Pygmalion Page #4

Synopsis: The snobbish & intellectual Professor of languages, Henry Higgins makes a bet with his friend that he can take a London flower seller, Eliza Doolittle, from the gutters and pass her off as a society lady. However he discovers that this involves dealing with a human being with ideas of her own.
Genre: Comedy, Drama, Romance
Production: Criterion Collection
  Won 1 Oscar. Another 2 wins & 5 nominations.
 
IMDB:
7.9
Rotten Tomatoes:
94%
NOT RATED
Year:
1938
89 min
2,332 Views


to tell you. I'm waiting to tell you. "

The Welsh strain

in him.

How do you know the girl's here

if you didn't send her?

She sent back for

her luggage, guvnor.

Luggage?

What luggage?

There was a musical instrument,

a few pictures,

a trifle of ewelry

and a bird cage.

She said as how she didn't

want no clothes.

What was I to think

from that?

I ask you as a parient,

what was I to think?

So you came to rescue her

from worse than death?

Yes, that's right.

Just so.

Mrs. Pearce,

this is Eliza's father.

He's come to rescue her

from worse than death.

- Give her to him.

- No-

He can't take her away.

How can he?

- You told me to burn all her clothes.

- That's right.

I can't carry the girl through the streets

as if she was a bloomin' monkey, can I?

Where's the clothes

she come in?

Did I burn 'em,

or did your missus here?

Listen, guvnor.

You and me, we're men

of the world, ain't we?

We're men of

the world, are we?

- You'd better go, Mrs. Pearce.

- I should think so indeed.

The floor is yours,

Doolittle.

I thank you kindly,

guvnor.

To tell you the truth,

I've taken a sort of fancy to you.

Well, that's-

And if you Want the girl,

I'm not so set in havin'her back home.

But what I might be open to

is an arrangement.

Regarding the light of a young woman,

she's a fine, handsome girl.

As a daughter, she ain't worth a keeper,

I'll tell you straight.

All I ask from you

is my rights as a father.

You're the last man in the world who'd

expect me to let her go for nothing.

You're one of the straight sort,

you are. Oh, I can see that.

Well, what's

a five-pound note to you?

And what's Eliza to me?

I think you ought to know that Mr.

Higgins' intentions are entirely honorable.

Of course they are, guvnor.

Of course they are.

If I thought they wasn't,

I'd ask 50.

Why, you callous rascal.

Do you mean to say you'd sell

your daughter for 50 pounds?

No, no, not in a general

sort of way I wouldn't.

But to oblige a gentleman like you,

I'd do a good deal, I do assure you.

Have you

no morals, man?

I can't afford 'em, guvnor.

Well, neither could you

if you's as poor as me.

I don't mean no harm,

but if Eliza's gonna have a bit

out of this, why not me too?

As a matter of morals, it's a positive

crime to give this chap a farthing,

but I do feel a sort of

rough ustice in his claim.

That's right, guvnor.

It's a father's heart, as it were.

I know the feeling,

yet it hardly seems right.

No, no, don't look at it

that way, guvnor.

What am I, guvnors both?

I ask you, what am I?

Well, what are you?

I'm one of the undeservin' poor,

that's what I am.

Well, think what

that means to a man.

It means he's up against

middle-class morality all the time!

If there's anything

going, I puts in for a bit of it.

It's always

the same story.

You're undeservin',

so you can't have any.

And yet my needs is as great

as the most deserving widows...

that ever got money out of

six different charities in one week...

for the death

of the same husband.

I don't need less than

the deserving man. I need more.

I don't eat less hearty

than he does.

And I drink

a lot more.

So I puts it to you tWo gentlemen,

don't play that game on me.

I'm playin' straight

with you.

I ain't pretendin' to be deservin'.

I'm undeservin'.

And I mean to go on bein'

undeservin'. I likes it.

Sit down,

Doolittle.

Would you deny to a man

the price of his own daughter-

what he's brought up,

he's fed,

he's clothed

by the sweat of his brow-

until she growed

big enough...

to be interesting

to you two gentlemen?

