'I'HE BUTCHER RODE FORTUNA A 'I'hesis Prcscntcd to 'I'hc Facul ty of (iraduetc Studies of' Thc University oKuelph In partial hl filment of rcquirements Ior the degrcc tif Master of Arts January, 1000 O Amclia Stein bring, ZOO0
Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
'I'HE BUTCHER RODE FORTUNA
A 'I'hesis
Prcscntcd to
'I'hc Facul ty of (iraduetc Studies
of'
Thc University oKuelph
In partial hl filment of rcquirements
Ior the degrcc tif
Master of Arts
January, 1000
O Amclia Stein bring, ZOO0
National Library Bibliothèque nationale du Canada
Acquisitions and Acquisitions et Bibliographie Sewices services bibliographiques 385 Wdlington StrW 395, rue Wellington OIIawaON KIAOCIU ûttawaON K1A ON4 CMda CPnaQ
The author has granted a non- exclusive licence allowing the National Library of Canada to reproduce, loan, distribute or sel1 copies of this thesis in rnicrofom, paper or electronic formats.
The author retains ownership of the copyright in this thesis. Neither the thesis nor substantial extracts ffom it may be printed or otherwise reproduced without the author' s permission.
L'auteur a accordé une licence non exclusive permettant à la Bibliothèque nationale du Canada de reproduire, prêter, distribuer ou vendre des copies de cette thèse sous la fonne de microfiche/filrn, de reproduction sur papier ou sur format électronique.
L'auteur conserve la propriété du droit d'auteur qui protège cette thèse. Ni la thèse ni des extraits substantiels de celle-ci ne doivent être imprimés ou autrement reproduits sans son autorisation.
Thé Butchcr Rode Fortuna
Amclia Steinbring University of Guelph, 2000
Co- Advisors: Prolessor Judith Thompson Profkssor Ric Knowlès
. - I his thesis is a crcativc wort in thc Iom o h full-lcngth comic play Alhr
Wilbcrt's wilf. the goddcss Fonuna. dies ü violcnt dcaih at the hoovcs of'wilbert's
prizcd stccd, Wilbcn vows to wagcr his Iortunc on thc horsc. 'I'hc waycr. sct to thc
historicül büctdrop 0 1 - the ninetcenth ccntury in thc Iirst act. is playcd ciut to 11s
mcdiatizcd. twcnticth-ceniury conclusion in the sccond act. Drawing attention to thc
position of hürncss racing as the lirst modcm. mass-spectütor sport. the play chürts the
waning popularity o!' raci ng in ! h ~ u r ot'contcmporriry hrms of gambling. dot-machines.
which Socus on "hit~ing thc jackpot." Rekrring to carly dralls and utilizing a cultural
matcrialist analvsis ol'thc political. sociiil and rconomic clcrncnts that inlorm thc subjcct
mattcr, ihc Aftcnvord focuscs on thc dcvclopmcnt of ihc play and the kinds ol'artistic
compromises and choiccs a projcct of this kind dcmands.
Caution: Copyright .Anlelia Steirihring. This script is tùlly protected undcr the copyright l a w of Canada md dl othcr countries of the Copyright Linion. Changes to thc script arc exprcssly forbidden without the written conscrit of the author. Rights to produce. film. or record in any tnrdiuni. in any Iünguage. by m y group. are retaincd by the author. The nioral right ot'thc üuthor t 1 3 ~ bccn risserted. Fur copyright infbnnsition contact: hnielia Steinbring. Post OtTicc Box 2 5 1. C'ampbcllviilc. 0 r i t : u - i ~ . [,OP I BO.
1 gratelùlly acknowledge Judith Thompson and Ric Knowlcs Ior thcir patient and pnrrous support throughout this project.
Table or Contents
Table of'Conknts
'The Butcher RoJc Fonuna
A tfcnvord
Appcndiccs
Works Citcd
Works Consultcd
The Butchcr Rode Fortuna
PKOLOGUEi POS'I' PARADE
ANNOUNCER I am the god of horse racing. Wçlcome to rny grandstand. My c'arlicst known anccstor was Poseidon. tic crcatçd thc horse with ri manc and tail that mimicked the occan's waves as the chariot crashed toward the t'inish.. . I came into bring when thc New World was sown and God, j ust God. took over. Thc p o d Lord molded together a little dirt and gdd, tossed in a dash of gececd, speed and beauty and, PooC 1 arrived on the scene. happy to stake your odds.. . In the early days i t was an easy, genrrally boring job of pitting the aristocntic southem and northem thoroughbreds against each othrr. But as the 1 9 ' ~ century
came into full flower and sport becarne business, the hamess horse piqued the nation's and my imagination. The industry of the hamcss horse. its ability to attract the attention of a mass audience and the democracy of its orgaanization rstablished its position as the template from which al1 modem and comrnercialized sport would cmulate. The trotter, ladies and gentlemen, is the stscd of middle-class speed; the corn tc top of horses: the tragic hero of sport.. . lntroduciny thc players in the race.. .
ANNOUNCER Thc trainer, Wilbcrt.
ANNOLINCliR Wilbcrt was marricd to thc minor p d Fununa. Shc dicd ü horrible death. l'wice. At the turn of the 19"' ccntuq. whcn giimbling was banned. sht: \vas tram plcd by thc thoroughbrcds. Shc was rcvivcid Iütcr in thc ccntury to üssist the hamcss horsc and Wilbcrt marricd her Ibr hcr lowlincss and gcncrosity. Rut. iilas. hcr Iàte was senlcd again. Shc was kickcd in thc sromach by thc Iàstcst trotter on thc continent and fcll to the barn tloor. Dlood flowing h m hcr nosc iind mouih, tricklinp down her check and çhin. dripping down hcr nsck and spcckling hcr hcan. l-lcr husband and daughtcr tricd to rcvivc hcr. but she ou id not comc bac%. The horse kickcd hcr ügain. Its iron shod hool' yrinding into hcr chcst. Such ii pity. She lovsd the horsc. tic wus hcr pet and hc billed her . . (10
WILBtlKT) 1 low arc y i i feeling'?
ANNOUNCER Wilben's dûughtcr Quinclla ncvcr liked her mother. Fortuna commanderi too much attention.
ANNOUNCER Thc goom, ihe groom. Aiways getting pisscd un. ncvcr winning the jackpot. ( m J A N ) Isn't that right?
JAN I truly believe Fonuna was about to give me my duc.
ANNOUNCER And now she is dead. Poor little man.
JAN (pzrllrrig irp und knockitlg WIN lind PLACE h w n ) I'm not a man,
ANNOUNCER Ycs you are.
ANNOUNCER This is thc ninetcenth century. Not iintil thc twcnticth centun, arc thc domestic abiliiies of women trünsposcd to the ciciny stable. You and your brcasts may go.
ANNOIJNCEK And. tinally Jack Spcçk. A contïdencc inan. a cad. a dandy. a swindler. I will play h im. . . And thcrc you have i r Iüdics and gentlemen. thc horscs and thcir drivers are lining up ai the gaie.
DOCTOR Ycs. 1 am heanily so-. . .
WILBERI' tlc was her pet.
DOCTOR Your daughter is tormented. 1 let1 her petting hsr mothrr. combing hcr hai r.
/:'nlc.r QU INELLA
QUINELLA Oh Daddy.
WILBERI'
QUINELLA
WILBERT
,She s l f S .
W1LBER.I'
QU1NEkJ.A
W ILBERT
QUINELLA
W ILI3ERIV
rmc-ron
QUINELIA
WII-13ER-I'
QUINIII_I-A
W 1 L. R L-: RI '
QUlNEL1.A
DOCTOR
QUINELLA
My dear.
Daddy, I will collapse with the weight of my grief.
Sit.
Pray.
To whorn'!
God.
God'? I-lc k i k d hcr. t lc killed hcr.
It i s a tragcdy.
It is a tcmblç tragedy
This is not a drania, sir. This is calamit!.
I will summon thc ministcr. hc will advisc ?ou. scitlr: your mind.
No. It was fortune.
Pleasc. rny dcar. !ou musi rcst. You must lic down.
1 wiil not lic d o m until !ou shoot the horsc that killsd my mother
tt wrts nut thc horsc's fauk It was tàtc.
Quack! 1 was therc, 1 saw the vicious cye of thc horse. I saw hirn str i ke hcr in thc chest and as shc téll. he tram pied hcr.. . Shc had only startled him. lilie Glaucus did his mares, but my rnother was not eatcn alivc ... It was scnselcss. He knew her affection for him. Wh? would he strikc her'? And irpou. Iàihcr, will not avengc thc dcath of my mother with the dcath ol'that insul'liirable horsc. it will haunt you. You will bc hauntcd and this Iàmily will bc curstid by the merno-.
WILBERT My dear, !ou are hystcrical. It is grief that takrs hold of you, not reason. Plcasc.
QUINELLA You talk of reason'! Rcason? There is no reeson in a world that
Scene Two
JAN You old cutthroat hast . I'd a killcd ya'. No thought involved. C m 3 rightly yrasp why they keep ya'. Prctty don't usually go Iàst. I'vc always determinrd its the ugly hones that got the speed. Preny horses arc just pretty. Don't evrn know how long you'll be herc now. Ycr' gonoa cost me rny job. Gonna have ta' join a circus and clean up rlephant shi t. Cod damn and that ain't a prctty sight I 'm sure. tleavy too. probly. Elephant shit. Or lion shit. Shit. Shit. Shit. Gonna spend my Ii t i : cleanin' shit. 1 can't win to savc rny lilé. 'I'hought 1 had i t made hcrc. Easy job, clcan clothcs. nicc h m i l y , a horsr with potrntial. Even thinlin' a gcttin' a littlc friendlicr with the old man's daughtw-if !ou got stakcd for a gcntlcman's pursc. l'hough shc bardy glances rny wav.. . Stuck up linlc bitch that shc 1s. "1-ook ai me. I'm too Iàncilicd in my wavs to notice my underlings. cven if thcy are clean. I'm so modem and sophisticatcd in iny ways."
Whnt was thai'' For the lovc of moncy 1 thought 1 hcard somcone talkin' in thcrc. Jcsus Christ Almiglity. not satislicd wiih ki lliny the innoccnt. with no eanhly mcaniny to it. nuw yer' gonnü start talkin"!
1 sucar. 1 bloody wcll swar that horsc is talkin'. Can't makc it out. but its talkin'.
Ahhhhh.. . . That's bcttu. I:ortify my ncrvcs. I:onifi my evcrlastin' ncrvcs oi' stecl, bccause I f y u ' r c poor and your prospects look sood you gotta accept a fcw backward stcps. Gotta pncc vour tenuous clins to progrcss. because most a' the timc ya' can't understand it. and whcn ya' can ?a' yet hlinded by thc glory of it al 1. And. whack. that's whcn y' get bcatcn down into the memory of pcwerty. Just when yer' yetiin' conscious of ycr' tbrtunc. it's dashcd in an instant. Lewin' the loss hunperin' in ycr' bcl ly.. . You know about thnt old 1i.lIû'? Becn thcrc? Finishcd up the track a few times yourseli? Cley ya' old bag a shit? Wanna tcll mc about it'?
WILBERT Who the hell are you talkin' to'?
JAN Oh. uh. s o q . sir. .. Funnicst thing, thought I hrard the horsc ialkin'. Surely 1 did.
WILBERT You art. a h o l .
JAN Yes, 1 probly am, but not a ~ o r d of a lie, 1 heard thc horsr talkin'
WILBER'T You heard that bottle talking, 1 scc it in p u r pockct.
JAN Nah, Not thc bottk, sir. Ncvcr touchcd thc boitlc till 1 heard the horsc trilk. 1 lad ta iakc a swig ta settle rny nervcs.
WILBER'T l'vc told you nevcr to drink or srnoke in the barn.
JAN Ycs. sir Sur-. 1 apolog~zc. Ncver usually do. But. undcr the circumstanccs
WILBE-SRI' - Oh quici. Quiet ~vi th p u r asinine ramblings 1 cannot tolcrütc p u r stupidity ioda?.
JAN Ycs, sir. But. 1 swcar to God-
WIIA3ER-T Do not su-car to anyonc in my presencc. Least of' al1 G d .
JAN Ycs, sir. i'm sep.
JAN Thinkin' ol'doin' ü littlc plieasant huntin' with that rifle'? Eüsc your mind? It's the scason.
W 1 L.UEKT She is dcad. Ali is one.
JAN Ycs sir. 1 know and i t 1s souy news. I can not tell 'ou how much 1 admircd hcr. ( ~rpprou~hr ig W ILBERT ~rnd reccchu~gjOr gtrn) I wi l l lii 1 l t hat damnable beast myself. Civc me the -un.
WILBERT (holding g u i oviJr hi.v l r e d ) It is my task. I S i t is to be donc. 1 will do it.
JAN 1 loved her lilie my o\vn ma. Shoot him now. Thinli no more about it. Shoot him.
WILBERT Y CS, presen t l y
JAN She was always very kind to me. Clrancd rny dothes, made sure they were mcnded. Detcrminsd that 1 should look respectable.
WH-BERT A paragon of virtue.
JAN Ycs, sir, shc was al1 that society ladies aspire to be
WILBEKT Even though she was nrvrr wclcomed into socicty
JAN Ahhh. thai's a pemicious place. sir. Not to wrlcoine your dcar w i k , sir, proics their bulty logic.
JAN The butchcr rides a trottcr
WILBEK'I' I've hcard the slogan.
JAN No disrcspect. sir . . But i do bclicvs it is a sign.
WIL.UI':RT You spcük ol'supcrstition.
JAN I spcak o f uncanhly happcnins'
W ILUERT Spcak not o f it.
JAN I t scrircs mc.
W ILBER'I' Evcrything scarcs you.
JAN I-lorri Sying. Scare the lire outta a' prrson.
JAN Thc horsc. tlr spokc. It musta been hrr spirit. Hrr spirit has bcen transported into the horse. She spcaks throuyh him.
WILBERT Don't test my patience.
JAN I did hcar it spcak.
WILBERT You dici not.
JAN I did.
WILBERT You did not.
JAN 1 did. 1 did hear it speak. God has transportcd her soul.
W ILBEK'I' God did nothing of the kind. Bc carelùl h«w you spak of the Lord.
JAN Ycs, sir.
WILBER?' ( wtrlkrri~ roivurd . F I O / / ) It's betwcen me and y u and 1 have no pwcr .
JAN Y ou arc talking to her.
JAN Shoc~t him!
WIl,L3ER'i' Givc the pcoplc what they want. Ethics and moral ity have nothing to do with it.
JAN Sir. y u arc talkin' to hcr.
JAN Shc i s Fonuna. And hcr dcath i s a sign. I'm sure ofit.
W 1 1,BERI' i havc always rcvclcd in thc bcauty and producth ity ol' the trottin- hone. L.ook i n an? parlour across Amcrica and thcrc will be a lithopph of the day's Iàstesi trotter adoming the wails. likc a hmi ly portrait. Evcn thc t horoughbrcd has acquiesccd to the popularity o f its poor cousin.. Their uncornmon ûbility io attraci a crowd and makc a humble butchcr like mc a bnunc cxcitcs the vcnturcsonie curiosity of the nation. Dut timcs arc chanying and sport is no longcr leisurc. It is a yamc olwstakcs and wa-rs.
JAN 1 am vcry sorry, sir, b r your gricl:
WILRER'i' It is gonc for me now. I can not kill the hors t . . but my wi lC dicd bccüuse ol'rny passion so I must m a k amrnds. I-low can it bc done''
JAN Surcly Idon'tknow.
WILBERT It must rcsolve evcrything.
JAN What sir?
WILBERT It must be sport.
hzghrer , ~ ~ t l i c r .
M I S S P R E S
QUINE1.1.A
MISS PKlSS lormcnt.
QLUNIiLLA
MISS PRISS des pair.
QtJ1NELI.A
MISS PRISS
Q U I N E L I A
MISS PRISS
QUINELLA
MISS PRlSS
JAN Yes, sir.
WILBERT 1 will bet the animal.
JAN I hopc her spirit is lucky for you.
WILBEKT 1 must tind someonc to msct my stakc.
JAN Plcnty of brttiny men champing at thc bit dowvn at the tavem on tlarkm Lane, sir. Not much ot'a racc course now, but the gentlemen still patronizc the pub.
WIL-BEKT Then 1 will scek out an opponent.
WIL.BERrI' c m / JAN L W / .
Sccnc I=c)ur
PI.ACE ~ ~ ~ r r r i e v on /ri1o p d r w c h t r i r v . QI! IN EL.L.A ii~d MISS PRISS. ~ L J t ~ i i r ~ r s ~ :v
My dcar inconsolable Ricnd.
I am ~vcll,
Do not hidc your pricf liom mc. 1 cncouragc 'ou to Ici go of your Rclcasc i t upon mc.
I am wrll. 'Thank p u .
Oh no. no. my dcar. it can not be so. You must bs in anguish and
Please, 1 am well and am corn fortcd by your prescnce.
Tu casc thc pain of my ûcquaintanccs is my purposr in lik.
You do it so well.
The benefi ts of bring a humble ministcr's daughtrr.
And where is thc rninister?
tle is in the city's buwels ai this very minute vowing to diminish the
wretchcdness of poverty, with the holy proclamations of the Lord. He would bc hrre to comfon you and your fathcr. but sent me on the errand becüusr I am so closc to your heart.
QUlNELLA Flow thoughtful
MlSS PRISS And, of course. he fiels cumpellrd to insist that your Iàthcr givc up his immoral purposrs.
QUINELLA For once 1 agree.
MISS PRlSS You do'! Oh glory bc.
QUINELLA I agrcc the horsc should be put down.
MlSS PRISS And that thc sport that cncouragcs the disillusionrncnt ol'the poor and the lost Ibnunes of respectable rncn. bc banishcd and forgottcn. so that this nation miçht oncc more concçm itsclf with thc hard labour and cntcrprisc ol' its fiwnding fathers.
QLJ!NFLl .A You Sorget that this nation was colonizcd bu mcn of nsk.
MISS PRiSS Ycs. mcn ohoral purpose. Yen with the prcscncc ol'inind to wrrnch ç t d izrition tiom the intcrminablc wildcmess.
QU1NEI.l.A And crase whole civil izattons in the proccss.
MISS PRlSS Ycs. brinç the savages to the light of'God.
QIJINFUA And thcn shoot thcm.
MISS PRlSS fhcv rhreatined the industrious work of our l.c>rd. And riow wc have a ivholc ncw picrposc. A whole ncw population to bring to the light ofGod. The intcmperates and the garnblcrs.
QUINELLA And if they d o i t sce thc light. will wc shoot thcm'?
MISS PKlSS Thcv must tïnd redemption.
QUINELLA With dcath.
MISS PRISS Oh, my dear, y u arc tcasing me.
QUINELLA 1 apologize. You have made mi: Forgrt. 10r a moment. my grief
MISS PRlSS By whatevrr means.
QUINELLA It is my grief that makes me capricious.
MiSS PRlSS lndced, my dear, I understand. You have sutl'crcrl a terrible los . Your own dcar-heancd mother. A woman of immciisc vinuc and pridc. A wvoman who vou resemblt: in so many ways.. . But. a little too liberal üt timrs. 1 think'l Drivinç horses?
