Atlas Shrugged by Ayn Rand
d that she had the right to elect politicians, of whom she knew nothing, to control giant industries, of which she had no knowledge.
The man in Bedroom F, Car No. 13, was a lawyer who had said, "Me? I'll find a way to get along under any political system."
The man in Bedroom A, Car No. 14, was a professor of philosophy who taught that there is no mind--how do you know that the tunnel is dangerous?--no reality--how can you prove that the tunnel exists?--no logic--why do you claim that trains cannot move without motive power?--no principles--why should you be bound by the law of cause-and-effect? --no rights--why shouldn't you attach men to their jobs by force?--no morality--what's moral about running a railroad?--no absolutes --what difference does it make to you whether you live or die, anyway? He taught that we know nothing--why oppose the orders of your superiors?--that we can never be certain of anything--how do you know you're right?--that we must act on the expediency of the moment--you don't want to risk your job, do you?
The man in Drawing Room B, Car No. 15, was an heir who had inherited his fortune, and who had kept repeating, "Why should Rearden be the only one permitted to manufacture Rearden Metal?"
The man in Bedroom A, Car No. 16, was a humanitarian who had said, "The men of ability? I do not care what or if they are made to suffer. They must be penalized in order to support the incompetent. Frankly, I do not care whether this is just or not. I take pride in not caring to grant any justice to the able, where mercy to the needy is concerned."
These passengers were awake; there was not a man aboard the train who did not share one or more of their ideas. As the train went into the tunnel, the flame of Wyatt's Torch was the last thing they saw on earth.
CHAPTER VIII
BY OUR LOVE
The sun touched the tree tops on the slope of the hill, and they looked a bluish-silver, catching the color of the sky. Dagny stood at the door of the cabin, with the first sunrays on her forehead and miles of forest spread under her feet. The leaves went down from silver to green to the smoky blue of the shadows on the road below. The light trickled down through the branches and shot upward in sudden spurts when it hit a clump of ferns that became a fountain of green rays. It gave her pleasure to watch the motion of the light over a stillness where nothing else could move.
She had marked the date, as she did each morning, on the sheet of paper she had tacked to the wall of her room. The progression of the dates on that paper was the only movement in the stillness of her days, like the record kept by a prisoner on a desert island. This morning's date was May 28.
She had intended the dates to lead to a purpose, but she could not say whether she had reached it or not. She had come here with three assignments given, as orders, to herself: rest--learn to live without the railroad--get the pain out of the way. Get it out of the way, were the words she used. She felt as if she were tied to some wounded stranger who could be stricken at any moment by an attack that would drown her in his screams. She felt no pity for the stranger, only a contemptuous impatience; she had to fight him and destroy him, then her way would be clear to decide what she wished to do; but the stranger was not easy to fight.
The assignment to rest had been easier. She found that she liked the solitude; she awakened in the morning with a feeling of confident benevolence, the sense that she could venture forth and be willing to deal with whatever she found. In the city, she had lived in chronic tension to withstand the shock of anger, indignation, disgust, contempt. The only danger to threaten her here was the simple pain of some physical accident; it seemed innocent and easy by comparison.
The cabin was far from any traveled road; it had remained as her father had left it. She cooked her meals on a wood-burning stove and gathered the wood on the hillsides. She cleared the brush from under her walls, she reshingled the roof, she repainted the door and the frames of the windows. Rains, weeds and brush had swallowed the steps of what had once been a terraced path rising up the hill from the road to the cabin. She rebuilt it, clearing the terraces, re-laying the stones, bracing the banks of soft earth with walls of boulders. It gave her pleasure to devise complex systems of levers and pulleys out of old scraps of iron and rope, then to move weights of rock that were much beyond her physical power. She planted a few seeds of nasturtiums and morning glories, to see one spreading slowly over the ground and the other climbing up the tree trunks, to see them grow, to see progression and movement.
