Original subtitles

Helen: ANNIE, IT'S GOING TO BE A FEW MORE MINUTES.

TAKE YOUR TIME, MOTHER.

YOU SURE YOU DON'T WANT TO COME IN FOR A MINUTE

AND HAVE A CUP OF TEA?

IT'S TOO BEAUTIFUL OUT, AND MY HAND WANTS TO PAINT.

Helen: ALL RIGHT.

I TRIED TO TELL YOU.

I KNOW, I KNOW.

IT JUST WORRIES ME THE WAY THAT CHILD IS WITH HER PAINTING.

SHE'D STARVE TO DEATH IF I DIDN'T FORCE HER

TO STOP AND EAT ONCE IN A WHILE.

HERE YOU ARE. A LITTLE MORE TEA.

HEY, YOU MIGHT AS WELL JOIN US

IF YOU'RE NOT TOO BUSY, CAROLINE.

ANNIE'S NOT IN THE MOOD FOR TEA.

WELL, IN THAT CASE, I WILL SIT.

GOOD.

IT JUST AMAZES ME THE WAY THAT CHILD

CAN PUT ON CANVAS WHAT SHE SEES IN HER MIND.

YOU CAN THANK YOUR DAUGHTER FOR THAT,

PUTTING THEM PAINTS ON THE PALETTE FOR HER

LIKE A SUPPER PLATE, WITH AZURE BLUE AT 12 O'CLOCK

AND BURNT AMBER AT 2.

I NEVER COULD UNDERSTAND HOW A CHILD ALMOST TOTALLY BLIND

COULD TAKE SO TO PAINTING.

MAKES HER HAPPY.

YOU KNOW, SHE SAYS IT'S THE ONLY THING SHE CAN SEE,

AND I THINK SHE CAN.

GOD GAVE HER THAT GIFT.

WELL, I WISH HE'D GIVEN HER A GIFT TO SEW

OR TO TEACH, LIKE YOUR DAUGHTER, CAROLINE--

SOMETHING SHE COULD DO TO EARN HER WAY SOMEDAY.

OH, NOW, SORRELL, DON'T START THAT NOW.

Sorrell: NOW, HELEN,

IF I CAN'T TALK IN FRONT OF A FRIEND,

WHO CAN I TALK IN FRONT OF?

MY WIFE DOESN'T LIKE TO THINK ABOUT OUR DYING,

BUT IT'S A FACT OF LIFE.

SHE'S GOING TO BE ALONE SOMEDAY,

AND THE THOUGHT OF IT WORRIES ME MORE THAN MY OWN PASSING ON.

THAT ISN'T GOING TO BE FOR QUITE A WHILE YET.

CAROLINE, WE KNEW WE WERE GOING TO HAVE TO FACE THIS DAY

WHEN WE TOOK THAT CHILD IN AS A BABY.

WE WERE YOUNG THEN.

OH, NOW, SORRELL, THAT'S ENOUGH.

NOW, PLEASE, COME.

I'VE GOT PICKLES I'VE GOT TO PUT UP.

YES, DEAR.

I'LL COME OUT WITH YOU.

I LOVE TO SEE ANNIE'S PAINTINGS.

WE'RE READY TO GO, ANNIE.

ARE YOU READY?

OH, IT'S BEAUTIFUL!

THANK YOU, MRS. INGALLS.

IS THE SKY RIGHT?

IT FELT RIGHT WHEN I DID IT.

IT'S VERY RIGHT.

WOULD YOU LIKE TO HAVE IT?

OH, I COULDN'T!

OH, PLEASE!

I WANT YOU TO HAVE IT. I HAVE DOZENS AT HOME, BELIEVE ME.

OH, I CAN VOUCH FOR THAT.

HALF THE HOUSE IS FULL OF PAINTINGS.

ALL RIGHT.

I'D LOVE TO HAVE IT!

UM, THE PAINT'S NOT DRY YET,

SO MIND THE WAY YOU HANDLE IT.

I'LL BE VERY CAREFUL.

OH, THANK YOU!

DARLING, I'LL TAKE THOSE THINGS. YOU CAN RUN ALONG.

ANNIE.

Helen: WE'LL SEE YOU IN A COUPLE OF DAYS, CAROLINE.

Caroline: YES, HELEN. AND DON'T FORGET THOSE PICKLES THAT NELLIE WANTS TO TRY.

OH, I WON'T FORGET.

GOOD-BYE, MRS. INGALLS

- GOOD-BYE. - BYE.

Driver: WE'LL BE HERE 30 MINUTES, FOLKS.

GOOD RESTAURANT INSIDE. FACILITIES INSIDE FOR THE LADIES.

MEN, OUT BACK.

- WELCOME! - THANK YOU, I'M STARVED.

- OH, JUST SIT ANYWHERE. - THANK YOU.

Caroline: UH, IT'S STILL WET. Unger: HUH?

Caroline: OH, I'M SORRY.

I THOUGHT YOU WERE GOING TO TOUCH IT.

- BEAUTIFUL, ISN'T IT? - IT'S EXTRAORDINARY.

EVEN MORE SO, WHEN YOU CONSIDER

THE GIRL THAT PAINTED IT IS BLIND.

BLIND?

YES.

WHAT A GIFT.

WHAT'S THE NAME OF THE ARTIST?

ANNIE CRANE.

SHE LIVES HERE?

ABOUT A MILE OR SO FROM TOWN.

WHEN YOU SEE HER NEXT, WOULD YOU GIVE HER MY CARD--

OR I SHOULD SAY-- READ IT TO HER?

MY NAME IS JEREMY UNGER.

"ART DEALER"?

IN SLEEPY EYE?