QUINE1.I.A My mothrr loved to drivc thc trotter.
QU 1NELI-A I bcg y u r pardon'?
MISS PKISS I'm sep. I Iorgct myself and your grid'
MISS PKlSS I do wish ?ou would considcr join~ng our movcmcnt. You turn thc hcads ol'gcntlcmcn. thcy listcn to !ou.
MISS 13RISS Oh ycs. ycs. you u.ould be a perfect adornmcnt io our purposc
MISS l'RISS l'hc downtroddcn. Thr wrctched. Inspire them with thc riçhcs of redcmption.
QUINELLA You have üskrd me bcl'ore and I will not apply mycll'to projccts that cannot succtitid.
MISS PNSS But. surcly. now. in y u r momcnt of gr-icl'and wealncss. !ou must sce the bcnctits of our causc.
QUINELLA You only attack thosr that consume. You do nut nttack those that providc the means. Your banlc is lost bcforc you begin.
MISS PRlSS You have been attrndiny collrgc and have had ideas put into your head thüt are dangerous.
QUINELLA Fear mi: not. 1 will not poison your hith.
MISS PRISS Oh, my dmr, you are blind to the rvil that possesses your Family. You must join us. Why it has atrectrd the very Foundation of this nation. The family. At the movemcnt's last march on the racing tncks 1 happened to mcct a young woman, so overwhelrned by the finish of a race. on which shc had wagered her week's milk no doubt, that she neglected thc screaming child at her fcrt. Whcn 1 pointcd out hcr derdiction, shr: shouted over the crowd. "Oh. I torgot al1 about baby: but it makcs no difkrencc; 1 rxpcct to have several babies. but 1 nevcr espcct to x e rinother Goldsmith ~ a i d ! " ' That is what has struck down your mothcr.
MISS l'RISS Thc horsc was merely the messcngcr of God. point ing the way.
MISS l'RISS '1'0 thc movcmrnt. Convincc your Iathcr io p i n us and bc rcleased into thc pathnüy o f hca~ cri. Indccd. my tlihcr hns csprcsscd i ntcrcst in thc horsc. Giw i t up io my thther to hrlp rcdrcm itsclf liom violcncc and mow thc minisirations O!' my tàthcr's church into thc nsst ccntury. ( I ~ m l q q QlXNLiL.1.A pmphl~*r.q. 'I'akc thcsc pamphlets and rcad thcm. rcüd them to your bther. distributc thcm amongst ihc pcoplc you mcct.
()UINk:LlA Your Iàthcr wants to buy thc horst?
MISS PRlSS Hark. thouyh. mv dear. The mcsscnger was pointing a path to hcavcn. Be carclùl in your intentions. Leavc olrracing and bctting. Givc the horse to the purposes of God.
ANNOUNCER Thc horscs arc ai the quaner pole ladies and gentlcmcn. The early cal1 has Wilbcrt out in liont in a detcrmincd pursuii of his projcct. Dut, Quinclla looks strong dong the rail and the trailers are yet to makc a move.
Scene Five -
I This is a direct quote riken h m Iliirr I)crroi~ l ' k ~ I'ré.cv, July 17, 187.1 and ./rrc.k.w,~~ Iktr!,. ( 'ilrzm, July 20, 1874 and round in Peter C. Welsh's 'lrack c r r d f2twd: 'lh .4mcrtcclri Ïrtmrlg Horst., p 94.
hrr on w h ~ 4 . s .
WlLBERT And what might this contraption be?
JAN Agamblingmachinc.
WILBERT
MR. BANDIT
WILBEK'I'
MR. BANDIT
JACK SPECK
MK. BANDI'I'
WI1.BER-I'
MR. BANDI'I'
How does it work?
Ahhh.. . Would -ou
A nickle to do what'?
like to givc it a t ry? All's it takes is a nick Ic.
(gotng io m d i i r i e , . Would ?ou givc thc gcntlcinan a IV, sir'?
With his owm nicklc I will.
A nickle?
(pro~hrcw rrickl~~) A nicklc.
Escusc mc sir. ( JACK SPECI; rtDnrorc.u Iunuc1/j Thc nicklc gots into the dot here. You pull the handlc hcrc. Wetcti thc drums spin and spin and where thcy stop nobodv knows.. . Unlucty nicklc todÿy. No payout.
WILRER'T How do you win?
MR. BANDIT 11'you gct matching symbols, coins crash to thc fluor.
JAN II' its a yamblinu C machinc. why docs it display liuit instcad ot'the quwns and Ir i ngs of' cards?
MR. BANDIT Thc authoritics have ouilawed cards. If it wcre to have the symbols of gnmbling, 1 could not have it. We betting mcn must bc çürrlUI or thc race courses will be shut dowvn too.
WILBERT Racing i s industrious spon. It will ncvcr bc banned. This scems idle. No strate~y.
MR. BANDIT It's random sir. Wlien you're lucky number is up, you %in.
WILBERT So, you can lose money for some time.
MR. BANDlT Somrone is bound to get lucky
WILBERT I don't like it.
JACK SPECK Play for a while. See how luckv you are.
W1LBERT I don't beliwt. in luck.
JACK SPKK Thcn you will not win.
JACK SPEÇK Would !ou likc to giw i t anothcr ln''
JAN l ' I I givc it a IV.
JACK SPECK Have a scat.
JACK SPECK A whiskcy for rnc and my liicnd.
WILd13ERT No. No whiskcy. Nuthiny.
JACK SPECK You can nui patronizc a tavem in thc company o f mcn without imbibing. I t is socially indccurous.
WILBEKT I mcûn no disrcspcct, I assure ?ou. I do n«t imbibc.
JACK SPECK 'I'hcn what brings you to a tnrcm'!
W ILBER'I' Busi ncss.
JACK SPECK This is the best place for business. The local saloon is the nation's O tllctl.
WILBERT You arc a wit, 1 3m sure, and an cducated man.
JACK SPECK And you must b r a trotting man, and that Iéllow (pornrrng ut JAN) must be your groom.
JACK
WI 1.B
JACK
WILBERT Wcll donr, sir. Fil l this gentleman's glas banender.
MR. BANDlT With pleasurc.
WILBERT I-low is it you can ascertain my character after meeting m ç only moments iigo'?
JACK SPPECK Li kt. y u , I am a business man and I must be able to determine risk. Uetore venluring into a deal I must be able to read a gentleman's social wonh Cuntidence in p.ople mcans confidencc in busincss.
WIL,HT:R-f Ycs. 1 sec. What business are you in'?
SPEÇK 1 have diversilied intcrcsts. And you? A trotting man I know. but N hat is your business.
1-1 KT
SWCK
Wll,Br-:RT
JACK SPECK
WI1,BERT
JACK SST>L3CK
WILBERI'
JACK SPEL'K
WIL.BER-T
JACK SI'ECK
I am a butcher.
The butchcr rides a trotter
And as i t tums out 1 havc a trotter I have contcrnpliitcd slay hg.
i nj ury 'l
Not ihc horsc.
Wh? slay i i?
It has donc an inj un upon rny hcart.
It can't compctc'?
Fnstest trottcr in ihesc pans.
'roo bad it is not a paccr They say thc paccr is the horsc of' thc futurc. lt is a Iéstrr breed and thc people like a Fast horsc.
WILBERT Carne t'rom Canada and can go back thcre For ail I carc. 'lhose d a m hobbles arc unnatural. The trotter is an institution. digni tied.
WlLBERT My honc i s a beauti hl animal: Bay. white star, breding potrntial. Could produce celebnties.. . Why, Mr. Ivcs, of Cunier and Ives, skrtched him For a lithograph.
JACK SPECK Lithography is unfashionablr.
WlLBERT 1s it?
JACK SPECK Photography is taking over the trotting tracks, as l'm sure you've noticed. The photopapher sets his camera at the finish line and shoots as the horses cross the wire. No opponunity to dispute the finish. A modem advanccment likc this will revolutionize sport.
JAN I've played al1 my riickles.
W 1 LBERT Do not play nnvmorc.
JAN I can't. I haw no mort. nicklcs.
WILHERT Good. 1 advisi: y u to stüy away from thlit machine.
JAN I havc to now. I have no more nicklcs.
WILWRT Oh shut up. It is hall'-wits likc -ou. ihosc macliincs bill ûttract.
JACK SPlXK Never play morc than !ou c m ü f i r d .
JAN I'oo Iütc Sur mr: now.
WII-BERT Don't espect me ro üdvancc your iwges it'you arc los@ thcm in idlèncss.
JAN It is a reclilcss trmptation.
WILBERT Stay w a y liom it thcn.
JACK SPECK Relas your position. i t is hamless fun.
JAN You can't play i l ' you have no money. so's most I'olks won't play.
JACK SPECK Indeed. More drinks bartender.
JAN Thank you.
JACK SPECK ( t o WILBERT) So, you are not a drinliing man, or a betting man. ivhat business brings you here?
WILBERT 1 am contemplating a wager.
JACK SPECK A wagrr?
WILBER?' Yes. I am so confident of mv trotter's sprrd that I am prcparcd to stakc a considerable wager.
JACK SPEC'K 1 set..
J A N i r seerns a bit unccrtilin to mc.
WILBER'I' Ycs. wcll. since whcn did I cunsult you on my business?
JACK SPECK Somronc must bct against thc horsc?
JACK SPECK A gcntlcman's wagcr. I'rivatc and unpublicizcd in thc prcss
WI1,LERI' Ihcily. 1 do not irust bookmrikcrs and thc prcss csüggcratc.. , 110 y u linos somconc thai might bc intcrestcd'?
JACK St3)-:CK Jndccd I do. / should likc to invcst in this schcmc.
W ILUEK-1' It 1s not a scht'me, sir.
JACK SPECK ol'coursc nui. I should likc to inwsl in ihis \rayer and I should 1 ikc to sce the horsc.
WILBERT At y u r ~vil l .
JACK SPECK 1 \cil1 spcak with my invcstors and wc will scttlc on a pricc.
WILBERT As you wish.
JAN i've won, sir. 1% won. This is an cscellcnt machinc.
WILBERT You are lucky today. Pocket your winnings and return to the barn.
JAN What unbclievablr fortune. This is a lucky omen to your wager. sir. I do believe it is.
WILBERT' 1 am suspicious.
Scenc Sis
QUINELLA Yeu arc: lucky io have p u r iiir. 1 camc to dissuade my iàthcr liorn shooting you deüd. I sec therc is no need. tlc would not ki l l you on my advicc. Surcly not.
QUINEL.LA Bccausc my old nag of a mothcr loved you. By thc end shc cvcn lookcd likc a ragycd old brood marc. Right to hcr deothbed shc berated my .'inscnsi tivity" to her ail iny condition. Shc nagged and naggcd about her intinnity and I was bcrcft ol'üny sympüthy. 1 was rclicved. Rclicvcd that tinally I would bc absolvrd of'her bcdpans and bloody lincns. Oh. no. no; no houschold help could removc ihc fciid rcmnants ol'hcr l i k I had to do it. 1 f l had picked thcm up with rclish and claspcd thcm io my bosom, shc wuld have bccn happy. Shc would Iiavc died happy. knowiny I had chrrishcd the little blwd rernaining wiihin hcr. As shc süw it. she wns passing on hcr legacy. As i saw it, shc was yiving mc thc ruins ... I am relicvcd, now. ihat I no longer have to walk down io ihc stablcs cvcry morning in order to report back to hcr how bcauti~ully your coat is shininy.. . ( s h ~ ~ looks uzro sltrlh Do you hcar me'' I did not always go. Sometimes wcnt l'or a walk in thc park. strolled to the market. bouyht a prctty hat. Rcad a magazine. It was vou. aftcr ail, with god's good wishcs. that killed her. For 1 would k i l l you myscll'il'I did not believi: thcre was somerhing to bc gnined by your lit'c.. . Flow ironic. tlcr own dcar pct. A bicycle will not kick you in the stomach. A bicycle. a velocipede, a motor car, now those are intercsting modcs of transportation that thc world is enlivened by. Not my Iàther. He is stucli in a nosialgic past that docs not fit the timcs. He wants tu stick mc in his niemorics lilis somr old and moldy trotting saddlc. Well, no thank y u . I am an indcpendcnt woman. I srnoke. I encourage the interest of fine and handsomc gcntlcrnrn. 1 malie my own drcisions, now that my mothcr is dcad. 1 cany her set of kcys and I let myself in and out as 1 please. 1 go to thc theatre. I travel with a group of friends. 1 visit cofîkc houscs and take classes at the collegr.. . My mothrr was proud of me and my dctcrmination. She was. 1 f my mothcr wcrc h m , she would drive a trotter and 1 would drive an automobile, paintcd to match the horse. We would have a matching pair of bays and we would drive them toge t her-
Scene Seven
l h e r JACK S P E C K .
QUINELLA tiello.
JACK SPECK Have I interrupted you?
Q U I N E L I A No. 1 apologizc. I tïnd 1 am talking to rnyscll: Arc 'ou looking for mu lithcr'? Hc IS not hcrc.
I 'vc comc to scruti nizc a business proposition.
Shop or barn'?
Ham today. rnayhe shop anothcr day.
Y ou arc intcrcstcd in a horsc'?
At thc inomcnt, no. 1 am intcrcstcd in a rathcr diny y u n g \vaman.
Mc'?
Arc ?ou diny'?
lndczd I am. Filthy tri bc sure. I3ut this must bc. donc.. Can I Icaw in-
JACK SPICK No. 1 will retiirn again to speal, with your tithcr. I should likc to rcmain and talk to you.
QUINELLA Oh. I sec.
JACK S13E:CK , q o e . s o > w t o s r d i t irrd 1ook.s mro s i d i .
JACK S P E C K
QUINELLA
JACK SPECK
QUINELLA
JACK SPECK
Nicc looking animal.
Y CS.
Can hr go fast?
Indeed. but not fast cnough for rny l ik.
You would likc an automobile perchance'?
QUINELLA Y es.
JACK SPECK Do 'ou do this domestic cleansing oftrn?
QUINELLA üracious no. i rarc!y set hot in the barn. But, 1 have noticed its tawdry appearancc from the street and can abide i t no longer. As my Sathcr and myselfare now alone in the world, 1 takc intcrest in our appearancc in society.
JACK SPECK 1 have nrvsr known such a city bcauty io apply herself to the tasks of men.
QUINELLA 1 don3 know whcther you arc tlüttrring rnc or tcasing mc. As 1 scc it. clciining has alwqs bcen a woman's rcsponsibility.
JACK SPECK
QUINE1,l.A
JACK SPECK
QUINE:L.LA
JACK S P K K
QUINELLA
JACK SPPECK
QUINEL.Lt\
JACK SPECK
f lmmm.. . You sesm dctcrmined. in your bloomcrs and rcd nbbon.
I must d o rny dut'.
And docs your dut! includc ainusemcnt'?
When I haw mind to. I engagc in whatevcr takcs my Iàncv.
You arc open mindcd.
Ycs. 1 SC'L' the virtuc in activity.
And whai rnight bc your Iàvauritc activity?
'Tao numcrous to mcntion. I'm a h i d .
1 hüvs tickcts to thc latest production of I NL./c) l im '.Y ( 'uhiu. Elizü and George paddle thc Detroit River to Canada. pursucd by the cvi l Simon Legrec
QUINELLA Oh my. I have always loved the romantic flight to Canada in thüt adwnturc.. Canada is like hcaven. Utopia. I somctimes wish 1 had a Canada to llee to ... I low do they makc such a lantastical advcnture real?
JACK SPECK 1 d o i t know. Would ?ou join mc?
QUINELLA Ummm. well, ycs I would.
JACK SPECK Very wcll. l ' I I leave you io p u r task and pick you up at sis o'clock.
QUINELLA 1 will put away my bloomers.
JACK SPECK Until thcn. ( " . r r t s )
Sccnt: Eight
JAN You shouldn't be doin' rnv work miss.
QU 1NEI.I.A Wcll. il'you won't thcn somconc must.
J A N 1 clcansd ihc barn and pails and such Iilic this inomin'. but they won't corne clcan. 1 swcar by tornorrow inom ihey'l l br as dirty as thcy werc belbre pou begn ! our worh.
JXt+ I know ichüi it is. A spirit. And I tcll y' the pails will bc diny b! the momin'
()OlNI-:l.L.A You and mv Iüthcr are a pair. Spirits and gods WC arc closing in on thc 20"' csntuc i~l'thib carth and no onc but thc two o t j ~ u . people liom tht: country and gmblcrs bcliwc ihc w r l d i s controllcd bu spirits and y d s .
1 Oh. miss. 'ou sliouldn'i diinounce them. Thcy arc thcrc. I kcl them siilnctimcs in rny boncs. üI I Iiowrin' around ine and thc anirnals. I ' h q arc i I icrc.. I iw rk v c p hürd i o hscp this siüblc ship-shüpc. but i t is to no üvüil
QUINELLA And'?
JAN Icannotsay. I tw i l Inghtcn your ycntlc disposi t ion. I
QUlNELLA I am no child and 1 do not have a gcntl c disposition. I promise I will neither throw a tantrum. nor lau-h at vour nonsense.
JAN No, you will not laugh.
QUINELLA Then who?
JAN 1 will not Say. I cannot Say. Please do not ask me. It is powcrful strong and briyond my will to resist.
QUINELLA If you can not resist, then tell me.
JAN Miss, 1 beg you, do not makr me. I know the spirit that lives in this ban. But, 1 cannot tell its namr. You will never believc me and you will have your father remuvc me from my position. And a bettcr position 1 will noi tind clsc\rfherc.
( j l j IlUELLA u h for pity's sakc. Y ou are a pertkct idiot. What my 1àthr.r secs in
-ou. 1 will never know. 1-lorv can 'ou rattle on in such a way and malie yourscl 1. understood'? I havc done your work for you today and I cxpcct it io be clean tomorrow whcn 1 rctun to inspect.
JAN Ycs. miss, I understand. Thant y u îbr your hsl p. 1 hope i t wi I l bc: to your satist'riction, tomorrow.
Not a specl of strriw on thc tloor. Good da'. ( L W I X ) .
< . v i t ~ , i y t ~ , g j The Old Grcy Mare. shc nin't what she uscd to be. ain't what to bc, ain't what shé uscd to bt.. . .
JAN Got hcrsclf brcd into the presidcnt's stable. thiit's wonh something.
CRAZY DAVE Yah, this cards wonh moncy.
JAN Trade ya- a Hambietoniûn.
CRMY DAVE Ncvcr 1ikt.d that horsc.
JESSIE Best sire ever. Even named a race ritter him.
C R M Y DAVE What the hell do you knuw? No brccding to spcak ot' and looked likc a dog.
JESSIE 1 know he's the sire everyone wants for thrir mares.
CRAZY DAVE (showing JAN llrr c u d ) Got her chan. Nice litho too.
JESSIE A Hambletonian card'd trade t'or morc.
CKAZY DAVE I told ya'. Jcssic, 1 don't carc for the horse.
JESSIE I got an Ethan Allcn.
CRAZY DAVE-: That horse çhcated.
JAN Ncvcr l i k d racing with a mütc.
C R N Y DAVE Poor I>cxtcr. Two against one isn't a horsc racc. its a chcat.
CRALY D A V E I'hc Icgs on that pretti ticd na2 couldn't hold up a table.
