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SCENE
1 THE
NIGHT NURSERY OF THE DARLING FAMILY The
room is shaped as in diagram, and if set on a large stage it should be made to
look as snug and small as possible. Thus
it should not be a deep scene. The chief
articles of furniture are indicated above, but all the accessories of a cosy
nursery in a middle-class family are to be included. There is a frieze around the walls,
representing pictorially a fairy tale.
The wall, where Fire is, takes an angle, as in diagram, so that a person
could sit naturally at it and yet be well seen by the audience. In front of the fire the usual tall
guard-fender. The house is in a
Curtain
rises on NANA, the nurse, on hearth-rug by the fire, asleep. Nana is a The
light of the fire shows Nana vividly: he
is dreaming and makes the sounds dogs make at such times, — it is not a
bark. He wakes up, slightly changes
position lazily, and sleeps again. The
grandfather clock at back gives the warning whir common to such clocks before
they strike. Nana jumps up suddenly,
wide awake with the lightning rapidity of dogs; looks straight before him for a
moment, then walks slowly to R. down stage and putting front paws against wall
by side of door switches on electric light with his mouth. He does not do this, or anything else, as a
feat but simply as part of his daily humdrum work. He then goes nearer clock and listens to its
striking. At each strike he gives one
wag of his tail, which shows that he is counting. His back is to the audience. Clock strikes six. He next (in the ordinary, quiet, businesslike
way of a nurse) turns down the bed-clothes with his mouth, from all three beds,
brings in his mouth, from child's cot a suit of pyjamas for a child (all in one
piece), hangs this over fender to air it.
He throws open door to bathroom in same way as he had switched on
light. The door being open the bath and
taps are seen. He turns on a tap with
his mouth and water is seen pouring into bath.
Steam rises showing it is hot water.
He puts paw into water to test it:
evidently it is hot for he scalds his hands. He turns on another tap of cold water and
lets the two run together. He takes from
his mouth a tin and sprinkles (as from pepper-pot) into bath. He gets from bathroom a wire arrangement containing
soap and a sponge and hangs it on edge of the bath, lays out a large bath
towel, conveniently, then walks across room and exits at door L. He reenters accompanied by ALEXANDER DARLING. Alexander is as small a boy as possible and
his manners, dress and speech are those of a boy of seven. He and Nana enter side by side, Nana is not
holding him but keeps close to him. They
walk to C.
ALEX
(sulkily): I won't go to bed - I
won't, I won't. (Argumentatively.) Nana, it isn't six o'clock yet - it isn't six
o'clock. Nana, Nana, it isn't six
o'clock. (Nana, like an experienced
nurse pays no attention to his words, has pushed him into a chair and is
unloosening his boots with mouth. He
beats her in sudden passion but she placidly goes on taking off his boots.) I shan't love you any more Nana - Nana I
shan't love you any more. I shan't love
you Nana - I shan't I shan't. (He is
standing now and she is taking off his belt, pinafore and an under
garment. He is now in shirt and braces
and breeches.) I won't be bathed -
Nana I just tell you I won't be bathed.
I just won't. (Nana
picks up his pyjamas in mouth, and he gets on her back, still complaining, and
she walks to bathroom, for though she neither pulls nor pushes him, her moral
influence is irresistible. When they
have entered bathroom she shuts door — Outside the window C. at back, Peter Pan
is seen mysteriously. He pulls himself
on to ledge, his hands finger window as if he was seeking for a way of opening
it — At that moment enters MRS DARLING R.
She is a young, beautiful woman in evening dress and is coming forward,
gaily, when she sees the face at the window.)
MRS DARLING
(stopping in alarm): Who are you?
(Peter disappears - she runs to window, opens it, looks out, shuts
window, crosses slowly). No one
there - and yet I felt sure I saw a face.
(With sudden alarm.) My
children! Are they safe? (Opens
bathroom door. Alex's head is seen over
top of bath. He sprays water and calls
"Mummy!" She blows kisses to
him, shuts bathroom door and calls L. anxiously "Wendy" —
"John" Wendy calls unseen
"Coming Mother". Mrs D. says
"All safe!" Enter WENDY and
JOHN, arm in arm, acting grown-up people.)
WENDY
(breaking away): Oh Mummy, let me look!
The beauty, beauty frock and the lovely mummy.
MRS D.:
I'm so glad you like it, Wendy.
JOHN
(annoyed at this interruption): You mustn't call her Wendy. We are playing at being you and father. I'm father (imitating father). A little less noise there — little less
noise. I can't find my shaving soap
anywhere. I put it down just there and
it's gone. I never saw such a house.
