WOMAN: Splendid.
VALET 1 : Sorry, sir, I've already got one there.
[CHATTERlNG]
VALET 1 : Over here, sir, over here.
VALET 2: Coming through.
[VALET 2 WHlSTLES]
VALET 1 : Over here, sir.
VALET 1 : Make way.
ELlZA: Freddy, oh, it's already very late.
[CHATTERlNG]
[PEOPLE MURMURlNG]
MAN: Move it, darn it.
[HORN HONKlNG]
[MRS. EYNSFORD-HILL] Freddy, go and find a cab.
Do you want me to catch pneumonia?
MAN: Watch out, daffy.
[lN COCKNEY ACCENT] He calls me a daffy.
Don't just stand there, Freddy. Go and find a cab.
All right, l'll get it. l'll get it.
MAN: l'm getting wet.
[FREDDY WHlSTLES]
MAN: l'm so sorry.
[GRUNTS]
Look where you're going, dear. Look where you're going.
l'm so sorry.
Two bunches of violets trod in the mud.
A full day's wages.
EYNSFORD-HlLL: Freddy.
Freddy, go and find a cab.
Yes, Mother.
Oh, he's your son, is he?
Well, if you'd done your duty by him as a mother should,
you wouldn't let him spoil a poor girl's flowers
and then run away without paying.
Oh, go about your business, my girl.
And you wouldn't go off without paying either.
Two bunches of violets trod in the mud.
Good heavens.
- Sir, is there any sign of it stopping? - I'm afraid not.
- It's worse than before. - Oh, dear.
lf it's worse, it's a sign it's nearly over.
Cheer up, captain. Buy a flower off a poor girl.
l'm sorry, l haven't any change.
Oh, l can change half a crown. Here, take this for tuppence.
l told you, l'm awfully sorry, l haven't--
Oh, wait a minute. Oh, yes.
Here's three ha'pence, if that's any use to you.
Thank you, sir.
Here, you be careful. Better give him a flower for it.
There is a bloke here behind that pillar
taking down every blessed word you're saying.
l ain't done nothing wrong by speaking to the gentleman.
l've a right to sell flowers if l keep off the curb.
l'm a respectable girl, so help me.
l never spoke to him except to ask him to buy a flower off me.
MAN 1 : Don't start. - What's all the noise?
There's a tec taking her down.
l'm making an honest living.
MAN 2: Who's doing all that shouting?
- Where is it coming from? ELlZA: Well...
Oh, sir, don't let him charge me. They don't know what it means to me.
They'll take away me character and drive me on the streets
for speaking to gentlemen.
There, there, there.
Who's hurting you, you silly girl? What you take me for?
On my Bible oath, l never spoke a word.
Shut up. Do l look like a policeman?
Then what did you take down me words for?
How do l know you took me down right?
You just show me what you wrote about me.
ELlZA: Oh.
What's that? That ain't proper writing.
- I can't read it. - I can.
"l say, captain, now buy a flower off a poor girl."
Oh, it's because l called him "captain."
Oh, l meant no harm.
Sir, don't let him lay a charge against me for a word like that.
l'll make no charge.
Really, sir, if you are a detective, you needn't begin protecting me
against molestation from young women until l ask you.
Anyone could tell the girl meant no harm.
He ain't no tec. He's a gentleman.
Look at his boots.
How are all your people down at Selsey?
Who told you my people come from Selsey?
Never mind. They do.
How do you come to be up so far east?
You were born in Lisson Grove.
Oh, what harm is there my leaving Lisson Grove?
lt weren't fit for a pig to live in and l had to pay 4 and 6 a week--
Live where you like, but stop that noise.
Come, come, he can't touch you. You've a right to live where you please.
- I'm a good girl, l am. - Yes, yes, yes.
Where do l come from?
Hoxton.
Well, who said l didn't? Blimey, you know everything, you do.
You, sir, do you think you could find me a taxi?
l don't know whether you've noticed, but it's stopped raining.
You can get a motor bus to Hampton Court.
Well, that's where you live, isn't it?
What impertinence.
Hey, tell him where he comes from, you wanna go fortune-telling.
Cheltenham,
Harrow,
Cambridge and, uh, lndia?
Quite right.
Blimey, he ain't a tec, he's a blooming busybody.
lf l may ask, sir, do you do this sort of thing for a living at a music hall?
Well, l have thought of it. Perhaps l will one day.
He's no gentleman. He ain't, to interfere with a poor girl.
How do you do it, may I ask?
Simple phonetics. The science of speech.
That's my profession. Also my hobby.
Anyone can spot an lrishman or a Yorkshireman by his brogue,
but l can place a man within six miles.
l can place him within two miles in London.
Sometimes within two streets.
Ought to be ashamed of himself, unmanly coward.
ls there a living in that?
Oh, yes, quite a fat one.
Let him mind his own business and leave a poor girl--
Woman! Cease this detestable boohooing instantly
or else seek the shelter of some other place of worship.
l have a right to be here if l like, same as you.
Woman who utters such disgusting and depressing noises
has no right to be anywhere. No right to live.
Remember that you're a human being with a soul
and the divine gift of articulate speech.
That your native language
is the language of Shakespeare and Milton and the Bible.
Don't sit there crooning like a bilious pigeon.
Ow!
[SINGlNG] Look at her A prisoner of the gutters
Condemned by every syllable She utters
By right She should be taken out and hung
For the cold-blooded murder Of the English tongue
Ow!
Heavens! What a sound!
This is what the British population Calls an elementary education.
Come, sir, l think you picked a poor example.
Did l?
[SINGlNG] Hear them down in Soho Square
Dropping H's everywhere
Speaking English any way they like
Hey, you, sir, did you go to school?
What do you take me for, a fool?
Well, no one taught him "take" lnstead of "tike"
Hear a Yorkshireman, or worse Hear a Cornishman converse
l'd rather hear a choir singing flat
Chickens, cackling in a barn Just like this one
Garn.
"Garn."
l ask you, sir, what sort of word is that?
lt's "ow" and "garn" That keep her in her place
Not her wretched clothes And dirty face
Why can't the English Teach their children how to speak?
This verbal class distinction By now, should be antique
lf you spoke as she does, sir lnstead of the way you do
Why, you might be selling flowers too
PlCKERlNG: l beg your pardon.
An Englishman's way of speaking Absolutely classifies him
The moment he talks
He makes some other Englishman Despise him
One common language l'm afraid we'll never get
Oh, why can't the English learn to
Set a good example to people Whose English is painful to your ears
The Scotch and the lrish Leave you close to tears
There even are places Where English completely disappears
Why, in America They haven't used it for years
[PICKERlNG LAUGHS]
Why can't the English Teach their children how to speak?
Norwegians learn Norwegian The Greeks are taught their Greek
In France every Frenchman knows His language from A to Z
The French don't care what they do actually,
as long as they pronounce it properly.
[SINGlNG] Arabians learn Arabian With the speed of summer lightning
The Hebrews learn it backwards Which is absolutely frightening
Use proper English You're regarded as a freak
Oh, why can't the English...
Why can't the English Learn to speak?
Thank you.
You see this creature with her curbstone English?
The English that'll keep her in the gutter till the end of her days?
Well, sir, in six months, l could pass her off
as a duchess at an Embassy Ball.
l could even get her a job as a lady's maid or a shop assistant,
which requires better English.
Here, what's that you say?
Yes, you squashed cabbage leaf.
You disgrace to the noble architecture of these columns.
You incarnate insult to the English language,
l could pass you off as the Queen of Sheba.
[HlGGINS CHUCKLES]
Oh, you don't believe that, captain.
Anything's possible.
l myself am a student of lndian dialects.
Are you?
Do you know Colonel Pickering, the author of Spoken Sanskrit?
l am Colonel Pickering. Who are you?
l'm Henry Higgins, author of Higgins Universal Alphabet.
l came from India to meet you.
l was going to lndia to meet you.
- Higgins. - Pickering.
[BOTH LAUGHlNG]
PlCKERlNG: Higgins. - Where are you staying?
At the Carlton.
No, you're not. You're staying at 27A Wimpole Street.
You come with me. We'll have a little jaw over supper.
- Right you are. - Indian dialects always fascinated me.
Buy a flower, kind sir. l'm short for me lodgings.
Liar.
You said you could change half a crown.
You ought to be stuffed with nails, you ought.
Here, take the whole blooming basket for sixpence.
HlGGlNS: A reminder.
How many are there actually?
PlCKERlNG: How many what?
HlGGlNS: lndian dialects.
PlCKERlNG: No fewer than 147 distinct languages
are recorded as vernacular in lndia.
Ow.
Ah.
MAN 1 : Shouldn't we stand up, gentlemen?
We've got a blooming heiress in our midst.
Would you be looking for a good butler, Eliza?
Well, you won't do.
[SINGlNG] It's rather dull in town l think l'll take me to Paris
The missus wants to open up The castle in Capri
Me doctor recommends A quiet summer by the sea
[CHORUS HUMMlNG]
CHORUS [SINGlNG]: Wouldn't it be loverly
Where you bound for this year, Eliza? Biarritz?
[MEN LAUGHlNG]
[SINGlNG] All l want is a room somewhere
Far away from the cold night air
With one enormous chair
Oh, wouldn't it be loverly?
Lots of chocolate for me to eat
Lots of coal makin' lots of heat
Warm face, warm hands, warm feet
Oh, wouldn't it be loverly?
Oh, so loverly sittin' Abso-bloomin'-lutely still
l would never budge till spring Crept over the windowsill
Someone's head restin' on my knee
Warm and tender as he can be
Who takes good care of me
Oh, wouldn't it be loverly?
Loverly, loverly
多么惬意啊！
CHORUS: All l want is a room somewhere
Far away from the cold night air
With one enormous chair
Oh, wouldn't it be loverly?
Lots of chocolate for me to eat
Lots of coal makin' lots of heat
Warm face, warm hands, warm feet
Oh, wouldn't it be loverly?
Oh, so loverly sittin' Abso-bloomin'-lutely still
l would never budge till spring Crept over the windowsill
CHORUS: Someone's head restin' on my knee
Warm and tender as he can be
Who takes good care of me
Oh, wouldn't it be loverly?
CHORUS: Loverly
Loverly
CHORUS: Loverly
[CHORUS WHlSTLlNG]
[ALL LAUGHlNG]
[CHORUS WHlSTLlNG]
Oh, wouldn't it be loverly?
CHORUS: Loverly
Loverly
CHORUS: Loverly
Wouldn't it be loverly?
JAMlE: Come on, Alfie, let's go home now. This place is giving me the willies.
Home? What do you want to go home for?
lt's nearly 5:00.
My daughter, Eliza, will be along soon.
She ought to be good for a half a crown
for a father what loves her.
Loves her? That's a laugh.
You ain't been near her for months.
What's that got to do with it?
What's half a crown after all l've give her?
When did you ever give her anything?
Anything? l give her everything.
l give her the greatest gift any human being can give to another.
Life.
l introduced her to this here planet, l did, with all its wonders and marvels.
The sun that shines, the moon that glows.
Hyde Park to walk through on a fine spring night.
The whole ruddy city of London
to roam around in, selling her blooming flowers.
l give her all that.
Then l disappears and leaves her on her own to enjoy it.
Now, if that ain't worth half a crown now and again,
l'll take my belt off and give her what for.
You got a good heart, Alfie.
But you want that half a crown out of Eliza,
you better have a good story to go with it.
ALFlE: Leave that to me, my boy.
Good morning, George.
Not a brass farthing.
ALFlE: Good morning to you, Algernon.
Not a brass farthing.
MAN 1 : Move on, please. Come on.
Get your moving ass out of here.
On with it.
MAN 2: Veggies. Get your veggies.
Here we are. Nice salad greens.
MAN 3: Lovely Spanish onion...
MAN 4: Five pounds...
MAN 2: This is it. Nice bunches of veggies.
- Take your pick. - There she is.
MAN 5: Tomatoes over here. Nice garden tomatoes.
WOMAN: Very tempting.
Why, Eliza, what a surprise.
Hop along, Charlie, you're too old for me.
- Don't know your own daughter? - How you gonna find her
- if you don't know what she looks like? - I know her. Come on.
l'll find her.
Eliza, what a surprise.
Not a brass farthing.
Here, you come here, Eliza.
l ain't gonna take me hard-earned wages
and let you pass them on to a bloody pub keeper.
Eliza, you wouldn't have the heart to send me home to your stepmother
without a drop of liquid protection, now, would you?
Stepmother indeed.
Well, l'm willing to marry her.
lt's me that suffers by it. l'm a slave to that woman, Eliza.
Just because I ain't her lawful husband.
Come on, slip your old dad just half a crown to go home on.
Well, l had a bit of luck myself last night.
