SCP-3444-4 opens onto an urban area, stylistically reminiscent of 
that found in SCP-3444-3. The area is typically portrayed as some 
form of slum or poor neighbourhood. At this point, the 
cognitohazardous effects ordinarily begin to alter not just the actions 
of the subject, but their personality too; they will consciously take on 
the role of someone living within a slum or house within the 
neighbourhood, attempting to become successful at their chosen 
field but instead relegated to a less desirable form of employment. 
The SCP-3444-9 instances will often be hostile to the subject, either 
through aggression or through attempts to take advantage of the 
subject's vulnerability. After these interactions, the subject will 
perform a soliloquy (or, for Golden Events running the "musical" 
script, a solo musical piece) discussing their condition, before 
returning to SCP-3444-1. 


Please consult Experiment Log 3444-15 for more information. 
Experiment Log 3444-15: Section 4 


Subject: D-2508, a female from Vermont, USA, 
convicted of the premeditated murder of her boyfriend, 
Keith Baker. This experiment is notable for being the first 
occasion on which the "musical" script was activated, in 
which each Silver Event features an elaborately- 
choreographed musical number. 


Summary of Prior Silver Events: 


¢ At SCP-3444-2 (ORIGINS), the station opened 
onto an orchard in Vermont. A small farmhouse, 
containing SCP-3444-9-A, was located 50m away 
from SCP-3444-2. SCP-3444-9-A took the form of 
D-2508's father; the instance appeared to have 
imbibed a large quantity of alcohol, and spent 
much of his dialogue blaming D-2508 for her 
mother's death. Upon leaving the farmhouse, 
D-2508 sang a musical piece about how she 
wished to leave the countryside and attain some 
form of success in the city5, before returning to 
SCP-3444-2. 


¢ At SCP-3444-3 (BRIGHT LIGHTS), the station 
opened onto Times Square, NYC, as of 2001. 
D-2508 entered through several shops located 
around Times Square, while singing a musical 
number (along with several SCP-3444-9 instances 
acting as background singers and dancers) about 
her hopes for life in the city. Once the musical 
number had finished, D-2508 returned to 
SCP-3444-3. 


<Begin Log> 


The station opens onto a street in New York, 
lined on both sides by run-down, deprivated 
housing blocks. Unlike the rest of the locales 
visited, which appear to take place in the early 
2000s, the appearance of the buildings is more 
akin to New York in the early 1990s. 


D-2508 exits SCP-3444-4 and walks into the 
street. She is swiftly approached by an 
SCP-3444-9 instance, apparently representing 
her boss. 


Boss: What the hell are you doing standin’ 
around, missy! Come on! Tables ain't gonna 
wait themselves! 


SCP-447: Ball of Green Slime 


Item #: SCP-447 
Object Class: Safe 


Special Containment Procedures: SCP-447-1 is to be kept within 
a fifty-gallon clear plastic container at all times, monitored by camera 
by a Security Level 3 or higher staff member to prevent overflow. 
Area is to be maintained at Level 1 Clean Room status to prevent 
contamination by foreign matter at a site at least 10 km from any 
cemetery, morgue, or mortuary. Under no circumstances is 
SCP-447 to be allowed to come into contact with dead bodies. 


Because SCP-447-1 constantly excretes a viscous greenish slime 
(designated SCP-447-2) at a rate of approximately 10 cc/hour, a 
Class D personnel in good physical condition is to be detailed to 
harvest the excreted slime at least once per day. SCP-447-2 can be 
harvested using any appropriate equipment, so long as safety 
procedures are carefully adhered to in order to prevent on-site 
fatalities. Slime can be transported in an ordinary sealed glass or 
plastic container through any standard mode of transportation, 
provided that there is no risk of the slime coming into contact with a 
dead body en route. 


Although malodorous, the slime harvested from SCP-447-1 is 
nontoxic, noncorrosive, and nonradioactive. It is, in fact, perfectly 
safe so long as it does not come into contact with a dead body. The 
slime is edible, and reportedly makes a good salad dressing. Adding 
10 cc of SCP-447-2 to one gallon of gasoline improves fuel 
efficiency by 150%. Furthermore, SCP-447-2 can be refined (see 
Appendix 447-C: Distillation Process) into a useful lubricant 
approved for use at all SCP Foundation installations, so long as said 
lubricant is never used to lubricate dead bodies. 


