Duke's Fluke

by Tyson Nichols


CHARACTERS

DUKE WASHINGTON: A 30 year old who picks up freelance jobs.

SOPHE WASHINGTON: Duke’s wife; works with at risk children.

HOWARD: Duke’s mysterious mentor.

SONNY: Duke’s drinking buddy from college.







1.1

[The stage is dark. Footsteps are heard and the audience can barely make out DUKE pacing back and forth across the stage. The sound of DUKE opening a can is heard followed by the sound of a long sip. DUKE sits down on the couch. He picks up a cordless telephone off of the coffee table. He dials and holds the phone to his ear.]

DUKE: Hey Sonny, it’s Duke. Just callin’ to see what you’re up to. Sophie’s out of town so I was thinking ‘bout barbequin’ this afternoon. Call me back if you want.

[DUKE looks at the phone and dials another number. He holds the phone up to his ear.]

What’s up? It’s Duke… Oh, nothing. Sophie’s out of town and it’s pretty quiet around here. Do you wanna come over and barbeque?... Oh, alright. Well, give me a call if that falls through and you can make it out later.

[DUKE sets the phone down on the coffee table. He opens another beer and then pours a shot of Teachers. DUKE sets the shot down on the table and walks over to the window. He cups his eyes over the window and peers out. He then backs up and looks at his reflection for a moment. DUKE walks back to the coffee table. He drinks the shot in one swift motion and chases it with beer. He picks up the phone and dials again. He holds the phone to his ear.]

Hi… How’s your trip going?... Oh, really? That sounds great… I miss you too… Oh, I’m just cleaning up the house…No, not yet, but I’m working on it…I know… [Duke pours another shot.] Don’t worry, I’ll be good…OK, I love you… I love you, bye.

[He sets the phone down and takes the shot. He finishes his beer. He gets up and starts pacing. The phone rings. He sits back down on the couch and answers the phone.]

Hey, what’s up, Sonny… Oh, nothing. Just sitting around. Drinking…Yeah? I guess it’s just that kind of day. (Light laugh) Do you wanna come over … you are? [DUKE looks out the window] Oh yeah, I see your truck. Why don’t you grab some limes while you’re there and just come on up when you’re done. Sounds good, see you in a few.

[DUKE stands and feels the weight of the cans on that table. He pours another shot. A cat meows off stage.]

I’m sorry Winston, I completely forgot about your surprise. [He starts to walk offstage toward the meow.] I bet you’re hungry. Well, I’ve got a treat for you. [Now offstage. The stage lights up.] I picked up some of that wet food that you like when I went to the store. I know we both get sad when mom’s outta town. One can for you, and one can for me.

[A beer can cracks open. DUKE walks back onto stage toward the couch. He is sipping a beer. He paces around. Turns the radio on and flips through the stations. Nothing satisfies him. He turns it off and then sits down on the couch and thumbs through a magazine with something loosely related to luging. He puts it down and reclines on the couch with his feet elevated. As soon as he starts to doze, the doorbell rings.]

Come on in.

[SONNY enters with a 12 pack of Bud Light bottles and a Fifth of Cuervo Gold. He looks at the beer can littered table.]

SONNY: Looks like I’ve got some catching up to do.

DUKE: Perhaps this will help. [Duke brandishes a beer bong and starts pouring a beer into it.]

SONNY: The Destroyer! D’you remember what happened last time you pulled that thing out?

DUKE: Not really, probably a good thing. [DUKE pauses for a moment then preps the beer bong by holding it up in the air.] Anyway, you ready for this?

SONNY: It’s your castle. [SONNY ritualistically uses the beer bong and slams it down. He has trouble holding in the liquid and his face shows it. He is about to run outside to relieve himself.]

DUKE: Wait, the landlady’s out there.

SONNY: [Still sick, but he is able to hold it down] What…She got you livin’ if fear? You pay your rent.

DUKE: Yeah, it’s time that the property owners know how everyone else feels!

