"Stop him! He's tearing me apart inside. My God, stop him!"
Someone stepped between Jeff and Conroe. There was a flicker of glass and silver as a plunger was pressed home. Then suddenly Jeff's muscles gave out. His legs walked out from under him, and he felt himself sliding to the floor. But still he screamed, the face of the man who had tormented him all his life growing closer and closer, more and more vicious. Then suddenly everything around him went black. His last conscious impression was that of Blackie. She had her face in her hands and she was sobbing like a child in the corner.
He lay on the long table, wrapped in cool green surgical linens, motionless, barely breathing. His eyes were wide open, but sightless. They seemed to be staring straight up at the pale, glowing skylight in the ceiling. It was as if they were staring beyond, eons beyond, into some strange world that no human foot had ever trod.
His breath came slowly, a harsh sound in the still room. Sometimes it slowed almost to a stop, sometimes it accelerated. Dr. Schiml paused motionless by his side, waiting, watching breathlessly until the ragged wheeze slowed once again to normal.
Jeff lay like a corpse, but he was not dead. Near his head the panel of tiny lights flickered on and off, brighter and dimmer, carrying their simple on-or-off messages from the myriad microscopic endings on the tiny electrode that probed through the soft brain tissue.
No human being could ever analyze the waxing and waning of patterns on that panel, not even in five lifetimes. But a camera could film the changes, instant upon instant, flickering and flashing and glowing dully on and off, in a thousand thousand different figures and movements. And the computor could take these patterns from the film and analyze them and compare them. It would integrate them into the constantly changing picture that appeared on the small screen by the bedside.
It was a crude instrument, indeed, for the study of so exquisitely delicate and variable an instrument as a human brain, and no one knew this more painfully than Roger Schiml. But even such a crude instrument could probe into that strange half-world that they had sought so long to enter.
Near the bedside Paul Conroe sat motionless, his face drawn, his gaunt cheeks sunken. His eyes were wide and fearful as he watched the picture panel and his fingers trembled as he lit his pipe. He kept watching.
"It could be so dangerous," he murmured finally, turning to look at Schiml. "So terribly dangerous."