All language subtitles for The.Beatles.Get.Back.S01E03.BDRip.x265-ION265

[George]
J“ / once knew a beautiful girl j“

[mal] Go on.

J“ she had long blonde hair and a curl j“

[mal] A curl?

J“ she looked after me
and / looked before her j“

j“ at that time, we hadn't a care j“

[mal] A care? [Laughing]

J“ as time turned my head and my mind j“

j“ the pleasure seemed harder to find j“

j“ by then, it was such j“

j“ 7'hat / knew far too much j“

j“ now / stay home and slowly unwind j“

[Ringo]
Didn't you get to bed last night, glyn?

Sorry. You just look this morning
like you didn't go at all.

[Glyn laughs]

[Ringo] Have you heard
the "octopus" one?

- [George] No.
- ["Octopus's garden" playing]

You learned a minor, then?

J“ ID like to be underneath the sea j“

j“ in an ootopus's garden j“

j“ in the shade j“

[chuckling]

J“ it would be nice j“

j“ in paradise j“

j“ in an octopus's garden j“

j“ in the shade j“

that's all I've got.

[All laughing]

[Clears throat]

After the two times, the second time...

[Vocalizing]

J“ in an octopus's garden in the shade j“

then to get to the g one, a bit, uh...

Let's go from the beginning.

- From the beginning.
- Right.

J“ in an octopus's garden j“

j“ in the shade j“

j“ it would be nice j“

j“ paradise j“

j“ in an oc... j“

then stay on f.

J“ in the shade j“

then that, then this, uh...

What one's that?

[Vocalizing]

Uh... [vocalizes]

J“ in an octopus's
garden in the shade... j“

[vocalizes]

[Vocalizing continues]

Just, I mean, something
to sort of get back to where you...

Where we started.

J“ I/I/ou/dn't it be nice j“

j“ paradise j“

j“ in an octopus's garden in the shade j“

- it's a little bit...
- [George clears throat]

[Vocalizing]

[Vocalizing continues]

J“ so wouldn't it be nice j“

[vocalizing]

J“ paradise j“

j“ in an octopus's garden
by the shade j“

- so it resolves itself.
- Yeah.

Well, I'll have to put words
in that bit, then.

J“ in the shade j“

j“ it would be nice j“

[vocalizing]

J“ paradise j“

j“ in an octopus's garden in the shade j“

[chattering]

J“ I/I/ou/dn't it be nice j“

j“ paradise j“

[John] What am I playing, Richie?

[Ringo] You'll be on drums.

- [John] Oh, drums, right.
- [Yoko chuckles]

[John] I think Paul would
wanna do drums, wouldn't he?

With his strong left arm.

I'm not getting on that kit
without a ciggy.

[All laughing]

["Octopus's garden“ playing]

I've never been up here before.

J“ ID like to be j“

j“ underneath the sea j“

j“ in an octopus's garden
by the shade j“

very strong one.

- Okay!
- [Plays drums]

- [Heather] I'm a tame tiger. Meow.
- I'm cool with that.

We've got some baby kittens
that are only about that big!

- Are you going to eat them?
- No!

[John] Lots of people do, you know.

You can't be eating kittens.
They've just been born yesterday.

[Paul] On toast?

[John] You put pastry around them,
and you have cat pie.

A few days.
They were just born, weren't they?

[John] You better wait a week or two
before you eat them.

No, I'm never gonna eat them.

- [John] That's very good.
- [Ringo] We'll put on the meat.

One of them's beautiful like daddy cat.
It's got a big black spot there.

[John] Oh, you don't eat them
if they have black spots.

The other one's like a tiger!

[John] You don't eat them
if they're like tigers, either.

[Heather] You don't eat any cats.
They don't taste good!

And anyway,
I'm just a pussycat that was just born.

[Chattering]

["Let it be" playing]

J“ oh, let it be j“

(I” let/the)

J“ let it be let it be j“

j“ whisper words of wisdom j“

(I” let/the)

J“ yeah, let it be j“

j“ let it be let it be j“

I” let/tbel”

I” there will be an answer
let it be, yeah I”

I” let/tbel”

[vocalizing]

I” there will be an answer
let it... i”

[George] Kevin?

What was the... do that old gospel ending.

- Sunday morning. Sunday morning. Church.
- Sunday morning. Definitely, yeah.

And we'll all kneel as we do it.

We can do a gospel ending
that Elvis did.

I” be-e-e I”

[Paul] Yeah.

We all was gonna do it.

- We did it just fine. It was just that...
- Yeah.

[Laughs]

["Let it be" playing]

I” let it be, let it be I”

I” let it be, let it be I”

I” there will be an answerl”

I” let/tbel”

I'll tell you one thing.

Do it lighter. Don't do sort of...

[Imitates rapid drumming]

Do it more... [imitates slow drumming]

[George] I” somewhere in the himalayas I”

[Paul]
And so a bit lighter offbeat, and maybe...

[Vocalizes drum pattern]

[George] I” singing words of wisdom I”

I” let/tbel”

[John] I” somewhere out in I/I/eybridge I”

keep it light.
So it's not going heavy again.

I” lives the cat whose name is babaji I”

I” singing words of wisdom I”

I” let/the, h, /, j, ki”

I don't know what you are saying.

Hello. [Giggles]

Is anybody... [giggles]

Let me sing. Hello. Is anybody home?

Iaahl”

[no audible dialogue]

I” I did it again
you got me again I”

I” in love with me I”

[No audible dialogue]

[Vocalizing]

- [Vocalizing]
- [Heather] Aah!

[Heather] I” aah I”

yoko!

[Heather] I” aah I”

iaahl”

I” come on, heatherl”

[Heather] I” aah I”

[John] I” yeah, yeah, yeah I”

[Heather] I” aah I”

[John] I” shake it up, baby, nowl”

I” shake it up, baby, nowl”

I” twist and shout I”

I” twist and shout I”

I” come on, twist and shout now I”

-I” come on I” -i” aah... i”

I” come on and work it on out I”

I” come on and work it on out I”

I” well, can you d/g it? I”

[Heather] I” aah I”

I” can you d/g it?
Yeah, d/g itl”

I” llike how you d/g it I”

I” yeah, so d/g itl

I” you can get it if you want it I”

I” and if you want it you can get it
so come on I”

[Paul] I” if you want it
you can dig it, oh I”

I” come on I”

[Paul]
I” d/g it up, d/g it up, d/g it up I”

[John] I” for Christ's sake, come on/ I”

[Paul] I d/g it up, d/g it up I

I d/g it up I

[John, Paul] I d/g it up, d/g it upl

I d/g it up, d/g it up I

[John] I oh, you d/g it up again I

-I if you want it you can d/g it I
-[John] I like a rolling stone I

[Paul] I d/g it, d/gitl

I like the fb/ I

I d/g it, d/g itl

I and the c/a I

I and the 550 I

I b.B. Kingl

I and Doris dayl

I /I/latt busby I

I d/g it, d/g it, d/g it, d/g itl

I if you want it you can d/g it I

I if you want it you can d/g it up I

I if you want it you can d/g it I

I if you want it you can d/g it up I

yeah!

[Song ends]

[John] Oh, sorry.

Iohl

[George Martin] Come on, let it be.

What ones haven't you done yet?

A little thing that goes
something like this.

I it's one for the moneyl

[John, Paul] I two for the showl

I three to get ready
now go, cat, go I

I I/I/ell, don't you
step on my blue suede shoes I

I you can do anything
but lay off them blue suede shoes I

I well, you can knock me down I

I step on my face I

I slander my name
all over the place I

I do anything that you want to do I

I uh-uh, honey
lay off of them shoes I

I but don't you I

[fast piano playing]

I one-eyed cat
peepin ' in a seafood store I

I I'm like a one-eyed cat
peepin ' in a seafood store I

I and I'i/ do anything
7'i/I you don't love me no more I

I / said, shake, rattle and rol/I

I / said, shake, rattle and rol/I

I / said, shake, rattle and rol/I

I / said, shake, rattle and rol/I

I you never do a thing
to save your doggone soul I

[Song ends]

[Paul] I a long, long time ago I

I don't leave me standing here I

I lead me to your doorl

- [George vocalizing]
- Syncopate a bit.

[Guitar strumming]

- [George vocalizes]
- No. No.

No, see, you've gotta wait
a lot longer than that.

[Vocalizing]

Like, 'cause if you syncopate it,
it's like double syncopation.

[Shutter clicks]

[Paul] I the long and winding road I

I that leads to your doorl

I will never disappear I

I I've seen that road before I

I Don 't... it always leads me here I

- [John] You done left me.
- You done left me.

I now lead me to your doorl

I the wild and windy n/ght I

I the rain washed away I

I la, la, la, la, la, la I

there wouldn't be much drumming,
would there?

Go around a bit, you know?

[John] What?

[Paul] It sounds a bit like
a sort of dance orchestra.

And the slow foxtrot... [chuckles]

Like Rita and Thomas Williams.

[George Martin, indistinct]

Rita is wearing a dark sombrero
and a beard.

[George Martin] The chord there.
I mean...

Yeah. Maybe I've got it wrong.

Can you play a little louder?

Her husband is wearing
a crinoline skirt which he made himself.

[George Martin, indistinct]

[Indistinct]

I can't really hear, that's why
I'm just playing the wrong chords.

[Paul] Yeah...
I think it is more on the top.

[Ringo] Still no idea where I come in.

- [John] Off the top of your head.
- [Paul] John, yours doesn't sound as...

It sounds like
you're doing too many notes.

- Yeah, all right. Well, it just gets...
- [Paul] It's too, sort of, regular.

I dum, dum, dum I

but you're doing...

I dum, dum... I

I've been going...

I dum, dum I

- you just want the one?
- Don't do that.

No, but I mean, don't do any note there.
Just go...

I duml

I dum, dum I

[George humming]

I duml

that's what I'm really doing.
I've been going...

I duml

hello?

[George vocalizing to
"the long and winding road"]

[John] Great!

[All laughing]

- [Vocalizing continues]
- [All laughing]

[Vocalizing]

[George] Amazing.

[Muffled nasal vocalizing]

[Laughs]

I the long and winding road I

[glyn] Paul?

I yes, glyn Johns? I

I what do you want? I

[glyn] Shall I take it? Sorry.

A take?

Okay.

[Glyn] One.

[Paul] I the long and winding road I

I that leads to your doorl

I will never disappear I

I I've seen that road before I

- [chattering]
- [Laughter]

[Paul] I it always leads me here I

I lead me to your doorl

when it's mixed, as it is, I'm sure
with a mix on it, it'll be all right.

I know what...

[George] Yeah, but I'm really, just,
feeling that we could tidy it up

before we did the one to remix.

[George Martin] Paul's thinking
of having strings anyway.

Paul, are you gonna have strings?

[Paul] Dunno.

[George Martin] George was saying
that the piano and the electric piano

tend to be doing the same thing.

- [Paul] Yeah.
- [George] Well, it's like...

Ooh!

Yeah, there's parts...

There's only parts where you can hear
the electric piano properly,

- or the piano properly.
- [Paul] Yes.

Most of the time, you know,
like, they mix together.

Like your Leslie guitar contributes too.

I mean, it is a bit in the same range as
the electric piano with that vibrato on.

[Paul] Yeah. I think it needs,
like, a lot of, uh...

- [Ringo] Cleaning.
- Cleaning, yeah.

[George Martin] Actually,
the thing is, it's a nice feel to it,

but it's rather like
everything else we've done.

And this particular song
doesn't need that.

It needs something
a little more clinical.

See, the only way I've ever heard it is,
like, in my head,

- is, like, ray Charles's band.
- [Heather] I'm supposed to marry you.

And I don't...
I haven't really even listened to them.

[George] It would be nice
with some brass just doing

the sustaining chord thing.

- [Paul] Yeah.
- [Hums chord]

- [Glyn] Yeah.
- Moving and just holding notes.

[George Martin]
It's hardly Beatles mode...

- Yeah. We probably, yeah...
- [Glyn] Ifl pull yours up...

We were planning to do it anyway
for a couple of numbers,

just to have
a bit of brass and bit of strings.

That's what George was saying before.

