All language subtitles for The.Beatles.Get.Back.S01E01.BDRip.x265-ION265

["In spite of all the danger" playing]

([The quarrymen]
J“ /n spite of all the danger)

J“ /n spite of all that may be j“

j“ I'll do anything for you j“

j“ anything you want me to j“

j“ if you'll be true to me j“

j“ in spite of all the heartache j“

j“ that you may cause me j“

j“ I'll do anything for you j“

j“ anything you want me to j“

j“ if you'll be true to me j“

[crowd screaming]

["Some other guy" playing]

J“ some other guy now
has taken my lo ve away from me j“

I was immediately struck by their music,
their beat

and their sense of humor,
actually, onstage.

And it was there that, really,
it all started.

J“ love, love me do j“

j“ you know / love you j“

[announcer] The beat/e...
George Harrison, Ringo starr,

John Lennon, Paul mocartne y.

[Crowd screams]

["Please please me" playing]

-J“ come on j“ -j“ come on j“

-j“ come on j“ -j“ come on j“

-j“ come on j“ -j“ come on j“

-j“ come on j“ -j“ come on j“

j“ please please me, whoa yeah
like / please you j“

- [crowd screams]
- ["Twist and shout" playing]

[Interviewer] George, you think all this
success is just a one-night stand?

I mean, it can't go on the way
it has been going.

["She loves you" playing]

J“ ooh j“

j“ she loves you yeah, yeah, yeah j“

[announcer] This is no ordinary
departure from London airport

the Beatles are on their way to america.

Paul mccartne y may ha ve been wondering
how the songs he and John write

will go over in the states.

J“ listen,
do you want to know a secret? J“

[announced
7'his rock and roll group has taken over

as the kingpins of musical appreciation.

- Do you hope to get a haircut at all...
- No!

- No, thanks.
- I had one yesterday.

[Crowd laughs]

Ladies and gentlemen, the Beatles!

J“ close your eyes and I'll kiss you j“

j“ tomorrow I'll miss you j“

[announcer] The Beatles, who or/ginated
as a small-time act out of li verpooi,

now have no rivals
as the kingpins of the teenage set.

J“ hope you need my love, babe
just like /need you j“

j“ oh, hold me j“

- [interviewer] Did you enjoy it?
- Yeah, it was marvelous.

I just loved all of it.

[Announcer] The Beatles are the top
pop music phenomenon of the century

[interviewer] Did you have a chance
to get away

from anybody at anytime on the trip?

- Yeah.
- He got away from me twice.

["A hard day's night" playing]

J“ it's been a hard day's n/ght j“

[announcer] And here with the Beatles
was Brian Epstein, their famous manager.

J“ 'cause / don't care too much
for money j“

j“ money can't buy me love j“

j“ can't buy me love j“

I'and/dof'

j“ and/do, hey, hey, heyj“

I'and/dof'

hey, pardon me for asking,
but who's that little old man?

Oh, that's my grandfather.
He's very clean.

J“ help me if you can j'
I'm feeling down j“

j“ and / do appreciate you being 'round j“

has any of you
any ambitions left at all?

Yeah. I want to be an astronaut.

J“ the y're gonna put me in the mo vies j'

j“ they're gonna make a b/g star
out of me j“

[announced
says Paul, ”we've had so much success,

we don't care if it fades tomorrow.

I/I/e've reached the point
where we don't ha ve worries anymore. ”

(J“ yesterday)

J“ all my troubles seemed so far away j“

j“ baby, you can drive my carj“

j“ yes, I'm gonna be a starj“

j“ baby, you can drive my carj“

j“ and maybe I'll love you j“

j“ beep, beep, beep, beep, yeah/ j“

j“ we all live in a yellow submarine j“

j“ yellow submarine, yellow submarine j“

[crowd clamors]

[Announcer] I/I/ith Manila,

some of the fans
have broken off diplomatic relations.

J“ yeah, I'm the taxman j“

[interviewer] John,
what exactly happened at Manila airport?

You're treated like an ordinary
passenger. Ordinary passenger!

An ordinary passenger,
he doesn't get kicked, does he?

- Would you go to Manila again, George?
- No. I didn't even want to go that time.

Do you consider that this religious
issue is answered once and for all?

The quote which John Lennon made

has been represented
entirely out of context.

But I'm not saying
that we're better or greater

or comparing us
with Jesus Christ as a person.

You tell me what you think I meant,
and I'll tell you whether I agree.

[Interviewer] What difference
has all this row made to this tour,

do you think?

It's made it more hectic.

Well, I've clarified it about 800 times,
you know.

People said to us last time we came
all our answers were a bit flippant.

They said, "why isn't it this time?"

And the thing is, the questions
are a bit more serious this time.

J“ turn off your mind, relax
and float do wn-stream j“

the ku klux klan
is going to stop this performance.

Apart from that, it's great.

Having a swinging tour.

J“ let me take you down j“

j“ 'cause I'm going to strawberry fields j“

j“ penny Lane is in my ears
and in my eyes j“

j“ sergeant pepper's
lonely hearts club band j“

everything's all right.

J“ oh, / get by with a little help
from my friends j“

j“ Lucy in the sky with diamonds j“

j“ all you need is lo ve j“

j“ /read the news today, oh boyj“

J“ roll up for the mystery tour j“

j“ roll up,
we've got everything you need j“

j“ roll up for the mystery tour j“

roll up, satisfaction guaranteed j“

j“ roll up for the mystery tour j'

yes, Mr. Bloodvessel.

J“ I am the walrus
goo goo g joob j“

[cheers]

[Announced
far from the noise and pace of city life

in the cool, clear air
of rishikesh, north India,

the world-famous quartet stroll quietly
in the lo very meditation retreat

of ll/laharishi ll/lahesh yogi.

Flo wer-lo ving yogi told reporters
that his brand of peace of mind

could only be truly appreciated
by intell/gent men of the world

j“ the Ukraine girls
really knock me out j“

j“ they leave the west behind j“

j“ while my guitar gently weeps j“

j“ blackbird singing
in the dead of n/ght j“

- we don't get on at all.
- There are so many father figures.

- [Chuckles]
- [Iaughted

- [moans]
- [Chuckles]

Oh, I see.

What is apple, John?

It's a company we're setting up
which involves records,

films, electronics,
which make records and films work,

- and, what's it called? Manufacturing?
- Yeah, it does a few things, you know?

[“Hey jude“ playing]

J“ hey Jude, don't be afraid j“

j“ you were made to go out and get herj“

j“ remember to let her into your heart j“

j“ then you can start to make it betterj“

j“ better, better, better
better, better, oh j“

j“ yeah j“

-j“ yeah, yeah, yeah j“
-j“ na, na, na, na, na, na, na j“

j“ na, na, na, na, hey, Jude j“

j“ na, na, na, na, na, na, na j“

j“ na, na, na, na, hey, Jude j“

j“ na, na, na, na, na, na, na j“

j“ na, na, na, na, hey, Jude j“

j“ na, na, na, na, na, na, na j“

j“ na, na, na, na, hey, Jude j“

j“ na, na, na, na, na, na, na j“

j“ na, na, na, na, hey, Jude j“

j“ Jude, Jude, Jude, Jude, Jude, jude/ j“

j“ na, na, na, na, na, na, na j“

j“ na, na, na, na, hey, Jude j“

j“ na, na, na, na, na, na, na j“

j“ na, na, na, na, hey, Jude j“

j“ na, na, na j“

j“ na, na, na, na j“

j“ na, na, na, na, hey, Jude j“

[song fades out]

[Peter Sutton]
Two, take one. Silent turn over.

[Paul bond] Running.

[John]
J“ as ilea ve the desert skies j“

j“ and my thoughts return to home j“

j“ yes, my thoughts return to home j“

j“ I'm just a child of nature j“

j“ / don't need much to set me free j“

j“ I'm just a child of nature j“

j“ I'm one of nature's children j“

[George]
Where's the console and all that?

[John] Where's the what?

The mixer and the 8-tracks
and all them.

[George] I don't suppose
they'd be here for a rehearsal.

- Hi, Ringo.
- Hi, George.

- Happy new year.
- Happy new year.

J“ everybody got a piece of toast
7'o chew on j“

j“ e verybody's got soul j“

j“ e verybody's got soul j“

j“ everybody got to feel
this all alone j“

j“ don't let me down j“

j“ don't let me down j“

j“ don't let me down j“

j“ don't let me down j“

j“ don't let me down j“

j“ don't let me down j“

j“ I'm in love for the first time j“

[George] I don't think this is
a very acoustically good place.

[John] Who's that little old man?

Oh, is he one of the hare krishnas
or something?

[Paul] Clean though.

[John]
It's a bit daft him up there, isn't it?

For a rehearsal.

I think we should rehearse in a room,
or in a corner, or something.

'Cause they won't be rehearsing
shots for three weeks.

[Paul] As I was saying to mal,
keep all the audience out, you know...

[John] We should have
the audience like this then.

[Paul] But I suddenly realized
that if they all just drift in...

We'll just be used to eyes on us.

If you can think of a...

[George] We could get a pa
like at the top ten in Hamburg.

One of those binson echorec things.

Have a little one of them.

[Paul] Michael?

[Michael] Can you turn down your amps
a little bit more than that?

[John] Why?

[Michael] The conversation...
It's just being drowned a little bit.

Oh, are you recording our conversation?

[Paul] Yeah. [Hums]

We should have a bass...

A bass and guitar all in one.

- Yeah.
- Be great, wouldn't it?

[Paul] Well, two people
should have bass and guitar.

[George] Maybe we should learn
a few songs first.

Great.

[“I've got a feeling" playing]

[Paul] J“ oh, no, ah j“

one, two, three.

J“ yeah, I've got a feeling j“

-J“ oh, please believe me j“
-[John] J“ yes, / will j“

j“ I'd hate to miss the train
oh, yeah j“

j“ oh, yeah j“

j“ and if you Lea ve me
I won't be late again j“

j“ no, no j“

j“ oh, no, oh, no j“

j“ no, no, yeah j“

j“ one, two, three j“

j“ I've got a feeling j“

then it goes to e.

J“ all these years I've been wandering j“

j“ wondering how come nobody j“

j“ all that I've been looking for
I/I/as somebody who looked like j“

stop.

[John] I just gotta see
which should come where.

[George]
Is that one called I've gota feeling?

[John] It's called I've gota hard on.

Everybody had a hard on.

J“ everybody had a hard on j“

except for me and my monkey.

[George]
J“ everybodybeen... [indistinct] J“

j“ oh, yeah/ j“

[chattering]

[Paul] J“ oh, noj“

pohj"

j“ yeah, yeah j“

j“ I've got a feeling j“

-j“ everybody had a hard yearj“
-j“ I/I/hoo, yeah, yeah j“

j“ everybody had a good time j“

j“ everybody had a wet dream j“

j“ everybody saw the sun shine j“

-j“ oh, yeah j“ -j“ yeah j“

-j“ oh, yeah, oh, yeah j“
-j“ oh, oh, yeah j“

j " oh, oh j"

-j“ no, noj“ -[John] J“ no, noj“

-j“ yeah j“ -j“ no, no j“

j“ I've got a feeling j“

[vocalizing]

J“ I've got a feeling j“

[George Martin] All you need is, really,
a good acoustic place to be in.

- [Paul] Which this isn't.
- [George Martin] Which this isn't.

[Paul] Um, um, we...

Nobody is, sort of,
definitely struck on this place.

George was saying before,
it's not good acoustically.

[George Martin] I like the idea
of working with a big pa though

because it will trigger off something.

It'd be like doing a live performance.

[Michael] My real feeling is
that the venue itself

ought to be quite good,
as opposed to shabby.

[Denis o'Dell]
I tell you what, there's a small stage,

which is soundproof,
you could have a look at.

I just don't know whether
I'm building on it or not today

because I know I'm erecting on one,

but we can have a look and see.

[Paul]
Is this your place? Twickenham?

[Denis o'Dell] Yeah, well
I've just, like, got it under contract

'til the end of may from last week.

- December 25th.
- [Michael] Yeah.

[Michael] I just feel if we could
get a spectacular venue

we'd gain rather than lose.

[Denis] Yeah.

[Paul]
Oh, we'll be all right, it's just...

[Guitar strumming]

Just play it, we'll just play it.

We'll move out of here
in a couple of days.

[Denis] When you're ready. That's right.

Or maybe we won't.

[Denis] We could do... yeah.

J“ go, go j“

j“ go, Johnny, go, go j“

j“ go, Johnny, go, go j“

[Paul] J“ come all without
come all within j“

j“ you 'i/ not see nothing
like the /I/I/ghty... j“

[Ringo] All of us just...

[George]
J“ the y say everything can be replaced j“

j“ every distance is not near j“

[Paul] J“ yeah, I've got a feeling j“

[denis o'Dell]
The magic Christian... it's fantastic!

- They're super scripts.
- [Denis] John is just finishing it up.

[Ringo] Yeah, you said.
You're building here, are you?

[Denis o'Dell] I'm using the other two
stages, plus I left this free for us.

I'll take you up in the art department
when you get a moment.

You can see some of the designs and all
that, 'cause it's well underway.

Is it still the 17th?

No, 24th now, because of this.

Why?
This is only going to take two weeks.

Well, we don't know yet, do we?

[John]
J“ it's a love that lasts fore verj“

j“ it's a love that has no past j“

-j“ don't let me j“ -j“ down j“

[Paul] That's all the bits you've got?

J“ don't/etme... j“

all right. If you had,
"don't let me down,"

say twice at the beginning...

[Paul] But you know when you bring that,
"'cause I'm in love for the first time"?

I don't dig that.
Sounds like a middle 8.

[John] Oh, yeah. Okay.

[Paul] It doesn't sound like... but I...
Some of it.

Scrap that,
except use that somewhere near the end.

[John] That one used to go after the...

J“ love that... a love that had no past j“

- [Paul] Yeah, 'cause that's where...
- "Nobody ever loved me like she do me."

[George]
No harm just having a break in that bit.

Yeah, except just skip that little...

- [John] Yes.
- Interlude.

- Put the interlude right somewhere.
- [John] In the beginning.

I'll do one set of "don't let me down."

Uh... "Like she do me. Ooh, she do me.
Yes, she do me."

I didn't quite get around
to making sense, you see?

So we'll see what happens.

[George] Do you want some sandwiches?

We don't eat these.
Paul, do you want some sandwiches?

- Hang on. [Whistles]
- [Michael] Ray.

- [John] Do you want a dry bun?
- [George] A dry bun? Yeah.

[John] It's like a rock cake
but needs butter or something.

The thing I don't want is,
like, a TV show sound.

They always seem to have that
sort of farty, little sound on TV shows.

[Glyn] Well, don't forget,
you're hearing it on a TV speaker,

which is a grotty speaker.

But see, this place sounds terrible now.
It may just be great.

You can never tell
with these places though.

We did "yer blues"
in a little room like a bog.

- [Glyn] Yeah.
- And...

No separation in there, you know?

- We really got good separation.
- [Glyn] Yeah.

The thing is,
that an open-air sound is fantastic.

I've always wanted to do something
in the open air.

