Tag Archives: victoria hawking

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The Hawking family tree

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Large families were all the rage in Victorian England. Guess who set that trend?

For most of the writing of the original draft, I did not give much thought to the specifics of the structure of the Hawking family. I wanted Nathaniel to share the Hawking name, so he had to be the blood nephew of the Colonel, which made him Mrs. Hawking’s nephew by marriage. But when I realized how much drama I could get out of bringing a large extended family in the story, I immediately started figuring out who they were.

Nathaniel is, in fact, the younger son of the Colonel’s elder brother Ambrose. Ambrose is an old-fashioned, self-satisfied man who very much regards himself as the family patriarch. While Reginald pursued a career in the military, Ambrose set himself up as an entrepreneur, building a venture capital firm that made its money in financing industry in the colonies. I decided Reginald was the younger brother so that I could parallel in him that manner with Nathaniel. As I mentioned, they are quintessential Victorian middle-class. Ambrose began the firm as a young man, but has since mostly ceded control of it to his sons. Nathaniel takes care of the books and the business end of things from London, while his elder brother Justin travels the world, investigating for possible investment opportunities.

Justin is a very different person from Nathaniel. Charm runs in the family, but while Nathaniel is sweet, romantic, and gentlemanly, Justin is more roguish, with a somewhat meaner sense of humor and a lot more self-centered arrogance. Nathaniel fell head over heels in love and married young, while Justin tomcats around; I imagine his good looks and charm make him very popular with the ladies.

Nathaniel’s wife of six years is named Clara, and they have two small children Beatrice and Reginald, named, of course, after his beloved uncle. Clara is designed to be in many ways the polar opposite of the other Mrs. Hawking; she’s totally happy with her gender role and her place in the world, embracing her femininity to get the things she wants accomplished. However, like her husband’s aunt, she has learned to use her harmless appearance to her advantage, and she is a complete master of the art of throwing shade from beneath a veil of polite conversation.

One of the biggest reasons I like plotting out the Hawking family is because of how they influence Nathaniel’s arc. Nathaniel begins the story very much a product of his environment. He comes from a family of very decent, upright people who take for granted the conventional wisdom of what men and women are like. Their traditional view of Victorian masculinity has shaped him with the sense of command and entitlement he shows at the beginning of the story. Their pressure for him to conform is also going to be a major obstacle in his growing past this.

Needless to say, the family does not get along very well with Mrs. Hawking. I think it’s mostly her fault, as she makes no secret of the fact that she dislikes them all, but they are hardly openminded about how different and weird she is, plus they do not have progressive ideas about the place of women. But she is forced to deal with them because, thanks to the Colonel marrying her, they are now her family and social norms will not permit that connection to be severed. So on top of everything else her marriage forced into her life, it inextricably bound her to people she has this much trouble getting along with.

This actually makes Nathaniel’s relationship with her very interesting. At the beginning of the story, his presence could not have been more unwelcome. Basically, her husband’s nephew, a young man with no blood relation to her, had the right to take full legal responsibility for her, and had no qualms about doing it. Making decisions for her, trying to control her. But he is growing, growing in ways neither of them never ever thought he would. Once he starts to make a real effort to get passed that patriarchal sense of entitlement and instead wants to help her rather than hold her back, he actually becomes a positive presence in her life. I think she is resistant to this at first, but in time comes to see him as important to her, even precious. Which for her is a pretty big leap.

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Mrs. Hawking’s widows weeds

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In order to give a good mental image of what Mary and Mrs. Hawking are supposed to look like, I’ve been working to create images that are as representative as possible of what I see in my head. Though of course when casting a show one must go with the actress with the best ability to portray the character, the photographs on this website are pretty accurate representations of what I imagine them looking like– Mary is tall and fit with dark hair and freckles, with a kind, pretty face, while Mrs. Hawking is small and powerful, with arresting features behind wavy blonde hair and sharp green eyes.

I recently held a photo shoot to capture more images of the characters with my beautiful models Frances Kimpel as Mrs. Hawking and Charlotte Oswald as Mary. They were kind to oblige me, and they are both lovely, perfect for the look of the characters, and wonderful to work with. I specifically wanted shots depicting scenes that occur in the course of the play.

I photographed them in a number of costumes, but one that turned out especially well was Mrs. Hawking’s widow’s gown. I do most of my costuming by adapting pieces I find in thrift stores to my purposes. This costume is based on an original dress I honestly kind of hated it on sight. On the hanger it looked like a garbage bag, black and shiny and chintzy. I have kind of a love-hate relationship with dresses made of moire– an iridescent fabric that looks like it has water ripples or wood knots in it –because I always find it pretty when I first glance at it, but the longer I look at it, it looks cheap. But it had a lot of the details I’m looking for in the basis of a Victorian gown, a ruffled collar, puffy sleeves, a cloth belt at the waist.

I bought it without high hopes for it. It just looked so damn tacky in the store. The checkout girl used it to wrap a glass decanter I bought in the same trip, and I never even bothered to unpack it. When this photo shoot rolled around, I hadn’t even tried it in combination with the other elements of the costume, so for all I knew it wasn’t going to work at all. But when I tried it on Frances, with black long gloves and over two layers of full tiered skirts kindly lent to me by fellow costumer Jenn Giorno… it transformed. Charlotte pinned the collar closed with a black and silver brooch, and cut a slit up the back of the dress so that it spread out over the skirts, and they even puffed out through the slit in the back to make a sort of bustle-y detail. The moire looked appropriate for the sort of tapestry appearance of fancy Victorian fabric. All together, it made for a shockingly beautiful, and shockingly accurate-looking, costume. I’m really pleased at how well it turned out, but also that I think this is evidence that my eye as costumer is developing, as I’m getting better and better at spotting pieces that will work in combination even if I never actually see them together until they’re fulling assembled.

