Script by Spike Milligan
GREENSLADE: This is the BBC Home Service. And candidly, I'm fed up with it. [2]
SECOMBE: Have a care there, Wallace,
otherwise I'll be forced to speak to John Snagge.[3]
GREENSLADE: My dear fellow, everybody
has to be forced to speak to John Snagge.
SECOMBE: Come – curb those biting
cynicisms and permit me to present the highly esteemed Goon Show.
GRAMS:
Old fashioned gramophone recording.
MILLIGAN: Stop! Hoo hoo hoo! Stop that
sinful American music! Secombe – take off those carbon plus-fours [4]
and listen to the story entitled – ‘In Honour Bound'.
ORCHESTRA:
Dramatic introduction.
SEAGOON: My name is Neddie Seagoon. I was
a gas meter inspector. It all began the day of the annual general board meeting
of the South Balham Gas Board.[5]
GRAMS:
Heavy murmurs.
OMNES: (Various
asides and interjections.)[6]
FX: Gavel on bench.
CRUN: Gentlemen – I have here the
books for the er, um… financial year just ended, and by the look of them gas is
here to stay. I am glad to say that the South Balham Gas Colossus has made a
gross profit of no less than three pounds twelve shillings and ninepence. It
proves that hard work pays. Now then..
OLD UNCLE OSCAR: Have you seen my teeth?
CRUN: You left them on your saxophone.
OLD UNCLE OSCAR: Oh yes.
OLD CRUN: Now then, I'll read the vital
balance sheets.[7]
Credits; sales of rare gases, eighteen pounds. Expenses; one bag of coke, eight
and eightpence; electric fire for office heating, two pounds, eleven and
fourpence; replacing light bulbs in Gas Board's premises, thirteen shillings
and tenpence; saxophone lessons for Chairman's wife, three pounds, eight
shillings and ninepence...
BANNISTER: (Distant) Do we have to pay for saxophone lessons, buddy?
CRUN: Oh yes, yes, yes. You never know
when it might come in useful.
BANNISTER: It’s sinful!
OLD
UNCLE OSCAR: What about our lads in
CRUN: Next we have the er… (Fibrillations) Ooh! – aah! – oooh! I've
overlooked an entry here – an outstanding debt of four pounds, nineteen
shillings and sixpence!
GRAMS:
Wailing.
CRUN: Don't worry! I shall set this
right at once. (Calls) Ned Seagoon?
FX:
Door opens.
SEAGOON: Gas meter inspector Seagoon
reporting for duty, sir.
CRUN: Seagoon, go to this address and
serve them a seven-day final notice.
SEAGOON: Yes sir. What's this? President Fred, Casa Rosa, Avenida Varest?[9]
That's
CRUN: Ohhoho – is it? Then you'd
better borrow the Gas Board's bicycle.
SEAGOON: But sir, it's overseas.
CRUN: (angrily) What is our bicycle doing overseas?
SEAGOON: No, no. I mean
CRUN: Well, you must have it
waterproofed, that’s all.
SEAGOON: Oh, thank you, sir...
CRUN: You can't get the wood you know.
SEAGOON: ...I hadn't thought of that.
Well, goodbye sir.
OMNES: (variously) Goodbye! Bye bye Neddie – ta ta.
GREENSLADE: Dear listeners, you doubtless
are wondering how it is that the South Balham Gas Board supplies gas to
SEAGOON: Yes. On arrival in
ORCHESTRA:
Bloodnok Theme. Segue into Spanish
flamenco introduction – end with guitar.[10]
BLOODNOK: (singing) Ah! Oooooh! The heat! The heat![11]
Gladys?
ELLINGTON: Si, señor?
BLOODNOK: Turn off one of those women and
put some more ice on the fire, will you.
FX:
Knock on door.
BLOODNOK: (fear) I surrender. (Wearily)
Who's there?[12]
SEAGOON: (off) Ned Seagoon, South Balham Gas Board.
BLOODNOK: Quick! Burn the books. Tear up
those revolting postcards. Chase those women out of my room. Take all those
'For Sale' signs off the furniture and help me get the floor back under this
carpet. (Straining) Arghh![13]
Come in!
FX:
Door opens.
SEAGOON: Good morning.
BLOODNOK: I'm sorry your journey's all
been wasted. I posted the account books back to Balham this morning. Goodbye! Get
out of here. Goodbye!
FX:
Door slams. Loud knocking.
BLOODNOK: You can't come in. I'm in the bath.
SEAGOON: (off) What are you doing in the bath?
BLOODNOK: I'm – I'm watching television.
SEAGOON: (off) What's showing?
BLOODNOK: My dear fellow – nothing. I've
got a towel round me.
FX:
Door opens.
SEAGOON: Now, look here, Major – enough
of this tomfoolery.