The work gave her the calm she needed; she had not noticed how she began it or why; she had started without conscious intention, but she saw it growing under her hands, pulling her forward, giving her a healing sense of peace. Then she understood that what she needed was the motion to a purpose, no matter how small or in what form, the sense of an activity going step by step to some chosen end across a span of time. The work of cooking a meal was like a closed circle, completed and gone, leading nowhere. But the work of building a path was a living sum, so that no day was left to die behind her, but each day contained all those that preceded it, each day acquired its immortality on every succeeding tomorrow. A circle, she thought, is the movement proper to physical nature, they say that there's nothing but circular motion in the inanimate universe around us, but the straight line is the badge of man, the straight line of a geometrical abstraction that makes roads, rails and bridges, the straight line that cuts the curving aimlessness of nature by a purposeful motion from a start to an end. The cooking of meals, she thought, is like the feeding of coal to an engine for the sake of a great run, but what would be the imbecile torture of coaling an engine that had no run to make? It is not proper for man's life to be a circle, she thought, or a string of circles dropping off like zeros behind him--man's life must be a straight line of motion from goal to farther goal, each leading to the next and to a single growing sum, like a journey down the track of a railroad, from station to station to--oh, stop it!
Stop it--she told herself in quiet severity, when the scream of the wounded stranger was choked off--don't think of that, don't look too far, you like building this path, build it, don't look beyond the foot of the hill.
She had driven a few times to the store in Woodstock, twenty miles away, to buy supplies and food. Woodstock was a small huddle of dying structures, built generations ago for some reason and hope long since forgotten. There was no railroad to feed it, no electric power, nothing but a county highway growing emptier year by year.
The only store was a wooden hovel, with spider-eaten corners and a rotted patch in the middle of the floor, eaten by the rains that came through the leaking root. The storekeeper was a fat, pallid woman who moved with effort, but seemed indifferent to her own discomfort. The stock of food consisted of dusty cans with faded labels, some grain, and a few vegetables rotting in ancient bins outside the door. "Why don't you move those vegetables out of the sun?" Dagny asked once. The woman looked at her blankly, as if unable to understand the possibility of such a question. "They've always been there," she answered indifferently.
Driving back to the cabin, Dagny looked up at a mountain stream that fell with ferocious force down a sheer granite wall, its spray hanging like a mist of rainbows in the sun. She thought that one could build a hydroelectric plant, just large enough to supply the power for her cabin and for the town of Woodstock--Woodstock could be made to be productive--those wild apple trees she saw in such unusual numbers among the dense growth on the hillsides, were the remnants of orchards--suppose one were to reclaim them, then build a small spur to the nearest railroad--oh, stop it!
"No kerosene today," the storekeeper told her on her next trip to Woodstock. "It rained Thursday night, and when it rains, the trucks can't get through Fairfield gorge, the road's flooded, and the kerosene truck won't be back this way till next month." "If you know that the road gets flooded every time it rains, why don't you people repair it?" The woman answered, "The road's always been that way."
Driving back, Dagny stopped on the crest of a hill and looked down at the miles of countryside below. She looked at Fairfield gorge where the county road, twisting through marshy soil below the level of a river, got trapped in a crack between two hills. It would be simple to by-pass those hills, she thought, to build a road on the other side of the river--the people of Woodstock had nothing to do, she could teach them--cut a road straight to the southwest, save miles, connect with the state highway at the freight depot of--oh, stop it!
She put her kerosene lamp aside and sat in her cabin after dark by the light of a candle, listening to the music of a small portable radio. She hunted for symphony concerts and twisted the dial rapidly past whenever she caught the raucous syllables of a news broadcast; she did not want any news from the city.
Don't think of Taggart Transcontinental--she had told herself on her first night in the cabin--don't think of it until you're able to hear the words as if they were "Atlantic Southern" or "Associated Steel." But the weeks passed and no scar would grow over the wound.
It seemed to her as if she were fighting the unpredictable cruelty of her own mind. She would lie in bed, drifting off to sleep--then find herself suddenly thinking that the conveyor belt was worn at the coaling station at Willow Bend, Indiana, she had seen it from the window of her car on her last trip, she must tell them to replace it or they-- and then she would be sitting up in bed, crying, Stop it!--and stopping it, but remaining awake for the rest of that night.
She would sit at the door of the cabin at sunset and watch the motion of the leaves growing still in the twilight--then she would see the sparks of the fireflies rising from the grass, flashing on and off in every darkening corner, flashing slowly, as if holding one moment's warning--they were like the lights of signals winking at night over the track of a--Stop it!
