Original subtitles

Same guitar?

♪ I'm in love for the… ♪

[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]

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Nobody ever loved me like she does ♪

♪ Ooh, she does ♪

♪ Yes, she does ♪

♪ I need you ♪

♪ I need you so bad ♪

♪ I need you ♪

♪ I need you so bad It's driving me mad ♪

♪ It's driving me mad ♪

♪ Oh, oh, oh, oh ♪

♪ Half a pound of greasepaint On your face ♪

♪ That's the life Let's face it, chums ♪

♪ All the rest are a gang of bums ♪

♪ Oh, half a pound of greasepaint On your face ♪

♪ Get your togs and get in quick ♪

♪ Get that pancake on your head And get out on the boards ♪

♪ Sock it to 'em, sock it to 'em One more time ♪

♪ Till the closing curtain falls ♪

♪ Go and do your act And get it right ♪

♪ Don't let 'em down In the old limelight ♪

♪ Oh, half a pound of greasepaint On your face ♪

♪ That's a little kind of thing You can't erase ♪

♪ It gets in your blood It gets in your stream ♪

♪ So get onto the boards And let 'em hear you scream ♪

♪ Half a pound of greasepaint ♪

♪ Half a pound of greasepaint ♪

[John] ♪ Mr. Show ♪

[Paul] ♪ Oh, go into song and dances ♪

♪ Oh, go into funny prances ♪

♪ Let me hear you do the new Oh, newest dance ♪

♪ And in the greasepaint pants ♪

♪ The man in the greasepaint pants ♪

[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 ♪

[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.

[Michael] Yes, it's gonna be great.

[Yoko laughs]

[Yoko chuckles]

[John] Yeah.

[Glyn] But strange, man. [laughs]

[Yoko] Yes.

[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--

Tomorrow, or, uh… I'll light my cigar.

[laughter]

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

[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…

♪ Got a feeling ♪

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.

- Yeah. - 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 Night.

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

It's us going silly again.

[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.

[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 and 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.

[George Martin] 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]

Just play it.

[Paul] Yeah. Yeah.

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

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] I just don't-- 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.

Except, 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 off, 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.

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 just 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.

I think-- I think yesterday…

- At least we could've recorded all those. - Was the result of not having the 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 with 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.

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…

[Paul] You would like to?

[Paul chuckles]

Very diverse people.

- One second. - [John] But, I mean if… 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."

- [George Martin] Don't know what that is. - [Paul] "I'd Like a Love That's Right."

♪ I'd like a love that… ♪

[Paul] "Long and Winding Road," "Let it Be," "For You Blue."

- 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.

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 out--

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 all the bass notes.

♪ Dig it, dig it, dig it, dig it, dig it ♪

♪ Don't Let Me Down ♪

[Paul] ♪ Dig it, dig it, dig it, dig it, dig it ♪

[John] ♪ Get Back ♪

♪ Dig it, dig it, dig it, dig it, dig it ♪

♪ I've Got A Feeling ♪

♪ Dig it, dig it, dig it, dig it, dig it ♪

♪ Two Of Us (On Our Way Home) ♪

[Paul] ♪ Dig it, dig it, dig it, dig it, dig it ♪

[John] ♪ All I Want Is You, Teddy Boy ♪

♪ One After 909 ♪

♪ Dig it, dig it, dig it, dig it, dig it ♪

♪ All Things Must Pass ♪

♪ Oh… ♪

♪ Well Can You Dig It ♪

♪ Let It Be ♪

♪ The Long And Winding Road ♪

♪ Also, For You Blue ♪

♪ Oh… ♪

♪ Across The Universe ♪

[vocalizing]

♪ With Maxwell's Silver Hammer ♪

♪ I Me Mine ♪

♪ Through the Bathroom Window ♪

♪ I'd Like a Life ♪

♪ B, C, D, F, G, A-flat, A ♪

♪ A, C, D, F, G, A-flat, A ♪

♪ Dig it, dig it, dig it, dig it Dig it, dig it, dig it, dig it ♪

♪ Dig it, dig it, dig it, dig it, dig it ♪

[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.

