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Labyrinth:
Early Script

Part I | Part II | Part III | Part IV

Scanned & OCRed by Walter Pullen
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By Laura Phillips & Terry Jones.
Story by Dennis Lee.

(Scanned in by Cruiser One on Dec 27, 1996).
FADE IN ON:

1	EXT: SKY - DAY

A WHITE BIRD soaring. The sky is a glorious explosion of blue and
mauve and lavender. The setting sun washes the clouds with a delicate
pink tint. The bird swoops and spirals and we are right there with
him. Then suddenly, below us, an extraordinary sight appears.

2	EXT: LABYRINTH - DAY

It is the labyrinth, an enormous maze of incredible mandala like
intricacy. From our magnificent vantage point, WE ARE BARELY ABLE TO
MAKE OUT its details: the twisting walls interrupted here and there
by lush forest, the complex web of waterways, the forbidding castle
at the core. It is vast and magical, frightening and compelling at
the same time. We would love to linger, perhaps fly lower and get a
better look at this wondrous place, but the bird flies on

3	EXT: GLADE - DAY

It is an idyllic setting, warm and inviting. The late afternoon sun
washes everything with a pink glow. Between the water and a line of
lush fruit trees is a flower-strewn glade. A FIGURE emerges from the
trees and walks toward the water. It is a YOUNG WOMAN dressed in a
flowing white dress that swirls around her in the breeze. The pink
light burnishes her hair and causes a gold circlet she wears on her
head to glow. She is breathtaking, a vision of innocence and grace.
She stops to pick a flower and then turns suddenly as if she has
heard something.

GIRL: Is it you?

She takes a few hurried steps and then stops, smiling shyly

GIRL: Your Highness!

The GIRL curtsies deeply and then looks up through lowered lashes,
the shy smile still dancing on her lips. And then WE PULL BACK TO
REVEAL a crown perched on a head of tight curls. WE ARE LOOKING
THROUGH the crown at the girl as she rises slowly, then looks boldly
at the PRINCE.

GIRL: Do not be swayed by my pleasure at the sight of you, my lord.
For though my father, the Duke, has promised you my hand, I cannot
consent to be yours until the evil that stalks our land from highest
hill to deepest dale is ...

Suddenly the GIRL stops speaking, a look of stunned confusion on her
face.

GIRL: ... from highest hill to deepest dale ... (her brow furrows in
concentration and then) Damn!

She burrows one hand into the deep sleeve of her gown and pulls out a
rolled-up soft-cover book. She rifles through the pages.

The PRINCE is not a prince at all, but a SHEEPDOG wearing a tin foil
crown. He thinks his work is over and it's time to play and he lunges
happily towards the GIRL who isn't a princess or even a duchess, but
15-year-old SARAH.

SARAH is knocked over by the playful DOG. Beneath the gown which WE
CAN NOW SEE is homemade and not very grand at all, WE SEE faded jeans
and running shoes.

SARAH: Get off me, you monster!!

The DOG grabs the book out of her hand and runs away with it, hoping
to be chased. SARAH doesn't follow, she just sits up and pulls the
grass out of her tangled hair and sighs with frustration. The DOG
comes back over to SARAH, its tail wagging hopefully.

SARAH: If you value your mangy life, Merlin, you'll hand it over.

The DOG obediently drops the book.

THE BOOK

On the cover it says, _MEANDER'S QUEEN a play in three acts by Robin
Zakar_. SARAH reaches for it and we hear a clock tower begin to chime.

SARAH leaps to her feet.

SARAH: Oh no, Merlin! We're really late! Why does everything have to
happen to me!!!?

MERLIN prances around her happily, his foil crown in his mouth. SARAH
pulls it out of his mouth and throws it in a nearby trash basket. He
rushes after it and peers into the basket, wanting to fetch.

SARAH: It's all your fault, you miserable mutt!!

She hikes up her dress and runs into the trees. MERLIN whimpers and
tags along behind her.

4	EXT: THE OTHER SIDE OF THE TREES - DAY

SARAH comes bursting through the trees and runs down a hill toward
the street. WE PULL BACK and WE CAN SEE an enormous steel mill on the
other side of the river. And now WE NOTICE that the light isn't pink
any more but sort of dull and hazy, and the idyllic glade is barely a
suburban park, and this is just an ordinary day in a very ordinary
place.