That's the bit
where the raelettes'd sing it.

I the long and winding road I

yeah, like a chord.

I that leads me to your door I

great. Sorry, man. Oh, that's nice.

That's nice of what?

It's nice of you.

- For what?
- Very nice of you.

- For what?
- Just to come here.

We're going home.

- When?
- Now.

[Chuckles]

Am I gonna eat now? I'm going back.

She's so worried now.
"I gotta eat for three hours,

then maybe go to bed around 1:00."

You're just going back in your box.
That's where you're going.

- [All laughing]
- Don't tell. Don't tell.

Aren't I gonna have anything to eat?

Hey, I've got a present for you.

- See you tomorrow.
- [Heather] Bye.

[Heather] Aren't you going, George?

[Paul] I said yes, George.

[John, Paul]
I / said shake, rattle and roll I

I / said shake, rattle and roll I

I / said shake, rattle and roll I

I you never do a thing
to save your doggone soul I

[fast piano playing]

[No audible dialogue]

I one-eyed cat
peepin ' in a seafood store I

I I'm like a one-eyed cat
peepin ' in a seafood store I

-[John] I / do believe... I
-/ never done, done before I

I goin' to Kansas cityl

[Paul] I lm/ght take a boatl

I m/ght take a train I

I and if I have to walk
I'm gonna get there just the same I

I going to Kansas City I

[Paul] I oh, ll/liss Ann I

I you're doing something no one can I

I because believing and deceiving
driving me to leave you now I

I you can knock me down
step on my face I

I slander my name all over the place I

I do anything that you wanna do I

I uh-uh, honey
lay off of them shoes I

I but don't you
step on my blue suede shoes I

I well, you can do anything
but lay off them blue suede shoes I

- [Song ends]
- [Chattering]

I don't know.
You didn't get the other one?

- [Glyn] No.
- [George] No.

- Well, we'll remember that another day.
- [Michael] Yeah.

[John]
I'm just so high when I get in at night.

[George] I went to bed very late.

[John] I couldn't sleep.

[George] I wrote a great song actually,

a different one altogether.

Very exciting!

Happy and a rocker!

I didn't have any breakfast either.

[Paul] Tea or toast.

[George] I keep thinking, oh,
I'll just go to bed now,

then I kept hearing your voice from
about ten years ago saying,

"finish 'em straight away.
As soon as you start 'em, finish 'em".

You once told me it was best
to finish 'em, so I just started!

[Laughter]

[John] But I never do it though.
I can't do it, but I know it's the best.

- [Paul] Yeah.
- [Piano playing]

What's this chord, Billy? E with a c?

[Billy] Yeah. Just lowering the e.

- [George] Yeah. That's like e7.
- Yeah.

This one.

- Yeah. Um, e with a raised...
- [Both chuckle]

E with a c. E.

- Yeah, e with a c.
- E with a c. What's that?

[Laughs]

I've had an e with an f,
which is pretty good.

[Chuckles]

[Playing chords]

[George] I and now I'm stepping out
this old brown shoe I

I and, baby, I'm in love with youl

I and I'm so, so glad you came here I

I and, baby, I'm in love with youl

I and I'm so glad you came here
it won't be the same here I

I I'm telling you I

I you know you hold me up
from where some by to drag me down I

What's this chord then, Billy?

- It's f, but raising the f to f sharp.
- [Billy] Yeah. F sharp. Diminished.

[George]
And then f with that, like the 7th.

It's great on piano
'cause I don't know anything about it.

[Billy] Yeah.

But it's great, because I wouldn't have
been able to do that on the guitar.

[Scatting]

[Scatting]

[Song ends]

- [George] Yeah, sorry, that bit comes...
- It does work, the bit...

- [George] But it...
- In the bit before that bit.

[George] Yeah, but then it's, uh...
Then it stays too long on the other one.

- But it's like a natural on there.
- [Paul] Yeah. Well, you don't know...

[Scatting]

I wearing rings on every finger I

I not worrying what they or you say I

I I'i/ live and love
and maybe some day I

I who knows, baby
you will comfort me I

[scatting]

- Pianos are very difficult, aren't they?
- [Billy laughs]

[Paul] I there will be the answer
let it be I

-I let it be, let it be I
-i ooh I

-I let it be, let it be I
-[George] I ooh I

- [microphone feedback]
- [Ringo] Mal? Mal?

The drums are on pa anyway.

[George Martin]
When we connect it, I could hear Ringo.

[John] The drums are on pa!

- Not my idea of a personal assistant.
- [Paul] No.

-I let it be, let it be I
-i ooh I

-I let it be, let it be I
-i ooh I

[Electric piano playing]

[Snare drum playing]

[John] Hello? Hello?

'Cause coming from the north of england,

it doesn't come too easy, you know,
all the soul.

- [Laughs]
- [John] Let's take one now.

[Ringo] Yeah, right.

I can we have our microphones?
Oh, mister, can we please? I

ask 'em to put the mics on, will you?

Hello.

And get one for Billy too.

["Let it be" playing]

- [Paul] It's a bit ploddy.
- What?

[Paul] You know, just... it sort of
plods along a bit. A bit much.

- It's just mourning and slow, slow.
- [Paul] Mourning and...

[John] And a slow song.
It takes a long time to get out of it.

[Paul] Yeah.
That'll do for the time being.

"The wrong and winding box."

[John, Paul]
I but still they lead me back I

I to the long winding road I

I you left me waiting here I

[Paul humming]

All those little melodic things,
you know?

It's a... it's a...

It's like the other one, you know.
They're sort of slow, ballady,

and they're plodding a bit.

[Piano playing]

- [Paul humming]
- [John whistling]

See, that's the kind of thing. Yeah.
It needs to go like that.

[Paul vocalizing]

[Vocalizing continues]

Oh, just a second.

When it goes, um... on that bit, it goes...

I has left a... I

hang on.

[George] Can we make the bridge...

Heavy?

I can't sort of think how to do
this one at all, you know.

Just, mind's a blank on it.

I don't know.

I don't know.

Give up.

[George] It's nice though.

- [John] Have you turned me down?
- [George Martin] No.

[Chattering]

[Paul humming]

[Chattering]

[Paul] It's funny though.
You can't hear the piano either.

Well, I'll tell you what, you've got
all your instruments on the pa now

and it's mucking you up.

- [John] We don't want 'em on.
- [Paul] We only asked for the piano.

We was complaining about it 'cause
we had drums on right into an amp.

Let's go back to how we were yesterday.

No. I said, "oh, Ringo is on pa."

I'll fix you, lads, I'll fix you.

[Paul] A great sound in here
will improve what we do.

No, but I mean, it's like
when we played in clubs in Hamburg.

[George Martin] Yeah,
but wait a minute now.

- [Paul] We sounded great.
- When you had a pa,

your microphones and your speakers
had a particular relation to each other.

Here, you've got mics
in every conceivable position,

so your speakers
are very near to your mics

- and they're being picked up.
- [Paul] So you get...

So you get how! Round.

Now, Dave,
go back to as we were yesterday.

Why don't you have the piano open
for a start?

Let's do that.
It'll help you anyway to begin with.

- Thank you, George.
- You're welcome.

See, 'cause that'd be good
if we could get all that,

get the sound in this room.

It's, like, remember that night
we tried tape echo with George?

On a bit of vocal.

I think it will also help,
I think, if John turns down his bass.

I can only just hear me on it.

I can't even tell if I'm in tune or not.

[George Martin]
Loudest thing in this room.

Okay, well, you set all that. I'll just
have to guess what I'm playing.

Why don't we have proper pa speakers?

But even de montfort hall,

at least they had...

They have bloody big speakers
or something,

to shout through.

They should be
at least as big as a bass amp.

- [Paul] Yeah.
- Paul.

Yeah. [Chuckling]

[George Martin] Those pas don't work
at all well. They keep howling round.

[John] Thing is, they're both facing
each other for a kickoff.

They're all facing...
They're all right next to the amps.

That's because all your mics
are in different positions.

Your mics are all facing odd ways.

Normally, a lot of the speakers
are in front of the mics.

[John] I mean, get them up there,
they come down to us.

Nail 'em on them sticks up there
and shoot 'em down to us,

and we'll all face that way if you like.
We'll face any way.

[George Martin] That'd be great.

Well, then, let's...
I don't know who to tell to do that.

[George Martin] Right, okay.
Yeah. I'll do something about it.

[Paul] Somehow if we can each hear
what the others are playing.

[George Martin] It doesn't matter
about Ringo hearing the piano, does it?

- [John] No, we don't bother about him.
- [Paul] Yes, it does. [Laughs]

I I'i/ never do you no harm I

-I believe me when lte/I you I
-i oh, ldo/ I

I I'i/ never do you no harm I

-I no, darling, no harm I
-i yeah, yeah, yeah I

[song ends]

- Uh...
- [Paul] Owl

just heard that yoko's divorce
has just gone through.

- [Yoko chuckles]
- [Paul vocalizes]

[John] Free at last.

I I'm free I

[Paul] I 0/7 I

I this morning I

I my baby told the lawyer I

-I it's okayl
-[Paul] I yeah, yeahl

I believe me when lte/I you I

I I'i/ never never do you no harm I

[Paul] I yeah I

I and if somebody ever loved me
like she does I

did we... "And if"?

Start again.

I and if somebody ever really loved me
like she does I

I've just got written down here,
"if somebody ever loved me."

[John] Oh, I've got, "if somebody ever
really loved me, like as she do me."

[Paul] Ah.

I and if somebody ever loved me
like she does I

[John] Maybe we should have,
"I guess nobody ever loved me."

- [Chattering]
- [Laughter]

I / guess nobody e ver really I

I done me, done me, done me I

I oh, she done me I

I yeah, she good I

I don't let me down, yeah I

I don't let me down I

I oh, little I/I/I/ly/ yeah! I

[Paul vocalizes]

I don't let me down I

I please don't let me down I

[song ends]

[Chattering]

George. George. George.

[Chattering continues]

- [Laughing]
- [Chattering]

[Instruments playing]

- [Song ends]
- [Chattering]

[Laughing]

The layout of the book's really good,
though, the way he's done it.

[Paul] This is it. Is this the layout?

[John] No, this is just the bit.
That bit.

"Beatle John Lennon hugged Japanese
actress Yoko Ono last night and said,

'my marriage is over.
I am in love with yoko.'"

- [yoko] It's amazing. [Laughs]
- [John] Sinceriously.

"How much does he love yoko?
'Much more than I love the queen.”

[All laughing]

["Strawberry fields forever" playing]

I well, let me take you down I

I 'cause I'm going... I

I strawberry fields I

I nothing is real I

I nothing to get hung about I

I strawberry fields forever I

[George]
Let's record it all this afternoon, now.

[Laughing]

The show on Wednesday,
which is up on the roof, we can get, uh,

no worse than a 4-shot on the roof
out toward London,

- which I think is worth it.
- [John] Yes. How much does it cost?

Between a thousand and twelve hundred.

Well, just send the helicopter up.
No film.

- It's too much, film and a...
- Helicopter.

Uh, what do you say, lads?

- Have it on Paul!
- [Yoko] Yeah.

- [Ringo] Yeah.
- [Michael] Yes.

- Is that a yes?
- [Paul] That's a no-no.

[John] I sweet Loretta fart
she thought she was a cleanerl

I but she was a frying pan I

one, two, three, four.

I Jo Jo was a man
who thought he was a lonerl

I but he knew it couldn't last... I

not too loud though.
It's nice, quiet. Oh, yeah.

It settled into it, though, after where
we started in, but much, much faster.

One, two, three, four.

["Get back" playing]

I jojo wasaman... I

bit faster, do you think?
Bit faster now.

One, two, three, four.

Hello.

I Jo Jo was a man
who thought he was a lonerl

I but he knew it couldn't last I

I Jo Jo left his home
in Tucson, an'zona I

- little bit slower.
- Seems it's picking up speed, I think.

[Glyn] Yeah.

'Cause I find myself
starting off, going...

[Paul] We get excited.

[John] And then ended up...

Ah, this here's the story
about sweet Loretta Martin

and Jo Jo McCartney.

