diff options
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/68170-0.txt | 1103 | ||||
| -rw-r--r-- | old/68170-0.zip | bin | 19101 -> 0 bytes | |||
| -rw-r--r-- | old/68170-h.zip | bin | 235278 -> 0 bytes | |||
| -rw-r--r-- | old/68170-h/68170-h.htm | 1263 | ||||
| -rw-r--r-- | old/68170-h/images/cover.jpg | bin | 214556 -> 0 bytes |
8 files changed, 17 insertions, 2366 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..d5f880d --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68170 (https://www.gutenberg.org/ebooks/68170) diff --git a/old/68170-0.txt b/old/68170-0.txt deleted file mode 100644 index 8e87892..0000000 --- a/old/68170-0.txt +++ /dev/null @@ -1,1103 +0,0 @@ -The Project Gutenberg eBook of Dream's end, by Henry Kuttner - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Dream's end - -Author: Henry Kuttner - -Release Date: May 25, 2022 [eBook #68170] - -Language: English - -Produced by: Greg Weeks, Mary Meehan, Alex White & the online - Distributed Proofreaders Canada team at - https://www.pgdpcanada.net - -*** START OF THE PROJECT GUTENBERG EBOOK DREAM'S END *** - - - - - - DREAM’S END - - By HENRY KUTTNER - - [Transcriber's Note: This etext was produced from - Startling Stories, July 1947. - Extensive research did not uncover any evidence that - the U.S. copyright on this publication was renewed.] - - _Risking his own life force to cure a - patient’s psychosis, Dr. Robert Bruno learns - of the true individualism of human minds!_ - - -The sanitarium was never quiet. Even when night brought comparative -stillness, there was an anticipatory tension in the air—for cyclic -mental disorders are as inevitable, though not as regular, as the swing -of a merry-go-round. - -Earlier that evening Gregson, in Ward 13, had moved into the downswing -of his manic-depressive curve, and there had been trouble. Before the -orderlies could buckle him into a restraining jacket, he had managed to -break the arm of a “frozen” catatonic patient, who had made no sound -even as the bone snapped. - -Under apomorphine, Gregson subsided. After a few days he would be at the -bottom of his psychic curve, dumb, motionless, and disinterested. -Nothing would be able to rouse him then, for a while. - -Dr. Robert Bruno, Chief of Staff, waited till the nurse had gone out -with the no longer sterile hypodermic. Then he nodded at the orderly. - -“All right. Prepare the patient. I want him in Surgery Three in half an -hour.” - -He went out into the corridor, a tall, quiet man with cool blue eyes and -firm lips. Dr. Kenneth Morrissey was waiting for him. The younger man -looked troubled. - -“Surgery, Doctor?” - -“Come on,” Bruno said. “We’ve got to get ready. How’s Wheeler?” - -“Simple fracture of the radius, I think. I’m having plates made.” - -“Turn him over to one of the other doctors,” Bruno suggested. “I need -your help.” He used his key on the locked door. “Gregson’s in good shape -for the experiment.” - -Morrissey didn’t answer. Bruno laughed a little. - -“What’s bothering you, Ken?” - -“It’s the word experiment,” Morrissey said. - -“Pentothal narcosynthesis was an experiment when they first tried it. So -is this—empathy surrogate. If there’s a risk, I’ll be taking it, not -Gregson.” - -“You can’t be sure.” - -They stepped into the elevator. - -“I _am_ sure,” Bruno said, with odd emphasis. “That’s been my rule all -my life. I make sure. I’ve got to _be_ sure before I undertake anything -new. This experiment can’t possibly fail. I don’t run risks with -patients.” - -“Well—” - -“Come in here.” Bruno led the way from the elevator to an examination -room. “I want a final check-up. Try my blood-pressure.” He stripped off -his white coat and deftly wound the pneumatic rubber around his arm. - -“I’ve explained the whole situation to Gregson’s wife.” Bruno went on as -Morrissey squeezed the bulb. “She’s signed the authorization papers. She -knows it’s the only chance to cure Gregson. After all, Ken, the man’s -been insane for seven years. Cerebral deterioration’s beginning to set -in.” - -“Cellular, you mean? Um-m. I’m not worried about that. Blood-pressure -okay. Heart—” - -Morrissey picked up a stethoscope. After a while he nodded. - -“A physician hasn’t any right to be afraid of the dark,” Bruno said. - -“A physician isn’t charting unmapped territory,” Morrissey said -abruptly. “You can dissect a cadaver, but you can’t do that to the -psyche. As a psychiatrist you should be the first to admit that we don’t -know all there is to know about the mind. Would you take a transfusion -from a meningitis patient?” - -Bruno chuckled. “Witchcraft, Ken—pure witchcraft! The germ theory of -psychosis! Afraid I’ll catch Gregson’s insanity? I hate to disillusion -you, but episodic disorders aren’t contagious.” - -“Just because you can’t see a bug doesn’t mean it isn’t there,” -Morrissey growled. “What about a filterable virus? A few years ago -nobody could conceive of liquid life.” - -“Next you’ll be going back to Elizabethan times and talking about spleen -and humors.” Bruno resumed his shirt and coat. He sobered. “In a way, -though, this _is_ a transfusion. The only type of transfusion possible. -I’ll admit no one knows all there is to know about psychoses. Nobody -knows what makes a man think, either. But that’s where physics is -beginning to meet medicine. Witchcraft and medicine isolated digitalin -when they met. And scientists are beginning to know the nature of -thought—an electronic pattern of energy.” - -“Empirical!” - -“Compare not the brain, but the mind itself, to a uranium pile,” Bruno -said. “The potentialities for atomic explosion are in the mind because -you can’t make a high-specialized colloid for thinking without -approaching the danger level. It’s the price humans pay for being _homo -sapiens_. In a uranium pile you’ve got boron-steel bars as dampers, to -absorb the neutrons before they can get out of control. In the mind, -those dampers are purely psychic, naturally—but they’re what keep a man -sane.” - -“You can prove anything by symbolism,” Morrissey said sourly. “And you -can’t stick bars of boron-steel in Gregson’s skull.” - -“Yes, I can,” Bruno said. “In effect.” - -“But those dampers are—_ideas_! Thoughts! You can’t—” - -“What is a thought?” Bruno asked. - -Morrissey grimaced and followed the Chief of Staff out. - -“You can chart a thought on the encephalograph—” he said stubbornly. - -“Because it’s a radiation. What causes that radiation? Energy emitted by -certain electronic patterns. What causes electronic patterns? The basic -physical structure of matter. What causes uranium to throw off neutrons -under special conditions? Same answer. If an uranium pile starts to get -out of control, you can damp it, if you move fast, with boron or -cadmium.” - -“If you move fast. Why use Gregson? He’s been insane for years.” - -“If he’d been insane for only a week, we couldn’t prove it was the -empathy surrogate that cured him. You’re just arguing to dodge the -responsibility. If you don’t want to help me, I’ll get somebody else.” - -“It would take weeks to train another man,” Morrissey said. “No, I’ll -operate. Only—have you thought of the possible effect on your own -mind?” - -“Certainly,” Bruno said. “Why the devil do you suppose I’ve been running -exhaustive psychological tests on myself? I’m completely oriented, I’m -so normal that my mind must be full of boron dampers.” He paused at the -door of his office. “Barbara’s here. I’ll meet you in Surgery.” - -Morrissey’s shoulders slumped. Bruno smiled slightly and opened the -door. His wife was sitting on a leather couch, idly turning the pages of -a psychiatric review. - -“Studying?” Bruno said. “Want a job as a nurse?” - -“Hello, darling,” she said, tossing the magazine aside. - -She came toward him quickly. She