PETER PAN
A Musical Adventure ACT ONE
The audience arrives and settles into the auditorium, to be confronted by a night sky glittering with stars. The near-oppressive stillness is punctuated, occasionally, by shooting stars which zap across the entire width of the stage. With a sudden chord the houselights snap off.
SCENE ONE – A STREET IN BLOOMSBURY
Music No. 1: THERE’S SOMETHING IN THE AIR TONIGHT
A LAMPLIGHTER turns up the gas-lit street-lamps, illuminating the scene in pools of orange, slightly eerie light. As the LAMPLIGHTER goes on his way, there is a quiet passage of introductory music during which, and as the gas-light grows, we become aware of one particular upstairs window in Bloomsbury. MRS DARLING, wearing an evening gown, opens the window.
MRS DARLING Boy? Boy? Are you there? I have what you’re looking for.
(But there is no answer. She looks down on the street below.)
MRS DARLING
THERE’S SOMETHING IN THE AIR TONIGHT SOMETHING IN THE BREEZE WHISTLING ROUND THE CHIMNEY STACKS RUSTLING THROUGH THE TREES SOMETHING IN THE AIR TONIGHT DOESN’T FEEL LIKE SPRING THE NIGHTINGALES ARE SILENT AS IF TOLD THEY SHOULDN’T SING
(MRS DARLING shivers and steps back from the open window, closing it. In the street below the nursery window, a NEWSBOY has entered, a sheaf of ‘hot-from-the-press’ papers under his arm.)
NEWSBOY Paper! Evening paper!
(The Bloomsbury-ites cluster round the NEWSBOY, eager to acquire his papers.)
LONDONERS
THERE’S SOMETHING IN THE AIR TONIGHT SOMETHING IN EACH GUST
SOMETHING LEAVES US SHIVERING SOMETHING WE DON’T TRUST
THERE’S SOMETHING IN THE AIR TONIGHT THAT’S QUICKENING OUR TREAD SOMETHING MAKES US WORRY SOMETHING MAKES US HURRY TO OUR CHILDREN AT HOME SAFELY IN BED . . .
NEWSBOY Evening paper! Read all about it! Latest on the London smog. The “London Particular”. Another pea souper on the way.
(From behind the crowd emerges an older woman clutching a newspaper. The rest of the group don’t seem to notice her. This woman will have a separate purpose later in our story but, for the time being, she shall act as our STORYTELLER, which will keep her invisible to all.)
STORYTELLER
THERE’S SOMETHING IN THE AIR TONIGHT SOMETHING IN THE DARK SHADOWS IN AN ALLEYWAY VOICES IN THE PARK SOMETHING FEELS FAMILIAR SOMETHING WE ONCE KNEW A MEMORY IS STIRRING BUT IS STAYING OUT OF VIEW
London was strangely ill at ease that night. Despite a star lit sky, the threat of another fog put a nervous spring in many a parent’s step, fearful that they may not find their way home. For Mr Darling, his concerns were of a rather less sinister nature . . .
( A bowler hat comes bowling along the street, closely followed by its bare-headed owner, MR DARLING.)
MR DARLING Stop that hat!
(The STORYTELLER catches the hat and hands it to MR DARLING .)
Thank you.
STORYTELLER
THERE’S SOMETHING IN THE AIR TONIGHT
MR DARLING CHILLY FOR THE TIME OF YEAR
STORYTELLER SOMETHING IN THE BREEZE
MR DARLING WIND HAS GOT A BITE
STORYTELLER WHISTLING ROUND THE CHIMNEY STACKS
MR DARLING I DON’T REMEMBER SEEING STARS
STORYTELLER RUSTLING THROUGH THE TREES
MR DARLING BURNING QUITE SO BRIGHT
ALL SOMETHING IN THE AIR TONIGHT DOESN’T FEEL LIKE SPRING THE NIGHTINGALES ARE SILENT AS IF TOLD THEY SHOULDN’T SING
(MR DARLING continues on is way home as the CROWD around the NEWSBOY disperse.)
LONDONERS
THERE’S SOMETHING IN THE AIR TONIGHT
SOMETHING IN EACH GUST
SOMETHING LEAVES US SHIVERING
SOMETHING WE DON’T TRUST
THERE’S SOMETHING IN THE AIR TONIGHT
THAT’S QUICKENING OUR TREAD QUICKENING OUR TREAD QUICKENING OUR TREAD QUICKENING OUR TREAD . . .
( As the stage clears, the STORYTELLER addresses the audience:)
STORYTELLER Meanwhile, in the Darling family house, Mrs Darling was waiting anxiously beside the nursery window.
SCENE TWO – THE NURSERY
MR DARLING (Off.) Mary! I’m home! Are you ready?
MRS DARLING John? Michael? Wendy? Your father’s home. Clean your teeth.
Music No. 1a: NURSERY MARCH
(The three Darling children, WENDY, MICHAEL and JOHN enter. MICHAEL leads them on in military fashion. NANA, the Newfoundland dog, is at the back.)
MICHAEL Left! Right! Left, right, left!
JOHN It’s not so easy for Nana, she has two lefts and two rights.
MRS DARLING Now, you know your father and I are going out tonight, and I want you to be on your best behaviour for Nana.
(NANA barks in agreement.)
I’m leaving you in charge, Wendy.
WENDY ( Assuming her maternal roles.) Of course, Mother. Come along you naughty boys, bathroom inspection.
MRS DARLING They’re not really ‘naughty’ until they’ve actually . . .
(There is a clattering sound off stage.)
What on earth . . . ?
(MR DARLING trips into the room with a dog bowl wedged on one foot - he clatters along, almost losing his balance. He is wearing evening dress.)
Oh dear, George, I think you’ve trodden in something.
(The children laugh and continue into the bathroom.)
MR DARLING That wretched dog! Now I’ll have to change my socks.
MRS DARLING Well you should look where you’re walking.
MR DARLING No, Mary, that dog should be fed where she belongs - out in the garden. That dog . . .
MRS DARLING Her name is Nana.
MR DARLING . . . has to go. It was a sad mistake in the first place having to take on a Newfoundland dog as a nanny.
MRS DARLING You are forever telling me that we are not made of money, George. Besides, Nana is wonderful with the children.
MR DARLING Well maybe if we impress my boss and his wife this evening, I’ll be in line for a promotion, and then we might be able to afford a proper nanny, on two legs rather than four.
(NANA hears this.)
MRS DARLING Yes, but in the meantime . . .
(NANA gets up her hind legs and attempts to walk like a human.) . . . Oh that’s adorable!
MR DARLING Now we’re going to be late . . . (Raising his foot.) Where are my clean socks?
MRS DARLING (Patiently.) In the sock drawer.
MR DARLING My boss is hardly going to be impressed if we arrive smelling of tripe and gravy.
(He tugs off the soggy sock.)
MRS DARLING Nana, clean socks for Mr Darling, please. (NANA exits.)
George, there’s a reason we have to keep Nana. When I came into this room this evening, I saw a boy’s face at that window.
MR DARLING “That window” is three floors up, Mary! Have you been at the cooking sherry?
MRS DARLING (Continuing regardless.) I think he was trying to get in, and it wasn’t the first time. A week ago. I saw the same boy, here in this room.
MR DARLING Inside? Why didn’t you tell me?
MRS DARLING Because . . . well . . . anyway, the boy escaped – but the window slammed shut and chopped off his shadow.
MR DARLING (Crossing to the window.) I’ve heard some fanciful nonsense in my time but . . .
MRS DARLING It turned instantly to dust, George, so I swept it up and I put it in this jar for safety, out of the children’s reach. I think the boy came back tonight to look for his shadow.
(She takes down a screw-top glass jar containing the glittering ‘shadow dust’ from off a wardrobe.)
MR DARLING More likely to look for your jewelry box. You should have gone to the Police.
MRS DARLING You’re so cynical George. But that’s not all. The boy was accompanied by a ball of light – no bigger than my thumbnail . . .
MR DARLING A glow-worm, maybe?
MRS DARLING . . . it flew around the room, like a . . . well like a living thing.
MR DARLING (Triumphantly.) Ah, a firefly. Did you capture that too? We could sell it to the Natural History Museum.
(She puts the jar in a drawer.)
MRS DARLING It left with the boy. George, what can all this mean?
MR DARLING It means, my dear, that you are spending far too much time alone in the house. You let your imagination run away with you.
(NANA returns with clean socks.)
MRS DARLING Thank you, Nana. Children! Medicine!
(MR DARLING puts on his clean socks as children return from the bathroom. They are in their dressing-gowns and almost ready for bed.)
WENDY I don’t like the thought of you going out there tonight . . .
MR DARLING Oh not you as well, Wendy. There is nothing out there.
MICHAEL There’s a smog coming.
JOHN A pea souper. It’s dangerous. It contains sulphur dioxide which is poisonous.
MR DARLING Very helpful, John.
JOHN Which kills people.
MR DARLING Yes, thank you! Really John, I do wish you’d grow up.
MICHAEL But he’s only a boy.
MR DARLING That’s no excuse.
MRS DARLING Well it’s quite a good excuse. Now, where’s the Collinson’s CureAll?
( JOHN takes a distinctive bottle of patent medicine and a spoon from his dressing gown pocket. He pulls a face.)
JOHN We haven’t got anything to take it for.
MRS DARLING Collinson’s doesn’t just Cure-All, John, dear. It Prevents-All too!
WENDY (Having memorised the label.) ‘A teaspoonful at bed-time cossets contented children.’
(MICHAEL and JOHN pull faces at the prospect of the medicine.)
MRS DARLING I have the chocolates all ready to take away the taste.
MR DARLING Stop mothering them, Mary.
MRS DARLING But I am their mother – it’s sort of part of the job.
MR DARLING I had already lost my mother when I was their age. Maybe I’ve forgotten what it’s like to have a mother.
WENDY You could take some Collinson’s too, father, to show how brave you are.
MR DARLING I don’t think that’s entirely necess . . .
MICHAEL Yay! Father’s taking his medicine.
MR DARLING Youngest first – house rules.
(WENDY pours some medicine onto a spoon and approaches MICHAEL, who swallows it down. MRS DARLING gives MICHAEL a chocolate.)
MRS DARLING Chocolate.
(MR DARLING watches, with increasing trepidation. WENDY refills the spoon and JOHN also swallows it down with a minimum of fuss.)
(Giving MICHAEL a chocolate.) And one for you, John.
MR DARLING (Looking at his watch.) We really are going to have to . . .
WENDY (To MR DARLING.) Now you – you’re not afraid, are you?
MR DARLING Oh, such nonsense!
(MR DARLING glowers at both of his sons, summons his courage and prepares himself for the ordeal as WENDY pours out a spoonful which MR DARLING swallows but with more fuss, more noise and more face-pulling than either of his sons.)
Where’s my chocolate?!
(He snatches the chocolates from his wife’s hands and crams them into his mouth.)
(WENDY hands the bottle and spoon to JOHN, who replaces the cork and slips it into his dressing-gown pocket.)
MRS DARLING Now then children, into bed.
MR DARLING I think I’m going to be sick.
(MR DARLING exits and trips over NANA as he does.) That dog!
MRS DARLING (Looking out the window, first one way, then the other.) Oh, I wish we didn’t have to go out tonight.
JOHN You’ll be alright . . . as long as you don’t breath in.
MICHAEL Where does the smog go, when it’s not foggy?
MRS DARLING The wind just blows it away, like the autumn leaves.
MICHAEL But where does it blow it to? It must go somewhere.
JOHN Some mysterious place high in the sky.
MICHAEL Like the clouds?
JOHN Even further than the clouds.
WENDY Even further than the stars. Where it can’t hurt anyone anymore.
MRS DARLING Exactly, Wendy, so you never need to worry about it.
(MRS DARLING lights the nightlights.)
Music No. 2: JUST BEYOND THE STARS
MRS DARLING
JUST BEYOND THE STARS BEYOND THAT GREAT BLACK VELVET CURTAIN NO-ONE KNOWS FOR CERTAIN WHAT YOU’LL FIND
JUST BEYOND THE STARS ARE COUNTLESS MYSTERIES TO UNRAVEL JOURNEYS YOU CAN TRAVEL IN YOUR MIND
CLOSE YOUR EYES AND IMAGINE CLOSE THEM TIGHT AND PRETEND THERE’S A PLACE WHERE PRAYERS ARE ANSWERED AND YOUR DREAMS NEVER END NO YOUR DREAMS, YOUR DREAMS NEVER END
JUST BEYOND THE STARS YOUR FLIGHTS OF FANCY WILL BE SOARING DAYS ARE NEVER BORING WHEN YOU’RE THERE JUST BEYOND THE STARS THE ENDING’S HAPPY EVER AFTER HEAR THE CHILDREN’S LAUGHTER FILL THE AIR CLOSE YOUR EYES AND IMAGINE CLOSE THEM TIGHT AND PRETEND THERE’S A PLACE WHERE PRAYERS ARE ANSWERED AND YOUR DREAMS NEVER END NO YOUR DREAMS YOUR DREAMS NEVER END
MAYBE WE’VE ALREADY BEEN THERE MAYBE WE’RE NOT MEANT TO KNOW MAYBE WE’LL FIND IN THE FUTURE IT’S SOMEWHERE WE ALL HAVE TO GO BUT IT’S NICE TO THINK THAT NO-ONE KNOWS FOR SURE PERHAPS THAT’S WHAT “BEYOND THE STARS” IS FOR
(The children are seen into bed by their mother.)
JUST BEYOND THE STARS ALL FEARS AND WORRIES WILL DESERT YOU NOBODY CAN HURT YOU WHEN YOU FLY JUST BEYOND THE STARS WHERE SHADOWS NEVER DARE TO WANDER SOMEWHERE WAY OFF YONDER IN THE SKY CLOSE YOUR EYES AND PRETEND
(She turns down the oil lamp, crosses to the door, then pauses for a last look round, and:)
MRS DARLING Dear night-lights that protect my sleeping children, burn clear and steadfast until the dawn.
MR DARLING (Off stage.) Mary! We’ll be late!
MRS DARLING MAY YOUR DREAMS, YOUR DREAMS NEVER END
(MRS DARLING goes out, leaving the door ajar.)
( A moment later, as the children sleep, there are three musical ’Pings!’ – ’One!’ – ’Two!’ – ’Three!’ – as, in turn the nightlights blink and then go out. Next we see another light, ‘no bigger than a thumbnail’ darting about excitedly, outside the window first and then, having found its way through a crack, inside the nursery – it is PETER PAN’S fairy, TINKER BELL.)
(The fairy light darts hither and thither, around the room, possibly opening and closing drawers, scattering the contents – searching for something . . . finally seeking refuge in a jug . . . and now there is a surge of MUSIC . . . )
Music No. 2a: TINK’S ARRIVAL
Music No. 2b: PETER’S ARRIVAL
(The windows slowly open and PETER PAN flies in, landing lightly on the nursery floor.)
PETER PAN Tinker Bell? Tink? Have you found it?
(The jug lights up.)
Music No. 2c: DID YOU SEE WHERE THEY PUT IT?
Come out of there!
(TINKER BELL flashes this way, then that.)
Did you see where they put it?
(PETER makes a bee-line for the top of the wardrobe while TINKER BELL makes for the drawer which now contains the glass jar.)
(WENDY stirs in her sleep.)
(PETER and TINKER BELL hide. Then, as WENDY settles back to sleep, Peter returns and ransacks the drawer, He finds the glass jar at last but, unable to unscrew the lid, he gives way to petulant tears.)
(PETER sits on the floor, sobbing loudly.)
(The noise wakes WENDY who is not at all fazed at discovering a stranger in the nursery. She turns up the oil lamp.)
WENDY Boy . . . why are you crying? What’s your name?
PETER PAN (Brushing away tears and ignoring the question.) Peter. Peter Pan. Who are you?
WENDY Wendy Moira Angela Darling.
PETER PAN That’s quite a mouthful.
WENDY That’s rude. What are you doing in our bedroom, Peter Pan? Where do you live?
PETER PAN Second star to the right and then straight on until morning.
WENDY That must be tricky for the postman.
PETER PAN What?
WENDY To deliver your letters?
PETER PAN I know my letters. A, B, C, D, Zed.
WENDY I mean written letters. In the post. I’m sure your mother must get letters, and bills.
PETER PAN I don’t have a mother.
WENDY (Leaps out of bed to comfort him.) Oh, poor Peter! No wonder you were crying!
PETER PAN I wasn’t crying.
WENDY If you say so.
PETER PAN I can’t open this.
WENDY Why do you want to open it? It’s not even yours.
PETER PAN That lady-woman put my shadow in it. But it turned to dust.
WENDY (Takes the jar.) If you mean my mother, she would never do such a thing as take a boy’s shadow. (She opens the jar effortlessly and hands it to PETER.) There. Easy.
PETER PAN I must have loosened it.
WENDY You were screwing it the wrong way. (PETER holds the jar over his head.) What are you doing?
PETER PAN
WENDY
I’m going to tip it over myself.
That’s no way to treat your shadow. Give it to me. Now!
(He hands back the jar, reluctantly.)
You need to be careful. Have you ever played at ‘Statues’?
(He shakes his head.)
Stand still – like this.
(WENDY adopts a ‘statue’ pose. PETER attempts to imitate her. She sprinkles the contents of the jar over him. As the jar appears to empty, we see PETER’S shadow take shape on the wall behind him.)
That’s how to do it.
(PETER tests out his shadow, moving hesitantly at first but growing in confidence. PETER and his shadow dance together. He is showing off. He gives a cockcrow.)
Music No. 2d: THE CLEVERNESS OF ME (Pre-reprise)
PETER PAN OH THE CLEVERNESS OF ME THE CLEVERNESS OF ME
I’VE NEVER MET A PERSON YET WHO’D EVER DISAGREE THE CLEVERNESS OF ME THE CLEVERNESS OF ME I HAVE TO CROW BECAUSE I KNOW THE CLEVERNESS (COCK-A-DOODLE-DOO) OF ME
WENDY And I suppose I had nothing to do with it?
PETER PAN Not much.
(WENDY, annoyed at PETER’S conceit, jumps back into bed and pulls the sheet up over her head. Realising that he may have overstepped the mark, Peter addresses the hidden Wendy.)
Wendy? Alright, you helped a bit.
WENDY Never mind cock-a-doodle-doo, I think you need to learn some manners.
PETER PAN Come out Wendy – one girl is worth more than twenty boys.
(MICHAEL suddenly sits up in bed.)
MICHAEL That can’t be right.
JOHN One girl worth twenty boys? Says who?
PETER PAN Says I. Peter Pan.
WENDY (Peering over the top of the sheet.) Do you mean it, Peter?
(PETER nods.)
MICHAEL I think I’m having a funny dream.
WENDY Very well, I forgive you. Every one deserves a second chance. I shall give you a kiss and we can be friends again.
MICHAEL That’s disgusting.
JOHN I can’t look.
(MICHAEL and JOHN hide under their bedclothes covers. PETER holds out his hand.)
WENDY You do know what a kiss is?
PETER PAN Of course.
( WENDY doesn’t wish to hurt his feelings and searches on a shelf and finds a thimble.)
WENDY I think I have one . . . here you are.
( JOHN lets out a groan from under his duvet.)
PETER PAN Thank you. And here’s a kiss for you.
(MICHAEL also groans from under his duvet. PETER plucks an acorn button from his pocket.)
WENDY An . . . acorn kiss? My very favourite sort. I shall wear it on a chain around my neck.
PETER PAN As you wish.
( JOHN and MICHAEL sit up in bed again.)
WENDY How old are you?
PETER PAN I don’t know. I ran away on the day that I was born.
JOHN Forgive me but, on the day you were born you wouldn’t have been able to walk let alone run.
MICHAEL Why would you run away?
PETER PAN I didn’t want to grow up. I want to be a boy forever and to have fun. That’s why I ran away to live with the fairies.
JOHN Oh now I’ve heard it all.
WENDY I don’t think I believe in fairies.
PETER PAN If you don’t believe in fairies, Wendy, fairies die.
(There is an urgent concerned tinkling from TINKER BELL.)
Music No. 3: TINK AND WENDY
WENDY What’s that noise? Ouch! Somebody – some - thing – pulled my hair.
PETER PAN That’s a fairy. She’s called Tinker Bell. She’s jealous of you. Ask me more about me.
WENDY Why did you come to our house?
PETER PAN I like listening to your bedtime stories. Then I take them back to Never Land and tell them to the boys.
MICHAEL Which boys?
PETER PAN The Lost Boys, of course. They live in Never Land too – ever since they fell out of their prams. I’m their Captain.
WENDY What about girls?
MICHAEL What about them?
WENDY Well, are girls allowed to join your . . . little gang?
PETER PAN If I let them. Girls sometimes make the best Lost Boys of all.
JOHN You have some strange ideas.
WENDY No he doesn’t, John. (Now to PETER .) Peter, it is perfectly lovely the way you talk about girls. You may give me another kiss if you wish.
MICHAEL Yuck! Do you have to?
(TINKER BELL intervenes)
PETER PAN Be polite, Tinker Bell. There is a lady present.
JOHN She’s hardly a lady.
WENDY So which story did you like the best?
PETER PAN The one about the prince who couldn’t find the lady who had lost her slipper. Except I didn’t hear the end of it.
WENDY That’s Cinderella. He does find her eventually . . .
MICHAEL . . . and they live happily ever after.
PETER PAN Perfect. Goodbye.
JOHN Where are you going?
PETER PAN To tell the Lost Boys how Cinderella ends.
WENDY Don’t go yet, Peter. I know lots of other stories.
PETER PAN Come with me, Wendy.
WENDY I can’t. Think of mother. And how would we get there?
MICHAEL We?
JOHN Leave this to me, Michael. How would we get there?
PETER PAN I’ll teach you how to fly. We’ll jump on the wind’s back and away we’ll go. We’ll talk to the stars.
MICHAEL
Well that sounds altogether more exciting! Come on Wendy, let’s go.
Music No. 3a: SOUND ASLEEP
(NANA’S bark warns them of her approach. MUSIC behind, as . . . )
JOHN Quick! Hide!
(NANA enters the room with a lamp in her mouth. She sniffs around the nursery to make sure everything is in order. Eventually, unable to find anything untoward she leaves. PETER, WENDY, JOHN and MICHAEL emerge from their hiding places.)
That was a close one. Is it true? Can you really fly?
PETER PAN It’s easy.
Music No. 4: NEVER LAND
PETER PAN YOU MUST THINK OF SOMETHING WONDERFUL A SIGHT, A SMELL, A SOUND
MICHAEL Is that all?
PETER PAN A SHAKE OR TWO OF FAIRY DUST AND YOU’LL BE SKYWARD BOUND THERE IS JUST ONE RULE WHEN FLYING WHICH IS NOT TOO HARD TO UNDERSTAND WHATEVER YOU DO NEVER LAND
(PETER majestically and nonchalantly rises into the air. He plucks ’fairy dust’ from off his clothing and sprinkles it over them.)
NEVER LAND
THAT’S THE SECRET OF FLYING NEVER LAND NOTHING EQUALS THE THRILL TAKE HER HAND THERE IS NO HARM IN TRYING JUST BELIEVE THAT YOU CAN AND YOU WILL NEVER LAND
FEEL THE WIND THROUGH YOUR FINGERS NEVER LAND LET THE CLOUDS BRUSH YOUR HAIR AND TO STAY ON THE WING JUST REMEMBER ONE THING NEVER LAND
(The three CHILDREN tentatively rise from the bedroom floor.)
THE CHILDREN Look at me, look at me, look at me!
JOHN What are we waiting for?
PETER PAN There are pirates.
JOHN Pirates?
