PETER PANA Musica l Adventure

Based on J M Barr ie’s or ig inal p laywith permis s ion f rom

Great Ormond Stree t Hospi ta l for Chi ldren

Music by George St i le s

Lyric s by Anthony Drewe

Book by Wil l i s Hal l

LIBRETTO / VOCAL BOOK

Josef Weinberger12 - 14 Mortimer Street

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PETER PANA Musical Adventure

© Copyright 1995-2011 by Th e Music Trunk Publishing CompanyEdition © Copyright 2011 by Josef Weinberger Ltd., London

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JOSEF WEINBERGER LIMITED12 - 14 Mortimer Street

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April 2011

1. The Storyteller2. Newspaper Boy3. Mrs Darling (Mary)4. Nana5. Wendy6. John7. Michael8. Mr Darling (George)9. Liza10. Peter Pan11. Tinker Bell12. Slightly13. Tootles14. Nibs

15. Curly16. First Twin17. Second Twin18. Captain Jas. Hook19. Smee20. Cecco21. Mullins22. Bill Jukes23. Cookson24. Gentleman Starkey25. Skylights26. Noodler27. Tiger Lily28. A Crocodile

Cast (in order of appearance)

A Lamplighter, Londoners, Mermaids and Indian Braves

Note: Prospective producers need not consider themselves outfaced by the seemingly substantial list of characters - with astute doubling, and a willing company, this musical can be performed in its entirety with a cast of 22. To allow for swings and understudies, 25 is a safer number.

ACT ONEScene One: A Bloomsbury TerraceScene Two: Th e NurseryScene Th ree: Th e Flight to Never LandScene Four: Th e Never LandScene Five: Th e Mermaids’ Lagoon

ACT TWOScene One: Th e BeachScene Two: Th e Home Under the GroundScene Th ree: Th e Deck of the Jolly RogerScene Four: Th e Nursery

Synopsis of Scenes

ACT ONE

1. Th ere’s Something in the Air Tonight (Company)

1a. Nursery March / Face at the Window (Instrumental)

2. Just Beyond the Stars (Mrs Darling)

2a. Tink’s Arrival (Instrumental)

2b. Peter’s Arrival (Instrumental)

2c. Did You See Where Th ey Put It? (Instrumental)

3. Tink and Wendy (Instrumental)

3a. Sound Asleep (Instrumental)

4. Never Land (Peter, Wendy, John, Michael)

5. Th e Lost Boys Gang (Th e Lost Boys)

6. Good Old Captain Hook (Pirates)

6a. Th e Hook (Instrumental)

6b. Crocodile and Tiger Lily (Instrumental / Tiger Lily and Braves)

6c. Tink’s Instructions / Shooting Wendy (Instrumental)

7. Build a House (Peter, Th e Lost Boys)

7a. Th e Lost Boys Gang (Reprise) (Th e Lost Boys, Wendy)

8. Th e Cleverness Of Me (Peter, Wendy)

8a. Walking Backwards (Insrumental / Tiger Lily and Braves)

9. Siren Song (Mermaid)

9a. Marooner’s Rock (Cecco, Cookson)

9b. Th e Fight at the Lagoon (Instrumental)

9c. Rescued by Kite (Instrumental)

10. When I Kill Peter Pan (Hook, Peter, Pirates)

Musical Numbers

ACT TWO

10a. Entr’acte (Instrumental)

11. Rose-Tinted Eyepatch (Smee, Hook, Pirates)

11a. Indians to Port and Starboard (Instrumental / Tiger Lily)

11. Just Beyond the Stars (Reprise) (Wendy)

12a. Sleeping Children (Instrumental / Peter / Tiger Lily)

12b. Tink Mock (Instrumental)

13. One Big Adventure (Wendy, Peter)

13a. Behind the Wardrobe (Instrumental)

13b. Th e Cleverness Of Me (Reprise) (Peter)

13c. Land the Mackerel (Instrumental)

14. When I Kill Peter Pan / Good Old Captain Hook (Reprise) (Hook, Pirates)

14a. Tink and the Poison (Instrumental)

14b. One Big Adventure (Reprise) (Peter)

15. A Pirate with a Conscience (Hook and Smee)

16. Never Land (Reprise) (Th e Lost Boys)

16a. Th e Deaths (Instrumental)

16b. Th e Doodle-Doo (Instrumental)

17. Th e Fight (Instrumental / Peter)

18. Just Home (Just Beyond the Stars Reprise) (Storyteller, Mrs Darling)

18a. Mrs Darling at the Piano (Instrumental)

18b. Reunion (Instrumental)

18c. Peter’s Exit (Instrumental)

19. Th ere’s Always Tomorrow (Peter, Company)

20. Bows (Instrumental / Company)

21. Exit Music (Instrumental)

Peter Pan 1

Peter Pan

ACT ONE

As the audience arrives and settles in the auditorium, it is confronted by a night sky glittering with stars. Th e near-oppressive stillness is punctuated, occasionally, by shooting stars which zap across the entire width of the stage. With a sudden chord the houselights snap off .

Music No. 1: THERE’S SOMETHING IN THE AIR TONIGHT

SCENE ONE - A BLOOMSBURY TERRACE

Which is in total darkness. A Lamplighter turns up the gas-lit street-lamps,illuminating the scene in pools of orange, slightly eerie light. As the Lamplighter goes on his way, there is a quiet passage of introductory music, during which and as the gas-light grows, we become aware of one particular house in Bloomsbury. Lights are on in the upstairs windows, and from the house we hear a voice calling . . .

Mrs Darling (off ) John! . . . Michael! . . . Wendy!

(But there is no answer, save for the happy sound of children’s laughter. On the streets below, a group of Londoners are making their way home after ‘a day at the offi ce’, wrapped up against the unseasonal chill in the air . . . )

Londoners THERE’S SOMETHING IN THE AIR TONIGHT SOMETHING IN THE BREEZE WHISTLING ROUND THE CHIMNEY STACKS RUSTLING THROUGH THE TREES THERE’S SOMETHING IN THE AIR TONIGHT THAT DOESN’T FEEL LIKE SPRING THE NIGHTINGALES ARE SILENT AS IF TOLD THEY SHOULDN’T SING

(A Newsboy has entered, a sheaf of ’hot-from-the-press’ papers under his arm.)

Act One2

Newsboy Paper! Evening paper!

Londoners THERE’S SOMETHING IN THE AIR TONIGHT SOMETHING IN EACH GUST SOMETHING LEAVES US SHIVERING SOMETHING WE DON’T TRUST THERE’S SOMETHING IN THE AIR TONIGHT THAT’S QUICKENING OUR TREAD SOMETHING MAKES US WORRY SOMETHING MAKES US HURRY TO OUR CHILDREN AT HOME SAFELY IN BED . . .

(From behind the crowd emerges an older woman. Th e rest of the group don’t seem to notice her. Th is woman will have a separate purpose later in our story but, for the time being, she shall act as our Storyteller, which will keep her invisible to all.)

Storyteller (to the audience) All children, except one, grow up. One day, when Wendy was two years old and she was playing in the garden, she plucked another fl ower and ran with it to her mother. Mrs Darling put her hand to her heart and cried out: Oh, Wendy, why can’t you stay like this forever? Th at was all that passed between them on that subject but, from that moment on, Wendy knew that she must grow up. You always know after you are two.

Peter Pan (who we cannot see, but whose voice echoes round the auditorium) Two is the beginning of the end.

(Peter’s words are followed by the sound of Tinker Bell’s mocking laughter, then:)

Storyteller THERE’S SOMETHING IN THE AIR TONIGHT SOMETHING IN THE DARK SHADOWS IN AN ALLEY WAY VOICES IN THE PARK SOMETHING FEELS FAMILIAR SOMETHING WE ONCE KNEW A MEMORY IS STIRRING BUT IS STAYING OUT OF VIEW

Peter Pan 3

Newsboy Evening paper! Read all about it! Baby vanishes from its perambulator! Little baby disappears!

(Th e Bloomsbury-ites cluster round the Newsboy, eager to acquire his papers.)

Storyteller London Town was strangely ill at ease that night. For Mr Darling though, hurrying home from work, his concerns were of a rather less sinister nature . . .

(A bowler hat comes bowling along the street, closely followed by its bare-headed owner, Mr Darling.)

Mr Darling Stop that hat!

(Th e Storyteller catches the hat and hands it to Mr Darling, who seems confused as to who exactly managed to retrieve it for him.)

Th ank you.

Storyteller THERE’S SOMETHING IN THE AIR TONIGHT

Mr Darling CHILLY FOR THE TIME OF YEAR

Storyteller SOMETHING IN THE BREEZE

Mr Darling WIND HAS GOT A BITE

Storyteller WHISTLING ROUND THE CHIMNEY STACKS

Mr Darling I DON’T REMEMBER SEEING STARS

Storyteller RUSTLING THROUGH THE TREES

Mr Darling BURNING QUITE SO BRIGHT

All SOMETHING IN THE AIR TONIGHT DOESN’T FEEL LIKE SPRING THE NIGHTINGALES ARE SILENT AS IF TOLD THEY SHOULDN’T SING

Act One4

(Mr Darling continues on his way home as the CROWD around the Newsboy disperse.)

Londoners THERE’S SOMETHING IN THE AIR TONIGHT SOMETHING IN EACH GUST SOMETHING LEAVES US SHIVERING SOMETHING WE DON’T TRUST THERE’S SOMETHING IN THE AIR TONIGHT THAT’S QUICKENING OUR TREAD QUICKENING OUR TREAD QUICKENING OUR TREAD QUICKENING OUR TREAD . . .

(As the stage clears, the Storyteller re-appears and addresses the audience:)

Storyteller . . . Meanwhile, in the Darling family house, in a backwater in Bloomsbury, there were all the outward manifestations of domestic normality, if only from the children . . .

(By which point, we have gone to:)

SCENE TWO - THE NURSERY

Music No. 1a: NURSERY MARCH / FACE AT THE WINDOW

Which is the interior of the upstairs room previously observed from across the road. Th e ‘large window’ is at the rear. A door opens onto the children’s bathroom; a second door opens onto the day-nursery and the stairs. Th ere are three beds and a large dog-kennel. A cosy fi re burns in the hearth and an oil lamp casts a comfortable circle of light. Th ere are night-lights, as yet unlit, in china-houses over each bed. Wendy is sitting on one of the beds, so still that we may not even notice that she is there, all of her attention devoted to the contents of a story-book which she is reading.

As the Lights come up, the MUSIC STARTS into a military march (based on theLost Boys Gang theme) and a brief parade enters the nursery, as the Storyteller - who will come and go when and as required, but always on the perimeter of the action - continues from just outside the nursery:

Peter Pan 5

Led by Michael playing a toy drum and followed by John, who is playing a fi fe, the parade is brought up by Nana who, with head held proudly erect, is lifting her paws with all the elegant precision of a show-horse in a dressage competition. John and Michael, both in their dressing-gowns, wear cocked hats fashioned from newspapers. Michael Left! Right! Left, right, left!

John It’s not so easy for Nana, she has two lefts and two rights.

(Nana barks in agreement.)

Michael Come on Wendy, bathroom inspection.

(Wendy lowers her book to watch as the parade circuits the nursery. Slipping a bookmark into the pages, Wendy puts down her book and follows her brothers as the parade disappears into the bathroom.

A cuckoo clock strikes six. Mrs Darling enters, elegant in an evening gown. Although the nursery is a testament to tidiness, Mrs Darling ’tut-tuts’ and plumps a couple of pillows. As she does so, she glimpses something at the window.)

Storyteller Mrs Darling was sure that she had seen a boy’s face hovering outside the window . . .

Mrs Darling (fumbling with the window catch) Who are you? Wait, child! Don’t go! Please!

(But both Peter Pan and the Storyteller are gone. Mrs Darling closes the window and turns back into the room, concerned:)

Children? John? Michael? Wendy?

(Michael, John, and Wendy enter, with Nana in attendance.)

. . . Th ank heaven you are safe!

Wendy Why shouldn’t we be safe, mother?

Act One6

Mrs Darling (ignoring the question) Boys, have you taken your Collinson’s Cure-All?

John (pulling a face) We haven’t got anything to take it for, mother.

Mrs Darling (displaying a distinctive bottle of patent medicine and a spoon) Collinson’s Cure-All does not only attend with effi cacy on all ailments, dear, it is also a preventative. Tell him what else is printed on the bottle, Wendy?

Wendy ’A teaspoonful at bed-time cossets contented children.’

Mr Darling (rushing in, wearing evening-dress, but minus jacket and brandishing his tie) I have been up and down those stairs so many times, Mary, I sadly fear we shall be required to renew the staircarpet. More expense.

Mrs Darling What is it this time, George?

Mr Darling Th is tie - it will not tie. Not round my neck. Round the bedpost, yes. Twenty times and more I have tied it round the bedpost - perfectly. But round my neck? It begs to be excused in that particular.

(He realises that his children are exchanging secretive giggles at his

predicament and that even Mrs Darling is trying hard to suppress a smile.)

Mrs Darling (hands the medicine and spoon to Wendy) Let me try, dear.

Mr Darling Th ere’s more. Th at dog . . .

Mrs Darling Nana?

Mr Darling . . . has to go. Th e wretched creature has brushed against me yet again and covered me in dog-hairs. Just look! How can I attend a dinner-party when, below the waist, I resemble a gorilla’s lower quarters?

Peter Pan 7

Mrs Darling Liza!

(Liza, the housemaid, who has been hovering, bobs a frenetic curtsey. Mrs Darling continues, calmly and in complete control.)

Liza Yes, ma’am?

Mrs Darling Clothes-brush, Liza. George - the tie.

(As Mr Darling hands over his tie, Liza scuttles out to instantly return with a clothes-brush. Th en, as Mrs Darling knots the tie and Liza brushes briskly at Mr Darling’s trousers, the Storyteller, having entered softly, informs us:)

Storyteller Mr Darling was one of those deep ones who know about stocks and shares. Of course, no one really knows, but he quite seemed to know, and he often said stocks were up and shares were down in a way that would have made any woman respect him.

(And having made her observation, the Storyteller leaves, as discreetly as she entered.)

Mrs Darling Th ere!

(Th e tie is tied; the dog-hairs have been brushed away. Everyone is hugely delighted. Liza bobs another curtsey and scuttles out. Mrs Darling realises that WENDY is still clutching the medicine bottle and spoon.)

Collinson’s next.

(Michael and John pull faces at the prospect of the medicine. I’ll fetch chocolates for the two of you to take away the taste.)

Mr Darling (calling after her) Don’t pamper them! (Th en, to the boys.) Why, when I was your age, I took my medicine like a man.

Wendy He still does - father’s medicine tastes far worse than this. You could take some Collinson’s too, father, to show how brave you are.

Act One8

(John and Michael voice their approval to this proposition noisily. Mr Darling watches,with increasing trepidation, as Wendy shakes the bottle, hands the cork to JOHN, then pours out a spoonful. Mr Darling seeks to delay the awful moment.)

Mr Darling Youngest fi rst - house rules.

(Wendy approaches Michael who takes the medicine. She refi lls the spoon and John also swallows it down with a minimum of fuss, then:)

John Now you.

Mr Darling I hardly think that my own participation is any longer necessary.

John You’re afraid.

Mr Darling Such nonsense!

Michael Father’s a cowardy-custard! Father’s a cowardy-custard!

(Mr Darling glowers at both of his sons, summons his courage and his dignity and prepares himself for the ordeal as Wendy pours out another spoonful. She hands the bottle to John who replaces the cork and slips it into his dressing-gown pocket. Mr Darling swallows down the medicine but with more fuss, more noise and more face- pulling than either of his sons. Wendy gives the spoon to John as Mrs Darling returns, holding a chocolate in either hand.)

Mrs Darling Well - is the torment over?

Mr Darling Chocolate!

(He snatches both of the chocolates from his wife’s hands and crams them into his mouth.)

Mrs Darling George!

Wendy Father took some Collinson’s, mother.

Peter Pan 9

Mrs Darling (a long-suff ering shake of her head, then briskly:) Now clean your teeth then into bed, all three of you. Th ey are the dearest children in the world. George? Don’t you agree?

(Mrs Darling watches with motherly pride as the Children head towards the bathroom with Nana bringing up the rear.)

Mr Darling And they are ours - ours! - each and every one . . .

(He is forced to skip out of the way as Nana passes dangerously close to him.)

. . . But I am not to be dissuaded, Mary, with regard to that disgraceful creature. Th e animal must go. It was a sad mistake in the fi rst place to take on a Newfoundland dog as nursemaid.

Mrs Darling George, we must keep Nana - and for one good reason. When I came into this room tonight, I saw a boy’s face at the window.

Mr Darling What? Th ree fl oors up?

Mrs Darling (nodding urgently) He was trying to get in, and not for the fi rst time. A week ago. I had been drowsing here by the fi re when I looked around and saw that same boy then - in this same room.

Mr Darling Inside, you say?

Mrs Darling I screamed.

Mr Darling Of course.

Mrs Darling Th e boy escaped - but his shadow did not have time to get out. Th e window swung shut sharply and cut it clean away from him.

Mr Darling (crossing to the window) His shadow? Remained behind? Show it to me?

Mrs Darling It turned instantly to dust, George, and drifted to the fl oor.

Act One10

Mr Darling What did you do?

Mrs Darling I had Liza sweep it up, of course, with the dustpan and brush.

Mr Darling Mary, Mary - if only you had had the good sense to have kept it!

Mrs Darling Do you think I would dispose of a child’s God-given shadow? (She takes down a screw-top glass jar containing the glittering ‘shadow dust’ from off a wardrobe.) I put it here for safety, out of the children’s reach. I think that boy came back tonight to look for it. (She puts the jar in a drawer.) George, I haven’t told you everything. I am afraid to.

Mr Darling If there is more to tell - then speak.

Mrs Darling Th e boy was not alone that fi rst time. He was accompanied by - how can I describe it? By a ball of light - no bigger than my thumbnail - it darted hither and thither about this room, like a living thing.

Mr Darling Th at would be worth a small fortune. You did not succeed in capturing that, too, inside a jar?

Mrs Darling It left with the boy. George, what can all this mean?

(Nana starts to bark off , insistently. As Mr Darling stalks out to take remedial action, the Children re-enter from the bathroom and climb into their beds.)

Wendy Th at’s the bark that Nana gives when she smells danger.

Mrs Darling (looking out the window, fi rst one way, then the other) Oh, how I wish I did not have to go out tonight.

Michael Can anything harm us, mother, after the night-lights are lit?

Mrs Darling Nothing, my precious.

(Mrs Darling’s lighting of the night-lights is accompanied by three musical “Pings!”)

Peter Pan 11

Michael Th e night-lights light the nursery, mother. But I’m afraid of the dark outside.

John (mysteriously) Th e Great Unknown.

Michael Mmm! I don’t think I’d be half so afraid of it - if I only knew what it was?

Wendy Nobody knows that, you goose! Th at’s why it’s called Th e Great Unknown. Because nobody knows what it is. Nobody. Not even father.

(Th ey all three look towards Mrs Darling, hopefully. She attempts to allay their fears as:)

Music No. 2: JUST BEYOND THE STARS

Mrs Darling JUST BEYOND THE STARS BEYOND THAT GREAT BLACK VELVET CURTAIN NO-ONE KNOWS FOR CERTAIN WHAT YOU’LL FIND JUST BEYOND THE STARS ARE COUNTLESS MYSTERIES TO UNRAVEL JOURNEYS YOU CAN TRAVEL IN YOUR MIND CLOSE YOUR EYES AND IMAGINE CLOSE THEM TIGHT AND PRETEND THERE’S A PLACE WHERE PRAYERS ARE ANSWERED AND YOUR DREAMS NEVER END NO YOUR DREAMS, YOUR DREAMS NEVER END

JUST BEYOND THE STARS YOUR FLIGHTS OF FANCY WILL BE SOARING DAYS ARE NEVER BORING WHEN YOU’RE THERE JUST BEYOND THE STARS THE ENDING’S HAPPY EVER AFTER HEAR THE CHILDREN’S LAUGHTER FILL THE AIR CLOSE YOUR EYES AND IMAGINE CLOSE THEM TIGHT AND PRETEND THERE’S A PLACE WHERE PRAYERS ARE ANSWERED AND YOUR DREAMS NEVER END

Act One12

NO YOUR DREAMS YOUR DREAMS NEVER END MAYBE WE’VE ALREADY BEEN THERE MAYBE WE’RE NOT MEANT TO KNOW MAYBE WE’LL FIND IN THE FUTURE IT’S SOMEWHERE WE ALL HAVE TO GO BUT IT’S NICE TO THINK THAT NO-ONE KNOWS FOR SURE PERHAPS THAT’S WHAT “BEYOND THE STARS” IS FOR

JUST BEYOND THE STARS ALL FEARS AND WORRIES WILL DESERT YOU NOBODY CAN HURT YOU WHEN YOU FLY JUST BEYOND THE STARS WHERE SHADOWS NEVER DARE TO WANDER SOMEWHERE WAY OFF YONDER IN THE SKY CLOSE YOUR EYES (Th e music surges.) AND PRETEND

(She turns down the oil-lamp, crosses to the door, then pauses for a last look round, and:)

Dear night-lights that protect my sleeping babes, burn clear and steadfast until the dawn.

MAY YOUR DREAMS, YOUR DREAMS NEVER END

(Mrs Darling goes out, leaving the door ajar.)

Music No. 2a: TINK’S ARRIVAL

(A moment later, as the Children sleep, there are three musical ’Pings!’ - ’One!’ - ’Two!’ - ’Th ree!’ As, in turn the night-lights blink and then go out. Next we see another light, ‘no bigger than a gentlewoman’s fi st’ darting about excitedly, outside the window fi rst and then, having found it’s way through a crack, inside the nursery - it is Peter Pan’s helpmeet fairy, Tinker Bell. Th e fairy light darts

Peter Pan 13

hither and thither, around the room, possibly opening and closing drawers, scattering the contents - searching for something . . . fi nally seeking refuge in a jug . . . and now there is a surge of MUSIC . . . )

Music No. 2b: PAN’S ARRIVAL

(Th e windows slowly open and Peter Pan fl ies in, landing lightly on the nursery fl oor.)

Peter Pan Tinker Bell? Tink? Are you there? (Th e jug lights up.)

Music No. 2b: PETER’S ARRIVAL

Oh, do come out of there! (Tinker Bell fl ashes this way, then that.) Did you see where they put it?

(Peter makes a bee-line for the top of the wardrobe (or the high shelf ) where Mrs Darling had fi rst hidden his shadow, but Tinker Bell draws his attention to the drawer which now contains the glass jar. Wendy stirs in her sleep. Peter fl ies up onto the mantelpiece to hide, while Tinker Bell also fi nds somewhere to hide. Th en, as Wendy settles back to sleep, Peter returns and ransacks the drawer, He fi nds the glass jar at last but, unable to unscrew the lid and gives way to petulant tears. Peter sits on the fl oor, sobbing loudly. Th e noise wakes Wendy who is not at all fazed at discovering a stranger in the nursery. She turns up the oil lamp.)

Wendy Boy, why are you crying?

Peter Pan (ignoring the question) What’s your name?

Wendy Wendy Moira Angela Darling. What’s yours?

Peter Pan Peter Pan.

Wendy Where do you live?

Peter Pan Second to the right and then straight on until morning.

Act One14

Wendy Th at’s not an address! You couldn’t get letters delivered there.

Peter Pan Don’t get any letters.

Wendy But your mother gets letters, surely?

Peter Pan Don’t have a mother.

Wendy (leaps out of bed to comfort him) Poor Peter! No wonder you were crying!

Peter Pan I wasn’t crying. (He backs away to avoid her embrace.) I can’t open this.

Wendy What is it?

Peter Pan It was my shadow. But it turned to dust.

Wendy (takes the jar) It’s very glittery - for a shadow. (She opens the jar eff ortlessly.) You were screwing it the wrong way.

(Peter snatches back the jar and holds it over his head.)

Don’t do that! What do you think you’re doing?

Peter Pan I’m going to tip it over myself.

Wendy Th at’s no way to treat your shadow. Give it back. Now! (He hands back the jar, reluctantly.) You need to be careful. Can you colour in a colouring-in book without going over the edges?

Peter Pan I don’t know. I’ve never coloured in a colouring-in book.

Wendy Have you ever played at ’Statues’? (He shakes his head.) Haven’t you ever done anything? Stand still - like this.

(Wendy adopts a ’statue’ pose. Peter attempts to imitate her. She sprinkles the contents of the jar over him. As the jar appears to empty, we see Peter’s shadow take shape on the wall behind him.)

Peter Pan 15

Th at’s how to do it.

(Peter tests out his shadow, moving hesitantly at fi rst but growing in confi dence. Peter and his shadow dance together. He is showing off . He gives a cockcrow.)

Peter Pan Wendy, look, look; oh the cleverness of me!

Wendy And I did nothing at all to help?

Peter Pan You did a little.

(Wendy, annoyed at Peter’s conceit, jumps back into bed and pulls the sheet up over her head. Realising that he may have overstepped the mark, Peter addresses the hidden Wendy.)

Wendy? I’m sorry. Come out, Wendy - please! Wendy - one girl is worth more than twenty boys.

Wendy (peering over the top of the sheet) Do you mean it? (He nods.) Very well, I forgive you. I shall give you a kiss and we can be friends again.

(Peter holds out his hand.)

You do know what a kiss is?

Peter Pan Of course.

(Wendy doesn’t wish to hurt his feelings and searches on a shelf and fi nds a thimble.)

Wendy I think I have one . . . here you are.

Peter Pan Th ank you. And here’s a kiss for you.

(He plucks an acorn button from his pocket.)

Wendy An . . . acorn kiss? My very favourite sort. I shall wear it on a chain around my neck.

Act One16

Peter Pan As you wish.

Wendy Peter, how old are you?

Peter Pan I don’t know. I ran away on the day that I was born.

Wendy Whatever for?

Peter Pan I didn’t want to grow up. I want to be a boy forever and to have fun. Th at’s why I ran away to live with the fairies.

Wendy I don’t think I believe in fairies.

Peter Pan If you don’t believe in fairies, Wendy, fairies die.

(Th ere is an urgent concerned tinkling from Tinker Bell.)

Music No. 3: TINK AND WENDY

Wendy What’s that noise? Ouch! Somebody - some-thing - pulled my hair.

Peter Pan Th at’s a fairy. She’s called Tinker Bell. She’s jealous of you. Ask me about myself.

