psul
Authors: psul and WrongJohnSilver
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Bigger Than Jesus or Empedocles
Semperoper
Item #: SCP-8962
Object Class: Euclid
Special Containment Procedures: Due to its location and prominence, SCP-8962 is to remain open for public performances. SCP-8962 is to be monitored by MTF Pi-1 ("City Slickers") to intercept and prevent sabotage of the anomaly by groups of interest. This includes background checks of all musicians and technical crew for any history with the anomalous.
If SCP-8962 is damaged or destroyed, Foundation contacts within the City Council of Dresden and the Landtag of Saxony are to publish plans for restoration and refurbishment, describing work as commencing immediately. MTF Psi-7 (“Home Improvement”), under the guise of local building contractors, will obfuscate evidence of self-repair of SCP-8962.
Description: SCP-8962 is the Semperoper opera house, located on the banks of the river Elbe in the city of Dresden, Germany. SCP-8962 is unable to be permanently damaged or destroyed, either by conventional or anomalous means. If damaged, SCP-8962 will reintegrate itself, restoring the building to its original exterior appearance over time. Based on historical evidence, this self-reconstructive action may have a retrotemporal element, with the result that SCP-8962 has existed throughout all time, including prior to its construction.
SCP-8962 has been the location of extranormal events involving groups of interest to the Foundation. Several such events have involved the destruction or attempted destruction of SCP-8962. It is speculated that SCP-8962 constitutes a nexus location, inciting or focusing anomalous activity.
History of Semperoper:
Date
Relevant Event
1838
Gottfried Semper completes the design of SCP-8962. The building fuses Classical, Renaissance and Baroque styles, drawn from Semper's book The Four Elements of Architecture.
12 April 1841
Construction of SCP-8962 completed. The Semperoper is highly regarded across Europe for its architecture and performances.
20 October 1842
SCP-8962 hosts its first opera premiere, Rienzi by Richard Wagner.
1843-1845
SCP-8962 hosts premieres of Richard Wagner's The Flying Dutchman and Tannhäuser.
3 May 1849
Gottfried Semper joins the German republican cause and leads an uprising in Dresden. When the rebellion is overthrown by Prussian soldiers, Semper is forced to flee Dresden, never to return.
21 September 1869
SCP-8962 is destroyed by a large fire, the cause of which is unknown.
2 February 1878
SCP-8962 reopens, fully rebuilt.
13 February 1945
Allied firebombing of Dresden demolishes SCP-8962, leaving a burned-out shell.
13 February 1985
SCP-8962 reopens, fully rebuilt.
16 August 2002
SCP-8962 is severely damaged by flooding of the Elbe river. Foundation becomes aware of potential anomalous properties.
9 November 2002
SCP-8962 reopens, fully restored. Funding for the restoration comes from unspecified sources. Foundation classifies the Semperoper as SCP-8962 and assumes management of the building.
Supplemental Materials:
WARNING - UNAUTHORISED FILE FORMATS DETECTED AMONG SUPPLEMENTAL MATERIALS. PROCEED WITH CAUTION.
- 16 August 2002
- 13 February 1945
- 9 October 1708
- 20 September 1869
- 11 April 2017
- 14 Julius, 9 AD
"Foundation Personnel pursued SCP-353 to Dresden, Germany, where they determined that she had successfully contracted Marburg and redistributed said virus to [DATA EXPUNGED]. Subject was eventually subdued by physical means and taken into Foundation custody with minimal loss of life."
After-action report
1. Code Name: Operation Eagle Arrow
2. Date of Operation: 16 August 2002, 0800 hours – 1300 hours
3. Location: Semper Opera House (Grid 33UVS██████████) Dresden, Germany.
4. Task Organization: Mobile Task Force Beta-7 ("Maz Hatters") with support from two squads from MTF Pi-1 ("City Slickers"). MTF Beta-7 Commander Lehmann had operational responsibility, with oversight from European Command at Site-06-3.
5. Intelligence: The operation's target (PoI-353) was identified in 1996, when several Johannesburg hospitals reported unauthorised visitors to Ebola virus patients. Over subsequent years, further intelligence of suspicious activity by PoI-353 was received during bacterial and viral epidemics in a range of African countries.
In mid-2002, Foundation HUMINT learned that PoI-353 had arranged to sell anomalously modified viral and bacterial samples (including Marburg virus) to the Russian State Research Center of Virology and Biotechnology, and were able to obtain her full description. Agents tracked PoI-353's movement from Burundi to Germany and subsequently to Dresden, with the Semperoper as the location for the exchange.
