a wild bones appears

“Friendship through stockholm syndrome. Friendship through stockholm syndrome everywhere.” - Ruby, probably

Ruby actually has a fair point, though. Weiss only knows her as the inept bumbler of social interactions. Perhaps respect could be forged by witnessing Ruby’s competency in combat. Weiss was already surprised by Ruby’s speed here.

Oh, hey! Speaking of combat, a whole pack of wild bone troll lookin’ things appeared!

End of an episode already… Good thing I don’t have to worry about cliffhangers as I catch up!


RWBY Chapter 5: The First Step, Part 2

There! You can’t say I forgot to link the episode, now! Ahah hah… ah… ha…

“Wine related injury. Very sad,” Luna exhaled halfheartedly, nodding along to the small posse she’d formed around her while they ogled at her wrist cast in the quad. “Totally not my fault, obviously. Feel free to draw a dick on it or confess your love to me in writing with this bad boy,” came as she wiggled a Sharpie in emphasis, having just snatched it from a boy that obnoxiously scrawled his number along the top. “Keeps the broken bone thing glamorous.”

Labyrinth Early Script - Plot Summary Part #1

Sarah and Hoggle by Brian Froud

Disclaimer: This plot summary is being provided in accordance with fair use. By posting it, I do not seek to make any profit or commercial gain. I will also not reproduce anything more than very brief excerpts of dialogue verbatim. This plot summary is original and my own work based on an early and unattributed script for the film Labyrinth - it has been prepared to allow for a scholarly comparative analysis between the early script and the final film. I do not claim any form of ownership over the material. If asked to do so by any copyright holders, I will remove it with immediate effect.

Plot summary – While the setting is not explicitly giving, Sarah is first described carrying an oil lamp and her house is said to be Victorian. She later refers to her parents as “Mummy and Daddy”, and all of these factors can be taken as indications that the exceptionally brief ‘real world’ parts of this draft are set in Victorian England. This draft begins with Sarah looking after her infant brother (Adam in this script) and growing increasingly exasperated as he refuses to settle. In a pique of frustration, she wishes him away to the goblins. They take him, leaving a horrifically ugly goblin baby in the myth in a clear reference to classic changeling/faery myths.

Terrified, Sarah runs back to her room and hides under her bedcovers. She hears a baby laughing at the foot of her bed and can see a light emanating beyond the sheets. She crawls forward and finds that her sheets have expanded and that she can stand up as they billow around her. She keeps on moving and finds herself in a completely white world – spying a white tree in the distance, she runs to it and reaches out for a white apple which she takes a bite from.

She’s in a very calm and contented state until there is a crash of thunder and the sky turns black – a “majestic figure”, Jareth, appears out of a streak of solid lightening. He addresses Sarah in song (a really bizarre and un-song-like song) and basically tells her to leave the Labyrinth and that she will never save her brother. When Sarah refuses to leave,

Jareth becomes extremely angry and disappears with a lighting flash (in this draft, this is Jareth’s preferred form of transportation – there are no references to owls).

Sarah falls backwards into a stream which quickly grows and becomes a rushing river – she’s nearly swept away with it but manages to swim to shore. Time passes (giving a chance for the sun to come up and for Sarah to dry). Sarah is rather despondent, but a little bird flies past and tells Sarah about the Labyrinth, which it has seen on its travels.

Intriguingly, the bird tells Sarah that it can see “fear” in the castle at the centre of the Labyrinth. The little bird appears at intervals throughout the script, offering snippets of cryptic information about the Labyrinth each time.

After the conversation with the bird the script joins up (for the first time) with the final film for the scene where Sarah meets Hoggle for the first time. There are minor differences in the dialogue and Sarah is rather generous with her insults, calling Hoggle a “beastly little pipsqueak”. As we know, Sarah enters the Labyrinth and finds herself in an endless corridor, where she encounters the Worm. While the Worm tells Sarah “Don’t go that way!” there is no subsequent aside (as there is in the final film) to indicate his instruction was actually directing her away from the castle.

