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2K views43 pagesAnne of Green Gables
Anne of Green Gables Play script
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Actor31Copyright
© © All Rights Reserved
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/ 43
Anne of Green Gables
A faithful, unsentimental dramatization of the first part of the
beloved classic. Commissioned and premiered by Seattle Children’s
Theatre.
Comedy/Drama. Adapted by R.N. Sandberg. From the novel by
LM. Montgomery. Cast: im, 5w, with doubling, or up to 11 (4m,
4, 1 boy, 2 girls). Marilla Cuthbert and her brother Matthew
Zequest an orphan boy to help work their farm but are mistakenly
Sent the high-spirited, red-headed Anne Shirley. Knowing they are
ill equipped to raise a child, Marilla attempts to send Anne back
to the orphanage. With Matthew lobbying to keep Anne, Marilla
ultimately agrees to let her stay at Green Gables, The trials and
tribulations Marilla fears come to pass as Anne insults Marilla’s
best friend, “loses” Marilla’s most cherished brooch, smacks the
school’s prize pupil with a slate, and inadverteutly gets her best
friend Diana drunk on cherry cordial. She also tums out to be
bright, charming and resourceful, full of irresistible imagination,
Marilla and Matthew admit she isthe best thing that ever happened
to them, and Anne comes to understand she is a loved, worthwhile
Person. Main setting is Green Gables with various locations
around Avonlea 10 be suggested. Turn-of-the-20th-century
costumes. Approximate running time: 105 minutes. Code: AES000.
ISaN40 1-50542.785.2
|SBN-13 e7e-t-s5340. 766-9
I Ap Crcmatic Publishing
311 Washington Street
Woodstock IL 60098
s'761583l427 560K 800-448-7469
‘ane of Groen Gables
(Sendberg)
Anne o
Green
Gables
i
i by
R.N. Sandberg
adapted from
L.M. Montgomery’s novel
full-length version Anne of Green Gables
Adapted by
R.N.SANDBERG
From the novel by
L.M.MonTcomery
Dramatic Publishing Company
‘Woodstock, Ilinois # Australia New Zealand South Africa "+ NOTICE *#*
The amateur and stock acting rights to this work are controlled exclusively by THE
DRAMATIC PUBLISHING COMPANY, INC., without whose permission in
‘writing no performance of it may be given. Royalty must be paid every time a play
is performed whether or not itis presented for profit and whether or not admission
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PUBLISHING COMPANY, INC., 311 Washington St., Woodstock, IL 60098,
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deletions or substitutions may be made inthe work without the prior written conseat
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‘videotape, lm, or any information storage and retrieval system, without permission
in writing from the publisher. It may not be performed either by professionals or
amateurs without payment of royalty. Allright, ineluding, but not limited Ww, Ux
professional, motion picture, radio, television, videotape, foreign language, tabloi,
recitation, lecturing, publication and reading, are reserved.
For performance of any songs, musie and recordings mentioned inthis play which ae in
copyright, the permission ofthe copyright owners must be obtained or other songs and|
recordings inthe public domain substituted.
‘© MCMLXC1, MCMLXCIII by R. N. SANDBERG
‘© MCMLXCV by ANCHORAGE PRESS, INC.
Printed inthe United States of America
All Rights Reserved
(ANNE OF GREEN GABLES)
ISBN: 978-1-58342-756.9
IMPORTANT BILLING AND CREDIT REQUIREMENTS
All producers ofthe play must give credit tothe author ofthe play in all program
distributed in connection with performances of the play and in all instances in which
the ttle ofthe play appears for purposes of advertising, publicizing or otherwise
exploiting the play andor a production. The name ofthe author must also appeay on
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‘ype. Biographical information on the author, if included in the playbook, may be
used in all programs. Jn all programs this notice must appear:
“Produced by special arrangement with
‘THE DRAMATIC PUBLISHING COMPANY, INC., of Woodstock, Ilinois.”
Commissioned and premiered by the
SEATTLE CHILDREN’S THEATRE ‘Characters
Anne Shirley, an orphan
Marilla Cuthbert, a spinster
Matthew Cuthbert, her bachelor brother
Diana Barry, a young girl
Gilbert Blythe, a young boy
Mrs. Bary, Diana's mother ***
Mrs. Lynde/Mrs. Blewett ***
Stationmaster/Mr. Philips, the schoolteacher/Doctor
** An alternative to this doubling is provided in the back of the playbook.
In the alternative, Mrs. Barry is doubled with Mrs. Blewett.
Setting Primarily, Green Gables - a unit with dining room and Anne's
room, all surrounded by trees and flowers,
Various other locations in Avonlea, a smalll town on Prince Edward
Island, Canada, about 1900,
RACHEL:
MARILLA:
RACHEL:
MARILLA:
RACHEL:
MARILLA:
RACHEL:
MARILLA:
RACHEL;
MARILLA:
ANNE OF GREEN GABLES
ACT
‘Scene 1
‘The dining room at Green Gables. Maria is setting the
table as Rachel Lynde bursts in.
Maria, is Matthew il? | saw him heading for town. He's
Not off to the doctor's is he?