(He grabs his Sunday tall hat.) We must go at once!
PETER PAN And mermaids too.
WENDY (Slipping on a distinctive hooded cape.) Mermaids! How spectacular!
PETER PAN Follow me . . .
SCENE THREE – THE FLIGHT TO NEVER LAND
The CHILDREN become rather more confident with their new-found flying ability within the nursery . . .
ALL NEVER LAND
MICHAEL & JOHN WHY JUST SIT AROUND TALKING?
ALL NEVER LAND
WENDY WE CAN SOAR THROUGH THE SKY
JOHN WHO CAN STAND RUNNING, JUMPING OR WALKING WHEN IT’S SO MUCH MORE FUN IF YOU FLY?
ALL NEVER LAND
PETER
KEEP STRAIGHT ON UNTIL MORNING
ALL NEVER LAND
PETER
SECOND STAR TO THE RIGHT
ALL
NO-ONE CARES WHERE YOU ROAM WHEN THE SKIES ARE YOUR HOME NEVER LAND
PETER NEVER LAND
(The walls of the nursery blow apart as PETER and the DARLING CHILDREN fly through the night-sky above London.)
WENDY
ALL OF LONDON LOOKS SO MINIATURE
JOHN BIG BEN IS NOT SO TALL
MICHAEL AND WHO WOULD THINK THAT KENSINGTON COULD EVER SEEM SO SMALL?
WENDY
THERE’S LORD NELSON ON A MATCHSTICK AND THOSE TINY PEOPLE IN THE STRAND
ALL IF ONLY THEY KNEW THEY’D WANT TO FLY TOO . . . AND NEVER LAND
WENDY
SEE HOW TINKER BELL TEASES
ALL NEVER LAND
PETER PAN TRY TO FOLLOW HER LIGHT
WENDY IT’S SO GRAND FLOATING OFF ON THE BREEZES
MICHAEL THOUGH I FEEL I’VE BEEN FLYING ALL NIGHT
(Never Land approaches.)
ALL NEVER LAND
PETER PAN
NOT TILL WE’RE ON MY ISLAND
ALL
NEVER LAND
PETER PAN
NOT MUCH FURTHER TO GO THERE’S THE BEAR THERE’S THE PLOUGH WE SHOULD SOON BE THERE NOW
ALL NEVER LAND NO ONE CARES WHERE YOU ROAM WHEN THE SKIES ARE YOUR HOME
PETER & WENDY NEVER NEVER LAND
JOHN There it is!
ALL
NEVER LAND, NEVER LAND NEVER LAND!
( As the song ends, PETER PAN, WENDY, JOHN and MICHAEL disappear into a bank of cloud as the sky darkens and we go to:)
SCENE FOUR – THE NEVER LAND
The set should represent an Edwardian child’s dreamworld, indicative of rapscallion pirates, and languorous mermaids, with dark forests full of howling, hungry wolves – or whatever else might tease the childhood imagination.
For the moment, we are in a semi-tropical location which is part hidden under an early morning mist which, together with the mysterious sounds of native rhythmic drumming, hints at strange goings-on in the undergrowth – perhaps, a quick sighting of a pirate peeping round a tree-trunk.
STORYTELLER
HOOK
Never Land is one of those places where there are no tedious distances between one adventure and the next, but where things are crammed together nicely. Of all the inhabitants on the island there was one – a notorious Old Etonian – the mention of whose name was enough to make the blood run cold in the bravest of warriors. Captain James Bartholomew Hook. Cadaverous in appearance, and with his hair dressed in long curls, which look like black candles that are about to melt. He had a glistening steel hook in place of his right hand. Eyes of forget-me-not blue, except when he was plunging his hook into you, at which time two red spots appeared in them and lit them up horribly. His bosun, Smee, was the only non-conformist amongst the Pirate crew.
(Hearing a noise, the STORYTELLER creeps away. HOOK ( played by MR DARLING) and SMEE ( played by MRS DARLING) pop up from the undergrowth.)
Who was that, Smee?
SMEE Beats me, Captain.
HOOK
Well she is most irritating. You know my views on women. (SMEE looks to the audience.)
SMEE (Pulling false beard down.) Well, Captain, on that subject, I’ve been trying to find the right moment to . . . that is there’s something I’ve been meaning to . . .
HOOK Stop blathering, Smee. (Holding his hook aloft.)
SMEE (Gulps.) Ooh that’s a nice shiny new hook you’ve got there Captain. Is that from the new Cartier “everyday wear” range?
HOOK You think I choose to wear a hook?
SMEE Well, Captain, it does get me to thinking what you might be called if it wasn’t for your hook. Captain Fingers? Captain Wrist? Captain Handshake . . . ?
(HOOK thrusting his hook across SMEE’S throat.)
HOOK
Ooh, careful, Captain. Mind if I just pop a cork on the end of that? Wouldn’t want to be hurting anyone now would we?
I want to hurt Peter Pan. It was him who sliced off my good right arm. I have waited long to shake his hand with this. (He runs his forefinger around his shiny hook and produces a musical hum, as if he were stroking the rim of a wineglass.)
Oh, I'll tear him, Smee. Pan flung my arm to a passing crocodile.
SMEE It has not gone unnoticed, Captain, your curious dread of crocodiles.
HOOK
SMEE
HOOK
That crocodile would have gobbled down the whole of me long ago – except that, by a lucky chance, it had also swallowed an alarm clock, which goes “tick, tick, tick” inside its stomach and warns me of its approach.
I guess that’s what’s known as “a timely reminder”, Captain. But some day that clock will run down, and then that croc will be the death of you.
That is the fear that haunts my days and fills my nights with dread. (Looking skyward.) Where is that wretched boy?
SMEE It must be a wonderful thing, Captain, to fly like that. Flitting around like a beautiful butterfly. Or a bumble bee, skipping from flower to flower . . . or . . . or a humming bird sipping nectar from . . .
HOOK
SMEE
HOOK
Smee!!! You are supposed to be a blood-thirsty pirate, disembowelling our foe. Not some airy fairy poet out on a nature walk.
Just keeping in touch with my feminine side, Captain. Which brings me back to . . .
Hush! Someone approaches.
(They bob down below the undergrowth, as NIBS, one of the Lost Boys, stalks across the clearing. We see he is being pursued by GENTLEMAN STARKEY, one of the Pirate crew. STARKEY aims his pistol at the errant Lost Boy and is about to fire when . . . )
HOOK Pull that trigger and you're shark's meat, Starkey.
(HOOK'S voice startles both STARKEY and NIBS. STARKEY fires upwards and a dead Never Bird falls from the sky. NIBS makes good his escape through the trees.)
STARKEY I had him clean between the eyes. 'Twas one o' them Lost Boy rapscallions. I could have dropped him, Captain.
HOOK I don't want one Lost Boy – I want them all. But most of all I want their Captain. Let’s follow the boy and maybe he’ll lead us to Peter Pan’s landing strip.
(There is a ‘ticking’ sound.)
Music. 4a: THE CROCODILE AND NIBS
SMEE Captain! The crocodile.
HOOK Run!
(HOOK, SMEE and STARKEY run off in the direction NIBS left in as a large crocodile crosses the stage, with NIBS riding on its back. NIBS jumps down, and the CROCODILE continues in pursuit of the Pirates.)
NIBS All clear, boys.
(BOYS’ heads appear, one by one, either over clumps of vegetation or around the trunks of palm trees. These are the LOST BOYS and they are: SLIGHTLY, TOOTLES, the FIRST TWIN and the SECOND TWIN and, last but by no means least, CURLY.)
SLIGHTLY We heard a gun shot. (Overly excited.) Was someone killed?
NIBS (Pointing at the dead Never Bird.) Starkey shot that bird. Hook was here. I heard him say he wants to catch all of us.
CURLY
TOOTLES
Ha! Let him try.
Even without Peter, we can show the Pirates that we are the rulers in Never Land.
Music No. 5: THE LOST BOYS GANG
LOST BOYS (Individually and together.) NOBODY DARES US NOTHING EVER SCARES US EVEN THE LOUDEST BANG IF YOU'VE ANNOYED US BEST IF YOU AVOID US 'COS WE'RE THE LOST BOYS GANG AND THOSE WHO FIGHT THE LOST BOYS DISCOVER TO THEIR COST THERE'S BEEN NO FIGHT THAT THE LOST BOYS LOST
ALL LOST BOYS WE ARE NO STRANGERS TO THE DARKEST DANGERS YET WE DON'T BUDGE AN INCH WE SHOW OUR METTLE GRASP A STINGING NETTLE AND YOU WON'T SEE US FLINCH AND WHEN WE FIGHT IN COLD BLOOD WE'RE COLDER THAN THE FROST THERE'S BEEN NO FIGHT THAT THE LOST BOYS LOST
NO-ONE MAKES US GO TO SCHOOL OUR BOOKS STAY ON THEIR SHELVES GOT NO USE FOR SUMS AND STUFF WE'RE FENDING FOR OURSELVES ALL WE NEED'S A CATAPULT SOME ARROWS AND A BOW READING, WRITING, 'RITHMETIC WON'T SAVE YOU FROM YOUR FOE SO . . . WE STICK TOGETHER NEVER KNOWING WHETHER
SOMEONE'S ABOUT TO POUNCE IT MAY SOUND FRIGHT'NING BUT AS QUICK AS LIGHTNING WE SETTLE THEIR ACCOUNTS FOR THOSE WHO CROSS THE LOST BOYS WILL SOON BE DOUBLE-CROSSED THERE'S BEEN NO FIGHT THAT THE LOST BOYS LOST
(Instrumental of the B-section, during which the LOST BOYS dance, then:)
READING, WRITING, ’RITHMETIC WON'T SAVE YOU FROM YOUR FOE SO . . .
NOBODY DARES US NOTHING EVER SCARES US EVEN THE LOUDEST BANG (AAH) IF YOU'VE ANNOYED US BEST IF YOU AVOID US 'COS WE'RE THE LOST BOYS GANG AND THOSE WHO FIGHT THE LOST BOYS DISCOVER TO THEIR COST THERE'S BEEN NO FIGHT THERE'S BEEN NO FIGHT THERE'S BEEN NO FIGHT THAT THE LOST BOYS . . . LOST!
(They are suddenly bowed down with boredom.)
CURLY (Glancing up into the sky.) I hope Peter comes back soon.
SLIGHTLY Where did he go anyway?
TOOTLES I bet he went to you-know-where?
NIBS If he has gone to 'you-know-where' perhaps, this time, he'll hear the ending to 'you-know-what'?
1st TWIN If you mean that bedtime story, Nibs, we've already worked out the ending. Haven’t we, Twin?
2nd TWIN They both live unhappily ever after – The End.
TOOTLES I wish we had a fairy godmother.
NIBS Me too! She could wave her magic wand and grant us all three wishes.
CURLY What would you choose, Tootles?
TOOTLES I'd wish that Peter was back for a start.
NIBS I'd use the second wish to wish for a pair of magic moccasins.
CURLY Magic moccasins? That’s a waste of a good wish.
NIBS No it’s not.
TWINS Is too.
NIBS Is not.
TWINS (Together.) We'd use the third wish to wish for a mother.
SLIGHTLY My mother was fonder of me than your mothers were of you.
(It is a statement which is met by a loud and challenging denial from all of the others.)
Oh yes she was. Peter had to make up names for you – but my mother wrote my name on the pinafore I was lost in. I'm called Slightly Soiled.
(The LOST BOYS groan in unison - they have heard SLIGHTLY'S claim a hundred times before and it is certainly not worth fighting over.)
Music No. 5a: TINK’S INSTRUCTIONS / SHOOTING WENDY
TOOTLES Hey! Hey, Boys. I see Tinker Bell.
CURLY If Tinker Bell’s come back, then Peter can’t be far away.
(The LOST BOYS raise a cheer.)
NIBS (Cups his hands and calls.) Hey, Tink! Tinker Bell!
(TINKER BELL calls down to the LOST BOYS in her fairy tongue.)
TOOTLES She says that Peter wants the Wendy Bird shot dead.
CURLY (Picking up the dead Never Bird.) The Pirates already shot it.
SLIGHTLY That’s not a Wendy bird, that’s a Never Bird.
NIBS So what is a Wendy bird?
(TINK flies down and rests on NIBS’ shoulder.)
(Repeating out loud what TINK is telling him.) She says it’s a big, bossy, bird in a white dress.
(TINK adds to this . . . )
NIBS Oh, and it’s rubbish at flying.
(He flaps his arms slowly.)
CURLY I wonder why Peter wants it shot?
SLIGHTLY To roast it, for a big welcome home feast!
TOOTLES If that’s what Peter wants, Curly, we don’t ask why.
SLIGHTLY We carry out his orders without question.
NIBS There, I can see it. The Wendy Bird.
(He raises his bow and arrow.)
CURLY I saw it first. Let me shoot it.
(The rest of the LOST BOYS peer up into the sky.)
1st TWIN I see it!
2nd TWIN I see it too!
(TOOTLES grabs the bow and arrow from NIBS and lets loose an arrow from his bow and it whizzes through the air.)
TOOTLES Got it!
CURLY Good shot, Tootles!
(The LOST BOYS' eyes follow the downward spiraling of the wounded ‘bird’ which finally takes more solid shape as WENDY’S body, in her white night-gown, crashes through branches and onto solid ground.)
(The BOYS cluster round her. She is quite motionless – an arrow protrudes from her chest.)
1st TWIN It wasn’t a bird after all.
2nd TWIN It was a flying lady.
(From high up on a tree, where she has come to rest, we hear TINKER BELL’S mocking laughter.)
SLIGHTLY You don’t suppose that Peter was bringing this Wendy lady back to Never Land from you-know-where?
CURLY To take care of us?
LOST BOYS Oh Tootles!
(They all take a step away from TOOTLES, leaving him in isolation. Then, as if on cue, we hear a familiar cock-crow sound.)
LOST BOYS Peter!
(They group themselves in front of WENDY’S body, hiding it, as PETER skims round the tree-tops, before touching down.)
PETER PAN Greetings!
(Their silence puzzles him.)
Great news boys, I’ve brought someone who will be a mother to us all. She flew on ahead of me. Didn’t any of you see her?
(The LOST BOYS exchange glances and, unable to keep their ghastly secret, they separate allowing PETER to see WENDY lying on the ground.)
Wendy! With an arrow in her heart. She’s dead.
(The LOST BOYS make a great show of looking everywhere except at TOOTLES until . . . )
NIBS Tinker Bell . . .
CURLY She told us to shoot down the Wendy Bird.
(PETER rises.)
PETER PAN Tinker Bell! You are my friend no longer!
(TINKER BELL replies with a cheeky sound, which seems to say, ’Who needs you?’ )
You’re banished, Tinker Bell! Begone – for all eternity!
(TINKER BELL flies off.)
1st TWIN Is she really dead?
2nd TWIN (Exchanging a puzzled glance with his twin.) We thought only flowers died?
PETER PAN Whose arrow?
(Plucking the arrow matter-of-factly from WENDY. TOOTLES kneels before PETER PAN.)
TOOTLES Strike Peter; strike true.
WENDY Everyone deserves . . .
(WENDY’S voice fades and PETER finishes her thought.)
PETER PAN . . . a second chance.
NIBS It’s the Wendy lady!
PETER PAN She lives! See, the arrow struck my kiss. (Very pleased with himself.)
The kiss I gave Wendy saved her life.
LOST BOYS (Triumphant.) Hurrah!
PETER PAN But she is very poorly.
LOST BOYS (Defeated.) Aw!
( JOHN and MICHAEL wander on, bemused, having landed elsewhere on the island. JOHN still wears his ‘tall Sunday hat’. PETER motions the BOYS to regroup, again hiding WENDY – this time with PETER taking central position. They try to look innocent as:)
MICHAEL Where are we, John? How did we get here?
JOHN We flew here – didn’t we?
(He flaps his arms without confidence . . . )
I think? . . . Yes, and these must be the Lost Boys. Hello, boys, we’ve come to join your gang. I’m John Napoleon Darling.
MICHAEL And I’m Michael Nicholas Darling. And our big sister is . . . Wendy . . . (He sees WENDY.) . . . Why isn’t she moving?
(More puzzled than concerned.)
Is she dead?
JOHN She’d better not be dead! Or there will be trouble!
PETER PAN She’s asleep.
MICHAEL Well let’s wake her up and get her to make supper.
PETER PAN What? No-one must touch her. It wouldn’t be respectful.
TOOTLES We can’t leave her here or she will die.
CURLY
But if we can’t touch her, we can’t move her.
SLIGHTLY Oh well, she’ll die then – that’s bad luck.
JOHN Now look here . . .
PETER PAN I’ve got it! We’ll build a house around her.
LOST BOYS Hurrah!
JOHN Build a house? For Wendy? But she’s only a girl.
CURLY And we are her servants.
JOHN I’m not sure I can agree to that.
PETER PAN Curly, see that these boys help with the building.
JOHN ( As he is frog-marched away to help.) But how can we possibly build a whole house?
Music No. 6: BUILD A HOUSE
(The LOST BOYS begin to construct a house around WENDY, with whatever materials come to hand . . . )
PETER PAN FIRST WE’LL BUILD EACH WALL WHEN IT’S JUST SO TALL WE’LL STOP WITH A HIGH-PITCHED ROOF WHICH IS WATERPROOF ON TOP WE SHOULD STRENGTHEN IT WITH CLAY TO KEEP BAYING WOLVES AT BAY
BUILD A HOUSE FOR WENDY
BUILD A HOME WHERE WENDY WILL STAY
JOHN Don’t you think she should see a doctor?
PETER PAN There isn’t a doctor – perhaps there’s something she could take for it?
JOHN (Producing the bottle from his dressing-gown pocket.) I’ve got this. It’s Collinson’s Cure-All. It attends to all juvenile ailments. It says so on the label.
ALL Hurrah!
PETER PAN (Taking charge of the bottle.) I’ll make sure that she takes this medicine every night.
(Satisfied that Wendy’s well-being is taken care of, they go back to the housebuilding, as:)
LOST BOYS IN THE WALLS OF WOOD MANY WINDOWS SHOULD BE CUT LOOKING OUT EACH WAY
PETER PAN JUST AS LONG AS THEY DON’T SHUT
LOST BOYS FROM EACH WINDOW COME WHAT MAY THERE’S A DIFFERENT VIEW EACH DAY BUILD A HOUSE FOR WENDY
BUILD A HOME WHERE WENDY WILL STAY
CHOP AND SAW AND HAMMER NAILS FOR WENDY
LAY THE FLOOR AND PICTURE RAILS FOR WENDY
PETER PAN ADD THE KIND OF LOFT WHERE OLD TOYS ARE OFTEN FLUNG
LOST BOYS
CHOP AND SAW AND HAMMER NAILS FOR WENDY
PETER PAN AND WHERE PARENTS PLAY TO RECALL WHEN THEY WERE YOUNG
LOST BOYS
LAY A FLOOR AND PICTURE RAILS FOR WENDY
MAKE IT NOW WITHOUT DELAY ON A TIMBER FRAME
PETER PAN
MOTHERS LIKE THINGS DONE THAT WAY
LOST BOYS
IT’S A SIMPLE AIM
PETER PAN
BUILD A HOUSE FOR WENDY
BUILD A HOME WHERE WENDY WILL STAY
LOST BOYS
BUILD A HOUSE FOR WENDY, BUILD A HOME FOR WENDY ALL WHEN IT’S BUILT TO EASE OUR GUILT
WE’LL PATCH A FEATHER QUILT FOR WENDY WEAVE A RUG TO MAKE IT SNUG WITH COCOA IN A MUG FOR WENDY FOR WENDY, FOR WENDY, FOR WENDY
(During this instrumental section, the house nears completion.)
TWIN What else do we need?
PETER PAN There isn’t a door-knocker . . . Tootles, your shoe will do.
(TOOTLES hangs up his shoe, with the sole as a knocker.)
And it hasn’t got a chimney . . . John, your top hat is perfect.
(PETER retrieves JOHN’S hat, knocks off the top and places it on the roof – smoke immediately curls upwards.)
LOST BOYS
PAPER, PASTE AND PAINT THE SILLS FOR WENDY CURTAINS LACED WITH BOWS AND FRILLS FOR WENDY
PETER PAN
PLACE A ROCKING CHAIR
NEAR THE FIRE WHERE SHE’LL REST WHEN WE HEAR HER CALL IT ’S THE TIME WE ALL LOVE BEST AS SHE TELLS IN HER OWN WAY DIFFERENT STORIES EVERY DAY
ALL THAT’S THE JOY OF WENDY NO LOST BOY IS WENDY
PETER PAN SHE’S THE SUNSHINE’S MOST HEAVENLY RAY AND WE PRAY
ALL AND WE ALL PRAY
PETER PAN All look your best. AND WE PRAY
ALL AND WE ALL PRAY
PETER PAN First impressions are awfully important. AND WE PRAY ALL THAT WENDY WILL STAY
(PETER steps forward and knocks on the door.)
STORYTELLER (Having entered over the above.) All of Never Land, it seemed, stood as still as those Lost Boys. Each one of them was wondering whether Wendy would answer the door – and, more importantly, if she did, would she fulfill their wildest dreams?
WENDY (Stepping out of the house.) Where am I?
STORYTELLER She was exactly what the boys had wanted – and their wildest dreams were all fulfilled.
( As the LOST BOYS react with delight on seeing WENDY well again, the STORYTELLER exits.)
TOOTLES This is Never Land.
CURLY We’re the Lost Boys.
SLIGHTLY We are your children.
WENDY ( Affecting surprise.) Goodness!
LOST BOYS (Kneeling with outstretched arms.) Wendy lady, be our mother.
WENDY I’m only a girl myself. I’ve no experience on the subject.
LOST BOYS That doesn’t matter.
TOOTLES What we need is a motherly person.
WENDY Oh dear. That’s exactly the kind of person I feel I am. ( A sudden change of mood.) Now get inside at once, you naughty, naughty children! (She claps her hands.).
Music No 6a: THE LOST BOYS GANG (Reprise)
6 LOST BOYS NOBODY DARES US NOTHING EVER SCARES US EVEN THE LOUDEST BANG
WENDY Don’t forget to wipe your feet.
(MICHAEL and JOHN enter the Wendy House.)
6 LOST BOYS IF YOU’VE ANNOYED US BEST IF YOU AVOID US COS WE’RE THE LOST BOYS GANG
WENDY You've got all your toys to put away.
(The TWINS enter the Wendy House.)
4 LOST BOYS
AND THOSE WHO FIGHT THE LOST BOYS DISCOVER TO THEIR COST
WENDY And don't leave the towel on the bathroom floor.
(TOOTLES enters the Wendy House.)
3 LOST BOYS
THERE’S BEEN NO FIGHT
WENDY Bed – this instant!
(NIBS enters the Wendy House.)
2 LOST BOYS
THERE’S BEEN NO FIGHT
WENDY Bed!
(CURLY enters the Wendy house.)
SLIGHTLY
THERE BEEN NO FIGHT THAT THE LOST BOYS
Good night, Mother. LOST!
(PETER and WENDY are now alone.)
WENDY Come along, Peter – it's your bedtime too.
PETER PAN I haven't got a bedtime. Come on Wendy, let me show you the island – (Playing the father.) while our children are sleeping.
Music No. 7: THE CLEVERNESS OF ME
WENDY
But Peter, if we are to be parents to the Lost Boys we have to set a good example. Rules are rules.
PETER PAN Not for me they’re not. No-one tells me what to do.
