The Miracle Worker Page #2

Synopsis: Young Helen Keller, blind, deaf, and mute since infancy, is in danger of being sent to an institution. Her inability to communicate has left her frustrated and violent. In desperation, her parents seek help from the Perkins Institute, which sends them a "half-blind Yankee schoolgirl" named Annie Sullivan to tutor their daughter. Through persistence and love, and sheer stubbornness, Annie breaks through Helen's walls of silence and darkness and teaches her to communicate.
Genre: Biography, Drama
Director(s): Arthur Penn
Production: MGM Home Entertainment
  Won 2 Oscars. Another 9 wins & 11 nominations.
 
IMDB:
8.1
Rotten Tomatoes:
100%
NOT RATED
Year:
1962
106 min
1,206 Views


- Nothing I say is right. | - Why say anything?

All the trouble I went to | and that's how I look?

Oh, no, not the drawers.

All right, Miss O'Sullivan, let's begin.

With doll.

D...

O...

L...

L.

Doll.

You spell pretty well.

Finding out if she's ticklish? She is.

- What is it, a game? | - An alphabet.

Alphabet?

For the deaf.

- How bright she is. | - You think she knows what she's doing?

She's a monkey. She imitates everything.

Yes, she's a bright little monkey, all right.

She wants her doll back.

- When she spells it. | - She doesn't know the thing has a name.

Of course not. Who expects her to now? | All I want is her fingers to learn the letters.

Won't mean anything to her.

She doesn't like that alphabet. | You invent it yourself?

Spanish monks under a vow of silence - | which I wish you'd take.

Yes... Yes!

C...

A...

K...

E.

Yes.

You do as my fingers do. | Never mind what it means.

Now...

D...

O...

L...

L.

Think it over.

L.

Imitate now. Understand later. | End of the first lesson.

Ow!

Oh, you little wretch. | Nobody's taught you any manners.

Helen? Helen!

Helen! Helen, let me out...

Don't worry, they'll find you. | You're not lost.

Only out of place.

And toothless!

- Where's Miss Sullivan? | - Locked in her room.

Locked in her...?

- Helen locked her in and took the key. | - And you sit here and say nothing?

Everyone's been telling me | not to say anything.

- Viney, look out front for Helen. | - She's out by the pump!

I'll look.

- Miss Sullivan. | - Yes, Captain Keller.

Is there no key on your side?

If there were a key, I wouldn't be in here. | Helen took it.

The only thing on my side is me.

Not in the house ten minutes. | I don't see how you managed it.

And even I'm not on my side.

- Viney! | - Yes, sir, Captain Keller?

Put that meat back in the oven!

- She has no key. | - Nonsense. You searched in her pockets?

- Yes. She doesn't have it. | - Katie, she must have the key.

- Take that ladder back! | - Certainly.

- She could have hidden it. | - Where?

Anywhere. Under a stone...

I can't plough up the entire grounds | to find a missin' key.

Jimmy! Bring me a ladder!

Certainly.

What's the baby doing up?

Captain woke her, Miss Kate. | All that hollerin'.

Get back to your work!

- Miss Sullivan! | - Yes, Captain Keller?

- Come onto the roof. | - You have a ladder. How thoughtful.

Come down, Miss Sullivan.

- I don't see how I can. | - I'll carry you.

- It's very chivalrous, but... | - Miss Sullivan, follow instructions.

I will not have you also | tumblin' out of our windows.

I hope this is not what we may expect in | simplifyin' the work of looking after Helen.

Captain Keller, I'm able to go down | a ladder under my own steam.

Miss Sullivan, I doubt it.

Simply hold onto my neck.

My neck, Miss Sullivan!

- I'm sorry to inconvenience you. | - No inconvenience.

Other than taking that door down and | replacing the lock, if we can't find the key.

- I'll look everywhere. | - Thank you.

Do not look in any rooms | that can be locked.

There!

Go, go! What are you looking at? | Nothing for you to look at.

Now...

Would it be possible for us | to have dinner like other people?

- Miss Sullivan! | - Viney, I'll put the baby to sleep.

Oh... Might as well leave the I-a-d-d-e-r.

You devil.

Oh, you think I'm so easily gotten rid of?

You've got a thing or two to learn first.

I've got nothing else to do,

- and nowhere to go. | - Miss Sullivan!

Discipline her

without breaking...

Ink.

Ink.

It has a name.

Down, under, up. | And be careful of the needle.

Right. You keep out of the ink and | perhaps I can keep out of the soup.

All right, all right. Let's try temperance.

Bad...

girl.

Good...

girl.

Yes.

Very good girl.

- What are you saying to her? | - I was just making conversation.

Saying it was a sewing card.

Does that mean that to her?

Oh, no. She won't know what spelling is | till she knows what a word is.

The Cap'n says it's like | spellin' to a fence post.

