 Item number SCP-1860 Object Class Euclid Special Containment Procedures SCP-1860 is to be kept in a soundproof containment chamber of standard size for humanoids for the convenience of overseeing personnel. A drainage system is to be incorporated in the SCP-1860's containment chamber, with the purpose of transporting SCP-1860-1 to storage and disposal in Sector 57. Communication with SCP-1860 is deemed unnecessary at the present time, and should be kept to a minimum until further approval. 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 and 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 to Hellbrunner Ali. SCP-1860 remains in a kneeling position, 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, claps, 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 five second rest 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 the burnt shack at the edge of the ███████ Fairgrounds SCP-1860 was found humming quietly, with several miniscule instances of SCP-1860-1. Searches of the surrounding area has recovered several non-anomalous artifacts, bearing labels of Herman Fuller's circus of disquieting. Recovered materials from SCP-1860 vicinity include burn posters speaking of its mystical singing ability, a retreat for the overwhelmed. Forensics agents have determined a fire to have started approximately five hours prior to the arrival of Foundation personnel. Below are various notable performances by SCP-1860, while in containment. See Document Arrow-2M-1860 for possible references to GOI Herman Fuller and SCP-1860 song choices. Musical piece, they performed additional notes. Act one of their fresh shoots by German composer Carl Maria von Weber. June 18, 1990 SCP-1860 performs all singing roles. During rest, SCP-1860 looks towards the floor. I dream I dwelt in Marvel Halls, from the Bohemian Girl, by Michael William Balth. July 4, 1990 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 Patini's Turando. October 25, 1990 Dr. Reich applied shortly, in which SCP-1860 was noted to bow forward in response, despite being isolated in containment. Incident 1860-A On August 10, 1990, a 14 cm tear in a 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 seen to bend over and cover the tear from the view of personnel, and repaired it in approximately 8 seconds. Two personnel suffered hearing loss, bringing about the addition of sound-counseling material in the 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 Bob Pencero, 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. Montabo. SCP-1860 appeared to ignore all questions and continued to sing the following song. Upon later inspection, it was found that SCP-1860 had sung altered lyrics from Consoverte Fidelli, 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 with a need, as one of the first, the secrets I've heard they bleed. One day I'll tell you of my creation in life with the circus, born from the ringmaster, his breed. My fooler, so wise, and his friends upside down face, have learned much more than you think. However, SCP-1860 has not responded to further questioning from personnel. Incident 1860-C SCP-1860 stopped singing at ██████, AM, on ██████, 2000, and ████████, 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 television series Smash. Eight leaders 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 deviation of behavior were recorded after the song.