JAN Cutitour. You'rcablo«dypnirol'vaudc~illians,
J ESSK Yah. ?ah. Go $ci thc prcxhcr.
CRALY DAVE I Ich. I hcrird Wi lbcn thc prcachcr 1s gonna imgcr on ycr' good horsc.
JAN Wherc'd ?a' hcrr that?
JESSlE 'fhc tawrn.
J A N Whtirc t h .
JESSIE Prcac hcr. preac hcr.
CRAZY DAVE Whüt's hc cal1 that rcligion of his? Funicr, tasidcrmv'! Farricr?
JESSIE A religion For blacksmiths'?
CRAZY DAVE Can't just believr in God no morc.
JESSIE But blacksmiths?
JAN Fourierism. F-o-u-r-
C R M Y DAVE --He can't read no how.
JESSIE Wants to build a community with round buildings?
JAN That's just a story. AH those folks movcd west b r thc gold rush.
CRM.Y DAVE Bct he's not too happy about that. Might as wcll risk i t al1 on a race as pull up stakcs and pan for a s p c k ol'dust.
JAN 1-lc d o i t belicvc in gambling.
CKAZY DAVE tlc should juin up with thosc tcmperancc ladies. Saw thc ïunnicst picturc thc other da'. Whrrc was i t ? Can'i rcmcmbcr. It wüs callcd thc "L.addcr o ï Fortune." A l l thzss angcl face do-goodcrs wcrc standin' at thc bottom of a trcc. 'fhcre's a laddcr yoin' up i t and on the wrungs o f the laddrr wcrc w r d s likc. "lndustry". "'i'cmporance", "Prudence", "Corirayc". "liconomy". .bP~rsewrance", and more..' Way nt the bück o t' thc picturi: are al1 thrsc gcntlcrncn striking against thcir cmploycrs. bctting on horscs and risking aII ai the stock cschangc.
JL3SIlI: Scems to mc 'ou nesd courage to strikc against an ernploycr and pcrscvcrancc. prudcncc. industry and cconoiny to i~i i ikc a good bct üt the races.
CRALY UAVE You gct tto thc top ol'that ladder and you'rc stuck in an cmpty trcc.
JE:SSIE Yah. Mr. Bandit thc barkccp sa- old Wilhert made ii wagcr with Jack Spcck. Jack Speck. Can'i win against Jack Speck. I Ic's prokssioniil he ain't y nne end up in that trcc.
CRAZY DAVE Must bc somcthin pretty spccid about that na- it'the old prcachcr i s gonna makc a wüycr with Jack Spcck.
JAN This horsc can go in two minutes.
JESSIE Arc "OU say ln' you want to makc 3 wagcr tod?
JAN I-low much can ?ou stake'?
JESSIE I-low much c m you stakc?
JAN I'd stakc all I pot.
--
This is a descriplion ofan actual liihoyraph found in ïk ( ; ~ L W H d tg,/('irrrir~r ~ ~ ~ i J l i ~ r ~ . s ' . . l r n e r ~ ~ ~ t ~ , p. 473
JESSIE I'd stakc al1 1 got too.
CKAZY DAVE And how much hait: vou two kllows got'? Probably not a dollar betwcen you.
JESSIE I 'vc wagered all betorc you linow.. . Lived the high-lik for about a nwnth bclore it was al1 gonc and had to beg for my job bact. But man. it was thc timc (if my l i fc.. . ladies and gentlemen of thr highcst standin' couned my pockct t i l l the moncy ran out.
ClZALY U A V t Ain't nothin' spccial about thcm if thcy run out on ya' as soon as your pockct is cmpty.
JESSIE WdI, y' çan't blamr 'cm. Thcy wcrcn't about to Iollow me into thc barn.
CRALY DAVE No cioubt.
JAN Onc huncircd dollars to win,
C'R/V.Y DAVLS Onc hundred da1 lars'?
J ESSIE One hundrcd dollars it is.
CRALI' DAVE Whcrc y u iwo gonna get one hundrcd do1 lûrs cach'.'
JAN l ' I I yct it .
CRAZY DAVE t low'?
JESSIE You'ri: gonna bc sharin' space with vagrants on thc strcct if yuu losc.
JAN ( /ic t d k s to horsr tliroir,qh moxr ( / h s spi~cch) Was almost therr my Iirst day in the city.. . thought I'd makr it h m as a man ofcommercc, with a roll of dollars in my pockei. Didn't know I'd be shufllin' into the city. dirty and
tired, with no prospects, but to work in a shed shovelin' manure likc I'd done at home.. . Whrn 1 made it 1 went directly to Mr. P.T. Bamum's American Museum. 1 went in with the crowd and paid my ten cents. The prrsident's wilè and children wcrc there. Rubbin' shoulders witti them I didn't feel so dinv any more. the dust was mercly the colour of my clothes. Not Iàncy, but diynitied.. . At Iirst 1 lookrd at the displays with amusement and then with a curious wonder and Iinally with a disgust that consumrd my soul. Thcsc were not sights t'or the blossoming minds ofchildrsn. Thcy wcrc horrors of extraordinary vulgarity. 1 ran outta that placc and looked for the nearest tavem and doused rny misery with whiskcy. For that placc inspired mise. and when it bumcd down the second timc 1 wclcomed it and thought the pour Iolks and animais that died in the tire werc probably bctter otT. No possibilitv alicr two tïrcs that Mr. Bamum would but Id it up again and tlll it with the horrors oî'thc world ... Until he took it on thc roads ot'thc world and callcd it the Grcatcst Show on Eanh.. . Ycs, well.. . Too much whiskcy in uncertain company and 1 rolled onto the tloor. Right into the urine irough undcr thc bar and thcy just lclt rnc thcrc. Just likc Mr. Barnum's muscum, I was thc freaii and the- just relicved ihenisclves on nic and laughcd thcir god damn hcads . I wcis thc ciitcrtainmcnt of thc da?, "ticsh l'rom the farm gcnilemen, stcp right up and takc a piss." ( p r i c s t J . liïrns IO s td l lm/ s p ~ ~ r i k . ~ to l ~ o r s t ~ ) . I bclievc shc rcsidcs within !*ou and is scttlin' thcrc to waich ovcr this waycr. I lino\+ you arc Fortuna. Don't ICI US down. Wc nccd p u now morc'n wc cvcr did bcî'orc. ( cJ-Yl 1.v 1
WILHERT You arc lovcly this cvcning m! dcnr. ülthough y u r garmcnt is a littlc too hshionablc. tmmodsst.
QUINELLA Wh! should 1 bc. modcst'?
WILBERT Modesty is unfashionablc')
WILBERT W hy?
QUiNELLA it i s old-hshioncd. Modesty does not ride a bicycle. or attend intcllectual pursuits equal with men Daddy. Modcsty cannot competc with thrilling advancements in the world. Modrsty is dead.
WILBERT What has replaced it?
QUINELLA Why modcrnity o f course ... But, thank you anyway Daddy. I am p i n g to thc theatrc.
W ILBER?' With t'riends'?
QUINELLA With a gentleman.
WILBERT Oh?
QUINELLA Ycs. You know him. t-ic louks prospcrous and cducated. I'm sure !ou wiil approve.
1 know hm'?
Ycs, Jack Speck. 1 mct him in the barn today. Ilc was looking ai the
Oh. ycs a tinc Young man. WC arc cmbarking on a venturc.
Involt~ing that horse.
Y es.
Arc you gctting rid 01' him'l
Yes.
Good.
Howcvcr. if thc horsc gocs. al1 elsc gocs. You will do wcll io match yoursclf up with this Young man. II' ?ou rcmain with mc yoii ma? havc to rcsume rnodesty.
QUINELLA I Io\\ do you mean?
WILBERT 1 have dccidrd on a plan of rcdcmption.
QUINELLA Y es?
WILBEKT 1 am going to müke a heavy bct on the horse.
QUINELLA What is heavy'?
WILBERT Everything.
QUINELLA I don't understand you.
W I LBER'i' I am wagcring my fortunc on thc horse.
QUlNELLA What if you losc'?
WILBER'I' All is gone.
QIJINELLA How will wc livt.'?
QUINELLA What about mc? Surcly you cannot stake my tuturc on a horsc'!
WI1,HIIKT AHising your fùturc on the immoral pursuit ul'tonunc with no rcyürd to industry is shnmclùl.
QUINELLA Ilüvc you bccn rcading thc pamphlets of that infcmal tempcrancc mowmsnt? I las that odious Miss Priss clcnchcd you wi tliin her piws tccth? Or \vas it thc minfstcr himsclt'.' 1 do bclieve his interest in the horsc is to race it under a dillkrcnt namc with a stablc ofdisrcputc.
WlLBEKT 1 do not nccd ihc idiotic ramblings ol'~c'alots to sec thc error ol'ihis nation's pcrilous lùtiirc.
QUINELLA lhis i s madness. You c m not bc scrious.
WII-BERT Complctclv.
QUINELLA I absolutcly forbid it. Whrn I dcmandcd that ?ou makc ümends to my mrithcr, i did not mean throw our livcs out the window. 1 mcant shoot thc hursc. or gct rid «fit by somc other means. You h a w lost your scnscs.
WILBER'I' I havc tortureci myself over thc dcath ol' p u r mothcr. And, now I r d izc my conscicncc caii only bc clcarcd i 1' the slatc is clcan.
QUINELLA We have lost so much. We have barely towercd rny mothcr into the ground and now you hopc to lose our livclihood?
WILBERT Stop being so melodramatic. You could barcl! toleratc your mothcr
QUINELLA MclodramaisthcRnestentenainmcntonthestagr. ltisdipnificd and touching to the hran.
WILBERT It is fakery.
QUINELLA Fakc-? How dare you. My most rnjoyable hours arc spcnt in the thcatrc watching fine players rcndcr tales ot'unimaginable desire and dissolution. Always ihc heroine captures my hean.
WILBERT Yes, yours and the nation's. II ' it isn't the illusion on stage, then 11's thc illusion in the sporting ring that the nation hus attachrd its idolatry to.
QUINELLA You mock me. This wagcr y u spcak of is a mockcry and a sham.
WILULK 1' I am bettiny tOr the horse. I will do evcrything I can to c'nsurc i t is û tàir rücs and thai thc hursc is compctitivc. But. I must use the mcans by which I have becorne prospcrous and wûger it ail.
QUINEL1.A Rut ?ou arc against bctting.
W11-BERT It is ironic. i s it mi. that 1 can only find peacc by using thc unethical mcans of gamblsrs.
QUlNE3.1.A And i l ' hc wiris'?
QUINEL1.A And thc Iiorsc stays.
WILBERT 1 have bcen consumcd with cclcbrity and innovation. I s w thc ncsi gcncration's intcrcsi in entcrtainmcnt at thc cspcnsc ol' al1 othcr purposc and bclievc it is immoral. Ifthc horsc wins I will pursuc the nest ccntury rclicshcd. Il'he loses 1 will rctirc liorn thc tcmptations ofgaming.
l:'rrlcr JACK SPECK
JACK SPECK Good evcning.
WILBERT Good evcniny.
JACK SPECK You arc beautitiil.
QUINELLA Thank you.
JACK SPECK Shall ive go?
QlJlNELLA Yes. Lrt's lose oursclves in thc magic of drama. In the cornpelling misadventures ot'others.
JACK SPECK ancl QUlNELLA w t .
Sccnt. 'Twclvc
PLACE rnicJrv picsiirng h ~ d o~z wiiwis. W i LHERT ires t ln h d umi W U 1 LJNA tcpp~wrs . S I I I I I L / I ~ h'~hln~I . v r d 1 girrc..
WILBLXI' 1 knew y u would corne back. What i s a world without I%nuncg? I ' L c rnisscd 'ou.
Y CS.
1 h a w longcd Ior yu morc in your dcath than whi Ir: ?ou lived.
You don't mcan ihat.
YL'S I do.
woman's placc is always contrüdirtory.
1 long !'or ihc constant! and sccuritv,
A rnothcr.
You arc a mothcr.
To gou'?
A mother mothcrs.
II'ii madc you Ièel sccurc in your cndeavours my darling. thcn I was happy to play the part.
WILBERT Now that you arc gone 1 have no intcrest. ! am ioo old to compctc al one.
FORTUNA And Quinella?
WILBERT She will look after hersrlf. She h s latched onto independcncr so
aggressivrl y t hat she looks at me as a tircd rrnbarrassrnent.
FOR'TUNA Shc is Young, thc possibilitics to hcr arc cndless. For you. therc is only so much time.
WI1.BERI' 1 do not understand the gimmickry ofrnodcrniiy.
FOR'rUNA You arc oid.
W ILBER-I' Am I goiny to die?
1~OR'Ill N A Ifventually.
W ILUER'I' Can ‘ou sec m y dcath?
tX>K'II!NA Nu.
W11.13t'K 1' Can you tell rnc the IUturL"?
i ;OKI'IJNA Your future is what 'ou think i t 1s.
WII.13tX'f 'I'hcn thc trottcr hüs made a brcak and 1s gallopin- to the iinish üt brcüh-nccli spccd. only to bc disquai i lied.
I'ms'~.
W ll_L3LIII-I'
l *~ORTUNA
WlLBERT
FORTUNA
WILBER'I'
FORTIJNA
WILBERT
FORTUNA
WILBERT
C'ün 1 win ayain'?
shrligsj
Bccausc !ou arc dcüd?
1 c m bc revived. i t has happcncd bchrc.
Will you cumc back thc samc?
No.
No mattcr what 1 do I can't control it.
No.
Mavbc if 1 had doubted morc. If 1 had questioned my inientions and hamessed rny passions, would you still be alivc?
FORTUNA No.
WILBERT Win or 10s~' it will continue to crush n i t
FOR'TUN A Bc crushed knowingly.
W ILBERT 1 can control how I rail.
FOti'l 'llNA Y CS.
WiL.nERIT Will you accornpany mc to ihc i'inish?
b'OR'I.LJNA That's urliy I am hrre.
W 11.13~1R~I' l ' h m ti is no longcr a burdcn. 1 hatc a checrfùl purpose.
t'I.AC'I< tt* I l t '~4. \ hd O// . Y / L I ~ V ~ t s FORTUNA /Ollrrrv.v.
! \NNOUNCI:R WC arc at thc hall'ladics and gentlcnicn and the old traincr rcmains on top 1)cspitc urging liom ihc lilly. intcrcst liorn thc groom and joclcying î'rom ihc dandy. old üs hc 1s. thc traincr appcars to bc picking up spccd.
tind ol' Act One
ACT TWO
ANNOUNCER Fonuna slcpt on. 1-lorsc rricing wüs banned once again. continuin- a one-hundrcd -car pattern. ln tact she dozed until thc mid nineiern-twcntics. But as the wcst was colonizcd and Ho1 lywood boomcd Fonuna awokc from hcr slumbcr. Gamblcrs bccarnc the nation's romaniic hcroes. Thc making ol' movics was constantly intcrruptcd by cclcbritics runniny on'to bookrnakcrs and produccrs running «t'S to Santa Anita 10 wntch thcir nags riicc. -fhc thoroughbred Ilourished. But what of' thc harncss horsc? Whcn the racerracks ot' Amcrica wcrc s hui down. thc trotter, humblcd by tcchnolugy , cscapcd to Canada. 'Thsre i s biircly a town in this country without a harncss track. Go io any sniall town Iàir at ihc close o t'summcr and rctircd Iàrmers will bc whipping thcir brokcn-down pacors around a lump- track in two-minutes and twcnty seconds. Whcn in the 14"' çcntury thc hrrnrrs railed against the city trotters for stcaling the lirnelight liom thcir osen and shccp. today, the trotter of'thc agricultural Ièir is an oddity. a Iblt hcro. 13ut. ihc suburban city tracks arc Ihst arid ths i r trotters and piiccrs break records ai brcakncck spccd. 'fhc hamcss horsc has cvol~~cd so ihoroughly that it surpiisses i hc thoroughbrcd in rccord brcakiny.
Sccnc Onc
WIN Brecding is such an clcgant profession. Thc romance, thc bcauty. the tiny littlc Ioals barcly capable of standing.
PLACE You cvcr sce a marc bcing bred?
WIN Nah. Rut 1 scen a stallion jrrkin' off into a plastic bag.
PLACE Thc days of equine plcasurc are oucr.
WIN The turkçy bûster mcthod works wonders.
PLACE These ads make it look like the stallion is just as happy as shit to
get a M e tail.
WIN Only thcy ain't.
QUINELLA Oh, ycs. ycs, h i ' s it.
WIN The marcs ain't yettin' nonc eithcr.
WIN l'hc stdlion don7 stand no more.
WIN Chcapcr and I3stc.r. Morc bang !Br your brccding buck.
W I N Silcnt (ou. N i m 'a thüt noisy inicrkrcncc Iiom 8 rutting stud and an anxious marc. Just thc casual irrinsiilr of cash and scmcn .
Q U I N E L I A Ahhh. lt's a dcad heat 1Vc got thcrc ai thc sainc' timc.
JACK SPECK Nüh. I ihinli 1 pot therc a tiHh 0 1 3 sccond lhstcr
WIN Esactly. Once the scienti tic manipulation of scrnen is tmnsactcd
PLACE --hcarts sort. in anticipation of what the bloodl ints rnight produce -
WIN --and how that commodity can be phrascd into publicity.
QUINELLA That was fantastic.
JACK SPECK ! should have slowed do\çn the third quarter. Let you catch up.
QU INELLA
JACK SPECK
QUINELLA
JACK SPECK
QU INE1,L.A
JACK SPECIi
QUINE1.M
JACK SPECK
QUiNELLA
JACK SI'FX'K
QUINELLA
JACK SPIKK
QUINELLA
JACK SPECK
Fantastic.
We should do it again sornetime.
How about tonight?
Maybe.
How about now'l
Don'i want to h m myscll*. 1'11 gct tircd and Iinish bad.
I had 8 great time ...
M c 100. But. I o t t a go. Busincss calls.
W hrt business'.'
First a piss, thcn a showcr and thcn to work.
I tti«ught y u workcd h m homc.
1 work liom my phone and ivhcrewr it. ihc laptop and mc might hc.
W d l , then, no rush.
A l w a y a rush. Gotta buy and scll. Shili things ürouiid. k ç p thc playcrs happy.
Q U INELLA low man! players'?
JACK SPECK Wcll. now with you tucked niccly into a siall. I'd sny cnough to kccp the inoncy sprcad around quite equitably.
OUINELLA And you jiist brnk the money and bu' and SCII honcs.
JACK SPECK 'I'hat's it.
QUINELLA So this money ?ou want to wager belongs to the playcrs'?
JACK SPECK Yup.
QUINELLA Do th- know that?
JACK SPECK Of course. That's how they win monry. Thcy trust mc.
QUINELLA Thcy'vc probably nevcr sern you.
JACK SPECK Why do they need to sec me'?
QUINELIA I'd want to sec who's taking carc of my moncy.
JACK SPECK I'm the same as any high-rise brokcr: but my c l i en t s likc io watch their k s h and blood invcstnitxts work and swcat.
JACK SWCK You arc p i n g to work for mc.
JACK SPliCK Scl lin- my pricc to yoiir Ihthcr.
QU1NHJ.A I hüw to gct someihiny out ol'this or 1 çan't bc involvcd. I l k y lgthcr gocs down thc toilct. l 'm not goin' wiih hiin.
