"I won't try to tell you how much I'd like to do it," Roark said to him at the end of their first interview. "But there's not a chance of my getting it. I can get along with people--when they're alone. I can do nothing with them in groups. No board has ever hired me--and I don't think one ever will."
Kent Lansing smiled. "Have you ever known a board to do anything?"
"What do you mean?"
"Just that: have you ever known a board to do anything at all?"
"Well, they seem to exist and function."
"Do they? You know, there was a time when everyone thought it self-evident that the earth was flat. It would be entertaining to speculate upon the nature and causes of humanity's illusions. I'll write a book about it some day. It won't be popular. I'll have a chapter on boards of directors. You see, they don't exist."
"I'd like to believe you, but what's the gag?"
"No, you wouldn't like to believe me. The causes of illusions are not pretty to discover. They're either vicious or tragic. This one is both. Mainly vicious. And it's not a gag. But we won't go into that now. All I mean is that a board of directors is one or two ambitious men--and a lot of ballast. I mean that groups of men are vacuums. Great big empty nothings. They say we can't visualize a total nothing. Hell, sit at any committee meeting. The point is only who chooses to fill that nothing. It's a tough battle. The toughest. It's simple enough to fight any enemy, so long as he's there to be fought. But when he isn't ... Don't look at me like that, as if I were crazy. You ought to know. You've fought a vacuum all your life."
"I'm looking at you like that because I like you."
"Of course you like me. As I knew I'd like you. Men are brothers, you know, and they have a great instinct for brotherhood--except in boards, unions, corporations and other chain gangs. But I talk too much. That's why I'm a good salesman. However, I have nothing to sell you. You know. So we'll just say that you're going to build The Aquitania--that's the name of our hotel--and we'll let it go at that."
If the violence of the battles which people never hear about could be measured in material statistics, the battle of Kent Lansing against the board of directors of the Aquitania Corporation would have been listed among the great carnages of history. But the things he fought were not solid enough to leave anything as substantial as corpses on the battlefield.
He had to fight phenomena such as: "Listen, Palmer, Lansing's talking about somebody named Roark, how're you going to vote, do the big boys approve of him or not?" "I'm not going to decide till I know who's voted for or against." "Lansing says ... but on the other hand, Thorpe tells me ..." "Talbot's putting up a swank hotel on Fifth up in the sixties--and he's got Francon & Keating." "Harper swears by this young fellow--Gordon Prescott." "Listen, Betsy says we're crazy." "I don't like Roark's face--he doesn't look co-operative." "I know, I feel it, Roark's the kind that don't fit in. He's not a regular fellow." "What's a regular fellow?" "Aw hell, you know very well what I mean: regular." "Thompson says that Mrs. Pritchett says that she knows for certain because Mr. Macy told her that if ..." "Well, boys, I don't give a damn what anybody says, I make up my own mind, and I'm here to tell you that I think this Roark is lousy. I don't like the Enright House." "Why?" "I don't know why. I just don't like it, and that's that. Haven't I got a right to an opinion of my own?"
The battle lasted for weeks. Everybody had his say, except Roark. Lansing told him: "It's all right. Lay off. Don't do anything. Let me do the talking. There's nothing you can do. When facing society, the man most concerned, the man who is to do the most and contribute the most, has the least say. It's taken for granted that he has no voice and the reasons he could offer are rejected in advance as prejudiced--since no speech is ever considered, but only the speaker. It's so much easier to pass judgment on a man than on an idea. Though how in hell one passes judgment on a man without considering the content of his brain is more than I'll ever understand. However, that's how it's done. You see, reasons require scales to weigh them. And scales are not made of cotton. And cotton is what the human spirit is made of--you know, the stuff that keeps no shape and offers no resistance and can be twisted forward and backward and into a pretzel. You could tell them why they should hire you so very much better than I could. But they won't listen to you and they'll listen to me. Because I'm the middleman. The shortest distance between two points is not a straight line--it's a middleman. And the more middlemen, the shorter. Such is the psychology of a pretzel."