[DUKE proceeds to show the landlady something…]






1.2
[DUKE is sitting on his suitcase. He is outside of his house in front of the door. He looks washed up. His cat is meowing in the carrier next to him. He takes a long look at the bottle of whisky sitting if front of him. He picks it up and reads the label. He sets it down. He looks at his cat and sticks his finger through the carrier. He looks at the bottle again and picks it up. He opens it and takes a shot. He sets the bottle down and turns his head to look at the house behind him. There is a sound of a car driving up. A door opens and closes. SOPHIE enters the stage carrying an overnight bag.

DUKE: How… was your trip?

SOPHIE: [Laughing.] What are you doing out here? [SOPHIE notices the cats in the carriers and immediately loses any sign of her smile.] Why is the kitty in its carrier?

DUKE: I… Sonny and I… we—

SOPHIE: What happened? What did—

DUKE: Sonny and I… we had a drink—

SOPHIE: Duke, a drink? Are you…

DUKE: Well, a few… we—

SOPHIE: Duke, what the hell are you—

DUKE: Sonny got sick—

SOPHIE: Why is my baby in its carrier? The suitcases… why!?

DUKE: The landlady was judging us—

SOPHIE: I don’t want to hear it. I’m going inside—

DUKE: Wait… You can’t— [DUKE attempts to stop her, but is too immobilized to react in time.]

SOPHIE: I’m going inside! [SOPHIE tries her key and it doesn’t work.] Why isn’t my key working?

DUKE: Sophie, we don’t… I fucked up… we thought it be funny to… but the landlady saw my—

SOPHIE: Wait… Stop these games and unlock the door. The cat is getting hot in that carrier. [SOPHIE walks to the carrier and sticks her fingers through. She shows the cat some affectionate attention and looks back at DUKE, hurt and horrified.]

DUKE: I’m serious.

SOPHIE: No… You can’t be… Are you telling—

DUKE: But… The classifieds… [DUKE picks up a paper from next to the suitcase and waves it in the air]… The classifieds are… right here.

SOPHIE: What? The classifieds? The classifieds?!!

DUKE: Sure… The classifieds… [waving the paper around in the air] They say you can…The classifieds will help—

[SOPHIE grabs the paper out of his hand and hits him with it a few times. She is starting to cry.]
I’m sorry! At least I’m telling the truth. I could have said—

SOPHIE: Stop it! Duke, you’d better hold on to the classifieds. [SOPHIE throws the paper at his feet and picks up the cat carrier.]

DUKE: I’m sorry, Sophie.

SOPHIE: You’ll need them to find a new place.

DUKE: Sophie, wait—

SOPHIE: I’m leaving.

DUKE: But Sophie… I love—

SOPHIE: I can’t even see how I used to…You’ve been derailing for so… so long now. Duke, you need to get it together. Right now I can’t find a connection to the man I see in front of me. I can’t do this anymore, it’s killing us. [SOPHIE starts to walk away with the cat carrier. She uses her shoulder to wipe away her tears.]

DUKE: [Breaking down.] No…Wait… Let’s find a… Let’s… Our cat! You can’t—

SOPHIE: Take care of yourself, Duke.

DUKE: No, Sophie, wait… no… we can…

[Sophie walks off stage. There are sounds of a car door slamming and driving off. DUKE stands up and looks in the window of his former home. He punches the wall next to it. He grabs the bottle. Finishes it and throws it offstage. It breaks. He bangs his head against the wall until he passes out.]

CURTAIN






2.1
[DUKE is standing near railroad tracks. He is unshaven. His camp is visible in the background. He has a half empty jug of Carlo Rossi hooked in his hand with his index finger. He is swinging it slightly with his arm. He appears to be waiting for a train and frequently looks off stage. He steps over the tracks and sits down next to them. He takes a hefty drink out of the jug and sets it down. He scoots forward and lies down, with his head on the track. He falls asleep. There is a train whistle from one side of the stage. DUKE continues to sleep. The train whistles again, louder. This time the train is also heard, along with the whistle. It gets louder. HOWARD approaches from the other side of the train. He is wearing a long coat and a hat. He is swinging a closed umbrella. He approaches DUKE. He takes a look at DUKE and then a look in the direction of the train whistle. He prods DUKE’S stomach with the umbrella tip. DUKE does not move. He prods again without any result. He looks again in the direction of the train, pulls his arms partially inside of his sleeves and lifts DUKE off the tracks, but HOWARD is careful not to make any direct physical contact with DUKE. The stage gets dark and the sound of the train moves to the other side.]