He's gone to the train station, Rachel. We're getting a
little boy from the orphan asylum in Nova Scotia,
You can't be in eamest.
‘Yes, of course | am. We've been thinkin about it for
sometime. You know how hard itis to get hired help.
Yes, but -
Mrs. Peter Blewett’s bringing him on the 5:30 train. She
‘was going to the orphanage to pick up a girl for her
‘Cousin, 50 we just fold her to pick us up a boy.
Well, Marla just tell you plain that I think you're
oing a mighty foolish thing. You're bringing a strange
child into your house and you don't know a single thing
about him. Why, it was only last week | read in the
Paper how a man and his wife up west ofthe Island took
2 boy out of an orphan asylum and he set fire to the
house - set ton purpose, Marilla - nearly burnt them to a
crisp in their beds.
There's risks in pretty near everything a body does in
this world,
But this.
Matthew was terrible set on it. You know he seldom sets
his rind on anything, so when he does | always feel |
‘Ought to give in to it. RACHEL:
MARILLA:
RACHEL:
MARILLA:
RACHEL:
MARILLA:
‘You and your brother don't know a thing about bringing
wp achild.
‘Neither do people who have their own when they start.
‘Anyway, this boy's from Nova Scotia, right close to the
Island. It isnt as if we're getting him from England or the
States. He can't be much different from ourselves.
heard of an orphan child over in New Brunswick who
‘put strychnine in the well and the whole family died in
fearful agonies. And in that instance it was a girl
Well, we're not getting a girl | wouldn't dream of taking
a gir to bring up. We need someone to help work ths
farm.
Well, | hope it turns out all right. Only don't say | didn’t
warn you if Green Gables burns down or you die of
strychnine.
appreciate your concer, Rachel.
(The lights crosstade as the sound of a train whistle
fades away in the distance.)
‘Scene 2
‘Avonlea Station. A small figure, a child, sits on a
battered suitcase. The child wears a too large overccat
‘and a cap covering its head. We can see only the chic's
back as the lights come up. The child wraps the coat
‘more tightly around itself and turns towards us for the
first time: she is a gil, a simple, tattered dress under her
coat. The Stationmaster comes to pick up a mailbag
and notices the gif,
STATIONMASTER: Now, look, my girl, we've got a Ladies Waiting
ANNE:
Room, and that's where you ought to be. You've been
‘out here long enough.
| prefer to stay outside. There's more scope for
imagination. (Looking off) Like with that wild cherry
tree. If no one comes tor me, that's where I'l sleep
tonight. All white with bloom in the moonshine. i
imagine I'm dwelling in marble halls. (Pointing off) Oh,
‘ook, look at it now - as the wind's blown it. What does i
make you think of?
STATIONMASTER: A cherry tree blowing in the wind,
ANNE: My goodness, not
‘STATIONMASTER: And all the fruit that'l fall off and be squashed.
What a mess I'l have to clean up.
ANNE: It looks just lke a bride! With a lovely misty veil. I've
ever seen one but | can imagine what she would look
like. | don't ever expect to be a bride myselt.. fm too
homely. But | hope that someday | shall have a white
dress. That is my highest ideal of earthly bliss.
(An older man, very tentative and shy enters. He stands
ditfidently off to the side looking around for something at
fist then focuses ‘non Anne and hears her last few
ines.
STATIONMASTER: (Sees the man and goes to him) About time you
got here, Matthew.
MATTHEW: — Will the 5:30 train be long?
STATIONMASTER: Been in and gone half an hour. (Indicating Anne)
There she is. (Confidential) She's a case. Got a
tongue runs longer than a freight train to Ottawa.
MATTHEW: — (Puzzled) Is Mrs. Peter Blewett about?
STATIONMASTER: Couldn't wait. Had to get the other gir to her
cousin's. Said you and your sister were adopting
one.
MATTHEW: (More puzzled stil) | was expecting a boy.
STATIONMASTER: Well, she’s not a boy, Matthew, and I don't have
‘any more orphans concealed around here. ‘ANNE:
Excuse me, are you Mr. Matthew Cuthbert of Green
Gables? |
STATIONMASTER: (To Anne) Looks lke you won't be sleeping inthe |
ANNE:
MATTHEW:
ANNE:
MATTHEW:
ANNE:
MATTHEW:
ANNE:
trees after all. (To Matthew) Good luck, Matthew.
(Exits,)
I'm very glad to see you. 1 was beginning to be afraid
you weren't coming for me and I was imagining all the
things that might have happened to prevent you. It's so
wondertul that I'm going to live with you. I've never
belonged to anybody - not really. | feel pretty nearly
perfectly happy. | can't feel exactly perfectly happy
because - well, (She sets down her bag and pulls off her
‘hat) What color would you call this? (She holds out one
of her braids.)
It's red, ain't it?
Yes, i's red. Now, you see why I can't be perfectly
happy. | cannot imagine that red hair away. | do my
best. I think to mysol, "Now my hair is a glorious black,
black as the raven's wing.” But all the time, | know it's
just plain red, and it breaks my heart. It wil be my
litelong sorrow. (She picks up her bag. Matthew does
‘not move.) Shouldn't we be going?