BLOODNOK: Do you play the saxophone?
SEAGOON: Only during the mating season.
Now look here – I'm here to deliver a final demand notice to a President Fred.
Now, how do I contact him?
BLOODNOK: Come to this window, lad...
FX:
Window raised.
GRAMS: Distant
rifle fire. Ricocheting bullets. Continue under.
BLOODNOK: That white house in the square
is President Fred's headquarters.
SEAGOON: But how can I get through that
hail of bullets?
BLOODNOK: Well, er – look, be outside the
back door at midnight. I shall send a man to guide you.
SEAGOON: Very well. But remember – if I'm
not back within seven days, don't hesitate to cut off their gas supply.
Farewell!
FX:
Door slams.
FX:
Phone dialling.
BLOODNOK: (sings over) "The Man From
MORIARTY: (on phone) Yes. Do you play the saxophone?
BLOODNOK: Only in the mating season.
Listen, there's a Charlie from Balham coming over to collect a gas bill from
President Fred. It's only three pounds, twelve shillings and ninepence.
MORIARTY: (on phone) Bloodnok, that money was paid to you last month.
BLOODNOK: Yes I know, I know, I know. But
look, be a good fellow and settle it up.
MORIARTY: (on phone) Sapristi yakkabakakas! How can we pay him? President
Fred has vanished with all the money. I think you'd better come over here right
at once.
BLOODNOK: Very well I will, pausing only
for Max Geldray.
MAX GELDRAY -
"Have You Ever Been Lonely" [15]
GRAMS:
Rifle fire and ricocheting bullets.
SEAGOON: That night at
THROAT: ‘Evening Neddie.
SEAGOON: Good evening, mother. But wait –
who is this approaching, wearing an anthracite tie, lead waistcoat, with an
electric guitar plugged into the train line?
ECCLES: Ahem. Are you Neddie Seagoon?
SEAGOON: I am.
ECCLES: Oh good. You been waiting long?
SEAGOON: Yes.
ECCLES: Who for?
SEAGOON: You, you idiot. Now, how do I
get through the firing line to President Fred's headquarters?
ECCLES: How do you get there? – you go
straight up that road there.
SEAGOON: But they're shooting down it.
ECCLES: Oooh. Don't go that way. You
take this road here. They're not shooting up that one.
SEAGOON: That road doesn't lead to it.
ECCLES: Oh, don't take that one.
(sings) "I talk to the trees,
that’s
why they…"[16]
SEAGOON: Any other ideas?
ECCLES: Yeah. D’you play the saxophone?
SEAGOON: No.
ECCLES: Well, I'd better be getting
along now.
(sings) "I talk..."
SEAGOON: Don't go! Look, I've got an
idea. The sewers – that's how we'll get there. Quick! Down this manhole.
GRAMS:
Heavy metal plate falls onto hard
surface. Two splashes. Wading sounds.
SEAGOON: (Heavy echo) Now, I'm going to roll up my trousers.
ECCLES: Why?
SEAGOON: (Proudly) I've got nice legs.
ECCLES: You naughty, naughty man.
SEAGOON: (The man from Llanelli!)[17]
Wait – what's that ahead?
ECCLES: It's a head.
SEAGOON: Yes, but whose it is?
BLUEBOTTLE: It is mine, my Captain. (Thank
you for the sausages.)
SEAGOON: Who are you, little
cardboard-clad frogman?
BLUEBOTTLE: I will give you a musical clue.
Close your eyes first. Have you got them closed? Right. Moves left, picks up
flannel zither.
(Sings – to tune of the theme from Harry Lime)
Plingta-plungta
pling de-pling…
Plingtee-plungtee
plung de-plung…
Knickey
knackey noo,
Knickey
knackey noo,
Pling-tong
pling tittie plung…
Pling
de-pling de-dittie-plung
de
ying-tong idle-eye-poh. DOH!
Knickey-noo
de-yekkey plung, DUNG!
Pling
de-knickey mucka mung tum pling!
ECCLES: I know! The Man from
BLUEBOTTLE: You rotten swine, you.[18]
I'm not the Laramie-type man – I'm the Hairy Lion-type man.[19]
Goes into second chorus.
(Sings – as before) Littet buttle…
SEAGOON: Save that lovely voice. Tonight
is not the Harry Lime game – tonight is the South American President Fred game.
BLUEBOTTLE: Ooh! Do not go den. Wait for me!
Wait! Quickly throws away silly old zither, makes brown paper lariat, reverses
Mum's old drawers to make cowboy trousers and picks up hair and fibre banjo. 'OLE!
'OLE! No, wait a minute, I've not said that right – it’s OLÉ! That’s it. It's spelt 'ole. I’m ready for the new
game. Ride, Vaquero! Ride! [20]
SEAGOON: Well done, little
thrice-adolescent hybrid.[21]
Lead me to President Fred's headquarters and this quarter of liquorice
all-sorts is yours.
