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AbstractHistoryArchive Description

Running for twelve years and a total of 510 episodes, Homicide was a seminal Australian police-procedural program, set in the homicide squad of the Victoria Police. According to Don Storey in his Classic Australian Television, it represented a turning point for Australian television, prompting the development of local productions over the purchase of relatively inexpensive American dramas. Indeed, Storey quotes Hector Crawford as saying that his production company intended three outcomes from Homicide: demonstrating that it was possible to make a high-quality local drama series, counteracting criticism of local performers, and showing that Australian audiences would watch Australian-made dramas.

As Moran notes in his Guide to Australian TV Series, the program adopted a narrative structure focusing on crime, detection, and capture, rather than on character studies of the lead detectives. The early episodes were produced by a small crew (Storey notes that the crew was frequently limited to four people: cameraman, grip, director, and assistant director), requiring some degree of ingenuity to achieve a polished result (including, in some cases, the actors performing their own stunts). However, the program received extensive support from the Victoria Police (who recognised, in its positive portrayal of police officers, a valuable public-relations exercise) and, as its popularity grew, from the public.

The program's cast changed extensively over its twelve years on the air, though it remained focused on a small group of male detectives, with the inclusion of irregular characters such as Policewoman Helen Hopgood (played by Derani Scarr), written on an as-required basis to reflect the involvement of women in the police force. In Moran's words, 'The other star of Homicide was the location film work. These ordinary, everyday familiar urban locations were what gave the series a gritty realism and familiarised audiences with the shock of recognition at seeing themselves and their milieus on air'.

Exhibitions

6642639

Notes

  • The cast and crew details presented here are not comprehensive. As Don Storey notes, 'Homicide proved to be a veritable training ground for all the television and film productions that were to follow. It was where almost everyone got their start - writers, actors, cameramen, directors, producers - there was hardly anybody who did not work on the show at some stage, and guest roles in the series read like a "who's who" of the Australian acting profession'.
  • Both the Crawford Productions' tribute website (http://www.crawfordproductions.tv/homicide1.php) and Don Storey's Classsic Australian Television have extensive details on the cast and crew of Homicide. (Sighted: 7/10/2011)

Includes

205
form y separately published work icon Bait! Cliff Green , Melbourne : Crawford Productions Seven Network , 1969 Z1935470 1969 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):

'BOY A wiry, knockabout lad. 13-14.

'JOAN DOBSON The victim. Art Student. An attractive, long-haired, long legged girl. 18-20.

'DAVID GRIERSON The killer. Outwardly a most respectable, moderately affluent accountant. Tall, well-built, fit, sun-tanned. A health and fitness fanatic. Drives a car. Swims well.

'MRS. GRIERSON Complete contrast to her husband. A hypochondriac, left behind by life. 45, but could look 55.

'SALVATORE MANUELLO Prime suspect. Italian. Lithe, light, darkly handsome. Shy. Not too tall. 18.

'LOCAL CONSTABLE Dependable, but not stupid. Promotion has passed him by because he prefers a small country station. First Constable by rank. 35-45.

'MISS ANNABELLE TOMKIN Runs local art shop. Vaguely attractive. Arty-crafty in a 1930's raffia hat, homewoven way, but really quite a genuine person. 50 plus.

'MR. RIGONI Salvatore's uncle. Southern Italian. Short, stocky. A peasant. 40 plus.

'MRS. RIGONI Salvatore's aunt. Southern Italian. Comfortably plump. Something of a matriarch. Rather more emotional than her husband. 40 plus.

'SAM ROSSINI Italian fisherman. A dry character. 40 plus.

'DANNY Italian, operates expresso [sic] machine in coffee lounge. Quick, neat. Somewhat Australianised. 20-25.

'EXTRAS - TWO UNIFORMED POLICEMEN

'ITALIANS - EXTRAS, AT LEAST 8 Varying in age from 16 to 40. Four of them should be similar in build to Salvatore (for line-up).

'WAITRESS (N.S.) Darkly attractive. Slim, sharp-featured. 18-25.

'BROADS, EXTRAS, 2 OR 3 Good-time girls, catering especially for Italians..either very dark or very blonde. 20 - 30.'

Melbourne : Crawford Productions Seven Network , 1969
208
form y separately published work icon Everyone Knows Charlie John Dingwall , Melbourne : Crawford Productions , 1969 6040065 1969 single work film/TV crime
— Appears in: Take One : A Selection of Award-winning Australian Radio and Television Scripts 1972; (p. 210-ff.)

'A group of pensioners in an old people's home are secretly engaged in earning extra money to supplement their pensions. When one of their number, Charlie Cook, is found dead, they dispose of the body for fear that a police investigation would expose their activities and land them in trouble with the Taxation Department.'

Source: Classic Australian Television. (Sighted: 11/6/2013)

Melbourne : Crawford Productions , 1969
211
form y separately published work icon I, Mick O'Byrne John Dingwall , Melbourne : Crawford Productions Seven Network , 1969 Z1917684 1969 single work film/TV crime

The script (which follows the escape and subsequent re-capture of two Pentridge prisoners) bears a strong resemblance to the events surrounding the escape from Pentridge Prison of Ronald Ryan and Peter Walker and the subsequent execution of Ryan.

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

'MICHAEL XAVIER O'BYRNE Early 40's, preferably not tall, medium build, must be active. Mick O'Byrne, gaol escapee, is an egotist, becoming in his own mind, invincible. Able to drive.

'JOHN REYNOLDS Early 20's, preferably taller than O'Byrne, good-looking, well built. Reynolds is the other escapee. He's young and bewildered by the killing of the warder, bewildered by the intensity of the hunt, but most of all, bewildered by O'Byrne's manner. He comes to believe O'Byrne's self-publicity, looks up to him almost as a father. Able to drive.

'MAY CROSSWAY 25 to 30. Not beautiful, but cunning, knowing. She resigns herself to the presence of the escapees.

'BETTY KEMP About 25, more attractive than May. But dumb.

'CONST. REYNOLDS About 20, but looking younger than this. Const. Reynolds is the escapee's brother. He's painfully young, patently nervous.

'FRANK WRIGHT About 30, preferably stocky. He's a working man, good natured, dogmatic. Able to drive.

'BLACKIE About 50, disreputable-looking, cunning as a fox.

'HERBIE About 40, a small-time crim, un-prepossessing. Pretty dumb.

'THREE WARDERS

'HANGMAN Aged 40-50. Strong, calm face.

'BANK MANAGER Fussy - somewhat timid.

'CLIENT (MALE) About 35.

'BANK TELLER

'CUSTOMER (MALE) About 22.

'OLD WOMAN Refined old layd [sic] - "well-off".

'TWO YOUNG WOMEN

'(ESCAPE)

'TWO MEN AND A WOMAN, ALL MIDDLE-AGED

'NEWSCASTER

'HOUSEHOLDER Man, aged about 40.'

Melbourne : Crawford Productions Seven Network , 1969
216
form y separately published work icon Jet Lag Della Foss Pascoe , Melbourne : Crawford Productions Seven Network , 1969 Z1935499 1969 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):

'JAMES COCHRANE ALIAS WHEELER ALIAS FINLAYSON Adept fighter, about 35. He is English - a man with wit and determination - who is basically ruthless and a megalomaniac. If he had been willing to work, he could have been a successful actor, writer, salesman or diplomat. But he has disdain for ordinary drudgery - so he has become a super-con man, prowling the world for easy money. He has a neat but very distinctive beard.

'JANE COCHRANE Age 55 - 60. James Cochrane's mother. A quiet, well spoken, well-to-do Englishwoman - of the genteel middle-class. A likeable, warm personality.

'SYBIL COCHRANE 30 - 35. James Cochrane's wife. She is a young woman of character and strong feeling - which she controls. She is English, and in appearance more distinctive than actually pretty. Like Jane, she is well spoken.

'PAM GIBSON Age about 20. Australian. She is pretty, dresses well, basically a very nice girl, and in spite of her affair with Cochrane quite naive and inexperienced. Above all she is genuine, and her reactions are intelligent - though not sophisticated.

'NIGEL HARCOURT Age 30-50. He is English. A lean, saturnine, 'interesting' looking man - piercing gaze, suitable to a spiritualist - which is what Harcourt is.

'INSPECTOR RICHARD BRYCE Age 40-50. Scotland Yard. English or Scottish. He should look and act best English police type - quiet, efficient, etc.

'KEVIN POITIER Age 30-45. Australian. A private investigator. At a glance - tough - but under it he is fairly human and understanding.

'GORDY WEBB Age 30-45. A Scotsman with an asthmatic wheeze. Pathetic rather than menacing.

'LENICE CHARLWOOD Age 25-35. Career woman. Bright out-going personality.

'PETER WESTON Age 30-50. Australian, who has become anglicised in dress only.

'DOUG MARSHALL

'ELAINE COX Age 19-25. Australian. Attractive likeable girl - who is an amateur actress, but not way out.

'RECEPTIONIST Smooth; English accent.

'ASIAN COUPLE (EXTRAS)'.

Melbourne : Crawford Productions Seven Network , 1969
218
form y separately published work icon The Devil May Care Cliff Green , Melbourne : Crawford Productions Seven Network , 1969 Z1935523 1969 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):

'STEVEN FLETCHER. "The Whistler". A sex deviant. Tall, lithe, athletic. 25-30 years old.

'ELIZABETH DOUGLAS. "The She-Wolf". Victim. From a good family. Strikingly beautiful. 20-25 years old.

'SADIE JONES. The Mad Witch. Killer. Former governess. Astrologist. Intense. Should contrast with Virginia Carter. 55-60 years old.

'VIRGINIA CARTER. The not-quite-so-mad. Former hospital matron. Assured, practical, devious. 45-50 years old.

'WOLFIE HURST. Club Manager. Fake show-biz, "with-it" type. Essentially a con-man. 28-33 years old.

'MRS BENSON. A neighbour. Practical, down-to-earth, motherly. 40-45 years old.

'MR BENSON A neighbour. A good suburban father. 40-45 years old.

'SUE BENSON A normal, lively girl. 17 years old.

'PHILIP CASH. A member of the coven. Effeminate. 25-30 years old.

'SALLY FOSTER. Broken-down showgirl verging on alcoholism. Good-hearted. 35-45 years old.'

Melbourne : Crawford Productions Seven Network , 1969
223
form y separately published work icon Dead Shot John Bragg , Melbourne : Crawford Productions Seven Network , 1969 Z1935388 1969 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):

'CLIFF WEBB In early 30's. Boastful, unscrupulous, unfeeling, vicious. Was crack shot in Army, and in overseas service had got used to roughing it. Mad about guns. Driver.

'VALERIE WEBB His estranged wife, about 30. A decent girl who put up with Webb's harsh treatment and womanising for years for the sake of their two children. She recently left him, and works in fruiterer's shop to maintain the children.

'JACK DELANEY About 40. Accomplice of Webb and Tommy Fraser when they rob a store. Outwardly bold and tough, he is really weak, cowardly and complaining -- and the first of the three men to crack.

'TOMMY FRASER Valerie's brother, about 20. Has hero-worshipped Webb since he was a small boy listening to boastful accounts of his exploits. Follows Webb into crime because he makes it seem adventurous.

'MARIO MIRTO Italian fruiterer who employs Valerie Webb and knows about her problems. Sympathetic. About 35.

'MRS. SHIRLEY ATKINSON Hotel manageress. About 30-35. Attractive, lively, intelligent.

'STAN SIMPSON Gloomy, middle-aged storekeeper who is robbed.

'CAPTAIN BARNABY Ex Army officer, assists Fox.

'DETECTIVE GRAHAM Plainclothes, escorts Mrs. Webb.

'MR. ELLIOTT Man aged 25-45 who is bashed and has car stolen.

'MR. GIBBS Bystander who is shot.

'MR. LEWIS Elderly shopkeeper who is shot.

'MRS. BARKER Woman shopper who is run down.'

Melbourne : Crawford Productions Seven Network , 1969
228
form y separately published work icon Billy John Dingwall , Melbourne : Crawford Productions Seven Network , 1969 Z1917722 1969 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):

'BILLY GARRET A crim and Patterson's boyhood mate; strong and well built; must be able to move well. Lead role.

'GRAN Billy's grandmother. Major role.

'LEILA GARRET Billy's wife. Young. European. Major role.

'McGEORGE Runs a baccarat school; Billy's boss. 40-45. Tough looking gent. Important role.

'ALISTAIR JAMES Preferably short; a snappy dresser; puts on "front" but loses it completely when he's had a few to drink. 35-40. Important role.

'SUE Young. A good looker. Subtle. One scene, but important.

'BARMAID 35-45. Buxom and brassy; her looks have faded. Two scenes but important.

'TWO HENCHMEN Both about 30. Mainly involved in action. Both evil looking.

'JOHN ARCHER The victim. About 50; a gunman past his prime.

'CROUPIER OR DEALER About 30. Suave. Prefer. actor experienced handling money.

'MONEY HANDLER About 40. Prefer. actor experienced handling money.

'BACCARAT PLAYERS (EXTRAS) This is a big baccarat school.'

Melbourne : Crawford Productions Seven Network , 1969
232
form y separately published work icon Johnny Deadfella Cliff Green , Melbourne : Crawford Productions Seven Network , 1969 Z1935565 1969 single work film/TV crime

This episode involves the severe beating of an Indigenous Australian man because of the attentions he has been paying to a white Australian girl.

The character notes (reproduced below) focus heavily on the racism of small towns, which carries over into the dialogue: for example, when the victim tells his brother 'Go down to the butcher's and get some meat for Mum. A roast of beef and a couple of chickens. She's sick of mutton. And make sure he serves you in turn' (page 3) or when the storekeeper says to the victim, 'What'll it be - two pints of flour and a stick of baccy? (LAUGHS)' (page 4).

Ultimately, the script reveals that the beating the victim sustains is not the direct cause of his death: he is accidentally drowned by his uncle.


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

'JOHNNY KAMADJI. Victim. Successful Aboriginal shearing contractor. Tall, good-looking, assured, Johnny has succeeded because he is better at his job than the white man. He refuses to accept the imposed limitations of his colour, but is in turn intolerant of those among his own people who have not succeeded under the white man's terms. Must be a driver. Aged about 25.

'SAM NUGGET. Johnny's uncle. A detribalised, alcoholic derelict. A fringe-dweller, but still with a shred of pride clinging to his racked frame. Possesses a sly sense of humour and an unexpected knowledge of people and the world. Aged 50-65.

'RICKY KAMADJI. Johnny's young brother. Educated, self-confident. Ricky hero-worshipped Johnny and is the only Aboriginal prepared to assist the police. Aged 15.

'BEN FOSTER. Storekeeper. Typical of the racists to be found in any Australian country town. Bland, smug, self-satisfied. His narrow-minded bigotry is hidden beneath a bluff, unsophisticated sense of humour. Aged about 45.

'SALLY FOSTER Ben's daughter. Works in her father's store. Pretty, flirtatious, unsophisticated. Not over-endowed with intelligence, but not a fool. Accepts people for what they are. Demonstrates courage and a sense of humanity when the time comes. Aged about 18.

'BRUCE FOSTER. Ben's son. Mechanic in local garage. Blessed with his father's prejudices, though rather more open about them. A small town upbringing has equipped him with the usual loyalties and limitations. Aged about 20.

'NEIL THOMAS. Sally's boyfriend. Bruce's best mate. Neil works as an assistant in Ben's store. Something of a small-time rural tearaway, without Bruce's courage or determination. Bruce leads Neil in most things. Neil and Sally's relationship is one of habitual affection. Must be a driver. Aged about 20.

'SENIOR CONSTABLE BOB FINLAY. Competent district policeman. Genuinely tries to do his best within the confines of a difficult local situation. Must be a driver. Aged about 40.

'MRS KAMADJI. Johnny's mother. An Aborginial woman, with a deep sense of pride and humility. Instinctively suspicious and afraid of policemen. Aged about 45.

'MOLLY. Local character. An old hard-bitten hard-doer. Aged 60 plus.

'ABORIGINAL CHILDREN. (EXTRAS) Johnny's brothers and sisters.

'MILKMAN (ACTUALITY).'

Melbourne : Crawford Productions Seven Network , 1969
235
form y separately published work icon Just a Bit of Fluff Max Sims , 1969 Z1935599 1969 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):

'HENRY PRESTON. A middle-aged investment lawyer who has departed from his usual conservative business methods in an attempt to make a stock market "killing" using his clients' money. The scheme backfires, leaving him desperate for cash to restore his books.

'LYNNE PRESTON. A 20-year-old, pretty and personable girl. Henry's daughter.

'PAUL LANG. A 28-year-old philanderer living off a deceased estate. Nominally a veterinarian, he does not work (except when he has to) and is an inveterate gambler. He is heavily in debt to S.P. bookie Jason Baker. He is a flat dweller.

'MARGARET PRESTON. Henry's wife, she is 50-55, and a highly-strung but reticent woman. She accepts the dominance of both her husband and mother.

'LOUISE JAMES. Margaret's mother. She is 75, a widow and very rich. She is intelligent, straight-spoken and possessive. A constant "adviser" to Margaret and Lynne, she barely tolerates her son-in-law and dislikes and distrusts Lang. She lives with the Prestons.

'DOUG PHILLIPS. A 45-year-old, slow-thinking mechanic who runs a small garage (lubes and minor repairs) in Richmond. An ex-thief, he bragged to Lang about an undetected robbery.

'PHYLLIS PROCTOR. An ex-nurse, long thrown out of her profession for performing abortions, which she still does. An alcoholic, she is rough and ready, sarcastic and has a rapier wit. She is about 45.

'JASON BAKER. A rails bookie and also an S.P. operator. He is 45, avaricious and with few principles, especially with those who owe him money. A high liver.

'MERVYN MASON. Baker's bully boy and constant working companion. He is 35, not too bright and sadistic. Enjoys his "work".

'TWO CONSTABLES. A few lines of dialogue.

'FINGERPRINT MAN. A few lines of dialogue.'

Melbourne : Crawford Productions Seven Network , 1970
236
form y separately published work icon Kill or Be Killed David Minter , 1969 Z1935646 1969 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):

'WALLY BURNS 40-55 years old. Character and a rogue. A petty criminal for most of his life, he has managed to pull one big job and get away with it. He is likeable despite his tendency to lie and cheat whenever it suits him. Witty and cunning in his own way. He has virtually adopted his nephew Tommy. By reason of his non-conformism, assisted by lies about his glamorous past, he has become a hero for the boy. Sometimes he is capable of believing his own lies and reacts strongly to any challenge of them. He is the victim.

'CLIFF ADAMS About 20 years. He kills Wally in self defence. He is a National Service evader (but not a standard student pacifist). A working class lad who believes that the Vietnam war is wrong and that he's not going over to get killed when so many people are in basic disagreement over the issues. He has not thought out his position clearly, rather he feels it. He is by no means frail, nor afraid of a fight, but his rudimentary examination of the question has convinced him that he will not go to Vietnam. He is a likeable young man forced by circumstances to kill.

'JO-ANNE EDWARDS About 20 years. Attractive and likeable working class girl. She is completely loyal to her boyfriend Cliff. She reacts emotionally to the problem of the call-up. She just doesn't want Cliff to get killed. She is confused by the events that take place and never quite sure what action is best in any stress situation.

'TOMMY BURNS About 16 years. Working class. Fiercely loyal to his uncle (Wally) whom he has adopted as a father figure. He finds his real father (Jack) intolerably dull. He is worried as soon as Cliff and Jo-Anne come on board the launch because they constitute a threat to his relationship with Wally. Many of his mannerisms and attitudes have been copied from Wally.

'JACK BURNS About 50-55 years. Working class. Tommy's father. Confined to a wheelchair. A hypochondriac who loves to rattle off his life story (which of course consists of misfortunes) to anyone who'll listen. He is sad about life - it has let him down badly - and his only way of getting back is to tell others of life's injustices. He is particularly sad that he has "lost" his son, Tommy, to his no good brother, Wally. A sad and hopeless character.

'KOESTLER 40-55 years. A rather arrogant and snobbish German whose manners give him a certain charm. He has been in Australia for many years and speaks excellent English. He has an upper class bearing and is intolerant of dirty, [sic] slovenliness and general inefficiency.

'MRS. BENNETT 40-55 years. Working class woman. Warm hearted and sympathetic. She has lost menfolk in wars and is completely on Cliff's side in his attempt to evade National Service. A strong willed woman, she stands up to the D's.