All staff assigned to SCP-447 are to be screened by polygraph for 
any suicidal, necrophiliac, or homicidal tendencies. In addition, all 


D-2508: But si-sir, I've got to get back! My 
boyfriend will be ever so an- 


Boss: What the hell do | care? You be at the 
diner in 15 or you're fired! | run a business, not 
a Charity. 


D-2508: Look, sir, if | could just- 


Boss: No excuses. You wanted this job, you 
have to put up with it. 


The "Boss" instance walks away. 


D-2508: Oh, what am | to do? | come here, full 
of hope and dreams, and now | am stuck with 
a terrible boyfriend, in a terrible apartment. My 
landlord hates me, my boss wants to fire me- 
oh, what is a girl like me to do? 


Another SCP-3444-9 instance, bearing a 
strong resemblance to Keith Baker, then 
approaches D-2508. 


D-2508: Oh! Keith! I'm real sorry, baby, but 
I've got to work tonight. 


Baker: Damnit, girl! You're breakin’ my heart, 
you know that! I've been slaving away at work 
all day, the least you can do is get me my 
goddamn supper! 


D-2508: I-I'm sorry, baby. Please don’t get 
mad at me. I’ve got to bring in money. 


Baker: | should be the one bringing in the 
dough! Me! That’s my job, isn’t it? My fucking 
purpose as a man? For god’s sake, | thought 
we were gonna try for a baby! 


D-2508: We are, baby, we are! It’s just not that 
simple, y'know? | swear, once you make it big- 


Baker: Fuck you. Be back before midnight or 
you'll get what you deserve. 


At this point, D-2508 begins to sing. 


D-2508: Ohhh, what's a girl to do, 
Under the silver moon, 

The sky is so bright, 

But | just cannot fight, 

Ohhh, what's a girl to do? 


This city of bright lights, 

Is fed on bitter spite, 

All | want to do is leave, 
All | want to do is breathe, 
Oh, this city of lights, 


Where's a girl like me to run, 
Underneath the summer sun, 
Slaving all day, on all days, 
All is work and nothing's play, 
Where's a girl like me to run. 


This town of bitter love, 
Untouched by the pale doves, 
It works and fights, every night, 
A city of sodden spite, 

This town of bitter love, 


Ohhh, what's a girl to do, 
Under the silver moon, 
The sky is so bright, 

But | just cannot fight, 
Ohhh, what's a girl to do? 


The music and singing abruptly end. D-2508 
stands still for 20 seconds, before speaking 
again. 


D-2508: All it'd take is a knife. 


<End Log> 


Summary of Subsequent Silver Events: 


At SCP-3444-5 (FIRST SIGHT), the station 
opened onto a French restaurant in Manhattan. 
SCP-3444-9-B appeared as a copy of D-2508's 
acquaintance Jacob Manwell. The two sang a duet 
concerning forbidden love. 


At SCP-3444-6 (BIG BREAK), the station opened 
onto the ticket office of a different train station. 
D-2508 bought a ticket to Albany, New York State, 
before engaging in a solo song concerning themes 
of romantic love and heartbreak. 


At SCP-3444-7 (LOVE), the station opened onto a 
woodland in upstate New York. D-2508, met 
SCP-3444-9-B. The two then engaged in an 
impassioned duet, in which they proclaimed their 
love for one another. The sound of an alarm® was 
then heard. D-2508 then ran back into 
SCP-3444-7. 


At SCP-3444-8 (CLIMAX), the station opened onto 
Times Square again. Several policeman were 
present, telling D-2508 that she had been 
completely exonerated from the murder of the 
"Baker" instance. In response, D-2508 initiated an 
elaborate musical number involving all the 
SCP-3444-9 instances present, including 
SCP-3444-9-B, concerning her newfound freedom, 
desire to stay in the city, and relationship with 
SCP-3444-9-B. 