Um…

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.

- [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.

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

[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 had a dream ♪

♪ I had a good dream ♪

♪ I had a dream ♪

♪ I had a good dream… ♪

♪ You're Black or you're white Do you wanna go right ♪

[chuckles]

♪ I had a dream ♪

♪ A very good dream last night ♪

♪ I said I got a dream ♪

♪ I said wrong or right, Black or white We all deserve our equal rights ♪

♪ I had a dream ♪

- ♪ A very good dream ♪ - ♪ Yes, I did ♪

♪ I had a dream ♪

♪ A very good dream, y'all ♪

♪ I had a dream ♪

♪ A very good dream Every man born deserves a dream ♪

[John] ♪ If you're Black or white We want equal rights ♪

- ♪ Yeah ♪ - ♪ It's very hard to get those words in ♪

[song ends]

[Paul] This one.

♪ You and I have memories ♪

♪ Longer than the road that stretches ♪

♪ Out ahead ♪

- [Paul] ♪ Two of us wearing raincoats ♪ - [John] ♪ You and me wearing raincoats ♪

♪ Standing solo in the sun ♪

♪ You and me chasing paper ♪

♪ Getting nowhere ♪

♪ On our way back home ♪

♪ We're on our way home ♪

♪ We're on our way home ♪

♪ We're going home ♪

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

♪ You and I have memories ♪

♪ Longer than the road that stretches ♪

[John] ♪ Out ahead ♪

[Paul] ♪ Gottle of geer Gottle of geer, gottle of geer ♪

♪ Two of us wearing raincoats ♪

♪ Standing solo ♪

♪ In the sun ♪

♪ You and me chasing paper ♪

♪ Getting nowhere ♪

♪ On our way back home ♪

♪ We're on our way home ♪

♪ We're on our way home ♪

♪ We're going home ♪

[Paul] I'm going home.

♪ Goodbye ♪

[John] ♪ Goodbye ♪

A, B, C, D, E, F, G,

- H, I, J, K, L, M, N, O, P… - [John] Greta Garbo.

- …Q, S, R, T. - [John] Greta Garbo. Greta Garbo.

Greta Garbo.

[John] No, that's not.

Put the ones we know in a hat.

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

[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?

Oh, sure, Albert Hall. Sure. Five o'clock. See you there.

[Paul] Mm-hmm.

[chuckling]

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

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

In a green bag on the roof.

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]

[horn honks]

- [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? - [laughs]

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]

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

- [beeps] - [crew] Rolling.

- ♪ Jo Jo was a man ♪ - 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.

♪ Jo Jo was a man Who thought he was a loner ♪

♪ But he knew it couldn't last ♪

♪ Jo Jo left his home in Tucson, Arizona ♪

♪ For some California grass ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, Jo Jo ♪

♪ Go home ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, yeah ♪

♪ Get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, Jo ♪

♪ Whoo, get back! ♪

♪ Sweet Loretta Martin Thought she was a woman ♪

♪ But she was another man ♪

♪ All the girls around her Say she's got it coming ♪

♪ But she get it while she can ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Oh, get back, yeah Get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, Loretta ♪

♪ Go home Your mommy's waiting for you ♪

♪ In her high-heel shoes And her low-neck sweater ♪

♪ Get back, Loretta! ♪

♪ Get back, yeah Get back ♪

♪ Get back to where you once belonged ♪

♪ Oh, get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Ooh, ooh, ow!

♪ Go home ♪

♪ She's waiting for you ♪

♪ The tea's on ♪

♪ Oh, get back ♪

♪ Get back ♪

♪ Get back to where you once belonged ♪

♪ Oh, get back, get back Get back ♪

♪ Get back to where you once belonged ♪

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.

