Pygmalion Page #9

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
2,193 Views


should be very unhappy if you forgot me.

It was from you

that I learned nice manners.

- And that's What makes one a lady, isn't it?

- Ha!

That's what makes

the difference, after all.

No doubt. Still, he taught you

to speak. I couldn't have done that.

Of course.

That Was his profession.

It Was just like... learning to dance

in the fashionable Way.

Nothing more

than that in it.

- Do you knoW What began my real education?

- No.

Your calling me

Miss Doolittle...

that day when I first came

to Wimpole Street.

That was the beginning

of self-respect for me.

You see, the difference between a lady

and a flower girl isn't how she behaves.

It's how she's treated.

NoW, I knoW that I shall alWays be

a floWer girl to Professor Higgins...

because he always treats me

as a flower girl and always will.

Don't grind your teeth, Henry.

But I know that I can be

a lady to you...

because you always treat me

as a lady, and always will.

That's very nice of you

to say so, Miss Doolittle.

I should like you to call me

Eliza now if you would.

Thank you.

Eliza.

Of course.

And I should like Professor Higgins

to call me Miss Doolittle.

- I'll see you damned first.

- Henry. Henry.

You're coming back,

aren't you? You'll forgive Higgins.

Forgive? Will she, by George!

Let her go.

Let her find out

What it's like to be Without us.

In three weeks, she'll relapse back

into the gutter without me at her elbow.

You won't relapse,

will you?

No, never again.

I don't believe I could utter

one of those old sounds if I tried.

Owww!

Ha, ha.! What did I tell you?

Victory.!

Victory!

Ow. Ow.

Ow, ow, ow.

- Henry!

- Ow!

Eliza, it ain't my fault.

Your stepmother-

Henry-

Look, Henry- Oh.

- Colonel, I'm gettin' late for the weddin'.

- Wedding? What wedding?

- Mine.

- Yours?

Yes. In spite of all

I've said and done, my wife-

she's going to marry me.

I'm feeling uncommon nervous

about the ceremony, guvnor.

- Wish you'd come and put me through it.

- You've been through it before.

- You were married to Eliza's mother.

- Who told you that, guvnor?

- Nobody told me, but I concluded naturally.

- No, no.

That ain't

the natural way, guvnor.

That's only

the middle-class way.

Don't tell Eliza.

She don't know.

- I always had a sort of delicacy about tellin' her.

- Quite right.

Will you come to the church

and see me through straight?

With pleasure,

as far as a bachelor can.

May I come too?

I'd be very sorry to miss your wedding.

We should indeed be honored

by your condescension, ma'am.

My poor old woman, she'd look upon it

as a tremend-uous compliment.

She's been

very low lately,

thinking of the happy days

that are no more.

Eliza? Your stepmum

is going to marry me.

Will you come to the church

and see me turned out?

I've ordered

the car, dear.

Wait for me. Colonel Pickering

can go with the bridegroom.

"Bridegroom. "

What a word.

Makes a man realize

his position somehow.

So long.

See you at the church.

Middle-class morality

claims its victim.

Eliza.

Well, Eliza, you've had a bit of

your own back now, as you call it.

You had enough? Are you going to be

reasonable? Or do you want some more?

You want me back

only to put up with your tempers...

and pick up your slippers

and fetch and carry for you.

- I haven't said I wanted you back at all.

- Then what are we talking about?

About you, not about me.

If you come back to me, I shall treat you

ust the same as I've always treated you.

I can't change my nature,

and I don't intend to change my manners.

- My manners are exactly the same as Colonel Pickering's.

- That's not true.

He treats a flower girl

as if she were a duchess.

I treat a duchess as if

she were a flower girl!

I see.

The same to everyone.

I don't care

how you treat me.

I don't mind

your swearing at me.

I don't mind a black eye.

I've had one before this, but...

I won't be passed over!

Then get out of my way,

for I won't stop for you.

- You talk to me as if I were a bus.

- So you are a bus.

All bounce and go

and no consideration for anyone.

Once and for all, understand

that I go my way and do my work...

without caring a tuppence

what happens to either of us.

So you can come back or go

to the devil, whichever you please.

- And what am I to come back for?

- For the fun of it.

That's what

I took you on for.

And you can throw me out tomorrow if

I don't do everything you want me to?

You can walk out tomorrow

if I don't do everything you want me to.

- And live with my stepmother?

- Yes.

Or sell flowers.

Or would you rather marry Pickering?

I wouldn't marry you if you asked me,

and you're nearer my age then what he is.

Than he is.

I'll speak as I like.

You're not my teacher now.

I don't know that Pickering

would, though.

He's as confirmed

an old bachelor as I am.

That's not what I want,

and don't you think it.

I've always had chaps

wanting me that way.

Freddy Hill writes to me

twice and three times a day.

- Sheets and sheets.

- Blast his impudence!

He has a right to if he likes, poor lad.

And he does love me.

You have no right

to encourage him.

- Every girl has a right to be loved.

- By fools like that?

Freddy's not a fool!

If he's weak and poor and wants me,

maybe he'd make me happier

than my betters...

Who bully me

and don't Want me.

I can do without you.

Don't think I can't.

You've never asked,

I suppose,

whether I could do

without you.

You'll have to do

without me.

I can do without anybody!

I have my own soul,

my own spark of divine fire.

But, uh,

I shall miss you, Eliza.

I confess that humbly

and gratefully.

I've become accustomed

to your voice and appearance.

I even like them, rather.

Well, you have them both on your

gramophone and in your book of photographs.

When you feel lonely, you can turn the

machine on. It's got no feelings to hurt.

I can't turn

your soul on.

Oh, you're a devil.

You can twist the heart in a girl as easily

as some can twist her arms to hurt her.

I want a little kindness.

Why, I know I'm only

a common, ignorant girl,

but I'm not dirt

under your feet.

What I done, I-

What I did,

it wasn't for the dresses

and the taxis.

It was because we were pleasant

together and because I come-

Came to care for you.

Not forgetting

the difference between us...

and not wanting you

to make love to me, but-

Well, more-

more friendly like.

Of course, Eliza.

That's exactly how I feel.

And how Pickering feels.

- Eliza, you're a fool.

- That's not a proper answer to give me.

If you can't stand the coldness

of my sort of life...

and the strain of it,

go back to the gutter.

It's a fine life,

the life of the gutter.

It's real, it's warm,

it's violent.

Not like science, literature

and classical music...

and philosophy and art.

You find me cold, unfeeling,

selfish, don't you?

Very well. Then marry some

sentimental hog or other...

with a thick pair of lips

to kiss you with...

and a thick pair of boots

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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…

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Submitted on August 05, 2018

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