THIRTY NINE
Grandstand
Begin with Thames Television logo and fanfare. Cut to David Hamilton in their presentation studios.
Cut to the Nude Man at the organ.
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Cut to a photo of Picadilly Circus.
CAPTION:
The
British
Show Biz
Awards
CAPTION:
Presented by
Her Royal Highness
The Dummy
Princess Margaret
We mix through to the dummy Princess Margaret at a desk, as for awards ceremony. At the desk also, on either side of her, two men in dinner jackets and a pantomime goose. Bill Cotton is nowhere to be seen. High up above them, there is a screen. Enter Dickie Attenborough.
There is awful continuity music. Terrific applause. Attenborough weeps profusely. A man in a brown coat comes in pushing a white five-foot plinth. Behind him comes another man[tg] carrying a bronze funeral urn. It has a black tie on. Cut to stock film of the audience standing in rapturous applause. The urn is put on top of the plinth and a microphone placed in front of it. Slight pause. Cut to Dickie weeping profusely. The urn clears its throat.
Cut to Richard Baker.
Cut back to urn.
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Zoom in to overlay showing some stock film of hansom cabs galloping past. Suitably classy music starts.
CAPTION: LONDON 1895
CAPTION:
THE RESIDENCE OF
MR. OSCAR WILDE
Mix through to Wilde's drawing room. A crowd of suitably dressed folk are engaged in typically brilliant conversation, laughing affectedly and drinking champagne.
There follows fifteen seconds of restrained and sycophantic laughter.
Fifteeen more seconds of the same.
The Prince of Wales stares expectantly at Whistler.
The Prince shakes Shaw's hand. Laughter all round.
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A society function; general sound of polite conversation.
Grossly exaggerated lavatorial noises
Back to the other people at the do. Suddenly Charwoman swings in on a rope, Tarzan-like, and grabs one of the gentlemen. She is massively built and naked except for pink stockings and knickers.
3-d comic-book style title says: CHARWOMAN. Cut to Charwoman swinging back and forth on her rope between two lines of buildings.
Charwoman faces the camera, beating her chest with alternate fists like King Kong. Then she hits both breasts at the same time and they explode.
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Back to Dickie Attenborough at the awards ceremony. He now has bunches of onions slung around his neck.
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Close up of grass on cricket pitch. In the background we hear birdsong. A cricket ball rolls into shot and a hand reaches down and picks it up. Shot of one end of cricket pitch; batsman, umpire, bowler and a fielder in the foreground.
CAPTION: Pasolini's The Third Test Match
Close up on the bowler as he turns to look at his field. Cut to a skeleton on the boundary in tattered remains of cricket gear. Sounds of mocking laughter. Cut to the bowler in close up turning into the direction of the laughter. Shot of the batsman at his crease, but behind him the wicket keeper and first slip are monks in brown cowls. They are laughing at him.
Cut back to the bowler's horrified eyes, then back to the cricketers/monks, then to his eyes again. Cut to same shot of the batsman only now the wicket keeper and first slip are cricketers again.
Cut back to the bowler, who starts to rub the ball on his trousers. Music comes in. Close up bowler's face starting to sweat. Close up ball rubbing on trousers. Close up face sweating.
Cut to a girl spectator who smiles and moves her shoulders invitingly. Cut back to ball rubbing. Cut to his sweating face. Cut to girl; cut to face; cut to trousers; cut to girl; cut to trousers; cut to girl licking her lips.
Cut back to bowler as he starts his run in slow motion. Cut to batsman who is naked except for footwear, pads and cap. Close up of bowler running. He runs over a couple making love in the nude. Mounting music. Cut back to the bowler, as he releases ball.
Cut to the ball smashing into stumps, shot from three different angles. The music crescendos as the the bowler turns, and appeals to the umpire. Silence. Three quick, successively closer shots of the umpire.
The umpire turns into a cardinal who produces a cross and holds it up like a dismissal sign, laughing mockingly.
Cut to a vociferous group of cricketers in a TV studio. They are all in pads and white flannels. Above them is a sign saying `BACKCHAT'. They are on staggered rostra as in `Talk-back'. Facing them is Pier Paolo Pasolini.
CAPTION: Pier Paolo Pasolini
CAPTION: Yorkshire
General cricketorial condemnation. We pull back to show that it is on a television set in an ordinary sitting room.
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Two pepperpots are watching the television. They are both called Mrs Zambesi.
The second Mrs Zambesi gets up and switches channels.
CAPTION: Old sketch written before decimalisation
A man puts his head round the door. He is wearing a hat with a label attached, and speaks ina nasal voice.
He hands a bare leg severed from the knee downwards round the door.
The man goes. A knock at the door and he reappears.
Another knock at the door
The door opens and a dummy salesman is flung in, carrying a briefcase. He flops down on to the floor. The door shuts. The two pepperpots lean over and look at him for some time.
He opens a box and produces a device about the size of a small teapot with various gadgets and wires on it.
He starts to put it on her head.
