Black Mary and Gunjes

Black Mary &

Gunjies Two plays by Julie Janson

Aboriginal Studies Press 1996

FIRST PUBLISHED I N 1996 BYAboriginal Studies Press for the Australian Institute of Aboriginal and Torres Strait Islander Studies GPO Box 553 Canberra ACT 2601 The views expressed in this publication are those of the authors and not necessarily those of the Australian Institute of Aboriginal and Torres Strait Islander Studies

63 JULZE JANSON 1996 63 JILLIAN OPPENHEIMER (Introduction) 1996 Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act, no part of this publication may be reproduced without the written permission of the publisher NATIONAL LIBRARY OF AUSTRALIA CATALOGUING-INPUBLICATION DATA Janson, Julie Black Mary : Gunjies : two plays ISBN 0 85575 292 0 1 Aborigines, Australia - Drama 2 Torres Strait Islanders - Drama I Title I1 Title: Gunjies

Photographs of Black Mary production by Peter Holderness Photographs of Gunjies production by Stuart Campbell

COVER Justine Saunders (left) as Charlotte, and Margaret Harvey as Mary Ann, in the 1996 production of Black Mary at Sydney Street Theatre Space, Sydney (photograph by Peter Holderness) PRODUCED BY Aboriginal Studies Press PRINTED IN AUSTRALIA BY Australian Print Group

Contents Acknowledgements Mary Ann -An Aboriginal Bushranger Introduction by Jillian Oppenheimer Black Mary

Act One Act Two

Gunjies Act One Act Two Glossary by Tamsin Donaldson

Acknowledgements Black Mary was written after research through Aboriginal oral history, historical records, newspapers a n d t h e book, Thunderbolt, by Bob Cummins Additional information was gained from the article on Mary Ann by Jillian Oppenheimer Black Mary received support from the Performing Arts Board of the Australia Council as a commissioned play and through a creative development grant The play had its first production a t Sydney Street theatre space in 1996, with the generous support of the Aboriginal and Torres Strait Islander Commission and Sydney Water Corporation Recognition and thanks for their invaluable contributions to Black Mary go to David Ward, Veronica Davison, Emily Walker, Charlie Little, Justine Saunders, Margaret Harvey, Raj Ryan, Lillian Crombie, Christopher Morsely, Tom Long, Lydia Miller, Richard Baker, Sally Sussman, Michael Fay, Rosemary Neville and the Stroud Historical Society, EORA College of Performing and Visual Arts, Jim Davis, and Michael Edols Gunjies was written in collaboration with t h e Aboriginal Education Assistance Program a t t h e University of Sydney and the Aboriginal Education Unit a t Liverpool College of TAFE The play received support from the Performing Arts Board of the Australia Council, under the title of the 'Mullangang Koori Playwriting Project', and was developed with the assistance of the Playworks women's writing workshop Gunjies was first produced a t Belvoir S t Theatre in 1993, the International Year of Indigenous People, with the generous support of the Performing Arts Board of the Australia Council and the Aboriginal and Torres Strait Islander Commission Recognition and thanks for their invaluable contributions to Gunjies go to Emily Walker, Veronica Davison, Wirrunga Dunggirr,

ACKNOWLEDGEMENTS

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Pauline McLeod, Francis Marshall, Anne Flood, Barbara Keely, Christine Robinson, Janet Mooney, Ted Hart, Ian Chatfield, Karen Delaney, Steven Davis, Robyn Williams, Beverly Forrester, Gwen Hickling, Warner Saunders, David Kennedy, and Michael Fay Acknowledgement is also given to Debra MacAuslane for additional material

Mary Ann (photograph courtesy Anita Janelsins)

...

Vlll

Mary Ann -An Aboriginal Bushranger In March 1866, a woman named Mary Ann was seized with her children in a remote camp in the hills inland from Wingham in northern New South Wales She was charged as a vagrant and, after trial, sentenced to six months7imprisonment Her children were taken from her Controversy immediately raged over this incident At the time, Aboriginal people were not subject to the vagrancy laws of the colony, the separation of children from their Aboriginal mothers was not generally condoned, and Mary Ann7sassociation with an escaped prisoner was no grounds for her arrest For the next eighteen months, Mary Ann became an object of public interest and curiosity Her life epitomised the injustice inherent in a society of ignorance, violence and change How did her notoriety evolve? A combination of the conditions of her birth and her later association with bushrangers focused public attention on her for much of her life The extent to which she was a victim of circumstances beyond her control, or whether her own character contributed to her lifestyle a s a bushranger, is an interesting question, not easily answered Her own extraordinary life has been, until recently, overshadowed by her more notorious companion, 'Captain Thunderbolt7 On 11 September 1863 Frederick Ward, alias Captain Thunderbolt, had made his escape from Cockatoo Island in Sydney Harbour where he was serving a sentence for stealing horses From that time, police were regularly reported in the newspapers as sighting and unsuccessfully chasing him in northern New South Wales He was said to be bailing up mail coaches, robbing isolated country stores and stealing horses, particularly quality racehorses A reward of £10 was issued for his capture in 1865 and later increased to £20 The territory covered by Ward and his associates was from the Paterson River, through the 1

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BLACK MARY & GUNJIES

ranges north to the Darling Downs and west as far as Mudgee, Bourke and Moree His daring and flamboyant style attracted grudging admiration from friends and enemies alike so that, increasingly, the police and government authorities became embarrassed by their own ineptitude and failure to arrest him In his own time he became a myth, although there was never any doubt about his skill as a rider and judge of horses Ballads were written about him He epitomised the social bandit the heroic rebel flaunting authority and acting only in self defence His bushranging career lasted for over seven years and, although wounded several times, he did not kill any of his pursuers Acknowledged as being the most successful and the last of the 'professional' bushrangers, he was shot dead on 25 May 1870 near Uralla, in northern New South Wales Thunderbolt's career has been described frequently, always attracting controversy since many of the exploits attributed to him are exaggerated or untrue If his life is controversial, how much more so is that of Mary Ann, the 'Captain's lady7, as she called herself, whose existence became a public issue as early as 1836 when she was only two years old Encroaching Europeans and their sheep disturbed traditional territories and customs The Australian Agricultural Company had taken over a vast area of coastal land north of Port Stephens in the late 1820s, and by the 1830s bands of defensive Aborigines, such as the Cape Hawke and Kerripet groups, attempted to prevent further expansion by attacking isolated shepherds in remote areas The victim of one such attack by the Kerripets, in June 1835, was James Brigg, a shepherd employed by the Company. At his station, Berrico, at the junction of the Ward and Johnson rivers, he was severely beaten and a sheep was taken. His life was supposedly saved by the Aboriginal woman named Charlotte who was

INTRODUCTION

3

living with him She discharged a firearm which frightened off the intruders Little is known of Charlotte, who was a member of one of the Aboriginal groups who lived in the headwaters of the Gloucester River in the early nineteenth century At this time she and James already had a child - a daughter whom they named Mary Ann, born 7 May 1834 Another child, John, was born on 5 February 1836 These two children came to the attention of the Commissioner of the Company, Colonel Henry Dumaresq, when he visited the Berrico outstation during 1837 Immediately he realised that the situation raised implications for the Company The welfare of the Aboriginal population on Company lands was the responsibility of Company officials Cohabitation was discouraged and marriage between Company employees and Aboriginal women was disallowed Durnaresq believed that the Company's problems would be resolved and the children would benefit if they were taken from their parents, educated and brought up as British children Both James and Charlotte apparently agreed to this arrangement because they desired 'to elevate' their children (They themselves were separated, in line with official policy, but were later reunited, having several more children and formally marrying in 1848 ) Mary Ann and John were baptised on 24 February 1839 on the Company lands, just prior to their departure for Sydney, to be 'civilised' at the Orphan School The eventual result was that Mary Ann received an education which gave her skills to work in domestic service, to be able to read newspapers and to use her wits to survive both in colonial society and in the bush She had probably been taught bush crafts by her mother, which stood her in good stead at a later date when survival in remote parts became a way of life for her

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It appears that Mary Ann returned to the Gloucester area and there on 1 June 1848, aged 14 and with the 'consent of all necessary parties', she married a shepherd, an ex-constable, named Edmund Baker Soon after, she had her first child and they are said to have moved to the Mudgee district to work on Mrs Garbutt's Cooyal station It is here that Mary Ann is supposed to have first met Fred Ward, but she had almost certainly known him since she was a child From time to time he had been living in the Gloucester region, and he and Mary Ann were of similar age Nevertheless, his association with James Garbutt and his brother William Ward, which began his career of horse stealing in the 1850s, is an important link with his bushranging career The Garbutts and Wards were apparently related and were later to prove an important support group In 1856 Fred Ward and James Garbutt were convicted as receivers of stolen horses and sent to Cockatoo Island, where they served four years of their ten-year sentences On Ward's release in July 1860, he went as a ticket-of-leave man to Mrs Garbutt's station He and Mary Ann became re-acquainted and, soon after, left Mudgee and returned together to the Dungog area (Apparently, Baker had died and Mary Ann later claimed that she and Ward were married by a Wesleyan minister, although no evidence of such a marriage has been found.) In October 1861, Ward was re-arrested and sent back to Cockatoo Island Two weeks later, Mary Ann gave birth to their first child, Marina Emily Ward, at Dungog. Mary Ann is alleged to have followed Ward to Sydney where she was in domestic service at Balmain, possibly using the name Louisa Mason. The harsh conditions at Cockatoo were deplorable, and Ward was given solitary confinement (in a hole cut in the sandstone rock) on at least three occasions In September 1863, he and another convict, Fred Britten,

INTRODUCTION

5

escaped from the prison. Folklore says that Mary Ann swam to the island with food, and files for them to remove their chains, that they hid in a boiler until the police search died down, and that they then escaped by swimming to a point on the shore marked by Mary Ann with a light. Most probably, Mary Ann went with the men as they travelled north on stolen horses. By November 1863 they were reported at Singleton and soon after near Uralla, where they robbed a hut for a gun and food supplies. An encounter with police left Ward, soon to be known as Thunderbolt, with a wounded knee. His association with Britten seems to have ended a t this point. (Britten made south to Victoria where he was arrested and escaped several times over the next three years.) Between 1863 and 1867, Mary Ann and Fred Ward defied the police and lived with their children mostly in the inaccessible mountain ranges of northern New South Wales. Newspaper reports, reminiscences and legal documents give a general picture of a pair of outlaws fighting against time for a period of freedom. They had a sympathetic network of family and others who could be relied on to support or hide them when they were being chased. Many were former ticket-ofleave people who had suffered under the repressive penal system and were willing to protect those who dared defy the authorities. Through late 1863 and early 1864, Thunderbolt is recorded as robbing huts, hotels and houses in the Dungog-Stroud-Singleton area for supplies and horses, and the Lochinvar toll gate and mails for money. He and Mary Ann seem to have settled for about eight months in the CulgoaINarran river area, and Mary Ann probably gave birth to her next child during 1864. In March 1865 police discovered their camp; the men escaped, but a heavily pregnant Mary Ann and her two

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small children were taken into custody. They were left at Wilbie Wilbie station on the Narran while the chase for the bushrangers continued. Thunderbolt did not tolerate this and, on 4 April, returned to the station to rescue Mary Ann and to seize money and ammunition. In March 1866 Mary Ann and Thunderbolt were living in the Stroud area and the police were searching for them, following information supplied by their female 'hostage', who claimed to have been held by them for the previous ten months to help Mary Ann as a midwife during the birth of her child. They were surprised in the process of cutting up a beast for food. Ward immediately escaped in his customary manner, 'riding like the wind'. Travelling in her usual style, with her eldest boy riding and the two young ones in bags slung on either side of another horse, Mary Ann was taken by the police to the station homestead, Pignee Barney, where she was left while they went after Thunderbolt. In their absence she escaped and, apparently, this was designed in the hope that she would lead the police to him. As this ploy failed, she was recaptured and taken to Stroud. The two older children were taken away from her and, with the baby, she was brought before the bench. Mary Ann was charged with being 'an idle and disorderly person and a companion of reputed thieves, having no visible means of support or fixed place of residence', and sentenced to six months' imprisonment a t the East Maitland gaol. There was immediate controversy in the Legislative Assembly over this 'perversion of justice7. The governor intervened and Mary Ann was released after serving only a short part of her sentence. It seems that, from this time, Mary Ann left the older children with family or friends and probably travelled with Thunderbolt, moving over the ranges to the north-west. From April 1866 to February 1867, the Barraba-Manilla districts were the scenes of

INTRODUCTION

7

Thunderbolt's robberies of stations and mail coaches. Mary Ann probably helped him as usual, but she was being watched carefully. In January 1867, she was arrested at Paterson and charged with having stolen goods (several yards of material) in her possession. Once again sympathisers came to her rescue. A decision was made that Mary Ann Ward had been wrongfully convicted and she was released. The next eight months saw Thunderbolt's activities concentrated upon the Hunter, and it is quite likely that Mary Ann was again one of the gang. The relationship between Mary Ann and Thunderbolt must have been close and dependent. While Ward was the innovator and principal organiser of their exploits, it can be assumed that Mary Ann supported him in all his ventures - whether it was to provide food and shelter when he returned from a holdup; whether it was to accompany him, dressed as a man, so that she was usually mistaken as one of the young boys with him; or whether it was to venture into a village to buy supplies, to pick up gossip and information about mail coach timetables or to collect news from sympathetic informants. Several reports describe Mary Ann as dressing in man's attire - with riding boots, pants, a monkey jacket and cabbage tree hat - and riding astride, as only men did at the time. It was said that she always accompanied Ward on his plundering exploits and that she was skilled at supplying food for their group. On horseback she could cut out a beast, hamstring it with a butcher's knife attached to a long pole and then later kill it. She supplemented this diet of beef with yams and wattle gum. Mary Ann was something of a larrikin with her brash language to the police and others who questioned her about her association with Thunderbolt. Newspaper accounts give a clear impression of an intelligent young woman, defiant of authority and willing to stand up for

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herself. She had been better educated than most shepherds' wives and seems to have had considerable ability a t both station and domestic work. She is also credited with having been able to hear the sound of horses approaching from a distance by putting her ear to the ground, and possibly had other renowned Aboriginal tracking skills. She would certainly have been an asset to a bushranging party. From this time Mary Ann's life cannot be positively documented - the myth and reality become difficult to distinguish. There are a t least two versions of the end of her life. The first is that she became jealous of Thunderbolt's philanderings with other women during her times in gaol and, after the last occasion when he was reputed to have gone off with another part-Aboriginal woman, named Louisa Mason, Mary Ann was so obsessed with jealousy that she abandoned him. She then disappeared from public notice, took a new name and remarried. A death certificate exists of a Mary Ann - daughter of James Brigg and Charlotte, surname unknown - who remarried a man named John Burrows forty-four years earlier at Cooyal, near Mudgee. According to this certificate, Mary Ann Burrows died on 2 April 1905, aged 70 years. At that time she had three living children from a first marriage to a Patrick McNally a t Stroud and ten from her second marriage to John Burrows. This Mary Ann is supposed to have been born in the Bay of Islands, New Zealand, and family legend believed that she was a Maori princess. However, on at least one of her children's birth registrations, she gives Gloucester as her place of birth and Burgess as her maiden name. If she is not Thunderbolt's Mary Ann, the coincidences are remarkable. The second account is that Mary Ann - daughter of James Brigg and his Aboriginal wife Charlotte - died on 11November 1867 near the Goulburn River, west of Muswellbrook. Newspapers reported that Louisa

INTRODUCTION

9

Mason, or Yellow Long' Thunderbolt's woman, had died of pneumonia soon after being taken to the house of a Mrs Bradford. Thunderbolt himself had sought help from Mrs Bradford, asking her to care for the dying woman or, if she was not willing to do so, to report the matter to the police. With help, Mrs Bradford found the woman, sheltered by a canopy of leaves, and took her in, but she died overnight. A post-mortem revealed that she had died from inflammation of the lungs, brought on by exposure. It could have been tuberculosis, from which Thunderbolt was also suffering in an advanced state when he was shot dead less than three years later. The Louisa Mason who died in November 1867 near Muswellbrook may have been Mary Ann, once again using an alias. There is no doubt that Mary Ann frequently changed her name and assumed disguises to hide her identity. She was certainly loyal to Fred Ward on the numerous occasions that can be documented and it seems out of character for her to become unforgiving if he used his charms with other women to get food, information or other favours to help him survive. Whoever it was lived her life a victim of racial conflict, of police and legal harassment, of the misunderstandings of two different cultures, and of sexual exploitation. Such a person could have been degenerate, demoralised and despairing. Yet Mary Ann provokes admiration for her pride, courage, skills and loyalty to an outlaw who, it seems, treated her with some consideration and affection. She was 'Captain Thunderbolt's lady'. And if, indeed, she escaped anonymously to take up another identity and another life, she must also be admired for her enterprise and for the puzzle she has left behind for future generations of historians. Jillian Oppenheimer March 1996

Black Mary

Margaret Harvey as Mary Ann, and Christopher Morsely as Captain King

Tom Long (left) a s Fred, Lillian Crombie a s Louisa, and Margaret Harvey a s Mary Ann

Tom Long (left) as Fred, Margaret Harvey as Mary Ann, and Raj Ryan as Britten

13

Lillian Crombie as Louisa, and Tom Long as Fred

14

Black Mary was first performed a t the Sydney Street Theatre Space, Sydney, in May 1996, with the following cast directed by Charlie Little: Tom Long Margaret Harvey CHARLOTTE Justine Saunders BRITTEN~TEAKETTLE Raj Ryan LOUISA/MRS BYRNE Lillian Crombie CAPTAIN KING/TOLLKEEPER/ MR WIRTH Christopher Morsely FRED

MARY ANN

Characters MARY ANN WARD FRED WARD

FRED BRITTEN

LOUISA MASON

CHARLOTTE

CAPTAIN KING

TEA KETTLE MRS BYRNE TOLLKEEPER MR WIRTH

MUSICIAN

Aboriginal woman, 20-30 years old, passionate, attractive, agile English bushranger and braggart 'Captain Thunderbolt', 20-30 years old, handsome, charming, roguish English bushranger, 20-40 years old, drinker, homesick, witty Aboriginal woman, 20-30 years old, genteel habits, Christian facade, flirtatious, untrustworthy The ghost of a traditional Biripi Aboriginal woman, 30-50 years old, Mary Ann's mother English gentleman, Commissioner of the Australian Agricultural Company Black tracker Irish innkeeper, robust, insolent (can be doubled by Louisa) Keeper of the toll gate, lecherous (can be doubled by Tea Kettle) A fire-eater and circus leader (can be doubled by Captain King) (optional) Plays fiddle, squeeze box, clapsticks

Setting It is the 1860s in the New South Wales bush, the killing times for Aboriginal people. The Australian Agricultural Company had invaded the land of the Worimi and Biripi (Koories), establishing a headquarters at Stroud. Bushrangers and warring Aboriginal tribes harassed the establishment. Mary Ann is the daughter of a convict shepherd; her mother, a traditional Biripi Koori woman. There is a bush set in sepia colours, guns and a campfire. The characters are costumed in nineteenth century dress; props are historically accurate. The music is live and recorded, a blend of New South Wales Aboriginal songs and Irish Australian. The musician is part of the action.

Act One Mary Ann Loves Fred Fred Arrested Fred in Prison Mary Ann Rescues Fred and Britten Robbing the Maitland Tollkeeper Charlotte in Eaglehawk Country Fred and Mary Ann a t Tun Shun's Britten Returns Captain King's Letter Robbing the Spreadeagle Inn Britten and Mary Ann Kidnapping Louisa Birth of Baby

Act Two On the Run from Troopers Falls Country Captain King's Massacre Mary Ann Escapes Captain King's Report Mary Ann Captured Mary Ann's Release Mary Ann Robs Captain King Mary Ann and Fred Break Up Charlotte and Mary Ann

Act One Scene 1 - Mary Ann Loves Fred It is afternoon in a bush paddock. A group of people are singing a hymn at CHARLOTTE'S funeral. Swift to its close ebbs out life's little day Earth's joys grow dim, its glories pass away, Change and decay in all around I see 0 thou who changest not, abide with me. [They exit. MARY ANN enters and stands by the grave. I MARY ANN: What you doin' dyin' now when I need you? I come down here to find my mother, ngaga, and look at you, you're dead, dead as snake on the road. [CHARLOTTE enters.] CHARLOTTE: Yi baraba burai. About time you got here, dort. Shoulda been here when I was sick, you late again. [MARY ANN sings.] MARY ANN: Nyaaga bumbal, nyaaga bumbal Bimai, bimai. Nyaaga bumbal, nyaaga bumbal Bimai, bimai. [CHARLOTTE exits. MARY ANN starts doing the washing. FRED WARD approaches unseen. He has been breaking a horse and is eating sugar.] FRED: What're you doing? MARY ANN: Don't creep up like that. FRED: What's the song? MARY ANN: Nothin', ... How you goin' to break that horse? She's too wild. SINGERS:

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Want some sugar? MARY ANN: Sure. [Hegives her a piece of sugar.] FRED: I bet you taste sweet. MARY ANN: Narr, I taste like lemon. [He takes her hand and licks it.] FRED:Like lemon. [Shepulls away.] MARY ANN: Get away! Don't look like that. [He stares at her.] Well, get back to work. FRED: You want to come look a t the mountains? MARY ANN: I can look by myself. FRED:Come on. MARY ANN: How come you been sleepin' near my tent, lookin' like a sick dingo? FRED: You know. MARY ANN: What? [She continues washing clothes.] FRED: What I've been doing there. MARY ANN: I know all about your bad reputation, that's what. [He laughs.] FRED: Hey, I'm not that bloody bad. MARY ANN: Arr yeah? FRED: I'm getting out of here. You want to come? MARY ANN: Narr, I got it too good. FRED:Slaving over the Missus' washing? MARY ANN: I'm alright. FRED:Emptying their chamber-pots? Come on. MARY ANN: I got my own plans. FRED:Yeah, what? MARY ANN: You couldn't come where I want to go. FRED:

ACT ONE

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SCENE 1

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Where? Bush, real mountain bush and so much blue sky. FRED: [romantically]Let's go there. [Pause] MARY ANN: I'm scared. FRED:Of me? MARY ANN: Narr, troopers shoot blackfellas out there. [FRED falls on his knees.] FRED: Marry me and you'll be right. MARY ANN: I been married, didn't like it. FRED: [setting up] I can feel you shiver when I come near. How come you always look away, staring so bloody hard at the ground? MARY ANN: Nothin'. [Pause. FRED stares at the distant bush.] FRED: You know what? I want my own land and thoroughbred horses, be my own master, standing on miles of earth with my name on it ... You coming? MARY ANN: What, now? FRED: Tonight ... I'm doing a bolt with his horses. MARY ANN: [amazed]Go on, you're gammon. FRED: The squatter won't pay me. Toff bastard, they'll cover it. ANN is outraged and backs away from him.] [MARY MARY ANN: Hey, you're mad, that's stealin'. Gungible will catch you. FRED:It's fair pay ... Hey, don't walk backwards, you'll send us all to hell. MARY ANN: Want to get yourself hung? FRED: Come on. [He holds her.] MARY ANN: My heart's beatin'. FRED:

MARY ANN:

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BLACK MARY

FRED:I know. [MARYANN pulls

away.] MARY ANN: No way, the Company would flog me. They reckon they own me. FRED:Do they? MARY ANN: Narr, this country owns me. [Pause]Aye, I might come, I'll think about it. [They embrace.] FRED:Think about u s out there, free. MARY ANN: Mountains real blue. FRED:Real blue. [Sound of birds.] MARY ANN: You came to me in a dream, like a whisper, eh? FRED:Whisper now. [MARYANN and FRED kiss, lights fade, time passes.] MARY ANN: Wrens skippin' in the bushes Hear the sound of those birds We are always here, makin' love Together in the ground, flowin' on the red rocks, like rain and sun, rocking to the beat of my blood ... bimai, bimai. [Abackground song is heard.] When will we be married, Molly, when will we be wed? When will we be bedded in the same bed?

