["Scenario for a Proposed Film of Peter Pan" by James M. Barrie.
Intended for the 1924 Paramount film but rejected by the studio
in favor of a more straightforward adaptation of Barrie's play.]
(NOTE. -- The music of the acted play, as specially
written for it, should accompany the pictures. Thus
there is the music which always heralds Peter's
appearances -- the Tinker Bell music -- the pirate
music -- the redskin music -- the crocodile music,
etc., all of which have a dramatic significance as
well as helping in the telling of the story. Other
special music should be written so that all the
music accompanying the play becomes really part of
it. The subtitles, i.e. the words flung on the
screen, are here. The aim has been to have as few
words as possible. There are very few words in the
last half hour or more of this film, and there are
also about fifteen minutes of the lagoon scene
without any words. Many of the chief scenes,
especially those calling for novel cinema treatment,
are of course not in the acted play, but where they
are in it they should be acted in the same way, and
to that extent the play should be a guide to the
film. This scenario is very condensed: here we give
only the bones of the story. The details of how to
get the humours etc. must come later. The technical
matters are obviously of huge importance and
difficulty, and it remains to be seen whether the
cinema experts can solve them.)
The first picture is of Peter riding gaily on a goat through a wood,
playing on his pipes (a reproduction of the painting in my possession).
He suddenly flies on to a tree in the inconsequential way of birds.
From this he flies over a romantic river, circling it with the careless
loveliness of a sea-gull. He as suddenly re-alights on his goat and
rides away playing his pipes, his legs sticking out cockily. Vast
practice and rehearsal will be needed to get the flying beautiful and
really like a bird's. The flying must be far better and more elaborate
than in the acted play, and should cover of course a far wider expanse.
This incident should show at once that the film can do things for Peter
Pan which the ordinary stage cannot do. It should strike a note of
wonder in the first picture, and whet the appetite for marvels.
There was once a poor London clerk and his wife,
called Mr and Mrs Darling; but what do you think
Mr and Mrs Darling, who should be very tall, so as to make the children
smaller, are sitting on each side of fireplace in a humble, but pleasant
London sitting-room. The furniture should be of the simplest kind. There
should not in this room, or any room shown in the play, be any of the
massive carved furniture in heavy oak with spiral legs, etc., that is
often shown in films. These are people of refined taste, but with very
small means. Mr Darling is only a clerk in an office, and the
humbleness of their social position should always be emphasized. She
is sewing a childish garment. After a moment there come running to them
one at a time their three children.
Wendy, John, and Michael.
It is a happy domestic picture, all very loving. The children romp away
and the parents are there without them. They have been boisterous and
Mrs Darling is tired and overworked. Mr Darling kindly tries to take
the sewing from her, but she shakes her head. Liza, their little maid,
comes in with the evening paper to Mr Darling. It should be a London
paper, not an American one. Liza should be played by a child of about
eight years of age, but with her hair up and a long skirt. She departs
primly. Mr. Darling points out an advertisement in the paper to Mrs
Darling. It is shown in a close-up: "For nurses and nursery maids,
apply Mrs S. 22 Green Street." Evidently this is what they are in need
of, but they compare money and indicate that they are too poor. Then he
shows her another advertisement in close-up: "Newfoundland dog for
sale, cheap. Very fond of children. Apply Dogs' Home." He points to the
underlined words in particular. She is evidently afraid, but he sees an
idea in it.
Then there is a picture of Mr Darling leading a Newfoundland dog
through a London street. The dog is coming willingly.
The next picture shows the result of the previous ones. We see the night
nursery with three beds as in the opening of the acted play. It should
be an English nursery. The Newfoundland dog, Nana, is seen going about
the work of a nurse in a very practical way. We see Nana preparing the
bath, bathing Michael in the bathroom very realistically, and herding
the three to bed, tucking them in, etc. A long, continuous amusing
picture, reproducing this incident from the play, but more fully than
is possible there.
When Nana thinks they are all asleep she retires into her kennel which
is in the nursery, and we see her go to sleep there with her head just
out of the kennel. The naughty children are not really asleep. They
jump up. Wendy makes sure that Nana is asleep, then she signs to the
others, and they creep into her bed. She begins to tell them a story,
while they sit up eagerly listening. It is rather dark.
(NOTE about Nana. -- She should be generally played
by a human being in a skin exactly like that of some
real Newfoundland dog which is available, so that in
certain scenes -- as in the street scenes -- this dog
can be substituted for the actor.)
Next we have a vision of Cinderella with her broom asleep by fire in
kitchen, to show that this is the story Wendy is telling.
"Do you know why swallows build in the eaves of
houses? It is to listen to the stories."
We see Wendy telling this to her brothers. Michael goes on tiptoe to
the window to "shoo" the swallows away. Then we have an outside view of
the window, with several swallows sitting on the sill, listening.
Michael suddenly appears at the window, opens curtains and "shoos" them
away. He returns, grinning, to Wendy's bed, thinking himself a very
Unknown to Wendy, there was sometimes another
listener to the stories.
From outside we see Peter listening at the window. Then we have
alternate scenes of Wendy telling tales and Peter listening eagerly.
(We should not see that Peter has flown here yet.)
One night Nana nearly caught him, and he only escaped
by leaving his shadow behind.
Peter comes, stealthily, in by window to hear the story better. He
crawls along the floor and listens delightedly. Nana wakes up and runs
at him. He leaps out at window, but she brings down the sash so quickly
that his shadow is left behind. Excitement of the children, who sit up.
Mrs Darling rushes in, followed by Mr Darling. Nana has the shadow in
her mouth. Mr Darling unfolds the shadow and examines it. He evidently
thinks it a very naughty shadow. Mrs Darling rolls it up and puts it
away in a drawer. They look out at the window, but no one can be seen.
The pictures here show us that the nursery is at the top of a house in
a poor, but respectable, London street. The mystery makes them uneasy.
Then Mrs Darling evidently thinks Michael is looking too excited. She
looks at his tongue, puts a thermometer in his mouth and produces a
bottle, which we see, in a close-up, is labelled "Castor Oil". She
pours some in a spoon and puts the handle into Nana's mouth.
Michael is in his own bed, with the others around. Nana crosses to him
with the medicine spoon in her mouth. He is naughty and won't take it,
etc., as in the play, which should be consulted here for the humours of
"Be a man, my son. I would take my medicine now, as
an example to you, if I hadn't lost the bottle."
Mr Darling is saying this in his superior way.
"I know where you put it, father."
Wendy says this, thinking she is pleasing him. She runs off. Anguish of
Mr Darling, which is increased when she returns with the bottle, which
we have seen her in another picture getting from the top of a cupboard
in his bedroom, where he had, doubtless, hidden it. It should be a very
humble bedroom. She pours some of his medicine into a glass, and gives
it to him. He glares. John chuckles at his father's predicament. Wendy
gives the signal: one, two, three, for them to drink simultaneously.
Humours of Michael and his father in this situation as in play.
Michael drinks his medicine, but Mr Darling ignobly conceals his glass
behind his back. Michael sees this and cries. All are ashamed of Mr
Darling, as they peep behind his back and see the glass. Nana sticks out
her tail and struts contemptuously out of the room. He is annoyed at her.
Then he indicates that he has a funny idea. He gets a milk bottle (which
we see to be milk in a close-up) and pours a little milk on top of his
medicine and then pours the white mixture into Nana's drinking bowl. The
others don't like this, but he points to it when Nana returns. She is
grateful and begins to lap it up, then looks at him reproachfully and
sneaks into her kennel. The children weep, and he is testy over the ill
success of his joke. He orders Nana to come out, but she shrinks. Then,
as in the play, he tries blandishment and lures her out, then suddenly
seizes her and drags her away out at the door, to the grief of the
He foolishly ties Nana up in the yard, instead of
leaving her in the nursery to guard his children.
In the next picture we see him tying Nana up in the yard below.
That night Mrs Darling had to go with her husband to
First we see her in a bedroom tying her husband's tie, and we see him
inking seams in his coat, and also inking his tall hat, which shows how
poor they are. Then we see her in her party frock going from bed to bed
kissing the children, etc. Then lighting a night-light at the head of
each bedside. She has a last maternal look at them from the door, all as
in play, with the accompanying music. Then we see Mr and Mrs Darling
going out, and passing the yard, where Mr Darling won't let Mrs Darling
fondle Nana. Nana weeps. The two pass up the street under an umbrella,
as it is snowing. The house to which they go is not far away. It is in
the same street, but on the opposite side. They walk. (There are no
automobiles or telephones in this play.)
Next we see the outside of the window with two or three swallows on the
Now Nana is seen fretting in the yard, as if she smelt danger. Then the
nursery again. Children asleep. The night-lights blink and go out one by
one in an eerie way to the music of the play, suggesting that something
strange is to happen. There should be an awful creepiness here, which
the music greatly helps.
The fairy, Tinker Bell.
Now we have the outside of the window, with swallows still there. The
fairy music comes now. The fairy, Tink, flies on and alights on the
window-sill. The swallows remain. She should be about five inches in
height and, if the effect can be got, this should be one of the
quaintest pictures of the film, the appearance of a real fairy. She is
a vain little thing, and arranges her clothes to her satisfaction. She
also keeps shoving the birds about so as to get the best place for
herself. There should never be any close-up pictures of Tink or other
fairies; we should always just see them as not more than five inches
high. Finally she shoves the swallows off the sill. Then she pops
through the window. We see her flying about the nursery, alighting on
each bed, etc. Next we see Nana below looking at the sky and barking.
Then we see Peter flying towards us. At first he is a mere speck in
the distance. Then he comes closer and reaches the window. Now the
inside of the nursery, with the children still asleep. It is rather
dark now. Tink is not visible. Peter comes in through window. He has
come for his shadow. He makes sure they are asleep. It should all be
very dramatic here -- like an attempted burglary, and the music helps.
He rummages in the drawers for his shadow, finds it, sits on the floor
trying to stick it on his foot with soap, which he gets from the
bathroom. It won't stick on. He sobs. Wendy hears him and sits up in
"Boy, why are you crying?"