♪ Get back! ♪

[Glyn] Mike, have you cut?

- ♪ Get back ♪ - [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]

♪ Jo Jo was a man Who thought he was a loner ♪

♪ But he knew it couldn't last ♪

♪ Jo Jo left his home in Tucson, Arizona ♪

♪ For some California grass ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

Get back, Jo Jo.

Go home.

Yeah.

[interviewer]

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

♪ Get back to where you once belonged ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Oh, get back, Jo ♪

♪ Sweet Loretta Martin Thought she was a woman ♪

♪ But she was another man ♪

♪ All the girls around her Say she's got it coming ♪

♪ But she gets it while she can ♪

♪ Well, get back, get back… ♪

♪ Oh, get back, get back ♪

♪ Get back to where you once belonged ♪

Get back, Loretta.

♪ Oh! ♪

Yeah, go home.

Your mommy's waiting.

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

Get back, Loretta!

♪ Get back, get back ♪

Whoo!

♪ Get back to where you once belonged ♪

♪ Oh, get back ♪

♪ Get back ♪

[interviewer]

I think it's marvelous. Yes.

[interviewer]

Beatles, I think.

Oh, get back home.

Never more to roam.

[interviewer]

On the roof?

♪ Get back to where you once belonged ♪

♪ Yeah, get back ♪

♪ Get back ♪

[interviewer]

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.

♪ Don't let me down ♪

["Don't Let Me Down" playing]

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Nobody ever loved me like she does ♪

♪ Oh, she does ♪

♪ Yes, she does ♪

[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.

♪ Oh, she does ♪

♪ Yes, she does ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

Absolutely disrupts all the business in this area.

I think it's great! Who is this? The Beatles?

♪ Don't let me down ♪

I think it's fantastic.

♪ I'm in love for the first time ♪

♪ Don't you know it's gonna last ♪

♪ It's a love that lasts forever ♪

♪ It's a love that has no past ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

[sings gibberish]

♪ Oh, she does ♪

♪ Yeah, she does ♪

♪ I guess nobody ever really done me ♪

♪ Ooh, she done me ♪

♪ She done me good ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Please ♪

♪ Please ♪

♪ Please ♪

♪ Please ♪

[song ends]

Don't let me down.

["I've Got A Feeling" playing]

♪ I've got a feeling ♪

♪ A feeling deep inside Oh, yeah ♪

♪ Oh, yeah ♪

That's right.

♪ I've got a feeling ♪

♪ A feeling I can't hide Oh, no, no… ♪

♪ And if you leave me I won't be late again ♪

♪ Oh, no… ♪

[interviewer]

♪ …nobody told me ♪

♪ All that I've looking for Was somebody who looked like you ♪

♪ I've got a feeling ♪

♪ That keeps me on my toes ♪

♪ Oh, yeah ♪

- ♪ Oh, yeah ♪ - ♪ Oh, yeah ♪

♪ I've got a feeling I think that everybody knows ♪

♪ Oh, yeah ♪

- ♪ Oh, yeah ♪ - ♪ Oh, yeah ♪

♪ Oh, yeah ♪

♪ Yeah, yeah ♪

♪ I have got a feeling Yeah ♪

♪ Everybody had a hard year ♪

♪ Everybody had a good time ♪

♪ Everybody had a wet dream ♪

♪ Everybody saw the sun shine Oh, yeah ♪

- ♪ Oh, yeah ♪ - ♪ Oh, yeah, oh, yeah ♪

♪ Everybody had a good year ♪

♪ Everybody let their hair down ♪

♪ Everybody pulled their socks up ♪

♪ Everybody put their foot down Oh, yeah ♪

Whoo-hoo!

