AustLit

Another production by Roger Mirams, Runaway Island was a period drama, but like The Terrific Adventures of the Terrible Ten, The Magic Boomerang, and Secret Valley, it focused strongly on independent child protagonists who operated in a world that was either largely without adults or in which the adults were antagonists.

In his Guide to Australian TV Series, Moran notes that the program follows the adventures of two children, Jamie and Jemma McLeod, who

see their father's lands and house in early Sydney Town seized by the wicked Captain Korkle, who has plans to become governor. To escape his soldiers, the children take off with a young pickpocket off the streets. They and other children escape to Runaway Island, an island off the Sydney coast. They are safe there, though they make some dangerous forays back into the town.

Moran notes that the production cost over $2 million, but was left languishing for more than two years before the Seven Network finally aired it. When Seven did air it, it attracted a reasonable audience, and sold in sixteen countries other than Australia.

As with his earlier productions, The Terrific Adventures of the Terrible Ten and The Magic Boomerang, Mirams re-used actors from his previous show, Secret Valley, in this production (namely, the Buchanan siblings).

Designed as an antipodean counterpart to glossy American soap operas Dallas and Dynasty, Taurus Rising (which traced the rivalry of two affluent families, the Drysdales and the Brents) cost $4.5 million to produce, but did so poorly on air that it was rapidly shifted to a weekend timeslot (according to Moran, in his Guide to Australian TV Series) and ultimately ran to only nineteen episodes. It did, however, later sell to overseas markets, where it was marketed as an extended mini-series.

Based on Jeannie Gunn's fictionalised autobiography of the same name, the story begins in 1902 with the arrival of Mrs Gunn and her new husband Aeneas in the Northern Territory. They have come to take over management of Elsey Station, a huge cattle and horse property. She is subsequently forced to battle isolation, disease, and the white stockmen who believe the station is no place for a woman. She befriends the local Aboriginal women, but is mystified by their culture. Her affection for the place and the people is tested by frequent tragedy.

(Source: Australian Screen.)

Set in a small, fictional, New South Wales country town called Wandin Valley, A Country Practice focused on the staffs of the town's medical practice and local hospital and on the families of the doctors, nurses, and patients. Many of the episodes also featured guest characters (frequently patients served by the practice) through whom various social and medical problems were explored. Although often considered a soap opera, the series was not built around an open-ended narrative; instead, the two one-hour episodes screened per week formed a self-contained narrative block, though many of the storylines were developed as sub-plots for several episodes before becoming the focus of a particular week's storyline. While the focus was on topical issues such as youth unemployment, suicide, drug addiction, HIV/AIDS, and terminal illness, the program did sometimes explore culturally sensitive issues, including, for example, the Aboriginal community and their place in modern Australian society.

Among the show's principal characters were Dr Terence Elliott, local policeman Sergeant Frank Gilroy, Esme Watson, Shirley Dean Gilroy, Bob Hatfield, Vernon 'Cookie' Locke, and Matron Margaret 'Maggie' Sloan. In addition to its regularly rotating cast of characters, A Country Practice also had a cast of semi-regulars who would make appearances as the storylines permitted. Interestingly, while the series initially targeted the adult and older youth demographic, it became increasingly popular with children over the years.

The story of a group of people whose lives are entwined through time and circumstances in several ways, from love to murder.

For detailed, episode-by-episode synopses, see Film Details.

A private nurse comes to work for a retired opera singer, known as The Diva, who is now confined to a wheelchair. The Diva's daughter resents the appearance of the nurse, though she herself is stealing her mother's art collection, replacing the works with prints, and stopping at nothing (not even murder) to hide the evidence of her pilfering. But the tense mother-daughter relations are soon the least of the nurse's concerns, as she comes to believe that the house is haunted.

In this made-for television film, an insurance investigator follows the bizarre case of a man struck and killed on a long-abandoned railway track, and finds not only land fraud swindles but also the presence of the supernatural.

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'.

'A diverting comedy caper that takes place on a resort called Sea Island. It concerns an officious manager who is constantly trying to seduce his voluptuous secretary, an assistant manager and his mates with devious schemes for making money, a beautiful blonde not above taking tips for her favours, a pompous politician and his wife and a sex-mad thief.'

Source:

[Television guide], Canberra Times, 13 January 1978, p.16.

A buddy comedy in which two carnival workers head off to Surfers Paradise, looking for women and fun, only to find themselves in possession of a suitcase of marijuana and pursued by the suitcase's original owners.

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

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

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

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

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

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

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

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

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

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

Much like its predecessors The Rovers and Barrier Reef, The Outsiders was predicated on the conceit that the central characters (Pete Jarrett and his grandfather Charlie Cole) were nomadic protagonists: travelling across Australia, they spent each episode in a new location with a new guest cast.

Moran, in his Guide to Australian TV Series, says of the concept that 'They are in effect fictional tourists, a perfect foil for a series that starred a German and a British actor in the lead roles, carried overseas as well as local crew, and British and German investment.'

A co-production with a German production company, The Outsiders had two non-Australian actors in the lead roles: German actor Sascha Hehn as Pete and Scottish actor Andrew Keir as Charlie. Don Storey, in his Classic Australian Television, notes that Hehn's dialogue was over-dubbed by Andrew Harwood, because Hehn's English was deemed to be too heavily accented. Storey concludes that

In most episodes, The Outsiders has a storyline that is effective in its simplicity. There is plenty of action and stunt work, but it's the interplay between the characters and the understated atmosphere of the series which gives it depth. Technically, the series is excellent, with superb camera work, skilful writing, good direction and competent acting. The only minor criticism is the dubbed voices of the German actors.