Scene 2 - Fred Arrested

and MARY ANN are on the run. They lie together on the ground, gazing at the sky. TEA KETTLE enters and places a musket at FRED'S head. FRED

We bin huntin' ya, Fred Ward. You get up real slow now, no funny business. That Captain gunna take ya to the policemans. You no good, stealin' them horses. They lock ya up, eh? [CAPTAIN KING enters with pistol drawn.] KING: Now don't do anything you could come to regret. You are under arrest for the theft of ten horses, all valuable stock. FRED: They're payment! [TEA KETTLE grabs FRED and holds his arms behind his back. MARY ANN runs and exits.] TEA KETTLE: You want that gin too? KING: Let the wretch go, he was misusing her. FRED: [outraged]The squatter wouldn't pay me what I was owed. [TEA KETTLE knocks FRED to the ground and manacles his hands.] KING: You can tell the magistrate. Move on ... I don't know why you men behave like this, it'll lead you to a damned life. You had a good position with the Company. FRED: An unpaid position! A slave's position. KING: The Company treats you labourers well. FRED: B o ~ ~ o c ~ s ! KING: I remember you, Frederick Ward, an excellent horse breaker ... it's a pity ... Look what we've accomplished here, clearing the scrub. It's a monument to British skill and endurance, something for you all to look up to. Green lawns, fine oak trees,

TEA KETTLE:

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BLACK MARY

it's like Cornwall. [Pause]This Company was set up by an Act of Parliament and a Royal Charter. You hear that? The Crown. But your sort has no respect for these traditions, you spit on your betters. Don't forget to whom you owe your allegiance. FRED: [shouting]You owe me money. KING: We owe you a bench in Cockatoo Island prison. A hundred lashes!

Scene 3 - Fred in Prison

Irish music plays as FRED crosses the stage to the prison. He is tied to a triangle and lashed with a cat-0'-ninetails. BRITTEN enters, takes FRED down and drags him to the hole of solitary confinement. It'll take more than a flogging to kill you, Fred. Don't give up. Keep faith. [BRITTEN exits. MARY ANN enters.] MARY ANN: Look at that now, only had him a coupla weeks ... gungible got him already ... can't trust them ... I'm too proud to bow down to the English. If I run away, they call me myall and shoot me. If I stand still and say Yes, boss', 'No, boss', what do I get? A bit of meat. Look out there ... there's war every place, Koories hangin' from trees, picked at by crows, rottin' on the wind. Them whitefellas are clearin' the land with guns ... the rubbish, that's us. The Australian Agricultural Company, they got the big fella boss, Captain King, that's him, get rid of him an' maybe all the English will run away. You think one Koori can't make it happen, you watch me. [She exits.] BRITTEN:

ACT ONE-SCENE

4

25

Scene 4 - Mary Ann Rescues Fred and Britten Cockatoo prison. It is a moonlit night. There is the sound of FRED whispering to himself; it builds to shouting. For God's sake, Mary Ann, where are you? It's so bloody dark in this hole ... can't hear you singing ... can't wait any more. I ... if I could get an appeal, you'd come and see me. I'd be so bloody flash, Mary, making my defence speech, crushing them with my words. You'd see. [BRITTEN enters and peers over the hole, holding a rope.] BRITTEN: PSSS~! PSSS~! FRED: Who's there? BRITTEN: Hey, Ward, I've got a rope. You want a little holiday from Her Majesty's pleasure? Catch the end, we're bolting. [Hepulls FRED out of the hole.] FRED: Britten! Thought I was going mad. You're a bloody miracle. BRITTEN: Your woman Mary Ann, she's here, she's got a raft ... The moon's come out. Get down! [They crouch.] FRED: I'm starving. BRITTEN: Me too ... God, I was getting sick of looking a t the world through bars. [MARY ANN enters, having rowed across the river. She moves low to the ground and calls with a bird call.] MARY ANN: Whoowit, whoowit, whoowit. [FRED and BRITTEN crawl out. They are very edgy and filthy, and FRED is ill. He calls to MARY ANN i n a loud whisper.] FEED:

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BLACK MARY

Mary Ann, we're here. Careful, the watch is about. Hey, over by the rocks! [MARY ANN crawls over to the men and embraces FRED,who groans in pain.] MARY ANN: Eh Fred, you alright? FRED: I thought you weren't bloody coming. We've been hiding, waiting for you. Oh God, you're beautiful. [The ghost of CHARLOTTE stands nearby but only MARY ANN can see or hear her. CHARLOTTE talks over the others.] CHARLOTTE: Narragar waibala. Come on, get movin'. BRITTEN: Have you any food? MARY ANN: There's some beef. You want wine? BRITTEN: I'm Starving. [MARY ANN gives them food from a dilly bag, and they eat.] MARY ANN: Come on, the tide's goin' out. CHARLOTTE: Tell that waibala to get. MARY ANN: [indicating BRITTEN] He won't fit, the raft's small. CHARLOTTE: Let him drown, binggin, shark can eat him. MARY ANN: [to FRED]What's happened to you? FRED: Locked in the bloody coffin. CHARLOTTE: Narragar, you sure you want this skinny waibala? BRITTEN: He had a propensity for giving cheek. FRED:Jesus Christ, I need a file, Mary Ann. Get the irons off, my wrists are killing me. MARY ANN: I got one here. Do it real slow. [She gently saws at the manacles. BRITTEN holds out his hand to her.] BRITTEN: Here, here, let me. FRED:For God's sake, hurry! [MARY ANN reluctantly gives BRITTEN the file, and FRED:

ACT ONE - SCENE 4

27

holds FRED'S arm as BRITTEN saws through each manacle. FRED groans.] MARY ANN: You makin' him bleed. CHARLOTTE: Gungibles comin', they lookin'. BRITTEN: If we don't move fast, we'll all hang. MARY ANN: It's hurtin' him. BRITTEN: Sorry. CHARLOTTE: You gunna be runnin' all the time now. FRED: The watch will be looking for us. swoons and turns and vomits as the irons [FRED drop off.] MARY ANN: Maggots! They're eatin' your arm. [BRITTEN is furiously sawing through his own manacle.] BRITTEN: He'll live. Here, help me with this last one. [He eyes MARY ANN lustfully as she leans over him.] You're not a t all bad looking for a gin. MARY ANN: Well, you're just plain ugly. [Loud urgent sound of a bell. BRITTEN panics.] BRITTEN: The watch ... we're dead, God's truth, they know we're gone. Come on! [They approach the raft.] MARY ANN: You're not gettin' in, we'll sink. BRITTEN: Don't leave me here! MARY ANN: Away. CHARLOTTE: Leave 'im. [CHARLOTTE exits. The bell rings loudly.] BRITTEN: I'm begging. MARY ANN: Hang on to the side, we'll tow you. BRITTEN: Hell, damn my eyes, it's a fierce current, it's freezing ... what about the sharks? [They disappear into the river. Scene is underscored by Koori music. MARY ANN and the two men

28

BLACK MARY

arrive on the shore. MARY ANN helps BRITTEN lay FRED down.] BRITTEN: Thought I was shark bait. MARY ANN: Narr, I sang 'em. BRITTEN: Where's our horses? MARY ANN: I only got two, you not comin'. FRED:Have a heart, Mary Ann, he helped me. [MARY ANN glares at BRITTEN.] MARY ANN: Alright, I ride with Fred, but you get the old nag, eh? We're headin' up to Falls country, long way from here. BRITTEN: God help us! FRED: Stop moaning, Britten. BRITTEN: Sorry, don't I look exceedingly grateful? [MARY ANN hands both men women's clothes to wear.] MARY ANN: Quickly now, put these on. I'll help you with the stays. You'll have to just wear the petticoat. [disgusted]I'm afraid I cannot wear that. BRITTEN: MARY ANN: Go naked then, there's nothing else. [MARY ANN dresses FRED in a dress and bonnet. BRITTEN puts On a petticoat.] BRITTEN: The Cockatoo boys would fancy this. MARY ANN: Here, put this shawl around you, so we can get clear of the town. FRED:I'll die if they ever take me back. MARY ANN: We're goin' north, back to my country. BRITTEN: Cockatoo, it's a hell hole. You should see how they flog the Irish rebels. FRED: Poor bastards! BRITTEN: Don't you look sweet, aye? MARY ANN: Now you sit quiet, while I'm gettin' the horses. You be good girls now. [Lights fade.]

ACT O N E - SCENE 5

29

Scene 5 - Robbing the Maitland Tollkeeper The TOLLKEEPER at Maitland ANN. FRED and BRITTEN pose FRED is ill. TOLLKEEPER: Dinnae ye

enters, arguing with MARY i n their women's clothing;

start on it, a farthing or ye can swim. A pretty gin lassie like ye can swim, cain't ye? Ah'll be takin' care 0' yer clothes. MARY ANN: [flirting with him] You're a real handsome fella. Let us pass, eh? TOLLKEEPER:A farthing. MARY ANN: Me Missus gotta get across the river, she's havin' a baby. We left in a hell of a rush and we gone an' left her purse at home. TOLLKEEPER: Nay money, nay passage. MARY ANN: We won't tell on ya, eh Missus? Let us go for free. [BRITTEN beckons seductively. The TOLLKEEPER lecherously approaches him, fooled by the female clothing, and then turns to FRED.] TOLLKEEPER: Ah never clapt eyes on such a huzzie. What ye think, Missus? ... Cat got yer tongue? [BRITTEN sneaks up behind the TOLLKEEPER, takes his pistol and points it at him.] BRITTEN: We've no mind to fight. Hands up! MARY A N N : Open that gate. BRITTEN: Do it ... you're making me nervous. TOLLKEEPER: [shocked]Gat away wi' ye, bushranging's a hangin' offence. BRITTEN: Open the gates and give us your purse, so we can pay on the way back. [MARY ANN takes the TOLLKEEPER'S purse.] MARY A N N : Just give us some to buy tucker. BRITTEN: Sorry, we're taking the lot. Thank you.

30

BLACK MARY

The cheek! Ah've a mind ... MARY ANN:Poor fella, he's got nothin', look at 'im. [BRITTEN puts out his hand for the purse.] Give me the pistol first. BRITTEN: No fear. MARY ANN: Give it! BRITTEN: You can borrow it some time. is getting desperate.] [FRED FRED: Come on, open the gate. TOLLKEEPER: Ye'll be regrettin' this! They'll catch ya and ye'll rot. [He opens the gate. BRITTEN threatens him.] BRITTEN: Go on, get, or we'll shoot your arse off. TOLLKEEPER: Ye'll not 'ear the end 0' this, ye filthy blaggard. [He exits.] BRITTEN: Sorry, Ward, let's get this clear. While you're sick, I'll give the orders. MARY ANN: Without me, you'd be in leg irons. FRED: She's saved us, you owe her respect. BRITTEN: She's got to earn that. MARY ANN: [angrily]I earned it. BRITTEN: By opening your legs? I'm afraid I'm not taking orders from a half-dead man or some gin! ANN takes FRED'S arm and puts it around her [MARY neck to help him walk.] MARY ANN: Come on, Fred, this waibala can find his own way. We goin' to Tun Shun's place. BRITTEN: I wouldn't want to stay there, a stinking Chinaman's hut. MARY ANN: Who says you're welcome? [sneering]They're diseased. BRITTEN: MARY ANN: [indignantly]He's my brother-in-law. I got TOLLKEEPER:

ACT ONE - SCENE 5

31

nieces and nephews, they're family, but you don't understand that. BRITTEN: I've got a family too, children back in England ... MARY ANN: My heart is bleedin'. BRITTEN: I rotted on a hulk for two years for them, caught with a lousy sovereign. [MARY ANN talks gently to FRED.] MARY ANN: Tun Shun's place is safe, he's got a garden. FRED:Water, give me water. [He falls. MARY ANN bathes him and gives him sips of water. BRITTEN rushes to help FRED and nurses him.] BRITTEN: Here, I can help. MARY ANN: Don't touch him. BRITTEN: God's truth, I cleaned the poop off him. I fed him like a baby. MARY ANN: And now I need him. [BRITTEN takes off his petticoat.} BRITTEN: Need an Englishman, do you? I thought you'd be getting as many as you liked. MARY ANN: [angrily]I'm Fred's wife, do you get it? BRITTEN: Well, damn my eyes, a person such as yourself would have no hope of heaven or fear of hell. You helped him steal that mob of horses? [He moves away.] MARY ANN: NO,I didn't. BRITTEN: Innocent? MARY ANN: Yes, I'm gunna ... BRITTEN: What? MARY ANN: Hide him for a while, then we'll get some guns and make a livin'. BRITTEN: What living? Stealing?

32

BLACK MARY

If we have to, we'll go bush. [BRITTEN laughs.] BRITTEN: Holy hell, you know there's black shadows out there, flitting through the forest, devils. MARY ANN: People. BRITTEN: Wild blacks and dingos, dead meat. [He approaches her.] Look, you want to strike a patch of colour? We could get a lot of gold from bushranging. [MARY ANN is resentful.] MARY ANN: I got people ... don't need you. [Pause] BRITTEN: This country's not made for Englishmen. Look at it, baked and parched, it crackles under your feet. The sun's burning up my brain. MARY ANN: Go home then. BRITTEN: I will. Batavia, then green England. [He gets ready to leave.] MARY ANN: Every gungible will be lookin'. BRITTEN: Not where I'm going - west. MARY ANN: Myalls will spear you. BRITTEN: I'm taking the horse. MARY ANN: Narr, we need it. BRITTEN: Then I'm taking this. [He holds up the pistol and exits.] MARY ANN:

Scene 6 - Charlotte in Eaglehawk Country CHARLOTTE enters.

Koori singing is heard.

CHARLOTTE: This is Eaglehawk country, you better watch out ... you walkin' right through his place. That Eaglehawk he's chasin' old Wargan, but that Crow, he real smart. He wants two women, real bad,

ACT ONE - SCENE 7

33

you know, wrong way ... Them sisters are runnin' and runnin' from him. They was squattin' in the claypan and that dirty old fella Crow, his long booble snakes under them sisters, right under their skirts ... Ooh, look out! They kick that booble right into the sky. Teach him alright, it up there now.

Scene 7 - Fred and Mary Ann at Tun Shun's Some weeks later, MARY ANN and FRED are hiding out in Tun Shun's hut. MARY ANN tends to FRED, who is feverish. We can stay here as long as we want. FRED: Like two farts in a bottle? [MAR Y is excited.] ANN MARY ANN: We can get some muskets, really good ones. FRED: Where? MAEY ANN: That trooper arsenal at Maitland. FRED: You're crazy, we can't take on a whole platoon. Why don't we just rob the inn and the mail coach when it crosses on the punt ... you know it? MARY ANN: Yeah, Dad and I'd watch that punt cross the river and whitefellas would belt the Koories who were comin' to town to get flour and sugar. They'd beat them into the water ... FRED:He should've stopped them. MARY ANN: Dad couldn't, he was a convict and he'd married a black. No-one would spit on him. FRED: It'll always be like this for the blacks. But not for you. We'll have what the gentry have got - fine horses, Arabian stock, but we'll be better than them . I've seen them in their red waistcoats, hunting men, not foxes, black men. They'd whoop on horseback, drunk with blood, while the ladies poured ice tea in porcelain cups. MARY ANN:

34

BLACK MARY

[wanting to enthuse FRED]We can join my people. FRED:Oh save me, wild blacks will spear anything that moves. MARY ANN: Narr, they're family, they'll like you. FRED: With bloody ten spears through me. [Pause]And they kill half-white babies. The old women bury them alive. MARY ANN: You're full of goona. My mother raised ten babies. [FRED presses his face to her belly.] FRED: Soft, and silky. MARY ANN: We can do anything. FRED: We'll go north and get some free selection land. The bolters won't care who we are. You watch me, I'm going to die rich. MARY ANN: I want to see the Company finished up. [She is excited.] We're gunna help them, I promised. FRED: Help who? The blacks? They're starving, begging, they're finished. I pity them, they'll die out, it's the law of nature. MARY ANN: No, some are real strong like Yella Billy. He's been bushrangin7a long time. [Pause]We'll be creepin' up on the sleepin' soldiers in Stroud. We can attack the AA Company, burn Captain King's grand white house to the ground. [FRED stands up and stops her talking by stroking her.] FRED: You're not getting me hung. Let me make the decisions. I'll look after you ... just get me a drink ... aye, and a kiss. [They kiss. MUSICIAN plays, time passes. MARY ANN and FRED stand to attention as CAPTAIN KING enters and reads aloud a Wanted'poster. A hammer can be heard, nailing the poster to a wall.] MARY ANN:

ACT ONE - SCENE 8

35

KING:'Wanted, dead or alive, the notorious criminal, Frederick Ward, alias Thunderbolt. In connection to the robberies of the Warialda mail and the Manilla gold shipment etc etc ... Reward ... two hundred pounds.' ... That will do. [He exits. MARY ANN addresses the audience.] MARY ANN:I woke up in the night with a big marai, a spirit, starin' at me. Thought it was a man, but then I could see through her. Big grin, starin' white eyes, no legs, she pointed a t me with a long bony finger, then drove a digging stick between my eyes. Light pourin' through, then real gentle she put in a sacred stone, just here ... [She touches her forehead.]

Scene 8 - Britten Returns Some months later, MARY ANN is squatting by a fire with FRED.

Feel this, not long now. [Sheplaces his hand on her belly.] FRED:It's jumping! [There is a loud howling sound.] FRED: Jesus, what's that? [BRITTEN enters and watches unseen.] MARY ANN: Dooliga ... big Hairyman. FRED: You've seen it? MARY ANN: He's sacred. He's got no neck, big sloping forehead, an' you know what? His feet point backwards. Lot around here, you can feel him. [Sound of BRITTEN howling offstage.] FRED:Bloody hell! BRITTEN: [entering]Hey, Fred, old boy! MARY ANN:

36

BLACK MARY

[FRED and BRITTEN greet each other joyously, and hug.] FRED: Britten, you bastard, thought you were riding overland to catch a ship to Batavia. How were the Java women? [MARY ANN is not happy to see BRITTEN.] MARY ANN: Hoped you were lost. BRITTEN: Batavia turned out to be a bit too far. Too many wild blackfellas out there, and mad starving bolters. MARY ANN: Like you. I turned back, a reluctant returnee ... BRITTEN: MARY ANN: NOguts. BRITTEN: [embarrassed]I was fearful of being caught. FRED: I'm glad you were spared. It's good to see you, mate. I saw a hanging ... it made me sick. BRITTEN: MARY ANN: [taunting him] You got a nice white neck for it, Adam's apple bobbin'. BRITTEN: [nervously]I'd be grateful if you let me join you. MARY ANN: You were goin7home. FRED: He was going nowhere. BRITTEN: Brown grass, brown trees, brown women. It all looked the same in every direction ... then I heard you were in the papers. [FRED is thrilled.] FRED: Yeah? BRITTEN: Seventeen coaches bailed up. FRED: Twenty! BRITTEN: How much have you got? ANN [MAR Y is dismissive.] MARY ANN: Nothin' ... for you. [Pause]

ACT ONE - SCENE 8

[embarrassed]I don't want it, I was just asking. FRED: The crushers are mad to catch us. We've bailed up inns, gold coaches ... never killed a man. BRITTEN: You wounded one. MARY ANN: Didn't count, he's a crusher. BRITTEN: Give me a chance to prove myself. MARY ANN: He'll rob US. BRITTEN: [outraged]Rot! FRED: I'll tell you what, Britten, you can join us, but loyalty's the thing, I don't care for rats. MARY ANN: [to FRED] We don't need him. Anyway, there's not enough tucker. BRITTEN: [warning FRED] There's two hundred pounds on your head. In God's truth, Ward, the police are looking. FRED: Two hundred! I'm worth more than that, my dick is made of silver ... Aye, I've seen what they've got in the Company house, I sneaked up to the window when they were dining on silver plate. The women had bloody jewels, rubies, pearls, dripping on their naked bosoms ... BRITTEN: A sight! FRED:Made me drool. MARY ANN: Made me sick. [BRITTEN holds up a silver pistol.] FRED: Beautiful pistol, ivory handle. [MARY ANN reaches for the pistol.] WY ANN: Give it! BRITTEN: [holdingpistol out of her reach] What? No way, it's too good for a gin, you'd shoot your foot off. MARY ANN: [defiantly]I haven't got a pistol. I've stood by him on every bail up, that musket's real heavy. Hey, what makes you think you're better than me? You're just an Englishman.

BRITTEN:

38

BLACK MARY

BRITTEN: Listen to it. MARY ANN: Give it, it's the price for me showin' the way. BRITTEN: Beg for it. intervenes angrily.] [FRED FRED: Enough ... Give her the pistol ... now! MARY ANN: He's trouble. One white man's alright. Two, and we're finished, my people are not expectin' him. BRITTEN: Here, take it, and be damned ... [He gives her the pistol.] I've others [pulling another pistol from his belt]. MARY ANN: And I bet you reckon your farts don't smell too. FRED: [to BRITTEN] Ever robbed a diggings shipment? BRITTEN: No, I reckon I could though. I've got a mask. [Hepulls his scarf over his mouth, then pulls it down again.] FRED: You'll need it. MARY ANN: To hide your ugly face ... So that's it, is it? You and him, playin' the highwayman? goads her.] [BRITTEN BRITTEN: Sweet black Mary. FRED: Give me a go of that pistol. What a beauty, like holding a woman. You got powder? It's like bloody gold out here. I'd sell my wife for some shot and powder. BRITTEN: How do you do it? 'Stand and deliver!' [Heposes pathetically and they laugh at him.] FRED & MARY ANN: Stand and deliver! FRED: Look at it! BRITTEN: What? [MARY ANN is pointing the pistol at BRITTEN'S head. He is terrified and raises his hands.] BRITTEN: Hey, that's loaded, Mary. Watch it!

ACT ONE - SCENE 8

MARY ANN: Bail

39

up! Stand with your hands on your head. We don't want any hero's brains splattered on the wall. Empty your pockets! BRITTEN: [afraid]Jesus, Fred, I won't tell anyone I've been up here. [FRED and MARY ANN release BRITTEN and roar with laughter. He sees they are joking and laughs with relief. He imitates them.] BRITTEN: Bail up! FRED: Make it meaner. See, you got to make them shake. BRITTEN: [more aggressively] Bail up or I'll fill your guts with shot! FRED:Not bad. [MARY ANN aims the pistol.] BRITTEN: You like it, my dear? Its real quality, it grows on you, like me. MARY ANN: More like leprosy. BRITTEN: Come on, I'll teach you. [Heputs his arms around her. She pushes him off.] MARY ANN: Your skin's white as fish belly. Makes me sick. BRITTEN: You need me. MARY ANN: No, we don't. I can ride as well as any man. BRITTEN: Well, my darling, why did you break me out of Cockatoo? MARY ANN: I'd 'a done it for a dog. BRITTEN: [taunting]Woof! Woof! Howl! [FRED puts his arm around MARY ANN to calm her.] FRED:He means no harm, you're too jumpy. BRITTEN: That's the trouble with you blacks. You give them a bit of kindness and they think they're as good as we are.

40

BLACK MARY

[resentfully]You don't care what I want, do you, Fred? I t was real good, you and me alone out here, away from all the bosses. I like squattin' by the fire in the mist. Now you gunna let him wreck it all! He treats me like dirt. BRITTEN: And how should I treat your ladyship? God, look a t the cheek, a little gin! MARY ANN: I'm not puttin' up with it. FRED:Apologise, Britten. BRITTEN: What? FRED: [shouting]Go on. [Pause] BRITTEN: Your humble servant. [He bows.] MARY ANN: You might be stayin' but you stay outa my W ay. FRED: You know what? I want to be known all over this bleeding country ... You're either for u s or against us, Britten. Will you sign your loyalty in blood? BRITTEN: I will. [Pause]God's truth, to gold and glory! [FREDand BRITTEN grip each other's forearms.] FRED:Gold and glory! [They all face the audience in high excitement.] BRITTEN: [passionately] I want to find the biggest gold nugget on earth and make love to it. FRED & BRITTEN: Gold! FRED:You watch me, I'll take the best bloody stud horses, racehorses, it'll make the squatters scream. MARY ANN & BRITTEN:Horses! MARY ANN: I'm gunna take a spear point and carve my arms and chest, make scars, beat my head with a sorrow stick, ridin' into battle on a horse. Buru ngata marrai. FRED & BRITTEN: Scars! MARY ANN:

ACT ONE-SCENE

8

41

BRITTEN: Scars, I got scars that cross my back like London roads, lashed to a triangle until I oozed blood all over. FRED:Ride and ride for liberty's sake, my darling. BRITTEN: Gold dust clinging to my skin. MARY ANN: Fight and fight. FRED:Ride and ride, smelling the sweat of a racehorse, mane like silk, saddle of tooled Spanish leather. BRITTEN: Gold, gold! MARY ANN: Goin' myall. FRED & BRITTEN: And more gold. MARY ANN: Wild honey runnin' down my chin. Me, a member of the great Biripi nation. [Ahowling sound is heard.] FRED: Christ, what was that? BRITTEN: Police. I'll warrant they're following us. [FRED grabs BRITTEN violently.] FRED: Did they follow you up here? BRITTEN: Me? No ... I wouldn't ... FRED: Are you that much of a fool? BRITTEN: NO! MARY ANN: It's not them ... it's Dooliga, a spirit. BRITTEN: Oh, spirits is it? Spooks, ghosties? [BRITTEN acts like a ghost to scare MARY ANN.] FRED: Leave it. Mary, go and see if anyone's coming. MARY ANN: [to BRITTEN as she leaves] You can't see this country, can you? You're blind. [She exits.] BRITTEN: Lively piece, isn't she? FRED: Those lips ... like wet pink fruit. BRITTEN: Don't talk about it ... God's truth, she's got mad eyes. FRED: When she looks a t me sometimes, she can see right through me, read me, knows what I think.

