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Script: Part 6

SCENE: French port

OFFICER: Passeport, madame? Non, desole. Il est interdit aux femmes de voyager. All foreigner women must be registered for travel. No good, very sorry.

ANNE: But…?

ELSIE JAMES: Geeze, those honest-to-God American girls look so great to me.

MARGARET BUSH: Yeah, but you know what? These God-forsaken uniforms are driving me nuts.

ELSIE JAMES: You’re telling me.

MARGARET BUSH: You know when I came over here I still had my silk stockings?

ELSIE JAMES: Yeah, I remember that.

MARGARET BUSH: You remember where it’s going now?





ELSIE JAMES: And more mud.

ANNE: Excuse me, but I couldn’t help but notice you’re from Stateside. Are you with the YWCA?

ELSIE JAMES: [laughs] God, no.

MARGARET BUSH: No, I don’t think so.

ELSIE JAMES: We’re actresses. We’re under contract.

MARGARET BUSH: For the boys.

ELSIE JAMES: For the boys.

MARGARET BUSH: Yeah, we’re on our way to the front, but the French military won’t let any more women than necessary into the danger zone, so we got stuck wearing these duds.

ELSIE JAMES: I’ve threatened to turn all of France into a danger zone if they try keeping us from our duty any longer.

ANNE: Are you registered to travel across the front?

MARGARET BUSH: No, actually, we spent the last eight days stuck in Paris trying to explain to the government how come we’re exempt from all these bloody rules.

ELSIE JAMES: Yeah, we’ve got our registration papers. Why? Where are you going?

ANNE: I’m going to Brussels and to Liege, hopefully, if I can get through.

ELSIE JAMES: Why don’t you stick with us? We can get you in.

MARGARET BUSH: Yeah, we’d love a challenge.


MARGARET BUSH: We’d have to get her a different get-up. Maybe the Red Cross or Sally Anne.


ANNE: Um, no, it’s all right. Thank you.

SCENE: Same station, after Anne has changed into a nun’s habit

OFFICER: [to girls] Vous permits, s’il vous plait. [looking at Anne’s papers] Allez-y.

ELSIE JAMES: Hey! Who’d you knock off to get your hands on that get-up? [laughs]

SCENE: Train compartment

ELSIE JAMES: So, I do imitations. I dance a little. I tell stories. You know, like this big Baldwin locomotive pulls up into a shed with four thousand Yanks. I jumps up on the platform, doing a handspring to boot, no less. “Hey boys, are we downhearted?” I yells and I hear this ear-splitting, “Hell, no!” [laughs] I tell you, it is the biggest show on earth. This war has gotten me hook, line, and sinker. Never knowing which song’s your last kind of spurs you on.

ANNE: I envy you.

ELSIE JAMES: What are you talking about? You’re acting your blessed heart out right now.

ANNE: You bring happiness into people’s lives.

ELSIE JAMES: Happiness, oh, geeze. Have another nip there, Sister Anne.

ANNE: I don’t even know who the devil I am anymore. We’ve all been swept up in some tidal wave, keeping on the surface for fear we’ll drown.

ELSIE JAMES: And you do drown. You do drown. Along comes some nineteen-year-old Jimmy Something-or-other from Tulamassoo, Idaho, to pay a call and tell you about his latest loves, oh, and he vows how no one can hold a candle to you. And Psst. Gone. Killed before the same hour the next day. Sometimes I can’t stop bawling. I only manage to keep singing my songs by looking over their heads and not into their faces.

MARGARET BUSH: Yeah, well, she’s got a bullet from every guy she ever fell for.

ELSIE JAMES: Yeah, there ain’t a blank one in the bunch. Look. I keep them alive in here. [the train stops] What was that?

SCENE: In corridor


SOLDIER: Vous avez vu l’enfant?

OFFICER: Dans le compartiment.

SOLDIER: Ah, bon.

SCENE: Anne’s compartment

SOLDIER: Mesdames. Allez, passeports. Allez, allez, vos papiers.

ELSIE JAMES: All right. All right. Here. Here. Here.

MARGARET BUSH: Here. [she drops her paper] Sorry.

SOLDIER: Et le bebe?

