Keating listens to Roark and his mom and begins work at Guy Francon's firm, Francon and Heyer.
Francon's firm is dedicated to producing fancy, classical looking buildings for rich clients, and half of their work day involves wining and dining clients. Um... we think that sounds kind of fun.
Keating quickly assimilates himself to the world of climbing the social ladder.
He starts progressing in the firm by sucking up to Francon rather than working hard. Eww. Okay, no: this job sounds terrible.
Francon has been phoning it in for years, we discover, after designing one single praise-worthy building.
Meanwhile, Roark goes to work in the poorest part of New York for a washed up architect named Henry Cameron.
Unlike one-hit-wonder Francon, Cameron is a rebel and a genius. He was big news around the turn of the century, but his groundbreaking work was not appreciated by the public and he is now poor and kind of a drunk.
Roark barges into Cameron's joint and basically insists on working there.
Cameron thinks Roark is nuts, but he recognizes Roark's talent from his portfolio and agrees to hire him, even though he can't pay much at all.
Roark is cool with this. He's turning into the James Dean of architecture at this rate. Or at least the Marlon Brando.