WENDY
(imitating a mother): Why you foolish dear, it is in your hand.
JOHN:
So it is. Very strange thing. Women are so unreasonable. Now let's have a baby. (This in own voice.)
WENDY
(in own voice): You tell me, first.
JOHN:
I am happy to inform of you, Mrs Darling, you are now a mother.
WENDY:
OO! OO!
OO! (Jumps with joy.)
JOHN:
You missed the chief thing. You haven't
asked, Boy or Girl.
WENDY:
I'm so glad to have one at all, I don't care which it is.
JOHN:
That's just the difference between gentlemen and ladies. Now you tell me.
WENDY:
I am happy to acquaint you, Mr Darling, you are now a father.
JOHN:
Boy or Girl?
WENDY:
Girl. (John straddles legs, puts
hands in pockets and is picture of depression) You horrid!
JOHN
(sternly): Go on.
WENDY:
Boy. (John struts, gloriously.) Mummy, it's hateful of him. (Alex has come from bathroom in his
pyjamas and is looking on eagerly.)
ALEX:
Now John have me.
JOHN:
We don't want any more.
ALEX
(plaintively): Am I not to be born at all?
JOHN:
Two's enough.
ALEX:
Come John — Boy, John.
JOHN:
Oh, rot.
ALEX (sadly): Nobody wants me.
MRS D.:
I do. I so want to have a third
child.
ALEX:
Boy or girl?
MRS D.:
Boy.
ALEX
(in shy rapture): I am happy to inform of you, Mrs Darling, it is
a boy.
MRS D.:
Oh how I wonder what his name is.
ALEX
(shyly): Alexander! (She
seizes him in her arms and hugs him — he speaks with grave curiosity) Mummy, how did you get to know me? (Enter
R. MR DARLING in evening dress, except that he is without his coat and carries
his white tie, not made up, in his hand.)
MRS D.:
Why, what's the matter, Father dear?
DARLING:
Mother! The matter is that I'm a
desperate man. This tie — it will not
tie. Not round my neck. Round the bed-post, oh yes, twenty times have
I made it up round the post, but round my neck, no. (With savage politeness to tie.) Oh, dear no, — begs to be excused!
ALEX
(delighted with father's funny voice and manner): Say it again, Favver,
say it again!
DARLING
(with awful politeness to Alex): Thank you! (Mother seizes Alex.) I warn you of this, Mother, that unless this
is round my neck we don't go out to dinner tonight and if I don't go out to
dinner tonight, I never go to the office again, and if I don't go to the office
again you and I starve and our children will be flung out into the
streets. (The children weep.)
MRS D.
(placidly): Let me try, dear. (She
proceeds to tie it round his neck while the children stand around in an agony
of suspense — she succeeds.) There!
DARLING
(carelessly): Thanks. (The
children skip with joy. Darling is now
in indulgent good humour.) Little
less noise there — isn't it time for somebody to go to by-by? (Lifts
Alex on to his shoulders.)
ALEX:
I'm bigger than Favver! (Nana appears
at bathroom door.)
JOHN:
Bother! (Nana comes and undresses him
to an extent L.)
MRS D.:
And Wendy, it's your time, too, you know.
WENDY:
Mummy, couldn't I stay up just a teeny bit longer?
MRS D.:
Sweetheart, I want to tuck you all in before I go. (Exit Wendy L.)
ALEX
(whom Father has dropped into bed): Look Favver! (Tries to stand on head, fails, but looks
up gloriously.)
MRS D.:
Alexander! (She tucks him in — then
sweetly modest to Mr D.) They are
rather sweet, don't you think, Father?
DARLING
(stoutly): They are great.
MRS D.:
Are you proud of your children, George?
DARLING
(patting her fondly): Ah! (On way to bathroom with John Nana strikes
against Mr D. He is pettish.) Mother, just look at this! Covered with hairs! It's too bad!
(John has gone on to bathroom, but Nana brings a brush in mouth and
stands beside Mr D. with it. He takes it
a matter of course way. Nana exits into
bathroom, slowly, looking round at times and finding Mr D. looking sulkily at
her.) Clumsy! clumsy!
(Exit Nana with tail between her legs.)
MRS D.:
Let me brush you, dear. (Does so.)
DARLING:
Mother: I sometimes think it's a mistake
to have a dog for a nurse.
MRS D.:
George, Nana is a treasure.
DARLING:
No doubt, but — I have an uneasy feeling at times that she looks upon the
children as puppies.
MRS D.:
Oh no, dear, I am sure she knows they have souls.
DARLING
(meditatively): I wonder. I
wonder, Mary.
MRS D.
(anxious): George, we must keep Nana — I shall tell you why. (She signs to him to come further from
Alex. Go to fire.)
