AustLit logo
Colin Eggleston Colin Eggleston i(A141013 works by)
Born: Established: 23 Sep 1941 Melbourne, Victoria, ; Died: Ceased: 10 Aug 2002 Geneva,
c
Switzerland,
c
Western Europe, Europe,

Gender: Male
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

Works By

Preview all
1 1 form y separately published work icon Outback Vampires Colin Eggleston , David Young , ( dir. Colin Eggleston ) Australia : Somerset Film Productions , 1987 Z1866906 1987 single work film/TV horror

'The Terminus family love a bit of new blood. When three strangers arrive in the outback town of Yarralumla, the Mayor has no hesitation in delivering the strangers to the Terminus estate for dinner. Little do the strangers realise that they are the main course'.

Source: Screen Australia

1 1 form y separately published work icon Cassandra Colin Eggleston , Christopher Fitchett , John Ruane , ( dir. Colin Eggleston ) Australia : Parrallel Films Cassandra Films Pty Ltd , 1986 Z1867253 1986 single work film/TV horror

A young woman recovers memories of her brother committing a murder, despite her parents assuring her that nothing of the sort really happened.

1 form y separately published work icon Sky Pirates Dakota Harris John Lamond , ( dir. Colin Eggleston ) Australia : John Lamond Motion Pictures Enterprises , 1986 Z1864410 1986 single work film/TV science fiction adventure

Towards the end of World War II, the Australian military uncovers an ancient device that has the power to transport people and objects through time. Desperate to keep it safely in Allied hands, they entrust it to Lieutenant Harris, an experienced aviator. But en route to Washington, the arcane nature of the device forces Harris to crash land the plane among numerous shipwrecks from varied historical eras, and to immolate the device to prevent it from causing more damage. Court martialled for insubordination, Harris becomes determined to find out what is really behind these mysterious events.

1 form y separately published work icon Body Business Ted Roberts , Michael Fisher , John-Michael Howson , ( dir. Colin Eggleston ) Australia : PBL Productions Nine Network , 1986 Z1823568 1986 series - publisher film/TV

Mini-series tracing the struggle between two sisters for control of an international fashion house.

According to Moran in his Guide to Australian TV Series:

Body Business was shot in Sydney at the relatively low cost of $3 million. The series was overseen by current PBL head, Jane Deknatel, following the departure of Ian Bradley. Like Kings, The Great Bookie Robbery and Glass Babies, Body Business continued PBL's stress on contemporary genre series, in this case offering viewers a solid piece of melodrama. However, unlike the great 1980s exercise in the genre, McElroy's Return to Eden, Body Business only achieved moderate viewing figures and has not attracted any permanent admirers.

1 form y separately published work icon Innocent Prey Colin Eggleston , ( dir. Colin Eggleston ) Australia : Premiere Pictures , 1984 Z1900748 1984 single work film/TV crime thriller horror

A woman living in Dallas with her New Zealand-born husband knows that her marriage is failing, but has no idea how badly until she follows her husband to a motel and witnesses his murder of a prostitute. Turning him into the police, she flees to Australia, where she finds refuge in the house of a young man. But her husband soon follows her and her landlord has secrets of his own.

1 form y separately published work icon The Little Feller The Other Woman Ron McLean , ( dir. Colin Eggleston ) Australia : Ron McLean Productions , 1982 7263259 1982 single work film/TV thriller

A woman becomes dangerously obsessed with her best friend's husband and seeks to remove all obstacles between them, including his young son.

1 1 form y separately published work icon Bellamy Michael Brindley , Ron McLean , Luis Bayonas , Rick Maier , Ted Roberts , ( dir. Colin Eggleston et. al. )agent Sydney : Reg Grundy Enterprises Network Ten , 1981 Z1827232 1981 series - publisher film/TV detective crime

A crime drama devised for Grundy's by Ron McLean (Don Storey suggests, on Classic Australian Television, that it evolved from an earlier concept called The Killer Stalks), Bellamy was not successful when it aired on Australian television.