Well, now, you see, I'm confused about that.
(A moment of fear) Is it because I'm taking too much?
People are always telling me I do. Would you rather |
didn't talk? If you say so Ill stop. Could we go if Ido? |
can stop when | make up my mind foi, although i's
ifficut. |
‘Oh, | don't mind the talkin’. You can talk as much as you
like.
‘Oh, I'mso glad. It’s such a relief to talk when one wants
and not be told that children should be seen and not
heard. Shallwe go? (Matthew doesn't answer. Her i
voice trembles.) We are going to Green Gables, aren't
we?
MATTHEW:
ANNE:
MATTHEW:
‘ANNE:
MATTHEW:
ANNE:
MATTHEW:
‘ANNE:
ANNE:
MARILLA:
MATTHEW:
MARILLA:
Well, now, you see - (Anne clutches her bag. She is
terntied.) You're not lke other gits, are you? Not like
girls around here.
| don't know. I guess I'm not. But Ido have my good
points. I'm sure you'll find them out once you get to
know me.
Well, now, | expect that's so. Allright. Come on.
(As they start togo) Have you ever imagined what it
must fee! like to be divinely beautitul?
(His voice trailing off in the distance) Well, now, no, |
haven't
(The lights are cross tading back to the dining room.)
‘Scene 3
Green Gables. Marilla sits anxiously at the table. We
hhear Anne taking before she and Matthew enter.
This Island is the bloomiest place! But those red roads
are so funny. (As they enter) What does make the
roads so red?
Well, now, I dunno.
‘Wel that is one of the things to find out, sometime. Isn't
1? (Sees the house for the frst time) Oh, | mustbe in a
ream,
(Matthew goes into the dining room. Marilla looks at him
and Anne. Anne takes off her cap.)
Hello.
(To Matthew) Where's the boy?
‘There wasnt any boy.
‘There must have been a boy. We sent word o bring a
y- MATTHEW:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
MARILLA:
‘ANNE:
MARILLA:
ANNE:
MARILLA:
‘There was only her.
‘Well, this is a pretty piece of business.
You don't want me. You don't want me because I'm not
a boy! | might have known it was all too beautiful to last.
lly cid want me. (She
‘Well, well, there's no need to cry about tt.
Yes, there is need. You would cry too, it you were an
orphan and you came to a place you thought was going
to be home and found that they didn't want you because
‘you weren't a boy. Oh, this is the most tragical thing that
ever happened to me.
(An almost imperceptible smite tries to force itself onto
her face.) Well, don't ory anymore. We're not going to
turn you out of doors tonight. We'll investigate this affair,
tomorrow. (Anne's sniffles are subsiding.) What's your
namo?
(Anne composes herselt, becoming quite serious.)
Will you please call me Cordelia?
Is that your name?
No-0-0, not exactly. But | would love to be called
Cordelia. I's such an elegant name.
| don't know what on earth you mean. if Cordelia ist
your name, what is?
‘Anne Shirley, but oh, please do call me Cordelia. Itcant
matter much to you what you call me if'm only going to
be here a litle while, can it? And Anne is such an
‘unromantic name.
Unromantic fiddlesticks! Ann is a good plain sensible
‘name and that's what Il call you.
ANNE:
MARILLA:
‘ANNE:
MARILLA:
MATTHEW:
MARILLA:
MATTHEW:
MARILLA:
ANNE:
MARILLA:
‘ANNE:
Well then, could you please call me Anne spelled with
ane?”
What difference does it make how it's spelled?
‘Oh, it makes such a difference. When you hear a name,
can't you always see it in your mind? A-n-n looks
Greadtul, but A-n-n-e looks so much more distinguished.
'f you'll oniy call me Anne spelled with an “e,"I shall try
to reconcile myself to not being called Cordelia.
Very well, then, Anne with an “e,” take off your coat and
have some supper.
(As Anne removes her coat and sets her bag aside,
‘Marila Serves out the stew. Matthew hangs his coat up.)
Trip to the station's made me hungry.
(Matthew and Marila bow their heads for a moment in
silent prayer. Anne doesn't quite know what 1 do.
‘Matthew and Marila begin to eat.)
id you ask Mrs. Peter Blewett why she'd brought a girl?
Never saw her. She left (He hesitates to get the
‘pronunciation right.) Anne with the stationmaster. He
sald she didn't bring no boys off the train. Didn't see
how she could be leftat the station, no matter where the
mistake was,
Well, we'll straighten this out tomorrow. Mrs. Peter's
‘going to the Barry's. I'l talk to her first thing. (She looks
at dnne who is siting sadly at the table.) You're not
eating.
| can't. I'minthe depths of despair. Can you eat when
you're in the depths of despair?
ve never been in the depths of despair, so | can't say.
Well, did you ever try to imagine it
Wolo lagine you were in the depths
7 MARILLA:
ANNE:
MATTHEW:
MARILLA:
MATTHEW:
ANNE:
MARILLA\
ANNE:
MARILLA:
ANNE:
No, I didn't.