'BOB SULLIVAN About 20 years. A pleasant young man. Must be able to swim.

'JANET SULLIVAN About 20 years. An attractive girl, Bob's wife. Must be able to swim.

'TWO COMMONWEALTH POLICE. Extras. Big, burley, [sic] with bullet heads.

'BARMAN'.

Melbourne : Crawford Productions Seven Network , 1970
240
form y separately published work icon The Sound of Money Don Battye , 1969 Z1933736 1969 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):

'TONY SMART Early twenties. Pop star. Masculine, good looking, long hair. Self centred, thinks he "kills the birds", and he does. Drives car.

'PENNY WILLIAMSON Early twenties. His girl friend, one of them. Quite hard, sleeps around, very attractive, gamin.

'BRIAN WILLIAMSON Early twenties. Penny's husband. Runs gift shop. Nice bloke, although with it, has fairly normal ideals. Long hair (not shoulder).

'GRAHAM MALONEY Mid twenties. Smart's manager. Slimey, smart, not good looking, but dresses modern. Long hair. Has to drive a motor-launch.

'DAVID SIMMONS Runs shop with Brian. Good friend, quiet. Long hair, similar to Brian.

'VICKI GAYE Mod. Young writer for pop magazine. Slightly kooky, pleasant, but could wear you down.

'KEVIN BARKER Record company man, thirties, weak, normal middle class. In the wrong game. Goes to parties with young ones attempts to 'swing'. [sic] Has to drive car.

'MRS. BARKER Thirties. Can't accept her husband's attitudes. Suspicious of him, but not without good cause.

'TEA-WOMAN

'SALLY Model, young (non speaking)

'PHOTOGRAPHER Young, with it. (non speaking)'.

Melbourne : Crawford Productions Seven Network , 1970
242
form y separately published work icon Love Story Luis Bayonas , 1969 Z1914212 1969 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):

'MARIA BOMPANI Under 20, Italian accent. Fanatic catholic. Very much in love with a young playboy who has left her for somebody else. Decides to kill him and after that - herself.

'FATHER GILBERT In his forties, sensitive, strong. An ex-dreamer and ex-misfit. Formerly a bombardier in the Korean war, where he came to know Mackay.

'JOHN REYNOLDS A mechanic - early twenties. Shy. In love with Maria - but will never tell her. Loses his voice every time he talks to her and therefore has to constantly clear his throat.

'TONY HEWITT (Driver) 20's - very good looking - Mother's boy. Owns boutique where Maria works. Has to constantly prove himself with girls - but the real love of his life is his car. Turns ugly when he doesn't get what he wants.

'MRS. REYNOLDS Maria's landlady. Middle-forties. Good looking - lively, warm. Strong, bossy personality. Knows life and men. (John's mother.)

'PAWNBROKER

'BARTHOLOMEW 20's. Very gay, effeminate young man. Very interested in Tony's love life.

'MR. GARRONE 40's - 50's. A widower who doesn't grieve for his wife. Bad tempered, no sympathy for his daughter.

'BARMAID Barmaid and prbstitute [sic], in her 40's. Heavy, "dressed in full traditional regalia". Sour and suspicious.

'ANA A girl that must look very much like Maria. Same figure and hair.

'SECOND GIRL Young prostitute - A bit dumb. Few lines only. Has a tattoo on her waist.

'AMBROSE Big, sinister, menacing looking thug. Few lines only.

'LUCY Early 20's. Very beautiful. Very intelligent, very sensitive. Thinks she sees through Tony but doesn't expect him to turn violent.

'FRED Same age as Tony and Bartholomew. Fresh and cheeky. Interested in Maria. Like Bartholomew - audience of Tony.

'MRS. HERNANI Middle thirties - very pregnant, neurotic, talkative. Has constant changes of mood. Italian accent essential.'

Melbourne : Crawford Productions Seven Network , 1970
252
form y separately published work icon Juliet Ron McLean , Melbourne : Crawford Productions Seven Network , 1970 Z1919859 1970 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):

'WARREN BULLER Has to be able to drive car. Early 20's, boy friend of Juliets [sic] and prime suspect. A working class boy who grew up with Juliet and whose current association with her has been more than platonic. A rebellious attitude has been forced on him by his persistent mother and society in general. He truly loves Juliet and regrets ever having done anything to harm her.

'JULIET MEADOWS 17 year old school girl, involved in prostitution. The Victim. Her character developes [sic] as story unfolds, we see her as a happy young girl, perhaps a little reckless in her manner.

'MARCIA WILMOTT 17 year old school girl; Juliet's best friend. Suggestion of a very close relationship stem [sic] from her wistful and "romantic" behaviour. As with Juliet she is on the outside of a normal school girl [sic], but she boasts a nature and behaviour like that rarely seen in a girl her age and position.

'LOIS WILMOTT Marcia's mother. She is well off and she acts in a manner befitting her age and status. She is inspired to kill Juliet after finding photographs in Marcia's room and believes she did it to save her daughter. (Not an attractive character)

'JOHN MEADOWS Juliet's father, ambitious man. Finds his dreams shattered with his daughter's death; he has worked hard to get himself and his family to the position which they are now in. A "nouveau riche" swallowed up by his new and completely unaccustomed environment - and his ideals have turned his daughter into merely a symbol.

'MRS. MEADOWS Juliet's mother. An emotional woman who still retains a "clear headedness" after Juliet's death; she sees through her husband's pretence and it is the shock of the death that forces her to air her view and helps to bring about the collapse of her husband's dreams.

'MRS. BULLER Warren Buller's mother; a former baby-sitter of Juliet and friend of the Meadows family before the rise in status. A person who has been harshly treated by life but still struggles on. She has a genuine affection for her son and it is the airing of this that irritates him. A sympathetic character who remains aloof with her former close friends, the Meadows, after the death of Juliet.

'MR. PICKERING His was the car that Warren stole and in which he "picked up" Jiliet [sic]. Prides himself on being an amateur crimonologist [sic] and insists on applying his hobby to this particular case. He basks in the glory of being the only one who can identify Warren and give a description.

'MR. WILLIS Has to play golf. Discovers Juliet's body while he plays round of golf. Obsessed with the idea of not letting his employers find out that he was playing golf when he was taking a sickie. He is as eager to get away from the scene as possible. His attitude irks Mac a little.

'FORENSIC MAN Professional in outlook and behaviour.

'MALE NEIGHBOUR Next door neighbour to Buller family. He is unco-operative to the D's when they, and a cat, disturb his sleep. A rough sort of character who could not be subtle if he tried.

'MR. GREEN The man from whom Juliet leases the flat. His is purely a business concern, not caring about the morals of those who lease his flats, or that Juliet is dead.

'MR. SULLMAN The father of one of Juliet's friends. The Meadows believed Juliet to be staying at the Sullman's when she was staying at her flat. He has no

real liking for Meadows but is genuinely sorry to hear of the death, his sympathy is not so much directed at Meadows and Juliet, but at the idea of someone losing a close relation - an impersonal sympathy.

'NEW ZEALAND MAN A patron of Juliet's. He is caught up in the circumstances of her death.

'MINISTER Professional air most important. Presides at Juliet's funeral.'

Melbourne : Crawford Productions Seven Network , 1970
268
form y separately published work icon Flash Johnny Ron McLean , Melbourne : Crawford Productions Seven Network , 1970 Z1919901 1970 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):

'JOHNNY MILES. Aboriginal boxer. Aged 20 plus. Being trained for Australian championship fight. Johnny is intelligent and reasonably educated. He is easy-going about most things, but has a streak of temper and is upset by Ruthie who taunts him about his colour. As a result of Ruthie's interference, Johnny hits his sparring partner so hard that the sparring partner appears to have died as a result.

'RUTHIE MILES. Johnny's wife. Aged 20 plus. She is an ex come-on dancer in a tent show who previously felt that marriage to Johnny would be desirable. Now, however, she blames her marriage to an aboriginal [sic] for her lack of success as an actress, refusing the realise [sic] that this is caused by her own lack of ability. She resents Johnny's success in his own field, and seizes the opportunity to kill his sparring partner, hoping Johnny will be blamed.

'VIC AHEARN. Johnny's trainer. Aged 40 plus. He is grooming Johnny for the title fight but knows that Johnny can't win, and hopes to pick up a packet by betting against Johnny.

'TONY MALLOY. Aged 40 plus. A smooth, dangerous S.P. bookie who has combined with Ahearn to make money out of Johnny's certain loss of his title fight. Driver.

'WALTER CARSON. Johnny's sparring partner and the murder victim. Older than Johnny. A near punchy ex-fighter, who was quite promising when young, but who later degenerated to fighting in a tent show. He is an amiable soul, none too bright. Ruthie pretends friendship with him in order to annoy Johnny. Boxer.

'CHIPPER. A lad, at present doing odd jobs around the training camp, but hoping to be a fighter one day. Young and arrogant. Boxer.

'BUILDER. Age optional. A tradesman doing jobs around the camp. Driver.

'PATHOLOGIST. A competent man who delivers Fox information about the medical aspects of the case.

'SPARRING PARTNER. A young boxer - prospective sparring partner for Johnny after the death of Walter Carson.'

Melbourne : Crawford Productions Seven Network , 1970
273
form y separately published work icon Daphne and Doris Luis Bayonas , Melbourne : Crawford Productions Seven Network , 1970 Z1914242 1970 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):

'DAPHNE: About 40. Tall, plump, shapely. Sweet, weak personality - easily influenced by a person like her friend Doris.

'DORIS: About 45. (Must be a little older than Daphne) Slim, wiry - noticeably shorter than Daphne. A strong, decisive character. Having made a decision - nothing will shake her. Is prepared to induce someone else to commit a murder from which she herself will reap financial benefit.

'ALFRED: Late sixties - thin, weak - with bad heart - but despite his age and physical disability, still very enthusiastic about sex. A miser by nature.

'RUTH: Elderly - a little younger than Alfred. Has long been in love with Alfred who jilted her in favour of younger, more voluptuous Daphne.

'VALERIE HILLIS: About 20. Attractive - looks and sounds like a street walker; but has a chastity complex.

'LORNA FOSTER: About same age as Valerie - well mannered, well educated, cries easily. She is the opposite of Valerie, although she doesn't look like a tramp, she is one. A sentimental tramp - falls in love with every man. (When she loses her temper, her inner self surfaces. Becomes loud and loses her good manners.)

'KEN THORNTON: Early 20's - tough 'alley playboy' with tattoos on his arms. Indifferent to people and the world (not cynical) Has a sense of humour.

[Note: the inverted commas around 'alley playboy' have been added in black ink.]

'SUE (RECEPTIONIST): Kind, sensitive, warm-hearted girl - early 30's.

'EVANS: A young detective.

'PRIEST:

'2 GRAVEDIGGERS:

'TAXI DRIVER: ACTUAL.

'LADY MOURNER:

'GENTLEMAN MOURNER:

'MAN: EXTRA.'

Melbourne : Crawford Productions Seven Network , 1970
275
form y separately published work icon The Cat Copy Cat Ron McLean , Melbourne : Crawford Productions Seven Network , 1970 Z1919922 1970 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):

'ROBERT CZERNAK The murderer. In his forties. His manipulations with clients money [sic] have lead [sic] him to the edge of ruin. To save his business he claims that the cat burglar killed his wife and stole her jewel collection. Must be able to drive.

'SY WEINTRAUB 35-40. Robert's best friend, and one of Robert's wealthier clients.

'CARA WEINTRAUB 30 Sy's wife. Good-natured, and trusts Robert implicitly.

'TOBY The young boy who sees the robbery at Robert's place.

'GAIL Toby's girlfriend.

'BLUEY Old reprobate who finds the settings. Was in the army and is still proud of it.

'CHICKA Bluey's mate. Like bluey [sic], but not as forceful.

'RUTHERFORD Head of a watchdog committee of the Stock Exchange. One scene.

[Note: Rutherford's character description has been circled in blue ink and a question mark written, in the same ink, in the right-hand margin.]

'WENDY Robert's secretary.

'MRS. MURRAY Robert's housekeeper.

'REMOVALIST

'MAINTENANCE MAN'.
Melbourne : Crawford Productions Seven Network , 1970
281
form y separately published work icon Short Circuit Monte Miller , 1970 Z1935660 1970 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):

'HENRY JOHN TYLER: 28-30. The murderer. A psychopath-sadist. Tyler is handsome, well-spoken and plausible. He was educated at an English Public School and he is of average intelligence, and while he can be charming and witty, people do not seek his company. He has committed numerous petty crimes, such as stealing cars when it suited him and forging cheques and has masqueraded as people in different walks of life.

'When first seen he is full-bearded - later on clean-shaven. Driver.

'LINDA TYLER 25-28. Tyler's ex-wife - Divorced him because of his ineptness as a man and his propensity for petty crime. She is attractive, intelligent and strong-minded, and she knows Tyler's weaknesses well enough to be able to use them to prevent his killing her.

'KIM RIDLEY 25. An attractive model, recently returned from a couple of years in Europe. Wealthy, she really only models for cigarette money, but still likes to be successful. She knows Tyler from a couple of earlier modelling assignments. When she knowingly becomes aware of a dangerous fact about him he tries to kill her.

'DEIDRE 23-28. An attractive young married out [sic] on the loose after a serious argument with her husband. Driver.

'JACKIE 30-35. An ex-model who is running a model agency with much vim and gusto.

'SIMONE BOUCHÉ A mature French lady who manages the Chapeau Noir Restaurant. She wears lots of jewellery, dresses well, exudes sympathy, understanding and a love of life.

[Note: the accent above the 'e' has been added by hand, perhaps on this copy of the script but more likely on the master script from which this one was copied.]

'MR. HARTLEY Middle forties. An ex-Petty Officer, R.A.N., now the manager of a motel. He is deceived by Tyler's deceptions when passing himself off as a naval officer.

'MRS. HARTLEY Middle forties. Hartley's wife and co-manager of the motel. She is slightly disapproving of Tyler.

'JANE MORTON 22-24. The first victim. She is discovered in bed, waking from a drunken sleep. Her expression changes to one of terror when she appreciates her predicament.

'FORENSIC MAN Helps examine the motel room with the D's. A couple of lines.

'BOY A school-boy to whom Tyler gives a letter.

'MAN BY PHONE BOX A man who waits patiently outside a phone box while Tyler talks to the police. Should look very different to Tyler.

'MAN IN CAR Driver.

'POLICE PHOTOGRAPHER Using a movie camera while Tyler shows the D's how he killed Deidre.

'AN ATTRACTIVE MODEL No dialogue.'

Melbourne : Crawford Productions Seven Network , 1971
282
form y separately published work icon The Terrible Stranger Martin Robbins , 1970 Z1934103 1970 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):

'BEN DAVIS. A small, repressed man in his early 40s. He dresses smartly, and in fact gives the impression that he is neurotically obsessional about personal tidiness, hygiene. All his life he has been dominated by his mother - but in recent years the enormous strain of repressing normal instincts has begun to tell. He is hesitant, tortured by indecision, jumpy. His demeanor is an uneasy blend of hostility and self-apology. Ben's relationship with his mother is the key to his character. He is, apparently, cowed and quiet - but just beneath the surface there burns a resentment of her smothering dominance. This resentment (channeled at first into attacks on girls) comes into the open in the final scene when, infuriated by her selfishness, he attacks the mother herself.

'MRS DAVIS. Ben's mother. A widow, about 65. A domineering, almost masculine type, with an overlay of "kindly" femininity. She would, doubtless, be president of the local bowling club. Confusing cause with effect, she doubts her son's ability to manage his own affairs. She doesn't realise that her own smothering role of forbidder-of-sex has been the cause of his troubles. Her relationship with Ben is cloying; her "love", from the start, hard to believe in. She plainly values him as a possession - almost as a human doll - rather than as a person.

'JANET STEPHENS. Group patient. A sweet-natured, but quiet and diffident girl. She's seeing the psychiatrist about her depressions. She is very warm and empathetic - especially towards Ben, whose miseries she seems, to some degree, to understand. She has no romantic interest in Ben (no girl would) but she offers him wholehearted help, as she would any unfortunate.

'DR. GEORGE COUSINS. Psychiatrist. A cool, detached analyst of the Freudian school. In therapeutic sessions, he allows his patients to do the talking - only offering guidance when absolutely necessary, in a quiet voice uncoloured by emotion. This, anyway, is how we first see Cousins. But gradually, as his doubts about Ben grow deeper, he loses some of his assurance, becomes rather more of a self questioner.

'SALLY COUSINS. Doctor Cousins' wife. About 30. A sophisticated dresser, very pretty, self-assured and in love with her husband. She's a fine arts graduate, met and married Cousins while both were students. As a doctor's wife she's learned to live with the unexpected, but she shares her husband's fears about Hill. She has a feminine radar that detects trouble from a distance, and she senses, from the first phone call, that something is very wrong.

'TOM HILL. Merchant seaman. An Englishman, about 30, Yorkshire if possible but Cockney would be OK. A defiant, shifty tough, who's been in constant trouble with police. He knows his way around police stations, and gives the impression, under questioning, that he's playing a game at which he is long-practised. But, though shrewd, he's not, fundamentally, very intelligent - and becomes confused when the detectives drive him into a logical corner. Lying comes so naturally to this man that few of his statements (even if they are true) have the ring of truth.

'EMILY WYKEHAM. Group patient. A rather drear, middle-aged housewife, who is seeing Dr. Cousins about her nervous headaches. From her quietly naggy, negative behaviour she gives the impression that her family probably suffer more than she does.

'PAUL RANDALL. A student, about 19. Dresses in jacket and jeans - but not too way out. He is seeing Cousins because of inability to concentrate on his studies. He's exaggeratedly aggressive - ready to take offence at anything. Well-spoken, son of a North Balwyn businessman.

'ROWER. Well-educated. Old Grammarian type. Stuffy, square, but humane - and shocked to come into contact with something (the murder) so remote from his experience. Age about 35.

'SHOP OWNER. Conservatively but expensively-dressed with a rather extravagant manner. He almost sends himself up - gives the impression that he observes his own behaviour with detached cynicism.

'UNIFORMED POLICEMAN. Gives chase to Tom Hill for traffic offence.

'MR CARSON. Ben's boss. A large, rather overbearing man about 45. He holds Ben in very low regard, but, creditably, does try hard to overcome his dislike and show kindness.

'PROFESSOR TODD. Retired academic, about 70. Extremely well-spoken, still bright and youthful in demeanor. He was Dr. Cousins' mentor, and thinks highly of him.

'LANDLADY. About 55. A rough, faintly slatternly, but reasonably kindly woman. She gives the impression that she wouldn't put up with nonsense from anyone, either her tenants or the police.'

Melbourne : Crawford Productions Seven Network , 1972
285
form y separately published work icon Death on the Vine Amanda Spry , 1970 Z1933973 1970 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):

'LEIGH GARDINER. 39. A journalist on a daily paper, is a hard-bitten ruthless woman of great attractiveness. She is an indifferent mother, and an unfaithful wife. She is the victim.

'JOHN GARDINER. 44. Leigh's husband, is an industrial chemist. He is a quiet, gentle man, bound up with his career. His marriage has been a failure and he realises this. He is intelligent, well-educated. He is one of the principal suspects. Must be able to drive.

'ANNE GARDINER. 18. Their daughter. She has been neglected by her parents and has become addicted to morphine. She is an Art student at the Tech. She eventually tries to commit suicide....becoming a suspect through her addiction.

'JERRY ROSS. 22. Takes Anne out now and again, but on a casual basis. He therefore feels little loyalty or responsibility towards her. He is a student.

'JANE ADAMS. 45. The murderess, is Leigh's cousin. She has a small private income and does a lot of charity work, has an autocratic disposition. Her love for Anne triggers off the poisonings - she regards the girl as her own daughter. She is practical to the point that she chooses murder as the practical solution to her problems - with no thought to the ethics.

'BETTY ROBINSON. 63. Is Jane Adams' companion, a pensioner of vague disposition, and an inability to manage her own affairs.

'CLIFF HILL. 33. A journalist on Leigh's paper, he had been having an affair with her. He is intelligent, attractive. Had been on a country newspaper.

'DENISE MATTHEWS. 25. His fiancee, is a young journalist who takes over Leigh's column. She is gentle, rather old-fashioned.

'TRAMP. Of indeterminate age, a no-hoper with a love for drink. He manages to extort money from Anne - with his hard luck story.

'ADRIAN JOHNSTON. A chemist, is visited by Anne in her attempt to get hold of some morphine.

