Plot
The play is set in a vaguely described science fiction future dominated by "The Game," a conflation of rock music and violence played by "Markers" under the direction of "The Keepers." Hoss has struggled to become the top Marker, only to find himself doubting his own abilities in the face of opposition from "Gypsies" who operate outside of the official rules.
Act 1: Eager to make an outing, Hoss is frustrated when the Star-Man advises him against it on the basis of his astrology. Hoss learns that his rival, Mojo Root Force, has encroached upon his territory in Las Vegas in a move of questionable legality. After getting word that a Gypsy from Vegas is on his way to attack him, Hoss calls an old friend, Little Willard, for backup, only to find that Willard has committed suicide due to his inability to cope with his status. These successive revelations exacerbate Hoss's self-doubt and his belief that the old way is dying, and he attempts to perk up his confidence by challenging the Gypsy to a shiv fight.
Act II: Before the duel (which has been changed from a shiv fight to battle of words under the guidance of an official referee) Hoss and Crow attempt to psych each other out. While Crow learns to imitate Hoss's walk and style, Hoss intimidates Crow by taking on the voice of an old Western gunslinger. Despite an ostensibly effective second round in which he takes on the voice of a Delta bluesman, Hoss loses the battle when Crow exposes Hoss's "Fear that he's crackin' busted in two." After killing the Ref, a desperate Hoss begs Crow to teach him the new style. Ultimately, however, he decides to commit his last authentic act by killing himself, for which Crow commends him. The play ends with Crow assuming his place on Hoss' throne, with Becky quickly shifting her loyalty.
Read more about this topic: The Tooth Of Crime
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)