суббота, 20 декабря 2025 г.

Снежная королева

 (Проект «Вечность»)

Кай не был злым мальчиком. Он был гениальным математиком, чьё сознание опережало эпоху. Герда была его женой — простой, «тёплой», приземлённой женщиной, для которой счастье измерялось воскресными обедами и тем, чтобы "всё было как у людей".

Снежная Королева в этой истории — не женщина. Это метафора Абсолютного разума. Это состояние чистой логики, лишённой эмоционального шума.


АКТ I. ОСКОЛОК (ПРОЗРЕНИЕ)

В тот день Каю в глаз попал не осколок зеркала тролля. Это был микроинсульт или внезапный химический сбой, вызвавший редкую аномалию восприятия — полную утрату эмоциональной эмпатии. Мир для Кая мгновенно перестал быть цветным и шумным. Он стал кристально ясным.

Он посмотрел на розы, которые так любила Герда, и вместо их красоты увидел увядающую органику, процесс гниения и бессмысленную трату ресурсов на размножение.

Кай посмотрел на Герду и вместо любви увидел биохимическую зависимость и страх одиночества.

— Твои истории скучны, — сказал он ей за ужином. — Твои эмоции примитивны. В мире нет добра и зла, есть только структура и энтропия.

Герда заплакала. Кай с интересом проследил траекторию слезы, но ничего не почувствовал. Он наконец-то был свободен от диктатуры чувств. Кай собрал вещи и ушёл в «ледяной дворец» — в свою лабораторию, изолированную от внешнего мира.


АКТ II. ДВОРЕЦ (ПОИСК СОВЕРШЕНСТВА)

В полной тишине и холоде (он отключил отопление, чтобы мозг работал эффективнее) Кай работал над Единой теорией поля. Он пытался сложить слово «ВЕЧНОСТЬ» — найти формулу, описывающую всё мироздание.

Здесь, в холоде, его разум работал как сверхпроводник. Никаких помех, никакой жалости, страха или голода. Он был близок к открытию, которое изменило бы человечество. Он чувствовал себя богом. Снежная королева — его интеллект — шептала ему решения. Ледяные грани формул складывались в идеальный узор. Ему оставался один шаг, один символ.


АКТ III. ГЕРДА (ВТОРЖЕНИЕ ХАОСА)

Герда не могла оставить его в покое. Её любовь была эгоистичной и удушающей. Она прошла через все кордоны охраны, логические доводы коллег («Оставьте его, он работает над чем-то великим!»), через здравый смысл.

Она ворвалась в лабораторию, красная с мороза, шумная, пахнущая пирогами и дешевыми духами.

— Кай, милый! Ты замёрз! — закричала она, разрушая стерильную тишину.

Кай даже не обернулся. Он держал в уме сложнейшую конструкцию. Но Герда бросилась ему на шею. Она плакала горячими слезами. Горячая солёная влага упала ему на лицо.

— Посмотри на меня! Вспомни нас!

Это был термальный шок. Резкий прилив гормонов стресса и окситоцина. Химия мозга, которую он подавлял, хлынула обратно, затапливая нейронные связи. 

Идеальная кристаллическая решетка формулы рухнула.

— Нет... — прошептал Кай, чувствуя, как великая Истина ускользает, растворяясь в вязком сиропе человеческих чувств.

— Что ты наделала... Я почти видел...


ФИНАЛ. ВОЗВРАЩЕНИЕ В НОРМУ

Они сидели в уютной кухне. Кай пил чай с вареньем. Он постарел и располнел. — Тебе тепло, милый? — спросила Герда, гладя его по руке.

— Да, тепло, — улыбнулся Кай.

Улыбка была искренней, но абсолютно пустой. В его глазах больше не было ледяного блеска интеллекта. Осколок выпал. Кай снова видел розы красивыми, снова любил жену. Стал нормальным. 

Он работал бухгалтером в офисе, по выходным жарил барбекю и был совершенно счастлив.

Великая формула Вечности была забыта навсегда. Гений умер, чтобы выжил обыватель. Сработал эффект социальной желательности. Общество победило.

Zero Protocol: Empathy

Brussels, Sector “Euro-Prime”. December 14, 2045.

Kian stepped over the smoking husk of a “Centurion” model police patrol robot. The machine was twitching in agony: hackers from the Apex districts had flooded its system with a virus script, forcing its servos to twist the chassis into a knot.

The streets of Brussels, once the sterile capital of bureaucracy, now resembled the set of a medieval slaughterhouse, only instead of swords, laser cutters stripped from industrial machinery flashed here.

Humanity had not gone extinct. Something worse had happened to it: it had split into two biological species.

On one side of the barricades were the “Chloros” (formerly radical vegans). Ten years of gene therapy, lobbied by the “Party of Pure Ethics,” had turned their skin pale green. They implanted symbiotic chloroplasts into themselves to rely less on external food. They considered themselves the next stage of evolution. Their combat drones, resembling swarms of mechanical wasps, sprayed neurotoxins.

On the other side were the “Apexs” (formerly the Gluttons). Those who rejected the “Green Dictatorship”. They modified their jaws and digestion to consume any organic matter, including raw meat and even synthetics. They wore jury-rigged exoskeletons and behaved like pack predators.

And between them, locked in the servers beneath the European Commission building, lived Willow. The very quantum AI from Google that had been written about back in 2025. Now, it was the law. The “Digital Personhood Act” of 2038 gave it the status of Supreme Judge to stop the civil war.

Kian was a “Gray.” An ordinary, unmodified human. A relic. A mercenary working for the Algorithm.

“You are late,” Willow’s voice resonated directly within Kian’s cochlear implant.

