The Miracle Worker Page #4

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


Maybe you'd like to know what Helen | will find not on visiting days.

One ward was full of the old women - | crippled, blind,

most of them dying, | but there was nowhere to move them.

That's where they put us.

There were younger ones - prostitutes | mostly, with TB and epileptic fits,

and a couple of the kind who keep after | other girls, especially young ones.

And some insane. Some just had the DT's.

The youngest were in another ward | to have babies. They started at 13, 14.

They'd leave, | but we played with the babies,

though a lot had sores from diseases | you're not supposed to talk about.

But not many of them lived.

The first year we had 80. 70 died.

Jimmy and I played in the dead-house | where they kept the bodies.

- Oh, my dear... | - No. It made me strong.

But I don't think you need send | Helen there. She's strong enough.

Miss Annie.

Yes?

Where would you take Helen?

Well...

- Italy? | - What?

Can't have everything. | How would your little house do?

Bring Helen there after a long ride | so she won't recognise it.

You can see her every day | if she doesn't know.

Well?

- Is that all? | - That's all.

Why, Cap'n, with your permission...

Percy could sleep there, run errands.

We could let Percy sleep there, Cap'n.

- And move in some old furniture. | - Cap'n, that old bedstead...

I've not yet consented to Percy, | or the house,

or the proposal, | or to Miss Sullivan staying on.

When I...

Very well, I consent to everything. | For two weeks.

I'll give you two weeks. It'll be a miracle | if you can get that child to tolerate you.

Two weeks. Miss Annie, can you | accomplish anything in two weeks?

Anything or not, two weeks | and the child comes back to us.

Make up your mind, Miss Sullivan. | Yes or no?

Two weeks.

I'll get her to tolerate me.

Hm?

A. It's the first of many.

26.

- Does she know where she is? | - No.

For all she knows | she could be in another town.

- That's her sign for me. | - Yes, I know. In two weeks.

Miss Annie, please be good to her.

These two weeks, | try to be very good to her.

I will.

No!

Two weeks.

What did I get into now?

Oh... oh... oh...

Jimmy!

Yes?

Did you call me?

No.

- What are you doing here? | - Taking a turn. Is everything all right?

Just a dream?

How old was he? The other Jimmy.

Helen's age.

How did he die?

He had a tubercular hip.

Oh, we were a pair, all right.

Me blind and him on a crutch.

When did he die?

11 years ago, this May.

You've had no one to dream about since?

No, one's enough.

You don't let go of things easily, do you?

You'd be quite a handsome girl | if it weren't for your eyes.

- No one's told you? | - Everyone.

You'd be quite a gentleman | if it wasn't for your manners.

You wouldn't say that to me | if you didn't have your glasses on.

How will you win her hand now, | in this place?

Do I know? I lost my temper | and here we are.

I'm counting on her. | That little head is dying to know.

- Know what? | - Anything.

Any and every crumb in God's creation. | I've got to use that appetite too.

- Maybe she'll teach you. | - Of course.

That she isn't.

That there's such a thing as dullness | of heart, acceptance, and letting go.

Sooner or later we all give up, don't we?

Maybe you all do. | It's my idea of the original sin.

- What is? | - Giving up.

You won't open her.

Why can't you let her be and have | some pity on her for bein' what she is?

If I'd ever once thought like that, | I'd be dead.

You will be. Why trouble?

Or will you teach me?

No.

No pity. I won't have it.

On either of us.

I will touch you!

But how?

How do I?

Percy!

Percy, get up. Get out of bed | and come in here. I need you.

Percy? You awake?

No.

How would you like to play | a nice game with Helen?

Touch her hand.

Let me go! Let me go!

She try and talk. She gonna hit me.

She can talk, if she only knew.

I'll show you how. She makes letters.

This is C...

C... C...

She's mad at me. She won't play. | But she knows lots of letters.

This is A.

C... A...

C... A...

C...

C- a-k-e.

She spells cake, she gets cake.

She doesn't know it means this. | Isn't that funny?

She knows how to spell it, | but doesn't know she knows.

All right. If she won't play it with me, | I'll play it with you.

- Would you like to learn a new word? | - No.

M- i-I-k.

This is M...

I... That's an easy one. | Just the little finger.

L...

Oh, why should I talk to you? | I'm teaching a new word to Percy.

So you're jealous, are you?

All right.

Good.

I'm finally back to where I can touch you.

Touch and go.

Well, no love lost, but here we go.

You can go to bed now. | You've earned your sleep.

Thank you.

Now all I have to teach you is...

one word.

Everything.

Hush, little baby, don't say a word.

Mama's gonna buy you a mockingbird.

If that mockingbird don't sing

Mama's gonna buy you a diamond ring

If that diamond ring turns brass

Mama's gonna buy you a looking glass

If that looking glass gets broke

Mama's gonna buy you a billy goat

If that billy goat...

On my way to the office. | Thought I'd look in.

Well, she's toleratin' me | and I'm toleratin' her.

Where is... What's wrong?

I think she should dress herself. | She thinks she shouldn't.

- This her breakfast? | - Yes.

- She wouldn't eat? | - She'd love to eat it.

Why haven't you given it to her?

I will, when she dresses herself. | She's thinking it over.

- You intend to starve her into obeyin'? | - She won't starve, she'll learn.

All's fair in love and war, Captain Keller.

- This is hardly a war. | - Well, it's not love. A siege is a siege.

Miss Sullivan, do you like the child?

Do you?

I'm beginning to.

Beads.

It has a name.

Tree. It has a name.

Tree.

Bird. It has a name.

Yes...

No!

W- a-t-e-r. Water.

Oh...

Oh!

No!

W- a-t-e-r.

Water.

Discipline... discipline.

Disinter, disinterested...

Disinterested.

Where's discipline? What a dictionary.

You have to know how to spell it | before you can look up how to spell it.

Disinter.

Disciple.

Discipline.

Dis-cipline.

You're not to overwork your eyes, | Miss Annie.

Whatever I spell to Helen, | I'd better spell right.

- You've taught her so much this week. | - Not enough. Obedience isn't enough.

Well... she learned two nouns | this morning. Key and water.

- But not...? | - No.

Not that they mean things. It's still | a finger game to her. No meaning.

But she will.

Might I... Might I take her | for one walk this evening?

Shall we play our finger game, | Mrs Keller?

- Next week seems so... | - Spell it.

...so far off. | - Spell it.

If she ever learns, you'll have | a lot to tell each other. Start now.

In... under, under. Yes, crochet.

C- r-o-s-h...

C- r-o-s-h...

Sewing.

Oh, it has a name, and sewing isn't it.

E- g-g.

Egg.

It has a name. | The name stands for the thing.

Oh, it's so simple.

Simple as birth to explain.

Helen.

Helen, the chick has to | come out of its shell sometime.

You come out too.

Thimble.

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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. 20 Dec. 2024. <https://www.scripts.com/script/the_miracle_worker_20863>.

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