Yeah?
So here.
But don't keep coming around counting on half crowns from me.
Thank you, Eliza.
You're a noble daughter.
[SINGlNG] Beer, beer, glorious beer
Fill yourself right up
WOMAN 1 : Do you know where she's been?
WOMAN 2: Yeah, l know. Wayne is always asking.
[CHATTERlNG]
That one, Ginny.
WOMAN 3: Leave me alone.
[CHATTERlNG]
HlGGlNS: You see this creature with her curbstone English?
The English that will keep her in the gutter till the end of her days?
ln six months, l could pass her off as a duchess at an Embassy Ball.
l could even get her a job as a lady's maid or a shop assistant,
which requires better English.
HlGGlNS: You disgrace to the noble architecture of these columns.
l could even get her a job as a lady's maid or a shop assistant,
which requires better English.
[TUNlNG FORK HUMMlNG]
A.
E. U. A...
[HUMMlNG VOWELS]
Now, how many vowel sounds do you think you heard altogether?
l believe l counted 24.
- Wrong by a hundred. - What?
To be exact, you heard 1 30.
Now, listen to them one at a time.
Must l? l'm really quite done up for one morning.
[HlGGINS HUMMlNG VOWELS ON RECORDlNG]
Your name, please. Your name, miss.
My name is of no concern to you whatsoever.
One moment, please.
Oh, London is getting so dirty these days.
PEARCE: l'm Mrs. Pearce, the housekeeper. Can l help you?
Oh, good morning, missus.
l'd like to see the professor, please.
Could you tell me what it's about?
- It's business of a personal nature. - Oh.
One moment, please.
[HlGGINS HUMMlNG VOWELS ON RECORDlNG]
Mr. Higgins.
What is it, Mrs. Pearce?
There's a young woman who wants to see you, sir.
A young woman?
What does she want?
She's quite a common girl, sir. Very common indeed.
l should have sent her away,
only l thought perhaps you wanted her to talk into your machine.
- Has she an interesting accent? - Simply ghastly, Mr. Higgins.
Good. Let's have her in. Show her in, Mrs. Pearce.
Very well, sir. lt's for you to say.
This is rather a bit of luck. l'll show you how l make records.
We'll set her talking and then l'll take her down first in Bell's Visible Speech,
then in Broad Romic, and then we'll get her on the phonograph
so that you can turn her on whenever you want
with the written transcript before you.
This is the young woman, sir.
Good morning, my good man.
Might l have the pleasure of a word with you face-to-face?
Oh, no, no, no. This is the girl l jotted down last night.
She's no use. l've got all the records l want of the Lisson Grove lingo.
l'm not gonna waste another cylinder on that.
Now, be off with you. l don't want you.
Don't be so saucy. You ain't heard what l come for yet.
Did you tell him l come in a taxi?
Nonsense, girl.
What do you think a gentleman like Mr. Higgins cares what you came in?
Oh, we are proud.
Well, he ain't above giving lessons. Not him.
l heard him say so.
Well, l ain't come here to ask for any compliment,
and if my money's not good enough, l can go elsewhere.
Good enough for what?
Good enough for you.
Now you know, don't you? l'm come to have lessons, l am.
And to pay for them too. Make no mistake.
Well...
And what do you expect me to say?
Well, if you was a gentleman, you might ask me to sit down, l think.
Don't l tell you l'm bringing you business?
Pickering, should we ask this baggage to sit down
or shall we just throw her out of the window?
Ow! l won't be called a baggage.
Not when I've offered to pay like any lady.
PlCKERlNG: What do you want, my girl?
l-- l want to be a lady in a flower shop
instead of selling at the corner of Tottenham Court Road.
But they won't take me unless l can talk more genteel.
He said he could teach me. Well, here I am.
Ready to pay him, not asking any favor.
And he treats me as if l was dirt.
l know what lessons cost as well as you do, and l'm ready to pay.
How much?
Now you're talking.
l thought you'd come off it when you saw a chance of getting back
a bit of what you chucked at me.
- You'd had a drop in, hadn't you, eh? - Sit down.
lf you're going to make a compliment of it--
Sit down!
Sit down, girl. Do as you're told.
What's your name?
Eliza Doolittle.
Won't you sit down, Miss Doolittle?
Oh.
l don't mind if l do.
Now, how much do you propose to pay me for these lessons?
Oh, l know what's right.
A lady friend of mine gets French lessons for 1 8 pence an hour
from a real French gentleman.
Well, you wouldn't have the face to ask me the same
for teaching me my own language as you would for French.
So l won't give more than a shilling.
Take it or leave it.
Do you know, Pickering, if you think of a shilling not as a simple shilling
but as a percentage of this girl's income,
it works out as fully equivalent
of 60 or 70 pounds from a millionaire.
By George, it's enormous. lt's the biggest offer l ever had.
Sixty pounds?
What are you talking about? Where would l get 60 pounds?
l never offered you 60 pounds.
- Hold your tongue. - But l ain't got 60 pounds.
Don't cry, you silly girl.
Sit down. Nobody's going to touch your money.
Somebody's going to touch you with a broomstick
if you don't stop sniveling. Sit down!
[STOPS CRYlNG]
Oh, anybody would think you was my father.
lf l decide to teach you, l'll be worse than two fathers to you.
[ELlZA SNlFFLES]
Here.
- What's this for? - To wipe your eyes.
To wipe any part of your face that feels moist.
And remember, that's your handkerchief and that's your sleeve.
And don't confuse the one with the other
if you want to become a lady in a shop.
lt's no use to talk to her like that, Mr. Higgins.
She doesn't understand you.
Here, give the handkerchief to me. He give it to me, not to you.
Higgins, l'm interested.
What about your boast that you could pass her off as a duchess
at the Embassy Ball, eh?
l'll say you're the greatest teacher alive if you can make that good.
l'll bet you all the expenses of the experiment that you can't do it.
l'll even pay for the lessons.
Oh, you're real good. Thank you, captain.
You know, it's almost irresistible.
She's so deliciously low.
So horribly dirty.
l ain't dirty.
l washed my face and hands before l come, l did.
l'll take it.
l'll make a duchess of this draggle-tailed guttersnipe.
We'll start today. Now. This moment. Take her away and clean her.
Sandpaper if it won't come off any other way.
- Is there a good fire in the kitchen? - Yes, but--
Take all her clothes, burn them, and order new ones.
Just wrap her in brown paper till they come.
You're no gentleman. You're not to talk of such things.
l'm a good girl, I am.
And l know what the likes of you are, l do.
We want none of your slum prudery here, young woman.
You've got to learn to behave like a duchess.
Now take her away, Mrs. Pearce.
lf she gives you any trouble, wallop her.
l'll call the police, l will.
l've got no place to put her.
- Well, put her in the dustbin. - Ow!
Come, Higgins, be reasonable.
You must be reasonable, Mr. Higgins, really, you must.
You can't walk over everybody like this.
l?
Walk over everybody?
My dear Mrs. Pearce, my dear Pickering.
l had no intention of walking over anybody.
l merely suggested we should be kind to this poor girl.
l didn't express myself clearly
because l didn't wish to hurt her delicacy.
Or yours.
But, sir, you can't take a girl up like that
as if you were picking up a pebble on the beach.
Why not?
为什么不行？
But you don't know anything about her.
What about her parents? She may be married.
Garn.
There. As the girl very properly says, "Garn."
Who'd marry me?
By George, Eliza.
The streets will be strewn with the bodies of men
shooting themselves for your sake before l'm done with you.
Here. l'm going.
He's off his chump, he is.
- I don't want no barmies teaching me. - Oh, mad, am l?
All right, don't ring up and order those clothes.
- Throw her out. - Stop, Mr. Higgins, l won't allow it.
Go home to your parents.
l ain't got no parents.
There you are. She ain't got no parents.
What's all the fuss? Nobody wants her.
She's no use to anybody but me. Take her upstairs.
But what's to become of her? ls she to be paid anything?
Oh, do be sensible, sir.
What would she do with money? She'll have food and clothes.
She'll only drink if you give her money.
Oh, you are a brute. It's a lie.
Nobody ever saw the sign of liquor on me.
Oh, sir, you're a gentleman. Don't let him speak to me like that.
Does it occur to you, Higgins, the girl has some feelings?
Oh, no, l don't think so. No feelings we need worry about.
Well, have you, Eliza?
l got my feelings same as anyone else.
Mr. Higgins, l must know on what terms the girl is to be here.
What's to become of her when you've finished your teaching?
You must look ahead a little, sir.
What's to become of her if we leave her in the gutter?
- Answer me that, Mrs. Pearce. - That's her own business, not yours.
When l'm done, we'll throw her back, then it will be her own business again.
That will be all right, won't it?
You've no feeling heart in you.
You don't care for nothing but yourself.
l've had enough of this. l'm going, l am.
You ought to be ashamed of yourself, you ought.
Have some chocolates, Eliza.
How do l know what might be in them?
l've heard of girls being drugged by the likes of you.
Pledge of good faith.
l'll take one half
and you take the other.
You'll have boxes of them, barrels of them every day.
You'll live on them, eh?
l wouldn't have ate it, only l'm too ladylike
to take it out of my mouth.
Think of it, Eliza.
Think of chocolates and taxis and gold and diamonds.
Ow! l don't want no gold and no diamonds.
l'm a good girl, I am.
Higgins, l really must interfere. Mrs. Pearce is quite right.
lf this girl's gonna put herself in your hands for six months
for an experiment in teaching,
she must understand thoroughly what she's doing.
HlGGlNS: Mm.
Eliza, you are to stay here for the next six months
learning how to speak beautifully, like a lady in a florist shop.
lf you're good and do whatever you're told,
you shall sleep in a proper bedroom, have lots to eat
and money to buy chocolates and take rides in taxis.
But if you are naughty and idle,
you shall sleep in the back kitchen amongst the black beetles
and be walloped by Mrs. Pearce with a broomstick.
At the end of six months,
you shall be taken to Buckingham Palace
in a carriage, beautifully dressed.
lf the king finds out that you're not a lady,
the police will take you to the Tower of London
where your head will be cut off
as a warning to other presumptuous flower girls.
But if you are not found out, you shall have a present
of seven and six to start life with as a lady in a shop.
lf you refuse this offer,
you will be the most ungrateful, wicked girl
and the angels will weep for you.
Now, are you satisfied, Pickering?
l don't understand what you're talking about.
Oh, could l put it more plainly or fairly, Mrs. Pearce?
Come with me, Eliza.
That's right, Mrs. Pearce. Bundle her off to the bathroom.
You're a great bully, you are.
l won't stay here if l don't like it. l won't let nobody wallop me.
Don't answer back, girl.
ELlZA: lf l'd known what l was letting myself in for, l wouldn't have come here.
l've always been a good girl, l am, and I won't be put upon.
ln six months--
ln three if she has a good ear and a quick tongue.
--l'll take her anywhere and l'll pass her off as anything.
l'll make a queen of that barbarous wretch.
[WATER RUNNlNG]
ELlZA: l've never had a bath in my life.
Not what you'd call a proper one.
You know, you can't be a nice girl inside if you're dirty outside.
l'll have to put you in here. This will be your bedroom.
Oh, l couldn't sleep here, missus. lt's too good for the likes of me.
l should be afraid to touch anything.
l ain't a duchess yet, you know?
Oh, what's this? This where you wash clothes?
This is where we wash ourselves, Eliza.
And where l'm going to wash you.
You expect me to get into that and wet myself all over?
Not me.
l shall catch my death.
Come along now.
Come along. Take your clothes off.
Come on, girl, do as you're told. Take your clothes off.
- Here, come on, help me take these. - Ow! No, l won't.
PEARCE: Come out of that. - No, l won't.
PEARCE: Everyone. - No!
l won't. Take your hands off me.
- No. PEARCE: Oh, dear.
No. Ow!
- No, l won't. Let go. PEARCE: Eliza, keep still.
[ELlZA CRYlNG]
[CRYING]
PEARCE: Take a bath. - No!
No!
l'm a good girl, I am.
PEARCE: Well, they won't like the smell of you if you don't have a bath.
ELlZA: lt ain't right. lt ain't decent.
Let go of my coat.
[ELlZA SCREAMlNG]
ELlZA: Take your hands off me.
PEARCE: Come here.
ELlZA: No. PEARCE: l won't hurt you.
ELlZA: Let me go.
Take your hands off me.
l'm a good girl, I am.
Take your hands off me, you hear.
PEARCE: Eliza, l won't have it.
l wouldn't hurt you.
Higgins, forgive the bluntness,
but if l'm to be in this business, l shall feel responsible for the girl.
l hope it's clearly understood that no advantage
is to be taken of her position.
What, that thing? Sacred, l assure you.