As she wanders through the Labyrinth Sarah imagines her parents coming home to find her gone and Adam replaced with a goblin, and this fills her with a renewed desire to save her brother. She quickly comes across Alph and Ralph, answering their riddle in much the same fashion she does in the final film. Upon going through the door, she falls down into the Shaft of Hands where she is passed down into the Oubliette and met by Hoggle. Bribing him with a brooch in return for being taken as far as possible through the Labyrinth, Sarah buys her way out and Hoggle leads her past the False Alarms back into the Labyrinth proper (they do not encounter Jareth or the Cleaners).

Hoggle tries to leave Sarah as soon as they emerge from the urn, and Sarah snatches back Hoggle’s cluster of brooches to effectively blackmail him into staying with her as her guide. They wander through the Labyrinth’s hedge maze bickering until they come across The Wiseman (the encounter unfolds in much the same way as it does in the final film). They then find the two squabbling door knockers, though this scene plays out differently from the familiar version. They first go through the door fronted by the knocker with the ring in its mouth; this door leads into a forest filled with laughing flowers. The laughter is contagious, and Sarah finds herself rendered helpless by hysterical laughter (this scene is present in the novelisation, but features Ludo and Sarah instead of Hoggle and Sarah). Hoggle ends up dragging her out to safety (and takes his brooches back in the process); this is where they separate, with Hoggle leaving Sarah in a huff after she pleads with him to stay and tells him she’s his friend. Intriguingly, Hoggle says “Jareth ain’t got the child! Leave him alone!” before running off. As Sarah does not know Jareth by name at this point, she doesn’t know what to make of this.

Alone, Sarah goes through the other door into what turns out to be the ‘wild thing’ (aka. Firey) forest – it is formed of bones in this draft, but the whole bone forest quickly crumbles into dust when Sarah accidentally breaks a bone branch from a tree. The wild things then appear and begin singing a song about living a free and easy life (not Chilly Down, though it expresses similar sentiments). After their song the wild things offer to help Sarah find the castle after learning of her quest (again, this is present in the novelisation, albeit in a dramatically shortened form). It eventually turns out they don’t even know what a castle looks like, so are of no use at all.

Sarah ends up fleeing from the wild things and escapes into a rocky alleyway contained in the mountain that fringes the wild thing forest. The wild things give chase but Hoggle proves to be above her, and sends a rope down to Sarah so she can climb up and get to safety. In gratitude Sarah kisses Hoggle, and the ledge they are sitting on tips them down through a hole in the mountain. They emerge from a high opening on a rock face (just as in the final film), barely saving themselves from falling. In this draft the implication is that it is not Jareth who triggered their descent after Sarah kissed Hoggle, but instead the mountain itself (which, according to Hoggle, “hates anything sloppy or sentimental”).

Sarah and Hoggle are soon menaced by a mud monster which emerges from the sludge behind them, but after a wash in a waterfall the mud monster proves to be Ludo (note that Ludo is introduced much later in this draft, and also that there is no Bog of Eternal Stench in this version).

Ludo’s powers are more extensive in this draft, and he howls at a tree to make its branches transform into steps which the gang use to climb up to the top of the cliff. From the clifftop they see two strange figures, Colonel Apocalypse and Corporal Skeleton (neither figure is clearly described, though they are clearly based on Froud sketches and Skeleton is described as having an automaton’s voice), demonstrating an odd contraption which fires a large blob of jelly into the sky. Sarah and the gang approach them – Apocalypse and Skeleton are suspicious and think they’re being attacked, but Sarah patiently explains that she and her friends come in peace. Still under the impression he’s about to be tortured by enemy forces, Skeleton blurts out that they are in the Lost Ground.

Sarah and the gang wander away from the two odd military-types, and find themselves in a desert filled with holes. Here it’s revealed that Sarah has forgotten what she is in the Labyrinth for – Hoggle explains that the Lost Ground causes people to forget everything, and it works quickly on Sarah. When looking across the landscape Sarah notices a tall blue building, which Hoggle indicates is the Dream Castle. Dreams Castles operate according to the same principle as bubbles – they’re temporary, and disappear quickly. Suddenly deeply worried for Sarah, Hoggle warns her to stay away from the Dream Castle – Sarah ignores him.

Part Two