OH, I HAVE SEVERAL THROUGHOUT THE STATE.

THE LARGEST IS IN MINNEAPOLIS.

HAS THIS GIRL DONE MANY PAINTINGS?

HER FATHER SAYS HALF A HOUSEFUL.

I'D BE VERY INTERESTED IN BUYING HER WORK.

IF SHE'S INTERESTED, I'LL BE IN SLEEPY EYE FOR THE NEXT MONTH.

OH, I'M SURE SHE'LL BE INTERESTED.

MEANWHILE, I'D LIKE A LIVERWURST SANDWICH AND A CUP OF COFFEE.

THE STAGE DOES NOT WAIT.

CERTAINLY. JUST SIT RIGHT DOWN, MR. UNGER.

THANK YOU.

Caroline: NOW, WHAT CAN I DO FOR YOU FOLKS?

I CAN'T BELIEVE IT!

A REAL ART DEALER LIKED MY PAINTING.

NOT JUST LIKED.

THE WORD HE USED WAS "EXTRAORDINARY."

AND HE WANTS TO BUY THEM?

THAT'S WHAT HE SAID.

WHAT SHOULD WE DO?

Caroline: IF YOU ASK ME,

I THINK YOU SHOULD TAKE A WHOLE WAGONFUL OF PAINTINGS TO SLEEPY EYE.

CAN WE, PA?

Sorrell: WELL, OF COURSE WE CAN.

I'LL HAVE TO BORROW A RIG.

I ALREADY TALKED TO CHARLES.

YOU CAN USE OUR WAGON.

I'LL DRIVE IF YOU LIKE.

WELL, I'D APPRECIATE IT.

IT'S MY PLEASURE.

I WOULDN'T MISS IT FOR THE WORLD.

WE CAN LEAVE ON SATURDAY.

Caroline: I'LL GET IN TOUCH WITH MARY.

SHE CAN PUT US UP AT THE BLIND SCHOOL.

I'LL GET TO BE WITH MY CLASSMATES AGAIN.

OH! I'M SO EXCITED, I DON'T KNOW WHAT TO DO.

YES, I DO.

I WANT TO PAINT.

I WANT TO PAINT HAPPINESS.

Caroline: WE'LL BE IN SLEEPY EYE IN AN HOUR.

OH, GOOD.

JUST ANOTHER HOUR, SORRELL.

[LAUGHS] PRAISE GOD.

MY BEHIND HASN'T BEEN SO SORE SINCE MY PA TOOK A STRAP TO--

OH!

I'M SO HAPPY.

[LAUGHS] SO AM I.

SO AM I!

[HUMS]

SOMEBODY'S VERY HAPPY.

OH, I AM. IT'S LIKE A DREAM.

SOMEONE ACTUALLY LIKED MY PAINTINGS.

WHY ARE YOU SO SURPRISED?

EVERYBODY THAT SEES THEM LIKES THEM.

OH, I KNOW, BUT THIS IS DIFFERENT.

THIS MR. UNGER LIKED MY PAINTINGS

BEFORE HE KNEW I WAS BLIND.

ANNIE.

TRY TO UNDERSTAND, MRS. INGALLS.

EVEN IF ALL OF YOU WERE BEING HONEST,

IT WAS STILL AT THE BACK OF MY MIND.

I MEAN, WHY WOULD ANYBODY SAY ANYTHING BAD ABOUT MY PAINTINGS?

I CAN'T SEE THEM, AND NO ONE WANTS TO HURT A BLIND PERSON.

BUT NOW...

NOW I KNOW FOR SURE THEY MUST LOOK

LIKE THEY DO ON MY MIND.

I JUST HOPE MR. UNGER LIKES THE REST OF THEM.

OH, HE WILL.

I CAN FEEL IT IN MY BONES.

AH! [LAUGHTER]

Sorrell: SO CAN I.

WELL, ANNIE.

THEY'RE VERY GOOD--VERY GOOD, INDEED.

- THANK YOU, SIR. - NOW, HERE'S WHAT I'D LIKE TO DO.

I'D LIKE TO ARRANGE FOR AN EXHIBITION OF YOUR PAINTINGS.

- AN EXHIBITION? - RIGHT.

AT THE BLIND SCHOOL. IT'S A PERFECT TIE-IN.

BUT I'LL NEED ALL THE BACKGROUND ON YOU,

ABOUT YOUR SCHOOLING, YOUR BLINDNESS.

MR. UNGER, DO WE HAVE TO TELL THEM ABOUT MY BEING BLIND?

I MEAN, I DON'T WANT THEM TO BUY MY PAINTINGS OUT OF PITY.

[CHUCKLES] ANNIE, YOU'RE VERY YOUNG, AND YOU'VE GOT A LOT TO LEARN.

NO ONE IS GOING TO BUY YOUR PAINTINGS OUT OF PITY.

ART LOVERS WANT THEIR MONEY'S WORTH.

BUT HOW ARE WE GOING TO GET PEOPLE TO BUY YOUR PAINTINGS IF THEY DON'T SEE THEM?

Unger: YOU'RE AN UNKNOWN. THAT'S WHY WE HAVE TO USE EVERYTHING WE CAN

TO GET THEM TO SEE YOUR PAINTINGS, TO GET THEM OUT.

WE HAVE TO GET PEOPLE ASKING THEMSELVES,

WHAT DOES A BLIND GIRL PAINT?

Annie: BUT-- Unger: THERE ARE NO BUTS.

NOW, SOME ARTISTS WEAR OUTLANDISH COSTUMES,

SOME DO STRANGE THINGS,

SOME EVEN CUT OFF THEIR EARS,

BUT NO MATTER WHAT, THEY MAKE PEOPLE CURIOUS.

