AustLit

A spy series set, according to Moran in his Guide to Australian TV Series, 'very much in the same locale and situation' as Contrabandits. The two spies work for FIASCO (Federal Intelligence and Security Control Organisation), run out of Canberra by the never-seen and rarely heard Dave Shannon.

Moran notes that Shannon's Mob was glossier than Contrabandits, but also mundane:

In its own eyes the company had made a fundamental mistake in not coming up with a formula that used some real point of Australian difference. Many other countries had harbours, boats, and water. For that matter the special investigation team headed by Shannon was very ordinary indeed.

In his Classic Australian Television, however, Don Storey suggests that 'The spectuacular scenery, particularly of the Harbour, is fully exploited.'

Shannon's Mob received poor treatment from the network (which persistently delayed its televisation) and was widely panned by critics when it did air, perhaps in part because the popularity of spy stories had peaked some decade earlier. Storey concludes:

It would be easy to suspect that the treatment of Shannons Mob, coinciding as it did with the cancellation of the three Crawford cop shows (Homicide, Division 4 and Matlock Police), was part of the plot to sabotage Australian production. However, there is no evidence or even speculation to suggest that anything was deliberately done against the series - although it would be safe to assume that in the prevailing climate nothing positive would have been done to help the series either.

In an early report on the series, The Australian Women's Weekly noted, 'All writers for the series will be Australian, and among them will be some of those who produced the most successful of the "Boney" scripts' (Wed. 10 October 1973, p.10).

'Ryan is assigned to protect a visiting foreign Trade Minister and Premier Elect when it is learn [sic] that the Minister is the target for assassination by extremists.

'Tension mounts when the Minister's young daughter is injured in a letter bomb explosion, obviously intended for the Minister.

'During the subsequent investigation, Ryan is forced to match wits with a brilliant professional assassin.'

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):

'CONRAD: 55. Trade Minister and Premier elect for his country - based somewhere in East Europe. Conrad is a man of great power and dignity. He is determined to win an important trade deal for his country while in Australia. In spite of personal danger and family tragedy, he continues on with his work to the admiration of those surrounding him. We feel a great deal of sympathy for this man as his ideals and hopes are violently challenged by the opposing extremists.

'ZITA: 26. A naturally beautiful young woman with little or no affectation. She is Conrad's mistress and his daughter's governess. Zita is caught in a terrible dilema [sic] between love for Conrad and the totalitarian extremism of her party. Whatever she does - people she cares for are going to die. Once we realise her position we will feel sorry for her. She is a warm creature living a terrible lie.

'STEFAN KESSLER: 48. Conrad's Security Chief. A brutal man. Kills. He is prepared to take the action of a storm trooper or secret police to get what he wants. His methods and loyalty are put into question when matched with Ryan's approach to the same problems. Must drive.

'RACHEL: 9. We'll love Rachel from the first time we meet her. She's every father's daughter. Likes to help Conrad in his work and has an innocent inquiring mind.

'VALDIS: 28. East European. A student from Conrad's country. He is also a political extremist of the worst kind. He departs from standing orders to attempt Conrad's assassination himself. Valdis is prepared to kill almost without qualm. He dislikes Kane - fears him. Must drive.

'CURT: 26. East European. A student from Conrad's country. He is more sensitive, a more concerned person than Valdis. But just as deadly. His enormous fear of Kane could be judged to be his prime motivating factor. Curt is just a pawn - a lightweight - to be used and then discarded.

'KANE: 38. A superb speciman of man. Big. Rugged. A professional assassin. No trace of an accent - we don't know where he came from. There's never been one like him. A mind like a computer. Nerves of steel. Rarely, if ever, shows any emotion. He dresses well. Everything Kane does is totally professional. He's the best. It's as simple as that.

'VIC DARCY: 45. Attached to the Australian Security Force. He is cold almost a thug like figure. He gets Ryan into this gambit and sticks around to make sure there are no slip-ups.

'MARTY: 32. A working class, small time crim. Specialises in plastic explosives. Generally a cocksure little man, he sticks to a code of criminal ethics. However, under Ryan's pressue he disintegrates rapidly.

'NANCY: 25. Marty's sister. A good looking bird, with a working class background. One scene - one line.

'COURIER: Should be roughly the same age, size, and height as Valdis. Must ride a motor bike. No lines.

'GUARDS: The guards should be tough, hard looking men. The type that could be mistaken for killers. They're no pushover in a fight.

'GUARD ONE

'" TWO

'" THREE A couple of lines

'" FOUR

'" FIVE

'AMBULANCE DRIVER: Stock type - must drive - any age will do.

