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49 INT. LEINSTER CORNER - BARRIE'S STUDY. 1906. DAY
Mary Barrie sits beside CHARLES Frohman, showing him a
presentation copy of Peter Pan in Kensington Gardens. A tea
tray is on the table beside them; on the sofa, a silver
framed mirror in its wrapping paper, evidently a gift.
MARY BARRIE
...it's only the Peter Pan
chapters reprinted from The
Little White Bird, but I think
Arthur Rackham's illustrations
are rather fine, don't you?
FROHMAN
Oh, superb. When do I get my
copy?
MARY BARRIE
You'll have to wait until
Christmas... this is an advance
copy from the publishers - it
only arrived this morning.
FROHMAN
For your wedding anniversary?
What a kind thought of Jimmy's.
An awkward pause.
MARY BARRIE
Yes. Yes, wasn't it. But then
Jim's always known how to spoil
me.
50 INT. LEINSTER CORNER - PASSAGE OUTSIDE STUDY. 1906. DAY
Barrie arrives back from a walk in the park with LUATH. He
hangs up his coat and hat, brightening as he recognizes
Frohman's voice emanating from the study.
51 INT. LEINSTER CORNER - STUDY. 1906. DAY
Barrie enters the room as Frohman talks to Mary Barrie.
Without interrupting, he goes over to MARY, kisses her on
the cheek, as of habit, then salutes Frohman in Napoleonic
style.
FROHMAN
(to Mary Barrie)
... we opened Napoleon and
Josephine in Omaha on a Monday
and I called it a tragedy. On
Tuesday I called it a comedy. On
Wednesday I called it off.
(Mary laughs)
Moral of the story: there's no
such thing as bad towns, only bad
plays... isn't that right, Jimmy?
BARRIE
First rule of the American
Theater: an audience is never
wrong.
(to Frohman)
Do you remember when you put on
Romeo and Juliet in the Bronx,
they cried out for the author?
(to Mary Barrie)
Not wishing to disappoint so
discerning an audience, Charles -
in his modesty - stepped forward
and took the bow.
FROHMAN
Whereupon they showered me with
rotten matzo-balls.
Mary Barrie roars with laughter.
MARY BARRIE
(in an effort to
compete)
Oh, I know! I remember once when
I was an actress I was playing
Rosalind in As You Like It, and
the actor playing Touchstone...
Barrie interrupts his wife's anecdote with a violent spasm
of coughing, followed by a pause.
FROHMAN
(to Mary Barrie)
Yes, and?
MARY BARRIE
Oh it doesn't matter. Wasn't a
very good story anyway.
(to Barrie)
Look what Charles brought us for
our Wedding Anniversary - wasn't
it sweet of him?
Mary Barrie passes Barrie the silver-framed mirror.
FROHMAN
(to Barrie)
They tell me that twelve years is
meant to be Silk and Fine Linen,
but I see you've broken the rules
too. I trust you've dedicated the
opus to her?
BARRIE
Opus?
FROHMAN
Peter Pan in Kensington Gardens.
Mary Barrie hurriedly picks up the Presentation Copy.
MARY BARRIE
I was showing Charles the book
before you arrived.
Barrie takes the book rather aggressively from MARY.
BARRIE
Oh, yes. It's, er... the
illustrations are rather fine,
don't you think? A cut above the
text anyway.
Another awkward pause. Frohman senses the atmosphere.
FROHMAN
Well I, er - I'd better be
getting back to rehearsals...
before my cast start re-writing
your lines.
Frohman overlaps thank-yous and farewells to Mary Barrie
while Barrie talks -
BARRIE
Oh, it wouldn't surprise me if
they did. Actors always presume
to know their parts better than
the author who conceived them.
The fact that Shakespeare was an
actor always seems to me the
strongest argument in favour of
Bacon having written the plays.
CAMERA remains on Mary Barrie as Barrie conducts Frohman
from the room. She picks up the copy of Peter Pan in
Kensington Gardens, flicks abstractedly through the pages.
FROHMAN
(O.S., to Barrie)
You know you may be right. I got
a cable this morning from New
York about Quality Street.
Apparently old Mildred Morris is
demanding that her name go above
the title with Maude Adams. I ask
you, how does one deal with such
prima-donnerism?
BARRIE
(O.S., barely audible)
Simple. Give her what she wants.
"Charles Frohman presents Maude
Adams but Mildred Morris in J. M.