- ♪ I've got a feeling ♪ - ♪ Everybody had a good year ♪

- ♪ A feeling deep inside, oh, yeah ♪ - ♪ Everybody had a hard time ♪

- ♪ Everybody had a wet dream ♪ - ♪ Oh, yeah ♪

♪ Everybody saw the sun shine ♪

- ♪ Everybody had a good year ♪ - [Paul] ♪ I've got a feeling ♪

♪ A feeling I can't hide, oh no… ♪

[song ends]

♪ Oh, my soul ♪

- That was so hard. - [applause]

Hey! All right!

No, no, no, no. [imitates gunshot]

[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?

- [interviewer] Don't you like The Beatles? - No.

- No? - 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]

♪ My baby says she's traveling On the one after 909 ♪

♪ I said move over, honey I'm traveling on that line ♪

♪ I said move over once Move over twice ♪

♪ Come on, baby Don't be cold as ice ♪

♪ She said she's traveling On the one after 909 ♪

♪ I begged her not to go And I begged her on my bended knee ♪

♪ You're only fooling 'round You're fooling 'round with me ♪

♪ I said move over once Move over twice… ♪

♪ Railman said ♪

♪ You've got the wrong location ♪

♪ Pick up my bag ♪

♪ Run right home ♪

♪ Then I find I've got the number wrong ♪

♪ Well, she said she's traveling On the one after 909 ♪

♪ I said move over, honey I'm traveling on that line ♪

♪ I said move over once Move over twice ♪

♪ Come on, baby Don't be cold as ice ♪

♪ She said she's traveling On the one after 909 ♪

♪ Yeah! ♪

♪ Whoo! ♪

♪ Pick up my bag ♪

♪ Run to the station ♪

♪ Railman said ♪

♪ You've got the wrong location ♪

♪ Yeah Pick up my bag ♪

♪ Run right home ♪

♪ Then I find ♪

♪ I've got the number wrong ♪

♪ Well, she said she's traveling On the one after 909 ♪

♪ I said move over, honey I'm traveling on that line ♪

♪ I said move over once Move over twice ♪

♪ Come on, baby Don't be cold as ice ♪

♪ She said she's traveling On the one after 9-0 ♪

♪ She said she's traveling On the one after 9-0 ♪

♪ She said she's traveling On the one after 909 ♪

♪ Oh, Danny Boy ♪

♪ The old savanna calling ♪

[Michael] Make sure you don't lean on that.

[chattering]

[Dagg] I can't see what to do.

[Debbie coughs]

[chattering]

- Oh. - [George] "Dig A Pony."

I'll have to get the words then.

- "Dig A Pony." - [Glyn] "Dig A Pony."

- [John] I don't know. It's just, uh-- - Just ask Mal to hold 'em.

[John] Yeah.

- Kev. - [John] Kevin?

Come here.

Can you hang on? Well, I'll ring you back later, all right?

[chattering]

[PC Shayler]

[PC Shayler]

[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 I do.

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]

♪ All I want is ♪

♪ I, a-hi-hi, a-hi-hi ♪

♪ Dig a pony ♪

♪ Well, you can celebrate Anything you want ♪

♪ Yes, you can celebrate Anything you want ♪

♪ Oh ♪

♪ I, a-hi-hi, a-hi-hi ♪

♪ Do a road hog ♪

♪ Well, you can penetrate Any place you go ♪

♪ Yes, you can penetrate Any place you go… ♪

♪ All I want is you ♪

♪ Everything has got to be Just like you want it to ♪

♪ Because ♪

♪ I, a-hi-hi, a-hi-hi ♪

♪ Pick a moon dog ♪

♪ Well, you can radiate Everything you are ♪

♪ Yes, you can radiate… ♪

Yeah, so why is it on the top of the roof?

[interviewer]

All that money they've got?

[interviewer]

No, I have no idea. But it sounds really wonderful.

Yes.

Yes.

Oh, yes.

- Yes, I do. Yes. - Yeah, I think it's a good idea.

[interviewer]

Yes.