'AMBULANCE ATTENDANT: Stock type - any age will do - a few lines.'

'Holly Beckett, a high class, sensuous call girl, and one of her clients, are bashed and robbed by two thugs at her flat.

'Her client, Novak, threatens Holly when she attempts to seek assistance. However, when he leaves, she goes to Ryan, an old friend, and he agrees to help her recover her jewellery which has great sentimental value to Holly.

'Ryan's investigations uncover a crime of far greater magnitude than robbery, but unfortunately, not before there has been a kidnapping and a murder.'

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):

'HOLLY GREEN: Late twenties. A high class, sensuous call girl. She has no hangups about what she is or why she does it. For Holly, it pays well and she's good at it. That's all there is to it. She appears to be light headed, almost frivolous, but when it comes right down to it - she's got guts. She's all woman. Her relationship with Ryan is not defined - there's something - some past emotional involvement - between them that holds each close to the other.

'NOVAK: In his mid-forties - German, but only a hint of accent. He's well educated. A crisp, good looking man, wears his hair very short. Used to money and easy living. Has a passion for call girls. Probably because he's deep down, an insecure person - weak - easily frightened. It's something he can't control. Drives.

'HENDERSON: Late forties to early fifties. Rough, Australian. A professional killer. Deadly. Drives, fights, shoots.

'GRANGER: Late fifties. International accent. The all powerful boss. Magnetic, dynamic, persuasive. A fanatic who wants to set the world right.

'LARRY LEWIS: About 28. Australian, working class. A two bit crim. Larry is shifty, nervous, unpredictable. Resorts to violence when the going gets tough. Larry makes his living working over and thieving from the clients of his sister Tina. Drives.

'BERT: About 28. Works for a wrecker. Like Larry he's a small time crim. They work together on jobs. Bert's a cool, more rational person than Larry.

'TINA LEWIS: About 26. A call girl. But not in the same class as Holly. Greedy. Tough. A tart.

'RITA: About 19. A hard looking chic [sic] - the sort bikies go for. She's mean and vicious. Plays snooker.

'CHLOE: About 18. A more sensitive person than Rita. Hangs around Billiard rooms looking for pickups. She's pretty dumb. Plays snooker.

'CLAUDE: About 26. High camp. A hairdresser. Few lines.

'DAVE: A crotchity [sic] old man of 65. Runs a wrecker's yard.

'HAL: 30's - Granger's Secretary. Bodyguard. Cool, efficient.

'WLADYSLAW: 50-ish. A Polish mate of Ryan's with resistance movement experience. Likeable, amusing. One key scene

'POLICE CONSTABLE (STUDIO): About 22. Young, inexperienced, easily put off.

'SENIOR DETECTIVE (STUDIO): About 40. Easy going - professional.

'TWO UNIFORMED POLICEMEN (EXTERIOR): No lines. Could be actuals.'

'When English rock star Johnny "Cyclone" Wyatt comes to Melbourne, his first concert is sabotaged. Because Ryan was unable to prevent it due to circumstances beyond his control, Wyatt's manager blames him for the resultant fiasco.

'Ryan embarks on an investigation of the people and motive for the sabotage, while Julie King - his secretary - becomes involved with Johnny. They enjoy two days of bliss together. Then Julie learns of a tragic truth about the singer.'

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):

'JOHNNY WYATT: (23) Johnny is an English rock & roll superstar on tour in Australia. Sheltered from the "outside world" by his clever manager, he is often boyish in his behaviour, but is also sensitive, with a capacity for love and warmth. Physically he must be very attractive, and on-stage he should move like a professional.

'SNAKE: (35) Johnny's road manager. In his own words, he "made Johnny Wyatt", and he doesn't want anyone to forget that he's the man behind the man. Physically, he should be thin, gangling, and somewhat unattractive; he has attempted to look "with it" by allowing his greasy hair to grow to shoulder length.

'JONES: (50's) He manages the hall where Johnny is appearing. He has entered into some vague agreement with Leach, whereby they split costs and responsibilities for the tour. He is a straight forward, down-to-earth businessman. He is also the man who hires Ryan.

'LEACH: A well-dressed entrepreneur who sponsored Johnny's Australian tour. Probably through poor financial management, Leach has landed himself in heavy financial strife, and it looks as if his share of the profits aren't going to cover his overhead. This makes him a desperate man.

'MUNGO: (20's) Scruffy, long-haired stagehand who works in the concert hall where Johnny is appearing.

'YOGHURT: Like Mungo.

'MAN 1: At first we take him for a thug, but he later turns out to be a narcotics agent.

'MAN 2: Like Man 1.