According to Albert Moran in his Guide to Australian TV Series, the problem was that Bellamy was, by the time it aired, an archaic concept:

Police series production had effectively come to an end in 1975 and women had become a more important part of Australian television, both on screen and in the audience. Yet the Network went against the tide by commissioning this police series starring ex-Homicide star John Stanton in the title role. As conceived and executed by Grundy's, Bellamy and underling Mitch had little or nothing in the way of a personal life and were pitted against monstrous villains, almost invariably murderers who lacked social backgrounds and psychological complexity. As a result many of the episodes had strong similarities, with a two-dimensional Batman and Robin duo pursuing such villains in the threadbare chase narratives.

The program was cancelled even before the first set of episodes had been completed.

1 1 form y separately published work icon Nightmares Colin Eggleston , ( dir. John Lamond ) Australia : John Lamond Motion Pictures Enterprises , 1980 Z1866926 1980 single work film/TV horror

As a child, Cathy accidentally causes her mother's death in a car accident, while trying to stop her mother from kissing her lover while driving. Sixteen years later, Cathy (now called Helen) is a grown woman and an actress, and all seems to be going well--until strange things begin to happen to the cast of her new play.

1 form y separately published work icon Chopper Squad Ron McLean , Tony Morphett , Robert Caswell , Don Battye , Denise Morgan , Everett de Roche , Peter Smalley , Colin Eggleston , Derek Strahan , Luis Bayonas , James Wulf Simmonds , Simon Wincer , Ross Napier , John Bramley , Bruce Wishart , Tom Mclennan , Colin James , Keith Hetherington , ( dir. Graeme Arthur et. al. )agent Sydney : Reg Grundy Enterprises , 1978 Z1826987 1978 series - publisher film/TV crime adventure

Chopper Squad follows the adventures of a helicopter surf rescue team based on Sydney's northern beaches, as they deal with various difficult rescues and occasionally come into close contact with desperate criminals.

The program suffered from long hiatuses between the pilot and series one, and between series one and series two. Furthermore, Don Storey notes, in his Classic Australian Television, that

Unfortunately, the quality of the scripts varied immensely. Some episodes had excellent dramatic narratives, and the viewers would be on the edge of their seats watching the rescue process. Other plots were contrived merely to justify the use of a helicopter, or to show off some other facet of the surf rescue operation, or were just corny. This variation in quality occurred not only from episode to episode, but quite often within an episode.

However, Storey concludes that

If the scripts left a lot to be desired, the same could not be said for the other aspects of the programme. The actors all gave good performances, and the technical quality is excellent by any standards. Extensive external location work was used, with internal sets being kept to a minimum. The camerawork is second to none, highlighting the magnificent scenery of the Sydney coastline to great effect.

Albert Moran, in his Guide to Australian TV Series, notes that 'World distribution rights to the series were bought by Paramount Pictures, which sold the production to Malaysia, Hong Kong, Singapore, Thailand, the Philippines and Britain'.

1 8 form y separately published work icon Long Weekend Everett de Roche , ( dir. Colin Eggleston ) Australia : Dugong Films , 1978 Z1792355 1978 single work film/TV horror

'On a long weekend camping trip to a lonely beach, Peter and Marcia confront the despair of their marriage, as nature takes revenge on them' (National Film and Sound Archive blurb).

2 form y separately published work icon Whole of Life Colin Eggleston , 1976 (Manuscript version)x402300 Z1917556 1976 single work film/TV crime

'At first there is nothing untoward about a hit-run but Gary, feeling pangs of guilt in letting the driver of the vehicle slip through his fingers, starts to probe and comes up with much more than he bargained for.

'There is one puzzling feature to this case. Why would the victim, of such relatively poor means, take out such a large insurance policy on his life? It would seem that the beneficiary is equally bemused.

'Gary digs into the world of insurance and finds that there is no such thing as a perfect system and, in turn, has to try and prove there is no such thing as a perfect crime.

'A closely guarded secret comes to the fore and in solving one death, Bluey and Gary uncover a story of two other "accidental" deaths.'

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):

'JUDY BROWNING: She's in her late twenties and is showing slight signs of wear from the professional life she has led. She's quite attractive without being stunning and has a good figure.

