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ANXIETY IGNORANCE; A PSYCHOLOGICAL STUDY OF

DEVELOPMENTAL STEP OF GROWING UP

DESCRIBED IN PETERPAN MOVIE (2003)

A FINAL PROJECT

Submitted in Partial Fulfillment of the Requirements for Bachelor Degree of

English Literature Program

BY:

AZZA NUR FITRIA

082080031

ENGLISH LITERATURE PROGRAM

COLLEGE OF LANGUAGES

SULTAN AGUNG ISLAMIC UNIVERSITY

2013

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APPROVAL

A Final Project on English Literature

ANXIETY IGNORANCE; A PSYCHOLOGICAL STUDY OF


DEVELOPMENTAL STEP OF GROWING UP AS DESCRIBED IN
PETERPAN MOVIE (2003)

Prepared and Presented by

Azza Nur Fitria


082080031

Approved by

Afina Murtiningrum, S.S., M.M., M.A Semarang, February 28, 2013


First Advisor

Hartono, S.S., M.Pd Semarang, February 28, 2013


Second Advisor

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VALIDATION
A Final Project on English Literature

ANXIETY IGNORANCE; A PSYCHOLOGICAL STUDY OF


DEVELOPMENTAL STEP OF GROWING UP AS DESCRIBED IN
PETERPAN MOVIE (2003)

Prepared and Presented by


Azza Nur Fitria
082080031

Defended before the Board of Examiners


On March 7, 2013
And Declared Acceptable

Board of Examiners

Chairman : Afina Murtiningrum, S.S, M.M, M.A

Secretary : Hartono, S.S, M.Pd

Members : Destary Praptawati, S.S., M.Hum

Semarang, March 18, 2013

Dean of College of Languages

Drs. Widiyanto, M.Si., Ph.D

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STATEMENT OF ORIGINALITY

Hereby, I honestly declare that the undergraduate final project I wrote does

not contain the works or part of the works of other people, except those which

were cited in the quotations and the references, as a scientific paper should. If my

statement is not valid in the future, I absolutely agree to accept an academic

sanction in form of revocation of my paper and my degree obtained from that

paper.

Semarang, March 7, 2013

Azza Nur Fitria

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MOTTO

You cannot teach people anything.


You can only help them discover it within themselves

Life is what we make it.


Always has been, always will be

DEDICATION

The final project is dedicated to:

My dearest parents

My brothers, My sisters, My niece

My great classmates, Literature Class 08

(MIN, Mb Wul, Jhon, Kim, Jambreng, Mb

Lala, Ties, Erlyn,etc)

My lovely friends

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ABSTRACT

Fitria, Azza Nur. 2013. Anxiety Ignorance; A Psychological Study Of


Developmental Step Of Growing Up Described In Peterpan Movie (2003). A
Final Project. English Literature Program, College Of Languages Sultan Agung
Islamic University. The First Advisor: Afina Murtiningrum, S.S., M.M., M.A.,
and The Second Advisor: Hartono, S.S., M.Pd.,

The final project analyzes children developmental step especially in


latency period. The final project is intended to expose the way child ignore the
anxiety of grows up. The study focuses anxiety feeling in the main characters
developmental step and how she ignores this feeling.
The object of this study is Peterpan Movie (2003). The study uses
descriptive qualitative analysis. The data were gathered by watching the movie,
identifying, classifying, and reporting. The analysis was done by several
techniques including exposing, explaining and interpreting.
The result of this study is describes the feels anxiety of Wendy Darling
facing her growing up. The anxiety is getting worse when she meets Peterpan then
falling in love with him. Further, she just understands enough what maturity is so
that she is already jumps in genital period. Finally, Wendy succeed ignore her
anxiety of growing up then continue her developmental step. She is grown up.

Keywords: anxiety, children developmental step, latency period, genital period,


grow up, maturity.

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INTISARI

Fitria, Azza Nur. 2013. Anxiety Ignorance; A Psychological Study Of


Developmental Step Of Growing Up Described In Peterpan Movie (2003).
Skripsi. Jurusan Sastra Inggris, Universitas Islam Sultan Agung Semarang.
Pembimbing I: Afina Murtiningrum, S.S., M.M., M.A., dan Pembimbing II:
Hartono, S.S., M.Pd.,

Studi ini menganalisis tentang tahap perkembangan anak khususnya masa


latensi. Studi ini bertujuan mengekspos cara seorang anak menghilangkan
perasaan khawatir dalam masa tumbuh berkembang. Studi ini mendalami
perasaan khawatir yang dialami karakter utama dalam masa perkembangannya
dan bagaimana menghilangkan perasaan tersebut.
Objek dari studi ini yaitu Peterpan Movie (2003). Studi ini menggunakan
analisis deskripsi kualitatif. Data didapat dari menonton film, mengidentifikasi,
mengklasifikasi, dan melaporkan. Analisis ini dilakukan dengan menggunakan
beberapa tehnik termasuk didalamnya mengekspos, menjelaskan dan
menginterpretasi.
Hasil dari studi ini adalah menjelaskan perasaan khawatir Wendy Darling
dalam menghadapi masa tumbuh berkembangnya. Kekhawatiran tersebut menjadi
lebih buruk saat bertemu Peterpan dan kemudian jatuh cinta padanya. Selanjutnya
gadis itu baru mengerti apa yang dimaksud dengan kedewasaan, hal tersebut
berarti dia telah menuju masa genital. Akhirnya, Wendy berhasil menghilangkan
kekhawatiran dalam masa tumbuh kembangnya kemudian melanjutkan tahap
perkembangannya. Dia telah dewasa.

Kata kunci: kekhawatiran, tahap perkembangan anak, masa latensi, masa genital,
tumbuh berkembang, kedewasaan.

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ACKNOWLEDGEMENT

I would like to express my deepest gratitude to Allah Subhanallah Wa

Taala who gives me mercy and gracious so that I can accomplish this final

project. My special gratitude goes to Drs. Widiyanto, M.Si., Ph.D., as the Dean of

College of Languages and Hartono, S.S., M.Pd., as the Secretary of College of

Languages.

My gratefulness also goes to Destary Praptawati, S.S., M.Hum., as the

Head of Study and Afina Murtiningrum, S.S., M.M., M.A., as the Secretary of

Literature Study Program of College of Languages. I am also grateful to Afina

Murtiningrum, S.S., M.M., M.A., as the First Advisor and Hartono, S.S, M.Pd., as

the Second Advisor. Both of them have helped and guided me on my final project.

My everlasting thanks are directed to my big family, espesially parents,

brothers, and sisters. I also thank to my best friends and all of people whose

names I cannot write one by one.

I hope this final project will be useful for the readers. I know that this final

project is far from being perfect so I accept any critics or suggestions.

Semarang, March 7, 2013

Azza Nur Fitria

082080031

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TABLE OF CONTENTS
TITLE.......................................................................................................................i
APPROVAL............................................................................................................ii
VALIDATION........................................................................................................iii
STATEMENT OF ORIGINALITY........................................................................iv
MOTTO AND DEDICATION................................................................................v
ABSTRACT............................................................................................................vi
INTISARI..............................................................................................................vii
ACKNOWLEDGEMENT....................................................................................viii
TABLE OF CONTENTS.......................................................................................ix
LIST OF TABLE....................................................................................................xi
CHAPTER...........................................................................................................
1. INTRODUCTION
1.1. Background of the Study............................................................1

1.2. Identification of the Study......................................................5

1.3. Limitation of the Study..................................................................6

1.4. Problem Formulation.........................................................................6

1.5. Objectives of the Study..............................................................................6

1.6. Significance of the Study...........................................................................6

1.7. Outline of the Study...................................................................................7

2. REVIEW OF RELATED LITERATURE

2.1 Synopsis .8

2.2 Related Theories10

2.2.1. Theory of Psychoanalytic By Sigmund Freud.....10

2.2.2. Developmental Step In Freuds Psychoanalysis .....................13

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2.2.3. Anxiety In Freuds Psychoanalysis..................................16

2.2.4. Defense Mechanisms In Freuds Psychoanalysis........17

3. METHODOLOGY RESEARCH

3.1. Object of the Study..................................................................................21

3.2. Types of the Data.....................................................................................21

3.3. Data Collecting Method...........................................................................22

3.3.1. Watching the movie........................................................................22

3.3.2. Identifying the data.........................................................................22

3.3.3. Inventorying the data......................................................................22

3.3.4. Reducing the data...........................................................................22

3.4. Technique of Analysis Data.....................................................23

4. DISCUSSION AND ANALYSIS

4.1. Aanxiety of Wendy Darling In Peterpan Movie (2003...24

4.2. Defense Mechanism of Wendy Darling In Peterpan Movie (2003) ...34

5. CONCLUSION AND SUGGESTION

5.1. Conclusion...........................................................................................47

5.2. Suggestion............................................................................................48

BIBLIOGRAPHY

APPENDIX

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LIST OF TABLE

TABLE A OVER ALL DATA

TABLE B CLASSIFIED DATA

TABLE C REDUCED DATA

TABLE D SELECTED DATA

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1

CHAPTER I

INTRODUCTION

1.1 Background of the Study


Children have to grow up according to their developmental step. The principle
that children have a developmental right was declared in Geneva Declaration of
the Right of the Child. The child must be given the means needed for their normal
development, both materially and spiritually (Woodhead, 2005:3). That statement
briefly said that each child has freedom to grow up materially and spiritually.
Parents have big roles to accompany their children to grow up in a right
developmental process.

Many related theories explain about children development, but five major

theoretical perspectives are psychoanalysis, cognitive, behavioral and social

cognitive, ethological, and ecological (Anonymous, The Science of Life-Span

Development, 2004:27) and this study only focuses on psychoanalytic by

Sigmund Freud. The psychoanalytic theory is the most popular theory used to

analize the developmental step of children. In Freuds psychoanalysis, there are

five stages of children developmental step: Oral stage (0-1,5 years), Anal stage

(1,5-3 years), Phallic stage (3-6 years), Latency stage (6-12 years), Genital stage

(13 years-adult) (Anonymous, The Science of Life-Span Development, 2004:30).

In developmental period, children feel anxious. According to Hall, anxiety

is a key variable in almost all theories of personality. The result of conflict,

which is an inevitable part of anxiety is often seen as a major component of

personality dynamics (Hall & Gardner, 1985:41). That argument assumed that

conflict can create anxiety in this case. While, Prince in his article states that

anxiety is a feeling unlike any other signals of distress (Prince, 2003:2). The

anxiety will occur when people cannot face their problems.

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In the concept of psychoanalytic theory, anxiety becomes the major case.

As a result, Freud described the definition of anxiety as: a felt of affective,

unpleasant state, accompanied by physical sensation that warm the person against

impending danger. The unpleasantness is often vague to hard to pinpoint, but the

anxiety itself is always felt (Freud, 1933/1964:81-85). It can be concluded that

anxiety is a scary feeling for someone that sometimes something will not happen

but the person thought it would really happen. The reason of anxiety also is

because their emotional and psychological response of something strange feeling

which never been felt before. Almost children have anxiety facing their growing

up step. Maturity is the things that they have supposed to be. In fact, they want to

think everything is easy when just a kid.

Anxiety is a scary feeling which is planned in uncouncious mind. Freud

itself collected anxiety with other feeling such as: experience of sadness, anger,

and guilt. Anxieties are just a kind of feeling which lack of awareness in

unconscious mind. It will be ignored when conscious said that it is disturbing

feeling. Conscious mind has antonym meaning for unconscious; it is work in

aware to control everything. Our entire attitude controlled by conscious mind.

To prevent anxiety going out from unconscious to conscious, person needs

ego defense mechanisms. As what Hilgard says the defense mechanism is to loose

the feeling of anxiety for a while, it is used to maintain the self-esteem and to

defend against anxiety (Hilgard, 1962:511). Freuds psychoanalytic believes that

anxiety feeling must be deleted by defense mechanism. According to Cramer,


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defense mechanism is mechanism or process to define itself against the

threatening implication of the event (Craemer, 2000:638).

Every personality has different desire and pleasure also anxiety to ignored

in their life, to reach their decision they used difference defense mechanism. The

kinds of defense mechanisms in Freuds psychoanalytic are reaction formation,

projection, rationalization, displacement, undoing, isolation, sublimation,

repression and denial (Baumeister,Karen&Kristin 1998:1085).

Children use different defense mechanism in each period of developmental

step, as said by Phebe Cramer in Journal of Personality (Cramer,1999). While a

research that has been inspired by Cramers statement which is named Seven

Pillars of Defense Mechanism Theory is:

Whereas 5 and 6 years old have little understanding of Denial, 8


years old show greater understanding. In turn, Projection is better
understood by 11 years old than by 8 years old, although many 11
years old have difficulty understanding Projection, and none of the 5/6
years old in these studies understood this defense (2009:3)

From the statement, it can be seen that children use denial as their defense

mechanism early when they are in preschool years. While projection, is important

defense mechanism to continue to be prominent during adolescence in 9-11 years

old. For identification, develop more slowly in late adolescenct period when

issues of identify formation are central.

Literature gives us possibility to see the realities that happen in certain

society and the value system that is addressed by that community. In the literary

works, an author in his or her works sometimes shows the anxiety feeling of the

character in much condition or case. The author creates a conflict where the
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character of the play, becomes anxious, frustrated, feels guilty and also afraid of

what happened next. So that the character becomes anxious looking for way to

solve his or her problem. It can be seen in Peterpan Movie (2003) which was

adopted from J.M. Barries novel, where the major female character Wendy

Darling is afraid and anxious of being adult.

Wendy Darling is a chosen girl who was invited by Peterpan, a boy who

never grows up, to stay in Neverland as mother to other children because he had

already seen her telling a beautiful story to her brothers. Please be our mother...

(scene,36:32,pg.73) said the lost boys to her who never had experience to take

care many kids. The conflict is more complicated weather she still stays in

Neverland or comeback to real world then being a real mother for her children.

She said that Things were simpler when I was younger (Scene,60:00. pg.16).

Even though she gets everything in this place finally, Wendy Darling said Iam

sorry I must grow up (Scene, 1:26:22, pg.28). It means that she really growing

up.

There are some consideration why Peterpan Movie (2003) is interesting

for this study. The first reason is moral value of the story, a young girl who was

anxiety to grow up. The second is the major female character who succeeded to

ignore her anxiety of growing up. Therefore, the title of this study is: ANXIETY

IGNORANCE; A PSYCHOLOGICAL STUDY OF DEVELOPMENTAL STEP

OF GROWING UP AS DESCRIBED IN PETERPAN MOVIE (2003).


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1.2 Identification of the Problem

Based on the background of the study above, anxiety feeling also rises in

children developmental step, children have defense mechanism to prevent that

feeling not to happen. Anxiety is a scary feeling which is planned in uncouncious

mind. Freud says that anxiety is unpleasant state. A child should use the right

defense mechanism to blocking their anxiety feeling.

This study focuses on anxiety of growing up found on Latency period (6-

12). Children in this period become even more social, developing same-sex and

cross-sex friendship. Personality is formed by the end of the phallic stage, and

sexual impulses are rechannelled during the latency period into activities such as

sport, learning and social activities also. It is also transition period between

adolescence and childhood. If the children get success faces this period they will

jump in the next. But it is not an easy period, many hard things happen in it.

Peterpan Movie (2003) is a right film discussing about Freuds

psychoanalytic theory. This is a kind of imagination movie in which the main

characters is still kid. The movie tells about a young girl who is influenced to

never grow up but she success in ignoring her anxiety of growing up. Moreover,

she brings out her brothers and the lost boys to leaving Neverland in order to

continues the developmental step.

1.3 Limitation of the Study

In this paper, the study just highlighted how anxiety of growing up is

reflected in the major female characters personality. The aim of this study is to
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analyze Wendy Darlings anxiety of growing up and to find her defense

mechanism in Peterpan Movie (2003) based on Psychoanalytic Approach of

Sigmund Freud. In term of data, this study would like to limit it into textual

source by analyzing base on movie script.

1.4 Problem Formulation

1. How are Wendys anxieties described in the movie?

2. Why does Wendy ignore the anxieties in her developmental step?

1.5 Objectives of the Study

1. To discuss Wendys anxieties as described in the movie.

2. To analyze why Wendy ignores the anxieties in her developmental step.

1.6 Significance of the study

Some literary works always give readers comfort and much significant

information about good children developmental step, childhood, etc, since it is an

interesting way to enrich our knowledge. Peterpan Movie (2003) is one of them.

The study is expected to give the readers many benefits and rich knowledge as

well after reading this study. By doing this study hopes that everyone can use it as

reference in their proposal writing or final project for further study using

Psychoanalytic Approches that has related into this topic, especially the students

of College of Languages Sultan Agung Islamic University Semarang who major

in literature study.
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1.7 Outline of the Study

This final project is systematically organized in chapters. Each chapter will


discuss different matter as follows:
Chapter One provides introduction that consists of these matter: the Background
of the Study, Identification of the Study, Limitation of the Study, Problem
Formulation, Objective of the Study, Significance of the Study and Outline of the
Study.
Chapter Two is about Review of the Related Literature that covers Synopsis,
Theory of Psychoanalytic by Sigmund Freud, Developmental Step in Freuds
Psychoanalysis, Anxiety in Freuds Psychoanalysis, and Defense Mechanisms.
Chapter Three, contains Methodology Research wich deals with Object of the
Study, Types of the Data, Data Collecting Method, and Technique of Analysis
Data.
Chapter Four, contains Discussion and Analysis which are Anxiety of Wendy
Darling In Peterpan Movie (2003) and Defense Mechanism of Wendy Darling In
Peterpan Movie (2003).
Chapter Five provides Conclusion and Suggestions.
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CHAPTER 2

REVIEW OF THE RELATED LITERATURE

2.1 Synopsis of Peterpan Movie (2003)

Wendy is 11 years old. She is a daughther of Mr. And Mrs. Darling. She
has two little brothers, John Darling and Michael Darling. She always plays
character be fairytale with her brothers. She could meet directly with her favorite
fairytale, Captain Hook the pirate. She should have been mature enough to teach
about discipline to her brother. Unfortunately, she is still kept by Nana, a child
sitter while Mr. and Mrs. Darling are too busy with their work so that they do not
have enough time to take care of their children.
One day Aunt Millicent comes to Darlings home. She says that Wendy
Darling is supposed to be a woman. She asks Mrs. Darling to make a special
room for Wendy. Further, Aunt Millicent is ready to teach Wendy how to be a
good woman. But, Mrs. Darling thinks that Wendy is a kid not a woman. In fact,
Wendy still plays with her brothers in a fairytale.
When Mrs. Darling and Aunt Millicent have a debate about Wendys
being a woman, she is just at a room playing about pirates with her brothers. One
night when they already went to sleep, she sees a shadow of a boy. The boy is
Peterpan. In this first sight he persuades her to leave her home to go to
Neverland. He little bit tells about Neverland, the lost boy, and Thinker Bell. He
says that Wendy can tell lots of stories to the lost boys in Neverland. She and her
brother agree to go to Neverland to meet the lost boys there. Peter says that
Wendy, John and Michael can get more joy when go with him to Neverland.
They never have worry about growing up.
In Neverland, Peter tells her that she will never have to grow up just by
being a mother of the Lost Boy. She accepts what Peter and the lost boy asked
her. She just enjoy her day in Neverland as mother of the lost boys while Peter as
father. The conflict comes when John and Michael Darling forget the name of
their real parents and miss their parents love. Then She thinks that they have to
come back to the real world continue their developmental step as human.
Wendy is falling in love with Peterpan in Neverland. This case makes
Thinkerbell jelous to her. Unfortunately, Peter cannot answer when She asks him
what his feeling is. Peter ignores her love because he declares that he will not
grow up. She feels so sad at that time she decides to follow Captain Hook to be
his daughter, so she stays in his place. Firstly, Hook threats her well in order to
know where Peters house is. She cannot control her mouth so that she tells
Peters house, after that all of Peters friends include her brothers are caught by
Captain Hook.