DARLING:
Well?
MRS D.:
George, when I came into the room tonight, I saw — a face at the window.
DARLING:
A face at the window, four floors up?
MRS D.:
It was the face of a little boy — he was trying to get in.
DARLING:
Incredible you can't be well, Mary. How
many fingers am I holding up? (Holds
up a whole hand.)
MRS D. :
Five.
DARLING:
How many now? (Holds up one finger.)
MRS D.:
One.
DARLING:
You seem to be all right.
MRS D.:
Oh George, this is not the first time I have seen that boy.
DARLING:
Who?
MRS D.:
The first time was a week ago. I had
been drowsing here by the fire when suddenly I felt a draught — as if the
window was open. I looked around and saw
that boy in the room.
DARLING:
In the room?
MRS D.:
I screamed. Nana was in her kennel over
there, she sprang up and with a fierce bark sprang at him. The boy leapt at the window, Nana pulled it down quickly, but was too late
to catch him.
DARLING:
I thought so.
MRS D.:
Wait. He escaped, but his shadow hadn't
time to get out. Down came the window
and cut it clean off.
DARLING:
Mary, Mary, why didn't you keep that shadow?
MRS D.:
I did. I rolled it up, Father, and here
it is. (Produces shadow from drawers
L down stage. It is dark and made of
some material so light that when unrolled it floats. She unrolls it.)
DARLING
(examining): Ha! ha! It's nobody I know — but he does look a
scoundrel.
MRS D.:
I think he comes back trying to get his shadow, George.
DARLING:
I daresay — I daresay!
MRS D.:
Perhaps I should fling it out of the window?
DARLING:
Certainly not! There's money in this, my
love. (He puts it back in drawers.) I shall take it to the British Museum
tomorrow and have it priced.
MRS D.:
Father: I haven't told you quite all, I
am afraid to.
DARLING:
Little cowardly custard!
MRS D.:
The boy was not quite alone. He was
accompanied by — I don't know how to describe it — by a ball of light — it was
like a flame that had escaped from the fire.
Not as big as your hand but it darted about the room like a living
thing.
DARLING:
That's very unusual. It escaped with the
boy?
MRS D.:
Yes, Father, what can all this mean?
DARLING
(after seeming about to say a profound thing): What indeed. (Bathroom door opens again.)
MRS D.:
Don't alarm the children.
DARLING:
Not a word. (Nana comes in with a
bottle in mouth — John is seen in bathroom enveloped in towel.)
MRS D.:
What is that, Nana? (Takes bottle.) Of course, — the medicine. (Returns it to Nana.) Alexander:
it is your medicine.
ALEX
(in cot): Won't take it. Boo — oo
— oo.
MRS D.:
My precious, it is to make you well.
DARLING:
Be a man, Alexander. (Nana
has put spoon on chair, poured into it from bottle in mouth, & brings spoon
in mouth to Alex. John has now
disappeared in bathroom.)
ALEX:
Won't — won't.
MRS D.:
Here's a lovely big chocky to take after it.
ALEX:
It's not a very big one.
DARLING:
Mother, don't pamper him. Alexander when
I was your age I took my medicine without a murmur. I said "Thank you kind parents, for
giving me bottles to make me well."
(Wendy has come in nightgown and John in pyjamas from bathroom.)
WENDY
(quite honestly): That medicine you sometimes take, father, is much
nastier, isn't it?
DARLING:
Ever so much nastier.
ALEX:
Let me see you take it.
DARLING:
I would take it, Alexander, with pleasure, just as an example to you my lad,
but somehow it has got lost — very annoying.
WENDY (innocently): I know where it is,
father, it's beneath your bed.
DARLING:
Now who could have put it there?
MRS D.:
George!
WENDY:
Mummy, come and see. Father I shall
bring it to you. (Exeunt Mrs D. and
Wendy R.)
DARLING:
John it's the most beastly stuff! It's
that — — that sticky, sweet kind!
JOHN:
It'll soon be over, father. (Wendy
runs in with a wine-glass and bottle containing whitish liquid.)
WENDY:
I've been as quick as I could.
DARLING
(with vindictive politeness): You have been wonderfully quick — precious
quick.
WENDY
(pouring it into wine-glass and giving it to father and still under
impression that father is grateful to her): Now Alexander, you will see how
father takes it.
DARLING:
Alexander, first.
ALEX:
Favver, first.
DARLING
(threateningly): It will make me sick, you know.
JOHN:
Come on, father.
DARLING:
Hold your tongue.
ALEX:
Favver, I'm waiting.
DARLING:
It's easy to say you're waiting — so am I waiting.