5	EXT: AN OLD RAMBLING HOUSE - DUSK

SARAH runs up a path to an older, rambling house. She goes through
the front door, MERLIN hot on her heels, and neither one of them sees
the beautiful SNOW-WHITE BIRD that lands in a tree beside the path.

6	INT: INSIDE THE ROUSE - EVENING

SARAH bursts through the front door and makes a beeline for the
stairs. She almost makes it. SARAH'S MOTHER appears in the hallway.

MOTHER: _Sarah_, where have you been?!!!

SARAH abruptly stops and changes to an elegantly graceful ascension
of the stairs.

SARAH (in an affected voice): I can't talk to you now. I'm in
rehearsal.

She continues grandly on and heads for her room.

MOTHER: You were supposed to be home an hour ago to baby-sit for
Freddie! Don't we at least deserve an explanation?

SARAH stops and leans over the railing. She speaks with a
melodramatic solemnity.

SARAH: As Meander's Queen, I've been ... meandering. Dither me not
about explanations.

With that she turns and heads for her room. On the door is a sign
that says: "Admittance by Invitation Only." SARAH'S FATHER comes into
the hall.

FATHER: What's that all about?

MOTHER: It's a part in a play, (raising her voice) but that's no
reason to...

SARAH turns in her doorway. She calls down.

SARAH: Chasten not your Queen, _Peasant_!

She dramatically sweeps into her room.

7	INT: SARAH'S ROOM - NIGHT

SARAH slams the door and leans against it, playing the scene.

FATHER (VO): _Sarah_, that's no way to talk to your mother!

SARAH (mumbles to herself): She's not my mother.

SARAH takes a deep breath and closes her eyes. She can hear footsteps
and SOMEONE comes to the other side of the door.

SARAH ignores her STEPMOTHER and kicks off her running shoes.

With a practiced gesture SARAH removes her jeans while leaving her
gown in place.

STEPMOTHER (VO): _Sarah_, when I tell you to be home at five, I
expect you to be home at five.

SARAH quickly shifts to her STEPMOTHER's attitude -- hands on hips,
and silently mimes her words.

SARAH: Yes, Madame!

7A	INT: UPSTAIRS HALLWAY

STEPMOTHER: And don't "Yes Madame" me!

FATHER: Is she all right?

STEPMOTHER (frustrated): Of course she's all right! I left the
Bernsteins' number on the kitchen table ... Freddie might be coming
down with a cold so call us if he seems even the least bit
uncomfortable ...

SARAH (VO) (sighs): Yes, Mother.

STEPMOTHER: Oh! I give up!

She hurries down the stairs.

FATHER: We'll see you later, baby. And remember ...

7B	INT: SARAH'S ROOM - NIGHT

SARAH speaks along with him, mimicking.

SARAH & FATHER (VO): Don't open the door to strangers.

We hear him leave. SARAH waits a beat and then turns and opens her
bedroom door.

SARAH: And don't call me baby! (she slams the door shut; mimicking
her parents) Precious little Freddie might be coming down with a cold
...

She sighs and looks around. This is really her world, her retreat,
and she knows and controls every inch of it. The shelves are filled
with an orderly array of childhood dolls and toys. The books are
lined up neatly in the bookcase and if we could see them up close we
would see that they were placed in alphabetical order -- and
according to the year they were acquired. She walks over to her
dresser. She checks herself out in the mirror above the chest of
drawers and adjusts the golden circlet which has been knocked askew
by her run. She then stops for a moment and looks at the photographs
on the dresser. One of her FATHER, her MOTHER and herself as a LITTLE
GIRL. Another picture of her MOTHER in a newspaper clipping is taped
to the mirror. The headline says, "Linda Williams a Smash in New
Play." A cover of a Playbill is also tacked on to the mirror. It says
_Best of Both Worlds_ starring Linda Williams. SARAH then reverently
opens a music box -- the kind with a twirling dancer inside -- and to
the strains of an unbearably tinny version of "Greensleeves" she
begins to rehearse.