BLUEBOTTLE: Oooh liquorish! Oo I like this,
it's good. Thinks – I must be careful how many of those I eat. Right Capitain –
quick, jump onto this cardboard boot-box. Hurriedly wraps up Capitain in brown
paper parcel labelled ‘Explosives’ and stuffs it into headquarters letter box.
Jumps onto passing dustcart and exits left to buy bowler before the price goes
up. Thinks – there was not a very big part for Bluebottle this week, was there?
GREENSLADE: By the magic of liquorish, the
scene now changes to the Suspicious Parcels Testing Chamber in President Fred's
headquarters.
MORIARTY: (Approaching) Grytpype, this mysterious parcel has just arrived by
mysterious parcel post – mysteriously.
GRYTPYE: Right, Moriarty. Steam the stamp
off and cash it.
MORIARTY: Right. Sapristi yuck-a-kukka-kukka-kukka-a-koo!
I don't like the expression on this parcel's label! I wonder what's in it.
FX:
Phone rings. Receiver up.
GRYTPYE: (Just a moment). Hello?
SEAGOON: (on phone) I'll tell you what's in the parcel. It is I – gas meter inspector
Neddie Seagoon, South Balham Gas Board. You have seven days to pay a gas bill
of three pounds, twelve and nine.
GRYTPYE: Oh! Do you play the saxophone?
SEAGOON: Only occasionally. Now remember,
you have seven days to pay. You can post your cheque to me, care of this
parcel.
FX:
Phone down.
GRYTPYE: Moriarty?
MORIARTY: Yes?
GRYTPYE: Open this parcel.
FX:
Large parcel-unwrapping noises.
BOTH: (Struggling sounds. Extended improv.)[22]
SEAGOON: Ah! Thank heavens you arrived – the
string was getting rather tight.
FX: Receiver down.
GRYTPYPE: Yes.
Moriarty, make a hole in the parcel. Insert the nozzle of this hose and turn it
on, so –
GRAMS: Running
water.
FX: Phone rings. Receiver up.
GRYTPYPE: Hello?
SEAGOON: (Underwater) Bobbleobbleobbleobble –
plumber!
FX: Phone down.
GRYTPYPE: That’ll do
Moriarty. I think he’s had enough. Open it.
FX: Unwrapping sounds.
SEAGOON: … the roof
was leaking. Now then, what about this gas bill? President Fred owes the South
Balham Gas Board three pounds, twelve shillings and ninepence.
GRYTPYE: Look, I’ll tell you what. Go
down to the basement, read the meter and just make sure.
SEAGOON: Right. Come, Eccles.
FX:
Door opens and shuts.
GRYTPYE: Good. That will give us
breathing space Moriarty.
MORIARTY: Good, good, good!
GRYTPYE: I say, how empty the room is
without him.
GRAMS:
Rifle fire – ricocheting bullets.
Crescendo gradually under.
MORIARTY: Sapristi! The
counter-revolutionaries with tanks are attacking.
GRYTPYE: We've got to evacuate.
MORIARTY: Why?
GRYTPYE: The rent's much too high here. (Going) Pack the floor – we're leaving.
MORIARTY: I'll bring the ceiling.[23]
FX:
Door slams shut.
GRAMS: Swell sounds of battle.
FX:
Door being smashed down.
GRAMS: Add
running boots approaching.
OMNES: (Various shouts – “Arriva!” “Arriva!” &c)
GEN. ASTON VILLA: AH-HA! So – the cowardly swines
have run away. They’re frightened of il General Aston Villa.[24]
Run up my personal flag!
FX:
Door opens.
SEAGOON: Right, gentlemen, I've checked
the meter and the bill is exactly four pounds.
GEN. ASTON VILLA: What are you talking about, you
miserable English creep?
SEAGOON: Come, come, Mr. Grytpype! You
can't fool the South Balham Gas Board with those childish disguises and silly
changes of voice. Hahaha! (Suddenly
serious) Four pounds, please.
GEN. ASTON VILLA: There is – I think, some
mistake, señor. We have just taken possession here this very minute. We only
just lit the gas.
SEAGOON: Good heavens! Ooo – I'm
dreadfully sorry. In that case you couldn't have used more than a therm or two
could you? (Uncomfortable laughter.)
Hahahaha…ahem. I'll go down and read
the meter again. Excuse me.
FX:
Door closes.
GEN. ASTON VILLA: When he comes up, pay the bill,
and then keel ‘im.
GRAMS:
Heavy burst of rifle fire.
OBREGÓN:[25] Queeck! The
President Fredists are attacking!