Come now, Higgins, you know what l mean.
This is no trifling matter.
Are you a man of good character where women are concerned?
Have you ever met a man of good character
where women are concerned?
Yes, very frequently.
Well, l haven't.
l find the moment l let a woman make friends with me,
she becomes jealous, exacting, suspicious and a damned nuisance.
And l find the moment that l make friends with a woman,
l become selfish and tyrannical.
So here l am, a confirmed old bachelor and likely to remain so.
[SINGING] Well, after all, Pickering I'm an ordinary man
Who desires nothing more Than just an ordinary chance
To live exactly as he likes And do precisely what he wants
An average man am l Of no eccentric whim
Who likes to live his life Free of strife
Doing whatever he thinks ls best for him
Well, just an ordinary man
But let a woman in your life And your serenity is through
She'll redecorate your home From the cellar to the dome
Then go on to the enthralling fun Of overhauling you
Let a woman in your life And you're up against a wall
Make a plan and you will find She has something else in mind
And so rather than do either You do something else
That neither likes at all
You want to talk of Keats or Milton She only wants to talk of love
You go to see a play or ballet And spend it searching for her glove
Let a woman in your life And you invite eternal strife
Let them buy their wedding bands For those anxious little hands
I'd be equally as willing For a dentist to be drilling
Than to ever let a woman in my life
I'm a very gentle man Even-tempered and good-natured
Who you never hear complain
Who has the milk of human kindness By the quart in every vein
A patient man am I Down to my fingertips
The sort who never could Ever would
Let an insulting remark escape his lips
A very gentle man
But let a woman in your life And patience hasn't got a chance
She will beg you for advice Your reply will be concise
And she'll listen very nicely
Then go out And do precisely what she wants
You are a man of grace and polish Who never spoke above a hush
Now all at once you're using language That would make a sailor blush
Let a woman in your life And you're plunging in a knife
Let the others of my sex Tie the knot around their necks
l'd prefer a new edition Of the Spanish lnquisition
Than to ever let a woman in my life
l'm a quiet-living man
Who prefers to spend the evenings ln the silence of his room
Who likes an atmosphere as restful As an undiscovered tomb
A pensive man am l Of philosophic joys
Who likes to meditate, contemplate
Free from humanity's mad lnhuman noise
A quiet living man
But let a woman in your life And your sabbatical is through
ln a line that never ends Come an army of her friends
Come to jabber and to chatter
And to tell her what the matter Is with you
She'll have a booming Boisterous family
Who will descend On you en masse
She'll have a large Wagnerian mother With a voice that shatters glass
Let a woman in your life
[RECORDED VOlCE PLAYlNG ON FAST-FORWARD]
Let a woman in your life
[RECORDED VOlCE PLAYlNG ON FAST-FORWARD]
[RECORDED VOlCES STOP]
l shall never let a woman in my life
MAN: Get out of here.
The two of you get out too.
Come on, Doolittle.
And remember, drinks are to be paid for or not drunk.
Thanks for your hospitality, George.
Send the bill to Buckingham Palace. Come on.
Well, Alfie, there's nothing else to do. l guess it's back to work.
What?
Don't you dare mention that word in my presence again.
Look at all these poor blighters down here.
[LAUGHS]
l used to do that sort of thing once, just for exercise.
lt's not worth it. Takes up your whole day.
Oh, don't worry, boys. We'll get out of this somehow.
How do you think you're going to do that, Alfie?
How? Same as always.
Faith, hope and a little bit of luck.
[SINGlNG] The Lord above gave man An arm of iron
So he could do his job And never shirk
The Lord above gave man An arm of iron but
With a little bit of luck With a little bit of luck
Someone else'll do The blinkin' work
With a little bit With a little bit
ALL [SlNGlNG]: With a little bit ofluck You'll never work
The Lord above made liquor For temptation
To see if man could turn away From sin
The Lord above made liquor For temptation but
With a little bit of luck With a little bit of luck
When temptation comes You'll give right in
With a little bit With a little bit
With a little bit of luck You'll give right in
Oh, you can walk The straight and narrow
But with a little bit of luck You'll run amuck
The gentle sex Was made for man to marry
To share his nest And see his food is cooked
The gentle sex Was made for man to marry but
With a little bit of luck With a little bit of luck
You can have it all And not get hooked
With a little bit With a little bit
With a little bit of luck You won't get hooked
With a little bit With a little bit
With a little bit of bloomin' luck
They're always throwin' Goodness at you
But with a little bit of luck A man can duck
The Lord above made man To help his neighbor
No matter where On land, or sea, or foam
The Lord above made man To help his neighbor but
With a little bit of luck With a little bit of luck
When he comes around You won't be home
With a little bit With a little bit
[BAND PLAYlNG]
With a little bit of luck You won't be home
With a little bit With a little bit
With a little bit of bloomin' luck
HARRY: You make a good suffragette, Alfie.
MAN: Oh, get along with you.
Why, there's the lucky man now.
The Honorable Alfie Doolittle.
What are you doing in Eliza's house?
Her former residence.
You can buy your own drinks now, Alfie Doolittle.
Fallen into a tub of butter, you have.
- What are you talking about? - Your daughter, Eliza.
You're a lucky man, Alfie Doolittle.
Well, what about Eliza?
Oh! He don't know. Her own father and he don't know.
[PEOPLE LAUGHlNG]
Moved in with a swell, Eliza has.
Left here in a taxi all by herself, smart as paint.
- And ain't been home for three days. - Go on.
Then this morning, l get a message from her.
She wants her things sent over.
To 27A Wimpole Street,
care of Professor Higgins.
[HOPKlNS LAUGH]
- And what things does she want? - What?
Her birdcage and her Chinese fan.
[ALFlE LAUGHS]
"But," she says,
"never mind about sending any clothes."
[ALL LAUGHlNG]
l knew she had a career in front of her.
Harry boy, we're in for a booze-up.
The sun is shining on Alfred P. Doolittle.
[SINGlNG] A man was made To help support his children
Which is the right And proper thing to do
A man was made To help support his children but
With a little bit of luck With a little bit of luck
They'll go out And start supporting you
With a little bit With a little bit
With a little bit of luck They'll work for you
With a little bit With a little bit
With a little bit of bloomin' luck
[BAND PLAYlNG]
Oh, it's a crime For man to go philanderin'
And fill his wife's poor heart With grief and doubt
Oh, it's a crime For a man to go philanderin' but
With a little bit of luck With a little bit of luck
You can see The bloodhound don't find out
With a little bit With a little bit
With a little bit of luck She won't find out
MAN: Charlie, over here. - With a little bit
With a little bit
With a little bit of bloomin' luck
The mail, sir.
Pay the bills and say no to the invitations.
ELlZA: A.
A.
[SNEEZES]
A.
A!
You simply cannot go on working the girl this way.
Making her say her alphabet over and over
from sunup to sundown, even during meals.
You'll exhaust yourself. When will it stop?
When she does it properly, of course.
ls that all, Mrs. Pearce?
There's another letter
from that American millionaire, Ezra D. Wallingford.
He still wants you to lecture for his Moral Reform League.
Yes, well, throw it away.
lt's the third letter he's written you, sir.
- You should at least answer it. - All right.
Leave it on the desk, Mrs. Pearce. l'll try and get to it.
lf you please, sir, there's a dustman downstairs,
Alfred P. Doolittle, who wants to see you.
He says you have his daughter here.
PlCKERlNG: l say.
Well, send the blackguard up.
PlCKERlNG: He may not be a blackguard, Higgins.
Nonsense. Of course he's a blackguard, Pickering.
Whether he is or not, l'm afraid we'll have some trouble with him.
No, l think not.
Any trouble to be had, he'll have it with me, not l with him.
Doolittle, sir.
Professor Higgins?
HlGGlNS: Here.
Where?
Oh, good morning, governor.
l come about a very serious matter, governor.
Brought up in Hounslow.
Mother Welsh, l should think.
What is it you want, Doolittle?
l want my daughter, that's what l want, you see?
Well, of course you do. You're her father, aren't you?
l'm glad to see you have a spark of family feeling left.
She's in there. Yes, take her away at once.
What?
Take her away.
Do you think l am going to keep your daughter for you?
Now, is this reasonable, governor?
ls it fairity to take advantage of a man like that?
The girl belongs to me. You got her.
Where do l come in?
How dare you come here and attempt to blackmail me.
You sent her here on purpose.
Now, don't take a man up like that, governor.
The police shall take you up.
This is a plan, a plot to extort money by threats.
l shall telephone the police.
Have l asked you for a brass farthing?
l'll leave it to this gentleman here. Have l said a word about money?
What else did you come for?
Well...
What would a bloke come for?
Be human, governor.
[LAUGHS]
Alfred, you sent her here on purpose.
So help me, governor, l never did.
Then how did you know she was here?
l'd tell you, governor, if you'd only let me get a word in.
l'm willing to tell you. l'm wanting to tell you.
l'm waiting to tell you.
You know, Pickering,
this chap's got a certain natural gift of rhetoric.
Observe the rhythm of his native woodnotes wild.
"l'm willing to tell you. l'm wanting to tell you.
l'm waiting to tell you." That's the Welsh strain in him.
How did you know Eliza was here if you didn't send her?
Well, she sent back for her luggage and l got to hear about it.
She said she didn't want no clothes.
What was l to think from that, governor?
l ask you, as a parent, what was l to think?
So you came here to rescue her from worse than death, eh?
Just so, governor, that's right.
Yes.
Mrs. Pearce.
Mrs. Pearce, Eliza's father has come to take her away.
Give her to him, will you?
Now, wait a minute, governor, wait a minute.
You and me is men of the world, ain't we?
Oh, men of the world, are we?
- Yes, you better go, Mrs. Pearce. - I think so indeed, sir.
Here, governor.
l've took a sort of a fancy to you and--
[LAUGHS]
lf you want the girl, well, l ain't so set on having her back home again,
but what l might be open to is an arrangement.
All I ask is my rights as a father.
You're the last man alive to expect me to let her go for nothing.
Oh, l can see you're one of the straight sort, governor.
So, what's a 5-pound note to you?
And what's Eliza to me?
l think you ought to know, Doolittle,
that Mr. Higgins' intentions are entirely honorable.
Of course they are, governor.
lf l thought they wasn't, l'd ask 50.
Do you mean to say you'd sell your daughter for 50 pounds?
Have you no morals, man?
No, no, l can't afford them, governor.
Neither could you if you was as poor as me.
Not that l mean any harm, mind you.
But if Eliza is gonna have a bit out of this,
why not me too, eh?
Why not?
Well, look at it my way.
What am l? l ask you, what am l?
l'm one of the undeserving poor, that's what l am.
Now, think what that means to a man.
lt means he's up against middle-class morality for all of time.
lf there's anything going and l puts in for a bit of it,
it's always the same story.
"You're undeserving so you can't have it."
But 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.
l don't need less than a deserving man, l need more.
l don't eat less hearty than he does.
And l drink, oh, a lot more.
l'm playing straight with you. l ain't pretending to be deserving.
No, l'm undeserving.
And l mean to go on being undeserving.
l like it, and that's the truth.
But will you take advantage of a man's nature
to do him out of the price of his own daughter,
what he's brought up, fed and clothed by the sweat of his brow
till she's growed big enough
to be interesting to you two gentlemen?
Well, is 5 pounds unreasonable? l put it to you.
And l leave it to you.
You know, Pickering, if we took this man in hand for three months,
he could choose between a seat in the cabinet
and a popular pulpit in Wales.
We'd better give him a fiver.
He'll make bad use of it, l'm afraid.
Oh, not me, governor. So help me, l won't.
Just one good spree for myself and the missus.
Giving pleasure to ourselves and employment to others.
And satisfaction to you to know it ain't been thrown away.
You couldn't spend it better.
Oh, this is irresistible. Let's give him 1 0.
No, the missus wouldn't have the heart to spend 1 0, governor.
Ten pounds is a lot of money.
Makes a man feel prudent-like, and then goodbye to happiness.
No, you give me what l ask, governor. Not a penny less, not a penny more.
l rather draw the line at encouraging this sort of immorality, Doolittle.
Why don't you marry that missus of yours, eh?
After all, marriage isn't so frightening. You married Eliza's mother.
Who told you that, governor?
Well, nobody told me. l concluded, naturally.
lf we listen to this man for another minute,
we shall have no convictions left.
- Five pounds, l think you said. - Thank you, governor, thank you.
Are you sure you won't have 1 0?
- No, no, perhaps another time. - I won't, l won't, l won't.
l beg your pardon, miss.
ELlZA: l won't say those ruddy vowels one more time.
Blimey, it's Eliza.
Well, l never thought she'd clean up so good-looking.
She does me credit, don't she, governor?
