Pygmalion (1938)

No renewal found Free in the US since 1 January 1967, on the registry's reading: registration LP8676 of 1938 by Loew's, Inc was not renewed in the volumes searched. Record.

Copy: Pygmalion on the Internet Archive; registered 1938
Read: 561 shots over 1:35:03 · 1371 transcript lines · JSON
Record: Pygmalion No renewal found
Picture: Wikimedia Commons, public domain
Wrong?: Report a problem

Check before citing the shot count. A 3:52 shot at 0:00 (shot 0): either a static hold or a run of missed cuts. Treat it as unverified.

How this page was made

561 shots over 1:35:03, read from the Internet Archive copy Pygmalion (Pygmalion.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Pygmalion No renewal found. JSON

Measurements: colour film on its keyframes (561 of 561 shots judged colour), average shot 10.2s long, a frontal face detected in 62% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1371 segments kept, 208 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

2:04 Oh, my God.
3:09 Come on.
3:17 I'm going to go.
3:35 Why? I found a tavern chuler in one last week. What a chuler? A tavern chuler. It's like a spider.
3:42 Six legs.
3:43 And it stings you with the
3:44 What did you do with his mouth?
3:47 eats the bananas, you mug.
3:50 Looks like right.
3:53 Yeah, but it's stormy engine.
4:07 What can Freddy be doing all this time?
4:10 - You really ought to have got us attached to the guy now. - Exactly.
4:17 Taxi! You won't get a taxi now.
4:20 Here, Fitzpatrick.
4:21 Oh, hold on.
4:23 There's not a taxi to be had for love or money. You haven't tried at all. Oh you really are helpless Freddie.
4:29 Go again and don't come back until you have found this one. - I just simply get sold for nothing. - What about us, you selfish pig?
4:36 Oh, very well. I'll go. I'll go. - Oh, sorry. - Darling, Freddie, look where you're going, dear. Oh, my Barnard, sod in the lug.
4:47 I wouldn't do that. I don't think I haven't got enough to do.
4:58 How do you know that my son's name is Freddy?