was small and dark and, Bruno thought -academically, extremely pretty. Then his thoughts stopped being academic -as he kissed her. - -“What’s up?” - -“You’re doing that operation tonight, aren’t you? I wanted to wish you -luck.” - -“How’d you know?” - -“Bob,” she said, “we’ve been married long enough so I can read your mind -a little. I don’t know what the operation is, but I know it’s important. -So—for luck!” - -She kissed him again. Then, with a smile and a nod, she slipped out and -was gone. Dr. Robert Bruno sighed, not unhappily, and sat behind his -desk. He used the annunciator to check the sanitarium’s routine, made -certain everything was running smoothly, and clicked his tongue with -satisfaction. - -Now—the experiment.... - - * * * * * - -Surgery Three had some new equipment for the experiment. Bruno’s -collaborator, Andrew Parsons, the atomic physicist, was there, small and -untidy, with a scowling, wrinkled face that looked incongruous under the -surgeon’s cap. There was to be no real surgery; trepanning wasn’t -necessary, but aseptic precautions were taken as a matter of course. - -The anesthetist and two other nurses stood ready, and Morrissey, in his -white gown, seemed to have forgotten his worry and had settled down to -his usual quiet competence. Gregson was on one of the tables, already -prepped and unconscious. Intravenous anesthesia would presently -supplement the apomorphine in his system, as it would also be -administered to Bruno himself. - -Ferguson and Dale, two other doctors, were present. At worst quick -cerebral surgery might be necessary, if anything went badly amiss. But -nothing could, Bruno thought. Nothing could. - -He glanced at the sleek, shining machines, with their attachments and -registering dials. Not medical equipment, of course. They were in -Parsons’ line; he had planned and built them. But the idea had been -Bruno’s to begin with, and Bruno’s psychiatric knowledge had -complemented Parsons’ technology. Two branches of science had met, and -the result would be—a specific for insanity. - -Two spots on Bruno’s head had been shaved clean. Parsons carefully -affixed electrodes, which were already in place on Gregson’s skull. - -“Remember,” Parsons said, “you should be as relaxed as possible.” - -“You took no sedative, Doctor,” Morrissey said. - -“I don’t need one. The anesthetic will be enough.” - -The nurses moved with silent competence about the table. The emergency -oxygen apparatus was tested. The adrenalin was checked; the sterilizer -steamed on its table. Bruno emptied his mind and relaxed as a nurse -swabbed his arm with alcohol. - -Superimposure of the electronic mental matrix of sanity ... psychic -rapport ... the pattern of his sanity-dampers would be fixed -unalterably in the twisted, warped mind of the manic-depressive. - -He felt the sting of the needle. Automatically he began counting. One. -Two. Three.... - -He opened his eyes. The face of Morrissey, intent and abstracted, hung -over him. Beyond Morrissey was the bright ceiling fluorescent, glaring -down with a brilliance that made Bruno blink. His arm stung slightly but -otherwise there were no after effects. - -“Can you hear me, Doctor?” Morrissey said. - -Bruno nodded. “Yes. I’m awake now.” His tongue was a little thick. That -was natural. “Gregson?” - -But Morrissey’s face was growing smaller. No, it was receding. The -ceiling light shrank. _He was falling_— - -He shot down with blinding rapidity. White walls rushed up past him. -Morrissey’s face receded to a shining dot far above. It grew darker as -he fell. Winds screamed, and there was a slow, gradually increasing -thundering like an echo resounding from the floor of this monstrous -abyss. - -Down and down, faster and faster, with the white walls fading to gray -and to black, till he was blind, till he was deafened with that roaring -echo. - -Visibility returned. Everything was out of focus. He blinked, swallowed, -and made out the rectangular shape of a bedside screen. There was -something else, white and irregular. - -“Are you awake, Doctor?” - -“Hello, Harwood,” Bruno said to the nurse. “How long have I been out?” - -“About two hours. I’ll call Dr. Morrissey.” - -She stepped out of the room. Bruno flexed his muscles experimentally. He -felt all right. Not even a headache. His vision was normal now. He -instinctively reached for his wrist and began counting the pulse. -Through the window he could see the slow motion of a branch, the leaves -fluttering in a gentle wind. Footsteps sounded. - -“Congratulations,” Morrissey said, coming to the bed. “Gregson’s in -shock, but he’s already beginning to come out of it. No prognosis yet, -but I’ll bet a cookie you’ve done it.” - -Bruno let out his breath in a long sigh. “You think so?” - -Morrissey laughed. “Don’t tell me you weren’t sure!” - -“I’m always sure,” Bruno said. “Just the same, confirmation’s always -pleasant. I’m thirsty as the devil. Get me some ice, Ken, will you?” - -“All right.” Morrissey leaned out of the door and called the nurse. Then -he came back and lowered the Venetian blind. “Sun in your eyes. That -better? How do you feel, or need I ask?” - -“Quite normal. No ill effects at all. Say, you’d better notify Barbara -I’m alive.” - -“I already have. She’s coming over. Meanwhile, Parsons is outside. Want -to see him?” - -“Sure.” - - * * * * * - -The physicist must have been near the door, for he appeared almost -instantly. - -“I’ll have to depend on you now,” he said. “Psychiatric examinations are -out of my line, but Dr. Morrissey tells me we’ve apparently succeeded.” - -“We can’t be sure yet,” Bruno said cautiously, reaching for cracked ice. -“I’m keeping my fingers crossed.” - -“How do you feel?” - -“If there’s a healthier specimen in this hospital than Dr. Bruno,” -Morrissey said, “I’ve yet to hear of it. I’ll be back. I’ve got to check -a patient.” He went out. - -Bruno lay back on his pillow. - -“I’ll be up and around tomorrow,” he said, “and I’ll want to make some -tests on Gregson then. Meanwhile, I’ll relax—for a change. One good -thing about this place; the routine’s so perfect that you can unhitch -yourself completely and let yourself rest, if you want to. A dependable -staff.” - -The Venetian blind clattered in the wind. Parsons grunted and went -toward it, taking hold of the cord. - -He raised the blind and stood there, his back to Bruno. But it was dark -outside the window. - -“The sun was in my eyes,” Bruno said. “Wait a minute! That was only a -little while ago. Parsons, something’s wrong!” - -“What?” Parsons asked, without turning. - -“Morrissey said I was unconscious for only two hours. And I took -anesthesia at half-past nine. At night! But the sun was shining in that -window when I woke up, a few minutes ago!” - -“It’s night now,” Parsons said. - -“It can’t be. Get Morrissey. I want to—” - -But Parsons suddenly leaned forward and opened the window. Then he -jumped out and vanished. - -“_Morrissey!