Peter Pan – the Original Play by J. M. Barrie - Delphi Classics (Illustrated)

J. M. Barrie, Delphi Classics

• Publisher: Delphi Classics (Parts Edition)
• Year: 2017
• eBook ISBN: 9781788777414
• Topic: Literature
• Subtopic: Classics
• Index: Literature

This eBook features the unabridged text of 'Peter Pan – the Original Play by J. M. Barrie - Delphi Classics (Illustrated)' from the bestselling edition of 'The Complete Works of J. M. Barrie'.

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ACT V. SCENE 1

THE PIRATE SHIP

The stage directions for the opening of this scene are as follows: —

1 Circuit Amber checked to 80. Battens, all Amber checked, 3 ship’s lanterns alight. Arcs: prompt perch 1. Open dark Amber flooding back, O.P. perch open dark Amber flooding upper deck. Arc on tall steps at back of cabin to flood back cloth. Open dark Amber. Warning for slide. Plank ready. Call Hook.

In the strange light thus described we see what is happening on the deck of the Jolly Roger, which is flying the skull and crossbones and lies low in the water. There is no need to call Hook, for he is here already, and indeed there is not a pirate aboard who would dare to call him. Most of them are at present carousing in the bowels of the vessel, but on the poop Mullins is visible, in the only great-coat on the ship, raking with his glass the monstrous rocks within which the lagoon is cooped. Such a look-out is supererogatory, for the pirate craft floats immune in the horror of her name.

From Hook’s cabin at the back Starkey appears and leans over the bulwark, silently surveying the sullen waters. He is bare-headed and is perhaps thinking with bitterness of his hat,which he sometimes sees still drifting past him with the Never bird sitting on it. The black pirate is asleep on deck, yet even in his dreams rolling mechanically out of the way when Hook draws near. The only sound to be heard is made by Smee at his sewing-machine, which lends a touch of domesticity to the night.

Hook is now leaning against the mast, now prowling the deck, the double cigar in his mouth. With Peter surely at last removed from his path we, who know how vain a tabernacle is man, would not be surprised to find him bellied out by the winds of his success, but it is not so; he is still uneasy, looking long and meaninglessly at familiar objects, such as the ship’s bell or the Long Tom, like one who may shortly be a stranger to them. It is as if Pan’s terrible oath ‘Hook or me this time!’ had already boarded the ship.

HOOK (communing with his ego). How still the night is; nothing sounds alive. Now is the hour when children in their homes are a-bed; their lips bright-browned with the good-night chocolate, and their tongues drowsily searching for belated crumbs housed insecurely on their shining cheeks. Compare with them the children on this boat about to walk the plank. Split my infinitives, but ‘tis my hour of triumph! (Clinging to this fair prospect he dances a few jubilant steps, but they fall below his usual form.) And yet some disky spirit compels me now to make my dying speech, lest when dying there may be no time for it. All mortals envy me, yet better perhaps for Hook to have had less ambition! O fame, fame, thou glittering bauble, what if the very&mdsah;— (SMEE, engrossed in his labours at the sewing-machine, tears a piece of calico with a rending sound which makes the Solitary think for amoment that the untoward has happened to his garments.) No little children love me. I am told they play at PeterPan, and that the strongest always chooses to be Peter. They would rather be a Twin than Hook; they force the baby to be Hook. The baby! that is where the canker gnaws. (He contemplates his industrious boatswain.) ‘Tis said they find Smee lovable. But an hour agone I found him letting the youngest of them try on his spectacles. Pathetic Smee, the Nonconformist pirate, a happy smile upon his face because he thinks they fear him! How can I break it to him that they think him lovable? No, bi-carbonate of Soda, no, not even —— (Another rending of the calico disturbs him, and he has a private consultation with STARKEY, who turns him round and evidently assures him that all is well. The peroration of his speech is nevertheless for ever lost, as eight bells strikes and his crew pour forth in bacchanalian orgy. From, the poop he watches their dance till it frets him beyond bearing.) Quiet,you dogs, or I’ll cast anchor in you! (He descends to a barrel on which there are playing-cards, and his crew stand waiting, as ever, like whipped curs.) Are all the prisoners chained, sothat they can’t fly away?

JUKES. Ay, ay, Captain.

HOOK. Then hoist them up.

STARKEY (raising the door of the hold). Tumble up, you ungentlemanly lubbers.

(The terrified boys are prodded up and tossed about the deck. HOOK seems to have forgotten them; he is sitting by the barrel with his cards.)

HOOK (suddenly). So! Now then, you bullies, six of you walk the plank to-night, but I have room for two cabin-boys.Which of you is it to be? (He returns to his cards.)

TOOTLES (hoping to soothe him by putting the blame on the only person, vaguely remembered, who is always willing to act as a buffer). You see, sir, I don’t think my mother would like me to be a pirate. Would your mother like you to be a pirate, Slightly?

SLIGHTLY (implying that otherwise it would be a pleasure to him to oblige). I don’t think so. Twin, would your mother like ——

HOOK. Stow this gab. (To JOHN) You boy, you look as if you had a little pluck in you. Didst never want to be a pirate, my hearty?

JOHN (dazzled by being singled out). When I was at school I —— what do you think, Michael?

MICHAEL (stepping into prominence). What would you call me if I joined?

HOOK. Blackbeard Joe.

MICHAEL. John, what do you think?

JOHN. Stop, should we still be respectful subjects of KingGeorge?

HOOK. You would have to swear ‘Down with KingGeorge.’

JOHN (grandly). Then I refuse!

MICHAEL. And I refuse.

HOOK. That seals your doom. Bring up their mother.

(WENDY is driven up from the hold and thrown to him. She sees at the first glance that the deck has not been scrubbed for years.)

So, my beauty, you are to see your children walk the plank.

WENDY (with noble calmness). Are they to die?

HOOK. They are. Silence all, for a mother’s last words to her children.

WENDY. These are my last words. Dear boys, I feel that I have a message to you from your real mothers, and it is this, ‘We hope our sons will die like English gentlemen.’

(The boys go on fire.)

TOOTLES. I am going to do what my mother hopes. What are you to do, Twin?

FIRST TWIN. What my mother hopes. John, what are ——

HOOK. Tie her up! Get the plank ready.

(WENDY is roped to the mast; but no one regards her, for all eyes are fixed upon the plank now protruding from the poop over the ship’s side. A great change, however, occurs in the time HOOK takes to raise his claw and point to this deadly engine. No one is now looking at the plank: for the tick, tick of the crocodile is heard. Yet it is not to bear on the crocodile that all eyes slew round, it is that they may bear on HOOK. Otherwise prisoners and captors are equally inert, like actors in some play who have found themselves ‘on’ in a scene in which they are not personally concerned. Even the iron claw hangs inactive, as if aware that the crocodile is not coming for it. Affection for their captain, now cowering from view, is not what has given HOOK his dominance over the crew, but as the menacing sound draws nearer they close their eyes respectfully.

There is no crocodile. It is PETER, who has been circling the pirate ship, ticking as he flies far more superbly than any clock. He drops into the water and climbs aboard, warning the captives with upraised fing...

Table of contents

• Title page
• J. M. BARRIE
• COPYRIGHT
• J. M. Barrie: Parts Edition
• Parts Edition Contents
• Peter Pan - the Original Play
• CONTENTS
• ACT I
• ACT II
• ACT III
• ACT IV
• ACT V. SCENE 1
• ACT V. SCENE 2
• The Delphi Classics Catalogue