'DAVID COLSON: Late thirties and a mousy little man. Short sighted, short hair, insignificant. His clothes still belong to ten years ago when his mother still bought them for him. (SIMILAR BUILD AND COLOURING TO JOE PATTERSON)

'MRS MOLLY BARBOUR: She runs a comfortable South Melbourne boarding house where the guests are members of the family as Truscott soon finds out. Her husband vanished years ago much to her relief. She's about forty five and has a sort of matronly sensuality.

'HOWARD CORCORAN: An insurance investigator of about fifty who must have been in the army. His clothes and his moustache reek of the old left right, left right.

'CHARLEY WATSON: 60+ and a longstanding border [sic] at the Barbour establishment. He's on the pension which keeps him from sleeping under bridges.

'JOE PATTERSON: Same age and size as Colson. If he lived a bit longer the alcohol would have killed him anyway.

'OLD MAN AND WOMAN: Aged and infirm arguing couple.

'UNIFORMED POLICEMAN: A week ago he was a cadet.

'STUNT DRIVER.'


Note: A character whose note simply reads 'Waitress' has been crossed off the character list in black ink. The character's name has been crossed out so thoroughly that it is indistinguishable.

2 form y separately published work icon Changeling Colin Eggleston , 1976 (Manuscript version)x402298 Z1916239 1976 single work film/TV crime

'Bluey's soft spot for women causes him great unhappiness when his attraction to a single mother starts him on an investigation he cannot stop even though he would like to.

'In the course of helping Monica sort out a juvenile's problems, Bluey meets an attractive woman whom he senses is in some sort of trouble. It is apparent that the woman has not reported a crime and is afraid of the police.

'Bluey sets out to help her, but his investigations unfold an 8-year old [sic] crime that cannot be forgotten. Or can it?

'A decision has to be reached on Bluey's part. Can he destroy the happiness of mother and daughter by turning his investigations into an official enquiry, or can he turn a blind eye?'

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):

'SHIRLEY WATSON: LATE TWENTIES AND APPEALING RATHER THAN BEAUTIFUL. GIVEN NORMAL CIRCUMSTANCES SHE WOULD HAVE MARRIED IN HER EARLY TWENTIES AND SETTLED DOWN TO HAVE CHILDREN AND LOOK AFTER A HUSBAND. HER KIDNAPPING OF RHONDA ALMOST EIGHT YEARS AGO WAS BROUGHT ON BY THE BREAK UP IN HER RELATIONSHIP WITH HER LOVER WHICH RESULTED FROM A MEDICALLY ADVISED ABORTION. IT WAS A TEMPORARY LAPSE BUT SHE HAS FOUND IT IMPOSSIBLE TO REVERSE THE CONSEQUENCES.

'RHONDA: EIGHT YEARS OLD AND THE CHANGELING SUBSTITUTED FOR SHIRLEY'S LOST BABY. (WHEN CASTING, WOULD BE IDEAL IF SHE HAD A BROTHER AND SISTER A BIT OLDER FOR A STILL REQUIRED IN THE SCRIPT).

'HOWARD ANDERSON: LATE THIRTIES. A SELF EMPLOYED BUSINESS MAN LIVING SLIGHTLY ABOVE HIS ADEQUATE NEEDS.

'JEAN ANDERSON: RHONDA'S REAL MOTHER. SHE SUFFERED SEVERE MENTAL ANGUISH WHEN HER DAUGHTER WAS KIDNAPPED AND HAS BEEN FAIRLY MOUSEY UNDER HER HUSBAND'S THUMB EVER SINCE. THE THOUGHT OF LOSING HER DAUGHTER FOR A SECOND TIME RESTORES SOME OF HER ORIGINAL PERSONALITY.

'PEGGY BROWNING: FORTIES AND MARRIED TO A PETTY CRIM SHE HARDLY EVER SEES. SHE'S TRIED TO BRING UP HER SON TO BE SOMETHING OTHER THAN THE EXPECTED CRIM BUT SHE HAS NEITHER THE EXPERIENCE, THE PERSONALITY NOR THE INTELLIGENCE TO EXERT MUCH INFLUENCE.

'ROBBIE: HER 16 YEAR OLD DELINQUENT SON.

'SERGEANT HENNESSY: A LOCAL PLAIN CLOTHES COP SENT TO ARREST ROBBIE.

