Original subtitles

[George] ♪ I once knew a beautiful girl ♪

[Mal] Go on.

♪ She had long blonde hair and a curl ♪

[Mal] A curl?

♪ She looked after me And I looked before her ♪

♪ At that time, we hadn't a care ♪

[Mal] A care? [laughing]

♪ As time turned my head and my mind ♪

♪ The pleasure seemed harder to find ♪

♪ By then, it was such ♪

♪ That I knew far too much ♪

♪ Now I stay home and slowly unwind ♪

[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?

♪ I'd like to be underneath the sea ♪

♪ In an octopus's garden ♪

♪ In the shade ♪

[chuckling]

♪ It would be nice ♪

♪ In paradise ♪

♪ In an octopus's garden ♪

♪ In the shade ♪

That's all I've got.

[all laughing]

[clears throat]

After the two times, the second time…

[vocalizing]

♪ In an octopus's garden in the shade ♪

Then to get to the G one, a bit, uh…

Let's go from the beginning.

- From the beginning. - Right.

♪ In an octopus's garden ♪

♪ In the shade ♪

♪ It would be nice ♪

♪ Paradise ♪

♪ In an oc-- ♪

Then stay on F.

♪ In the shade ♪

Then that, then this, uh…

What one's that?

[vocalizing]

Uh-- [vocalizes]

♪ In an octopus's garden in the shade… ♪

[vocalizes]

[vocalizing continues]

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

Where we started.

♪ Wouldn't it be nice ♪

♪ Paradise ♪

♪ In an octopus's garden in the shade ♪

- It's a little bit-- - [George clears throat]

[vocalizing]

[vocalizing continues]

♪ So wouldn't it be nice ♪

[vocalizing]

♪ Paradise ♪

♪ In an octopus's garden By the shade ♪

- So it resolves itself. - Yeah.

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

♪ In the shade ♪

♪ It would be nice ♪

[vocalizing]

♪ Paradise ♪

♪ In an octopus's garden in the shade ♪

[chattering]

♪ Wouldn't it be nice ♪

♪ Paradise ♪

- [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.

♪ I'd like to be ♪

♪ Underneath the sea ♪

♪ In an octopus's garden By the shade ♪

Very strong one.

- Okay! - [plays drums]

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

- Are you going to eat them? - No!

[John] Lots of people do, you know.

[Paul] On toast?

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

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

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

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

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

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

[chattering]

["Let It Be" playing]

♪ Oh, let it be ♪

♪ Let it be ♪

♪ Let it be Let it be ♪

♪ Whisper words of wisdom ♪

♪ Let it be ♪

♪ Yeah, let it be ♪

♪ Let it be Let it be ♪

♪ Let it be ♪

♪ There will be an answer Let it be, yeah ♪

♪ Let it be ♪

[vocalizing]

♪ There will be an answer Let it… ♪

[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.

♪ Be-e-e ♪

[Paul] Yeah.

We all was gonna do it.

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

[laughs]

["Let It Be" playing]

♪ Let it be, let it be ♪

♪ Let it be, let it be ♪

♪ There will be an answer ♪

♪ Let it be ♪

I'll tell you one thing.

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

[imitates rapid drumming]

Do it more-- [imitates slow drumming]

[George] ♪ Somewhere in the Himalayas ♪

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

[George] ♪ Lives a man called Babaji ♪

♪ Singing words of wisdom ♪

♪ Let it be ♪

♪ Somewhere out in Weybridge ♪

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

♪ Lives the cat whose name is Babaji ♪

♪ Singing words of wisdom ♪

♪ Let it be, H, I, J, K ♪

I don't know what you are saying.

Uh…

Hello. [giggles]

Is anybody… [giggles]

Let me sing. Hello. Is anybody home?

♪ Aah ♪

[no audible dialogue]

♪ I did it again You got me again ♪

♪ In love with me ♪

[no audible dialogue]

[vocalizing]

Hi.

- [vocalizing] - [Heather] Aah!

[Heather] ♪ Aah ♪

Yoko!