_” Bruno shouted. - -Morrissey came in. He didn’t look at Bruno. He walked quickly across the -room and jumped out of the window into the darkness. - -Ferguson and Dale entered, still in their operating gowns. They followed -Morrissey through the window. - -Bruno hoisted himself up. Three nurses came through the door. An intern -and an orderly followed. Then others. - -In nightmare procession the staff filed into Bruno’s room. In deadly -silence they walked to the window and jumped out. - -The blankets slipped down from Bruno’s body. He saw them sail slowly -toward the window— - -The bed was tilting! No—the room itself was turning, revolving, till -Bruno clung frantically to the head-board while gravity dragged him -inexorably toward a window that now gaped directly below him. - -The bed fell. It spilled Bruno out. He saw the oblong of the window -opening like a mouth to swallow him. He plunged through into utter -blackness, into an echoing, roaring hell of night and thunder.... - -“Oh, good heavens!” Bruno moaned. “What a dream! Morrissey, get me a -sedative!” - -The psychiatrist laughed. “You’ve had a dream-within-a-dream before, -haven’t you, Doctor? It sounds unnerving, but now you’ve told me all -about it. The catharsis is better than a barbiturate.” - -“I suppose so.” Bruno lay back in the bed. - -This wasn’t the room he had dreamed about. It was much larger, and -outside the windows was normal darkness. Morrissey had said that the -anesthetic had lasted for several hours. - -“Anyway, I’m jittery,” Bruno said. - -“I didn’t know you had any nerves.... Here, Harwood.” Morrissey -turned to the nurse and scribbled down a few symbols on a pad. “There. -We’ll get your sedative. Don’t you want to know about Gregson?” - -“I’d forgotten about him completely,” Bruno acknowledged. “Can you tell -anything definite yet?” - -“We caught him on the downcurve of the depressive cycle, remember? Well, -he isn’t talking yet, but there’s a touch of euphoria. The elation will -wear off. One thing, you’ve broken the cycle. His mind isn’t adjusted -yet to those—damper bars you put in ’em, but off-hand, I’d say it looks -pretty good.” - -“What does Parsons think?” - -“He’s immersed in calculations. Said he’d be around to see you as soon -as you woke up. Here’s that sedative.” - -Bruno accepted the capsules from the nurse and washed them down with -water. - -“Thanks. I’d rather rest a bit. I must have unconsciously piled up quite -a lot of tension.” - -“So I gather,” Morrissey said drily. “Well, here’s the bell-cord. -Anything else?” - -“Just rest.” Bruno hesitated. “Oh—one thing.” He extended his arm. -“Pinch it.” - - * * * * * - -Morrissey stared and chuckled. - -“Still not sure you’re awake? I can assure you you are, Doctor. I’m not -going to jump out of the window. And it’s still night, you’ll notice.” - -When Bruno didn’t move, Morrissey pinched up a fold of the other’s -forearm between thumb and finger. - -“Ouch!” Bruno said. “Thanks.” - -“Any time,” Morrissey said cheerfully. “Get some rest now. I’ll be -back.” - -He went out with the nurse. Bruno blew out his breath and let his gaze -wander around the room. Everything looked perfectly solid and normal. No -black, thundering abyss lurked under the floor. An unpleasant dream! - -He reached for pad and pencil and made careful notes on the curious -double-delusion before he let himself relax. Then he felt the sedative -creeping slowly along his nerves, a warm, pleasant sensation that he was -glad to encourage. He didn’t want to think. Later would be time enough. -The empathy surrogate experiment, Gregson, the physicist Parsons, -Barbara—later! - -He drowsed. It seemed only a moment before he opened his eyes to see -sunlight beyond the window. Brief panic touched him, then he looked at -his wrist-watch and was reassured to see that it said eleven o’clock. He -could hear the muffled sounds of the ordinary hospital routine going on -outside door and window. Presently, feeling refreshed, he got up and -dressed. - -In Nurse Harwood’s office he telephoned Morrissey, exchanged brief -greetings, and then went to his own office to shower and shave. - -He telephoned Barbara. - -“Hello, there,” she said. “Morrissey notified me you were doing all -right. So I thought I’d wait till you woke up.” - -“I’m awake now. Suppose I come over to the house for lunch?” - -“Swell. I’ll be waiting.” - -“Half an hour, then?” - -“Half an hour. I’m glad you called, Bob. I was worried.” - -“You needn’t have been.” - -“Was your experiment a success?” - -“Can’t tell yet. Keep your fingers crossed.” - -Ten minutes later Bruno’s fingers were still crossed as he examined -Gregson. Parsons and Morrissey were present. The physicist kept making -notes, but Morrissey stood silent and watchful. - -There was very little to be seen as yet. Gregson lay in his bed, the -shaved spots on his head white against the dark hair, his features -relaxed and peaceful. The typical anxiety expression was gone. Bruno -opened the man’s eyes and flashed his light into them. Contraction of -the pupils seemed normal. - -“Can you hear me, Gregson?” - -Gregson’s lips moved. But he said nothing. - -“It’s all right. You’re feeling fine, aren’t you? You’re not worried -about anything, are you?” - -“Headache,” Gregson said. “Bad headache.” - -“We’ll give you something for that. Now try to sleep.” - -Outside, in the corridor, Bruno tried hard to repress his exultation. -Parsons blinked at him, scowling. - -“Can you tell anything yet?” - -Bruno checked himself. “No. It’s too soon. But—” - -“The manic-depressive phase is passed,” Morrissey put in. “He seems -rational. And he hasn’t been for three years.” - -“Those damper bars—” Bruno smiled. “Well, we’ll have to wait and see. -We can’t write up a report yet. He’s certainly oriented. We’ll give him -a chance to rest. More tests later. I don’t want to jump the gun.” - -But with Barbara he let himself be more enthusiastic. - -“We’ve done it, Barbara! Found a specific for insanity.” - -She leaned across the table to pour coffee. - -“I thought there were so many types of psychosis that the treatment -varied considerably.” - -“Well, that’s true, but we’ve never got to the real basis of the trouble -before. You can cure a cold by rest therapy, force fluids and aspirin, -but cold vaccine gets directly to the root of the trouble. Some types of -insanity have been thought incurable, but tetanus was incurable till we -got a vaccine for it. The empathy surrogate therapy is the lowest common -denominator. It works on the electronic structure of the mind, and -unless there’s physical deterioration, as in advanced paresis, our -treatment should work beautifully.” - -“So that’s what you were working on,” Barbara said. “Bob, you don’t know -how glad I am that it’s successful.” - -“Well—we hope. We’re almost sure. But—” - -“You can take a vacation now? You’ve been working so hard!” - -“A few more weeks, and I’ll be ready. I’ve got to collate my notes. I -can’t run out on Parsons at this stage. But very soon, I promise.” - - * * * * * - -He looked up to see her smile. Suddenly he stiffened. Her smile was -broadening, stretching, the lower lip dropping till all her teeth -showed. The lower lids of her eyes hung ... stretched.... - -Her nose lengthened. - -Her eyes slowly crawled out of their sockets and lengthened on dreadful -stalks down her cheeks. - -She melted down and out of sight beneath the table. - -The table began to sink. - -And now everything around him was melting. Under him the chair became -plastic and then fluid. The floor was a bowl, and the walls were -dripping down into it, into a shining whirlpool at the center. - -He slipped helplessly along that slope till the pool engulfed him, in a -chaos of thunder and confusion and sickening horror. - -The winds bellowed.... The empty drop closed around him.... He -fell in darkness.... - -This time, when he woke, he wasn’t sure. The panic had not left him. He -learned, later, that he had been semi-delirious for eight days, and only -Morrissey’s unceasing attention had kept him reasonably quiet. Then -there were weeks of convalescence, and a vacation, and it seemed a long -time before he came back from Florida, tanned and healthy, to resume his -duties. - -Even then, though, there was the fear. - -When he drove toward the blocky buildings of the sanitarium he felt a -touch of it brush him. He reached for Barbara’s hand, and felt some -comfort in the assurance of her nearness. She had been helpful, too, -though she had not understood. - -Every day after that, when he left her, there was a fleeting -apprehension lest