Peter Handke - The Ride Across Lake Constance and Other Plays

GEORGE

I feel no need to say anything.

JANNINGS

It’s enough that I feel the need to hear something from you.

GEORGE

But what if I feel the need to remain silent?

JANNINGS

Then you must say to yourself that in regard to your needs, what matters for you is to learn to need to do what you must do in any case. ( Pause .) Say something!

( Pause. )

GEORGE

But what did you want to prove with the story? You didn’t tell the story just to tell a story?

JANNINGS

I told it so you would know what it is like when a whole day passes and one feels out of sorts.

GEORGE

Out of sorts with what?

JANNINGS

With one’s work.

GEORGE

You weren’t working at the time?

JANNINGS

I was working, but I felt out of sorts with my work.

GEORGE

And what is it like if one feels out of sorts with one’s work while one is working?

JANNINGS

I told you: a swift sunset, a rustling behind the door, strange dogs in the room.

GEORGE

And what is it like if one does not feel out of sorts with one’s work while one is working?

JANNINGS

It becomes a game.

GEORGE

And how do you manage not to feel out of sorts while you work?

JANNINGS

One must imagine that it’s a game.

GEORGE

And who determines the rules of the game?

JANNINGS

The one who plays it: the one who works.

GEORGE

Is it like that or does one have to imagine it?

JANNINGS

If you’re not out of sorts, it’s like that.

GEORGE

But if I feel out of sorts, then I first have to imagine it?

JANNINGS

If you feel out of sorts, you cannot imagine it. Instead: a swift sunset, a rustling behind the door …

GEORGE

But I feel out of sorts.

JANNINGS

I’ll show you. ( He gets up and puts a cigar in the box with playful little movements, a finger dance. Then he sits down .) For me work is a game.

GEORGE

Well, it isn’t your work. But it is your thing . And it’s up to you to tell me how my work with your thing can be called a game. I who feel out of sorts — you’re right — cannot imagine it.

( Pause .)

JANNINGS

You must regard work like a bet: whoever is faster, more elegant, more thorough — then there are winners and losers.

GEORGE

But with whom am I supposed to bet when I’m by myself?

JANNINGS

With yourself.

GEORGE

Whether I’m faster than myself?

JANNINGS

No smart talk! You can’t allow yourself to be ironical until you’ve finished your work … Don’t you have two hands?

GEORGE

Obviously.

JANNINGS

Which hand is more nimble?

GEORGE

The right one, I suppose.

JANNINGS

Then make a bet with yourself and give it a try. ( Pause . GEORGE starts putting cigars back in the box first with his left, then with his right hand. He becomes increasingly faster, gets into a frenzy. He has finished and puts the box on the table .) Which hand won?

GEORGE

( Remains silent. Speaks suddenly .) Let’s bet on something else.

JANNINGS

Fine, let’s make a bet.

GEORGE

( Points to PORTEN.) You turn her over your knee and spank her.

JANNINGS

And what’s the bet?

GEORGE

First turn her over your knee. (JANNINGS puts PORTEN over his knee .) You hit her with the riding crop as fast as you can for one minute. While doing so you keep your mouth shut. If you open it, you’ve lost.

JANNINGS

It’s a bet. ( Pause. He starts beating her vigorously, but already after a few slaps his lips part. Startled, he lets go of her and sits down, pinches his lips tight. He wipes his forehead. GEORGE also sits down. Pause . VON STROHEIM touches the guitar as if by chance. A very gentle sound. He laughs. JANNINGS opens his mouth as if to roar and wants to hit the table. He shuts his mouth again instantly and lets his fist sink, opens his fingers. ) I believe — ( He breaks off; he wants to reach for something but stops in midair and lets his hand drop .)

GEORGE

( To PORTEN) You’d better imagine it all once more right now; then you won’t need to dream of it later on—

PORTEN

( Smiles .) Of water and of madness, of …

VON STROHEIM

( At the other end, wanted to say something at the same time .) I was so very …

( They both break off. Pause .)

PORTEN

( Turns again to GEORGE.) Of water and of madness, of ships of fools on great rivers where …

VON STROHEIM

( Again at the same time, to BERGNER) I was so very much afraid. I was so very much afraid for …

( Pause .)

JANNINGS

( Points to VON STROHEIM while looking at PORTEN.) It’s his turn.

( Pause .)

VON STROHEIM

( As in a game, to BERGNER ) I was so very much afraid for you that I suddenly burst out laughing. You were sitting there and didn’t move. Only your jugular vein throbbed.

BERGNER

I haven’t been listening. ( He bends over her, but so that she has to see his face upside down. She opens her eyes, a small cry of horror; he turns his head so that she sees his face normally again, and she calms down instantly and looks at the guitar .) Is that for me? (VON STROHEIM hesitates, hands it to her .) And what do I have to do for that? ( She turns the guitar around as if it were a present, then hands it back. VON STROHEIM puts the guitar on the table. He strokes BERGNER’ s neck with his finger. Pause. BERGNER slaps his hand .) Don’t touch me!

JANNINGS

( Prompts .) Why?

VON STROHEIM

Why don’t you want to be touched? You used to let people touch you.

BERGNER

Don’t look at me!

VON STROHEIM

A little while ago you looked at me tenderly.

BERGNER

Does that mean that I should “look at you tenderly” now, too? (VON STROHEIM posts himself in front of her. She looks away.) Every time you men begin to speak, it is as if a beggar is trying to talk to me.

VON STROHEIM

All of us men?

BERGNER

Yes, you too.

VON STROHEIM

Give me your hand.

BERGNER

Why? ( He takes her hand. ) Are you a palm reader? (VON STROHEIM strokes her hair .) I know that my hair is a mess.

VON STROHEIM

You are beautiful.

BERGNER

Have you seen my handbag anywhere?

VON STROHEIM

( Puts a necklace around her neck .) What do I get for that?

BERGNER

Why do you have to spoil my necklace for me?

VON STROHEIM

What must I do to make you stop despising me? Is it the way I move that you dislike? Is it my hairline? Is it the way I hold my head that makes you look away? Do the hairs on my hands disgust you? Do you find it exaggerated the way I move my arms up and down when I walk? Do I talk too much? (PORTEN, watching from some distance away, laughs. Pause . VON STROHEIM as on the telephone ) Are you still there? (BERGNER looks at him .) Where were you? Why don’t you say something? Do say something! Come back! You were so beautiful, it was painful to look at you; so beautiful that I was suddenly very much afraid for you. You were so painfully beautiful that you left me behind — me, who was suddenly so alive — left me behind — terribly alone. You said nothing, and I talked to you as one talks to those who have just died: Why don’t you say something? Do say something! Can you imagine it?

( Pause .)