BOTH THE SUN AND MOON ARE SERVANTS I GIVE ORDERS – THEY OBEY IT’S REALLY UP TO ME IF THERE SHOULD BE A NIGHT OR DAY
WENDY
WELL IF YOU’D BEEN TO SCHOOL NOT RUN AWAY SOON AFTER BIRTH YOU MIGHT HAVE LEARNED OF SOMETHING CALLED ‘THE ORBIT OF THE EARTH’
And if you’re so clever, how come you ran away, when you were just a baby?
PETER PAN You don’t think it’s clever to live in a place as wonderful as this?!
IF IT’S SUMMER IN THE TREE TOPS THEN IT’S SPRING ON THE LAGOON IT’S WINTER ON THE RIVER AND AUTUMN’S COMING SOON
WENDY
BUT PETER, THAT’S NOT CLEVER YOU’RE BEING SUCH A DUNCE FOR WHAT IS ONE TO WEAR IF ALL THE SEASONS COME AT ONCE?
PETER PAN
JUST AUTUMN LEAVES AND COBWEBS I’VE NO NEED FOR A SCARF NO COLD WILL EVER CATCH ME I’M CLEVERER BY HALF
OH THE CLEVERNESS OF ME THE CLEVERNESS OF ME
I’VE NEVER MET A PERSON YET WHO’D EVER DISAGREE THE CLEVERNESS OF ME THE CLEVERNESS OF ME
I HAVE TO CROW BECAUSE I KNOW THE CLEVERNESS (COCK-A-DOODLE-DOO) OF ME
(WOLVES are heard howling somewhere nearby. PETER PAN draws WENDY away.)
EVERY DAY A NEW ADVENTURE EVERY MOMENT TO BE FILLED WHY BOTHER WITH A BEDTIME WITH PIRATES TO BE KILLED
WENDY
THE WOLVES ARE RATHER FRIGHTENING THEY’RE SOUNDING CLOSER NOW WE DON’T HAVE THEM IN BLOOMSBURY THE BYE-LAWS DON’T ALLOW
(Some WOLVES' eyes and sharp white teeth begin to appear between the trees. PETER is not bothered.)
PETER PAN WHENEVER WOLVES ARE PROWLING AMONGST THE NEVER TREES YOU MUST APPROACH THEM BACKWARDS THEN STARE BETWEEN YOUR KNEES
(PETER and WENDY both assume the prescribed position. The WOLVES quickly disappear. WENDY remains upside down, and PETER creeps up on her, very pleased with himself . . . )
Come on Wendy, do as I do. Boo!
(WENDY jumps.)
OH THE CLEVERNESS OF ME THE CLEVERNESS OF ME
I’VE NEVER MET A PERSON YET WHO’D EVER DISAGREE THE CLEVERNESS OF ME THE CLEVERNESS OF ME
I HAVE TO CROW BECAUSE I KNOW THE CLEVERNESS (COCK-A-DOODLE-DOO) OF ME
THE CLEVERNESS!
WENDY OF WHO?
PETER PAN OF ME!
WENDY OF YOU!
(Instrumental chorus which becomes interrupted as a PIRATE appears on the higher level. PETER grabs WENDY and pulls her to safety, clapping his hand over her mouth to stifle a scream. The PIRATE exits, with PETER clearly thinking they escaped unnoticed (however, the PIRATE has in fact seen them and is going to rally HOOK and the other PIRATES).)
PETER PAN OH THE CLEVERNESS
WENDY THE CLEVERNESS
PETER PAN THE CLEVERNESS
WENDY THE CLEVERNESS
PETER PAN I’VE NEVER MET A PERSON YET WHO’D EVER DISAGREE
WENDY WHO COULD DOUBT THE CLEVERNESS?
PETER PAN THE CLEVERNESS
THE CLEVERNESS OF ME I HAVE TO CROW
WENDY YOU HAVE TO CROW
PETER PAN BECAUSE I KNOW
WENDY BECAUSE YOU KNOW THE CLEVERNESS
PETER PAN THE CLEVERNESS (COCK-A-DOODLE-DOO) . . . AND WHAT COMES NEXT YOU WON’T EVER GUESS I LOVE THE NOW-OR-NEVER-NESS
BOTH IT’S ALL PART OF THE CLEVERNESS
PETER PAN OF ME
( As PETER flies off, WENDY returns to the little house. She lingers, wistfully, at the door to the house, scanning the sky for Peter.)
WENDY Everyone has a bedtime, Peter! You can’t stay out all night.
STORYTELLER Unfortunately, whilst Peter was busy bragging about how clever he was, he hadn’t been quite clever enough to notice that Gentleman Starkey had returned and espied the Wendy House. Having shared the news with his fellow crew members, it was not long before he had returned to the clearing, along with Hook and Smee.
(CAPTAIN HOOK, SMEE and STARKEY appear out of the undergrowth. WENDY goes back inside the Wendy house.)
HOOK You were right, Starkey, they have found themselves a mother.
STARKEY A mother, Captain? A real live mother?
HOOK (To SMEE.) Pity the simple-minded nincompoop. He does so ache for a mother's tender ministrations.
SMEE It’s only natural, Captain, to crave a mother’s love . . . A feminine touch . . . A warm, heaving bosom.
HOOK Smee!
STARKEY Captain, supposing we were to kidnap those boys' mother and make her our mother?
HOOK Ship's stars and cannon-shot, that's such a contemptible plan, Starkey, it appeals to my worst possible nature. Look lively, Starkey! Roust out the crew.
STARKEY Aye, Captain. (STARKEY exits.)
SMEE So, let me get this right, Captain. We are going to kidnap the Lost Boys’ brand-new mamma and keep her for ourselves?
HOOK
Indeed we are, Smee.
SMEE You do realise she’s a . . . female.
HOOK
SMEE
Don’t be ridiculous, Smee. I know a female when I see one.
Well this is a turn up for the books. A little sisterly company aboard the Jolly Roger. Of course we’ll have to make a few adjustments, a few minor alterations.
HOOK Alterations.
SMEE
Well you know, separate quarters, toilet facilities, a spray or two of cologne, little touches like that can make a big difference.
HOOK Smee, I worry about you.
SMEE Hmm?
HOOK
About whether you are really cut out for Piratical lifestyle.
SMEE
HOOK
Well it’s been a stretch, I don’t mind admitting.
We need their Mother to bait a trap that will bring Peter Pan faceto-face with my hook.
(STARKEY returns with the rest of the PIRATE CREW. Their “yohoing” underpins the dialogue . . . )
STORYTELLER At that moment, Starkey returned with the rest of the terrifying Pirates. First, with his great arms bare and with pieces of eight for ear-rings, strides the handsome Cecco. Heavier in tread and from the shores of Africa, is Mullins, mountainous and muscular. Bill Jukes comes next, every inch of him tattooed. Then Cookson, Skylights, Noodler, who had his hands fixed on backwards and found clapping very difficult, and Gentleman Starkey himself –once an usher in a public school and still very dainty in his ways of killing.
HOOK
WENDY
HOOK
Right, men. Surround the doorway. When the Mother steps out grab her, gag her and bind her.
(The Pirates position themselves. HOOK cups his hands and lets out a loud . . . )
Cock-a-doodle-do!
(WENDY rushes out of the Wendy house.)
There you are, Peter. What time do you call this? You can’t just . . .
(But it is too late – the PIRATES grab her, gag her and bind her. WENDY screams.)
I don’t believe we’ve been introduced, have we . . . Mummy? Ha, ha, ha. Oh, it’s like taking candy from a baby. (To the PIRATES.) Now tie her up.
Music No. 8: GOOD OLD CAPTAIN HOOK
(The PIRATES celebrate HOOK’S triumph whilst tying WENDY up.)
PIRATES
WHO PUT THE JOLLY IN THE JOLLY ROGER?
WHO PUT THE TREASURE IN OUR CHEST?
WHO’S MORE ARTFUL THAN THE ARTFUL DODGER?
WHO’S MORE SCARY THAN THE MARY CELESTE? WHO GOES A-PILLAGING AND SWABS THE DECK WITH BLOOD?
WHO’S THE VILEST MAN IN ANYONE’S BOOK? WHO IS WORSE THAN ANY OTHER?
WHO’S A CREDIT TO HIS MOTHER?
YES, IT’S GOOD OLD CAPTAIN HOOK
INDIVIDUAL PIRATES
WHO IS THE TERROR OF THE TERRA FIRMA? WHO IS THE TYRANT OF THE SEAS?
WHO CHILLS BLOOD AND CAUSES HEARTS TO MURMUR? WHO’S MORE DEADLY THAN A DEADLY DISEASE?
PIRATES WHOSE LUCKY PRISONERS GO STRO-HO-HO-HO-HO-HOLLING DOWN THE PLANK?
INDIVIDUAL PIRATES
WHO CAN CURDLE MILK WITH BARELY A LOOK? WHO IS FEARED IN EVERY HARBOUR? CUTS MORE THROATS THAN ANY BARBER
PIRATES
YES, IT’S GOOD OLD CAPTAIN HOOK
(The PIRATES dance round WENDY and then carry her aloft.)
HOOK Take her to Marooner’s Rock. If the Mermaids don’t kill her, the rising tide will. Pan is sure to come to her rescue, but we’ll be ready for him - then we can watch them drown together.
SMEE
HOOK
But Captain, is she not to be our Mother?
I changed my mind, Smee.
SMEE
PIRATES
Well strictly speaking Captain, it’s the woman’s prerogative to change her mind but, since it’s you, I admire you for it.
CAPTAIN HOOK PUT THE JOLLY IN THE JOLLY ROGER
CAPTAIN HOOK PUT THE TREASURE IN OUR CHEST
HE’S MORE ARTFUL THAN THE ARTFUL DODGER
HE’S MORE SCARY THAN THE MARY CELESTE
CAPTAIN HOOK GOES A-PILLAGING AND HOOK HOOK HOOK HOOK
SWABS THE DECK WITH BLOOD
HE’S THE VILEST MAN IN ANYONE’S BOOK HE IS WORSE THAN ANY OTHER BUT A CREDIT TO HIS MOTHER HE IS GOOD OLD CAPTAIN HOOK
HOOK HOOK
GOOD OLD CAPTAIN HOOK
( JOHN’s head appears through the Wendy House door.)
JOHN What’s all the noise, how are we supposed to sleep?
(MICHAEL’s head pops out.)
MICHAEL Where’s Wendy?
NIBS (Scouring the ground.) Look, footsteps. The Pirates were here.
(There is a familiar “cock-a-doodle-doo” as PETER PAN arrives back in the clearing.)
PETER PAN Not in bed boys? I thought your new mother was going to be stricter than that.
MICHAEL She’s not here.
PETER PAN Not here?
NIBS (Nervously.) I think the Pirates might have taken her.
PETER PAN Taken her! Quick, wake the Boys! We must follow them and rescue Wendy.
( As PETER, MICHAEL, JOHN and the LOST BOYS depart . . . )
STORYTELLER Following the footsteps of an entire crew of Pirates was not the most difficult of tasks, especially given that they had to carry a feisty young lady who was struggling to escape. The trail eventually brought them to the Mermaids' Lagoon – a picturesque spot edged with coral grottoes and lapping waters. The eerie siren song of the Mermaids could be heard – seemingly beautiful but in reality luring hapless sailors to their doom on the hidden rocks beneath the tropical waters.
(THE MERMAIDS' LAGOON.)
(The Mermaids are played by two or three Pirates. One of the MERMAIDS is combing her golden hair and admiring herself in a pearl-back hand-mirror as she basks on Marooner's Rock – which is about the size of a kitchen table, above water level and which contains a stake. JOHN and MICHAEL pop their heads above a promontory to watch.)
Music No. 9: SIREN SONG
MERMAID
OO . . . (etc.)
JOHN Mermaids are not as pretty as I’d imagined.
MICHAEL That one needs a shave.
(The sound of the boys’ voices sends the MERMAIDS back to their coral caves.)
JOHN I had hoped to catch one – we could have sold it to the Natural History Museum for a fortune.
PETER PAN Catching mermaids is not as easy as you think.
TOOTLES And even if you did catch one, you'd have to throw it back.
CURLY They only last a couple of days and then they die.
JOHN This place is a bit scary now the sun’s going down.
MICHAEL (Pointing at a jagged rock.) What’s that?
PETER PAN
Marooner’s Rock. Ships’ captains used to tie unruly sailors there. When the tide comes in it covers the Rock and they drowned.
Music No. 9a: MAROONER’S ROCK
(PETER cocks an ear and, with him, we hear the sound of dipping oars.)
. . . Someone's coming! Hide, everyone!
(PETER, MICHAEL, JOHN and the LOST BOYS and hide themselves. At the same time, a ship's rowing boat steals into view through a mist which is creeping across the water. COOKSON and CECCO man the oars while SMEE sits in the bows, guarding WENDY who stands, immobile, her hands bound, as the craft approaches Marooner’s Rock, and . . . )
COOKSON Quickly, Cecco, let’s get it over with – this sailors' graveyard gives me the goosebumps.
(While COOKSON holds the boat steady, CECCO leaps onto Marooner's Rock and secures the painter to a rusting iron ring. With the prow of the boat attached to the Rock, the bow is touching the promontory, giving access between the shore and the tiny island. COOKSON and SMEE manhandle WENDY onto the rock. CECCO takes a length of rope, which he has brought on shore, and ties WENDY to the stake, as . . . )
STORYTELLER (Popping her head up over the promotory.) The boys watched as the pirates lifted Wendy onto the rock and tied her, roughly, to the stake.
JOHN This doesn’t look good.
MICHAEL What are we going to do?
STORYTELLER A cunning plan started to form in Peter's head. He acted on it instantly. Imitating Hook’s voice so expertly that he fooled all three pirates.
PETER PAN (Peering out from his hiding-place.) Ahoy there, you idle lubbers!
SMEE
That’s the captain calling.
CECCO All's shipshape, Captain!
COOKSON And Bristol fashion – we've secured the prisoner to the rock.
PETER PAN Set her free!
SMEE But, Captain, your orders were specific . . .
PETER PAN On my emphatic oath, Smee – cut her loose! Or, by Morgan's ghost, you'll taste my hook!
CECCO We must do as the captain says, Smee – or else we are all dead men.
(SMEE severs WENDY’s bonds and she runs.)
WENDY
Just you wait till Peter hears about this you horrible, rude, filthy, smelly brutes.
SMEE That’s a bit harsh. I had a wash last month.
(HOOK and the other PIRATES arrive by way of the promontory.)
HOOK What in the name of sculduggery! Where is the prisoner?
SMEE We set her free, Captain, in accordance with your orders.
HOOK My orders were to prepare the wench for drowning.
COOKSON (Glancing fearfully around. ) We heard you shout the very opposite.
HOOK Fire and brimstone, what mischief is this?
CECCO I knew it! This place is haunted – it always was.
HOOK Spirit that haunts this dark, sequestered place, do you hear me? Who are you spirit? Speak?
PETER PAN I am James Hook, Captain of The Jolly Roger.
HOOK No, that you cannot be? If you are Hook, then who am I?
PETER PAN A codfish. Only a codfish.
HOOK ( Aghast.) A codfish.
SMEE You’ll always be a turbot to me, Captain, the king of fish.
HOOK I’m not a fish at all you fool!
JUKES Have we been captained all this time by a codfish?
NOODLER We'll be the laughing stock in every bar along the Barbary Coast.
(But PETER's mocking laughter gives HOOK a clue as to the real cause of his predicament.)
HOOK Have you another name?
PETER PAN Yes.
HOOK Are you vegetable?
PETER PAN No.
HOOK Are you mineral?
PETER PAN No.
HOOK Are you animal?
PETER PAN Yes.
HOOK Are you a man?
PETER PAN No.
(Beckoning to the PIRATES to spread out on his either side, HOOK moves towards PETER’S hiding-place, as . . . )
HOOK Boy then?
PETER PAN Yes.
HOOK
Ordinary boy?
PETER PAN No.
HOOK Wonderful boy?
PETER PAN Yes!
HOOK (Playing for time.) Smee, shout him some questions.
SMEE I can't, Captain – my mind's a blank.
HOOK Nothing changes.
PETER PAN Do you give up?
HOOK Yes.
PETER PAN All of you?
PIRATES Yes!
PETER PAN Well then – I am Peter Pan!
Music No. 9b: THE FIGHT AT THE LAGOON
(MUSIC BEHIND, as . . . )
HOOK
(Now close to PETER and with his men deployed on either side.) And I am the one and only Captain Hook!
PETER PAN (Leaping into view.) Let them have it, boys!
(The LOST BOYS and the DARLING CHILDREN show themselves. The PIRATES are momentarily disconcerted by this show of numbers. The engagement which follows is orchestrated.)
(PETER, the LOST BOYS and JOHN and MICHAEL charge at the row of PIRATES and head-butt them, schoolboy fashion, in their midriffs. HOOK is the only one sufficiently adroit to evade this attack. There are 'Oohs!' and 'Aahs!' from the PIRATES who hop about in pain. PETER having commandeered a sword, issues an order:)
PETER PAN See to it that Wendy gets to safety. Go! Now!
(The PIRATES crowd behind HOOK, his cutlass poised for the impending duel.)
(The LOST BOYS, JOHN and MICHAEL, lead WENDY away with backward glances of misgiving as the duel between PETER and HOOK begins:)
JUKES Finish him, Captain!
CECCO Aye, cut him into pieces!
SMEE Reduce him down to cutlets, Captain, and bite-size bits o' brisket!
HOOK (Pauses in his cutlass thrust to observe, distastefully.) Cutlets? Bitesize bits o' brisket? I'm a swash-buckling buccaneer, Smee, not a back-street retail butcher. Don't stand there goggle-eyed. Get after them. I want that girl!
(COOKSON and CECCO have set out in pursuit of the LOST BOYS. The duel continues with the PIRATES crowd behind HOOK, shouting encouragement. At last PETER succeeds in disarming HOOK and:)
PETER PAN My fight, I think.
CECCO Not quite!
(For, at that moment, CECCO and COOKSON return with WENDY as their prisoner. CECCO holds a knife to WENDY's throat.)
PETER PAN ( Aghast.) Wendy! I told the boys to look after you.
WENDY It’s my own fault, Peter. I was worried about you. I sent the children home then came back for you, and walked into a trap.
HOOK Quite touching really. I'll thank you for your weapon, Pan.
PETER PAN I'll hand over my blade, Hook, on one condition: I want you to promise that Wendy will be released.
WENDY No, Peter!
HOOK On Blackbeard’s grave, I swear it – the girl goes free.
PETER PAN There.
(HOOK takes the sword.)
Well go on then, untie her!
HOOK Do you take me for a fool, Pan? Not until you're securely shackled.
(Several PIRATES leap onto the rock and fasten PETER to the stake, as . . . )
Now fetch the girl across and tie her up too. They shall drown together.
PETER PAN You lying hound!
HOOK Quickly does it – I can feel the water lapping at my toes.
(PETER and WENDY have been tied to the stake, back to back.)
Do you hear it, Pan – the tide crashing in along the bay? I won't bid my last 'goodbyes' just yet – I shall pop back to enjoy your final moments.
(MUSIC comes in behind, as HOOK moves off, followed by the PIRATES.)
PETER PAN I'm sorry, Wendy.
WENDY It’s not your fault, Peter.
PETER PAN We mustn't give up hope – the Lost Boys might come back and find us.
WENDY Oh dear.
PETER PAN What is it?
Music No. 9c: RESCUED BY KITE
WENDY They were trying so hard to be obedient and did so want to be me their mother.
PETER PAN More than all the world.
WENDY It’s just that, the last piece of motherly advice I gave them was to go home and wait for us there.
PETER PAN Ah! We raised them well, Wendy, and they’ll do as they've been told. We must be brave. Dying will be an awfully big adventure.
WENDY Look, Peter . . .
(She looks, up into the dark sky where, with them, we see a large KITE headed towards them, its long, strong tail bobbing just above the surface of the sea.)
PETER PAN It's a kite come here to save us.
WENDY A kite, but how can it do that all by itself?
PETER PAN It hasn't come alone, Wendy – Tinker Bell is in full control.
(The KITE is close enough, by now, for us to recognise TINKER BELL dancing merrily on top and steering it towards Marooner's Rock and, also, to hear her excited chatter.)
She begs to be forgiven – yes, Tink, we are best friends again.
( As the KITE hovers over PETER and WENDY, TINKER BELL descends, via the tail, and darts around the knots securing their bonds. As if by magic, the ropes fall to the ground. PETER and WENDY take a grip on the KITE'S tail. They are lifted up and borne away, as . . . )
Hold tight!
(Then, as the KITE soars off, taking PETER and WENDY to safety, HOOK and SMEE return.)
HOOK Smee! Smee! They're escaping, Smee! They're free!
Music No. 10: WHEN I KILL PETER PAN
SMEE
Cheer up, Captain. Think of it as like letting a little tiddler off the hook – think how happy you’ll be when you catch him again.
HOOK Happy . . . ?
HOW CAN I BE HAPPY WHILE PETER PAN IS FREE, SMEE? HOW CAN I BE HAPPY WHEN THAT CROCODILE CONTAINS A PART OF ME, SMEE? PERHAPS I SHOULD FORGIVE AND FORGET, SMEE? WOULD THAT MAKE YOU A HAPPY LITTLE MAN? PERHAPS WE SHOULD RETURN TO THE HIGH SEA? WELL I WILL WHEN I KILL PETER PAN
(From far off, we hear PETER’S ‘Cock-a-doodle-do!’. The PIRATES gather around.)
WHO THINKS I AM FOOLISH NOT SAILING FORTH AGAIN, MEN? WHO THINKS I AM FOOLISH AND WHO THINKS I AM MORE CHICKEN THAN A HEN, MEN? DON’T SAY THE CAT HAS GOT YOUR TONGUES, MEN? TELL ME WHAT YOU THINK, YOU KNOW YOU CAN AM I TO ASSUME WE ARE CONTENT THEN? NOT UNTIL I CAN KILL PETER PAN
HOW I’D LOVE TO MAKE A HANDBAG OF THAT CROCODILE HOW I’D LOVE TO SLIT THE GIZZARD OF THAT BOY AND GRIND HIS WRETCHED FAIRY INTO FAIRY DUST THAT IS SOMETHING I WOULD THOROUGHLY ENJOY UNTIL I HAVE WREAKED VENGEANCE WE WILL STAY I TRUST THAT NO-ONE WANTS IT ANY OTHER WAY? GOOD!
( And, again, we hear PETER’S mocking laughter.)
DID I HEAR A SNIGGER FROM SOMEONE IN MY CREW? YOU? SOMEONE THINKS THEY’RE BIGGER THAN THEIR CAPTAIN AND IT’S TIME THE CAPTAIN KNEW WHO?
PETER PAN Yoo-hoo!
HOOK
IT’S PAN. HE’S HERE. IT’S HIM, SMEE NOW IT’S TIME TO CONCOCT A LITTLE PLAN TO GUARANTEE HE CANNOT ESCAPE ME BLOOD WILL SPILL
PIRATES
AAH AAH AAH AAH
HOOK WHEN I KILL
PIRATES
AAH AAH AAH AHH
HOOK
PETER PAN (END OF ACT ONE.)
ACT TWO
SCENE ONE – THE BEACH
Music No. 10a: ENTR’ACTE / ON THE BEACH
STORYTELLER
JUKES
STARKEY
Across the bay, the pirate ship, The Jolly Roger, bobbed at anchor. On the rock-strewn shore nearby, the pirates’ polished cutlasses, oiled pistols, cleaned their muskets and sharpened their daggers in readiness to kill any living thing. James Hook stood on the shore and stared out across the rippling sea. At last, he let out a melancholy sigh . . .
(CAPTAIN HOOK stands apart from the PIRATE CREW. He gives out a long, loud, heart-felt sigh.)