Here, what you doing here?
Now, now, you hold your tongue.
And don't you give these gentlemen none of your lip.
lf you have any trouble with her, governor,
give her a few licks of the strap.
That's the way to improve her mind.
Well, good morning, gentlemen.
- Cheerio, Eliza. - Mah!
There's a man for you.
A philosophical genius of the first water.
Mrs. Pearce, write to Mr. Ezra Wallingford
and tell him if he wants a lecturer
to get in touch with Mr. Alfred P. Doolittle,
a common dustman, one of the most original moralists in England.
Yes, sir.
Here, what did he come for?
Say your vowels.
l know my vowels. l knew them before l come.
lf you know them, say them.
- A, E, l, O, U - Ahyee e iyee ow you
Stop.
- A, E, l, O, U - A, E, l, O, U
[lN COCKNEY ACCENT] That's what said, A, E, l, O, U.
That's what l been saying for three days
and l won't say them no more.
l know it's difficult, Miss Doolittle, but try to understand.
There's no use explaining, Pickering.
As a military man, you know that. Drilling is what she needs.
Now, leave her alone or she'll be turning to you for sympathy.
Very well, if you insist, but have a little patience with her, Higgins.
Of course.
Now say "A."
You ain't got no heart, you ain't.
- A. - A.
Eliza.
l promise you, you'll say your vowels correctly before this day is out
or there'll be no lunch, no dinner
and no chocolates.
[SINGING] Just you wait, Henry Higgins Just you wait
You'll be sorry But your tears will be too late
You'll be broke And l'll have money
Will l help you? Don't be funny
Just you wait, Henry Higgins Just you wait
Just you wait, Henry Higgins, Till you're sick
And you screams To fetch a doctor double-quick
l'll be off a second later And go straight to the theatre
Ho, ho, ho, Henry Higgins Just you wait
Ooh, Henry Higgins
Just you wait Until we're swimmin' in the sea
Ooh, Henry Higgins
And you gets a cramp A little ways from me
When you yell you're gonna drown
l'll get dressed and go to town
Ho, ho, ho, Henry Higgins
Just you wait
One day l'll be famous
l'll be proper and prim
Go to St. James so often
l will call it St. Jim
One evening the king will say:
"Oh, Liza, old thing
l want all of England
Your praises to sing"
[SINGlNG] Next week on the 20th of May
I proclaim Liza Doolittle Day
All the people will celebrate The glory of you
And whatever you wish and want I gladly will do
"Thanks a lot, king," says l ln a manner well-bred
"But all l want is Henry Higgins' head"
- Done - Says the king with a stroke
Guard, run and bring in the bloke
Then they'll march you, Henry Higgins To the wall
- And the king will tell me: - Liza, sound the call
As they raise their rifles higher
l'll shout, "Ready, aim, fire"
Ho, ho, ho, Henry Higgins
Down you'll go, Henry Higgins
Just you wait
A.
All right, Eliza, say it again.
[lN COCKNEY ACCENT] "The rain in Spain stays mainly in the plain."
[HlGGINS SlGHS]
The rain in Spain stays mainly in the plain.
Didn't l say that?
No, Eliza, you didn't "say" that.
You didn't even say that.
Every night before you get into bed, where you used to say your prayers,
l want you to say, "The rain in Spain stays mainly in the plain,"
50 times.
You'll get much further with the Lord if you learn not to offend his ears.
Now for your H's.
Pickering, this is going to be ghastly.
Control yourself, Higgins. Give the girl a chance.
Oh, well, l suppose you can't expect her to get it right the first time.
Come here, Eliza, and watch closely.
Now.
You see that flame?
Every time you pronounce the letter H correctly,
the flame will waver.
And every time you drop your H, the flame will remain stationary.
That's how you'll know if you've done it correctly.
ln time, your ear will hear the difference.
See it better in the mirror.
Now, listen carefully.
ln Hartford, Hereford and Hampshire, hurricanes hardly ever happen.
Now, repeat that after me.
ln Hartford, Hereford and Hampshire hurricanes hardly ever happen.
[lN COCKNEY ACCENT] "ln Hartford, Hereford and Hampshire,
hurricanes hardly ever happen."
Oh, no, no, no.
Have you no ear at all?
- Should I do it over? - No, please.
Start from the very beginning. Just do this.
Go: Ha, ha, ha.
Ha, ha, ha.
Go on, go on, go on.
Ha, ha, ha.
Does the same thing hold true in lndia, Pickering?
ls it truly a habit to them, their dropping a letter like the letter H,
using it where it doesn't belong, like "hever" instead of "ever"?
Why is it that Slavs, when they learn English,
have a tendency to do it with G's?
- They say "linger" instead of "linger." ELlZA: Ha, ha, ha.
And then they turn right around and say "singer" instead of "singer."
l've noticed the Slavs using it where it isn't needed,
they learn English, they have to do it with their G's.
[HlGGINS SNlFFlNG]
The girl, Higgins.
Go on, go on, go on.
- Go on. - Ha, ha, ha.
SERVANTS [SlNGlNG]: Poor Professor Higgins
Poor Professor Higgins
Night and day
He slaves away
Oh, poor Professor Higgins
All day long
On his feet
Up and down until he's numb
Doesn't rest
Doesn't eat
Doesn't touch a crumb
Again, Eliza.
How kind of you to let me come.
[lN COCKNEY ACCENT] How kind of you to let me come.
No, kind of you. Kind of you.
Kind. How kind of you to let me come.
- How kind of you to let me come. - No, no.
Kind of you. Kind of you. lt's like "cup of tea," kind of you.
Cup of tea. Say "cup of tea."
- Cup of tea. - No, no.
A cup of tea.
lt's awfully good cake, this. l wonder where Mrs. Pearce gets it.
Mm. First rate.
And those strawberry tarts are delicious.
Did you try the plain cake?
[SIGHS]
Try it again.
- Did you try the--? - Pickering!
Again, Eliza.
[lN COCKNEY ACCENT] Cup of tea.
Oh, no.
Can't you hear the difference?
Look, put your tongue forward
until it squeezes on the top of your lower teeth.
- And then say "cup." - Cup.
- Then say "of." - Of.
Then say, "cup, cup, cup, of, of, of."
- Cup, cup, cup, of, of, of. - Cup, cup, cup, of, of, of.
Cup, cup-- Of, of--
PlCKERlNG: By Jove, Higgins, that was a glorious tea.
Why don't you finish that last strawberry tart?
- I couldn't eat another thing. - Oh, l couldn't touch it.
- Shame to waste it. - Oh, it won't be wasted.
l know somebody who's immensely fond of strawberry tarts.
[HlGGINS CHlRPlNG]
Ow!
SERVANTS [SlNGlNG]: Poor Professor Higgins
Poor Professor Higgins
On he plods
Against all odds
Oh, poor Professor Higgins
Nine p.m.
Ten p.m.
On through midnight every night
One a.m.
Two a.m.
Three
Four.
Five.
Six marbles.
Now, l want you to read this and l want you to enunciate every word
just as if the marbles were not in your mouth.
With blackest moss the flower-pots Were thickly crusted, one and all
Each word clear as a bell.
[MUMBLlNG] With blackest moss the flower-pots...
l can't. l can't.
PlCKERlNG: l say, Higgins, are those pebbles really necessary?
lf they were necessary for Demosthenes,
they are necessary for Eliza Doolittle.
Go on, Eliza.
[MUMBLlNG] With blackest moss the flower-pots
Were thickly crusted, one and all
l can't understand a word, not a word.
With blackest moss the flower-pots
Were thickly crusted, one and all
PlCKERlNG: Higgins, perhaps that poem is a little too difficult for the girl.
Why don't you try something simpler, like "The Owl and the Pussycat?"
Oh, yes, that's a charming one.
Well, Pickering, l can't hear a word the girl is saying.
[GULPS]
What's the matter?
l swallowed one.
Oh, it doesn't matter, l got plenty more. Open your mouth.
One, two.
SERVANTS [SlNGlNG]: Quit, Professor Higgins
Quit, Professor Higgins
Hear our plea
Or payday we will quit Professor Higgins
"A" not "I"
"O" not "ow"
Pounding, pounding in our brain
"A" not "I"
"O" not "ow"
Don't say "rine," say "rain"
The rain in Spain
stays mainly in the plain.
l can't. l'm so tired.
l'm so tired.
For God's sake, Higgins, it must be 3:00 in the morning.
Do be reasonable.
l am always reasonable.
Eliza,
if l can go on with a blistering headache, you can.
l got a headache too.
Oh, here.
l know your head aches. l know you're tired.
l know your nerves are as raw as meat in a butcher's window.
But think what you're trying to accomplish.
Just think what you're dealing with.
The majesty and grandeur of the English language,
it's the greatest possession we have.
The noblest thoughts that ever flowed through the hearts of men
are contained in its extraordinary, imaginative
and musical mixtures of sounds.
And that's what you've set yourself out to conquer, Eliza.
And conquer it you will.
[SIGHS]
Now, try it again.
[WlTHOUT COCKNEY ACCENT] The rain in Spain
stays mainly in the plain.
What was that?
The rain in Spain
stays mainly in the plain.
Again.
The rain in Spain stays mainly in the plain.
l think she's got it.
[SINGlNG] The rain in Spain Stays mainly in the plain
[SINGlNG] By George, she's got it By George, she's got it
Now once again Where does it rain?
On the plain
And where's that soggy plain?
ln Spain
ALL [SlNGlNG]: The rain in Spain Stays mainly in the plain
Bravo!
The rain in Spain Stays mainly in the plain
ln Hartford, Hereford And Hampshire
[WlTHOUT COCKNEY ACCENT] Hurricanes hardly happen
How kind of you to let me come
Now, once again Where does it rain?
On the plain
And where's that blasted plain?
ln Spain
The rain in Spain Stays mainly in the plain
[ALL LAUGH]
The rain in Spain Stays mainly in the plain
[HlGGINS LAUGH]
Pickering. Pickering. Olé. Olé.
[HlGGINS & ELlZA LAUGHING]
Olé!
[HlGGINS HUMMlNG]
Hey, Pickering.
HlGGlNS: Ho! Hey!
[ALL LAUGHlNG]
ALL: Olé!
[ALL LAUGHlNG]
PlCKERlNG: Oh, dear.
Oh, dear.
We're making fine progress, Pickering.
l think the time has come to try her out.
- Are you feeling all right, Mr. Higgins? - Yes, l'm feeling fine, Mrs. Pearce.
- How are you? - Very well, sir, thank you.
Let's test her in public and see how she fares.
Mr. Higgins, l was awakened by a dreadful pounding.
Do you know what it might have been?
Pounding? l didn't hear any pounding.
- You do, Pickering? - No.
You know, if this goes on, Mrs. Pearce, you'd better see a doctor.
- I know. We'll take her to the races. PlCKERlNG: The races?
- My mother's box at Ascot. - You'll consult your mother first?
Oh, yes, of course.
No, l think l should better surprise her. Now let's go to bed.
First thing in the morning, we'll go out and we'll buy her a dress.
Now get on with your work, Eliza.
PEARCE: But, Mr. Higgins, it's early in the morning.
What better time to work than early in the morning?
- Where does one buy a lady's gown? - Whitley's, of course.
- How do you know that? - Common knowledge.
Let's not buy her anything too flowery.
l despise those gowns with sort of weeds here and weeds there.
l wanna buy something sort of simple and modest and elegant,
is what's called for.
Perhaps with a bow.
Yes, l think that's just right.
[PICKERlNG LAUGHS]
You've all been working much too hard.
l think the strain is beginning to show.
Eliza, l don't care what Mr. Higgins says,
you must put down your books and go to bed.
[SINGlNG] Bed, bed l couldn't go to bed
My head's too light To try to set it down
Sleep, sleep l couldn't sleep tonight
Not for all the jewels in the crown
l could have danced all night
And still have begged for more
I could have spread my wings
And done a thousand things
l've never done before
l'll never know What made it so exciting
Why all at once My heart took flight
I only know when he
Began to dance with me
l could have danced Danced, danced
All night
SERVANT 1 [SlNGlNG]: lt's after 3 now
SERVANT 2 [SlNGlNG]: Don't you agree now
- She ought to be in bed - She ought to be in bed
ELIZA: l could have danced - You're tired out
ELlZA: All night - You must be dead
- l could have danced - Your face is drawn
- All night - Your eyes are red
- And still have - Now say good night, please
- Begged for more - Turn out the light, please
lt's really time for you to be in bed
- l could have spread - Do come along
- My wings - Do as you're told
- And done a thousand things - Or Mrs. Pearce is apt to scold
- l've never - You're up too late, miss
- Done before - And sure as fate, miss
You'll catch a cold
l'll never know What made it so exciting
Why all at once My heart took flight
- l only know - Put down your book
- When he - The work will keep
- Began to dance - Now settle down
- With me - And go to sleep
l could have danced Danced, danced
All night
l understand, dear
lt's all been grand, dear
But now it's time to sleep
l could have danced all night
And still have begged for more
I could have spread my wings
And done a thousand things
l've never done before
l'll never know What made it so exciting
Why all at once My heart took flight
I only know when he
Began to dance with me
l could have danced Danced, danced
All night
ALL [SlNGlNG]: Every duke and earl And peer is here
Everyone who should be here ls here
What a smashing Positively dashing spectacle
The Ascot opening day
At the gate are all the horses
Waiting for the cue to fly away
What a gripping, absolutely ripping
Moment at the Ascot opening day
Pulses rushing
Faces flushing
Heartbeats speed up
I have never been so keyed up
Any second now
They'll begin to run
Hark, a bell is ringing
They are springing forward Look!
lt has begun
[HORSES GALLOPlNG]
What a frenzied moment that was
Didn't they maintain An exhausting pace?