'SAM: Friend of Ryan's who runs a recording studio and knows the music world.

'GUARD: Security guard at large city hotel.

'DATE: Julie's date for an evening.

'REPORTERS: Four if possible - all with small speaking parts.

'TWO POLICEMEN: Uniformed.

'CHEMIST: Very small part. No lines.'

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)'.

'A passover of narcotics goes wrong. A migrant couple run into a hundred thousand dollars worth of trouble. What's money to God. Anyway?' [sic]

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):

'MARIO FABRIZZI: Italian. Mid thirties. Or late thirties. Similar type to Tony (accent not essential but mannerisms yes.), but looking different. He was a Flamenco dancer and busted his gut one day when he got carried away with the stomping. Since then he has occasional brick-laying jobs, but even that stopped because he claims the crowbar is too heavy for his hernia. A bit of a bludger. A charmer. A good Catholic.

'ANGELA FABRIZZI: Italian. A bit younger than Mario. A Saint. Patient and understanding and loving, no matter what. Also a good Catholic, but keeps her feet on the ground. When we first find them, they're in a desperate situation. No job, no money for a long time. This should show in their attitude, expression, clothes. Accent not essential, but mannerisms, yes.

'FRED JONES: Little, inoffensive, likeable man, in suit and tie. Looking like any nine to five civil service man. An "honest" crook. A specialist. Late fifties. This would be his last job "because he can't cope any more. He's getting old."

'McNAMARA: McNamara has two images: one, when he's doing his part-time work (big scale pusher), then he looks like a "family man doing his weekend shopping while the wife minds the kids". The other image is an impeccable, smart, classy, businessman. Big, honest business. And dressed accordingly. Subdued class, a nice soft pleasant voice. Always like that. Never ironic or sarcastic but for real. A lot of violence under his cool, polite grin. McNamara is violent to inanimate objects (as well as people), and this sort of cruelty is as terrifying as the ordinary basher, or maybe more. Thirties or forties.

'JIM: About thirty. A tough crook since he was ten. A lot of latent danger in Jim's forced co-operation.

'STEVE: Another young crook. Man of many talents - Car lifter, fizz and many more. Anything for a quick buck. Must be reasonably tall and strong for contrast with little skinny old Fred.

'EDDIE: Late forties. Smartly dressed in a suit about four sizes too big. Flogs fake gold watches without a licence. Not enough guts to steal openly. Not bad as an informer and this is his main source of income.

'CHARLIE: Fifties. Friendly taxi driver who acts as an informer (only for Ryan, not a regular).

'ABDUL: Preferably Oriental or olive-skinned, but not essential. Flashy, almost distinguished man. Smokes gold-tipped cigarettes. Wears big rings. If we could we would smell a strong, incense-cinammon scented after-shave on Abdul. Thirties.

'TWO C.I. MEN:

'UNIFORMED COP'.

'Brennan says he is surrounded by conspirators bent on his destruction. Death could come from his jealous boardroom colleagues .... his faithless wife, or from his own dark and tortured mind. And Ryan must sort the facts from the fantasies.'

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):

'STEVE BRENNAN: 60ish. Thin. Little. Insignificant looking, kind, strong personality. Capable of spectacular transition from commanding authority to nervous wreck. Maniac, depressive. Good education. A lot of class.

'PATRICK: Late 20's. Playing against. He's a dangerous killer, a drug user. Amusing, lazy, humorous, bored personality. We must laugh with him without ever losing the scary feeling.

'ANNE BRENNAN: About 28. Attractive, sexy, beautiful without affectation. Gentle, sweet personality, very understated. Exactly the opposite to the unfaithful wife, frivolous - tart cliche.

'BILL HENNIGAN: 35-40. Impressive looking director. Big, strong, ambitious, ruthless, violent. Mild, quiet front.

'JASON SCOTT: Early 20's. Attractive, sweet, gentle, nice, understated.

'BETTY: Late 20's or early 30's. A psychiatric nurse. Plump, warm-hearted, sweet. Lovely personality.

'SERGEANT KNUDSEN: A cop. Ryan's age.

'TOM BRENNAN: About 24. Small, thin, studious, quiet, pleasant personality.

'DAISY SMITH: Late 50's or early 60's. Dear old paraplegic woman. Good cameo part.

'DR. JONES: Psychiatrist. Mid 30's. Long hair, young type.

'CABBIE: Extra.

'TWO DRUNKEN BOYS: One must.

'TWO NUTS: Extras.

'FOUR DIRECTORS: Extras.

'ONE MAN IN UNIFORM: One line.

'WOMAN WITH BABY IN PRAM: Extra.

'PATIENTS: Extras.'