SARAH: Do not be swayed by my pleasure at the sight of you, my Lord
...

Suddenly, something stops her cold.

SARAH (yelling angrily): Someone has been in my room!

Through the mirror WE SEE what she sees: an empty space on one of the
shelves. She swirls around and rushes out the door.

8	INT: THE HALLWAY - NIGHT

SARAH bursts out of her room.

SARAH: Where's Lancelot?

She stomps down the hallway.

SARAH: Where's my bear?!!

9	INT: NURSERY - NIGHT

SARAH enters FREDDIE's room. She searches the nursery.

SARAH: Nobody listens to a thing I say.

She opens a toy box and rifles through it.

SARAH: How many times have I told them to stay out of my room ...

She gets to the crib and looks down. FREDDIE is wide awake, gurgling
at Lancelot, SARAH's tattered old teddy bear.

SARAH: And you, you can just give me back my bear!

She yanks it out of the crib and leaves. FREDDIE looks hurt and his
face starts to cloud up.

10	INT: SARAH 'S ROOM - NIGHT

SARAH is curled up on her bed, cuddling her bear. MERLIN sits beside
her. She looks at the DOG.

SARAH: You're the only one who understands me, Merlin.

He licks her face. She gets up and holds the bear out in front of her.

SARAH: Do not be swayed by my pleasure at the sight of you, my lord
...

She is interrupted by FREDDIE's cries.

SARAH: Go to sleep, Freddie!

The cries get louder. SARAH sighs and repeats her favorite litany.

SARAH: Why does everything have to happen to me?

11	INT: NURSERY - NIGHT

SARAH enters and approaches the howling INFANT.

SARAH: I don't need this.

She pulls the blanket up over him and attempts to tuck him in.

SARAH: There, isn't that nice ...

But FREDDIE doesn't think so. He pushes the blanket off and howls
even louder. SARAH sees one of his toys on the floor and picks it up
and gives it to him. She speaks through gritted teeth.

SARAH: Want your nice toy?

But FREDDIE doesn't. He flings the toy across the room. SARAH bends
over the crib and speaks softly.

SARAH: You know, Freddie, I heard that the only thing to do with a
baby who won't stop crying is to get some goblins to come over and
teach him a lesson ...

FREDDIE lowers his screams to a whimper, but a loud whimper.

SARAH: How would you like that, kid? A nasty evil goblin ...

FREDDIE is quiet for a moment, almost as if he is considering. Then
he really howls. SARAH sighs and picks him up. She begins to pace
back and forth, and starts to hum. FREDDIE goes back to a mere
whimper.

SARAH: Oh, you like that, do you?

She begins to hum even louder and more melodically as she places the
BABY back into the crib. She then begins one of the moat macabre
lullabies you could ever imagine. She sings of how scary the dark is,
how "the shadows on the wall like to eat you when you're small" and
how "a baby doesn't stand a chance when the Goblins start their
dance." She throws herself into her performance; adding to it a wild
dance that has her whirling around the room, leaping into the air,
making strange shadows on the wall. Finally, the dance ends when too
many crazed pirouettes result in her stumbling against FREDDIE's
dresser. She staggers a bit and then the lights blink as a crack of
thunder is heard, followed by a flash of lightning.

ANOTHER ANGLE

Little FREDDIE is wailing. He hasn't understood a thing that SARAH
has sung but he can sense that something is wrong.

SARAH: Ah, c'mon, Freddie. It was just a song.

They are interrupted by the sound of the doorbell. SARAH reacts with
a gasp of surprise. FREDDIE, for some inexplicable reason, is
suddenly quiet.

12	INT: FOYER - NIGHT

SARAH approaches the front door with some trepidation. She starts to
open it, then realizes what she is doing. She fastens the chain and
only then opens the door.

13	EXT: HOUSE - NIGHT
SARAH'S POV

Through the door opening SARAH can see a very elegantly dressed,
quite good-looking MAN of an indeterminate age. He has a worldly air,
or is it other-worldly? Before he can speak a flash of lightning
illuminates his face. He is a mesmerizing sight and SARAH can't help
but gawk.