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Before going back to the real world, she is caught by Captain Hook, a
bad pirate. Captain Hook is Peterpans enemy. He wants to kill Peterpan. In the
middle of the war between Peterpan and Captain Hook, when Peterpan seem so
powerless Wendy give him a first kiss. The kiss makes Peterpan stronger and
wins the war.
After the great adventure in Neverland, she and her brothers go back to
the real world. But, they are not alone because all members of Peterpans gang
follow them to go to the real world. Finally, she can continue her developmental
step and be a real woman. She already telling Peterpan story to her children.

2.2 Related Theories

2.2.1 Theory of Psychoanalytic by sigmund Freud

A psychoanalytic approach is the concept of unconscious mental


processes the idea that unconscious motivations and needs have a role in
determining our behaviour. This approach also emphasizes the irrational aspects
of human behaviour and portrays aggressive and sexual needs as having a major
impact on personality. Sigmund Freud (18561939) had begun to write about
psychoanalysis, which he described as a theory of the mind or personality, a
method of investigation of unconscious process, and a method of treatment
(1923/62).

Freud's theories are either directly or indirectly concerned with the nature

of the unconscious mind. Freud did not invent the notion of the unconscious;

others before him had suggested that even the supposedly "sane" human mind was

conscious and rational only at times, and even then at possibly only one level. But

Freud went further, suggesting that the powers motivating men and women are

mainly and normally unconscious.

Freuds psychoanalytic model has three major component; The Structure


of Personality, The Defense Mechanism, and The Stages of Psychosexual
Development. The structure of personality of Freud states that the human mind is
essentially dual in nature. He called the predominantly passional, irrational,
unknown, and unconscious part of the psyche the id, or "it." The ego, or "I," was
his term for the predominantly rational, logical, orderly, conscious part. Another
aspect of the psyche, which he called the superego, is really a projection of the
ego. The superego almost seems to be outside of the self, making moral
judgments, telling us to make sacrifices for good causes even though self-
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sacrifice may not be quite logical or rational. And, in a sense, the superego is
"outside," since much of what it tells us to do or think we have learned from our
parents, our schools,.or our religious institutions.

What the ego and superego tell us not to do or think is repressed, forced

into the unconscious mind. One of Freud's most important contributions to the

study of the psyche, the theory of repression, goes something like this: much of

what lies in the unconscious mind has been put there by consciousness, which acts

as a censor, driving under-ground unconscious or conscious thoughts or instincts

that it deems unacceptable. Censored materials often involve infantile sexual

desires, Freud postulated. Repressed to an unconscious state, they emerge only in

disguised forms: in dreams, in language (so-called Freudian slips), in creative

activity that may produce art (including literature), and in neurotic behavior.

Unconscious itself refers to behavior and idea which is not intended or caused (Brill,

1938). It is also the unintentional nature of the behavior or process, and the

concomitant lack of awareness was not of the stimuli that provoked the behavior,

but of the influence or consequences of those stimuli (Bargh and Morsella:

2006:74). Psychoanalytic of Freud has more to say on anxiety that include in

structure of mind. It just small component which is plan in unconscious mind can

be ignored by defense mechanism.

The defense mechanism is the most important way to protect against

anxiety. Defense mechanisms are unconscious protective maneuvers employed by

the ego to cope with anxiety, either neurotic or moral. They are a normal part of

human experience and are not considered maladaptive or pathological unless used

to such an extreme that they disrupt a persons life or distort reality. Types of
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defense mechanism are Repression, Projection, Displacement, Reaction-formation

and etc. For defense mechanism Phebe Cramer says that:

The concept of the defense mechanism in psychology began with


Sigmund Freud's early papers (1894/1962, 1896/1966), in which he
described a mental operation that kept painful thoughts and affects out
of awareness. Sigmund Freud's (e.g., 1915/1957, 1926/1959) ideas
about defenses varied over the years. (Cramer,637:2000)

The statement declared that Sigmund Freud is first man who said that defense

mechanism is needed in personality theory. Now, many people believe about

Freud statement.

Freuds psychoanalytic declare about the stages of psychosexual

development. Freud believes that adult personality is determined by the way he or

she resolve conflict in their early sources pleasure and the demand of reality

(Anonymous, The Science of Life-Span Developmental, 2004: 29). There are five

stages of psychosexual development in Freuds Psychoanalysis, there are: The

Oral Stage (Birth to 1 years), The Anal Stage (1 1/2 to 3 years), The Phallic

Stage (3 to 6 years), The Latency Stage (6 to Puberty), The Genital Stage (Puberty

Onward).

Each stage therefore has an adult character type associated with it


and particular defences which predominate. These defences become
particularly strong if fixation occurs. The character traits related to
fixation at any stage are described in terms of bipolar opposites, either
of which may be shown,.(Pearce,2000: 3)

Pearce statement argued that Freud believe that each human has different

character caused by each developmental step. It related to which defense

mechanism that they used to ignore their anxiety.


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2.2.2 Developmental Step in Freuds Psychoanalysis

According to Sigmund Freud, personality is mostly established by the age

of five. Early experiences play a large role in personality development and

continue to influence behavior later in life. Freud's theory of psychosexual

development is one of the best known, but also one of the most controversial.

Freud believed that personality develops through a series of childhood stages

during which the pleasure-seeking energies of the id become focused on certain

erogenous areas. This psychosexual energy, or libido, was described as the driving

force behind behavior.

If these psychosexual stages are completed successfully, the result is a

healthy personality. If certain issues are not resolved at the appropriate stage,

fixation can occur. A fixation is a persistent focus on an earlier psychosexual

stage. Until this conflict is resolved, the individual will remain "stuck" in this

stage. There are five stages of Freuds Psychosexual Structure (Anonymous, The

Science of Life-Span Development, 2004:30):

1. The Oral Stage (birth to 18 months)

During the oral stage, the infant's primary source of interaction occurs

through the mouth, so the rooting and sucking reflex is especially important. The

mouth is vital for eating, and the infant derives pleasure from oral stimulation

through gratifying activities such as tasting and sucking. Freud believed the

individual would have issues with dependency or aggression.


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2. The Anal Stage (18 months to three years)

During the anal stage, Freud believed that the primary focus of the libido

was on controlling bladder and bowel movements. The major conflict at this stage

is toilet training--the child has to learn to control his or her bodily needs.

Developing this control leads to a sense of accomplishment and independence.

Freud believed that an anal-retentive personality develops in which the individual

is stringent, orderly, rigid, and obsessive.

3. The Phallic Stage (three to five years)

During the phallic stage, the primary focus of the libido is on the genitals.

Children also discover the differences between males and females. Freud also

believed that boys begin to view their fathers as a rival for the mothers affections.

4. The Latency Period (six to twelve years)

During the latent period, the libido interests are suppressed. The

development of the ego and superego contribute to this period of calm. The stage

begins around the time that children enter into school and become more concerned

with peer relationships, hobbies, and other interests. The latent period is a time of

exploration in which the sexual energy is still present, but it is directed into other

areas such as intellectual pursuits and social interactions. This stage is important

in the development of social and communication skills and self-confidence. Freud

believed that, from the 4th or 5th year until puberty, both boys and girls usually go

through a period of dormant psychosexual development. This latency period is

brought about partly by parents attempts to punish or discourage sexual activity

in their young children. If parental suppression is successful, children will repress


14

their sexual drive and direct their psychic energy toward school, friendships,

hobbies, and the other nonsexual activities.

Latency period is reinforced through constant suppression by parents and

teachers and by internal feelings of shame, guilt, and morality. The sexual drive

still exist during latency, but its aim has been inhibited. The sublimated libido

now shows itself in social and cultural accomplishment. During this time children

from groups or cliques, an impossibility during the infantile period when the

sexual drive was completely autoerotic. Sexual energy in latency period is

diverted into affection, acting as transitional stage in the development of loving

relationship at adolescence.

5. The Genital Stage (13 years to adult)

During the final stage of psychosexual development, the individual

develops a strong sexual interest in the opposite sex. If the other stages have been

completed successfully, the individual should now be well-balanced, warm, and

caring. The goal of this stage is to establish a balance between the various life

areas.

2.2.3 Anxiety In Freuds Psychoanalysis

Freud described the definition of anxiety as: a felt of affective,

unpleasant state, accompanied by physical sensation that warm the person against

impending danger. The unpleasantness is often vague to hard to pinpoint, but the

anxiety itself is always felt (Freud, 1933/1964:81-85). He declares that anxiety is

an unpleasant inner state that people seek to avoid. Anxiety acts as a signal to the

ego that things are not going right. Anxiety is the opposite of pleasure in
15

psychoanalysis. If pleasure is happy and good thing while anxiety is sad and

bad thing (Prince, 2002:1). It also emphasized that it is a felt, affective,

unpleasant state accompanied by a physical sensation that warns the person

against impending danger. The unpleasantness is often vague and hard to

pinpoint, but the anxiety itself is always felt. Anxiety can be ignored by defense

mechanism.

Anxiety raising caused by sometimes fears. Each stages of children

developmental has different kinds of anxieties. Some people are more likely to be

anxious because it runs in the family. People can also learn to think and behave in

an anxious way by watching others, or by going through scary experiences.

Beside it, Freud identified three types of anxiety, there are:

1. Neurotic anxiety

Neurotic anxiety is the uncounsious worry that person will lose control of
the ids urges, resulting in punishment for inappropriate behavior. Anxiety that is
developed by the id. Needs stabilizing from the id. If neurotic anxiety is explored,
it could explode into serious emotional dysfunction. There are two kinds of
neurotic anxiety. (a) Free-loating: A cronic sense of dread or hallowness. (b)
Focused: Includes phobias.

2. Reality Anxiety

Reality anxiety is fear of real-world events. The cause of this anxiety is


usually easily identified. For example, a person might fear receiving a dog bite
when they are near a menacing dog. The most common way of reducing this
anxiety is to avoid the threatening object.

3. Moral Anxiety

Moral anxiety involves a fear of violating our own moral principles.


Anxiety produced by ones over-id. When the id or self image is threatened by
same or guilt, anxiety is provoked.
16

2.2.4 Defense Mechanisms In Freuds Psychoanalysis

Most defense mechanisms use to press anxiety in unconscious mind. Freud

has many types of defense mechanism to do that. Sometimes we are do not realize

that use the defense mechanism. While, Walsh said that:

Defense mechanism are unconscious protective maneuvers employed


by the ego to cope with anxiety, either neurotic or moral They are a
normal part of human experience and are not considered maladaptive
or pathological unless used to such an extreme that they disrupt a
persons life or distort reality (Walsh,2000:1).

From this statement, defense mechanisms do not allow anxiety to go out from

unconscious mind. It prevents bad condition that will happen in the real life.

Furthermore, defense mechanism works according to each personality.

Repression is referred to as the primary ego defense mechanism since the

other ego defense mechanisms require it to have taken place before they may be

expressed (Walsh, 2000:1). Repression occurs when troublesome, anxiety laden,

thoughts, experiences, or events in ones world are unconsciously relegated to

ones unconscious mind. Freud identified many of defense mechanism, some of

them are as the following:

1. Denial

Denial is the refusal to accept reality or fact, acting as if a painful event,

thought or feeling did not exist. It is considered one of the most primitive of the

defense mechanisms because it is characteristic of early Error! Bookmark not

defined. development (Anonymous, The Science of Life-Span Development, 2004:31).


17

2. Regression

Regression is the reversion to an earlier stage of development in the face

of unacceptable thoughts or impulses. For an example an adolescent who is

overwhelmed with fear, anger and growing sexual impulses might become clingy

and start exhibiting earlier childhood behaviors he has long since overcome, such

as bedwetting (Anonymous, The Science of Life-Span Development, 2004:31).

3. Acting Out

Acting Out is performing an extreme behavior in order to express

thoughts or feelings the person feels incapable of otherwise expressing. Instead of

saying, Im angry with you, a person who acts out may instead throw a book at

the person, or punch a hole through a wall (Anonymous, The Science of Life-Span

Development, 2004:31) .

4. Dissociation

Dissociation is when a person loses track of time and/or person, and

instead finds another representation of their self in order to continue in the

moment. A person who dissociates often loses track of time or themselves and

their usual thought processes and memories (Anonymous, The Science of Life-Span

Development, 2004:31).
18

5. Compartmentalization

Compartmentalization is a lesser form of dissociation, wherein parts of

oneself are separated from awareness of other parts and behaving as if one had

separate sets of values (Anonymous, The Science of Life-Span Development, 2004:31).

6. Projection

Projection is the misattribution of a persons undesired thoughts, feelings

or impulses onto another person who does not have those thoughts, feelings or

impulses. Projection is used especially when the thoughts are considered

unacceptable for the person to express, or they feel completely ill at ease with

having them (Baumeister,Karen&Kristin 1998:1090) .

7. Reaction Formation

Reaction Formation is the converting of unwanted or dangerous thoughts,

feelings or impulses into their opposites. For instance, a woman who is very angry

with her boss and would like to quit her job may instead be overly kind and

generous toward her boss and express a desire to keep working there forever

(Baumeister,Karen&Kristin 1998:1085).

8. Repression

Repression is the unconscious blocking of unacceptable thoughts, feelings

and impulses. The key to repression is that people do it unconsciously, so they

often have very little control over it. Repressed memories are memories that

have been unconsciously blocked from access or view. But because memory is
19

very malleable and ever-changing, it is not like playing back a DVD of your life.

The DVD has been filtered and even altered by your life experiences, even by

what youve read or viewed.

Repression is classical defense mechanism that protect person from

impulse or ideas that would cause anxiety by preventing them from becoming

conscious. It is the act of repressing; control by holding down. Its also the

unconscious exclusion of painful impulses, desires, or fears from the conscious

mind. Repression is also a strategy for hiding desires and fears (Lynn, 1994:172).

9. Displacement

Displacement is the redirecting of thoughts feelings and impulses directed

at one person or object, but taken out upon another person or object. People often

use displacement when they cannot express their feelings in a safe manner to the

person they are directed at (Baumeister,Karen&Kristin 1998:1093).

10. Intellectualization

Intellectualization is the overemphasis on thinking when confronted with

an unacceptable impulse, situation or behavior without employing any emotions

whatever to help mediate and place the thoughts into an emotional, human

context. (Anonymous, The Science of Life-Span Development, 2004:31).


20

CHAPTER 3

METHODOLOGY RESEARCH

3.1 Object of the Study

The object of this study is PETERPAN MOVIE (2003). The movie is

directed by P. J. Hogan and published in 2003. The movie has duration of 113

minutes. The movie decribes how to a kid continues the developmental step by

ignore her anxiety of growing up .

3.2 Types of the Data

The type of data in this study is qualitative data. The purpose of this study

is to discover the answer to the question through the application of systematic

procedures. In reporting the analysis, this study uses a qualitative research with

qualitative data in the form of description and identification of the text, such as

words, phrases, idiom, sentences and dialogues. According to Huberman and

Miles (1994:45), qualitative data is usually in the form of words rather than

numbers. The qualitative data are sources of well-grounded, rich descriptions and

explanations of processes in identifiable context of words, sentences, utterances

and dialogues.

The data of final project were divided into two kinds. They are:

1. Primary data, which were taken from the movie itself. Since the object of this

study is a movie, this kind of data is movie script.

20
21

2. Secondary data, which involves the supporting data that were taken from

articles, international journals, books and sites which have relation to the study.

3.3 Data Collecting Method

In collecting the data, some steps were used:

3.3.1 Watching the movie

The movie entitled Peterpan Movie (2003) was closely watched for

several times in order to achieve better understanding of the movie and get the

elements needed in the analysis.

3.3.2 Identifying the data

After watching the movie for several times, identification was conducted

to find parts of the movie which were going to be analyzed. The datas which were

identified could be in the form of dialogues or the movie script.

3.3.3 Inventorying the data

Inventorying means listing all identified and put them on the table. The

table consists of columns of numbers, form of the data, and where the data is

found. The table of inventoried data is called Appendix.

3.3.4. Reducing the data

Reducing means the process of taking out a small number of a data from a

bigger number. In reducing the data, relevant techniques were used in order to

answer the problem.


22

3.4 Technique of Analysis Data

The last step is analyzing data which consist of analyzing and reporting the

result of analysis. The final project analysis was taken from selected data with its

reason why the data supports the determination of problems. The complete

analysis was reported in chapter IV as the result of this study. The data reports as

shown in the appendices.