he never see her again. To forget the uncertainty of -his footing, the ground that was no longer absolutely solid, he plunged -into the hospital’s routine. And gradually, after more weeks, the terror -began to leave him. - -Gregson had been cured. He was still under precautionary observation, -but all traces of his psychosis seemed to have vanished. There were -still minor neuroses, the natural result of the past six years of -abnormal restraint, but they were disappearing under proper therapy. The -empathy surrogate treatment was successful. Yet, for a while, Bruno -refused to attempt more experiments. - -Parsons was displeased. He was anxious to chart a graph on the process, -and one trial did not provide enough evidence. Bruno kept putting the -physicist off with promises. It eventually ended in a minor spat which -Morrissey halted by pointing out that Dr. Robert Bruno was, technically, -his own patient, and was not yet ready for further research on the -dangerous subject. - -Parsons, furious, went off. Bruno followed Morrissey into the latter’s -office and sat down in one of the more comfortable chairs. It was -mid-afternoon, and beyond the windows the drowsy hum of summer made a -peaceful counterpoint to the conversation. - -“Cigarette, Ken?” - -“Thanks.... Look, Bob.” The two men had drawn closer together in the -last weeks. Morrissey no longer addressed his Chief of Staff with the -former “Doctor.” “I’ve been collating the facts of your case, and I -think I’ve got at the root of the trouble. Do you want to hear my -diagnosis?” - -“Candidly, I don’t,” Bruno said, closing his eyes and inhaling smoke. -“I’d prefer to forget it. But I know I can’t. That would be psychically -ruinous.” - -“You had a cyclic self-containing dream—I suppose you could call it -that. You dreamed you were dreaming you were dreaming. You know what -your trouble is?” - -“Well?” - -“You’re not sure you’re awake now.” - -“Oh, I’m sure enough,” Bruno said. “Most of the time.” - -“You’ve got to be sure all the time. Or else make yourself believe that -it doesn’t matter whether you’re dreaming or waking.” - -“Doesn’t matter! Ken! To know that everything may melt away under my -feet at any time, and to think that doesn’t matter! That’s impossible!” - -“Then you’ve got to be sure you’re awake. Those hallucinations you had -are over. Weeks have passed.” - -“Hallucinatory time is elastic and subjective.” - -“It’s a defense mechanism—you know that, I suppose?” - -“Defense against what?” - -Morrissey moistened his lips. “Remember, I’m the psychiatrist and you’re -the patient. You were psychoanalyzed when you studied psychiatry, but -you didn’t get all the devils out of your subconscious. Hang it, Bob, -you know very well that most psychiatrists take up the work because -they’re attracted to it for pathological reasons—neuroses of their own. -Why did you always insist that you were so utterly sure of everything?” - -“I always made sure.” - -“Compensation. To allow for a basic unsureness and insecurity in your -own makeup. Consciously you were sure the empathy surrogate treatment -would work, but your unconscious mind wasn’t so certain. You never let -yourself know that, though. But it came out under stress—the therapy -itself.” - -“Go on,” Bruno said slowly. - - * * * * * - -Morrissey tapped the papers on his desk. - -“I know my diagnosis is pretty accurate, but you can decide that for -yourself. You can tell, perhaps, better than I can. The frontiers of the -mind are _terra incognita_. Your simile of a uranium pile was better -than you’d realized. When critical mass is approached, there’s danger. -And the damper bars in your own mind—what did Parsons’ machine do to -them?” - -“I am quite sane,” Bruno said. “I think.” - -“Sure you are, now. You’re getting over that explosion. You’d been -building up an anxiety neurosis, and the therapy made it blow off. Just -how, I don’t understand. The electronic patterns of the mind aren’t in -my field. All I know is that the experiment with Gregson removed the -safety blocks from your mind, and you lost control for a while. Thus the -hallucinations, which simply followed the path of least resistance. -Point One: You’re afraid of insecurity and unsureness, and you always -have been. Thus your dream follows a familiarly symbolic pattern. At any -time the sureness of waking may vanish. Point Two: As long as you think -you’re dreaming, you’re dodging responsibility!” - -“Good Lord, Ken!” Bruno said. “I just want to be sure I’m awake!” - -“And there’s absolutely no way you can be sure of that,” Morrissey said. -“The conviction must come from your own mind and be subjective. No -objective proof is possible. Otherwise, if you fail to convince -yourself, the anxiety neurosis will grow back into a psychosis, and—” -He shrugged. - -“It sounds logical,” Bruno said. “I’m beginning to see it pretty -clearly. I think, perhaps, this clarification is what I needed.” - -“Do you think you’re dreaming now?” - -“Not at the moment—certainly.” - -“Swell,” Morrissey said. “Because the conglobulation of the psych -between the forever and upstriding kaleeno bystixing forinder saan—” - -Bruno jumped up. “Ken!” he said, dry-throated. “Stop it!” - -“Fylixar catween baleeza—” - -“_Stop it!_” - -“BYZINDERKONA REPSTILLING AND ALWAYS ALWAYS ALWAYS NEVER KNOWING NEVER -KNOWING NEVER KNOWING—” - -The words came out in great whirling shining globes. They raced past -Bruno’s head with a screaming hiss. They bombarded him. They carried him -back into a thundering, windy abyss of blackness and terror. - - * * * * * - -Morrissey stepped back from the bed and asked: - -Dr. Robert Bruno managed to nod. - -“Good,” Morrissey said. “You were out for about three hours. But -everything’s going nicely. You’ll be up and around pretty soon. There’s -plenty to be done. Barbara wants to see you—and Parsons.” - -“Ken,” Bruno said, “wait a minute. Am I awake now? I mean, really -awake?” - -Morrissey stared and grinned. - -“Sure,” he said. “I can guarantee that.” - -But Bruno did not answer. His gaze moved to the windows, to the solidity -of the walls and ceiling, to the reality of his own hands and arms. - -_Never knowing?_ - -He looked at Morrissey, waiting for Morrissey to vanish, and the black -pit to open again beneath him. - -*** END OF THE PROJECT GUTENBERG EBOOK DREAM'S END *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/68170-0.zip b/old/68170-0.zip Binary files differdeleted file mode 100644 index 0dcb6c0..0000000 --- a/old/68170-0.zip +++ /dev/null diff --git a/old/68170-h.zip b/old/68170-h.zip Binary files differdeleted file mode 100644 index 272cfaf..0000000 --- a/old/68170-h.zip +++ /dev/null diff --git a/old/68170-h/68170-h.htm b/old/68170-h/68170-h.htm deleted file mode 100644 index f9dc97d..0000000 --- a/old/68170-h/68170-h.htm +++ /dev/null @@ -1,1263 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=us-ascii" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of Dream's End, by Henry Kuttner. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} - -.center {text-align: center;} - -.right {text-align: right;} - -/* Images */ -.figcenter { - margin: auto; - text-align: center; -} - -div.titlepage { - text-align: center; - page-break-before: always; - page-break-after: always; -} - -div.titlepage p { - text-align: center; - text-indent: 0em; - font-weight: bold; - line-height: 1.5; - margin-top: 3em; -} - - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Dream's end, by Henry Kuttner</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Dream's end</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Henry Kuttner</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: May 25, 2022 [eBook #68170]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Greg Weeks, Mary Meehan, Alex White & the online Distributed Proofreaders Canada team at https://www.pgdpcanada.net</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK DREAM'S END ***</div> - -<div class="titlepage"> - -<h1>DREAM’S END</h1> - -<h2>By HENRY KUTTNER</h2> - -<p>[Transcriber's Note: This etext was produced from<br /> -Startling Stories, July 1947.