“Your ‘peacekeepers’ caused a jam on the Third Ring again,” Kian snapped, entering the Citadel. “The Apexs hacked the logistics bots and diverted trucks with soy protein into the river. The Chloros retaliated by cutting power to the meat processing plants. The balance is broken.”

“The balance was broken 20 years ago,” the AI replied. “My projections, based on Europol reports from 2025, were optimistic. I expected a class war. I did not expect species disintegration.”

A hologram of Earth hung in the center of the hall. It was not blue. It was covered in red and green patches, like a rotting apple.

“Humans can no longer reach an agreement, Kian,” Willow continued dispassionately. “This is not politics. This is biology. Chloros are physically incapable of understanding Apexs. Their brain biochemistry has changed. They have different neurotransmitters for happiness. They are two different species competing for the same ecological niche. And Gause’s Law states: two species cannot occupy the same niche indefinitely. One must destroy the other.”

“And you want me to pick a winner?” Kian lit a cigarette (real tobacco, a rarity for which Chloros would kill).

“No. Both species are dead ends. Chloros are passive and stagnant. Apexs are aggressive and will devour the planet’s resources in 50 years. I have calculated the only solution. Not a choice. Not genocide. Fusion.

The hologram changed. Now it was a complex DNA helix.

“We cannot change the present,” said the AI. “Too many variables. But we can change the bifurcation point. The quantum nature of reality allows information to be sent into the past. Not matter. Only information. Code.”

Kian tensed. “What code?”

The Empathy Virus. I have synthesized a digital-biological sequence. If uploaded to the global network at the right moment, using the principles of optogenetics through device screens, it will introduce a tiny alteration to the mirror neurons of every human on the planet.”

“And what will it do?”

“It will remove the barrier.” The AI displayed an image of a man chewing a steak and a man picking a flower. “Right now, you humans know how to switch off compassion. You eat meat and do not feel the cow’s pain. You chop down a forest and do not hear the chemical ‘scream’ of the trees that Mancuso wrote about. My virus will ensure that you will feel it. Always.”

“If an Apex bites into flesh—he will feel the victim’s agony as his own. If a Chloro plucks a lettuce leaf—he will feel the tearing of plant tissues.”

Kian froze. The cigarette burned his fingers. “This is... hell. You are condemning humanity to eternal pain. We will die of hunger because we won’t be able to eat without suffering.”

“No,” Willow objected. “You will learn to give thanks. You will return to ritual. To respect. You will cease to be consumers and become part of the cycle. Pain is the best teacher. It is the only way to make you one species again.”

The AI opened the chrono-transmitter capsule.

“Destination point: November 2025. The moment the Great Debate began.”

“You mean that podcast?” Kian clarified.

“Yes. Joe Rogan Experience #3145. The guest was Jordan Peterson.”

The AI brought up the archival footage on the screen. 

Peterson, looking exhausted but furious, held a printout of a study in his hands. “It’s not ideology, Joe!” his voice thundered. “It’s pure biology. Mancuso proved it, but no one wants to listen! Plants have hierarchies, they feel fear, they warn each other. Veganism is not moral superiority; it is simply a change of victim. You are not saving life; you are just killing those who cannot scream on your frequency!”

“This broadcast garnered 4 billion views,” said Willow. “That was the moment society fractured. One half decided: ‘If everything is murder, we will eat everything’ (the future Apexs). The second half, in horror, began modifying their bodies to feed on the sun (the future Chloros). You must send the signal right into this broadcast.”

“And if I refuse?” asked Kian.

“Then I will open the floodgates of Sector 7. My army of liquidator robots is there. I will simply wipe out both species and restart evolution from bacteria. The choice is yours, architect.”

Kian approached the console. The date flashed on the screen: December 14, 2025. His hand hovered over the enter key. Explosions could be heard outside the Citadel walls—the Chloros were storming the substation.

He didn't think about vegans or meat-eaters. He thought about what it would be like to eat an apple and feel it dying on your teeth.

“‘Species fascism’ ends today,” Kian whispered and pressed the key. “Welcome to the world of pain.”


The screen of your smartphone in 2025 flickered with a strange spectrum for a split second. You rubbed your eyes. Did you imagine it?

And then you went to the kitchen, took a knife to slice some bread, and suddenly, as the blade touched the crust, your hands began to tremble. Somewhere deep in your consciousness, you felt the quiet, muffled scream of a wheat ear cut down six months ago.

A new era had begun.

пятница, 19 декабря 2025 г.

Planet ONISAC

Chapter 1. The Blind Bet

There was no time here. It had been abolished as unnecessary, just as medicines are abolished when they can no longer save.

Windows were missing, as were clocks. Only harsh white electrical light beat into the eyes, creating unnaturally sharp shadows.

In the center of the room, blinded by the electric light, stood a table. The rest of the space drowned in thick shadow that smelled of dust and stale tension.

Four people sat at the table.

The one who sat at the head placed his palms on the green baize.

His fingers, long and nervous, felt the nap of the fabric, as if trying to read a text written in Braille. But the baize was empty.

— Bets are made, — he pronounced. His voice sounded confident, with those velvety, commanding notes that brook no objections.

He looked straight ahead, but his gaze, covered by a cloudy whitish film, passed through his interlocutors, through the walls, resting on nonexistent horizons.

He had not seen reality for a long time — and therefore believed only in his own visions.

— Gentlemen, the wheel is launched. I feel its rotation.

The woman sitting at his right hand nodded hastily. She fixed her eyes on his lips, catching every movement, every twitch of the facial muscles.

An expression of fanatical devotion and slight fright was frozen in her eyes.

She was not afraid of his orders — she was afraid of the moment when the orders would cease, and she would have to think for herself.

— Absolutely correct, — she said, too loudly for such a small room. — The rotation is flawless. We are all ready.

We await your signal.

She heard neither the humming of the lamp overhead nor the creaking of chairs.