CAPTION: 44/6d = �2.22�p
As soon as the door is shut, the man's head pops round.
He withdraws head and shuts the door.
The pepperpots appear out of their gate and walk down the street. We follow them closely.
Into shot comes a pepperpot with identical brain strapped to head, who is washing her hedge with a scrubbing brush.
They walk on passing a bus stop at which a penguin is standing reading a paper. One or two unexploded Scotsmen lie on the ground at various places.
They go into a door marked `Blood Donors'.
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Cut to John Rickman type person with hat which he raises. There are white rails behind him which might be a racecourse.
Cut to high shot of a street with about 10 houses on each side.
CAPTION:
No. 12 Betty Parkinson 7/4 on fav
No. 27 Mrs E. Colyer 9/4
No. 14 Mrs Casey 4/1
5/1 bar
One of the doors opens and a lady rushes across the street into another house. Other doors start opening up and down the street, with ladies criss-crossing out of each other's houses. About twenty seconds of this high activity.
One lady is left in the middle of the road. Cut back to Rickman at the course railing.
Peter West type figure in a white DJ standing with five ladies in ball gowns and two gentlemen.
CAPTION: Come Wife-Swapping -- North West v the South East
Cut to two lines of ballroom dancers, ladies opposite gentlemen, sixteen altogether. The ladies are in nasty tulle, the gents in tails, with numbers on their backs. Mambo music starts its intro. At the back of the hall a large banner says `Mecca Wife-Swapping'. The men bow and the ladies curtsey; each pair joins hands and they wait for a few bars. Then the two teams start grabbing each other and wrestling on the ground. A vast orgy breaks out as they roll all over the floor. Cut quickly to Frank Bough in the `Grandstand' studio.
Cut to a field where mud-caked rugby league players, one team in hooped shirts and the other in red, are getting ready for a scrum.
CAPTION: Keighley 2 Hull K.R. 23
The scrum has formed up, the scrum half has a dummy woman, small and light but real looking, tucked under his arm, while he steadies the scrum. He puts her into the scrum, and after a lot of kicking she is eventually heeled out.
Mrs Colyer is picked up by the scrum half who makes a run with her. Handing off a strong tackle and dodging with her, he side steps and slips Mrs Colyer to a back who makes a run through and touches her down between the posts. They leave the lady dumped down between the posts and run to congratulate and hug each other.
Cut to Frank Bough again in the `Grandstand' set.
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Credits roll over four screens of naughty bedroom activity to the 'Grandstand' signature tune.
CAPTION:
Grandstand
a BBC inside broadcast
conceived written and performed by
Michael Palin and Mrs. Cleese
Eric Idle and Mrs. Palin
John Cleese and Mrs. Jones
Terry Gilliam and Terry Jones and Mrs. Idle
Graham Chapman and Mr. Sherlock
also appearing
Carol Cleveland and Mr. and Mrs and Mrs. Zambesi
Caron Gardner and Mrs A.
make-up by Miss Gaffney and Mr. Last
costumes Hazel Pethig and Mr. Clarke
graphics by Bob Blagden and `Naughty' Rosy
animations by
Terry Gilliam
Rabbi Colquhoun
film cameraman Alan Featherstone and Miss Weston
film editor Mr. Ray Millichope and his Orchestra
sound Richard Chubb and Mrs. Lighting
lighting Bill Bailey and Mr. Sound
choreography by Jean Clarke and an unnamed man in Esher
designed by Chris Thompson and Mrs. Armstrong-Jones
produced by Ian MacNaughton and `Dickie'
a BBC TV and Mrs. Thames production
� BBC 1972
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Pull out from screen to see that this is the screen in the awards set and Dickie is working a stirrup pump which pumps tears out from the side of his head via rather obvious tubes.
We see a darkened bedroom. The light is suddenly switched on. We see two men in bed together.
Cut back to Dickie.
CAPTION: The End
The cast enter to applause and stately music, shake hands in turn with the Dummy Princess Margaret and collect the award, shake hands with Dickie and then line up behind him.
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Cut to two ladies taking tea in an Edwardian drawing room.
Chivers the butler enters.
Enter a Swiss mountaineer in Tyrolean hat, lederhosen, haversack, icepick, etc. Followed by two men in evening dress. They look round and exit.
Chivers is obviously goosed from behind by the Dirty Vicar.
He pounces upon the second lady, throws her skirt over her head and pushes her over the back of the sofa, then rolls around on top of her.
The vicar stands up from behind the sofa, his shirt open and his hair awry; he reaches over and puts his hand down the first lady's front.
The vicar suddenly pulls back and looks around him as if in the horror of dawning realisation.
The second lady struggles to her feet from behind the couch, completely dishevelled. Her own gown completely ripped open.
They take their seats on the couch.
He throws himself on the hostess across the tea table, knocking it over and they disappear over the back of the hostess's chair. Grunts etc. Enter Dickie applauding. Also, we hear audience applause.
The cast of the sketch stand in a line at the back, looking awkward and smiling. Fade out.