'FLOSSIE: THIRTIES. REASONABLY JOLLY. RUNS THE "FLOSSIE'S" CLUB AND KNEW BLUEY IN THE PAST.

'PETE: ANOTHER 16 YEAR OLD DELINQUENT.

'FRED: AND ANOTHER.

'UNIFORMED COPS 1, 2 & 3

'TAXI DRIVER (ACTUAL) 1 & 2

'V.K.C. (V.O.)

'EXTRAS IN THE CLUB'.

1 form y separately published work icon The Bluestone Boys Robert Caswell , Michael Cove , Colin Eggleston , Peter Hepworth , Graeme Koetsveld , Ray Kolle , Terry Stapleton , Douglas Tainsh , Don Catchlove , ( dir. Charles Tingwell et. al. )agent Melbourne : Crawford Productions Network Ten , 1976 Z1815090 1976 series - publisher film/TV humour

An hour-long sit-com set in a men's prison, The Bluestone Boys ran to twenty-six episodes, but was not one of Crawford Productions' more successful programs. According to Moran, in his Guide to Australian Television Series, 'The boys in question were male prisoners supervised by a mixture of idiot trustees headed by a Nazi-like Chuck Faulkner. The comedy of the male group outsmarting its supervisors should have been funnier, given the experience of Crawford writers such as Ian Jones and Terry Stapleton, but The Bluestone Boys fades into insignificance when compared with programs such as Bilko, McHale's Navy and Porridge.'

1 2 form y separately published work icon Bluey Robert Caswell , Vince Moran , Everett de Roche , James Wulf Simmonds , Tom Hegarty , Gwenda Marsh , Colin Eggleston , David Stevens , Peter A. Kinloch , Keith Thompson , Gregory Scott , Peter Schreck , Denise Morgan , Monte Miller , Ian Jones , John Drew , David William Boutland , Jock Blair , ( dir. Graeme Arthur et. al. )agent Melbourne : Crawford Productions Seven Network , 1976 Z1815063 1976 series - publisher film/TV crime detective

According to Moran, in his Guide to Australian Television Series, Bluey (and its Sydney-based rival, King's Men) 'constituted an attempt to revive the police genre after the cancellations of Homicide, Division 4 and Matlock Police'.

Don Storey, in his Classic Australian Television, summarises the program as follows:

Bluey is a maverick cop who breaks every stereotype image. He drinks, smokes and eats to excess, and therefore is rather large, but it is his unusual investigative methods that set him apart. He has bent or broken every rule in the book at some stage, to the point where no-one else wants to work with him. But he gets results, and is therefore too valuable to lose, so the powers-that-be banish him to the basement of Russell Street Police Headquarters where he is set up in his own department, a strategem that keeps him out of the way of other cops.

Moran adds that 'Grills, Diedrich and Nicholson turned in solid performances in the series and the different episodes were generally well paced, providing engaging and satisfying entertainment.'

The program sold well overseas, especially in the United Kingdom. But though it rated well domestically, it was not the success that the Seven Network had hoped for, and was cancelled after 39 episodes.

Bluey had an unexpected revival in the early 1990s when selections from the video footage (over-dubbed with a new vocal track) were presented during the second series of the ABC comedy The Late Show as the fictional police procedural Bargearse. (The Late Show had given ABC gold-rush drama Rush the same treatment in series one.)

2 form y separately published work icon Two to One Against Patrick Edgeworth , ( dir. Colin Eggleston ) Melbourne : Crawford Productions Network Ten , 1974 Z1929069 1973 single work film/TV crime

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

'PETE EDWARDS: Early thirties. Attractive to women. Well educated. Enjoys the money his work brings him. Whilst constantly bantering with Terry, they still, basically get on well. [sic] Likes the birds and the booze.

'TERRY EDWARDS: Early thirties. Similar to Pete in many ways. They have known each other all their lives and can almost read each other's mind. His weakness is gambling. Whilst they have a close relationship there is nothing camp about these two. Both very hetero. They trade wisecracks without a smile. Must drive.

'STANLEY REYNOLDS: Fifties. Apparently well to do businessman. Married late in life after spending his formative years making money, not too ethically. Latterly he has squandered thousands on gambling. He is a cold, calculating man and quite well preserved for his age. Must drive.