<br /> -Extensive research did not uncover any evidence that<br /> -the U.S. copyright on this publication was renewed.]</p> - -<p><i>Risking his own life force to cure a<br /> -patient’s psychosis, Dr. Robert Bruno learns<br /> -of the true individualism of human minds!</i></p> - -</div> - -<hr class="chap" /> - -<p>The sanitarium was never quiet. Even when night brought comparative -stillness, there was an anticipatory tension in the air—for cyclic -mental disorders are as inevitable, though not as regular, as the swing -of a merry-go-round.</p> - -<p>Earlier that evening Gregson, in Ward 13, had moved into the downswing -of his manic-depressive curve, and there had been trouble. Before the -orderlies could buckle him into a restraining jacket, he had managed to -break the arm of a “frozen” catatonic patient, who had made no sound -even as the bone snapped.</p> - -<p>Under apomorphine, Gregson subsided. After a few days he would be at the -bottom of his psychic curve, dumb, motionless, and disinterested. -Nothing would be able to rouse him then, for a while.</p> - -<p>Dr. Robert Bruno, Chief of Staff, waited till the nurse had gone out -with the no longer sterile hypodermic. Then he nodded at the orderly.</p> - -<p>“All right. Prepare the patient. I want him in Surgery Three in half an -hour.”</p> - -<p>He went out into the corridor, a tall, quiet man with cool blue eyes and -firm lips. Dr. Kenneth Morrissey was waiting for him. The younger man -looked troubled.</p> - -<p>“Surgery, Doctor?”</p> - -<p>“Come on,” Bruno said. “We’ve got to get ready. How’s Wheeler?”</p> - -<p>“Simple fracture of the radius, I think. I’m having plates made.”</p> - -<p>“Turn him over to one of the other doctors,” Bruno suggested. “I need -your help.” He used his key on the locked door. “Gregson’s in good shape -for the experiment.”</p> - -<p>Morrissey didn’t answer. Bruno laughed a little.</p> - -<p>“What’s bothering you, Ken?”</p> - -<p>“It’s the word experiment,” Morrissey said.</p> - -<p>“Pentothal narcosynthesis was an experiment when they first tried it. So -is this—empathy surrogate. If there’s a risk, I’ll be taking it, not -Gregson.”</p> - -<p>“You can’t be sure.”</p> - -<p>They stepped into the elevator.</p> - -<p>“I <i>am</i> sure,” Bruno said, with odd emphasis. “That’s been my rule all -my life. I make sure. I’ve got to <i>be</i> sure before I undertake anything -new. This experiment can’t possibly fail. I don’t run risks with -patients.”</p> - -<p>“Well—”</p> - -<p>“Come in here.” Bruno led the way from the elevator to an examination -room. “I want a final check-up. Try my blood-pressure.” He stripped off -his white coat and deftly wound the pneumatic rubber around his arm.</p> - -<p>“I’ve explained the whole situation to Gregson’s wife.” Bruno went on as -Morrissey squeezed the bulb. “She’s signed the authorization papers. She -knows it’s the only chance to cure Gregson. After all, Ken, the man’s -been insane for seven years. Cerebral deterioration’s beginning to set -in.”</p> - -<p>“Cellular, you mean? Um-m. I’m not worried about that. Blood-pressure -okay. Heart—”</p> - -<p>Morrissey picked up a stethoscope. After a while he nodded.</p> - -<p>“A physician hasn’t any right to be afraid of the dark,” Bruno said.</p> - -<p>“A physician isn’t charting unmapped territory,” Morrissey said -abruptly. “You can dissect a cadaver, but you can’t do that to the -psyche. As a psychiatrist you should be the first to admit that we don’t -know all there is to know about the mind. Would you take a transfusion -from a meningitis patient?”</p> - -<p>Bruno chuckled. “Witchcraft, Ken—pure witchcraft! The germ theory of -psychosis! Afraid I’ll catch Gregson’s insanity? I hate to disillusion -you, but episodic disorders aren’t contagious.”</p> - -<p>“Just because you can’t see a bug doesn’t mean it isn’t there,” -Morrissey growled. “What about a filterable virus? A few years ago -nobody could conceive of liquid life.”</p> - -<p>“Next you’ll be going back to Elizabethan times and talking about spleen -and humors.” Bruno resumed his shirt and coat. He sobered. “In a way, -though, this <i>is</i> a transfusion. The only type of transfusion possible. -I’ll admit no one knows all there is to know about psychoses. Nobody -knows what makes a man think, either. But that’s where physics is -beginning to meet medicine. Witchcraft and medicine isolated digitalin -when they met. And scientists are beginning to know the nature of -thought—an electronic pattern of energy.”</p> - -<p>“Empirical!”</p> - -<p>“Compare not the brain, but the mind itself, to a uranium pile,” Bruno -said. “The potentialities for atomic explosion are in the mind because -you can’t make a high-specialized colloid for thinking without -approaching the danger level. It’s the price humans pay for being <i>homo -sapiens</i>. In a uranium pile you’ve got boron-steel bars as dampers, to -absorb the neutrons before they can get out of control. In the mind, -those dampers are purely psychic, naturally—but they’re what keep a man -sane.”</p> - -<p>“You can prove anything by symbolism,” Morrissey said sourly. “And you -can’t stick bars of boron-steel in Gregson’s skull.”</p> - -<p>“Yes, I can,” Bruno said. “In effect.”</p> - -<p>“But those dampers are—<i>ideas</i>! Thoughts! You can’t—”</p> - -<p>“What is a thought?” Bruno asked.</p> - -<p>Morrissey grimaced and followed the Chief of Staff out.</p> - -<p>“You can chart a thought on the encephalograph—” he said stubbornly.</p> - -<p>“Because it’s a radiation. What causes that radiation? Energy emitted by -certain electronic patterns. What causes electronic patterns? The basic -physical structure of matter. What causes uranium to throw off neutrons -under special conditions? Same answer. If an uranium pile starts to get -out of control, you can damp it, if you move fast, with boron or -cadmium.”</p> - -<p>“If you move fast. Why use Gregson? He’s been insane for years.”</p> - -<p>“If he’d been insane for only a week, we couldn’t prove it was the -empathy surrogate that cured him. You’re just arguing to dodge the -responsibility. If you don’t want to help me, I’ll get somebody else.”</p> - -<p>“It would take weeks to train another man,” Morrissey said. “No, I’ll -operate. Only—have you thought of the possible effect on your own -mind?”</p> - -<p>“Certainly,” Bruno said. “Why the devil do you suppose I’ve been running -exhaustive psychological tests on myself? I’m completely oriented, I’m -so normal that my mind must be full of boron dampers.” He paused at the -door of his office. “Barbara’s here. I’ll meet you in Surgery.”</p> - -<p>Morrissey’s shoulders slumped. Bruno smiled slightly and opened the -door. His wife was sitting on a leather couch, idly turning the pages of -a psychiatric review.</p> - -<p>“Studying?” Bruno said. “Want a job as a nurse?”</p> - -<p>“Hello, darling,” she said, tossing the magazine aside.</p> - -<p>She came toward him quickly. She was small and dark and, Bruno thought -academically, extremely pretty. Then his thoughts stopped being academic -as he kissed her.</p> - -<p>“What’s up?”</p> - -<p>“You’re doing that operation tonight, aren’t you? I wanted to wish you -luck.”</p> - -<p>“How’d you know?”</p> - -<p>“Bob,” she said, “we’ve been married long enough so I can read your mind -a little. I don’t know what the operation is, but I know it’s important. -So—for luck!”