LIBRETTO

PETER P A N A Musical Adaptation of the play by

Sir JAMES M. BPLRKIE

Music by MOOSE CHARLAP

Lyrics by CAROLYN LEIGH Additional Music by

JULE STYNE Additional Lyrics by

BETTY COMDEN & ADOLPH GREEN Incidcnfd Music by

TRUDE RITFMAN & ELMER BEKNS'FUIN Omhcstrations by

ALBERT SENDREP

Adapted & Directed b y JEROME ROBBINS

This edition (2008) edited by JOHN McGLINN Copyrigh~ S 1977 by Julc Stync, Sandra Charlap as Admjnistmfrix of the b~atc of Morris I. Chuiap, Betry C?on~dcn. Adolph Grccn and Carolkn Leigh. Lyrics

copyrighted D 1951 in pan by Julc Stync, Bcrfy Cumdcn and Adolph Green and in pan by Morris 1. Clurlap and Carotyn Leigh. Copyrights to lyrics rcnrlvcd 1982.

s SAMUEL 8 FRENCH

Cast of Characters (In order of appearance)

WENDY JOHN LIZA

MICHAEL NANA

MRS. DARLING MR. DARLING

PETER PAN LION

KANGAROO OSTRICH

SLIGHTLY TOOTLES

CURLY NIBS

1 ST TWIN 2ND TWIN

CAPTAIN HOOK SMEE

CROCODILE TIGER LILY STARKEY

CECCO NOODLER MULLINS

JUKES WENDY GORWN-UP

JANE

Synopsis of Scenes ACT I

Scene 1 The Nursery of the Darling Residence Scene 2 Flight to Never Land

ACT IT

Scene 1 Neverland Scene 2 Path Through the Woods Scene 3 Neverland Home Undergrouna

ACT IT1

Scene 1 The Pirate Ship Scene 2 Path Through the Woods Scene 3 The Nursery of the Darling Residence Scene 4 The Nursery many years later

Musical Synopsis

I ] OVERTURE 21 PROLOGUE 31 THE BOY AT THE WINDOW 41 NANA SMELLS DANGER 51 TENDER SHEPHERD 61 PETER'S ENTRANCE 71 TINK FINDS THE SHADOW 81 I GOTTA CROW 91 LOCKED IN THE DRAWER 101 NEVERLAND I I] HAIR PULLING 121 LIZA'S ENTRANCE 131 I'M FLYING

141 ENTR'ACTE 151 OPENING ACT TWO 163 PIRAE MARCH 171 HOOK'S TANGO 181 CROCODLE MUSIC 191 SCURRY MUSIC 201 INDIAN DANCE 2 11 THE WENDY BIRD 221 PETER'S MARCH

ACT ONE Scene I

The Darling Nursery

Scene 2 The Flight to Neverland

ACT TWO Scene 1

The Never, Never, Never Land

ACT ONE

[MUSIC #1: OVERTURE] Scene 1

THE DARLING NURSERY [After the Overture the lzoztse czcrtain rises] A scrim drop rq9re.ren.ling tlzr DARLING myidenre is .seen..

[MUSIC #2: PROLOGUE] rlt Bar 12 the lights fade througll the Darling Raside?z(:r ssnim into th.e Nursery. Across the back center i s a huge, divldad windozu ~ 1 2 0 s ~ shutters a m open. On. stage L are two beds ( J O H N ' S & MICHAEL S) ; stage R there i.r one Bed (WENDY lr) . l\bone hrr bed is (1 drcsscr and clbove lire dres.rrr llztre is t r /ligl~.l oJ' slnirs l a d i n g u p and ofJ Doms are ULC and URC on each side of t lx big cenler win,dou~. DL is a firef)lu.cc roh.ere a coal grtlte bzlrns cheerily. O n the nta71trL is u mill

P E T E R PAN

ALL One, two three, one two three, One, two three, one two three. One, two three, one two three, One, two three, one!

[ 0,nfirlub clzor-d ALL bozo to ra.ch olhe,;J MRS. DARLING

You dance beautifully, Mr. Darling. MR. DMUING

c 0 ' Mother! Ivlother!

(MR.DARLING a?~iz/t?s, in no mood zlnfortu.n.cztelj to gloat over lhis do?neslic scmw. [He is real4 a good rnan as bre(1rl- zm'nners go, and it is hard luck f i hirn to Be llyropelled into the room nowJ 7uhen if we had h z ~ g h t Aznt in a feru rninz~tes ear- lier or later he might have .made a fairer impression. In the city rcthar ha sits on u stool all du-y, asJixod as a postage sk~nlp, he is so like all the others on stools that you recognise him not by his face But by his stool, but at home the zuay to grat~Jj him ;is to say that he hus n distin.cL pmonnlity.] He is veq con- sc.ientbi~s, and in the days zuhen MRS. DAIUING gave ztp heqing the ho.use books correclly and drew Pictures i~tsleud (which he called her guesses), he did all the tolting zg for & holding Iw hand while he calculated zuftether they coz~ld have Wendy or not, and corning down on the right side. It is with regret, therqie, that we introduce him as a tmado, rushing into the nu.rsq1 in evening dress, but without his coal, and brandishing in his hand a recalcitrant zuhile tie)

MR. DARLING (Implying that he hns searched f w her everywhere and that the I L U ~ S ~ I ~ is n slrnnge place ;in wltSc11. lolofimi h o )

Oh, here you are, Mary. MRS. DARLING

(Knoruircy at once rullat is the matter) What is the matter, George dear?

MR. DARLING (As the zuwd were monstrozs)

Matter? This tie, it will not tie. (He waxes sarcastic)

Not round my neck. Round the bed-post, oh yes - but round my neck, oh dear no; begs to be excused.

MICHAEL ( In n ;ioyoz~~ transport)

Say it again, father, say it again!

PETER PAN

MR. DARLING ( Witheringly)

A little less noise there. (Goncled by an nzispicioirsly c-rooked smib ox M R S . DAR- LING'S face)

I warn you of this, Mothel; that ~lnless this tie goes around my neck we don't go out to dinner tonight, aricl if I don't go out to dinner to-night I never go to the office again, and if I don't go to the office agairi you a n d 1 starve, and our children rill be tlirown into the streets.

(The CHILDREN bk~clnch as they Lgr(~~p Ihu gruvity of the sitr~ation)

MRS . DARLING Let me try, father dear.

(In a tm'hle silence [heir progeny cl~uster round them. Will she succeed? Their fute clepmtds on it. She fuils - no, she si~c- ceects. In another moment r lwy are wildly guy, romping round the room on each other's shml(1ers. Fatlm is men a Better horse lhan A.lolhe~ He sings "bVe 're all right for another dczy!" c u MICHAEL rides on his back. MICHAEL is dropped upo?~ his Bed, WENDY retires to prqbare fm hers, JOHN runsj-om NANA, zuho has reappeared with the Bath towel)

JOHN (Rebellimu)

I won't take a bath! Nana, I won't lake a bath! MR. DAFUING

( I n the grand manner) Go and be bathed at once, sir.

( With bent head JOHN follows NANA into the bathroom) Come here, Michael - no more nonsense.

(Unfortunately NANA has collided with his trozlsers - the jrst pcir he has cvm had with brcid on them)

MR. DARLING Oh, Mother, look here! Hair all over my trousers!!

( To NANA) Clumsy! Clumsy!

(NANA goes, a droobingjgure) MRS. DARLING

I'll brush you off, Father dear. MR. DARLING

Thank you. You know, Mother, sometimes I think it's a mistake to have a dog for a nurse.

MRS. DARLING Why George, Nana is a treasure.

MR. DARLING No doubt; but at times I have an uneasy feeling that she looks upon the children as her puppies.

PETER P A N

MRS. DARLING George, we must keep Nana. I will tell you why.

(Her seriousness impre.rses him) My clear, when I came into this room to-night I satv a face at the window.

MR. DARLING ( Incredulozls)

A face at the window, two floors up? MRS. DARLING

It was che face of a little boy; lie was trying to get in. MR. DARLING

Impossible. MRS. DARLING

George, this is riot the first time I have seer1 that boy. MR. DARLING

(Beginn.ing to think thal this may be n man k job)

MRS. DARLING (Making sure that MICHAEL does n.ot hear)

Tlic first lirnc ~vas a wcck ago - I rcmcrnbel; Tor i r was Nana's night our. [MUSIC #3: THE BOY AT THE WINDOW]

I hacl been sitting there by the fire when s~lcldenly 1 felt. a dra~lght, as if the window were open. I looked round and I saw that boy - in he room. I screamed. Just then Nana came back and sprarig at him at orice. The boy leapt for the window. Narla closed it quickly, but i t was too late to catch him.

MR. DARLING ( Wio k.17.o~~ he zuoz~ld not have been. too Late)

I thought so! MRS. DARLING

But wait. The boy escaped, hut his shadow hadn't time to get out. I hicl it! I rolled i t u p and here it is!

( S H E produces ilJiom a h 7 u m THEY zlnroll and cxami77,e 1hejli7nsy Ihing, zuhich is not 7nore nlnlerinl lhnn n /~rqTof snzoke, an.d if let go wo,uld probably jloal inlo Lhr cailiizg zuith- o.u.6 discoloztri.ng it. Et It has hwman. shape. As THEY nod thpir heads o71e-r it bhey fm~ent the nr.ost .snli.fying Pic~tu:rc? on earth, lruo ha/)I)y pa)-enLs co~zspiring (:()sib cF/v Ihe,kre,/or /he good of their children.)

