 As already indicated, Rand justifies virtue in both instrumental and non-instrumental terms, though without distinguishing between them. The instrumental arguments show the existential and psychological rewards of virtue and costs of vice. In her depiction of her heroes, Rand shows her conviction that virtue creates an inner harmony and serenity. Virtue also makes one trustworthy, and thus enables mutually beneficial interactions with others.  Evasiveness, by contrast, traps one in a “tangled web” of rationalizations and pretenses. The evader who deceives others is either eventually caught, or lives in fear of getting caught, becoming dependent on others’ unconsciousness. He is “a fool”, says a character in Atlas Shrugged, “whose source of values is the fools he succeeds in fooling” (1957 [1992]: 945). Further, like Sartre, Rand holds that no evasion is completely successful, because the truth constantly threatens to resurface. Hence, the evader’s “diseased soul” is in a state of constant inner conflict and anxiety as he tries to suppress his awareness of uncomfortable truths while maintaining his hold on others. His lack of integrity and of esteem for reality results in a lack of self-love or self-esteem and, indeed, of a solid self. (It is noteworthy, however, that Rand’s portrayal of Gail Wynand in The Fountainhead is closer to Aristotle’s portrayal of the vicious man in Book III of the Nicomachean Ethics as someone who is “unconscious of his vice” than to her own stated view of the evader.)