It'd be nice to try and find some way
to do it out of doors.

[Glyn] It's so bloody cold.

[Michael] It's your English rain

which is worrying
about outdoors in this country.

- [Glyn] Yeah, right.
- Snow or rain will do me.

You know, wind and anything.
Make all that...

- It's just a frozen hand trying to...
- [Glyn laughs] Yes, you could.

Play those notes.

[Tony] Trying to get your e-seventh
when your little finger's frozen...

The snow and rain.

It's all right. You mightjust
have a few deaths on the set

due to electric shocks.

I was very taken by the place
denis talked about.

- [Michael] The amphitheater.
- [Glyn] Yeah. That was...

Because I could
see it outside torch-lit.

2,000 arabs and friends around.

[Paul chuckles] No, I think we won't be.

I think you'll find
we're not going abroad.

[Michael] Hmm.

'Cause Ringo just said
he doesn't wanna go abroad.

No, and he put his foot down.

-Yeah?

Us and jimmie nicol might go abroad.

[All laugh]

[Michael] I think the thing to do
is just be very flexible still

about every aspect of the enterprise.

I think... well, I think, you know...
Michael, I think you're pretty right.

[Glyn] He won't give up.

- Pretty fair comment.
- [Glyn] You're pretty right, Mike.

Are you gonna keep the beard?

I don't know.

[Michael] You ought to get one
of those big-brimmed hats

with those ringlets down the ears.

Yes. Yes, I saw that
on telly the other night.

That'd be good.
Then we could do it in Israel.

[Paul] J“ we're on our way home j“

j“ we 're on our way home j“

j“ we 're going home j“

middle eight, b flat.

J“ you and / made memories j“

j“ longer than the road
7'hat stretches out ahead j“

j“ two of us wearing raincoats j“

j“ standing solo in the sun j“

I'll do a verse. Just...

[Both vocalizing]

No, I think it goes...

J“ we 're on our way back home j“

j“ ba-bam, ba-ba j“

three, four...

It's like...

J“ on our way back j“

j“ ba-da, da-da, da-da j“

j“ we 're on our way home j“

two, three.

J“ we 're on our way home j“

two, three.

J“ we 're going home j“

- two.
- After three.

[Paul] It goes into waltz.
It goes into three.

J“ we 're on our way home j“

j“ ch-cha-cha, cha j“

j“ we 're going home j“

yeah.

J“ we 're on our way home j“

repeat now.

J“ we 're on our way home j“

then short.

J“ we 're going home j“

and that's like a break. Ch-cha.

J“ 7'wo ofus j“

I'll go from the beginning.

J“ ohu-chu-chu-chu-chu-chu, ooh j“

j“ we 're on our way home j“

j“ ch-cha-cha, cha, ooh j“

we 're on our way home j“

j“ ch-cha-cha, cha, ooh j“

j“ we 're going home j“

j“ you and me, Henry Cooper
Henry Cooper j“

j“ Henry Coop j“

j“ you and me, Henry Cooper j“

[Paul] It's not... it's not...

[Peter Sutton]
That was 23, take one. End announcement.

[Paul] J“ wearing raincoats j“

[Upbeat piano tune playing]

[Tap dancing]

[Paul] Nice, that purple.

[George] "What do you think
of George's pseudo tie sweatshirt?"

I think it's terrible.

[Laughs]

"The true story of the Beatles.
You can still get it direct."

"Accompanied by his current steady,
American photographer Linda eastman,

Paul spent a December week in Portugal

visiting the Beatles' biographer,
hunter Davis."

It's just so sort of daft.

[Paul]
Even if we were all in prison...

[Chuckling]

Hel/o/ the boys
in penton ville this week...

"Send a big 'hi'
to all the bertle persons."

Ringo, who is doing time
in mail bags, says...

[Laughs]

"It's fab in here!" [Laughs]

I think your beard suits you, man.

- Mmm.
- [George laughs]

[George] I've been thinking
of all the tunes I've got.

And they're all, uh,
they're all slowish.

- I seem to be...
- [Paul] Yeah, most of mine are.

[George] See, so far, there's a couple
I know I could do live with no backing.

[Paul] Just with the guitar and singing.

[George] Well, you know...

- I've got "taking a trip to Carolina."
- [Laughs]

In the same...

In his mind.

J“ taking... j“

oh, no.

J“ taking a trio on a ocean linerj“

j“ / gotta get to Carolina j“

j“ taking a trio on an ocean linerj“

j“ / gotta get to Carolina j“

[humming]

P 0/7, babyj“

[laughs]

[Ringo] J“ I've been... j“

I had... it's on there.

I've got it on the little tape, singing
"I've been to la and New York too."

So, they're not very nice.

You know, the words,
I mean, they're not very good.

- Uh-huh.
- "Carolina," it's, “oh, baby.“

[laughs]

[Paul] Just get me back there.

[George]
Are these really making a film now?

Yeah, gonna have to be very natural.

[Paul] But it's good.
He was saying we started from nothing

and it will end up as a TV show.

But they'll have all this sort of...

Yeah. If you wanted to get 8-track stuff
to record all this,

where would we get it?
'Cause, apparently, it hasn't been...

[George] We'll lend it to ourselves,
but emi should do it.

You know, it's like if Benjamin britten
wants to do an album...

- Right.
- In Paris,

emi have got to fucking get
all that shit over to him.

And they do, of course.

We subsidize emi, then get it out there.

- Get an 8-track mixer...
- 'Cause they just told glyn and mal...

They just told them
that they've only got 4-track.

But I know for a fact that they got
8-track out for the beach boys.

[Michael] But the beach boys
are American.

[Chattering]

[Paul]
'Cause I really never thought of that.

It's just we all used to sag off
every school day.

You know, and go back to my house,

and the two of us
would just sit there and write.

There's a lot from then, you know?

There's about 100 songs from then
that we never reckoned,

'cause they were all
very unsophisticated songs.

[Singsong]
"They said our love was just fun,

the day that our friendship begun."

[Ringo]
J“ they said our love was just fun j“

[Paul] J“ oh, oh, ohj“

[Ringo] J“ the day that... j“

[George] J“ begun... j“

[Paul humming]

[George speaks indistinctly]

[Paul] J“ because lknow you love me so j“

j“ wake up in the morning
I don't feel blue j“

j“ 'cause lknow I've got you j“

j“ get a funny feeling
all day and n/ght j“

j“ get the funny feeling j“

j“ you don't treat me right j“

j“ should have read your letterj“

j“ and then I'd knowj“

j“ / would have felt much better j“

j“ because lknow you love me so j“

don't think that ever got there, did it?

J“ well, I've been thinking... j“

[John humming]

J“ ...Love mej“

j“ tell me that j“

[John] J“ won't you please j“

[John, Paul] J“ say goodbye? J“

j“ this love has long since grown cold j“

j“ yeah, won't you please say goodbye 7 j“

j“ how many times must you be told? J“

j“ won't you please say goodbye 7 j“

- [hums]
- That sounded like...

J“ pick up my bags j“

j“ run to the station j“

j“ rai/man said j“

j“ ”you've got the wrong location ”j“

-j“ pick up my bag j“
-j“ pick up my bag, yeah, yeah j“

-j“ run right home j“
-j“ run home j“

-j“ then / fl'ndj“
-j“ then / find that j“

-j“ / got the number wrong, yeah j“
-j“ / got the number wrong, yes j“

j“ she said she's tra ve/in'
on the one after 909 j“

j“ move over, honey
I'm tra ve/in' on that line j“

j“ said ll/lo ve over once
ll/lo ve over twice j“

j“ come on, baby
don't be cold as ice j“

j“ she said she's tra ve/in'
on the one after 909 j“

j“ she said she's tra ve/in'
on the one after 909 j“

j“ she said she's tra ve/in'
on the one after 909 j“

[Paul] Okay. All right.

[George] We should do it!

[Paul]
Really, that's out of the past, that.

[John]
I wrote that when I was about fifteen.

I always meant to just change the words
a bit and do something.

[Paul] But no, it's so great.

- [George] It's all working. Keep them.
- [Paul hums]

"Said, 'move over, honey,
I'm traveling on that line.'" [Laughs]

"Move over once, move over twice.
Come on, baby. Don't be cold as ice."

[John] "You're only fooling around."

[John, Paul]
"You're only fooling around with me."

[Paul] I never sort of knew
what it was about before.

- I mean, so she's on a train.
- [John] Yes.

And he sort of... [laughs]

[John] Goes to the station
and misses it.

But he goes back and finds
it was the wrong number, so...

"Wrong location."

To rhyme with "station," you know?

That's great.

"Railman said
you got the wrong location."

- [John] Hello, George.
- [Laughs]

[John] Hi, Paul. It's simply great
for you to turn up this evening.

- ["Ob-la-di, ob-la-da" playing]
- The animals reunited.

[Falsetto] J“ Desmond had a barrow
in the market place j“

j“ Doris had another in the bog j“

j“ Charlie has another
in the back of town j“

j“ and, lordy, lordy
did they have a bag of fun j“

j“ oh, my god, oh, my god
oh, my.. J“

j“ 7'e/I it to the captain j“

j“ get in trouble with the man j“

j“ let the ll/lidn/ght special j“

j“ shine its fight on me j“

j“ let the ll/lidn/ght special j“

j“ shine its ever-lo vin ' fight on me j“

[George] J“ what do you want
to make those eyes at me for? J“

- ( ) If they don't mean what they say? )
- ) When you're out with someone new)

( [George, Paul] ) You made me glad
you made me sad )

( ) You make me want a lot of things )

- ( ) 7'hat / never had )
- ) Bundle of dynamite )

["The third man theme“ playing]

[Paul whistles]

- [Microphone feedback]
- Ah! Fucking hell.

- [Paul] I just got shocked.
- Just got a belt, man.

I really... I got an electric shock.

[Paul] Gonna be in trouble over this.

If this boy dies, you're gonna cop it.

[George] Hold that one as well
at the same time and see what happens.

Let me see it again.

Let's try it.

- [Peter Sutton] You get feedback.
- [Paul] It's the feedback, yeah.

The feedback going into the, uh...

- There, it's not...
- [Feed back]

- [John] That's it.
- [George] Put your hand on that bit.

[Paul] It might be
the playing the guitar as well.

It should be where you're here
rather than all this...

- You know, all this thing.
- [Paul] Yeah.

[Michael] When was it when
you touched it?

I gripped hold of two of them together.

- [Paul] The feedback going into the...
- [George] Just grip it tight.

- [Microphone feedback]
- Put the palm of your hand on that bit.

- [Microphone feedback]
- [Laughing]

[Paul]
The bit that I find the weakest now is...

( ) All these years
I've been wandering around )

[John] Yeah,
that's just power, you know?

( [Paul]
) Wondering how come nobody told me )

- [Paul] Maybe harmonies.
- Just sing your one.

( ) All these years
I've been wandering around )

( ) Wondering how come nobody told me )

( ) All that I've been looking for
was somebody who looked like you )

You're singing b.

Yeah, just sing the next Harmony down
so it's not too low for you.

( ) All these years )

- ( [Paul] ) All these years I've been... )
- ) All... )

- That's very high for me.
- [Paul] Don't shout. It's power.

( ) All these... )

Oh, it's terribly high.

- ( [Paul] ) Been wandering around)
- ) All these days )

[Vocalizing]

( [Paul] ) Wondering how come... )

Down on the one note, is it?

( ) All these years
I've been wandering around )

( ) Wondering how come nobody told me
all that I've... )

[Vocalizing]

- [John] That's very high, you know?
- [Vocalizing continues]

( ) All these years I've been wandering )

[Vocalizing]

Fuck it!

One, two, three, four.

( ) All these years
I've been wondering... )

[Vocalizing]

( ) You/ )

[Groans]

- It's a bit early for that, isn't it?
- Yeah.

Early in the morning, you know?
I'm not 18 anymore.

[Chuckles]

[Paul] Mal, can you just lend us
your pen for a sec,

just correct a couple of bits.

[Mal speaks indistinctly]

- [Bass playing]
- [Mal speaks indistinctly]

[Mal]
What's the words that you sing, John?

[John] Oh. Everybody ..

Shall I write it?

[Mal] If you want to.

[John]
Oh no, you better write it.

Everybody had a hard year

well, I'm not sure actually.
Put brackets goodyear

[chattering]

( ) Everybody had a hard... )

( ) E verybody... )

Uh... hair down.

Socks up. Foot down.

[Mal] "Everybody pulled their socks up"?

[John] Yeah. Yeah.

( [Paul]
) Everybody pulled their socks up )

- "Foot down." Okay, that's it.
- Right.

[John] Yeah.

[Paul] Bit of power there.

[John] I don't want every time
we're doing "don't let me down,"

that it hurts just to rehearse it.

I wonder how long it is.
Do you want to time it, mal?

'Cause it's probably
only about half a minute long.

() Desmond had a sparrow
in his parking lot)

One, two, three...

( ) Don't let me down )

( ) Don't let me down )

( ) Don't let me down )

( ) Don't let me down )

- Three minutes!
- What?

- [Mal] Three minutes, 40 seconds.
- That's fine.

- Three minutes, 40 seconds.
- [Michael] Yeah.

This is incredible.

- It's long. It sounded just like...
- Half a minute.

Okay.

[John] Uh, I've got one.

- Uh, "gimme some truth" or something.
- [Paul] Something like that.

- "Gimme some truth."
- We could finish that.

- Remember your hangman bit?
- [Paul] Yeah.

- [John] It was all right.
- [Paul] No.

"No, no freaked-out... yellow-bellied son
of Gary Cooper gonna..

( ) Freaked out... )

- It started in d, didn't it?
- Yeah.

( ) Some... )

That was... that was my bit.

( ) Freaked out, yellow-bellied.. )

( [John]
) Sick and tired of hearing words )

- [Paul] Yours was in e, wasn't it?
- No, it was in d.

[Paul, John vocalizing]

( ) Hope )

( ) Ll/lone y for rope )

[George] If we add a...

( ) Ll/lone y for rope )

( [Paul] ) No freaked out, yellow-bellied
son of Gary Cooper gonna tell him... )

[Scatting]

( ) For dope )

( ) Ll/lone y for rope )

( ) Just money for rope )

( ) I'm sick and tired of hearing lies )

( ) By seasick, narro w-minded
shorts/ghted hypocrites )

( ) Al/I want is the truth )

[John] We should change the...

( ) Just gimme some truth )

( ) I've had enough of readin ' lines )

( ) By some sicked out
hard-sided politicians )

( ) Al/I want is the truth )

( ) Just gimme some truth )

No, it was in d and e.

- Oh, okay.
- [Paul] Yeah. Right.

[Mal] Perhaps if you stuck it
over that side...

How's that for your show?

[George]
I've got a few slow ones... if you want?

[Paul] Okay, yeah.

[George] It's really getting
into a show. [Chuckles]

[John] Bottoms up.

[Paul]
If you'll all turn now to "sunrise,"

I would very much appreciate it.

"All things must pass."

[John] Is this a harrisong?

[George] There's no solo
or anything complicated.

It's purely just rhythmical and vocal.

And if we suddenly add a Lowrey organ...