"Why are you fighting for me like that?" Roark asked.
"Why are you a good architect? Because you have certain standards of what is good, and they're your own, and you stand by them. I want a good hotel, and I have certain standards of what is good, and they're my own, and you're the one who can give me what I want. And when I fight for you, I'm doing--on my side of it--just what you're doing when you design a building. Do you think integrity is the monopoly of the artist? And what, incidentally, do you think integrity is? The ability not to pick a watch out of your neighbor's pocket? No, it's not as easy as that. If that were all, I'd say ninety-five percent of humanity were honest, upright men. Only, as you can see, they aren't. Integrity is the ability to stand by an idea. That presupposes the ability to think. Thinking is something one doesn't borrow or pawn. And yet, if I were asked to choose a symbol for humanity as we know it, I wouldn't choose a cross nor an eagle nor a lion and unicorn. I'd choose three gilded balls."
And as Roark looked at him, he added: "Don't worry. They're all against me. But I have one advantage: they don't know what they want. I do."
At the end of July, Roark signed a contract to build the Aquitania.
Ellsworth Toohey sat in his office, looking at a newspaper spread out on his desk, at the item announcing the Aquitania contract. He smoked, holding the cigarette propped in the corner of his mouth, supported by two straight fingers; one finger tapped against the cigarette, slowly, rhythmically, for a long time.
He heard the sound of his door thrown open, and he glanced up to see Dominique standing there, leaning against the doorjamb, her arms crossed on her chest. Her face looked interested, nothing more, but it was alarming to see an expression of actual interest on her face.
"My dear," he said, rising, "this is the first time you've taken the trouble to enter my office--in the four years that we've worked in the same building. This is really an occasion."
She said nothing, but smiled gently, which was still more alarming. He added, his voice pleasant: "My little speech, of course, was the equivalent of a question. Or don't we understand each other any longer?"
"I suppose we don't--if you find it necessary to ask what brought me here. But you know it, Ellsworth, you know it; there it is on your desk." She walked to the desk and flipped a corner of the newspaper. She laughed. "Do you wish you had it hidden somewhere? Of course you didn't expect me to come. Not that it makes any difference. But I just like to see you being obvious for once. Right on your desk, like that. Open at the real-estate page, too."
"You sound as if that little piece of news had made you happy."
"It did, Ellsworth. It does."
"I thought you had worked hard to prevent that contract."
"I had."
"If you think this is an act you're putting on right now, Dominique, you're fooling yourself. This isn't an act."
"No, Ellsworth. This isn't."
"You're happy that Roark got it?"
"I'm so happy, I could sleep with this Kent Lansing, whoever he is, if I ever met him and if he asked me."
"Then the pact is off?"
"By no means. I shall try to stop any job that comes his way. I shall continue trying. It's not going to be so easy as it was, though. The Enright House, the Cord Building--and this. Not so easy for me--and for you. He's beating you, Ellsworth. Ellsworth, what if we were wrong about the world, you and I?"
"You've always been, my dear. Do forgive me. I should have known better than to be astonished. It would make you happy, of course, that he got it. I
don't even mind admitting that it doesn't make me happy at all. There, you see? Now your visit to my office has been a complete success. So we shall just write the Aquitania off as a major defeat, forget all about it and continue as we were."
"Certainly, Ellsworth. Just as we were. I'm cinching a beautiful new hospital for Peter Keating at a dinner party tonight."
Ellsworth Toohey went home and spent the evening thinking about Hopton Stoddard.
Hopton Stoddard was a little man worth twenty million dollars. Three inheritances had contributed to that sum, and seventy-two years of a busy life devoted to the purpose of making money. Hopton Stoddard had a genius for investment; he invested in everything--houses of ill fame, Broadway spectacles on the grand scale, preferably of a religious nature, factories, farm mortgages and contraceptives. He was small and bent. His face was not disfigured; people merely thought it was, because it had a single expression: he smiled. His little mouth was shaped like a v in eternal good cheer; his eyebrows were tiny v's inverted over round, blue eyes; his hair, rich, white and waved, looked like a wig, but was real.