1351 more segments

5:01 Oh, he's your son, is he? Well, if you've done your duty,
5:05 He wants to buy him as a mother should.
5:06 He'd no better than to spoil the poor girl's flaws and run away without pain.
5:11 - There's a sh--
5:12 Sixpence for you.
5:13 Oh.
5:14 Thank you kindly, lady.
5:16 Now, will you tell me how you know the young man's here? Oh, don't!
5:20 - But I heard you calling Freddy. - Now, don't you go on this?
5:23 Yeah, who's trying to deceive you? According to Freddy or Charlie.
5:28 Same as you might yourself if you were talking to a stranger and wish to be pleasant.
5:32 Come along, Mother.
5:33 - He's flown away.
5:39 Oh, cheers, Doctor.
5:42 Give me trainings.
5:43 Wilson!
5:43 Time is nearly over.
5:45 Come on, buy a flower for poor girl. I'm sorry I haven't did a change. John, Captain.
5:49 I can change your offer, Crown. - Hello, Dr. Chappleton. There's a good one. I haven't any change, really. Here's some Chappleton's. Is that to me? Next. - I think he can.
6:00 Careful.
6:01 and a flower for him.
6:02 Look over there, taking on everything.
6:04 word you're saying.
6:07 But I ain't done nothing wrong by speaking as a gentleman. I'm a good girl, I am, self-made. What's your in about? But I never spoke to him except to ask him to buy a flyer off me. What's a good old class, him?
6:17 What's the rouse?
6:18 What she did was...
6:20 There's a tech taking it out.
6:21 Him over there.
6:26 What do you want to take down what I said for?
6:29 You'll just show me what you wrote.
6:32 How do I know if you took me down right?
6:36 What? What's that?
6:38 That ain't proper writing.
6:41 I can't read that.
6:45 Cheer up, Kip.
6:46 and buy a flare off a poor girl.
6:49 I'll wait.
6:49 - It's because I called him Captain. - Why not? I meant no harm.
6:54 Oh, sir. Oh, don't let him charge me. Oh, you don't know what it means to me. They'll take away my character and they'll drive me on the streets.
7:02 - I'm making a gentleman. - Charge, I make no charge. Really, so you'll even start protecting me from molestation until I ask you. Anyone can see the girl meant no harm. - It's all your business. - Take it down people's words. - You don't never say the words to him. - What harm did she do? Don't be ridiculous. Who's hurting you, you silly girl?
7:19 What do you take me for?
7:20 It's all right.
7:21 He ain't a copper.
7:22 He's a gentleman.
7:23 Look at his boots.
7:26 That's a man. He's a bloody busybody. That's what he is. How are all your people down in Celtic?
7:32 Of course.
7:33 How do you come to be so far east?
7:35 You were born in Liston Grove.
7:36 Oh, well, what almost am I leaving this little crow?
7:40 it wasn't fit for a pig to live in and i had to die four and six a week live where you lie but for heaven's sake stop making that noise no one's going to harm you with perfect right to live for you please
7:52 I'm a good girl, I am. Here, do you know where I come from?
7:59 Hoxton.
8:01 Well...
8:01 Who said I didn't?
8:03 Blimey, you know everything you do. Where's your warrant? Here he is.
8:09 Catch him toward to take liberties with a gentleman. Yes. Tell him where he comes from if you want to go fortune. Tell him.
8:15 Go on. Yes, go on. Tell him.
8:17 All right.
8:19 Cheltenham?
8:20 Hello?
8:21 Cambridge.
8:23 India.
8:25 Bye-bye.
8:26 - Why, isn't he? - Why, isn't he? - He's not getting somebody. I tend to be a little more now. - What on earth can Freddy be doing? I shall get pneumonia if I stay in this draft any longer.
8:36 call him.
8:38 Will you please keep going, Padman, and remarks to yourself? Did I say that out loud?
8:42 Your mother's Epsomun mistaken.
8:44 Oh, how very joyous.
8:46 You know, I was brought up in Large Lady Park near Epsom. That's the devil of a name, isn't it?
8:51 Excuse me.
8:53 - Are you looking for a cab? - Don't you dare to speak to me. Oh, please, Clara.
8:57 Yes, we should be so grateful to you if you could find us a cab. I don't know whether you've noticed it, but it stopped raining.
9:02 Oh, so it has.
9:03 - Clara, you walk to a bus. - The cab.
9:06 Carson.
9:12 I can tell where you come from.
9:14 Can you?
9:15 and will insane asylum.
9:20 Hanwell.
9:21 - Insane. - Rose? Thank you, teacher.
9:25 May I ask her?
9:27 Do you do this for a living in a music hall?
9:30 Well, I have thought of doing so. Perhaps I shall someday. Then how on earth do you do it?
9:33 Simply phonetics. The science of speech. That's my profession. Easy. Yes, it's also my hobby.
9:38 You see, you can spot a Yorksman or an Irishman by his bro.
9:41 But I can place any man within six miles.
9:44 I can place it within two miles in London. Sometimes, as in the case of this girl,
9:49 Within two streets.
9:51 Come on, Melanie.
9:52 I'll lose.
9:54 They mind his own business.
9:56 Leave a poor girl of mine there. I'm finished. Woman, cease this detestable boo-hooing instantly.
10:01 I've a right to be as I like.
10:04 - Why, Monsieur? - A woman who utters such depressing and disgusting sounds has no right to be anywhere.
10:08 Remember that you're a human being with a soul.
10:11 The divine gift of articulate speech...
10:14 and that your language is the language of Milton, Shakespeare and the Bible.
10:17 Don't sit there crooning like a bilious pigeon. - Ow! - Ow!
10:22 Hemms, what a sound.
10:24 You see this creature with her curbstone English? The English that will keep her in the gutter for the rest of her days?
10:29 Well, sir, in three months I could pass her over as a duchess...
10:32 - At an ambassador's reception. - No, no, no. Yes, I could even get her a job as a lady's maid... ...or a shop assistant, which requires better English.
10:38 You mean you could make me? Yes, you squashed cabbage leaf. You disgraced to the noble architecture of these columns.
10:45 You incarnate insult to the English language.
10:49 I could pass you off as
10:51 Queen of Sheba.
10:56 Yeah.
10:57 You don't believe that, do you, Captain? Well, Laverity,
11:02 I myself am a student of Indian dialect. - Are you? - Yes. Have you ever heard of Colonel Pickering, the author of spoken Sanskrit? - I am Colonel Pickering. - No.
11:08 Yes.
11:09 - Who are you? - Henry Higgins. Now. Yes, the author of Higgins' Universal Alphabet. You know, I came all the way from India to meet you. And I was just going all the way to India to meet you. - Where are you staying? - Carlton.
11:18 No, you're not. You're staying at 27A Wimples.
11:21 Oh, by a flag, kind of.
11:23 I'm short for my logic.
11:26 Oh, you liar. You just said you could change half the crown.
11:30 You want to be safe?
11:32 Tucked with nails, you whore. Here, take the ice-bloomin' basket for sixpence.
11:42 A reminder.
11:44 Oh
11:46 Amen.
11:56 Oh.
11:57 Come on, Big Wings.
11:58 He's big as a wonder. He's in his mouth.
12:02 Help! Help!
12:10 Oh, excuse me. Haven't you seen those two ladies over here just now? Oh, they went to the bus when the rain stopped. And left me with a cab on me hand. Oh, God. Never mind, young man.
12:20 I'm going home in a taxi. Yeah, wait a minute. Eighteen pins seem no object to me, Charlie.
12:30 That's not a palace and step on it!
12:32 - Look, Freddy! - Then I'll be dashed.
12:39 We are back in the palace.
12:41 I'm up.
12:42 - It will cost you a bulk.
12:43 Dear, you're a robber, you are.
12:45 Each day's price full. I'll bond for two minutes.
12:49 Ever been in a taxi before? Hundreds and thousands!
12:52 of tide.
12:56 Impudence.
13:09 - Um.
13:16 I don't know.
13:18 I
13:35 I'm going to go.
13:50 the
14:20 As you see, my dear Pick, the human ear is a perfect recording of amplifying apparatus.
14:27 Well...
14:29 Tired of listening to sounds?
14:31 Amazing.
14:34 Do you know, I rather fancied myself because I could pronounce 24 distinct vial sounds.
14:39 Your 130 beat me. I can't hear any difference between most of them. Oh, it...
14:45 Comes from practice, you know.
14:47 Do you know, I rather fancy myself because I could pronounce 24 distinct miles from it.
14:51 Good reason, you're a hundred and thirty. They beat me. I can't hit any difference between most of them.
14:55 Conceal microphone.
14:58 for unsuspecting victims.
15:01 What is it, Mrs. Pierce? It's a young woman wants to see you, sir. Young woman? What does she want? She says you'll be glad when you know what she's come about.
15:07 She's a very common girl, sir.
15:09 I'd have got rid of her only if she's such queer people sometimes.
15:12 All right. Has she an interesting accent?
15:14 just dreadful.
15:15 Go. Show her up at once.
15:22 You know, this is really a bit of luck.
15:23 We'll set her talking and I'll take you down with my phonetic shorthand.
15:27 Never get her on the machine.
15:29 You can turn around as often as you like.
15:30 Have a week. Here's the young woman's...
15:37 Oh, it's you! Oh, she's no use. I've got all the records I want at the Liston Grove, Lindo.
15:42 Be old with you. I don't want you...
15:43 Yeah, don't you be so saucy.
15:46 You ain't heard what I come for yet.
15:48 Did you tell him I come in a taxi? You think a gentleman like Mr. Higgins cares what you came in? We are proud, aren't we?
15:55 Well he ain't about giving lessons, not him heard him say so. And if my money's not good enough I can go elsewhere.
16:00 Good enough for what? Good enough for you.
16:03 So now you know, don't you?
16:05 I'm come to have lessons, I am. And to pay for them too, make no mistake. Well, I say figuring.
16:14 Shall we ask this object to sit down or shall we throw her out of the window? I won't be called an object when I've offered to pay like any lady.
16:21 What is it you want, my dear?
16:23 I want to be a lady in a fly shop.
16:25 instead of filling in Piccadilly Circus.
16:27 They won't take minutes up and talk more, genteel.
16:31 Well, you said he could teach me.
16:33 Here I am. I'm ready to pay. I'm not asking any favors.
16:36 He treats me as if I was dead.
16:39 I know what this one's cost.
16:41 And I'm ready to pay.
16:42 How much?
16:44 I'm now your tall kid.
16:46 I thought you'd come off it when you saw a chance of getting back a bit of the money what you checked at me last night.
16:51 It had to drop, hadn't you?