'Drinking too much, taking bribes, gambling and thumping policemen won't solve anybody's problems. Or maybe it will. Who knows. Ryan seems to know.'

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):

'JACKIE WEBB: About 35. Little scared crim. A reasonable con man. A failure. A million priors.

'ENZO: About 35, 40. Despite Italian descent he speaks perfect "strine" without a foreign accent. A professional, intelligent, experienced crook who manages to stay always out of trouble. The opposite to Jackie. No priors at all.

'JONATHON "FATHER" SMITH: Benign, placid, round faced. Moves and talks and looks like a priest. Capable of crash transition into hard, brutal man.

'AMALIA: Subdued and attractive and nice in a Shirley McLaine [sic] style. Must be both sexy and warm and confidence inspiring. The sort of woman you'd open your heart to when you're full to the eyeballs.

'INSPECTOR MULLIGAN: A police inspector. (Lack of description doesn't mean lack of importance. On the contrary).

'JOHNSTON: Late 30's or early 40's. A good policeman. A good family man. A good man period. The sort of man who'd spend the evening playing with the kids or fixing a broken chair rather than go to the pub and have a beer with mates.

'BILL: Good looker in an old fashioned, muscled way. Father Smith's bodyguard.

'POLICE SUPERINTENDENT: What I said about Mulligan applies to him.

'FREDDIE: Other muscle man from Smith's mob.

'HILLMAN: A police detective.

'JENNY: Johnston's wife. Late twenties or early thirties. Sexy blonde with mole on cheek and big boobs.

'WADE: Established.

'POKER PLAYERS (2): Toughies.

'FEMALE EXTRA: Pretty girl.

'CROOK: Smartly dressed. Pickpocket who doesn't look like one. (The man who gives Jackie the dough at the racecourse, opening scene)'.

'Ryan is engaged to protect a wealthy industrialist who is living in constant fear of attacks on his life'.

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):

'BRADLEY: About 35. A man whose mind is dedicated exclusively to the acquisition of wealth through an ever-increasing ownership of diverse business enterprises. It has got to the point where he regards surplus money simply as a commodity to be re-invested in further expansion. His work is his one hobby, and he indulges himself for seven long days a week. He derives little pleasure from association with human beings, and long ago decided that he can achieve his ends without worrying about other people's feelings.

'ALAN ROBERTS: Early thirties. Bradley's secretary. Very capable, and gives the impression that he is an admiring, sycophantic employee; but in fact is deeply resentful of Bradley's attitude towards him. Drives car.

'VERNON SMITH: Early forties. A tall, powerful man who has always dreamed of holding a position of authority and prestige. Has been hindered by a lack of real ability. Believes he can achieve his ambitions if he makes a spectacular success in his job as Bradley's bodyguard. (Drives car, runs, fights.)

'GARDINER: A rugged looking youth, but not morally tough enough to put up any resistance to Smith. (One scene.)

'THOMPSON: About 28. Appears to be a sinister character, but is actually an amiable drop out. Drives.

'HARRINGTON: A middle aged business man - a rather pathetic contrast to Bradley ... lacking his ruthless drive and astuteness.

'TOM SINCLAIR: A conventional private detective. (Drives car.)

'PAMELA VAUGHAN: Attractive call girl. Bright personality.

'MRS. GREEN: An efficient looking housekeeper. Business-like manner. (One scene.)

'GREEN: Mrs. Green's husband. A gardener. (One scene - little dialogue.) Drives car.

'WORKMAN: Extra.'

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

According to Don Storey in Classic Australian Television,

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

The script held in the Crawford Collection in the AFI Research Collection includes the following character notes:

'CLIVE WILLIAMS Man in his early 30's. Building contractor who has become involved in stolen goods racket to help overcome financial difficulties. Basically a bad businessman - when faced with crisis, is inclined to go to water. Sincere, quite good looking.

'SUSAN WILLIAMS His wife, mid 20's. Blinded in an accident not long before. Attractive - strong will, refuses to give in to her plight. Could have been Clive's strength had he been honest with her.

'VIN WILLIAMS Clive's elder brother. In his 40's. A tough parasitic no-hoper. Has been involved in crime most of his life - this time, goes too far. Sadistic quality.

'JENNY Clive's "girl Friday". Slightly kooky, pleasant, efficient, in her 20's.

'DOUG THOMAS Man in mid 30's. Building inspector - takes himself perhaps too seriously. Underneath, probably a normal bloke, but has a touch of the Government Official .... enjoys his title.

'NEDDY Gnarled old contact for stolen goods. Runs a very run-down garage. Lives for what he can get out of life. Cryptic in conversation.

