Lula is angered by Clay's not falling for her manipulative tactics. She switches strategies and mocks Clay's Anglo-American speech, his college education and his three-button suit. She derides his being black and passive. She dances mockingly in an R&B style and tells Clay to join her and "do the nasty. Rub bellies". Clay, who does not respond initially, eventually grabs her and throws her down. Clay accuses Lula of knowing nothing but "luxury". He slaps her twice and tells her to leave him alone. Clay launches into a monologue. Clay suggests that whites let black people dance "black" dances and make "black" music. He explains that these segregatory actions assuage black Americans' anger towards whites and distracts them from accessing the "white man's intellectual legacy". Clay states that if black people stopped trying to heal their pain through dance, music, civic participation, religion, or focusing on moving upwards in American society, and became coldly rational like white people, black people would just kill all the whites and be done with racism in America. Clay says that if he were to take Lula's words to heart, he should just kill all the white people he meets. Although Clay says all this, he deeply rejects this plan of action. He states that he does not want to kill and that he prefers to be ignorant of the problem. He says he would rather choose to pretend to be ignorant of racism, not try to get rid of it by fighting with whites. Once Clay makes his confession, Lula changes strategies again. Clay makes as if to leave, but Lula coolly, rationally, stabs him twice to the heart. She directs all the other passengers, blacks and whites, in the train car to throw his body out and get out at the next stop. The play ends with Lula looking towards another young black man who has just boarded the now mostly empty train car. The elderly black train conductor steps into the compartment and tips Lula his hat. The play's title evokes images of Dutch ships that carried slaves across the Atlantic. The subway car itself, endlessly traveling the same course, is symbolic of “The Course of History.” Another layer of the title’s symbolism is the myth of the Flying Dutchman, a ghost ship which, much like the subway car Clay rides on, endlessly sails on with a crew that is unable to escape the confines of the vessel.