‘Then | don't think you can understand what it's ike. It's
a very uncomfortable feeling. When you try to eat, a
lump comes right up in your throat and you can't swallow
anything, not even ifit was a chocolate caramel. | had
‘one chocolate caramel two years ago and it was simply
delicious. I've often dreamedthat | had a lot of
chocolate caramels, but | always wake up just when I'm
about to eat them. | hope you're not offended because |
cantt eat. Everything is extremely nice, but | cant.
(Maria and Matthew look at each other.)
| guess she's tired. Best put her to bed, Maria,
| suppose. | made up the couch in the back room for the
boy, but that won't do for her. (As she lights a candle)
We'll have to put you in the east gable, | guess. It's plain,
butit’s clean, Bring your bag.
(Anne picks up her bag. Maria starts out.)
‘Anne. (She tums back.) Sleep well
‘Thank you, Mr. Cuthbert.
(Anne and Maria exit to Anne's room. itis very austere.
Marila holds a candle.)
| suppose you have a nightgown?
It's
Yes, the matron of the asylum made it for mé
fearfully skimpy, but you can dream just as well init as in
a lovely trailing one with frils round the collar.
Well, undress as quick as you can and go to bed. ll
come back in a few minutes forthe candle. | darer’t
‘rust you to put it out yourself. You'd likely set the place
on fire. Good night. (Tums to go.)
How can you call it a good night when you know it must
be the very worst night Ive ever had?
MARILLA:
MARILLA:
MATTHEW:
MARILLA:
MATTHEW:
MARILLA:
MATTHEW:
MARILLA:
MATTHEW:
MARILLA:
MATTHEW:
‘That's @ good, old bed, nice and firm. And you've a
oom all to yourself. | expect this is a far better night
than most you had back in that orphan asylum, Good
night. (She goes.)
(Anne looks around the room. She shivers and tries to
hold back her tears, but they burst forth as she throws
herself on the bed. After a moment, she gathers her
strength and sits up with conviction. She blows the
‘candle out and lies down.)
Scene 4
‘As the lights come up, a rooster crows. Bright sunlight.
‘Anne dresses as Marilla puts breakfast on the table.
Matthew enters from outside, dity from having already
begun work. He grabs a biscuit.
Mrs, Peter Blewett'l be at the Barry's by nine. I'l talk to
her direct, this time. The child'll have to be sent back.
(Reluctantly) Yes, | suppose so.
‘You suppose so! Don't you know it?
Well, now, it's kind of a pity sending her back when she's
0 set on staying.
Matthew Cuthbert, you don’t mean to say you think:
‘ought to keep her? ee
Well, now, no, | suppose not - not exactly. | suppos
we could hardly be expected to keep her.
should say not. What good would she be to us?
We might be some good to her.
| believe that child has be
that you do want to keep her.
hed you! It's plain as plain
Well, now, she’s a real interesting little thing. You
should have heard her tak coming from the station MARILLA:
ANNE:
ANNE:
MARILLA:
‘ANNE:
MARILLA:
ANNE:
MARILLA:
| don't want an orphan girl, and if did, she isnt the style
'dpick. No, she’s gottobe sent back straight away.
(Bursts into the room) Good morning, Miss Cuthbert!
Good morning, Mr. Cuthbert! Oh, isn't it wonderful?
Don't you feel as i you loved the world on a mening like
this? I'm not in the depths of despair, anymore. I've just
been imagining that it was me you really wanted atter all
and that | was to stay here for ever and ever. Itwas.a
Great comfort while it lasted.
Sit down and eat your breakfast.
(Matthew exits.)
{'m pretty hungry, this morning. The world does seem
such a howling wilderness ast did last night. 'mso
Glad it's sunshiny. But like rainy mornings real well,
00. Allsorts of mornings are interesting, don't you
think? But i's easier to be cheerful and bear up under
affliction on a sunshiny day,
For pity sakes, hold your tongue! You talk entirely too
‘much for alittle girl. (Anne is stopped short. She begins
to eat slowly in silence.) Can you wash dishes right?
Pretty well. I'm better at looking after children. Its a pity
you haven't any here for me to look atter.
| don't want any more children than I've got at present,
What's to be done with you | don't know. Matthew's a
‘most ridiculous man,
| think he's lovely. He's so very sympathetic. | fet he
was a kindred spirit as soon as | ever saw him.
‘You're both strange enough if that's what you mean,
When you wash the dishes, take plenty of hot water, and
‘be sure you dry them well. After you finish the dishes,
we'll go to the Barry's and settle what's to be done with
you.
10
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
(Softy, t0 herselt) 'm not going to think about going
‘back. I'm going to enjoy my breakfast and these trees
and - oh, look, there's one litle early wild rose out! Ism't
Pink the most bewitching color in the entire world? | love
it but | can't wear i. Redheaded people can't wear pink
‘rot even in imagination. Did you ever know of anybody
whose hair was red when she was young, but got to be
another color when she grew up?
‘No, | don't know as | ever did, and I shouldn't think it
likely to happen in your case, either.
