by Ayn Rand
The conductor returned an hour later, with the fireman, whose face looked oddly grim.
"Mr. Willers," said the fireman slowly, "Division Headquarters does not answer."
Eddie Willers sat up, his mind refusing to believe it, yet knowing suddenly that for some inexplicable reason this was what he had expected. "It's impossible!" he said, his voice low; the fireman was looking at him, not moving. "The track phone must have been out of order."
"No, Mr. Willers. It was not out of order. The line was alive all right. The Division Headquarters wasn't. I mean, there was no one there to answer, or else no one who cared to."
"But you know that that's impossible!"
The fireman shrugged; men did not consider any disaster impossible these days.
Eddie Willers leaped to his feet. "Go down the length of the train," he ordered the conductor. "Knock on all the doors--the occupied ones, that is--and see whether there's an electrical engineer aboard."
"Yes, sir."
Eddie knew that they felt, as he felt it, that they would find no such man; not among the lethargic, extinguished faces of the passengers they had seen. "Come on," he ordered, turning to the fireman.
They climbed together aboard the locomotive. The gray-haired engineer was sitting in his chair, staring out at the cacti. The engine's headlight had stayed on and it stretched out into the night, motionless and straight, reaching nothing but the dissolving blur of crossties.
"Let's try to find what's wrong," said Eddie, removing his coat, his voice half-order, half-plea. "Let's try some more."
"Yes, sir," said the engineer, without resentment or hope.
The engineer had exhausted his meager store of knowledge; he had checked every source of trouble he could think of. He went crawling over and under the machinery, unscrewing its parts and screwing them back again, taking out pieces and replacing them, dismembering the motors at random, like a child taking a clock apart, but without the child's conviction that knowledge is possible.
The fireman kept leaning out of the cab's window, glancing at the black stillness and shivering, as if from the night air that was growing colder.
"Don't worry," said Eddie Willers, assuming a tone of confidence. "We've got to do our best, but if we fail, they'll send us help sooner or later. They don't abandon trains in the middle of nowhere."
They didn't used to,". said the fireman.
Once in a while, the engineer raised his grease-smeared face to look at the grease-smeared face and shirt of Eddie Willers. "What's the use, Mr. Willers?" he asked.
"We can't let it go!" Eddie answered fiercely; he knew dimly that what he meant was more than the Comet ... and more than the railroad.
Moving from the cab through the three motor units and back to the cab again, his hands bleeding, his shirt sticking to his back, Eddie Willers was struggling to remember everything he had ever known about engines, anything he had learned in college, and earlier: anything he had picked up in those days when the station agents at Rockdale Station used to chase him off the rungs of their lumbering switch engines. The pieces connected to nothing; his brain seemed jammed and tight; he knew that motors were not his profession, he knew that he did not know and that it was now a matter of life or death for him to discover the knowledge. He was looking at the cylinders, the blades, the wires, the control panels still winking with lights. He was struggling not to allow into his mind the thought that was pressing against its periphery: What were the chances and how long would it take--according to the mathematical theory of probability--for primitive men, working by rule-of-thumb, to hit the right combination of parts and re-create the motor of this engine?
"What's the use, Mr. Willers?" moaned the engineer.
"We can't let it go!" he cried.
He did not know how many hours had passed when he heard the fireman shout suddenly, "Mr. Willers! Look!"
The fireman was leaning out the window, pointing into the darkness behind them.
Eddie Willers looked. An odd little light was swinging jerkily far in the distance; it seemed to be advancing at an imperceptible rate; it did not look like any sort of light he could identify.
After a while, it seemed to him that he distinguished some large black shapes advancing slowly; they were moving in a line parallel with the track; the spot of light hung low over the ground, swinging; he strained his ears, but heard nothing.
Then he caught a feeble, muffled beat that sounded like the hoofs of horses. The two men beside him were watching the black shapes with a look of growing terror, as if some supernatural apparition were advancing upon them out of the desert night. In the moment when they chuckled suddenly, joyously, recognizing the shapes, it was Eddie's face that froze into a look of terror at the sight of a ghost more frightening than any they could have expected: it was a train of covered wagons.