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

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

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

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

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

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

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

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

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

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

'GREG WATKINS. Established.

'PATHOLOGIST. Mid to late 30's.

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

'BALLISTICS MAN. Actual.

'TASSIE UNIFORMED MAN. Actual.

'CRAIG'S NEXT DOOR NEIGHBOUR. Housewife.

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

'TWO AMBULANCE MEN: Actual.

'TASSIE MOTOR CYCLE COP. Actual.

'TWO TASSIE C.I. MEN. Actual.

'MOTORIST. Actual.

'UNIFORMED CONSTABLE.'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'SECOND FEMALE CUSTOMS OFFICER: Late thirties.

'TELEVISION ANNOUNCER: Voice only.

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

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

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

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

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

'GARY: Voice over.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

problems.

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

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

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

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

These character notes are replicated on the casting call sheets.

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

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

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

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

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

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

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

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

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

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

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

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

'TWO BOATIES:

'UNIFORM POLICEMAN'.

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

'IAN TAYLOR: 35 years. Tall, slim athletic build. A determined handsome face. Well spoken. Good education. Businesslike manner. A senior shipping clerk who steals a vast sum of money belonging to his employer. He has an air of industrious respectability; is supposedly happily married, but is deeply involved with a young female employee. He is completely ruthless and selfish. Able to drive.

'FRAN TAYLOR: 30/33. An attractive woman with poise and dignity. She loves her husband ... trusts him ... and although she has had doubts about his past behaviour ... overlooks it and tries to deny to herself and others his essential weakness. Well spoken ... good carriage and grooming.

'"FRENCHY" RENAUD: 32/35. Detective Sergeant in Sydney N.S.W. Police. A good friend of Banner's .... a real mate able to see eye to eye with him. He assists Banner in Sydney. He knows Sydney ... its characters ... its criminals. It's his town. He was born and raised there. Physically tough ... mentally sharp ... and a happy Australian nature. Not taller than Banner. Able to drive (N.S.W. Licence).

'JIM FLOYD : 27/29. Detective in Sydney, N.S.W. The same physical build as Taylor. (He must wear Taylor's suit) Renaud's offsider. Friendly. Tough. Willing Australian.

'LILY "REID": A dear old darling duck of a twister. Late middle aged. A shrewd faggot who deals in pornography and forgery from her Sydney studio home. She is "awfully far-out English" ... could be the bishop's wife ... is eccentric ... the oldest flower girl in Sydney. Like Elsa Lanchester doing her "thing".

'MR. CLAYBURN: 50/60. Small .... fat ... pompous ... useless and dithering shipping office departmental manager.

'KAREN BAXTER: 26/28. Very attractive female in shipping office. Sexy flirt. Good full figure. Speech good. Intelligent. Good leg appeal. An affinity with Taylor which causes her to be suspect.

'SARAH ROBERTS: 17/19. A young typist in the shipping office. She looks like a sweetly innocent girl not long out of school; not yet fully developed physically. She seems shy ... gauche ... but she possesses the cunning to fool everybody; to conceal the fact she is heavily involved with Taylor. Unscrupulous. Stupid.

'NEIL BRYANT: 19/20. Assistant cashier in shipping office. Not physically large. Quiet ... well spoken. Nervous. He handles the cash; is escorted and robbed and assaulted by Taylor.

'CHIEF PURSER: 45/50. He waits to receive the money on his ship ... the "Madrigal". No dialogue. Hefty appearance.

'KITTY: 25/30. A photographic model with a stunning figure. Able to strip and pose convincingly. She poses for Lily's porno art.

'BERT: 25/35. A stud bull type. Photographic model with a good physique. He poses for Lily's porno art.

'TWO RED DE LUXE TAXI DRIVERS: ... Actual Sydney cabbies. Try for one female to make a change. (Red de luxe is the Sydney tie-in company). No dialogue.

'ALEC PERRY: 40/45. Friend of Detective Sergeant Renaud. Owns small boat. Finds attache case stolen by Taylor. Australian. Cheerful type. Healthy extrovert.

'MRS. FINNEY: 50/60. Owns boarding house where Taylor stays. A rugged individualist ... cheerful ... Australian. Must have been a doll.

'TWO OR THREE ACTUAL UNIFORMED N.S.W. POLICE: ... If available and co-operative. No dialogue.'

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

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

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

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

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

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

'NEIGHBOUR: Male, married. Any age.

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

'HOWARD WALKER: 36. Corpse.

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

'JENNY ROBINSON: Prostitute. Young, brazenly attractive.

'PHOTOGRAPHER:

'DESK SERGEANT:

'SENIOR CONSTABLE BILL HARRIS:

'MOBILE CONSTABLE:

'GARAGE MAN:

'WAITRESS - MOTEL (BENALLA):

'WAITRESS - SERVICE STATION (BENALLA): Actual.

'GENERAL MANAGER: Of Boot Factory.

'FIRST LAIR:

'SECOND LAIR:

'SERGEANT (BENALLA):

'BYSTANDERS: Actual.'