23

CHAPTER 4

DISCUSSION AND ANALYSIS

4.1 Anxiety of Wendy Darling In Peterpan Movie (2003)

Freuds psychoanalytic says that puberty includes in latency period which


happens in 6 years until 12 years old (puberty) (1905). In The Science of Life-
Span Developmental, Latency period is fourth Freudian stage in which the child
represses all their interest in sexuality and develops their social and intellectual
skill (Anonymous, 2004:25). Most children in this stage start feeling their sexual
desire to person whom they love. But, this stage will be complicated when the
individu is not really ready to get in latency period. The transition from latency to
genital stage makes children faces difficulties to get mature. Sometimes those
difficulties create anxiety feeling.
American Psychiatric Association defines anxiety is an emotional and/or
psychological response to known and/or unknown causes that may range from a
normal reaction to extreme dysfunction (2000). For children, the reason of
anxiety is because their emotional and psychological response of something
strange feeling which never been felt before. Almost children have anxiety facing
their growing up step. Maturity is the things that they have supposed to be. In
fact, they want to think everything is easy when just a kid.
In young children a normally happens the idea of anxiety in developmental step
especially latency period is interesting to talk. J.M Barrie in his novel entitled
Peterpan (1982) had been succeed in telling about the anxiety of childrens
growing up. The genius director, P.J Hogan adopted the novel into movie in 2003
with same title Peterpan Movie (2003). The movie got good responses from the
Peterpan novel fans.
In his novel, J. M. Berrie creates a beautiful girl named Wendy Darling, who
becomes Peterpans girl friend. She is a girl in her latency period who is confused
of how to be mature. She is only 13 years old when her aunt, named Aunt
Millicent gaves a statement that she was ready to get married. And this is how her
confusion starts:
Aunt Millicent : But, child, novelist are not highly thought of
in good society. And there is nothing so difficult
to marry as novelist.
All : Marry?
Mrs. Darling : But, Aunt Wendy is not yet get 13.
(Scene.04:35, pg.4)

It is the first time the id of Wendy listened that she is ready to be married. Her
anxiety of growing up suddenly rises when she listened that there is nothing so
difficult to marry as novelist. She was shocked first time listen a word marry. She

23
24

feels anxious because she never thinks of marrying someone and it is not
common for children in her age to think about getting married. Moreover, her
Aunt sadly said that if a novelist cannot marry to man in luck fortune because a
less fortune man cannot be accepted in a good society, especially Wendy lives in
the middle class society in which she gets everything she wants. All of her aunts
point of view make her feels anxious.
Here external or internal stimulation creates tension, the id seeks to reduce
immediately. It means that the id is linked to bodily experience and cannot deal
effectively with reality, while superego is deal with reality. In Wendys case, the
idea about being mature is never thought in her id. Moreover, it is not only term
about being married but also being a mature woman and another sign of growing
up that she never knows before. So that when she hears the term about kissing, a
sign of growing up, she just remembers about kiss between her father and her
mother. The dialogue below proves the anxiety of Wendy about the function of
hidden kiss in her growing up:
Aunt Millicent : Oh, its quite as I expected.
Wendy possesses a womens chin.
Have you not noticed? Observe her mouth.
There, hidden in the right-hand coener, is that
kiss?
John : A kiss?
Michael : Like Mothers kiss?

Aunt Millicent : A hidden kiss.


Wendy : But what is it for?
Aunt Millicent : It is for the greatest adventure of all.
They that find it have slipped in and out of
heaven.
Wendy : Find what?
Aunt Millicent : The one the kiss belongs to
(Scene,05:10, pg.4)

The dialogue above shows that she was shocked listened about the functionof
hidden kiss is. Aunt Millicents explanation about hidden kiss just make her
confious. Moreover, Aunt Millicent said that the hidden kiss is for the greatest
adventure of all and the that find it have slipped in and out of heaven. While, her
Aunt said that she has womens chin then ready to accept a kiss from a boy. Here,
a kiss between a girl and a boy is a sign of being mature. Kiss is a kind of
expression of sexual instinct continued to subject to societal expectation. In the
dialogue above Wendy is more anxious of growing up because she just knows
that she must kiss someone who loves her. In her developmental step, she feels
anxious because so many things she has never experienced before; such as
mature, kiss, marry, love, etc. In this case, parents and environment play a big
role to accompany children in facing their future. In terms of kissing, it is like the
kiss between her mother and father, although she never thinks or does it before.
25

Aunt Millicent says that Wendy possesses a womans chin. It is the sign that
Wendy is mature enough. She is ready to find out her soulmate.

Being mature is hard thing for Wendy. It will be harder when her nuclear

family just realizes that she has to grow up. The family already prepares

everything which is important to support her being mature. The first way that they

do to make she grows up is giving a warning to her to spend less time with her

brothers. The dialogue below proves how Aunt Millicent and Wendys parents

arrange a condition to help her grow up:

Mr. Darling : My Wendy a woman


Aunt Millicent : Almost a woman.
She must spend less time with her brothers
and more time with me. She must have her
own room. A young ladys room. George,
the daughter of a clerk cannot hope to
marry as well as that of a manager
(scene, 05:50, pg.4)

A mature girl has sexual desire, that it is why she has to spend less time

with her brothers and has her own room. During in a latency period, children form

groups or cliques, an impossibility during the infantile period when the sexual

drive was completely autoerotic. The step when Wendy has to spend less time

with her brothers is in order to make a group consists of the girls in her age.

However, finding a right group to help Wendy for being mature is not easy even

someone who always listens about her dreams. One of her dream is when she was

lying on the bed while a boy flying above her body.

Meanwhile, Freud states that night time dreams allow us to act out

experiences, impulses, or traumas that we resist being happened of daily life and

real world (Daniels, 2000:11). Freud brought the uncouncious to the publics
26

conciousness which briefly states that psychoanalytic interpretation was required

to discover the meaning of a dream, just as it required to understand the meaning

of paralyzed arm (Miller, 2007:1).

The interpretation of dream can be seen in this movie, especially in the

scene when Wendy draws her dream about herself lying on the bed while a boy is

flying above her body. Mrs. Fulson as her teacher knows it then assumed that it is

not appropriate girl in her age, so that she gives a warning. It is very contrast with

Aunt Millicent who talks that she is already being a woman when ready in

accepting first kiss from someone whom she loves. The dialogue below proves

how Mrs. Fulson shocks with a picture that Wendy made:

Mrs. Fulson : If this is you in bed, what is this?


Wendy : A boy (scene, 07:42, pg.4)

Looking at the dialogue above, it proves that the picture which made by her is the
interpretation of Wendys dream. In here she starts thinking about growing up.
She is feeling her own sexual desire with a boy. It the reason she made a picture
of a boy who lying on her body.
Freuds essay entitled Three Essays on the Theory of Sexuality clearly describes
that there seems no doubt that germs of sexual impulses are already present in the
new-born child and that these continue to develop for a time, but are then
overtaken by progessive process of suppresion (1905:176). It means that sexual
impulse grows up according to the developmental step. The picture that Wendy
made is about her interpretation of dream which for a long time stay in her mind.
It is recently outgoing from her mind when her family know that she is already
being adult. Her imagination is about meets an ideal boy. Her imaginations of an
ideal boy suddenly raise to be a picture. It is such interpretation thinking about
love, kiss, and being maturity. Her picture is a symbol that she understands about
the signs of being a mature but she still feels anxious when she will find an ideal
boy.

Her anxiety gets worse when her father, Mr. Darling, forces her to grow

up. It is caused he makes her own interpretation of his daughters dream. The

dream about an ideal boy then drew by Wendy being a picture. Mr. Darling knows
27

that his daughter made a picture about her lying on the bed and a boy is flying

above her body so that he decides do anything to help her growing up well. Then

he starts receiving Aunt Millicents instruction to learn she grow up. The dialogue

below proves how Mr. Darling forces Wendy to grow up:

Mr. Darling : This is not a nurse! This is a dog!


Tomorrow you begin your instruction with Aunt
Millicent. Its time for you to grow up!
(scene, 09:57, pg.4)

However, her father force her grows up but she still wants meet pirates and

all her fantasy figures. Dealing with fantasy figure and imagination, in this

Peterpan Movie (2003) Disney wants to tell children that growing up is not as

easy as their imagination. It takes a long journey to really get succeeds in growing

up. Meanwhile, children have principally three skills that adults do not have: 1)

they can enter their own dreams and make these dreams come true; 2) they can

play fantasy games in which the imaginary world takes the place of concrete

reality; 3) they can fly (with the help of Pixie Dust and happy thoughts) (Billone,

2004:191).

Wendy is a female character who has many imaginations in her mind. Her
imagination came true when meets Peterpan. Peterpan persuades her to meet
the pirates, mermaids, and The Lost Boys if she wants to go with him to the
island. Peterpan teaches she and the brothers how to fly. He also asks them go
to Neverland. That is why she makes a great adventure with her brothers to
Neverland when Peter asks her to go there.

She felt a different desire when met Peterpan firstly. She has some feeling

that she really wants to kiss him. This is calls as a sexual desire in psychoanalytic

theory. Children in latency period almost feel that they are falling in love in the

first sight. It is happen normally because they already have their sexual desire. In
28

here, her sexual desire seen when at the first time meets Peterpan, she was driven

to kiss him. She is very glad when he promises to take her go to Neverland in

order to never worry about growing up again. It makes her interested to know the

personality of him. The dialogue below proves how Peterpan persuades Wendy

going to Neverland in order forget about growing up:

Peterpan : Forget them, Wendy. Forget them all.


Come with me where youll never, never have to
worry about grown-up things again.
Aunt Millicent : What is it? Whats wrong?
Wendy : Never is an awfully long time.
(Scene, 23:20, pg. 8)

From the dialogue above, Wendy still feels anxious of growing up because her id

thinks that she does not really know what maturity is. It drives her still wants to

meet pirates, fly, and meet The Lost Boy. It is just like what she read and hear in a

story tale. So that she decides go to Neverland with Peterpan and her brothers. In

this case, her superego allows what she supposes to do.

Leaving the real world means that she is ready to takes a great adventure

in which it can change her life. Although Neverland is a kind of imagination

world where everyone who stays there never ever grow up, without afraid she still

goes to this place. Children in Neverland spend all of the time by play in the

forest. They never think about growing up and being mature. Even Peterpan says

that she has not been anxious of growing up in Neverland but her anxiety of that

gets worse when The Lost Boys ask her to become her mother. This dialogue

proves how Wendys anxiety getting worse:

The Lost Boys : Please be our mother.


Wendy : Oh! Well, it is frightfully fascinating.
29

But, you see, Ive no real experience.


The Lost Boys : Do you tell stories?
Wendy : Yes.
The Lost Boys : Then youre perfect.
Wendy : Very well. I will do my best (scene, 36:32, pg.16)

Looking at the dialogue above, it can be seen that she never has experience

to take care boys but she agrees to play role as a mother to The Lost Boys.

Although she still feels anxious of growing up in her real life. It means that she

still confuses of mothers roles, just like what a mother should do to keep her

children. It is not only one child but also six children who need her treat. They ask

her to tell a lot of story to them everyday. It is not to be worried because she can

tell stories well. She absolutely can be good mother to them, but inside her id

thinks that it is just a play, and not supposed to be real. Her anxiety is because she

will stay in a whole time of her life being mother of The Lost Boys in Neverland

or continues of growing up by back home.

Nevertheless, she is just a girl who likes playing anytime. It is just in

Neverland she can do everything she wants without worry being mature.

However, Wendy should decide whether she lived in Neverland forever or

comebacks to the real world with all its complex problems of being mature. She

prefers being a mother in imagination world or being a mother for her real

children in the real world. Meanwhile, she has not find out the answer yet of her

anxiety of growing up.

Wendy is supposed to go Neverland not only to play any long time but

also to looking for Peterpans feeling. By the time she wants to be mother to The

Lost Boys but Peterpan should be father and give his real love to her. According
30

to psychoanalytic theory, to be loved is the aim and the satisfaction of a

narcisstic object-choice (Freud,1914/1953:55). In this case, Wendy tries to be

loved by Peterpan but she is getting broken heart in the early age when she start

knows what love is. Her anxiety of growing up still continues because of broken

heart. When she drives her sexual desire in a boy, unfortunately he just ignores it.

The dialogue proves how curious of Wendy to know Peterpans feeling:

Wendy : Peter, what are you real feelings?


Peterpan : Feelings?
Wendy : What do you feel? Happines? Sadness? Jealousy?
Peterpan : Jealousy? Think!
Wendy : Anger?
Peterpan : Anger. Hook.
Wendy : Love?
Peterpan : Love?
Wendy : Love.
Peterpan : I have never heard of it (Scene, 53:35. Pg. 19)

It is a sad moment in her life when she bravely says about her feeling to a boy.

The boy just ignores her, the reason is because he never heard about love. In the

other occasion, from the dialogue above proves that she understands what

supposes in a love relationship is togetherness. If Peterpan says he never heard

about love, weather she keep her love just for Peterpan or comeback to real world

to looking for someone whom love her. All of the anxious stay in her mind, it

waiting for herself who can ignore her anxiety of growing up or just let it stay in

her mind.

However, anything term about anxiety of grow up still plans in Wendys

mind. Anxiety about love is being complicated. It is getting worse when Wendy

meets Captain Hook in Neverland, he persuades her to be a pirate. Captain Hook

who absolutely has hatred to Peterpan talks about her feeling. Moreover, Captain
31

Hook says about her love to Peterpan when she just ignores by him. And this is

how Wendys feeling about her anxiety of love being complicated:

Hook : How wonderful.


Wendy : My parents wanted me to grow up.
Hook : Growing up is such barbarous business.
Full of inconvenience and pimples.
Wendy : Things were simpler when I was younger.
Hook : And then the mess starts, the feelings come.
Pan is so lucky to be untroubled by them. Oh, no.
he cannot love. Its part of riddle of his being.
(Scene, 59:22, pg. 21)

It can be seen that Wendy thinks everything have been change. She says that

things were simpler when I was younger. It proves that she really feel anxiety of

being mature. Her id thinks that there will be more complicated problem when she

being mature. It was different problems when she was young. She should faces

the problems which is she never has before. The problem is anxiety of grow up

that always stay in her mind.

4.2 Defense Mechanism of Wendy Darling In Peterpan Movie (2003)

In every stage of Freuds psychoanalysis, there is a conflict between the

innate needs (id) and the societal constraints, and the way one solves his/her

conflicts (using defense mechanisms) determines this personality growth and

behaviour in the future (Schultz and Schultz, 1996). In Wendys case, she feels

anxious to face her developmental step. Therefore, she uses repression as defense

mechanism to solve her anxiety of growing up. Erdelyl states that Freud provided

a straightforward definition of repression: the essence of repression lies simply in


32

the function of rejecting and keeping something out of consciousness (Erdelyl,

2006:500).

Brought the term Fairweather, repression refers to the forgetting or

unconscious suppression of anxiety provoking thought, memories, and feelings

(2008:14). Wendy Darling starts using repression when her mother tells her how

hard the role of father in a family is. Previously, she thought her father cannot do

anything for the family. And this is how her mother gives clearly enough

explanation of the role of the man in the family:

Mrs. Darling : Your father is a brave man.


But hes going to need a special kiss to face his
colleagues tonight.
Wendy : Father? Brave?
Mrs. Darling : There are many different kinds of bravery.
Theres the bravery of thinking of the others before
oneself. Now, your father has never brandished a
sword nor fired a pistol, thank heavens. But hes
made many sacrifices for his family and put away
many dreams. (Scene, 10:50, pg. 5)

From the dialogue above we know that, she knows about the role of a man and the

role of father in family from her mother. She understands that a husband needs his

wifes kiss to be brave. She also knows that a father also does many sacrifices for

his family. It is one of the signs that she starts growing up by knowing what a

woman needs in her mature.

Most children have imaginary companions and believe in fairies, it also

happen for kids in latency period. They spend all the time playing with them.

They really enjoy their imagination world. Some children acquire their imaginary

companions upon school entrance, others as late as 10 years of age. There are

even accounts of individuals having imaginary companions until the age of 18


33

(Hoff, 2005:151). Hoff argues with psychodinamic research about functions of

imaginary companions is the companion can have the function of an id impulse, a

superego or ego support, but also the function of different kinds of defense

mechanism (2005:152-153).

In 11 years old, Wendy already forgets about fairy world but still has the

imaginary companion named Peterpan. She believes there is no fairy in the real

world. It is the point that she has already grown up. Meanwhile, the imaginary

companion has function to ignore her anxiety of growing up. The dialogue below

proves how she has already believed that there is no fairy:

Wendy : But theres no such thing as


Peterpan : Dont say that.
Every time somebody says that, a fairy somewhere
falls down dead.
And I shall never find her if shes dead.
Wendy : You dont mean to tell me.
Theres a fairy in this room.
(Scene, 00:18:47, pg.7)

The script is evidence that she is doubt about fairy, it is a sign of growing up. It

means that a kid believes about imaginary companion and believes in fairy. But

then it does not happen in her mind. She believes there is no fairy in the world.

Furthermore, the other sign that she starts growing up is when she starts

feeling her sexual desire. At the first time, she was fallen in love to a boy when

she was met an imaginary companion named Peterpan. She is interested in the

way he talks about girls. It makes her forget about her anxiety of growing up. The

dialogue below proves how Wendys sexual desire just up coming from her id:

Wendy : Peter, it is perfectly lovely the way you


talk about girls.
34

I should like to give you a kiss. Dont you know


what a kiss is?
Peterpan : I shall know when you give me one.
I suppose Im to give you one now.
Wendy : If you like (scene, 17:28, pg, 6)

By forgetting her anxiety of growing up, she allows her sexual desire goes out of

her mind. She lets herself interested in the way Peterpan talks about girls. The

sexual desire makes her want to gives a kiss him. Unfortunately, Peterpan does

not know what a kiss is. She seems like really knowing what a kiss means and

then prepares to accept a kiss from him by closing her eyes and bending her lips.

She is surprised when Peterpan just gives her a canary.

Moreover, in the latency period, it is a time of inactive reaction of the

sexual drive and consequently of a reduction in conflict (Asante, 2011:132).

Children in the period start aware about the sexual drive but it is in the inactive

reaction. They actually feel it but then their mind not let it really happen. It is just

temporarily, the sexual drive will be occurring at any time. They also try to

reduction the conflicts that always happen in their growing up.