Barrie's Quality Street."
(Frohman laughs, O.S.)
See you at Friday's rehearsal.
Mary Barrie looks a trifle bitterly at the Dedication
printed at the front of Peter Pan in Kensington Gardens. A
pause, then Barrie returns to the room. Mary Barrie
replaces the book on the table, dusting it unnecessarily.
MARY BARRIE
Trust I haven't left any dirty
fingermarks.
BARRIE
(awkwardly)
I'm sorry, Mary, it's just that I
- I'll get you your present
tomorrow.
MARY BARRIE
(mildly)
I shouldn't bother yourself.
BARRIE
I just completely forgot.
MARY BARRIE
You always do, but no great
matter.
Barrie tries to put a reconciling arm around her, kisses
her on the cheek despite her effort to evade him.
BARRIE
Anyway, thank you for not...
MARY BARRIE
There's nothing to thank me for.
I did it for my sake, not yours.
Mary Barrie picks up Frohman's present and the wrapping
paper, goes to the door.
MARY BARRIE
I'll be leaving early for Black
Lake tomorrow, so I probably
won't see you before Monday. I've
left all the household
instructions with Mrs Benson.
BARRIE
(returning to his desk)
Fine, fine.
Mary Barrie hovers in the doorway.
MARY BARRIE
Oh, there is one small thing you
can do for me - I mean if you
really want to give me a present.
BARRIE
Yes?
MARY BARRIE
The way you kissed me just then.
The way you always kiss me. I'd
be so grateful if you never did
it again.
MARY exits, leaving Barrie alone. He stands at his desk a
moment, preoccupied, fingering bits of paper, then sits
down.
52 INT. LEINSTER CORNER - PASSAGE OUTSIDE STUDY. 1906. DAY
Mary Barrie stands outside the door, her hands trembling as
she clutches the silver-framed mirror, the tears welling up
in her eyes despite her efforts to conceal her feelings.
53 INT. LEINSTER CORNER - STUDY. 1906. DAY
Barrie sits at his desk, pondering over a blank sheet of
paper.
BARRIE (V.O.)
It's been my fault since the
beginning - you should have
married a better man than me. But
can't we make a fresh start? Try
and pick up the pieces?
(pause)
She says no. Love is not a broken
jug but spilt wine, you can't
pick up that. Too late to talk of
love, she no longer wants it. Her
revulsion when he touches her,
etc., but still keeps up the
pretence in front of others. Not
for his sake, but a woman's
vanity.
Barrie begins to write, the emotion in his voice gradually
fading as a storyline begins to materialize.
BARRIE
(V.O., cont'd)
In Act one, audience might think
she is to be a sweet, long
suffering wife. Husband also
thinks he can do without her -
his success all his own making.
Not until Act Three, when she
leaves him, does he realise
truth: that behind every man
stands a woman in the shadows -
wife, mother, etc. Every woman
knows this, but a man must learn
it by experience.
54 INT. NURSING HOME - ARTHUR'S ROOM. 1906. DAY
Sylvia sits by Arthur's bedside, reading him a letter
written in a childish hand. Arthur's face is still
partially bandaged from his latest operation, and he now
wears a Brown patch over one eye. Three other visitors are
also in the room: Emma du Maurier (Sylvia's ageing mother),
CROMPTON LLEWELYN DAVIES (Arthur's younger brother), and
Jack, now aged 12, who is making a model boat.
SYLVIA
(reading letter)
"I am quite well thank you but
Mary says I am not and she says I
must stay in bed for another week
and I have got an acorn and Mr
Barrie has got a cold and he has
sent me another poem...
While Sylvia continues reading, Barrie enters the room with
George(now aged 13). Since everyone knows one another, and
hospital visits have become a routine, there are no
introductions, merely nods of the heed.
SYLVIA
... and I am very lonely and I
wish I was in hospital with you
and please come home before I am
grown too old and now I must
write to Mr Barrie from Michael."
(folds letter)
Hello Jimmy, we've just been
hearing all about you from our
Berkhamsted correspondent.
EMMA DU MAURIER
Poor Michael, he must be so
lonely down there at Egerton
House all on his own. Don't you
think you ought to go and spend a
night there, Sylvia dear? After
all, a mother's place is with her
children.
SYLVIA
(briskly)
I know that, Mummy - and a wife's
place is with her husband, and I
intend staying here with Arthur.
