A Walk in the Woods

Lee Blessing

• Publisher: Oberon Books
• Year: 2012
• ISBN:
  9781849437424
• Edition: 1
• Topic: Literatur
• Subtopic: Britisches Drama

Set in the midst of the Cold War, Lee Blessing's powerful and startling play dramatises a stand-off between U.S. and Soviet arms negotiators as they battle for supremacy. Full of tension and humour A Walk in the Woods shows how the relationship between the two experts evolves as they stroll in the woods above Geneva, away from the glare of the negotiating table. But will this escape lead to a true breakthrough or just more posturing? In this revised version of the play, originally performed at Northern Stage, Vermont, and directed by Nicholas Kent, a woman plays the role of the U.S. negotiator. Opened at The Tricycle Theatre 12th October- 12th November 2011.

ACT ONE

SCENE ONE

A mountain slope on the outskirts of Geneva. Late summer. A sunny morning. The path is well kept, but rustic. It leads to a wooden bench in a little clearing. The overall effect is light, airy, idyllic.

BOTVINNIK and HONEYMAN enter. They wear suits – conservative but stylish.

BOTVINNIK: (With a very slight accent.) … So I told him – this was your reporter, you understand, a network reporter – I told him when Brezhnev was in power, he always began Politburo meetings by saying, ‘The survival of the Soviet Union depends on the total annihilation of America.’

HONEYMAN: (With a smile.) You told him that?

BOTVINNIK: How was I to know he’d believe it? He actually filed a report with his network. It was nearly broadcast. But, finally someone had the sense to ask him, ‘Who told you that? Andrey Botvinnik?’ (Laughs slightly.) And they cancelled it. They know I made jokes. That reporter now I think is covering restaurants. (Looks around.) Do you like this place? Shall we sit?

HONEYMAN: Do you think we should stop?

BOTVINNIK: Why not?

HONEYMAN: Well…we spoke of this as a walk in the woods.

BOTVINNIK: We are walking, we are sitting, we are walking again…

HONEYMAN: But the reporters…

BOTVINNIK: Reporters expect us when they see us. They love for us not to be on time. Much speculation. More column inches. (Pats on bench.) Come. Sit down.

HONEYMAN: All right. (They sit.)

BOTVINNIK: Fine, fine, fine. Now we are sitting. This is good. (A pause. They stare at the trees.) The trees are lovely in the late summer here. So full. You came at a good time.

HONEYMAN: It’s beautiful.

BOTVINNIK: Have you been to Switzerland before?

HONEYMAN: No.

BOTVINNIK: Well, you must enjoy the lake, the mountain trails and…so on and so forth.

HONEYMAN: I will. Thank you.

BOTVINNIK: Mr McIntyre loved the trails. He was very fond of hiking.

HONEYMAN: Yes, I know.

BOTVINNIK: He told you?

HONEYMAN: Yes.

BOTVINNIK: How is he doing, Mr McIntyre?

HONEYMAN: Very well. He’s with a law firm now in New York.

BOTVINNIK: Really? He’s not back at the Arms Control Agency?

HONEYMAN: No. He…thought he’d try the private sector again.

BOTVINNIK: (With sudden enthusiasm, poking HONEYMAN lightly in the ribs.) Ah – the private sector! Wonderful thing you Americans have. To think – a refuge from government service. (BOTVINNIK stares out at the woods, smiling, HONEYMAN regards him with surprise.) Ah, McIntyre. They come and they go, eh?

HONEYMAN: Does that bother you?

BOTVINNIK: (Smiling.) Not when someone as pleasant as you is sent to replace him.

HONEYMAN: Thank you very much.

BOTVINNIK: You are very welcome.

HONEYMAN: (Smiling.) We’re beginning to sound like a pair of diplomats.

BOTVINNIK: We are a pair of diplomats.

HONEYMAN: Well – negotiators.

BOTVINNIK: And negotiators, of course.

HONEYMAN: I mean, that is our primary function.

BOTVINNIK: Yes.

HONEYMAN: Diplomacy comes second, in a sense. It’s really someone else’s job.

BOTVINNIK: If you insist.

HONEYMAN: I don’t insist. I’m just trying to be clear, that’s all.

BOTVINNIK: You are very clear. (A beat.)

HONEYMAN: Tell me – why have we taken a walk in the woods?

BOTVINNIK: What do you mean?

HONEYMAN: I mean why. Does your government have something to communicate to us about our new proposal, or...?

BOTVINNIK: No, no, no, no – nothing like that. There are many ways to discuss a proposal. We don’t have to come out here.

HONEYMAN: It’s a very good proposal.

BOTVINNIK: I know it is.

HONEYMAN: Very good.

BOTVINNIK: Absolutely. On my side, we are all is disarray, believe me. But that’s not why we’re here. Today, I only want you to see the woods.

HONEYMAN: To see the woods?

BOTVINNIK: Yes. And talk. Simply. Face to face, Muschina s muschinoi. Da?

HONEYMAN: Face to face.

BOTVINNIK: The woods are very useful. For months we will be trading proposals across a table. Here, there is no table. We can relax, ignore things. Talk about trees, lakes, whatever.

HONEYMAN: I see. (A beat.) The reporters’ll be disappointed.

BOTVINNIK: Why?

HONEYMAN: They think we’re out here getting all the real work done. (BOTVINNIK give a short, good-natured laugh. A beat.) So…you’re not interested in doing any work out here.

BOTVINNIK: What do you call work? Only what we do at the table? This is valuable too.

HONEYMAN: What? Sunning ourselves on a bench?

BOTVINNIK: (Studying him.) Tell me – do you plan to be a very formal negotiator?

HONEYMAN: Should I be?

BOTVINNIK: No – please. Anything but formal. It was the one thing I didn’t like about McIntyre. We negotiated for two years, and he never changed his position.

HONEYMAN: The American position changed…

BOTVINNIK: No, no – his position. Sitting there, at the table. He always sat straight up. For two years he never relaxed. He felt it gave him a moral advantage. It didn’t. He looked like a dog waiting for his supper.

HONEYMAN: (Smiling.) I’ll tell him that.

BOTVINNIK: Would you? It’s the one thing I think he should change. Formality allows many things, but it does not all...