[Paul] I oh, get backl

I oh, get back I

I get back to where you once belonged
yeah I

I sweet Loretta ll/lartin
thought she was a woman I

I but she was another man I

[vocalizing]

All right, boy. All right, John.
I've gotta call order, John.

- All right, Paul.
- You know, valuable time here, son.

Cool down, son.

[John] Don't let me down, babe.

[Paul] I take these chains
and set me free I

I take these chains away
and set me free I

[glyn over pa] You do realize this tape
is costing you two shillings a foot?

- [John] They can afford it.
- Costing emi. We're emi artists, no?

[Glyn laughs]

I get back, get back I

I get back to where you once belonged I

I get back home, Jo Jo I

- [Billy] ...Together at the beginning.
- You were very good, bill.

[Glyn] Bill, you were
just great. [Laughs]

[Glyn] What are you gonna do?

- Play it again.
- Sing a bit.

- [Glyn] J?
- Just keep 'em. Keep 'em.

- [Glyn] Do another one?
- Yeah.

[Paul] Well, tell us if you think
we've got it, you know?

[Glyn] Well, yeah.

Let's keep doing them then, you know?

'Cause if we keep doing that
and going in and then saying, "oh."

[George Martin] I think you ought to do
something else, 'cause I think you...

If you keep doing it,
you'll go stale on it.

- [John] No, no. Let's do it.
- You can always go back to it.

- Do you want your head kicked in?
- You know what I mean, though.

- [Paul] Do you wanna do it once more?
- [John] Yes, yes.

At least once more.
We'll never get a chance to do it again.

[George Martin] It is the final
performance. You've got an audience now.

[Paul] Okay, honeybunch.
Let's hit it one time, tutti-frutti.

One, two...

I get back, get back I

I get back to where you once belonged I

[glyn] That last take
was extremely good though.

Okay. Keep it extremely good then.
We'll carry on.

[Paul]
I oh, get back, Loretta ll/lartin, backl

I back to where you once belonged I

[glyn] Why not go straight into
another number then?

We were trying to go into
"don't let me down" if we made it,

but we haven't made it once yet,
you know?

We think of everything and we're
even gonna go on to "I've got a fever."

If we really know.

[Glyn] In that case,
I'm gonna change tape.

Are you? Okay.

["Get back" playing]

I sweet Loretta ll/lartin
thought she was a woman I

I but she was another man I

was the other one before
better than that?

[Glyn] Yes. There was one better than
that earlier on. Hang on, we'll just...

The one before this was better for me.

Should we have another ciggy,
another cup of tea, or...

- [John] Okay, yeah after this.
- Ciggy after the wine.

Oh, ready? One, two, three, four.

["Get back" playing]

I Jo Jo was a man
who thought he was a lonerl

there's one where everything was right...

- [Glyn] What's the next reel?
- Except the last bit of my guitar solo.

[Paul] Well, remember the one before
that, that we all said was all right?

- [Glyn] Yeah.
- [George Martin] That's take 11.

You can always edit.

- [Glyn] Yeah, I'm just getting it.
- Edit?

You're talking to the bootles.

[Glyn] So you've really
got to try and get every number

just as good as you can get it.

That's the idea, is it?

Let's all rehearse it well, and just
do one take, and that” be it.

And we'll do it again...
And do it again... and do it again.

[Paul] I get back, jol

I sweet Loretta ll/lartin
thought she was a woman I

I but she was another man I

I all the girls around her
say she's got it coming I

I but she gets it while she can I

I oh, get back I

I get back I

I get back to where you once belonged I

I get back I

I get back I

I oh, yeah I

I oh, yeah I

miles out, aren't we?

- [George] Tune.
- Yeah.

It was a, bill.

Billy, instead of giving us,
like, one note, give us a riff like...

That's easier to tune to.

[Paul] I all these years
I've been wandering around I

I wondering how come nobody told me I

- [glyn] Hold up. Hold up.
- [John] Okay. Let me just...

[John clears throat, vocalizes]

[Glyn] The bass
is slightly out of tune, Paul.

[John cackles] Not giving 'em that!

Oh, fucking right.

[Chuckling]

Something happened.
I don't know what it was though.

Something happened.

["I've got a feeling“ playing]

I oh, yeah I

[Paul] I no, no, nol

I yeah I

I I've got a feeling I

I well, all of these years
I've been wandering around I

I wondering how come nobody told me I

I all that I've been looking for
was somebody who looked like you I

-I I've got a feeling I
-[John] I oh, yeahl

I that keeps me on my toes
oh, yeah I

[Paul, John] I oh, yeahl

I I've got a feeling I

I / think that everybody knows I

-I oh, nol -[John] I yeah I

[Paul, John] I oh, yeahl

[Paul] I oh, yeahl

I yeah I

I yeah, I've got a feeling I

I yeah, yeah, yeah I

I everybody had a hard year I

I everybody had a good time I

I everybody had a wet dream I

I everybody saw the sunshine I

-I oh, yeahl -[Paul] I oh, yeahl

-I oh, yeah, oh, yeah I
-[Paul] I oh, yeahl

-I everybody had a good yearl
-[Paul] I yeah I

-I everybody had their hair down I
-[Paul] I yeah I

-I everybody pulled their socks up I
-[Paul] I oh, yeah I

I everybody put their foot down
oh, yeah I

[Song ends]

Glyn? What does that sound like?

[Laughter]

[Glyn] Probably lucky... [indistinct]

- What?
- [Glyn] Yeah.

- All right?
- [Glyn] Yeah.

[Instruments playing]

[No audible dialogue]

- [Chattering]
- [Laughter]

- Not bad.
- Got it.

- [John] Oh, the last two will do me.
- [Glyn] That's what I thought.

- It was just about diabolical enough.
- [Paul] You see, the thing is...

I don't feel as though
I'm singing it any good.

- The other day I was singing better.
- 'Cause you're standing up.

- And you're trying to do a thing.
- Maybe.

You should sit down.

- Enjoy yourself.
- Yeah.

Maybe. No, but even so today,
I just feel as though...

Hobson's is a bit...

[Glyn] That reel on?

We've still got a lot more songs
we haven't even rehearsed.

The two slow ones we're doing,
"mother Mary" and... "Brother Jesus."

- [George] Have we recorded?
- [Laughter]

[George]
Have we recorded the "mother Mary" one?

Haven't happened yet, have they?

- [Glyn] No.
- [George] Haven't they?

- [Glyn] One has. One has.
- Well...

- Which one?
- [Glyn] I can never get it.

- "Long, long, winding"...
- "Long and winding road"?

[Glyn] "Long and winding scrotum."

- Really?
- [Glyn] I think it's very tasty.

Tres tasty, in fact.

Oh, the little version we had...

- He's so good for your morale, this boy.
- Yeah, yeah.

- [Chuckles]
- [Glyn] No, really.

- We can do...
- I'm not saying you can't do it better.

But, I mean, it's very together.

See, that's a bit like
the old "get back."

It's together
until you think you can do it better.

We should arrange what's happening
around lunchtime tomorrow.

John's got something at 1:30,
and so have I.

[Glyn] I'll take these tonight.
You can have a mix of these tomorrow.

- I'm meeting a fella.
- Oh, right.

No, uh, at 1:30 though.
We're both going at 1:30, so can you...

- We'll do something, all right.
- I'll do Ringo at 1:30.

- [Laughs]
- Let's say 12:00.

[George] We'll be coming in before 1:30?

- Yeah. Coming in at 11:00.
- [George] Okay.

Then work till 1:30.

[Paul on tape]
Okay, hone ybunch. Let's hit it one time.

- What time are you starting?
- 11:00.

- [George Martin] 11:00 to 1:30?
- 10:30, yeah.

[Paul on tape] D/g, man.

[George Martin] And then how long
are you having off from 1:30?

[Ringo] Till 3:00.
Good night, everybody.

- [George Martin] Good night, rich.
- [Crew] Good night, Richie.

- [John] I think I'm gonna go.
- [Ringo] Will you?

[Paul] I think the one
you said was best...

- [George Martin] Nine?
- Is best.

[Glyn] Yeah.
But it still doesn't make it.

- We'll keep it anyway.
- [Paul] Keep it in.

I Jo Jo was a man
who thought he was a lonerl

- [glyn] Good?
- [Paul] Yeah.

- [Glyn] Right. New reel.
- [Chattering, laughter]

[Paul] Well, the air-conditioning works.

- [Linda] God, feel like I'm in the army.
- [George Martin] It must be terrible.

[Linda] That was the only good thing
about being a girl.

[George Martin] Can you imagine
being drafted to Vietnam?

[Michael] George,
of the ones they've done so far,

which do you think
we can do on the roof?

- Anything without the grand piano.
- Oh!

- [Michael] Morning.
- You're embarrassing me.

[George Martin] You really want
a goer number, don't you?

You could do the ones
we've just been listening to.

[Michael] Should we write down
what we could do on the roof?

[George Martin] You haven't got
a concise list of titles, have we, Alan?

- [Alan] No. I can make one.
- [Michael] Well, I...

One is "I dig a pony."
We can do that on the roof.

"Let it be."

[Michael] Which is "let it be"? Oh, no.
I think "let it be" should be down here.

[George Martin]
Yeah, with the piano on that.

I let/tbel

[Paul] Is anyone sort of
thinking of this like making an album

or more like sort of
doing a lot of numbers then

to be able to play them all
one after the other?

[John] Let's pick the five...

[George] Let's do them on the show.

All the others we can be recording
in the meantime.

Uh... just for the album.

I don't see much point in doing

"don't let me down,"
"I've got a feeling“ and that now.

- [Paul] Keeping on doing them.
- Yeah...

'Cause you lose it.

So let's pick up on the ones
that are all in pieces.

I'm trying to get us to do
one of George's for the first batch.

Oh, ah. Yeah.

I what do you know now, Mr. Show? I

[John] I ldon'tknowl

[John, Paul] I ldon'tknowl

then you can have the next one,
"did you know, missed the show?"

I do you know who missed the show? I

I no, / don't knowl

I ldon'tknowl

I dun, dun, dun dun, dun I

I do you knownow, Mr. Joe? I

I something in the way she moves I

I attracts me
like a moth to candlelight I

I something in the way... I

[song ends]

[George] What could it be, Paul?

- "Something in the way she moves."
- [Paul] Hmm?

[George] What attracted me at all?

Just say whatever comes
into your head each time.

"Attracts me like a cauliflower,"
until you get the word, you know?

Yeah, but I've been through this one,
like, for about six months.

I attracts me like a pomegranate I

[chuckles]

I something in the... I

[George] We could have that.
"Attracts me like a pomegranate."

I something in the way she moves I

I attracts me like a moth to cand/...
7'o pomegranate I

I pomegranate I

"cauliflower" is better.

I something in the way she woos me I

I / don't want to Lea ve her now I

I you know / believe and how I

[laughter]

I da, da, da da, da, da I

I ldon'tknowl

[scatting]

I da, da, da I

I da, da, da da, da, da I

I ldon'tknowl

- [George] Okay.
- [John] What was that?

[George] Yeah, but say we got
a really good one of "love me do."

- [Paul] Well, yeah. That's true.
- [John] Yeah. Okay.

I love, love me do I

I you know / love you I

I I'i/ always be true I

I so please I

[John scatting]

I love me do I

[Paul] Is it 1:30? I've got this...
To go to this meeting.

So, can you do it?

[John] Will you ring down for us?
And we'll keep going through this.

Yeah. Okay.

[Instruments playing]

Shall we do it?

I I've got a feeling I

I a feeling deep inside I

I oh, yeah I

- [John] Glyn?
- Send an engineer.

[John] Glyn.

Can you come and fix my microphone?
It keeps falling down.

I everybody had a hard year I

I everybody... I

See, can I change from going...

[Guitar playing]

Because I can't do it.
I go into that folk bit.

Have a ciggy, Billy.

I I've got a feeling I

I everybody knows I

I oh, yeah I

I oh, yeah I

I yeah I

I oh, I've got a feeling I

two, three, four.

I I've got a feeling I

I all these years
I've been wandering around I

I wondering how come nobody told me I

I all that I was looking for
was somebody who looked like you I

I you know that I

I'll sing it a bit different than that.
I'll sing...