MR. DARLING A-ha! Well, I don't think it's anyone we know, though lie does look a scoundrel!

MRS. DARLING You know, I think he comes back trying to get his shadow.

MR. DARJJNG (kleaning tlznt the nziscrennt has now n father to deal zuitlz)

P E T E R PAN

I dare say. ( The shadoru is rolled up and replaced in the drawer)

MRS. DARLING But wait - I haven't told you all. The boy was not quite alone. He was acco~l~panied by - I don't kuow llow to describe it. - by a ball of ligl.lt. no bigger than 111y fist, that darted about the room like a living thing!

MR. DARLING ( Tltoztgh opm-minded)

That is very unusual! MRS. DARLING

(Slz'dir~g her hand into his) George, what can all this mean?

MR. DARLING (Ever ready)

What indeed! (This zntirnate scene is broken Iry the retwn of NANA with a large spoon in her mozlth)

MRS. DARLING Oh, what have we there, Nana? Oh - the medicine spoon, of course.

MICHAEL ( Promptly)

Won't take it - oh no - boo-00-oo! MR. DAlUING

(Recalling Itis youth) Now then, Michael, be a man.

MICHAEL Won't, won't!

MRS. DARLING I'll give you a lovely stick of candy to take after it.

( S H E leaves the room, though her husband calls after her) MR. DARLING

Mother, don't pamper him. Michael - Michael, when I was your age, I used to take my medicine without a murmur. Used to say "Thank you, kind parents, for giving me medi- cine to make me well."

(WENDY hec~rs this and belimes) And as an example to you, Michael, I would take my medicine now now - only I've lost the bottle.

WENDY (Abuuys glad to be of service)

I know where it is, Father. I'll bring it! ( S H E is gone befo.re H E can stop Ize~ H E tunzs for help to

PETER PAN

JOHN, who hcu come from the batfiroon?. dlying his hair) MR. DARLING

Wendy! John! It's that horrid sn~ff. The sticky sweet kind. JOHN

( Who is perhaps still playing at parents) It will soon be over, Father.

( A spasm of ill-zuill to JOHN czth throz~gh MR. DARLING, nn.d is gone. WENDY returns panting)

WENDY I've been as quick as I could.

MR. DARLING ( With a sarcasm that is completely thrown nzuay on her)

Oh yes, you have been wonderfully quick, precious quick! ( H E is noru at the foot of MICHAEL j. bed; NANA is by its side, holding the spoon. insinuatingly in. her rn,o~rth.)

WENDY (Proznclly, as she pours out MR. DARLING 's wdicine)

Michael, you will see how Father takes it. MR. DARLING

(Hedging) Michael first.

MICHAEL (Full of unmodhy szupicions)

Father first. MR. DARLING

It will make me sick, you know. WENDY

(Disturbed) I thought you took it quite easily, Father.

MR. DARLING That's not the point; the point is that there is much more in my glass than there is in Michael's spoon and it isn't fair.

Come on, Father! JOHN

MR. DARLING A little less noise there.

MICHAEL ( Coldb)

Father, I'm waiting. MR. DAFUNG

You're waiting! What about me - I'm waiting.

Father's a scare-cly cat.

PETER PAN

MICHAEL

MR. DARLING Father's not a scare-cly cat.

( Thq are nozu glaring at each other) MICHAEL

Well, then, take it. MR. DARLING

Well, then, you take it. WENDY

(Butting in again) Wl~y 1101 both take it at the same time?

MR. DARLING (Haz1ghtily)

Certainly. Ready, Michael? One - two -you know, Michael, I don't think you're going to take yours after all!

MICHAEL I am. I am.

WENDY (As nothing has happenetl)

One - two - three. (MICHAEL parlakes, hidl MR. DARLING resorts to hanky- y a,nlzy)

JOHN Father hasn't taken his!

(MICHAEL hozuls) MR. DARLING

Sllhll! MICHAEL

WENDY (Inexpressibly pained)

Oh father! MR. DARLING

( M%o has been hidir~g lhs gkus bsllind lzim) M'hat do you mean by "Oh Father"? Stop that row, Michael. I meant to take it but I - missed it.

(NXNA shakes hm head strdb over him, nnd goes into the bathroom. THEY are all looking as if the^ dicl not admire him, and nothing so clashes a temperamental man)

MR. DARLING Come on, to bed, the lot of you. Michael, John, Wendy.

PETER PAN

(THEY sled to their beds ns MRS. DARLING relitms wilh the peppermint stick)

MRS. DARLING Well, is it all over?

MR. DARLING Yes, Mother clear, it's all over ancl quite satisfactory.

M I C W Father clidn't-

MR. DARLING

MRS. DARLING Father didn't what?

MR. DARLING ( Uneasi!~)

Oh, nothing, nothing at all. (NANA comes back.. M R . DARLING stztmbles over her)

Oh! Clumsy, clumsy - just look at my trousers, covered with hair again! WENDY

( On her knees by the kennel) Father, she's crying.

MR. DARLING Go on! Coddle her! Nobody ever coddles me. I'm only the bread-winner. Why should I be coddled? Why, why, why?

MRS. DARLING George, not so loud; the servants will hear you.

( There is only one maid, abszcrdly small too, but thq, ltave got into the zuay of calling her the servants.)

MR. DARLXNG (Defiant)

Let the whole world know! (7'1~s desperute man, who has n.ol been. in. fresh air for days, hnr n.ozu Lost all self-control)

I refuse to allow that dog to lord i t in my nursely for one hour longer. ALL

Oh, Father! (NANA sz~pplicalcs him)

MR. DARLING In vain, in vain, your place is in the yard. Come on, Nana!

[MUSIC #4: NANA ShELLS DANGER] (NANA again retreats into tlze kenn.el dozunstage ofWENDY S bed and the CHILDREN add their prayers to hers)

PETER PAN

CHILDREN Oh, Father! Please, Father! (etc.)

MRS. DARLING ( IiVI1o knozus hozu contrite he will be fbr this pr~sently)

Remember what I told you - about chat boy. MR. DARLING

Am I master in this house or is slle? ( To NANA, jierce(y)

Come along, Nana! (NANA burlzs, rnups (11 him, and reheats into the doghozlse)

Come, Nana! (NANA shakes ht.r heclrl)

Good Nana! ( S H E backs away)

Nice Nana. ( S H E waves him (way ruith her paw)

Dear Nana. ( S H E buck^ aluay again)

Pretty Nana. (Yielding to his Dla?zdish~mcnls, NANA ventures out of the doghouse. MR. DARLING grabs N A N A by the collar)

Gotcha! MRS. DARLING

Be brave, my dears. WENDY

He's chaining Nana up! ( This ten.-tzlnc~tely is what he is doir~g, tilozigh 7ue cennot see him. Let z l s h@e tliat Ire then retires to his study, loob up the word "temper" in his Thesaurus, and under the influence of those benign pages becomes a better man. In the meantime the CHILDREN have been put to bed in unwonted silence, and MRS. DARLING lights the night-lights over the beds)

JOHN (As the Barking below goes on)

She's ahfully unhappy WENDY

That's not Nana's unhappy bark. That's her bark when she smells danger. MRS. DARLING

(Remembering that boy) Danger! h e you sure, Wendy?

PETER PAN

WENDY (The one ofthe family, for there is one in every farnib ruho can be trusted to know or not to know)

Yes, Mother. (Her mother looks this 7uny nnd thutfionz the windoru)

Is there anything there? MRS. DARLING

Nothing. All quiet and still. [MUSIC #5: TENDER SHEPHERD]

I wish I weren't going out to dinner tonight. MICHAEL

Can anything harm us, Mummy, after the night-lights are lit? MRS. DARLING

Nothing, precious. They are the eyes a ~nocher leaves behind her to guard her children.

( NevertIzeless rue may be sure she means to tell LIZA, the little maid, to look in on lhem freqzcendly till sh.e com.es home)

Now sing your goodnight song, and into your beds. ( The CHILDREN line z ~ p in. n row)

WENDY (& MRS. DARLING ad lib) Tender shepherd, tender shepherd, Let me help you count your sheep. One in the meadow, Two in the garden, Three in the nursery fast asleep

( The following is sung nr n r0zcn.d [see Vocal Score for details] as the CHILDREN climb into their beds)

CHILDREN Tender shepherd, tender shepherd, Watches over all his sheep One, say your prayers and Two close your eyes and Three safe and happily fall asleep.

MRS. DARLING All asleep.

( TVzth (6 lasl look roun.4 Dear night-lights that protect my sleeping children, burn clear and steadfast tonight.

[MUSIC #6: PETER'S ENTRANCE] ( The nursery darkt.ns and S H E is gonr, i~7.tentio1zally leav- ing the dom njnx Something uncanny is going to h.nppen, we expect, f m a quiver has passed th.roz~gh the room, just .sufJicien.t

PETER PAN

lo to~bch the night-lights. TINKER BELL Jlrrshes cwound uulside Ihr shu1ler.s clnd fi72al&finds an entrance at the bottom centm She flies a.rozind the .nztrsul.y, looks (11 the clock, lhen lzueaks WENDY on. lhe s1~uziklq ~iiS171g 11tl. 10 slir in hm. skcp. Then shcjlies inlo &he J L L ~ on the mantel, caaising it to light up and rock back and forth. The windows open cmd PETER P A N flies into the roont, landing dozun center and sem-ching for TINKER BELL. [In so far as he is dressed at all it is in autz~rnn bnues and cobruebs.] The htige ruin.rlozus close)

P E T E R ( I n a zuhisper)

Tinker Bell! Tink! Tink! (NANA barla oJ-stuge [Bar 321, and infn'ght PETER hides Behind the chapes U R ) [NB - It is at this point that PE?'EK's flying wire is detached]

[MUSIC #7: TINK FINDS THE SHADOW] (PETER comesf-rom Behind c h a p s )

Tinker Bell! Tink! Where are you? (Light appears in tlrejz~g on the mantel. PETER mins to the firtlplace)

Oh, there you are! Do come out of thatjug. (TINK anszuers)

Tink, do you know where they put it? (TINKJlashes once in thejzig and darts to the dresser; R.)