'Twas a thrilling, absolutely chilling
Running of the Ascot opening race
WOMAN 1 : Oh, no. No, it's true.
- This is the time. MAN: Yeah.
WOMAN 2: Yes.
- Yes. WOMAN 3: My daughter's...
WOMAN 4: They've had enough time.
What did you think of the race?
HlGGlNS: Mother.
Henry. What a disagreeable surprise.
Hello, Mother.
- How nice you look. - What are you doing here?
You promised never to come to Ascot. Go home at once.
- I can't, l'm here on business. - No, Henry, you must.
Now, l'm quite serious. You offend all my friends.
The moment they meet you, l never see them again.
Besides, you aren't dressed for Ascot.
l changed my shirt.
Now, listen, Mother, l've got a job for you, a phonetics job.
- I've picked up a girl. - Henry.
Oh, no, darling, not a love affair. She's a flower girl.
l'm taking her to the annual Embassy Ball.
- But l want to try her out first. - I beg your pardon?
- Well, you know the Embassy Ball. - Of course, l know the ball, but--
So l invited her to your box today, do you understand?
- Common flower girl? - She'll be all right.
l taught her how to speak properly.
She has strict instructions as to her behavior.
She is to keep to two subjects.
The weather and everybody's health. "Fine day" and "How do you do?"
Not to let herself go on things in general.
Help her along, darling. You'll be quite safe.
Safe? To talk about one's health in the middle of a race?
Well, she's got to talk about something.
- Where is the girl now? - She's being pinned.
Some of the clothes we bought her didn't quite fit.
l told Pickering we should have taken her with us.
EYNSFORD-HlLL: Thank goodness you're here.
MRS. HlGGlNS: Mrs. Eynsford-Hill. - Good afternoon, Mrs. Higgins.
You know my son, Henry.
Oh, how do you do?
- I've seen you somewhere before. - I don't know.
Oh, it doesn't matter. You better sit down.
- Lady Boxington. - Where the devil can they be?
- Lord Boxington. - Ha!
MRS. HlGGlNS: Colonel Pickering, you're just in time for tea.
Thank you, Mrs. Higgins.
May l introduce Miss Eliza Doolittle?
MRS. HlGGlNS: My dear, Miss Doolittle.
[WlTHOUT COCKNEY ACCENT] How kind of you to let me come.
MRS. HlGGlNS: Delighted, my dear.
Lady Boxington.
- How do you do? - How do you do?
Lord Boxington.
- How do you do? - How do you do?
Mrs. Eynsford-Hill, Miss Doolittle.
- How do you do? - How do you do?
And Freddy Eynsford-Hill.
How do you do?
Miss Doolittle.
Good afternoon, Professor Higgins.
The first race was very exciting, Miss Doolittle.
l'm so sorry that you missed it.
Will it rain, do you think?
The rain in Spain stays mainly in the plain.
[HlGGINS TAPPING]
But in Hartford, Hereford and Hampshire,
hurricanes hardly ever happen.
[FREDDY LAUGHS]
How awfully funny.
What is wrong with that, young man? l bet l got it right.
Smashing.
Hasn't it suddenly turned chilly?
l do hope we won't have any unseasonable cold spells.
They bring on so much influenza.
And the whole of our family is susceptible to it.
My aunt died of influenza.
So they said.
But it's my belief they done the old woman in.
MRS. HlGGlNS: Done her in?
Yes, Lord love you.
Why should she die of influenza
when she come through diphtheria right enough the year before?
Fairly blue with it, she was.
They all thought she was dead.
But my father, he kept ladling gin down her throat.
[HlGGINS GROANS]
Then she come to so sudden,
she bit the bowl off the spoon.
[FREDDY LAUGHS]
Dear me.
Now, what call would a woman with that strength in her
have to die of influenza?
What become of her new straw hat that should have come to me?
[lNAUDlBLE DlALOGUE]
Somebody pinched it.
And what l say is,
them that's pinched it done her in.
Done her in? Done her in, did you say?
Whatever does it mean?
Oh, that's the new small talk.
To do somebody in means to kill them.
But you surely don't believe your aunt was killed?
Do l not?
Them she lived with would have killed her for a hatpin, let alone a hat.
But it can't have been right for your father
to pour spirits down her throat like that.
lt might have killed her.
Not her.
Gin was mother's milk to her.
Besides, he poured so much down his own throat,
he knew the good of it.
Do you mean that he drank?
Drank, my word, something chronic.
[FREDDY LAUGHlNG]
Here, what are you sniggering at?
lt's the new small talk.
You do it so awfully well.
Well, if l was doing it proper, what was you sniggering at?
Have l said anything l oughtn't?
HlGGlNS: Oh, no.
Not at all, my dear.
Well, lots of mercy, anyhow.
What l always say--
l don't know whether there's time before the next race to place a bet.
- But come, my dear. MRS. HlGGlNS: l don't suppose so.
l have a bet on Number 7.
l should be so happy if you would take it.
You'll enjoy the race ever so much more.
That's very kind of you.
- His name is Dover. PlCKERlNG: Come along, my dear.
ALL [SlNGlNG]: There they are again Lining up to run
Now they're holding steady They are ready for it
Look, it has begun
[HORSES GALLOPlNG]
Come on.
Come on, Dover. Come on.
Come on, Dover.
Come on.
[lN COCKNEY ACCENT] Come on, Dover!
Move your blooming ass!
[ALL MURMURlNG]
MAN: Don't upset yourself, my dear. WOMAN: Please.
Oh, my dear.
You're not serious, Henry.
You don't expect to take her to the Embassy Ball?
Don't you think she's ready for it?
Dear, Henry, she's ready for a canal barge.
Well, her language may need a little refining, but--
Oh, really, Henry.
lf you cannot see how impossible this whole project is,
then you must be absolutely potty about her.
l advise you to give it up and not put yourself and this girl through more.
Give it up? It's the most fascinating venture l've ever undertaken.
Pickering and l are at it from morning till night. lt fills our whole lives.
Teaching Eliza, talking to Eliza, listening to Eliza, dressing Eliza.
What?
You're a pretty pair of babies playing with your live doll.
Here's the car.
FREDDY: l say, sir...
Good evening, sir.
Dinner ready? l'm famished.
lmmediately, sir.
PEARCE: Good evening, Professor Higgins.
[SINGlNG] When she mentioned How her aunt bit off the spoon
She completely done me in
And my heart went on a journey To the moon
When she told about her father And the gin
And l never saw A more enchanting farce
Than the moment when she shouted: "Move your blooming--"
- Yes, sir? - Is Miss Doolittle in?
- Whom shall l say is calling? - Freddy Eynsford-Hill.
Oh, if she doesn't remember who l am,
tell her l'm the chap who was sniggering at her.
Yes, sir.
- And will you give her these? - Yes, sir.
Wouldn't you like to come in?
They're having dinner, but you may wait.
No. No, thank you. l want to drink in the street where she lives.
Yes, sir.
l have often walked Down this street before
But the pavement always stayed Beneath my feet before
All at once am l Several stories high
Knowing l'm on the street Where you live
Are there lilac trees ln the heart of town?
Can you hear a lark ln any other part of town?
Does enchantment pour Out of every door?
No, it's just on the street Where you live
And, oh, the towering feeling
Just to know somehow you are near
The overpowering feeling
That any second You may suddenly appear
People stop and stare They don't bother me
For there's nowhere else on earth That l would rather be
Let the time go by
l won't care if l can be here
On the street where you live
PEARCE: Oh, sir.
l'm terribly sorry, sir.
Miss Doolittle says she doesn't want to see anyone ever again.
- But why? She was unbelievable. - So l've been told, sir.
ls there any further message?
Yes. Tell her that l'll wait.
Oh, but it might be days, sir, even weeks.
But don't you see? l'll be happier here.
People stop and stare They don't bother me
For there's nowhere else on earth That l would rather be
Let the time go by
l won't care if l can be here
On the street where you live
lt really is, Higgins. lt's inhuman to continue.
You realize what you've got to teach this poor girl in six weeks?
Teach her to walk, talk,
address a duke, a lord, a bishop, an ambassador.
lt's absolutely impossible.
Higgins, l'm trying to tell you that l want to call off the bet.
l know you're a stubborn man, but so am l.
This experiment is over.
And nothing short of an order from the king
could force me to recant.
Now, if you'll excuse me.
You understand, Higgins, it's over.
Higgins.
Higgins, if there's any mishap at the embassy tonight,
if Miss Doolittle suffers any embarrassment whatever,
it'll be on your head alone.
Eliza can do anything.
Suppose she's discovered? Remember Ascot.
Suppose she makes another ghastly mistake?
There will be no horses at the ball, Pickering.
PlCKERlNG: Think how agonizing it would be.
Oh, if anything happened tonight, l don't know what l'd do.
You could always rejoin your regiment.
This is no time for flippancy, Higgins.
The way you've driven the girl the last six weeks
has exceeded all bounds of common decency.
For God's sake, stop pacing up and down.
Can't you settle somewhere?
Have some port. lt'll quieten your nerves.
l'm not nervous.
- Where is it? - On the piano.
- The car is here, sir. - Oh, good.
- Tell Miss Doolittle. - Yes.
Tell Miss Doolittle indeed. l bet you that damned gown doesn't fit.
l warned you about these French designers.
We should've gone to an English shop, everyone would've been on our side.
- Have a glass of port? - No, thank you.
Are you so sure this girl will retain everything you've hammered into her?
Well, we shall see.
Suppose she doesn't?
l lose my bet.
Higgins, there's one thing l can't stand about you,
that's your confounded complacency.
At a moment like this, with so much at stake,
it's utterly indecent that you don't need a glass of port.
And what about the girl? You act as though she doesn't matter at all.
Oh, rubbish, Pickering. Of course she matters.
What do you think l've been doing all these months?
What could possibly matter more than to take a human being
and change her into a different human being
by creating a new speech for her?
lt's filling up the deepest gap
that separates class from class and soul from soul.
No, she matters immensely.
[FOOTSTEPS APPROACHlNG]
Miss Doolittle, you look beautiful.
[WlTHOUT COCKNEY ACCENT] Thank you, Colonel Pickering.
Don't you think so, Higgins?
Not bad. Not bad at all.
幕间休息（1MIN AND 30SECONDS）
BUTLER: Mr. and Mrs. Hugh Deuvile.
Major General the right honorable Sir James Clarence.
Marquis and Marquise of Glenning.
Lady Suzanna De Longly.
Sir Albert and Lady Derring.
Honorable Mr. Archibald and Lady Catherine Herring.
Maestro. Maestro.
- Don't you remember me? - No. Who the devil are you?
l'm your pupil.
Your first, your greatest, your best pupil.
l'm Zoltan Karpathy, that marvelous boy.
Oh.
l made your name famous throughout Europe.
You teach me phonetics, you cannot forget me.
Why don't you have your hair cut?
l don't have your imposing appearance,
your figure, your brow.
lf l had my hair cut, nobody would notice me.
Where did you get all these old coins?
These are decorations for language.
The queen of Transylvania is here this evening.
l'm indispensable to her at these official international parties.
l speak 32 languages, l know everyone in Europe.
No impostor can escape my detection.
Professor Karpathy.
The Greek ambassador.
Greek my foot.
He pretends not to know any English, but he cannot deceive me.
He's the son of a Yorkshire watchmaker.
[HlGGINS LAUGHS]
He speaks English so villainously
that he cannot utter a word without betraying his origin.
l help him pretend, but l make him pay through the nose.
l make them all pay.
Excuse me, sir, you are wanted upstairs.
- Her Excellency asked for you. - Oh, excuse me.
BUTLER: Viscount and Viscountess Saxon.
Baron and Baroness of Yorkshire.