42

BLACK MARY

BRITTEN: It's unnerving. Is she a witch? FRED:Come off it ... I pay a price for having a woman like her. BRITTEN: HOW? FRED: The townies leave shit on her saddle. They hate her because she can read and write. BRITTEN: She's got you dangling. You can't trust them, you know, it will out. Savage instinct, she'd side with the savages. FRED:I can tame her. BRITTEN: Like a wild horse ... You must have a bit stashed ... Why do you keep doing this? FRED:To see my name in the papers and know who I am. BRITTEN: Who's that? FRED:Captain Bloody Thunderbolt. BRITTEN: Captain Cesspit at Cockatoo. FRED: Someone should teach the crushers a lesson. BRITTEN: They're not worth it. [Pause] FRED: She wants to take on the redcoats. It's a fury, she doesn't sleep, she's got a plan. BRITTEN: What plan? FRED: We're going to rob the Spreadeagle Inn. There's a store of muskets there. You could trick them into opening it, pose as a trooper. [aghast]Me? BRITTEN: FRED: YOU. BRITTEN: Why not you? You're the experienced man, the one with the reputation. FRED:They'd recognise me. BRITTEN: They won't. FRED: They've got posters.

ACT ONE - SCENE 9

43

BRITTEN: Could be anyone. Big hat, big beard, big nose - looks like every man in New South Wales. FRED:But I'd know it was me. BRITTEN: [exasperated]God's truth, you're not going to do it. FRED: Aren't we? BRITTEN: We? What's this 'we'? FRED:Us and Mary. BRITTEN: Her! FRED: I'd never do it without her. [BRITTEN is resentful.] BRITTEN: I won't do it. You'd be setting me up. [ P ~ u sBRITTEN ~. gives in.] BRITTEN: Alright ... when will we do it? FRED:Next week. BRITTEN: But I'm not wearing a nancy trooper uniform. [They exit.]

Scene 9 - Captain King's Letter CAPTAIN KING

enters with a letter and reads it aloud.

KING:Your Excellency the Governor, the spirit of insurrection is about ... The Aborigines are becoming too bold. They kill sheep and spear cattle and threaten the lives of shepherds. Some time ago I dispatched mounted police to enforce a warrant against two blackfellows. There were thirty sable thieves armed with a dozen muskets and plenty of ammunition. My soldiers were forced to retreat. As Commissioner for the Australian Agricultural Company, I beseech you to send a force to strike

CAPTAIN

44

BLACK MARY

terror into their savage minds. On another matter, I must further add that the notorious Thunderbolt has been sighted. I shall be endeavouring to apprehend him. There are also reports of continued pillage by the native bushranger, Yella Billy, by all accounts a brutal savage. On the matter of supplies ... I must stress the urgency of continuing the supply of blankets, as withdrawal of this bounty could prove fatal to the Aboriginal women and children in my care. I await your reply. Yours faithfully, Captain King.' [Blackout. He exits.I

Scene 10 - Robbing the Spreadeagle Inn

is in the inn, drunk. MRS BYRNE, the innkeeper, enters and serves drinks to a drunken crowd. Irish music is playing and there is loud laughing and shouting. BRITTEN

Quiet down, ye drunken rabble, or ye'll cop a drubbin'. The circus will be along directly. [To BRITTEN] And where would a handsome fella such as yeself be hailing from? BRITTEN: Burp! MRS BYRNE: [laughing]Ye've no manners to match yer looks ... Well, ye are in luck, we've some high class entertainment tonight a t the Spreadeagle Inn. Mr Wirth himself, a fine fiery performer. BRITTEN: Come on, get on with it. MRS BYRNE: Give him a chance. [Drum roll, cheering. WIRTH enters in outlandish circus clothes and breathes fire.] WIRTH: Ladies and gentlemen, bolters and leavers! Now, all the way from the Rio Grande, a skill taught to me MRS BYRNE:

ACT ONE - SCENE 10

45

by Indian chiefs, a secret so precious, only once revealed to the outside world, amidst mystery, magic incantations ... feast of the gods ... a meal of pure flame ... ahh, delicious! [Drum roll. He eats fire, and all clap and cheer.] MRS BYRNE: Aye, he's cheap to feed. [FRED enters. She addresses him.] Come in, down't be lettin' in the draughts. Oi'll be catchin' moi death. What'll it be? FRED: Something to eat. MRS BYRNE: Oi've bread and cheese, but oi've nothin' more. FRED: That sounds good, we'll have two helpings. [MARY ANN enters timidly.] MARY ANN: And some wine. [MRSBYRNE looks disparagingly at her.] MRS BYRNE: Ye know it won't do ... Oi'll not be called a hard woman but yer blackboy will be hevin' to eat outside on the verandah. Oi down't keep a house for blacks here. Ter's a tin mug hangin' outside on moi well. [MARY ANN stands her ground.] MARY ANN: I'm not drinkin' out there. MRS BYRNE: [to the customers] Will ye look a t it? ... Out ye go, go on, git! ... 01 down't want yer sort dirtyin' moi chairs, they've come all the way from London, that's real tapestry to be sure. FRED: [grinning] But he's right, he's with me. turns to the crowd.] [WIRTH WIRTH: Mrs Byrne, perhaps this gentleman should drink out on the verandah with his blackboy, if that's the company he prefers. [The crowd laughs. FRED pulls out his pistol .l WIRTH: [horrified]Oh hell, it's flamin' Captain Thunderbolt. I recognise him from the posters. [BRITTEN draws his pistol also.]

46

BLACK MARY

Bail u p , ladies and gentlemen! Where are the guns? We know you've been billetin' troopers. MRS BYRNE: [defiantly]Oi d o w n ' t k n o w what yer talking about. MARY ANN: I can smell them. MRS BYRNE: Blacks don't scare me. FRED: W e l l , maybe I d o . Where are the guns? [Hepoints his pistol at MRS BYRNE.] BRITTEN: Easy, Ward! FRED: Y o u , in the f r i l l s ... Over here! WIRTH: D o n ' t look at me. I'm just a visiting artiste. [FRED grabs WIRTH and throws him to the floor.] FRED: (to MRS BYRNE) You tell us where the guns are. I'll give you t o three and then I'm going to blow his head off. WIRTH: Please, please, Mrs Byrne! [FRED presses the gun to WIRTH'S head. There is a terrible fury in him and the others are terrified.] MRS BYRNE: N o , don't, n o t here! No b l o o d on moi tapestry, please. BRITTEN: Fred, y o u can't. MARY ANN: Guns, where are they? FRED: One ... BRITTEN: Ward! FRED: TWO ... BRITTEN: Give up! Stop it! WIRTH: Please! FRED: C o m e on, come on ... MRS BYRNE: Stop, 0711 show ye. Leave him be. [MRS BYRNE rushes to uncover a box of muskets and then runs to WIRTH'S aid. MARY ANN pulls out the muskets. I FRED:

MARY ANN:

ACT ONE - SCENE 10

47

guns, eh? I knew it, look a t this. You're a liar. FRED: That's what we came for, a bloody arsenal. Holy hell, this will keep us going. MARY ANN: [opening another box] There's shot too. FRED:Mary, take these outside to the horses and keep watch. We're going to collect some booty. MARY ANN:Don't be long! [She exits with the muskets.] FRED:Bail up, Mrs Byrne ... the earrings and the necklace. [Hepulls her earrings off.] MRS BYRNE: If yer gunna shoot me, then shoot me. Ye'll not be hevin' moi heirlooms nor will ye be fondlin' moi bust. [FREDgrabs her necklace.] BRITTEN: Give up, Ward! God's truth, leave the woman alone, we're going to drink her dry, isn't that enough? Only cowards threaten a woman. FRED:And what do you bloody do? You hide with the horses, shaking in your shit. BRITTEN: That's my job. MRS BYRNE: If yer goin' to hev yer wicked way with me, then hev me. Oi'll not be resisting ... oi'll jest lie back and think of Ireland. and FRED laugh.] [BRITTEN BRITTEN: You're out of luck, Missus. [He turns and threatens WIRTH with his pistol.] Now, what you got here, my darling? WIRTH: What about my poor starving mother? BRITTEN: J u s t give it over. WIRTH: [struggling to get money out.] Wait ... it's in my pocket. BRITTEN: One! ... Two! ... h a ... MARY ANN:No

48

BLACK MARY

How much, Britten? [WIRTH hands BRITTEN some pound notes and BRITTEN counts them quickly.] BRITTEN: Sixteen pounds. Not bad for a man with a starving mother. begs on his knees.] [WIRTH WIRTH: It's all for wages, only four pounds belong to me. Give it back ... FRED:[threatening him] I'll give you something ... BRITTEN: Watch out for those Cockatoo boys, they're not afraid of a bit of genteel buggery. FRED:Let's call it a bloody loan. addresses the customers.] [BRITTEN BRITTEN: He's never given back a single shilling, but he tells the papers he's Robin Hood. FRED: That's me ... Think I'll have some whisky in a crystal glass. [He drinks.] BRITTEN: Rum, I want rum. [He drinks deeply from a rum bottle.] MRS BYRNE: And who's goin' to pay for it? That'll be two and six so far. Thievin' swine ... cattle duffers ... yer all criminals! FRED:It isn't a crime, it's a way of life. MRS BYRNE: [furiously]Ye'll strangle on the gallows. We'll hev justice. FRED:British justice, what a load of bull! We've been forced into this bloody life, and I know what death is. BRITTEN: [mockingly]Aye, death's a dear friend to the captain. He dances and whores with dear death, don't you, Fred? But he always misses out. So close to her filthy breath, one hand up her blouse and one hand in the honey, a smoking gun between his legs. FRED: You're drunk, Britten. and FRED argue.] [BRITTEN FRED:

ACT ONE

- SCENE 10

49

You never could take a bit of truth, could you? What happened to your apprentices? FRED: I've never bloody left a man if I could help it. I've fought to the last shot. BRITTEN: You've got it all, haven't you? The fame, the women hanging off you, no matter how much of a bastard you are. You make me vomit. [MARY ANN enters.] MARY ANN: What's this? You're drunk. BRITTEN: That's right. MARY ANN: Get the rest of the guns. I'm not leavin' them for Captain King. [Shepicks up the rest of the guns and exits.] FRED:[to MRS BYRNE] Where's his patrol gone? MRS BYRNE: Oi wouldn't be knowin'. Ye can torture me but oi won't be tellin' on good Mr King. Now there's a real fine gentleman, he pays for his drinks. BRITTEN: Are they going up the mountains? MRS BYRNE: Moi lips is sealed. Watch it! FRED: [to BRITTEN] [Along whistle is heard. MARY ANN enters i n a rush.] MARY ANN: We gotta run. Police are comin' up the hill. MRS BYRNE: Ye'll be hangin', oi'll be cheerin'. aims his pistol at her.] [FRED FRED: You tell the troopers about this and I'll be back. MARY ANN: Get goin'! [FRED and BRITTEN pick up the box of shot. BRITTEN takes a bottle of rum.] FRED: There's a fine mare out front. I'll take the crushers for a ride to Hungry Flat, you hitch our horses to that fancy sulky. MRS BYRNE: Oi'll not let ye pinch moi sulky. Stop them, Mr Wirth! and BRITTEN aim at WIRTH.] [FRED BRITTEN:

50

BLACK MARY

WIRTH: They'll shoot me, Mrs Byrne, have a heart. BYRNE: [shouting]Ah, ye yella-livered coward! FRED: Go with him, Mary, I'll draw the fire. See you a t Devil's Backbone. [They exit.]

MR

MRS

Scene 11 - Britten and Mary Ann

Sound of gunshots, horses and shouting. BRITTEN: [offstage]Yah, yah, go on, yah! MARY ANN: [offstage]Look out! [Acrash is heard and the lights go out. MARY ANN and BRITTEN have been thrown from the sulky. They yell at each other in the dark.] BRITTEN: Hell, God's truth, look a t that ... we've been hit. MARY ANN: You stupid waibala, look what you done. BRITTEN: Don't scream a t me. [Lights up on MARY ANN and BRITTEN on the ground. MARY ANN is in a fury.} MARY ANN: Wheel's broken now. Look a t it! BRITTEN: It's not my fault. Did you see that? Biggest Eaglehawk I've ever seen, it blacked out the moon. I need a drink ... where's that bottle? MARY ANN: All gone. BRITTEN: No, it's not. Where is it? [He looks for his rum. He finally gives up and sits down next to MARY ANN. She moves away.] BRITTEN: Have you got any tea? MARY ANN: Where you reckon I got tea, in me hat? [BRITTEN gets up and picks up a bottle off the ground.]

ACT ONE - SCENE 11

51

BRITTEN: Goddamn, look at that, didn't spill a drop, my credibility is intact. That's what I call impressive drinking. MARY ANN: You're drunk. BRITTEN: My sweet Mary, we can have an excellent camp here. I feel like a nice cup of tea. MARY ANN: [starting to get up] We'll never catch the horses. BRITTEN: [pulling her back down] You don't bloody let up, do you? They'll be right. Why can't you just lie back and look at that yellow moon? God's truth, times like this I don't even miss home. That was a thrill, wasn't it? MARY ANN: Fat lot of help, you are. BRITTEN: I was a good man ... once. MARY ANN: [laughing]What happened? BRITTEN: An abundance of misfortune ... then I came under the influence of Fred. MARY ANN: Aye, you gotta trust someone. [Pause] BRITTEN: I'd like to live like an ordinary man. Have my heart beating next to a woman, to be a t ease, not like some animal on the run. I don't want to kill anyone! MARY ANN: True, eh? BRITTEN: [seductively]Look at the light on your skin. MARY ANN: Fred'11 come lookin' for us. BRITTEN: Ooh, ahh, don't think so, he's a lady's man, he'll be busy in some pretty girl's pants. MARY ANN: Liar ... you hate him so much, don't you, it eats you up. He can ride better, shoot better ... BRITTEN: Make love better? But he's not here, is he? Let's find out ... if I can remember how ... you can cuddle up to me for the night.

52

BLACK MARY

[Heplayfully attempts to put his arm around MARY but she moves away.] MARY ANN: Get away! BRITTEN: Couldn't you show me a little kindness? J u s t let me see your bosom. Look, I've forgotten what a bosom feels like. Please! I was locked up so long. Promise I won't do anything. A peek? [She laughs. He crawls after her, pleading. She crawls away, laughing.] MARY ANN: That's real sad. You miss your mummy? BRITTEN: Mmm, I do. MARY ANN: Poor fella, eh? BRITTEN: J u s t a look then, in the moonlight. Come on. [He reaches for her blouse. She laughs again.] MARY ANN: Narr, get away! BRITTEN: What? [He nuzzles, she laughs.] Sweet black Mary. [Her childbirth pain comes on.] MARY ANN: Arrrr ... baby's comin'! jumps up in surprise.] [BRITTEN BRITTEN: Look, I'm sorry, I didn't realise. MARY ANN: Go and get Fred and a midwife. BRITTEN: God's truth, what can I do? ... Boil water? What? [Hepaces around in confusion. She collapses in pain.] Look, I'm sorry, I didn't realise. I wouldn't have ... I'll find him, don't move, I'll be back ... [He starts to exit, then comes back i n a rush.] Where do I get a midwife? MARY ANN: Get! [They exit.] ANN,

ACT ONE - SCENE 12

Scene 12 - Kidnapping Louisa There is the sound ofpounding rain and thunder. FRED enters with BRITTEN. They have LOUISA with a blanket over her head. She is screaming.

Let me g o , damn y o u ! P o l i c e , help! [She kicks FRED.] FRED: Bugger it, calm down! Stop s t r u g g l i n g , woman! BRITTEN: She's a wild little thing. FRED: I said I'd pay you for being midwife. LOUISA: Please let me out, I can't breathe. [They take the blanket off her.] I'm not a m i d w i f e , I'm Mrs Mason. The o n e you want is Mrs M o o n . BRITTEN: M o o n ? FRED: Moon? ... Oh, sorry. You'll have t o do. [LOUISA punches FRED. BRITTEN grabs her from behind to stop her running.] LOUISA: H e l p , let me g o , kidnappers, murder! BRITTEN: Look at that. [LOUISA kicks wildly and screams.] FRED: A f a n c y bit. Giving you a s t i r , is she? BRITTEN: You think I c o u l d n ' t ? FRED: I didn't say that. BRITTEN: That's it, y o u think I can't. FRED: F o r g e t it! [LOUISA is still struggling.] BRITTEN: I can have her if I want her. FRED: W h o ' d want a jig on a road in the middle o f the day? BRITTEN: You've got your bit of t a r t , what about me? I haven't had the p r o s p e c t o f a w o m a n f o r f i v e years. Maybe you're right ... maybe I can't ... o h G o d , smell LOUISA:

her.

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BLACK MARY

You can have a whore on the diggings whenever you want. Where's your self respect, man? BRITTEN: I lost that at Cockatoo ... I could do it. But I won't ... not now. Here, hold still! [He releases LOUISA.] LOUISA: Not so rough. FRED: My wife needs you. We won't hurt you. LOUISA: [shouting at him]You will be up for kidnapping. FRED: I promise we won't hurt you. [LOUISApushes BRITTEN away and runs behind FRED:

FRED.]

You keep that bastard away from me. is anxious to find MARY ANN.] Show us where she is, Britten. Hurry!

LOUISA:

[FRED FRED:

Scene 13 - Birth of Baby Lights fade. MARY ANN is giving birth as LOUISA squats in front of her. The men squat at the side. CHARLOTTE enters as ghost. There is thunder and bright light. MARY ANN'S chant is heard with clapsticks. Chanting turns into breathing i n childbirth, which underscores CHARLOTTE'S monologue. You hear that thunder? That's Eaglehawk, pluckin' out his chest feathers and lettin' 'em float to the earth. They gettin' heavier and heavier and then turn into black rocks. All fallin', fallin' like thunder. I'm watchin' you, daughter. You give birth to a gutji, that's her totem. There's a Karadji man out there, he's trackin' us. He got a policeman uniform, tracker, he like Crow, bends to the howlin' wind, but you can't see him, he's part of the scenery, he has no eyes and moves like lightnin', he got feather feet.

CHARLOTTE:

ACT ONE - SCENE 13

55

[voice off] Huh, huh, huh, arrh! [flustered]Look, a head, all the blood ... Take it slow! Oh Gawd, I never done this before ... suppose it's like kittens. [FRED comes over.] FRED: Everything alright? MARY ANN: [angrily]Go away ... women's business. [LOUISA is quite distressed.] LOUISA: Hurts, I bet? Go slow, don't push too much. Oh Gawd, it's so yucky! Why me? I'm not gunna ever have one. MARY ANN: Now cut the cord. ILOUISAcuts the cord and gives the baby to FRED.] FRED: You're so beautiful. [He is amazed by the tiny baby and holds her aloft.] FRED: Welcome, Marina Ward! You're like brown honey, worth all the gold on the fields. I've never felt this, so full of light, a little girl, a daughter, my daughter. [He dances gently with the baby as lights fade.] MARY ANN:

LOUISA:

Act Two Scene 1 - On the Run from Troopers

Six months later, FRED is i n his camp, stripped to the waist. LOUISA is washing his back. LOUISA: Is it hot enough? FRED: Lovely! Froth it up! You've got a good touch. LOUISA: Soft hands. [MARY ANN enters with the baby i n a sling. She has been i n the town. She watches with jealousy.] FRED: You bring me anything? A jacket or boots? I need

boots. MARY ANN: I begged outside the Town Hall, I got oranges. FRED: That all? [To LOUISA] A man needs more than that, eh Louisa? Wash my back, that's a girl. [LOUISA washes him.] LOUISA: Good, eh? MARY ANN: [to LOUISA, angrily] Why don't you go and get some food then? We got nothin'. LOUISA: I'm tied up. FRED: It's your job, Mary. MARY ANN: I risk my neck in town. FRED: For oranges? MARY ANN: They hunted me out before I could get anythin'. FRED: What about a sheep? [smugly]I'm starving for lamb chops and LOUISA: potato. MARY ANN: There's nothin' up here, it's too steep. No wallabies, no sheep, nothin' ...j ust a bit of wattle gum. Want some? FRED: No, thanks. 56

ACT TWO - SCENE 1

MARY ANN: I'm

goin' to get the pack horse. [She exits in anger. FRED and LOUISA flirt playfully.] FRED: When will we be married, Molly, When will we be wed? When will we be bedded in the same bed? You're a gorgeous woman, Louisa. You know I can't stop watching you, you're like whisky to a drunk. LOUISA: Mary Ann'11 kill you. Get away! FRED:Your body drives me mad. LOUISA: Well, I'm married and I'm Christian. Now, get out of it. FRED:You're soft like a persimmon, ripe to be plucked. LOUISA: You're a bad man, Fred. FRED: You'd melt in my bloody mouth. LOUISA: What will you give me? FRED:[pointing to himself} This is it. I could turn you in for the reward. LOUISA: FRED: You won't! There's no pardon for a capital offence. LOUISA: Two hundred pounds is a lot. FRED:There's a lot of me. enters in a rush of urgency, breathless.] [BRITTEN BRITTEN: When you're finished ... God's truth ... there's a considerable number of crushers riding up the ridge, single file through the trees. I saw them coming out of a cornfield. [FRED puts on his shirt and grabs his pistols.] FRED:A rat's told them where we are. They got a tracker? BRITTEN: Big and black, creeping out the front, searching every rock. LOUISA: [afraid} I don't want to get shot. FRED:They won't find us, Mary always brushes the tracks. BRITTEN: We've got to run. Get the horses, I'll get the gold.

58

BLACK MARY

FRED:[full of bravado] We'll make a stand. Fight to the last man. BRITTEN: [frightened]Not this last man! There's fifty redcoats, loaded with arms, their hooves are sending sparks flying. LOUISA: Leave me here, Fred, I promise I won't say a word. FRED:Where's Mary Ann? Quick, hey Mary! [MARYANN enters with the baby tied to her back.] MARY ANN: My horse is lame. FRED:You take Louisa's, she can ride with me. MARY ANN: No! FRED: You're a better rider than her. MARY ANN: I can ride with you. LOUISA: I'm not going. [FREDgrabs LOUISA.] FRED:You're not staying to blab. BRITTEN: We've got to run. MARY ANN: Feel good, does it? Her moot rubbin' up against you? I don't want her horse ... Wait, wait! [Sound of horses.] It's too late ... Shhh, get down! They not gunna come all the way up here ... shhhh! [They crouch down, guns ready. Sounds of horses and gunfire fade. Pause.] FRED:They gone? MARY ANN: I reckon ... See, I told you, those troopers too lazy to climb, too fat. [Pause] BRITTEN: God almighty, that was close! FRED: You're getting careless, Mary. [BRITTEN waves a bag of food.] MARY ANN: What you got there? BRITTEN: Hungry? ... How about a slice of bacon? And a cup of tea?

ACT TWO - SCENE 1

59

MARY ANN:Where'd you get it? BRITTEN: The woman in the stone house, a couple of miles back. FRED: She's a poor widow, you lout. BRITTEN: We are hungry. I'll wager you'll eat it. [He tosses bag to FRED who takes out flour. He gives bacon to LOUISA who hungrily eats.] MARY ANN: Don't eat it all! FRED: I only take from those who can bloody afford it. BRITTEN: Like hawkers and prospectors, the mighty Robin Hood. God, you're a hypocrite. FRED: Shut up! BRITTEN: Call yourself a man! My dear fellow, you can't even feed yourself. She keeps you. FRED:You'll be out on your ear. MARY ANN:Leave him, Fred, he's the only one who's brought food. offers sugar to MARY ANN.] [BRITTEN BRITTEN: I got you some sugar, big bag of it. You like sugar. Go on, take it. [She eats some, while LOUISA takes more bacon from the bag and eats it hungrily.] MARY ANN:Stop it! Leave some for us! LOUISA: I'm real hungry, you're trying to starve me. I can't go on eatin' that possum, makes me sick. [She gives the bacon back.] I've licked it all. MARY ANN: You're so greedy. LOUISA: So beat me again and the Lord Jesus will punish you. passes flour to MARY ANN.] [FRED FRED: Here's some flour. Make the bread! MARY ANN: She can make it. LOUISA: I don't know how, I grew up in the drawing room.

