducted remotely through audiovisual means from previously prepared equipment organized in the locale. Individuals that have been converted permanently are to be considered MIA, and officially recognised as a component of the object.
Instances of SCP-021-PT-1 must be treated cautiously despite any amicable demeanour. No personal connections are to be made except social and cooperative Rapport. Requests by these instances are to be provided at the discretion of the expeditionary council. SCP-021-PT-1s performances must not suffer any type of interference by external agents.
During SCP-021-PT-B events, Protocol Vigil must be enacted; instances of -1 will be extracted from 021-PT and protected until the following valid period for them to conduct performances; any SCP-021-PT-3 instance must be liquidated on sight.
SCP-021-PT's exterior. Stationed in the Antarctic Ocean.
Description: SCP-021-PT is a maritime iceberg that was adrift towards the coast of the Brazilian State of Santa Catarina. The object's initial sighting occurred when it moved through the southernmost lithograph region of Argentina and Uruguay.
Vessels that navigated the Antarctic and Atlantic oceans spotted the object, and related 'strange melodies echoing from within'; the object was secured by the Brazilian Navy, and, shortly after transferred to Foundation custody. SCP-021-PT was towed and anchored in the Antarctic Ocean, and its current stationary state has since been unaltered by oceanic streams.
It is observed that SCP-021-PT has a singular entry point that leads to a glacial lapa cavern. This formation is predominantly horizontal, and possesses a unique room, which is directly connected to the entrance of a type of man-made structure, resembling a structurally-fragmented theatre. This structure is symmetrical and semicircular, possesses a parterre, loges, three galleries, and is occupied by approximately 170 instances of SCP-021-PT-2.
The totality of the architectural elements, with the exception of those extensively used by SCP-021-PT-1 instances, exhibit signs of freezing and lack of maintenance, with small areas completely ruined due to the exposure; the proscenium, and the parterre are divided by an irregular rupture with ~20 metres in diameter, and ~50 metres in depth.
Inside this structure, there are currently five instances of androgynous humanoid entities, with a distinct lack of nasal and ocular cavities in their facial features, denominated SCP-021-PT-1, currently from A to E.
SCP-021-PT-1 instances are comprised of a vitreous-crystalline material similar to ice. These instances wear clothing that has been adapted to the climatic conditions of the region, which is cognate to their presented functional human physiological capabilities although they do not require the maintenance thereof.
It is noted that SCP-021-PT-1 instances are generally affable, and are capable of communicating in English, Italian, and French. Their abilities and expertise are varied but normally connected to artistic performances and fields, but have demonstrated knowledge in specific and complex elements of society such as culture, creed, and habits.
| Designation | Description | Function | ||
|---|---|---|---|---|
| 1-A | Primarily masculine; wears a parka set adapted with blue overalls, and a bonnet. | Designated stagehand, and interim director for SCP-021-PT. Also, the primary author of the performances reproduced by other instances. | ||
| 1-B | Primarily feminine; wears a parka set adapted with brown overalls, a bonnet fashioned like a protective helmet, and other adapted personal protective equipment. | Designated as the responsible technician for SCP-021-PT, operates and maintains elements that are relevant to the performances such as scenarios, attires, audio, illumination, amongst others. | ||
| 1-C | Primarily feminine; wears formal attire; elegant Victorian-era dresses, adorned chapeaus, boots, and gloves adapted from articles of arctic clothes. | Designated as the pianist, demonstrates extraordinary abilities with the instrument, a vast musical repertoire, and is capable of composing original works. Exhibits academic knowledge associated with the 20th Century. | ||
| 1-D | Primarily masculine; consistently found wearing some type of ludic costume: from clothing typical of Greek dramaturgy to clothing typical of Italian operas. | Designated as the singer, acts in opera and musical performances. Capable of vocalizing feminine and masculine timbres. | ||
| 1-E | Primarily feminine; extraordinary instance; originally D-2839, created during Incident 021-PT-Delta; normally wears Foundation overalls adapted for the winter. | Designated ballerina, acts in artistic performances involving dances from a plethora of styles. | ||
SCP-021-PT-2 appear to be comprised of the same substance as SCP-021-PT-1. These instances are present, in a state of stasis that seems to be suspended only during programmed performances, about the area designated as SCP-021-PT's auditorium. It is noted that SCP-021-PT-2 instances are drest in styles cognate to the region in which SCP-021-PT was sighted thereabout before its containment.
SCP-021-PT-3 appear to be comprised of the same substance as its -1 and -2 counterparts. These instances exhibit extremely aggressive, openly hostile, behaviour towards SCP-021-PT-1 instances, during which, SCP-021-PT-3 instances will continuously vocalize unintelligible sounds ranging from 80dB to 150dB.
SCP-021-PT-3 instances move lethargically and erratically, as if suffering epileptic convulsions, they possess an extraordinary capability of plasticity, often altering their physical structures as a means to increase mobility, and cause harm; notably, their mandible appears to be detachable, and has been observed widening at angles of 90o.
