The Fountainhead Part 3

Something was gone. The one moment was lost.

"Now, Petey, let me get this straight ..." began Mrs. Keating.

"Oh, wait a minute, Mother! ... Howard, I've got to weigh it carefully. It isn't everyone who can get a scholars.h.i.+p like that. You're pretty good when you rate that. A course at the Beaux Arts-you know how important that is."

"I don't," said Roark.

"Oh, h.e.l.l, I know your crazy ideas, but I'm speaking practically, for a man in my position. Ideals aside for a moment, it certainly is ..."

"You don't want my advice," said Roark.

"Of course I do! I'm asking you!"

But Keating could never be the same when he had an audience, any audience. Something was gone. He did not know it, but he felt that Roark knew; Roark's eyes made him uncomfortable and that made him angry.

"I want to practice practice architecture," snapped Keating, "not talk about it! Gives you a great prestige-the old Ecole. Puts you above the rank and file of the ex-plumbers who think they can build. On the other hand, an opening with Francon-Guy Francon himself offering it!" architecture," snapped Keating, "not talk about it! Gives you a great prestige-the old Ecole. Puts you above the rank and file of the ex-plumbers who think they can build. On the other hand, an opening with Francon-Guy Francon himself offering it!"

Roark turned away.

"How many boys will match that?" Keating went on blindly. "A year from now they'll be boasting they're working for Smith or Jones if they find work at all. While I'll be with Francon & Heyer!" Francon & Heyer!"

"You're quite right, Peter," said Mrs. Keating, rising. "On a question like that you don't want to consult your mother. It's too important. I'll leave you to settle it with Mr. Roark."

He looked at his mother. He did not want to hear what she thought of this; he knew that his only chance to decide was to make the decision before he heard her; she had stopped, looking at him, ready to turn and leave the room; he knew it was not a pose-she would leave if he wished it; he wanted her to go; he wanted it desperately. He said: "Why, Mother, how can you say that? Of course I want your opinion. What ... what do you think?"

She ignored the raw irritation in his voice. She smiled.

"Petey, I never think anything. It's up to you. It's always been up to you."

"Well ..." he began hesitantly, watching her, "if I go to the Beaux-Arts ..."

"Fine," said Mrs. Keating, "go to the Beaux-Arts. It's a grand place. A whole ocean away from your home. Of course, if you go, Mr. Francon will take somebody else. People will talk about that. Everybody knows that Mr. Francon picks out the best boy from Stanton every year for his office. I wonder how it'll look if some other boy gets the job? But I guess that doesn't matter."

"What ... what will people say?"

"Nothing much, I guess. Only that the other boy was the best man of his cla.s.s. I guess he'll take Shlinker."

"No!" he gulped furiously. "Not Shlinker!"

"Yes," she said sweetly. "Shlinker."

"But..."

"But why should you care what people will say? All you have to do is please yourself."

"And you think that Francon ..."

"Why should I think of Mr. Francon? It's nothing to me."

"Mother, you want me to take the job with Francon?"

"I don't want anything, Petey. You're the boss."

He wondered whether he really liked his mother. But she was his mother and this fact was recognized by everybody as meaning automatically that he loved her, and so he took for granted that whatever he felt for her was love. He did not know whether there was any reason why he should respect her judgment. She was his mother; this was supposed to take the place of reasons.

"Yes, of course, Mother.... But ... Yes, I know, but ... Howard?"

It was a plea for help. Roark was there, on a davenport in the corner, half lying, sprawled limply like a kitten. It had often astonished Keating; he had seen Roark moving with the soundless tension, the control, the precision of a cat; he had seen him relaxed, like a cat, in shapeless ease, as if his body held no single solid bone. Roark glanced up at him. He said: "Peter, you know how I feel about either one of your opportunities. Take your choice of the lesser evil. What will you learn at the Beaux-Arts? Only more Renaissance palaces and operetta settings. They'll kill everything you might have in you. You do good work, once in a while, when somebody lets you. If you really want to learn, go to work. Francon is a b.a.s.t.a.r.d and a fool, but you will be building. It will prepare you for going on your own that much sooner."

"Even Mr. Roark can talk sense sometimes," said Mrs. Keating, "even if he does talk like a truck driver."

"Do you really think that I do good work?" Keating looked at him, as if his eyes still held the reflection of that one sentence-and nothing else mattered.

"Occasionally," said Roark. "Not often."

"Now that it's all settled ..." began Mrs. Keating.

"I ... I'll have to think it over, Mother."

"Now that it's all settled, how about the hot chocolate? I'll have it out to you in a jiffy!"

She smiled at her son, an innocent smile that declared her obedience and grat.i.tude, and she rustled out of the room.

Keating paced nervously, stopped, lighted a cigarette, stood spitting the smoke out in short jerks, then looked at Roark.

"What are you going to do now, Howard?"

"I?"

"Very thoughtless of me, I know, going on like that about myself. Mother means well, but she drives me crazy.... Well, to h.e.l.l with that. What are you going to do?"

