ACT ONE The Nursery ‘Go oR Gee’ Storyteller (walking round the room he is describing) The seene of our opening act ik the night-nursery of the Darling family, a shabby litle room if Mrs Darling had not made it the hub of creation by her certainty that such adomed it to match with a loving heart and all the scrapings of her purse. The door on the right leads into the day-nursery, which she ‘as no right to have, but she made it herself with nails in ber mouth and a paste-pot in her hand. This is the door the children will come in by. There are three beds and a large dog- kennel; wo of these beds, with the kennel, being on the left «and the other on the right. Over each bed is « china house, the size of a linnet’s nest, containing a night-light, ‘The coverles ‘gown. Supporting the mantelshelf are two soldiers, home- made, begun by Mr Darling, finished by Mrs Darling, repainted ~ unfortunately ~ by John Darling. the beds are made out of her wedding On the fireguard hang incomplete parts of children’s night «attire. The door on the lee leads to the bathroom. In the centre is the window, which is at present ever so staid and respectable, but half an hour hence will be able to tell a very strange tale to the police. I was the spring of the year. Wendy was already nearly twelve by now, John was ten and Michael was still so ACT ONE small that he spent most of his time doing idiotic things with a teddy bear. ‘The only occupant of the room at present is Nana. The cuckoo-clock strikes six... As the clock starts to strike, the STORYTELLER quietly leaves the stage, and NANA springs into life. This firse ‘moment in the play is tremendously important, for if the actor playing NANA does not spring properly we are undone. She will probably be played by a boy, if one clever enough can be found, and must never be on two legs except on those rare occasions when an ordinary nurse would be on four. The NANA must go about all her duties in a most ordinary ‘manner so that you know in your bones that she performs them just so every evening at six; naturalness must be her ‘passion; indeed it should be the aim of everyone in the play, for which she is now setting the pace. All the characters, whether grown-ups or babes, must wear a child’s outlook on life as their only important adornment. If they cannot help being funny they are begged to go acoay. A good motto forall would be ‘the little less, and how much it is. NANA, making much se of her mouth, ‘tums down’ the beds, and carries the ‘various articles on the fireguard across to them. MICHAEL ‘enters and NANA barks at him, Michael (obstreperons) I won't go to bed, I won't. Nana, it isn’t six o'clock yet. Two minutes more, please. Nana, I ‘won't be bathed, I tell you I will not be bathed. NANA growls threateningly. Michael Well, I won't have my head washed! Here the bathroom door closes on them, and MRS DAR- LING, who has perhaps heard his cry, enters the nursery. As she is going out to dinner tonight she is already wearing her evening gown because she knows her children like to see her inPETER PAN it Ie is delicions confection made by herself out of nothing and other people’s mistakes. She does not often go ont 10 dinner, preferring when the children are in bed to sit beside them tidying up their minds, just as if they were drawers If Wendy and the boys could keep atoake they might just see der repacking into their proper places the many articles of the ‘mind that have strayed daring the day, lingering humorously over some of their contents, wondering where on earth they Picked this thing up, making discoveries sweet and not 1p steeet, pressing this to her cheek and hunvedly stowing that out of sight. When they wake in the moming the nanghtinesses with which they went to bed are not, alas, blown away, but they are placed at the bottom of the drawer; and on the top, beautifully aired, are their prettier thoughts ready for the neo day. As she enters the room she is starled to see a strange litle face outside the window and a band groping as if it wanted to come in. Mrs Darling (whispering) Who are you? The unknown disappears; she hurries to the window. No one there. And yet I feel sure I saw a face. (A sudden auful thought) My children! ‘She throws open the bathroom door and MICHAEL’ head appears gaily over the batb. He splashes and giggles; she throws kisses to him and closes the door. Mrs Darling Wendy! John! Wendy Coming! John ‘Ob, this is too bad!” MRS DARLING ‘sits down, relieved, om Wendy's bed. ACT ONE WENDY and JOHIN come in, looking their smallest size, as children tend to do to a mother suddenly in fear for them, John (histronically) We are doing an act; we are playing at being you and Father. He imitates the only father who has come under bis special notice. “A little less noise there.” Wendy Now let us pretend we have a baby. WENDY hops in to her bed and prepares to receive the precious parcel. John Tam happy to inform you, Mrs Darling, that you are now a mother. WENDY gives way t0 ecstasy. John You have missed the chief thing; you haven't asked, “boy or girl?” ‘Wendy 1am so glad to have one at all, I don't care which itis, John (oushingly) That is just the difference between gentle- ‘men and ladies. Now you tell me. JOHN and WENDY change places. Wendy I am happy to acquaint you, Mr Darling, you are now a father. John Boy or girl? Wendy (presenting herself) Girl! John Tsk! Wendy You horrid.PETER PAN John Go on. Wendy I am happy to acquaint you, Mr Darliig, you are again a father. John Boy or girl? Wendy Boy. JOHN beams. Wendy Mummy hateful of him. MICHAEL has been witnessing this little drama through crack in the bathroom door and is now butted back into the nursery by NANA. He is wearing a set of Jobn’s old all-in. ‘one pyjamas, Michael (expanding) Now, John, have me. John We don’t want any more, Michael (contracting) Am I not to be born at all? John Two is enough. Michael (wheedling) Come, John. Boy, John. JOHN is implacable, MICHAEL appalled. Michael Nobody wants me! Mrs Darling I do. Michael (with a glimmer of hope) Boy or giel? Mrs Darling (with one of those happy thoughts of hers) Boy! Triumph of MICHAEL; discomfiture of JOHN. MR DAR- LING arrives, in no mood, unfortunately, to gloat over this domestic scene. He is really a good man ax breadwinners go sand itis bard luck for him to be propelled into the room now, ACT ONE ‘where if we had brought him in a few minutes earliey or later she might have made a fairer impression. In the city where be sits on a stool all day, as fixed as a postage stamp, he is so like all the others on stools that you recognize bim not by his face ut by bis stool, but at home the way to gratify him is t0 say that he has a distinct personality. He is very conscientious, and in the days when Mrs Darling gave up keeping the house books correctly and drew pictures instead (which he called her ‘guesses) he did all che totting up for her, bolding her hand while he calculated whether they could have Wendy or not, sand coming down on the right side. I is with regret, sherefore, that we introduce him as a tornado, rushing into the nursery in evening dress, but without his coat, and brandishing in bis and a recalcitrant white tie, Mr Darling (implying that he has searched for ber everywhere and that the nursery isa strange place to find her) Oh, here you are, Mary. Mrs Darling (knowing at once what is the matter) What is the matter, George, dear? Mr Darling (as if the word were monstrous) Matter! The matter is that I am a desperate man! This tie, it will not tie. (He waxes sarcastic) Not round my neck. Round the bbed-post, oh yes; twenty times T have made it up round the bed-post, but round my neck oh dear no; begs to be excused. 4 joyous transport) Say it again, Father, say it Mr Darling (witheringly) Thank you. (Goaded by a suspi- ously crooked smile on MRS DARLING’s face) I warn ‘you, Mary, that unless this te is round my neck we don't {0 out to dinner tonight, and if I doa’t go out to dinner