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Female
Transport
by Steve Gooch
A Samuel French Acting Edition
samuelfrench.com
Copyright © 1974 by Steve Gooch
ALL RIGHTS RESERVED
CAUTION: Professionals and amateurs are hereby warned that
FEMALE TRANSPORT is subject to a Licensing Fee. It is fully protected under the copyright laws of the United States of America, the
British Commonwealth, including Canada, and all other countries
of the Copyright Union. All rights, including professional, amateur, motion picture, recitation, lecturing, public reading, radio
broadcasting, television and the rights of translation into foreign
languages are strictly reserved. In its present form the play is dedicated to the reading public only.
The amateur live stage performance rights to FEMALE TRANSPORT are controlled exclusively by Samuel French, Inc., and
licensing arrangements and performance licenses must be secured
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Licensing Fees are set upon application in accordance with your producing circumstances. When applying for a licensing quotation and
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Particular emphasis is laid on the question of amateur or professional readings, permission and terms for which must be secured in
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Copying from this book in whole or in part is strictly forbidden by
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Due authorship credit must be given on all programs, printing
and advertising for the play.
ISBN
978-0-573-69185-0
Printed
in
U.S.A.
#8151
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lJ:>Iay_ may be impaired.
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of P!Oduction.
Ipurpose
Publication of this play does not imply availability for
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IMPORTANT BILLING AND CREDIT
REQUIREMENTS
All producers of FEMALE TRANSPORT must give
credit to the Author of the Play in all programs
distributed in connection with performances of the
Play and in all instances in which the title of the
Play appears for purposes of advertising, publicizing
or otherwise exploiting the Play and/or a
production. The name of the Author must also
appear on a separate line, on which no other name
appears, immediately following the title, and must
appear in size of type not less than fifty percent the
size of the title type.
FEMALE TRANSPORT was given its premiere at
the Half Moon Theatre, London, on 15 November
1973. Directed by Ron Daniels, designed by
Andy Montag, it had the following cast:
WINNIE ............................. Ann Holloway
MADGE .......... .................... Yvonne Gilan
NANCE .............................. Kate Crutchley
PI TTY ............................. Anthea Meadows
SARAH . ................................... June Page
CHARLOTTE ...................... Aviva Goldkom
lDMMY ................................ Billy Colvill
SARGE ................................ Charles Cork
CAPTAIN ............................ Michael Irving
SURGEON ............................... Alan David
AUTHOR'S NOTE
Female Transport was given its first
performance at the Half Moon Theatre, a 100seater community theatre in Alie Street, London
El. The Half Moon isn't a rich theatre and,
because of its size and shape, it has its own
"scruffy" intimate atmosphere. It is also a totally
flexible auditorium, so the play was performed as
near in-the-round as was possible, with the
audience on three long sides. The "above-deck"
scenes were played literally above the audience on
a platform ten feet over their heads. Although it
should be possible to produce the play anywhere
this kind of environmental staging in the kind of
auditorium and atmosphere described above is
particularly well-suited to the play.
Also, it is not a literary piece but primarily a
verbal or oral one. It would be essential therefore
for a production to attempt to capture the accent
and syntax of a working-class dialect. For the
same reason it is desirable for the performers to be
more than just familiar with the same oral style.
Apart from this, as is obvious from the text, the
play should be particularly well-suited to
companies well-versed in group theatre and the
performance of new texts to community
audiences.
Any book of Australian folk songs will give
music suitable for the songs in this play.
A cell.
Two large beds, a stove, two buckets.
(WINNIE, NANCE, MADGE, PITTY, CHARLOTTE and
SARAH come on, in chains. Outside the cell they sing
"Botany Bay.")*
GIRLS.
FAREWELL TO OLD ENGLAND FOR EVER
FAREWELL TO MY RUM CALLS AS WELL
FAREWELL TO THE WELL-KNOWN OLD BAILEY
WHERE I USED TO CUT SUCH A SWELL.
THERE'S THE CAPTAIN AS IS OUR COMMANDER
THERE'S THE SURGEON AND ALL THE SHIP'S
CREW
NOT THE FIRST BUT THE SECOND-CLASS
PASSENGERS
KNOWS WHAT WE POOR CONVICTS GO THROUGH
T AIN'T LEAVING OLD ENGLAND WE CARE ABOUT
T AIN'T COS WE MIS-SPELLS WHAT WE KNOWS
BUT BECAUSE ALL WE LIGHT-FINGERED GENTRY
HOPS AROUND WITH A LOG ON OUR TOES.