"I'm going to New York."

"Oh, swell. To get a job?"

"To get a job."

"In... in architecture?"

"In architecture, Peter."

"That's grand. I'm glad. Got any definite prospects?"

"I'm going to work for Henry Cameron."

"Oh, no, Howard!"

Roark smiled slowly, the corners of his mouth sharp, and said nothing.

"Oh, no, Howard!"

"Yes."

"But he's nothing, n.o.body any more! Oh, I know he has a name, but he's done for! He never gets any important buildings, hasn't had any for years! They say he's got a dump for an office. What kind of future will you get out of him? What will you learn?"

"Not much. Only how to build."

"For G.o.d's sake, you can't go on like that, deliberately ruining yourself! I thought ... well, yes, I thought you'd learned something today!"

"I have."

"Look, Howard, if it's because you think that no one else will have you now, no one better, why, I'll help you. I'll work old Francon and I'll get connections and..."

"Thank you, Peter. But it won't be necessary. It's settled."

"What did he say?"

"Who?"

"Cameron."

"I've never met him."

Then a horn screamed outside. Keating remembered, started off to change his clothes, collided with his mother at the door and knocked a cup off her loaded tray.

"Petey!"

"Never mind, Mother!" He seized her elbows. "I'm in a hurry, sweetheart. A little party with the boys-now, now, don't say anything-I won't be late and-look! We'll celebrate my going with Francon & Heyer!"

He kissed her impulsively, with the gay exuberance that made him irresistible at times, and flew out of the room, up the stairs. Mrs. Keating shook her head, fl.u.s.tered, reproving and happy.

In his room, while flinging his clothes in all directions, Keating thought suddenly of a wire he would send to New York. That particular subject had not been in his mind all day, but it came to him with a sense of desperate urgency; he wanted to send that wire now, at once. He scribbled it down on a piece of paper: "Katie dearest coming New York job Francon love ever "Peter"

That night Keating raced toward Boston, wedged in between two boys, the wind and the road whistling past him. And he thought that the world was opening to him now, like the darkness fleeing before the bobbing headlights. He was free. He was ready. In a few years-so very soon, for time did not exist in the speed of that car-his name would ring like a horn, ripping people out of sleep. He was ready to do great things, magnificent things, things unsurpa.s.sed in ... in ... oh, h.e.l.l ... in architecture.

III

PETER KEATING LOOKED AT THE STREETS OF NEW YORK. THE people, he observed, were extremely well dressed.

He had stopped for a moment before the building on Fifth Avenue, where the office of Francon & Heyer and his first day of work awaited him. He looked at the men who hurried past. Smart, he thought, smart as h.e.l.l. He glanced regretfully at his own clothes. He had a great deal to learn in New York.

When he could delay it no longer, he turned to the door. It was a miniature Doric portico, every inch of it scaled down to the exact proportions decreed by the artists who had worn flowing Grecian tunics; between the marble perfection of the columns a revolving door sparkled with nickel-plate, reflecting the streaks of automobiles flying past. Keating walked through the revolving door, through the l.u.s.trous marble lobby, to an elevator of gilt and red lacquer that brought him, thirty floors later, to a mahogany door. He saw a slender bra.s.s plate with delicate letters: FRANCON & HEYER, ARCHITECTS.

The reception room of the office of Francon & Heyer, Architects, looked like a cool, intimate ballroom in a Colonial mansion. The silver white walls were paneled with flat pilasters; the pilasters were fluted and curved into Ionic snails; they supported little pediments broken in the middle to make room for half a Grecian urn plastered against the wall. Etchings of Greek temples adorned the panels, too small to be distinguished, but presenting the unmistakable columns, pediments and crumbling stone.

Quite incongruously, Keating felt as if a conveyer belt was under his feet, from the moment he crossed the threshold. It carried him to the reception clerk who sat at a telephone switchboard behind the white bal.u.s.trade of a Florentine balcony. It transferred him to the threshold of a huge drafting room. He saw long, flat tables, a forest of twisted rods descending from the ceiling to end in green-shaded lamps, enormous blueprint files, towers of yellow drawers, papers, tin boxes, sample bricks, pots of glue and calendars from construction companies, most of them bearing pictures of naked women. The chief draftsman snapped at Keating, without quite seeing him. He was bored and crackling with purpose simultaneously. He jerked his thumb in the direction of a locker room, thrust his chin out toward the door of a locker, and stood, rocking from heels to toes, while Keating pulled a pearl-gray smock over his stiff, uncertain body. Francon had insisted on that smock. The conveyor belt stopped at a table in a corner of the drafting room, where Keating found himself with a set of plans to expand, the scraggy back of the chief draftsman retreating from him in the unmistakable manner of having forgotten his existence.