JACK S l W X What do !ou want'.)
Q ~ J I N L U A Thoroughbrcds and wcalth. 1 w n t to wcar a tiilly drcss. glovcs and a hüt to thc rriccs. 1 want to sit close eni~ugh io royalty that 1 can scc thc csprcssions on thcir faccs. 1 want to bc in thc picture.
JACK S P W K Wh! not bc one of thern'?
QUINEl.1.A Okiiy. I wnnt to hang with roydty. I want to yct rid ol'thcsc slack- assed harncss horsrs and competr. w i th t h e big rnoncy. Movc on up. Turf this pour Canüdiün cousin and scarch out thc y lamour of Bclmont Park. Mill ion dollar races and rcd carpct on the barn Iloor. Kentucky derby timc. And I want to be thcrt', I w n f fo touch it.
JACK SPECK You shall havc al1 that !ou desirc rny princcss.
QUINELLA My father is convinced to wager evcrything.. . Thinlis it'll makc things rcal a p i n . Uring back his dead romancc with fortune.. . I'd sa! a million is (air . You put up a million dollars: If the horse wins hr lieeps everythinp and takcs the million. If hc loses you kcep the million and take thc horsc and the farm.
JACK SPECK 'I'here ii is.
QUlNELLA I s it Icgal?
JACK SPECK A w a g r bctwecn (ncnds? Ol'coursc.
Q U INELLA I'm not p i n g to bc lcft as the casy lay to your Fonune. if my dad loses I'm donc. 1 mean it. Don't leavc mc herc hanginy on thc cdgc.
JACA SPECK You think al1 I'm intcrcsted in is your îàther's propcrty and your brccding potential?
cjCilNi-.I.LA Just don? lcavc me hûnging.
JACK St3ECK 1-11 look alicr you.
QUlNl-:l.l .A What arc p u poing to do with it'?
JACK SIIECK Buy you the Iùturc.
:i.) llk1 I?L>.Y/ /''W. /I)ILJ.S t m J V ~ I J ~ L J ~ I . WIN <1>1</ 1'1 .Ac[! hryirl Io ri)// / / I L # h d r , ( / t / l ~ r.lil,gc.
Mc and thc players.
Wc'II bc OUT w n privatc royals.
I mcan f o r r d
,Mc too.
You'kc won thc qiiali l icr baby.
In rccord timc and so did p u .
MR. BETS Y up.
W LHER'I ' Gettin' back to ya'.
MK. BE'I'S 1 want in on the horsc.
WIL.EER'I' Can't sctl him.
,M R. BLXS Wc becn in this togcther a long tirne.
l& ii.L3l:K 1' It's go^ nnoihiny to do with ?ou. I cün ' i scll him:;
JAN Mahc iiny moncy')
O I jp about ci-hty points.
J A N l .c t i i ic tp ; i IC\~
b1K t W ' S I Lnow its bccn rough Ior p u . but 'ou goita kcep playing thc gamc.
W I l .t3l+:l<l+ I ' vc aIrcady inadc a dcal with somconc clsc.
M R . 131,I'S Soincronc clsd! 1 Io\+ could y u makc a Jcal w t h wine~mc clscr?
WIIM!f<~l' Ycw don't \vant in o n this one.
kl R. 131 Tj I low do c'ou hnow?
WI1.13IlfCl' II's t«o big a risli.
Mn. E31.3'S This is disloyülty .
JAN Comc on, Ict mc have rr turn.
S1,O'T' *Thcrc art: othcr machines.
JAN This i s ihc luciiy ont,!.
MR. BETS You should have tcllkcd to me I'irst.
WILBERT I respect you.
MR. BETS That liind of respect makcs mc look lilie a wimp.
WILBERT I'rn doing you a favour
MR. BETS
JAN Corneon.
i can dccide for mysrltii
JAN I'haiiks a lot. Now that 'ou got the payout.
51.0'1. l t ' s only twcnty-bucks .
J A N So thc jriclpot is still mine t o be ha&:
M U . 1313'I'S rhüt horsc i s lucky and vou'rc blowing my çhancc at the big one.
W11.13[3< 1 ' Y ou' rc rcadiny the prograin wrong.
kt l < . 13 1 YI'S At swnc point in this business. somcons is gmng to stüb yoii in the hack. I stioulda kiiown I t \vas gonna bc ?ou.
W. U~I-TS Yu11 owc rnc one. Whsn this pays out. you owe mc.
W II.UL:R-I' This is bctwcn tnc. a horst. and fortune 1 don't carc if'hc loscs.
MR. LJE!_.:'TS lnsidc intorrnation. I'm gonna bet against the hum and hopc you losc:'
JAN C'mon. ilüinin' scvcns. Flûrnin' lucky scwns.
SLO'I' It's not grinna pay nuwc.
JAN I've secn it happen. Somcbody plays al1 day and wins nothin'. surneonc clsc cornes up to thc machine and Barn. I'orty-thousand smacks.
SLOT It oniy likcs me.
JAN lt's a machine.
SLOT IFyou want to beat the machine you have to play l ike a machineii
WILBEKT lt's out of my hands.
/%ter QUINELLA.
QUINELLA Daddy.
MR. BETS You'll change your mind and I ' l l be wüitin'.
I%CJ-V /wtg lip. MR. BETS C.W.S.
Scenc Thrce
WILBER'I' Dear.
QUINEL1.A Daddy.d
SIa0'lq I'he horsc is cntcred?~,'
WII.L31JRpI' 1-le I S . ~
J A N (;onna need that rnoncy you'll owe me.
SLO'I' You mcan you'll owc mc.
J A N 1 le's a ~wrlci-beatcr
S1.0'1' N»i gonnü bcat a record:
QiJINI-:I.I,A
Wll.f3EK'I'
QUlNEl* lA
WILBERT
QUINELLA
WILBERT
QUINELLA
WILBERT
You can still back out.
Nopc. I'rn committcd.
I yot an ollkr Ibr -ou.
Y es'?
A pretty propusal.
Y es?
You can cash it riil in.
I'm al1 cars.
QUlNELLA Jack Speck will put d o m 500K. You win, you krep evcry~hing and get the 500K. You losc, he sets it all.
WILBERI' Only 500? I'm worth more than thiit.
QUINEl.1.A You want to get rid of it al1 don'i you?
WILBERT It has to bc a fair waycr.
QUINEL.1-A How about 750? ',
JAN 'I'wo minutes and l'vc already lost twcntv-Rvc bucks.
SLO'I' Thcy j ust cai it up. Ent. eat, cati
WILHEK'I' 1 want to scc hirn.
LVIl .UIXI ' I want to shakc thc man's hand whosc hnunc 1 will makc.
($UINIII.I.A [ I r . won't bc ablc to scc you. On the rond.. .
()IIINLIl.LA I should makc thc arrangcnisnts. lcss çonlllsion. 'i'hink of mc as an iigcnt. ;i iriistwonhy rniddlc-man. I'hinl, «fi i likc you'rc doing busincss \rith me
JAN No w a y I gotta \vin somcthing first.
SLOI' It's my turn. And you'rc not gonna win anythiny playing ihc minimum bct. You gotta play the maximum or whut's ihc point'?. .
WILRERT 1 want to shakc his hand.
QUINELLA C'mon Daddy, trust mc. I can look iiticr everything and you don? havc io wory about it. No strcss. And what does i t matter if thc wager is Ior 500 or 750. if 'ou mecl the guy or not. It makcs no ditlércncc if y u lose.
WILBERT 1 gotta see how it gocs honey.
WlLRERT For your mothcr
QU INELLA My mother'? She wouldn'i want her horse to lose. S he'd siiy ail you' rc doing is beating yourself at your own game.
WILBER'I' Since when did you know your mother so wcll?
QUINELLA 1 hope you win.
WILBERT Of course p u do. Y our lùturc is hanping on a horse racc.
QUINELLA Giw it up Daddy. This is spon and you'rc tuming it into a mclodra~nri.
W IL.BER~I1 Did you linow that hamess racing was thc first mass spcctator sport'? It rivalcd thoroughbrcds and bascbül l .
QUINEII,l.A Who carcs.
WILBI'RT Thtw wüs a slogan: "The butchcr ridss a trotter with dl his hopcs and drcûms. but whcn thc butchcr slays thc trottcr. the trottcr bccomcs thc mcans."
WILBER'T' That's right. I'm bcttin' on tlic m~at .
QUINF.1.I.A Whüt's the po~nt'?
WILRER'I' Ii's a dcad hcat. Everybody wins and nobody wins.
JAN Alright. alriyht. One more pull.. . and.. . shit. Nothin' You'rc up.
SLOT Thank you. thank o u . 1-Icrc i i gocs. Lucky sevcns. Alwliys bct on thc scven. Flamin' sevens. Ring ring ring. Bet thc mas and you're bound to win somcihing.
JAN You can only bet the max if you'vc got the mas tu losc.
JAN That's nut fair.
SLOT All's fair in love and money.
JAN War, love and war. You should give mc hall:
SL.OrT Not a chance. Prcpare to lose our wagcr, my dcar. You arc going to losc. Ycs. 'fhrec hundrrd srnaclis. Three hundrrd. Count 'cm and wecp.
JAN Rrad 'cm you (ùcking cheatcr. Read 'cm.
SLOT Thc machine don3 lie. And you cal1 me a cheatcr again and l ' I I smack ?a'
j AtY I'hat 's a chcat. l'hat n~richinc chcatcd m u ,
QUINEI.1.A You'rc beginning to cnjoy this.
()tJlNKl.LA Who do ?ou thinli you'rc kidding? The horse isnl in a Nüscar race. starring in a block-bustcr movic or pitchiny in a major Icaguc game. It's just a rücc with no public intercst cvcrpt tioin gambicrs. I'herc is no çclebrity to bc hüd hcrc.. .Oh. ?ah. maybc 'l'rot Magazine will publish a stoq about you. Big dcal You might makc i t onto onc ofthosc püthetic profile shows. Big dcal. lt's not as il ' i t is prime-tiine driima that's gonnü make it onio Entcrtainmcnt l'oniyht.. . 'fhc harncss horsc is ü tircd lblk hcro that thc gaining industry is trying to rcsuscitatc to makc more profits h m slot-machines. You don? win by gctting nostülpic. Nobody givcs a shit cxccpt inr.
WiI.Hi-:RI' In 1870 tht'rc was a tamous battlc bctwccn the industrialkt Commodore Cornelius Vanderbilt and the newspaperman Robert Bonncr. Vanderbilt suggestcd ihcy match thcir bcs~ stccds. Bonner. who had the best horscllcsh on the çontincnt, rcliiscd bccausc it corn promiscd his rcligioiis cont ict ions. Vanderbilt pushed and Bonncr cvcntiially agrccd to thc wagcr. Bonncr won and nevcr bet apüin. I wish you would scc mu sidc. Thcrc's siill t i mc.
QUINELLA And lusc evcrything'? I'm looking aRcr myscll: 750 K right'!;,
JAN I'm Ieavin'. Can't beat it now.
SLOT It's my machine. I t only pays out to me.
JAN l ' I l yet il when you'rc not hcre. and 1'11 hit the jackpot. One million dollars. One million fucking dollarsli
WILBERT 750 it is. 1 want to shakc his hmd.
QUlNELLA Y ah. 'ab: (e-virs)
SLO'T What are you a moron? The most this machine will pay is ten-thousand. You gotta play the fivr-dollar machines to hit i t rcally big and that's way ouna your range. Singk bet, quarter machines is your lirnit. No payout for you, but a bundle for the casiiio. Give'crn your rnoncy my deart/
WILHER1' I want to shakt. the man's hand who will revive Fortuna,,' (LWW
JAN Yah'.' Wcll, I ' l l jusr cd1 on ont. of thern rovers and tell 'rm you'rc iiioriopuii~iny thc rnüciiinc.
JAN You'rc hogying thc machinc. A grunting god-damncd pis. You don't uwn it you know. Y«u shouldn't bc. plaviny thc llamin scvcns, y u should bc playing thc pi ggy-hiink mac hincs.
JAN Yoh. shc's hogyny ihc machinc. Monopoliziny thc müchinc.
MK. MNDI-1' Thcrc3 no timc liniit on play.
JAN f3iit it's not k i r .
JAN I wanna spcak to your boss.
MK. RANDI'I' (Ir,i~k.s i ~ p ro ANNOUNCER. whr~ s i i î i k ~ ~ s h i s / J L W ~ ) I am thc boss. !t 's tirne for you to move on.
JAN I'm not movin' until 1 cash on that machinc
MR. BANDlT You have to movr: ol'l'the prcmises.
MR. BANDIT This is a rcputablr gaming establishment. You have to Icave.
MK. BAN DIT WC aplogizc. Comc bock tomorrow
JAN But what ahout ber'?
5 . i i m nor crcating a disturbancc.
JAK Shc's hogging thc machins.
MI<. t3ANI)lI' Than), you Ior coopcrating. WC look Sonvard to scrving p u apüin.
1 . 3 . ( / o S1.0'1'~ I apologize 10r the commotion. picüsc cnjop your play.
WIY Qiiinclla is goinç to s c r w Jack Spcck and hcr I'rithcr
P l . K E W d I . 1 don3 know about sçrcw.
WIN Shc has tu look out for hcrscl f.
PLACE 750k ain't gonnn p h r
WIN A momcntary attachmcnt to licedom. Jusi imaginc.
PLACE Not enough to buy al1 that she could want.
WIN What would you do if -ou hit the big one?
PLACE Ncver expect to win an-hing. Don't koow how to play the same. You'?
I N I'd live in a tçlevision commerciül. My worst probleni would bt: solvcd by rcvolutionary new products and I'd look beauiifu! while 1 use them. My wholc world would have a warm golden hue ufclcanliness and aiilucnce. and it would bc sct to thc melodi«us rhythm ol'çommcrcialized classic rock
Swne Four
Sl.0'1' and M U . BlI'i'S A11 accountcd !or
b1 K 131 1 - 1 3 I low's out- stock doin-'!
M K ni-r-s wh;it's that'?
JACK SPECK An cntirc stablz. i t means an invcstment of n million. two-lifry.
MR BETS That's prctty rich for my blood.
JACK SPECK You'rc onlç in for hall'
SI.OT What's the angle'?
JACK SPECK Old trainer wants out and is puttin- up his cntirc holdings. CIc's goi û
horse we wani and its entcred on Sunday
MR BETS You know the t r a i n e r ?
JACK SPECK 1 know someone close to him.
MR BETS Rel iable'!
JACK SPECK Very.
SLOT You moving in bcl'ore the race1>
JACK SPECK Yes. Thc horse is yoing to rnalic us lots o f cash.
MR BETS l ' vè hcard that bcl'ore.
JACk SI'ECK I savc thosc speculations tor when I'in conlidcnt.
SLO'I' What's the stock'!
JACKSPECK Wctakcovcrth~c.ntireportfolio. I'hcraçchorsc.aIàmandallthc cquipmcnt ncccssan to inovc in and set up. You c m touch y u r invcstmcnts.
SI.01' Al1 this time and I'vc nsvcr sccn my stock up close. I've üI\vavs wantcd to bc more dircctly involvcd.
MK BETS 1 don? carc to ûcquirc a lot ol'uscd cquiprnrnt. and I 'm not yoing to stün shovcling shit. In Iàct I likc. thc tidincss ol'watchiny a monitor t'rom a distance. Bettr'r angles.
JACK SPECK Nothing wruny with a littlc uscful labour. but if y011 don't want to touch or smell ihc livc product. no problcm. I'vc go1 a managcr al! !incd up.
SLO'I- Who'?
JACK SPECK My informant. Shc's close to thc old man.
MR BETS A womrin?
SLOrI' What's wrong with a woman?
MR BETS Som.. . But, a lot o f physical labour. somctimes violcnt mimals. Danycrous !or a woman
JACK SPECK Slie is totally qualified.
MR BETS Ewn SO.. .
MR BETS What the hell was that?
SLOT Anothcr threc-hundrcd dollars. That makes six-hundred and twcnty today. Not brid.
MR BETS Bells go otT when you win money')
SL.01' Not only that. but a crowd güthers to look at mc.
JACK SPECK Right. S« are wc ail i n?
bIR B E 3 5 h har 's t hc loss factor?
JACK SPECK T ' h m isn't one.
MU 13E?'S Oh rcally'' Youk not asking mc to invcst in Canada Savinys Bonds. 'l'his isn't i nvestmcnt ki ndcrgancn.
JACK SPIKK 1 undustand.
MK 13IA'S So. whrtt's the loss tictor'l
JACK SPEC'K Thc old man wants out. It 's ihat Ca-. A mi Ilion and a quartsr up licm buvs thc u-hole lot. Movc in a manager and wc got ii wrchousc.
JACK SPECK Isactly
SLO'I' 1 likc the idea of a fkrniilc managcr. Ençourqc. pcrtbnancc instend 01' whippiny it into action.
JACK SPECK Totally compctent. lnnovativc and prsuasive. And likc the! say. "1 fyou can't crcatc. bu! a cornpany that cm."
?/IR BETS l ' I l make up the difkrcncr, but if I lusc I'm outta thc gamc.
SLOT Don't bet what ;ou can'i lose.
JACK SPECK Excellent. Let3 pct somc horscs ladics and ycntlemen.
SLOT Hear. hçar
PLACE Thcv donet know he's betting oyainst the horsc.
W I N I t sccms evcnonc is betting agains t the horsc.
PL.ACIi Esccpt thc groom.
WIN Groom's arc si) li~yal.
WIN J~çk'sy~tihcirconlidcnccand hc'sgonna t ly it'hcloscs.
l % \ ~ ' l * : Or tccp plüyng when hc wins.
A I t»lJ y' i t dun't n ~ i i t t c r how hard I in.. no th in ' stûys cleün. I'hc dust scttlcs so thick. y u ' d think i t had bccn hcrc Sor a hundrcd ycars.
'TOGETI-IER Another.
JAN Anothcr, rinother.
QUINELLA Can't raise the ire o f my mothcr.
JAN No, Jrsiis. 1 guess you can't.. .
QUINELLA Never could.
JAN You wanna bum ont.')
QUINELLA Yah, what the h d l
JAN . . . Just as wcll p u pot sood memorics.
QUINELLA Wtr wcrc pcas in a pod.
JAN 'I'wo peu.
QUINELLA Y up.
JAN Two pcas in a pi. And it takcs iwo to makc a horsc racc
QUINELLA Or. tango.
JAN I dun't know. rnaybc you could raiss hcr irc. Shc's h m .
QU1Nf:LL.A Who'?
JAN Your muthcr.
Q U l NEI.1.A WhaP
JAN Shc's hue.
QUINELLA W hcrc'?
JAN Righi therc. ( p ~ i t l t s to .riiill/ Shc's takcn possession of' that horsc.
QUINELLA You arc so mcssed up.
JAN I h m hcr. I 'm alont. in ~ h c barn and I hcar hcir murmuring.
QU INELLA Y a ha?
JAN Creeps me out.
QUINELLA So, my mother has taken possession of the horse?
JAN Yup.
QUINELLA Good place for hcr.
JAN Always lovcd the horsc.
QUINELLA Bred the horsc hcrself.