The swinging lantern jerked to a stop by the side of the engine. "Hey, bud, can I give you a lift?" called a man who seemed to be the leader; he was chuckling. "Stuck, aren't you?"
The passengers of the Comet were peering out of the windows; some were descending the steps and approaching. Women's faces peeked from the wagons, from among the piles of household goods; a baby wailed somewhere at the rear of the caravan.
"Are you crazy?" asked Eddie Willers.
"No, I mean it, brother. We got plenty of room. We'll give you folks a lift--for a price--if you want to get out of here." He was a lanky, nervous man, with loose gestures and an insolent voice, who looked like a side-show barker.
"This is the Taggart Comet," said Eddie Willers, choking.
"The Comet, eh? Looks more like a dead caterpillar to me. What's the matter, brother? You're not going anywhere--and you can't get there any more, even if you tried."
"What do you mean?"
"You don't think you're going to New York, do you?"
"We are going to New York."
"Then ... then you haven't heard?"
"What?"
"Say, when was the last time you spoke to any of your stations?"
"I don't know! ... Heard what?"
"That your Taggart Bridge is gone. Gone. Blasted to bits. Sound-ray explosion or something. Nobody knows exactly. Only there ain't any bridge any more to cross the Mississippi. There ain't any New York any more--leastways, not for folks like you and me to reach."
Eddie Willers did not know what happened next; he had fallen back against the side of the engineer's chair, staring at the open door of the motor unit; he did not know how long he stayed there, but when, at last, he turned his head, he saw that he was alone. The engineer and the fireman had left the cab. There was a scramble of voices outside, screams, sobs, shouted questions and the sound of the side-show barker's laughter.
Eddie pulled himself to the window of the cab: the Comet's passengers and crew were crowding around the leader of the caravan and his semi-ragged companions; he was waving his loose arms in gestures of command. Some of the better-dressed ladies from the Comet--whose husbands had apparently been first to make a deal--were climbing aboard the covered wagons, sobbing and clutching their delicate make-up cases.
"Step right up, folks, step right up!" the barker was yelling cheerfully. "We'll make room for everybody! A bit crowded, but moving--better than being left here for coyote fodder! The day of the iron horse is past! All we got is plain, old-fashioned horse! Slow, but sure!"
Eddie Willers climbed halfway down the ladder on the side of the engine, to see the crowd and to be heard. He waved one arm, hanging onto the rungs with the other. "You're not going, are you?" he cried to his passengers. "You're not abandoning the Comet?"
They drew a little away from him, as if they did not want to look at him or answer. They did not want to hear questions their minds were incapable of weighing. He saw the blind faces of panic.
"What's the matter with the grease-monkey?" asked the barker, pointing at Eddie.
"Mr. Willers," said the conductor softly, "it's no use ..."
"Don't abandon the Come
t!" cried Eddie Willers. "Don't let it go! Oh God, don't let it go!"
"Are you crazy?" cried the barker. "You've no idea what's going on at your railroad stations and headquarters! They're running around like a pack of chickens with their heads cut off! I don't think there's going to be a railroad left in business this side of the Mississippi, by tomorrow morning!"
"Better come along, Mr. Willers," said the conductor.
"No!" cried Eddie, clutching the metal rung as if he wanted his hand to grow fast to it.
The barker shrugged. "Well, it's your funeral!"
"Which way are you going?" asked the engineer, not looking at Eddie.
"Just going, brother! Just looking for some place to stop ... somewhere. We're from Imperial Valley, California. The .'People's Party' crowd grabbed the crops and any food we had in the cellars. Hoarding, they called it. So we just picked up and went. Got to travel by night, on account of the Washington crowd.... We're just looking for some place to live.... You're welcome to come along, buddy, if you've got no home--or else we can drop you off closer to some town or another."