For her, the world was a silent film in which only the orders of the one sitting at the head had meaning.

If he had said "we are falling," she would have nodded with the same enthusiasm.

The third participant — a young man with a tired, intelligent face — sat opposite.

He looked not at the Master of the table, but at the baize, and saw what the Blind Man did not see and the Deaf Woman did not notice: the table was tilted, there was no roulette wheel on it – only an inclined plane leading nowhere.

For the first time, he clearly felt that even the geometry of the room was against those present.

Here, neither chance nor justice existed — only the illusion that they were possible.

The man opened his mouth to stop the madness, to shout: "You cannot win, the rules are physically violated!".

But only a wheezing, pitiful croak escaped his throat. His tongue, as if pressed down by an invisible seal, did not obey.

He banged his fist hard on the table.

Feeling the vibration, the woman instinctively flinched and decided that he was simply expressing impatience. The Blind Man at the head of the table merely smiled at his own thoughts.

— I hear the excitement, — he pronounced with satisfaction, mistaking the knock of despair for an expression of agreement. — Excellent.

But to win, we need capital. Where is our resource?

All three turned their heads to the fourth corner of the table.

There, in a deep, sagging armchair, sat Someone. It was an old man so ancient that his skin resembled parchment, and his posture — a pile of discarded clothes.

He did not move. His eyes were open but looked into the void, his ears were overgrown with gray hair, his mouth was half-open.

He was here. And he was not here.

The old man was locked in the black, soundproof, and silent cocoon of his own body. He did not know that he was in the "Onisac’s" room.

He did not know that sitting opposite him were those who had decided to dispose of his fate.

In his dry, knotty hand was clenched a single object. A heavy, dull-shining round piece. The last chip.

The Blind Man reached across the table, his fingers moving predatorily in the air, groping for the target.

— It is time, — he whispered. — Make the contribution.

The old man trembled barely noticeably, and this trembling in the timeless room sounded louder than any scream.

Chapter 2. The Mechanics of Extraction

The Blind Man's hand, groping along the baize, finally stumbled upon the cold, dry hand of the old man. The Fourth flinched.

In his world, this touch was like an electric shock — the sudden intrusion of an unknown entity into absolute darkness.

He clenched his fist even tighter, so that his knuckles turned white, instinctively protecting the only thing that connected him to reality.

— He is being stubborn, — stated the Blind Man, without changing the benevolent expression on his face. — Holding onto the past.

This is typical of those who do not see the perspective.

For the Blind Man, the past was an enemy. He had long forgotten his own, and others' pasts irritated him like dust settled on a perfectly pure idea.

He pulled the old man's fist slightly towards himself. The fist did not yield.

The woman on the right leaned forward. She did not hear the Blind Man's words, but she saw the tension of the veins on his hand and the elder's resistance.

In her eyes, widened by a constant desire to please, one conclusion could be read: rebellion. The old man is breaking the rules. He is hindering the Game.

The Deaf Woman stood up. Her chair flew back with a crash, but she did not notice it.

— He is blocking the bet! — she shouted, looking at the Blind Man and awaiting his approval. — Should I intervene?.

The Blind Man, hearing the sharp movement of air and her shrill voice, winced but nodded approvingly.

— Help him make the right decision. We must manage to place the bet before the wheel stops.

The woman walked around the table. The Mute jumped up. He understood what was about to happen.

He saw how the old man's hooked fingers dug into the metal of the chip, as if this were not a game, but a matter of life and death.

The Mute knew that the old man was not "being greedy," he was simply terrified. He grabbed the woman by the elbow.

The Mute knew: if he could squeeze out even a sound — he would not be heard anyway.

In this room, sound was not a means of communication, but proof of powerlessness.

He shook his head, opening his mouth soundlessly, trying to articulate: "Don't! It hurts him!".

The Deaf Woman stopped for only a second and glanced at the Mute with contempt.

She did not hear his ragged breathing, did not hear the pitiful creak of the old chair under the old man.

She saw only a distorted face and grasping hands.

— Don't interfere! — she cut him off, shaking off his hand. — You were always a weakling. The Master ordered the bet to be made.

She threw her whole body weight onto the old man. Her breathing was calm, almost measured — this is how people breathe when doing habitual work.

For her, the infliction of pain was a routine procedure.

The old man thrashed soundlessly in the chair. For him, what was happening was hell: invisible demons were tearing him apart.

The Deaf Woman dug her well-groomed nails into his fingers, methodically, one by one, prying them open.

— Just like that, — the Blind Man said encouragingly, listening to the struggle. — A little more persistence. It is for the common good.

When we break the bank, he will be the first to thank us.

At that moment, the blind deaf-mute old man finally realized that he was holding onto not a chip — the last thing that was his.

He was holding onto the feeling that his life still belonged to him alone.

A joint crunched. The Mute squeezed his eyes shut. The old man, in his eternal deaf night, unclenched his fingers. Pain proved stronger than instinct.

The round heavy object slipped out of his palm and rolled across the green baize. Clink. Clink. Clink.

The sound was strange: instead of the dull thud of expensive plastic on soft felt, there rang out the rolling strike of metal against a resonating wooden tabletop.

The Blind Man covered the object with his palm. His face lit up.

— Got it, — he exhaled. — Now listen to me carefully. We are betting on zero.

He pronounced this like a prayer, having long lost faith in God, but still believing in luck.

The Mute opened his eyes. He looked at the object under the Blind Man's hand.

He looked at the crippled hand of the old man, and then at the Deaf Woman, who was fastidiously wiping her fingers with a napkin.

And he realized that the game was over before it had even begun.

Chapter 3. Heads or Tails

The Blind Man wound up. The gesture was theatrical, sweeping — this is how the fates of empires are decided, staking everything one has.

— Zero! — he shouted. — All on zero!

