The Lamb Lies Down on Broadway - screenplay draft (part nine)
(“The Lamia” begins) Rael crawls in to a long passageway, and standing, he sees chandeliers on the rock ceiling lighting his way. He walks along, still taking in the exotic olfactory richness, and letting it guide him. He finally comes to a large, magnificent chamber, the walls of which are covered with maroon-colored velvet. In the center of the chamber is a luminescent pink-water pool shrouded by a fine mist. Rael takes the sight in while a warm refreshing breeze lightly caresses him. Where the breeze is coming from is anyone’s guess.
He notices a rippling on the surface of the water, and then breaking the surface are three snakelike creatures. It becomes clear to Rael, as the creatures come out of the mist, that their lower bodies are vermillion, but that their busts and heads are that of three beautiful women. He looks horrified, and starts to back away. But as he gazes in to their soft green eyes, he is hypnotized and quickly falls in love with them.
Then they speak, in unison, in voices soft and seductive. “Rael welcome. We are the Lamia of the pool. We’ve been waiting for our waters to bring you cool.” Rael disrobes and enters the pool. The Lamia invite him to drink the waters, cupping their hands in offering. He drinks the water and within seconds a blue luminescence beads off of his skin. The Lamia approach him closer and begin licking the liquid gently from his skin. Rael notices his own offering, and feels the need to give more. He continues drinking the waters as the Lamia drink of him.
The Lamia begin caressing Rael, and where their fingers have touched him layers of his skin begin to melt. Soon the flesh becomes pink, then red as they knead their way through him. The Lamia then nibble at the exposed areas, while Rael is oblivious. Soon after they begin eating of his flesh, their eyes turn black and their own bodies begin convulsing. Rael watches in helpless passion as his lovers die, their bodies floating in the pink-water. Compulsively he takes pieces of their bodies and begins to consume them. He rapturously feasts on the bodies as the water around him turns icy blue and the lights of the chamber dim. The camera slowly pans back and away from Rael from above. (Solo section at the end of “The Lamia”). Fade to black.
Fade in - slow motion. (“Silent Sorrow in Empty Boats” begins) Rael exits the water the same way he came in. There is nothing left of the Lamia. He walks out of the chamber still naked, and back in to the dimness of the tunnel from which he entered. He disappears in to the darkness at the other end. Fade to black.