FOR FOURTEEN LONG YEARS I AM SENTENCED
FOR FOURTEEN LONG YEARS AND ADA Y
FOR MEETING A BLOKE IN THE AREA
*seep. 95 for music.
7
8
FEMALE TRANSPORT
AND SNEAKING HIS TICKER AWAY.
OH HAD I THE WINGS OF A TURTLE-DOVE
I'D SOAR ON MY PINIONS SO HIGH
SLAP BANG TO THE ARMS OF MY POLLY LOVE
AND IN HER SWEET PRESENCE I'D DIE.
(SARGE and TOMMY come on. They let the girls into
the cell. Each of them has a small bag of personal
belongings.)
WINNIE. Spacious, en it.
SARGE. No talkin'!
NANCE. Better'n Newgate, darlin'.
SARGE. You 'eard me!
NANCE. Sod off.
(SARGE pins NANCE to the wall with a baton against her
throat. NANCE kicks. SARGE dodges. CHARLOTTE
starts a chant. The other girls join in.)
CHARLOTTE. Oil Oil Oil Oil Oi!
(Etcetera, until SARGE, releasing NANCE, says:)
SARGE. ALL RIGHT!
(The girls fall silent. NANCE holds her throat.)
SARGE. I ain' avin' that.
CHARLOTTE. An' we ain' 'avin' that
NANCE. (Taking out a hairpin.) Try that again, I'll
ram this up yer cock.
SARGE. I'll 'ave that. (He holds out his hand.)
NANCE. Get stuffed.
FEMALE TRANSPORT
9
SARGE. I'll remember you two.
CHARLOTTE. You do that
SARGE. You first
(He goes to chain NANCE up. She doesn't cooperate.)
SARGE. It's got a be done.
CHARLOTTE. Go on, girl.
(NANCE acquiesces. SARGE chains her up. TOMMY
chains up WINNIE.)
WINNIE. All mod cons, I see.
CHARLOTTE. Least they don't pin yer legs t'gether.
WINNIE. They did my brother. Shufflin' Wonder they
called 'im.
SARAH. Your brother was Jesus fuckin' Christ.
WINNIE. One a the first out, my brother.
CHARLOTTE. Jus' means 'e got caught sooner.
(SARGE and TOMMY move on to MADGE and
SARAH.)
WINNIE. Knight a the road 'e was. Worked the
'ighways. Kep' the 'ole fam'ly, good as. We all looked up
to 'im. Never went without when 'e was 'orne. A real gent.
Taught me shopliftin'. Took me down the market one
Saturday, made me put this big skirt on. I was only six.
People kep' lookin' at me. 'Ah, en she sweet,' they said.
I'ad enough fresh fruit up me knickers t'feed the family a
fortnight
SARAH. You an' your fam'ly.
WINNIE. Jus' cos you never 'ad one.
10
FEMALE TRANSPORT
(SARGE and TOMMY move on to PITTY and
CHARLOTTE.)
PITTY. Please, I don' wan' a go.
SARGE. No good tellin' me, darlin'.
SARAH. 'Oo is she?
PITTY. I'm ill.
CHARLOlTE. Yer always get one.
SARAH. Whass the matter with 'er?
WINNIE. God knows.
PITTY. I'll die on the journey!
NANCE. You won't be the only one, darlin'.
PITTY. It's a mistake.
CHARLOTTE. We all say that, sweet'eart.
SARAH. Be a right drag with 'er.
CHARLOTTE. Can't we get rid of 'er?
MADGE. 'Old your noise!
PITTY. I told 'em I weren't well.
MADGE. I'll see yer're all right, love. (She puts her
hand on PITTY' s shoulder.)
WINNIE. Watch 'er!
(PITTY whimpers and buries her head in MADGE's lap.)
SARAH. Too late.
CHARLOTfE. Fast mover, en't yer.
MADGE. Mind yer own.
SARGE. Anythin' else yer need, ask the lad. Tommy's
'is name.
SARAH. Nice.
WINNIE. You've embarrassed 'im.
(SARGE and TOMMY go. Pause.)
WINNIE. Stuffy, en it.
FEMALE 'IRANSPORT
11
NANCE. Wait till we been at sea a few weeks. More'n
a 'undred of us in this tub. Place'll stink like a fuckin'
bull-market
CHARLOTIE. Cow-market.
MAOOE. And you.