MAN: Excuse me, is this the home of Sarah Williams ... Sarah
Williams, the actress?

SARAH's jaw drops.

SARAH: That's me.

MAN: Allow me to introduce myself ... (he holds out his hand) I'm
Robin Zaker.

SARAH squeals with delight.

SARAH: You wrote the play!

He smiles.

SARAH: Just a second.

14	INT: FOYER - NIGHT

SARAH's hand hesitates over the chain for just a moment, and then she
unfastens it and opens the door. ZAKAR enters and extends his hand.

ZAKAR: It is an honour, Miss Williams. I understand you make a
delightful Queen Meander.

SARAH: Well, we've just started rehearsal, but how did you know?

ZAKAR: I was passing through this part of the country and heard that
it was going to be done here. This is the first amateur production of
the play, which of course is delightful for me.

SARAH: You know we were supposed to open tonight, but we got delayed.
The firemen had to use the hall.

ZAKAR: Yes, I know, that's why I wanted to stop by to see you.

They are interrupted by a particularly loud crash from upstairs. And
then FREDDIE begins to howl.

SARAH: That's my brother ...

There is another crash and SARAH starts up the stairs.

SARAH: I'll be right back!

ZAKAR watches her run up the stairs. He glances around and then walks
right to the liquor cabinet and takes out a bottle.

15	INT: NURSERY - NIGHT

FREDDIE in standing in his crib crying his eyes out. SARAH rushes in
and sees that the storm has blown open the basement window and it is
crashing against the wall. She rushes to close it. FREDDIE's screams
are piteous.

SARAH: Oh, Freddie ...

There is more thunder, and then lightning flashes across the darkened
room.

ZAKAR (VO): Perhaps I can soothe him ...

SARAH gasps and whirls around. ZAKAR is framed in the doorway. He has
a drink in his hand. SARAH holds the BABY close.

SARAH: You shouldn't be up here!

ZAKAR (smoothly): I just wanted to help ...

SARAH rushes by him, still clutching the BABY.

16	INT: HALLWAY - NIGHT

SARAH comes out of the nursery and hurries down the stairs. ZAKAR
follows. FREDDIE is still crying.

SARAH: Maybe you'd better leave ...

She gets to the bottom of the stairs. FREDDIE whimpers. ZAKAR is
making her very nervous.

SARAH: ... I, uh, don't think I care to talk to you about the play.

He is right behind her, almost too close.

ZAKAR: Neither do I.

SARAH is shocked and disturbed by this.

SARAH: What!

ZAKAR reaches over and smoothes FREDDIE's hair.

ZAKAR: I'm more concerned about the baby, of course.

SARAH pulls FREDDIE out of his reach.

SARAH: Freddie's just fine.

But he isn't. He's still crying. ZAKAR reaches into his pocket and
pulls out a coin. Be runs it over his fingers right in front of
FREDDIE's face. The BABY stops crying.

ZAKAR: There, isn't that better?

SARAH (nervously): Uh, sure ... but you really have to leave ...

ZAKAR ignores her and heads into the living room.

ZAKAR: I'm not just a playwright, as you can see ... bring him in
here and I'll do some other tricks for him ...

SARAH: No! You've got to ...

But he is already in the living room. She follows, still holding the
BABY.

17	INT: LIVING ROOM - NIGHT

ZAKAR is sitting on the sofa, looking very comfortable. SARAH stands
in the doorway, not sure what to do. Reluctantly, she goes and sits
down across from him.

ZAKAR: Now watch this, Freddie ...

He reaches into his breast pocket and tugs on the handkerchief there.
It comes out followed by many others, all different colours. SARAH
rolls her eyes. This is not that exciting a trick. FREDDIE isn't
impressed, either. In fact he starts to cry again.

ZAKAR: So you're going to be like that, are you, Freddie? Well, you
know what that means?

He leans across the table and SARAH pulls the BABY closer.

ZAKAR: It's time to call the goblins!

SARAH: What?!!

SARAH is surprised to hear this, to say the least. It echoes her
silly threat to FREDDIE earlier.

ZAKAR: Yes. That's what we do with bad babies ... we send for the
goblins!!