ANNE: C’est un orphelin.

SOLDIER: Bush, eh, Busch? Eh, c’est un nom allemand ca? Espion allemand peut-etre, hmm?

MARGARET BUSH: German? I’m Yankee Doodle. Busch? Can you believe he thinks I’m some kind of German beer?

SOLDIER: C’est quoi ca? [takes Anne’s hand] Imposteur anglais, huh?

ANNE: No. [he takes the baby]


ANNE: Give me my baby! [he hits her, knocking her out]

MARGARET BUSH: Anne! Oh, God. Anne!

ELSIE JAMES: Anne! Hey, what are you doing? Oh, geeze.

MARGARET BUSH: [the soldier grabs her] Anne!

SCENE: In a boarded up room.

ANNE: Where’s Dominic?

ELSIE JAMES: I don’t know. They threw Mag in the clink. The jerks. With her bloody names, and these blasted German-colored uniforms, and your accent-they think we’re a bunch of spies.

ANNE: Spies? Oh, my Lord!

ELSIE JAMES: They’re going to kill us at dawn. That’s why they’ve taken the kid away. [Anne pulls on the boards] Forget it; the doors are barred.

ANNE: They’re going to do no such thing.

ELSIE JAMES: What are you doing?

ANNE: How fast can you dig?

ELSIE JAMES: What are you doing? What?

ANNE: Come on, come on. Dig!

ELSIE JAMES: What? All right.

ANNE: Dig!

ELSIE JAMES: All right!

ANNE: Dig! Dig faster!

ELSIE JAMES: All right. What are you doing?

ANNE: I don’t know.


ANNE: I’m not sure yet. Fill it with coal. Hurry!

ELSIE JAMES: Here! Here!

ANNE: Give me your shells.

ELSIE JAMES: No, no, not my boys.

ANNE: Give me your shells. I just want the gunpowder; you can keep the shells.

ELSIE JAMES: Not my boys. All right, all right. Here.

ANNE: Okay. Look, at this point, it’s their way of saying thanks.


ANNE: You got a match?

ELSIE JAMES: Yeah, sure.

ANNE: And your flask, while your at it.

ELSIE JAMES: Oh, geeze. Whisky doesn’t work unless you’re having a good time. Here.

ANNE: Okay, okay. Stand back! [their makeshift bomb blasts a hole in the wall] Yes! Come on!

SCENE: Outside

ANNE: Oh, God. Elsie, run for the woods.

ELSIE JAMES: No, no. I can’t. I can’t go without Maggie. Don’t worry about us. You just keep on treading water. Go! Go! [Anne runs from the authorities. Meanwhile, Jack shows up at the train station looking for Anne.]

WOMAN: Mais ou va-t-elle avec cet enfant? Ou allez-vous?

[Anne runs through the woods]

SCENE: Back at the train station, Jack arrives

MAN: C’est ca. C’est ca. Et c’est bien. Viens, mon viuex. Voila. Voila. Comme-ci. Comme-ca. Viola.

JACK: Je cherche une petite soeur, uh, avec bebe.

MAN: Je suis desole. Je ne l’ai pas vue. Non, non, je suis desole.

JACK: You’re sorry.

SCENE: Fields along the road

ANNE: [seeing a cart go by] Arretez! Arretez! Je cherche le Manoir de Bonne Esperance, le chateau de Madame Kitt Garrison.

MAN: Oui, on y va au manoir. Venez, ma soeur.

ANNE: Merci. Merci.

MAN: Qu’est-ce qui se passe?

SCENE: Kitt Garrison’s chateau

JACK: Anne! Anne! Why didn’t you wait at the station? Anne! Trust you to find your own way. Let me see your face. Dominic. My boy. My boy. It’s all right. Yeah.

ANNE: Oh, we made it. I think we made it.

JACK: You’ve done something more important than you can imagine. You’re very brave, Anne. Very, very brave.

KIT GARRISON: Anne Shirley, my dear. You’ve never looked saintlier, and you’ve brought our Dominic home.

ANNE: Are we safe?

KIT GARRISON: Well, they’ve killed the animals, bayonetted the furniture, and poured two hundred pots of jam into my grand piano, but this war is over.

