Dr Joyce looks at me evenly for a moment. Then he gets up from his seat and throws his notepad onto the desk. He goes over to the window and stands there, looking out and shaking his head. 'I'll tell you what I think, Orr,' he says. He turns, staring at me. 'I think both these dreams, this one and yesterday's, tell us nothing."

'Ah,' I say. And after all my hard work. I clear my throat, not a little peeved. 'Well, what do we do now?'

Dr Joyce's blue eyes glitter. He opens a drawer in his desk and brings out a large book with wipe-clean plastic pages, and a felt-tip pen. He passes these to me. The book contains mostly half-completed drawings and ink-blot tests. 'Last page,' the good doctor says. I turn, dutifully, to the last page. It contains two drawings.

'What do I do?' I ask. This looks childish.

'You see those small lines, four in the top drawing, five in the bottom one?'

'Yes.'

'Complete those by making them into arrows so that they indicate the direction of force the structures shown are exerting at those points.' He holds up one hand as I open my mouth to ask a question. 'That's all I can say. I'm not allowed to give you any clues or answer any further questions.'

I take the pen, complete the lines as asked, and hand the book back to the doctor. He looks, nods. I ask, 'Well?'

'Well what?' He takes a cloth from his drawer and wipes the book as I put the pen on his desk.

'Did I get it right?'

He shrugs. 'What does "right" mean?' he says gruffly, putting everything back in the drawer. 'If it was an exam question you got it right, yes, but it's not an exam question. It's supposed to tell us something about you.' He makes a note in his notebook with the little silver propelling pencil.

'What does it show about me?'

He shrugs again, looking at his notes. 'I don't know,' he says, shaking his head. 'It must show something, but I don't know what. Yet.'

I would quite like to punch Dr Joyce right on his grey-pink nose.

'I see,' I say. 'Well, I hope I have been of some use to the progress of medical science.'

'Me too,' Dr Joyce says, looking at his watch. 'Well, I think that's all for now. Make an appointment for tomorrow, just in case, but if you don't have any dreams, call in and cancel, all right?'

'Golly that was quick, Mr Orr. How did it go? Like a cup of tea?' The immaculately groomed receptionist helps me on with my coat. 'You were in and out of there in no time. How about some coffee?'

'No, thanks,' I say looking at Mr Berkeley and his policeman, who are waiting in the reception area. Mr Berkeley lies curled in a tight foetal position, on his side, on the floor in front of the seated policeman, who is resting his feet on him.

'Mr Berkeley is a footstool today,' the Appalling Young Man tells me, proudly.

In the high, airy spaces of the upper structure the ceilings are tall and the broad, deep-pile carpet in the deserted corridors smells rich and damp. The wood panelling lining the walls is teak and mahogany and the glass strapped in the brass-framed windows - looking out into gloomy lightwells, or towards the now hazed-over sea - has a blue tint to it, like lead crystal. In niches along the dark wooden walls, old statues of forgotten bureaucrats loom like blind ghosts, and high overhead masses of great dark furled flags hang, like heavy nets hung out to dry; they sway gently as a soft, chill draught moves ancient dust through the dark, tall corridors.

About a half-hour's wander from the doctor's offices, I discover an old elevator, opposite a gigantic circular outside window which looks out over the firth like some transparent clock-face robbed of its hands. The lift door is open; an old, grizzled man sits on a tall stool inside, asleep. He wears a long, burgundy coat with shiny buttons, his thin arms are crossed over his belly; his impressively bearded chin rests on his be-buttoned chest, and his white-haired head moves slowly up and down in time with his wheezy breathing.

I cough. The old man sleeps on. I knock on the protruding edge of one door. 'Hello?'

He comes awake with a jerk, uncrosses his arms and steadies himself on the lift controls; there is a click, and the doors start to close, groaning and creaking, until his waving arms flap against the brass levers again, whereupon the doors retreat.

'Bless me, sir. What a fright you gave me! Just having a little snooze, so I was. Come in, sir. Which floor now?'

The generous, room-sized lift is full of ill-assorted chairs, peeling morrors and dust-dulled hanging tapestries. Unless it is a trick of the mirrors, it is also L-shaped, which makes it unique in my experience. 'Train deck, please,' I say.

'Right you are, sir!' The ancient attendant hooks a withered hand over the control levers; the doors grate and clank closed, and after a few nudgings and carefully aimed thumps on the brass plate containing the control levers, the old fellow finally succeeds in coaxing the elevator into motion; it slides - rumbling, stately - downwards, mirrors vibrating, fitments rattling, the lighter seats and chairs rocking on its unevenly carpeted floor. The old man sways precariously on his high stool and holds on tightly to a brass rail under the controls. I can hear his teeth chattering. I hang onto a brightly polished and loosely rattling handrail. A noise like shearing metal echoes somewhere overhead.

Feigning nonchalance, I study a yellowed notice at my shoulder. It lists the various floors the elevator serves, and the departments, accommodation sections and other facilities to be found on these levels. One near the top catches my eye. My God! I've found it!

'Excuse me!' I say to the old man. He turns his head, shaking as though with palsy, to look at me. I tap the list on the wall. 'I've changed my mind; I'd like to go to this floor: 52. To the Third City Library.'

The old man looks despairingly at me for a moment, then puts one shaking hand to the clattering controls and slaps one of the levers down before clutching desperately at the brass rail again and closing his eyes.

The elevator whines, screams, bounces, crashes and judders from side to side. I am almost thrown from my feet; the old fellow parts company with his high stool. Chairs topple. A mirror cracks. A light fixture falls halfway from the ceiling then jerks, like a hanged man, bouncing to a swaying stop in a cascade of plaster and dust and hanging wires.

We come to a halt. The old man pats dust off both shoulders, adjusts jacket and hat, picks up his stool and presses some more controls; we ascend, comparatively smoothly.

'Sorry.' I shout to the attendant. He stares wildly at me and starts glancing about the lift, as though trying to discover what terrible crime I am apologising for. 'I didn't realise stopping and going back would be quite so ... traumatic,' I yell to him. He looks utterly mystified, and gazes round the rattling, creaking, dust-hazed interior of his small domain as though unable to see what all the fuss is about.

We stop. The elevator does not chime on arrival; instead a bell whose power and tone would do justice to a large church concusses the air within it. The old fellow looks fearfully overhead. 'We're here, sir,' he shouts.

He opens the doors to a scene of utter chaos, and jumps back. I watch, amazed, for a few moments, slowly coming forward to the doors. The old attendant peers nervously round the edge.

We seem to have arrived at the scene of terrible disaster; in a huge but wreckage-choked hall in front of us we see fire, fallen girders, mangled pipes and beams, collapsed brickwork and drooping cables; uniformed people rush around carrying fire hoses, stretchers and unidentifiable pieces of equipment. A great pall of smoke overhangs everything. The din and racket of jangling alarms and klaxons, explosions and amplified, shouted orders are frightening, even to ears somewhat stunned by the bell which announced our arrival. What has happened here?