And with that he reaches into yet another pocket and pulls out a
poorly made, very silly-looking goblin hand puppet. SARAH laughs
with relief. ZAKAR, his hand in the puppet, talks in a high-pitched,
unconvincing goblin voice.

ZAKAR: You like goblins, don't'cha, Freddie? (singsong) but I bet
your sister doesn't ...

SARAH rolls her eyes at this, and then gasps. Because for one very
strange moment, the puppet keeps bouncing, but both of ZAKAR's hands
are visible! And then the puppet seems to move away from the table,
and disappear! FREDDIE claps his hands with delight. SARAH jumps out
of her chair.

SARAH: Where is it?!!!

ZAKAR points to a large cabinet against the wall.

ZAKAR: It's in there.

SARAH: Impossible!

ZAKAR: See for yourself.

SARAH hesitates for a moment, and then places FREDDIE carefully on
the rug. She then marches over to the cabinet and throws open the
door.

ANOTHER ANGLE

the puppet, grinning wildly from inside the cabinet.

ANOTHER ANGLE

SARAH gasps and involuntarily slams the door. She whirls around to
face ZAKAR.

SARAH: How did you do that?!!

ZAKAR leans back into the sofa.

ZAKAR: Magic.

SARAH: Oh sure ...

She nods, skeptically. She can't see -- but WE CAN DEFINITELY SEE --
the cabinet door slowly open behind her, and out of it comes a tiny,
fierce-looking GOBLIN! This is not a puppet, but a living creature
that moves quickly out of sight with an exaggerated tiptoe. SARAH is
busy with another problem. She doesn't see FREDDIE!

SARAH: Where's Freddie?!!

ZAKAR shrugs. In a panic, SARAH begins to look around this room. She
calls for FREDDIE and, as she passes in front of the living room
doorway, WE CAN SEE something scurry across the hallway. SARAH stops
and listens.

SARAH: Freddie?

But it wasn't a BABY she heard. Behind her there is more scurrying as
CREATURES begin to appear from various parts of the room. We hear
faint snickering. She turns to ZAKAR, terrified.

SARAH: Where is he?!!

ZAKAR points to the chair SARAH was sitting in. She is behind the
chair and can't see anything. But when she comes around in front of
it she sees FREDDIE comfortably ensconced in the cushions. And he's
playing with the goblin puppet! SARAH reaches over and grabs the
puppet out of his hands. She flings it across the room and scoops up
the BABY.

SARAH: Who are you?!!!

ZAKAR throws back his head and laughs, then suddenly leaps off the
sofa and lands very close to her.

ZAKAR: I've been known by many names ... but the one I prefer is
_Jareth, King of the Goblins_!!!

SARAH holds FREDDIE close and backs away.

SARAH: I don't believe this!

Amidst thunder and lightning JARETH flings his arms up into the air,
and he is suddenly dressed in strange, medieval garb, a cloak
swirling around him. And what's worse, much, much worse, is that
suddenly GOBLINS are everywhere! Popping out of drawers, from under
chairs, swinging off the chandeliers. SARAH turns and runs out of the
room.

18	INT: FOYER - NIGHT

It's worse in here! The GOBLINS are pouring down the stairs, SOME
slide down the bannister! SARAH tries running into another room, but
is soon back, followed by a DOZEN MORE! She barely makes it to the
front door and struggles to open it with the BABY in her arms. The
GOBLINS pull her back and laugh wildly. They fling her right into
JARETH's arms. He scoops FREDDIE up and whirls away from her. SARAH
tries to grab the BABY back but the GOBLINS get between them.

SARAH (hysterical): Give him back, you monster! Give him back!

JARETH only laughs and starts to swirl gracefully. FREDDIE laughs
with delight and SARAH struggles to reach him. With a superhuman
effort she pushes through the MASS OF CREATURES and grabs onto
JARETH's fluttering cloak. It's like being caught up in a whirlwind
of incredible force.

SARAH (screaming): I ... won't ... let ... you ... take ... him!