Sir Guy and Lady Skot Ackland.
The Count and Countess Demerau.
The Viscount and Viscountess Hillyard.
Mr. and Mrs. Richard Lanser.
Lord and Lady Clanders.
Miss Eliza Doolittle, Colonel Pickering.
- Professor Higgins. - Good evening, Miss Doolittle.
Your Excellency.
- Miss Doolittle. - How do you do?
- Good evening, colonel. - Good evening.
- Oh, colonel. - What?
LADY: What an enchanting young lady you have with you this evening.
PlCKERlNG: Thank you. - Well, who is she?
Oh, a cousin of mine. And Higgins. Excuse me.
Professor Higgins.
Such a faraway look as if she's always lived in a garden.
So she has, a sort of garden.
[CHATTERlNG]
WOMAN 1 : ls that her son?
WOMAN 2: l don't believe in...
WOMAN 3: l shall die.
[SPEAKlNG INAUDlBLY]
Henry must take Eliza home at once. There's a language expert here.
Sort of, you know, sort of impostorologist.
l beg your pardon.
The young lady with Colonel Pickering.
Find out who she is.
With pleasure.
The whole situation is highly explosive.
WOMAN 1 : We heard on the best authority.
Tell me, Zoltan, some more about the Greek ambassador.
Gladly, but first l would love you to present me to this glorious creature.
Does he really come from Yorkshire?
[HORNS PLAYlNG]
BUTLER: Her Majesty, the queen of Transylvania
and his Royal Highness, Prince Gregor.
[BAND PLAYlNG]
Charming. Quite charming.
Miss Doolittle, ma'am.
MAN: Such a charming girl.
WOMAN 1 : We'll know when we hear her announced.
WOMAN 2: That's a beautiful ball gown.
[CHATTERlNG]
WOMAN 3: ls that her son?
[CHATTERlNG]
Miss Doolittle, my son would like to dance with you.
[QUEEN SPEAKING FORElGN LANGUAGE]
[BAND PLAYlNG WALTZ]
Eliza?
[SPEAKlNG INAUDlBLY]
[BAND STOPS PLAYlNG]
[SPEAKlNG INAUDlBLY]
[SPEAKlNG INDlSTlNCTLY]
[PEOPLE WHlSPERlNG lNDlSTlNCTLY]
[MAN WHlSPERlNG lNDISTINCTLY]
[HlGGINS LAUGHlNG]
PlCKERlNG: Absolutely fantastic.
[MEN LAUGHlNG]
HlGGlNS: A lot of tomfoolery.
PlCKERlNG: lt was an immense achievement.
Well, Mr. Higgins?
A triumph, Mrs. Pearce. A total triumph.
Higgins, you were superb. Absolutely superb.
Tell us the truth now, weren't you a bit nervous once or twice?
- Not for a second. - Not during the whole evening?
l saw we were gonna win hands down.
l felt like a bear in a cage with nothing to do.
lt was an immense achievement.
lf l hadn't backed myself to do it, l'd have given it up two months ago.
- Absolutely fantastic. - A lot of tomfoolery.
Higgins, l salute you.
Oh, silly people don't know their own silly business.
[SINGING] Tonight, old man, you did it You did it, you did it
You said that you would do it And indeed you did
I thought that you would rue it I doubted you'd do it
But now l must admit it That succeed you did
You should get a medal Or be even made a knight
[SINGlNG] Oh, it was nothing Really nothing
All alone you hurdled Every obstacle in sight
Now wait Now wait
Give credit where it's due A lot of the glory goes to you
But you're the one who did it Who did it, who did it
As sturdy as Gibraltar Not a second did you falter
There's no doubt about it You did it
I must have aged a year tonight At times l thought I'd die of fright
Never was there a momentary lull
Shortly after we came in I saw at once we'd easily win
And after that, l found it deadly dull
PlCKERlNG: You should have heard The "oohs" and "ahs"
Everyone wondering who she was
You'd think they'd never seen A lady before
And when the prince of Transylvania Asked to meet her
And gave his arm To lead her to the floor
l said to him You did it, you did it, you did it
They thought she was ecstatic And so damned aristocratic
And they never knew that you did it
[MEN LAUGHlNG]
Thank goodness for Zoltan Karpathy.
lf it hadn't been for him, l would've died of boredom.
Karpathy? That dreadful Hungarian? Was he there?
Yes, he was there, all right, and up to his old tricks.
[SINGlNG] That blackguard Who uses the science of speech
More to blackmail and swindle Than teach
He made it The devilish business of his
To find out who this Miss Doolittle is
Every time we looked around There he was
That hairy hound from Budapest
Never leaving us alone
Never have l ever known A ruder pest
Finally I decided it was foolish
Not to let him have His chance with her
So I stepped aside And let him dance with her
Oozing charm from every pore He oiled his way around the floor
Every trick that he could play He used to strip her mask away
And when at last The dance was done
He glowed as if he knew he'd won
And with a voice too eager And a smile too broad
He announced to the hostess That she was a fraud
No.
[SPEAKS FORElGN LANGUAGE]
[SINGlNG] "Her English is too good," he said
That clearly indicates That she is foreign
Whereas others are instructed ln their native language
English people aren't
And although she may have studied
With an expert dialectician And grammarian
l can tell That she was a born Hungarian
[ALL LAUGHlNG]
Not only Hungarian But of royal blood
She is a princess
"Her blood," he said, "is bluer Than the Danube is or ever was
Royalty is absolutely written On her face
She thought that l was taken in But actually l never was
How could she deceive Another member of her race?"
"l know each language on the map," Said he
"And she's Hungarian As the first 'Hungarian Rhapsody"'
[ALL LAUGHlNG]
SERVANTS [SlNGlNG]: Bravo
Bravo
Congratulations, Professor Higgins
For your glorious victory
Congratulations, Professor Higgins
You'll be mentioned in history
- This evening, sir, you did it - Congratulations, Professor Higgins
- You said that you would do it - For your glorious victory
This evening, sir, you did it You did it, you did it
We know that we have did it But you did it
And the credit for it All belongs to you
[SIGHS]
Well, thank God that's over.
Now l can go to bed without dreading tomorrow.
PEARCE: Good night, Mr. Higgins. HlGGlNS: Good night, Mrs. Pearce.
PlCKERlNG: l think I'll turn in too. Good night, Higgins.
lt's been a great occasion.
Good night, Pickering.
Oh, Mrs. Pearce?
Oh, damn.
l meant to ask her to give me coffee in the morning instead of tea.
Leave a little note for her, will you, Eliza?
And put out the lights.
[CRYING]
HlGGlNS: Left them downstairs. Oh, darn it.
Leave my head behind one of these days.
What the devil have l done with my slippers?
Here are your slippers.
There!
And there!
Take your slippers and may you never have a day's luck with them.
What on earth? What's the matter? ls anything wrong?
No, nothing wrong with you. l won your bet for you, haven't l?
That's enough for you. l don't matter, l suppose.
You won my bet? You presumptuous insect.
l won it. What did you throw those slippers at me for?
Because l wanted to smash your face. l could kill you, you selfish brute.
Why didn't you leave me where you picked me up in the gutter?
You thank God it's all over now, you can throw me back again there.
Oh, so the creature's nervous after all.
[ELlZA SCREAMlNG]
Claws in, you cat. How dare you show your temper to me.
Sit down and be quiet.
Oh, what's to become of me? What's to become of me?
How do l know what's to become of you? What does it matter?
You don't care. l know you don't care. You wouldn't care if l was dead.
l'm nothing to you. Not as much as them slippers.
- Those slippers. - Those slippers.
l didn't think it meant any difference now.
Why have you suddenly begun going on like this?
May l ask if you complain of your treatment here?
No.
Has anybody behaved badly? Colonel Pickering, Mrs. Pearce?
No.
Well, you don't pretend that l have treated you badly?
- No. - No. l'm glad to hear that.
Perhaps you're tired after the strain of the day.
Would you have a chocolate?
No!
Thank you.
Well, it's only natural that you should be anxious,
but it's all over now.
Nothing more to worry about.
No, nothing more for you to worry about.
Oh, God, l wish l was dead.
Why? In heaven's name, why?
Now, listen to me, Eliza. All this irritation is purely subjective.
l don't understand. l'm too ignorant.
lt's just imagination. Nothing's wrong. Nobody's hurting you.
Now, you go to bed and sleep it off. Have a little cry and say your prayers
and you'll feel very much more comfortable.
l heard your prayers, "Thank God it's all over."
Well, don't you thank God it's all over
and how you're free and you can do what you like.
Oh, what am l fit for? What have you left me fit for?
Where am l to go? What am l to do?
And what's to become of me?
Oh, that's what's worrying you, is it?
Oh, l wouldn't worry about that if l were you.
l'm sure you won't have any difficulty
in settling yourself somewhere or other.
l didn't quite realize you were going away.
You might marry, you know.
You see, Eliza, all men are not confirmed old bachelors
like me and the colonel.
Most men are the marrying sort, poor devils.
And you're not bad-looking.
You're really quite a pleasure to look at sometimes.
Well, not now. When you've been crying you look like the very devil.
But l mean when you're all right and quite yourself,
you're what l would call attractive.
Now, you go to bed, have a good night's rest,
then get up and have a look at yourself.
You won't feel so bad.
l daresay my mother might find some fellow or other who'd do very well.
We were above that at Covent Garden.
What do you mean?
l sold flowers, l didn't sell myself.
Now, you've made a lady of me, l'm not fit to sell anything else.
Oh, tosh, Eliza, don't insult human relations
by dragging all that cant about buying and selling into it.
You don't have to marry if you don't want to.
- What else am l to do? - Well, there are lots of things.
What about the old idea of a florist shop?
Pickering would set you up in one. He's got lots of money.
He paid for all those togs you're wearing tonight.
And that with the hire of the jewelry will make a big hole in 200 pounds.
Oh, come on now. You'll be all right.
Well, l must be off to bed. l'm really devilish sleepy.
l was looking for something. What was it?
Your slippers.
Oh, yes, of course. You shied them at me.
- Before you go, sir, - Hm?
do my clothes belong to me or to Colonel Pickering?
What the devil use would they be to Pickering?
Why do you bother about that in the night?
l want to know what l may take away with me.
l don't wanna be accused of stealing.
Stealing?
You shouldn't have said that, Eliza. That shows a want of feeling.
l'm sorry. l'm a common ignorant girl. ln my station, l have to be careful.
There can't be any feelings between the likes of you and the likes of me.
Please, will you tell me what belongs to me and what doesn't?
Take the whole damned houseful if you want.
Except the jewelry, that's hired. Will that satisfy you?
Stop, please.
Will you take these to your room and keep them safe?
l don't want to run the risk of them being missed.
Hand them over.
lf these belonged to me and not the jeweler,
l'd ram them down your ungrateful throat.
The ring isn't the jeweler's. lt's the one you bought me in Brighton.
l don't want it now.
Don't you hit me!
Hit you? You infamous creature, how dare you suggest such a thing.
lt's you who've hit me. You've wounded me to the heart.
l'm glad. l've got a little of my own back anyhow.
You've caused me to lose my temper,
a thing that's hardly happened to me before.
l don't wish to discuss it further tonight. l'm going to bed.
You better leave your own note for Mrs. Pearce about the coffee
for it won't be done by me.
Damn Mrs. Pearce, damn the coffee and damn you.
And damn my own folly for having lavished
my hard-earned knowledge and the treasure of my regard
and intimacy on a heartless guttersnipe.
[VOlCE SPEAKlNG VOWELS PLAYlNG ON GRAMOPHONE]
[GRAMOPHONE STOPS]
[SINGING] Just you wait, Henry Higgins Just you wait
You'll be sorry But your tears'll be too late
You will be the one it's done to
And you'll have no one to run to
Just you wait
[SINGlNG] I have often walked Down this street before
But the pavement always stayed Beneath my feet before
All at once am l Several stories high
Knowing l'm on the street Where you live
Are there lilac tress ln the heart of town?
Can you hear a lark ln any other part of town?
Does enchantment pour Out of every door?
No, it's just on the street Where you live
And, oh, the towering feeling
Just to know somehow you are near
The overpowering feeling
That any second You may suddenly appear
People stop and stare
They don't...
Darling.
Freddy, whatever are you doing here?
Nothing. l spend most of my nights here.
lt's the only place where l'm happy. Don't laugh at me, Miss Doolittle.
Don't you call me Miss Doolittle, do you hear?
Eliza's good enough for me.
Oh, Freddy, you don't think l'm a heartless guttersnipe, do you?
Darling, how could you imagine such a thing? You know how l feel.
l've written two or three times a day telling you. Sheet and sheets.
