AustLit

'Tom Jessup, a hack journalist recently returned from the United States, is murdered in a sleazy hotel room. He is buried, apparently penniless and unmourned.

'But then, into Melbourne's International Airport, jets Ms. Terry Davis, a castrating American in the Germaine Greer mould, who presides over an international fashion empire. She summons Ryan and instructs him to find Jessup's murderer and the $250,000 she gave Jessup to set up an Australian branch of her organisation.

'Ryan - his masculinity bristling - does just that, but meantime there are two bizarre attempts on Terry's life and the exposure of a gigantic confidence trick. Ryan discovers elements in Ms. Davis' background and submits her to an emotional exorcism which leaves her older, sadder, - and infinitely more likeable.

'A feature of this episode is a quite unscheduled scene in which Ryan's Valiant Charger plunges into a lake at 70 m.p.h. The footage was so exciting (and, miraculously, no-one was hurt) that the script was hastily ammended [sic] to accommodate the event.'

Source: Synopsis held in the Crawford Collection in the AFI Research Collection (RMIT).

The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'TERRY DAVIS: American, early thirties, a Germaine Greer type. Extremely attractive, dynamic business woman who has built an empire. At the end of her association with Ryan, she softens considerably.

'ROBERT PRICE: 25-30. Practically everyone loathes him except his lover, Tom Jessup. He is a queer and there is some evidence of the fascination he holds for Jessup. He is given to hysterics, and forced to commit a murder. Drives a car.

'JOE MARTIN: 50's, a hardened, cynical but rather likeable newspaper editor who helps Ryan. Two solid scenes.

'THE CARETAKER: 40's - a large, brutish thug who has co-operated with Robert Price. The caretaker tangles with Ryan, so should look capable of fighting. He also has a dry line in stock criminal dialogue.

'JOHNNY QUINN: 35-45. A reporter acquaintance who helps Ryan. One scene, smart patter.

'LINDSAY: 50ish. Poses successfully as a man servant and conspires to kill Terry Davis. Handful of lines.

'MRS. AMES: 40ish - poses as a cook. One scene, no lines.

'MRS. DEWEY: 40-50. Prim and proper secretarial type at an employment agency. One scene with Tony in which she airs her views with impatience and without humour.

'MR. HEDLEY: 40-50. Everyone's idea of the manager of a funeral parlour. Solemn, solicitous, professionally mournful. One longish scene with Julie.

'THE FAKE TOM JESSUP: 40ish. Should be the same height and general type as the real one. Is murdered in the first segment but has a few lines with the caretaker and Price, and should be well cast to get the show off to a good start.

'THE REAL TOM JESSUP: 40ish. His main contribution is an extended chase and fight with Ryan. We don't see much of his face, but the glimpses we do get should suggest a ruthless attractiveness.

'SGT. CULLEN: Established.

'8/9 EXTRAS: (check budget) for airport arrival scene.'

'When an ex-member of Parliament comes to Ryan with compromising photographs of his wife's activities with a group of bikies, Ryan thinks it's either divorce or a case of simple but sordid blackmail.

'But, as he works deeper and deeper into the case, he discovers viciousness and double-dealing at every level of society - from the primitive, inhuman bikies to the manipulating millionaires who are destroying the politician, his marriage, and most of all, his wife.

'Ryan blackmails the blackmailer to get possession of the negatives - and thinks he's finished with the case. But by now he too has become a pawn in the millionaires' game. He keeps his cool while they try to manipulate him but, when a final shocking twist occurs and the politician's wife is really put out of circulation, Ryan commits himself to revenge.'

Source: Synopsis held in the Crawford Collection in the AFI Research Collection (RMIT).

The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'KATE MORRIS: Married to a different man she'd be a happy, laughing, beautiful woman. Marriage to John has meant five years of unrelieved tension and she's ready to break. When her baby died, the one time she really needed a strong man, John was concerned only with his career; was no help at all. She has become a neurotic drinker. Ryan almost immediately sees the woman who was - and the woman who could be - rather than the taut, fragile drinker she now is. Intelligent, sensitive, very beautiful. 28 -32.

'JOHN MORRIS: When we first meet him he's a strong, resolute man, concerned with important public affairs. He's a little impatient with his neurotic wife, but perhaps that's not unreasonable. Later we begin to realise he's a frightened man - afraid of failure, equally afraid of the responsiblities which would accompany success - which will never come. He's a loser. Not vital, but a few tennis strokes may be called for. Drives. 35.

'MATT VINCENT: To make several million dollars in less than ten years required some sacrifices - one of which was a degree of personal integrity. He's aware of it and regrets it - "I used to just kid I was tough and cynical. It's getting to be a habit." He's admirable. Under different circumstances he and Ryan could become good friends - though they'd never stop competing. Should play tennis or squash. 35.

'SIR DAVID FARNHAM: He inherited great wealth and power, and has trebled it in his own lifetime. Almost all his associates work for him, and that of employer/employee is the only human relationship he really understands. He'd be shocked if anyone suggested that he do something illegal - but in fact he's more despicable than half the crims in Pentridge. He avoids responsibility for the things he does by hinting to others what he wants, then letting them do it. One or two strokes of tennis may be called for. 60.

'FRANK PALMER: Sleazy, small-time private enquiry agent. Operates on the fringe of the law. Ryan despises him and probably would have put him out of business years ago - but he's too petty to worry about. 40.