In Wendys cases, she starts making her sexual drive to be concrete. It can

be seen when she says that she has special feeling for Peterpan. She has a dream

to create a happy family with him. Unfortunately, Peterpan does not grow up even

she gives him a clear explanation of growing up. In order to reduce the bad feeling

of the dream that never come true, she represses her love to Peterpan by telling

him about growing up. The dialogue below proves how brave she tells about

growing up:
35

Peterpan : Why do you spoil everything? We have fun,


dont we? I taught you to flight and fly.
What more could there be?
Wendy : There is so much more.
Peterpan : What? What else is there?
Wendy : I dont know.
I think it becomes clearer when you grow up.
Peterpan : Well, I will not grow up! You cannot make me!
Peterpan : I will banish you like Tinker Bell!
Wendy : I will not to be banished!
Peterpan : Then go home. Go home and grow up.
And take your feelings with you.
(Scene, 53:35. Pg. 19)

The dialogue above is a sign that she starts her developmental step by repressing

her interest feeling to Peterpan. By repressing her feeling to him, she is ready to

back real world then looking for the real boy who loves her. Therefore here, she

uses repression, it is referred to a process whereby unwanted material is turned

away before it reaches awareness (Brewin and Andrews, 2000:615). Wendys

love to Peterpan includes unwanted impulse that will never happen, so that she

turns away that feeling. It means that she already let her sexual desires happen,

but she should looks for the right boy. It means that she starts to growing up.

Meanwhile, she is busy repressing her feeling to a boy who never grows

up, she meet Captain Hook. She develops to be a mature girl when Hook asks her

about running away from home. But she has reduced her anxiety by regretting her

decision to go to Neverland. And this is the dialogue that proves her regret go to

Neverland:

Hook : Im told you ran away from home.


Wendy : I I had never thought of it that way.
I suppose I did
Hook : How wonderful. (Scene, 58:25, pg.21)
36

The dialogue above shows that she really regret go to Neverland because all of her

suppose to be real is never happen especially, her love relationship with Peterpan.

In the other occasion, Captain Hook helps Wendy represses all of her love

feeling. Captain Hook as an enemy of Peterpan succees in persuading her to drink

a cup of tea together in his ship, and this is how Captain Hook talks about the bad

side of Peterpan in order to repress her feeling:

Hook : And then the mess starts, feelings come.


Pan is so lucky to be untroubled by them. Oh, no. He
cannot love. Its part of riddle of his being.
Smee : Cigar?
Hook : Oh, there, there.
It doesnt have to be this way.
Didst thou ever wat to be a pirate, my hearty?
Wendy : I once thought of calling myself ...
Red-Handed Jill.
Hook : Oh, what a marvellous name!
Thats what well call you if you join us.
(Scene, 60:25, pg.21)

From the quotation above, she uses repression to block all of anxiety of growing

up. One of the repression that she uses is block her love to Peterpan. She cries

when Hook says that Peterpan cannot love her, so that Wendy considers to join

the pirate. Unfortunately, she does not know that Hook just make her a guide in

order to know where Peterpans house is.

Being a pirate is something bad in Wendys mind. As she knows that

pirates usually do bad things like stealing things from someone else. Wendy also

knows that pirates are the enemy of Peterpan. Ironically, they want to kill him.

When she is busy to consider joining pirate, she suddenly remembered her

mother. She repressed all about Neverland by remembering her mother. And this

proves how she starts remembering her mother:


37

Wendy : What would Mother think of my becoming a pirate?


Hook : Until we meet again.
Narrator : What would Mother Think if she became a pirate?
But the more Wendy thought of her mother, the less
she could remember. (Scene, 61:23, pg. 22)

Remembering her mother here means that she starts growing up. For a long time

when stays at Neverland, she just forgets about her parents. From here, by

remembering her mother she wishes that she can leave Neverland.

She wishes to leaves Neverland with her brothers. It is due to that she has a

duty to bring them back home too. She is an elder sister who is worried if her

brothers forget about her parents and the real world. It is just impossible when she

leave her brothers in Neverland. This dialogue proves how worry Wendy when

her brothers forget their parents name:

Wendy : John!
John : Yes?
Wendy : What your fathers name?
John : My fathers name? Peter.
All : Father! Yea, Peter!
Wendy : Michael, who is your mother?
The Lost Boy : Well, he got the easy one.
Michael : You are my mother, Wendy.
(Scene, 1:02:07, pg. 22)

The dialogue above shows that she uses repression to repress all of anxiety of

grows up by remembering her parents name. She is uses repression to make her

brothers remember their mother and father.

Although, she enjoyes being a mother in Neverland but it is just an

imagination world. In fact, she does not yet be a real mother of her children.

Meanwhile, Phillips states that for a girl to become a women who is desirable to a

man she has to become someone who resembles a mans mother (Phillips,
38

2006:180). Therefore here, Wendy success being a mother in Neverland because

she always tells a story to The Lost Boy then threatening them as her real son. But

anything is changing when she has awareness that everything that she was done in

Neverland are not to be real. It is just an imaginary world. They are just imaginary

son. It is that why she should leave Neverland then back to real world.

Nevertheless, before back to the real world, she says if she never be a part

of pirates or play role as mother to The Lost Boy forever. Bravely, she says that

Peterpan is just a boy. She is really aware that Peterpan never be her real love,

while he was surprised hearing that. And this is how Wendy knows the bad side of

Peterpan:

Wendy : I find Captain Hook to be a man of feeling.


All : Mother and father are fighting again.
Wendy : Sir, you are both ungallant and deficient.
Peterpan : How am I deficient?
Wendy : youre just a boy. (Scene, 1:03:26, pg. 22)

The dialogue is evidence that she is supposed to back real world because she

already blocks her love to Peterpan. There is no reason why she still stays in

Neverland. She also do not join the pirates because they are cruels and bounder

even though she says that Captain Hook to be a man of feeling. She starts to be

mature by repressed all the anxiety of growing up by back to home. Back to real

world means Wendy can looking for someone that has chemistry of love with her

and then she can drive her sexual desire with him.

Repression whenever the ego is threatened by undesirable id impulse, it

protects itself by repressing those impulse; that is, it forces threatening feelings

into the unconscious (Freud, 1926/1959a). It means that all of Wendys anxiety of
39

growing up repressed into unconscious mind. And the impulse may remain

unchanged in the unconscious. She already continues her developmental step by

leave Neverland. Here the dialogue proves how Wendy persuades her brothers to

leave Neverland:

Michael : Are you really to be a pirate, Mother?


Wendy : No. We are going home.
Michael : Home?
John : Leave neverland?
Wendy : We must. We have forgotten our parents.
We must leave at once before we in turn
forgotten
John : I have forgotten my parents.
All : We must leave.
Peterpan : If I wish it.
The Lost Boys : If you wish it?
Peterpan : If you wish it ! (Scene, 1:03:56, pg. 23)

The dialogue evidence that her id sends impulse that she wants to go back in real

life because she remembering her parents. Remember here means she is ready to

grow up. She forgets all impulse which makes her feel anxiety of grow up.

Fortunately, Peterpan lets her and The Lost Boys go back to the real world also.

Wendys superego accepts the ids asks to back home so that she and The Lost

Boys prepare to go back.

Wendys repression gets success to ignore her anxiety of growing up so

that she decides to go home to continue her developmental step. But before go

home she persuade Peterpan belongs to her. The dialogue below proves how

Wendy knows what a mature do:

The Lost Boys : Please, Peter, can we go?


Peterpan : If you wish it.
Wendy : Get your things. You too, Peter.
Peterpan : Would they send me to school?
40

Wendy : Yes.
Peterpan : Thento an office?
Wendy : I suppose so.
Peterpan : Soon I should be a man, you cant catch me
and make me a man.
Wendy : Peter.
Peterpan : I want always to be a boy and have fun.
Wendy : You say so, but I think it is your bigger pretend.
(Scene, 1:05:38, pg.23)

The dialogue above shows that by telling about adults duties to Peterpan, she

understands what she must do in her mature. Although, whatever she explains

about growing up, Peterpan never grows up with her. So that she is ready to grows

up then leave him alone in Neverland. She is leaving the place with her brothers

and The Lost Boys.

She is finishing her adventure by joining a great fighting between Hook

and Peterpan. In the middle of the war, she heard conversation who was said that

she has already grow up. It made Peterpan losing his happy thought even though

she never turns her mind because she should grow up. The dialogue below proves

how Captain Hook and Peterpan says about her:

Hook : Youre a tragedy.


Peterpan : Me? Tragic?
Hook : She was leaving you, Pan.
Your Wendy was leaving you.
Why should she stay?
What have you to offer? You are incomplete.
Shed rather grow up than stay with you.
Let us now take a peep into the future.
Whats this I see? Tis the fair Wendy.
Shes in her nursery. The windows shut.
(Scene, 1:20:11:05, pg.28)

She is repressing all of feels anxious by do not care anymore with Peters

condition. She is ready being mature woman without any anxieties of grows up
41

inside her mind. Hook is totally right about her circumstances, but she should

facing all. And then choose back to real world is the best solution rather than stay

in Neverland with a boy who never grows up. However, he just an imaginary

companion who helps her find out the defense mechanism to blocking her anxiety.

After she did a great adventure in Neverland, Wendy was supposed to go

to the next step of her developmental step. She is successfull in reducing the

conflicts in her latency period, so her sexual drives completely autoerotic. Puberty

signals a reawakening of the sexual aim and it beginning of the genital period. It

means that Wendy is already in genital period which is expression of the sexual

instinct continues to be subject to societal expectations (Pearce, 2002:1).

The puberty signal of her can be seen when she without any anxiety gives

a kiss to Peterpan. She does not any longer think that kissing is forbidden. And

here is how brave she kissing him:

Wendy : Im sorry I must grow up. Butthis is yours.


Tis just a thimble.
Hook : How like a girl. By all means, my beauty.
Give Peterpan your precious thimble.
Wendy : This belongs to youand always will.
John : Ohh. That was no thimble.
Michael : That was her hidden kiss.
The Lost Boys: Brace yourselves, lads. Tis a powerful thing.
Hook : Pan, youre pink! Split my infinitives!
(Scene, 1:26:22, pg.28)

Finally, she knows that the real hidden kiss is symbol of grown up. It is her first

kiss that belongs to Peterpan even he never grows up. A kiss that Aunt Millicent

was talked about it in the previous and it was a different kiss between her mother

and father. She will never forget her first kiss. All that is mean now, Wendy is
42

already growing up because a kiss is a sign of sexual drives in genital period. It

means that now she is in genital period.

During puberty, the diphasic sexual life of a person enters a second stage,

which has basic differences from the infantile period (Freud, 1923/1961b). It

means that in genital period an individual direct their sexual energy toward

another person instead of toward themselves. However, to accept everything she

supposes in genital period by comeback home. And this dialogue proves that she

and her brothers back home:

John : Hello, Mother. It really is us. Michael, John,


Wendy.
Michael : Were back. (Scene, 1:33:13, pg.29)

By ignoring the anxiety of growing up, she goes back to the real world. Now, she

is really ready to grows up. She forgets all of anxieties of being mature.

Meanwhile, she will never forget the story of Peterpan. She promises to tell the

story to her children. Here is how Wendy says goodbye to Peterpan:

Wendy : Peter! You wont forget me, will you?


Peterpan : Me? Forget? Never.
Wendy : Will you come back?
Peterpan : To hear storiesabout me.
(Scene, 1:38:16, pg.31)

The dialogue above shows that she never ever forgets the story of Peterpan and

her great adventure in Neverland, the one thing that she should have forgotten is

the anxiety of growing up.

Wendy is succeeding ignores her anxiety in her developmental step then

she already jump in the next period, it called genital period. In this period she

should make real of her sexual desire to someone whom loves her. Then she being
43

a real mother and she tell the stories to her children. It is finally Wendy says in the

end of the movie:

But I was not see Peterpan again. Now I tell his story to my children,
and they will tell it to their children
And so it will go on. For all children grow up (Scene, 1:38:16,
pg.31)

She is getting success growing up. The imaginary companion is no longer needed,

her other social activities become more important. Then every step in her

developmental step was clearly faces. She success drive her sexual desire to find a

husband and has children. Wendy Darling has grown up.


44

CHAPTER 5

CONCLUSION AND SUGGESTION

5.1 Conclusion

The major objective of the final project was analyzing feels anxious of

growing up which were found in Peterpan Movie (2003). Based on the analysis in

the fourth chapter, the study found that there are many kinds of anxieties of grow

up in Peterpan Movie (2003). This movie clearly shows how the female main

character, Wendy Darling feels anxious of growing up. The first anxiety of

growing up that Wendy feel is she should married because her family believe that

she is ready to married someone. The second anxiety is she should kiss someone

caused Aunt Millicent thought that she is ready accepts a kiss from a boy who

loves her. The third anxiety is falling in love to a boy named Peterpan who never

grow up. The fourth anxiety when she being mother of the Lost Boys in

Neverland. The fifth anxiety when she thinks things were simpler in the

childhood. The entire anxieties make her does not want to grow up.

Several acts have been made by Wendy to ignore the anxieties. She is

using repression as the defense mechanism to block her anxieties. By ignoring the

anxiety means she turn around her mind to grow up. The first reason why she is

ignoring her anxieties is because she is remembering her mother when she was in

Neverland. The second, she looks for an everlasting love after Peterpan ignored

her love. The third she is already understand what a kiss is. The fourth she decides

44
45

back to real world to continue her developmental step then forgetting her anxiety

of it. Finally, Wendy succeed ignore her anxiety of grows up. She is grown up.

5.2 Suggestion

On the basis of those conclusions, the final project reveals several suggestions to
the readers. First, most of girls in their latency period do not only feel anxious of
growing up but also look for their idol figure. In this movie, Wendy as a girl in
latency period also has an idol figure, it is her mother. It can be seen when she
wants to has her mothers beautiful lips.
Second, the readers can make a study about children dream in Victorian society
by read Peterpan Novel. Generally speaking, it was a very strict society, though
highly industrialized and hard working, ruled by narrow moral values and almost
entirely submitted to a patriarchal social order. Meanwhile, Darling family
include in middle class society which is the children should not working hard as
the children in the lower class society.
Third, Peterpan Movie 2003 is a best object to do analyze unusual condition that
makes adults was trapped in children world. In this case, the other study can
explain the answer why Captain Hook and pirates are mature men who can stay
in Neverland though people who stay there is children. The problem is most of
children who stay in Neverland state that they never growing up. Almost the
characters inside are kids so that why there are many reasons when J.M Berrie
created mature man in the middle of never grow up children.
46

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TABLE A, THE TABLE ALL DATA FROM THE MOVIE

Found In Movie
NO. Data Form of Data Writer Comment
Minute Page Line

Aunt Millicent: But, child, novelists are not highly


thought of in good society. And there is nothing so
Wendy feels anxiety of
difficult to marry as a novelist.
growing up because she
All: Marry? wishes to become a
1. Dialogue 04:35 4 1
novelist but she has to
Mrs. Darling: But, Aunt, Wendy is not yet get 13 grow up then she is ready
to get married.
Aunt Millicent: Walk toward me, dear, that I may
appraise you.

Aunt Millicent: Oh, its quite as I expected. Wendy feels anxiety of


Wendy possesses a womans chin. Have you not growing up because the
noticed? Observe her mouth. There, hidden in the process of being mature
right-hand corner, is that a kiss? signed by kissing between
2. Dialogue 05:10 4 13 girl and boy.
John: A kiss?
Kiss a kind of expression
Michael: Like mothers kiss? of the sexual instinct
Aunt Millicent: A hidden kiss. continues to subject to
societal expectations
Wendy: But what is it for (Pearce, pg. 10)

Aunt Millicent: It is for the greatest adventure of


all. They that find it have slipped in and out of
heaven.

Wendy: Find what?

Aunt Millicent: The one the kiss belongs to

Wendy feels anxiety of


growing up because she
must spend less time with
her brothers. It is because
Mr. Darling: My Wendy a woman girl has sexual desire so
that is why Wendy has to
Aunt Millicent: Almost a woman. She must spend less spend time with her
3. less time with her brothers and more time with Dialogue 05:50 4 24 brothers and has her own
me. She must have her own room. A young ladys room. Beside it during
room. George, the daughter of a clerk cannot hope latency period Children
to marry as well as that of a manager. form groups or cliques, an
impossibility during the
infantile period when the
sexual drive was
completely autoerotic
Means that Wendy should
have her own group consist
of the girls in her age.

This scene, Wendy draw


herself lying on the bed
while a boy flying above
her body. Mrs. Fulson as
her teacher know it then
think that it is not available
Mrs. Fulson: If this is you in bed, what is this? to girl in Wendy age. So
4. Dialogue 07:42 4 37
Wendy: A boy that she give Wendy a
punishment. But for
Wendy own mind, by draw
it she starts feel her own
sexuality desire. It is
symbol of developmental
step in latency period.

Mr. Darling: This is not a nurse! This is a dog! Wendys father know that
Tomorrow you begin your instruction with Aunt Wendy made a draw about
5. Millicent. Its time for you to grow up! Dialogue 09:57 5 21 she and a boy kissing so
that he decide Wendy
should think about growing
up.

Wendy knows about the


role of a man and the role
of father in family. From
here, she understands what
a women needs in her
Mrs. Darling: Your father is a brave man. But hes mature. It called sexuality
going to need the special kiss to face his desire in latency period. It
colleagues tonight. is one of the signs that
Wendy starts growing up.
Wendy: Father? Brave?
6. Mrs. Darling: There are many different kinds of Dialogue 10:50 5 34
bravery. Theres the bravery of thinking of others Freud's views on the
before oneself. Now, your father has never latency period illustrate the
brandished a sword nor fired a pistol, thank wide latitude he allowed
heavens. But hes made many sacrifices for his for variations and
family and put away many dreams. overlapping of

phases in an innately
organized program of
maturation responding to
environmental forces
(Grrosman 1986, pg.6)
Wendy: Peter, it is perfectly lovely the way you Children in latency period
talk about girls. I should like to give you a kiss. starts know about sexual
Dont you know what a kiss is? drive with other person.
Wendy also feels it, her
Peterpan: I shall know when you give me one. I sexual desire in this case
7. suppose Im to give you one now. Dialogue 17:28 6 46 kissing make her want to
Wendy: If you like. know how does it feel of
kiss. Moreover with
someone that Wendy is
falling in love in the first
sight, Peterpan.

Wendy: But theres no such thing as

Peterpan: Dont say that. Every time somebody


says that, a fairy somewhere falls down dead. And Wendy is grows up
8. I shall never find her if shes dead. Dialogue 18:47 7 14 because she does not
Wendy: You dont mean to tell me. Theres a believe to fairy.
fairy in this room. (Scene, 00:18:47, pg.33)

Peterpan: Forget them, Wendy. Forget them all. Wendy still feels anxiety
9. Come with me where youll never, never have to Dialogue 23:20 8 35 of growing up because in
worry about grown-up things again. her id she not really know
Wendy: Never is an awfully long time. what is mature. Not really
being mature because in
her mind she still want to
make a folktale or story
kids really happen. She
want to meet a pirates, fly,
and meet the lost boy in
Neverland then playing all
the time without any duty.
So that she decide go to
Neverland with Peterpan
and her brothers.
Fortunately, her Superego
allow her id to do it
because of Peters
persuade.