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An anti-Mrs. Hawking

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Categories: gilded cages, looking ahead, scenes, Tags: , ,

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In a future story, I would love to give our hero an opponent who was the “anti-Mrs. Hawking,” a woman just as devious and formidable as she, but who uses and manipulates the system to take advantage of women’s social entrapment for her own ends. This is interesting because I think Mrs. Hawking’s usual opponents are men, not other women. They could have a secret war, and I think it should be someone who knows her, someone for whom such actions would be a deep betrayal. I also like the idea that she would know Mrs. Hawking’s ways. Our hero trades on being unsuspected and underestimated, but would not have that advantage over an opponent who knows her for what she is.

I actually like the idea that they grew up together, that they were good friends in their youth in New Guinea. I could include this character in the prequel that details that time. I think at that point I would give no hint to her future villainy, but establish her as having a mentality in conflict with our hero to foreshadow it. And so when she did recur later, as the villain of a later story, it would be particularly shocking to Mrs. Hawking, and seem all that more treacherous.

I call her Elizabeth Frost, nee Danvers. You’ll note I am naming the major female figures in the Mrs. Hawking universe after the queens of England. We have Victoria and Mary already. Mrs. Hawking’s nemesis and opposite, then, is Elizabeth– one of the most powerful and brilliant of them all.

