AustLit

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

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

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

However, Storey concludes that

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

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

Set in the fictional Riverside Police Station, Cop Shop combined self-contained stories focusing on specific police investigations with the type of open-ended serial storylines familiar from soap operas. This allowed Crawford Productions to make use of the expertise gained from their highly successful police procedurals (all recently cancelled) and serials such as The Sullivans (then still airing).

According to Moran, in his Guide to Australian Television Series,

Although the format may sound predictable and routine, in fact it was pioneering. In putting women police on the screen, Crawford's were moving Australian crime drama away from being an all-male domain. In addition, by choosing a suburban police station populated both by uniformed police and plainclothes detectives, Cop Shop introduced an upstairs and a downstairs world. The latter, in particular, began to exert its own attractions with handsome young men and women in the roles of the new constables.

This script is for an episode of Bluey that was seemingly never aired, and may never have been produced, though it did reach the stage of casting. Don Storey makes no mention of this episode, and the title does not match any of the known episodes of Bluey.

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

'MARION: Marion Hagan is a shapely, good-looking lady in her late twenties. She has a lovely body and has learned to use it to her advantage. Her crime career started with prostitution but as she grew older she discovered she had a knack for planning and organisation. This has resulted in her running her own gang. She hasn't forgotten her years working for a series of bludgers and she likes to remind her men who the boss is now. She drives a car and smokes. Must be able to ride a bicycle.

'McALLISTER: Tall, well-built, around fifty and looks distinguished. He was born rich and has spent his life getting richer. It's all very boring. He's turned to crime to seek some relief from his boredom. He doesn't need the money, doesn't have the neck to take the chances but gets his kicks from helping the crims to set their jobs up and by buying the loot from them. He is the boss in the sense that he employ's [sic] Marion and her gang. He's let it be known that he'll order the death of a crim rather than let him/her leave his employ. He works hard at keeping under cover.

'STEVE: He's big, good-looking and not really bright. He's Marion's chief back-up man and provides the brawn she lacks to go with her brains. He's content to let her do the thinking as long as it's profitable and he also reaps the fringe benefits.

'GREG: A habitual crim who's content to stay with the gang because it pays him to. Must be able to drive. He's short, lean build, around 40.

'DENNY: Thin, wiry, also a habitual crim and a pessimist by nature. He's enjoyed the money he's made working for Marion but the magnitude of the crimes is starting to get to him -- not for moral reasons but for the years in Pentridge they can bring him. He's the weak link in the gang.

'FREEMAN: The manager of the security company. He's an efficient and, to some extent, self-important businessman. His composure suffers from his contact with Bluey.

'TAYLOR: Jack Taylor -- Superintendent. A career cop. Average height and build. Middle-class accent.

'SNOWY: Average lower class Australian, small time crim.

'DRIVER: Late fortie's [sic]. Short haried [sic]. Security guard type.

'GUARD: Around thirty. Younger in years and outlook than the driver.

'ARNIE WEST: Your average knifeman. Small in size and courage.

'NUGGET NOVAK: Short but heavy set crim.

'FORENSIC MAN: Typical police type.

'FROGMAN: Seen only in wet suit with flippers. Should be able to swim.

'PLAIN CLOTHES Ds: Two. Typical types.

'UNIF. POLS: Two. Typical types.'

'A person dies, but the memory lingers on. Unfortunately, in some cases, the memory does more harm than good. This is the case of Steven Berry.

'A father's reputation in crime 15 years ago is brought to light at his death and the son must learn to cope with the malicious and doubting attitudes of a world quick to judge a man, not for himself alone, but for the stigma attached to his father.

'Rejected by the parents of the girl he is to marry, Steven goes through an emotional upheaval which leads him to the brink of suicide. However, outside influences take a hand and he finds himself embroiled in a one-way situation - a seige [sic] with hostages.

'Bluey finds it difficult to deal with such an explosive problem especially with other members of the police force hindering his every move. His unorthodox approach places him at the other end of a gun - as a hostage.

'An enforced wedding ceremony, and events take a turn for the worst; a long day ending in tragedy.'

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 BERRY 23. A good looking young man. Totally sympathetic. He is completely in love with Sue and his world is shattered when their wedding is called off. A set of circumstances gradually wear him down from a frightened man to one who sees his only salvation being at the right end of a gun.

'SUE GOLDING 20. Attractive. A slightly weak person because she is torn between two loves. That of Steve's and that of her parents. As Steve's character weakens, hers gets stronger. She does love and care for Steve.

