AustLit logo
person or book cover
Script cover page (Crawford Collection at the AFI Research Collection)
form y separately published work icon Stop the Press single work   film/TV   crime  
Issue Details: First known date: 1976... 1976 Stop the Press
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'Bluey is called to the assistance of Commonwealth authorities to help stem a flood of counterfeit notes - a flood that started years ago as a trickle but has recently developed into a torrent.

'Although Bluey's real environment is the bang and bash of the average law-breaker, tangling with counterfeiters - traditionally people of non-violence - means he is working a little out of his element.

'His task is somewhat complicated by the activities of an enthusiastic young reporter, Debbie Morley, who finds herself a victim of the counterfeit swindle. Debbie has two aims in life - to make it to the top of her profession by becoming a feature writer and to enjoy life to the full while achieving her objective. She sees an in-depth expose [sic] of counterfeiting as the means of fulfilling her prime objective.

'With the help of Madge, a two hundred pound epitome of all that touches the heart-strings of the reading public, Debbie gains her entree into the world of the spurious. She and Madge soon find, to their horror, that, while counterfeiters may be men of non-violence, those who mastermind these illegal activities can be extremely nasty people indeed.

'But even counterfeit romance can sometimes pay a legitimate dividend. Madge finds herself a participant in a December romance while Debbie does not escape Cupid's arrow completely unscathed.

'In the final showdown, Bluey and his assistant, Gary, find themselves grasping the wrong end of the stick in a stand-off situation. At the right moment they discover an ally from a most unexpected quarter.'

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):

'RICK DAVEY: About 40, Davey is a psychopath, a knuckle-man, and looks it. Finding old Cyril should have been as good as discovering gold as far as he was concerned but he couldn't handle it. He's the type who has never realised there is a time to fight and a time to run. With Davey, it's knuckle all the time – it's his undoing. Car Driving Required.

'DENO ROSSI: Late 20's. He's a con man who, with just a little better grooming, could have been a matinee idol. There's no violence in Deno. He met Rick in the criminal circle he frequents and probably became friendly because ... well you never know in this business. You find yourselves in scraps sometimes and maybe Rick would do the scrapping for him. Car Driving Required.

'CYRIL KAVANAGH: A little man in his 60's. In common with almost all counterfeiters he has no violence in him. He's a nice little old bloke who was happy going his own way, making just enough to cover expenses until Davey and Rossi dangled the carrot of wealth before him. Cyril has a reasonable education in his youth but many years amongst crims have made him a little coarse. In the presence of Madge he recaptures a little of his youthful polish.

'MADGE: Madge is a battler – and it's been a long, hard battle. She's about 220 lbs. stripped. She's about 50 but the hard life has probably made her look older. She loves a beer and her life is directed at getting her hand around a cold, foaming pot as frequently as possible. A heart of gold – but she has little else of earthly value.

'CHIEF OF STAFF: A man in his early 40's, the Chief is beset by the constant pressures of the newspaper business. He thinks Debbie is just great – as he does all his staff. But he's never going to spoil any of them by giving it to them too easy. He has plenty of wrinkles and his hair is probably thinning a bit but his spirit is wearing well. He draws strength from the young, vital people about him.

'SNR. DECT. DAVIDSON [sic]: About 30, Davidson has been too long in Canberra to make a good detective. He's been too close to all that bureaucracy. He tends to keep his eye on the clock more than he keeps his mind on the job. It's more important for him to arrive on time than to arrive at a conclusion. Car Driving Required.

'MRS. BONNICI: She is never heard speak [sic] in English. She sobs and sighs as only middle-aged Italian women can when under pressure.

'TERESA: Italian. About 19. A young, romantic scatter-brain who lives in a largely imaginery [sic] world of pop bands and romantic young men – all Italian.

'BARMAN (RONNIE): An efficient barman, mid thirties.

'CASHIER: A bored supermarket cashier who can put up with a bit of a fight (with words) when she has to.





  • This entry has been compiled from archival research in the Crawford Collection (AFI Research Collection), undertaken by Dr Catriona Mills under the auspices of the 2012 AFI Research Collection (AFIRC) Research Fellowship.

Publication Details of Only Known VersionEarliest 2 Known Versions of

      1976 .
      person or book cover
      Script cover page (Crawford Collection at the AFI Research Collection)
      Extent: 63p.
      (Manuscript) assertion
      • The script is typed on thin white paper, labelled 'Code 11524' and 'Episode No. Twenty-One' on the cover page, although it was produced as episode eighteen. There is no indication on the cover page of to whom this copy of the script is designated.
      • The script has been typed on at least three different machines, and is amended throughout with liquid paper, which has then been typed over. But the amendments are relatively infrequent, and are corrections of typing errors rather than changes to the dialogue or the stage directions.


      Held at: AFI Research Collection
      Local Id: SC BLU : 18
    • Melbourne, Victoria,: Crawford Productions , 1977 .
      Extent: 47 min. 25 secs (according to the script)p.
      Series: form y separately published work icon Bluey Robert Caswell , Vince Moran , Everett de Roche , James Wulf Simmonds , Tom Hegarty , Gwenda Marsh , Colin Eggleston , David Stevens , Peter A. Kinloch , Keith Thompson , Gregory Scott , Peter Schreck , Denise Morgan , Monte Miller , Ian Jones , John Drew , David William Boutland , Jock Blair , Melbourne : Crawford Productions Seven Network , 1976 Z1815063 1976 series - publisher film/TV crime detective

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

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

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

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

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

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

      Number in series: 18
Last amended 29 May 2013 10:43:57