It was the times when she could not stop it that she dreaded, the times when, unable to stand up--as in physical pain, with no limit to divide it from the pain of her mind--she would fall down on the floor of the cabin or on the earth of the woods and sit still, with her face pressed to a chair or a rock, and fight not to let herself scream aloud, while they were suddenly as close to her and as real as the body of a lover: the two lines of rail going off to a single point in the distance--the front of an engine cutting space apart by means of the letters TT--the sound of the wheels clicking in accented rhythm under the floor of her car--the statue of Nat Taggart in the concourse of the Terminal. Fighting not to know them, not to feel them, her body rigid but for the grinding motion of her face against her arm, she would draw whatever power over her consciousness still remained to her into the soundless, toneless repetition of the words: Get it over with.
There were long stretches of calm, when she was able to face her problem with the dispassionate clarity of weighing a problem in engineering. But she could find no answer. She knew that her desperate longing for the railroad would vanish, were she to convince herself that it was impossible or improper. But the longing came from the certainty that the truth and the right were hers--that the enemy was the irrational and the unreal--that she could not set herself another goal or summon the love to achieve it, while her rightful achievement had been lost, not to some superior power, but to a loathsome evil that conquered by means of impotence.
She could renounce the railroad, she thought; she could find contentment here, in this forest; but she would build the path, then reach the road below, then rebuild the road--and then she would reach the storekeeper of Woodstock and that would be the end, and the empty white face staring at the universe in stagnant apathy would be the limit placed on her effort. Why?--she heard herself screaming aloud. .There was no answer.
Then stay here until you answer it, she thought. You have no place to go, you can't move, you can't start grading a right-of-way until ... until you know enough to choose a terminal.
There were long, silent evenings when the emotion that made her sit still and look at the unattainable distance beyond the fading light to the south, was loneliness for Hank Rearden. She wanted the sight of his unyielding face, the confident face looking at her with the hint of a smile. But she knew that she could not see him until her battle was won. His smile had to be deserved, it was intended for an adversary who traded her strength against his, not for a pain-beaten wretch who would seek relief in that smile and thus destroy its meaning. He could help her to live; he could not help her to decide for what purpose she wished to go on living.
She had felt a faint touch of anxiety since the morning when she marked "May 15" on her calendar. She had forced herself to listen to news broadcasts, once in a while; she had heard no mention of his name. Her fear for him was her last link to the city; it kept drawing her eyes to the horizon at the south and down to the road at the foot of the hill. She found herself waiting for him to come. She found herself listening for the sound of a motor. But the only sound to give her a futile start of hope at times, was the sudden crackle of some large bird's wings hurtling through the branches into the sky.
There was another link to the past, that still remained as an unsolved question: Quentin Daniels and the motor that he was trying to rebuild. By June 1, she would owe him his monthly check. Should she tell him that she had quit, that she would never need that motor and neither would the world? Should she tell him to stop and to let the remnant of the motor vanish in rust on some such junk pile as the one where she had found it? She could not force herself to do it. It seemed harder than leaving the railroad. That motor, she thought, was not a link to the past: it was her last link to the future. To kill it seemed like an act, not of murder, but of suicide: her order to stop it would be her signature under the certainty that there was no terminal for her to seek ahead.
But it is not true--she thought, as she stood at the door of her cabin, on this morning of May 28--it is not true that there is no place in the future for a superlative achievement of man's mind; it can never be true. No matter what her problem, this would always remain to her--this immovable conviction that evil was unnatural and temporary. She felt it more clearly than ever this morning: the certainty that the ugliness of the men in the city and the ugliness of her suffering were transient accidents--while the smiling sense of hope within her at the sight of a sun-flooded forest, the sense of an unlimited promise, was the permanent and the real.
She stood at the door, smoking a cigarette. In the room behind her, the sounds of a symphony of her grandfather's time were coming from the radio. She barely listened, she was conscious only of the flow of chords that seemed to play an underscoring harmony for the flow of the smoke curving slowly from her cigarette, for the curving motion of her arm moving the cigarette to her lips once in a while. She closed her eyes and stood still, feeling the rays of the sun on her body. This was the achievement, she thought--to enjoy this moment, to let no memory of pain blunt her capacity to feel as she felt right now; so long as she could preserve this feeling, she would have the fuel to go on.
She was barely aware of a faint noise that came through the music, like the scratching of an old record. The first thing to reach her consciousness was the sudden jerk of her own hand flinging the cigarette aside. It came in the same instant as the realization that the noise was growing louder and that it was the sound of a motor. Then she knew that she had not admitted to herself how much she had wanted to hear that sound, how desperately she had waited for Hank Rearden. She heard her own chuckle--it was humbly, cautiously low, as if not to disturb the drone of revolving metal which was now the unmistakable sound of a car rising up the mountain road.