I’ve never known him so moody. He’s like a narwhal about to blow.
I almost prefer him when he’s angry – at least you know what to expect.
STORYTELLER Hook sighed again, but louder and more melancholy than before.
(HOOK does exactly that. The STORYTELLER exits.)
MULLINS
Somebody should have a word with him. Try and cheer him up.
(The PIRATES all look meaningfully at SMEE who approaches HOOK , clears his throat, and . . . )
SMEE
Give us a smile, Captain! Worse things happen at sea.
(Silence.)
What did the ocean say to the pirate? . . . Nothing, it just waved.
(SMEE laughs but HOOK remains ashen.)
How much did the pirate pay for his piercings? . . . A buck-an-ear.
HOOK
(SMEE laughs even more hysterically while HOOK glowers.)
I’ve got a million of ‘em. What's the difference between a pirate and a raspberry farmer? . . . The pirate buries his treasures, but the farmer treasures his berries. (SMEE laughs.) Oh, that slays me.
(SMEE’S laughter is suddenly halted as HOOK turns angrily towards him.)
I’ll slay you if you don’t hold your tongue.
(SMEE literally holds his tongue.)
SMEE Like this? Oh, come on . . . cheer up Captain.
HOOK
SMEE
‘Cheer up’, Smee? ‘Cheer up’! There is a crocodile out there which has consumed a sizeable portion of my person. We have been outwitted by a tinkling fairy and worse still, there is a boy – a boy – who walks this earth and yet deserves to be buried six feet beneath it. A boy who makes a mockery of every evil deed I stand for.
But he’s just a boy, Captain, a mere boy. We were all boys once weren’t we lads? Up to our little pranks.
HOOK (Thrusting his hook up.) You call this . . . mutilation . . . a prank?
SMEE No, Captain. No, no of course not. It’s not all bad though.
(There are encouraging murmurs from the crew, but HOOK remains unconvinced.)
PIRATES Aye!
SMEE
Look on the bright side, Captain . . .
. . . there are evil deeds around the corner, waiting to be perpetrated just like in the bad old days . . .
CAPTAIN HOOK HE’S A SENSITIVE SOUL WHO JUST THRIVES ON COMMITTING FOUL CRIMES
Music No. 11: ROSE-TINTED EYEPATCH
AND I’M SURE WE COULD GENTLY CAJOLE HIM HIM WITH FOND REMINISCENCE OF HAPPIER TIMES
LOOK BACK THROUGH A ROSE-TINTED EYE-PATCH THINK BACK TO OUR MURDEROUS LARKS ONE SWIPE OF YOUR CUTLASS YOUR FOES ALL FELL GUTLESS AND THEN BECAME FOOD FOR THE SHARKS
LOOK BACK THROUGH A ROSE-TINTED EYE-PATCH NO PIRATE COULD EQUAL YOUR FAME THOSE WIMPS FROM PENZANCE WOULD BE FILLING THEIR PANTS EVERY TIME SOMEONE UTTERED YOUR NAME
(Lost in thought, HOOK starts to walk away from the beach towards a clearing in the forest. SMEE and the PIRATE CREW follow him, while still trying to lighten the mood.)
TWO PIRATES
LOOK BACK THROUGH A ROSE-TINTED EYEPATCH ’TWAS TRULY A GLORIOUS PAST
PIRATES
THE BEAUTIFUL BRINY YOUR HOOK NICE AND SHINY THE CORPSES WE HUNG FROM THE MAST
TWO PIRATES
LOOK BACK THROUGH A ROSE-TINTED EYEPATCH FORGET THIS YOUNG BOY WHO CAN FLY WE’RE SURE YOU WOULD SOONER GO SINK A NICE SCHOONER
PIRATES
IF ONLY YOU’D GIVE IT A TRY BUT FOR PIRATES IT’S A MISTAKE IF YOUR SWASH HASN’T BUCKLED FOR YEARS AND AS PIRATES WE NEED A BREAK ’COS WE’RE DOWN ON OUR LUCK AS LAME DUCK BUCCANEERS
(They have arrived in the clearing where Wendy’s house is still standing.)
SCENE TWO – A CLEARING IN THE FOREST
During the instrumental, and with a snap of his fingers, HOOK indicates for the PIRATES to demolish the house – running it through with their swords. The house collapses to reveal no sign of PETER or the LOST BOYS.
PIRATES
LOOK BACK THROUGH A ROSE-TINTED EYEPATCH
NOSTALGIA IS GOOD FOR THE SOUL THOSE KIDS ARE A CANKER IT’S TIME WE LAID ANCHOR AND PLAYED OUR TRADITIONAL ROLE
(HOOK produces a sinister bottle from his pocket.)
HOOK What’s the best way to kill a rat, Smee?
SMEE A portion of the cook’s stew, Cap’n?
(Realises what HOOK is implying.)
Not . . . not deadly poison, Captain?
HOOK
Aye, Smee. The deadliest. If we cannot dispose of those disgusting brats by devious means then, on my oath, we’ll get rid of them by dubious ones.
(HOOK uncorks the bottle and allows a couple of drops to fall onto a fallen log. There is an immediate hissing sound accompanied by a wisp of smoke as the poison eats into the wood.)
JUST TWO DROPS OF THIS BRINGS A HIDEOUS DEATH
I’LL LAUGH THEN AS PETER PAN DRAWS HIS LAST BREATH
PIRATES
LOOK BACK THROUGH A ROSE-TINTED EYEPATCH
WE USED TO BE HIDEOUS CROOKS AS PIRATES OUR DUTY IS NICKING THE BOOTY IT SAYS SO IN ALL THE BEST BOOKS LOOK BACK THROUGH A ROSE-TINTED EYEPATCH REMEMBER THOSE HALCYON DAYS
HOOK IT MAY BE IMMORAL BUT WHO’S GONNA QUARREL ALL FOR GOOD HONEST PIRACY PAYS . . . GOOD HONEST PIRACY PAYS
(HOOK takes a seat on one of the colourful mushrooms in the clearing.)
HOOK
The question is, how do we deliver the poison?
SMEE We’ll need to find their home, Captain. (Indicating the remains of the Wendy house). This must just have been their temporary quarters . . . a summer residence . . . a home from home . . . a . . .
HOOK Yes thank you, Smee, I get the point!
COOKSON We’ve never found an entrance yet.
HOOK
Think about it, men, if you could fly like a bird, would you not nest like a bird also? High up in the trees – out of harm’s way?
(The PIRATES start to look skyward.)
PIRATES Aye, Captain!
SMEE ( Awestruck.) You see, Captain, that is an Eton education for you. That is what sets you apart. That is what makes you the Captain and me a mere Bosun. That is . . .
HOOK Smee, my buttocks are warm.
SMEE A strange reaction, but probably just the excitement.
HOOK
I mean this seat is hot!
SMEE Hot, Captain?
(He jumps up from the Mushroom.)
HOOK Yes, Smee, hot! Odds, bobs and hammer and tongs – my backside is burning!
(On close inspection, HOOK discovers that the giant-size mushroom has a whisp of smoke pouring form it.)
SMEE It’s a camouflaged chimbley, Captain!
HOOK
SMEE
HOOK
(Listening at the chimney.) You’re right. And hush! The Lost Boys! They’re down below.
(The other PIRATES move in to listen. HOOK upbraids them.)
(To the other PIRATES.) We’ll need ropes, and nets. Quickly! This time they won’t escape.
(The other PIRATES exit.)
So finally. I have single-handedly found their hiding-place.
Well it couldn’t be double- handedly, could it Captain . . . what with your um . . . (Pointing at his hook.) . . . never mind.
(HOOK listens at the chimney again.)
She’s telling them a story. Little do they know that it will be their last.
(We hear an ominous ticking sound.)
Why must my most triumphant moment be undermined by that repellent reptile!
(HOOK and SMEE make a swift exit as music takes us to . . . )
SCENE THREE – THE HOME UNDER THE GROUND
Music No. 11a: THE HOME UNDER THE GROUND
We can now see simultaneously the Home Under The Ground, with the LOST BOYS and the DARLING CHILDREN safely concealed, and the clearing above the ground, which the PIRATES have just vacated.
Below ground, there is an earthen floor; a table which is a rough-hewn board balances on a sawn-off rooted tree-stump; the seats are pumpkins and colourful giant mushrooms. There is an enormous fireplace with several cords strung across and hung with the LOST BOYS’ drying washing.
There is a cubby-hole with a little curtain drawn across it – there is no glow emanating from behind the curtain which signifies that Tinker Bell is not at home. The LOST BOYS, JOHN and MICHAEL are seated at WENDY’S feet.
STORYTELLER While Peter Pan was out adventuring it was Wendy's motherly duty to remain behind, in the underground home, and tell the Lost Boys their bedtime story – it was a fairytale which satisfied Wendy's fantasy, rather than their own.
WENDY
The crystal slipper was a perfect fit. The happy pair are joined in matrimony that very afternoon. “Do you take this handsome prince?” the Archbishop asks, his voice resounding through the Royal Palace. ”I do!” she whispers breathlessly. “I do! I do, oh yes, yes – I truly do!”
(WENDY gives a contented sigh, but the BOYS exchange doubtful glances.)
TOOTLES Is that the end?
WENDY (Dreamily.) Mmmmm!
NIBS No big family feud, where she is found to be a fraud and forever banished from the kingdom?
WENDY (Pulling herself into the present .) Of course not. It’s a proper fairytale. Now into bed and off to sleep.
1st TWIN
Must we, mother? It isn’t nearly dark outside.
2nd TWIN It isn’t even just past bedtime.
WENDY In a mother’s ideal world, young man, it is always just past bedtime. Now, eyes shut tight.
MICHAEL Shouldn’t there be a lullaby?
JOHN He’s right! I’m sure I remember someone singing me to sleep.
MICHAEL ( A memory stirs.) A song about a place where prayers are answered . . . !
THE BOYS Yes, please!
Music No. 12: JUST BEYOND THE STARS (Reprise)
WENDY JUST BEYOND THE STARS BEYOND THAT GREAT BLACK VELVET CURTAIN NO-ONE KNOWS FOR CERTAIN WHAT YOU’LL FIND JUST BEYOND THE STARS ARE COUNTLESS MYSTERIES TO UNRAVEL
JOURNEYS YOU CAN TRAVEL IN YOUR MIND CLOSE YOUR EYES AND IMAGINE CLOSE THEM TIGHT AND PRETEND THERE’S A PLACE WHERE PRAYERS ARE ANSWERED AND YOUR DREAMS NEVER END . . .
(By which time, the LOST BOYS are all fast asleep – but WENDY continues singing, thinking aloud. Something seems to be troubling her.)
. . . MAYBE WE’VE ALREADY BEEN THERE MAYBE IT ’S ONLY A DREAM MAYBE WE’LL FIND IN THE FUTURE THAT THINGS ARE NOT ALL THAT THEY SEEM BUT FOR NOW I ONLY HOPE THAT I’LL BE GOOD AT RAISING BOYS THE WAY A MOTHER SHOULD
STARS IN THE SKY SO BRIGHT WATCH OVER US TONIGHT DRIVE AWAY EVERY EVIL YOU MAY FIND AND IN SOME OTHER SKY
PLEASE KEEP A WATCHFUL EYE OVER THOSE LEFT BEHIND JUST HOW LONG CAN THIS LAST?
I’VE A FEELING I’VE GROWN UP TOO FAST ALL THESE CHILDREN HAVE NEED OF MY LOVE BUT I STILL CAN’T SEE IF I MOTHER THEM WHO WILL MOTHER ME? WHO WILL MOTHER ME? WHO WILL MOTHER ME?
(Her reverie is interrupted by a familiar cock-crow, close at hand. The BOYS are instantly awake and sitting up, much to WENDY’S annoyance.)
WENDY
How am I expected to get the children off to sleep when their father comes home, cock-a-doodle-doing, at all hours.
PETER PAN I’m home!
WENDY ( A finger to her lips.) Hush!
( Again, heads are turned expectantly towards the ceiling.)
STORYTELLER Peter, having been out skirmishing, putting his life in mortal danger and having the most tremendous fun, had returned flushed from deeds of derring-do and without a thought to spare for sleeping children.
(PETER descends into the Underground Home.)
PETER PAN They’re not in bed already?
WENDY It isn’t all playtime, Peter, being a parent. They’ve cleaned their teeth and had their bedtime story.
PETER PAN Tell them another one.
WENDY You tell them another one, since you’ve woken them up.
LOST BOYS Yes, please. Another one!
WENDY Go on, it’s your turn. As their father.
PETER PAN (Suddenly serious.) Alright, all of you – back to sleep! (Taking Wendy aside.) It is only pretend, isn’t it, that I’m their father?
WENDY If you say so. But they are ours to take care of, Peter. Yours and mine.
PETER PAN But not really?
WENDY Not if you don’t wish it.
PETER PAN Good – I don’t.
WENDY What are your exact feelings for me, Peter?
PETER PAN Those of a devoted son, Wendy.
WENDY That’s what I thought.
(The light behind TINKER BELL'S curtain shimmers and we hear her tinkling laughter.)
PETER PAN You are strange. Tinker Bell is just the same, there is something or other she wants me to be to her, but she won’t tell me what it is.
WENDY Maybe you’ll find out, when you grow up.
PETER PAN I’ve told you, I won’t grow up!
WENDY Well, then you’ll never know.
PETER PAN Never know what?
WENDY It’s not for a lady to say.
PETER PAN Girls are a puzzlement.
Music
(TINKER BELL makes a comment along the lines of “You silly ass”.)
WENDY For once Tinker Bell, I think I agree with you. But, seriously, Peter? . . .
No. 12a: TINK MOCK
PETER PAN Seriously, what?
Music No. 13: ONE BIG ADVENTURE
WENDY
DON’T YOU WANT TO GROW UP?
PETER PAN NO NEVER
WENDY
DON’T YOU WANT TO GROW UP?
PETER PAN NOT AT ALL
WENDY BUT YOU CAN’T STAY A CHILD FOREVER
PETER PAN WHY NOT?
WENDY FOR A START YOU’LL BECOME TOO TALL THERE IS NOTHING TO FEAR IN GROWING AND THERE’S SO MUCH TO LEARN ON THE WAY
PETER PAN I THINK I’VE HEARD ENOUGH, I’M GOING, WENDY
WENDY
THAT’S TYPICAL, RUN TURN YOUR BACK AND HAVE FUN WELL, I’M NOT GOING TO BEG YOU TO STAY
PETER PAN YOU’RE NOT?
WENDY No. IT MAKES ME FEEL SAD TO HEAR YOU CARRY ON LIKE THIS LIFE IS FULL OF PLEASURES
PLEASURES THAT YOU’LL MISS
CAN’T YOU SEE IT AS ONE BIG ADVENTURE? NOT A PROBLEM ON WHICH TO POUR SCORN AN ADVENTURE AS PAN GROWS FROM BOY TO A MAN WHICH BEGAN ON THE DAY YOU WERE BORN
PETER PAN WHAT’S SO GREAT ABOUT GROWING OLDER? HAIR GOES GREY AND THE EYES BECOME SAD
WENDY
THERE ARE SOME BURDENS WE MUST SHOULDER BUT IT’S NOT REALLY ALL THAT BAD PIRATES, MERMAID LAGOONS AND FAIRIES
PETER PAN FUN COMES IN DIFFERENT GUISES
WENDY
WON’T THE NOVELTY WEAR A BIT THIN?
PETER PAN EVERY DAY BRINGS SURPRISES
WENDY YOU’LL SOON GET BORED IF NOTHING VARIES
PETER PAN NOT WHILE THE SUN STILL RISES
WENDY
A CHAPTER MUST END SO THE NEXT CAN BEGIN
CAN’T YOU SEE IT AS ONE BIG ADVENTURE?
PETER PAN NOT LISTENING
WENDY
NOT A PROBLEM ON WHICH TO POUR SCORN
PETER PAN
CAN’T HEAR YOU
WENDY
AN ADVENTURE AS PAN GROWS FROM BOY TO A MAN
PETER PAN LA-LA-LA-LA-LA
WENDY WHICH BEGAN ON THE DAY YOU WERE BORN
PETER PAN
I DON’T KNOW WHAT YOU MEAN AND IF I DID I WOULDN’T CARE ’COS I TOLD YOU I WON’T GROW UP, SO THERE
WENDY
CAN’T YOU SEE IT AS ONE BIG ADVENTURE? NOT A PROBLEM ON WHICH TO POUR SCORN AN ADVENTURE AS PAN GROWS FROM BOY TO A MAN WHICH BEGAN ON THE DAY YOU WERE BORN
PETER PAN
I INTEND TO FLY FOR ALL I’M WORTH I WILL NEVER COME BACK DOWN TO EARTH PLEASE UNDERSTAND MY PLACE IS HERE IN NEVER LAND
WENDY
DON’T YOU WANT TO GROW UP?
PETER PAN
NO, NEVER. I WILL STAY AS A BOY
WENDY FOR EVER?
BOTH
WHAT MAKES YOU THINK THAT YOU’RE SO CLEVER? NO-ONE CAN GET ONE OVER PETER PAN
(Over the last few words of the song, the BOYS have woken up and are sitting, upright and aghast, listening to WENDY and PETER quarrel.)
WENDY We can’t live life like this any longer, Peter. Can we?
PETER PAN (With a shrug.) What do you want to do?
WENDY Go home. Go back to Bloomsbury.
MICHAEL (With a glance at JOHN.) Can we come with you?
WENDY I wouldn’t dream of leaving you behind. (Then, coolly, to PETER ) Will you arrange things?
PETER PAN (Equally coolly.) If that’s what you want.
( As PETER exits, the LOST BOYS cluster round WENDY.)
SLIGHTLY Don’t go, Wendy.
WENDY Dear ones. I shall miss you all.
( A deep breath and a sudden decision.)
You can come with us. I’m almost sure that I can get my parents to adopt you.
(It is a proposition which delights them all.)
NIBS Won’t they find us rather a handful?
WENDY (Not too surely.) Not at all.
MICHAEL It would only mean a few extra beds in the drawing room.
JOHN We could put screens round them if we had visitors.
(The LOST BOYS turn to PETER who has returned in time to learn of their intentions.)
LOST BOYS Can we, Peter? Can we go with her?
PETER PAN (In exactly the same way that he said exactly the same thing to WENDY.) If that’s what you want . . . Go and get your things.
(The LOST BOYS scamper off into another room.)
WENDY (Her anger at him spent.) You could come too.
PETER PAN No thanks . . . if it’s all the same to you.
WENDY Please, Peter.
(PETER shakes his head and his decision is final. PETER locates WENDY’S cloak and drapes it around her shoulders – it is a tender moment which will be mirrored in a later scene. The LOST BOYS return, each of them carrying a stick with a bundle tied on the end.)
PETER PAN Off you go then. Don’t make a big fuss about it. No crying. (Not without sarcasm.) I hope you all like your mothers. Tink! . . .
(TINKER BELL flies out of her cubby hole.)
want you to take them all back to you-know-where.
(TINKER BELL darts around – clearly delighted to be getting rid of WENDY.)
( Above ground we see HOOK and the PIRATES creeping slowly to the spot where the Wendy House had been demolished. Hook motions his men to silence. HOOK rubs his claw with glee.)
(To the LOST BOYS.) The way is clear and to your new home and parents you must go.
(The cheers from below are music to the PIRATES’ ears.)
Goodbye, boys.
WENDY (Suddenly loath to go.) You will remember, Peter, about regularly putting on clean things?
PETER PAN Of course.
WENDY I can’t go just yet. (Displaying the Collinson’s bottle.) I have to take my medicine.
PETER PAN I’ll take it for you.
WENDY Two teaspoonfuls at bedtime?
PETER PAN Yes – every night until the bottle’s empty. Well then? Go, if you’re going.
(Both PETER and WENDY pretend unconcern as she sets off, followed by JOHN, MICHAEL and the LOST BOYS.)
Music No. 14: THE CLEVERNESS OF ME (Reprise)
PETER PAN EVERY DAY A NEW ADVENTURE EVERY MOMENT TO BE FILLED WHY BOTHER WITH A BEDTIME WITH PIRATES TO BE KILLED AND MERMAIDS STILL TO CAPTURE WILD ANIMALS TO TRACK THERE’S NO SUCH FUN IN BLOOMSBURY I BET THAT THEY ’LL BE BACK WHAT CAN BE FOUND IN LONDON? BUT SADNESS AND REGRET FOR WINDOWS DON’T STAY OPEN AND MOTHERS SOON FORGET
STORYTELLER As Peter settled down to sleep, Wendy, Michael, John and the Lost Boys made their way above ground. One by one, they were seized by the Pirates and speedily trussed and gagged. The Pirates then set off with their prisoners bound for the ship. Hook and Smee stayed behind . . .
(TINKER BELL flies agitatedly around HOOK’S head. HOOK swats her like a fly and she falls to the ground, motionless.)
HOOK Ridiculous to believe in fairies. Now all the sprats are safely netted, it’s time to for us to land the prize catch.
Music No. 14a: LAND THE MACKEREL
(HOOK and SMEE steal their way underground to where PETER is sleeping.)
HOOK Look at him, Smee – the untroubled sleep of a child who refuses to face grown-up responsibility.
SMEE Aaah! Bless the angel, Captain. You could pluck out his little heart, this instant, and he wouldn’t know a thing about it.
HOOK
Except that it is my intention to make sure that Pan does not die painlessly.
( A revived TINKER BELL flies back in the Home Under the Ground. HOOK produces the poison bottle.)
He shall die oh-so slowly and suffer an eternity with every passing second. Now, how shall we administer the ‘remedy’?
SMEE We, Captain? This was your idea.
(HOOK spots the Collinson’s bottle and snatches it up.)
HOOK Shark’s teeth, Smee! That medicine bottle is identical to the one that holds the poison!
SMEE
HOOK
(Examining the bottles.) Peas in a pod. Except that the poison bottle has got that label on it and t’other one’s got this. My old granny, bless her lace-trimmed bonnet, used to give me Collinson’s for every minor ailment.
What are you up to now, Smee?
SMEE (Taking a swig at the Collinson’s bottle.) A little trip down Memory lane, Captain.
HOOK Well?
SMEE
Not bad. Not bad at all. It reminds me of grandma’s eau-decologne, with perhaps the merest hint of caraway biscuits.
HOOK
Let me taste.
(HOOK, intrigued, takes a sip at the Collinson’s – he reacts with exactly the same revulsion as did MR DARLING PETER stirs in his sleep and SMEE shushes HOOK.)
Now get on with it – peel off the labels and swap them over . . .
( As SMEE swaps the labels, HOOK suffers an after-taste and pulls more faces.)
I don’t suppose you happen to have a chocolate about your person, Smee?
(SMEE, having switched the labels, hands the poison bottle back to HOOK, who sets it on the shelf.)
Music No. 15: WHEN I KILL PETER PAN / GOOD OLD CAPTAIN HOOK (Reprise)
TWO DROPS ARE SUFFICIENT TO RID ME OF THIS BOY (Loudly.) JOY!
SMEE Ssshh!
HOOK
TWO DROPS ARE SUFFICIENT SO IMAGINE WHAT TWO SPOONFULS COULD DESTROY, JOY! THOUGH IT ISN’T GOOD FORM TO GLOAT, SMEE I THINK THAT, JUST THIS ONCE, PERHAPS I CAN FOR WHEN THE POISON TRICKLES DOWN HIS THROAT, SMEE OH THE THRILL
SMEE Ssshh!
HOOK
I WILL KILL
SMEE Quickly, Captain – he stirs!
HOOK
PETER PAN
SMEE
HOOK
Look lively, Captain – the dark deed’s done.