16:52 Sit down.
16:53 If you're going to make a compliment of it.
16:56 Sit down.
16:57 What's your name?
17:00 Eliza Dulig.
17:01 Won't you sit down, Miss Dunliffin?
17:04 Oh.
17:05 I don't mind if I do.
17:11 How much you proposed to pay me for the lessons?
17:14 I want to know what's right.
17:15 A lady friend of mine, she gets French lessons at 18 pence an hour from a real French gentleman.
17:21 Well, you wouldn't have the nerve for us the same for teaching me my own language as what you would for French.
17:26 so I won't give you more than a shilling.
17:28 Take it or leave it.
17:29 I, um...
17:31 I'll take it. You know, Pickering,
17:36 A shilling to this girl is worth 60 or 70 pounds to a millionaire.
17:39 It's handsome, it's enormous, it's the biggest offer I've ever had.
17:41 Sixty pounds? What are you talking about? I never offered you sixty pounds. Oh yes, I'm... Well, I ain't got sixty pounds. Oh, dear old nobody's going to touch your money. Somebody's gonna touch you with a broomstick if you don't stop sniveling. Sit down, will you? Who were? Anyone would think he was my father. He didn't.
17:54 I'm interested.
17:55 What about that boast of yours that you could pass her off as a duchess as an ambassador's reception? Well, what about it? I'll say you're the greatest teacher alive if you make that good.
18:03 I'll bet you all the expenses in the experiment you can't do it.
18:15 This is almost irresistible.
18:19 She's so deliciously low.
18:22 So horribly dirty.
18:25 I ain't dirty.
18:27 I washed my feet and hands before I come, I did.
18:29 I shall make a duchess of this draggletail gutter snipe.
18:34 In six months, in three if she has a good ear and a quick tongue, I'll take her anywhere and pass her off as anything.
18:39 We start today, now, this minute. Mrs. Pierce, take her away and clean her. Take off all her clothes and burn them.
18:45 Bring up and order some new ones. Wrap her up in brown paper till they come.
18:48 You're no gentleman, you ain't to talk of such things. I'm a good girl, I am. And I know what the likes of you are, I do. We want none of your slump prudery here, young woman. You've got to learn to behave like a duchess.
18:57 Here, take it away, Mrs. Pierce.
18:58 If she gives any trouble, wallop her. - No, for the police! - You have no place to put her. - Put her in the ash can. You can't take a girl up like that as if you were picking a pebble off the beach. - Why not?
19:06 She may be married. - There you are. The girl very properly says, "Gah!" - Who would marry me? By George Eliza, before I'm done with you,
19:13 The streets will be strewn with the bodies of men shooting themselves for your sake.
19:17 Chumper, yes, I'm going. I don't want no loonies teaching me. Oh, I'm mad, am I?
19:21 Very well, Mrs. Pierce, don't order those things. Throw her out! Stop, Mr. Higgins. I won't allow it. Go home with your mother again. I ain't got no mother. - Say, why she ain't got no mother?
19:30 Very well, then the girl doesn't belong to anybody. She's no use to anybody but me. What's to become of her? Is she to be paid anything? Do be sensible, Mr. Higgins.
19:36 Now what on earth would she do with money? She'll get her food and her clothes. She'll only drink if you give her money. It's a lie!
19:41 Nobody ever saw the sign of liquor on me.
19:43 Doesn't it occur to you, Higgins, that the girl has some feelings? Oh, I don't think so.
19:47 Have you, Eliza?
19:49 I got my feelings, as they must anywhere else.
19:51 You see the difficulty? What difficulty?
19:53 To get us to talk grammar. I don't want to talk grammar. I want to talk like a lady. Will you please keep to the point, Mr. Higgins?
20:00 What's to become of her when you've finished with her teaching? What's to become of her if we leave her in the gutter? That's her business, not yours, Mr. Figgins. Well, when we've finished with her, we'll throw her back in the gutter.
20:07 You've no feeling art in you, you haven't.
20:10 I'm going away. I've had enough of this.
20:12 You ought to be a kind of yourself.
20:14 Here, here, here, now.
20:16 Elani!
20:18 Come here, Lyle. Here, here. Here.
20:21 I'm going to go.
20:25 Have a chocolate, Eliza.
20:27 How do I know what might be in them?
20:29 There's a girl's been threatened by the like of you.
20:32 Oh, glad you could say, Eliza. Oh, I'm in the bicycle.
20:36 - I'm too late as I'll take it off my mat. - You shall have boxes of them, Eliza.
20:40 You shall live on 'em.
20:44 Now listen to me, Eliza.
20:47 You're going to live here for six months.
20:49 and learn to speak beautifully like a lady in a florist shop.
20:53 If you're good, then do whatever you're told.
20:55 You shall sleep in a proper bedroom.
20:57 Have lots to eat.
20:59 Money to buy chocolates and take rides and taxes.
21:02 If you're naughty and idle...
21:05 You shall sleep in the back kitchen among the Black Beatles.
21:08 and be walloped by Mrs. Pierce for the broomstick.
21:12 At the end of six months you shall go to Buckingham Palace
21:15 in a carriage.
21:17 beautifully dressed.
21:19 If the king finds out you're not a lady... ...you will be taken by the guards to the Tower of London.
21:24 where your head will be cut off
21:26 as a warning to other presumptuous flower girls.
21:29 Bucks.
21:29 If you are not found out,
21:31 You will receive a present of seven and sixpence
21:34 to start life with as a lady in a shop.
21:36 If you refuse this offer...
21:38 You will be a most ungrateful and wicked girl.
21:41 And the angels will wait for him.
21:46 Now, are you satisfied, Pickering?
21:48 Can I put it more fairly, Mrs. Pierce?
21:50 Thunder off to the bathroom.
21:53 You're a great bully, you are. I won't stay here if I don't like it. I never asked to go to Buckland Palace, I didn't. If I'd know what I was letting myself in for, I wouldn't have come here. I'd always be the good girl. I don't love it. How are you? Oh, dear tea. You wash my feet and hands before I come, I did.
22:07 I shall make a duchess of this jaggle-tailed guttersnug. - Ow! - Oh, no! Take that! - I'll get the bottom of the line! - Not what you call a proper one! - Nonsense, Eliza! Don't you want to be sweet and clean and decent like a lady? You know, you can't be a good girl inside if you're a duchte girl outside.
22:21 Now, wait to your room and take off all the clothes. Oh, no, it's such a very sound.
22:25 Johnson's girl, don't you take off all your clothes every night before you go to your bed? No!
22:29 Why should I?
22:31 I'd catch my death.
22:32 I'll take off my skirts. Oh, Eliza, I'll be a good child. No! No! No! No! Give me your face once and come back. Mind you for yourself, I think. You must have been clean. I'll sit and come here. I didn't know when I was with Walker, did you? It ain't decent. *Dramatic music*
22:55 Oh, my God.
23:05 Oh, my God.
23:06 Oh, my God.
23:11 I'm sorry.
23:14 - Oh, no, how will you? - No, but I couldn't. Really. Come on. Come on. I've never done such anything before. Really, I have.
23:25 Oh!
23:26 Oh.
23:34 Now come on in till Mr. Walter's hot enough.
23:36 No, but the field, no! No! Help!
23:45 Ah!
23:46 Help! Help! Help! Help! Oh, that's a memory of Jesus!
24:08 Ian.
24:10 Excuse the straight question, but... Are you a man of good character where women are concerned?
24:17 Have you ever known a man of good character where women are concerned?
24:20 Very frequently. Well, I haven't.
24:23 I find-- - Breakfast is ready, sir.
24:25 I find that the moment I let a woman make friends to me...
24:27 She becomes jealous, exacting, and a confounded use.
24:30 So I'm a confirmed old bachelor and likely to remain one.
24:34 - Coffee? - Thanks.
24:35 You know what I mean.
24:37 I hope it's understood.
24:38 And no advantage is to be taken with her position.
24:42 What's that thing?
24:43 Sacred, I assure you.
24:45 I taught scores of American millionaires to speak English.
24:49 the best looking women in the world
24:51 I'm seasoned.
24:52 They might just as well be blocks of wood.
24:55 Excuse me, Mr. Higgins.
25:00 I'd like to trouble you if I may.
25:02 Yes? Will you be very particular what you see before the girl?
25:06 I'm always particular about what I say. Oh, no, sir. It doesn't matter before me. I'm used to it.
25:11 But you really must not swear before the girl.
25:14 I never swear. What the devil do you mean?
25:16 That's what I mean. I don't mind your damning and your blasting. But there's a certain word I must ask you, not to use.
25:23 The girl used it in the bath because the water was too hot.
25:26 It begins with the same letter as...
25:28 thoughts.
25:29 I cannot charge myself with ever having uttered it.
25:32 except perhaps in moments of extreme and justifiable excitement.
25:35 Only this morning, sir, you applied it to the boots.
25:38 to the butter and to the...
25:39 brown bread. oh that a mere alliteration natural to a poet.
25:43 Is that all?
25:44 No, sir. You have to be very particular of this girl as to her personal cleanliness. Yes, certainly, certainly. Most important. Might I ask you not to come down to breakfast in your dressing room?
25:55 or not to use it as a table napkin if you do. And will you please remember not to put the porridge saucepan onto the clean tablecloth.
26:03 I hope you're not offended, sir. No, not at all. Not at all, Mrs. Pierce.
26:08 Is that all?
26:09 Oh, no, sir.
26:10 I really don't think I can put the girl back into these. Might she wear one of those Chinese garments you brought back from abroad? Ah, certainly, certainly. What the devil's up?
26:22 Oh, don't burn that. We'll keep that as a souvenir.
26:29 You know, that woman has the most extraordinary ideas about me.
26:33 Here am I, a shy, diffident sort of man.
26:36 Yes, she's firmly persuaded that I'm a bossy, arbitrary, overbearing kind of person.
26:41 How do you account for that?
26:42 I can't imagine.
26:44 I can't imagine either. I'm afraid I've got to tell you, Salazar, that the trouble's beginning already.
26:48 There's a dustman outside, Alfred Doolittle.
26:51 He says you've got his daughter here.
26:53 I don't like the looks of him, sir.
26:55 Throw the blackout in. May not be a blackout. Of course he's a blackout.