2.2
[When the lights resume, HOWARD is sitting on a log and DUKE is sleeping, using HOWARD’S coat for a pillow. HOWARD is smoking and looking into the direction that the train went. DUKE begins to stir. HOWARD glances at DUKE and then looks back in the direction that the train left. DUKE looks up to HOWARD. HOWARD lightly shoves the bottle of Rossi toward DUKE, still not looking at DUKE. DUKE is disoriented.]

HOWARD: You looking for this? It’ll warm you up.

DUKE: Thanks. [DUKE sits up and grabs the bottle. He looks at HOWARD. HOWARD stamps out his smoke.] The train… What—

HOWARD: Don’t worry about it, it’s gone.

DUKE: You…? Who are you.

HOWARD: My name’s Howard.

[DUKE looks at the coat, now at his side. He picks it up.]

DUKE: Is this yours?

HOWARD: Keep it. I’ve got more. and you might need it.

DUKE: Really?... Thanks, I’m Duke. [HOWARD nods. DUKE puts coat on.] What are you doing out here?

HOWARD: Same as you. Watching trains.

DUKE: Not the same…[DUKE swirls the wine in the jug] I’ve lost everything.

HOWARD: You could lose more.

DUKE: My wife. My cat. My home. My friends… won’t even help me out. I mean, I wouldn’t have ended up like this on my own. It’s not my fault. If I would have been alone that night, none of this would have happened. [DUKE takes long pull of wine. HOWARD looks at DUKE, then gives a thoughtful look to the tracks.]

HOWARD: [Slowly turning back toward DUKE.] Duke, what brings you out to the tracks tonight?

DUKE: I set up a camp right over there. [Points]

HOWARD: I see, why didn’t you just set up your camp right there? [Points at the place on the tracks where duke was sleeping.]

DUKE: What? What’s up with you? Why are the tracks on your mind?

HOWARD: Why was your mind on the tracks?
[DUKE gets up, walks over to the log and joins HOWARD.]

DUKE: You don’t get it… I was just resting my head.

HOWARD: If you were just resting you would have been shocked when you woke up.

DUKE: You—

HOWARD: Are you going to give me some line about being drunk and passing out on the tracks?

[DUKE gets up and walks over to the place on the tracks where he was “sleeping.” He touches his hand to the rail. He looks back over at HOWARD.]

DUKE: You know, it all just happened so fast. I was alone at home… My wife was out of town… she… it… I had to call somebody.

HOWARD: Why?

DUKE: Just that place, I can’t… I mean… I pace and drink. That’s all I do when I’m alone. I look out the window and there’s nothing there. [Duke looks as if looking out the window.]

HOWARD: It’s your home. There’s nothing there?

DUKE: Not without other people around.

HOWARD: Duke, there must be times when you are forced to be alone and cut off from contact with other people. Like the car.

DUKE: But it’s not the same in the car. I’m usually using it to go visit people, or at least be around other people. I can talk on the phone and listen to music.

HOWARD: Certainly that can’t be the only way you experience driving?

DUKE: Mostly, yes.

HOWARD: Mostly?... Explain.

DUKE: [Takes a big slug off of the jug] One time was different. It’s hard to explain because I don’t really know why it happened or how to think about it…. Or even what to think about it… Maybe you can tell me what you think… about it. (Beat) I used to drive to the bay. To visit friends. To get drunk. Sometimes when I was driving I would turn off the music and roll down the windows, and… it was like the Mountains, the stars, the trees… everything was just gazing down at me. The wind. The fuckin’ wind would blow right through my ears. It felt so good I couldn’t handle it. It scared me and I don’t know why. I’d immediately roll up the windows and turn up the music. Or get on the phone. But one wet night I didn’t. I couldn’t. Something wouldn’t let me. So I drove. I drove and I was fixed on everything around me. I don’t know how to say it, but it’s like my eyes were... My tears matched the rain and they wouldn’t stop. They couldn’t stop and I didn’t want them to. I’ve never cried like that before. I didn’t know if the howling was my own voice or the whistle of the wind through the windows. That night still haunts me daily, and I can’t figure out why. [DUKE looks intently at HOWARD for a reaction, HOWARD stares into audience for a moment, then responds to DUKE.]