GEN. ASTON VILLA: (Going) Everybody retreat!
OMNES: (General panic.)
GRAMS:
General stampede – boots running into
distance, cries and screams.
FX:
Door slams shut.
FX:
Door opens.
GRYTPYE: Well done, Moriarty – well done!
What a beautiful counter-attack. We couldn't have continued to hold their
headquarters anyway. Three pounds, ten shillings a week – it's quite
impossible!
FX:
Door opens.
SEAGOON: Well, gentlemen, I've read the
meter and you were quite right. You've only put on one more therm – so that’s one
and six please.
GRYTPYE: Right. Here's a photograph of
two shillings.
SEAGOON: Thank you. And here's a
photograph of sixpence change.
GRYTPYE: Thank you.
SEAGOON: Wait! Wait! It's you back again!
You've cheated me. You're the people who owe the three pounds, twelve shillings
and ninepence.
GRYTPYE: Oh no, that's President Fred's
responsibility. Go and see him – room five-oh-nine.
SEAGOON: I will. I will. I will. I will… But
wait! Who is this approaching, riding a kilted monkey and carrying a mackintosh
saxophone? Why – it's Ray Ellington!
RAY ELLINGTON QUARTET - "Birth Of The Blues"[26]
GREENSLADE: Here for idiots is a résumé. The
revolution so far.
GRAMS:
Heavy rifle fire with ricochet of
bullets.
GREENSLADE: Thank you. Chapter Two.
FX:
Knocking on the door.
BLOODNOK: Cor blimey-o! El knock-o on the
door-o. Come in-o.
FX:
Door opens.
SEAGOON: Good morning, President Fred.
I've come to collect... Wait a minute – you don't look like President Fred.
You're Major Bloodnok.
BLOODNOK: Nonsense.
BLOODNOK: And you can soon find out. Phone
him on the telefonico at this number-o: three-o nine-o.
SEAGOON: By gad, I will...
FX:
Receiver up. Dialling.
SEAGOON: (over) I'll soon call this cunning bluff.
FX:
Phone rings.
BLOODNOK: Excuse me a moment.
FX:
Phone up.
BLOODNOK: Hello. Three-o nine-o here.
SEAGOON: Who's that speaking?
BLOODNOK: Major Denis Bloodnok.
SEAGOON: Oh! I'm sorry. There's a man
here whom I've accused of being you.
BLOODNOK: Why?
SEAGOON: He's your living image. He even
sounds like you.
BLOODNOK: Nonsense – goodbye!
FX:
Phone down.
BLOODNOK: (to Seagoon) Well, you doubter – you see?
SEAGOON: But if you're President Fred,
there's a gas bill here which now stands at four pounds.
BLOODNOK: Oh! Right, well I'll pay you.
Here's a photograph of a four pound note.
SEAGOON: Thank you very much. Now I can
report back to Major Bloodnok, '
FX:
Door slams.
BLOODNOK: Good, he's gone.
(Slight pause)
FX:
Door opens.
MORIARTY: Ahhie-hoo! Bloodnok – you got
rid of him, then? Splendid. We for our part – we got rid of President Fred.
BLOODNOK: You mean to say...?
MORIARTY: Yes, yes, yes. He gave us all
his moolah to smuggle him out of the country.
BLOODNOK: Well done – well done lad. Now
to divide his fifty million.
MORIARTY: Sapristi nyuckles, yes. I have
it here in this red sack.
BLOODNOK: Good. We'll split evenly. I'll
take the money and you take the sack.
MORIARTY: No. Why should I get the lion's
share? You have the sack and I'll take the money.
BLOODNOK: Listen, Moriarty. Let us settle
this thing amicably.
FX:
Pistol shot.
MORIARTY: Oh!! Sapristi yong-tong! Dead!
FX:
Thud of body to floor.
BLOODNOK: Good heavens – that pistol was
loaded! Poor, poor Moriarty. I wonder if he played the saxophone. (Calls) Taxi!
GRAMS:
Taxi driving off at speed.
(Slight pause)
FX:
Door opens.
GRYTPYE: (Entering) Has he gone, Moriarty?
MORIARTY: Ha ha! Yes. He swallowed the
bait, hook, line and sinker. I gave him a pistol with a blank cartridge and he
took the red sack full of the forged bank-notes.
GRYTPYE: Splendid. Splendid. I've got the
genuine money here in this blue sack. Now, you go to the airport, Moriarty, and
arrange to buy two air tickets.
MORIARTY: At once.
GRAMS: Single
whoosh.
FX:
Door shuts.
GRYTPYE: Fifty million, eh?
(Sings to himself – to the tune of ‘April in
‘Christmas
in
millions
of moolah…’
FX:
Door opens.
ECCLES: (singing) ‘I talk to the trees,
But
they all put me...’