Over there? (Examines clruruers of dressers)

But which drawer?

Ah! (PETER pulls ddruruurs open, seizes his shadow and closes the clrazuer unkn.owing4 with TINKER BELL insidt of it)

Oh, my shadow, I'll stick you on with soap. (Picks up large bar of soapJi-on1 th.e dresser and goes DC. H E soaps the shadow S head and tries to paste it to his forehead - itfalls. HE then soaps his Backside and lies on it and wiggles. This failing, H E motions the pone shadow to return - this fails and he loses hope and sits sobbing audibly)

Oh, my shadow! What's the matter with you? (T1ti.s wakens W E N D Y , ruho sits up, and is pleasantly

PETER P A N

WENDY I dare say it will hurt a little.

PETER ( A recent remnrlt of hcrs rankling)

I never cry. (She seems to attach the shadow)

There. WENDY

PETER (He t a b the cornbint~tion.)

It isn't quite itself yet. WENDY

Perhaps I slioulcl have ironed it. ( The SHADOW urunkes. The footlighls tlzroru the SHAD OW aguinst the shz~tters and PETER uzaus il zoillz joy)

[MUSIC #8: I GOTTA CROW] PETER

Wendy, look!! My shadow! My very own shadow! WENDY

It's only a shadow! PETER

Yes, but it's all mine. Oh, I'm clever! Oh, the cleverness of me! WENDY

Of course, I did nothing. You're conceited. PETER

Conceited? Not me! It's just that I am what I am, And I'm me! When I look at myself And I see in myself All the wonderful things that I see, If I'm pleased with myself I have every good reason to be!

I gotta crow! I'm just the cleverest fellow 'twas ever My fortune to know. I taught a t ick To my shadow to stick To the tip of my toe - I gotta crow!

P E T E R PAN

I gotta brag! I think it's sweet I have fingers and feet I Can wiggle and wag! I can climb trees And play tag with the breeze In the meadows below - I gotta crow!

If I were a very Ordinary Everyday thing, I'd never be heard, Cock-a-doodlin' 'round like a bird, So - Naturally When I discover the cleverness of a Remarkable me, How can I hide it When deep down inside it Just tickles me so That I gotta let go And crow!

(PETER lies o?r Iltcjloo? (rnd Lhe shadow uj' his .right hand becomes a bird, Ihejngus of his lefi hand a tasty meal. .4Jer eating thejngms and thu.nzb, the bird dispatches the stu.nzp by pushi?tg il clown out of sighl. Then tlze bird looks to the right and turns back and confi-on&, face to face, another bird. Both gasp with surplise, one makes affectionate overt~lres to the o l h q ending (1 ppt.ciny/igltl)

I'm really a rare thing, Such a fair thing, I can't keep still. I'm bursting with pride, And I just couldn't keep it inside, So - Naturally When I discover the cleverness of a Remarkable me, How can I hide it When deep down inside it Just tickles me so That I gotta let go And crow!

PETER P A N

(After applazcse the PLAYOUT be@n.s [Bar 2761 , ruhiclz fades oz~t under the follozuing dialogue]

WENDY Oh, Peter, you are so clever! Shall I give you a kiss?

PETER Thank you.

(He hokls out his hnntl) WENDY

(Aghast) Don't you know what a kiss is?

PETER I shall know when you give it me.

(Not to hurt his feelings she give.s him hm thimble) Now shall I give you a kiss?

WENDY

If you please. ( H E pulls an ncorn butt0.n off his person and bestorus it on hex She is shocked but considerate)

A button! Why, Petel; I will wear it on this chain round my neck. Peter, how old are you?

PETER (Blithely)

I don't know. I ran away from home the day I was horn. WENDY

Ran away. Why? PETER

Because I heard Father and Mother talking of what I was to be when I became a man. I want always to be a little boy and to have fun; so I ran away and I've lived a long time among the fairies.

WENDY ( With p t eyes)

Peter! You really know fairies?! PETER

(Sz~rjksed that this S ~ O Z I M be a recornmendntion) Yes, hut they are nearly all dead now,

WENDY Why?

PETER PAN

(Back lo TINK) Tink! You know you can't be my fairy I~ecause I am a gentleman aild you're a lady,

[TINIC r@lies in. [he m&rt Innpage yell WENDY

What did she say? PETER

She said 'You silly ass." She's quite a comrnon girl, you know. (NANA barks ofitage - PETER ducks behind stool)

WENDY It's all right -she's chained up. Peter, where do you live?

[MUSIC #lo: NEVERLAND] PETER

[Ruslting to the urindozu, zuhichJ7ie.s o p t af 1~is gestz~re] Way out there.

WENDY How do you find your\vay home?

PETER You just follow all the golden arrows.

WENDY But where do they lead you?

PETER It's a secret place.

WENDY Please tell me!

PETER Would you believe me if I told you?

WENDY I promise.

For sure? PETER

WENDY For sure!

(Sings) I have a place where dreams are born, And Time is never planned; It's not on any chart, You must find it with your heart - Never Never Land.

P E T E R PAN

It might be miles beyond the moon Or right there where you stand. Just keep and open mind And then suddenly you'll find Never Never Land.

You'll have a treasure if you stay there, More precious far than gold, For once you have found your way there You can never, never grow old.

And that's my home where dreams are born And Time is never planned Just think of lovely things And your heart will fly on wings Forever In Never Never Land!

(Ajin. appkaz~se, the 7nztsic co.ntinzles [Bar 431 ) WENDY

What cloes it look like Peter? PETER

It's an island, Wendy. WENDY

A large one? PETER

No, quite small - and nicely cranlmed -with hardly any space between one adventure and another. And it's summer and winter and spring and fall all at the same time on different parts of the island.

WENDY I wish I could see it.

PETER You can. Just close your eyes tight. Now, what do you see?

WENDY I see a pool of lovely, pale colors -

PETER Squeeze them tighter -

WENDY Yes!

PETER And the pool will take on different shapes - and the colors become brighter.

PETER PAN

WENDY Yes!

PETER So bright that in a Inonlent tl~ey'll go on fire - and in that moment -.just before they do -

WENDY I see it! I see it!

PETER Thar's it, Wendy! That's my island!

(Sings) You'll have a treasure if you stay there, More precious far than gold, For once you have found your way there You can never, never grow old. And that's my home where dreams are born And Time is never planned Just think of lovely things And your heart will fly on wings Forever In Never Never Land!

WENDY Oh, it sounds lovely - Neverland! Who else lives there, Peter?

PETER The Lost Boys.

WENDY Who are they?

PETER They are the children who fall out of their prams when the nurse is looking the other way. If they aren't claimed in seven days they're sent far away to Never Land. I'm Captain.

WENDY What fun it must be.

PETER ( Craftily)

Yes, but we're rather lonely. You see, Wendy, we have no female companio~~ship. WENDY

Are none of the others girls? PETER

Oh, no. Girls, you know, are much too clever to fall out of their prams. WENDY

Peter, it is perfectly lovely the way you talk about girls. You may give me a kiss.

PETER PAN

PETER ( CynknlLy)

I thought you would want it back. (He offers her the lhimble.)

WENDY (Arvully)

No, Peter, I didn't mean a kiss ... I meant - a thimble. PETER

( Only Iza~;blacc~tecl) What is that?

WENDY It's like this.

(She leans forward lo give n demonslrution, but somerhingpre- vents the meeting of their fuces. Befie he cun men drnzu neaT WENDY scrennls)

Ow! PETER

What is it? WENDY

It was exactly as if some one were pulling my hair! PETER

That's Tink. I never knew her so naughty before. (TINK speaks. She is in the jug again)

[MUSIC #11: HAIR PULLING] WENDY

What did she say? PETER

She says she will do that every time I give you a thimble. WENDY

But why? PETER

(Equally nanplzused) Why, Tink?

(He has to translate the nnrzuer) She said "You silly ass" again.

WENDY She is very impertinent.

(They are sitting on. thefloor now) Peter, why did you come to our nursery window?

PETER PAN

PETER To hear the stories. None of us knows any stories.

WENDY How perfectly awful!

PETER Oh, Wendy, your mother was telling you such a lovely story.

WENDY Oh? Which story was it?

PETER It wn! about the Prince, and he couldn't find the lady who wore the glass slipper.

WENDY Oh, that's Cinderella. Peter, he found her and they were happy ever afcec

PETER I'm glad!

( 7x9 hnr~e workxd lhciv wtry rr.lon.g lhr /Loor cbsr lo cnr:h oll lq But he now jumps up.)

WENDY Where are you going?

PETER (Al~eady on his ruay to the zuindozu)

To tell the other boys. WENDY

Don't go, Peter. I know lots of stories. (She oztght not to have said this)

Do you? WENDY

Oh Peter, the stories I coulcl tell the boys! PETER

( Gleaming) Come on! We'll fly!

