By Vickie L. Holt

Several years ago, I obtained a copy of “Peter Pan”.  This edition of the classic tale, however, was not edited or watered down by modern sensitivities.  It was published by a company dedicated to printing J.M. Barrie’s story the way it was originally written, including no editing to change language and sentence structure to make it more accessible to modern readers.  It wasn’t as difficult and deciphering the “language of the day” from a Shakespeare piece, but about half way between Shakespeare and what we are accustomed to, today.

The first thing that struck me was how dark and sober this story was.  In the very beginning, Barrie indicates that part of Pan’s legend is that he is the grim reaper for children.  What struck me even further, however, was Peter Pan’s dark psychology.  I learned that the reason there are only six lost boys at the time of Wendy’s visit  was that all the other boys who had come to Neverland had either been killed in battles with the Indians or Captain Hook…or they were killed by Peter Pan, himself.  But why?

Barrie indicated that Peter Pan was illiterate, and he would not tolerate any lost boy knowing anything that he didn’t know.  If a lost boy demonstrated any kind of intelligence that surpassed Peter’s, then Peter would kill him.  The very young twins had little knowledge of themselves because Peter did not know what twins were – and if Peter didn’t know, then no one could.  Peter would also kill any lost boy that dressed better than him, which is why most of them had to settle for animal skins – and not the cute animal costumes portrayed in the Disney film.  Peter would often starve the lost boys by going days with pretending that meal time was a game, with toys and props instead of real food.  If any lost boy tried to suggest real food, or subvert Peter by bringing real food to the table, Peter would kill him.  Even with the murderous tendencies, however, Peter Pan was also a boy with great spirit, courage and a desire to play the hero .

Peter also had a curious psychological tendency to forget things.  He’d be standing next to someone, with whom he’d just spent a great deal of time, only to turn in the next instant to ask the person’s name.  I found it interesting that these episodes of amnesia came upon the heels of traumatic or unpleasant situations.

In addition to creating a very dark Peter, Barrie also had no modern day inhibitions when it came to including elements of a sexual nature.  Unlike many modern films, Peter doesn’t hesitate to kiss Wendy, or to live and sleep in the same room with her.  In one scene, Barrie even talked about a fairy returning home from an orgy.

Now, all of these random elements were undoubtedly just the convention of the times, but the curious addition of Peter’s selective amnesia proved to interesting to resist – especially since the forgetful spells seemed to be so closely related with traumatic events.  Even if Barrie did not intend this pattern, it manifested nonetheless.

I began wondering what a young adult Peter Pan would be like, incorporating the psychologies from the original story.  Would his maturing mind force him to face the demons of his past actions?  Would he be able to retain his ability to forget traumatic events, or would it all come bubbling to the surface, threatening to destroy him.  How would he cope?  Who would be his companions?  How would Neverland change?

I began writing the screenplay for a two-hour pilot episode of a series that would explore Peter Pan in this condition.  The screen play is complete, and I have also mapped out continuing story arcs through four seasons.  Because this work is still being marketed, however, I will not be placing a lot of information or excerpts on this site.  However, here are some brief teasers:

Captain Hook and his ship have suddenly disappeared from Neverland.  After years of watching the coast diligently, Peter is slowly overcome with the sense of lost purpose.  He wants Hook to return so he can continue their rivalry, and vows heroically to his lost boys that he intends to seek out Captain Hook and return him to Neverland.  He shall not return until his quest is a success!
In the real world, time passes more quickly than in Neverland.  Peter’s stubbornness and sense of pride keep him there so long that he ages into his mid twenties before finally returning to Neverland with a new friend.  Ultimately, Peter surrounds himself with several new friends.

Captain Hook didn’t just disappear.  He left on purpose so time could work its magic and provide him with a new and loyal ally to fight and kill Peter Pan, once and for all.  He does not expect a grown Pan upon his return.

Peter confronts his memories with the help of an equally haunted friend.  He comes to terms with the lingering guilt and loyalty he still feels for Wendy as two of his new friends discover his real identity in a British news archive.

Peter finds new love.

PRODUCERS:  The two-hour pilot and series outline are complete and available for immediate review upon request.  Please email vickieholt@cox.net for more information.