NANCE. (Pause.) Cou'nt believe it on the coach from
the 'Ulks. Fresh air so pure I cou'nt smell it. Cou'nt
appreciate it.
WINNIE. (Long pause.) Quiet, en it.
SARAH. Gives yer the creeps.
SARAH. (Pause.) 'Ow long's it take?
WINNIE. Six months.
SARAH. Christ.
WINNIE. 'Undred an' flfty-one days the fastest so far.
CHARLOTIE. W alkin' lexicon, this one.
WINNIE. I made a study when me brother got sent.
MADGE. They keep these on yer all the time? (The
chains.)
WINNIE. Depends if yer're good.
SARAH. I'm good.
CHARLOTIE. Fer a night.
SARAH. Thass more'n some.
NANCE. They're goin • a wan' proof a goodness.
WINNIE. 'S why women's ships take longest Time all
the guards get up all the prisoners.
SARAH. They do that?
WINNIE. Can't see 'em no tryin'.
CHARLOTIE. (Pause.) We get let out at all?
WINNIE. Reg'lar exercise. It's stip'lated.
NANCE. 'Ow often?
WINNIE. Twice a day's been known.
NANCE. Better'n on land.
WINNIE. This is tougher though.
MAOOE. Anyone get seasick?
12
FEMALE TRANSPORT
(No one knows.)
MADGE. Find out soon enough.
CHARLOTTE. Don't wan' 'Eart's Delight pukin' in
yer lap, do yer.
MADGE. Why don't you stop pretendin' an' shove
your evil tongue up your pretty girl friend's 'ole.
(Dead silence. CHARLOITE gets up and goes as far as her
chains will allow. She can't reach MADGE, who evades
her.)
CHARLOTTE. I'll 'ave your eyes out.
MAOOE. (Ironic, clawing like a cat.) Rrrr!
NANCE. 'Ow is she?
(MADE shrugs. Pause.)
WINNIE. Whass that thing yer get when the water's
hrl?
NANCE. Typhus.
WINNIE. Yer get that sometimes. Dysentery. Smallpox. Run through the 'ole ship.
SARAH. Cheerful, en 't she.
WINNIE. It's better now they got medicals.
SARAH. I ain' 'ad no medical.
MAOOE. None of us did.
NANCE. We better 'ad then, 'adn't we.
CHARLOTfE. Goin' a twist their arm, are yer?
FEMALE TRANSPORT
13
Scene 2
The CAPTAIN, at the table, talks to the SURGEON.
CAPTAIN. Will you come or not?
SURGEON. That depends what you pay.
CAPTAIN. Fifty for the journey. Ten every month over
six we're at sea.
SURGEON. I'm afraid that won't do.
CAPTAIN. It does the Navy.
SURGEON. I'm no longer with the Navy. I resigned
my commission after my last tour of duty.
CAPTAIN. Why d'you want to come then?
SURGEON. It's not a question of wanting. As a
freelance without friends in the Admiralty or the Medical
Association one has to shift for oneself. Admirals' sons
don't do this kind of work.
CAPTAIN. Look, I've got a makeshift crew, a rabble of
mercenaries for a guard, no surgeon, and two days before
we sail.
SURGEON. I'm afraid that's your problem.
CAPTAIN. Why wouldn't the other bloke come?
SURGEON. He hasn't been paid for his last voyage.
He's written to the Navy Board three times but there's been
no answer. Once he's at sea he won't be able to collect for
another year. If he dies at sea the Board saves a large debt.
He's staying in England till they cough up.
CAPTAIN. Can't they force him?
SURGEON. They're not really interested. In peacetime
the Navy has a surplus of surgeons. It's hard to find a use
for them and their market value is low. So just as the
Government is dumping its surplus criminality in New
South Wales now America's no longer available, so the
Navy's dumping its surplus medical expertise on the ships
14
FEMALE TRANSPORT
that take it there. The Transport Service has been getting
us on the cheap.
CAPTAIN. I'm not supposed to sail without a surgeon.
SURGEON. No one'll cry if you don't
CAPTAIN. I can't offer you any more. I'll be lucky if I
cover my costs.
SURGEON. I don't believe that.
CAPTAIN. I've got to make on this trip myself, you
know! They've also been getting me on the cheap. That's
why they prefer old boats. Till there's a disaster or a
scandal. What are you asking?
SURGEON. A hundred for the voyage. Twenty every
month over six.
CAPTAIN. Not on.
SURGEON. I've drawn up a contract (He takes it out.)