Wendy Why did you choose our nursery window?

Peter Pan To listen to your bedtime stories. Th en I take them back to Never Land and tell them to the boys.

Wendy Which boys?

Peter Th e Lost Boys, of course. Th ey live in Never Land too - ever since they fell out of their prams. I’m their Captain.

Wendy Are there no girls?

Peter Pan Oh no, girls 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 another kiss if you wish.

Peter Pan 17

(Tinker Bell intervenes with much to say on the subject.)

Peter Pan Be polite, Tinker Bell. Th ere is a lady present. (Th e moment has passed.) Ask me more about me.

Wendy Which story did you like the best?

Peter Pan Th e one about the prince who couldn’t fi nd the lady who had lost her slipper. Except I didn’t hear the end of it.

Wendy Th at’s Cinderella. He does fi nd her eventually and they live happily ever after.

Peter Pan Goodbye.

Wendy Where are you going?

Peter Pan To tell the Lost Boys how Cinderella ends.

Wendy Don’t go yet, Peter. I know lots of other stories.

Peter Pan (gleaming) Come with me, Wendy.

Wendy I can’t. Th ink of mother. Besides - how would we get there?

Peter Pan I’ll teach you how to fl y. It’s easy. We’ll jump on the wind’s back and away we’ll go. We’ll talk to the stars.

Wendy John, wake up! There’s a boy who’s promised to teach us all to fly . . .

Peter Pan I never said . . .

Wendy . . . Michael! Come on! You’re going to do it too.

Music No. 3a: SOUND ASLEEP

(Before they can pursue the matter, with them, we hear the sound of Nana’s bark as she approaches. MUSIC behind, as:)

Act One18

John Quick! Hide! (Th e nursery is plunged into darkness and they all take cover. A

moment later, Liza enters the room with a lamp in one hand and clutching, with the other, at Nana’s chain. Th e small pool of light from Liza’s lamp does little to illuminate the nursery.)

Liza Th ere! What did I say? Not so much as a whisper - all sound asleep, bless their little hearts, and in the land of dreams . . .

(But Nana, sensing that all is not as it should be, tugs at the chain and barks again.)

. . . Stop that - or I shall go straightway round and fetch the master and the missis from their dinner-party - and then there would be trouble! Come along!

(Still whimpering, Nana allows herself to be led away. As Peter, Wendy, John and Michael emerge from their hiding-places, Wendy turns up the light. In their brief absence they have been prepared for wondrous things.)

John Is it true? Can you really fl y?

Peter Pan It’s easy.

John How ripping!

Michael What luck!

Music No. 4: NEVER LAND

Peter Pan YOU MUST THINK OF SOMETHING WONDERFUL A SIGHT, A SMELL, A SOUND A SHAKE OR TWO OF FAIRY DUST AND YOU’LL BE SKYWARD BOUND THERE IS JUST ONE RULE WHEN FLYING WHICH IS NOT TOO HARD TO UNDERSTAND WHATEVER YOU DO

Peter Pan 19

NEVER LAND

(Peter majestically and nonchalantly rises into the air. As he does so, he plucks ’fairy dust’ from off his clothing and sprinkles it over them.)

NEVER LAND THAT’S THE SECRET OF FLYING NEVER LAND NOTHING EQUALS THE THRILL TAKE HER HAND THERE IS NO HARM IN TRYING JUST BELIEVE THAT YOU CAN AND YOU WILL NEVER LAND FEEL THE WIND THROUGH YOUR FINGERS NEVER LAND LET THE CLOUDS BRUSH YOUR HAIR AND TO STAY ON THE WING JUST REMEMBER ONE THING NEVER LAND

(Th e three children tentatively rise from the bedroom fl oor.)

The Three Look at me, look at me, look at me!

John I say! Why shouldn’t we go outside?

Peter Pan Th ere are pirates.

John Pirates? (He grabs his Sunday tall hat.) We must go at once!

Peter Pan And Indian braves - mermaids too.

Wendy (slipping on a distinctive hooded cape) Mermaids! How spectacular!

Peter Pan Follow me . . .

SCENE THREE - THE FLIGHT TO NEVER LAND

Th e children become rather more confi dent with their new-found fl ying ability within the nursery . . .

Act One20

All NEVER LAND

Mich. / John WHY JUST SIT AROUND TALKING?

All NEVER LAND

Wendy WE CAN SOAR THROUGH THE SKY

John WHO CAN STAND RUNNING, JUMPING OR WALKING WHEN IT’S SO MUCH MORE FUN IF YOU FLY?

All NEVER LAND

Peter KEEP STRAIGHT ON UNTIL MORNING

All NEVER LAND

Peter SECOND STAR TO THE RIGHT

All NO-ONE CARES WHERE YOU ROAM WHEN THE SKIES ARE YOUR HOME NEVER LAND

Peter NEVER LAND

(Big orchestral swell as the children fl y out of the nursery - the walls of which seem to almost blow apart. Peter and the Darling Children fl y through the night-sky above London.)

Wendy ALL OF LONDON LOOKS SO MINIATURE

John BIG BEN IS NOT SO TALL

Michael AND WHO WOULD THINK THAT KENSINGTON COULD EVER SEEM SO SMALL?

Wendy THERE’S LORD NELSON ON A MATCHSTICK AND THOSE TINY PEOPLE IN THE STRAND

Peter Pan 21

All IF ONLY THEY KNEW THEY’D WANT TO FLY TOO AND . . . NEVER LAND

Wendy SEE HOW TINKER BELL TEASES

All NEVER LAND

Peter Pan TRY TO FOLLOW HER LIGHT

Wendy IT’S SO GRAND FLOATING OFF ON THE BREEZES

Michael THOUGH I FEEL I’VE BEEN FLYING ALL NIGHT

(But their energies are quickly restored as Never Land approaches.)

All NEVER LAND

Peter Pan NOT TILL WE’RE ON MY ISLAND

All NEVER LAND

Peter Pan NOT MUCH FURTHER TO GO THERE’S THE BEAR THERE’S THE PLOUGH WE SHOULD SOON BE THERE NOW

All NEVER LAND NO ONE CARES WHERE YOU ROAM WHEN THE SKIES ARE YOUR HOME

Peter / Wendy NEVER NEVER LAND

John Th ere it is!

All NEVER LAND NEVER LAND NEVER LAND . . . !

Act One22

(As the number ends, Peter Pan, Wendy, John and Michael disappear into a bank of cloud as the sky darkens and we go to:)

SCENE FOUR - THE NEVER LAND

An island where “there are no tedious distances between one adventure and the next, but where things are crammed together nicely”. Th e set then, should represent an Edwardian child’s dream-world, indicative of rapscallion pirates, languorous mermaids, intrepid Indian braves - or whatever else might tease the childhood imagination.

For the moment, we are in a semi-tropical location which is part hidden under an early morning mist which, together with the mysterious sounds of native rhythmic drumming, hints at strange goings-on in the undergrowth - perhaps a glimpse of an Indian brave or, perhaps, a quick sighting of a pirate peeping round a tree-trunk - as the music steals in, and:

Music No. 5: THE LOST BOYS GANG

Storyteller Whenever Peter was away, things were quiet in Never Land. Th e mermaids took an hour longer at their morning toilets; Tiger Lily’s braves lay idle in their wigwams, twiddling their toes and, if the pirates and the Lost Boys crossed trails, they merely bit their thumbs at one another. But with Peter’s imminent return, adventuring was once again underway.

(As the MUSIC steals in, Boys’ heads appear, one by one, either over clumps of vegetation or around the trunks of palm trees. Th ese are the Lost Boys and they are: Slightly, Tootles, Nibs, the First Twin and the Second Twin and, last but by no means least, Curly.)

Lost Boys NOBODY DARES US NOTHING EVER SCARES US EVEN THE LOUDEST BANG IF YOU’VE ANNOYED US BEST IF YOU AVOID US ’COS WE’RE THE LOST BOYS GANG AND THOSE WHO FIGHT THE LOST BOYS DISCOVER TO THEIR COST THERE’S BEEN NO FIGHT THAT THE LOST BOYS LOST

Peter Pan 23

WE ARE NO STRANGERS TO THE DARKEST DANGERS YET WE DON’T BUDGE AN INCH WE SHOW OUR METTLE GRASP A STINGING NETTLE AND YOU WON’T SEE US FLINCH AND WHEN WE FIGHT IN COLD BLOOD WE’RE COLDER THAN THE FROST THERE’S BEEN NO FIGHT THAT THE LOST BOYS LOST

NO-ONE MAKES US GO TO SCHOOL OUR BOOKS STAY ON THEIR SHELVES GOT NO USE FOR SUMS AND STUFF WE’RE FENDING FOR OURSELVES ALL WE NEED’S A CATAPULT SOME ARROWS AND A BOW READING, WRITING, ’RITHMETIC WON’T SAVE YOU FROM YOUR FOE SO . . .

WE STICK TOGETHER NEVER KNOWING WHETHER SOMEONE’S ABOUT TO POUNCE IT MAY SOUND FRIGHT’NING BUT AS QUICK AS LIGHTNING WE SETTLE THEIR ACCOUNTS FOR THOSE WHO CROSS THE LOST BOYS WILL SOON BE DOUBLE-CROSSED THERE’S BEEN NO FIGHT THAT THE LOST BOYS LOST

(Instrumental of the B-section, during which the Lost Boys go into a dance, then:)

READING, WRITING, ’RITHMETIC WON’T SAVE YOU FROM YOUR FOE SO…

NOBODY DARES US NOTHING EVER SCARES US

Act One24

EVEN THE LOUDEST BANG (AAH) IF YOU’VE ANNOYED US BEST IF YOU AVOID US ’COS WE’RE THE LOST BOYS GANG AND THOSE WHO FIGHT THE LOST BOYS DISCOVER TO THEIR COST THERE’S BEEN NO FIGHT THERE’S BEEN NO FIGHT THERE’S BEEN NO FIGHT THAT THE LOST BOYS LOST

Tootles Hey! Look!

(A perpendicular length of fi ne, white rope, the top of which is hidden in the fl ies, drifts across the stage - apparently of its own free will. It is the be-ribboned tail of a giant kite and the Boys are intent on catching it. Curly is fi rst on his feet and off in pursuit of the rope, which seems to be leading him a dance.)

Nibs I’ll bet you a catapult that you can’t catch it, Curly.

Curly I’ll bet you two pea-shooters that I can!

(But the length of rope foils all of Curly’s attempts and drifts off into the wings.)

1stTwin You lose, Curly. Th at’s a pirate’s pistol that you owe Nibs.

Slightly It’s true, Curly.

2nd Twin One catapult times two pea-shooters equals a pirate’s pistol.

Tootles Didn’t you ever learn your two-times table?

Curly I was far too busy learning fearlessness, fortitude and devotion to duty in the face of mortal danger, Tootles, to bother my brains with namby-pamby two-times tables.

(Th e kite returns and this time it is Tootles who makes a successful grab at the tail. He tugs on the end, dragging down the giant-size kite.)

Peter Pan 25

Tootles Hurrah! I’ve won a kite!

Nibs Unless somebody wants to fi ght you for it?

Tootles Who dares to be fi rst?

(Eagerly seeking a challenger, Tootles puts up his fi sts - but in order to do so, he lets go of the kite which escapes and drifts off and out of sight again. Th e Lost Boys, all with their fi sts raised and glowering at each other, are left with nothing to fi ght over, unless . . . )

Slightly My mother was fonder of me than your mothers were of you.

(It is a statement which is met by a loud and challenging denial from all of the others.)

Oh yes she was. Peter had to make up names for you - but my mother wrote my name on the pinafore I was lost in. I’m called Slightly Soiled.

(Th e Lost Boys groan in unison - they have heard Slightly’s claim a hundred times before and it is certainly not worth fi ghting over. Th ey are suddenly bowed down with boredom.)

Curly (glancing up into the sky) I do hope Peter comes back soon.

Slightly I wonder where he is?

Tootles Perhaps he’s gone to you-know-where?

Nibs If he has gone to ’you-know-where’ perhaps, this time, he’ll hear the ending to ’you-know-what’?

1stTwin If you mean that bedtime story, Nibs, we’ve already worked out the ending. Haven’t we, Twin?

2nd Twin Th ey both live unhappily ever after - Th e End.

Tootles I wish we had a fairy godmother.

Act One26

Nibs Me too! She could wave her magic wand and grant us all three wishes.

Curly What would you choose, Tootles?

Tootles I’d wish that Peter was back for a start.

Slightly I’d use the second wish to wish for a mother.

Nibs I’d wish for a pair of magic moccasins.

Music No. 6: GOOD OLD CAPTAIN HOOK

Curly Magic moccasins?

Nibs I’d put them on and be off like the wind before the pirates get here.

(At which point, we become aware of the Pirates, calling out in rhythmic unison:)

Pirates (off ) YO-OH-HEAVE-HO . . . ! YO-OH-HEAVE-HO . . . !

Tootles Skedaddle, lads! Here they come!

(Th e Lost Boys take to their heels, with the exception of Nibs who, in his panic, goes the wrong way but succeeds in concealing himself - in the nick of time!)

Storyteller Lacking a leader’s courage, the Lost Boys ran . . . (She draws her cloak up around her ears and rubs at her upper arms with her hands, as:) Enter the ruffi an pirate crew . . .

(Th e Pirates appear chanting their ’heave-ho’s’ as they enter. First, with his great arms bare and with pieces of eight for ear-rings, strides the handsome Cecco. Heavier in tread and from the shores of

Peter Pan 27

Africa, is Mullins, mountainous and muscular. Bill Jukes comes next, every inch of him tattooed. Following these come Cookson, Gentleman Starkey, Skylights, Noodler, and the bespectacled bosun, Smee, the only Non-conformist in the crew. As the Pirates chanting grows in volume, it segues into a diff erent rhythm, and:)

Pirates WHO PUT THE JOLLY IN THE JOLLY ROGER? WHO PUT THE TREASURE IN OUR CHEST? WHO’S MORE ARTFUL THAN THE ARTFUL DODGER? WHO’S MORE SCARY THAN THE MARY CELESTE? WHO GOES A-PILLAGING AND SWABS THE DECK WITH BLOOD? WHO’S THE VILEST MAN IN ANYONE’S BOOK? WHO IS WORSE THAN ANY OTHER? WHO’S A CREDIT TO HIS MOTHER? YES, IT’S GOOD OLD CAPTAIN HOOK WHO IS THE TERROR OF THE TERRA FIRMA? WHO IS THE TYRANT OF THE SEAS? WHO CHILLS BLOOD AND CAUSES HEARTS TO MURMUR? WHO’S MORE DEADLY THAN A DEADLY DISEASE? WHOSE LUCKY PRISONERS GO STRO-HO-HO-HO-HO- HOLLING DOWN THE PLANK? WHO CAN CURDLE MILK WITH BARELY A LOOK? WHO IS FEARED IN EVERY HARBOUR? CUTS MORE THROATS THAN ANY BARBER YES, IT’S GOOD OLD CAPTAIN HOOK

(At this point Captain James Hook suddenly appears in their midst. ’Cadaverous in appearance, and with his hair dressed in long curls which look like black candle that are about to melt, HOOK has a glistering steel hook in place of his right hand. Never more sinister than when he is most polite, the elegance of the pirate captain’s diction

Act One28

shows him to be one of a diff erent class from his crew - a solitary among uncultured companions.’ He primps and preens as the Pirates continue to sing his praises:)

HOOK GOES A-PILLAGING AND HOOK HOOK HOOK HOOK SWABS THE DECK WITH BLOOD HE’S THE VILEST MAN IN ANYONE’S BOOK HE IS WORSE THAN ANY OTHER BUT A CREDIT TO HIS MOTHER HE IS GOOD OLD CAPTAIN HOOK HOOK HOOK GOOD OLD CAPTAIN HOOK

(As the song ends, and Hook basks in his men’s admiration, there is a rustle in the undergrowth as Nibs attempts an escape and Starkey takes aim with his pistol.)

Hook Pull that trigger and you’re shark’s meat, Starkey.

(Nibs makes good his escape through the trees.)

Starkey I had him clean between the eyes. ’Twas one o’ they Lost Boy rapscallions. I could have dropped him, Captain.

Hook I don’t want one Lost Boy - I want them all. Scatter and seek them out . . .

(Smee pipes the order on his bosun’s whistle and the Pirates disperse, leaving only himself and Hook who continues confi dentially:)

. . . Most of all, I want their Captain, Peter Pan. It was him that sliced off my good right arm. I have waited long to shake his hand with this.

Music No. 6a: THE HOOK

(He runs his forefi nger around his shiny hook and produces a musical hum, as if he were stroking the rim of a wineglass.) Oh, I’ll tear him, Smee.

Peter Pan 29

Smee Yes, captain, I’ve often heard you say your hook was worth half a dozen hands - for taking the tops off pickle jars and suchlike trivial domestic tasks.

Hook Had I been born a mother, I would pray to have my children born with a sharp steel claw attached to their right wrist - and not a namby-pamby fl eshy thing with wriggly fi ngers. (Th en, peevishly.) Pan fl ung my arm to a passing crocodile.

Smee It has not gone unnoticed, Captain, your curious dread of crocodiles.

Hook Th at crocodile would have gobbled down the whole of me long since - except that, by a lucky chance, it had swallowed an alarm clock - which goes “tick, tick, tick” inside its innards and warns of its approach.

Smee Some day that clock will run down, Captain - and then that croc will be the death of you.

Hook Th at is the fear that haunts my days and fi lls my nights with dread. (He jumps up.) Th is seat is hot, Smee! Odds, bobs and hammer and tongs - my backside is burning!

(On close inspection, Hook discovers that the giant-size mushroom on which he has been sitting is not, in fact, a mushroom after all - and proof of this is supplied as smoke pours out.)

Smee It’s a camoufl aged chimbley, Captain!

Hook (listening at the chimney) Hush! Th e Lost Boys! Th ey’re down below.

(Th e other Pirates return, shamefaced and empty-handed and Hook upbraids them.)

While you’ve been indulging in wild-goosey-gander chases, I have located their hiding-place.

Smee You’ve got a plan too, Captain, to attend on that good fortune. I can see it in your face.

Act One30

Hook Evil schemes invade my head, Smee, as regularly as rats infest a slovenly sea-cook’s galley. (To Cookson.) Give me your jacket - I’m going to seal up the chimney and smoke them out.

Smee It’s the wickedest prettiest policy I ever came across.

Starkey You allus was a rare one, Captain.

(Hook, having folded the coat, puts it over the chimney, then sits on it - but his smile fades as, with him, we hear an ominous ticking sound . . . )

Music No. 6b: CROCODILE AND TIGER LILY

Hook Th e crocodile!

(Th e Pirates take to their heels and the Crocodile enters, ticking loudly, and exits in pursuit of the Pirates. A moment later, Tiger Lily enters to the beat of tom-toms, followed by her Braves.)

Tiger Lily HEY-YAY-AY, HEY-AH-AH

(Tiger Lily puts an ear to the ground, listens, then:)

Tiger Lily Th e pirates were here.

Nibs (entering from the opposite direction) It doesn’t take an expert tracker to know that . . . I saw them with my own eyes.

Tiger Lily Th ey run away from “Tick-tock, tick-tock”. If the pirates fl ee from the tick-tock, then the tick-tock shall lead us to the pirates.

Nibs (unsure of the logic) Um, I suppose so, but I’ll need to check that with Peter.

Tiger Lily Where is Peter Pan?

Nibs In that Other Place.

Peter Pan 31

Tiger Lily He is always in that Other Place. We need him in Never Land for adventures to happen.

Nibs He’ll be back soon enough.

Tiger Lily Soon enough for what?

(Tiger Lily gestures to her Braves, and leads them in a snaking dance off stage. Nibs calls down the mushroom chimney:)

Tiger Lily HEY-YAY-YAY-HA!

Nibs All clear, boys!

(Much relieved, the Lost Boys come up from out of their underground home, as Nibs continues:)

You’ll never guess what I saw fl ying high above the lagoon - a big white bird. (He fl aps his arms, slowly.) It looked very weary - and it had this curious call. (Still fl apping his arms.) “Poor Wendy! Poor Wendy!”

(Th e Lost Boys peer up into the sky.)

1st Twin I see it!

2nd Twin I see it too!

Music No. 6c: TINK’S INSTRUCTIONS / SHOOTING WENDY

Tootles Th ere’s Tinker Bell!

Curly If Tinker Bell’s come back, then Peter can’t be far away.

(Th e Lost Boys raise a cheer.)

Nibs (cups his hands and calls) Hey, Tink! Tinker Bell!

(Tinker Bell calls down to the Lost Boys in her fairy tongue.)

Act One32

Tootles She says that Peter wants the Wendy bird shot dead.

Curly I wonder why?

Tootles If that’s what Peter wants, Curly, we don’t ask why.

Slightly We carry out his orders without question.

(Tootles looses an arrow from his bow and it whizzes through the air.)

Nibs Good shot, Tootles!

(Th e Lost Boys eyes follow the downward spiralling of the wounded ’bird’ which fi nally takes more solid shape as Wendy’s body, in her white night-gown, crashes through branches and onto solid ground. Th e Boys cluster round her, pick her up and place her in full view. She is quite motionless - an arrow protrudes from her chest.)

1st Twin It wasn’t a bird after all.

2nd Twin It was a fl ying lady.

(From high up on a tree, where she has come to rest, we hear Tinker Bell’s mocking laughter.)

Slightly You don’t suppose, I don’t suppose, that Peter was bringing this Wendy lady back to Never Land from you-know-where?

Curly To take care of us?

Lost Boys Oh Tootles!

(Th ey all take a step away from Tootles, leaving him in isolation. Th en, as if on cue, we hear a familiar cock-crow sound.)

Peter!

(Th ey group themselves in front of Wendy’s body, hiding it, as Peter skims round the tree-tops, before touching down.)

Peter Pan 33

Peter Pan Greetings! (Th eir silence puzzles him.) I am back, and with great news. I’ve brought someone who will be a mother to us all. She fl ew on ahead of me. Didn’t any of you see her?

(Th e Lost Boys exchange glances and, unable to keep their ghastly secret, separate.)

Wendy, with an arrow in her heart. She’s dead. (He is not so much pained as puzzled).

(Th e Lost Boys make a great show of looking everywhere except at Tootles until:)

Nibs It was Tinker Bell’s doing, Peter.

Curly She told us to shoot down the Wendy bird.

Peter Pan Tinker Bell! You are my friend no longer!

(Tinker Bell replies with a cheeky sound, which seems to say, ’Who needs you?’)

You’re banished, Tinker Bell! Begone - for all eternity!

(Tinker Bell fl ies off , sulking.)

1st Twin Is she really dead?

2nd Twin (exchanging a puzzled glance with his twin) We thought only fl owers died?

Peter Pan Whose arrow? (Plucking the arrow matter-of-factly from Wendy.)

(Tootles kneels before Peter Pan.)

Tootles Strike Peter; strike true.

Peter Pan (trying to raise his arm) I . . . I can’t . . . Something prevents me . . .

(Wendy’s arm has risen and has Peter gripped around the wrist.)

Act One34

Nibs Tis the Wendy lady.

Peter Pan She lives! See, the arrow struck my kiss. (Very pleased with himself.) Th e kiss I gave Wendy saved her life.

Lost Boys (triumphant) Hurrah!

Peter Pan But she is very poorly.

Lost Boys (defeated) Aw!

(At which point, John and Michael wander on, bemused, having landed elsewhere on the island. John still wears his ‘tall Sunday hat’. Peter motions the Boys to regroup, again hiding Wendy - this time with Peter taking central position. Th ey try to look innocent as:)

Michael Where are we, John? How did we get here?

John We fl ew here - didn’t we? (He fl aps his arms unsurely) I think? . . . It’s true! Here’s Peter. And these must be the Lost Boys. I say! What fun!

Michael Where’s Wendy?

(Peter shrugs. Michael tries to peer round the end of the line, but again the Lost Boys shuffl e, fi rst one way then the other, in their attempts to keep Wendy hidden, as:)

John Is this Never Land, Peter? Are these really the Lost Boys? Haven’t any of them got mothers?

(Meanwhile, Michael, moving in one direction, darts back the other way and gets the better of the Lost Boys.)

Michael Th ere’s Wendy. She isn’t moving. (More puzzled than concerned.) Is she dead?

John She better hadn’t be dead! Or else there will be trouble!

Peter Pan 35

Peter Pan She is . . . asleep.

Michael Let’s wake her up and get her to make supper.

Peter Pan No one must touch her. It wouldn’t be respectful.

Tootles We can’t leave her here or she will die.

Curly But if no one is to touch her, she can’t be moved.

Slightly Oh well, she’ll die then - there’s no help for it.

Peter Pan Yes, there is - let’s build a house around her.

Music No. 7: BUILD A HOUSE

Lost Boys Hurrah!

John Build a house? For Wendy? But she’s only a girl.

Curly And we are her servants.

John I’m not sure I can agree to that.

Peter Pan Curly, see that these boys help with the building.

John (as he is frog-marched away to help) But how?

(Th e Lost Boys begin to construct a house around Wendy, with whatever materials come to hand:)

Peter Pan FIRST WE’LL BUILD EACH WALL WHEN IT’S JUST SO TALL WE’LL STOP WITH A HIGH-PITCHED ROOF WHICH IS WATERPROOF ON TOP WE SHOULD STRENGTHEN IT WITH CLAY TO KEEP BAYING WOLVES AT BAY BUILD A HOUSE FOR WENDY BUILD A HOME WHERE WENDY WILL STAY

Act One36

John Don’t you think she should see a doctor?

Peter Pan Th ere isn’t a doctor - perhaps there’s something she could take for it?

John (producing the bottle from his dressing-gown pocket) I’ve got this. It’s Collinson’s Cure-All. It attends to all juvenile ailments. It says so on the label.

All Hurrah!

Peter Pan (taking charge of the bottle) I’ll make sure that she takes this medicine every night.

