Fanny's First Play/Act 2

*On the afternoon of the same day, Mrs Knox is writing notes in herdrawing-room, at a writing-table which stands against the wall. Anyone placed so as to see Mrs Knox's left profile, will have the door on the right and the window an the left, both further away than Mrs Knox, whose back is presented to an obsolete upright piano at the opposite side of the room. The sofa is near the piano. There is a small table in the middle of the room, with some gilt-edged books and albums on it, and chairs near it.*
*Mr Knox comes in almost furtively, a troubled man of fifty, thinner, harder, and uglier than his partner, Gilbey, Gilbey being a soft stoutish man with white hair and thin smooth skin, whilst Knox has coarse black hair, and blue jaws which no diligence in shaving can whiten. Mrs Knox is a plain woman, dressed without regard to fashion, with thoughtful eyes and thoughtful ways that make an atmosphere of peace and some solemnity. She is surprised to see her husband at home during business hours.*
MRS KNOX. What brings you home at this hour? Have you heard
anything?

KNOX. No. Have you?

MRS KNOX. No. Whats the matter?

KNOX. *[sitting down on the sofa]* I believe Gilbey has found out.

MRS KNOX. What makes you think that?

KNOX. Well, I dont know: I didnt like to tell you: you have enough
to worry you without that; but Gilbey's been very queer ever since it
happened. I cant keep my mind on business as I ought; and I was
depending on him. But hes worse than me. Hes not looking after
anything; and he keeps out of my way. His manner's not natural. He
hasnt asked us to dinner; and hes never said a word about our not
asking him to dinner, after all these years when weve dined every week
as regular as clockwork. It looks to me as if Gilbey's trying to drop
me socially. Well, why should he do that if he hasnt heard?

MRS KNOX. I wonder! Bobby hasnt been near us either: thats what I
cant make out.

KNOX. Oh, thats nothing. I told him Margaret was down in Cornwall
with her aunt.

MRS KNOX. *[reproachfully]* Jo! *[She takes her handkerchief from*
the writing-table and cries a little]*.*

KNOX. Well, I got to tell lies, aint I? You wont. Somebody's got to
tell em.

MRS KNOX. *[putting away her handkerchief]* It only ends in our not
knowing what to believe. Mrs Gilbey told me Bobby was in Brighton for
the sea air. Theres something queer about that. Gilbey would never
let the boy loose by himself among the temptations of a gay place like
Brighton without his tutor; and I saw the tutor in Kensington High
Street the very day she told me.

KNOX. If the Gilbeys have found out, it's all over between Bobby and
Margaret, and all over between us and them.

MRS KNOX. It's all over between us and everybody. When a girl runs
away from home like that, people know what to think of her and her
parents.

KNOX. She had a happy, respectable home—everything—

MRS KNOX. *[interrupting him]* Theres no use going over it all
again, Jo. If a girl hasnt happiness in herself, she wont be happy
anywhere. Youd better go back to the shop and try to keep your mind
off it.

KNOX. *[rising restlessly]* I cant. I keep fancying everybody knows
it and is sniggering about it. I'm at peace nowhere but here. It's a
comfort to be with you. It's a torment to be with other people.

MRS KNOX. *[going to him and drawing her arm through his]* There,
Jo, there! I'm sure I'd have you here always if I could. But it cant
be. God's work must go on from day to day, no matter what comes. We
must face our trouble and bear it.

KNOX. *[wandering to the window arm in arm with her]* Just look at
the people in the street, going up and down as if nothing had
happened. It seems unnatural, as if they all knew and didnt care.

MRS KNOX. If they knew, Jo, thered be a crowd round the house looking
up at us. You shouldnt keep thinking about it.

KNOX. I know I shouldnt. You have your religion, Amelia; and I'm
sure I'm glad it comforts you. But it doesnt come to me that way.
Ive worked hard to get a position and be respectable. Ive turned many
a girl out of the shop for being half an hour late at night; and heres
my own daughter gone for a fortnight without word or sign, except a
telegram to say shes not dead and that we're not to worry about her.

MRS KNOX. *[suddenly pointing to the street]* Jo, look!

KNOX. Margaret! With a man!

MRS KNOX. Run down, Jo, quick. Catch her: save her.

