The Lamb Lies Down on Broadway - Screenplay draft (part three)
Rael walks through a tunnel in the rock. There isn’t any light so he gropes the wall to keep him on his feet. He comes to an entrance (exit?) in the cave wall from which a light is emitting. He steps through to find a middle aged woman at a desk. Behind her is a huge warehouse. Confused, Rael asks timidly, “where am I?” The woman looks up, smiles, and starts in to her sales-pitch-like explanation:
"This is the Grand Parade of Lifeless Packaging, those you are about to see are all in for servicing, except for a small quantity of our new product, in the second gallery. It is all the stock required to cover the existing arrangements of the enterprise. Different batches are distributed to area operators, and there are plenty of opportunities for the large investor. They stretch from the costly care-conditioned to the most reasonable mal-nutritioned. We find here that everyone's looks become them. Except for the low market mal-nutritioned, each is provided with a guarantee for a successful birth and trouble free infancy. There is however only a small amount of variable choice potential - not too far from the mean differential. You see, the roof has predetermined the limits of action of any group of packages, but individuals may move off the path if their diversions are counter-balanced by others.”
A whistle is heard while the saleslady is still speaking. (the organ intro to “The Grand Parade of Lifeless Packaging” starts). The woman finishes her spiel, sits down, then after a pause says:
“It’s the last great adventure left to mankind"
(then the band version of the song continues) Rael walks out in to the warehouse and notices the stock is large rectangular boxes, with plastic window fronts, stacked to the ceiling on high racks. Rael continues moving along, looking about him with interest, and awe. He notices that all the boxes are full of human dolls of various ethnicities, each with distinctive clothing marking them as having different vocations. The dolls in boxes are motionless, while lining the walls of the warehouse are other sets, or displays, with working models. (“everyone’s a sales representative”…) The boxes all have numbers at the outside top, and prices marked in red, and the dolls themselves have slogans on their shirts describing their occupations.
Rael is suddenly shocked to see his brother in a set depicting his gang spray painting a Subway Car (his brother is #9). Surprised by the sight of his brother, and still cautiously confused, Rael slowly backs up, but loses his footing and falls on his back. While there he notices something odd about the ceiling. There is a giant mural of a Lamb on it with a variable message calendar inset showing the dates of distribution for the dolls. (For instance: “Number 9; 29 September 1974”) He quickly gets up looking confused and horrified, and decides to leave the place. He makes his way quickly to the exit looking back to be sure he isn’t followed. The camera follows him in to the darkness of the exit. (The music ends and is cross faded with the sounds of the subway).