QUINELLA Ncvcr sccn it donc.. 1.d an old stallion with no brecding up to a brokcn down brood marc and watchcd thcm go iit it. All by hcrselî'. Just ticd thc old marc io the arcna wall, clipped a lungc linc to the stallion. kept him in linc wiih a training whip and watchcd thc show.
U A No kiddiny. Thüt's why shc Iovcd him so tnuch.
(~lJINE1,L.A Shc just loved y u . Didn't shc'? Figrcd shc \vas your marna. You old suck. 1.ovc.d yuu morc than tnc.
JAN What's his brccding?
Q U I N E L I A Not z specli of blue blood bctwccn thc sire and dam. Avcrac. middlc class citizcns in rctireinent, brouyht togethcr in thc style ot'their tolk hrro sincestors.
JAN Whcrc'd hc pet ihc spced'?
QUINELLA Who knows. You could pay top dollar stud ke. or buy an Amcrican yearling Ior 650K and not have a spcculative chancc in Iicll against a home bred Canadian. . . May as well donaic to the arts.
JAN Three people aslied me about the horsc today. Knowin' what happcncd to your mothcr it kinda makes me sick.
QUINELLA The wager has gottcn around backstage and everyone wants a piece of the action.
JAN Backstage'?
QU INELLA Backstrctch.
JAN 1 didn't sey nothin'.
QUlNELLA I'rn starting to like the horse.
JAN l'vealwayslikcdthrhorse.
QU iNELLA Maybc I should bc bctting ior him.
JAN You'rc betting against hirn!'?
QU[NtL.LA Y ah.
JAN Th& sacrcligious.
Q U INELLA Just looking out t'or myscl L
J A N Ncvcr bct against your own horse You wünt the w a t h of thc gods ul't'onunc to punish p u . thiit's just askin' ibr it.
JAN You'rc disgusting. Bctting ügainst p u r own horsc
QUINEL-LA What thc hsll do you know about II*?
JAN I t ' s not cvcn my horsc and I would nsvcr Iwt against it .
QUINEILA Tliat's whv you'rc a loser and I'm not.
JAN Eatshit.
QUINELLA You'll bc sating shit.
JAN Your mother is listening
QUINELLA Su?
J,4N So?
QUINELLA 1 yuess she's go1 to pick brtween mc, my kthcr. Jack Speck and the horse. Who's it gonna bc ma?
JAN I'm hcading back to the casino. 1 have a datc with a machine. (errrlizg rowords siof-nttrcl~rnc) 'Tomorrow.
ANNOUNCER WC'VC rcachC\d thc thr~~-quüTtt'r pole and the race is getting cxciting. The traincr remains on top. but the daughicr is spseding up with a rcncwd sense ol' purpose. Can shc catch ihc old inan? Or. wiil thc g r o o m ' s loyalty comc t'rom behind'?
JAN Nah. somc woman playcd al1 düy and jinxcd thc machins. I jusi lost rny last twenty buclis.
JACK SIJECI\; I ' I I bu? you a dnnk.
JAN Bccr. I'hanks.
JAN Yah.
JACK SPECK Funny. but whcn I mci you 1 ihouphi ?ou wcrc a puy.
JAN I'hanks ri lot
JACKSPECK CI~.ûncdup.you'rcaprc'tiygirl.
JAN Yah, wcll.
JACK SPECK tlere's twcnty hucks, sec if y u can cash.
JAN Thanks.
JACK SPECK I get halC
JAN I'm playin' the maximum wager. Let's sec how long i t takes to lose twcnty- bucks.
JACK SPECK Hit it baby.
JAN Withmyluckyouwon'tgctyourtwvcntybucksback.
JACK SPECK l 'm conlidcnt.
JAN Lost it and won it back iii scconds.
JACK SPECR Wny to go.
JAN I'akt. i t.
JACK SITCK Y o u kccp it. You'rc lucky.
JAN Thanks.
JACK SITCK Stay with rnc lbr ü whilc and you'li yct I i ick> agnin.
JAN What inükes 'ou so contidcnt?
JACK SPliCL N o confidcncc. y u don't wiri.
JAN Conltdcnçc is what I lack.
JACK SPECR Gotta go protkssionül. Spccializc.
JAN t-low rnuch arc o u up?
JACK SPECK I don2 know. Ncvcr count.
JAN What's your sysicm. Givc me sumc hints.
JACK SPECK I d o i t divulge my secrets.
JAN C'mon.
JACK SPECK You j ust gotta know how to read û program.
JAN Scc,theresheisagain.
JACK SPECK Fogct about her.
JAN I t just eats at nie.
JACK SPECK Forgrt about it. tlavc anothcr bccr.
JAk La. y. I l i iorgct about her whcn I cash on our bct.
JACK SPECK Oh'?
JAN Ya. Myhorscisgonnacash.
JACK SPElCK Thcrc. You go1 soms conlidcncc a h al l l'hat's al1 i t talics. Rcad thc program. makc intelligcnt choiccs.
JAN I think its al1 luck.
JAN 1 bwn playing this gamc a long timc and I'vc ncvcr cashcd. It's a pd-damncd lottcry. Most intclti-cnt choicc in thc world is not gonna stop a horsr tioni M i n g down.
JACK SPECK Anticipacc thc variables.
JAN I can rcad a program insidc and out: thcrc arc too man? voriablcs. Kandom sclcction.
JACK S P K K Don't nccci to rcad thcm dl.
JAN Which oncs arc esscntial'?
JACK SPECK Dcpends on how you rcad it.
JAN Well, what do ?ou rcad t irst?
JACK SPECK Namès.
JAN You pick names?
JACK SPECK Ncvcr bct un a stupid namr or a namc thai thinks its ü winner on its iirst timc out. Nevcr bet on a horst. callcd "Can't L w . " It will lose every timc.
JAN That must bc my name.
JACK SIIECK Chngc your name. I'vc donc it.
K . A I 'vc donc it.
S1,0'1' I'vc donc il.
JAN Maybc I should. Müybe l'II win.
JACK Sl'liCK Stick uith us and you will.
JAN I 'm stickin' likc shit to a barn u t ' s ass.
J A C K SPI fC'K Nc\ sr wakcr. bct liom y u r -ut.
J A N I'hai's \\ hiit > ~ i i do'!
JACK Sl>liC'K t!wy tirnc. You Ict somconc dsc convincc yoii you'rc wrong and y u ' r e \\.rang c \ q timc. Rct againsi yourscl t' and !ou losc.
J A N Y w txid luck'.'
SACE; SIW'I.; I'm thc bcst luck you'll c r u Iind.
JAN Sprcüd i t on mc.
JACK SPECK My plücc'?
JAN Gotta be bc'tttlr luck than mine.
JACK SPECK Then let's go.
SLOT Thcy'rc otï'.
MR BANDIT And pacing.
Sctm Seven
QUlNELLA rv1rkt.s irp unil h ~ y i n s r f ) fidd hlunkei. JACK S P E C K mil JAN ~w1c.r.
JAN Moming.
QUINEl.L,A wot.
JAN rfh;dnhs
QUINE1,l.A
JACK SL'ECK
1 ' ( 1 1 LYL'.
QU1NELl.A
A Y-
JACK S W X "
Morning. You look likc !ou werc rodc hard ail nighi and put away
Righi bück itt yii'. hha i ' re you dom' sleepin' in thc barn?
Didn't want ünyonc tümpering with thc horsc.
1 Icllo.
Arc. poil two togcthcr'?
No. No. ~ v c mçt on thc way in. 1 was hoping io catch y r 1Bihc.r.
JAN You two know cüch other'?
JACK St3ECK Business.
JAN Oh.
QUINE1,L.A Business.
JACK SPESCK 1s hc hcrc?
QUINELLA Not !et.
JACK SPECK Whcn do ?ou cspcct him'?
QUINELLA An' timc.
JACK SPECK Mind if1 wait?
QUINELLA Not at dl. Lct's al1 wait.
JAN He been fed'?
QUINELLA No.
JAN 1 ' 1 1 f'txd.
QUINELLA Yah. That's your job.
JACK SWCK Wc happcncd to walk in ai the samc timc
QIJIN1:I.I.A You think I'm stupid.
JACK SPFCK Ol'coursc not. Relax
()L~IN14~l.I.A I h o \ $ .
JACK SPIXh; You arc imngining i t. ( ~ . c r l / r ~ t , l : t o JAN 1. Do wc know cach othcr?
JAN Nopc. Mct him coming in ihc barn.
JACKSPEXA Sec.
QUINEl-1.A Yah, siirç.
JACK SPECK Would shc lic to yu'?
QUINELIA AI1 grooms lic.
JACK SPECK That's not truc.
QUINELI-A I'vc bcen a groom. You'rc both Iyiny.
JACK SPECK You'rc rcadinp thc program wong.
QUINELLA 1 don2 think so.
JACK SPECK Relax. Evrrything i s still the samc.
QUINELLA I don3 kiiow about that.
JACK SPECK Listen. you aren't going to bloiv Our deal becausc you think somcthing might have happened arc you'!
QUINELLA Wouldn-t that just lùck you up.
JACK SPECK Might tùck you up too.
QUINEI.LA Morning Daddy
WILBER'I' Dcar'?
JACK SPECK Vcry wcll. and you?
JACK SPECK I'm looliing fbrwerd t« this business transaction.
WILBERT 1 wouldn't cal1 it businèss.
JACK SPECK No'?
WILBERT Busincss is whcn p u cischanpc one product for nnothcr. I I ' i lose. I'vc yot nothins, if !ou lose. you'rt: out 7FOK.
JACK SPECK 750K8?
QUINELLA No-Yçs. 1 mean, 1 esplaincd to my Father the wav the wagcr would w r k .
JACK SPECK 1 set..
WlLBERT What 1: arc doing, its spcculative risk.
QUINELLA Daddy, Ict's not gct ticd up in the moral dcpravity of gamblinp. It's perlèctly Icgal. 'The govcrnment collects revenue frorn it. Churchcs collect revcnuc from 11. Pcople arc saved from the strerts bccause of it. It is a perîi.ctly Icgitimatc and legislated entertainmcnt product.
JAN Yah. tlicv cven sct up a hotlinc fbr problem gamblcrs.
Q U I N E L L A Yah. Scc'!.
JACK SPECK I a m ayrccd on thc stakcs.
QU I N 1:L.I.A >ilrr.p*r.s I , J JACK SPECK ' S cJtir. /A1 trcrm io hcr iml . h i k c ~ . v /tis l w d Shc hc*c.orncs visth&* M , ~ Q ~ .
W I LBl-:RT What's that'.'
QUINL-lI,LA Nothing Lladdy.
WI1,BF.RT What wcrc ?ou whispcring üboui?
J l A Nothing. I was thinking that thc dcd \vas a million and not 7501;.
WILHERI' You said 750.
QUINCLLA I did, I know. but wc ucrejust tülking again this morning and 1 thought wc had agrccd that a mi Ilion was o l h r pricc.
JACK S13ECK
WI1,REK'T'
QClINE1,l.A
WILBERT
QUINELLA
WILBERT
JACK SPECK
QUINELLA
1' Il scf~lc on 750.
720 is tàir cnough.
I think i t should bc a million.
Whiit is it to you?
Well I sct i t up didn't 1'1
750 is làir cnough.
1'11 settle on 750.
I think it should bc a million.
WILBERT Enough!
JAN Sounds like you guys need a refcrrc.
WlLBERT It's my barn, 1 will set the stakcs.
JAN Ycs, sir.
Q\JINELI.A You shut up, p i hiivc nothing to do with it.
JAN Ialrcadymüdcmybct.
Just mind your own business.
What's thc mattcr with y«u? Thc dcal is donc.
Evsryihing was just Iinc.
Stop bcing such ii child.
Nho'l l hold thc bct')
Ycs. -011 hdd the bct.
I should hold it.
No. shc's nut involvcd. Shc holds thc bct.
Shc bct the horsc. too.
JAN That's got nothirig to do with this wapcr.
WI1.BEKT Shc holds the bct.
JACKSPECK lagrce.
QUINELLA Alright. alright.
JACK SPECK Nice doiny business with ?ou. May the besi man win.
JACK SPECK und WlLBERT slztrk~. lzunth.
WILBERT Best man? 1 don3 know whsthcr ihc best man evrr wins a wager.
JACK SPECK Wc'Il sec.
QUINELLA l'onight, Daddy.
W I Lf3ERT L ~ . Y .
JAN ( 1 0 JACK SPECK ) Just another tùck eh'?
OUI N1:l.L-A kclu'rc. h c i .
J A N I low \vas 1 to know you t w w ?
I l 1 I d o i t Lnow. Rcad ihc god dainncd signs.
J A N Whiir w s hc gonna sa'? Oh 'ah and I'm doin' thc daughtcr'?
()h Ibr god's sakcs. is cvcryons out to yct mc?
Y011 uscd mc.
Nci m m h i n !*ou uscd mc. WC still hüçc a dcal.
l'ou rncan. y u hm c a dcal. My dcnl was iurtkd by ZSOK.
'1-hiit \jas your mistakc. Yoii shwld h w ç told mc.
So whnt about my 150K'?
The horsc loscs. 1.11 throw ihe 150 your way. Oka''?
I don3 trust !ou.
Thac's the risk ?ou takc.
JAN AI1 sc'ttled.
QUINELLA You'rc still f7rt.d.
JAN Your dad has to tire me.
QUINELLA If the horse ioses you'rc out of a job.
JAN Everyone wins but me.
QUlNELLA Whrit about me'?
JACK SPECK Whni about ?ou?
JAN i-ittlc princcss conniving bcihind your Iàmily's back.
JAN Spoiled littlc bitçh.
JAN You want it 311 and to hcll with cvcryone clsc. F<spccially your mothcr.
QiJlNlS1.I.A bked I rcmind yoii whcrc you slcpt'?
JAN Kopc. 1 rcnicnibsr jusi tinc. Finc
JAIV Yiip. I rcmcmbcr jus1 tinc. E'inc. oh tinc. oh Iinc.
COMMENT 1 WC arc joined by our soldcn throütcd Aiinounccr. ladics and gentlcmcn. Welcomc.
COMMENT 2 You've been calling raccs for years. Whiit's your most cnjoyablc d l ?
ANNOUNCER When horses are going for big stakes. Thc emotion of the fans. the anticipation of the owners, trainers. drivers and grooms tloats into the booth.
COMMENT I Up in the sky.
ANNOUNCER My lonely booth at thc top of the grandstand.
COMMENT 2 Do you fecl li ke y u havc a grip on thc racç'?
XNNOUNCER I've sot to g t it n'ght. Call the wrong horsc at thc wirc, and I'm out of' ü job.
CGkiklENT I Precision of the gods.
ANNOUNCEIi Sincc whcn werc p d s prrcise?
C'OMMliNT 1 Clow about tonight'? I lavc üny tBvourites'?
ANNOUNC'LiR Thc scvcnth racc fret.-for-al1 trot. Onc horst. hasn't rawd in a î h v wcclis. Qualilïed \vt'll. but quûliticrs don? ülways rcprcscnt a horsc's libility.
cOMMliNrl- I I dwavs caution against a horsc corning otl'a qua1 iticr.
COklklF N I ' 2 I'w hüd succcss thet way.
C'OMiLIIiNT I Any othcr horses wc should watch h r ?
COMMENT I I hcard a rurnour backstagc that a iwo-million dollar wgcr has bccn placrd on ihis race.
ANNOUNCER Kurnours are bred in the backstrctch.
COMMENT I If its truc. somsbody's prctty contidcnt.
ANNOUNCER When the horscs go bchind the p t c its a honc racc.
COMMENT 1 Thcrr 'ou have it ladies and gentlemen. wc'll bc back in a moment with thc cal1 fiom thc booth.
Scenc Ninc
lVhen (hc. Irgh~s corne ilp M R BETS, SLOT, QUlN ELLA. JAN rrrtd W ILBERT mukc t h ~ w wciy into rhc m h ~ n c e AN NOUNCE R, in hoorh, rc-frirvrs h~mhcr, ri prrr o!/'hrnucirfur.s und u progrcim.
ANNOUNCER Thc horses arc lined up at the gatr for the seventh racc ladics and gentlemen. The mutuels are now closcd. It's scventh racc pst-time.. . Th<: seventh race is at the gale.. . Thcy're off and trotting.. . As expected the one io two favouritc has burst h m thc gatc to takc the early Irad.. .
QUINL3-1.A Shc's goin' ro Jnck Speck's stable now.
WILHERT W h m is hc?
QUINLiI-LA 1 le's watçhing thc monitor In rhc bar
A N N O U N C E R 'I'hey arc prissing i n liont of thc grandstand. the agcd trotter in front. thc vouny stallion titting into the rail in sccond. thc tilly in third and thc gclding Iollowing thc field by IWO Isngths in Iounh.
QLJINEILA ((0 JAN) Movc out of rny way. I can't sec.
J A N Wriichthcmonitor.
J A N Watch the tucking monitor
QU INELLA Get the t'uck out ol'my way
ANNOUNCER As thc horscs come to thc quartcr polc. position remains thc samc. although the fillv is mating a movc on the outsidc. lirst up and closing on thc stallion.. . The quartcr is rcached in a timely twenty-nine seconds--the til ly sti Il trying t» ovcrtalic thc stallion. now parlicd on the outsidc.
Q U INELLA Let her by.
JAN Hang her on the outside.
ANNOUNCER The aged trotter remains on top sctting the specd. While the 1i11y and stallion battlc out thc sccond quarter, the gelding has caught up to the licld and is grinding up close to the stall ion. He's nudging the driver's hclmrt, ladies and gcntlcmen.
JAN Would you two stop scrcwing around'?
QUINELLA Get off his back.
JAN Wc'll scc who ends up on hcr back.
Shut up.
J A N You shut up.
ANNOIJNCliR I'hc gclding is liccpiny up in hu r th as the 1iHy pulls baçii on the outsidc. Shc sccrns to be tiring and. lookinp for a brcathcr. shc pulls back to Iüst bchind the gc!clding.. 7'hr old trottcr rcmains on top. unphascd bv thc mancuvcring bchind him. f lolding strong hc reachcs thc ha1 f in tifiy-ninc scconds. Thc old klla is controlling thc race ladies and gcntlcmcn. hc's go1 çlass.
Ilon't gct smug. 'fhcy arc only just passcd the hall*. ünything can happcn in thi
second halls. Thüt old buggcr'll gct tircd.
ANNOlJNCFIR The old trotter is now ahcad of thc Iicld b' thrcc Icngths. but the yclding is looking to mükc a movc l iom the outsidc.. . Thc stallion is hanging gcldinç on thc outsidc while thc tilly rcgains somc spccd at the rail.
WILUERT Kecp i t up thcre old klla. kcrp it up.
MR. BETS HL' can't hold on.
ANNOUNCER Thcy arc coming to t hc three-quancrs and around the tinai turn. in onc- minute and thiny seconds. It's down the streich thcy çomc.
JAN Hc's gonna do it.
QUINELLA Shut up, shut up. you'll jinx the race. Never cal1 a race belore its tlnished you moron.
MR. BETS He can't do it. He's tiring. 1-le's slowing d o m .
QU1NELL.A Sec. You'vi: niined it.
JAN Yau bet ayainst him.
QU1Ni:L.lA I changed my mind. Oh yod. cither win so this niyhtmarc ends. or losc so 1 can cash.