I scribbled a small scene with her this summer. I’m not sure of all its details and it’s not grounded in a plot yet, but it gives a vague idea of who this woman is, and how she interacts with our hero:

~~~

MRS. FROST: It’s no use, Victoria. I know you’re in here somewhere.

(MR. HAWKING emerges from the canopy on the balcony door and land catlike on the floor.)

MRS. FROST: Hmm. The canopy, very cunning. I would have guessed you’d be clinging to the transom.

MRS. HAWKING: It’s been a long time, Elizabeth.

MRS. FROST: Yes, it has. But some things never change.

MRS. HAWKING: I had wondered what become of you after that Frost man took you away. I never suspected this.

MRS. FROST: You make your own way in the world, and I make mine.

MRS. HAWKING: On the backs of helpless women?

MRS. FROST: You never did grasp how the world works, Victoria.

MRS. HAWKING: Oh, I grasp it. I just refuse to be complicit in it.

MRS. FROST: Complicit? No, not you, never you. You’ve never gone along with anything in your life when you could wage all-out war on it instead.

MRS. HAWKING: A world and a system I have spent my life defending helpless women against, you manipulate and exploit to your own advantage.

MRS. FROST: Oh, spare me your righteous wrath, darling.

MRS. HAWKING: You are as bad as any of them!

MRS. FROST: And you are hero, is that it? You are a beast in a menagerie pounding against the bars of your cage! For all your work and all your heroics, what have you done? So you pulled a few petty bacons from the fire. Nothing has changed, the world still traps us and uses us and batters us down! Do you honestly believe you can put an end to all that on your own?

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Mrs. Hawking’s asexuality, and its peculiar effect on her outlook

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I couldn’t tell you why, but I have a fondness for asexual characters. They are very rarely represented in fiction, so I am fascinated when I encounter them, and tend to be very protective of the integrity of their identities thereof. Those of you of the type inclined to ‘shipping may find this frustrating, but that’s the way I’ve always seen Mrs. Hawking.

Mrs. Hawking is to my mind a true aromantic asexual. Completely disinterested in sex, in fact rather disgusted by it, and completely incapable of experiencing romantic love. She is a loner by nature, made worse by her rage and alienation in regards to the world around her, and frustrated by how there seems to be no place or understanding for people who feel that way. This frustration is interesting because despite this, I don’t think she fully realizes how exceptional she is in this respect.

It intersects weirdly, in fact problematically, with her particular outlook on women. As I’ve mentioned she is supposed to represent a kind of radical feminism, the kind that needs tempering with a more broad-minded, inclusive force, which in this case is Mary’s more intersectional feminism. She tends to view sexuality as something men impose on women rather than something that women can and should own themselves. I don’t think Mrs. Hawking has ever really personally witnessed women be anything but victims of men’s sexuality, much less have a healthy sexuality of their own. It’s not like she’s close to many people, so the women she mostly comes in contact with are mostly clients, and given that they’re people in trouble, they’re much less likely to be in happy or healthy partnerships. That combined with the complete disinterest in sex she finds in herself has led her to conclude that NO women are sexual, and there is no positive way they can experience it. Sex, marriage, and even romance are just traps made by men to further arrange the world to their liking regardless of what women need.

It makes it a bit difficult to think about how that played out in the course of her marriage. I think she and the Colonel both bought into the Victorian conventional wisdom about sex much more than was healthy. They both concluded, I think, that of course women are not very interested in such things, and of course men expect them anyway, so they both had a seemingly plain explanation for each other’s behavior. I hate to say it, but I guess Victoria just kind of put up with it– on an occasional basis, at least –because it was the easiest way to deal, and Reginald believed that was just how these things worked. And I have a feeling that after (spoiler) the stillbirth, the issue came up considerably less often.

As a result, she is, to use the academic jargon, extremely sex-negative. It’s part of the way she fails at feminism, as it leads her to either deny part of women’s essential humanity, or look down on women who are sexual as complicit with their victimizers.

But Mary’s role in her world is to challenge her, to temper her and encourage her to grow, as intersectional feminism does to radical. So, I think Mary will emerge as a counterexample to that view. She will be a woman who not only is capable of a functional, equal romantic relationship with a man, but one who DESIRES such a relationship. I think that’s going to be very difficult for Mrs. Hawking, as she has a hard time seeing romance and marriage as anything but submitting to the enemy. That’s going to be something that Mary’s will have to stand up to her about, and help her to see that a woman wanting love and sex does not have to be diminishing to her independence or agency.

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What Nathaniel does for a living, and other middle-class folks

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People sometimes ask me what Nathaniel’s day job is. He does have one, you know, even though it’s never directly mentioned in the text. It’s important because the Hawkings are supposed to be quintessentially middle-class people. The Victorian period was the first time in Western history that the middle class were becoming an important demographic, a group with a lot of their own money and growing political influence. Still, the old class system that prioritized the nobility still hadn’t totally been overcome, so there is an interesting conflict between those with titles and all the hereditary powers associated with them, and increasingly significant professional class that was growing richer and more numerous than they. I want this conflict to have a presence in and effect on the story, as classism is a major theme I want to engage with.

So Nathaniel, as it happens, is what would have been called back in the day a speculative financier– or in modern terms, a venture capitalist. They find promising business ventures, which in this time tended to be resource acquisition in the colonies, and lend them the startup money to get going. His father Ambrose is the head of the firm and Nathaniel has recently become a partner. I am leaning toward Ambrose being the founder, and having him be the first generation of the Hawking family to attain significant wealth and social prominence. Nathaniel’s elder brother Justin may be part of this as well, I haven’t decided yet. The Colonel was not so much, as he was pursuing his military career, but I do think he had a financial stake in the operations. This would enable him to have, as they say, “incomes” from investments. Mrs. Hawking inherited these as his widow, and they provide her with a very significant return.