'DOCTOR MILER. 50. Called in by Gardiner on the night of Leigh's death. He is talkative, with a love for gardening, has treated the family for some years.

'JOE FINCH. 48. John Gardiner's superior at the laboratory. An academic, he has a dry sense of humour, and a cordial dislike for Leigh.

'SISTER TAYLOR. 40. In charge of the Grandview hospital at which Jane Adams does charity work, and obtains the morphine. She is a fairly typical nurse, practical by nature.

'A VICAR. A gentle, kind man of indeterminate age. He finds Anne after she attempts to commit suicide.

'EXTRA ONLY. A girl who resembles Anne Gardiner in appearance.

'EXTRA ONLY. A young boy.'

Melbourne : Crawford Productions Seven Network , 1971
291
form y separately published work icon In the Dark Alan Cram , 1970 Z1921527 1970 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):

'SUSAN SCOTT. Aged 22. An introverted psychopath. Shows little or no outward emotion. Her ability to communicate with others is limited and she considers herself an "outsider". She probably has latent lesbian tendencies. She has had little to do with men and they represent a frightening strangeness to her. They are a symbol of her unhappiness. The only people she feels any closeness to are her psychiatrist (Clare) and her room mate (Patti). Her association with these women is threatened because of the intervention of their respective menfolk (David and Fred). She feels she must hit back at them. Susan should be dark haired, cold eyed and able to handle a rifle. Must be able to drive.

'CLARE TURNER. Aged about 34. She is Susan's psychiatrist and is not unaware of Susan's adoration of her. She goes the "extra mile" in her work .... taking a beyond normal interest in her patients. This is a strong source of unhappiness to her husband, David ... especially when she adopts the unorthodox procedure of having patients in her home. She conveys a professional air towards her patients but inwardly she is quite sensitive and, perhaps, slightly neurotic herself.

'DAVID TURNER. Aged about 38. Clare's husband. He's intolerant of Clare's obsession towards her work. He's tired of playing second fiddle to her patients and has just about reached the end of his endurance. He's outgoing and emotional and makes no secret of his feelings. He is a well dressed, professional man and well spoken. Must be able to drive.

'ROY. Aged about 40. David's business colleague. Appears in one film scene. Plays golf with David. He is of reasonably happy disposition.

'PATTI MEADOWS. Aged 22. Gay, attractive. Susan's room mate. She knows of Susan's mental illness and treats her with a certain cautiousness. Nevertheless she genuinely feels for Susan and would like to do what she can for her. She has a pleasing personality and, for contrast with Susan, should preferably be blonde.

'MRS. PHILLIPS. Victim's landlady. A reserved soul of middle age. She's the type who has a soft spot for most of her boarders and is genuinely stunned when she hears of Martin's death.

'MR. SMITH. Middle aged poultry farmer who finds the body. Should be rugged type .. not [sic] very bright. Seems unmoved by his discovery of the body.

'MARTIN WHEELER. Victim. Aged about 28. Good looking. Confident. He picked Susan up in a hotel and tries to make love to her in his car. Gets killed in teaser.

'FRED. Patti's fiance. In his late twenties. Clean cut.

'PHOTOGRAPHER. Flashy dresser. An animated type who takes his work very seriously.

'YOUTH. GIRL. Attractive couple. Lovers in the park.'

Melbourne : Crawford Productions Seven Network , 1971
300
form y separately published work icon There Must Be A Reason Phil Freedman , 1971 Z1923426 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):

'GERALD WILKINS. A self-admiring door-to-door salesman, having steady success with his present product - and occasional success in his concurrent project of seducing not-so-young housewives. Knows he is not physically impressive, so has developed as his stock-in-trade an individual line of "audacious" humour. He is ultra confident with ladies like, Gwen [sic] Morgan, but cuts a poor figure when confronted by the police. He drives.

'GWEN MORGAN. Early 40's. The sad aspect of her life is that she's been unable to have children. Feels her husband lacks tolerance and understanding. She has wells of malice towards him. She will coquette a little with a man like Wilkins. But is much adverse to any physical contact.

'THOMAS MORGAN. Middle 40's. Rough and ready manner. Basically a decent bloke, he finds his wife's vagaries irritating. Has strong ideas about his rights and is quick to resent infringement on the part of employers - or anyone else. Could be an ardent and voluble Labor supporter, believing in Unionism and mateship. Drives panel van.

'MICHAEL GRANT. Seemingly ordinary lad, working class background. Unemotional, self possessed, quietly amiable and co-operative.

'LINDA RICHARDSON. Age 44. Good figure, dresses well, perhaps too youthfully, with an eye to sex appeal. Her true character is, that she's never tried to overcome the natural instincts of putting herself first. This brands her as an exceptionally hard woman, and it shows in her expression at her first entrance when she is told of the deaths of her daughter and grand-child. Her first (unstated) reaction is one of concern that her own plans might be disrupted.

'SENIOR DETECTIVE JAMIESON. Straight down-the-middle detective. Efficient and uncomplicated, readily accepted by colleagues. When asked to assist the Homicide branch, he is very much on his toes. (Would naturally have in mind that he performs well. This will be noted in Mackay's report on the case.)

'PHOTOGRAPHER. A policeman attached to Forensic Science. Efficient, business like. Has a few speeches.

'BETTINE FRASER: Aged 24. (corpse) [sic] must have longish hair, sufficient to cover face.

'CAROLYN FRASER. Aged 7. (Corpse.)

'2 AMBULANCE MEN.

'4 EXTRAS. Bystanders (Actual).'

Melbourne : Crawford Productions Seven Network , 1971
303
form y separately published work icon A Change of Habit Margaret Kelly , 5999788 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):

'SIDNEY ROBERTS Late forties, a professional criminal. A hard man, self-confident. His only weakness is his wife Elsie. He genuinely loves her and the only time we see a softness in him is when he is with her.

'ELSIE ROBERTS Forties. A weak, silly woman. Roberts is and always has been her life. She recognises only the good side of him and takes the attitude that if she ignores the bad things about him they haven't happened. She is a very devout catholic [sic] lady.

'MRS. ARCHER Sixties. A very forceful character with an old-fashioned set of values. She owns the flats Elsie lives in and also lives next door to her.

'CAROL ARCHER A swinging 17. The grand-daughter.

'ERN FULLER Forties. A criminal. Not very smart, rough.

'SISTER IGNATIUS An elderly nun. A very slight, Irish brogue that comes out occasionally when she speaks about home. Must be approximately the same size as Roberts.

'AMBULANCE ATTENDANTS Two.

'"MUMMA" WALSH Forties. A fat jovial character. He loves cooking and looks as though he enjoys eating.

'BENNY ADAMS Same age group. A petty criminal, now reformed.

'PERCY McCALL Fairly old. A seedy little man.

'BOB STEIN Carol Archer's boyfriend. Perhaps 20. A nice boy, not quite as swinging as Carol.

'DOUG MARTIN Detective.

'DRIVER Another policeman.

'CAPTAIN AND CREW OF SHIP Actual.

'POLICE CONST.'

The final character, 'Police constable', has been added to the bottom of the list in blue ink. The names of actors are written under each character on the list in blue ink, except for the characters Bob Stein and Doug Martin.

Melbourne : Crawford Productions , 1971
307
form y separately published work icon Don't Call the Cops Keith Hetherington , Melbourne : Crawford Productions Seven Network , 1971 Z1921854 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):


'EVE HARRISON

'THE KILLER. LATE TWENTIES. SEXY GOOD LOOKS. A VICIOUS, SCHEMING WOMAN WITH TWO INTERESTS IN LIFE - MONEY AND MEN, IN THAT ORDER. TAKES A LOT TO SHAKE HER COOL. IMPORTANT THAT SHE HAS SHOULDER-LENGTH HAIR, PREFERABLY DARK.

'ROLLO NELSON

'REFFER-SMOKING HIPPY, BEARDED AND/OR MOUSTACHED, LONG HAIR. ANTI-ESTABLISHMENT, RUTHLESS, CALLOUS GO-GETTER. MID-TWENTIES. SHOULD DRIVE WELL. POLICE RECORD.

'CHARLES ALLEN.

'MANAGER OF HARRISON ELECTRONICS. LATE 30'S OR EARLY 40'S. GOOD LOOKS, BORDERING ON EFFEMINATE. AMBITIOUS AND OFFICIOUS, WITH A NARROW-MINDED STREAK WHERE MORALS ARE CONCERNED. A 'COMPANY' MAN. DRIVES A CAR.

'SID BENNET

'EVE'S LEGAL HUSBAND (SHE NEVER DIVORCED HIM BEFORE MARRYING HARRISON.) FAIRLY RUGGED LOOKS. HAS SERVED A PRISON SENTENCE BECAUSE OF EVE AND IT HARDENED HIM, MADE HIM A LITTLE BITTER. EARLY 30'S.

'MARION GREEN

'ALLEN'S SECRETARY AND HARRISON'S MISTRESS. EARLY 20'S AND NICE LOOKING. A 'DECENT' GIRL DESPITE HER ILLICIT RELATIONSHIP WITH HARRISON. PREFERABLY SHOULDER-LENGTH HAIR LIKE EVE'S SO WE AS TO CONFUSE AUDIENCE A LITTLE MORE.


'"THE DUKE"

'A HOBO WHO WITNESSES HARRISON'S MURDER. INDETERMINATE AGE, SAY 40/50. STUBBLED, LINED FACE. UNKEMPT. A WINO WHO SLEEPS IN PARKS AND KNOWN TO POLICE BECAUSE OF MANY CONVICTIONS FOR DRUNKENNESS OR VAGRANCY.

'MICK CALLAGHAN

'OWNER OF CAR-WRECKING YARD WHERE HARRISON'S BODY IS FOUND. LATE 40'S. COUPLE LINES.

'MOTOR MECHANIC

'SENT TO REPAIR HARRISON'S CAR'S LEAKING BRAKE LINE. YOUNGISH. FEW LINES.

'FORENSIC MAN

'POLICE SCIENTIST, STOCK CHARACTER (FEW LINES)

'UNIFORMED DIVVY MEN (2)

'FEW WORDS EACH

'EDWARD HARRISON

'THE VICTIM, RICH OWNER OF HARRISON ELECTRONICS. (NON-SPEAKING. HIS 'BODY' IS NEVER SEEN CLEARLY OR IN FULL. DUMMY WOULD SUFFICE.)'

Melbourne : Crawford Productions Seven Network , 1971
311
form y separately published work icon All the World Is Queer Margaret Kelly , Melbourne : Crawford Productions Seven Network , 1971 Z1913801 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):

'GRAHAM ELLIS Late twenties, early thirties, Ellis is mentally disturbed with a fetish about cleanliness. He is intense, precise, methodical and shows little emotion. Lead role.

'MRS. FOSTER Ellis's landlady. Age not important. A bossy, nosey woman.

'MR. ELLIS Graham's father. An elderly man, retired, quiet, unassuming.

'MRS. ELLIS Graham's mother, also elderly. Quiet, devoted to her son, motherly.

'JILL PATTERSON Patterson's wife.

'DR. TED WRIGHT. Psychiatrist. Middle aged, self assured.

'JIMMY PATTERSON Patterson's son, aged 10.

'LUKE PATTERSON Patterson's son, aged 8.

'SALLY PATTERSON Patterson's daughter, aged 5.

'MRS. CAHILL Middle-aged. Mother of woman killed at Zoo.

'JOHN PIPER Young man at Zoo. His girlfriend is shot.

'JUDY ARCHER Piper's girlfriend.

'MRS. FELTON Mrs. Cahill's daughter.

'MR. MCBRIDE Old man shot at Zoo.

'MR. FOSTER Landlady's husband.

'MRS. O'BRIEN Elis's [sic] second landlady. Middle aged.

'TWO AMBULANCE MEN ACTUAL.

'EXTRAS 3 People shot in street and onlookers.

'POLICE CONSTABLE.

'COOK IN HAMBURGER SHOP.

'MR. ROGERS. Tram Conductor.'

Melbourne : Crawford Productions Seven Network , 1971
313
form y separately published work icon A Game of Chance Ted Roberts , Melbourne : Crawford Productions Seven Network , 1971 Z1934007 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):

'BRIAN CLARK 24. Leader of a group of young hoodlums. Probably schizoid. Clean-cut good looks belie an unstable, vicious nature.

'PINA BIANCHI 22. Attractive, Italian descent. An emotional girl. Deeply attracted to Clark, and sees a completely different side of him. She is intelligent but ingenuous.

'BIANCHI 55. Pina's father. A wealthy Italian migrant. Well-educated but no pretentions. [sic] He is addicted to cards, plays regularly for high stakes. Honest, likeable, strong character.

'BILL WOOD 24. A big youth, and a born thug. Untidy, badly spoken, vicious.

'KEITH MORGAN 22. Smaller than Wood, makes up in slyness what he lacks in size. A streak of cowardice that he covers with bravado. He and Wood form Clark's gang, and are completely under his sway. ABLE TO DRIVE.

'COSTA / MARTINO / CONTI Friends of Bianchi. Around same age or younger. Equally addicted to cards, all are well-off businessmen. Of all the Italians, only Costa and Martino have more than the slightest trace of accent.

'SPORTS STORE PROPRIETOR 40's. Small part, few lines. A suburban businessman.

'ESPRESSO BAR OWNER 40's. Italian, tendency to melodrama and over-acting. Small part.

'THREE POLICEMEN'.

Melbourne : Crawford Productions Seven Network , 1971
315
form y separately published work icon Blood David William Boutland , Melbourne : Crawford Productions Seven Network , 1971 Z1915682 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):

'MICHAEL WALKER 20-ish. Major part. Student of art. Strongly attached to the past - to the old house where the family lived when his mother died - two old people and two children. He can't stomach the reality of life. Ever-present in the family's hamburger shop and the belching maleness of his old man - a phobia which grows to killing point.

'BEVERLEY WALKER 22-23. Major part. Michael's sister. She is protective towards him partially taking the place of the dead mother. Not a pretty girl, she will probably end up an old maid, having sympathy, able to be deeply hurt, loyal to her family against outsiders.

'BILL WALKER 45-ish. The father. Must be burly, excessively male, offensively coarse and over-friendly rather than ill-tempered. Dies at first commercial.

'ALICE THOMSON 40-ish. Helps in the hamburger shop. Fond of Bill Walker as much as she can be fond of anyone. Mostly concerned for herself. Amoral, thoughtless, deceptive, sharp-tongued. Certain that she and her type keep the world going round.

'JOE SAUNDERS 40-ish. Alice Thomson is his de-facto. A criminal mind, low intelligence. Likes to play the part of a cheeky, likeable crim, but in fact is a brutal unimaginative 40-year 'old [sic] boy whose taste for the bash, booze and birds has never changed.

'FREDDY HALL Mid-20's. Able to drive. A tough cheeky little character with plenty of guts and a broad streak of humour.

[Regular characters omitted]

'POLICE DOCTOR One scene with dialogue. A firm confident manner.

'CONSTABLE Extra.

'JOHN JENKINS 20-ish. Able to drive. Freddy Hall's mate probably because Hall feels sorry for him. Overweight, cowardly. Dobs everybody in every time he's threatened. Should have been born a girl not a boy.

'MOTOR CYCLE PATROL MAN Fast motor-bike chase.

'MEAT DELIVERY MAN Burly like Bill Walker. Carries meat into butcher's shop.

'TAXI DRIVER Little, dark, puzzled foreigner. Drives.

'TEENAGE BOY AND TEENAGE GIRL Extras. To be served in the shop.

'OLD MAN One scene only. Extras. Enters shop.

'2 DEMOLITION WORKERS Able to swing sledge hammers.

'VARIOUS EXTRAS Onlookers at scene of arrest.'

Melbourne : Crawford Productions Seven Network , 1971
319A
form y separately published work icon Homicide Trial Trial; From the Top Phil Freedman , 1971 Z1923472 1971 single work film/TV crime

This is the script for the second half of a Homicide episode called 'From the Top'. Such 'special' episodes (which cover first the investigation and second the trial) are usually described as two-hour episodes, but Storey notes that 'Due to the length of the episode requiring it to be split over two reels of 2" video tape, it was officially listed as two separate episodes, 319 "From The Top" and 319A "Trial".' This script only includes the trial portion.


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

'JUDGE: Late forties. A youngish, business-like, efficient judge of the Victorian Supreme Court. Before his appointment to the bench, he himself was a leading barrister in criminal cases. He has a reputation for 'cutting through the red tape,' and 'keeping things moving' in his court. He is the antithesis of the 'old fogey' type of judge seen in some English productions. He has a good Australian accent.

'DEFENCE COUNSEL: Barrington. Aged 35 - classed as a young barrister. He is a very purposeful contender. A quick thinker, he is a remorseless cross-examiner, with an outstanding flair for bursts of rapid fire questioning. In this case - because he knows the outlook of the presiding judge - he does not go in for any theatrical display whatever.

'As Inspector Fox will be the viewers' troubled hero in his trial, Def's role must be regarded in a sense as that of the 'villain', but this professional does not make the mistake of adopting a 'nasty' manner. He knows that such an attitude would prejudice the Jury and damage his client's case. Therefore, even when attacking Fox full out, he gives the impression that he is fighting to have the truth revealed.

'PROSECUTOR: Middle forties. A thoroughly experienced barrister employed by the Crown Law Department. In this case, he is performing the duties that he carries out more or less every working day. Although more restrained than Defence Counsel, he is capable of applying pressure when necessary. However, he would never attempt to brow-beat an accused man, as it is important for him to give an impression of absolute fairness. Like the Judge and the Defence Counsel, he is an efficient officer of the court.

'MRS. SPENCER: Has developed an 'escapist psychosis' consistent with her character in 'From the Top'.

'IRVINE: Pathologist attached to the Coroner's court. A confident expert, accustomed to giving evidence in court. Has appeared in several murder cases, and hundreds of inquests that didn't make the headlines.

'WALKER: Police photographer. Another experienced formal witness.

'SURVEYOR: Has previously appeared in a few cases, and gives his evidence with straight-forward matter-of-factness.

'SPENCER: Character established in 'From the Top'. Is now concerned for his wife.

'FORSTER: Character established in 'From the Top'.

'GEORGINA: " " " " " "

'JOAN: " " " " " "

'OTHER COURT PERSONNEL: CRIER, JUDGE'S ASSOCIATE, POLICE GUARD FOR FORSTER, TWO UNIFORM POLICEMEN, DEFENCE SOLICITOR, PROSECUTION SOLICITOR.'

Melbourne : Crawford Productions Seven Network , 1972
320
form y separately published work icon I Love You, Primrose Taylor Margaret Kelly , 1971 Z1913788 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):

'SAMMY WALKER: Must be big and strong-looking, perhaps even slightly flabby. Late twenties, early thirties. Sammy has suffered brain damage and has the mentality of a 10 year old. He always wears his cloth cap. It would help if the actor had a partial plate. (IF NOT, BLACKEN A COUPLE OF TEETH) One can see a few gaps when Sammy smiles.

'PRIMROSE TAYLOR: Policewoman who comes into Homicide. Twenties. Must be attractive. A knowledge of judo would help.

'BEN WALKER: Sammy's brother. Older. Ben looks after Sammy, treats him almost like a son. [Note: an annotation to this character note in blue ink specifies that Ben is five years older than Sammy.]

'JANINE FISHER: Young, attractive air hostess. Killed in first commerical.

'BEV ADAMS: Janine's room mate. Same age, same job.

'DR. ALCOTT: Doctor at post mortem.

'JIM HARRIS: Private detective.

'CAPTAIN RICHARDS: Airline pilot. [Note: an annotation to this character note in blue ink reads, 'needs to be good'.]

'OLD LADY: Old lady on bus.

'MARY WALKER: Ben's wife.

'MRS. FENTON: Very attractive, long blonde hair. She is not provocative in her attitude.

'SALLY GREEN: Young, attractive, ballet teacher. Second murder victim.

'MR. PHILLIPS: Late thirties, early forties. Obscene phone caller.

'T.V. SERVICEMAN:

'AMBULANCE MEN: Actuals.

'SMITH: Interviewed at airport.

'POLICE SERGEANT: One scene.

'STUDENTS IN BALLET SCHOOL: Actual.'

Melbourne : Crawford Productions Seven Network , 1972
321
form y separately published work icon Maybe She'll Come Tomorrow Martin Robbins , 1971 Z1934052 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):

'FRED HAYES: Early 20's. [Note: '20' is written in blue ink above the character's age.] University student from impoverished home. Ardent political and religious activist but unpopular with most other students.