She could not see the road--the small stretch under the arch of branches at the foot of the hill was her only view of it--but she watched the car's ascent by the growing, imperious strain of the motor against the grades and the screech of the tires on curves.
The car stopped under the arch of branches. She did not recognize it -it was not the black Hammond, but a long, gray convertible. She saw the driver step out: it was a man whose presence here could not be possible. It was Francisco d.'Anconia.
The shock she felt was not disappointment, it was more like the sensation that disappointment would now be irrelevant. It was eagerness and an odd, solemn stillness, the sudden certainty that she was facing the approach of something unknown and of the gravest importance.
The swiftness of Francisco's movements was carrying him toward the hill while he was raising his head to glance up. He saw her above, at the door of the cabin, and stopped. She could not distinguish the expression on his face. He stood still for a long moment, his face raised to her. Then he started up the hill.
She felt--almost as if she had expected it--that this was a scene from their childhood. He was coming toward her, not running, but moving upward with a kind of triumphant, confident eagerness. No, she thought, this was not their childhood--it was the future as she would have seen it then, in the days when she waited for him as for her release from prison. It was a moment's view of a morning they would have reached, if her vision of life had been fulfilled, if they had both gone the way she had then been so certain of going. Held motionless by wonder, she stood looking at him, taking this moment, not in the name of the present, but as a salute to their past.
When he was close enough and she could distinguish his face, she saw the look of that luminous gaiety which transcends the solemn by proclaiming the great innocence of a man who has earned the right to be light-hearted. He was smiling and whistling some piece of music that seemed to flow like the long, smooth, rising flight of his steps. The melody seemed distantly familiar to her, she felt that it belonged with this moment, yet she felt also that there was something odd about it, something important to grasp, only she could not think of it now.
"Hi, Slug!"
"Hi, Frisco!"
She knew--by the way he looked at her, by an instant's drop of his eyelids closing his eyes, by the brief pull of his head striving to lean back and resist, by the faint, half-smiling, half-helpless relaxation of his lips, then by the sudden harshness of his arms as he seized her-that it was involuntary, that he had
The man in Bedroom F, Car No. 13, was a lawyer who had said, "Me? I'll find a way to get along under any political system."
The man in Bedroom A, Car No. 14, was a professor of philosophy who taught that there is no mind--how do you know that the tunnel is dangerous?--no reality--how can you prove that the tunnel exists?--no logic--why do you claim that trains cannot move without motive power?--no principles--why should you be bound by the law of cause-and-effect? --no rights--why shouldn't you attach men to their jobs by force?--no morality--what's moral about running a railroad?--no absolutes --what difference does it make to you whether you live or die, anyway? He taught that we know nothing--why oppose the orders of your superiors?--that we can never be certain of anything--how do you know you're right?--that we must act on the expediency of the moment--you don't want to risk your job, do you?
The man in Drawing Room B, Car No. 15, was an heir who had inherited his fortune, and who had kept repeating, "Why should Rearden be the only one permitted to manufacture Rearden Metal?"
The man in Bedroom A, Car No. 16, was a humanitarian who had said, "The men of ability? I do not care what or if they are made to suffer. They must be penalized in order to support the incompetent. Frankly, I do not care whether this is just or not. I take pride in not caring to grant any justice to the able, where mercy to the needy is concerned."
These passengers were awake; there was not a man aboard the train who did not share one or more of their ideas. As the train went into the tunnel, the flame of Wyatt's Torch was the last thing they saw on earth.
CHAPTER VIII
BY OUR LOVE
The sun touched the tree tops on the slope of the hill, and they looked a bluish-silver, catching the color of the sky. Dagny stood at the door of the cabin, with the first sunrays on her forehead and miles of forest spread under her feet. The leaves went down from silver to green to the smoky blue of the shadows on the road below. The light trickled down through the branches and shot upward in sudden spurts when it hit a clump of ferns that became a fountain of green rays. It gave her pleasure to watch the motion of the light over a stillness where nothing else could move.
She had marked the date, as she did each morning, on the sheet of paper she had tacked to the wall of her room. The progression of the dates on that paper was the only movement in the stillness of her days, like the record kept by a prisoner on a desert island. This morning's date was May 28.