'HERB ARMSTRONG Local bricklayer. About Clive's age, but smaller physically. Normal bloke - just wants his money.

'UNIFORMED CONST. (GRAEME) A slight hint of the know-it-all, very young, inexperienced, keen.

'GARAGE ATTENDANT Youngish. A friendly Stanley, who is perceptive enough to sense something wrong when Hogan is in car with Vin Williams.

'2ND CONST. At Wilga roadblock.'

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

'RAY JONES Early 20's. Looks younger. Killer who is nothing without a weapon in his hand. Drives.

'LIZ JOHNSON Plump nymphet, about 18. Institutionalized, hard, but dominated by Jones.

'ALICE PRICE About 24. Middle class. Had an unhappy romance. Wants to rebuild her life on her own, away from her family.

'JOAN PRICE Mother, late forties. Understands that the middle class life has made her unable to appreciate her daughter's problems, and unable to help her. But can't change now.

'JACK PRICE Father. 50ish. Ex-farmer who has been intelligent enough to build a small business when the outlook for farmers faded. Comfortable but not wealthy. A man who puts his family first. Capable of violence only in final anger and despair. Drives.

'JOCK BROWN 50ish. Must be small, wispy in stature. He's happily drinking himself to death and has a sense of humour about most things in life. [Note: The character's name on the casting call sheets is 'Edgar Browne', though the 'Browne' has subsequently been crossed out.]

'DOCTOR BEDI

'UNIFORMED CONSTABLE (A) One scene with a line of dialogue otherwise an extra.

'UNIFORMED CONSTABLE (B) Extra.

'UNIFORMED CONSTABLE (C) Extra.

'UNIFORMED CONSTABLE (D) Extra.

'MAURIE TAYLOR Middle aged garage owner. Rough natured, but friendly. Lived in the country all his life.

'AMBULANCE MEN Actual.

'HELICOPTER PILOT Actual.'

The Matlock Police series (originally simply titled Matlock) was commissioned from Crawford Productions by ATV-0, in response to the popularity of rival-network police dramas such as Homicide and Division 4. Crawford's was initially reluctant to create another police series, but ATV-0 pressured the company for some time. Eventually, Ian Jones and Terry Stapleton devised the concept of a regional (Victorian) police series to provide viewers with something different. The more relaxed atmosphere of the country-town setting also allowed the writers to delve into the private lives of the main characters, rather than focusing heavily on big-city organised crime. In this respect, the series was situated somewhere between Homicide/Division 4 and Bellbird. The series did, however, cover typical rural policing, including such issues as break and enters, domestic issues, itinerant workers, brawls, petty crime and robberies, road accidents, the occasional homicide, and cattle rustling. On other occasions, the Matlock police also assisted Melbourne police in locating criminals on the run (among other problems). The idea behind the show was to reflect the causes of crime in a small community and show the effects on both the community and the officers themselves.

The fictional town of Matlock (loosely based on Shepparton in Victoria) is situated inland on the Central Highway, approximately 160 kilometres north of Melbourne. Although the town's population is only seventeen thousand, this increases to around seventy-five thousand when the district is included. The Matlock Police Station is typical of a Victorian country town, with a Uniform Branch and a Criminal Investigation Branch (CIB). The CIB is headed by Detective Sergeant Vic Maddern, who grew up in the Matlock district and is an accomplished bushman. Second in command is Detective Allan Curtis, aged in his mid-twenties. Previously from Melbourne, Curtis has just been sent to his first country posting (against his will) when the series begins. Head of the Uniform Branch is Sergeant Bert Kennedy, an Englishman who migrated to Australia in 1950. A thorough but also easy-going man with a good sense of humour, Kennedy is married to Nell and enjoys the country life in Matlock, so much so that he has knocked back promotion to avoid moving to Melbourne. Several constables are attached to the Uniform Branch, but the most prominent is a motorcycle cop, Constable Gary Hogan, who performs a wide variety of duties. Hogan is about thirty, a friendly, easy-going person who grew up in the country and is always willing to help in whatever work is going.

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

'THE FAMILY:

'"WILD MICK" O'CONNELL (SUGGEST: Owen Weingott) (45-55 years) Father of the notorious O'Connell family. A "wild Irishman". An ex-boxer of the West Melbourne Stadium days. Completely extrovert, Mick, with a few drinks in him, will do anything, fight anyone. A loveable character if he is your friend. He lives by his wits, petty larceny and punting on horses. He still retains an "Irish-ness" of speech. He bears an eyebrow scar and a bent nose. Mick has a good Irish sense of humour. Long police record for petty crimes.