HOWARD: That experience is yours, so use it. [HOWARD pauses and steps forward, looking up to the sky] I’ve been through similar times when I wasn’t exactly keen on why certain things were happening. [Beat, HOWARD thinks for moment.] ‘Why.’ I didn’t need the answer to that word then and I still don’t. I’ve come to realize that the reason, or the understanding of the reason, is not always to be found.

DUKE: But…

HOWARD: [Returns his attention to DUKE.] When you went for that drive you felt something you’ve never felt before. You drew up the plans for your big project. Now it’s time to get to work. To start building. What do you need in order to start building? You need materials. Duke, think about the difference between these two questions: “Why did this happen?,” and “What do I do with this?” Find me once you have started building.

[Howard walks off stage. Duke gets up, he is about to follow Howard. He looks in Howard’s direction, and then he sits back down.]


2.3

[DUKE’s camp is now visible from a different angle. It is a makeshift hut on a hill overlooking the tracks in the background. It is built out of shopping carts with a mattress for its roof; there are various objects attached to the shopping carts with twine and zip-ties. There is a long horizontal street sign at the top of the hill that says, DEAD END. An abandoned road leads up to and ends at the top of the hill.]

[DUKE enters along the road pushing a shopping cart full of items such as cans, old computers, a microwave, TVs, toasters, magazines, broken Styrofoam coolers, cardboard boxes, and a skateboard. Attached to the shopping cart is a boombox blasting “Justice Tonight,” the dub version of “Armagideon Time” by The Clash. He is wearing HOWARD’s jacket and he has a beard. ]

DUKE: Building. Wait till Howard sees what I’m building. [DUKE attaches his new shopping cart to another shopping cart. He begins to pull items out of the cart and attach them to it or stack them around it. He takes the skateboard out of the cart and sets it at the top of the hill, directly behind where he is standing.] This is it. It’s coming together. Once I am finished the masses will come from all around to see… “Duke’s Fluke!”… Yeah, Duke’s Fluke, Duke’s Fluke, Duke’s Fluke! This… will be the building of all buildings to come. I will show the world that something can come out of nothing. That… after the world has been thrown out from under me I can erect such a piece of hideous beauty. By a fluke, Duke Washington has began building a castle…A castle called… [He is lifting something out of the cart and he slips. DUKE lands with his butt on the skateboard. He semi-luges off stage.]…DUKE’S FLUKE!!! [The sound of DUKE luging and screaming continues offstage until the sound of tires screeching and a crash is heard. There is a moment of silence. DUKE’s voice is heard offstage.]

Sorry about that, but I’m building. [The skateboard wheels are heard again on the pavement, slowly picking up momentum. The sound of the wheels is heard around the theatre until it reaches the stage. It slows down to a stop. DUKE enters the stage. His coat is thrashed and he is out of breath. He walks to the top of the hill and sits down on the ground..]

That was amazing…Like the time in the car… except more… My eyes… they didn’t matter… I saw everything… Sophie…The cat… what did I… Howard?... He… If what I felt on that ride is correct… I can find him tomorrow at…

[He picks up the skateboard and looks at it.]

You’re a good start, but you won’t last long. Or I won’t last long riding you... You’re not long enough. [He looks around until he fixes on the DEAD END sign.] Perfect.

CURTAIN


2.4

[DUKE is standing on the top of the hill. He has shaved a mustache similar to HOWARD’s and is wearing a bodysuit made of duct tape. It is padded. All of his joints are reinforced with beer-can armor. The beer cans are attached with zip-ties. DUKE’s helmet is a football helmet. He is wearing welders’ gloves with extra padding on the fingers. His shoes are reinforced with pieces of discarded tires. The shopping cart castle is gone. The DEAD END street sign is off of the pole and now the deck of his street luge. DUKE is holding it in one hand with the base on the ground. He has neatly painted over part of the sign to turn “DEAD END” into “DUKE’S FLUKE.” DUKE taps the luge on the ground, as if he is testing its strength. He sets it down horizontally and sits down on it.]