NOW, ONCE PEOPLE SEE YOUR PAINTINGS,

THEY'RE NOT GOING TO CARE WHETHER YOU'RE BLIND OR NOT.

BUT FIRST...

THEY'VE GOT TO SEE THE PAINTINGS.

NOW, WHAT DO YOU SAY?

I SAY, LET'S GET THEM TO SEE THEM!

THANK YOU. HEY, GET YOUR PAPER!

PAPER?

Paperboy: PAPER? GET YOUR PAPER! PAPER?

"SHE WAS ABANDONED AT THE AGE OF TWO,

"HER SIGHT ALREADY GROWING STEADILY DIM.

"BY THE AGE OF 5, SHE WAS ALMOST TOTALLY BLIND.

Victor: "WHEN THE BLIND SCHOOL IN WINOKA WAS CLOSED,

"HER FOSTER PARENTS TRAVELED WITH HER TO WALNUT GROVE,

WHERE THEY STILL RESIDE."

IT'S HER...

MY LITTLE SANDRA.

YOU SURE?

VERY SURE.

OHH.

AFTER ALL THESE YEARS...

ALL THESE YEARS...

IS THERE ANY MORE?

JUST AN AD FOR HER EXHIBITION IN SLEEPY EYE.

WELL, WHAT DOES IT SAY?

UH, IT SAYS, UH...

SAYS IT'LL BE AT THE BLIND SCHOOL FROM 2:00 TO 5:00

ON SEPTEMBER EIGHTH, NINTH, AND TENTH.

SHE'S 16 NOW AND AN ARTIST!

I CAN'T BELIEVE IT.

16!

OH, GOD, HOW I REMEMBER THAT DAY.

MARGE, DON'T.

I CAN STILL SEE HER,

SITTING ON THE STEPS OF THE WINOKA SCHOOL,

WITH HER BAG OF BELONGINGS NEXT TO HER.

"I'LL BE BACK SOON," I SAID.

"DON'T WORRY, I'LL BE BACK SOON."

MARGE, I TOLD YOU, DON'T.

THERE WAS NOTHING ELSE YOU COULD DO,

YOU KNOW THAT.

WELL, YOU COULDN'T TAKE CARE OF HER BY YOURSELF.

NO ONE COULD.

YOU DID WHAT WAS BEST FOR THE CHILD.

[SOBBING]

SHE MUST HATE ME.

I KNOW SHE MUST HATE ME.

NO, NO, SHE DOESN'T. SHE DOESN'T.

I WANT TO HOLD HER.

MARGE.

VICTOR, I WANT TO HOLD HER. I WANT TO TELL HER I LOVE HER.

MARGE.

MARGE, IT'S A HARD TRIP TO SLEEPY EYE, AND--

YOU GO.

YOU GO AND TELL HER HER MOTHER LOVES HER AND WANTS TO HOLD HER.

LET'S WAIT A WHILE, THINK ABOUT IT.

MAYBE WHEN YOU'RE STRONGER, WE CAN BOTH GO.

NO.

I DON'T WANT HER TO KNOW ABOUT ME.

I DON'T WANT HER TO HOLD ME OUT OF PITY.

YOU SAID SHE DOESN'T HATE ME.

GO TO HER.

TELL HER I LOVE HER.

I WANT TO HOLD HER JUST ONCE.

PLEASE, MY LOVE.

PLEASE.

PLEASE.

ALL RIGHT.

ALL RIGHT, I'LL--

I'LL GET MRS. HAWKINS TO TAKE CARE OF YOU.

I'LL LEAVE ON THURSDAY.

THANK YOU.

NOW, DON'T YOU THANK ME.

YOU JUST EAT SOME SOUP I MADE,

AND DON'T BE TELLING ME AGAIN THAT YOU'RE NOT HUNGRY.

OH.

I AM HUNGRY,

AND I'D LOVE SOME SOUP.

ALL RIGHT.

SOUP'S COMING UP.

VICTOR?

YES, LOVE.

DON'T TELL HER ABOUT ME.

PROMISE YOU WON'T TELL HER!

I PROMISE.

I LOVE YOU.

AND I YOU.

I'LL GET SOME SOUP.

Caroline: IT CERTAINLY IS CROWDED!

WHAT DO YOU THINK, MRS. INGALLS?

I THINK THEY LOVE YOUR WORK.

- REALLY? - DOUBLE REALLY.

Unger: ANNIE?

ANNIE, THERE'S SOMEONE I WANT YOU TO MEET.

THIS IS MR. MALCOLM COLE

OF LONDON ARTS, LIMITED.

MR. COLE.

MS. CRANE, I WANT TO CONGRATULATE YOU.

YOUR WORK IS FASCINATING.

THANK YOU VERY MUCH.

AND PLEASE, CALL ME ANNIE.

MR. COLE WANTS TO HAVE SOME OF YOUR PAINTINGS

FOR HIS FIRM'S GALLERY IN LONDON.

LONDON?

NOT LONDON, ENGLAND?

MY DEAR,

TO AN ENGLISHMAN, THERE IS NO OTHER LONDON.

MOTHER!

MOTHER, THIS GENTLEMAN WANTS TO SEND MY PAINTINGS TO LONDON.

OH, I HEARD. I'M SO PROUD, DEAR.

MY MOUTH IS SUDDENLY DRY. I MUST BE NERVOUS.

LET'S GET SOME PUNCH.

TAKE MY ARM.

MY MOUTH IS DRY, TOO.

[LAUGHTER]

TO THE PUNCH BOWL.

DADDY, I'M SO EXCITED.

I KNOW YOU ARE, DEAR.