I like to think that Mrs. Hawking doesn’t think about them, or any money, very much at all. She is the daughter of a prominent, high-ranking military official and went from there to be the wife of another one, so she has never had to worry about such things. I don’t think she’s particularly materialistic, but I also think she’s pretty used to never being limited by money. Again, I want classism to be a big theme in these stories, so this part of her needs to come into conflict with the characters around her that haven’t been so fortunate.

Moreover, she’s in control of her money. As a widow, nobody has power over it but her. That is a MAJOR feminist issue– women with financial resources of their own have a great deal more agency and independence than those who don’t. This casts her in sharp contrast to most women in her society, and those are the sorts who will need her help the most. Her lack of strong consciousness about the privilege that gives her could be an interesting source of drama when she encounters those not as fortunate as her. This could even include Mary, who despite her closeness and growing importance to her mistress, is still her maidservant, still massively less privileged and in a strongly subordinate position.

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Mary’s big future

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Of course a big part of any further stories will have to be Mary’s future. Mary would definitely need to come into her own even more, more independence, more agency. She will become more and more important to Mrs. Hawking’s work, to the point where she is not totally just the protege and able to contribute more on her own.

She also will have to develop separately from the path of Mrs. Hawking. I’d love Mary to eventually meet someone and have a romance with a gentleman who was worthy of her, who of course Mrs. Hawking would despise because she would hope Mary to be a confirmed lone wolf like herself. I think a major issue to sort out will be that while the women compliment each other, they are also extremely different from each other, and those differences will sometimes make it difficult to always work in harmony together. I think that will be a great source of dramatic tension.

Honestly, in many ways the story is Mary’s more even than Mrs. Hawking’s. She is, you will notice, the only character in every single scene in the original piece. Mary turned out to be even more central and significant than I ever expected, so I would want her to continue to grow and develop, and, as she proved to be remarkably good at, to force Mrs. Hawking to do the same.

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Mrs. Hawking’s radical versus Mary’s intersectional feminism

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I think it’s pretty clear that this is a feminist story. It engages a great deal with the systemic inequalities in culture against women, and focuses the telling in a way emphasize the female perspective that is all too often lacking in mainstream media. I personally identify very strongly as feminist, and telling the story of dynamic, proactive, and ultimately human female characters was a huge motivating factor in my writing the play.

As such, the central relationship of the piece, and indeed of all the pieces to come in the series, is the friendship between two women who make each other better. Its power is meant to be always at the forefront. They support one another, but they also challenge each other, and the combination of those two things is key. Obviously in this relationship the older, more experienced, more free-thinking Mrs. Hawking is the mentor, while the younger, less radical Mary takes on the role of the protege. Mary of course has much to learn from her– but Mary, with the unique position she acquires of the closest person in Mrs. Hawking’s heretofore solitary life, has a great deal to challenge within Mrs. Hawking as well. She provides a different perspective, a reality check, a sanity check, and a tempering force on her mistress’s fire. Particularly when it comes to their personal expressions of feminism.

The nature of this particular aspect of their relationship was first codified in so many words by Brad Smith, the fabulous actor who read for Cedric Brockton in the Bare Bones staged reading. Both characters are intended to be represented as feminists in a spiritual if not technical academic sense, since that term comes along many years after their time period. But as Brad observed, they do embody it in contrasting forms. Mrs. Hawking represents radical while Mary stands for intersectional feminism.

Mrs. Hawking’s form is modeled as a true second-waver– on the vanguard of the challenge to the flawed system, motivated chiefly by anger. Men are the enemy in her mind, to be overcome and escaped rather than educated. And though she helps women who struggle under the patriarchy, she still carries a lot of contempt for anyone she does not see as taking up arms in the gender war, or who is not smart enough to understand just how oppressed they are.

Mary, by contrast, is supposed to represent more of a third-wave perspective, one based on making allies rather than enemies, with a more nuanced approach to gender equality, and a mind to the ways that oppression compounds on those with fewer privileges. She brings compassion and inclusion to the struggle, and she is meant to bring a voice of critique to her mistress’s judgmental elitism.

This clash resides mostly in the realm of metaphor at the moment, for a number of reasons. Firstly because it’s too early in history for either of these ideologies to literally exist in their minds, it’s mostly meant to speak to the audience’s modern perspective. Secondly, I am aware that while Mary does bring some small amount of intersectionality by virtue of her being working class, there is a definite lack of other axes of oppression currently in the story, such as people of other races. I would like to endeavor to fix this in the future, to make this presence of “intersectional feminism” even more meaningful as I tell more stories in this world. But right now I acknowledge it’s a problem.

But the feminist theme is a major one we’ll be exploring. And I like that even as we tell the story of two very strong female characters, they don’t always get feminism right– and that gives a great opportunity to try and figure it out for ourselves.

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Mrs. Hawking’s name