WENDY:
I thought you took it quite easily, father.
DARLING:
That's not the point — the point is there's more in my glass than in
Alexander's spoon. (Fiercely.) And it isn't fair. I say it, tho' it was with my last
breath: it isn't fair.
WENDY:
Why not both take it at the same time.
DARLING:
Certainly. Are you ready,
Alexander? One — two (Suspiciously.) I don't believe you're going to take it.
ALEX
(with mouth over spoon): I am — I am.
WENDY:
One — two — three. (Darling pretends
to take it — Alex takes his.)
ALEX:
Quickly, chocky! (Wendy gets a
chocolate and Nana returns to bathroom where she is seen rinsing spoon.)
JOHN:
Father hasn't taken his!
ALEX:
Boo — oo — oo! (Weeps.)
WENDY:
Oh, Father!
DARLING:
What do you mean by "Oh Father"?
Stop that row, Alexander. I meant
to take mine but — I missed it.
JOHN:
You promised.
DARLING:
No use my taking it now. (Alex
howls.) Stop it! (Craftily.) I say, look here — all of you — I've just
thought of a splendid joke! (They are
eager.) You see, I shall pour it
into Nana's bowl and she'll drink it thinking it's milk (They hang their heads in shame.) What do you mean, you silly little
things! (He pours medicine into dog's
bowl on floor' it has NURSE printed on it instead of DOG.) What a joke!
WENDY:
Darling Nana!
DARLING:
To your beds, everyone of you — I am ashamed of you. (They get into their beds — Enter Mrs D.
R.)
MRS D.:
Well, is it over?
DARLING:
All over, mother — quite satisfactory.
ALEX:
Favver —
DARLING
(aside): Alexander, if you don't tell on me I'll give you a knife on
Monday. (Nana comes down.) Nana, good dog! (Pats Nana.) Good old girl. I have put a little milk in your bowl,
Nana. (Nana
shakes hands gratefully and licks his hand, then hurries to bowl, begins to
lap, breaks away looks reproachfully at Mr D. and goes into kennel. Children ashamed — he turns to brazen it
out.)
MRS D.:
What's the matter, Nana?
DARLING:
Nothing, Nothing!
MRS D.
(examining bowl): George, it's
your medicine! (Children sob.)
DARLING:
It was only a joke. Much good my wearing
myself to the bone, trying to be funny in this house. (Nana moans and he is savagely polite to
her.) Oh, indeed, you think so do
you? You are mighty fine, I
suppose! Who has to walk on four
legs! Who has no pockets!
WENDY
(hugging dog): Father, she's crying!
DARLING:
Cuddle her! Nobody cuddles me! Oh, dear no, I am only the breadwinner. Why should I be cuddled? *(Loudly.) Why, why, why?
MRS D.:
George, not so loud — the servants will hear you.
DARLING
(wildly): Let them. Bring them
in, bring in the whole world. I never
enter this room but I see her looking at me with the cold eye of
disapproval. And why not? says my wife,
why not? say my children. Very well,
then, the worm turns, and I refuse to allow that dog to lord it in my nursery
for one hour longer. (Nana begs to
him.) In vain, in vain! The proper place for you is the yard and
there you go to be tied up, this instant.
(Sensation — the children have arms around Nana.)
MRS D.:
George, George, remember what I told you — that boy!
DARLING:
Pooh, pshaw! Am I master in this house
or is she? Come along, Come! (He wheedles "Good dog" &c —
she emerges deceived, he seizes her.
Exit R. dragging dog. Agony of
children.)
MRS D.: Come, dears, come to by-by. Don't cry.
I'm sure father will let Nana come back in the morning. (She carries Alex to bed and the others
get into theirs) Wendy, be brave.
WENDY: He's chaining Nana up. (Mrs D. lights three night-lights one at
top of each bed — Nana is heard barking.)
JOHN:
She's awfully unhappy.
WENDY:
That's not Nana's unhappy bark — that's her bark when she smells danger.
MRS D.:
Danger! Are you sure, Wendy?
WENDY:
Oh yes. (Mrs D. looks out nervously,
at window.) Is there anything there,
Mama?
MRS D.:
All quite quiet and still. Oh, how I
wish I weren't going out to dinner.
ALEX :
Can anything harm us, Mummy, after the night-lights are lit?
MRS D.:
Nothing, precious. They are the eyes a
mother leaves behind her to guard her children.
(She sings lullaby song about night-lights, beginning at foot of
Alex's bed, then when he's asleep kissing him and continuing at John's bed,
then at Wendy's — all are now asleep.)