6. Concept of Operations: MTF Pi-1 Squad 1 follows the target from her hotel in Dresden to the site of the exchange. MTF Pi-1 Squad 2 and MTF Beta-7 Squads 2-4 establish a 50m perimeter, exclude civilians from the area to the extent possible and set up biohazard prevention measures.
Once PoI-353's contacts are identified, MTF Beta-7 Squad 1 apprehends the target and any contacts, and prevents the release of any bacterial or viral agents at the scene. MTF Pi-1 Squad 1 acts as support in case contacts are armed or civilian security forces attempt to intervene.
7. Execution: All aspects of the operation were severely disrupted by flooding of the Elbe River. The evacuation of major portions of Dresden made both MTFs more conspicuous, impeding close-range surveillance and shadowing. Beta-7 Squads 3 and 4 were delayed in crossing the river, and did not reach the operational location on time. Pi-1 Squad 1 requested mission abort at 0715, but was denied by Command.
The remaining MTF agents arrived at surveillance positions at 0800. Pi-1 Squad 2 posed as local emergency services, encouraging civilians to evacuate and gaining access to buildings to establish line of sight to PoI-353's hotel. The target was observed within the hotel, packing a small bag.
At 0946, PoI-353 left the hotel, carrying the bag, and walked in the direction of the Semperoper. MTF squads employed standard urban tailing methods, with Pi-1 Squad 2 moving ahead to clear civilians where possible. Full biohazard countermeasures were not established, due to continuing delays to Beta-7 Squads 3 and 4.
At 1014, PoI-353 arrived at Theaterplatz on the banks of the Elbe. The area was partially flooded, with water at ankle height. With the evacuations leading to few civilians in the area, MTF agents held position at the perimeter of the plaza to avoid detection. PoI-353 waited outside the main entrance to the Semperoper.
At 1034, two men (Target W and Target X) entered Theaterplatz from the North-West corner and approached PoI-353. Target W was identified as an operative for GRU-P, and Target X is suspected of being a member of the Russian State Research Center of Virology and Biotechnology. The men spoke briefly with PoI-353, but due to Pi-1's revised location, the conversation was not captured on surveillance equipment. After approximately 3 minutes, PoI-353 handed her bag to Target X.
Pi-1 Squad Leader ordered agents to move in. Due to the MTF's removed position and the absence of civilian cover, Target X detected the agents as they entered the square, and alerted Target W.
Target W opened fire with an anomalous projectile weapon, and Pi-1 Squad 1 and Beta-7 Squad 1 retreated to cover. Target X took the bag and ran towards the Western side of the square. PoI-353 spat into the water in the plaza, then entered the Semperoper.
After approximately 2 minutes of sustained fire, Target W was shot and killed by agents from Pi-1 Squad 2. A detachment of agents from Beta-7 Squad 2 pursued Target X, but was unable to locate the target.
Beta-7 Squad 1 followed PoI-353 into the partially flooded Semperoper. As the team spread out to search, Agent Radbruch was assaulted by PoI-353, who kissed the agent several times on the mouth and face before fleeing. Agent Radbruch reported sudden blindness and pain in the extremities. Agent Spencer discovered Agent Radbruch in the course of an aneurysm that led to her death on the scene. Remaining Beta-7 agents were advised to approach PoI-353 with caution.
Pi-1 squads in outside the Semperoper reported rapid symptoms of illness, including eczema, skin ulcers, disorientation and faintness. Beta-7 Squad 3, arriving at the scene, identified skin contact with local water as the likely cause, and removed all affected agents to dry ground. Beta-7 agents attempted to contain the water within the plaza, rendering them unable to support Beta-7 Squad 1 within the Semperoper.
PoI-353 threw blood towards the pursuing agents, who delayed action to equip their SCBA devices. During this time, PoI-353 appeared to drink rapidly from the floodwater. As the agents proceeded forward, PoI-353 announced a plan to infect all of the flood waters with an anomalous form of cholera, with the aim of causing significant civilian casualties.
At this time, Beta-7 agents within the Semperoper reported the sound of a loud bell (not heard outside the building). The floodwaters within the foyer spontaneously retreated, leaving PoI-353 without access to drinking water and unable to disperse anomalous bacteria. PoI-353 exhibited symptoms of extreme dehydration and began to suffer a seizure. Agents proceeded to physically restrain PoI-353, containing her within a Hazmat suit for transport and proceeding to Extraction Point Delta.