♪ Everything has got to be Just like you want it to ♪

- ♪ Because ♪ - ♪ Whoo! ♪

♪ Oh! ♪

♪ Oh, now ♪

♪ I, a-hi-hi, a-hi-hi ♪

♪ Feel the wind blow ♪

♪ But you can indicate Everything you see ♪

♪ Yes, you can indicate Everything you see ♪

♪ Oh, now ♪

♪ I, a-hi-hi, a-hi-hi ♪

♪ I'm cold and lonely ♪

♪ Well, you can syndicate Any boat you row ♪

♪ Yeah, you can syndicate Any boat you row ♪

♪ I told you so ♪

♪ All I want is you ♪

♪ Everything has got to be Just like you want it to ♪

♪ Because ♪

♪ All I want is you ♪

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]

[Debbie] What's happening?

[PC Dagg]

[chattering]

[interviewer]

The Beatles, obviously.

- Fabulous. Lovely. - Definitely. Fantastic.

[interviewer]

- They're all a few lads. - Yeah. Get around, don't they?

[interviewer]

- I said they get around. - [laughs]

[customer] "Misery." That's the one, I think.

- That it? - That's it. Lovely.

Anywhere where I could have a listen to this?

[interviewer]

Yes. Very much. Yes.

Yeah. It's great.

[interviewer]

Um, I think Ringo.

[interviewer]

No.

No.

Yeah.

Yeah. I think they're good.

[interviewer]

[interviewer]

["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've got a feeling ♪

♪ A feeling deep inside ♪

♪ Oh, yeah ♪

♪ Oh, yeah ♪

♪ I've got a feeling ♪

♪ A feeling I can't hide No, no ♪

♪ No ♪

♪ Oh, no ♪

♪ No, no ♪

[interviewer]

Not in the street, no.

[interviewer]

- Oh, yes. Yes. Very much. [laughs] - [interviewer] You do?

[interviewer]

No, my son does.

Oh, yes. My daughter does.

My son would. He likes all that, but not me.

♪ Oh, yeah ♪

♪ Oh, yeah ♪

♪ And if you leave me I won't be late again ♪

♪ Oh, no ♪

♪ Oh, no ♪

♪ Oh, no ♪

♪ Oh, yeah ♪

♪ I've got a feeling Yeah ♪

♪ All these years I've been wandering around ♪

♪ Wondering how come nobody told me ♪

♪ All that I've been looking for Was somebody who looked like you ♪

♪ Hey ♪

♪ I've got a feeling ♪

♪ That keeps me on my toes Oh, yeah ♪

♪ Oh, yeah ♪

♪ I've got a feeling ♪

♪ I think that everybody knows Oh, yeah ♪

♪ Oh, yeah ♪

Yeah, we'll come upstairs.

♪ I've got a feeling ♪

♪ Oh, yeah ♪

♪ Everybody had a hard year ♪

♪ Everybody had a head dream ♪

♪ Everybody saw the sun shine ♪

♪ Everybody gotten obscene ♪

- ♪ Oh, yeah ♪ - ♪ Oh, yeah ♪

♪ Oh, yeah ♪

- ♪ Oh, yeah ♪ - ♪ Oh, yeah? ♪

♪ Everybody had a good year ♪

♪ Everybody let their hair down ♪

- ♪ Everybody pulled their socks up ♪ - ♪ Yeah ♪

- ♪ Everybody put their foot down ♪ - ♪ Oh, yeah ♪

- ♪ Everybody had a hard year ♪ - ♪ I've got a feeling ♪

- ♪ A feeling deep inside, oh yeah ♪ - ♪ Everybody had a good time ♪

- ♪ Everybody had a wet dream ♪ - ♪ Oh, yeah ♪

♪ Everybody saw the sun shine ♪

- ♪ Everybody had a good year ♪ - ♪ I've got a feeling ♪

- ♪ A feeling I can't hide ♪ - ♪ Everybody let their hair down ♪

- ♪ Oh, no ♪ - ♪ Everybody pulled their socks up ♪

- ♪ Oh, no ♪ - ♪ Everybody put their foot down ♪

- ♪ Oh, yeah ♪ - ♪ Yeah, yeah ♪

♪ Ooh yeah, ooh yeah ♪

♪ Ooh, ooh yeah ♪

♪ I've got a feeling Yeah ♪

♪ I've got a feeling Yeah ♪

♪ Whoo-hoo! ♪

[song ends]