'NORM HAYES: Mid 50's. Has affection for wife and children but can be brutal and sadistic.

'MARGE HAYES: Mid 50's. Norm her second husband. She still suffers pangs of guilt as a result of having sent her adopted son back to a home at the age of six.

'GAIL HAYES: About 20. [Note: '19' is written in blue ink above the character's age.] Long hair, fairly attractive. Warm-hearted - has problem of her own but sympathetic towards her brother Fred, and "stepbrother" Ken.

'KEN WEBSTER: Aged 28. [Note: '24' is written in blue ink above the character's age.] Marge's adopted son by former marriage. Rejected by her after her second marriage. Of below-average intelligence, this rejection has left its mark.

'MARTIN FOSTER: About 20. Student friend of Fred, financially better off. Gail's boyfriend. Physically strong, but morally weak and vacillating.

'MRS. FOSTER: Late 40's. Martin's mother. Socially active, she's ceased to exhibit more than a mild interest in her son.

'BILL SMYTHE: About 20. Short, seedy youth. Ken's mate.

'FATHER REGAN: Mid 40's. In charge of boys' home. Irish?

'MR. JARVIS: Mid 30's. Swimming-pool manager.

'CHARLES WEBSTER: Approx. 54 years. Pilot. Bitter about separation from wife.

'MRS. METCALFE: Late 60's. Boarding-house landlady.

'MR. RYDER: Mid 40's. Manager of Starlight drive-in.

'JACK SMITH: Attendant, Starlight drive-in.

'MECHANIC:

'MIDDLE-AGED WOMAN:

'2 POLICEMEN'.

Melbourne : Crawford Productions Seven Network , 1972
322
form y separately published work icon The Wife David William Boutland , Melbourne : Crawford Productions Seven Network , 1972 Z1915701 1972 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):

'MARGARET FLEMING: 42ish. Married,a [sic] weak man. Became more and more aware that his marriage to her was an attempt to resolve deep psychological problems of his own. Separation between them continued - his ability to be a husband to her ended. She began seeing other men. Involved in a complex of pressures - trying to protect daughter Jane from all of this. Realizes too late that her own way of solving the problem has failed. Condemned by neighbours, and her daughter, respect for husband prevents her from getting emotional security from David Cook, the man who loves her.

'JANE FLEMING: 21ish. Tall, slim build, an air hostess. Very close to her father without ever understanding his deep problems. Doesn't understand her mother - hasn't attempted to. Feels something is wrong in the house but blames it all on her mother. Knew Gary Harrison a couple of years ago but outgrew him. Decides final blame rests with her mother and leaves home, in order to punish the only person she can find guilty.

'DAVID COOK: 45ish. Bachelor, educated, architect. A man of principles, he has loved and respected Margaret Fleming for years. Attempts to protect her. Aggressive rather than passive But [sic] with a deeper gentleness, perhaps even weakness. Learned karate a couple of years ago because he felt the need to protect himself. Able to drive.

'GARY HARRISON: 19ish. Physically powerful, mentally immature, emotional. Infatuated with Jane Fleming, wants to take up their old -childish -- [sic] relationship again. But she has outgrown him. Able to drive horse and cart and small van.

'JACK ROBERTSON: Late 30s Salesman. [sic] Insecure, needs other women to convince him he's worth something. Married, able to drive.

'MRS ROBERTSON: Early 30s. Pretty, quiet-natured. Small part.

'POLICE DOCTOR: That type.

'MR CLARKE: 50ish. Bright, optimistic, healthy neighbour of the Flemings.

'MRS MARTIN: 40-45. Unprepossessing, nasty-natured scandal lover with a sweet smile.

'WOMAN NEIGHBOUR: 40ish. Vicious face. One word of dialogue.

'DAIRY WORKER: 30-50. Vigorous. One scene with dialogue.

'KARATE PUPIL: Medium build, athletic type. No dialogue.

'NEIGHBOUR EXTRAS: Three curious onlookers.

UNIFORMED POLICE CONSTABLE: Extra.

'ARTHUR FLEMING: 45ish. Weak Face. [sic] (Body)

'KARATE TEACHER: 30ish. Fit, good looking young man. Small part.

'TWO UNIFORMED POLICEMEN: Extras'.

Melbourne : Crawford Productions Seven Network , 1972
324
form y separately published work icon Too Clever By Half Fred Parsons , 1971 Z1937076 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):

'BARRY TEMPLE 24-25. Murderer. A salesman who has decided that his charm and sense of humour will get him anywhere. Must be attractive and likeable. Well-dressed and with an easy manner. Usually flippant but capable of more serious moments.

'VALERIE KERSTEN 21. A very pretty girl, well-dressed as befits a rich man's daughter; Public School education.

'MARTIN LESTER 24-25. Also a salesman, but of a different type to Barry Temple - more solid, (but not stolid), dependable. The athletic type - tall, good physique. Wears slightly conservative clothes.

'TOM LODER 40-45. A big man, possibly a little over-weight. Very much in love with a much younger wife, and jealous. His business life is a success, though his domestic life isn't. In all, likeable.

'KAY LODER 28-30. Very glamorous - a small-time model with a figure for bikinis. Ambitious, discontented and shallow on the surface, but capable of deeper emotions than she chooses to reveal. Always well-dressed - hot pants, rather kinky gear.

'EDWARD ST. JOHN 60-65. A rather seedy, broken down old gentleman who still retains his good manners and a certain battered charm. Clothes, once good, are frayed and shabby. Very plummy English accent.

'RAY DUNCAN 25. Good looking in a rather flashy way but shifty. Uses his looks to get girls - and money.

'RICHARD EVANS 40-45. Neat, precise, inclined to be fussy.

'MARGARET EVANS 35-40. Pleasant, attractive, submissive with an occasional spark of rebellion.

'MRS. HOVEY 50-60. A tough landlady with no illusuions [sic] and no special liking for the police.

'MAN IN PARK 18-23. Cheerful athletic type.

'ROY HARKER Forensic man.

'BYSTANDERS'.

Melbourne : Crawford Productions Seven Network , 1972
325
form y separately published work icon The Hex Amanda Spry , 1971 Z1933994 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):

'MICHAEL WILLIAMS. 45, the first murderer. A teacher, he is a clever, dried-up academic, a keen chess player, interested in target shooting. He is involved in an affair with Claudia Jones, a young student teacher, with whom he is deeply in love. Through her, he sees the chance to gain the happiness which his marriage has denied him and he turns to murder as the only practical way to solve the problem of his wife. To protect himself, he is later forced to murder again.

'HELEN WILLIAMS. 39, the first victim, is Michael's wife. She is afaded [sic] homebody, whose whole life revolves around the house and the antique silver she collects. Her marriage has probably turned her into what she is .. a rather pathetic drab.

'EDDIE JACKSON. 50, has a long record for crimes of various kinds. His intelligence is extremely limited .. his straightened circumstances and environment probably made his life in crime inevitable, but he is clumsy and unsuccessful even in that. He is big, shambling, with a violent temper. He is characterised by his great love for his wife, Rose.

'ROGER GREEN. 25, is a young criminal who began his career in Juvenile Courts. He becomes the second victim after he is used by Williams in the set-up to murder his wife and starts to blackmail him. There is very little Green wouldn't do for money. He's essentially a loner.

'CLAUDIA JONES. 24, a kinky spirited young teacher is involved with Williams. She considers herself a "free spirit", and thus takes neither her affair with Williams, nor the ramifications of it too seriously. In fact, she is really experimenting with life trying to find out what she ultimately wants.

'DAISY ROBERTS. 50-ish, is an ex-prostitute now running a boarding house where Green has a room. She is a little flamboyant, a gossip ..... Her long relationship with the police makes her only too anxious to be helpful. Some of her physical attraction has remained with her.

'GEORGE BRENT. 40-50, an ex-crim, is Eddie's cousin. He now runs a Disposal Store. He is neither intelligent nor particularly clean. He helps Eddie, until he departs with his takings.

'JOY. Mac's girlfriend.

'MARY RICE. About 26, is a teacher at Williams' school. Mac learns of Williams' mistress through her. She is rather conservative, not particularly attractive, sympathetic.

'JAMIE REDFORD. 20, is a university student, who, living next to the Williams [sic], is able to help the police in their inquiries. He is slightly impertinent, flamboyantly but not EFFEMINATELY dressed, with good powers of observation. A good kid on the whole.

'THE WARDER. 30-40, in whose care Eddie is released to attend his wife's funeral. He is basically a simple man, but a kind one.

'DOCTOR BROWN. Is called by Williams to examine his wife.

'THE PARSON. Officiates at the funeral of Eddie's wife.

'TWO MOURNERS. At the funeral, a man and a wife.

'CONSTABLE. Who finds the Falcon used in Green's killing.

'DICK TAYLOR. 30-40. A newspaper reporter, arrives at the scene of Green's killing, helps the police.

'AMBULANCE MEN.

'EXTRAS AS BYSTANDERS. At Mac's place when Joy has been injured. (As many as can be afforded).'

Melbourne : Crawford Productions Seven Network , 1972
329
form y separately published work icon Widow Maker Ted Roberts , 1971 Z1934069 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):

'CON STAVROS. About 35, of Greek antecedents but a second generation Australian. No trace of accent, only his dark good looks give evidence of his origin. He is well-built, hard, big. A professional fisherman, something of a swashbuckler. A loner, except for his affection for Tommy, which is well hidden. He has a terrible explosive temper.

'TOMMY PHILLIPS About 19. A gangling, unprepossessing boy, uneducated, dull-witted and slow, but not mentally retarded. He worships Con, likes and admires Magda Cameron. Works as deck-hand for Con. He tries hard, knows his job, but is rather clumsy. Normally bright and cheerful, but easily depressed.

'MAGDA CAMERON About 30. Somewhat enigmatic woman of vaguely European descent, but without accent. She is a villain of the piece, but is not entirely black. Has a genuine liking and sympathy for Tommy, but this is mixed with impatience. Dark, good-looking, appears rather sensuous, without trying.

'SGT. KELLY 45-50. Police Sergeant at small fishing village.

'CAMERON. Magda's husband, around 40. A fisheries inspector, big and hard. He is believed murdered, but is in reality the murderer of his partner, and has switched identities.

'HILL About 35. Loudmouthed, hard-case fisherman. Very pugnacious. Coarse and narrow-minded. Big man.

'EXTRAS Villagers, 2 only.

'CHARLIE Fisherman.

'EXTRAS Fishermen - 3 only.

'BARMAN No lines.'

Melbourne : Crawford Productions Seven Network , 1972
331
form y separately published work icon The Hermit Alan Cram , 1971 Z1921544 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):

'DUDLEY ROBERTS (BROWN) A hermit. Aged about 40. Shortish, perhaps somewhat stout. Wears glasses and a moustache (if possible). Quietly spoken - rather cunning. A sensitive man who considers himself unattractive and unlikeable. Easily offended and can hate with a bitter intensity. Eager to please those he fears or those he's attracted to. Always very serious. Nervous. Has to ride a bicycle.

'BETTY SCOTT A young forty. Rather attractive. Likes herself and competes with her 20 year old daughter. Dresses tastefully and is reasonably intelligent. Well spoken. Has to drive a car.

'KEN ANDERSON Betty's de facto husband. About 40. Well presentable. Good looking. Is the father of Cindy's unborn child. Has little love for Betty. Big of build but weak of spirit. Unemotional. Has to drive a car.

'CINDY SCOTT Aged 20. Same hair colour as mother. Rather unfeeling. Attractive in a cold sort of way. Does nude modelling as a means of making extra money. Bored with her job and life in general. Is killed in second segment. Must wear glasses.

'MARIO Any age. Meek Italian who can't speak English. A night cleaner at Police Headquarters.

'A STRANGER (MALE) Very distinguished company director. About 45-50. Well dressed -well [sic] spoken. "Confident" man of the world. Masks an inner feeling of loneliness and insecurity.

'JACK Shopkeeper. About 40. Pleasant. Average intelligence. Two film scenes onl [sic]

'ERNIE His younger brother. About 30. Rather ordinary. Pleasant enough but not over bright.

'HELEN FOX 28. Inspector Fox's daughter. Attractive very pleasant personality. Qantas Air Hostess.

'UNIFORMED CONSTABLE. Speaking part.

'UNIFORMED POLICEMEN (A & B)'.

Melbourne : Crawford Productions Seven Network , 1972
335
form y separately published work icon Why Lenny? James East , 1971 Z1937092 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):

'FREDA CLARK 30. Lenny's widow. A warm but strong character. Knows exactly what her husband is and what he does. Loves him deeply in the true sense of the word. A realist.

'SENIOR DETECTIVE HARRY BROWN About 40. A seasoned member of the Breaking Squad.

'WHITE 28. Good looking, flashy dresser. Hard, callous, utterly ruthless. He is a very dangerous crim, who, when cornered, never stops thinking of how he can get out of a tight corner, and never caring who gets hurts when he does so.

'JOAN 30-ish. Freda's neighbour. A plump, contented housewife. Knows the Clarks, likes them, knows what they do and accepts it as perfectly normal.

'MRS. JOHNSON 45. Church bazaars, a garden, a gentlewoman. Not an inkling of an idea that her husband is a crim.

'SMOKEY STEVENS 50. A small wiry pro. crim. An old "customer" of Fox's. Proud of his prowess as a safebreaker. He knows Fox is a straight cop, and expects Fox to treat him as a professional.

'DAVIS 40. Shifty. The kind of bloke you couldn't trust as far as you could throw him. Tries to be a smart alec with a loud mouth, but cracks badly when the pressure is really on.

'KEN HUME 35. Forensic man, friendly, explains things to Grey.

'MR. GREY 50. Manager of the supermarket. All "hail-fellow-well-met" type. Finds it difficult to stop talking, thinks the robbery is most exciting and fancies himself as an amateur detective. He calms down a lot after he discovers Lenny's body.

'BOAT YARD OWNER 35. Pleasant, slow-moving, outdoor type.

'JIMMY SMITH 30-ish. Round-faced, smiling aboriginal [sic]. Friendly, down-to-earth.

'DOCTOR Normal-type doctor.

'FIRST HOUSE-HOLDER 25. Young motor enthusiast. Pleasant, average bloke.

'SECOND HOUSE-HOLDER 55. An average bloke.

'JOHNSON 40. Typical commerical traveller type, but not flamboyant.

'LENNY CLARK Small, 30-ish. A body only on the screen, but practically the major character.'

Melbourne : Crawford Productions Seven Network , 1972
344
form y separately published work icon Time to Kill Patrick Edgeworth , 1971 Z1928870 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):

'DAVID ANDERSON Late teens. Quiet, sensitive and intelligent. After the murder he suspects that Moore's taunts and jibes may have been accurate. Drives a car.

'MIKE MOORE Early 20's. The victim. Has a number of unpleasant ways, but can charm the birds. Likes having David Anderson around as a foil.

'JACK LEWIS Aboriginal. Mid 20's. Has discovered that racial intolerance is not confined to one area. After years of turning the other cheek, he tends to over-react eventually. Drives a car.

'JIMMY TAYLOR Around thirty. Ex-con. He knows of his wife's affair whilst he was inside - but feels it's more expedient to keep it to himself. Drives a car. He's tough and resourceful.

'TONY HUNT Perhaps 30 - 50. Smallish build. His main concern is his bar.

'THELMA TAYLOR Early 20's. Attractive. Loves her husband, despite her affair. Just wants a normal life with him.

'MRS. ANDERSON David's mother. About 50. She almost swamps her son at times and is very indulgent. She would be the last person to suspect David's interest in Mike.

'HAIRDRESSER Any age over 35. Melbourne's Oldest Teenager. Wears mod gear.

'SENIOR DAVIES 50's. Feels out of place in his shorts when meeting Russell Street "brass".

'SIMMONDS 60's. Caretaker. Affable.

'FORECOURT ATTENDANT Any age.

'EXTRAS (2) Drinkers in the hotel.'

Melbourne : Crawford Productions Seven Network , 1972
345
form y separately published work icon One Against the World David Whitaker , Melbourne : Crawford Productions , 1972 9601746 1972 single work film/TV crime Melbourne : Crawford Productions , 1972
349
form y separately published work icon Second Time Lucky Barry Hill , 1971 Z1937142 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):

'PAUL SMITH Slim, moderately good-looking, bookish. Aged 32. The only son of a senior Public Servant. Strict upper-middle class upbringing. High I.Q. Outstanding scholastic record. Excellent Honours degree in History. One of the youngest full professors ever appointed. Because of his studious childhood, he is shy and does not make friends. Is a very serious person. The only uncharacteristic thing he ever did (apart from murdering June Best) was to marry Beverley. Her extrovert, rather flashy style seemed to him romantic and glamorous. She could do all the things he couldn't do: dance, be the "life of the party", laugh easily and make others laugh. She also exuded a surface sexuality which attracted him powerfully. No-one was more surprised than Paul Smith when she accepted his diffident proposal.


'For some six months, the marriage was a moderate success. Later, however Smith's wife became moody, bored and withdrawn. She began to deny him his conjugal rights on the grounds of unspecified ill-health. She began to practise her latent talent for sadistic humiliation.


'Not equipped to deal with this situation, and still infatuated with his wife, Smith becomes upset and frustrated. He seeks an outlet for his newly awakened sexual appetites by resorting to prositutes, but is unable to consummate these (to him) degrading liaisons. On the night of the murder, his condition has reached flashpoint and he is close to a full scale mental breakdown.


'Throughout the ensuing events, he is increasingly unable to cope and after his final confrontation with Beverley, he lapses into insanity.


'BEVERLEY SMITH Aged 22. The sixth child of a factory hand. Very little formal education but possessed of a strong native intellect. Learned early that her chief attribute was her good looks. Knew herself to be attractive to men. Determined to better herself, marry up the social scale and be respected. The idea of marrying Paul Smith attracted her for these reasons. She fancied herself as the wife of a University Professor.


'In the early days of the marriage, she worked hard at fulfilling this new image of herself. However, Smith bored her, as did his associates, who tended to exclude her as not being one of "them". Smith's naive sexual attentions became repellent to her, his devotion and compliance made her despise him. She began to amuse herself by needling him and discovered a spectacular talent for emasculation. She provides an alibi for Smith during the first police interview because she fears the publicity that her husband's involvement in a murder would bring her. When Smith later gives himself up and confesses, she is furious and decides to get rid of him as soon as the trial is over. She has never loved him (she has probably never loved anyone), and at no stage feels pity or compassion for him - only disgust at what she regards as his weakness. She takes no pleasure in her sexual appeal, only uses it as a weapon to get what she wants.'


'MORRIE WATTS: Very small time crook trying hard to give the impression that he's big time. Getting on a bit, could be anything from mid-forties to mid-fifties. Dresses in a cheap, flashy way. Fancies himself as something of a ladies' man. Underneath all this, he's not a bad bloke who wouldn't hurt a fly.


'Observes his own moral code - (won't dob in a mate) but co-operates with the police when he sees the brutally explicit photos of the dead girl. He, too, had quite a genuine feeling for June Best.


'SUE RYAN Early 20's. A prostitute by trade, but not yet coarse or hard. Not well educated and a bit dumb - doesn't have a particularly broad Australian accent. Quite attractive. Bright and cheerful by nature, she is genuinely upset at her best friend's death.


'NEIGHBOUR (MRS TRAINER) In her sixties. A widow. Suspicious, garrulous, disapproving. Presumably living off her pension and her late husband's life insurance.


'LANDLORD (MR FOSTER) In his fiftes. A small time property owner. A rather nondescript character, he emerges as a most unlikeable person. His only interest in June Best's death is what he can get out of it.


'SENIOR CONSTABLE Been in the force a long time. A correct and conscientious constable, he shows he is human by his appreciation of Fox's handling of the landlord.


'POLICE DOCTOR Neat and professional. Has examined many bodies and is no longer touched by the horror of his calling.


'TENANT Middle-aged man. Surly.


'TART A really hard old boiler about 40, trying desperately with the aid of lavish make-up and little-girl clothes to look 20, and failing miserably. No education, sounds very "strine", hates cops.


'PENTRIDGE GUARD


'BYSTANDER A small non-speaking part, the bystander is seen in the background throughout the scenes in which Watts is picked up by the D's. He closes the scene by picking up the tart and going off with her. To justify his existence he must look like the last person in the world who would do such a thing. In his 60's, neat, well dressed, silver hair. Looks like everybody's favourite grandfather.