The outcome of their


conflict in childhood was

an altered direction of
drive development and a
disposition to some version
of "normality," to neurosis,
or to
perversion.
(Grossman,4,1986)

The Lost Boys: Please be our mother.


Wendy plays role as
Wendy: Oh! Well, it is frightfully fascinating. But,
mother to the lost boy even
you see, Ive had no real experience.
she still feel anxiety to
The Lost Boys: Do you tell stories? growing up in her real life.
10. Dialogue 36:32 16 6
She still confuses what
Wendy: Yes. should mother do to keep
her children. Beside it, she
The Lost Boys: Then youre perfect.
has married yet.
Wendy: Very well. I will do my best.

Wendy: Peter, what are your real feelings?


Wendy anxiety of growing
Peterpan: Feelings?
up still continues because
Wendy: What do you feel? Happiness? Sadness? she feels broken heart in
Jealousy? her latency period. When
11. Dialogue 54:35 19 48
she drives her sexuality
Peterpan: Jealousy? Tink! interest in Peterpan,
unfortunately Peter just
Wendy: Anger?
ignores her desire
Peterpan: Anger. Hook.
Wendy: Love?

Peterpan: Love?

Wendy: Love.

Peterpan: I have never heard of it.

Hook: How wonderful.


Hook indirectly helps
Wendy: My parents wanted me to grow up. Wendy to repress her love
to Peterpan then continue
Hook: Growing up is such a barbarous business,
her developmental step. It
full of inconvenience and pimples.
12. Dialogue 59:22 21 27 shows that Wendy uses
Wendy: Things were simpler when I was younger. defense mechanism
repression by forget her
Hook: And then the mess starts, the feelings come. love to Peterpan then back
Pan is so lucky to be untroubled by them. Oh, no. home.
he cannot love. Its part of the riddle of his being.

Peterpan: Wendy? You see, it would make me Wendy repressing her


seem so old to be a real father. interested feeling to
Peterpan. It is caused he
13. Wendy: Peter, what are you real feelings? Dialogue 53:35 19 17 just an imaginary
Peterpan: Feelings? companion. By repress her
feeling to him, it means
Wendy: What do you feel? Happines? Sadness? that she ready to back real
Jealousy? world then looking for the
real boy who loves her.
Peterpan: Jealousy? Think!
Therefore here, she using
Wendy: Anger? repression, it is refered to a
Peterpan: Anger. Hook. process whereby unwanted
material is turned away
Wendy: Love? before it reaches awarness
(Brewin and Andrews,
Peterpan: Love?
2000:615). Wendys love
Wendy: Love. to Peterpan includes
unwanted impulse that
Peterpan: I have never heard of it never be happen. She just
want to let her sexual
Wendy:I think you have, Peter. I daresay youve
desire to be real. Wendy
felt it yourself For something orsomeone.
already continue her
Peterpan: Never. Even the sound of it offends me. growing up because Peter
said it indicate that Wendy
Wendy: Peter. must repress her love to
Peterpan: Why do you spoil everything? Peterpan

We have fun, dont we? I taught you to flight and


fly. What more could there be?

Wendy: There is so much more.


Peterpan: What? What else is there?

Wendy: I dont know. I think it becomes clearer


when you grow up.

Peterpan: Well, I will not grow up! You cannot


make me!

Peterpan: I will banish you like Tinker Bell!

Wendy: I will not to be banished!

Peterpan: Then go home. Go home and grow up.


And take your feelings with you.

Hook: Im told you ran away from home. Wendy is really regret go
Wendy: I I had never thought of it that way. to Neverland because all
of her suppose to be real
14. I suppose I did Dialogue 58:25 21 23 never be happen
especially, her love
Hook: How wonderful. (Scene, 58:25, pg.111) relationship. It means she
grows up

Hook: And then the mess starts, feelings come. Wendy blocks her love to
15. Pan is so lucky to be untroubled by them. Oh, no. Dialogue 1:00:15 21 31 Peter by join pirates for a
He cannot love. Its part of riddle of his being. while so that she uses
Smee: Cigar? repression as her defense
mechanism to repress her
Hook: Oh, there, there. It doesnt have to be this anxiety of growing up.
way. Didst thou ever want to be a pirate, my
hearty?

Wendy: I once thought of calling myselfRed-


Handed Jill.

Hook: Oh, what a marvelous name ! Thats what


well call you if you join us.

Wendy: But what would my duties be? I could not


be expected to pillage.

Hook: Do you, um, by any chance, tell stories?

Wendy: Might I have time to consider your


generous offer?

Hook: Absolutely. Of course, you must.

Wendys id ask her to


Narrator: What would Mother think if she become remember her mother, the
16. a pirate? But the more Wendy thought of her Monologue 1:01:59 22 14 Id force her to repress
mother, the less she could remember. everything that make her
feel anxiety.
Wendy: John!
Wendy as an elder sister,
John: Yes?
wory if her brothers forget
Wendy: What is your fathers name? about real world and stop
growing up. It is one of the
John: My fathers name? Peter. repression that Wendy
17. Dialogue 1:02:07 22 16
All: Father! Yea, Peter! takes in order to growing
up. So that Wendy using
Wendy: Michael, who is your mother? repression in order to make
her brothers remember
The Lost Boy: Well, he got the easy one.
their mother
Michael: You are my mother, Wendy.

Wendy: I find Captain Hook to be a man of


feeling.
Wendy use repression
All: Mother and father are fighting again. when she decide to leave
18. Dialogue 1:03:26 22 46 Peterpan and Hook
Wendy: Sir, you are both ungallant and deficient.
because both of them are
Peterpan: How am I deficient? boys

Wendy: youre just a boy.

19. Michel: Are you really to be a pirate, Mother? Dialogue 1:03:56 23 6 Id of Wendy want to back
to real life because she
Wendy: No. We are going home. remember her parents and
want to continue her
Michael: Home? developmental step.
John: Leave Neverland? Remember here means
Wendy ready to grow up.
Wendy: We must. We have forgotten our parents. While, Peterpan let her to
We must leave at one before we in turn forgotten. go back. Her superego
accept the ids asked to she
John: I have forgotten my parents.
prepare to go back.
All: we must leave.

Peterpan: If I wish it.

The Lost Boys: If you wish it?

Peterpan: If you wish it !

The Lost Boys: Please, Peter, can we go?


Wendy is ready to continue
Peterpan:If you wish it. her growing up by asking
Peter to grow up with her.
20. Wendy: Get your things. You too, Peter. Dialogue 1:05:38 23 32
She get success in using
Peterpan: Would they send me to school? repression as her defense
mechanism
Wendy: Yes.
Peterpan: Thento an office?

Wendy:I suppose so.

Peterpan; Soon I should be a man, you cant catch


me and make me a man.

Wendy: Peter.

Peterpan: I want always to be a boy and have fun.

Wendy: You say so, but I think it is your bigger


pretend.

Hook : Youre a tragedy.

Peterpan: Me? Tragic? She is repressing all of


feels anxious by do not
Hook : She was leaving you, Pan.Your Wendy care anymore with Peters
21. was leaving you.Why should she stay? What have Dialogue 1:20:11 28 4 condition. She is ready
you to offer? You are incomplete.Shed rather being mature woman
grow up than stay with you. Let us now take a without any anxieties of
peep into the Dfuture.Whats this I see? Tis the grows up inside her mind.
fair Wendy. Shes in her nursery. The windows
shut.

22. Dialogue 1:26:22 28 38 Finally, Wendy knows that


Wendy: Im sorry I must grow up. Butthis is
the real hidden kiss is
yours. Tis just a thimble. symbol of grown up. It is
one step she jump to
Hook: How like a girl. By all means, my beauty. genital period where her
Give Peterpan your precious thimble. drives the sexual energy
Wendy: This belongs to you and always will. toward another person.

John: That was no thimble.

Michael: That was her hidden kiss.

The Lost Boys :Brace yourselves, lads. Tis a


powerful thing.

Hook: Pan, youre pink!Split my infinitives!

John: Hello, Mother. It really is us. Michael, John,


Wendy. Wendy back home to
23. Dialogue 1:33:12 29 51
continue grow up
Michael: Were back.

Wendy: Peter! You wont forget me, will you?


Anxiety of growing up has
Peterpan: Me? Forget? Never. gone. Wendy continue her
24. Dialogue 1:38:00 31 6 developmental step. she
Wendy: Will you come back? has been succes ignore her
anxiety of grow up
Peterpan: To hear stories...about me.
TABLE B1, FOR THE PROBLEM FORMULATION NUMBER 1

Found in Movie
No. Data Form of Data Writer Comment
Minute Page Line

Aunt Millicent: But, child, novelists are not


highly thought of in good society. And there
is nothing so difficult to marry as a novelist. Wendy feels anxiety of
growing up because she
All: Marry? wishes to become a
1. Dialogue 04:35 4 1
Mrs. Darling: But, Aunt, Wendy is not yet novelist but she has to
get 13 grow up then she is
ready to get married.
Aunt Millicent: Walk toward me, dear, that I
may appraise you.

Aunt Millicent: Oh, its quite as I expected. Wendy feels anxiety of


Wendy possesses a womans chin. Have growing up because the
you not noticed? Observe her mouth. There, process of being mature
hidden in the right-hand corner, is that a signed by kissing
2. kiss? Dialogue 05:10 4 13
between girl and boy.
John: A kiss? Kiss a kind of
expression of the sexual
Michael: Like mothers kiss?
instinct continues to
Aunt Millicent: A hidden kiss. subject to societal
expectations (Pearce, pg.
Wendy: But what is it for 10)
Aunt Millicent: It is for the greatest
adventure of all. They that find it have
slipped in and out of heaven.

Wendy: Find what?

Aunt Millicent: The one the kiss belongs to

Wendy feels anxiety of


growing up because she
must spend less time
Mr. Darling: My Wendy a woman with her brothers. It is
because girl has sexual
Aunt Millicent: Almost a woman. She must
desire so that is why
spend less time with her brothers and more
3. Dialogue 05:50 4 24 Wendy has to less spend
time with me. She must have her own room.
time with her brothers
A young ladys room. George, the daughter
and has her own room.
of a clerk cannot hope to marry as well as
Beside it during latency
that of a manager.
period Children form
groups or cliques, an
impossibility during the
infantile period when
the sexual drive was
completely autoerotic
Means that Wendy
should have her own
group consist of the girls
in her age.

This scene, Wendy draw


herself lying on the bed
while a boy flying above
her body. Mrs. Fulson
as her teacher know it
then think that it is not
Mrs. Fulson: If this is you in bed, what is available to girl in
this? Wendy age. So that she
4. Dialogue 07:42 4 37
give Wendy a
Wendy: A boy punishment. But for
Wendy own mind, by
draw it she starts feel
her own sexuality desire.
It is symbol of
developmental step in
latency period.
Mr. Darling: This is not a nurse! This is a Wendys father know
dog! Tomorrow you begin your instruction that Wendy made a draw
with Aunt Millicent. Its time for you to about she and a boy
5. Dialogue 09:57 4 51
grow up! kissing so that he decide
Wendy should think
about growing up.

Wendy still feels anxiety


of growing up because
in her id she not really
know what is mature.
Not really being mature
because in her mind she
Peterpan: Forget them, Wendy. Forget them still want to make a
all. Come with me where youll never, never folktale or story kids
6. have to worry about grown-up things Dialogue 23:20 8 35 really happen. She want
again. to meet a pirates, fly,
and meet the lost boy in
Wendy: Never is an awfully long time.
Neverland then playing
all the time without any
duty. So that she decide
go to Neverland with
Peterpan and her
brothers. Fortunately,
her Superego allow her
id to do it because of
Peters persuade.

The outcome of their


conflict in childhood
was

an altered direction of
drive development and a
disposition to some
version of "normality,"
to neurosis, or to

perversion.
(Grossman,4,1986)

The Lost Boys: Please be our mother. Wendy plays role as


Wendy: Oh! Well, it is frightfully mother to the lost boy
fascinating. But, you see, Ive had no real even she still feel
experience. anxiety to growing up in
7. Dialogue 36:32 16 6 her real life. She still
The Lost Boys: Do you tell stories? confuses what should
mother do to keep her
Wendy: Yes. children. Beside it, she
The Lost Boys: Then youre perfect. has married yet.
Wendy: Very well. I will do my best.

Wendy: Peter, what are your real feelings?

Peterpan: Feelings?

Wendy: What do you feel? Happiness?


Wendy anxiety of
Sadness? Jealousy?
growing up still
Peterpan: Jealousy? Tink! continues because she
feels broken heart in her
8. Wendy: Anger? Dialogue 54:35 19 48 latency period. When
Peterpan: Anger. Hook. she drives her sexuality
interest in Peterpan,
Wendy: Love? unfortunately Peter just
ignores her desire
Peterpan: Love?

Wendy: Love.

Peterpan: I have never heard of it.

Hook: How wonderful.


Hook indirectly helps
Wendy: My parents wanted me to grow up. Wendy to repress her
9. Dialogue 59:22 21 27 love to Peterpan then
Hook: Growing up is such a barbarous continue her
business, full of inconvenience and pimples. developmental step. It
Wendy: Things were simpler when I was shows that Wendy uses
younger. defense mechanism
repression by forget her
Hook: And then the mess starts, the feelings love to Peterpan then
come. Pan is so lucky to be untroubled by back home.
them. Oh, no. he cannot love. Its part of the
riddle of his being.
TABLE B2, FOR THE PROBLEM FORMULATION NUMBER 2

Found in Movie
No. Data Form of Data Writer comment
Minute Page Line

Wendy knows about


the role of a man and
the role of father in
Mrs. Darling: Your father is a brave man. family. From here, she
But hes going to need the special kiss to understands what a
face his colleagues tonight. women needs in her
mature. It called
Wendy: Father? Brave? sexuality desire in
latency period. It is
1. Mrs. Darling: There are many different Dialogue 10:50 5 34 one of the signs that
kinds of bravery. Theres the bravery of
Wendy starts growing
thinking of others before oneself. Now,
up.
your father has never brandished a sword
nor fired a pistol, thank heavens. But hes
made many sacrifices for his family and put
away many dreams. Freud's views on the
latency period
illustrate the wide
latitude he allowed for
variations and
overlapping of

phases in an innately
organized program of
maturation responding
to environmental
forces (Grrosman
1986, pg.6)

Wendy: Peter, it is perfectly lovely the way Children in latency


you talk about girls. I should like to give period starts know
you a kiss. Dont you know what a kiss is? about sexual drive
with other person.
Peterpan: I shall know when you give me Wendy also feels it,
one. I suppose Im to give you one now. her sexual desire in
2. Wendy: If you like. Dialogue 17:28 7 14 this case kissing make
her want to know how
does it feel of kiss.
Moreover with
someone that Wendy
is falling in love in the
first sight, Peterpan.

Wendy: But theres no such thing as Wendy is grows up


3. Dialogue 18:47 6 46
Peterpan: Dont say that. Every time because she does not
somebody says that, a fairy somewhere believe to fairy.
falls down dead. And I shall never find her
if shes dead.

Wendy: You dont mean to tell me. Theres


a fairy in this room. (Scene, 00:18:47,
pg.33)

Peterpan: Wendy? You see, it would make Wendy repressing her


me seem so old to be a real father. interested feeling to
Peterpan. It is caused
Wendy: Peter, what are you real feelings? he just an imaginary
Peterpan: Feelings? companion. By repress
her feeling to him, it
Wendy: What do you feel? Happines? means that she ready
4. Sadness? Jealousy? Dialogue 53:35 19 17 to back real world
then looking for the
Peterpan: Jealousy? Think!
real boy who loves
Wendy: Anger? her.

Peterpan: Anger. Hook. Therefore here, she


using repression, it is
Wendy: Love? refered to a process
whereby unwanted
Peterpan: Love? material is turned
away before it reaches
Wendy: Love. awarness (Brewin and
Peterpan: I have never heard of it Andrews, 2000:615).
Wendys love to
Wendy:I think you have, Peter. I daresay Peterpan includes
youve felt it yourself For something unwanted impulse that
orsomeone. never be happen. She
just want to let her
Peterpan: Never. Even the sound of it
sexual desire to be
offends me.
real. Wendy already
Wendy: Peter. continue her growing
up because Peter said
Peterpan: Why do you spoil everything? it indicate that Wendy
must repress her love
We have fun, dont we? I taught you to
to Peterpan
flight and fly. What more could there be?

Wendy: There is so much more.

Peterpan: What? What else is there?

Wendy: I dont know. I think it becomes


clearer when you grow up.

Peterpan: Well, I will not grow up! You


cannot make me!

Peterpan: I will banish you like Tinker


Bell!

Wendy: I will not to be banished!

Peterpan: Then go home. Go home and


grow up. And take your feelings with you.

Hook: Im told you ran away from home.


Wendy is really regret
Wendy: I I had never thought of it that go to Neverland
way. because all of her
suppose to be real
5. I suppose I did Dialogue 58:25 21 23
never be happen
Hook: How wonderful. (Scene, 58:25, especially, her love
pg.111) relationship. It means
she grows up

Hook indirectly helps


Hook: And then the mess starts, feelings Wendy to repress her
come. Pan is so lucky to be untroubled by love to Peterpan then
6. Dialogue 59:22 21 31
them. Oh, no. He cannot love. Its part of continue her
riddle of his being. developmental step. It
shows that Wendy
Smee: Cigar? uses defense
mechanism repression
Hook: Oh, there, there. It doesnt have to by forget her love to
be this way. Didst thou ever want to be a Peterpan then back
pirate, my hearty? home.
Wendy: I once thought of calling
myselfRed-Handed Jill.

Hook: Oh, what a marvelous name ! Thats


what well call you if you join us.

Wendys id ask her to


Narrator: What would Mother think if she
remember her mother,
become a pirate? But the more Wendy
7. Monologue 1:01:59 22 14 the Id force her to
thought of her mother, the less she could
repress everything that
remember.
make her feel anxiety.

Wendy: John! Wendy as an elder


sister, wory if her
John: Yes?
brothers forget about
8. Wendy: What is your fathers name? Dialogue 1:02:07 22 16 real world and stop
growing up. It is one
John: My fathers name? Peter. of the repression that
Wendy takes in order
All: Father! Yea, Peter!
to growing up. So that
Wendy: Michael, who is your mother? Wendy using
repression in order to
The Lost Boy: Well, he got the easy one. make her brothers
Michael: You are my mother, Wendy. remember their
mother

Wendy: I find Captain Hook to be a man of


feeling.