(Satisfi ed that Wendy’s well-being is taken care of, they go back to the housebuilding, as:)

Lost Boys IN THE WALLS OF WOOD MANY WINDOWS SHOULD BE CUT LOOKING OUT EACH WAY

Peter Pan JUST AS LONG AS THEY DON’T SHUT

Lost Boys FROM EACH WINDOW COME WHAT MAY THERE’S A DIFFERENT VIEW EACH DAY BUILD A HOUSE FOR WENDY BUILD A HOME WHERE WENDY WILL STAY CHOP AND SAW AND HAMMER NAILS FOR WENDY LAY THE FLOOR AND PICTURE RAILS FOR WENDY

Peter Pan ADD THE KIND OF LOFT WHERE OLD TOYS ARE OFTEN FLUNG Lost Boys CHOP AND SAW AND HAMMER NAILS FOR WENDY Peter Pan AND WHERE PARENTS PLAY TO RECALL WHEN THEY WERE YOUNG

Lost Boys LAY A FLOOR AND PICTURE RAILS FOR WENDY

Peter Pan 37

MAKE IT NOW WITHOUT DELAY

Lost Boys ON A TIMBER FRAME

Peter Pan MOTHERS LIKE THINGS DONE THAT WAY

Lost Boys IT’S A SIMPLE AIM

Peter Pan BUILD A HOUSE FOR WENDY BUILD A HOME WHERE WENDY WILL STAY Lost Boys BUILD A HOUSE FOR WENDY, BUILD A HOME FOR WENDY

All WHEN IT’S BUILT TO EASE OUR GUILT WE’LL PATCH A FEATHER QUILT FOR WENDY WEAVE A RUG TO MAKE IT SNUG WITH COCOA IN A MUG FOR WENDY FOR WENDY, FOR WENDY, FOR WENDY

(During this instrumental section, the house nears completion.)

1st Twin What else do we need?

Peter Pan Th ere isn’t a door-knocker . . . Tootles, your shoe will do.

(Tootles hangs up his shoe, with the sole as a knocker.)

And it hasn’t got a chimney . . . John, your Sunday hat will suit.

(Peter retrieves John’s hat, knocks off the top and places it on the roof - smoke immediately curls upwards.)

Lost Boys PAPER, PASTE AND PAINT THE SILLS FOR WENDY CURTAINS LACED WITH BOWS AND FRILLS FOR WENDY

Peter Pan PLACE A ROCKING CHAIR NEAR THE FIRE WHERE SHE’LL REST

Act One38

WHEN WE HEAR HER CALL IT’S THE TIME WE ALL LOVE BEST AS SHE TELLS IN HER OWN WAY DIFFERENT STORIES EVERY DAY

All THAT’S THE JOY OF WENDY NO LOST BOY IS WENDY

Peter Pan SHE’S THE SUNSHINE’S MOST HEAVENLY RAY AND WE PRAY

All AND WE ALL PRAY

Peter Pan All look your best. AND WE PRAY

All AND WE ALL PRAY

Peter Pan First impressions are awfully important. AND WE PRAY

All THAT WENDY WILL STAY

(Th ey all strike a pose and smile winningly out at the audience as the number ends. As the applause fades, Peter steps forward and knocks on the door.)

Storyteller (having entered over the above) All of Never Land, it seemed, stood as still as those Lost Boys. Each one of them was wondering whether Wendy would answer the door - and, more important, if she did, would she fulfi l their wildest dreams?

Wendy (stepping out of the house) Where am I?

Storyteller She was exactly what the boys had wanted - and their wildest dreams were all fulfi lled.

Peter Pan 39

(As the Lost Boys react with delight on seeing Wendy well again, the Storyteller exits.)

Tootles Th is is Never Land.

Curly We’re the Lost Boys.

Slightly We are your children.

Wendy (aff ecting surprise) Goodness!

Lost Boys (kneeling with outstretched arms) Wendy lady, be our mother.

Wendy I’m only a girl myself. I’ve no experience on the subject.

Lost Boys Th at doesn’t matter.

Tootles What we need is a motherly person.

Wendy Oh dear. Th at’s exactly the kind of person I feel I am. (A sudden change of mood.) Now get inside at once, you naughty, naughty children! (She claps her hands.)

Music No. 7a: THE LOST BOYS GANG (Reprise)

6 Lost Boys NOBODY DARES US NOTHING EVER SCARES US EVEN THE LOUDEST BANG

Wendy You’re neglecting to wipe your feet.

(Michael and John enter the Wendy House.)

6 Lost Boys IF YOU’VE ANNOYED US BEST IF YOU AVOID US COS WE’RE THE LOST BOYS GANG

Wendy You’ve all your toys to put away.

(Th e Twins enter the Wendy House.)

Act One40

4 Lost Boys AND THOSE WHO FIGHT THE LOST BOYS DISCOVER TO THEIR COST

Wendy And don’t leave the towel on the bathroom fl oor.

(Tootles enters the Wendy House.)

3 Lost Boys THERE’S BEEN NO FIGHT

Wendy Bed - this instant!

(Nibs enters the Wendy House.)

2 Lost Boys THERE’S BEEN NO FIGHT

Wendy Bed!

(Curly enters the Wendy house.)

Slightly THERE BEEN NO FIGHT THAT THE LOST BOYS

Good night, Mother.

LOST!

(Peter and Wendy are now alone.)

Wendy Come along, Peter - it’s your bedtime too.

Peter Pan I haven’t got a bedtime.

Wendy Th at’s silly. Everyone has a bedtime.

Peter Pan Come on Wendy, let me show you the island - (Playing the Father.) while our children are sleeping.

Wendy As parents we have to set a good example, Peter. Rules are rules.

Peter Pan Not for me they’re not. No-one tells me what to do.

Peter Pan 41

Music No. 8: THE CLEVERNESS OF ME

Peter Pan BOTH THE SUN AND MOON ARE SERVANTS I GIVE ORDERS - THEY OBEY IT’S REALLY UP TO ME IF THERE SHOULD BE A NIGHT OR DAY

Wendy WELL IF YOU’D BEEN TO SCHOOL NOT RUN AWAY SOON AFTER BIRTH YOU MIGHT HAVE LEARNED OF SOMETHING CALLED ’THE ORBIT OF THE EARTH’

And if you’re so clever, how come you fell out of your pram in the fi rst place?

Peter Pan You don’t think it’s clever to live in a place as wonderful as this?!

IF IT’S SUMMER IN THE TREE TOPS THEN IT’S SPRING ON THE LAGOON IT’S WINTER ON THE RIVER AND AUTUMN’S COMING SOON

Wendy BUT PETER, THAT’S NOT CLEVER; YOU’RE BEING SUCH A DUNCE FOR WHAT IS ONE TO WEAR IF ALL THE SEASONS COME AT ONCE?

Peter Pan JUST AUTUMN LEAVES AND COBWEBS I’VE NO NEED FOR A SCARF NO COLD WILL EVER CATCH ME I’M CLEVERER BY HALF OH THE CLEVERNESS OF ME THE CLEVERNESS OF ME I’VE NEVER MET A PERSON YET WHO’D EVER DISAGREE THE CLEVERNESS OF ME THE CLEVERNESS OF ME I HAVE TO CROW BECAUSE I KNOW THE CLEVERNESS (cock-a-doodle-doo) OF ME

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(Wolves are heard howling somewhere nearby. Peter Pan draws Wendy away.)

Peter Pan EVERY DAY A NEW ADVENTURE EVERY MOMENT TO BE FILLED WHY BOTHER WITH A BEDTIME WITH PIRATES TO BE KILLED

Wendy THE WOLVES ARE RATHER FRIGHTENING THEY’RE SOUNDING CLOSER NOW WE DON’T HAVE THEM IN BLOOMSBURY THE BYE-LAWS DON’T ALLOW

(Some Wolves’ eyes and sharp white teeth begin to appear between the trees. Peter is not bothered.)

Peter Pan WHENEVER WOLVES ARE PROWLING AMONGST THE NEVER TREES YOU MUST APPROACH THEM BACKWARDS THEN STARE BETWEEN YOUR KNEES

(Peter and Wendy both assume the prescribed position. Th e Wolves quickly disappear. Wendy remains upside down, and Peter creeps up on her, very pleased with himself . . . )

Peter Pan Come on Wendy, do as I do. Boo!

(Wendy jumps.)

OH THE CLEVERNESS OF ME THE CLEVERNESS OF ME I’VE NEVER MET A PERSON YET WHO’D EVER DISAGREE THE CLEVERNESS OF ME THE CLEVERNESS OF ME I HAVE TO CROW BECAUSE I KNOW THE CLEVERNESS (cock-a-doodle-doo) OF ME THE CLEVERNESS!

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Wendy OF WHO?

Peter Pan OF ME!

Wendy OF YOU!

(Instrumental chorus which becomes interrupted as a Pirate appears on the higher level. Peter grabs Wendy and pulls her to safety, clapping his hand over her mouth to stifl e a scream. Th e Pirate exits, with Peter clearly thinking they escaped unnoticed (however, the Pirate has in fact seen them and is going to rally Hook and the other Pirates).

Peter Pan OH THE CLEVERNESS

Wendy THE CLEVERNESS

Peter Pan THE CLEVERNESS

Wendy THE CLEVERNESS

Peter Pan I’VE NEVER MET A PERSON YET WHO’D EVER DISAGREE

Wendy WHO COULD DOUBT THE CLEVERNESS?

Peter Pan THE CLEVERNESS THE CLEVERNESS OF ME I HAVE TO CROW

Wendy YOU HAVE TO CROW

Peter Pan BECAUSE I KNOW

Wendy BECAUSE YOU KNOW THE CLEVERNESS

Peter Pan THE CLEVERNESS (cock-a-doodle-doo) . . . AND WHAT COMES NEXT YOU WON’T EVER GUESS I LOVE THE NOW-OR-NEVER-NESS

Act One44

Both IT’S ALL PART OF THE CLEVERNESS

Peter Pan OF ME

(As Peter fl ies off , Wendy returns to the little house. Captain Hook, Smee and Starkey appear from out of the undergrowth. Th ey have been eavesdropping.)

Smee If you ask me, Captain, I’d say that so far as that young man’s concerned, there’ll be tears afore bedtime.

Hook Don’t you see, Smee? Th e Lost Boys have found themselves a mother.

Starkey A mother, Captain? A real live mother?

Hook (to Smee) Pity the simple-minded Muggins. He does so ache for a mother’s tender ministrations.

Smee Captain, supposing we were to kidnap those boys’ mother and make her our mother?

Hook Ship’s stars and cannon-shot, that’s such a contemptible plan, Smee, it appeals to my worst possible nature . . .

Music No. 8a: WALKING BACKWARDS

Starkey (raising a warning forefi nger) Captain!

(Hook, Smee and Starkey listen - with them, we hear the beat of approaching tom-toms.)

Hook Tiger Lily and her warriors. We’d best take cover till they’re gone. (Smee sets off , in haste - but Hook calls him back.) Smee! (Hook points at his feet, then taps at his forehead, indicating guile.) Th ey are expert trackers. Th ey would seek us out in seconds. Walk backwards, lads - they’ll think we’ve gone off in the opposite direction.

Peter Pan 45

(With exaggerated care, almost like cinematic cartoon characters, Hook, Smee and Starkey set off , on tip-toe and walking backwards, towards a hiding place in some vegetation. Absorbed in this subterfuge, the Pirates are unaware of Peter’s return. Beckoning the Lost Boys and the Darling Children out of the Wendy House, he leads them off to safety, also on tiptoe. At which point Tiger Lily arrives in the clearing, accompanied by her Braves.)

Tiger Lily HEY-YAY-AY

Braves HEY-YAY-AY AH-AH

Tiger Lily (drops onto one knee and studies the ground) Pirates’ footprints - and almost obliterating the tracks of one who was here before them. Someone who treads so lightly that his moccasins scarce bend a blade of grass or stir the dust . . . (Rising.) . . . Come! We shall catch a Pirate and present his scalp to Peter Pan to welcome him back to Never Land.

(Th e Braves approve of this plan and set off following the direction of the Pirates’ footsteps. Hook, Smee and Starkey come out from their hiding place.)

Hook Look lively, Starkey! Roust out the crew.

Starkey Aye, Captain - and then?

Hook Pursue Tiger Lily and her braves. Th ey think that they’re on our trail - but we’ll surprise them from behind . . . and take Tiger Lily prisoner.

(Starkey exits.)

Smee So, Captain, are we still going to snaffl e the Lost Boys’ brand-new darlingest mamma and keep her for our own?

(But even as Smee speaks, Peter is leading Wendy, John, Michael and the Lost Boys around the back of the Wendy House and away to safety.)

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Hook Indeed we are, Smee. I need their Mother to bait a trap that will bring steel jaws, like crocodile’s teeth - Snap, snap! - on Peter Pan.

Nothing will deter me from that avowed intent, but fi rst we have that winsome wailing warrior, Tiger Lily, to despatch.

(The Storyteller appears as late evening turns to night and we go to . . . )

SCENE FOUR - THE MERMAIDS’ LAGOON

Music No. 9: SIREN SONG

Where, with MUSIC held behind, two or three Mermaids are singing their siren song as they relax in the warm, blue tropical waters. One of the Mermaids is combing her golden hair and admiring herself in a pearl-back hand-mirror as she basks on Marooner’s Rock - which is about the size of a kitchen table, above water level and which contains a stake.

Storyteller . . . It was the end of a very long day . . . Overlooking the Mermaids’ Lagoon, from the coral grottoes, beside the lapping waters, there came fi tful music . . .

Mermaid OO . . . OO . . . OO . . . (etc.) (On a sudden cock-crow (which is the signal) ten pairs of arms appear

from behind the rock and snatch at the basking Mermaid who easily evades their grasp. Peter, Wendy, John, Michael and the LOST BOYS come out of hiding.)

. . . Peter, having spirited his band away from the pirates clutches, had brought them to the Lagoon to play. But the sun had gone, the moon had slowly taken it’s place, and a cold shiver across the waters had sent the mermaids to their coral caves.

Wendy I did so want to catch one.

Peter Pan Catching mermaids is not half as easy as most folk might imagine.

Tootles And even if you did catch one, you’d be obliged to throw it back.

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Curly Th ey only last a couple of days and then they decline and die.

Wendy How cold it has become - I don’t like this place any longer. What’s it called? (Pointing at a jagged rock.)

Peter Pan Marooner’s Rock. Ships’ captains used to leave unruly sailors as punishment.

Wendy All alone and without food or water?

Peter Pan (a careless shrug) Neither would have been of use. (He pats the stake.) Th ey were tied up. When the tide comes in, Marooner’s Rock is under water . . .

Music No. 9a: MAROONER’S ROCK

(Peter cocks an ear and, with him, we hear the sound of dipping oars.)

. . . Someone’s coming! Hide, everyone!

Pirates HEAVE-HO! . . . (etc.)

(Peter, Wendy, Michael, John and the Lost Boys scramble up onto the promontory behind the rock, and hide themselves. At the same time, a ship’s boat steals into view through a mist which is creeping across the water. Cookson and Cecco man the oars while Smee sits in the bows, guarding Tiger Lily who stands, immobile, her hands bound, as the craft approaches Marooner’s Rock, and . . . )

Cookson Speedily, Cecco, get the dark deed done - this sailors’ graveyard gives me the goosebumps.

(While COOKSON holds the boat steady, Cecco leaps onto Marooner’s Rock and secures the painter to a rusting iron ring. With the prow of the boat attached to the Rock, the bow is touching the promontory, giving access between the shore and the tiny island. Cookson and Smee manhandle Tiger Lily onto the rock. Cecco takes a length of rope, which he has brought on shore, and ties Tiger Lily to the stake, as . . . )

Act One48

Storyteller Watching the pirates hoist Tiger Lily onto the rock and tie her, roughly, to the stake, a clever plan took shape in Peter’s head. He acted on it instantly.

Peter Pan (peering out from his hiding-place) Ahoy there, you idle lubbers!

Storyteller . . . Shouted Peter, and imitating Hook’s voice so expertly that he had all three pirates fooled.

Smee Th at’s the captain calling.

Cecco All’s shipshape, captain!

Cookson And Bristol fashion - we’ve secured the prisoner to the rock.

Peter Pan Set her free!

Smee But, Captain, your orders were specifi c . . .

Peter Pan On my emphatic oath, Smee - cut her loose! Or, by Morgan’s ghost, you’ll taste my hook!

Cecco Do as the captain says, Smee - else we are three dead men.

(Smee severs Tiger Lily’s bonds and she hastens away.)

Storyteller Tiger Lily slipped instantly away forgetting, in her haste, to give vent to her war-cry - but Peter gave vent for her . . .

(Peter does an expert imitation of Tiger Lily’s war-cry.)

. . . Peter could imitate anyone.

(At which point Hook and the other Pirates arrive by way of the promontory.)

Hook Ship’s boat ahoy! Fetch up the prisoner!

Smee We set the prisoner free, Captain, in accordance with your orders.

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Hook My orders were to prepare the prisoner for drowning.

Cookson (glancing fearfully around) We heard you shout the very opposite.

Hook Brimstone and gall, what cozening is hereabouts?

Cecco ’Tis haunted here - and allus was.

Hook Spirit that haunts this dark, sequestered place, do you hear me? Who are you spirit? Speak?

Peter Pan I am James Hook, Captain of Th e Jolly Roger.

Hook No, that you cannot be? If you are Hook, then who am I?

Peter Pan A codfi sh. Only a codfi sh.

Hook (aghast) A codfi sh.

Jukes Have we been captained all this time by a codfi sh?

Noodler We’ll be the laughing stock in every bar along the Barbary Coast.

(But Peter’s mocking laughter gives HOOK a clue as to the real cause of his predicament. He signals at the Pirates to be silent, then . . . )

Hook Have you another name?

Peter Pan Yes.

Hook Are you vegetable?

Peter Pan No.

Hook Are you mineral?

Peter Pan No.

Hook Are you animal?

Act One50

Peter Pan Yes.

Hook Are you a man?

Peter Pan No.

(Beckoning to the Pirates to spread out on his either side, Hook moves towards Peter’s hiding-place, as . . . )

Hook Boy then?

Peter Pan Yes.

Hook Ordinary boy?

Peter Pan No.

Hook Wonderful boy?

Peter Pan Yes!

Hook (playing for time) Smee, shout him some questions.

Smee I can’t, Captain - my mind’s a blank.

Hook Nothing changes.

Peter Pan Do you give up?

Hook Yes.

Peter Pan All of you?

Pirates Yes!

Music No. 9b: THE FIGHT AT THE LAGOON

(MUSIC BEHIND, as . . . )

Peter Pan 51

Peter Pan Well then - I am Peter Pan!

Hook (now close to Peter and with his men deployed on either side) And I am the one and only Captain Hook!

Peter Pan (leaping into view) Let them have it, boys! (Th e Lost Boys and the Darling Children show themselves. Th e

Pirates are momentarily disconcerted by this show of numbers. Th e engagement which follows is orchestrated.

With surprise their ally still, Peter, the Lost Boys and John and Michael charge at the row of Pirates and head-butt them, schoolboy fashion, in their midriff s. Hook is the only one suffi ciently adroit to evade this attack. Th ere are ‘Oohs!’ and ‘Aahs!’ from the Pirates who hop about in pain. Peter having commandeered a sword, issues an order:)

Peter Pan See to it that Wendy gets to safety. (Th en, as the Lost Boys waver, unwilling to leave their leader.) Go to it! Now!

(Th e PIRATES crowd behind Hook, his cutlass poised for the impending duel. Th e Lost Boys, John and Michael, lead Wendy away with backward glances of misgiving as the duel between Peter and Hook begins.)

Jukes Finish him, Captain!

Cecco Aye, cut him into pieces!

Smee Reduce him down to cutlets, Captain, and bite-size bits o’ brisket!

Hook (pauses in cutlass thrust to observe, distastefully) Cutlets? Bitesize bits o’ brisket? I’m a swash-buckling buccaneer, Smee, not a back-street retail butcher. Don’t stand there goggle-eyed. Get after them. I want that girl!

(Cookson and Cecco have set out in pursuit of the Lost Boys. Th e duel continues. with the Pirates crowd behind Hook, shouting

Act One52

encouragement. At last Peter succeeds in disarming Hook and . . . )

Peter Pan My fi ght I think.

Hook Not quite.

(For, at that moment, Cecco and Cookson return with Wendy as their prisoner. Cecco holds a knife to Wendy’s throat.)

Peter Pan (aghast) I told the boys to look after you.

Wendy It was no-one’s fault, Peter - except my own. I was worried about you. I set off back - and walked into a trap.

Hook I’ll thank ’ee for your weapon, Pan.

Peter Pan I’ll hand over my blade, Hook, on one condition: I want your solemn oath that Wendy will be released.

Wendy No, Peter!

Hook On Blackbeard’s grave, I swear it - the girl goes free.

Peter Pan (handing Hook his sword) It’s done. Loose the girl this instant.

Hook Do you take me for a fool, Pan? Not until you’re securely shackled.

(Several Pirates leap onto the rock and fasten Peter to the stake, as . . . )

Now fetch the girl across and tie her up too. Th ey shall drown together.

Peter Pan You lying scoundrel!

Smee Is she not to be our mother, Captain? Like you promised?

Peter Pan You gave your word.

Hook I’m sorry, Smee - I lied to you as well.

Peter Pan 53

Smee Th at’s all right, Captain. I admire you for it.

Hook Quickly does it - I can feel the water lapping at my toes.

(Peter and Wendy have been tied to the stake, back to back.)

Do you hear it, Pan - the tide crashing in along the bay? I won’t bid my last ’goodbyes’ just yet - I might pop back to enjoy your fi nal moments.

Music No. 9c: RESCUED BY KITE

(MUSIC comes in behind, as Hook moves off , followed by the Pirates, and . . . )

Peter Pan I’m sorry, Wendy.

Wendy You’ve nothing to blame yourself for, Peter.

Peter Pan We mustn’t give up hope - the Lost Boys might come back and fi nd us.

Wendy Th ey did so want me to be their mother.

Peter Pan More than all the world.

Wendy Th e last motherly advice I gave them was that they were not to come back and look for me.

Peter Pan Ah! Th ey are grand lads - and will do as they’ve been told. Be brave, Wendy. Dying will be an awfully big adventure.

Wendy Look, Peter . . .

(She looks, up into the dark sky where, with them, we see a familiar object: a large Kite headed towards them, its long, strong tail bobbing just above the surface of the sea.)

Act One54

Peter Pan It’s Curly’s kite come here to save us.

Wendy But how has it done that by itself?

Peter Pan It hasn’t come alone, Wendy - Tinker Bell is in full control.

(Th e kite is close enough, by now, for us to recognise Tinker Bell dancing merrily on top and steering it towards Marooner’s Rock and, also, to hear her excited chatter.)

Peter Pan She begs to be forgiven - yes, Tink, we are best friends again.

(As the kite hovers over Peter and Wendy, Tinker Bell descends, via the tail, and darts around the knots securing their bonds. As if by magic, the ropes fall to the ground. Peter and Wendy take a grip on the kite’s tail. Th ey are lifted up and borne away, as . . . )

Hold tight!

(Th en, as the kite soars off , taking Peter and Wendy to safety, Hook and Smee return.)

Hook Smee! Smee! Th ey’re escaping, Smee! Th ey’re free!

(Hook gives vent to a cry of unbearable woe.)

Music No. 10: WHEN I KILL PETER PAN

Smee Cheer up, Captain. Th ink of it as like letting a little tiddler off the hook - it will make you all the happier when you catch him again.

Hook Happy . . . ?

HOW CAN I BE HAPPY WHILE PETER PAN IS FREE, SMEE? HOW CAN I BE HAPPY WHEN THAT CROCODILE CONTAINS A PART OF ME, SMEE? PERHAPS I SHOULD FORGIVE AND FORGET, SMEE?

Peter Pan 55

WOULD THAT MAKE YOU A HAPPY LITTLE MAN? PERHAPS WE SHOULD RETURN TO THE HIGH SEA? WELL I WILL WHEN I KILL PETER PAN

(From far off , we hear Peter’s ‘Cock-a-doodle-do!’-ing Th e Pirates arrive.)

WHO THINKS I AM FOOLISH NOT SAILING FORTH AGAIN, MEN? WHO THINKS I AM FOOLISH AND WHO THINKS I AM MORE CHICKEN THAN A HEN, MEN? DON’T SAY THE CAT HAS GOT YOUR TONGUES, MEN? TELL ME WHAT YOU THINK, YOU KNOW YOU CAN AM I TO ASSUME WE ARE CONTENT THEN? NOT UNTIL I CAN KILL PETER PAN

HOW I’D LOVE TO MAKE A HANDBAG OF THAT CROCODILE HOW I’D LOVE TO SLIT THE GIZZARD OF THAT BOY AND GRIND HIS WRETCHED FAIRY INTO FAIRY DUST THAT IS SOMETHING I WOULD THOROUGHLY ENJOY UNTIL I HAVE WREAKED VENGEANCE WE WILL STAY I TRUST THAT NO-ONE WANTS IT ANY OTHER WAY?

Good!

(And, again, we hear Peter’s mocking laughter.)

DID I HEAR A SNIGGER FROM SOMEONE IN MY CREW? YOU? SOMEONE THINKS THEY’RE BIGGER THAN THEIR CAPTAIN AND IT’S TIME THE CAPTAIN KNEW WHO?

Act One56

Peter Pan Yoo-hoo!

Hook IT’S PAN. HE’S HERE. IT’S HIM, SMEE NOW IT’S TIME TO CONCOCT A LITTLE PLAN TO GUARANTEE HE CANNOT ESCAPE ME BLOOD WILL SPILL

Pirates AAH AAH AAH AAH

Hook WHEN I KILL

Pirates AAH AAH AAH AHH

Hook PETER PAN

END OF ACT ONE

Peter Pan 57

ACT TWO

Music No. 10a: ENTR’ACTE

SCENE ONE - THE BEACH

Opening on a tableau as described by the following narration, during which, perhaps, the sea begins to sparkle, the ship to sway at her mooring and the Characters to move and take on life . . . With the exception of Hook, who stands statue-still as . . .

Storyteller Across the bay, the pirate barque, Th e Jolly Roger, bobbed at anchor. On the rock-strewn shore nearby, the pirates polished cutlasses, oiled pistols and cleaned their muskets and honed their daggers to a razor-sharpness - preparatory to killing any living thing - bird, beast or best of all, Lost Boy - that happened to chance their way. James Hook, meanwhile, stood apart from all of this activity, staring out across the rippling sea. At last, he let out a melancholy sigh . . .

(Hook gives vent to a long, loud, heart-felt sigh.)

Jukes He’s been that way for days now.

Cookson Like a ship becalmed.

Starkey But with dark clouds gathering on the horizon.

Storyteller Hook sighed again, and louder and more melancholy than before.

(Hook does exactly that. Th e Storyteller exits.)