60

BLACK MARY

shoves a basin at LOUISA.] share of the work. LOUISA: You'll rot in hell for what you've done to me, all of you! MARY ANN: [handing the baby to BRITTEN] Take the baby for a walk, she likes you. You sure you got that flour from the widow's farm? BRITTEN: I assure you she had plenty. MARY ANN: I know a place, yeah, Bellbowrie ... a whole tribe ate poisoned dampers. A squatter gave it to them. BRITTEN: That old woman wouldn't poison me, I'm English. I ate two whole loaves of fresh bread, I'm not dead yet ... Come on, Marina, let's get out of here. [He strolls off with the baby. MARY ANN calls after him.] MARY ANN: Makes you magic, does it? Strychnine can't hurt you? You English are full of goona. FRED: They must've been killing his cattle. MARY ANN: [angrily]Oh, so that makes it alright, does it? FRED: You don't have to get so angry. MARY ANN: This whole flamin' country belongs to my people, and your people are murderin' them. FRED: They're not my people - the squatters, the bloody gentry, stinking toffs. Don't call them mine! [LOUISA has flour on her dress.] LOUISA: It's all messy, my dress is ruined. MARY ANN: They're afraid of Koories. FRED:[outraged]Of course they're afraid, they're bloody terrified. Spears sticking out of them like porcupines. A pistol is no use against a spear. They can hit a man at 80 yards. [LOUISA makes a mess of the damper, holding her hands up covered i n dough.] [MARY ANN

MARY ANN: Do your

ACT TWO - SCENE 1

61

LOUISA: Take it off! Yuk, it's all over my dress. Oh, I hate this life. MARY ANN: So are we goin' up the Falls? You comin'? Or you too scared to meet my people, or you goin7to stay here and doori her? [FRED denies this accusation.] FRED:Fair go, Mary. LOUISA: [protesting] I never, never. MARY ANN: [ignoring LOUISA] I met Yella Billy this mornin'. You know, he's got a deadly reputation. His tribe's livin' in a big camp up the Falls. They bin stealin' horses ... good stud, food, everythin'. LOUISA: It's all over my hands, it's sticky. FRED: What did you tell him? MARY ANN: Said we were comin7in to join him at full moon. FRED: What did you say that for? MARY ANN: Reckon we got no choice, it's better than starvin'. FRED: You shouldn't have talked to him in town, you might've been spotted. MARY ANN: Well, I did. FRED:It's madness. LOUISA: I can't go up there. I won't, you can't make me. MARY ANN: It's done! [FRED is haunted by death.] FRED:I'll be done, not you ...You ever seen a mortuary? Corpses with the cold tap running over their blue heads? MARY ANN: Come with me! FRED: It's good stud, eh? Will they take orders? MARY ANN: Might be, if we give them guns. LOUISA: They'll tear off your flesh and eat it. They'll cook us and eat our hearts.

62

BLACK MARY

We could be there in a few days. LOUISA: Don't listen to her, she's mad. FRED: [suddenly inspired] Jesus, it's a gamble, but noone will be expecting this! We'll be the strongest band for miles. The newspapers will go wild. You better be sure about this. Hey Britten, pack up! We're on our way to fame and fortune. returns, carrying the baby at arm's [BRITTEN length.] BRITTEN: She's pooped all over me. She grinned as she did it. Think it's funny, eh Marina? LOUISA: You can't look after her, she'd be better off in the church mission. Let me take her back with me. MARY ANN:[taking the baby protectively] She's my baby, not yours, Louisa. MARY ANN, FRED and BRITTEN face the ILOUISA, audience and pace rhythmically.] LOUISA:I'm dreaming of running away. MARY ANN: I dreamed that a man took out Fred's guts in a creek, and cut off his hands for souvenirs. FRED: Great! LOUISA: I dreamed that we buried a live baby in a hole in the earth, her mouth full of dirt. MARY ANN: I can hear the white Falls, not far now. FRED: I dreamed I rode down a steep stone gully, yelling and hooting, lightning flashing, wind in my face, chased by a trooper. BRITTEN: Take the gold and run home! A fortune ... can't carry it all, too much, bury it. FRED: I'm in a creek, so bloody cold. MARY ANN: Cleaned him like a rabbit. LOUISA: I want hot roast beef, gravy, peas fresh from the garden, a lace hanky. FRED:Water pouring on my head, a stretched-out corpse. 'Shot or hung - what'll it be, laddie?' MARY ANN:

ACT TWO - SCENE 2

BRITTEN:

All mine. Water teemin' in my head, white rushin'

MARY ANN:

water. LOUISA: Dirt in her mouth. MARY ANN: Falls real close. [They all exit.]

Scene 2 - Falls Country They are all climbing up a mountain i n a rainforest. It is wet and rocky. There is the sound of a waterfall. [distressed]I'm not going one more step. I'm dying. Lord, look at my legs! Arr, leeches, get them off'! FRED: Don't panic! Here, flick them with a stick. MARY ANN: They drop off when they're full. LOUISA: [horrified]I'm going back, I'm not going any further. Oh God, let me get out of this! BRITTEN: Look, man, you're mad. How do you propose to find one blackfella amongst these snake vines? ... I'm not going to be eaten by cannibals. Turn back, Ward. Mary, this situation is bleedin' ridiculous. Be reasonable. FRED: Let's camp in the clearing, we'll be safe here. BRITTEN: We're running from one devil into the arms of another. [Willy wagtail song rings out.] MARY ANN: Stop whingein', eh? Hear that messenger bird? That's trouble! BRITTEN: What clearing? It's as dark as hell, black cockatoos hiding the sun ... When are these ... friends . coming? You said the full moon, that was days ago. FRED:Jesus, better be good horses. LOUISA:

64

BLACK MARY

This is lunacy. God, I miss England. climbs a rock and looks out on a mountain panorama. l FRED: It's bloody beautiful. Look, mountains fading into blue, a great white waterfall in the clouds. Arr, Britten, have a look! Now, that's God. BRITTEN: Not as green as England. FRED: Let's take a look from the cliff. BRITTEN: Yeah, right. [FRED and BRITTEN exit.] MARY ANN: [cuddling her baby] Come here, burai. You wanna play in the waterfall? LOUISA: I don't want to go up there. MARY ANN: What are you scared of? LOUISA: Everything! Bush, them wild fellas ... they steal women in the dark, eh? They're heathens, devil worshippers. They'll rape us and cut off our breasts. MARY ANN:No, they won't. Hey, everybody's scared. LOUISA: Him, Britten, he watches me, a big bad wolf. When I'm at the creek washing, I see him peeking from the bushes. MARY ANN: He's alright. You sing him, you bend over in front of him, making him pant, Fred too. You wiggle your moot at them all the time. LOUISA: I never did ... I can't help it if they look ... [They argue passionately. LOUISA is exasperated. She nearly steps on a snake, and screams.] LOUISA: Arrr, snake! Red belly, kill it, kill it! MARY ANN: Shoo, g0 on, S ~ O O S ~ ! [MARY ANN scares the snake away.] LOUISA: That's it, I'm going ... Oh Lord, I've peed my pants. Untie me! MARY ANN: You want to go home that bad, eh? is desperate to go home.] [LOUISA BRITTEN:

FFRED

ACT TWO - SCENE 2

65

LOUISA: If you don't let me go, I'll ... I'll kill myself, I swear. I can't stand it. You tie me up like a dog. I'm not like you, I don't want to fight, I just want to sleep in a nice bed. Please, please! [Pause] MARY ANN: I reckon you're just gunna be in the way, anyhow. LOUISA: Can I go? [MARY ANN unties LOUISA.] MARY ANN: Go on, get! We can go faster without you. If I hear you've blabbed, I'm gunna find you. LOUISA: I won't. Do I follow the creek? [She happily begins to climb back down the rocks.] MARY ANN: Keep it on your left. Go on, get! exits. The sound of the waterfall grows [LOUISA louder. FRED enters.] FRED: Bloody leeches, my boots are full of blood. Where's that lazy cow, Louisa? MARY ANN: She's gone home. FRED:What? She'll get lost. I'll have to find her. MARY ANN: No, let her go ... just let her go! [She grabs FRED and he sits down next to her. Pause. I FRED:I know I'm giving you a bleeding terrible life. I can't protect you any more. They're coming for me wherever I go. MARY ANN: You frightened of dyin'? FRED: No, not with a pistol in my hand. MARY ANN: Then what you frightened of? FRED: Seeing you suffer, being ambushed and you getting shot. MARY ANN: You'd stay with me, wouldn't you? FRED:Well, that's the problem, I don't know. MARY ANN: What do you mean, you don't know?

66

BLACK MARY

FRED:I'm not a coward, Mary Ann. MARY ANN: I've never said that. FRED:If it came to a fight MARY ANN: You'd what? FRED:They don't want you bloody hanging like a side of beef, they want me! MARY ANN: I can take care of myself. [Sound of distant gunfire. BRITTEN rushes on.] BRITTEN: God, did you hear that? The patrol is on us. FRED: Narr, it's rocks falling. It's all those strange roots you've been eating. Don't go crazy on me! BRITTEN: [frightened] Mary, let's make a run for it. FRED: In this rainforest? I'd rather crawl through Cockatoo's sewer. BRITTEN: I'm not crazy. Listen! FRED: Narr, it's bleedin' rocks ... Alright, go on, run! Try bushranging on your own. BRITTEN: I'm not going to get myself killed just to see my name in the Maitland Courier. FRED: You know, if you had a bit more courage, you'd be a good bushranger. BRITTEN: I take risks. FRED: Yeah, you shit yourself when the crushers come. BRITTEN: Well, a t least I don't hide behind a woman. [Loud sound of clacking boomerangs.] Holy Jesus, what's that? [CHARLOTTE enters.] CHARLOTTE: Look out! Big mob comin', up the rocks. MARY ANN: They're comin'. [FRED and BRITTEN are anxious. They clutch their pistols nervously and pace.] FRED:This is bloody stupid, you said we'd be meeting this Yella Billy. Where the hell is he?

ACT TWO - SCENE 2

ANN: We got to wait. FRED: Till when? Tomorrow? Next week? He's not coming, is he? MARY ANN: He'll be here. FRED: They're just savages, we could never trust them. They'd drink and go mad, shoot us with our own guns. I should never have listened to you, you're just like them, like a child. MARY ANN: You're just like all whites, full of hate! What is it, eh? Our skin, 'cause it's black? Aren't we made the same or what? [Continuing sound of clacking boomerangs. BRITTEN begins to panic.] BRITTEN: We're sitting ducks! There's something out there. MARY ANN: [trying to calm him] We're just goin7to talk to them. [BRITTEN aims his pistol at the noise.] CHARLOTTE: Tell 'im to put it away. MARY ANN: Don't! They won't hurt us. BRITTEN: Just a bit of insurance. MARY ANN: No, you gunna look bad. (To FRED) What did you bring him for? He's gunna get us killed. FRED: (to BRITTEN) Keep it hidden. BRITTEN: What? And wait to get speared? sees a mob of wild blackfellas with [CHARLOTTE spears, surrounding them.] CHARLOTTE: Ooh, look there! Wild fellas, white snakes on them cheeks, long thin bones in their noses, eyes rollin' with rage. They're a killin' party. FRED: You'd better talk that lingo fast, woman. [MARY ANN calls out.] MARY ANN: Ngata dujul Kattang, I speak Kattang. Hey, Billy, brother! You there? We got muskets for ya. MARY

68

BLACK MARY

CHARLOTTE: Look out! They fierce. Face them, dort! Here, don't be scared! BRITTEN: They're killers, look a t their eyes blazing. [He throws down his gun and puts his hands up. FRED grabs the gun, puts it in BRITTEN'S hands and pulls him down.] FRED:For God's sake, Britten, get down. MARY ANN: Don't move, I can't see Billy. I don't know them wild fellas. Wait here. BRITTEN: We're done for. MARY ANN: I can try to talk to them. [She walks forward.] BRITTEN: Come on, man, shoot and run. FRED: Fool! MARY ANN: NO,no! [Ashot rings out as BRITTEN fires his pistol. Suddenly, he is speared through the chest and mortally wounded.] CHARLOTTE: Mad waibala, look what you done. [CHARLOTTE exits .l FRED:Mary, run! MARY ANN: NO! BRITTEN: [screaming in agony] Pull it out! MARY ANN: No, it's a hook spear. We'll break it off. Don't pull! We can save him, I know it. BRITTEN: Blood, like warm tea ... wanted to see England . rich ... my children ... Hey, Ward, take me to see that green again, just to look ... Don't touch it ... hurts. MAKY ANN:It's alright, I've got it. Keep it real still, we can cut that hook out. We'll fix you up. BRITTEN: Mary, you there? MARY ANN: Yes. BRITTEN: Hold me. [She holds him in her arms. He dies.]

ACT TWO - SCENE 3

69

[desperately]Hold on, you'll be right, we can get a doctor ... Come on, Britten, breathe! ... Blood ... MARY A N N : He's gone, poor fella. FRED: I knew we shouldn't have come up here. MARY ANN: You wanted to come, we had no other way. FRED: He's gone. Look what you've done! [Sounds of gunfire and shouting. FRED rushes back across the stage and looks out, wildly agitated.] FRED: Oh Christ, troopers, and black police! We've been followed. Come on, run, run! Give me Marina. [MARY ANN pulls the baby out of his reach.] MARY A N N : What have I done? [She breaks down and cries. FRED is desperate to leave.I FRED: Come on! MARY ANN: No, I gotta warn them. FRED: [shouting]Warn who? Come on! MARY A N N : The tribe. Troopers'll shoot 'em. FRED: Who cares? Let's go! MARY ANN: No. Leave me, go, go! Leave me! [FRED exits in a rush.] FRED:

S c e n e 3 - Captain King's Massacre There is the sound of Koori women singing to a crescendo. The sound of a huge waterfall underscores the scene. Gunshots ring out. Enter CAPTAIN K I N G (in full military uniform and carrying a sabre and pistol). He approaches MARY A N N who is transfixed in horror. [to MARY A N N ] YOU... Leave! [Shouting at his men] Get round behind them, don't let them get away! I gave you an order, look out, man! Round them up, get the chains, no more shooting! Keep the

CAPTAIN K I N G :

70

BLACK MARY

beautiful ones! ... For God's sake, leave the children, don't let them get down the track. Look out, they're leaping over the falls ... Oh hell! Stop them getting to the edge. Don't let them near the cliff. Watch out ... round them up. Stop shooting! No, no, I command you to stop shooting! ... [Losing control] Stop shooting! ... We're not monsters!!! [KING exits.]

Scene 4 - Mary Ann Escapes CHARLOTTE and MARY ANN CHARLOTTE paddles.

step into a canoe, and

CHARLOTTE: We all runnin' from the same thing -white troopers and black troopers. They chasin' them in them cabbage palms, sounds of weepin'. That mob watchin' in the trees, wild eyes waitin', waitin' to die. All pumped up with fear and death ... I'm reachin' my hand in that captain's chest, feelin' through his ribs and guts, feelin' till I got that pumpin' soft red heart. Want to pull it out and give it to them wild fellas to eat. Taste the words ... malu, cryin' like a crow. [Whispering]We seen enough here, too much killin'. CHARLOTTE: Yirrgi ngata, yirrgi, marra. MARY ANN: Wandagu? They followin' us down that waterfall. I don't want to die. CHARLOTTE: It's alright, dort, you movin' fast. Don't look back! You hold that burai tight now. [Silence, then MARY ANN dips her hand in the river in horror.] MARY ANN: It's all red. River's full of blood. CHARLOTTE: Don't look back! [MARY ANN looks back.]

ACT TWO

- SCENE 4

71

It's a yellow fire. People flyin' in the sky. CHARLOTTE: They looked like crows hangin' in the trees. MARY ANN: They burnin' them now. CHARLOTTE: Goin' to the stars, all them people, ghosts now, flyin'. MARY ANN: Listen! Horses, crackin' rock, they're comin'. CHARLOTTE: Narr, eagles' wings beatin', malu, like the thunder, eh? Look out, here comes that big white mist, floatin' over the red river. MARY ANN: I'm SO cold. CHARLOTTE: Aye, all that blood comin' down the falls, drippin' in the water. MARY ANN: We can never get rid of the waibalas. CHARLOTTE: That right. MARY ANN: They needed guns. CHARLOTTE: We gettin' away from this place. MARY ANN: It's followin' US. CHARLOTTE: Wear it like a scar. MARY ANN: Fred ran, he didn't care what happened to Marina. CHARLOTTE: You can find him. MARY ANN: He's white, I hate him. CHARLOTTE: No, you don't, your father's white. MARY ANN: I hate all of them. CHARLOTTE: Well, you half white, eh? MARY ANN: I wanted to join them wild fellas. CHARLOTTE: They don't want ya. You coulda bin finished. MARY ANN: I wish I had. CHARLOTTE: Look, girl, you alive and you goin' home. If that mob had put down their nulla nullas and come down off that mountain to work for waibalas, they be alive too. MARY ANN: I'm gunna kill that captain.

MARY ANN:

72

BLACK MARY

CHARLOTTE: You can't never kill 'im, you a blackfella and he the English army. MARY ANN: I will, I want to see him bleed with holes in him. I'll dig out his eyes. CHARLOTTE: We'll sing 'im. [She sings.] Gawul, gawul, guying gambaliny. MARY ANN: And give him poison. CHARLOTTE: Grind up that ant bed, put it in red bark, soak 'is shirt in it, eh? Send 'im mad, that better? MARY ANN: [crying]Yes. CHARLOTTE: Yeh, water goin' pink now, blood's goin'. MARY ANN:So quiet. CHARLOTTE: Look a t them ghost gums. MARY ANN: 1t7sso cold. [To the sound of crows, they climb out of the canoe. CHARLOTTE exits and MARY ANN sleeps.]

Scene 5 - Captain King's Report CAPTAIN KING

enters and reads aloud.

KING: Your Excellency, in reference to the latest outrages by the fugitive bushrangers. Thunderbolt outmanoeuvred police, bounty hunters and black trackers. Ward's paramour, Mary Ann, was closely involved in the major incidents of the campaign. She was with Ward on the Falls when they were surprised by police. This incident was a punitive expedition against the Falls blacks. You will note that the notorious Yella Billy was found amongst the myalls and was hanged from a fig tree as a warning to other miscreants. I was instructed to strike terror into their savage minds. Several respectable settlers on the Manning

ACT TWO - SCENE 6

73

beseeched me to protect them from depredations. Subsequent to these events, there is considerable fear of recriminations. I request a shipment of arms for this urgent matter. At your earliest convenience, yours sincerely, Captain King.'

[He folds the letter and exits.]

Scene 6 - Mary Ann Captured CAPTAIN KING

and

TEA KETTLE

enter.

KING:Now, Tea Kettle, lead the way! You no go walkabout, just keep on the track. TEA KETTLE: I know, Captain, I find him ... KING:It's safe, Mrs Mason, come along. enters and follows KING.] [LOUISA LOUISA: They were cruel, they tied me up. But she was the one, she beat me. She killed cattle. TRACKER: We gettin7close, boss, I can smell 'em. KING: Keep your voices down! LOUISA: This is it, we lived just up here in the caves. I was forced KING: Yes, yes. [whining]They did cruel things to me, Captain, LOUISA: so cruel I couldn't show you the places I have scars. I'm not used to this, you know, I can pass for a white woman. KING: Alright, Mrs Mason, I understand you've suffered. LOUISA: Everyone thinks she's his apprentice, but she's worse than him. KING:That may well be ... Rest assured, I'm after Thunderbolt. His paramour will be the bait for the fiend.

74

BLACK MARY

LOUISA: You'll get her, I know where she is. How much am I going to get? It should be the whole reward. [KING looks at her in disgust.] KING: You regard the Wards as a bag of money, don't you? You are aware that he'll hang? LOUISA: NO! KING: Have you ever witnessed a hanging? Not pleasant. LOUISA: I'm just doing my Christian duty for the Governor. calls out to the tracker.] [KING KING: See anything, Tea Kettle? TEA KETTLE: Aye, boss, we got action. See them little marks? Got a good horse here ... big yarraman. [MARY ANN is at her camp i n the bush. The baby is lying in a basket. KING and TEA KETTLE creep They peer at MARY through the bushes with LOUISA. ANN.] TEA KETTLE: We got 'em ... over there near them caves. LOUISA: [pointing to MARY A N N ] Oh, look! KING: Thank you, Madam, you've done your duty. Wait by those rocks and keep your head down ... there could be shooting. hides .l [LOUISA TEA KETTLE: They got big mob horses here, maybe ten. KING: [annoyed]Wretched thieves, they leave the settlers destitute. TEA KETTLE: This way. KING: Go on. [MARY ANN watches as CAPTAIN KING and TEA KETTLE burst out of the bush. KING rushes up to MARY ANN who is dressed as a man.] KING: Frederick Ward, you are under arrest.

ACT TWO - SCENE 6

75

ANN:[calmly]Am I? Well, he must have grown a moot. [KING and TEA KETTLE point their muskets at her.] KING: Where's Fred Ward? MARY ANN: Who? Never heard of him. KING: You're Mary Ann, Thunderbolt's gin. MARY ANN:Says who? Shepherd's wife, that's me. TEA KETTLE: We gunna let her go, boss? KING: Tea Kettle, tie her up! MARY ANN: Eh bingai, brother, you won't chain me? watches out for FRED as TEA KETTLE chains [KING MARY ANN who is trying to resist.] TEA KETTLE: Sis, where7dyou get the bullock? MARY ANN: From the butcher's. Got some nice chops, real cheap they are. Want some? I found it dead, stuck in a billabong, didn't want to leave it for the dingos and ants. Bingai, you tell this fella, I'm not doin' anything wrong. KING: Cattle are reported missing. TEA KETTLE: You gotta come with us. MARY ANN: I can't leave my burai. [She rushes to get the baby but TEA KETTLE pulls on the chain.] KING:I'm assuming that Ward will come for you both. I believe he likes to play the hero. MARY ANN: Won't hold me breath. [She rushes at KING who draws his sabre.] KING: Come quietly, for God's sake, woman! You don't want the little one hurt. [MARY ANN recognises him.] MARY ANN: You're Captain King, eh? Reckon I been waitin' to meet you all my life. MARY

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BLACK MARY

KING: It's alright, I swear you'll be safe with me. Your child will be sent to the native school. MARY ANN: Nooo! TEA KETTLE: It's alright, we ain't gunna hurt her. [MARY ANN stares at TEA KETTLE with contempt.] MARY ANN: Workin' for the gungible, you turned your back on your own people. Yirrgi nyuwa. Wargan. TEA KETTLE: Yeah, well, it better than bein' dead. Go on, get goin'! MARY ANN:Mighty soldier, stinkin' of blood, killer! KING: Walk! [They begin to walk. LOUISA enters cautiously.1 LOUISA: She can't get away, can she? MARY ANN: Shoulda known. LOUISA: I'm just doing my duty, a s God told me to. MARY ANN:[contemptuously]Duty, my arse! So you doori troopers now, Louisa? LOUISA: You break the law. MARY ANN: Not my law. LOUISA: She gave arms to wild blacks. That7dbe treason, wouldn't it? [KINGis very interested.] KING: What? MARY ANN: She's lyin'. runs behind KING to escape MARY ANN.] [LOUISA KING:Now, ladies, keep your distance. MARY ANN: Traitor, traitor! [All exit. Irish music plays.]

ACT TWO

- SCENE 7

Scene 7 - Mary Ann's Release

Some months later, MARY ANN is released from prison. She throws off her shackles and addresses the audience. I got locked up. Oh, I hate that, makes me real frightened. When I got out of Maitland gaol, I came here, but Fred was gone, so I walked back up that mountain. That captain eatin' my mind for 50 miles. Didn't want to go near that place ... I was walkin' in a cloud of red parrots, then, there they were -just one old woman and one old man like spirits in white smoke. Singin' to the trees, dancin' through the bush, settin7fire to grasses to clear out them ghosts ... but there was so many, that smoke it couldn't send them away ... I sat down with old aunty, held her skinny hand, light as a wren, just a little smile on her lips, she couldn't talk, eh? She used signs ... all finished up now.