Also, the chords really are e.

[Singsong] To f-sharp minor, to e, to a.

E to f-sharp minor.

( ) All things must pass )

( ) All things must pass away )

( ) Sunset doesn't last all evening )

( ) Doesn't last )

( ) A wind can blow those clouds away )

( ) Wind can blow those clouds away )

( ) After all this )

( ) My love is up and must be leaving )

( ) It's not always been this grey )

( ) All things must pass )

( ) All things must pass away )

[George] But the middle bit,
because it says the same word first...

Like "all things must pass away," then...

( ) All things must pass )

Something there, you know,
is where we'd overdub something

or add voices, or I'd track it, or...

[Paul] Maybe it would be better if we
just did it straight, first of all.

( [George] ) All things must pass )

Okay.

[Paul] Just to do everything
just really mechanical

and then we can sort of
get it all good after that.

( ) Ll/lacrobiotic pills
are good at arriving )

( ) At the fight time )

[Whistling]

( ) A wind can blow those clouds away )

[John] Should have
”m y mind can blow those clouds away”.

It looks like.

[George chuckles]

Yeah, okay.

[John] A little bit of psychedelia
in it, you know.

Social comment, like.

[George] It looks like it on the paper.

[John]
"A miner can blow these clouds away."

- [George] Mal's writing.
- What are they all having? Pale ale.

- Pale ale. Anyone else want a drink?
- Yeah. Anybody else want a drink?

- [George] Yes, please.
- [John] Yes.

[George]
I'll have a glass of white wine.

[John] I'll have a beer.

[George] You know, man,
the idea of doing this thing

so that it's just us doing it

and there's no overdubs
or you can't get out of it

is much better really.

Because, you know,
all the time recording,

you're thinking,
"it's all right. We can do that later."

Hmm.

[John] People are doing live shows now,

they do their overdubs
'cause they're phased and echoed live.

But we're still thinking of it
in terms of the four guys

and four amps in the cavern.

[George] Yeah.

[John] Yeah, I'd like phasing.

[George] But the phasing is Alex,
and he's building the studio

and putting it in this week.

[George] It should be where if you write
a song, I feel as though I wrote it.

And vice versa.

I mean, the thought of being
involved in it as much as if...

That was the good thing
about the last album.

It's the only album, so far,
I tried to get involved with.

Yeah.

[George] Are we not gonna do any
oldies but go/dies on the show?

[Paul] Don't know. We could do.

[George] Butjust to hit
the first initial thing of us

singing all completely new ones...

But they need something
to identify with...

They would if they had the album
then saw it a week after.

[John]
I've been doing he/p/ pretty good so...

[George]
I tell you which is a good one...

["Every little thing" playing]

() When I'm walking beside her)

[Vocalizing]

[John]
It'd be nice for one of them fast songs.

[John scatting]

Not bad though. Good try that, Johnny.

[George] Yeah, but you know, John,

the difference between me and,
say, Eric,

I'm just another guitar,

sometimes playing bits
and sometimes singing.

But he's the only guitar to play lead.

And so he's, like, playing.

That's how he can keep it going
all the time.

- [John] Yeah.
- [George] So...

I feel now I can play things.

I can learn things that will sound okay,

especially fast fingering like that.

[Paul] It's jazz, man.

[George] Not really. Just Eric.

He's very good at that.

At like,
improvising and keeping it going,

which I'm not good at.

You know, like, a lot of guitarists
can sustain even,

but they play it like a lot of shit.

But his thing takes on a pattern

and gets somewhere and resolves itself,

which is very hard.

[Paul] But that's trying to do jazz.

[George] The best jazz band I saw
was ray Charles' band.

I mean, that jazz really moves me
in a fantastic way.

It's, like, fantastic.

Billy Preston is too much.

[George] Yeah,
I'm sure you'll dig it when you see.

[George]
Billy plays piano with the band.

Then he does his own spot where he sings

and dances and plays organ solo

then ray Charles comes on.

He's better than ray Charles really
because he's, like, too much!

Because he plays organ so great.

Ray Charles doesn't bother
with the organ now.

He just,
I'i/ leave it to the young guy, Billy

it's too much.

[Paul] And what shall we do, then?

() I'm so tired)

( ) / ha ven't slept a wink )

() I'm so tired)

( ) My mind is on the blink )

( ) / wonder should / call you )

( ) And get myself a drink )

( ) No, no, no )

No. Lay off the booze, boy.

() 'Cause I'm so tired)

( ) / don't know what to do
don't know what to do )

() I'm so tired)

( ) My mind is set on you )

()ah)

( ) / wonder should / call you )

( ) But / know what you'd do )

( ) Oh, no, no )

() You'dsay)

( ) I'm putting you on
but it's no joke )

Uh, John?

[Paul] How near are we
to getting the stuff in?

[Glyn] Should be in today with any luck.

I've got bits
and pieces coming from ibc.

And George's 8-track coming

and emi's gear should be here
either today or tomorrow.

I haven't thought of it
like a record yet.

[Glyn] I think the idea of the record
should be a live performance.

The fact it's being recorded
is something...

It's like when I heard
sgt. Pepperlast night.

I thought, "oh, that... so that's
what live performances could be like."

[Michael clears throat]

You know, even though that was a lash-up
that wasn't a live performance there.

Good morning.

[Ringo] I won't lie. I'm not too good.

[All chuckling]

- [Glyn] Morning.
- [Michael] How are you?

[Paul] Hiya. [Chuckles] Good morning.

[Michael] We ought to think this week
sometime about the show.

- [Paul] We are thinking about the show.
- [John] We never stop thinking about it.

- [John] Good morning, George.
- Morning, all.

- It's just a funny day again.
- [Paul] Again?

[Michael] Wouldn't it be nice if
we did this show with a big audience?

[Paul] Yes.

I think we should forget
the whole idea of this show.

[Paul] Yeah, just, that's it. Okay.

I'll go along with that.

- [Michael] We're back...
- [Paul] We're back to square one.

Here comes my recording studio.

[All chuckling]

[George] Who's gonna
look after all this equipment?

'Cause the only thing is,
it is, like, 10,000 quid.

And is Alex going to plug all that up?

[Glyn] Supposedly.

[George Martin]
Now, Alex rang me yesterday, George,

and said that he didn't think
that you needed an 8-track console.

Alex said he can build one.

Now,
the thing is that it might go wrong.

[George] Yes.

[Michael] Where did you get Alexis from?

[Glyn] He worked
for pye color television...

[George] No, he was in england
and John dunbar asked him

if he'd stay and build a light machine
for the stones' tour.

[Michael] Yeah.

So he stayed and did that.

Then he met John, and then he met us.

- [Michael] Hmm.
- And he's been there ever since.

[Michael] Hmm. Hmm.

[John] Yeah, I'm not going to tell you
the story about Alex

and his foot pedal am I?

[Glyn] Have you actually
tried it out or...

You see, the thing is
he just comes across things

and then he says,
“oh, yeah, I've done this."

But he hasn't actually made it

because he's busy building
recording studios.

[George Martin] I don't think we should
have Alex build one

because it's better to have something
that we know we can use and is reliable.

- [Chattering]
- [Instruments playing]

( [Paul] ) Yeah, you wear out your women )

( ) Well, you wear them h/gh )

( ) They do my woman )

() Why, why, why, why, why?)

( ) My, my, my, my, my, my, my, my, my, my
ll/ly imagination )

( ) It took me by surprise
in the middle of m y conversation )

( ) My, my, my, my, my, my, my, my, my, my
ll/ly imagination )

( ) Conversation... )

Something like... the words, like,

"love for the first time in my life,
so don't you let it get away."

- [George] What are the words?
- "It lasts forever and a day."

Uh, no. "Love for the first time
in my life." Here you go.

( ) I'm in love for the first )

( ) Love for the first time in my life )

() Don't you know it's gonna last)

It's nice though. I mean, it's...

What can we do to that bit then,
you know?

( ) A dah dah )

[George]
It's quite nice, the vocal line is nice...

Like, the Harmony of those lines.

[Paul]
See, there isn't Harmony on this bit.

( ) I'm in love for the first time )

[George] See, if you put
just a few fills in between the vocal...

( ) In love for the first time )

And the vocal being like that.

And maybe we could change
something; The rhythm, or something.

Yeah, it's really like
that's where the piano would come in.

See, would you have piano on it?

[John] Yeah, I like the idea of piano.
But how do we do that?

One of us play bass.
George play the bass.

[John] But then there's no guitars.

[Paul] Well, it's either you or him.

Or a bass player or a pianist. You know?

- [John] If we need somebody else...
- [Paul] Yes.

Probably be like a guy
that plays piano all the time.

- [Paul] Somebody like Nicky Hopkins.
- [John] Or anybody. Yeah.

Or if it develops that nothing need
be done on guitar except for rhythm,

then we say, "well, fuck that.
Two rhythms. We'll have one piano.“

[Paul] Okay, well, we'll play
the rhythms with the guitars anyway.

[Vocalizing]

[John] I was thinking
about this whole three mics bit.

Do you think we should?

I was watching that pop show on bbc2.
The move were on.

You know that one little voice there
doing Harmony, one little voice there.

They neverjoined into a group.

( ) Nobody ever loved me
like she do me )

( ) Ooh, she does me )

( ) Yes, she does )

( ) And if somebody ever loved me
like she do me )

- ( [Paul] ) Oh )
- ) Yes, she do me )

[Paul vocalizes]

( ) Yes, she does )

[Paul] It should be, like,
a sustained thing over that.

( ) Nobody ever loved me like she )

[Scatting]

So, George, so that we can split up,

so that you're, like, doing the chords,
like a "ave Maria" thing.

Yeah.

( ) Yes, she does )

- [Scatting]
- Tell me...

[Imitates drumbeat]

Like on the Tom-Toms...

[Imitating drumbeat]

You know what I mean?

Yeah, so it goes...

There's a point where we'll have to
concentrate on the guitar

for each song, you know, where,
if it's going to play anything.

But if it's
"I'm in love for the first time."

And I'm doing, uh...

( ) I'm in love for the first time )

( ) For the first time in my life )

() And you know it's gonna last)

[Paul] It's nice though.
I mean, corny's all right in this one.

'Cause what he's doing is corny.

But it... see, that's the thing
that will make it not corny,

if we sing different words. So, you say...

( ) I'm in love for the first time )

( ) Love for the first time in my life )

Wait, okay. But roughly...

Okay, well, we'll do that.
That comes later. So...

- Just start off with a corny one.
- [John] Yeah.

'Cause the words aren't that good.
So it goes...

( ) I'm in love for the first )

( ) Love for the first time... )

[John] I think the words should be corny
'cause there's no clever words in it.

( ) I'm in love for the first time )

()lalalalalalala)

( ) Don't you know it's... )

- [Paul] You see, we should...
- [John] Yeah, change the beat.

[Paul] Should be different beat
and all on to light things and cymbals.

Yeah. [Imitating drumbeat]

Arthur Alexander then?

[Paul] Okay, do it from the beginning.

( [John]
) I'm in love for the first time )

( [Paul, George]
) Love for the first time in my life )

() Don't you know it's gonna last)

() Don't you know it's gonna last)

() It's a love that lasts forever)

() It's a love that lasts forever)

() It's a love that has no past)

[George] It sounds like
the same old shit.

Well, I like the same old shit
if it's just clear, you know?

Okay, so how about... how about
changing around these two?

And when you sing,
"don't you know it's gonna last,"

we sing, "it's a love that has no past."

Then he sings it, and then we repeat,

"it's a love that lasts forever,"
exacfly.

When you sing,
"it's a love that has no past,"

we sing,
"it's a love that's gonna last."

- Yes. I agree.
- Okay, so...

( ) I'm in love for the... )

"Love for the first time in my life."

"It's a love that has no past."

Swap that one for the other,

so that when he's singing that,
we're singing the other.

Then, "it's a love that lasts forever."

Repeat that, even though
it sounds funny. It'll be all right.

And then,
"don't you know it's gonna last."

Just try it through roughly.

- ( ) I'm in love )
- ) Dah dah )

( ) Don 't... )

( ) I'm in love for the first time )

( ) Love for the first time in my life )

() Don't you know it's gonna last)

() It's a love that has no past)

() It's a love that lasts forever)

[George]
Yeah, well, that time it was just silly.

[John] What's the bones of the part?

We don't really know
what we're saying now.

( ) Love for the first... )

[Paul] It was always weak
on your guitar...

Yeah, sure.

'Cause that's a weak bit
of the song, that.

- But you see, nothing has to happen...
- Yeah, it's the same bit.

In those things.

- If you listen to the words and things...
- Yeah, right, nothing does.

All that's going on
is the bass, guitar and drums doing...

( [Paul] ) I'm in love for the... )

It doesn't really make that much odds...
No, but...

[Glyn] What really sounds nice,
is you sing the first line,

you two sing the second line,

and the three of you
sing the third line.

( [Paul] ) Love for the first time )

() Don't you know it's gonna last)

() It's a love that lasts forever)

() It's a love that has no past)

- [Paul] Yeah. All right?
- Yeah.

That's the only time that works, really,
is on the last line.

- Paul, forget the last line.
- I'm just trying to get a bit...

We'll try to sort of go right through.
We keep talking about it.

- [George] It seems we're saying...
- Okay, girls.

Give in. I give in.

You're right
that it's wrong on that bit.

You see, the first song is not bad.

[Paul] Okay. Okay, we'll just repeat
exactly what you say.

One, two, three.

( ) I'm in love for the first time )

( ) For the first time in my life )

() Don't you know it's gonna last)

() Don't you know it's gonna last)

() It's a love that lasts forever)

() It's a love that lasts forever)

() It's a love that has no past)

() It's a love that has no past)

( ) Don't let me down )

Okay. Okay, that's... that's all right.
That's...

- [John] Yes, I can't hear you.
- [George] Right.

[George] I think it's awful, actually.

[Paul] We're gonna improve on that...

If we had a tape recorder now and then
just taped that and played it back,

- you'd throw that out straightaway.
- [F'au|] Yeah, right, but...

- [Glyn] Yeah.
- No, really.

- You'd throw it out, right? I mean...
- Yeah, sure. Okay.

[John]
Well, have you got anything?

[Paul] Okay, you've gotta come up
with something better then.

Well, for a start
it would be better to sing...

- [Plays tune]
- Instead of...

()ah)

Yeah, see, but in a way,
that's even cornier, I think.

That little Harmony bit.
It's just too pretty.

() It's a love that lasts forever)

- Just anything would be...
- Yeah, well, that's... it's the...

I think you should
just get a corny one first

and then start doing roundups.

You know, you'll start getting the
rhythm to it, something, or change it.

() Don't you know it's gonna last)

[Vocalizes]

You know, we've just gone round, like,
for an hour with nothing in our heads.

Just... and we're back, so let's...

We've been through
a lot of permutations.

Yeah, I know,
but let's move... sort of move on now.

[George]
What's the date today, by the way?

[Michael] Today's the sixth.

- What is it?
- [Michael] Yeah.

[George] Is it the sixth?

[Paul] It's twelve days until we do it.

We haven't done many yet.

[George]
We've only run through about four.