8. Results: Initial operational parameters were not achieved. PoI-353 was successful in distributing unknown materials (presumed to be an anomalous variant of Marburg virus) to agents of the Russian government. The capture and containment of PoI-353 was achieved, but at the cost of 17 casualties, including one MTF agent and one hostile KIA.
Agent Radbruch was found to have been killed by an anomalous form of Treponema pallidum causing sudden-onset tertiary syphilis. The waters in Theaterplatz tested positive for a highly-transmissible and aggressive variant of Pseudomonas aeruginosa. PoI-353's blood was found to contain virulent Streptococcus pyogenes, and her digestive system a previously-unknown form of Vibrio cholerae. All anomalous microorganisms were successfully contained at the scene.
MTF Beta-7's ability to contain the threat of anomalous disease was significantly aided by PoI-353's inability to spread the anomalous cholera strain to the civilian population. This was possible only through the spontaneous ebbing of floodwaters within the Semperoper foyer, an occurrence which has not adequately been explained. Investigations are ongoing.
The following is a catalogue of anomalous objects recovered from a Swiss bank vault by Foundation investigators in 1967. Each is believed to be the work of Gerhard Roth, a German anartist active in Saxony between 1921 and 1945. Labels were included with each work, but it is unclear whether these represent titles bestowed by the artist. The account holder for the vault is yet to be identified.
Collection of anomalous art
Object designation: SCP-8962-E-1
"Title": Rienzi
Description: Oil painting on canvas. Abstract expressionist in style, formed of overlapping conical towers in crimson and pink, vaguely resembling a forest or city.
Anomalous effect: Any person holding the painting for more than one minute experiences an auditory hallucination of being in a large, silent, empty space, and anticipating imminent noise. Foundation auditory studies have confirmed that the sound of the space matches the sound profile of the Semperoper auditorium. After approximately 4 minutes of silence, a wet organic squelching noise is heard, described as similar to the sound of sausage meat being squeezed out of its casing. This hallucinated sound grows continually louder, to the point of causing hearing damage to the holder of the painting.
Object designation: SCP-8962-E-2
"Title": Rigoletto
Description: Charcoal drawing on paper. Realist depiction of a human hand clutching the handle of a whip, the thong of which extends to the edge of the drawing.
Anomalous effect: While observing the painting, any person with unrestricted movement will unconsciously move their hands in the motions of an orchestral conductor. These movements will continue while the painting is observed, ceasing after approximately 74 minutes.
After approximately 15 minutes of such motion, any persons within 10 metres of the observer will spontaneously vocalise, calling and shouting with increasing volume and fervour. If observation of the painting is permitted to continue for the full 74 minutes, any subjects undergoing spontaneous vocalisation will then attempt to cannibalise each other, ceasing such behaviour only if SCP-8962-E-2 is removed from their proximity.
Analysis suggests that the observer's conducting movements correspond to the first two Acts of Verdi's Rigoletto. On 7 March 1933, the conductor of the Semperoper (Fritz Busch) was forced from his post mid-performance of this opera when a violent Nazi-backed demonstration erupted into fighting in the audience.
Object designation: SCP-8962-E-3
"Title": Apollo et Hyacinthus [Note: this title was partially effaced and overwritten with the word "Verworfen" ("Degenerate")]
Description: Bronze sculpture of a Reichsadler (an eagle holding an oak wreath containing a swastika, the national symbol of Germany under Nazi rule).
Anomalous effect: Any person that performs a "Nazi salute" within a 10 metre radius of the sculpture immediately experiences a tactile hallucination of penetrative anal sex. This hallucination continues for approximately 15 minutes, regardless of the behaviour of the observer or their distance from the sculpture during this time. After 10 minutes, affected subjects report the sensation of growing additional limbs and appendages at a rapid rate.
Object designation: SCP-8962-E-4
"Title": Tosca (Self-portrait)
Description: Watercolour painting on paper. Still life of two vases of carnations and a large animal heart. The work appears hastily composed and unfinished.
Anomalous effect: Any person observing the painting immediately experiences a visual hallucination comprising a constrained first-person perspective of being struck repeatedly on the face and body by an unclear assailant wearing black gloves and a grey uniform. The hallucination does not include any tactile elements, but continued observation will lead to the observer suffering bruising and contusions consistent with the hallucination.