She is asking this. He rises and, standing at foot of her bed, bows
politely to her. She is gratified and bows from the bed in the quaint
manner of the play, in which this is a popular incident.
"Girl, what is your name?"
"Wendy. What is your name?"
"Where is your mother, Peter?"
"Don't have a mother, Wendy."
As the result of this conversation Wendy springs out of bed, runs to
him, puts arm round him and mothers him. It should be seen that she has
at once taken the mother's place. He holds up his shadow to show that
this is what is worrying him. She lifts the soap and in a close-up we
see that it is marked "Soap". She is astonished at his ignorance, puts
him on a chair, and proceeds to sew the shadow on to his foot in her
old-fashioned, motherly way, with the business of the play, in which he
suffers agonies, but is very brave. When he finds that all is well he
struts about conceitedly, showing off his shadow. He dances gaily to his
shadow, and brushes her aside as of no consequence, but this annoys
"If I am no use I can at least withdraw."
We see Wendy saying this. She then haughtily leaps into bed and covers
her body and face with the blankets, all in one action which is another
popular incident of the play.
Peter is now sorry. First he pretends to go away, but hides. Then he
leaps on to the rail at foot of the bed, sits on it and pokes her in a
wheedling way with his foot.
"Wendy, don't withdraw. One girl is more use than
He is saying this. She peeps at him smiling and forgivingly, jumps up
and sits on the side of her bed and signs to him to join her. He does
so. They are a very friendly pair.
When Wendy said she would give him a kiss he held out
his hand for it. He didn't know what a kiss was; and,
so as not to hurt his feelings, she gave him a
We see this incident as in the play.
"Now shall I give you a kiss?"
Peter is saying this to Wendy. She nods. He gravely pulls a button off
his clothes and gives it to her. We see it is a button in a close-up.
She pretends pleasure, but privately makes a face.
"I ran away from home, Wendy, soon after I was born.
I heard my father saying I would soon be a man: and I
want always to be a little boy, and to have fun."
He tells her this. Then we see Peter's mother lying in bed and the
father coming in. She holds up the baby proudly. (It must be a real
baby just old enough to crawl.) The father sits on a chair talking to
the mother. Now comes another realistic picture. We have visions of what
the father is telling the mother, viz., of how the baby will rapidly
grow up. Without the background seeming to alter we see the baby
changing to a tiny boy, then to an older boy, then, through various
changes to a youth and a man with a moustache, sitting like a clerk on a
stool at a desk. The clothes, socks, etc. of him at one period should
seem to drop off him and be replaced by others as he grows older, and
we should actually see his legs growing longer, and so on. It will be
worth while to devote much attention to this picture to get the right
effect. The idea is to apply to the growth of a child from babyhood to
manhood the same sort of cinema treatment that is sometimes given to
illustrate the growth of flowers and plants. The real baby is much
alarmed by all this pictorial prediction of his future. While the
parents talk he creeps unseen by them out of bed and under it; emerges
from under it, and crawls along floor out of the door. We see him
crawling through an anteroom in which a nurse is asleep. Then he is
seen crawling downstairs. Then we might get the effect of him crawling
across a street full of traffic. He crawls into Kensington Gardens.
There, two great birds come to his help and, sustaining him between
them, fly away with him. His night-gown is now much torn.
Peter tells Wendy about his friends, the fairies.
"When the first baby laughed for the first time, its
laugh broke into a thousand pieces, and they all went
skipping about: and that was the beginning of
He tells her this. Then the scene is a primeval wood. Adam and Eve leave
their child on the ground. They go. The child laughs and kicks joyously.
Then the picture is full of little splashes whirling about like falling
leaves, and when they come to rest they are gay little fairies. The
tinkling of bells comes here also to indicate their chatter, and we also
have the fairy music.
'Every time a child says "I don't believe in fairies"
there is a fairy somewhere who falls down dead.'
Peter is telling this to the enraptured Wendy. Then we see another
nursery, with an unpleasant boy making this remark to his nurse.
Then the scene changes to a tree, on a branch of which several fairies
are sitting chattering happily. They are all small like Tink. Suddenly
one of them claps her hand to her heart, reels and falls to the ground.
The others descend and sadly carry her remains away.
Wendy sees her first fairy.
We see Peter and Wendy chasing Tink about. Tink alights on the clock.
Wendy admires her ecstatically.
But Tink loves Peter, and when she sees Wendy giving
him a real kiss (now called a thimble) she misbehaves.
Peter and Wendy are now together on an armchair. She gives him a real
kiss, and he likes it, beams, and solemnly gives her one. Then Tink
rushes at her and pulls her hair, etc. Wendy screams. Peter threatens.
The unseen bells which represent the fairy language ring agitatedly.
"She says she will do that every time I give you a
thimble. But why, Tink?"
Peter is asking. The reply comes in a different kind of tinkle that
should remain in the audience's memory.
'She said: "You silly ass!"'
Peter says this to Wendy. He chases Tink away, out of the window.
"I live in the Never, Never Land with the Lost Boys.
Come with me, Wendy, and I'll each you to fly, and
you can be our mother. We do so need a mother."
Picture of Peter urging her to do this. They are now sprawling on the
floor. Peter works his way along the floor to her -- another comic
effect in the play. Then a vision of the lost boys all perched on a
branch of a tree asleep, huddled together in a row and sitting exactly
like sleeping birds. They are in very ragged clothes and should look
very small. Peter, himself, is one of them.
"Of course it's awfully fascinating!"
Wendy is saying this to Peter, and is screwed up in rapture as she says
Next a picture of little Liza asleep in the kitchen on a chair, a half-
washed dish in her hands.
Then one of Nana in the yard, being annoyed by Tink, who is behaving
impudently to her, teasing her, drinking from her bowl, etc. Nana makes
rushes at her, but the mischievous Tink always flies out of reach.
"John, Michael, wake up. There is a boy here who is
to teach us to fly and take us to the Never, Never
Land. He says there are pirates and mermaids and
"I say, let's go at once."
Wendy is waking up Michael while Peter wafts John out of bed with his
foot. Wendy is telling the great news, and John's is the enthusiastic
reply. John puts on his long hat. John is in pyjamas, Michael in
"combinations" and Wendy in a white cotton night-gown.
A lesson in flying
We should now have a fine series of film pictures without words. First
we see Peter in the nursery showing the others how to fly, while they
watch him eagerly from their beds. Then Nana in the yard tearing at her
chain, and looking up at the nursery window which is the only one lit
Then little Liza still asleep in her chair in the kitchen -- in a
Then a view of Peter and the others through the window on whose sill
Tink is sitting.
Then Mr Darling, Mrs Darling with others at a dinner-party.
Then the nursery again. The children are trying to fly by jumping about
"Just think lovely, wonderful thoughts, and they lift
you up in the air."
Peter is saying this to them, and shows them how to do it, but still
they can't. Then Nana is seen breaking her chain and rushing off down
the street. She should be a real dog now.
"Wait till I blow the fairy dust on you."
Peter blows fairy dust on the children. They are boastful because, as
the result of this, they can fly a yard or so now, but they are still
very bad at it.
Nana is next seen bursting a door open, and rushing up a stair into a
room where the dining-party is. She tells in barks of the goings-on at
home. The people dining rush to the window and pull the curtains
slightly open. They don't pull them open to anything like their full
extent. About eighteen inches will be ample, and that only in the middle
of the curtains, not the whole length. Through an aperture of about
eighteen inches wide and deep the whole of the nursery window, about 80
yards away, will be seen. It is the only lighted window, and on it we
can see the shadows of the children moving alarmingly on the nursery
blind. Mr and Mrs Darling are much agitated, and rush with Nana out of
the dining-room and down the stair.
Then we see the children flying in the nursery. They are clumsy compared
to Peter, but are now able to revolve triumphantly round the nursery.
They are in ecstasy.
Then Mr and Mrs Darling hurrying with Nana along the snowy street. They
point agitatedly to the window, against which the shadows of the
children can be seen now flying round and round.
A close-up of this awful sight.
Then inside the nursery. All are going round in a mad delirium of
delight: and then comes the flight of Peter and his companions through
The parents and Nana burst into nursery just in time to see them
From the window they watch the children flying away over the house-tops.
The flight to the Never, Never Land has now begun. We see the truants
flying over the Thames and the Houses of Parliament. Then an ordinary
sitting of the House of Commons, faithfully reproduced. A policeman
rushes in to the august Chamber and interrupts proceedings with
startling news of what is happening in the air. All rush out to see,
the Speaker, who is easily identified by his wig, being first. They get
to the Terrace of the House and excitedly watch the flying group
Then the children flying over the Atlantic. The moon comes out. Wendy
tires, Peter supports her.
Then they near New York. The Statue of Liberty becomes prominent. They
are so tired that they all alight on it. It is slippery, and they can't
find a resting-place. At first we should think it a real statue. Then
we should get the effect of the statue mothering them by coming to life,
to the extent of making them comfortable in her arms for the night.
This should be one of the most striking pictures.
Next we see them resume their journey. They cross America, with Niagara
Then they are over the Pacific, where the Never, Never Land is.
The Never, Never Land.
We see the island all glorious and peaceful in a warm sun. We see the
whole of it as in a map, not a modern map but the old fashioned
pictorial kind with quaintly exaggerated details. (I have a map of the
Never, Never Land, in this style which should be reproduced.)
Then we see the sun go down and the island become dark and threatening.
Wolves are seen chasing one of the Lost Boys.
Then wild animals drinking at the ford by moonlight.
Then redskins, in the Fenimore Cooper story manner, torturing a prisoner
who is tied to a tree. He is a pirate.
Tiger Lily: Every brave would have had her to wife,
but she received their advances coldly.
First Tiger Lily comes into view. Then we see a redskin evidently
proposing to the beautiful creature, who is the Indian princess. She
whips out her hatchet and fells him. She and all the redskins should be
very tall in contrast with the children.
Then Peter is seen in the air, pointing out the distant pirate ship to
Wendy. Then the dreadful ship comes into view, flying the Jolly Roger.