'BERT GOLDING 45. The ruler of the family. His word goes. He and his wife, Tina, have over the years, lost a certain amount of closeness. To Bert, position in a community is very important. He refuses to believe Sue knows what she is doing. A protector.

'TINA GOLDING 40. She cares for Sue much more than she cares for Bert. A woman prone to hysteria - but nothing like this has ever happened to her before and her safe world is threatened.

'IDA BERRY 45. A woman who has seen a lot of life. Has no trouble with reality. She loved her husband and equally loves her son. Kind and warm.

'INSPECTOR BILL DERMOT 40 ish. Duty Officer. Operates by the book. Generalises his cases. His whole experience in siege situations is aimed at protecting the innocent - the man with the gun is the enemy - a person not to know.

'PRIEST Catholic.

'MOURNERS (3) Men of about 45/50.

'P/C #1

'P/C #2 Young and efficient cops.

'P/C #3

'P/C #4 Dermot's sharpshooters.'

'Monica tangles with an eleven-year-old shoplifter called Cricket, and in so doing ends up as a witness to a car theft. Bluey warns Monica to stay away from the girl as it may hamper his investigations into a car stealing racket. It's Monica's turn to do a "Bluey" by going off on her own as, to her, the girl's future is just as important as stolen cars.

'Monica seeks Gary's aid in finding out Cricket's whereabouts through her father's record, which Bluey has secreted out of Monica's reach. They both visit Cricket's parents, much to the anger of Bluey, who is afraid the father will go into hiding at the sight of police on his doorstep.

'Bluey's fears are well founded as the father intends to do one more job before taking his daughter away from trouble and an uncaring mother.

'Truscott is furious when Bluey and Gary let the father slip through their fingers on his last job and is equally angry for Monica turning up on the suspect's doorstep.

'Cricket's home life erupts around her when Monica's threats to her parents of her being put in a home reach her eyes by way of an argument between her mother and father. She disappears and the father accuses Monica of causing her to run away. Monica sets about tracing the girl. But, by then, Cricket's own life is in danger and it is a question of whether Monica can find the girl in time.'

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):

'CRICKET: An 11 year old girl. She's the product of a rough environment and has learned to fend for herself to a large degree. Through practice she's learned to stifle her emotions and is pretty tough. The fact remains that she's vulnerable due to her tender years. The one person she really loves and who loves her is her father, Fred. She clings to him and can't take it when she mistakenly thinks he, too, has rejected her. Despite her toughness, she has a likeable personality.

'FRED BARNETT: Cricket's father, about 35. Fred is a born loser. He's a car thief by trade and plays the game the way it is. He wins some and when he loses he cops it sweet and does a stretch. He's totally devoted to Cricket and immune to the ways of his prostitute wife. He's a likeable rogue who decides to put Cricket above all else but not until it's nearly too late.

'PEARL BARNETT: Around 35, once good-looking, now worn and seedy. She's lazy and completely selfish. She plies her trade of prostitution because she can't break the habit and the money's good. She must've had feelings for Fred and Cricket once but now she finds all the love she needs at the bottom of a wine flagon.

'KANGA: 40-ish. Tall and tough-looking. He runs the dirty end of the business for his employers. He's capable and has an air of authority.

'SKINNY: Quite the opposite to his name, he's short and fat. He's paid to work for Kanga and that's all he wants to know.

'BARMAN: Typical type. One scene.

'BUSINESSMAN: Average type. Middle-aged. One scene.

'CLIENT: An off-duty ocker seen with Pearl in one scene.

'UNIFORMED POLICEMEN A & B: Typical types. 'A' should be younger.

'DERELICTS #1 & #2: Again - typical of the breed, plenty of chin stubble, hand-out clothes, bloodshot eyes and shaking hands.

'CAB DRIVERS #1 & #2: Actuals.'

'Brad Dexter, after twenty years in Hollywood, returns to Australia to make a film. Much to his disgust - and Monica's delight - Bluey is assigned to protect him.

'It soon becomes apparent that Dexter needs protection. Not from his fans, who've grown sparser with the years, but from himself. A long time battle with the bottle has turned into capitulation. The few friends and associates who have remained loyal to him are beginning to realise their star is on the wane.

'But Dexter continues on his erratic path of self-destruction, oblivious to every warning signal.'