I'VE NEVER SEEN HER SO HAPPY.

SHE DESERVES IT,

SHE HAS UNIQUE TALENT.

HER WORK HAS GREAT BEAUTY,

BUT AT THE SAME TIME, THERE IS PAIN.

I FEEL TEARS BEHIND HER CANVAS.

I FELT THAT, TOO, MALCOM.

WELL, I THINK I'LL GO AND MINGLE A BIT.

WE'LL TALK PRICE LATER.

AT YOUR CONVENIENCE.

WELL, IT'S GOING BEAUTIFULLY.

I KNEW IT WOULD.

YOU WERE THAT SURE?

THAT'S THE WAY I MAKE MY LIVING.

Mrs. Barnsdale: JEREMY!

THAT'S MRS. BARNSDALE. SHE'S FILTHY RICH. SHE KNOWS NOTHING WHATEVER ABOUT ART.

SHE'S GOING TO INSIST THAT I SELL HER THE MOST EXPENSIVE PAINTING HERE

AND THE LARGER, THE BETTER. EXCUSE ME.

COMING, MRS. BARNSDALE.

YES, MRS. BARNSDALE, CAN I HELP YOU?

YOU CERTAINLY CAN.

I WOULD LIKE TO SEE SOME MORE OF THESE PICTURES.

Sorrell: MARY, WOULD YOU LIKE SOME PUNCH?

Mary: PLEASE. Sorrell: THERE YOU GO.

- I THOUGHT YOU MIGHT LIKE SOME PUNCH. - OH, THANK YOU.

Helen: ANNIE IS POSITIVELY SURROUNDED BY ADMIRERS.

I THINK MY HUSBAND MAY EXPLODE WITH PRIDE.

Victor: EXCUSE ME.

YOU'RE MRS. CRANE?

YES, I AM.

MY NAME IS VICTOR CROSBY,

AND I WONDER IF I MIGHT HAVE A WORD WITH YOU ABOUT YOUR DAUGHTER.

OH, I'M SORRY, MR. CROSBY,

BUT MR. UNGER HAS ASKED US

NOT TO TALK PRICE ON ANNIE'S PAINTINGS.

WELL, IT REALLY HAS NOTHING TO DO WITH YOUR DAUGHTER'S PAINTINGS.

IT'S...PERSONAL.

PLEASE, IT'LL JUST TAKE A MOMENT.

WELL, UM... ALL RIGHT.

WE CAN TALK IN HERE. EXCUSE US, CAROLINE.

CERTAINLY.

Mrs. Barnsdale: OH, JEREMY, I LIKE THIS ONE VERY MUCH!

IT IS PRETTY, ISN'T IT?

AND IS IT ONE OF YOUR MORE EXPENSIVE ONES?

OH, YES, IT'S ONE OF OUR MORE EXPENSIVE ONES.

OH, GOOD, AND I THINK I'D LIKE THAT ONE OVER THERE, TOO.

Mrs. Barnsdale: CAN WE SEE IT CLOSE UP? Unger: CERTAINLY.

- OH, CAROLINE. - WHAT'S WRONG?

I NEED SOMEPLACE TO SIT DOWN FOR A MINUTE,

WHERE IT'S QUIET.

COME ALONG WITH ME.

- UM... - COME ON.

WHAT'S WRONG?

[SIGHS]

THAT MAN DOWNSTAIRS IS MARRIED TO ANNIE'S REAL MOTHER.

WHAT?

HE SAID THAT HE WANTED TO TALK TO HER,

AND I TOLD HIM NO,

AND HE SAID...

- IT'S GOING TO BE ALL RIGHT. - I JUST CAN'T BELIEVE THIS IS HAPPENING.

IT'S BEEN SUCH A WONDERFUL DAY,

AND ANNIE-- ANNIE IS SO HAPPY.

SHE--

Helen: HE SAID THAT HIS WIFE WANTED TO SEE ANNIE.

FIRST THING YOU'D BETTER DO IS CALM DOWN.

I KNOW, I KNOW.

NOW, UH, HOW DOES ANNIE FEEL ABOUT HER REAL MOTHER?

WE'VE NEVER EVEN REALLY DISCUSSED HER,

BUT SHE REMEMBERS.

EVEN THOUGH SHE WAS ONLY TWO, SHE REMEMBERS.

SHE REMEMBERS THAT HER MOTHER JUST LEFT HER.

SHE'S NEVER HEARD FROM HER.

I THINK YOU'RE GOING TO HAVE TO FACE UP TO IT.

I JUST DON'T KNOW HOW ANNIE'S GOING TO TAKE THIS.

Unger: THANK YOU FOR COMING,

I HOPE YOU ENJOYED YOURSELF.

THANK YOU VERY MUCH.

THANK YOU. THANK YOU.

THANK YOU VERY MUCH.

BYE-BYE.

WELL, YOUNG LADY, IT COULD NOT HAVE GONE BETTER.

THEY LOVED YOUR PAINTINGS.

SO, WHAT ABOUT A CELEBRATIONARY PARTY?

- I'D LOVE IT! - GOOD. HOW LONG WILL IT TAKE YOU TO GET READY?

- I'M READY RIGHT NOW. - ALL RIGHT.

ANNIE, WE ALL NEED TO CLEAN UP AND CHANGE.

Helen: I THINK, UM-- COULD YOU GIVE US AN HOUR, MR. UNGER?

Unger: ALL RIGHT, I'LL BE BACK IN AN HOUR.

BUT YOU'D BETTER BE HUNGRY, YOUNG LADY,

BECAUSE I'M GOING TO TAKE YOU

TO THE BEST FRENCH RESTAURANT IN THE STATE.

