"You who won't allow one per cent of impurity into an alloy of metal," the unforgotten voice was saying to him, "what have you allowed into your moral code?"
"Well, Mr. Rearden?" said the voice of Dr, Ferris. "Do you understand me now? Do we get the Metal or do we make a public showplace out of Miss Taggart's bedroom?"
He was not seeing Dr. Ferris. He was seeing—in the violent clarity that was like a spotlight tearing every riddle open to him—the day he met Dagny for the first time.
It was a few months after she had become Vice-President of Taggart Transcontinental. He had been hearing skeptically, for some time, the rumors that the railroad was run by Jim Taggart's sister. That summer, when he grew exasperated at Taggart's delays and contradictions over an order of rail for a new cutoff, an order which Taggart kept placing, altering and withdrawing, somebody told him that if he wished to get any sense or action out of Taggart Transcontinental, he'd better speak to Jim's sister. He telephoned her office to make an appointment and insisted on having it that same afternoon. Her secretary told him that Miss Taggart would be at the construction site of the new cutoff, that afternoon, at Milford Station between New York and Philadelphia, but would be glad to see him there if he wished. He went to the appointment resentfully; he did not like such businesswomen as he had met, and he felt that railroads were no business for a woman to play with; he expected a spoiled heiress who used her name and sex as substitute for ability, some eyebrow-plucked, over groomed female, like the lady executives of department stores.
He got off the last car of a long train, far beyond the platform of Milford Station. There was a clutter of sidings, freight cars, cranes and steam shovels around him, descending from the main track down the slope of a ravine where men were grading the roadbed of the new cutoff. He started walking between the sidings toward the station building. Then he stopped.
He saw a girl standing on top of a pile of machinery on a flatcar.
She was looking off at the ravine, her head lifted, strands of disordered hair stirring in the wind. Her plain gray suit was like a thin coating of metal over a slender body against the spread of sun-flooded space and sky. Her posture had the lightness and unself-conscious precision of an arrogantly pure self-confidence. She was watching the work, her glance intent and purposeful, the glance of competence enjoying its own function. She looked as if this were her place, her moment and her world, she looked as if enjoyment were her natural state, her face was the living form of an active, living intelligence., a young girl's face with a woman's mouth, she seemed unaware of her body except as of a taut instrument ready to serve her purpose in any manner she wished.
Had he asked himself a moment earlier whether he carried in his mind an image of what he wanted a woman to look like, he would have answered that he did not; yet, seeing her, he knew that this was the image and that it had been for years. But he was not looking at her as at a woman. He had forgotten where he was and on what errand, he was held by a child's sensation of joy in the immediate moment, by the delight of the unexpected and undiscovered, he was held by the astonishment of realizing how seldom he came upon a sight he truly liked, liked in complete acceptance and for its own sake, he was looking up at her with a faint smile, as he would have looked at a statue or a landscape, and what he felt was the sheer pleasure of the sight, the purest esthetic pleasure he had ever experienced.
He saw a switchman going by and he asked, pointing, "Who is that?"
"Dagny Taggart," said the man, walking on.
Rearden felt as if the words struck him inside his throat. He felt the start of a current that cut his breath for a moment, then went slowly down his body, carrying in its wake a sense of weight, a drained heaviness that left him no capacity but one. He was aware—with an abnormal clarity—of the place, the woman's name, and everything it implied, but all of it had receded into some outer ring and had become a pressure that left him alone in the center, as the ring's meaning and essence—and his only reality was the desire to have this woman, now, here, on top of the flatcar in the open sun—to have her before a word was spoken between them, as the first act of their meeting, because it would say everything and because they had earned it long ago.
She turned her head. In the slow curve of the movement, her eyes came to his and stopped. He felt certain that she saw the nature of his glance, that she was held by it, yet did not name it to herself.
Her eyes moved on and he saw her speak to some man who stood beside the flatcar, taking notes.
Two things struck him together: his return to his normal reality, and the shattering impact of guilt. He felt a moment's approach to that which no man may feel fully and survive: a sense of self-hatred—the more terrible because some part of him refused to accept it and made him feel guiltier. It was not a progression of words, but the instantaneous verdict of an emotion, a verdict that told him: This, then, was his nature, this was his depravity—that the shameful desire he had never been able to conquer, came to him in response to the only sight of beauty he had found, that it came with a violence he had not known to be possible, and that the only freedom now left to him was to hide it and to despise himself, but never to be rid of it so long as he and this woman were alive.
He did not know how long he stood there or what devastation that span of time left within him. All that he could preserve was the will to decide that she must never know it.
He waited until she had descended to the ground and the man with the notes had departed; then he approached her and said coldly: "Miss Taggart? I am Henry Rearden."
"Oh!" It was just a small break, then he heard the quietly natural "How do you do, Mr. Rearden."
He knew, not admitting it to himself, that the break came from some faint equivalent of his own feeling: she was glad that a face she had liked belonged to a man she could admire. When he proceeded to speak to her about business, his manner was more harshly abrupt than it had ever been with any of his masculine customers.
Now, looking from the memory of the girl on the flatcar to the Gift Certificate lying on his desk, he felt as if the two met in a single shock, fusing all the days and doubts he had lived between them, and, by the glare of the explosion, in a moment's vision of a final sum, he saw the answer to all his questions.
He thought: Guilty?—guiltier than I had known, far guiltier than I had thought, that day—guilty of the evil of damning as guilt that which was my best. I damned the fact that my mind and body were a unit, and that my body responded to the values of my mind. I damned the fact that joy is the core of existence, the motive power of every living being, that it is the need of one's body as it is the goal of one's spirit, that my body was not a weight of inanimate muscles, but an instrument able to give me an experience of superlative joy to unite my flesh and my spirit. That capacity, which I damned as shameful, had left me indifferent to sluts, but gave me my one desire in answer to a woman's greatness. That desire, which I damned as obscene, did not come from the sight of her body, but from the knowledge that the lovely form I saw, did express the spirit I was seeing—it was not her body that I wanted, but her person—it was not the girl in gray that I had to possess, but the woman who ran a railroad.
But I damned my body's capacity to express what I felt, I damned, as an affront to her, the highest tribute I could give her—just as they damn my ability to translate the work of my mind into Rearden Metal, just as they damn me for the power to transform matter to serve my needs. I accepted their code and believed, as they taught me, that the values of one's spirit must remain as an impotent longing, unexpressed in action, untranslated into reality, while the life of one's body must be lived in misery, as a senseless, degrading performance, and those who attempt to enjoy it must be branded as inferior animals.