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"No reputable dream distributor. I'm sure of that. It's too cheaply made."

"That could have been done on purpose."

"And no professional dreamer originated it."

"Are you sure, Mr. Weill? Couldn't dreamers do this sort of thing for some small, illegitimate concern for money—or for fun?"

"They could, but not this particular one. No overtones. It's two-dimensional. Of course, a thing like this doesn't need overtones."

"What do you mean, overtones?"

Weill laughed gently. "You are not a dreamie fan?"

Byme tried not to look virtuous and did not entirely succeed. "I prefer music."

"Well, that's all right, too," said Weill tolerantly, "but it makes it a little harder to explain overtones. Even people who absorb dreamies would not be able to explain if you asked them. Still they'd know a dreamie was no good if the overtones were missing, even if they couldn't tell you why. Look, when an experienced dreamer goes into reverie, he doesn't think a story like in the old-fashioned television or book films. It's a series of little visions. Each one has several meanings. If you studied them carefully, you'd find maybe five or six. While absorbing in the ordinary way, you would never notice, but careful study shows it. Believe me, my psychological staff puts in long hours on just that point. All the overtones, the different meanings, blend together into a mass of guided emotion. Without them, everything would be flat, tasteless.

"Now, this morning, I tested a young boy. A ten-year-old with possibilities. A cloud to him isn't a cloud, it's a pillow, too. Having the sensations of both, it was more than either. Of course, the boy's very primitive. But when he's through with his schooling, he'll be trained and disciplined. He'll be subjected to all sorts of sensations. He'll store up experience. He'll study and analyze classic dreamies of the past. He'll learn how to control and direct his thoughts, though, mind you, I have always said that when a good dreamer improvises—"

Weill halted abruptly, then proceeded in less impassioned tones, "I shouldn't get excited. All I try to bring out now is that every professional dreamer has his own type of overtones which he can't mask. To an expert it's like signing his name on the dreamie. And I, Mr. Byrne, know all the signatures. Now that piece of dirt you brought me has no overtones at all. It was done by an ordinary person. A little talent, maybe, but like you and me, he really can't think." Byrne reddened a trifle. "A lot of people can think, Mr. Weill, even if they don't make dreamies."

"Oh, tush," and Weill wagged his hand in the air. "Don't be angry with what an old man says. I don't mean think as in reason. I mean think as in dream. We all can dream after a fashion, just like we all can run. But can you and I run a mile in four minutes? You and I can talk, but are we Daniel Websters? Now when I think of a steak, I think of the word. Maybe I have a quick picture of a brown steak on a platter. Maybe you have a better pictorialization of it and you can see the crisp fat and the onions and the baked potato. I don't know. But a dreamer . . . He sees it and smells it and tastes it and everything about it, with the charcoal and the satisfied feeling in the stomach and the way the knife cuts through it and a hundred other things all at once. Very sensual. Very sensual. You and I can't do it."

"Well, then," said Byrne, "no professional dreamer has done this. That's something anyway." He put the cylinder in his inner jacket pocket. "I hope we'll have your full cooperation in squelching this sort of thing."

"Positively, Mr. Byrne. With a whole heart."

"I hope so." Byrne spoke with a consciousness of power. "It's not up to me, Mr. Weill, to say what will be done and what won't be done, but this sort of thing," he tapped the cylinder he had brought, "will make it awfully tempting to impose a really strict censorship on dreamies."

He rose. "Good day, Mr. Weill."

"Good day, Mr. Byrne.