We haven't really learnt any at all.

Yeah.

( ) Two of us riding nowhere )

[Paul] Okay, now...

- Am I singing on this or what?
- I don't know, really.

"Two of us"?
You have to remember the words too.

Yes, I've got 'em here.

But learn 'em.

I almost know 'em.

( ) On our way back )

( ) On our way home )

See, look.

( ) On our way home )

Listen, now.

See, we're gonna have to sort of bring
it together, 'cause we're all at odds.

We're doing that thing
we did on the Beatles.

Like, in this verse,
it's two harmonies singing,

trying to say some words, right?

[John] Yeah, I'm not that bothered.
I'm just trying to sing it.

It's not sounding together.

[George]
And so we can only play until we...

We can say it's not together.

[George] ...We find the bit.

[George] Yes, then you've got to
carry on until it gets together.

[John] These are the hard ones
to do, aren't they?

When you just get them?

No, not really, it's just...
We've got to be imaginative.

You know, like...
It's like... it's complicated now, so it...

See, if we can get it simpler
and then complicate it

where it needs complications,
but it's complicated in the bit...

[George] It's not complicated.

I'll playjust the chords, if you like.

[Paul] No, no, come on.
You always get annoyed when I say that.

I'm trying to help, you know.

But I always hear myself annoying you
and I'm trying to...

[George] No, you're not annoying me.
You don't annoy me anymore.

[Paul] But you know what I mean?

Well, you know, we do this then.
Then we... and then, I don't know.

Yeah.

I can't do it on film either.

Can't frickin' do it on camera.

Yeah.

[John] Forget about candid camera.

[Paul]
I'm scared of me being the boss.

And I have been for,
like, a couple of years.

It's like I always sound...

I always feel as though I'm trying
to put you down and stop you playing.

But I'm not.
I'm trying to stop us all playing

until we know what we're playing.

[George] But you've got to play in order
to find which fits and which doesn't.

- [Paul] Mmm.
- [George] You see that's all we can do.

I don't wanna say it,
'cause I really just hear myself

as being the only one saying it, always.

And like, the three of you
just sort of sit there, like...

"Oh, he's saying that one again is he?"

And I never get any support,
or anything.

So I just think, "oh, well. Fuck it."

And I know it's right,
and you know it's right.

Yes, all right.
I just don't know what to do about it.

But doesn't everyone agree
that it's confused at the moment.

So, all I'm trying to say is,
we've only got 12 more days,

so, like, you know, we've really got to
do this methodically, this one.

Well, it's annoying, you know?

[George] I mean, I'll wait
until you get all your bits and then...

Work my part out, if you like.

It's like a matter of
working it out with you

while you're working your bit out.

You know, have you got your bass bit?

[Paul] Look. You know, you...

You're doing it again
as though I'm trying to say that.

And what we said the other day,
you know I'm not trying to get you.

What I really am trying to just say,
"look lads, the band,

shall we try it like this, you know?"

It's funny though
how it only occurs when the...

It's like, "shall we play guitar
all through 'hey Jude'?"

- Well, I don't think we should.
- Yeah. Okay, well, I don't mind.

I'll... I'll play, you know,
whatever you want me to play.

Or I won't play at all
if you don't want me to play.

Now, whatever it is
that will please you, I'll do it.

[George] But I don't think
you really know what that one is.

- But do you wanna take the gallop?
- No, okay, but don't...

Now come on. Look...

We've gotta do this.
We've really gotta sort out this,

'cause we're rehearsing,

and we're trying to, like,
get it together for the TV show.

So we really... like you said,
we've only been through four numbers.

So we probably gotta get some system
to get through, like, 20 or 30,

and know them all and have learnt them.

So that we get all the chords.

- So we can all vamp them all.
- Yeah.

Then we can, like,
all play every solo we need.

But, like, it's gotta sound
as though it's improving.

[George]
I start finding that what I'm doing

is starting to have something

have some sculpture to it.

[Paul] Yeah, I know what you mean.

It's just that that way of doing it
puts me off the way I'm trying to do it.

[George] I can only do me...

That one way, however I do it.

[Paul] Yeah.

Let's do another song.

[George] No, come on,
we still have to learn this.

This is why we take so long.

I think we play it shitty ten times,
and so it's sort of in there.

And then I think we could come
and play it quite good then.

[Paul] But it's only an idea.

It's just like different approaches.

[John] I'd say improvise it, man.

[Paul chuckles]

( ) On our way back home )

[Vocalizes]

( ) On our way back... )

I'll have to tune my guitar.

[Vocalizes]

It's got to just drive along like a car.
So how do we do that?

It was turning heavier.
Do you want it more countryish or more...

[Paul] I don't mind.
I'll just go where it goes.

I can't talk anymore, I really can't.

I get so, sort of, theoretical about it.

( ) On our way back home )

Two, three, four,
five, six, seven, eight.

( ) On our way back home )

( ) On our way back home )

[Vocalizes]

[Vocalizes]

- [George] But it comes...
- [John] Then just end on d.

[George] It could end on g for that one.

[Paul] G.

[Paul vocalizes]

[Chatter, laughter]

( [Ringo] ) Ll/londays on the road)

- [George] It's like lyme street station.
- [Ringo] What?

It reminds me a bit
of lyme street station.

[Indistinct]

[Paul] Lennon's late again.

[Ringo]
Between 10:00 and 11:00 is the time.

[Paul] Thinking of getting rid of him.

[Ringo] I'm never late.

He's never late.
He's a bloody pro, is Ringo.

You're playing that bass again. [Laughs]

Peter, can we have a binson echo unit
for these microphones, please?

[George]
I think we could have better mics.

[Paul]
We could have better mics too, Peter.

- You know, those big neumanns.
- [Michael] Yeah.

[Michael] Then we might be able
to pick up the candid dialogue better.

- Yes.
- We might, Michael. That's quite true.

[Chuckles]

[Upbeat song playing]

( ) Ooh, ooh, ooh )

( ) Ooh, ooh, ooh )

( ) Ooh, ooh, ooh )

( ) Ooh, ooh )

[Vocalizing to "get back"]

[Vocalizing continues]

( ) Don't you know it's gonna last? )

[Vocalizing continues]

[Vocalizing continues]

[George] Yeah. It's good... it's, you
know... musically and that, it's great.

[Clapping rhythmically]

[Vocalizes]

( ) Get back, get back )

( ) Get back to where you once belonged )

( ) Get back, get back )

( ) Get back to where you once belonged )

[Vocalizes]

( ) He thought she was a woman )

( ) But she was another man )

( ) All the folks around
thought she had it coming )

( ) But she gets it while she can, oh )

( ) Get back, get back )

( ) Back to where you once belonged )

( ) Get back, get back )

( ) Get back to where you once belonged )

[Vocalizes]

( ) Yeah, she thought she was a woman )

( ) But she was another man )

( ) All the folk around said
”she thought she had it coming ” )

( ) But she gets it while she can, oh )

( ) Get back, hey, get back )

( ) Get back to where you once belonged )

( ) Get back, get back )

( ) Get back to where you once belonged )

( ) Get back, get back )

( ) Get back to where you once belonged )

( ) Get back, get back )

( ) Get back to where you once belonged )

()oh)

I mean, at the moment, we're just
rehearsing the numbers for the show.

None of us has had the idea
of what the show is gonna be yet.

[Michael] One of the things wrong
about doing the show here...

Is it's too easy.

Denis said,
”come on, let's do it at twickenham”...

And I think that's wrong.

If we are doing it in the backyard,
I think that's too easy.

Yeah. Right. Yeah.

[Michael] And that's why, uh...

I think if you all have decided
to do a show,

then it should be the best show.

[Michael] Because you are the Beatles,
you aren't fourjerks.

Know what I mean?

[Paul] The only thing
about that though, is that, uh,

we don't want to go away.

[Michael]
Think of the lights in the water.

Torch-lit. 2,000 arabs.

- I mean, visually, it is fantastic.
- [Paul] But we're not going away.

[Michael] My trouble is...

I usually get talked over a good idea.

I will, every day, say tr/poli...

And every day I get closer
to the left fist.

We could make it like requests.

[Paul] We should do the show
in a place we're not allowed to do it.

You know, like, we should trespass,
go in, set up,

and then get moved,
and that should be the show.

I mean, you know, if you put us in
the houses of parliament,

playing in the main gallery
at the houses of parliament,

and getting forcibly ejected,

still trying to play numbers,
and the police lifting you...

[Michael]
I think that's too much of an obstacle.

( ) She came in
through the bathroom window )

[Laughs] Scuffling with the coppers,
boots and truncheons and all that.

You have to take a bit of violence.

I think that's too dangerous.

That is an interesting thought
of you all being beaten up.

You could go back to Manila again.

[George] Manila or Memphis.

[Michael] What about a hospital?

But I don't mean for really sick kids.

I mean for kids with broken legs.

I mean, really, kind of,
1944 Hollywood musical bing Crosby kids.

[Paul] Or in a hospital,
they can't all get up and walk. [Laughs]

Except for the finale.

[Michael] Oh, yes!

[Paul] When John walks up to
the little girl and says, "come here."

And she gets up and walks.

[Michael] Or maybe an orphans' home?
An orphans' home.

Children are the hope
of the future department.

What about an orphanage?

How does that grab you guys?

It's like, "going once, going twice,
going three times and that's it."

[Paul] No.

[Michael] Orphanage...
Orphanage going downhill.

[John] I don't think that orphanages
and police balls are gonna do it.

What's the biggest charity in the world?

I don't mean in terms of polio,

but what's the most charitable thing
anybody could do?

[George] They say...

Don't they say,
“charity begins at home"?

- [All laugh]
- [Paul] We'll do it at George's house.

[All laugh]

[John] I think we are just repeating
all the dullness.

[Paul] We gotta have some serious reason
for doing this or else we won't.

What's it for?

Can't be for the money.

I've decided the whole point of it
is communication.

And to be on TV is communication.

We've got a chance to smile at people,
like "all you need is love.“

but...
So that's me incentive for doing it.

[Michael] If this comes off,
we've got a great entertainment package.

We've got an album,

a documentary never seen before,
and a performance.

It's a great package.

The worst that we have is
a documentary of us making an lp

if we don't get into a show.

But we haven't played together, you see.

That's the fucking thing.

But when we do come together to play,

we all just sort of talk
about the fucking past!

We're like old age pensioners.

"Remember the days when
we used to rock?"

You know, but we're here now,
and we can do it, you know?

But, I mean, all I want to see
is enthusiasm!

See, the thing is also I get to a bit
where I just sort of push all my ideas.

You know, I mean, a lot will come out
of it if we could get the enthusiasm.

I mean, why are you here?
I'm here 'cause I wanna do a show.

But I really don't feel
an awful lot of support.

We keep coming up against that one,
and I keep saying,

"yeah well,
I'd like to do this, this and that."

And we end up doing something again
that nobody really wants to do.

If this one turns into that,

it should definitely be
the last for all of us.

Because there just isn't any point.

[Michael] I think that'd be sad.
I mean, as an audience. That'd be sad.

Course it is!
It's stupid. It is just stupid.

You see, the people who are being stupid
are the four of us.

[George] We need to be creative,
instead of being in the doldrums

which it always is.

The Beatles have been in doldrums
for at least a year.

Ever since Mr. Epstein passed away,
it's never been the same.

I mean, we've been very negative
since Mr. Epstein passed away.

And that's why all of us, in turn,
have been sick of the group.

It's discipline we lack.

We've never had discipline.

We had a sort of slight,
symbolic discipline.

Like Mr. Epstein.

You know, and he sort of said,
"get suits on," and we did.

You know, and so we were always fighting
that discipline a bit.

[All chuckle]

There really is no one there now
to say, "do it."

Whereas there always used to be.

Daddy's gone away now, and we're
on our own at the holiday camp.

I think we either go home or we do it.

[Michael] Do you still wanna perform
in front of an audience?

Or do you just see yourselves
as a recording group?

I think we've got a bit shy, you know?

I think I've got a bit shy
of certain things, you know?

'Cause you know how often, like,

on albums we sometimes
blow one of your songs,

'cause we come in in the wrong mood.

And you say,
"this is how it goes. I'll be back."

And we're all just,
"oh, well you..." [Scats]

[Michael] That's why we're wrong
to throw away the show.

Because there's no desire.

[Paul] So it's like,
if we're doing the show,

we're gonna have to work hard.

And that means
by the time a week from now comes

all these songs we've got,
we've gotta know perfectly.

[George] I don't wanna do
any of my songs on the show.

Because they just turn out shitty...

No, but this... thinking it's not gonna
come out great won't help.

If we cancel the show now,
we'll be throwing it away.

[Michael] But equally,
at the moment we haven't got a show

and so none of us really want to do it.

[Paul] I'll do it.

I'm not interested, you know, to spend
my fucking days farting around here,

while everyone makes up their minds
whether they want to do it or not.

It's like mal said last night,
"if you're gonna do the show here,

you've gotta decide today."

And as far as I can see,
there's only two ways.

We're gonna do it,
or we're not gonna do it.

And I want a decision!

[George] Maybe we should have a divorce.

[Paul]
Well, I said that at the last meeting.

But it's getting nearer, you know?

[John] Who'd have the children?

[Paul] Dick James.

[John] Oh, yeah.

We all need you.

And, you know,
if you all can't get it together,

that's really very sad.

So, I think what we should do now
is let you play a little

and then you all have lunch together.

[Chuckles] And I can give you
some more fennel, maybe?

- [Chuckles]
- Yes.

[Michael]
So shall we leave you for a while?

- Yes. Yeah.
- [John] Yeah.

"If I'd been out...

Till quarter to three."

( ) Will you still be there? )

And then twice...

() Maxwell's silver hammer
made sure that)

Minor.

() Sure that she was dead)

( ) Solo )

That's the second lot.

[Vocalizes]

Like a ukulele solo.

[Vocalizes]

- [John whistling]
- [Tongue clicking]

[Whistles]

Who was that? [Clicks tongue]

Was that you?

[Chuckles] It's all right.

Keep it in.

[John continues whistling]

Just stand near the mic on the night.

[Clicking tongue rhythmically]

Okay.

Uh, John?

They're like a d, d.

D, f-sharp minor, g to a.

[Both vocalizing]

[George] Are you just doing it all in d?

[Paul] Yeah.
Should we go and have lunch?

Take this guitar
I offer you in all humility.

Thank you.

[John laughs]

[Paul] Thanks a lot, Jim.

() Oh, Jim grey)

( ) Where is your mother these days? )

Mal, we should get a hammer.

And an anvil.

See you later.

[Vocalizes]

()go)

( ) Bang, bang, ll/laxwe/I's silver hammer
came down upon her head )

( ) Clang, clang, ll/laxwe/I's silver
hammer ll/lade sure that Joan was dead )

Whistle.

[All whistling]

That's nice, fellas.

( ) Back in school again
Maxwell is a fool again )

( ) Teacher gets annoyed )

( ) Wishing to avoid an unpleasant scene )

( ) She tells Max to stay
when the class has gone away )

() And he stays behind)

() Writing thousand lines that say
”/ fool, ll/laxwe/I fool”)

- [John] Like that?
- [Paul] Yeah, e minor to a.