Hallo! Ooo! I see you got that old red
sack full of them forged notes ready to fool old Bloodnok, then, eh? (Laughs) Ha ha hum! Hey, that was a good
idea of yours having me pack the two sacks, eh?. That was fine, fine.
Here, where's the blue sack with the real stuff?
GRYTPYE: This is the blue one.
ECCLES: Ooo! That fella was right then.
GRYTPYE: What fellow?
ECCLES: That oculist fellow who said I
was colour-blind.
GRYTPYE: You mean Bloodnok's got the real
money?
ECCLES: Yeah.
GRAMS: Single
whoosh.
ECCLES: (Singing to himself)
‘I
talk to the trees,
that's
why they put me away...’ [28]
FX:
Door opens.
ECCLES: (Continuing
to sing) ‘I got that melody divine…’[29]
BLUEBOTTLE: Has Mister Grytpype gone,
Eccles?
ECCLES: Yeah. Yeah.
BLUEBOTTLE: He, he! And left us the blue
sack with all the real money?
ECCLES: Yeah.
BLUEBOTTLE: ECCLES: (Improv. childish laughing and ‘tee-hee’s’.)
BLUEBOTTLE: I like this game, don't you
Eccles?
ECCLES: The money game...
BLUEBOTTLE & ECCLES: … the big money game!
(Singing together) ‘ Christmas in
plenty
of moolah...’
GRAMS:
Orchestral excerpt of flamenco.
FX:
Door opens.
BLOODNOK: (breathlessly) Juan! Pack everything. I've millions of moolah. I
must leave before Neddie gets back.
JUAN-INGTON: You'd better take that President
Fred makeup off.
BLOODNOK: What? Oh yes – there!
FX:
Door bursts open.
SEAGOON: Major Bloodnok – my mission's
completed. Here's a photo of a four pound note.
BLOODNOK: What!? Wait! Wait! Wait! This
note in the photograph... it's a forgery!
SEAGOON: Oh no. Gad, I've been tricked! (Leaving) Bloodnok, I'll go right back.
FX:
Door slams.
BLOODNOK: (hums) ‘Christmas in
let
me count the moolah’.
FX:
Door opens.
MORIARTY: Aeeioughoo! Hands up!
BLOODNOK: What! Put down that
double-action hydraulic-recoil eighteen-inch Howitzer.[30]
MORIARTY: No! It belonged to my mother.
BLOODNOK: What do you want?
MORIARTY: Give me the sack of
money.
BLOODNOK: Come, come, Moriarty. Old
friends mustn't fall out.
MORIARTY: Very well – we'll settle this
amicably.
BLOODNOK: How?
MORIARTY: Like this.
FX:
Shot.
BLOODNOK: Argh! Shot through me gaiters!
MORIARTY: Sapristi, ying-ting-iddle-I poh.
Got him!
FX:
Door opens.
GRYTPYE: Is he dead?
MORIARTY: Yes.
FX:
Shot.
MORIARTY: Ooooh! I'm shot in the kringe!
FX:
Thud.
GRYTPYE: Got him.
FX:
Door opens.
SEAGOON: Grytpype!
GRYTPYE: Hello, Neddie.
SEAGOON: What are these men lying on the
floor for?
GRYTPYE: We haven't got any carpets.
SEAGOON: Oh! Look – Eccles told me that
Bloodnok ran off with a red sack full of bank-notes, believing them to be real.
GRYTPYE: And weren't they?
SEAGOON: No. The real ones are with
Eccles.
GRYTPYE: Oh!
GRAMS:
Single whoosh.
FX: Door shuts.
(Short pause.)
FX: Door opens.
ECCLES: (Singing.) ‘I talk…’
Ooo! Hullo. Has he gone?
SEAGOON: Yes.
ECCLES: Fine, fine,
fine. Fine, fine, fine. You know, I'm not really colour-blind at all. (Giggles) I only said that to fool
Bluebottle. That blue sack you're holding is full of the real stuff.
SEAGOON: Blue? This is a red sack.
ECCLES: Ooooh. Then you got the
wrong stuff! Bluebottle's got the real stuff.
SEAGOON: Then I must find him and collect
the Gas Board's four pounds from President Fred's treasure. Farewell!!
FX:
Door shuts.
ECCLES: Fine. (Sings) ‘I'm only a strolling vagabond,
so goodnight ...’[31]
(Slight pause)
FX:
Door opens.
BLUEBOTTLE: Has he gone, Eccles?
ECCLES: Yup, yup.
BLUEBOTTLE: And now we have both sacks – the
red one and the blue one. We have both sacks. This is a good game you know,
that what is. This is what is I’m liking this game. Eccles, which sack has the
real money?
ECCLES: The blue one.
BLUEBOTTLE: Then we’ll split it fifty-fifty.