'"MOTHER" O'CONNELL (45-55 years) Mick's wife. Fond of the drink. Irish. Hard, but sentimental. Runs the family. Used to own a brothel where three of her daughters worked. She lives Mick's life to the full.

'ELLEN O'CONNELL The youngest daughter of the O'Connells. Ellen is pretty, viviacious, full of drive and possesses a tremendous sense of fun. She lives by her quick wits and her pretty face. A good schemer, she is too liable to do things on a grand scale just for the hell of it.

'_____________

'JOHN KELLY (45-55 years) Irish, formerly a great friend of the O'Connells, suspected of having caused the arrest of one of their sons, he now finds himself in the miserable position of being hated by the whole family, and decides to drown his sorrows on St. Patrick's day [sic]. He owns a second-hand dealer's shop and house. Receives stolen goods at times.

'PAT DOOLAN (35-45 years) An Irish friend of the O'Connells. Owns a furniture van which he drives for a firm. A wag, very fond of the drink. Full of fun. Has a police record for larceny.

'_____________

'THE "STAND-OVER" MEN:

'VINCE MORGAN (35-45 years) A thoroughly evil man. A pitiless extortionist who has skipped N.S.W. bail. He is the brains behind the extortion racket in the Yarra Central district, carefully picking victims who, for their own reasons, cannot appeal for police protection.

'TOMMY SHAW (20-25 years) A brutal man, a boxer with a bad reputation. He used to know "Wild Mick" through their boxing interest but has sunk below Mick's rough-and-ready standards of morals. A "flashy" dresser.

'_____________

'THE VICTIMS:

'MAX TAYLOR (35-45 years) Owns a small electrical shop which he uses as a cover for the receiving of stolen goods. He keeps company with the two stand-over men, but is himself a victim of their system. A weak man, he is also a bully, sly and devious.

'EMMA TAYLOR (30-35 years) Max's wife. She despises him, and is aware that his dealings are not always honest. She is frightened of Max, but doesn't know how to break with him. A woman who should evoke sympathy.

'_____________

'OTHERS:

'MORRIE WHELAN Middle aged. Owner of the pub frequented by the O'Connells. Friendly to the police, he often supplies them with useful information if they come to him and ask for it.

'SHOPKEEPER A victim of the "stand-over" men.

'TONY CIRO Italian who has a shop next door and acts as a witness to the assault of the shopkeeper.

'HOUSEWIFE A working woman. European, possibly Dutch. Not much accent. Excitable.

'EXTRAS For pub scenes, a mini-van driver, people to claim stolen goods.'

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

'LESLEY FISHER A unique figure among criminals .. a modern Squizzy Taylor.

'Short - 5'2" - thickset. Aged 40. Cunning and ambitious. He started as a very small-time crim., and worked his way to the position of gang-land boss. He is conceited and self-assured .. a cocky manner, but not noisy.

'A lot of his henchmen have served long sentences, but Fisher has only served a couple of short terms. He has a flair for organizing 'jobs' ... with attention to detail, and so, in the crim. world, he passes for a great 'brain'.

'His clothes are immaculate, and only a shade flash. Expensive suits ... razor sharp creases in trousers .. perfectly laundered shirt cuffs showing ... cuff links .. expensive tie pin .. a 'pre-shaped' handkerchief in breast pocket. Small, new-looking hat. Drives car.

'Genuinely loves his wife, Valerie. Completely devoted.

'VALERIE FISHER Attractive, pleasant, young woman with a good background. Has standards. Very much in love with Fisher, completely taken in by him. Would not believe anything bad about him.

'ERIC HUTCHINSON 34. Tall, strong, rugged type. A seasoned professional crim. who enjoys being on a job. Admires Fisher and is unquestioningly loyal. Despite his toughness, he has an easy-going outlook .. and a certain amount of charm. Must be able to drive fast and skilfully.

'TOM LANGLEY Aged 60. A veteran crim. with a long record of robbery and violence: Starting in the late 1920's when gangs were flourishing.

'At 60, he is still strong and active but troubled by a bad leg. On a job he is ruthless, unconcerned about his victims. At home with his grand-daughter, Julie Williams, he is just another human being.

'JULIE WILLIAMS 18-20. A nice girl, of working class background. Very fond of her grand-father, has always known of his criminal activities and just accepts it. Has a great respect for Fisher.

'GRAYSON Owner of a prosperous supermarket, has a precise mind and lives by schedules. He would attribute his success to this.

'A dreary man, but in the live scenes with Banner, he is seen as a decisive character who is not going to let a robbery and assault disturb the normal routine.