At SCP-3444's second manifestation (WAKE UP), 
SCP-3444-9-B and the "Baker" instance appeared 
on either side of D-2508 after she stepped onto the 
platform. Piano music in the key of E minor could 
be heard be SCP-3444-9-B attempted to 
encourage D-2508, while the "Baker" instance 


attempted to denigrate D-2508. D-2508 was noted 
as being visually upset at their appearance, swiftly 
exiting SCP-3444. 


SCP-3444-5 opens onto some form of social establishment, such as 
a cafe, bar, nightclub or coffeehouse. The establishment will 
ordinarily be crowded with SCP-3444-9 instances, all of whom will 
be partaking of the venue's entertainments and diversions in the 
fashion customary to the establishment. 


The subject will meet the SCP-3444-9-B instance at this location. 
The SCP-3444-9-B instance will serve as a romantic interest for the 
subject for the duration of the Golden Event. The SCP-3444-9-B 
instance will manifest as a figure particularly attractive to the subject. 
This figure can be entirely imaginary, but often appears as 
somebody to whom the subject is romantically attached, ranging 
from a long-term partner to a colleague or former schoolmate to 
whom the subject was once attracted to. The subject and the 
SCP-3444-9-B will ordinarily flirt or, if appropriate to the setting, 
dance; the scene will end with the subject returning to SCP-3444-1, 
often after the promise of a second meeting. 


Please consult Experiment Log 3444-19 for more information. 
Experiment Log 3444-19: Section 5 


Subject: Junior Researcher Sybil Westwood’. Dr. 
Westwood had been transferred to Site 90 from the 
Antimemetics Division, and as such had advanced 
cognitohazardous training. Dr. Westwood was instructed 
to resist the influence of the Silver Events as much as 
was possible. 


Summary of Prior Silver Events: 


¢ At SCP-3444-2 (ORIGINS), the station opened 
onto a small airstrip in the middle of a tundra-like 
landscape, with a small concrete building present8. 
As per her instructions, Dr. Westwood did not 
enter the building, but instead attempted to explore 


the surrounding area; it was determined that the 
same landscape stretched indefinitely in all 
directions. After 30 minutes of this, Dr. Westwood 
returned to SCP-3444-2, citing her rapidly- 
diminishing cognitohazardous resistance as a 
reason for cutting her explorations short. 


At SCP-3444-3 (BRIGHT LIGHTS), the station 
opened onto an idealised version of Manhattan, 
NYC, New York; instead of being an open space 
as per usual, the area was instead a cluster of 
crowded streets surrounded by skyscrapers. The 
streets formed an enclosed system, preventing in- 
depth exploration. Dr. Westwood's attempts to 
interview the SCP-3444-9 instances revealed that 
they were all highly-paid, highly motivated workers 
in the financial district. Dr. Westwood returned to 
SCP-3444-3 relatively quickly, due to concerns 
about her weakening cognitohazardous defences. 


At SCP-3444-4 (HARDSHIP), the station opened- 
unusually- onto an office in one of the same tower- 
blocks seen earlier. Three SCP-3444-9 instances, 
playing the roles of friends of Dr. Westwood, 
attempted to discuss love and romance with Dr. 
Westwood. Dr. Westwood ignored this line of 
questioning, instead attempting to question the 
SCP-3444-9 instances about their origins and 
nature. The SCP-3444-9 instances expressed 
considerable confusion as to Dr. Westwood's 
meaning, and eventually left, seeming offended. 


<Begin Log> 


The station opened onto a bar. Music was 
playing at a high volume. 


Dr. Westwood: OK, Control, I've left the 
station. Any instructions? 


Control: Approach the bar. Exploration seems 


useless, but we might as well try to keep going 
with the interviews. 


Dr. Westwood: Got it. 


Dr. Westwood approaches the bar, and sits 
down. 


Dr. Westwood: Scotch. Neat. 


SCP-3444-9-B, appearing as a male instance 
in his mid-20s, turns around. 


SCP-3444-9-B: Well, what's a girl like you 
doing in a place like this? 