The men of that caravan--thought Eddie indifferently--looked too mean-minded to become the founders of a secret, free settlement, and not mean-minded enough to become a gang of raiders; they had no more destination to find than the motionless beam of the headlight; and, like that beam, they would dissolve somewhere in the empty stretches of the country.
He stayed on the ladder, looking up at the beam. He did not watch while the last men ever to ride the Taggart Comet were transferred to the covered wagons.
The conductor went last. "Mr. Willers!" he called desperately. "Come along!"
"No," said Eddie.
The side-show barker waved his arm in an upward sweep at Eddie's figure on the side of the engine above their heads. "I hope you know what you're doing!" he cried, his voice half-threat, half-plea. "Maybe somebody will come this way to pick you up--next week or next month! Maybe! Who's going to, these days?"
"Get away from here," said Eddie Willers.
He climbed back into the cab--when the wagons jerked forward and went swaying and creaking off into the night. He sat in the engineer's chair of a motionless engine, his forehead pressed to the useless throttle. He felt like the captain of an ocean liner in distress, who preferred to go down with his ship rather than be saved by the canoe of savages taunting him with the superiority of their craft.
Then, suddenly, he felt the blinding surge of a desperate, righteous anger. He leaped to his feet, seizing the throttle. He had to start this train; in the name of some victory that he could not name, he had to start the engine moving.
Past the stage of thinking, calculation or fear, moved by some righteous defiance, he was pulling levers at random, he was jerking the throttle back and forth, he was stepping on the dead man's pedal, which was dead, he was groping to distinguish the form of some vision that seemed both distant and close, knowing only that his desperate battle was fed by that vision and was fought for its sake.
Don't let it go! his mind was crying--while he was seeing the streets of New York--Don't let it go!--while he was seeing the lights of railroad signals--Don't let it go!--while he was seeing the smoke rising proudly from factory chimneys, while he was struggling to cut through the smoke and reach the vision at the root of these visions.
He was pulling at coils of wire, he was linking them and tearing them apart--while the sudden sense of sunrays and pine trees kept pulling at the corners of his mind. Dagny!--he heard himself crying soundlessly--Dagny, in the name of the best within us! ... He was jerking at futile levers and at a throttle that had nothing to move.... Dagny!--he was crying to a twelve-year-old girl in a sunlit clearing of the woods--in the name of the best within us, I must now start this train! ... Dagny, that is what it was ... and you knew it, then, but I didn't ... you knew it when you turned to look at the rails.... I said, "not business or earning a living" ... but, Dagny, business and earning a living and that in man which makes it possible--that is the best within us, that was the thing to defend ... in the name of saving it, Dagny, I must now start this train....
When he found that he had collapsed on the floor of the cab and knew that there was nothing he could do here any longer, he rose and he climbed down the ladder, thinking dimly of the engine's wheels, even though he knew that the engineer had checked them. He felt the crunch of the desert dust under his feet when he let himself drop to the ground. He stood still and, in the enormous silence, he heard the rustle of tumbleweeds stirring in the darkness, like the chuckle of an invisible army made free to move when the Comet was not. He heard a sharper rustle close by--and he saw the small gray shape of a rabbit rise on its haunches to sniff at the steps of a car of the Taggart Comet. With a jolt of murderous fury, he lunged in the direction of the rabbit, as if he could defeat the advance of the enemy in the person of that tiny gray form. The rabbit darted off into the darkness--but he knew that the advance was not to be defeated.
He stepped to the front of the engine and looked up at the letters TT. Then he collapsed across the rail and lay sobbing at the foot of the engine, with the beam of a motionless headlight above him going off into a limitless night.
The music of Richard Halley's Fifth Concerto streamed from his keyboard, past the glass of the window, and spread through the air, over the lights of the valley. It was a symphony of triumph. The notes flowed up, they spoke of rising and they were the rising itself, they were the essence and the form of upward motion, they seemed to embody every human act and thought that had ascent as its motive. It was a sunburst of sound, breaking out of hiding and spreading open. It had the freedom of release and the tension of purpose. It swept space clean and left nothing but the joy of an unobstructed effort. Only a faint echo within the sounds spoke of that from which the music had escaped, but spoke in laughing astonishment at the discovery that there was no ugliness or pain, and there never had had to be. It was the song of an immense deliverance.