Mullins Somebody should have a word with him. It aint properly piratical, him standing there without an oath for nobody - not so much as a boot-toe for the ship’s cat. It aint right for him, and it aint right for us lads neither. It’s like I say, somebody should have a word with him.

Cecco Mullins is right. Somebody should.

Act Two58

(Th e Pirates all look meaningfully at Smee who approaches Hook, clears his throat, and . . . )

Smee Come about, Captain. Lay to! Cheer up!

Hook (turning a disparaging eye on the bosun) ‘Cheer up’, Smee? ‘Cheer up’! Th ere is a crocodile which has consumed a sizeable portion of my person. I am plagued by a tribe of untutored savages. Worse still, there is a boy - mark that, Smee, a boy - a wretched boy that walks this earth and yet deserves to lie six feet beneath it. A boy who makes a mockery of every evil thing for which I stand.

Smee Who’s that then, Captain?

(Hook favours his bosun with a long, withering look.)

Sorry, Captain. Never mind though, life’s not entirely bilge water and stale ships’ biscuits? Aint that a fact, shipmates?

(Th ere are encouraging murmurs from the crew, but Hook remains unconvinced.)

Hook Compared with my life, Smee, hard tack and bilge water would represent a feast fi t for a Lord High Admiral.

Pirates Aye!

Smee Look on the bright side, Captain . . .

Music No. 11: ROSE-TINTED EYE PATCH

. . . there are evil deeds around the corner, waiting to be perpetrated just like in the bad old days . . .

Smee CAPTAIN HOOK HE’S A SENSITIVE SOUL WHO JUST THRIVES ON COMMITTING FOUL CRIMES AND I’M SURE WE COULD GENTLY CAJOLE HIM HIM WITH FOND REMINISCENCE OF HAPPIER TIMES

Peter Pan 59

LOOK BACK THROUGH A ROSE-TINTED EYE-PATCH THINK BACK TO OUR MURDEROUS LARKS ONE SWIPE OF YOUR CUTLASS YOUR FOES ALL FELL GUTLESS AND THEN BECAME FOOD FOR THE SHARKS LOOK BACK THROUGH A ROSE-TINTED EYE-PATCH NO PIRATE COULD EQUAL YOUR FAME THOSE WIMPS FROM PENZANCE WOULD BE FILLING THEIR PANTS EVERY TIME SOMEONE UTTERED YOUR NAME

2 Pirates LOOK BACK THROUGH A ROSE-TINTED EYE-PATCH ’TWAS TRULY A GLORIOUS PAST

Pirates THE BEAUTIFUL BRINY YOUR HOOK NICE AND SHINY THE CORPSES WE HUNG FROM THE MAST

2 Pirates LOOK BACK THROUGH A ROSE-TINTED EYE-PATCH FORGET THIS YOUNG BOY WHO CAN FLY WE’RE SURE YOU WOULD SOONER GO SINK A NICE SCHOONER

Pirates IF ONLY YOU’D GIVE IT A TRY

BUT FOR PIRATES IT’S A MISTAKE IF YOUR SWASH HASN’T BUCKLED FOR YEARS AND AS PIRATES WE NEED A BREAK ’COS WE’RE DOWN ON OUR LUCK AS LAME DUCK BUCCANEERS

(We go mysteriously back in time . . . )

THINK BACK TO OUR MURDEROUS LARKS OUR MURDEROUS LARKS OUR MURDEROUS LARKS

(In an attempt to raise their captain’s spirits, the Pirates mime various humorous, if bloodthirsty, ways in which they have successfully

Act Two60

disposed of past enemies, e.g.: a sword fi ght; a stabbing. Th eir eff orts are to no avail.)

Smee Th e dastardly demise of Dead-Eye Dick (Which is re-enacted.).Th e lynching at the lynch-gate of Larry the Loon (Which is re-enacted). Th e Terminal Tarantella of the Tuscan Tyrant (Which is re-enacted).

Pirates LOOK BACK THROUGH A ROSE-TINTED EYE-PATCH NOSTALGIA IS GOOD FOR THE SOUL THOSE KIDS ARE A CANKER IT’S TIME WE LAID ANCHOR AND PLAYED OUR TRADITIONAL ROLE

Hook How do you kill a rat, Smee?

Smee A portion of the cook’s stew, Cap’n? (Realises what Hook is implying.) Not . . . not deadly poison, Captain?

Hook Aye, Smee. Th e deadliest. If we cannot dispose of those disgusting brats by devious means then, on my oath, we’ll get rid of them by dubious ones.

(Hook uncorks the bottle and allows a couple of drops to fall onto a treasure chest, or a fallen log. Th ere is an immediate hissing sound accompanied by a wisp of smoke as the poison eats into the wood. Th e Pirates overawed, give a sudden intake of breath. Hook brandishes the poison bottle and the Pirates, overcoming their inhibitions, let out full-throated roars of approval, and . . . )

JUST TWO DROPS OF THIS BRINGS A HIDEOUS DEATH LET’S WATCH AS THOSE CHILDREN ALL DRAW THEIR LAST BREATH

Pirates LOOK BACK THROUGH A ROSE-TINTED EYE-PATCH WE USED TO BE HIDEOUS CROOKS AS PIRATES OUR DUTY IS NICKING THE BOOTY IT SAYS SO IN ALL THE BEST BOOKS

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LOOK BACK THROUGH A ROSE-TINTED EYE-PATCH REMEMBER THOSE HALCYON DAYS

Hook IT MAY BE IMMORAL BUT WHO’S GONNA QUARREL All FOR GOOD HONEST PIRACY PAYS . . . GOOD HONEST PIRACY PAYS

(As the number ends, Hook, carried away by the general exuberance, raises the bottle to his lips, and . . . )

Hook Cheers!

Music No. 11a: INDIANS TO PORT AND STARBOARD

(Th e Pirates rush forward, as one, and just in time to remind Hook of the bottle’s contents. Hook recorks the poison bottle and slips it back into his pocket as a warning cry comes from Cecco who is on watch.)

Tiger Lily HEY-YAY-AY

Cecco Enemy in sight! Tiger Lily’s braves to port and starboard!

(Over which we hear, with the Pirates, the approaching sounds of tom-toms and war-whoops.)

Starkey Scarper!

(Th e Pirates take to their heels, pursued by Tiger Lily and the Braves, accompanied by war-whooping battle-cries, and the sounds of beating tom-toms as we go to . . . )

SCENE TWO - THE HOME UNDER THE GROUND

We can now see simultaneously the Home Under Th e Ground, with the Lost Boys and the Darling Children safely concealed, and the wood above the ground with the secret entrance to the home below. Th e battle continues above the ground as, fi rstly, the

Act Two62

Pirates pursue the Braves and then, a moment later, it is the Pirates turn to retreat as Tiger Lily’s forces gain the upper hand and with Peter prominent in their ranks.

Below ground, there is an earthen fl oor; a table which is a rough-hewn boardbalances on a sawn-off rooted tree-stump; the seats are pumpkins and colourfulgiant mushrooms. Th ere is an enormous fi replace with several cords strung acrossand hung with the Lost Boys’ drying washing.

Th ere is a cubby-hole with as little curtain drawn across it - the glow which comes from behind the curtain signifi es that Tinker Bell is at home. Th e Lost Boys, in their home-made night-clothes, and John and Michael are seated at Wendy’s feet. Wendy, dressed in ‘woodland garments’ sewn by herself and with berries in her hair, has been telling them a bedtime story - but there has been a temporary pause while the Lost Boys and John and Michael put their hands over their ears to block out the grim sounds from overhead, as the Storyteller continues:)

Storyteller . . . Peter’s adventure at the Mermaids Lagoon had turned Tiger Lily into his staunchest ally. He had saved her life and she was eager to repay the kindness. But while Peter Pan enjoyed fi ghting pirates, with the warrior princess battling at his side, it was Wendy’s motherly duty to remain behind, in the underground home, and tell the Lost Boys their bedtime story . . .

(Th e sounds of confl ict overhead have again moved on and the Lost Boys, John and Michael take their hands from off their ears, as . . . )

Storyteller . . . It was a fairy-tale which satisfi ed Wendy’s fantasy, rather than their own.

Wendy . . . Th e crystal slipper is a perfect fi t. Th e happy pair are joined in matrimony that very afternoon: the bride, entirely elegant in a white satin gown, with a broad pink sash and lovers’ knots. Do you take this handsome prince?” the Archbishop asks, his voice resounding through the palace chapel thronged with regal guests. “I do!” she whispers breathlessly. “I do! I do, oh yes, yes - I truly do!”

(Wendy gives a contented sigh, but the Boys exchange doubtful glances.)

Peter Pan 63

Tootles Is that the end?

Wendy (dreamily) Mmmmm! (Pulling herself into the present.) Now into bed and off to sleep.

1st Twin Must we, mother? It isn’t nearly dark outside.

2nd Twin It isn’t even just past bedtime.

Wendy In a mother’s ideal world, young man, it is always just past bedtime. Now, eyes shut tight.

Michael Shouldn’t there be a lullaby?

John He’s right! I’m sure I remember someone singing me to sleep.

Michael (a glimmer from an age away) A song about a place where prayers are answered . . . !

The Boys Yes, please!

Music No. 12: JUST BEYOND THE STARS (Reprise)

Wendy JUST BEYOND THE STARS BEYOND THAT GREAT BLACK VELVET CURTAIN NO-ONE KNOWS FOR CERTAIN WHAT YOU’LL FIND JUST BEYOND THE STARS ARE COUNTLESS MYSTERIES TO UNRAVEL JOURNEYS YOU CAN TRAVEL IN YOUR MIND CLOSE YOUR EYES AND IMAGINE CLOSE THEM TIGHT AND PRETEND THERE’S A PLACE WHERE PRAYERS ARE ANSWERED AND YOUR DREAMS NEVER END . . .

(By which time, the Lost Boys are all fast asleep - but Wendy continues singing, thinking aloud. Something seems to be troubling her.)

Act Two64

. . . MAYBE WE’VE ALREADY BEEN THERE MAYBE IT’S ONLY A DREAM MAYBE WE’LL FIND IN THE FUTURE THAT THINGS ARE NOT ALL THAT THEY SEEM BUT FOR NOW I ONLY HOPE THAT I’LL BE GOOD AT RAISING BOYS THE WAY A MOTHER SHOULD

STARS IN THE SKY SO BRIGHT WATCH OVER US TONIGHT DRIVE AWAY EVERY EVIL YOU MAY FIND AND IN SOME OTHER SKY PLEASE KEEP A WATCHFUL EYE OVER THOSE LEFT BEHIND JUST HOW LONG CAN THIS LAST? I’VE A FEELING I’VE GROWN UP TOO FAST ALL THESE CHILDREN HAVE NEED OF MY LOVE BUT I STILL CAN’T SEE IF I MOTHER THEM WHO WILL MOTHER ME? WHO WILL MOTHER ME? WHO WILL MOTHER ME?

(Her reverie is interrupted by a familiar cock-crow, close at hand. Th e Boys are instantly awake and sitting up, much to Wendy’s annoyance.)

Wendy How am I expected to get the children off to sleep when their father comes home only when it suits him?

(Again, heads are turned expectantly towards the ceiling.)

Storyteller Peter, having been out skirmishing, putting his life in mortal danger and having the most tremendous fun, had returned fl ushed from deeds of derring-do and without a thought to spare for sleeping children.

Music No. 12a: SLEEPING CHILDREN

(Peter has appeared, overhead, exhausted by the battle but, at the

Peter Pan 65

same time, exhilarated in victory. He is accompanied by Tiger Lily and a couple of her Braves.)

Peter / T. Lily HEY-YAY-AY

Peter Pan Well fought, Tiger Lily . . .

(Ignoring Peter’s words, Tiger Lily deploys her Braves, with gestures, indicating that they are to stand on guard, peering out in opposite directions.)

Peter Pan . . . Th e pirates are in full retreat – they’re miles away by now.

Tiger Lily (a solemn shake of her head) In Never Land, the enemy are never further away than the nearest place of ambush.

Peter Pan Don’t you ever get tired of ridding the world of wrong-doers, Tiger Lily?

Tiger Lily Not so long as there is air to breathe, ground beneath my feet and territories to be defended.

Peter Pan (catching her mood) And life is one long never-ending whirl of excitement. We’re so alike, you and I . . . (He yawns.) Except that sometimes I do feel the need to rest . . .

Tiger Lily Th en go. Sleep undisturbed. We shall stay here to guard you.

(As Tiger Lily and her Braves squat on the ground, where they will remain, motionless and silent, Peter descends into the Underground Home.)

Peter Pan I’m home!

Wendy (a fi nger to her lips) Hush!

Peter Pan Th ey’re not in bed already?

Wendy It isn’t all playtime, Peter, being a parent. Th ey’ve had their bedtime story.

Act Two66

Peter Pan Tell them another one.

Lost Boys Yes, please, mother!

Wendy All of you - back to sleep!

Peter Pan It is only pretend, isn’t it, that I’m their father?

Wendy If you say so. But they are ours to take care of, Peter. Yours and mine.

Peter Pan But not really?

Wendy Not if you don’t wish it.

Peter Pan Good - I don’t.

Wendy What are your exact feelings for me, Peter?

Peter Pan Th ose of a devoted son, Wendy.

Music No. 12b: TINK MOCK

(Th e light behind Tinker Bell’s curtain shimmers and we hear her tinkling laughter.)

Music No. 13: ONE BIG ADVENTURE

Wendy DON’T YOU WANT TO GROW UP?

Peter Pan NO NEVER

Wendy DON’T YOU WANT TO GROW UP?

Peter Pan NOT AT ALL

Wendy BUT YOU CAN’T STAY A CHILD FOREVER

Peter Pan WHY NOT?

Peter Pan 67

Wendy FOR A START YOU’LL BECOME TOO TALL THERE IS NOTHING TO FEAR IN GROWING AND THERE’S SO MUCH TO LEARN ON THE WAY

Peter Pan I THINK I’VE HEARD ENOUGH, I’M GOING, WENDY

Wendy THAT’S TYPICAL, RUN TURN YOUR BACK AND HAVE FUN WELL, I’M NOT GOING TO BEG YOU TO STAY

Peter Pan You’re not?

Wendy No.

IT MAKES ME FEEL SAD TO HEAR YOU CARRY ON LIKE THIS LIFE IS FULL OF PLEASURES PLEASURES THAT YOU’LL MISS CAN’T YOU SEE IT AS ONE BIG ADVENTURE? NOT A PROBLEM ON WHICH TO POUR SCORN AN ADVENTURE AS PAN GROWS FROM BOY TO A MAN WHICH BEGAN ON THE DAY YOU WERE BORN

Peter Pan WHAT’S SO GREAT ABOUT GROWING OLDER? HAIR GOES GREY AND THE EYES BECOME SAD

Wendy THERE ARE SOME BURDENS WE MUST SHOULDER BUT IT’S NOT REALLY ALL THAT BAD PIRATES, INDIAN BRAVES AND FAIRIES

Peter Pan FUN COMES IN DIFFERENT GUISES

Wendy WON’T THE NOVELTY WEAR A BIT THIN?

Peter Pan EVERY DAY BRINGS SURPRISES

Wendy YOU’LL SOON GET BORED IF NOTHING VARIES

Act Two68

Peter Pan NOT WHILE THE SUN STILL RISES

Wendy A CHAPTER MUST END SO THE NEXT CAN BEGIN CAN’T YOU SEE IT AS ONE BIG ADVENTURE?

Peter Pan NOT LISTENING

Wendy NOT A PROBLEM ON WHICH TO POUR SCORN

Peter Pan CAN’T HEAR YOU

Wendy AN ADVENTURE AS PAN GROWS FROM BOY TO A MAN

Peter Pan LA-LA-LA-LA-LA

Wendy WHICH BEGAN ON THE DAY YOU WERE BORN

Peter Pan I DON’T KNOW WHAT YOU MEAN AND IF I DID I WOULDN’T CARE ’COS I TOLD YOU I WON’T GROW UP, SO THERE

Wendy CAN’T YOU SEE IT AS ONE BIG ADVENTURE? NOT A PROBLEM ON WHICH TO POUR SCORN AN ADVENTURE AS PAN GROWS FROM BOY TO A MAN WHICH BEGAN ON THE DAY YOU WERE BORN

Peter Pan I INTEND TO FLY FOR ALL I’M WORTH I WILL NEVER COME BACK DOWN TO EARTH PLEASE UNDERSTAND MY PLACE IS HERE IN NEVER LAND

Wendy DON’T YOU WANT TO GROW UP?

Peter Pan NO, NEVER. I WILL STAY AS A BOY

Wendy FOR EVER?

Peter Pan 69

Both WHAT MAKES YOU THINK THAT YOU’RE SO CLEVER? NO-ONE CAN GET ONE OVER PETER PAN

(Over the last few words of the song, the Boys have woken up and are sitting, upright and aghast, listening to Wendy and Peter quarrel.)

Wendy We can’t live life like this any longer, Peter. Can we?

Peter Pan (with a shrug) What do you want to do?

Wendy Go home. Go back to Bloomsbury.

Michael (with a glance at John) Mayn’t John and me come with you?

Wendy I wouldn’t dream of leaving you behind. (Th en, coolly, to Peter.) Will you arrange things?

Peter Pan (equally coolly) If that’s what you want. (As Peter exits, the Lost Boys cluster round Wendy.)

Slightly Don’t go, Wendy.

Wendy Dear ones. I shall miss you all. (A deep breath and a sudden decision.) You shall come with us. I’m almost sure that I can get my parents to adopt you.

(It is a proposition which delights them all, John and Michael not least.)

Nibs Won’t they fi nd us rather a handful?

Wendy (not too surely) Not at all.

Michael It would only mean a few extra beds in the drawing-room.

John We could put screens round them if we had visitors.

Act Two70

(Th e Lost Boys turn to Peter who has returned in time to learn of their intentions.)

Lost Boys May we, Peter? May we go?

Peter Pan (in exactly the same way that he said exactly the same thing to Wendy) If that’s what you want . . . Go get your things.

(Th e Lost Boys scamper off into another room.)

Wendy (her anger at him spent) You could come too.

Peter Pan No thanks. (A grave shake of his head, then . . . ) Th anks all the same.

Wendy Please, Peter.

(But, again, Peter shakes his head and his decision is fi nal. Peter locates Wendy’s cloak and drapes it around her shoulders - it is a tender moment which will be mirrored in a later scene. Th e Lost Boys return, each of them carrying a stick with a bundle tied on the end.)

Peter Pan Now then. No fuss. No blubbing. (Not without sarcasm) I hope you all like your mothers. Tinker Bell will lead the way.

Music No. 13a: BEHIND THE WARDROBE

(But as Tinker Bell moves to do so, there are sounds of nearby fi ghting. Peter puts a fi nger to his lips, cautioning silence, and cocks an ear as . . . )

Another skirmish - or, possibly, the fi nal battle . . .

(Th e sounds of confl ict are quickly gone.)

. . . Whatever it was - it’s over.

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Wendy But which side has won . . . ?

(All eyes in the Underground Home are still turned towards the ceiling, but it is Hook and his Pirates who swagger on, plainly triumphant. Hook motions his men to silence and listens at the secret entrance. Below ground, simultaneously, it is Peter who cautions quiet as he peers up the earthen steps and listens, trying to assess which way the fi ght has gone.)

Peter Pan If Tiger Lily’s braves are the victors, they will beat their tom-tom . . .

(Hook beckons and Smee enters - carrying the spoils of war: the Braves’ tom-tom. Hook gestures at Smee to hold up the tom-tom - he does so, and Hook raps on it with his claw.)

Th ere it is!

(Th e cheers from below are music to the Pirates’ ears.)

You’re safe now, Wendy. Goodbye, boys.

Wendy (suddenly loath to go) You will remember, Peter, about regularly putting on clean things?

Peter Pan Of course.

Wendy I can’t go just yet. (Displaying the Collinson’s bottle.) I have to take my medicine.

Peter Pan I’ll take it for you.

Wendy Two teaspoonfuls at bedtime?

Peter Pan Yes - every night until the bottle’s empty. Well then? Go, if you’re going.

(Both Peter and Wendy pretend unconcern as she sets off , followed by John, Michael and the Lost Boys.)

Act Two72

Music No. 13b. THE CLEVERNESS OF ME (Reprise)

Peter Pan EVERY DAY A NEW ADVENTURE EVERY MOMENT TO BE FILLED WHY BOTHER WITH A BEDTIME WITH PIRATES TO BE KILLED AND MERMAIDS STILL TO CAPTURE WILD ANIMALS TO TRACK THERE’S NO SUCH FUN IN BLOOMSBURY I BET THAT THEY’LL BE BACK

WHAT CAN BE FOUND IN LONDON? BUT SADNESS AND REGRET FOR WINDOWS DON’T STAY OPEN AND MOTHERS SOON FORGET

(Peter settles down to sleep. Meanwhile, as Wendy, Michael, John and the Lost Boys arrive above ground, one by one, they are seized by the Pirates. Th e Boys are speedily trussed and gagged. Hook, who has Wendy in his personal care, hands her over to a Pirate. Th e Pirates set off with their prisoners bound for the ship. Hook puts out his hook, detaining Smee, and . . . )

Hook Now that the sprats are safely netted, it’s time to land the mackerel.

Music No. 13c: LAND THE MACKEREL

(With Smee close behind him, Hook steals down into the Underground Home.)

Observe, Smee: rank carelessness. Indulging in the untroubled sleep of childhood that refuses to face grown-up responsibility.

Smee Aaah! Bless the angel, Captain. You could pluck out his little heart, this instant, and he wouldn’t know a thing about it.

Hook Except that it is my intention to attend upon it that Pan does not

Peter Pan 73

die painlessly. (He produces the poison bottle.) He shall die oh-so slowly and suff er an eternity with every passing second - how best to administer the concoction . . . ? (He spots the Collinson’s bottle and snatches it up.) Shark’s teeth, Smee! Th at medicine bottle is identical to the one that holds the poison!

Smee (examining the bottles) Peas in a pod. Except that the poison bottle has got that label on it and t’other one’s got this. My old granny, bless her lace-trimmed bonnet, used to give me Collinson’s for every minor ailment.

Hook What are you up to now, Smee?

Smee (taking a swig at the Collinson’s bottle) Evoking the tastes of childhood, Captain.

Hook Well?

Smee Not bad. Not bad at all. It savours of grandmama’s eau-de-cologne with perhaps the merest hint of caraway biscuits . . .

(Hook, intrigued, takes a sip at the Collinson’s - he reacts with exactly the same revulsion as did Mr Darling. Peter stirs in his sleep and Smee shushes Hook.)

Hook (having recovered) Get on with it, Smee - peel off the labels and swap one for t’other . . .

(As Smee swaps the labels, Hook suff ers an after-taste and pulls more faces.)

You wouldn’t have a chocolate about your person, Smee? Or a partsucked sweetie gathering fl uff in a trouser pocket?

Smee (shakes his head as he completes the task and then compares the bottles, ruefully) Does it have to be like this? It ain’t a properly piratical means of killing someone. We should have come lambasting aboard with cutlasses to hand and pistols blazing. Th at’s the way Blackbeard would have done for him - and Morgan.

Act Two74

Hook And look where their ham-fi sted arrogance got them, Smee - this is Hook’s way.

(Smee, having switched the labels, hands the poison bottle back to Hook who sets it on the shelf.)

Music No. 14: WHEN I KILL PETER PAN / GOOD OLD CAPTAIN HOOK (Reprise)

Hook TWO DROPS ARE SUFFICIENT TO RID ME OF THIS BOY (Loudly.) JOY!

Smee Ssshh!

Hook TWO DROPS ARE SUFFICIENT SO IMAGINE WHAT TWO SPOONFULS COULD DESTROY, JOY! THOUGH IT ISN’T GOOD FORM TO GLOAT, SMEE I THINK THAT, JUST THIS ONCE, PERHAPS I CAN FOR WHEN THE POISON TRICKLES DOWN HIS THROAT, SMEE OH THE THRILL

Smee Ssshh!

Hook I WILL KILL

Smee Quickly, Captain - he stirs!

Hook PETER PAN

Smee Look lively, Captain - the dark deed’s done.

Hook WHO WILL BE HALLOWED IN THE HALLS OF ETON? WHO WILL BE FETED FOR HIS FLAIR? WHO SHOWS CHILDREN THAT HE CAN’T BE BEATEN?

Peter Pan 75

(During the above, the Pirates have collected outside the Underground Home and now join in with the rest of the song.)

Pirates THE SURVIVAL OF A RIVAL IS RARE WHO’S THE EPITOME OF FOUL AND EVIL DEEDS IN THE UNDERWORLD THE UPPERMOST CROOK? WE’RE SO PROUD TO SAY WE SERVE HIM EVEN HELL DOES NOT DESERVE HIM YES, IT’S GOOD OLD CAPTAIN HOOK HE’S THE TYRANT WHOM WE CHERISH

Hook IF YOU DON’T YOU’RE BOUND TO PERISH

Pirates YES, IT’S GOOD OLD CAPTAIN HOOK BEST TO SHOWER HIM WITH PRAISES

Hook OR YOU’RE PUSHING UP THE DAISIES

Pirates YES, IT’S GOOD OLD CAPTAIN HOOK . . . HOOK . . . HOOK . . . (Fade.)

(As Hook, Smee and the Pirates move off above ground, Tinker Bell fl ashes past them and down into the Underground Home, where she wakes Peter.)

Music No. 14a: TINK AND THE POISON

Peter Pan Who goes?

(Tinker Bell excitedly blurts out all that has happened.)

Tiger Lily and her braves defeated? Wendy and the Boys all captured? I’ll rescue them. But fi rst things fi rst, Tink. I promised Wendy I would take her medicine.

(Tinker Bell alights on the bottle and gives a warning cry.)

Poisoned? Who could have poisoned it? You mustn’t look to fi nd fault, Tink, with everything that has to do with Wendy.

Act Two76

(But as Peter crosses to pick up the bottle, Tinker Bell drinks the contents.)

Peter Pan Why, Tinker Bell - you’ve drunk the medicine yourself. You’ve drunk all of Wendy’s medicine - every last drop!

(Tinker Bell fl utters weakly around the room, gradually sinking closer to the ground and answering Peter in a very thin tinkle.)

