In approximately 40% of documented cases, persons viewing 
SCP-3084 in its entirety become capable of accessing a trans- 
physical space (designated Plane-3084) upon completion of their 
first viewing of the film. Within 3-5 days after the initial viewing, 
these subjects develop an intuitive ability to enter a trance-like state 
at will, and appear to vanish from observation upon achieving this 
state. During this time, subjects are transported through unknown 
means to Plane-3084. Persons entering Plane-3084 in this manner 
are able to return to baseline reality at will, and reappear at the 


same location in space upon returning. 


Research indicates that at least six persons have entered 
Plane-3084 since its creation, including two Foundation personnel. 
Plane-3084 is believed to have been created through anomalous 
means at the same time as SCP-3084. 


Plane-3084 is a trans-physical space closely resembling locations 
depicted in Seven Strangers at a Feast. Geographical features, 
structures, and ambient weather conditions all appear to exactly 
match locations that appear in the film. It is not believed that 
SCP-3084 was filmed within Plane-3084; rather, Plane-3084 is 
understood to be a place generated concurrent with the act of 
filming SCP-3084. 


SCP-3084 was first documented among the effects of George Cecil 
Jones (Pol #3663), collected posthumously as part of the larger 
monitoring efforts of Operation LAWBREAKER in the 1960s, where 
its anomalous traits were observed upon processing of the 
numerous artifacts in the Jones estate. Jones and other figures 
targeted in the course of LAWBREAKER are not believed to be the 
intended recipients of SCP-3084 copies. At least thirty copies of 
SCP-3084 are known to have been distributed anonymously in the 
1920s in London, Paris, Brussels, Rome, and several other 
European cities. Most have been recovered from individuals 
occupying high-profile positions in business, the military, or the 
aristocracy, who are believed to be the intended recipients of 
SCP-3084 at the time. 


Addendum 3084.1 - Synopsis of SCP-3084 


Seven Strangers at a Feast is an experimental film deviating in style 
and subject material from most efforts of the late silent film era. 
These differences include the extended running time, lack of an 
easily discernible story or plot, depictions of graphic violence 
utilizing special effects far in advance of those available at the time, 
and repeated use of abstract imagery. No actors in the film have yet 
been positively identified, indicating that SCP-3084 is an amateur 
production. 


Character names in the description below have been assigned by 


research staff, as no credits beyond the initial title card are present 
in SCP-3084. 


Scenes 1-8: These scenes take place in and around an isolated 
country house, and include several establishing shots. Five 
characters are introduced as they arrive at the country house, all 
depicted walking along a dirt road leading to the location; The Young 
Man, the Young Woman, the Aristocrat, the General, and the Boy. 
All of the characters gather at the front door of the country house. 
The Aristocrat and the General argue heatedly, apparently about 
whether to enter the house, or concerning a possible plan of action 
once inside the house. The Young Man, Young Woman, and Boy 
are silent throughout the exchange, with expressions of worry or fear 
throughout most scenes. 


Scenes 9-13: The Old Woman appears for the first time, aimlessly 
wandering in the interior of the country house. The scenes are dimly 
lit. While her face is obscured throughout the film, the Old Woman 
can be interpreted to be muttering to herself by her hand and head 
movements, and occasionally yelling in the empty house. The Old 
Woman pauses occasionally to look with apparent apprehension at 
a chest next to the unlit hearth in the middle of the house. 


Scenes 14-27: The argument between the Aristocrat and the 
General suddenly stops. The two men stand silently at the door to 
the house, while the General beckons the Boy to join them. The Boy 
resists and attempts to hide behind the Young Man. The Young Man 
appears confused and attempts to prevent the Boy from coming 
near him. The Young Woman suddenly flees the scene and runs 
into the woods surrounding the house. 


Scenes 28-30: Inside the country house, the Old Woman shuffles 
closer to the front door, appearing to dance in an erratic fashion until 
reaching the door, at which point she appears to start shaking 
uncontrollably while stretching her arms skyward. 


Scenes 31-43: The Young Woman runs through the now darkened 
woods surrounding the country house. The film quality appears to 
deteriorate and change during this extended sequence. The lighting 
of the scene grows darker and darker as the Young Woman 
continues to flee, her apparent terror increasing steadily. The woods 


are barely discernible by Scene 38, and the Young Woman begins 
to be beset by shapeless apparitions emerging from the darkness 
starting in Scene 41. By Scene 48, the Young Woman is almost 
entirely out of focus, only recognizable by frantic, exaggerated 
movements. 