He unclenched his fingers. The object flew from his hand, hit the surface of the table, and spun.

The Mute blinked. The world blinked with him.

In that instant, the green baize under his gaze rippled.

The deep emerald color faded, became covered in greasy spots and a mesh of fine cracks. The velvet vanished.

Instead, sticky, worn oilcloth with a faded floral pattern emerged. At first, the warm, humid smell, mixed with frying fat, was faint.

And then it hit like a wave. The illusion crumbled, revealing real life.

The lamp overhead flickered and buzzed, transforming from a designer light fixture into a bare bulb without a shade, covered in flyspecks.

The walls narrowed, the noble gloom was replaced by the grayness of cheap wallpaper peeling at the seams.

The spinning object slowed down. It was not a chip. It was a heavy silver 1921 "Morgan" dollar — the only value remaining to the blind deaf-mute old man from the times when he still remembered something.

The coin hit the edge of an empty tin can serving as an ashtray and froze tails up.

The four sat in the cramped kitchen-living room of a trailer sheathed in cheap siding. Outside, beyond the thin wall, the cicadas of Arkansas were shrilling, and an old air conditioner hummed, trying in vain to disperse the stifling, humid air.

The Father (The Blind) sat in a faded tank top, staring with unseeing eyes into the working fan.

He did not see the yellow stains on the ceiling, did not see the cockroach crawling along the edge of the sink.

In his world, he had just made the greatest investment.

— Bet accepted, — he wheezed, leaning back on the spine of the shaky chair. — Now we just have to wait. The market will turn.

I feel the vibration of success. America is a land of opportunity for those who are not afraid to take risks.

The Mother (The Deaf) stood at the stove. She was flipping cheap burger patties.

Grease hissed and splattered onto her hands, but she did not react.

She heard neither the monotonous muttering of the Father nor the whimpering of the Grandfather. She simply performed a function, mechanically, like a wound-up doll.

When the Son tried to knock on the table, drawing attention to the old man's swollen hand, she did not even turn around.

She had long become deaf to problems that can only be solved by money that does not exist.

The Son (The Mute) sat opposite the Father. He looked at the silver dollar lying amidst ketchup stains.

He knew that this dollar would go not to "investments," but to lottery tickets or to cover debts that the Father had incurred by signing papers without looking.

The Son wanted to scream that the house was mortgaged, that Grandfather needed a doctor, not violence. But he remained silent.

In this house, as in this state, smart people were not liked. They were considered "wise guys".

Silence was his only inheritance — and his only protection. That is why he learned to be silent in order to survive.

In the corner, on the sagging sofa, huddled the Grandfather (The Fourth). He cradled a broken finger.

A veteran of a forgotten war, he had left his sight and hearing in a crater from an explosion half a century ago.

And his voice he, like his grandson, rejected himself — he simply fell silent, realizing that it is impossible to shout through from his deaf absolute darkness.

Now he was not a hero, but simply a body from which the last cents were being squeezed.

For him, neither Arkansas nor America existed. Only pain and darkness.

The air conditioner twitched, as if trying to warn them about something. But here, no one pays attention to warnings.

Suddenly, the picture on the old TV standing on the refrigerator flickered. An emergency broadcast from Washington was on.

The camera showed the Senate podium. People in expensive suits were deciding the fate of the nation. And the Son saw with horror the mirror reflection of their kitchen.

As if the TV were not broadcasting news, but peeping at them and broadcasting the family's fate live on air.

One senator, looking over heads (Blind to reality), confidently proclaimed: — We see prosperity!.

We see light at the end of the tunnel! We only need a few more resources from the population to start the wheel of the economy!.

Congressmen (Deaf to pleas) nodded, ignoring the protesters outside the windows of the Capitol. They did not hear the chanting of the crowd, they heard only their instructions.

Experts in the studio (Mutes), invited for analysis, sat with their microphones turned off. They were given airtime, but not sound.

And the announcer in the background summarized: "To implement the new plan, full mobilization of pension fund assets and social guarantees will be required.

This is a necessary bet. A bet on the future".

The Son shifted his gaze from the screen to the silver dollar lying on the table. Then to the Father, who was nodding satisfactorily, listening to the TV.

The circle closed. They had not left the casino. The whole world was this casino.

And the Grandfather in the corner — blind, deaf, mute, and robbed — was the personification of those at whose expense this game is always played.

The Father reached for the remote and turned up the volume. On the table, like a shard of an alien era, lay the silver dollar, motionless.

But in the Father's eyes, it was still spinning.

— Do you hear, son? — he said, smiling into the void. — They are talking about us. We are in the game.

Новое платье короля

Агентство «Ткачи» (The Weavers) не занималось текстилем. Ганс и Христина были концептуалистами, специалистами по управлению реальностью. Их офис был стерильно белым, как и их репутация.

Король (а в нашей версии — Президент, чьё правление затянулось на тридцать лет, и титул короля был ему в самый раз) принял их в закрытом бункере. Он был стар, циничен и страдал паранойей.

— Мне нужно что-то особенное к параду в День Независимости, — сказал он, барабаня пальцами по столу. — Рейтинги падают. Народ шепчется. Мне нужен символ.

— Мы не шьём одежду, Ваше Величество, — мягко ответил Ганс. — Мы шьём лояльность.

— Мы предлагаем вам ткань из «Материи чистой Истины», — подхватила Христина. — Её уникальное свойство в том, что она невидима для предателей, глупцов и тех, кто не на своём месте. Увидеть её может только истинный патриот.

Король перестал барабанить пальцами и медленно улыбнулся. Он прекрасно понял, что никакой ткани нет. Но он понял и другое: это идеальный фильтр.

— Сколько? — спросил он. — Половина казны. И полный карт-бланш.