She had intended the dates to lead to a purpose, but she could not say whether she had reached it or not. She had come here with three assignments given, as orders, to herself: rest--learn to live without the railroad--get the pain out of the way. Get it out of the way, were the words she used. She felt as if she were tied to some wounded stranger who could be stricken at any moment by an attack that would drown her in his screams. She felt no pity for the stranger, only a contemptuous impatience; she had to fight him and destroy him, then her way would be clear to decide what she wished to do; but the stranger was not easy to fight.
The assignment to rest had been easier. She found that she liked the solitude; she awakened in the morning with a feeling of confident benevolence, the sense that she could venture forth and be willing to deal with whatever she found. In the city, she had lived in chronic tension to withstand the shock of anger, indignation, disgust, contempt. The only danger to threaten her here was the simple pain of some physical accident; it seemed innocent and easy by comparison.
The cabin was far from any traveled road; it had remained as her father had left it. She cooked her meals on a wood-burning stove and gathered the wood on the hillsides. She cleared the brush from under her walls, she reshingled the roof, she repainted the door and the frames of the windows. Rains, weeds and brush had swallowed the steps of what had once been a terraced path rising up the hill from the road to the cabin. She rebuilt it, clearing the terraces, re-laying the stones, bracing the banks of soft earth with walls of boulders. It gave her pleasure to devise complex systems of levers and pulleys out of old scraps of iron and rope, then to move weights of rock that were much beyond her physical power. She planted a few seeds of nasturtiums and morning glories, to see one spreading slowly over the ground and the other climbing up the tree trunks, to see them grow, to see progression and movement.
The work gave her the calm she needed; she had not noticed how she began it or why; she had started without conscious intention, but she saw it growing under her hands, pulling her forward, giving her a healing sense of peace. Then she understood that what she needed was the motion to a purpose, no matter how small or in what form, the sense of an activity going step by step to some chosen end across a span of time. The work of cooking a meal was like a closed circle, completed and gone, leading nowhere. But the work of building a path was a living sum, so that no day was left to die behind her, but each day contained all those that preceded it, each day acquired its immortality on every succeeding tomorrow. A circle, she thought, is the movement proper to physical nature, they say that there's nothing but circular motion in the inanimate universe around us, but the straight line is the badge of man, the straight line of a geometrical abstraction that makes roads, rails and bridges, the straight line that cuts the curving aimlessness of nature by a purposeful motion from a start to an end. The cooking of meals, she thought, is like the feeding of coal to an engine for the sake of a great run, but what would be the imbecile torture of coaling an engine that had no run to make? It is not proper for man's life to be a circle, she thought, or a string of circles dropping off like zeros behind him--man's life must be a straight line of motion from goal to farther goal, each leading to the next and to a single growing sum, like a journey down the track of a railroad, from station to station to--oh, stop it!
Stop it--she told herself in quiet severity, when the scream of the wounded stranger was choked off--don't think of that, don't look too far, you like building this path, build it, don't look beyond the foot of the hill.
She had driven a few times to the store in Woodstock, twenty miles away, to buy supplies and food. Woodstock was a small huddle of dying structures, built generations ago for some reason and hope long since forgotten. There was no railroad to feed it, no electric power, nothing but a county highway growing emptier year by year.
The only store was a wooden hovel, with spider-eaten corners and a rotted patch in the middle of the floor, eaten by the rains that came through the leaking root. The storekeeper was a fat, pallid woman who moved with effort, but seemed indifferent to her own discomfort. The stock of food consisted of dusty cans with faded labels, some grain, and a few vegetables rotting in ancient bins outside the door. "Why don't you move those vegetables out of the sun?" Dagny asked once. The woman looked at her blankly, as if unable to understand the possibility of such a question. "They've always been there," she answered indifferently.
Driving back to the cabin, Dagny looked up at a mountain stream that fell with ferocious force down a sheer granite wall, its spray hanging like a mist of rainbows in the sun. She thought that one could build a hydroelectric plant, just large enough to supply the power for her cabin and for the town of Woodstock--Woodstock could be made to be productive--those wild apple trees she saw in such unusual numbers among the dense growth on the hillsides, were the remnants of orchards--suppose one were to reclaim them, then build a small spur to the nearest railroad--oh, stop it!