DUKE: If Howard told me to find him… Let’s see where this thing takes me…

[DUKE leans back and pushes off. The sound of wheels on asphalt begins. As the curtain closes there is a high speed projection of a reverse aerial view traveling through city streets. There are many curves and turns. There is an overlapping projection of Howard waiting for DUKE or perhaps there is a scrim with HOWARD waiting behind it. The projection begins to slow down. The curtain opens while the projection is still going. HOWARD is in a subway station similar to the Montgomery BART station. He is looking down on the tracks. The projection fades out once the curtain is fully opened. DUKE rolls in from the side. He brakes with his hands and feet. HOWARD continues to look at the track.]

HOWARD: In approximately twelve minutes a train will derail… Seven will die.

DUKE: What am I supposed to do? I can’t save…

HOWARD: Just go.

DUKE: How do I—

HOWARD: Now!

[DUKE hops down to the track area with his luge. it is at a slant. He gets on and rolls. The house audio begins. As the curtain closes a projection begins of a subway tunnel wall with graffiti on it and an overlapping projection of SOPHIE when she said goodbye, then one of her running through the subway. The projection fades out but the audio continues. The sound of an approaching train gradually gets louder. Suddenly the sound of DUKE’s rolling stops. Shortly after the sound of the train’s brakes screeching is heard. There is a loud crash. Bright lights are seen flashing under the curtain. All sound and light ceases.]

CURTAIN





3.1
[When the curtain opens DUKE is sleeping in a hospital bed. He is bandaged. HOWARD is sitting in the chair next to DUKE’s bed, reading a train schedule. DUKE wakes up and surveys his surroundings. He sees HOWARD next to him. ]

DUKE: Like the car ride… I…what happened?…

[HOWARD reaches for the radio on the table next to DUKE’s bed. He turns it on.]

RADIO VOICE: …Negotiations are scheduled to take place soon, but chances of reconciliation look unlikely. Join us after the break for more information on this morning’s accident where seven people died after a northbound subway train derailed and crashed into a barricade. Authorities have not yet confirmed the cause of the accident… [Howard turns the radio down to a lower volume.]

DUKE: I failed. Because of me seven people are dead.

HOWARD: Seven out of thousands.

DUKE: What do you mean, “out of thousands?” I killed seven people and… you set me up to do it. [DUKE is weak but he tries to get up to attack HOWARD. He is struggling. HOWARD picks up his umbrella and lightly pushes DUKE back into bed.]

HOWARD: Slow down there. You’re not considering all of the possibilities of the situation.

DUKE: Possibilities? What possibilities? I killed seven people.

HOWARD: Duke, listen. [HOWARD turns the radio’s volume back up.]

RADIO VOICE: … Now back to today’s breaking story. At approximately eight-forty-five this morning, Subway Train number three-thirteen mysteriously avoided an encounter with a damaged gas line that had dropped three feet because of its faulty supports. If the train had made contact with the line, the impact would have caused the line to rupture. The sparks from this collision would have ignited the gas and nearly two city blocks would have been destroyed, claiming the lives of approximately three thousand people. Authorities said they are still unsure how an apparatus made of skateboard wheels and a DEAD END sign became wedged in the tracks, but they are not quick to question the sparing of so many lives… [HOWARD turns the radio down.]

HOWARD: If the rescue workers had found you down there, wearing your luging attire, the press and authorities would be all over you right now. Lucky for you, someone got to you first—

DUKE: You? You couldn’t have…
HOWARD: That’s right, I couldn’t.
[HOWARD exits as SOPHIE enters the room. She has an overnight bag with her, it is different than the one she had earlier. She moves towards DUKE, hesitates, and then sits down on the chair next to him. DUKE reaches out to her and is about to speak, but she motions him down and waits for a moment. They take their time looking at each other before she speaks.]