JACK: The kaiser abdicated. This war is going to end. Dominic will be very safe here with Aunt Kitt.

KIT GARRISON: Oh, let’s get you all inside.

SCENE: Inside

JACK: Welcome to one of my father’s many extravagances: an impossibly large chateau in the middle of no-man’s-land for summer holidays.

KIT GARRISON: This is where the children play after their lessons and before bed. This is Regine and this is Dominic. Will you take him under your wing? He’s going to stay for a while with us.

JACK: He reminds me of Colette. Thank you.

KIT GARRISON: Oh, Anne. You look as though you’ve been dragged through the mud. Let someone look after you for a change. [revealing gems hidden in Anne’s clothes] Each of these would save hundreds of lives and medical supplies. It would otherwise be impossible to procure now. And assist Jack. Bring this blessed war to an end.

SCENE: Outside the chateau

KIT GARRISON: You needn’t worry about this young fellow anymore. He’s safe here. Bye-bye. As long as I live. [Anne and Jack get in the car] Bye! Wave, Dominic, wave.

SCENE: In the car

ANNE: I never thought it was going to feel like this.

JACK: Shh.

ANNE: Giving him up for good.

JACK: Don’t worry. [he puts his arm around her] You’ll see Dominic again.

ANNE: I keep thinking about Gil and all the reasons that I came here. I don’t want to go to Germany if he doesn’t exist. Please. tell me the truth, Jack.

JACK: Truth? Open my bag.

ANNE: Why?

JACK: Open the bag! Look in the file. Not that one, the other one. See the signature?

ANNE: Where? Wait. What? Where did you get this?

JACK: I sprang a P.O.W. a couple of months ago. Found that medical certificate and his gear.

ANNE: A month ago?

JACK: Unfortunately, the little group I’m with has its work cut out. We’re assigned to bribe certain German officials into a meeting in France. So, the Allies can conclude an armistice. I have every intention of doing whatever I can to help you, Anne.

SCENE: Germany

ANNE: Keep going.

JACK: Move!

ANNE: We can’t stop. We have to keep going.

JACK: What?


JACK: The city is under siege. The German troops have walked away from the front with their coats rotting on their backs. They’re looting because no one can stop them. Because they’re afraid, not of the Allies, but of the Communists. I have a contact in here that can help us. Come on.

SCENE: Embassy

JACK: There were no other records of any Canadian or American Dr. Blythes in any of the hospitals or camps. Maybe he was moved.

ANNE: You showed me the paper. You told me you had contacts. You let me put your own son in danger.

JACK: I’m trying to help legions of others. Don’t you want to be part of this now?

ANNE: I came here for one reason, and one reason only, and I am not leaving until I have turned up every single floorboard to find out whatever I can about my husband.

JACK’S ASSOCIATE: We convene at the station at 1600 hours.

JACK: If I have to scour every barracks in the city, I’ll keep on trying.

SCENE: Barracks

JACK: You see him? In a day, these men will be free. They’ll be walking away because these Germans can’t be bothered keeping them. Come on. British troops are already being released all over the city.

SCENE: Hospital

ANNE: [looking at the hospital logs] He was here. His name. His name is here. It’s dated October.

JACK: Yes, he was here for several months.

ANNE: And what did she say?

JACK: Every day the Germans brought him here from the camp to work. Then one day, they took him away. He never came back.

ANNE: Where did she say they took him?

JACK: Anne, they don’t ask questions.

ANNE: Did she say he was dead? I need proof. [to the nurse] Do you keep a record of people who die? [she lunges at her]

JACK: Anne. This is anarchy. There’s no authorities here to make out a certificate. He might have got away.

ANNE: And if he didn’t? [the hug]

JACK: I said something to you a long time ago. I meant it. We can take Dominic. We con go back to the U.S. of A. We can be a family.


JACK’S ASSOCIATE: The German delegation will be taken by train to LaCapelle and meet at the Villa Paques. Then I will drive them to the Chimay… [Germans shouting in the background] LaCapelle Road, where they will present themselves.

ELSIE JAMES: Hello, my fine boys!

MARGARET BUSH: We’re coming!