We should have a fine, wicked pirate ship of the days when they attacked
the Spanish galleons -- a reproduction of some notorious ship, black and
sinister, with an enormous hull which Peter is to climb presently. By and
by we are to be shown various parts of the ship in detail. It is at
anchor just now, and its sails are not showing. We don't see the sails
until Peter gives an order much later in the play.
Jas. Hook, the Pirate Captain (Eton and Balliol).
We have here a picture of Hook dressed as he is in the play, with an
iron hook instead of a right hand -- a double cigar in mouth, etc. He
should be very tall.
(NOTE. -- About the playing of this part. Hook should
be played absolutely seriously, and the actor must
avoid all temptation to play the part as if he was
conscious of its humours. There is such a temptation,
and in the stage play the actors of the part have
sometimes yielded to it, with fatal results. He is a
blood-thirsty villain, all the more so because use he
is an educated man. The other pirates are rough
scoundrels, but he can be horribly polite when he is
most wicked. He should have the manners of a beau.
But above all the part should be played with absolute
seriousness and avoidance of trying to be funny. This
should be insisted on throughout, and especially later
in the pirate-ship scene. This same warning applies
to all the pirates.)
Pathetic Smee, the Nonconformist Pirate.
Smee is in spectacles, and is the hopeless loveable-looking ruffian of
the play. He is sitting on the floor in a corner of the ship. By his
side are tea-pot, cup and saucer, etc. He is drinking his tea out of
Every one of them a flame of Terror on the Spanish
We see the dreadful crew -- about twenty in all. Starkey, Cecco, etc.
Some should be dressed as in the play. The others copied from the books
A pirate points out the flying children.
Then Peter in the air is giving the warning to Wendy and the others.
Then we see Long Tom, the great gun, being got ready on deck. All the
pirates must be very tall. It is fired, by Hook's command.
We see Peter and his companions blown away in different directions, but
evidently not damaged otherwise. They roll about in the air and then fly
on. They are now separated.
The Lost Boys awaiting Peter's return.
The scene is the wood of the play with big trees that have hollow trunks.
All trees should be very large to make children seem smaller. From a
chimney in ground smoke is coming.
We see the children emerging above ground from their trees as in the
play. First comes Slightly.
Slightly Soiled. He was so called because that was
the flame marked on the clothes he had been lost in.
Slightly comes, he is the comic figure among the Boys.
Tootles -- Nibs -- Curly -- The Twins.
They come up, all differentiated as in the play. All are looking in the
sky for Peter.
"Yo, ho, yo ho, the pirate life,
The flag of skull and bones.
A merry life, a hempen rope,
And hey for Davy Jones!"
Now the music of this pirate song is heard, but not the words. The Lost
Boys quake for they know it means that the pirates are coming.
The boys all dart down their trees out of sight, except Nibs who steals
off to reconnoitre, one of them first putting a mushroom over the chimney
to hide the tell-tale smoke. The pirates are punting rafts upon a
On one raft with cushions raising him high sits Hook regally. Several
pictures of them on river. Then Hook gets off. All are looking for the
boys. He signals to them to scout in different directions. They move off
stealthily. Two or three of them are gigantic negroes. They are
evidently villains of every race.
"'Twas Peter Pan cut off my arm and flung it to a
crocodile that happened to be passing by. That
crocodile liked my arm so much, Smee, that it has
followed me about ever since from sea to sea and
from land to land licking its lips for the rest of
"In a way, Captain, it's a sort of compliment."
Hook is saying this to Smee horribly, near the underground house of
whose existence they don't know yet. One boy's head is out of a tree-
trunk listening. He withdraws it, horrified. The whole scene is now
shown in vision of Peter fighting Hook, cutting off his arm and
flinging it to the crocodile.
The whack with which the arm is cut off should be so terrific that we
see Hook "seeing stars", but it is not "stars" he sees; it is the trees
around him all moving just for a few seconds. (The same sort of curious
effect as was got in my private film of Macbeth, when the trees were
seen chasing Macbeth.)
This should be in strange and dreadful scenery, quite unlike that of
the island. Then we see the dogged pursuit of Hook by the crocodile on a
great globe of the world. We see an actual globe. Wherever the ship goes
the crocodile is swimming after it. If Hook takes to land it still
follows. Thus they go over the globe, which slowly revolves for our
benefit, the figures being small, but discernible and much larger than
they could really be.
"One day, Smee, that crocodile swallowed a clock,
which goes tick-tick inside him, and so before he can
reach me I hear the tick and bolt."
Hook is telling this triumphantly. He is sitting on a large mushroom at
this time, the one that conceals the chimney. Then, in a vision, we see
the incident happening. Hook appears in another woodland scene near a
river, but again different kind of scenery. All these scenes should be
different from each other and very picturesque. He has something
concealed under his cloak. He is very cunning and criminal in manner. It
is a clock which he winds up. It now ticks, and we hear the ticking. He
places it on the ground and hides. The crocodile comes, shoves clock
about curiously and eventually swallows clock. It continues ticking,
but in a more muted way. The crocodile turns his head, trying to look
at his body and goes away puzzled. Hook emerges triumphant and exits in
the opposite direction villainously.
Then we see Hook and Smee again. Hook rises, evidently feeling hot.
They lift the big mushroom on which he has been sitting, and discover
that it conceals a chimney from which smoke now comes. They point to
the holes in the trees and indicate triumphantly that they have
discovered the boys' secret home. They draw their pistols and cutlasses
and are about to descend the trees.
A boy has been watching again. He descends and tells the other boys. We
now see the underground home, which will be described later. The boys
there are all in terror, but they seize weapons.
Then, above ground again, Hook and Smee are about to descend trees when
they hear an alarming sound, which we hear also. It is the tick-tick of
the crocodile. They rush away. Crocodile music. The crocodile appears
and plods after them. He is a sort of Nemesis, ever plodding after Hook.
It will be found best sometimes to have a real crocodile of huge size,
and sometimes a theatrical property.
Now boys' heads peep out at tree-trunks, watching. They disappear down
trees as the redskins appear on the warpath following the pirates in
single file. This is slow and creepy, to the redskin music. The redskins
go off dramatically, as in the play. When they have passed the boys
emerge. Nibs comes running to them excitedly pointing upwards. We now
see Wendy flying alone and with difficulty. First she is seen over
another part of the wood -- then over the boys. Tink is also in air,
The jealous Tink calls "Shoot the Wendy Bird!"
The bells tinkle. Tootles gets bow and arrow and shoots Wendy. We see
the arrow in her. The bells ring "You silly ass!" Wendy falls to the
ground. The boys gather round her.
"This is no bird. I think it must be a lady. Let me
see, I remember ladies. Ay, that's a lady."
Slightly, in his conceited way, shoves the others aside and makes this
disturbing announcement. All take off their caps. Tootles is scared:
suddenly all look up. Peter is seen flying alone. First they are
delighted. Then all gather round Wendy to hide her. Peter comes flying
"Boys, great news! I have brought at last a mother
for us all!"
They are woebegone. Tootles nobly makes them stand aside and let Peter
Peter is dramatic. He goes on his knees beside her and pulls out the
arrow. Tootles, baring his chest, indicates that he is the guilty one.
Peter raises the arrow to use it as a dagger on Tootles. Wendy's arm
rises, and a Twin points this phenomenon out to Peter who examines
Wendy again. Suspense of boys.
"She lives! This is the kiss I gave her. The arrow
struck against it. It has saved her life."
Peter holds up the button from her chest. There is a close-up picture
"I remember kisses. Let me see. Ay, that's a kiss."
Slightly is shown the button and gives his confident opinion. Then a
picture of Tink on a tree, and Peter sternly ordering her away. She flies
away crying: "You silly ass!"
John and Michael are now seen first flying and then tottering down. They
are so tired that they fall asleep at once against a tree.
Then the children try to carry Wendy down a tree-trunk. They cannot get
her down. Peter confides to them a grand idea, which they proceed to put
into execution. It is to build a house round her.
We now see them building a house round Wendy in the elaborate manner of
the play, just about the size of herself, John and Michael being waked
up to join in. The house should not be a make-believe affair built of
canvas as it has to be in the acted play. Here it should be a real
house, though comic. We should see the boys felling trees, carpentering,
etc., actually building the house with miraculous speed, much as
described in Peter Pan in Kensington Gardens. We see them knocking in
the posts, making doors, windows, etc., with lightning rapidity, and all
this to music. When the little house is finished it is a beautiful
little house of wood and moss, lop-sided and all wrong, but fascinating.
They survey the completed house. Peter evidently sees there is one thing
wanting. He indicates that it is a chimney. He knocks the top out of
John's tall hat (which John has been wearing since he left home) and puts
it on roof as a chimney. Immediately smoke comes out of the hat.
Wendy consents to be their mother.
They are gathered round the little house expectantly. Peter knocks at
the door. Wendy comes out in a daze. Then the scene of the play, with
its business. They go on their knees, arms outstretched, asking her to
be their mother. She consents. Glee. Wendy is at once maternal in manner.
They dance round the house. All romp inside except Peter, who remains
outside on guard with drawn sword. It gets dark. The little house is
lighted up inside. The shadows of wild beasts pass in background. Peter
drives away wolves. The last one is a baby wolf, so small and young, that
it does not know how to run away. He lifts it up in his arms and carries
it to its mother, who goes off thankfully with it. Then Peter falls
asleep by the door of the little house.
Tink comes cautiously. She hops on to his knee, then on to his shoulder,
kisses him. She remains there. Peter sleeps on.
One day soon after her arrival Peter took Wendy to
the lagoon to see the Mermaids.
A gay procession is seen setting forth through romantic scenery. First
Tootles, Nibs, Slightly, Twins, and Curly on foot gaily rollicking,
leap-frogging, etc. Their clothes are now carefully darned, etc. Then
Wendy, sitting on a rough little home-made sledge which is pulled by a
kite string, the kite being high in the air. Then John and Michael on
foot and very gay. Then last Peter riding on his goat. A peculiar effect
should be tried for here, which may be got by the same mechanical means
as the trees moving in earlier scene when Peter cut off Hook's arm. The
effect wanted is that, as Peter passes along a sort of path, flowers
come moving after him in a long procession.
