VON STROHEIM
(Returns to the table. As a teacher) And now to the practical application: someone fondles an object or leans against it?
GEORGE
The proprietor.
VON STROHEIM
Someone moves with hunched shoulders among objects, makes a curve around them?
GEORGE
The guest.
VON STROHEIM
Someone who is squinting holds an object in his hand?
GEORGE
The thief.
JANNINGS
Someone fondles an object because it belongs to him. Because someone fondles an object, does it belong to him?
VON STROHEIM
Unless you prove the opposite.
JANNINGS
Someone with an object in his hand begins to squint. Because he has stolen it?
VON STROHEIM
Unless he proves his innocence.
JANNINGS
Someone suddenly puckers up his mouth and nose. (He shows how.) Because he’s afraid and a coward?
VON STROHEIM
Unless his actions prove the opposite.
JANNINGS
But if there’s nothing to do?
VON STROHEIM
What else would he be afraid of?
JANNINGS
I don’t understand that.
VON STROHEIM
What you’re sitting on is an easy chair, isn’t it?
JANNINGS
Yes.
VON STROHEIM
Or is it perhaps a life preserver? (JANNINGS laughs at this extraordinary suggestion.) It seems just as ridiculous to you when I claim that you are sitting on a life preserver as it would to claim that someone’s mouth and nose pucker up (He imitates it.) because he feels like doing something.
(Pause.)
JANNINGS
But an easy chair is an easy chair, and an expression (He makes one.) is an expression. How can the two be compared?
VON STROHEIM
I will demonstrate to you how one can. (Pause. They all wait. Pause. VON STROHEIM suddenly) What do you have in your mouth? (JANNINGS quickly takes the cigar out of his mouth and puts it out. VON STROHEIM smiles.) Why is your collar button open? (JANNINGS nimbly closes his collar button.) You are so serious?
(JANNINGS laughs resoundingly. Pause. Quiet. Pause.)
JANNINGS
(Softly) You have something on your nose.
VON STROHEIM
(Is about to wipe it off, hesitates, softly) You’ve understood?
(Pause.)
JANNINGS
(Suddenly loud) You’re just standing there, please hand me the bottle. (VON STROHEIM plays along, hands him the bottle.) No, not that one, the other one! (He points.) No, not that one, one can’t ask for anything any more. Yes, that’s the one! (But he hands the bottle back to him at once.) Put it back in its place!
VON STROHEIM
(Like a teacher who is playing a student) Why?
JANNINGS
Because you took it from its place. (VON STROHEIM nods, puts the bottle back.) No, not there. Back in its place, I said. Over there, right.
VON STROHEIM
Why precisely there?
JANNINGS
Because that’s where it stood before. (VON STROHEIM nods.) Give me another bottle.
VON STROHEIM
Why?
JANNINGS
Because you gave me a bottle once before.
VON STROHEIM
That’s perfect! (He hands him the bottle.)
JANNINGS
You’re standing? (VON STROHEIM wants to sit down on a sofa.) Back in your place! (VON STROHEIM sits down in his place. Playfully JANNINGs assigns the following roles: he hits the bottle neck with a teaspoon: GEORGE gets up. JANNINGS without looking at him) Cartwheels! (GEORGE stands there.)
VON STROHEIM
(Prompts him.) Why?
GEORGE
Why?
JANNINGS
Because you did a cartwheel before! (Pause. GEORGE turns a cartwheel. JANNINGS hands him the magazine. GEORGE does not yet understand this language; he doesn’t know what to do with the magazine, glances into it.) Hand it on.
GEORGE
Why?
JANNINGS
Didn’t you also hand on the pin before? (Pause. GEORGE hands the magazine to VON STROHEIM; he gives it back to GEORGE as if the pages were mixed up. GEORGE understands: he arranges the pages and hands the magazine back to VON STROHEIM, who puts it on the table. JANNINGS pulls the second red cloth from under the cutlery on the table and lets it drop. He points to it with the spoon. Pause.) Well?
GEORGE
Why?
JANNINGS
Didn’t you just do a cartwheel?
GEORGE
But how can you compare the two?
JANNINGS
For whom, then, did you do the cartwheel?
GEORGE
For you—(He hesitates.)
JANNINGS
“Of course” you wanted to say, right?
GEORGE
For you, of course.
JANNINGS
If you can do a cartwheel for me, you can also pick up a cloth for me.
(Pause.)
GEORGE
(Wants to bend down for the cloth, hesitates.) But what if I don’t want to?
JANNINGS
Now it’s too late for that. All the time you did as I asked you to and never said anything. You were content until now or you would have said something. So why should you be dissatisfied now? You didn’t contradict me at any time. Why should you be allowed to contradict me now? No, what you utter now doesn’t count any more. Do as I say! (Pause. GEORGE picks up the cloth, wants to hand it to JANNINGS, who doesn’t even bother to extend his hand, hesitates, lets it drop again “as if his hand has fallen asleep.” Pause. JANNINGS in a sensible tone of voice) Look at the others. (He turns his head to VON STROHEIM, then to PORTEN. VON STROHEIM goes at once with the guitar — which he takes out of the bag while walking — up to BERGNER, sits down behind her and quaintly strikes two soft chords. PORTEN sits down on JANNINGS’S knees and makes herself comfortable.) If they do as they’re told — why don’t you too?