Atlas Shrugged

"Get away from that panel! Get out of here! This is mine! Do you understand? It's my property!"

"Property? Huh!" Meigs gave a brief bark that was a chuckle.

"I invented it! I created it! I made it possible!"

"You did? Well, many thanks, Doc. Many thanks, but we don't need you any longer. We've got our own mechanics."

_ "Have you any idea what I had to know in order to make it possible?

You couldn't think of a single tube of it! Not a single bolt!"

Meigs shrugged. "Maybe not."

"Then how dare you think that you can own it? How dare you come here? What claim do you have to it?"

Meigs patted his holster. "This."

"Listen, you drunken lout!" cried Dr. Stadler. "Do you know what you're playing with?"

"Don't you talk to me like that, you old fool! Who are you to talk to me like that? I can break your neck with my bare hands! Don't you know who I am?"

"You're a scared thug way out of his depth!"

"Oh, I am, am I? I'm the Boss! I'm the Boss and I'm not going to be stopped by an old scarecrow like you! Get out of here!"

They stood staring at each other for a moment, by the panel of the Xylophone, both cornered by terror. The unadmitted root of Dr. Stadler's terror was his frantic struggle not to acknowledge that he was looking at his final product, that this was his spiritual son. Cuffy Meigs' terror had wider roots, it embraced all of existence; he had lived in chronic terror all his life, but now he was struggling not to acknowledge what it was that he had dreaded: in the moment of his triumph, when he expected to be safe, that mysterious, occult breed—the intellectual —was refusing to fear him and defying his power.

"Get out of here!" snarled Cuffy Meigs. "I'll call my men! I'll have you shot!"

"Get out of here, you lousy, brainless, swaggering moron!" snarled Dr. Stadler. "Do you think I'll let you cash in on my life? Do you think it's for you that I . . . that I sold—" He did not finish. "Stop touching those levers, God damn you!"

"Don't you give me orders! I don't need you to tell me what to do!

You're not going to scare me with your classy mumbo-jumbo! I'll do as I please! What did I fight for, if I can't do as I please?" He chuckled and reached for a lever.

"Hey, Cuffy, take it easy!" yelled some figure in the back of the room, darting forward.

"Stand back!" roared Cuffy Meigs. "Stand back, all of you! Scared, am I? I'll show you who's boss!"

Dr. Stadler leaped to stop him—but Meigs shoved him aside with one arm, gave a gulp of laughter at the sight of Stadler falling to the floor, and, with the other arm, yanked a lever of the Xylophone.

The crash of sound—the screeching crash of ripped metal and of pressures colliding on conflicting circuits, the sound of a monster turn' ing upon itself—was heard only inside the structure. No sound was heard outside. Outside, the structure merely rose into the air, suddenly and silently, cracked open into a 'few large pieces, shot some hissing streaks of blue light to the sky and came down as a pile of rubble. Within the circle of a radius of a hundred miles, enclosing parts of four states, telegraph poles fell like matchsticks, farmhouses collapsed into chips, city buildings went down as if slashed and minced by a single second's blow, with no time for a sound to be heard by the twisted bodies of the victims—and, on the circle's periphery, halfway across the Mississippi, the engine and the first six cars of a passenger train flew as a shower of metal into the water of the river, along with the western spans of the Taggart Bridge, cut in half.

On the site of what had once been Project X, nothing remained alive among the ruins—except, for some endless minutes longer, a huddle of torn flesh and screaming pain that had once been a great mind.

There was a sense of weightless freedom—thought Dagny—in the feeling that a telephone booth was her only immediate, absolute goal, with no concern for any of the goals of the passers-by in the streets around her. It did not make her feel estranged from the city: it made her feel, for the first time, that she owned the city and that she loved it, that she had never loved it before as she did in this moment, with so personal, solemn and confident a sense of possession. The night was still and clear; she looked at the sky; as her feeling was more solemn than joyous, but held the sense of a future joy—so the air was more windless than warm, but held the hint of a distant spring.

Get the hell out of my way—she thought, not with resentment, but almost with amusement, with a sense of detachment and deliverance, addressing it to the passers-by, to the traffic when it impeded her hurried progress, and to any fear she had known in the past. It was less than an hour ago that she had heard him utter that sentence, and his voice still seemed to ring in the air of the streets, merging into a distant hint of laughter.