ELSIE JAMES: Hello, boys! My favorite. Oh, what a gentle bunch.

MARGARET BUSH: We’re here.

ELSIE JAMES: We’re here.

MARGARET BUSH: They’re fighting. I think we should sing a song. All right, we’re going to sing a song for you boys.

ELSIE JAMES: All right.

JACK’S ASSOCIATE: [continuing] After that, Marechal Foch has arranged that they be escorted by a security train to a secluded spot in the Compiegne forest.

[Elsie James and Margaret Bush sing]

JACK: The isolation should hide them from any rebel aircraft.

JACK’S ASSOCIATE: [continuing] President Wilson wants our team to be part of the delegate…

ELSIE JAMES: Hey! What’s the matter with you?

MARGARET BUSH: Sing a song.

[Elsie James and Margaret Bush sing a new song]

ELSIE JAMES: [seeing Anne] Oh.

MARGARET BUSH: Look, who’s here!


ANNE: You’re safe! You’re safe. You made it. Oh!

MARGARET BUSH: Oh, we missed you.

ANNE: What are you doing here?

ELSIE JAMES: We are now the villainous vamping lady spies!

ANNE: Yeah?

MARGARET BUSH: Those French soldiers was so convinced we was German, they shipped us across the border. And now the Germans are convinced it’s over so we’re having a ball!

ELSIE JAMES: We are doing way better, by George. This place is better than no-man’s-land. Hey, where’s the little kid?

MARGARET BUSH: Hey, Annie, why don’t you come up and sing a song with us?

ELSIE JAMES: Oh, yes! Oh, please. Come on, come on. You can do this. Get up.

MARGARET BUSH: No, you can’t say no to us. We won’t let you. Come on, you can look into their faces now. Come on. You know the rules.

ELSIE JAMES and MARGARET BUSH: [singing] Let me call you Sweethearts,


ELSIE JAMES and MARGARET BUSH: [singing] I’m I love with you.


MARGARET BUSH: Don’t be shy. Come on.

ALL THREE: [singing] Let me hear you whisper, that you love me, too. Keep your love light shining in your eyes so true.


ELSIE JAMES: Come on, Anne.

ANNE: [singing] Let me call you Sweetheart, I’m in love with you.


ELSIE JAMES: One more time.

ALL THREE: [singing] Let me call you Sweetheart, I’m in love with you…

[Anne sees Gilbert]

ANNE: Oh! Oh, my love!

GILBERT: I thought you were a dream.

JACK: Officer Blythe.

ANNE: You remember Jack Garrison. He helped me look for you.

JACK: We’ve got to move very quickly. There’s going to be a truce.

ANNE: Jack and his friend’s with Allied forces. They’re going to get us out of here quickly.

JACK: We haven’t much time. I’ll see what we can do.

SCENE: Train station

JACK: My associate and I are to escort you and your delegation to the Eastern front.

SCENE: On the train

GILBERT: [after Jack offers him a cigarette] No.

JACK: I expect you find it tough, to pick up where you left off from. Especially after all the inhumanity you’ve seen.

GILBERT: I take it one step at a time. We’ll be fine.

ANNE: I bribed the attendant with the watch you gave me, Gil.

GILBERT: It’s never been put to better use.

ANNE: What were you two talking about?

GILBERT: Oh, just what fine men we have met who have sacrificed so much.

ANNE: Gil. Jack, will you have some tea?

JACK: No, no. I need to find Saunders. [he leaves]

GILBERT: Do you know that every day I would pick a different memory I had of you, and I would play it over and over and over again in my mind, until ever detail, every hair, every freckle, every part of you was exactly as I remembered.

ANNE: Won’t you rest now.

SCENE: Elsewhere on the train

JACK: Want to take the safe road home, aye?

ANNE: I think the road with you would only last so long, Jack.

JACK: Without you, I’d never have my son, Anne.

ANNE: The road I began with Gil is forever. I’ll never forget what you’ve done for me.

JACK: I have a dream-

ANNE: We all have unfulfilled dreams. I gave up Dominic. I’ll always think of him as our son. [she kisses him on the cheek]

SCENE: Back in Gil’s cabin

ANNE: Sorry to wake you. [a gunshot is heard]

SCENE: Jack’s cabin

ANNE: Jack! Jack!