'JOAN CLEMENTS 25-30. A shop-lifter, who has had an affair with Fisher. Strong, attractive, with a coarse manner. Has an almost psychotic dread of going back to prison and this causes her to fight like a maniac when Banner and Peters arrest her.

'ELDERLY MAN Ex-blue collar worker, on pension or superannuation. Has become the complete spectator. Watches the brawl involving Joan Clements in much the same way as he would watch a quiet district cricket match.

'MRS. REYNOLDS Well-to-do, dignified, resents having a known criminal living in the house next door.

'CERNIK New Australian cafe proprietor. One scene only. No dialogue.

'DETECTIVES. One scene only. No dialogue.'

The script for this episode held in the Crawford Collection includes neither episode synopsis nor character notes.

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

'ALBERT MORTON. Fiftyish, rather drab and sad, a man who has worked hard all his life without really getting anywhere, and who now sees his world crumbling.

'BRIAN SLADE Thirties, smart, intelligent, with-it. A young man who has seen a great future in a comparatively dull job and who, in his search for compensating excitement, has become associated with criminals. He cannot accept this role but finds himself too weak to break their hold.

'GIOVANNI STEFANO. Forties. A ruthless manipulator of people who has built a modest migrants' club into a major gambling and crime syndicate.

'HARKNESS. Manager of a credit company. Late forties, efficient, rather tense, humourless and unemotional. To him, human values can only be assessed in red and black.

'JENNY MORTON. An attractive and intelligent girl, early twenties.

'PAUL CAVANAGH. Twenties. Good-looking, slightly spoilt son of wealthy parents, who despite a playboy image, is genuinely fond of Jenny.

'MRS. MORTON. Fifties. Invalid wife of Bert Morton who tries to play down her illness and stay cheerful for the sake of her husband and daughter.

'LUCIANO VIRGONA. Thirties. Big, bouncerish.

'ANNA ZELLINI. Twenties. An attractive but haunting girl. Only a few lines, but must make a strong impression. Fundamentally decent, she has been bullied and conned into becoming a prostitute.

'SALLY HOWARD. Quite attractive. A bright, warm young girl who is Morton's only real friend at his office.

'DR. HOLMAN. A capable surgeon.

'SIR GEORGE WELLMAN. Fifties, distinguished. Brilliant neuro surgeon.'

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

'HEATHER CHAPPLE. Twenty. A fairly average young girl, engaged to be married. Plans a 'white' wedding. She is brutally raped by an intruder in her flat. When the initial shock passes, she begins to worry about the court case, publicity, gossip. What people think about her is blown up in her mind. She is unable to accept her violated life and turns to her boyfriend for support.

'GEORGE FINCH. Thirties. A man who is pathetically unable to succeed at anything. From big plans and dreams he has been reduced over the years, to selling cheap plastic kitchenware door-to-door. His wife is now eight months' pregnant. Their landlord is trying to evict them. Desperate for money, he takes to housebreaking and petty thieving. He's not much good at this either. On one of his forays, he is surprised by Heather. And in the struggle that follows (this is the culmination of all his frustrations) he rapes her.

'ELLEN FINCH. About thirty. When she met George, he was young and promising and persuasive. He talked her into leaving university and marrying him. Her mother thought she was marrying beneath her class and was never impressed by George. Loyal to George but hugely pregnant and desperately worried about their financial position, Ellen wants them to go and live with her mother. Until the child is born, at least. Fairly resilient, she is unable to cope any longer.

'TED KAVANAGH. Twenty-five. A big outdoors worker, engaged to Heather. Not particularly intelligent or sensitive, he is shocked at first by the attack and tries to comfort Heather. But he doesn't really understand his own feelings. They begin to change after he is provoked into a fight by a workmate. He has second thoughts, decides that the situation is more complex than he imagined, but there's something in it for him.

'ERNIE JACOBS. Fifties. A solid man, hardened by years in the trade. He helps the police as much as he can.

'HOOPER. Senior uniformed constable.

'GEARY. 25-30. A workmate of Kavanagh's. Rough and tough, without compassion. His world revolves around beer and sex.

'PRENDERGAST. 40-50. Boss in charge of a construction site, he rings the police when he is unable to break-up a fight among his men.

'MRS BRYANT. A gossipy-type housewife, age unimportant. She considers herself above door-to-door salesmen.

'MRS NELSON. Thirties. A woman who lives in one of the other flats. She offers to help Heather, but her attitude is one of curiosity and revulsion mixed.

'PEARSON. A retired man in his sixties who still has a reasonable income. A bit deaf. One scene only.

'TOM WILKINS. Fingerprint man from Forensic.

'EXTRAS. Two or three women, construction workers - if possible.'