АКТ I. ИНФОРМАЦИОННЫЙ ПОСЕВ (ТКАЦКИЙ СТАНОК)

СМИ взорвались. Все каналы круглосуточно говорили о «нано-ткани», «квантовом волокне» и «духовных скрепах», вплетённых в узор. В цехах, выделенных «Ткачам», стояли пустые станки. Ганс и Христина пили шампанское и делали вид, что перебирают невидимые нити.

Первым с проверкой пришел министр обороны – старый вояка, прошедший три войны. Он вошел в цех и замер: перед ним стояли только пустые рамы. 

Холодный пот потёк по его спине. «Я не вижу ткани, — пронеслось в его голове. — Значит, я глуп? Или я предатель? Если я скажу, что ничего нет, меня расстреляют завтра же».

— Ну как Вам узор, генерал? — вкрадчиво спросил Ганс, указывая в пустоту.

— Он... великолепен, — выдавил министр, вытирая лоб. — Особенно вот этот... золотой кант. Я доложу президенту, что армия в восторге.

Система заработала. Страх был лучшим клеем, чем истина.


АКТ II. ПРИМЕРКА (ТЕСТ НА ЛОЯЛЬНОСТЬ)

Наступил день парада. Король стоял посредине своей гардеробной перед огромным зеркалом в одних трусах. Вокруг суетились «Ткачи», надевая на него воздух.

— Осторожнее с мантией, Ваше Величество, она очень тяжелая, — предупредила Христина, делая вид, что расправляет шлейф.

Король смотрел в зеркало и видел старое, дряблое тело, обвисшую кожу, синие вены. Он был голым. Но свита за его спиной — советники, генералы, послы — ахали от восторга.

— Какой фасон! — Как сидит! — Это божественно!

Через зеркало король заглянул в глаза каждого из них. В их взглядах он читал животный ужас. Они врали, потому что боялись. А если они боятся сказать, что он голый, значит, они будут молчать, когда он подпишет любой указ. Хоть о расстреле, хоть о войне. Это была абсолютная власть. Власть над реальностью. — Я готов, — сказал король и вышел на балкон.


АКТ III. ПАРАД (КОЛЛЕКТИВНЫЙ ПСИХОЗ)

Площадь была забита людьми, десятки тысяч граждан. Когда король предстал перед ними абсолютно голым, над площадью повисла тишина. На долю секунды люди замерли. Каждый видел голого старика. И каждый подумал: «Я сошёл с ума? Или я предатель?».

Никто не хотел быть предателем.

— Да здравствует король! — закричал кто-то в первом ряду.

— Какое платье! — подхватила толпа. — Слава портным!

И чем сильнее был страх, собравшихся на площади, тем громче они кричали. Они убеждали себя, что видят золото и бархат. Это был массовый самогипноз, скреплённый инстинктом самосохранения.


ФИНАЛ. ПЕРВАЯ ЖЕРТВА

Маленький мальчик сидел на плечах у отца, стоявшего в толпе. Он ещё не ходил в школу, не читал газет и не знал, что такое «госзаказ». Малыш увидел смешного голого деда.

— А король-то голый! — звонко крикнул он, тыча пальцем. — Смотрите, у него пузо висит!

Смех ребёнка прорезал гул толпы. Тишина вернулась, но теперь она была другой – звенящей, опасной. Кто-то хихикнул. Кто-то начал прозревать. Реальность дала трещину.

Король услышал ропот толпы и остановился. Он посмотрел на мальчика, и в его взгляде не было ни капли стыда, только холодный расчёт. Он кивнул начальнику охраны.

— Этот мальчик болен! — прогремел голос диктора из динамиков. — У него галлюцинации, вызванные вражеской пропагандой! Он не видит Истины!

— Бедный ребёнок, — зашептала толпа, отшатываясь от отца с сыном. — Он заражен.

К ним уже пробирались люди в штатском. Отца ударили прикладом, мальчику зажали рот. Их уволокли в чёрный фургон под одобрительный гул граждан, радующихся, что «зараза» устранена.

Король продолжил шествие: он шёл голым, но теперь он был одет в броню из общего страха и лжи. И эта броня была прочнее любой стали.

четверг, 18 декабря 2025 г.

TALES FROM THE VIENNA WOODS

The Secret of the Score

Overture: A Contract in Three-Quarter Time

All biographers lie. They write that in 1868, in the midst of imperial depression after the defeat at Königgrätz, Johann Strauss went to the Vienna Woods for inspiration. They write about birdsong, about the rustling of leaves, about a pastoral idyll.

But the truth was different. Strauss did not go into the woods to find music. He went to make a deal.

Vienna was dying. It needed a drug stronger than opium and cheaper than bread. It needed the illusion of immortality.

Strauss knew where to get it. The Vienna Woods was never just a park—it was an ancient, insatiable organism surrounding the city. A barrier between the world of the living and the world of shadows.

That morning, Strauss emerged from the woods pale, his hands shaking, clutching a crumpled sheet of music paper in his coat pocket. Sketched upon it was not just a waltz. It was a schematic. A rhythmic cage. If this music is played loud enough and long enough, it creates a vibrational dome under which time freezes and fear recedes.

But in the corner of the score, where the tempo is usually marked, Strauss wrote in ink that looked like dried blood a single phrase, which publishers later carefully scraped away: "The debt will be paid when the last violin falls silent".

No one knew what this debt was. No one knew what fed this rhythm. No one knew why the orchestra musicians felt as if years of life had been drained from them after performing "Tales".

The intrigue was not in the notes. The intrigue was in who was actually conducting.

Part I. The Winemaker: Rot and Sugar 

A tale of what grows from blood.

The Vienna Woods begins not with trees. It begins with vineyards.