[Heather] ♪ Aah ♪

♪ Aah ♪

♪ Come on, Heather ♪

[Heather] ♪ Aah ♪

[John] ♪ Yeah, yeah, yeah ♪

[Heather] ♪ Aah ♪

[John] ♪ Shake it up, baby, now ♪

♪ Shake it up, baby, now ♪

♪ Twist and shout ♪

♪ Twist and shout ♪

♪ Come on, twist and shout now ♪

- ♪ Come on ♪ - ♪ Aah… ♪

♪ Come on and work it on out ♪

♪ Come on and work it on out ♪

♪ Well, can you dig it? ♪

[Heather] ♪ Aah ♪

♪ Can you dig it? Yeah, dig it ♪

♪ I like how you dig it ♪

♪ Yeah, so dig it ♪

♪ You can get it if you want it ♪

♪ And if you want it you can get it So come on ♪

[Paul] ♪ If you want it You can dig it, oh ♪

♪ Come on ♪

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

[John] ♪ For Christ's sake, come on! ♪

[Paul] ♪ Dig it up, dig it up ♪

♪ Dig it up ♪

[John, Paul] ♪ Dig it up, dig it up ♪

♪ Dig it up, dig it up ♪

[John] ♪ Oh, you dig it up again ♪

- [Paul] ♪ If you want it you can dig it ♪ - [John] ♪ Like a rolling stone ♪

[Paul] ♪ Dig it, dig it ♪

♪ Like the FBI ♪

♪ Dig it, dig it ♪

♪ And the CIA ♪

♪ And the BBC ♪

♪ B.B. King ♪

♪ And Doris Day ♪

♪ Matt Busby ♪

♪ Dig it, dig it, dig it, dig it ♪

♪ If you want it you can dig it ♪

♪ If you want it you can dig it up ♪

♪ If you want it you can dig it ♪

♪ If you want it you can dig it up ♪

Yeah!

[song ends]

[John] Oh, sorry.

♪ Oh ♪

[George Martin] Come on, let it be.

What ones haven't you done yet?

A little thing that goes something like this.

♪ It's one for the money ♪

[John, Paul] ♪ Two for the show ♪

♪ Three to get ready Now go, cat, go ♪

♪ Well, don't you Step on my blue suede shoes ♪

♪ You can do anything But lay off them blue suede shoes ♪

♪ Well, you can knock me down ♪

♪ Step on my face ♪

♪ Slander my name All over the place ♪

♪ Do anything that you want to do ♪

♪ Uh-uh, honey Lay off of them shoes ♪

♪ But don't you ♪

[fast piano playing]

♪ One-eyed cat Peepin' in a seafood store ♪

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

♪ And I'll do anything Till you don't love me no more ♪

♪ I said, shake, rattle and roll ♪

♪ I said, shake, rattle and roll ♪

♪ I said, shake, rattle and roll ♪

♪ I said, shake, rattle and roll ♪

♪ You never do a thing To save your doggone soul ♪

[song ends]

[Paul] ♪ A long, long time ago ♪

♪ Don't leave me standing here ♪

♪ Lead me to your door ♪

[George vocalizing]

[guitar strumming]

- [George vocalizes] - No. No.

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

[vocalizing]

[shutter clicks]

[Paul] ♪ The long and winding road ♪

♪ That leads to your door ♪

♪ Will never disappear ♪

♪ I've seen that road before ♪

♪ Don't-- It always leads me here ♪

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

♪ Now lead me to your door ♪

♪ The wild and windy night ♪

♪ The rain washed away ♪

♪ La, la, la, la, la, la ♪

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--

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

[George Martin, indistinct]

[indistinct]

[Ringo] Still no idea where I come in.

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

It sounds like you're doing too many notes.

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

♪ Dum, dum, dum ♪

But you're doing…

♪ Dum, dum… ♪

I've been going…

♪ Dum, dum ♪

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

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

♪ Dum ♪

♪ Dum, dum ♪

[George humming]

♪ Dum ♪

That's what I'm really doing. I've been going--

♪ Dum ♪

Hello?