</p> - -<p>She kissed him again. Then, with a smile and a nod, she slipped out and -was gone. Dr. Robert Bruno sighed, not unhappily, and sat behind his -desk. He used the annunciator to check the sanitarium’s routine, made -certain everything was running smoothly, and clicked his tongue with -satisfaction.</p> - -<p>Now—the experiment....</p> - -<hr class="tb" /> - -<p>Surgery Three had some new equipment for the experiment. Bruno’s -collaborator, Andrew Parsons, the atomic physicist, was there, small and -untidy, with a scowling, wrinkled face that looked incongruous under the -surgeon’s cap. There was to be no real surgery; trepanning wasn’t -necessary, but aseptic precautions were taken as a matter of course.</p> - -<p>The anesthetist and two other nurses stood ready, and Morrissey, in his -white gown, seemed to have forgotten his worry and had settled down to -his usual quiet competence. Gregson was on one of the tables, already -prepped and unconscious. Intravenous anesthesia would presently -supplement the apomorphine in his system, as it would also be -administered to Bruno himself.</p> - -<p>Ferguson and Dale, two other doctors, were present. At worst quick -cerebral surgery might be necessary, if anything went badly amiss. But -nothing could, Bruno thought. Nothing could.</p> - -<p>He glanced at the sleek, shining machines, with their attachments and -registering dials. Not medical equipment, of course. They were in -Parsons’ line; he had planned and built them. But the idea had been -Bruno’s to begin with, and Bruno’s psychiatric knowledge had -complemented Parsons’ technology. Two branches of science had met, and -the result would be—a specific for insanity.</p> - -<p>Two spots on Bruno’s head had been shaved clean. Parsons carefully -affixed electrodes, which were already in place on Gregson’s skull.</p> - -<p>“Remember,” Parsons said, “you should be as relaxed as possible.”</p> - -<p>“You took no sedative, Doctor,” Morrissey said.</p> - -<p>“I don’t need one. The anesthetic will be enough.”</p> - -<p>The nurses moved with silent competence about the table. The emergency -oxygen apparatus was tested. The adrenalin was checked; the sterilizer -steamed on its table. Bruno emptied his mind and relaxed as a nurse -swabbed his arm with alcohol.</p> - -<p>Superimposure of the electronic mental matrix of sanity ... psychic -rapport ... the pattern of his sanity-dampers would be fixed -unalterably in the twisted, warped mind of the manic-depressive.</p> - -<p>He felt the sting of the needle. Automatically he began counting. One. -Two. Three....</p> - -<p>He opened his eyes. The face of Morrissey, intent and abstracted, hung -over him. Beyond Morrissey was the bright ceiling fluorescent, glaring -down with a brilliance that made Bruno blink. His arm stung slightly but -otherwise there were no after effects.</p> - -<p>“Can you hear me, Doctor?” Morrissey said.</p> - -<p>Bruno nodded. “Yes. I’m awake now.” His tongue was a little thick. That -was natural. “Gregson?”</p> - -<p>But Morrissey’s face was growing smaller. No, it was receding. The -ceiling light shrank. <i>He was falling</i>—</p> - -<p>He shot down with blinding rapidity. White walls rushed up past him. -Morrissey’s face receded to a shining dot far above. It grew darker as -he fell. Winds screamed, and there was a slow, gradually increasing -thundering like an echo resounding from the floor of this monstrous -abyss.</p> - -<p>Down and down, faster and faster, with the white walls fading to gray -and to black, till he was blind, till he was deafened with that roaring -echo.</p> - -<p>Visibility returned. Everything was out of focus. He blinked, swallowed, -and made out the rectangular shape of a bedside screen. There was -something else, white and irregular.</p> - -<p>“Are you awake, Doctor?”</p> - -<p>“Hello, Harwood,” Bruno said to the nurse. “How long have I been out?”</p> - -<p>“About two hours. I’ll call Dr. Morrissey.”</p> - -<p>She stepped out of the room. Bruno flexed his muscles experimentally. He -felt all right. Not even a headache. His vision was normal now. He -instinctively reached for his wrist and began counting the pulse. -Through the window he could see the slow motion of a branch, the leaves -fluttering in a gentle wind. Footsteps sounded.</p> - -<p>“Congratulations,” Morrissey said, coming to the bed. “Gregson’s in -shock, but he’s already beginning to come out of it. No prognosis yet, -but I’ll bet a cookie you’ve done it.”</p> - -<p>Bruno let out his breath in a long sigh. “You think so?”</p> - -<p>Morrissey laughed. “Don’t tell me you weren’t sure!”</p> - -<p>“I’m always sure,” Bruno said. “Just the same, confirmation’s always -pleasant. I’m thirsty as the devil. Get me some ice, Ken, will you?”</p> - -<p>“All right.” Morrissey leaned out of the door and called the nurse. Then -he came back and lowered the Venetian blind. “Sun in your eyes. That -better? How do you feel, or need I ask?”</p> - -<p>“Quite normal. No ill effects at all. Say, you’d better notify Barbara -I’m alive.”</p> - -<p>“I already have. She’s coming over. Meanwhile, Parsons is outside. Want -to see him?”</p> - -<p>“Sure.”</p> - -<hr class="tb" /> - -<p>The physicist must have been near the door, for he appeared almost -instantly.</p> - -<p>“I’ll have to depend on you now,” he said. “Psychiatric examinations are -out of my line, but Dr. Morrissey tells me we’ve apparently succeeded.”</p> - -<p>“We can’t be sure yet,” Bruno said cautiously, reaching for cracked ice. -“I’m keeping my fingers crossed.”</p> - -<p>“How do you feel?”</p> - -<p>“If there’s a healthier specimen in this hospital than Dr. Bruno,” -Morrissey said, “I’ve yet to hear of it. I’ll be back. I’ve got to check -a patient.” He went out.</p> - -<p>Bruno lay back on his pillow.</p> - -<p>“I’ll be up and around tomorrow,” he said, “and I’ll want to make some -tests on Gregson then. Meanwhile, I’ll relax—for a change. One good -thing about this place; the routine’s so perfect that you can unhitch -yourself completely and let yourself rest, if you want to. A dependable -staff.”</p> - -<p>The Venetian blind clattered in the wind. Parsons grunted and went -toward it, taking hold of the cord.</p> - -<p>He raised the blind and stood there, his back to Bruno. But it was dark -outside the window.</p> - -<p>“The sun was in my eyes,” Bruno said. “Wait a minute! That was only a -little while ago. Parsons, something’s wrong!”</p> - -<p>“What?” Parsons asked, without turning.</p> - -<p>“Morrissey said I was unconscious for only two hours. And I took -anesthesia at half-past nine. At night! But the sun was shining in that -window when I woke up, a few minutes ago!”</p> - -<p>“It’s night now,” Parsons said.</p> - -<p>“It can’t be. Get Morrissey. I want to—”</p> - -<p>But Parsons suddenly leaned forward and opened the window. Then he -jumped out and vanished.</p> - -<p>“<i>Morrissey!</i>” Bruno shouted.</p> - -<p>Morrissey came in. He didn’t look at Bruno. He walked quickly across the -room and jumped out of the window into the darkness.</p> - -<p>Ferguson and Dale entered, still in their operating gowns. They followed -Morrissey through the window.</p> - -<p>Bruno hoisted himself up. Three nurses came through the door. An intern -and an orderly followed. Then others.</p> - -<p>In nightmare procession the staff filed into Bruno’s room. In deadly -silence they walked to the window and jumped out.</p> - -<p>The blankets slipped down from Bruno’s body. He saw them sail slowly -toward the window—</p> - -<p>The bed was tilting! No—the room itself was turning, revolving, till -Bruno clung frantically to the head-board while gravity dragged him -inexorably toward a window that now gaped directly below him.</p> - -<p>The bed fell. It spilled Bruno out. He saw the oblong of the window -opening like a mouth to swallow him. He plunged through into utter -blackness, into an echoing, roaring hell of night and thunder....