An early draft of the script attributed to Jones and Phillips is markedly different from the finished film. The early script has Jareth enter Sarah's house in the guise of Robin Zakar, the author of a play she is due to perform in. Sarah does not wish her brother would be taken away by the goblins, and Jareth snatches him away against her will. Jareth is overtly villainous in this draft of the script. His final confrontation with Sarah tells her that he would "much rather have a Queen" than "a little goblin prince". The early script ends with Sarah kicking Jareth in disgust, and her blows transform him into a powerless, sniveling goblin. In the extensive junkyard scene, Jareth operates the Junk Lady as a puppet, whereas, in the film, she is autonomous. There is actually a pub or bar in the Labyrinth where the Man with Hat and Hoggle gather, and the river Lethe in Greek myth is mentioned. As well as this, the ballroom scene features extensive dialogue between Jareth and Sarah, whereas, in the film, there is none (though there is in the novelization by A. C. H. Smith), and the goings-on with the dancers in the ballroom are more overtly sexualised.
An early draft of the script attributed to Jones and Phillips is markedly different from the finished film The early script has Jareth enter Sarah's house in the guise of Robin Zakar the author of a play she is due to perform in Sarah does not wish her brother would be taken away by the goblins and Jareth snatches him away against her will Jareth is overtly villainous in this draft of the script His final confrontation with Sarah tells her that he would "much rather have a Queen" than "a little goblin prince" The early script ends with Sarah kicking Jareth in disgust and her blows transform him into a powerless sniveling goblin In the extensive junkyard scene Jareth operates the Junk Lady as a puppet whereas in the film she is autonomous There is actually a pub or bar in the Labyrinth where the Man with Hat and Hoggle gather and the river Lethe in Greek myth is mentioned As well as this the ballroom scene features extensive dialogue between Jareth and Sarah whereas in the film there is none (though there is in the novelization by A C H Smith) and the goings-on with the dancers in the ballroom are more overtly sexualised