JAN Hc's still hanying on. i-lc can du it. C'mon baby. do it h r me.
A N N O U N C E R 'I'hc gclding has now passcd thc stallion in thc Iinal push to thc wirc. 'fhc old trottcr rcmains on top. but i s visibly tirinp. 1-hc tilly has moved up thc rail on thc insidc and is i ~ i n g t« gct püsi ~ h c stallion. Ilc-s holding hcr on the i l . 'l'hcir whccls arc lockcd. Thc gclding makcs his movc liorn thc outsidc brushing by thc sttillion and 1s closing the gap. 1 k 's charging thc old trottcr no\+. hcrc's thc final cd1 at thc \vire.,
JAN Hc sot it. Yah. hc got it.
ANNOUNCER Thc trotter hris made a break. A break at the wirc. I Ic's galluping.
ANNOIJNCER Thcrc will bc an inquiry ladics and gentlcmcn. hold al1 tickets.
THE WINNER'S C[KCLE, EPILOGUE
JUDGE 1 Your horse is disqualificd.
Hc ran at the wirc.
And. you illcgaliy booked a million dollars against yuur horse.
I ncvcr bet against my own horses.
1s i t truc"!
No.
Did p u wagcr in Iàvour ol'thc horsc?
I didn't waper an? rnoney at dl.
W h m did the rumour comc fiom'?
1 d o i t know.
It smclls likc tising and bad publicity
I wuld ncvcr bct against my ou-n horsc.
You will bc banncd liom rasin-.
Y CS.
You will bc banncd tiom thc t r x k .
YCS.
Y«u will losc your livclihood.
Y es.
Wc arc invesiigüting.
I havcn't donc anything illeyal.
Your wi fi's unSortunatc dcath has madr y u inaiional.
Oh?
ANNOUNCER We arc the judges. we know cverything.
69
JUDGE 2
W I I .WK+I '
It was a terrible blow.
Thc blow was delivered by your horse.
Y es.
Any othcr pcrson would have dcstmycd thc animal.
My wilC loved the horsc.
i)ur c w d ~ i t ' n c ~ s , but thc i:xt rcmilins-this wlil jcopardizc tlic tùturc
h n d mine'?
Altrr a hundrcd p r s ol'cstablishing a rcpuiation for hinicss and g««d gaming wc inust do dama- conirol
J C [>(il.: 2 I3asc.d on thc suspicion of unlj vour horsc.
I t can't hc provcd.
WC don't scc ;in ;tltt.rnatiw.
It*s a riimwr.
1 low do -ou plcad?
Not guilty.
Your dcfcnsc?
I havc ncvcr druggsd a horsc, 1 havc ncvcr tiscd a raçc. 1 havc a l w y s playcd by the rulcs. I rnaintain my intcynty as a h«rscman. 1 made a wagcr. ';es. but it was a wagcr with God and I lost.
ANNOUNCER Gui lty ! (hc siunis d i w i ri gitiul)
JAN Pay up baby. My horse won.
SL.OT I-k was disquoli t'icd.
JAN I lc madc i t across the wirc t'irst. tlc won.
SI-O'P 'The bct was that he'd sct a record.
JAN 'I'hc bct \vas that hc'd win.
S1.0'1' Sorn - . - voii losc. 1 havc witncsscs.
JAN Wclchcr.
Sl.0'1' Sorc loscr. b x k r) t'f:
Sl.0'1' I did i i I hit the jiickpot.
O \ ion. I won. Oh ni? god. I won thc big one I'riplc Ilaming scvcns.
JAN No wüy No Iucking wüy.
S1,O'I' L3ack otf'thc machine.
MR. BANDIT You'vc hit the jackpot.
SL.OT Oh my god. What havc i donc'?
JAN Ha. Look at hcr. Shc pukcd on hcr rnoncy
SLOT Get her away h m me!
MR. BANDIT Stand up. Lri me help you.
JAN Ha. Your winnings arcn't so pretty now are thcy?
SLOT Get h r r away from me.
JAN This is swcet justice. 'Thank you god.
SLOT Look at me. This is humiliatiny.
MU. BANDIT Nevcr mind. it happens to a loi of pcoplc. (rhy ht~,qln fo ~wr MMLJ MK. BANDIT w .vp:~drng ~ r r r ~ l r ~ ~ r n t w r ~ g JAN). Comc with me. WI: havc to tükc your pictiirc and hang I I on the wall ot'jnckpot winnrrs.
JAN Yah. takc her picturc with hcr winnings al1 ovcr thc fiont of hcr clothcs.
MR HANIII'I' It hnppcns to a lot ol' pcoplc
JACK SI3I1CI.; I>idn't th ink you'd makc i t to thc tinish.
J I l , A And thcn wc won and 1 changcd rny mind açain.
JACK SPECK What'rc ?ou gonnü do'?
Q U I N E I L A I'm going to corner the untapped trottin- mcrnorabilia market. ilntiquc lithogaphs. wcathcr vancs. trading cards. Pcoplc will collrct anything the? th ink is valuablc. whcther the? like ii or nui. Comb thc cuuntrysidc bclorc the old ljrmcrs reûlizc whüt thcy've p t . There's ovcr a hundrcd 'cars wonh in my Dad's barn donc. We'll do it topther. And when the artiljcts arc gonc. 1 . 1 1 manul'acture reproductions until the market is saturaird. Al1 1r.c need is a \vzbsitc and a warchousc.
JACK SPECK What about me?
QUINEL-LA You9ve won the ficklc Fonunü. Brccd hrr before she gels tramplcd
JACK SPECK ['Il ride her like a butcher.
PLACE Sir'?
ANNOUNCER Ycs'?
Pt . K I I Can I play Win's roles tornorrow'? I want ro \vin Ior a change.
WIN You'rc Placc. The loscr,
P[ .AC1 You'll tls it.
ANNOUNCIiR I prornisc 1 won? touch i t .
WIN I don2 likc it.
ANNOlJNCIiK What have you sot to losc'?
WIN My scniority.
ANNOUNCER ( io m r t / r c w ~ * ~ w/ir/c /idlowrr~,q hchurd WIN ciricl PLACE) That closcs ihc night's card ofracing ladies and gentlcmcn. Join us ayain tomorrow. Good nipht.
END
73
A tlenvord
The proccss or development of "The Butcher Rodc Fortuna" was cleariy guided by a
conflict brtwecn my position as a writer, with the intention of creating a play with thc
possibility for protissional production, and my position as a student, with the intention of
produciny an açademic project which would ultimatcly be challcnged theorctically in a
jiholarl> Ibruni. TIIC driyiiiul coiicrplio~i lbr 111ç play drvelopcd out ol'two years ul'
thcorctical and acüdcmic work within the univcrsity institution. Although thc play is a
crcativc piwc. it k inli~rmcd by an attachmsnt to çulturül matcrialism: a prirnay Ibrm of
ünalvsis studicd in thc gnduatc program at the University o f Guclph. I was intcrcsicd in
writing ri drama that would rcllcct a notion that thcatrical production and pcrbnnancc is
not liniitcd to thc stage. lndecd I had hopcd that by mctüthcatrirally tbrcyrounding thc
production ot'thcatrc in an industry culturally nligned with it. standardbrcd. hamcss
horsc-raçing, I would bc ablc to qucstion. nut only the parailcl production mcçhanisrns of
cach industq, but ais0 the cultural contradictions and the ciiltural dcterminants fiom
which thcy both arisc ( a projcçt possibly bcttcr suitcd to a tnditional ünalyiicül thcsis in
the form of an cssay). 1-lcncc. thc original conception tOr this play was noi reliant on an
impulsc to duplicatc traditional h r m s ol'dramatur~p that csplorc and natural izc c harüctcr
dcvclopment and audicncc cmpathy. This play was reliant on an impulsc to write a
maierialist play that esplorcd and intcrrogated rich cultural and historical f oms (horsz-
racin~ and gambling) that have signilicant implications in contcrnpornq North American
culturc.
On retlection, I considered a naturaiistic approach IO character motivation and
audience empathy as a stylistic choice that would subven the cultural framcwork 1 was
attcmpting to highlight. The historical conte'tt of the racing industry was my primary
focus and in order to explore that charactcrs would be utilized rcprcsentationally, as
secondary cornponcnts to the subjcct mattcr. Beginning thç proccss with an originary
fom of structure, Grccli comcdy. 1 was content to construct the characters of this play as
stcreotyped reprcscntations in ordcr to focus on ihc subjcet mattrr of thc play. As thc
proccss goi undcnvay I strugyled with this attachmcnt rcalizing that (bccausc of what is
1 ikrly to bc produccd profcssionally ). il' 1 intendcd to write a play with the possibilitv Ibr
production, then I would have to at lcast nddrcss or considcr traditional dramaturgical
mcthods thiit rcquirc psychologicallv dcvcloped charactcrs with cmotionallv motivatcd
actions. tlaving said thût. this cssay will isolütc thrcc clcrncnts of'thc play that wcrc
ahandoncd carly in the procrss: mctathcatrical rcprescntation in the corly pages of
plûytcri and thcsis proposal; Lcy aspects in thc culiural history of the intiustry ol'horsc-
racing; and. tïnally. thc narratormmounccr. All thrcc wcrc abandoned in anticipation of
dcvcloping ;i producüblc script adheriny to a thcatrc industry prcfcrcncc I'or work that
rclics on traditionai. naiuralistiç drûma. tlowwcr. the announccr and somc aspects ot'thc
cultiiral history of hamcss racing wrrc latcr retricvcd in ordcr to rcacquaint thc play with
thc rcquircmcnts of its original conception. Thc rctricval of thc announccr and lie?
aspects of thc history of harncss racing was an attempi to rc-infuse thc plav with the
metathcatricalitv of the original t'cw pags of playtcst. This paper will arguc that an
attachment to the possibility of production compromiscd the original conception of the
play, but also provided a neccssary modcl on which to balancc thc thcorctical project.
Abandoning the announcer and the cultural histoq ol'hamess racing subverted my
exploration of brms of mass entenainment (hamess racing and gambling being two),
which are clearly linked to a ninctcenih-ccntury adoption of mcdiûtized culture. By
retricving them, I was able to ût lcast subtcxtually approach thc cultural implications they
raise. lndced whether 1 was ultimatcly succcssful at convcying my original idea for T h c
Butcher Rodc Fortuna" is not so much at stakc here, as is the methodological
rrmploy ment o l balancc. through compromises and revisions, which amcndcd the
original idca oi' ihc plav.
Thc original conccption for "Thc Butchcr Rode i:onuna" was to writc a play that
esplorcd a cultural and mrdiatizcd lixation with garnbling; it would havc a winncr and ü
loscr and it would bc sct against the backdrop of hürncss horse-rücing. This play was
intcndcd to be a comcdy. and, becausc thc play rcvolvcs around horscs, 1 anticipatsd that
it might hüvc thc tlavour o h carnival or circus. In the carlicst sccncs of the original
pagcs of' playtcsi (scc cippcndis I 1. thc chorus parades in fiont 01' thc audicnçc. wcariny
masks dcpicting thc hcüds oi' horscs. drawing attention to ihc ritualizcd post-parüdc
heforc cach race. Not only did ihc original conception rcilcci ihc pcrbrrnaiivc nature of
the industp by parading a chorus in masks across thc stagc. but i t also highliyhtcd thc
racing program. which can bc conncctcd to thc progranis d a theürrc. Indccd, the
openi ng rcilccts a dcsirc to educatc an audience on the rudimentaries of rcadiny a hamsss
program. A novicc bcttor wil l bc attractcd to namcs and numbcrs when at a loss to read
the comples assonmcnt ol'statistics cornpilcd in a program. 1-lowcvcr. as thc Announccr
rnaintains, a hamess race program is rrlativcly simple to rcad.' yiven a -encra1 overview
of its structure. The impulse to begin the play with the racing program was an attempt to
----PL-
' One o f t hr a ttraciions to hamess racing is the sjmplichy of the race program. As the Announcer says. harness horses race a mile, unlikr: thoroughbreds that race a variety of ditTerent distances. The cornpetitive playing ticid for hamess horses i s always the same
luri: an audience into participating in the act of betting. It was also an attrmpt to identify
the basic mechanics ofthe industry: cven thc most cducated bet crinnot anticipnte thc
finish of a race; horses are entered in conditions, whethcr they be pacing or trotting. that
rcRcct their ability to competc. Thcsc shori sccnes providcd thc crcativc thrust on which
an analytical proposal and subsequcnt research couid bc. applicd.
Bscause thc sccnes arc self-consciously awarc oi'the~r position in iront oî'an
audience. thc thesis proposai contcrnplatrd what might bc an opportunity Ibr
mctathcatricality (scc appcndiu 2). Indcsd, i 1' ~ h c play wüs sel lionsciously awarc ol' i ts
rolc as a play iinmcrsed in a rcprescntatiw and pcrlbrmütivc industp. might thc play bc
able to comment on thc nature of pcrhrmancc'? And. tùnhcr. if the nüturc oS
pcrtorinancc wcrc to bc rcad as a çonicstod spacc. how might that resonatr: in the
mcdiatized ivorld oS sportsb? For, as was mcntioncd in thc proposal. racctracks arc fillcd
with video monitors, sirnulcasting rxcs liom othcr parts ol'Çünada and thc US. at thc
samc tirne as thc racc on thc track is both in proyrcss and displaycd livc on a monitor.
This simulcastcd simulacra, thcorcticallv. rnakss the llcsh and bled horsc. thc
pcrformcr. as much of an abstraction as the chorus mcmbcr wcüring the mask o t'a
horsc's head. Or as Phil lip Auslandcr puts it.
Thc rhctoric ol'mediütiïation imbcddcd in such dçviccs as the instant replay. thc
'-simulcüst" and thc closc-up, at one timc undcrstood to bc sccondary clüborations
of an originarj cvcnt, are now constitutive of the !ive cvent itscll'.
(36)
Auslander points out later in the samc essay that. ". .. we must cndcavor to situatc
particular performance practices critically in relation to the mediatizcd culture of which
the? are inevitably a part, dmwing on criticzl and theoretical discourscs of the media.. ."
(38). My intention was to highlight the mediatizcd world of horse-recing by cxposing it
as an abstraction of itsclf In i'nct, the geographical spacr in which it is vicwcd is
abstractcd: A fan in Ncw York City can watch and bet on simulcasttxi cards liom
l'oronto. To draw the aniilogy of abstraction out, it is conccivablc that the "national'-
border bci~vecti Canada and the Uniicd Statcs becornes absiracted as bets are piaccd
bctwccn nations.''
l'hc theorctical musinys »t'the proposal. ot'coursc. do not go so Iàr as to suggcst how
with clcvc'r staying rechniques). Would a thcütrc-gocr with Little or no background in thc
sophisticatcd thcorics ol'pcrlbrmancc bc able ta identie thc chorus mcmbcr. wiih thc
mask of a horsc's hcüd. as a simulatcd rcprcscntation of' the c'ficts of mcdiatiration'?
What tiad originally siancd as a rclativcly humourous look at thc uninitiatcd's naivc
mcthod of rcüding a racing program. hiid bccomc a sopliisticatcd and i ntcl lcct ual izcd
mcthod ol' rcriding pcrhrmance. Although the intcllectual punlc was üppealing and the
idcas w r c the creativc thrust ol'thc play. I bccamc conscious of ihc Iàct that thcsc idoas
might not bc transfirablc to thc stage. Indced. I balked at thc rcalizatiun that this kind of
theorctical drama miyht not Iind an audicncc. 1t conainly would not appcal tu those
involvcd in the industry of hamesç racing: it might in Sact alisnate them as *'other".'
--- - ---
'' The raciny industry Iboth thoroughbred and hamess) crosses national bordcrs continuously Canadian horses competc in races in the Cinitcd States and vice versa. Similarly. Canadian and Arnrrican dri\ers (the rlquivalent of a thoroughbred jockey) travel bctween çountncs This "trade" of talcnt is paralleled in oiher sports industries
i am particularly interested in appealing io the industry Litilizing the industry rnerely to expound on pcrtbrmance t heory. seemed to me appropriative in the wav Susan Bennett identifies in 7ïtccrtrc ..l tr~l~cticrs:
A &op of fJrtducflon cltni fi'eceptiorr. when she examines Bhamcha's critique of Brook's production of ,2/ld1~ihhtrrcrtu (pg. 166-73). 1 am not suggesting that my work is irafiscultural in the same way. however. it
As stated in the proposal, 1 was panicularly interestcd in how the production 01'
hamcss racing, which is gencrally bclicved to be a rurally based sport, bcgan on the
backroads of agricultural land and movcd to thc urban ccntrc bccoming n multi-million
dollar industry. This clcmcntary assumption proved f'alse and dcmanded a complctc
rcthinking of the l 'on the play would take. In rcality the industy ol'hamcss rricing
k g a n on the clty strccts ot' NCW Yurk - 4 larlcm Lanc to bc exact. As thc sport
progrcsscd. it bccamc an attraction at thc r iml kirs of agricultural Amcrica. distrcssing
an agriculturül population that bclicvcd the sport's popularitv had diminished the scicncc
ol'animül husbandry. ln ctli'ct. thc sport was urban and has continuouslv movcd out oî'
urban ccntrcs to the country. 'fhis move continucs today as urban racctracks ( l ikc
'['oronto's Grccnwood Racewav. th r sitc ofwhich is nou a housing dcvclopmcnt ncar
Ashbridyc's Bay) arc shui-down and rcpliiccd outsidc ol'thc city.
As prima? rcscarch coniinucd. tt bccamc apparent that the original conception ol'thc
plav and thc proposai would have to bc rithcr rcviscd or abandoncd in ordcr to makc
room l'or matcrial thnt significantlv chonycd ihc structure and contcnt of the play. l'hc
original structure ol'thc play was sci in the prescnt and was intsndcd to rcllcct thc
structurc ol'a Grcck comcdy. As previously mentioncd, il was hmulatc.d around a
didactic and instructional mcthodology thüt conccntmtcd on thc rricing proyram. As I
rcsearched thc industry it bccamc cleür that race proyrams arc a twcnticth-ccntury
phenomcnon and in the industry's infancy (mid-ninetecnth ccntury ) past pcrlbrmanccs of
horses wcrc aniculatcd orally or in industry pcriodicals. Conscqucntly the structurc of
. - - - - . --- - -- - - - - -- -
is culturally specitic and outside a general audicncc's immediate cultural expesicnce. For instance, many people who go to the races are totally iinaware that a whole community of horses. trainers. grooms. veterinarians, etc.. work in ihe backstrctchhackstage, conceaied from the view of the grandstand/theatrc.
the play was reviscd in ordcr to rctlect the social and moral dilrmmas that yambling. and
dl of its sundry activities, raised in the ninctccnth ccntury and that continuc to bc raiscd
as subjects for dcbatc today. I-lcncc, thc first act would be sct at thc turn or the twcnticth
century and thc second act would bc sct at the turn of the twcnty-lirst ccntury This
structure rctlcçts both a thcorctical and ii crcntivc dcsirc to contcntual izc cultural history,
and to cxplorc a srory. and its charactcr rcprcscntativcs, that bcgan in thc ninctecnth
ccntury. Aflixiny thc play's structurc to a racc proyrüm secrncd unnecessiin; and
unwieldy givcn thc ncw opportunitirs the matcrial ollbrcd. And, indccd. tliis impulsc to
I q i n writing with a structure. and noi clcarly idcntificd çhanctcrs. bccamc a
complication. Bccausc charoctcrs wcrc dcvcloping ou i «t'a liscd structurc. wcrc situatcd
in ü historical contcnt without clcarly dctincd cmotional conncctions. and w r c n«t
drivcn to action by plot. the? soundcd woodcn and t h . This rcsultcd in wholc
cnplorations ofhistorical subjcct mattcr to be thrown out. without subscqucni
cxarnination. to which 1 will rcturn momcntari ly.