I everybody had a good year
everybody let their hair down I

- all that bit.
- Yeah.

Okay.
Should we go from the last verse again?

That's the bit still, isn't it?

[George] I still think that...

I'm not sure about that syncopation bit,
but leave that to Paul.

Well, that's okay if we just do it
in between, you know, where the riff...

It seems to be going
through every verse now.

Yeah, that's the riff. Goes...

- I mean that...
- It should change.

No, that just comes at the end.

Oh, in the middle of every verse?

I a feeling deep inside
oh, yeah I

But also we need somebody that's gonna
tune everything in here to one pitch.

Uh, the piano people do that.

[John] Okay, well,
we'll play about for a bit then.

- How do you tune an electric piano?
- [Billy] I don't know.

I how do you tune an electric piano I

[Billy] There's got to be a way though.
Probably here somewhere.

[George] What did you wanna talk about?

[John] Uh, well,
just that I saw klein, and that.

- Oh, klein?
- Yeah, yeah. Klein.

- Allen klein.
- [George] Oh, I see.

[John] Yeah. And it's...
You know, it's very interesting.

Yeah.

- [John] You know, from a lot of angles.
- [George] Hmm.

And the... but I want to tell you
all at once, you know, so as it's not...

But just, um...
I just think he's fantastic.

- [George] Really?
- Yeah.

A lot of interesting news
that we don't know half about,

- just about...
- [George] About us?

Well, I'll tell... you know,
he'll tell you all that, 'cause it's...

You know,
he knows everything about everything.

Very interesting guy.

- I was there till 2:00 in the morning.
- Oh, you went last night?

I went there thinking, "well, I've got
to see him. I put it off last time."

You know?

I keep hearing about him
all these years.

Things that you just...
You can't believe, you know.

Right down to where... where it's gone,

and how to get it.

So, I, you know... well, I didn't really
wanna say it to sort of half o'ya.

I thought,
"he's gonna look after me, whatever."

That's... it's just like that.

And he knows...
He even knows what we're like, you know?

The way he described each one of us,
you know,

and what we've done
and what we're gonna do and that.

Butjust, like,
he knows me as much as you do.

Incredible guy.

- [Yoko] He owns half of mgm.
- He's got a great idea for biafra.

He's like...
He says, "I'm a practical man."

And his thing...
You know the stones' circus we did?

- So he arranges those things for them.
- [George] Yeah.

All we heard about that and the... the...
The royalty from way back...

- Yeah.
- They get much more than us.

However many we sell, they cop.

You know, so, the stones show,
he's gonna make an lp out of it.

They're making a book of it
and everything, of course, you know?

Like, everybody is into that.

And he's gonna, uh, make an lp of it,
of everybody that was on...

To buy food for biafra.

Yeah, I was telling him
about your idea for that film.

- [George] Oh, yeah.
- [John] The thing is,

I mean, if we took food to that place,
with the money we've all earned...

He'd do it completely himself,
arrange it all.

I didn't mean to get into all this,
but he's so fascinating.

Do you want to do this one more time?

- Yeah.
- [John] Eh?

'Cause I'd like to learn
“on the road to marrakesh“ or something.

Or "Mr. Mustard."

Must do another number, I've decided.

I / want a short-haired girl
who sometimes wears it twice as long I

I now I'm steppin' out
this old brown shoe I

[no audible dialogue]

[George] Mal, what was the name
of that shoe shop

somebody said is in bond street?

The good one.
Do you know a good shoe shop near?

[Mal] There's a lot of shoe shops
in bond street.

[George] Yeah. But I just want, like,
ordinary black leather shoes.

It's just that I never get any,
you know,

'cause I'm never in shoe shops.

[Mal] Do you want me
to bring the bloke over?

If you can con somebody into coming

with, you know, a selection
of black slip-on size eights.

[Mal] Yeah, okay.

I I'm so glad you came here
it won't be the same nowl

I I'm telling you I

I yeah I

I dun, de, da, dun I

I now I'm steppin' out
this old brown shoe I

I baby, I'm in love with youl

I I'm so glad you came here I

[piano playing]

I / like a love that's fight I

I when fight
is only half of what's wrong I

I / want a short-haired girl
who sometimes wears it twice as long I

I now I'm steppin' out
this old brown shoe I

- what?
- [Stylophone mini organ playing]

[George] Where's it from? Who makes it?

- [Billy] Wow.
- [George] Japanese?

I saw it on the television.

Too much! Whoo.

Nice sound.

- [George] Could you transpose that to d?
- Yeah.

- All on one note, huh?
- [John] Yeah, you can change it.

[Billy laughs]

[John] One at a time.
It's a little organ.

[Billy chuckles]

That's better.

Yeah. It's too much, man.

[Stylophone mini organ playing]

[Playing continues]

[George Martin] I love that song.
That's beautiful. I couldn't...

[Glyn] You've won a prize.

[George Martin] Couldn't have asked for
better. Can we have something else now?

Another song, right. Okay, George?

How about, uh...
What have you got up your sleeve, John?

[George Martin]
How about "love me do" again?

What about "don't let me down"?
That's a bloody good one, that.

Very high though. But never mind.
We'll practice the backing.

- What is it now?
- Just...

"And if somebody ever loved me
like she does," that's all.

Just the "really" out.

I and if somebody ever loved me
like she does I

I ooh, she does I

I yes, she does I

same guitar?

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

[Paul, John vocalizing]

Okay, George. Come on.

One...

[Paul] The krishna chronicle. [Chuckles]

The krishna Christmas club.

[Laughter]

[George Martin]
A little bit of a tune-up, I think.

No, I don't think so, George.

Yeah, John. Don't, John. Don't.

I've had some wine, you know?
Remember Bob wooler.

Fucking right.

Peace on earth.

"Don't let me down
the road again blues."

"Short, fat Fanny, you're my desire."

One, two, three, four.

["Don't let me down" playing]

I don't let me down I

I don't let me down I

I don't let me down I

I don't let me down I

I nobody ever loved me like she does I

I ooh, she does I

I yes, she does I

I I need you I

I I need you so bad I

I I need you I

I I need you so bad
it's driving me mad I

I it's driving me mad I

I oh, oh, oh, oh I

I half a pound of greasepaint
on your face I

I that's the life
let's face it, chums I

I all the rest are a gang of bums I

I oh, half a pound of greasepaint
on your face I

I get your togs and get in quick I

I get that pancake on your head
and get out on the boards I

I sock it to 'em, sock it to 'em
one more time I

I till the closing curtain falls I

I go and do your act
and get it fight I

I don't let 'em down
in the old lime/rght I

I oh, half a pound of greasepaint
on your face I

I that's a little kind of thing
you can't erase I

I it gets in your blood
it gets in your stream I

I so get onto the boards
and let 'em hear you scream I

I half a pound of greasepaint I

I half a pound of greasepaint I

[John] I Mr. Showl

[Paul] I oh, go into song and dances I

I oh, go into funny prances I

I let me hear you do the new
oh, newest dance I

I and in the greasepaint pants I

I the man in the greasepaint pants I

[John] Allen klein's here.

[George] Where's he gonna be?

[John] Should we go up to our room?

- [Paul] Yeah.
- [George] Oh, fuck it.

[Laughing]

[John] I / want you so bad I

[chattering]

- [Ringo] Morning, Michael.
- [Michael] Morning, r.S.

How many numbers do you think
you'll have by tomorrow at 1:00

- before you go up on the roof?
- [Ringo] About six.

Ringo
the show really going to be tomorrow?

[Michael]
The weather report, we hear, is good.

[Yoko laughs]

[Ringo] We should finish early tonight.

Just go through the numbers
over and over again

and what we're going to do tomorrow.
There's only five or six of them.

[John] And sleep here.

[Ringo] Did you go on longer with Allen?

Yeah, we were talking
'till about twelve or half twelve.

Went through everything, you know.

[Glyn] Have you met Allen before?

I met him the other day over here,
and I met him at "the circus".

He just sort of said "hello",
or something.

[Glyn] Strange guy, isn't he?

[John] He's fantastic though.

[Glyn] He really is very strange.
Very, very clever.

[John] Yeah.

[Glyn] But strange, man. [Laughs]

- That's what it's about, isn't it?
- [John] Aren't we all?

We're all hustlers.

[Ringo] And a conman
who's on our side for a change.

All those other conmen
are on the other side.

[Glyn] He's extraordinary, his capacity...

Well, I can't really explain it.

I don't know if he speaks to you
the same way as he does other people.

Perhaps not, because you're who you are.

But, he'll ask you a question,
and you're halfway through answering it

and if he doesn't like the answer

or if it's not really
what he wanted to hear

he'll change the subject,
right in the middle of a sentence.

That bugs me a bit, actually.

[Yoko] Mmm.

Tomorrow, with the nine cameras,
if we do tomorrow,

there is a kind of,
"something will happen."

No, it's the best bit of us,

always has been and always will be,

is when we've got...
When we're backs against the wall

and we've been rehearsing,
rehearsing, rehearsing.

And he knows it's a take on the dub.
And he does it great.

No, the organization
has gotta come from either you

or from you doing an audience.

But that's not true, you see?
There is a difference.

- Like when we came here from twickenham.
- Mmm.

It's a whole other thing, you know?

If we went into a TV studio now,
in one of those big, bare TV studios

and you sat us down,
just with our songs and amps,

we'd do 'em and we'd do 'em great.

I think what we need is
an audience of some sort.

Either a surprise audience...

- I've farted.
- Tomorrow, or, uh... I'll light my cigar.

- I just thought I'd let you know.
- Thank you.

[Ringo] I was gonna sit here silent
and look at you.

Then I thought, no,
I'll tell you about it.

[Tony] Paul, what's the problem?

If we've got like everything set for
tomorrow, we just go ahead and do it...

[Paul] The roof is like too far out.

If we do an open air thing...

That's... that's really all
I can say about this whole scene.

We should learn all the numbers.
All of them.

All the ones that are gonna be
on the album.

I know it literally
takes a bit more time.

[George Martin] That's why I wanna
go through with you today, the ones...

But we haven't got the end thing.

I've got a feeling that
we're gonna just, sort of, go off...

I got a feeling I

we're just gonna go off like we did
after the end of the last album.

And just sort of think,
"oh, not another fucking album."

You know? Because this is...
This is what this is, you know.

- I can't wait to work it, you know?
- Yeah.

But it's like we got much better takes
after we moved from twickenham to here.

Oh, yeah,
but I mean here I like. It's like home.

But, like, we still haven't got
any aim for it, except an album again.

Our only aim ever
is an album, you know?

Which is like a very nonvisual thing.

But albums is
what we're doing at the moment.

I mean,
you gotta be sneaky with the Beatles,

or else we'll just go on forever
in a circle, you know?

Whenever we talk about it,
we have certain rules.

Like George saying, "what do you
wanna do?" And he says, "no films."

You know, but it's wrong, that.
It's very wrong, that.

Because you don't know.

He says... what he means is,
no help, hard day's n/ght.

'Cause this is a film.
And he now he doesn't mind this.

It's us going silly again.

No, it isn't.
I think, I think we might do it.

[Paul] See, it's like when we came
back from Hamburg,

and did Leicester, de montfort hall
and we had the worst first night thing,

and we're all nervous,
and it was terrible.

Then we played another the next night.
We just went right into it.

We're good at that
once we get over the nervousness.

But it's like there's the hurdle
of that nervousness is there now.

Tomorrow is the day we do it.

Today is we've gotta get the six,
or however many numbers ready...

[Paul] Yes, but for who is
tomorrow the day? Not for me.

You know, it's like there's this thing

where there is a show to be had
out of what we've got here,

which is just so incredible.
That's unbelievable.

And you don't have to go on the roof.
You don't have to go anywhere.

- You really only have to sing 'em.
- Well, even if we stay here...

[George Martin] This business of
a deadline though is up to you really,

because we've given you
deadlines already.

Yeah, well, that's why
I'm talking to John, not you.

The easiest way to finish the show,
is just to sit here for another few days

and start rehearsing them one after
the other, do three numbers at a time.

And like George said, get a program
of where we're gonna do 'em,

what's gonna follow what.