'MISS THOMPSON Smith's assistant. Early 30's. Somewhat severe looking.


'AL GRIST An ordinary bloke. Honest, industrious, devoted to his footy club. Has executed his duties as club secretary with great zeal. Because of a healthy appetite and capacity for beer, he is considerably over-weight - explaining his unhappy presence on the exercise bike when Delaney interviews him in the gym.


'HUDSON 30-40. Used car salesman.


'HAROLD JAMES Mid 50's to mid 60's. A wealthy successful businessman. A snob and a hypocrite. Is concerned for his reputation when Mac consults him about his visits to June Best. To his credit he did have a genuine fondness for the dead girl and when his bluff is called, accepts defeat and co-operates fully.


'SECRETARY (MISS FELIX) Mid 20's. Attractive.


'FAIRCHILD About 50. A shrewd, successful lawyer. He has a job to do - get Smith off - and he does it. Can be charming when necessary, but doesn't hesitate to ride Smith mercilessly to get the information he needs.


'TAXI DRIVER (ACTUAL).'

Melbourne : Crawford Productions Seven Network , 1972
363
form y separately published work icon The Rape of Lennie Walker Roger Simpson , Jock Blair , Melbourne : Crawford Productions Seven Network , 1972 Z1918110 1972 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):

'RONALD PAGE: About 40 years. Bachelor. Council Inspector. His mother died recently leaving him alone. To fend for himself. Outwardly quiet, but always polite and helpful. Inwardly he is a tormented man unable to find peace through normal pursuits. Co-operative with police and a good witness. Does not smoke or drink. Drives.

'LENNIE WALKER: About 45 years old. Married, one daughter. Impotent since a car accident three years ago. No longer works, but occasionally scavenges around for pocket money. A regular pub drinker. After a few beers he likes to look at young girls. School girls. He doesn't know why or what it means. Lennie is a working class man, bordering on illiterate and has virtually no powers to reason.

'RITA WALKER: About 43 years. Married to Lennie. Mother of Maureen. She doesn't understand what is wrong with her husband. He used to be a steady worker. She was in the same car accident as Lennie, but was unaffected. She is a cleaner, working shifts. Night and day. Recently she has been playing it up with another man. She needs sex and understanding. Rita is not a thinker - but has a natural cunning inherent among the lower classes. Pregnant when married, she expects much the same from her daughter. She is embarrassed when called upon to give evidence in court about her private life.

'MAUREEN WALKER: 15 years. Factory worker. She could be described by many people as a slut. Although outwardly hard there is still much of the little girl within her. She is unhappy that her family has crashed around her following the car accident her parents were involved in. After 6 months' pregnancy, there is a change in her character - she is quieter, more mature.

'TOM BOWEN: 21 years. Comes from a good lower class family. The boyfriend of Maureen Walker. He plays the passive role in this relationship and feels largely out of his depth when faced with the turmoil surrounding the Walker family.

'JUDITH JONES: 12 years. Budding womanhood. Outgoing and friendly.

'ANNE JONES: 8 years. (Sister of Judith). Product of a middle-class family. Tendency to shyness. Well mannered with a quiet nature. She remains bewildered by her sister's death of which she knows very little.

'MRS NELSON: About 45 years. Middle class, church-going suburban dweller. Tries to be helpful, but she doesn't understand what is expected of her. Quite genuine, if mundane, in her approach to life.

'CONSTABLE FRASER: About 30. Late-comer to the Force - about five years' service but earnest and ambitious. However, he is an officious person who enjoys the power of his uniform. Being involved in a murder case is an added bonus to his normal routine. Blunders in court.

'MR. CARTER: About 38 years. Respectable, executive-type, middle-class, family man. Emotional.

'JENNY CARTER: 10 years. A beautiful, innocent child. Slightly retarded - has the mind of a 5 year old. Loves people.

'JAMES MARTIN: About 26 years. Main line heroin addict. His speech and mannerisms are those of the "hip" generation - pop culture.

'LARRY HYLAND: About 24 years. A clean-cut youth, he is fastidious about his appearance. Nervous around police. Prone to acting without thinking. Has a record for interfering with young girls.

'GOVERNMENT PATHOLOGIST (MILLS): About 50 years. Thoroughly experienced about medicine and the law. A confident, easy going man. Accustomed to giving evidence in court.

'MARGARET HAYES (BODY): 12 years. A pretty girl.

'GIRL: 13 years. Innocent. Youthful figure. She has a young girlish sensuality about her. Few lines.

'UNIFORM POLICE INSPECTOR (GREEN): About 55 years. A stern, awe-inspiring figure. Military approach to his job, but with an understanding for children.

'UNIFORM POLICEMEN "A" AND "B": Stock types.

'UNIFORM POLICEMAN "C": About 26 years. Stock type. No lines.

'UNIFORM POLICEMAN "D": About 30 years. Stock type. No lines.

'TAXI DRIVER "A": Stock type.

'FOUR EXTRAS: Appear in line up.

'JUDGE: 60. Distinguished, experienced and highly respected Judge of the Victorian Supreme Court. Before his elevation to the bench, he was a Crown Prosecutor and he retains the patience and restraint of his former position. However, he has little time for dramatics from the Defence and will quickly counter if they overlap the mark. Note - he is an Australian, with a good, educated Australian accent, and in no way does he resemble the traditional English stereotype.

'JUDGE'S ASSOCIATE: 45-50. Tall and distinguished, stern-featured.

'CRIER:

'PROSECUTOR (MORRIS): Mid-40's. A thoroughly experienced Crown Law barrister. Acts with restraint and impartiality.

'SOLICITOR FOR THE PROSECUTION: About 40. Professional-looking type.

'DEFENCE COUNSEL (RANDALL): Late 40's. A thoroughly experienced criminal barrister with an impressive track record. His stature allows him to get away with minor dramatics but he only employs them when absolutely necessary (e.g. to unease a witness). Before the decision is made to plead insanity, he feels he has an uphill battle to get Walker off, but nevertheless fights aggressively and earnestly to do the best he can. He is much more confident and relaxed after the insanity decision.

'TAYLOR (SOLICITOR FOR THE DEFENCE): Mid-50's. Senior partner of a medium-sized city firm. A commercial lawyer specialising in insurance work, he has had relatively little experience in criminal law and is heavily reliant on Randall in this case. A sort of G.P. - specialist relationship, to use the medical analogy.

'SHORTHAND WRITER: Very efficient looking man or woman.

'PRISON OFFICER: Detached, unconcerned. Ready to have a joke out of court.

'UNIFORM POLICEMAN "E": Stock type. Appears in court scenes.

'JURORS: 11, including 3 women.

'"JURYMAN A": A not highly intelligent, round-faced man who enjoys being on the jury, and we feel that in private life he could often be irritating.

'MRS JONES: 35. Normally a strong woman, but the trial is a terrible ordeal.

'DR. FARRINGTON (PSYCHIATRIST): Late 30's. A man with impressive academic qualifications, but possibly a trifle ill equipped on the practical side. He has given evidence in criminal proceedings before, but not as frequently as the Government Pathologist.

'TAXI DRIVER "B": Stock type.'

Melbourne : Crawford Productions Seven Network , 1972
370
form y separately published work icon Shotgun Wedding Jock Blair , 1972 Z1934911 1972 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):

'CARLOS COSTELLO: About 25. A good looking Italian, with only a trace of accent. However, this becomes more pronounced when he is under stress. Over reacts when his emotional stability is attacked.

'SUSIE JACOBS: About 21. A country girl, with an upper middle class background. She is no longer a little girl, but has not yet learned to handle womanhood.

'JULIA HAMILTON: 5 years older than her husband. Stern woman with strict moralistic attitude to life. Bordering on the bigoted.

'ROGER HAMILTON: Early forties. Basically a weak man seeking an easy way out of his problems.

'IRENE DAVIES: About 33. Unmarried. Enjoys looking after her lover. Tends to be bitchy when pushed.

'MRS COSTELLO: About 42. Typical over emotional Italian widow, with no control over her son. Good hearted.

'MARIA: About 18. An attractive Italian peasant. Romantic. Has poor command of English.

'BARNEY RICHARDS: About 55. Successful Solicitor. A well dressed man who respects Fox, his job and public duty.

'FIRST CONSTABLE BILL HIGGINS: About 30. An efficient uncomplicated man who knows his district intimately.

'ALAN SMITH (FORENSIC): About 32. Easy going, efficient.

'MAN: About 60. Retired Army officer.

'TOM MARSHALL: About 48. Jovial.

'LIZ MARSHALL: About 45.

'MRS. WILSON: About 70'.

Melbourne : Crawford Productions Seven Network , 1973
385
form y separately published work icon The Friendly Fellow Fred Cullen , Melbourne : Crawford Productions , 1973 7198671 1973 single work film/TV crime detective

'The moving story of retired safe cracker Buddy Rand, who, although having gone straight, finds himself breaking the law to help a mate.'

Source: Don Storey's Classic Australian Television.

Melbourne : Crawford Productions , 1973
389
form y separately published work icon Matchmaker Michael Harvey , 1972 Z1919980 1972 single work film/TV crime

'The body of Katherine Gibson is found in a shallow lake. Her boss, who runs a book shop tells police that she is a lonely girl from New Zealand with very few friends and no family in Australia.

'After a chase, Police [sic] capture a youth who is driving Katherine's car. It soon becomes apparent, however, that the car had been stolen well after the time of Katherine's death.

'Inspector Lawson gets a tip from Detective Murray, a woman detective who tells Lawson that Katherine had been registered at the same computer matchmaking company that she belongs to. After interviewing the manager of the service, Thompson, Homicide Police suspect David Grant. David had been matched with both Katherine and Sally Watson, a girl who was reported missing two months earlier. When forensic scientists discover that some of the items found with Katherine's body had been submerged in water for two months, they search the lake more thoroughly and find Sally's body.

'Grant is dismissed as the chief suspect after he admits to being a homosexual and is able to verify his movements on the nights in question. The focus of the investigation now turns to Thompson. They have circumstantial evidence to convince them of his guilt, but no concrete proof. Detective Murray volunteers to go out on a date with Thompson and set him up.

'Murray is picked up by Thompson, but a series of unfortunate accidents mean that the police following her, lose the couple completely. Murray, however is able to get to a phone and get a message to her colleagues that she is going to a particular restaurant near where the bodies of the other girls were found.

'The Homicide detectives arrive on the scene as Thompson goes schizophrenic and tries to strangle Murray. When Thompson is apprehended he breaks down and it is clear that he is mentally unbalanced.'

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

[Note: although the synopsis indicates that Thompson 'tries to strangle' Murray, the narration at the end of the script says that he is convicted for her murder.]

[Note: Katherine's name is variously spelt 'Katherine' (in the synopsis) and 'Catherine' (in the character notes/script).]


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

'HELEN MURRAY Late 20's. Policewoman. Attractive looks, but not glamorous. Recently transferred to C.I. Competent in her work. However, she has reached something of a cross-road. She is concerned that the demands of her job may over-ride all else - at the expense of her being an ordinary person. She is not sure that she wants to become a twenty-four hour policewoman.

'THOMPSON 30's - 40's. Computer date manager. Good-looking. Drives. As a small boy was dominated by his mother and older sisters. As a consequence he suffers a love-hate relationship with women. A conscientious family man - he expiates his guilt concerning his frequent philanderings, by transferring the guilt to the girl concerned. In other words - a nut.

'DAVID GRANT Photographer. 30's. Intelligent. Sensitive. Helpful towards D's at first - but when it tends to drag on becomes a little supercilious. Over the last few years he has come to realize he is homosexual. For various reasons he is very reluctant to admit it - particularly to himself. Rather a sad figure.

'FLETCHER 23. Small-time crim. Not too bright. Bit of a born loser. Drives.

'USED CAR SALESMAN 30's - 40's. Battling to make a buck. Knows the business inside out and gives nothing away. More than a match for Fletcher.

'CATHERINE GIBSON 20's. Pretty, although she doesn't use a lot of make-up. A shy, reserved girl, interested in philosophy and folk music. Inexperienced in her relationships with men.

'ERIC TANNER 40's. Bookseller. Kindly towards Catherine. A little cynical towards D's when at first he thinks they are Vice Squad.

'CHARLIE SIMPSON 30's - 40's Maintenance mechanic. Brash. Cocky with D's - but mortally afraid of his wife. Considers himself God's gift to women and does his best to spread these gifts.

'CHERYL GREEN 30's. Deserted by her husband. Knows Charlie for what he is, yet still loves him in a fashion. Pretty well hardened to life over the years.

'DAVIS 19. Young, local uniform constable. Fresh, eager and enthusiastic. However his keenness tends to flag when the search for the second body drags on for six hours or so.

'JENNY 19. Sells doughnuts, hot dogs. Straight-forward. Working class. A bit cheeky, but likeable.

'MRS. GRACE 60's. Landlady. Mean and miserly. Sniffs a lot.

'DIVVY (1) 20's - 30's. Uniformed constable (Stuntman).

'DIVVY (2) 20's - 30's. Uniformed senior constable. Bit of a character.

'SEARCH AND RESCUE (1) 20's. Young policeman.

'SEARCH AND RESCUE (2) 40's. Stronger character. Experienced policeman. Kids Davis along a bit.

'FORENSIC MAN Greg Watkins. Stock character.

'TED BROWN 50's. Model boat fanatic. Rudely jolted out of his own little world by the discovery of Catherine's body.

'MODEL 20's. Glamorous but not too bright. XSSW (to fit the only Edwardian dress Wardrobe currently possesses).

'OLD LADY 70's - 80's. Old and deaf.'

Melbourne : Crawford Productions Seven Network , 1973
398
form y separately published work icon Mad Dog Kelly James Wulf Simmonds , Melbourne : Crawford Productions Seven Network , 1973 Z1929113 1973 single work film/TV crime

'Senior Detective Kelly is accused of bashing a prisoner named Palmer in the Melbourne City Watchouse [sic].

'The accusation is made by another prisoner, "Sailor" Nelson, who has been arrested for killing a police constable, and who hopes that the faking of a bashing incident perpetrated by a detective will draw attention away from his murder charge. Nelson chooses Kelly as his victim because he knows he can get the detective to visit his cell, and because Kelly has a strong temper.

'Kelly's plight worsens when Palmer dies, and the detective has to face an official inquiry before the Chief Superintendant.

'Nelson's plan is thwarted by a prisoner named "Sniffy" Taylor. "Sniffy" is frequently in and out of jail and is tolerated by the watchouse [sic] keeper who has given him the job of sweeping up. In the course of his duties "Sniffy" overhears evidence that Nelson killed Palmer himself and framed Kelly. Only when "Sniffy" himself is threatened by Nelson does he tell his story so that Kelly is cleared.

'The dramatic interest lies in the reaction of Kelly to his problem, and the close interplay of criminals and police within the close confines of the watchouse [sic], where virtually the whole episode takes place.'

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):

'EDWARD JOSEPH ("SAILOR") NELSON: About 28. Tall, powerfully built, and good-looking in a rough fashion. He has a basic native cunning and likes to think he is a hard case.

'GEORGE STEVENS: Mid-40's. Average height, slight build. Has been a fence for years and is well-known among local crims. Has a knowledge of legal procedures and is a practising kerbstone lawyer.

'"SNIFFY" TAYLOR: An alcoholic who spends more time in the watch house than anywhere else.

'EDWARD JOHN ("HONKY") PALMER: About 30. He gets his nickname from his prominent nose. A small-time crim like Nelson, though not particularly tough. Being Nelson's partner gives him a feeling of security.

'SERGEANT RON JENKIN: Watch house keeper. Uniform. All cop.

'CONSTABLE IAN CRAIG: Assistant to the watch house keeper. Uniform. Early 20's. A young cop doing his first tour of duty in the watch house.

'MRS. HUNTER: About 50. Mother of the murdered constable. A greying, motherly figure.

'CHIEF SUPERINTENDENT JOE BELDEN: About 50. Tall and well-built. He is quietly spoken but has authority.

'DUTY OFFICER: A Superintendant. Late 40's. Tall, greying, with executive-type spectacles.

'POLICE SURGEON:

'POLICE PHOTOGRAPHER:

'SALVATION ARMY OFFICER: One scene. Dialogue.

'CONSTABLE BEN HUNTER: One short scene. No dialogue.

'PRISONERS: Derelicts, etc.

'CAR DRIVER: One scene. No dialogue.'

Melbourne : Crawford Productions Seven Network , 1973
399
form y separately published work icon The Crossing Vince Moran , 1973 Z1918079 1973 single work film/TV crime

'Pamela Roberts, a teenage girl sneaks out of the convent where she is a ward. She rendezvous with her boyfriend, Duncan and gets given cigarettes, vodka and money in exchange for handmade lace produced by the convent. The next morning she is found drowned.

'Homicide detectives searching the park on the other side of the river, find the paperbag with the cigarettes and a cash register receipt floating in the water. They also talk to Otter, an old scrounger who combs the park for old bottles. He said that he didn't see anyone the previous night.

'Dawn Anderson is the self-proclaimed leader of the teenagers at the convent. She keeps the remaining three girls in line. Nora Flemming [sic] is a shy outcast of the group. Dawn is worried that Nora will talk to the police and tell them about their clandestine operations. She threatens Nora with violence if she tells the police anything.

'The Homicide detectives are able to establish that the bars on the bathroom window could be removed, allowing Pamela to get out, and that there is a narrow shallow spot in the river that she could have crossed. They find Duncan and interview him. He confirms this and tells his side of the story. Sergeant White is prepared to believe him. It is apparent that one of the girls must have known that Pamela wasn't going to come back because the bathroom window was sealed from the inside.

'The teenage girls at the convent can see that the police are closing in and start to worry. Dawn has a plan to get Nora to admit to the murder. They burn her hand in the laundry press and make out it was an accident. Dawn then keeps torturing her hand when they are alone. Eventually they drive the girl to confess to a murder that she never committed. The Police are not convinced that she was burnt by accident. Inspector Lawson interviews Helen Grey again and points out that she could be in serious trouble. Helen tells them the whole story, including how Dawn used to be Duncan's girlfriend. Lawson next interviews Dawn and is able to get her to admit to killing Pamela.'

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):

'DAWN ANDERSON: About 18. A leader of the pack. Probably a solidly-built girl with few striking features other than her leadership.

'NORA FLEMING: The same age group as the other girls. Introverted, she is unable to cope with Dawn's aggression and dominance. She is the outsider. Probably slight in build.

'BARBARA RILEY (BARBIE): The same age as Dawn, who is the only one from whom she takes orders. She has a will of her own, which shows through once she finds herself getting into unfamiliar surroundings.

'HELEN GREY: About 18. As colourless as her name. She offers blind allegiance to anyone who will lead.

'PAM ROBERTS: A little more sex appeal than Dawn, but she is still no Raquel Welch.

'SISTER AUGUSTA: A young nun. She tries to let the girls find self-discipline rather than try to push it into them. She has a keen appreciation of the girls'

problems.

'SISTER CATHERINE: About forty. But nuns usually have fresh complexions and it's difficult to judge ages. Her years show more through her attitude to the discipline she demands from her charges, and the fixed routine to which she religiously adheres.

'MOTHER PHILLIPA: The eldest of the three nuns. She has sizeable responsibility controlling an institution of the magnitude she does. She tries hard.

'OTTER: An old drop-out who has found existence in the simple routine he has evolved for himself. He rejects the world as much as possible, and finds sanctuary behind the "off" position of the switches of his two hearing-aids.

'DUNCAN: A smart young crim with an eye for both business and the female form.'

These character notes are replicated on the casting call sheets.

Melbourne : Crawford Productions Seven Network , 1974
400
form y separately published work icon The Adventure Ian Jones , Melbourne : Crawford Productions Seven Network , 1973 Z1923249 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):

'ALEX WATSFORD: Late 30's. A small man, short-sighted, fairly ineffectual but useless without his glasses. His life has become a safe, regular pattern. He longs to break out, to find adventure. Required for night filming. Must be able to drive.

'CHRIS GREEN: Early 20's. Long-haired, nicely shaped. Not a hippie but easily acceptable as one. Aware of her own sexuality and uses it as a way of life. Required for night filming.

'RICK BRISTOW: Mid-twenties. Tall, well-built, physical. Works any kind of racket for a fast buck. No compassion. Main concern is always himself and what's in it for him. Required for night filming. Must be able to drive and ride a motor-bike.