KNOX. *[lingering]* Shes shaking bands with him: shes coming across
to the door.

MRS KNOX. *[energetically]* Do as I tell you. Catch the man before
hes out of sight.

*Knox rushes from the room. Mrs Knox looks anxiously and excitedly from the window. Then she throws up the sash and leans out. Margaret Knox comes in, flustered and annoyed. She is a strong, springy girl of eighteen, with large nostrils, an audacious chin, and a gaily resolute manner, even peremptory on occasions like the present, when she is annoyed.*
MARGARET. Mother. Mother.

*Mrs Knox draws in her head and confronts her daughter.*

MRS KNOX. *[sternly]* Well, miss?

MARGARET. Oh, mother, do go out and stop father making a scene in the
street. He rushed at him and said "Youre the man who took away my
daughter" loud enough for all the people to hear. Everybody stopped.
We shall have a crowd round the house. Do do something to stop him.

*Knox returns with a good-looking young marine officer.*
MARGARET. Oh, Monsieur Duvallet, I'm so sorry—so ashamed. Mother:
this is Monsieur Duvallet, who has been extremely kind to me.
Monsieur Duvallet: my mother. *[Duvallet bows]*.

KNOX. A Frenchman! It only needed this.

MARGARET. *[much annoyed]* Father: do please be commonly civil to a
gentleman who has been of the greatest service to me. What will he
think of us?

DUVALLET. *[debonair]* But it's very natural. I understand Mr
Knox's feelings perfectly. *[He speaks English better than Knox,*
having learnt it on both sides of the Atlantic]*.*

KNOX. If Ive made any mistake I'm ready to apologize. But I want to
know where my daughter has been for the last fortnight.

DUVALLET. She has been, I assure you, in a particularly safe place.

KNOX. Will you tell me what place? I can judge for myself how safe
it was.

MARGARET. Holloway Gaol. Was that safe enough?

KNOX AND MRS KNOX. Holloway Gaol!

KNOX. Youve joined the Suffragets!

MARGARET. No. I wish I had. I could have had the same experience in
better company. Please sit down, Monsieur Duvallet. *[She sits*
between the table and the sofa. Mrs Knox, overwhelmed, sits at the
other side of the table. Knox remains standing in the middle of the
room]*.*

DUVALLET. *[sitting down on the sofa]* It was nothing. An
adventure. Nothing.

MARGARET. *[obdurately]* Drunk and assaulting the police! Forty
shillings or a month!

MRS KNOX. Margaret! Who accused you of such a thing?

MARGARET. The policeman I assaulted.

KNOX. You mean to say that you did it!

MARGARET. I did. I had that satisfaction at all events. I knocked
two of his teeth out.

KNOX. And you sit there coolly and tell me this!

MARGARET. Well, where do you want me to sit? Whats the use of saying
things like that?

KNOX. My daughter in Holloway Gaol!

MARGARET. All the women in Holloway are somebody's daughters.
Really, father, you must make up your mind to it. If you had sat in
that cell for fourteen days making up your mind to it, you would
understand that I'm not in the humor to be gaped at while youre trying
to persuade yourself that it cant be real. These things really do
happen to real people every day; and you read about them in the papers
and think it's all right. Well, theyve happened to me: thats all.

KNOX. *[feeble-forcible]* But they shouldnt have happened to you.
Dont you know that?

MARGARET. They shouldnt happen to anybody, I suppose. But they do.
*[Rising impatiently]* And really I'd rather go out and assault
another policeman and go back to Holloway than keep talking round and
round it like this. If youre going to turn me out of the house, turn
me out: the sooner I go the better.

DUVALLET. *[rising quickly]* That is impossible, mademoiselle. Your
father has his position to consider. To turn his daughter out of
doors would ruin him socially.

KNOX. Oh, youve put her up to that, have you? And where did you come
in, may I ask?

DUVALLET. I came in at your invitation—at your amiable insistence,
in fact, not at my own. But you need have no anxiety on my account.
I was concerned in the regrettable incident which led to your
daughter's incarceration. I got a fortnight without the option of a
fine on the ridiculous ground that I ought to have struck the
policeman with my fist. I should have done so with pleasure had I
known; but, as it was, I struck him on the ear with my boot—a
magnificent *moulinet*, I must say—and was informed that I had been
guilty of an act of cowardice, but that for the sake of the *entente*
cordiale *I should be dealt with leniently. Yet Miss Knox, who used*
her fist, got a month, but with the option of a fine. I did not know
this until I was released, when my first act was to pay the fine. And
here we are.