"Look at those beastly flowers following me again!"
Peter is looking behind him and saying this indignantly. He signs to the
flowers authoritatively to stop it, and they now stand still. He goes on,
and as soon as he has disappeared they begin to follow again. He has only
been hiding and now pops round the corner and catches them following.
Again they stop -- he waves to them to go back, and then we see them all
go back till there are none left. They behave precisely like a dog
following its master and ordered home. Peter now rides forward.
(NOTE. -- We have now about twenty minutes of
pictures without words.)
The next incident is that the kite string breaks because John tries to sit
on sledge -- thus showing that the kite can't pull two. Wendy tumbles out
of the sledge, and the kite disappears in the air. The sledge is abandoned.
Peter gallantly dismounts to let Wendy ride the goat, and on they go. Then
Peter signs caution, Wendy dismounts, and they proceed stealthily on tip-toe
to take the mermaids by surprise. They hide among long grass and peer at the
beautiful mermaids' lagoon which now comes into view. It should be a lovely
romantic lagoon in a coral island; coral reefs and Pacific vegetation. There
are no mermaids at present. Peter points out objects of interest to Wendy,
the chief one being a rock in the water called Marooners' Rock, of which we
are to see more presently.
Then they are excited over an incident that takes place. A branch of a tree
on which is a great nest breaks off and falls into the water. The mother
bird is on the nest and continues to sit on it as it floats away from the
branch into the lagoon. Wendy kisses her hand to it in praise of its
Next we see the mermaids. The children watch from their hiding-place. The
mermaid pictures should be a beautiful series of considerable length. First
the mermaids are far away, scores of them basking lazily by the shores of
the lagoon, some in the water, some out of it. They should mostly be at a
distance as in this way the illusion will carry best. We may see one nearer
on a rock combing her hair if this can be done without the tail being
unnatural. Excitement of Wendy, Peter signs caution. All the children dive
stealthily into the water, Peter leading, with the object of catching a
mermaid. Alternative pictures of mermaids, and then the children swimming
craftily toward them. They jump up to catch the one combing hair, but she
slips through their fingers. Peter takes a flying leap through the air and
alights on her back. He is wildly gay. No one else can be so gay as Peter,
nor so serious, nor so gallant, nor so cocky.
Next, at another part of the lagoon we see Tiger Lily picturesquely poised
by the shore with an arrow in her bow for Smee, who is coming along in a
boat. From behind tree Starkey leaps on her, and Smee wades ashore to help
him. Starkey is about to knife her when Smee proposes something more
dreadful. It is shown us in a vision. We see Marooners' Rock in the vision
with Tiger Lily lying bound on it. The tide rises till the rock and she are
submerged. Starkey likes this vision, and in the next picture they have put
her bound on the rock. They are in the boat now beside the rock, and we have
two pictures, one of Hook swimming out to them, and one of Peter stealing to
the rock to rescue Tiger Lily. Peter, unseen by the pirates, cuts her bonds
and she slips into the water. Hook arrives and gets into the boat. They
proudly point to the rock, and then, to their dismay, see that Tiger Lily
has vanished. Hook threatens, and they go on their knees to him. He is
looking everywhere for the possible foe, and Peter cannot resist rising in
the water and jeering at him. At last, Hook thinks, he has got Peter. He
and Smee dive and Starkey guards the boat.
The fight in the water begins. Mermaids and fishes are seen rushing away in
fear. John and Starkey fight in the boat and go over in each other's
embrace. The great fight is on the rock between Hook and Peter, which
should be much as in the play. It ends with Peter rolling off the rock into
the water, unfairly gashed by Hook, who triumphantly dives. Then we see
Hook swimming to land and stealing off. Then, after Hook has disappeared,
the crocodile is seen landing and pursuing him. Hook is ignorant on these
occasions that the crocodile is following.
Next, the other boys gather round the drifting boat and get into it. They
call and look everywhere for Peter and Wendy. The boat drifts away till it
is lost sight of. Now no one is to be seen on the lagoon, which now looks
cold and cruel.
Then we see the mermaids in their romantic cave. Wendy is their prisoner.
They examine her curiously. They laugh derisively at her feet, so that she
has to sit on her feet. They put their fingers in her eyes and swish her
with their tails, which is evidently their way of hurting people. Then
they sleep. She sits there staring with affrighted eyes. Peter comes and,
stepping stealthily over the mermaids, rescues her and goes off. He is
evidently wounded, and so is she. A mermaid wakes up and follows them,
Next Peter, drags Wendy on to Marooners' Rock, and both lie there in a
faint. The cruel mermaid comes swimming to the rock and is pulling Wendy
inch by inch into the water when Peter sits up and saves her. This should
be very dramatic. The mermaid disappears. We see the two children sitting
there, a touching pair, to the music of the scene. Peter points to how the
water is rising, but they are too exhausted to do anything.
We see that the rock is being submerged.
Then the kite comes again into view drifting in the air. First we see it
over another part of the lagoon. Then nearer the rock. Peter has an idea;
he grips the tail and pulls the kite toward him.
Peter nobly ties the tail round Wendy, indicating that it can't carry two.
They embrace. Then she is carried over the lagoon by the kite. Peter waves
to her till she is lost to sight. He shudders as he realises his situation.
We see him next alone. Then we see Wendy being carried over the island by
"To die will be an awfully big adventure."
Peter is now standing, proudly erect. The rock is sinking. It is now
moonlight. Then we see another part of the lagoon with the mother-bird
still drifting on her nest.
Then Peter on the rock. He is now up to his knees in water, but still
brave. Then the nest drifts toward him. He sees it. The bird quacks and
flies away. Peter has an inspiration. He pulls the nest toward him and
takes two big eggs out of it. At first he doesn't know what to do with
them. Then he lifts Starkey's hat. On Marooners' Rock is a post on which
Starkey has left his hat. Peter puts the eggs into the hat and the hat in
the water. The hat drifts away. He then gets into the nest and drifts in
the same direction. He makes a sail of his shirt and now he goes in
another direction. He is very solemn and intense, with gleaming eyes.
Several pictures of Peter in the nest. Next we see the hat alone on the
lagoon. The bird flies back and sits on it.
Then we see the nest drawing near shore. Wendy wades out to meet it and
they are triumphant. Peter is painfully cocky again. Last we see the hat
stationary among reeds in the water. The mother bird gets off it and
waddles ashore. She is presently followed by two baby birds.
In the house under the trees they lived very like
First we see baby bears in a cave playing around their mother. She is
motherly to them, but also punishes. She brings food and they gather round
it greedily. They trot about after her. They curl up on the ground against
her and sleep.
Then we see the boys behaving in exactly the same way with Wendy as mother.
The feeding is also very like the bears. They also trot about after Wendy.
They also curl up on floor against her and sleep.
When one of them wanted to turn in bed Wendy gave the
signal, and they all turned simultaneously.
Wendy is giving Curly a good washing at a basin. He is dripping, etc.
Michael as the baby is in a sort of bassinette, swung from roof. All the
other boys are pulling down from the wall the big bed of the play. Peter
is one of them. They are in nightgowns. Curly joins the others and all get
into bed, lying like sardines, some heads at top of bed and some heads at
After some horse-play they lie quiet. Then one holds up his hand. Wendy,
who has sat down by fire to darn, gives the signal, and all turn
In the Neverland the Seasons succeed each other more
rapidly than at home.
In illustration of this we see a new scene. It is a romantic little glade
in which one fruit tree and a tiny stream of water are the chief objects.
At one point the water is trickling down, and Peter comes with a home-made
wooden bucket which he places beneath this trickle and sits waiting for
bucket to fall slowly. The time is summer and the fruit tree is heavy with
ripe fruit. Gradually the scene changes to winter. The fruit disappears,
the leaves fall off and the tree is bare. The ground becomes white with
snow. The stream is frozen, an icicle hangs where the water had been
trickling into bucket. Peter breaks icicle. He is cold, pulls his clothes
tighter round him. Then in same way the scene changes to a sunny day in
spring. The tree becomes beautiful with blossom and leaves. The ground is
a rich green. Peter is so warm that he has to undo his jacket. The trickle
is running free again. The bucket is now full, and he departs with it
quite unaware that anything out of the ordinary has happened. The whole
point of this picture is that the changes should be gradual -- not sudden
jump from one season to another -- i.e. the actual process should be seen.
Tink, of course, had an apartment of her own.
We see Tink's exquisite tiny bedroom, with her brushing hair, etc. It opens
off the big room and should be shown much more beautifully than is possible
in the play.
At first the newcomers had to be pulled out of their
trees like a cork, but Peter altered them, and soon
We see John and Wendy being ignominiously pulled up by the hair of the
head. They had stuck in their trees. Then John is being held down, while
Peter flattens him out with a rolling-pin. He is flattened out too much.
He is flattened out on the round till he covers quite a large extent --
as if a 100 barrels had rolled over him. Wendy is indignant. Then Peter and
the boys roll him up like a stretch of carpet and Peter works on him till
he is of a correct shape and bulk. He now runs up and down the tree gaily.
Wendy is then subjected to alteration. Their object is to make her shorter,
so she is laid down and Peter pushes her feet and Slightly her head with
the result that she is telescoped. This scene takes place beside water.
Wendy runs to see her reflection in the water. We see it also. She is now
very short and stout. She is in distress. The boys don't know what to do.
She lies down again and Peter operates on her with the rolling-pin --
successfully. Again she looks at her reflection in the water. Now she is
delighted. She runs gaily up and down her tree. General happiness.
When you wanted to know the time you waited beside
the crocodile till the clock struck.
Peter is sitting beside the crocodile waiting. The clock strikes 4. We
should hear it also. Peter skips away.
The next picture shows Wendy as a schoolmistress. It is the underground
scene, and she has a cane in her hand. On a board she has chalked in a
"Rite down all you can remember about your adoredable parents."