Well, there's another hope gone. My life is a perfect
‘graveyard of buried hopes. That's a sentence | read in a
ook once. I say it to comfort myself whenever I'm
disappointed in anything. t's so nice and romantic, don't
you think?
Since you're bent on talking, you might as welltalk to
‘some purpose. Tell me what you know about yourself
Where were you born and such?
Bolingbroke, Nova Scotia. My father was Walter Shirley,
and he was a teacher in the high school. My mother
was Bertha Shirley. Aren't Walter and Bertha lovely
names?
‘person's name doesn't matter as long as she behaves
herself
(She talks matter of tactly as she eats.) My mother was
a teacher, too, but Mrs. Thomas said they were a pair of
babies and poor as church mice. They went to live in a
teery-weeny, litle yellow house. | never really saw it,
but I've imagined it thousands of times. Honeysuckle
‘over the parlor window, lilacs in the -
| Gon’ need your imaginings. Stick to the bald tacts
Mrs. Thomas said | was the homeliest baby she ever
Saw, nothing but eyes, But my mother thought I was
Perfectly beautiful. I'm glad she was satistied with me,
"1 MARILLA:
ANNE:
ANNE:
MARILLA:
MARILLA:
because she didnt live long, you see. She died of fever |
when | was just three months old. My father died four
days after. There was no family to take me in, and
nobody wanted me. But finaly, Mrs. Thomas took me,
even though she had a drunken husband. | lived with
them until I was eight. | helped look atter their children -
there were four of them younger than me. Then Mr.
Thomas was kiled falling under a train, and his mother
offered to take Mrs. Thomas and the children but she
didn't want me. Finally Mrs. Hammond took me since |
was handy with children, She had two when | same, and
afterwards twins three times in succession. When Mr.
Hammond died, she broke up housekeeping, civided her
children among her relatives and went to the Siates. |
hhad to go to the asylum because nobody woul take me,
was there four months. And then, Mrs. Blewett came.
Those are the facts.
(Silence for a moment.)
(With citficulty) Were those women good to you?
0-0-0, they meant to be - just as good and kind as
Possible. And when people mean to be good, you don't
‘mind very much when they're not quite - aways. They
hhad a good deal o worry them, you know. I's very
trying to have a drunken husband and to have twins
three times in succession. But I feel sure they meantto |
bbe good to me. }
(Marilla looks away from Anne. Anne picks up her
plate.)
ilwash the dishes, now.
Why don't you go outside fora little, first. You can do
the dishes after,
(Anne looks at the door but doesn't go.)
What's the matter?
12
ANNE:
DIANA:
MARILLA:
DIANA:
MARILLA:
ANNE:
MARILLA:
MRS. BARRY:
MARILLA:
Igo out there - well - there's no use in my loving Gree
Gables i | can't stay. I'l do the dishes and we can go.
Scene 5
The front porch of the Barry house. In a rocking chair
sits an attractive young girl, Diana Barry, just Anne's
‘age. She is rocking a baby wrapped in a blanket.
Marila and Anne with her bag enter. Neither are in gooc
spirits.
Why good morning, Miss Cuthbert? Won't you come on
In? Mother's just taking some muffins out of the oven,
Thank you, Diana. Has Mrs. Peter Blewett come yet?
‘Your mother said she'd be stopping by, this moming,
Why yes. She's just arrived. Shall | get her for you?
Thank you. I'llgoin. (Diana is looking at the downeast
Anne.) This is Anne Shirley. This is Diana and her
sister, Minnie May, Anne.
(Perking up) Diana. What a pertectly lovely name,
Diana was a goddess, you know. I'm Anne with an *e”
‘on the end. I's much more elegant,
Let's go in, Anne.
(Mrs. Barry, followed by Mrs. Blewett comes out before
they can.)
| thought | heard your voice, Marilla. How good of you to
stop by.
| MRS. BLEWETT: Well | see you got the git, alright. | coukint waste
time waiting for Matthew, last night,
The gir's why I've come, Mrs. Peter. You see there's
been a mistake; we wanted a boy. We told your brother
Robert to tell you we wanted a boy,
13 MRS. BLEWETT: You dont say. Well, Robert sent word by his
MARILLA:
daughter Nancy and she said you wanted a gir She's a
terrible, flighty thing, that Nancy. | can’t count the times
I've had to chastise her for heedlessness. I's not my
fault, Miss Cuthbert.
We should have come to you ourselves on such an
important matter, not trusted to a message. But anyhow,
the mistake’s been made and the only thing to do now is
to set it right. Can we send the child back to the
asylum? | suppose they'll take her, won't they?
MRS. BLEWETT: | suppose so - but you know, that may not be
Necessary. All the way back, yesterday, | was thinking,
“now, why didn’ | get one of those orphans to come
work for me.” You know how hard itis to keep good
help. | swear the girls | hire don't know what t means to
work. Think they've come to eat my food and let the
children run wild,
MRS. BARRY: Your children have a lot of energy, Mrs. Peter.
MRS. BLEWETT: That's why I've got the serving girls there - to get that
energy out of them!