MRS KNOX. You ought to pay the gentleman the fine, Jo.

KNOX. *[reddening]* Oh, certainly. *[He takes out some money]*.

DUVALLET. Oh please! it does not matter. *[Knox hands him two*
sovereigns]*. If you insist—* [he pockets them] *Thank you.*

MARGARET. I'm ever so much obliged to you, Monsieur Duvallet.

DUVALLET. Can I be of any further assistance, mademoiselle?

MARGARET. I think you had better leave us to fight it out, if you
dont mind.

DUVALLET. Perfectly. Madame *[bow]*—Mademoiselle *[bow]*—Monsieur
*[bow]*—*[He goes out]*.

MRS KNOX. Dont ring, Jo. See the gentleman out yourself.

*Knox hastily sees Duvallet out. Mother and daughter sit looking*
forlornly at one another without saying a word. Mrs Knox slowly sits
down. Margaret follows her example. They look at one another again.
Mr Knox returns.

KNOX. *[shortly and sternly]* Amelia: this is your job. *[To*
Margaret] *I leave you to your mother. I shall have my own say in*
the matter when I hear what you have to say to her. *[He goes out,*
solemn and offended]*.*

MARGARET. *[with a bitter little laugh]* Just what the Suffraget
said to me in Holloway. He throws the job on you.

MRS KNOX. *[reproachfully]* Margaret!

MARGARET. You know it's true.

MRS KNOX. Margaret: if youre going to be hardened about it, theres
no use my saying anything.

MARGARET. I'm not hardened, mother. But I cant talk nonsense about
it. You see, it's all real to me. Ive suffered it. Ive been shoved
and bullied. Ive had my arms twisted. Ive been made scream with pain
in other ways. Ive been flung into a filthy cell with a lot of other
poor wretches as if I were a sack of coals being emptied into a
cellar. And the only difference between me and the others was that I
hit back. Yes I did. And I did worse. I wasnt ladylike. I cursed.
I called names. I heard words that I didnt even know that I knew,
coming out of my mouth just as if somebody else had spoken them. The
policeman repeated them in court. The magistrate said he could hardly
believe it. The policeman held out his hand with his two teeth in it
that I knocked out. I said it was all right; that I had heard myself
using those words quite distinctly; and that I had taken the good
conduct prize for three years running at school. The poor old
gentleman put me back for the missionary to find out who I was, and to
ascertain the state of my mind. I wouldnt tell, of course, for your
sakes at home here; and I wouldnt say I was sorry, or apologize to the
policeman, or compensate him or anything of that sort. I wasnt sorry.
The one thing that gave me any satisfaction was getting in that smack
on his mouth; and I said so. So the missionary reported that I seemed
hardened and that no doubt I would tell who I was after a day in
prison. Then I was sentenced. So now you see I'm not a bit the sort
of girl you thought me. I'm not a bit the sort of girl I thought
myself. And I dont know what sort of person you really are, or what
sort of person father really is. I wonder what he would say or do if
he had an angry brute of a policeman twisting his arm with one hand
and rushing him along by the nape of his neck with the other. He
couldnt whirl his leg like a windmill and knock a policeman down by a
glorious kick on the helmet. Oh, if theyd all fought as we two fought
we'd have beaten them.

MRS KNOX. But how did it all begin?

MARGARET. Oh, I dont know. It was boat-race night, they said.

MRS KNOX. Boat-race night! But what had you to do with the boat
race? You went to the great Salvation Festival at the Albert Hall
with your aunt. She put you into the bus that passes the door. What
made you get out of the bus?

MARGARET. I dont know. The meeting got on my nerves, somehow. It
was the singing, I suppose: you know I love singing a good swinging
hymn; and I felt it was ridiculous to go home in the bus after we had
been singing so wonderfully about climbing up the golden stairs to
heaven. I wanted more music—more happiness—more life. I wanted
some comrade who felt as I did. I felt exalted: it seemed mean to be
afraid of anything: after all, what could anyone do to me against my
will? I suppose I was a little mad: at all events, I got out of the
bus at Piccadilly Circus, because there was a lot of light and
excitement there. I walked to Leicester Square; and went into a great
theatre.