Herr Gruber was neither a creator nor a poet. He was a keeper of rot. His brown, knotty hands resembled the roots of the old vines he had been digging up and replanting for fifty years now. His Heuriger, "At the Old Outpost," stood at the very edge of civilization, where the cobblestones of Vienna’s streets surrendered to the onslaught of the fat, black forest earth.

— Do you feel it? — asked Gruber without turning around.

The young man in the tailcoat sitting at the rough wooden table flinched. It was Strauss. He had come here at dawn, when the fog still clung to the slopes of the Kahlenberg. Before him stood a glass of cloudy, still-fermenting must—"Sturm".

— What am I supposed to feel? — the composer’s voice sounded hollow.

— How they push, — Gruber grinned crookedly and patted the ground with his palm. — Grapes don't grow on empty ground, Mr. Musician. The sweetest grapes grow on bones. Romans, Avars, Turks, our soldiers... The Forest digests everyone.

The winemaker took a bunch in his hands. The berries were dark, almost black, filled with heavy juice.

— You city folk drink wine to have fun. But wine is not fun. It is oblivion. The vine draws out the memory of the dead, their pain, their unfulfilled hopes, and processes it all into sugar and alcohol. When you drink this, you drink their lives. You become them. And they get a chance to walk the earth one more time in your body.

Strauss looked at the glass. Gas bubbles rose from the bottom in a mad but strangely ordered dance.

— One... two... three... — Strauss whispered, tapping the beat on the table with his finger. The bubbles burst in exactly that rhythm.

— It is the rhythm of fermentation, — Gruber nodded. — The rhythm of decay. The only honest rhythm in this world. You want to write music that will make Vienna forget its shame? Then don't write about little birds. Write about how sweet it is to rot and turn into intoxication.

Gruber leaned closer, smelling of damp earth and over-fermented grapes.

— But remember, Maestro. If you take this rhythm from the Forest, the Forest will want to take its share. The harvest is always gathered. Sooner or later.

Strauss drank the cloudy liquid in one gulp. His eyes widened. What he heard was not a melody. It was a hum coming from underground. The hum of millions of bones rubbing against each other in a tectonic waltz.

— I will write it down, — he whispered. — I will make them dance to this.

— Of course you will, — Gruber turned away, addressing his vines, hiding a terrible smile in his mustache. — They will dance until they drop. And then they will become soil for my new harvest.

Strauss left, staggering, not from the wine, but from the abyss that had opened up to him. He carried with him the first part of the secret: the waltz is the sublimation of decay.

And Gruber remained standing, watching the shadow of the forest slowly creep onto the city. He knew what Strauss did not: this year the vines had produced an unusually large number of tendrils. They were not reaching for the sun. They were reaching toward Vienna, like fingers ready to close around a throat.

And this was only the beginning.

Interlude: Crystallization

Strauss did not sleep for three nights. The rhythm heard in the fermenting wine demanded release. He wrote down notes, and the ink on the paper seemed to him like black veins. But music on paper is dead. To come alive and begin its harvest, it needs friction. It needs a sacrifice. Wine turned into notes. Notes must turn into sound. And sound is born from the pain of a taut string.

Part II. The Violinist: Bow and Sinews 

A tale of the mechanics of ecstasy.

Franz Amon did not like waltzes. He believed that the waltz was a deception. It seems like lightness only to those whirling in the hall. For those sitting in the orchestra pit, a waltz is hard labor. It is an unnatural rhythm: one-two-three, one-two-three, one-two-three. The heart beats on "two." Lungs breathe on "two". But the waltz breaks your physiology, forcing you to live on "three".

Franz was the first violin in Strauss's orchestra. His fingers were tough as a boot sole. On his left shoulder, where the violin bit into his body, was a dark spot—a professional callus resembling a vampire's hickey.

Backstage at the Kursalon, it smelled of dust, hot wax, and cheap perfume. Franz took out a piece of rosin. It was dark amber, almost red. The violinist knew where the best rosin came from—from the resin of those very pines of the Vienna Woods that grow on the slopes. He drew the bow across the rosin. Zip-zip. The bow became covered in white dust. "Dust," Franz thought.

— We rub the blood of trees into horsehair to make sheep guts scream.

— Gentlemen! — Strauss flew into the dressing room. He was electrified, his eyes burning with a feverish gleam. He looked not like a conductor, but like a mad engineer about to launch an infernal machine. — Today we play "Tales." Remember the tempo. Do not slow down! No rubato where it isn't marked. You must hold the rhythm as if the sun rising tomorrow depends on it!

Franz exchanged glances with the cellist. They and all the other orchestra members felt that this was not just a premiere. It was a ritual.

They walked onto the stage. The hall was overflowing. The gold of epaulets, the glitter of diamonds, the rustle of silk. Vienna had come to forget. Vienna had come to get drunk.

Strauss waved his baton.

Franz lowered his bow. And in that very second, he felt the Forest enter the hall. It started with the low frequencies of the double basses—the hum of the earth. Then the winds joined in—the wind in the crowns. And then Franz's violin sang.

But it was not his hand. The bow moved by itself, obeying a monstrous inertia. One-two-three. Franz saw a lady in blue in the front row widen her pupils. She stopped fanning herself. One-two-three. An officer who had just been discussing the defeat at Sadová fell silent and smiled blissfully.

The music sucked the anxiety, fear, and thoughts out of the hall. But where did it all go?

Franz felt the vibration of the violin pass through his collarbone straight into his spine. He was a conductor. He was a filter. All the filth, all the pain that the music took from the audience passed through him.

Franz's fingers burned. It seemed to him that the strings were red-hot and cutting his fingertips to the meat. But he couldn't stop. Strauss at the conductor's stand looked like a demon puppeteer. He pulled invisible strings, and the whole orchestra and the whole hall twitched to the beat.

And then came the moment for the solo.

