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Scene 1: The shore of a large body of water, there is a thick fog that coats the air with a reverent atmosphere; one month prior.

 

Freshly graduated college student Mark Thompson is walking along the shore of a lake finishing up a phone call with his friends. In his hand are two graduation caps: one for him and one for his best friend Jacob who committed suicide earlier that year. As he pours a beer out for Jacob, he unmistakably hears Jacob’s voice call out to him. As Mark's confusion turns to joy, he lets his guard down and is swiftly and violently drowned by entities that have taken the form of his late best friend.

 

Scene 2: Present day, the research facility of the SCP-Foundation, it is a stuffy and isolated lab with various medical technology and monitors.

 

A large monitor shows the report of Mark while head researcher Dr.Wendy Leong prepping assistants on the case. The newest assistant Mariah Atkins arrives late to her briefing on the latest case in a string of mysterious disappearances. Dr.Leong releases all other assistants and reminds her that she promised to help in exchange for her freedom from prison after being convicted of arson and murdering her parents. Mariah denies the accusations. Mariah learns from Dr.Leong that the SCP-Foundation is a secret organization made to find and neutralize anomalies most would consider paranormal. After the debriefing, the two agree to move out to the lake as soon as dawn breaks.

 

Scene 3: Later that evening, at the lakeshore.

 

Carol Saunders parks her car and walks up to the shore to plant flowers on the spot where her son was killed in a car crash due to tired driving. This is the 5th anniversary of his death, and his birthday. As she leaves, she hears her son’s voice call out to her. When she approaches the water, a slew of bodies appears floating close by, taking the form of her son. As if hypnotized, she drives her car into the lake, drowning herself.

 

Scene 4: The same shore, the next morning.

 

Dr.Leong and Mariah arrive at the shore. After they repeat the precautionary phrase “I do not recognize the bodies in the water” to protect against the anomaly's influence, they begin scouting the area. They discover Carol’s car just beneath the water, but no one body to be found. Mariah begins setting up recording devices while Dr.Leong discovers Carol’s purse half buried in the mud. She finds a picture of her son in the purse, but begins to see the photo as someone she knew from the past. Mariah suggests they destroy the anomaly as soon as it appears to prevent any more deaths from occurring. Dr.Leong lashes out at Mariah, insisting it must be studied alive and pulls out a handgun to end the conversation. They suddenly begin hearing voices from the lake, and flee to the lab without results.

 

Scene 5: The laboratory, that afternoon.

 

Back at the lab, Mariah continues questioning Dr.Leong, but she refuses to answer. The two fight over what should be done with the anomalies, and Dr.Leong threatens to send Mariah back to prison for life. This causes Mariah to confess to her crimes, claiming that she was responsible for the arson and murdering her father, but only because he was an abusive alcoholic who strangled her mother to death one evening. Mariah rushes at Dr.Leong and manages to escape the facility taking her car keys and gun, driving to the lake to face the anomaly herself.

 

Scene 6: The lakeshore, that evening.

 

Mariah arrives at the lakeshore with gun in hand, ready to kill the anomaly. The bodies emerge and manifest in the form of her deceased parents. She enters the water but the bullets don't seem to do anything. As she turns the gun on herself, Dr.Leong rushes to the scene to rescue her, pushing her out of the water. The bodies manifest as Dr.Leong’s past assistants whom she had done the same field study with but had all perished. Dr.Leong apologizes to Mariah, taking the gun and commanding her to flee. Mariah runs away, repeating the phrase “I do not recognize the bodies in the water” before hearing a gunshot in the distance.

 

Scene 7: Undisclosed SCP-Foundation location, a cold and grey containment cell with a single desk and chair in the middle; a recording device and microphone are on the desk for an interview.

 

  Mariah, completely soaked and shivering, is sitting at a desk in an interrogation room recounting her recent exposure and experience with the bodies,   

    now known as SCP-2316, a hivemind being manifesting as a score of corpses floating in a lake that takes the form of the viewer's lost loved ones. The          interviewer hands Mariah a pen and paper to sign and begins recording. Throughout the interview, he instructs Mariah to repeat the phrase “I do not            recognize the bodies in the water.” Mariah’s sanity seems to break down as the interview goes on, still being influenced by her encounter with the                  bodies. However, she remembers Dr.Leong’s sacrifice and is able to release herself from SCP-2316’s influence. Now back to herself, Mariah                              demands to take on Dr.Leong's role as the head researcher and continue the case.

FULL SYNOPSIS

[Run Time: 1 hour]

it's me, c o g n i t o h a z a r d r e m o v e d  , don't you remember me?

