Лабиринт - сценарий
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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, he 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 boldl 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

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