SCP-9000 — Woman in Grey OFFSET 2

Link to article: SCP-9000 — Woman in Grey OFFSET 2.

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You are reading **Document 3 of 5**, dated **1943/10/14**.

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**Item designation:** SCP-9799

**Object class:** Safe

**Threat level:** Green ##green|●##

**Special containment procedures:** Unnecessary at present. Spectral Resources B is currently investigating, leading agent Frederick Campbell. Single resident (single, cooperative); large body of information provided by her.

**Description:** Victorian house, southern Lincolnshire. Principal anomaly consists of corporeal entities appearing and disappearing at random; only appearing when living people present. Entitites resemble dead persons who died in or around the house.

Secondary anomaly is amnesiac in nature; prevents retention of long-term knowledge of the anomaly. Appears somewhat random in application. Repeated exposure to anomaly seems to prevent this, at least for a time. However increased problems when attempting to document; perhaps not first time Foundation involved.

**Addendum:** Matter recovered by Agent Hyde upon Agent Campbell's retirement. Consists of six photographs, all turn of the century, with notes by aforementioned resident and Campbell himself. Notes are more casual in nature compared with resident's usual, more meticulous research. Further analysis in process.

[[include component:image-block name=teddy.jpg|align=center|caption=Image of Southampton in the 1930s. The man approaching the camera on the left is believed to be Theodore "Teddy" Soames (1915-1943).|width=400px]]

> **Ethel's notes:** You wanted one of Teddy, so here it is - I took this in Southampton, in 38. He was furious - didn't want me to "snap" him all the time we were down there. I don't have many others - they all got lost, I don't know where.
> 
> We went down here on holiday - we'd taken a cottage nearby. It rained nearly every day, except when we went to Southampton for a few supplies. The few times I've seen him since remind me of this photograph. He always seems to come on grey days, rainy days.
> 
> **Freddie's notes:** We haven't found much out about Teddy Soames - he inherited the house upon his grandfather's death in 1922. A sometime journalist for the //Standard// and later the //Manchester Guardian//, but nothing of his personality rings out from his articles. Mostly seemed to have lived on the interest of the family fortune. Was working as a translator until went to war in '39; was at Dunkirk.
> 
> Other than Ethel, who seems a bit shifty about the whole thing, the clearest view of him we've got is from his cousin Martha. Said he was a rather twitchy and nervous sort of fellow. Hated going into the drawing room, apparently - always kept staring at the mantelpiece. She mentioned something about his grandfather in relation to that, but the details are unclear.

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[[include component:image-block name=family.jpg|align=center|caption=A photograph depicting Nicholas Wells (1856-1935), his wife Catherine and their children.|width=400px]]

> **Ethel's notes:** Nicholas is a slightly obscure figure - the brother in law of Teddy's grandfather, Herbert. He appeared to have been a common house guest until about 1901. Then, there seems to have been no contact at all for decades, until a final cache of letters from the 1920s that Herbert references in his will, asking for them to be left to -  well, I'm not sure what, because a page is missing. Abominably frustrating - not a clue how that was able to happen.
> 
> This is always what keeps me going, and what keeps antagonising me. There's so much missing. Always, there's so much missing. It's like I'm reaching out, trying to commune with the past, and am almost, //almost// there - but then something stymies me. I can see a face, a voice, an image turning towards me - and then it's gone, snuffed out like a candle. Always only flashes.
> 
> **Freddie's notes:** Bizarrely - or perhaps not - it seems Herbert Soames was a member of HMFSCP[[footnote]] Her Majesty's Foundation for the Secure Containment of the Paranormal, one of the principle predecessors of the SCP Foundation. [[/footnote]]. He left at the turn of the century, shortly before the SCP Foundation's creation. I //strongly// suspect that's why poor Ethel can't find that missing page - it must have been taken by us, along with whatever other data we could scrounge up.
> 
> The problem with this theory is that //I// can't find it either. It's nowhere - not in our 20s files, not in the HMFSCP archives, not even in local site records. I know exactly what Ethel means - you search, search, search for an answer, and there's nothing there. Sometimes, it drives one spare - makes it hard to see the point of any of this.