"No kerosene today," the storekeeper told her on her next trip to Woodstock. "It rained Thursday night, and when it rains, the trucks can't get through Fairfield gorge, the road's flooded, and the kerosene truck won't be back this way till next month." "If you know that the road gets flooded every time it rains, why don't you people repair it?" The woman answered, "The road's always been that way."
Driving back, Dagny stopped on the crest of a hill and looked down at the miles of countryside below. She looked at Fairfield gorge where the county road, twisting through marshy soil below the level of a river, got trapped in a crack between two hills. It would be simple to by-pass those hills, she thought, to build a road on the other side of the river--the people of Woodstock had nothing to do, she could teach them--cut a road straight to the southwest, save miles, connect with the state highway at the freight depot of--oh, stop it!
She put her kerosene lamp aside and sat in her cabin after dark by the light of a candle, listening to the music of a small portable radio. She hunted for symphony concerts and twisted the dial rapidly past whenever she caught the raucous syllables of a news broadcast; she did not want any news from the city.
Don't think of Taggart Transcontinental--she had told herself on her first night in the cabin--don't think of it until you're able to hear the words as if they were "Atlantic Southern" or "Associated Steel." But the weeks passed and no scar would grow over the wound.
It seemed to her as if she were fighting the unpredictable cruelty of her own mind. She would lie in bed, drifting off to sleep--then find herself suddenly thinking that the conveyor belt was worn at the coaling station at Willow Bend, Indiana, she had seen it from the window of her car on her last trip, she must tell them to replace it or they-- and then she would be sitting up in bed, crying, Stop it!--and stopping it, but remaining awake for the rest of that night.
She would sit at the door of the cabin at sunset and watch the motion of the leaves growing still in the twilight--then she would see the sparks of the fireflies rising from the grass, flashing on and off in every darkening corner, flashing slowly, as if holding one moment's warning--they were like the lights of signals winking at night over the track of a--Stop it!
It was the times when she could not stop it that she dreaded, the times when, unable to stand up--as in physical pain, with no limit to divide it from the pain of her mind--she would fall down on the floor of the cabin or on the earth of the woods and sit still, with her face pressed to a chair or a rock, and fight not to let herself scream aloud, while they were suddenly as close to her and as real as the body of a lover: the two lines of rail going off to a single point in the distance--the front of an engine cutting space apart by means of the letters TT--the sound of the wheels clicking in accented rhythm under the floor of her car--the statue of Nat Taggart in the concourse of the Terminal. Fighting not to know them, not to feel them, her body rigid but for the grinding motion of her face against her arm, she would draw whatever power over her consciousness still remained to her into the soundless, toneless repetition of the words: Get it over with.
There were long stretches of calm, when she was able to face her problem with the dispassionate clarity of weighing a problem in engineering. But she could find no answer. She knew that her desperate longing for the railroad would vanish, were she to convince herself that it was impossible or improper. But the longing came from the certainty that the truth and the right were hers--that the enemy was the irrational and the unreal--that she could not set herself another goal or summon the love to achieve it, while her rightful achievement had been lost, not to some superior power, but to a loathsome evil that conquered by means of impotence.
She could renounce the railroad, she thought; she could find contentment here, in this forest; but she would build the path, then reach the road below, then rebuild the road--and then she would reach the storekeeper of Woodstock and that would be the end, and the empty white face staring at the universe in stagnant apathy would be the limit placed on her effort. Why?--she heard herself screaming aloud. .There was no answer.
Then stay here until you answer it, she thought. You have no place to go, you can't move, you can't start grading a right-of-way until ... until you know enough to choose a terminal.
There were long, silent evenings when the emotion that made her sit still and look at the unattainable distance beyond the fading light to the south, was loneliness for Hank Rearden. She wanted the sight of his unyielding face, the confident face looking at her with the hint of a smile. But she knew that she could not see him until her battle was won. His smile had to be deserved, it was intended for an adversary who traded her strength against his, not for a pain-beaten wretch who would seek relief in that smile and thus destroy its meaning. He could help her to live; he could not help her to decide for what purpose she wished to go on living.
She had felt a faint touch of anxiety since the morning when she marked "May 15" on her calendar. She had forced herself to listen to news broadcasts, once in a while; she had heard no mention of his name. Her fear for him was her last link to the city; it kept drawing her eyes to the horizon at the south and down to the road at the foot of the hill. She found herself waiting for him to come. She found herself listening for the sound of a motor. But the only sound to give her a futile start of hope at times, was the sudden crackle of some large bird's wings hurtling through the branches into the sky.
