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Cruise Control
David Williamson
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eBook - ePub
Cruise Control
David Williamson
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Three philandering, bickering and workaholic couples board a cruise ship travelling from London to New York for seven days of marital healing.
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ACT ONE
The play opens in the cabin of RICHARD and FIONA MANTON as they get ready to go to the evening meal.
Simultaneously on another part of the stage, CHARLIE sets the table for the impending evening meal. He sings softly to himself in Filipino. A mournful song.
RICHARD: Youâre joking.
FIONA: Unfortunately not.
RICHARD: The steward told you?
FIONA: Yes.
RICHARD: We have fixed seating for the whole voyage?
FIONA: Only for the evening meal. Breakfast and lunch we have the option of switching to the casual eating areas.
RICHARD: But the evening meal we have the same two couples with us every bloody night?
FIONA: I tried to change it, but you didnât arrange for us to have an individual table.
RICHARD: When was that supposed to happen?
FIONA: Months ago. It was in the paperwork they sent you apparently.
RICHARD: Who has time to read all the bloody paperwork? I just assumed that weâd be able to dine where the hell we wanted to.
FIONA: Well, your assumptions, as often happens, didnât prove to be correct.
RICHARD: I never wanted to come on this bloody cruise in any case. I wanted a cottage in France.
FIONA: Yes, so you could finish your novel.
RICHARD: And thatâs not worth doing?
FIONA: Of course it is, but I wanted somewhere where you were actually here with me. Where you couldnât wander off to the nearest bar and flirt with the girls in your perfect French accent.
RICHARD: You didnât like my last book, did you?
FIONA: Neroâs Fiddle. I did. I told you I did.
RICHARD: And you donât like the first five chapters of this one.
FIONA: Whatâs brought this on? I told you about ten times how much I like the new one.
RICHARD: You said it was bleak.
FIONA: It is. But thatâs you. Thatâs your strength. You look at the world with complete honesty.
RICHARD: Remorseless. You said it was remorseless.
FIONA: Well-written remorselessness is good. It is darker than anything youâve done before. Thatâs not a judgement. Itâs a fact.
RICHARD: Why shouldnât it be dark? Great novels are always dark. Are you joining the chorus?
FIONA: What chorus?
RICHARD: The critical chorus. âHis early work was compelling but heâs getting darker and more convolutedâ?
FIONA: No. Your workâs changing but thatâs fine. You canât write the same novel over and over. Iâve never said convoluted.
RICHARD: Experimenting with form is what you said. Translation? Convoluted.
FIONA: I didnât ever say that.
RICHARD: Thatâs what you meant. Same as the chorus. Convoluted. Not perhaps inventive, playful, innovative. Not perhaps trampling on over-worn conventions and striking out in bold new directions?
She pours herself a large glass of white wine from a bottle that sits in an ice bucket and takes a gulp.
FIONA: Your later work is more profoundâthe reader has to work harder. And that means of course your sales will suffer, butâ
She takes another gulp.
RICHARD: Iâm not about to write an airport novel.
FIONA: Iâm not asking you to, but as an experienced editor Iâm simply making the observation that the strong narrative drive of your early work made them page-turners. You canât have it both ways.
RICHARD: I donât want to be a page-turner anymore.
FIONA: Then all Iâm saying is that you have to live with the dr...