WENDY Fly? You can fly!

(How he ruozrlcl like lo rip those ston'es o2cl oJ her - he is don- g m u nmo. )

PETER Wendy, come wit11 me - how we should all respect you. You could tuck us in at night and make pockets for us. None of us has any pockets.

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PETER PAN

High up and as light A s I can be, I must be a sight Lovely to see!

(Ad lib) Oh, yes, Peter, you are! (e l c )

I'm flying! PETER

WENDY Flying!

MICHAEL Flying!

PETER No thing will Stop me now, Higher still, Look at how I can turn around, Way up off the ground, I'm flying!

= fly And I'm all Over the place You lry And you'll fall Flat on your face!

( They t?y, and t / q do) PETER

I'm flying!

Flying!

Flying!

Flying!

Over bed,

WENDY

JOHN

MICHAEL

PETER

Don't be slow, Ready, set, Here we go! Wendy, Michael, John! Tinker Bell, come on! Hurry up aid follow me For I will soon be gone, I'm flying!

(PETER Pits oolrl lhr zuin~luloru followed by W E N D Y and JOHN) MICHAEL

Wait for me! Wait for me! ( H E rises .ull, into the air nrrd is alnlust out the window when LIZA enters in alarn~)

LIZA What are you doing?

MICHAEL I'm flyirlg!

( H E flies back dorun to the ground an.d throws faiiy dust on LIZA) Come on, Liza, we're going to Neverland!

(MICHAEL 3ie.r out ih.e window. LIZA whirls. The nursrry sel disappears, exposing the night sky.).

THE FLIGHT TO NEVERLAND (The Aerial Belkt ah the act [Bar 2391)

END OF ACT ONE

PETER PAN

ACT TWO

[MUSIC # 14: ENTR'ACTE]

Scene 1

[MUSIC #15: OPENING ACT TWO] AT FUSE: 'I'h sluge is dark, behind c:loz~d sc7-i.m (n?ztl/lan~ir~gu scrim trauellec Gradually the sky lights up and the trees begin floroering in sil/~.ozie/de [Bar 51 . The clo.ud sm'rn flies out. &fore light. The@nmi7~go tmveller opcns slowly nnd lights come up lo 6righ.t szmlight. We are in a forest clearing: four trees range in front of the Neverland back.drop zutlile an inc1in.e leads oJf U L and of/: DL there is a large pink taaclstool. The LION enters from UR [Bar 1'71, having jz~st wakened, scratches himself thoroughly, looks ovm the audience holding h.is pince-nez. He exits up ramp. From DL the IWGAROO hops ~n ['Bar 251, goes C, faces front, takes large po~uder pzqf j h m pocket-book pouch, porudms nose, replaces p2qf in pwch and exits L in 2. OSTRICH r~scs /i.om pmying position and comes DC [Bar 311, squats and preens herselJ: LOST BOYS advance and try to catch hm SHE escapes L in 2, but not Before losing a large tailjiather to one of lhe BOYS.

Did you catch her? SLIGHTLY

1st TWIN (Shozuing feather)

No, but look.

Has Peter come back , Slightly?

No, nvin.

I wish Peter would come back.

So do we.

SLIGHTLY

CURLEY

1st 8c 2nd TWIN

PETER PAN

(Cntnt) (Grunt) We're bloody buccaneers (Gn~nt ) And each a murderous crook! (Grzm t ) We massacre Indians, kill little Boys And cater to Captain Hook! Yo-ho! YO-ho! The terrible Captain Hook!

( Cruelest jewel in that dark setting is HOOI< hirruelf; cndav- erous and bl(~ckavis!srd, his lzuz'r dressed .it1 long curls zu11,iclz loolt like black candles about to melt, his eyes bkue as the figet- me-not and of a profmtnd insensibility, save when he claws, at which ti.me a red spot c~ppea.rs in. t h . HP hcu an iron hook instead ofa right hand, and it is with this he clazus. He is never more sinister than when he is most polite, and the elegance of his cliction, the distinction. oJhis demeanour; shozu h.im one of n dgfermt clms from his crew, n solitary a,mong zutcultured companions. This courtLiness impresses men Iris victims on the high sem, who note that he abays says Sorry' when podding them nlong the plank. A man of indomitable courage, the only thing at which I~ejlinches is lhe sight of his ozun blood, which is thick and of an unusual colour: At his public school they said of /rim that he 'bled yelfozu. ' In dress he r~pcs the dandiacal associated w%lh Clzurles II, hnvzng heard it said in nn earlierpa'od of his career that he bore a strange rmnblunce to the ill-/ated Stuarts. A holder of his orun contrivnnce is in his mouth enabling him to smoke two cigars at once. Tlzosc, Izoruevm, who have seen him in theflesh, which is an i~~udeqztate t(?rm for his earth& lmenzer~t, agree that the grimmesl part of him is his iron clazu.) (As The Pirates carry the Lilter DS they slip and chop it, and HOOK falls to the groztncl)

HOOK (Kicking 1s t PIRATE)

Clumsy! (Clawing 2nd PIRATE, zuho screams)

Bu tt.erfil~gers! (TOOTLES mtnsfi-om his tree and is seen for a moment, and NOODLER'J pistol .is at once up-rccised. HOOK t7u.ist.s his hook in hirn)

NOODLER Oow! No, Captain, no!

P E T E R PAN

HOOK Drop that pistol first!

NOODLER It was one of those boys you hate. I could have shot him dead!

HOOK Aye, and the first crack would bring Tiger Lily's Indians upon us!

( The PIRATES oinge and shake at the ruord "mdinns") I

D'you want to lose your scalps? SMEE

( PVrigLing his c.ittk~ss ;blenrantZy) That is true. Shall I after him, Captain, and tickle him with Johnny Corkscrew? Johnny's a silent fellow!

HOOK Not now, Smee!

(HE slaps SMEE 's b a d heacl) He's only one - and I want to mischief all the seven. They must live 'round here sorne- where. Scatter and look for them.

(The BOATSWAIN whistks his instructions, and tile M E N disperse on lheir Jiiyhqul mand . Wilh no?ae lo hear save SMEE, HOOK beco?nrs conjdential)

Most of all I want their captain, Peter Pan. 'Twas he cut off me arm. Oh, I have waitea long to shake hands with him with this.

Oh, I'll tear him! SMEE

(Always ready for a chat) Yet I have oft heard you say your hook was worth a score of hands - for combing the hair, and other homely uses.

HOOK Aye, Smee, if I were a mother, I would pray that me children be born with this . . . .

(Indicating the hook) . . . instead of that.

(His lrft arm creeps nervously behind Aim. He has n galling reme7nlwance)

But Par1 flurty lrie tiarld to a crococlile that happenetl to be as sing by. SMEE

I have often noticed your strange dread of crocodiles. HOOK

(Pettishly) Not of crocodiles, but of that one crocodile.

P E T E R PAN

(He k~ys bare a luceruted heart) He liked me hand so much, that he has followed me ever since -

(as if reciting poet?) - from land to land, from sea to sea, he follows the ship, licking his lips for the rest of me.

SMEE (Looking for the Ivrigf~t sicle)

111 a way it is a sort of compliment. ( S M E E removes his hat)

HOOK I Well, I want no such compliments!

( Slaps SM E E Iv pate) I \vant Peter Pan, who first gave the brute his taste for me. Smee, that crocodile would have got me long ere this if he could have crept upon me unawares. But by some lucky chance he swallowed a clock -

SMEE A clock!

HOOK And it goes on - tick, tock, tick - within him; and so, before he can reach me I hear the tick and bolt.

(He ernits a holloru ?u.mble) Once I heard it strike six inside of him.

SMEE ( Somberly)

Some day the clock will nln down, and then he'll get you. HOOK

( A brolwn man) Ay, that is the fear that haunts me.

(Szddenly he rises) Oh!

SMEE What's the matter, Captain?

HOOK Smee, this seat's hot. Oh! It's very hot!

(SMEE tzirns on .smoke zmit) Odds, bobs, hammer and tongs, I'm burning!

[~ndicutzng the ~rnzisIrroo?n] S~nee - help me!

(He has been sitting, he thinks, on one oflhe island mushrooms,

PETER PAN

(Again 1h.q ?rli.sclpf)eur) [MUSIC #20: INDIAN DANCE]

(INDIANS m t w ) (TIGER LILY co~nts jirsl. She i r lhe bellr (!/' l l ~ e Heri.rlj IJeri.n~1 tribe, -ru/lose b,rclves zuozild all have her to 7u$e, but she zuards lhenz ojf zu.ith n hatchet. She Puts her ear to the grozr?~d and listens, then /)ecko.rrs a.n.tl tlie INDIANS are around h q c0.r- peting the ground. Far nzita?~ some0n.e treads mz a d ? ~ LtwJ

TIGER LILY Ssshh! Mak~un too much noise. Listen to Tiger Lily - when on Mrar Path - Sssshhhh!

(INDIAN D.4NCE) (INDIANS have exiletl (11 cnnd of dnnce. TOOTLES emerges Rum hiding)

TOOTLES They're gone!

[MUSIC #21: THE WENDY BIRD] (INDIANS ye-enler and p b TOOTLES. The other LOST BOYS grub h i m front other side - a l u g of wur: Suddenly CURLEY looks u;b)

CURLEY Look! A bird!