MARY ANN:

Scene 8 - Mary Ann Robs Captain King MARY ANN goes to find CAPTAIN KING at the Australian Agricultural Company house at Stroud, a grand colonial home. She enters, carrying KING'S sabre, which she has stolen. She creeps up to KING who is in his bath. His jacket, with medals, is nearby on a chair.

[shocked]What do you want? Your blood! KING: Wait! Please! [MARY ANN holds the sabre to his throat.] MARY ANN: Sometime you gotta know who you are, whether you gunna live your life frightened and sayin' Yes, boss', or you gunna stop being afraid and KING:

MARY ANN:

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BLACK MARY

shout what you know. I saw a tribe butchered, bodies blocked out the sun. When I'm sleepin', it rains red through my eyes and I wake up wet. You know about that, don't you, Captain? You followed us up that mountain. KING: The tribe was hiding bushrangers and murderers. MARY ANN: You shot all the children. KING: [upset]I tried to save the women, believe me, it haunts me. I saved your life. MARY ANN: Your men had muskets strapped to their legs, an7belts of shot across their chests, like they were off to some big waibala war. KING: We took the blacks over the back of the waterfalls to frighten them. They fought, I couldn't do anything. It was a mess, the men refused to listen to me. The devil was behind them. [He is saddened by the memory.] MARY ANN: You makin' me cry ... The Falls? KING: The Falls ... they threw themselves over, like lemmings. MARY ANN: You pushed them. [She lunges at him with the sabre.] KING: Nooo, I tried to stop them. [MARY ANN is subdued, but still points the sabre.] Look, I did what I had to. The settlers are ticket-of-leavers. They scratch out a living. I was ordered to protect them. Have a little pity, they live in terror of the wild blacks. MARY ANN: My father is a ticket-of-leave man. KING: Put the sabre away! [Silence, as she studies him for a while.] Please put it down. MARY ANN: [putting down the sabre] I will, but I'm gunna rob you. Might as well get rich while I'm here. KING: All I've got is a watch and a few coins, I'm not wealthy.

ACT TWO - SCENE 8

79

MARY ANN: I want all those medals you got in the field of battle -the gold ones with red velvet ribbons. Worth

a bit, eh? KING: They won't melt down to much. [Shepicks up his jacket and takes off the medals, pinning them on her blouse.] MARY ANN: You not makin' me feel bad, Captain, I like robbin' you. KING: Stealing is a poor way to live. You could try to earn a decent living. [Shegrabs the sabre and holds it against his throat again.] MARY ANN: Hey, don't preach to me! I got used to it, makes my heart race, tearin' down a cliff on horseback. You don't have to look a t the ground, that yarraman flies you there, hearin' the crushers behind, whoo, whay, gallopin' with them howlin' dogs fadin' till there's only me and that sweaty horse in miles of ghost gums, on my ancestors' country ...Aye, I like it alright. KING: Please, I'm cold. [Pause] MARY ANN: You been tryin' to take our dignity, tryin' to make us feel like animals, but we're goin' on. I'm goin' to pick up my little girl and I'm goin' away, I'm gunna have lots of children, and they will carry Koori blood. We not gunna fade away, you know? Look out that window! See them hills of bush? You can't tame that, you English. There's too much light, the sky in this country blinds you. [She holds up the medals.] Lovely medals, all the way from England, eh? I earned them. KING: MARY ANN: No, I earned them. KING: You've no right.

80

BLACK MARY

MARY ANN: [triumphantly]I've

earned every one of them I'm gunna live. Don't you try to come after me now, Captain. You'll look pretty silly, runnin' through the town with a naked bum, booble shrivellin' in the cold. KING: They'll find you and lock you up. [She stirs the water behind him with the sabre.] MARY ANN: You know, you got a nice bum for a waibala, all pink and sweet. Shame, eh? [She exits, laughing. Lights fade. KING exits.]

.

Scene 9 - Mary Ann and Fred Break Up is at his camp, sitting by a fire. MARY ANN enters with the sabre, which she places on the ground.

FRED

Jesus bloody Christ, what are you doing here? Thought you were police. You nearly got yourself shot. [Pause] MARY ANN: Nice to see you too, Fred, been a long time. FRED:I heard you got two years. MARY ANN: Narr, they let me out, some petition to the parliament. They reckon I'm too educated to stay in gaol. I gave a good interview, it's in the newspaper. FRED:Didn't see it ... You shouldn't have come here. MARY ANN: Nowhere else to go. FRED:I'll have to move again. [She shrugs.] MARY ANN: I couldn't find you, you didn't send any message for me. You didn't even try to get Marina back. FRED:I wasn't going to risk it. MARY ANN: No. FRED:Well, I'm packing up. FRED:

ACT TWO - SCENE 9

Go on then. FRED: You tell anyone about this hideout? Get us murdered, like you did Britten? MARY ANN: Who would I tell? FRED:He was my best friend. Cut down like a savage. MARY ANN: Wasn't my fault. FRED: He was my mate. What did you do with those racehorses? MARY ANN: I gave 'em away. FRED: You and your bleedin' black relations! Looking after yourself is all that matters. MARY ANN: They're nearly all dead. FRED: And so am I. MARY ANN: You look alright to me. [He is anxious to leave.] FRED:I have nightmares. MARY ANN: What's her name? FRED: Give it away! MARY ANN: Are we still partners or what? FRED: I don't know. MARY ANN: Who is she? FRED:Jealous? MARY ANN: [anxiously]Just tell me who she is. FRED:I thought I had a future, I was going to do all these things. I don't know any more. I haven't got any bloody noble goals. I just want to live, have a good horse, bit of money, a laugh. I'm not like you ... MARY ANN: Is she better than me? FRED: You don't want me. I can't protect you. Next time they come, you won't just go to prison, they'll shoot to kill. I can't fight for you. MARY ANN: Since when have you protected me?

MARY ANN:

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BLACK MARY

Every fool with a pistol is having a go at me. MARY ANN: Oh, come on! Mobs of people hide you. FRED: For how long? MARY ANN: [contemptuously]Look a t you, shakin' like lilly pilly jelly. FRED: [angrily]You don't bloody well get it, do you? You were with the enemy. That's me, the whiteman! You think you can have a foot on both sides, one black, one white. Well, you can't strut around the town like a squatter's wife and the next day you're in a rag cloak to fit in with your blackfella mates. MARY ANN: It's possum skin ... Hey, I know who I am. FRED: Watch that temper! MARY ANN: Temper, is it? [She rushes at him angrily, then pleads with him.] Fred, please let me come with you. FRED: 1 can't. [He holds her urgently and is about to kiss her, when LOUISA enters.] MARY ANN: What's she doin' here? FRED: 1 told YOU to wait. LOUISA:He's my man now. MARY ANN: You black bitch! LOUISA: Sticks and stones ... I'm the new woman. MARY ANN: You would sell your own mother. shrugs .l [LOUISA MARY ANN: You know what she done? She brought the police to the camp, she sold me and tried to sell you. LOUISA: I didn't, God's my witness. [She rushes to FRED'S side.] MARY ANN: Go on, ask anyone, they'll tell you. FRED: Girls, please! FRED:

ACT TWO - SCENE 9

83

LOUISA: [emphatically]He chose me, begged me, he loves me. We're going to get married in a church, eh Fred?

[Pause] FRED:I'm marrying her. MARY ANN:... You could have told me the truth. FRED:Sorry. MARY ANN: You're sorry! [ M A RANN Y grabs the sabre and holds it towards

them.] ANN: You know what this is? It's Captain King's sabre. I've been visiting him. LOUISA: So who's dooriing troopers now? FRED: You didn't kill him? MARY ANN: I was so close. FRED:What happened? MARY ANN: Nothin7... I won somethin'. FRED:He can have you locked up forever. [LOUISA stands defiantly in front of FRED.] LOUISA: You stay away from him! MARY ANN: [to FRED] You're not worth fightin' over. [To LOUISA] You can have the scraps. FRED: Wait! [He takes MARY ANN'S arm and licks it.] You still taste like lemon. MARY

[Pause. MARY ANN faces the audience.] was somethin' between us, I could feel his heart, here in me. When we'd look up at that real big sky, I'd see through his eyes, all of it so blue, and the wonder in it. I never felt anyone so real in me life. and LOUISA exit.] [FRED

MARY ANN: There

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BLACK MARY

Scene 10 - Charlotte and Mary Ann CHARLOTTE enters and faces the audience. There is bright light behind her.

In night-time, I fly all around this country. Lot of trees gone but it still ours, always was, always will be. Eaglehawk country, that Biraban, he flies with thunder wings, he picks up big black stones and piles 'em up in circles, in them sacred places. He searchin' for that Crow, but he can't catch him. Crow, he still hungry for them women, but they move too fast, he never catch 'em. [CHARLOTTE and MARY ANN sing.] Nyaaga bumbal, nyaaga bumbal Bimai, bimai. Nyaaga bumbal, nyaaga bumbal Bimai, bimai. [CHARLOTTE exits. MARY ANN stands alone. Lights fade.]

CHARLOTTE:

THE END

Gunjies: Travelling in Haunted Country

The cast of the 1993 Belvoir S t Theatre production of Gunjies (clockwise from bottom of photograph): Billy McPherson, Lillian Crombie, Craig Ilott, John Sheerin, Laurence Clifford, Lisa Kinchela, Pamela Young, Kevin Smith

Laurence Clifford (left) as Steve, and Billy McPherson as Jack

Laurence Clifford as Steve, and Lisa Kinchela as Arana 87

Lisa Kinchela as Arana, and John Sheerin as Blackett

Gunjies was first performed a t the Belvoir St Theatre, Sydney, in March 1993, with the following cast directed by Lydia Miller and Mark Gould: ARANA STEVE

JUNE MERLE BARNEY JACK

BLACKETT JOHNSON

Lisa Kinchela Laurence Clifford Lillian Crombie Pamela Young Kevin Smith Billy McPherson John Sheerin Craig Ilott

Characters BARNEY

MERLE ARANA JUNE JACK STEVE BLACKETT JOHNSON TWO TRG OFFICERS COMPERE PUBLICAN HAWK

Koori man, about 45 years old Koori woman, Barney7swife, about 35 years old Koori woman, Merle and Barney's daughter, 18 years old Koori woman, Merle7ssister, about 40 years old Koori man, Barney's brother, about 50 years old Koori man, about 26 years old Police sergeant, white, about 50 years old Police constable, white, about 25 years old Tactical Response Group officers (can be doubled by Blackett and Johnson) (Can be doubled by Barney) (Voice only) (Can be doubled by Blackett)

Setting The setting is a desert landscape of magic realism where supernatural beings fly and do battle. The people inhabit the same reality as the spirits. Other locations are superimposed on this landscape. The kitchen has a 'sixties7laminex table and chairs, a night and day lounge, sink, stove and some suitcases on a bright linoleum floor. The police station has a desk covered in papers, two chairs and a noticeboard. The debutante ball has a couple of small tables with chairs and a stage with a microphone, decorated with balloons in Koori colours. The riverbank is loud with bush sounds and the deafening rush of a flood. Country and western music, Koori music and Radio Redfern underscore most scenes. There is a constant presence of didjeridu, played live.

Act One On the Road Family Meets Steve Police Break-In Arana's Visitation Preparing for Trip to Wilga Aunty June Aunty June's House Wilga Police Station Aunty June The Wilga Hotel Dinner at June's The Meeting June's Bedroom The Battle

Act Two The Debutante Ball Steve and Arana Aunty June The Arrest The Police Station Arana Arrives at June's Back at the Police Station Family Visit Police The Riot Back at June's House June's Arrest The Pathologist's Report Arana Meets Steve's Ghost The Levee

Act One Scene 1 - On the Road

Prologue In a police car late on a misty night, Sergeant BLACKETT and Constable JOHNSON are 50 kilometres from Wilga, a country town. JOHNSON is driving. A ghost of STEVEN ALLUNGA (painted i n white ochre and blood) suddenly appears i n the headlights for a few seconds. The car brakes with a screech, swerves off the road and stalls. JOHNSON starts it again i n terror. Start, you bastard! [Sweating with fear, JOHNSON and BLACKETT drive off again.] BLACKETT: What the hell was that? JOHNSON: Christ! BLACKETT: I don't bloody believe it. JOHNSON: Shit! BLACKETT: What? JOHNSON: Ah, nothing, Sarge. [Pause]Must be goin' crazy. Jesus! [Pause] BLACKETT: What'd you think you saw? JOHNSON: Must've been dreamin'. It was really strange. BLACKETT: Narr. [Pause] JOHNSON: You saw it too, didn't you? BLACKETT: What? ... Damned if I know. Shit, I need me bloody eyes tested! It musta been the light ... I dunno, it was just ... back there, I reckon ... JOHNSON:

94

GUNJIES

On that bend? BLACKETT: Get out of it! JOHNSON: You saw it, didn't you? Bloody strange, eh? BLACKETT: Yeah ... could've swore there was someone .., JOHNSON: I don't believe it. [Pausel What? Say it. A blackfella? And he was hurt, standing in the road asking for help, blood all over him? appears to be in shock, his eyes are [BLACKETT wide and staring.] BLACKETT: Fuckin' hell, all me bloody hairs are on end! JOHNSON: It was him, wasn't it? BLACKETT: Don't be stupid. I was gunna get out. JOHNSON: BLACKETT: No way I was gettin' out. JOHNSON: But he was there. BLACKETT: We come round that bend and I knew he was gunna be there. Bloody hell, gives me the creeps. JOHNSON: It sounds weird but I started getting this, I don't know, ... feeling ... about 20 kilometres back. [Pause]Far out! [Pause]How far to town, Sarge? BLACKETT: 'Bout 60 kays. [Pause]Ghosts. Narr ... Jesus Christ! Hope it won't be following us around. Gawd, I been workin' too hard. I need a bloody break. JOHNSON: Poor bastard. Gee, the guys at the station aren't going to believe this. [Pausel BLACKETT: Don't make an idiot of yourself, son. Keep this quiet, eh? [Both officers continue in silence. Lights fade to black.] JOHNSON:

ACT ONE - SCENE 2

Scene 2 - Family Meets Steve

A few days later, i n the kitchen i n Redfern, JACK are listening to the races on a radio.

BARNEY

and

Go! Go! G o , R i c o c h e t R o s i e ! Go! JACK: TSS!TSS! BARNEY: G o , R o s i e ! Go! Go! Go! JACK: Wastin' yer money. C o m e o n , get movin'. Tss! Tss! Go! BARNEY: She's in! She's in! JACK: C o m e o n ! Tss! BARNEY: Y o u beaudy! JACK: 'Ow much y o u r e c k o n we won? BARNEY: ' B o u t a hundred. [ARANA calls offstage.I ARANA: I'm home. JACK: [to BARNEY] Don't tell a n y o n e , eh? BARNEY: [under his breath to JACK] E h , get rid o f that wireless. Put it in me shoe. [Aloud]'Ello, Arana. [ARANA enters.] ARANA: H e l l o , D a d , Uncle Jack. JACK: Where you been t o d a y ? ARANA: Went t o the rally. BARNEY: What rally? ARANA: It was great. Big m o b t h e r e , f r o m all the K o o r i organisations. JACK: Y a t o l d 'em a thing o r t w o , did ya? Jarred 'em u p ? ARANA: T h o u g h t y o u were comin'. JACK: N a r r , t o o busy. Ran i n t o them f e l l a s from M o r e e . ARANA: S o y o u went f o r a drink, true eh? JACK: Give us a break ... [ARANA looks disgusted.] BARNEY:

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Hardly anyone came from our street. Won't get off their bums. JACK: I said I was busy. I'll come to the next one, eh? ARANA: What you been doin', Dad? Havin' a bet? You win? BARNEY: You should've been a t school. Your mother'll kill ya if she hears. She don't want you mixin' with radicals ... AEANA: Don't tell 'er then ... Anyway, you were bettin'. BARNEY: Alright, alright ... Had to pay for your ball dress somehow. A R A NOh A :sorry, Dad ... It's a great dress. BARNEY: 'Ow was the meetin'? ARANA: Orr, it was alright, some deadly speakers, mostly women. They were cranky about them plainclothes men firin' shots on the sports day. We all marched to the police headquarters, everyone yellin' out. I carried the flag. Should've seen us. Steve gave a great speech. BAENEY: Who's this Steve? ARANA: A fella I've been seein'. He's beautiful, he's got soft curly hair, really thick eyelashes ... He knows a lot about black issues. BARNEY: Leadin' you astray ... Ya gunna do your homework, Rana? A R A NYeah, A : a bit later. Don't worry about me, I'm goin' fine at school. JACK:'Course you are. What about that teacher, that racist bastard, 'e still there? ARANA: Yeah, he's still givin' us heaps. [ARANA makes a sandwich.] BARNEY: What's 'is name? [JACKlights up a cigarette and coughs loudly.1 ARANA: No, Dad, I'm not tellin' you. Last time you came down the school, it was shameful. ARANA:

ACT ONE - SCENE 2

97

I'll punch 'is lights out. You're makin' me wild now. Jack, give us a light. What kind of tobacco you got? JACK: White Ox, but it's all gorn now. BARNEY: Smells like yarndi. JACK: Bra, lend me ten. BARNEY: I've only got five. JACK: Well, give me that and you can owe me five. BARNEY: What did you do with the ten I gave you yesterday? JACK:Bought a drink, it's in me room. After a feed, we'll have it. I'm tonguin' for a charge. BARNEY: Why'd you buy that for? You know I'm givin' it away. enters, carrying books and folders.] [MERLE MERLE: Hullo, darl. Hi, Jack. [ARANA starts to tidy up.] BARNEY: Bit booki, are ya, darls? MERLE: Yeah. God, I'm tired. Kids played up again. They get no discipline a t home. ARANA: Mum, Steve's comin' around this afternoon. I don't want a stirrin' black power type in BARNEY: here. ARANA: He's not. BARNEY: One moment they're tellin' us we need bloody sovereignty and the next they goin' to Libya for arms, flamin' radicals. ARANA: You oldies just sit there and get pushed around . Yes, boss', 'No, boss7. MERLE: Don't you cheek your father! BARNEY: At that last meetin' up the park, 'Burn the schools', they said. Gawd, no, he's not welcome here. MERLE: At least she's using her brain and thinking about something like politics. She's not lying around stoned on yarndi. BARNEY:

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You just don't want me to have a boyfriend. BARNEY: Bullshit, you can find a quiet fella a t school. Someone your own age, not some uptown big mouth. A R A NNot A : interested. BARNEY: I'll tell ya one thing, he better not take advantage of you, or he'll be gorn. MA: Is that all you think about? MERLE: Arana! ARANA: He'll be here in a minute. MERLE: Better clean up then. [JACKand ARANA clean up.] JACK: Eh, don't throw those butts out. BARNEY: Jack's into recycling. MERLE: Becornin' a greenie, Jack? You dig that garden today? JACK: Yeah, an' that woman over the back's got nice chooks. How about a chook for tea? MERLE: There'll be no thievin' here. JACK:You work at that school with all those effin' white fellas, you're becornin' just like 'em. MERLE: Brother, no swearing! BARNEY: Jack, she pays the rent, you don't, you're only a boarder here. JACK: Arrgh! [There is a knock at the door.] JACK: 00that be? STEVE: [offstage]Arana! [ A R A exits N A and returns with STEW.] ARANA: Eh Dad, this here's Steve. STEW:How ya goin'? [BARNEY just stares at him with hostility.] MERLE: Sit down, Steve. JACK: Where you from? ARANA:

ACT ONE

-

SCENE 2

Darwin. JACK:I was workin' cattle up there ... oh, must be fifteen years back. BARNEY: I hear yer a bit of a radical. STEVE: Narr, I talk at a few meetings. You know, telling people about their legal rights. BARNEY: So you reckon you can change the world, eh? ARANA: I'm going to help him, Dad. STEVE: Orr, I don't know, we can only try. BARNEY: Seems to me that people like you are goin' around stirrin' up trouble! ARANA: He's a uni student, Dad, studying law. MERLE: That's really good, Steve, that's what I like to hear, a young man studying hard and staying out of trouble. I bet you worked hard at school. It's good, eh Arana? ... ARANA: You work part time too, eh Steve? He's a field officer. JACK: Watch out, Steve, they'll have the leg irons out. Law, eh? Big edumucated fella. Them lawyers make a bit, eh? I'll be round for a loan as soon as you're graduated. BARNEY: Uni fella, eh? Well, you should be studyin', not draggin' my daughter off to demonstrations. ARANA: Dad, I went there myself! MERLE: You gotta be careful, dort. Once they see you at those activist meetings - they'll photograph you, and you'll get a file and you're marked for life. JACK: That's why I didn't go. BARNEY: You're just a jarjum. You listen! Look, you get a job, you do the right thing, they'll leave you alone. STEVE: Maybe. Hey, I don't want to cause any trouble. I'm sorry you don't agree with what we do, but I got a lot to fight about. STEVE:

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BARNEY: Yeah? Like what? STEVE: Well, like police harassment. Look, when I first came to Sydney I was picked up by police at Central Station, just for talking to a white girl. They bashed me with a telephone book and threw me in the cells for the night. I hate being locked up. JACK:Me too, bud, me too. BARNEY: The local gunjies are not like that, they'll give ya a fair go. STEVE: Yeah? The police watch us like hawks, they spy on Everleigh St from that TNT building, they follow all the activists, including me. BARNEY: You're bloody paranoid. JACK:Ya can't stop the gunjies ... Might be watchin' me in the jillawa, eh? STEVE: I'm not going to just sit back and accept injustice. We've got to resist the dominant ideology. JACK: What? [Everyone is quiet.] MERLE: That's right, Steve, we understand you young ones have got to speak out, don't we, Barney? BARNEY: Whatever you reckon, Merle. STEVE: I'd better be going, gotta go to training. It was good to meet you. MERLE: When I was studying for my diploma, I'd get all stirred up, eh Arana? ARANA: You sure did. STEVE: Maybe I talk too much, eh? Oh well, I'd better be going. [STEVE kisses ARANA, then exits.] MERLE: Well, I like him. He seems like a smart fella. I know. ARANA: JACK:Sometimes them uni fellas are a bit wild, eh? Rana, 'e sounds like Gary Foley.

ACT ONE

- SCENE 3

101

It's OK, Uncle, I know what I'm doin'. Steve is alright, he plays for the Redfern All Blacks. BARNEY: He any good? ASANA: I heard he's deadly. JACK: Is 'e goin' up to Wilga for the knockout? ARANA: I reckon. [Lights fade.] ARANA:

Scene 3 - Police Break-In

Lighting dim. Two police officers, i n full TRG riot gear, break down the door. They are extremely aggressive and dangerous. The CONSTABLE points a gun at JACK who is asleep on the floor. Don't you bloody move! [The SERGEANT grabs JACK and rolls him over onto his stomach.] SERGEANT: You move and I'll shoot the shit out of you. [The CONSTABLE exits into a bedroom and returns pointing his gun at BARNEY and MERLE.] SERGEANT: Move it! Move it! Take it easy! On the floor! Do it slow! [BARNEY a d MERLE lie on the floor next to JACK.] CONSTABLE: Move and I'll blow your head off. [ARANA suddenly appears, half asleep, behind the CONSTABLE. He reacts with fright and turns his gun rapidly on her. She begins to cry.] MERLE: No, please, please don't, don't ... SERGEANT: Down on the floor! Down on the floor! Slowly! Slowly! [The CONSTABLE pulls ARANA to the floor and then tears the room apart, looking for stolen goods. The SERGEANT holds his gun to BARNEY'S head.] CONSTABLE:

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SERGEANT: What's

y o u r name? Where's y o u r ID? BARNEY: In the bedroom. SERGEANT: Get it! Get up real s l o w o r I'll b l o w y o u r r o t t e n head off. [BARNEY gets up and the SERGEANT follows him into the bedroom.] SERGEANT: D o n ' t make any sudden moves. What's that in the drawer? ... OK, walk, take it easy. [Hepushes BARNEY back into the lounge room.] CONSTABLE: (to BARNEY) Get back d o w n ! SERGEANT: Any f i r e a r m s ?

NO. BARNEY: You g o t a warrant? CONSTABLE: We don't need a warrant, y o u smartarse. SERGEANT: Show him the b l o o d y warrant! [The CONSTABLE shows the warrant to BARNEY.] BARNEY: This isn't our address. This is 46, not 48. SERGEANT: Change it! BARNEY: That's not my n a m e , either ... CONSTABLE: Shit! [The SERGEANT gestures to the CONSTABLE to exit.] CONSTABLE:

SERGEANT:

Move it o u t , C o n s t a b l e .

