Walt Disney's Surprise Package: Peter Pan and the Pirates

Previously here at 2719 Hyperion, we featured material from the 1944 storybook collection Walt Disney's Surprise Package.  This Simon and Schuster publication is especially notable in that it showcased stories from animated projects then still in production at the Walt Disney Studios.  Included in the anthology is Peter Pan and the Pirates, which preceded the actual animated feature by close to a decade.

Peter Pan and the Pirates is an abbreviated tale, likely derived from whatever story notes and concepts that had been produced by the studio at that time.  In the story, Peter takes the children to Neverland where they meet the Lost Boys and briefly spy on Captain Hook and learn of his connection to the alarm clock ticking crocodile.  All but Peter are later captured by Hook.  The story ends with Peter's daring rescue of his friends and his final confrontation with Hook.

Initially, Wendy, John and Michael are wholly ignorant of Peter Pan and Neverland.  It is Mrs. Darling who first sees Peter Pan in the nursery and tucks his shadow away for safe keeping.  This connection between Peter and Mrs. Darling is actually more faithful to Barrie's original story:

   "But George . . . last night, Nana's night out, I was drowsing here by the fire, when suddenly I saw that boy . . . in the room!  I screamed.  Just then, Nana came back.  She sprang at him, but too late.  The boy leaped for the window and was gone!"
   Mr. Darling looked at his watch.  "Come, dear, we're late.  We haven't time for this foolishness tonight."
   "Wait," said Mrs. Darling.  "The boy escaped, but his shadow hadn't time to get out.  Down came the window and cut it off!  I picked it up and and put it there in the bottom drawer."  She pointed to the bureau.
   Mr. Darling laughed aloud.  "Your head is always so full of stories you're beginning to believe them yourself."

Tinker Bell's role had yet to be developed.  Her participation in the story is minimal and the key story element of her jealousy of Wendy is completely absent.  Even the concept of pixie dust bestowing the power of flight was not yet present.

One strange concept that did not survive to the final film was the toxic nature of Hook's tears:

   The pirates dragged the children off.  Now Hook was ready for his prey.  Smacking his lips, he whipped out his dagger.  He squeezed himself into the nearest tree trunk and wriggled his way to the bottom.  But there he stuck.  He was too big to go any further.  He couldn't reach Peter, who was sleeping right in front of him by the fire.  The sight of his happy face made Hook shake with rage.  His iron claw twitched.  Two fiery red spots blazed up in the centers of his blue eyes.  Hot angry tears sizzled down his cheeks.  They splashed into Peter's medicine in the sea-shell on the shelf just below.
   Hook watched them.  The corners of his mouth turned up in a villainous smirk.  He knew that the tears from his red spots were poison!    "I've got you this time, Peter Pan!"  He hissed.

In the original Barrie story, Hook simply dispatches a generic (but virulent) poison into Peter's medicine.  Tinker Bell saves Peter by drinking the medicine and is later revived by the worldwide hand-clapping of little children professing their belief in fairies.  In the Surprise Package story, Tink simply informs Peter of the poison and he believes her.  In the final film, the poison is replaced with a time bomb which very nearly dispatches Tink, but she subsequently revives and without the need of juvenile applause.  

In Peter Pan and the Pirates, the final battle between Peter and Hook ends on an odd and somewhat anticlimactic note:

   Steel blades flashed!  It was Peter Pan against Captain Hook!  The fight to the death was on!  But the fight was short.  Peter thrust with blinding, dazzling speed.  Hook was no match for him.  His sword slipped from his hand.  It crashed to the deck.
   Peter stooped down and picked it up.  He handed it back to the pirate with a joyous, cocky smile.
   This was too much for Captain Hook.  He could not face that hated smile!  He stalked to the ship's edge.  with a last flourish of his hideous claw, he climbed the rail.  He jumped.  Down splashed Captain Hook into the black lagoon!  He did not dream that the crocodile was waiting for him.  The beast had given no warning, for the clock inside of him had a last run down.

All of the stories in Walt Disney's Surprise Package, including Peter Pan and the Pirates, were adapted by H. Marion Palmer (who was interestingly enough the first wife of Theodor Geisel, aka Dr. Seuss). The artwork, including the examples reprinted here, were credited simply to the Walt Disney Studio.