Same as before.

[Vocalizes]

So there's two choruses there. Solo.

[Vocalizes]

Then the quick end now.

[Vocalizes]

That's okay as long... he's in the space.

Yeah, if you do it in the space.
You know, it's gonna go...

[Vocalizes]

[Vocalizes]

- That's the...
- [Paul] That's the one.

[Paul vocalizing]

( ) He creeps up from behind )

Hee-hoo!

( ) Bang, bang, ll/laxwe/I's silver hammer
came down upon her head )

() Clang, clang, ll/laxwe/I's silver hammer
ll/lade sure that she was dead)

Take it away, Johnny.

[Whistling]

[Whistling continues]

Well done, boys.

[Whistling]

Okay, that's "Maxwell's."

[John] Mal, did you get the words
to "across the universe"?

- They'll send them up this afternoon.
- [John] Has dick James got the words?

- No!
- [Paul] I don't think so.

["Across the universe" playing]

( ) Words are flowing out
like endless rain into a paper cup )

( ) They slither wildly
as they slip away across the universe )

( ) Pools of sorrow, waves of Jo y
are drifting through my opened mind )

( ) Possessing and caressing me )

( ) Jai guru de va )

()om)

[Indistinct]

[Vocalizes]

He's trying to get a balance in there,
and you've got the words all in front.

- You got the balance, glyn?
- Yes.

Getting it all right, are you?

[Glyn] Can't you get a music stand?
We had some the other day.

- Yeah, mal...
- [Glyn] There's one over there.

- Do you want a music stand?
- Yes, please.

Itgoes_.

[Vocalizes]

[Imitates electric warp]

( ) Jai guru de va )

()om)

( ) Nothing's gonna change my world )

[John] I wish it fucking would.

( ) Nothing's gonna change my world )

( ) Images of broken I/ght )

( ) Which dance before me
like a million eyes )

( ) They call me on and on
across the universe )

It's 'cause I'm down.

() Thoughts meander)

( ) Like a restless wind
inside a letter box )

( ) 7'he y tumble blindly as they make
7'heir way across the universe )

( ) Jai guru de va )

()om)

( ) Nothing's gonna change my world )

( ) Nothing's gonna change my world )

( ) Sounds of laughter, shades... )

[Paul]
I think you better take control, John!

( ) Let me hear
some of that rock and roll music )

() Any old way you choose it)

( ) It's got a back beat
you can't lose it )

() Any old time you use it)

( ) Gotta be rock and roll music )

[Crowd cheering]

( ) If you wanna dance with me )

( ) If you wanna dance with me )

( ) Way down south they have a tango )

( ) And then it turned into a mambo )

( ) Another dancer had a lamba )

( ) / started doing another samba )

( ) And started playing
that rock and roll music )

() Any old way you choose it)

( ) It's got a back beat
you can't lose it )

() Any old time you use it)

( ) Gotta be rock and roll music )

( ) If you wanna dance with me )

( ) If you wanna dance with me )

( ) Way down south they have a tango )

( ) And then it turned into a mambo )

( ) Another dancer had a lamba )

( ) / started doing another samba )

( ) And started playing
that rock and roll music )

() Any old way you choose it)

( ) It's got a back beat
you can't lose it )

() Any old time you use it)

( ) Gotta be rock and roll music )

( ) If you wanna dance with me )

( ) If you wanna dance with me )

[Music stops]

[Crowd cheering]

[Cheering fades]

[George] You know where they dropped
all the bombs on Germany,

- they killed more people than...
- [Ringo] Than the h-bomb in Hiroshima.

[Tony] Yeah.

- [Ringo] And all civilians.
- [George] Fucking terrible.

And did you see when they flew over,
it looked like Hamburg. Just bombed out.

- Nothing. Just dead.
- Mmm.

- Did you watch the bbc2 thing?
- And, uh...

[George] Yeah,
there was that science fiction thing.

[Michael]
Was the science fiction any good?

It was amazing. Did you see any of it?

I only saw the last five...
Three minutes.

It started very strange,
where they brought...

They had a fellow on a trolley,
and they pushed him in,

- like, a cupboard or a fridge.
- He was the body, wasn't he?

He was just, like, a body, yeah,
that they were gonna use.

- [Michael] Mmm.
- And they did something.

They were supposed to be
in the year 2100 and something.

- And they went back to 1969, January.
- [Michael] Mmm.

[George] Focused in on the m1
on this car.

- And made him crash, so that he'd...
- [Michael] Mmm.

And then they somehow take his mind
or whatever it is

and transplant it into this new...

- Uh, new body.
- Into the body that he put in.

Rex industries, they were called.

[All chuckling]

And, uh, then suddenly it turned into
all that crap about medals and things.

That's what gave me the idea,
'cause suddenly it was the bit

where they were all coming
into the ball, I think it was Austria,

and they all had their medals.

[Ringo] Oh, I didn't watch that.

[George] And some music
was just playing.

- Music, like a 3/4 thing.
- [Michael] Mmm.

[George] And so I just had that
in me head, just the waltz thing,

and it was fitting "I me mine."

- There was no words to it, I just...
- [Ringo] Yeah.

[Michael] Hello.

How are you?

- Morning.
- [Paul] Good morning.

Do you want to hear a song
I wrote last night?

[Glyn speaking indistinctly].

[George] It's just a very short one.
It's called "I me mine."

() All through the day)

( ) / me mine, / me mine, / me mine )

( ) All through the n/ght )

( ) / me mine, / me mine, / me mine )

( ) No one's fr/ghtened of playing it )

( ) Everyone's saying it )

( ) Flo wing more freely than wine )

( ) All through your life )

( ) Lme mine )

[Michael] It's lovely.

[George] What's, uh...

Is that grammatical?
"Flowing more freely than wine."

[Michael] Yeah.

[Paul] All right.

- "Flowing much freer"?
- You know what would be fantastic, Paul?

- [Michael] More freely.
- "Freer." It's funny when...

If you're writing, yeah,
thinking of how you say it.

- "Freer."
- but I got...

- For it's sticky out here.
- I was thinking...

- [All chuckling]
- Yeah, yeah.

() All / can hear)

( ) / me mine, / me mine, / me mine )

[John]
All the girls come on then, dancing.

Harrison's fishennife,
and dwarves and hunchbacks...

( ) / me mine, / me mine, / me mine )

( ) No one's fr/ghtened of playing it )

[John] Run along, son.

( ) Everyone's saying it )

[John] We'll see you later.
We're a rock and roll band, you know?

( ) Flo wing more freely than wine )

[John scatting]

( ) All through your life )

( ) Lme mine )

- [John] Mine.
- [Paul] Mine. I like mine.

[John] Well,
I'll get on the barrel organ.

[Chuckling]

[George] I don't... I don't care if you
don't want it. I don't give a fuck.

It can go in me musical.

[John] George,
have you any idea what we play?

[Crew] George?

- [Microphone feedback]
- Can we just borrow that copy?

[John] His amp needs to be on.

[Ringo] Why?
Have you got something there?

[Paul]
Haven't you written anything else?

- No.
- Haven't you?

[Ringo, incomprehensible, echoing]
Hello?

[Paul]
We're gonna be faced with a crisis.

- More volume.
- [Crew] This is diarrhea.

When I'm up against the wall, Paul,
you'll find I'm at my best.

[Echoing] That's good echo.

[Paul]
Yeah, I know, John, I know.

But I wish you'd come up with the goods.

- Look, I think I've got Sunday off.
- [Echoing] Hello?

- Well, I hope you can deliver.
- [Echoing] Hello.

I'm hoping for a little rock and roller.

Yeah, I was hoping
for the same thing myself.

Sammy loved his mammy.
She hammy dammy dammy.

[Echoing] Paul, Paul, Paul.

- Stop that goddamn feedback!
- [Laughing]

And you then being presented onstage,

you should be sitting there
when they are coming in.

[Paul] And then you open the doors
and we're in the middle of a number.

Or you're just sitting, waiting,

and then when everybody's there,
then you start.

As opposed to you coming on
as the Beatles, it's much more intimate.

Well, we're doing it anyway,
while they come in before we start it.

- [Michael] Yeah.
- Like we did on "Jude."

You're not having a heyjude bit again?
With them all around you, are you?

[George] Well, let's...
We keep 'em a bit...

[Ringo] Cover them up.

More disciplined than they were then.

[Paul] And the stage could be that high,
and they don't get on the stage.

Put a barbed wire
entanglement down the front.

[Chuckling] Yeah.

[Paul] So, the main thing is,
are we going to do it here?

'Cause they've got to build
a control room.

[George Martin] What are the
alternatives to where you want to go?

It's really anywhere
as long as we can get it there.

[George Martin]
Are there definite places?

No, I don't know anywhere.

That's why we came here.

Where do you think?

[George Martin] I think
you might as well do it right here.

[Paul] But, acoustically,
it's not very good here, is it?

[George Martin] It's not as good
as it could be elsewhere, you know?

[Paul] Now what would make it?

- A lower ceiling?
- [George Martin] Deaden it right down.

[Glyn] Yeah,
a false ceiling above where you are.

[Paul] Now John'd like to say
a few words on the subject.

( [John] ) I'd/ike to say
7'hat / like the intimate idea )

( ) Rather than a large one )

[Paul] Yeah?

( [John] ) Simply because
we should concentrate on the sound )

( [All] ) Simply because
we should concentrate on the sound )

[Paul] Thank you very much.

( ) You and I have memories )

( ) Longer than the road
7'hat stretches out ahead )

[Screams]

( ) Two of us wearing raincoats )

( ) Standing solo in the sun )

( ) Don't let me down )

( ) Don't let me down )

( ) I've got a feeling )

( ) A feeling / can't hide
oh, no )

( ) Oh, no )

[John] Only another two days to go
and we'll have another two off.

[George Martin] Then you've
about fifteen more, haven't you?

- Well, it's a very small lp.
- [George] Uh, mal?

A large hole in the middle, George,
with a picture of your behind.

[Chuckling]

( [Paul] ) No, / won't shed a tear)

( ) Just as long )

() As you stand)

( ) Stand by me, stand by me
stand by me, stand by me )

( ) You got me going )

( ) Like a spinning top )

( ) Baa-ba-ba-ba-baa
baa-ba-ba-ba-baa )

Legalize pot.

Queen says "no"
to pot-smoking FBI members.

It doesn't...

Hey, hey.
It doesn't stop there actually.

() Baa, baa, black sheep
have you any wool)

() Clang, clang, ll/laxwe/I's silver hammer
ll/lade sure that she was dead)

[Cymbal crashes]

A guitar fell over, Paul.
A guitar fell over.

( [John] ) The news is out)

( ) All over town )

( ) That you've been seen )

( ) Out and around )

( ) / know that I )

( ) Can't win, but then )

( ) What can / do? )

( ) You win again )

() All / can hear)

( ) / me mine, / me mine, / me mine )

( ) Even your tears )

( ) / me mine, / me mine, / me mine )

( ) Everyone's playing it )

( ) Everyone's saying it )

( ) Flo wing more freely than wine )

( ) All through your life )

( ) Lme mine )

[Song ends]

[Scatting]

- [Yoko] You can keep going now.
- [George] Do you dig it, man?

[Chuckles]

- I like that one.
- Yeah.

[George] Do you want to do that waltz
on the show?

That'd be great,
'cause it's so simple to do.

[Fast dance music playing]

[Music stops]

[Michael] Every song has got
a character.

That's the character of that one.

And we can find each number...
How they fit theatrically,

like your dance for that one,
like the song that you cry in,

and the song you do
that brings tears to everybody's eyes.

[John] Yes, all right. Just sod off!

[All chuckling]

[Denis] I mean, you see,
build any set you want.

Maybe not scaffolding...
Not obvious scaffolding.

Maybe we can put people up on them.

Think it could hold people?

It could hold...
I guess that'd be a bit limited.

[Paul] But that's how it was,
around the Beatles.

On two levels, like that.

- ["Please please me“ playing]
- [Crowd cheering]

( ) Come on, come on
come on, come on )

( ) Come on, come on
come on, come on )

- [Song fades out]
- [Michael] Yeah. Well...

See, this is around the Beatles,
and that is better, but...

Show it to John.
John will tell you about that.

John and yoko know about that.
They're artists.

[Chattering]

It's around the Beatles '69.

Yeah, that's what Paul said.

That's what Paul said. He said have a
word with you and see what you thought.

Whether we could vary it.

In terms of... see-through things,
'cause I don't think we're ever gonna...

If you wanna see through 'em,
use plastic.

Plastic...

But don't have scaffolding.
They do it every show.

- Yeah. Use a different material?
- Just use solid plastic.

- Solid plastic.
- For, you know, to see through 'em.

["Let it be" playing on piano]

I like the idea of a see-through thing,
I think.

[John] If you had 'em above our heads,
you could have plastic and see up...

[Denis] That's right. That's great.
That's a good thought.

That's a good thought, all that.

[Michael] Think of a helicopter shot
over the amphitheater...

Yes, but that's the only argument
you're giving to me is the...

- Is the helicopter shot.
- The helicopter shot.

And you'll see the sea
and you'll be in a theater.

And that is... for one, two minutes,
say, of that shot

isn't worth me going out there.

When I really prefer to do it here.

Just big blocks, so you could put blocks
of plastic in any shape you wanted.

We could move the audience round.

Yeah. Now that would mean
casting the plastic, wouldn't it?

It's just boxes, you know?

Might be a material we don't know about.

[John]
There will be some kind of new stuff,

you know, like bakelite or some plastic.

But the thing is,
everything you do has got to be good,

'cause all your albums are good.

I mean, there's not a duff album.

Butsee,
it is kind of like four years ago.

And there's nothing wrong
with four years ago,

except we're all 28 now as opposed...

- I don't mean that...
- We're all... yes, we are.

We're all 28, or whatever we are
in the group. Baby George there.

I mean, it's not only you as the band
and it's not only them as songwriters.

It is the four of you.

[John] If you got a lot of blocks made,
you could build any formation you want.

- [Denis] Fit in like a meccano.
- If you've got box-shaped plastic,

you can build it that long if you want,
or just have it that short.

[Denis] Like kubrick would do.

And it's got to be the best.

Because...

I mean, the hearts of millions
are with you, you know what I mean?

It's got to be the best. It can't...

Every time we do anything
it's always going to be the best.

I'm not saying you owe it to the world
or anything like that.

But if it is going to be
your last TV show...

Yeah, but you're only surmising that.

Just 'cause we got a bit grumpy.

We've been getting grumpy
for the last eighteen months.

But I don't want you
to be unhappy 'cause, like...

I love you
like I love your three colleagues.

[Denis] You see, then it's nice to have
the levels where they can dance

and, you know,
whatever they wanna do, you see?

[John] Look, you could have
our thing plastic too.

[Denis]
Yeah, that would be knockout to do that.

And then we could do what we like
with the backing, have it go black or...

- [John] Yeah, yeah.
- [Denis] Black.

Or stark or something, you know?

See, I'd watch an hour of him
just playing the piano.

Me too. Uh...