JACK: Anne, look at me.

ANNE: Jack, who did this to you?

JACK: You’re beautiful.

ANNE: What’s happened?

JACK: What goes around, comes around with outlaws. Keegan must be really scared.

ANNE: No, don’t move. Gil! Gil! GIL! GIL!

JACK: Oh, my God!

ANNE: Who did this is going to try and get off the train.

GILBERT: If we get him off this train now, he’s going to bleed to death.

ANNE: You’re going to be all right.

JACK: Whatever happens to me, you take care of my son.

GILBERT: Keep holding this, I’ll go for help.

ANNE: You’re all right. Oh, no.

SCENE: France

GILBERT: What’s happening? Is the town under attack?

SOLDIER: No more attacks today, monsieur, or any other day. It’s all over. C’est fini. What we’ve all been praying for: the armistice was signed at Compiegne.

ANNE: What’s all the shooting for, then?

SOLDIER: All the old ammunitions. Ils sont fous. Ils sont fatigues.

ANNE: I can’t believe Jack never lived to see the armistice. Please, help me find Dominic.

SCENE: Kit Garrison’s chateau

ANNE: Dominic!

GILBERT: Dominic!

ANNE: Dominic!

GILBERT: Dominic!

ANNE: Dominic! Dominic!

SCENE: Bedroom

GILBERT: What’s the matter?

ANNE: Dominic.

GILBERT: Honey. Where can he be?

ANNE: A child doesn’t just disappear into thin air.

GILBERT: You said yourself his aunt was looking after him.

ANNE: What if something happened to her?

GILBERT: For all we know, they could be on their way back to New York by now.

ANNE: Gil, when I was in London, I made a promise. I told Jack if anything ever happened to him, I would look after his son.

GILBERT: Well, we’ll have to do everything in our power to find him, then. That’s my promise to you.

SCENE: Prince Edward Island, October 1919

GILBERT: Are you going to tell them when we get back?

ANNE: I’m ready now, Gil. Living here this past year with Fred and Diana has made me realize how much things have changed.

GILBERT: Well, the lawyer promised he’d bring all the papers.

SCENE: Avonlea train station


MAN: Dr. and Mrs. Blythe. What glorious countryside!

ANNE: Where is he?

MAN: Oh, he’s with the station master.

GILBERT: My wife’s worried he won’t recognize her.

MAN: I have all the documents. It seems that Miss Garrison suffered heart failure on her return to New York. The next of kin have no interest in the boy.

ANNE: [hugging Dominic] I’d never forget you. I got you back. You came back to me. I love you. Oh.

SCENE: Green Gables


FRED: Dominic! Oh, you promised you’d bring him home.

DIANA: Look! Oh, this must be Dominic. Oh, he’s beautiful.

GILBERT: It’s official. We signed the adoption papers today.

DIANA: Oh, we have good news. We looked at a house in town this morning. I think we’ve more than overstayed our welcome.

GILBERT: Well, actually.

ANNE: We’re not going to be spending the rest of the year here.

DIANA: What do you mean?

ANNE: Gil and I talked about it, and we decided that we want you and Fred to keep Green Gables for good.

GILBERT: I’m going to be taking over Dr. Stuart’s medical practice in Glen St. Mary, and we drive over to look at a new house tomorrow.

DIANA: You can’t give this place up.

ANNE: There isn’t anyone who would appreciate it more than you. We’ll come back to visit. We want to start over.


FRED: I don’t know what to say.

FRED JR: Aunt Anne! Mommy!

ANNE: Our children will be kindred spirits for life.

SCENE: Field

ANNE: Green Gables will always be here this way in my heart.

GILBERT: It’s never looked so peaceful.

ANNE: Just the way it was when I first came here as a child. What do you think, Dominic? We have to make a new life, but built on all the old foundations.

GILBERT: We’ll build a good home, and raise a family, with lots of scope for the imagination.

ANNE: Oh, how I loved it here, Gil. But Green Gables will always be a part of me. Come on, Gil. Let’s show him all our old haunts.



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