"What is it?"
Keating sat down on the steps beside him. There was no part that he could ever play in Roark's presence. Besides, he did not feel like playing a part now. He heard a leaf rustling in its fall to the earth; it was a thin, glassy, spring sound.
He knew, for the moment, that he felt affection for Roark; an affection that held pain, astonishment and helplessness.
"You won't think," said Keating gently, in complete sincerity, "that it's awful of me to be asking about my business, when you've just been ... ?"
"I said forget about that. What is it?"
"You know," said Keating honestly and unexpectedly even to himself, "I've often thought that you're crazy. But I know that you know many things about it — architecture, I mean — which those fools never knew. And I know that you love it as they never will."
"Well?"
"Well, I don't know why I should come to you, but — Howard, I've never said it before, but you see, I'd rather have your opinion on things than the Dean's — I'd probably follow the Dean's, but it's just that yours means more to me myself, I don't know why. I don't know why I'm saying this, either."
Roark turned over on his side, looked at him, and laughed. It was a young, kind, friendly laughter, a thing so rare to hear from Roark that Keating felt as if someone had taken his hand in reassurance; and he forgot that he had a party in Boston waiting for him.
"Come on," said Roark, "you're not being afraid of me, are you? What do you want to ask about?"
"It's about my scholarship. The Paris prize I got."
"Yes?"
"It's for four years. But, on the other hand, Guy Francon offered me a job with him some time ago. Today he said it's still open. And I don't know which to take."
Roark looked at him; Roark's fingers moved in slow rotation, beating against the steps.
"If you want my advice, Peter," he said at last, "you've made a mistake already. By asking me. By asking anyone. Never ask people. Not about your work. Don't you know what you want? How can you stand it, not to know?"
"You see, that's what I admire about you, Howard. You always know."
"Drop the compliments."
"But I mean it. How do you always manage to decide?"
"How can you let others decide for you?"
"But you see, I'm not sure, Howard. I'm never sure of myself. I don't know whether I'm as good as they all tell me I am. I wouldn't admit that to anyone but you. I think it's because you're always so sure that I ... "
"Petey!" Mrs. Keating's voice exploded behind them. "Petey, sweetheart! What are you doing there?"
She stood in the doorway, in her best dress of burgundy taffeta, happy and angry.
"And here I've been sitting all alone, waiting for you! What on earth are you doing on those filthy steps in your dress suit? Get up this minute! Come on in the house, boys. I've got hot chocolate and cookies ready for you."
"But, Mother. I wanted to speak to Howard about something important," said Keating. But he rose to his feet.
She seemed not to have heard. She walked into the house. Keating followed.
Roark looked after them, shrugged, rose and went in also.
Mrs. Keating settled down in an armchair, her stiff skirt crackling.
"Well?" she asked. "What were you two discussing out there?"
Keating fingered an ash tray, picked up a matchbox and dropped it, then, ignoring her, turned to Roark.
"Look, Howard, drop the pose," he said, his voice high. "Shall I junk the scholarship and go to work, or let Francon wait and grab the Beaux-Arts to impress the yokels? What do you think?"
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 scholarship 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, hell, 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 architecture," snapped Keating, "not talk about it! Gives you a great prestige — the old École. 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!"
"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 class. 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 mat 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 bastard and a fool, but you will be building. It will prepare you for going on your own that much sooner."