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I chose the title of the play not to name it after the main character, but specifically because it isn’t really her. Her full legal name is Victoria Cornelia Stanton Hawking, and no part of it belongs to her. I had a vague sense of this when I first picked the title of the play, but more I think about it, the more I realize just how completely, tragically true that is.

I’ve been watching a lot of documentaries on Victorian times recently, specifically ones about the queen. She was a fascinating lady, that’s for sure, and the more I learn, the more I think Mrs. Hawking would not care for her. The queen was of German extraction, and was likely the first time an English baby girl was given the name Victoria. If my calculations are correct, our heroine would have been born right around the time the queen was crowned. Her father, Gareth Stanton, was a high-ranking officer in the colonies, and so likely would have patriotically named the girl in her honor. So her given name came from a woman of whom I can’t see her having a high opinion. Meaningless.

Her middle name, Cornelia, I see as being her mother’s name. The woman died young and Victoria has no memory of her. And from everything she heard growing up about what a proper lady she was, Victoria would likely not think much of her either. Meaningless.

Stanton is her father’s surname, a symbol of his power over her when she was young. One of the driving forces behind her push to never be caged or controlled, to subvert the patriarchy and the rule of men, is her unending rage at her father, her eternal desire to get back at him. She had no attachment to his name. Meaningless.

And then there is the name she currently uses, has no choice but to use, that of her husband, Hawking. Her feelings for Reginald Hawking are complex, but she did not love him– she is not, I think, capable of romantic love –and she resented him intensely for the life that his love and marriage pressed her into. And now, even though he is gone, she still has his name, the mark of his will imposed over her identity. The name is a small thing to her, I think, in comparison to everything else, but still, the primary name by which the world knows her is meaningless to her.

I mentioned once that one of my all-time favorite Batman moments was one on Batman Beyond. One of the bad guys tries to make Bruce Wayne think he’s crazy by putting a voice in his head. But he knows it couldn’t possibly be from his own mind, because the voice called him Bruce. He doesn’t call himself Bruce. :-)

But as much as Mrs. Hawking is my Batman, she doesn’t have a superhero “chosen name” sort of thing. So… what does she call herself? If she has so little attachment to her given names, who is she in her own head?

I think I need to ponder this.

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Mrs. Hawking, Act 1, Scene 1, Version 1

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Mrs. Hawking first came into existence on the page on July 20th, 2011, with the writing of a quick draft of the opening scene. Before I’d figured out where it was going or what the story was going to be about, I conceived of how it might begin, with the first meeting of Mary, Nathaniel, and the lady herself.

Below you’ll find the text of that original draft of the scene. See for yourself how it evolved into its current version! As compared to other parts of the story, this scene underwent shockingly little change. And the characters emerged very strongly for me right away, and from that grew the thrust of the whole story.

Mrs. Hawking – Act I, scene i

(NATHANIEL HAWKING, a well-dressed gentleman in his late twenties, is discovered onstage. He sits in a stylish Victorian parlor and appears to be waiting. A large portrait of a man hangs over the mantelpiece. Before long a bell rings, and he leaps up to answer the door. MARY STONE enters, a plainly dressed working-class young woman. She clasps a suitcase and is bundled against the rain.)

NATHANIEL: Ah, Miss Mary Stone, I presume?

MARY: Indeed I am, sir. And you are Mr. Hawking, then?

NATHANIEL: Call me Nathaniel, if you please. I am very pleased to meet you. I trust you have recovered from your voyage?

MARY: Well enough, though the London weather was quite the shock. I shall certainly miss the Indian climate.

NATHANIEL: I am sure. Oh, allow me.

(He places her suitcase aside, then takes her coat and hangs it for her.)

NATHANIEL: I am certainly glad to find you here. Your turning up in London may be the solution to our problem.

MARY: I understand you advertised on behalf of a relative?

NATHANIEL: My aunt Victoria. She was the wife of my dear uncle, the late Colonel Reginald Hawking of the Afghan campaign. Remarkable woman, I’m terribly fond of her, but… she has queer ideas at times. After my uncle’s passing she dismissed all the staff, but I’ve convinced her that she’s in need of someone around the house. It isn’t right for a lady to go on alone in the world. Almost more than the help, I think she could do with the company.

(Enter a lady in her late thirties to early forties, businesslike and stern, MRS. VICTORIA HAWKING. She regards them, then silently approaches until she is just behind NATHANIEL.)

NATHANIEL: But I must warn you, miss, she is not warm to the idea just yet. She’s stiff-necked, you see. Fiercely independent. You mustn’t take offense if she seems… brusque or standoffish to you, she only just hasn’t quite come round to the notion of needing help.

MARY: I quite understand. I know how difficult it can be to begin your life all over again.

MRS. HAWKING: Is that the girl?

(Startled at the sound of her voice, NATHANIEL spins around and, in an effort to keep from running into her, stumbles backwards onto the ground.)

NATHANIEL: Aunt Victoria!

MRS. HAWKING: How you must suffer for me, Nathaniel.

MARY: Oh, let me help, sir.

(MARY helps him to his feet with practiced ease.)

NATHANIEL: Thank you, miss. Auntie, I am only too glad to be of service. Miss Mary Stone, may I introduce you to my dear lady aunt, Mrs. Victoria Hawking?

MARY: A pleasure to make your acquaintance, madam.

MRS. HAWKING: I’m a fair ways off from my dotage yet, Nathaniel. Do you think me so frail that I require a nursemaid?

NATHANIEL: What are you talking about, Aunt Victoria?

MRS. HAWKING: I consented to hiring a house girl, and you’ve brought me a nurse.

NATHANIEL: Aunt, I’ve done nothing of the kind. Miss Stone isn’t a nurse. You always think you know my meaning before I say it, but truly sometimes you decide in haste!

MARY: I am, in fact, I suppose. In a manner of speaking. I nursed my parents through the last months of their illness.

NATHANIEL: Indeed? Ah, well, see, she is an even more capable lady I’d thought.

MARY: May I ask, ma’am, how did you know?

MRS. HAWKING: The practical way you just now lifted my nephew. You’ve done a great deal of helping bodies in and out of bed.