'Cause he's so great.

But, like, I think...

See, I think we gotta find a place
which would complement it.

And I don't see it being here on a stage
with tubular scaffolding around it.

Then we can control all our lights
from a panel.

And we can have what colors you like.

[John] Yes. You'll always be able
to see us through everything.

[Denis] That's right.

[John] I'll have the plastic
when you're finished with it.

Well, can we all talk about it?

If... you will take the veto off

if you can be convinced
that we can get an audience out there.

All right, I'll do that.

Okay, I love you. That's fine.

[Ringo] Yes, I love you too.

[Michael] Okay. We'll get married
one day so you're stuck.

Okay, thanks.

I just do think,
like, this is unique in that...

[Michael] Still, in a studio it's not...

The one in a million.

Can't you see this at night

torch-lit in the desert?

What's George's
latest reaction to all this?

- [Michael] Well, I don't know.
- [All chuckling]

You've left out a quarter!

- [Michael] I know, I left out George.
- [Laughs]

[Michael] Also,
the documentary's running out of gas.

[Denis o'Dell] It's really why I'm
letting you go on shooting film stock.

'Cause I knew you'd come on the third
day and say, "what else is there?"

[Michael] Now, is the best time to talk
about it at lunchtime tomorrow?

Or should we talk about it now?

What is the mood?

[John]
We're getting into that. I don't know.

[Michael] Paul and you are not
getting on as well as you did.

It's not as easy?

In other words,
what do you feel about that?

No, I think it's...

[Michael] It might make it better again.

Whatever the wound is.

Yeah.

That's what I was thinking.

[Denis chuckles]

- [Denis o'Dell] Paul liked John's idea.
- [Michael] The box thing, right?

He told me exactly
what you'd say about this.

[John] Did he?

[Denis] Yeah. [Chuckles]

[Denis o'Dell] But we ought to,
really, come to a decision.

[Michael] I don't even know
what Paul's thinking, do you?

[Denis] Yeah. [Chuckles]

[Paul] An outdoor scene
has to be in england because...

[Denis] I don't think it's practical to
do it in england. It's too bloody cold.

[Michael]
Yes, that was one of the reasons

we started veering off on these ideas

was when we were looking at locations
that Friday after Christmas.

We are in a film studio.

We're going to build something so that...

We shouldn't just try and build
something like the tower ballroom

'cause we could go
to the tower ballroom.

But, once you get on a stage,
you are performers

and you gotta have someone to do it to.

Either the camera or real people,
I think.

[Paul] Yeah, we haven't...

Any number we've done at the moment,
if we've noticed the camera on us

we've tried to ignore it.

[Michael] But you've either got to be
performing directly

to the people at home

or to an audience.

[Paul] See that's why
I thought like a ballroom.

If we did go right back.

Like, "come to the tower ballroom.
There's a dance on."

You know? Oh, incidentally,
we'll be the band there.

And then we go on
and we play all the numbers.

[Michael] But you're just not
the local dance band.

I don't think it's quite enough scope.

[Glyn] I also think that
people are very interested

in seeing how an audience would react.

[Michael] Because the audience is
so much part of the first half of you,

musically.

[Paul] Okay, so we're all prepared
to do it with an audience.

But you can't just have
the same old audience.

[Denis]
What can you do that's new with them?

[George] If we can just think
of an image, how we'd like to be,

which could be like a nightclub act.

Just the smoochy low lights
and about ten people.

What's the point,

when you could be giving people
happiness with a full house?

Whatever kind of full house we decided.

I mean, we have to think
about the audience.

It really ought to be the whole world.

[Denis] That's where...

Now we're going right...
The whole circle back to sabratha.

[Michael] It is a location which is
marvelous in itself, by the sea.

[Denis] What he's saying is right.

It's the background.

[Michael]
I don't think anything is gonna beat

a perfect acoustic place
by the water, out of doors.

[Ringo] For a rock and roll group?

[Denis o'Dell] I really think we ought
to go over and set it up upfront.

Shoot a day sequence,

a night sequence, a torchlight sequence

out there with sea, desert, four days.

Make it comfortable for everybody.

[Michael] Yes, I think we're gonna do
rock and roll at dawn or at night.

I'm sure we can do rock and roll there
if we get the right audience.

- George, come here.
- [George] I just wanna get it over with.

- [Chattering]
- [George] Yeah.

- Hiya.
- Come on.

[Chuckling]

- We're going to Africa.
- [Denis] We're off.

- [Michael] We're off.
- [Paul] No, we're not. Not necessarily.

[John] Yeah! Let's go! Let's go!

[George] Where to?

[Denis o'Dell] To sabratha.

[All laughing]

Tripoli! Fantastic sound!

[Ringo] You're thinking of yourself

'cause you wanna be nice
and warm and cozy!

[George]
What is the point of doing it abroad?

I'd much rather do it, and then go away.

[John] See, it's like having
the most fantastic set on earth,

but we haven't made a set, you know?

[Ringo] How many are gonna be looking
at the set besides us and him?

[John] Every time we've done an album,
we've said, "why are we stuck in emi?"

We could be doing it in la.
We could be in France.

And every time we do it,
and here we are again,

building another bloody castle
around us.

- [Paul] Well said, John. Well said!
- [John] And this time we do it there.

I'd be thrilled to do it.

Just timing it so as the sun came up
just on the middle eight.

[Michael] One of Russia's points was
that he wanted an English audience.

- [John] Oh, Russia? That'd be great!
- [Michael] I think we've got to get...

[Michael] No, no, no
that's Ringo's code name. He's Russia.

[John]
Just give me one reason to stay here?

- [Ringo] For the people!
- [John] The people?

That's the only reason.
All right, so we'll take 'em with us.

[Paul] Look, we were gonna
give tickets away at this door here.

We'd given out those tickets,
but they include a boat ride as well.

[Michael] We take them with us,
and that's the show.

[Paul] Okay, yeah.
We're doing a live show.

And we're doing it in Arabia.

[Chuckles] And it's like...

Whoever has been waiting
to see the lads rocking again.

[George] It's just impractical to try
and get all those...

But it's not, you see...

Lug all them people there
and try and get all that equipment.

[Paul] But then if it was
their problem...

[Denis] But if you say, "that's
what I want," that's what has to happen.

- [John] That's not our problem.
- [George] Of course it's our problem.

[Paul] Tell you what I'll offer you.

If we're going away and we hire a boat
to take the audience with you...

- That would be knockout.
- We'll do a bloody show on a boat.

[Michael] Wait here's France
coming in here now.

[George]
France? I can't go to France!

[Michael] No, no, no.
That's your code name.

[Michael] That's your code name.

[Paul] No, he smoked some garlic once.

[Laughing]

[Paul] So, like, I'll come in with you,

as long as you can get
a couple of boats.

- The oe 2.
- [George] And then we're stuck

with a bloody big boatload of people
for two weeks.

At least you can go home from here.
You can get away from it all.

[Denis o'Dell]
It'll take three days trip on the boat.

[George] I think the idea of the boat
is completely insane.

It's very expensive and insane, and...

[Denis] I think it should be
the least of our worries.

Money. I really do.

[George] And who's gonna cough up
for that, though?

[John] If p&o will do a deal with storm,
they'll do one with us.

[George] They haven't even
made back the money it cost

to buy the film
for magical mystery tour

we should be able to get the boat
for the publicity they get from it.

[George] They won't give us
a free Fender amp!

[Ringo]
I've stopped being Russia now.

[Denis] It's gonna be great.
You'd love the place.

[Ringo] I've moved to yugoslavia!
[Chuckles]

I may love the place, but I'd rather
do the show, then go and love the place.

[Laughing]

[Ringo] How're you gonna get a ship
in a couple of days?

[John] We got the American Navy
for howl won the war

[Ringo] I was there. Yes, I know.

But they were passing by
and you only used them for a few hours.

I've seen it, John.
I went to the premiere.

- [John] Did you enjoy it?
- [Ringo] I thought you were great.

- [John] Thanks a lot, Ringo.
- [Laughing]

[Michael] How are we stacking?

If there's no problem with the
equipment, and with the right audience,

which will be basically
English-speaking brought from here.

[John] Broad-minded englishmen wanted/

[Ringo] Still not the same.

If you'll say yes, and if we get it
together, then will you go?

[John]
Well, if we mull it over tonight.

Leave it in the air and that,
just think about it.

[Michael] Well, I feel,
as the trade says,

"the vibes are very good at the moment."

But we can all say yes now
and somebody can decide no tomorrow.

- It's not gonna make any odds.
- Yeah.

- [Ringo] Good night, everybody!
- [Michael] Good night, Russia.

- [Ringo] That's a wrap.
- [Denis] I'll see you in sabratha!

[John] Let's pretend
I wasn't here again.

[Chattering]

[Paul] This is the...
Here, I'll take you to...

- Do you know Michael Lindsay-hogg?
- No.

[Michael speaks indistinctly]

Tony's a cameraman.

[Paul] Linda's a cameraman.

[Tony] Nicest cameraman I've seen
for a long time.

[Laughing]

[Linda]
So if you do it, it would be in here?

[Paul] I dunno. There's many a story...

As I told you last night.

[Linda]
Yeah, I mean, if you do it here though?

Yeah.

[Paul] But if we don't,
it's on a boat to Tripoli.

[Paul chuckles]

I better go
and put in some piano practice.

[Michael] Oh, yes, and we can film it
so you're not noticing.

[Paul] Don't tell me that.

[Michael] No.

- [Chattering]
- [Linda] Yeah.

Gatwick Friday, Monday, Tuesday...

- Isn't Tripoli in Libya? Yeah.
- That's right. Yeah.

[David] That flight departs
every day 3:05 and arrives 9:10.

- [Denis] 3:05 pm. At night?
- Yes.

- That's a long trip!
- That's what he told me.

Six hours? Can't be that long?

["Another day“ playing]

( ) Every day she takes a morning bath
she wets her hair )

() Wraps a towel around her
as she's walking to the bedroom chair)

( ) It's just another day )

( ) Steppin ' into stockings )

[Mal]
Have you got any more words?

To write out? More songs?

- ["The long and winding road" playing]
- Yeah.

Now, what was it? Uh...

I'll give you mother Mary,
"the long and winding road."

[Michael] Go out on Sunday
and finish it on Sunday.

I think we spend
'til the middle of next week here.

Go out, do it the following weekend...

In other words, eight days.

I went off the boat, actually.

[Michael] The only thing is, it's, um...

I think... I really do think
it's gonna be for the world.

The biggest part of our world
is america and england.

It's true.

[Michael] Yes, but they do think of you
as for everybody in the world.

That's one of the things
I thought was good about "Jude,"

the guy in the turban.

Yeah.

() Lead me to your door)

( ) Second verse )

That I haven't got yet. [Vocalizes]

( ) Leave a space for the same thing )

( ) La, la, la )

[Mal] What do you think of...
Where to do the show?

Did you think about it last night?

It's gonna be an indoor...

It's gonna be indoor...
Inside a building.

[Paul] The airport and the houses
of parliament aren't the right ones...

But if, you know, we hit the right one.

[Mal] I think it's down to
if we're going to do it in this country,

we might as well do it here.

- [Paul] But actually...
- [Humming]

[Paul]
We're going on a farm in Scotland.

- [Mal] What?
- [Paul] Kidding.

[Paul] Yugoslavia.

[Linda] I'd love to find... a farm.

[Michael]
Yes, Paul was saying yesterday, a farm.

( [Paul] )Just the winding road
that leads to your door )

( ) Will never disappear,
I've seen that road before )

( ) It always leads me here,
lead me to your door )

[Mal]
It's, sort of, like the wizard of oz.

Did you ever see the wizard of oz?

[Paul] No, no I didn't...

[Mal] ...The yellow brick road.

[Paul] Yeah.

Then something about pleasure...

[Vocalizes]

From...

() The many ways I've tried)

Yeah.

() Gathered all the pleasure
from the many ways I've tried)

( ) But still the y... )

I've had lots of pleasure,
but said better.

- You know?
- Yeah.

[Paul] I've had many pleasure.
I've had much, much...

( ) You left me waiting here )

[Mal] Use "standing."

( ) A long, long time ago )

[Paul] You like "standing' better?

[Mal] Yeah, put " waiting' there
and "standing' here.

[Paul] So it would be...

( ) You left me waiting here )

( ) A long, long time ago )

[Vocalizes]

( ) Don't leave me standing here )

() Lead me to your door)

[Michael] I adore Ringo.

[Linda] Yeah, he's just great.

[Michael] Yeah, but also
very good in the heart too, I think.

[Linda]
I feel the most relaxed around ring.

[Michael] Me too.

There's no more to that yet.

Just call that "middle."

[Paul vocalizing, humming]

() The many ways I've tried)

That's all right.
"The many ways I've tried" is all right.

[Mal] But have you got any idea
for the second verse?

See, I was thinking of having another,
like, the weather obstacle in that one.

( ) The storm clouds and the rain )

( ) Break upon the winding road )

( [Mal] ) The black and stormy rainclouds
will gather 'round your door )

[Paul] I suppose it should
still be about that.

The, sort of, winding road because...

I've just got that picture.

It'll be like that thing
that's up ahead.

() The thing that's up ahead)

[Mal] Like,
what about the obstacles on the road?

No, I think the...

[Paul] There's enough obstacles
without putting them in the song.

[Chuckling]

( ) Golden slumbers )

( ) Fill your eyes )

It's an old English folk...
The words, these.

( ) Smiles await you )

( ) When you rise )

( ) Sleep, pretty darling
do not cry )

( ) And / will sing a lullaby )

[Shutter clicks]

() Once there was a way)

( ) Once upon a time )

( ) There lived a... )

That really should be
like a fairy tale, though.

[Shutter clicks]

Once upon a time
there lived a Princess.

( ) Once upon a time )

( ) There lived a king )

( ) Sleep, pretty darling
do not cry )

( ) And / will sing a lullaby )

And the king will sing a lullaby.
[Chuckles]

( ) La, la, la, la, la )

[Ringo] Is that the original tune?

[Vocalizing]

[Paul] No, it's one you'd know,
the original one.

Butjust at the end of it, it goes...

( ) And / will sing a lullaby )

Should be ready for
a songs for swingin'lovers album soon.

[Laughing]

[Ringo] Morning, George.

[George] Morning, lads.

I was just so hungry today, I had
to be late just to eat me breakfast.

[Shutter clicks]

[George] If you want an excuse.

[All laugh]

[Shutter clicks]

[Paul]
I have a bit which might interest you.

I was thinking for a song for Ringo.

Like... like a story.

A bit like "act naturally“
where you sort of... [vocalizes]

But all they said was, well,
you've got to act naturally.

So... it was like a comedy
when I heard it, you know? It was like...

( ) Boy, you're gonna carry that we/ght )

( ) Carry that we/ght a long time )

( ) Boy, you're gonna carry that we/ght )

( ) Carry that we/ght a long time )

( ) Well, / get drunk ton/ght... )

[Sings indistinctly]

( ) She said .. [Indistinct]
You do my fricking head )

( ) Lsaid .. [Indistinct]
Been telling on and on )

( ) But every time / try to do it
no, it don't take long )

( ) Boy, you're gonna carry that we/ght )

( ) Carry that we/ght a long time )

( ) Boy, you're gonna carry that we/ght )

( ) Carry that we/ght a long time )

[Paul]
See, that could be a verse about, like,

got in trouble with the wife,
got drunk

and so and so and so and so
and then woke up the next morning...

