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Fanny's First Play - Act 2 Post by :raleigh123 Category :Plays Author :George Bernard Shaw Date :May 2012 Read :2645

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Fanny's First Play - Act 2


(On the afternoon of the same day, Mrs Knox is writing notes in her drawing-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.)

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Fanny's First Play - Act 3 Fanny's First Play - Act 3

Fanny's First Play - Act 3
ACT III(Again in the Gilbeys' dining-room. Afternoon. The table is not laid: it is draped in its ordinary cloth, with pen and ink, an exercise-book, and school-books on it. Bobby Gilbey is in the arm-chair, crouching over the fire, reading an illustrated paper. He is a pretty youth, of very suburban gentility, strong and manly enough by nature, but untrained and unsatisfactory, his parents having imagined that domestic restriction is what they call "bringing up." He has learnt nothing from it except a habit of evading it by deceit.) (He gets up to ring the bell;

Fanny's First Play - Act 1 Fanny's First Play - Act 1

Fanny's First Play - Act 1
ACT I(In the dining-room of a house in Denmark Hill, an elderly lady sits at breakfast reading the newspaper. Her chair is at the end of the oblong dining-table furthest from the fire. There is an empty chair at the other end. The fireplace is behind this chair; and the door is next the fireplace, between it and the corner. An arm-chair stands beside the coal-scuttle. In the middle of the back wall is the sideboard, parallel to the table. The rest of the furniture is mostly dining-room chairs, ranged against the walls, and including