OH, PA! A FRENCH RESTAURANT!

WELL, I HOPE I CAN GET SOME MEAT AND POTATOES.

OH, I'D BETTER GET READY.

Annie: MAMA, I'D LIKE TO WEAR MY BLUE DRESS.

ANNIE, THERE'S SOMEONE HERE WHO'D LIKE TO TALK TO YOU.

WHO IS IT?

MY NAME IS VICTOR CROSBY, ANNIE.

HOW DO YOU DO?

MR. CROSBY, THIS IS MY HUSBAND SORRELL.

Victor: MR. CRANE.

Sorrell: HOWDY.

WHY DON'T WE ALL SIT IN THE OFFICE HERE?

I THINK WE'LL BE MORE COMFORTABLE.

Annie: GOOD IDEA. MY FEET ARE JUST KILLING ME.

CAROLINE, COME WITH US, PLEASE.

ALL RIGHT.

SOMETHING'S WRONG. WHAT IS IT?

YOU'LL FIND OUT IN A MINUTE.

Victor: THERE'S A CHAIR HERE, ANNIE.

WELL, I'LL GET RIGHT TO IT, ANNIE, UM--

MY WIFE, MARGE,

ASKED ME IF I'D COME TO SEE YOU.

SHE HASN'T BEEN TOO WELL OF LATE.

OH, I'M SORRY.

SHE, UH--

SHE'S YOUR MOTHER, ANNIE.

I KNOW THIS VISIT MUST COME AS A SHOCK TO YOU

AFTER ALL THESE YEARS, BUT...

BUT AS FOLKS GET OLDER, IT'S HARDER FOR THEM

TO KEEP THINGS INSIDE-- FEELINGS.

BUT SHE DESPERATELY WANTS YOU TO KNOW

THAT SHE LOVES YOU, AND SHE WANTS--

TO SEE ME.

YES.

JUST ONCE.

IF YOU WOULD, IT WOULD MAKE HER SO HAPPY.

WHY WOULD I WANT TO MAKE HER HAPPY, MR. CROSBY?

WHAT IN GOD'S NAME DID SHE EVER DO FOR ME?

Victor: WELL, ANNIE, TRY TO UNDERSTAND.

NO! YOU UNDERSTAND, AND YOU TELL HER!

WHAT DID YOU SAY MY MOTHER'S NAME WAS--MARGE?

YOU TELL HER THAT I HATE HER.

I HATE HER, AND I DON'T EVER WANT HER NEAR ME!

NOW, GET OUT!

ANNIE, I KNOW YOU FEEL YOU HAVE A RIGHT TO--

Annie: A RIGHT?!

MY MOTHER THREW ME AWAY LIKE A BROKEN DOLL.

I WAS GOING BLIND. WHO WANTS A BLIND CHILD?

"GET RID OF IT! GO AWAY! FORGET IT!

YOU CAN ALWAYS HAVE ANOTHER ONE."

NO, MR. CROSBY, I DON'T FORGIVE HER.

YOU TELL HER THAT.

NOW, GET OUT.

I THINK YOU'D BETTER GO, MR. CROSBY.

YOUR MOTHER NEVER HAD ANOTHER CHILD.

WE'D ALL BETTER GET READY FOR SUPPER.

- ANNIE... - I, FOR ONE, DON'T INTEND TO MISS THIS CELEBRATION.

I'M FINE, MAMA.

REALLY.

[KNOCKING ON DOOR]

COME IN.

I TRIED TO KNOCK AS SOFTLY AS I COULD.

I--I THOUGHT MAYBE YOU'D BE ASLEEP.

I'M NOT REALLY TIRED. JUST ALL THE EXCITEMENT, I GUESS.

I'VE BEEN DOWNSTAIRS TALKING WITH MARY AND ADAM.

THE WHOLE SCHOOL IS EXCITED.

THE IDEA THAT ONE OF THEIR FORMER CLASSMATES IS A FAMOUS ARTIST

HAS ALL THE CHILDREN...

ON A CLOUD.

I'M NOT REALLY FAMOUS.

YOU'RE ON YOUR WAY.

YOU HEARD WHAT MR. UNGER SAID--

ANOTHER EXHIBIT HERE IN 3 WEEKS,

DEALERS COMING FROM ALL OVER THE COUNTRY.

YOU SHOULD BE VERY PROUD.

I SUPPOSE.

WHAT TIME ARE WE LEAVING TOMORROW?

IN THE MORNING.

WHENEVER YOU LIKE.

I'D LIKE TO GO HOME AS SOON AS POSSIBLE, PLEASE.

I WANT TO PAINT.

ALL RIGHT.

WE'LL LEAVE AT 7:00.

I'LL BE READY.

THERE, THERE.

TRY AND GET SOME REST, HMM?

GOOD NIGHT, MRS. INGALLS.

Caroline: GOOD NIGHT, DEAR.

BROUGHT YOU SOME LEMONADE.

THANK YOU, MAMA.

[SIGHS]

WHAT DO YOU THINK OF IT?

OH, I DON'T KNOW.

IT'S SO DIFFERENT FROM YOUR OTHER WORK.

I KNOW, BUT WHAT DO YOU THINK OF IT?

UM...I'M NOT THE ONE TO ASK, ANNIE.

WHO IS IT?

IT'S MARGE.

MOTHER MARGE.

- OH, ANNIE. - IT'S THE WAY I SEE HER.

IT'S THE WAY I FEEL ABOUT HER.

IT'S BEEN LIKE THIS SINCE WE GOT BACK.

NO MATTER WHAT SHE DID, ANNIE, SHE'S YOUR MOTHER.

NO, SHE'S NOT!

