"Almost a brain-storm," said Ommony. "A rush of thoughts that seemed to have no connection with one another. Something like modern politics or listening in on the radio when there's loads of interference, only more exasperating—more personal—more inside yourself, as it were."
Chutter Chand nodded confirmation. "Can you describe the thoughts, Ommonee? Do they take the form of words?"
"No. Pictures. But pictures of a sort I've never seen, even in dreams. Rather horrible. They appear to mean something, but the mind can't grasp them. They're broken off suddenly—begin nowhere and end nowhere."
Chutter Chand nodded again. "Our experiences tally. You will notice that the stone is broken off; it also begins nowhere and ends nowhere. I have measured it carefully; from calculation of the curvature it is possible to surmise that it may have been broken off from an ellipsoid having a major axis of seventeen feet. That would be an immense mass of jade weighing very many tons; and if the whole were as perfect as this fragment, it would be a marvel such as we in our day have not seen. I suspect it to have qualities more remarkable than those of radium, and I think—although, mind you, this is now conjecture—that if we could find the original ellipsoid from which this piece was broken we would possess the open sesame to—well—to laws and facts of nature, the mere contemplation of which would fill all the lunatic asylums! I have never been so thrilled by anything in all my life."
But Ommony was not thrilled. He had seen men go mad from exploring without landmarks into the unknown. He laughed cynically.
"'We fools of nature,'" he quoted, "'so horridly to shake our disposition with thoughts beyond the reaches of our souls!' I'd rather wipe out the asylums."
"Or live in one, Sahib, and leave the lunatics outside! Shakespeare knew nothing of the atomic construction of the universe. We have advanced since his day—in some respects. Has it occurred to you to wonder how this stone acquired such remarkable qualities? No! You merely wonder at it. But observe:
"You have seen a pudding stirred? The stupidest cook in the world can pour ingredients into a basin and stir them with water until they become something compounded, that does not in the least resemble any one of the component parts. Is that not so? The same fool bakes what he has mixed. A chemical process takes place, and behold! the idiot has wrought a miracle. Again, there is almost no resemblance to what the mixture was before. It even tastes and smells quite different. It looks different. Its specific gravity is changed. Its properties are altered. It is now digestible. It decomposes at a different speed. It has lost some of the original qualities that went into the mixture, and has taken on others that apparently were not there before the chemical process began.
"You can see the same thing in a foundry, where they mix zinc with copper and produce brass, and the brass has qualities that neither zinc nor copper appears to contain. A deaf and dumb man, knowing neither writing nor arithmetic, could produce brass from zinc and copper. A savage, who never saw an abstraction, can produce wine from grapes. Good. Now listen, Sahib:
"Let us dive beneath the surface of these experiments. The capacity to become brass under certain conditions was inherent to begin with in the zinc and in the copper, was it not? But how so? It was inherent in the atoms, of which the zinc and the copper are composed; and, behind those again, in the electrons, of which the atoms are composed. Let us then consider the electrons.
"Suppose that we knew how to pour electrons into a receptacle and make, so to speak, a pudding of them! Could we not work what the world would think are miracles? I have made diamonds in my workshop. I believe I can make gold. What could I not do, if I knew how to manage electrons in the raw—electrons, in every one of which is the capacity to become absolutely anything!
"It has possibly not occurred to you, Ommonee, but the more I pursue my studies the more I am convinced that there was once a race of people in the world, or possibly a school of scientists drawn from many then-existent races, who knew how to manage electrons. I think they lived simultaneously with the cave-men. We find the bones of cave-men because those were ignorant people, such as the Bushmen of today, who buried their dead. We do not find the bones of the scientists of that period, because they were enlightened and disposed of corpses in the fire. The art of the cave-men is evidence that there was art of a very high order, which some one presumably taught. They painted pictures in caves into which no sunlight penetrated; therefore, there must have been artificial light of a sort superior to torches or tallow candles, because otherwise the color work would have been impossible. That is proof that there was science in those days, of which the cave-men could avail themselves just as today a lunatic may use electric light. And the fact that we find no traces at present of what we can recognize as a very high order of civilization then existent is no proof that there was none; it may have been totally different from anything with which we are familiar. Furthermore, the world has only been extremely superficially explored.
"Be patient, Ommonee. I am coming to my point. I have studied that piece of jade. Three days and nights I studied it without sleep. To me its peculiar properties appear to confirm observations—micro-photographic observations that I have made and recorded during a period of ten years. In its essence, what is photography? It is the practice, by means of chemicals, of rendering visible to the human eye impressions of objects produced by light on a prepared surface. It is necessary to prepare the surface, which we call a dry plate or a film, because we do not yet know how else to render the light-made impression visible to the human eye. But it is there, whether we make it visible or not. And what I have discovered is this: that every particle of matter has a photographic quality, which varies only in degree. You stand against a rock—and not necessarily in sunlight, although sunlight helps; your impression is indelibly photographed on that rock, as I can prove, if you have time to witness some experiments. It is photographed on anything against which you stand. Other images may be superimposed on yours, but yours remains. In rare instances, in certain atmospheric conditions, these impressions become visible without any other chemical process, although it seems to require a certain nervous state of alertness before the human eye can perceive them.
"You remember the case of the Brahman who hanged himself in a cellar not far from this shop of mine? His body hung there for a day before they found it. For weeks afterward what was supposed to be his ghost was seen—by scores of reputable witnesses —hanging from the beam. That was several years ago. There was a great stir made about it at the time, and there were letters to the newspapers stating instances of similar occurrences. There was an investigation by experts from a research society, who denounced the whole story as an imposture.
"However, I was one of those who saw the ghost, and I made notes, and some experiments. Finally I photographed it! That satisfied me. I am sure that the alleged ghost was nothing but a photograph made on the wall, and that it was rendered visible by certain chemical conditions, not all of which I have been able to ascertain.
"Now then: if that is possible in one instance, it is possible in every instance. There is no such thing as an exception in nature; we have discovered a law. So take this piece of jade: we see things when we look into it. I deduce that they are photographic. And because no other piece of stone that I know of has the same quality of receiving impressions that are instantaneously visible, it seems probable to me that it has been intelligently treated by some one who knew how to do that."
"It might be a natural chemical process," said Ommony.
"I think not. Have you noticed that the strange moving images visible within the stone are not the reflections of objects? The stone is not a mirror in the ordinary sense. It does not seem to reflect at all the objects that surround it. I have never succeeded in seeing my face in it, for instance, although I have tried repeatedly, in all sorts of light, from every angle. It appears to me to reflect thought!"
Ommony made the peculiar noise between tongue and teeth that suggests polite but otherwise unconditioned incredulity. Chutter Chand, deep in his theme, ignored the interruption.
"I