[Shutter clicks]

With a weight upon my head
and I found out

it was my head.

[Chuckling]

( ) Boy, you're gonna carry that we/ght )

( ) Carry that we/ght a long time )

() Yeah, boy)

[Paul] They're just, sort of, normal
kind of troubles that everyone has.

["The castle of the king
of the birds“ playing]

() Well, / love you in the morning
girl)

() I/ove you)

( ) Ooh )

() And / love you in the morning
girl)

()ldo)

( ) I/ove you every minute
girl, ldo )

[John]
I've decided to wear continuity clothes.

- [Laughs]
- [George] Yes.

We'll have moss growing under the arms.

[George] Well, when it's cut together,
you'll just look normal

and we'll look as if
we've been changing every half an hour.

[Mal] Kevin? Kevin, can we have
some toast and tea, please?

It's tea time now, man.

[John] Can we have some more tea, Kevin?

I need sort of, like,
a gallon in the morning.

[George] Do you have access to real tea?

[John] I've got nice tea with us.

- Not that piss posh stuff.
- [Yoko laughs]

( ) I/o ve more than ever
girl, ldo )

[Paul] Have you got lots of words?

[George]
Well, they were so easy, you know.

You make them up.

[Paul] It's nice though, isn't it?

[John] What's the score, man?

[Whistles]

This is his last n/ght's song.

Yeah.

And a little blues folk song.

- [Crew] Jimmy, stick 'em up.
- Oh.

When we was just acoustics or something.

There's more skiffling on it,
and it's great,

'cause they don't need any backing,
really.

So, "get back, get back..."

[Paul]
"Get back to where you once belonged."

Think of some words if you can.

I don't know what it's about.
It's about going away.

And then the chorus is "get back."

[George] Uh...

[Paul] So, I just...
Actually, it's not about anything.

- [All laugh]
- [Paul] You know...

[George]
Yeah, we'll just have those words.

Just words that...
They're just nothing about anything.

It's just, like, rubbish.

[Protesters chanting]

["Get back" playing]

The black man will have the whip hand
over the white man.

( ) Get back to where you once belonged )

( ) Get back )

( ) Get back )

( ) Get back to where you once belonged )

() Sidi Abdul rami was a Pakistani)

( ) But he didn't live at home )

( ) Worried people said
”we don't need Pakistanis )

() Boy, you better travel home ”)

( ) Yeah get back )

( ) Get back )

( ) Back to where you once belonged )

( ) Get back )

( ) Get back )

( ) Get back to where you once belonged )

( ) Alberto ll/larin was a puerto rican )

( ) Buthe... )

[Singing continues, indistinct]

( ) Born in... [scats]
Don't d/g no Puerto Ricans )

( ) Living in the usa )

( ) Oh, get back )

( ) Get back )

( ) Get back to where you once belonged )

- [Chattering]
- [George] Just playing more on these...

[Glyn] It just fades back.

- Play some piano with it.
- [George] Folk blues.

( ) Ton/ght Enoch Powell said
get out, imm/grants )

( ) Lmm/grants a-better go home )

( ) Ton/ght Harold Wilson
said to the imm/grants )

( ) You better get back
to your common wealth homes )

( ) Yeah, yeah, yeah
they said you better get back home )

( ) Enoch po well said to the folks )

( ) He said you wear
the color of your skin )

( ) He said he don't care what it's
all about )

[Mumbling]

() So 7'ed Heath said to Enoch Powell)

() He said you better get out
or else you'll go to trial)

( ) Enoch Powell
Enoch, you better go home )

( ) Common wealth )

() Yes)

( ) Common wealth )

() Yes)

( ) Common wealth )

() Yes)

( ) Common wealth )

() Yes)

( [Paul] ) If you don't want trouble
then you better go back to home )

( ) So / went to Pakistani
I went to India )

( ) I've been to old Calcutta
and I've had enough of that )

- ( ) I'm coming back )
- ) Yes )

- ( [Paul] ) 7'o eng/and town )
- ) Yes, welcome )

( ) And dirty Enoch Powell
and he's had enough of parliament )

( ) Well, ltrekked down to Australia
and said to New Zealand )

( ) You better come live with us
we 're gonna have some fun )

( ) We 're going up to India
we 'i/ go to Pakistan )

( ) We 're coming up to Europe and... )

[Singing, indistinct]

( ) And dirty Enoch Powell and his... )

[Singing, indistinct]

- ( ) Oh, commonwealth )
- ) Yes )

- ( ) Oh, commonwealth )
- ) Yes )

- ( ) Yeah, commonwealth )
- ) Yes )

( ) Oh, hear me talking
common wealth )

( ) Yeah, the commonwealth
but it's much too wealthy for me )

Much too common for me.
Much too common for me.

( ) 7'oo common for me )

[John] Oh, yeah.

( ) Lamb/ed to Australia
and New Zealand too )

( ) / went up to Pakistan
and India too )

( ) Lcame back to west lndies
and / had a cricket match )

( ) / went into South Africa
and told them to get back )

( ) Oh, common wealth
lsaid you're much too common for me )

Everybody sing!

- ( ) Hey, commonwealth )
- ) Yes )

- ( ) Yeah, commonwealth )
- ) Yes )

- ( ) Enoch Powell, common wealth )
- ) Yes )

- ( ) Lmm/grants, commonwealth )
- ) Yes )

( ) Well, / would join the common market
but it's much too common for me )

() Yes)

() Oh, Enoch Powell)

[Slow music playing]

() Oh, Enoch Powell)

I'll be taking me shirt off.

[George] Do it in d. I'll play with you.

[Michael] Do you have a tattoo?

[Chattering]

- [Crew] First chance we've had...
- [Paul] 30, do you want to try the...

- Once more.
- [Laughs]

Get it over here,
that's where we're playing...

- With feeling. With Felix.
- With Felix. [Laughing]

One, two, three, four.

["She came in
through the bathroom window“ playing]

And this is something
that happened to me quite recently.

( ) She came in through
the bathroom window )

( ) Protected by a silver spoon )

( ) But now she sucks her thumb
and wonders )

[John] Get off!

( [Paul]
) By the banks of her own lagoon )

( ) Didn't anybody tell her? )

( ) Didn't anybody see? )

() Sunday's on the phone to ll/londa y)

( ) Tuesday's on the phone to me )

() She said she'd always been a dancer)

() She worked at 75 clubs a day)

[John] Worked in 15 clubs a day?

[Paul] Yeah!

() And though she thought
lhad the answer)

() I just had to sail away)

( ) Didn't anybody tell her? )

( ) No, no, no, no )

( ) Didn't anybody see? )

[Indistinct]

() Sunday's on the phone to ll/londa y)

( ) Tuesday's on the phone to me )

Yeah, she is.

() And so / quit the police department)

Get a job, cop!

( ) And got myself a proper job )

Bloody about time, too, if you ask me!

( ) And though she tried her best
to help me )

He bloody need it too.

( ) She could steal
but she could not Rob )

( ) Didn't anybody tell her? )

( ) Didn't anybody see? )

( ) Whoa )

() Sunday's on the phone to ll/londa y)

( ) Tuesday's on the phone to me )

Hello. This is Tuesday speaking.

[Chuckles]

Is that Paul?

- [Chuckles]
- I'd like to have a word with you.

I've got something of his in the garden.

- I have something of interest for you.
- [Laughs]

( [Imitating Elvis]
) Well, any old time of day )

() All you wanna hear me say)

( ) It's crazy, baby
it's crazy, yeah )

[Mal] It was Elvis' birthday yesterday.

[Paul] Elvis' birthday yesterday.

[Mal] Thirty four.

( ) God bless our gracious king )

- [John] I seem to be catching up to him.
- [All laugh]

[George]
If we are in a groovy location place,

we can make the show about different
bits and pieces of what we've done.

Or we have to do it
in one consecutive piece.

[John] I think we could do both, you
see? We should do it about three times.

We'd settle on one day when we say,
"this is the show."

But we'd do a, like, dress rehearsal.

[George] Okay. Shall we do
some other people's tunes as well?

- That'd be nice.
- [John] I don't know any.

I can only just bear doing
your lot's songs.

[Chuckles]

[George] Some other people's songs
are much better than ours.

[John] That's why I don't learn 'em.

[“Honey hush" playing]

( ) I/ove you more each day
girl, ldo )

( ) So / got me a lorry
and / took a ride )

- [John] This isn't daddy's tea, is it?
- [Yoko] No.

[John] Daddy doesn't like
this chemical tea, you know?

It turns me off but blows my mind
and floats me upstream.

( ) Baa, baa, baa baa, baa, baa )

( ) Black sheep
have you any wool? )

( [Paul] ) Come on, Suzy Parker)

( [John] ) / said, come on, Suzy Parker
e verybody's welcome to come )

( [Paul] ) Suzy Parker
come on, Suzy Parker)

( ) Yeah, you come to Suzy Parker
everybody gets well done )

() Come on, Suzy Parker)

[Vocalizing]

( ) Well, cheers, babycake
baby, please don't/ose... )

- ["House of the rising sun" playing]
- [Both groaning]

[Paul screeches]

( ) Lknow I'm one )

- [Laughs]
- He's one, all right.

[Vocalizes]

[John] If we can just have a sort of
permanent mic on the piano,

and a permanent mic for me.

[Paul] So we can hear
both of them, you see, glyn?

- [Glyn] Great.
- Hah.

["Mama, you been on my mind“ playing]

() Perhaps it's the color
of the sun cut flat)

() And covering the crossroads
I'm standing at)

( ) Or maybe it's the weather
or something like that )

( ) Ll/lama, you're just on my mind )

Words are flowing out
like endless rain into a paper cup.

Dear apple. [Chuckles]

They slither wildly as they slip away
across the universe.

( ) Words are flowing out
like endless rain into a paper cup )

( ) They slither wildly
as they slip away across the universe )

[John] "Shakin' in the sixties!"

( ) Shakin ' in the '60s
with a book bought by dick James )

( ) Shakin ' in the '60s
with a book bought by dick James )

[Paul] The noise is a little too loud
for me. [Chuckles]

[John] Leave the group then
if you don't like it.

- [Chuckling]
- Come on. I've done all mine.

Both of mine.

So, we'll go through it once
and just roughly get it in our heads.

Do you want the bass in for the riff?

[Singing, indistinct]

Do you want the bass in with the riff?

- Don't know.
- [John] Okay.

Well, I'll just play it by ear then.

So then it goes...

( ) When lfl'nd myself
in times of trouble )

( ) Mother Mary comes to me )

( ) Speaking words of wisdom
let it be )

( ) And in my hour of darkness
she is standing fight in front of me )

( ) Speaking words of wisdom
let it be )

- ( ) Let it be, let it be )
- ) Oh, oh )

- ( ) Let it be, let it be )
- ) Oh )

( ) Whisper words of wisdom
let it be )

( [John] ) Let it be )

( ) And all the broken-hearted people )

[Vocalizing]

() Let/tbe)

( ) Whenever I'm in... )

[Vocalizing]

( ) Brother Malcolm, Mary
na, na, na )

[Vocalizing continues]

() Let/tbe)

[Paul] No, keep that. [Vocalizes]
The rhythm of that bit.

[George] I just feel it needs
something really sustained.

- [John] Yeah, how about some words?
- [Chuckles]

- [Laughing]
- [Paul vocalizes]

[George] Thanks.

["Let it be" playing]

[Paul vocalizing]

() Let/tbe)

[Vocalizing]

( ) Words of wisdom... )

[Vocalizing]

() Let/tbe)

- Yeah?
- [George] Yeah. Like...

( ) Words of wisdom let it be )

[Vocalizing]

The way I was playing,
was starting on f.

[Paul] G.

"Whisper words of wisdom,
let it be, let it be."

- ( [Vocalizes]
- ) Down to c, down to... )

But I end up on the wrong one
when you're all moving on to f.

- ( ) Whisper words of wisdom )
- ) Words of g )

( ) Let it be, let it be )

F, c, g.

- Oh, miss the f?
- C, g, to c.

So, yes. So then, you see, you get this...

"Whisper words of wisdom,
let it be, let it be..."

[Vocalizing]

You play that.

( ) Whisper words of wisdom
let it be )

It seems that it's all happening

a little bit too quickly with them both
coming in at the same time.

- [Paul] Yeah.
- That's all.

[John] When do the drums first come in,
guitar, and all that?

Well, glyn's saying
first time they come in...

- He seems to be arranging this. Come on.
- [Laughs]

- Go on.
- [Piano playing]

[Paul vocalizing]

[Vocalizing continues]

( ) Letit... )

- [Paul] Could have bass there with a...
- [John] Only if you ask nicely.

- [Piano playing]
- [Paul vocalizes]

- [John] You want me on the verse?
- [Paul] Yeah. Come in, bass.

[John]
On the verse when he comes chapping...

- [Paul] I was thinking of it, yeah.
- [John] Yeah.

- Glyn and I have thought...
- [Paul] Glyn and...

( [John] ) Let it be let it be )

One, two, three.

( ) When lfl'nd myself
in times of trouble )

( ) Mother Mary comes to me )

( ) Speaking words of wisdom
let it be )

[No audible dialogue]

( ) And in my hour of darkness
she is standing fight in front of me )

( [Paul] ) Speaking words of wisdom
let it be )

- ( ) Let it be, let it be )
- ) Oh, oh )

- ( ) Let it be, let it be )
- ) Oh )

( ) Whisper words of wisdom
let it be )

() Let/tbe)

( ) For all the broken-hearted people
heaven above must agree )

[Vocalizing]

[Vocalizing continues]

() Let/tbe)

- ( ) Let it be, let it be )
- ) Oh, oh )

- ( ) Let it be, let it be )
- ) Oh )

( ) Read the record mirror
let it be )

[Vocalizing]

[Music fades, stops]

[Ringo]
Forty million churchills can't be wrong.

Forty million churchills can't be wrong,
but one de gaulle can.

- [Laughs]
- [Paul] We've got a charming one here.

"I wish I had died in my cradle."

[All laugh]

[Ringo] I don't know.

"Lisp of a baby's prayer."

[Chuckles]

[Paul] "Alphabet song." What's that one?

Oh, Christ,
I don't know the whole catalog yet.

4,000 songs is a lot to absorb.

- In the morning?
- Perhaps.

"Nobody loves a fairy when she's forty."

[Laughs]

- [Michael] You joke.
- [Ringo] No, I don't.

[Paul] This is it? This is the lot?

This is a very good list.
That's the entire catalog up to '65.

- [Paul] All of these are ours?
- Yeah. Yeah.

Is this the catalog
that's just gone on sale?

- It's the one we just bought.
- You bought it. Oh, great.

[Dick] Yeah, northern songs...

[Whistling]

- Which includes Paul and John. And...
- Just about.

What are you talking about,
"just about"?