Complete authority in all matters concerning prisoners'
health and well being. Proper living quarters, sleeping,
washing and cleaning facilities. Good clothing and
ventilation. Full and healthy diet. No excessive
punishment. Full medical supplies and equipment.
Seniority over the Captain of the Guard.
CAPTAIN. Sergeant.
SURGEON. I'm sorry?
CAPTAIN. Sergeant of the Guard. We couldn't get an
officer.
SURGEON. I'll change that. (He writes.)
CAPTAIN. I can't pay what you ask.
SURGEON. Women are harder work, you know.
CAPTAIN. I dare say. Will you look them over before
you go?
SURGEON. How many are there?
CAPTAIN. A hundred and three.
SURGEON. My fee would be five pounds.
CAPTAIN. I'll show you where they live.
FEMALE 'IRANSPORT
15
Scene 3
The cell.
WINNIE, MADGE, PITTY, CHARLOTTE NANCE and
SARAH.
SARAH. 'Ere, Charlotte, 'oo's she remind yer of?
CHARLOTTE. 'Oo?
SARAH. Wiltin' Petal there.
CHARLOTTE. No?
SARAH. Look then!
CHARLOTTE. I'm lookin.
SARAH. The nose.
CHARLOTTE. I can see the nose.
SARAH. Comes on, sticks out a mile.
CHARLOTTE. I can see that
PIITY. Don't please.
NANCE. Ol' Pitty?
SARAH. She guessed it!
PIITY. Please.
WINNIE. I don't get it.
NANCE. She looks like Pitt.
WINNIE. 'Oo's 'e?
CHARLOTTE. Prime Minister.
NANCE. Not any more 'e ain't. It's the Duke a
Portland now.
WINNIE. Nah, thass the name a the men's ship. I seen
it tied up aside our'n.
CHARLOTTE. The ship, my darlin', is named after the
Prime Minister.
WINNIE.Oh.
SARAH. 'Ere, what 'appens if the blokes' ship ain't
big enough fer all of 'em?
16
FEMALE TRANSPORT
CHARLOTTE. Fit a couple in 'ere. (She pats the bed
under her slcirt.)
SARAH. Where? Under there? (She lifts
CHARL01TE' s skirt.) Less 'ave a look!
CHARLOTTE. Get off!
PITIY. YOU BITCHES! BITCHES!
CHARLOTTE. (Pause.) Now, now, Pitty.
MADGE. They called 'er that on the 'Ulks. Count of
'er nose. Said she was Pitt's bastard daughter, the cows.
Never bothered with 'er real name.
PITIY. KATHLEEN.
MADGE. All right, Kathleen.
NANCE. (Pause.) I 'eard we was goin' direct
SARAH. Whass that?
NANCE. Not stoppin' nowhere.
CHARLOTI'E. Long way without a piss-call.
WINNIE. We'll get scurvy.
SARAH. Whass that?
WINNIE. Y er teeth drop out
SARAH. Jus' like that?
WINNIE. No fresh veg if yer don't stop. They'll
probably give us somethin'. Lemon tea with sugar.
SARAH. I don't take sugar.
NANCE. Yer will now.
CHARLOTTE. You tell in' 'er?
SARAH. Soun's nice though, lemon tea with sugar.
CHARLOTI'E. Every day fer six months?
SARAH. Some things you got a accep'.
NANCE. Not in 'ere darlin'. Don' accep' nothin'.
CHARLOTI'E. Like not seein' a man fer six months.
Fer some of us thass an 'ardship.
MADGE. Whass that supposed t' mean?
CHARLOTI'E. You're usin' that girl.
MADGE. (To PI1TY.) Am I usin' you. darlin'?
FEMALE 1RANSPORT
17
(PIITY, in MADGE's lap, sticks her thumb in her
mouth.)
MADGE. Anyone think yer'd never seen it before.
NANCE. Start acceptin' now, we'll be middle aged
before we're thirty.
WINNIE. Go mad if yer fret all the time, Nance.
NANCE. Go sane more like. Thass what they're
frightened of.
(SARGE and SURGEON appear outside the cell.)
SARGE. Medical examination!
CHARLOTTE. Knickers down, girls!
(The men come into the cell.)
SURGEON. That won't be necessary.
NANCE. Bloody well ought a be. 'Alf of 'em on this
ship's.riddled with clap. I ain' gettin' it without a reason.
SURGEON. One seldom does. (To WINNIE.) Open
please.
(The examination consists of examining eyes and mouth,
feeling forehead, neck and underarm glands, joints of
arms.)