'SERGEANT DAN FARRADY: Experienced Sergeant in the Vice Squad.

'HARVEY: 40's. Well-dressed victim of a racket using a girl as bait, somewhat nervous about bringing the police in and the possible consequences.

'NEIGHBOUR: Male, married. Any age.

'MRS. WALKER: Early thirties. Pleasant. Reports her husband missing.

'HOWARD WALKER: 36. Corpse.

'MANAGER: Runs a none-too-reputable car yard. Supplies cars for prostitutes on the side. Should be able to turn on death-adder charm and also be demolished effectively.

'JENNY ROBINSON: Prostitute. Young, brazenly attractive.

'PHOTOGRAPHER:

'DESK SERGEANT:

'SENIOR CONSTABLE BILL HARRIS:

'MOBILE CONSTABLE:

'GARAGE MAN:

'WAITRESS - MOTEL (BENALLA):

'WAITRESS - SERVICE STATION (BENALLA): Actual.

'GENERAL MANAGER: Of Boot Factory.

'FIRST LAIR:

'SECOND LAIR:

'SERGEANT (BENALLA):

'BYSTANDERS: Actual.'

Melbourne : Crawford Productions Seven Network , 1973
408
form y separately published work icon As Simple as A.B.Z. Peter Schreck , 1973 Z1917814 1973 single work film/TV crime

A crossover episode with private-investigator series Ryan. The episode was, according to Don Storey, produced after the initial 39-episode series of Ryan was complete but before the decision had been made not to renew Ryan for a second series.

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

'EARL CORRIGAN: Together with Ryan, he becomes the major suspect in the murder of Billy Maxwell. He's about fifty, conservative, just a fraction right-of-centre, but with quite a lot of small-liveral [sic] about him. Educated Geelong Grammar, Oxford University (Economics, Business Administration) - has led a rather cloistered Toorak life style. Doesn't look down on the lower classes - he's simply had nothing to do with them. Occasionally wonders how any family could exist on the average wage, but it's just after dinner conversation - he hasn't really thought about it. He figures he's got maybe fifteen years of really active sex life left to him, and it's a pretty terrifying thought. Loves his wife, but a lot of the fun has gone out of their marriage.

'ROGER GREAVES: Corrigan's partner, similar style, similar age - but much more right wing. Would be shocked to realise it himself, but he verges on fascism. Deep down, he believes there is an essential difference in quality between those of the upper class and lower classes - that members of the upper class are wealthy by right, and that things must stay that way - anything else would be in conflict with "the natural order of things". Family wealth goes back so many generations any other life style is inconceivable, and any relationship between himself and "the man on the street" is irrelevant. He's a stockbroker, share manipulator - an expert at predicting market, and other, reactions.

'DR. PAUL HARROD: A gynaecologist ... and a "sick" man. Another member of the Two Hundred Club. He has no direct relationship with Corrigan and Greaves, but knows them casually - drinks with them, works out in the gym occasionally. A few scenes only.

'VICTOR POLLARD: Ryan's client. Again a member of the Club. Riches have come more recently to Pollard, and the "social" veneer sometimes wears a bit thin. He's got to the top by clawing his way up - and he hasn't completely lost the talent - for clawing. He's a winner, and doesn't like the role of victim. We get the feeling that he would go to almost any lengths to protect his hard-earned wealth and social status. But once again, he isn't really evil - just a bloody hard business-man, and there ain't nothing wrong with that.

'RITA CORRIGAN: Earl Corrigan's wife. Very well preserved forty-five. She's a great person. Born in the New England area of N.S.W. (Near Tamworth) - raised on a very large, very wealthy grazing property. Educated P.L.C. Tamworth, then New England University (Arts). Pearl-and-twinset type until she was twenty three, moved to Melbourne, society connections, married Earl. Has never been to a strip club, never read a "pornographic" book. Inherited sexual attitudes from environment.

'BILLY MAXWELL: Sleazy little crim, homosexual overtones, podgy, sweaty, gutless. Makes most of his money from blackmail - but there's a fringe benefit. He gets his kicks from voyeurism. Dies in the teaser.

'NIKI: Dancer/Prostitute. No heart of gold, but she knows what she's good at - and why the hell shouldn't she make a living doing it? She's just a little saddened by the attitudes and needs of her clients - but it's only a passing sadness. She's brittle at twenty three and will be fragile at thirty ... unless she graduates to madam - which she realises. Billy's death could be one step in the graduation process.

'VAL: Another dancer/prostitute.

'MANAGER: .. of the Two Hundred Club. Has perfected the art of catering to powerful people - assuming some of their gloss - but not too much - that would be an impertinence.

'EXTRA: In the Two Hundred Club.

'EXTRA: In Tango Club.

'WATER POLICE: (ACTUALS)'.

Melbourne : Crawford Productions Seven Network , 1974
412
form y separately published work icon Running Jack John Dingwall , 1973 Z1917748 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):

'RUNNING JACK: 50's, 60's. Has an unusual gait and a big singing voice. Tolerated by the boaties because of his vast knowledge of the sea and his expertise with all kinds of boats.

'PAUL TURNER: Early 30's. Good-looking, well off, but unlucky with women.

'TRIN: Late 20's. Attractive, estranged wife of Turner.

'RICHARD CARTER: 30's. Can afford an expensive boat because he has a rich mother.

'KEVIN BOURKE: 30's. An artist, but doesn't look the arty type. The exact opposite, in fact.

'POLICEWOMAN JILL CREGAN: Mid-20's. Beautiful. A Senior Detective with the Drug Squad.

'HOPKINS: Late 30's. One of Wilson's customers. Must be able to row an inflatable rubber dinghy.

'RESIDENT (MR. WITHERS): Middle-aged. Indignant. Disturbed by Running Jack's singing.

'LICENSEE (STAN): Brisk, efficient proprietor of the of the "Mariner's Retr [sic]

'DAVE WILSON: About 30. Good seaman. Successful drug smuggler till his death.

'BETTY: Two scenes. Gum-chewing factory worker.

'TWO BOATIES:

'UNIFORM POLICEMAN'.

Melbourne : Crawford Productions Seven Network , 1974
417
form y separately published work icon Penelope George Mallaby , 1973 Z1937200 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):

'PENELOPE PRICE: 13-14 years old. A sensitive young lass concerned for her mother and younger sister. Aware of her father's aggressiveness and the dangers he creates.

'DEBORAH PRICE: 10-11 years old. A child bewildered by what is happening to her family. Unable to understand her father, fearful of him.

'ALFRED PRICE: Mid 30's. A confused, frightened man who has come to use drink and a crutch. He is definitely schizo and violent when under the influence. Sober, he cannot accept or understand himself. As his fears and self doubt build, he falls back on his crutch to begin the cycle again.

'JOAN PRICE: Early 30's. Long-suffering, foolish woman who has tolerated her husband's abuse and violence because of misplaced loyalty to home, children, society, etc.

'DETECTIVE NICK PAPPAS: Late 20's. Of Greek descent. Seconded from Gaming Squad to help out on Homicide.

'MAY THOMPSON: Aunty May is a homely type. No children of her own. Very fond of Penny and Debbie. She is Joan Price's older sister.

'DOUG THOMPSON: Affable. Late 40's. He is aware of the problems in the Price home but is not given to panicking over them.

'MRS. LANSELLE: Large, talkative woman with Midlands accent.

'TAXI DRIVER: Greek nationality, with a heavy accent.

'SGT. STEVENS: About 40. Been with the Boating Squad for many years. Dedicated to his work but cynical of the Powers that Be who prevent him from getting better equipment.

'NURSE: Extra.

'POLICE BOAT CREW: Actuals.'

In the opening scenes, a woman is beaten unconscious by her drunken husband, a scene which we only see and hear in flashes. The man is then struck with a hockey stick by his elder daughter, frightened by the severity of this particular beating (which, based on the stage directions, includes a five-pound kitchen weight). After this incident, the script includes the following note:

'NOTE TO DIRECTOR: IN ORDER TO AVOID A SCREAMING MATCH WITH BROADCAST CONTROL ON VIOLENCE, THESE LAST FEW SHOTS COULD BE A SERIES OF ODD-ANGLE, SPINNING, BLURRING SHOTS SO THAT WE GET THE FEELING OF DRUNKEN, FRENZIED TURMOIL.'

Melbourne : Crawford Productions Seven Network , 1974
427
form y separately published work icon Tom Mitchell's Money Box George Mallaby , 1973 Z1937215 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):

'JOHN CRAIG. Late 20's. Loves his wife and sick child dearly and does everything for them. Outside of this he's capable of extremes of violence.

'PAULINE CRAIG. Mid 20's. Mother of a sick child - the worry and anxiety of caring for the child has taken its toll on her.

'DAVID PRIOR. Mid to late 20's. Owns his service station. Country okker type but with a fairly keen mind.

'BRIGITTE SOLERNO. Rather attractive 20 year old of Italian descent. Expressive face and eyes. (A vague resemblance to Pauline Craig would assist).

'GORDON BISHOP. Early 20's. A nomad and seasonal worker. Has dreams of making his fortune at the casino gambling tables. A fairly harmless type really.

'TOM MITCHELL. Late 60's - though there is no written dialogue for this character the actor engaged for the part should be skilled enough to impress upon the audience through mime that he is a tight fisted one eyed religious fanatic who has condemned the entire world outside of his own small sect.

'ALICE MITCHELL. 60's. Tom's wife. Homely type who through belonging to the same church as her husband, does not share his fanatacism. Must also be a skilled actress.

'STEVEN HOLMES. Around twelve. Freckle faced kid. Under the silt of an inner suburban upbringing. He's a pretty good kid but is still fast to make a quid.

'VARGUS. 30's. Dark swarthy latin [sic] type though Australian born. Bit of a creep, bends the law a little.

'GREG WATKINS. Established.

'PATHOLOGIST. Mid to late 30's.

'PHOTOGRAPHER. Eager beaver. Good nose for a story.

'BALLISTICS MAN. Actual.

'TASSIE UNIFORMED MAN. Actual.

'CRAIG'S NEXT DOOR NEIGHBOUR. Housewife.

'PREGNANT WOMAN. (DAVE PRIOR'S WIFE) Early 20's; no lines - in advanced state of pregnancy.

'TWO AMBULANCE MEN: Actual.

'TASSIE MOTOR CYCLE COP. Actual.

'TWO TASSIE C.I. MEN. Actual.

'MOTORIST. Actual.

'UNIFORMED CONSTABLE.'

Melbourne : Crawford Productions Seven Network , 1974
429
form y separately published work icon The Transhipment Vince Moran , 1973 Z1918046 1973 single work film/TV crime

'Captain Kroeger, a visiting American drug enforcement officer and Sergeant White travel to Canberra to follow up on a drug related murder. Kroeger's assignment in Australia is to find out how drugs coming into the country are being re-shipped into the US. The victim turns out to be Paul Goodman, a young man from Melbourne. He lived with his sister Carol who last saw him six days before.

'Kroeger sees a big time American drug pusher in the streets of Canberra. Although he gets away Police are able to establish that he is travelling under the name Grieg and that he has gone to Melbourne.

'Kroeger has information about a suspicious shipment of olive oil that is being held by customs. He arranges for the consignment to be released unopened. Police put the premises where the shipment is due to be delivered under surveillance. At the same time Detective Kelly poses as a health inspector at a seafood processing company where they have reason to suspect the drugs are being repackaged and sent on to North America.

'They capture a young man, Nick Pappas placing the drugs in cartons. He agrees to help police set up Grieg. They capture Grieg with drugs in his possession as he receives a phone call from Nick telling him the relevant crate numbers. Kroeger is convinced that the gun that they find in his possession will match ballistically with the bullet found in Goodman.'


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

Note: The character called 'Grieg' here is called 'Griggs' in the character notes.



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

'ROBERT P. KROEGER. An American, about mid-forties to early fifties, full of drive, determination and action.

'DET. SGT. KEN DAVIDSON. About mid-thirties, very much the Australian detective who likes working at the easy pace his relatively small organisation requires. Car driving required.

'FRANKLIN GRIGGS. An American, probably about the same age as Kroeger. A drug pusher most of his life, he's learnt to ride rough-shod over lower order crims like the Rossis. Car driving required.

'JOE ROSSI. A migrant in his late thirties or early forties who has settled into the usual rut of newcomers from Southern Europe. Easy going, he has no ambitions but dislikes being pushed around.

'TONY ROSSI. Joe's older brother who has ambitions of acquiring quick, easy cash and feels crawling to the "big boys" is the way to achieve it.

'FR. O'NEIL. A young priest, third generation Australian.

'CAROL GOODMAN. A nice young kid in her late teens.

'JOHNNY BRENNAN. One of the local kids, early twenties, tends a little towards being shifty but would do anything for a mate.

'PAUL GOODMAN. Carol's elder brother about the same age as Johnny. Even at this early age drugs have beaten him. He has a beard, mainly for easy recognition. Car driving required.

'GREG/DAVE: Young lads, about twenty, members of the local crowd of kids.

'ACTUALS.

'A.C.T. POLICE.

'A.C.T. WATER POLICE.

'A.C.T. MOTORBIKE POLICEMAN.

'U.S. MARINES.

'WORKERS IN SEAFOODS PROCESSING WORKS.'

Melbourne : Crawford Productions Seven Network , 1974
432
form y separately published work icon The Fellas Send Their Regards Roger Simpson , 1973 Z1918087 1973 single work film/TV crime

'This episode involves the departure of Sergeant Pat Kelly from the police force.

'It is Sergeant White's birthday, and Kelly and the younger Detective Redford are woking [sic] out in a gymnasium prior to having lunch with the other members of the squad. Kelly, however, excuses himself on the grounds that he has another appointment.

'The pleasantries of White's birthday are contrasted with the tension and finally tragedy as Kelly first waits for the woman he had arranged to meet and then sees her shot outside the coffee shop where he has been waiting.

'Inspector Lawson can get little from Kelly about his relationship with the woman. She was a Czech, and Kelly met her in the course of his duties. Subsequent investigations, however, reveal that she was an illegal immigrant forced into helping a ring of drug pushers under threat of exposure.

'The police follow the trail of the drug ring to an airfield near Melbourne, and the gunman who shot Kelly's girlfriend appears, apparently expecting the arrival of some drugs. In a subsequent chase, Kelly is badly injured.

'The end of the episode is in strong contrast to the opening: Kelly is again in a gymnasium, this time not as the vigorous athlete we have already seen, but as a crippled man in a hospital welfare centre, determined to regain the use of his legs.'

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):

'IEVA ZERVOS: 25. A Czech immigrant. Attractive. (Note "Ieva" is pronounced Yevva)

'FRANKOVIC: (Uncle) Late sixties. Also of eastern European extraction. Wealthy. Probably been in Australia since the War.

'GALACHI: (Tony) Late 30's. Italian immigrant. A criminal on the run.

'GUNMAN: 30ish. European. A professional.

'BOB SUTHERLAND: Drug Squad Detective Sergeant. A bit scruffy. Probably about the pinacle of his Police career.

'WAITRESS: 30ish. Frumpy.

'1st CONSTABLE: Fairly young. Has a few lines.

'2nd CONSTABLE: Younger. Non-speaking.

'JENNY: Early 20's. A junkie - Probably a Uni drop-out.

'SURGEON: Middle aged. Has a few lines.

'OPERATING TEAM: (3) Extras.

'UNIFORMED CONSTABLE: 30ish. Sutherland's offsider. Non speaking. Drives Police car.

'TWO CONSTABLES: Non speaking.

'DRIVER: European crim. Middle aged. Stuntman driver.'

Melbourne : Crawford Productions Seven Network , 1974
433
form y separately published work icon The Fireworks Man Fred Cullen , Melbourne : Crawford Productions , 1974 7199138 1974 single work film/TV crime detective Melbourne : Crawford Productions , 1974
434
form y separately published work icon The Graduation of Tony Walker Peter Schreck , Melbourne : Crawford Productions , 1974 6040529 1974 single work film/TV crime

'Tony Walker is bored, frustrated, and, like many other youths, destined for trouble. He belongs to a gang of yobbos who roam the streets bashing innocent victims. While he is out on the streets, his parents are sitting at home watching a TV talk programme featuring Insp. Lawson and an eminent criminologist, Eric Logan. The story is told on three levels: flashbacks to Tony's childhood, his activities at present, and the discussion underway on television.'

Source: Classic Australian Television. (Sighted: 11/6/2013)

Melbourne : Crawford Productions , 1974
448
form y separately published work icon The Nameless Grave A Nameless Grave James Wulf Simmonds , 1974 Z1929212 1974 single work film/TV crime

'A dying woman confesses that she perjured herself while testifying at her husband's trial. The woman is Mrs. Fielding and her husband was hung twenty years ago for the murder of Hilda Cunningham, a Fitzroy prostitute. He was convicted largely on his wife's evidence. She admits that she did it out of spite. Their son who is on remand for a violent assault feels victimised and bitter. He was eight years old at the time and blames a lot of his own personality problems on his disturbed past.

'Inspector Lawson decides to re-open the case but Mrs. Fielding dies before he can get a signed deposition. Sergeant White brings out the old file and they go about interviewing the surviving witnesses. Neither Dulci Jones (Hilda's flat mate at the time) nor Emma Perkins (a prominent brothel madame) seem to have changed their stories. A break through for the police comes when they discover that Emma is lying about her son, whom she claimed died. It comes to light that he was institutionalised after suffering some traumatic experience in his teen years - about the time of the trial.

'The Homicide police also discover evidence that Dulci had been blackmailing Emma. When they arrive at her house they find Dulci very willing to talk, after Emma had made an attempt on her life. It seems that she killed Hilda after finding her in bed with her son. Detective Redford goes to arrest Emma but she tries to run for it and is fatally injured when she runs in front of a car.'

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):

'LAURIE FIELDING: Average height and build, longish hair, lower middle-class accent. Can look after himself in a fight. He's on remand for his first serious crime but already has a record of petty crimes like shoplifting, illegal use, common assault. Laurie is inured to the fact that his Dad was a killer and was hanged. Public reaction to the hanging gave him his start as "victim of society". He's worn the mantle well and developed an enormous chip of his shoulder [sic]. He is the victim of his own weakness.

'MRS. ANNE FIELDING: Close to 60, emaciated. Few scenes and little dialogue but a convincing dying woman.

'MRS. EMMA PERKINS: Fitzroy boarding -house [sic] keeper. Around 60, but physically big, a powerful woman in her time, a bland liar capable of portraying self-pity when required.

'DULCIE TRAVERS: Late 40's. Surprisingly well-spoken and a handsome woman. She has been a beauty but now tends towards butch. A one-time whore she got out out of the business after her friend Hilda was murdered. Like many of her kind she has developed a loathing for men in the sexual sense and seeks the company of lonely women. She convincingly withholds the truth to suit her own ends.

'BARNEY PERKINS: One scene. No dialogue. Late thirties. A vegetable.

'FR. COGHLAN: Mid-30's. Is known to Lawson from past association.

'SNATCHER BENNET: Around 50. Habitual crim but a small timer. Has spent most of his adult life in Pentridge. He's a crim because it's the only thing he can do and he's not much good at that. Small, lightly built, A likeable rogue. [sic]

'PRISON OFFICER (HORTON): About 40, tall and heavily built. Ideally a regional English accent.

'PRISON OFFICER (INTERVIEW ROOM): As above. No dialogue.

'SUSPECT: One scene.

'NURSE: A nun in the hospital where Mrs. Fielding breathes her last. Few scenes. Little dialogue.

'DR. SAYERS: A pompous psychiatrist in his mid 40's. Two heavy dialogue scenes.

'STARK: Average heavy crim. Thinks he's tough until Laurie Fielding starts handing it out.

'DRIVER: Middle-aged truckie. One scene. Some dialogue. Ideally Southern European.

'PLAINCLOTHES DETECTIVES: (TWO): No dialogue. Seen briefly in flashback to 1953.

'HILDA CUNNINGHAM: Dead on arrival in script. Seen in flashback to 1953.

'MEN IN REMAND YARD (FIVE): Seedy collection of petty crims.

'2 PRISONERS (DIGGERS)'.