Toohey had known Hopton Stoddard for many years and exercised a strong influence upon him. Hopton Stoddard had never married, had no relatives and no friends; he distrusted people, believing that they were always after his money. But he felt a tremendous respect for Ellsworth Toohey, because Toohey represented the exact opposite of his own life; Toohey had no concern whatever for worldly wealth; by the mere fact of this contrast, he considered Toohey the personification of virtue; what this estimate implied in regard to his own life never quite occurred to him. He was not easy in his mind about his life, and the uneasiness grew with the years, with the certainty of an approaching end. He found relief in religion--in the form of a bribe. He experimented with several different creeds, attended services, donated large sums and switched to another faith. As the years passed, the tempo of his quest accelerated; it had the tone of panic.
Toohey's indifference to religion was the only flaw that disturbed him in the person of his friend and mentor. But everything Toohey preached seemed in line with God's law: charity, sacrifice, help to the poor. Hopton Stoddard felt safe whenever he followed Toohey's advice. He donated handsomely to the institutions recommended by Toohey, without much prompting. In matters of the spirit he regarded Toohey upon earth somewhat as he expected to regard God in heaven.
But this summer Toohey met defeat with Hopton Stoddard for the first time.
Hopton Stoddard decided to realize a dream which he had been planning slyly and cautiously, like all his other investments, for several years: he decided to build a temple. It was not to be the temple of any particular creed, but an interdenominational, non-sectarian monument to religion, a cathedral of faith, open to all. Hopton Stoddard wanted to play safe.
He felt crushed when Ellsworth Toohey advised him against the project. Toohey wanted a building to house a new home for subnormal children; he had an organization set up, a distinguished committee of sponsors, an endowment for operating expenses--but no building and no funds to erect one. If Hopton Stoddard wished a worthy memorial to his name, a grand climax of his generosity, to what nobler purpose could he dedicate his money than to the Hopton Stoddard Home for Subnormal Children, Toohey pointed out to him emphatically; to the poor little blighted ones for whom nobody cared. But Hopton Stoddard could not be aroused to any enthusiasm for a Home nor for any mundane institution. It had to be "The Hopton Stoddard Temple of the Human Spirit."
He could offer no arguments against Toohey's brilliant array; he could say nothing except: "No, Ellsworth, no, it's not right, not right." The matter was left unsettled. Hopton Stoddard would not budge, but Toohey's disapproval made him uncomfortable and he postponed his decision from day to day. He knew only that he would have to decide by the end of summer, because in the fall he was to depart on a long journey, a world tour of the holy shrines of all faiths, from Lourdes to Jerusalem to Mecca to Benares.
A few days after the announcement of the Aquitania contract Toohey came to see Hopton Stoddard, in the evening, in the privacy of Stoddard's vast, overstuffed apartment on Riverside Drive.
"Hopton," he said cheerfully, "I was wrong. You were right about that temple."
"No!" said Hopton Stoddard, aghast.
"Yes," said Toohey, "you were right. Nothing else would be quite fitting. You must build a temple. A Temple of the Human Spirit."
Hopton Stoddard swallowed, and his blue eyes became moist. He felt that he must have progressed far upon the path of righteousness if he had been able to teach a point of virtue to his teacher. After that, nothing else mattered; he sat, like a meek, wrinkled baby, listening to Ellsworth Toohey, nodding, agreeing to everything.
"It's an ambitious undertaking, Hopton, and if you do it, you must do it right. It's a little presumptuous, you know--offering a present to God--and unless you do it in the best way possible, it will be offensive, not reverent."