♪ A pretty girl is like a melody ♪

[singing continues, indistinct]

Yeah.

- One, two, three, four. - "And For The First Time."

- Oh! - No, no, "Don't Let Me Down." Sorry.

[laughing]

♪ Don't let me down ♪

[person] Rock and roll!

You too!

- [chattering] - Whoo!

["Don't Let Me Down" playing]

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

Whoo!

♪ Don't let me down ♪

♪ And from the first time That she really loved me ♪

♪ Ooh, she loved me ♪

♪ Yes, she does ♪

♪ And if somebody ever really loved me ♪

♪ Ooh, she loves me ♪

♪ Yes, she does ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ I'm in love for the first time ♪

♪ Don't you know it's gonna last ♪

♪ It's a love that lasts forever ♪

♪ It's a love that has no past ♪

Whoo!

♪ Don't let me down ♪

♪ Please ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ And from the first time That she really done me ♪

♪ Ooh, she done me ♪

♪ She done me good ♪

Yeah, that's right.

[person speaking]

[person] Yes.

[Debbie] Yeah.

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Don't let me down ♪

♪ Please ♪

♪ Please ♪

♪ Please ♪

♪ Oh ♪

♪ Please ♪

[song ends]

["Get Back" playing]

♪ Jo Jo was a man Who thought he was a loner ♪

♪ But he knew it couldn't last ♪

♪ Jo Jo left his home in Tucson, Arizona ♪

♪ For some California grass ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

It's off.

♪ Get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, Jo Jo Yeah ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, whoo! Get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, Jo ♪

Whoo!

♪ Oh, yeah Get back ♪

Whoo!

Yeah!

♪ Sweet Loretta Martin Thought she was a woman ♪

♪ But she was another man ♪

♪ All the girls around her Say she's got it coming ♪

♪ But she gets it while she can ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, Loretta Get back home ♪

♪ Come on, come on ♪

♪ Oh, come on, go home Your mommy's waiting ♪

♪ In her high-heel shoes And her low-neck sweater, get back ♪

[person speaking]

[Paul] Whoo!

[person speaking]

♪ Yeah, get back ♪

♪ You've been out too long, Loretta You've been playing on the roofs again ♪

♪ And that's no good, 'cause you know Your mommy doesn't like that ♪

♪ Oh, she gets angry She's gonna have you arrested ♪

♪ Get back ♪

♪ Oh, get back ♪

♪ Oh, yeah Yeah, yeah, yeah ♪

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

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?

Hmm?

[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.

♪ Well, get back ♪

♪ …Loretta Martin Thought she was a woman ♪

♪ But she was another man ♪

♪ All the girls around her Said she's got it coming ♪

♪ But she get it while she can ♪

♪ Oh, get back ♪

♪ Get back ♪

♪ Get back to where you once belonged ♪

♪ Oh, get back, yeah Get back ♪

♪ Get back to where you once belonged ♪

♪ Get back, Loretta ♪

♪ Hey! ♪

♪ Go home ♪

♪ Your mommy's waiting for you ♪

[John singing gibberish]

♪ Ooh, she does ♪

♪ Yes, she does ♪

♪ I guess nobody ever really done me ♪

♪ Ooh, she done me ♪

♪ Oh, please believe me ♪

♪ I'd hate to miss the train Oh, yeah ♪

♪ Oh, yeah ♪

♪ And if you leave me I won't be late again ♪

♪ Oh, no ♪

[no audible dialogue]