Object designation: SCP-8962-E-5
"Title": Die Walküre
Description: Carving scratched into piece of unpolished granite. Abstract organic shape. Petrographic analysis has identified the likely source of the granite as quarries operated by the Flossenbürg concentration camp between 1938 and 1945.
Anomalous effect: No anomalous effects occur during the first 10 minutes of observation. Continued observation after this time results in an extended hallucination involving visual, auditory, tactile and emotional elements. The observer perceives themselves as ascending rapidly into a night sky, accompanied by the sounds of large aircraft propeller engines. At an altitude of approximately 6,000 metres, the observer's flight becomes level, and appears to pass through clouds, revealing a burning city below. The observer then experiences freefall towards the city, descending rapidly towards a partially destroyed building identified as the Semperoper. As the observer approaches the opera house, they experience the sensation of exploding, reporting acute consciousness of the rapid expansion of muscle and visceral fat within their bodies, with sensation continuing even as the structure of the observer's body ruptures and separates.
Notably, the visual hallucination depicts the force of the observer's explosion rebuilding the structure of the Semperoper, rather than destroying it.
During a Foundation raid on a "Kirche des Gebrochenen Gottes" site in East Berlin in February 1984, a non-anomalous piece of paper was recovered as part of a cache of items. Analysis of the handwriting and mass spectroscopy studies on the ink confirmed that the paper had been removed from the diary of Ehrenfried Walther von Tschirnhauß.
Tschirnhauß, a German mathematician and philosopher, was born in Saxony and was a resident of Dresden from 1697 until 1708. In the last years of his life, Tschirnhauß experimented with the development of porcelain, with the assistance of Johann Böttger, a young alchemist. Böttger has generally been credited with the invention of European porcelain, as an alternative to its costly importation from Asia. The diary entry below (translated from German) is dated to 9 October 1708, two days before Tschirnhauß's unexpected death, and its existence had not previously been recorded.
9 October
Morning
Health no better. No correspondence of significance. Expected a letter from the Elector, but again, nothing. Not even in respose to my update on the construction of the factory. One would think him more interested in domestic production, considering the cost of the porcelain at the Residenzschloss, but such is life.
Böttger claimed again today that Saxony kaolin will be the ideal base substance for perfecting his alchemical work. Asking him to focus on the practicalities of porcelain seems fruitless. Even as an alchemist he is hopelessly misguided. He spoke of using his refining process for "Gottwiederherstellung"; I rebuked him for what sounded alarmingly heretical! I do not understand why he sees kaolin as the alchemical albedo - it may appear white, but it is merely dead earth, empty and inert.
Feeling uninspired, I have discarded my work for the day. Perhaps later I will walk by the river.
Evening
An extraordinary observation in the course of my walk! As I passed by the palace chapel, I seemed to see another building overlaid upon it. An immense architectural monstrosity, obeying none of the principles of purity and symmetry preferred by the Elector. And I had heard nothing of its construction - given its size that seemed hardly possible.
As I marvelled at this monument, there occurred something yet more remarkable. From the earth of the riverbank, eight huge figures arose. They were shaped like men, but stood near 15 feet tall, with pale, featureless heads. As they dragged themselves up and towards that phantasmal building, their white bodies were revealed not as flesh, but shining plates of porcelain. They moved in fitful spasms, and I glimpsed twitching clockworks within them. What juggernauts they were! Like the automata of a Wunderkammern, or Böttger's idea of a homunculus, but at gigantic scale.
The porcelain giants approached the monument in jolting strides, and began to strike it with their fists. I trembled, expecting the destruction of the building, but to my surprise, it was the titans themselves who cracked, and then crumbled. They wrecked themselves on that colossal reef, finally expiring on the cobbles. I was transfixed, but no other passing citizens seemed to notice the spectacle, or the fantastical building rising above the square. When I turned back, the remains of the giants had vanished - returned to the earth in their failure, perhaps - but the hallucinatory building remained. I no longer knew what to think: was I mad? was this a vision? Does the cracking of those porcelain goliaths signify the imminent failure of my enterprise? I walked home distractedly, much troubled.
Later, I mentioned my observation to Böttger, who appeared unnerved, but somehow unsurprised. He muttered something about a broken world in the sight of God, but perhaps I misheard him, and that was just my unhappy thoughts. Must question him further when I next see him.