Whilst extremely adaptable, SCP-021-PT-3 instances possess weak physical resistance although they are capable of remaining active even with the deficiency of crucial appendages such as their head or thorax; when damaged or destroyed, these instances exsanguinate a viscous crystalline substance that, when in contact to damaged appendages from -3 instances, will regenerate these organs or try to fuse them in new constructs or amalgamations.
SCP-021-PT-1 are invariably psychophysically conditioned to perform, compulsorily, in three sessions — diurnal (8:30 GMT), vespertine (17:30 GMT), and nocturnal (22:30 GMT) — with variable duration and content sporadically through the week. At the end of each presentation, an Event SCP-021-PT A or B will occur depending on the quality of the artistic performance, which is judged by SCP-021-PT-2 instances.
Type A Events: Occur when at least two thirds or more of the instances present in the audience demonstrate positive qualitative satisfaction towards the executed performance;
Type B Events: Occur when at least two thirds or more of the instances present in the audience demonstrate negative qualitative satisfaction towards the performance executed. In these events, SCP-021-PT-3 instances will continuously manifest from within the area encompassed by the rupture separating the areas of the stage and the parterre until the moment of the next session.
The element of satisfaction, properly said, is arbitrary and measured by the intensity of the ovation performed by -2 instances, which may be demonstrated by expressing euphoria through applause, producing sounds through unknown means, gifting bouquets and/or written messages with variable content to the artists. Similar reactions but with negative connotations and denotations will be produced during type B events.
Any human individuals present in the stage or in the auditory actively or passively interacting with the performance will undergo a transfiguration process; human tissue will be transmuted into the vitreous substance that comprises SCP-021-PT-1 instances; during this conversion, the individual will suffer from acute pain, usually leading to a state of syncope. Although interruptible if the individual is immediately removed from the vicinity, it is, otherwise, irreversible.
Addendum: Letter recovered from the belongings of a previously deceased instance of SCP-021-PT-1.
Seeing the pencil right through my fingertips is still something I am not used to.
I think that we got what we asked for. It seems that the allegory of a Faustian bargain has never been so well-depicted outside literature. I wish all of this was a play that we could just curtly bow to our audience, and everyone would go back home safe and sound.
Of course, we wanted a captive audience to whom we could share our art; of course, we wanted to influence people with our art; of course, we wanted incentives to continue making art. Not this way though. Not this way.
Jacob ushered us to do the best presentation we could ever imagine of after speaking with that devil of a woman if anything could describe such a vixen. I think she is behind all of this. We heard her words but we didn't listen to them.
We thought that all those people rising from their seats to applaud us was some type of dream, everything we asked for; the roses, the letters, their admiration. Then everything shook, and went black for a moment.
The public rushed to the exit, screaming. They tried to exit but there was nowhere to go; the theatre was adrift, like some sort of ship. Even worse, onwards to a desolate place, the cold started biting at us. So they came back.
After a short period of chaos, we decided to gather our wits, and make a plan. So, we took volunteers with some degree of courage, and intelligence to take the lead of the situation, and stepped on the parterre. We could transform the whole theatre into a ship or something, provide important things to people such as clothes, and food (if only we could fish), with some creativity.
We gathered everyone, and managed to think about something; decided to announce to everyone else at the time of the next presentation, and so we did. Some looked at us in dismay, others cursed but most clapped, volunteered, and wished everyone the best of luck.
So it happened.
Those in the auditorium started to curl, complain, and cursed at us. At first, we thought that it was just a huge change of mind. We felt desolated. Then we realized that they were becoming like the ice just a few kilometres from us. They started freezing in place, becoming some sort of mannequin.
We would've rushed to them. But we ourselves had been affected by that strange disease. Our fingers became ice, we lost our semblance. I don't know what is worse, being entrapped in this form with a mind of your own, or becoming a mindless statue-like our audience. The pain had cast everyone into inaction some, (as we had thought back then) thankfully, escaped that fate.
What had we become?
We started to devise plans to escape as soon as possible now that the theatre was inbound to that frozen wasteland but there was a problem. Every date in which we were supposed to have a presentation, and none happened, the frozen statues would start hooting us, alive again. We tried to make them cooperate but it only worsened. The floor between the auditorium started to crack, so after a time we couldn't even commute.
Then one day, those things appeared from the crack. Devious creatures of ice, and ruthlessness that hunted us without mercy. We tried to run, we tried to hide but the only thing that would quell them were new presentations. A few of us had gathered to bid our goodbye by doing what we loved, what we wanted, only to be surprised by the lack of chaos and death.
Of course, we kept repeating. We felt hunger or fatigue no more. If only we could gain time, and devise a way of escaping before everything froze but we had wasted too much time. Now wasting time is our routine, and we've come to hate what we do. Yet, something keeps forcing us to do it.
I hate myself.
I am so sorry.