And just start playing them
right through.

And then just knock it off.

Like you used to, and have all your
titles on your guitar, you know.

Yes, yes. I mean,
I thought that's what we're doing.

[George Martin] It's just that
you say you're not ready.

We're not ready, yeah, sure.

We're not ready to do 14.

See, the only trouble is, we really have
to want to do a show at the end of it.

That's the thing. That's the trouble.

None of us have an aim.

We don't have a thing
at the end of it that we wanna do.

We could have had
a de montfort hall show...

This would have been de montfort hall

if we'd have done
the dress rehearsal here.

And get over the nervousness
of an audience,

and stop, sort of, playing to show off
to them and... [hums]

[Michael] That was the original idea
for the 19th and 20th.

[Paul] Yeah. Yeah.

The voices are going in my head,
which way we're gonna...

What's your, sort of, practical answer
to the problem now, regarding tomorrow?

I think we'd be daft just not to do it...

- Well, try and do something tomorrow...
- [George] Sorry I'm late.

Even if it's a grand dress rehearsal,
and see how it went.

- Morning, George.
- [John] And then, you know...

I mean, if we had another six weeks...

[Chattering]

[George inhales] Six weeks.

[John] I mean, you know,
if we had another month to play with

to really, I think,
get 14 straight off, it'd be nice,

you know,
to still do the seven we've got.

- [Crew] Do you plan on playing the...
- What, what?

[George] You know, I think it's gonna
take months doing it like that.

So how do you think
we should do it then?

[George] You can film some
while we're recording them

at the same time, okay, but...

[Paul] Yeah, see,
that's what I wanna get in me head.

Is it a documentary of us
doing another album? Which it is.

Excepl
we're doing them one after the other.

No, but, I mean,
we're not doing a payoff.

We're not doing the 11 numbers
straight off for an album.

We're gonna have to, sort of, join 'em.

[John] I agree with that. I think
it's disappointing but, all right,

we've only got to seven. Let's do seven.

Yeah.

[John] 'Cause otherwise...
We haven't enough time to do 14,

'cause Ringo's gotta go, you know?

But we might be able to get another
seven off by the end of two weeks.

I mean, we will, but...

The only trouble
is that the only people,

like, who need to agree on what it is
we're doing is the four of us,

and we're the only ones
who haven't even talked about it.

Because we had the meeting
before all this and said, "TV show."

That's what I've gotta get in my head.

It's an album.

[George] All that footage of film which
could make about half a dozen films.

Yeah. It's a film of us making an album.

Yeah, but that's visual.

[Paul] Yes. Yeah.

Yeah. I've got no complaints about it.
But I just gotta get that in my head.

[Glyn] When you've done this, Paul,

there's no reason why you
shouldn't go and do a TV show.

Re-think a TV show and do it
with these numbers later.

This TV show was supposed
to be a TV show of the last album.

- [Glyn] The last album?
- Yes.

But when we came to do it we said,
"we'll write new songs."

[Paul] 'Cause that's it, you see.
We always...

We never...
We always get ahead of ourselves.

The thing is that, like, yesterday,
which wasn't a particularly good day,

and the day before, which wasn't
a particularly good day either.

Mmm.

The reason is obviously
the fact that you're playing

the same three or four songs
for a week or whatever,

you know,
and you're flogging them to death.

Obviously you're getting bored
with them, you know, like,

- it can't be any other way.
- Yeah.

That was why George and I were trying
to get you yesterday

to do three in one go,
straight through, so you had to think,

“oh, yeah, what's the key?
Why isn't it right?"

[George] How many have we
already recorded good enough?

None.

None? Well, what about all those
times we've done "get back"?

Oh, well, I mean,
one of them's all right, isn't it?

There's that one of yours we did.

And "get back."

[George Martin] But they're at a stage
where it's dress rehearsal stage,

- yes.
- Where if you did a performance,

it probably would be it.

- Yes.
- Yesterday you got terribly close to it

on a couple of the numbers
you were trying to do.

- One more take and you've had it.
- It's physical tiredness on my part.

You know, it took great strain

to get through "don't let me down"
and the other one.

Just physically singing at that pace,
I'm being so tired.

[George] Well, that's the thing,
if you're planning on working up

till Ringo does the film,
doing it like this,

you know, we're just gonna drop.

- And we're still not gonna have anything...
- I think... I think yesterday...

On the tape.

- We could've recorded all those.
- Was the result of not having a weekend.

If we hadn't had the weekend,

we wouldn't have been able
to even attempt yesterday.

That's the paradox.

[George] But if we had just
been recording them, you know...

[Michael] And at the moment
the documentary is really like no exit

it's just going around and around
and around with no payoff.

There's no story.

There's a lot of good stuff
that we shot in the documentary,

but there's no story yet.

[Paul] Now I know how to get
this TV show together in about a week.

But I can't do it with you.
I can't produce you.

- [John] Neither can anybody else.
- No, right.

'Cause we don't allow it, you know.

We don't allow people
to come and say, "you do that."

[Paul] That's why I'm creating
artificial frameworks for us to do it...

[Michael] We've got a lot of good stuff,
like some of the days at twickenham.

We've got great stuff,
counterpoint thing.

But at the moment haven't got an ending.

See, 'cause they've got the film,
you know.

- I just wanna get out now.
- [John] Yes.

[Paul] We've done the film.
We've done the numbers enough, you know?

And we begin together...

But, I mean, if George wants to think
while we're doing it

that he's making a record,

- [Paul] Yes.
- And you wanna think we're rehearsing,

it makes no odds, you know.

[Paul] So we've gotta decide

that we mustn't then go on "get back"
for three hours.

Oh no, all right. Well, you stop it then.

It's a united effort for us...

Or else I really feel like
I'm trying to produce the Beatles,

and I know it's hopeless.

I just can't do it, you know.

And no one can do it

'cause the four individuals
are too strong individually.

- Yes, we know.
- So you want us to record these songs?

Yeah. Get it together now
instead of talking about the show.

Get it, so that we've got 14 songs.

[Paul] We're talking about
this abstract thing we hope to get,

and by talking about,
we're not getting it.

[John] Okay, let's do it.

But, man, physically, yesterday
we tried to learn the next half.

But physically we were too tired.

- That's all it was.
- [Paul] Yeah, that's right.

And we're trying to do
what you're saying,

and we might have done
what he was saying at the same time,

but we couldn't do it
'cause we're tired.

- That's all.
- [Paul] Yeah.

So we had...
We might have had a bit more sleep...

You mean you're still expecting us to be
on the chimney with a lot of people,

or something like that?

Well, anyway, we won't worry
about that. Don't give us that one.

[Michael] "Expecting" is not a word
we use anymore.

Uh, "thinking about."

- "Praying"?
- [Michael] "Praying. Hoping."

Uh... well, now,
what about the roof tomorrow?

- Do you wanna collectively do it or not?
- No, let's...

Let's... let's decide on that,
sort of, a bit later.

Let's us keep off that.

- We'll do the numbers, you know?
- [Laughter]

We're the band.

- [George chuckles]
- [George Martin] "You're fucking right."

No, you know, I... you know, whatever.

I'll do it
if we've got to go on the roof.

- You're the band now...
- You know, I mean...

But I don't wanna go on the roof.

Of course I don't wanna go on the roof.

[Ringo] I would like to go on the roof.

[Paul] You would like to?

- [Paul chuckles]
- [John] Yes, I'd like to go on the roof.

Very diverse people.

- One second.
- [John] But, I mean... see, I don't mind...

- That's all right. We won't discuss it.
- If anybody doesn't wanna go on it.

- It wasn't that I...
- [Paul] So what songs have we got?

Have we got a sort of list
of what we've got, 'cause...

[George Martin] A lot of them are...

I mean,
there's too much of a list there.

- But there's certainly everything here.
- [Paul] Okay.

[Paul] "I've got a feeling,"
"don't let me down," "get back."

- Don't know what that is.
- [Paul] "I'd like a love that's right."

I I'dlike a love that... I

[John] We learned the chords
to George's rocker yesterday.

[Paul] "Long and winding road,"
"let it be," "for you blue."

Oh, "yer blue".
That's the one we recorded

with George and the Hawaiian.

I love "yer blue."

[Paul] "Two of us," "all I want is you,"

"across the universe,"
"Maxwell's silver hammer."

-[Michael] “Route 999.“
- "One after 909."

- [Laughter]
- [Paul] "One after 909."

[Paul] Listen, there's no
surprise numbers even in this.

Surprises?

I mean, there's nothing that'd throw us
to do it straight.

"Bathroom window," "Teddy boy."

We haven't gone through
"Maxwell's" since twickenham.

[Paul] No. "All things must pass."
That's lucky 13.

[Glyn] There's "dig it", as well,
which is very long.

There's no question we've got an album.

It's like all these new ones
we've gotta do

to make up the number don't exist.

- [Glyn] Right.
- [Yoko] Great.

We've got 'em all.

And you've got the live album.

- [Paul] Yeah.
- If you wanna do it, if we just find...

We should just collect
all the thoughts on these

and just check through every song,

like to know, say, make sure you know
all the chords, I know the bass notes.

I big it, d/g it, d/g it,
big it, d/g itl

I don't let me down I

[Paul] I big it, d/g it, d/g it,
big it, d/gitl

[John] I get back I

I big it, d/g it, d/g it,
big it, d/g itl

I I've gota feeling I

I big it, d/g it, d/g it,
big it, d/g itl

I two of us (on our way home) I

[Paul] I big it, d/g it, d/g it,
big it, d/gitl

[John] I all / want is you, Teddy boyl

I one after 909 I

I big it, d/g it, d/g it,
big it, d/g itl

I all things ll/lust pass I

I oh...I

I well can you d/g ltl

I let ltbel

I the long and winding road I

I also, for you blue I

I oh...I

I across the universe I

[vocalizing]

I with Maxwell's silver hammerl

I I/I/le ll/line I

I through the bathroom windowl

I /'0' like a life I

I b, c, d, f, g, a-flat, ai

ia, 0, d, f, g, a-flat, a I

I big it, d/g it, d/g it, d/g it
big it, d/g it, d/g it, d/g itl

I big it, d/g it, d/g it,
big it, d/g itl

[song ends]

[Paul] Are we having lunch soon?

- See you later.
- [John] Ta-ra, girls.

See ya.

[Guitars tuning]

[George] John, I'll tell you
what I'd like to do.

You know, I've got so many songs
that I've got me, like,

my quota of tunes
for the next ten years or albums.

I'd just like to maybe do
an album of songs.

[John] On your own?

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

[George] But, I mean,
I'd like it so that if, uh...

'Cause it would be nice.

It would be nice to mainly
get them all out the way.

[John] Yes. It would be nice, anyway.

[George] And secondly, just to hear
what all mine are like all together.

[John] If we put out an lp we'd say
it's the Beatles together,

but George is doing an album.

[George] Yeah, but it'd be nice if any
of us can do separate things as well.

That way it also preserves this,
the beatle bit of it, more.

Because then...

[John] Have an outlet
for every little note you want.

[George] You know,
'cause all these songs of mine,

I could give to people
who could do 'em good.

But I suddenly realized,
"you know, fuck all that.

I'm just gonna do me for a bit.
You know?"

- [Billy] That's the real thing.
- [Yoko] It's great. That's a good idea.

And, you know...

I lhad a dream I

I lhad a good dream I

I lhad a dream I

I lhad a good dream... I

I you're black or you're white
do you wanna go right I

[chuckles]

I lhad a dream I

I a very good dream last n/ght I

I lsaid / got a dream I

I / said wrong or fight, black or white
we all deserve our equal r/ghts I

I lhad a dream I

-I a very good dream I
-i yes, I did I

I lhad a dream I

I a very good dream, y'all I

I lhad a dream I

I a very good dream
every man born deserves a dream I

[John] I if you're black or white
we want equal r/ghts I

I it's very hard
to get those words in I

[Song ends]

[Paul] This one.

I you and I have memories I

I longer than the road that stretches I

I out ahead I

-[Paul] I two of us wearing raincoats I
-[John] I you and me wearing raincoats I

I standing solo in the sun I

I you and me chasing paper I

I getting nowhere I

I on our way back home I

I we 're on our way home I

I we 're on our way home I

I we 're going home I

- [John] Take it.
- Yes, sir.