The lights of the valley fell in glowing patches on the snow still covering the ground. There were shelves of snow on the granite ledges and on the heavy limbs of the pines. But the naked branches of the birch trees had a faintly upward thrust, as if in confident promise of the coming leaves of spring.
The rectangle of light on the side of a mountain was the window of Mulligan's study. Midas Mulligan sat at his desk, with a map and a column of figures before him. He was listing the assets of his bank and working on a plan of projected investments. He was noting down the locations he was choosing: "New York--Cleveland--Chicago ... New York--Philadelphia ... New York ... New York ... New York ..."
The rectangle of light at the bottom of the valley was the window of Danneskjold's home. Kay Ludlow sat before a mirror, thoughtfully studying the shades of film make-up, spread open in a battered case. Ragnar Danneskjold lay stretched on a couch, reading a volume of the works of Aristotle: ".... for these truths hold good for everything that is, and not for some special genus apart from others. And all men use them, because they are true of being qua being.... For a principle which every one must have who understands anything that is, is not a hypothesis.... Evidently then such a principle is the most certain of all; which principle this is, let us proceed to say. It is, that the same attribute cannot at the same time belong and not belong to the same subject in the same respect...."
The rectangle of light in the acres of a farm was the window of the library of Judge Narragansett. He sat at a table, and the light of his lamp fell on the copy of an ancient document. He had marked and crossed out the contradictions in its statements that had once been the cause of its destruction. He was now adding a new clause to its pages: "Congress shall make no law abridging the freedom of production and trade ..."
The rectangle of light in the midst of a forest was the window of the cabin of Francisco d.'Anconia. Francisco lay stretched on the floor, by the dancing tongues of a fire, bent over sheets of paper, completing the drawing of his smelter. Hank Rearden and Ellis
Wyatt sat by the fireplace. "John will design the new locomotives," Rearden was saying, "and Dagny will run the first railroad between New York and Philadelphia. She--" And, suddenly, on hearing the next sentence, Francisco threw his head up and burst out laughing, a laughter of greeting, triumph and release. They could not hear the music of Halley's Fifth Concerto now flowing somewhere high above the roof, but Francisco's laughter matched its sounds. Contained in the sentence he had heard, Francisco was seeing the sunlight of spring on the open lawns of homes across the country, he was seeing the sparkle of motors, he was seeing the glow of the steel in the rising frames of new skyscrapers, he was seeing the eyes of youth looking at the future with no uncertainty or fear.
The sentence Rearden had uttered was: "She will probably try to take the shirt off my back with the freight rates she's going to charge, but--I'll be able to meet them."
The faint glitter of light weaving slowly through space, on the highest accessible ledge of a mountain, was the starlight on the strands of Galt's hair. He stood looking, not at the valley below, but at the darkness of the world beyond its walls. Dagny's hand rested on his shoulder, and the wind blew her hair to blend with his. She knew why he had wanted to walk through the mountains tonight and what he had stopped to consider. She knew what words were his to speak and that she would be first to hear them.
They could not see the world beyond the mountains, there was only a void of darkness and rock, but the darkness was hiding the ruins of a continent: the roofless homes, the rusting tractors, the lightless streets, the abandoned rail. But far in the distance, on the edge of the earth, a small flame was waving in the wind, the defiantly stubborn flame of Wyatt's Torch, twisting, being torn and regaining its hold, not to be uprooted or extinguished. It seemed to be calling and waiting for the words John Galt was now to pronounce.
"The road is cleared," said Galt. "We are going back to the world."
He raised his hand and over the desolate earth he traced in space the sign of the dollar.
THE END
ABOUT THE AUTHOR
"My personal life," says Ayn Rand, "is a postscript to my novels; it consists of the sentence: 'And I mean it.' I have always lived by the philosophy I present in my books--and it has worked for me, as it works for my characters. The concretes differ, the abstractions are the same.