'MADELEINE REYNOLDS: Late twenties. Marrying Stanley gave her the financial stability, her [sic] background had fitted her for. A gentle, attractive pleasing personality, she loves her husband dearly. She has no knowledge of his business methods and gambling losses.

'BOBBY GREEN: Gold plated bitch.

'VINCENT GREEN: Her pompous, rich husband.

'RECEPTIONIST: Early twenties. Attractive.

'DRUNK: Fifties. Rough appearance. Lines.

'CROUPIER: 30 - 40. Smooth, slick. Only calls bets. Lines.

'MAN AND WOMAN: (A passionate illicit relationship. Early 30's) Lines.

'ATTRACTIVE GIRL: Early twenties.

'3 GAMBLING EXTRAS: Well to do people. 40 - 50's.

'2 HOTEL EXTRAS: Any age. No lines.

'BARMAN: No lines.

'DOG: Must bark and growl to order.'

1 form y separately published work icon Rush James Davern , David William Boutland , James Davern , Ted Roberts , Victor Sankey , Colin Free , Sonia Borg , Oriel Gray , Colin Eggleston , Cliff Green , Howard Griffiths , John Martin , ( dir. David Zweck et. al. )agent Melbourne : Australian Broadcasting Commission , 1974 Z1833016 1974 series - publisher film/TV historical fiction crime

One of Australia's earliest television dramatisations of its gold-rush era, Rush is, as Don Storey points out in his Classic Australian Television, in many ways two entirely separate programs: between series one and series two, the setting shifts from the Victorian goldfields to a New South Wales mining town, and jumps forward from the 1850s to the early 1860s. However, both series take place in the same universe, use the same chronology, and have a clear internal coherence, centred on the continuing character of Sergeant Robert McKellar. Therefore, they are generally treated as two separate series of a single program.

(The differences in cast, crew, writers, and directors between the two series are given in detail in the film details section below.)

With its enormous, intricate, expensive, and accurate sets, costumes, and props, Rush proved extremely popular with viewers, despite series one airing in an awkward weeknight 8pm slot (which, as Storey notes, put it against the second half of the highly successful Homicide in Melbourne). Series one did, however, attract some criticism for being filmed in black-and-white when colour programming was only a matter of months away in Australia.

Series two (which drew on foreign financing to cover its cost, an extremely high--for a domestically produced program--$24,000 an episode) was made in colour. Following Sergeant McKellar (the only character to carry over from series one), series two pushed the character forward through two disillusioning events (the Eureka Stockade, which prompted McKellar's resignation from the Victoria Police, and the death of his wife Sarah) and dropped him into the conflicts of a small New South Wales mining town.

Series two was also extremely popular but, according to Storey, plans for series three were shelved when the new Fraser government instituted (among other things) a hefty budget cut to the ABC.

Series one gained renewed prominence in the 1990s when, like police procedural Bluey, it was re-dubbed and sent up on The Late Show (as The Olden Days).

1 form y separately published work icon The Box Lynn Bayonas , Jock Blair , Colin Eggleston , Tom Hegarty , Ian Jones , Ray Kolle , Alison Nisselle , Roger Dunn , ( dir. Graeme Arthur et. al. )agent Melbourne : Crawford Productions Network Ten , 1974 Z1814835 1974 series - publisher film/TV

Another Crawford Productions soap opera, The Box was set in a Melbourne television-production studio. According to Moran, in his Guide to Australian Television Series:

The setting for the continuous drama was a television station populated by a series of familiar types. These included Sir Henry Usher, chairman of the company; Max Knight, the harrassed station manager; Tony Wild, the egotistical star of the station's on-air detective series; the inevitable tea lady; Paul Donovan, a harrassed station executive, and many others. Most memorable of all was a wonderful bitch-figure in the person of reporter Vicki Stafford.

Like Number 96, The Box was designed for a late-night timeslot, and so focused on 'adult themes', including adultery and bisexuality.

Moran also suggests that The Box was 'very important to Crawford's in generating a cash flow at a time when they were losing the contracts on their police dramas' and that writers used the character of television police officer Tony Wild as 'an opportunity to settle the books against the egotism of some of the actors in Crawford's police series'.