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[[include component:image-block name=bedroom.jpg|align=center|caption=A photograph from the 1900s, depicting an elaborately decorated salon room replete with piano, chandeliers and a large mirror.|width=400px]]

> **Ethel's notes:** This is my bedroom, now. It's an odd snap, mixed in with family photos - looks very, very weird, seeing one's own sanctum in completely different hands, in different colours and tastes. I kept looking at this one this morning, Freddie, while trying to find the angle it was taken from, but I couldn't get it quite right.
> 
> It's eerie. I've tried to keep a brave face on it, but seeing Teddy's face, over and over again... what other ghosts were there here? What didn't he tell me? The entire place seems haunted, now, wherever I go, whatever I do.
> 
> There's a painting of a woman in grey, on the top of the mantelpiece in the drawing room. I think Teddy said something about his grandmother Margaret once - was it of her, maybe? I keep staring at it. There's something in the way she's been painted; it's an odd expression for a Victorian piece. Imploring, somehow; or pained. But there's no signature, no note, no nothing - I've no idea what the painter intended, really.
> 
> **Freddie's notes:** Is there much to say about this? I don't know. Ethel seems to attach some great importance to it. I'm adding it in for that reason alone. Otherwise, I just see more sepia.

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[[include component:image-block name=herbertteddy.jpg|align=center|caption=A photograph from c. 1920 of Theodore "Teddy" Soames as a young boy with his grandfather, Herbert Soames (1843-1922).|width=400px]]

> **Ethel's notes:** Teddy looks so innocent, so happy here. It's useless wondering what happened to him, I know, but I do wish I'd seen him like this. It's an absurd picture - a touch of the American about it, all kitsch and sentiment. Really quite bizarre. He once told me he couldn't remember his grandfather's face - he just saw it "after he died", whatever that meant.
> 
> I wish I could see all the little things, you understand - the back-and-forth, banal arguments, the tiny movements of hands and limbs. There's the language of the body, of interjections and nothing-speech, all that sort of thing. Then maybe I'd understand how all these ridiculousnesses, all these moments in time without context, fit together. All I see at the moment are vast, creeping voids with nothing in them.
> 
> **Freddie's notes:** Not much to say, although it's nice to put faces to the names. Herbert looks like a nice old cove - not sure how a fellow like that could ever have worked for us, but looks can deceive, after all. I envy the boy somewhat - doesn't have a care in the world. I wish I didn't.

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[[include component:image-block name=landscape.jpg|align=center|caption=Photograph of Helby House's gardens, 1917.|width=400px]]

> **Ethel's notes:** This has all gone to ruin, now - no real money left after Herbert's death. These ghostly thoughts keep coming back around, disrupting my focus.
> 
> A century ago, there wasn't a house here. None of these elaborate, decadent gardens. Nothing at all. There was a village called Helby, but barely anyone still lived there; the last inhabitants were scattered to the four winds. Where did this come from, this curse? These ghosts? Why here, why this house? How far back does it go?
> 
> I sit here alone. I look around, and I think I see him, Teddy, out of the corner of my eye. I don't want to be here like this, alone like this, in these silent halls. And still I go on, sorting through documents and photographs. I can't let it have been for nothing, Freddie. All that pain, all that heartache - it has to be for something.
> 
> **Freddie's notes:** I just don't care any more. I want to go and be with Ethel, away from all this. I want to take her away from everything - from all these ghosts, and nothings, and dead pasts that nobody cares about. What can Teddy do to hurt us? What can any of them do? I want to live, here, and now, and forget all this. It's not our problem. It's not our fight.

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[[include component:image-block name=hidden.jpg|align=center|caption=N/A|width=400px]]

> **Ethel's notes:** I know this woman. I saw her, the first night I arrived. Pitch black, the fire in our room just embers, the wallpaper peeled and scratched, and I wake up to see a faceless figure leaning towards me, arms outstretched, almost imploring, the last gasps of her flickering in and out. I screamed, and the woman disappeared. Teddy told me that it must have been a nightmare but he was lying, wasn't he? Another picture at the bottom of the well.
> 
> I don't know, I just don't know any more. I sit here, surrounded by paper, disappearing into it myself. I don't want to look at this any more. Is there nothing else? Just so many oblivions, that I dig up and up and up?
> 
> **Freddie's notes:** N/A

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SCP-9000 — Woman in Grey OFFSET 2

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