Dear night-lights that protect my sleeping babies, burn clear and
steadfast tonight. (She steals to
door R. turns out electric light and exits R. closing door.) (The
room is now dimly lit by night-lights and fire.
Pause. Then night-lights go out
one by one, a slight noise of window opening is heard. Suspense.
Then TIPPYTOE darts in. All that
enters under this name is a gleam of light, not much larger than a human
finger. It flashes about the room
zigzagging hither and thither in air, then it is standing still there is seen
as it were within this light a tiny figure of a fairy woman. In actual working it is merely a flash-light
that moves about. The little figure is
pushed unseen this work to be visible only when light stands still behind it,
but the illusion is that the figure is always in the light, a living
fairy. Having done this, Tippytoe, which
name we shall give to the flame, pops into a vase on cupboard R. upstage. The vase is now vaguely lighted: no figure is seen. Nana is barking excitedly. Enter
at window, PETER PAN, an elfish looking boy in woodland garments, picturesquely
ragged. In this scene the lighting must
be such that he casts no shadow. A
flying wire is attached to him at present, but in the gloom it is not
visible. He is of extraordinary quick
movements as if made of air. He steals
forward, cautiously, on his feet. John
moves in sleep. Peter flies for fist
time to top of clock where he sits. He
then flies and alights on foot of John's bed.
Wendy moves. Peter flies behind
window-curtains. While here the wire is
removed from him — he re-enters, looks about him cautiously.)
PETER
(in low tones): Tippy-toe! Tippy,
where are you? (A musical tinkle of
plaintive little bells is heard in answer.
This is Tippytoe's reply in fairy language, which Peter understands.) Oh, there!
Do come out of that jug. (Tippy
darts out this way and that.) Tippy,
do you know where they put it? (Bells
reply.) Which big box? (Bells reply.) This one here? (Examining drawers L. down stage.) But which drawer? (Bells reply.) Yes, do show me! (The light darts at a drawer.) Ah! (Peter
pulls drawer open, flings other articles on to floor, seizes his shadow and
closes drawer, unknowingly with Tippy inside it. With great delight he tries to fix on his
shadow to his foot. He fails. He glides to wash-stand, gets soap — returns
to hearth-rug, tries to gum on his shadow to his foot with soap, fails, loses
hope, wits bowed on hearth-rug, sobbing audibly. This wakens Wendy, she sits up in bed, sees
the stranger, gets out of bed and is going to door R. changes mind and crossing
goes to Peter who is still sobbing and ignorant that anyone has awaked.)
WENDY:
Boy, why are you crying? (Peter jumps
up — not frightened, but with the politeness of one addressed by a lady, and
lifts his cap to her, keeps it in his hand.
She is surprised but pleased by this politeness and curtseys to him.)
PETER:
What's your name?
WENDY:
Wendy Maria Elizabeth Darling. What is
your name?
PETER:
Peter Pan.
WENDY:
Is that all?
PETER
(ashamed): Yes.
WENDY
(kindly): I'm so sorry.
PETER
(bravely stifling shame): It doesn't matter.
WENDY:
Where do you live?
PETER:
Second to the right and then straight on till morning.
WENDY:
What a funny address!
PETER
(tartly): No it isn't.
WENDY:
I mean is that what they put on the letters?
PETER:
Don't get any letters.
WENDY:
But your mother gets letters.
PETER:
Don't have a mother.
WENDY
(in tragic pity): Oh, Peter!
PETER
(with a gulp): Doesn't matter.
WENDY:
No wonder you were crying!
PETER:
Wasn't crying about that. Was crying
because I can't get my shadow to stick on.
WENDY
(examining it): It has come off!
How awful! Why Peter, you have
been trying to stick it on with soap!
PETER
(touchily): Well, then?
WENDY:
It must be sewn on.
PETER:
What's sew?
WENDY: You're dreadfully ignorant.
PETER
(hotly): No, I'm not.
WENDY
(in matronly matter): I shall sew it on for you, my little man.
PETER
(from his soul): Thank you!
WENDY
(crossing and now very womanly): But we must have a little more
light. (Turns up electric light —
brings her housewife.) Sit
there. (He sits in chair and she
kneels and taking up one foot, proceeds to sew on his shadow.) I daresay it will hurt a little.
PETER:
I shan't cry. (He winces a little but
is brave. She sews — business.)
WENDY:
There! (Peter jumps about making
gleeful sounds, then, seeing shadow doesn't properly respond.)
PETER:
Wendy, it won't do anything. (Huskily.) Do you think it's dead?
WENDY: I see what's the matter. It's all crinkled from being rolled up. Peter:
I shall iron it! (Gets iron
from fire, prepares it in business like manner, irons shadow — the heat of it
on shadow makes Peter wince, but he knits teeth and endures.) It looks better now. Move about slowly, Peter. (He does so, going up stage.)