SOPHIE: Something sparked Winston and he got out of my apartment, so I trailed him down there. You stood before us. The train was coming, and it illuminated the pipe that as it dropped. You launched your wheeled sign on to the track and it diverted the train into the barricade. Then you ran over and started pulling people out of the metal mess, and a big piece of debris fell on your head. I took you home and got you out of that suit, before bringing you here. I thought you might have legal trouble if—

DUKE: You… I… don’t know what to say… What about Winston?

SOPHIE: He led us out of the tunnel. [She sets the bag down next to his bed .] Here, I brought you some clothes. The doctor said you should be out tomorrow. You can stay in my basement if you don’t have anywhere else to go. This is not an invitation back into Sophie and Duke, but I can help you… give you a chance to get it together.

DUKE: I… I…

SOPHIE: Don’t speak, just think. [SOPHIE looks at DUKE and then exits. DUKE turns up the radio and hears HOWARD’s voice]

HOWARD: You’re lucky, Duke, and so is she. You are starting to see the spectrum of your potential. Do you know what to do with it? Keep moving, Duke.

[HOWARD’s voice is replaced with very distorted radio sounds—almost static. DUKE turns to sleep.]

CURTAIN.

3.2
[DUKE is in a makeshift workshop/living space. There are four different sized street luges on the wall. He is building another one at a work table. He is listening to “Barbedwire Love” by the Stiff Little Fingers. There is a knock on the door. SOPHIE enters holding a cordless telephone.]

SOPHIE: How is everything coming with the project?

DUKE: Better than I thought it would. Right now I’m working on an economy luge for homeless people. Property owners need to know that they can’t have full control over peoples’ lives—

SOPHIE: Duke?

DUKE: Don’t worry, I’ll fight this battle fully clothed.

SOPHIE: Okay, we both know what happens if you don’t. Anyway, you got a call.

DUKE: Really? What did they say?

SOPHIE: Something about scheduling an interview. Here, I have the number.

DUKE: That’s wonderful. If I got that job I could start to pay you back for all of your generous help.

SOPHIE: Don’t worry about that right now. You have other concerns. Besides, I came down to talk about something else.

DUKE: Sure, what’s on your mind?

SOPHIE: I’m curious about your luging experiences. They’ve changed you. You’re not a sinking ship anymore, but the Duke I fell in love with has not returned… But I don’t think I want him to. [Long pause]
Duke, what is luging like?

DUKE: [DUKE reaches under a pile of clothes under his cot. He pulls out a street luge with “Sophie” painted on it.] Would you like to find out?

SOPHIE: Duke… I… Thank you. [She is about to give DUKE a hug but she stops herself.]

DUKE: Your welcome…[DUKE hands SOPHIE the luge] come on, I know just the spot.

SOPHIE: Now? but—

DUKE: Why not? [DUKE grabs a luge off of the wall and then SOPHIE’s hand. They run out the door.]

CURTAIN.

3.3

[SOPHIE and DUKE are standing on top of the hill where DUKE had his first luging experience. They are both wearing luging gear and holding their luges. This should look similar to the beginning of ACT 2, SCENE 4, but with the addition of SOPHIE. They are both looking down the hill.]

DUKE: I don’t know how this is going to work for you, but with me… with me I give myself to the road.

SOPHIE: But how do I stop.

DUKE: You just stop. [SOPHIE looks down the hill and backs up. She is hesitant and very nervous. DUKE looks at her.]

DUKE: It’s alright. It’s good to be scared. [DUKE sits down on his luge and begins to prep himself.] Come, sit down next to me.

SOPHIE: Okay. [SOPHIE joins him.]

DUKE: Now take a deep breath. [They both take deep breaths.] And lean back. [They both lean back.] 1-2-3, go.

[They roll offstage side by side. This time the sound of their luges continues in the direction that exited. As it is getting fainter, HOWARD walks out from behind the hill, up to the top. He follows DUKE and SOPHIE with his eyes and lights up a cigarette. He takes a long drag and exhales. He smiles, walks down the hill and off the stage. The lights dim.
END.