Tink? Tinker Bell? What’s wrong? What is it? Th en it was poison - you did that for me? Her light is growing faint - and, if it goes out altogether, that means that she is dead. Her voice is shrunk so low that I can scarcely tell what she is saying. Try and speak up Tink - I can hardly hear you? . . . What’s that? . . . She says - she says she thinks she could get well again if children believed in fairies. (He rises and throws wide his arms, he knows not to whom.) Do you believe in fairies? Say quick that you believe! No, better still - if you believe, then clap your hands!

(Tinker Bell is saved.)

Oh thank you, thank you! And now to rescue Wendy! Ready, Tinker Bell? And this time, it’s Hook or me!

Music No. 14b: ONE BIG ADVENTURE (Reprise)

THIS TIME CAPTAIN HOOK IT’S DO OR DIE WHEN YOU HEAR MY COCK-A-DOODLE CRY YOUR PIRATE BAND WILL HAVE NO PLACE IN NEVER LAND IN NEVER LAND IN NEVER LAND I AM YOUTH I AM FREEDOM I AM TRUTH

(As the stage clears, Peter flies slowly and majestically upwards

Peter Pan 77

with his sword held high, and accompanied by Tinker Bell, as we go to . . . )

SCENE THREE - THE DECK OF THE JOLLY ROGER

Where the scene is as described for us by the following narration:

Storyteller Two ghostly green lights, fl ickering over Kidd’s Creek close by the mouth of the pirate river, marked where the ship lay low in the water. Most of the crew were sleeping, fi tfully, in the foc’sle. Mullins was on watch - scanning the horizon with a telescope he had once fought over and killed for. Hook prowled the deck, consumed by nagging thoughts, while Smee, busy at his labours, kept one eye on his captain, and the other on his task . . .

(Smee, who is sitting at a treadle sewing-machine, pauses to glance over anxiously at Hook. In the silence of the moment and from off in the distance, comes a familiar cry.)

Peter Pan (from off in the distance) Cock-a-doodle-doo!

Hook Did you hear it too, Smee? Th at cock-crow?

Smee A cock-crow, Captain? At dead of night? And us lying a league off shore? Is it possible?

Hook Infi nitely so, you nincompoop. A cock-crow during darkness hours portends death for those whose ears it is intended for.

Smee Ah - then there’s your explanation. Th at cock-crow would have been meant for those children we’ve got in chains below. Th ose ones condemned to walk the plank.

Hook Of course!

Smee To let the little darlings know that they’re about to meet their Maker - to give them time to clasp their hands, and bow their heads, and stammer their prayers and such.

Act Two78

Hook . . . Split my infi nitives, Smee, what is it that’s possessed me? Th is ought to be James Hook’s hour of triumph . . . (Th en as eight bells sound.) . . . And it shall be! Belay below! Hoist up the prisoners!

(Th ere is sudden activity on board as the Pirates thrust the Lost

Boys, John and Michael up on deck.)

Starkey Look lively there, you snivelling thumb-suckers.

Hook (rounding on the prisoners as they are lined up for his inspection) Now then, my buckoes - six of you shall walk the plank this night. But we have need of a couple of cabin boys. You, boy. Which would you rather be? An apprentice pirate or a lobster’s breakfast?

John Th e latter, I fancy.

Michael Me too.

Lost Boys Hurrah!

Hook You’ve sealed your doom.

(Smee tentatively interrupts Hook . . . )

Smee Captain?

Hook What is it now, Smee?

Smee Th at cock-crow - if it was meant for those kiddies’ ears - portending their awful fate - how come you heard it too?

Hook Because I share all men’s woes, Smee. Th at is the burden which these broad shoulders were shaped to carry.

Music No. 15: A PIRATE WITH A CONSCIENCE

I’m far too considerate by half . . .

Hook IT’S A CURSE TO BE A PIRATE WITH A CONSCIENCE

Peter Pan 79

Smee NOTHING WORSE - I FEEL SO SORRY FOR YOU, BOSS

Hook MY PRINCIPLES ARE LOFTY UNDERNEATH I’M JUST A SOFTYSmee THOUGH THAT ISN’T QUITE THE WAY YOU COME ACROSS

Hook What?

Smee Nothing.

IT’S A CURSE TO BE A PIRATE WITH CHARISMA

Hook I’M A PERSON WHO GOES JUST AGAINST THE NORM I KNOW CHILDREN ALWAYS BOO ME AND YET IF THEY REALLY KNEW ME I AM SURE THEY’D FIND ME SENSITIVE AND WARM

Smee No question.

IT’S A CURSE TO BE A PIRATE WHO IS CARING EVERY NURSE WOULD DO SO WELL TO LEARN FROM YOU

Hook HAVE YOU NOTICED MY PRECISION WHEN I’M MAKING AN INCISION I SO HATE THE SIGHT OF BLOOD

Smee I KNOW YOU DO

(Inadvertently pricked by Hook’s sword.) Ouch!

Hook Sorry!

Smee IT’S A CURSE TO BE A PIRATE WITH GOOD BREEDING

Hook IT’S PERVERSE TO FIND THESE ATTRIBUTES COMBINED WHEN I’M TORTURING SOME FELLOW

Act Two80

I MAY RANT AND RAVE AND BELLOW BUT I’D LIKE TO THINK MY MANNERS ARE REFINED FOR INSTANCE WITH THESE LOST BOYS AS I SEND THEM OFF TO DIE YOU’LL NOTICE THAT I SMILE AND TAKE THE TIME TO SAY GOODBYE

Smee AND WHAT A LOVELY SMILE IT WARMS THE COCKLES OF MY HEART TO THINK THEIR JOURNEY TO THE AFTER-LIFE HAS SUCH A CHEERFUL START

Hook Cheerful? (A hollow laugh.) Suddenly I am sad, Smee.

Smee What sort of a sadness is it, Captain?

Hook Th e kind that compels me to make my dying speech. Lest, when dying, there may not be time for it. Better, perhaps, for Hook to have had less ambition! Oh fame, fame, thou glittering bauble, why when I have your comfort for my mantle, do I seem to suff er loneliness the most . . . ?

(Hook shivers, but not from cold.)

Smee IT’S A CURSE TO BE A PIRATE WHO IS THOUGHTFUL

Hook I IMMERSE MYSELF IN WHAT IS RIGHT OR WRONG THE ETON EDUCATED ARE SO OFTEN OVER-RATED

Smee BUT IN YOUR CASE YOU DESERVE TO WIN THE GONG WIN THE GONG WIN THE GONG

Hook Why thank you.

IT’S A CURSE TO BE A PIRATE OF MY STANDING

Peter Pan 81

Smee ONE LAST VERSE AND THEN OUR DEADLY SINS MUST START

Hook THOUGH YOU MAY THINK I WOULD RELISH A FINALE THAT IS HELLISH You’d be oh, so wrong.

’COS IT’S MURDER FOR A PIRATE WITH A HEART

Both YES, IT’S MURDER FOR A PIRATE WITH A HEART

Hook YES, IT’S MURDER FOR A PIRATE WITH A . . . (Hook attempts an elaborate cadenza, at the climax of which . . . )

Smee . . . HEART

Both YES, IT’S MURDER FOR A PIRATE, A PIRATE WITH A HEART.

(By which time, Wendy has been brought up on deck to stand, defi antly, in front of Hook.)

Hook So, madam, you are to watch your despicable brood walk the plank.

Storyteller No words of mine can tell you how much Wendy despised those pirates and all that their evil calling stood for. To the boys there was, at least, some glamour in a life at sea: but all that Wendy saw was that that ship had not been scrubbed for years.

Hook Silence, everywhere, for a mother’s last words to her children.

Wendy Th ese are they: Dear boys, I feel that I have a message to you from your real mothers. It is this: We hope that our sons will die like Englishmen.

Boys Hurrah!

Act Two82

Curly Rule Britannia!

Hook Enough of this tomfoolery. Tie her up. She shall watch them drown.

(As several of the Crew obey Hook’s fi rst order, others carry out his second - they jeer and push and prod, Tootles towards the waiting plank.)

Hook Cringe, boy! Cringe!

Tootles (suddenly possessed of a fi erce resolve) You might succeed, Captain Hook, at drowning helpless children - but we shall go to our seabed graves safe in the knowledge that Peter Pan will exact a terrible retribution on each and every one of you.

(Th e very mention of the name causes muttered misgivings among the Crew.)

Hook Peter Pan? Pish-pash and fi ddle-faddle! Pan’s dead. Tell them, Smee.

Smee It’s true. Pan’s poisoned right enough.

(It is the Boys’ turn to suff er misgivings and the Crew are heartened.)

Wendy Did you see him die?

Smee Not in as many words, perhaps . . .

Wendy You see? Peter Pan is alive!

Hook Th is is mere make-believe, lads. Th is is more idle playground prattle. Pan’s dead - and you may have my hook on it.

Music No. 16: NEVER LAND (Reprise)

Tootles HE’LL NEVER DIE PETER PAN LIVES FOREVER

Peter Pan 83

NEVER DIE PETER PAN IS OUR FRIEND

+ John YOU CAN TRY EVERY FIENDISH ENDEAVOUR

+ Nibs BUT WE KNOW THAT HE’LL WIN IN THE END

Hook Stop! Stop, I say, this instant!

(One by one, the Darling Children and the Lost Boys rise to their feet, and . . . )

All Boys HE’LL NEVER DIE PETER PAN WILL BE WATCHING NEVER DIE YOU’LL BE WALKING THE PLANK

Wendy He is alive, you devil! You shall see.

All Boys YOU CAN DO HIM NO ILL WE KNOW PETER PAN WILL NEVER DIE, NEVER DIE NEVER DIE, NEVER DIE NEVER DIE

Hook Stop!

Wendy He’ll set the crocodile on you!

Hook (His knife at Wendy’s throat) Enough, I say! Even to so much as mention that odious beast on board this craft spells instant death.

Pirates (in slow agreement) Aye . . . !

(But before Hook can suit evil words with monstrous deed, we hear the crocodile’s ‘tick-ticking’.)

Act Two84

Starkey She tells it true, Captain.

Hook Th e Crocodile!

(Hook, terrifi ed, hides his face, and the Pirates do the same. But it is not the crocodile that is responsible for the sound, it is Peter Pan (either with his mouth or by the adroit use of a child’s toy tin-plate ‘clacker’) and fl ying above the ship. Wendy spots him fi rst, and indicates his presence to the Boys. Peter signals to them all to hold their silence as he boards the ship Noodler, having been below, arrives on deck and sees Peter, but he is speedily overpowered from behind by several Boys. Th ere is a muffl ed scream, and then a splash (+ bass drum beat), as Noodler is tossed overboard.)

Music No. 16a: THE DEATHS

Slightly One!

(Realising that the ticking has stopped, the Pirates open their eyes and look around - but Peter has darted into the cabin, in the nick of time.)

Starkey ’Tis gone, Captain - that dreadful creature.

Hook Aye, Starkey - ’tis gone. But gone where? Gone how? And why? (Th en shrugging off his fears.) Go into my cabin, Jukes - fetch out the fl agon of rum.

Jukes Aye-aye, Captain!

Hook We’ll toast these worthless children while we watch them fl ounder.

(Jukes exits. To bolster his spirits, Hook does a little dance, taunting the Boys.)

WHO PUT THE JOLLY IN THE JOLLY ROGER WHO PUT THE TREASURE IN OUR CHEST . . .

(His song is interrupted by a terrible scream from inside the cabin.

Peter Pan 85

Bass drum beat.)

Slightly (solemnly) Two!

Peter Pan (off ) Cock-a-doodle-doo!

Hook What was that? Into the cabin, Cecco, and report back instantly!

(Cecco darts into the cabin and returns, a moment later, quivering with fright.)

Cecco Jukes is no more.

Hook By whose hand was it done?

Cecco It’s as black as pitch but there is something terrible in there - the thing we heard a-crowing.

Hook Go back inside and bring me out that doodle-doo.

Cecco No, Captain - don’t ask it of me!

Hook Ask? I’m giving you an order.

(Cecco goes into the cabin. Th ere is another scream. Bass drum beat.)

Slightly Th ree!

Peter Pan (off ) Cock-a-doodle-doo!

Hook Which man among you will bring me out whatever haunts that cabin? Starkey?

Starkey Nay, Captain - I’d rather die than go in yon!

Hook Th en die, Starkey!

(Hook approaches Starkey with his steel claw threatening. Starkey backs away. Hook goes in pursuit and Starkey leaps over the side. Bass drum beat.)

Act Two86

Slightly Four!

Peter Pan (off ) Cock-a-doodle-doo!

(Hook’s eyes wander over all of the Pirates who shamefully hang their heads. Hook has another idea - he swings round to confront the Boys.)

Hook I’ll tell you what we’ll do, lads. We’ll open the cabin door and drive the prisoners in. Let them fi ght the Doodle-doo. If they kill it, so much the better. If the Doodle-doo kills them, what of it? We are none the worse.

Music No. 16b: THE DOODLE-DOO

(Th e plan appeals to the Pirates. Th ey manhandle the Boys into the cabin - then, afraid at what their eyes might see, Hook and the Pirates turn their back n the cabin and again cover their faces with their hands. Relieved, by Peter, of their shackles, and armed with such weapons as they have managed to lay hold of, the Boys tiptoe up on deck and take up hiding-places. Peter releases Wendy, indicating that she too hide. Taking her cloak, he folds it around himself and takes her place at the mast, then . . . )

Peter Pan (more muted this time) Cock-a-doodle-doo!

(Hook and the Pirates uncover their eyes and look all around, warily, and open the cabin door. Th ere is nothing but silence from within . . . )

Mullins Th e doodle-doo has done for all of them.

Skylights Th e ship’s bewitched. (Looking darkly at Hook.) And whose fault is that, I wonder?

Mullins Happen the blame lies with him that brought us here in the fi rst place?

Hook Gentlemen, gentlemen - I’ve thought it through. Th e girl’s the

Peter Pan 87

Jonah. Whoever heard of a carefree craft that had a woman on the manifest?

(Th e Pirates, ever easily swayed, turn towards the hooded fi gure at the mast.)

Cookson Th e Captain’s right. Women are bad luck. Be they mothers, or be they not.

Smee You do well to hang your head, missy - there’s none can save you now.

Wendy (appearing on the poop-deck) Th ere is one!

(Th e Pirates, puzzled, look fi rst at one Wendy and then at the other.)

Mullins Th en who is this one?

Music No. 17: THE FIGHT

Peter Pan (casting aside the cloak) Peter Pan!

Skylights You swore that Pan was dead - you laid your hook on it!

Smee Th e ship’s a fl oating coffi n - and seamen’s corpses are its cargo!

Hook (at Peter) Kill him!

(Th e two words are spat out with such venom, that this time the Pirates are spurred forward.

Th e entire fi ght is underscored, linking the various spoken sections. Peter’s forces, now outnumbering the Pirates, take them on in two’s and three’s, as the fi ght continues around the ship.)

Wendy Michael! Do be careful! You’ll do yourself an injury!

Michael (who is wielding a cutlass almost as tall as himself ) I’ve just killed a pirate!

Act Two88

Wendy How dreadful!

Michael It was grand, Wendy - I enjoyed it!

(One by one, the Pirates are despatched, until only one is left alive, and encircled:)

Hook Back! Back, I say, you mewling milksops! (Hook grabs Michael and holds his hook at his throat.) Th is is Hook, boys, how do you like him?

(Hook throws Michael across the deck.)

Peter Pan Put up your swords, boys. Th is man is mine.

(Hook and Peter stand face to face for their fi nal confrontation.)

Hook So, Pan - it is thee and me at last.

Peter Pan Aye, Captain Hook - the two of us. As it ever was and always would be.

Hook Th en die, boy!

(Th e sword fi ght continues, musically, across the decks.)

Th is is no boy! Th is is some fi end I face! In heaven’s name, Pan, who and what art thou? Tell me?

Peter Pan I AM YOUTH I AM FREEDOM I AM TRUTH

And in truth, Hook, I am everything that you are lacking.

Hook To sword . . .

(Again they fi ght. It is Peter’s exuberance and enthusiasm that

Peter Pan 89

triumph. Hook fi nally stands on the bulwarks, without the strength to lift his arm, let alone wield his sword.)

. . . I am lost, Pan. You have won. But even in defeat, James Hook decides his own destiny. Floreat Etona! (A blood-curdling death-yell.)

(With which, Hook throws himself into the sea where, as he knows full well, the Crocodile waits with jaws wide open . . . )

Music No. 18. JUST HOME (JUST BEYOND THE STARS Reprise)

(Hook’s passing raises a resounding cheer from all the Boys and then there is a triumphant fanfare of the ’Never Land’ theme from the orchestra as the set begins to change . . .

Th e black velvet sky is suddenly rich with stars, as the MUSIC steals in behind, and . . . )

Storyteller MAYBE WE’VE ALREADY BEEN THERE MAYBE WE’RE NOT MEANT TO KNOW MAYBE WE’LL FIND IN THE FUTURE IT’S SOMEWHERE WE All HAVE TO GO BUT IT’S NICE TO THINK THAT NO-ONE KNOWS FOR SURE PERHAPS THAT’S WHAT BEYOND THE STARS IS FOR

(At which point we have gone to . . . )

SCENE FOUR - THE NURSERY

Which is as we left it at the end of Scene One, Act One. Nana is stretched out, listless, by her kennel. Mrs Darling is standing at the open window and with the MUSIC still held behind, as . . .

Storyteller Meanwhile, back home in Bloomsbury, Mrs Darling stood at the open window, and watched and waited, as she had watched and waited, day after day, ever since her children had gone . . .

Act Two90

Mrs Darling CLOSE YOUR EYES AND IMAGINE CLOSE THEM TIGHT AND PRETEND . . . CLOSE THEM TIGHT AND PRETEND . . .

(And overcome by grief, Mrs Darling bursts into tears. She starts, possibly at a musical ‘ping!’ from outside and then, more in hope than expectation . . . )

Wendy? John? Michael? Oh. It’s you, Liza.

Liza (enters, carrying a bowl of dog’s food) Dinner is served, ma’am - dog’s dinner, that is.

(Liza sets the bowl down by the kennel but Nana spurns this off ering and pads snootily out of the nursery. Liza shakes her head in disapproval.)

It’s no good, mum - I’ll never get used to the master swapping table manners with Nana.

Mrs Darling He has done it out of remorse.

Liza All I says, is it ain’t respectable for a gentleman to come home, after a long day at the offi ce, and squat down at the dog’s bowl, while the animal gets up at the dining-table, as proud as nine-pence, and scoff s the master’s food.

Mrs Darling He blames himself for the children’s disappearance.

Mr Darling (entering and sniffi ng deep) Mmmm! Something smells good!

(Liza curtseys and fl ounces out.)

(Mr Darling gets down on all-fours and nibbles at the dog’s food, as . . . ) I will say this much, Mary: I would not have dined half so well of late, if the children had not fl own the coop. Th ere is no news forthcoming on that front, I don’t suppose?

Peter Pan 91

Mrs Darling (suddenly downcast, shakes her head) Not a word.

Mr Darling (catching her mood) What a day it has been. Suddenly I’m dog tired. (He pushes aside the dog’s bowl and backs into the kennel.) Will you play me to sleep on the nursery piano?

Mrs Darling Nothing would give me greater pleasure.

Mr Darling And may I beg one more small favour? It is merely that you close that window?

Mrs Darling Dearest, George - ask anything but that. Th e nursery window must stay open - always and forever. Until . . .

(Mrs Darling goes off into the day nursery as Mr Darling stretches himself, half in, half out of the kennel and is instantly asleep.)

Music No. 18a: MRS DARLING AT THE PIANO

(We hear Mrs Darling playing a few bars of a sad tinkling version of ‘Just Beyond Th e Stars’ on the piano. Moments later, Wendy, John and Michael alight on the window sill and clamber into the room.)

Michael I think I have been here before?

John Th is is where you live, you ass. Don’t you know home?

Wendy Look - there’s your bed, Michael.

John I say - the kennel!

Michael Th ere’s a man asleep inside it.

Wendy It’s father.

(Th e piano music starts up again. Th ey steal across and peep into the day nursery.)

Act Two92

John Who’s that lady?

Wendy Hush! Th at’s mother. (Th e piano playing stops.) Hide.

(Th e Children hide. Mrs Darling enters.)

Mrs Darling George? George, dear! Time for your evening exercise!

(Mr Darling scrambles out of the kennel, yawning.)

Mrs Darling Liza is in the kitchen. She’ll let you out into the yard. Or would you rather I came with you?

Mr Darling Th ere are some thing in life, Mary, that a fellow needs to do alone. Taking his backyard exercise comes high up on that list of priorities.

(Summoning his dignity, Mr Darling exits. Th ere is a sound from behind one of the beds. Mrs Darling hears it, but does not dare to turn and look.)

Music No. 18b: REUNION

Mrs Darling Who’s there? I hear those children in this room so often, in my dreams, that I still seem to sense their presence when I’m not asleep.

(Th e Children’s heads pop up from behind the beds.)

Wendy Mother!

Mrs Darling Th at is Wendy.

John Mother!

Mrs Darling Th at is John.

Michael Mother!

Peter Pan 93

Mrs Darling And now Michael. When they call, I stretch out my arms to them, but they never come. Th ey are never there . . .

(Th ere is a surge of music as Mrs Darling is reunited with her Children.)

Storyteller Th is time, however, they were there. Mrs Darling hugged her children all at once, then each in turn. And, each in turn, then all at once, they hugged her back.

Mr Darling (off ) Mary!

Mrs Darling Hide again, dears, we’ll surprise your father.

(Th e Children conceal themselves again as Mr Darling bounds in with the Lost Boys clutching at his coat-tails. Liza and Nana follow close behind.)

Mr Darling Just look at what the wind has blown in our direction, Mary! Th ese charming boys came settling down, out of the skies, into our very own backyard! Perhaps these will suffi ce until . . .

(Mrs Darling ushers Wendy, John and Michael into view.)

Mr Darling . . . Bless my best boots and braces - those are our three! (Embracing all three in turn, then . . . ) Now we do have a houseful! We couldn’t possibly keep all of you.

Mrs Darling (gently but fi rmly) Oh yes we can, George. And we shall. It will mean no more than a few extra beds in the drawing room. We shall put screens round them when we have visitors.

Mr Darling You are right, my love, as always. Although, I must say, you don’t do things by halves.

Mrs Darling But fi rst things fi rst, George, and most important, these children must be fed.

(Bright, marching music. With Mrs Darling leading the way, Liza

Act Two94

bringing up the rear and Mr Darling somewhere in the middle of the party, they set off towards the dining room.)

Storyteller Wendy stayed behind - for a reason she herself was not quite sure of, but one which was to become instantly clear . . .

Peter Pan (appearing at the window) Hello, Wendy.

Wendy Hello, Peter.

(Peter enters the nursery and Wendy makes a last attempt at getting a commitment from him.)

Would you like to stay with us? I’m sure my parents would adopt you too - along with all the others.

Peter Pan And then send me to school?

Wendy You’d learn all kinds of important facts and fi gures.

Peter Pan And, after that, on to an offi ce?

Wendy Black jacket; striped trousers; starched wing collar and a gold fobchain across your waistcoat, a shiny top hat and a rolled umbrella . . .

(But Peter’s face tells Wendy that she has said the wrong thing.

. . . You could grow to like it, Peter.

Peter Pan If you had learned one single thing about me, Wendy - you’d know that I don’t mean to grow at all.

Wendy What do you mean to do?

Peter Pan Go back to Never Land, of course. And build a new house high up in the tree-tops. (He rises, a metre or so above the nursery fl oor, preparatory to fl ying away.) You could come with me . . .

Peter Pan 95

Mrs Darling (having entered, unnoticed, during the above) Wendy!

Wendy Mother - mayn’t I go with him?

Mrs Darling I’ve only just got you home again - I intend to keep you.

Wendy He does so need a mother.

Mrs Darling And so do you. But I shall let you go for a whole week, every year, to do the spring-cleaning.

(Wendy, grateful for this one mercy, hugs her mother. Peter moves towards the open window. Again, Wendy fears that she is losing Peter.)

Wendy Won’t you be lonely, in the evenings, Peter, when I’m not there?

Peter Pan No. Why should I be? (Th ere is a tinkle of self-satisfi ed laughter from Tinker Bell.) Always be waiting for me, that’s all, and then, some night, you will hear me crowing.

Music No. 18c: PETER’S EXIT

(Peter fl ies out, through the window, and Wendy allows her mother to lead her away as the Storyteller enters - this time stepping into the nursery, as . . . )

Storyteller Peter did come back, exactly as he had promised, that next spring-cleaning. And then, the following year, he did not come at all. She waited and waited, but he never came . . .

(She pauses, and looks around the nursery, but she is quite alone. She picks up a story-book, from off a bed, opens it at a page which contains a book-mark, then fl icks through several pages . . . then, remembering her true purpose . . . )

. . . And then - would you believe it? - the next spring-cleaning, there he was and, stranger still, he never knew that he had missed a year. But that was the last time. Wendy never saw Peter Pan ever again.

Act Two96

(Th e Storyteller closes the book, with an air of fi nality. Th e lights dim. Th en, with her, we hear a far-off cock-crow. Th e Storyteller stands stock-still as Peter enters and stands behind her. Th e Storyteller senses Peter’s presence, but does not dare turn.)

Peter Pan (softly) Cock-a-doodle-doo . . . Wendy?

(He picks up the cloak, which Wendy had previously set down, and drapes it over the Storyteller’s shoulders - in the same tender way that he draped the cloak over Wendy’s shoulders in the underground home. His touch is almost too much for her to bear.)

Had you forgotten? Spring-cleaning time?

Storyteller It was you that forgot, Peter. You allowed too many spring-cleaning times to pass.

Peter Pan (puzzled) What is it?

Storyteller (and still she has not turned to him) I am old, Peter. I grew up.

Peter Pan (a step backward - ‘old’ is a word with which he cannot cope) You said you never would! You promised not to! We spat on our hands and swore on it!

Storyteller It wasn’t my fault. It happened. It happens, Peter. I got married. I have children. I have grandchildren. Go back. Go back. You must go back.

(Peter takes another step back - fearful at what he cannot comprehend. She bites back a tear. He is crying too - but his are the tears of a frightened child.)

(echoing their fi rst meeting) Boy, why are you crying? What’s your name?

Peter Pan (a fi erce resolve) Peter. Peter Pan.