(ALL Loolt np, stopping tug of war) WENDY

(From ofl- voice nnlpllfied) Poor Wendy! Poor Wendy!

SLIGHTLY It's a Wendy Bird!

NIBS How white i t is!

TIGER LILY Bird must be omen.

1st BRAVE Good or bad omen?

TIGER LILY ( Shrzigr)

Famous olcl proverb: when in doubt - run! (THEY do)

Here, boys! Let's shoot the Wendy!

PETER P A N

SLIGHTLY Aye - shoot it quick! Bows and arrows!

(BOYS scz1.rry for 7ueupo7zs) CURLEY

Out of the way! I'll shoot it! 1'11 shoot it! (CURLEY shoots and BOYS chem WENDY j/ir.s i72 zuitll a71 n7rozu in her henrt. THEY put her dozun)

CURLEY I've killed it! Peter will be so pleased with me!

(PETER 3 crozu is heard off) BOYS

It's Peter! 2nd TWIN

Let's siirprise him! [MUSIC #22: PETER'S MARCH]

(THEY line u p in. front of MtTNDY as PETER a n d pro- cession enter: PETER .tides flick-a-back 0.n the LION, the OSTRICH carries P ~ t m P0.n Jag the KANGAROO precedes them throwing confetti. JOHN, i n silk 1 2 ~ 1 , MICHAEL, with teddy Beu?; follozus them 0.n)

PETER Greetings, boys! I'm back! I have a great surprise.

SLIGHTLY So have we!

We killed a big white bird. ALL

And look! (THEY stand aside. PETER sees WENDY)

PETER Wendy! With an arrow in her heart! This isn't a bird - it's a lady!

BOYS (Dismayed)

A lady! PETER

I was bringing her here to be our mother - ancl you have killed her. Whose arrow? CURLEY

Mine, Peter. PETER

(Raises arrozu like a dagger)

PETER PAN

Need lots of leaves, Need lots of paint, But hush, hush, hush, hush, hush!

Let's be quiet as a mouse And build a little house for Wendy, AU for Wendy - she's come to stay.

BOYS And be our mother! At last we have a mother!

PETER "Home Sweet Home" upon the wall, A welcome mat down in the hall for Wendy, So that Wendy won't go away.

BOYS We have a mother! At last we have a mother!

Oh, what pleasure she'll bring to us, Make us pockets and sing to us, Tell us stories we've been longing to hear Over and over! She'll be waiting at the door, We won't be lonely anymore Since Wendy, lovely Wendy's here to stay.

BOYS We have a mother! At last we have a mother!

PETER

Bring the best of what we have! (TOOTLES Im'ngs PETER a paint bucket and brmsh)

PETER ( To TOOTLES)

Oh, thank you! (THEY btsikl a hozue [Bar 441)

BOYS [& PETER] We have a mother! At last we have a mother!

SLIGHTLY (From inside the house)

PETER PAN

Help, Peter! How do we get out? (PETER paints o door on thefront of the house. He pai.nts the doorknob on the leJ? side)

PETER Now!

( The BOYS mwge, but the door opensji-om the "zmng" [ i.e., the doo7AnobI side)

(PETER (2nd BOYS k(li7'12 zuindows U ' T ~ ~ / ~ O Z L J ~ ~ ~ ) O X ~ S 012 door and sida of the 6ttk hotwe [Bar 701. PETER painls the rumti "WEmY" on the f i~n t door, but misjudges the spacing - the "D Y" spills ovn past the door franze)

PETER (si72gs)

Oh, what pleasure she'lJ bring to us, Make us pockets and sing to us, Tell us stories we've been longing to hear Over and over! She'll be waiting at the door, We won't be lonely anymore Since Wendy,

Lovely Wendy's here to stay. BOYS

We have a mother! W N D Y [unseen in the house] turns on the smoke unit, turns it @when smoke a@earsfrom the chimney)

At last we have a mother! PETER

She'll be our mother, It's nice to have a mother.

ALL Wendy's here to stay!

(WENDY merges at end of song) PETER

Wendy lady, for you we have built this house. Say that you're pleased. WENDY

Lovely, darling house!

And we're your children!

PETER PAN

HOOK ( S t d i n g at SMEE)

Tsst! I must think! SMEE

( They lcap in.lo place) What tempo, Captain?

HOOK A tarantella!

SMEE A tarantella!

[MUSIC #26: HOOK'S TARANTELLA] HOOK

Methinks I see a plot, a gleam, A glimmer of a plan By which, perhaps, I may redeem Me honour as a man. Kidnap Wendy, seize the boys, And you'll have Hook to thank, For when the time is ripe You'll see the children walk the plank!

Oh! When was such a princely plot concocted by another, To murder all the boys and keep the Wendy for our mother!

ALL Oh! When was such a princely plot concocted by another, To murder all the boys and keep the Wendy for our mother!

HOOK Hey!

Bravo !

Bravo!

Bravo!

Bravo!

PIRATES

HOOK

PIRATES

HOOK

PIRATES

PETER PAN

ACT TWO

Scene 2

A PATH IN THE WOODS 7'1wrc art five ~11t0111 tr~e.s lining /he Pnl h in rhc FVoon!.~, l~hr,lzind which is u grserra backd.rop roith eerie .rnists$oatin.g ~ i p o n it.

[MUSIC #28: I WON'T GROW UP] The C R O C O D I L E crosses L lo R. L I O N and K.4NGA- R O O come on P o ~ n L in on.e, I W G A R O O carryin.g hand ~ni7r.07; LION a large z~ricker sewing box zoitlz a strin.g ojover- sized pearls. The O S T R I C H entclsfiom R and is hclnded the pearls, which SI-IE dons. The traveller opens o n path. drops. The O S T R I C H sees PIRATES o f f l e j , ppzrlls a tailjeathm an.d tttroru it dorori rlisdnirfzlL[y. 1.111 A N I M A L S exit R, excited. TIGER LILY and ILPY INDWNS c m e j r o ~ n 6elzi~rzd trees - S H E sees the fiather; picks it ZL$ and puts it on, replacing her orun feather which she hops.

TIGER LILY Uga W u g a Ostrich!

INDIANS U g a W u g a Ostrich!

( INDIANS exit. PIRATES come on DL carrying H O O K on litter) PIRATES

We're bloody buccaneers, And each a murderous crook!

(SMEE discovers discardedfialher and hands it to H O O K ) HOOK

( Yells) Indians! Pursue ' e m !

( T H E Y exit R quickly) ( P E T E R and BOYS enter)

PETER Are you ready for today's lesson?

BOYS Yes, Peter.

PETER Then listen t o your teacher. Repeat af ter m e .

( Sin.gs) I won't grow up!

PETER PAN

BOYS I won't grow up!

PETER I don't wanna go to school!

BOYS I don't wanna go to school!

PETER Just to learn to be a parrot,

BOYS Just to learn to be a parrot,

And recite a silly rule.

And recite a silly rule.

PETER

BOYS

PETER If growing up means it would be Beneath my dignity to climb a tree I'll never grow up, never grow up, Never grow u-p, Not me.

JOHN

Not I. PETER

Not me. BOYS

Not me! PETER

(s2l.g) I won't grow up!

I won't grow up!

I don't wanna wear a tie,

I don't wanna wear a tie,

BOYS

PETER

BOYS

PETER Or a serious expression

P E T E R P A N

PETER Not a penny will I pinch.

BOYS Not a penny will I pinch.

PETER I will never grow a moustache

BOYS I will never grow a moustache

Or a fraction of an inch. PETER

BOYS Or a fraction of an inch.

PETER & BOYS 'Cause growing up is awfuller Than all the awful things that ever were. 1'11 never grow up, never grow up, Never grow u-p,

PETER No sir.

Not I!

Not me!

So there!

I won't grow up!

i won't grow up!

I will never even try;

MICKAEL &JOHN

TWINS

BIG BOYS

CURLEY

BOYS

CURLEY

BOYS I wiU never even try;

(Spoken) I will do what Peter tells me!

BOYS (Spoken)

I will do what Peter tells me!

PETER PAN

PETER & BOYS And Neverland wiU always be The home of youth and joy and liberty! I'll never grow up, never grow up, Never grow u-p,

MICHAEL .&JOHN Not me!

TWINS Not me!

SLIGHTLY & CURLEY Not me!

TOOTLES 8c NIBS Not me!

PETER No, sir!

ALL Not me!

(At er1.6.d of nzlmber- ALL fail on tlte grownd kuuglting. Sud- denly PETER points oJf-stage)

PETER Hey!

Pirates! SLIGHTLY

(BOYS, MICHAEL &JOHN exit L. PETER hides behind tree DS) (SMEE enlers, follozued 6y CECCO [carrying TIGER LILY], and three other PIRATES)

SMEE Move, you spalpeen, move! The Captain ordered us to tie her to the tree and leave her here for the wolves!

To the tree with her, mate! SMEE

Not so rough, Starkey. Roughish, but not so rough. PETER

Poor Tiger Lily! CECCO

W ~ a t was that? PETER

(Mimics HOOK? voice)

PETER PAN

PETER ( Cndma)

Ah ah ah ah ah ah ah! HOOK

It's a beautiful lady! (Pmo dobE .m~uic begins)

HOOK Oh! My mysterious lady, what is y o ~ u name? Oh! My mysterious lady, from whence have you came?

PETER La la la la la la, La la la la!

HOOK Answer my plea, Who may ye be?

PETER La la la la la la la! La la la la la la la! Ah-ah-ah-ah-ah-ahah!