I KNOW YOU'RE ANGRY.

I WAS, TOO, WHEN IT FIRST HAPPENED,

BECAUSE I WAS AFRAID I WAS GOING TO LOSE YOU.

I WAS EVEN GLAD YOU DIDN'T WANT TO SEE HER.

BUT WE CAN'T HATE HER.

WE CAN'T HATE SOMEBODY WE DON'T EVEN KNOW.

YES, I CAN.

OH, YES, I CAN, MAMA.

SHE LIED TO ME.

"I'LL BE BACK FOR YOU," SHE SAID,

AND SHE HELD ME.

SHE SAID, "I LOVE YOU."

I CAN REMEMBER, AND I HATE HER.

I'D BEST FINISH THE WASH.

YOUR LEMONADE'S ON THE STAND, ANNIE.

THANK YOU, MAMA.

I'LL BE BACK SOON.

I LOVE YOU.

Caroline: NELLIE, I CAN FINISH UP IN HERE.

WHY DON'T YOU GO RELAX?

BELIEVE ME, MRS. INGALLS,

TO ME, WORK IS RELAXING.

MY MOTHER HAS MADE RELAXING WORK.

IT'S TRUE!

I CAN'T WAIT TO HAVE THE BABY

SO THINGS CAN GET BACK TO NORMAL.

I GET UP IN THE MORNING, MOTHER SAYS, "LIE DOWN."

[LAUGHS]

THIS MORNING, SHE WANTED FATHER TO HITCH UP THE BUCKBOARD

TO DRIVE ME ACROSS THE STREET TO THE STORE.

HA HA!

SHE CALLS ON THE TELEPHONE 10 TIMES A DAY

AND THEN GETS ANGRY BECAUSE I'M ANSWERING THE TELEPHONE.

OOH, WHIPPED CREAM!

OH, I LOVE IT.

YOU'D BETTER GO EASY ON THAT WHIPPED CREAM, YOUNG LADY.

YOU KNOW, THE MORE YOU PUT ON, THE MORE YOU HAVE TO TAKE OFF.

Percival: NELLIE!

IN THE KITCHEN, PERCIVAL.

NELLIE, I HAVE TO TALK TO YOU.

CERTAINLY, DEAREST.

ALL RIGHT, NOW, YOU ASKED ME TO PROMISE NOT TO ARGUE WITH YOUR MOTHER.

AND I HAVE BEEN TRYING, HAVE I NOT?

YES, YOU HAVE.

I DIDN'T YELL WHEN YOUR MOTHER INSISTED

THAT YOU HAVE YOUR SUPPER LYING DOWN ON THE SOFA, NOW, DID I?

- NO. - AND I DIDN'T YELL WHEN YOUR MOTHER

BEGAN SERVING YOU BREAKFAST IN BED

WHETHER I WAS UP OR NOT, NOW, DID I?

NO, YOU DIDN'T.

AND I DIDN'T YELL WHEN YOUR MOTHER TOLD ME NOT TO HOLD YOU TOO CLOSE

BECAUSE I MIGHT SQUISH THE BABY, NOW, DID I?

- NO. - BUT NOW, JUST NOW, YOUR MOTHER HAS INFORMED ME

THAT I AM NO LONGER ALLOWED

TO SLEEP IN THE SAME BED WITH MY WIFE!

- MRS. INGALLS. - PERCIVAL.

NELLIE?

I'M GOING TO ASK YOUR PERMISSION

TO ALLOW ME TO BREAK MY PROMISE AND YELL AT YOUR MOTHER.

Harriet: PERCIVAL! WHERE ARE YOU?

YOU HAVE MY PERMISSION.

IN HERE, MOTHER.

Harriet: PERCIVAL DALTON, I HAVEN'T FINISHED WITH YOU.

OH, MY GOODNESS, NELLIE, DARLING!

WHY AREN'T YOU LYING DOWN?

BECAUSE I DON'T WANT HER TO LIE DOWN.

I WANT HER TO STAND UP.

AND I WANT HER TO SIT UP WHEN SHE'S HAVING HER DINNER.

AND, IF SHE IS GOING TO HAVE BREAKFAST IN BED,

SHE IS GOING TO DO SO WITH ME.

AND I AM GOING TO SLEEP EVERY NIGHT WITH MY WIFE IN OUR ROOM.

AND IF I WANT TO HOLD MY WIFE OR KISS MY WIFE,

I WILL DO SO ANYWHERE OR ANY TIME I DARN WELL CHOOSE TO,

LIKE RIGHT NOW.

UGH! AH! OHH!

OH, YOU ANIMAL!

NELS!

Harriet: NELS!

- THANK YOU, DEAREST. - YOU'RE WELCOME, MY LOVE.

I'LL BE BACK IN ABOUT AN HOUR. YOU GET SOME REST?

- I WILL. - OKAY.

BYE-BYE, MRS. INGALLS.

Caroline: BYE, PERCIVAL.

ISN'T HE WONDERFUL?

HE'S PRETTY AMAZING.

AFTERNOON, MRS. CRANE.

HELLO, PERCIVAL.

- HELEN! - HELLO, CAROLINE.

HOW ARE YOU?

I'M ALL RIGHT.

I WANTED TO GET BY TO SEE YOU THE PAST FEW DAYS,

BUT I JUST-- I HAD SO MUCH TO CATCH UP ON HERE.

HOW'S ANNIE?

COULD WE SIT DOWN FOR A MINUTE AND TALK?

OF COURSE.

HERE.

HMM, OH, CAROLINE.

THESE LAST FEW DAYS HAVE BEEN...

[SIGHS]

TELL ME ABOUT IT.

ANNIE IS SO...