Does he, now?

- Is it? | - No.

It's how I watch you talk to the baby.

- The baby? | - Any baby.

It's gibberish. Grown-up gibberish. | Baby-talk gibberish.

Do they understand | one word of it to start?

Somehow they begin to if they hear it. | I'm letting Helen hear it.

Other children are not... impaired.

Oh, there's nothing impaired in that head. | It works like a mousetrap.

And... when will she learn?

Maybe after a million words.

Perhaps you'd like to read Dr Howe | on the question of words.

I should like also | to learn those... letters, Miss Annie.

I'll teach them to you tomorrow morning.

That makes only half a million each.

- It's her bedtime. | - Yes.

Ow!

I'm sorry.

Why does she get a reward | for stabbing me?

There are so many times | she simply cannot be compelled.

Yes.

I'm the same way myself.

Good night.

Shouldn't we give | the devil his due, Father?

We lost the South two years earlier | when he outthought us behind Vicksburg.

Outthought is a peculiar word | for a butcher.

- Harness-maker, wasn't he? | - I said butcher.

His strength as a soldier was numbers. | He led them to slaughter like sheep.

- But even if he was a butcher... | - And a drunk, half the war.

Agreed, Father. | If his own people said he was...

What is it you find to admire | in such a man, Jimmy?

- The drunkenness or the butchery? | - Neither, Father. Only that he beat us.

- He didn't. | - Are you saying we won the war, sir?

He didn't beat us at Vicksburg. | We lost it by stupidity vergin' on treason.

We lost it because Grant was | one thing no Yankee general was before...

Drunk? I doubt it.

- Obstinate. | - Obstinate?

None of 'em compare with old Stonewall. | If he was there we'd still have Vicksburg.

The butcher wouldn't give up. | He tried four ways...

If we'd had | a Southerner in command

instead of a half-breed Yankee traitor | like Pemberton... What's the matter?

Miss Annie, she's accustomed | to helping herself from our plates.

- I'm not accustomed to it. | - Of course not. Viney!

- Jimmy, give her something. | - Her table manners are her best.

Let her this time. It's the only way | we get any adult conversation.

- I'll get another plate. | - I have one, thank you.

Viney! What Cap'n Keller says is only | too true. She'll persist in this till...

- I have a plate. I intend to keep it. | - You see why they took Vicksburg?

A plate is no matter | to struggle with a deprived child about.

- I'd sooner have a more heroic issue. | - I really must insist...

- She's hurt herself. | - She hasn't.

- Will you please let her hands go? | - You don't know her well enough...

I know a tantrum when I see one | and a badly spoiled child.

Hear, hear.

You'd have more understanding | if you had some pity.

Pity? For this tyrant? | The whole house turns on her whims.

Is there anything she doesn't get?

What I pity is that the sun won't rise and | set for her, and you're telling her it will.

What good will your pity do | when you're gone?

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William Gibson

William Ford Gibson (born March 17, 1948) is an American-Canadian speculative fiction writer and essayist widely credited with pioneering the science fiction subgenre known as cyberpunk. Beginning his writing career in the late 1970s, his early works were noir, near-future stories that explored the effects of technology, cybernetics, and computer networks on humans—a "combination of lowlife and high tech"—and helped to create an iconography for the information age before the ubiquity of the Internet in the 1990s. Gibson notably coined the term "cyberspace" in his short story "Burning Chrome" (1982) and later popularized the concept in his acclaimed debut novel Neuromancer (1984). These early works have been credited with "renovating" science fiction literature. After expanding on Neuromancer with two more novels to complete the dystopic Sprawl trilogy, Gibson collaborated with Bruce Sterling on the alternate history novel The Difference Engine (1990), which became an important work of the science fiction subgenre steampunk. In the 1990s, Gibson composed the Bridge trilogy of novels, which explored the sociological developments of near-future urban environments, postindustrial society, and late capitalism. Following the turn of the century and the events of 9/11, Gibson emerged with a string of increasingly realist novels—Pattern Recognition (2003), Spook Country (2007), and Zero History (2010)—set in a roughly contemporary world. These works saw his name reach mainstream bestseller lists for the first time. His more recent novel, The Peripheral (2014), returned to a more overt engagement with technology and recognizable science fiction concerns. In 1999, The Guardian described Gibson as "probably the most important novelist of the past two decades," while the Sydney Morning Herald called him the "noir prophet" of cyberpunk. Throughout his career, Gibson has written more than 20 short stories and 10 critically acclaimed novels (one in collaboration), contributed articles to several major publications, and collaborated extensively with performance artists, filmmakers, and musicians. His work has been cited as an influence across a variety of disciplines spanning academia, design, film, literature, music, cyberculture, and technology. more…

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Submitted on August 05, 2018

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    "The Miracle Worker" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/the_miracle_worker_20863>.

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