Sylvia beckons to George, who is carrying a parcel.
SYLVIA
George -
(to Barrie)
Oh Jimmy, I'm afraid Michael
isn't any better, so I don't
think he'll be able to come to
London for Peter Pan this year.
He's dreadfully disappointed, but
the doctor wants him to stay
indoors for at least another
month.
(to George)
George, darling -
Sylvia points George to his father's bedside - a duty he
clearly finds awkward. Crompton and Jack are sitting either
side of the bed.
GEORGE
(stilted)
Hello, father... Hello, Uncle
Crompton.
(to Arthur)
Are you feeling any better?
Arthur's reply is incomprehensible, and he resorts to
writing his answer on a note-pad.
CROMPTON
(to George)
The new operation on the palate
has helped the pain, but he won't
be able to speak properly until
the artificial jaw has been
fitted.
GEORGE
(blankly)
Oh.
Arthur continues writing, and Crompton reads the note aloud
to George -
CROMPTON
He wants to know how... you're
getting on with... ah, your
scholarship for Eton.
Jack chuckles.
GEORGE
Er, well I'm swatting like a
fifth wrangler, but I'm not very
hopeful.
(to Arthur)
Here's a present for you.
George hands Arthur the parcel in order to change the
subject. In the background, Barrie gets ready to leave.
BARRIE
(to Sylvia)
Tell Arthur I'll be in to sit
with him tonight.
SYLVIA
You're sure it's no trouble?
BARRIE
You know it isn't.
(to Emma du Maurier)
Goodbye, Mrs Du Maurier -
55 INT. NURSING HOME - CORRIDOR OUTSIDE ROOM. 1906. DAY
As Barrie leaves the room, a thought occurs to him. He
beckons to Sylvia -
BARRIE
By the by, how big is the nursery
at Egerton House?
SYLVIA
I haven't the faintest idea. Why?
BARRIE
I mean roughly?
SYLVIA
Oh I don't know - I suppose about
the same size as your study at
Leinster Corner. Why?
BARRIE
Oh, just a passing thought.
(smiles)
It's passed. See you later.
56 INT. NURSING HOME - ARTHUR'S ROOM. 1906. DAY
Sylvia returns to the room to find Arthur unpacking the
parcel given to him by George. It contains the presentation
copy of Peter Pan in Kensington Gardens admired by Frohman.
SYLVIA
What is it?
GEORGE
It's from... well it's meant to
be from me, but really it's from
Uncle Jim. It's a special copy
before you can get it in the
shops.
SYLVIA
Oh, it's beautiful -
GEORGE
I don't think so... he's cut out
all the best bits.
Arthur glances through the illustrations, flicking
backwards through the book towards the page bearing the
printed dedication.
CROMPTON (O.S.)
Which bits?
GEORGE (O.S.)
All the bits about me and Uncle
Jim in The Little White Bird.
CAMERA moves into Arthur'S POV of the printed dedication.
SYLVIA (O.S.)
Well I think it's beautiful - and
so like Jimmy to think of it...
don't you think, dearest?
Arthur makes no reply; the CAMERA ZOOMS slowly in on the
printed dedication:
TO SYLVIA AND ARTHUR LLEWELYN DAVITS
AND THEIR BOYS (MY BOYS)
CAMERA ZOOMS into EXTREME CLOSE UP on the bracketed words
(MY BOYS), until the brackets are lost either side.
57 INT. EGERTON HOUSE - NURSERY. 1906. DAY
The words "MY BOYS" hold a moment over Michael, gazing
steadfastly almost into CAMERA.
BARRIE
(O.S., dramatically)
There is none can save you now!
CAMERA PULLS slowly back to reveal Michael sitting cross
legged on his bed in the manner of a young Rajah, watching
a performance of Peter Pan in his nursery - and never
smiling throughout.
GEORGE
(O.S., as Peter Pan)
There is one who never fails!
BARRIE
(O.S., as Captain Hook)
Who's that?
CAMERA PULLS right back as George, playing Peter Pan, leaps
into SHOT, his sword drawn -
GEORGE
Peter Pan, the Avenger!
Barrie, dressed as Captain Hook, recoils in mock terror as
George advances on him, then retreats to the safety of his
Pirate Crew, which includes Frohman playing Smee.