SO...

SO CHANGED.

ALL OF HER JOY, HER ENERGY, HER--IT'S GONE.

AND EVEN HER PAINTINGS ARE--

OH, I WISH YOU COULD SEE THEM.

I DON'T KNOW WHAT TO DO.

WHEN THAT MAN FIRST CAME TO ME,

I WAS SO AFRAID OF WHAT WOULD HAPPEN IF ANNIE WENT TO HER,

AND NOW I'M AFRAID OF WHAT WILL HAPPEN

IF ANNIE DOESN'T.

WOULD SHE GO TO SEE HER?

NO.

SHE JUST WANTS TO KEEP ON HATING HER.

WHAT IF MRS. CROSBY CAME HERE?

I DON'T KNOW.

MR. CROSBY LEFT A NUMBER WHERE THEY CAN BE REACHED.

DO YOU THINK SHE'D COME?

[SIGHS]

WE CAN ONLY TRY.

OH, NO. I'M AFRAID IF I DID THAT, SHE MIGHT HATE ME, TOO.

I COULD DO IT.

JUST A NOSY NEIGHBOR BUTTING IN.

THANK YOU.

COME ON.

HOW'S THAT? THAT'S NOT TOO HARD, IS IT?

NO.

YOU KNOW, WHEN YOU GET A LITTLE STRONGER,

WE'RE GOING TO HAVE TO TAKE A TRIP,

GET SOME WARM SUN ON YOUR FACE.

DO US BOTH SOME GOOD.

I'D LIKE THAT. [TELEPHONE RINGS]

OH, LAND SAKES, THAT SCARED ME! [LAUGHING]

SOUNDS OF THE MODERN AGE.

HELLO. YES?

MRS. INGALLS?

YES.

WELL, I-- I DON'T KNOW.

YES, OF COURSE. JUST A MOMENT.

IT'S THE MRS. INGALLS THAT I MENTIONED TO YOU.

SHE'S COMING?

ANNIE'S COMING?

NO, SHE WONDERED IF YOU COULD GO TO HER.

- SHE-- - WELL, I CAN'T.

Victor: MARGE, I UNDERSTAND YOUR FEELINGS, BUT--

I CAN'T.

I'M TOO SICK TO TRAVEL. YOU TELL HER THAT.

PLEASE, VICTOR?

TELL HER THAT.

MRS. INGALLS, I'M SORRY, BUT, UH...

MY WIFE IS JUST TOO ILL.

Victor: YES, I KNOW.

I'M SORRY.

GOOD-BYE.

BYE.

WELL, AT LEAST YOU TRIED.

THANK YOU, CAROLINE.

I'M SORRY.

WELL, I'VE CHECKED ALL ALBERT'S SPELLING AND HISTORY HOMEWORK.

YOU'RE GOING TO HAVE TO CHECK HIS ALGEBRA.

I CAN'T MAKE HEADS OR TAILS OUT OF IT.

ALL RIGHT.

I DON'T KNOW WHY LAURA HAS TO TEACH ALGEBRA ANYWAY.

YOU'D THINK PLAIN OLD CIPHERING WOULD BE GOOD ENOUGH.

DON'T BLAME LAURA.

BLAME THE GREEKS, THEY STARTED IT.

YOU'VE BEEN READING THE SAME PAGE IN THAT BIBLE

FOR OVER AN HOUR.

I'M NOT REALLY READING IT.

THINKING ABOUT ANNIE, HUH?

YES, AND HER MOTHER,

HER REAL MOTHER.

IF ONLY SHE WOULD HAVE COME TO SEE ANNIE.

THE WOMAN'S ILL. THERE'S NOTHING YOU CAN DO ABOUT THAT.

Caroline: I DON'T BELIEVE SHE IS THAT ILL.

HE HAD ME WAIT ON THE TELEPHONE

WHILE HE WENT TO TALK TO HER.

HE MUST HAVE ASKED HER IF SHE'D GO TO ANNIE.

HE WOULDN'T HAVE EVEN ASKED HER IF SHE WAS THAT SICK.

WELL, YOU COULD BE RIGHT.

SHE JUST DOESN'T CARE ENOUGH.

OH, I WOULDN'T BE SO SURE ABOUT THAT.

PRETTY HARD FOR A PARENT NOT TO CARE.

WELL, JUST LOOK AT THE OLD TESTAMENT-- ABSALOM.

HERE HE WAS, TRYING TO KILL HIS OWN FATHER,

AND YET, WHEN HE DIED, KING DAVID ASKED GOD TO TAKE HIM INSTEAD.

THEN WHY DOESN'T SHE COME?

I DON'T KNOW.

GUILT?

PERHAPS.

CHARLES, COULD I USE THE WAGON AGAIN ON FRIDAY?

SURE.

ANNIE'S MOTHER LIVES IN BRADLEYVILLE.

I DON'T KNOW THEIR ADDRESS,

BUT I'M SURE I COULD FIND IT.

IF THE MOUNTAIN WILL NOT COME TO MOHAMED...

MOHAMED MUST GO TO THE MOUNTAIN.

Victor: HERE YOU GO.

THANK YOU.

MRS. INGALLS.

Caroline: MR. CROSBY.

I HOPE YOU DON'T MIND MY COMING.

I--I JUST HAD TO TRY ONCE MORE.

MRS. INGALLS, I APPRECIATE YOUR CONCERN FOR ANNIE--

AND FOR YOUR WIFE?

AND FOR MARGE.

I TRIED, BELIEVE ME, I DID, BUT--

MR. CROSBY, SOMETIMES WE JUST HAVE TO MAKE PEOPLE DO THINGS

WHETHER THEY LIKE IT OR NOT--

FOR THEIR OWN GOOD.