26:59 We may get something interesting out of it. About to go.
27:02 No, no, I mean his dialect.
27:04 Doolittle, sir.
27:15 Professor Higgins?
27:16 Here. Good morning.
27:18 Sit down.
27:22 Morning, everyone.
27:24 I come by a very serious matter, Governor.
27:27 Brought up in Hounslow, mother Welsh, I should imagine.
27:31 What do you want, Doolittle?
27:34 Who wants my daughter? That's what I want. Well, of course you do.
27:39 I'm glad to see you have some spark of family feeling left.
27:42 Your door is upstairs.
27:44 Here.
27:45 Take it away at once.
27:46 What?
27:48 Ah, look here, Governor, this is reasonable.
27:50 Is it fair to say?
27:52 The girl belongs to me.
27:54 You've got it.
27:56 Where do I come in? How dare you come here and try to blackmail me?
28:00 You sent her here on purpose. - No, then this is a plot, a plant.
28:03 An attempt to extort money by threats.
28:05 I shall telephone the police. Have I asked you for a brass bar?
28:10 I'll leave with the gentleman here.
28:12 I might send a word about money. What else have you come for? I'll tell you if you don't let me get a word in.
28:18 I'm willing to tell you.
28:20 I'm wanting to tell you.
28:22 I'm waiting to tell you.
28:24 You know, Pickering, this fellow has a certain natural gift of rhetoric.
28:27 Observe the rhythm of his native woodnose wild.
28:30 I'm willing to tell you.
28:31 I'm wanting to tell you
28:33 I'm waiting to tell you.
28:34 the Welsh strain in it.
28:36 How do you know the girl's here if you didn't send her?
28:38 Well, she sent back for her luggage, Governor.
28:40 - And I heard about it. - Like it? What like it?
28:43 There was a message here soon.
28:45 A few pictures?
28:46 A trifle of jewelry?
28:48 And the bird's garage.
28:51 Hello?
28:52 Mrs. Edsard, she didn't want no clothes.
28:56 What was I to think from that?
28:58 I ask you as a parent, what was I to think?
29:01 So you came to rescue her from worse than death.
29:04 Yes, that's right. Just a minute. Mrs. Pearce.
29:07 This is Eliza's father. He has come to rescue her from worse than death.
29:12 Give her to him.
29:13 I can't take her away, Mr. Higgins. How can he? He told me to burn all her clothes.
29:19 That's right?
29:20 I can't carry the girl through the streets if she's a blooming monkey, can I?
29:24 Where's the clothes you coming?
29:26 Did I burn them?
29:27 Did your missus hear?
29:31 Listen, Governor.
29:32 You and me.
29:34 We're men of the world, aren't we?
29:36 Oh, we're men of the world, are we?
29:37 You'd better go, Mr. Pearce.
29:39 I should think so indeed.
29:41 The floor is yours, Doolittle.
29:43 Thank you kindly.
29:45 Tell you the truth.
29:47 I've taken a sort of fancy to you.
29:52 And if you want the girl...
29:54 I'm not so certain having them back home.
29:56 with what we mightn't be hoping to an arrangement.
29:59 Regarded in the light of a young woman, she's a fine, handsome girl.
30:03 As a daughter, she ain't worth a keeper, I tell you straight.
30:06 All I ask from you is my rights as a father.
30:10 You're the last man in the world to expect me to let it go for nothing.
30:13 You're one of the stripes, aren't you? Oh, I can see that.
30:19 What's a five pound note to you?
30:22 And what's Eliza?
30:23 To me?
30:27 I think you ought to know, Mr. Doolittle, that Mr. Higgins' intentions are entirely honourable. Of course they are, Governor. Of course they are.
30:34 If I thought they wasn't, I'd ask 50. Why, you callous rascal.
30:38 Do you mean say you'd sell your daughter for 50 pounds?
30:41 No, no, not in a general sort of way. I wouldn't.
30:44 But to oblige a gentleman like you, I'd do a good deal, I'd wish for you.
30:48 Have you no morals, man?
30:50 I can't afford them, Governor.
30:53 Well, neither could you if he was as poor as me.
30:57 I don't mean no harm.
30:59 But if Eliza's going to have a bit out of this...
31:01 Why not me, Tim?
31:03 It's a matter of morals, you know. It's a positive crime to give this chap a farthing.
31:07 But I do feel the sort of rough justice in his claims. That's right, Gunnar. That's all I say.
31:11 It's your father's aunt, as it were. Well, I know the feeling, yet it hardly seems right. No, no, don't look at it that way, Governor.
31:18 What am I? Governor's roof.
31:20 I ask you, what am I? You're what are you?
31:23 I'm one of the undeserving poor.
31:25 That's what I am.
31:26 Well, think. Think what that means to a man.
31:29 It means he's up against middle-class morality all the time.
31:35 If there's anything going, I put in for a bidder. It's always the same story.
31:40 You're undeserving it.
31:41 So you can't have any.
31:43 And yet my needs is as great as the most deserving winners.
31:47 They never got money out of six different charities in one week to the death of the same husband.
31:51 I don't need less than the deserving men. I need more.
31:55 I don't eat less salty than he does.
31:57 And I drink a lot more. So I put the two gentlemen down. Don't play that game on me.
32:03 I'll play straight with you.
32:05 I ain't pretending to be deserving, I'm undeserving.
32:08 I mean to go home, I mean to serve in the likes. Sit down, Doolittle.
32:13 - I'm sorry.
32:16 Would you tie and do a man out of the price of his own daughter?
32:20 What is brought up is fed.
32:23 He used to clothe by the sweat of his brow.
32:26 until she grow big enough.
32:28 to be interesting to you two gentlemen.
32:32 This far-fans unreasonable.
32:37 I puts it to you?
32:39 I'll lead you to it.
32:41 Pickering. Here.
32:42 Shall we give him a fiver?
32:44 He'll make bad uses, I'm afraid. - Swell, me, governor. Don't be afraid.
32:47 I shan't save it.
32:49 Spare it to live hard on it.
32:51 There won't be a penny of it left for Monday.
32:53 Just one good spree for meself and the...
32:56 The missus. This is irresistible. Come on, let's give him to him.
33:03 Ten times, a lot of money.
33:05 Max Manfield, Proud and like.
33:07 And then goodbye to happiness.
33:09 Just give me what I ask him.
33:11 Not a penny more, not a penny less.
33:14 You sure you're gonna take ten?
33:17 - No, not now, Governor. - Come on, come on. - Another job, Rips. Thank you kindly.
33:23 Thank you, Captain Isbell.
33:27 Pardon me.
33:29 Don't you know your own daughter?
33:32 Blimey, it's Eliza!
33:38 I never thought she'd clean up so good looking.
33:40 She's a credit to me, ain't she, Governor?
33:43 She'll soon pick up your free and easy ways. Yeah, I'm a good girl, I am.
33:47 And I won't pick up no free and easy ways. Eliza, if you say again you're a good girl, your father shall take you home. You don't know my father. All he come here for was to touch you for some money to get drunk on.
33:57 Well, what else would I want money for?
33:59 Put in the pride in church, I suppose.
34:01 Jones, you give me none of your lips.
34:04 Don't let me give any of these gentlemen either.
34:06 You hear from me about it.
34:08 See?
34:08 Have you any further advice to give her, Doolittle, before you go? Your blessing, for instance? No, governor, not me.
34:15 I'm not such a maggots to put up my kids to all I know myself.
34:18 If you want Eliza's mind, improve, Governor. Do it yourself.
34:21 We were strapped.
34:22 Well, so long, gentlemen.
34:44 Hello! Ah. Ah, like father.
34:50 E. E as in machine.
35:01 feet off to me.
35:02 Hey.
35:04 Hey.
35:05 The rain in Spain.
35:08 Dream in space.
35:10 stays mainly in the plains.
35:12 The rain in Spain stays mainly in the plains. The rain in Spain stays mainly in the plains. Now, Eliza, you see these three marbles?
35:30 I want you to put them in your mouth.
35:31 Yes, Juan?
35:33 Two.
35:35 Now, don't be alarmed. It's just an exercise.
35:37 Now then, repeat slowly after me.
35:39 The shallow depression in the west of these islands
35:41 is likely to move slowly in a westerly direction.
35:53 I swear to God!
35:54 Don't worry. There are plenty more. The shallow repression in the western seas island is likely to move slowly in a more easterly direction. Hampshire?
36:03 Here is it.
36:05 Hampshire?
36:06 Here's the...
36:08 - Oh, dummy chumps. - So it will Eliza, every time you say "correctly."
36:11 Now then, try once again.
36:13 In Hampshire, Hereford and Harford,
36:15 Hurricanes hardly ever happen.
36:18 In Hampshire, Hereford, Hartford, Hurricanes.
36:30 Oh.
36:30 What?
37:01 So do you do.
37:03 Bad, bad, bad. Do it again. You aren't trying. Do it again.
37:07 Amen.
37:09 That's not good, Eliza.
37:11 Not bad.
37:13 Now's the time to try her out on somebody.
37:15 Well, I know.
37:17 My mother.
37:18 - Henry. - Hello, dear. What are you doing here today? This is my at-home day.
37:24 You promise not to come. Oh brother.
37:27 Go home at once. But I've just come here on purpose. You see, there, I've picked up a girl. You mean a girl has picked you up? No, no, no. This isn't a love affair.
37:34 - What a pity. - Why?
37:36 You never fall in love with anyone under 45. Oh, I can't waste my time with young women. They're all such idiots anyhow.
37:42 You know what you do if you really love me, Henry. Get married, I suppose. No.
37:46 Stop fidgeting.
37:48 And take your hands out of your pockets. Don't sit on that table.
37:52 You'll break it.
37:54 Come and tell me about the girl.
37:57 Look here, she's coming to see you this afternoon. Really? I don't remember asking her. Oh, you didn't and you wouldn't have if you'd known her. Indeed. Why?
38:05 She's just a common flower girl. I picked her up in Covent Garden.
38:08 You've asked her here. Oh don't worry.
38:10 I've taught her to speak properly.
38:12 She'll stick to two subjects only, the weather and everybody's health.
38:15 All that.
38:16 - Oh, that's a blessing anyway. - Well, um, it is.
38:21 And it isn't.
38:22 Now, what do you mean by that?
38:24 You see, dear?
38:25 I've got her pronunciation all right.
38:27 But you've got to consider not only how the girl pronounces, but what she pronounces.
38:30 Mrs. and Miss Ainsford Hill, Mr. Ainsford Hill. Oh, heaven.
38:35 - So good of you to come. - Dear. My dear. Freddie. - How do you do? You know my son.
38:40 Oh.
38:41 My son Henry?