[SINGlNG] Speak And the world is full of singing
And l am winging Higher than the birds
Touch And my heart begins to crumble
The heavens tumble Darling, and l'm--
[SINGlNG] Words, words, words l'm so sick of words
I get words all day through First from him, now from you
ls that all you blighters can do?
Don't talk of stars burning above
lf you're in love, show me
Tell me no dreams
Filled with desire
lf you're on fire, show me
Here we are together ln the middle of the night
Don't talk of spring Just hold me tight
Anyone who's ever been in love Will tell you that
This is no time for a chat
Haven't your lips Longed for my touch?
Don't say how much Show me, show me
Don't talk of love Lasting through time
Make me no undying vow
Show me now
Sing me no song Read me no rhyme
Don't waste my time Show me
Don't talk of June Don't talk of fall
Don't talk at all
Show me
Never do l ever Want to hear another word
There isn't one l haven't heard
Here we are together ln what ought to be a dream
Say one more word and I'll scream
Haven't your arms Hungered for mine?
Please don't explain
Show me
Don't wait until Wrinkles and lines
Pop out all over my brow
Show me now
- Eliza, where are you going? - To the river.
- What for? - To make a hole in it.
Eliza, darling, what do you mean?
[TAXl PASSlNG]
Taxi.
FREDDY: Taxi.
But l've no money.
ELlZA: l have.
FREDDY: Where are we going? - Where l belong.
Darling, shall l come with you?
MAN [SlNGlNG]: With one enormous chair
Oh, wouldn't it be loverly?
CHORUS: Lots of chocolate for me to eat
Lots of coal making lots of heat
Warm face, warm hands, warm feet
Oh, wouldn't it be loverly?
Oh, so...
Buy a flower, miss?
Yes, please.
CHORUS: l would never budge
Till spring crept over me windowsill
Someone's head Resting on my knee
Warm and tender as she can be
Who takes good care of me
Oh, wouldn't it be loverly?
Oh, good morning, miss. Can l help you?
Do you mind if l warm my hands?
Go right ahead, miss.
- Yes? - Oh, excuse me, miss.
For a second l thought you were somebody else.
Who?
Forgive me, ma'am.
Early morning light playing tricks with my eyes.
Can l get you a taxi, ma'am?
A lady like you shouldn't be walking alone
around London this hour of the morning.
No, thank you.
ELlZA [SlNGING]: Someone's head Resting on my knee
Warm and tender as he can be
Who takes good care of me
Oh, wouldn't it be loverly?
Loverly, loverly
MAN 1 : Goodbye, Alfie.
MAN 2: Goodbye. MAN 3: l'll call you Mr. Doolittle now.
MAN 4: Do come again, Mr. Doolittle.
We value your patronage always.
Oh, thank you, my good man. Thank you.
Here. Come here.
Take the missus on a trip to Brighton with my compliments.
MAN 4: Thank you, Mr. Doolittle.
Charming spot this, Harry. We must visit it more often.
Father?
Oh, no.
You see, Harry, he has no mercy.
Sent her down to spy on me in me misery, he did.
Me own flesh and blood.
Well, l'm miserable all right. You can tell him that straight.
What are you talking about? What you dressed up for?
As if you didn't know.
Go on back to that Wimpole Street devil.
Tell him what he's done to me.
What's he done to you?
Ruined me, that's all.
Tied me up and delivered me into the hands of middle-class morality.
And don't you defend him.
Was it him or was it not him
wrote to an old American blighter named Wallingford
who was giving 5 millions to fund moral reform societies
to tell him the most original moralist in England
was Mr. Alfred P. Doolittle, a common dustman.
Sounds like one of his jokes.
You may call it a joke. lt's put the lid on me proper.
The old bloke died and left me 4000 pounds a year
in his blooming will.
Who asked him to make a gentleman out of me?
l was happy, l was free.
l touched pretty nigh everyone for money when l wanted it,
same as l touched him.
Now l'm tied neck and heels and everybody touches me.
A year ago, l hadn't a relation in the world
except one or two who wouldn't speak to me.
Now l've 50.
Not a decent week's wages amongst the lot of them.
Oh, l have to live for others now, not for myself.
Middle-class morality.
Come on, Alfie. Another couple of hours, we have to be at the church.
- Church? - Yeah, church.
The deepest cut of all.
Well, why do you think l'm dressed up like a ruddy pallbearer?
Your stepmother wants to marry me.
Now l'm respectable, she wants to be respectable.
Well, if that's the way you feel about it, why don't you give the money back?
That's the tragedy of it, Eliza.
lt's easy to say chuck it, but l haven't the nerve.
We're all intimidated.
That's what we are, intimidated. Bought up.
Yeah. That's what I am.
That's what your precious professor's brought me to.
Not my precious professor.
Oh, sent you back, has he?
First he shoves me in the middle class,
then he chucks you out for me to support you.
That's all part of his plan.
But you double-cross him.
Don't you come back home to me.
Don't you take tuppence from me.
You stand on your own two feet. You're a lady now, and you can do it.
Yeah, that's right, Eliza. You're a lady now.
Eliza, it's getting awfully cold in that taxi.
Here, Eliza, would you like to come and see me turned off this morning?
St. George's Hanover Square, 1 0:00.
l wouldn't advise it, but you're welcome.
- No, thank you, Dad. - No.
Are you all finished here, Eliza?
Yes, Freddy.
l'm all finished here.
Good luck, Dad.
Thank you, Eliza.
- Come along, Alfie. - How much time have I got left?
[SINGlNG] There's just a few more hours
That's all the time you've got
A few more hours Before they tie the knot
There's drinks and girls All over London
And l gotta track 'em down ln just a few more hours
Set 'em up, me darlin'
l'm gettin' married in the mornin'
Ding dong The bells are gonna chime
Pull out the stopper Let's have a whopper
But get me to the church on time
l gotta be there in the mornin'
Spruced up and lookin' in me prime
Girls, come and kiss me
Show how you'll miss me
But get me to the church on time
lf l am dancin' Roll up the floor
lf l am whistlin' Me out the door
l'm gettin' married in the mornin'
Ding dong The bells are gonna chime
Kick up a rumpus But don't lose the compass
And get me to the church
Get him to the church
For God's sake Get me to the church on time
[ALL LAUGHlNG]
ALL [SlNGlNG]: l'm gettin' married in the mornin'
Ding dong The bells are gonna chime
Some bloke who's able Lift up the table
And get me to the church on time
lf I am flyin' Then shoot me down
lf l am wooin' Get her out of town
For I'm gettin' married in the mornin'
Ding dong The bells are gonna chime
[ALL CHEERING]
Feather and tar me Call out the army
But get me to the church
Get me to the church
Oh, for God's sake Get me to the church on time
He's gettin' married in the mornin'
Ding dong The bells are gonna chime
Come on, pull out the stopper Let's have a whopper
But get me to the church on time
He's got to be there in the mornin'
Spruced up and lookin' in his prime
Girls, come and kiss me Show how you'll miss me
But get me to the church on time
lf l am dancin' Roll up the floor
lf I am whistlin' [WHISTLES] Me out the door
For he's gettin' married in the mornin'
Ding dong The bells are gonna chime
Drug me or jail me Stamp me and mail me
But get me to the church
Get him to the church
For God's sake Get me to the church on time
JAMlE: Come on, Alfie.
Yeah, go on.
MAN: Yeah, he's light.
ALL [SlNGlNG]: Girls come and kiss him
Show how they miss him
And get him to the church on time
Kick up a rumpus But don't lose the compass
And get him to the church on time
lf I am flyin' Then shoot me down
lf l am wooin' Get her out of town
MAN: Ouch!
He's gettin' married in the mornin'
Ding dong The bells are gonna chime
- Some bloke who's able - Lift up the table
Get me to the church on time
MAN 1 : lt's a nice morning. MAN 2: Good morning, Alfie.
MAN 3: Three cheers.
WOMAN: Come back.
[ALL LAUGHlNG]
ALL [SlNGlNG]: Starlight is reelin' home to bed now
Mornin' is smearin' up the sky
London is wakin'
Daylight is breakin'
Good luck, old chum
Good health
Goodbye
l'm gettin' married in the mornin'
Ding dong The bells are gonna chime
Hail and salute me Then haul off and boot me
And get him to the church Get him to the church
For God's sake Get him to the church
On time
HlGGlNS: Pickering. Pickering.
Didn't she even say where to send her clothes?
She took them all with her.
- Pickering. - What's the matter?
Here's a confounded thing. Eliza's bolted.
- Bolted? - Bolted.
Last night, Mrs. Pearce let her go without telling me.
- Well, l'm dashed. - What am l to do?
l got tea instead of coffee. l don't know where anything is.
- I don't know my appointments. - Eliza would know.
Of course she'd know, but she's gone.
Did either of you frighten her last night?
We hardly said a word to her. You were there.
Did you bully her after I went to bed?
The other way around. She threw the slippers at me.
l never gave her the slightest provocation.
The slippers came, bang, at my head before l uttered a word.
Used the most disgraceful language. l was shocked.
- Well, l'm dashed. - I don't understand.
We've given her every consideration.
- She admitted it herself. - Well, l'm dashed.
Oh, Pickering, for God's sake, stop being dashed and do something.
- What? - Well, phone the police.
What are they there for in heaven's name?
Mr. Higgins, you can't give Eliza's name to the police
as if she were a thief or a lost umbrella.
But why not? l want to find the girl.
She belongs to me. l paid 5 pounds for her.
Quite right. Hello. Scotland Yard, please.
Get me some coffee, would you please?
- Yes, sir. MAN: Who's there?
Scotland Yard? Yes, of course. l beg your pardon, yes.
This is Colonel Pickering speaking. Hugh Pickering.
- 27A Wimpole Street. - 27A Wimpole Street.
- I want to report a missing person. - Male or female?
A Miss Eliza Doolittle, yeah. About 21 .
And her height?
- I should say about 5'7". - What color eyes?
Her eyes? Oh, let me think now. Her eyes, her eyes.
- Brown. - Brown, yeah.
No, no, no. Her hair?
Oh, good Lord. Let me...
Well, sort of nondescript neutral sort of--
Brown, brown, brown.
You heard what he said? Brown, brown, brown, yes.
No, no, no, this is her residence.
27A-- Yeah.
About between 3 and 4 this morning, l understand.
Yes. No, no, no.
Rela-- No, she's no relation, no.
What? Well, just let's call her a good friend, shall we?
l beg your pardon?
Listen to me, my man, l don't like the tenor of that question.
What the girl does here is our affair.
Your affair is to get her back so that she can continue doing it.
Well, l'm dashed.
[SINGlNG] What, in all in heaven, Can have prompted her to go?
After such a triumph at the ball?
What could have depressed her? What could have possessed her?
l cannot understand The wretch at all
Higgins, l have an old school chum at the Home Office.
Perhaps he can help. Think l'll give him a ring.
WOMAN [ON PHONE]: Number, please.
Whitehall 72-double 4, please.
Whitehall 72-double 4.
[SINGlNG] Women are irrational That's all there is to that
Their heads are full of cotton Hay and rags
They're nothing but exasperating lrritating, vacillating
Calculating, agitating, maddening And infuriating hags
MAN: The Home Office here.
Oh, l want to speak to Mr. Brewster Budgin, please.
- Would you hold on, sir? - Brew-- Yes, l'll wait.
Pickering,
why can't a woman be more like a man?
l beg your pardon?
[SINGlNG] Yes, why can't a woman Be more like a man?
Men are so honest So thoroughly square
Eternally noble, historically fair
Who, when you win Will always give your back a pat
Well, why can't a woman Be like that?
Why does everyone Do what the others do?
Can't a woman learn To use her head?
Why do they do everything Their mothers do?
Why don't they grow up Well, like their father instead?
Why can't a woman Take after a man?
Men are so pleasant So easy to please
Whenever you're with them You're always at ease
Would you be slighted lf I didn't speak for hours?
Of course not.
Would you be livid lf l had a drink or two?
Nonsense.
Would you be wounded lf I never sent you flowers?
Never.
Well, why can't a woman Be like you?
One man in a million May shout a bit
Now and then There's one with slight defects
One, perhaps, whose truthfulness You doubt a bit
But by and large We are a marvelous sex
Why can't a woman Take after a man?
Because men are so friendly Good-natured and kind
A better companion You never will find
lf l were hours late for dinner Would you bellow?
Of course not.
lf I forgot your silly birthday Would you fuss?
Nonsense.
Would you complain lf l took out another fellow?
Never.
Well, why can't a woman Be like us?
Oh, hello. Mr. Brewster Budgin there?
- Yes, Budgin here. - Bruzzie.
Oh, Bruzzie, you'll never never guess who this is.
Oh, don't be silly. lt's Pickering.
You're quite right, yes, it is. Good heavens.