Explore the 2719 Hyperion Archives:
Walt Disney's Surprise Package: Happy Valley
Walt Disney's Surprise Package: Lady

Walt Disney's Surprise Package: Lady

I'M LADY. I like it here where I live. Everything is good, especially Mister Fred and Missis. They always speak in gentle voices. Besides Mister and Missis, there's the Small One. He's only been here six months and he's too new to speak.

So begins a cute little dog story from the 1944 storybook collection Walt Disney’s Surprise Package. In an earlier post, I provided some background on this very interesting Simon and Schuster publication and how it presented material from animated projects that were at that time still in some state of concept development or production at the Burbank studio. Preceding Lady and the Tramp by more than ten years, the story “Lady” features an earlier and much abbreviated version of the 1955 film’s storyline. It had yet to include Tramp and many of the other colorful supporting characters such as Jock, Trusty and Peg.

Told in the voice of its title character, the story includes the three primary human characters that were ultimately realized in the film as Jim Dear, Darling and Aunt Sarah, and unnamed incarnations of Si and Am, Lady’s devious feline adversaries. Names and relationships were somewhat different. Lady’s owners began their conceptual life as Mister Fred and Missis, while it is in fact Missis’ mother who brings the malicious and troublesome Siamese cats into the picture. Lady identifies her as the horrid Cat Woman.

In a scene that didn’t make it into the film, Lady is framed for the disappearance of the household’s pet canary Trilby:

Suddenly, over in the corner, the dishes trem­bled in the china closet. Two brown bodies bounded from the top. They leapt into the air, straight for the canary cage. They grabbed it with their eight horrid feet and two horrid tails.

Trilby shrieked with terror. The cats were snatching at her through the bars!

"Coming!" I barked. I sprang, snapped at the cage bottom, and pulled it off. Trilby fluttered down. Out of the cage, out of the open win­dow, she flew for her life. Trilby and cats don't mix. No, Sir.

"What's going on down there?" cried the voice of Missis from upstairs.

Footsteps came hurrying down. Mister and Missis and the Cat Woman too! The cats scurried off. They flattened themselves safely into the darkness under the china closet.

The Cat Woman reached the dining room first. She pointed at me, and then to the empty, broken cage. "That animal has eaten your poor canary!" she cried. "She's a dangerous dog! There's no telling what she'll do next!"

"Lady!" That's all that Missis said. It was just her voice that made me wish I were dead. No one saw the cats peek out from their dark safe corner and sneer with their slanted eyes.

Everyone looked at me and began to whisper. "Take her away right now," said the Cat Woman. "She's dangerous . . . don't waste any time."

In the movie, the two cats do set their sights briefly on the pet canary, by are quickly distracted by the nearby goldfish and then again by "baby cries." Later in the storybook version, Lady is again blamed for an incident that would ultimately evolve into the films “rat” confrontation. However, in this early version, the cats are still the primary villains:

I was prowling about upstairs. Somehow I didn't like the sniff of things. I searched the bed­room, the bathroom, and the cupboard where they keep the towels. I walked down the hall. The Small One's door was open a little wider than it usually was. I poked in my head just to see if all was well. I blinked. All the hairs on my back stood up straight. Cats!

They were clawing at the Small One's basket . . . tearing the dainty lace ruffles . . . pulling off the beautiful ribbon as though it were com­monplace, everyday string! Then suddenly they jumped for the blue bow on the hood of the basket, just over the Small One's head! They missed the bow and crashed against the basket. It rocked wildly from side to side. It almost spilled the Small One out!

This was too much!

I sprang through the open door. I snarled. I barked. I growled like the thunder that comes when it rains. The Small One made loud screams. He wasn't hurt, but he was mighty scared. The cats raced away down the hall and disappeared.

Fast feet came rushing up the stairs. I wanted to run but I didn't. Lights flashed on. The Cat Woman shouted, "I knew it would happen! I told you so! She's a dangerous dog!"

But in the end, Lady is ultimately vindicated:

Mister came up close. He knelt down beside me right in the mud. He ripped off my muzzle. "Lady! Lady, forgive us! We know now it was the cats! We found lace and blue ribbon in their claws. What might have happened without you!" He picked me up in his arms, mud and all. He carried me all the way home like a puppy. A grown-up dog like me!