CONSTABLE: [to BARNEY] G e d d o w n , you black bastard. [BARNEY hesitates.] I said d o w n , damn ya! [He pushes BARNEY violently to the ground.] Don't

anyone b l o o d y m o v e !

[The CONSTABLE backs out of the room after the SERGEANT. There is a long silence. ARANA starts to cry and MERLE comforts her. They all huddle together.] BARNEY: It's all right n o w . MERLE: O h , my God! JACK: What happened?

ACT ONE - SCENE 4

They're gone now. JACK:Why didn't you let me have a go a t the bastards? I wouldna cared if they had ten guns ... [Pause] Shit, I thought you were a goner, Barn. Bet they woulda bashed ya. Just kicked the door in like that. BARNEY: We'll get on to the legal service ... JACK:Bastards pushin' Rana round like that. BARNEY: Why in the hell are they pickin' on us? BARNEY and JACK exit, subsides to silence.] [MERLE, BARNEY:

Scene 4 -Arana's Visitation Lights up on ARANA sitting on the lounge. Didjeridu music creates a feeling of fear. ARANA pulls a blanket over her and closes her eyes. A figure flies into the room. with the head and huge wings of a hawk It is BLACKETT, and piercing white eyes, like laser beams. He stares at ARANA from high up near the roof. Suddenly, she wakes up and sees him. She sits up in fright as he swoops towards her, then covers her head in terror. Blackout.

Scene 5 - Preparing for Trip to Wilga Next morning, JACK is playing guitar. JACK:Let's 'it the road, that Wilga country is callin'. Come on, you mob. ARANA: Mum, can I take your big bag? I've got no room for all my clothes for the ball and my things for the knockout. MERLE: OK, just don't lose it. JACK: You're gunna look a million dollars in that dress.

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BARNEY: Too right, that's what it cost. A R A NWish A : we could've afforded the shoes. MERLE: The ones you borrowed look lovely. BARNEY: You're goin' to be a beautiful deb. JACK:We might see them lights again. They come rollin' up like car headlights, come right up to ya and then ... disappear. BARNEY: Marai. [Thephone rings as they leave.] ARANA: I'll get it ... Hi! No ... what? Yeah, Mum really likes you, but Dad's heard stuff about you, you got a reputation with the gunjies ... Alright, don't worry . it was nice ... Stop it! MERLE: Arana! ARANA: No ... wait ... Coming, Mum! MERLE: Hurry up, we're goin7! ARANA: I gotta go, we're leaving now ... Yeah ... see you up there. Love ya! BARNEY: Rana! A R A NGotta A : go. Bye. [Lights fade.] Scene 6 -Aunty June JUNE

enters through the audience.

JUNE:You see, Arana never really understood what we older people had gone through. She thinks we just want a soft life, that we were too scared to talk out. She didn't know that there are old people around who can remember heads on posts, that we have bled enough. When I was born, no Aboriginal babies were born in hospital. Me mum was helped by a midwife. Dad was workin' on farms, plantin' taters an7corn

ACT ONE

-

SCENE 7

105

pickin'. We lived with the women, in sheds where they kept the corn, grand-aunts an' me grandmother, eh? She was solid. We had suffered, lost a lot. We never spoke my language an' we were never told about Gumbaynggirri tradition. Government had already taken over our land. Then they shifted us around like cattle, and mixed up the tribes like they shouldn't. You see, it really hit me when I was 11. That government closed down Aboriginal schools and Goories weren't allowed to go to white schools. Then a cousin got called 'black gin' an' there was a fight. I jarred 'em up, you know, to protect 'er. Arr, we shook 'ands after, but they never said that again. Probably didn't realise it was wrong, true eh? Geez, that old shed we lived in, it 'ad a half tank for a roof with bags around the side an' a big galley outside for cookin'. Dad built it. Didn't live in a real house till I was 16, when we lived up the mission ... an' I remember Dad bashin' Mum. She never drank, an' I used to 'ave to stop him. One day someone complained, an' the police just walked into the bedroom an' took 'im to jail. Mum used to reckon she was a clever woman ... you know, she could do magic. She said she put a curse on that copper. [Lights out.]

Scene 7 -Aunty June's House

The family have arrived early in Wilga. BARNEY, MERLE and ARANA are sitting around. ARANA is engrossed in a book. Hey, June ... hot 'ere, eh? Yeah, hit 39 'ere yesterday, local pool was like

BARNEY: JUNE:

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soup. Nearly died of heat exhaustion putting up the ball decorations in the hall. I bet it looks lovely. MERLE: BARNEY: What's goin' down, sis, eh? 'Ow's the knockout bin? JUNE:Eh, Barney, you know I love my football. Bin a lot of pissups, big fights. JACK:Comin' for a drink, eh Barney? BARNEY: Too early, brud ... 'Spose there's no water, last time couldn't even 'ave a shave. MERLE: I'll put a cuppa on. You havin' one, June? makes tea.] [MERLE JUNE:No, thanks ... You know where the cups are, you might as well move in. Eh, all the Koories are in town this weekend. All the whites left. Shoulda gone with 'em. BARNEY: Lot of extra gunjies at the football this year? JUNE:I 'ear there's forty reinforcements bein' brought in. They're gunna help that old gin jockey, Sergeant Blackett. Dirty old bugger's goin' with a young gin. Seventeen, she is. Don't know what she sees in him, 'e's only got a three-inch booble. JACK:Comin' down the Railway pub or what, June? JUNE:In a minute. You can shout me a nice lemonade. Lost all me money playin' cards out in the paddock. Wish all those bloody blacks would go 'ome. An' take the other teams with 'em. MERLE: Why's that, sis? JUNE:They're a load of cheats. Eh, Barn, remember last year? BARNEY: Shoulda jammed 'em. JUNE: All the supporters runnin' up the sidelines, screamin' at that ref? Asked me out, dirty old mongrel. Got meself a bit, a real blue veiner. MERLE: 'Ow was he, June?

ACT ONE - SCENE 7

ARANA: Mum! JUNE:You'll 'ave a good time this year, Arana. Wait till you see the hearts in the ballroom. The sheilas gettin' round in Aboriginal designs, all they wear is red, black 'n' yella. You got the ball. An' there's a dance up the cattle yards, black bands all night. You know one of 'em, Mop and the Dropouts. Deadly band, that ... Now, I put Jack's swag in the caravan, Merle, you can 'ave me bed. MERLE: Stayin' out, June? JUNE:I'll be payin' a visit to old golden balls. He's up from the Ridge. You're not stayin' long, are ya? JACK:Come on, I'm dyin' of thirst. Let's see '00's around. MERLE: No party 'ere. You not bringin' them fellas 'ere tonight. JACK:Nah, I'll be right, slept under the ute for three days last knockout. Come on, Barn. BARNEY: No, I'm mooted. And I'm not drinkin', I'm on the wagon. [He lies down on the lounge to sleep.] JACK:See yous. [He exits.] MERLE: Eh, you know what? I heard about that young man from the mission. JUNE: [quietly]Oh yeah, been in all the papers ... disappeared, my arse. He didn't run off, he got into trouble, you know, with yarndi. There's lots of it growin' up here ... poor fella ... true. Unc was tellin' me about two young girls up the mission, 'ome by 'emselves, an' saw two blokes comin' up the back of the 'ouse wearin' the gear, white hoods and long white cloaks. Poor kids, ran across the road to their uncle's 'ouse ... ARANA: Makes me feel sick.

GUNJIES

True? JUNE: Yeah! Then again, I don't know ... people 'ave been talkin' ... devil worshippers. Might be. I 'ope not. Gives me the creeps. MERLE:

[Music up.] Scene 8 - Wilga Police Station

Lights cross fade to Wilga police station. Sergeant BLACKETT is on the phone. Not now, mate. If you wanna talk ... Listen to me ... if you wanna talk, usual spot, alright? I don't care about the growers ... you know, I just want what's comin' to me, right? Bye. [Constable

BLACKETT:

enters with mail. BLACKETT hangs up quickly and dials again.] Sergeant Blackett here, can I please speak to Detective Brown? ... Thank

JOHNSON

you ... Dick, is that you? Yes, mate. Sorry, had some pressing local business to attend to. OK, what's the story? ... Gotcha. Bloody city stirrers, eh? Locals don't want 'em ... mmm ... trouble last year. What's 'is name? A ... what? Spell it ... Alright, got it. Steven Allunga. What? ... Cheeky bastard, eh? Yup, we'll watch out. No. No. That's it. You too, you bludger. [BLACKETT hangs up and starts some paperwork. The phone rings and JOHNSON answers it.]

Hello, Wilga police station, Constable Johnson speaking ... You want to what? ... Oh really? ... Dob in a druggie ... mmm, what's your name? ... Mrs Rooke. Yes, I need some particulars. How big? ... OK, hmm, hmm ... Plantation. Yes, thank you, we'll look into it. [He hangs up, looking very interested.] Shit! What do you reckon, Sarge? That woman says there's a big drug ring in town ...

JOHNSON:

ACT ONE - SCENE 8

109

[BLACKETT turns to JOHNSON, calm and concerned.] BLACKETT: Hey, Johnson, we've had nuisance calls before. There's a bit of a problem in town, a smear campaign against the farmers up the mountain. I checked it out, it's nothin' to worry about. That Rooke woman's a stubby short of a six-pack ... You've got a bit to learn, leave it to me. JOHNSON: Whatever you reckon ... Hey, Sarge, what's this about? [He reads a newspaper article on the noticeboard.] BLACKETT: It's nothin'. JOHNSON: 'Ronald Bruce Blackett.' You writing for the Wilga Gazette ... a poem? Is this it? Can I have a look? [He reads aloud as BLACKETT recites the poem silently to himself.]

Ode To The Nyngan Flood River snaking through red dust, In the good earth, the men all trust. Through rain and drought, the golden grain Is life and breath and worth the pain. The Nyngan fold fight tooth and nail, Against the wet and blinding hail. Sometimes, in their darkest hour, They fear deep rivers and all their power. Ah, it's nothin'. JOHNSON: I think it's great. [He begins to sort the mail.] Saw a lot of blacks downtown, comin' in by the busload. BLACKETT: All boozed up? Poor buggers, can't handle it. JOHNSON: Nope, just gettin' their families off the bus. They're good footballers. BLACKETT: Yeah ... good for something. You know, it's not true their brains are smaller than ours. JOHNSON: Yeah, good at hunting too. BLACKETT: Reckon you know all about 'em, do ya?

BLACKETT:

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Well, I'm from Taree, played footy with 'em. BLACKETT: Ya think they'll respect you because of that? JOHNSON: I don't know ... I know some of the families and I've learnt a bit about their culture. I did Aboriginal Studies at the Goulburn Police Academy . really interesting. BLACKETT: Crap! You can't tell me anything about Abos I don't already know ... The last young carin' and sharin' constable got glassed, twenty stitches, trying to stop some blackfella beatin' up his missus. JOHNSON: Geez, Sarge, not all of 'em are like that. I know some terrific Aboriginal people up home ... That Aboriginal Liaison woman's got some good ideas on black-white relations. BLACKETT: She knows nothing. It's all out of a bloody textbook. I know these people, they're like kids, ya gotta take care of 'em. JOHNSON: ... I don't know about that ... [BLACKETT loses his temper.] BLACKETT: I try my bloody hardest a t the Police Boys Club, runnin' boxin' for the Abo kids. They got it all over the white kids, but they end up hittin' the grog and it's all over ... and the government still gives them bloody handouts. JOHNSON: [very quietly] Yeah. BLACKETT: I do a lot for the Abos but they won't help themselves. Now, I got a lot of time for the old tribal blokes ... old Charlie from back camp, he knows where the fish are. [JOHNSON opens up a package and holds up a football sock.] JOHNSON: What's this all about? Not another pair of football socks. That's three pairs, each from a different police station 'round this region. [BLACKETT laughs.] What's the joke?

JOHNSON:

ACT ONE - SCENE 9

Ill

BLACKETT: They're for the trophy room, back in your single men's quarters. Didn't you see the other twenty bloody pairs? JOHNSON: Don't get it. BLACKETT: This is coon country, son. You know, Abos stringin' themselves up with their socks? JOHNSON: Bit sick, isn't it? BLACKETT: Lighten up! Country humour, son. and BLACKETT leave. Didjeridu music [JOHNSON creates a feeling of menace. The shadow of the hawk-headed man passes across the stage.]

Scene 9 -Aunty June JUNE

enters and talks to the audience.

It was when Arana started feelin' the spirits, goonge, I knew she had a special power, like Mum. Never thought Rana'd use it like she did. When we were young we kept out of trouble. You see, we was brought up strict and we were kept real clean, always had food, but Xmas, we got nothin'. But ... you know ... I knew all about that bush tucker ... The old people I grew up with, they were reared up on witchetty grubs, bandicoot, goanna, fish. When I was 15, had to leave. You know, big trouble, love trouble. I know what Arana's goin' through over Steve, when you're young it means everything. It can give you the strength of ten men. After losin' my fella, I lived in La Perouse and worked a t Pecks Paste. I started goin' to dances and pubs, started drinkin' shandy. We was always big-timin' ourselves, smoke in our hands, me friend and me. Later, my new man tried to stop me becomin' alcoholic.

JUNE:

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I soon realised the kids would be better off if I left. I didn't want 'em to go through the blood 'n7 scars, an' me gettin' punched by a big man. I never lost contact with me kids but alcohol stopped me thinkin7about 'em. Every mornin' I'd be sick, and even on a Sunday, I'd walk eight miles to get it. Geez, I really got into the drinkin'. Like that old Blackett ... having a drink problem can make you do crazy things, the grog can drive you mad. [JUNEexits. Blackout.]

Scene 10 - The Wilga Hotel There are two bars: one black, the other white. BLACKETT and JOHNSON are off duty and in the white bar, drinking. Lights come up on JACK,BARNEY and JUNE in the black bar. JACK:I gotta go down the Aboriginal bank. JUNE: The TAB, eh? BARNEY: Lotta deposits and no withdrawals. See a lotta Murries walkin' round Wilga with stiff necks, watchin' that TAB screen. JACK: Who's gunna win the knockout? BARNEY: It's a mug's game, bettin7. JUNE: Up the Warriors! JACK:They shoulda put that back onside, 'e didn't know the rules. BARNEY: Did ya see him run? [Lights up on the white bar.] JOHNSON: I'll buy the first round. BLACKETT: That'd be a good start to yer career, son. [Theyget their beers and drink.]

ACT ONE - SCENE 10

113

JOHNSON: What's it like working here, Sarge? Seems a bit quiet. BLACKETT: Arr, every second Wednesday she gets a bit rough ... pension day. JOHNSON: Yeah, why's that? BLACKETT: Government handouts. They all get down the pub and I gotta come down 'ere and straighten e m out. JOHNSON: I still reckon it must be a bit of a bludge, so quiet. BLACKETT: Look, I've been 'ere twenty years and I've seen more blood than you've had hot dinners. You take that big bus crash, bits of bodies all over the highway. Don't tell me this job's a bludge. JOHNSON: Sorry, Sarge, I meant it looked like there wasn't much to do a t night. The girls in town act like I got bad breath. Asked one out and she laughed in me face. calls to the barmaid.] [BLACKETT BLACKETT: Hey, another two schooners, love! [He holds up a hundred-dollar note, then puts it back i n his wallet.] JOHNSON: On the house, is it? BLACKETT: Yeah ... Well, yer profession goes against ya in the social area, but there's the bowling club, they've got a disco on Friday nights. JOHNSON: You'd be a bit old for that, wouldn't ya? BLACKETT: Arr, I go round there at closin' time. See if anyone needs a lift 'ome, ya know? JOHNSON: Orr, yeah ... BLACKETT: Narr, I keep pretty busy. I play the Hammond organ for the church fellowship, you know, keeps Mavis happy. [They drink. JOHNSON looks over to the black bar.]

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GUNJIES

JOHNSON: What goes on over in the other bar? BLACKETT: Maybe you should 'ave a look, eh son? JOHNSON: Might do that. [He walks over to the other bar where he recognises BARNEY.] BARNEY: Alright, I'll 'ave a Fosters. Don't tell Merle. JACK: One won't kill ya, brud. JOHNSON: Hey, Barney! How ya goin'? [He holds out his hand to BARNEY who fails to recognise him for a few seconds.] BARNEY: Where do I know you from? JOHNSON: Taree. You know me mum. BARNEY: Orr yeah, you're Wilma's boy. Geez, you've grown up, eh? I used to play footy a t school with your old man, Joe. How ya goin'? [They shake hands.] JOHNSON: I'm good, I'm in the police force now. JUNE: Well, we'll be seein' a bit of you then. JACK: I don't remember Joe. BARNEY: Narr, you were in the homes. is staring at this scene from the [BLACKETT doorway of the other bar, a look of disgust on his face. I BARNEY: Still do a bit a huntin'? JOHNSON: Yeah, I brought my pig dog up with me. BARNEY: Jack and me, we goin' out tomorra early, for a roo. Leavin' before light. We could use a dog. Maybe you could bring it round? JOHNSON: Yeah, maybe later when I knock off. BARNEY: Righto. JUNE:'Ow long you here for? JOHNSON: I'm stationed here for a year. J u s t havin' a drink with me boss, the sarge. He's a good bloke, I'll get him to come over and have a drink.

ACT ONE

-

SCENE 11

JUNE:No, I wouldn't worry about that. JACK:I better get goin' now ... I'll see yees later. BLACKETT: Hey, Johnson! [JOHNSON looks over at the sergeant who is beckoning him.] JOHNSON: Orr, I'd better get back, see ya round. BARNEY: Righto, Wayne. [JOHNSON rejoins BLACKETT.] BLACKETT: Don't you ever go drinkin' in the black bar, son. They don't want ya, gotta respect their place. JOHNSON: Sarge? [Lights fade. Country music up.]

Scene 11 - Dinner at June's Lights up on JUNE, cooking dinner while ARANA and MERLE are reading. JACK enters, talking to BARNEY. JACK:I saw a little one too. Brown jacks, we call 'em. He was brown an' 'airy, about two an' a half feet tall. Little tiny feet, crossed teeth, red eyes. I saw 'im up in the snow a t Barrington Tops. We saw little tracks. Looked around and he was gorn. BARNEY: You always seein' things, old fella. JACK:Look, I know when I'm seein' real things an' I know when I'm not. BARNEY: He says he seen Dooliga, you know, yowie, the Hairyman. Eh, brud? You could hear 'im an' smell 'im. What a stink, eh? JACK:I seen 'im. BARNEY: An' if the kids are muckin' up, he'll come, eh Ar ana? [ARANA is reading a magazine.] ARANA: Really?

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GUNJIES

You seen 'im, Arana? The Hairyman? ARANA: No, I 'aven't, Uncle Jack, it gives me the shivers. Ooo, true, eh Uncle Jack? Sometimes I feel something behind me. If I look around quickly, it's just a shadow. I've bin feelin' it really strongly, like waitin' for somethin' to happen. [Pause] JUNE: You take care now, eh Arana? up to JACK.] [ A R A cuddles NA A R A NWhat A : else, Unc? [JUNEcomes to the table with pot of stew and damper.I JUNE:Eh, you lot, you gonna 'ave a feed or what? BARNEY: Good, I've finished carvin7this. [He displays a carved emu egg.] AFLANA: It's deadly, Dad. That's a beautiful goanna. BARNEY: He's my meat, can't eat him. [Aloud whistle is heard from outside.] BARNEY: Who's that? ARANA: That's Steve. JACK:What's he want? AFLANA:Nothin', he's come for dinner. BARNEY: Is he bringin' the gunjies with 'im or they callin' round later? A R A NDad, A : please be nice, he's nervous enough about the big game. BARNEY: Heard he's been askin' questions round town, big stirrer. MERLE: He's alright, give him a go. BARNEY: Yeah, yeah. JUNE:Jack, you won't be chargin' on, will ya? JACK: Not me. [STEVE arrives and calls out.] JACK:

ACT ONE - SCENE 11

117

STEVE: 'E~IO? JUNE:Eh, 'ere 'e is, look out. Nice fella, eh? [In a low A ]gonna wiggle your moot, or voice to A R A NYou what? ARAN Aunty! A : [STEVE walks in.] Steve, I want you to meet my Aunty June. STEVE: Pleased to meet you, Aunty June. [He shakes hands with JUNE.] JUNE: 'Lo, Steve. JACK:'Ope ya weren't followed by any plainclothes blokes? STEVE: Narr, I heard you had some trouble. If there's anything I can do ... BARNEY: Don't you worry about it. STEVE: The legal service will investigate, if you make a formal complaint. We can ask some questions, you know, find out who's responsible. BARNEY: Yeah, we were pretty wild, but we got some one lookin' into it. JACK:Should've seen Barn. 'E was gunna kinghit that gunji. BARNEY: You hungry, Steve? Grab yourself a feed. STEVE: Thanks. [Hejoins everybody at the table, as JUNE dishes up the food.] JUNE:I hear you're from the Territory, Steve? STEVE: That's right, but I went to boarding school in Brisbane. I came down to Sydney to go to uni. JACK: Got too hot for ya up there, did it? STEVE: Something like that. MERLE: Would you like a beer, Steve? STEVE: No, thanks, don't drink. JACK:Well, maybe you should start. STEVE: Narr, it drives you mad.

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MERLE: I'll pour you a cup of tea. STEVE: Great. [They start to eat. MERLE gives STEVE a cup of tea.] JUNE:Like it, Steve? STEVE: Yeah, what is it? JUNE:Curried goolbree ... emu. STEVE: Oh, it's nice. Never 'ad emu before. ARANA: 'Aven't you? STEVE: Tastes great. JACK:We were goin' to 'ave 1-00' but that mob up the mission got it all. [Silence again as they eat.] A R A NEh, A :Mum, 'ave we got any bread? MERLE: No, there's some fresh damper there. ARANA: Why can't we 'ave white bread? JACK:'Cause you're not white. You wait till pension day, I'll get you some white bread. ARANA: You look after me, don't you, Unc? JACK:No worries. [They all laugh and then go on eating.] JUNE: Tomorra's gonna be a big day. Narcoo Warriors were deadly last year. MERLE: How long have you been playin', Steve? STEVE: Couple of years. MERLE: Good on you. I go for the Boomerangs. My father's people are from Moree. doesn't get a chance to answer.} [STEVE JUNE: Up the Warriors, eh Barney? BARNEY: We better not 'ave any trouble this time. That ref last year was up the shit. 'E was probably goin' with one of their women, MERLE: eh? BARNEY: Dunno where he got his badge ...

ACT ONE - SCENE 11

JUNE:Out of a Weetbix packet ... BARNEY: S'pose to be the ref, got his bloody badge up the tip. JACK:Should get a Koori ref. JUNE: It's not what you know, it's who you know. BARNEY: The white bastard. ARANA: Dad! Can't you talk about anythin' else but football. It's boring. (to STEVE) You play football, don't ya? An' he BARNEY: likes the Warriors too, eh? STEVE: Yeah, they're a good team, they'll give us a run for our money. [JUNEbegins a war cry and the rest join in.] ALL:Narcoo Warriors! Up the Warriors! The Warriors! 123 Narcoo boys are we 456 we'll put 'em in the fix 789 we'll beat 'em all the time In the old town In the old town Tonight! Narcoo Warriors! Up the Warriors! JUNE:That young back 'ad rubber legs, remember? He was jammin' the yarndi all night. [infits of laughter, and now shouting] He'd BARNEY: bin eatin' emu! He 'ad emu legs, didn't know which way he was gunna run! ARANA: That's because he was really stoned. STEVE: They smoke a bit o' yarndi, do they? The kids up here? MERLE: Oh, some of the young fellas, they got nothin' to do, just on the dole. They smoke a bit, better than the grog, true eh? STEVE: They must buy it from local dealers then. JUNE:Well, they don't grow it, that's for sure.

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STEVE: Where's it comin' from then? I 'eard that they knock it off from some big plantations up in the hills. Everyone reckons that the gunjies are runnin' it.