Scenes 44-51: The Aristocrat kicks down the front door of the 
country house, finding the Old Woman standing in the doorway. He 
roughly takes hold of the Old Woman and marches her inside. The 
General draws his pistol and motions for the Boy to go inside the 
house. The Boy refuses until the General discharges a round into 
the air. The Boy reluctantly goes inside the house. The General 
apparently tells the Young Man to stand by a window looking into 
the house, and then goes inside himself. 


Scenes 52-59: This portion of the film is entirely focused on the 
Young Man, who stays in place, watching the action through the 
window the entire time. Multiple camera angles, apparently utilizing 
several varieties of film, some appearing to be of higher quality than 
should be available for the time, are utilized. The Young Man grows 
increasingly uncomfortable and disturbed by what he is witnessing 
(presumably the events depicted in Scene 60 of the film), but does 
not move from his spot by the window. 


Scene 60: The longest individual scene in the film. The Old Woman 
is forced down onto a long table in front of the hearth by the 
Aristocrat and the General. Her clothing, apart from the hood which 
continues to obscure her face, is torn away, and the two men 
methodically fix the Old Woman into place by driving long nails 
through her wrists and ankles into the table. The Boy is then made 
to sit and observe by the General. 


The Aristocrat and the General use long, thin knives to flay the Old 
Woman's legs, placing the skin on top of the chest next to the 
hearth. The skin appears to begin smoldering. The Aristocrat then 
opens a long incision in the Old Woman's torso. Together, the 
Aristocrat and the General remove several ribs, carefully cutting 
away tissue until the cleaned bones are placed on top of the chest 
as well. The bones float in place over the pile of skin, which is now 
apparently on fire. The General dips a vessel into the Old Woman's 
now-open abdominal cavity and pours several cupfuls of blood on 


top of the chest, causing the flames to grow substantially. 


The Boy, watching impassively to this point, gets up from his seat at 
the request of the Aristocrat. The Boy reaches into the incision in the 
Old Woman's torso and retrieves what appears to be a set of eyes. 
The eyes rise out of the Boy's palm and travel first over the 
Aristocrat, then the General, before descending into the pyre atop 
the chest. The fire stops, and the chest opens. 


The Guest, a charred, skeletal figure, rises from inside the chest. 
The Boy, the Aristocrat, and the General arrange six chairs around 
the table upon which the Old Woman is still fastened, and 
apparently still alive. The Aristocrat beckons to the window from 
which the Young Man is still watching, motioning for him to come 
inside. The Guest assumes a position at the head of the table. 


Scenes 61-63: The Young Woman continues to run frantically in 
darkness, finally coming upon an isolated doorway deep into the 
woods. As the shapeless apparitions continue to pursue, the Young 
Woman opens the door and hurries inside, closing it behind her. 


Scenes 64-68: The Young Woman appears spontaneously inside 
the country house, as the chairs have been arranged around the 
table and the Old Woman. She makes no reaction as the Aristocrat, 
the General, and the Young Man drape the scraps of the Old 
Woman's clothes onto her, and the Boy seats her at the foot of the 
table, opposite the Guest. The rest of the characters take their seats 
around the table. The Guest begins clawing at the flesh of the Old 
Woman with his hands, taking portions from her limbs. The flesh 
appears to cook while in the Guest's hands. The Guest hands 
portions of flesh to each character in turn around the table, each of 
whom devours the offering quickly. This is repeated several times. 


Scenes 69-74: Scene 69 suddenly cuts to a clean skeleton affixed to 
the table, the characters still seated around the table, save the 
Guest, who is absent. The Aristocrat, the General, and the Young 
Man stand up and leave the house. The Boy removes the hood, still 
present on the skull of the Old Woman, and drapes it over the 
unresponsive Young Woman, still seated at the opposite end of the 
table. Scene 74 consists of a continuous shot of the now-obscured 
face of the Young Woman, lasting two minutes and nineteen 


seconds before the film abruptly ends. 
Addendum 3084.2 - Research Notes, Vol. 1 


Initial documentation of SCP-3084 and subsequent exploration of 
Plane-3084 was undertaken in 1963 by Researcher Philip Dumont. 
The following are relevant field notes, containing observations and 
data collected by Dr. Dumont during his assignment to SCP-3084. 


Prevailing Features of Plane-3084 (12 March 1963) 


- Area consists of observable terrain and traversable terrain. 
Observable terrain the same as that depicted in the film, which must 
have been shot on location. Traversable terrain is the area around 
the house, the house itself, and a small corridor leading into the 
surrounding forest. Attempts to cross into non-traversable terrain are 
met with a simple inability to proceed further. No feeling of a barrier, 
no visible indicators. You just can't go there. 


