Just a warning for now. I'll find something.
LEVEL THREE/5XXX CLASSIFICATION
ITEM #
SCP-5XXX
OBJECT CLASS
Euclid
SCP-5XXX-1.
SPECIAL CONTAINMENT PROCEDURES
An exclusion zone extending 5m past the property line of SCP-5XXX-1 is to be established under Area Cover 67-B (National Historic Site - Person-based).
Any victims of SCP-5XXX events are to be either mopped or retrieved and disposed of at Site-989's anomalous fluid storage tank.
DESCRIPTION
SCP-5XXX is the designation for an event wherein a human's orifices spontaneously fill with seawater. Due to the rapid fill rate of the seawater, the time taken from the onset of SCP-5XXX to the victim's death only takes several minutes. In extreme cases, the victim of SCP-5XXX may liquefy into seawater.
Seawater extracted from SCP-5XXX victims usually is compositionally identical to Atlantic seawater and hands no anomalous properties. However, some seawater may serve as a form of propagation; those who come in direct contact with this form of the seawater will undergo SCP-5XXX.
Currently, all SCP-5XXX events have occurred on or near the property of Victoria and Edgar Carnsby, a painting duo active in the 1930s. The property has been accordingly designated as SCP-5XXX-1.
ITEM HISTORY
SCP-5XXX and 5XXX-1 was discovered following the disappearance of several locals attempting to film an exploratory show within 5XXX-1.
VHS camcorder footage taken by the locals is below.
AQUIRED DATA
The Sony V8AF used.
Several VHS tapes that appear to have been taken at different times during the locals' foray into SCP-5XXX-1 were picked up by Foundation teams initially scouting the location.
The locals missing were determined to be:
• Harmon Guthrie
• Vicky Diaz
• Sarah Mailer
• Michael Lemma
No other trace of the locals were found during investigation into SCP-5XXX-1.
The following footage was created by a third party and may present factually incorrect information. Any data directly correlating against Foundation documentation should be questioned.
[TAPE START]
| The screen is initially black. | |
| HARMON | Rolling? |
| SARAH | Yep. |
|
Sarah removes her hand from the lens, revealing SCP-5XXX-1's exterior. There is no lighting present besides the moon, a car's headlights, and flashlights carried by the locals. Harmon stands in the center, facing the camera. The other two face the house. |
|
| HARMON | Hello all! |
| The others turn and face the camera. | |
| HARMON | This is your very own Chahanasaw Exploratory Group and Documentary crew, here at the local Carnsby House. Everyone's here- Vicky… |
| VICKY | Heey! |
| She winks and blows a kiss at the camera. | |
| HARMON | …Mike… |
| MICHAEL | Hello again. |
| HARMON | …and our more than capable cameragirl, Sarah! |
| The camera shakes a bit as a hand extends from behind and waves into the lens. | |
| HARMON | Alright! Let's stop dallying and move on in. |
|
Harmon unlocks the main door and opens it. A large gust of wind billows out from the house. They all freeze temporarily. Vicky walks into the house first, shortly followed after by the rest. The group enters the main hall - it is dark and musty. |
|
| MICHAEL | All of this just to see if we can find some crusty paintings? |
| VICKY | You bet. |
|
The four start to disperse, with Sarah following Harmon. The two come across an old Steinway piano. Harmon presses on some of the keys. Sarah zooms in as he sits down and attempts to play a portion of Bach's "Little" Fugue in G Minor. Michael and Vicky converge on the two. |
|
| VICKY | Looks like you found the piano. Those keys are probably real ivory, you know? |
| MICHAEL | Oh? |
| Michael pulls out a pocketknife and attempts to chip a key off. Vicky stops him. | |
| VICKY | Anyway, from what I got, sources say that the studio should be somewhere on the second floor. Come on. |
|
Vicky leaves the main hall via a narrow adjoining corridor. She looks at a crudely drawn man. The rest follow her. Harmon looks back at the camera and gives a thumbs up. |
|
[TAPE END]
[TAPE START]
| The tape opens on a large room filled with easels and painting materials, overlooking the ocean. The camera is placed on a table, facing Harmon and Sarah. | |
| HARMON | This is the studio, huh? |
| SARAH | Seems like it. |
| HARMON | You'd figure that those two would've found this place by now, right? |
| Sarah shrugs. | |
| SARAH | Those lovebirds are probably doing something. Speaking of something… |
| HARMON | Huh? |
| SARAH | Wanna hear a story about this place I got told when I was a kid? Promise it's a good one. |
| Harmon nods. | |
| SARAH | This place is cursed, you know. The Carnsbys were in a good place back then, making money and living a life of untapped luxury. Even got this sweet spot of prime cliffside real estate. Or so Victoria thought, at least. Edgar started to go out late, avoid her, just generally never occupying the same space as Victoria. |
| HARMON | It's one of these stories. |
| She glares at Harmon. | |
| HARMON | Sorry. |
| SARAH |
Victoria was understandably curious and worried, given that the two had started on a triptych series of them together, painting. Edgar promised he wasn't doing anything, of course, so Victoria worked on the triptych alone. One day in the studio, she noticed what appeared to be Edgar and another girl together, boating. But she had faith in Edgar and ignored it. Victoria would paint in the studio alone everyday, and everyday Edgar and the girl would pass by in the boat. But she ignored it. One can't ignore something forever, though. She went to an art museum to clear her head. Something caught her eye in the gallery. A painting of the girl she saw with Edgar. Victoria looked at the |