MARY: Oh, my. That’s it precisely.

NATHANIEL: My dear aunt has quite the keen sense of people, you see. Please, sit here and let us get to know one another, shall we?

MRS. HAWKING: At least this one can string two words together. Unlike that last girl. Wherever did you find her, the lobotomy ward at Colney Hatch?

NATHANIEL: Aunt Victoria, please!

MRS. HAWKING: But now you’ve brought me this girl. Your given plain meek unmarried young woman, new and friendless in London, I see. I would not have left India for this dreary place, but I suppose there are circumstances that can’t be helped.

MARY: That’s the truth of it, ma’am. I see you’ve been told something of my history.

MRS. HAWKING: Only by your dress. A lady who wears Indian linen beneath her greatcoat is one who has not long had need for warm clothes. Very well then, if I must have you then I shall see that I get some use out of you. I would hope a woman who’s lived abroad a time would not be a useless fainting flower. Tell me your accomplishments.

MARY: Accomplishments may perhaps be too strong a word, madam. But I have many years’ time keeping house for my family, hold to a budget, cook well and sew capably. I have attended some school so that I can read and write in English and French—

MRS. HAWKING: Enough of that. You are educated, that is well. Can you keep an appointment-book?

MARY: Very well, Mrs. Hawking.

MRS. HAWKING: And have you the good sense God gave you?

MARY: I very much hope so!

MRS. HAWKING: So too I. I can’t abide a woman who forgets her own head on her shoulders. Well, it gives you a leg up on the other dull-witted chits he’s dragged in front of me. Provided you can hold your tongue and keep your own business, I supposed that you shall do for me.

NATHANIEL: So you’ll have her on?

MRS. HAWKING: I suppose I can stand to.

MARY: Thank you very much, madam! I will not disappoint you.

MRS. HAWKING: I may hope.

MARY: When shall I move in my things?

MRS. HAWKING: I beg your pardon?

MARY: I shan’t need much space. And I can wait for your convenience.

MRS. HAWKING: Nathaniel, I said did not want anyone in the house.

MARY: Oh, dear. I was told that this would be a billeted situation.

NATHANIEL: Aunt Victoria, I explained to you that this would be the way of it. Such is Mary’s situation. And may I point out that you have chased all your other options off?

MRS. HAWKING: Ah, very well. Your claims shall be tested straightaway, it seems. I warn you that I am not a sociable creature, Miss Stone. Heed me well and things shall get on. Well, I suppose that settles that. Can you arrive at ten-thirty sharp tomorrow?

MARY: I will not be late.

MRS: HAWKING: Good. It is another thing I cannot abide. Now you may go. Thank you for your assistance, Nathaniel. I have done.

NATHANIEL: Of course, dear aunt. The Colonel would have wanted me to take care of you.

MRS. HAWKING: Bless him for that.

(Stand and exit MRS. HAWKING.)

NATHANIEL: I am very glad she’ll have you, Mary.

MARY: She seems very displeased with the whole matter.

NATHANIEL: Don’t you worry. Compared to what she thought of the others, she seems quite taken with you.

MARY: Oh, my.

NATHANIEL: She’ll come round in time. My aunt has always been of odd habits, but she’s become… withdrawn of late. I worry for her should she continue on this way. I think you may be precisely what she needs.

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Mrs. Hawking, scenes 1.5 and 1.6, version 1, which become 1.4 and 1.5

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Of course I'm always afraid of making the thing too talky. You be the judge, I guess.

Scene 5

(Back in MRS. HAWKING’s parlor. MRS. HAWKING stands at a table regarding a spread of papers. MARY enters with a tea tray. She stops short for a moment when she sees MRS. HAWKING, then approaches cautiously. MRS. HAWKING doesn’t look up.)

MARY: Afternoon tea, madam.

MRS. HAWKING: Thank you.

(MARY looks for a place to lay the tea tray down and finds no room among the papers. She dithers for a moment before MRS. HAWKING notices her dilemma. She moves some of the papers to make a place for MARY to set it down. The two women look at each other warily. Finally MRS. HAWKING sighs.)

MRS. HAWKING: Let’s have no more of this dancing around one another. I’d have your intentions, if you please.

MARY: Forgive me, my intentions?

MRS. HAWKING: You know my business now. And you know it’s something I could land in a great deal of trouble should that knowledge come into the wrong hands. You’ve nearly as much to hold over my head as Brockton does over Mrs. Fairmont. And you must be aware this is not something I’ll allow to come out.

MARY: Mrs. Hawking…

MRS. HAWKING: So enough of this dithering. What do you want from me, Mary?

MARY: Madam… I want to help.

MRS. HAWKING: I beg your pardon?

MARY: I want to help you in your work. If I understand, what you do… what you’re doing for Mrs. Fairmont… it’s heroic. It’s the best thing I ever heard anyone do.

MRS. HAWKING: You’ve a great deal of empathy for the tribulations of a woman privileged beyond anything you’re ever like to know.

MARY: But it’s not only the society women you’ve helped, is it? I heard what Mrs. Fairmont said. The washerwomen and the scullery maids and the house girls too. Women precisely like me, who have nowhere else to turn. No one needs a hero more.

MRS. HAWKING: You’ve no idea how dangerous it can be.

MARY: I don’t care. I can be brave if the circumstance calls for it.

MRS. HAWKING: So I’ve seen. But it isn’t only risk to life and limb, Miss Stone. What I do… is unacceptable in the eyes of the public. If such effort should fail, or so much as be discovered… I assure you, we shall come to envy the painted birds in parlor cages. And any hope of decent reputation shall be dashed forever.

MARY: I understand that! Madam… I have lived a respectable life where I have done what was expected of me. For my first twenty years, I did nothing with myself except keep house for an absent father and an unwell mother. All because they were too preoccupied to find some suitable man to whom they could marry me off before they passed away. And when they passed, and I had nothing more left… I realized how little that was. How little that was to make a life. Can you… can you imagine what that’s like?

MRS. HAWKING: I can. As a matter of fact.

MARY: What you are doing for Mrs. Fairmont, and have done for so many others… that means something to so many lives. And… there’s no amount of money or status in the world that can change how it must feel to have your child taken away from you. That is something that no mother should bear. If there is any way I can act in the service of preventing it… more than anything, that means something. And that is what I would like to do.

MRS. HAWKING: I am accustomed to working alone.

MARY: I know. You’ve had no other choice. But… as I said before. Everyone has need of help sometime. I can be your help. I told you once, I can be brave, and I have a strong back and the good sense God gave me. Please… let me help you.