- Original location confirmed to be Rusizi National Park in the 
Kingdom of Burundi. This place is a simulacrum. Ongoing political 
instability is stalling inquiries, but unusual that a largely white 
production team making a film here would not be remarked in any 
records at the time. No records of Jacob Nkurunziza came up in our 
background search, and local authorities seemed quite insistent that 
they know of no such person. 


- No persons or in fact any detectable living organisms present. 
Field microscopic examination of soil and water samples turn up 
same. 


- Time does not pass in the surrounding area; the sun stays low in 
the sky and the local time is always 1830 hours, give or take a few 
minutes. Time passes normally for myself and my pocketwatch. 


House Interior Assessment (5 May 1963) 


The country house at the center of Plane-3084 does not decay, but 
instead maintains a certain shabby quality as originally depicted in 
the film. No amount of force seems to be sufficient to open the chest 
by the hearth; tools are being requisitioned for the next visit. 


Unsurprisingly, one cannot light a fire in the hearth. 


The testimony of Duke Mechelen, who is known to have visited this 
place sometime in the 30s, indicates that when the humanoids 
corresponding to the characters of the film dwelled here, they would 
mostly congregate in the house, when they weren't reenacting 
scenes. Two other individuals suspected to have been visitors 
indirectly confirm this observation in documents lifted from their 
private records, but only Mechelen described the routine of the 
characters in any detail. It is unfortunate that he only visited once; 
whether this experience is at all tied to his supposed nervous 
disposition in later years is impossible to say. 


Before these humanoids (I hesitate to call them fully human until we 
can find one and examine it) left this plane for parts unknown, they 
were known to spend hours at a stretch all assembled in the house, 
standing almost perfectly still, only their eyes moving to follow 
visitors. Unsurprising perhaps that Mechelen did not return for a 
second trip. 


As of this time, however, no persons are to be found here. 
Excavation Results (17 August 1963) 


The work has been slow going. Normally we would have seven or 
eight men digging this place up with suitable equipment. Due to our 
(mostly) reasonable protocols for visiting places like these, it's just 
been me and my shovel. Following some study of Scenes 65 and 66 
and my observations here, I've succeeded in prying up the 
floorboards underneath the dinner table and excavating about a 
meter of material. I'll be able to test what I've found once site staff 
have finished designing the equipment for this environment. 
Recovered the following: 


- Approx. 35 cubic centimeters of fabric (likely linen) 

- Various implements of cutlery (likely steel) 

- Layers of charred wood and ash (suggesting rebuilding of present 
structure on site of previously destroyed one) 

- Ten cups of similar design to those depicted in Scene 60 of the film 
- Scattered skeletal remains, almost certainly human. Initial 
examination suggests at least five different individuals, including two 


Description: SCP-384 is currently the access door to Containment 
Unit-077. SCP-384 has a variable form; any door installed in the 
same building as it can spontaneously take on its properties. This 
transfer will also occur if SCP-384 is destroyed. When recovered 
from a raid on a Marshall, Carter, and Dark Ltd. auction, SCP-384 
had been contained in a similar manner, with it isolated in a 
separate building with only one available door for it to inhabit. 


Two conditions must be met for SCP-384's effects to begin: it must 
be opened by a human being and must be closed by a human being 
while being unobserved by any possible means of observation, 
cameras and other electronic devices included. If these conditions 
are met, liquid tar will begin to flow out from under SCP-384 and fill 
the room that it currently occupies at a rate of about 6.5 L/second. 
The tar is incapable of pooling into a depth of more than three 
centimeters, but will instead climb up and adhere to the walls and 
ceiling of the room. There will only be a cessation of tar flow when 
the floor, walls, and ceiling of the room have been coated. Both the 
source and the means of production of the tar are unknown. Besides 
its unusual adhesive properties, the tar has no paranormal effects 
and will behave completely normally once taken out of a room 
(hence its lack of an SCP designation). 


During the coating process, individuals inside the affected room can 
leave easily. However, once the process is complete all open doors 
in the affected room will close and automatically lock. Doors cannot 
be unlocked, even if lock-picks are used, but they can be destroyed. 


The second stage of effects takes place immediately after the 
conclusion of the first stage. Subjects who have not already escaped 
the affected room report the voice of a female human child, 
designated SCP-384-1. It is only audible within SCP-384’s room; 
recording devices placed directly outside the room cannot hear the 
voice.