But it's too late. SARAH's feet leave the ground and she is pulled
with them and the whole MASS OF GOBLINS. JARETH and FREDDIE swirl up
through where the ceiling would have been, up into the blackness.
There's a QUICK MONTAGE OF SHOTS: JARETH's laughing face; SARAH,
desperate as her fingers are losing their grip; FREDDIE, who's having
a great time; GOBLINS, ALL gleeful; then -- JARETH's garment pulls
out of SARAH's grip. She falls OUT OF FRAME, a silent scream on her
face.

19	EXT: LABYRINTH - DAY
A WIDE PEACEFUL SHOT

The sky is pink, and the WHITE BIRD swoops by us as WE TILT DOWN TO
SEE the exterior wall of the labyrinth. It is a high masonry wall
that extends off in either direction. Along the wall are various
ornamental bushes and there is a small figure of a dwarf, his back to
us, peeing into a tiny pond. It looks for all the world like one of
those ornamental garden sculptures. But it isn't. This is HOGGLE. In
a CLOSER SHOT, which is quite discreet, HOGGLE finishes peeing, and
goes over to a particularly lush shrub. A few butterfly-like
creatures, flower fairies, flit around the bushes.

HOGGLE: An' how's me pride an' joy!

He leans forward to sniff one of the magnificent blossoms, sighing
with pleasure as he does. But before he can indulge he is stopped by
the whistling sound of a falling object. SARAH falls from the sky and
lands right on his prize shrub! Incensed, he screams with fury.

HOGGLE: What is this? Look what you done! You murderer!

SARAH struggles out of the broken shrub.

SARAH: What are you saying, you horrible little man?!

HOGGLE: I ain't horrible, I'm _Hoggle_. And just look! You've
destroyed me prize blossoms!

He realizes the extent of the damage to his prize specimen.

HOGGLE: I'll get ya for it, you big oaf!

And he picks up a spray can and goes after SARAH. But she's had
enough. After the nightmarish kidnapping of FREDDIE and a drop from
the deepest space, this guy is child's play. She reaches out and
pulls the can from HOGGLE's hands. She then grabs him by the
shirt-front and practically lifts him off the ground.

SARAH: Oh no you don't! If anyone's getting anything around here,
it's me ... now where' my brother?!!

HOGGLE: I ain't sayin' nothin' 'til ye let me go!

SARAH sighs and lets go.

SARAH: I'm sorry. But this just hasn't been my day.

HOGGLE looks at his crushed shrub again.

HOGGLE: Ye ain't the only one.

SARAH ignores him and stares at the massive wall behind them.

SARAH: And I don't understand any of this!

HOGGLE shakes his head and sighs.

HOGGLE: Now where have I heard that before.

SARAH: What do you mean?

HOGGLE: I mean, everyone who comes here thinkin' they can make it
through the labyrinth says sumthin' like (mimicking Sarah in a whiny,
high pitch) ... I don't understand this, whatever am I doing here,
how will I ever get home ...

SARAH: What makes you think I'm here to get through a labyrinth?

HOGGLE shakes his head again.

HOGGLE: Can't think of any reason why you'd be standin' here in front
o' this gate if you weren't.

SARAH doesn't understand what he is talking about but when she looks
up she can't believe her eyes.

ANOTHER ANGLE

A huge gate where just a moment ago there nothing but smooth, endless
wall. SARAH gulps in disbelief. Then the huge wooden doors fly open
and a terrified CREATURE runs out, full speed, screaming for his
life. Right behind him come TWO MENACING GOBLINS riding on strange
BEASTS. They are armed and dangerous looking. They quickly catch up
with the CREATURE and drag him, screaming piteously, back through the
gate. Before the gates close SARAH can see MORE GOBLINS, what seems
like hundreds of them. SOME are mounted, MOST of them are armed. And
beyond them a walled passageway seems to go on forever. Then the
wooden doors slam shut.

SARAH: Oh, no! Not more goblins!

HOGGLE: That's Jareth's goblin army, and that other poor fool musta
been caught meanderin' where he had no business.

SARAH: What will they do to him?

HOGGLE: I don't like to think about things like that.

SARAH shudders.

SARAH: I wonder if things can get any worse?

HOGGLE sighs knowingly.

HOGGLE: He's taken sumthin' o' yours, ain't he?

SARAH is clearly surprised.

HOGGLE: Jareth, our high an' mighty king ...