</p> - -<p>“Oh, good heavens!” Bruno moaned. “What a dream! Morrissey, get me a -sedative!”</p> - -<p>The psychiatrist laughed. “You’ve had a dream-within-a-dream before, -haven’t you, Doctor? It sounds unnerving, but now you’ve told me all -about it. The catharsis is better than a barbiturate.”</p> - -<p>“I suppose so.” Bruno lay back in the bed.</p> - -<p>This wasn’t the room he had dreamed about. It was much larger, and -outside the windows was normal darkness. Morrissey had said that the -anesthetic had lasted for several hours.</p> - -<p>“Anyway, I’m jittery,” Bruno said.</p> - -<p>“I didn’t know you had any nerves.... Here, Harwood.” Morrissey -turned to the nurse and scribbled down a few symbols on a pad. “There. -We’ll get your sedative. Don’t you want to know about Gregson?”</p> - -<p>“I’d forgotten about him completely,” Bruno acknowledged. “Can you tell -anything definite yet?”</p> - -<p>“We caught him on the downcurve of the depressive cycle, remember? Well, -he isn’t talking yet, but there’s a touch of euphoria. The elation will -wear off. One thing, you’ve broken the cycle. His mind isn’t adjusted -yet to those—damper bars you put in ’em, but off-hand, I’d say it looks -pretty good.”</p> - -<p>“What does Parsons think?”</p> - -<p>“He’s immersed in calculations. Said he’d be around to see you as soon -as you woke up. Here’s that sedative.”</p> - -<p>Bruno accepted the capsules from the nurse and washed them down with -water.</p> - -<p>“Thanks. I’d rather rest a bit. I must have unconsciously piled up quite -a lot of tension.”</p> - -<p>“So I gather,” Morrissey said drily. “Well, here’s the bell-cord. -Anything else?”</p> - -<p>“Just rest.” Bruno hesitated. “Oh—one thing.” He extended his arm. -“Pinch it.”</p> - -<hr class="tb" /> - -<p>Morrissey stared and chuckled.</p> - -<p>“Still not sure you’re awake? I can assure you you are, Doctor. I’m not -going to jump out of the window. And it’s still night, you’ll notice.”</p> - -<p>When Bruno didn’t move, Morrissey pinched up a fold of the other’s -forearm between thumb and finger.</p> - -<p>“Ouch!” Bruno said. “Thanks.”</p> - -<p>“Any time,” Morrissey said cheerfully. “Get some rest now. I’ll be -back.”</p> - -<p>He went out with the nurse. Bruno blew out his breath and let his gaze -wander around the room. Everything looked perfectly solid and normal. No -black, thundering abyss lurked under the floor. An unpleasant dream!</p> - -<p>He reached for pad and pencil and made careful notes on the curious -double-delusion before he let himself relax. Then he felt the sedative -creeping slowly along his nerves, a warm, pleasant sensation that he was -glad to encourage. He didn’t want to think. Later would be time enough. -The empathy surrogate experiment, Gregson, the physicist Parsons, -Barbara—later!</p> - -<p>He drowsed. It seemed only a moment before he opened his eyes to see -sunlight beyond the window. Brief panic touched him, then he looked at -his wrist-watch and was reassured to see that it said eleven o’clock. He -could hear the muffled sounds of the ordinary hospital routine going on -outside door and window. Presently, feeling refreshed, he got up and -dressed.</p> - -<p>In Nurse Harwood’s office he telephoned Morrissey, exchanged brief -greetings, and then went to his own office to shower and shave.</p> - -<p>He telephoned Barbara.</p> - -<p>“Hello, there,” she said. “Morrissey notified me you were doing all -right. So I thought I’d wait till you woke up.”</p> - -<p>“I’m awake now. Suppose I come over to the house for lunch?”</p> - -<p>“Swell. I’ll be waiting.”</p> - -<p>“Half an hour, then?”</p> - -<p>“Half an hour. I’m glad you called, Bob. I was worried.”</p> - -<p>“You needn’t have been.”</p> - -<p>“Was your experiment a success?”</p> - -<p>“Can’t tell yet. Keep your fingers crossed.”</p> - -<p>Ten minutes later Bruno’s fingers were still crossed as he examined -Gregson. Parsons and Morrissey were present. The physicist kept making -notes, but Morrissey stood silent and watchful.</p> - -<p>There was very little to be seen as yet. Gregson lay in his bed, the -shaved spots on his head white against the dark hair, his features -relaxed and peaceful. The typical anxiety expression was gone. Bruno -opened the man’s eyes and flashed his light into them. Contraction of -the pupils seemed normal.</p> - -<p>“Can you hear me, Gregson?”</p> - -<p>Gregson’s lips moved. But he said nothing.</p> - -<p>“It’s all right. You’re feeling fine, aren’t you? You’re not worried -about anything, are you?”</p> - -<p>“Headache,” Gregson said. “Bad headache.”</p> - -<p>“We’ll give you something for that. Now try to sleep.”</p> - -<p>Outside, in the corridor, Bruno tried hard to repress his exultation. -Parsons blinked at him, scowling.</p> - -<p>“Can you tell anything yet?”</p> - -<p>Bruno checked himself. “No. It’s too soon. But—”</p> - -<p>“The manic-depressive phase is passed,” Morrissey put in. “He seems -rational. And he hasn’t been for three years.”</p> - -<p>“Those damper bars—” Bruno smiled. “Well, we’ll have to wait and see. -We can’t write up a report yet. He’s certainly oriented. We’ll give him -a chance to rest. More tests later. I don’t want to jump the gun.”</p> - -<p>But with Barbara he let himself be more enthusiastic.</p> - -<p>“We’ve done it, Barbara! Found a specific for insanity.”</p> - -<p>She leaned across the table to pour coffee.</p> - -<p>“I thought there were so many types of psychosis that the treatment -varied considerably.”</p> - -<p>“Well, that’s true, but we’ve never got to the real basis of the trouble -before. You can cure a cold by rest therapy, force fluids and aspirin, -but cold vaccine gets directly to the root of the trouble. Some types of -insanity have been thought incurable, but tetanus was incurable till we -got a vaccine for it. The empathy surrogate therapy is the lowest common -denominator. It works on the electronic structure of the mind, and -unless there’s physical deterioration, as in advanced paresis, our -treatment should work beautifully.”</p> - -<p>“So that’s what you were working on,” Barbara said. “Bob, you don’t know -how glad I am that it’s successful.”</p> - -<p>“Well—we hope. We’re almost sure. But—”</p> - -<p>“You can take a vacation now? You’ve been working so hard!”</p> - -<p>“A few more weeks, and I’ll be ready. I’ve got to collate my notes. I -can’t run out on Parsons at this stage. But very soon, I promise.”</p> - -<hr class="tb" /> - -<p>He looked up to see her smile. Suddenly he stiffened. Her smile was -broadening, stretching, the lower lip dropping till all her teeth -showed. The lower lids of her eyes hung ... stretched....</p> - -<p>Her nose lengthened.</p> - -<p>Her eyes slowly crawled out of their sockets and lengthened on dreadful -stalks down her cheeks.</p> - -<p>She melted down and out of sight beneath the table.</p> - -<p>The table began to sink.</p> - -<p>And now everything around him was melting. Under him the chair became -plastic and then fluid. The floor was a bowl, and the walls were -dripping down into it, into a shining whirlpool at the center.</p> - -<p>He slipped helplessly along that slope till the pool engulfed him, in a -chaos of thunder and confusion and sickening horror.</p> - -<p>The winds bellowed.... The empty drop closed around him.... He -fell in darkness....</p> - -<p>This time, when he woke, he wasn’t sure. The panic had not left him. He -learned, later, that he had been semi-delirious for eight days, and only -Morrissey’s unceasing attention had kept him reasonably quiet. Then -there were weeks of convalescence, and a vacation, and it seemed a long -time before he came back from Florida, tanned and healthy, to resume his -duties.