You take that nice red one and I'll have this rotten, stinking, old blue one.
ECCLES: Fine, fine.
BLUEBOTTLE: And you're quite sure that you're
not colour-blind, Enccules?
ECCLES: Oo no, I'm not colour blind.
BLUEBOTTLE: Oh! Well, goodbye Enccles..
FX:
Door shuts.
ECCLES: Goodbye, Red-bottle.[32]
GREENSLADE: Three weeks later, at the head
office of the South Balham Gas Board.
FX:
Knock on door.
MANAGER:[33] Come in.
FX:
Door opens.
ORCHESTRA:
Violin solo - 'Hearts and Flowers'.
MANAGER: Secombe, put that blasted violin
down and get up off your knees. Here, I'll hold that celluloid baby.[34]
ORCHESTRA:
Violin Out.
SEAGOON: Please sir, I know I failed to
collect that bill, but – couldn't I have my old job back?
MANAGER: I'm sorry, it's gone. Allow me
to introduce our new gas meter inspector, Balham area – President Fred.
BLOODNOK: I’m pleased to meet you.
SEAGOON: Oh no!
BLOODNOK: Yes! Yes!
ORCHESTRA: Dramatic
link.
GREENSLADE: Meantime, on
the Isle of
ORCHESTRA: Guitar
music accompaniment.
ECCLES: (Singing) “Oh sole mio…”[35]
(Calls) Hey, manager! My bill.
GRYTPYPE: Yes sir. Let
me see now sir. Eggs on toast and a small pot of tea – that makes just fifty
million pesos.
ECCLES: Oh, that’s
okay. I’ve got it all here in this blue sack.
GRYTPYPE: But that’s a
red sack.
ECCLES: Oooh!
ORCHESTRA:
End theme starts.
GREENSLADE: Stop! Stop,
please.
ORCHESTRA: Music
out.
GREENSLADE: If the cast
will just gather round, the BBC cashier will pay them for the last overseas
repeat in pesos from this blue sack.[36]
SECOMBE: But that’s a
red sack.
SELLERS: Blue.
MILLIGAN: It’s green…
ORCHESTRA:
End theme.
GREENSLADE: That was The Goon Show - a BBC
recorded programme featuring Peter Sellers, Harry Secombe and Spike Milligan
with the Ray Ellington Quartet and Max Geldray. The orchestra was conducted by
Wally Stott. Script by Spike Milligan. Announcer Wallace Greenslade. The
programme was produced by Peter Eton.
ORCHESTRA:
'Crazy Rhythm' Playout.[37]
YTI
[1] In an
effort to vary the location in which he set the Goon Shows, Spike occasionally
sent his cast to
Whereas ‘The Affair of the Lone Banana’ was influenced directly by the invasion of Guatemala in the summer of 1954, ‘Foiled By President Fred’ was influenced directly by the disastrous and violent end to the presidency of Juan Perón in Argentina on September 16th 1955, less than two months before this show was aired. The ‘Revolución Liberadora’ of 1955 ended President Perón’s second presidential term – a reign which had experienced a 70% devaluation of the peso, a 50% inflation rate and atrocious unemployment, harassment and intimidation of opponents and the gradual collapse of the country into chaos – but not before Perón had unleashed waves of terror against his critics.
The armed forces, split in their allegiance to the state
or to Perón, blockaded the Río de la Plata, strafed garrisons, and fought
running battles with each other across a number of provinces. Perón himself,
realising the country was fast descending into civil war, eventually resigned
and sought asylum in
[2] Unwittingly – and with amazing
prescience, Milligan forecasts one of the great events of the 20th
century with this comment. One month to the day after Greenslade complained of
being ‘fed up’, a 42 year old black American woman took a seat in the whites
only section of a bus in
"I was fed up. It was not that I was just fed up in December 1955,
I'd been fed up my whole life as far back as I can remember with being treated
as less than a free person."
[3] John Derrick Mordaunt Snagge OBE
(1904-1996). A long time BBC newsreader and commentator. He was one of
Milligan’s biggest supporters within the corporation, placing his career on the
line on behalf of Milligan on numerous occasions.
[4] The published script – (P.S.), has ‘sinful music’ and ‘carbon-paper plus-fours…’ The addition of the word American here,
clarifies the direction of the script, reminding us that many people in this
era thought the
Plus
fours were longer than the traditional knickerbockers, reaching four inches
below the knee.
[5] Balham, in the south of
[6] Amongst the asides one can hear an
Old Uncle Oscar ask, “What about our lads
at Ladysmith?” Ladysmith is a town in
[7] A distant interjection; “Hear! Hear!” It sounds like Sellers
(which is impossible) but is most likely Spike.
