Page 181 - the-trial

his legs wide apart and was tapping loudly on the floor with
the tip of his foot. “But as you’re innocent you won’t need it
anyway. I’ll get you out of this by myself.” “How do you in-
tend to do that?” asked K. “You did say yourself not long ago
that it’s quite impossible to go to the court with reasons and
proofs.” “Only impossible for reasons and proofs you take
to the court yourself “ said the painter, raising his forefinger
as if K. had failed to notice a fine distinction. “It goes dif-
ferently if you try to do something behind the public court,
that’s to say in the consultation rooms, in the corridors or
here, for instance, in my studio.” K. now began to find it far
easier to believe what the painter was saying, or rather it
was largely in agreement with what he had also been told by
others. In fact it was even quite promising. If it really was
so easy to influence the judges through personal contacts as
the lawyer had said then the painter’s contacts with these
vain judges was especially important, and at the very least
should not be undervalued. And the painter would fit in
very well in the circle of assistants that K. was slowly gath-
ering around himself. He had been noted at the bank for
his talent in organising, here, where he was placed entirely
on his own resources, would be a good opportunity to test
that talent to its limits. The painter observed the effect his
explanation had had on K. and then, with a certain unease,
said, “Does it not occur to you that the way I’m speaking is
almost like a lawyer? It’s the incessant contact with the gen-
tlemen of the court has that influence on me. I gain a lot by
it, of course, but I lose a lot, artistically speaking.” “How did
you first come into contact with the judges, then?” asked K.,

1 0 The Trial