Not only did the rcscarch chsngc ü Iùndomcntnl pcrccpiion ofthc industry. but ii
illuininatc.d ii cultural history thai had Sunhcr rami fications in t hc production ol'
médiatizcd culture. Pctcr C. Wclsh commentcd in 7rirc.k m t l I < t r d : Ihc . - ! I ? I L ~ ~ ~
/ rott~tl ,q Hor.w+
Thc lithognpher as thc popular rccorder and intcrprctcr oî'a singularly
Amcrican pastimc wüs. dcspitc evcr yrcatcr takes at the tumstilcs in cvcry
driving park, losing ground to the more immediaic. novel. real istiç. and accuratc
image captured by the cameraman and his Icns. The t'olio portraits ol'horscs
and track scenes sufkred increasingly t'rom the impact o f photugraphy. The
lithographie ürtist found the romance o f the trotting turi'stripped away by thc
harshness and accuracy of the still photographer. (50)
Not only had thc spon rnovcd into modcm h m s of rncdiatiation. but it was also a
prccursor to thc Disnryficd comnwdity culture o f the twentieth century. Welsh gocs on
to say,
The imagc o f ihis institu~icin-- Amcrica's Ii rst mass-supportcd and rnass-
eiid«rscd spcciütor spun- -appcarcd nui only in painting and lithographs
but alsu in thc fonn ot'wcathcr vancs that adomcd barns and homes. -1'hc.s~
marvel«us dcviccs. boih commcrcially madc and Iblk çün;cd. arc a dccor~tkcr.
material link beiwr.cn the rural Amcrica that bcgot thc champions ol'thc turf'
and thc tàst-rising urban socicty that csploitcd thcrn. (40)"
Thc i k t rising urhan society Wclsh rcfcrs to wüs Iargely middlc-class. and i t was
attractcd to both the productive usagc of thc harncss horsc and its müss cntcrtainmcnt
appcal. Amcrica's attraction to thc hamcss horsc rcprcscntcd a cultural and cconomic
shiîl in brcaking down class lincs in Amrrica's movc into modcmiiy. In the Iirst drafl ol'
tcxt I trird to addrcss both the urban csploitation Adlcman rcfers to (scc appcndis 3 1 and
commrrcializcd links to thc horsc by Socusiny on the contlici bctwccn urban dcsire to
protit fiom the populariiv o f the industry and rural anxieties ovcr a thrcatcned Iivclihood.
lndeed the popularity o f the hamcss horsc coincided with a burgeoning rnigraation t'rom
thc country to thc ci- and its employmcnt links to industrial entcrprise.
It is no wonder that the agriculturist saw the trotter as reprcsentative of a presunied loss
of livelihood. The scenes in the carly draA that reprcsentcd this speci tic historical
situation wcre abandoned because charactcrs wcrc not cmotioiially devcloped and a plot
had not becn constructed to fuel thcir actions. And, although soine elements wcrc
rctricvcd in a morc diffuscd rnanner in later drat'ts. (ses Announccr's specch at thc top of
Açi 7 ' w j ii t u s appürrnt ai this çarly stagc ihat crnotional crnpüthy with ililly-tlcshcd
out charactcrs miyht subvert the culturd and historical material thai prop.Ilcd my intsrcst
in ihc subjcct.
The cultiiral translbrmütion of highly concentratcd urban ccntrcs and an rconomy
linkcd to industry \vas minorcd by cvcr-incrçasing leisiirc üctivitics that occupicd the
m iddlc-class. The commcrc ial orgünizütion of sport is linlicd to the harncss h m c of the
ninctccnth ccntury. And. t h ç populanty of thc hamcss horsc did not bodc utIl Ior ils
aristocratici.d ly pa t ronid countcrpart. thc t horoughbrcd. Whi le the patrons LI 1'
thorouyhbrcds clun- to a purcly prc-rnodcm tbrm oforyanization: ihc patrons of harncss
racing capitalizrd on modcrn busincss innovation. Mclvin 1.. Adlcman notcs thc risc of
modcrn sport in ..l hpt~n~n,~ I'rnre: .\iw York '1-1 u d r l i ~ ~ I 0 . w o/'.\ lotl~~i=u . - J / ~ / L ~ I I L Y . IMO-
-0. tic providcs a detailcd chan »utlining six criicria on which the risc dmodcm sport
rcplaced prcmodern spon. Adleman's six criteria includc "Organization". "Kul~s"~
"Corn pctition". "Rolc di frcrcntiation", "Public information" and "Statistics and rccords"
(6 ). tlc contcnds that pre-modcm sport was largdy unoganizcd and ihat ". . . contcsts
[wwjre arranged by individuals dircctly or indirectly (cg.. tavem owners. bcttors)
involved." Thc move to organizcd sport bccame ". . . krmal: inst i tutionally di fkrentiated
at the local. regional, and national levcls." Premodem spon did not have a clearly
definrd set of rules, whereas modem sport provided rules that werc ". . . standûrdi~cd, and
writtrn: rationally and praymatically workcd out and legitimatcd by organization[üll
meens." "Corn petit ion" bccamc national and international, moving away liom locali~ed
interest. The rolc of spectator and compctitor becamc more particularly diflkrentiatcd.
and the profcssional sports pcrson emergcd. Media, in the Som ol'ncwspnpcrs and
specialized joumals appcarcd, drnwing nway Iiom a pre-rnodcrn attachrncnt to oral and
lirnitcd local announcemcnts. And linally, statistics wsrc ". . . kcpt and publishcd on a
rcgular basis; considercd important rnsasures ol'ochicvcrncnt: [and] rccords [wcrcl
sanctioncd by national associations." ( 6 ) Indccd. Adlcman links thc cvolution of modcm
sports organiïation io thc hamcss industry. which prcdütcs basebal l and football, ihc
sports that would borrow thc industq's organizational rnodcl md fiu surpass thc harncss
horsc in populority as thc ninctscnih çcniury cams to ;in end.
Thc inclusion ol'ihis fundarncntally importiint cultural histop rcmains. as ihis pro-jcct
cornes to an end, a source ot'con!lict in thc dccclopmcnt of the play. I t \vas addrcsscd in
drafi onc and abandoncd in drali two becausc. ügin. thc characiers w r c not 1ùIIy Ilcshcd
out, a cohcrcnt plot had not ?ci becn dcvcloped. and thc inaisrial soundcd l ikc a lccturc
in dialogue. It was rctrirvcd and pürcd down cunsidcrably as a proloyuc to draft thrcc.
situating thc historical contcst bcforc thc main charactcrs cntcr thc stagc.. . and ihen
abandoncd becausc it did not structurally fit thc prologue. 1 did try (sce appcndi'r 4) to
retrieve this sccne one last lime because, not only docs i t contcstual izc the histot-id
morncnt oS the pl-, but ii also introduces thc rccurrent thcmatics of the plot. I(owcvcr, it
is a structural anomal?, it jars the llow of the prologue and is not adaptable to any othcr
pan of the play. Although 1 am convinccd that it is csscntial to the cultural history the
play esplorcs, it does not contribute to cither the structure or to thc plot of the play
The cclcbrity status the sport providcd its animal and human participants was
unpreccdented. lnderd the famous story between the industrialist, thc Commodorc
Cornelius Vandcrbilt and the newspapcnnan Robert Bonner. was instrurncntal in
cstabiishing a plot for the play. ' Robert Bonncr's relùsal to stakc his horsrs out ofa
rcligious abhurrcncs to gambling and Vanderbilt's batiny ot' Bonncr to provc his animals'
specd, rcsonatcd in the moral dilcmma gambling crcatcd in a populntion dcvotcd to thc
Protcstani w r l i cihic and in the culiiiral production of Icisurc act ivi t ics thüi providcd ün
rscüpc tiom work. Thc story rcprcscntcd a culiural shiR away t'rom thc rcli yious worL
cthic to a populist dcsirc to makc financial gains with littlc or no clwfon---a shill that
çoniinuss today and hüs Ilourished with the Icgalizaiion of loticrics and casino gambling.
Are WC not culturdly inundatcd daily with thc dcsirc to win a million dollars'? The
VandcrbiltlUonncr story bccame thc sccd for a plot that would rc\olvc around a waycr
with siynilicant stakcs. I I would also hclp develop charactrrs which would bc situatcd on
eithcr sidc 01'3 wager that had to bc stakcd in the ninctccnth ccntury and playcd oui to its
conclusion in thc twentieth ccntury. And thc twcnticth-ccntury conclusion ncccssnrily
dcinands an c'tploration of t hc dot-mac hine. which has physically and cconomical l y
transformed the racing industry (both harncss and thorouyhbred) Thci risc of thc slot-
machine. (invented at thc close of thc nineteenth century) clearly illustrates a
Rather ihan g,o into detail here. sutlice it to Say ihat tlir moral aniagonisni betrvern thcse t wo men ilas a lively source of commentay at the time o f their wager in 1870. Both had arnassed considerable wealth and had been dcnied mess to aristocratie society The wager is documented in several histarical tcxts. nrine of whiçh are tàctually consistent. Al1 however, du maintain that Bonner did ultimarely accept the wayer (sorne say he was tricked) and won. See Welsh's lkock ~irdf&~id , p. 105
governmental and social legitimization of grnbling. This is panicularly rvident in the
garnb1er.s immediatc desirc to win the jackpot with no productive ctlort and runs counier
to traditional modes o f yambling (cards and horse-racing) wlierc succcss rclics on at Icast
an clemrntary lcvcl o f skill and ability. As James F. Smith notrs in his rssay, "Whcn it 's
Bad it's Better: Contlicting Images of Gambl ing in Amcrican Culturc,"
... it should noi bc surprismg that no hcrocs can bc ibund in this ncw gambling
world because therc i s nothing that a lottcry or machinc p layr can do to becomc
a bettcr or 'prolkssional' player. No amount ol'practicc. skill or knowlcdgc can
improvc a playcr's lucli or ovcrcotnc the ncgativc cspcctation o f thc gamcs.
What we tind in placc of heross are cclcbritics: pcioplc who bccoins ramous Ibr
thc inomcnt, usually brcausc uî'thc magnitude ol' thcir win.. . Thcy arc known t'or
bcing k n o w and thcir siatus dcpcnds on aitcntiori l iom thc india. ( ( ; m h l ~ t ~ , ~
l'hc possihili~ics of winning Iar outwcigh the rclativcly brüinlcss cnpapcmcnt of play
Racetraclis and pvernmcnts, kecn to cash in un thc popularity o f dot-machines. subwn
the industry ol'horsc-racing, now an altcmütivc gaming and entenainment product. to
thc henvy tnffic arcas o f dot-machines.90 the structure ot'thc drama and the stakcs o f
the plot wcrc sct to rcflect not only thc historical and moral contcst liom which thc
industry arosc, but also to rctlcct the ultimatc dcmisc ol'thr gamencss ol'racing to a
y In ihe Ontario Leyislaturrs repon. ..The Impact ~t'Casinos on f-lorsc Raciny." Paul Murray downplays the industry of racing to retlect the economic possibilitics of slot-machines " the placement of dot machines at racetracks providcs a helphl source of new revenues h r racctracks. Whilc it is not clcar whether thcir presence üssists in increasing the amount actually wayered un horse racing. by increasing the track's rcvenues it may be possible for the tracks to increase the purses at the track and ultimatelv the number of days that races are nin. Both of these possibilities contribute in a positive way to the broader horse racing industry" ( 13). It seems to me that these possibilities are short terrn and as more casinos open and divert gambling doIIars away from the racing industry, the hg-terni effects are not ciear.
cultural fixation with hitting the jackpot. Obviously. in order to explore this plot. a sct of
charactcrs would have to be applied or dcvelopcd.
Accepting that cmotional empathy is a prc-rcquisitc for thc acceptancc and ultimatc
production o h script I began to write cmotional ly charged monologues rcvealing
sornething crucial to the interior dcvclopmcnt of cach OF thc main charaçtcrs: I ' h s trainer
(Viilbci-t j uiily lihcd horses Sur ihcir abiiity io makc moncy: ihc düughtcr (Quinellü) haicd
hcr mothcr: thc groom (Jan) was urinatcd on his Iirst da! in the big city: and thc
speculütor (Jack Speck) had succcssfùllv inanipulatsd pcoplr and was proud or it. Thcsc
basic charaçtcr traits e w l ~ c d as the wnt1ng progrcssed. ccnainly bqond the stcrcotypcd
rcprcscntations I had originally concci\,cd. Thc sscrcise appciircd io be wxthwhilc. It
cstablishcd motivation and allowrd sharaçtcrs to miikr dscisions büsrd on pas1
cxpcricnccs that an audicncc might ncvcr bccomc IùIIy awarc ol'. but acccpts lhrough thc
çharactcr's actions. Although I was not coniinccd I could dclCnd thcir contriwd
moiiutions. I ücccptcd thüi t h q wcrc ncccssary to push ihc -,ambling bascd plot and
raise thc stakcs of t h a r dccisions.
Coinciding with thc dcvelopment of charactrr camc a rcthinting of thc rolc thc chorus
and thc announcer would takc. Agtin thc rcquircrncnts of play production madc it
nccessap to abandon characters that wcrc not esscntial to tht: "emotional ccntrc" ol'the
play. Four chorus mernbers. thc announccr and four main charactcrs brought the total
number of players to ninc. By eliminating two chorus membcrs and thc announccr und
redistributing tcxt the cast was parcd down to a managcablc sis charactcrs. Ii also
nllowed the remaining chorus rnembcrs to take on specilic charactcr traits. Chorus onc.
the dominant of the two, has succcss betting and is more educatrd (heshe is Win and
86
Slot in thc final dratt). Chorus two. however. the wealier, rclùscs to üdopt altcmativc
modcs ofthinking and is less cducated (he is Place and Mr. Rets in the h l drati). This
simplitication of thc chorus. which hüd bccomc unwicldy, clearly dctincd their prcscncc
in thc plav and thcir rolc to both encourage the chariicters into making thcir individuül
wagcrs and to explain io an audicncc what lhosc wagcrs mcant.
i i m ~ wiihin the crmiivr proccss oi' wri t i n ç nionoloyucs thc dsüd wi IC cmcrgsd. Shc
wüs tackcd on simpl' io giw thc daughtcr,Quinella and the tramsr Wilbcrt an cinotional
whiçlc Shr did nui dcvclop organically or with üny conneciion io cithcr the original
çonccpticin ofthc play. o r to the thcorcticül otycctivcs ot'thc play Shc crncrgcd i n ordcr
to ti11 nn cinotioniil yap. Shc bccamc ii ghost. Shc hauntsd thc irüincr and thc groom. shc
shittcd the comic tonc ol'thc pla?.. shc wüs a maudiin dc\clopmcnt that I could justil)
ncithcr crcat~wly nor thcorcticiill? I I ow\ cr. shc hcn cd a uscliil purposc. Shc g i i ~ e ihc
trriincr a rcüson to müks thc \rayer: shc g a w thc daughtsr a rciison to abandon tradition
and cinhriiçc modcrnity. I'hc dcad \vil2 fias tiscd to the motional dcwioprncnt ot'thc
play I could nci thcr abandon hcr. nor j us11 fi hcr prcsrncc In slli'ç t. thc dsüd ni !i.
crnl>odicd thc conîlict of ihc proçcss: shc was ncçcssan io tcnsc out the smotconal centre
ol'thc play. a rcquircmcnt ot'naturalistic drümx and shc \vas thcoreticülly untcnablc. in
that hcr prcscnce was contrived and appropriatcd to lis ün audicnçc's cmpiithy. Shc
conccntraitrd the cmotional dcvclopment of thc play at the samc tirne ihat shc cspc~scd
that developmcnt as thcoretically uncontestcd. Yct, she \vas tiscd to thc struciurc and
plot of the play and she was hclping to dcvclop the story.
The abandonment ol'the announcer and the appcarrincr of the ghmi completcl y
changed the shape and tone of the play. lt rcvealed to me that I was not writing the play 1
had intcnded to write. 1 was accepting and trying to produce a scri pt that rcflcctcd a
conventional dctinition of what a "good" script is: chaiacier-bascd, cmpathctic and
cinotionally chargd. The play kvas no longsr about a culturally important phcnorncnon.
but about enwtional rclationships bciwcen charactcrs. And although I rccoynizc ihr
~alidity ofthat structurül componcnt ol'thc pliiv. I was mors intcrcstcd in ihc cultural
idcas 1 wüs r ryng to csplorc. I'he histurical ligures ol'thc indusir); RCIC nwrc important
to mc [han thc cmotionül stlibility ol'thc charactcrs. I wüs noi as intcrsstcd in hclping a
potcntinl üudicnsc achicw catharsis 3s I \cas in prcscniiny a cultural phenornenon in
\\hich thc audisncc is dircctly in~olvcd and offcritiy opportunitics iilr thcm io rcad itior
pnrtiçipüiion. O t ~ o u a l ~ the thcorcticül çoncspts I was iriturcstcd in wurc thc crcüiiw
rnot il ntion tOr thc play I ndcsd. 1 \voiiid arguc that ii passion Ibr idcüs u n bs as
nioin 311 ng as unin~crrciytcd cinotionülisms.
:\i 1111s pciini in thc procsss i t bccüms appürcni to mc thüi I hüd çomproiniscd the
original conccptiiin of thc play I'hc cultural histop of horsc cicing was rncrcl? 3
plüttbrm on whicli thc crnotional stokc's ol' thc çhüraclcrs \WC playcd out. Indccd. an'.
historical rctkrcncc to thc industry uüs sirnply sct dcsipn und tlourish. I'hc traincr wüs
on a one \*a- track to sclt-dcstruçtion and rhc giittcr An- humour thc play hud aspird to
was wallowing in n mclodramatic appeal to the audicncc. tiambliny \\.as a sin and bad. I
was making a dircct political conncction bctwcn yambling and cul~ural Jcstruction. a
conciusion 1 had not arrived at, nor wanied io imply. In hct. it'conclusions about thc
naturc ofgambling wcrc to bc arrived at, they \vould bc ambiguously implicd and Ictl to
an audience to malie. In order to revive the original conception of the play 1 had io
rctrieve the announcer, consult morc rescarch and rcthink the role of' the dead w i k .
Original l ~ , the announcer wûs a god-lilie tïgurc, overstxing and dirccting thc action on
stage. tlc was linked to thc track announccr: isolatcd at the top of thc grandstand
commcntating thc racc on the track. tic had bcen abandoncd carly in the proccss bccüusc
hc had no cniotional conncçtion to the charactcrs and had inûdc ihc cas1 too largc to bc
considercd tbr production. 1 l i s rolc wûs primarily instructional (how io rcad ü program)
anri tu ikciliiatr. thc historicüi icut rhat runs rhrouyhoui ihc piay. 1.hc announccr
cmbodics an tdd m i s ot'ihcory and crcütiwty. I Ir idcntilies rhc culturally important
katiircs of thc subjsct rnatrcr and hc dirccts thc action and thc choiccs of tlic characicrs.