The nursery has been converted into the deck of the Pirate
Ship, with the AUDIENCE sitting at the far end, grouped
around Michael's bed. They include Sylvia, Mary Hodgson
with Nico (now aged 4) on her lap, a few members of the
STAFF (MINNIE the Cook, AMY the Parlourmaid, BESSIE the
Under-Parlourmaid), Peter (now aged 10), and Jack. Each
holds a programme specially printed for the occasion:
PETER PAN IN MICHAEL'S NURSERY
FEBRUARY 16TH, 1906.
BY COMMAND OF MICHAEL
CHARLES FROHMAN PRESENTS
PETER PAN
BY J.M. BARRIE.
Although the adults in the AUDIENCE seem to be enjoying the
play, Peter and Jack look singularly bored by it all, and
are flicking rubber-bands at each other. George, as Peter
Pan, advances on Barrie's Captain Hook -
BARRIE
(to the pirates)
Cleave him to the brisket!
GEORGE
(to the Lost Boys)
Down, boys, and at them!
During the ensuing conflict, the adults in the AUDIENCE try
to enliven the proceedings by calling out a variety of tame
exhortations to the combatants on stage. Michael, however,
remains dark, dour and impenetrable throughout. Suddenly
Nico jumps down from Mary Hodgson's lap and enters the fray
-
MARY HODGSON
Nico - come back!
NICO
But I want to kill pirates too!
Frohman, as Smee, rescues Nico from the confusion, lifts
him onto his shoulders and lends him a club, which Nico
puts to immediate use on the head of an unsuspecting
PIRATE. Mary Hodgson hurries over.
NICO
(in joyous transport)
Look, Mary - I've killed a
pirate!
MARY HODGSON
Oh, Nico, it's horrible!
NICO
No it isn't - I like it, I like
it!
Nico's unscripted line raises a cheer from the AUDIENCE.
GEORGE
(to the Lost Boys)
Put up your swords, boys - this
man is mine!
George and Barrie face each other for the final conflict.
BARRIE
(with curling lip)
So, Pan, this is all your doing?
GEORGE
Aye, Jas Hook, it is all my
doing.
FROHMAN
He's Napoleon!
GEORGE
That's who I am, Napoleon... he
was little too!
BARRIE
Proud and insolent youth, prepare
to meet thy doom!
GEORGE
Dark and sinister man, have at
thee!
As George and HOOK fight their duel, the CAMERA moves past
them to favour Peter and Jack, who are now flicking rubber
bands at AMY's backside. Sylvia catches sight of Jack and
scowls at him, afraid that Barrie might see; but Jack
merely fires the rubber-band at George. As George moves to
avoid a second attack, CAMERA HOLDS on Barrie, who has been
watching Jack and Peter. In a brief moment of realisation,
he sees that the two boys have outgrown both Peter Pan and
himself. George has his foot on Barrie's sword.
GEORGE
(prompting him)
It's your turn, Uncle Jim.
BARRIE
(wearily)
Hmm? Oh, I suppose so...
Barrie picks up his sword, but has lost interest in the
game.
BARRIE
(mechanically)
Er, 'tis some fiend fighting me -
er, Pan, who and what art thou?
GEORGE
(expansively)
I'm the sun rising, I'm the poet
dreaming, I'm joy, I'm youth, I'm
eternal youth!
The background SOUND FADES as Barrie's notebook voice LAPS
OVER...
BARRIE (V.O.)
"What Every Woman Knows". Revise
to include a character who fails
to develop normally, whose spirit
remains young in an ageing body,
constantly upset when some out
ward proof suddenly jabs at his
inward conviction of perpetual
youth.
Normal SOUND resumes as George prompts Barrie again -
GEORGE
Come on, Uncle Jim...
BARRIE
Oh, yes - er... To't again!
GEORGE
Cut me in pieces, and every piece
will run at you. The littler I
am, the more terrible!
George lunges at Barrie, and succeeds in prodding him to
the end of the plank, where Barrie's chauffeur, ALPHONSE,
is holding the head of a papier-mache crocodile at the
ready.
BARRIE
(grandly)
Back, back, you pewling spawn!
(quietly, to Michael)
I'll show you now the road to
dusty death.
(turns back to George)
Pan, no words of mine can express
my utter contempt for thee!
GEORGE
James Hook, thou not wholly
unheroic figure, farewell.