MRS KNOX. *[horrified]* A theatre!

MARGARET. Yes. Lots of other women were going in alone. I had to
pay five shillings.

MRS KNOX. *[aghast]* Five shillings!

MARGARET. *[apologetically]* It was a lot. It was very stuffy; and
I didnt like the people much, because they didnt seem to be enjoying
themselves; but the stage was splendid and the music lovely. I saw
that Frenchman, Monsieur Duvallet, standing against a barrier, smoking
a cigarette. He seemed quite happy; and he was nice and sailorlike.
I went and stood beside him, hoping he would speak to me.

MRS KNOX. *[gasps]* Margaret!

MARGARET. *[continuing]* He did, just as if he had known me for
years. We got on together like old friends. He asked me would I have
some champagne; and I said it would cost too much, but that I would
give anything for a dance. I longed to join the people on the stage
and dance with them: one of them was the most beautiful dancer I ever
saw. He told me he had come there to see her, and that when it was
over we could go somewhere where there was dancing. So we went to a
place where there was a band in a gallery and the floor cleared for
dancing. Very few people danced: the women only wanted to shew off
their dresses; but we danced and danced until a lot of them joined in.
We got quite reckless; and we had champagne after all. I never
enjoyed anything so much. But at last it got spoilt by the Oxford and
Cambridge students up for the boat race. They got drunk; and they
began to smash things; and the police came in. Then it was quite
horrible. The students fought with the police; and the police
suddenly got quite brutal, and began to throw everybody downstairs.
They attacked the women, who were not doing anything, and treated them
just as roughly as they had treated the students. Duvallet got
indignant and remonstrated with a policeman, who was shoving a woman
though she was going quietly as fast as she could. The policeman
flung the woman through the door and then turned on Duvallet. It was
then that Duvallet swung his leg like a windmill and knocked the
policeman down. And then three policemen rushed at him and carried
him out by the arms and legs face downwards. Two more attacked me and
gave me a shove to the door. That quite maddened me. I just got in
one good bang on the mouth of one of them. All the rest was dreadful.
I was rushed through the streets to the police station. They kicked
me with their knees; they twisted my arms; they taunted and insulted
me; they called me vile names; and I told them what I thought of them,
and provoked them to do their worst. Theres one good thing about
being hard hurt: it makes you sleep. I slept in that filthy cell
with all the other drunks sounder than I should have slept at home. I
cant describe how I felt next morning: it was hideous; but the police
were quite jolly; and everybody said it was a bit of English fun, and
talked about last year's boat-race night when it had been a great deal
worse. I was black and blue and sick and wretched. But the strange
thing was that I wasnt sorry; and I'm not sorry. And I dont feel that
I did anything wrong, really. *[She rises and stretches her arms with*
a large liberating breath] *Now that it's all over I'm rather proud*
of it; though I know now that I'm not a lady; but whether thats
because we're only shopkeepers, or because nobody's really a lady
except when theyre treated like ladies, I dont know. *[She throws*
herself into a corner of the sofa]*.*

MRS KNOX. *[lost in wonder]* But how could you bring yourself to do
it, Margaret? I'm not blaming you: I only want to know. How could
you bring yourself to do it?

MARGARET. I cant tell you. I dont understand it myself. The prayer
meeting set me free, somehow. I should never have done it if it were
not for the prayer meeting.

MRS KNOX. *[deeply horrified]* Oh, dont say such a thing as that. I
know that prayer can set us free; though you could never understand me
when I told you so; but it sets us free for good, not for evil.

MARGARET. Then I suppose what I did was not evil; or else I was set
free for evil as well as good. As father says, you cant have anything
both ways at once. When I was at home and at school I was what you
call good; but I wasnt free. And when I got free I was what most
people would call not good. But I see no harm in what I did; though I
see plenty in what other people did to me.

MRS KNOX. I hope you dont think yourself a heroine of romance.