Nothing. Uh, no comment.

Very substantially, sir.

Yes, right. Okay.

[Paul] We'll have a lunch on it.

- [Michael] Mm-hmm. Marvelous catalog.
- [Dick] Oh, it's an incredible catalog.

And we'll start on reprinting
a great deal of this music,

because sheet music and song albums
is an expanding market now.

Right, right. [Chuckles] Yeah, yeah.

You know, 12 songs for five Bob
is more than ample. That's good value.

The turnover could be trebled
quite easily.

[Ringo] Nice titles...
"Anyone can be a millionaire."

[Paul] "Ain't she sweet'?

- [Dick] Yeah.
- Great.

[Dick] Oh, Paul, there's some
golden oldies in there, it's ridiculous.

Honestly.

[Paul] ”old fashioned mother of mine '1
”side by side. ”

[Dick] ”don't go down the mine, daddy ”

[Paul] ”carolina moon. ”

[Dick] Yeah.

"Carolina moon,"
my uncle Ron's favorite.

[Dick] Well.

He sings it at all the parties.
[Imitating uncle] All right!

( ) Carolina moon )

Come on, Paul.

The copyright act

and the payment for a performance
of a fee didn't start until 1911.

But who buys sheet music?

Is it mainly piano people?

[Dick] No. Guitar people.

[Glyn] Groups, little groups.

[Dick] That's right.
But you know, you get the groups today...

[Glyn] But it's extraordinary the
amounts of sheet music that comes out

- on pop songs with the wrong chords.
- [Paul] Yeah.

[Paul] Oh, it's ridiculous, yeah.

[Paul] Well, a lot of our stuff,
I don't know whether it does any more,

because we always publish
our lyrics now, you know?

But you see, particularly where
the boys are concerned,

they create the song, right?

And I give it to my music scribe
and he has to take it down.

And he's a very good man,
very experienced.

[Glyn] But he can make mistakes
and that's what...

He can make mistakes,
but in an effort to eliminate this now

we check the lyrics with John and Paul,
they okay the lyric...

And then we send it down
to George Martin, and George vetoes it.

- Hi.
- Hi, George.

Now,
if there's still a mistake after that,

it truly is one of these
genuine oversights.

[George] Hiya, people.

- Hi, George.
- [Michael] Hi, man.

[Dick]
Happy new year... happy soixante-neuf.

[George] And the same to you, dick.

- Thanks for the present.
- You're very welcome.

[George] Very nice glasses those.

[Dick] Useful.

Something to drink out of
or the wife can throw?

[Paul]
”do shrimps make good mothers?”

Which I sang in my heyday.

[Chattering]

- Hi, Georgie.
- Hi, Mike.

[Michael] Hi, George. How are you?

[Ringo] Like to see
what you have half of a percent of?

[George] Not really.

[Dick]
We obviously had to pay a high price.

It doesn't even seem high to me.

- Well, these are gilt-edged songs.
- [Piano music playing]

[Paul singing]

- Morgen.
- Morning.

[George] Didn't Neil ring you
last night?

[Dick] And the astonishing thing is

even under a caretaker management,
the consistency of the earnings

over the last ten years
has been incredible.

[Michael] Take hold of this.

If anybody says
anything interesting, remember it.

- [Ringo] Not really.
- [All laugh]

Uh...
Neil would like us to have a meeting.

- [John] Saturday?
- [George] Yes.

He was very excited and...

- Was he? Good news or...
- Yes. Very.

Oh, all right, I'll come for good news.
[Chuckles]

[Indistinct]

[Dick] You home tomorrow night?

You watching?

- [Paul] Tomorrow night?
- Yeah.

I might be.

[John] Vera Lynn's done
”goodn/ght”and ”fool on the hill.”

Yeah, I think it's gonna be
a double-sider.

- And, uh, we've set it for release...
- [John] The great Vera Lynn.

- We've set it for release in the states.
- I just love that.

She's doing it on the Rolf Harris show
tomorrow night.

- [Paul] Is she one of your artists?
- She's an emi artist.

And we have some territories,

then emi puts them out in other places.

- [Paul] Okay, shall we start?
- Yeah.

[Chattering]

I'll send some, um...

I'll send some discs down, Paul.

[Paul] Okay.

[Dick] Should have pressings up, um...

Well, I think they were up last night,

but they were up too late
for me to get them.

["Get back" playing]

[Vocalizing]

[Laughs] That was a nice start.

( [John] ) Put on your hi-heel sneakers )

[Ringo] Bye, dick.

( ) Cause we 're goin' out ton/ght )

( ) Put on your hi-heel sneakers )

( ) Cause we 're goin' out ton/ght )

( ) We are )

( ) And bring along some boxin ' gloves )

() In case some fool m/ght wanna fight)

( [Paul] ) Get back )

( ) Back )

( ) Back to where you once belonged )

I dig this. I do.

[No audible dialogue]

[No audible dialogue]

[Chords playing]

[Chattering]

( ) Get back, get back )

[Paul] Yes.

[John] Yes, yes!

[Music fades]

[John] We've never learned
so many new numbers at once. Have we?

[Paul] Yeah.

- That's it. It will be better, that.
- Yeah.

[Paul] Well,
should we just redo this one?

- I still haven't got words on this.
- [John] Yes.

- [Singing note]
- [Guitar matches note]

[Playing instruments]

[Paul] Yeah, let's have it like that.
Just have a big, held chord.

All of us just hold a chord of, like, a.

But you creep up with drumming.
So it goes, "one, two, three, four."

[Instruments hold note]

[Plays drums]

Only even more like, sort of...

[Imitates guitar, drums]

So you...

You'll have to do something
like lead to...

[Sings note] What was the record?

- There's one record of ours.
- [John] Should be more like...

[Vocalizing to "get back"]

[Paul] But even in the...

That suggests something to me.
That chord.

- Yeah.
- [Both vocalize]

And also, that's why I like...

That's why "get back" suggests
any old number like this.

So if we have Harmony on it
and try and make it...

[John] Yes?

- 'Cause it's a bit ordinary, isn't it?
- So... so you don't want that?

The "get back" bit's the ordinary bit.

Yeah, but it's all right.
I mean, but we should...

We should try and get away from...

( ) Get back )

( ) Get back, yeah )

Get away from that?

- Uh, no...
- [George] That's what it is. Isn't it?

Yeah, but I know.
I mean, just get away from the way...

[Paul stammers]

Where did we get that chord? You know?
There was a song we got that chord from.

[George] There's lots of them.

- There was one where we sort of...
- [John] Booker t. And the mg's.

- [Paul] Booker t. Yeah.
- [George] But there's lots...

But it's passe, you know? It's like...
It was a couple of years ago.

No, it wasn't. That's just a chord.

I know, but, you know. Yeah, but...

- Chords like fashions and stuff...
- And some chords fit things.

But it's like drainies.

- Yeah, but some drainies...
- They're still drainies, but...

Suit different occasions
and Oxford bags...

[Paul] The thing is, that's good enough
for the rock and roll thing, but...

[George] You need Eric Clapton.

- No, you don't. You need, like...
- You need George Harrison.

- [Paul] You need George Harrison. Yeah.
- Mmm.

But just doing simple things
until it's your go.

Because I'm trying to sing louder
to get over the guitar.

[George]
Well, really you only need one guitar.

Yeah. But...
But if you do the offbeat with Ringo.

( ) Get back, get back )

( ) Get back )

( ) Get back )

( ) Get back )

( ) Get back )

( ) Get back to where you once belonged )

( ) Get back )

( ) Get back )

( ) Get back to where you once belonged )

See, but don't...

If you vamp, then it...
Then it takes away from his vamping.

I think, you know?

But it's like that. It is like that.

It's like the big, soft lead guitarist,

you know,
who just stands there and just...

- Little, soft lead guitarist.
- Well, you know...

No, but the big one in my head,
where he just sort of goes...

[Heavy strumming]

But you can either do that soft
or good, you know?

You don't...

It's that thing, you know?

- I mean, "she's a woman."
- Yeah.

That was just a better rhythm
than we have, you know, because...

And "sgt. Pepper“ on the organ.
It's just...

- [Song playing]
- [Scatting]

None of you are trying to do any of it.

[John] Okay.
I'll just write it down then.

[Chattering]

[John] The one about Pakistanis is good.

- Yeah, and the Puerto Ricans.
- Yeah.

[Chattering]

( [Paul] ) Sweet Loretta marsh )

[Paul] She thought she was a woman.

( ) Jo Jo went and left his... )

Jo Jo.

( ) Jo Jo left his home in... )

- What's a western name?
- Jo Jo went and left...

- A western name? Jo Jo...
- [John sighs]

- Go on.
- Perkins.

( ) Jo Jo Perkins left... )

( ) Jo Jo lemon... )

Jo Jo Carter?

Jo Jo Williams?

Jo Jo Braxton. Jo Jo pepper. Brennan.

( ) Jo Jo... )

( [John] ) Jo Jo Daphne?)

( ) Jo Jo Daphne left his home... )

- ( [Paul] ) Jo Jo Jackson?)
- [John] Yeah.

( ) Jo Jo Jackson left his home
in ar/zona )

[Vocalizing]

( [John]
) But he knew it wouldn't last? )

[Indistinct]

( ) Don't mg no Pakistanis )

() Living in a council fiat)

[Indistinct]

( [Both] ) Oh, get back)

( ) Get back )

( ) Back to where you once belonged )

( ) Two of us wearing raincoats )

( ) Standing solo in the sun )

( ) You and me chasing paper )

( ) Getting nowhere )

( ) On our way back home )

( ) We 're on our way home )

( ) We 're on our way home )

( ) We 're going home )

( ) On our way back home )

( ) On our way back home )

( ) On our way back home )

[Paul] That's it. You know, it'll go...

[John] Well, you know.

[Guitar plays]

[Paul] I think it needs
a bit more of that, this one.

Needs a bit more of that.

In fact,
maybe you shouldn't both do that.

- Could you stop playing for a minute?
- Yes, all right, Paul.

While I'm trying to talk to you
about this arrangement. Thank you.

- Could we go for lunch?
- [John] Is it lunch already?

[Paul] Yes.

[Guitar continues]

[George] I think I'll be...

I'm leaving the band now.

[John] When?

[George] Now.

[George] Get a replacement.

Write to the nme and get a few people.

[Mal] I'll ask George to see
about paying residuals.

[George]
But he shouldn't be bothered with that.

You know, that's why we've got apple,

so that, you know,
we attend to it ourselves.

Yeah.

- We aim to please.
- [Mal] I rang Chris and...

[Peter Sutton] Are you still turning?

Mmm?

He is?

[Tony Richmond] Cut!

- [Paul chuckles]
- [Guitar plays]

[John] Oh. So pissed.

[Paul] I don't know what
we're coming back here for.

- [John] No.
- [All chuckle]

[John] Just pretending nothing's happened.

[Paul] Yeah.

Stop it! Stop it!

- Ooh. What a buzz.
- [Laughs]

What a buzz.

[John] "I've got a feeling."
Okay, George. Take it.

[“I've got a feeling“ playing]

( ) I've got a feeling )

( ) A feeling deep inside
oh, yeah )

( ) Oh, no )

( ) Yeah/ )

( ) Whoa, I've got a feeling, yeah )

( ) Don't let me down )

( ) Don't let me down )

( ) Don't let me down )

[Wailing]

[Continues wailing]

[Grunting]

[Wailing]

( ) John/ )

[Ringo] Yeah, rock it to me, baby.

That's what I like.

You may think this is a full orchestra,
but if you look closely,

you can see there's only two people
playing and one person singing.

I know it sounds like Benny Goodman,
but don't worry.

It's the big sound of 1969.

( [High-pitched voice] ) Bang/ bang/
Maxwell's silver hammer)

() Came down upon his head)

( ) Clang/ clang/ )

( ) Maxwell's silver hammer
made sure that Joan was dead )

[Michael] Maybe for the show, I mean,
you could just say George was sick.

[John]
No. I mean, if he leaves, he leaves.

[Michael] But what's the consensus?

Do you want to go on with the show
and the work?

[John] If he doesn't come back
by Tuesday, we get Clapton.

- [Chattering]
- [Yoko vocalizing]

( ) John, John, John, John )

[Michael] Has anyone ever left
as seriously as George before?

[John] Well... Ringo.

( ) John... )

[John] Anything you say, dear!

- John, John!
- I've brought the tea.

John!

[John, high-pitched voice] Yes?

[Slow-tempo music playing]

[John] I saw him!

- [Ringo] Terrible!
- [John] Shit!

[Paul singing indistinctly]

[Neil aspinall]
Really, the box that George is in

it's him versus John and Paul
when it comes to

what they're gonna do
and what they're gonna play.

[Michael] Yeah.

[Neil aspinall] And you try doing that
for a few months.

- You're going to end up pissed off.
- [Michael] Yeah.

[George Martin] Well, the songwriting.

They're our songwriting team
and he's his own team.

And if he's not working on his own song...

[Michael] Yes but, John and Paul
aren't writing together

much any more, are they, really?

[George Martin]
Nevertheless, they're still a team.

[Michael] Yeah,
'cause it goes on the label that way.

[Paul] A-7... d-7... g-7.

Get 'em off over the weekend
and you're in.

- So cats and kittens, what we gonna do?
- [Laughs]

[Michael] Hey,
I've just been having some groovy ideas.

[Chattering]

[Michael] So what's our next move?

[John] We split George's instruments.

[Laughs]

[Michael] You know,
I was an actor when I was a kid.

- [Ringo] With Orson welles.
- [John] Orson welles. [Chuckles]

[Michael] The thing about Orson
is he's very funny.

We were in Belfast,

rehearsing the stage version
of chimes of midn/ght.

- And one day he walked off the stage.
- [Glyn] See you 'round the clubs/

- [Michael] "See you round the clubs."
- [Glyn laughs]

- [Michael] He came back an hour later.
- [Laughing]

Get in your bag! [Laughs]

Get in your... get in your bloody bag!

- [Yoko] Not again!
- [Paul] Go on!

The mersey beat awards
for the best couple of the year...

[Michael coughs]

Goes to John and yoko.

[Laughs]

[Michael] I just think
we ought to have a good location.

[Paul]
I think we should do it at the cavern.

[Maureen] Yes!

[George Martin] Location isn't really
a main problem at the moment.

- [Ringo] No.
- [Paul] It's breathing, actually.

[Laughs]

["Isn't it a pity" playing]

( [George] ) Isn't it a pity)

( ) Isn't it a shame )

( ) How we break each other's hearts )

( ) And cause each other pain )

( ) How we take each other's love )

( ) Without thinking anymore )

( ) Forgetting to give back )

() Lsn'titapity)

( ) Some things take so long )

( ) But how do / explain? )

( ) When not too many people )

( ) Can see we 're all the same? )

( ) Because of all their tears )

( ) Their eyes can't hope to see )

( ) The beauty that surrounds them )

( ) Oh, isn't it a pity? )

[Vocalizes]

[Vocalizing]

( ) And because of all their tears )

( ) Their eyes don't hope to see )

( ) The beauty that surrounds them )

( ) Oh, isn't it a pity? )