WHO WILL BE HALLOWED IN THE HALLS OF ETON? WHO WILL BE FETED FOR HIS FLAIR? WHO SHOWS CHILDREN THAT HE CAN’T BE BEATEN?
(During the above, the PIRATES have collected outside the Underground Home and now join in with the rest of the song.)
PIRATES
THE SURVIVAL OF A RIVAL IS RARE WHO’S THE EPITOME OF FOUL AND EVIL DEEDS IN THE UNDERWORLD THE UPPERMOST CROOK? WE’RE SO PROUD TO SAY WE SERVE HIM EVEN HELL DOES NOT DESERVE HIM YES, IT’S GOOD OLD CAPTAIN HOOK HE’S THE TYRANT WHOM WE CHERISH
HOOK IF YOU DON’T YOU’RE BOUND TO PERISH
PIRATES
YES, IT’S GOOD OLD CAPTAIN HOOK BEST TO SHOWER HIM WITH PRAISES
HOOK OR YOU’RE PUSHING UP THE DAISIES
PIRATES
YES, IT ’S GOOD OLD CAPTAIN HOOK . . . HOOK . . . HOOK . . . (Fade.)
( As HOOK, SMEE and the PIRATES move off above ground, TINKER BELL tries to wake PETER.)
Music No. 15a: TINK AND THE POISON
PETER PAN Who goes?
(TINKER BELL relays all that has happened.)
PETER PAN
Tink, you were supposed to take everyone to . . . Captured? I’ll rescue them. But first things first, Tink. I promised Wendy I would take her medicine.
(TINKER BELL alights on the bottle and gives a warning cry.)
Poisoned? Who could have poisoned it? You mustn’t look to find fault, with everything that has to do with Wendy.
(But as PETER crosses to pick up the bottle, TINKER BELL drinks the contents.)
Why, Tinker Bell – you’ve drunk all of Wendy’s medicine – every last drop! Tinker Bell . . .
(TINKER BELL flutters weakly around the room, gradually sinking closer to the ground and answering PETER in a very thin tinkle.)
Tink? Tinker Bell? What’s wrong? What is it? Then it was poison –you did that for me? Her light is growing faint – and, if it goes out altogether, that means that she is dead. Her voice is shrunk so low that I can scarcely tell what she is saying. Try and speak up, Tink – I can hardly hear you? . . . What’s that? . . . She says – she says she thinks she could get well again if children believed in fairies.
(He rises and throws wide his arms, he knows not to whom.)
Do you believe in fairies? Say quick that you believe! No, better still – if you believe, then clap your hands!
(TINKER BELL is saved.)
Oh thank you, thank you! And now to rescue Wendy! Ready, Tinker Bell? And this time, it’s Hook or me!
Music No. 15b: ONE BIG ADVENTURE (Reprise)
PETER PAN
THIS TIME CAPTAIN HOOK IT’S DO OR DIE WHEN YOU HEAR MY COCK-A-DOODLE CRY YOUR PIRATE BAND WILL HAVE NO PLACE
IN NEVER LAND, IN NEVER LAND, IN NEVER LAND I AM YOUTH I AM FREEDOM I AM TRUTH
(PETER flies slowly and majestically upwards with his sword held high, and accompanied by TINKER BELL, as we go to . . . )
SCENE FOUR – THE DECK OF THE JOLLY ROGER
STORYTELLER Two ghostly green lights, flickering over Kidd’s Creek close to the mouth of the river, marked where the Captain Hook’s ship, the Jolly Roger, lay low in the water. Whilst most of the crew were asleep below, Smee stayed awake and watched the Captain as he prowled the deck. Despite poisoning Peter Pan, Hook seemed deeply troubled.
(In the silence of the moment and from somewhere in the distance, comes a familiar cry.)
PETER PAN (In the distance.) Cock-a-doodle-doo!
HOOK
SMEE
Did you hear that, Smee? That cock-crow?
A cock-crow, Captain? At dead of night? And us lying a league offshore? Is it possible?
HOOK Infinitely so, you nincompoop! A cock-crow during the hours of darkness portends death for those whose ears it is intended for.
SMEE Ah – then that cock-crow is meant for those children we’ve got in chains below. Those ones condemned to walk the plank.
HOOK Of course! Split my infinitives, Smee, what is it that’s possessed me? This ought to be James Hook’s hour of triumph . . .
(Then as eight bells sound . . . ) . . . And it shall be so! Hoist up the prisoners!
(There is sudden activity on board as the PIRATES thrust the LOST BOYS, JOHN and MICHAEL up on deck.)
STAR KEY
Look lively there, you snivelling thumb-suckers.
HOOK (Rounding on the prisoners as they are lined up for his inspection.) Now then, my buckoes – six of you are about to walk the plank. But, because Smee here has put me in touch with my feminine side, I shall spare two of you, who will work for me as cabin boys. So, would you rather be an apprentice pirate or a lobster’s breakfast?
SMEE The choice is yours, walk the plank or join us.
JOHN Oh definitely walk the plank. Thank you.
MICHAEL Me too.
LOST BOYS Hurrah!
HOOK You’ve sealed your doom. (SMEE tentatively interrupts HOOK . . . )
SMEE Captain?
HOOK What is it now, Smee?
SMEE That cock-crow – if it was meant for those kiddies’ ears –foretelling their awful fate – how come you heard it too?
HOOK
Because I share all men’s woes, Smee. That is the burden which these broad shoulders were shaped to carry.
Music No. 16: A PIRATE WITH A CONSCIENCE
I’m far too considerate by half . . .
IT’S A CURSE TO BE A PIRATE WITH A CONSCIENCE
SMEE
NOTHING WORSE – I FEEL SO SORRY FOR YOU, BOSS
HOOK
MY PRINCIPLES ARE LOFTY UNDERNEATH I’M JUST A SOFTY
SMEE
THOUGH THAT ISN’T QUITE THE WAY YOU COME ACROSS
HOOK WHAT?
SMEE Nothing.
IT’S A CURSE TO BE A PIRATE WITH CHARISMA
HOOK
I’M A PERSON WHO GOES JUST AGAINST THE NORM I KNOW CHILDREN ALWAYS BOO ME AND YET IF THEY REALLY KNEW ME I AM SURE THEY’D FIND ME SENSITIVE AND WARM SMEE NO QUESTION.
IT’S A CURSE TO BE A PIRATE WHO IS CARING EVERY NURSE WOULD DO SO WELL TO LEARN FROM YOU
HOOK
HAVE YOU NOTICED MY PRECISION WHEN I’M MAKING AN INCISION I SO HATE THE SIGHT OF BLOOD
SMEE I KNOW YOU DO (Inadvertently pricked by HOOK’S sword.) Ouch!
HOOK Sorry!
SMEE
IT’S A CURSE TO BE A PIRATE WITH GOOD BREEDING
HOOK
IT’S PERVERSE TO FIND THESE ATTRIBUTES COMBINED WHEN I’M TORTURING SOME FELLOW I MAY RANT AND RAVE AND BELLOW
BUT I’D LIKE TO THINK MY MANNERS ARE REFINED FOR INSTANCE WITH THESE LOST BOYS AS I SEND THEM OFF TO DIE YOU’LL NOTICE THAT I SMILE AND TAKE THE TIME TO SAY GOODBYE SMEE AND WHAT A LOVELY SMILE IT WARMS THE COCKLES OF MY HEART TO THINK THEIR JOURNEY TO THE AFTER-LIFE HAS SUCH A CHEERFUL START
HOOK
SMEE
HOOK
SMEE
Cheerful? ( A hollow laugh.) Suddenly I am sad, Smee.
What sort of a sadness is it, Captain?
The kind that compels me to make my dying speech. In case, when actually dying, there may not be time for it. Oh fame, fame, thou glittering bauble, why when I have your comfort for my mantle, do I seem to suffer loneliness the most . . . ?
Maybe a tiny bit pompous.
(HOOK shivers, but not from cold.)
IT’S A CURSE TO BE A PIRATE WHO IS THOUGHTFUL
HOOK
I IMMERSE MYSELF IN WHAT IS RIGHT OR WRONG THE ETON EDUCATED ARE SO OFTEN OVER-RATED
SMEE BUT IN YOUR CASE YOU DESERVE TO WIN THE GONG WIN THE GONG WIN THE GONG
HOOK
Why thank you.
IT’S A CURSE TO BE A PIRATE OF MY STANDING SMEE
ONE LAST VERSE AND THEN OUR DEADLY SINS MUST START
HOOK
THOUGH YOU MAY THINK I WOULD RELISH A FINALE THAT IS HELLISH
You’d be oh, so wrong.
’COS IT’S MURDER FOR A PIRATE WITH A HEART
BOTH
YES, IT’S MURDER FOR A PIRATE WITH A HEART
HOOK
YES, IT’S MURDER FOR A PIRATE WITH A . . .
(HOOK attempts an elaborate cadenza, at the climax of which . . . )
SMEE
. . . HEART
BOTH
YES, IT’S MURDER FOR A PIRATE, A PIRATE WITH A HEART.
(By which time, WENDY has been brought up on deck to stand, defiantly, in front of HOOK.)
HOOK So, madam, you are to watch your despicable brood walk the plank. Silence, everywhere, for a mother’s last words to her children.
WENDY
These are they: Dear boys, I feel that I have a message to you from your real mothers. It is this: We hope that our sons will die like Englishmen.
BOYS Hurrah!
CURLY Rule Britannia!
HOOK
I’ve heard enough! Tie her up. She shall watch them drown and this time, I assure you, there is no-one, no-one, to rescue you.
(Several of the PIRATE CREW tie WENDY up whilst the others jeer and prod TOOTLES towards the waiting plank.)
Cringe, boy! Cringe!
TOOTLES (Suddenly possessed of a fierce resolve.) You might succeed, Captain Hook, at drowning helpless children – but we shall go to our seabed graves happy in the knowledge that Peter Pan will exact a terrible retribution on each and every one of you.
(The very mention of the name causes muttered misgivings among the CREW.)
HOOK
SMEE
Peter Pan? Pish-pash and fiddle- faddle! Pan’s dead. Tell them, Smee.
It’s true. Pan’s poisoned right enough.
(It is the BOYS’ turn to suffer misgivings and the CREW are heartened.)
WENDY Did you see him die?
SMEE Not in as many words, perhaps . . .
WENDY You see? Peter Pan is alive!
HOOK
This is mere make-believe, lads. This is more idle playground prattle. Pan’s dead – and you may have my hook on it.
Music No. 16a: NEVER LAND (Reprise)
TOOTLES HE’LL NEVER DIE
PETER PAN LIVES FOREVER NEVER DIE
PETER PAN IS OUR FRIEND
TOOTLES & JOHN YOU CAN TRY EVERY FIENDISH ENDEAVOUR
TOOTLES / JOHN / NIBS
BUT WE KNOW THAT HE’LL WIN IN THE END
HOOK Stop! Stop, I say, this instant!
(One by one, the DARLING CHILDREN and the LOST BOYS rise to their feet, and . . . )
ALL BOYS
HE’LL NEVER DIE PETER PAN WILL BE WATCHING NEVER DIE YOU’LL BE WALKING THE PLANK
WENDY He is alive, you devil! You shall see.
ALL BOYS
YOU CAN DO HIM NO ILL WE KNOW PETER PAN WILL NEVER DIE, NEVER DIE NEVER DIE, NEVER DIE NEVER DIE
HOOK Stop!
WENDY He’ll set the crocodile on you!
HOOK (His knife at WENDY’S throat.) Enough, I say! Even to so much as mention that odious beast on board this craft spells instant death.
PIRATES (In slow agreement.) Aye . . . !
(But before HOOK can suit evil words with monstrous deed, we hear the crocodile’s ‘tick-ticking’.)
WENDY (Taunting.) What’s the time, Mr Wolf?
HOOK You are beginning to annoy me.
WENDY Tick, tock, tick, tock.
LOST BOYS
Tick, tock, tick, tock.
( A cacophany of tick-tocking.)
HOOK
Silence! Silence I say!
( All fall silent but the tick-tocking continues.)
Someone is tick-tocking without moving their lips. Smee?
SMEE Not me, captain. I think that time-consuming Croc has come back for seconds. Back for seconds! I should be in the Music Halls, really I should.
HOOK
The Crocodile!
(HOOK, terrified, hides his face, and the PIRATES do the same. But it is not the crocodile that is responsible for the sound, it is PETER PAN (either with his mouth or by the adroit use of a child’s toy tinplate ‘clacker’) and flying above the ship.)
(WENDY spots him first, and indicates his presence to the BOYS. PETER signals to them all to hold their silence as he boards the ship. MULLINS, having been below, arrives on deck and sees PETER, but he is speedily overpowered from behind by several BOYS. There is a muffled scream, and then a splash (as MULLINS is tossed overboard.))
Music No. 16b: THE DEATHS
SLIGHTLY One!
STORYTELLER
STARKEY
HOOK
Realising that the ticking had stopped, the Pirates opened their eyes and looked around – but Peter had darted into the cabin, in the nick of time.
’Tis gone, Captain – that dreadful creature.
Aye, Starkey – ’tis gone. But gone where? Gone how? And why? (Then, shrugging off his fears.) Go into my cabin, Jukes – fetch out the flagon of rum.
JUKES Aye-aye, Captain!
HOOK
We’ll toast these worthless children while we watch them flounder.
( JUKES exits. To bolster his spirits, HOOK does a little dance, taunting the BOYS.)
WHO PUT THE JOLLY IN THE JOLLY ROGER WHO PUT THE TREASURE IN OUR CHEST . . .
(His singing is interrupted by a terrible scream from inside the cabin . . . )
SLIGHTLY (Solemnly.) Two!
PETER PAN (Off.) Cock-a-doodle-doo!
HOOK
What was that? Into the cabin, Cecco, and report back instantly!
(CECCO darts into the cabin and returns, a moment later, quivering with fright.)
CECCO Jukes is no more.
HOOK By whose hand was it done?
CECCO
It’s as black as pitch in there but there’s something terrible lurking in the dark. The thing we heard a-crowing.
HOOK Go back inside and bring me out that doodle-doo.
CECCO No, Captain – don’t ask it of me!
HOOK I’m not asking, Cecco – I’m giving you an order.
(Petrified, CECCO goes into the cabin. There follows another piercing scream.)
SLIGHTLY Three!
PETER PAN (Off.) Cock-a-doodle-doo!
HOOK
Which man among you will bring me out whatever haunts that cabin? Starkey?
STARKEY Nay, Captain – I’d rather die than go in yon!
HOOK Then die, Starkey!
(HOOK approaches STARKEY with his steel claw threatening. STARKEY backs away and HOOK follows in pursuit. However STARKEY leaps over the side of the ship.)
SLIGHTLY Four!
PETER PAN (Off.) Cock-a-doodle-doo!
(HOOK’S eyes wander over the remaining PIRATES who shamefully hang their heads. HOOK has another idea – he swings round to confront the BOYS.)
HOOK I’ll tell you what we’ll do, lads. We’ll open the cabin door and drive the prisoners in. Let them fight the Doodle-doo. If they kill it, so much the better. If the Doodle-doo kills them, what of it? We are none the worse.
(The PIRATES manhandle the BOYS into the cabin – then, afraid at what their eyes might see, HOOK and the PIRATES turn their back to the cabin and again cover their faces with their hands.)
(Inside the cabin PETER releases them from their shackles and they arm themselves with such weapons they can find. The BOYS then tiptoe up on deck and take up hiding-places. PETER releases WENDY, indicating that she too hide.)
(Taking her cloak, he folds it around himself and takes her place at the mast, then . . . )
PETER PAN (More muted this time.) Cock-a-doodle-doo!
(HOOK and the PIRATES uncover their eyes and, warily opened the cabin door to a deathly silence.)
Music No. 16c: THE DOODLE-DOO
SKYLIGHTS The doodle-doo has done for all of them.
NOODLER The ship’s bewitched. (Looking darkly at HOOK .) And whose fault is that, I wonder?
HOOK It’s the girl! She has cursed the ship. Whoever heard of a carefree craft that had a woman on board?
(The PIRATES, ever easily swayed, turn towards the hooded figure at the mast.)
SMEE ( Awkward.) Now let’s not be too hasty, Captain. The fairer sex is . . .
COOKSON The Captain’s right. Women are bad luck. Be they mothers, or be they not.
NOODLER You do well to hang your head, missy – no-one can save you now.
WENDY ( Appearing on the poop-deck.) There is one!
(The PIRATES, puzzled, look first at one WENDY and then at the other.)
MULLINS Then who is this one?
Music No. 17: THE FIGHT
PETER PAN (Casting aside the cloak.) Peter Pan!
COOKSON You swore that Pan was dead – you laid your hook on it!
SMEE The ship’s a floating coffin – we’re all going to die! It’s every man, and woman, for themselves.
(SMEE rips off ‘her’ beard.)
HOOK Smee! You’re a . . . you’re a . . . woman!
SMEE Too late now, Captain, you had your chance.
(SMEE grabs a life belt and jumps overboard, leaving just HOOK, NOODLER, COOKSON and SKYLIGHTS to fight.)
STORYTELLER
Peter and The Lost Boys, now outnumbered the pirates and, with some help from Michael and John, the final battle began.
(The entire fight is underscored, linking the various spoken sections.)
HOOK (Turning on PETER.) Kill him!
(The two words are spat out with such venom, that this time the PIRATES are spurred forward.)
WENDY Michael! Do be careful! You’ll do yourself an injury!
MICHAEL (Who is wielding a cutlass almost as tall as himself ). I’ve just killed a pirate!
WENDY How dreadful!
MICHAEL It was fun, Wendy. I enjoyed it!
(One by one, the PIRATES are despatched, until only Hook is left alive, encircled by the LOST BOYS.)
HOOK Back! Back, I say, you mewling milksops!
(HOOK grabs MICHAEL and holds his hook at his throat.)
This is Hook, boys, how do you like him?
(HOOK throws MICHAEL across the deck.)
PETER PAN Put down your swords, boys. This man is mine.
(HOOK and PETER stand face-to-face for their final confrontation.)
HOOK So, Pan – it is thee and me at last.
PETER PAN Aye, Captain Hook – the two of us. As it ever was and always would be.
HOOK Then die, boy!
(The sword fight continues.)
PETER PAN
I AM YOUTH I AM FREEDOM I AM TRUTH
This is no boy! This is some fiend I face! In heaven’s name, Pan, who and what art thou? Tell me?
And in truth, Hook, I am everything that you are lacking.
HOOK To sword . . .
(Finally PETER’S exuberance and enthusiasm triumphs. HOOK stands on the bulwarks, without the strength to lift his arm, let alone wield his sword. The CROCODILE snaps its jaws and whips the sea to foam as . . . )
I am lost, Pan. You have won. But even in defeat, James Hook decides his own destiny. Floreat Etona!
(With a blood curdling scream HOOK throws himself into the jaws of the waiting CROCODILE. HOOK's passing raises a resounding cheer from all the BOYS and then there is a triumphant fanfare of the 'Never Land' theme from the orchestra as the set begins to change . . . )
(Our focus returns to the STORYTELLER as the black velvet sky is suddenly rich with stars.)
STORYTELLER
MAYBE WE’VE ALREADY BEEN THERE MAYBE WE’RE NOT MEANT TO KNOW MAYBE WE’LL FIND IN THE FUTURE IT’S SOMEWHERE WE ALL HAVE TO GO BUT IT’S NICE TO THINK THAT NO-ONE KNOWS FOR SURE PERHAPS THAT’S WHAT BEYOND THE STARS IS FOR
( At which point we have arrived back in . . . )
Music No. 18: JUST HOME / JUST BEYOND THE STARS (Reprise)
SCENE FIVE – THE NURSERY
. . . which is as we left it at the end of Scene One, Act One. NANA is stretched out, listless, by her kennel. MRS DARLING is standing at the open window and with the MUSIC still held behind, as . . .
STORYTELLER
Meanwhile, back home in Bloomsbury, Mrs Darling stood at the open window, and watched and waited, as she had watched and waited, day after day, ever since her children had gone . . .
MRS DARLING
CLOSE YOUR EYES AND IMAGINE
CLOSE THEM TIGHT AND PRETEND . . .
CLOSE THEM TIGHT AND PRETEND . . .
( And overcome by grief, MRS DARLING bursts into tears. She starts, possibly at a musical ‘ping!’ from outside and then, more in hope than expectation . . . )
Wendy? John? Michael? Oh. It’s you, Nana.
(NANA has moved an empty food bowl and placed it down at the kennel door.)
Oh is it that time already? Thank you Nana. (Calling, as if to a dog.) George! George! It’s din dins. (To NANA .) It’s no good – I’ll never get used to him swapping places with you.
MR DARLING (Entering.) I know, but it is out of remorse, my dear. If it wasn’t for me the children would never have left.
(NANA fills the dog bowl with food.)
Thank you, Nana. That smells good!
(MR DARLING gets down on all-fours and nibbles at the dog’s food. He pauses . . . )
I have to say, it’s the lack of variety that gets me. I don’t know how dogs put up with it, day in day out. They always seem so excited come meal times, but for the same old . . . mush. I’m going to
change all that when the children come back . . . No news on the front, I don’t suppose?
MRS DARLING (Suddenly downcast, shakes her head.) Not a word.
(He pushes aside the dog’s bowl.)
MR DARLING (Catching her mood.) There’s a chill in the air tonight. Would you mind closing the nursery window?
MRS DARLING You know I can never do that, George. The nursery window must stay open - always and forever, until . . .
MR DARLING Well perhaps you could play me to sleep on the nursery piano?
MRS DARLING Nothing would give me greater pleasure.
(MRS DARLING goes off into the day nursery as MR DARLING stretches himself, half in, half out of the kennel and is instantly asleep. NANA leaves the nursery in disgust.)
Music No. 18a: MRS DARLING AT THE PIANO
(We hear MRS DARLING playing a few bars of a sad tinkling version of 'Just Beyond The Stars' on the piano.)
(The STORYTELLER floats silently across to the nursery window and holds the curtain aside.)
STORYTELLER As Mrs Darling played, and Mr Darling snored, unbeknownst to them, something stirred outside the nursery window . . .
(WENDY, JOHN & MICHAEL alight on the window sill and clamber into the room.)
MICHAEL I think I have been here before?
JOHN This is where you live, you ass. Don’t you know home?
WENDY Look – there’s your bed, Michael.
JOHN I say – the kennel!
MICHAEL There’s a man asleep inside it.
WENDY It’s father.
(The piano music starts up again. They steal across and peep into the day nursery.)
JOHN Who’s that lady?
WENDY Hush! It’s mother.
(The piano playing stops.) Quick, hide!
(The CHILDREN hide. MRS DARLING enters.)
MRS DARLING George? George, dear! Time for your backyard evening exercise!
(MR DARLING scrambles out of the kennel, yawning.)
MR DARLING Of course. Thank you for reminding me.
MRS DARLING You know you really can use the facilities.
MR DARLING No, my dear, a tree trunk is quite sufficient.
(Summoning his dignity, MR DARLING exits. There is a sound from behind one of the beds. MRS DARLING hears it, but does not dare to turn and look.)
Who’s there? So often I dream that I can hear the children in this room.
If only real life could be like my dreams.
(The CHILDREN’S heads pop up from behind the beds.)
WENDY Mother!
MRS DARLING That is Wendy.
JOHN Mother!
Music No. 18b: REUNION
MRS DARLING That is John.
MICHAEL Mother!
MRS DARLING And now Michael. When they call, I stretch out my arms to them, but they never come. They are never there . . .
(There is a surge of music as MRS DARLING is reunited with her children.)
