The woman in Roomette 10, Car No. 3, was an elderly schoolteacher who had spent her life turning class after class of helpless children into miserable cowards, by teaching them that the will of the majority is the only standard of good and evil, that a majority may do anything it pleases, that they must not assert their own personalities, but must do as others were doing.
The man in Drawing Room B, Car No, 4, was a newspaper publisher who believed that men are evil by nature and unfit for freedom, that their basic instincts, if left unchecked, are to lie, to rob and to murder one another—and, therefore, men must be ruled by means of lies, robbery and murder, which must be made the exclusive privilege of the rulers, for the purpose of forcing men to work, teaching them to be moral and keeping them within the bounds of order and justice.
The man in Bedroom H, Car No. 5, was a businessman who had acquired his business, an ore mine, with the help of a government loan, under the Equalization of Opportunity Bill.
The man in Drawing Room A, Car No. 6, was a financier who had made a fortune by buying “frozen” railroad bonds and getting his friends in Washington to “defreeze” them.
The man in Seat 5, Car No, 7, was a worker who believed that he had “a right” to a job, whether his employer wanted him or not.
The woman in Roomette 6, Car No. 8, was a lecturer who believed that, as a consumer, she had “a right” to transportation, whether the railroad people wished to provide it or not.
The man in Roomette 2, Car No. 9, was a professor of economics who advocated the abolition of private property, explaining that intelligence plays no part in industrial production, that man’s mind is conditioned by material tools, that anybody can run a factory or a railroad and it’s only a matter of seizing the machinery.
The woman in Bedroom D, Car No. 10, was a mother who had put her two children to sleep in the berth above her, carefully tucking them in, protecting them from drafts and jolts; a mother whose husband held a government job enforcing directives, which she defended by saying, “I don’t care, it’s only the rich that they hurt. After all, I must think of my children.”
The man in Roomette 3, Car No. 11, was a sniveling little neurotic who wrote cheap little plays into which, as a social message, he inserted cowardly little obscenities to the effect that all businessmen were scoundrels.
The woman in Roomette 9, Car No. 12, was a housewife who believed 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.