CAN YOUR WIFE TRAVEL?

YES, AS A MATTER OF FACT, WE'RE GOING TO TAKE A LITTLE TRIP THIS WEEKEND.

I THOUGHT IT'D BE GOOD FOR HER TO GET AWAY.

COULD WE GO SOMEWHERE AND TALK?

OH, SURE. I THINK WE'D BETTER.

THERE'S SOMETHING YOU SHOULD KNOW ABOUT MARGE.

UH, CHARLIE? CHARLIE, I'M TAKING A BREAK.

Marge: THE SUN FEELS WONDERFUL.

Victor: WELL, I TOLD YOU IT'D DO YOU GOOD TO GET OUT IN THE AIR FOR A WHILE.

THERE'S A LITTLE TOWN DOWN THE ROAD.

I THOUGHT WE MIGHT STOP, GO TO SERVICES.

YOU WANT TO GO TO CHURCH?

I CAN'T GET YOU TO DO THAT AT HOME.

WELL, I JUST THOUGHT IT MIGHT BE INTERESTING TO HEAR A NEW PREACHER.

MAYBE HE WON'T BE AS LONG-WINDED AS REVEREND HAILEY.

WHY, VICTOR CROSBY, YOU SHOULD BE ASHAMED OF YOURSELF,

TALKING LIKE THAT.

WELL, SO SHOULD REVEREND HAILEY.

[LAUGHS]

All: * WAITING FOR THE HARVEST AND THE TIME OF REAPING *

* WE SHALL COME REJOICING BRINGING IN THE SHEAVES *

* BRINGING IN THE SHEAVES, BRINGING IN THE SHEAVES *

* WE SHALL COME REJOICING BRINGING IN THE SHEAVES *

Rev. Alden: "BLESSED IS THE MAN THAT WALKETH NOT IN THE COUNSEL OF THE UNGODLY,

"NOR STANDETH IN THE WAY OF SINNERS,

"NOR SITTETH IN THE SEAT OF THE SCORNFUL.

"BUT HIS DELIGHT IS IN THE LAW OF THE LORD--

AND ON HIS LAW DOTH HE MEDITATE DAY AND NIGHT."

GOD'S LAW IS LOVE.

HIS LAW IS FORGIVENESS.

THINK ABOUT THAT THIS WEEK.

PRACTICE IT.

HOLD YOUR LOVED ONES CLOSE,

AND YOU'LL HOLD GOD IN YOUR HEART.

OH, BEFORE WE GO, WE'D LIKE TO TAKE THIS OPPORTUNITY

TO CONGRATULATE ANNIE CRANE ON HER SUCCESSFUL ART EXHIBIT

AND TO GIVE HER OUR BEST WISHES FOR HER FUTURE EXHIBITS.

ANNIE, YOU'VE MADE US ALL VERY PROUD.

Rev. Alden: THAT'S ALL FOR THIS WEEK.

MAY GOD GO WITH YOU.

PAPA AND I'LL GO GET THE WAGON.

I'LL BE RIGHT BACK.

TALK TO HER, DARLING.

TELL HER.

TELL HER.

ANNIE?

YES?

HOW HAVE YOU BEEN?

FINE.

WHO IS IT? I'M SORRY, I DON'T RECOGNIZE YOUR VOICE.

I-- I AM...

YOUR MOTHER, ANNIE.

WHAT ARE YOU DOING HERE?

WELL, I DIDN'T KNOW YOU WERE HERE.

- I SWEAR TO GOD-- - I DON'T WANT YOU HERE!

I KNOW.

I DON'T BLAME YOU.

I--

I JUST WANTED TO SEE YOU ONCE,

TO TELL YOU THAT I LOVE YOU.

THAT'S A LIE!

I DON'T BLAME YOU FOR NOT BELIEVING ME...

BUT THINGS HAPPEN IN LIFE, ANNIE.

WHEN YOUR FATHER DIED, AND I WAS ALONE--

YOU'RE NOT THE ONLY WIDOW TO HAVE A CHILD.

BUT YOU DIDN'T WANT TO. YOU DIDN'T WANT A CHILD THAT WAS GOING BLIND.

- THAT'S NOT TRUE. - YES, IT IS!

ALL RIGHT, YOU WANTED TO SEE ME?

LOOK AT ME!

GO AHEAD, LOOK AT ME! LOOK AT YOUR BLIND DAUGHTER!

WHAT COLOR IS YOUR HAIR?

IT WAS SO BLOND WHEN YOU WERE FIRST BORN,

BUT IT STARTED TO DARKEN.

WHAT COLOR IS IT?

BROWN.

I THOUGHT SO.

LET ME SEE YOU.

SO LOVELY, SO VERY LOVELY.

I HAD SCARLET FEVER

WHILE I WAS CARRYING YOU.

IT WAS ONLY A MATTER OF TIME, THE DOCTOR SAID.

IT GREW DARKER EVERY DAY.

IF I HAD ONLY HAD A FAMILY--SOMEONE.

MAMA, WHY DIDN'T YOU TELL ME?

Annie: WHY? Marge: I DIDN'T WANT YOU TO COME TO ME OUT OF PITY.

I LOVE YOU, MAMA.

I WISH I'D KNOWN.

HOLD ME.

HOLD ME.

Laura, voice-over: ANNIE CRANE'S SECOND EXHIBIT

WAS AN EVEN BIGGER SUCCESS THAN THE FIRST.

MR. UNGER SAID THAT HER NEW WORKS WERE FILLED WITH JOY AND LOVE,

ESPECIALLY THE ONE ANNIE TITLED "MY MAMA."