I you and I have memories I

I longer than the road that stretches I

[John] I out ahead I

[Paul] I gott/e of geer
gott/e of geer, gott/e of geerl

I two of us wearing raincoats I

I standing solo I

I in the sun I

I you and me chasing paper I

I getting nowhere I

I on our way back home I

I we 're on our way home I

I we 're on our way home I

I we 're going home I

[Paul] I'm going home.

I goodbye I

[John] I goodbye I

a, b, c, d, e, f, g,

- h, I, j, k, I, m, n, o, p...
- [John] Greta garbo.

- Q, s, r, t.
- [John] Greta garbo. Greta garbo.

Greta garbo.

[Michael] Is this the order?

[John] No, that's not.
That's the existing cacophony.

Put the ones we know in a hat.

Shuffle them out
to see which order we do 'em in.

[Michael] What time
are we all coming in tomorrow?

[Mal] We'll all be here
bright and early.

[Michael] 11:30.

We're all sleeping at George's tonight.
Get in the mood.

We're all ready for tomorrow.

So you're doing the show
on the roof tomorrow?

[Ringo] On the roof?

- [John] Albert hall? Five o'clock?
- [Paul] Sure. Albert hall, five o'clock.

- [John] Bring your own band.
- [Paul] Mm-hmm.

I'll go, you know, if someone...

[Chuckling]

- You'll go as well?
- [John] Yeah.

I think John and, uh, Ringo
are on the roof.

[John] Ringo in a green bag.

In a green bag on the roof.

[Yoko] Is it going to be the day then?

Who knows, yoko? [Chuckles]

Supposed to be, yeah. Yeah.

[Chattering]

- [Person] Okay.
- [John] Oh, yeah. Let's do that.

Go on the roof.

- Good night, Mike.
- [Mike] Good night. [Chuckles]

- [Michael] Seven come 11. Good night.
- [Ringo] The others are from...

- Good night.
- [Michael] Good night.

- [Ringo] Good night!
- [Chattering]

[Ringo] From your show.

- [Michael] Night, George.
- [Mike] Good night, George!

Good night, sir Richard.

I'll be here tomorrow
to film in the church.

[Horn honks]

[Michael] And then Tony and I
are gonna split downstairs.

[Chattering]

- [Phone ringing]
- [Crew] Yeah?

[Debbie] Would you like to go up
when you're ready?

- [Crew] What time is he expecting you?
- [Crew 2] You can give them to Debbie.

[Crew 3] You know, it's exclusive.
It's gotta work for whoever does it.

Thank you.

[Engine revving]

[Michael] Let's get a camera
down in the hall now too.

[Chattering]

Yeah, I heard about that.

[Chattering]

- [Crew] Yes.
- [Michael] Is that the same kind of...

[Chattering]

[Michael] Okay, hold it.

Three, two, one. All right.

[Horn honks]

[Person] Hi. Can we come in?

- Who you here for?
- [Person] Tony Richmond. Is he...

[Chattering]

[Crew] There's a special lead
that goes under.

[Michael] Tony's ready, isn't he?

Uh, with cameras?

- [Crew] Yeah.
- [Crew 2] Yeah.

[Michael] Okay. Let's go.

- Is it running?
- [Crew] Yes.

- [Crew 2] We're running.
- [Crew] Running.

- [Crew 3] What's going on?
- All right.

All cameras, take one!

[George] Where's the best way
out of the way?

[Michael] Over here, I think.

- [Person] Yeah, you would think that.
- [Person 2] With Maureen.

[Paul] See, you can never tell
what he's doing.

[Person 3] Sorry.

- Hey.
- [Person 4] You know you're around back.

Which is you here.

- We may find...
- [Person 5] All right, yeah?

- It's a bit cold, isn't it?
- [Person 6] What's going on?

[Michael] It's, uh, great.

- [Crew] You're all right playing there?
- I don't know.

[Boards creaking]

- [Crew 2] Good shot there.
- [Crew 3] Yeah.

Where's the instruments?

- [Mal?
- Uaughs]

Nailed me down in the wrong place.

[Paul] That's the last of it, yeah.

The three... first, second and third.

- [George] First of all, that seems to...
- I think if we have some...

[Crew] Are you sure?

[Michael] We've worked that out.

- Let's set them up.
- [Mal] Yeah.

[Chattering]

[Crew 2] There's piping along there.
That's where you put them back in.

[Siren wailing]

Yeah, well, that goes in here.

- That should do it, really.
- Yeah.

[Guitar strumming]

- [Mal] What's that? A perfect fit.
- [Paul] Yeah, man.

[Chuckling]

What is it?

Hands are getting the feel of it.

[George Martin] It's gotta be
like it is.

Just record the song.

[Crew]
Glyn, are you getting this down there?

- [Paul] Oh, it's right-handed.
- [George] Is it?

- [Paul] Yeah.
- [George] Kevin?

- [Guitar tuning]
- I missed the start. George...

- Just look down. Must have had a few.
- Well, they're gonna hear it.

- [Crew] Final checks. Roll sound.
- [Crew 2] Right.

[George] One, two, three, four...

["Get back" playing]

I get back, get back I

I get back to where you once belonged I

I get back, get back I

I get back to where you once belonged I

- [beeps]
- [Crew] Rolling.

-I Jo Jo was a man I
-rolling. Is the door shut?

- Come on.
- We're good to go.

- [Crew 2] Glyn, this one?
- [Glyn] No.

The one at the bottom of the spirals.

It's gotta be wedged.

- [Michael] Get the clapper.
- [John] Come on, you idiot.

[Michael] Get the clapper here.

- Okay?
- Okay.

[John] Okay.

[George] One, two, three, four...

["Get back" playing]

Yeah.

I Jo Jo was a man
who thought he was a lonerl

I but he knew it couldn't last I

I Jo Jo left his home
in Tucson, an'zona I

I for some California grass I

I get back, get back I

I get back to where you once belonged I

I get back, get back I

I get back to where you once belonged I

I get back, Jo Jo I

I go home I

I get back, get back I

I get back to where you once belonged I

I get back, yeah I

I get back I

I get back to where you once belonged I

I get back, Jo I

I whoo, get back/ I

I sweet Loretta ll/lartin
thought she was a woman I

I but she was another man I

I all the girls around her
say she's got it coming I

I but she get it while she can I

I get back, get back I

I get back to where you once belonged I

I oh, get back, yeah get back I

I get back to where you once belonged I

I get back, Loretta I

I go home
your mommy's waiting for you I

I in her high-heel shoes
and her low-neck sweater I

I get back, loretta/ I

I get back, yeah get back I

I get back to where you once belonged I

I oh, get back, get back I

I get back to where you once belonged I

I ooh, ooh, owl

I go home I

I she's waiting for you I

I the tea's on I

I oh, get back I

I get back I

I get back to where you once belonged I

I oh, get back, get back
get back I

I get back to where you once belonged I

whoo-hoo!

[Applause]

- Thank you very much.
- Thank you very much.

It looks like
Ted Dexter has scored another.

We've had a request
from Martin and Luther.

We need more voice on the pa, yes, glyn?

- [John] No, we don't need any more.
- That's all right. Hello? Hello?

[Michael]
Glyn, any more voice on the fenders?

[Guitar strumming]

[Glyn on pa] Do it there.

- [Michael] What?
- [Glyn] Do it from up there.

[John] No, they would have had
to turn off the whole roof.

[Michael] Okay, cut it.

I get back/ I

[glyn] Ll/like, have you cut?

-I get back I
-[Michael] yeah, we'll cut.

Where's the noise coming from?

[Interviewer] It's coming from the roof.

Do you know who it is?

Yeah, the Beatles, ain't it?
Yeah. [Chuckles]

[Interviewer] You like it?

Yeah, it's okay.

[Interviewer] What do you think of it?
It's the Beatles.

Oh, I think jolly good.

[Interviewer] Enjoying it?

Yeah, very much. Nice, bright thing
to see at the end of the day.

[Interviewer] Do you like the idea?

I don't know
what they're supposed to be doing.

- [George] Right, stop...
- [Tony] All cameras, three!

[Michael] Okay. When you're ready, guys.

All right, Billy.

One, two, three, four.

["Get back" playing]

I Jo Jo was a man
who thought he was a lonerl

I but he knew it couldn't last I

I Jo Jo left his home
in Tucson, an'zona I

I for some California grass I

I get back, get back I

I get back to where you once belonged I

I get back, get back I

I get back to where you once belonged I

get back, Jo Jo.

Go home.

Yeah.

[Interviewer]
You're a beatle fan, are you?

You could say so, yes.
I think they're great.

I get back to where you once belonged I

I get back, get back I

I get back to where you once belonged I

I oh, get back, Jo I

I sweet Loretta ll/lartin
thought she was a woman I

I but she was another man I

I all the girls around her
say she's got it coming I

I but she gets it while she can I

I well, get back, get back... I

I reckon they give a bit
of life to London.

I like their music.
I think it's very nice indeed.

I oh, get back, get back I

I get back to where you once belonged I

get back, Loretta.

I ch! I

Yeah, go home.

Your mommy's waiting.

In her high-heel shoes
and her low-neck sweater.

Get back, Loretta!

I get back, get back I

whoo!

I get back to where you once belonged I

I oh, get back I

I get back I

[interviewer] What do you think of this?

I think it's marvelous. Yes.

Do you know who it is?

Beatles, I think.

Oh, get back home.

Never more to roam.

Where are they?

[Interviewer] On the roof.

On the roof?

I get back to where you once belonged I

I yeah, get back I

I get back I

[interviewer] Do you know what music
you're listening to?

It's the Beatles, isn't it? Yeah.

It's Paul McCartney singing now.
Well, it was. Yeah.

Okay. Well, thank you,
ladies and gentlemen.

We've had a request
from Daisy, Morris and Tommy.

- [Michael] "Don't let me down."
- Okay.

I don't let me down I

["don't let me down" playing]

I don't let me down I

I don't let me down I

I don't let me down I

I don't let me down I

I nobody ever loved me like she does I

I oh, she does I

I yes, she does I

[passerby] This type of music
is all right in its place,

but I think it's a bit of an imposition.
First of all, it's too loud.

I oh, she does I

I yes, she does I

I don't let me down I

I don't let me down I

I don't let me down I

absolutely disrupts all the business
in this area.

I think it's great!
Who is this? The Beatles?

I don't let me down I

I think it's fantastic.

I I'm in love for the first time I

I don't you know it's gonna last I

I it's a love that lasts fore verl

I it's a love that has no past I

I don't let me down I

I don't let me down I

I don't let me down I

I don't let me down I

[sings gibberish]

I oh, she does I

I yeah, she does I

I / guess nobody ever really done me I

I ooh, she done me I

I she done me good I

I don't let me down I

I don't let me down I

I don't let me down I

I don't let me down I

I please I

I please I

I please I

I please I

[song ends]

Don't let me down.

["I've got a feeling“ playing]

I I've got a feeling I

I a feeling deep inside
oh, yeah I

I oh, yeah I

that's right.

Can we have a word, please?

I a feeling / can't hide
oh, no, no... I

we don't appreciate this, mate.

This noise you're making
out on the street...

We've had about 30 complaints
in the space of half an hour.

It's got to come down.

- It's a breach of the peace. All right?
- [Jimmy] Yeah.

- You can be taken in for that offense.
- [Jimmy] Okay.

Can you turn it down, please?

[Jimmy] They're just doing
a couple of numbers, that's all.

They should be finishing...

I don't know why it is coming out
into the street.

Why's it coming out into the street?

[Jimmy]
Well, they're recording an album.

- Can I come in?
- No, sorry. Who's that?

I ...I won't be late again I

I oh, no... I

I don't need to counsel you...

Turn it down now, or else
I'm going to start arresting people.

I don't want to, but there it is.

- It's got to come down.
- [Jimmy] Okay.

It's about disturbance of the peace.

[Jimmy] Yeah, all right. Hang on a sec...

- What is it?
- [Interviewer] What do you think of it?

