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Script cover page (from the Crawford Collection at the AFI Research Collection)
form y separately published work icon King's Bishop to Queen Three single work   film/TV   crime   thriller  
Issue Details: First known date: 1972... 1972 King's Bishop to Queen Three
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AbstractHistoryArchive Description

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

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

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


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


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


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

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

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

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

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

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

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

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

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

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

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

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

'BARTENDER I: Extra.

'BARTENDER II:

'MATRON: Extra.

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

'EXTRAS IN BAR (3)

'ROYAL TENNIS COMMENTATOR (ACTUAL)

'ROYAL TENNIS PLAYER (ACTUAL)'.

Notes

  • 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: see The Writer in Australian Television History.

Publication Details of Only Known VersionEarliest 2 Known Versions of

      1972 .
      person or book cover
      Script cover page (from the Crawford Collection at the AFI Research Collection)
      Extent: 80p.
      (Manuscript) assertion
      Note/s:
      • The script is copied on green paper and labelled 'Code: CIO' on the cover page. A notation in blue ink in the upper right-hand corner of the cover page indicates that this was copy number 12 and was designated for script editor Terry Stapleton. '6' has been written on the cover page in black felt pen.
      • There are no other signs of annotation on this copy of the script.
      • The file also contains the following ancillary material, access to some of which is restricted:
        1. Casting call sheets.
        2. Publicity synopsis including cast and crew details.
        3. One-page synopsis.

      Holdings

      Held at: AFI Research Collection
      Local Id: SC RYA: 5
Note: Material held in the Crawford Collection suggests that Conway was credited as film director, Johnstone as assistant film director, and Trevor as associate director.
Last amended 23 Nov 2016 12:09:25
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