The Lamb Lies Down on Broadway - Screenplay draft (part five)
Cut to a Used Book Store interior where Rael is surveying the Sex and Health section. He’s perusing a book called “Erogenous Zones – Difficulties in Overcoming and Finding Them”. A further subtitle says “Mastering the Motions”. A young woman walks up and asks, “Can I help you?” Rael looks her way and smiles.
(“Hairless Heart” resumes) Cut to Rael checking out girls at a hangout spot. The scene progresses from him shyly looking from afar to him getting up the nerve to talk to them, being rejected, and trying again, and finally having luck asking a girl out. The scene goes on to them having a quick meal, walking hand in hand, and then walking in to an apartment.
(Music segues to “Counting Out Time” coming from the clock radio in the room) Rael and the girl are writhing on the bed. The clock radio on the table beside them ticks off the seconds. The camera shot stays on the clock, with the couple in the background. (The music from the clock radio becomes the soundtrack as the scene becomes more dynamic). A timer is seen on the screen in the lower right corner that keeps time since the lovemaking began. After 78 seconds the camera shot cuts to the front of the bed. (The music ends abruptly) Rael is “done”. After a time, the girl calmly climbs out from under Rael, gets out of bed and quickly dresses, looking at him with amusement. Rael is embarrassed. The girl walks back to Rael. She sits on the edge of the bed and puts a gentle hand on Rael’s hand. She catches his eye with a sympathetic look and smiles. She says, “It’s alright” and then after a pause, “I’ll see you later?” Rael nods. She walks out of the room.
Cut to the hallway of the apartment. Rael has just closed the door. He looks ahead down the hall to see that it has become long and seemingly endless, and fades in to darkness. He turns around, but finds only a wall that way. So he starts down the corridor in to the darkness but the lights on the walls follow him, and the walls change to a deep ochre red. (The music of “The Carpet Crawlers” begins). He looks down and to his surprise his feet are bare. A nervous look belies the realization that what he previously thought was the end of a bad dream isn't over. He walks a few steps more and finds himself on a thick carpet of white wool. As he continues down the hallway something compels him to crawl. (“There’s no room to void”) The lights come up to reveal a much wider corridor with a much higher ceiling. There are now other people crawling beside and around Rael in the same direction. Ahead is a heavy wooden door which opens and closes like slow breathing. The crawlers continue incessantly, and one by one pass through the door and toward a spiral staircase.
The walls now are lined with screens that show more celluloid moments from Cinematic pasts. (Superman swooning in the presence of Kryptonite is on one screen beside a scene of a gang fight from Rebel without a Cause. Olivia de Havilland's Maid Marian is seen beside Liz Taylor’s Maggie the Cat. A banquet scene from Camelot is coupled with starving war children. Then we see the staircase from below looking up in to the darkness. Cut back to the crawlers. (“The porcelain mannequin with shattered skin fears attack and the eager pack lift up their pitcher, they carry all the lack”) The other crawlers slow to a stop and wait for Rael to go first up the staircase. He’s their champion. Hesitant at first, his curiosity gets the better of him and he starts toward the staircase. He looks back to see them eerily staring, waiting on all fours. Rael finds his feet and slowly mounts the stairs. The others begin to cautiously follow.