The Miracle Worker Page #5

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


No, not key. Thimble.

T- r-e-e.

W- a-t...

M- i-I...

Good girl.

D- o-I-I.

M- i...

Oh...

"I feel every day | more and more inadequate. "

"My letters must show that | I need a teacher as much as Helen. "

I need help too.

Who?

In all the world there isn't a soul | who can tell me how to reach you.

How do I reach you?

Doesn't she need affection too?

She never shows me she needs it. | She won't have any caressing.

What would another week accomplish? | We are more than satisfied.

You taught her things to do, to behave.

- So manageable. Cleaner. | - Cleaner?

We say cleanliness is next to godliness.

Cleanliness is next to nothing.

- Give me more time alone with her. | - No.

What is she spellin'?

Water?

Teaching a dog to spell?

The dog doesn't know what she means | any more than she knows what you mean.

I think you ask too much of her, | and yourself.

God may not have meant Helen | to have the... eyes you speak of.

I mean her to.

What is it to you?

- Half a week. | - An agreement is an agreement.

Mrs Keller...

I want her back.

I'll send Viney to help you pack.

Not until 6 o'clock. | I have her until 6 o'clock.

6 o'clock.

Come, Katie.

Yes, what is it to me? They're satisfied.

Give them back their child | and their dog, both housebroken.

Everyone's satisfied but me.

And you.

Feel it.

Reach.

I wanted to teach you.

Oh...

Everything the earth is full of, Helen. | Everything on it that's ours for a wink.

And what we are on it. The light | we bring to it and leave behind in words.

You can see 5,000 years back | in the light of words.

Everything we feel, think,

know, and share in words.

So not a soul is in darkness, | or done with even in the grave.

But I know.

I know one word and | I can put the world in your hand.

And whatever it is to me, I won't take less.

How...

How do I tell you that...

this... means a word?

And the word means this thing, wool.

Or this.

S- t-o-o-I means this thing.

Dress.

F- a-c-e. Face.

M- o-t-h-e-r.

Mother.

M- o-t-h-e-r.

Mother.

Let her come!

Come in.

Miss Annie, your first month's salary.

With many more to come, I trust.

It doesn't pay our debt | for what you've done.

I've taught her one thing: No. | Don't do this, don't do that.

- It's more than we could do... | - I wanted to teach her what language is.

I know without it | to do nothing but obey is no gift.

Obedience without understanding is | a blindness. Is that all I've wished on her?

- No. | - Maybe.

I don't know what else to do.

I simply go on and keep doing what I've | done and have faith that inside she's...

that inside is waiting, | like water underground.

- You can help, Captain Keller. | - How?

The world is not an easy place | for anyone.

I don't want her just to obey.

But to let her have her way | in everything is a lie.

To her.

And I don't even love her.

She's not my child.

Well...

You've got to stand between | that lie and her.

Agreed.

Won't you come now to supper?

Yes.

I used to wonder | how I could earn a living.

Oh, you do.

I really do. Now the question is, | can I survive it?

Oh...

Oh, the keys!

Yes, I'll keep the keys.

I think we've had enough | of locked doors too.

Will you say the grace, Jimmy?

"And Jacob was left alone and wrestled | with an angel till the breaking of the day. "

"And the hollow of Jacob's thigh was | out of joint as he wrestled with him. "

"And the angel said | 'Let me go, for the day breaketh. "'

"And Jacob said 'I will not let thee go, | except thou bless me. "'

Amen.

Oh, you angel.

- That's a very strange grace, James. | - It's from the Good Book, isn't it?

Of course it is. Didn't you know?

- Yes, I knew. | - Well, why ask?

It is from the Good Book | and therefore a fitting grace.

Well, I don't know about that.

There's a lot of things in the Good Book | that I don't care to hear just before eating.

Well, fitting in the sense that Jacob's thigh | was out of joint, and so is this piggy's.

- James, I declare! | - Pickles, Aunt Ev?

I should say so. | You know my opinion of your pickles.

This is the end of them, I'm afraid. | I didn't put up nearly enough last summer.

Reverend looked in today | to complain his hens had stopped layin'.

Poor fella, he was out of joint. All that...

- I've always suspected those hens. | - Of what?

I think they're papists. Has he tried...

Now you're pulling my lower extremity.

The first thing you know | we'll be having another... one of our...

- Miss Annie, it's a very special day. | - It will be, when I give in to that.

Please. I've hardly welcomed her home.

- Captain Keller. | - Katie, we had a little talk.

- Miss Annie feels if we indulge Helen... | - It's a napkin. It's not breakable.

And everything she's learned is.

Mrs Keller, we shouldn't | play tug of war for her.

Either give her to me | or you keep her from kicking.

- What do you wish to do? | - Let me take her from the table.

Let her stay. She's only a child...

- And ask outsiders not to interfere. | - Outsider? Why, I'm the child's aunt.

Will this once hurt so much, Miss Annie?

I've made all of Helen's favourite foods.

It's her homecomin' party, Miss Annie.

- She's testing you. | - She's testing you.

Jimmy, be quiet. | Now that she's home, naturally...

She wants to see what'll happen at | your hands. I said it was my main worry.

- But she's not kickin' now. | - And not learning not to.

She'll live up to what you demand | and no more.

- She's testing you. | - Jimmy.

- I have an opinion. | - No one's interested in it.

I'm interested. | Of course she's testing me.

Let me keep her to what she's learned | and she'll go on learning.

Take her out of my hands | and it all comes apart.

Be bountiful. It's at her expense.

Please pass me more | of her favourite food.

- Take her, Miss Annie. | - Thank you.

I'm afraid you're the difficulty, Miss Annie.

I'll keep her to what she's learned. | You're quite right.

But I don't see we need send her | from the table. She's the guest of honour.

Bring her plate back.

If she were a seeing child, you wouldn't...

She's not! I think | some compromise is called for.

Bring her plate.

Please!

Occasionally another hand | can smooth things out.

There. Now, shall we start all over?

I think we've started all over.

Don't get up. | Don't smooth anything else out for me.

Don't interfere in any way. I treat her like | a seeing child because I ask her to see.

I expect her to see! Don't undo what I do!

- Where are you going? | - To fill this pitcher.

You let her speak to you like that? | A creature who works for you?

No, I don't.

- Let her go. | - What?

I said let her go! She's right.

She's right.

Kate's right, I'm right, and you're wrong.

Has it never occurred to you | that on one occasion

you might be consummately wrong?

All right. Pump.

No, she's not here. Pump.

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

It has a name. W-a-t...

Wah... wah.

Wah... wah.

Yes.

Yes.

Yes.

Oh, my dear.

Ground.

Yes!

Pump.

Yes.

Tree.

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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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