"We can't stop, either. There's at least a two months' supply out in the hands of jobbers and distributors over whom we have no control. And we have all these contractual obligations, to buy the entire output of the companies that make the syrup for us; if we stop buying, they can sell it in competition with us, as long as they don't infringe our trade-name. And we can't prevent pirating. You know how easily we were able to duplicate that sample I brought back from Turkey. Why, our legal department's kept busy all the time prosecuting unlicensed manufacturers as it is."

"We've got to do something, Fred!" There was almost a whiff of hysteria in Myers' voice.

"We will. We'll start, first thing tomorrow, on a series of tests—just you and I, like the old times at Eisenhower High. First, we want to be sure that Evri-Flave really is responsible. It'd be a hell of a thing if we started a public panic against our own product for nothing. And then...."

It took just two weeks, in a soundproofed and guarded laboratory on Benson's Carondelet estate, to convict their delicious drink of responsibility for that Munich State Opera House Horror and everything else. Reports from confidential investigators in Munich confirmed this. It had, of course, been impossible to interview the two thousand men and women who had turned the Opera House into a pyre for their own immolation, but none of the tiny minority who had kept their sanity and saved their lives had tasted Evri-Flave.

It took another month to find out exactly how the stuff affected the human nervous system, and they almost wrecked their own nervous systems in the process. The real villain, they discovered, was the incredible-looking long-chain compound alluded to in the original notes as Ingredient Beta; its principal physiological effect was to greatly increase the sensitivity of the aural nerves. Not only was the hearing range widened—after consuming thirty CC of Beta, they could hear the sound of an ultrasonic dog-whistle quite plainly—but the very quality of all audible sounds was curiously enhanced and altered. Myers, the psychologist, who was also well grounded in neurology, explained how the chemical produced this effect; it meant about as much to Benson as some of his chemistry did to Bill Myers. There was also a secondary, purely psychological, effect. Certain musical chords had definite effects on the emotions of the hearer, and the subject, beside being directly influenced by the music, was rendered extremely open to verbal suggestions accompanied by a suitable musical background.

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