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):

'BRAD McGRAW: An Australian actor around 45 with boyish good looks. He's spent the past twenty years in the U.S. Speaks with an American accent. He's been all the way to the top and is more than halfway in the other direction now. He refuses to accept he's no longer a super-star. Deadens the truth with bourbon. (He drives.)

'NORA: McGraw's long-suffering private secretary. She's good-looking and shapely enough to have been a star herself but has been able to get a good living in the administration end of the business. She knows McGraw's just about washed up but hopes he can make a fresh start in his old home town. West coast U.S. accent.

'BELINDA DEMPSEY: Around 30. Pushy female journo from "The Star". About on a par scruple-wise with McGraw.

'BULL MASON: An ex-prize fighter around 50 and still fit. He's devoted to McGraw in the belief that McGraw still cares about him. He speaks with an East coast U.S. accent, The Bronx or Bowery maybe, certainly not Brooklyn.

'BERT STUBBS: Reporter. Australian. About 45. Small, shabby dresser. One scene. (Important dialogue.)

'ARTHUR FERRIS: Homicide detective well known to Bluey and his crew. Typical type. (Quite a bit of dialogue. As previously cast in "End of the Line" - if possible.)

'NEIGHBOUR: Working-class man around 60. He remembers McGraw well, without sympathy.

'POLICE MECHANIC: Two scenes. (Some dialogue.)

'TURNER: Late 50's. Average small businessman type. He shows he's worn badly since his daughter's death.

'BETTS: Middle-aged working man. Two scenes, some dialogue.

'BELLHOP:

'AIR HOSTESS: V.O. Only.

'ANNOUNCER: American. V.O. Only.

'GIRL (HEATHER): Australian. V.O. Only.'

'The mystery death of a journalist and a telephone call from a higher power than the Assistant Commissioner for Crime, throws Bluey into an area of high-powered corruption which, to all eyes, would appear highly legal and above board.

'Bluey not only has the difficult job of keeping Monica and Gary working on the case without telling them what it is all about, but also has to avoid an open confrontation with the Assistant Commissioner, who is pressurizing Bluey into cleaning up the statistics on unsolved crimes.

'Monica does undercover work and delves into the world of the street-walker. This, in turn, leads Bluey to an old enemy, a man who has escaped from being an underworld figure to a man of affluence and respectability. It would appear that ill-gotten gains have been poured into a legitimate construction firm, which also has Government contracts. Proving this is another thing.

'Bluey seeks aid from a surprising quarter - a Sir Dennis O'Brien - but in doing so places the life of the old gentleman in jeopardy.

'Then the round-up starts, with some harrowing chases and unexpected climaxes.'

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):

'SIR DENNIS O'BRIEN: Late sixties, tall, near white hair, slim and distinguished-looking. He's a battler who's made it by his own efforts. He has a pleasant speaking voice and uses good English without being affected. Despite his title he is no snob. He's an old-world gentleman with simple tastes. Must drive.

'CHARLES PARKER: About 35. Tall, good-looking. Efficient young executive type with a flair for management. Has become known as the new wonder-boy of the finance world. He appears outgoing and charming until the veneer crumbles and his scheming mind shows. He's TOTALLY self-centred and really believes he's got everything under control except for Victor Cunningham. Drives.

'VICTOR CUNNINGHAM: Around 50, still in good shape. A trace of north country in his English accent. He's the modern vampire who rakes in the bread from the misery of the little people. Now he's rich he wants to be respectable. Parker is his key.

'MICK: Cunningham's human watch-dog. He's a big, shambling oaf but would be dangerous in a fight where not too much brain power is needed.

'CHAUFFEUR (JOHN): John is middle-aged, Australian. Sir Dennis treats him well and he's both loyal and concerned about the old man.

'CORAL: A well-worn prostitute fast approaching forty. She has been a beauty but time and her profession have eaten into her. She feels scorned by Cunningham. She fears him but can't help talking about him.

'PETER STARK: About 35, sharp dresser, honest, intelligent. The type of person who gets to work for a politician rather than be one.

'MAX JOHNSON: Around forty, physically small, polished English accent. He's greedy and conniving with a vicious streak. A thorough [deleted] Drives.

'HARRY FRENCH: Big, overweight, outgoing personality. Typical journo, just living for the big story that'll make him.

'EXTRAS (3): Ladies of the night.

'POLICE DRIVER (1): Drives.'

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.)

'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)'.

'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.'

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'.

'An investigation into the death of an old friend has Ryan moving in two different worlds. He follows his leads from the depths of derelict humanity to the glitter of high society.'