Dr. Westwood: Ah, shit. This is the dash B. 
Control: You're sure? 


Dr. Westwood: He's tall, handsome and uses 
ridiculously corny, overused lines. He's my 
type alright. 


Control: Alright. Just stay with us, OK? This is 
by far the furthest we've got without the 
cognitohazard taking over. 


Dr. Westwood: Got it. No way am | 
succumbing to this romantic-comedy shit. 


SCP-3444-9-B passes Dr. Westwood a glass 
of neat Glenfiddich. 


Dr. Westwood: Gaaaah, that’s the stuff. So, 
Dash B, you gonna put the moves on me or 
what? 


SCP-3444-9-B: Yeah. That’s what I'm here for, 
after all. 


Dr. Westwood: ...What you're here for? 


SCP-3444-9-B: Yeah. Us Dash 9 instances. 


Dr. Westwood: You know about that? How? 
None of the others do! 


SCP-3444-9-B: Hey, I’m meant to be your 
ideal guy, right? At least for now. And your 
ideal guy would be as cynical and messed-up 
enough to be annoyingly self-aware. And give 
you the info you want. 


Dr. Westwood: Huh. This place must have a 
sense of humour. So, what are you guys? Do 
you just appear out of thin air, like everything 
else? 


SCP-3444-9-B: | don’t know. It’s weird. | can 
always remember being here; growing up in 
the city, making drinks, that kinda thing. The 
others probably can, too. But | can also 
remember being dozens of different people in 
other versions, other train journeys. That’s our 
lot, | suppose. The same characters, same 
archetypes, endlessly recycled in other 
peoples’ dreams. 


Dr. Westwood: That... kinda sounds horrible. 


SCP-3444-9-B: Nah, not really. I’m only 
uncomfortably self-aware because you made 
me. Next iteration I'll have forgotten it all. It’s 
not a bad life; getting to have deep, fulfilling 
relationships and some really great sex with 
everyone who passes through. 


Dr. Westwood: | suppose. Still seems a bit 
creepy, though. 


SCP-3444-9-B: What’s more annoying is when 
| change during a Golden Event. Take this 
script, for example. In a few events time, |’m 


meant to- hang on- 


SCP-3444-9-B pulls out a sheaf of papers, and 
begins rifling through it. 


SCP-3444-9-B: Yeah, here we are... Scene 6, 
which is your dash 7. Apparently | demand you 
give up your career and have kids with me. 


Dr. Westwood: Urgh, serio- wait, what the 
hell? You people have scripts? 


SCP-3444-9-B: Oh, no. Just me, because it 
fits with your own personal enjoyment of this 
thing to see me pull it from under here. 


Dr. Westwood: ...Being forced to give up my 
career to push a squalling infant out of my 
body doesn’t sound very enjoyable to me. 


SCP-3444-9-B: Eh, true, but the script likes to 
play games. Push people who resist, mess 
with their heads. Makes you wonder who’s in 
charge of it all; what great intelligence is at 
work. But | don’t really want to know. This 
place gives you your dreams for a night, and 
that’s what matters. 


Dr. Westwood: I'd rather keep my dreams to 
myself, to be honest. 


SCP-3444-9-B: Eh, you'll change your tune 
once the musical number starts. Which should 
be only a few seconds, now. 


Dr. Westwood: Wait, what? 


SCP-3444-9-B: Yeah, I’m afraid the full force 
of the cheesiness will destroy what’s left of 
your resistance. Sorry, and all that. This lucid 
version of me is pretty fun to play, will be a 
shame to change again. 


Dr. Westwood: Oh no no FUCKING NO | am 
NOT getting involved in some kind of musical 
shenanig- 


At this point, loud music begins to be heard. 
The music is vaguely reminiscent of the style 
of a 1950s musical number. The SCP-3444-9 
instances present begin an elaborately 
choreographed song-and-dance number. 


Dr. Westwood: Wellll, I’m just a girl in 
downtown Toronto, 

Who hates this meta script, 

But | used to watch films with Reid and Tonto, 
So | guess | can kick off my shoes,