38:44 Miss Hill? - Delighted. - Mrs. Hill? - Enchanted. - Mr. Hill? - Thank you. - You're celebrated, son. I've always so longed to meet you, Professor Higgins.
38:54 Yes, I've seen your face somewhere before. I haven't the ghost of an ocean where.
38:57 Well, it doesn't really matter. Sit down. Mother, look here. I'm sorry to say my celebrated son has no manners. You mustn't mind him. I don't care. Look, I think I'm...
39:05 How do you do, Mrs. Higgins? The Reverend and Mrs. Birchwood.
39:09 What more of them?
39:11 How do you do?
39:13 - Zika? - Have you told your mother what she's come for? No, we were interrupted, dammit. - Oh, are we in the way? - No, not at all.
39:19 No, by George, we need two and three extra people. You'll do as well as anyone else. Sit down.
39:24 Will you excuse me?
39:25 Colonel Pickering?
39:27 Henry?
39:30 What are you doing with my hat?
39:32 Harold Pickering, I must know. What is the exact position in Wilmphill Street? Is this girl a servant? If not, what is she? Major, Mrs. Rawcroft.
39:40 I really must tell you, the whole thing is extraordinary. It's still, Roger. This is the most absorbing experiment I've ever taken.
39:46 Yes, this girl regularly fills our lives, doesn't she, Peter? Yes, you're always talking, Eliza. Teaching, Eliza. Dressy, Eliza. She has the most amazingly quick ear you ever heard of. Yes, just like a parrot. My dear Mrs. Heagert, I'm sure you taught her the most genius. She plays the piano broken leg. I've taught her... You're a little...
40:00 - You see?
40:09 Oh, yes. It's quite clear to me.
40:11 Do little.
40:36 How do you do, Mrs.
40:37 Higgins?
40:39 Professor Higgins.
40:40 said I might come.
40:42 Quite right, my dear. I'm delighted to see you.
40:49 Colonel Pickering.
40:52 Is it not?
40:53 How do you do, Miss Doolett?
40:57 Professor.
40:59 Higgins?
41:02 to the weather and your health.
41:10 Mrs. Hill?
41:11 Miss Doolittle.
41:13 I feel sure we've met before, Miss Doolittle.
41:16 I remember your eyes.
41:17 How do you do? My Georges, it all comes back. Up and go. How do you do?
41:21 What a good sound is he? My son, Freddy.
41:24 Oh, how'd you do?
41:27 How do you do? I'm sure I've had the pleasure somewhere.
41:50 Will it rain, do you think?
41:52 The rain in Spain.
41:54 They say, stays mainly in the plain.
42:02 How true, too, Miss Goulis.
42:04 But in... Hampshire, Haleford and Hartford.
42:07 Hurricanes?
42:08 Hardly ever happened.
42:14 Do they?
42:14 Hardly ever, Mr.
42:17 How awful funny!
42:20 What is wrong with that, young man?
42:21 I bet I got it right.
42:23 Killing?
42:28 Oh, excuse me.
42:51 I don't. It won't turn cold. There's
42:57 so much influenza about, it runs right through our family every spring. My aunt
43:03 Died of influenza?
43:06 She'll be safe.
43:08 But it is my belief.
43:09 As Halloween.
43:10 They done the old woman in.
43:18 - Have you done her in? - Yes.
43:20 Lord, love you.
43:22 Why should she die of influenza?
43:24 When she come through dicteria right enough the year before.
43:27 Perhaps it wasn't, diphtheria.
43:30 You see, Vicar-- - Oh, but I saw her.
43:32 With my own eyes?
43:34 - Pairly? - Blue? With it, she was.
43:37 They all thought she was dead.
43:39 But my father...
43:41 He kept ladling gin down her throat till she come to so sudden that she bit the bowl of the spoon. Dear me!
43:48 No.
43:50 What call would a woman with that strength
43:53 In fact,
43:54 Huh?
43:54 To die of influenza.
43:57 Ah.
43:58 And what become of her new straw hat?
44:01 that should have come to me.
44:02 Well?
44:04 What?
44:05 Somebody.
44:06 Pinched.
44:07 It's...
44:08 And what I...
44:10 Then what did you think?
44:12 Don't her in.
44:14 done her in?
44:16 Could you tell me? - No, just the new slang, vicar.
44:20 But...
44:21 You surely don't believe that your aunt was...
44:24 was killed.
44:25 Do I not?
44:27 Then she lived with
44:29 would have killed her for a hat pin. Let alone a hat. But it couldn't have been right for your father to have, to have poured spirits down her throat like that. Now that might have killed her, not her.
44:39 Gin was mother's milk to her. Besides,
44:43 He poured so much down his own throat that he knew the good of it.
44:48 Oh, how terrible for you. Oh, it never did him no harm what I could see. He was always more agreeable when he had a drop in.
44:56 When he was out of work, my mother used to give him two and a kick and tell him to go out.
45:02 and do not come home until he drunk himself chillable and loving you like
45:07 Charming.
45:09 There's lots of women.
45:11 to make their husbands drunk to make them fit to live with.
45:17 Yeah.
45:19 What are you sniggering at? The new slang. You do it so awfully well. If I was doing it proper...
45:26 What was you?
45:28 at.
45:31 There are another things.
45:35 Well...
45:36 Some of you anyhow.
45:38 What I always said is...
45:47 Where?
45:49 I must go.
45:51 No.
45:54 Good boy.
45:55 Mrs. Higgins?
45:57 So glad to have met you. Goodbye, my dear.
46:01 Because?
46:04 -Tandle Pickering. -Bye, Mr.
46:13 Off?
46:14 Excuse me, Miss Doolittle, but would you be walking across the park? Because if so, I...
46:19 Not bloody likely. I'm going in a taxi.
46:34 Oh, it's no use.
46:36 I shall never be able to bring myself to use
46:39 That's right.
46:41 Oh, don't.
46:42 It's...
46:43 It isn't compulsory, you know.
46:51 Say what you like.
46:52 that I was ashamed. You ought never to have done it.
46:54 Oh, best of all, we're tasty.
46:56 But I'll soon put that right. It's no use, Higgins. You'll have to face it. It isn't fair to the poor girl.
47:01 Let's call the whole thing off. Nonsense.
47:03 I said I'd pass the compass and I'd offer the Duchess.
47:06 And pass her over to the Duchess I will. Here.
47:09 You see that?
47:10 It's an invitation from the Trans-Slyvanian Embassy.
47:12 - I'm going to take her there. - You're mad?
47:14 I tell you, Pick that girl can do anything.
47:17 Eliza.
47:18 Light!
47:22 Stop stivelling, girl.
47:26 Liza, shall I give you another chance?
47:31 Will you work?
47:34 Good.
47:35 No, no, no. Do it again.
47:38 Right.
47:39 No, no, no. I told you 500 times. You drive me mad, girl.
47:44 Come here, it's been reasonable. Much more. Joe.
47:49 I'm Mr. Freddy Hill. The theme is doing it for. I'll inquire, sir. Thanks. Throw him out. Now listen, Eliza. She's engaged.
48:04 For Miss Julian.
48:11 Oh, why can't you do it like this?
48:15 He's here again. Oh, throw him out, throw him out.
48:18 Come on, Arnold. Both together.
48:19 What?
48:20 Two.
48:21 Three.
48:25 Mr.
48:26 Hmm?
48:26 Now listen carefully, Eliza.
48:28 How kind of you to let me come.
48:30 this one.
48:34 Say it. How kind of you to let me come.
48:41 How kind of you to let me come. - Oh, it's, uh, mister... - I know.
48:48 is here again.
48:52 No good, sir. May I have the pleasure, Mr. Doolittle?
48:58 Get up, Bill. Get up.
49:00 Yes, I'll be delighted. - I'll be delighted. - Right, come on then.
49:10 See, no sense of timing at all. Now watch me with Pickering. Come on, Pickering.
49:19 You see what I mean? Now, once again.
49:25 Pilots drinking is one of the hallmarks of a lady.
49:31 Wake up Eliza. How do you address an ambassador?
49:35 To excellence. Right. Now imagine yourself standing before an archbishop.
49:39 How will you address him? - The holiness. - No, no, no. An Archbishop, not the Pope.
49:45 Your wish? No!
49:47 Your Majesty. Right. Now then, an ambassador. Your Excellency. Your Grace. The Queen.
49:54 Come at us.
49:55 And now it's Duke.
50:02 It's three o'clock.
50:03 Is that all? Now then, Eliza, we'll start all over again for the...
50:07 beginning and I'm special degrees the Queen the large to you
50:25 We'll now start the whole thing over from the beginning. No, I can't. I can't. Look here, if I can do it with a splitting headache, you can do it. No, but I've got a headache. I can't. Here, well, take this. Oh. Now, then.
50:41 An ambassador.
50:41 Oh, he's a good place.
50:44 Come, Higgins, be reasonable.
50:47 I'm always reasonable.
50:50 Now then, Tidri, the time has come. Send to dressmakers, hairdressers, makeup artists, manicurists,
50:57 and all the rest of the parasites. Did you ever see the light? Oh, I have it.
51:03 There. Susie.
51:06 No.
51:07 - You're not going to do it. - No, no.
51:24 More madame.
51:26 Aren't you radiant?
51:28 Almost.
51:30 Nervous?
51:31 Yes, very, aren't you?
51:32 No, not a bit of it.
51:38 Not a bit of it.
52:19 Maestro! Maestro!
52:23 You remember me?
52:25 No, I don't. Where have we met? But I'm your pupil, your first pupil, your best and greatest pupil. I've made your name famous throughout Europe. You teach me phonetics. You cannot forget me. I am a clariceet carpatti. What, are you, aristeet?
52:37 Why the devil don't you cut your hair? Oh, if I cut my hair, nobody notices me. I have not your imposing appearance, your chin, your brow. Tell me, what are you doing here among all these swells?
52:47 I am indispensable at these international parties. You can place a man anywhere in London the moment he opens his mouth.
52:53 I can place a man anywhere in Europe.
52:55 Excuse me, sir. I want you upstairs.
52:57 Her Excellency cannot understand the Greek gentleman. Oh, indeed. I'll come at once.
53:01 This Greek diplomat who pretends he cannot save.
53:04 speak or understand English.
53:07 He cannot deceive me.
53:09 At all, my dear.
53:13 Is that Catholic fellow really an expert?
53:15 My best pupil.
53:16 But heaven help the master who was judged by his disciples.
53:19 But if you meet your lads, you're down.
53:20 Don't get bothered about the bits. Let's go home. Oh rubbish that idiot.
53:41 Now we're in fit
53:43 Are you ready?
53:45 Come on in.
53:47 - Dear, Excellency. - Darling, I'm so glad to see you here.
53:55 Time.
54:01 That telepharm that's about to lie to you, that, Mila?
54:03 Let him try.
54:05 Oh, great.
54:06 The Duchess of...
54:07 Cam.
54:12 Admiral to Charles...
54:14 Round.
54:15 I'll be.
54:16 Miss Elizabeth Newdittle, Colonel Pickering, Professor Higgins, Admiral Kuhn-Wang, and Miss Zung-Ling-Wang. Thank you.
54:34 How do you do?
54:35 May I present Mrs. Elizabeth Doolittle?