HOOK Oh! My mysterious lady what is your name?

(Slow Czardas tempo) Take off that veil and let me see your face! Why hide your beauty beneath that ton of lace?

PETER (Held note)

Ah! HOOK

Take off that veil and let me see your face! Why hide your beauty beneath that ton of lace? What's your secret?

PETER [ Coqziettishly]

La la la la la la! HOOK

Tell your secret! PETER

La la la la la la! HOOK

Speak, oh speak, oh speak I pray you,

P E T E R PAN

Tell me, oh tell me your name! ( P E T E R comes out from behind a tree and bonks HOOK over the head with n stick. HOOK falls face down to the pound in grovelling supplicatio,n)

PETER (Hungarian vocalist)

Ah ah ah ah ah aha ah! HOOK

(Dzuing above, pleadingb) Ah! Per favore! Madonna mia! Misericordia!

( A s PETER continaes to vocalise obliviozu(y 211, and down the scale, HOOK I~cu meanwhile peeked 2112d~~ the veil aud dis- covered instead of the sensvozts lady that it is PETER. During the cadenzas he beckons to the PIRATES)

PETER

Ah! ( I - IOOK rnotio.ns to S M E E , L., who hu.nds hirn n ruoodc~~

ffz1te)

Ah! ( Trilling again)

PETER

( P E T E R and HOOK cadenza in t a n c h [Lucia-style], with HOOK pl(~yi.ng lhirds wn ~ h e j l z ~ l r with PETER. A s PETER hits n high note [Bar 1081, the PIRATES pull off PETER? veil and pounce. There now fo llows ct burlesque chase scene, half-dance, half- chase, i n Ht~ngurinn style. The PIRATES have PETER, then lose him again. Finally they thinink they have him and fall upon hirn i n n hqtddle, only to find he has s?zu.ck away. P E T E R taunts them)

PETER

( T h e P I R A T E S nclvnnce for the kill - a t which point the INDIANS e n t q some of thern on kiddie scooters, and rout the PIRATES. P E T E R and T I G E R L I L Y shake h,(znds as the curtain falls)

CURTAIN

PETER PAN

ACT TWO

Scene 3

THE HOME UNDERGROUND The palA cziloul Jies oul, Lhe back drop jlks 0 . ~ 6 and lhe/ill borderjlies out. The neutral traveller opens on the Home Underground. There is a fireplace RC. To the riglzt of thk is a red velvet bench wcing uround a lree hnnk. An iron kettle hangs in thejre- place, and there are several kitchen utensils, too. A clothesline to tlie R of the tree trunk holdri several little boys' shirts and an enlpty rafia cage. Below Llris is a cradle nestling agai.nst a ramp leading off R. Going onstage this ramp becomes the tvp of the home undergroimd. U L there is a d o m f i m the ramp into the Home Underground, opening on a$rernan's pole. To the L of this pole thew is a lad& Three ladders can be seen through arches UC. There is a small shelf ULC holding PETER3 medicine and a glass. To the L of this is a pegged coat rack.

[MUSIC #31: UNDERGROUND OPENING] As the curtain opens SLIGHTLY, TOOTLES and NIBS are at a large tin t.ub DR washing and drying dishes. MrENDY is clearing a table, C - and the BOYS pile stools upon the table bejio~e taking it UC. A rocking chair is UC und TINKER BELL 3 Jwme in a tree stump is DR.

BOYS ( Washing up)

La la la la la la la, La la la la la la la, La la la la La la la la! We have a mother, At last we have a mother! La la la la la la la, La la la la la la la, La la la la La la la la!

WENDY (As music fades)

Dear, dear, your father's missed his dinner again. Another long day at the forest. TOOTLES

Oh mother, it was such a wonderf~~l dinner. Strawberry shortcake, vanilla ice cream, chocolate pudding, lemon meringue pie and fudge for dessert.

PETER PAN

(BOYS cheer)

Tell us the end of Hamlet! WENDY

I-Iamlet? Well, the Prince Hamlet died, and the King died, and the Queen diecl, and Ophelia died, and Polonius clied, and Laertes clied, and -

BOYS And?

WENDY Well, the rest of them lived happily ever after.

(BOYS cheer) Now, no more stories until your father comes home.

[MUSIC #33: INDIANS DESCEND] ( The INDIANS run up the ramp from R, open the door and slide down the pole into the home undergrouncl. WENDY, MICIC4EL, JOHN and the LOST BOYS grab make-shqt weapons - broom, dustpan, rolling pin, and WENDY ai,m a ri$ at them. In the nick of time PETER arrives zuearing his new Indian headdress)

PETER Don't shoot! We're friends now!

BOYS Friends?

PETER I saved Tiger Lily's life in the forest and she saved my life.

TIGER LILY Peter Pan is the sun and the moon and the stars!

PETER Yes, I know.

[MUSIC #34: NO HANDS] (PETER slides down pole)

No hands! Come on, boys, shake hands with your new brothers. (BOYS hesitate)

Don't be afraid! Oh, come on - let's make two tribes into one. Tiger Lily, let's smokum peace pipe!

[MUSIC #35: UGH-A-WUG] (ALL sit in circle on thej1floo.l: The Peare Pifie [which is actu- nl+ a bubble pi-pe] is honcled aroztnd and given to PETER, who blows bubbles with it. HE passes it to TIGER LILY, zuho likezuise blozus bubbles with it)

PETER PAN

PETER Ugh-a-wug, ugh-a-wug, ugh-a-wug, ugh-a-wug - Wah!

TIGER LILY Ugh-a-wug, ugh-a-wug, ugh-a-wug, ugh-a-wug - Wah!

PETER & TIGER LILY Gug-a-bluck, gug-a-bluck, pg-a-bluck, gug-a-bluck, Wa-hoo! Ugh-a-wug, ugh-a-wug, ugh-a-wug, ugh-a-wug - Ubble wubble, When we get in trouble, Ugh-a-woo, There's just one thing to do.

PETER I'll just send for Tiger Lily!

I'll just send for Peter Pan! BOTH

We'll be coming willy-nilly, Lily! Beat on a drum, And I will come!

PETER And I will come and save the brave noble redskin!

ALL Boom boom!

TIGER LILY & INDIANS Ugh-a-wug, ugh-a-wug, ugh-a-wug, ugh-a-wug - Wah!

PETER & CHILDREN Ugh-a-wug, ugh-a-wug, ugh-a-wug, ugh-a-wug - Wah!

Ugh!

Wah!

Ugh!

Wah!

INDIANS

BOYS

INDIANS

BOYS

w crr p. E

P E T E R PAN

PETER & TIGER LILY ( verr softb)

Ugh-a-wug, ugh-a-wug, ugh-a-wug, ugh-a-wug - Wah! Ssshhh!

ALL Ugh-a-wug, ugh-a-wug, ugh-a-wug, ugh-a-wug - Wah! Ssshhh! Boopa-doop, boop-a-doop, boopa-doop, boop-a-doop, Wah-hoo! Ssshh! Ugh-a-wug, ugh-a-wug, ugh-a-wig, ugh-a-wug,

PETER Ugh-a-wetcha, If the pirates getcha, And you're took Away by Captain Hook -

ALL Hook!

TIGER LILY ( S ' o k 4

What'll we do? PETER

(Sung) I'll just send for Tiger Lily!

I'll just send for Peter Pan! TIGER LiLY

ALL We'll be coming willy-nilly, Lily! Send up a flare And I'll be there! You know you really got a friend! (A friend! ) We'll be true blood brothers to the end! Ugh!

WENDY Tiger Lily, I'll never get my children to sleep after all this excitement.

TIGER LILY We go up now. Keep guard. Watch for pirates.

[MUSIC #36: HOME SWEET HOME] ( Genmul good-nights. INDIANS exit a n d mount laddms. THEY settle down and sleep on ramp above c w e )

PETER PAN

WENDY Now, children, make your father comfortable.

SLIGHTLY Here's your chair, Father.

TWINS Here are your slippers, Father.

JOHN Here's your pipe, Father.

MICHAEL Here's your paper, Father.

WENDY Now go wash up - it's your bed time.

(BOYS ~ u n o/jS WENDY dra-tus slool DS and sits) They are sweet, aren't they, Peter?

PETER 'There's nothing better than sitting by the fireside with the little ones close by - Mother.

MICHAEL (Rising in cradlt)

Peter, don't you think I'm too big for a cradle? PETER

A little less noise there! ( A serious expression comes over PETERS face. WENDY notices)

WENDY Peter, what is it?

PETER I was just thinking - it's only pretend, isn't it, that I'm their father?

WENDY Oh yes. But they are ours, Peter, yours and mine.

PETER (Deterrr~ined to get atfi~cts, the only things that puzzle him)

But not really? WENDY

Well, no, not if you don't wish it. PETER

I don't. WENDY

Peter, what are your exact feelings for me?

PETER PAN

( In the class-mom) Those of a devoted son, Wendy.

PETER

WENDY ( Turning away)

I thought so. PETER

( A m l e d ) You're so strange. Tinker Bell's just the same. There's something she wants to be to me, but she says it's not my mother.

[MUSIC #37: YOU SILLY ASS]

(Celeste & Bassoon.)

I almost agree with her.

TINKER BELL

WENDY

[MUSIC #38: DISTANT NELODY] (BOYS return with nightclothes and pallets)

CURLEY We're all ready for bed now, Mother.

TOOTLES I even brushed my teeth.