PETER:
Wendy, I believe it moved its arm!
WENDY:
Of course, it would naturally be stiff at first, Peter.
PETER:
Oh, it's much better. (He has got
towards door L. practising it. Here it
is removed, unseen by the audience and the lights are flung so that his real
shadow takes its place. As he comes into
view of audience it should look as like as possible to the same shadow and he
pulls it along without moving arms or head.) It's quite lively, Wendy, I shall make it go
up the wall! (He does so but makes
it stick where floor and wall meet.)
It's stuck!
WENDY:
Dear, dear shadow, do climb!
PETER
(backing into middle of room): Won't do it.
WENDY:
Peter, it might follow mine. (She
moves toward wall, with her shadow in front of his.) Come along, that's beautiful. Oh how nicely you move, you clever thing. PETER (despairing):
Stuck again! Wendy, pull it up. (She seems to pull shadow up wall.) Done it!
Look at it! Look! (Dances.) I'm clever!
Oh, the cleverness of me! (He
crows like a rooster once — it seems to come out of him without his knowing.)
WENDY: You conceit! Of course I did nothing!
PETER:
You did a little.
WENDY:
A little! If I am no use I can at least
withdraw. (Bows & with dignity
gets into bed and retires beneath the blankets, head and all.)
PETER:
Wendy! (He sits on end of bed and cajoles.) Wendy, don't withdraw. I can't help crowing, Wendy, when I'm very
pleased with myself. I don't mean
to do it. It's just as if a rooster
wakes up inside me. Wendy, one girl is
more use than twenty boys.
WENDY
(Looking out, gratified): Do you really think so, Peter?
PETER
(stoutly): Yes, I do.
WENDY:
I think it's perfectly sweet of you and I'll get up again. (They sit together on side of bed,
legs dangling.) I shall give you a kiss,
Peter, if you like.
PETER:
Thank you. (Holds out hand.)
WENDY
(aghast): Don't you know what a kiss is?
PETER:
I shall when you give it to me. (Not
to hurt his feelings she gives him a thimble off her finger, he gravely puts it
on his finger.) Now, shall I give
you a kiss?
WENDY: If you please. (He gives her button off
his clothes.) Peter, I shall wear it
on this chain around my neck. (She
puts it on chain. Sorry for him.) But oh, Peter, where were you brought up?
PETER:
I was never brought up.
WENDY:
How sad.
PETER:
Doesn't matter. I was born all right,
Wendy, in a room like this — long, long ago.
(Fearfully.) Not very long
ago. I'm quite young. (Eager.)
Wendy, say I'm quite a little boy — quick!
WENDY:
Yes, of course — but how old are you?
PETER:
I don't know — but quite young.
Wendy, I flew away!
WENDY:
Flew!
PETER:
You see I hadn't been weighed. You know
babies can fly until they are weighed. That is why mothers are so quick to
weigh them.
WENDY:
Yes, I know.
PETER:
Well, my mother forgot to weigh me.
WENDY
(indignant): Oh careless, careless!
Why did you fly away, Peter?
PETER
(violently agitated): Because I heard Father and Mother talking about
what I was to be when I became a man.
Wendy, I was frightened. I didn't
want to be a man. I want always to be a
little boy and have fun. So I flew away,
and I lived a long, long time among the fairies.
WENDY
(delirious with admiration): Peter!
You know fairies!
PETER:
I have known millions of them.
WENDY:
Oh! Don't you know them still?
PETER:
They are nearly all dead now. You see,
Wendy, whenever a baby laughs for the first time, a fairy is born, and so there
ought to be one fairy for every boy and girl.
WENDY:
Ought to be? Isn't there?
PETER
(shakes head): You see children know such a lot now. They soon don't believe in fairies, and every
time a child says "I don't believe in fairies" there is a fairy
somewhere that falls down dead. They
just crumple up like that. (Bending a
finger.)
WENDY:
How tragic!
PETER:
There's only the one fairy left, now.
WENDY:
Only one?
PETER
(restlessly): I can't think where she has gone to. (Calls.) Tippy — Tippy!
WENDY
(clutching him): Peter, you don't mean to tell me that there is a fairy
in this room!
PETER:
She was here. (Suddenly.) Wendy, you believe in fairies, don't you?
WENDY:
Yes, indeed.
PETER
(relieved): I'm glad because if she happened to be your fairy —
WENDY:
Oh, how delicious!
PETER:
And if you had said you didn't believe in them, she would be lying all crumpled
by this time.