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):

'HORACE CHAPMAN: A reformed criminal with a history of crime and drunkenness of which he is now ashamed. He is a big, once powerful man now showing his 70 years. He moves slowly, talks slowly and, at times, seems vague. After coming out of jail at the age of 55 his wife's devotion to him in spite of his many trips to jail made him resolve to go straight.

'ELSIE CHAPMAN: Horace's wife, about 65-70, small, work-worn, weary but happy in the work she does with her husband. She feels that Horace has found his way at last and that his work at the mission is wiping out the iniquities of his past.

'TREVOR ARMSTRONG: Tall good-looking Englishman, about 35. A plausible con-man, he has made good with the Toorak set and extracts large sums of money from them, ostensibly to help the mission. Ostensibly dedicated to helping his fellow man, he is in fact helping himself. A polished, vivid personality. Must drive.

'DONALD ANDERSON: Mid-50's. A solicitor. Well educated Australian accent. Conservative dresser.

'MRS. FELICITY CLARKE: About 30. A beautiful, shapely young widow who falls for Armstrong's line. Well educated, well dressed, drives a late model luxury sports car. Should look good in a bikini.

'JACK BAKER: Tough, rough, about 25-30, working the racket with Armstrong. Must be able to drive and fight.

'MINISTER: No lines.

'ALF CLARRIE: Deadbeat, 30-50, disreputable. Couple of lines.

'BILLIARD SALOON OWNER - About 50 / CAB DRIVER - About 40 / PROSTITUTE - About 30: These three characters appear in a brief montage sequence, each speaking to Tony. But the sequence is covered by music, so none of their lines will be heard.

'UNIFORMED POLICE SERGEANT: About 40, solid type, few lines. One scene.

'UNIFORMED POLICE CONSTABLE: One scene, no lines.

'A GARDENER: About 50-60. Two lines.

'10 DEADBEATS: Varying ages. To appear in three mission scenes.

'6 SOCIETY LADIES: From the Toorak set. Ages 30-60. Appear in one scene.'

'Signor Jaconelli arrives from Italy to be reunited with his daughter-in-law Melina, and his tiny grandson. Inexplicably they are not there to meet the ship. Where are they ...?

'They are currently the subject of a state-wide police hunt, and Melina is suspected of murder.

'Ryan is called in, and in an atmosphere complicated by Mediterranean emotionalism, eventually solves the murder, uncovers an elaborate call-girl racket, and most importantly, reunites Signor Jaconelli with his loved ones.'

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):

'MELINA JACONELLI: She is a young Italian widow who lost her husband in a car smash before the birth of their son, Pietro. She works for the Pegasus Messenger Service and lives with her son in a small, single-fronted weatherboard house in an inner suburb. She is about 25, dark, long hair, good looking and shapely. Speaks English with Italian accent. Does not smoke. Must be able to drive.

'PIETRO JACONELLI: Melina's son. About 4 months old. A very good-looking Italian type babe.

'ENZO JACONELLI: Early fifties. Average height, broad build, dark hair now turning to grey. He speaks English with a pronounced Italian accent. He has come from Italy to meet his grandson for the first time. He is a smart but old-fashioned dresser, likes cigars. His one big interest is his grandson who will carry on the family name. He likes Melina but Pietro is more important to him.

'ELSA HARVEY: Late twenties. Prostitute. One scene.

'JOHN HILLIER: Australian, about 45. A mean man, possessing sufficient business acumen to run a prostitution racket under the cover of legitimate business.

'FATHER DALTON: About 35. Good-looking priest, not afraid to use his fists. A very capable down-to-earth man.

'MRS. MURPHY: Father Dalton's Irish housekeeper. Mid fifties. Inclined to fret and mother her charge, and so comes in for a certain amount of ribbing from Father Dalton.

'CARL HOFFMAN: A big blonde mountain of a man. About 30. Lower class Australian of German extraction. He is Hillier's standover man. He is particularly brutal with women but enjoys bashing anyone. Smokes. Must be able to drive.

'CHRIS TURNER: A hard-faced prostitute known to Ryan from his Police days. She smokes. She is in her late thirties. Once good looking, now worn, but holds her shape well. She speaks with a middle-class accent but uses crim parlance at times. Must be able to drive. Has blonde hair.

'MOTOR CYCLE POLICEMAN:

'DETECTIVE CULLEN: Stock character.

'CAB DRIVER: Australian of Italian descent. One scene, few speeches.'

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'.