[George vocalizing to "The Long And Winding Road"]

[John] Great!

[all laughing]

- [vocalizing continues] - [all laughing]

[vocalizing]

[George] Amazing.

[muffled nasal vocalizing]

[laughs]

♪ The long and winding road ♪

♪ Yes, Glyn Johns? ♪

♪ What do you want? ♪

Okay.

[Glyn] One.

[Paul] ♪ The long and winding road ♪

♪ That leads to your door ♪

♪ Will never disappear ♪

♪ I've seen that road before ♪

- [chattering] - [laughter]

[Paul] ♪ It always leads me here ♪

♪ Lead me to your door ♪

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

I know what--

Paul, are you gonna have strings?

- [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.

[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.

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.

- Yeah. We probably, yeah-- - [Glyn] If I 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.

♪ The long and winding road ♪

♪ That leads me to your door ♪

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.

No.

[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 said shake, rattle and roll ♪

♪ I said shake, rattle and roll ♪

♪ You never do a thing To save your doggone soul ♪

[fast piano playing]

[no audible dialogue]

♪ One-eyed cat Peepin' in a seafood store ♪

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

- [John] ♪ I do believe… ♪ - I never done, done before ♪

♪ Goin' to Kansas City ♪

[Paul] ♪ I might take a boat ♪

I might take a train ♪

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

♪ Going to Kansas City ♪

[Paul] ♪ Oh, Miss Ann ♪

♪ You're doing something no one can ♪

♪ Because believing and deceiving Driving me to leave you now ♪

♪ You can knock me down Step on my face ♪

♪ Slander my name all over the place ♪

♪ Do anything that you wanna do ♪

♪ Uh-uh, honey Lay off of them shoes ♪

♪ But don't you Step on my blue suede shoes ♪

♪ Well, you can do anything But lay off them blue suede shoes ♪

- [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.

[John] I couldn't sleep.

[Paul] Tea or toast.

[laughter]

- [Paul] Yeah. - [piano playing]

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

[Billy] Yeah. Just loading 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] ♪ And now I'm stepping out This old brown shoe ♪

♪ And, baby, I'm in love with you ♪

♪ And I'm so, so glad you came here ♪

♪ And, baby, I'm in love with you ♪

♪ And I'm so glad you came here It won't be the same here ♪

♪ I'm telling you ♪

♪ You know you hold me up From where some try to drag me down ♪

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]

♪ Wearing rings on every finger ♪

♪ Not worrying what they or you say ♪

♪ I'll live and love and maybe some day ♪

♪ Who knows, baby You will comfort me ♪

[scatting]

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

[Paul] ♪ There will be the answer Let it be ♪

- ♪ Let it be, let it be ♪ - ♪ Ooh ♪

- ♪ Let it be, let it be ♪ - [George] ♪ Ooh ♪

- [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!

- It's not my idea of a personal assistant. - [Paul] No.

- ♪ Let it be, let it be ♪ - ♪ Ooh ♪

- ♪ Let it be, let it be ♪ - ♪ Ooh ♪

[organ 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.

♪ Can we have our microphones? Oh, mister, can we please? ♪

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] ♪ But still they lead me back ♪

♪ To the long winding road ♪

♪ You left me waiting here ♪

[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…

♪ Has left a-- ♪

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.

[Paul] We only asked for the piano.

No. I said, "Oh, Ringo is on PA."

[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.

[Paul] We sounded great.

[Paul] So you get…

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.

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]

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

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

[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.

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.

[Paul] Yes, it does. [laughs]

♪ I'll never do you no harm ♪

- ♪ Believe me when I tell you ♪ - ♪ Oh, I do! ♪

♪ I'll never do you no harm ♪

- ♪ No, darling, no harm ♪ - ♪ Yeah, yeah, yeah ♪

[song ends]

- Uh… - [Paul] Ow!

Just heard that Yoko's divorce has just gone through.