According to Don Storey, 'The Broadcasting Control Board ruled that this episode was not to be screened before 8:30 PM'.

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

'CONSTABLE DAVE SMYTH Early 20's, big, burly and tough-looking. He worked briefly on the wharves before joining the police force. As the story opens, he has just completed initial training and he is still full of enthusiasm and idealism for the job. He is soon in trouble because of his family background and his hot temper.

'WILL SMYTH Dave's father. A wharfie and militant unionist who believes his son has become "a lackey of the capitalist classes" by joining the police. Through his son's activities, he loses the friendship of his mates. But, when it comes to the crunch, blood proves thicker than mates or credos.

'ALF GALLAGHER Will Smyth's mate. An ageing wharfie who finds solace for his loneliness in drink and in reminding all and sundry of his great days when he worked as rigger building the Sydney Harbour Bridge - high up, earning big money. He has invented this past and now almost believes in it himself.

'JOHNNY HART Aged 30-35, a hard man with convictions for burglary. No friend of the police, and a cold man with more than a streak of cruelty. Car driver.

'PAT GALLAGHER Alf's son, aged 25-30. Not very bright and easily led astray by Johnny Hart.

'JOE SWITHIN Aged 40-50, bespectacled garage proprietor and fence. Very professional in both occupations. He dobs Johnny into the police to save money on a business transaction with Johnny.

'ANITA Young gold-digger who keeps Joe Swithin happy. Attractive in an obvious way.

'CAROL HENNESSEY Dwyer's fiancée. A nurse, good-natured but nobody's fool.

[Note: The accent in 'fiancee' has been added in black ink.]

'JANE WILTSHIRE About Carol's age, also a nurse, but with a rich father who gives her all she wants. She wants Constable Dave Smyth.

'TINY Aged 40-50, very tall wharfie. A decent bloke.

'BOB Wharfie - Tiny's mate.

'OLD MAN Aged 65-80. He witnessed a robbery and shivers in the cold.

'YOUNG MAN About Dave Smyth's age. Well-spoken, he sees a drunk in danger of falling from a high building and runs to Dave Smyth for help.

'MICK PETERS' GIRLFRIEND Decorative.

'BARMAN

'CUSTOMS OFFICER

'TWO WHARFIES

'ONE WHARFIE

'FORK LIFT DRIVER'.

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

'CHRIS GRANGER. Age 28, but looks lined and older than his years after serving three years in prison. Tall with sunken cheeks, close cropped hair, his manner is one of quiet authority. He has been a cracksman, a top criminal tradesman, never a thug. After his release from gaol, he has made up his mind that he will never return there. He is quietly determined to go straight and ensure that his brother goes straight with him.

'BERNIE GRANGER. Younger brother of Chris, aged 18 or 19. He has always hero-worshipped Chris and wants to be a big-time criminal like him. But whereas Chris had a profession, that happened to be criminal, it is the criminality itself that appeals to Bernie. He is a rebel against society, against the police who put his brother away, and against the narrow-minded self-righteousness of his father. Bernie is volatile and voluble, good-looking, a flashy dresser, and with a devil-may-care demeanour that conceals his adolescent uncertainty.

'MR GRANGER. Age 55-60, father of Chris and Bernie whom he has raised since his wife died during Bernie's birth. A hard man, ex regular army, with strong ideas on morality but no generosity in his soul. The children have rebelled because he always treated them like a drill squad on the barrack sqaure.

'MARIE Age 24. Chris Granger's de facto. Looks like a good-time girl. Not bad sort but rather brainless.

'MRS CUNNINGHAM. Aged at least 70. She grew up in style on her father's property in Queensland, married young and lost her husband in World War I. Her fortunes have declined over the years, and in the last decade she has become progressively lonely and more poor. But she still tries desperately to keep up appearances and never forgets that she is a gracious lady. She is much to proud to expect or ask for charity.

'MULLENS Age 40-50. Owns a billiards saloon from which he directs the operations of various small-time criminals, wears a bow-tie and brylcreem, affects an elaborate style of speech.

'KROGER Villainous-looking thug. Virtually an extra.

'FINCH Typical crim. Early 40's. About four lines only.

'STEWART, HALL Criminals. No lines. Should be cast as extras to provide contrasting types.

'PASTRANI Italian butcher in Victoria Market. Aged 40-50. One good scene.

'PASSER-BY (MALE) One scene where he comes to Mrs. Cunningham's rescue after she has collapsed at the market. Decent, working-man type. Any age.

'GARAGE ATTENDANT Mid-30's. In one scene, in which Bernie drives away without paying for his petrol.'