All the boys, except First Twin, are in a row on their toadstools with
slates, trying to write, but looking puzzled. Peter, indeed, has fallen
asleep with a broken slate at his feet. First Twin is on a high stool in
corner in disgrace with a fool's cap on his head. Then we are shown three
of their slates in a close-up. Tootles had made an O on his. On Nibs's slate
is written: "All I remembers about my mother is that she useder to say: 'Oh,
how I wish I had a chek book of my own'." On Michael's is written: "Are you
not our mother, Wendy?" She is troubled by this. It is painful to her that
they have forgotten so much.
Wendy was one of those mothers who like their
offspring to have a good romp before bed-time.
First of all the boys, including Peter, in their ordinary clothes, flying
about over the tree-tops, engaged in a game of football. They have a
home-made football and are arranged in sides and manage to keep ball in
air. They have also absurd goal-posts, which they have tied to trees,
standing out higher than the trees. It is a moonlight evening.
They had many a night of joyous revelry.
We see them in their night-gowns, underground, and they are engaged in the
pillow dance just as it is done in the play, except that Peter is chief
dancer in place of First Twin. Wendy is sitting on a stool darning their
stockings and occasionally smiling at them in a motherly way. The dance
ends with a pillow fight.
Tink and her friends were sometimes a nuisance; they
got into everything.
Peter is seen in underground room putting on his long boots. Evidently
something is in one of them that ought not to be there. He holds it upside
down and Tink drops out. Peter is so used to this kind of thing that he
expresses no surprise. He just continues to put on his boots.
Then in the same room Wendy is cutting Slightly's hair like a barber. There
is a pot on fire -- it moves agitatedly. She lifts pot off fire and takes
off lid. Tink jumps out of pot wet and indignant.
Then the same room with the bed prepared for night. Peter is sharpening a
weapon. One of the pillows on bed rocks about in an odd way. Wendy is there
and points this out to Peter. He seizes pillow, opens it at top and holds
pillow upside down. A hundred fairies drop from pillow on to floor. Peter
sweeps them away with a broom. Then they are seen above ground flying away
out of the tree-trunks.
Peter loved Wendy as a son, but she wanted him to
love her as something else. He could not think what
She is saying this lovingly to him in the underground house, but when he is
puzzled she stamps her foot, then sits forlornly.
"What can it be, Tink?"
He is asking this above ground of Tink, who replies in her bell language:
"You silly ass!"
"What can it be, Tiger Lily?"
He is asking the same question of Tiger Lily. She prostrates herself before
him in adoration, etc., but he can't understand. She goes away sadly. He
remains hopelessly puzzled. Then he skips away indifferently.
For many moons Hook cogitated over his revenge.
We see him sitting in the crow's-nest of the ship, a perilous but romantic
situation. There is a map of the island in his hands, and in a close-up we
see quaint details with writing that mark places, such as "Underground
Home". Little flags are stuck over map as in a war-map and he is busy using
these. The moon is seen first as a quarter moon, then half and so on to full
moon, then it reverses the process to indicate passing of time. He also
spies on the island through a telescope.
Then we see Peter in silhouette standing motionless on a promontory watching
the pirate ship in the distance. He looks very cocky.
What maddened Hook beyond endurance was Peter's
cockiness. In the night-time it disturbed him like
We see Hook's cabin with no one in it at first. This cabin is largely
furnished like a boy's room at Eton. It has a wicker chair and a desk with
a row of books as in an Eton room. On the walls besides weapons are the
colours he won at school, the ribbons, etc., arranged in the eccentric
Etonian way, and the old school lists, caps, and also two pictures, which
when shown in close-ups are seen to be (1) Eton College, (2) a photograph
of an Eton football eleven; the central figure is Hook, as he was when a
boy, but distinguishable, with a football in his hands and the prize cup
between his knees. He and the other boys must wear correct colours. The cat-
o'-nine tails also hangs up prominently. Hook comes in and begins to
undress. There has probably never before been much attention given to how a
buccaneer retires to bed. We endeavour to supply this want. He winds up his
watch, and hangs it up, etc. Presently we see him in a nightgown. He gets
into bed and finds the sheets cold. He lies in bed smoking and reading the
Eton Chronicle (of which a real copy must be used). He lays down the cigar-
holder and blows out his candle. Then we see him having a nightmare about
Peter, brandishing his hook and scratching as if tortured by an insect.
Peter is seen in a vision mocking him.
Months passed, and at last Hook unripped his plot.
We have now a series of pictures.
First we see the pirates, picturesque but horrible, climbing out of their
ship into their two rowing-boats. They are armed to the teeth. We have a
grim vision of the side of the wicked ship, old and dirty.
Next we see the redskins sitting in a circle round a fire in the open. A
pipe is passed from one to another. Their wigwams are seen near by.
Then the two boats being pulled across the lagoon -- Hook standing erect
in one of them -- Smee in the other. Then all the children, except Peter,
in the underground home. They are in their ordinary clothes, and are having
a merry evening at leapfrog, etc. Wendy is sitting by the fire smiling at
them and sewing as usual. Stockings and other garments hang drying on a
string by the fire. Then we see the pirates landing and stealing off into
Peter was away from home that night, attending a
Peter is seen at the fairy wedding. This should be an elaborate and
beautiful picture of some length, one of the prettiest in the film. Peter
is sitting against a tree playing his pipes, and fairies emerge from under
big leaves into a fairy circle and go through a fairy wedding; an idea of
what this should be like can be got from my book Peter Pan in Kensington
Gardens. The music (which will have to be new) of this fairy scene
should come from bells. Then we see the crocodile asleep in a lonely glade
beside a stream.
So preternaturally quick of hearing are all savage
things that, when Smee trod on a dry twig, the sound
woke the whole island into life.
We see the pirates proceeding cautiously through the wood. In a close-up we
see Smee tread on a twig. Evidently the others all hear it. In a sudden
stoppage of the music we should hear it also. They gape at him startled,
then fling themselves among the long grass to hide. Smee is conscience-
stricken. Then a series of pictures which, to have the best effect, should
be short and sharp, changing quickly. They indicate the effect in different
parts of the island of hearing the twig snap.
First it is heard by the children in their leap-frog games. They suddenly
stop in the middle of the play, and gather, scared, round Wendy. Then the
redskins hear it, leap up, seize their weapons and are at once terrible
scalp-hunters on the war-path. Then the fairy wedding is interrupted by
Peter hearing it, and starting to his feet. The fairies suddenly disappear.
Some of them are on his knee, shoulders, etc. He brushes them off like
breadcrumbs. He goes off excitedly and stealthily, with Tink. Then the
crocodile starts from his sleep on hearing it, and pounds off through the
forest, dogged of purpose, on his neverending quest.
These pictures should all be short to represent the effect of Smee's
blunder, and before each one we should have repeated briefly for a second
or two only the picture of Smee treading on the twig.
Tiger Lily and her braves guard the home of The Great
We see her and her redskins above the children's home, guarding it, and
lying in their blankets, etc. Then Peter comes toward them through the
forest, and they prostrate themselves before him. He accepts their homage as
the natural thing. No one could be more cocky. He is like a king to his
subjects. He descends his tree.
Then we see a pirate on top of a tree, signalling what he observes to the
pirates below. They move forward furtively.
Peter found Wendy telling a story to the boys.
The children are seen, clustered in bed in their night-gowns, listening
eagerly to Wendy who sits near them with Michael between her knees. Peter is
sitting on a toadstool at the other end of the underground room, whittling a
stick and evidently disliking the story, putting his hands over his ears,
etc. Up above, as in the play, we at times see the redskins. We now have a
series of visions (reproduced from the nursery scenes) illustrating Wendy's
story, which is really the tale of how Wendy, John, and Michael were
spirited away to the Never, Never Land. First we see the three in their
nursery being put to bed by Nana. Then the mother saying good-night to them
and going off with the father to the party. Then Peter enters at window.
Then he teaches them how to fly. Then they fly out at window, the parents
and Nana coming just too late to catch them. These, being reproductions, are
Between these varied pictures we see two of Wendy telling them the story,
and the children misbehaving and whacking each other as they do in the play.
Peter's uneasiness increases.
"But their adoredable mother always kept the window
open for them, and when at last they flew back to
her, pen cannot describe the happy scene."
Wendy is saying this as in the play, and we have a vision of Mr and Mrs
Darling welcoming the return of the children with joy. (It should not be
the picture afterwards seen at end of play.) Peter starts up with a cry,
which draws all attention to him.
"Wendy, you are wrong about Mothers. Long ago I flew
back but the window was barred, and there was another
little boy sleeping in my bed."
We see Peter telling this. Then we have a vision of Peter looking through
the window of his old nursery, and there is a baby in the bassinette. The
window is iron barred. He beats on the window in vain and is furious.
Then we see John and Michael cross to Wendy in terror.
"Perhaps Mother is in half mourning by this time."
Wendy says it, alarmed: and, in a vision, we have a picture of Mr and Mrs
Darling at home brightly practising a new dance to a gramophone, and not in
"We must go back at once. You can all come with me.
I am sure father and mother will adopt you."
"Won't they think us rather a handful, Wendy?"
"Oh no, it will only mean having a few beds in the
drawing room; they can be hidden behind screens on
Wendy is saying it. Then, in a vision, we see the little drawing room first
as an ordinary, but quite humble, room, and then the same room with many
little beds in it, and one of the lost children in each. Then we see the
boys delightedly getting their bundles to accompany Wendy, and all now
dressed as in this scene in the play. All are jolly except Peter, who
stands with arms folded. Wendy entreats him to get ready like the others.
"Nobody is going to make me a man: I want always to
be a little boy and to have fun."
He is saying this. He skips about, pretending heartlessness and playing his
pipes. Wendy is in woe. She appeals to him in vain.
"You will remember about changing your flannels,
Peter? and to take your medicine? I'll pour it out
He nods sullenly. We see her pouring out his medicine and leaving it on a
ledge at the back in a glass.
"What are your exact feelings for me, Peter?"
"Those of an adoredable son, Wendy."