- [Yoko chuckles] - [Paul vocalizes]

[John] Free at last.

♪ I'm free ♪

[Paul] ♪ Oh ♪

♪ This morning ♪

♪ My baby told the lawyer ♪

- ♪ It's okay ♪ - [Paul] ♪ Yeah, yeah ♪

♪ Believe me when I tell you ♪

♪ I'll never never do you no harm ♪

[Paul] ♪ Yeah ♪

♪ And if somebody ever loved me Like she does ♪

Did we… "And if"?

Start again.

♪ And if somebody ever really loved me Like she does ♪

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.

♪ And if somebody ever loved me Like she does ♪

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

- [chattering] - [laughter]

♪ I guess nobody ever really ♪

♪ Done me, done me, done me ♪

♪ Oh, she done me ♪

♪ Yeah, she good ♪

♪ Don't let me down, yeah ♪

♪ Don't let me down ♪

♪ Oh, Little Willy! Yeah! ♪

[Paul vocalizes]

♪ Don't let me down ♪

♪ Please don't let me down ♪

[song ends]

[chattering]

George. George. George.

[chattering continues]

- [laughing] - [chattering]

[instruments playing]

- [song ends] - [chattering]

[laughing]

[John] 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]

♪ Well, let me take you down ♪

♪ 'Cause I'm going… ♪

♪ Strawberry Fields ♪

♪ Nothing is real ♪

♪ Nothing to get hung about ♪

♪ Strawberry Fields forever ♪

[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?

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] ♪ Sweet Loretta Fart She thought she was a cleaner ♪

♪ But she was a frying pan ♪

One, two, three, four.

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

♪ But he knew it couldn't last… ♪

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]

♪ Jo Jo was a man… ♪

Bit faster, do you think? Bit faster now.

One, two, three, four.

Hello.

♪ 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 ♪

- Little bit slower. - It 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] ♪ Oh, get back ♪

♪ Oh, get back ♪

♪ Get back to where you once belonged Yeah ♪

♪ Sweet Loretta Martin Thought she was a woman ♪

♪ But she was another man ♪

[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] ♪ Take these chains And set me free ♪

♪ Take these chains away And set me free ♪

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

[Glyn laughs]

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

♪ Get back home Jo Jo ♪

- [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 might--

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 then? - [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…

♪ Get back, get back ♪

♪ Get back to where you once belonged ♪

[Glyn] That last take was extremely good though.

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

[Paul] ♪ Oh, get back, Loretta Martin, back ♪

♪ Back to where you once belonged ♪

[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]

♪ Sweet Loretta Martin Thought she was a woman ♪

♪ But she was another man ♪

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]

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

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.

[Paul] Yeah, right. Now, see the thing is, we need another week to do it.

[Paul] ♪ 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 ♪

♪ Oh, get back ♪

♪ Get back ♪

♪ Get back to where you once belonged ♪

♪ Get back ♪

♪ Get back ♪

♪ Oh, yeah ♪

♪ Oh, yeah ♪

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] ♪ All these years I've been wandering around ♪

♪ Wondering how come nobody told me ♪

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

[John clears throat, vocalizes]

[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]

♪ Oh, yeah ♪

[Paul] ♪ No, no, no ♪

♪ Yeah ♪

♪ I've got a feeling ♪

♪ Well, all of 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 ♪

- ♪ I've got a feeling ♪ - [John] ♪ Oh, yeah ♪

♪ That keeps me on my toes Oh, yeah ♪

[Paul, John] ♪ Oh, yeah ♪

♪ I've got a feeling ♪

♪ I think that everybody knows ♪

- ♪ Oh, no ♪ - [John] ♪ Yeah ♪

[Paul, John] ♪ Oh, yeah ♪

[Paul] ♪ Oh, yeah ♪

♪ Yeah ♪

♪ Yeah, I've got a feeling ♪

♪ Yeah, yeah, yeah ♪

♪ Everybody had a hard year ♪

♪ Everybody had a good time ♪

♪ Everybody had a wet dream ♪

♪ Everybody saw the sunshine ♪

- ♪ Oh, yeah ♪ - [Paul] ♪ Oh, yeah ♪

- ♪ Oh yeah, oh yeah ♪ - [Paul] ♪ Oh, yeah ♪

- ♪ Everybody had a good year ♪ - [Paul] ♪ Yeah ♪

- ♪ Everybody had their hair down ♪ - [Paul] ♪ Yeah ♪

- ♪ Everybody pulled their socks up ♪ - [Paul] ♪ Oh, yeah ♪

♪ Everybody put their foot down Oh, yeah ♪

[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.