WENDY Then in you go!

(BOYS settle) Peter, do you know a lullaby to sing to our children?

P E r n Lullaby . . . lullaby - I think so. Sometimes late at night I seem to remember . . .

(Sings) Once upon a time and long ago I heard someone singing soft and low. Now when day is done and night is near I recall that song I used to hear. "My child, my very own, Don't be afraid, you're not alone. Sleep until the dawn, for all is well." Long ago this song was sung to me, Now it's just a distant melody. Somewhere from the past I used to know, Once upon a time and long ago.

(MICHAEL whimpers)

PETER PAN

MICHAEL Wendy, I'm homesick! I want to go home!

JOHN

WENDY Yes, we must go home. Perhaps Mother's in half-mourning by this time.

1st TWIN You're not leaving us, Wendy?

WENDY I must - at once. Peter, I appeal to you to make the necessary arrangements.

PETER If you like. Tink, you are to get up at once and take Wendy on a journey across the sea.

[MUSIC #39: TINKER BELL REJOICES] r n K

(Celeste) WENDY

Dear ones, if you all come with me I feel almost sure my mother and father would adopt you.

(BOYS cheer) 1st TWIN

Peter, can we go? PETER

All right. (BOYS cheer)

WENDY Then put your beds away quickly, and remember to bring the baby clothes you were lost in.

(BOYS exit) Peter, I'm going to give you your medicine before yourjourney,

( S H E pours .medicine into g h s on shelf) Get your things, Peter.

PETER I'm not going with you, Wendy.

WENDY Yes, Peter.

PETER No.

WENDY But why not?

P E T E R P A N

(Sits o n stool, his buck lo WENDY) WENDY

( P h c i n g medicine on table) Peter, that's your medicine, you know.

PETER I won't forget it.

WENDY Peter, if you come for me once a year, I'll do your spring cleaning. Will you come?

PETER If you like.

WENDY You won't forget? Petel; if another li~tle girl, one younger than I - oh, Peter, how I wish I could take you up and squidge you!

(PETER pz~lk; away) Yes, I know. Good-bye.

PETER Wendy!

(U'ENDY turns bath hopejully. PETER wtz~?*n.s the thimhk a n d W E N D Y turns awny to climb the Laddm PETER lies dozun on the bench)

[MUSIC #42: KIDNAPPING & POISON] ( T h e TRAVELLERS start upon their joztrney, little guessing that HOOK has issziecl h.is silent orders: a mcm to the mouth of euch tree. As the CHILDREN squeeze u p thty are plz~ckecl f?om their trees, trussed, and tttrozun like bales of cotton from one PIRATE to another)

HOOK Psst! Take them all to the ship! The boys we will make walk the plank - and Wendy will be our Mother!

SMEE But what about Peter?

HOOK (Holding z ~ f I vial oJpoison)

This for Peter! SMEE

Poison! HOOK

Aye ! (Laughs)

He's doomed!

PETER PAN

(HOOK and PETER are .now, as it were, alone on the island. Below, PETER is on the bed, uslee, no weapon near him; above, HOOK, armed to the teeth, is searching noiselessly for some tree dozun which the nastiness of him can descend. Don't be too much a lumd by this; it is precisely the situation PETER would have chosen, indeed, iJthe zuhole thing were pretend. HO0Kfind.s tlze tree and descends. He sees the medicine on the table, and to WENDY 3 draught he addspo~n a bottle three drops of poison. The medicine in the glass turns blood red. HOOK worms his way upwards, and winding his cloak around him, as if to conceal his person f i m the night of which he is the blackest part, ha stalks moodily toward tht lagoon. A dot of 1ightflashe.s pasl him and clmrts dmun the nearest Iree, looking for PETER, 0x4 for PETER, quite indifferent about the olhers when she/inh him snfe.)

[MUSIC #43: TINK'S SACRIFICE] PETER

(Stirring) Who is that?

(Sits up) Is anyone there?

(TINK has to tell her tale, in one long ungrammatical sentence)

The redskins were defeated? Wendy and the boys captured by the pirates? I'll rescue her! I'll rescue her!

(He ZeapsJirst at his d a g q and then at his grindstone, to shuqen it. T INK alights near the glass, and rings out a warning cry)

Oh, that's just my medicine. TINK

(Celeste) PETER

Poisoned? Who could have poisoned it? I promised Wendy to take it, and I will as soon as I have sharpened my dagger.

(TINK, who sees its red colour and remembers the red in the piratek eye, nobly stuallows the draught as PETER 5 hand is reaching for it)

Why, Tink, you have drunk my medicine! (SHEJtlutters strcmgeb about the room, anszua'ng him now in a very thin tinkle)

PETER PAN

[MUSIC #44: TINK'S RECOVERY] (~VIany clc~p, sonre don't, n fau hiss. Then perl~aps there is a m~sh of NANA's to the n~urse-ries to see what on earth is hap- pening. But TINK is suvecl)

Clap! Clap! Don't let Tink die! Clap! She's betting better! Her light's getting stronger! Oh, she's all right now! Oh, thank you, thank you, thank you!

(TINK thanks the nzidience by boz~?tcing down to the footlights rind fluslring dizzib all ova. the az~cEitori,~r?n like n skyrocket btrrsl. PETER follows her downstage. TINK rttz~rns to the stage)

Come on, Tink! Let's rescue Wendy! (PETER ascer~cls his tree as if he zuere shot up it. What he is

Beling is "Hook m me this .time!'' He is frightfzrlly happy)

CURTAIN

P E T E R PAN

ACT THREE

Scene 2

THE PIRATE SHIP In the strange light of a ntoonlit night 7ue see what is happen- 2')tg o.rt the deck of t l~e Jolly Roge); wAiclt isflyi,rtg the skull and mssbones and lies low in the zuatm Sorne PIRATES are preparing torture instruments. A quartet on the poop prepare their mzuic. HOOK paces. On the poop MULLINS is visible, in tlze only greatcoat on the he ship, raking with his glass the monstrous rocks within which the lagoon is cooped. STARKEY leans ooer the bulwark, silently szcrveying the silent waters. The only sound to be heard is made by ShlEE at his sewing-machine, which lends a touch of domesti~$ty to the night. HOOK is now leaning against the mast, now prowling the deck, the clozrble cigar in his mouth. With PETER surely at last removedjbm his path we, wizo know how vain a taberna- cle is mart, would not be surprised to find him bellied out by tlze winds of his success, but it is not SO; he is still uneasy, looking long and meaninglessly at familiar objects, such as the ship's bell or the Long Tom, l i k one who may shortly be a stranger to them. It is as if Pan 's terrible oath 'Hook or me this time!' had already boarded t h ship.

[MUSIC #46: THE PIRATE SHIP] HOOK

How still the night is. Nothing sounds alive. Now is the hour when children in their homes are a-bed -

[MUSIC #47: HOOK'S WALTZ] - their lips bright-browned with the goodnight chocolate, and their tongues drowsily searching for belated crumbs housed insecurely on their shining cheeks. Compare with them the captive children on this boat! Split me infinitives, but 'tis me hour of triumph! Peter killed at last and all the boys about to walk the plank. At last I've reached me peak!

(Laughs) I'm the greatest villain of all time! Who was Bluebeard?

PIRATES Nobody!

Who was Nero?

Nobody!

\Vho was Jack the Ripper?

Nobody!

PETER PAN

HOOK

PIRATES

HOOK

PIRATES

HOOK (Sung)

Who's the swiniest swine in the world? PIRATES

Captain Hook! Captain Hook! HOOK

Who's the dirtiest dog in this wonderful world? PIRATES

Captain Hook! Captain Hook! HOOK

Captain of villainy, Murder and loot.

( Grabbing SMEE) Eager to kill any Who says that his hook isn't cute.

SMEE

It's cute! HOOK

(Laughs and clrops SMEE) Who's the slimiest rat in the pack?

Captain Hook! Captain Hook!

Who's unlovable?

You!

Who's unlivable?

PIRATES

HOOK

PIRATES

HOOK

PIRATES You!

P E T E R PAN

HOOK Whose existence is quite unforgivable?

PIRATES You!

HOOK Who would stoop to the lowest And cheapest of tricks in the book?

PIRATES Tricks in the book!

HOOK Blirney!

HOOK & PIRATES Slimey Captain Hook!

(2 PIRATES 1zJ HOOIi onto their shozrlders, zuhik the others Fzrouette around him)

PIRATES (Shouted)

Captain Hook! Captain Hook! Captain Hook!

(PIRATES set HOOK dozvn) ( S.un.g)

Captain Hook! (SMEE g-ives HOOK a hand mirrur [Bar 1001, lhen places clpple on. 1st PIRATE'S head. HOOK, using the rnivor, attenzpts to shoot it o g j o n l over his shozrkd~ using a~'lint-lock pistol, Annie Oakley-style. He shoots, and misses, and a dgment PIRATE screams and falls [lead)

Hooray! (2nd PIRATE puts the apple on SMEE's head. SMEE covers his eyes with his hands. HOOK aims and shoots. 2nd PIRATE screams and falls dead. HOOK slzrugs his shoulclers)

Oh, well.

Hooray!

HOOK

PIRATES

Who's the creepiest creep in the world? P m m

Captain Hook! Captain Hook! HOOK

Who's insensible? PIRATES

You! HOOK

Reprehensible? PIRATES

You! HOOK

Whose behavior is just indefensible? PIRATES

You! HOOK

Who's the crawlingest, cruelest, crummiest, crookedest crook? P I R A W

Crookedest crook! What a prize! What a joy!

