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Storyline
Conquistador coffee campaign; Repeating groove; Ramsey MacDonald striptease; Job hunter; International Chinese Communist Conspiracy; Crelm Toothpaste/Shrill petrol; Agatha Christie sketch (railway timetables); Mr Neville Shunte - railroad playwright; Gavin Millarrrrr writes; Film director/dentist Martin Curry (teeth); City gents vox pops; 'Crackpot Religions Ltd'; 'How not to be seen'; Crossing the Atlantic on a tricycle; Interview in filing cabinet; 'Yummy yummy'; Monty Python's Flying Circus again in thirty seconds. Written by
Anonymous
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Did You Know?
Goofs
At the end of this episode, an announcer introduces a recap of the entire program, consisting of split-second repeats of the various sketches and cartoons (like fast forwarding on a DVD). However, after the Crackpot Religion cartoon, there are brief shots of two more cartoons (one involving a devil peeping out of the ground and three figures crucified to telephone poles behind him) that were not shown in the episode. (It is possible that these cartoons were cut before the show aired.)
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Quotes
Voice Over:
Mr. Ken Andrews, of Leighton Road, Slough has concealed himself extremely well. He could be almost anywhere. He could be behind the wall, inside the water barrel, beneath a pile of leaves, up in the tree, squatting down behind the car, concealed in a hollow, or crouched behind any one of a hundred bushes. However we happen to know he's in the water barrel.
[
the water barrel explodes]
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Soundtracks
"Yummy Yummy Yummy"
Performed by Jackie Charlton and the Tonettes
Written by
Joey Levine (as Joe Levine),
Arthur Resnick See more »
Thought you ought to know that Neville Shunt, writer of the train timetable murder mystery, was played by Terry JONES not Terry Gilliam, as listed above. Besides that, I loved the episode, as I do all Monty Python (hence the 10 stars), but, of course, particularly the train timetable murder mystery. Although the murder mystery bit itself is not overly funny, the bit following it where the writer is shown at a typewriter, pretending its a train is hilarious. Also the bit after that, where John Clease, as a critic, discusses the meaning and whether there is deliberate ambiguity, etc., in a very round about way is very funny - anyone who has done some kind of literary analysis or studied poetry or anything at all will find Clease's performance here funny.