Très 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, honeybunch. 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] Dig, 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.

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

- [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!

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

[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.

♪ Let it be ♪

[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--

Uh…

I don't see much point in doing

"Don't Let Me Down," "I've Got A Feeling" and that now.

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.

♪ What do you know now, Mr. Show? ♪

[John] ♪ I don't know ♪

[John, Paul] ♪ I don't know ♪

Then you can have the next one, "Did you know, missed the show?"

♪ Do you know who missed the show? ♪

♪ No, I don't know ♪

♪ I don't know ♪

♪ Dun, dun, dun Dun, dun ♪

♪ Do you know now, Mr. Joe? ♪

♪ Something in the way she moves ♪

♪ Attracts me like a moth to candlelight ♪

♪ Something in the way… ♪

[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.

♪ Attracts me like a pomegranate ♪

[chuckles]

♪ Something in the… ♪

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

♪ Something in the way she moves ♪

♪ Attracts me like a moth to candlelight-- To pomegranate ♪

♪ Pomegranate ♪

"Cauliflower" is better.

♪ Something in the way she woos me ♪

♪ I don't want to leave her now ♪

♪ You know I believe and how ♪

[laughter]

♪ Da, da, da Da, da, da ♪

♪ I don't know ♪

[scatting]

♪ Da, da, da ♪

♪ Da, da, da Da, da, da ♪

♪ I don't know ♪

- [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.

♪ Love, love me do ♪

♪ You know I love you ♪

♪ I'll always be true ♪

♪ So please ♪

[John scatting]

♪ Love me do ♪

[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]

[Ringo] Shall we do it?

♪ I've got a feeling ♪

♪ A feeling deep inside ♪

♪ Oh, yeah ♪

- [John] Glyn? - Send an engineer.

[John] Glyn.

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

♪ Everybody had a hard year ♪

♪ Everybody… ♪

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've got a feeling ♪

♪ Everybody knows ♪

♪ Oh, yeah ♪

♪ Oh, yeah ♪

♪ Yeah ♪

♪ Oh, I've got a feeling ♪

Two, three, four.

♪ I've got a feeling ♪

♪ All these years I've been wandering around ♪

♪ Wondering how come nobody told me ♪

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

♪ You know that ♪

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

♪ Everybody had a good year Everybody let their hair down ♪

- 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…

Uh…

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?

♪ A feeling deep inside Oh, yeah ♪

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.

♪ How do you tune an electric piano ♪

[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.

But just, like, he knows me as much as you do.

Incredible guy.

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 the 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 ♪

♪ Now I'm steppin' out This old brown shoe ♪

[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, you know, like ordinary black leather shoes.

It's just that I never get any, you know, 'cause I'm never in shoe shops.

[Kevin] 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.

[Kevin] Yeah, okay.

♪ I'm so glad you came here It won't be the same now ♪

♪ I'm telling you ♪

♪ Yeah ♪

♪ Dun, de, da, dun ♪

♪ Now I'm steppin' out This old brown shoe ♪

♪ Baby, I'm in love with you ♪

♪ I'm so glad you came here ♪

[piano playing]

♪ I like a love that's right When right is only half of what's wrong ♪

♪ I want a short-haired girl Who sometimes wears it twice as long ♪

♪ Now I'm steppin' out This old brown shoe ♪

- 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.

♪ And if somebody ever loved me Like she does ♪

♪ Ooh, she does ♪

♪ Yes, she does ♪