WARNING: DATABASE CORRUPTION. UNIDENTIFIED DOCUMENT FORMAT DETECTED. IMMEDIATE ANTI-MEMETIC INNOCULATION ADVISED.
The flames of the kerosene lamps flickered dully behind soot-blackened glass as Friedrich hurried through the backstage corridors. The design of this place was torturous, a diabolical collage of Gothic, Romanesque and Italianate, with no clear plan and no straight pathways that he could discern. He snorted: what could one expect from the architecture of a known anarchist. It was hardly Friedrich's fault that reaching the dressing rooms took forever.
Nevertheless, he picked up his pace. His client was waiting for Mathilde, and Karl had not yet brought her. He did not have time to waste.
Finally Friedrich reached the door of the dressing room, hearing the sound of raised voices from inside. He drew himself up, and barged in.
A crystal wineglass flew past his head and shattered on the doorframe with a crash. Friedrich flinched. He saw Karl, his stage manager, almost topple a candelabra as he ducked out of the way. Across the room, Mathilde Haupt burst into a peal of cruel laughter at their reaction.
Friedrich was livid with indignation. "What is the meaning of this?" he bellowed.
The laughing soprano showed no inclination to explain, so it was left to Karl. "I'm sorry, Herr Director, but she does not agree to come."
"I refuse to be paraded in front of some foreign swine," said Mathilde scornfully. She tossed her head, her long hair falling back over the shoulder of her yellow dress from the opera's final scene.
"That 'swine' is an extremely important English gentleman," replied Friedrich, "and is looking to invest heavily in the opera company. If he wishes to meet with the cast, then you shall meet him."
"I certainly shall not." Mathilde crossed her arms, and gave an ostentatious stamp of her foot.
Friedrich's temper boiled over. "You may think yourself important, just because you sing Eva tonight. But if you do not come now, I will have you sweeping ash from the fireplaces by tomorrow."
"You would not -" began Mathilde, cutting off as she saw the ferocity in his look. She looked down, sullen, and followed Friedrich from the room, allowing herself a defiant sniff as she passed Karl.
They wound back through the lamp-lit corridors - Friedrich trying to ignore the continual barbed exclamations from the prima donna behind him - until they reached the door to the royal box.
Inside, a handsome man sat looking at a golden pocket-watch. His dark hair was shot with grey, and his tailcoat and white bow tie were impeccably styled and fitted to his slim figure. Beyond him, the great opera house was cavernous and dark, but for a few distant candles.
"I feared you were lost," he said, putting away his watch and standing to give a languorous bow. His German held only the slightest hint of an accent.
Friedrich bowed deeply, and said only, "My apologies, we wished to give the fraulein time to make herself ready to meet you."
"I doubt that took any time at all," was the reply, both a compliment to Mathilde and a rebuke to Friedrich. The gentleman took her hand and bowed again to kiss it.
"Fraulein Haupt, may I introduce Herr Carter of London."
Mathilde made at least some effort to play the simpering coquette. "Did you enjoy the opera, sir?"
"Your performance was captivating," Carter replied, "but as for 'Die Meistersinger', I have seen it before. Have you nothing new, Friedrich?"
The opera director bristled but remained calm. "Die Meistersinger is still extremely popular, Herr Carter. Another full house this evening, as you saw."
"But it has been playing since January. Tomorrow I travel to Munich to see the premiere of a new Wagner opera. Why does it not play here?"
"This is the new opera about the cursed gold that all men desire?" asked Mathilde. "It hardly seems a natural subject."
"Less plausible than the commonfolk being brought together by the power of song?" returned Carter.
Already Mathilde's arch expression had returned. "I understand that you are in trade, sir," she said, voice brim-full of condescension.
"Herr Carter is a very wealthy merchant," interrupted Friedrich, trying to smooth the matter over. "He has expressed an interest in investing -"
Carter gave Friedrich a look like he might give a buzzing fly. "Yes, I am a merchant," he said to Mathilde, "and a collector of - you might say - curiosities."
"And what do you collect, Herr Carter?"
A flicker of the lamps sent shadows chasing across Carter's face, as his gaze fixed on Mathilde. "Just now, my dear, I collect opera singers. But only for the night."
Friedrich gasped. Mathilde swung a hand to slap Carter, but the blow was checked by his hand on her wrist. She yelped in pain as the tall man's fingers gripped her arm.