The story’s illustrations depict a very different and slightly “toonnier” version of Lady, but the Siamese cats are not very far removed from their future Si and Am renditions. In ten subsequent years of development, Lady would discover romance, adventure, new friends and the joys of Italian cuisine. Unknown to its young readers in 1944, Walt Disney’s Surprise Package was providing an early peek at what would become one of the Walt Disney Studios most beloved and cherished endeavors.

Walt Disney's Surprise Package: Happy Valley

In 1944, the Walt Disney Studios did something that would be quite unheard of in our current day and age. They assisted in producing a storybook collection that featured stories from animated projects that were at that time still in some state of concept development or production. In fact, two of the stories in Walt Disney’s Surprise Package, “Lady” and “Peter Pan and the Pirates” were derived from films that were not released until the mid-1950s. Can you imagine Pixar or Walt Disney Feature Animation giving consumers that kind of sneak preview in the current tight-lipped, secrecy enveloped culture of 21^st century film production?

Published by Simon & Schuster and adapted by H. Marion Palmer (who was the first wife of Theodor Geisel, AKA Dr. Seuss), Walt Disney’s Surprise Package is an interesting, albeit unintentional glimpse at early ideas and concepts for some of the studio’s notable post-war endeavors.

One of the stories I found most interesting was “Happy Valley,” which would ultimately become the Mickey and the Beanstalk sequence in the 1947 feature Fun and Fancy Free. In this early rendition, the story was slightly expanded from its final filmed incarnation, likely due to the fact that it was originally conceived as a full length feature. The setting of Happy Valley is expounded on more fully. It is ruled by the kind and generous Queen Minnie, who has not only a magic harp in her service, but a hen who lays golden eggs as well. Early in the story, the “magic” of Happy Valley is explained:

The reason for this truly remarkable state of affairs was simply this:

In the courtyard of the Queen's palace on top of the hill stood a harp. Like all other harps, it was a beautiful thing, glistening, glossy, and gilded. Yet this harp was different from every other harp in the world. This harp could play its own strings. This harp could sing. And the voice that it sang in was sweeter than any voice that had ever been heard before. All day it sang to the people as they went about their work. All night it sang to the corn and the wheat, and the fruit as it ripened on the trees.

Naturally, with such music in the air, every day was a won­derful day, and everyone had a very fine time. The bakers al­ways whistled as they rolled out their dough. The butchers hummed gay little ditties as they wrapped up the bacon. The farmers didn't trudge wearily along behind their ploughs; they waltzed. And when the royal horses drove the smiling Queen to town, they pranced before her carriage in a jaunty, horsy swing.

But the singing harp was not the only thing that made everyone so happy. There was some­thing else too. In the barnyard of the palace lived a hen who laid golden eggs. Whenever anyone wanted to buy something, but had no money in his purse, he just went to the Queen and asked for some gold.

"Go to the hen coop and help yourself," the Queen would always say. "Take an egg . . . any one . . . there are plenty in the nest."

For Mickey and the Beanstalk, Queen Minnie and her slightly bizarre golden egg-based economy were ultimately discarded. In the film, Mickey returns from town having traded the cow for the notorious magic beans. In “Happy Valley” the details of the trade are provided:

In another instant, Mickey was off on his errand. Leading Evangeline by a rope, he climbed up the steps to the palace. Sighs and sobs burst out from the windows of the throne room. It was the Queen crying over her empty bowl.

Mickey knocked at the big front door.

"Enter!" sniffled the Queen.

Mickey turned the door handle and walked in. Down the long royal carpet he marched, with Evangeline shuffling along right behind him. He stepped up before the Queen and bowed.

"Well?" She dabbed her eyes with a bit of thin, worn-out lace. "What can I do for my poor unhappy subject?"

Mickey looked up into her pale, tear-stained face. "I can't ask her to buy anything," he thought to himself. "She's as poor as we are." He stammered. "Your Majesty ... I want . . . I want ... I want to give you my cow."

"Your cow!" gasped the Queen. "Don't you need her?"