ARANA:

[Everyone goes quiet.] JUNE: Arana! What would you know? Just keep that sort of talk to yourself. BARNEY: It'll get you in trouble, girl. A R A NI A : know! That's just what everyone says don't up the mission! STEVE: [to BARNEY and JUNE]I think she's right. I know it and I reckon you know it too. JUNE:What? STEVE: No-one in town was talkin' about that man disappearin'. Somebody must've known something, they're too scared to oppose the corrupt bastards. Drugged or drunk, doesn't matter to the government, keeps the people submissive. Yarndi's just another tool of oppression, and we've gotta fight back. JACK: You got a lot of corrugated iron words there, brud. STEVE: Sorry, Jack, read too many books. JUNE: That's dangerous talk, fella. BARNEY: Better you kept talk like that down, Steve. June lives 'ere, works with the school. Murries around 'ere try to keep good relations with whites. STEVE: I'm sorry if I offended anyone ... someone's gotta say it. MERLE: That's alright, Steve. BARNEY: Look, Steve, that fella, he's gorn, and he's got a big family round here, they don't want to get hurt, and that's the end of it. STEVE: We can't just lie down and take it, Koories have to speak out. [To JUNE]Well ... that was a great dinner. If ever you're up in Redfern, you'll have to

ACT ONE - SCENE 11

drop in and I'll cook you a feed. Thank you very much. But I'm sorry I have to eat and run. BAKNEY: Where you off to then? STEVE: I've got a bit of business to attend to. Then the coach wants us down the oval for training. BARNEY: You'll need all the trainin' you can get against our fellas. STEVE: Yeah, see ya. [ A R A walks N A STEVE to the door. She holds his hand .l AELANA: S'pose you take out a lot of girls. STEVE: Not any more. ARANA: Good ... I can't stop lookin' in your eyes. STEVE: Careful, might be workin' a bit of magic. [They stare at each other, then collapse into each other's arms, laughing.] I love you. [They kiss passionately. STEVE exits. AELANAreturns to the table.] JACK: 'E talks like Gary Foley. 'E's a bit hot. JUNE:Lovely bum, and he looks like Ernie Dingo. A R A NYeah. A: JACK: What would 'e know about drinkin'? MERLE: What business does he mean, love? [Sound of barking dogs.] JUNE: I'm gunna check the dogs, that big red one'll eat Steve. [She exits from kitchen. Lights cross fade to JUNE and STEVE outside.] Eh, Steve, hold on! STEVE: What's up? [Talking in hushed tones, JUNE occasionally looks over her shoulder.] JUNE: Everyone's bin talkin' about you. Koori grapevine's like lightnin'. [Pause]You bin askin' around about that fella, bingai? STEVE: I heard he's dead. JUNE: That's right. You from the legal service? STEVE: Yeah, I'm a field officer.

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JUNE:People are frightened. Don't wanna talk about it. STEVE: I know. Look, I got permission from his family and the Land Council. I know what I'm doing. JUNE: Maybe. STEVE: You reckon he was killed? JUNE:He didn't go walkabout. [She is annoyed.] Some relations in Sydney or anywhere would've told his family where he was ... A white woman up the mountain smelt something bad on the wind, so we knew where to look. Look, you know I'm a community worker. Well, I went up the mountain with the old women of the tribe and that police rescue squad. Now, some of them are good blokes ... we were searchin' the creeks and bush ... got some nice rock orchids and staghorns for me verandah. STEVE: You found 'im, eh? JUNE:His spirit grabbed Aunty first. I felt the coldness on me arm, we run up the hill that fast ... Felt his tracks weavin' about ... It was 'im alright ... Those police, they sent us back then. Told us later they found 'is clothes an' bones. Narragar. STEVE: They asked you to leave, did they? JUNE: Yeah ... 'E was only 30, got a kid in town. Don't know who did it. 'E was mixed up with sellin' yarndi, nothin' heavy, not like those white fellas pullin' up on motorbikes, sellin' heroin to kids on the mission. STEVE: Who are those white fellas? Do you know their names? JUNE: Elders wanted to pull out the nulla nullas and clout 'em ... It's frightening, what's 'appening up 'ere. We've done a lot of work building that bridge between white and black ... But you listen to me, Steve, what I've told you, keep my name out of it. I've only been up here ten years. I dunno what

ACT ONE - SCENE 12

123

you're up to, and keep Arana out of it. I've already had blokes sittin' in cars outside my place. I don't like sleeping with guns. OK? ... Well, I better be goin'. STEVE: That mob711think I'm after you. JUNE: NO such luck! [Blackout] Scene 12 - The Meeting

Lights up on

STEVE addressing

a meeting in Wilga.

STEVE: Thanks for coming, everyone, it's great to see so much community interest in the sovereignty issue. There's been a lot of action at the Aboriginal Embassy in Canberra. But it's pretty cold down there, so if you're going to drop in, take a bit of fire wood, they'll appreciate it. I'd like to read our declaration to the international community and the United Nations. This is the statement we issued when we occupied the old Parliament House: 'We, the members of the Aboriginal Nation and Peoples, do hereby give notice of invoking our claim to all the land of the territories of our ancestors. Accordingly, we invoke the Rule of International Law that we have never surrendered nor acquiesced in our claim to these lands and territories. We have the right to self-government and self-determination.' [He raises his fist in a black power salute.] Well, that's about it. Some of the elders want to have a word with you now, so I'll get out of your way. If anyone wants to talk to me about that local issue, I'll be out back.

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Scene 13 - June's Bedroom JUNE

and

MERLE

are getting dressed for the ball.

JUNE:Now, you want to watch out for that girl! She's after Barney. MERLE: I trust him. JUNE:[laughing]You can never be too sure. BB, we call 'er, she's all box an7boobs. MERLE: You like a good time yourself ... JUNE:Well, you can't just sit back, eh? There's plenty of men from the Ridge with a fine bit of opal ... [She laughs heartily. MERLE is already dressed. She helps JUNE get into her ball dress.] MERLE: You better breathe in for this. You're filling out, June. JUNE: The men like a bit to hang on to. [She goes to the door and looks out.] Them fellas are all doodahed up in their suits, even Jack looks good. MERLE: Let me get at that mirror. I'm not used to all this makeup, shame eh? JUNE: Pass me that scent. I'm going to wiggle it tonight alright. Eh, June, you got any better shoes than these? MERLE: I can't wear high heels anymore, they're killin' me. [ARANA calls out offstage.] ARANA: DO1 look OK? MERLE: Oh, dort, you're absolutely beautiful! JUNE:You'll get mobbed. ARANA: I only want Steve. JUNE: Always good to have a few spares. MERLE: Arana, you look so wonderful, you're makin7me cry now. JUNE: Oh, shut UP! [MERLE and JUNE exit. Lights fade.]

ACT ONE - SCENE 14

Scene 14 - The Battle

This scene is underscored by didjeridu. There is a n eerie light as STEVE appears in white ochre. He is barechested and carries a ceremonial Aboriginal sword. He walks across the stage. The hawk-headed figure follows him and calls out. Eh, Allunga! turns as the HAWK aims at him with a spear i n a woomera. He ducks. STEVE begins to sing a Dreaming song. He and the HAWK enact a ritualised battle.]

HAWK:

[STEVE

Act Two Scene 1 - The Debutante Ball JACK, MERLE, JUNE and the COMPERE enter, dancing. The COMPERE is dressed i n satin country and western clothes. He mimes to an Elvis song, and JACK is

mimicking him. COMPERE: Ladies and gentlemen, let's give a round of applause to the ladies committee for the great supper and all the work in doing the decorations. [Everyone claps.] Now let's hear it for the winning team. What a great game, eh? What do you reckon? [More applause.] I'd like you to be upstanding to toast the young couples. This is their big night. Some of these young ladies have sewed their own beautiful gowns, and don't they look gorgeous. Ladies and gentlemen ... to the debs and their partners! [Everyone toasts the debutantes.] EVERYONE: To the debs! [JACK lurches towards women i n the audience.] JACK:'Ow you goin', girls? Don't mean to intrude but am I your partner, or what? MERLE: Jack, get over 'ere! JACK:Nah, there two nice dubais over 'ere. An' I'm as hot as a 'ot dog ... I don't muck around. You go for Walgett, don't ya? Well, ya ain't gunna win again next year ... Eh, I gotta go. You want me to come back, or what? MERLE: Jack! JACK:Later, out back, eh? You and me, we 'ave a bit of you know ... 00,she likes me alright. [He winks at a woman i n the audience, then goes back to dancing.]

ACT TWO

-

SCENE 1

127

All the ladies are lookin' beautiful 'ere tonight. Anyone of you single ladies want to come up an' dance with me? Everyone, get onto the floor, we've got a bottle of champagne going to the best dancing couple 'ere tonight. dances like Eluis.] [COMPERE JUNE: Eh, Merle, he's a real black Elvis. There's always a black Elvis. COMPERE: Some of the young ladies can't find their partners. Come on, gentlemen, do the right thing! You makin' me shamed. JACK:[to the audience] Eh, all you Walgett mob, ya only won 'cause of Ricky Walford, dancin' up the sideline like a bush turkey, scorin' three tries. Ya won by one little point. I woulda stopped 'im, if they'd let me 'ave a go. MERLE: Only knockout you were ever in was with the barman a t the Exchange. JUNE: You can't hold your drink, Jack. JACK: I'm tryin' not to. JUNE: Gee, Ricky Walford played well, and what a neat little bunch 'e's got. MERLE: And those thighs! JUNE:Whenever he put the ball down to kick, he'd bend over in front of us, and all the Walgett women would go 'Arrhh!' [JACKcavorts wildly.] ARANA: Mum, what're we gunna do? Look at Uncle! We shouldna brought 'im. He's shamin' us. MERLE: Give 'im a chance. [COMPERE does a few gyrations to music.] Look a t 'im swing those 'ips. Look out! [STEVE arrives, dressed in a dinner suit.] JACK: Eh, Steve! Come over 'ere, brudder. Ya missed that kick, eh brud, big shame job, eh? Lost the COMPERE:

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GUNJIES

game 'cause of you. Bet the team jammed it up ya. [He shakes STEVE'S hand.] STEVE: Don't remind me, Jack, I'm trying to forget it. JACK:Eh, brud, don't dance with those dubais over there. [He points to the same women in the audience.] They're too flash for me, those uptown gins. [STEVE approaches ARANA'S table.] STEVE: Thanks for the warnin', Jack. Think I'll ask these women over 'ere for a dance. They look alright, what you reckon, Jack? [To ARANA, MERLE and JUNE]You all look beautiful tonight. MERLE: You look lovely in that suit, Steve. STEVE: Really? I feel like a dickhead. [ARANA giggles.] I think I'll dance with the most beautiful woman in the place. Arana? JACK: I'll 'ave that pretty one over there! [He points to a woman in the audience.] Don't look like that! A F L A Don't N A : take any notice of Uncle Jack. JACK:Never mind me, I'm just a little black boy. Don't worry about me. STEVE: Aye, Jack, I'll buy you a drink later. Come on, Arana. [They dance.] MERLE: You should stick to shandies like me, Jack. JACK: Aye, don't you worry. I'm not the kind of black fella that'll drink today, drink tomorra. I wanna see the end of the line, you know. JUNE:So what you drinkin'? JACK: Rum 'n' coke. MERLE: Big man, eh? JUNE:It'll take the cough off 'is chest. [STEVE and ARANA stop dancing and talk.] ARANA: Sorry about Uncle Jack. He drinks too much.

ACT TWO - SCENE I

STEVE: Yeah, why doesn't he give it away? It's wrecking his brain. ARANA: Don't run down my family. STEVE: Yeah, well, I was adopted, brought up by a white family. I t didn't turn me into a drinker. ARANA: Well, you were lucky. STEVE: Come on, don't be like that, eh? [They dance again closely.] You comin' with me tonight? ARANA: You're a bad man, Steve Allunga. STEVE: I'd like to show you a good time. ARANA: Gee, you're a fast worker. STEVE:Busy man, I've gotta be. ARANA: Sure. STEVE: You look nice in that gown, true. I'd like to see you without it. ARANA: I bet you would. STEVE: You comin' then? ARANA: What, now? STEVE: Would your mother mind if I took you home tonight? ARANA: Nah. I'll go an' tell 'er. She'll tell me partner. He won't mind, he's my cousin. [They approach MERLE.] Mum, I'm goin' with Steve. MERLE: Don't be too late. Twelve o'clock. ARANA: Make it a bit later? MERLE: Alright. ARANA: Thanks, Mum.

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GUNJIES

Scene 2 - Steve and Arana STEVE and ARANA are walking on the riverbank. Lights cross fade to a single spot and they walk into it. The sound of the river underscores the scene. The music from the deb ball fades.

STEVE: Lot of stars out tonight. A R A NYou A : gonna kiss me or what? STEVE: You're playin' with fire, woman. A R A NI A hope : so. [They kiss.] You're dangerous, Steve. STEVE: Eh, it's only me. ARANA: It's like somethin' is pullin' me to you, in my sleep ... all the time ... feel like I'm going gwarnghi. STEVE: You reckon I've caught you? Sung you like the old fellas? A R A NMaybe A: ... You make me shiver. Hold me ... [STEVE takes off his shirt and she kisses his chest. He holds her.] STEVE: You gotta be fearless. A R A NI A can : be, when I'm with you. [STEVE unzips her dress and it slips to the ground.] My heart's beating so fast, I think I'm gunna die. STEVE: I want to take you up north to my saltwater people. We can lie under the pandanus. A R A NOh, A : I'd like that. STEVE: Eh, I found out my skin name. I'm Bulany, that means you gotta be Galikali. ARANA: Galikali, that's me, it's nice. STEVE: Eh, Arana, this is the first time I've felt like this ... [Lights fade.]

ACT TWO - SCENE 3

Scene 3 -Aunty June JUNE

enters and speaks to the audience.

JUNE:One night, a spirit came into my room, slidin' on the lino. First time I'd ever felt a spirit. It's like I said to Arana, once you start seein' them you see them all the time. It's like gettin' the phone on, the line is open. An' one day, I was jarrung, I said to this fella, 'I don't want this bottle of wine', so I gave it away. That was 15 years ago. Last time I ever drank. Went to AA, an' got a beautiful feelin', like my whole being was lifted. I thought I'd lost it. A lot of our kids think they've got nothin', but it's there. It's born in you, your identity. I never lost mine. Goori spirituality, it's always there. I was born with somethin' ... [Lights fade.]

Scene 4 - The Arrest

Wilga, late at night. Low lighting. kissing, wait for a taxi. STEVE: I'll

STEVE

and A B A N A ,

get you a taxi. ARANA: You'll be lucky, there are only two in town. STEVE: You're beautiful. ARANA: So are you. [She giggles.] Idiot, you nearly fell in the river. Should've seen your face. pulls her to h i m and they kiss.] [STEVE STEVE: Where's that taxi? [He spots a taxi.] Here's one. I'll pull 'im up. [They mime taxi approaching and going past.] ARANA: Great!

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GUNJIES

Don't worry, babe, he's turning around. Look, here it comes. Hey, taxi! [They mime taxi approaching and going past, again .l -A: It didn't stop because we're black. Typical, just like Redfern. It's the only time you wish you were a @b. STEVE: Wait a minute, what's this? [He whistles another approaching car.] -A: It doesn't look like one to me. STEVE: It's too slow for a taxi. Arrgh shit, gunjies! They're stopping. Look out, here's trouble. [ARANA yells out angrily.] ARANA: What is this, South Africa? Go and follow someone else. [BLACKETT and JOHNSON appear and mime as if in a police car. JOHNSON is driving.] JOHNSON: Shall we have a look? She sounds drunk. BLACKETT: NO. JOHNSON: I reckon we should. Just make sure they're on their way. BLACKETT: You don't understand, do you? What you're dealin' with? You arrest one, you gotta arrest 500 of the mongrels. JOHNSON: Yes, Sarge. BLACKETT: I just don't need some black bastard spewing up on the back seat, right? JOHNSON: Yes, sir. BLACKETT: Go on, find out for yourself ... Well, get goin'! Bugger ya! [JOHNSON emerges from the car, pulling out a walkie-talkie and turning it on. BLACKETT has one too. A fuzzy sound can be heard.] BLACKETT: [to himself] Three months out of the bloody academy and they know it all. Turning out bloody STEVE:

ACT TWO - SCENE 4

133

social workers ... [He speaks into the walkie-talkie.] Thank you for tuning in z e r o tango, we have a ... ##Q%&*#

...

approaches STEVE and ARANA.] Good evening, what are you doing out this

[JOHNSON JOHNSON:

late? STEVE: Waitin' for a taxi. ARANA: You cops are always hassling us. JOHNSON: Settle down, just asking a simple question. STEVE: We're OK. ARANA: Which means we haven't done anything. What do you want? Go and arrest some real crooks. JOHNSON: I'm just asking a few questions. ARANA: It's apartheid. JOHNSON: What? Do you live around Wilga? ARANA: Nah. JOHNSON: Where are you staying? MA: None of your business. JOHNSON: It is my b u s i n e s s , when you're out on the street this late. STEVE: It's OK, Constable, I'm taking her home now. [STEVE tries to pull ARANA away. JOHNSON is a little irritated.] JOHNSON: What's your address? ARANA: Redfern. JOHNSON: Redfern, huh? ARANA: So what? JOHNSON: What's your address in Wilga? STEVE: Cool it, Arana. ARANA: I'm sick of it, you can't push us around. JOHNSON: You're making this very difficult, Miss. [He speaks into his walkie-talkie.] What's that, Sarge? [Afuzzy sound is heard.] ARANA: We get enough of this in the city!

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GUNJIES

Calm down a minute. [BLACKETT arrives on the scene.] BLACKETT: What's goin' on here? [To STEVE] What's your name? [STEVE tries to walk away, pulling ARANA with him .l BLACKETT: Hey, I'm talkin' to you, black boy. What's your name? STEVE: Steven. [BLACKETT grabs STEVE by the shirt.] BLACKETT: Steven what? STEVE: Steven Allunga. Why don't you piss off? BLACKETT: Right, you're under arrest for offensive language. Put the cuffs on him, Constable. STEW: You can't arrest me! ARANA: What's he done? [She attempts to pull STEVE away.] JOHNSON: Sarge? BLACKETT: Cuff him! STEVE: You've got nothin' on me. [He deflects JOHNSON'S attempt to handcuff him.] BLACKETT: Haven't we, sonny? STEVE: What's the charge? BLACKETT: Resisting arrest. Offensive language. [STEVE pushes JOHNSON away.] And assaulting a police officer. STEVE: You've got to be kidding. [JOHNSON puts handcuffs on STEW.] Get these things off me! They're hurtin' me. ARANA: This is crazy. Let 'im go! [JOHNSON pulls her off.] J O H N S O N : Come on, off you go! STEVE: Leave her! Go home, Arana. Go! [He manages to put himself between her and police.] Just go! JOHNSON:

ACT TWO

-

SCENE 5

He's done nothin'! This isn't South Africa! BLACKETT: Make yourself scarce, sweetheart. Come on, be a good girl. Move! [MA stands and watches STEVE being taken away. He resists non-violently, stiffening his body as the police force him into the car.] ARANA: Steve! STEVE: I'll be all right. Don't worry. [JOHNSON sits in the back with STEVE. BLACKETT gets into the driver's seat.] BLACKETT: Allunga, eh? Well, well, we got one of them. Nice job, Constable, we got ourselves one of those troublemakers from Redfern. TRG'll be very pleased. STEVE: Bullshit! BLACKETT: Shut up! STEVE: This is ridiculous ... You got nothing on me. BLACKETT: J u s t shut up, you! Lighten up, we're here to look after you. [Blackout.Music up.] ARANA:

Scene 5 - The Police Station It is the early hours of the morning. An overhead light illuminates a circle of space in the police station. STEVE is alone, stripped down to his underpants and socks. He sits on a chair, his hands cuffed behind him. He calls to BLACKETT and JOHNSON, who are offstage. Give me back my clothes. BLACKETT: Got everything, Constable? His belt, watch? JOHNSON: Yes, sir. [Officers appear. BLACKETT writes a report while JOHNSON puts STEVE'S possessions in a plastic bag.] STEVE:

136

GUNJIES

STEVE: Let me ring the legal service, I know my rights. I wanna ring the liaison officer. BLACKETT: For Christ's sake, where do you think you are? The big smoke? STEVE: Look, be reasonable, just one call. JOHNSON: This is procedure, Mr Allunga, you'll have be patient. BLACKETT: Now, what have we got? One leather wallet, one fountain pen, twenty-five dollars and sixty cents. What else? STEVE: Let me go, for God's sake! Let ... me have my clothes back. I didn't do anything. It's oppression, two hundred years of shootin' us down like dogs. We don't have to put up with this treatment. BLACKETT: You're lookin for a hidin' ... What else, Johnson? A set of keys ... Hey, mate, keep it down! ... A JOHNSON: handkerchief, cufflinks. STEVE: The law states that I'm entitled to a solicitor. You'll have to let me call one. JOHNSON: Isn't it procedure to give him one phonecall, Sarge? I know the procedure, Johnson. Did ya get BLACKETT: his shoelaces? JOHNSON: Yeah, here. [He hands BLACKETT the laces.] BLACKETT: You taking any medication? No? Right. STEVE: You got nothin' better to do? People are gunna hear about this! You're gunna regret it! Obeyin' orders, is it, fellas? JOHNSON: I suggest that you keep it down, Mr Allunga. STEVE: Keep the boongs down! BLACKETT: What's this? A bloody silk bow tie! STEVE: You can't get away with it. You think Koories

ACT TWO - SCENE 5

137

are gunna lay down and die, let you shit all over us. Let you murder us like you did that fella from the mission. BLACKETT: I said, shut up! JOHNSON: What's he on about? What murder? BLACKETT: He's givin' me a bloody headache. OK, that's about it. [He tidies up his desk.] STEVE: Times 'ave changed, it's not 1930 now, you white pigs! JOHNSON: Take 'im out back? BLACKETT: Yeah. STEVE: Everyone knows about your little drug ring, you corrupt cops. You bastards, killin' off Koories because they knock off some of your plantation ... you corrupt bastards! BLACKETT: OK, lock 'im up. STEVE: You've got nothin' on me! JOHNSON: Come on, you, settle down. pushes STEVE STEvE: You can't do this. [JOHNSON towards the cell. He resists violently.] I'm not goin' in there. Let me go! BLACKETT: Shut up! Get 'im in. JOHNSON: Come on, mate, don't struggle. STEVE: Let me go, I'll fight you every inch of the way on this! Don't put me in a cell. Please! I want to call the liaison officer. I know my rights. JOHNSON: Sarge, I can't get a hold of him. BLACKETT: Blackfellas get real slippery when they're stirred up. Come on! STEVE: Let me go! is grabbed from behind by JOHNSON. STEVE [STEVE pushes both feet up against the wall and throws JOHNSON onto his back on the floor. STEVE gets up

138

GUNJIES

as JOHNSON rises slowly. B L A C K E T T J U ~ ~up S and savagely pushes JOHNSON out of the way. J O H N S O N hurts his hand.] BLACKETT: Can't you do anything right, Johnson? [ B ~ ~ c ~ ~ T ~ p uSTEVE n c h in e sthe face. JOHNSON is on his knees, humiliated. He gets up and savagely knees STEVE in the chest.] JOHNSON: You little shit! [STEVE collapses on the floor. BLACKETT pulls him up and marches him towards the cell.] It wasn't meant to be like this, I wanted to help them. I should never have joined the force. Oh God, I'm sorry. [All exit.] Scene 6 -Arana Arrives at June's ARANA enters,

ARANA: Mum,

distraught. Everyone is asleep.

Mum! comes out, half asleep.] MERLE: That you, Rana? ARANA: Mum, you gotta come down the police station, they've got Steve! MERLE: Oh no, what's he done now? ARANA: Nothing! [BARNEY enters.] BARNEY: What's the big noise? You're wakin' up the whole 'ouse. ARANA: I'm scared. Please come and get Steve out of jail. BARNEY: Arr, someone always gets arrested after a ball. MERLE: It's late, love, we'll go in the morning. Come to bed. ARANA: You don't understand, they've got it in for him. Please help him! [MERLE

139

ACT TWO - SCENE 7

That Steve is trouble, bloody flashmouth. begins to cry hysterically.] ARANA: I know he needs us, I can feel it. I'm beggin' you to help him. BARNEY: We'll ring up. You go to bed, it's not your worry. MERLE: I think we'd better go down. [Pause] ARANA: Please, Dad? BARNEY: Orright ... But if we go down there and cause a stink, he might cop a hiding ... It's alright, my baby, he'll be right. [The sound of a mopoke pierces the night. Blackout.I BARNEY:

[ARANA

Scene 7 - Back at the Police Station

Sometime later, in the police station, are at the desk.