Keating bent over his task at once, his eyes fixed, his throat rigid. He saw nothing but the pearly s.h.i.+mmer of the paper before him. The steady lines he drew surprised him, for he felt certain that his hand was jerking an inch back and forth across the sheet. He followed the lines, not knowing where they led or why. He knew only that the plan was someone's tremendous achievement which he could neither question nor equal. He wondered why he had ever thought of himself as a potential architect.

Much later, he noticed the wrinkles of a gray smock sticking to a pair of shoulder blades over the next table. He glanced about him, cautiously at first, then with curiosity, then with pleasure, then with contempt. When he reached this last, Peter Keating became himself again and felt love for mankind. He noticed sallow cheeks, a funny nose, a wart on a receding chin, a stomach squashed against the edge of a table. He loved these sights. What these could do, he could do better. He smiled. Peter Keating needed his fellow men.

When he glanced at his plans again, he noticed the flaws glaring at him from the masterpiece. It was the floor of a private residence, and he noted the twisted hallways that sliced great hunks of s.p.a.ce for no apparent reason, the long, rectangular sausages of rooms doomed to darkness. Jesus, he thought, they'd have flunked me for this in the first term. After which, he proceeded with his work swiftly, easily, expertly-and happily.

Before lunchtime, Keating had made friends in the room, not any definite friends, but a vague soil spread and ready from which friends.h.i.+ps would spring. He had smiled at his neighbors and winked in understanding over nothing at all. He had used each trip to the water cooler to caress those he pa.s.sed with the soft, cheering glow of his eyes, the brilliant eyes that seemed to pick each man in turn out of the room, out of the universe, as the most important specimen of humanity and as Keating's dearest friend. There goes-there seemed to be left in his wake-a smart boy and a h.e.l.l of a good fellow.

Keating noticed that a tall blond youth at the next table was doing the elevation of an office building. Keating leaned with chummy respect against the boy's shoulder and looked at the laurel garlands entwined about fluted columns three floors high.

"Pretty good for the old man," said Keating with admiration.

"Who?" asked the boy.

"Why, Francon," said Keating.

"Francon h.e.l.l," said the boy placidly. "He hasn't designed a dog-house in eight years." He jerked his thumb over his shoulder, at a gla.s.s door behind them. "Him."

"What?" asked Keating, turning.

"Him," said the boy. "Stengel. He does all these things."

Behind the gla.s.s door Keating saw a pair of bony shoulders above the edge of a desk, a small, triangular head bent intently, and two blank pools of light in the round frames of gla.s.ses.

It was late in the afternoon when a presence seemed to have pa.s.sed beyond the closed door, and Keating learned from the rustle of whispers around him that Guy Francon had arrived and had risen to his office on the floor above. Half an hour later the gla.s.s door opened and Stengel came out, a huge piece of cardboard dangling between his fingers.

"Hey, you," he said, his gla.s.ses stoppping on Keating's face. "You doing the plans for this?" He swung the cardboard forward. "Take this up to the boss for the okay. Try to listen to what he'll say and try to look intelligent. Neither of which matters anyway."

He was short and his arms seemed to hang down to his ankles; arms swinging like ropes in the long sleeves, with big, efficient hands. Keating's eyes froze, darkening, for one-tenth of a second, gathered in a tight stare at the blank lenses. Then Keating smiled and said pleasantly: "Yes, sir."

He carried the cardboard on the tips of his ten fingers, up the crimson-plushed stairway to Guy Francon's office. The cardboard displayed a water-color perspective of a gray granite mansion with three tiers of dormers, five balconies, four bays, twelve columns, one flagpole and two lions at the entrance. In the corner, neatly printed by hand, stood: "Residence of Mr. and Mrs. James S. Whattles. Francon & Heyer, Architects." Keating whistled softly: James S. Whattles was the multimillionaire manufacturer of shaving lotions.

Guy Francon's office was polished. No, thought Keating, not polished, but sh.e.l.lacked; no, not sh.e.l.lacked, but liquid with mirrors melted and poured over every object. He saw splinters of his own reflection let loose like a swarm of b.u.t.terflies, following him across the room, on the Chippendale cabinets, on the Jacobean chairs, on the Louis XV mantelpiece. He had time to note a genuine Roman statue in a corner, sepia photographs of the Parthenon, of Rheims Cathedral, of Versailles and of the Frink National Bank Building with the eternal torch.

He saw his own legs approaching him in the side of the ma.s.sive mahogany desk. Guy Francon sat behind the desk. Guy Francon's face was yellow and his cheeks sagged. He looked at Keating for an instant as if he had never seen him before, then remembered and smiled expansively.

"Well, well, well, Kittredge, my boy, here we are, all set and at home! So glad to see you. Sit down, boy, sit down, what have you got there? Well, there's no hurry, no hurry at all. Sit down. How do you like it here?"

"I'm afraid, sir, that I'm a little too happy," said Keating, with an expression of frank, boyish helplessness. "I thought I could be business-like on my first job, but starting in a place like this ... I guess it knocked me out a little.... I'll get over it, sir," he promised.