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Moss continues this line of garnering confidence by complaining about the sales contest. Although Moss's complaints against the system are reasonable, it becomes clear later in the scene that he is fostering this us-against-them mentality for purely selfish reasons. Moss's railing against their measly earnings of a ten percent commission on sales proves ironic, as Moss is about to propose that Aaronow commit a robbery—on his own—for less than fifty percent of the profits. No great difference exists between Williamson sitting in the office telling them to sell and Moss sitting in the restaurant telling Aaronow to rob. Though Moss genuinely resents the system that traps them, he is nonetheless willing to replicate and perpetuate this system for his own benefit. Mamet illustrates that a capitalist system that thrives on competition ultimately demands that colleagues mistreat and exploit each other.

Jerry Graff, like Mitch and Murray, remains offstage during the play—the bosses reap profits from afar—so we have no direct information about him. It benefits Moss to sell Aaronow on the picture of Graff as their professional savior. But the fact that Aaronow has heard that Graff is not doing so well implies that perhaps Moss is supplying misinformation about Graff. We have no reason, really, to believe that Graff is any better than Mitch and Murray.

Mamet is famous for performing linguistic acrobatics, and we find one of the funniest examples of such acrobatics when Aaronow tries to figure out Moss's actual intentions about the robbery. Aaronow chases Moss in verbal circles, unable to pin him down on an exact definition of the word "talking." Salesmen make their livings by talking, so it is particularly amusing that they manage to get confused over what "talking" is. By the time Aaronow figures out that they are actually "talking" (discussing meaningfully), and not just "talking" (chattering idly), Moss has trapped him.

Moss gives Aaronow a clever excuse for why he cannot commit the break-in himself: "I've got a big mouth. (Pause.) 'The fucking leads' et cetera, blah blah blah '…" Suddenly, all of Moss's bluster at the beginning of the scene seems like a set-up. The more he badmouths the company, the more he proves he cannot be trusted to commit the robbery. He makes his big mouth work for his con. At the beginning of the scene, when Moss tries to gain Aaronow's confidence, his words seem heartfelt and angry. Later, however, when he tries to demonstrate that he talks too much, his philosophical spouting self-mockingly boils down to "'The fucking leads' et cetera, blah blah blah." Just as he can switch from "talking" to "talking" to trip up Aaronow, all of his other rambling can switch from meaningful to meaningless to suit the occasion.

Aaronow cannot understand how or why Moss has trapped him. When Aaronow asks, Moss's responds, "Because you listened." Moss absolves himself of all guilt for setting up his friend and suggests that the guilt lies with Aaronow for paying attention. Just as the definition of "talking" can be slippery, now Moss demonstrates that the definition of "listening" can be made to switch from harmless to criminal.