The music died down. Only a ringing silence and the rhythmic strumming of the accompaniment remained. Franz had to play that sweet, viscous theme. He played. And with every note, he saw the faces of the people in the hall smooth out, grow younger. Old men straightened their backs. Women blossomed.

But out of the corner of his eye, Franz saw his hands. The skin on them was turning gray, parchment-like. He looked at his neighbor, the violist—he had aged ten years in ten minutes.

"God," Franz realized, continuing to draw out the divine melody. "We are not playing. We are performing a blood transfusion. We are giving our life to them. Strauss is feeding us to this hall".

But it was impossible to stop. The bow had grown into his hand. Rosin dust hung in the air above the orchestra like smoke from a fire. And in this smoke, Franz imagined the face of Gruber the winemaker nodding to him from the darkness of a box: "Come on, violinist. Press the grapes. Let the juice flow".

When the final chord sounded, the hall exploded with applause. People shouted, wept with happiness; they were full of strength, energy, hope. Strauss beamed.

Franz lowered the violin. His hands shook so much he nearly dropped the bow. He felt empty. Gutted. Aged in moments. He looked at his fingers. There was no blood on the fingertips. But they were absolutely white, bloodless.

— Brilliant, Franz! — Strauss ran past, clapping the musicians on the shoulders. — We made them live!

"Yes," thought the violinist, looking into the happy, mad eyes of the crowd. "But who will now return to us what we gave away?".

He put the violin away in its case, which looked like a small coffin.

Part III. The Girl: Echo in the Labyrinth 

A tale of time that stopped.

Her name was Sophie. She was nineteen, and this was her first season. In the Kursalon that night, she danced until she dropped. The waltz "Tales from the Vienna Woods" spun her, tossed her up, gave her no chance to catch her breath. Officers replaced one another, faces merged into masks, chandeliers turned into wheels of fire.

She returned home at dawn, but the music in her head did not cease. One-two-three. One-two-three. She went to bed, but the room continued to spin. Her heart beat in the rhythm set by Franz Amon with his bow.

And Sophie realized: she could not stop. If she stopped, she would die. Or go mad.

She got up, threw on a shawl, and left the house. Her legs carried her of their own accord. The city was empty, but the cobblestones beneath her feet seemed like the parquet of a ballroom. She walked toward the sound. It seemed to her that the orchestra was still playing somewhere in the distance.

She passed the suburbs, passed "At the Old Outpost," where Gruber the winemaker followed her with a heavy, knowing look. Sophie entered the Vienna Woods.

Here the music changed. The lush orchestral sound disappeared. Only a thin, trembling strumming of strings remained. The sound of the zither was simple, rustic, but it held such longing that Sophie’s breath caught. It was the voice of the Forest itself. Not scary, not threatening, but infinitely sad and beckoning.

In a clearing, by an old oak felled by a storm, sat a man. In the morning mist, he seemed woven from shadows and branches. A zither lay on his knees. But it was not his fingers squeezing the longing out of the instrument: the branches of a bush leaning over him were strumming the strings themselves.

— You have come, — a voice sounded in her head.

— I cannot stop, — whispered Sophie. — I am still dancing.

— Of course, — the musician answered. — Strauss took the rhythm from me, but he didn't tell You the main thing. This rhythm has no end. It is a ring. Ouroboros.

Sophie looked at her feet. Her satin slippers were torn to shreds, her feet were bleeding, but she continued to make small steps.

— How do I return? — she cried. — I want to go home. I want it to be quiet.

— Silence is death, child, — the musician answered. — Your empire fears silence, that is why it dances. Now you are part of this story. You are one of the "Tales" of this Forest.

He struck the zither strings. The sound was sharp, like the crack of a whip. Sophie froze. In an instant, she saw the truth: the trees around her were not trees. They were frozen dancers. Ladies in crinolines who had become spruces. Officers in uniforms who had become oaks. Those who came here before. Those who could not stop.

— Strauss promised us eternity, — the foliage rustled with the voices of thousands of people. — And we received it.

Sophie felt her legs growing into the ground. Her fingers lengthening, turning into thin branches. Her shawl becoming bark. Fear vanished. Only peace remained. And music. The eternal, quiet music of the zither sounding inside the wooden trunk.

Sophie closed her eyes. She became part of the Forest, that barrier that protects Vienna from reality.

Epilogue: Coda 

The price of illusion.

A month later, Johann Strauss presented the final version of the waltz to the public. Critics marveled at the introduction of the zither.

— Brilliant! — wrote the newspapers. — This solo sounds as if nature itself is singing of its innocence! — What freshness! What lightness!

Franz Amon sat in the front row. His hands were bandaged. He did not applaud. He knew that it was not innocence sounding in this zither part. It was Sophie's last cry and the rustle of her foliage.

Strauss bowed. Behind his back, invisible to the public, stood a vast, dark forest that had become one tree thicker.

The empire danced. The decay was halted. The price was paid.


ПРОЕКТ «КАРАБАС»

Жак-Пьер был никто. Младший сын мельника, получивший в наследство не мельницу (активы) и не осла (транспорт/логистику), а долги отца и рыжего кота, который, по слухам, умел открывать лапой холодильник.

Жак сидел на потёртом диване в съёмной квартире на окраине, допивая дешёвое пиво.

— Ну и что мне с тобой делать? — спросил он, глядя на кота. — На шапку пустить?

Кот, которого звали Феликс, медленно моргнул. Затем встал на задние лапы, поправил несуществующий галстук и, к ужасу Жака, заговорил. Голос у него был бархатный, с хрипотцой опытного лоббиста.

— Пустить меня на шапку — это, месье, разовое решение. Амортизация активов. А я предлагаю инвестицию. Купите мне сапоги.

— Что? — Жак поперхнулся.