Well, is five pounds

unreasonable?

I puts it to ya

and I leaves it to ya.

Pickering, here.

Shall we give him a fiver?

- He'll make bad use of it.

- No, no. So help me, guvnor.

I shan't save it, spare it

or live idle on it.

There won't be a penny

of it left on Monday.

Just one good spree

for myself and the missus.

This is irresistible.

Let's give him ten.

No, no, no.

Thank you kindly, guvnor.

Ten pounds is a lot of money.

Makes a man feel prudent-like.

And then good-bye

to happiness.

Just give me what I ask, guvnor.

Not a penny more, not a penny less.

You're sure

you won't take ten?

- No, not now, guvnor.

- Come on, come on.

Another time perhaps.

Thank you kindly, guvnor.

See?

Thank you,

guvnors both.

Pardon, Miss.

Garn. Don't you know

your own daughter?

Blimey, it's Eliza!

I never thought

she'd clean up so good lookin'.

She's a credit to me,

ain't she, guvnor?

She'll soon pick up

your free and easy ways.

I'm a good girl, I am, and I won't

pick up no free and easy ways.

If you say again you're a good girl,

your father shall take you home.

You don't know my father.

All he come here for was to touch you

for some money to get drunk on.

What else would

I want money for?

- Put in the plate in church?

- Hmm.

Don't you give me

none of your lip.

Don't let me hear you giving

any of these gentlemen none either.

You'll hear from me

about it, see?

Have you any further advice to give her,

Doolittle? Your blessing, for instance?

No, guvnor, not me.

I'm not such a mug as to put up

my kids to all I know myself.

If you want Eliza's mind improved,

guvnor, do it yourself.

With a strap.

Well, so long,

gentlemen.

Ew!

"Ah. Ah. "

Like "father. "

"E. E."

As in "machine. "

Repeat after me.

- A. A.

- A. E.

The rain in Spain...

...stays mainly

in the plains.

The rain in Spain

stays mainly in the plains.

Now, Eliza, you see

these three marbles?

- Yes.

- I want you to put them in your mouth.

One, tWo, three.

Now, don't be alarmed.

It's ust an exercise.

Now then,

repeat slowly after me:

The shallow depression

in the west of these islands...

is likely to move slowly

in a westerly direction.

The shallow depression

in the west of these islands...

is likely to move in-

- I swallowed one!

- Don't worry. We have plenty more.

The shallow depression

in the west of these islands...

is likely to move slowly

in a more easterly direction.

Hampshire, Hereford,

Hartford.

Hampshire, Hereford-

- Lumme, it umps.

- And so it Will, Eliza.

Every time you say

"hah" correctly.

Now then,

try once again.

In Hampshire, Hereford and Hartford,

hurricanes hardly ever happen.

In Hampshire,

Hereford, Hartford,

hurricanes

hardly ever happen.

Hardly ever

happen.

Hardly ever happen.

Oh.

How do you do?

Bad, bad, bad!

Do it again.

You aren't trying. Do it again.

That's not good,

Eliza.

It's not bad.

- Now's the time to try

her out on somebody. - Well-

I know.

My mother.

- Henry.

- Hello, dear.

What are you doing here today?

This is my home day.

- You promised not to come.

- Oh, bother.

- Go home at once.

- But I came here on purpose.

- I picked up a girl.

- You mean a girl has picked you up.

- No, no, this isn't a love affair.

- Oh, what a pity.

- Why?

- You never fall in love with anyone under 45.

I can't waste my time with young women.

Rate this script:4.5 / 2 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

    "Pygmalion" Scripts.com. STANDS4 LLC, 2024. Web. 22 Nov. 2024. <https://www.scripts.com/script/pygmalion_16412>.

    We need you!

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

    Watch the movie trailer

    Pygmalion

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is a "character arc"?
    A The dialogue of a character
    B The physical description of a character
    C The transformation or inner journey of a character
    D The backstory of a character