The Miracle Worker Page #3

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


- Kate, for the love of heaven... | - I don't think it serves...

Serves you good. It's less trouble | to feel sorry than to teach her anything...

You haven't taught her anything yet.

- I'll begin now if you leave the room. | - Leave?

- Everyone, please! | - You are a paid teacher, nothing more.

I can't unteach her six years of pity | if you can't stand up to one tantrum.

Old Stonewall indeed!

Mrs Keller, you promised me help. | Leave me alone with her now.

Katie, come outside with me at once!

- Heaven's sakes! | - Out, please.

If it takes all summer, General!

I've a mind to ship her back to Boston, | and you can inform her so for me.

- I, Cap'n? | - She's a hireling.

Unless there's a complete | change of manner,

she goes back on the next train. | Will you make that clear?

Where will you be, Cap'n, | while I am making it clear?

At the office.

Will you? I thought what she said | was exceptionally intelligent.

- I've been sayin' it for years. | - To his face?

Or will you take it, Jimmy, as a flag?

Good girl, Helen.

Agh!

I don't see how you can wait here | a minute longer, Kate.

This could go on all afternoon too.

I'll tell the Cap'n you called.

Give me her, Miss Kate. | I'll sneak her in back to her crib.

- She never gives me a minute's worry. | - Oh, yes.

This one's the angel of the family. | No question about that.

- What happened? | - She ate from her own plate.

She ate with a spoon... herself.

And she folded her napkin.

Folded her napkin?

The room's a wreck, | but her napkin is folded.

I'll be in my room, Mrs Keller.

Don't be long, Miss Annie. | Dinner'll be ready right away.

Folded her napkin...

My Helen folded her napkin?

There's school.

- There is school. | - There is not.

What lies are you telling | the ignorant girl, you old loon?

They teach blind ones worse than her.

- To do what? See with their nose? | - To read and write.

How can they read and write | if they can't see?

You crazy old Mick.

You ain't going to school, Annie?

When I grow up.

You ain't either, Annie. You're going | to stay here, take care of me.

I'm going to school when I grow up.

You said we'd be together | for ever and ever and ever.

I'm going to school when I grow up! | Now leave me be.

"Can nothing be done | to disinter this human soul?"

"The whole neighbourhood | would rush to save this woman

if she were buried alive | by the caving in of a pit,

and labour with zeal | until she were dug out. "

"Now, if there were one | who had as much patience as zeal,

he might awaken her... "

- They're all here. | - Talk to them.

- You can get out. | - Talk to them.

All the investigators is here.

- That's Mr Sanborn. | - He's the commissioner. Talk to him.

You might get out.

Mr Sanborn?

Mr Sanborn, I want to go to school.

"... might awaken her to a consciousness | of her immortal nature. "

"The chance is small indeed,

but with a smaller chance they would | have dug desperately for her in the pit. "

"And is the life of the soul | of less import than that of the body?"

Let alone the question of | who's to pay for the broken dishware.

From the moment she came, | she's been nothing but a burden.

Incompetent, impertinent, | ineffectual, immodest and...

She folded her napkin, Cap'n.

- She what? | - Not ineffectual.

Helen did fold her napkin.

What is so extraordinary | about foldin' a napkin?

Well, it's more than you did, Cap'n.

Katie...

Today she scuttled any chance | of gettin' along with the child.

If you can see any point in her staying, | it's more than I can.

- What do you wish me to do? | - I want you to give her notice.

- I can't. | - Then if you won't, I must.

Miss Sullivan?

Captain Keller, | I thought we should have a talk.

Yes, I... Well, come in.

Miss Sullivan, I have decided... | I have decided I'm not satisfied.

- In fact, I'm deeply dissatisfied. | - Excuse me.

- Is that little house near the bridge used? | - In the huntin' season.

- Mrs Keller... | - If you'll give me your attention.

I've made allowances because you come | from a part of the country where people...

...women, I should say, come from, | for whom allowances must be made.

I have decided nevertheless

to...

Miss Sullivan, I find it difficult | to talk through those glasses.

Why do you wear them? | The sun's been down for an hour.

Any kind of light hurts my eyes.

Put them on, Miss Sullivan.

I've decided...

to give you another chance.

- To do what? | - To remain in our employ.

But on two conditions. | I'm not used to rudeness.

There must be a radical | change of manner.

- Whose? | - Yours, young lady! Isn't it obvious?

And persuade me there's | a hope of your teaching a child

who flees from you like the plague | to anyone in this house.

- There isn't. | - What, Miss Annie?

It's hopeless here.

- Do I understand... | - If we agree it's hopeless...

Miss Annie, I'm not agreed.

She did fold her napkin.

She learns.

She learns.

Do you know she began talking | when she was six months old?

She could say water.

Well, not really.

Wah-wah.

Wah-wah.

But she meant water. She knew | what it meant, and only six months old.

I never saw a child so bright or outgoing.

It's still in there somewhere, isn't it?

Miss Annie, put up with her and with us.

Us?

Please.

Like the lost lamb in the parable, | I love her all the more.

Mrs Keller, I don't think Helen's | worst handicap is deafness or blindness.

I think it's your love... and pity.

All of you are so sorry for her, | you've kept her like a pet.

Why, even a dog you housebreak.

It's useless for me to try to teach her | language or anything else here.

Miss Annie, before you came | we spoke of putting her in an asylum.

What kind of asylum?

For mental defectives.

I visited there. I can't tell you what I saw.

People like animals, | with rats in the halls and...

What else are we to do if you give up?

Give up?

- You said it was hopeless. | - Here.

Give up? Why, I only today saw | what has to be done to begin.

- I want complete charge of her. | - You have that.

No. I mean day and night. | She has to be dependent on me.

- For what? | - Everything.

The food she eats, | the clothes she wears, fresh... air.

Yes, the air she breathes.

Whatever her body needs | is a primer to teach her out of.

The one who lets her have it should be | her teacher, not anyone who loves her.

- But if she runs from you to us... | - Yes. That's the point.

I'll have to live with her somewhere else.

For how long?

Until she learns to listen to | and depend on me.

- I've packed half my things. | - Miss Sullivan...

It meets your conditions. It's the one way | I can get back in touch with Helen.

And I can't be rude to you | if you're not around.

What is your intention if I say no? | Pack the other half for home

and abandon your charge to... to...

The asylum? I grew up in such an asylum. | The state almshouse.

Rats?

My brother Jimmy and I used to play | with the rats because we didn't have toys.

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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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