MRS. BARRY: (Rocking the baby) Ssshh.
MRS. BLEWETT: (To Anne) Let me look at you, girl. What was your
ANNE:
name again?
‘Anne Shirley.
]
|
MRS. BLEWETT: That's right. There's not much to you without that coat
ANNE:
wrapped around. (To Maria) They practically shoved
her at me, said she'd be a good worker, though they
‘seemed a tle too eager to get rid of her to my mind.
‘She is wiry, though. Wiry ones are the best.
Do you have any twins, Mrs. Blewett?
MRS. BLEWETT: What business is that of yours? If I take you, you'll
have to be a good git - good and smart and respectful
14
|
‘ANNE:
I've four boys and a litle git! and you'l earn your keep,
‘There's no mistake about that. You've experience
caring for children, haven't you?
(Softly) Yes.
MRS. BLEWETT: Well then | suppose I might as well take her off your
MRS. BARRY:
MARILLA:
MRS. BLEWETT: | suppose itll have to.
MRS. BARRY:
MARILLA:
MRS. BARRY:
DIANA:
MARILLA:
ANNE:
hands, Miss Cuthbert. That slaggard | have now is just
about to run off. | saw it in her eyes, this momit
(Referring to Anne) Having one like this'll save me the
trouble of trying to find a new girl every month. If you
like, I'l take her home, right now.
(Marilla looks at Anne. Anne's eyes are downcast,)
(To her baby) Ssh, Minnie May, i's all right. Sshhhh,
(Slowly) Well, | don't know. | didnt say that Matthew
and | had absolutely decided not to keep her. In fact,
Matthew is disposed to have her stay. I oughtn't to
decide without consulting him. If we decide not to keep
her, we'll send her over to you, tomorrow. Will that suit
you, Mrs. Peter?
(She turns and abruptly goes
back into the house.)
Come in and have some tea, Marla. You, too, Anne =
there's warm muffins,
‘Thank you, but | told Matthew I'd be home right away.
(With a laugh) ve rarely seen you so solicitous of
Matthew, Manila. Come on, Diana, we don't want to
keep Mrs. Peter waiting. (She exits.)
(Staring at Anne) Well, perhaps, I'll see you again,
sometime. (Exits,)
(To Anne) Come on, now.
Oh, Miss Cuthbert, would you really let me stay at Green
Gables?
15 MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
MATTHEW:
ANNE:
(Crossly) Itisn't decided yet. Perhaps we will conclude
to let Mrs. Peter Blewett take you after all. She certainly
needs you much more than I do.
''d rather go back to the asylum than live with her. She
looks exactly ike a - like a gimlet. MATTHEW:
A litle git like you should be ashamed of taking so.
‘You hold your tongue and behave as a good girl should.
MARILLA:
ty to do and be anything you want, if youll only keep
me.
‘You can practice keeping your thoughts to yourself then,
‘as we go back to Green Gables.
MATTHEW:
(As they exit) You shall see how strong I can be, Miss
Cuthbert. I'lbe the model of golden silence. | shall be |
‘as quiet as the leaves when the wind's stopped blowing | MARILI
aftera storm. (They're gone but Anne's voice can stil
be heard.) That's a lovely, cool quiet, isn't it? Even the
insects seem lo be waiting to make sure... (Je lights) MATTHEW:
have shifted) j
| MARILLA:
Scene 6 i
Green Gables. The dining room. After dinnet. Marila,
‘sewing, and Matthew, oling his boots, sit atthe table.
‘Anne enters drying her hands with a towel. |
MATTHEW:
That's the last of the dishes, Miss Cuthbert, and | bel
they are dried very well. Itdoes make one feel very
satisfied to have completed a task down to every detail
in just the way twas supposed to be done.
| MARILLA
Its time forbed, now, Anne, |
I'm stil bursting with energy, Miss Cuthbert. |
| MATTHEW:
Its time for bed,
| MARILLA:
Good night, Mr. Cuthbert.
t6 |
Good night, Anne.
|ook forward to seeing your smiling face in the morning
(She exits.)
(Stares at Maria for a moment. She just keeps sewing,
I wouldn't give a dog to that Blewett woman, let alone a
childlike that.
| dont fancy Mrs. Peter Blewetts style either, but is that
or keep the child ourselves. | know that's what you
want, and I've been thinking over the idea. | dare say Id
‘make a terrible mess of bringing up a child, especially a
gid.
Well, now, | reckoned you'd come to see that we should
keep her. She's such an interesting little thing,
| have not said we'll keep her and it would be more to
the point to say she was a useful litle thing.
‘She's done fine by the dishes.
‘She'd have to be trained to everything. And there'd be
tno interfering from you. An old maid doesn't know much
about bringing up a child, but | guess she knows more
than an old bachelor.
You can have your way, Marilla. Only be as goodto her
{a8 you can without spoiling her. 1 kind of think she's the
‘sort you can do anything with i you only get her to love
you.
Who'd have ever thought you'd be talking like that. Little
Girls have been your mortal fear since you were five
years old,
Well, now, I don't know its since I was five. And this
one’s different,
We'll both be in for it it we do this.