- Well, what is it?
- The Beatles.

Is it their new record?

Oh, great! I'm all in favor of it!

I ...Nobody told me I

I all that I've looking for
was somebody who looked like you I

I I've got a feeling I

I that keeps me on my toes I

I oh, yeah I

-I oh, yeah I -i oh, yeah I

I I've got a feeling
I think that everybody knows I

I oh, yeah I

-I oh, yeah I -i oh, yeah I

I oh, yeah I

I yeah, yeah I

I I've got a feeling yeah I

I everybody had a hard year I

I everybody had a good time I

I everybody had a wet dream I

I everybody saw the sun shine
oh, yeah I

-I oh, yeah I
-i oh, yeah, oh, yeah I

I everybody had a good year I

I everybody let their hair down I

I everybody pulled their socks up I

I everybody put their foot down
oh, yeah I

Whoo-hoo!

-I I've got a feeling I
-i everybody had a good yearl

-I a feeling deep inside, oh, yeah I
-i everybody had a hard time I

-I everybody had a wet dream I
-i oh, yeah I

I everybody saw the sun shine I

-I everybody had a good yearl
-[Paul] I I've gota feeling I

I a feeling / can't hide, oh no... I

surely this isn't necessary, is it?

I can't believe that you really...

[Debbie]
I don't know what's happening there...

I don't, quite honestly...

- [Debbie] Really.
- I can't believe that this...

[Debbie]
It's some kind of feature they're doing.

- Yeah. Well, I don't...
- [Debbie] It's for some film.

Yeah, all right. I see that.

But I don't really believe
this is necessary, do you?

[Debbie] I don't honestly know
what they're doing.

I mean, it's ridiculous.

You can hear it
down at the police station.

We've had 30 complaints
of noise within minutes!

[Song ends]

I oh, my sou/I

- that was so hard.
- [Applause]

Hey! All right!

[Debbie] We're looking for Derek Taylor.
Nobody can find him.

[Debbie]
Anyway, he'll be down in a second.

[Passerby] Peace on earth!

[People laughing]

- [Chattering]
- [Mal] Alan.

[Glyn] Ringo?

- [Crew] Are the cameras still running?
- Yeah.

[Glyn] Just stick your snare drum mic
back over the snare drum.

[Interviewer] Sir, we must have
your comment. What do you think of it?

What's going on?

- [Interviewer] It's the Beatles.
- What gives? What's happening?

[Interviewer] They decided to play
for the public for nothing.

Well, that's great.

It's a bloody stupid place
to have a concert.

Nice to have something for free
in this country at the moment, isn't it?

- Don't you like the Beatles?
- No.

[Interviewer] Not at all?

Not now. They've changed completely.

[Interviewer] The Beatles are doing
a free concert on the roof.

- Now?
- Yeah. What do you think of it?

I think it's very good.
Why aren't they doing it in the street?

[Interviewer]
They just thought you'd wanna hear it.

Yeah, well, we'd also like to see them.

I just can't see that it makes sense.

Well, I think it's a very good thing.

It woke me up from my sleep,
and I don't like it.

- [Playing electric piano]
- [Chattering]

[Laughs]

All cameras, four!

One, two, three.

["One after 909" playing]

I my baby says she's traveling
on the one after 909 I

I lsaid move over, honey
I'm traveling on that line I

I / said move over once
/I/lo ve over twice I

I come on, baby
don't be cold as ice I

I she said she's traveling
on the one after 909 I

I / begged her not to go
and / begged her on my bended knee I

I you're only fooling 'round
you're fooling 'round with me I

I / said move over once
move over twice... I

ah, so, what's happening then?

No idea, mate.

I've just walked in.

Ah, there she is!

Where's me money?

[Debbie]
Your cheque was posted three days ago.

Hasn't it arrived yet?

I rai/man said I

I you've got the wrong location I

I pick up my bag I

I run right home I

I then / find
I've got the number wrong I

I well, she said she's traveling
on the one after 909 I

I lsaid move over, honey
I'm traveling on that line I

I / said move over once
/I/lo ve over twice I

I come on, baby
don't be cold as ice I

I she said she's traveling
on the one after 909 I

I yeah/ I

I whoo/ I

I pick up my bag I

I run to the station I

I rai/man said I

I you've got the wrong location I

I yeah pick up my bag I

I run right home I

I then / fl'ndl

I I've got the number wrong I

I well, she said she's traveling
on the one after 909 I

I lsaid move over, honey
I'm traveling on that line I

I / said move over once
/I/lo ve over twice I

I come on, baby
don't be cold as ice I

I she said she's traveling
on the one after 9-0 I

I she said she's traveling
on the one after 9-0 I

I she said she's traveling
on the one after 909 I

I oh, Danny boyl

I the old Savanna calling I

[Michael]
Make sure you don't lean on that.

[Chattering]

[Dagg] I can't see what to do.

[Chattering]

- Oh.
- [George] "Dig a pony."

I'll have to get the words then.

- "Dig a pony."
- [Glyn] ”d/ga pony."

Can I have city one reserve, please?

- [John] I don't know. It's just, uh...
- Just ask mai to hold 'em.

[John] Yeah.

- Kev.
- [John] Kevin?

Come here.

[Mal] Hello, I'm their road manager.
The Beatles' road manager.

Can you hang on? Well,
I'll ring you back later, all right?

[Chattering]

I'm not going to be difficult about this.

All right, so you've got to record,
but this isn't necessary, all right?

We've had 30 complaints
at west end central within minutes.

[Mal] What we're trying to do is...

I'm afraid, honestly, it
doesn't really affect the issue.

It's got to go down, otherwise
there will be some arrests.

I'm not threatening you.

I'm telling you what's going to happen.

[Mal] We don't want
to antagonize anybody.

No, well, you're antagonizing...

[Mal] We're making a living here.
It'll cost us a lot of money, you know.

Well, can you please...

[Mal] We've got a pa system up there.
We could turn that off.

As long as they can't hear it.

[Mal] Down in the streets?

They can't hear it out there...

[Mal] Well, we've got a pa speaker
up there to turn the sound around

so they can hear themselves playing.

Well, can you turn it off, please?

- [Mal] Yeah. Okay.
- Turn the pa off.

[Mal] I think the instruments themselves
won't carry that far.

The thing is, at the moment, we can
hear it up in Compton street.

Can you turn the pa off
and we'll see what happens from there.

[Mal] Thank you very much.

We can't use city one reserve.

Charming, innit?

- [Debbie] Jimmy?
- Hmm?

[Debbie] Have a sweet afton.

Thank you. Don't mind if! Do.

Aren't these studios soundproofed
or something?

[Debbie] It's on the roof.

They're on the roof, are they?

[Jimmy] Yeah, because they've been
recording in the studios.

They've just done this to get
some scenery and things.

[Debbie] Which is for this big feature
I was telling you about.

[Jimmy] A big feature film.

Well, you know, I mean...

If you're doing the picture

I'm sure you can dub the sound
onto the film, can't you?

[Debbie] But the whole thing
is about the live thing.

It's got to be live, you see.

Rolling.

[Michael] Are you all ready?

Yeah? Okay. Are we rolling?

- Yeah.
- [Michael] Okay.

- One, two, three!
- [Ringo] Hold it!

One, two, three...

["Dig a pony“ playing]

I all/ want is I

I /, a-hi-hl, a-hi-hi I

I d/g a ponyl

I well, you can celebrate
anything you wantl

I yes, you can celebrate
anything you wantl

iohl

I /, a-hi-hl, a-hi-hi I

I do a road hog I

I well, you can penetrate
any place you go I

I yes, you can penetrate
anyplace you go... I

it's making a hell of racket.

Can we have the duty officer
down here, please.

I all/ want is you I

I everything has got to be
just like you want it to I

I because I

I /, a-hi-hl, a-hi-hi I

I pick a moon dog I

I well, you can radiate
everything you are I

I yes, you can radiate... I

yeah, so why is it
on the top of the roof?

[Interviewer] It's to do something
out of the ordinary.

All that money they've got?

[Interviewer] Do you know what music
you're listening to at the moment?

No, I have no idea.
But it sounds really wonderful.

- Do you like it, do you?
- Yes.

This is the Beatles playing on the roof.

It's their first public appearance
for some time.

- Yes.
- And you quite enjoy the music?

- Oh, yes.
- Do you buy their records?

- Yes, I do. Yes.
- Yeah, I think it's a good idea.

[Interviewer] Would you like to see them
here every lunchtime?

Yes.

I everything has got to be
just like you want it to I

-I because I -i whoo/ I

I ch! I

[Jimmy] They lock the door
when they're recording.

'Cause other people keep trying
to get onto the roof.

You know, it's to be cool.

I oh, nowl

I /, a-hi-hl, a-hi-hi I

I feel the wind blowl

I but you can indicate
everything you see I

I yes, you can indicate
everything you see I

I oh, nowl

I /, a-hi-hl, a-hi-hi I

I I'm cold and lonely I

I well, you can syndicate
any boat you row I

I yeah, you can syndicate
any boat you row I

I lto/d you so I

I all/ want is you I

I everything has got to be
just like you want it to I

I because I

[Mal] I've cut most of the pa amp.

And there's another lead
in the studio downstairs.

I'm going to do that one right now.

I all/ want is you I

thank you, brothers.

My hands are getting too cold
to play a chord now.

- [Michael] Turn on the pa too.
- [John] Okay.

- [Vocalizing]
- [John] Shall we do "can you dig it"?

- "Can you dig it"?
- [John] I don't know.

[Chattering]

Large crowd.

[Jimmy] Yeah.

[Debbie] Oh, dear.

I can't believe there's
all these different people.

They're disrupting all
the local business.

[Jimmy] Yeah.

Nobody thought there'd be this many!

[Debbie] What's happening?

Surely something can be done?

[Chattering]

[Interviewer] Do you know what music
you're listening to?

The Beatles, obviously.

- The Beatles? Yes.
- Yeah.

This music you're now
listening to is going to be

on their new lp coming out very shortly.
Do you like it?

- Fabulous. Lovely.
- Definitely. Fantastic.

[Interviewer] Have you any favorite
amongst the Beatles?

Or are they all your favorites?

- They're all a few lads.
- Yeah. Get around, don't they?

[Interviewer] Pardon?

- I said they get around.
- [Laughs]

I think the Beatles are cracking!
I said, you can't beat 'em!

They're all out on their own.
They've got a style of their own.

And, in my opinion,
I think they're a lovely crowd.

They've got good qualities.
They sing well.

And, well, what else can I say
but they're real good people.

[Customer] "Misery."
That's the one, I think.

- That it?
- That's it. Lovely.

Anywhere where I could
have a listen to this?

[Interviewer] Would you like to see them
back again?

Yes. Very much. Yes.

- You really like their music?
- Yeah. It's great.

Have you a favorite
amongst the Beatles?

Um, I think Ringo.

[Interviewer] Do you know what music
you're listening to at the moment?

-Do you?

You are listening to the Beatles' music.
You've heard of the Beatles?

Yeah.

- You like their music?
- Yeah. I think they're good.

[Interviewer] You don't disapprove then?

I don't disapprove of the Beatles' hair.

I don't disapprove of their style,
or their dress.

You wouldn't mind your daughter
going out with a beatle?

I wouldn't mind, no,
because they've got money.

["God save the queen" playing]

[Song fades out]

[Debbie coughs]

[Michael] Okay. Glynny.
Are you ready, glyn?

- [Glyn] Running.
- Turnover, Mike.

[Michael] Can we scratch that?

- [Crew 2] Tuning.
- [Michael] Running. Ready?

Okay, okay.

["I've got a feeling“ playing]

I I've got a feeling I

I a feeling deep inside I

I oh, yeah I

I oh, yeah I

I I've got a feeling I

I a feeling / can't hide
no, no I

inol

I oh, no I

I no, no I

[interviewer] You like it, do you?

Not in the street, no.

[Interviewer] We wanted to know if you
like the Beatles' music?

- Oh, yes. Yes. Very much. [Laughs]
- [Interviewer] You do?

- Do you buy their records?
- No, my son does.

Oh, yes. My daughter does.

My son would.
He likes all that, but not me.