54:37 I do do. How kind of you to let me come. So much at all.
54:45 The Mrs.
54:47 Middlecuff.
54:48 Good evening. Oh, Professor, good evening. Who is the Charlie graduate?
54:53 - Is she a relation? - Not mine, no. She has such a faraway look as if she always lived there.
54:59 He's gone.
55:00 So she has.
55:01 I thought, gardener, there is one thing I have observed about the English Duchess, and that is... Oh, yes, I adore observing.
55:09 English. Let's go and observe them now.
55:12 I'm a laugh, George. Oh, dear. Such a gore about the English. I'm quite wrong. Like every ambassador.
55:19 Oh, look, this dear old Lily Fantail with a whole look of gardens on her head.
55:23 You have a rival here tonight. He introduced himself as your pupil.
55:27 Is he any good?
55:29 He can learn a language in a fortnight.
55:30 There was dozens of them.
55:31 The show market was cool.
55:33 Your Excellency is interested in Miss
55:35 Doodle-thoo?
55:37 Yes.
55:38 Could you?
55:39 To find out who she is...
55:42 Lord Wilson and Lady Wilson. I feel rather like Noah standing on the bridge watching the loading of the ark.
55:50 You know, to a vestity. Colonel Pickering, tell me more about your Greek gentleman friend. A gentleman? He's the son of a Clark and a watchmaker. He speaks English so villainously that he do not utter a word of it without betraying his origin.
56:04 I help him to pretend that I'm making pay for the numbers. I make them all pay.
56:11 And now, Professor Higgins, I should be here.
56:15 If you would present me to this mystery.
56:18 No, no, you don't. Can't you see she's talking to a duchess?
56:24 Professor Higgins! The very man I've been dying to meet! I'm Isabel of a son! - The third stage of the clown. - What?
56:31 - Extraordinary people seem to get in everywhere nowadays. - Extraordinary. The Colonel Dickens. Unfortunately we were interrupted. Would you be so kind as to introduce us?
56:39 - To Miss Duell, I... - Do you remember you so kindly addressed the guilt of the lady officer? - Yes, excuse me, but I... - No, this time... - I will tell you what...
56:48 Enchanted.
56:49 Oh, my God.
56:53 I don't believe it's true.
56:58 I've got you.
57:12 One thing more, Professor, do tell me. - Yes, too little. I have found out all about her. - Really?
57:25 The number one!
57:26 Oh.
57:28 I think Pickering, you know what's happening.
57:33 Oh, my God.
57:38 *Humming*
57:47 I'm not.
58:00 I
58:02 Follow me.
58:05 Miss Doodlet.
58:31 My dear fellow, I hope you don't think I introduced that Carpathic chapter to Aliza to win my debt.
58:35 Nonsense. But the game's all up, Pickering. He's found out all about her.
58:44 I say, Pete, look at that.
59:02 Oh, man.
59:03 I can't imagine.
59:05 My child, my son would very much like to dance with me.
59:08 if I may be allowed, the audience.
59:52 He gives the game away to the ambassadors, they'll be the deuce of a row.
59:55 I wouldn't miss it for words.
59:57 Excuse me.
1:00:09 Come on, Alice, you've got to tell us.
1:00:11 Yeah, good morning.
1:00:11 Yes, tell us all you know about this, Miss Dunitore. No, no, that is my secret. But I will tell your excellency.
1:00:17 She has a right to know who, Mr.
1:00:19 Please. Well, who is?
1:00:20 - She is a... - Don't start. Oh no. She's a fraud. - A fraud? Oh no. - Yes, yes. She cannot deceive me. Her name cannot be doodly.
1:00:29 Why?
1:00:29 because Doolittle is an English name and she is not English. - Oh. - But she speaks it perfectly. - Too perfectly.
1:00:36 Can you show me any English woman who speaks English as it should be spoken? There is no such thing. The English do not know how to speak their own language. Only foreigners who have been taught to speak it. Speak it when? Yes, there's something in there. But if she's not English, what is she?
1:00:49 - Hungarian. - Hungarian. Yes, Hungarian and of royal blood. I am Hungarian. My blood is royal. Did you speak to her in Hungarian? I did. She was very clever. She said, "Please speak to me in English. I do not understand French." French? She pretended not to know the difference between Hungarian and French. None said she knows both.
1:01:08 and the blood royal.
1:01:09 How did you find that out? Tim.
1:01:11 doomed to nice
1:01:12 - Oh, oh.
1:01:13 It seemed only the Hungarian Magyar race.
1:01:16 can produce that air of the Divine right, those heights she goes, those resolute eyes. She is.
1:01:22 A princess.
1:01:46 now i know who it is who no look at that profile it's the old duke exactly what do you say professor
1:02:16 THEIR HOME.
1:02:16 Covent God. Maestro, maestro. You are mad on the subject of Cockney dialects. The London Gutter is the whole world for you.
1:02:26 This girl is undoubtedly a princess.
1:02:30 Have it your own way, maestro. Have it your own way.
1:02:45 *Loud noise*
1:02:48 Oh
1:02:51 Not all that.
1:02:52 - Love.
1:02:55 - I can't speak up, but there are some of you getting out of here.
1:02:58 - Can you see us on the bed?
1:02:59 - We don't bother any else, shall we? - No, no, no. Why, say, Mrs. Pearton arrives, leaves things like about here. Oh, she'll pick them up. She'll think we were drunk. There we are.
1:03:07 Slightly.
1:03:09 - Where are any letters? - Didn't look.
1:03:13 Sevens, what an evening.
1:03:15 What a crew.
1:03:16 What silly tomfool. Thank God it's all over.
1:03:19 What the devil are my slippers? Well, you won your bet.
1:03:21 Eliza did the trick and something to spare. Oh it was interesting enough at first but afterwards I got deadly sick of it. The whole thing's been a perfect bore. Oh come the reception was frightfully exciting. For the first three minutes.
1:03:31 As soon as I saw we were going to win hands down,
1:03:33 I lost interest.
1:03:35 No more artificial duchesses for me.
1:03:38 Oh, they're there, are they?
1:03:39 I must say, Eliza did it awfully well.
1:03:42 You see, lots of the real people can't do it at all. The silly fools don't even know their own silly business. Anyhow, that's all over and done with. Now I can go to bed without dreading tomorrow. Well, I shall turn into you. Still, it's been a great triumph for you. Yes, it has, hasn't it? Marvellous. Good night. Good night. Good night, Elisa.
1:04:07 The gentlemen is first not to bring me coffee in the morning. I'll take tea.
1:04:10 Donna, Donna.
1:04:38 Oh,
1:04:42 Amen.
1:04:46 Oh, my God.
1:04:58 That's where I put my slippers.
1:05:05 Bury your slippers, and there! Take your slippers!
1:05:09 And me, I never had a day's luck with them.
1:05:13 What's the matter?
1:05:15 Anything wrong? No. Nothing wrong with you.
1:05:18 I've won your bet for you, haven't I? That's all that counts.
1:05:21 I don't matter, I suppose. You won my bets.
1:05:25 You, you presumptuous insect, I won it.
1:05:28 Why did you throw those slippers at me?
1:05:31 because I wanted to smash your face in her.
1:05:34 I'd like to kill you, you brute.
1:05:37 Why didn't you leave me where you found me?
1:05:39 in the gutter you thank god it's all over and that you can throw me back again there now do you well well well the creature is nervous after all would you don't you dare show your temper to me sit down and be quiet
1:05:51 What's to become of me? What's to become of me? How the devil do I know what's to become of you? What's the matter what becomes of you? You don't care. I know you don't care.
1:05:59 He wouldn't care if I was dead.
1:06:01 I'm nothing to you. Not so much of them slippers. Those slippers.
1:06:06 Let's go.
1:06:08 He's just made in a distance now.
1:06:12 May I ask whether you complain of your treatment here?
1:06:17 Has anyone behaved bad at you?
1:06:19 Colonel Pickering, Mrs. Pearce, any of the servants?
1:06:23 I presume you don't pretend that I've treated you.
1:06:29 Ah, well, I'm glad to hear that anyway.
1:06:32 Probably you're tired after this.
1:06:34 strain of the day.
1:06:39 Have a chocolate.
1:06:40 No!
1:06:41 No. No!
1:06:45 Well, it's all over now.
1:06:47 Nothing more to worry about.
1:06:49 No.
1:06:51 Nothing more for you to worry about.
1:07:00 Oh, God.
1:07:02 I wish I was dead.
1:07:04 Why?
1:07:06 He's heaven's name, why?
1:07:09 Now listen to me, Eliza.
1:07:14 All this irritation is
1:07:15 purely subjective.
1:07:16 I don't understand.
1:07:18 I'm too ignorant. It's only imagination.
1:07:21 Low spurts, nothing more.
1:07:23 Nobody's trying to hurt you. Nothing's wrong.
1:07:26 Now you go to bed like a good girl and sleep it off.
1:07:29 Have a little cry and say your prayers.
1:07:32 That'll make you comfortable.
1:07:33 I heard your prayers.
1:07:36 Yes.
1:07:37 God, it's all over.
1:07:38 Well, don't you thank God it's all over?
1:07:40 Now you're free. You can do what you like.
1:07:43 What am I fit?
1:07:46 What have you left?
1:07:47 It's a problem.
1:07:48 Where am I to go? What am I to do?
1:07:55 What's become of me?
1:07:57 So that's what's bothering you.
1:07:59 Oh, you settle down somewhere or other?
1:08:05 But I hadn't quite realized
1:08:07 You were going away.
1:08:17 You might marry, you know.
1:08:20 You're not bad looking.
1:08:23 Quite a pleasure to look at you sometimes.
1:08:25 Of course, now you've been crying. You look as ugly as the very devil, but
1:08:29 when you're quite all right and yourself.
1:08:32 You're what I should call attractive.
1:08:34 that is to people in the marrying line you understand?
1:08:38 Now you go to bed. Have a good night's rest.
1:08:40 Get up in the morning and look at yourself in the glass.
1:08:43 You won't feel so cheap.
1:08:47 I just see my mother could find some chap or other who do very well.
1:08:51 We were above that in Covent Garden.
1:08:53 What do you mean?
1:08:55 I sold flyers.
1:08:57 I didn't sell myself.
1:08:59 Now you've made a lady of me, I'm not fit to tell anything else.
1:09:03 Wish you'd left me where you found me.
1:09:06 But you don't have to marry the fellow if you don't like him.
1:09:08 What else am I to do? Lots of things.
1:09:11 How about your old idea of a florist shop?
1:09:13 Pickering could set you up in one. He's got lots of money.
1:09:16 Oh, you'll be all right.
1:09:24 I must clear off to bed. I'm dead asleep.
