Major Barbara Page #13

Synopsis: A young and idealistic woman, who has adopted the Salvation Army and whose father is an armament industrialist, will save more souls directing her father's business. A comedy with social commentary.
Genre: Comedy
Production: Criterion Collection
  1 nomination.
 
IMDB:
7.0
Rotten Tomatoes:
86%
APPROVED
Year:
1941
121 min
339 Views


factory of death? That's what I ask myself.

I've always thought of

it as a sort of pit...

where lost creatures with blackened

faces stirred up smoking fires...

and were driven and

tormented by my father.

- Is it like that, Papa?

- My dear, you'll see for yourself.

[Machinery Thumping, Clanking]

[Clanging]

[Cusins] Raw materials of destruction.

[Undershaft] Or construction. How

about railway lines, for instance?

[No Audible Dialogue]

Astonishing.

Remember the words of Plato?

Plato? You dare quote a

Greek philosopher to me?

Plato says, my friend, that

society cannot be saved...

until either the professors of

Greek take to making gunpowder...

or else the makers of gunpowder

become professors of Greek.

My predecessors, the old swordsmiths,

used the same stuff... boiling steel.

Have you found anything discreditable?

Nope.

The men call him Dandy Andy and

are proud he's a cunning old rascal.

Well?

You're driving me against

my nature. I hate war.

Hatred is the coward's

revenge for being intimidated.

Dare you make war on war...

here are the means.

Well, Euripides?

You coming into my business?

Understand this, you old demon...

You have me in a horrible dilemma.

I want Barbara.

Like most young men, you greatly

exaggerate the difference...

between one young woman and another.

Quite true, Dolly.

I refuse to walk another step through

all these sheds and pipes and boilers.

They mean nothing to me.

I've never asked you to come look at

the kitchen range and the scullery sink.

[Loud Rumbling, Hissing]

Why is that roof making a

noise like a whale with asthma?

It's breathing, my love. Come and see.

This is ridiculous. Is

it snow, or salt, or what?

Nitrates to make explosives.

Or sulfates to fertilize your fields.

If you prefer the explosive way,

that's your affair, not mine.

Come, Euripides, you think that

nitrates are good for nothing but death.

Now I'll show you the

sort of life they produce.

This is where my workers live. Here

they own everything and I own nothing.

- Sort of a cooperative touch, huh?

- Exactly, Mr. Lomax.

It makes it very difficult for

them to leave my employment.

- But then they don't want to leave it.

- Why?

Because they can't better

themselves, my love.

- Slavery, I call it.

- Do you, my dear?

[Children Laughing, Chattering]

## [Congregation Singing Hymn]

- Sort of ideal church exhibition, what?

- Exactly, Mr. Lomax.

It's the result of our

belief in religious freedom.

Its official name is the meeting

place of all the religions.

The men call it Piety Square.

Are you sure that all this pampering

is really good for the men's characters?

My dear boy, when you're

organizing civilization...

you have to make up your mind whether

trouble and anxiety are good things or not.

If you decide that they are, then I take

it you simply don't organize civilization.

Good morning.

However, our characters are safe here.

A sufficient dose of

anxiety is always provided...

by the fact that we may all be

blown to smithereens at any moment.

- Well?

- Not a ray of hope.

Everything perfect, wonderful, real.

It only needs a cathedral to be a

heavenly city instead of a hellish one.

And to think of all that being yours, and

you've kept it to yourself all these years.

It doesn't belong to me, I belong to

it. It's the Undershaft inheritance.

It is not.

Your ridiculous cannons and that noisy, banging

foundry may be the Undershaft inheritance...

but all that plate and linen, all those houses

and orchards and gardens, they belong to us.

They belong to me. They're not a

man's business. I won't give them up!

- What lovely flowers.

- Never mind about the flowers, Andrew.

You're trying to put me off the subject

of the inheritance. Well, you shan't.

I don't ask it any longer for Stephen.

He's inherited far too much of

your perversity to be fit for it.

But Barbara has rights

as well as Stephen.

Why should not Adolphus

succeed to the inheritance?

[Undershaft] I should ask nothing

better if Adolphus were a foundling.

He's exactly the sort of new blood

that's wanted in English business.

But he's not a foundling,

and there's an end of it.

Not quite.

I think... Mind, I'm not committing

myself in any way as to my future course...

but I think the foundling

difficulty can be got over.

- What do you mean? - Well, I have something

to say which is in the nature of a confession.

- A confession?

- A confession?

Yes, a confession.

Listen, all of you.

Won't you sit down?

Until I met Barbara, I thought myself

in the main an honorable, truthful man...

because I wanted the approval of my

conscience more than I wanted anything else.