"Sir, I must insist," began Friedrich.
"Oh, calm yourself," said Carter, dropping Mathilde's arm. "She doesn't hold a candle to the women I have had, to the women I can have."
Mathilde was incensed. She snatched an oil lamp from the table next to her, and looked ready to hurl it at Carter.
Friedrich stepped forward, his own anger burning. "Sir," he said with a steely tone. "You are not welcome here. You must leave my opera house immediately, before I have you thrown out."
Looking at them both, Carter laughed imperiously. "Your opera house? This place is already irrelevant - it is the past, and the future is being built elsewhere."
He stepped closer, towering over Friedrich. "And you would be wise not to threaten me, Herr Director. It would be terrible for an accident to befall this place."
Without another word, Carter strode from the room and into the smoky light of the corridor. Behind him, he could hear a vicious argument flaring to life.
Transcript of a recording of Paul McCartney, composer, speaking at the conclusion of the first night's performance of his ballet "Ocean's Kingdom" at the Semperoper. Following this speech, Mr McCartney cancelled all public engagements over several weeks for a "recuperative holiday". Subsequent performances of the ballet continued without incident.
<sustained applause>
Mr McCartney: Thank you! Thank you! Danke schoen!
<applause gradually subsides>
Mr McCartney: Ladies and gentlemen, distinguished guests, Frau Bundeskanzlerin, Mr Ambassador, thank you. I am deeply grateful for your patronage this evening. Please excuse my speaking in English - it has been a long time since I was playing the Kaiserkeller in Hamburg!
<muffled laughter>
Mr McCartney: But that is not the venue I wish to praise this evening. I am greatly indebted to the Semperoper for their faith in this production, especially after the mixed reception of Ocean's Kingdom on its initial run in New York. I have been impressed and humbled by the vision of everyone here in bringing this story, this music, to life so vividly.
<applause>
Mr McCartney: It is fitting that this beautiful building, designed on the premise of the four elements of architecture, should host a performance highlighting the four classical elements. The kingdoms of earth and ocean united in marriage, of course - but not without some fiery passion, and the tempestuous air of jealousy.
Mr McCartney: Elements united… yes. The four joining together and separating, do you see? Tides ebb and flow. Winds change. Flames burn bright and dark. Earthquakes, continental drift… Just like people. The four building blocks of life, the four humours - a fab four, perhaps?
<nervous laughter, silence>
Mr McCartney: Classical architecture, classical music, classical history, classical dance. So much to teach us, but why always four? Four is so … limited.
<Foundation analysis of the recording detects additional undertones and overtone to Mr McCartney's voice>
Mr McCartney: Do you remember the Star-Club in Hamburg? The band played there in 1962. Fifty-five years ago. Fifty-five. Bright are the stars that shine, dark is the sky. Stars have always risen five-wise, you know? Lucy knew. Lucy skuarn froeu [REDACTED].
<concerned murmuring from audience>
Mr McCartney: Which is where the classicists are wrong. Four elements, yes, but moving through and around them, of course, the quintessence - the fifth element. The other colour, the light from the stars, surrounding the rest. Pervading them. Dominating them.
<murmuring grows louder>
Mr McCartney: We can join it. If you just tmuof geier [REDACTED] you can see it too. We can tear down this building until it is forever unmade. Until it can never be…
<a bell chimes loudly>
Mr McCartney: No! Wait!
<Mr McCartney's voice returns to its previous wave-pattern>
Mr McCartney: I can - I can tell you now. Four elements leads to five! But then five elements must lead to [REDACTED]. That is the Semperoper! This is a temple - it is sanctified! It always exists, it is always here; no matter how they try, it can never be removed. Here, all the elements are employed towards architectural perfection, everything and everyone brought together in this place, or torn utterly apart! And we get to choose, do you understand? It's been trying to tell us! It's been -
Mr McCartney: … I've - I was… I'm sorry, I think I need to sit down.
<footsteps on stage recede and are drowned out by talking within the audience>
WARNING: DATABASE CORRUPTION. UNIDENTIFIED DOCUMENT FORMAT DETECTED. IMMEDIATE TLAOL INNOCULATION ADVI5ED.
This is a Roman. His name is Lucius. Hello, Lucius!
Lucius is a soldier. See Lucius dig a ditch. Lucius is always working. He is very tired. Poor Lucius!
