This article examines the figure of Winnie in Samuel Beckett's Happy Days, demonstrating how Beckett's staging of her queer/disabled existence might be read as subversively disruptive to social perceptions of able-bodiedness and ‘crippling’ stereotypes about disability and desirability. At the intersection of ‘crip theory’ – related to disability and queer studies, and scholarship on ‘cryptonymy’ – an encrypted language initiated by psychic processes, ‘Cript Sexuality in Happy Days’ argues that Winnie uses pain and immobility as her inspiration for song as Beckett's drama ultimately challenges pre-‘scripted’ roles for female sexuality by bringing occluded aspects of the sexualized disabled body into visibility.