If 1 w r c . to rctricw him. thc dual rdc hc piavcd would Iiaie to bc hiyhlightcd.
C'onsulting Grcsk myt h 1 discovcrcd t hat Posicdon \cas thc god of horscs and horsc-
raçing This discwcn müdc ü historicül and matcrtal link bctwcn the subjccr inaltcr oi'
ihc play and iiniiquit>~. 1 lorse racinç and gambling \LUC linlied to thc gods. Wh' not
rcintroducc thc ünnounccr os ü yod. transhm hiin io bt. thc rcprcscniüii\c: ot'ihc history
ihc play is conccrncd \VI th and thcrcbv a f h thc çharactcrs' dccisions to ihtc'! This ira'
thc uagcr plot structurc bccornes a logical progression ofn cultural tisüii»n bascd in
antiquity And although rcinvcnting thc announccr as a god docs not rcturn the structure
ol'thc play to that o h Grcck comcdy. it docs utilizc an originüry timn of storytclling. In
Iàct the connection betwecn modcm hürncss horse-rücing and the mythological chariot
driven stecds of Posicdon is a closcr and more rcievant connection than thc structurc ol'
Grcck comcdy I had originally pursued. Reinventing ihc ünnoiinccr dso opencd up an
opportunity to retrievc somc of the histoncal material that had bccn iibandoned carly in
the proccss. As a god ht: could plot thc rvolution of the sport and idcntie kcy histoncal
moments that resonate in thc present. Reinventing thc announcer as ü god also hclpcd to
dûri* thc rolc of the deüd w i k . I f shc bccame a god then her role was Rxcd. 1S she
reprrscntcd Fortuna, the god al1 yamblers pray to, then her dcath and rcsuscitaiion rcflcct
the random fortunes and losscs of gamblers. Shc had becomc thcorctically viable.
Wth the rcturn of the announccr and his role as thc nrirrator of the historical icxt, 1
wüs able to rctrievc somr of the elcmcnts of the original conception of the play.
7 - I Iirwyliuui ilic process ui'writiiig "Thc Butcher Rode Fonuna" i was consistcniiy tom
betwecn thc thcoretical p~ssibilitics thc subjcct mancr raiscd and how to rcprcscnt thosc
possibilitics in a producablc script. A strict adhcrcncc to charactcr dcvclopmc.nt. thc
cmotional ccntrc ot'thc play and thc possibility t'or pmfcssional production. compromiscd
thc culturd matcrial h m which rcprcscntntional charaçtcrs and thc original conccption
of thc play arosc. On onc hand "'fhc Uutchcr Kodc Fortuna" does not rcllcct thc initial
conception ol'thc play; but on thc other hnnd it is not a cornplctc ribandonmcnt ofthüt
conccption cither. It is a play about gümbliny, with winncrs and loscrs. sct to thc cultural
history of hamcss rncinp. The play is a compromise. I t rellscts the ci~nll ict bctwccn ü
dcsirc io writc a play acccptablc for production and a dcsirc to cxplorc thc cultural and
thcorcrical dcvclopmcnt of an indusiq. Although it ducs not go so hr as to «vcrtiy
idcnli fv thc performativr relationship bctwesn hamcss raciny and thcatrc, it docs çlcarly
idcntify a human drsirc Ior garnbling across timc and culturcs And. although thc
rnetatheatricality ol'thc original pagcs ot'playtcxt is nut ovcrt. the announccr is able to
construct the play as a horsc race, articulating the fractions (quaner, hall: thrcc-quartcr
polcs and tinish) as the climactic elcrnznts of both drama and a race. Howcvcr, it is also
clear ihat the announcer's narration of the cultural history of the industry is subordinated
as subtext to the emottonal deveiopment of the play. Similarly, althuugh it docs not
intcrrogate the rnediatization of sport nearly as thoroughly as 1 had originally intendcd, it
historicall y si tuates the drvelopment of thût cultural phenomenon in the nineteenth-
ccntury popularity of the trotting h o r x . Ultirnately this project has been a process of
balance and compromise and 1 contend that givcn the position from wi thin which this
play was wri ttcn. both as an acûdcrnic project and as a script for production, ihc
compromise was incvitablc. I rcmain suspicious ot'dramaturgical wisdom that clings to
univcrsalizcd constructions of charûctcr with cmotimally motivatcd action: yct. I am
cqually conccmed thai a work that rclics too hravily on acadcmic and throretical
csploration will not tind an audicncc çc r ta in l y not a mass audicncc.
Appendices
I-low to Read a ProgramiOrigi na1 conccptual sccncsi Fcbruary, 1 999.
/ )rm~ll / 1.v l'cr.so~ztlw: r.
I rainer Groom Chorus L.cadcr~Narrator!Trrick Annotinccr Chorus ot' i'our~nonyendcr spccitïum ultiplc rolcs
Announccr: So va' wanna r a d a program. l'hcrs arc many di fkrent wüys. I:ans'll pick ihcir horscs and with a little luck i t pays. Big muncy.
Announccr: Somc pick ~ h c prctty oncs and tu a novice that-s wcry horsc.
Announccr:
Chorus I :
Announccr:
Chorus 2:
Announcer:
A Roman nose p t s moncy. an aristocrat. a sophisticatcün cruditc do- if i ts lame.
A horsc that dumps a load during pst-parade yocs Iàster. its on\! logical-
/l.)ropprng nzrtnurcJ wlrrlr p u r u h t ~ That its nervous!
Namcs arc v c q popular. for bcttors who can't read stats Colours, Numbers, Drivers, Traincrs-wc ain't as complcx as thc tlats. Our races go a mile, ncvrr furlongs or incalculable fractions-
But a sophisticatcd bettor, who reads a program l inc by i inc. will asscss thc many variables, making money cvery time.
Chorus 3: L-ls h~wor) Robbcd. Did you sec that? Hc pullcd out in front of rny horse. linocked him otT his ket and drove on.. . Ncvcr bet thüi drivcr again--no agyrcssion. no fucki n,: guts.
'Traincr: Jack. .. Yah. Jack. .. Yah 1 know.. . Wdl, 1 cntcr 'cm whcrc thcy W . . Yah, I know Jack.. . . t-le fit that class Iast wwk. but this wcck hc docsit. Y ou wanna makc moncy. . ? That's thc risk.. . Wc eiihcr makc moncy with him this wcck in a lowcr class and lose him. or wr kccp hiin in thc 30's and he pukcs ... Yah ... I'd rathcr makc some moncy. Okay. 25 it i s Jwk . Scc y' in the winncr's circlc.
Announccr: I'rogrüms arc writtcn in a Iünguagc casil' dcciphcrablc t« cithcr thc cnglish. or noncnglish rcadcr. You dm't cvcn have to bc ablc to read.. . Wcll, you hûuc to rccoynirc nunibcrs.. . and culours. Only numbcrs and c«lours. A ki ndcryanncr can read n proyram. 1 i's casy. 1-ci's sian at thc bcyinning.
Thesis Proposal!Analytical Essüy and Rcscarch Cornponrn~Fcbruary. 1999.
The rcscarch componcnt of thc thcsis will esamine thc thcorctical. structurai and
tcxtual rlcmcnts of the play. For instancc thc chorus' main rolc will bc. intcractivcly
pcdagogical: in fo ming the audience on how to rcad a racing program and cnçouraging
participation in the act ofbctting. This forces thc audience into a self-rctlsctivc, active
participation in thc cultural rvent. Theorctically, this corresponds with whnt Susan
theatre.. . clearly illustrates a direct rclationship to the society it addresscs and. at cvery
Icvcl, includes the audience as active participant." (3 ) And as David Wiles commrnts in
ïhe :\l~~sks o/:\lentrizdcr, choruses ". . . arc not an irrclevancc: rathcr, thcy hclp maintüin
a tcnsion bctwccn the real and represcnttd worlds of the pcrîonnancc." (5 ) Throuph this
preliminan. structure. I will bc working to expose thc production ol'racing (and by
C X I C ~ ~ S ~ O ~ I ~ l u ~ i r c ) il1 ü IMIIWI ~irnilür 10 ~ h c n~cli l lh~ü~rici l i i iy 01- Luigi P i randdis SLY
( %trrlrct~~rs 111 .%wcli o/'trn . - l ~ ~ l i o r , and Jcün Genct's I'hc Hdcoy.
The usc o h chorus and masks also raisc y ucstions about acting techniques. Il'thc
chorus rcprcscnis multiple cultural rolcs that arc primari ly i nstructional or didüctic. thcn
it is usc(ùl to examine Rrccht's thcov oî'alicna~ion. As he statcs in "A Shon Orgünum
for the Thcatrc." "A rcprcscntation th:it alicnatcs is onc which allows us to rccognizc 11s
subjcct, but ai thc samc timc makcs it sccm unlhmiliar." i 1 % ) f3y alicnating thc hmiliar.
by thc usc 0th chorus and masks. 1 hop. to cnablc thc audicncc to witncss the Iàmiliar as
strange and to qucstion issucs ol'rcprcscntation. Thc chorus. in cllkct becomcs what
I-lcrbcrt Blûu dcscribcs as a "concretc abstraction" in its rcprcscntativc. rolcs. buth in the
cul turc ol' racin- and theatrc ( [Ilau. 7;) .-II/ .-!ppPmiriccs. 110 ).
1-~istoricnlly. thc chorus oftctn rcprcscnted abstraçtcd idcas. As h l p h M. Roscn
commcnts in "The Gcndcrcd Polis in Eupolis' Citics." " thc chorus mcmbcrs rcprcsentcd
allegorically inanimatc abstractions or institutions." Rostin coniinucs to sa!.
Thcatrical allegop. after d l , compcls thc playright to conccive 01'
abstractions in ways that go bcyond ordinary discourse, sincc hc must ascribe
tlesh and blood to a likicss intcllectual constmct. A %W." a "dcmos," an
%landw must suddenly wear a costume and a mask. sing, dancc, and
gcsticulatr in front of an audience intendrd to recognize at somc lcvcl what thc
allcgory mcans. ( 149-50)
If thc chorus is cross-gndercd then it is necessarily rcprzsenting an abstract conçcpt ot'
gcndcr that rcsonates in theatrc and racing- bath industries historically closcd to ivomcn.
'l 'hr raçing indiistq. although more gender inclusive iri rsccnt ycars. gcnerally positions
wm-wn in dorncsricatcd roics: carctakiny ot'horscs and clcaning stalls in thc barn:
pcrforming scc rctiirial worL in adm i nistrativc ollicss.
I~inül ly , n y intention i s 10 csaminc thc mcdiatization of the racing industry in ways
that arc closcly parûllclcd by thc mcdiaiiïation ofthc thcatrc and othcr pcrli)rinaricc
ycnrcs. dl oFwhich havc b t x n intlucncsd by tclcvision. Iilm. and. incrcusingly. ihc
intcrnct and othcr cornpliter tcchnoloyics. Philip Auslündcr addrcsscs ihis issuc ln his
cssa> " 1 . 1 ~ Pcrtbr~niinç~' in a Mcdiatircd Culturc." \r hi rh articulatcs a çonirmpora>,
shift l'rom tradi tional modcs ol' thcatriçal production ( whcthcr 11 bc 1 ivc thcatrc. s p n s or
.. rock concerts 1 to "incdiatizcd" and "commodihxi culturc. Auslündcr s a y
Thc spcctator sitting in tlrc brick r w s ol'a Rollins Stoncs or Hrucc Sprinystccn
çonccri or cwn a Bill Cosby stand-up comcdy pcrformiiiicc is prcscnt at a liw
pcrformancc. but hardly participatcs in it as such sincc the spcctator's main
c'cpcricncc of it is to rcad it 0 t h vidco monitor. The rhcionc oî'mcdiatiration
imbcddcd in such deviccs as the instant rcpl-. ihc %rnulcast." and thc çlosc-up
ai onc timc undcrstood to bc sccondary claboraiion ol'an originary livc wcnt, arc
now constitutive of the livc cvent itsçlf. (36)
The rnediatized culturc that Auslander rclérs to is taken up by Elinor Fuchs in her book.
ï ï ie ileuth f '( 'huructer: I'crspecr ives on 7'hnrtrc ufiw :Llr)clernr.sni, when shc refcrs to
thentre companies likc the Wooster Group, who combine media t'orms in thc thcatre to
draw attention to. "...a pomography of Amencan culture.. . " ( 1 13) Ccrtainly, the
mediatization of the raciny industry raises similar questions about its production-race
tricks arc fillcd with television monitors not only broadcasting the live evcnt on the
track. but also sirnulcasting intcmational racing svcnts. 1-las the horsc on the track
bccomc sirni lacra t'or the horsc on thc scrccn? What docs this say about the "1 ivcncss" or
sports. thentre, and othcr pcrtbnnative modes'? 1
I low -1.0 Rcad a Program; l h f i Onc: Scptcrnbcr. I 999.
AbiNOUNCEII Thc agricultural Iàirs of rural Amcricn chanycd significantly with thc populünty of thc hamcss horsc. Although thc most acsthcticülly rcvcrcd animal in the barn, ihc horst ws domestic ol'purpose. functional in its tradc. The vcry things that üttraçid thc n w l y cspanding urban and industrial populüt ion ol' ~ h c city. 'T'hc rcry things tliat lurcd them to thc Iàirs. And as thc populariiy 01' thc horsc increascd thr Iàirs transhrmcd liom t hc iradit ional cclcbration of' animal husbandn into rncc matc hss.
CI-IOKUS ONE I don7 agrw that thc fairs should bc ihc placc whcrc hst mcn and hst horscs mcct. Arc thc strccts of Ncw York gcttiny so crowdcd thüt thc ciifs animais must coinpetc with thc country's for spacc?
CI IORUS TI-IKEE You should bc happy What's al1 thc Iùss about? These Iine animals have aitractcd unprecçdcntcd crowds to your littlc county Iàirs. 'Therc would bc no intcrcst if the race horses wcrc not herc.
CHORUS ONE Parade p u r anirnals in the city then. Thc animal has bcen gentrificd out ot'thc country. What nced is there !or thcm hcrc'? Thcy arc bcttcr situated undcr a tcni with P.T. Barnum and his rogues.
CHORUS THREE P T . Bamum offers the flncst show on carth. Makc no mistake, if P.T. Bamum was intcrcsted in trotting horses. and I'm not sure that hc isn't. ihe trotter would bé an intcmational attraction.
CHORUS ONE P.T. Bamum and al1 of his side shows are for morbid curiosity scckers. An audience he could easily tind here.
CHORUS THREE I camc with the intention ofpurchasing a horsc. Therc is a lot to be made by a b m e r who conditions good stock and sells thc yearlings. One good stallion and a few good marcs and a farmcr could Tind himscl f a profitable business in brecding. Tum al1 your crop into pasturc.
CHORUS ONE And wherc might 1 gct a thoroughbrcd stallion'?
Appendix 4:
The Hutchcr Rodc FortunwDraft Four;Dcccmbcr, 1394
VAN DEIIUIL.'I' The thoroughbrcds arc dcad Mr. Bonncr bcrausc thcy rclùsc to rnodemizc. Thosc wi th ncwly acqiiircd wcalth. likc ?ou and 1. are barrcd Iioin entp and have purchascd trottcrs. not only in rctaliation to a class that dodgcs us. but bccüiisc thc trottcr rcprcscnts al1 that is dcrnocratiç in Amcricn. 'I'hc thoroiighbrcd h ü s no practical vüluc. thc irottcr hns thc w r k s t h i c o h ncwly landcd immigrant. 1 propose wc orgünizc a national association that oxrsccs thc industn and irclcorncs thc mcn ol'commcrcc who Iind lcisurc in thc sport.
bl I< BONN EK 'I'hc National 'I'rutti ng Association.
MR. VANDERDI1 .l' Wc wil l stnndürdirc rulcs and cstablish ihc pcdigrcc of tlic Amcrican horsç.
MU. BONNER Ths Amcrican horss is the product of thc ihorouyhbrcd don't hrgct.
MK. VANDERBIL'I' An? brccder with a modicum ol'intclligcncc linuws ihat a fast trotting stûllion who brccds a îàst trotting marc will producc Iàstcr trotting colts and Ill l ies.
MR. BONNEK Thc thoroughbrcds have a long history of recordcd brccding and theu do not Ict colts and tillics racc. 'i'hc practiçc of lctting Young aniinals injürc thcrnsclvcs 18r thc salie of spccd and a pursc is unconscionablc. 1 opposc ii.
MR. VANDERBILT 1 say let the Young ones racc. thc brced dcpcnds on it and the people love it. I propose you and 1 stakc a wagcr bctween our îàstcsi trottcrs.
MR. BONNER I never stakc rny horscs.
MR. VANDERBILT Our celebrity as brecders attracts attention. This is an opportunity to publicizc the pcoplc's sport and its innovation. By ncglccting the opponuniiy you diminish thc commercial possibilitics ofthc industry.
MR. BONNER Ciambling is dcpraviiy.
MR. VANDERBILT A healthy balancc of tradition and modcrn innovation will scrvc our purposcs wdl . Pit thcm togcthcr and wc have a wholc ncw cnicnainmc.nt product. Join the majority Mr. Bonner. stakc your horsc ügainsi minc.
Powcrs, Madelon. I ~ . I J . s ulmg [hr hrr: I.ow und Onkr in [ha M.i)rkr~zgmcrn'.s Sdoort.
lH70- I VZO. Chicago: U of Chicago P, 1 998.
Roder, Benjam in G. .-l nwritwi Sporrs: I*ronr /hc i l gc o4.l-idk t icir?~c<v IO ihe .4gc o o / '
7 Clrvised .\port. 3"' rd. Uppcr Saddle River: Prentice-Hall. 1 9%.
Schlcrcth, Thomiis J . r - r r 1 - 1 . Ncw York: l-larpcr Collins, 199 1 .
Ssgüi. Eirich. cd. o.r/od I < L J ~ I I I ~ . Y rn .+lrrslopltrir~r.s. Uxturd: Oxlbrd II P. IWh.
Smith, Susnn Valcria 1-fanis. .\flisk.s rn A 6 ) ~ l ~ r ~ l /)rriniti. Bcrkclv: U of Cali fornia P.
1984.
Stccl. Kcvin. T h c Ncw Garnbling-bascd F<conomy: Votcr hosiility in ihc US. is pushing
a parasitic activity into Canada." . - f l h ~ w ~ i /kJpor/ I X Dcc. 1998: 1 1 - 1 2.
l'halhcirncr. Kichard. -'Parimutucl wagcring and vidco gamin-: LI raccirack pc~ntblio"
..lppli~d I+ . 'LYNJo~~~L:Y 30 ( 1998): 57 1-54!.
Vrrburg, Petcr. *The tix is in." ( irridrcirr Hzwzess 8 May 1998: 16-1 7.
Wsst. Oswald. Totting 1 lorscs and Rnccs of thc Pioneer Pcriod." ( )rvgon I l t s / o r d
J . 16 ( 194 5 ): 2 19-23 4.
Related Documents