♪ Oh, no ♪

♪ Oh, no ♪

♪ No, yeah ♪

♪ I've got a feeling Yeah ♪

♪ I've got the number wrong ♪

♪ Well, she said she's traveling On the one after 909 ♪

♪ I said move over, honey I'm traveling on that line ♪

♪ I said move over once Move over twice ♪

♪ Come on, baby Don't be… ♪

♪ All I want is ♪

♪ I, a-hi, hi, a-hi, hi ♪

♪ Dig a pony ♪

♪ Well, you can celebrate Anything you want ♪

♪ Yes, you can celebrate Anything you want ♪

[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 Martin] Oh, right. - [Paul] 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'll 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.

♪ Take it to the captain ♪

♪ Take this hammer ♪

♪ Take it to the captain ♪

♪ You and me Sunday driving ♪

♪ Not arriving ♪

♪ On our way… ♪

♪ If you're ever in a jam Here I am ♪

♪ If you're ever in the shit Grab my tit ♪

♪ …it's gonna make it stop ♪

♪ How high's the water, mama? ♪

♪ Daddy's gonna tell on… ♪

♪ Rather see you dead, little girl ♪

♪ Than to be with another man ♪

♪ You better watch your head Little girl ♪

♪ Or you won't know where I am ♪

♪ You'd better run for your life If you can… ♪

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.

♪ Two of us riding nowhere ♪

♪ Spending someone's hard-earned pay ♪

♪ You and me Sunday driving ♪

♪ Not arriving ♪

♪ On our way back home ♪

♪ We're on our way home ♪

♪ We're on our way home ♪

♪ We're going home ♪

♪ I suddenly discovered I was halfway out of tune ♪

♪ But I continued playing Because I'm no goon ♪

[crew] Take-- Take-- Take 17!

♪ The long and winding road ♪

♪ That leads to your door ♪

- [beeps, static] - Okay, start again.

♪ The long… ♪

[laughs, whines]

F-stop.

♪ The long… ♪

[Glyn] We'll need one more, actually.

[crew] Take 18.

Now what's the chord you play…

[vocalizes]

♪ The wild and windy night ♪

♪ That the rain washed away ♪

♪ Has left a pool of tears ♪

♪ Crying for the day ♪

- [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]

♪ When I find myself in times of trouble ♪

♪ Mother Mary comes to me ♪

♪ Speaking words of wisdom ♪

♪ Let it be ♪

♪ And in my hour of darkness ♪

♪ She is standing right in front of me ♪

♪ Speaking words of wisdom ♪

♪ Let it be ♪

- ♪ Let it be, let it be ♪ - ♪ Ooh ♪

- [raspberry] - What the shittin' hell is going on here?

[imitates speaking German]

[imitates speaking German]

Eins, zwei, viertel nach drei.

[rock playing]

♪ Whisper words of wisdom… ♪

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.

♪ And when the broken-hearted people ♪

- [laughs] - [John] Get off, you bum!

[song ends]

- I lost a bass note somewhere. - Oh.

["Let It Be" playing]

- ♪ Let it be, let it be ♪ - ♪ Ooh ♪

♪ Let it be, yeah Let it be ♪

♪ There will be an answer ♪

♪ Let it be ♪

♪ When I find myself in times of trouble ♪

♪ Mother Mary comes to me ♪

♪ Speaking words of wisdom Let it be ♪

[John mouthing] Let it be.

♪ And in my hour of darkness She is standing right in front of me ♪

♪ Speaking words of wisdom ♪

♪ Let it be ♪

- ♪ Let it be, let it be ♪ - ♪ Ooh ♪

- ♪ Let it be, let it be ♪ - ♪ Ooh ♪

♪ Whisper words of wisdom ♪

♪ Let it be ♪

[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.