(MRS. HAWKING regards her for a long time.)

MRS. HAWKING: Good heavens. I must be losing my mind.

MARY: So… we shall give it a go, then?

MRS. HAWKING: God help us. All right, brave girl. All right.

MARY: Oh, thank you. Thank you, madam! I swear, I will not disappoint you.

MRS. HAWKING: Very well. I grant you have not yet. Come here, see what I have been pondering.

(MARY goes to look at the papers on the table.)

MARY: Are you at work on the case at present?

MRS. HAWKING: Indeed. Contemplating how best to overcome the myriad challenges presented by Mrs. Fairmont’s predicament.

(She throws open a small box. MARY is slightly surprised to see several slim silver knives. MRS. HAWKING takes one of the box and shows it to her.)

MRS. HAWKING: Challenge the first—

MARY: The safety of the child.

MRS. HAWKING: True. To rescue the boy from the villain’s clutches.

(She sticks the knife into the mantle piece. Then she takes out another knife.)

MRS. HAWKING: Challenge the second—

MARY: The security of her reputation.

MRS. HAWKING: —To prevent the knowledge of the child’s existence from reaching the public.

(She sticks the second knife in beside the first. Out comes a third.)

MRS. HAWKING: And finally, challenge the third…

(MARY furrows her brow in thought, then shakes her head.)

MARY: I’m sorry, I don’t know the third.

MRS. HAWKING: That would be the opponent himself. Lord Cedric Brockton is no petty threat.

(She stabs the third knife into the mantle.)

MARY: You seem to know a great deal about this man. How did you come to encounter him?

MRS. HAWKING: Mrs. Fairmont is not the first client of mine to run afoul of him, and I may claim the rare standing of having thwarted him a time or two. But he’s seen no justice for it yet; the man conceals the traces of his enterprise as well as any man I’ve tangled with, such that the police shall never touch him.

MARY: So there is the third challenge. To put paid to his machinations once and for all.

MRS. HAWKING: Precisely, Miss Stone.

(She toys with the third stuck knife.)

MARY: So what is your plan of action? How can I assist?

MRS. HAWKING: There is the trouble, then. I am… uncertain how to proceed here.

MARY: Have you never encountered this sort of case in the past?

MRS. HAWKING: Oh, I’ve returned a missing child or two in my time, but in this instance my usual methods have not served. My thought had been to trace his lackeys back to where they were keeping the boy, but I have been trailing them for days and seen no sign.

MARY: What does that mean?

MRS. HAWKING: I can only conclude that the child has not been placed into the keeping of his hired toughs. Beyond that, I have no data.

MARY: Therefore… we find must find a way to gather some. Do we not?

MRS. HAWKING: We can make no forward progress otherwise.

(They sit in silence for a moment, thinking. Finally MARY is struck with an idea.)

MARY: Madam… if I may suggest…

MRS. HAWKING: Yes?

MARY: What was it that Mrs. Fairmont said, about… about Lord Brockton hosting a ball?

MRS. HAWKING: Yes, some society nonsense in celebration of yet another victory for the Empire. My husband devoted his whole damn life to winning it, and yet they keep on.

MARY: Will his lordship be hosting it at his home?

MRS. HAWKING: I believe so.

MARY: Perhaps that’s the way to gather intelligence.

MRS. HAWKING: By attending that ball?

MARY: It’s a way into his house. There— there might be something useful to discover there!

MRS. HAWKING: Surely he is not keeping the boy in his own house.

MARY: No, not if he’s as circumspect as you say. But there may be something, some bit sliver of a secret that the lion is hiding in his den.

(MRS. HAWKING regards her critically.)

MARY: If we’ve no other lead, then at least it’s a place to begin.

(MRS. HAWKING thinks for a moment, then nods.)

MRS. HAWKING: Yes. There is logic to it. Surely there must be something he would desire to keep close, and under his own oversight. Very well, miss, it is indeed a place to begin.

MARY: So you shall go to Lord Brockton’s ball?

MRS. HAWKING: I shall. Now, we must prepare, we haven’t much time and there are things to be done. My instruments must be packed, and I must secure the proper invitation. I have been out of the roar of things for some time now, but I daresay the Hawking name still holds sufficient sway. And of course we shall have to see about acquiring you a suitable gown on scant notice.

MARY: A gown? For me?

MRS. HAWKING: We shall be quite conspicuous if we do not don the costume of the venue.

MARY: I… I may come along with you?

MRS. HAWKING: It was your notion, Miss Stone. And you insist you wish to help.

MARY: But shan’t it be an affair for high society?

MRS. HAWKING: You shall quickly learn, child, if you are to ply this trade for long you must master the art of disguising yourself as something you are not. For you, it shall be as high society. For me, it shall be as a creature that can bear to spend the evening in whalebone stays. Besides, when it comes to facades one must put on, society is a common one. I imagine you shall manage it no worse than most.

(MRS. HAWKING pulls the final knife from the wall and twists it in her hands as she exits. MARY touches the remaining knives, an expression of mixed apprehension and excitement on her face.)

Scene 6

(Several elegantly dressed ball guests enter and walk around the stage, mingling and talking. After a moment, enter MRS. HAWKING and MARY from opposite sides of the stage. They wear fancy gowns and both are quite transformed. They scan the room for a moment, and then when they see each other they hurry over to one another. As they speak, a crowd of party guests gather around them.)

MRS. HAWKING: There you are. I’ve observed the lay of the house and I believe I’ve found the place to look. There is a locked study on the second floor from which the valet keeps chasing away the guests. If Brockton keeps sensitive material in this house, that will be the place, though I’ve not yet had a chance to search it. Not until I know where Brockton is lurking.

(MARY tosses uncomfortable looks over her shoulder behind her.)

MRS. HAWKING: Are you quite all right?

MARY: That gentleman over there is staring at me.

MRS. HAWKING: Yes, I’m sure he is.

MARY: Why does he do that? Can he tell I don’t belong?

MRS. HAWKING: I imagine, Miss Stone, it is because we have dressed you in entirely too becoming a gown.

MARY: Oh! Well, I have never worn anything so grand.

MRS. HAWKING: It suits you, I’m afraid, which has naturally rendered you public property. Fortunately, I have been able to turn this distasteful consequence to our advantage.

MARY: How so?

MRS. HAWKING: When I observed how many were murmuring about the mysterious and lovely young woman no one seemed to recognize, I spread a few choice whispers about her circumstances and station.