By George, what a memory.
How are you, Bruzzie?
Nice to hear your voice.
What? Oh, don't say that. ls it already 30 years? Good heavens.
You're quite right. Yes, oceans of water.
Listen, Bruzzie, l'll tell you why l rang up.
Something rather unpleasant's happened. Could l come and see you?
Well, l could. Yes, now, straight away.
Right-o, good. Thank you, thank you.
Goodbye, Bruzzie. Thank you very much.
Oh, Mrs. Pearce, l'm going along to the Home Office.
Oh, l do hope you find her, Colonel Pickering.
Mr. Higgins will miss her.
Mr. Higgins will miss her, eh?
Blast Mr. Higgins. l'll miss her.
HlGGlNS: Pickering?
Pickering?
Oh, Mrs. Pearce?
PEARCE: Yes, sir? - Where's the colonel?
He's gone to the Home Office, sir.
Oh, there you are.
l'm disturbed and he runs for help. Now, there's a good fellow.
Mrs. Pearce, you're a woman.
[SINGlNG] Why can't a woman Be more like a man?
Men are so decent Such regular chaps
Ready to help you Through any mishaps
Ready to buck you up Whenever you are glum
Why can't a woman be a chum?
Why is thinking Something women never do?
Why is logic never even tried?
Straightening up their hair Is all they ever do
Why don't they straighten up The mess that's inside?
Why can't a woman Behave like a man?
lf l was a woman Who'd been to a ball
Been hailed as a princess By one and by all
Would l start weeping Like a bathtub overflowing?
Or carry on As if my home were in a tree?
Would l run off And never tell me where l'm going?
Why can't a woman be like me?
Do you mean to say that after you'd done
this wonderful thing for them without making a single mistake,
they just sat there, never said a word to you?
Never petted you, or admired you, or told you how splendid you'd been?
Not a word. They just sat there congratulating each other
on how marvelous they'd been.
How glad they were it was all over and what a bore it had all been.
This is simply appalling.
l should not have thrown my slippers at him,
l should've thrown the fire irons.
HlGGlNS: Oh, is mother in? - What's that?
Henry.
l knew it wouldn't be too long.
Now, remember,
you not only danced with a prince last night,
you behaved like a princess.
Mother, the most confounded thing. Do you...?
You?
Good afternoon, Professor Higgins. Are you quite well?
- Am l--? - Of course you are.
You are never ill. Would you care for some tea?
Don't you dare try that game on me. l taught it to you.
Now, get up and come home and stop being a fool.
You've caused me enough trouble.
Very nicely put indeed, Henry.
No woman could resist such an invitation.
How did this baggage get here in the first place?
Eliza came to see me this morning and l was delighted to have her.
And if you don't promise to behave, l must ask you to leave.
You mean to say l'm to put on my Sunday manners
for this thing that l created out of the squashed cabbage leaves
of Covent Garden?
That's precisely what l mean.
Well, l'll see her damned first.
However did you learn good manners with my son around?
lt was very difficult.
l should never have known how ladies and gentlemen behave
if it hadn't been for Colonel Pickering.
He always showed me that he felt and thought about me
as if l were something better than a common flower girl.
You see, Mrs. Higgins, apart from the things one can pick up,
the difference between a lady and a flower girl
is not how she behaves, but how she is treated.
l shall always be a flower girl to Professor Higgins
because he always treats me as a flower girl and always will.
But l know l shall always be a lady to Colonel Pickering
because he always treats me as a lady and always will.
[GROWLS]
Henry, don't grind your teeth.
The bishop is here, madam. Shall l show him into the garden?
The bishop and the professor? Good heavens, no.
l should be excommunicated. l'll see him in the library.
Eliza, if my son starts breaking up things,
l give you full permission to have him evicted.
Henry, dear, l suggest you stick to two subjects:
The weather and your health.
Well, you've had a bit of your own back, as you call it.
Have you had enough and are you going to be reasonable
or do you want any more?
You want me back only to pick up your slippers
and put up with your tempers and fetch and carry for you.
- I didn't say l wanted you back at all. - Oh, indeed?
- Then what are we talking about? - Well, about you, not about me.
lf you come back, you'll be treated as you've always been treated.
l can't change my nature. l 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.
Well, l treat a duchess as if she was a flower girl.
Oh, l see. The same to everybody.
Just so.
You see, the great secret, Eliza, is not a question of good manners
or bad manners or any particular sort of manners,
but having the same manner for all human souls.
The question is not whether l treat you rudely,
whether you've ever heard me treat anyone else better.
l don't care how you treat me.
l don't mind your swearing at me.
l shouldn't mind a black eye. l've had one before this.
But l won't be passed over.
Well, then get out of my way, for l won't stop for you.
You talk about me as though l was a motor bus.
So you are a motor bus.
All bounce and go and no consideration for anybody.
But l can get along without you. Don't you think l can't.
l know you can. I told you you could.
You've never wondered, l suppose whether l could get along without you.
Don't you try to get around me.
You'll have to.
So l can, without you or any soul on earth.
l shall miss you, Eliza.
l've learned something from your idiotic notions.
l confess that, humbly and gratefully.
Well, you have my voice on your gramophone.
When you feel lonely without me, you can turn it on.
lt has no feelings to hurt.
Well, l can't turn your soul on.
Ooh. You are a devil.
You can twist the heart in a girl just as easily
as someone can twist her arms to hurt her.
What am l to come back for?
For the fun of it. That's why l took you on.
And you may throw me out tomorrow if l don't do everything you want me to.
Yes, and you may walk out tomorrow if l don't do everything you want me to.
And live with my father?
Yes, or sell flowers. Or would you rather marry Pickering?
l wouldn't marry you if you asked me,
and you're nearer my age than what he is.
- Than he is. - I'll talk as l like.
You're not my teacher now.
That's not what l want, and you don't think it is.
l've always had chaps enough wanting me that way.
Freddy Hill writes me twice and three times a day.
Sheets and sheets.
ln short, you want me to be as infatuated about you as he is.
- Is that it? - No, l don't.
That's not the sort of feeling l want from you.
l want a little kindness.
l know l'm a common ignorant girl and you're a book-learned gentleman.
But l'm not dirt under your feet.
What l done--
What l did was not for the taxis and the dresses,
but because we were pleasant together and I've come to--
Came to care for you.
Not to want you to make love to me
and not forgetting the difference between us,
but more friendly-like.
Well, of course. That's how l feel.
And how Pickering feels.
- Eliza, you're a fool. - That's not the proper answer.
lt's the only answer till you stop being an idiot.
lf you're a lady, give up feeling neglected
if the men you know don't spend half their time
sniveling over you and the other half giving you black eyes.
You find me cold, unfeeling, selfish, don't you?
Be off with you to the sort of people you like.
Marry some sentimental hog with lots of money
and a thick pair of lips to kiss you and a thick pair of boots to kick you.
lf you can't appreciate what you've got, get what you can appreciate.
Oh, l can't talk to you.
You always turn everything against me. l'm always in the wrong.
But don't be too sure that you have me under your feet
to be trampled on and talked down.
l'll marry, Freddy, l will, soon as l'm able to support him.
Freddy?
That poor devil who couldn't get a job as an errand boy
even if he had the guts to try for it?
Woman, don't you understand? l've made you a consort for a king.
Freddy loves me. That makes him king enough for me.
l don't want him to work. He wasn't brought up to it as l was.
l'll go and be a teacher.
What will you teach, in heaven's name?
What you taught me. l'll teach phonetics.
Ha, ha, ha.
l'll offer myself as an assistant to that brilliant Hungarian.
What, that impostor? That humbug? That toadying ignoramus?
Teach him my methods, my discoveries?
You take one step in that direction and l'll wring your neck.
Wring away. What do l care? l knew you'd strike me one day.
That's done you, Henry Higgins, it has.
Now, l don't care that for your bullying and your big talk.
[SINGlNG] What a fool I was What a dominated fool
To think you were the earth and sky
What a fool l was What an elevated fool
What a mutton-headed dolt was l
No, my reverberating friend
You are not the beginning And the end
You impudent hussy.
There's not an idea in your head or a word in your mouth
that l haven't put there.
There'll be spring every year Without you
England still will be here Without you
There'll be fruit on the tree And a shore by the sea
There'll be crumpets and tea Without you
Art and music will thrive Without you
Somehow Keats will survive Without you
And there still will be rain On that plain down in Spain
Even that will remain Without you
l can do
Without you
You, dear friend
Who talk so well
You can go to Hartford, Hereford and Hampshire
They can still rule the land Without you
Windsor Castle will stand Without you
And without much ado
We can all muddle through Without you
You brazen hussy.
Without your pulling it The tide comes in
Without your twirling it The Earth can spin
Without your pushing them The clouds roll by
lf they can do without you Ducky, so can l
l shall not feel alone Without you
I can stand on my own Without you
So go back in your shell I can do bloody well
- Without-- [SINGING] By George, l really did it
l did it, I did it
l said I'd make a woman And indeed I did
l knew that l could do it l knew it, l knew it
l said I'd make a woman And succeed l did
Eliza, you're magnificent.
Five minutes ago, you were a millstone around my neck
and now you're a tower of strength.
A consort battleship.
l like you this way.
Goodbye, Professor Higgins.
You shall not be seeing me again.
Mother!
What is it, Henry? What's happened?
She's gone.
Well, of course, dear. What did you expect?
Well...
- What am l to do? - Do without, l suppose.
And so l shall.
lf the Higgins' oxygen burns up her little lungs,
let her seek some stuffiness that suits her.
She's an owl sickened by a few days of my sunshine.
Very well, let her go. l can do without her.
l can do without anyone. l have my own soul.
My own spark of divine fire.
Bravo, Eliza.
[SINGlNG] Damn, damn, damn, damn
l've grown accustomed to her face
She almost makes the day begin
l've grown accustomed to the tune That she whistles night and noon
Her smiles, her frowns Her ups, her downs
Are second nature to me now
Like breathing out and breathing in
I was serenely independent And content before we met
Surely l could always Be that way again
And yet I've grown accustomed To her look
Accustomed to her voice
Accustomed to her face
Marry Freddy. What an infantile idea.
What a heartless, wicked, brainless thing to do.
But she'll regret it. She'll regret it.
lt's doomed before they even take the vow.
[SINGlNG] I can see her now Mrs. Freddy Eynsford-Hill
ln a wretched little flat Above a store
l can see her now Not a penny in the till
And a bill collector Beating at the door
She'll try to teach the things l taught her
And end up selling flowers instead
Begging for her bread and water
While her husband Has his breakfast in bed
In a year or so When she's prematurely grey
And the blossom in her cheek Has turned to chalk
She'll come home, and lo
He'll have upped and run away
With a social-climbing heiress From New York
Poor Eliza
How simply frightful
How humiliating
How delightful
How poignant it'll be On that inevitable night
When she hammers on my door ln tears and rags
Miserable and lonely Repentant and contrite
Will l take her in Or hurl her to the wolves?
Give her kindness Or the treatment she deserves?
Will l take her back Or throw the baggage out?
Well, l'm a most forgiving man
The sort who never could Ever would
Take a position And staunchly never budge
A most forgiving man
But I shall never take her back
lf she were crawling on her knees
Let her promise to atone Let her shiver, let her moan
l'll slam the door And let the hellcat freeze
Marry Freddy. Ha!
But l'm so used to hear her say Good morning every day
Her joys, her woes Her highs, her lows
Are second nature to me now
Like breathing out and breathing in
l'm very grateful she's a woman
And so easy to forget
Rather like a habit One can always break
And yet I've grown Accustomed to the trace
Of something in the air
Accustomed to her face
ELlZA [ON RECORDlNG]: Oh, we are proud.
He ain't above giving lessons, not him. I heard him say so.
Well, l ain't come here to ask for any compliment,
and if my money's not good enough, l can go elsewhere.
HlGGlNS: Good enough for what?
ELlZA: Good enough for you.
Now you know, don't you?
l'm come to have lessons, l am, and to pay for them too,
make no mistake.
PlCKERlNG: What is it you want, my girl?
ELlZA: l want to be a lady in a flower shop
instead of selling at the corner of Tottenham Court Road.
But they won't take me unless I can talk more genteel.
He said he could teach me.
Well, here l am.
Ready to pay, not asking any favor.
And he treats me as if l was dirt.
l know what lessons cost as well as you do, and l'm ready to pay.
l won't give more than a schilling. Take it or leave it.
HIGGINS: lt's almost irresistible. She's so deliciously low.
So horribly dirty.
l'll take it.
l'll make a duchess of this draggle-tailed guttersnipe.
[TURNS GRAMOPHONE OFF]
l washed my face and hands before l come, l did.
Eliza?
Where the devil are my slippers?