WENDY:
Oh!
PETER:
Tippy! You don't hear her, do you?
WENDY:
No, the only sound I hear is — like a tinkle of bells.
PETER:
That's Tippy — that's the fairy language.
I hear it too! Tippy.
WENDY:
It seems to come from over there. (Pointing
to drawers L. down stage.)
PETER:
Wendy, I believe I shut her up in the drawer.
(He opens drawer — Tippy darts out and flashes this way and that and
ring talking — ie. ringing bells — in a rage.) You needn't say that. I'm very sorry, but how
could I know you were in the drawer.
WENDY:
Oh, Peter, if she would only stand still and let me see her.
PETER:
She hardly ever stands still. (For a
moment Tippy is still and her figure is seen.)
WENDY:
I see her! The lovely! (Tippy darts again and disappears.) Where is she now?
PETER:
She's behind the basin. (To Tippy,
unseen.) Tippy, this lady thinks
that perhaps you are her fairy. (Bells
reply.)
WENDY:
What did she say?
PETER
(awkwardly): She's not very polite.
She says you are a great ugly girl — and that she's my fairy.
WENDY:
Oh!
PETER:
You know, you can't be my fairy, Tippy, because I'm a gentleman and
you're a lady. (Bells reply.) Oh, indeed!
WENDY:
What did she say?
PETER:
She said "You silly ass!".
WENDY:
Oh! Peter: if you don't live with the
fairies now, where do you live?
PETER:
I live with the lost children.
WENDY
(sitting beside him on same chair at fire — their legs dangle): Who are
they?
PETER:
They are the children who fall out of their perambulators when the nurse is
looking the other way. If they are not
claimed in seven days they are sent far away to the Never Never Land to defray
expenses. I'm Captain.
WENDY:
What fun it must be!
PETER:
Yes, but we're rather lonely. You see we
have no female companionship.
WENDY:
Are none of the others girls?
PETER:
Oh no — girls you know are much too clever to fall out.
WENDY:
Peter, it's perfectly lovely the way you talk about girls. John, there, just despises us. (Peter rises gravely and kicks John out of
bed. John continues to sleep on floor.) Peter you wicked! You're not captain here! (Peter is abject — she relents.) After all, he hasn't waked, and you meant to
be kind — Peter, you may give me a kiss.
PETER
(little bitterly): I thought you would want it back. (Offers the thimble.)
WENDY:
Oh, dear! Peter, I don't mean a kiss — I
mean a thimble.
PETER:
What's that?
WENDY:
It's like this. (Kisses him.)
PETER
(stolidly): Now shall I give you a thimble?
WENDY:
If you please. (He kisses her,
pauses, then Tippy darts at Wendy and vanishes.
Wendy jumps up, screaming.)
PETER:
What is it?
WENDY:
It was exactly as if somebody was pulling my hair.
PETER:
That must have been Tippy. Never knew
her so naughty. (Bells speak.) Oh, is that it?
WENDY:
What does she say?
PETER:
She says she'll do that to you every time I give you a thimble.
WENDY:
But, why?
PETER:
Why, Tippy? (Bells.) She says "You silly ass" again.
WENDY:
She's very unkind. (Goes further
off.) Peter, did you come here to
see me?
PETER:
I didn't know there was a you. I came to
listen at nursery windows.
WENDY:
Why?
PETER:
To try to hear stories. I don't know
any stories. None of us lost boys know
any stories.
WENDY:
How perfectly awful!
PETER:
Do you know why swallows build in houses?
It is to listen to the stories.
Oh Wendy, your mother was telling you such a lovely story and I do so
want to know the end. That's what I came
here for.
WENDY:
Which story is it?
PETER:
The Prince couldn't find the lady who wore the glass slipper.
WENDY:
That's Cinderella! Peter, he found her,
and they were happy, ever after!
PETER
(immensely relieved): I am
glad. (He is going.)
WENDY:
Where are you going, Peter.
PETER:
To tell the other boys. They are so
frightfully anxious about Cinderella.
WENDY:
Don't go, Peter. I know such lots and
lots of stories.
PETER
(breathless): Do you! (His
hands begin to claw her.)
WENDY:
The stories I could tell to the boys!
PETER:
Wendy, come with me and tell them.
WENDY:
Oh, dear, I can't. Think of Mummy.
PETER:
You shall! You shall! (Seizes her.)
WENDY:
Let go, Peter Pan. (He does so
dejectedly.) Besides, I can't fly.
PETER:
It's so easy. Wendy, I'll teach you.
WENDY:
How lovely to fly! But tho' I learn,
mind you, I won't go away with you.
PETER:
You won't be able to help it — it's so delicious to fly.