Melbourne : Crawford Productions Seven Network , 1975
449
form y separately published work icon Thou Shalt Not Want Ian Cameron , Maurice Hurst , 1974 Z1937914 1974 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):

'VICTOR RYDER: Age 25 or 26. A junior sales executive with a city company. He's of above average intelligence, comes from a rural background and is part aborigine - although this doesn't show in his appearance. He is a man who has always believed he had to do a little more than others in life because of his "touch of the tar brush". Normally he's a quiet, introverted person who enjoys periods in the wilds, fishing and hunting etc. This communion with natural things is not, however, a dominant part of his life, but is kept in proportion. He has married Susan, a city brought up lass and is very conscious of his added responsibilities. He is working even harder to gain the security they both need. We see him at his worst - a man under pressures alien to his nature. When he cracks his intelligence allows him to nevertheless display a biting cynicism towards the crisis. During the siege we should deplore the things he says, but yet our sympathies are with him. With his savagery he should shock us - his moods bewilder us and yet we should be able to have empathy for his predicament.

'SUSAN RYDER: Age 22 or 23. In most ways an average young lady. She met Victor at the office and they married after a short courtship. She is of average intelligence, but had been fairly close to her father before his death some years earlier. Victor represents the security she needs because of his driving ambition to succeed. She doesn't really know why she agreed to lock Victor out at the request of her mother and the "church". The two represent a stronger authority than Victor and that's that. When given time to see the "truth" she is glad to do an "about turn".

'CELIA WATSON: age 40-42. We don't see much of her and yet she is very important to the story. She's the mother of Susan - A widow. After her husband's death in an accident she has sought emotional security in a socially acceptable way - not with another man - but in church work. She has become under [sic] the dominance of the Sect's leader, Gardiner Adams. The tenets of the group are extremely strict and these reinforce her own moral inclinations and prejudices. Discovering Victor's ancestry has allowed her to use this to force Susan to lock him out. She has felt unimportant in Susan's life since Victor came along.

'GARDINER ADAMS: 35. Not a big man physically, but a magnetic man with a compelling presence and a rhetorical power that sways his "flock" to his way of thinking. Before founding his "Shepherds of Life" sect in Australia he spent several years overseas and his sect and it's [sic] moral codes are an amalgam of Eastern and Western moral strictures. In dealings with his followers he exerts an almost hypnotic influence. He ajures [sic] his followers to abstain from all drugs (including coffee and tea) from watching television as an agency of sin - from gambling. One of the prime sexual crimes is miscegenation. The trouble with Adams is that he's number one among the country's hypocrites as well as being quite a successful con man and filling his pockets from the tithes imposed on all members. He uses his personal influence to do what he wants. Susan is the first of his "sheep" to wake up.

'SARAH ADAMS: Age 30-35. Adams' wife she is straight laced and has complete faith in her husband and his teachings. She has no idea of the duplicity of his practices and if she found out her mentality is such that she'd refuse to accept it.

'JOANNA WILSON: Age 24. Member of the "Shepherds of Life" she came under Adams' observation and interest when she attended a meeting out of curiosity. Quickly drawn in because of her idealism she has become yet another of his conquests and leads a life of moral hypocricy [sic] - outwardly complying with all the sect's doctrines while she maintains her adulterous liasons [sic] with Adams. Give her this much, when she sees that Adams has another "kill" lined up, she shows quite a bit of intestinal fortitude.

'BENNETT SHIEL: 30. Victor's immediate superior at work. He is about as close a friend as Victor's ever had in the city. They have been away on shooting trips into the country. He likes and admires Victor and fully understands the pressures he's been subjected to.

'DETECTIVE ONE: He's a member of the crime car crew that is first to go to Victor's house to investigate the shooting report.

'MR. JAMES: Is the neighbour that has reported the shooting. He saw nothing, but found the body. He didn't approach it because of the blood. The type of cove you'd hope to have find you after a hit 'n run driver has hit you.

'DETECTIVE TWO: The other member of the crime car crew that is first at Victor's house.

'MOBILE VAN DRIVER:

'WIRELESS OPERATOR: A constable in the Mobile operations van.

'UNIFORMED POLICEMEN: (6)'.

Melbourne : Crawford Productions Seven Network , 1975
451
form y separately published work icon The Last Bastion Vince Moran , 1974 Z1918000 1974 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):

'ERIC LAMB: Is a retired accountant who, at 67, is just beginning to lose his grip a little. A man who has devoted his life to proving that one and one makes two, he knows these early symptoms he sees in himself mean he is on the sudden, rough down-hill descent. He is quite ready to accept the consequences on his own behalf but he worries because he will shortly be unable to care for his wife whom he sees as further down the slope than himself.

'ALMA LAMB: Is a year or two younger than her husband. She is not conscious of the fact she is slipping as quickly as she is. The occasional spilling or slight dribble as she enjoys afternoon tea she puts down to carelessness instead of a slight decline in co-ordination.

'NORMIE NORTH: Is a crim. About 45 - not all that bright but he's been at the game long enough to be regarded as a tradesman of sorts. Past his prime physically, he now depends on a gun for results.

'JOEY SLADE: Is a twenty year Younger [sic] edition of North. He is still in shape enough to consider himself a successful knuckle-man. CAR DRIVING REQUIRED.

'KEITH PRINGLE: Is in mid-forties, early fifties. He has never been accepted as a respected member of the criminal fraternity but has eked out a carrion existence on the outskirts of society. He depends on types like North and Slade to do his spade work.

'SENIOR SERGEANT BAXTER: Is the usual solid, desk senior sergeant type. Getting on a bit, he speaks with authority whenever he opens his mouth, expects and gets results.

'POSTAL CLERK: A young, local, postal clerk type.

'TAXI DRIVER: Mid-thirties, usual chatty taxi type. [sic] CAR DRIVING REQUIRED.

'BERNIE BERGIN: Is among the better class of crim. He has been taking things easy since he made his big payroll hit. Probably in his early forties.

'JOYCE REDMAN: Thirties, suburban housewife type.

'MRS. TUCKER: An old age pensioner. A stirrer from way back.

'SGT. WILKIE: Is a member of the Queensland Police Force. His Inspector sends him on tasks he wants done well.

'EXTRAS. (4) All about the build and age of Keith Pringle. For line-up.

'WATERPOLICEMAN:

'EXTRAS (3). Old patients at nursing home.

'CAT: Minksy by name.'

Melbourne : Crawford Productions Seven Network , 1975
452
form y separately published work icon Do Us All a Favour Peter A. Kinloch , 1974 Z1915826 1974 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):

'ERNIE PICKETT: 30's, 40's. You can usually find Ernie around five, five-thirty on Friday evenings in the bar of the local, raffling ducks and drakes for charity, like his father before him. (Only in those days the proceeds went to a private charity...The Pickett family). Ern has taken over where his father left off except that now the raffles are just a front for a flourishing black-market in stolden [sic] goods. In fact Ernie is a successful, small-time travelling fence, and has even been known to set up the actual heist himself when supplies are running short. Despite these questionable elements in his character he's a likeable sort of bloke, a bantam battler in fact with a good spiel and a healthy outlook on life as long as a man's free to make a quid for himself in his own time and in his own way. Able to drive.

'MAX PICKETT: 30's, 40's. Physically unprepossessing. Max is Ernie's overbearing elder brother. Not nearly as sharp and self-sufficient as Ernie, Max is married with a family, (we never see them) and drives an all-purpose furniture removal van. (Part of the Pickett family enterprises). There's a hard edge to Max and more than an underlying hint of jealousy in his zealous regard for his younger brother's welfare. Able to drive.

'MA PICKETT: Fifties, sixties. (Ernie still live [sic] with his widowed mother). Ma gives the impression of being a rather vague old soul, but she doesn't miss all that much. She knows for instance the Ernie's [sic] commission from the raffles and the little fiddle he works on the purchase of the poultry isn't enough to cover the electric fruit juicer, her own personal portable telly, and the bone china flying ducks that Ern has lavished upon her. Deep down she also knows that when Ernie disappeared for a period of six months about two years ago, he wasn't really vacationing in Cowes like he told her. But then she's rather proud of her boy, and if Ernie wants to spare his mother the heartbreak of knowing that he's done a stint in Pentridge then that's alright with her. After all, she's been through it all with Ernie's father, God rest his soul, and a finer man never pulled on a pair of ripple soles.

'BUBBLES AND LENNIE: Late forties. Max's off-siders on the furniture van. Heavyweight ex-ruckman from the fifties in faded dungarees and sweating, bulging football jumpers. Big bruisers.

'RUDI FISCHER: Twenties. German immigrant. Masseur at the South Pacific Health Studios. Murdered in the teaser.

'TRINA FISCHER: Thirties. Rudi's elder sister. Murdered in teaser.

'WALLY CARSON: Sixties. Proprietor and manager of South Pacific Health Studios.

'GEORGE McKENNA: Late thirties. Professional crim. Baggy overcoat, hat, and usually wears horn-rimmed glasses for the fine print.

'ERIC HOBBS: Thirties. McKenna's off-sider. Stylishly dressed, ladies man. Able to drive.

'JOHNNO: Barman. About Ernie's age.

'IRIS: The Fischers' next-door neighbour. A lady of tarnished former glories.

'SLATER: Thirties. Lounge-bar drinker.

'EXTRAS: For bar scenes.

'MASSEUR: Actual.

'WATKINS: Established.'

Melbourne : Crawford Productions Seven Network , 1975
470
form y separately published work icon When The Cat's Away Luis Bayonas , 1974 Z1914291 1974 single work film/TV crime

'The wife of Tom Kelly, a suburban butcher, is murdered. Her throat has been cut. Rita, the lonely and frustrated next door neighbour has a clear view of the murderer as he drags the body to the garden shed, but she tells the police that she was out at the time.

'In the absence of Inspector Lawson, Harry White is made up to the position of acting inspector. He is anxious that all the angles of the investigation are followed up before charges are laid, and puts his staff under a lot of pressure.

'Kelly claims that he was in his shop all day and one of his regular customers confirms that he was in his shop at the time of his wife's death. White also suspects that the murderer might be Edward Grant, the neighbour on the other side of the Kelly's house from Rita. A Vietnam veteran, he shares a consuming interest in pedigree cats along with the deceased Mrs. Kelly. White considers his behaviour very peculiar.

'It becomes apparent after further investigations that Rita was in fact at home at the time and therefore must be witholding information. Detectives Redford and Deegan go to her house but she isn't home.

'Rita visits Kelly at his shop and explains that she knows he is the murderer. She demonstrates a consuming desire for Kelly. She vows her silence in return for sexual gratification.

'Redford and Deegan are surprised when Rita and Kelly arrive home together. They overhear a conversation that clearly indites Kelly as his wife's murderer. Kelly's alibi comes unstuck when it comes to light that the customer who vouched for his whereabouts at the time, hadn't reset his watch for daylight savings'.

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):

'RITA: A thirty-five year old virgin, plain and randy, sentimental, old fashioned, ill at ease with men. A muscle freak.

'TOM KELLY: Mid forties. Butcher, ex-slaughterman. And looks like it: Big, muscular, a broken nose, a crew cut. Physically attractive. Under his brutal appearance there's a quiet introvert simple (NOT STUPID) man with a problem: He has a frigid wife.

'EDWARD GRAVES: Mid or late 20's. Good looking, nice, gentle personality. A Viet-Nam veteran, lost one lung from war wound. Lives on a pension from the Army. Writes poems and loves cats to the point of fanaticism.

'EDNA: Tom's wife. Late 30's or early 40's. Big, soft, chirpy, sweet and graceless. Nice round rump. She's frigid and breeds show cats.

'MR. COOK: Mid sixties pensioner, very fit, rosy cheeks, lives in the bush, grows his own vegies. A conservationist.

'FORENSIC: ESTABLISHED: (WATKINS)

'PHOTOGRAPHER:

'2. AMBULANCE MEN:

'UNIFORMED POLICEMAN: An ordinary constable.

'ALFRED: Edward's cat - the loser. A lynx-point siamese - (SEE WRITER).

'OTHER CATS: Siamese, burmese, abysinian, etc. (SEE WRITER)

'ALEXANDER: The champion cat. A superb burmese specimen. (SEE WRITER)'.

Melbourne : Crawford Productions Seven Network , 1975
496
form y separately published work icon 8 mm Michael Harvey , 1974 Z1920022 1974 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):

'MARGARET BATESON: 30. Attractive looking without being strikingly so. Public Servant. A naturally shy person, her manner is polite, even reserved, though later on in the 8 M.M. film clips, a relaxed friendliness begins to emerge. Drives.

'MICHAEL JAMES Late 30's, early 40's. A solicitor, married. English, though not 'public school' background, prefer trace of regional accent. Neither suave lawyer, nor 'ladies man', rather a working solicitor, sincere, competent, with the usual hassles of any family man, but with the added load of an invalid wife.

'MRS. JAMES 36, though looks 56. Twelve months previously suffered a stroke from which she has never really recovered. Premature aging, loss of right arm and side, impairment of certain memory and speech functions. Speaks with a slow, deliberate manner. Occasionally a glimpse of the warm, vibrant personality that existed before. Still an intelligent woman. James' wife. Also English.

'JOHN SMITH: 20, good looking, easy manner. Student teacher, theatre and film making, over from New Zealand on a working holiday. Certain idealism, and also confidence, born of his youth, that becomes tested through the course of his encounter with the police.

'MANAGER (HOTEL): 40's. Bluff, chatty type, with a certain air of insincerity. A student of blending and tax evasion.

'SUPERVISOR (PUBLIC SERVICE): Margaret Bateson's immediate superior. Also 40's. Brusque, efficient type, who displays a certain perception towards Margaret's personal situation, but little sensitivity.

'AGENT (FLAT): Woman, 50. Possibly her husband ran the Estate Agency, and subsequently died. Treats D's almost as if they were prospective tenants.

'GARAGE PROPRIETOR: Small, gnarled, well into his 70's. Old fashioned type, who still gets concerned at young women driving around the country alone and who doesn't mind saying so.

'COUNTRY POLICE SERGEANT: Heavy, balding 40ish. Knows the Hotel Manager fairly well, and probably would share a drink if not for the Homicide D's presence. However, shrewd and knows his job, and handles the Manager with experienced understanding when the time comes.

'JANE CURTIS: Early 20's. Secondary teacher, based in the country. Drives a sports car. Attractive, sense of humour, takes life as she sees it.

'MOTORCYCLE OFFICER: No lines. Not necessary to ride a motorcycle. Discovers the body, during routine exercise.

'POSTMAN : Delivers letters. Rides a bicycle.

'RADIO ANNOUNCER: V.O.

'V.K.C: V.O.'

Melbourne : Crawford Productions Seven Network , 1976
500
form y separately published work icon Home After Dark David Stevens , 1975 Z1933857 1975 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):

'DANNY: A cheerful country boy of 17. Danny's simple, cloistered upbringing has in no way prepared him for the descent into hell that his journey to Melbourne becomes.

'HEATHER: Danny's girl, also 17, also country born and bred. Pleasant, naive, and totally lost in the big smoke.

'MRS. O'BRIAN: Aggressive owner/manager of a suburban hotel. While she is concerned about the events that take place, she is un-involved - more concerned in fact that her business should not be affected.

'ANGELA: Another young refugee from parental authority in the country.

'BETTY WHITE: Harry White's wife: a cheerful, practical woman, as Harry's wife must inevitably be. Quite happy to cope with the noisy extravagant demands of her large family.

'DENISE WHITE / JANICE WHITE: Harry's twin daughters, both 9 years old. Outgoing boisterous children.

'DOCTOR: A crisp efficient man of about 45 or 50.

'OLD MAN: (MR. ALBERTS:) An old digger verging on alcoholism.

'CHILD AT BEACH: Three years old, a golden headed boy.

'BARMAN 1: (WAYNE) Night - time barman at the Hylander Hotel. Aggressive, handy with his fists, and dabbles in minor crime.

'NICKO: Cool crisp minor criminal. Takes care of himself and his appearance. A dab hand at pool.

'POOL-PLAYER 1: Nicko's mate, also a minor crim. Can handle himself in a punch-up.

'MRS. ELSA COOKE: Middle-aged, overly made up. A woman who has never come to terms with her advancing years, nor does she have the income to keep herself in the style to which she would like to be accustomed. Her husky voice has cost her a fortune in gin.

'CHERYL: 30, a prostitute. Not exactly a heart of gold type, but she does take pity on Danny - and then sees how she can con some more money out of him.

'CAROL: What Heather or Angela might have become if they'd been born in an inner city slum, and spent a good deal of time in reform school. 18. Superficially tough.

'BARMAN 2: The day shift equivalent of Wayne.

'NURSE: Just that - 20? Completely able to cope.

'"FATMAN": As his nick-name implies, quite fat. And a little grubby. Any youthful ambitions he might have had have been completely forgotten as he has come to terms with himself and his environment. If the game is "look after Number 1" then he is doing just that.

'BAR EXTRAS: Night one (2) Day two (2)

'POLICE CONSTABLE 1:

'POLICE CONSTABLE 2:

'POLICE CONSTABLE 3'.

Melbourne : Crawford Productions Seven Network , 1976
504
form y separately published work icon Stopover Paying My Dues to the Blues Keith Thompson , Melbourne : Crawford Productions Seven Network , 1974 Z1933891 1974 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):

'GORDON HAYES: 30. A world star. One of the older generation of English rock singers, he's clung on through eight or nine years of high-spots and crashes; has been written off three or four times yet always managed to come back and crash once more. A stormy, tempestuous, self-destructive career through a hundred hotel rooms. The rumours are that he's a wreck - permanently smashed and drowning his talent in booze and dope. The intellectual rock-newspapers might say that he has some kind of death wish making him live out the blues in the tradition of Billie Holliday [sic] and Janis Joplin; a psychiatrist would define it as clinical depression with personality defects typical of drug abusers or alcoholics. The man himself is quiet, almost shy - a little shell-shocked and very close to the end of the road. The strength of his own ego has long since left him; much of his self confidence is destroyed. The trace of an English provincial accent would be nice.

'ELLY SULLIVAN: Elise Clare Sullivan. 24. An intelligent, articulate, well-spoken Australian girl born in Toorak and now a very high-class groupie. She became involved with the group scene in London three or four years ago when it was fashionable. Two years ago she started with Hayes. It wasn't very hard to find the things he needed from her, she could provide them more supportively than most and now he is dependent on her in much the same way as he is his dope and booze. She's the only one that can get through to him when he hits a low, but her feelings for the singer are only superficial and professional. She has used herself and her closeness to Hayes to obtain for herself those things that intellectually she would put down, but, in fact, finds totally rewarding - ie. power, glamour, status, travel and her own money. For some time now she has realised that the ship is sinking and is seeking her chance to desert. A cold, sexual attractiveness.

'ALEX ROBERTSON: Mid-thirties. Hayes' manager for a very long time and through all the crisies [sic] that have beset the singer's career. Big, blustering, loud-mouthed, grabbing - but also a worrier. An expert at splitting oppositions, running press conferences, making statements and keeping the whole myth turning over. But he can't turn it off in private. He's hell to know personally and will continue to try and make deals with people's emotions. Two unsuccessful marriages. He's scared of failure catching up with him. He's insecure and what makes it worse is that he knows he's flogging a dead horse with Hayes. He fears that if Hayes is finished, so too is he but at the same time is ever-watchful, ever-suspicious of the take-over bid. Those who know him dismiss him as paranoid. Totally demanding of everyone he is connected with - most of all Hayes. Possibly American.

'INSPECTOR GEORGE BEATTY: COMMONWEALTH POLICE: Late forties/early fifties. An ex-Victoria police detective and friend of Lawson. Known to White. An easy, perhaps too undemanding friendly guy, liked by most police who work with him. A little world-weary and tired. Smokes his pipe whenever he can. In need of glasses but won't buy any although the Commonwealth Police Regulations are not strict on this point and he feels foolish holding papers seven inches from his face. A bit of a worrier about his health in other respects. Slack dresser.

'SUSAN BRICE: 19 or younger. English. Another groupie. Blonde. Susan's nowhere near as complicated as Elly - quite a few notes down the scale. She's been around bands since she was 15 because she's warm, cuddley [sic], sexy, and does what she's told. Since she's been with groups, she's got into mysticism, yoga and the I-Ching but she hasn't the intellect for any deep understanding of them and they have merely become a religious fill-in. Most of the time she stays her warm accommodating self. But she can see through Elly - she feels that what Gordon needs is the gut level sincerity of giving emotion that Elly lacks. That's why Susan's so good. She's sincere about every guy she's with.

'MARION STEWART: 22. A female customs officer. Uniformed. Bright and aware. Aware enough to know about rock music and Gordon Hayes [sic] position in it. Bright enough to turn her conversation with Deegan into a mild flirtation. Attractive in a clean uniformed sort of way.