She asks him lovingly, but his reply makes her stamp her foot. They are
about to ascend their trees when a sudden turmoil above terrifies them.
This scene has been underground only -- nothing above shown.
Now the scene changes to above ground. The pirate music is heard. The
redskins start up into fighting positions, and at the same moment the
pirates are upon them. Now takes place the great fight between pirates and
redskins, which should be a much more realistic and grim affair than in the
play. There it has to be more pretence, but here we should see real redskin
warfare that will be recognised as such by all readers of Fenimore Cooper,
etc. Alternated with it we should see the children below listening for the
result in agony. Peter has seized a sword and wants to rush up to join in
the fight, but Wendy holds him back and the terrified Michael clings to his
knees. Some pirates are killed, but more redskins and the remaining
redskins, including Tiger Lily, are put to flight. The bodies are removed.
Then the pirates gather together and listen at the trees.
"If the redskins have won they will beat the tom-tom:
it is always their sign of victory."
Peter is saying it. All the children listen eagerly. At the same time we
see the scene above. Hook, listening at tree has heard Peter's remark. He
sees how to deceive the children. He seizes the tom-tom and wickedly beats
"An Indian victory! You are quite safe now, Wendy.
Goodbye. Tink, lead the way."
Peter says it. All rejoice. Peter pulls the curtain of Tink's room. Tink
darts about -- then disappears up a tree. Peter and Wendy have an affecting
farewell. Peter is breaking down and the other boys look on inquisitively.
He stamps and they turn their faces away in fear of him. When he is sure
they are not looking he embraces Wendy, but like a child, not like a lover.
Then all but Peter disappear in tree-trunks.
Above ground we see the pirates waiting devilishly at the trees to seize
the children as they come up. Tink darts up and escapes them. She flutters
around and is lost sight of. Then up their trees come the doomed children,
one by one, to be immediately seized before they utter a cry. They are
tossed like bales of cotton from one pirate to another, and this should be
a quaint effect if exactly carried out. They should probably be on wires to
get it right, but there must be no burlesquing of it. All should seem
natural. The last is Wendy, to whom Hook gives his arm with horrible
courtesy. She takes it in a dazed way. He gives the signal and all go except
himself. He stands there, a dreadful figure in his cloak.
Next a brief picture of the surviving redskins in panic, striking their
tents. The squaws carry babies in the Indian way.
Then we see the underground home again. Peter thinks they have all got
safely away. We see him barring the doors of the trees.
Who was Peter Pan? No one really knows. Perhaps he
was just somebody's boy who never was born.
We have a picture of Peter sitting, a sad, solitary figure on the side of
the bed. Then up above we see Hook listening. He produces from his pocket a
bottle, and a close-up picture shows the word "Poison" on it. Scowling
horribly he begins to descend a tree.
Then, below, we see Peter now lying on the bed. He has gone miserably to
sleep. Hook's head appears very devilishly above the door of the tree. He
can't reach the bar of the door to get in. He is foiled. Then he sees the
medicine, which is within reach. He pours some poison into it. Then, with
horrid triumph, he withdraws. We see him reappear at top, and now he is
suddenly attacked by Tink, who flies at his face. She evidently stings him
badly, but he drives her away, wraps his cloak around him and goes off
Again we see Peter on bed. Tink flies in and wakes him. She rings excitedly,
and for some time. He understands the terrible news she is telling him and
seizes his dagger. He vows vengeance. He sharpens the dagger on his
"My medicine poisoned! Rot. I promised Wendy to take
it, and I will."
He is saying this to Tink, who is excitedly hopping around the glass. He
takes the medicine in his hand.
She bravely drinks it.
When he sees she has done this he is amazed.
She begins to flutter about, and makes the bell-sounds.
"What? It was poisoned, and you drank it to save my
Tink is fluttering about weakly. Peter is in distress.
"Tink, why did you do it?"
He asks despairingly. She tinkles back "You silly ass!" She flutters into
her bedroom on to bed. Peter is in agony outside her room, looking in.
Close-up picture of Tink writhing on bed. Peter's head is peering into room
and will be nearly as large as the room.
"She says she thinks she could get well again if
children believed in fairies. Oh, say that you
believe: Wave your handkerchiefs! Don't let Tink
Peter is addressing the audience. He, as it were, comes outside the scene to
do so. We hope that, as in the play, the audience demonstrate. The light in
the little room, which has been palpitating, grows stronger. Peter is
triumphant: he thanks audience.
And now to rescue Wendy.
In a close-up we see Tink gaily dancing on her bed.
(From this point for a long time there are no words flung on screen.)
We now see Peter in pursuit of the pirates.
First he emerges from the tree. He looks for signs of which way they have
gone. In a close-up we see their footmarks. He follows these. Then we see
the pirates brutally leading the chained prisoners through the wood.
Then a brief picture of the redskins departing hurriedly in their Indian
canoes for some new hunting-ground.
Then Hook alone triumphantly proceeding through the wood.
Then the crocodile alone (unknown to Hook) doggedly plodding after him.
Then Peter still following the trail by the footmarks.
There should be a feeling of danger in the air. It is dusk. We see the
shadows of prowling wild animals. We don't see the animals themselves, only
their shadows, which should make the scene more creepy.
Then the two rowing boats. The children are tossed in, again like bales of
Hook comes. The boats put off. We see them drawing near the pirate ship.
Hook boards first. He hauls up the children by his hook.
We see Peter arrive at the water's edge. He is looking about him when in a
sudden lull of the music he hears (and we hear) the crocodile's clock
striking twice, to imply that it is half-past some hour of the evening. He
searches and finds the crocodile, who was invisible when his clock struck.
It is the striking of the clock that makes Peter know that the crocodile
must be near by. We see Peter and the crocodile together by the water's
edge. Peter explains what he wants and the crocodile signifies assent.
They then enter the water together.
Then we see the hold of the pirate ship with the children lying bound.
Then Hook in his cabin sitting on his bed smiling to himself. He is in
great and horrible glee. We have a picture of what this desperado is
chuckling over. It is a vision of Peter underground, drinking the medicine
and then writhing in death throes on the floor. Then the deck of the ship
with the pirates dancing to a fiddle. Smee is sitting working at a sewing-
machine. Hook appears threateningly at the door of his cabin, which opens
off the deck, and all stop dancing in fear of him. They shrink back. He
paces the deck gloomily, a dark spirit. He is a sort of Hamlet figure in
the "To be or not to be" soliloquy. Smee is still at his sewing-machine.
A strange mood of depression comes over Hook, as if he fears his coming
dissolution. Scenes of his innocent days pass before him. He sees himself
again at Eton answering at "Absence" and on the football field and in "pop"
-- Pictures of these visions (which will be given in detail later). Then
again we see him on deck brooding. Smee tears a cloth as in the play and
Hook thinks an accident has happened to his trousers. He calls Starkey
privately to examine him. Then Smee quite innocently does it again. Hook
realises the truth this time, and threatens Smee. All the business of the
Hook sits beside a barrel, on which there are playing cards.
He gives an order and pirates descend into the hold and hoist up the
manacled children. We see them first in the hold, and then being brutally
hoisted up. Smee ties Wendy to the mast; he is ingratiating to her, but she
scorns him. All stare at Hook, who goes on playing cards without seeming to
notice them. Next we see Peter and the crocodile swimming side by side.
Then the deck again. Hook suddenly turns on the children threateningly.
They are frightened. He raises his hat and bows with fiendish politeness to
Wendy, who replies with a look of contempt. He goes from one to another
clawing at them, then gives an order, and, in response, the pirates get the
plank ready and extend it over the water. In a close-up the terrified
children are shown graphically what is meant by the phrase "walking the
plank". To the music of the pirate song Hook shows them what is to be their
fate, by walking an imaginary plank.
"Yo ho, yo ho, the frisky Plank!
You walks along it so,
Till it goes down, and you goes down
To Davy Jones below."
We don't hear the words, but his actions give the idea, and we hear the
music. The pirates at the plank at the same time show how it works. All this
should be much more graphic and realistic than in the play.
Next we see Peter and the crocodile reach the side of the ship. Peter
indicates to crocodile to swim round and round the ship. Peter himself then
begins his heroic ascent of the vessel, dagger in mouth. He does wonderful
deeds of climbing not only up the huge hulk but among the rigging.
Next we see the crocodile in the water beside the ship and we hear its
clock begin to strike the hour of 12. When it has struck 3 the scene changes
to the deck of the ship, but the striking of the clock still goes on. It
strikes 12 altogether. Hook hears it and is unmanned. He crouches at the
side of the deck and some pirates gather round him to conceal him, while
others look over the vessel's side for the crocodile. While this is going on
Peter arrives on deck to the delight of the children. He does not come in
the simple way followed in the play. He leaps from rope to rope, crawls
along perilous masts and comes down the rigging with extraordinary courage
and agility. He does not carry a clock as in play, as this is not now
needed. He signs caution. A pirate comes from the back and is neatly knifed
and flung overboard. Always when anyone goes overboard we should have the
effect of the splash. Peter steals into Hook's cabin. The pirates peering
overboard indicate to Hook that the danger is past. Hook swaggers again. He
sees Slightly jeering at him, seizes him and is about to make him walk the
plank at once when he has an idea. We have a vision of this idea. The vision
is of the cat-o'-nine-tails hanging up in his cabin. We have a close-up
picture of it.
"Fetch the cat, Jukes; it's in the cabin."
Then we see him order the pirate, Jukes, into the cabin, obviously to fetch
the cat. Jukes goes. Then the music of the pirate song. Hook and pirates
sing another verse which evidently, from the action, is about the cat, but
before they reach the end of the verse they stop and the music itself stops
abruptly. The sudden silence should be among the most impressive moments in
the ship scene. This pause is because of a dreadful long-drawn-out cry from
the cabin, which we need not hear. Evidently the pirates have heard
something dreadful. The sudden silence should be very dramatic. After a
pause Cecco goes cautiously to the cabin door and looks in. In the semi-
darkness we don't see Peter, but we see his shadow standing silent against a
wall, a figure of fate. Jukes is seen lying dead on the floor. Hook sees the
children looking pleased, and threateningly he orders Cecco into the cabin.