"Need her?" gulped Mickey. "Oh, no!" He forced a laugh. "My friends and I have lots and lots of cows!" He forced another laugh and tied Evangeline to a statue beside the throne. "Good-bye. ... I guess I'll have to be going now." He backed away toward the door.

"Wait a minute!" commanded the Queen. She went to a shelf, took down a little green box, and handed it to Mickey. "In return for your kindness to me, here's a present for you."

Mickey took the box and lifted up the lid. His heart sank. "Beans!" He bit his lip, and tried to smile politely.

"Yes . . . beans! But not ordinary beans . . . magic beans!" said the Queen. "They were given to me by my father the King. 'If you plant them,' he said, 'in the light of the first full moon, something will come to pass.' "

Mickey stared forlornly at the scrawny, thin little beans. "What will come to pass?"

"I don't know," answered the Queen. "That all depends on the moon."

Mickey thanked her. He backed away and hurried home. He felt worried. How would he explain what he'd done with the cow? Donald and Goofy were expecting him to bring back a big supper.

The emergence of the beanstalk and Mickey, Donald and Goofy’s subsequent confrontation with Willie the Giant remain fairly consistent from book to film. But the penultimate climax between the trio and Willie is substantially different in the concept story. In the movie, as in most variations of the classic Jack and the Beanstalk tale, the hero chops down the beanstalk and sends the villain plummeting to his doom. This Surprise Package version has a decidedly much odder sequence of events:

"Now, watch out!" yelled the bunny. "Willie can change himself into anything! He knows the magic wordies. Fedy fidy fody fumdum!" Another explosion rocked the room.

"Look!" gasped Mickey, "he's a giant again! Look . . . look ... a super giant . . . growing bigger every second!"

Mickey, Donald, Goofy, the harp, and the hen, too, shuddered and gaped. Willie was now so colossal his hair was brushing down plaster from the ceiling. "Fedy fidy fody fumdum!" Another explosion! Now Willie was growing smaller . . . shriveling down as fast as a punc­tured balloon! "Fedy fidy fody—oh ... oh!" He moaned. "That last word . . . what is it? . . . Oh, oh, oh!" He wailed.

"He's forgotten the magic word! Now's our chance to get out!" whispered Mickey. "Donald, you give me a hand with the harp. Goofy, you carry the hen."

Willie's moans now burst into yowls. "Oh . . . oh! I've forgotten the magic wordie! Now I can't change myself into anything!"

The three dumbfounded friends peered over the edge of the table. There was Willie down underneath, among the crumbs! ... a puny little man, not half as tall as Mickey!

The gang bunks out in their still beanstalk-perched house and overnight, the beanstalk magically diminishes, returning all concerned back to Happy Valley. And Willie’s fate? Here are the final two paragraphs from the story:

Great was the rejoicing in Happy Valley when the people saw the harp and hen once more. The harp sang such a merry song as they carried her back to the Queen that all the crops for that year and the next year, too, burst up through the ground and began to sprout. The hen made a personal visit to every single home and laid a bright golden egg upon the doormat.

Willie asked the Queen's pardon for the un­pleasant giant that he had been. The Queen granted the pardon because of the pleasant midget he had become. She hired him to serve her as a footman. And every day from that day on, a midget-giant in a scarlet suit with big brass buttons pranced beside the royal horses when the Queen drove down to town.

That’s quite a difference from the events that transpire in Fun and Fancy Free. Upon seemingly falling to his doom in the cartoon sequence, Willie returns to pry the roof off narrator Edger Bergen’s house and inquire as to whereabouts of a certain mouse. He then wanders off through Hollywood, where at one point he lifts up the California crazy architecture of the famous Brown Derby restaurant and fits it to his head.

Three years separated the publication of “Happy Valley” from the release of Fun and Fancy Free. It appears that Minnie and the hen were they only major casualties of the development process. And clearly the film benefited from the ejection of the weird anti-climactic Willie metamorphosis in favor of the more traditional Jack and the Beanstalk ending.

Sixty-plus years ago, Walt Disney’s Surprise Package served only as storybook collection targeted expressly for young readers. Today, it provides a window for Disney historians and enthusiasts into the Burbank studio of the 1940s and the ability to pay some small witness to their now famed creative process.

Stay tuned for future posts that will feature additional content from Walt Disney’s Surprise Package.