'DETECTIVE INSPECTOR LEO SCOFIELD: SCOTLAND YARD'S FRAUD SQUAD: One of those middle class English policemen whose education and bearing seem to be ideally suited for the thick-carpeted world of the fraud squad. His appearance is that of the business-man with just a trace of the dandy.

'FRANK LOWTHER: 50's. A senior official in the Department of Immigration, stationed at Tullamarine airport. A composite of the number of officials who would be involved in the case, Lowther is ex-services, straight and one who keeps exactly to the rule book. Something about his unyielding personality should clash with Lawson.

'DENNY CONNELL: 27. Murder victim. The group's rhythm-guitarist. Which ever way you look at it, Connell was a heavy personality. That mildly satanic aura that some personalities cultivate. A manipulator. Not for one moment had any part of the pop scene got out of his control. You would have thought that he was a natural survivor.

'HAYES' GROUP (4): No dialogue but some playing requires. An 'actuals' Group? Minimum of four members.

'IRENE BEATTY: George Beatty's house-wife. Fifties.

'MARIE: A third groupie travelling with Hayes and the Band. A Black or Oriental girl would be ideal.

'WENDY: Another groupie (not travelling with the Band). A friend of Susan's and of about the same age or even younger. A fragile looking girl.

'AIRPORT WORKER: Old fella. Cleans out the conveniences at Tullamarine Airport. Probably called Dan.

'SECOND FEMALE CUSTOMS OFFICER: Late thirties.

'TELEVISION ANNOUNCER: Voice only.

'#1 UNIFORMED COMMONWEALTH POLICEMAN: On guard in first aid room. No Dialogue.

'#2 UNIFORMED COMMONWEALTH POLICEMAN: On guard in reception lounge and detention room.

'2 AMERICAN PRESS INTERVIEWERS AT THE AMERICAN PRESS CONFERENCE: Voice-overs only. American accents.

'RADIO ANNOUNCERS #1, #2: Voice-overs only.

'TELEPHONE OPERATOR AT LAWSON'S LONDON HOTEL: Voice over.

'GARY: Voice over.

'BUSKER: Very old, small grubby man, battered hat, moustache and seven days growth of beard.'

Melbourne : Crawford Productions Seven Network , 1974
505
form y separately published work icon Daddy's Gone A-hunting Peter Schreck , 1975 Z1917839 1975 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):

'CHRIS CLARK: She's a real charmer. Attractive, intelligent, doing her Doctorate in Psychology at Uni; but not the type to shove her academic achievements down your throat. It's the same with her wealth - she wears it easily and well. She's as happily unselfconscious in her denim gear as she is in her Mercedes. We should feel that if a relationship were to develop between her and Redford, it would be great for both of them. About 24 years old.

'JOHN CLARK: Like Chris, he's an attractive character - perhaps a little old in his ways and conservative in his dress for his age (23) ... but it's an appealing fault. It stems from his admiration of, and desire to emulate his father. He's extremely proud to be his father's business partner - and anxious to prove himself worthy of the honour.

'JUDITH CLARK: About 48. As with the other members of the family, she's been shaped, in part, by Charles Clark. She's quiet, conservative, poised. Well matched to her immaculate and expensive home ... everything in good taste.

'CHARLES CLARK: He dies in the teaser but has a major impact throughout the story. He's a wealthy man and knows how to spend his money. We like the Charles Clark we first meet - if only because he's so obviously fond of his family; and has a good relationship with them. Early 50's.

'CARETAKER (MR. FAY): A nervous little man in a big lumbering body. Thick, surly, scared, uncooperative - all in all, not a very attractive personality. Should be a good colourful character.

'JACK KELLY: Mid-30's, drives - needs to be reasonably physical. Graduated from bouncer to manager of a massage parlour; and from there to blackmail. He's found his niche in life.

'GIRL: At the massage parlour. Extremely attractive - and appealing.

'DAVE (BOMB EXPERT): Has the confidence that comes from the knowledge that he does his job well. Happy to treat a police inspector as an equal.

'TONY VELLA: A delinquent kid, about 20. There's no doubt he's a thug and he'll probably spend half his life in gaol, but he's not without charm. Has a grudging respect for Redford.'

Melbourne : Crawford Productions , 1976
506
form y separately published work icon Shark Pack Keith Hetherington , 1974 Z1921868 1974 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):

'DOUG MASON: Good looking, clean cut type in late teens or early 20's. Looks as if butter wouldn't melt in his mouth. A charmer. A drug pusher; anything for a dirty buck, as long as it's money. Works at projecting an image of "wholesomeness" and uses his charm to con others into using drugs until he has them hooked. Drives. The victim (in teaser).

'CON CAMPBELL: Roughneck bikie pack leader. Neither too law abiding nor unduly lawless. A tough guy, especially in bikie circles, but has never been in real trouble with the law. When he learns that Doug Mason was the pusher who supplied his sister he sets out to kill Doug and destroy his carefully built-up image of "wholesomeness". Mid twenties - rides motorcycle.

'WHIP O'TOOLE: One of Campbell's bikie pack. Not too brainy, likes a "rumble" and favours a length of motorcycle chain as a weapon, hence his nickname. He's loyal to Campbell and will follow his orders to the letter, though isn't good at thinking for himself. 20's, rides motorcycle.

'KURT LANG: Third member of Campbell's Shark Pack. Hasn't much stomach for murder and has had conviction by the police for assault. He draws the line at killing and has a terror of going back to gaol; he can't stand being confined. Afraid of Campbell; rides motorcycle.

'JOHN MASON: Doug's respectable father. Ordinary middle-class type, feeling the pressures of years of living with an invalid wife. Looks on Doug as the epitome of a loving son and won't hear a word against him. In his grief, he even sets out to take the law into his own hands in an effort to get the killers. Forties. Drives.

'RUTH MASON: Doug's invalid mother. She's been "sick" for many years, tho' we're not specific about the illness. Medical bills are part and parcel of the Mason's [sic] existence. She, too, adored her son, thinking the sun shone out of him. She utterly refuses to believe he was a drug pusher.

'NICK PERRY: Service Station proprietor and Doug's boss. He saw only Doug's good side, thought him a great bloke. Perry himself is a "good bloke" courteous [sic], helpful to the police, very likeable. Forties.

'GAIL PERRY Doug Mason's "steady" girlfriend and daughter of his boss, Nick Perry. A "nice kid" in every sense of the word. About 20. "With it" but not promiscuous or into drugs, tho' believes kids should be free to do their own thing. Unaware that Doug is a drug pusher.

'CORKY BARNES: Old hobo derelict in his late fifties, early sixties. Likes his plonk and is an opportunist: as he demonstrates by picking up the parcel from the seat of Doug's sports car before the police arrive. Likeable old cuss, clinging to a few shreds of dignity.

'CONSTABLE #1: Few lines.

'CONSTABLE #2: N/S.

'BIKIE ACTUALS: N/S.

'BIKIE: Cornered by Mason, set about by him with an iron bar, threatened to smash his machine unless he tells him what he wants to know. Rides motorcycle.'

Melbourne : Crawford Productions Seven Network , 1976
509
form y separately published work icon The Last Task Vince Moran , 1975 Z1917983 1975 single work film/TV crime

The final episode of Homicide, 'The Last Task' saw the return of Leonard Teale to reprise his role as Inspector (formerly Sergeant) David Mackay.

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

'"HERCULES" HART: Is small enough to be classified as a midget. His diminutiveness is probably the rationale behind his obsession to be friends with everybody. Besides, he's too small to win fights. He is not a simpleton but this eagerness to be a friend to all frequently leaves him wide open and he is used to being taken advantage of - the butt of a million practical jokes. His defence against such pranks is the only one he knows - a thin smile of acceptance and resignation. Being "different" has oriented him towards the world of the "freak", the side-show ... and through this to the world of entertainment, show biz and entertainers ... and massage parlours. Being small has created within him an affinity to youngsters.

'KATE HOLSWORTH: Is one of Hercules' two real friends. She is a mother-figure - a role she has unconsciously come to accept. Kate is the matronly manageress of "The Garden of Eden" massage parlour - an institution that does as little as any such establishment to conceal its raison d'etre. She manages the parlour most professionally for -

'DOM. LUCAS: A man of European origin who has battled all his life on the fringes of the law to become the owner of several such establishments. Dom is approaching his 60's and the results of the many tough struggles he's survived during his life are starting to show. He is beginning to slow down ... and the vultures are beginning to notice. (Drives).

'BELINDA AND HETTIE: are Masseuses at "The Garden of Eden". They live on the premises. All other masseuses come in on a day basis.

'BELINDA: is the most presentable of all the girls employed there. Kate considers Belinda her right-hand "man", but she sells Kate out once it becomes evident Dom's dynasty has the skids under it.

'HETTIE: is loyal to Kate to the degree one would expect between employer and employee in this particular kind of business.

'YVETTE: is a smart young member of the stable of -

'RON PETERSON: A tough crim on the make. He believes Dom is aging sufficiently to make him an easy pushover. Peterson is the prime vulture. (Drives).

'IAN SPENCE: is a heavy, Peterson's lieutenant. (Drives).

'INSPECTOR MACKAY: Former member of the Homicide Squad.

'GREG WATKINS: Forensic Officer. (Drives).

'HELPER: A public-spirited citizen.

'MOTORCYCLE POLICEMAN:

'CUSTOMER:

'V.K.C.

'TAXI DRIVER: (Actual)

'GARAGE MANAGER:

'OLD MAN: (Extra)

'LUBE ATTENDANT:

'SPEEDBOAT OWNER'.

Melbourne : Crawford Productions Seven Network , 1976
form y separately published work icon Covet Thy Neighbour Peter Schreck , Melbourne : Crawford Productions Seven Network , 1975 Z1917861 1975 single work film/TV crime

This episode was pulled from the production schedule without being aired, at the request of the television network. Based on the script's content, it seems likely that they found it inappropriate for the timeslot, or even inappropriate for a later timeslot. Schreck spends some time, for example, establishing the 'Mona Lisa'/'Lolita' quality of the murder victim, with lengthy stage directions. At one point, the stage directions for the fourteen-year-old victim read:

'SONIA IS STANDING AT HER BEDROOM WINDOW. HER BACK TO CAMERA. SHE'S NAKED, HOLDING HER NIGHTIE IN ONE HAND. THE ROOM IS DARK AND THERE'S NOTHING DELIBERATELY PROVOCATIVE ABOUT IT. JUST CHILDISH INNOCENCE. IN FACT, IT MUST COME ACROSS AS CHILDISH INNOCENCE, OTHERWISE CUT THE NAKED BIT.'

Other stage directions include:

'SHE'S WEARING A WHITE NYLON NIGHTIE. IT'S NOT TRANSPARENT, BUT THE WAY IT FITS HER, IT DOESN'T NEED TO BE'

and

'SHE'S SEXY AS HELL - NYLON NIGHTIE, JUTTING NIPPLES BUT NOT DELIBERATELY PROVOCATIVE.'

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

'THE PARTY PEOPLE: It's a bit pointless doing detailed outlines on each of these people because on of the points of the story is that they're all of the same type. Upper middle-class, all on twenty thousand a year and up, and all living well beyond their means. The cars tend to be fitted with air conditioners and four speaker sound. Dishwashers are standard equipment in every kitchen, together with just about every other piece of electrical junk-gadgetry you can think of. Gardeners keeps the lawns and poolsides groomed, and the barbeques are, of course, gas fuelled. Maybe they burn a few gumleaves on the side for authenticity.

'It says something that, despite all their expensive toys, they are not "upper-class". They need this conspicuous consumption just to establish and hold their standing in the middle class.

'The men are in their mid-thirties, fashionably casual in their dress, and aggressive as hell in their business lives. The aggression carries over into their social lives - though it comes out as brash talk and hard laughter rather than overt violence. They play squash, watch football, and try to do something adventurous at least once a year. Last year they hired a Land Rover and tried to find Lasseter's Reef. They're into booze rather than drugs, though they've all tripped occasionally. "Balls" are very important in this circle.

'The wives know they have to keep up with the men, they have to be "exciting". They spend a fortune on health clubs, clothes and grooming. They know more about the latest groups than most teenyboppers, and they were among the first to see Last Tango in Paris - and cut their fingernails.

'On the surface they're a modern, healthy, liberated group of people living the good life and enjoying it to the hilt.

'JEFF WILSON: 35. Advertising Account Exec. - in some ways the nastiest of the lot. More concerned with "toys" than the others, less conscience. It doesn't show, but he also has more financial and job-security worries. Drives.

'TRISH WILSON: 33 - (and looks and dresses 25). She's a bit tougher and sexier in her dress, attitude and talk than the others - mainly because he husband is.

'DAVE FORD: Marketing Manager. A little older, and a little more secure. Drives.

'NIKKI FORD: A little desperate because she's a little older. She has to keep up with Trish - even though she has a fourteen year old son.

'ROSS KNIGHT: About Jeff's age. In the import - export business. He's trying to fit in, but at least the bastard has a conscience.

'DI KNIGHT: Less likeable than her husband.

'DOUG MITCHELL/SHIRL MITCHELL: At least they dance together at parties.

'KEITH FORD: Fourteen and going through the problems of adolescence. Sometimes sulky, sometimes co-operative. He'll probably turn out like his father, and his father (if he feels anything at all about it) will probably be proud of it. At the moment he's got a problem - all these adults are out there having a ball and he's stuck in his bedroom with his father's cast-off girlie magazines. One of the few people for whom we should feel sympathy.

'THE HOLLANDS: ... they just don't fit into this particular street, and they know it. Renting their home, wrong age group, wrong income bracket. They don't actually run to "ducks up the wall", but almost. In fact they probably have more money in the bank than any of the others, but they haven't yet learned how to spend it - or throw it away.

'ROBERT HOLLAND: Morose and bitter - continually comparing himself and his lifestyle to that of the young people across the road. Initially there's not much to like about him, but he's got pretty good reasons for his bitterness and he turns out O.K. Late forties.

'SUSAN HOLLAND: Late forties. There's no doubt at all she's one of the most pleasant people in the street. Perhaps it's unfortunate that she's so pleasant, she also shows up as a bit bland. But at least she's content - and she's the only one.

'SONIA HOLLAND: Fourteen years old, very big tits, childish innocence. She dies in the teaser, but she's important because of the Mona Lisa touch.

'VERA BURNS: Cleaning lady. 55.'

Melbourne : Crawford Productions Seven Network , 1975

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Melbourne, Victoria,: Crawford Productions , 1964-1975 .
      person or book cover
      Homicide title screen (screen cap)
      Extent: 509x60 min. episodesp.
      Description: Produced on videotape and film; black-and-white (episodes 1-376) and colour (episodes 377-509)

Works about this Work

Before On the Beach: Melbourne on Film in the 1950s Adrian Danks , 2017 single work essay
— Appears in: Senses of Cinema , December vol. 85 no. 2017;

Stanley Kramer’s fizzingly apocalyptic On the Beach (1959) dominates and defines popular understandings of Melbourne’s cinematic representation in the 1950s. Shot in the city and its surroundings from January to March 1959, and released internationally towards the end of the year, both the film and Nevil Shute’s source novel have been highly influential in reinforcing and promoting specific understandings of 1950s Melbourne as a staid, sleepy, uneventful and architecturally conservative metropolis. This hard-to-shake view of Melbourne has been further compounded by the lack of comparative feature film images of the city (a brief view in 1952’s Road to Bali excepted) and its appearance in such international documentaries as The Melbourne Rendezvous (1957). But Melbourne does appear more dynamically in a range of less noted and disparate short films, mini-features and documentaries produced by government funded entities like the Australian National Film Board and the State Film Centre of Victoria, small production entities formed around the Faculty of Architecture at the University of Melbourne (often made by major Melbourne architects such as Robin Boyd and Peter McIntyre) and the Melbourne University Film Society, and such maverick independent filmmakers as Giorgio Mangiamele. Many of the works also provide a more critical, though at times celebratory, view of the changing cityscape of Melbourne (height limits for buildings were “exploded” by the completion of ICI House in 1958), the tentative embrace of modernity and internationalisation (e.g. the impact of the 1956 Melbourne Olympics) and the changing ethnicities of the inner city and suburbs. This essay maps and challenges broader understandings of Melbourne’s filmic representation in the 1950s by exploring the various ways in which the city is figured in unjustly forgotten or marginalised films like The Melbourne Wedding Belle (1953), Your House and Mine (1954) and Sunday in Melbourne (1958).

Leaving Home : Kennedy Miller in Melbourne James Robert Douglas , 2017 single work essay
— Appears in: Senses of Cinema , December vol. 85 no. 2017;

Kennedy Miller has been located in Sydney since the early 1980s, when its reputation as Australia’s most successful production house was established. But its origins and trajectory as a company are intimately tied to Melbourne. Drawing on textual, historical, and archival sources, I argue that Melbourne’s screen culture and industry at the time of the Australian film revival played a fundamental key role in shaping the abilities and sensibilities of the company’s founders, George Miller and Byron Kennedy.

Police Fictions Dean Brandum , Andrew Nette , 2016 single work essay
— Appears in: Overland , Autumn no. 222 2016; (p. 94-101)
'The article discusses the historical background of homicide in television and film in Australia. Topics discussed include the Australian true-crime television program "Homicide," made by production firm Crawford Productions founded by siblings Dorothy and Hector Crawford, the participation of chief commissioner of police Alexander Duncan on producing the radio series "D24," by Crawford Productions which depicted the works of police in 1940s, and the television series "Matlock Police."' (Publication abstract)
y separately published work icon The Writer in Australian Television History : The Crawfords Archive Catriona Mills , St Lucia : AustLit: The Australian Literature Resource , 2013 6955003 2013 website bibliography

The project is a collection of AustLit records based on the content of the Crawford Collection at the AFI Research Collection (AFIRC) at RMIT. A subset of the AFIRC’s main collection, the Crawford Collection contains scripts and ancillary material relating to Australian radio and television production company Crawford Productions, from the radio serials of the 1940s and 1950s to the demolition of the Box Hill studios in 2006. The Writer in Australian Television History is a collection of records for 318 episodes of Crawfords’ radio dramas and television series, spanning the period from 1953 to 1977.

An Interview with Ken Sallows Shan Jayaweera (interviewer), 2001 single work interview
— Appears in: Senses of Cinema , June no. 14 2001;
An Interview with Ken Sallows Shan Jayaweera (interviewer), 2001 single work interview
— Appears in: Senses of Cinema , June no. 14 2001;
y separately published work icon The Writer in Australian Television History : The Crawfords Archive Catriona Mills , St Lucia : AustLit: The Australian Literature Resource , 2013 6955003 2013 website bibliography

The project is a collection of AustLit records based on the content of the Crawford Collection at the AFI Research Collection (AFIRC) at RMIT. A subset of the AFIRC’s main collection, the Crawford Collection contains scripts and ancillary material relating to Australian radio and television production company Crawford Productions, from the radio serials of the 1940s and 1950s to the demolition of the Box Hill studios in 2006. The Writer in Australian Television History is a collection of records for 318 episodes of Crawfords’ radio dramas and television series, spanning the period from 1953 to 1977.

y separately published work icon Australian Television : A Genealogy of Great Moments Alan McKee , South Melbourne : Oxford University Press , 2001 10504917 2001 multi chapter work criticism
Police Fictions Dean Brandum , Andrew Nette , 2016 single work essay
— Appears in: Overland , Autumn no. 222 2016; (p. 94-101)
'The article discusses the historical background of homicide in television and film in Australia. Topics discussed include the Australian true-crime television program "Homicide," made by production firm Crawford Productions founded by siblings Dorothy and Hector Crawford, the participation of chief commissioner of police Alexander Duncan on producing the radio series "D24," by Crawford Productions which depicted the works of police in 1940s, and the television series "Matlock Police."' (Publication abstract)
Leaving Home : Kennedy Miller in Melbourne James Robert Douglas , 2017 single work essay
— Appears in: Senses of Cinema , December vol. 85 no. 2017;

Kennedy Miller has been located in Sydney since the early 1980s, when its reputation as Australia’s most successful production house was established. But its origins and trajectory as a company are intimately tied to Melbourne. Drawing on textual, historical, and archival sources, I argue that Melbourne’s screen culture and industry at the time of the Australian film revival played a fundamental key role in shaping the abilities and sensibilities of the company’s founders, George Miller and Byron Kennedy.

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