'PADDY MORGAN: Should be something of a "character". He's a wealthy stockbroker but doesn't really look or act the part. He rather envies Ryan's image and lifestyle, but freely admits he couldn't handle it. Gets some vicarious thrills through his association with Ryan. They're very good friends. Should play tennis, squash, or royal tennis. 40.

'SAM MYER: Sir David's chauffeur-bodyguard. He regards Ryan as something of a colleague, and even while he's thumping him he sees it as a professional relationship - there's no animosity. Ryan has pretty much the same attitude - it's just part of the job. Drives. 40.

'BARNEY: Sir David sometimes hires him to help Sam when there's "heavy" work to be done. He's vicious, enjoys the work. 40.

'SQUIB / TOBY / BOB: Bikies (Toby drives a car as well). They're predatory animals, vicious, inhumane, totally lacking in morals. We can tell ourselves it's not their fault, but it doesn't help much, they're still despicable. Toby may have fractionally more sensitivity than the others, and is therefore not quite so tough. 20 -25.

'RECEPTIONIST: Cool, confident. Enjoys her power a bit too much, but doesn't really abuse it. 30.

'BUSINESSMAN: A drunk. Timid, but gets his thrills by drinking with the bikies. 30 -40.

'STEVE VINCENT: Nine years old, loves his dad, no lines.

'BARTENDER I: Extra.

'BARTENDER II:

'MATRON: Extra.

'EXTRAS IN SALOON BAR (MAINLY BIKIES) (5)

'EXTRAS IN BAR (3)

'ROYAL TENNIS COMMENTATOR (ACTUAL)

'ROYAL TENNIS PLAYER (ACTUAL)'.

'The murder of a young girl involves Ryan in a bewildering web of sexual intrigue and Julie's life is threatened.'

Source: Synopsis held in the Crawford Collection in the AFI Research Collection (RMIT).

The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'ALAN TAYLOR Boyish 19 year old. Able to drive. Well-built, has boyish charm, but deeply and emotionally disturbed.

'WALTER TAYLOR Late 40's. A solid-built man, practical, appreciative of Australian art, architecture. Has built a big-time building business. Rough-edged but intelligent man. Able to drive.

'GRAHAM ANDERSON About 40. A very ordinary, sympathetic man, an accountant - but no indication whatsoever in voice or physical make up that he is also a homosexual.

'JOE COOK About 35. Very strong, muscular man. Has been a homosexual all his life, but no campness at all. Works as a builder's labourer for Walter Taylor.

'RHODA ANDERSON About 35. Gentle person, caught in a nightmare and trying to protect her husband. She loves him, has the courage to stand by him.

'YOUNG DETECTIVE He looks about 22. Cool, quiet, well-mannered and neat appearance.

'JACK HILL An untidy, heavy drinking, friendly gossip. Worked as an accountant with Graham Anderson. Small man with a big thirst.

'CILLA About 24. Willowy, but beautiful body. Has exasperating, untidy habits. Must have long hair of any colour.

'CHRISTINE TAYLOR About 23. Quite a pretty girl, slim, good figure, nice sense of fun. Must have long hair.

'MORRIE About 50. Walter Taylor's foreman. Tough exterior, gentle heart.

'NEIGHBOUR Woman about 40. Nasty gossip type.

'WOMAN WITH SHOPPING A mature woman, grateful for any courtesy.

'ELDERLY BYSTANDERS (2) An elderly retired seaside couple.

'WOMAN IN BLACK An Italian mama, swathed in dress, stockings, shawl. No lines, no movement.'

Ryan focused on the titular Michael Ryan, a private detective with a stringent code of ethics and a background as a soldier, police officer, and social worker. Ryan's work doesn't focus on divorce and domestic problems, but on serious crimes that, for some reason, the victims are unwilling to take to the police. He is supported by his secretary Julie King (who often becomes involved in fieldwork), cab driver and later assistant Tony Angelini, and police liaison Detective Sergeant Dan Cullen.

According to Don Storey in Classic Australian Television,

'The production standards of Ryan are very high -- good writing, solid acting performances, smooth direction and excellent camera and editing work combined to form a polished and professional product. And Ryan was very successful overseas -- proportional to the number of episodes made, Ryan has probably done better overseas than most other Crawford shows. Yet it was the first Crawford show not to do well locally'.

Like The Adventures of the Seaspray and Barrier Reef, The Rovers was an adventure series based around a ship (in this case, an island schooner called the Pacific Lady). The concept allowed for a great degree of mobility, so that, in Moran's words (in his Guide to Australian TV Series), they 'drop anchor, go ashore and "have adventures".'

The crew consisted of Captain Sam McGill (called 'Cap'), Cap's ten-year-old grandson Mike, freelance wildlife photographer Bob Wild, and journalist for Wildlife magazine Rusty Collins, 'whose editor agreed to her accompanying the party on the boat as long as it doesn't cost him anything' (according to Don Storey, in his Classic Australian Television).

Moran says of The Rovers that it 'was a bargain basement variation of the Barrier Reef formula' (despite the fact that Barrier Reef didn't air until nearly two years later, in February 1971). But Don Storey similarly notes that

To be fair, The Rovers could not be considered a ground-breaking pinnacle of artistic achievement, following as it does the well-trodden path taken by Seaspray, Skippy and Woobinda. However, for all its predicability and happy ending, The Rovers is a slick, well-produced and entertaining product, with a balance between the dramatic and the light-hearted that appealed to adults and children alike.