A gang of thieves led by American Eddy (Reed de Rouen) kill a security guard during a botched safe robbery and flee with his daughter (Leigh Madison) as a hostage. They hide out in a dangerously unstable old warehouse for a couple of days awaiting their getaway ship to sail, but Johnny (Kenneth Cope) falls for the girl - provoking a serious falling-out and a violent conclusion to the disastrous heist.

In this swinging romp through 1960s London, the frenzied manager of mod-rockers the Small Faces (made up of Steve Marriott, Kenney Jones, Ian McLagan and Ronnie Lane) gets into trouble when he agrees to use the band to smuggle diamonds out of the country. Songs include the Small Faces' "I've Got Mine," "It's Too Late," "Come On Children" and "Don't Stop What You're Doing" and The Chantelles' "I Think of You" and "Please Don't Kiss Me."

When Dexter Munro and his new wife Juliet get married, they decide to escape Juliet's meddling father by buying a rundown cottage and doing it up themselves. But when the cottage proves to be more ramshackle than they thought, and the scale of the repairs needed far out of their budget, the newlyweds are forced into calling on Juliet's father after all. Before long he's employed incompetent builder Josh Wicks, and the situation goes from bad to worse.

Army radiation experiments awaken a subterranean monster from a fissure that feeds on energy and proceeds to terrorise a remote Scottish village. An American research scientist at a nearby nuclear plant joins with a British investigator to discover why the victims were radioactively burned and why, shortly thereafter, a series of radiation-related incidents are occurring in an ever-growing straight line away from the fissure.

Neagle stars as Frances Baring, a socialite widow attempting to keep her late husband's symphony orchestra going. Reluctantly she enlists the help of a young pop singer (Frankie Vaughan) who has fallen for Baring's daughter Joanna, played by a young Janette Scott.

A ground-breaking, late-night, live satire show which launched a host of careers and kick-started the '60s satire boom. The brilliant, incisive scripts, taking topical pot-shots at the establishment, made it possible to fulfil the show's intention to 'prick the pomposity of those in power'.