STORYTELLER This time, however, they were there. Mrs Darling hugged her children all at once, then each in turn. And, each in turn, then all at once, they hugged her back.
MR DARLING (Off.) Mary!
MRS DARLING Hide again, dears, we’ll surprise your father.
(The CHILDREN conceal themselves again as MR DARLING bounds in with the LOST BOYS clutching at his coat-tails. NANA follows close behind.)
MR DARLING Just look at what the wind has blown in our direction, Mary! These charming boys came settling down, out of the skies, like a flock of honking geese, into our very own back garden! I know there are more of them than we’re used to, but I wondered if they might do until . . .
(MRS DARLING ushers WENDY, JOHN and MICHAEL into view.)
Bless my best boots and braces – those are our three!
(Embracing all three in turn, then . . . )
Now we do have a houseful! I’m afraid we can’t keep all of you.
MRS DARLING (Gently but firmly.) Oh yes we can, George. And we shall. It will mean no more than a few extra beds in the drawing room. We shall put screens round them when we have visitors.
MR DARLING You are right, my love, as always. Although, I must say, you don’t do things by halves.
MRS DARLING But first things first, George, and most important, these children must be fed.
(Bright, marching music.)
STORYTELLER With Mrs Darling leading the way and Mr Darling somewhere in the middle of the party, they set off towards the dining room. Wendy stayed behind – for a reason she herself was not quite sure of, but one which was to become instantly clear . . .
PETER PAN ( Appearing at the window.) Hello, Wendy.
WENDY Peter! You came after all!
(PETER enters the nursery and WENDY makes a last attempt at getting a commitment from him.)
Are you going to stay? I’m sure my parents would adopt you too.
PETER PAN And then send me to school?
WENDY Where you’d learn all kinds of important facts and figures.
PETER PAN And, after that, on to an office.
WENDY Black jacket, striped trousers, a starched wing collar – I know it’s not the same as cobwebs and leaves, but it is far more practical.
(But PETER’S face tells WENDY that she has said the wrong thing.)
You could grow to like it, Peter.
PETER PAN If you had learned one single thing about me, Wendy – you’d know that I don’t mean to grow at all.
WENDY What do you mean to do?
PETER PAN Go back to Never Land, of course. And build a new house high up in the tree-tops.
(He rises, a metre or so above the nursery floor, preparatory to flying away.)
You could come with me . . .
MRS DARLING (Having entered, unnoticed, during the above.) Wendy!
WENDY Mother – can I go with him?
MRS DARLING I’ve only just got you home again – I intend to keep you.
WENDY He does so need a mother.
MRS DARLING And so do you. But I shall let you go for a whole week, every year, in the Spring.
(WENDY, grateful for this one mercy, hugs her mother. PETER moves towards the open window. Again, WENDY fears that she is losing PETER.)
WENDY Won’t you be lonely, in the evenings, Peter, when I’m not there?
PETER PAN No. Why should I be?
(There is a tinkle of self-satisfied laughter from TINKER BELL.)
Always be waiting for me, that’s all, and then, some night, you will hear me crowing.
(PETER flies out, through the window, and WENDY allows her mother to lead her away as the STORYTELLER enters – this time stepping into the nursery, as . . . )
STORYTELLER Peter did come back, exactly as he had promised, that next spring. And then, the following year, he did not come at all. She waited and waited, but he never came . . .
(She pauses, and looks around the nursery, but she is quite alone. She picks up a story-book, from off a bed, opens it at a page which contains a book-mark, then flicks through several pages . . . then, remembering her true purpose . . . )
Music No. 18c: PETER’S EXIT
And then – would you believe it? – the next spring, there he was and, stranger still, he never knew that he’d missed a year. But that was the last time. Wendy never saw Peter Pan ever again.
(The STORYTELLER closes the book, with an air of finality. The lights dim. Then, with her, we hear a far-off cock-crow. The STORYTELLER stands stock-still as PETER enters and stands behind her. The STORYTELLER senses PETER’S presence, but does not dare turn.)
PETER PAN (Softly.) Cock-a-doodle-doo . . . Wendy?
(He picks up the cloak, which WENDY had previously set down, and drapes it over the STORYTELLER’S shoulders – in the same tender way that he draped the cloak over WENDY’S shoulders in the underground home. His touch is almost too much for her to bear.)
Had you forgotten? Springtime?
STORYTELLER It was you who forgot, Peter. You allowed too many spring times to pass.
PETER PAN (Puzzled.) What is it?
STORYTELLER ( And still she has not turned to him.) I am old, Peter. I grew up.
PETER PAN ( A step backward – ‘old’ is a word with which he cannot cope.) You said you never would! You promised not to! We spat on our hands and swore on it!
STORYTELLER It wasn’t my fault. It happened. It happens, Peter. I got married. I have children. I have grandchildren. Go back. Go back. You must go back.
(PETER takes another step back – fearful at what he cannot comprehend. She bites back a tear. He is crying too – but his are the tears of a frightened child.)
(Echoing their first meeting.) Boy, why are you crying? What’s your name?
PETER PAN ( A fierce resolve.) Peter. Peter Pan.
Music No. 19: THERE’S ALWAYS TOMORROW
PETER PAN
WHY CAN’T WE STAY AS LITTLE CHILDREN? WHY MUST WE PUT AWAY OUR TOYS? OUR PARENTS DON’T HAVE THE ADVENTURES THAT WE DO AS GIRLS AND BOYS THOSE GROWN-UPS ALWAYS LOOK SO SOLEMN I KNOW THAT GROWN-UPS HAVE TO WORK AND WORRY THEY SAY ONE DAY I’LL HAVE TO GROW UP BUT I’M NOT IN ANY HURRY NO I’M NOT IN ANY HURRY ALL THE WHILE I CAN SAY
THERE’S ALWAYS TOMORROW THERE’S PROBABLY ‘SOON’ THERE’S ‘MAYBE’ OR ‘SOMETIME’ ‘SOMEDAY’ OR ‘SOME YEAR’ OR IN A BLUE MOON I’LL WAIT FOR THAT MOMENT SO FULL OF PERHAPSES AS EACH DAY ELAPSES THERE’S ALWAYS TOMORROW
(The nursery set begins to dissolves into the night sky, strewn with stars. PETER PAN is oblivious to the STORYTELLER again . . . )
STORYTELLER Try to remember me sometimes, Peter. I never forgot you. Not once.
(The STORYTELLER leaves. PETER is alone on the stage, as . . .)
PETER PAN (Making no promises.) Good night, Wendy!
( And now the entire COMPANY is assembled in the dark starspangled void, as . . . )
PETER PAN WHY SHOULD I EVER GIVE UP FLYING?
ALL
THERE’S SOMETHING IN THE AIR TONIGHT
PETER PAN WHO SAYS I HAVE TO BE A MAN?
ALL SOMETHING IN THE BREEZE
PETER PAN THAT MAY BE FINE FOR OTHER CHILDREN BUT IT’S NOT FOR PETER PAN AS LONG AS THERE ARE STARS TO GUIDE ME
ALL WHISTLING ROUND THE CHIMNEY-STACKS
PETER PAN AND WHILE THE SUN STILL SHINES LIKE GOLD
ALL RUSTLING THROUGH THE TREES
PETER PAN
AWAY IN NEVER LAND YOU’LL FIND ME AND I WON’T BE GROWING OLD THERE’S ALWAYS TOMORROW THERE’S PROBABLY SOON THERE’S ‘MAYBE’ OR ‘SOMETIME’ ‘SOMEDAY’ OR ‘SOME YEAR’ OR IN A BLUE MOON I’LL WAIT FOR THAT MOMENT SO FULL OF SURPRISES AS EACH NEW DAWN RISES THERE’S ALWAYS TOMORROW AS EACH NEW DAWN RISES THERE’S ALWAYS . . .
Come on, Tink. Second to the right and straight on until morning.
. . . TOMORROW
(PETER PAN flies out over the heads of everyone, and is lost amongst the stars.)
(THE END.)
Music No. 20: BOWS
COMPANY
NEVER LAND THAT’S THE SECRET OF FLYING NEVER LAND NOT MUCH FURTHER TO GO NO-ONE CARES WHERE YOU ROAM WHEN THE SKIES ARE YOUR HOME NEVER NEVER LAND NEVER LAND NEVER LAND NEVER LAND!
Music No. 21: EXIT MUSIC
PETER PAN
A Musical Adventure
VOCAL BOOK
Vo c a l B o o k
Ly r i c s b y A N T H O N Y D R E W E
M u s i c b y G E O R G E S T I L E S
N o . 1 – T H E R E ' S S O M E T H I N G I N T H E A I R TO N I G H T
( F u l l C o m p a n y )
5
& ## & ##
C U E : A si n gl e h e a r t - st o ppi n g m o m e n t a s t h e
a u d i e n c e a r e pl u n ge d i n t o su d d e n d a r k n e ss
A l l e g r o m i s t e r i o s o q = c . 1 4 0
1 9 p o c o r a l l . N e r vo u s l y q
M R S D A R L I N G ( o f f ) : B o y ? B o y ? A r e yo u t h e r e ? I h ave wh a t
u ' r e l o o k i n g f o r M R S D A R L I N G p so t t o v o c e Th e r e ‘ s & ##
s o m e t h i n g - i n t h e a i r t o n i g h t
S o m e t h i n g - i n t h e b r e e z e & ## Wh i s t l i n g - r o u n d t
N E WS B OY: Pa p e r ! E ve n i n g p a p e r !
5 p o c o r i t .
L O N D O N E R S - M E N & WO M E N Th e r e ‘ s mp & ##
n i g h t i n - g a l e s - a r e s i l e n t - A s i f t o l d t h e y s h o u l d n ' t - s i n g
A t e m p o q = 1 4 0
s o m e t h i n g i n t h e a i r t o n i g h t - S o m e t h i n g - i n e a c h g u s t & ##
S o m e t h i n g - l e ave s u s s h i v e r - i n g - S o m e t h i n g - w e d o n ‘ t t r u s t Th e r e ‘ s mf & ##
1
s o m e t h i n g - i n t h e a i r t o n i g h t - Th a t ‘ s q u i c k e n - i n g - o u r t r e a d & ##
S o m e m a r c a t o
5 4 p o c o r i t .
t h i n g - m a k e s u s wo r r y, - S o m e t h i n g - m a k e s u s h u r r y - t o o u r c h i l d r e n - a t h o m e & ##
S a f e mp l y - i n b e d
M e n o m o s s o q = c . 1 2 0 5 8
N E W S B OY: E ve n i n g p a p e r ! . . . ∑ U & ##
F r o m b e h i n d t h e c r o w d e m e r ge s a n o l d e r w o m a n c l u t c h i n g a n e w spa pe r
T h e r e st o f t h e gr o u p d o n ’ t se e m t o n o t i c e h e r
T h i s w o m a n w i l l h av e a se pa r a t e pu r po se l a t e r i n o u r st o r y b u t , f o r t h e t i m e b e i n g, sh e sh
& ##
0 & ##
p o c o p i ù m o s s o q = 1 4 0 7 4
s o m e t h i n g i n t h e a i r t o n i g h t -
S o m e t h i n g i n t h e d a r k & bb
S h a d p o w s - i n a n a l l e y - way -
Vo i c e s - i n t h e p a r k & bb
S o m e t h i n g - f e e l s f a m i l - i - a r -
S o m e t h i n g - w e o n c e k n e w A & bb
7 8 8 2 8 6 9 0 9 4
S TO R Y T E L L E R : L o n d o n wa s s t r a n g e l y i l l a t e a s e t h a t n i g h t D e s p i t e a s t a r l i t s k y, t h e t h r e a t o f a n o t h e r f o g p u t a n e r vo u s s p r i n g i n m a n y a p a r e n t ’s s t e p , f e a r f u l t h a t
m e m o r - y - i s s t i r r i n g - B u t i s s t ay i n g - o u t o f v i e w & bb
t h e y m ay n o t fi n d t h e i r way h o m e & bb
9 8
1 0 2 & bb
C o n m o t o q = 1 6 0
S TO R Y T E L L E R ( C O N T ' D ) : F o r M r D a r l i n g , h i s c o n c e r n s w e r e o f a r a t h e r l e s s s i n i s t e r n a t u r e & bb
A b o w l e r h a t c o m e s b o w l i n g a l o n g t h e st r e e t , c l o se l y f o l l o w e d by i t s b a r e - h e a d e d o w n e r, M R DAR L I N G M R D A R L I N G : S t o p - t h a t – H AT !
M R D A R L I N G : Th a n k yo u . S TO R Y T E
Te m p o p r i m o q = 1 4 0
s o m e S TO R Y T E L L E R - t h i n g i n t h e a i r t o n i g h t - S o m e t h i n g i n t h e b r e e z e & ##
h a s g o t a b i t e I d o n ' t r e m e m - b e r - s e e i n g - s t a r s & ## Wh i s t l i n g - r o u n d t h e c h i m n e y - s t a c k s
R u s t l i n g - t h r o u g h t h e t r e e s S o m e C O M P A N Y t h i n g - i n t h e a i r t o n i g h t& ##
a i r t o n i g h t - D o e s n ' t - f e e l l i k e s p r i n
s
s
( M r s D a r l i n g )
C U E : JO H N : S o m e m y s t e r i o u s p l a c e h i g h i n t h e s k y 4
M I C H A E L : L i k e t h e c l o u d s ?
S w e e t l y q = c . 7 6
6 8 & ####
JO H N : E ve n f u r t h e r t h a n t h e c l o u d s WE N D Y: E ve n f u r t h e r t h a n t h e s t a r s . . . 4 WE N D Y ( C O N T ' D ) : . . . Wh e r e i t c a n ' t h u r t a n yo n e
Ju s t M R S D A R L I N G p b e yo n d - t h e s t a r s , B e yo n d - t h a t g r e a t b l a c k ve l ve t - c u r t a i n& ####
& ####
Ju s t b e - yo n d t h e s t a r s a r e
2 1 p o c o a c c e l .
2
a t e m p o
N o . 2 a – T I N K ' S A R R I VA L ( TAC E T ) N o . 2 b – P E T E R ' S A R R I VA L ( TAC E T ) ( TAC E T ) N o . 2 c – D I
c
r a l
N o . 2 d – T H E C L E V E R N E S S O F M E ( P r e - r e p r i s e )
WE N D Y ( C O N T ' D ) : Th a t ’s h o w t o d o i t 7
‹ C U E :
H a p p y q = 1 3 0
Pe t e r t e st s o u t h i s sh a d o w, m o v i n g h e si t a n t l y a t fi r st b u t gr o w i n g i n c o n fi d e n c e
Pe t e r a n d h i s sh a d o w d a n c e t o ge t h e r H e i s sh o w i n g o f f H e giv e s a c o c k c r o w
P E T E R O h t h e &
‹ c l e v e r - n e s s - o f m e Th e c l e v e r - n e s s - o f m e I ' ve n e v e r - m e t a &
‹ p e r s o n - ye t Wh o ' d e v e r - d i s a - g r e e - Th e c l e v e r - n e s s - o f m e Th e & ‹ c l e v e r - n e s s - o f m e I h ave t o c r o w b e c a u s e - I k n o w t h e &
‹ c l e v e r - n e s s -
WE N D Y: A n d I s u p p o s e I h a d n o t h i n g t o d o w i t h i t ?
P E T E R : C o c k - a - d o o d l e - d o o ! 2 o f m e & ‹ 5
r a l l . 6 8 &
P E T E R P A N : N o t m u c h ( W e n d y, a n n o ye d a t Pe t e r ' s c o n c e i t , ju m ps b a c k i n t o b e d a n d pu l l s t h e sh e e t u p o v e r h e r h e a d ) & 4 4
( I n s t r u m e n t a l ) N o . 3 – T I N K & W E N D Y
C U E : P E T E R : I f yo u d o n ' t b e l i e ve i n f a r i e s , We n d y, f a i r i e s d i e
( T h e r e i s a n u r ge n t c o n c e r n e d t i n k l i n g f r o m T i n k e r B e l l )
WE N D Y: Wh a t ' s t h a t n o i s e ?
A l l e g r o v i va c e q. = 1 8 0
WE N D Y: O u c h ! S o m e b o d y – s o m e t h i n g –& ##
p u l l e d m y h a i r
A t e m p o q. = 1 7 0
P E T E R : Th a t ' s a f a i r y – s h e ' s c a l l e d Ti n k e r b e l l & ##
T I N K fl i e s o f f
P E T E R : S h e ' s je a l o u s o f yo u & #
( I n s t r u m e n t a l )
C U E : M I C H A E L : We l l t h a t s o u n d s a l t o g e t h e r m o r e e x c i t i n g ! C o m e o n We n d y, l e t ’s g o N a n a ’s b a r k w a r n s t h e m o f h e r a ppr o a c h e s
JO H N : Q u i c k ! H i d e ! N a n a e n t e r s t h e r o o m w i t h a l a m p i n h e r m o u t h Sh e sn i f f s a r o u n d t h e n u r se r y t o m a k e su r e e v e r y t h i n g i s i n o r d e r
A n d a n t e q = 8 0 N o . 3 a – S O U N D A S L E E P
O P T I O N A L S E C T I O
E v e n t u a l l y, u n a b l e t o fi n d a ny t h i n g u n t o w a r d , sh e l e av e s & #
C o n m o t o q = 1 6 0
C U E : D E A D S E G U E
c & bb
P E T E R Yo u mp m u s t t h i n k o f s o m e - t h i n g wo n d e r - f u l - A s i g h t a s m e l l a & bb
s o u n d M I C H A E L : I s t h a t a l l ?
A s h a k e o r t wo o f f a i r y - d u s t - a n d yo u ' l l b e & bb
C o n g u s t o q = 1 3 0 ( P e t e r, We n d y, Jo h n a n d M i c h a e l ) 5 8 1 2 p o c o r i t .
s k y wa r d b o u n d Th e r e i s ju s t o n e r u l e wh e n fl y i n g - wh i c h i s & bb
Wi t h e x c i t e m e n t q = 1 2 0 1 7
n o t t o o h a r d t o u n d e r - s t a n d - Wh a t e - ve r3 yo u d o N e ve r& bb
l a n d ∑ N e mf ve r - l a n d t h a t ' s t h e s e c r e t - o f fl y i n g& bb
N e ve r - l a n d n o t h i n g - e q u a l s - t h e t h r i l l Ta k e h e r h a n d t h e r e i s n
T h e t h r e e c h i l d r e n t e n t a t iv e l y r i se f r o m t h e b e d r o o m fl o o r
N e ve r - l a n d l e t t h e c l o u d s b r u s h yo u r h a i r a n d t o s t ay o n 3 t h e w i n g ju s t r e& bb
m e m b e r3 o n e t h i n g
T H E T H R E E : L o o k a t m e , l o o k a t m e , l o o k a t m e !
JO H N : Wh a t a r e w e wa i t i n g f o r ?
P E T E R : Th e r e a r e p i r a t e s
e ve r - l a n d
JO H N : P i r a t e s ? We m u s t g o a t o n c e !
P E T E R : A n d m e r m a i d s t o o
WE N D Y: M e r m a i d s ! H o w s p e c t a c u l a r ! n n n bb & bb
P E T E R : F o l l o w m e 2 N e P E T E R mf
H N + M I C H A E L
r - l a n d wh y ju s t
s
( Th e L o s t B o y s )
C U E : S E G U E f r o m N o 4 a
S L I G H T LY: We h e a r d a g u n s h o t . ( O ve r l y e x c i t e d . ) Wa s s o m e o n e k i l l e d ?
N I B S : ( P o i n t i n g a t h e d e a d N e ve r b i r d ) S t a r k e y s h o t t h a t b i r d
S t e a dy g r o o ve q = 1 4 0
c & b
N I B S ( c o n t ' d ) : H o o k wa s h e r e I h e a r d h i m s ay
h e wa n t s t o c a t c h a l l o f u s
TO OT L E S : E ve n w i t h o u t P e t e r, w e c a n s h o w t h e P i r a t e s t h a t w e a r e t h e r u l e r s i n N e ve r L a n d ∑ & & b
b
C U R LY: H a ! L e t h i m t r y
L O S T B OY 1
N o mp b o - d y - d a r e s u s n o t h i n g e v e r - s c a r e s u s e v e n - t h e l o u d e s t - b a n g & b
1 1 5
L O S T B OY 2
I f
yo u ' ve a n n o ye d - u s b e s t i f yo u a vo i d - u s
L O S T B OY 3
L O S T B OY S
' c o s w e ' r e t h e L o s t B o y s G a n g & b
A n d t h o s e wh o fi g h t t h e L o s t B o y s d i s c o - ve r - t o t h e i r c o s t ∑ & b
L O S T B OY S
Th e r e ' s b e e n n o fi g h t t h a t t h e L o s t B o y s l o s t 3 & b
L O S T B OY 4
We mf a r e n o s t r a n g e r s t o t h e d a r k e s t - d a n g e r s - ye t w e d o n ' t b u d g e a n i n c h
L O S T B OY 5
b
We
s h
L O S T B OY 6
& b
We ' r e c o l d e r - t h a n t h e f r o s t ∑ & b
A n d wh e n w e fi g h t i n c o l d b l o o d
Th e r e ' s A L L
b e e n n o fi g h t t h a t t h e L o s t B o y s l o s t
N o
o n e - m a k e s u s & b
g o t o s c h o o l o u r b o o k s s t ay o n t h e i r s h e l ve s G o t n o u s e f o r & b
s u m s a n d s t u f f w e ' r e f e n d - i n g f o r o u r s e l ve ssu b mp A l l w e n e e d ' s a & b
c a t a - p u l t - s o m e a r r o w s - a n d a b o w R e a d mf i n g , - w r i t i n g& b
T WI N S su b p
' r i t h m e t - i c - wo n ' t s ave yo u f r o m yo u r f o e f s o & b
We s t i c k t o g e - t h e r - n e v e r - k n o w i n g - wh e t h e r - s o m e o n e ' s - a b o u t - t o p o u n c e & b I t
2 OT H E R B OY S
m ay s o u n d f r i g h t ' n i n g - b u t a s q u i c k a s l i g h t ' n i n gsfz w e s e t t l e - t h e i r a c c o u n t s& b
3 B OY S su b p
F o r t h o s e wh o c r o s s t h e L o s t B o y s w i l l 3 OT H E R B OY S s o o n b e d o u b l
s t r u m e n t a l )
U E : S L I G H T LY: I ' m c a l l e d S l i g h t l y S o i l e d .
OT L E S : H e y ! H e y, B o y s I s e e Ti n k e r B e l l
A l l e g r o q = 1 8 0
I B S : ( c u p s h i s h a n d s a n d c a l l s ) H e y, Ti n k ! Ti n k e r B e l l !
& ##
p o s s i b l e c u t b b . 7 - 1 7 i n c .
r
T i n k e r B e l l c a l l s d o
H e r a i s e s h i s B o w a n d A r r o w
C U R LY: I s a w i t fi r s t L e t m e s h o o t i t
A l l e g r o q = 1 3 0 1 9
Th e r e s t o f t h e L o s t B o y s p e e r u p i n t o t h e s k y. ∑ mp
To o t l e s gr a b s t h e b o w a n d a r r o w f r o m N i b s a n d l e t l o o se
3
m e n o m o s s o q = 1 0 0
T WI N 1 : I s e e i t !
T WI N 2 : I s e e i t t o o ! mf & ##
A n d a n t e q = 8 0
7
a n a r r o w f r o m h i s b o w a n d i t w h i zze s t h r o u gh t h e a i r TO OT L E S : G o t i t ! N I B S : G o o d s h o t , To o t l e s ! n n bbbbb & bbbbb 6 [ W E N DY spi r a l s d o w n f r o m t h e sky ] 6 6 6 6 6 6 6 & bbbbb ?