7 MATTHEW:
MARILLA:
MATTHEW:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
(Smiling) We will.
Ihave not agreed to keep her. |
know.
(Marila goes to Anne's room. Anne is in bed,
imagining.)
Have you said your prayers, Anne?
I never say any prayers. MARILLA:
Don't you know it's terrible wicked not to ‘Say your i
Prayers every night? ANNE:
Mrs. Thomas told me that God made my hair red on |
Purpose and | haven't cared about Him since. |
/MARILLA:
While you are under my roof, you must say your prayers,
‘ANNE:
MARILLA:
[
lanne:
Why must people kneel to pray? If | really wanted to =
\
Why, of course, if you want me ta Rut youl have to tell.
me what to say.
‘You must kneel down,
Pray, I'd go out into a great big field all alone and I'd k
Up into the sky that lovely blue sky that looks as if
Wares no 2nd fo its blueness - and I'd just feel a prayer MARILLA:
Well, what am to say? |
ANNE:
Most children would start with, "Now | lay me down to
sleep.” (She hesitates.) But think you're old enough to
Pray for yourself, Just thank God for your blessings and MARILLA:
‘ask Him humbly for the things you want.
I'l do my best. Gracious Heavenly Father, | thank thee
{or the trees with their lovely blossoms and the woods
and the flowers and the Lake of the Shining Waters - |
that's what I've decided to call that beautiful pond by the ANNE:
Barry's. I'm extremely grateful for them. Thats all the
18
blessings | can think of just now. As for the things |
want, they're so numerous that it would take a great de:
cof time to name them al, so | will only mention the two
‘most important. Please let me stay at Green Gables:
and please let me be good looking when I grow up. |
remain, yours respecttully, Anne Shirley. There, did I dc
allright? I could have made it much more flowery i |
hhad a litle more time to think it over. Oh, | should have
said “Amer” instead of “Yours respectfully.” Do you
suppose it wil make any difference?
1-1 don't suppose it will. Go to sleep now lie a good
child. Good night. (She starts to go.)
Miss Cuthbert? If you do allow me to stay, might | call
you Aunt Marilla? I've never had an aunt or any relation
4nd it would make me feel as if | really belonged to you.
'mnot your aunt.
We could imagine you were.
When the Lord puts us in circumstances He doesn't
‘mean for us to imagine them away.
| don't know what | would have done all my ie it |
couldn’ have imagined myself away from my
circumstances.
(Starting to go again) Go to sleep, now.
Miss Cuthbert? Won't you Please tell me if you are
ong o send me away or not?
{tI tell You we're going to send you away you wont sleep
{or crying and being in the depths of despair. if | tell you
‘we're going to keep you you wontt sleep from
excitement. A night of sieep’s too important to be lost,
especially for a child, Tiltell you in the morning,
But, Miss Cuthbert, it you dont tell me, | shart sleep
‘one wink. Ill spend the entire night imagining the life
19 MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
‘ANNE:
1
[
that may lie before me. If I'm to be sent away, Ill sleep
to gather strength to face Mrs. Blewett. If mto stay, I'l
sleep to thank you for your generosity. Sc can't you
please tell me?
Well- | suppose | might as well. You are next door to a
Perfect heathen, Anne. There are so many things you
eed to be taught. If you stayed, | should have my
hands full. (She pauses.) | have had a pretty easy lf | MAS. LYNDE:
of itso far, but | suppose we can't get through this world
without our share of trouble. Matthew and I have
\ARILLA:
\NNE:
decided to keep you. That is, it you will ry to be a good | MARILLA:
girl. (Anne cannot respond.) Why, child, whatever is the
matter? j
'm crying, | can't think why. I'm glad as | can be.
{0 be So good, Miss Cuthbert. I promise you. But it will
‘be uphill work, | expect, for Mrs. Thomas toid me Iwas |
desperately wicked. |
You're not wicked, child. But I'm afraid you cry and
laugh far too easily.
"ido my best, Miss Cuthbert. My very best. |
‘And we will try to do right by you. Good night, now.
Miss Cuthbert? Since | can’t call you Aunt Narila, vat
am I to call you?
‘You may call me just plain Marilla, MARILLA:
Won't that sound awfully disrespectful? MRS. LYNDE:
If you're careful and speak respectfully itwill sound just.
fine,
Good night - Marilla, |
NARILLA:
Good night.
MRS. LYNDE:
Marilla, | can say good night tonight with a clear
‘conscience.
20
i
‘il YMRS. LYNDE:
fa
(Blows out the candle) Good night, Anne. (Exits,)
(With great joy) Good night.
‘Scene 7
The dining room. Rachel Lynde is sitting at the table,
Marilla is pouring tea.
You've got your hands full, now. It's too bad there was
‘Such a mistake made. Couldn't you have sent her back?
| suppose we could, but we decided not to. Matthew
took a fancy to her, and | must admit she’s a real bright
little thing,
I's a great responsibility you've taken on. There's no
‘guessing how a child like that will turn out.
(Anne comes running in from outside.)