Peter Pan 97

Music No. 19: THERE’S ALWAYS TOMORROW

Peter Pan WHY CAN’T WE STAY AS LITTLE CHILDREN? WHY MUST WE PUT AWAY OUR TOYS? OUR PARENTS DON’T HAVE THE ADVENTURES THAT WE DO AS GIRLS AND BOYS THOSE GROWN-UPS ALWAYS LOOK SO SOLEMN I KNOW THAT GROWN-UPS HAVE TO WORK AND WORRY THEY SAY ONE DAY I’LL HAVE TO GROW UP BUT I’M NOT IN ANY HURRY NO I’M NOT IN ANY HURRY ALL THE WHILE I CAN SAY

THERE’S ALWAYS TOMORROW THERE’S PROBABLY ‘SOON’ THERE’S ‘MAYBE’ OR ‘SOMETIME’ ‘SOMEDAY’ OR ‘SOME YEAR’ OR IN A BLUE MOON I’LL WAIT FOR THAT MOMENT SO FULL OF PERHAPSES AS EACH DAY ELAPSES THERE’S ALWAYS TOMORROW (Th e nursery set begins to dissolves into the night star, strewn with

stars. Peter Pan is oblivious to the Storyteller again . . . )

Storyteller Try to remember me sometimes, Peter. I never forgot you. Not once.

(Th e Storyteller leaves. Peter is alone on the stage, as . . . )

Peter Pan (making no promises) Good night, Wendy!

(And now the entire Company is assembled in the dark star-spangled void, as . . . )

WHY SHOULD I EVER GIVE UP FLYING?

All THERE’S SOMETHING IN THE AIR TONIGHT

Act Two98

Peter Pan WHO SAYS I HAVE TO BE A MAN?

All SOMETHING IN THE BREEZE

Peter Pan THAT MAY BE FINE FOR OTHER CHILDREN BUT IT’S NOT FOR PETER PAN AS LONG AS THERE ARE STARS TO GUIDE ME

All WHISTLING ROUND THE CHIMNEY-STACKS

Peter Pan AND WHILE THE SUN STILL SHINES LIKE GOLD

All RUSTLING THROUGH THE TREES

Peter Pan AWAY IN NEVER LAND YOU’LL FIND ME AND I WON’T BE GROWING OLD THERE’S ALWAYS TOMORROW THERE’S PROBABLY SOON THERE’S ‘MAYBE’ OR ‘SOMETIME’ ‘SOMEDAY’ OR ‘SOME YEAR’ OR IN A BLUE MOON I’LL WAIT FOR THAT MOMENT SO FULL OF SURPRISES AS EACH NEW DAWN RISES THERE’S ALWAYS TOMORROW AS EACH NEW DAWN RISES THERE’S ALWAYS . . .

Come on, Tink. Second to the right and straight on until morning.

. . . TOMORROW

(Peter Pan fl ies out over the heads of everyone, and is lost amongst the stars.)

Music No. 20: BOWS

Company NEVER LAND THAT’S THE SECRET OF FLYING

Peter Pan 99

NEVER LAND NOT MUCH FURTHER TO GO NO-ONE CARES WHERE YOU ROAM WHEN THE SKIES ARE YOUR HOME NEVER NEVER LAND NEVER LAND NEVER LAND NEVER LAND!

Music No. 21: EXIT MUSIC

THE END

PETER PANA Musica l Adventure

Based on J M Barr ie’s or ig inal p laywith permis s ion f rom

Great Ormond Stree t Hospi ta l for Chi ldren

Music by George St i le s

Lyric s by Anthony Drewe

Book by Wil l i s Hal l

VOCAL BOOK

Josef Weinberger12 - 14 Mortimer Street

London W1T 3JJTel: +44 (0)20-7580 2827

general.info@jwmail.co.uk www.josef-weinberger.com

ACT ONE

1. Th ere’s Something in the Air Tonight (Company) .....................................................1

1a. Nursery March / Face at the Window (Instrumental) ................................................6

2. Just Beyond the Stars (Mrs Darling) .........................................................................7

2a. Tink’s Arrival (Instrumental) ..................................................................................11

2b. Peter’s Arrival (Instrumental) ..................................................................................13

2c. Did You See Where Th ey Put It? (Instrumental) ......................................................13

3. Tink and Wendy (Instrumental) .............................................................................14

3a. Sound Asleep (Instrumental) ..................................................................................15

4. Never Land (Peter, Wendy, John, Michael) ...............................................................16

5. Th e Lost Boys Gang (Th e Lost Boys) .......................................................................23

6. Good Old Captain Hook (Pirates) .........................................................................27

6a. Th e Hook (Instrumental) .......................................................................................31

6b. Crocodile and Tiger Lily (Instrumental / Tiger Lily and Braves) ................................31

6c. Tink’s Instructions / Shooting Wendy (Instrumental) ..............................................32

7. Build a House (Peter, Th e Lost Boys) .......................................................................34

7a. Th e Lost Boys Gang (Reprise) (Th e Lost Boys, Wendy) .............................................41

8. Th e Cleverness Of Me (Peter, Wendy) .....................................................................42

8a. Walking Backwards (Insrumental / Tiger Lily and Braves) ........................................48

9. Siren Song (Mermaid) ...........................................................................................50

9a. Marooner’s Rock (Cecco, Cookson) .........................................................................51

9b. Th e Fight at the Lagoon (Instrumental) ..................................................................52

9c. Rescued by Kite (Instrumental) ..............................................................................53

10. When I Kill Peter Pan (Hook, Peter, Pirates) ...........................................................55

Musical Numbers

ACT TWO

10a. Entr’acte (Instrumental) .........................................................................................58

11. Rose-Tinted Eyepatch (Smee, Hook, Pirates) ...........................................................60

11a. Indians to Port and Starboard (Instrumental / Tiger Lily) .........................................68

11. Just Beyond the Stars (Reprise) (Wendy) .................................................................69

12a. Sleeping Children (Instrumental / Peter / Tiger Lily) ................................................72

12b. Tink Mock (Instrumental) .....................................................................................72

13. One Big Adventure (Wendy, Peter) .........................................................................73

13a. Behind the Wardrobe (Instrumental) ......................................................................81

13b. Th e Cleverness Of Me (Reprise) (Peter) ..................................................................82

13c. Land the Mackerel (Instrumental) ..........................................................................82

14. When I Kill Peter Pan / Good Old Captain Hook (Reprise) (Hook, Pirates) ............83

14a. Tink and the Poison (Instrumental) ........................................................................86

14b. One Big Adventure (Reprise) (Peter) ......................................................................88

15. A Pirate with a Conscience (Hook and Smee) ..........................................................90

16. Never Land (Reprise) (Th e Lost Boys) .....................................................................97

16a. Th e Deaths (Instrumental) .....................................................................................98

16b. Th e Doodle-Doo (Instrumental) .............................................................................98

17. Th e Fight (Instrumental / Peter) ..............................................................................99

18. Just Home (Just Beyond the Stars Reprise) (Storyteller, Mrs Darling) ..................... 105

18a. Mrs Darling at the Piano (Instrumental)............................................................... 104

18b. Reunion (Instrumental) ....................................................................................... 106

18c. Peter’s Exit (Instrumental) .................................................................................... 107

19. Th ere’s Always Tomorrow (Peter, Company) .......................................................... 108

20. Bows (Instrumental / Company) ............................................................................ 114

21. Exit Music (Instrumental) .................................................................................... 116

Allegro mysterioso q = c.140

PETER PAN Act One

No. 1 - SOMETHING IN THE AIR(Full Company)

Music: GEORGE STILESLyrics: ANTHONY DREWE

© 1995 - 2009 The Music Trunk Publishing CompanyPHOTOCOPYING THIS COPYRIGHT MATERIAL IS ILLEGAL

19

poco rall.

Nervously q = 14023

27

31

35

poco rit.

A Tempo q = 14039

CUE: A single heart-stopping moment as the audience are plunged into sudden darkness...

MRS. DARLING (off)"John!...Michael!...Wendy!"

p sotto voce

LONDONERSMEN ONLY?

There’s

some thing in the air to night- Some thing- in the breeze

Whist - ling round the chim ney- stacks

Rust ling- through the trees

Some thing- in the air to night- Does n't- feel like spring The

night in- gales- are sil ent- As if told they should n't- sing

NEWSBOY: "Paper! Evening paper!"

MEN & WOMENmp

There‘s

some - thing in the air to night- Some thing- in each gust

43

47

51

54 poco rit.

Meno mosso q = c.12058 poco più mosso q = 140

75

80

84

87

Some - thing leaves us shiv er- ing- Some thing we don‘t trust

mf

There‘s

some thing- in the air to night- That‘s quick en- ing- our tread

Some

marcato

thing- makes us wor ry,- Some thing- makes us hur ry- to our child ren- at home

Safe

mp

ly- in bed

STORYTELLER:"All children, except one, grow up."

PETER PAN: "Two is the beginning of the end." mp

STORYTELLER

There's

some thing in the air to night-

Some -thing in the dark Shad

p

ows- in an all ey- way-

Voic es- in the park Some thing- feels fam il- i- ar-

Some thing- we once knew A mem or- y- is stirr ing-

But is stay ing- out of view

No. 1. Something In The Air2

Con moto q = 16098 Tempo primo q = 140

108

111

114

118

Chil

MR DARLINGmf

ly- for the time of year

STORYTELLERMR DARLING: "Thank you."

There‘s

mp some thing in the air to night-

Wind has got a bite I

Some

STORYTELLER

thing in the breeze Whist - ling round the chim ney- stacks

don't re mem- ber- see ing- stars Burn ing- quite so bright

Rust ling- through the trees

Some thing- in the air to night- Does n’t- feel like spring The

Some

COMPANY

thing- in the air to night- Does n’t- feel like spring

night in- gales- are sil ent-

mp

As if told they should n’t- sing

MEN - higher

WOMEN mf

The

night

in

- gales- are

sil ent-

mp

As if told they should

n’t- sing

MEN - lower mf

The night in- gales- are sil ent-

mp

As if told they should n’t- sing

No. 1. Something In The Air 3

122

126

130

134

SA

There’s

f

some

Ah

thing- in the air to night-

TB

There’s

f

some thing- in the air to night-

Some

Ah

-thing in each gust Some

Ah

-thing leaves us shiv er- ing-

Some thing- in each gust Some thing leaves us shiv er- ing-

Some

Ah

-thing we don‘t trust There‘s some thing- in the air to night- That‘s

Some thing- we don‘t trust There‘s some thing- in the air to night-

quick en- ing- our tread Quick

mp

en- ing- our tread

Quick en- ing- our tread

mp

Quick en- ing- our

MEN

mf

Quick en- ing- our tread

No. 1. Something In The Air4

137

141

tread

mp

Quick en- ing- our tread Quick

p

en- ing- our tread

SEGUE AS ONE No 1aNURSERY MARCH

Quick

pp

en- ing- our tread

No. 1. Something In The Air 5

A Bright March q = 180

(Instrumental)

No. 1a - NURSERY MARCH / FACE AT THE WINDOW

4

8

12

Mysterious q = c.9016

20

24Più mosso

Q: SEGUE AS ONE FROM #1

MICHAEL: "Left, right! Left, right!"

JOHN: "It's not so easy for Nana, she has two lefts and two rights."

MICHAEL: "Come on Wendy, bathroom inspection."

sfz

Cuckoo

[Mrs Darling enters, 'tut-tuts' and plumps a couple of pillows. As she does so...]

Cuckoo Cuckoo Cuckoo Cuckoo Cuckoo

mp

STORYTELLER: "Mrs. Darling was sure that she had seen a boy's face hovering outside the window!"

mp

MRS. DARLING: "Who are you? Wait, child."

"Don't go! Please!"

mf

[PETER DISAPPEARS]

MRS. DARLING: "Children? Michael? John? Wendy?"

6

q. = c.76 Sweetly

(Mrs Darling)

No. 2 - JUST BEYOND THE STARS

9

13

17

poco accel.21

25

29

33

Just

MRS. DARLINGp

be yond- the stars, Be yond- that great black vel vet- cur tain-

No one knows for cer tain- what you'll find

Just be - yondthe stars are count less- mys t'ries- to un rav- el-

Jour nies- you can trav el- in your mind Close your

eyes

mp

and im ag- ine- Close them tight and pre tend-

There's a place

p

where prayers are ans wered- And your dreams nev er-

end No your dreams

7

38 poco più mosso

q. = c. 82more confidently44

48

52

56

60

64

68

73 q. = c. 88più mosso

Your dreams nev er- end

Just

mfbe yond- the stars your flights of fan cy- will be soar ing-

Days are nev er- bor ing- when you're there

Just be yond- the stars the end ings- hap py- ev er- af ter-

Hear the child ren's- laugh ter- fill the air Close

f

your

eyes and im ag- ine- Close them tight and pre tend-

mf

There's a place where prayers are ans wered And your dreams nev er-

end No your dreams

mp

Your dreams nev er- end May

mf

be- we've

No. 2. Just Beyond the Stars8

Con moto77

81

85

89 rit.

q. = c. 80Broader93

97

101

105

109

al rea- dy- been there May be- we're not meant to know May be- we'll

find in the fut ure- it's some where we all have to go mp But it's

nice to think that no one- knows for sure mf Per haps- that's

what be yond- the stars is for?

Just be yond- the stars all fears and worr ies- will de sert- you

No bo- dy- can hurt you when you fly

Just be yond- the stars where shad ows- nev er- dare to wan der-

Some where- way off yon der- in the sky Close

ff

your

eyes and pre tend-

No. 2. Just Beyond the Stars 9

114

poco rall.123 a tempo rall. al fine

mp

May your dreams Your

p

dreams nev er- end

No. 2. Just Beyond the Stars10

No. 2a - TINK'S ARRIVAL

Allegro q. = 180

6

10

12

15

18

CUE: Mrs Darling goes out leaving the door ajar.

The night-lights blink and then go out We see another light,

'no bigger than a gentlewoman's fist' darting about exitedly, outside the window first...

mf

...and then, having found it's way through a crack, inside the nursery - it it PETER PAN'S helpmeet fairy, TINKERBELL.

BRICKS

11

21

24

27

30

33

36

BOOKS

SOCKS

p

mp

mf mp

mf

INTO KENNEL

f mf

f

ff

SEGUE AS ONENo 2b PETER'S ARRIVAL

No. 2a. Tink's Arrival12

Mysterious q = 120

No. 2b - PETER'S ARRIVAL(Instrumental)

4

8

poco rit.10

Allegro vivace q. = 180

(Instrumental)No. 2c - DID YOU SEE WHERE THEY PUT IT?

5

8poco rit.

Q: SEGUE AS ONE FROM #2a

[In the darkness WE wait...]

ff

[PETER soars into the nursery...]

Wildly magical

PETER: "Tinker Bell? Tink, are you there?"

SEGUE

p

CUE: PETER: "Oh do come out of there!"

p

PETER: "Did you see where they put it?"

THE CHILDREN STIR

IN THEIR BEDS

mp

mf

p

13

Allegro vivace q. = 180

(Instrumental)

No. 3 - TINK & WENDY

5A tempo q. = 170

8

11

CUE: PETER: "If you don't believe in faries, Wendy, fairies die." (TINK protests furiously)

WENDY: "What's that noise?"

WENDY: "Ouch!

mp

" Somebody - some-thing -

just pulled my hair."

sfz

p leggiero

PETER: "That's a fairy - she's called Tinker Bell."

sfz

TINK flies offPETER: "She's jealous of you."

14

Andante q = 80

No. 3a - SOUND ASLEEP(Instrumental)

5

Con moto q = 1609

13

CUE: WENDY: "Michael! Come on! You're going to do it too."We hear the sound of NANA's bark as she approaches.

JOHN: "Quick! Hide!"

mfp

LIZA enters with NANA - they look around LIZA: "There! What did I say? Not so much as a whisper - all sound asleep, bless their little hearts, and in the land of dreams…

But NANA barks again. LIZA: "…Stop that - or I shall go straightway round and fetch the master and the missis from their dinner-party - and then there would be trouble! Come along!"

OPTIONAL SECTIONFROM HERE

pp

The children come back out of their hiding places - they have been prepared fro wonderful things....

p

JOHN: "Is it true? Can you really fly?" PETER PAN: "It's easy." JOHN: "How ripping!" MICHAEL: "What luck!"

SEGUE AS ONE No. 4 NEVER LAND

fp

15

Con Gusto q = 130

(Peter, Wendy, John and Michael)

No. 4 - NEVER LAND

6

10

14 poco rit.

With Excitement q = 12018

22

25

CUE: JOHN: "How ripping!" MICHAEL: "What Luck!"

mp You

PETER

must think of some thing won der- ful- A sight a smell a

sound A shake or two of fai ry- dust- and you'll be sky ward

bound There is just one rule when fly ing- which is not too hard to un der-

stand What e- ver-

3

you do Ne ver-

land

Ne

mf

ver- land that's the se cret- of fly ing-

Ne ver- land no thing- e quals- the thrill Take her hand there is no harm in

try ing- Just be lieve- that you can and you will

16

28

30

33

37

41

44

48

Ne ver- land feel the wind through your fin gers-

Ne ver- land let the clouds brush your hair and to stay on

3

the wing just re -

mem ber-

3

one thing Ne ver- land

The three children tentatively risefrom the bedroom floor.

THE THREE: "Look at me, look at me, look at me!" JOHN: "I say, why shouldn't we go outside?"

PETER: "There are pirates."

JOHN: "Pirates! We must go at once!" PETER: "And Indian braves - mermaids too." WENDY: "Mermaids! How spectacular!"

PETER: "Follow me!"

PETER mf

Ne ver- land

WENDY mf

Ne ver- land

JOHN + MICHAEL mf

Ne ver- land why just sit a round- talk ing?-

Ne ver- land

Ne ver- land we can soar thru' the sky

Ne ver- land

Who

JOHN

can stand run ning- jump ing- or

No. 4. Never Land 17

51

54

57

60

walk ing- When it's so much more fun if you fly?

Ne ver- land keep straight on un til- morn ing- Ne ver- land se cond- star to the

Ne ver- land

Ne ver- land

Ne ver- land

Ne ver- land

right No one- cares where

3

you roam when the skies are

3

your home

No one- cares where

3

you roam when the skies are

3

your home

MICHAEL

JOHN

No one- cares where

3

you roam when the skies are

3

your home

Ne ver- land ff Ne ver-

Ne ver- land

Ne ver- land

No. 4. Never Land18

63

71

74

77

80

83 poco rall.

land

WENDY mf

All of

Lon don- looks so min ia- ture-

JOHN mf

Big Ben is not so

tall

MICHAEL

And who would think that Ken sing- ton- could e ver-

WENDY

There's Lord Nel son on a

seem so small?

match stick- and those ti ny- peo ple in the Strand

f

ALL

If on ly-

3

they knew They'd want to

3

fly too and

No. 4. Never Land 19

A Tempo q = 12087

90

93

95

Nemp ver- land

Ne ver- land Try to fol low her

Nemp ver- land, See how Tin ker bell- tea ses- Ne ver- land

Nemp ver- land

Ne ver- land

light

It's so grand, float ing- off on the bree zes-

MICHAEL

Tho' I

feel I've

3

been fly ing-

3

all night

Nef

PETER

ver- land, Not till we're on my is land-

Nef ver- land,

Ne

f

JOHN

ver- land

No. 4. Never Land20

97

100 poco accel.

103

106

Ne ver- land, Not much fur ther- to go There's the Bear, there's the

3

Plough, we should

Ne ver- land,

Ne ver- land

soon be

3

there now Ne ver- land

Ne ver- land

PETER

No one- cares where

3

you roam When the

WENDY / MICHAEL

No one- cares where

3

you roam When the

JOHN

No one- cares where

3

you roam When the

skies are

3

your home Ne ver,-

skies are

3

your home

WENDY

Nev er,-

skies are

3

your home

No. 4. Never Land 21

109

piu mosso112

116

ne ver- - land

JOHN: "There it is!"

nev er- - land

Ne ver- land Ne ver- land Ne ver-

Ne ver- land Ne ver- land Ne ver-

Ne

JOHN & MICHAEL

ver- land Ne ver- land Ne ver-

land

land

land

No. 4. Never Land22

No. 5 - THE LOST BOYS GANG

Steady groove

(The Lost Boys)

q = 146

5 9

13

17

21

25

CUE: AFTER APPLAUSE FROM #4

STORYTELLER: "Whenever Peter was away, things were quiet in Never Land. The mermaids took an hour longer at their morning toilets;" "Tiger Lily's braves lay idle in their wigwams, twiddling their toes;"

"and, if the pirates and the Lost Boys crossed trails, they merely bit their thumbs at one another. " "But with Peter's imminent return, adventuring was once again underway."

BOYS’ heads appear, one by one, either over clumps of vegetation or around the trunks of palm trees.

mp

No

LOST BOY 1

bo- dy- dares us noth ing- ev er- scares us ev en- the loud est- bang

If

LOST BOY 2

you've an noyed- us best if you a void- us

LOST BOYS

'cos we're the Lost Boys Gang

LOST BOY 3

And those who fight the Lost Boys dis co- ver- to their cost

LOST BOYS

There's been no fight that the Lost Boys lost.

23

31

34

37

40

44

49

53

57

61

LOST BOY 4

We

mf

are no stran gers to the dark est- dan - gers yet we don't budge an inch

We

LOST BOY 5

show our met tle- grasp a sting ing- net tle-

and you won't see us flinch

LOST BOY 6

And when we fight in cold

blood We're cold er- than the frost

There's

ALL

been no fight

that the Lost Boys lost

mf

No one- makes us

go to school our books stay on their shelves Got no use for

sums and stuff we're fend - ing for our selves-

sub mp

All we need's a

cat a- pult- some ar rows- and a bow

mf

Read ing,- writ ing-

'rith met- ic- won't save you from your foe

f

so -

No. 5. The Lost Boys Gang24

65

68

71

74

77

80

83

87

TWINS

We

sub p

stick to ge- ther- nev er- know ing- wheth er- some one's- a bout- to pounce

It

2 OTHER BOYS

may sound fright' ning- but as quick as light' ning-

we

sfz

set tle- their ac counts- -

3 BOYSsub p

For those who cross the Lost

Boys

3 OTHER BOYS

will soon be doub le- crossed

ALL

There's

mp

been no fight that the Lost Boys lost.

No. 5. The Lost Boys Gang 25

94

97

101

104

107

110

114

118

ALL

mf

Read ing,- writ ing- 'rith met- ic- won't save you from your

f

foe So

No

ff

bo- dy- daresus noth ing- ev er- scares us ev en- the loud est- bang

Argh! If you've an noyed- us best if you a void- us

'cos we're the Lost Boys Gang And those who fight the Lost

Boys dis co- ver- to their cost

There's been no fight

p

There's been no fight

ff

There's been no fight

that the Lost Boys

[PERCUSSION BREAK]

Lost!

No. 5. The Lost Boys Gang26

Meanacing h = c. 96

No. 6 - GOOD OLD CAPTAIN HOOK(Pirates)

7

13

Andante con moto h = 10619

23

27

31

CUE: SLIGHTLY: "I'd use the second wish to wish for a mother." NIBS: "I'd wish for a pair of magic moccasins."

CURLY: "Magic moccasins?" NIBS: "I'd put them on and be off like the wind before the pirates get here." PIRATES (offstage) mf

Yo oh- -

Heave

TOOTLES: "Skedaddle, lads! Here they come!" The LOST BOYS take to their heels...

ho- Yo oh- Heave ho-

Yo

STORYTELLER: "Lacking a leader's courage, the Lost Boys ran… Enter the ruffian pirate crew…"

oh- Heave - ho Heave

- - -

ho!

f

-

Who

mf

put the jol ly- in the jol ly- Rog er?-

Who put the treas ure- in our chest?

Who's more art ful- than the Art ful- Dod ger?- Who's more

27

35

39

43

47

52

57

61

65

69

scar ey- than the Mar y- Cel este?-

Who goes a pill- a- ging- and swabs the decks with blood? Who's the

vil est- man in an y- one's book? Who is

worse than an y- oth er?- Who's a cred it- to his moth er?- Yes it's good old

Cap tain- Hook

Who

SOLO PIRATE 1mp

is the ter ror- of the ter ra- fir ma?-

Who

SOLO PIRATE 2

is the ty rant- of the seas?

Who

SOLO PIRATE 3

chills blood and caus es- hearts to mur mur?-

SOLO PIRATE 4

Who's more

dead ly- Than a dead ly- dis ease?-

No. 6. Good Old Captain Hook28

73

77

81

85

89Pull right back

93 accel.

4 PIRATES mp

whose luck y- pris on- ers- go

Whose

4 PIRATES

luck y- pris on- ers- go stro ho- ho- - ho -

stro ling- down the plank? Who

SOLO PIRATE 5

can cur dle- milk with bare ly- a

ho ling- down the plank?

look?

SOLO PIRATE 6

Who is feared in ev' ry- har bour?-

SOLO PIRATE 7

Cuts more

throats than an y- bar ber?- Yes

ALL

it's good old Cap tain-

Hook

f

Cap tain- Hook

ff

f

Cap tain- Hook

ff

Hook goes a pill- a- ging- and Hook Hook Hook Hook

Hook goes a pill- a- ging- and Hook Hook Hook Hook

No. 6. Good Old Captain Hook 29

A tempo97

101

A tempo106

111

115

Swabs the decks with blood He's the vil est- man in an y- one's-

Swabs the decks with blood He's the vil est- man in an y- one's-

book He is worse than an y- oth er,-

but

sub p

a cre dit- to his

book He is worse than an y- oth er,-

but

sub p

a cre dit- to his

moth er,- He

is good old Cap - tain

moth er,- He

is good old Cap - tain

Hook

p

Hook

mf

Hook

p

Hook

mf

Hook

ff

Good old Cap tain- Hook!

Hook

ff

Good old Cap tain- Hook!

No. 6. Good Old Captain Hook30

(Instrumental)

No. 6a - THE HOOK

Andante q = c.160

(Instrumental / Tiger Lily & Braves)

No. 6b - CROCODILE & TIGER LILY

7

16Same pulse q. = 160

31

35 39

CUE: HOOK: "I have waited long to shake his hand with this."

[Bowed glass sound] HOOK: "Oh, I'll tear him, Smee!"

Tick

CUE: STARKEY: "You allus was a rare one, Captain."

tock tick tock Tick tock tick tock

HOOK: "The crocodile!"

(sim.)

(etc.)

The PIRATES take to their heels andthe CROCODILE enters, ticking loudly, and exits in pursuit of the PIRATES.