But the moment I saw Barbara, I wanted her

far more than the approval of my conscience.

- Adolphus!

- I thought she was a woman of the people...

and that a marriage with a professor

of Greek would be far beyond...

the wildest social

ambitions of her rank.

- [Lady Brit] Adolphusl

- No, really!

- When I learnt the horrible truth...

- What do you mean by the horrible truth, pray?

That she was enormously rich, that her grandfather was

an earl, that her father was the prince of darkness...

- Shh! - And that I was only an

adventurer trying to catch a rich wife...

then I stooped to deceive

her about my birth.

- Dolly!

- Your birth?

Adolphus, don't dare make up a wicked story

for the sake of these wretched cannons.

Remember, I've seen

photographs of your parents.

The agent general for Southwestern

Australia knows them personally...

and has assured me they are the

most respectable married people.

Oh, so they are, in Australia.

But here they're outcasts.

Their marriage is legal in

Australia, but not in England.

My mother is my father's

deceased wife's sister...

and in this island I am,

consequently, a foundling.

I think not. You can marry your

wife's sister even in England.

Ah, you can now, but not

when my parents married.

Is the subterfuge good

enough, Machiavelli?

You're an educated man.

That's against the tradition.

Greek hasn't destroyed my

mind, it's nourished it.

Beside, I didn't learn it

in an English public school.

Biddy, this may be a way

out of the difficulties.

Stuff! A man cannot make cannons any better for

being his own cousin instead of his proper self.

Well, I can't afford to be too particular.

He's cornered the foundling market.

Let it pass.

You're eligible,

Euripides, you're eligible!

You know that you'll have to change

your name. You object to that?

Would any man named Adolphus...

any man called Dolly...

object to being called something else?

Hardly.

Now, as to money, I propose to treat

you handsomely from the beginning.

You shall start at a thousand a year.

A thousand?

You dare offer a miserable thousand

to the son-in-law of a millionaire?

No, by heavens, Machiavelli,

you shall not cheat me.

You can't do without me,

and I can do without you.

Rate this script:0.0 / 0 votes

George Bernard Shaw

George Bernard Shaw (26 July 1856 – 2 November 1950), known at his insistence simply as Bernard Shaw, was an Irish playwright, critic, polemicist, and political activist. His influence on Western theatre, culture and politics extended from the 1880s to his death and beyond. He wrote more than sixty plays, including major works such as Man and Superman (1902), Pygmalion (1912) and Saint Joan (1923). With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature. Born in Dublin, Shaw moved to London in 1876, where he struggled to establish himself as a writer and novelist, and embarked on a rigorous process of self-education. By the mid-1880s he had become a respected theatre and music critic. Following a political awakening, he joined the gradualist Fabian Society and became its most prominent pamphleteer. Shaw had been writing plays for years before his first public success, Arms and the Man in 1894. Influenced by Henrik Ibsen, he sought to introduce a new realism into English-language drama, using his plays as vehicles to disseminate his political, social and religious ideas. By the early twentieth century his reputation as a dramatist was secured with a series of critical and popular successes that included Major Barbara, The Doctor's Dilemma and Caesar and Cleopatra. Shaw's expressed views were often contentious; he promoted eugenics and alphabet reform, and opposed vaccination and organised religion. He courted unpopularity by denouncing both sides in the First World War as equally culpable, and although not a republican, castigated British policy on Ireland in the postwar period. These stances had no lasting effect on his standing or productivity as a dramatist; the inter-war years saw a series of often ambitious plays, which achieved varying degrees of popular success. In 1938 he provided the screenplay for a filmed version of Pygmalion for which he received an Academy Award. His appetite for politics and controversy remained undiminished; by the late 1920s he had largely renounced Fabian Society gradualism and often wrote and spoke favourably of dictatorships of the right and left—he expressed admiration for both Mussolini and Stalin. In the final decade of his life he made fewer public statements, but continued to write prolifically until shortly before his death, aged ninety-four, having refused all state honours, including the Order of Merit in 1946. Since Shaw's death scholarly and critical opinion has varied about his works, but he has regularly been rated as second only to Shakespeare among British dramatists; analysts recognise his extensive influence on generations of English-language playwrights. The word "Shavian" has entered the language as encapsulating Shaw's ideas and his means of expressing them. more…

All George Bernard Shaw scripts | George Bernard Shaw Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Major Barbara" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/major_barbara_13197>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Major Barbara

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    Which screenwriter created the "West Wing" TV series?
    A Shonda Rhimes
    B Aaron Sorkin
    C J.J. Abrams
    D David E. Kelley