[8] Again this was a reference from the
second Boer War. The city of
[9] The P.S. contains the full address –
“President Fred, Casa Rosa, Avenida Varest,
[10] I am reasonably certain that the
orchestra plays this – however the printed script says that this Flamenco
introduction is a ‘grams’ recording.
[11] ‘The
heat! The heat!’ was a catchphrase Milligan had tried out earlier in ‘The Booted Gorilla’ (10/5th),
in 1954.
[12] Milligan had been trying to paint
Bloodnok more and more as the archetypical military coward lately. This was the
third time in the series so far that Bloodnok had been cowed into surrender by
a simple knock on the door. The other occasions are in ‘The Man Who Won the War’ (1/6th) and ‘Rommel’s Treasure’ (6/6th).
[13] Another instance of Milligan’s
‘transference of function’. A central tenet in his concept of existence
was that all things lived-in were interchangeable due to their identical
functions. Spike considered that
clothes, rooms and buildings were similarly entities – they are ‘lived-in’,
that is to say they cover, shelter and dress a human, therefore in his world of
things-out-of-order with each other, these particular images were perfectly
able to be re-ordered or exchanged. Rooms could therefore flee to
[14] ‘The
Man From
[15] A popular standard published in 1932,
and written by De Rose and Brown.
[16] The song Eccles is singing is, ‘I Talk to the Trees’ from “Paint Your Wagon’ by Lerner & Loewe.
[17] A town in Carmarthenshire,south
[18] Eccles’ aside: “Take your hands off me.”
[19] An important reference. He means ‘Harry
Lime’, the central character of the multi-award winning film ‘The Third Man’, the theme music of which
was written by Anton Karas, a Viennese zither player. Released in 1949, the script was written by
Graham Greene, directed by Carol Reed and starred Orson Welles (as Harry Lime),
Joseph Cotton and Trevor Howard. It is still considered one of the top ten
mystery films of all time, and a true representative of the new, gritty,
cynical age of film-making later known as Film Noir.
A
radio drama series based on the adventures of the Orson Welles character Harry
Lime was broadcast on the BBC from 1951 – 52, with several of the episodes
penned by Welles himself (including an episode entitled ‘Ticket to Tangiers’ which Moriarty refers to in ‘The Moon Show’ (18/7th) early
in 1957). Most episodes would
begin with “The Third Man Theme” being played, abruptly
cut off by an echoing gunshot. Then Welles would announce: “That was the shot that killed Harry Lime.” The BBC went on to produce another
series of “Harry Lime” from 1959 to
1965. Made for television, and syndicated in the
[20] This is a spoof on a 1953 western
film from MGM entitled “Ride Vaquero!”,
starring Robert Taylor, Ava Gardner, Howard Keel and Anthony Quinn. Nowadays it
is considered a pretentious, rhetorical horse-opera. The Spanish word Vaquero
means ‘cowboy’ and is supposedly the source of the western term ‘buckaroo’.
[21] Another Shakespearean mannerism.
Milligan suddenly started imitating the bard’s Elizabethan turns of phrase in
episode five, ‘The Case of the Missing CD
Plates’ and continued it in the following show ‘Rommel’s Treasure’. ‘Thrice-adolescent’ is akin to such
expressions as: “thrice-noble…” (King
Richard II: III, iii), “Love’s thrice repoured nectar.” (Troilus and Cressida: III, ii), “my
thrice-puissant liege…” (King Henry V: I,
ii) and, “what a thrice-double ass…” (The
Tempest: V, i). It is likely that Spike had recently seen the film ‘Richard III’, a major hit at that time
for Laurence Olivier.
[22] Milligan improvises, struggling with
the parcel.
MORIARTY: Right. Together. (Straining) You’re the strongest – you take the brown
paper. I’ll take the string.
[23] See also reference #7.
[24] Sellers pronounces this correctly in
Spanish. H before i or e sounds like ‘ch’ in ‘loch’. The P.S. writes it as
‘Heneral’. Aston Villa is a football club based in
[25]
Milligan. In a single
revealing reference, Spike shows that he was aware of some of the figures in
Southern American history. Álvaro Obregón (1880-1928) was President of Mexico
from 1920 until 1924, and was assassinated three years later, just after
winning the 1928 presidential election. I assume Spike plucked this
Latin-American political name out of his mental box of facts, as Obregón had
nothing to do with the Argentinean conflict.
[26] One of
the defining compositions of the blues era, ‘The Birth of the Blues’ was published in 1926, with lyrics by
DeSylva and Brown, set to music by Ray Henderson. It is now acknowledged that
the ‘blues’ was the secular equivalent of gospel music, and – just as gospel
music was the only way for slaves to express their lives in song, so the blues
was the only way for the newly emancipated black workers and share-croppers in
the South to do the same. As one commentator later said: “The blues did not come from books. Suffering
and hard luck were the midwives that birthed these songs. The blues were
conceived in aching hearts.”