INDIAN DRUMS

f

Hey

TIGER LILY

yay ay- Hey ah -

ah

TIGER LILY: "The pirates were here." NIBS: "It doesn’t take an expert tracker to know that...I saw them with my own eyes." TIGER LILY:"They run away from “Tick-tock; tick-tock”.If the pirates flee from the tick-tock, then the tick-tock shall lead us to the pirates."NIBS: "Um, I suppose so, but I’ll need to check that with Peter." TIGER LILY: "Where is Peter Pan?" NIBS: "In that Other Place." TIGER LILY" "He is always in that Other Place. We need him in Never Land for adventures to happen."NIBS: "He’ll be back soon enough."

Hey yay yay- Ha!

SEGUE AS ONE TO No. 6c

31

Allegro q. = 180

No. 6c - TINK'S INSTRUCTIONS / SHOOTING WENDY (Instrumental)

3

5

7

9

12

14

16

FIRST TWIN : "I see it!"SECOND TWIN : "I see it too!"

mf

TOOTLES : There's Tinker Bell!

mp ticklish

She's up Nibs's vest...

Tink out

Tink back in

Nibs kicks her out.

f

Into the ear of Tootles.

32

Allegro q = 13018

22

meno mosso q = 100

Andante q = 80

26

28

30

33

37

TOOTLES: "She says that Peter CURLY: "I wonder why?" TOOTLES: "If that's what Peter wants, Curly........ wants the Wendy bird shot dead."

mp mf

we don't ask why." SLIGHTLY: "We carry out his orders without question." NIBS: "Good shot, Tootles!"

6

[WENDY spirals down from the sky...]

6 6 6

66

6 6

FIRST TWIN: "It wasn't a bird after all."

6 6 6 6

SECOND TWIN: "It was a flying lady."

[TINK laughs] SHORT DIALOGUE HERE

PETER: NIBS: SLIGHTLY: "Wendy, with an arrow in her heart. She's dead. " "It was Tinker Bell's doing, Peter." "She told us to shoot down the Wendy bird."

PETER : You're banished, Tinker Bell!Be gone - for all eternity!

f

(TINK makes a rude "I don't care noise")

No.6c. Tink's Instructions / Shooting Wendy 33

(Peter & The Lost Boys)

Freely q = 140

No. 7 - BUILD A HOUSE

6

11

15 piu mosso q = 150

20

27

32

CUE: SLIGHTLY: "Oh well, she'll die then - there's no help for it." PETER: "Yes there is..."

"...Let's build a house around her!"

PETER

First

mp

we'll build each wall When it's just so tall we'll stop With a

high pitched roof, That is wat er- proof on top. We should strength en- it with

clay To keep bay ing- wolves at bay Build a house for

Wen dy- Build a home where Wen dy- will stay.

JOHN: "Don't you think she should see a doctor?"

PETER: "There isn't a doctor - perhapsthere's something she could take for it?" JOHN: "I've got this. It's Collinson's Cure-all."

JOHN: "It attends to all juvenile ailments. It says so on the label." ALL: "Hurrah!"

PETER: "I'll make sure she takes this medicine every night."

LOST BOYS

In the

walls of wood Ma ny- win dows should be cut Look ing-

34

36

40

44

piu mosso q = 16048

53

57

out each way, Just

PETER

as long as they don't shut!

LOST BOYS

From each

win dow, come what may, There's a diff 'rent- view each day;

GROUP I

Build a

house for Wen dy- Build a home where Wen dy- will

mp

GROUP II

Build a house Build a home

stay

Chop and saw and ham mer- nails for Wen dy,- Lay

ADD GROUP I

the

PETER

Add

mf

the kind of loft Where old

floor and pic ture- rails for Wen dy-

mp

Chop and

toys are oft en- flung And where par ents- play To re -

saw and ham mer- nails for Wen dy- Lay the

No. 7. Build A House 35

61

65

68

72

77

call when they were young Make it now with out- de -

floor and pic ture- rails for Wen dy-

lay, Moth ers- like things done that way;

PETER

Build

mf

a

On a tim ber- frame... It's a sim ple-

house for Wen dy,- Build a home where Wen dy- will

aim, Build

mf

a house Build a home

stay. Build a house for Wen dy-

Build a house for Wen dy-

Build a house for Wen dy-

Build a home for Wen dy-

Build a home for Wen dy-

Build a home for Wen dy- When

p

SLIGHTLY SOLO

it's built, To

No. 7. Build A House36

81

84

87 rall.

Con Moto q = 15690

ease our guilt We'll patch a feath er- quilt for Wen dy-

Weave

TOOTLES SOLO

mp

a rug to make it snug

ADD

With co coa- in

a mug for Wen dy- For Wen

-

SLIGHTLY'S GROUP

For Wen dy- For Wen

-

OTHERS

For Wen dy-

dy

dy

No. 7. Build A House 37

95

100

105

109

rall.113 Tempo I q = 140

118

122

FIRST TWIN: "What else do we need?" PETER: "There isn't a door knocker...Tootles, your shoe will do."

PETER: "And it hasn't got a chimney... John, your Sunday hat will suit." [THE HAT begins to smoke... EVERYONE cheers]

LOST BOYS

Pap

p

er,- paste and paint the

sills for Wen dy,- Cur - tains laced with bows and

PETER p

Place a rock ing- chair near the fi re- where she'll rest

frills for Wen dy-

pp

Mmm

When we hear her call It's the time we all love best

Mmm

As

mp

she tells in her own way Diff 'rent- stor ies- ev 'ry-

mp

Tells in her own way

No. 7. Build A House38

126 piu mosso q = 150

130

poco rit.134

piu mosso q = 150

138

143

day

mf

That's the joy of Wen dy,- No Lost Boy is

Stor

mf

ies- ev 'ry- day That's the joy No lost Boy is

Wen dy-

PETER

She's

f

the sun - shine's most heav en- - ly ray

Wen dy-

mf

And we pray

mf

And we all pray

PETER: "All look your best."

mp

And we pray

mp

And we all

PETER: "First impressions are awfully important."

And

p

we

pray

No. 7. Build A House 39

rit.147

Lento e rall q = 140

151

pray that Wen dy- will

That

p

Wen dy- will

stay

stay

No. 7. Build A House40

Steady Groove q = c. 146

No. 7a - THE LOST BOYS GANG (Reprise)(The Lost Boys, Wendy)

4

8

11

14

18

22

CUE: WENDY: "Now get inside at once, you naughty, naughty children!

6 LOST BOYS

f

No bo- dy- dares us noth ing ev er- scares us

ev en- the loud est- bang

WENDY: "You're neglecting to wipe your feet."

[WENDY claps]

(Clap) If you've an noyed- us best

if you a void- us 'cos we're the Lost Boys Gang

WENDY: "You've all your toys to put away."

4 LOST BOYS

And those who fight the Lost Boys dis co- ver- to their cost

WENDY: "And don't leave the towel on the bathrrom floor."

3 LOST BOYS

There's been no fight

WENDY: "Bed - this instant!"

There's

mf

been no fight

WENDY: "Bed!"SLIGHTLYmp

There's been no fight

that the Lost Boys

SLIGHTLY: "Good night, Mother."

Lost!

p

41

Happy q = 195

No. 8 - THE CLEVERNESS OF ME(Peter, Wendy)

4

7

9

11

16

WENDY:"As parents we have to show a good example, Peter. Rules are rules" PETER: "Not for me they're not. No-one tells me what to do."

PETER mp

Both the sun and moon are ser vants- I give or ders- they o bey- It's

WENDY mp

Well

real ly- up to me If there should be a night or day

if you'd been to school Not run a way- soon af ter- birth You

might have learned of some thing- called 'the or bit- of the earth'

If

PETER

it's sum mer- in the tree tops Then it's spring in the la goon- It's

42

19

22

25

29

33

36

38

40

WENDY

But Pe ter- that's not clev er- You're

win ter- on the ri ver- And au tumn's- com ing- soon

be ing- such a dunce For what is one to wear If all the sea sons- come at once?

Just au tumn- leaves and cob webs- I've no need for a scarf

No cold will ev er- catch me I'm clev er- er- by half

Oh

mf

the clev er- ness- of me The clev er- ness- of me I've

nev er- met a per son- yet Who'd ev er- dis a- gree- The

clev er- ness- of me The clev er- ness- of me I

have to crow be cause- I know the clev er- ness-

PETER: "Cock-a-doodle-doo!"

No.8 - The Cleverness Of Me 43

42

47

49

51

53

55

58

61

of me

(WOLVES are heard howling somewherenearby. PETER PAN draws WENDY away.)

mf

Ev 'ry-

day a new ad ven- ture- Ev 'ry- mo ment- to be filled Why

WENDY mp

The

bo ther- with a bed time- With pi rates- to be killed

wolves are ra ther- fright ening- They're sound ing- clo ser- now We

don't have them in Blooms bu- ry- The bye laws- don't al low-

When

PETER

ev- er- wolves are prowl ing- Am ongst- the Nev er-

Trees You must ap proach- them back wards- Then

stare be tween- your knees

(PETER and WENDY both assume the prescribed position.The WOLVES quickly disappear. WENDY remains upside down,and PETER creeps up on her, very pleased with himself...)

PETER: "Boo!"

PETER

Oh

f

the

No.8 - The Cleverness Of Me44

68

71

74

77

80

84

clev er- ness- of me The clev er- ness- of me I've nev er- met a pers on- yet Who'd

ev er- dis a- gree- The clev er- ness- of me The clev er- ness- of me I

have to crow be cause- I know The clev er- ness-

PETER: "Cock-a-doodle-doo!"

of

WENDY

Of

me The Clev er- ness-

who? Of

f

you!

Of

f

me!

( clapping his hand over her mouth tostifle a scream. The PIRATE exits)

PETER

Oh

f

the

No.8 - The Cleverness Of Me 45

95

98

100

102

105

The

f

clev er- ness- The clev er- ness-

clev er- ness- The clev er- ness- I've nev er- met a per son- yet Who'd

Who could doubt the clev er- ness-

ev er- dis a- gree- The clev er- ness- The

You have to crow

clev er- ness- of me I have to crow Be -

Be cause- you know The clev er- ness-

cause I know The clev er- ness-

And

mf

what comes next you won't ev er- guess I love the now or- -

No.8 - The Cleverness Of Me46

108

111

It's all part of the clev er- ness-

nev er- ness- It's all part of the clev er- ness- of

ff

me

No.8 - The Cleverness Of Me 47

Indian War Dance q. = 160

No. 8a - WALKING BACKWARDS(Instrumental / Tiger Lily and Braves)

2 2 Poco meno mosso q = 1503

q. = c.160

13

17 17 18

22

q. = q24

CUE: HOOK: "...that's such a contemptable plan, Smee, that it appeals to my worst possible nature---"

VAMP - ROUGHLY 14 TIMES

STARKEY: "Captain!" [HOOK and the PIRATES listen] HOOK: "Tiger Lily and her warriors. We'd best take cover till they're gone. Smee! They are expert trackers. They would seek us out in seconds. Walk backwards, lads -they'll think we've gone off in the opposite direction."

a

Percussion

Hey

TIGER LILY

yay ay-

Hey

BRAVES REPLY

yay- Yey- ah ah-

VAMP - ROUGHLY 12 TIMES

a

Hey

TIGER LILY & BRAVES

ah ah-

TIGER LILY and her BRAVES set off again...HOOK, SMEE and STARKEY emerge...

HOOK: "Look lively, Starkey! Roust out the crew." STARKEY: "Aye, Captain. And then?" HOOK: "Persue Tiger Lily and her braves."

"They think that they're on our trail - but you'll surprise them from behind. Fall on them and take Tiger Lily prisoner."

48

28

32

36

SMEE: "So, Captain, are we still going to snaffle the Lost Boy’s brand-new darlingest mamma and keep her for our own?

HOOK: "Indeed we are, Smee. I need that girl to bait the trap that will bring steel jaws, like crocodile's teeth - Snap, snap! - on Peter Pan."

VAMP

HOOK: "Nothing will deter me from that avowed intent, but first we have that winsome wailing warrior, Tiger Lily, to despatch.

SEGUE ON CUE TO #9 - "SIREN SONG"

49

Andante mysterioso q = 100

(Mermaid)

No. 9 - SIREN SONG

5

9

13

16

19 poco rit.

22 q = 120Allegro

CUE: SEGUE AS ONE FROM #8a

STORYTELLER: "It was the end of a very long day... Overlooking the Mermaid's Lagoon, from the coral grottoes, beneath the lapping waters came fitful music..."

MERMAID

mp

Oo Oo

Oo

Oo Oo

mf

STORYTELLER: "Peter, having spirited his band out of the pirates' clutches, had brought them to the lagoon to play."

sub mp

STORYTELLER: "But the sun had gone, the moon had slowly taken it's place,..."

Oo

p

...and a cold shiver across the waters sent the mermaids to their coral caves."

50

Andante

No. 9a - MAROONER'S ROCK(Cecco, Cookson)

q. = c.100

5

8

16

CUE: PETER: "They were tied up. When the tide comes in, Marooner's Rock (MUSIC) is under water..."

PETER: "...Someone's coming - Hide, everyone!"

Heave

CECCO, COOKSON

mp

ho Heave ho

Heave ho Heave ho Heave ho

Heave ho Heave

COOKSON: "Speedily, Cecco, get the dark deed done - this sailor's graveyard gives me the goose-bumps."

VAMP UNTIL DIALOGUE CUE TO STOP

51

No. 9b - THE FIGHT AT THE LAGOON

Allegro q = 190

(Instrumental)

4

16 h = 120

Prestissimo

22

25

30

34

f

Q: PETER: "Well then - I am Peter Pan"

Q: HOOK: "And I am the oneand only Captain Hook, boy"

Q: PETER: "Let them have it, boys!"

[PETER and the LOST BOYS attack the PIRATES]

PETER: "See to it that Wendy gets to safety. Go to it! Now!"

COOKSON: "Finish him, Captain!" SMEE: "Reduce him down to cutlets, Captain - and bite-size bits o' brisket!"

HOOK: "Cutlets? Bite-size bits o' brisket? I'm a swash-buckling buccaneer, Smee - not a back-street retail butcher."

Q : HOOK: "Don't stand there goggle eyed. Get after them. I want that girl!"

Wendy enters

52

q = c.80Andante

No. 9c - RESCUED BY KITE

(Instrumental)

5

9

q = c.90Con moto13

Allegro q. = 19017

CUE: HOOK: "I might pop back to enjoy your final moments."

PETER: "I'm sorry ,Wendy." WENDY : :You've nothing to blame yourself for, Peter."PETER: "We mustn't give up hope - the Lost Boys might come back and find us." WENDY: "They did so want me to be their mother."

PETER: "More than all the world." WENDY: "The last motherly advice I gave them was that they were not to come back and look for me."PETER: "Ah! They are grand lads - and will do as they've been told."

" Be brave, Wendy. Dying will be an awfully big adventure."

WENDY: "Look, Peter!" [The KITE sails into view...]

PETER: "It's Curly's kite come here to save us." WENDY: "But how has it done that by itself?" PETER PAN: "It hasn't come alone, Wendy"

PETER PAN: "It hasn't come alone, Wendy. Tinker Bell is in full control."

53

20

23 Flurrying

26

29

32

PETER PAN: "She begs to be forgiven - yes, Tink, we are best friends again."

TINKERBELL undoes the ropes...

PETER: "Hold tight!" PETER and WENDY sail aloft on the kite...

HOOK: "Smee! Smee! They're escaping, Smee! They're free!"

No. 9c Rescued By Kite54

Andante diabolo q = 108

No. 10WHEN I KILL PETER PAN

(Hook, Peter, Pirates)

8

12

15

18 rit.

A tempo q = 10821

24

28

CUE: DEAD SEGUE No.9c

SMEE: "Cheer up, Captain. Think of it aslike letting a little tiddler off the hook - you'll have all the happy times and joy of catching them again."

HOOK: "Happy...?"

How

HOOK

can I be hap py- While Pe ter- Pan is free Smee?

How can I be hap py- when that cro co- dile- con tains- a part of me

Smee? Per haps

dolce

- I should for give- and for get,- Smee? Would that

make you a hap py- lit tle- man? Per haps- we should re turn- to the

high sea? Well I will when I kill Pe ter-

Pan

Cock

PETER

a- doo- dle- doo!

Who

HOOK

thinks I am foo lish- not sail ing- forth a gain- men?

55

32

35

38 rit.

con fuocoa tempo q = 10841 poco accel.

45 Faster (q = c.126)

48

51 poco rall.

54 poco rall. rall.

57 A Tempo q = c.108

Who thinks I am foo lish- and who thinks I am more chick en- than a hen

men? Don't

dolce

say the cat got your tongues men?

Tell me what you think you know you can Am I to as sume- we are con -

tent then? Not un til- I can kill Pe ter- Pan

How I'd love to make a hand bag- of that

3

croc co- dile- How I'd

love to slit the giz zard- of that boy and grind his wretch ed- fai ry- in to-

fai ry- dust That is some thing- I would thor ough- ly- en joy- Un -

til I have wreaked ven geance- we will stay I trust that no one- wants it a ny-

oth er- way?

Good!

Peter Pan laughs

No.10 When I Kill Peter Pan56

62

65

68 A tempo e sostenuto

72 poco rall. rall.

Blood curdling q = 12676

82 rall.

Did

HOOK

I hear a snig ger- from some one- in my crew?

You!?

ff

Some one- thinks they're big ger- Than the Cap tain- and it's time the Cap tain-

knew Who? It's Pan He's here It's him Smee Now it's

PETER

Yoo hoo!-

time to con coct- a lit tle- plan To guar an- tee- he can not- es cape- me

Blood will spill When I kill Pe -

PIRATES

Ah

f

Ah

ter

-

Pan Ha ha ha ha ha

ff

Ah Ah Ah Ah, Ah

No.10 When I Kill Peter Pan 57

Maestoso q = c. 80

ACT TWO

No. 10a - ENTR'ACTE

(Instrumental)

Allegro diabolo q = 1405

8

11

14

19

24rit. Adagio miserablile q = 60 rit.

[Night - the downcast PIRATES on the beach -lanterns...]

58

A tempo (con rubato)28

32

36

38 rall.

A tempo40

42

molto rall.

STORYTELLER: "Across the bay, the pirate barque, The Jolly Roger, bobbed at anchor. On the rock-strewn shore nearby, the piratespolished cutlasses, oiled pistols and cleaned their muskets and honed their daggers to a razor sharpness - preparatory to killing any living thing - "

p

STORYTELLER: (cont.) "...bird, beast or best of all, Lost Boy - that happened to chance their way. James Hook, meanwhile, stoodapart from all of this activity, staring out across the rippling sea. At last, he let out a melancholy sigh..."

[HOOK lets out a sigh]

BILL JUKES: "He's been that way for days now." SKYLIGHTS: "Like a ship becalmed." STARKEY: "But with dark clouds gathering on the horizon."

STORYTELLER:"Hook sighed again, andlouder and more melancholy than before."

[HOOK lets out another sigh]

MULLINS: "Somebody should have a word with him. It ain't properly practical, him standing there without an oath for nobody -

not so much as a boot-toe for the ship's cat. It ain't right for him, and it ain't right for us lads neither.

It's like I say, somebody should have a word with him." CECCO: "Mullins is right. Somebody should."

No. 10a Entr'acte 59

A Shanty q. = c. 64

(Smee, Hook, Pirates)

No. 11 - ROSE-TINTED EYEPATCH

6

9 rall.

A tempo q. = c.6413

17

21

25

CUE: SMEE: "Look on the bright side, Captain....

there are evil deeds around the corner, waiting to be perpetrated, just like in the bad old days…"

SMEE

Cap

mp

tain- Hook He‘s a

sen si- tive- soul who just thrives on com mit- ting- foul crimes And I‘m

sure we could gen tly- ca jole- him with fond re min- i- scence- of hap pi- er- times

mf

Look back thru‘ a rose tint- ed- eye patch- Think

back to our mur der- ous- larks One swipe of your cut lass- Your foes all fell gut less- and

then be came- food for the sharks Look back thru‘ a rose tint- ed- eye patch- No

pi rate- could e qual- your fame Those

f

wimps from Pen zance- would be

60

28

31

34

fill ing- their pants Ev‘ ry- time some one- ut tered- your name

PIRATE 1

2nd time only

mp

Look back thru‘ a rose tint- ed-

PIRATE 2 mp

Look back thru‘ a rose tint- ed-

PIRATESmf

La la la la la la la

p

La la la la

mf

La la la la la la la

p

La la la la

La

mf

la la la La

p

la

eye patch- ‘Twas tru ly- a glo ri- ous- past The

eye patch- ‘Twas tru ly- a glo ri- ous- past

la la la La la la la la la la The

la la la La la la la la la la The

la la La la la la la The

No. 11. Rose-Tinted Eyepatch61

37

41

beau ti- ful- bri ny- The corp

f

ses- we hung from the mast

mp

Look

Your hook nice and shi ny- The corp

f

ses- we hung from the mast

mp

Look

beau ti- ful- bri ny- Your hook nice and shin y- The corp

f

ses- we hung from the mast

beau ti- ful- bri ny- Your hook nice and shin y- The corp

f

ses- we hung from the mast

beau ti- ful- bri ny- Your hook nice and shin y- The corp

f

ses- we hung from the mast

SMEE

We're

f

back thru' a rose tint- ed- eye patch- For get- this young boy who can fly

back thru' a rose tint- ed- eye patch For get- this young boy who can fly

p

La la la la la la la Ah h- h-

p

La la la la la la la Ah h- h-

La

p

la la la la la Ah h-

f

boy who can fly

No. 11. Rose-Tinted Eyepatch62

45

49

52 poco rit.

56

sure you would soon er go sink a nice schoon er- If on ly- you‘d give it a try But for

If on ly- you‘d give it a try But for

f

If on ly- you‘d give it a try But for

If on ly- you‘d give it a try But for

f

If on ly- you‘d give it a try But for

pir ates- It‘s a mis take- if your swash has n't- buck led- for

years And as pir ates- We need a break ’cos we‘re down on our luck as lame

duck buc can- eers-

mp

Think back to our mur der- ous- larks Our mur der- ous-

ALL

Our mur

der- ous

-

No. 11. Rose-Tinted Eyepatch63

60Silent Terror q = 140

64

68

A Country Dance q = 15071

77

Ta-da! q. = 6081Tarantella on a trip q. = 180

86

92

larks Our mur der- ous-

SMEE: "The Dastardly Demise of Dead-eyed Dick"

larks...

larks Our mur

der

- ous

- larks...

gliss. SMEE: "The Lynching at theLynch-gate of Larry the Loon"

PIRATES

Hey! Hey!

sfz

SMEE: "The Terminal Tarantella of the Tuscan Tyrant."

3

No. 11. Rose-Tinted Eyepatch64

96rit.

Con moto q. = 70100

104

107

Lento q = 80115

119 Wickedly q. = 54

122 rit.

PIRATES

mf

Look

back thru' a rose tint- ed- eye patch- Nos tal- gia- is good for the soul Those

f

kids are a can ker- It's time we weighed an chor- and played our trad i- tion- al-

role

HOOK: "How do you kill a rat, Smee? " SMEE: "A portion of the cook's stew, Cap'n?"

SMEE: "Not...not deadly poison, captain?" HOOK: "Aye, Smee. The deadliest. If we cannot dispose of those disgusting brats by devious means

"then, on my oath, lads. we'll get rid of them by dubious ones!" HOOK

Just two drops of this brings a hid e- ous- death Let's

watch as those chil dren- all draw their last breath

ff

Look

PIRATES ff

Look

ff

Look

No. 11. Rose-Tinted Eyepatch65

A Tempo q. = 64124

128

rit.131 Broader q. = 60

back thru' a rose tint- ed- eye patch- We used to be hid e- ous- crooks

back thru' a rose tint- ed- eye patch- We used to be hid e- ous- crooks

SOLO PIRATE

As

f

back thru' a rose tint- ed- eye patch- We used to be hid e- ous- crooks

pir ates- our du ty- is nick ing- the boo ty- It says so in all the best

Look

back thru' a rose tint- ed- eye patch- Re -

books Look

back thru' a rose tint- ed- eye patch- Re -

All the best books Look

back thru' a rose tint- ed- eye patch- Re -

All the best books Look

back thru' a rose tint- ed- eye patch- Re -

No. 11. Rose-Tinted Eyepatch66

134

137 rall.

Slower140 Con Moto q. = 68

mem ber- those hal cy- on- days

HOOK

It may be im mo- ral- But

mem ber- those hal cy- on- days

mem ber- those hal cy- on- days

mem ber- those hal cy- on- days

who‘s gon na- quar rel- For good hon est- pir a- cy- pays

For good hon est- pir a- cy- pays

For good hon est- pir a- cy- pays

For good hon est- pir a- cy- pays

Good hon est- pir a- cy- pays

Good hon est- pir a- cy- pays

Good hon est- pir a- cy- pays

Good hon est- pir a- cy- pays

No. 11. Rose-Tinted Eyepatch67

Indian attack

No. 11a - INDIANS TO PORT AND STARBOARD(Instrumental / Tiger Lily)

q. = c. 156

5 poco rall.

q = c. 86Tranquillo19

23

27

33

rall al fine38

Hey

fTIGER LILY

yay ay-

CECCO: "Tiger Lily and her Braves in sight! Enemy to port...

"and starboard!" STARKEY: "Scarper!"

STORYTELLER: "Peter's adventure at Mermaid's Lagoon had turned Tiger Lily into his staunchest ally. He had..."

"...saved her life and she was eager to repay the kindness. But while Peter Pan enjoyed fighting pirates, with the warrior princess battling at his side, it was Wendy's motherly duty to remain behind,..."

"...in the underground home, and tell the Lost Boys their bedtime story. It was a fairy-tale which satisfied Wendy's fantasy, rather than their own..." WENDY: "...The crystal slipper is a perfect fit. The happy pair are joined in matrimony that very afternoon:..."

"...the bride, entirely elegant in a white satin gown, with a broad pink sash, and lover's knots. 'Do you take this handsome prince?' the archbishop asks, his voice resounding through the palace chapel..."

"...thronged with regal guests. 'I do!' she whispers breathlessly. 'I do! I do, oh yes, yes, yes - I truly do!'"