HOOK Missus Hook's little baby boy!

The scourge of the sea! HOOK

(Daintily) Just lil 01' me!

ALL Captain Hook!

PIRATES Hook Hook! Hook Hook!

Hook! HOOK

PIRATES Hook Hook! Hook Hook!

HOOK Hook!

PETER PAN

ALL

(End of nzmber) HOOK

Are all the prisoners chained? SMEE

Aye, aye, the little birds are. HOOK

Then hoist them up. [MUSIC #48: PRISONER MUSIC]

(The terri$ed BOYS [and WENDY] are podded ztp and tossed about the deck.)

HOOK Now then, you bullies, six of you are about to walk the plank, but I have room for two cabin-boys -which of you is it going to be?

2nd TWIN (After t~zsddle)

You see, Sir, I don't think my mother would like me to be a pirate. Would your mother like you to be a pirate, Slightly?

SLIGHTLY I don't think so. Would your mother like you to be a pirate, Twin?

1st TWIN I don't think so. Nibs, would your mother -

HOOK Stow that gab.

( To JO H N ) You boy - you look as though you had a little pluck in you. Didst ever dream of becom- ing a pirate, me hearty?

JOHN (Dazzled by being singled m ~ t )

What would you call me if I join? HOOK

Blackbeard Joe. (PIRATES laugh)

Can we still be faithful to the flag? HOOK

You would have to swear "Dowri wit11 the flag!" PIRATES

Aye, aye!

PETER PAN

(Falls prostrate face clown on the deck) SMEE

I'll save you! (Yet it is not lo bear on the CROCODILE that all qyes slm round, it is that they may bear on HOOK. Othenuise~soners and captors are equally inert, like actors in some play who have found themselves 'on' in a scene in which thty are not person- ally concerned. Even the iron clazu hangs inactive, as if azuare that the crocodile is not coming fm it. As the menacing sound draws nearer they close their eyes respectfully orfearfully) (PETER climbs over the railing carrying an over-sized alarm clock [Bar 191 as the PIRATES gather at the opposite ends of the rail ltktening to what they think is the CROCODILE - then over the rail following PETER come the INDIANS, the ANIMALS and LIZA lasl of all. The BOYS and WENDY greet then1 silently a d PETER guides the INDIANS and ANIMALS into the cabin and below decks. ALL scvrry to hiding places. The OSTRICH puts her head in a cannon. PETER throws a tarpaulin over her tail. LIZA has no place to hide. All boxes, nooks and crannies are occupied. PETER opens the cabin. door and beckons to her and pops a barrel over Isex The mop still sticks up over the top. WENDY c~nd BOYS resume tlwirJkgl~tened attikude m the ticking stops)

SMEE It is gone, Captain! There is not a sound.

(Immensely relieved, HOOK leaps to action with a heel click.)

HOOK ( With gay abanclon to the BOYS)

Thought I was frightened, eh? How would you like a touch o f the cat before you walk the plank?

(He is more pitiless than ever now that he believes he has a chamzed lge.)

Fetch the cat, Jukes; it is in the cabin. J U m

Ay, ay, sir. (HE goes below)

[MUSIC #50: THE SONG OF THE CAT] HOOK

(Sings unaccompanied) He's off to get the cat, The mean and scratchedy cat.

PETER PAN

The sting of al l nine of its terrible tails - (From the dark cabin. comes n czL9Zlling screeclz UUKES] zulzich zuails throziglz tlze ship and dies azuay. It is follozued @ a sound, almost more eerie in the czrczln~stances, that can only be likmed to the cru7uing of a cock.)

HOOK What was that?

(CECCO .svi,ngs iwto he ahin, and in a moment retzrrns, livid.)

HOOK ( Wtlz a n effort)

What is the matter with Bill Jukes, you dog? CECCO

He's dead - stabbed. PIRATES

Bill Jukes dead! CECCO

The cabiri is as black as a pit, but there is something terrible in there: the thing you heard a-crowing.

HOOK ( Slozu(y)

Cecco, go back - and fetch me out that doodle-doo. CECCO

( Unstrung) No, Captain, no.

( H e supplicates on his knees, but his master advances on him implacably.)

HOOK ( I n his most syrupy voice)

Did you say you would go, Cecco? CECCO

No, no! Please, Captain, don't make me! All right! All right! (CECCO goes. All listen. There is one screech, one crozu.)

HOOK 'Scleath arlcl oddsfish, cvl-lo is to briiig ttie out that dooclle-cloo?

( N o one steps fmzuurd.)

(Injudiciously) Wait till Cecco comes out.

[MUSIC #51: MUTINY MUSIC] ( T h e black looks of so-me others encoz~rage him.)

PETER PAN

HOOK He's as dead as Bill.

(Panic amongst the PIRATES) PIRATES

( General ad lib) It's Hook's fault. He's a devil. We're doomed. The ship's doomed. The devil's aboard. Aye, and he has a hook! (etc.)

(Kniz~es and pistols come to hand. Hearing sonwthing Iiku ct c:heerfi.orn the BOYS, HOOK zuheels around and his face brings them to their knees.)

NOODLER Poor Cecco!

It's Hook's fault! PIRATE

HOOK Now lads, here is a notion: open the cabin door and drive then1 in. Let them fight the doodle-doo. If they kill him we are so much the better; if he kills them we are none the worse.

[MUSIC #53: BOYS INTO CABIN] (TIzis masterly stroke restores their confidence; and the bop, affectingjial; are driven into the cabin. Desperadoes though the pirates are, some of them have been boys themselves, and all turn their backs to the cabin and listen, with arms outstretched to it as if to ward off the hmms that are being enacted there. The barrel shzfts its position to keep near WENDY. Relieved by Peter of their manacles, and armed with such weap- ons as they can lay their hands on, the boys steal out sofily as snoufikes, and zinder their captain's hushed order find hi& ing9lace.s on the poop). PETER is now disguised as a whiskered pirate and takes his place with the crew.)

PIRATE The doodle-doo has killed them all!

NOODLER The ship's bewitched!

(TIT are snapping at HOOK again.) HOOK

The ship's bewitched! There is a Jonah aboard. PETER

(Advancing tipon him) Aye, it's the man with a hook.

Aye, it's the man with a hook.

PETER PAN

PIRATES

HOOK ( Tmporising)

No, lads, no, it is the girl. PETER

Aye, aye, it's the girl! PIRATES

Aye, the girl! HOOK

Never was luck on a pirate ship wi' a woman aboard. PETER

No, no, not with a woman aboard. PIRATES

A woman aboard! HOOK

Take her to the plank! PETER

To the plank! [MUSIC #54: PLANK MUSIC]

HOOK Veering)

There is none can save you now, missy. PETER

There is one. HOOK

Who is that? PETER

( Casting off the disguise) Peter Pan, the avenger!

[MUSIC #55: SHIP FIGHT] ( Ge?zmnl Jight scene in which all participate. The KANGA- ROO has boxing gloves on and boxes smmal PIRATES.)

HOOK Back, back, you mice! It's Hook - do you like him?

(He ZzJs up MICHAEL ruith hir cluw and uses him as a buck- ltn: A tmible voice breaks in.)

Wait, boys! This man is mine! PETER

PETER PAN

(HOOK shakes MICHAEL offhis chw as afhe were a d.mp of wnLq (inti fhe.se two an.lngimist.sface each other for theirjinal bout. They measure swords at arms' length, make a sueqing motion with them, and bringing the points to the deck rest their h a n h upwt the hilts.)

HOOK (Jeet2'.ng)

So, Pan, this is all your doing! PETER

Aye, Hook, it is all my doing! HOOK

Proud and insolent youth, prepare to meet thy doom! PETER

Dark and sinister man, have at thee! (As they begin to dtul PETER j%es about HOOK'S head and swoops dozwn on him. HOOK is unable to fight him properly.)

HOOK It isn't fair. I say it though it was my last breath! It isn't fair. 'Tis some fiend fighting me. Pan! Who and what art thou?

( The chiklren listen eagerly for the amuer; none quite so eager4 as WENDY)

PETER (At a venture)

I am youth! I am joy! I am freedom! (Flies to topmost part of the rigging as BOYS cheer)

HOOK If I am to die you'll all die with me!

(Stung to madness) I'll light a bomb and blow up the ship!

(HOOK disappean, they knuw not where) CHILDREN

Save us Peter, save us! (PETER, alas, goes the wrong wry, and HOOK returns, bomb in hand)

HOOK In two minutes the ship will be blown to pieces!

CHILDREN Mercy! Mercy!

HOOK Back! Back, you pewling spakvn! I'll show you now the road to dusty death!

PETER PAN

(HOOK climbs the l r ~ d ~ r to the poop deck) There'll be a hoIocaust of children! There's something grand to the idea!

(HOOK reaches the poop where the CROCODILE is waiting for him. HOOK screeches at the sight of it)

Augghh! The croc! The croc! (At this sight the great heart of HOOK b.reaks. Tha t not zuholly zmheroicJigzrre clinzbs onto the plank [sliding boal-4 and make.s his fureruell speech)

HOOK Pan - no words of mine can express me utter contempt for you.

(HOOK slides dozun the sliding board into the sea, followed by the CROCODILE. There is a n e-no~mous splash as ALL cheer PETER t/trozus the bomb overboard. Everyone holds their ears. EXPLOSION! General rejoicing)

CURTAIN

ACT THREE