9 A l l e g r o 3 2
F I R S T T WI N : I t wa s n ' t a b i r d a f t e r a l l
S E C O N D T WI N : I t wa s a fl y i n g l a d y & 6 6 6 6 & bbbbb
P E T E R P A N : We n d y ! Wi t h a n a r r o w i n h e r h e a r t S h e ’s d e a d
4
S H O R T D I A L O G U E H E R E & bbbbb
N I B S : Ti n k e r B e l l C U R LY: S h e t o l d u s t o s h o o
( P e t e r & Th e L o s t B o y s )
C U E : JO H N : ( a s h e i s f r o g- m a r c h e d aw ay t o h e l p) B u t h o w c a n w e p o s s i b l y b u i l d a wh o l e h o u s e ?
T h e L o st B o y s b e gi n t o c o n st r u c t a h o u se a r o u n d W e n d y, w i t h w h a t e v e r m a t e r i a l s c o m e t o h a n d :
F r e e l y q = 1 4 0
F i r s t mp P E T E R w e ' l l b u i l d e a c h wa l l Wh e n i t ' s ju s t s o t a l l w e ' l l s t o p Wi t h a &
‹ h i g h p i t c h e d r o o f , Th a t i s wa t e r - p r o o f o n t o p We s h o u l d s t r e n g t h e n - i t w i t h &
‹ c l ay To k e e p b ay i n g - wo l ve s a t b ay
1 6 p i ù m o s s o q = 1 5 0
B u i l d a h o u s e f o r We n d y - B u i l d a &
‹ h o m e wh e r e We n d y - w i l l s t ay
JO H N : D o n ' t yo u t h i n k s h e s h o u l d s e e a d o c t o r ?
P E T E R : Th e r e i s n ' t a d o c t o r - p e r h a p s t h e r e ' s s o m e t h i n g s h e c o u l d t a k e f o r i t ?
JO H N : I ' ve g o t t h i s I t ' s C o l l i n s o n ' s C u r e - a l l I t a t t e n d s t o a l l ju ve n i l e a i l m e n t s I t s ay s s o o n t h e l a b e l
A L L : H u r r a h ! 8 n n n ∑
P E T E R : I ' l l m a k e s u r e s h e t a k e s t h i s m e d i c i n e e ve r y n i g h t L O S T B OY S
I n t h e &
‹ wa l l s o f wo o d M a n y - w i n - d o w s s h o u l d b e c u t L o o k i n g&
‹ o u t e a c h way, Ju s t P E T E R a s l o n g a s t h e y d o n ' t s h u t !
L O S T B OY S F r o m e a c h
‹ h o u s e f o r We n d y - B u i l d a h o m e wh e r e We n d y - w i l l & ‹ G R O U P I I mp
B u i l d a h o u s e B u i l d a h o m e
p i ù m o s s o q = 1 6 0
C h o p a n d s a w a n d h a m m e r - n a i l s f o r We n d y, - L ay A D D G R O U P I t h e
P E T E R A d d mf t h e k i n d o f l o f t Wh e r e o l d
fl o o r a n d p i c t u r e - r a i l s f o r We n d y - C h o p mp a n d
‹ t o y s a r e o f t e n - fl u n g A n d wh e r e p a r e n t s - p l ay To r e -
o . 6 a – T H E L O S T B OY S G A N G ( R e p r i s e )
( Th e L o s t B o y s , We n d y )
c & b C U E : WE N D Y: N o w g e t i n s i d e a t o n c e , yo u n a u g h t y, n a u g h t y c h i l d r e n !
S t e a dy G r o o ve
q = c . 1 4 6
6 L O S T B OY S f N o b o - d y - d a r e s u s n o t h i n g e v e r - s c a r e s u s e v e n - t h e l o u d e s t - b a n g & b
WE N D Y: D o n ' t f o r g e t
t o w i p e yo u r f e e t .
[ W E N DY c l a ps]
( C l a p ) I f yo u ' ve a n n o ye d - u s b e s t i f yo u a vo i d - u s & b
' c o s w e ' r e t h e L o s t B o y s G a n g
WE N D Y: Yo u ' ve g o t a l l yo u r t o y s t o p u t a way 4 L O S T B OY S A n d t h o s e wh o fi g h t t h e L o s t B o y s & b
d i s c o - ve r - t o t h e i r c o s t
WE N D Y: B e d –
WE N D Y: A n d d o n ' t l e ave t h e t o w e l o n t h e b a t h r r o m fl o o r
3 L O S T B OY S
Th e r e ' s b e e n n o fi g h t & b 2
2 WE N D Y: B e d !
b
S L I G H T LY Th
E ( P e t e r, We n d y )
H a p p y q = 1 9 5
‹ s u n a n d m o o n a r e s e r va n t s - I g i ve o r d e r s - t h e y o b e y - I t ' s & ∑
WE N D Y
We l l mp &
‹ r e a l l y - u p t o m e I f t h e r e s h o u l d b e a n i g h t o r d ay & i f yo u ' d b e e n t o s c h o o l N o t r u n a way - s o o n a f t e r - b i r t h Yo u & m i g h t h ave l e a r n e d o f s o m e t h i n g - c a l l e d ' t h e o r b i t - o f t h e e a r t h ' & ‹ WE N D Y: A n d i f yo u ' r e s o c l e ve r, h o w c o m e yo u yo u r a n a way, wh e n yo u w e r e ju s t a b a b y ? 3 P E T E R : Yo u d o n ' t t h i n k i t ' s c l e ve r t o l i ve i n a p l a c e a s wo n d e r f u l a s t h i s ? I f P E T E R i t ' s
‹ s u m m e r - i n
B u t &
‹ w i n t e r - o n t h e r i ve r - A n d a u t u m n ' s - c o m i n g - s o o n &
P e t e r - t h a t ' s n o t c l e v e r - Yo u ' r e b e i n g - s u c h a d u n c e F o r &
wh a t i s o n e t o w e a r I f a l l t h e s e a s o n s - c o m e a t o n c e ? &
‹ Ju s t a u t u m n - l e ave s a n d c o b w e b s - I ' ve n o n e e d f o r a s c a r f &
‹ N o c o l d w i l l e v e r - c a t c h m e I ' m c l e v e r - e r - b y &
‹ h a l f O h mf t h e c l e v e r - n e s s - o f m e Th e c l e v e r - n e s s - o f m e I ' ve &
‹ n e v e r - m e t a p e r s o n - ye t Wh o ' d e v e r - d i s a - g r e e - Th e c l e v e r - n e s s - o f m e Th e & ‹ c l e v e r - n e s s - o f m e I h ave t o c r o w b e c a u s e - I k n o w t h e c l e v e r - n e s s" C o c k a - d o o - d l e -&
d o o ! " o f m e ( W O LV E S a r e h e a r d h o
‹ d ay a n e w a d ve n - t u r e - E v ' r y - m o m e n t - t o b e fi l l e d Wh y
‹ b o t h e r - w i t h a b e d t i m e - Wi t h p i r a t e s - t o b e k i l l e d
wo l ve s a r e r a t h e r - f r i g h t e n i n g - Th e y ' r e s o u n d i n g - c l o s e r - n o w We
d o n ' t h ave t h e m i n B l o o m s b u - r y - Th e b ye l a w s - d o n ' t a l l o w& ‹ Wh e n P E T E R e v - e r - wo l ve s a r e p r o w l i n g - A m o n g s t - t h e N e v e r - Tr e e s Yo u
‹ m u s t a p p r o a c h - t h e m b a c k wa r d s - Th e n s t a r e b e t w e e n - yo u r &
‹ k n e e s
( P E T E R a n d W E N DY b o t h a ssu m e t h e pr e sc r i b e d po si t i o n T h e W O LV E S q u i c k l y d i sa ppe a r W E N DY r e m a i n s u psi d e d o w n , a n d P E T E R c r e e ps u p o n h e r, v e r y pl e a se d w i t h h i m se l f ) P E T E R : C o m e o n We n d y, d o a s I d o B o o ! 4 P E T E R O h f t h e
‹ c l e v e r - n e s s - o f m e Th e c l e v e r - n e
( P i r a t e s )
C U E : H O O K : I d o n ’t b e l i e ve w e ’ve b e e n i n t r o d u c e d , h ave w e M u m m y ?
H a , h a , h a O h , i t ’s l i k e t a k i n g c a n d y f r o m a b a b y ( To t h e P i r a t e s ) N o w t i e h e r u p ( T h e P i r a t e s c e l e b r a t e H o o k ’s t r i u m ph w h i l st t
A n d a n t e c o n m o t o h = c . 9 6
Wh o P I R AT E S p u t t h e jo l l y - i n t h e jo l l y - R o g e r ?& ###
Wh o p u t t h e t r e a s u r e - i n o u r c h e s t ? & ###
Wh o ' s m o r e a r t f u l - t h a n t h e A r t f u l - D o d g e r ? - Wh o '
s
& ###
l o o k ? Wh o i s f e a r e d i n e v ' r y - h a r b o u r ? - C u t s S O L O m o r e & ###
t h r o a t s t h a n a n y - b a r b e r ? - Ye s A L L i t ' s g o o d o l d C a p t
& bb
H
& bb
H e ' s m
( M e r m a i d ) N o . 9 – S I R E N S O N G
C U E : S TO R Y T E L L E R : . . . s e e m i n g l y b e a u t i f u l b u t i n r e a l i t y l u r i n g h a p l e s s s a i l o r s t o t h e i r d o o m o n t h e h i d d e n r o c k s b e n e a t h t h e t r o p i c a l wa t e r s 4
A n d a n t e m i s t e r i o s o q = 1 0 0
M E R M A I D ( p l aye d b y p i r a t e ) mp O o O o & bbbb
1 6 p o c o r i t . 2 1
JO H N : M e r m a i d s a r e n o t a s p r e t t y a s I ’d i m a g i n e d
M I C H A E L : Th a t o n e n e e d s a s h ave .
T h e so u n d o f t h e b o y s' v o i c e s se n d s t h e M e r m a i d s b a c k t o t h e i r c o r a l c av e s 2 & ‹ ##
A l l e g r o q = 1 2 0
( C e c c o , C o o k s o n ) N o . 9 a – M A R O O N E R ' S R O C K
C U E : P E T E R : M a r o o n e r ’s R o c k S h i p s ’ c a p t a i n s u s e d t o t i e u n r u l y s a i l o r s t h e r e . Wh e n t h e t i d e c o m e s i n i t c o ve r s t h e R o c k a n d t h e y d r o w n e d 2
P E T E R :
A n d a n t e q. = c . 1 0 0
S o m e o n e ' s c o m i n g - H i d e , e ve r yo n e ! H e ave mp
1 0
C U E :
P E T E R : We l l t h e n –
I a m P e t e r Pa n
C U E : H O O K : A n d I a m
t h e o n e a n d o n l y
( I n s t r u m e n t a l )
C a p t a i n H o o k ! ? C U E : P E T E R : L e t t h e m h ave i t , b o y s !
[ P E T E R a n d t h e L O ST B OY S a t t a c k t h e P I R AT E S]
A l l e g r o q = 1 9 0
4 ™ P r e s t i s s i m o h = 1 2 0 1 9
> œ > # j œ > n j ?
P E T E R : S e e t o i t t h a t We n d y g e t s t o s a f e t y G o t o i t ! N o w ! # & ## n n bbb & bbb
JU K E S : F i n i s h h i m , C a p t a i n ! C E C C O : Aye , c u t h i m i n t o p i e c e s !
S M E E : R e d u c e h i m d o w n t o c u t l e t s , C a p t a i n – a n d b i t e - s i z e b i t s o ' b r i s k e t ! & bbb
H O O K :
C u t l e t s ? B i t e - s i z e b i t s o ' b r i s k e t ? I ' m a s wa s h - b u c k l i n g
b u c c a n e e r, S m e e – n o t a b a c k - s t r e e t r e t a i l b u t c h e r
C U E : H O O K : D o n ' t s t a n d t h e r e g o g g l e e ye d
G e t a f t e r t h e m I wa n t t h a t g i r l !
9
C U E : H O O K : I m i g h t p o p b a c k t o e n jo y yo u r fi n a l m o m e n t s
( I n s t r u m e n t a l )
P E T E R P A N : I ' m s o r r y, We n d y WE N D Y: I t ' s n o t yo u r f a u l t , P e t e r
A n d a n t e q = c . 8 0 N o .
P E T E R P A N : We m u s t n ' t g i ve u p h o p e – t h e L o s t B o y s m i g h t c o m e b a c k a n d fi n d u s WE N D Y: O h d e a r P E T E R P A N : Wh a t i s i t ? & bbbb
WE N D Y: Th e y w e r e t r y i n g s o h a r d t o b e o b e d i e n t a n d d i d s o wa n t m e t o b e t h e i r m o t h e r
P E T E R P A N : M o r e t h a n a l l t h e wo r l d
WE N D Y: I t ’s ju s t t h a t , t h e l a s t p i e c e o f m o t h e r l y a d v i c e I g ave t h e m wa s t o g o h o m e a n d wa i t f o r u s t h e r e & bbbb
P E T E R P A N : A h ! We r a i s e d t h e m w e l l , We n d y, a n d t h e y ’ l l d o a s t h e y ' ve b e e n t o l d We m u s t b e b r ave D y i n g w i l l b e a n a w f u l l y b i g a d ve n t u r e
C o n m o t o q = c . 9 0 1 3
WE N D Y: L o o k , P e t e r ! [ T h e K I T E sa i l s i n t o v i e w ] n n n b & b
P E T E R P A N : I t ' s a k i t e c o m e h e r e t o s ave u s WE N D Y: A k i t e , b u t h o w c a n i t d o t h a t a l l b y i t s e l f ? & b
A l l e g r o q. = 1 9 0 1 7 2 0
P E T E R P A N : I t h a s n ' t c o m e a l o n e , We n d y Ti n k e r B e l l i s i n f u l l c o n t r o l & b
F l u r r y i n g 2 5
4 & bbbb
P E T E R P A N : S h e b e g s t o b e f o r g i ve n - ye s , Ti n k , w e a r e b e s t f r i e n d s a g a i n & b
T I N K E R B E L L u n d o e s t h e r o pe s P E T E R : H o l d t i g h t ! & b
Wh o H O O K
t h i n k s I a m f o o l i s h - n o t s a i l i n g - f o r t h a g a i n - m e n ? & ##
Wh o t h i n k s I a m f o o l i s h - a n d wh o t h i n k s I a m m o r e c h i c k e n - t h a n a h e n & ##
m e n ? D o n ' t d o l c e s ay t h e c a t g o t yo u r t o n g u e s m e n ? & ##
5 3 8 r i t . c o n f u o c o a t e m p o q = 1 0 8 4 1 p o c o a c c e l .
Te l l m e wh a t yo u t h i n k yo u k n o w yo u c a n A m I t o a s s u m e - w e a r e c o n& ##
4 6
F a s t e r ( q = c . 1 2 6 )
t e n t t h e n ? N o t u n t i l - I c a n k i l l P e t e r - Pa n H o w I ' d & ##
4 9
l o ve t o m a k e a h a n d b a g - o f t h a t 3 c r o c c o - d i l e - H o w I ' d l o ve t o s l i t t h e g i z z a r d - o f t h a t & ##
b o y a n d g r i n d
5 2 p o c o r a l l . p o c o r a l l . 5 5 r a l l . & ##
##
s o m e t h i n g - I wo u l d t h o r o u g
( I n s t r u m e n t a l ) AC T T WO
M a e s t o s o q = c . 8 0 N o . 1 0 a – E
4 4 3 4 4 4 2 4 4 4 & bbb
A l l e g r o d i a b o l o q = 1 4 0 4 1 4 1 9 r i t .
[ N i gh t – t h e d o w n c a st P I R AT E S
o n t h e b e a c h – l a n t e r n s ] S TO R Y T E L L E R : A c r o s s t h e b ay, t h e p i r a t e b a r q u e , Th e Jo l l y R o g e r, b o b b e d a t a n c h o r O n t h e r o c k - s t r e w n s h o r e n e a r b y, t h e p i r a t e s p o l i s h e d c u t l a s s e s , o i l e d p i s t o l s a n d c l e a n e d t h e i r m u s k e t s a n d h o n e d t h e i r d a g g e r s t o a r a z o r s h a r p n e s s - p r e p a r a t o r y t o k i l l i n g a n y l i v i n g t h i n g –
A d a g i o m i s e r a b l i l e q = 6 0
2 5
& bbb 8 & bbb & bbb n n b & b
r i t . A t e m p o ( c o n r u b a t o )
S TO R Y T E L L E R : ( c o n t )
Ja m e s H o o k , s t o o d o n t h e s h o r e a n d s t a r e d o u t a c r o s s
t h e r i p p l i n g s e a A t l a s t , h e l e t o u t a m e l a n c h o l y s i g h [ H O O K l e t s o u t a si gh ] & b
JU K E S : I ’ve n e ve r k n o w n h i m s o m o o d y H e ’s
l i k e a n a r wh a l a b o u t t o b l o w.
S TA R K E Y: I a l m o s t p r e f e r h i m wh e n h e ’s a n g r y – a t l e a s t yo u k n o w wh a t t o e x p e c t S TO R Y T E L L E R : H o o k s i g h e d a g a i n , a n d l o u d e r a n d m o r e m e l a n c h o l y t h a
N o 1 0 a – E n t r ' Ac t e
M U L L I N S : S o m e b o d y s h o u l d h ave a
wo r d w i t h h i m Tr y a n d c h e e r h i m u p & b
A t e m p o
r a l l .
T h e P i r a t e s a l l l o o k m e a n i n gf u l l y a t Sm e e ,
w h o a ppr o a c h e s H o o k , c l e a r s h i s t h r o a t , a n d . . .
9 m o l t o r a l l . N o . 1 1 – R O S E - T I N T E D E Y E P AT C H
( S m e e , H o o k , P i r a t e s )
C U E : S M E E : L o o k o n t h e b r i g h t s i d e , C a p t a i n 3
S M E E : G i ve u s a s m i l e , C a p t a i n ! Wo r s e t h i n g s h a p p e n a t s e a . & ##
t h e r e a r e e v i l d e e d s a r o u n d t h e c o r n e r, wa i t i n g t o b e p e r p e t r a t e d , ju s t l i k e i n t h e b a d o l d d ay s
A S h a n t y q = c . 6 4
S M E E C a p mp t a i n& ##
9 r a l l .
H o o k H e ‘ s a s e n s i - t i ve - s o u l wh o ju s t t h r i ve s o n c o m m i t - t i n g - f o u l c r i m e s A n d I ‘ m & ##
A t e m p o q = c . 6 4 1 3
s u r e w e c o u l d g e n t l y - c a jo l e - h i m w i t h f o n d r e m i n - i - s c e n c e - o f h a p p i - e r - t i m e s & ##
L o o k mf b a c k t h r u ‘ a r o s e t i n t - e d - e ye p a t c h - Th i n k & ##
1 6 8 & b
b a c k t o o u r m u r d e r - o u s - l a r k s O n e s w i p e o f yo u r c u t l a s s - Yo u r f o e
b e a u t i
i
b e a u t i - f u l - b r i n y - Yo u r h o o k n i c e a n d s h i n y - Th e c o r p f s e s - w e h u n g f r o m t h e m a s t & ##
b e a u t i - f u l - b r i n y - Yo u r h o o k n i c e a n d s h i n y - Th e c o r p f s e s - w e h u n g f r o m t h e m a s t & ##
b a c k t h r u ‘ a r o s e t i n t - e d - e ye p a t c h - F o r g e t - t h i s yo u n g b o y wh o c a n fl y & ##
b a c k t h r u ‘ a r o s e t i n t - e d - e ye p a t c h F o r g e t - t h i s yo u n g b o y
N o 1 1 – R o se - T i n t e d E ye pa t c h
s u r e yo u wo u l d s o o n e r - g o s i n k a n i c e s c h o o n e r - I f o n l y - yo u ‘ d g i ve i t a t r y B u t f o r & ## ∑
I f f o n l y - yo u ‘ d g i ve i t a t r y B u t f o r & ##
∑
I f f o n l y - yo u ‘ d g i ve i t a t r y B u t f o r & ##
∑
I f f o n l y - yo u ‘ d g i ve i t a t r y B u t f o r ? ##
I f f o n l y - yo u ‘ d g i ve i t a t r y B u t f o r & ##
T h e y h av e a r r iv e d i n t h e
9 5 4 p o c o r i t . 8 3 Wi t h g u s t o q. = 1 8 0
4
p i r A L L a t e s - I t ‘ s a m i s t a k e - i f yo u r s wa s h h a s n ‘ t - b u c k l e d - f o r ye a r s A n d a s p i r a t e s& ##
We n e e d a b r e a k ‘ c o s w e ‘ r e d o w n o n o u r l u c k a s l a m e d u c k b u c c a n - e e r s
D u r i n g t h e i n st r u m e n t a l , a n d w i t h a sn a p o f h i s fi n ge r s,
H o o k i n d i c a t e s f o r t h e P i r a t e s t o d e m o l i sh t h e h o u se ,
c l e a r i n g w h e r e W e n d y ’s h o u se i s st i l l st a n d i n g∑ U H O O K sn a ps h i s fi n ge r s & ##
1 0 0 1 0 4 & ##
r u n n i n g i t t h r o u gh w i t h t h e i r sw o r d s 14 ∑ T h e h o u se c o l l a pse s t o r e v e a l n o si gn o f Pe t e r o r t h e L o st B o y s A L L L o o k mf ##
C o n m o t o q = 7 0
r i t .
b a c k t h r u ' a r o s e t i n t - e d - e ye p a t c h - N o s t a l - g i a - i s g o o d f o r t h e s o u l Th o
b a c k t h r u ‘ a r o s e t i n t - e d - e ye p a t c h -
b a c k t h r u ‘ a r o s e t i n t - e d - e ye p a t c h - We u s e
& #### m e m b e r - t h o s e h a l c y - o n - d ay s
& #### m e m b e r - t h o s e h a l c y - o n - d ay s
#### m e m b e r - t h o s e h a l c y - o
S l o w e r
C o n m o t o q. = 6 8
G o o d h o n e s t - p i r a - c y - p ay s
G o o d h o n e s t - p i r a - c y - p ay s
& ####
G o o d h o n e s t - p i r a - c y - p ay s
G o o d h o n e s t - p i r a - c y - p ay s
R o u s i n g q. = 1 0 0 N o . 1 1 a – Th e H o m e U n d e r Th e G r o u n d
( I n s t r u m e n t a l ) p o c o r a l l .
C U E : H O O K : W h y m u s t m y m o s t t r i u m p h a n t m o m e n t b e u n d e r m i n e d b y t h a t r e p e l l e n t r e p t i l e ! n n n # & #
& bbb
S TO R Y T E L L E R : Wh i l e P e t e r Pa n wa s o u t a d ve n t u r i n g i t wa s We n d y ' s m o t h e r l y d u t y t o r e m a i n b e h i n d , i n t h e u n d e r g r o u n d h o m e , & #
Tr a n q u i l l o q q = c . 8 6
S TO R Y T E L L E R ( c o n t ' d ) : a n d t e l l t h e L o s t B o y s t h e i r b e d t i m e s t o r y - i t wa s a f a i r y t a l e wh i c h s a t i s fi e d We n d y ' s f a n t a s y, r a t h e r t h a n t h e i r o w n & #
WE N D Y ( c o n t ' d ) : " D o yo u t a k e t h i s h a n d s o m e p r i n c e ? ” t h e A r c h b i s h o p a s k s , h i s vo i c e r e s o u n d i n g t h r o u g h t h e R o ya l Pa l a c e
WE N D Y: Th e c r y s t a l s l i p p e r wa s a p e r f e c t fi t Th e h a p p y p a i r a r e jo i n e d i n m a t r i m o n y t h a t ve r y a f t e r n o o n & #
WE N D Y: ( d r e a m i l y ) ” I d o ! ” s h e wh i s p e r s b r e a t h l e s s l y. “ I d o ! I d o , o h ye s , ye s - I t r u l y d
T H E B OY S : Ye s , p l e a s e !