</p> - -<p>Even then, though, there was the fear.</p> - -<p>When he drove toward the blocky buildings of the sanitarium he felt a -touch of it brush him. He reached for Barbara’s hand, and felt some -comfort in the assurance of her nearness. She had been helpful, too, -though she had not understood.</p> - -<p>Every day after that, when he left her, there was a fleeting -apprehension lest he never see her again. To forget the uncertainty of -his footing, the ground that was no longer absolutely solid, he plunged -into the hospital’s routine. And gradually, after more weeks, the terror -began to leave him.</p> - -<p>Gregson had been cured. He was still under precautionary observation, -but all traces of his psychosis seemed to have vanished. There were -still minor neuroses, the natural result of the past six years of -abnormal restraint, but they were disappearing under proper therapy. The -empathy surrogate treatment was successful. Yet, for a while, Bruno -refused to attempt more experiments.</p> - -<p>Parsons was displeased. He was anxious to chart a graph on the process, -and one trial did not provide enough evidence. Bruno kept putting the -physicist off with promises. It eventually ended in a minor spat which -Morrissey halted by pointing out that Dr. Robert Bruno was, technically, -his own patient, and was not yet ready for further research on the -dangerous subject.</p> - -<p>Parsons, furious, went off. Bruno followed Morrissey into the latter’s -office and sat down in one of the more comfortable chairs. It was -mid-afternoon, and beyond the windows the drowsy hum of summer made a -peaceful counterpoint to the conversation.</p> - -<p>“Cigarette, Ken?”</p> - -<p>“Thanks.... Look, Bob.” The two men had drawn closer together in the -last weeks. Morrissey no longer addressed his Chief of Staff with the -former “Doctor.” “I’ve been collating the facts of your case, and I -think I’ve got at the root of the trouble. Do you want to hear my -diagnosis?”</p> - -<p>“Candidly, I don’t,” Bruno said, closing his eyes and inhaling smoke. -“I’d prefer to forget it. But I know I can’t. That would be psychically -ruinous.”</p> - -<p>“You had a cyclic self-containing dream—I suppose you could call it -that. You dreamed you were dreaming you were dreaming. You know what -your trouble is?”</p> - -<p>“Well?”</p> - -<p>“You’re not sure you’re awake now.”</p> - -<p>“Oh, I’m sure enough,” Bruno said. “Most of the time.”</p> - -<p>“You’ve got to be sure all the time. Or else make yourself believe that -it doesn’t matter whether you’re dreaming or waking.”</p> - -<p>“Doesn’t matter! Ken! To know that everything may melt away under my -feet at any time, and to think that doesn’t matter! That’s impossible!”</p> - -<p>“Then you’ve got to be sure you’re awake. Those hallucinations you had -are over. Weeks have passed.”</p> - -<p>“Hallucinatory time is elastic and subjective.”</p> - -<p>“It’s a defense mechanism—you know that, I suppose?”</p> - -<p>“Defense against what?”</p> - -<p>Morrissey moistened his lips. “Remember, I’m the psychiatrist and you’re -the patient. You were psychoanalyzed when you studied psychiatry, but -you didn’t get all the devils out of your subconscious. Hang it, Bob, -you know very well that most psychiatrists take up the work because -they’re attracted to it for pathological reasons—neuroses of their own. -Why did you always insist that you were so utterly sure of everything?”</p> - -<p>“I always made sure.”</p> - -<p>“Compensation. To allow for a basic unsureness and insecurity in your -own makeup. Consciously you were sure the empathy surrogate treatment -would work, but your unconscious mind wasn’t so certain. You never let -yourself know that, though. But it came out under stress—the therapy -itself.”</p> - -<p>“Go on,” Bruno said slowly.</p> - -<hr class="tb" /> - -<p>Morrissey tapped the papers on his desk.</p> - -<p>“I know my diagnosis is pretty accurate, but you can decide that for -yourself. You can tell, perhaps, better than I can. The frontiers of the -mind are <i>terra incognita</i>. Your simile of a uranium pile was better -than you’d realized. When critical mass is approached, there’s danger. -And the damper bars in your own mind—what did Parsons’ machine do to -them?”</p> - -<p>“I am quite sane,” Bruno said. “I think.”</p> - -<p>“Sure you are, now. You’re getting over that explosion. You’d been -building up an anxiety neurosis, and the therapy made it blow off. Just -how, I don’t understand. The electronic patterns of the mind aren’t in -my field. All I know is that the experiment with Gregson removed the -safety blocks from your mind, and you lost control for a while. Thus the -hallucinations, which simply followed the path of least resistance. -Point One: You’re afraid of insecurity and unsureness, and you always -have been. Thus your dream follows a familiarly symbolic pattern. At any -time the sureness of waking may vanish. Point Two: As long as you think -you’re dreaming, you’re dodging responsibility!”</p> - -<p>“Good Lord, Ken!” Bruno said. “I just want to be sure I’m awake!”</p> - -<p>“And there’s absolutely no way you can be sure of that,” Morrissey said. -“The conviction must come from your own mind and be subjective. No -objective proof is possible. Otherwise, if you fail to convince -yourself, the anxiety neurosis will grow back into a psychosis, and—” -He shrugged.</p> - -<p>“It sounds logical,” Bruno said. “I’m beginning to see it pretty -clearly. I think, perhaps, this clarification is what I needed.”</p> - -<p>“Do you think you’re dreaming now?”</p> - -<p>“Not at the moment—certainly.”</p> - -<p>“Swell,” Morrissey said. “Because the conglobulation of the psych -between the forever and upstriding kaleeno bystixing forinder saan—”</p> - -<p>Bruno jumped up. “Ken!” he said, dry-throated. “Stop it!”</p> - -<p>“Fylixar catween baleeza—”</p> - -<p>“<i>Stop it!</i>”</p> - -<p>“BYZINDERKONA REPSTILLING AND ALWAYS ALWAYS ALWAYS NEVER KNOWING NEVER -KNOWING NEVER KNOWING—”</p> - -<p>The words came out in great whirling shining globes. They raced past -Bruno’s head with a screaming hiss. They bombarded him. They carried him -back into a thundering, windy abyss of blackness and terror.</p> - -<hr class="tb" /> - -<p>Morrissey stepped back from the bed and asked:</p> - -<p>Dr. Robert Bruno managed to nod.</p> - -<p>“Good,” Morrissey said. “You were out for about three hours. But -everything’s going nicely. You’ll be up and around pretty soon. There’s -plenty to be done. Barbara wants to see you—and Parsons.”</p> - -<p>“Ken,” Bruno said, “wait a minute. Am I awake now? I mean, really -awake?”</p> - -<p>Morrissey stared and grinned.</p> - -<p>“Sure,” he said. “I can guarantee that.”</p> - -<p>But Bruno did not answer. His gaze moved to the windows, to the solidity -of the walls and ceiling, to the reality of his own hands and arms.</p> - -<p><i>Never knowing?</i></p> - -<p>He looked at Morrissey, waiting for Morrissey to vanish, and the black -pit to open again beneath him.</p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK DREAM'S END ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away—you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div> -<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div> -<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world at no cost and with almost no restrictions - whatsoever. You may copy it, give it away or re-use it under the terms - of the Project Gutenberg License included with this eBook or online - at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> -</body> -</html> diff --git a/old/68170-h/images/cover.jpg b/old/68170-h/images/cover.jpg Binary files differdeleted file mode 100644 index f29e05c..0000000 --- a/old/68170-h/images/cover.jpg +++ /dev/null |