All: Mother and father are fighting again. Wendy use repression
when she decide to
9. Wendy: Sir, you are both ungallant and Dialogue 1:03:26 22 46 leave Peterpan and
deficient. Hook because both of
them are boys
Peterpan: How am I deficient?

Wendy: youre just a boy.

Michel: Are you really to be a pirate, Id of Wendy want to


Mother? back to real life
because she remember
Wendy: No. We are going home. her parents and want
10. Dialogue 1:03:56 21 23 to continue her
Michael: Home?
developmental step.
John: Leave Neverland? Remember here means
Wendy ready to grow
Wendy: We must. We have forgotten our up. While, Peterpan let
parents. We must leave at one before we in her to go back. Her
turn forgotten. superego accept the
ids asked to she
John: I have forgotten my parents. prepare to go back.
All: we must leave.

Peterpan: If I wish it.

The Lost Boys: If you wish it?

Peterpan: If you wish it !

The Lost Boys: Please, Peter, can we go?

Peterpan:If you wish it.

Wendy: Get your things. You too, Peter. Wendy is ready to


continue her growing
Peterpan: Would they send me to school? up by asking Peter to
11. Wendy: Yes. Dialogue 1:05:38 23 6 grow up with her. She
get success in using
Peterpan: Thento an office? repression as her
defense mechanism
Wendy:I suppose so.

Peterpan; Soon I should be a man, you


cant catch me and make me a man.
Wendy: Peter.

Peterpan: I want always to be a boy and


have fun.

Wendy: You say so, but I think it is your


bigger pretend.

Hook : Youre a tragedy.

Peterpan: Me? Tragic?

Hook : She was leaving you, Pan. She is repressing all of


feels anxious by do
Your Wendy was leaving you.
not care anymore with
Why should she stay? What have you to Peters condition. She
12. Dialogue 1:20:11 23 32
offer? is ready being mature
woman without any
You are incomplete.Shed rather grow up anxieties of grows up
than stay with you. Let us now take a peep inside her mind.
into the Dfuture.Whats this I see? Tis the
fair Wendy.

Shes in her nursery. The windows shut.


Wendy: Im sorry I must grow up.
Butthis is yours. Tis just a thimble.

Hook: How like a girl. By all means, my


beauty. Give Peterpan your precious Finally, Wendy knows
thimble. that the real hidden
Wendy: This belongs to you and always kiss is symbol of
will. grown up. It is one
13. Dialogue 1:26:22 28 4 step she jump to
John: That was no thimble. genital period where
her drives the sexual
Michael: That was her hidden kiss. energy toward another
The Lost Boys :Brace yourselves, lads. Tis person.
a powerful thing.

Hook: Pan, youre pink!Split my


infinitives!

John: Hello, Mother. It really is us.


Michael, John, Wendy. Wendy back home to
14. Dialogue 1:33:12 28 38
continue grow up
Michael: Were back.

Wendy: Peter! You wont forget me, will Anxiety of growing up


15. Dialogue 1:38:00 29 51 has gone. Wendy
you?
continue her
Peterpan: Me? Forget? Never. developmental step.
she has been succes
Wendy: Will you come back? ignore her anxiety of
Peterpan: To hear stories...about me. grow up

Wendy is succeed in
her developmental
step then jump to next
step, in genital to
make real her sexual
Narrator: But I was not see Peterpan again. desire to someone who
Now I tell his story to my children, and she love. Then she
16. they will tell it to their children Monologue 1:38:16 31 6 being a real mother
And so it will go on. For all children grow and she tell the stories
up to her children. She go
to next step by drive
her sexsuality disire
and has children. it
means that final. She
has grown up already
TABLE C, FINAL DATA FOR THE MOVIE

Found in Movie
No. Data Form of Data Writer comment
Minute Page Line

Aunt Millicent: But, child, novelists are not


highly thought of in good society. And
there is nothing so difficult to marry as a
Wendy feels anxiety of
novelist.
growing up because
All: Marry? she wishes to become a
1. Dialogue 04:35 4 1
novelist but she has to
Mrs. Darling: But, Aunt, Wendy is not yet grow up then she is
get 13 ready to get married.
Aunt Millicent: Walk toward me, dear, that
I may appraise you.

Aunt Millicent: Oh, its quite as I expected. Wendy feels anxiety of


Wendy possesses a womans chin. Have growing up because the
you not noticed? Observe her mouth. process of being
2. There, hidden in the right-hand corner, is Dialogue 05:10 4 13 mature signed by
that a kiss? kissing between girl
and boy.
John: A kiss?
Kiss a kind of
Michael: Like mothers kiss? expression of the
sexual instinct
Aunt Millicent: A hidden kiss. continues to subject to
Wendy: But what is it for societal expectations
(Pearce, pg. 10)
Aunt Millicent: It is for the greatest
adventure of all. They that find it have
slipped in and out of heaven.

Wendy: Find what?

Aunt Millicent: The one the kiss belongs to

Wendy feels anxiety of


growing up because
Mr. Darling: My Wendy a woman she must spend less
time with her brothers.
Aunt Millicent: Almost a woman. She It is because girl has
must spend less time with her brothers and sexual desire so that is
3. more time with me. She must have her own Dialogue 05:50 4 24 why Wendy has to less
room. A young ladys room. George, the spend time with her
daughter of a clerk cannot hope to marry as brothers and has her
well as that of a manager. own room. Beside it
during latency period
Children form groups
or cliques, an
impossibility during
the infantile period
when the sexual drive
was completely
autoerotic Means that
Wendy should have her
own group consist of
the girls in her age.

This scene, Wendy


draw herself lying on
the bed while a boy
flying above her body.
Mrs. Fulson as her
Mrs. Fulson: If this is you in bed, what is teacher know it then
4. this? Dialogue 07:42 4 37 think that it is not
available to girl in
Wendy: A boy
Wendy age. So that she
give Wendy a
punishment. But for
Wendy own mind, by
draw it she starts feel
her own sexuality
desire. It is symbol of
developmental step in
latency period.

Mr. Darling: This is not a nurse! This is a Wendys father know


dog! Tomorrow you begin your instruction that Wendy made a
with Aunt Millicent. Its time for you to draw about she and a
5. grow up! Dialogue 09:57 4 51 boy kissing so that he
decide Wendy should
think about growing
up.

Mrs. Darling: Your father is a brave man. Wendy knows about


But hes going to need the special kiss to the role of a man and
face his colleagues tonight. the role of father in
family. From here, she
Wendy: Father? Brave?
understands what a
Mrs. Darling: There are many different women needs in her
6. Dialogue 10:50 5 34
kinds of bravery. Theres the bravery of mature. It called
thinking of others before oneself. Now, sexuality desire in
your father has never brandished a sword latency period. It is one
nor fired a pistol, thank heavens. But hes of the signs that
made many sacrifices for his family and Wendy starts growing
put away many dreams. up.
Freud's views on the
latency period
illustrate the wide
latitude he allowed for
variations and
overlapping of

phases in an innately
organized program of
maturation responding
to environmental
forces (Grrosman
1986, pg.6)

Children
Wendy: Peter, it is perfectly lovely the way developmental
you talk about girls. I should like to give stepwhen Wendy is
you a kiss. Dont you know what a kiss is? falling in love in the
7. Dialogue 13:28 6 46
first sight with
Peterpan: I shall know when you give me Peterpan. It is kind of
one. sexual drives in
psychoanalytic theory
Wendy: But theres no such thing as

Peterpan: Dont say that. Every time


somebody says that, a fairy somewhere
falls down dead. And I shall never find her Wendy is grows up
8. if shes dead. Dialogue 18:47 4 14 because she does not
Wendy: You dont mean to tell me. believe to fairy.
Theres a fairy in this room. (Scene,
00:18:47, pg.33)

Wendy still feels


anxiety about growing
up because in her id
Peterpan: Forget them, Wendy. Forget she not really know
them all. Come with me where youll what is mature. She
9. never, never have to worry about grown-up Dialogue 23:20 8 35 still want to meet a
things again. pirates, fly, and meet
the lost boy in
Wendy: Never is an awfully long time.
Neverland so that she
decide go to Neverland
with Peterpan and her
brothers. Her Superego
allow her id to do it.

The outcome of their


conflict in childhood
was

an altered direction of
drive development and
a disposition to some
version of "normality,"
to neurosis, or to

perversion.
(Grossman,4,1986)

Wendy plays role as


The Lost Boys: Please be our mother.
mother to the lost boy
Wendy: Oh! Well, it is frightfully even she still feel
fascinating. But, you see, Ive had no real anxiety to growing up
10. experience. Dialogue 36:32 16 6 in her real life. She still
confuses what should
The Lost Boys: Do you tell stories? mother do to keep her
children. Beside it, she
Wendy: Yes.
has married yet.
The Lost Boys: Then youre perfect.

Wendy: Very well. I will do my best.

Peterpan: Wendy? You see, it would make Wendy repressing her


me seem so old to be a real father. interested feeling to
Peterpan. It is caused
Wendy: Peter, what are you real feelings? he just an imaginary
Peterpan: Feelings? companion. By repress
her feeling to him, it
Wendy: What do you feel? Happines? means that she ready to
Sadness? Jealousy? back real world then
looking for the real boy
Peterpan: Jealousy? Think!
who loves her.
11. Wendy: Anger? Dialogue 53:35 19 48
Therefore here, she
Peterpan: Anger. Hook. using repression, it is
refered to a process
Wendy: Love? whereby unwanted
material is turned away
Peterpan: Love?
before it reaches
Wendy: Love. awarness (Brewin and
Andrews, 2000:615).
Peterpan: I have never heard of it Wendys love to
Wendy:I think you have, Peter. I daresay Peterpan includes
unwanted impulse that
youve felt it yourself For something never be happen. She
orsomeone. just want to let her
sexual desire to be real.
Peterpan: Never. Even the sound of it Wendy already
offends me. continue her growing
Wendy: Peter. up because Peter said
it indicate that Wendy
Peterpan: Why do you spoil everything? must repress her love
to Peterpan
We have fun, dont we? I taught you to
flight and fly. What more could there be?

Wendy: There is so much more.

Peterpan: What? What else is there?

Wendy: I dont know. I think it becomes


clearer when you grow up.

Peterpan: Well, I will not grow up! You


cannot make me!

Peterpan: I will banish you like Tinker


Bell!

Wendy: I will not to be banished!

Peterpan: Then go home. Go home and


grow up. And take your feelings with you.

Wendy: Peter, what are your real feelings?

Peterpan: Feelings?

Wendy: What do you feel? Happiness? Wendy anxiety of


Sadness? Jealousy? growing up still
continues because she
Peterpan: Jealousy? Tink!
feels broken heart in
Wendy: Anger? her latency period.
12. Dialogue 54:35 19 48
When she drives her
Peterpan: Anger. Hook. sexuality interest in
Peterpan, unfortunately
Wendy: Love?
Peter just ignores her
Peterpan: Love? desire

Wendy: Love.

Peterpan: I have never heard of it.

Hook: Im told you ran away from home. Wendy is really regret
13. Dialogue 58:25 21 23
Wendy: I I had never thought of it that go to Neverland
way. because all of her
suppose to be real
I suppose I did never be happen
Hook: How wonderful. (Scene, 58:25, especially, her love
pg.111) relationship. It means
she grows up

Hook: And then the mess starts, feelings


come. Pan is so lucky to be untroubled by
them. Oh, no. He cannot love. Its part of Hook indirectly helps
riddle of his being. Wendy to repress her
Smee: Cigar? love to Peterpan then
continue her
Hook: Oh, there, there. It doesnt have to developmental step. It
14. Dialogue 59:22 21 31
be this way. Didst thou ever want to be a shows that Wendy uses
pirate, my hearty? defense mechanism
repression by forget
Wendy: I once thought of calling her love to Peterpan
myselfRed-Handed Jill. then back home.
Hook: Oh, what a marvelous name ! Thats
what well call you if you join us.

15. Hook: How wonderful. Dialogue 59:22 21 27 Hook indirectly helps


Wendy to repress her
Wendy: My parents wanted me to grow up. love to Peterpan then
continue her
Hook: Growing up is such a barbarous developmental step. It
business, full of inconvenience and shows that Wendy uses
pimples. defense mechanism
Wendy: Things were simpler when I was repression by forget
younger. her love to Peterpan
then back home.
Hook: And then the mess starts, the
feelings come. Pan is so lucky to be
untroubled by them. Oh, no. he cannot
love. Its part of the riddle of his being.

Wendys id asks her to


Narrator: What would Mother think if she
remember her mother,
become a pirate? But the more Wendy
16. Monologue 1:01:59 22 14 the Id force her to
thought of her mother, the less she could
repress everything that
remember.
make her feel anxiety.

Wendy: John! Wendy as an elder


John: Yes? sister, wory if her
17. Dialogue 1:02:07 22 16 brothers forget about
Wendy: What is your fathers name? real world and stop
growing up. It is one of
John: My fathers name? Peter. the repression that
All: Father! Yea, Peter! Wendy takes in order
to growing up. So that
Wendy: Michael, who is your mother? Wendy using
The Lost Boy: Well, he got the easy one. repression in order to
make her brothers
Michael: You are my mother, Wendy. remember their mother

Wendy: I find Captain Hook to be a man of


feeling.

All: Mother and father are fighting again. Wendy use repression
when she decide to
18. Wendy: Sir, you are both ungallant and Dialogue 1:03:26 22 46 leave Peterpan and
deficient. Hook because both of
them are boys
Peterpan: How am I deficient?

Wendy: youre just a boy.

Michael: Are you really to be a pirate, Id of Wendy want to


Mother? back to real life
because she remember
19. Wendy: No. We are going home. Dialogue 1:03:56 21 23 her parents and want to
continue her
Michael: Home?
developmental step.
John: Leave Neverland? Remember here means
Wendy ready to grow
Wendy: We must. We have forgotten our up. While, Peterpan let
parents. We must leave at one before we in her to go back. Her
turn forgotten. superego accept the
ids asked to she
John: I have forgotten my parents. prepare to go back.
All: we must leave.

Peterpan: If I wish it.

The Lost Boys: If you wish it?

Peterpan: If you wish it !

The Lost Boys: Please, Peter, can we go?

Peterpan:If you wish it.


Wendy is ready to
Wendy : Get your things. You too, Peter. continue her growing
up by asking Peter to
Peterpan: Would they send me to school?
20. Dialogue 1:05:38 23 6 grow up with her. She
Wendy: Yes. get success in using
repression as her
Peterpan: Thento an office? defense mechanism
Wendy:I suppose so.

Peterpan; Soon I should be a man, you


cant catch me and make me a man.

Wendy: Peter.

Peterpan: I want always to be a boy and


have fun.

Wendy: You say so, but I think it is your


bigger pretend.

Hook : Youre a tragedy.

Peterpan: Me? Tragic?


She is repressing all of
Hook : She was leaving you, Pan. feels anxious by do not
Your Wendy was leaving you. care anymore with
Peters condition. She
21. Dialogue 1:20:11 23 32
Why should she stay? What have you to is ready being mature
offer? woman without any
anxieties of grows up
You are incomplete.Shed rather grow up
inside her mind.
than stay with you. Let us now take a peep
into the Dfuture.Whats this I see? Tis the
fair Wendy.
Shes in her nursery. The windows shut.

Wendy: Im sorry I must grow up.


Butthis is yours. Tis just a thimble.
Finally, Wendy knows
Hook: How like a girl. By all means, my that the real hidden
beauty. Give Peterpan your precious kiss is symbol of
thimble. grown up. It is one step
22. Dialogue 1:26:22 28 4
she jump to genital
Wendy: This belongs to you and always
period where her drives
will.
the sexual energy
John: That was no thimble. toward another person.

Michael: That was her hidden kiss.

John: Hello, Mother. It really is us.


Michael, John, Wendy. Wendy back home to
23. Dialogue 1:33:12 28 38
continue grow up
Michael: Were back.

Wendy: Peter! You wont forget me, will Anxiety of growing up


you? has gone. Wendy
24. Dialogue 1:38:00 29 51 continue her
Peterpan: Me? Forget? Never. developmental step.
Wendy: Will you come back? she has been succes
ignore her anxiety of
Peterpan: To hear stories...about me. grow up

Wendy is succeed in
her developmental step
then jump to next step,
in genital to make real
Narrator: But I was not see Peterpan again. her sexual desire to
Now I tell his story to my children, and someone who she love.
they will tell it to their children Then she being a real
25. Monologue 1:38:16 31 6
mother and she tell the
And so it will go on. For all children grow stories to her children.
up She go to next step by
drive her sexsuality
disire and has children.
it means that final. She
has grown up already.
Peter Pan Movie Script

Wendy: Cinderella flew through the air...

far from all things

ugly and ordinary.

When she landed at the ball,

she found herself..

most impertinently surrounded

by pirates.

There was Alf Mason, so ugly his

mother sold him for a bottle of Muscat.

Bill Jukes,

every inch of him tattooed

And worst of them all,

Hook, with eyes blue

as forget-me-nots,

save when he clawed your belly

with the iron hook he has...

instead of a right hand,


at which time...

his eyes turn red.(01:30-02:01)

John: "Girlie," said Hook,

"we have come

for ye glass slippers." (02:05-02:07)

Wendy: Who be you to order me about

and call me girlie? Take that! (02:10)

Wendy and Jhon:Take that! Take that! (02:12)


Jhon:Commoner!(02:17)
Hook came at her.

Michael: What happened then?

What happened then?(02:24)

Wendy: The brave Cinderella settled

the matter once and for all...(02:25)

John:- with her revolver.(02:28)

Michael:- With her revolver?(02:29)

Narrator: The night on which

the extraordinary adventures...

of these children

may be said to have begun...

was the night Nana

barked at the window.

But there was nothing there,

not a bird or a leaf.


So the children forgot

about it,
for what troubles a grown-up

will never trouble a child.(02:31-02:47)

Aunt Millicent: Oh, dearest George, dear Mary.

Oh, what a journey I've had.(02:52)


Wendy:Bath time. (02:58)
Michael:Not fair!(03:04)
Narrator:Not fair, indeed. But Nana was
the finest nurse on four paws.(03:11)
Michael:No. No, I will not
forgive you.(03:15)
Narrator: There never was
a happier, simpler family.