1:09:31 By the way, I came here for something.
1:09:34 Forget what it was.
1:09:36 Your slip is broken.
1:09:38 Oh, yes, of course.
1:09:40 You shied them at me.
1:09:44 Ha, ha.
1:09:48 Before you go,
1:09:49 Sir.
1:09:50 Eh?
1:09:52 Do my clothes belong to me or to Colonel Pickwick?
1:09:55 What the devil use to they beat Pickering? You might want them for the next girl you pick up to experiment on.
1:10:02 Is that the way you feel towards us? I don't want to hear any more about that.
1:10:06 All I want to know is what belongs to me and what doesn't.
1:10:09 My own clothes were burnt.
1:10:10 What's it matter?
1:10:12 Why need you start bothering about that in the middle of the night? I want to know what I may take away with me.
1:10:16 I don't want to be accused of saying...
1:10:17 - Stealing. - Stealing?
1:10:21 Risen, you shouldn't have said that.
1:10:23 That shows a want of feeling.
1:10:24 I'm sorry.
1:10:26 Hymonia.
1:10:26 common ignorant girl and in my station i have to be careful
1:10:30 There can't be any feeling that's between the like of you and the like of me.
1:10:34 Please tell me what belongs to me and what doesn't. Oh you can keep the whole confounded house full if you like.
1:10:41 All except the jewels, they're hired.
1:10:43 - Will that satisfy you? - Stop, please.
1:10:45 Will you take these to your room and...
1:10:47 Keep them safe.
1:10:49 I don't want all to run the risk of them being missing.
1:10:53 Hand them over.
1:10:55 If these belong to me instead of the jeweler...
1:10:57 I'd ram him down your ungrateful fruit. This ring?
1:11:05 It isn't that you are that.
1:11:08 - It's the one you bought.
1:11:09 me in brightness.
1:11:13 I don't want it now.
1:11:16 Don't you hit me.
1:11:18 Hit you, you infamous creature! How dare you accuse me of such a thing? It's you who have hit me. You've wounded me to the heart.
1:11:24 i'm glad glad i've got a little of my own back anyhow
1:11:29 You've caused me to lose my temper.
1:11:31 A thing that's hardly ever happened to me before.
1:11:33 I prefer to say nothing more tonight.
1:11:35 I should go to bed.
1:11:40 You'd better leave a note to Mrs. Pierce about the coffee, because she won't be told by me. Damn Mrs. Pierce and damn the coffee and damn you and damn my own folly.
1:11:50 in having lavished hard-earned knowledge
1:11:52 and the treasure of my regard and intimacy
1:11:55 on a heartless
1:11:56 God, it's not.
1:12:35 Amen.
1:12:37 Amen.
1:13:08 Come on.
1:13:17 What are you doing here? Nothing.
1:13:21 As matter of fact, I spend most of my nights here.
1:13:23 It's the only place I feel really happy.
1:13:26 Don't laugh at me, Miss Doolittle. Don't you call me Miss Doolittle.
1:13:30 Eliza's good enough for me. - Where are you going? - The river. - What for? - Make a hole in it.
1:13:35 To make us.
1:13:36 The hole in this pretty.
1:13:38 You don't have time.
1:13:39 - Not a scuttled knife, do you? - No, darling. How can you imagine such a thing?
1:13:43 I think you're the most wonderful,
1:13:45 the loveliest
1:13:52 This isn't parish, you know. No, sorry, constable.
1:13:58 Eliza.
1:13:59 Eliza, you let me kiss you.
1:14:02 Oh, why not?
1:14:03 Why shouldn't someone kiss me?
1:14:04 Why shouldn't someone be in love with me?
1:14:07 Kiss me again.
1:14:08 Kiss me again. All right.
1:14:11 Then you two, what's this?
1:14:14 - Are you annoying that young lady? - No, no constable, certainly not. - Move along then, double quick. - As you say, sir.
1:14:39 Well, if he don't...
1:14:46 - Be your pardon me.
1:14:51 Far slouchy poor girl.
1:14:53 I'm going to go.
1:15:21 Oh, my God.
1:15:27 I
1:15:31 the
1:15:50 That...
1:15:52 Yes, coffee, sir.
1:15:56 Didn't Eliza tell you to bring tea?
1:15:59 She didn't wait to tell me. She's gone.
1:16:02 He's gone.
1:16:04 I said gone and I meant it, every word of it.
1:16:06 - Miss Pierce!
1:16:11 Well, that was my engagement book.
1:16:13 I don't know any of my appointments.
1:16:14 Eliza would know. But she isn't here, damn it. Then you'd better find her, damn it.
1:16:21 What does that Edmund Inspector say?
1:16:23 You have the reward.
1:16:25 What?
1:16:27 You can't help us find us?
1:16:28 What are the police for in Emma's name?
1:16:30 God.
1:16:31 Why really think they suspect us of some improper purpose?
1:16:34 of course I don't care what becomes of her
1:16:37 Where the devil can she be?
1:16:53 You see Eliza do little.
1:16:55 No.
1:17:05 I say, Mellor.
1:17:06 Fear the confounded thing.
1:17:07 Good morning, my dear. What is it?
1:17:10 - Eniza's bolted. - Good morning, Colonel Pickery. - Good morning. Eniza's bolted. What am I to do? - Do without, I'm afraid, Henry.
1:17:16 The girl has a perfect right to leave if she chooses. Something may have happened to her. If you can't let her go like this, what are we to do?
1:17:21 No more sense either of you than two children.
1:17:24 You must have frightened the poor girl. - Frightened? I hardly said a word to her.
1:17:27 Did you bully her after I went to bed? Certainly not. Exactly the other way about. She threw the slippers in my face.
1:17:32 The moment I entered the room, the slippers came bang in my face before I'd uttered a word.
1:17:37 And she used the most perfectly awful language.
1:17:39 I can't say I'm surprised.
1:17:42 And you mean to tell me that after all her hard work?
1:17:44 And after doing this wonderful thing for you without making one single mistake?
1:17:48 You two sat there and hardly said a word to her. Well, we...
1:17:52 We didn't make speeches if that's what you mean. You didn't thank her.
1:17:55 Peter?
1:17:56 Had maha?
1:17:58 And she only threw the slippers at you.
1:18:00 I'd have thrown the fire irons at you.
1:18:04 Mr. Henry, a gentleman wants to see you most particular. Oh, but I can't see anybody now. He's been sent down from Wimpole Street. Who is it?
1:18:11 Mr. Doolittle, sir. Doolittle?
1:18:14 A dustman?
1:18:16 Duffman?
1:18:17 Oh, no, sir.
1:18:19 A gentleman. All right, show him it.
1:18:22 Good-bye, George. Pick this is some relative of hers she's gone to.
1:18:25 Someone we know nothing about.
1:18:26 ...genteel relations.
1:18:28 Now we shall hear something.
1:18:32 Beautiful.
1:18:36 What the digging has happened to you? In real years.
1:18:39 You see this? Look at this. You've done this.
1:18:41 - What? - Look at this!
1:18:51 He's ruined me, destroyed my happiness.
1:18:54 Tied me up and delivered me into the hands of middle-class morality. You're raving, you're drunk, you're mad. I gave you five pounds.
1:19:00 After that I had two conversations with you at half an hour. You were even seeing yourself. Oh, Madam Hort.
1:19:05 Drunk, am I? Tell me this.
1:19:07 Did you or did you not write your own blood in America?
1:19:10 To say the most original moralist at present in England?
1:19:13 was Alfred Doolittle.
1:19:14 A common garbage man.
1:19:16 Ezra D. won a fellow junior.
1:19:18 Oh, I remember making some silly joke of the kind. Oh, you might want to call it a silly joke.
1:19:24 It's put the lid on me right now.
1:19:27 Just give him the chance he was looking for.
1:19:29 To show Americans isn't like us.
1:19:31 that they recognize and respect merit in whatever class of life.
1:19:34 However humble.
1:19:36 Them words is in his blooming will.
1:19:38 in which he leaves me three thousand pounds a year.
1:19:41 On condition I lecture for the one-o'-fella Moral Reform League.
1:19:45 as often as they ask me up six times a year. but this solves the problem of a life's future.
1:19:50 You can provide for her now. Yes, I'm expected to provide for everybody now to 3,000 a year. He can't provide for us. He doesn't belong to him.
1:19:58 I paid him five pounds for her.
1:20:00 Do little. You're either an honest man or you're a rogue.
1:20:02 Little of both. Very like the rest of us. Little of both. The point is, have you found Eliza?
1:20:06 - Have you lost her? - Yes.
1:20:08 Blimey, you have all the luck you have.
1:20:10 No, I ain't find him. She'll find me quick enough. Now, that's what you've done to it. Now, you listen to me. Will you wait here for a moment, Mr. Doolittle?
1:20:20 Henry?
1:20:21 I have a surprise for you.
1:20:23 Do you really want to know where Eliza is? Yes, where is she?
1:20:26 She says she's willing to meet you on friendly terms.
1:20:29 And lit bygones to bygones. Is she bygones? Pickering!
1:20:33 Where is she?
1:20:35 Now promise to behave yourself, Henry.
1:20:38 Good morning, Colonel Pequin. Quite chilly this morning, isn't it?
1:20:51 Oh, how do you do, Professor Higgins?
1:20:53 Are you quite well?
1:20:55 But of course you are. You're never in.
1:20:59 Won't you sit down, Colonel Dickering?
1:21:05 Don't you dare try this game on with me.
1:21:09 Get up and come home and don't be a fool.
1:21:11 Very nicely put, indeed, Henry.
1:21:13 No woman could resist such an invitation. Let her speak for herself.
1:21:17 There isn't an idea that I haven't put into her head.
1:21:20 I tell you I've created this thing out of squashed cabbage leaves in Covent Garden.
1:21:25 Now she pretends to play the fine lady with me.
1:21:29 Will you drop me altogether now the experiment is over Colonel Pickering? Oh you mustn't think of it as an experiment.
1:21:35 Oh, hi, Moonia.
1:21:36 Squashed cabbage leaves?
1:21:40 But I owe so much to you that I should be very unhappy if you forgot me.
1:21:44 You see, it was from you that I learned really nice manners. And that's what makes fun a lady, isn't it?
1:21:50 Yes, what makes the difference after all?
1:21:52 No doubt.
1:21:53 Still, he taught you to speak, you know, and I couldn't have done that. Of course.
1:21:56 That was his probation.
1:21:58 Just like that.
1:21:59 Learning to dance in the fashionable way.
1:22:02 Nothing more than that in it.
1:22:04 You know what began my real education?
1:22:06 No. You're calling me.
1:22:08 Miss Olypho.
1:22:09 That day when I first came to Wimbley
1:22:11 That was the beginning of self-respect for me.
1:22:15 - Rudy.
1:22:16 The difference between a lady and a flower girl isn't how she behaves.
1:22:20 It's how she's treated.
1:22:22 All right.
1:22:23 I know that I should always be a fly girl to Professor Higgins because you almost treated
