George Bernard Shaw a penn State Electronic Classics Series Publication

at him in mingled wonder and deprecation without daring to
raise her head] Ah—ah—ah—ow—ow—oo!
THE NOTE TAKER 
[whipping out his book] Heavens! what
a sound! [He writes; then holds out the book and reads, repro-
ducing her vowels exactly] Ah—ah—ah—ow—ow—ow—oo!
THE FLOWER GIRL 
[tickled by the performance, and laugh-
ing in spite of herself] Garn!
THE NOTE TAKER
. You see this creature with her
kerbstone English: the English that will keep her in the gut-
ter to the end of her days. Well, sir, in three months I could
pass that girl off as a duchess at an ambassador’s garden party.
I could even get her a place as lady’s maid or shop assistant,
which requires better English. That’s the sort of thing I do
for commercial millionaires. And on the profits of it I do
genuine scientific work in phonetics, and a little as a poet on
Miltonic lines.
THE GENTLEMAN
. I am myself a student of Indian dia-
lects; and—
THE NOTE TAKER 
[eagerly] Are you? Do you know Colo-
nel Pickering, the author of Spoken Sanscrit?
THE GENTLEMAN
. I am Colonel Pickering. Who are you?
THE NOTE TAKER
. Henry Higgins, author of Higgins’s
Universal Alphabet.
PICKERING 
[with enthusiasm] I came from India to meet
you.
HIGGINS
. I was going to India to meet you.
PICKERING
. Where do you live?
HIGGINS
. 27A Wimpole Street. Come and see me tomorrow.
PICKERING
. I’m at the Carlton. Come with me now and
let’s have a jaw over some supper.
HIGGINS
. Right you are.
THE FLOWER GIRL 
[to Pickering, as he passes her] Buy a
flower, kind gentleman. I’m short for my lodging.

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17
Shaw
PICKERING
. I really haven’t any change. I’m sorry [he goes
away].
HIGGINS 
[shocked at girl’s mendacity] Liar. You said you
could change half-a-crown.
THE FLOWER GIRL 
[rising in desperation] You ought to
be stuffed with nails, you ought. [Flinging the basket at his
feet] Take the whole blooming basket for sixpence.
The church clock strikes the second quarter.
HIGGINS 
[hearing in it the voice of God, rebuking him for
his Pharisaic want of charity to the poor girl] A reminder. [He
raises his hat solemnly; then throws a handful of money into the
basket and follows Pickering].
THE FLOWER GIRL 
[picking up a half-crown] Ah—ow—
ooh! [Picking up a couple of florins] Aaah—ow—ooh! [Pick-
ing up several coins] Aaaaaah—ow—ooh! [Picking up a half-
sovereign] Aasaaaaaaaaah—ow—ooh!!!
FREDDY 
[springing out of a taxicab] Got one at last. Hallo!
[To the girl] Where are the two ladies that were here?
THE FLOWER GIRL
. They walked to the bus when the
rain stopped.
FREDDY
. And left me with a cab on my hands. Damna-
tion!
THE FLOWER GIRL 
[with grandeur] Never you mind,
young man. I’m going home in a taxi. [She sails off to the cab.
The driver puts his hand behind him and holds the door firmly
shut against her. Quite understanding his mistrust, she shows
him her handful of money]. Eightpence ain’t no object to me,
Charlie. [He grins and opens the door]. Angel Court, Drury
Lane, round the corner of Micklejohn’s oil shop. Let’s see
how fast you can make her hop it. [She gets in and pulls the
door to with a slam as the taxicab starts].
FREDDY
. Well, I’m dashed!

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18
Pygmalion
ACT II
Next day at 11 a.m.  Higgins’s laboratory in Wimpole
Street. It is a room on the first floor, looking on the
street, and was meant for the drawing-room. The
double doors are in the middle of the back hall; and
persons entering find in the corner to their right two
tall file cabinets at right angles to one another against
the walls. In this corner stands a flat writing-table, on
which are a phonograph, a laryngoscope, a row of
tiny organ pipes with a bellows, a set of lamp chim-
neys for singing flames with burners attached to a gas
plug in the wall by an indiarubber tube, several tuning-
forks of different sizes, a life-size image of half a hu-
man head, showing in section the vocal organs, and a
box containing a supply of wax cylinders for the pho-
nograph.
Further down the room, on the same side, is a fire-
place, with a comfortable leather-covered easy-chair
at the side of the hearth nearest the door, and a coal-
scuttle. There is a clock on the mantelpiece. Between
the fireplace and the phonograph table is a stand for
newspapers.
On the other side of the central door, to the left of the
visitor, is a cabinet of shallow drawers. On it is a tele-
phone and the telephone directory. The corner beyond,
and most of the side wall, is occupied by a grand pi-
ano, with the keyboard at the end furthest from the
door, and a bench for the player extending the full
length of the keyboard. On the piano is a dessert dish
heaped with fruit and sweets, mostly chocolates.
The middle of the room is clear. Besides the easy
chair, the piano bench, and two chairs at the phono-
graph table, there is one stray chair. It stands near the
fireplace. On the walls, engravings; mostly Piranesis
and mezzotint portraits. No paintings.
Pickering is seated at the table, putting down some
cards and a tuning-fork which he has been using. Higgins
is standing up near him, closing two or three file drawers
which are hanging out. He appears in the morning light
as a robust, vital, appetizing sort of man of forty or there-
abouts, dressed in a professional-looking black frock-

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19
Shaw
coat with a white linen collar and black silk tie. He is of
the energetic, scientific type, heartily, even violently in-
terested in everything that can be studied as a scientific
subject, and careless about himself and other people,
including their feelings. He is, in fact, but for his years
and size, rather like a very impetuous baby “taking no-
tice” eagerly and loudly, and requiring almost as much
watching to keep him out of unintended mischief. His
manner varies from genial bullying when he is in a good
humor to stormy petulance when anything goes wrong;
but he is so entirely frank and void of malice that he re-
mains likeable even in his least reasonable moments.
HIGGINS 
[as he shuts the last drawer] Well, I think that’s
the whole show.
PICKERING
. It’s really amazing. I haven’t taken half of it
in, you know.
HIGGINS
. Would you like to go over any of it again?
PICKERING 
[rising and coming to the fireplace, where he