Cecco pleads for mercy, then shuddering goes, as dramatically as in the play.
All listen intently.
There is no more dancing. Then they are again evidently startled by an awful
cry. The children delightedly know that Peter must be dealing out death. Then
when Hook threatens they dissemble. Starkey, quaking, peeps in at the cabin
door, and we now see Cecco's body lying across that of Jukes. Peter's shadow
is again seen motionless. Then another picture of the cabin, with now five
bodies lying across each other, the topmost a negro. Peter's terrible shadow
is still seen.
Next Hook orders Starkey into cabin, but rather than obey Starkey leaps
overboard as in the play. All this scene should be very intense. Hook wants
to pick out another victim, but the superstitious pirates gather together
mutinously. He indicates that he will go in himself. He lifts a musket, then
casts it down, and clawing with his hook (his best weapon) he goes into the
There is a moment's awful silence, and then he staggers out in a daze.
Evidently from his action of clutching his brow someone has struck him a
dreadful blow on the head. The pirates talk together mutinously, and while
they are doing so Peter, unseen by them, emerges from the cabin. He is
carrying cutlasses. He gives them to the boys who begin to cut their bonds.
Then another picture of all in same positions as before. Peter comes out: but
we see that the boys' bonds are now cut. Wendy seems to be standing against
the mast as before, but though the audience (or such of them as don't know
the play) are meant to think that this is Wendy, it is really Peter in her
cloak with face hidden. The actual Wendy is unseen. The mutinous crew now
advance threateningly on Hook.
"Never was luck on a pirate ship wi' a woman aboard.
Into the water with her, bullies."
He indicates Wendy as the Jonah, and that she should be flung overboard.
The pirates think it is a good idea. All advance on the supposed Wendy, when
suddenly the cloak is flung off, and the figure is revealed as Peter Pan, the
Avenger. This should be as much a surprise to the audience as to the pirates
who shrink back for a moment from the terrible boy. Wendy now puts her head
out of a barrel, which lets us see where she has been hidden.
Now the fight takes place, and instead of, as in the play, its being all on
deck and trivial, it should take place in various parts of the ship, and be a
real stern conflict. There are individual contests in which the pirates are
killed by Nibs, say, or Tootles, or John. Some pirates leap overboard -- and
sometimes the boys seem to be the losers, though only wounded. We don't see
Peter or Hook just now. Then we see two of the boys pursued up the hatchway
by Hook. They are being hard pressed by him.
Suddenly Peter appears and strikes up the swords. He and Hook stand gazing at
each other. Their swords describe a circuit, and then the points reach the
ground at the same time. Peter is now like a figure of fate. What he has said
to the boys is "Put up your swords, boys; this man is mine."
"Rash and presumptuous youth, prepare to meet thy
"Dark and sinister man, have at thee."
It should be a very real fight now between Hook and Peter, and both must be
good fencers. First the one is beaten to his knees, then the other. At one
point Wendy tries to save Peter. He flings her across his shoulder and fights
with her thus. He knocks Hook's sword from his hand. Hook is at his mercy,
but Peter chivalrously presents the sword to him. Wendy is no longer on
Peter's shoulder. Now Peter seems to be lost. He loses his sword. Suddenly
he runs up a rope hanging from above (as First Twin does in the acted play).
Then as suddenly he lets himself fall plop on Hook who is flattened out.
"'Tis some fiend fighting me. Pan, who and what art
"I'm youth, I'm joy, I'm a little bird that has
broken out of the egg."
The fight is resumed. Peter drives Hook back, up the ladder on to the poop,
where the plank is. Here they wrestle together, and Peter seems to be getting
the worst of it. Suddenly by a piece of ju-jitsu work he flings Hook over him
and Hook comes down with a smash. Hook is now hopeless. Peter indicates
sternly to him that he must walk the plank.
"Jas. Hook, thou not wholly unheroic figure,
Hook shrinks back, and won't obey the order. He shows his teeth. Peter gives
an order to a boy who rushes down to cabin and brings Peter the cat-o'-nine-
tails. Peter indicates that it will be his painful duty to use the cat if
Hook does not at once walk the plank. Thus threatened Hook pulls himself
together, and in his last moment is as brave a figure as any Sydney Carton
on the scaffold.
Doubtless the "something" that is said to be part of an Eton education and
that can be got nowhere else comes to his help in this unpleasant moment. He
has a vision which we see, of the "Wall game", the most characteristic game
of Eton College, and then he sets forth with dignity upon his impressive but
brief walk along the plank. Just before the plank goes down the crocodile
rears his head in the water below, the great mouth opens wide, and Hook dives
straight into it, swallowed in one memorable mouthful. The crocodile waggles
its head to get the legs down. They, too, disappear.
We see the crocodile crawling ashore. He shakes out of his mouth the wooden
arm with hook of the late captain. He leaves it lying on the shore and plods
away, like one who has lived his great hour and can afford to take the rest
of his life more leisurely. Then we see the deck again with the boys (and
Wendy) all more or less wounded and bandaged, gazing in awe at Peter who is
off his head with pride in himself and is strutting up and down. He strikes
Napoleonic attitudes, but is not dressed as Napoleon.
Next we see Wendy, Nibs, and Tootles in the hold opening a seaman's chest
and bringing clothes out of it, pirates clothing. Evidently the boys want to
wear these clothes. We see Wendy cutting a pair of pirate trousers with
scissors so as to shorten the legs for a boy. Then we see Slightly in the
cook's pantry of the ship gloating over its attractive contents. He finds a
big bottle marked "Plums" and begins to eat them greedily. Then we see
Michael in the hold trying to shave himself with pirate razor. His face is
lathered. Then Slightly again now in stomach pains, but still eating plums.
Wendy finds him and destroys plums. Then she finds Michael, and cleans the
lather off his face.
Then we see all the boys on deck (except Peter) in pirate clothes, all
looking like pirates and liking it. The clothes don't fit them but have been
roughly made smaller. Then Peter emerges from the captain's cabin and
swaggers about. He is dressed in a suit of Hook's cut down but still too big,
and is looking as like him as he can. He is drunk with cockiness, and all
fear him. He holds a hook in his right hand, and threatens Slightly with it.
He is smoking Hook's double cigar. He gives an order. Very smartly the boys
obey his order, flying to the rigging instead of climbing. Up to now no sails
have been set. All sail is set by them now, and the great pirate ship veering
round as the sails belly out, with Peter at the wheel, should make a stirring
Poor Peter is now, however, feeling squeamish as the result of his smoking.
He puts away the cigars, and clutches his head. The other boys to his
annoyance gather round him to see what will be the unheroic result of this
misadventure. Wendy (who is still in the clothes in which she was brought
aboard) appears and sees to what catastrophe the incident is tending. She
orders the other boys away and then conducts Peter to the side of the vessel,
over which he leans and is sick in privacy though we just guess it. Wendy
stands near him solicitously but not too near, for she knows that there are
moments in heroes' lives when they would prefer to be alone. He is now a
little relieved, and she tries to induce him to go to Hook's cabin, of which
he has become the tenant, but he won't desert the wheel and he nobly ties
himself to it. She gazes at him admiringly and goes away. If possible the
ship should be rocking as if in a heavy sea. It is now moving in a narrow
channel between rocks that separate it from the open sea. The night is now
Next we see Slightly again in the pantry. He is now eating sardines greedily,
though obviously in great pain. Then the deck scene again with Peter at
wheel. Wendy appears with something she is concealing in a cloth behind her
back. She doesn't want Peter to see it. We wonder what it is. She sneaks into
Peter's cabin with it and now we see it. It is a hot-water bottle, which she
places carefully in the bed. She notices in cabin, as we do, a touching
sight, viz. on the floor a little pile of the clothes Peter has taken off and
left lying there after the manner of children. She folds them carefully on a
chair and goes out. When she has gone, Tink pops out of a jug and hops about.
Then we have a picture of the fo'c's'le in which a number of pirates have
evidently slept, for here are their bunks. It is a dark, evil-looking place,
with horrible pirate weapons still hanging on its discoloured walls. In the
bunks lie all the boys except Peter, all asleep though Slightly is having bad
dreams, as the result of his greediness. Wendy is sitting on a stool by an
oil-stove, darning away as usual. The new conditions don't bother her; she is
still a mother.
Alternated with this picture we have one again of Peter still lashed to the
wheel, spray splashing on him, and the ship heading out of the channel into
an open and angry sea. It can be blackdark if this will help the rolling of
the vessel; but if it rolls above on deck we must get a similar effect in the
After many days the gay and innocent and heartless
things reach home.
We have a picture of Westminster and the Thames again with a suggestion of
the pirate ship there.
Then we see the outside of the Darlings' home once more, Nana goes in at the
door carrying a basket in her mouth. Then inside the house and we see Mrs
Darling sitting sadly at the open nursery window. She stretches her arms out
to window. Nana comes and sits sympathetically with her. She shares Mrs
Darling's handkerchief with her, but it should be touching, not comic. Mr
Darling is sitting dejectedly by the nursery fire. He takes from the
mantelpiece a portrait. We see in a close-up that it is of the three
children. He is sorrowful. Evidently he is cold, he shivers, and rises and
closes the window, but Mrs Darling opens it at once indicating sweetly that
it must always be kept open for them. She goes sadly into another room.
Nana is going miserably to her kennel in the nursery, but Mr Darling
indicates to her that his armchair is the proper place for her, and that, as
a punishment he, himself, must go into the kennel. Nana curls up on chair.
Mr Darling goes into the kennel to sleep.
Then we see Mrs Darling in the other room, which is the day nursery. There
is a picture of Wendy in it, over which she leans unhappily.
Then we see Peter fly in by nursery window. Nana is not there now. Peter is
in his familiar garments again. He is excited and quickly bars the window to
keep Wendy out. Here is repeated the vision of Peter arriving at his own
nursery window and finding it barred and another child sleeping in his bed.