I oh, yeah I

I oh, yeah I

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

I oh, no I

I oh, no I

I oh, no I

I oh, yeah I

I I've got a feeling yeah I

I all these years
I've been wandering around I

I wondering how come nobody told me I

I all that I've been looking for
was somebody who looked like you I

I heyl

I I've got a feeling I

I that keeps me on my toes
oh, yeah I

I oh, yeah I

I I've got a feeling I

I / think that everybody knows
oh, yeah I

I oh, yeah I

do you want to go upstairs?

- Take us to the roof, please.
- Yeah, we'll come upstairs.

[Mal] Okay.

I I've got a feeling I

I oh, yeah I

I everybody had a hard year I

I everybody had a head dream I

I everybody saw the sun shine I

I everybody gotten obscene I

-I oh, yeah I -i oh, yeah I

I oh, yeah I

-I oh, yeah I -i oh, yeah? I

I everybody had a good year I

I everybody let their hair down I

-I everybody pulled their socks up I
-i yeah I

-I everybody put their foot down I
-i oh, yeah I

-I everybody had a hard year I
-i I've got a feeling I

-I a feeling deep inside, oh yeah I
-i everybody had a good time I

-I everybody had a wet dream I
-i oh, yeah I

I everybody saw the sun shine I

-I everybody had a good yearl
-i I've got a feeling I

-I a feeling / can't hide I
-i everybody let their hair down I

-I oh, no I
-i everybody pulled their socks up I

-I oh, no I
-i everybody put their foot down I

-I oh, yeah I -i yeah, yeah I

I ooh yeah, ooh yeah I

I ooh, ooh yeah I

I I've got a feeling yeah I

I I've got a feeling yeah I

I whoo-hoo/ I

[song ends]

I a pretty girl is like a melody I

[singing continues, indistinct]

Yeah.

- One, two, three, four.
- "And for the first time."

- Oh!
- No, no, "don't let me down." Sorry.

[Laughing]

I don't let me down I

[person] Rock and roll!

You too!

- [Chattering]
- Whoo!

["Don't let me down" playing]

I don't let me down I

I don't let me down I

I don't let me down I

whoo!

I don't let me down I

I and from the first time
that she really loved me I

I ooh, she loved me I

I yes, she does I

I and if somebody ever really loved me I

I ooh, she loves me I

I yes, she does I

I don't let me down I

I don't let me down I

I don't let me down I

I don't let me down I

I I'm in love for the first time I

I don't you know it's gonna last I

I it's a love that lasts fore verl

I it's a love that has no past I

whoo!

I don't let me down I

I please I

I don't let me down I

I don't let me down I

I don't let me down I

I and from the first time
that she really done me I

I ooh, she done me I

I she done me good I

yeah, that's right.

- Have you some of our officers in here?
- Yes.

- Yes?
- Yes, they're upstairs on the roof.

- Are they really?
- [Person] Yes.

Much obliged to you.
Do you mind if! Go in?

Do you mind?

- [Debbie] Beg your pardon, sorry?
- Would you mind if! Go in?

[Debbie] You can go up,
but don't go actually on the roof

because it's overweight.

Go in the lift, to the fourth floor.

- They've gone up, have they?
- [Debbie] Yeah.

Thank you very much.

I don't let me down I

I don't let me down I

I please I

I please I

I please I

iohl

I please I

[Song ends]

["Get back" playing]

I Jo Jo was a man
who thought he was a lonerl

I but he knew it couldn't last I

I Jo Jo left his home
in Tucson, an'zona I

I for some California grass I

I get back, get back I

I get back to where you once belonged I

it's off.

I get back I

I get back to where you once belonged I

I get back, Jo Jo yeah I

I get back, get back I

I get back to where you once belonged I

I get back, whoo/ get back I

I get back to where you once belonged I

I get back, Jo I

whoo!

I oh, yeah get back I

whoo!

Yeah!

I sweet Loretta /I/lartin
thought she was a woman I

I but she was another man I

I all the girls around her
say she's got it coming I

I but she gets it while she can I

I get back, get back I

I get back to where you once belonged I

I get back, get back I

I get back to where you once belonged I

I get back, Loretta
get back home I

I come on, come on I

I oh, come on, go home
your mommy's waiting I

I in her high-heel shoes
and her low-neck sweater, get back I

[person] Can I have somebody
of authority to sort these people out?

[Debbie] Well, do come in.

There's nobody up there
other than four policemen.

- Four policemen?
- [Debbie] On the top.

No. This... my building, across the road?

[Debbie] Your building? Across the road?

Oh, there's nobody from
your building across here.

Who's this for?

[Debbie] There's nobody across
the building... across from your building.

There's a camera crew
on top of the building.

[Debbie] Oh, I don't know
anything about that at all.

I you've been out too long, Loretta
you've been playing on the roofs again I

I and that's no good, 'cause you know
your mommy doesn't like that I

I oh, she gets angry
she's gonna have you arrested I

I get back I

I oh, get back I

I oh, yeah yeah, yeah, yeah I

I get back, get back I

I get back to where you once belonged I

get back.

[Applause]

- Thanks, mo.
- I'd like to say thank you

on behalf of the group and ourselves.

I hope we passed the audition.

[Laughing]

[Crew] All right, boys.
Get in here. Step aside, there.

[John] You all right?

Come. Get in there. Come on. In there.

What's the matter? Everything all right?

[Michael] Get some more cover there.
Film through the office windows.

[Crew] Okay.

[Michael] People on the roof.
Everything.

Stay there, girls. Stay there.

Thank you.

[Michael] Okay. As soon as
you got the cover, that's a wrap.

[Chattering]

[Officer] Let's keep it moving please.

[Officer 2] Step off the road, please.
Move along!

[Officer 3] Move along, please.

Move along, please.

- [Chattering]
- [Horn honking]

[Officer 4] Off the road, please.

- [Horn honks]
- Come on. Move along.

What's the law say that you...
Why you can't do that?

- [Michael] 'Cause of the pa speakers.
- [George Martin] Disturbing the peace.

- Well, how... "Disturbing the peace"?
- [Paul] Peace means like noise.

[George Martin] As Mike was saying,

this is a very good dry run
for something else too.

Apart from the value of this
as it stands.

Yeah.

- Yeah, for taking over London.
- Yeah.

- [Michael] You see, because...
- [John] Top of the Hilton tomorrow.

[George Martin]
Blasting out the sound in their power.

- [John] Fantastic.
- [George] Every rock group in the world,

in London, all on the top of buildings.

- Playing the same tune.
- Also on a platform of loudspeakers.

So you're just sort of strapped in
to little boxes in this structure.

I well, get back I

I ...Loretta /I/lartin
thought she was a woman I

I but she was another man I

I all the girls around her
said she's got it coming I

I but she get it while she can I

I oh, get back I

I get back I

I get back to where you once belonged I

I oh, get back, yeah get back I

I get back to where you once belonged I

I get back, Loretta I

I hey/I

I go home I

I your mommy's waiting for you I

[John singing gibberish]

I ooh, she does I

I yes, she does I

I / guess nobody ever really done me I

I ooh, she done me I

I oh, please believe me I

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

I oh, yeah I

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

I oh, no I

[no audible dialogue]

I oh, no I

I oh, no I

I no, yeah I

I I've got a feeling yeah I

I I've got the number wrong I

I well, she said she's traveling
on the one after 909 I

I lsaid move over, honey
I'm traveling on that line I

I / said move over once
/I/lo ve over twice I

I come on, baby don't be... I

I all/ want is I

I /, a-hl, hr, a-hl, hi I

I d/g a ponyl

I well, you can celebrate
anything you wantl

I yes, you can celebrate
anything you wantl

[Michael]
What are you feeling about today?

- You wanna work more today or not?
- [Paul] Yeah.

We should record the others now.

[Glyn] Gotta get the stuff down first.

- [George] Let's have a break for a bit.
- We'll have lunch and that.

And then we record the other stuff
that we didn't do.

- [George Martin] Right.
- Up there. The acoustic stuff.

- [Glyn] Up there?
- No, down here now.

- When I...
- [George] There won't be more rooftops.

[Paul] No. No more rooftop.

- That was the rooftop.
- [George] It was really bad.

- {george malll“! 0h, right.
- [Paull so, it's like...

You know, you're doing this
and we're taking it...

If we got the police,
we could pretend in the film

that we had to get down because of them.

- And here we are...
- [John] Just the way it happened then.

That” just be it, you know.

[Chattering]

[Crew] This is b camera roll, 1,150.

Slate 500, take one.
Slate 500, take one.

[Crew 2] Roll mic.

[John] It might have been... you know.
I don't like to throw things away.

[Paul] Okay. Ready?

- [Michael] Okay, turnover cameras.
- Clap it.

[Michael] Turnover cameras.

I take it to the captain I

I take this hammerl

I take it to the captain I

I you and me Sunday driving I

I not arriving I

I on ourway... I

I if you're ever in a jam
here / am I

I if you're ever in the shit
grab my tit I

I ...It's gonna make it stop I

I how high's the water, mama 7 I

I daddy's gonna tell on... I

I rather see you deao', little girl I

I 7'han to be with another man I

I you better watch your head
little girl I

I or you won't know where I am I

I you'd better run for your life
if you can... I

okay.

- [Crew] Running.
- Turn over.

- Did I ever tell you when I had the...
- Take... take ten.

[John] I don't think
I wanna hear that, dick.

Okay, Jim.

- Good night, Paul.
- Say good night, John.

- Good night, Paul.
- Good night.

I two of us riding nowhere I

I spending someone's hard-earned pay I

I you and me Sunday driving I

I not arriving I

I on our way back home I

I we 're on our way home I

I we 're on our way home I

I we 're going home I

I / suddenly discovered
I was ha/fi/va y out of tune I

I but / continued playing
because I'm no goon I

[crew] Take... take... take 17!

I the long and winding road I

I that leads to your doorl

- [beeps, static]
- Okay, start again.

I the long... I

[laughs, whines]

F-stop.

I the long... I

[glyn] We'll need one more, actually.

[Crew] Take 18.

Now what's the chord you play...

[Vocalizes]

I the wild and windy n/ght I

I that the rain washed away I

I has left a pool of tears I

I crying for the day I

- [Michael] Running.
- [Clapping]

- [Michael] Running, col? Running, Mike?
- [Colin] Yeah.

- [Mike] Running, yeah.
- [Michael] Nice and quiet. Mark it.

[Clapper] Take 25.

["Let it be" playing]

I when lfl'nd myself
in times of trouble I

I mother Mary comes to me I

I speaking words of wisdom I

I letitbel

I and in my hour of darkness I

I she is standing fight in front of me I

I speaking words of wisdom I

I letitbel

-I let it be, let it be I
-i ooh I

- [raspberry]
- What the shittin' hell is going on?

[Imitates speaking German]

[Imitates speaking German]

Eins, zwer, vierte/ nach drei.

[Rock playing]

I whisper words of wisdom... I

what the fuck's going on?

I'll never get "Maggie Mae" done
if we go on like this.

Are we supposed to giggle in the solo?

- Yeah.
- [John] Okay.

I and when the broken-hearted people I

- [laughs]
- [John] Get off, you burn!

[Song ends]

- I lost a bass note somewhere.
- Oh.

["Let it be" playing]

-I let it be, let it be I
-i ooh I

I let it be, yeah let it be I

I there will be an answerl

I letitbel

I when lfl'nd myself
in times of trouble I

I mother Mary comes to me I

I speaking words of wisdom
let it be I

[John mouthing] Let it be.

I and in my hour of darkness
she is standing right in front of me I

I speaking words of wisdom I

I letitbel

-I let it be, let it be I
-i ooh I

-I let it be, let it be I
-i ooh I

I whisper words of wisdom I

I letitbel

[Song ends]

- [George Martin] Is that the best one?
- I think that was rather grand.

I'd take one home with me.

[Glyn] Yeah, that was fine.

Don't kid us, glyn.

Give it to us straight.

- Get me off this bass.
- [Paul] Was that good enough?

- [Glyn] Yes.
- We'll do one more to cover ourselves.

We'll just do one more
'cause we know we've got it now.

[John] We've got so many
of the bastards.