S w e e t l y – a l u l l a b y q = c . 7 4 ( We n d y )
N D Y p
F l o w i n g n o w q = 8 0
Ju s t mp b e yo n d - t h e s t a r s A r
a g r e e w i t h yo u B u t , s e r i o u s l y, P e t e r ?
P E T E R : S e r i o u s l y, wh a t ?
C U E : P E T E R : I h o p e yo u a l l l i k e yo u r m o t h e r s Ti n k !
[ T i n k e r B e l l fl i e s o u t o f h e r c u b by h o l e ]
l l e g r o q. = 1 8 0
( I n s t r u m e n t a l )
P E
E R P A
[ T i n k e r B e l l d a r t s a r o u n d - c l e a r l y d e l i gh t e d t o b e ge t t i n g r i d o f W e n d y ] ? & n n bbbb & bbbb
Ab o v e gr o u n d w e se e H o o k a n d t h e P i r a t e s c r e e pi n g sl o w l y t o t h e spo t w h e r e t h e W e n d y H o u se h a d b e e n d e m o l i sh e d & bbbb
H o o k m o t i o n s h i s m e n t o si l e n c e . H o o k r u b s h i s c l aw w i t h gl e e . ∑ & bbbb
P E T E R P A N : Th e
( P e t e r )
A g g r e s s i ve q = 1 9 5
N o 1 4 a – L a n d T h e M a c k e r e l
d ay a n e w a d ve n - t u r e - E v ' r y - m o m e n t - t o b e fi l l e d Wh y b o t h e r - w i t h a b e d t i m e - Wi t h &
1 1 s l o w e r
p i r a t e s - t o b e k i l l e d ? A n d m e r m a i d s - s t i l l t o c a p t u r e - Wi l d a n i - m a l s - t o t r a c k Th e r e ' s &
n o s u c h f u n i n B l o o m s b u - r y - I mp b e t t h a t t h e y ' l l b e b a c k Wh a t p c a n b e f o u n d i n &
4 1 8 r a l l . 2 2
S TO R Y T E L L E R : A s P e t e r s e t t l e d d o w n t o s l e e p , We n d y, M i c h a e l , Jo h n a n d t h e
L o n d o n - B u t s a d n e s s - a n d r e g r e t ? - F o r w i n d o w s - d o n ' t s t ay &
o p e n - A n d m o t h e r s - s o o n f o r g e t -
S TO R Y T E L L E R ( c o n t ' d ) : O n e b y o n e , t h e y w e r e
s e i z e d b y t h e P i r a t e s a n d s p e e d i l y t r u s s e d a n d
g a g g e d Th e P i r a t e s t h e n s e t o f f w i t h t h e i r p r i s o n e r s
b o u n d f o r t h e s h i p H o o k a n d S m e e s t aye d b e h i n d ∑ U ∑ U ∑ U
L o s t B o y s m a d e t h e i r way a b o ve g r o u n d ∑ &
( I n s t r u m e n t a l ) N o . 1 4 a – L A N D T H E M AC K E R E L
C U E : H O O K : R i d i c u l o u s t o b e l i e ve i n f a i r i e s
N o w a l l t h e s p r a t s a r e s a f e l y n e t t e d , i t ’s t i m e t o f o r u s t o l a n d t h e p r i z e c a t c h
M o d e r a t o m i s t e r i o s o q = 1 0 2
2 2 2 2 4 4
H o o k a n d Sm e e st e a l t h e i r w ay u n d e r gr o u n d t o w h e r e Pe t e r i s sl e e pi n g
H O O K : L o o k a t h i m , S m e e - t h e u n t r o u b l e d s l e e p o f a c h i l d wh
N o . 1 5 – W H E N I K I L L P E T E R P A N /
G O O D O L D CA P TA I N H O O K ( R e p r i s e )
( H o o k & Th e P i r a t e s )
C U E : H O O K : I d o n ' t s u p p o s e yo u h a p p e n t o h ave a c h o c o l a t e a b o u t yo u r p e r s o n , S m e e ? 2
M o d e r a t o m i s t e r i o s o q = 1 1 0
mp d r o p s a r e H O O K s u f fi c - i e n t ! -
i d
o f t h i s &
## b o y, JOY ! sfz S M E E : S h h ! Two mp d r o p s a r e s u f fi c - i e n t - S o i m a g - i n e - wh a t t wo s p o o n f u l s - c o u l d d e s& ‹ ##
r o
h i n k t h a t ju s t t h i s o n c e p
m o l t o 1 6 s l o w e r
G l e e f u l h = 1 1 0
p o c o r i t .
S M E E : Q u i c k l y C a p t a i n ! H e s t i r s ! P e t pp e
D E A D S E G U E F R O M N o 1 5
A g i t a t o q = c . 1 1 0 N o . 1 5 a – T I N K A N D T H E P O I S O N
Ÿ~~~~~
P A N : Wh o g o e s ? n n b & b
P A N : B u t fi r s t t h i n g s fi r s t , Ti n k I p r o m i s e d I wo u l d t a k e h e r m e d i c i n e
( I n s t r u m e n t a l ) 4 8 p i ù m o s s o 1 1
P A N : Ti n k , yo u w e r e s u p p o s e d t o t a k e e ve r yo n e t o n ##
C a p t u r e d ? I ' l l r e s c u e t h e m & ##
[ T I N K d r i n k s t h e po i so n ]
P o i s o n e d ? Wh o c o u l d h ave
t o fi n d f a u l t w i t h e ve r y t h i n g t h a t h a s t o d o w i t h We n d y ∑ U & ##
P A N : Ti n k ? Ti n k e r B e l l ? Wh a t ’s w r o n g ? Wh a t i s i t ?
Th e n i t wa s p o i s o n – yo u d i d t h a t f o r m e ? H e r l i g h t i s g r o w i n g f a i n t
A n d a n t e q = c . 8 0 1 5
P A N : Wh y Ti n k e r B e l lyo u ' ve d r u n k a l l o f We n d y ' s m e d i c i n e - e ve r y l a s t d r o p !
a n d i f i t g o e s o u t a l t o g e t h e r, t h a t m e a n s
. . . t h a t s h e i s d e a d . H e r vo i
p o i s o n e d i t ? Yo u m u s t n ' t l o o k
Ti n k e r B e l l . . . ∑ U n n b & b
2 0 4 4 2 4 2 4 4 4 2 4 4 4
2 4 4 4 & ##
S h e s ay s - s h e s ay s s h e t h i n k s s h e c o u l d g e t w e l l a g a i n i f c h i l d r e n b e l i e ve d i n f a i r i e s !
A l l e g r o q = c . 1 1 0
0 ™ ™
3
D o yo u b e l i e ve i n f a i r i e s ? S ay q u i c k t h a t yo u b e l i e ve ! N o , b e t t e r s t i l l - i f yo u b e l i e ve , t h e n c l a p yo u r h a n d s ! 2 ∑ [ T I N K i s sav e d ] n ## & ## & ##
A n d n o w t o r e s c u e We n d y ! R e a d y, Ti n k e r B e l l ? A n d t h i s t i m e , i t ' s H o o k o r m e !
3 5 ™ p o c o r i t . ™
P A N : O h t h a n k yo u , t h a n k yo u ! Ti n k e r B e l l , yo u ' r e a l i ve ! Yo u r i s k e d yo u r l i f e f o r m i n e Wh a t b e t t e r f r i e n d c o u l d a n y b o y wa n t o r n e e d ? & ##
M P D E A D S E G U E - N o 1 5 b " O N E B I G
P u p o s e f u l l y h = 9 2 N o . 1 5 b – O N E B I G A D V E N T U R E ( R e p r i s e ) ( P e t e r )
p i ù m o s s o e s t r i n g e n d o h = 1 2 6
t r u t h
H o o k & S m e e ) A l l e g r e t t o q = 1 8 0 F r e e l y q = 1 5 0
c o n s c i e n c e
Th o ' t h a t & ‹ bb p r i n c i - p l e s - a r
k n o w yo u d o
l i k e t o t h i n k m y m a n n e r s - a r e r e fi n e d - F o r
i n - s t a n c e w i t h t h e s e l o s t b o y s A s I & ‹ bb
s e n d t h e m o f f t o d i e Yo u ' l l n o t i c e - t h a t I & ‹ bb
s m i l e A n d t a k e t h e t i m e t o s ay ' G o o d b ye '& ‹ bb
9 8
S . 1 0 2 r a l l .
5 4 4 4 4 4 3 4 & ‹ bb
H O O K : C h e e r f u l ? ( a h o l l o w l a u gh )
S M E E A n d mp wh a t a l o v e l y - s m i l e I t wa r m s t h e c o c k l e s - o f m y & ‹ bb h e a r t To t h i n k t h e i r jo u r n e y - t o t h e a f t e r - l i f e - h a s s u c h f a c h e e r f u l&
bb s t a r t
S A n d a n t e q = 1 1 0 1 0 8
S u d d e n l y I a m s a d , S m e e " ∑ ∑ U & ‹ bb
H O O K : O h f a m e
S M E E : Wh a t s o r t o f a s a d n e s s i s i t , C a p t a i n ? H O O K : Th e k i n d t h a t c o m p e l s m e t o m a k e m y d y i n g s p e e c h
S 1 1 6 r i t .
I n c a s e , wh e n a c t u a l l y d y i n g , t h e r e m ay n o t b e t i m e f o r i t 8 &
N o . 1 6 a – N E V E R L A N D ( R e p r i s e )
( Th e L o s t B o y s )
C U E : H O O K : Pa n ' s d e a d - a n d yo u m ay h ave m y h o o k o n i t
( O n e B OY b e gi n s t o st a m p o n t h e d e c k - a sl o w b e a t ) ∑ TO OT L E S H e ' l l mf n e v e r - d i e P e t e r - Pa n l i ve s f o r e v - e r& bb
I n s i s t e n t l y q = 9 6 5 8 1 2
N e v e r - d i e P e t e r - Pa n i s o u r f r i e n d Yo u + JO H N c a n t r y e v ' r y - fi e n d i s h - e n& bb
d e av o u r+ N I B S B u t w e k n o w t h a t h e ' l l w i n i n t h e H O O K : S t o p ! S t o p I s ay, t h i s i n s t a n t ! e n d A L L B OY S H e ' l l f & bb
n e v e r - d i e P e t e r - Pa n w i l l b e wa t c h i n g - N e v e r - d i e Yo u ' l l b e wa l k i n g - t h e & bb
p l a n k
9
bb
4 4 4 & bb
WE N D Y: H e ' s a l i ve , yo u d e v i l ! Yo u s h a l l s e e Yo u c a n d o h i m n o i l l
1 5 a c c e l . p o c o a p o c o a l fi n e
N o . 1 6 b – T H E D E AT H S
( I n s t r u m e n t a l )
C U E :
( A sc r e a m a n d t h e n a spl a sh a s M u l l i n s i s t o sse d o v e r b o a r d )
S L I G H T LY: O n e !
D i c t a t e d
B a ss D r u m
( W h o o m p! )
D i a l o g u e c o n t i n u e s u n t i l ( A sc r e a m ) ∑ U
S L I G H T LY: Two ! ∑ U
D i a l o g u e c o n t i n u e s u n t i l ( A sc r e a m ) & bbbb
5 A n d a n t e q = 1 0 0
5 r a l l . 4 4 4 4 & bbbb
D i a l o g u e c o n t i n u e s u n t i l ( A sc r e a m )
S L I G H T LY: Th r e e ! ∑ U
S L I G H T LY: F o u r !
N o . 1 6 c – T H E D O O D L E - D O O
( I n s t r u m e n t a l )
C U E : H O O K : i f t h e D o o d l e - D o o k i l l s t h e m ,
wh a t o f i t ? We a r e n o n e t h e wo r s e .
T h e y m a n h a n d l e t h e B OY S i n t o t h e c a b i n - t h e n , a f r a i d a t w h a t t h e i r e ye s m i gh t se e , H O O K a n d t h e P I R AT E S t u r n t h e i r b a c k o n t h e c a b i n a n d a ga i n c o v e r t h e i r f a c e s w i t h t h e i r h a n d s R e l i e v e d , by P E T E R , o f t h e i r sh a c k l e s, a n d a r m e d w i t h su c h & w e a po n s a s t h e y h av e m a n a ge d t o l ay h o l d o f , t h e B OY S t i pt o e u p o n d e c k a n d t a k e u p h i d i n g- pl a c e s P E T E R r e l e a se s W E N DY i n d i c a t i n g t h a t sh e t o o h i d e Ta k i n g h e r c l o a k , h e f o l d s i t a r o u n
V E R Y S H O R T D I A L O G U E &
N o . 1 7 – T H E F I G H T
( I n s t r u m e n t a l / P e t e r ) 4
C U E : WE N D Y: Th e r e i s o n e !
M U L L I N S : Th e n wh o i s t h i s o n e ?
A l l e g r o h = 9 0
S M E E : Th e s h i p ’s a fl o a t i n g c o f fi n – w e ’r e a l l g o i n g t o d i e ! I t ’s e ve r y m a n , a n d wo m a n , f o r t h e m s e l ve s
( Sm e e r i ps o f f ‘ h e r ’ b e a r d )
H O O K : S m e e ! Yo u ’r e a . . . yo u ’r e a . . . wo m a n !
S M E E : To o l a t e n o w, C a p t a i n , yo u h a d yo u r c h a n c e
( Sm e e gr a b s a l i f e b e l t a n d ju m ps o v e r b o a r d , l e av i n g ju st H o o k , N o o d l e r, C o o k so n a n d Sky l i gh t s t o fi gh t )
P E T E R : P e t e r Pa n ! S K Y L I G H T S : Yo u s wo r e t h a t Pa n wa s d e a d - yo u l a i d yo u r H o o k o n i t &
S TO R Y T E L L E R : P e t e r a n d Th e L o s t B o y s n o w o u t n u m b e r e d t h e p i r a t e s a n d , w i t h s o m e h e l p f r o m M i c h a e l a n d Jo h n , t h e fi n a l b a t t l e b e g a n H O O K : K i l l h i m ! bbb & bbb 4
T h e t w o w o r d s a r e spa t o u t w i t h su c h v e n o m , t h a t t h i s t i m e t h e P i r a t e s a r e spu r r e d f o r w a r d & bbb
S t e a dy a n d t i g h t q = 9 6 9 1 3 1 7 2 0
WE N D Y: M i c h a e l ! D o b e c a r e f u l !
Yo u ' l l d o yo u r s e l f a n i n ju r y & bbb
M I C H A E L : I ' ve ju s t k i l l e d a p i r a t e ! WE N D Y: H o w d r e a d f u l ! M I C H A E L : I t wa s f u n , We n d y ! I e n jo ye d i t ! & bbb
p o c o p i ù m o s s o q = c . 9 6
4 2 2 4 4 4 4 &
3 0
A l l e g r o f u r i o s o h = 8 6 3 3
P E T E R : P u t d o w n yo u r s wo r d s , b o y s Th i s m a n i s m i n e
H O O K : S o , Pa n - i t i s t h e e a n d m e a t l a s t .
P E T E R P A N : Aye , C a p t a i n H o o k - t h e t wo
o f u s A s i t e ve r wa s a n d a l way s wo u l d b e
H O O K : Th e n d i e , b o y ! ∑ U & ##
1
T h e sw o r d fi gh t c o n t i n u e s, m u si c a l l y, a c r o ss t h e d e c k s 8 & ##
H O O K : Th i s i s n o b o y ! Th i s i s s o m e
fi e n d I f a c e . I n h e ave n ' s n a m e , Pa n , wh o
4 7
S l o w l y, s i m p l y q = 1 0 0
[ Su d d e n l y, H O O K i s t a n gl e d i n t h e r i ggi n g ] & ##
Aga i n t h e y fi gh t
A l l e g r o d i a b o l o q = 1 6 0 5 4
bbb
a n d wh a t a r t t h o u ? Te l l m e 2 P E T E R I pp a m n n bb yo u t h , I a m f r e e d o m , - I a m t r u t h
P A N : A n d , i n t r u t h , H o o k , I a m e ve r y t h i n g t h a t yo u a r e l a c k i n g H O O K : To s wo r d !
& bbb H o o k i s d i sa r m e d H O O K
6 4 r a l l . 7 0
L e n t o q = 1 2 0 7 5 2 4 4 4 & ##
1
A n d a n t e q = 6 0
N o 1 8 a – M r s D a r l i n g At T h e P i a n o
S TO R Y T E L L E R : M e a n wh i l e , b a c k h o m e i n B l o o m s b u r y, M r s D a r l i n g s t o o d a t t h e o p e n w i n d o w a n d wa t c h e d a n d wa i t e d , a s s h e h a d wa t c h e d a n d wa i t e d , d ay a f t e r d ay, e ve r s i n c e h e r c h i l d r e n h a d g o n e M R S D A R L I N G mp
C l o s e yo u r & ##
p o c o p i ù m o s s o q. = 6 6
e ye s a n d i m a g - i n e - C l o s e t h e m t i g h t a n d p r e t e n d -
C l o s e p t h e m t i g h t a n d p r e t e n d . . . -
7 N o . 1 8 a – M R S D A R L I N G AT T H E P I A N O
( I n s t r u m e n t a l )
C U E : M R S D A R L I N G : N o t h i n g wo u l d g i ve m e g r e a t e r p l e a s u r e 2
A n d a n t e d o l o r o s o q. = 7 0
S TO R Y T E L L E R : A s M r s D a r l i n g p l aye d , a n d M r D a r l i n g s n o r e d , u n b e k n o w n s t t o t h e m , s o m e t h i n g s t i r r e d o u t s i d e t h e n u r s e r y w i n d o w. . . & M I C H A E L : I t h i n k I h ave b e e n h e r e b e f o r e ?
JO H N : Th i s i s wh e r e yo u l i ve , yo u a s s D o n ' t yo u k n o w h o m e ? WE N D Y: L o o k - t h e r e ' s yo u r b e d , M i c h a e l & JO H N : I s ay - t h e k
C U T O N C U E
N o 1 8 b – R e u n i o n
M U S I C O U T B E F O R E :
M R S D A R L I N G : G e o r g e ? G e o r g e , d e a r ! Ti m e f o r yo u r e ve n i n g e x e r c i s e ! M R D A R L I N G : O f c o u r s e Th a n k yo u f o r r e m i n d i n g m e n n n n &
M R S D A R L I N G : Yo u k n o w yo u r e a l l y c a n u s e t h e f a c i l i t i e s
M R D A R L I N G : N o , m y d e a r, a t r e e t r u n k i s q u i t e s u f fi c i e n t M R DAR L I N G e xi t s &
T h e r e i s a so u n d f r o m b e h i n d o n e o f t h e b e d s.
r a l l . m o l t o r a l l .
N o . 1 8 b – R E U N I O N
( I n s t r u m e n t a l )
C U E : M R S D A R L I N G : Wh o ' s t h e r e ? S o o f t e n I d r e a m t h a t I c a n h e a r t h e c h i l d r e n i n t h i s r o o m
I f o n l y r e a l l i f e c o u l d b e l i k e m y d r e a m s
WE N D Y: M o t h e r !
L e n t o q = 4 0
M R S DAR L I N G h e a r s i t , b u t d o e s n o t d a r e t o t u r n a n d l o o k ~ ~ ~ ~ ~ “” & ##
S TO R Y T E L L E R :
M R S D : Th a t i s We n d y JO H N : M o t h e r !
M R S D : Th a t i s Jo h n
M I C H A E L : M o t h e r !
M R S D : A n d n o w M i c h a e l
Wh e n t h e y c a l l , I s t r e t c h o u t m y a r m s t o t h e m , b u t t h e y n e ve r c o m e Th e y a r e n e ve r t h e r e
Th i s t i m e , h o w e ve r, t h e y w e r e t h e r e M r s D a r l i n g h u g g e d h e r c h i l d r e n a l l a t o n c e , t h e n e a c h i n t u r n A n d e a c h i n t u r n , t h e n a l l a t o n c e , t h e y h u g g e d h e
C o n m o t o q = c . 8 0 5
##
0 6 8 & ####
I k n o w t h e r e a r e m o r e o f t h e m t h a n w e ’r e u s e d t o , b u t I wo n d e r e d i f t h e y m i g h t d o u n t i l
M r D ( c o n t ' d ) : Th e s e c h a r m i n g b o y s c a m e s e t t l i n g d o w n , o u t o f t h e s k i e s i n t o o u r ve r y o w n b a c k g a r d e n ! & ##
M R D A R L I N G : B l e s s m y b o o t s a n d b r a c e s , t h o s e a r e o u r t h r e e !
N o w w e d o h ave a h o u s e f u l !
I ' m a f r a i d w e c a n ' t k e e p a l l o f yo u .
3
M R S DAR L I N G u sh e r s W E N DY, JO H N a n d M I C H AE L i n t o v i e w & ##
& ##
p o c o p i ù m o s s o
M R S D A R L I N G : O h ye s w e c a n , G e o r g e A n d w e s h a l l I t w i l l m e a n n o m o r e t h a n a f e w e x t r a b e d s i n t h e d r a w i n g r o o m
r i t . m e n o m o s s o q = 7 0 1
We s h a l l p u t s c r e e n s a r o u n d t h e m wh e n w e h ave v i s i t o r s .
M R D A R L I N G : Yo u a r e r i g h t , m y l o ve , a s a l way s A l t h o u g h , I m u s t s ay, yo u d o n ' t d o t h i n g s b y h a l ve s & ##
M R S D A R L I N G : B u t fi r s t t h i n g s fi r s t , G e o r g e , a n d m o s t i m p o r t a n t , t h e s e c h i l d r e n m u s t b e f e d n n bb & bb
B r i g h t M a r c h q = c . 1 6 0
S TO R Y T E L L E R : Wi t h M r s D a r l i n g l e a d i n g t h e way a n d M r D a r l i n g
s o m e wh e r e i n t h e m i d d l e o f t h e p a r t y, t h e y s e t o f f t o wa r d s t h e d i n i n g r o o m & bb
M a g i c a l o n c e m o r e q = 1 0 0
6 4 4 & ##
[ P E T E R a r r iv e s a t t h e w i n d o w
S TO R Y T E L L E R : We n d y s t aye d b e h i n d – f o r a r e a s o n s h e h e r s e l f wa s n o t q u i t e s u r e o f , b u t o n e wh i c h wa s t o b e c o m e i n s t a n t l y c l e a r n n #
&
N o . 1 9 – T H E R E ' S A LWAY S TO M O R R O W
( P e t e r & C o m p a n y )
C U E : S TO R Y T E L L E R : B o y, wh y a r e yo u c r y i n g ? Wh a t ' s yo u r n a m e ?
P E T E R : P e t e r P e t e r Pa n
A n d a n t e q = 9 6 ( TAC E T )
t o y s ? O u r p a r e n t s - d o n ' t h ave t h e a d ve n - t u r e s - t h a t w e d o a s g i r l s a n d & ##
b o y s Th o s e g r o w n u p s - a l way s - l o o k s o s o l e m n& ## I k n o w t h a t g r o w n u p s - h ave t
r o w u p