WENDY:
Then I won't learn.
PETER:
Oh, Wendy, how we should all respect you. You would tuck us in every night, Wendy. Not one of us has ever been tucked in at
night.
WENDY
(hesitating): Of course, it's awfully fascinating.
PETER:
Wendy, I have just to rub your shoulders, and then you can fly.
WENDY:
Oh! Will you teach John and Alexander,
also?
PETER
(indifferent): If you like.
WENDY:
Mind you, I don't promise to go away with you.
I don't think there's the least chance of my going.
PETER
(craftily): All right.
WENDY
(wakening John): John, wake up.
There is a boy here who is going to teach us how to fly.
JOHN:
Is there? Then I shall get up. (Finds that he is on the floor.) I say, I am up.
WENDY:
Alexander, this boy is to teach us to fly.
(Nana begins to bark again. Wendy is conscience-stricken.) Nana doesn't want us to learn.
PETER:
Hsh! Someone's coming.
JOHN:
Out with the light. (He turns it
off.) Hide quick! (Wendy
and Peter exeunt L. John and Alex into
bathroom. Enter R. HELEN, a servant,
holding Nana by collar. Nana growling. They remain near door R.)
HELEN:
There you suspicious brute! They are
perfectly safe, aren't they! Every one
of the little angels sound asleep in bed — Listen to their gentle breathing. (Nana growls.) Now, no more of it, Nana. I warn you if you bark again, I shall go
straight for Master and Missus and bring them home from the party, and the, oh,
won't Master whip you just! (Tippy
darts at her leg.) Oh! Oh!
What's that nipping my leg? (Tippy
darts at her head.) Oh! Oh!
Come along, you growling brute! (She
exits, dragging Nana with her — the children emerge — the wires are now
attached to them and are invisible in the gloom.)
ALEX:
What was it nipped Helen?
PETER:
It had been Tippy.
JOHN:
Who's Tippy?
WENDY:
John, she's a fairy!
JOHN:
Oh, rot, there are no fairies. (Tippy
darts at him, he staggers back.) Who
did that? Who hit me here? (Covering his stomach.)
PETER:
It had been Tippy.
JOHN
(Tippy darts: staggering again): There it is again.
WENDY:
John, quick, say you believe in fairies and then she may stop.
JOHN:
I don't. (Gets another whack.) Yes, I do — I do — (The persecution
stops.) I
say, can you really fly? (Peter
flies.) How splendid!
WENDY:
Oh, how sweet!
PETER
(in ecstasy as he flies): I'm sweet, sweet — oh I am sweet!
JOHN
(trying to fly): How do you do it?
PETER:
I must rub you, first. (He rubs their
shoulders with his.) Now try — try
from the bed.
ALEX:
Me first!
JOHN
(pushing Alex down): Me
first! (Tries to launch himself into
space — jumps down tamely.)
PETER
(flying): Just wriggle your shoulders this way and let them go. (Wendy does as John did — Alex flies a
yard.)
ALEX:
I flewed! (The three jump on to
different beds to practice. Amid the
exclamations of delight they begin to be able to fly, at first, awkwardly —
then they get better at it.)
JOHN
(sailing round): Look at me — look — look!
ALEX:
Look at me!
JOHN:
I say, why shouldn't we go out!
WENDY:
No, no, we mustn't — oh it's heavenly!
But we mustn't — that's what he wants, to takes away over the sea.
PETER:
There are Pirates!
JOHN:
Pirates! Let's go at once.
WENDY:
No, John, no.
JOHN:
You stay at home — girls are only in the way.
PETER:
No, they're not.
JOHN:
You like girls? Oh you muff!
ALEX:
Muff, muff, muff!
WENDY:
Peter, it's sweet of you. (He and she
fly together — all circle round.)
PETER:
Tippy, Tippy, come along. (Tippy's
light darts about and trembles — bells ring, plaintively.) That's Tippy crying!
WENDY:
Oh!
PETER:
She says she's crying because I am holding your hand. (Bells again.) She says she'll come if I let go your hand. (Wendy
and Peter let go hands.
MRS D.
(distraught): My children! All
gone — all gone!
DARLING
(equally distressed): Oh, Mother!
MRS D.:
They would all have been here if you had left Nana to take care of them! Oh, why do men interfere in the affairs of
the nursery! (She half falls, leaning
on kennel.)
DARLING
(full of remorse): My fault! My
fault! Mea culpa — my fault! Mary, from this hour, until my children come
back Nana and I change places. She
becomes head of the house and I go into the kennel. (He goes into kennel and sits with head
out. Nana comes down and stands looking
at him.) CURTAIN |
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