"Yes, of course. It must be right. It must be right. It must be the best. You'll help me, won't you, Ellsworth? You know all about buildings and art and everything--it must be right."
"I'll be glad to help you, if you really want me to."
"If I want you to! What do you mean--if I want ... ! Goodness gracious, what would I do without you? I don't know anything about ... about anything like that. And it must be right."
"If you want it right, will you do exactly as I say?"
"Yes, Yes. Yes, of course."
"First of all, the architect. That's very important."
"Yes, indeed."
"You don't want one of those satin-lined commercial boys with the dollar sign all over them. You want a man who believes in his work as--as you believe in God."
"That's right. That's absolutely right."
"You must take the one I name."
"Certainly. Who's that?"
"Howard Roark."
"Huh?" Hopton Stoddard looked blank. "Who's he?"
"He's the man who's going to build the Temple of the Human Spirit."
"Is he any good?"
Ellsworth Toohey turned and looked straight into his eyes.
"By my immortal soul, Hopton," he said slowly, "he's the best there is."
"Oh! ..."
"But he's difficult to get. He doesn't work except on certain conditions. You must observe them scrupulously. You must give him complete freedom. Tell him what you want and how much you want to spend, and leave the rest up to him. Let him design it and build it as he wishes. He won't work otherwise. Just tell him frankly that you know nothing about architecture and that you chose him because you felt he was the only one who could be trusted to do it right without advice or interference."
"Okay, if you vouch for him."
"I vouch for him."
"That's fine. And I don't care how much it costs me."
"But you must be careful about approaching him. I think he will refuse to do it, at first. He will tell you that he doesn't believe in God."
"What!"
"Don't believe him. He's a profoundly religious man--in his own way. You can see that in his buildings."
"Oh."
"But he doesn't belong to any established church. So you won't appear partial. You won't offend anyone."
"That's good."
"Now, when you deal in matters of faith, you must be the first one to have faith. Is that right?"
"That's right."
"Don't wait to see his drawings. They will take some time--and you mustn't delay your trip. Just hire him--don't sign a contract, it's not necessary--make arrangements for your bank to take care of the financial end and let him do the rest. You don't have to pay him his fee until you return. In a year or so, when you come back after seeing all those great temples, you'll have a better one of your own, waiting here for you."
"That's just what I wanted."
"But you must think of the proper unveiling to the public, the proper dedication, the right publicity."
"Of course ... That is, p
ublicity?"
"Certainly. Do you know of any great event that's not accompanied by a good publicity campaign? One that isn't, can't be much. If you skimp on that, it will be downright disrespectful."
"That's true."
"Now if you want the proper publicity, you must plan it carefully, well in advance. What you want, when you unveil it, is one grand fanfare, like an opera overture, like a blast on Gabriel's horn."
"That's beautiful, the way you put it."
"Well, to do that you mustn't allow a lot of newspaper punks to dissipate your effect by dribbling out premature stories. Don't release the drawings of the temple. Keep them secret. Tell Roark that you want them kept secret. He won't object to that. Have the contractor put up a solid fence all around the site while it's being built. No one's to know what it's like until you come back and preside at the unveiling in person. Then--pictures in every damn paper in the country!"
"Ellsworth!"
"I beg your pardon."
"The idea's right. That's how we put over The Legend of the Virgin, ten years ago that was, with a cast of ninety-seven."
"Yes. But in the meantime, keep the public interested. Get yourself a good press agent and tell him how you want it handled. I'll give you the name of an excellent one. See to it that there's something about the mysterious Stoddard Temple in the papers every other week or so. Keep 'em guessing. Keep 'em waiting. They'll be good and ready when the time comes."
"Right."
"But, above all, don't let Roark know that I recommended him. Don't breathe a word to anyone about my having anything to do with it. Not to a soul. Swear it."
"But why?"
"Because I have too many friends who are architects, and it's such an important commission, and I don't want to hurt anybody's feelings."
"Yes. That's true."
"Swear it."