MARY: About me? What sort of whispers?

MRS. HAWKING: I may have given them the impression you were a niece of the viceroy of India, sent home to escape a scandal with a prominent soldier.

MARY: Me? But I am no— why?

MRS. HAWKING: To catch a beast, we must set out some bait.

MARY: I am your bait? To what end?

MRS. HAWKING: He is a blackmailer, Mary. He is always interested in persons with secrets. My aim is for him to seek out the young woman everyone is murmuring about and attempt to discern whether he can make a target of her. And while you are occupying him, I shall take advantage of his absence.

MARY: I don’t know how to behave like the niece of the viceroy! He’ll see right through me!

MRS. HAWKING: See that he doesn’t. You were raised in India, make use of your experience. Now, listen to me closely. Before long Brockton will approach you and sound you out for his wicked purpose. Meanwhile I shall infiltrate the upstairs study. I must entreat you to keep him engaged for as long as you possibly can to prevent him from discovering me. I can elude the servants with ease but the master will be more wary than any.

MARY: But madam—

MRS. HAWKING: You expressed a desire to be of service, Miss Stone.

MARY: Ah— yes. Yes, very well. I shall do my best.

MRS. HAWKING: Good girl. One last detail— did you manage to secret away the valise?

MARY: Yes, in the cloakroom beneath the grand staircase.

MRS. HAWKING: Excellent. I shall need my tools before confronting the study. Now I must make myself scarce. It is imperative that Brockton not observe us to be speaking together.

MARY: Good— good luck, madam.

MRS. HAWKING: To you as well.

(Looking around unobtrusively to see if the coast is clear, MRS. HAWKING walks off and exits. MARY, now left alone, shifts nervously at first. She then awkwardly attempts to affect the carriage of what she imagines is the mysterious, high-class niece of a viceroy. She starts to commit to it, smiling and even voguing a little for those who look her over.)

(As she does this, enter LORD CEDRIC BROCKTON, middle-aged, handsome, impeccably dressed. He spots MARY almost immediately. He makes his way over to her through his crowd of guests, shaking hands and touching shoulders in a charming manner. Before long he comes up directly behind her with an ingratiating smile.)

LORD BROCKTON: I don’t believe we’ve met.

(MARY jumps a little, startled, but collects herself quickly back into her new persona.)

MARY: Oh? Ought we to?

LORD BROCKTON: Allow me to introduce myself. I am Lord Cedric Brockton, and I would like to personally welcome you to my party.

MARY: Why, this is your house? Oh, it’s a— dear little place.

LORD BROCKTON: I am glad you like it. You must know, miss, that everyone is buzzing about you and no one seems to know your name.

MARY: Ah… my uncle calls me Tigerlily.

LORD BROCKTON: How very charming. Have you been long in London?

MARY: Oh, no. No time at all. Only long enough to learn that London is so dreadfully dreary and dull. I haven’t the faintest idea how you tolerate all this fog.

(She takes a quick look around the room for MRS. HAWKING but she is not there.)

LORD BROCKTON: It is dreary, indeed. Certainly not as… temperate and exciting as life on the subcontinent.

MARY: Good heavens, you’ve no idea! Why, back home, if I so chose, I could ride to finishing school on the back of an elephant!

LORD BROCKTON: Well, we’ve certainly nothing like that here. So, tell me, miss, whatever could you draw you away from all that?

(MARY waves her hands dramatically, trying to think.)

MARY: Oh, well, you know how things are… uncle dear thought it was best for me to go away for a while… he feared I was becoming too popular with some of his, well…

LORD BROCKTON: Soldiers, miss?

(She affects a carriage of indignation.)

MARY: My lord! What kind of lady do you take me for? Fraternizing with enlisted men?

(She pauses dramatically, then grins.)

MARY: They were all officers!

(They burst out laughing together, BROCKTON with the opportunity and MARY with a manic shock that she is pulling it off. Over his shoulder, she spies MRS. HAWKING reenter.)

MARY: Oh, but I’ve said too much! Uncle John would be furious with me. You must excuse me, Lord Cedric, we shall talk again soon. Lovely party you’ve thrown!

LORD BROCKTON: I shall look forward to it!

(She turns and leaves, trying not to dash off. BROCKTON watches her go for a moment. Then he turns around, a smug smile on his face, and spots MRS. HAWKING. He laughs.)

LORD BROCKTON: Why, fancy that. You’re in attendance this evening.

(He approaches her. She tenses almost imperceptibly a moment, then turns to face him with an expression of polite friendliness.)

MRS. HAWKING: You know me, sir?

LORD BROCKTON: Oh, my yes. We’ve never had occasion to meet, but I am certainly aware of Mrs. Colonel Reginald Prescott Hawking. Oh, but forgive me my manners— allow me to formally introduce myself.

(He bows elegantly, the extends a hand to her. With only the barest hint of her distaste, MRS. HAWKING smiles thinly and places her hand in his. He kisses it gallantly.)

MRS. HAWKING: Of course, Lord Cedric, clerk to the undersecretary and our gracious host.

LORD BROCKTON: It’s been some time since you’ve made an appearance in society.

MRS. HAWKING: Haven’t you heard? My husband died, I’ve been in mourning.

LORD BROCKTON: Of course. His passing was a great loss to the empire. And you’ve chosen this time to reemerge. Remarkable.

MRS. HAWKING: Some would say it was time.

LORD BROCKTON: To be sure. You’ve grown something of a reputation for reclusion. It is then also remarkable that the notoriously withdrawn wife of the late colonel should develop associations with no fewer than three ladies with whom I have had business in the last several years.

(MRS. HAWKING stares at him hard.)

LORD BROCKTON: I make a point of observing such things, Mrs. Hawking. Particularly when there is a discernible pattern of the enterprises in question going awry. When such a thing occurs, I take pains to learn why.

MRS. HAWKING: Perhaps you have made a wrong move.

LORD BROCKTON: Perhaps you have, madam. For your own wellbeing, I advise you to make no more.

(He bows to her politely.)

LORD BROCKTON: I am glad to have finally made your acquaintance, Mrs. Hawking. Do enjoy the rest of the party.

(He strolls off through the crowd again, engaging magnanimously with his guests. MRS. HAWKING stands very still, her face stern. After a moment MARY reenters and, seeing MRS. HAWKING is alone, approaches her with caution.)

MARY: Madam? Did you find anything?

MRS. HAWKING: Not now. We must not be seen speaking.

(MRS. HAWKING presses a sovereign into her hand.)

MRS. HAWKING: Hire a handsome and meet me at home, we shall talk then. Things have become more complicated.

(She hurries away. MARY looks at the coin in her hand, then glances after MRS. HAWKING. Then she exits herself.)

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