With a final contemptuous sneer, Barrie projects himself
into the yawning jaws of the crocodile. A cheer goes up
from the AUDIENCE and CAST alike.
GEORGE
Floreat Etona!
As the curtains are drawn across Michael's relentless
frown, Nico cries out -
NICO
Oh, curtain, curtain - please
don't come down!
58 INT. NURSING HOME - ARTHUR'S ROOM. 1906. NIGHT
The presentation copy of Peter Pan in Kensington Gardens
lies discarded on a bedside table, a water-jug on top of
it, while Crompton reads to Arthur from a volume of Matthew
Arnold's verse. As he reads, Arthur mouths the words from
memory.
CROMPTON
(very quietly)
... where Sorhab lay dead,
And Rustum and his son were left alone.
But the majestic river floated on,
Out of the mist and hum of that low land
Into the frosty starlight, and there moved,
Rejoicing, through the hush'd Chorasmian waste,
Under the solitary moon; until at last
The long'd-for dash of waves is heard, and wide
His luminous home of waters opens, bright
And tranquil, from whose floor the new-bathed stars
Emerge, and shine upon the Aral Sea.
A pause, then Crompton closes the book. Arthur tries to
smile, squeezes his brother's hand in gratitude.
FADE OUT.
59 INT. LEINSTER CORNER - MARY'S WORKROOM. 1906. DAY
FADE UP on Mary Barrie, sand-papering an enamel dish in a
small workroom equipped for her enamelling hobby. Several
finished ornaments are arranged on a display rack behind
her. A knock at the door, and LUATH stirs from under the
table.
MARY BARRIE
Come in?
The housekeeper, Mrs Benson, opens the door.
MRS BENSON
Excuse me Mrs Barrie, but there's
a Mr Gilbert Cannan called to see
Mr Barrie.
MARY BARRIE
Oh, very well. Will you show him
in?
MRS BENSON
Very good, ma'am.
Mary Barrie continues her work. Presently Mrs Benson ushers
a young man in his mid-20's, GILBERT CANNAN, into the room.
MRS BENSON
Mr Cannan, ma'am.
Mrs Benson goes, leaving Cannan alone with Mary Barrie.
MARY BARRIE
I'm afraid my husband's not in.
CANNAN
Well he asked me to leave the
Committee's report for his
inspection.
(shaking hands)
I'm the Committee's secretary,
Gilbert Cannan.
MARY BARRIE
For Captain Scott?
CANNAN
Captain Scott?
MARY BARRIE
You're from the Antarctic
Committee?
CANNAN
No, no - the Censorship
Committee.
Mary Barrie tries to conceal her ignorance of Barrie's
affairs.
MARY BARRIE
Oh. Ah, yes. Forgive me, but my
husband's on so many committees
these days that I get a bit
confused. Unfortunately he's gone
down to Eton for the day.
CANNAN
You have a boy there?
MARY BARRIE
No, no - just a friend of my
husband's. He's sitting some sort
of scholarship exam. The friend,
that is.
MARY gives a characteristic giggle. Cannan smiles.
CANNAN
I see. Well, perhaps you'd be
kind enough to give him these.
Your husband, that is. He'll be
needing them at dinner tonight.
MARY BARRIE
Tonight?
CANNAN
The Home Secretary.
MARY seems totally in the dark.
CANNAN
He is having dinner with him
tonight, isn't he?
MARY BARRIE
Er, yes - oh, of course, it's
Friday, isn't it. How silly of
me, I was thinking it was
Thursday. Yes, yes we are.
The "we" is somewhat pointed. Cannan observes her nervous
smile, then hands her a file of papers.
CANNAN
Well these are the amendments he
wanted in here - I've marked them
in pencil - and this is the Draft
Proposal. If there are any
problems, I'll be at the Royal
Court Theatre all afternoon.
MARY BARRIE
Fine. I'll give them to him as
soon as he gets back.
CANNAN
I'd be much obliged.
As Cannan collects up his briefcase, he notices the enamel
ornaments.
CANNAN
Is this your work?
MARY BARRIE
Oh, a hobby really. I do it in my
spare time.
CANNAN
Your husband has a very talented
wife, if I might say so.
MARY BARRIE
(caught off-guard)
Oh... thank you.
CANNAN
(shaking hands)
Goodbye, Mrs Barrie.
MARY BARRIE
Mrs Benson will see you out.
Mary Barrie rings the house-bell as Cannan leaves.
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