1 1 form y separately published work icon Ryan John Edwards , Michael Harvey , Peter Schreck , David William Boutland , Everett de Roche , Terry Stapleton , Luis Bayonas , Neil Atkinson , Ron McLean , Phil Freedman , James Wulf Simmonds , Dennis Paul , Ian Jones , Jock Blair , Colin Eggleston , William Froug , Mort Fine , ( dir. Ian Bennett et. al. )agent Melbourne : Crawford Productions , 1973 Z1814827 1973 series - publisher film/TV crime thriller

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'.

2 form y separately published work icon Firing Squad Colin Eggleston , 1972 (Manuscript version)x402438 Z1930919 1972 single work film/TV crime thriller

'We open on a scrap metal foundry - a place of flames and furnaces, molten metal, brooding violence - this mood permeates the episode. The Staphopoulos family owns and operates the foundry, and Ryan is quickly drawn into a bitter conflict between father and son, ensnared in a web of jealousy and hatred dating back twenty-five years - to the Greek civil war.

'The conflict escalates as the old man becomes the victim of a bomb attack, the son is terrorised by threats and funeral wreaths - and Ryan loses patience with the Mediterranean temperaments involved.

'The tension peaks when the patriarch is kidnapped - until Ryan proves that it's a fake, that the old man arranged it himself - and he's delighted to be off the case. Then the double twist redoubles and Ryan is at work again - outsiders have become involved, it isn't a family matter any more - and the kidnap is no longer a fake.'

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):

'MIKLOS PAPADOPOULOS: 70. Greek. Physically powerful. Scarred face. Was a resistance leader during World War 2 and a communist guerilla in the Greek civil war. Fled to Australia at the cessation of hostilities. Feels he has let his country and his dead son down.

'NANA PAPADOPOULOS: His wife. 60's. Greek. Her relationship with her husband has not been good since she sided with the rest of the family against him in a business deal. She loves him and tries to re-establish contact with him.

'DEMETRIOS PAPADOPOULOS: Third son and the main opponent of Miklos in the business deal through which he now has control of the family business having deposed Miklos. 34. No accent necessary. Drives.

'MELINA SKOVROS: Demetrios' sister. Supported him against her father initially but now supports her father. Cannot afford financially to reverse the earlier stand. Early 20's. No accent.

'PETER SKOVROS: Her husband. 30's. Greek. Works at the foundry.

'JOHNSON: 30's. Heavy. Hired by Miklos and Peter for kidnap but decides to double-cross them both. Drives.

'DAVIES: 30's. Heavy. Helps Johnson. Drives.

'GEORGE: 60's. Little tired, weak Greek. Worships Miklos and resents Demetrios. A small, tired man.

'FLORIST: 50's.

'TWO WORKMEN: Extras.

'STUNT DRIVERS: Two.'

Note: Melina's name was later changed to 'Katarina' and the family name to 'Staphopoulos'.

2 form y separately published work icon A Waste of Time Colin Eggleston , 1971 (Manuscript version)x402301 Z1917597 1971 single work film/TV crime

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

'ARTHUR SIDNEY MORRISON 50-60. Been in and out of gaol all his life. Well known to Banner. Bad tempered pathetic old man.

'CHAPLAIN R.C. Prison chaplain. Must not be sanctimonious.

'GEORGE Crim. 40-60. A bit past it but not willing to give in.

'HENRY Crim. Easily led by George. A rabbit.

'MR. ROBINSON Keeps a boarding house. Butch oz.

'JOHN TAYLOR/MORRISON Arthur's son. 25-30. Successful. Has conviction for extortion.

'STELLA McQUEEN Arthur's estranged wife. Puts on airs but, underneath, is a harridan.

'FOREMAN Agrees, as a favour to Banner, to give Arthur a job.

'DRINKER 1 One difficult scene. Truck driver type

'DRINKER 2 One difficult scene.

'WORKMAN (FACTORY) Has argument with Arthur.

'BUILDING WORKER That type.

'WATCH SELLER Little man. Shifty.

'BARMAN Working class pub.

'OLD MAN Arthur's age.

'WOMAN Shopper 45-50.

'FLAT DWELLER

'2 BAR EXTRAS Working class pub.

'2 MORE BAR EXTRAS Working class pub.'

X