Mr. Darling was a banker who knew


the cost of everything, even a hug.
Mrs. Darling was the loveliest
lady in Bloomsbury...
with a sweet, mocking mouth
that had one kiss on it...
that Wendy could never get.
Though there it was,
perfectly conspicuous
on the right-hand corner.
And sometimes there
was Aunt Millicent...

who felt a dog for a nurse lowered the whole tone of


the neighbourhood.(03:19-03:50)

Mr. Darling:All right, all right, all right, all right.


Less noise.
Let's settle down.

This is not a farm. (03:52-03:54)


Aunt Millicent:- Bravo, George. Bravo.(03:57)

John:- Wendy's turn.(03:58)


Michael:Wendy must tell a story.(03:59)
John:Cecco, who carved his name on the governor at Goa.
Michael: Noodler, with his hands on backwards.
Aunt Millicent- Heavens.
Michael:- Hook!
Aunt Millicent:- Hook?
John:- Hook, whose eyes turn red as he guts you.
(04:03-04:10)
Aunt Millicent:Upon my soul, how children are educated
nowadays.(04:15)
Wendy: I'm afraid I am not learned at all, Aunt.But I
do know a thing or two about pirates.My unfulfilled
ambition is to write a great novel in three parts about
my adventures.
- What adventures?
- I've yet to have them
but they will be perfectly thrilling.(04:18-04:30)
Aunt Millicent:But, child, novelists are not highly
thought of in good society.And there is nothing so
difficult to marry as a novelist.(04:32-04:38)
Wendy:- Marry?
Mr. Darling:- Marry?
John and Michael:- Marry?
Mrs. Darling- But, Aunt, Wendy is not yet .
Aunt Millicent: Walk toward me, dear,that I may
appraise you.
Go on.Walk to your auntie.Stand up straight.
- Stop it!
- Turn around.Shh.
Mm, yes.
Oh, it's quite as I expected Wendy possesses a woman's
chin.Have you not noticed?Observe her mouth.There,
hidden in the right-hand corner,is that a kiss? (04:33-
05:24)
John:- A kiss?
Michael:- Like Mother's kiss.
Aunt Millicent:- A hidden kiss.
Wendy:- But what is it for?
Aunt Millicent:It is for the greatest adventure of all.
They that find it...have slipped in and out of heaven.
Wendy: Find what?
Aunt Millicent: The one the kiss belongs to.(05:27-
05:47)
Mr. Darling: My Wendy...a woman.
Aunt Millicent:Almost a woman.(05:50-05:53)
Aunt Millicent:She must spend less time with her
brothers...and more time with me.She must have her own
room.
- A young lady's room.
- Leave the...
George, the daughter of a clerk cannot
hope to marry as well as that of a manager.You must
attend more parties,make small talk with your superiors
at the bank.
Wit is very fashionable at the moment.
Mr. Darling:Wit. (05:55-06:18)
Narrator: But there was no sign of a body,for none had
fallen.
Certainly she had been dreaming.(07:20-07:28)
Mrs. Fulson: If this is you in bed,what is this?
Wendy:A boy.(07:41)
Narrator: Miss Fulsom dispatched a letter of outrage to
Mr. Darling...that set new standards of prudery, even
for her.(07:49)
Postman:Yes, miss.(07:56)
Narrator: Mr. Darling had been practicing small talk
all afternoon.(08:00)
Mr. Darling:I say, it's nice weather we're
having.(08:05)
Narrator:And now his opportunity had arrived.
Sir Edward Quiller Couch,the president of the bank,was
a man who enjoyed small talk...
almost as much
as a good balance sheet.
Wendy walked as one condemned.And then... fate.(08:08-
08:26)
Wendy: The letter! Wait! Stop!(08:27)
John and Michael:Wendy, wait!Come back!(08:30)
Mr. Darling: I say, what a splendid tie.
Wendy: Wait! You there! Stop!
John:Wendy! Nana, come back!
President of Bank:That's saved.
A judicious investment?
Staff:Indeed.
Mr. Darling:Hi. Um...
I, uh...
Wendy: You there, stop! Wait!
Stop! Wait!
Uh, uh, uh... I, uh...
Wendy:I can explain!No!
Mr. Darling:I have been humiliated!(08:27-09:41)
Mr. Darling: No!I must become a man that children fear
and adults respect,or we shall all end up in the
street!
Mrs. Darling:- George, not so loud.
Aunt Millicent - The neighbours will hear.
Let them hear.Let the whole world know!
This is not a nurse! This is a dog.
Tomorrow you begin your instruction...with Aunt
Millicent.
It's time for you to grow up!(09:41-09:54)
John:Mother?
Can anything harm us after the night-lights are lit?
Mrs. Darling:No, precious.
They are the eyes a mother
leaves behind to guard her children.
Wendy:Mother, must you go to the party?
John:Please, Mother. Yes,
Michael:Mother, you don't have to go.
John:- Father can go by himself.
Michael:- Please, Mother.
Mrs. Darling:By himself?Your father is a brave man.But
he's going to need the special kiss to face his
colleagues tonight.
Wendy:Father? Brave?
Mrs.Darling:There are many different kinds of
bravery.There's the bravery of thinking of others
before oneself.Now, your father has never brandished a
sword nor fired a pistol, thank heavens.But he's made
many sacrifices for his family...and put away many
dreams.
Michael:Where did he put them?
Mrs.Darling: He put them in a drawer.And sometimes,
late at night,we take them out and admire them.But it
gets harder and harder to close the drawer.He does.And
that is why he is brave.(10:24-11:43)
Aunt Millicent:And remember, every cloud has a silver
lining.(11:45)
Mr. Darling:Oh.Oh. No, it's snowing.- Oh, we'll catch
our death.(11:50)
Aunt Millicent:- Better death than gossip.You will
enter that drawing room with your head held
high.(11:54)
Oh!
Shh!
Peterpan:One, two,Three!
Aha!
Come here, you!
I got you.Ha!(13:24)
Wendy:Boy, why are you crying?You can fly!
- What is your name?
Peterpan:- What is your name?
Wendy:Wendy Moira Angela Darling.
Peterpan:Peter... Pan.
Wendy:Where do you live?
Peterpan:Second to the right and then straight on till
morning.
Wendy:- They put that on the letters?
Peterpan:- Don't get any letters.
Wendy:- But your mother gets letters.
Peterpan:- Don't have a mother.
Wendy:- No wonder you were crying.
Peterpan:- I wasn't crying about mothers.
I was crying because I can't
get the shadow to stick.
And I wasn't crying!
Wendy:I could sew it on for you.
This may hurt a little.
Might I borrow your knife?
Thank you.
Peterpan:- Oh, the cleverness of me!
Wendy:- Of course, I did nothing.
Peterpan:- Aw, you did a little.
Wendy:- A little?
Good night.
Peterpan:Wendy? One girl is worth more than 20 boys.
Wendy:You really think so?
Peterpan:I live with boys... the Lost Boys.They are
well named.
Wendy:Who are they?
Peterpan:Children who fall out of their prams when the
nurse is not looking.If they are not claimed in seven
days,they are sent to the Neverland.
Wendy:- Are there girls too?
Peterpan:- Girls are much too clever to fall out of
their prams.
Wendy:Peter, it is perfectly lovely the way you talk
about girls.
I should like to give you...a... kiss.
Don't you know what a kiss is
Peterpan: I shall know when you give me one.
I suppose
I'm to give you one now.
Wendy:If you like.
Thank you.
Wendy- How old are you, Peter?
Peterpan- Quite young.
- Don't you know?
- I ran away.
One night, I heard my mother and father
talking of what I was to be when I became a man.So I
ran away to Kensington. Gardens and I met Tink.
Wendy- Tink?
Peterpan- Tinker Bell.
She's my fairy.
Wendy- But there's no such thing as...
Peterpan- Don't say that.
Every time somebody says that, a
fairy somewhere falls down dead.
And I shall never find her
if she's dead.
Wendy:You don't mean to tell me
there's a fairy in this room.
Peterpan:We come to listen
to the stories.
I like the one about the prince who couldn't find the
lady who wore glass slippers.
Wendy:Cinderella.
Wendy:Peter, he found her and they... and they...
lived happily ever after.
Peterpan- I knew it.
Wendy- Peter.
I should like to give you...a... thimble.
Peterpan:What's that?
Peterpan:Tink!
Tink! Tink, no!
She's not very polite.
She says if you try to give me a thimble again,
- she'll kill you.
Wendy- Oh.
And I had supposed fairies to be charming.
- Peter, don't go.
Peterpan- I have to tell the others about Cinderella.
Wendy- But I know lots of stories, stories I could tell
the boys.
Peterpan- Come with me.
Wendy- I... I cannot fly.
Peterpan- I'll teach you.
I'll teach you to ride the wind's back.
And away we go.(14:59-20:24)
Wendy:Could John and Michael come too?
Michael! Michael!
- John! John!
- I didn't do it.
There is a boy here
who is to teach us to fly.
John:You offend reason, sir.
I should like to offend it with you.
Peterpan:You just think happy thoughts,and they lift
you into the air.
It's easy.
John:I've got it! I've got it!
Swords, daggers, Napoleon
Wendy:- Stand back.
John- Yahoo!
Michael:John!
Wendy! Wendy! Watch me!
Puddings, mud pies, ice cream,never to take a bath
again
Wendy:Michael!
Whoa!
Peterpan:Come away.Come away to Neverland.
Wendy:Oh. What about Mother?
John- Father?
Michael- Nana?
Peterpan- There are mermaids.
All- Mermaids?
Peterpan- Indians!
All- Indians?
Peterpan- Pirates!
All- Pirates?
Michael:John, wait for me!

Mr. Darling:May I introduce my wife...


Mr. Darling- Mary.
President of bank- Mary.
Mary.
- Delighted.
Mrs. Darling- Thank you, Sir Edward.

Peterpan:Forget them, Wendy.


Forget them all.Come with me where you'll never, never
have to worry about grown-up things again.
Aunt Millicent:What is it? What's wrong?
Wendy:Never is an awfully long time.(20:20-23:38)

Narrator:It would be delightful to report that they


reached the nursery in time.
But then there
would be no story.(23:43)

President of Bank:But you're covered


in dog hair, my darling.
Michael- Hello, old chap.

- Good evening.

John:Thank you.
Whoa-ho!

Michael:Higher!

Peterpan:Who are you?

John: I'm John.

Peterpan:John.

Take hold of this.

Ta-da!

Both hands.

Pass it on.

John:Michael, take hold of my ankle.

Michael:Wendy, take hold of my ankle!

Peterpan:And whatever happens,don't... let...go!(23:44-


25:09)

Neverland.(25:47)

Song of Pirates* Lying, thieving a life of sin *

* A-pirating we go *

* We're sure to meet below *

* Fire the cannons

Pour the rum *

* Deal the cards


For night has come *

* A-pirating we go *(26:10)

A Pirate:Devil bird!

A Pirate:Cap'n?

Cap'n? As I was sitting

wide-eyed on my watch,

I noticed it was wintertime on the water and springtime


on the shore.

I says to meself,

"That's early for spring to be astir.

Spring's not due till : 3 p.m."

Check the time yourself,

Cap'n, and then tell...(27:09-27:21)

Hook: I was dreaming, Smee, of Pan.


A Pirate:Pan, Cap'n?

Hook: And in my dream,

I was a magnanimous fellow...


full of forgiveness.

I thanked Pan...

for cutting off my hand...

and for giving me this fine hook...

for disembowelling

and ripping throats...


and other such homely uses...
as combing my hair.

A pirate- So, Pan did you a favour then, Cap'n?

Hook- A favour?

He threw my hand to a crocodile.

The beast liked it so much,

it's followed me ever since,licking its lips for the


rest of me.

You call that a favour?

No. No. No. No.

- Thank you.

- Thank Lucifer, the beast swallowed a clock.

If it wasn't for the ticking,it'd have had me by now.

Why did you wake me, Smee?

A Pirate:Like I said, Cap'n,

the ice is melting.


The sun is out.

And the flowers are all in bloom.

Hook:He's back. (27:31-28:58)

Wendy:Forty gunner.

She must do 20 knots

under full sail.

John:Noodler, with his hands

on backwards!
Bill Jukes!

Every inch of him tattooed.

John:Hook!

Peterpan:Let's take a closer look.

- Yahoo!

- Peter!

Watch this.

Whoa-ho-ho!

John:Whoa! My hat!(29:11-30:02)

Evil bird:Ugly Smee!

Ugly, fat Smee!

Solar eclipse.

Dark in here.

Let me out. Let me out!

Can't see.

Dark in here. Candle.

I need candle. Help! Help!

Hook:Fetch Long Tom.

Michael:Fire!

Help! Help!

Peterpan:Tink, find Wendy.


Leave the rest to me.

John and Michael:Wendy.

Peterpan:Oh, Captain Hook!

Hook:Pan!
Hook- Stay with him!

Peterpan- You can't catch me.

Peterpan- Over here!

- Fire!
Timber!

Whoa!
John:Michael, are you shot?

Michael:I haven't checked yet!

But there's something worser!

John:Oh, what could be worse?

Michael:My thoughts aren't very happy!

John:Happy thoughts!
Michael:- Happy thoughts.

- What would Mom and Dad do?

- Napoleon!

- Damnation!

Hook:Reload the cannon! Quickly!


A Pirate:Reload the cannon?

But Cap'n, he's gone.

Hook:Any other contributions?


Search the jungle!

Bring me those children!(30:13-31:35)

The Lost Boys:- What is it?

- It's a large white bird.


- Quite ugly too. No!

- Give me it!
When Peter's away,I'm in charge!

I get to look through the telescope.

It's coming closer.

My God, I've gone blind!

- I'm blind. I've gone blind.

- I'm blind.

Hello, Tink. Where's Peter?

- Hello, Tink.

- She's blinded me!

- Hello, Tink.

- Hello, Tink.

Any more news of Cinderella?

Now, Tinker Bell was not all bad.

Sometimes she was all good.

But fairies are so small they only

have room for one feeling at a time.


Tink says the bird's

called a..."Wendy."
And Peter wants us to...
Oh, Peter! Oh!
Shoot it down.
Well, we have our orders.

Shoot the Wendy bird.


Aye, aye!
Ready? Aim!
Fire!
Bye-bye!

Three, two,one!
I got it. I got it!

That is no bird.

- It is a lady.

- And Tootles...

Tootles has killed her.

Peterpan:Ha! I'm back! Great news. I know what happened


to Cinderella.
She defeated the pirates. There was stabbing, slicing,
torturing, bleeding...and they lived happily ever
after.

- Well, that's a relief, I must say.


- Greater news!
I have brought you she that told of Cinderella. She is
to tell us stories!

She is...

A Lost Boy:Dead.
Peterpan:Tragic.
- Awful.

- Good shot, though.

A Lost Boy:Mine, Peter.


Strike, Peter.
Peterpan:Strike true.
The Wendy lives!

It's my kiss.

My kiss saved her.


A Lost Boy:I remember kisses.

Let me see it.

Aye, that is a kiss.

A powerful thing.

Peterpan:Let us carry her down to the house.


Hands.
They're a bit dirty.
She must stay here and die.

- No!

- Oh, how could I have thought that? Stupid.


Sorry.

We shall build a house around her.

With a chimney!
And a door knocker!
And windows!
Tink did it.
Tinker Bell?

Oh, Tinker Bell?


- Was it you, Tink.
- Hallelujah. Hallelujah.
Then I am your friend no more.(31:38-35:48)
The Lost Boys:First impressions are very, very
important.
Here she is.
Look loveable.
Wendy lady, for you we built this house with a door
knocker.
- And a chimney.
- One, two, three.
Please be our mother.
Wendy: Oh.
Well, it is frightfully fascinating.
But, you see,

I've had no real experience.


The Lost Boys- Do you tell stories?
Wendy- Yes.
The Lost Boys- Then you're perfect.
Wendy- Very well.

I will do my best
The Lost Boys: Sorry about the blindfold.

We must be cautious. There are some nasty characters


about.

If Hook discovers our hideout,he'll gut us.


- How dreadful!
- Oh, we live for it!
Wendy- But I...

The Lost Boys- Time to meet Father, Mother.

So looking forward to being your son.


Peterpan: Welcome, Mother.
Discipline. That's what fathers believe in.

You must spank the children immediately before they try


to kill you again.
In fact, we should kill them.
Wendy: Peter!
Father!
I agree that they are perfectly horrid,but kill them
and they shall think themselves important.

The Lost Boys- So important.