SARAH nods, excited that someone has a grasp of the situation.

HOGGLE: Bet he's gone and taken sumthin' you love.

SARAH (shrugging): Close. He's got my baby brother.

HOGGLE laughs derisively.

HOGGLE: Baby snatchin'! That's low.

SARAH: So I've just got to do something!

HOGGLE: Like what?

SARAH: Get Freddie back, of course!

HOGGLE: Then ya'd have ta make it through the labyrinth, 'cause
Jareth's castle is at its very center.

SARAH looks at the gates and gulps.

SARAH: Is it difficult?

HOGGLE snorts with derision.

HOGGLE: Is me prize shrub crushed into oblivion?

SARAH is reaching the breaking point.

SARAH: Look, I'm sorry about your bush! But it's not like I asked to
have some weirdo come and take my baby brother and then drop me out
of the sky!

HOGGLE: Well, I didn't ask for some overgrown flower fairy to drop on
me prized possession, neither!

SARAH: Oh, this is ridiculous!

And she stalks off to the gate, mumbling all the way.

SARAH (to herself): ... standing here wasting time talking to some
weird guy who should be living under a bridge ...

She is almost at the gate when she freezes with fear. Through the
gate she can hear the cheers and jeers of the GOBLINS, and what might
be the wailing of their poor CAPTIVE. There's no way she wants to
risk facing that horrific CREW. HOGGLE has come up behind her and as
she backs away from the gate she bumps into him. She shrieks and
whirls around.

HOGGLE: That ain't the only way in, ya know!

SARAH is very relieved to hear this.

SARAH: It's not?!

HOGGLE: Course it ain't. There's many a route in ... just only one
way out.

SARAH: Well show me one! I've got to find my brother!

HOGGLE sighs impatiently. Be fingers a belt that he wears, rattling
it in an obvious manner. It in hung with every kind of watch and
bracelet and ring you can imagine.

HOGGLE: Information like that has a price ...

SARAH, taken aback by the amount of loot he's acquired.

SARAH: I could give you this ...

She takes the gold circlet off her head. HOGGLE isn't interested.

HOGGLE: I had sumthin' o' this caliber in mind ...

He takes her hand and WE SEE that she is wearing a beautiful ruby
ring. SARAH shakes her head vehemently.

SARAH: No. My mother gave me that.

HOGGLE eyes it greedily.

HOGGLE: She could give ya another ...

SARAH: No, she couldn't. (sadness crosses her face suddenly) She
lives real far away ...

The sadness disappears just as suddenly. She holds out the circlet.

SARAH: This is all you get.

He grabs the circlet and bites it.

HOGGLE: Bah! It's paste!

Something catches SARAH's eye. It is one of the tiny FLOWER FAIRIES.
She leans over for a better look.

SARAH: No it's not, it's plastic.

HOGGLE's eyes light up at that and he grunts with satisfaction as he
strings the circlet onto his belt. SARAH reaches out her hand to the
FAIRY.

SARAH: What a beautiful little thing ...

HOGGLE reaches for the spray can.

HOGGLE: Let me at it!

SARAH is enraged.

SARAH: You murderer! How can you kill such beautiful creatures?!!

Just then the FAIRY gives SARAH a vicious bite. She shakes it off her
hand and cries out in pain.

SARAH: It bit me!

HOGGLE quickly sprays the offending FAIRY and it falls to the earth,
screaming all the way.

HOGGLE: Of course it bit ya! There's nuthin' more vicious than a
flower fairy. Any fool knows that!

SARAH sucks on her wounded hand and tries not to cry.

HOGGLE (sighs): But you don't know nuthin', do ya?

A tear trickles down SARAH's cheek. HOGGLE sighs.

HOGGLE: I got a feelin' I'm gonna regret this. (he stalks off) Come
with me an' I'll show ya a way in.

SARAH hurries after him. As they walk along the endless wall HOGGLE
looks at the circlet and polishes it on his sleeve.

HOGGLE (thrilled): Plastic        

Part I | Part II | Part III | Part IV

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Labyrinth characters © Henson Associates, Inc. 1986
Labyrinth movie title and character names are trademarks of Henson Associates.