BLACKETT

and

JOHNSON

Just do as you're told. Read it for me, Constable ... slowly. [JOHNSON is obviously exhausted. He reads but it is clear he is very distressed. BLACKETT smokes and nervously wrings his hands.] JOHNSON: 'The deceased, one Steven Allunga, had shown signs of intoxication and had been shouting abusively and had repeatedly thrown himself against the door and walls of the cell, displaying an inclination to inflict self injury. He was uncontrollable but was quiet after a while. When I went to the cell for routine inspection, I noticed the deceased. I yelled out for Sergeant Blackett to assist me. The sergeant got the keys from the charge room desk and - ' BLACKETT:

140

GUNJIES

BLACKETT: No, you got the keys. Change it. JOHNSON: 'I got the keys from the charge room

desk and we opened the cell.' BLACKETT: Good, yeah, go on. JOHNSON: 'Upon entering the cell we were aware that the deceased had suspended himself and that no other person was directly involved.' BLACKETT: Yes, yes, that's right. JOHNSON: 'I held the deceased up from the wall and I untied the sock from which he was suspended. The deceased was then laid on the bunk. The sergeant undid the sock that was attached to the neck.' [Pause] BLACKETT: Go on, go on. JOHNSON: 'He put his hand on the deceased person's body and found that he was cold and had no pulse.' BLACKETT: Mmm, mmm. JOHNSON: 'I attempted to take the pulse at the neck but could not find it. The time was 4 a.m. I determined that it was not feasible to perform cardio-pulmonary resuscitation.' BLACKETT: That's good. JOHNSON: 'It was clear that the deceased had an intention to take his own life, knowing the consequences of his act.' BLACKETT: That'll do. It reads well. JOHNSON: It's not right! ... Sarge, I don't want any part of it! BLACKETT: (yelling) What don't you want any part of, Constable? Your career, your future? Want to throw it all away? JOHNSON: I don't know. BLACKETT: You were doing your job, son, we used no more force than necessary ... Come on, I did this for you. We got to stick together on this, they'll never

ACT TWO - SCENE 8

141

fuckin' believe ya ... It's the way the force operates. Now go and give the medics a hand before I lose my temper. [JOHNSON exits.]

Scene 8 - Family Visit Police Lights up on BARNEY, MERLE and the town.

ARANA

rushing through

ARANA: Hurry! Come on, Dad! MERLE: None of this would 'ave 'appened if you'd come 'ome with us. BARNEY: They'll just give 'im a thumpin' around and let 'im out tomorra. stops dead in her tracks. There is an [ARANA ambulance outside the police station.] ARANA: Dad ... an ambulance. Look! MERLE: Oh, my God! BARNEY: Trouble alright. ARANA: We've gotta 'elp 'im. [They rush into the station, where BLACKETT is still sitting at his desk, shuffling paper.] BLACKETT: Yeah, what can we do for you? ARANA: What 'ave you done with 'im? BLACKETT: Who? ARANA: Allunga. BLACKETT: Are you family? BARNEY: Not exactly. Friends. BLACKETT: Well, I'm afraid we can't tell you anything. Do you know where his family live? ARANA: Yes, I do. Where is he? Is he alright? I want to see 'im.

142

GUNJIES

[Shepushes towards backstage, towards the cell area from where JOHNSON emerges, terrified. BLACKETT reacts by standing.] JOHNSON: No, you can't go in there. [He sees BARNEY.] Barney, what're you doin' 'ere? She your daughter? A R A NWhat's A: goin' on? JOHNSON: Stop her! I'm sorry, the paramedics are in there. She can't help! BARNEY: Jesus, what's goin' on? Wayne, what's 'appenin'? What's your mother gunna say? JOHNSON: You'll have to speak to the sergeant, he's in charge. MERLE: [to BLACKETT] Look, we wanna make some inquiries. You've got Steven Allunga, right? You took 'im in last night. We want to see him right now. A R A NFind A : out what? He's done nothin' wrong. We were just waitin' for a taxi. Mum ... Dad, do somethin'! BLACKETT: [resuming his paperwork] As you can see, we're very busy ... ARANA: Why do you 'ave to contact his next of kin? BARNEY: 'E's not dead, is 'e? BLACKETT: It's none of your business. I'm sorry but we have to follow certain procedures. You can call up tomorrow and we might be able ta help you ... MERLE: Oh God! A R A NYou A : killed 'im. [She begins to cry, then screams, trying to get into the cell.] Steve! Steve! [BARNEY tries to restrain her.] BLACKETT: [voice raised] Look, you have no business being here, we're doin' all we can. Just go home and let us get on with our job. MA: Steve! Steve! Mum ... Mum. BLACKETT: Constable, see them out, please. JOHNSON: Listen ... please ... go home. Barney ... you

ACT TWO - SCENE 9

143

gotta go. I'm sorry, I don't know how it happened, I don't know. MERLE: What 'appened? JOHNSON: ... an ... accident. I don't know. You are ordered to leave the police station. ARANA: I need to see 'im, just to look a t 'im. Please, Mum, tell them I've got to see 'im. BARNEY: It's alright, my baby. MERLE: We'll be calling the legal service. [to BLACKETT] I'll contact his family. They'll be BARNEY: wantin' to talk to you. [Threateningly]We'll be back alright! MERLE: No-one should come out dead. [MERLE and BARNEY leave, supporting ARANA who is near collapse.] BLACKETT: There's gunna be bloody trouble. Get on the blower. JOHNSON: The look on their faces ... BLACKETT: Do your bloody job! I just gave you an order, son.

Scene 9 - The Riot Lighting changes, becomes more threatening, as the sound of a riot erupts: yelling, smashing glass, rocks being thrown, etc. People are dark shadows. There are three locations: the police station, the pub and the street. JUNE,BARNEY and JACK move quickly across the stage, ducking rocks. JACK:Come out an' fight, you gubba bastards! BARNEY: Cowards, murderers, see 'ow you like it! BLACKETT: [speaking into his walkie-talkie at the police station] They're attacking the hotel. The customers are on the top balcony, and one of them has a rifle.

144

GUNJIES

Publican called. They're smashing all the bloody windows. I've called the next town. It'll be a good hour. PUBLICAN: [through megaphonel This is private property. Get off! [There is a sound of windows being smashed.] You bastards, you'll pay for this. Those renovations cost twenty thousand. Where's the coppers when you need 'em? Go on, piss off! JACK:Stop hidin', you cowards, come on out. Get off that verandah! Come down! BARNEY: Don't break that, it's not gunna help us! BLACKETT: [through megaphonel Go home! I repeat, go home! You are breaking the law. Return to your homes. [Riot sounds increase. A siren is heard.] JACK:You gunji cowards, come on out! BARNEY: Bastards. JUNE: Run, for Christ's sake, run! Look out! [to JOHNSON] Don't panic! Hold your ground, BLACKETT: keep the blasted door shut! JOHNSON: [putting his walkie-talkie down] Eighty on the way, Sarge. Bloody hell! Hey, they're chucking rocks. Get down! BLACKETT: Shit! [Thephone in the police station rings constantly.] PUBLICAN: [shouting across the street from the pub] Listen, Blackett, you're the fuckin' sergeant. Get these black bastards out of here, they've wrecked my front bar. I'm holding you responsible. Someone'll pay for this. JOHNSON: Oh, Jesus! Fay Pasquilini's boutique's just been kicked in. [JUNEaddresses the audience as if it is the crowd.] JUNE: [loudly]Go to the park! Please, everyone calm down and go to the park. A man at the hotel has a rifle. Please move away!

ACT TWO - SCENE l 0

PUBLICAN: Not the plate glass! Get out! ... [Yelling across to the police station again] Hey, you blokes, come on, come and give us a hand! BLACKETT: [shouting back to the pub] I can't be in ten places at once, just look after it yourself. We'll get someone there in 30 minutes or so. Shit! Hell! JOHNSON: Never knew it was gunna be like this! [Sirens wail, yelling continues, then lowers to underscore rest of scene. Lighting goes to black.]

Scene l 0 - Back at June's House Lights come up i n JUNE'S house. come back from the riot.

BARNEY

and

JACK

have

JACK:Not gunna stick around when they smashin' windows ... Those gunjies are pissin' their pants. I've 'ad enough. BARNEY: Yeah, they wouldn't listen to me. The young fellas are tearin' the bar up. June give a good speech ... Gawd, she's got the gift of the gab ... You know, Jack, the system's stuffed, from the Rum Corps up to now. It's the same bad story - we've been locked up or shot. JACK:I was locked in the jillawa next to stinkin' pans when we was kids at Kinchela. Ate bread 'n'jam. Froze me mundowies off, bringin' in the cows. If I was a lad now, I'd be out there chuckin' rocks. They whipped us with a stock whip. [He looks out of the window. MERLE enters from MA's room.] MERLE: Quiet, you two, she's asleep. I gave her a tablet. JACK:Eh, look, they burnin' a car. Look a t the gungible run! Go get 'im, knock the goona out 0' 'im! BARNEY: Bet they bloody get away with it.

146

GUNJIES

MERLE: There should be one law for all. JACK:Yeah, blackfellas' law. BARNEY: Where's the bleedin7justice? MERLE: Such a waste. He was a good lad, that Steve. BARNEY: Look around Australia, all you see is Aboriginal ghosts. Wish they'd bring back tribal law. I'd spear the gunji and put him on the ant's nest. [He buries his head i n his hands.] JACK:fyelling out of the window] Go, ya bastards, go! puts her arm around BARNEY to comfort [MERLE him. JACK is still looking out of the window.] JACK:Look out, 'ere's the mob from the mission. Wild fellas, them lot are. Gunna chew up the gunjies and spit 'em out. BARNEY: June's still out in it, eh? MERLE: She likes a good fight. They started it, she says. Always been a fighter, jarrin7'em up if anyone picked on us kids ... wouldn't let anyone get pushed around. JACK: Hey, look at sis! She got one, pullin' his hair out, kickin' 'im, chasin' 'im up the road. He not gunna walk for a week. and BARNEYjoin JACK at the window.] [MERLE MERLE: Oh gawd, she's gunna get arrested. BARNEY: Look out! MERLE: She's been arrested. Oh lord, how we going to get her out? [Blackout. Music up.]

ACT TWO - SCENE 11

Scene l 1 -June's Arrest

apparently sits i n a paddy wagon as other people are arrested i n mime by a silent BLACKETT and JOHNSON.

JUNE

I felt a power in me that made me snap and I was runnin' down the street. Gwarnghi, crazy, with anger, that death makin' me cry with fury. A black hand pickin' up a stone, the glass from the bar smashin' over us. A shower of blood! All the Koories shoutin' so angry. Voice gone with beggin' that mob to go home before they all got arrested or someone killed by a gun from some ute goin' by. Farmers' 202s stickin' out ute windows, a11 of them yellin' a t the blacks. I ran with the mob, we aren't gunna take it anymore. I'm lyin' in the glass and two big gunjies pick me up. All the hands grabbin' a t me, but I was gone, into the bullwagon with its metal and vomit ... Them fellas bangin' on the side, givin' me a headache. Merrigans barkin'. There was a young boy from the river, sittin' big-eyed in the corner. I'll never forget what whites have done to our people, it was all there in his face. [Lights cross fade.]

JUNE:

Scene l2 - The Pathologist's Report N is A talking to JUNE. They are standing under the stars. AWA is agitated.

~

I'm scared that I'm goin' mad. takes ARANA firmly by the shoulders.] JUNE: There's nothing the matter with you. What you're seein' is a spirit. Ask him what he wants, he's got a message for you. ARANA: But I'm terrified! -A:

[JUNE

148

GUNJIES

JUNE:He can't hurt you. I'll give you some stones to wear. [She hugs AMNA.]1got a letter, k a n a ... Steve's sister went to see his body. I'm sorry, darlin', but I've got to tell you. She said that his face was scraped and his teeth knocked out. They didn't put that in the government pathologist's report. A R A NHe A :was beaten! JUNE: Yeah, but there's more. We gotta be strong for this. AR.ANA: 1 want to know. JUNE:When they got his body off the plane in Darwin, his heart and brain were missin'. Steve's sister wrote to the pathologist but he didn't answer. WA: What about the inquest? JUNE: The coroner ruled that there wasn't any evidence of violence. He reckoned that it was suicide. AWA: That's impossible! JUNE: The police were commended for professionalism. You could see them lyin', sittin' on the other side holdin' the Bible and tellin' lies. You know what it is, darlin'? A conspiracy. The W l g a Gazette reported that Steve died in the sergeant's arms. They never take the Koories' side, cow cockies' paper. ARANA: I really wanted to go to the funeral, I couldn't get the fare. Did his sister tell you about it? JUNE:The Yolngu people gave him a full tribal burial. All painted up with all the Dreaming feathers, they danced the ceremony and sang him into his grave. [She embraces ARANA.1 Oh, Rana! [Lights out.]

ACT TWO - S C E N E 13

Scene 13 -Arana Meets Steve's Ghost Sometime later, W A is driving i n a storm near E l g a (indicated by sound effects). She sees something standing on the road. She stops and gets out of the car. She calls out over the storm. ARANA: Are

you alright? [Shepeers through the darkness i n the direction of the audience, then suddenly realises she is Looking at STEW'S ghost, painted in white ochre. He is standing i n the audience. The vision fades is at first stunned and quickly in and out. MA buries her face i n her hands. Then she slowly looks up and begins to cry. The storm dies down ghost.] and ARANA, still emotional, talks to STEW'S Something told me I gotta go along this road ... looking for this moment. [ALoud clap of thunder shudders the air. AWA drops to the ground, then starts laughing with relief.] I thought ... I thought ... I'd be too scared to do any thing, eh Steve ... I'm still shakin' ... [She laughs some more, then becomes upset again. I You came to me in a dream ... You knocked on the door, you kept knockin' and I got up ... I knew it was you ... could feel you through the door ... the walls ... meltin' like honey. You wanted to get across the river, but it's flooded, it's breakin' the levee bank. [The storm rises again. Her voice fights over it.] Steve! We couldn't see across, it was so dark ... the water was wild ... Geez ... Steve, I tried ... I pushed

150

GUNJIES

that boat, it was a coffin, over the water ... and you lay there in the bottom ... [Storm sounds abate. ARANA'S voice is spent and almost a whisper. She begins to cry again.] Your face ... It was terrible, I had to get you to the other side. I was hangin' on ... Love ya! [Lights up, like sunshine. STEVE disappears, and ARANA looks blankly and whispers again.] Steve ... I got you there ... [Blackout]

Scene 14 - The Levee

It is night time, down by the river. The ghost of STEVE drifts i n and out of this scene. BLACKETT is checking the levee. He is drunk, weaving about with a torch. ARANA is walking by the river. The sound of a mopoke is heard. God, the river's high ... liftin' bloody sand bags all week ... [He turns the torch on ARANA. He stumbles over to her and stares at her.] What's a young girl like you doin' down here? [ARANA is shocked out of her reverie, and takes her time to answer as she looks at h i m with a quiet hatred .l ARANA: I'm alright. I was lookin' for you. BLACKETT: Ohh, that sounds good. [Pause as ARANA takes a good look at him. He assumes wrongly that she is interested.] ARANA: I want to ask you a few things. BLACKETT: Come over here, I won't hurt ya. [ARANA carefully weighs up her response.] ARANA: Yeah ... [She walks away into the darkness.] BLACKETT:

ACT TWO - SCENE 14

151

BLACKETT: Where are ya? Gawd, it's dark down 'ere. Hard enough to see a white girl but you black ones . Hey, smile so I can see ya. [She walks back towards him. He offers her a flask of Scotch but she shakes her head.] BLACKETT: Here, have a swig of this. Hey, I'm just a lonely old bloke. Hell, you're beautiful, alright for a gin, fuckin' oath. ARANA: Oh, really, am I? BLACKETT: I know you from somewhere. You're not from round 'ere, are ya? But I've seen you before. A R A NYou A : can't remember me, can you? BLACKETT: Hey, wanna keep an' old fella company and give us a cuddle? [Pause]I'll look after ya. ARANA: [laughing bitterly] Sure you will. Like you did to Steve? BLACKETT: What? Hey, don't be like that. [Pause] ARANA: Why don't you tell me the truth? You lied to the Royal Commission, I watched you. BLACKETT: Hey, give us a kiss! Come on, girly, be nice turns away in disgust.] to an old bloke. [ARANA What, you shy? Geez, you're bloody beautiful. It's a nice night for it. [He stares at her and starts to recite one of his poems.] Black as velvet, The dusky maiden breathed The night air. Limbs of gold, Dark, silky hair. Her secret place, A cave to hide. In her soft flesh, I always abide. . I write a bit of poetry, ya know. [ARANA laughs condescendingly.] Nah, don't laugh a t me ... Come 'ere, let me get a hold of ya.

152

GUNJIES

[He grabs ABANA and tries to grope her. She becomes angry .l MA: No! Don't do that. BLACKETT: I won't hurt ya. I'm lonely. A R A NWhat A : do you think I am? ... I want to ask you something. Tell me what happened to Steve. BLACKETT: You're real beautiful. [He attempts to thrust against her and fumbles with his fly. She begins to cry as a struggle ensues.] ARANA: You filthy bastard, let me go! BLACKETT: Oh, you're like a cat. Come on, I'm not gunna hurt you. Give us a feel ... ARANA: Filthy old man, let go! ... You don't even know who I am, do you? BLACKETT: You're beautiful! You want me, don't ya. ARANA: I said, get your filthy hands off me! I hate you! You don't know how much I hate you! suddenly sees STEVE'S ghost. He is [BLACKETT terrified and backs towards the river. Through angry tears, ARANA takes control and begins to wildly dance him towards the river's edge.] BLACKETT: Bloody hell, what's that? ARANA: Is this what you want? Is it? Is it? BLACKETT: Ough! You little wild cat! [Surprised, he looks over his shoulder as the sound of the river gets stronger.] Watch out for the river, love. Hey! No ... Shit! Watch it! What ya doin'? No! No! falls and disappears into the raging [BLACKETT torrent. The sound of the river is deafening for about 15 seconds and then cuts to silence. MA picks up the whisky flask and proceeds to empty the rest of the contents on stage, staring towards the river. She is horrified at her actions.]

ACT TWO - SCENE 14

153

Gran always said not to swim across the middle, something lives in there. It eats dogs and sheep.

ARANA:

[She begins to walk away. BLACKETT yells from the river.] BLACKETT:

Help, help me, for Christ's sake!

[ARANA hesitates for a long while, then she walks towards the river. Lights fade.]

THE END

Glossary Julie Janson concluded from her research and in consultation with descendants that Mary Ann and her mother probably spoke Kattang, from the Taree area in New South Wales. She uses Kattang words from Nils M. Holmer7s A n Attempt towards a Comparative Grammar of Two Australian Languages: Part II. Indices and Vocabularies of Kattang and Thangatti, published by the then Australian Institute of Aboriginal Studies in 1967. These Kattang words appear in bold italics in the glossary. Holmer7sspelling system allows readers, if they follow the key, to pronounce them as he recorded them from speakers in 1964. Janson also uses, in both plays, words from other ancestral languages as well as words with other origins which Aboriginal people, particularly the Goories, Koories and Murries who appear in these plays, have made their own - either by reshaping them to fit the sound systems of their languages, or by using them with their own shades of meaning. Words from ancestral languages which have been written widely enough to be included in the Macquarie Dictionary are mostly spelled as they appear there. Many of these entered Australian English early on from the Sydney area languages. Other words Janson has learnt through working with Aboriginal people from many language backgrounds, especially in Sydney. These are written how she and the people with whom she workshopped the plays found it easiest to remember each one as it came up. They are given with the meanings she learnt for them. Sometimes the names of the ancestral languages of the people she learnt them from are also given, or the particular regions of New South Wales (NSW) with a language or languages in which they occur. As

GLOSSARY

155

ancestral language words spread among people from various language backgrounds in talk which is mainly English, different people say some of these words in slightly different ways, sometimes more, sometimes less like they sounded in the original languages. Pronunciations learnt by Julie Janson are given in italics in brackets, using the system which Holmer used for Kattang, as explained in the key.

KEY t o saying t h e spellings i n italics always like ng in singer, never like ng in finger like ny in canyon, including at the end of a word always like g in gun, never like g in gin like j and dg in judge like ch in church like t in tin, but put your tongue between your teeth as for thin like r in rat like r in a Scottish pronunciation of rat always like the first a in galah, never like a in fat the same but longer, like the second a in galah like the word eye always like i in hit like the e in wet like ey in grey always like U in put, never like u in hut the same but longer, like oo in moon Letters not listed are pronounced as in English. When you say the italic spellings aloud, always emphasise the beginning of the word, unless a long double-letter sound follows next: MAnduwi, NAragaa, guWAAngi,

kaRAAdji ...

156

BLACK MARY & GUNJIES

Allunga

[alanggal

Arana baraba bimai

[araanal

bingai binge1 binggin Biraban

[binggall [birabanl

Biripi

[biripail

booble booki Bulany

[bubull [bukil [bulanyl

burai buru

Dooliga

[dulagal

doori

[duril

Steve's surname is taken from a north Queensland word for 'sun' (exceptional emphasis, say [aLANGgal) name my, mine this afternoon, tonight, last night, yesterday brother pregnant greedy Eaglehawk (spirit) (Newcastle area) people and country around Taree penis, also arsehole tired out male skin name, Yirritja moiety, in Djambarrpuyngu, Northern Territory. Bulany marries Galikali as first choice (put your tongue tip on the roof of your mouth to say 1) child north: buru ngata marrai 'I will go north' the Hairyman, also known as dulagal (NSW south coast) to have sexual intercourse with

GLOSSARY

dort dubai

[dubail [dubeyl

Galikali

[galikalil

gammon

[giyamanl

gawul

157

short for 'daughter' woman (Bundjalung etc, north NSW coast, southern Queensland) female skin name, Dhuwa moiety, in Dj ambarrpuyngu, Northern Territory. Galikali marries Bulany as first choice joking, fooling: you're gammon 'you're kidding' (from 'gammon') eaglehawk: gawul,

gawul, guying gambaliny 'eaglehawk, gin goolbree goona goonge Goori

gublgubba [gabal gungible [gandjiball gunji gutJt

[gandjil

eaglehawk, birds singing out' woman (Sydney area) emu (Guwa, parts of western Queensland) excrement ghost, spirit (Wiradjuri, and NSW south coast) (Aboriginal) person (north coast languages including Kattang),also used to distinguish Aboriginal people from this area white person police officer (from 'constable') short for gungible sleepy lizard

158

guying gwarnghi jarjum

BLACK MARY & GUNJIES

[guwaangil [djaadjaml

jarrung [djarangl jillawa [djilawa] Kamilaroi [gamilaraayl

Karadji

[karaadji]

Kattang Koori

[gathang] [k U ril

malu marai merrigan

[merigan]

bird crazy (Wiradjuri) baby, child (Bundjalung etc, north NSW coast) drunk (from 'drunk') urinate, toilet language people and country of northern NSW, west of the Great Dividing Range, also written Gamilaraay 'clever man' with special powers (Sydney area) language name Aboriginal person. This is the long-established spelling in English of the word which NSW north coast people pronounce [guril (see Goori). Koori is now used by Aboriginal people in southeast Australia generally, when not using words for 'person7from their own languages, and to distinguish them from Aboriginal people elsewhere rain, storm, thunder spirit doe (west of the Great Range)

idin in^

GLOSSARY

moot m u n d o w i e [mandu W il Murri [maril

[mayall narragar ngaga ngata

[naragaal

nyaaga waibala wandagu wargan Wilga

[waaganl [W ilgal

woomera

[wumaral

Worimi

[warimail

yarndi

[yaandil

vagina; 'I'm mooted', 'I'm tired out' foot (Sydney, Newcastle) Aboriginal person (Gamilaraay, northern inland NSW etc, and southern and central Queensland languages), also used to distinguish Aboriginal people from this area wild fella, traditional Aborigine (Sydney area) poor thing (Wiradjuri etc) mother, mother's sister I: ngata dujul K a t t a n g 'I speak Kattang' see: nyaaga bumbal 'see (the wind) blowing' whitefella, white man (from 'white fellow') where to?, where are you going? crow (Gumbaynggir etc) imaginary town i n country where the wilga tree grows, 'wilgarr' in local languages spear thrower (Sydney area) coastal people and country south of Biripi marijuana

160

yarraman

BLACK MARY & GUNJIES

[yaramanl

Yi

yirrgi

horse (spread to many languages from the early contact pidgin) here, this way: yi baraba burai 'here's my child (coming)' sick, sore, ill, (morally) bad: yirrgi, marra 'it is bad, go away'; yirrgi ngata 'I am sick, I am sore'; yirrgi nyuwa 'he is bad'

Note The words in italics in this glossary are written using only a single letter or pair of letters to represent each sound. The following changes have been made to simplify Holmer's system: aa for his a., uu for his U-,r for his F, rr for his r, th for his &, y and ny for his j and nj. I have added e and ey.

Tamsin Donaldson July 1996