The Lamb Lies Down on Broadway - Screenplay draft (part ten)
The scene shifts to a street with shops and buildings lining both sides (“The Colony of Slippermen: The Arrival” begins). Many people with strange bulbous growths all over their bodies are walking about, some busy with chores and other activities. Their faces are distorted with the same condition, and their skin is tinted a sickly yellow-green. We see Rael’s progress through the crowd from his perspective. Soon, as more people notice him, they begin to laugh at him. Rael walks more quickly, hoping to escape their derision. He is looking about him as he walks, and when suddenly he turns to face back to the direction that he’s walking, a figure is standing in front of him with a huge grin on his distorted face. He says simply, “bobbity-bop” (“The Colony of Slippermen: A Visit to the Doktor” begins).
The song tells the story as Rael continues past the man.
I wandered lonely as a cloud, till I came upon this dirty street. I've never seen a stranger crowd; Slubberdegullions on squeaky feet. Continually pacing, with nonchalant embracing, each orifice disgracing, and one facing me moves to say "hellay".
The people crowd Rael and jeer at him, but all in good fun. They understand what he’s been through. They themselves had to go through the same experience. Rael tries to take it in stride and comedy ensues.
His skin's all covered in slimy lumps with lips that slide across each chin. His twisted limbs like rubber stumps are waved in welcome, say 'Please join in.' My grip must be flipping, ‘cuz his handshake keeps slipping, my hopes keep on dipping, and his lips keep on smiling all the time.
The “boppity-bop” man then jumps in front of Rael again and explains (in song).
"We, like you, have tasted love. Don't be alarmed at what you see. You yourself are just the same as what you see in me."
Rael stops cold. He’s shocked at the insinuation that he looks like these freaks. We see Rael’s transformation for the first time as he speaks.
“Me, like you? Like that!”
He holds his arms up and then looks down to his torso and legs and is horrified. The man continues.
"You better watch it son. Your sentence has only just begun. You better run and join your brother, John."
The man moves aside and points to reveal another man standing a few yards in front of them (music stops abruptly). Cut to far away shot of Rael Slipperman hugging his brother John Slipperman, and the two walking off together. Cut to the two sitting on a park bench over looking a forest valley. Their conversation is one sided as Rael does all the talking.
Rael: “So…where the Hell are we, and how do we get out of here?”
John nods and gestures
Rael: “Doktor Dyper? Who’s that?”
John continues gesticulating, this time making a scissor motion with his hands.
Rael: (puts head in hands) “Ugh!!” (He pauses, and then sighs) “and that’s the only way?”
John shrugs, then puts his hands on his sides, in resignation. He looks the other way.
Cut to interior of Doktor Dyper’s office. (Tentative sounding keyboard music from “A Visit to the Doktor”) Slipper-Rael is on the operating table. The Doktor is just finishing the procedure. He hands Rael a tube containing his dismembered member, and says, “Understand Rael. It’s the end of your tail”, and laughs. (“A Visit to the Doktor” continues instrumentally) Cut to the waiting room of Doktor’s office. Rael looks like himself again. Slipper-John enters the operating room as the Doktor is seeing Rael out and filling him in on some much needed information about his new physical status.
“People usually wear them around their necks. Now…the operation does not necessarily exclude use of the facility again, for short periods. But of course when you want it, you must provide us with considerable advance warning."
Cut to exterior street scene – camera shot from above. Rael is conversing with a Slipperman, presumably about what it’s like to be cured. He holds out his tube to show it off when suddenly from out of the frame a large black Raven swoops past Rael, takes the tube, and flies off. Rael is confused and surprised, but quickly starts to run after the bird, but seeing the futility, stops and turns back toward the Doktor’s office. He looks up to see the skies turning dark as storm clouds quickly gather.
He looks back to the office to see John begins to come out. John stops in the doorway and we see him as Rael does, from far away. The song tells their conversation. As John speaks we only see over his shoulder as he speaks to Rael.
"Look here John, I've got to run. I need you now, you’re going to come."
"Now can’t you see? Where the raven flies there's jeopardy. We've been cured on the couch, now you're sick with your grouch. I'll not risk my honey pouch which my slouch will wear slung very low."
John walks out the door and away from Rael, who thinks to himself (in song).
“He walks away and leaves me once again. Even though I never learn, I'd hoped he'd show just some concern."
Rael watches his brother walk away, and pauses for a moment to consider what to do. He turns suddenly and looks to the sky in search of the Raven. He sees the bird and runs off in pursuit (the song continues – “I’m in the agony of slipperpain…”). He makes his way beyond the street and in to the forest. His path leads him through a very narrow underpass. He sees the bird fly out the other end. When he reaches the far opening, he looks for the bird again only to see that it has just dropped his tube, which falls in to the rapids of the roaring stream below. He jumps down on to a bank far above the stream (I’m on top of a bank to steep to climb, I see it hit the water just in time to watch it float away”). Fade to black.
(the ambient music of “Ravine” is heard) Rael runs along a path trying to find the best way down to the river. He tries to keep sight of the tube. Fade to black.