There was another link to the past, that still remained as an unsolved question: Quentin Daniels and the motor that he was trying to rebuild. By June 1, she would owe him his monthly check. Should she tell him that she had quit, that she would never need that motor and neither would the world? Should she tell him to stop and to let the remnant of the motor vanish in rust on some such junk pile as the one where she had found it? She could not force herself to do it. It seemed harder than leaving the railroad. That motor, she thought, was not a link to the past: it was her last link to the future. To kill it seemed like an act, not of murder, but of suicide: her order to stop it would be her signature under the certainty that there was no terminal for her to seek ahead.
But it is not true--she thought, as she stood at the door of her cabin, on this morning of May 28--it is not true that there is no place in the future for a superlative achievement of man's mind; it can never be true. No matter what her problem, this would always remain to her--this immovable conviction that evil was unnatural and temporary. She felt it more clearly than ever this morning: the certainty that the ugliness of the men in the city and the ugliness of her suffering were transient accidents--while the smiling sense of hope within her at the sight of a sun-flooded forest, the sense of an unlimited promise, was the permanent and the real.
She stood at the door, smoking a cigarette. In the room behind her, the sounds of a symphony of her grandfather's time were coming from the radio. She barely listened, she was conscious only of the flow of chords that seemed to play an underscoring harmony for the flow of the smoke curving slowly from her cigarette, for the curving motion of her arm moving the cigarette to her lips once in a while. She closed her eyes and stood still, feeling the rays of the sun on her body. This was the achievement, she thought--to enjoy this moment, to let no memory of pain blunt her capacity to feel as she felt right now; so long as she could preserve this feeling, she would have the fuel to go on.
She was barely aware of a faint noise that came through the music, like the scratching of an old record. The first thing to reach her consciousness was the sudden jerk of her own hand flinging the cigarette aside. It came in the same instant as the realization that the noise was growing louder and that it was the sound of a motor. Then she knew that she had not admitted to herself how much she had wanted to hear that sound, how desperately she had waited for Hank Rearden. She heard her own chuckle--it was humbly, cautiously low, as if not to disturb the drone of revolving metal which was now the unmistakable sound of a car rising up the mountain road.
She could not see the road--the small stretch under the arch of branches at the foot of the hill was her only view of it--but she watched the car's ascent by the growing, imperious strain of the motor against the grades and the screech of the tires on curves.
The car stopped under the arch of branches. She did not recognize it -it was not the black Hammond, but a long, gray convertible. She saw the driver step out: it was a man whose presence here could not be possible. It was Francisco d.'Anconia.
The shock she felt was not disappointment, it was more like the sensation that disappointment would now be irrelevant. It was eagerness and an odd, solemn stillness, the sudden certainty that she was facing the approach of something unknown and of the gravest importance.
The swiftness of Francisco's movements was carrying him toward the hill while he was raising his head to glance up. He saw her above, at the door of the cabin, and stopped. She could not distinguish the expression on his face. He stood still for a long moment, his face raised to her. Then he started up the hill.
She felt--almost as if she had expected it--that this was a scene from their childhood. He was coming toward her, not running, but moving upward with a kind of triumphant, confident eagerness. No, she thought, this was not their childhood--it was the future as she would have seen it then, in the days when she waited for him as for her release from prison. It was a moment's view of a morning they would have reached, if her vision of life had been fulfilled, if they had both gone the way she had then been so certain of going. Held motionless by wonder, she stood looking at him, taking this moment, not in the name of the present, but as a salute to their past.
When he was close enough and she could distinguish his face, she saw the look of that luminous gaiety which transcends the solemn by proclaiming the great innocence of a man who has earned the right to be light-hearted. He was smiling and whistling some piece of music that seemed to flow like the long, smooth, rising flight of his steps. The melody seemed distantly familiar to her, she felt that it belonged with this moment, yet she felt also that there was something odd about it, something important to grasp, only she could not think of it now.
"Hi, Slug!"
"Hi, Frisco!"
She knew--by the way he looked at her, by an instant's drop of his eyelids closing his eyes, by the brief pull of his head striving to lean back and resist, by the faint, half-smiling, half-helpless relaxation of his lips, then by the sudden harshness of his arms as he seized her-that it was involuntary, that he had