Then we see from nursery Wendy arriving at the window, and her terror on
finding it barred. Peter is hiding and gloating over her discomfiture. She
disappears. Peter is grinning and triumphantly going out by the door when we
hear "Home, sweet Home" being played on a piano in the day nursery. He steals
to the door by which Mrs Darling had gone out and peeps in. The room being
the day nursery is furnished as such. We see Mrs Darling at piano playing
sadly. We see Peter at the door watching her, but she doesn't see him. He
knows what she is sad about, but for a time he is defiant. Soon she breaks
down. The picture of Wendy is in her hands and she kisses it. She is crying.
He tries to be defiant still. She is now sobbing on the piano stool. He
begins to cry, too, in the night nursery sitting against John's bed. At last
he nobly flings the window open and goes away in a "What care I!" manner.
Again we see Mrs Darling, her shoulders heaving as she leans against the
Now we see Wendy fly in, and then Michael on John's shoulders. They are in
their familiar clothes. They are gleeful as they point out their old beds,
etc. Michael peeps into the kennel and calls the others. They all peep at
their father asleep there. They just grin. Then the piano is heard again.
They gaily peep at Mrs Darling from the door. They feel ashamed as they
watch her grief.
Then Wendy has a bright idea which she explains to them in dumb-show.
They get merrily into their beds and lie beneath the blankets, covering
Mrs Darling comes to the door. She has heard nothing. Mrs Darling looks from
one bed to another, but does not believe she really sees them.
"So often in my dreams their silver voices call me
that I seem still to hear them when I am awake, my
little children, that I shall see no more."
The last of her words are from a chair. She stretches out her arms, thinking
they are again to fall empty by her side, but the three creep to her and the
arms fall on them. Rapture comes as she realises what has happened.
Mr Darling comes out of the kennel and Nana and Liza rush in at door. There
is a scene of riotous happiness, with Peter looking on from the window, a
Wendy indicates that she has a surprise for her parents. She opens the door,
and all the other boys come in sheepishly, one at a time. They are in their
pirate garments, now very soiled and torn, and are a ragged, dirty, woeful-
looking lot. They are afraid of how they are to be received, and the Darlings
are at first staggered, but then embrace them. General joy. Peter is again at
window. Wendy runs to him and hugs him.
"Hands off, lady. No one is going to catch me and
teach me solemn things. I want always to be a little
boy and to have fun."
He is saying this when Mrs Darling goes towards him.
Then he flies away.
Then on an evening we see Peter in the street looking up at the nursery
window. Wendy opens the window and beckons him lovingly to come up. He
heartlessly flouts her entreaties and skips about playing his pipes. She
flings him a letter. He runs up a tall London lamp-post to read it. It is
shown on the screen in Wendy's handwriting:
Mother says she will let you come for me once a year
to take me to the Never, Never Land for a week to do
Your adoredable Wendy."
At the foot of the page instead of crosses are several thimbles. Peter and
she wave to each other and he flies off.
Next we see a picture of Wendy, John, and Michael going into a school in
London with school satchels, etc. The old humdrum life has begun again.
Then we see Peter and Wendy flying together, through the air but without
scenery. Wendy is warmly clad this time. They are evidently off to the
spring-cleaning, for Peter is carrying a broom and she carries a shovel.
Very soon they all grew up except one.
It is a business street in the city. A close-up of a doorway shows these
names printed on it:
Messrs Twins and Tootles, Kew Cement Co.
Messrs Curly Nibs & Co., Commissioners of Oaths.
Sir S. Slightly, Financier.
Darling Bros., Solicitors.
Then we have a brief peep into each of these rooms.
First we see Tootles and the twins all on high stools at separate desks
writing in ledgers.
Next Curly and Nibs in their office, also on stools busy over legal
Then Slightly in a finer office. He is standing by the fire with legs
outstretched, smoking a large cigar, and drinking out of a tumbler. In a
close-up we see printed on tumbler the words "Brandy and Soda". Slightly is
evidently rather proud of being able to drink this.
Then John and Michael. Michael is dictating to a lady typist. John is
putting on an overcoat and silk hat and goes out very professionally with a
roll of papers. As soon as he has gone Michael ceases to dictate but looks
lovingly at typist instead. Her typing stops, she turns and looks self-
consciously at him. That is all, but we guess that it is the old story. They
are all now grown up young men, some of them quite tall and stout with
moustaches or spectacles but all must be easily recognisable. Their hair is
of course short. The effect of height can be got by making the furniture
smaller than usual. All are in correct office dress, black coats, etc.,
Slightly being a bit of a dandy.
Peter, who is just as usual, is seen looking through the window of each
office and grinning cynically at them, evidently thinking that they made the
grand mistake in growing up. But they are all too occupied with their own
affairs to see him.
Then we have a picture of Wendy, now a sweet young woman in her wedding-gown
and looking her loveliest. Presently she goes to the window which is open,
and gazes out with arms outstretched. Memories of the Never, Never Land come
to her, and we see them in a vision. What we see are some of the scenes that
have become familiar to us -- the home under the ground, the lagoon, the
forest, and all those scenes are as real as ever. But the figures are only
ghosts, done in the manner which is so effective on the films, i.e., they are
pale ghosts of Peter, Wendy, the other boys, Hook and Tiger Lily that we see
-- some dancing gaily in their night-gowns, others flitting through the wood,
etc. The last scene is Hook's arm lying among grass. In the hollow made by
the hook a little bird has built a nest with eggs in it. This is shown in a
Then Wendy again in her wedding-gown is seen as before at window. She cries a
little, then bravely pulls down window as a sign that the days of make-
believe are ended. She smiles at herself.
Then we see a new nursery with one small bed in it. This bed is in much the
same position as Wendy's bed in the old nursery, and in it is sleeping Jane,
Wendy's daughter. We just see there is a child sleeping in it, but we don't
see her face. There is another larger bed in room evidently the nurse's, but
it is not occupied. Wendy is standing at foot of bed gazing lovingly at Jane,
patting her, etc. She is in a semi-evening dress very simple. She goes over
to fender on which some childish garments are hanging, and rearranges them.
At this point Peter peeps through the window curtains at her and is
bewildered and unhappy at seeing her so grown-up. When she has arranged
garments on fender she goes quietly out on tiptoe, with a last loving look at
She is never aware of Peter's presence. She also must be as tall as possible
but in her case it can't be done with making furniture smaller as this would
increase size of Peter and child. It must be done artificially by high shoes,
long frock, etc. As she goes out Peter comes after her with arms outstretched
to her, but she doesn't see him. When she has gone he is a rather tragic
lonely figure. He lies on floor and sobs precisely as he did on the occasion
when he came back for his shadow. What happened then is now repeated. Jane is
wakened by his sobbing and sits up in bed. Here there should be a surprise
for the audience, for though the picture seems to be continuous, Jane is
played by the same actress who plays Wendy. She should make herself a little
different from Wendy as by a different arrangement or even colour of hair and
wear a coloured woollen night-gown instead of Wendy's white cotton one. But
of course they should still be very much alike.
"Boy, why are you crying?"
Peter, in answer to her question, rises, comes to foot of bed and bows as he
did to Wendy. Jane replies by bowing as Wendy did.
"Girl, what is your name?"
"Jane Wendy. What is your name?"
"Where is your mother, Peter?
"Don't have a mother, Jane."
The result of this conversation is that Jane does precisely as Wendy did. She
jumps out of bed, runs to him, and puts her arms round him. She has evidently
taken the mother's place.
Then a picture of Peter and Jane flying through the air carrying broom and
shovel, just as we have seen Peter and Wendy doing it. They are very gay,
Jane is in the woollen night-gown; so that we see clearly that it is Jane and
Then the scene is again the Never, Never Land, a lovely part of the wood near
a pool and waterfall. It is a sunny summer day, and first we see Jane doing
Peter's washing in a tub on ground, then flying with it up to a rope that is
hung high between branches. On this she hangs the garments. She is now
dressed in the familiar Wendy garments, but tucked up, etc. in a businesslike
way. Tink appears and pulls her hair. While the washing is going on Peter
appears on his goat. The flowers are following him just as on the day when
they went to the lagoon, and in the same way he orders them to go back. Then
he relents and lets them come. He tethers his goat. He sits on a mossy bank
playing his pipes. For a little time we see Peter and Jane thus engaged.
Another vague figure appears and watches them from behind a tree unseen by
them. It is the ghost of the grown-up Wendy in long dress, who has somehow
got here to see that her child is safe. She is just a shadow. She watches the
two sweetly, but being grown-up, she cannot join in the adventure. Tink,
however, discovers her and pulls her hair. Wendy goes away sadly. The
crocodile comes and tries to dance to Peter's pipes -- so do bears and other
friendly animals. Soon the pool and waterfall are alive with mermaids who
play games, splash each other, etc. Peter continues playing his pipes and
Jane attending to his washing.
Then we have the final picture, which should also be the most beautiful. It
is the last moment of the acted play, but much can be done with it that is
impossible in the play. The time is now sunset. We see the Tree Tops with the
Little House now perched high among them. All around are tiny fairy houses
(not nests as in the play, but absurd little houses of thatch and moss, each
with a window and a chimney). The exact nature of these fairy houses is for
future consideration. As moonlight comes, these houses light up, and at the
doors, and flying about among the trees and tree-tops, are innumerable
fairies, gossiping, quarrelling, and playing about. The music of this should
all be as it is in the play, where it is excellent, and mixed up with it
should be the bells to indicate much chatter among the fairies.
The scene goes on with changes of lighting, etc. After the Little House
lights up it is sometimes in one place, sometimes in another, sometimes near,
sometimes far away -- once it is sailing on the lagoon, and the mermaids are
pulling it about in fun -- then the fairies capture it and take it back to
the tree-tops. We see Peter and Jane at the door waving their handkerchiefs
to us. Finally there is no girl, and he is alone. There are no animals. The
fairies have gone to their houses; their lights go out (not simultaneously,
but fitfully). Now there are only lights from moon and stars, and Peter is
seen in silhouette alone, playing his pipes.