1:22:27 and there's a flower girl and always will.
1:22:29 Oh.
1:22:30 Don't grind your teeth, Henriette.
1:22:32 But I know that I can be a lady to you because you always treat me as a lady and always will.
1:22:38 It's very nice of you to say so, Miss Dewdleton.
1:22:41 I should like you to call me Eliza.
1:22:43 No.
1:22:43 If you would.
1:22:47 Nice.
1:22:49 Of course.
1:22:53 And I should like Professor Higgins.
1:22:55 to call me.
1:22:56 Do it. You damn first. Henry? Henry? But you're coming back, aren't you?
1:23:01 You'll forgive Higgins. Forgive? We'll see by George. Let her go.
1:23:05 Better find out one inside to be without us.
1:23:07 In three weeks you'll relax back into the gutter without me at her elbow. You won't relax, will you Eliza?
1:23:12 No, never again.
1:23:14 I don't believe I could have one of those old sounds if I tried.
1:23:18 Ow!
1:23:21 Ha-ha! What did I tell you?
1:23:23 Victory!
1:23:25 Victory!
1:23:27 Ow! Ow! Ow! Ow! Ow! - Henry! - Ow! It's a lie. It's not my fault. Your stepmother...
1:23:38 - Look, Ennery. - Oh.
1:23:41 Colonel.
1:23:43 I'm getting late for the wedding. Wedding? What wedding? Mine. Yours.
1:23:47 Yes, in spite of all I've said and done, my wife.
1:23:50 She's going to marry me.
1:23:52 I'm feeling uncomfortably nervous about the ceremony, Governor.
1:23:55 - We should come and book me through it. - You've been through it before. You were married to Eliza's mother.
1:24:00 I told you that, then.
1:24:01 Well, nobody told me, but I concluded naturally.
1:24:04 That ain't the natural way, Gunnar. That's only the middle class way.
1:24:08 Don't tell Elijah. She doesn't know.
1:24:11 I always had a sort of delicacy about telling her. No, quite right.
1:24:15 Will you come to the church and see me through straight? - With pleasure. - As far as a bachelor can. - May I come too, Mr. Doolittle? I'd be very sorry to miss your wedding.
1:24:23 We should indeed be honored by your condescension, ma'am.
1:24:26 My poor old woman, she'd look upon it as a tremendous compliment.
1:24:29 She's been very low, likely.
1:24:31 thinking of the happy days that are no more.
1:24:37 Eliza?
1:24:40 Your stepmother's going to marry me. Will you come to the church and see me turned off?
1:24:45 I've ordered the card, dear.
1:24:47 Wait for me.
1:24:48 Colonel Pickering can go with the bridegroom.
1:24:50 Right, right.
1:24:51 room.
1:24:53 What a word.
1:24:55 Makes me realise his position, Senna.
1:25:01 So long.
1:25:03 Three at the church.
1:25:05 Middle-class morality climbs its victim.
1:25:16 Line!
1:25:23 Well, Eliza, you've had a bit of your own back now, as you call it.
1:25:26 You had enough?
1:25:26 Are you going to be reasonable or do you want some more?
1:25:28 You want me back only to...
1:25:30 put up with your tempers and
1:25:31 Pick up your slippers and fetch them carry for you. I haven't said I wanted you back at all. Oh indeed, then what are we talking about? About you, not about me.
1:25:38 If you come back to me, I shall treat you just the same as I've always treated you.
1:25:42 I can't change my nature and I don't intend to change my manners.
1:25:45 My manners are exactly the same as Colonel Pickering. That's not true.
1:25:49 He treats a flower girl as if she were a duchess. I treat a duchess as if she were a flower girl.
1:25:53 I see you saying to everyone.
1:25:58 Oh, I don't care how you treat me.
1:26:01 I don't mind your swearing at me.
1:26:04 I don't mind the black eye.
1:26:06 I've had one before this.
1:26:09 I won't be passed over. Get out of my way for I won't stop for you.
1:26:15 You talk to me as if I were a bust. So you are a bust. All bounce and go and no consideration for anyone. Once for all, understand that I go my way and do my work without caring toughness what happens to either of us.
1:26:24 So you can come back or go to the devil, whichever you please.
1:26:28 And what am I to come back for?
1:26:30 For the fun of it.
1:26:32 That's what I took you on for.
1:26:34 And you can throw me out tomorrow if I don't do everything you want me to. You can walk out tomorrow if I don't do everything you want me to.
1:26:39 And live with my stepmother.
1:26:41 yes or sell flowers
1:26:43 Or would you rather marry Pickering?
1:26:44 I wouldn't marry you if you asked me.
1:26:46 And you're nearer my age than what he is. Than he is.
1:26:51 I'll speak as I like.
1:26:53 You're not my teacher now.
1:27:02 I don't know the Pickering Wood, though.
1:27:04 Come on.
1:27:05 He's as confirmed an old bachelor as I am. That's not what I want and don't you think it.
1:27:09 I've always had chaps not wanting me that way.
1:27:12 Freddie Hill writes to me.
1:27:13 twice and three times a day, sheets and sheets.
1:27:17 Blast his impudence. He has a right to it he likes, poor lad.
1:27:20 And he does love me.
1:27:21 You have no right to encourage him. Every girl has a right to be loved. What, by fools like that? Freddy's not a fool. If he's weak and
1:27:27 Poor lady.
1:27:28 Won't sleep?
1:27:30 Maybe he'd make me happier than my...
1:27:32 betters who
1:27:33 bully me and don't want me.
1:27:36 I can do without you. Don't think I can't.
1:27:43 Never asked, I suppose.
1:27:46 but that I could do without you.
1:27:53 You will have to do without me.
1:27:55 I can do without anybody.
1:27:58 I have my own soul, my own spark of divine fire.
1:28:04 But I shall miss you, Eliza.
1:28:07 I confess that humbly and gratefully.
1:28:12 I've become accustomed to your voice.
1:28:14 Pierp.
1:28:16 I even like them, rather.
1:28:18 Well, you have them both on your gramophone and...
1:28:20 in your book of photographs?
1:28:22 When you feel lonely, you can turn the machine on.
1:28:24 It's got no feeling, Mr Hurt.
1:28:27 I can't turn your soul on.
1:28:34 Oh, you're it.
1:28:35 Devil.
1:28:37 You can twist the heart in a girl as easily as some can twist her arm's turn.
1:28:44 I wanted a kindness.
1:28:47 I know I'm only a calm and ignorant girl, but...
1:28:50 I'm not that hungry of feet.
1:28:52 What I've done, I...
1:28:55 What time?
1:28:56 It wasn't for the dresses and the taxes. It was because we were pleasant together and because I'd come and...
1:29:05 care for you.
1:29:06 Not forgetting the difference between us and...
1:29:08 Not wanting you to make love to me.
1:29:14 More friendly, like...
1:29:16 Of course, Eliza.
1:29:18 That's exactly how I see it.
1:29:22 And how bickering feels.
1:29:26 Liza, you're a fool.
1:29:28 That's not a proper answer to give me.
1:29:30 If you can't stand the coldness of my sort of life and the strain of it,
1:29:33 Go back to the gutter.
1:29:35 Oh, it's a fine life, the life of the gutter.
1:29:37 It's real, it's warm, it's violent.
1:29:40 Not like science, literature and classical music.
1:29:43 and philosophy and art
1:29:46 You find me cold, unfeeling, selfish, don't you?
1:29:49 Very well then, marry some sentimental hog or other, with a thick pair of lips to kiss you with.
1:29:53 and a thick pair of boots to kick you with.
1:29:55 If you can't appreciate what you've got, you better get what you can appreciate.
1:29:58 I won't care for anyone who doesn't care for me. Oh, Liza, you're an idiot.
1:30:02 I waste the treasures of my Miltonic mind by spreading them before you. Oh, I can't talk to you. You turn everything against me.
1:30:09 You know very well that I can't go back to the gutter, as you call it. And that I've no real friends in the world but you and the Colonel.
1:30:15 You think I must go back to Wimpole Street because I've nowhere to go but farther's. But don't you be too sure that you have me under your feet to be bullied and talked down.
1:30:21 I'll marry Freddy, I will, as soon as I'm able to support him.
1:30:25 What, that young fool? You shall marry an ambassador.
1:30:28 You shall marry the viceroy of India. I won't have my masterpiece thrown away on Freddy.
1:30:33 You think I'd like you to say that?
1:30:35 But I haven't forgotten what you said a minute ago.
1:30:37 If I can't have kindness,
1:30:38 I'll have independence. Independence. That's middle-class blasphemy.
1:30:42 We're all of us dependent one on another, every soul on earth. I'll let you see whether I'm dependent on you.
1:30:46 If you can preach, I can teach.
1:30:49 I'll go and be a teacher.
1:30:51 What are you teaching him?
1:30:53 What you taught me
1:30:55 I'll teach phonetics.
1:30:56 I'll offer myself as an assistant to Professor Carbatti.
1:31:00 What, that humbug?
1:31:01 That imposter, that toating ignoramus.
1:31:04 You take one step in his direction and I'll wring your neck, you hear? Wring away! What do I care? I knew you'd strike me one day.
1:31:12 Now I know how to deal with you.
1:31:15 Oh, what a fool I was not to think of it before.
1:31:18 That's done you, Henry Iggins, it has. And I don't give that for your bullying and your fine talk.
1:31:27 When I think of myself...
1:31:29 crawling under your feet.
1:31:32 and being trampled on and talked down, when all the time I'd only to lift my finger to be as good as you are.
1:31:38 Oh, I could just...
1:31:40 - Kick myself. - By George Eliza. I said I'd make a woman of you and I have.
1:31:45 I like you like this. Yes, you make up to me now that I'm not afraid of you and I can do without you.
1:31:51 Of course I do, you little fool.
1:31:54 Five minutes ago, you were a millstone round my neck.
1:31:57 Now you're a tower of strength.
1:31:59 A consort battleship.
1:32:06 Goodbye, Professor Higgins.
1:32:12 PHONE RINGS
1:33:18 I'm sorry.
1:33:22 I'm sorry.
1:33:36 Oh, you dirty! You're one of the fates in hands before I come, or did? I shall make a duchess of this draggletail gutter snout. In six months, in three...
1:33:54 I washed my face and hands before I came.
1:34:00 I did.
1:34:17 Where the devil are my slippers, Eliza?

Also from 1938

Tarzan's Revenge 1938

Every free film of 1938 with a copy

Also from Loew's, Inc

Till the Clouds Roll By 1946

Why Play Leap Frog? 1950

Similar frames

Penny Serenade 1941

Dressed to Kill 1946

Slaves in Bondage 1937

By the average clip vector of the keyframes; a measurement, not a judgement