WORK SAMPLES

Carol's Aria & Bodies Quintet

performed by: 

Annie Chester - Carol

Emma Dickinson, Rachel Hanauer, Robert Feng, Jason Adamo - Bodies Ensemble​​

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Workshop Premiere at OPERA America (2022)

Duet: Mariah and Wendy (Dr.Leong)

performed by: 

Katharine Burns - Dr. Wendy Leong

Taylor-Alexis DuPont - Mariah Atkins

Emma Dickinson, Rachel Hanauer, Robert Feng, Jason Adamo - Bodies Ensemble​​

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Workshop Premiere at OPERA America (2022)

Duet & Mariah's Aria "My father liked to hit me"

performed by: 

Katharine Burns - Dr. Wendy Leong

Taylor-Alexis DuPont - Mariah Atkins

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Workshop Premiere at OPERA America (2022)

why won't you remember?
We used to always go to Lake r e d a c t e d  .

ABOUT THE CREATORS

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Composer

Felix Jarrar is a multidisciplinary artist, distinguished as a composer, coach and conductor. His music has been praised for its "dreamlike" quality (Boston Globe) and "delightfully cruel" edge (Operawire). Jarrar's compositions have been noted to "flow from him in the most natural and lively way" (Tom Cipullo).

Jarrar has had the privilege of collaborating with numerous esteemed organizations, including Santa Fe Opera, OPERA San Antonio, The New School, Opera Naples, Opera North, Opera Ithaca, Penn Square Opera, Hogfish, University of Memphis and the iconic Apollo Theater. For the 2024/2025 season, he will serve as Assistant Conductor with Florida Grand Opera, working on productions of Die Zauberflöte, L'elisir d'amore, and Carmen.

Jarrar's impressive compositional catalog comprises 275 works, including 235 art songs, 14 operas, 2 string quartets, and a symphony. He has received notable commissions from and been underwritten by the New England Repertory Orchestra, University of Missouri Kansas City, Prismatic Arts Ensemble, Off the Chamber, Spark Duo, Idaho Commission on the Arts, and the National Endowment for the Arts. His operas have been produced by Landlocked Opera, Chicago Fringe Opera, /kor/ productions, Opera Elect, and New Wave Opera, amongst others. His song "Sun of the Sleepless" was featured on the 2024 GRAMMY-nominated album 40@40 by Laura Strickling and Daniel Schlosberg.

Felix Jarrar holds a Bachelor of Arts degree from Marlboro College, where he graduated with highest honors in music composition and piano performance. He earned his Master of Music degree from Brooklyn College, receiving the Graduate Dean's Award in Music Composition. Jarrar's musical training was influenced by his studies with Jason Eckardt, Stanley Charkey, Tania León, and Robert Merfeld, as well as mentorship from piano pedagogue Burton Hatheway.

Librettist

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Robert Ellsworth Feng (b.1995 - San Francisco, CA) is a Chinese-American bass-baritone and librettist who creates impactful and entertaining works that have been described as “relatable and fresh.” His comedies are noted for being “quick-witted and layered”, and his horror as “hauntingly engaging.” His goal is to help move this industry toward a more inclusive direction, where the stories we tell and who gets to tell them are as diverse as the audiences today. Robert’s political satire micro-opera Chew On This premiered in June 2024, (with composer Yunfei Li) commissioned by Lyric Opera of Kansas City and No Divide KC for their Come As You Are (CAYA) Festival, described as “truly an operette for our times” (S. Fairbank). 

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Feng’s first opera (with composer Nick Bentz) Having Guests for Dinner is a 1-act horror/comedy. It premiered virtually with New Opera West in 2020 and has since been performed live with them as well as Hartford Opera Theater and Hillman Opera at SUNY Fredonia in 2024 where a 90 min version was commissioned by Kor Productions. It was recently performed at Central Washington University in April (2025) for their chamber opera showcase.​

 

Feng's body of work includes 7 operas (5 of which have been commissioned and/or performed), 1 oratorio, 3 song cycles, and 2 art songs. Most notable are his operas Having Guests for Dinner (comp: Nick Bentz, commissioned by Kor Productions, performed at Hillman Opera SUNY Fredonia in 2023), Salmo (comp: Nick Bentz, to be workshopped at Brown University in 2027), Chew on This (comp: Yunfei Li, commissioned by Lyric Opera of KC & No Divide KC in 2024), and The Ming & I (comp: Ben Yee-Paulson) a commission by Boston Opera Collective for 2026. Feng has also collaborated with prolific NYC based composer Felix Jarrar on the art song When They Killed Us, Did You Say They Killed Americans? about the 2021 Atlanta Spa Shootings and rise in anti-Asian hate crimes during the Covid Pandemic, and the supernatural horror opera You Do Not Recognize the Bodies in the Water, which was workshopped at OPERA America in 2022.​

 

Robert holds degrees from Peabody Conservatory and Manhattan School of Music and is a recipient of the Peabody Career Development Award. Feng was a Librettist Fellow for Lyric Opera of KC and No Divide KC’s CAYA Festival Fellowship, and is an alum of Really Spicy Opera’s Aria Institute for Composers & Librettists: Sci-Fi Edition, and Librettist Workshop.​​​​​

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You Do Not Recognize the Bodies in the Water - the Opera © 2022

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