- And unique.
Wendy:I suggest something...far more dreadful.Medicine.
It's the most beastly,disgusting stuff.
The sticky, sweet kind.
The Lost Boys:Kill us, please!
Kill us, please!
Wendy:Littlest first. Michael?
- Michael. John. My brothers!
Peterpan:- Who?(36:15-38:25)
Michael: Hello?
It's louder from inside this rock.
John: How very peculiar.
Both of them:- Happy thoughts!
- Swords, daggers, Napoleon!
John:How humiliating.
Michael:John, there's something worser.
Hook:Princess Tiger Lily.We search as ever for Peter
Pan...and his secret hideout.Luckily, two boys of his
acquaintance...were seen falling into this part of the
jungle.Have you seen them?
Smee:She says,
"Sorry, but, no."
My Hook thinks you have, Princess.
John:I say, unhand that savage, you...
you...you savage!(38:50-40:40)
Narrator:Now, mermaids are not as they are in
storybooks.
They are dark creatures...
in touch with all things mysterious.
If Hook had captured Wendy's brothers,the mermaids
would know.(40:44)
Wendy:Oh, how sweet.
Are mermaids not sweet?
Peterpan:They'll sweetly drown you if you get too
close.
Hook has your brothers
at the Black Castle.(40:57-41:48)
Hook: Like all surprise attacks,it must be conducted...
improperly.
Put the children on the rock.
Smee:Sorry, Your Highness.
Any last words?
Beg for your lives.
John: Sirs! My brother and I
are English gentlemen.
English gentlemen do not beg.
Michael:Please!
John:Please! Please!
Please don't kill us!
Please don't kill me, either.
I've never done anything...
Aah! It's cold! It's cold!
- Help!
Hook- Come on. Fly to the rescue,and then I'll shoot
you right through your noble intentions.
Peterpan:I brought these.
Can you use it?
Promise me one thing.
Leave Hook to me.
Wendy:I promise.
Peterpan- Wait here for my signal.
Wendy- Wait here?
Peter!(42:00-43:18)
Narrator:Thus Wendy first laid eyes on the dark figure
who haunted her stories.
She saw the piercing eyes and was not afraid,but
entranced.(43:34-43:45)
Peterpan:Mr. Smee?
Smee- That you, Cap'n?
- Brimstone and gall, man.
Peterpan:What do you think you're doing?
Smee:Well, we've put the children on the rope, Cap'n,
like you said.
Peterpan:- Set 'em free!
Smee- Set 'em free?
- Well, what about your trap?
Peterpan:- Set them free, or I'll plunge my hook in
you.
Smee: I don't know what he wants with 'em.
I'm just a blithering idiot, aren't I?
Chain 'em up. Let 'em go.
And take your cat with ya.
Hook:- Mr. Smee?
Smee- Aye, Cap'n?
Hook- Any sign of him?
Smee- No, Cap'n.
Hook:Where are the children?
Smee:It's all right, Cap'n.We let 'em go.
Hook:You what?
Smee:We let 'em go.
You... let... them... go
Hook:Who are you, stranger?
Peterpan:I am James Hook,captain of the Jolly Roger.
Hook:If you are Hook,then who am I?
Peterpan:You are a codfish.
Hook:Tell me, Hook,have you another name?
Aye.
Hook- Vegetable?
Peterpan- No.
Hook- Mineral?
Peterpan- No.
Hook:Animal?
Peterpan:Yes.
Hook- Man?
Peterpan- No!
Hook- Boy?
Peterpan- Yes!
Hook- Ordinary boy?
Peterpan- No!
Hook- Wonderful boy?
Peterpan- Yes! Do you give up?
Hook- Yes!
Peterpan- I am...
Hook- History.
Wendy- Peter, look out!
A Pirate:There he is!
Hook:It is your requiem mass, boy.
Peterpan- Ready to lose the other one?
Hook- Not this time.
A PirateOoh-ooh, girlie.
Wendy:Who be you to call me girlie?
John:Open the gate!
Michael:Teddy!
Hook:If I were you, I'd give up.
Peterpan:If you were me, I'd be ugly.
Hook:No!
Ready?
Fire!
John:Get the boat!
Wendy:Turn the boat around.
John:Turn it around!
Hook:And now, Peter Pan,you shall die.
Peterpan: To die will be an awfully big adventure.
Hook:Oh, no.
You.
Smee!
Smee!
Smee:It's all a bit tragic,
really, isn't it?(43:50-50:06)
A Lost Boy:The warrior is wounded.
She is calling forth the spirit of the eagle to heal
the warrior.
It's so impressive.
The warrior is healed.(50:28-50:41)
Wendy:- Peter?
- Shh.
Peter? (51:08)
Hook:Evil day.
He has found himself a...(53:16)
Hook:Wendy?
And Hook is all alone. (53:40)
Tink- Me too.
Hook- You too?
Banished? Tsk, tsk.
The dog.
Hook:I think you and I...
should talk.(53:54)
Peterpan;Wendy?It's only make-believe,isn't it?
That you and I are...
Wendy:Oh. Yes.
Peter Pan ( ) CD - . fps
Peterpan:Wendy?
You see, it would make me seem so old to be a real
father.
Wendy:Peter,
- what are your real feelings?
Peterpan:- Feelings?
Wendy:What do you feel?
Happiness? Sadness?
- Jealousy?
Peterpan- Jealousy?
Peterpan- Tink!
Wendy- Anger
Peterpan:Anger.
Hook.
Wendy: Love?
Peterpan- Love?
Wendy- Love.
Peterpan: I have never heard of it.
Wendy: I think you have, Peter.
I daresay you've felt it yourself...for something or...
someone.
Peterpan; Never. Even the sound of it offends me.
Wendy:Peter.
Peterpan:Why do you spoil everything?
We have fun, don't we?
Peterpan: I taught you to fight and to fly.
What more could there be?
Wendy:There is so much more.
Peterpan:What? What else is there?
Wendy:I don't know. I think it becomes clearer when you
grow up.
Peterpan:Well, I will not grow up!
You cannot make me!
Peterpan- I will banish you like Tinker Bell!
Wendy- I will not be banished!
Peterpan: Then go home.
Go home and grow up.
- And take your feelings with you!
Wendy- Peter!
Wendy:Peter, come back! Peter! (54:07-56:00)
Narrator:Peter did not want Wendy to leave.
Once again, he visited Wendy's home...to see if Mr. And
Mrs. Darling had closed the window yet.
But, as before, he saw Mrs. Darling in her chair...
by the window, her eyes tired with searching the
heavens.(56:20-56:38)
Mrs. Darling: Wendy.
Wendy.
Wendy.
Peterpan: We can't both have her, lady.
Mrs. Darling: John! Michael!
Wendy!
The window's closed.
- George! George, help me!
Mr. darling- What is it? Have they returned?
Mrs. Darling: The window is closed.
It must always be open for them.
Always. Always.
Mr. Darling: They've not returned.

Song of Pirates * Avast belay the English brig *


* We took and quickly sank *
* And for a warning
to the crew *
* We made them walk the plank *
* Yo ho, yo ho
the frisky plank *
* He walks along it so *
- Welcome. Shh, shh.
* Till it goes down
and you's go down *
* To tooral looral loo. *
Smee- Wrote it himself.

Hook:Wendy, darling.
Smee:Muscat, miss?
Wendy:I'm a little girl.
Smee:Rum, then?
Wendy: No, thank you.
Hook: I'm told you ran away from home.
Wendy:I... I had never
thought of it that way.
I suppose I did.
Hook:How wonderful.
My parents wanted me to grow up.
Growing up is such a barbarous business,
full of inconvenience and pimples.
Wendy: Things were simpler when I was younger.
Hook: And then the mess starts,the feelings come.
Pan is so lucky to be untroubled by them.
Oh, no. He cannot love.
It's part of the riddle of his being.(58:48-59:57)
Smee: Cigar?(1:00:00)
Hook: Oh, there, there.
It doesn't have to be this way.
Didst thou ever want to be a pirate, my hearty?
Wendy: I once thought of calling myself...Red-Handed
Jill.
Hook: Oh, what a marvellous name!
That's what we'll call you if you join us.
Wendy: But what would my duties be?
I could not be expected to pillage.
Hook: Do you, um, by any chance,tell stories?
Wendy: And they all lived happily...
ever... after.
The Pirates: Bravo!
Bravissimo!
Wendy: Might I have time to consider your generous
offer?
Hook: Absolutely.
Of course, you must.
Hook: My fellows will return you
whence they found you.
None of my crew will follow you.
I swear it.
My new obsession is you,
not dear Peter Pan
or his whereabouts.
What would Mother think
of my becoming a pirate?
Until we meet again. (1:00:09-1:01:38)
Narrator: What would Mother think if she became a
pirate?
But the more Wendy thought of her mother, the less she
could remember.(1:01:59)
Wendy- John.
John- I wasn't doing anything!
Wendy- John!
John- Yes?
Wendy: What is your father's name?
John: My father's name? Peter.
The Lost Boys- Father!
- Yea, Peter!
Wendy: Michael, who is your mother?
A Lost Boy- Well, he got the easy one.
Michael- You are my mother, Wendy.
A Lost Boy: And isn't she just first-class?
Peterpan: There's a new pirate
aboard the Jolly Roger.
The mermaids say she is called Red-Handed Jill.
Another adventure, boys.
Come on!
Red-Handed Jill?
She sounds quite fearsome!
The Lost Boys: Fearsome?
Peterpan: She's just a storyteller.
Wendy: Just a storyteller?
Red-Handed Jill
may be a brave swordsman.
Michael: A girl like her?
Peterpan: Brave or not,I shall run her through!
Wendy: Then ready yourself, Peter Pan,for I am Red-
Handed Jill.
Michael- Mother!
John- Wendy?
Wendy:'Tis true, John.
Your sister has been invited to piracy.
John:But, Mother, Hook is a fiend.
Michael:- And a bounder.
- On the contrary,
Wendy: I find Captain Hook to be a man of feeling.
The Lost Boys: Mother and Father
are fighting again.(1:02:06-1:03:33)
Wendy: Sir, you are both ungallant and deficient.
Peterpan: How am I deficient?
Wendy: You're just a boy. (1:03:35)
Michael: Are you really to be a pirate, Mother?
Wendy: No.
We are going home.
The Lost Boy: Home?
John: Leave Neverland?
Wendy: We must.
We have forgotten
our parents.
We must leave at once
before we...
in turn are forgotten.
John: I've forgotten... my parents.
All: We must leave.
Peterpan: If you wish it
A Lost Boy- "If you wish it"?
Peterpan- If you wish it! (1:03:49-1:04:33)
Evil Bird: Kill! Kill! Kill! Kill!
Kill! Kill! Kill!
Hook: Don't fret, my dear. (1:05:05)
With Pan dead,we'll both be free.
Peterpan: I have arranged a fairy guide (1:05:09)
to lead you back.
Wendy: Peter, (1:05:14)
we've been talking.
What if you came back with us?
A Lost Boy: Can we go, Peter? (1:05:22)
The Lost Boys- Please, Peter, can we go?
Peterpan- If you wish it.
Wendy: Get your things. (1:05:30)
Wendy: You too, Peter.
Peterpan: Would they send me to school?
Wendy- Yes.
Peterpan- Then... to an office?
Wendy: I suppose so.
Peterpan: Soon I should be a man.
- You can't catch me and make me a man.
Wendy- Peter.
I want always to be a boy and have fun.
You say so, but I think it is your biggest pretend.
Oh! Ooh. Ooh-la-la!
Bye-bye!
There's no such thing as fairies.
Don't forget your medicine.
Surprise.
A new era begins.
Take them away.
No medicine.
I don't wanna take medicine.
No.
Lest he should be taken alive,
Hook always carried upon his person a dreadful
poison...
distilled when he was weeping from the red of his eye.
No.
A mixture of malice,
jealousy and disappointment,
it was instantly fatal
and without antidote.
I was not asleep!
Wendy?
Wendy? Are you there?
Tink.
You drank my medicine
Tinker Bell?
Tink?
Why is your light going out?
Tink, why are you so cold?
Stay warm, Tink.
Stay warm.
Please come back.
Please, Tink, don't leave me.
Forgive me, Tink.
I'm so sorry.
I'm so sorry, Tink.
Please forgive me.
Tink!
There's still room for a storyteller.
I'd rather die.
- Shame.
- Cap'n, Cap'n. Look at the sky.
And look at the water.
Pan must be dead.
No! No! Impossible!
Ship's company, hats off!
A moment's silence
for our fallen enemy,
Peter Pan.
We sail at dawn!
I do believe in fairies.
I do. I do.
I do believe in fairies.
I do. I do.
- No! No! No!
- Help! Help!
Girlies always go first.
I do believe in fairies.
I do. I do.
I do believe in fairies!
I do! I do!
I do believe in fairies.
I do. I do.
I do believe in fairies.
- You what?
- I do believe in fairies.
I do believe in fairies.
- I do believe in fairies! I do! I do!
- I do believe in fairies.
I do believe in fairies!
I do believe in fairies.
I do. I do.
I do believe in fairies. I do. I do.
- I do believe in fairies...
- Stow that gab, or I'll run you through!
"Believe in fairies! I do! I do!"
I do believe in fairies!
I do! I do!
I do believe in fairies.
- I do. I do.
- I do believe in fairies.
I do.
I do.
I do believe in fairies. I do! I do!
- * I do believe in fairies *
- I do! I do!
I do believe in fairies! I do! I do!
I do believe in fairies!
I do! I do!
I do believe in fairies!
I do! I do!
I do believe in fairies! I do! I do!
I do believe in fairies!
I do! I do!
I do believe in fairies.
I do. I do.
- I do believe in fairies.
- I do! I do!
- I do believe in fairies.
- I do believe in fairies!
- I do believe in fairies.
- I do believe in fairies.
- I do believe in fairies!
- I do believe in fairies!
I...
Oh, Tink, you're alive!
Oh, Tink!
You're alive! You're alive!
I do believe in fairies!
I do! I do!
I do believe in fairies! I do! I do!
He's alive!
- Oh, help.
- It's Hook or me this time.
Why is he? What is he?
I'll have one last story before you die.The story of
Peter Pan.
- Once upon a time...
- Once upon a time...
Brutes, Red-Handed Jill is gonna tell us a story.
There was a boy named Peter Pan...who decided not to
grow up.
Skip the prologue.
So he flew away to the Neverland where the pirates are.
Was one of them pirates called Noodler?
- Yes.
- Captain, did you hear?
I am in a story.
What fun he must have had.
Yes.
But he was rather lonely.
Lonely?
He needed a Wendy.
I need a Wendy.
Very exciting.
Two dead already.
- Why a Wendy?
- He liked my stories.
- What stories?
- Cinderella.
Snow White. Sleeping Beauty.
Love stories?
Adventures in which good triumphs over evil.
They all end in a kiss.
A kiss.
He does feel.
He feels about you.
She told him stories.
He taught her to fly.
How?
You just think happy thoughts.
They lift you into the air.
- Alas, I have no happy thoughts.
- That brings you down.
How else?
- No!
- Leave her alone
It's fairy dust.
You need fairy dust!
Michael!
What of Pan?
Will unhappy thoughts
bring him down?
He has no unhappy thoughts.
Aw.
How if his Wendy
walks the plank!
Plank! Plank! Plank! Plank!
Plank! Plank! Plank! Plank!
Plank! Plank! Plank! Plank!
Plank! Plank! Plank! Plank!
Plank! Plank! Plank! Plank!
Plank, plank, plank!
You know, I really am terribly sorry about this.
The irony.
It comes for Hook...and gets a story.
No!
No!
Did you hear her
hit the water?
Because I didn't.
The beast has swallowed her whole.
Starboard side!
- It looks for more, Captain.
- Then let's give it more.
To the plank!
Silence, puling spawn!
I'll show you the road to dusty death.
Huh?
Into the rigging with you!
Hunt it down!
Move, you scabs!
What was that?
It's here, Captain! Devil! Demon!
Accursed beast!
Your time is up!
Hello.
So, Peter Pan.
This is all your doing.
Aye, James Hook.
It's all my doing.
Proud and insolent youth,prepare to meet thy doom.
Have at thee!
Leave him! He's mine.
Now!
Here you are. There.
I never wanted to be a pirate anyway.
I'm gonna spend the rest of my life doing good works.
I got him!
Villain! Ne'er-do-well!
Libertine!
It's Hook! He flies!
And he likes it!
You want to fly? Let's fly.
Not bad... for an old man.
I know what you are!
I am the best there ever was!
You're a tragedy.
Me? Tragic?
She was leaving you, Pan.
Your Wendy was leaving you.
Why should she stay?
What have you to offer?
You are incomplete.
She'd rather grow up than stay with you.
Let us now take a peep into the future.
What's this I see?
'Tis the fair Wendy.
She's in her nursery.
The window's shut.
I'll open it!
I'm afraid the window's barred.
I'll call out her name.
- She can't hear you.
- No!
- She can't see you.
- Wendy!
- She's forgotten all about you.
- Stop! Please! Stop it!
And what is this I see?
There is another in your place.
He is called... husband.
No! Peter!
You die alone...
and unloved.
Unloved.
Just like me.
- No!
- No!
Silence, all,for Wendy's farewell.
Peter.
I'm sorry. I must grow up.
But... this is yours.
'Tis just a thimble.
How like a girl!
By all means, my beauty.
Give Peter Pan your precious thimble.
This belongs to you...and always will.
Ohh.
That was no thimble
That was her hidden kiss.
Brace yourselves, lads.
'Tis a powerful thing.
Pan, you're pink!
Split my infinitives!
No! I have won!
Whoo-hoo!
You... are old.
But I won!
Old.
And alone!
Alone.
No! I won! I won!
Done for.
Happy thoughts.
Happy thoughts.
Ripping! Killing! Killing!
Choking! Lawyers! Dentists!
Old! Alone! Done for!
Old! Alone! Done for!
Old! Alone! Done for!
Pus!
Uh, children's blood.
Puppies' blood.
- Old! Alone! Done for! Old! Alone! Done for!
- Disease! Scabs!
Kittens dashed on spikes! No!
- Old! Alone! Done for!
- White death! Black death!
- Any death! A nice cup of tea!
- Old! Alone! Done for!
Old! Alone! Done for!
Old! Alone! Old. Alone.
Done for!
Done for.
Brimstone and gall!
Silence, you dogs!
Or I'll cast anchor in you.
We won! We won!
- Ready to cast off?
- Aye. Aye, Captain.
Oh, the cleverness of you.
Mother.
Nana.
Let us break it
to her gently.
Oh, Nana.
I dreamt my little ones had come back.
I dreamed they were asleep...in their beds.But they
will never come back.
They did not understand how she could not see them.
But, you see, she saw them in their beds
so often in her dreams...
that she thought this was just the dream hanging around
her still.
Hello, Mother. It really is us.
Micheal, John,Wendy.
We're back.
George, come quickly!
I'm coming! What is it?
We're back, Father.
Did you miss us?
You're back.
Good. Excellent.
Well done.
Oh, my angel.
Of course I missed you.
All right, boys, follow me.Get your hands off that
wallpaper.
Now, come on in. The silliest thing.
These young gentlemen say that...
You're back.
Mother, Father, I would like to introduce the Lost
Boys.
- Hello.
- Hats.
May I keep them?
Well, I-I...
I mean, the expense.
Think of the neighbours.
Dash the neighbours!
And dash the expense!
Welcome to the family, boys.
Thank you, thank you,
thank you, thank you.
Will this help the expense, Father?
Anyone for a pony ride?
- I'm Tootles.
- Tootles, darling.
- I'm Curly.
- Curly, darling.
And what's your name?
Nibs. I plan the battles.
Would you like a mother, Nibs?
- Yes.
- Oh!
- What is the matter, child?
- I couldn't find the house.And now everyone has a
mother, except me.
Is your name Slightly?
Yes.
Then I am your mother.
How do you know?
I feel it in my bones.
Mother!
George! Mary! I have a son!
There could not have been
a lovelier sight,but there was none to see it...
except a strange boy who was staring in at the window.
Peter Pan had countless joys...
that other children
can never know,but he was looking at the one joy...
from which he must be forever barred.
To live would be an awfully big adventure.
Peter!
You won't forget me, will you?
Me? Forget?
Never.
Will you come back?
To hear stories... about me.
But I was not to see Peter Pan again.Now I tell his
story to my children,and they will tell it
to their children...and so it will go on.For all children grow
up...
except one.

Special help by SergeiK