68

Sweetly - a lullaby

No. 12 - JUST BEYOND THE STARS (Reprise)

(Wendy)

q. = c.74

5

Flowing now q. = 809

13

17

21

25

Just

CUE: MICHAEL: "A song about a place where prayers are answered...!" THE BOYS: "Yes, please!"

p

be yond- the stars, Be yond- that great black vel vet- cur tain-

No one- knows for cer tain- what you'll find

Just

mp

be yond- the stars Are count less- mys teries- to un rav- el-

Jour neys- you can trav el- in your mind Close your

eyes

mf

and im ag- ine- Close them tight and pre tend-

There's

mp

a place where prayers are ans wered- And your dreams nev er-

end No your dreams

69

30 piu mosso

34

38

42

46poco rit. A tempo q. = 80

51

55

59

Your dreams nev er- end May

mf

be- we've

al read- y- been there May be- it's on ly- a dream May be- we'll

find in the fut ure- that things are not all that they seem But

mp

for

now I on ly- hope that I'll be good At rais ing-

boys

mf

The way a moth er- should

Stars

p

in the sky so bright Watch ov er- us to night-

Drive aw ay- ev ery- ev il- you may find

And

mp

in some oth er- sky Please keep a watch ful- eye

No. 12 Just Beyond The Stars (Reprise)70

62

67

71

75

79

84 rall.

Lento88

Ov er- those left be hind-

mp

Just how long can this last?

p

I've

colla voce

a feel ing- I've grown up too fast

a tempo

All these child ren- have need of my love

But still I can't see If I

mp

moth er-

them Who will moth er- me?

Who

p

will moth er- me?

Who

pp

will moth er- me?

No. 12 Just Beyond The Stars (Reprise) 71

Same pulse q. = 160

(Instumental / Peter / Tiger Lily)

No. 12a - SLEEPING CHILDREN

6

9

(Instumental)

No. 12b - TINK MOCK

CUE: STORYTELLER: "A thought to spare for sleeping chilren"

Hey

TIGER LILY

yay ay-

Hey

PETER

yay -

ay

PETER : Well fought, Tiger Lily. The Pirates are in full retreat . . . (etc.)TIGER LILY : Then go. Sleep undisturbed. We shall stay here to guard you . . .

VAMP

CUE: "PETER: "Those of a devoted son, Wendy"

SEGUE AS ONE No. 13

72

(Wendy & Peter)

Agitato h = 114

No. 13 - ONE BIG ADVENTURE

5

9

13

CUE: SEGUE from No. 12b

WENDY

Don't

mp

you want to

3

grow up?

PETER

No,

mp

nev er-

Don't you want to

3

grow up?

Not at all!

But you can't stay a child for ev- er-

Why not?

For a start, you'll be come- too tall.

73

17

21

25

colla voce29

a tempo32 Slower - quasi recit

There is noth ing-

3

to fear in grow ing-

And there's so much

3

to learn on

3

the way.

That's

I think I've heard e nough- I'm go ing- Wen dy-

typ i-

3

cal- run, Turn

3

your back and

3

have fun; Well I'm not going to beg you to

stay... No! It makes me fe el- sad to hear you

You're not?

No. 13. One Big Adventure74

35 rall.

Andante doloroso h = 9038

42

46

51 Agitato h = 114

car ry- on like this. Life is full of pleas ures,- pleas ures- that you'll miss.

Can't you see it

3

as one big ad ven- ture?-

Not a prob lem-

3

on which to

3

pour scorn An ad -

ven ture,- as Pan Grows from boy to a man Which be gan- on the day

you were born

mf

What's so great ab

3

out- grow ing- ol der?-

No. 13. One Big Adventure 75

55

60

64

68

72

Hair goes grey and

3

the eyes be

3

come sad...

There are some bur dens- we must shoul der...-

But it's not real ly- all that bad

Pir

f

ates,- in di-

3

an- braves and fair ies...-

f

Fun comes

3

in diff 'rent- guis es-

Won't the nov el-

3

ty- wear a

3

bit thin?

Ev 'ry-

3

day brings sur pris- es-

No. 13. One Big Adventure76

76

80poco rit.

Andante doloroso h = 9484

88

92

You'll soon get bored if noth ing- var ies...- A

Not while the sun still ris es!-

chap ter-

3

must end So the next can

3

be gin-

mf

Can't you see it

3

as one big ad ven- ture?-

mf

Not list 'ning...-

Not a prob lem

3

on which to

3

pour scorn An ad -

Can't hear you...

ven ture,- as Pan Grows from boy to a man Which be -

La la la la

la la la la

No. 13. One Big Adventure 77

96 Agitato h = 104

100

103 poco rall.

Broader h = 100108

112

gan on the day you were born...

la I

f

don't know what you mean, And if I

did, I would n't- care 'Cos I told you I won't grow

up so there!

Can't

f

you see it as one big ad ven- ture?-

f

I in- tend to fly for all I'm

Not a prob lem-

3

on which to

3

pour scorn An ad -

worth I will nev er- come back down to

No. 13. One Big Adventure78

116

120

piu mosso e stringendo124

128

132 poco rit. Slower

ven ture- as Pan grows from boy to a man Which be -

earth Please un der- stand- My place is

gan on the day you were

here in Nev er-

born Don't

mf

you want to

3

grow up?

Land No,

mf

nev- er

For

f

ev er?-

I

f

will stay as a boy

ff

What makes you think that you're so clev er?- No one-

ff

What makes you think that you're so clev er?- No one-

No. 13. One Big Adventure 79

136 Presto h = 140

140

can get one ov er- Pet er- Pan

can get one ov er- Pet er- Pan

No. 13. One Big Adventure80

Allegro q. = 140

No. 13a - BEHIND THE WARDROBE

(Instrumental)

4

CUE: PETER: "I hope you all like your mothers...................Tinker Bell will lead the way."

"PETER: "Another skirmish . . . . . . or, possibly, the final battle......

Percussion

"PETER: "Whatever it was - it's over."

81

Aggresive q = 195

No. 13b - THE CLEVERNESS OF ME (Reprise)(Peter)

4

7

10 slower

13

17 rall.

22

No. 13c - LAND THE MACKEREL

Moderato mysterioso q = c.102(Instrumental)

PETER mf

Ev 'ry- day a new ad ven- ture- Ev 'ry- mo ment- to be filled Why

both er- with a bed time- With pi rates- to be killed? And mer maids- still to cap ture- Wild

an i- mals- to track There's no such fun in Blooms bu- ry-

mp

I bet that they'll be back

What

p

can be found in Lon don- But sad ness- and re gret?- For

win dows- don't stay o pen- And mo thers- soon for get-

HOOK: "Now that the sprats are safely

netted, it's time to land the mackerel."

ALMOST DEAD SEGUE

82

Moderato mysterioso q = 110

(Hook & The Pirates)

No. 14 - WHEN I KILL PETER PAN /GOOD OLD CAPTAIN HOOK (Reprise)

5

8

11

14 poco rit. molto

slower17

CUE: HOOK: "And look where their ham-fisted arrogance got them..."

(cont..) "Smee - this is Hook's way."

HOOK

Two

mp

drops are suf fic- ient!- To rid me of this

boy, JOY!

sfz SMEE: "Shh!"

Two

mp

drops are suf fic- ient- So im -

ag ine- what two spoon fuls- could des troy,- Joy!

mf

Tho'

mp

it is n't- good form to gloat, Smee I think that just this once per haps- I

can For when the poi son- trick les- down his throat, Smee Oh

ff

the

thrill

SMEE: "Shh!"

I will kill

SMEE: "Quickly Captain! He stirs!"

Pet

pp

er-

83

Gleeful h = 11020

24

28

33

38

43

48

Pan

SMEE: "Look lively, Captain - the dark deed's done."

Who

mf

will be hall owed- in the halls of Et on?-

Who will be fet ed- for his flair? Who shows

child ren- that he can't be beat en?-

PIRATES

The

f

sur vi- val- of a riv al- is

rare Who's

mf

the e pit- o- me- of foul and ev il-

deeds? In the un der- world- the up per- most- crook? We're

f

so

proud to say we serve him Ev en- hell does not de serve- him Yes, it's

No. 14 When I Kill Peter Pan / Good Old Captain Hook (Reprise)84

52

58

62

68

73

good old Cap tain- Hook!

He's

f

the

HOOK mf

If you don't you're bound to per ish-

ty rant- whom we cher ish-

Yes

f

it's

good old Cap tain- Hook!

Best

f

to

mp

Or you're push ing- up the dais ies-

show er- him with prais es-

Yes it's good

old Cap tain-

dim. poco a poco al fine

Hook! Hook!

ALMOST DEAD SEGUE No. 14a

REPEAT AND FADE AS NEEDEDVOICES FIRST TIME ONLY

Hook!

No. 14 When I Kill Peter Pan / Good Old Captain Hook (Reprise) 85

Agitato

(Instrumental)

No. 14a - TINK AND THE POISON

q = c. 110

5

8piu mosso

12

q = c. 80Andante15

20

PAN: "Who goes?" PAN: "Tiger Lily and

her braves defeated?"

"Wendy and the Boys all captured?"

"I'll rescue her!"

PAN: "But first things first, Tink. I promised I would take her medicine."

"Poisoned? Who could have poisoned it? You mustn't look to find fault, Tink, with everything that has to do with Wendy."

[TINK drinks the poison]

33

3 3 3

PAN: "Why Tinker Bell - you've drunk all of Wendy's medicine - every drop!"

PAN: "Tink? Tinker Bell? What is it? Then it was poison - you did that for me? Her light is growing faint...

p

and if it goes out altogether, that means

that she is dead." "Her voice has dropped so low that I can scarcely tell what she is saying.

Try and speak up, Tink - I can hardly hear you? What's that?"

86

25

q = c.110Allegro30

33

35 poco rit.

"She says - she says she thinks she could get well again if children believed in fairies!"

pp

"Do you believe in fairies? Say quick that you believe!If you believe, clap your hands!"

f

PAN: "Oh thank you, thank you! And now to rescue Wendy! Ready Tinker Bell?"

VAMP

DEAD SEGUE - #14B - "ONE BIG ADVENTURE REPRISE"

No. 14a Tink And The Poison 87

Puposefully h = 92

No. 14b - ONE BIG ADVENTURE (Reprise)

(Peter)

6

11

piu mosso e stringendo h = 12617

21

25 poco rit.

Slower h = c.8028

DEAD SEGUE FROM #14A

PETER

This

f

time Cap tain- Hook it's "do or die"

When you hear my cock a doo- dle- cry Your pir ate- band

will have no place In Nev er-

Land

In Nev er-

Land

In Nev er-

Land

I am youth, I am free dom,- I am

88

Maestoso h = 9431

37

42

Largo q. = 4047

52

57molto rall.

truth...

PETER flies slowly and majestically upwards with his sword held high, and accompanied by TINKER BELL

STORYTELLER: "Two ghostly green lights, flickering over Kidd's Creek close by the mouth of the pirate river,

3 3 3 3

3 3

"consumed by nagging thoughts, while Smee, busy at his labours, kept one eye on his captain, and the other on his task... "

3 3 3

FADE OUT UNDER BEGINNING OF SCENE

3

No. 14b One Big Adventure (Reprise)No. 14b One Big Adventure (Reprise) 89

Allegretto q = 180

No. 15 - A PIRATE WITH A CONSCIENCE

(Hook & Smee)

Freely q = 150

7

q = 160Faster13

18

24

CUE: HOOK: "That is the burden these broad shoulders were shaped to carry."

(cont.) "I'm far too considerate by half..."

HOOK

It's

mp

a curse to be a pir ate- with a

Noth

SMEE

ing- worse; I feel so sor ry- for you boss

con science-

My

Tho' that

prin ci- pals- are lof ty- Un der- neath- I'm just a soft y-

is n't- quite the way you come a cross-

HOOK: "What?" SMEE: "Nothing..."

It's a curse to be a pir ate- with char is- ma-

I'm a per son- who just

90

30

35 rall.

A Tempo q = 17039

43

47

goes ag ainst- the norm I know child ren- al ways- 'boo' me And yet

if they real ly- knew me I am sure they'd find me sen sit- ive- and

SMEE: "No question..."

It's a curse to be a pir ate- who is

warm

car ing- Ev 'ry- nurse would do so well to learn from

you oo-

Have you not iced- my pre cis- ion- When I'm

No. 15 Pirate With A Conscience91

51

54

59

63

67

mak ing- an in cis- ion?- I so hate the sight of

I know you do

Ouch!

blood

It's

mf

a

Sor ry-

curse to be a pir ate- with good breed ing-

It's per -

verse

(HOOK)

to find these at trib- utes- com - bined When

f

I'm

No. 15 Pirate With A Conscience92

71

75

79

83

87

91

95

99

tor tur- ing- some fell ow- I may rant and rave and bell ow- But I'd

like to think my man ners- are re fined-

mf

For

in stance with these lost boys As I

send them off to die You'll

not ice- that I smile And take the

SMEE mp

And

time to say 'Good bye'-

what

(SMEE)

a lov ely- smile It warms the cock les- of my heart To think their

jour ney- to the af ter- life- has such

f

a cheer ful- start

No. 15 Pirate With A Conscience93

103 rall.

Andante q = 110108

116rit.

q = c.170A tempo124

129

134

HOOK: "Cheerful? (a hollow laugh) Suddenly I am sad, Smee."

SMEE What sort of a sadness is it, Captain? HOOK The kind that compels me to make my dying speech. Lest, when dying, there may not be time for it. Better, perhaps, for Hook to have had less ambition!

HOOK: "Oh fame, fame, thou glittering bauble, why when I have your comfort for my mantle, do I seem to suffer lonliness the most...?"

SMEE

It's

mf

a

curse to be a pir ate- who is thought ful-

HOOK mf

I im merse- my self- in

what is right and wrong

mp

The Et on- ed uc- at- ed- Are so

mf

But in your case you de serve- to win the gong...

oft en- ov er- rat- ed-

No. 15 Pirate With A Conscience94

139

146

151

156

161

Win

f

the gong... Win

ff

the gong...

HOOK: "Why thank you."

It's

f

a

One last verse and then our

curse to be a pir ate- of my stand ing-

dead ly- deeds must start

Though you may think I would rel ish- A fin -

al e- that is hell ish

HOOK: "You'd be oh so wrong..."

- 'Cos it's mur der- for a pir ate- with a

Yes it's mur der- for a pir ate- with a

heart Yes it's mur der- for a pir ate- with a

No. 15 Pirate With A Conscience95

165

Presto q = 200169

173

heart

heart Yes

ff

it's mur der- for

mf

a pir ate- with

p

a

Heart!Yes

ff

it's

Yes

ff

it's

mur der- for a pir ate- A pir ate- with a heart!

mur der- for a pir ate- A pir ate- with a heart!

No. 15 Pirate With A Conscience96

Insistently q = 96

(The Lost Boys)

No. 16 - NEVER LAND (Reprise)

5

8

12

15 accel. poco a poco al fine

19

23

CUE: HOOK: "Pan's dead - and you may have my hook on it."

(One BOY begins to stamp on the deck - a slow beat)

SOLO BOY

He'll

mf

nev er- die Pet er- Pan lives for ev- er-

Nev er- die Pet er- Pan is our friend You

2nd BOY

can try ev 'ry- fiend ish- en -

deav our-

3rd BOY

But we know that he'll win in the end

HOOK: "Stop! StopI say, this instant!" ALL BOYS

He'll

f

nev er- die Pet er- Pan will be watch ing- Nev er- die You'll be walk ing- the

plank

WENDY: "He's alive you devil! You shall see."

You can do him no ill We know Pet er- Pan- will

Nev

ff

er- die! Nev er- die, Nev er- die! Nev er-

die, Nev er- die...

HOOK: "Stop!"WENDY: "He'll set the crocodile on you!"

97

Dictated

No. 16a - THE DEATHS(Instumental)

Andante q = 100

No. 16b - THE DOODLE-DOO

(Instrumental)

rall.5

CUE: NOODLER is tossed overboard (A scream...)

p

SLIGHTLY: "One!" (A scream...) "Two!" (A scream...) "Three!" (A scream...) "Four!"

Grand casa BD(Whoomp!)

VERY SHORT DIALOGUE

Q: HOOK: "...if the Doodle-Doo kills them, what of it? We are none the worse."

They manhandle the BOYS into the cabin - then, afraid at what their eyes might see, HOOK and the PIRATES turn their back on the cabin and again cover their faces with their hands. Relieved, by PETER, of their shackles, and armed with such

weapons as they have managed to lay hold of, the BOYS tiptoe up on deck and take up hiding-places. PETER releases WENDY indicating that she too hide. Taking her cloak, he folds it around himself and takes her place at the mast, then: PETER: "Cock-a-doodle-doo!"

98

Allegro h = 90

No. 17 - THE FIGHT(Instrumental, Peter)

5

Steady and tight q = 969

15

20

poco più mosso q = c. 9624

CUE: WENDY: "There is one!"MULLINS: "Then who is this one?"

PETER: "Peter Pan!" SKYLIGHTS: "You swore that Pan was dead - you laid your Hook on it."

mp strange and distant

SMEE: "The ship's a floating coffin and seaman's corpses are its' cargo!" HOOK: "Kill him!"

Lost-Boys Ethnic percussion

[The LOST BOYS set to work on the PIRATES]

WENDY: "Michael! Be careful . . .

"You'll do yourself an injury!" MICH: "I've just killed a pirate!" W'DY: "How dreadful!" MICH: "It was grand, Wendy! I enjoyed it!"

[Suddenly, the BOYS are circling HOOK...] HOOK: "Back! Back I say, you mewling milksops!"

99

27

32

Allegro furioso h = 8633

36

39

42

49Slowly, simply q = 100

HOOK: "This is Hook boys,how do you like him?"

PETER: "Put up your swords, this man is mine."

HOOK: "So, Pan - it is thee and me at last."PETER PAN: "Aye, Captain Hook - the two of us. As it ever was and always would be."HOOK: "Then die, boy!"

f

The sword fight continues, musically, across the decks.

[Suddenly, HOOK is tangled in the rigging...]

HOOK: "This is no boy! This issome fiend I face. In heaven's name, Pan, who and what artthou? Tell me."

PETER

I

pp

am

youth, I am free dom,- I am truth...

No. 17 The Fight100

53

Allegro diabolo q = 160rall.54

70

Lento q = 12075

PAN: "And, in truth, Hook, I am everything that you are lacking." HOOK:

"To sword!"

Again they fight.

HOOK: "I am lost, Pan. You have won.

Hook is disarmed

Tick Tock Tick

But even in defeat, Jas Hook decides his own destiny."

Tock Tick Tock Tick Tock Tick

HOOK: "Floreat Etona." [A blood-curdling death-yell]

ATTACCA No.18

No. 17 The Fight101

No. 18 - JUST HOME (JUST BEYOND THE STARS Reprise)

Triumphant h = 80

(Storyteller, Mrs Darling)

Con moto q = 1709

17rit. Slower q = 140

più mosso q = 15025

29

33

37 rit.

CUE - SEGUE AS ONE FROM No 17

tick

(Clock)

tock tick tock

(etc.)

mf

STORYTELLER

May be- we‘ve

3

al read- y- been there May be-

3

we‘re not meant to know May be-

3

we‘ll

find in the fut ure-

3

It‘s some-where we

3

all have to go But it's

nice to think that no one- knows for sure Per haps- that‘s

what be yond- the stars is for

102

Andante q. = 6041

45

poco più mosso q. = 6651

57

STORYTELLER: "Meanwhile, back home in Bloomsbury, Mrs Darling stood at the open window

"and watched and waited, as she had watched and waited,day after day, ever since her children had gone…" MRS DARLING

mp

Close your

eyes and im ag- ine- Close them tight and pre tend-

Close

p

them tight and pre tend...-

No. 18 Just Home (JUST BEYOND THE STARS Reprise) 103

No. 18a - MRS. DARLING AT THE PIANO

Andante doloroso q. = 70

(Instrumental)

Piano

6

11

15

CUE: MRS. DARLING: "The nursery window must stay open - Always and forever. Until..." [PLAY AS NEEDED TO FIT TO DIALOGUE]

p

simile

MICHAEL: "I think I have been here before?" JOHN: "This is where you live, you ass. Don't you know home?" WENDY: "Look - there's your bed, Michael"

JOHN: "I say - the kennel!" MICHAEL: "There's a man asleep inside it." WENDY: "It's father."

JOHN: "Who's that lady?" WENDY: "Hush that's mother. Hide."

104

19

23

27

31rall.

35molto rall.

MRS DARLING: "George? George, dear! Time for your evening exercise!"

mp

MRS DARLING: "Liza's in the kitchen. She'll let you out into the yard. Or would you rather I came with you?"

MR DARLING: "There are some things in life, Mary, that a fellow needs to do alone. Taking his backyard exercise comes high up on that list of priorities."

p

MR DARLING exits

There is a sound from behind one of the beds. MRS DARLING hears it, but does not dare to turn and look.

No. 18a Mrs. Darling At The Piano 105

Lento q. = 40

No. 18b - REUNION(Instrumental)

q. = c.80Con moto

5

9

14

19poco più mosso

CUE: MRS. DARLING "Who's there?"

"I hear those children in thisroom so often, in my dreams,that I still seem to sense theirpresence when I'm not asleep."WENDY: "Mother!"

pp

MRS D: "That is Wendy."JOHN: "Mother!"

MRS D: "That is John."MICHAEL: "Mother!"

MRS D: "And now Michael.When they call, I stretch outmy arms to them, but they never come. They are never there..."

STORYTELLER: "This time, however, they were there. Mrs Darling hugged her children all at once then each in turn. And each in turn, then all at once, they hugger her back."

"Hide again, dears, and we'll surprise your father." MR D: "Just look at what the wind

has blown in our direction, Mary!"

MR D: These charming boys came settling down, out of the skies into our very own backyard!...

...Perhaps they will suffice until..."

MRS DARLING ushers WENDY, JOHN and MICHAEL into view.

106

23rit.

meno mosso q. = 70

1.

2.30

36

Bright March q = c.160

41

Magical once more q = 10045

No.18c - PETER'S EXIT(Instrumental)

MR. DARLING: "Bless my boots and braces, those are our three! Now we do have a houseful!We couldn't possibly keep all of you."

MRS. DARLING: "Oh yes we can, George. And we shall. It will mean no more than a few extra beds in the drawing room."

"We shall put screen around them when we have visitors." MR. DARLING: "You are right, my love, as always. Although, I must say, you don't do things by halves."

MRS DARLING: "But first things first, andmost important, these children must be fed."

(With Mrs. Darling leading the way, Liza bringing up the rear,...

...and Mr. Darling skipping somewhere in the middleof the party, they set off towards the dining room.) STORYTELLER: "Wendy stayed behind, for a reason she herself... "

"...was not quite sure of, but one which was to become instantly clear."

[PETER arrives once again at the window...] PETER: "Hello, Wendy."

PETER: "One night, you'll hear me crowing" [PETER disappears through the window...]

No. 18b Reunion 107

Andante q = c.96

(Peter & Company)

No. 19 - THERE'S ALWAYS TOMORROW

5

8

12 poco più mosso

15

18 Really warm

22 rit.

CUE: STORYTELLER "Boy, why are you crying? What's your name?" PETER: "Peter. Peter Pan."

PETER

Why

p

can't we stay as lit tle- child ren- Why must we put a way- our

toys? Our par ents- don't have the ad ven- tures- that we do as girls and

boys Those grown ups- al ways- look so so lemn-

I know that grown ups- have to work and wor ry- They say one day I'll have to

grow up But I'm not in an y- hur ry- No I'm not in an y-

hur ry- All the while I can say There's

108

Steady q = c.9025

29 poco accel.

poco più mosso q = 10433

36

poco rit.39 Con moto q = c.100

Purposefully q = 11044

46

al ways- to mor row- There's pro bab- ly- 'soon' There's

'may be'- or 'some time'- 'some day'- or 'some year' Or in a blue moon I'll

wait for that mo ment- So full of per -

hap ses- As each day e lap- ses- There's

al ways- to mor- row-

STORYTELLER: "Try to remember me sometimes, Peter. I never forgot you. Not once."PETER: "Goodnight. Wendy!"

mf

Why should I e ver- give up fly ing-

mp

There's some thing- in the

Who says I have to be a man?

air to night- Some thing- in the

No. 19 There's Always Tomorrow109

48

50

53

56

58 rit.

That may be fine for oth er- child ren- but it's

breeze

not for Pe ter- Pan as

f

long as there are stars to

guide me And while the sun still shines like gold

Whist ling- round the chim ney- stacks Rust ling- through the

A way- in Ne ver- land- you'll find me - And I

trees

won't be grow ing- old There's

f

Ah

f

Ah

No. 19 There's Always Tomorrow110

With Conviction q = c.9461

64

67 poco più mosso

al ways- to mor- row- There's pro bab- ly-

Ah

mp

Ah

mp

soon There's 'may be'- or 'some time'- 'Some day'- or 'some year'

Ah

Ah

or in a blue moon I'll

mp

wait for that mo ment- So

p

Oo Oo

p

Oo Oo

No. 19 There's Always Tomorrow111

71

75 poco rit. Allargando q = 96

poco rit.79 Con moto q = 112

full of sur pris- es- As

f

each new dawn ri ses- there's al

Oo

Ah

f

Oo

Ah

f

ways to mor- row As each new dawn ris es,- There's

Ah

Ah

al - ways

PETER: "Come on, Tink. second to the right and straight on until morning!"

to

ff

mor- ow-

No. 19 There's Always Tomorrow112

poco rit.83

poco meno mosso q = 96

Ah

Ahff

Ahff

No. 19 There's Always Tomorrow113

Bright March q = 180

(Instrumental / Company)

No. 20 - BOWS

5

9

q = q.13

q. = q17

21rit.

h = 12025

30

DARLING FAMILY

3 3

TIGER LILY

LOST BOYS

PIRATES

SMEE

114

35

40 q. = 90

44

50 rit.

q = 15057

59

rit.68

Grandly q = 120

71

74poco rit.

f

MRS DARLING

STORY-TELLER WENDY

ALL 3 DARLING WOMEN!

ff

PETER

No. 20 Bows115

77

79

81 poco accel.

84 Più mosso

89

No. 21 - EXIT MUSIC (Tacet)

Nev

FULL COMPANY

ff

er- land That's the sec ret- of fly ing-

Nev er- land Not much fur ther- to go

MEN upperWOMEN -lower

No one-

cares where you

3

roam When the skies are

3

your home Nev er-

nev er- land Nev er- land

Nev er- land Nev er- land

fff

No. 20 Bows116