MARGARET. Oh no. *[She sits down again at the table]*. I'm a
heroine of reality, if you can call me a heroine at all. And reality
is pretty brutal, pretty filthy, when you come to grips with it. Yet
it's glorious all the same. It's so real and satisfactory.

MRS KNOX. I dont like this spirit in you, Margaret. I dont like your
talking to me in that tone.

MARGARET. It's no use, mother. I dont care for you and Papa any the
less; but I shall never get back to the old way of talking again. Ive
made a sort of descent into hell—

MRS KNOX. Margaret! Such a word!

MARGARET. You should have heard all the words that were flying round
that night. You should mix a little with people who dont know any
other words. But when I said that about a descent into hell I was not
swearing. I was in earnest, like a preacher.

MRS KNOX. A preacher utters them in a reverent tone of voice.

MARGARET. I know: the tone that shews they dont mean anything real
to him. They usent to mean anything real to me. Now hell is as real
to me as a turnip; and I suppose I shall always speak of it like that.
Anyhow, Ive been there; and it seems to me now that nothing is worth
doing but redeeming people from it.

MRS KNOX. They are redeemed already if they choose to believe it.

MARGARET. Whats the use of that if they dont choose to believe it?
You dont believe it yourself, or you wouldnt pay policemen to twist
their arms. Whats the good of pretending? Thats all our
respectability is, pretending, pretending, pretending. Thank heaven
Ive had it knocked out of me once for all!

MRS KNOX. *[greatly agitated]* Margaret: dont talk like that. I
cant bear to hear you talking wickedly. I can bear to hear the
children of this world talking vainly and foolishly in the language of
this world. But when I hear you justifying your wickedness in the
words of grace, it's too horrible: it sounds like the devil making
fun of religion. Ive tried to bring you up to learn the happiness of
religion. Ive waited for you to find out that happiness is within
ourselves and doesnt come from outward pleasures. Ive prayed oftener
than you think that you might be enlightened. But if all my hopes and
all my prayers are to come to this, that you mix up my very words and
thoughts with the promptings of the devil, then I dont know what I
shall do: I dont indeed: itll kill me.

MARGARET. You shouldnt have prayed for me to be enlightened if you
didnt want me to be enlightened. If the truth were known, I suspect
we all want our prayers to be answered only by halves: the agreeable
halves. Your prayer didnt get answered by halves, mother. Youve got
more than you bargained for in the way of enlightenment. I shall
never be the same again. I shall never speak in the old way again.
Ive been set free from this silly little hole of a house and all its
pretences. I know now that I am stronger than you and Papa. I havnt
found that happiness of yours that is within yourself; but Ive found
strength. For good or evil I am set free; and none of the things that
used to hold me can hold me now.

*Knox comes back, unable to bear his suspense.*

KNOX. How long more are you going to keep me waiting, Amelia? Do you
think I'm made of iron? Whats the girl done? What are we going to
do?

MRS KNOX. Shes beyond my control, Jo, and beyond yours. I cant even
pray for her now; for I dont know rightly what to pray for.

KNOX. Dont talk nonsense, woman: is this a time for praying? Does
anybody know? Thats what we have to consider now. If only we can
keep it dark, I don't care for anything else.

MARGARET. Dont hope for that, father. Mind: I'll tell everybody.
It ought to be told. It must be told.

KNOX. Hold your tongue, you young hussy; or go out of my house this
instant.

MARGARET. I'm quite ready. *[She takes her hat and turns to the*
door]*.*

KNOX. *[throwing himself in front of it]* Here! where are you going?

MRS KNOX. *[rising]* You mustnt turn her out, Jo! I'll go with her
if she goes.

KNOX. Who wants to turn her out? But is she going to ruin us? To
let everybody know of her disgrace and shame? To tear me down from
the position Ive made for myself and you by forty years hard
struggling?

MARGARET. Yes: I'm going to tear it all down. It stands between us
and everything. I'll tell everybody.

KNOX. Magsy, my child: dont bring down your father's hairs with
sorrow to the grave. Theres only one thing I care about in the world:
to keep this dark. I'm your father. I ask you here on my knees—in
the dust, so to speak—not to let it out.

MARGARET. I'll tell everybody.

*Knox collapses in despair. Mrs Knox tries to pray and cannot.*
Margaret stands inflexible.