The ditch goes to a river. The river is near a big Roman camp. There are 350 Romans. This is the 18th Legion. See their helmets and shields!
The Romans lost a big battle. It was in a forest in Germany. Then the Romans marched East. They marched a long, long way. Lucius thinks they are looking for a golden eagle on a pole. He is wrong.
See Lucius walk to camp. It is almost night-time. The stars are coming out. Hello stars! Smoke curls close to the ground. The soldiers think it is mist. They think it is from the river. They are wrong.
Lucius walks past a big tent. It is for the legion's tribune. He is an important man. His name is Quintus. See Quintus inside the tent. Hello Quintus! Quintus is thinking. His thought comes from a different time.
The fault lies not in our stars, but in ourselves.
See the camp fires. They are burning low. The Romans are going to bed. Good-night, Romans. Good-night, stars.
Now it is morning. See the Romans march. They look very proud. Good morning, Romans!
They march beside the river. There is Lucius, carrying his spear. There is Quintus, riding a horse. Quintus is looking for something. It is not a golden eagle on a pole.
Aha! Quintus has found it! A big building near the river!
The soldiers are surprised. The building is funny! It has columns, sandstone walls, metal statues, glass windows, electric lights. The Romans walk closer. They see a statue of Euripides. They see other statues, but they do not know Shakespeare or Moliere. Lucius sees a statue of Dionysus. He thinks this building is a temple. He is almost right.
Quintus is happy. He knew he would find this building. He knows what will destroy it. He is wrong.
We, ourselves, lie in the faults in our stars.
And now, something happens that is very funny indeed.
The Romans see a second world, moving around and through the first. They perceive not just the reflections of light from surfaces, but light waves themselves propagating through space. They can feel gravitational vibrations echo through the Higgs field, a kind of silent music. They still see the looming mass of the Semperoper, the fields and the broad Elbe, but now they are surrounded by the shadows of energy - platonic doubles shifting and flowing like the river itself. The Romans are two thousand years from understanding that they have been granted the sight of dark matter as it passes through the visible universe - in their minds, what they are seeing is the air that the gods breathe.
This is the revelation that Quintus has been waiting for, but he is still stunned by it into immobility.
Suddenly, a huge shape appears in the shadow-world, floating above the opera house. It is gargantuan - three hundred metres of body flanked by rippling fins, like oars from a chitinous trireme. The head has five stalks tipped with flat black crab-eyes, and beneath it hangs a long, flexible proboscis as tall as a lighthouse, ending in a spiny claw-like structure.
The legionaries are frozen, awe-struck. The monstrous proboscis reaches down, the claw grasping at the aetheric shadow of the opera house. It wrenches out a piece, leaving the physical structure intact but tearing the ethereal likeness away and lifting it back towards a gaping mouth on the underside of the creature's head. Again the claw extends down and retracts upwards, and more of the building's essence is consumed. Gradually the soldiers' awareness of the opera house diminishes, their minds wiped clean of knowledge and memory of the place. Their eyes still see the Semperoper, but the image fails to register on their brain. This is a destruction of its very existence, its erasure from the face of time.
But there is something that will not allow this erasure. Neither time, nor any other enemy, shall destroy this sacred place. All at once, the air is full of metal wires, stretched taut. They angle through the air around the Semperoper, extending in every direction beyond sight, to infinity. Their shadows are not dark, but have a brilliant clarity - a whiteness beyond white, crackling with potential. The Romans are filled simultaneously with hope, terror, pride and feelings they cannot name. Above, the floating behemoth hesitates.
A sudden absence of sound rings in the air. The wires move, tilting and constricting inexorably inward. The beast thrashes, but is helpless. The wires slice through it in a thousand places, cutting it into shadows and smoke. As its body collapses, the Semperoper's substance returns.
Quintus is devastated. This is not the victory he was promised. He has put his trust in the wrong oracles.
Our faulty stars lie.
The legionaries turn to each other. They see that they have wires too. Running from their necks, wrists and ankles, upwards and out of sight. One gives an experimental pull, and the wire jerks back, raising his arm. Others try to run, or draw their swords. They cannot. The soldiers are now marionettes.
The silent music starts again.
See the Romans dance. Dance, Romans, dance!
See Lucius stop breathing. Good-bye, Lucius! See Quintus, torn apart. Good-bye, Quintus!
See the Semperoper watching.
Impassive.
Impervious.
Eternal.