Despite the musical depth of the Southern States black communities, many of the traditional blues numbers were not discovered or notated down until later in the century, while this early number, (a sensational piece in its own right) was actually an imitation, having been written by three white men – a Yank, a Russian émigré and the son of a Portuguese actor.
[27] This
tune originated from the 1932 Broadway musical ‘Walk a Little Faster’, written by Duke and Harburg. Grytpype and
Moriarty were getting into the habit of singing it in moments of triumph.
Milligan had first visited
‘As I write this nearly forty years later, I can still feel the warmth
of that spring day; that one day can cast
such a lasting spell speaks either for my appreciation of life, or that
ancient
[28] Milligan had been using this quote
from ‘Paint Your Wagon’ ever since
the beginning of October, when Eccles first sung it in ‘Napoleon’s Piano’ (4/6th). It was followed by a shorter
version in ‘Rommel’s Treasure’ (6/6th).
Spike must have tired of the joke, as this episode was to be its final
appearance in the Goon Show.
[29] Unknown source.
[30] The 56th Heavy Regiment
Royal Artillery – the regiment in which Spike spent his war years, was equipped
with BL 7.2 inch howitzers (MK.1). The figures that Bloodnok mentions were part
and parcel of the specifications for that cannon, a stop-gap field piece,
designed to fill the urgent need for artillery faced by the Allies in early
WWII. The recoil mechanism however, was the cause of the first meeting between
Spike and Harry Secombe. In
[31] This old chestnut was written by
Edward Kunneke (1885-1953) for the 1923 musical ‘The Cousin from Nowhere’. In the following decade, the BBC produced several radio
programmes in which they introduced the anonymous ‘Vagabond Lover’ – a singer
of romantic songs who used this melody as his signature tune. By keeping the
singer's identity a secret, and aided by the press, the programmes were a great
success. The singer’s actual name was Cavan O’Connor – an operatic tenor who
had turned to popular music, singing under various pseudonyms with Jim
Kelleher, Alfredo, Larry Brennan, Jack Hylton, Percival Mackey, Jay Wilbur and
others. When the singer's identity was revealed, Cavan O'Connor became one of
the highest paid broadcasters in
[32] This is a crucial moment in the Goon
Show. Here for the first time, Eccles comes out on top. Despite his dumbness,
his dimwittedness and his addiction to misheard show tunes and jazz melodies,
Eccles appears to outwit everybody.
Although
Eccles’ victory is not cut and dried, overall it is one of the greatest moments
in the show, and one of Eccles’ best lines.
[33] Milligan.
[34] Spike
means celluloid dolls. Here
Seagoon is replicating the very worst excesses of 19th century
melodramas with his ‘homeless mother with baby-at-arms’ act. Milligan loved the
atmosphere of the music-hall and Edwardian melodramas, and while the Goon Show
has often been likened to the anarchic plots of the Marx Brothers and Buster
Keaton, in actual fact the shows of both the Marx Bros. and Milligan were based
on the melodramatic theatrical traditions of the 19th century.
[35] A famous Neapolitan song from the
1890s, written by Capuro and di Capua.
[36] The subject matter of ‘monies due’ crops up repeatedly in the 6th series. As the Goon Shows continued to grow in popularity, Milligan developed a phobia about the BBC underpaying him, and delaying payments of monies owed. As usual with Spike’s phobias, it appears in altered guise in the Goon Shows and can be recognized in such 6th series episodes as - “The Sale of Manhattan” (a piece of string, eleven pence in notes, a Mickey mouse watch, the remains of a small boiled chicken…) “The Greenslade Story” (I've been given the authority to offer you £4 a week and you can read the 9 o'clock news at half past if you want to and take your own time about it...) and “The Fear of Wages” (Well, there's only one way to get our back pay: we must return to England with the entire Japanese army in that tree there.) As early as 1953 he was being paid… “bloody marvellous money” to write the show, but the aggravation of knowing that Sellers and Secombe commanded better fees than he, worked its way inexorably under his skin. Not only did he have to pay Stephens and Grafton from his own fee, but he was only earning this BBC salary for six months of a year. His growing family, and continuing depression added levels of complexity and worry to the issue, until it became a fixation with him.
[37] Milligan published four books of
Goon Show scripts during his lifetime, and ‘Foiled
By President Fred’ appears in the first book, published in 1972. As is the
case with the published script of ‘Napoleon’s
Piano’ three shows earlier, Milligan seems to have used a clean script, as
many of the last minute changes made on the evening of the first performance
are absent. It is also possible that Spike interfered with the script a little.
Consequently, this transcription of the script is the performed version, and
major differences between the two version appear in the reference notes.