(Babbling rapidly even before she's throuah the door)
‘Oh Manila, Matthew! I've been invited to visit Diana
Barry! Oh Marilla, Mrs. Barry said Diana wants me to
‘come over on Saturday! Do you think | might wear your
‘Amethyst brooch when | go, Marilla? | know it's precious
but -
(Anne stops short seeing Mrs. Lynde. Rachel is giving
her the once over.)
This is Mrs, Rachel Lynde, Anne,
‘Well, they didn’ pick you for your looks, that’s sure and
certain. She's terrible skinny and homely, Marilla,
Come here, child, and let me have a closer look at you.
(Anne does not move.) Lawtul heart, did anyone ever
‘see such freckles? | said come here, child
Anne?
‘And hair as red as carrots! What a sight! The children’
ave @ ime taunting those looks, and I don't blame em.
fed!
21 ANNE:
MARILLA:
ANNE:
MARILLA:
ANNE:
MARILLA:
MRS. LYNDE:
MARILLA:
MRS. LYNDE:
MARILLA:
MRS. LYNDE:
MARILLA:
MRS. LYNDE:
I
you call me skinny and ugly? How dare you say I'm
freckled and red-headed? You're a rude, impolite,
unfeeling woman!
hate you! | hate you, | hate you, | hate you! o)
|
‘Anne! |
(To Rachel) How would you like to be told that you're
bony and clumsy and haven't a spark of imagination?
Anne!
don't care if | hurt your feelings! And I'll rever forgive
you, never! |
‘Anne! Go to your room, and stay there until | come up-ANNE:
(Anne exits.) MARILLA:
Did anybody ever see such a temper! | don't envy your,
job bringing that up, Marilla.
You shouldn't have twitted her about her looks, Rachel,
Marita Cuthbert, you dont mean to say you're upholtinANNE:
a display of temper lke that? |
No, I'm not trying to excuse her. But she's never been|
taught what's right. And you were hard on her. I
Well, sae I'll have to be very careful what I say after
this. Since the fine feelings of orphans, brought from MARILLA:
goodness knows where, have to be considered before
anything else.
de INNE:
Rachel -
(Matthew looks in as Rachel gathers up her things to. MARILLA:
leave.)
‘Oh, no, I'm not vexed - don't worry yourself. I'm too
sorty for you to leave any anger in my mind, You'll hay
* |
MaRILLA:
your own troubles with that child. But it you take my
advise - and Ive raised ten children and buried two -
you'll use a fair sized birch switch on that one. Good
‘morning, Marila, Matthew. I hope you'll come down to
see me often as usual, but don't expect me to visit here
again in a hury. (She exits.)
(Matthew looks at Marilla as the lights cross fade to
‘Anne's room. Anne is face down on the bed. Marilla
enters.)
Anne. (No response.) Anne. Get off the bed with those
boots, and listen to what | have to say. (Anne gets up.)
Aren't you ashamed of yourself?
‘She hadn't any right to call me ugly and redheaded,
You hadn't any right to fly into a fury and talk to her that
way. Iwas ashamed of you, Anne. | wanted you to
behave nicely and you disgraced me. | don't know why
you should have lost your temper because sha said you
were redheaded and homely. You've said it often
yoursel.
There's a difference between saying a thing yourself and
hearing other people say it. You may think it's so but
You hope other people think otherwise. Oh, Marilla, |
couldn’ help it. When she said those things, something
just rose up inside and choked me. | had to fly out at
her.
Well, you've made a fine exhibition of yourself. I's a
Greadtul thing to lose your temper like that.
Just imagine how you would feel if somebody told you
you were skinny and ugly.
| understand how you feel, Anne. | understand it very
Well. And | don't say that | think Mrs. Lynde was exactly
‘ight in saying what she did to you. But she was a
stranger, your elder and a visitor - all reasons why you
“ould have been respectful to her; and you were rude
23 ANNE:
MARILLA:
ANNE:
MATTHEW:
ANNE:
MATTHEW:
‘and saucy. You must go to her and tell her you are venanNE:
‘sorry for your bad temper and ask her to forgive you.
|lcan never do that. You can punish me in any way YouyaTTHEW:
like, Marla. You can shut me up in a dark, damp
‘dungeon inhabited by snakes and toads and teed me |
only on bread and water and ! shall not complain. But la Ne:
‘cannot ask Mrs, Lynde to forgive me.
; MATTHEW:
We're notin the habit of shutting people up in dark,
damp dungeons, especialy as they'e rather scarce in ANNE:
‘Avonlea. But apologize to Mrs. Lynde you must, You
Said you would try to be good if we kept you at Green \yaTTHEW:
Gabies, butt certainly doesnt seemtike i, now. (She |
exits into the dining room.) |,
INE:
(Matthew who has been listening in the dining room is |
stifling a laugh. He puts on a serious face as Marila |
goes by him and out of the room. He makes sure she's
gone and then tentatively enters Anne's room.) WarTHew:
(Whispering) Anne? How are you?
Allright.
Well now, Anne, don't you think you'd better do it and
have it over with? It have to be done sooner or later,
you know, for Marila's a dreadful, determined woman |