SURGEON. Are you healthy?
WINNIE. Eh? (She realizes.) Oh. Yeh.
CHARLOTTE. Sound 'er chest then.
SURGEON. It's not necessary.
CHARLOTTE. She might be bronchitic.
.
SURGEON. She isn't. (He goes on to PIIIY.) Open
please.
CHARLOTTE. That all it is?
18
FEMALE TRANSPORT
WINNIE. Disappointed?
CHARLOTTE. Whass 'e testin' for, common cold?
SURGEON. Sergeant, shut that woman up please.
CHARLOTTE. En 'e lovely when 'e's strict!
SARGE. Button it!
CHARLOTfE. rn stitch it up fer sixpence.
(They laugh.)
SARAH. What 'appens if yer find somethin' wrong,
doctor'?
SURGEON. You don't go.
CHARLOTTE. She don' wan' a go. (She indicates
PITTY.)
SURGEON. (To PITTY.) Open your shirt please.
(PITTY, scared, rigid, doesn't move.)
CHARLOTTE. Oi, favouritism!
WINNIE. I didn't get that
SURGEON. It's for your own good.
(PITTY undoes her shirt.)
SURGEON. Breathe in deeply. Out. That's it. (He
sounds her chest.) Do your shirt up. Open your mouth
again. (He sticks a thermometer in it and goes on to
MADGE.)
WINNIE. You our ship's doctor?
SURGEON. No.
WINNIE. 'Oo is then?
SURGEON. I don't know. I've only been asked to carry
out the pre-voyage examination.
SARAH. We got a doctor?
SURGEON. I don't think so.
FEMALE TRANSPORT
19
CHARLOTTE. Would you come if they asked yer?
SURGEON. They didn't ask me.
WINNIE. Why en 't yer com in' then?
SARGE. Let the man do 'is job, girls.
CHARLOTTE. Do it 'ere any time.
MADGE. Why en't yer comin'?
SURGEON. (To MADGE.) How old are you?
MADGE. Forty-three.
SURGEON. Healthy?
MADGE. Yes.
SURGEON. (Moves on to NANCE.) Open please.
NANCE. They asked you a question.
SURGEON. Open please.
NANCE. Why en 't yer comin '?
SURGEON. If you must know, it's because these aren't
convict-ships, they're warships. The Government declared
war on rebellion in America and its bursting jails by
investing in a new colony of thieves-not all of them in
chains. After all, no one strands himself six months from
civilization without a fight or a bribe. So aggression
becomes profit and the war spreads. You're being pushed;
your ship's captains, guards, and surgeons are being paid.
And so the war goes on. The captains hurrying their
cargoes to collect their fees; the guards bullying the cargoes
into order; the surgeons botching them into health. Youthe cargoes--rebel and are confined, flogged and starved for
your trouble. The surgeon patches. Caught in the crossfire
of a war without reason you can't expect humanity. It's
also underpaid and I'm a poor sailor (He takes the
thermometer from P/17Y' s mouth, looks at it, then
returns to NANCE.) Open please.
(NANCE opens.)
CHARLOTTE. Why yer doin' this then?
20
FEMALE TRANSPORT
SURGEON. One seriously sick person aboard a ship
before it sails can mean heavy mortalities during the
voyage. They also agreed my fee.
NANCE. What we doin' for a doctor then?
SURGEON. There's a small cupboard in the crew's
quarters with a large red cross on it If your captain fmds no
one between now and the time you sail, that will be your
doctor. (He moves on to CHARLOTTE.) Open please.
CHARLOTTE. My legs or me shirt?
SURGEON. Open please. (He
examines
CHARLOTTE.)
SARAH. We got a 'ave a doctor though!
SURGEON. It's not insisted on.
WINNIE. Makes yer sick.
SURGEON. Are you healthy?
CHARLOTTE. Why, you got somethin' in mind?
SURGEON. Answer me.
CHARLOTTE. What do you think?
SURGEON. (Moves on to SARAH.) Open please.
CHARLOTTE. That all I get?
WINNIE. What about 'er? (She indicates PITIT.)
SURGEON. She's sound enough physically.
NANCE. An' what else?
SURGEON. (To SARAH.) Open your shirt please.
(SARAH does so.)
SURGEON. Breathe deeply. In. Out. (He sounds her
chest.) Thank you. Are you healthy?
SARAH. Yes.
SURGEON. Sergeant.
(SARGE opens the door. The two men go.)
WINNIE. I could go for 'im.
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