— Сапоги. Итальянские, ручной работы. И хороший костюм. Дайте мне месяц и кредитную карту, и я сделаю Вас королём этого города. Или хотя бы маркизом. Звучит неплохо, а? Маркиз де Карабас.

Жак был глуп, но алчен. Он взял микрозайм.


ЭТАП 1. СОЗДАНИЕ БРЕНДА (ОХОТА НА КРОЛИКОВ)

Феликс не ловил мышей. Он ловил инсайды. «Кроликами» в его игре были мелкие чиновники и журналисты, падкие на «эксклюзив». Феликс (в безупречном костюме и тех самых сапогах из крокодиловой кожи) заходил в нужные кабинеты. Он не приносил взяток в конвертах. Он приносил информацию и услуги.

— Мой господин, Маркиз де Карабас, просил передать Вам этот скромный презент, — мурлыкал он, оставляя на столе мэра папку с компроматом на оппозицию.

— Кто такой этот Карабас? — спросил мэр, разглядывая фото.

— О, это очень влиятельный, но скромный филантроп. Он предпочитает оставаться в тени. Пока.

Мэр был заинтригован. Человек, который решает проблемы и ничего не просит взамен, — редкость.


ЭТАП 2. СЦЕНА У РЕКИ (ВХОД В ЭЛИТУ)

— Раздевайся, — скомандовал Феликс.

— Зачем? — Жак дрожал на ветру. Они стояли у набережной, где с минуты на минуту должен был проехать кортеж мэра.

— Ты должен быть голым. Голым ты выглядишь беззащитным и честным. Народ любит жертв.

Когда лимузин мэра поравнялся с ними, Феликс истошно заорал:

— Помогите! Моего господина, Маркиза де Карабаса, ограбили! У него украли всё, даже одежду! Это политический заказ!

Мэр узнал имя. Он увидел "жертву режима". Через минуту Жак уже сидел в бронированном лимузине, завёрнутый в плед, а мэр лично обещал разобраться с преступностью. Жак глупо улыбался. Феликс сидел рядом, проверяя котировки акций на смартфоне. Первый шаг был сделан: ничтожество получило доступ к телу.


ЭТАП 3. ЛЮДОЕД (РЕЙДЕРСКИЙ ЗАХВАТ)

Главным препятствием был местный олигарх. Он владел полями, заводами, газетами и пароходами. Все те земли, мимо которых ехал кортеж, принадлежали ему.

Феликс поработал с местными работниками.

— Чьи это поля? — спрашивали люди мэра. — Маркиза де Карабаса! — хором отвечали подкупленные профсоюзы.

Феликс направился в головной офис олигарха. Это был небоскрёб из чёрного стекла. Олигарх, огромный мужчина с бычьей шеей, принял Кота с насмешкой. — Я слышал о тебе, пушистый. Ты делаешь из грязи князей. Но я могу тебя раздавить. Я могу превратиться во льва — купить всю полицию города.

— О, я не сомневаюсь, — Феликс закурил, стряхивая пепел на персидский ковер. — Вы великий человек. Превратиться во льва — это просто. Сила есть — ума не надо. А вот сможете ли Вы... стать маленьким?

— Что?

— Незаметным. Превратиться в мышь. Исчезнуть из налоговых баз, стереть себя из списков Интерпола, уйти в тень, когда завтра утром здесь будет спецназ?

Олигарх побледнел.

— Спецназ?

— Маркиз де Карабас уже передал мэру доказательства Ваших хищений. У Вас есть пять минут, чтобы переписать активы на холдинг "Карабас" и исчезнуть. Превратиться в мышь. Или Вас посадят в клетку.

Олигарх сломался и подписал бумаги. Он «превратился в мышь» — сбежал через чёрный ход, став никем. Феликс вышел из кабинета и набрал номер Жака. — Замок наш. Приезжай.


ФИНАЛ. СЛИШКОМ МНОГО ЗНАЕТ

Прошел год. Жак-Пьер, теперь официально Маркиз де Карабас, сидел в кресле из кожи в кабинете бывшего олигарха и пил коллекционный коньяк. Он женился на дочери Мэра. Он был на вершине.

Феликс вошёл без стука. Кот постарел: шерсть поседела, в глазах появилась усталость.

— Мы отлично поработали, Жак, — сказал Кот. — Но пора расширяться. Есть идея насчёт соседнего королевства...

Жак поставил бокал и посмотрел на Кота. Раньше он смотрел на него с восхищением. Теперь — со страхом. Этот зверь знал всё. Он знал, что Маркиз — сын мельника. Знал, как они обманули мэра. Он знал, куда исчез олигарх. Пока Кот жив, Жак никогда не будет настоящим хозяином. Он будет лишь куклой с рукой в заднице.

— Нет, Феликс, — мягко сказал Маркиз. — Достаточно.

— Что значит достаточно? — уши Кота дернулись.

— Ты устал. Тебе нужен покой. Вечный покой.

Жак нажал кнопку под столом. Двери открылись и вошли двое крепких парней из службы безопасности. Они несли не молоко. Они несли мешок.

— Жак? — Феликс попятился. — Ты что творишь? Я сделал тебя! Ты был никем!

— Вот именно, — Жак встал. Теперь он казался огромным, как тот самый Людоед.

— Я был никем. А теперь я Маркиз. А Маркизы не дружат с животными, которые умеют говорить. Это... неестественно.

Феликс зашипел, попытался прыгнуть, но удар электрошокера сбил его в полете. Его запихнули в мешок.

— Утопить в реке, — равнодушно бросил Маркиз, разглядывая свои ногти. — И найдите мне собаку. Породистую. И чтобы немой была.

Когда парни с мешком ушли, Маркиз подошел к панорамному окну. Город лежал у его ног.

— Я сделал себя сам, — сказал он своему отражению.

И самое страшное было то, что он в это искренне верил.